Guidelines for Instructors General Recommendations Music Theory and Methods Bonn Hymnal Congregation Common Name _______________________________________________________

____ _______________________________________________ General Recommendations CHRISTIAN CONGREGATION IN BRAZIL - Minimum Program for Organists Meeting of Youth and Children M is ALL BONA THEORY SCALES Hymnal By lesson 90 (sun and do) to item 06 Greatest Hymns 401-450 - January 8 Comments: The above methods may be replaced by others of higher degree. Suggested methods for beginners: Francisco Russo, Kohler op.1 89 Suggested books Theory: Maria Luiza Priolli - Fundamentals of Music for Youth - Vol 1, Osvaldo Lacerda - Elementary Theory of Music Theory Program 2001 - Pro perties of Sound 2002 Music-Notation: a) Pentagram, extra lines, note, claves b) Figures of notes and rests, proportional division of the valleys: comparative t able c) ligation, point increase, double-point increase, fermata, staccato d) To m and semitone (chromatic and diatonic) e) Signs of change: sharp, flat, sharp b ent, folded flat, natural 03 - Accent 04-metric of the compasses Compasses simpl e and compound time signatures, training and subdivision of time, time unit valu es the figures, corresponding bars 05 - Contratempo, syncopation, triplets 06 Major Scale Diatonic Mode 07 - Diatonic scale Minor Mode 08 - Shades, ornaments until lesson 95 (sun and do) to item 07 full Major and minor (harm.) - January 8 until lesson 98 (sun and do) to 2008 Full item - including pedal Major and mino r (harm.) - February 8 Kohler op. 189 - Complete 1st Schmoll - Complete 2nd Schm oll - Full G. Bull op. 90 - Full or Czerny Barrozo Neto Vol 10-30 studies the ch oice Religious Official 1 2 Schmoll Schmoll full - full G. Bull op. 90 - Full or Czerny Barrozo Neto Vol 1 30 studies to choose Burgmuller op. 100 Vol 1 - 15 studies to choose from Formalization Burgmuller op. 100-1 of Vol - 20 studies to choose Bach - The Little Book of Ann a Magdalena6 studies the choice GUIDELINES FOR THE EDUCATION OF BODIES START STUDY OF MUSIC - THEORY 1. In general, you should start the study with som e notions of theory, so that the student receives a base and can understand some concepts of musical notation that will soon find the methods and Bonn. 2. One s hould preferably take a book as suggestions Minimum Programme, for better orient ation (if the student can not at least the teacher should have some). 3. Theory should be taught not only in the form of questions and answers, because often th e students decorate without understanding. We should teach the theory using prac tical exercises (Examples of exercises in the book Priolli ML) as well as applyi ng in Bonn, methods and hymnal. 4. Here are some key issues for the first theore tical notions: (see item1 Minimum Programme of the 4) Note: After these theoreti cal notions, we can introduce Bonn. BONA 1. The Bonn is not a book of theory but a method of solfege in which develops reading music and rhythmic division, befo re starting, make sure that the student understood the rudiments of theory. 2. T raining initially hand movement, the marking of bars binary, ternary and quatern ary simple, showing the student the whole time and subdivided. 3. Following pres entation of the lessons: start with lesson 1, then the lessons with minimal, qua rter notes, eighth notes, until No. 36, No. 5 lesson to teach after No. 45. 4. O ne should teach Bonn, causing the student to use their reasoning, understanding and values of the figures in bars (not decorating). 5. General Explanations Note : It generally begins in the instrument, around the 50th lesson (not rule). METH ODS There are no rules to begin the students on the instrument, leaving the disc retion of each teacher, however, the first class is very important, because the

guidelines received persist throughout the period of study of the organist. Ther efore, we consider the following factors: 1. Can be guided as to the components of the organ (keyboards, pedals, expression pedal, records (see Registration bro chure), so that the student knows his instrument. 2. From the outset, it should be noted: correct posture, proper position legs, arms, shoulders, back, elbow, w rist, hands, fingers, away from the bank, etc.., correct reading of the notes, f ingering correct count of the times, running on, progress (in both methods, as i n the hymnal) phrasing 3. There are several methods for beginners,€that can be u sed as preparation for the start of the minimum program: Method Playground pair Piano - Francis Russo Preparatory School Piano - Ferdinand Beyer My piano is fun (1 and 2 vol.) - ª Botelho The castle, re, mi (p / illiterate children) - Delay t and Other Note: the national popular methods are not suitable to replace the m inimum program. 4. Corrections and comments should be marked in pencil or pen in the methods, making the student study the lesson again with the corrections. 5. Schmoll Making the student exercises preparatory lessons Lesson No. 6 shall not be invalidated and should give, because the rules are also used in fingering hy mnal. You can teach the exercises to end quickly. In some lessons we can initial ly use the count of times subdivided (eg 2 / 4 - 4 / 8), facilitating the divisi on, as in Lesson No. 14 I Schmoll, however, after the initial study, we make the student count times the original formula of the bar. It is not compulsory tests the pleadings expanded, accompanying the old lessons. 6. BULL should be studied worldwide, yet you can study lessons in progressive order of difficulty, starti ng with the easiest (eg, 2, 7, 9, 11, etc..) 7. Select BURGMULLER 15 lessons mor e accessible for every student, can also be studied worldwide for those with mor e ease. 8. BACH Adopt "The Little Book of Anna Magdalena," Review Moura Lacerda, which comes with the resolution of the ornaments. The staccato should not be "d ry" as in other methods, because beyond the style of the composer, must be imple mented as behaviors (or just dropping off the notes). Observe the good graces, w hich in Bach, they are long (eg, lesson No. 1). Pass all the methods for better improvement. SCALES 1. The study of scales should be started early, because it g ives more ease, agility and fingering. 2. One must start by scoring in sharp Maj or, because they follow the same fingering, and then Major in the flats. 3. Afte r the student is well prepared in larger scale, start the study of Minors. 4. Th e scales can be studied initially in an octave, and then be studied in two octav es (as demanded in the program). 5. You can also teach the arpeggio and chord be cause in some trials the organist is asked to perform (not required). Hymnal one . Give explanation of voices: soprano, alto, tenor and bass. 2. Explaining the p erformance of the tenor and bass notes of the same (not "beat" all the notes). 3 . One must teach and require: Play well connected, correct reading of notes, fin gering, start time, tempo 4. Start the hymns easier (eg 40, 139, 295, etc.). 5. Report a pencil or pen corrections, requiring the student to study again with th e corrections. 6. One must pass more than once the hymnal for improvements. 4 Suggestions for registration The registration of bodies depends on the knowledge of each of the records that the instrument provides and are basic to the implementation of the hymns of the congregation, as there are several models of organs, the classification of recor ds can vary, although the functions are the same, as we shall see follows: The u pper registers of the keyboard: UPPER KEYBOARD UPPER or MANUAL. The records of t he keyboard below: LOWER MANUAL KEYBOARD or LOWER. It usually appears a few numb ers in the name of the record, such as FLUTE 8 'STRING 4', etc.. If we use only those records with the number 8 ', the sound will represent the natural sound, l ike the piano, but if we use the registers 16', hear the sound one octave lower than we would hear the record with 8 'if we use the record 4 ', hear an octave a bove the 8'e if we use the second record,' we will hear an octave above the 4 '( the two octaves above 8'), and so on, that way, regardless of the region where t he hand is placed we can have a sharp sound or severe. Example: If we play with the hand in the central registry using 4 ', hear the higher tone than if we play

with the hand using an octave above the record 16'. There are also numbers that are shown together with fractions (5 1 / 3 ') and are called harmonics: the sou nd is a fifth above the August record', ie when we play the note DO SOL hear the note, so it can be very careful to use them. In summary, we have: 16 '8' 4 '2' 1 '5 1 / 3' 2 2 / 3 '1 3 / 5' 1 1 / 3 'one octave below Eighth An e ighth natural up to two octaves above three octaves above A fifth above A fifth above One third of the upper octave two octaves above A fifth two octaves above The three main groups of records are: FLUTE - Flute (usually represented by the records of white) STRING - Strings (yellow) HORN - Metal (red) and: WOOD (Woods) and Reed (reeds) The basis for the registration should always be the flutes and should be dosed so that the sound is not very serious, not too sharp, the strin gs add brightness to the sound and the metals leave the sound more robust. However, it is recommended to use the records in their entirety, but must use th e records for a graduation slide. Example: there is no mistake in using the FLUT E 8 'and 4 FLUTE' in its entirety, but the FLUTE 16 'should be used with less in tensity because the sound can be 5 become too serious, but also the FLUTE 2 'in its entirety, makes the sound very acute. The records of strings, brass and harmonics should not be used fully, ser ving only to "flavor" to the registration of basic flutes. Example 1 Example 2 Example 3 The change of registration in the implementation of the half-hour can be done ju st by changing the intensity of the flutes, so it can be used even in the simple st models of organs and provide effects that enhance the performance, as the exa mples below: First stanza stanza third stanza For the keyboard than there are fewer records and they must always be more sever e and of less intensity than the upper keyboard (worth the same information in t he table above). FOOTSWITCH: there are not many options for registration, but we recommend using BASS 8 'because the BASS 16' makes the sound very serious, as t he records BASS GUITAR, ELECTRIC BASS Cymbal or should not be used because they are struck. BALANCE: You can give more strength to the keyboard higher or lower. VIBRATO: it is a very important resource in the registration of the body, it ca uses oscillation in the sound, there are three bodies that have controls for the vibrato: DEPTH (makes the determination of oscillation of sound), SPEED (speed wobble) and DELAY (not should be used because it delays the start of Vibrato). T REMOLO (or Leslie) causes the impression of the sound to be running, so TREMOLO VIBRATO and must not be used together. SUSTAIN: a resource that makes the sound is extended even when they let go of the button; not recommend this feature beca use it makes the sound of the notes to blend, making the understanding of melody , we run the hymns connecting the notes through the correct fingerings, without requiring additional resources. 6 More suggestions for Registrations Organist YX - 300 II I FLUTE ORGAN KEYBOARD STRING UPPER Drawbar detuned CHURCH CHURCH 1 2 PEDAL BASS 8 ' KEYBOARD LOWER I STRING ORGAN (8th below) EFFECTS

VIBRATO Organist YX - 200 Drawbar Organ STRING (optional 8th above) KEYBOARD UPPER CHURCH ORGAN HARPS or V ibes (8th up to half an hour) PEDAL BASS 8 ' KEYBOARD LOWER ORGAN EFFECTS VIBRATO tokai md-10 l Pedal Drawbars * Registration 1 Registration 2 Registration 3 Registration May 4 th Registration Registration June 16 '8 8 8 8 8 8 8' 9 9 9 9 9 9 10 10 10 10 10 10 LOWER (lower) 16 '8' 8 8 8 8 8 August 4 '4 4 4 4 4 4 2' 0 0 0 0 0 0 16 '8 5 4 10 10 10 5 1 / 3' 4 8 3 5 0 5 8 'July 10 August 10 August 10 UPPER (top) 4' 8 8 3 8 10 8 2 2 / 3 '2 8 5 0 6 0 2' 9 8 3 10 8 9 1 3 / 5 '1 1 / 3' 0 0 5 6 7 6 4 4 8 4 0 0 1 '3 0 May 6 May 3 VIBRATO always use V3/C3 (V1/C1 V2/C2 +) or STRING ORGAN PIPE (pipe organ + trumpet) + O CTAVE UP OPTIONAL FOR HALF HOUR: (*) The numbering of samples equivalent to graduation from the drawbar. If the r egistration is requesting five intensity on drawbar 8 ', we have the following p osition: 5 March 4 February 1 8 ' Note: We must be careful with the use of records harmonics, which are indicated by fra ctions, because if we use, for example, the drawbar 5 1 / 3 'the note will sound a fifth above that is touched. That is, if we play with the key of this record, we will hear the note SOL. Methods 102 KÖHLER LUDWIG KÖHLER - The Little Pianist - Op 189-40 Recreations for Beginners 1-13 not only read the numbers in the study a lot of hands fingering separate 14 attention to the change in position of both hands, making opening. 15:16 staccato, change and contraction. fltam times that at the end of the pentagram a re at the beginning of the lesson. Explain bars repetition. 17 Studying the very last pentagram, exercising opening of two hands; attention

to the accident occurring. Explain "DC al Fine" INCI BEFORE THE STUDY OF LESSON 18, COACHING THE LOCATION IS NEEDED THE HEIGHT O F NOTES (IN bass) on the keyboard; ADVISES THAT THE BONN TO BE NOW ALSO BEING IN THE STUDY bass, TO FACILITATE INTERPRETATION OF NOTES. 18 21 Attention in reading bass clef. Locate correctly notes in the left hand. Bar end : do not repeat. 22 Running Tuesdays and Fridays. 23 Attention in bandages and care in exchange for fingering. Explain how to use Extension and Contraction. 24 Ligation of behavior, reading flat enough to study the last pentagram. Eighth = 1 time 25 Note the exact location of the notes on the keyboard, changing the region on the left hand. Attention last pentagram, fingering of the left hand and makes th e natural right hand. 26 - 27-28 overall care. Implementation of the left hand filled with point decre ase on the right. Fixed accident, accidents occur. Attention to the value of bre aks. Warning 29 punctuated the score: from 1 to 2:03 e. 105 30 Attention general. 31 Study of chords. Attention in the chord fingerings. 32 Count punctuated change fingering on the same note. 2 pentagram - 2nd bar: co unting eighths (not delay) 33 Tuesdays Tuesdays linked on the right hand bar on the left hand part of perio ds. 34 attention to the staccato passage and careful counting. Quaver = ½ time 35 attention to the passages of notes in ascending and descending climbing. Atte ntion to fingering. 4 pentagram: change of key study of quite separate hands. 36 2 sixteenths in the right hand to a quaver in his left hand. can study in Apr il and, in passing, back to 2. August 4 37 attention to the octave above. Attention to the score at the beginning of sen tences 38 and 39 40 count double braced composite measure: notes stuck in his left hand. Attention o n returns. General attention, study hard. One can divide the lesson into 2 parts, to facili tate the study. Beware the region of notes. Double notes: playing at the same ti me. - ACCORDING TO SIZE AND DIFFICULTY OF THE LESSON, we can divide it into 2 CLASSE

S. - DO NOT FORGET TO INITIATE THE STUDY OF HANDS SEPARATE 106 R Schmoll 1 - Read and explain the statements of all the lessons of this method. 2 - It is advisable to perform the exercises that precede each lesson, as they are histor y. 3 - At the end of I and II Schmoll there are exercises for technical agility of the fingers, which should be taught and played daily. 4 - In the early editio ns, the arrows indicate the most difficult parts 5 - The new edition contains le ssons I Schmoll loose, which is not obligatory for the tests. 1 - breathe at the end of the ligature. 2 - count the times, play well on. 3 - careful fingering f or double notes. 4 - Figures of different values. May - bandages value: do not r epeat the second grade. - Attention to figures of different values. - Right hand holds the left and the sound moves. 6 - Substitution (S) to replace the fingeri ng of the note without repeating LA - Change (M): change of fingering, repeating the same note with the new fingering. 7 - double rods in his left hand: Notes c avies. - Attention returns. 8 - Extension (A): to achieve hand opening statement . - Pass (P): Pass the 1st finger under the 2nd finger. 9 repeating all the note s of the chords of the left hand. attention to the fingerings and returns. right hand across all connected. Contraction (C): contract the fingers and playing so well connected. 107 - Attention: enlargement and pasages. 10 - attention to the fingering of the lef t hand. 11 - attention to pass the 4th finger. 12 - note the count and returns. - Obey passages (P) and extensions (A). 13 - attention to the passages, enlargem ents and changes - the left hand fingering. - Return. 14 - double braced on the left hand: notes attached. - Passages: attention - return. 15 - careful count, c ount on subdivision from the beginning to even eighths. - Enlargements, passages and changes. - Attention to the fingering of both hands. 16 - careful reading o f the notes in the right hand - change of fingers on the same notes. - Observe r eturns. 17 - careful fingering for double notes (range Friday). - Double rods in his left hand. - Attention to pauses a while. 18 - notes stuck in his right han d and left hand. - Transition to double notes. 19 - Enlargement and Contraction 20 - notes attached (double rods) in the left hand - attention accident occurrin g and return. 21 - sixteenth rest, care. 108 - Notes stuck in two hands. - Fingering in double notes. - Return. 22 - attentio n on the changes and enlargements - attention in return. - Care in counting the pause at the beginning to the right hand. 23 - double braced on the left hand: n otes attached. - Attention to the fingering of the scale of the DO. - Return att ention. 24 25 - bandages value. - Replacement (exchange fingering) without chall enge to note (no change). 26 - ligation of value and behavior - notes stuck in t wo hands. - Return. 27 28 - equal attention to the count of the right hand and l eft hand. - Attention in return, because the signal appears "dal segno". 29 - at tention to wake up with 4 notes in the left hand.€- Note the count - read the sn ot additional upper (right hand). 30 focus attention on changes fingering. chang e of fingers in double notes. returns. 109 anacrusis initial rhythm. notes stuck in his left hand. attention in the passage s, the displacement of the hand, contractions and changes. attention returns. double braced: notes stuck in his left hand. attention to the passages, enlargem ents and changes occurring accidents. correct location of the notes. attention r eturns. II Schmoll

31 - hold the minimum on the left hand. - Attention to behaviors and staccato. Precautionary 32 accident - careful count of the 2nd half - compound formula the pace upbeat initial 33 - eighth grades that do not fit the keyboard. 34 - yo u can study at four and counting, in the transfer, return to 2. April 8 - ligati on is not behavior - double braced: notes stuck in his left hand. - Attention to the staccato right hand. 35 - careful count: dotted quaver with sixteenth. - At tention to switch-over. 36 37 38 39 40 - joint attention - staccato notes in the right hand and stuck in his left hand. - Accidents occurring. end of the 1st pe ntacle: do not disconnect the arpeggio notes; attention to fingering. focus atte ntion on the change of clef bandages value of right hand. attention to the notes attached and behavior. careful fingering play all the notes of the left hand (d o not) care in the notes attached. attention to fingering with replacement. care ful count of the scores. attention on the ligation of an accident occurring valu e of #. attention to fingerings notes stuck in his left hand. attention in the w ake of the left hand (last bar) attention in the fermata sign "dal segno" attent ion to notes stuck in his left hand. 110 41 - attention to changing time signatures - equal in pursuing the 2nd part - at tention on left-hand chords. - Fermata on bar final, indicates modification of music in part 2 (example hymn 228) 42 careful in counting not stop playing notes in the left hand. notes stuck in h is left hand. attention in staccato and accidents occurring. attention on the va lue of ligation of the right hand. - Return: the words "DC" requires that we return to the beginning of the lesson, until the word END. 43 44 45 - watch the fingering - accidents occur - attention to fingerings; exam ple of how it will play hymns for four voices. 47 - To train enough displacement of the left hand, the 1st note of the left hand i s staccato. attention on the fermata, bass, ligation. notes stuck in his left hand. accident s occurring. initial rhythm upbeat. attention to the phrasing of passages do exercises that are in that statement. c ount correctly notes the breaks in his left hand stuck in some bars. - Focus on the returns. - Notes stuck in his left hand. 48 - To train enough displacement of the left hand, the 1st note of the left hand i s staccato. - Attention to the notes attached on the left hand. - Focus on reading the chord s on the 3rd pentacle right hand. 49 - Duplicate the count and making four, in p assing, back to 4. 8 4 - 3 bar: careful count (eighths and sixteenths). - Attent ion to the notes attached and ligation of value in the left hand. - Attention to the change of key. - Attention passage of finger left hand (last pentagram, last bar) 50 reading notes additional train enough displacement of the left hand. notes st uck on the left hand and right. ligation of value in the left hand. accidents oc curring. attention to the passages in his left hand. 111 51

- Study score of 4 and, in passing, back to two, begin to quaver, and then sixte enth. August 4 - Part 2: watch the notes of the chords of the left hand. - Note stuck in his le ft hand. 52 53 - study score with 4 + 4 and, in passing, back to C (4) 8 8 4 - a ttention to the fingerings in the passages. - Attention to count the last bar on the right hand. 54 - studying with score 4 + 4 and, in passing, back to C (4) 8 8 4 - care in the last bar: counting and region of the right notes. - Notes stu ck in his left hand. - Attention to fingerings with many passages. 55 - do the p reparatory exercises (direct and reverse motion on the scale) before the lesson, adapting to the octagonal body. - Study on count 4, and in the transfer, return to 2. April 8 - attention on the fingering of passages with the 4th finger. - A ttention to the correct location of the notes. - Attention in the eighth scored with counting sixteenth. 59 - study hard and pay attention. - Careful displaceme nt of the left hand. 60 - study hard and pay attention. - No rush at the very be ginning (only appear eighths), which appear not to delay the sixteenth. - Attent ion in staccato. attention. notes stuck in his left hand. attention to staccato. €attention to the fingering of passages in his right hand. 112 GEORGES BULL 25 SMALL STUDIES suggestion the didactic lessons for trouble: • • • • • • • Lessons 02, 11, 20 - In these lessons we studied the quarter note stuck in his left hand; Lessons 7:03 - In these lessons we have studied the minimum p rey in the left hand; Chapter 09 - This lesson is easy, and it worked with addit ional notes; Lesson 14 - In this lesson we worked with graces; Lessons 16:24 - I n these lessons work with pauses; Lessons 08, 01, 05 and 04 - In these lessons w e work with staccatos, Lessons 06, 15 and 18 - these lessons work with chords in the left hand (we refer to the chords as a job with full notes); In lesson # 18 we will also work behavior (learning to breath short hymnal), Lessons 21:25 - I n these lessons work with fingering; Lesson 23 - In this lesson we worked with t riplets; Lesson 10 - In this lesson we must take care in accidents; Lesson 13 In this lesson we will work with the region of notes, left hand in treble and be havior (shallow breathing), Chapter 22 - This lesson is "weiner" a little more d ifficult; Lesson 19 - We should note at the end of the 3rd pentacle; Lesson 12 In this lesson we work with additional notes and breaks; Lesson 17 - In this le sson we work with reading notes, fingerings and grace notes; • • • • • • • • ANOTHER SUGGESTION FOR TEACHING SEQUENCE: 2 - 6 - 7-9 - 11 - 13-14 - 16 - 19-20 1-3 - 4 - 5-8 - 10 - 15-18 - 21 - 22-24 12 - 17 - 23-25 February 1 1st row: note optional: run as a 3rd to hold the minimum and quarter notes of the left hand (correct fingering) staccato dolce 4th line rit.: Ritenut o (= rall.) I º time: back to the way initial 113 accent grace notes brief, the real note between "on time" and notes with small cut come before the time of lig ature behavior 3 4 5 6 7 8 9 10 11 12 careful attention to the correct count bass clef: semibre ves attention on (hold the value) count the end of eighth note lines that appear on the right hand. Notes stuck in his left hand. note melodies in two voices (t reble and does) hold quarter notes of the bass clef note optional (eighth) accid ents occurring. attention to the fingering part 2: # B flat and attention in the final count of accident occurring and attention returns. attention in the corre ct location of the notes quarter notes: staccato dolce 4th row: abrevitura linke d notes: D. C. bandages and change of key value in the left hand. Attention spli t bar indicates period of change theme of the lesson. run eighth notes (staccato

) than those connected. Play all notes in the left hand and turned attention to staccato. Attention to behavior. attention at the beginning of sentences (unlike crotchet quaver = 73 Anthem) 4 score line notes stuck in his left hand. 4th row : note in the notes of the chords (bass) Attention to fingerings, observing beha vior. Staccato left hand with attention. 8th row at the end of the lesson. to ex ercise independence of hands in bandages attention behavior end up 8th graces br ief. change of fingers on the same note (for training recourse fingering anthem = 9) ongoing attention in the correct count of the final count divided: study 4 and in the transfer, return to 2 8 4 3 line: correct count and equality. Repeat note there on the bass. 2nd row: box 1 and 2 final time without rallentando (sen za rall.) Attention to returns. 114 13 14 15 16 17 18 19 attention on the correct reading of the notes 3rd line care fully: keep up the 8th; note reading and fingering the right notes in the left h and. correct way to observe the change of key care with the correct location of the notes in the last pentagram. study hard line 1 (bass clef): me and g # # end : to take the 8th fingering up and change, without rallentando. D.C. and apogiau tras brief. 4 and 5 pentagrams: annular line octave and play as written. attenti on on the correct timing pauses final right hand (lower keyboard) bandages atten tion to behavior. Graces brief. Tempo Allegro: bass chords: Portamento slight ph rasing and line 4 (1 bar): Warning correct count and accidents occurring grace n otes soon. final region of the right notes in the treble clef (si, D #, there) f ocus on behaviors of the right hand. Notes stuck in his left hand. 20 21 22 23 24 25 11 Ibid lesson notes stuck in his left hand. observe the accident and fingering notes attached. attention in the final staccato correct count of triplets observed that the rhythm is marked with the left hand. €4 and 5 pentagrams: some notes are arrested and others not. idem lesson 16 study to get faster fingers score with equal attention (may be subdivided and, in passing, back to bar 2) 4 115 F. BURGMÜLLER TWENTY-FIVE STUDIES - EASY AND PROGRESSIVE SUGGESTION FOR TEACHING THE FOLLOWING: 1 - 3 - 10-13 2-5 - 6 - 9-17 - 20 - 21-22 4-7 - 8 - 11-12 - 14 - 15-16 - 18 - 23-24 - 25 1 2 3 4 5 6 7 8 counts: each time can be subdivided into four times (4 + 4 + 4) 8 8 8 2 part: not run in the eighth, 4th and 5th rows count from the end closely link the eighth and make second note staccato with 2nd finger. Clef changes. co unting times and fingering carefully. 3rd row: counting triplets "Poco rall." ca n be counted in April and, in passing, back to 2. April 8 correct location of th e notes of the left hand on the keyboard at the 1st line. Accidents occurring. C hange of clef in the left hand. tempo allegro vivace (very fast) to hold the qua rter notes (double rods) in the right hand, making a melody. 2nd part: melody in the left hand (you can play everything on the keyboard inferior or superior. Th e formula is simple compass, all with triplets in the right hand. Count unfolded (4 + 4) and, in passing, to return to the original. August 8 2nd part: ligation

of behavior and count the final. Equality in the count, especially where there eighths. Exercise Tuesdays linked and Fridays (play four voices) in the hymnal. Attention staccato martelatto. graces: short and double: correct way of implemen tation. clef change during the lesson. Notes arrested and attention in the notes of the chords of the left hand. Equality in the count: it may be four, and in t he transfer, return to 2 8 4 Final: correct location martelatto staccato notes i n the right hand . Attention in E flat Repeat all the chords and left hand shift key on the left hand. Notes stuck in his right hand. 9 10 11 116 12 13 14 15 16 - count unfolded (4 + 4) to equality of eighths and sixteenths, a nd in the transfer, return to the August 8 C. - 3rd row (2nd part): treble clef: E flat and natural - final score 17 18 20 21 22 23 24 25 attention to the tripl ets, maintain the same speed 2 page - 4th row - 2nd bar: watch the final count last line: play both hands octave higher. Not necessary, but you can perform on the keyboard below. Attention in the correct location of the notes at the end. Notice that the note left hand is lower on the keyboard. Exercise for staccato 5 th row: eighth 2 and 3 bars of the bass clef. Observe exchange left hand fingeri ng. Correct reading bass clef notes; attention during breaks from the 3rd pentac le Andantino Perdendosi status (being lost) should be touching the keyboard to l ower a key. Key 2 onwards: normal tempo Allegro Vivo agile fingers, wraps, porta mento and phrasing 2nd page, 2nd row: Cancel graces brief line of 8th: 2nd pages , last pentagram, right hand. ongoing attention Allegro Agitato bass clef notes and change of key. final count correct change of fingers on the same note (right hand and left hand) bass: 1 bar (eighth only 1 note) correct notes: treble clef : in, mi b, f #; bass clef: la natural 3rd row: counting breaks quaver; 4th row: E flat end-region of the correct notes on the keyboard study hard look graces p airs with proper execution and change of clef in the left hand. Be careful in ch anging key signature and return to original armor. hold the quarter notes that a ppear on the right hand and left hand (melody) change of key; note fingering. ma intain equality in progress since the introduction, the 1st pentacle is a binary subdivision and subdivision 2 of the pentagram is ternary (all triplets). 117 BACH The Little Book of Anna Magdalena Bach - 20 Easy Pieces for Piano Curriculum Edi tion - Revision 1 Moura Lacerda - This method was adopted in the Minimum Program CCB, in view of the similarity of interpretation to be made in the hymnal (touc h too much on) and implementation of breaths (which resembles the soft staccato staccato or portatto) 2 - Bach's compositions were performed in the eighteenth c entury (eighteen) and therefore exhibit characteristics typical of the period, c alled BAROQUE, which influenced the culture and customs of the time such as arch itecture, personal habits and customs, arts, music, etc.. (This period took plac e about a century before the emergence of composers such as Bull or Burgmüller). 3 - The issue has adopted didactic ornaments already solved, that is, the perfo rmer just read only what is already written, even without technical knowledge on the implementation of the ornaments, widely used in the period;€in editions of original prints, these ornaments are not resolved, so the performer must have kn owledge of the resolutions of all ornaments. Urtext EDITION (Original) RICORDI E DITION 4 - At that time there was still no piano or organ, which appeared many years la ter, the compositions were made to CRAVO and therefore exhibit characteristics o f this instrument and the season, as the instrument (harpsichord) not keeping vi bration and sounds disappeared quickly, to fill time, the ornaments were much us ed, the staccato is always soft. the period, composers were not interpretation,

so features like rall., f, ff, p, pp, mf, etc.. had not yet been released, appea ring only many years later, with the compositions of Beethoven. MAIN FEATURES so ft staccato staccato staccato or "portatto" (Ex.: lessons from Bach); non Legatt unconnected staccato or simple (eg lessons Schmoll, Kohler, Bull, Burg) staccat o "martelatto '(eg, lessons Schmoll, Kohll, Bull, Burg) ORNAMENTS 1 - grace note s (run from the downbeat and not before) Long: all of Bach Brief lessons: Lesson No. 1 - G. Bull Simple: Lesson No. 1 - G. Double Bull: Lesson 3 - Burg Note: G. Bull (2, 3, 11, 20 are not graces are grades optional) 2 - Nose Top: Lesson No. 2 - Bach: Lower: Lesson No. 2 - Bach (as amended or 3 - Trina tr or tr Lessons 6, 9, 10, 11, 13 - Bach) PHRASES Bandages Value Lesson No. 9 - Bach Portamento L esson 2, 3, 4, etc.. - Bach Sentence Lesson No. 20 - Bach Note: Lesson No. 4 has only one page, next page is the first part of lesson 5, no frills. ) 118 Hymnal RULES fingering (EXAMPLES OF Hymns) EXTENSION 17 - 62-111 - 117 - 133-137 - 145 - 147-157 - 240249 - 251-357 CONTRACTION 25 - 41 - 140-141 - 152 - 173-215 - 251-269 - 303-404 changes 9 - 13 - 90-138 - 172 - 191-202 - 223-288 - 295-304 CROSSING 34 - 56-61 - 92 - 122-320 - 321-372 - 409-418 REPLACING 10-50 - 54-93 - 120 - 156-166 - 268 -294 - 304 - 318-321 Hymns EASIER 4 69 170 270 6 74 171 271 7 77 174 275 8 79 17 6 281 9 81 179 295 10 87 185 309 11 94 191 311 20,100,192,315 21,102,196,317 23, 106,198,333 35,107,202,345 38,113,204,358 40,114,206,360 42,119,207,369 45,130,2 11,384 48,133,227,396 49,134,231,408 50,138,235,411 53,139,236 59,147,238 65,157 ,254 Hymns MORE DIFFICULT 1 98 205 268 320 388 425 19 104 212 269 321 389 426 24 108 214 273 326 390 429 25 115 215 280 332 392 430 29 116 217 284 334 393 432 31 122 219 288 336 394 440 34 123 223 292 340 395 442 39 137 228 298 342 397 447 41 14 8 232 300 347 398 450 44 150 241 302 348 400 chorus 2 47 156 244 304 349 402 cho ir 52 165 246 305 351 406 58 166 248 307 359 407 61 167 249 308 362 409 62 171 2 51 310 364 410 70 172 258 314 366 418 71 184 259 316 367 419 75 194 262 381 368 420 80 197 263 383 374 422 89 200 264 385 376 423 95 201 266 386 378 424 SUGGESTIONS 211 285 343 77 160 220 7 373 36 90 182 235 311 119 198 266 132 EASIER Hymns Hymns Hymns AVERAGE MORE DIFFICULT 1 26 51 76 101 126 151 176 201 226 251 276 301 326 351 376 401 426 2 27 52 77 10 2 127 152 177 202 227 252 277 302 327 352 377 402 427 3 28 53 78 103 128 153 178 203 228 253 278 303 328 353 378 403 428 4 29 54 79 104 129 154 179 204 229 254 279 304 329 354 379 404 429 5 30 55 80 105 130 155 180 205 230 255 280 305 330 3 55 380 405 430 6 31 56 81 106 131 156 181 206 231 256 281 306 331 356 381 406 43 1 7 32 57 82 107 132 157 182 207 232 257 282 307 332 357 382 407 432 8 33 58 83 108 133 158 183 208 233 258 283 308 333 358 383 408 433 9 34 59 84 109 134 159 1 84 209 234 259 284 309 334 359 384 409 434 10 35 60 85 110 135 160 185 210 235 2 60 285 310 335 360 385 410 435 11 36 61 86 111 136 161 186 211 236 261 286 311 3 36 361 386 411 436 12 37 62 87 112 137 162 187 212 237 262 287 312 337 362 387 4 12 437 13 38 63 88 113 138 163 188 213 238 263 288 313 338 363 388 413 438 14 39 64 89 114 139 164 189 214 239 264 289 314 339 364 389 414 439 15 40 65 90 115 1 FOR Hymns HOUR 9 64 136 204 279 329 10 66 138 206 281 338 11 67 139 13 69 142 213 287 345 15 71 147 214 288 352 20 73 152 216 290 354 22 291 356 23 79 164 221 293 360 30 85 168 224 295 363 35 87 170 226 29 174 227 300 384 37 91 176 231 301 402 38 101 178 233 309 406 40 105 423 42 106 192 238 313 433 43 112 193 254 318 45 114 196 261 319 49 322 50 127 199 270 325 53 130 202 274 327 59 134 203 275 328

40 165 190 215 16 241 266 291 92 317 342 367 68 393 418 443 44 20 45 70 95 96 121 146 171 72 197 222 247 48 273 298 323 24 349 374 399 400 425 450 133

240 265 290 315 340 365 390 415 440 16 41 66 91 116 141 166 191 2 316 341 366 391 416 441 17 42 67 92 117 142 167 192 217 242 267 2 392 417 442 18 43 68 93 118 143 168 193 218 243 268 293 318 343 3 19 44 69 94 119 144 169 194 219 244 269 294 319 344 369 394 419 4 120 145 170 195 220 245 270 295 320 345 370 395 420 445 21 46 71 196 221 246 271 296 321 346 371 396 421 446 22 47 72 97 122 147 1 271 297 322 347 372 397 422 447 23 48 73 98 123 148 173 198 223 2 348 373 398 423 448 24 49 74 99 124 149 174 199 224 249 274 299 3 424 449 25 50 75 100 125 150 175 200 225 250 275 300 325 350 375