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La reproduc tion de quelque partie de ce livre sans bs permision de a maison deition peur om ‘due a des poursuites.SCALES, CHORDS AND ARPEGGIOS FOR PIANO THE BROWN SCALE BOOK” ISBN 0-88797-018-4SIMILAR MOTION in octaves : 1 . 3a} 1 Ts 7 a 134 7 3 3 CONTRARY MOTION from unison 1 tk Bs 4 2 13 1 1 1 434 Double Thirds gaat i 33 v2 Baa 203 i Sere het ©Copyright 1048 The Frederick Harris Music Co. Limited FH.2750‘TRIADS- Solid and broken ae) 3 5 a sigs the th Bs a eh iF ES et Se Sites FOUR NOTE FORM- Solid and broken, ss : sg 3 12d 12 shae Baa dees Hedt beet 7 T oie iF Sqergier ss att ee Siaigits ARPEGGIO- Root, position and inversions abs fz 122) 2363 “Wigs 12th 2 1 Soriesere ar Pree, tre oe8t g212at ee DOMINANT SEVENTH CHORD- Solid and broken nena tags 2451235 12h $1 Ses ta saz Sear Se Spr ts err trast om, oem tite DOMINANT SEVENTH ARPEGGIO- Root position and inversions 3 plete s233 teat Teaser bere ve tase yaaa te 7 + =, F.H.2780SIMILAR MOTION in octaves a4 31 as _s1_ 038 1 Baa . =F 3 7 3. tr ? CONTRARY MOTION from unison 4 a 4 t2 18 ‘ 13 Separated by a Third Separated by a Sixth Double Thirds 2 3 48 3 7 333 F.H.2780TRIADS- Solid and broken $ 8 § & 35 8 jot 423 1 Set foe a a > 3 FOUR NOTE FORM- Solid and broken Yerre ae 5 4 ‘ + Tie BS erat ys :7 a 7 ARPEGGIO- Root position and inversions eee sestes$ ats res a4 tte 2 aan aed aate ' “fF part a sset Ore DOMINANT SEVENTH CHORD- Solid and broken 5 § 12th 12 1205 12h ees 3 it a seyetgeet saat ee 3 4 7 DOMINANT SEVENTH ARPEGGIO- Root position and inversions, 4 1284 4 2 ta 2123 ais be ata. a asa seat ape, ates ers2 ee 5 5 4 4, ieatizstesse rise 1238128 a2 pge 2 Sea7 tesettat eee . Te tttea te y 2 oa* 4 FH.2750D Major SIMILAR MOTION in octaves 12 3ha3 123% 294123 ; CONTRARY MOTION from unison ada s234 1 3h 3 iH 3 Separated by a Third 4 4 1 4 3 Separated by a Sixth fi : ri 4 3 i 3 Double Thirds s § 3 agi 33 FH.2750TRIADS- Solid and broken FOUR NOTE FORM- Solid and broken 1238 : 5 3 7 3 vt . ARPEGGIO- Root position and inversions rey 3 128) 3 2ig2 2128 Sop ati a reg Be gat one, DOMINANT SEVENTH CHORD- Solid and broken a 29512451235 sous 4 + a 4 Lepribcstsstt sete 6 ? DOMINANT SEVENTH ARPEGGIO- Root position and inversions 4 3 togen ase tat 2123 at 1 Tae 732 T eas T2348 s 12y Testttay F.H.2750SIMILAR MOTION in octaves 5 1 2355 o5123hpe, 5 s_3 4 tere Sorieggeieet tre ft te ; a ; CONTRARY MOTION from unison 5 seat 4 1 are 3 et 3 ae Separated by a Third Separated by a Sixth 4 1 + 4 3 3 Double Thirds 345 i433 FH. 2750TRIADS- Solid and broken FOUR NOTE FORM- Solid and broken 5 5 1238 1 etd 14 2 + + ¢ ‘ 1 se see $2 °° ere + ? ARPEGGIO- Root position and inversions 1231 espe A139 21s 4 2 era st 7 Spat 7 ber 3 ary DOMINANT SEVENTH CHORD- Solid and broken : sei tier pass issgi2eMhe as 4 x i = 2 atts +S rH f—+ t 6 Pott es 14 $ eae Pierre DOMINANT SEVENTH AREEGGIO- Reet Position and inversions 33 aA se 3 2 Le jase 2123 3 soe? vas at toe Srpatisatesy Tsai ge2izizig 5 32 a4 Borers teaser Bere ee Tee tes, FH. 275010 SIMILAR MOTION in octaves |, 5, rashetttens: ae 1294 294 Prot sees art . vate? <-| i CONTRARY MOTION from unison bcp ee fe v ca é £ ef fas = SSS Ss . Separated by a Sixth 1 4 Doyble Thirds 7 FH. 2780a TRIADS- Solid and broken i 3 135 pos se 8 * sts FOUR NOTE FORM- Solid and broken as te 2 225 SB etarteeeezias 3 5 3 oier geri beripeet —e + 7 . ARPEGGIO- Root position and inversions 232 2ehe 2 taht eos ea 3 . 1 gtercareaiet Tere erates, Dope sare sea, DOMINANT SEVENTH CHORD- Solid and broken, F 5 124542451285 45 4 4 4 ps GSribpetssetssetiee : + S DOMINANT SEVENTH ARPEGGIO- Root position and inversions | 1234 soshmsso tise 231. stp Pay J9 Ziate Bere sy Too, Serie es a re wits” sFts pe, sate v2 FH. 2960az B Major SIMILAR MOTION in octaves 5 toot 234! 29123883 aaa saat aaataaay 1 . 2 4 CONTRARY MOTION from unison ‘at Separated by a Third Separated by a Sixth 1 4 2 2 Double Thirds : 2 a FH. 278043 TRIADS- Solid and broken eae sae ae FOUR NOTE FORM- Solid and broken as fag od 12 Saeeg 1243 12388321 Saat St het # 3 A Ari sset atte Tost S Hs ben F a ? , ARPEGGIO- Root position and inversions a2 3, 12 he agedi 123 2383 Paz 23 £ g21s 2123 Bos TSU ST aT Dene ¥ Zant Tree eers rs : DOMINANT SEVENTH CHORD- Solid and broken aay eit 2451243 1238125883 3 4 4 a Po eee - a 5 DOMINANT SEVENTH ARPEGGIO- Root position and inversions 3. sadads 23¢ o32,,3 2 2 eaarg Zigo a4 S2a set rias ais ? ogi ttre 3 4 2123 41288g3, ‘peer er Tee ree? t +4 FH. 27504 F# Major (Enharmonic Gb Major) SIMILAR MOTION in octaves 2 44 J sZa9 atte, CONTRARY MOTION fromunison ba 2 et 1 Separated by a Third at Separated by a Sixth 124 1 A 4 4 2 Double Thirds15 TRIADS - Solid and broken e r eae 3 yerssroetsst = > T 3 FOUR NOTE FORM- Solid and broken as % ig tg 3 tosgir2ghizstis 23125 4 3 ae Tetisar 4 * + : er ere 1 ARPEGGIO - Root position and inversions tog1 235328 1 2 5 at oad tee yy 2ht a$8S 2sy0 grey Da Og beta ery DOMINANT SEVENTH CHORD- Solid and broken sated 2th eos toabes 2 4 ‘ Peristrrssiragt: °¢ 3 7 + DOMINANT SEVENTH ARPEGGIO - Root position and inversions 3d aes 2123 2, ‘peed 234 , 22820 aig wo2t are tras tr Srrie sete FH, 278016 SIMILAR MOTION in octaves at CONTRARY MOTION from unison x 1 Separated by a Third 4 Separated by a Sixth 1 1 Double Thirds FH. 2750a7 ‘TRIADS- Solid and broken sg 5 1 asa3g1 3 5 3 FOUR NOTE FORM- Solid and broken i 5, tg 5 448.2 ag ig 2 1238 £ ‘a a 2t . 3 rt paris ARPEGGIO - Root position and inversions 7 2383 2 24 1 get 2 oe 12$ 1233 vere WY Ber eS Perit ates DOMINANT SEVENTH CHORD - Solid and broken 3 aztet 12h12s5124ges 3 + 4 et de SS + ? + DOMINANT SEVENTH ARPEGGIO - Root position and inversions a+,,3a84 4 4, 2gs83 1 12 1234 4 te Te Spires eforreatr ¢ a 36 3 = fest pasa; May + aes FH. 2780Bb Major SIMILAR MOTION in octaves ¥ 4 14 = < 24 Separated bya Third Separated by a Sixth é 24 4, 1 4 a 2 2 Double Thirds z ss 45 53 ; 3 5 4 3743 tet fie - $3 3 2 ni i ob pos FH. 275019 TRIADS- Solid and broken 5 FOUR NOTE FORM- Solid and broken |, 12384 qiet gene beer e frie eta, oat Pere tee weit DOMINANT SEVENTH CHORD -Solidand broken | gyo StF 1245124512381 ePte $ irra pense = * DOMINANT SEVENTH ARPEGGIO- Root position and inversions i paagtussSazatasze 1294142338430 tage re S2a2st 23% Perreeserzi2s stra s t FH. 275020 SIMILAR MOTION inoctaves 4 1.5_ 4 et 4 4 CONTRARY MOTION from unison a2 ‘ 24 a4 4 ig b Separated by a Third w® 2 Separated by a Sixth 1 ‘ 24 1 3 3 * 38 3 5 1 s a 1 Double Thirds s 4 3 2 to A spits Sigs £ 23 poe 4 7 3 a q FH. 275024 ‘TRIADS- Solid and broken 3 3 1 tasig oo oorsst ie yer > 3 $ FOUR NOTE FORM- Solid and broken 5 5 5 2 se fe 3 Si2hhi2 4 3 tagara 3 eters bers * * s + ? ARPEGGIO - Root position and inversions 12s ae aba, . sete 3. a12ah 4 2 1248 FE gierreerreey 2 po ere Sire res DOMINANT SEVENTH CHORD-Solid and broken 5 a i =r DOMINANT SEVENTH ARPEGGIO- Root position and inversions 2129 s1ges2s 4h 1234 13 Der egtasaiy oy ? bere Oyaeriess tase 4 4 3 a4 42 east Onaga ts Tase +32 ‘. T Ts iets @ FH. 275022 SIMILAR MOTION in octaves 14 1 CONTRARY MOTION from unison é ie! 44 y E. FE fees z 4 21 at = Separated by a Third a ‘ 4 Separated by a Sixth 2 1 3 3 4, 3 3 Double Thirds as eet gee i . 2 7 4 PH. 2750‘TRIADS- Solid and broken a 3 t a 2 FOUR NOTE FORM-Solid and broken S 5 33 3 ‘ a2a8 1 - Root and inversi ABPEOGIO Re pe cn a erenios eae a2 at 2 bee Sern te weer es aa 8 ae BoA atts DOMINANT SEVENTH CHORD- Solid and broken 5 S39 f 12h ressizshies 32 Sa fe = DOMINANT SEVENTH ARPEGGIO- Root position and inversions 5 2 zaeae zasesa: asd 3, poaes ass pas a giraeriseseteas visti at goat sb@dsa tras at ad as Rees 12 oT Taeig a6 bart Sete ?? ~ Prt vetisseis Te PH. 275024 Db Major (Enharmonic Cf Major) SIMILAR MOTION in octaves aagds 2a Sere a + . 4 oe 24 < CONTRARY MOTION from unison 124 1 4 Separated by a Third Separated by a Sixth tet 1 1 3 3 4 3 PH. 275025 be 3 1 ARPEGGIO- Root position and inversions gee 1s! 4 212 daz ane T 21 7 7 7 brezet 7 verre ate giegisraiy z DOMINANT SEVENTH CHORD- Solid and broken 3 sy 3 r24asiza5 yz 2a3 3 2 aps Coa eriserrscar 3 > t DOMINANT SEVENTH ARPEGGIO- Root position and inversions a3 2129 s1239$21 432 4 ,28eFS3. bs. PH. 2780A Minor ilar motion in octaves 1 Amys 4 8 g ¢ 4 3 HARMONIC FORM- Sit at 3 2 74 74 . 3 CONTRARY MOTION from unison at 4 4 4 at : viet a i 3 MELODIC FORM- Similar motion in octaves at 1 2 one 3 2 7 so 7 at 7 7 ‘TRIADS- Solid and broken g_ 3 8 51258 13 a 2 3 53) Sipe test a 2 3 FOUR NOTE FORM- Solid and broken : is 1235124 4 1238832 Tea et t qo: beers ott t? STS ARPEGGIO- Root position and inversions yg. at ashe at 2p Rise 1 124 2 Z 2Te i, er Sere . ss bee ft P.H.275027 DIMINISHED SEVENTH CHORD- Fundamental position and inversions Solid and broken four-note forms 4 ‘ 45 12409 1245 4 i Stat Seri Srris 4? . fe + a ARPEGGI, DIMINISHED SEVENTH CHORD ‘ 2 2346321 4528 12344 12348@530 age 20 e Eh aa 12s4 err Ot era rm izes E Minor HARMONIC FORM- Similar motion in optaves 2 gs * 3 4 3 > 3 ¢ a a at 5 t 3 1 i CONTRARY MOTION- from unison ‘ 4% 1 1 a4 te Ft T 7 1 a = 3 MELODIC FORM- Similar motion in octave : 1 8, tet FH. 276028 TRIADS- Solid and broken s 5, se 1 fot +¢ f “ FOUR NOTE FORM- Solid and broken 55, 5 48 5 sg Sg 3 to554248 5 26 et B'@se1ese2issot 2agaat ati T T2etie * eoats berise “OSS, St2t¢ ARPEGGIO- Root position and inversions 5 3 2ptee 2 1 too 4 24 at 2a 1 ee EER a2 aaie Seies 3 aa ™™ 5 rea TEs 5 DIMINISHED SEVENTH CHORD fundamental position and inversions 54 : 125.28 § 3 5 21542, 3 1245123 3 215428 z Poatses wagher gy TES eg tees TE, ARPEGGI, DIMINISHED SEVENTH CHORD 4 24o2 3 248 a2 wate jatehees. eee s25 4s : ? Beretto 23% bepre gtysttasy 1a FH. 2750: 29 B Minor HARMONIC FORM- Similar motion in octaves 4 J 4 a 2 a4 * a. 2 a4 7 eas CONTRARY MOTION from unison ae : 1 4 st 4 a . 1 * 1 t¢ MELODIC FORM- Similar motion in octaves | 1 1 4 3 f iF : . 7 ae 7 rr TRIADS- Solid and broken ee 2 7 eS erirrtr ssi s 2 5 FOUR NOTE FORM- Solid and broken 5 5 : 22354255 oy s eames + 3 ARPEGGIO- Root position and inversions 123) ,sas ae 4 me atie at DN Saar are 852% wei z1e F.H.278030 DIMINISHED SEVENTH CHORD- fundamental position and inversions Solid and broken four-note forms 5 124512 brads yoas sa 4 “ ‘ CSA Serie ter reat . : ARPEGGI, DIMINISHED SEVENTH CHORD abe 7 s12aat2 tedra 424 5 2125 412 ar ‘pes Serer ee rasats tans abe Soret eee ers rr be ee aa F# Minor HARMONIC FORM- Similar motion in octaves: e Zz z * 3 5 4 5 oh at 4 Teg 2 7 genes st CONTRARY MOTION from unison 34 1 2 at 7 MELODIC FORM- Similar motion inoctaven.s 43. 243 1 he 23 yt FH 2750a4 TRIADS- Solid and broken sg 3 1 38h 3 3 vars Tisai 3 FOUR NOTE FORM- Solid and broken 5 aha 5 srr eprisear > ’ 2 ARPEQGIO- Rost ppsitioa and taversions 48g : . SARA 4. 1 5 ae tae gute teat 2a2t 9402 4 2 Feet 4 Ty 5 Pare DIMINISHED SEVENTH CHORD- fundamental position and inversions Bei 1245 sous se adied gyzi ps os "3 54 yaet seed 7 Steger aergeis Teagted 5 yarets si 2am 5 ARPEGGI, DIMINISHED SEVENTH CHORD a ptea sat 1 wi F.H.2760a2 C# Minor HARMONIC FORM- Similar motion in octaves 1 Fi a 4 a4 T =e Ts 4 = at To yet ; CONTRARY MOTION from unison 1 3 at A at = 3, 3 2 4 wT 7 v? : z 7 MELODIC FORM- Similar motion in octaves , at ts 4 2 4 3s rs 13 3 27 , 7 . TRIADS- Solid and broken 3 52 13s 1% 5 13h Sars ad $534 8 s 1 aq 4 tort a ties? 35 53 as ae FOUR NOTE FORM: Solid and broken g ne a me sg 26 ett sik eet eae gees Se 5 e02's ? * ARPEGGIO- Root position and inversions 2 a oaigh a 3 4 4 atte Pe SS 2 seat 2 % FH. 275033 DIMINISHED SEVENTH CHORD- fundamental position and inversions By oad Sua 3 2245124302 21s sertaa ys s2s3 $4 21 Portbee toert Stat te est heg tr, ee ARPEGGI, DIMINISHED SEVENTH CHORD i _ 23 , os Stesas ints s opts ssbtefase Sts ere rage reste, Serie eae titre ares 5 4 sas arts pk Pbes 22 3 Peta e aa te 77 5 oae at 1234 ashe Pratt G# Minor HARMONIC | FORM- Similar motion in octaves 1s at tbs eT 7s «te i 1 $27 $ = < CONTRARY MOTION from unison 5p Png? cue 1 2 24 a4 ? its 7 3 7 MELODIC FORM- Simil as 1 F motion in octaves a4 4 F.H. 275084 TRIADS- Solid and broken ota EE aeatt FOUR NOTE FORM- Solig and broken 5 se ig if 2B eas sett, 3 SPE Pa ets ARPEGGIO- Root position and inversions 214 we 2128 top2tsen 1244 28m 3 er] * Tari v2 ete, 8 eeeetat a2ata ty aes DIMINISHED SEVENTH CHORD- fundamental position and inversions Solid and broken four-note forms asi2a 5 so4hs2ty heiSecissoissat 3 oh Ee ARPEGGI, DIMINISHED SEVENTH CHORD 7 14a 4yga te 2a4 at ,3P5t4 mts FH, 2760D# Minor if HARMONIC FORM- Similar motion in octaves i 4 § $3 3 1 1 g_4 a a * Ts a8 is 8 ot io owv CONTRARY MOTION from unison iz 3 if 24 1 3 Dn Te 74 5 MELODIC FORM- Similar motion in octaves, | | 3 Bbend 3 a4 1 a 4 FOUR NOTE FORM- Solid and broken ss 3 125s 3 s2gei3 ezi S301 56 te i ARPEGGIO- Root position and inversions 5 5 1,33 1235 2332, ‘ 1 Te? ati atizs 7 : 3 TH 8) beste tears & Wei a2i2 F.H.275036 DIMINISHED SEVENTH CHORD- fundamental position and inversions Solid and broken 4345 125, 5 124m ot 4 —_ Srrise: t saat oe om . 7 a ‘ 7 ARPEGGI, DIMINISHED SEVENTH CHORD 7 3 1284 4 23axpa ‘ 12342 Spe xetar tf A pis eveas 2 Pre tear ie wae, eS D Minor HARMONIC FORM- Similar motion in octaves Res sets i toss gk ul + 2 yt i ; 3 7 att is 2 ir 54 ‘ at rowioyv 1 CONTRARY MOTION from unison Sat 4 4 a4 2 ot 7 MELODIC FORM- Similar motion in octaves | 5 1 14 be, FH. 275037 ‘TRIADS- Solid and broken ARPEGGIO - Root position and inversions 7 a1 .3@3 2 1 1 1225 235245 oui 21 a2aaete aaa aaiz sates tc haeh) aes tte “tm 5 pret ‘arate DIMINISHED SEVENTH CHORD- fundamental position and inversions Solid and broken 5 5 12 te5 1 24 2451245 94 4 + : srist? tp sats ad 7 7 ARPEGGI, DIMINISHED SEVENTH CHORD ig a ag 4 3 34 24 4 ? 1236 1 12 7 Poose teas vigtt Ssetern, tT ts FH. 276038 G Minor HARMONIC FORM- Similar motion in octaves 5 os a4 ar 1 yas — 3 $ 3 CONTRARY MOTION from unison , 1 4 4 7 T 7 : os 3 7 3 MELODIC FORM- Similar motion in octaves 1 out 14 yd S48 2 2 TRIADS- Solid and broken ¢ aa vq Piaget 2 T . s sf + ze ee by ARPEGGIO- Root position and inversions ca at sake 1233 gaf3 %h32 1 ates soee os 2 12a aise 1 fazt 1 ares Tr aes, f pae tee F125 F.H.275039 DIMINISHED SEVENTH CHORD - fundamental position and inversions Solid and broken 3 Sad 4 a si2ays 12 ter? s: . 7 ? . ae 7 ARPEGGI, DIMINISHED SEVENTH CHORD 5 2 atte 2SHa@ ase, 1 1 23 yt 4 a3 T sere Ee rem, oats stew epetzsatise (ane Gennes 3 ta 2 ige 1 oyh 1 ays SPes2 Peso 243 2 ys Fess Se a2a 28412 s21 4 ga12128 +% ray a8 ‘ 2 ars, C Minor HARMONIC FORM- Similar motion in octaves 4 = 3 3 4 8 T at a 3 t 5 5 : * ac 1 oWwy ' CONTRARY MOTION from unison A 1 1 ot 1 a 3 8 + 1 a a a 7 ai ag MELODIC FORM- Similar motion in octaves | 5 : id 4 1 4 be 3 4 3 FH. 278040 TRIADS - Solid and broken 7 5 ses 22 rss 1 a gha1 554 R24 5 3 Perret srr egiis Test ss FOUR NOTE FORM- Solid and broken to fe 2354288 a Seersaey reagaez 21 gaer $$ 3 SEE PeE Seer rrr cays ets Past atg ARPEGGIO - Root position and inversions 3a his Stal os 282 2$te2 1234 .393%13— ar2ta Saag asad Tiaeretsee eqieeraizaie gaztaate ates & 3 DIMINISHED SEVENTH CHORD-fundamental position and inversions Solid and broken sogsr2aSr285 ys oa5 54 24 hts 5 tersae Pipa seat seet te ast eis tae re ARPEGGI, DIMINISHED SEVENTH CHORD 3 7 234 4 o32 tt 1234 128 - . 73 F.H.2750a F Minor HARMONIC FORM- Similar motion in octaves +, . toteeletieees : 8 t 9 «pd 2. wvoot CONTRARY MOTION from unison tal a 1 a1 : 7 T ot T ; 3 * a MELODIC FORM- Similar motion in octaves 1 ast 1 41 se 3 4 . aa 7 7 TRIADS - Solid and broken_ Bba,5 Pats 135 4554958 25355 21 Ses 3 i oo 2 FOUR NOTE FORM- Solid and broken 55 tet 8 94h, 2Rffo2, 540.5 5 tg if 3 tosh r2tprrets Resiese1 3521 5 aad . CSA Porat i fertetsrepy ree, ts ARPEGGIO - Root position and inversions 23f3 seat Ttaate + 7 5 ee ss?! F.H.2780az DIMINISHED SEVENTH CHORD - fundamental position and inversions Solid and broken 7 : 124 4 5 1245 s2eS124 ARPEGGI, DIMINISHED SEVENTH CHORD ; s peti saat oer wuetss wes 14 ere etre tine? Eee B> Minor HARMONIC FORM- Similar motion in octaves 21 1 ts tate 3 4 8 wigie se 2iaserzsaite CONTRARY MOTION from uni 24 1 a1 1 3 3 baat 7 v¢ ? $ 7 4 MELODIC FORM- Similar motion in octaves 24 4 As H 3 _ 3 Ts 7 ofa at 7 at FH. 275043 TRIADS- Solid and broke cee gg tt 5 th tote gos eh a PS riser saitastes FOUR NOTE FORM- Solid and broken 43 Se 1 238 12 toad 123 MMS 24 gon PEt Sper is teeer veer Seas Teeeizegt i eer gaer re Pes steaei egy ARPEGGIO - Root position and inversions 35 2 a 42b2 23R8. 2ate sta! ets 2 tes 3 daos 2 s23t $s2 4 2 Frra eter sop) 9 Preeesses sess 2 osset beret te 5 DIMINISHED SEVENTH CHORD- fundamental position and inversions Solid and broken 5 124512454245 cas 4 as LT Sarto tet saat + 7 - ARPEGGI, DIMINISHED SEVENTH CHORD 54 a2g4 123Abedse 14 1234 12 ftePese tnioe Biase 13s se igts? 023% tare Pree eas . 2at2 s4pbe 3243 2423 paey “aare 21s 2a vies zie 7 7 a 3 Pert tre F.H.2750aa The Chromatic Scale ¥ i at sf T a+ : a 1p802.0 94194 segs SESS 2 a1 91Zyteys ug 131321 3198921513 1 Pstserar si set atoeior sis 2i ast sign eaisizatstsipe tT Staccato Octaves Legato Octaves It is inadvisable in legato octaves to suggest a fixed fingering especially since so much depends upon the size of hands and stretch between fingers. For smaller hands the best fingering as a general rule will be to utilize the fifth finger and thumb for all white keys, and the thumb and fourth finger for all black keys. EXAMPLE: B MAJOR:~ MINOR HARMONIC:— “eget g bac, Qa 4 gh 5 «5 Gibripisisrst, | btbipdiisi F.H.275045 Notes on Fingering Throughout this book only the orthodox system of fingering has been given. However, there are many instances where an alternative fingering may be employed to advantage, as shown below: SCALES A CHORDS ‘Owing to the size or formation of the hand, many students have difficulty in playing four-note chords with the fingering marked in the text. While it is not desirable to avoid too much the use of the fourth finger, the third finger will be found easier in the following chords: Left Hand ~ D, A,E,B,C sharp majors (root position) Dominant Sevenths commencing on the above notes (root position) Both Hands ~ Diminished Seventh Chords fingered 1 2 35 throughout. FH.275046 ARPEGGIOS The following is a useful fingering recommended for the passing of the thumb. Keys of D, A and E major; G,C and F minor: Root Position First Inversion Second Inversion Right Hand zat 2124 124 Left Hand 542 4214 214 DOUBLE THIRDS The plan followed in the right hand fingering of the double third scales in the text is as follows: C,G,D,A,E,B B flat A flat, D flat Fa5] Pa a iyes3] 345 Fy Ba 34) [345] [34 re2atlratle 21123 Pal al tell galli2 F sharp E flat F (4y34| [345] [34 34] (34][345) [5] 34] [34] [345] 212 Pal 12th alli 23 Sa Fa Rs3 Both hands have the same length groups. A fingering recommended for careful study is shown below: CGD, A,E Right Hand 345] (2345 123111123 3232.1 543) [5 432 Left Hand In the flat scales, the thumb on C or C flat, right hand; the 5th finger on C or C flat, left hand: F, B flat E flat A flat Right Hand Right Hand Right Hand Pas 2345 3] (23 45] (3 45 45] (3 45] (2345 allr2alli123 allii2alhes 2alli2ailii23 1/3 21/3211 1/3.241)/3 21 21/8 21/3211 lalla 5432 3}[5 43 2||5 43 43}|5 43) [5 43 2 Left Hand Left Hand Left Hand D flat (C sharp) G flat (F sharp) € flat (B) Right Hand Right Hand Right Hand 45] (343 4](3 45) 43 4][3 45) [3 4] 4 5i[5 4 e 4 gall1 21 alli 23! 21 alli 2 allt 2l realli atl 2 21j2121/3 21 12u/s21j2 S21yj21)j2a 43}|[4343]|5 43 3 4 3|[5 43} |4 3 43) (4 3] [4 3] Left Hand Left Haud Left Hand FH. 2750