8 face wore weiter 10 re pais ~ you OF yussble, most of reencountered tthe ‘has been designs! or figt and secon, yer maonventinal plane jal instructions have thei that these are more appropriately jain to the student, In many ‘are provided which relate £0 sthushavean any case itis he «ts to oles Mati crial for the b payne stn 1 Sates ate ae 0 one OF Jaecinpe tex heal gobs ikl to aig al yet aly stages The Pot euthatet an ate fr the fitst cotstudy: These three books lille ethan! an that extunical and theoreti Aeon Feit for the teacher t0 9p estas aber of pes ae ie nila saficprblems teachers and student cramey eo make thie owe section. IN ror pethapseven possible ar permissible, for every student to Tear all ninety-si pees “To toctltate the teacher's task, exercisesare included in an appends to each ofthe frst four volumes. The numbers in jarentheses next teach exercisesnumber indicate the pies Ecataining problems to which the exercise relates, Some- thmes the same technical problem is dealt with in more than fone exercise. Again, the teacher should make a selection Sevording to the student's ability, giving the more dificult txercises to the more able student and the easier ones 10 those with less sill. These exercises should be studied some time in advance of, and not immediately before, attempting to learn the pieces containing the elated problems, Ie willbe obvious that no really elementary exercises have been included, e.g. five-finger exercises, ‘thumb-under’ simple broken triads, ete.; im this respect too, there has been a departure from the customary ‘piano method’ approach. In any event, every teacher will be familiar with suitable exercises at this level, and will be able to judge what the student can play. ‘The progressive sequence ofthe pieces and exercises as to technical and musical difficulty is only an approximation; the teacher may modify the given order taking account, a5 appropriate ofthe students ability. The metronome mark- ings and indicated duration should be regarded only as a ‘guide, particularly in volumes 1-3; the frst few dozen pieces may be played ata faster or slower fempo as ccumstances dictate. As progress is made, the tenipi should be considered 15 less variable, and in volumes 5 and 6 tempo indications must be adhered to. An asterisk (*) next tothe number of a piece means that a corresponding explanatory note will be foundinthe Appendixtothe volume, ns ‘A second piano-part has been provided for four pieces — Nos. 43.44, 55 and 68. Iti important that students begin ensemble-playing, atthe earliest possible stage. OF course the pieces written for two pianos can only be used in a classroom teaching situation where 95 they should be ~ two pianos are available. Four other pieces ~Nos. 65,74, 95 and 127 ~ ate written as songs with piano accompaniment. All instrumental study or training should really commence with the student singing, Where this has been the case, the performance of pieces for voiee and piano should not be hard oo neither necessity Such pieces offer very usetul pray tice in tw accomplish staves instead of 1Wo, the student si resling th dahil playing theaccompaniment at the sometime, Ty p78 Thing ease, aol plano version of Nos. 74 and 9s hae as bcraupplied. This version should be learned fis, ang rds shoul the student turn to the version for aennano, Various performance possiiltes fr No, gene chan in the Appendix to volume 2. 65 will Work an volume 4 may ~ indeed should ~ be conti weit audy of tke eamposion suchas the Noe ed Jor Anna Magdalena Bac by $- Bach appropiate sud by Cremny, etc, Transposition of the simpler piecey an} coercies into other keys is recommended. Even transer Clon of suitable pieces from volumes +3 may beattempre} Only ‘stec' ransciption is implied here forinstanceat fs oubling octaves as on a harpsichord. Additionally, cern pieces could be played on two pianos, an octave apart, eg Nos. ag, 51, $6 et. More adventurous modifications might eatempted such as simplifying the accompaniment 0 No, 69 (volume 3): pie ‘atc, though the adaptation of bars 10-11, 14-15, 22-25, 36-27, 30 and 3233 may call for a fair amount of mental agility. Many more opportunities exist in this area: their proper solution should be dictated by the teacher’s or the ‘more resourceful students’ ingenuity. ‘And while on the subject of transcriptions it may be noted that some pieces ~ among easier ones Nos. 7677-78 79,92 and sogb; among the more difficult Nos. 117, 118, 123 and 145 ~ are suitable for playing on the harpsichord. On this instrument, doubling octaves is achieved by registration inaly, attention is drawn to another application of Mikrokosmos: more advanced students may find the pieces useful as sight-reading material Béta Bartox ‘Scansionato con CamScanner