21 EXERCISES FOR MAJOR CHORDS Play these Exercises often and slowly, gradually increasing the speed. in FOUR time - Reverse the bellows every two bars Count: 4 2 @ £ 1 2 & 4 andsoon on es 7. 3 ‘ é In other mode 42 8 4 4 2 & € andsoon in THREE time Counts 1g 8 £8 8 and a0 om é > ow in FOUR time - Reverse the bellows every bar Count: 12 8 @ 4 2 8 4 andsoon é é Take care not to contract bad habits which are difficult to eliminate. sasoae22 EXERCISES WITH BOTH HANDS Study the following Exercises first of all with separate hands, slowly, counting: commence with both hands only when good proficiency has been obtained. in THREE time - Reverse the bellows every bar Gount:t 2 8 1 2 8 and soon in FOUR time - Revorse the bellows every two bars Countif 28 4 1 2 8 4 and soon Gount:t 2 8 4 2 8 andsoon sa When studying, avoid looking at the key-boardin THREE time Gounts4 2 8 14 2 8 andsoon 14. in THREE time Count:1 2 8 4 2 8 andsoon 624 in FOUR time Count: 1 2 8 & 4 2 8 4 and soon 16. in FOUR time Count: 4.28 4 1 2 8 & and soon iein THREE time Count: 4 2 8 & 2 8 and soon 418. FiRsT INTIMACY in FOUR time Count:4 2 8 4 4 2 8 & and soon r Study slowly and carefully.R26 IMPORTANT As has been stated on Page 44, for a focal point, Accordions have the © placed on the Row of the Fundamental basses, countersunk on the top in such a manner as to be easily found by the mere touch of ‘the finger. This is absolutely indispensable, especially for beginners. Its importance, however, diminishes as soon as the hand moves away from the centre of the Button-board where the countersunk C is tobe found, It will then be useful to have other focal points, both in the top and bottom parts of the button- board so that the fingers may always be able to have points to which to refer. It would,therefore, be a good idea to mark the button A which is to be found on the Fundamental Bass row, third button above the countersunk € and the button Eb also to be found gn the Fundamental Bass row, third button below C. However, not to cause confusion among the Three Buttons if all are countersmmk,it will he convenient to leave ‘the © countersunk, whilst the Buttons A and Eb could be marked differently and equally easily by dropping onthe said Buttons a little sealing-wax, possibly of the same shade as the buttons, so as to forma little relief on it, And so,while the € will be countersunk the A and Ebwill be in relief,and in this manner ‘any possibility of confusion will be eliminated. When the time comes, tho said sealing-wax will beableto be removed, without there remaining any mark on the said Buttons. If instead one wishes to have a permanent point, one will be able to notch a little bead on the top of the said Buttons, or else to out some mark there, always remembering;however,that the markings should be quite different from the countersinking of the C. 1 counterbus 2 Fondmental basse 88 Major ehnds 468 Minor horde 58 Doniaunt seventh chor 652 Dimkinted seventh ons CHORDS WITH ALTERNATED BASSES: Accompaniment with a Fundamental bass and rela. tive Chord see excereises N97-8-9) is a fairly common SIDE OF THE BELLOWS and monotonous system;one Would therefore be as well to get used to the““Alternated bass,,,that is to says instead of always playing a chord with the Funda. mental bass, this alternates with its Upper fifth (Dominant) which is to be found in its same row, onthe Button above the Fundamental bass.For ex. ample, if one has to play an accompaniment in € major, the Bass will be playéd first, then the relative Chord, and after that the Bass G, always with the Chord of Cand so on.27 EXERCISES WITH ALTERNATED BASSES ON THE MAJOR TONALITIES IN ORDER OF PROGRESSION ‘WITH ASCENDING AND DESCENDING FIFTHS in THREE time - Reverse the bellows every two bars seine EM 21. o oo a ES on ‘per Finire AM pM ex i in FOUR time, cx 22. BM entiane Dota descending and meen Sf ing, with iaruoale progression like fe preceding exercise. Play the same Exercise in Three and in Four time, with Bass and Chord simultaneously in THREE time in FOUR time ont, ru cM 2 1 sper 23, i Jona soon 24, DEE Fie pee FM Hot coon sseoas28 in FOUR time Countst 29 & 1 2 8 & andsoon ¢ ow ee ; in THREE time Count: 4 92 8 4 2 8 and s0 on 26. | s28028ELEMENTS OF TECHNIQUE ON THE FIVE NOTES (Right hand) ‘Take care to keep the hand motionless; play by movement of the fingers only. Begin quite slowly, repeating cach measure many times and pass on to the following one only after ‘aoquiring absolute proficiency. Reverse the bellows at each bar, possibly accentuating every quadruplet. Major mode 2 27. SP etsyetye TT esse y ooh Me ot es Ft os ss 7 + 7 rete e TIT? TIF 9 eae tae tes i gs pet tt te PFissy Pte ses! SCS Te Sees ain 1 gt pe 4s sa gas totes Ps Sf estet seer ees Minor mode SUS Sas ngs bes cane cans Wey Finive UTE Tyee 4, gan p4ee2 cee toes TPseeeee teeters 73 29. Play the foregoing Exercise in the Octave above, too, sa602630 Tt should be observed that as opposed to the preceding ones, the following Exercise in the tonality of @ major (upper Fifth of the Tone or upper Dominant) has D instead of G as the first Bass,that is to say,the Fifth a bove the tonality in question; and this is necessary for exact harmonic movement in all those cases where the tonality has the characteristic of tonal resolution. The first Bass will be the Dominant of the Dominant Capper Fifth of the Dominant) and the Second Bass the Dominant of the Tone (tonal note of the bar in which it is tobe found here). In fact, observing the Basses so arranged, it will be seen how they are combined in descending FifthsD, G-and that, with resolution to the tonic ©, we shall have a series of descending Fifths, according to the law of harmony which is its natural basis. Ib will consequently be as well that this should become a general rule;remembering that the said system may be applied to any chord, both Major and minor or Dominant Seventh, Givon the great importance which these modes of procedure assume,one would do well in the following two exercises to exereise proportionate diligence, insisting inan especial manner on the movemént of the fingers. in THREE time Counts 1 268 and 80 on --Repeat several times -— ar 30. é in FOUR time Count: 4 2 8 ou = ae 3t. LEGATO AND STACCATO Before commencing the Study of Melodies with both hands,{t is necessary to know at least ina general way the two characteristics which make that expression possible, without which Musie would lose two of the most important factors necessary for its purpose. ‘These are the LEGATO and the STACCATO. LEGATO In order to obtain a Legato sound,it is necessary thet the fingers should be fairly close to the Key-board or Button-board, avoiding the pressing of the keys or buttons with force and taking the greatest care so that ‘each note will be held for its precise musteal value and that it will not be released until the suoveedlug note has first been begun.The Hand and the Arm should remain still. In this case one will reverse the bellows without pulling and possibly at the end of each legato phrase, taking care as far as possible not to indicate such inversion. One will thus obtain one single, more or less smooth tone, the true characteristic of the Legato, ‘The Legato is indicated by a curved Jine,or slur, placed above two or more notes even of different musical val we as a Example: asec31 STACCATO -RIGHT HAND- In order to obtain e Staccato sound, it is necessary that the fore arm and the armshould remain motionless, exception being made for the fore arm in the movement from the treble to the bass and viee versa which is necessary for the movement of the hand. Only the wrist shall remain very elastic, and as soon as the notehas been played, it shall return to the starting position at once. ‘The Bellows may sometimes influence the Staccato, but we shall speak of this later. LEFT HAND- Given the fact that’ the Left Hand is prevented by the strap and by the sound box from accentuating, with the movement of the wrist, the execution of the Staccato, this,on the button-board of the Basses, is entrusted to the rapid movement of the fingers which should quickly press and release the buttons corresponding tothe notes to be played’ In this way, one will obtain a brief,sharp, brilliant sound; the true characteristics of the Staccato. ‘The Staccato is indicated by a dot placed above the note or notes. Example: = =e eae STUDIES WITH ALTERNATED BASSES for both hands (limited to five notes) In the following studies,it is essential to take care to reverse the bellows every two bars, Peirly legato in THREE time Count: 1 28. °4 2 8 and soon as ge 5 5 ‘ ca 16 32. t 5 ae é oe Study slowly: you will learn quickly. 12902532 in THREE time and $0 on Count: 4 28 1 2 ae ° ow on ae o B in FOUR time Count: 123 4 4.2 8 & andsoon Re 28028MINOR As is stated in tho Chapter “LEFT HAND? (on Page £8) the Minor Chords are to be found in the Fourth row of the button-board of the Basses (120 Buttons - figure on Page 14); they are written by the Note referring to tho Chord plus small «m » (sce figures on the Chords on Page 17) and are played with the Second finger. ‘This Chord too, like the Major Chord, bears the name of its Fundamental bass (Second row). Thismeans that if the Bass is C, on the Fourth button of the seme row (Counterbass pressed) we shall have the Chord of © Minor; if the Bass ts H, on the Fourth batton of the vame row we shall have the Chord of F minor; and so forth, For greater clarity see the figure on page 13. e {2 cousterbaaeee SIDE OF THE BELLOWS 33 CHORDS SIDE OF THR BELLOWS MINOR CHORDS WITH ALTERNATED BASSES In the Minor Chords too, just as in the Major ones it is essential that the Basses should be alternated, proferably by the Tonic and by therelative Domin. ant, ‘Therefore if the tonality is © Minor, the Basses will be © (Tonal bass) and @ (Dominant). The attached table is of value for gréater clarity.384 EXERCISES WITH ALTERNATED BASSES ON THE MINOR TONALITIES IN ORDER OF PROGRESSION WITH ASCENDING AND DESCENDING FIFTHS in THREE time Count 1 23 128 and soon om hm continuoteth descant. Ebm jing and ascending; a7 oy tect! , j E aes = 3 oy Beier erent seca tog roars a i era é ‘Eb Bb in FOUR time Gnnt 1 28 & 1 2 8 4 andsoon Cm (Bbm rm " 23, me spec Beale aca 8. E tng one in SHRUB. $4 BE BOR z Eb Bb 39. Play the same Exercises with Basses and Chords simultaneously. COMBINATIONS OF MINOR CHORDS ‘As opposed to the MAJOR, CHORDS;which among: them are capable of obtaining harmonic continuity because of ‘their natural characteristiostheMINOR CHORDS requireywhere such continuity is to be cbtainod,an alternative with MAJOR or SEVENTH CHORDS; without which it would be impossible to obtain such harmonic continuity. Hore are two preparatory exercises: in THREE time Count 1.2.8 4 2 8 and soon om om ou t : z ‘ ? 5 é ¢ : c & @ 5 é i é in FOUR time Count 1 2 8 £ 1 2 9 & andsoon Gm aa om At. oe on 3 $ 3 ¢ c @ ¢ @ oe oe ‘2802s85 First sadness LO. ANZAGHI in THREE time -Reverse the bellows every two measures. Count: 1 28 1 2 8 and soon ¢ © « wf a & @” F* Ge 3 a FT GT a ET ge | ee os] ae on é os oe in FOUR time Count: 1 284 4 25 4 and soon «| ie ce eye 2802836 DOMINANT SEVENTH CHORDS As has already been statad the Dominant Seventh Ohord is to be found on the Firth row of the Button- board of the Basses (always referring to the Ac. cordion with 120 Buttons, see figureon page £3) and, Uke the Minor Chord, is played with the Second finger. ‘This Chord,as opposed to-the Majorand Minor Chords -which give the feeling of ebsolute repose-is above all a Chord of movement, tending to resolve itself on its Tonie (Fundamental bass) which by nature at. tracts it, except in special cases of which we shall speak later. This Chord is indicated by e note refer. ing to the name, to which is added the figure 7 (see Chapter “Ohords? on page 47). ‘SIDE OF THE BELLOWS 48 coutarbasses £8! Diminsted seventh chard 44, y i 2 SIDE OF THE BELLOWS DOMINANT SEVENTH CHORDS WITH ALTERNATED BASSES ‘This Chord too, like the preceding Major and Minor ones, will have the Basses alternated with Tonic and upper Fifth (Upper Dominant). ‘Tho counting is the same as that of the Minor Chord. e28o2837 EXERCISES WITH ALTERNATED BASSES ON THE DOMINANT SEVENTHS IN ORDER OF PROGRESSION WITH ASCENDING AND DESCENDING FIFTHS in THREE time Count: 428 128 andsoon er, nbz cents both dsc. + FT BbT ing and aeoonding 5 46. aE too te Eeeroe @ 4 i BS So) Bh Stee uc s Poe F Bb in FOUR time Gout: 2 3 4 4 2 8 4 aidsoon 2 Br id te snot as the preeed. Sing cue te THREE time, 47. 48. Play the Exercises with Basses and Chords simultaneously. EXERCISES ON ‘THE DOMINANT SEVENTHS WITH ALTERNATED BASSES preceded'by the MAJOR or MINOR chord, to obtain Harmonic conti. nuity. MAJOR MODE in THREE time Counts4 24 1 2 8 andsoon om s o7. 49, in FOUR time Gount:4 2 8 4 4 2 8 & andsoon om is om 50. 7 aw el ae & os bed ae o s2s035! 38 STUDY WITH BOTH HANDS APPLIED TO THE PRECEDING EXERCISE in THREE time - Reverse the bellows every two bars. Count 1 28 4 2 & andsoon ot. MINOR MODE in THREE time Count 123 4 ¥ 8 ana soon [per Finire Cm ‘cm 2000539 in FOUR time Gount:t 2 8 & 1 2 8 & andsoon age Finire pom 53. Fi STUDY WITH BOTH HANDS APPLIED TO THE PRECEDING EXERCISE in FOUR time - Reverse the bellows every two bars Count: 1.234 128 & and soon aa 2 5s a ot 5 +34 54. 7 3 4 5 D D € val EE ee Keep the thumb of the left hand supported on the sound box; by doing this you will improve in proficiency and style. storeEXPECTATION in THREE time - Reverse the bellows every two bars fount: 2 8 441 Bxereises similar to V?27-28,necessary for the knowledge of the whole compass comprised in an Octave. ‘The same rules of the said Exercises apply. For the definition of the single notes, refer to Page 40, Reverse tho bellows every bar. Major Mode Cy at sso: tee eae 56. gs sa 3 s24 ts et a oe pee eee ee sa essane CH == [Baar eed Soo SSS aS rr — rr Ts SS sects aseseae “% 5 san sastssanges a7 (a3 tigns 8 per Finire a7 seu tphht “sys sesasayorses Mi ¥ fate pa t PSS SS SS SS 58. Play the preceding Exercise in the Octave above, too. 42002542 DEVELOPMENT OF THE FINGERS OF THE RIGHT HAND APPLIED TO THE COMPASS OF THE KEY-BOARD OR BUTTON-BOARD In order to get to know the treble Key-board or Button-board, it is opportune to perform the following Exercises over the whole compass,seeing to it that the Notes are very legato,taking oare in particular with the rhythmic ccent,to be obtained by means of a slight pressure of the Bellows. Reverse the bellows every two bars Gount:1 234 1284 andsoom saas saa2 to96 59. $3 3 9S Y and soon 7 i ¢ avr ‘The same with particular application of the Fourth and Fifth fingers. Count: 1234 1284 andsoon tea8 64 gaan cand so on 2 Fase EPs and soon and soon Gnd $0 on snsonsthe pretly brunette * fo the brook Moderato assai reat. L.0.ANZACHT 6 ze face a Plegato at44 TECHNIQUE EXERCISE Gitte mefody i oammiene Andante 63. = an ool ae ene ess ileON THE BRIDGE or BASSANO Moderato 2802846 IMPORTANT For precise balance in the arrangement of the individual chapters,this Method deals with Technique in general for the Accordion,giving the most indispensable exercises only. For a more extensive study, in order to overcome the greatest difficulties which the instrament offers, have selected 40 exercises from the Method for the Pisnoforte by 0. Z. Hanon which have been published by the firm G.Ricordi & Co. of Milan: Selected Hwercises for the Accordion, Revised with special fingering by L.0.An. saghi for both types of Aocordions (Pianoforte and Chromatic System) E.R. 2108. ‘The student who aspires to becoming a good Acoordionist and perhaps a Virtuoso, will, simultaneously with my Method, have to study also those Exercises which are a necessary complement to my Method, exer. cises of supreme value in the development of a good technique applied to both the Right and Left Hand, following with diligence the rules stated therein, especially those concerning the Left hand,for which there are well conceived, specially adapted and very well developed exercises. have had the same criterion in distinguishing among the musical pieces whether original or arranged in. dicated from time to time at the end of each chapter and from which the instructor will be able to select those most suited to the different students,according to their personal dispositions and possibilities. TECHNIQUE OF THE FIVE NATURAL AND ALTERED NOTES (sharp #, flatb) Right Hand ‘The same rules of Wxereises We'27-26 apply. Figure 14-15. For the dofinition of the individual altered notes see Page 10. 2 teas i po tess eens tase Fovrereete sn90082+? $ : 66. Play the preceding Exercise in the Octave above too. Tn order to become better acquainted with the compass comprised in an Octave, whether natural or altered notes, one would do well to play, too, the following technique studies, similar to the preceding: ones.The same rules apply. tes tata teat 67 ere eg pe Ee ae a_i — 7 a= SS Planets oe tate Oo ee ee oT Tope ta rT Os ss neene sess sons oF ard Zt ‘ pescae Ee TT ee aa ae = SS Wearstais 2) fete ee ases ley Finive Para Ps Pere 68. Play the preceding Exercise in the Octave above too. 12802548 MELODIC STUDIES WITH BOTH HANDS extended to the altered notes, excluding the passing of the Thumb I O.CZBRNY Allegretto : 2a ae Consult the Index on Pages 244-245, you will find what you aro looking for.49 IL 1.0. ANZAGHT Moderato o ne 8 oe 4 € é 3 é é The sume composition arranged complete for the Accordion, in an easy edition is published by @ Ricordi & Oo, Milan, N? 125648, and in the RICORDI Album 2 120817,PASSING OF THE THUMB RIGHT HAND Now that one has got to know the treble Key-board or Button-board, in the middle section, it is ue, cessary to develop the same knowledge over the whole compass of the Key-board or Button-board. ‘The Thumb will facilitate such a possibility considerably: consequently, one will havetomakea spe. clal study of it, with particular diligence, so as to acquire the necossaxy agility. PREPARATORY EXERCISES FOR THE PASSING OF THE THUMB In the following Exercises, take care that the hand does not become stiff. Keep the palm of the same rather high, arching the fingers well, enabling the Thumb to pass under the other fingers, with an easy movement. Repeat forming them into one single and continuous study. Connecting the notes together with each other will give a better result. w Count) 2 8 4 4 2 8 & — andsoon Count:4 2 8 4 4 2 8 & andsoon and soon.51 Still on the passing of the Thumb (Right Hand) with harmonic accompaniment Andante L.0.ANZAGHT atit|: 7? 12802552 — \w\hewaler Allegretio ©. CZBRNYELEMENTS OF TECHNIQUE APPLIED TO THE PASSING OF THR THUMB L.0. ANEAGHI Allegretto pee ets 2rest| 76. ¢ a é 5 5 : : see en | Re nea dg mes | Pee 808 Pag fa ow Am 7 7 : 7 7 B & A 5 5 ae a st2ze2,23he Siete sg taal Sr Sar om e7 ae SS A ae ou (pe Pini ee ce re a 4 29 eae faatias 7 a7 — ? + : . é e g é Practise daily with the Technical studies by Hanon (E.R. 2403): you will get the best results from them 12802554 STUDY APPLIED TO THE PRECEDING EXERCISES C.O2BRNY - ANZAGHT Moderato : : = > Th [2 ¢ [ i ri ces ge21,85 5 st Peto eta gM 7 r é via pears f om q i. 3 . G asa = if © 4 c Don’t keep the hand rigid: the passing of the Thumb will be easier. 42800555 Qn illasion C.OZERNY-ANZACHT Moderato__,_s : [arena a z 3 2802sEXERCISE FOR THE PASSING OF THE THUMB extended to the altered notes L.OANZAGHI Se ee ad Moderato ? a + 3 79 fest fone paee ree ef) ee Pass 25005,57 e é Consult the Index on Pages 214-215, you will find what you are looking for.SCALES ‘The more commonly used Seales which we shall be studying, are of Three kinds, Major Seales, Minor Scales, and Chromatic Seales. For the Minor Seales, we shall confine ourselves to those more commonly in usenamely the Melodie Minor Seales ‘and this s0 as not to make the study too complicated or difficalt,and we shall only indieate in addition what it would be useful to study in the other two types, namely, the Harmonio Minor Seales, and the Natural Minor ‘Scales, even though these are very little used, particularly the latter. MAJOR SCALES MINOR SCALES CHROMATIC SCALES and their execution on the Treble Key-board or Button-board, (Right hand). For the study of the said Seales, tb be played on the treble Key-board or Button board, itis perhaps superfluous to give additional explanations, for the student should now have attained to a degree of proficiency permitting himto play swiftly and accurately. Attention is especially drawn to the passing of the Thumb (see Page 50),which is absolutely indispensablefor good playing. Begin the study fairly slowly, gradually inereasing the speed, though always playing with accuracy and assa vance. Accent each quadruplet and play each Scale very legato Practising the Scales should be a daily rule, but in order to progress one should at the same time continue with the study of the following chapters. PREPARATORY EXERCISES FOR THE MAJOR MODE SCALES Take the same precautions as above, see Page 50. ere De TO 80. s2802559 SCALES OF MAJOR MODE (RIGHT HAND) major Sper Fine 8. Fmajor 5 Bhmajor eyir? 7 Dpmajor Ghmajor Bmajor E major 7 F - ae Amajor e eT? Dmajor #777 Pat 7) = Don’t forget the rhythmic accent. 2809860 THREE STUDIES APPLIED TO THE MAJOR SCALES L 1.0.ANEAGHE eas Moderato aed G7 5 : 3 F é é ¢ From now onwards begin the study of the melodies contained in the R/CORDI album (ed.G.2ticordi a Go. Milar, 2126817) ‘sn602561 I. ‘Moderato oassal eee C.0zERNY 4 FTES ¥3 ¥? ox sas0es62 Tl. C.0ZERNE Allegretto z z ao Festsst | eesess 84. P aM PREPARATORY EXERCISES FOR THE MELODIC MINOR MODE SCALES ‘Take the same precautions as above, see Page 50. or Fire Spor Finire a) , 85. al Sit? 37 PPT? ¢ Sees $ 7 0 oT 207 SS Sper Foire ried a e377 Trt F a863 SCALES OF MINOR MODE lr Finire atts seer Sate aS 7? f 7 Ebininor == C# minor era Prt 7 eas? en aa WIE range does not permit, play in Octave below. The Scales should be the daily Gymnastics of the Accordionist. A2s00564 CAUTUMN Gm 126025 ar L.0, ANZAGHT aia Pin)65. STUDY APPLIED TO THE MINOR SCALES L.0, ANSAGHI Allegretto 2 88. + é 4 1 woo tee DSTA Tastee Te TEST oe asrara soto mee. Z Seta SSE D7 SS e Gm é : B Teeth sfeasen fia satay Pier aT Tat) PET TT PTT eT TsE =, Page esea aie De eee ae eee 7 >a be é & A 2 A 3 spe ease a eat pey Soo, ess Pree? Cet oa ieaaeeeed Ei = eee po Se po = bm oe" am Elm SP ‘om Taseaayhy | ghee br : Bee er eraatys pare Fis STs, fate 2) 4 orae geet aa? D7 Te ar i DM Gm g STG aT tT Es aoa pata te ge rte66 CHROMATIC SCALE ‘Take the same precautions, as for the Major and Minor Scales. 89. 3 TWO ee Allegretto giovoso L.0.ANZAGHT 28035IL 67 C.0ZERNY Allegretto Ss, — oe el oe anaes rT D.C. attain sonisa Ritornelto, é x a s 6 The Technical studies by HANON (ed, 2/CORDI ®. R, 2103) should be performed daily and parallel with the “ANZAGHI,, Method. 2800868 DIAGONAL Rows COUNTERBASSES AND BASSES BOTTOM Fundamental basses | ‘Counterbassas \ Dingonais ROWS st descending (1) SIDE OF THE BELLOWS nf 5 ascunding % asta NORIZOWTAL ROWS TOP Fig. 24 COUNTERBASSES in their practical application As has been previously stated, the Counterbasses, in conjunction with the Fundamental Basses, not only serve to facilitate the playing of the Basses with the Chords of any kind, but pormit the playing of true melodie lines, consonant and dissonant Chords, Scales with single and double Notes; in other words, on these two rows of the Left hand Button board (Basses and Counter. basses) one can play anything that is possible with the treble Right-hand Button- board or Keyboard (with a few exceptions, such as the Glissando, ete.) ‘The only difference rests in the compass, that is to say, whereas with the treble Right-hand Keyboard or Button-board we may have a maximum of 1 notes for the Pianoforte system and of s& and more for the Chromatic system, with the Left Hand Button-board (Basses and Counterbasses) everything is limited to the 12 notes forming the Ootave, as has-been stated on Page 47 ~LM. PORTANT.~ Ib is therefore necessary to insist on the practical exereise of these two rows,so that the player may develop the technique and proficiency required for overeoming any dsffieulties. Practise daily with the Technical Studies by Hanon (E.R.2408): you will get the best results from them. sas0a869 PREPARATORY EXERCISES on the Basses and Counterbasses As has been stated on pare 16 the Counterbasses,as opposed to the Basses,are indicated hy the addition of a little rectangle placed under the fingering (evample: 2 or C). ‘Take care to repeat each Refrain until perfection has been achieved. Hence repeat the whole of this oxeroise many times. Reverse the Bellows every Two bars. 92. STUDY FOR THE LEFT HAND ONLY Applied to the Independent Notes (Basses and Counterbasses). 93. 35 426005