Consisting of Standard Etudes and Studies, arranged in progressive order, Selected from the best composers for the cultivation of ww ow ut TECHNIC, TASTE, AND SIGHT READING Carefully Edited and Annotated and Supplemented with Complete Direct‘ons for the Application of Mason's System of Technics in each Grade for the production of a & wt MODERN STYLE OF PLAYING COMPILED BY W. S. B. MATHEWS Tae RR STANDARD GRADE I STANDARD GRADE VI STANDARD GRADE si wes STANDARD GRADE VIL STANDARD GRADE I eS STANDARD GRADE VIL STANDARD GRADE Iv STANDARD GRADE IX STANDARD GRADE Vv STANDARD GRADE _X_.. PRICE, $1.00 EACH GRADE Philadelphia DONE en 1712 Chestnut Str.ELEMENTS AND THEORY OF MUSIC REQUISITES FOR ELEMENTS |HAR MON Y|COUNTERPOINT ae ———— cS 7 BOOK an MUSIC TEACHER | rerarnics anrase a COMPOSITION ‘STUDENTS A Te acne TH COM. (uetlns ae Aner on the Benen MUSICAL FORMS: ‘By ERNEST PAUER ‘A SYSTEM OF TEACHING me ‘COUNTERPOINT WRITING BOOKS for MUSIC PUPILS SUERTE Sas al WARMONY AND COMPOSITION 9 WT IPF ‘RUDIMENTS OF MUSIC ea COMPLETE. EXPOSITION OF THE sa SOM COMMIS | aan ae ane | UES OF STRICT COUNTERPONT ‘THE FIRST YEAR IN THEOR’ fetta THEO. PRESSER co. meus isicano wasiesoons 1712 Chestnut St., Phila., Pa.rte - ee” ADES ee N, Consisting of standard E ed from th INIC, TAS nd Studies arranged in progressive composers for the cultivation of ||) TE and SIGHT READING. ji ¢Q@arefully Edited and Annotated and supplemented with Complete Directions for the Application of em of Technics in each Grade for the production of a Modern Styte of Flaying: COMPILED BY STANDARD GRADE STANDARD GRADE STANDARD GRADE “ STANDARD GRADE I | STANDARD GRADE 0 STANDARD GRADE I STANDARD GRADE IV STANDARD GRADE IX STANDARD GRADE Y <\/ STANDARD GRADE X PRICE $1.00 EACH GRADE. _, Philadelphia *FRodore Presser (12. ChegtputStr.TRILL STUDY. Hiited, revised and tingered by ‘athony stantowfich, J -SCHULHOFF, Op.18, Andantino, w.s1.4250.(0r2)=108) Caneriets S808 Theo, Peavsae.5 The Nightingale. Allegro vivace. _ Se oie pean Tn ferris me ' T itate PP cadenua ad iibitun Detege rallent. oeWhile in this rhythmically interesting study there exists no difficulty in the division of the notes, since ‘two triplets of eighth notes in the right hand fall to one triplet of quarters in the left, nevertheless, for many.there lies a difficulty in the properaccentuation, arising from the combination of two opposing rhythms, Ist. Wholly without peasbepsesstet) wweentspay heed only es to equality. of touch, and division, 2nd. With strong, and equal accent uation: ETUDE. This difficulty may be overcome in two ways:the oni to practice each part singly (always beginning slowly and strongly) until,through habit,incorrect accentu- ation would be impossible ; the other method consists in beginning with both hands and accommodating one to the other, as follows EeteetPateet®) Pinally,as follows but with extremely Tight accentuation ‘This piece produces its most charming effect ,when played with great delicacy of shading, clearly,and to an extent, dreamily. Presto. sud. 112. sempre molto legato a vnysigit 4808 by Thea, Preseen, 2 F, CHOPIN, Op.25, No.2. phtasealt sete Dapa Se~ | aN eeFANTASIE IN C MINOR. ‘This remarkably attractive piece will be found much more difficult to play well than would be tho upon first playing it over. Great independence of hands and fingers is necessary, and the broad rhythm must be carried with satisfactory accentuation and swing. The little mordents, in the left hand particularly have the force of accents,and are not to be acquired without application. @) A strong accent. Bb) Accent the first tone of the mordent in the bass. Take the tone below for auxiliary, At €?, think the trilled tone as a quarter and not as_an eighth; it has to have the force and character of a beat. The little bass running passages at d),sbould crescendo in ascending;and the eighth notes at €),have almost the force of inelody tones. These observations apply not only to the plices mentioned, but to the same motives through- out the piece. In the second period there is some very pretty effect of a harmonic and especially piano- forte, character, in the triplets played by the right hand, while the left hand crosses from treble to bass m= peatedly. Observe the measure accentsbut the whole effect is somewhat dreamy. The syncopated tone at & and in all similar places later, is accented quite forcibly, but the accent is answered immediately by the bass upon the next beat, Fan BULOW, Editor. Maestoso patetico. w.x JON SEB.BACH, weton Ras SS operator an, fi = dim z DA tras predomiante i iin pac welform er acoratyan tt Erp on Proteteynn tn Covselahy 1608 by Theo Pressey aaa. Study on Black Keys. ‘The original idea of using only black keys for the passages of the right hand has given rise to the des- ignation of this piece as the Black Study. As an exceedingly piquant composition bubbling over with vi- vacity and humor, now audacious and anon softly insinuating restlessly hurrying ever, tarrying never, its ecution must be at once coquettish and graceful and full of Polish elegance. For the purpose of compar- ison with extant editions, I have been able to use Chopin autograph copy, the property of the Royal Library in Berlin. All that is here engraved in print of the usual size is an exact copy of the autograph, 2AULLAK. Vivace wa.d-us SROEINonianes ete — i. —T i uu —— “To treat and to attest what is easy as though it were difft- —rhythmwhere by © new Sorm af the arabengue ts obtained: wt” the principte MEM with advantage be applied fo thie “indine® Drawingroom study” which even in ite very pleasing: We also recommend iransponing this study into the key of oo Imujonin which the right hand would play exclusively on the Tonite keys, whereas in the key of & major it plays exclave. Uy on tha black keys. To equalize the loweh ofthe fingers indé~ whieh, for instance tn bare 38 10 40,80 ta band 78 to 97 #8 Widely we wontd alee recommend practicing ina aifferent tha original form Copyrights by Thee. Presser,= 23 = Tait aT ee “ ¢ —— trai gBeraey bia Ea.Allegro brilliante. x. a)The edttor tv af the opinion that the slurs indicated by he som. Govecsinufphere ond etalt repetitions of the rhyshmien! mative, snerety a tong divetting upon the feret dotted eighthy aot an dete tal legato af the firat two tones, whieh would again imply Separation foom (he third eiehthThe edifor therefore under ais view is supported by wndertaying the words" Proud England, now mayiot thou be glad” to whieh the same motive 1s sett Mar~ Setnors Pemptar® Philip Spitta, in idora the adoption of Marschwer’ mi tige fo Schumann’s frtend Sterndale lente whom thin Opus ts inscribed. At the same time (he enitor Copyright 1805 by Theo. Presser Finale - Etude. Symphonique. B.SCHUMA Jolt bound to retain the composer's oven direction and he Ta corrected it in those cases only tH Which the star ner moles of the same Ditch ‘might be misunderstood as eDedeeat eters BE cdurere rey give tha 14 may be left tothe player to follow out the consegnences for the fingering which neault from te etifors conception Uf this motive; conformably 10 ut elorer connection should te sourhs Betoen cock iztoemth and the flowin ahh hn omen ag o se the fingering woos Fig3 # ———— athe singerine sugested forthe right hankis Pr 1b) The theme should atways b (te petal being hat ajan for for the left haid DeREVOLUTIONARY STUDY. “ This magnificent study is said to have had an origin in actual history. Chopin composed itat Stuttgart after hearing that the Russians had taken Warsaw, in 1881, It is therefore something more than an exercise ~-a tone-poem. Nevertheless the originality of the work assigned to the left hand, and the endurance requir. ed, have served to keep this work in the repertory of pianists,aside from its value as a poem-The problem is to train the left hand uatil it ean play its daring and whirling runs with the precision and vitality right hand. This implies qualities of maturity which will come only after working at t more. In all the earlier work upon it, concentrate attention upon the left hand part, While this is in reality the accompaniment, it is nevertheless the part of the piece which expresses the tumultuous condition of Chopin's soul, upon hearing the news of the fallof his native capital. Later the right hand will receive its share of attention. But always the left hand must have a certain degree of prominence, and always the vi- tality belonging toa right hand. Allegro con fuoeo. 4-10 F, CHOPIN, Op.40,Noaz legatissino pos 84 om fuoco a aA | oS a 3 TAS Coprred 1808 by Then. Preste,. - — Se Se. rhe et, 4st == i ES tbe dy == == 6: == = = eae he yr Tig = 7¥ #Forest Murmurings. WALDESRAUSCHEN, Vivace. F.LISZT. Copyright 108 by Theo. Prossera8 = “Jodeie ? Pata st 80 iW == - Sth ahs : ene Arle Un poco piu mosso. 2 4 ae8 giaaT BIE tee poe ote oie eh ri