L E SS ON S I N SI GH T f

R EA D ING

AT THE PIANO

J OHN MOK REJ S

Pr i ce , 75 Ce nt s .

CHICAG O
CLA# TON F S U MM # . CO .

NE# # ORK

Co py r ig h t 1 9 09 b y Cl ay t o n F Su
. mmy 0 0 . Int e r n at io n al Co py r i g ht .

Pr in t e d i n th e U S A
. . .
 HARO L D B LEE L IBRAR#
.

B RI GHA M # O U NG U NI VERSI T#
PRO VO U TAH
,
 PRE FA CE
T H E p p
u r o se of th is b ook is t o s et fo rth a sim p le and e ffici e n t m e th o d of sight re adin g study -
,

and t o e x p lain in car eful detail its fundame ntal prin cipl e The ke r n e l of this principl e bri efly
.
,

st at e d is that t h e n ot e and t h e k e y ar e t o b e m ade o n e an d in s ep ar abl e wh ich m e an s ,

that from ,
,

th e v e ry b e g inn in g th e not e is to b e fix e d in it s pr op e r plac e and in its pr op e r r elation to th e k eyb o ar d

, ,
.

The line is t he s o le guide t o t h e as t h e spac e s ar e r e c o gniz e d o nly by th e s u rrounding

n ot e , an d

lin es the stu dy of spac e s is disr egar d e d Fur the rm or e it is n e ith er n e c e s sary n or de sir abl e t o give
,
.
,

an y name t o t h e n ot e in th e b e ginning so as t o k e e p t he matt e r as sim ple an d dir e ct as p o ssib l e

,
.

In t h e making o f a g o o d sight r e ader th e r e ar e fiv e ne c e ssary fact o rs

-

,
:

I st A cl e ar m e n tal pictur e o f t h e k e yb o ar d ;
.

2 4d A # uick r e l ati on b e tw e e n t h e n o t e s an d t h e k eys ;

3 1 d A s e n sit iv e t o uch ;

4th T e ch n ic ;
5 t h Th e ability t o g e t a g o o d id e a o f t h e musical th ought at a glanc e
‘
.

In this b o o k ar e tr e at e d 1, 2 , and 3 o nly . 4 is o utsi d e it s aim an d sc op e . 5 w ill b e

tr e at ed in an oth e r w ork .

J O HN M OK REJ S
 Le s s o n s in S ig h t Re a d in g .

LES S ON I .

THE BLAC K KE# S .

( a ) No tic e that t he k e ys on t h e p iano ar e whit e and black the whit e k e ys ar e all alike #
t he black k eys
ar e in g r o up s o f th r ee s and t wo s .

(b ) S lid e hands up and d own ov e r t h e k e yb o ar d many time s th e n rub t h e two bl ack k ey s and t h e
th e , ,

thr ee black k eys alt e rnat e ly surr oundin g e ach gr oup with t h e fi ng e rs
,
Practic e this han ds s ep arate ly and hands .

t og e th e r ( Take sp e cial notic e of th e wid e spac e b e tw e e n th e gr o up s of black k eys and t h e n arr ow on e s

.
,

b e tw e e n t h e black k e ys o f e ach gr oup so that yo u in sta n tly r e c o gni z e which spac e you fe e l )
, .

E XE RCI S E 1 S tart with t h e hands in t ho lap and wi th ou t l o ok i ng fin d ma n y gr oups of t wo black k eys
.
#

, ,
- -
,

( ha n ds s e p arat e ly and han d s t og et her ); in lik e mann e r find the thr e e black k e ys K e ep thi s practi c e up - -
.

until e asily d o n e
Th e t e ach e r sh o uld als o drill furth e r in this by callin g f or diffe r e n t gr ou ps For ex ampl e Fi n d t wo . : #

black k e ys with th e l e ft hand : thr e e black ke ys with t h e right ha n d : two black k eys ha n ds t og e th e r et c
- - - - -
,
.

LES SON I ( Par t Tw o ) .

No tic e th at on t he pia
no th r
e e s v
ar e e en gr upso thr of ee -
black k eys s ev e n gr oups of
-
,
t wo -
black ke ys -
,

on e e xtra b lack k e y at t he b ott om o f t h e k e yb o ard .

COpy r ig ht 19 09 by C y
, , la t on F . S u mmy Co .

b Cop y r z g fi t
'

i t e r n a t z on a l
’

;
Cop yr ig ht r en e wd e 193 7 by J ohn M o k r ej s
 N umb e r t he gr o up s fr o m t he mi ddl e up an d f rom t he mi dd l e d own To . t he r i ght t h e y ar e z M iddle G roup ,

High Gr o up , High e r G r o up and High e s t G r o up

, . To t he l e ft th e y a r e : Mid dl e Gr o up ,
Low Gr oup ,
L o we r
Gr o up , an d L ow e st G r o up .
( Se e cut
“ ”
S e at y o u r s e l f dir e ct ly Opp o s it e the midd le of t he Fi r s t Gr o up ( F Se e cut an d alw ay s t ak e th at
p o s it i o n in t h e fut ur e

As it is ne c e s s ary f or a g o o d si ght r e ad e r - to pl ay a gr e at d e al with o ut l o o king at t he k eyb o a r d , it be

c o m e s app ar e nt that he mus t mak e a p o i n t of forming right impr e s s i on s an d habit s in pl aci n g t h e distanc e
of th e var i o u s k e ys .

E XE RC I S E 2 .
( a ) Plac e b oth h ands on the bl ack k ey s of the Middl e Gr oup ; th e n on t he bl ack k eys of t he

High Gr o up ; on t he Middl e Gr o up ; an d o n t h e Low Gr o up : Tak e sp e ci al no t ic e of t he p o sit io n and dist anc e

of e ach Gr o up ) . Do t h e s am e with o ut l o ok i n g at t h e k ey s . ( Se e L e ss on XXI II . Pag e

Fo rm a me nt al pictur e of th e s e thr e e G r o up s Cl o s e . the e y e s and thi n k th e m .

(b ) With t he right hand al o ne , an d with out l o o king pl ay t h e ,

mi ddl e thr e e bl ack k y s
- - e ; t he Hig h t hr e e black #

k eys ; th e Middl e thr e e black k ey s ; t h e - -

Low thr e e black k eys R e p e at with
- -
. the l e ft ha n d . Do lik ewi s e wit h t he
.

tw o -
black k ey s Practic e o nly with a s ma n y Gr o ups as
-
ar e n e e de d f or t he child s imm e diat e u se
’
, an d ad d m or e

as pr o gr e s s de ma n d s It is . ne c e ss ary to study th o ro ughly t h e black k ey s a s th e y g ov e r n ,

t he t ouch an d sight
of the wh ol e keyb o ard .
 L E S S O N II .

THE W HI T E K E# S .

Th e nam e s of th e whit e k e ys ar e A B , , C, D, E, F G ( Se e cut

,
. l l .

“ # a , #
No t ic e that A li e s b e tw e e n the upp e r t wo bl ack k ey s of t h e t h r e e bl a ck k eys
- -
. . The r e ar e many As as
th e r e ‘

ar e g r o up s of t h r e e bl ack
- -
k ey s Find an d p lay all of
. t he

B li e s t o th e right of the t hr e e bl ack k ey s

- -
all of the

C t o th e l e ft of t wo bl a ck k ey s
-

1) b e tw e e n t wo bl a ck k e y s
-

E t o t he right of t wo bl ack k e ys-

F t o t he l ef t o f t lzr
f
ee - bl ack -
lr eys

b e t w e e n t he lowe r two
G bl ack k ey s of th e
t h r e e bl a ck k ey s
- -

N 9
1 . Ou t of the K ey b o ar d .

A B C D E F G A B C D E F G A C D E P G A C D E F G A C D E F G A B C D E F G D E F G
L
B B B C B
B
K
M i dd le C
 E XE R C I S E 3 R e cit e the l e tt e r n am e of e ach k ey b o th up and d own the ( wh o l e ) k eyb o ard p ointing ou t ,

e ach k ey as y ou r e c it e G oing up the y

. ar e : A, R, C , D, E, F, G; G; A ,
et c .
, an d d own th e y ar e

A, G, F , A, G, etc . Giv e sp e cial att e nt i on to t h e d o wnward scal e a nd be abl e to r e c it e it e as

ily and # uickly

Th e t e ach e r sh o uld drill the pupil t o p l ay, e a s ily and # uick ly any , k ey or g r ou p of k e ys c all e d f or . # he n
mo r e than on e k ey ar e t ak e n t h e y m ay b e pl ay e d c on s e cutiv e ly or as chor d s .

E x ampl e : p l ay A ; p l ay E - DF -*
CE G

Alway s pl ay t h e fir st nam e d k ey as t he l ow e r on e , t he ne xt ab ov e in t h e o rd e r n am e d , i . e: wh e n 0 E ar e

c all e d f or , play E ab ov e C ( th r e e n o t e s ap ar t) Wh e n E C . ar e c all e d f or , pl ay C ab o v e E ( s ix no t e s ap art ) .

L E S S O N III .

E XE RCI S E 4 F ind C ( any . on e ) on t h e k y b ard

e o wi t h ou t l o ok i n g . Find an F B -
D G E, -
et c . Do this

hand s se
p ar at e ly, o n e aft e r the o th e r and hands t og et h e r Mak e
, . the hands fe e l f or th e k ey s but fir s t
, see

t h e k ey yo u ar e s e e k ing m en t a l l y . Th e t e ach e r sh ou ld d rill thi s th or oughly .

F ind two k eys C E ( Al ways pl ay

_ . t he fir s t nam e d k ey as the low e r on e .
) Find FB -
EG AO -
. et c . F i nd
t hr e e k ey s : CEG -
E G C GCE FA C GB D
- -
, et c . F o ur n o t e s may al s o b e t ak e n a s GB DF B DFG DPAC ,
-
FGB D, et c . Th e t e ach e r sh ould d rill this t h o r o ughly c all ing ,
f or the k eys to be foun d Th e pupil
.
,
t oo, may prao

ti ce this at h om e by d e cidi n g f or hims e l f th e k e y h e wi sh e s to fi nd In c as e

. of y o ung ch il d r e n t h e t e ach er should

’
writ e ou t a l e s s o n ( lis t of k ey s t o b e
'

fo u n d ) f or the chil d s daily practic e .

L E S S ON I V .

No tic e that on any print e d p age of music th e r e ar e t en li n e s Th e upp e r fiv e li n e s ar e c all e d the Tr ebl e
“
S t aff and
,
t he l owe r fiv e lin e s ar e c all e d the B a s s S t aff ? an d on e ach st aff t h e li n e s ar e numb e r e d fr o m t he

b o tt o m up .

Th e sig n is c all e d the Tr ebl e Cl e f sig n and m e a n s in t h e

M id d l e C

p o s i t i on o
f the up
p er f ive l i n e s .

Th esign % is c all e d t he B as s C l e f s ig n an d me an s in the

p osi t i on o f t h e l owe r f i ve l i n es .

E XE R CI S E P o int t o t he t h i r d li n e in the Tre bl e _ Th e s e c on d lin e in t h e B ass Th e fir s t l i n e in t he

T r e bl e et c .
, as t he t e ac h e r dir e ct s .
( K e ep t he fi gur e s c o v e r e d ) . Drill t hi s unt il e as ily d o n e and , go fro m
.

on e s t a ff t o t he o ther .
10

Now le t us t ak e t he Tr e bl e S t aff E ach lin e of the s t a ff h a s a c o r r e sp onding li n e ( or k ey ) on the pi

an o , whi ch ne v e r cha n g e s and i s always play e d
, in t h e on e fix e d pl ac e . In o t h e r w o r ds , the fiv e l i n e s of

th e st af f r e pr e s e nt fiv e sp e cific k eys .

On t N9 2 . S h ow i n g Po s i t i o n of the Tr e b l e S t af f Pi a n o .

M i dd l e

Th e fir s t li n e -
k ey i s ab ov e t he Middl e t wo -
black k ey s ( in
-
t he c e nt e r of t he k eyb o a rd ) an d e ach s uc
c e e d in
g lin e skip s a k ey as t h ey g o up ( Se e cut .

T he z ud lin e -
k ey is b e tw e e n th e l ow e r two
‘

of the Mi ddl e
”
t h r e e bl a ck k ey s
- - .

“ ”
v t o t he ri ght of t he Middl e t h r e e bl a c k k eg# s
- -
.

b e tw e en the High t wo b l a c k
- -
k ey s .

t h
5 t o t he l e ft of the High t h r e e bl ac k k
- #
ey s .

F o rm a c l e ar m e n t al pictur e of e ach k ey ( o r li n e ) s e p arat e ly and th e n ,

of all t o g e th e r .
M e m o ri z e
e xact p o siti o n an d l o ok s , by h o ldi n g d own on e at a tim e th e n all fiv e t o g e th e r
, . “ 7 th t h e e y e s cl o s e d
 E XE RC I S E 7 . R ev e r s e t he proce s s ; t he t e ach e r will h o l d d o wn any on e of the ab ov e not e s ( k ey s )
on the p iano , a
nd t he pup il will p oint t o th e play e d n ot e on t h e st af f ,
or writ e it ou t on t h e b o ard or music p ap e r .

A s with E x e rci s e 5 , t hi n k y our way thr ough E x e r c is e 8 , by s e e ing th e k ey s me nt ally wh en you l ook at t h e
n ot s
£X ERCI S E 8 . Pl ay o n pian o with Right hand al on e 1 S?
t im e l king at t h e k eyb o ard
oo
,
d
2 t1m e l kin g
n o t oo .

E XE RCI SE 9 Firs t t hi n k your way thr ough E x 9, t h e n pl ay it l ooki ng at t he k eys; an d not look ing .

Revi ew L e s s o n s Two an d Thr e e .

LES SON V .

O bs e rv e c ar e fully that t h e re i s al s o a n o t e
, , in t h e s p ac e ab ov e ,
or b e l ow , e ach lin e . Do n o t m e m o r i z e
the S
p a c e s, but alway s le t t h e l i n e d e t e rmin e th e p o s it i on of a n ot e .

T e ach e r
t o ho l d Pup i l to play
E XE RCI S E 10 .

th e s e line s t b e l ow n ot e ab ove
no e t ab ove n ot e ab ove not e ab ove not e ab ove
no e

d own on t h e 1 s t lin e t h e i s? li n e
. . the lin e t h e 3 rd line t h e 49? line t h e st h lin e
. . . .

t he pian o o r un de r

t h e 5 th lin e ) .

Drill in this way : pl ay the n o t e ab ov e the l $§ li n e ; ab ov e t h e 3? d lin e ; b e l ow t he fi t lin e e t c

,
. .
 18
Pl ay on the pia n o, 1
§ §
tim e l o okin g tim e n ot l o oki n g at the keyb o ard .
,

E XERC I S E 11 .

Thi n k thr o ugh E x 11 by s e e i n g t h e k ey m e n t ally wh e n y o u l o o k at t h e n o t e

. .

R e ad E x 11 sp e ak i n g al oud t h e l e tt e r n am e of e ach k ey r e p r e s e n t e d by t h e n o t e s
. -
. etc .

E XE R C I S E 1 2 R ev e r s e t h e pr o c e s s ; t h e t e ach e r t o pl ay
. an y k ey ( withi n t he c omp a s s of e x e rcis e 11 )
o n t h e pia n o an d t h e p u pil t o writ e t h e sam e o n t h e bla ck b o ar d or mus i c p ap e r . ( Th e pupil of c ou r s e l o ok
, ,

in g at t h e k ey he ld d own ) . Do this al s o wit h t wo or thr e e t on e s as a sh o rt m e l o dy .

E XE RCI S E 13 Play on t he pi an o 1 5 ? tim e l o o ki n g

, , tim e n ot l o o kin g at t h e k eyb oard .

E XE RCI S E 14 . P11 y on t h e p ian o , 1 $ l3 tim e l o o ki n g ,

2n d tim e n ot l o o ki n g at the k e yb o ar d .

T hi n k thr ough Ex e r ci s es l 3 an d 14 by s e e i n g t he k eys me n t ally wh e n l o oki n g at the no e t s .

E XE RC I S E 1 5 Th e t e ach e r will h old d own o n e t w o or thr e e k ey s an d t h e pupil ( aft e r l o oki n g at the m)

.

, ,

will writ e them o n t h e blackb o ar d or p ap e r It i s al s o fi n e pr act ic e f or t h e t e a ch e r t o p oi n t t o any n o t e o r

.
,

gr up of n o t e s i n t h e ab ov e E x e r cis e s an d t h e pupil t o s e e m e n tally t h e k e y s r e pr e s e n t e d by t h o s e not e s

o
, , ,

an d
. th e n pl ay th e m wit h out th e l e ast h e sit ati o n or mi s t ak e . Do this als o in pi e c e s and studi e s .
14

L E S S O N VI .

THE S T U D# O F THE B A S S CL E F .

S h ow i n g Po s i t i o n of t h e B a s s Cl e f Lin e s .

Hol d d own f iv e B a s s Cl e f k ey s ( line s) a nd st udy the m M e m o ri z e t h e e xac t l o ok s ( p o s iti on) of e ach

t he .

k ey s e par at e ly a nd all t o g e th e r C l o s e t h e ey e s and think th e m Wo rk t o g e t a g o o d c l e ar m e nt al pic t ur e

. .

of t h e st aff on t h e k eyb o ard .

Th e li ne k ey in th e B as s Cl e f i s b e tw e e n
-
th e fir s t t wo of t he L ow e r t hr ee bl a c k k ey s .

“
v n n to the right of t he L owe r ”
t h r ee bl a c k k ey s

Si d
“
b e tw e en the L ow t wo b l a c k -
k ey s .

4i h “
to th e l ft
e of the L ow ”
thr ee - bl a c k -
k ey s .

5 t h
n b e tw e e n the up p e r tw o of t h e L ow t hr ee - bl a ck -
k ey s

Drill t h e p upil to t e ll wh e r e any lin e in t he B as s li e s on the pian o

 15

T e ll th e p o s iti o n of the foll owi n g n ot e s ( line s ) on t he pia n o with out l ooking at th e pian o
, .

E XE R C I S E 16 .

Think thr ough m e nt al ly by s e e ing t h e k ey wh e n y ou l o ok at the not e .

Pl ay t h e ab ov e E x e rcis e with l ef t h an d l o oking , ,

an d wi th out l o oki n g at
,
the keyb o ar d . ke e p the
f i n g e rs t ouching t he key s .

$§
Pl ay , 1 tim e l ook ing ,
tim e l o o k ing at t he k eyb o ard .

E XE R C I S E 17

Think thr ough m e nt ally by s e e ing t he keys whe n y ou l o o k at the no t e s .

§ §
Pl ay , l tim e l ooking , t i me n ot l o o king at t he

Think t hr ough t h e ab ov e E x e r cis e by s e e ing t he k ey s me nt ally whil e l o oking at the n ot e s

R e vi e w L e s s on Thr e e .
 L E S SON V I I .

In t h eB as s Cl e f as in t h e Tr e bl e th e r e is a n ot e
, , in t h e sp ac e ab ov e , or b e l ow , e ach lin e . Drill
in pl ayi n g t h e n o t e ab ov e an y li n e c all e d f o r .

E x ampl e Pl ay the no et ab ov e t he fir s t line ; ab ov e the third li n e ,

et c .

E XE R C I S E 18 .
( on e no t e ) ,
Pl ay ,
t ime l o o ki n g ,
en d tim e n ot l o o k i n g at k e yb o ar d .

Thi n k thr ough E x e rcis e 1 8 by s e e i n g t h e k ey me n t ally wh e n y ou l o o k at the no et .

R e ad E x e rcis e 1 8 sp e aki n g al o ud t h e l ett e r n am e s

,
- of t he k eys r epr e s e n t e d by t h e not e s ; As G F G A , , , , ,
et c .

E XERCI S E t s) Pl ay, l t time l o o ki n g d t im e l o oking at k eyb o a rd

19 ( two no e .
§
.
,
29 n ot th e .

Th e t e ach e r shou ld p o i n t t o an y n o e, t o r gr ou p o f n ot e s in t h e ab o v e
, Ex e r c i s e s , an d t he pupil sh o uld pl ay
th e m with out the l e ast he s it ati o n or mist ak e Do this al s o in p i e c e s
 17

L E S S O N V III .

S HA R P S I N T R E B L E C L E F .

A S h arp ( it) b e f o r e a n o t e m e ans t o pl ay t h e n e ar e s t n e xt k ey ( o n e half st e p whit e or bl ack which e v e r

,
-
, ,

it happ e n s t o b e ) t o t h e righ t and affe ct s all t h e n o t e s f o ll o wi n g on t h e s am e l i n e or sp a c e thr oughout t h e

, , ,

m e asur e

S t u dy at the pi an o .

Dri ll playi n g the sharp s mi sc e ll a n e o usly . Fo r e x ampl e : Play C C S harp F F S harp E

, , , , , Sha rp , A ,

S harp B B S h ar p ; F# ; D# ; All
, , et c , . l o o ki n g ,
an d n ot l o oking at ,
t he k e yb o ard Drill as in L e s s o n 3

S?
E X E RCI S E 21 . Pl ay , 1 tim e l o o ki n g ,
tim e n ot l o o ki n g at . t he k eyb o ar d .

N ot e . _ Th e s ig n
hm a e ns to ca c l
n e t he s ha p r , an d p lay t h e k e y i n it s n at al p iti
ur os on .
18

st
E XE RC I S E 22 . 1 tim e lo ok i n g , t im e l ooking at t h e k eyb o ar d

R e vi e w E x e r cis e s 3 an d 4 .

Pl ay E xe r ci s e 11 , sh ar pi n g e v e ry n o t e ; Al s o E x e r cis e s 1 3 an d 1 4

L ES S ON IX .

FLATS I N T RE BL E CLE F

a n o t e me an s , to pl ay t he ne ar e st ne xt k ey d own whit e or whiche v e r

t he t e a ch e r to c all f or a ny o n e .

A A F l at B B F l at C C Fl at
. D D F l at E E F l at F F F l at G G F l at
( xt bl ack
ne (ne xt black ( x t whit
ne ( xt bl ack e ne ( x t blac k
ne
( x t whit
ne e ( x t black
ne
k y t l ft )
e o e . k y t l ft
e o e k y t
e l ft o k y t l ft )
e _ e o e . k y t l ft )
e o e k y t l ft )
e o e k y t l ft )
e o e
am a B )
.
. .

s e s .
20

L ES S O N X
S HA R P S IN BAS S C LEF
S h arp s by c all i n g f or a ny on e .

F FShar p G G Sh ar p A A Sharp B B S h arp C C Shar p D D Sh ar p E E Sh ar p F FSharp

( xt black
ne
( x t bl a
neck ( xt bl ck (next wh i t (axt blackne ( xt b lack
e ( xt
ne whit ( xt b l a k ne ne e ne c

k yt
e i g ht ) k y t i g ht ) k y t i g ht
o r . e or . k yt
e i ght k y t i g ht ) k y t ig ht ) k y t i g ht ) k y t i ght )
o r e o r e o r . e o r . e o r . e or .

E XE RCI S E t im e l o oking ,
tim e l o o ki n g k eyb o ar d .

EXERCI SE 27 . P l ay tim e l o o king ,

ze d tim e n ot l o o ki n g at th e k eyb o ar d .
 E XE R CI S E tim e l o o ki n g t im e l o o ki n g k e yb o ar d .

Th e t e ach e r sh o u ld p oi n t t o a ny not e or gr o up o f n o t e s in t h e ab oV e E x e r c i s e s
, , , pupil t e ll i t s
e xact p o siti on on the k eyb o ard ; or , pl ay with ou t hes it ati o n o r mi st ak e .

Play E x e rcis e s 18 , 19 and 20, S harpi n g e v e ry no te .

L E S SON XI .

F LAT S I N B A S S C L E

Dr ill i n Fl at s , the t e ach e r c alli n g f or any on e

S tudy at the p i an o .

F Flat G G Fl a t A A Fl at B B Fl a t C - C Fl at D D Fl at E E Flat F F F lat

( xt whi t
ne e ( ne x t black ( xt blackne ( x t black ne ( xt wh i t
ne e ( nex t bl ack ( xt b lack
ne ( xt whit ne e

k y t l ft
e o e __ ke y t l ft )
o e .k y t l ft )
e k y t l ft )
o e . e o e . k y t l ft
e o e ke y t l ft )
o e k y t l ft )
. e k y t l ft
o e . e o e

sam a E )
e s . sam a B ) e s . am a E ) s e s .
 E XE R C I S E 29 . Pl ay l o o kin g a nd with o ut l o o k in g at
,
t he k e yb o a r d .

Thi n k thr o u gh E x e r c i s e 2 9 s e e i n g e a ch m e nt ally l o ok t he n ot e

E XE R C I S E 30 .

E X E RCI S E 81 .

Th e t e a ch e r sh o ul d p o i n t to any n ot e , or gr o up of n o t e s in
, t he ab ov e E x e rci s e s and , t he p upil t e ll
e xact p o siti o n on t he k eyb o ard . Do thi s al s o in pi e c e s

Pl ay E x e rcis e s 18 , 1 9 and 20 , F lat t ing e v e ry n o t e .

 23

L ES S O N XII .

E XE RC I S E 32 Part I . N am e e ac h k ey out l oud as y ou pl ay S tudy at t h e pian o

. .
*

L e s s on 12
“

l o o king and n ot l o o ki n g

P ar t II

Pa rt III .

E X E RC I S E 33 Part I N a m e e a c h
. k ey ou t l o ud a s you p l ay fi
‘

P art II .
 P a rt III .

T hi n k thr o u gh th e ab ov e E x e r ci s e s by s e e i n g the k e ys m e n t al l y a s y ou l oo k at t h e n o t e s .

“
is c e s s ary s ay E Nat u r al f L e arn E wh e n y ou say E E Flat wh e n s ay E F l at ;
’
*
It n ot ne to t o m e an .

E S h arp wh e n y o u s ay E S h arp . Th e s am e wit h all o th e r no e t s Play ex ercis e s

. and 1 74 in t h e sam e man
n e r as Le s s on XII .

L E S S O N XIII .

E X E RCI S E 84 . Part I . _ N am e e ach k ey ou t l o ud as y o u pl ay .

l o oki n g an d l ooking at th e k eyb o ard .

Par t II

Par t III

E XE R C I S E 35 . P art I . _ N am e e ach k ey ou t l o ud as y o u p l ay .
 P a r t II .

Pa r t III

Thi n k thr o u g h t he ab o v e E x e r ci s e s by s e e i n g t h e k e y s m e n t al l y y ou l o ok no tes .

Pl ay Exercis e s and 2 0 in t h e s am e m an ner as Le s s on XIII .

L E S S O N XIV .

T RE B L E C L E F .

E XE RC I S E pi an o . Play l o oki n g an d
, , l o ok i n g at

Pa r t II .
26

BA S S CL E F

E XE RCISE 37 . Par t I . P l ay l o o k i ng
, ,
an d not l o o king at the k ey s .

Part II

Par t III
28

E X E R CI S E with right h a n d ; th e n with l eft han d ; with b o th hands t o g e the r .

E x e r cis e Fl att i n g e v e ry no te , S harpi n g e v e ry n o t e

E XE RC I S E b o th St av e s , h an d s s e p ar at ely ; th e n h a n d s t o g e th e r .
 L E S S O N XV I .

N O T E S AB OV E THE TR E B LE S TAF F .

t
( Il i gh Tl e bl e L i n e s ) -
.

Hi g h T bl Hi g h T bl Hig h T bl H ig h h m Hi g h T bl
- re e - re e - re e - e e - re e

O ne Tw Th o . F Fiv r ee ou r e Not e s on t he S h o r t Lin e s .

H ld
o d own

Not e s ab ov e t he S h o t L in e s Part I
r . . Par t II .

Ho l d th e Hig h -
Tr e bl e St af f d ow n on the p ia n o and fo r m a cl e ar m e nt al pictur e
, of it s p o siti o n . Drill t h e
pupil to pl ay th e s e high tr e bl e lin e s -
on t he pi an o by calli n g
, f or th e m in thi s way : P lay h i gh -
t r e bl e on e h igh

tr ebl e tw o ; h igh tr ebl e t hr e e ;

-
h igh -
t r ebl e f o ur ,
et c . Al s o by po inting t o any gr oup
,
of P ar t I , th e pupil to

play only th e hi gh e st lin e of the gr o up

Do lik e wi s e with t he no e t s ab ov e t he S ho r t lin e s Fo r e x ampl e : Pl ayt h e n ot e ab ov e hi gh -

t r e bl e on e ;

ab ov e h igh -
t r e b l e f o ur ; ab o v e hi gh t r ebl e t hr e e -
, et c Al s o p oint to any n o t e in P art II an d hav e
, th e

pupil pl ay it e asily an d # uickly .

Drill t his thor oug hly . Th e t e a ch e r sh ould h ol d d own t he Tr e bl e St a

ff li n e s t hr o ugh ou t t he ab ov e w or k
at t he .
pi an o , so as to fo rm a b e tt e r l o c at i o n f or t he Hi g h Tr e bl e lin e s
-

R e v e r s e t h e pr o c e ss ; th e t e ach e r to play any hi gh -

tr ebl e k ey , and th e pupil t o writ e the sam e on t he b o ard
o r p ap e r
30

on t he p ia no

Wh e n t h e ab ov e E x e r c i s e i s e a s ily d on e p r ac t i c e it S harpi n g e v e ry n ot e ;
, ,
not e .

Pl ay each n ot e ht Mi as in E xerci se 3 2 S ha rp every oth e r n ote Flat eve ry ot he r n ot e

, . . .

L E S S O N XV II .

NO TE S B E L OW THE TRE BL E S T AF F

( L o w T r e bl e L i n e s ) .

Low - T bl
re e Low - T bl
re e

T bl
re e On e . Two . N ot e s on t he S h or t Li n e s .

N ot e s b e l ow t h e Low - T bl
re e

S h or t L i n e s P art I
 31

Fo rm a cl e ar me nt al p i c t ur e of t he x a c t p o si t i o n of t h e L ow fl et l e lin e s k eyb o a r d P ar t I
'

e -
on th e .

h ul d
s o be drill e d at t he p i an o i n the s am e w ay as i n L e s s o n XV I , by c alli ng f o r an y l ow - t r eb l e l i n e ,

or n ot e b e l ow t h e l i ne . Fo r e x ampl e : Pl ay l o w t r e bl e
-
on e : low - t r e bl e thr e e ; Th e n o t e u n d e r o n e
und e r t w o e t c Al s o t h e t e a c h e r w i l l p o i nt
, .
to a ny l i n e , or not e , i n P a r t I a n d t h e pup i l w ill p l ay
t h e s a m e at t h e p i a n o .

R eve r s e the proce s s ; the t e a ch e r to pl ay any low t r e bl e k ey

-
on the p i a n o an d t he p up il t o writ e
,

it on the b o ar d No tic e that t he sh o rt line s b el ow Middl e C

.
are t he s ame on t he p ian o as t he upp e r l o ng lin e s
“ ” “ ”
in t he bas s st a ff On e lin e b e l ow Mi ddl e
. C l ong or sh o r t is
E X E R C I S E 44
t im e

h ld d w
o o n .

# he nE x e rcis e 44 is pract ic e S har p ing n o t e al s o F l at t in g ev e r y n o t e

, .

P l ay e ach n ote h t I”; as in E xer c is e 8 2 Sharp every oth e r n ot e Flat eve ry oth er not e
, , . .
.
 L E S S O N XVI II .

N O T E S AB OV E THE B A S S S TAFF .

( Hi gh B a s s L in e s ) .

Li ne . H i gh Ba
-
ss Li ne . Hig h B a
-
ss Li ne . Not e s on t he S h or t Li n e s
O

S e l d om u se d
N o t e ab ov N t e ab ov e No t e ab ov e
.

e o

i ? s
Sh t L i or ne . 2134 S ho t Li n e 3 4S h o t L in e
r .
2
r .
H ig h B a
- ss Li n e S

F o r m a m e nt al p i ctur e of the Hi gh -
B a s s S t a ff
o n t h e k e yb o ar d .

Drill t h e pupil t o f ind t h e Hi g h B a ss li n e s # uickly o n t h e p i an o Al s o with t h e n o t e s ab ov e t h e sh or t lin e s

-
. .

C all f o r any o n e a s in E x e r cis e 1 6 R e v e r s e t h e pr o c e s s by playin g t h e k ey an d t he pupil sh owing t h e c o rr e

, .

spe nd i ng n o t e o r # rit i n g it on t h e b o ar d High b as s n o t e s ar e tr e bl e n o t e s w r itt e n an o the r w ay

, . .

E XE R C I S E 45 .

t t i m h ld d w
l e
e o o n .

On re p e at do n ot

Wh e n E x e r c i s e 45 i s e asily do n e play S harping e v e ry n o t e al s o F l att ing ev e ry n o t e

, , , .

Als o I) th ii each n ot e as in Exerci se 3 2 Sharp every other note F lat every ot her n ot e
, . . .
 33

L E S S ON XIX
NOTE S B E L O W THE B A S S S T AF F
( L ow B a s s L i n e s )
-
.

S ho r t Li n e E
“
S ? S h or t Li ne S h or t Li n e
b l w
e o . b l w
e o . b l w
e o . No t e s on t he Sh or t Li ne s .

No t e b e l o w N ot e b e l o w N o t e b e l ow No t e b e l ow
i t
t h e S t a ff . l S h t L in e
or . S ho t Lin e
r .S h o t Li r ne .

M id d l e 0
Low Ba ss S t a ff .

F o r m a cl e ar m e nt a l pic tur e of t h e Low - B ass

L in e k e y s .

Dr ill pu p il t o fi nd t h e L o w B a s s l i n e s # uickly on t h e pian o Al s o d r ill t h e n o t e s b e l ow t h e s h o r t

th e -
.

li n e s , a s i n E x e r ci s e 1 7 R e v e r s e t h e p r o c e s s by pl ayi n g t h e k ey an d having t h e pup il Sh ow it s p o s i

.

t i o n o n t h e mu sic or writ e it o u t o n t h e b o ard

,

E X E RC I S E 46

Fl tim e h ol d d own
t
. .

Wh en E x e r ci s e 46 i s pl ay e d e a sily play S h arpi ng e v e ry n o t e al s o F l att i n g e v e ry n o t e

, , , .
 LES S ON xx 4
:
.

f
E XE RCISE t i me l o o kin g ,
ti m e l o o king k e yb o a r d

P l ay E x e r ci s e 47, F l att ing e v e ry n o t e al s o S h ar p ing e v e ry

, no te .

#
E XERCI SE t i m e l o o k ing , t i me n ot l o o king k eyb o ard

E x e rcis e S harpi ng ev e ry n Ot e al s o F l att i n g e v e ry no t e

, .

T Th e e a s i er s t u d i e s of C e r n K b hl e e t c m a b e t ak e n u in lik e m a n n e r In f act all p ie c e s an d t echn ical st u d i e s shoul d

z
'

y , y r , .
p
, .
, ,

tim e s b e p l ay e d s l owly with ou t l ooki n g at t h e k ey b o a d Thi s t r ai n s t h e e ar an d i s an ai d t o c on c e n t r ati on

, , r .
.

I#
Fe e l f or t he k y s as i n E
e x cier se 3 .
36

L E S S O N XXII .

E XE R C I S E 5 0 P l ay e ach gr o up o f l ine s a s th ough th e y w e r e no t e s ( h a nds t o g e t h e r at p l e a s u r e ) Form

'

. , .

a cl e ar m e nt al pict ur e of t h e t r ebl e lin e s High t r e bl e li n e s an d Lowst r e b le lin e s b oth on t h e music and on t h e

,
-
,
’
,

Pian o H i g h T bl
-
re e

Li ne s

M em o riz e t he B a s s line k ey s
- - on t he p ian o .

E X E R CI S E 51 . Hand s t o g e t h e r .
 L E S S O N X XIII .

I n t h e f o ll owing E xe rcis e s stu dy t h e e xact dist anc e o f e ach gr ou p fo rm accur at e habit s

of l o c ati n g th e ir p o siti on s Pl ay w
. ith o ut l o o ki n g at t h e k eyb o ar d .

P l ay S l owly . At h r e st pl ac e h and s in t o t h e l ap .