IGRADE THREE I

MIC AE AARON
P I NO COURSE

•
Especially designed to create student interest and
progress by combini.ng basic elements
of piano techni c with melody

•
correlated material begin with

PERFORMANCE (11001 PF) ....... ... .page 5

THEORY (11002TH) ...................... ..page 5

TECHNIC (11001TC) .... ............... .... page 5

© 1946 (Renewed 1974) MILLS MUSIC, INC. Revised Edit.ion © 1994 BEA M ME UP MUSIC (ASCAP)
AU Rights Admini stered by WARNER BROS. PUBLICAATIONS U.S. INC.
All Rights Reserved
 CONTENTS

"VICTORY BELLS" (study in thirds) .................. .. ... 5 ARPEGGIO STUDy ............................................... .

"SINGING COWBOY" (study for Left Hand) ...... 6 SIGHTREADING .. ..... .. ................. .... .............. .... ....

AUGMENTED AND DIMINISHED TRIADS.. ..... ...... . 8 " BALLADE" - Burgmuller .... ..... .............................

"WATER LILIES" ..... .. ......................... ....... ... ............ 9 "COUNTRY DANCE" - Beethoven ......................

"AT THE RACES" (velocity study) Czerny ....... .... 10 "SPINNING SONG" - Ellmenrelch ......................

"IN MEXICO" (rhythm) ......... ... .... ................... ...... 11 "ETUDE IN D FLAT" (for Left Hand) .................... .

"ARIA" - Bach ............ " .. .... ......... ...... .... ......... .... .. 12 "APRIL SHOWER" - Burgmuller ................. .. ............

THE CADENCE AND CADENCE CHORDS ........ .. 14 "WALTZ OF THE FLOWERS" - Tchalkowsky .........

"OFF TO THE HUNT" (broken chords) .. .. ...... ..... .. 15 "ALLEGRO" - Haydn ...........................................

"WHEATLANDS" - Knipper ... ............................... 16 "PRELUDE" - Berens .... .. .......... .. ................. ....... ..

STUDY IN WRIST STACCATO - Duvernoy ............. 17 "CURIOUS STORY" - Heller .................................. -

"FOR ELISE" - Beethoven .. ... .......... .. .. ...... ........... .18 "HAPPY-GO-LUCKY" ... ......................................... -

TRILL STUDY - Czerny .............. ............. .. .... .. ........ 20 "MINUET IN G" - Beethoven ........................ ....... .::

REST TONES AND ACTIVE TONES................... .. ....21 "H UNGARIAN DANCE" - Brahms ............... ... ..... ==

"THE DONKEY" ............ ......... ...... .......... ..... ... ......... 22 MAJbR TONIC CHORD ARPEGGIOS ............ ..... ­

"STUDY IN G MINOR" - Krause................ ...........24 MINOR TONIC CHORD ARPEGGIOS ..................

"NORWEGIAN VILLAGE DANCE" .... ...... .. ......... .. 25 MINOR SCALES AND MINOR TRIADS ..................'

"ELEGY" - Massenet ..... ... ....................................26 KEYBOARD HARMONy .................................... ....'

STUDY IN BROKEN CHORDS................... ...... ........28 DICTIONARY OF MUSICAL TERMS ................. " ...

"BUTTERFLY ETUDE" (octave study) - Chopln ... 29 CERTIFICATE .... .................................... ... ..... ........ ..

"TWO JUGGLERS" (chromatic study) ....... .. ....... 30

 5

The double notes (3rds) in this study are splen­

did practice for the development of the hand.
Fingers must be held finnly at first joints. Be
sure to sound both tones exactly together.

Victory Bells
Allegretto MICHAEL AARO
5 4
3 5 4
•~
3 2 3 5 3 4 5 5 5 4 5
II. ~1 3 1 2
~ -3 3- ~ .:.

j
;;;;;;:::::::::
, .J
f marcato
- .~ ~ ~ ~.'(;I
~

.. I
,
? > > > - ~

""" > 3 > 2

5 5

l 1 l~ ~ l i
~Ui ji.~ lj~ j ~ lj l
5

> >I > I >

r 3
Fa r > 1
-a >
r
5 5

f Ui
5
5
3
~ ~
5 3
j 5 5 4 5

~ ~.-U
'po

~
I! 11 .. i '
, 3

~
S

I
3 2 ,

II
la
>

>
>
G
f >
>
2
5

31 ______ 5 5 3 31 _______ 5 ~~
1\ ~ 3 1 0/--., v _ .,""''­
-.J ~ .~
-I l ....I I. .J..
-I - r

> >
. - > >

Il003A
 6

The notes in the bass clef of this piece fonn an

interesting etude in thumb crossings for the left
hand. For additional practice, the upper finger­
ing may be used throughout as an extension
study,

Singing Cowboy
Vivace 5 5
1 1 2 3
"
...­ 3
.
i ...
Ride
I
on,
... --. .
Pin - to *ride I
on,
mf I

5 3 2 1 2 3

.
•5 2 2 2 •5 • • •

, 3

- 3

- 4

,. ,.
- -

~ 1 2
/

.. ... ... •• ~:

( -
Out where the plain meets the sky,
,
,
,
• • •

_ 45 5
II 1 1 4

f.) ... I
'"

... .' ... I I

Ride on, Pin - to ride on,

-2 5
~
2
1
- 1 1

t . . 17· ... ... .. ~. .,' ~'- c-~

( Hap - py and care - free am I.

t ,
- - • c.I'

J IOOJA

I
 7
2 _____ 53 2 _____
2
~

..
11 1. '. o.

I ~p '"
( Gone
... ...
is all
... .
sor -
I
I

row, The
...
world's born
... ... a ­ new,
~-
-

I, :
5 2
I I I
. ? 1 2
5 2
I I I
. ? 1 ­ 3

-------
5 2 5 2

2 _______
,~ 1 ____

..
1· I i
'"
. When I go roam - mg
I
-
the
I

old trail with you. Ride

I ··
cresco - ~. ­ rit. ~o a tempo

5 2
I
5 2
. ,.,2
5 2
1

5 5
1\ _ 3 1 3

tJ I
on,
...
Pin -
.
to
- ...
ride
I
on,
,
, I

•5 2 2 2 •5 • •
3
- 4

,. .
1
'"
I
t~ ... ... .' 'f!t:

I ,
, "
Out

•
where the plain

•
meets the sky , Ride

5 5

,
1
'" ---..4

.. I ... ... ... I

on, Pin - to ride on,

··

2 ­5
1 1
/ 11

) i tJ
..p-­ ... ... .. ~' .' - =6 - _=6
Hap - py and care - free am I.
rit,
)
·,
- • ~

llOO3A
8

Augmented and Diminished Triads

The word AUGMENT means to enlarge or make larger.

Play the chord of C MAJOR

~
~
Enlarge by RAISING the 5th (G) a half step
and you have the chord of C AUGMENTED

The word DIMINISH means to make less or reduce in size.

Play the chord of C MINOR

~
~
Reduce the size by LOWERING the 5th (G) a half
step and you have the chord of C DIMINISHED

Here are some chord progressions containing AUGMENTED and DIMINISHED triads.

4jijgl~ 4ij&ij lijij ~~Ir l r

Cdim Gdim

II II II t&~ &&~ I!!~ II'

Cmaj Amin Cmin Cmaj Gmaj Eroin Groin Gmaj

Triads of A minor Scale

(harmonic fonn)

~j i Ii j ,I • ,~ ~ II
mm dim aug min maj maj dim min
I II III IV V VI VII I

1I003A
 9

Try to locate the augmented chords in this

piece. This piece should be played with ex­
pression.

Water Lilies
Andante espressivo
5
2 1
!Ji ~
3 3 3 3
1 2 1 2 1 J l 1 ~

, ,
" I

) -.J
r; ­ 1
i -
r - 1
r
.. ~ ~

1
5 -­ 5 21 '
L 4 42 51 '2
___________________11 A 4
~----------------~II~-------------
5
5 5 4 5 2 5 2 4
1\ I 1 2 11 3 1 1 2 1 3 1 ~ 1~

.., - bij -
-.
r
-.
r r "r
r" 1 r"
-
I :t
rit.
I I ~ !
··

--"
13
5
2

A
11
3
A
1
2
A A
1
5
-.5 4 4
A'--_ _ _ _ _ _ _ _ ___
2 2

5
1 ,
~
3 3 3 3
" I
1 2 !ri 1 1 Ji 1 ~

.. r 1

i r 1

i
a tempo
~ ~ ~ ~
~ ··
1 '2 1 '2
5 4 5 4
--" " A "'-___________________

--
5
5 5 2 2
, ., .-5 r...

.
1\ I 1 2 11 3 1 I
"
l
.., ,
~
r -
r i 1 i J rit. : =­ ---- VI'
I.:J

I I ~ r­ r...
~
~ \
·· .-
5 3 4 3 4
--" A A A A II'--_ _ _ _ _~_ __

1I0OJA
10

nl
Practice the right hand separately, one note to a count (l 2 3 etc.) until you are
certain of the notes. Increase speed gradually until you are able to playas triplets.

At the Races

1 5 1 5
2 2

8va- - --- - ------- - -!... 2

- - - - : :: - ;_ 2
2~ 3

1 1 5
3 2

1 1 5
2 3

3 5

mf

1 1 1 1 1
3 3 2 3 2
5 5 5 5
II OO3A
 In Mexican and South American music, rhythm
is very important. Play this piece with a "bounc­
ing" rhythmical swing.

In Mexico
AUegretto
2..-::-.._
3 ~
- 4 ~
/
~ -.- •

-
,oI!I

~ _ r _ r
4t r I r 3

)~ £
.L. --"'­
mf
> ~ ,. ~ ~ > ~ ~ r ... r •• ... ~

4 1 > 1 4 1 > 4 1 5 1 4 1
2 5 2 2 5 2 2 2

1\ 1 ~21 3 1 - ..;. ~
- 2 1 ~

, 4t I r ,---r- I I

J
·· I " .. ... ... r '" .. ~ .- r
P
~ ~ ......
5 4 5 4 1 5 4
2

1\ 3 r 1 ~" 3 ~ 1 ----- 21 ' - 3 I -

1 ~ > -.
5
1

, 4t
7
r
- I

7
I

··
r ...... ~ ~ 1
mf
~ .... .... ... ... r

5 4 5 4 5 >
1 :>
5

5
1
2
3 5. ~ >

4 > 4 > 4 1 5 > .

5 5 2 1 >

llOO3A
 12

~ ) · '1
~'A' ~
. I

- . _~. ," .,~, I'" •

, __ ." I!!L"
T..' .~. . . ,
".. I J',
'(II'
"t~~
t"~'': ~It.',- -"\·h. •

-'- ~
if!. (
..
--G
.J
,. .': ~
·1.1 ,.,
~~ ;" .,
This lovely aria by 1. S, Bach has a spiritual
I'r~':)~~\ ---:ffl",*~~
..t. • f
~'~~~.
~ r:J;'~~~
.~. ~
- ( ::it \\ 'l)l " , ..:
quality which lifts it high above ordinary music .
Try to express the feeling of joy and exaltation
,r- \
~ If
.
....
n. ,\
f"
-
. when playing this composition.

~I~~'''\ J,''1\"-' ".. \.:--~

J "" '
'. ~', -. I ,. ~ ,.

, "./ I. \ \ . t. ,1:, t:'\

~,\,-
• A'
...-' ~~..
•
_ - _ ".:-'
\ \.
,\ "
,
. Ir
I
.'<\ • .' ..
~.I'~'M'''' " ( J
.._ ~
.
_. • -
.
.._.....
,,""\.7.
_......
1-"
" 'II-­ -.,. •• ...,
.") ... - .... ~, ... ­
.-9'
.

Bach (at the piano) and his family

Aria
JOHANN SEBASTIAN BACH
(B . 1685 - D, 1750)
Andantino espr:...:e:s::si:.,:v;:o:-__________ arr, by Michael Aaron

3, ----­ 4, 2 .!. 2, 5 4 3 2L 3 L"---- 4.L 2 I

2, 5

.
'\ .II-

\ mf
I I

cantabile
. - - -
I

1
3 5

)~
'\ .II­

,
4

I
-- ,
1,"----­ 3 i
-----­
.
1, 2

I
3~3

I
1~

<

·, - - - - - • .­ • •
\
- 5 3
? 1 ::I

~.iIo ~ 1, ...---- 3 ~ --....... 11 ......

.
2
I

)
) .-

\
··
A

5 5

11003A
 13

I\.it --
2 -
3-........, '" , 2 I ~

I
I I ~.
e--­
J •
I ..
I
• • ,. ,.
- ..­
- - -
2 1 3
5 - d 3 15 .,

I
I\ .it

4tJ
ti1-
--- l •
1
~
5
r f!:. -­ ~ ~ ~
----4
~ " . ~ F
====1
- ---,
l
( up

, ...
)

\
1\ '"

-
4 3
5

A",
~
f!:. ~ .,. .
1
~
-
3 5

~ ~ ~ y--~ ,1 ~ it- Y---

~ ~rr
"iJ

~ ' ''
~~ .5
3 • 2 3 4 5

~
~

I\ .it 2
• ~ ~ t: ~ F~ ~
~

tJ

1\ ",

tJ ..
5 5
3
5

~ ~ __________1
~.it ~ ~ ~ ~ ~ 2
- •
\~
poco rit.
(' I\.it

~ 2 3 -­ 4
till
5 • 5
--­4 3 --.­
5

Il003A
 14

The Cadence and Cadence Chords

A CADENCE is a point of repose or rest at the close of a musical sentence. To form
a CADENCE we use the TONIC. DOMINANT and SUB-DOMINANT chords.

EXAMPLE : Play "Off to the Hunt" on the following page and notice how the last
two chords of the piece, (V7 to 1) give you the "feeling" of a completed musical
sentence.

Cadence Chords

f1 ~ ~

. .
I I

..., • ) ) •
tonic dom. tonic tonic sub tonic tonic sub tonic dom. tonic
dom. dom.
0
) 0
I I )
, -
0 0

,
v IV I IV I V

,. II

tonic dom.
I
tonic
"
...,
tonic sub
dom.
tonic
I ...,
"
tonic sub tonic dom.
dom.
I
tonic
-

J .. I I
0
I I
I
0
I

I
- 1 v I I IV I
· _L· ~

I IV
l _

V
- --_ . -

II I 11 A

• -i t
tonic dom.
~
tonic
) . -i
tonic
...
sub
.a:;
tonic
-
~
• -i ...
-i t
tonic sub tonic dom.
-&
tonic

0
l 1
) 0
dom.
) 0
~
dom.

- f
0

I v I IV I I IV V I

~ ,
I
f1
"
) .. •
tonic sub tonic dom .7 tonic
-
I"" tonic sub tonic dom.7 tonic
- ..., -i ... -i t -&
tonic sub toruc dorn.7 tonic
dom. dom . dorn.
) 0
0
~ I . 0
.1 I 0
I

, ,
IV I V7 IV V7 IV I V7 I

llOO3A
 1­

Notice the contraction of the hand when playing

from C to E in the fust measure. The practice of
broken chords will develop "elasticity" of the
hand, so essential to good piano technic.

Off to the Hunt

I ~
I
Allegro con brio
1 ~ -
5 1 2 ..2. 1­ 3~ 3 I
2
-= a(

*mf - -
~

-.J I :J 1 y l' I 1

•• •. .
I

. J. :~
j, 7
....". a(

1 1 1
2 2 3
5 5 5

11. 1 .---:::--- 5
2 5
1 - 3~ 3 21 ~ 2, t..

I -.J ... I I
"

) - 11II!!­ ~~ ~ ...:::::: :::::.

·
1 1
2 3
4 5

II ----- -3 2 3 2 -
1 ~-- .. ., .. :..---- "3 2 3
2 _____

--
-

-.J - ......
- -
· - - /' . .......~

&I
I

- ___ ...-""" 1
5 - 3
I ..... ~

3 5
5

1 ~ 1 2 5
1~ 3
.,
1 r'\
.
11 ~
,
0
i
I 11. ,
.
) eJ ... - - I I

V7
-I ----­
I ·· . - .
5
3

I 1003A
 16

Interpretation in music means expressing the

mood of the composition. This particular piece
is distinctly Russian in flavor and should be
played with expression.

Wheatlands
KNlPPER
4 4
,. Moderato espressivo
Tr-: 3[ 51 1~ 1 61 .~31 5

I
.
iJ
~ mf
. ,........, I I ~ I I I ,........, I I
• I I I ~ I I I
l . .
5 4 3 2 1 4 5 4 4 5

4
~ -=.11
- 5~
51 1 5[
-- ~

I ,.J
= ~ p
- - . 1 - - .-
) f I I I ..:. ..:. ...:..

\
··
4 1 2 1 1 1 1
2 2 2
5 5 5

5 ____
,. TI 3 51
4
11 ~ 1 , ~I 5 --------­
.
) tJ
~
- - ... ­
mf -=:::::::: ==­ mp
) ,.....,....,
I, ··
., I I ~ I I I ~ I I I
• I I I

5 4 1 5 4 1 2 1 1
2
5

3 1 5
~ ~ 51 1 5 3:----- 41 ~
I
-.:J 1 - .. 1 - FP rit.
-
dim.
..:. t:I.

I ·
1
2
5

llO03A
 17

Study in Wrist Staccato

Play with a m ther high wrist and a
light bounding wrist action.

DUVERNOY
Allegretto
, •.
5 5 4 4
1 5 5 5 5 5 4 4 2 2
5 1 5 1 2
1 1 1 1 1 1~ 2 ;. ...
I
" ~

.., "':' "':' '":'

( P ieggiero
. L L L L L

t .
5 -
5
5

.. . ..
5 5

1\ .4
2
4
2
.:. .:. .
4
2 4
2 4
2 ~~
1
!: !: !:
1
;.. ~
5
1
~ ~ ... . •••
5
1

I .., - r

( f
L L ~
t ··
"':'
5
1 5 1 5 1
5
1 5 1 ...
5
r1

5 5
5 5 4 1
1 3 5 1
1 1 4­ ~
1\ .:. .:. 1 1 ..:.
I tJ ::>
< p
I ~ ~
··
'L

t
'!"
5
1
~' 1
-:3~ 1
5 5
4

1\ ~ I"'-- , 4
~
2
4
2
. . . ... .
2
> >
. >

.., .
\ ::> r

) ~ ~ ~ ~ I! ~ ~

··
1.....1 I
-- V

1\
• .
5
1
~
5
1
~
4
2
3
1 . . . ..
5
1
5
1
.:. .:. .:. .:.
4
1
5
1

.., I

J dim. e rit.
~

{ ··
* .. ;,.~ ~~~~ tiL . . . . ......... ~~ ~~ ~;.. ,.. .. ~ ,..~;.. .jj.

1 1 2 1 1 1 1
5 5 4 3 5 5 5

1l003A
 18

Try to "match" your tones from note to note in

order to obtain a smooth, even effect. Observe
expression marks carefully, and strjve for a
steady graduation of tone in crescendos and
decrescendos.

Beethoven at the piano

Fiir Elise LUDWIG V AN BEETHOVEN

(B. 1770-D. 1827)
Poco moto arr. by Michael Aaron
4 2 4 2 4
5'-----:- > 2 4~l 1........--..5 1 ...--­ ~ 1~
"
tJ - "* - 7' -­ r r
pp
== = = p
.. ~- ~-

"*--(' 2 .
5 2 5 5 2
I A AL___________

II ---
> 2 4
- 3---_~1.. 1~
- -2
, ­ 3j ~
,

..,
= =
,.-----;.
* =
r

- = - V

.-----:..
,
.
,

5 2
. *-----/
5
2
5 2
L -______--------------~A~----------~
[

2 4 2 4
tJ. > 2 4~1. 1 .________ /
1--- 1~ 4
l .., r
----­--, r
*
I

I
= = .,---­-
=
~ ./ ?
=
-­ p

5 2 5 5 2
I fI A'--____________----'

4 1 5
~ 1.,.-2
" > 2 I.
--­ . L 2 ...­

-.
~
"

* r V
-
= -::--­
= - = =
(~ :
-
.-----:..
-----­-
5 2
*---<'
5
2
2
I A'--______________~ [5

l 1003A
 5
5

"
5
" 1?­ 4
v
1 ;.-- "­ 1~ 'Pi
5
Y1 ;
*' ....

-­
a;

tJ
mf
.~
~
- '---l r

~
I'

rf!:. ~
~ dim.er~
~
·· .. .
5 2
r
5 " - "
- .,. .
eJ ...
5---­
1 3 2
'"-

[5 5

" .---.,.- ~ - > 2 4 - 3~~ l ~ 1~----"""" 1~_

...
t
tJ * - r - r
~
t-- .

I ==
<

I
~ r'
pp a tempo
. .....--:;.
- ......--.!!!
.."...-;.
- =:-
I,

tJ :3 2
- --- .
I
5 2
*---/2
5
"
5
11'-_
~

2
_ _ _ _-'

1\ -­> 2 ~ ~ 1/ --... -
2 ......... .
I
. * - r ,./
--
) ·
p
------­
- ~
::

t · ~ ."
*---1'" 2
5 2 5 2
I IIL_______________ [5

I
,, --­ 1 /­ 1 j..
---­
~
5

'':=;
5

..
n ., l

-It)

mf - -
....I r I'
--­ ~ dim. er~
.~
• .,..-­- it­ ~
·· ,.,,.,
."
'5 2
r
2 - .,. eJ?
5
1 3 2
J
;

" 1 5 2
' - -_ _ _ _ _..11 / 15 5 -.l

I\ ~ ~ > 2 4----1,. 1~ 1 "'- 1 )---.

;

I -------­
.. ..
- r
} r r

r'
pp a tempo
..".---;.
*
~-
- =
'" ~:::u.

I IV

. 3 2
5 2
*----/
5
2
5
~

2
L-________________~" ,,~ __________~

-> 4 _____ 1 ___ 2

-
!)
1
11 2 I,.
--­ ,.
.., I' •
p * = "!.

··
~
_rit.
I
'*!"~ 2 I I

IV
:' 5
'---------------,,~--------------~
I lOO3A
20
To obtain an even tri ll, try to "match" each tone. Practice at three different speeds.
First as quarter notes; second as eighth notes; third as sixteenth notes (as written).

Trill Study
Allegretto CZERNY
3 4 3
4 5

=
1 1
2 1 3
4 5 5

4
2

1 1
4 5
5
~ 61 .:> 61 61 61 2 1 3 1 61 ~ 6I~ 6I ~ 6I~6I 1 .:> 61 ~f'"-r-

I ~
p
I 1\ ~

~ 3
2 3

5 4 5 4

'" ~ t- r- t- r- t- r t- r­ t- r f'"­ ~o/t61 1 2 4 1 4 1 ~6I .. .:> 61 .2

-.J
f -
ILoIjo -.l

..., 2 3 11 ., 1 ? .-:
5 4 5 4
,, ~ 1 2 1 e:~~~ ~~~ 1 2 1 e: ~e:~ ~~ ~

tJ p
~ ~
p
q~
.. I':)
'1·"
1 1
3 3
5 5
8va - - - - - - - - ­ - - - - - - - - - - - - 1 5
5 2 5
1 .. _ 1 4 3 323 3

1 1 1
2 3 2
5 5
ll003A
 Rest Tones and Active Tones

All music is composed of tones of the scale, and it is im­

portant to understand something of the quality of each tone
in relation to the others.

REST TONES
~ J
do
j j
mi sol
F
do
Degrees of Scale 1st 3rd 5th 8th

The first, third, fi fth and eighth degrees of the scale are
called REST TONES because a melody or musical compo­
sition may end, or rest on any of these tones.

~ J J J
ACTIVE TONES
re fa La
rti
Degrees of Scale 2nd 4th 6th 7th

The second, fourth, sixth and seventh degrees of the scale

are called ACTIVE TONES because they have a restless
quality and progress or resolve to the nearest REST TONE.

Active Rest Active Rest Active Rest Active Rest Active Rest
Tone Tone Tone Tone Tone Tone Tone Tone Tone Tone

~ Jre J
do
~

~ J j
re mi
~ J
fa mi
j ~ J j
La soL
~ ti do
2nd to 1st 2nd to 3rd 4th to 3rd 6th to 5th 7th to 8th

Find the ACTIVE and REST TONES in the following progressions.

w w ~ ~ , ~ ~
llOO3A
 1 - ­­
I

I
Pieces written in meter are usually played at a
fairly rapid tempo. Be sure to practice slowly at
first, accenting the 1st and 4th beats.

The Donkey
Allegretto
5 5 ­2 3
...""'
1
, ft..it 1 4"; 'II: 1 1..""' 1 1..1""\ .t"' 1

~.J .---""""'
mp
-.....-'"
-- - .-------­ ----.-/
- -
I . • ­ • ­ • ­ • ­
.
2 5

" .It 1 J.r" .,k" K 1 1 )[' £' }r" 1

- - - -
,
-.....-' I
) 4t
mf
-a­ - t - ... ...
·
1 5
2

Ii.it 1 i>C' ~3 2.....- - 1 1 }rl""\ 4~ 3 2 - 1

t 4tJ - r
- - - r
-
<

··
..-: • ...: . •
f,
2 2 2 2

II003A
 V(OOII
<;
~ G ~ <; "A ~ <; '..01 ~
'J!' ~ - .. - .. ·· ,
OJ!.! o:Jod
II
I
• - ~ It
1
~ J v' v' N N ~ 1'1' \I
~ ~ ~ ~
I 1
,. : ,. ··
.. :*
)
I /

I
I
- J ..01 ~
- -- - - -- ,
~ "--t, ,-,"f ~ ~ "--t, ,-,.l( l 1'1' \I
'- - --- "" --
. 01 ..01 ..01
<; ~..01
I
... ... ... ··
* It
llil
~ .....--:.. ~ II
- --­ --­
l X X ~ l l ~.l( 1f 1f ~ 1'1' \j
<; ~
.A .A .A :A
- - - -
)
,. ,. ,. ,. ··
OdWtJl v II
-=--- .".....----- ~ - ....---- ~- ~.- ~
J
l '-' '-'"" v l '-' l '-' l ,-,t>' ~ 1'1' \
<;
'J!.1
..01 I j

•I
- 1:
 24

This is a splendid study for the contraction of the hand.

Practice this etude daily to develop flexibility of the hand.

Study in G minor
KRAUSE
Allegretto
~
fl ~ ~3 2 4 3 2 4 3 21-----1 3 4 3 2 1 1 4 1 "' ~

3 -~ II!" II!" "

-.J ~ " II!"
.'1
3 3 3
P

--- .,.
. • t--­ ~
-----­

) -.J
-----
/ ~~~~~I~~3~1~2~~3~'~2~3~~~~~~~~~~3
~~-
' 2 ~.~E3~'~~~~
cresco poco a poco
~~~~
~ ~~~~
~~~~2~~~~~~
~ 1~ ~~~~~3
1 2 ~
-
5 L 2 1
------~

, ~ J .1 -

,,_____ 3
1\ I~ 4 3 2 4 3 ~ 3 2 1 2'

I .,­
.J II!" l'
II!" II!"
"-­

I
f
>
• - -­ r--:-­
/

~. r--;.
p

----­

) -.J
A
-----
L 3 1 2 3 , 2 3 •
5
3 1
3_
- 2
- ~
c. :­

l .
.
crescopoco a poco

1 2 1
---
I
I

13
poco rit.

11
t
"':'

..=
l lOO3A
 The open fifth in the bass is characteristic of
Norwegian folk music and should be played
with well-marked rhythm.

Norwegian Village Dance

Allegretto 5
3 3 2 5 4 2 5, 2 3 5 4 1 2

.. .... .
A"oIt 3- 2 1 1 1 1 1 1 "1 1" 1 1~ "1

-.J ~-
- ... ... ...
p marcato
~

. ... ...... . .. .. .. .... ~

.. ,L i

" ­
3 3 2 5 4 2 5 2 3 5 4

-&

1
5

3 "2
5 5
1 4 1 5
~ 2'
1
"1 1 1

1 1
5 5

5 5
1 1 5
1

1 1
5 5

l l003A
 26

JULES MASSENET (h. 1842 - d. 1912)

Massenet's achievements can be summed up in three words: Concentration, Industry
and System. Born in Montaud, France, his family moved to Paris when he was
eleven, in order that he might study at the famous Paris Conservatoire. At the age of
twenty-one, he won the "Prix de Rome." During the eighteen years be taught at the
Conservatoire, he still managed to compose over a dozen operas, despite his heavy
teaching schedule. Asked when he found time to accomplish so much, Massenet re­
plied, "When you sleep!"

Elegy
An "elegie" is a funeral song or requiem and should be played in a sad
and expressive mood. Bring out the melody which lies in the left hand.
MASSENET
arr. by Michael Aaron
Moderato con espressivo 3 5 3 5
4 2 2 2 2
II.iIo 2 1 1 1 1
I

~ ... =-- ... -- ~ I - ... - ~

lfI --.
} mpm~~to ~ ~

5 2 3 2 53 2 5 2 1 5 5
"" ""---1 L -_ _ _ _ "-----.J "-----.J

3 5
4 2 2
I 1\.iIo 2 1 1

-- -- -- -- -- -... ... ... ... --q --.

~~:'l fTt
T T il

\
2 1
"~I
it(rjt
1 2 53
ifCYt
1
~
2 5
I
IC1iJQ£i
~1 1
1

5 4 5
3 5 4 3 3 5 3 2
3 3 3 1 3 1 1

- > ~

5 3
5 '---"

I JOO3A

j
 27

II ..
3
I .,5 4
1
3
~
5
2

---.r • • • .. • it· it ­
--- .ft­
- - •
I accelerando rit. e dim.

··
~

• >
_. 1*"- • ~ .
-# -. ;;; . ~
'" .) ~ .""

3 5
4 2 2
2 1 1
I A"
...
\~ p a tempo
- - - ... ... ... ... ... ... "'1
--"'"
t

~~
<

" . c'"' ~~ ,- ~ ,- .--....... ..---...

I ~'
--
"

\ .l::
~ ~
I 1
1 2 5 3 1 2 2
L -_ _ _ _ _ _ _ _~~ 1 5 5
~--------~ ~~
L -_ _ _ _ _ _ _ _ _ _~

I\. Jj,

tJ ~t t t t t t t t t t t
., ... ... ... ...
ml poco aceel. rit.

··
~

r~
>

r
­.
r?
>

r
­
.. r
-----......
~_ r
- ­
r--­

~_ _ _-,I
~..,!!j
1 5
~
~- ?
L_______--'
I

2
1 15 4 2 3 Is >

--.. f~ >

1 2 54 2 3 2
L -_ _ _ _ _ _~AL ______' L -_ _ _ _ _ _ _ _ _ _~A~______________~
[

---.:.I.h.
~ Jj,
;;:> 1 3 /~ 2 1 ,....
~
. ·r~ 7 ~ 7 , 7
- r= .
.=,­

p Lento
.
dim. pp
...
} poeo rit.
~ . -......
- 1':\
f ~. 1
~.

> ~
'-'"
[ 1\ 1\
III 2 3
A
'4
II
1
II ,
2
s--'3 tL """'!!

[5 2 1

1l 003A
 28

Make th is study part of your daily practice in order to

develop the extensor muscles of the hand.

Study in Broken Chords

"
Allegretto
1
2 ".-0:. 1
2
""""""T -
45
I I 1 2 4 •
5
1 2 ~ ~
5
,3

.; .
mf
- ~ ­ -
I
­
....... ­

.. - """"""T I - I ~

- 1 _
~

4'" ":;
5 4
1 "5 A 2 1 ~ 3 2
5
n 1

1
2 ;;l "
.....
1 ­
2 4
r"""T I -5
I 1 2 4 ! 1 2 ~ ~
5
~~
3

.
J "

) .; -
)
·· - I"'"" T -
I I .
~
5
..
4
" 1 "5 A 2 1 I: 3 2
1 _
5
.., 1

J "
5
~.; 2 1
5
• 4 2 1 -
5
I
4
I
2
T
v~ <: 1 4 I

\~ - ..
)
··
I"'"" - I
- -.,. --.,.~
,
~ 4 2 1 I
5
I
4
l~.
2
--
5
~ 1 5 4 2 1

5 4 2

J
'\
5
• 3 2 1
- "- " ~ 1 5 3 2 1 3

.... •
, t
-I
• 11 · Yi ' -& _-9'

)
- - ,...-]" ­ I

.
I I
··
., 1 .. A 2 1 3 2 1 3
45 .; 5
"

11
 FREDERIC CHOPIN (b. 1809 - d. 1849)
Although Chopin was not very robust, and was handicapped a great deal of his life
by illness. he still managed to compose a tremendous amount of wonderful piano
music. His Preludes, Etudes, Waltzes, Polonaises and Scherzos contain the poetic
charm, delicacy and strength which characterizes all of his music.

No piano recital would be quite complete without the inclusion of some music by
this great master, who has often been referred to as "The Poet of the Piano."

Butterfly Etude
(Study in Octaves)
This is a splendid octave study and should be practiced daily.
Play lightly with a rather hi gh and flexible wrist action.
CHOPIN
5 arr. by Michael Aaron
(4 )
V' 1

/el-- r­

p leggiero
~ ~ ~ ~

'--_ _ _---', 2 '--_ _ _~'2

~,jf ~ ..;. ~ ..;. ~ -~ ;. ~ ~ ~

-­
)~ r 'If
-
) ~ I ~ I ~ l ~ J
··
2 3 2 2

1I.if /i" ~ ~~ ~-- ~

~ ~ ~ ~~ ~ ~ ;..
,
tJ •
-
·
~ J ~ J t J ~ J
'--_ _ _ _-', 2
s
f:\

I
-~
fI\ .. - .."..-.­ . -.,. it­ ~ 1
s
....---~
~
+­
+-­

--­
~
~
t r '" I

~ I ~ I ! J ~
{ I ~'
"T.

2 L---_ _ _ ----'J 3 3 [2
J

I l003A
 30

The chromatic scales in this piece demand a

light relaxed thumb action. Practice slowly and
evenly until a smooth effect is attained.

Two Jugglers
AUegretto 4 5 5
, 2 3 _' 2
1 2 3 3 3 1 1 .!. ~~ • ~
" _' 1 _ ' 1

- ,
,.
l'
I I
J ..
mp

I I I I , l I I I I I I
.
3 5 3 3 - -
5
3
1
1Ij1 1, , ~~ jlll L

t
v
aft
) ,

t, .
2 5 2

11
, 3 , 3 , 3 1 2 3 1 3 1 " J,j. " .... .,..
3
~
4

•
) .; -
J J I I I I I , I , I I ,
..
5 2
.. .... ....

llOO3A
 31

3 -1'1" 1
~ 1'r1 S~
----i
I
.. 1 1

sfo
1 1

1 J I I I I I

t ·· j
3 5

I
~ 1 2 3 I
- 2 3 1 3 1 " .. " ,. .,.. l' 2 .J ' 1 ,J '

) .; - l'

~ .
I I

I I I I L I I'

· · ~.

-
5 3

I 1\ 51 1 1 t ~ 511 1

-
) -.J sfi
) I I I I I I I I I I I I
·· ,
2 5

~ .:;;.
2 3
II 1 3 1 2 3 1 3 1 .=. .. ~ I. .,.. fK- )r
­
I
. 11

-
I 1 I I I I I I I 1 I I 1
l ··
2

~ fr $. ~
it.: jJ----­ --.
=::::::----..
I:
I I
J .. , ril.

I · I 1
·

llOO3A
 32

After this study has been mastered, practice arpeggios in other keys.
See page 58 for arpeggios in all keys.

Arpeggio Study
Practice hands separately

.-
~ 1 2 3 1 3 1 3 2 1 2 3 1 3 1 3 2 1

,
). *
P e legato
I I - I­ I - -&

.. ~ I I ~ I I -&

·
2 4 4 4 2 2 4 4 4 2

A 1 2 3 1 2 1 3 2 1 2 3 1 2 1 3 2 1

,
I I I I
, tJ
* * -&

.1*-. ~ -&

··
L I .1 1

2 4 2 4 2 2 4 2 4 2

5 5
~ 1 2 3 1 2 .. r .. 2 1 3 2 1 2 3 1 2 .. r .. 2 1 3 2 1

.
/

··
) ... I I

*
I I
-&

) _1*-... ~ -&
·· ..L I

4 4 4 4
5 5

2 3
- I
5 2
-, 3u 2
"'­ 2 3
- I

• e:
3
5 2
, 3 2

,,. .
~ 1 2 : !: : I T­ 1 2 I T 1

- . - 4

·· - ~ - - • -
4
5
...
4
~ 1 - ... 1 2 4 1 ~ ..
4 4
5
...
4 " 1
- ... 1 2 4 1 " ..
4
~
5

llOO3A
 3

Sight Reading
In order to become a good sight reader, one should develop
the habit of reading notes in groups, rather than singly.

EXAMPLES ~ FJ J 1] or ,: -r r4' F
( ;J

The above groups of notes are composed of LINE NOTES and SPACE NOTES in succession.

DO NOT READ C-D-E-F-G

DO READ Five notes moving UP the keyboard (to your right) starting on C.

EXAMPLES ~ j J J or ,: L j J7

The above group is composed of three SPACE NOTES in succession, and three LINE NOTES
in succession.

This means you will bave to skip two lines, or two spaces.

DO NOT READ F-A-C

DO READ Three notes moving UP the keyboard, starting on F with two skips.

Cultivating this habit of GROUP READ lNG, rather than the note by note approach, will not
only improve your SIGHT READ lNG, but will also improve your piano playing. All musical
ideas are composed of NOTE GROUPS in various forms, sometimes referred to as MOTIVES
or MUSICAL PATTERNS.

llOO3A
 A "Ballad,," is a story in musical form. Try to picture a woodland scene in which elves
and woodland sprites are dancing. The rumbling of thunder imitated in the bass clef
warns of an approaching storm. The sprites hide but return when the storm ends. They
continue their dancing only to be interrupted once more. In the final measures you can
feel the gradual subsiding of the storm, ending with a lightning crash.

Ballade
Allegro con brio BURGMULLER
5
arr. by Michael Aaron

,
I '"
.
I
3
1

)~ ~~~ ~~~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~~~

p misterioso
. ... ...
.
"":-­ 3 2
4

4 5
3 4 3 1
1 1~ 1_ !. !.
" I

eJ ~ ~ ~ "~ ~ ~ ~ ~ ~ "~ ~ ~ ~~
A A A A
-...Ji
cresco
sf sf p
, , , ,
~ .-­ r-- ... L .­ --. , , , ,
·· . I
3
1
4 -
1
5
4
5
,1 ,
...,.
I
• 3
­
...H
",
~

v
-*!
~ ~
"':
~

f
, , ~ b~ f:\
~ . ...H

~ 5
1 2 3 2 2
4

"
1 --~ 3 1
5
~- ' 1 ---­ 3 1
5
1" ... 4

".
I I I
eJ I
P dolce p
~ ~ ~~ fII.. fII.. fII­ fII.. ,. ~ ,. ,. ~ fII.. fII.. fI­
·· .
1
3
5

- ... - ..
,,
4
-
~ 4!
2
"l .... 1 2 e::::::::: -:::::::::::.2 4 3
---------­
I
, poco rit. animato
J ~f*" H--a­ ~ !-. '-J C: ~ ~
1
2

J J003A
 4 2
1\ 31 2 I 31 I
-""
I
I ..

= =
-
cresco
........
- ~

= -
........

•
( I

I I I t I I t I
I ··
1
3
5
5
3
31 2 4 I 1
J
~
'"
,J
if
L •
--­ rit. e dim.
--..
-- p ~~~
p
~~~ ~ ~ ~ ~ ~ ~

I
·
l­
. I
-,
I
,

~2
4
1 - ~

4
3
1
r " I

I tJ ~ ~ ~ ~ ~ ~ ~ ~ ~ "~ ~ ~ ~ ~ ~ .~ ~ ~

, sf sf
... .. ~ .-- -­ .. L. . -- r-­
·· I

--; 3 5 5

, .. " I
,......,
- ,1 , , , .-
5
3

~~
p
, ,
A

cresco
, ,
A A

, ,
A

-, , ---, , I
~

··
2 -
1
3
~
"""--" l...-I 1
2 3

5
3 4 3 4 2 3 4

'I

J\

1 'I 1 >~ ' > -I > _

5
2 2 1 2 1 -:.4:---------------
i ­
8va - - - 1
5
2 1:\

p dim.
sf
1:\

2
4

1l003A
 36

This piece is one of the most popular in a group

of Classical Period country dances composed by .
the great master, Beethoven. It should be played
lightly.

Country Dance
LUDWIG V AN BEETHOVEN
(B . 1770 - D. 1827)
arr. by Michael Aaron
Allegro con brio
....I .. *
I -&:
~
.J
"P
~.
>
~.
7'

2 ~ 2

.
3 5 2 5 1 4-.:!,
" .. it
I •~
.J •

~
.
'rl -----
) "
.It
f,
4 4
--; 4

-
3 ______
2
4
" ~ -It ~ 1 3 2 1 3

~> '!" '-..l!: '!" '!" '-l!:. '!"

) 4l S ~ > > 'I!'

. ..
f p

.. .­
> >
.­
> >
~

I II

IIOO3A
 3.
'1 ':

, l'I~i~ - 3
~ - 1 3

-----
5_ 3 1 5 3 2
~-
,- .
IV

--
-
I
........... >
) eJ

I
) . .. .. .... cresco
.. .. .. .. .--. . . . - ­
-- >
,

.,
I

1 2 4 1 U1
2-4
3

,
I
1 eJ
1'1 ~ -It ~ 1 3 2 1 4
- 3 I

.
3 ~

.
~ ~- ~ ~ -.....j!­ ~
'-"""'> > 1!' > > -r!
I
I
f
.­
>
-
>
..it
>
.it
>
..
p

~
·

l' 3
~ _ =--- 5~
(I~#bl Eft Elf ~ I~= Q] I ~
5 32 >

f iiJ il ;j l '.'

cresco mp
>

2 -4
2 4 1
3
......
.'-..:..­
2

, ~1t

~
.,··
~ "

( ~. f
L'
>

4
'-1 >
4

, ...,
5 5
/ ,,~j 3 2 I

~ - V
>------­
) .
I .
I .. f
.. •
sfo

\
....
-1
..
4
"
-
....
I IOO3A
 38
This composition is composed almost entirely of one leading motive or musical pattern:

nTInln J

Spinning Song
ELLMENREICH
Allegretto 5 4 5
11 - - . - -
I
~"'''''-4f ~>'­ . . .~ -4f
tJ :;J. ." .. .."tJf ~~
mp -.... --­ -.... -­ > 'r"
= = '.
I .
5 5

..1
I

~v
I
2
1

"':'
3
,

"
4
2

.
3

-
1
5
3

>
4
2
3
1
2 11.
2
'-
"':' ::> "':'
>
"
11 2.
.
2

~rb;r
,
~." .. :J' ~'-'
-.........
p cresco
poco rit. P atempo
--..;:)0,.

~
, ~
~ ~ ~ ~ •5
5
=­ =­ =­

3 3
fl 2 1
. .
..
tJ ­ ... ... - - ., ., ., ., ., ., ., ., .... 1' ­ - - -
p marcato it canto

.. y. ~ ;;:­ t----. ~ - ~
3 -5
--- 3 -5
2

5
3
4
3
4
2
3
2 ,
3

"
~
I
~
.. ., .. ., .. .. ., ... - .,.,--. --. --
I ~.
:..L'
~"...-..... - :-- '-.. r ~.
-~ >:
#' - ~
.L

2 3 5 2 3-5 2

llOO3A
 39
3 4 5
1\ 2 2 3 2 1 1 ~3

I ~ "' ,­ " .. .. 1• • I~ '" .. .- .- [P > ;:;::r r

I
c ~.
l"'"
>­
- t--.
cresco
.
.
.. -r-­
I
ll ~ ~ ~ k ......

3 5 5 5
3 3

4 4
, ~ > 2 1 3~ ~ > 2 1 3_ 4 2 5

)~ I -.....::.­ > Iii;! r I -.....::.­ ,./

cresco
r r

I h-f f . #t -a--a­ ~~ .,... #t -a- -a­ h-J .. . #t ~. i'I ~~

·· .'M fO{

2
V - v
5 4 5
II 1 1 1 31 1

..
.., ~~ 4,- ",4 ~ ~~
"'''. '*! 1.:,,­ ;:;1 ~1
p . ''''::

·
5

3 3 5 4 3 2 11. 11 2.
2 4 1 3 2 1 2 2
1\ 1 ~ 2 ,~ ~

, .., -
( p cresco
> > 7 r ~ _~
poco ril.

··
4
5
1
~
• ~
• • • • ~

5 4 5 5 4 5
3

3 3
I 1 1 1
j~ 1

)-.J ~.".'*! '1:::; l1 ~t ~ _. ~

~
FU r'­~lJ nt. e Ifn.
~

I 1 I
- _:tS

r 1
-
I
·
\

ll OO3A
- • • • • • • • •5
- 1 2

- 1 ./ • . . ./
•5
 40

A well-developed left hand is essential if you wish to be a good pianist. How often
do you hear the following, "I can play with my right band but can't seem to do any­
thing with my left." The answer is more studies for the left hand; ''Practice makes
perfect."

Etude in E Flat
Allegro 4 3 4 MICHAEL AARON
~ I
(19 \ i ~:J =-:g l -~
1 2 1 2

II f 3_ 3 3 r f II

.. 3 2 6 ! ;::::==?2 1 2 zzl3 1 2 3 .. 3 2
5 1 3 5 1 3

4
,. 2

• >- - ­ ----t
- -
-.
5
3
2 -1 3 - 2 3 ..
5
3
- 3

,. I
4
2,
3
1
4
2,
2
11

~I ~ 7)
- ~ L-3~
TT.­
cresco

-
J 5
J)
3 2
( rl E [J i )
3
.. 5
3 lasa
3 -­
>---- ----
,. •
,. I

I -

J
I
-~ - -
... 5
<I
3 ­ ... 5
~
3 -
llOO3A
 41

4 3 4

T1
1~ 2
~ ~ I'!z J;>
",-;~ Ir
1 ---
6

mf

1""""""""" - • ~
• - psi " - • ~
•
{' 1 --
5 3 3 5 3 3

II , >

II

r~ ~ ~ E;;t E ~J ~ ~ ::::t.. Ii~ ~ ~ E;;t E ~J

5 3 3 1 5 3 3

3 4

' #~ IJ
2

, r
L-3---.J
dim.

-
...
5
3
-' 3
LiiUII ..
5
3
-- 3 -

II

eJ
, >
-
-
- -
- -
---
.. -
...
5
3
3
- 1 ..
5
3
3
- 1 -6­
5

l lOO3A
 40

A well-developed left hand is essential if you wish to be a good pianist. How often
do you hear the following, "I can play with my right hand but can' t seem to do any­
thing with my left." The answer is more studies for the left hand; "Practice makes
perfect."

Etude in E Flat
Allegro 4 3 4
MICHAEL AARON
~ I 2 1 2

i~"~J~~;~=-----------~~~~~"':'~~~L-~3~~~~-~
~~~~~-rJ~~~~~
) 3 3 3 3

\~~~~~~~5~~3~2~~~3~~2~~~2~3~~~2~~3~~~~5~~3~;2~~~~~~~~~~~~~~ 3

I'&~~;gg= 3ifU f ­

l~h~11 J ¥ ~ c rJ 5 1
E FJ t~ q Iu ¥ Q C rJ E FJ ~~ ~ I
5

4 3 4 2
2. 1 2 11

?J~
."..
L-3-.J
cresco

- -
v 11 OJ
5
-
3 2 L !
3 - b J 'OJ5 3
- 3 ­
,
I
>--­ -- •

, ~

- -
,
...
5
~
3 - ... 5
~
3 -
IIOO3A
 41

_ _ _ 24
~ ...
4
, ~
~ I 2

.. I 1-3~ I
mf
}
( -&1'
I . . ~
­ I
- . . ~
-.­
-
~
L

5 3 3 5 3 3
­

, -<iIIII
~ I >

~ I

) I • #­ • l • #­ -
-"..-,..
:;:.a.'
..1.

5 3 3 5 3 3
-

4 3 4
2 1 2 2

m~'
L-3----.J
dim.

-
5
3
3 5
3 lasa
3 -­

, t
'I I >

-.
-
-
-- -- -
-- ,
I

J
.. ..
..
5
3
3
1 ..
5
3
3
- 1 .g
5

1I003A
 42

The practice of changing fingers on repeated

notes is very helpful in developing sensitivity
and control at the finger tips. Practice very
slowly at first and gradually increase the tempo,
playing lightly.

April Shower
(Study in Repeated Notes)
BURGMULLER
arr. by Michael Aan m
Allegretto
3 2 4 3 2
5
~ 1 i~ 11 ~ ~
1-:.; .
- - r I -- -r I

-- ..
p

- .,. .,. .
. .
.
..
­
= I

\
~
5
1 2
~
5
1 2
...

1
3
5

~ 3~
­ 1 5 -­
~ .. 3 ~
.. 3 2
, u
4 3
4 5 3

I r
J ~

•
cresco

I .
t ~
~ ~ j j b: ;..
IF

llOO3A
 43

Ii
2, ,~ 21
, ~3
5 4
2 -~ 2~

I .; '"::

--- I-­ I
'"
I

I ··
P leggiero
.. . ,.. ,.. ~ ,.. ,.. .. .. ~ . ,.. ,.. .. . ,.. ,.. . '." ,..
5 2-
. ., 1
5 2- • :> ,

, '\ _'1 2~
'1 2 .. 1 --- -, 2
3 1 2 ­ 3~ 4

......
J .J -- '- ~
>
l '

J
I ··
cresco
~ .. ~ ~ ~ -.I.
dim.

-5 . -
2
. -
5 4 2 4
-
>
5

,
3~' ,..
5 4
;. 3~ 5
• 3 ~
2 1 5----..

I
"

.
a} -It­
P
) • • .. .. .. t ... ,:
I ··
•
3
5

, '\ 3./""2
-, ,.. - ;. 3 2
I v -

3 2
1 '"

\~
I

, V­

I · R­
• b-Ii­ Ii­ ~ .. " .~ ~:

, · ....1

.
5
>
~
5

A ;
3~2
- , 3
--::
~
- - 1"" l"" ......
,
I
~

.J
cresco poco rit.
) ~:
. .: .:. .
, ··
>

llOO3A
 44

PETER TCHAIKOWSKY (b. 1840 - d. 1893)

Tchaikowsky, the great Russian compo er, was originally a graduate of law.
However, his love for music was great and he devoted himself entirely to com­
posing. His music can best be described as sad, melancholy and soulful. He com­
posed six symphonies and several piano concertos, the most popular of which are
the Sixth Symphony and the Piano Concerto in B Flat Minor. The delightful
"Nutcracker Suite," althougb written in one of his rare lighter moods, is a con­
stant favorite among music lovers.

Waltz of the Flowers TCHAIKOWSKY

arr. by Michael Aaron
Allegretto 5
J 1\ JJ, 124 1

~---.
p
..;. ..;. ..;. ..;. ~
= h. ..
-
5 31 - - - - -
5 21 ­5 31

2 __
4 5
5_ 4
" JJ,
2 1 3 2 1 1 4 3 sT--- 1 1 2 3 1 2 4

I
~
~ ~- 1I~~ ~ - = r· =
- P
~Y*· loft-
-
.."..--- /"'"- ~. • - I
, ··
I
j .
- - -
~ JJ, 1 2 3 1 2 4 1~ 2 4 1 3
5
> 4 2 3--- 3C '

)~ ~.~.-

crescopoco a poco ----­ - =- - till'

-====
) I -
··
i ~

.. -
I
5
.......
-
I
5 2
..... > 15 1 ~
4

"-JJ, -..... 3
- I 3 1 4 2 4 3~

I .; I • ------. yl •
---­ ~
1

) = ===­ ~-

I
.
I I &j
.
11 &j &j
.
l1J I

~ ·
4 1
2 -5 1
2
- --
I '4 1
2
I
~
5 2
1 >
5

I 1003A
 45
- 3 4 l~
2
4, 5

..
ll olf ­ I

..
=­
( T"'"
-¥ 4f IV
-
~
tJ #Jt >
I

=-­ --- - -
~

f rit. = - ..".,...

~.
I
­ I ~ I
- .­ . J - ..., ~

- -­
~T'

,r
~
~
I
~ I"
1 1

2 5 5 3

2
4
5
5 4 2 3 2
5
­ -
=
r·

5 3 5 1
2

I
~ oIf_ -­ -...... 1 1 2 4 1 2 3 1 2 4

• .. . ojt. • .ojt.
~ -.J
-----­
II. ~

= P
I I
cresco pOCO a poco
I

·
I

II.jj.

-.J
1
-- 1
-
2 4
---2 3
~--- 4 2 3
-------
•
) .. I -
~ ··
- >
5
15 1 I

lento 4 2

11.110 1 2 4
5
2
5::::- .............. 1 ~
4
.~. ­ t:\
-'
I
-.J :.t -. 4~~ :.---
.. ' . ­
p
~.~. - .
\
1*-
pp
t:\
,
, -' ~ I

I ..
2
.. 1 3 2 '" .---....../, -~
5 4 1 2
Vivo
 46

FRANZ JOSEPH HA YDN (b. 1732 - d. 1809)

Haydn, affectionately referred to as "Papa Haydn," was from a large family of
twelve children. Although his parents were quite poor, he managed to get a mu­
sical education and later was fortunate enough to have the patronage of the Ester­
Mzys, which enabled him to do a tremendous amount of composing. A teacher of
Beethoven and Mozart, he also enjoys the distinction of being one of the wor1d's
great composers. His "Surprise Symphony" and many shorter works are full of
charm and humor.

Allegro HAYDN
arr. by Michael Aaron

1\
5
~
3
.:.. 1 ~ -: .:.. • .,. ...:.
5
+- ~
4

f=
3 2

f-
~
.,.fL.,.
4
• .:.
3 2 1
.,.
5.

..,
mf
1\ ~ ~ l

.., 3 2 1~
5 5 3 3 2
5

4
4
~ 3 2

5 2 5 2
3 1 3
1~ 1 I
/

1\

~ ~.., . ' - 1---- 'I! ~ ~ I! tI! II! ".,- ; .. 'tl! ~ ~ ~ "*f ~ '--"

··
sfo
/-
f
.;. . sfo
~ t-- . ...:. ~

4 4 3 2 3 2 3 4 3 2
4

1\ 1 5 2 5
;!
5 -3 5
J 1
5
2
5
2
5 3
r'
t . I
"
i

~
'--"
~ "'-­ ~ ~ P

· -­
~
) T T l...- ~
iii.
­ ...:.
iii.
- ;. ~ .;. ~ jL

5 ,~ 1 I 1 5 1
"
 ~ ---...' ~
• - 2- -.. •~
• ~
'I"'" • 2
~ _. ./
3 :.
~ ...,
-.J - r--.
-
r--:
:..J..

(L ~ ~ I:
--- .· - ...
5 3 1
3

rt
4
.- •
~,,~
3
~2
~ --'ii ~
~1
i
5
~

± ~ £
3
~
~ ~ ;. .. ,

) e

. .
1\

-.J "':' "':' .. "':'

1

1\ '
3
..:. 1 ..,;. it ~ ...:.
5

r_ £-_
4 3

r-r-_
2
.,.
~
.,... ---
, .--- ,
• -
-.J ~
cresco
~
~ .. -~ fL *
" I- I I
: it

eJ 1~
5 3 3
5

J
rt .2
~
4
V- • --... 1... ~- '7 1 , 1
4
2 ,....." " ~ 1 2 1 3~ ~

) e
P
I"".oooIi '-- ~
mf
----- - I
f
) ~- .­ - ( ~ f!: ~. ~ r--;. ~ ~
~ . - ~

,
··
2 V 2 1 3 4 3 1 231 2
3 4

1\ --- .. :J
5
~
. ~ 3........-
""
... ~ ~ "

- • ~

, -.J I I I
P f cresco If
)
..
~
·· .. .
,
.
.; ~ "':' T ::;; ~ ~ • • ~
4 4
~
1I003A
 48

Study the chords on this page very carefully. They are

repeated on the next page in broken fOnTI.

Prelude
Moderato
5 5
BERENS
3 4
2 2 5 5 5 5

,
1 1 3 4 :3 I
" ,jj.

~
~ ~ I - c:;,.
-6 4 ~

mf
I .. I
I

,
-

"I...._ _ _ _ ~, ~"
5
I5 ~.~ ___ "---- Ped. simile

5
3
" .Ilo -J
~~ ... c:; •
. -J
-.J
) tJ i c;; GO
~
(

.
, r?
5 4 5

,
5 5 5 5 5 5
" ,jj. 3 4 :3 4, :3 , I 4

GO 19­ ~
~
-.J 1.l :I -6

<

t .
5 2 ,3 5
5

5
~ I
I " Jj. "
:lA ~ -
..; -97
~ ~ ~ # I

I
~ ----l
f~
-
-
-

IIOO3A
 49

,,~
-
1 2 3 5 3 2 1 , 2 4
:>
- 4 2 1 1 2 3 5
1 "­
,
5

..,. ..., - .., .

------- ------- ------- ..
I
t1 -~ .;. ... ... ~
~
mp~

~ ··
5 5

I\,~ 1 2 ~ 1 2! 1 23 1 2 4 - 1 2 4 1~

I
)
• -.
------- ------- ------- • ... '\III

I
... '\III y .
-----­ --...
1I~
-------
··
2 3 5

I\,~ 1 2 3 - 123 1 2 3 1 2 3 1 2 3

I
t.I

··
-~
~ .~ ;t-*~ •
----- •

5 4 5

~ ~ 1 2 3 1 2 4 1 2 3 1~ 1 2 ~ 1 2 .i ~

I ~
... ,:; ...
---------- --------
• ...
-------
~";. -';. .;.......~ .~ ...
.~

j · ----------
\
"7

5
.. ~ ~

II~ 1 2. 3
- 1 2 4
- 1 2- 4
- ,
-
4
~ J -
, tJ

)
··
5
...~ ..,.
------- ------- '------- . ..

2
.... ­

-
- ..

,2 4
11.110 '~ 1 24 1 2 4 123 1 2 3

I
tJ

··
----­ ~
----­ ----­
.. . . ..
-
... . ...
~
71
...-
3 5 11 1
5
5

llOO3A
 This favorite composition by Stephen Heller re­
quires a crisp staccato touch and a well-defined
rhythmic accent.

Curious Story
Molto vivace HELLER
5 4 3 4 3 ..
---­ "
1\ 1 1 4--." 4 1 3

( ---­
.; L-- 3 -----.J 3 "-.: "-... ~ ...
! ..
mf

-
2
~

3
•
1
5
:;;;;

5
~2 ~
3
y~ ~ ~ ~ ~ 3
, /I
:i 4
,

....oil!

1-·-'" j
L-..- 3----1 3
f mf
I /I ~ r'\ ~ ...:. .:.. 1
:
--'IIl'I

'~ >
1 1
3 2 3 1 2
5 5

~. ~ ~

2 1
5
4
,,-..... 4_1 - >
1 3 2~ .
3 ~ ~ ~ ;..~! ~~

tJ
/I ~

-
;;~ . ;;. ? ~ ~ ~ t-T" __~ t- "l1'""" ~ t- 1""" ~ I . ,

f-====
-<
1'1 '\ 1/ ".,

--- r--.
..
tJ r '":' I 5 2 1 2

Il003A
 ~ 3 3

~
mf dim. p

>
tf4 ~ tf4 ~ 2 >
4

~ 1 5_ 1 1 1........5

~ -:v ..
I
I
. , -.!L

~' V ~ ..~~ i" ' ' ' ­ i.... -It .. "':

J•
~
r.h.~

t:Jl; J ] !h
mf '" = =
I ~. .
1~ :h • ~
, --T.
7" . ..M

-
~5 :3

t
IL 1 r; ..--..... r;
--- r;
- r;
-' 5
1~ 43
>-­
'""
~ -~

-
I

P cresco I
)
t ··
1
2

. ~ ~ ~ 4_ 1
3

, +-+-F F :iF.,... :i"'" .. .'"1

.
'­
1 ... ....
1'1 ----

. '0 ""'-
- /

I
I ~
·
~

--
it

eJ ;
"
I

" r ..
.
3 I
1
5
1
2 3
5
"
5

5 3 ~.
1 1"-';'­ ~ 4 1 .:. ..:.. t- t- t­

­ ..
,." fT

t -------­
-.J '0 ""'-

)
,
··
p

- 2
-­ 3
,it

V ~
I
" ~
"
llOO3A
 52
misterioso
2
II 1 ---- ~ 1 4 ,...",. ::> F'r.l > - 1 4,...",.

1 tJ - r
4f1"'
~
I
"I ,,~

..
P poco rit.
. Ii- . p molto rit. = 1

~ --------
eJ 4 2 •

2
agitato
...­
~ ~
~ > PF.i > ­ 3_ ~ ~ 3~ ~ 1­ ~ 3r-r--,

,
I

)
<
tt
= t a tempo W1 ~ 'W1 it~
Lh. l.h. i.h. l.k I.h.
~ -I !I

tJ 4t-~ - ~ -

5
1 4 4~

4. ~mm J~
C ~ ' t. J
3

J JJ
1 ,-....
I ~. I ~~
I, " I,, " If > I<f If

..,. '.Lh.!?'""I 8ft I Lh.!?'""I 8ft I lh.!?'""I 8ft If

11­ I> I>

(,'i)' 'I~ I 1 5?\'1 1 /1

3
I I2 I I

,- tt
'" n----- n 11

>

~
rit.
I
l:
tt 4 ~~ 2 1
4 :3

Vivo
3­
~ 3 2
~~
2 3 5
II ~~ t=~,.1 2 .!~ . 2 3

...
) tJ
f
?
---
?
~
>
• m1Jl 12~
l
>
~

< --
tt 1 5
r1
'*f :> V I t' •:>
5 :>

IIOO3A

--
 53

The name of this piece is the key to its interpretation. Study

the bass chords carefully before playing hands together.

Happy-Go-Lucky
Allegretto 5 5 5
~

5
5

11
~
I .,.
.' - ' ,/ - _.' ~ '/
5 4
,.....
• . . ,.....
. - I

.
.. • • • J • :! ~ ~
• • J ~ :!
• ~

5
5

r.o.

U'
-..:J

) lOO3A
 54

In order to connect the double notes in this

composition. it is necessary to observe the cor­
rect fingering. Play in a graceful manner and
with much expression.

Minuet in G
LUDWIG V AN BEETHOVEN
Moderato
4 (B. 177O-D. 1827)
4
-5 4 5
24 ­
/ ",Ij. i~
..
3~

.)
3
.
2 1
. . ~ ..... 1 I 1~

.
\ p
.........,; -....;; --= II ~ I - -:;;;
"II' •
-===
.. - --- I--

'5 4 12
I
1 5
I
11
, .
5, 1~ i
­
5
,

4 5 4

,..
5 4 4 3 5 2
,, ~ 3 £
1 £
-----I 2 2 1 3 1 1
.. .
··
~ ~ .-...-/ -~ ~
mf
)
·· ...----:-­ - 1---_

·
5
-.l 5

5
5
~
4 5

.-
4
>~
543
~
2
. 3
-
4
1

,..
2
/
~ ~ 7 .- • - • ~ - n •

.
" r

mf
,
sf.
I ...... -,;. 41-

1 ·· . • -!- • d. -
I -
~ ~ ~ LI
3_ _ _ _-.J

ll003A
 55

- - --
1• -. . . . . . 1 11. 112. Fine

.. ; .... .. _.
1'1 Mo 2_' 2_

I
.J . ~ ... ~
~ . ~ '111
~
f ! sfo dim.
~ .,,--..
··
I
..:::
L--J
i
L--J
. , , 9­, 'I
.. ' - I,"
"'
L --J
... I I I I

TRIO
~ Mo ~
4 3
r
5
r
2 4 4
'" u Co .. , <­
2 1 - L
T ,
3 I
--­ --.. 2

.. 41!' '!' -­

··
P

-­ -­ ,------..
----­ ~

,2 3­
, ,. ~ 1 2 1 4 5 3 2 1 3

1• ---- -- +f*~ ~

J
I ··
.-- • --.........
-- -- ~

JR

5
r----..

3
..
II

3 - 5 ____
2 4
5 "
1\ Mo ~ ~ 1 4~ ~ ~ l~ 1 4~ I 1 i

. .
I > >
tJ
< mf
>
~~ ~ ~ b,' _ . ~_ • ~0 ~

t ·· > ------­ /

15 2 3 2 1 2 4 2 3 2 1 2 4 ;> 3 ;>
2454 3

D.C. al F;n~
5 4 1
___ 11., 112. ,
~
2 I
/ 1'1 Mo 5
3.___.. 2 4 1 .- 3 1 5
---== .. .

)
.J r T I ~
p poco rit.
.-
J
"---­
====-­
J--;j)
--
====­
J--;j)
,

• ~ I J J
, ··
'I
- . a.

2 1 5 1
5 4

llOO3A
 56

Tbi s Hungarian dance by Brahms is a good ex­

ample of Gypsy Folk music. It is to be played
with much spirit, strong rhythm and feeling.

Hungarian Dance
JOHANNES BRAHMS
(B. 1833 - D. 1897)
Allegro arr. by Michael Aaron

,, .-:-
, 1\.If t!: 2 1 4 51 4 3 ::::,;.

.; ••-t r ~
r ~
r ~
r
".-
~
r: i r ~
r ~
r
f sfo sfo sfo sfo
.
I .
tJ.

3
~ 4
5
1 .
~ :4j •3 3
~ .
4

..
"J .If it

.'
-­
2
3
1
---., 3 2 3 2 3 5 2

~ r:
sfo
~ r -9­
~ r ~
r -.JJv~ ~

3 3
~ :4j
5
~~ 4
,
.. ~
.
"'.If t!: 1 ~
- ! ~ ~.
5 •
~ •• - * -­
~ 19-

1.. I

J ,
,
~
>
~ ~
>
. ,r&
>
Ii ~I""
>
.
3 1 5 1 3 1 5
2 2 2

lIOO3A
 -7

I\. ... o!t~1

2 3
2
- 1 ~ . 2 1
3
- 2 3
"­ ;:I

.
- 5
2 ~

-­
&I

.......... I
) t
sf
)
· -­
, ,. .
:

~---./
I
3 1 4 2
5 3 5 1 ~
5
1
3
~1
2 =
~

4 5 --2- 5
-- :?-­

3 2 3
5

4
~ ~

J 1\. ... 11: ~ ~ ~. It. i­ :r.J ~ J ~ ~ .Ji

,
) t ; I

)
··
,
4 .. .,
3 .. 2 .5
..
1\ ~ ~ ..
4

.it . • ......--...... . -= ~r-J

~
J J
~
T ~ .1
I t.J f - I
P pOCO rit. /

rit. *
•

I ··
-~
~ F ~
~ = ...
:;iii
--­
3

I JO ~
J\

.:.t. ~ r-.. ~ > ~ .­

>
IF
>
: >.

~~ ~
~-

..r ~ 1ft!! 'If.

~
f a tempo

~.
It ~ ~ ;; .:. J
I ---.. ~
7'

v > >
4
*Sludents with sman hands may omit or release the notes D, C# and G# as indicated by the asterisks.

II 003 A
58
Major Tonic Chord Arpeggios
2 3 5 3
2 3 5 3

3
1
1m 2 1 3 2

C F
MAJOR MAJOR

2 4 5 4 2 1 4 1 2 4 '5
5 42 1
2 3 5 3 1 2 4 2

- v '2' 1 " ..
'"

G B~
MAJOR MAJOR

4 2 1 2 5 3 1 2
, 2 4 3 21 3
5 4 2 1 1 242
2 3 5 3

(4)
2

D E~
MAJOR MAJOR

5 4 2 " A
2 1 4 2 2 4 1 '2

2 3 5 3 1 2 4 2

I ~ 1 '2' 1 " .. J J...L J - '2'

A A~
) , 4t ~ ... r r1J .. ~
MAJOR MAJOR
) . -.
1 4 2 4
~-

I I 1 ?
5 4 2 1
1 2 4 2 1 4 2 241
2 3 5 3

(4)

I; r Fri· ~ J j 10
2

(1' &ll&!~ JjJ ~

E D~

err~ I
MAJOR

( 1 7}= ~h&~& lEEr; IF,

MAJOR

5 4 2 , 4 1 2 4 '5 2 1 4 2 1 2 4 1 2

2 3 5 3 2 3 5 3
IIJ I 2_ ' 3 2

(I' &~ll~~llj 3D .
1 2 3 1

B G~

{I~: ~ ~I EI~tti=
MAJOR

5 3 2 1 1 2 3
MAJOR
j ~ '. ~I''-
5 4 2 1
. 2 '2 .......,
4 1 2 4
5

I 1003A
 Minor Tonic Chord Arpeggios
2 35 3
2 3 5 3
, 2
JPJ
-
OJ I

1\ J I ;
r • - ••

.., • I I 1 J
A
MINOR
D
MINOR

··
. 4 2 1 2
e~
,
'"
II-,
_.

5 42
. . . .. ~ .... I ~
-,

5 4 2 235 3
2 3 5 3
2 1 3 2
II I 1 2 3 1 r T~ 1 ;

E
MINOR M~OR! \
tJ

··
i .....
.~~,.. •
.. .,;
.; II.
..
542 1 4 1 2 4 '5 r
5
11 J
4 2 1
4 2 1 2 _J.
4 1 2
U
4
~

2 3 5 3 2 3 5 3

B
MINOR
~~~~~ C
MINOR
f

124 , 2 4
5 4 2
5 4 2 1

4
1

1m
2 4 2
4 2 1
1m 2 353
2_ I 32

I § &'~& JJi/ " IEr[f

F#
MINOR
F
MINOR ~ _!'­
4 2 1 2
..~

2 1 4 2 2 4 1 -2 5421 41 2 ~

1 242 3 1 2 1

c# Bb
MINOR MINOR

2 1 4 2 4 1 3 ' .2
3 2 1 3
2 3 5 3

2 I I
.. . "

G#
MINOR
Eb
MINOR .... I I,
~~

, .. ­
1 4 2 4 2 5
1 2 4 1

llOO3A
60
Minor Scales and Minor Triads
(Harmonic Minor)
5
3 I 1 3 Root First Second
1
, A 1 3 1 4 1
r 1 I I J~J~J .J I 1 1
4 1 3 1 Pos . Inver. Inver.

A I~ -:;J."'; .... rW'3 I l lJ l Iff" - .... ..,;~

• ~ ""'.

MINOR
I · - 4 1
I
I
3 1
-"'- - . ~ it'

I
, , 1J
5 5

" ,jj. 1 3 1 ~
..l ­ I m.JJiJ~
3 1

.JJJ
1 3

J III ~3 1 0

't - I I ] .J 1 l J J 1 l I ~-r
-... -....
E
MINOR
j
.. ~~
4
3 3 1
4 1 3
. n ~ !
5 1 3 5

~,jj. 1 3 1
~

r T I J.J :;J..JJ J J T1 1 3 1

B
~ ..,; .... - -rrI J
3 1 4
I 1 i .J
1
l1 r i
4 1
•• y H u

MINOR ,jj. .. ~ .. ,jj. 0 -R

· I

. 4 1 3 1
4 1 '4

. nn
4 3 3 _ 3
(1) 4 1
[~~
3

1 2 1
F# (4) 3 1
MINOR :B:
-&

4 1 3 1 4 3 1 4

3 - _ __
3 1 3
4 1

I\,jj. it 341
3 1
r TJ .J J~ D J J J l 41
1
3 143

c#
I
.. ....­ i [1J
1 4
1
13 1 l 1 '4 J
1
Lt#f­ - .... ~
~

MINOR ) _i.. ~ 3 1 -& :3

t ··
, ~
~

3 4 1

3
4 3 1 4 3

G#
MINOR

1 3 1 4 3 3
3 4
II003A
 61

Minor Scales and Minor Triads

4 5

n
1 3

II
, 3 ,
3 4 1
I
- - .J.~J;
3

r rJ~ --- JJJ

1
4
T1 ' 3
, Root
Pos.
First Second
Inver. In ver,

Jlj
1'-
,17
D
t. • r I I J
1 3
, L3 J.
1
J T Lr~
,
• u

~
4 - 3
..fINOR -.~~
4
,'',
T·
, - ..... ~
7

4 1 .....
3 1
4 3

G
MINOR

4 4 1 3 5
5
5
3 1 1 3
1
rlJ JJ~~J ~..JJl l
4
1 3 1 ~ 1 3 1

.
'" I

C
-. .... ~rlJ I l.lJ
l3
1, J r Lr~-
-.,. ~ ""

.b.,.
1 3 1
4
MINOR 4 1 3 -& :3
·
I ~

5
. n .
4 1 4 4
. ­ ~

11 ..1 1 , r1 I J llnJ~.tiJ J.JjJ ~ J I l 1 ~~

F
I t.) 4
.l.....J
1
3 1
3 1 L1 'r r'
,.. :B:
.,.~~~
4 1
~
3
MINOR
I it­ -&

··
5 3 5

, 11 I '2 1 3 1 ....;. [ I I J ~ ~.tiJ J J r 1 1 3 '2

Bb 1--' .,;. .... -

~i
'1
1J 14 13 12 J3 l 1 r
4
~
- 3
....... tt u

MINOR 3 1
I , L • ".1. n R
, · .. -
L>o

3 1
2 1 3 3 1 4
4
'­
~ I 3 1
q I

r1 T 1 JJ~rJJ~D D"JJT ri 4_, 3 n

.JJ
'\.'
-.: I II T ~ ~4 U
-
~r 1"
~

2 3
Eb 1 3 I
MINOR <
(~.-.'
.. .,..¥~
1 4 1 3 1
• n ~ !
7

2 1 4 3 2 4 1 '2

IIOO3A
62

Keyboard Harmony
The following chord drills are a review of the various chords you have learned.

Play hands separately, then together.

1\ 11
,

c
.. ~ ~

MAJ. DIM. M AJ. AUG.

' . .. .. ... 7th -a
MIN. DOM. MAJ.
t.J . ~ ' ~ ..
MAJ. DIM, MAJ. AUG.
.. • 7th ~
MAJ. DOM. MAJ.
I L • ~

··
LL

I
·.,.,
I I I I I I I

,,~
'" ~
D
t.J • .. ,. • • .. c;,;
t.J •
_ J._
• • • • - c;.

) ~

\
··
L L. ~

-- ·
J.._ ,jojo_

-­ 1".

1\

F
.
"' l.~t.~ k fII. .. ti"

L­ _ _
·· ..-:~ _ . ~.

1\ L
" I
I
Bb
. .. "I ~ 't 'I I ~ ~ IJ t " .. '1 'I 't i ~ ~

· · - !2.

I I I I I I I

"

t.J
I

- - - - •
'I~ j~11 t I ~I II~I II I! ; ~ I
Eb

·
• I ~h. bh. b. • .. i?

1 12: ~'& 1 ~#~\\b~ q~ IF i ~ I ~

1JOO3A