LISZT TECHNICAL EXERCISES FOR THE PIANO Julio Esteban, editorLISZT TECHNICAL EXERCISES FOR THE PIANO Julio Esteban, Editor Contents Pages BOOK 1 / Exercises 1— 40 D 7:39 Exercises to give strength and independence to each finger hile maintaining a quiet hand, Chord Exercises, BOOK 2 / Exercises 41 — se 4051 Proparatory exercises forthe scales in major and minor keys, BOOK 3 / Exercises 49-53 . 52-64 Seales in sixths and thirds, Scales alternating the hands BOOK 4 / Exercises 54-56 . teteeeeneereeeers 6586 Chromatic scales and their exercises. Scales in contrary motion, BOOK 5 / Exercises 57 — 62 . 87-105 Thirds, fourths, and sixth with different fingerings Exercises in thirds forming scales in contrary motion, Exercises in fourths and sixth. BOOK 6 / Exercises 63— 64 . - 106-119 Seales in double thirds and double sixth in major and minor keys and chromatic. BOOK 7 / Exercises 65-70 . . 120-140 Seales in first inversion chords with diferent fingerings Scales with alternating hands in double thirds, sixihs, and First inversion chords, Exercises and scales in octaves, BOOK 8 / Exercises 71-75 ... ee 141-165 Broken octaves, Scales in octaves, Exercises in chord Trlls in double thirds, fourths, sxths, nd octaves. BOOK 9 / Exercises 76—77 .... see eee eee. 166-179 Diminished 7th chords, Exercises witha quiet hand, Exercises in broken chords with arpeqais BOOK 10/ Exercises 78 — 81 . Extanded broken chords in diferent combinations and citron fingerings BOOK 11/ Exercises 82-83 .......sseerere Bcoken chords and arpeggios in double thirds and double sixths with different fingerings, BOOK 12/ Exercises 84-86 ....... Broken chords and arpeagios in octaves with different fingerings. Exercises in solid chords with their inversions ++ 180-195 . 196-208 - 209-223 (© Copyright MCMLXX! by ALFAED MUSIC CO,, INC.FRANZ LISZT by Harold C. Schonberg* Consider Franz Liszt. He was the greatest pianist of his day and most likely the greatest of all time. As a musician he had everything ~ a perfect ear, the ability to hear a long and complicated piece of music and immediately play it back as written, He was probably the greatest sightreader who ever lived. Poorly educated, he pulled himself up and ended a thoroughly literate man, Incredibly goodlooking as a young man, his amours were the talk of Europe. Later in life he befriended all struggling composers who crossed his path. He also turned out most of the great pianists of the later half of the 19th century. He was a complicated man, pulled by religion in one direction, the flesh in another. And his music is equally complicated. More than any of the early romantics, he broke free of previous influences and worked out his own rules, His larger forms were generally cyclic in nature, featured by transformation of thematic material Often an entire work would be evolved from a coll at the beginning. In this there is a direct link from Liszt to serial composition. Harmonically the man was a raving genius. He was experimenting with chordal combinations that carried the seeds of atonality long before Wagner. Wagner was always stealing from his father-in-law, and admitted as much. There is the story of List and Wagner sitting in a box as the curtain goes up on “Tristan und Isolde.” Says Wagner, “That's your chord, papa.” Says Liszt, “At least now it will be heard.” It was Liszt_ who invented the symphonic poem. Without Liszt, the career of Richard Strauss would have taken a different turn. It was Liset who invented a kind of piano technique without which the “Jeux d'eau" of Ravel would be in conceivable. It was only Liszt who could write the strange works of his last period — works that he never attempted to have published, works bare and lean, works that strongly suggest the impres- sionism of Debussy and the dissonances of Bart6k. In recent years there has been the beginnings of a reconsideration of Liszt, and conductors and scholars have been discovering, through a study of the scores, that old Franz was a mighty creative figure, that he was more prophetic than some of the current idols. For without Liszt, music would probably not have developed the way it did. tlle by Mr, Sthonberg which appeared in the N.Y, Times on Jan, 31, 1971 (©Copyright 1971 by The New York TimesTHE TECHNICAL EXERCISES OF FRANZ LISZT When discussing the development of piano- forte technique during the last century, the name of Franz Liszt comes immediately to the fore, The innovations that are found in most of his “virtuoso” compositions, and especially in his well-known Transcendental Etudes and his Paganini Transcriptions, are ample proof of his inventiveness in improving and finding resources that would bring out new possibilities from the instrument. And one wonders. How did he cross the gap that existed between the maximum technique that one could acquire with the then existing methods, and that which he produced? It has been answered that he got the inspiration from the performances of the then incredible Paganini, and that he endeavored to transfer his “diaboli- cal” violin tricks, to the piano. Accepting that this is true and knowing that he succeeded, the question still remains, how did he go about it? It is a known fact that he had studied thoroughly the most important methods that had been written up to that time. Clementi, Cramer, Herz, Moscheles, and of course those of his, teacher, Czerny, were well known to him. So were the pianistic devices of the famous per- formers of the period: Weber, Hummel, Thalberg, Kalkbrenner, Chopin, etc. But he aimed at going further. In a certain letter to a friend he says: “I practice exercises daily for four or five hours, thirds, sixths, octaves, tremolos, repeated notes, cadences, etc.” It is interesting that he uses the word “exercises.” But not too many books of exercises had been written, and the few that existed were not in the “virtuoso” level. So the implication is that he developed his own. It is also noteworthy, that all the students of Liszt that wrote reports on his teaching, are in agreement in saying that he seldom if ever talked about technique. Moreover, he has been quoted as saying when someone mentioned it, that “the dirty linen should be washed at home” and so, refused to discuss the subject. In fact, he never epted a student who did not already possess an advanced technique. Nevertheless, and in spite of the fact that he did not seem too eager to share the secret of his tremendous virtuosity, he undertook the task of writing page after page of all kinds of exercises, comprising his ideas on how to acquire perfection in the technical aspect of performance. He worked on this project for twelve years, from 1868 to 1880, and the result was 2 monumental work, filled with new concepts and new forms of practice, that had no comparison with any other system or method written before. The work as it appeared when first published consisted of twelve volumes, each one of them dealing with a different aspect of piano tech- nique. To realize the importance of Liset’s inno- vations, one has only to see the beginning of the first volume in which he deals with fixed position exercises, and compare his approach with the one that was used by the most reputed teachers. It was common practice when teaching this type of exercise, to begin by asking the student to hold down firmly four fingers in closed position and play a single note with the remaining finger using high action and absolutely even rhythm, with a full round tone, This was basically all. Liszt's idea is different. Following the same method of firmly holding down four fingers the remaining finger is made to use a full range of dynamics, all kinds of accents and, what was positively new then, differ- ent types of rhythms. By doing this, one gains in every aspect and perhaps most important of all, in the question of mental concentration. As one is, involved with the continuous changes, the bore- dom of the long, even repetition is avoided. ‘And this is only the first page. Later, he goes on with free fivefinger excercises using all possible combinations of articulation and dynamics, He then begins with the study of scales, using various kinds of preparatory exer- cises, Realizing that the thumb is the most diffi- cult finger to control in scale playing, he gives many excellent studies for this purpose. Then, he follows with all types of scales, the most interest- ing ones being those in which he combines both hands, alterating one note with each hand and later two, three, or four, played with great rapidity. This is a wonderful preparation for his well-known “cadenzas” and florid passage work Arpeggios, chords, double notes, trlls, octaves, are all studied and developed to a high degree, and one feels that as far as the romantic conception of pianoforte technique is concerned, Liszt has exhausted the possibilities. ‘And now the mystery begins. Liszt actually did not publish these exercises, although they do6 appear in the catalogues of his works. No one of his biographers makes actual reference to them while discussing the period of his life in which they were written, with the possible exception of Paul Roes, who in his book “La Musique, Mystére et Realité”, mentions that Liszt undertook the writing of a book of exercises, which “was lost through the unbelievable negligence of one of his, pupils.” How did Alexander Winterberger, who edited and published them in 1887, one year after Liszt's death, acquire them? We know that he had been a pupil of Liszt, but it is not known how he happened to possess them, The biographical sketches of Winterberger that | have read, men- tion that he published the exercises but nothing else. And so, some authorities have even doubted the authenticity of the work Personally, 1 do not share this opinion. I believe they are really by Liszt since they do reflect his fantastic technique. The fact that they were not published in his lifetime is, in my esti- mation, absolutely immaterial. Even today, when ‘we have so many methods in modem piano tech- nique, this work stands firmly in the first rank, The edition that | have undertaken, although based completely on the one by Winterberger, differs from the original in two aspects: first, 1 have eliminated the repetitions in all keys, giving only the necessary indications as to how to con- tinue, and secondly, I have given suggestions on how to practice the exercises following the ideas expressed by Liszt's own remarks as recorded by his biographers, as well as on the teaching methods of his most outstanding pupils, such as d'Albert, Siloti, Lamond, Rosenthal, ete. I have refrained from giving any kind of directions in regards to contemporary practices in piano technique, as this would be beyond the original intent in publishing a work of such histor- ical significance Julio Esteban ‘Bose on an article inthe American Music Teacher Julio Esteban Soloist, accompanist, conductor, composer, lecturer, master teacher; Knighted by the Spanish Gov't., awards received from the United Nations, from the President of the Philippines; a graduate of the Escuela Municipal de ‘Musica (Barcelona, Spain}, a B.M. from and Professor of Music at the University of Philippines Conservatory of Music, Head of the Piano Dep't. of the Philippines Women’s University Conservatory of Music, Director of the Conserv. of Music at the University of Santo Tomas; presently National Vice President of the Music Teachers Nat'l. Association, President of the Maryland State Music Teachers Assoc., faculty member of the Peabody Conservatory of Music — Advanced Dep't. (Piano, Piano Literature, Piano Pedagogy).TECHNICAL EXERCISES BOOK I Exercises to give strength and independence to each finger while maintaining a quiet hand. Chord exercises. Exercises 1 to 5 must be practiced in the following manner: 1, Slowly, with a quiet hand, with high finger action and with full strength 2. After full control is gained, repeat the exercise following the given dynamics with utmost care. ‘The whole notes in the 2nd measure may be held for the entire exercise or be re-struck whenever the rhythm changes. FRANZ LISZT Edited by Julio Esteban C major (Right Hand-1; Left Hand-5) * 5 8 Po Seereeereeerzer | PPT P Peprepreprepry fercrescry_— Be {© Copyright MCMLXX! by Alfred Musi Co. In. International Copyright SecuredA minor (R.H.-2; L.H.-4) v v v v v v v v F major (R.H-3, L.H.-3)v v v v Vv v v v D minor (R.H-4; LLH-2 510 Bb major (R.H-S, L.H-1) 5 5 >) PP. T 3 8 cresel| S_8. ferese,= F (three-finger patterns) 45 he u12 (four-finger patterns) 8 12a4° Stace, avesnger patterns 12348 legato 4321 543 ee14 Eb major (two-finger patterns) ee 11 ccneesinger patterns) stace. || 2-84 ®(four-finger patterns)16 (five-finger patterns) Teaas legato stace,7 C minor (two-finger patterns) oS § eee gaa 3 38 8 legato 15 coreg patterns ae 4 sas(four-finger patterns) 294520 Ab major (two-finger patterns) 2 stace, a is} [zcscsPerareBrricelecscal 19) re-singer patterns ies fa arae : ra 7 BAS An aa = 2 aede 7 Werrlerr¥err¥errll Saati eT PeCe (four-finger patterns) ssa & 3432 a eresPrrzil =e agi Fl Te stace. AAR Ap stace. 2 — % = — — x AT dan ALTE To), yh he A naa tie | 2 A A 4 face. = SI = stace.22 Kast A 2D] (ivertinger patterns)23 Exercises to develop the independence of two or more fingers, striking the keys simultaneously on different levels (combining black and white keys). To be studied in the same manner as Exercises | to 5.2426 Exercises to develop contrasting articulation of legato and finger staccato of two or more fingers, striking the keys simultaneously. To be studied in the same manner as Exercises 6 to 21 D# minor, 3 3 stace. 14——___— cag27 B major 45 § 23 ——___—____ TT8 G# minor29 Chord exercises with the extension of an octave. To be studied in the same manner as Exercises | to 5. E major30 C# minor31 A major32 F# minorB minor (i ss G major as sf34 Exercises for chords and inversions. To be studied first with wrist action and then with forearm action. Repeat each two-measure chord-pattern several times before proceeding to the next one. 53536 Exercises for chords in cadential progressions with modulations through the circle of fifths. To be studied first with forearm action and then with arm action from the shoulder.40 BOOK II Preparatory exercises for the scales in major and minor keys. Two finger exercises. To be studied legato, giving special care to avoiding a break between the repeated notes. To be played first accenting the Ist note and then the 2nd. Notice that the left hand is played at an interval of a 6th. C major (fingers 1 & 2) 41 P2121 aterg ee A minor Borer 18 Play with the same fingering and similar directions the keys of F major, D minor, Bb major and G minor. Eb major (fingers 2 & 3) 7 eh, ‘The same fingering and directions in the keys of Ab major, F minor Db , major and Bb- minor.4 Gb major (fingers 3 & 4) PS 49484345 The same fingering and directions in the keys of B major, G # minor, E major and C# minor, A major 4554545454 45454545 atsasasS ‘The same fingering and directions in the keys of D major, B minor, G major and E minor.Chromatic Scale. To be studied in the same manner as the two finger exercises. 349 ges e454 545 949 49 48 4058 498 4.64 54 54 54 54 545 34 42 TaPae abs /e ae ag of 8408 2484 as 45 45 45 45 4545 4 425.2923 2925 25 aa Pris 2929202 FAP A2 121212 ete eae zara P82 282° a2 82 a8 gogo oy Vererere Tar 212% 21 2121 2% Three finger exercises. To be studied first slowly and with strong finger action and then faster with an accent on the first note, then the second and then the third. C major (fingers 1-3) 1Bizt2g ‘The same in the keys of G major, D major and A major, E major (fingers 2-4) “ter weeeeebss 452492 The same in the keys of B major, F # major and Db major.43 Ab major (fingers 3-5) 5 ‘The same in the keys of Eb major, Bb-major and F major. Four finger exercises. To be studied in the same manner as the three finger exercises. Observe the modulation to the next key in descending. C major (fingers 1-4) 4 r23412 341 Toe2ias2i4 14 T T 1 7 The same in the keys of D major ascending with A major descending, and E major ascending with B major descending. T44 Gb major (fingers 2-5) 23482348 2 Tete aats ‘The same in the keys of Ab_major ascending with Eb major descending, and Bb major ascending with F major descending. Five finger exercises. To be studied in all keys following the same pattern as in the four finger exercises C major (fingers 1-5) 12345129484 5 a) Pas2is 43215 TS T G major45 Exercises for repeated notes. To be played in two ways: First, with a quiet wrist and high finger action, and secondly, with the wrist moving in a single upward and downward motion with the fingers curling toward the hand. A minor C major aaa ti aigizigiai2igies at PrEierei 21212121 2121 D minor F major art 31339191 900 Siaiaia ran Bb major G minor aiaiaia iar hat ai4ai4ai4aiain minor saazeegg tei aan zt id Eb major 329292 52 9292 Ab major F minor 434343434943 aeasaaaa & aaa 434346 Bb minor sega d aavany id. Db major a21321 Gb major 42432 Fa2402 B major G# minor 4821 ¢ 452143214921 452143214921 C# minor asa1 i ad seananagn 24? = E major A major F# minor B4asasasa S454 B45 45454 545441 B minor D major 595359655 S359 E minor G major Bassaa 51515151 S181 S151 sisi sist Chromatic Scale Bana saz4 48 7 Exercises for the passing of the thumb. Right hand Tit aint Tir rit Tait Tiit riid bait Tit Tri Titt nan Tata agape} yaiti raid Tait Tit raid rita Tit a ease Tiit Ratatat igeagisa} Tit Dirt Care Tint EER Tort vind rasa vant49 Left hand prin tan tain 4 Ania waa tain tan tad dana tain taaa tan tana tain dain tana wana rupuren waa tain taia tain puis iat tain taaa Crile fener tai tana tain taaa aaa wai tai aiaC major 1 In 13 C minor ot 5 G major 1353 5 128 12 345 1234), 14 etre eke ee pecs 2 5 ate G minor 1 5, 1234451 pal 42 42 3 maior 5 A minor 1291234) tasiz34} a2 +2 a2 Continue in all major and minor keys following the circle of fifths.2 BOOK II Scales in sixths and thirds. Scales alternating the hands. Scales in sixths in major, harmonic and melodic forms, in contrary and parallel motion. Carefully observe the fingering pattern. C major 8 4 ba ‘ha 12er23h, 2 Baia, a 49 1 281204¢ wo2te2 a4 3 {45 4 is ,25e,2%012 8 a raot 2y8yha gt a2t 2 eqreaatg 4 a453 D minor 123 123 41 G minor 8 or " 5 vers 4 4a 1assi2a5Ab major Continue in all major and minor keys following the circle of fifths.58 Chromatic scales in sixths in parallel motion. Observe the different fingerings in each model. m ied 2 ar Sib 2t21 a2 sane tear MESS 2g yeaa ty? Bb, be oxen e 2 1,3 1 E eahias] sain a parale ayn 1,2, 1,2,8p%g2 Sha 2356 Scales in thirds in major, harmonic and melodic forms in contrary and parallel motion. 5 C major 1 ae 2 A 1 41 51 C minor 4 G majorD major 2 158 A major A minor 2 1 i 1 1a it 1 3 ae Continue in all major and parallel minor keys following the circle of fifths. Chromatic scales in thirds in contrary motion. Observe the given fingering, 12 a1 21 3 12 at oa RMaiga) seas see59 Scales alternating the hands, combining one, two, three and four notes. C major 2 rb, A minor 2.260 Bb major G minor Eb major C minor2 Db major Bb minorGb major Eb minor simile ga& woe gr es a Dea § simile Tra G# minor simile hae C# minor 1G maior F # minor64 Chromatic scales, alternating the hands, combining one, two, three and 4 notes. simile 2 simile a simile ba simile fil simile,65 BOOK IV Chromatic scales and their exercises. Scales in contrary motion, Observe the different fingerings, rhythms, and various note patterns. To be practiced first slowly, forte and legatissimo, and then as fast as possible and pianissimo, with utmost clearness. Be sure that both hands play absolutely together.666768 tie exe atalaie ein ef ‘ - 4 343, 46970This exercise probably was suggested by the Chopin etude op.10, no. 2. It nevertheless has the advantage 7! over the etude in that the left hand is given equal emphasis. Right Hand h 55Left handiw4 Right hand aa1516 Major, harmonic, and chromatic scales in contrary motion, arranged in chromatic progression, To be practiced first forte and then pianissimo in a very fast tempo, with even and clear touch. Observe the rhythm patterns. 4 ‘ 5671980 ftehea828384858687 BOOK V Thirds, fourths, and sixths with different fingerings. Exercises in thirds forming scales in contrary motion. Exercises in fourths and sixths. To be studied with wrist action. Observe carefully the fingering changes. Li i5454 343 489 To be studied with wrist and forearm action. 545490 To be studied first with wrist action every two notes and then as legato as possible in fast tempo.7473 4 “Observe that the left hand plays now in contrary motion.7 34 2st i 2 i z pha 3 ‘The same exercise in chromatic form. 434 Boot98 Thirds exercises in triplets. To be studied first slowly with high finger action and full tone, and secondly with the fingers close to the keys in fast tempo. Also to be practiced changing accentuations. First on the first note, then on the second and then on the third. 48343 Saa54 Eo i383 i 1 3 Continue in all major keys following the circle of fifths. Exercises in fourths. Practice in the same manner as the thirds exercises for groups of two notes.Continue in all major keys following the circle of fifths. The same exercise in chromatic form,100 Exercises with crossed hands. Observe carefully the different fingerings.lol102103104 Exercises in sixths. To be studied in all major and parallel minor keys following the instructions given for the third exercises in groups of two notes. Are 3 4 4343 213 4 + Exercises in sixths in chromatic form combining major and minor intervals oe Teese bee105106 BOOK VI Scales in double thirds and double sixths in major and minor keys and chromatic. Scales in double thirds. To be played as legato as possible, at first forte and slow with high finger action and then piano and rapidly with the fingers close to the keys, giving special attention to the holding of the finger over which the crossing is made. Observe the ae fingerings. C major + 3 a # i a TH es (pi rate oo ake hye Ceri emeayh Peay aa ee ott, o M4 ee at f = ff | iD major 3 és ial eda ae pfepl ina Trp ee hee 3 5 + 3 St shobe ap nf109 A major — a A a1 moe : 7 Ad tos 3 4 _¢ = = ~ tf a 3 2 FS * 5 5 83 3 ‘ z ‘ 3 s i 5 r } foes i $ ive $$ = = S 3 of 3 : ria 3 ey as nou UY U 3 ese is oo ee =f : ss Sega ge ee <=, m Be eed? eae rele - - ae 3 4 7 - ; a — E = = > — oT a err rors aor ;B major go rgC# majornaE b majorBb major . 2 + Bb minorScales in double sixths. To be studied in the same manner as the scales in double thirds. ne C major + t 5 4 Continue with the same fingering in all major and melodic minor scales following the circle of fiths. Chromatic 4120 BOOK VII Scales in first inversion chords with different fingerings. Scales with alternating hands in double thirds, sixths, and first inversion chords. Exercises and scales in octaves. To be played rapidly with lateral forearm action. st pid 8 iis To be practiced first with wrist sta (0, and then ai legato as possible, Observe carefully the fingering, Sag,121= ras124125126 ‘Scales with alternating hands in thirds, sixths, and first inversion chords. To be played rapidly and smoothly, with different dynamics. Pianissimo and fortissimo, and crescendo while ascending and diminuendo while descending. 3 $2 2 4 ees128129130 s, fourths, and sixths. Chromatic scales in double tl131 8 tt132133134(peseeecnec136 EXERCISES AND SCALES IN OCTAVES. To be practiced with wrist action* 5 i 68 3 a ae saga S454 sass ae saga oes caee **Kullak, a contemporary of Liszt, recommends alternating high and low wrist action, to avoid tension, for this type of exercise.137 Bas saga S454 sas4 Scales in octaves, major and minor. Observe that the left hand is played at the interval of a sixth, 4 4 ’ . F 3 To be continued in all keys, following the circle of fifths. Use the 4th finger on the black keys. When playing several black keys in succession, the combination of 3rd and 4th fingers is advisable.138 Chromatic Scale in Octaves at the interval of a third. 4 +t a bby eng Exercises with chords in octaves.139 To be continued in all keys, following the circle of fifths. Observe the alternating patterns of thirds and sixths.140 Chromatic Scales with chords in octaves. 8 simile ji ] simiteBOOK VIII Broken octaves, Scales in octaves. Exercises in chords. ‘Trills in double thirds, fourths, sixths, and octaves, Exercises in broken octaves. Begin with slow practice using forearm rotation. Diminish the motion as, speed is increased. 14142 Seales in broken octaves in different forms. To be played using forearm rotation,Play B major and B minor in the same manner as the above.146 Play E> major and Eb minor in the same manner as the above.147 Play F major and F minor in the same manner as the above.148150 Scales in octaves with alternating hands. To be played legato and staccato. Continue in all keys following the circle of fifths.Ist Chromatic Scales.153 Chord Exercises.155 Continue in all major and minor keys following the circle of fifths.156 Repeated chords with inversions. To be studied with wrist action and with a full tone, ‘To be continued in all keys, chromatically. : Exercises in trills using double notes, chords, and octaves. Observe carefully the time values when held notes occur. at ¢ ant ng & meeeante way eet ~‘Trill study for alternating hands, 75166 BOOK IX Diminished 7th chords, Exercises with a quiet hand. To be played “forte” with strong finger action. Emphasis should be given to the raising of the fingers, as, this aspect is as important as the striking of the keys in this type of exercise.167168169170EEE PEP A EEE EEE Ee172173174175 EXERCISES IN BROKEN CHORDS WITH ARPEGGIOS It is important to observe in playing arpeggios that when the thumb releases the key, it must immediately pass under the hand, in preparation to its placement in the next octave. The wrist and the arm should remain as quiet as possible to avoid unnecessary movement. C major 1238221767 C# minor 1345178 $ 4 ‘ Continue in all major and minor keys in chromatic succession.179ad BOOK X , Extended broken chords in different combinations and different fingerings. To be played first forte and slowly, with strong finger action, and then mezzo-forte and fast with the fingers close to the keys. ap major182 D minor183 poe 2pt- £15385 Bre wrens ba, ee 2 Eb minor 25 eet 28 roes este toesest 5 T sett 3 4a 425 ‘4522 27 2 264 7 a4 68 eT fre? Pepi tes Poy © ny sett Teste a 7 ae 5 3 Continue in all keys in chromatic succession,184 maior te Tee 225! ‘sist C minor 2 2 2 @ et44 L ae185186 D minor 2 rd187 re ra Continue in all keys in chromatic succession.188 so J be fiegigts a - = x SS ter oe €. Ket a minor Be res tesa Pee, ott 2 =e paestes Stegtees neg eae pg eat tt’ Le aes ree 144Db major 8 i ttt, “Ty tetet 2 f2to ee, See 2 ats 189 aes fo 2 CH minor caea!190 D major D minor191 we & Beater ano aig Eb major pete ee pittie: Seeeisas,s 4 s Latires $75 pret! 27 Te HY rere Continue in all keys in chromatic succession,192 C minor are193 C# minor 2415 244 264 4254194 D minor195 Eb minor re Continue in all keys in chromatic succession,196 BOOK XI Broken chords and arpeggios in double thirds and double sixths with different fingerings. Broken chords and arpeggios in double thirds. To be played as legato as possible, with special attention to giving full value to the note that is not repeated, with the exception of the one that is crossed over. C major C minor eo ee197 i ~ ~ ) pal i - bes Mh ea - — 7 “ cS cS wa ae ee — - a ve jo = ve wea ne ~ ne. 4s Se TETERTESTETE ET ST207 Eb major +56 see sabaeestSeseseSts setetssstats i = = o re hae e 7a8% + 5483 6 8 45 4 3 5 Gtr threeres ages a oe Bb minor 5 7. ( a8% Sa 64 5 48+ St sao t Stee ss 3545s Bag208 \ “sbtttrareeseppartite titans ftit STit: COSUOUSELER RA EGEEAE G885 rity TETAESETT Stet St tits thizsedt ttit ¢ z ates - . WESULSL SEC ESESS == i Pied cseaseas f5 46 : E major 5 s 4535354585 a6 e Fe Se Fe Se Ses sahtassas sass . a eects Cwatt sake Continue in all keys in chromatic succession.209 BOOK XII Broken chords and arpeggios in octaves with different fingerings. Exercises in solid chords with their inversions. Broken chords and arpeggios in octaves. To be played first slow with wrist action and then rapidly with forearm action. Use the 4th finger on black key octaves. Practice it also using always the Sth finger, C major C minor210D major ‘212 D minor 5 3 she 5 Eb major at. Continue in all keys in chromatic succession. 213214 Exercises in solid chords with their inversions. To be played first with full tone using forearm action, and also, keeping the fingers close to the keyboard using the full arm and shoulders. C major C minor218 Db major216 C# minor27 D minor218 Eb minor a~219 ic succession, Continue in all keys in chromati220 Different figurations of chords and inversions in octaves. Use forearm lateral action. At first this action should be made very rapidly, pausing over the key before striking it, When aim is secured, play as rapidly as possible, Practice it also using always the Sth finger. C major € minor sts ‘ bss fk ? Seem, s + Peete peeee Eee S Sees fiona, os 68 6 . + Ses sss 6 fo g°§ 6 eS221 seoess C# minor c ce ee t fseiessesetahe dyD minoree Eb major 4 ose Eb minor CFE ees st case Te res SFE FOS tigge ers, Continue in all keys in chromatic succession. oes 223PIANO/ $19.95 in U.S.A. ABOUT THIS EDITION TECHNICAL EXERCISES For tHe piano by Franz Liszt JULIO ESTEBAN, Editor “Consider Franz Liszt,” says Harold Schon: berg. “He was the greatest pianist of his day and most likely the greatest of all time. As a musician he had everything — a perfect ear, the ability to hear a long and complicated piece of music and immediately play it back as written. He was probably the greatest sight- reader who ever lived. He also turned out most of the great pianists of the later half of the 19th century.” Ina letter toa friend, Liszt wrote: “I practice exercises daily for four or five hours, thirds, sixths, octaves, tremolos, repeated notes, ca: dences, etc." But not too many books of exercises had been written in Liszt's time, and ‘the few that existed were not in the “virtuoso” level. Beginning in 1868 and continuing for 12 years, Liszt undertook the task of writing volume after volume of all kinds of exercises, comprising his ideas on how to acquire per- fection in the technical aspect of performance. The result was a monumental work, filled with new concepts and new forms of practice that had no comparison with any other system or method written before. In 1887, one year after Liszt's death, Alexander Winterberger (a student of Liszt) edited and published these exercises. The complete series consists of twelve volumes, each one of them dealing with a different pianistic problem. The present edition is based on the original volumes but is combined into one book. | addition, the editor has removed some of the repetitious exercises that were written out in all keys. Once the exercise pattern is played through several keys, the pianist has the option to continue through as many keys as desired. The effect of this is to present an edition that is reasonable in length without, in any way, harming the essence and effective- ness of the original ‘work. rusuiskeas| 46380 Roscoe Bivd., P.O. Box 10003, Van Nuys, CA 91410-0003 EDUCATIONAL MUSIC PUBLISHERS fa ALFRED PUBLISHING CO., INC.