es ee el ee ee 8! LL Ls ECKSTEIN Facibity Studies from CZERNY Adapted and Arranged by MAXWELL ECKSTEIN Carl} FISCHER ERContents R, H. Legato—L. H, Down-Arm Chords L. H, Legato —R. H. Down-Arm Chords R. H. Broken Thirds L. H. Broken Thirds Five-Finger Patcerns for L. H. R. H. Tell Study Contrasting Touch Chromatic Groups Seale Passages R. H. Melody Passages Broken Thirds R. H. Tripler Seudy L. H. Sustained Notes R. H, Melody Playing Broken Chords Divided Between the Hands No. No, No, No. No. No. No. No. Smoothness in Seale Passages Phrasing and Touch ‘The Turn R. H, Legato Thieds L. H. Extensions Change of Fingers on Repeated Notes Patterns in Similar Motion R. H, Smooth Continuity in Passage Playing Equalicy and Smoothness ia Triplet Passages Seudy ia Rhyehm R. H, Scale Passages Legato Melody Playing wich R. H. Turns The Chromatic Seale Finger Agility —R. H.CARL CZERNY ~ Distinguished pianist and teacher, was bora in Vienna, Febcuary 20, 1791. His father, who was a ceacher of piano, taught him with such success that he performed in public at che age of nine, and commenced his own career as a ceacher when he was fourteen, Czemny studied for a time wich Beethoven and was the first co play the great master’s celebrated Emperor Concerto in public. Within a shore time he became the most popular teacher in Vienna, He had many pupils who achieved fame, foremost among them being Franz Liszt. ‘As a composer, he was prolific co an astonishing de- gree, having writeen almost a thousaad works, most of which have slight musical meric, but show great skill in the solution of technical problens. Czerny died in his native city, July 15, 1857, and hav- ing no family, he left his forcune, which was consider able, co the Vienna Conservatory and various benevo- lent institutions,3 remy No.1 RIGHT HAND: LEGATO LEFT HAND: DOWN-ARM CHORDS No.2 RIGHT HAND: DOWN-ARM CHORDS LEFT HAND: LEGATO 4 $ § T 24 > U These studies are to be practiced slowly at first, and, asthe student's facility increases, are to be worked up to more rapid tempos. Therefore no speed indications are given except where the character of the music suggests a slower ‘maximum tempo. Copyright MCMLII by Cas! Fischer, Ine. New York. International Copyright Secured ' mee wo ef ote tte a ft; No.3 RIGHT HAND: BROKEN THIRDS : : | | r : [ j j No.4 I LEFT HAND: BROKEN THIRDS ys I 3 t 5, i ¥ J I — rr)No.5 FIVE-FINGER PATTERNS SCALE PATTERNS For the Left Hand 30978 -28 mam aram gem GRE TARA cep oe7 No. 6 RIGHT HAND: TRILL STUDY cele 9 3 4No.7. CONTRASTING TOUCH 0978-28 =e wyNo.8 CHROMATIC GROUPS 4 4 as a (is Ra - Cee me le my oN , ; 110 No.9 SCALE PASSAGES and CONTRAST in TOUCH 30978 -28 -No. 10 “ RIGHT HAND: MELODY PASSAGES 7 ee2097828 No.1 BROKEN THIRDS13. No. 12 RIGHT HAND: TRIPLET STUDY No. 13 LEFT HAND: SUSTAINED NOTES ee a ee ee ae eee oe I soors-281% 0978-28 No. 14 RIGHT HAND: MELODY PLAYING within a FIVE-FINGER POSITION OO RO HOG BEI BeNo. 15 BROKEN CHORDS DIVIDED BETWEEN the HANDS = aS er lCUC OlClCUcTOClCUC TU EU16 No. 16 tes SMOOTHNESS in SCALE. PASSAGES 30978 -287 Feeossz 2 oe oe t No. 17 PHRASING and TOUCH nk ih Roh lh wel en dele dete may me 3097818 30978- 28ae Se ese Se Se See eee ee eee a Oe ae Oe” q y0978-28 RIGHT No. 19 HAND: LEGATO THIRDS 1”20 No.20 7 LEFT HAND: EXTENSIONS ia ot oe we ie 30978 -28 :No. 21 aa CHANGE of FINGERS on REPEATED NOTES 5 43 2 1 eee q Bee aoe ae eee u a 30978-2822 No. 22 PATTERNS in SIMILAR MOTION PLAYING in UNISONNo. 28 8 RIGHT HAND: SMOOTH CONTINUITY in PASSAGE PLAYING a Ee e_—l— lo ee eee ees HB Beats * = = 0978-2824 No. 24 EQUALITY and SMOOTHN! in TRIPLET PASSAGESNo.25 STUDY in RHYTHM “i. =—— , \Fs , | ) SS ; ; i i 1 1 " naa ss = 0978-28 a a2 3s 8s 826 No. 26 RIGHT HAND: SCALE PASSAGES TWO-OCTAVE RANGE mf legato ee am ey Ro wucel 30978 -28Andante No. 27 2 LEGATO MELODY PLAYING with RIGHT-HAND TURNS an LEFT-HAND SUSTAINED NOTES =n28 30978- 28 No. 28 The CHROMATIC SCALE @ Wek fie fw B Mie orem er a Cant=| 4 : : : : 5 3 0978-2830 No. 29 FINGER AGILITY: RIGHT HAND< q oe a a Ine ty Spe pp =F = eS e- ———F . a =