Part Il. Virtuoso Exercises, for Obtaining a Mastery over the Greatest Mechanical Difficulties. Notes repeated in groups of three. Lift the fingers high and with precision, without raising hand or wrist. As soon as the first four meas. ures are well learned, take up the rest of the exercise. MM. 4 <0 to 180. seacerseeaed| a COCrCer ter Ecreerecreer cereerecrere teres Taare simite Siz 28s eet cErcereer Pe, oers COrcereerrer eercercieer = 25i Notes repeated in groups of two, by all five fingers. Study the first fingering: until it is thoronghly mastered; practise similarly each of the five following finger- Ings then play through the whole exercise without stopping. Accent the first of each pair of slurred notes, D OGM, Jz 60 to tos) > simite 2 =e daa 45.> “gs ath oon ty cA os raThe Trill for all five fingers Practise the first 6 measuresuntilteycan, be executed in quite a rapid tempo; then practise the rest of the tril "Whee ‘the Hagering changed: (De be earetal that not the slightest’ unvenfess ts apparent 0 to 105)a ae i It is of interest to rote that Mozart used this exercise for the study of the trill. 24 Thalberg’s trill. Perr eet rreereesNotes repeated in groups of four. Life the fingers high and with procision throughout this exercise, without raising hand or wrist. When the first line is mastered, and not before, take up the rest of the exercise, otd= 60 to 120) rimile 47. datagase eee Cee a. ee ee oeWrist - exerci Detached Thirds and Sixths. Lift the wrists well after each stroke, holding the arms perfectly quiet; the wrist should be supple, and the fingere firm without stiffaess. Practise tho first four measures until an easy wrist- movement is obtained; then take up the rest of the exercise, Gta. d 210 1084) rare 4 23! * - imile__%& ale Se ( 2 2 2 B simile 4 simile 3 4 2 vimil g timileDetached Sixths. Same remarks as for the thirds, On,at Stretcnes from the TH to the 4% fingers, and from the 2 to the BH, in each hand Very useful for increasing the stretching-capacity of hese fingers. (Mat d £40 to ws) + * e Bgaoseas tar Continuation of the preceding exercise. OLMd: 60 to!108)Legato Thirds. se, as Thirds occupy a very important place in difficult music ‘We recommend careful study of this exer AU notes must be struck evenly and very distinctly.4 4 4 & a 3 Scales in Legato Thirds. 1t is indispensable to practise scales in legato thirds. ‘To obtain a smooth le= gato, keep the fifth finger of the right hand foran instant on its note while the thomb and 3% finger. are ing over to the next third; in the left hand, the thumb is similarly held for an instant. Notes to be held are indicated by half-notes.j Proceed similarly in thechrormatic scale further on, and in all scales in Thirds. 4 (MM. J=a0 te 8a) \er3 : Chromatic scales in minor thirds. major.Bh minor. Gt minor. C4 minor.A major, & B minor. E minor. ‘ =Ni The Fourfold Trill in Thirds, for all five fingers. Execute this exercise very smoothly and evenly, striking each Third very clearly. cata d aa 0 tom) Ba peoThe Threefold Trill. 5 3 Same remark as for N9 54. MM. dz a0 to 92 4 55. a. bet martath * * *Deoa oes e ben marcatoSpecial fingerings for the fourfold Trill legato. Payy a4 = _——_———_ es adi 44 hetetet Scales in Broken Octaves, in the 24 Keys. Play them through without stopping. This highly important exercise likewise prepares the wrists for the study of the tremolo, MM. 4-40 to 120. major. & 56.Special fingerings for the fourfold Trill legato. Payy a4 = _——_———_ es adi 44 hetetet Scales in Broken Octaves, in the 24 Keys. Play them through without stopping. This highly important exercise likewise prepares the wrists for the study of the tremolo, MM. 4-40 to 120. major. & 56.D minor, eo aaa “ Bb major. G minor. aEb major. 8 © minor, 8 as ee F minor, + Bb minor, 8 ee i a a es eSGb major. B major. C# minor,A major te. <3 £Eaes, B minor. aes = G major. tte 7 z 533E minor, Broken Arpeggios in Octaves, in the 24 Keys. ‘To begin with, practise the first arpeggio in €, which must be played cleanly and distinctly, with a good wrist-mosoment, before passing to the next in minor Similarly practise each of the 24 arpeggios, then play them all through M. Med: 90 to thout interruption tee A minor. a 2 rw ae ar 1) Throeghovt this exercise, take the black keys with the 4th finger of each hand”Ab major. Db major. 58 Bb minor, i. 8 ) As this arpeggio, and the next one in Eb minor, are on black keys alone, it makes no differences whether the 4th or Sth finger. be emplovedsE maj sess on ch a major. _ s. ' ni A major, g. F¥ minor. B minor.»Sustained Octaves. accompanied by detached notes. Strike the octaves vigorously without lifting the wrists, and hold them down while deftly executing the in termediate notes with a good finger-movement . MM. @= 60 to 99. ten. simile. 1 j= i gimile.SMbavsaFourfold Trill in Sixths, for the combination of the Ist and 4th, and 2nd and Bih,fingers of each hand. Neither hand nor wrist should be moved in the least while playing this exercise. OM. M, J -a0 to 8a) PEt e Repeat this measure 4 times5 3 a8 | = OM. d +90 toa) 8 imite go shti™ teThe Tremolo, To properly execute the tremolo, it should be played with the same rapidity as the coll on the drum Practise slowly at first, then gradually accelerate the tempo until the movement indicated CM.M. reached. Finally, by oscillations of the wrists, the rapidity is still further augmented up to the tempo of the drumroll, This étude is long and difficult; but the excellent result will fully repay the pianist for the trou ble and fatigue encountered. Steibelt, made his hearers shiver by his execution of the tremolo. 7) is QL M. a2 an to72) baae4 ‘| p__—— eee pordendostConcluding Remarks. Now that the student has practised this entiro volume, he is acquainted with the chief mechanical culties; but, if he would enjoy the fruit of his toil, and become a real virtuoso, he ought to play this entire book through every day for a certain time; only in this way can he familiarize himself with these great dif- ficulties. An hour is required to play the book through. The greatest artists find it necessary to repeat daily exercises for several hours, morely to “keep up their playing” We should not, therefore, be accused of exaggerating the matter when We require of a student aspiring to true virtuosity, that he should play these exercises through every day.