UMASS/AMHERSTliiiiiiiiiiiiiiiiiiiiiinnii

"

f3iEot.bDi5sa33D7 iiiiiiiiiiiiiiiiimn[nnniiim

m

Score

MT10U65P4V.4

ininnHnDmiiiiinnnniiiiiiiiiiiiiiiiiinmiiiiiiuiiiiiiiiiiiiiiii

GRADE IV BOOK 4

The University Course

ofMusic Study

A STANDARD TEXT-WORK

STUDENTS' ABRIDGED EDITION

PREPARED BY THE EDITORIAL STAFF OF THF

rMCOItPOBATEO

GamegieBolMlc^^rVn^

PUBLISHED BY

THE UNIVERSITY SOCIETYINCORPORATED

NEW YORK

diiiiiiiiiiiyiuiiiiiuiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiMiihm^^

mc'im

fITY COURSETUDY

A STANDARD TEXT-WORK

PREPARED BY THE EDITORIAL STAFF OF THE

EDITORS AND ASSOCIATE EDITORS

Charles Dennee

Thomas Tapper

W. J. Baltzell

Bernard Boekelman

Moissaye Boguslawski

Felix Borowski

Alfred A. Butler

Edward Collins

Howard Clarke Davis

Henry Purmont Eames

Louis C. Elson

J. Lawrence Erb

Charles Haubiel

Hague Kinsey

George Kruger

J. J. McClellan

Rudolph Ganz

Nicholas deVoreEXECUTIVE EDITOR

Edwin Hughes

Kate S. Chittenden

STUDENT'S ABRIDGED EDITION

introductory INTERMEDIATEDIVISION DIVISION

[Grade One] [Grade Two]

Book 1 Book 5 Book 1 Book 5

Book 2 Book 6 Book 2 Book 6

Book 3 Book 7 Book 3 Book 7

Book 4 Book 8 Book 4 Book 8

juniorgraduate SENIOR GRADUATEDIVISION DIVISION

[Grade Three] [Grade Four]

Book 1 Book 5 Book 1 Book 5

Book 2 Book 6 Book 2 Book 6

Book 3 Book 7 Book 3 Book 7

Book 4 Book 3 Book 4 Book 8

PUBLISHED BY

THE UNIVERSITY SOCIETYINCORPORATED

NEW YORK

Morton F. Mason

Alexander Pero

Otto W. G. Pfefferkorn

Roy Lamont Smith

Allen Spencer

Vernon Spencer

Adele Sutor

Donald M. Swarthout

Edith San ford Tillotson

Edna Pearl VanVoorhis

Hunter Welsh

Guy Bevier Williams

Mortimer Wilson

Francis L. York

Copyright 1920, by

National Academy of Music

Copyright 1923, by

National Academy of Music

Ulw UNIYERSITY COURSE y^ MUSIC STUDY

SENIOR GRADUATE DIVISIONGRADE FOUR

CONTENTSof Book 4

Page

The University Course, Students' Abridged Edition

Chapter YX. Variety of Touch and Accent _.----. 5

X Double Notes ............ 2c

INDEX OF COMPOSITIONS[References in parentheses are to chapter and page in the complete work; Grade IV, if not otherwise indicated)

Alphabetically by Titles

Fantasia, D mi/ior, No. I Mozart

Invention, Two-voice, B minor, No. XV.. .Bach

Sonata, Op. 14, No. 2, G major BeethovenStudy, B-flat major. No. XXXVII CramerStudy, F minor. No. XVI CramerStudy, Op. 305, No. 3, A-flat major MayerStudy, Op. 16, No. 2 ScHMiTT

Tango, D major Albeniz

Page

(ix-14) 16

Alphabetically by Composers

Page

Albeniz, Isaac (.ll-bay-nitk)

Tango, D major (ix-20) 22

Bach, Johann Sebastian

Invention, Two-voice, B minor. No. XV (ix-12) 14

(ix-12) 14 Beethoven, Ludwig van

Sonata,, Op. 14, No. 2, G major (x-7) 36

Cramer, Johann Baptist {Crak'-mer)

Studv, B-flal major. No. XXXVII (x-32) 30^""7' 36 Study, / m!«or, No. XVI (ix-io) 12

(x-32) 30

(ix-io) 12 Mayer, Charles (My'-er)

(ix-6) 8 Study, y^-^a( ma;'or, Op. 305, No. 3 (ix-6) 8

(x-34) 32 Mozart, Wolfgang Amadeus {Mo'-tsart)

Fantasia, D minor. No. I (ix-14) 16

Schmitt, Aloys

(ix-20) 22 Study, Op. 16, No. 2 (x-34) 32

Digitized by the Internet Archive

in 2011 with funding from

Boston Library Consortium IVIember Libraries

http://www.archive.org/details/universitycourse44ganz

UNIVERSITYCOURSE

SENIOR GRADUATECHAPTER IX

IX

VARIETY OF TOUCH AND ACCENT§ 1. Variety of accentuation, as a means of de- but from the fingers alone—the hand or armveloping finger independence, is the technical should not assist. After practising the samefeature of Exercise No. i. The accented notes accent scheme in both hands, independence will

should be played with a very strong impulse, be still further developed by combining two

Illustration No. 1

I ^. .

VARIANTS FOR RIGHT HAND

i^^mrm! I|I|II|I|MII

etc.

VARIANTS FOR LEFT HAND

Exercise No.l

A

difFerent systems of accent: scheme one in the

right hand and two in the left, etc. The exercise

should be transposed chromatically. [§ i> 2]

The principles of tone diversity and accent

di-versity are combined in Exercise No. 2. Thedirections given for the previous exercise apply

here also. Practise first Division A and the

variants for the right hand shown in illustration

No. I ; then Division B and variants. Give special

attention to the phrasing, as indicated by the short

slurs and the staccato notes. [§ 3]'

Study, Mayer (page 8]

§ 2. This Studv combines two styles of touch,

staccato chords and rapid legato finger passages.

The leggiero character makes any assistance by

arm weight not only superfluous but faulty.

The scale passages in thirty-second notes are to

be regarded as technical units—that is, the

scale should sound as an uninterrupted sweep

of notes, the same as if it were played glissando.

The staccato notes and chords are played with a

light touch. [§ 4]

Study, Cramer [page 12]

§ 3. This is a perpetual motion Study for the

left hand. The passages are an irregular but

not formless mixture of scale, arpeggio and Trill

figures. The change from one design to another

often requires quick and accurate readjusment of

the hand muscles to preserve the continuity of

tone and rhythm. While the right hand part is

much easier than that for the left hand it is

nevertheless more difficult than it appears, and

should be made the subject of separate practice.

Follow carefully the given fingering. The char-

acteristic motive (6) which appears at several

places is effective when well done. The accent

should be pronounced, the final staccato note of

the figure made quite short. [§ 5]

Invention, Bach [page 14]

§ 4. This Invention is prrincipally made up of

two themes. The first one enters in the right

hand part at the beginning. The second theme

enters in the same voice in the third measure,

after the left hand part has taken up the first

theme. Careful observance of the slurs and

staccato dots is essential. The short phrases

should be enunciated clearly, beginning and

ending at the exact places indicated by the slu?-s.

The staccato in the works of Bach and the classic

writers is not so short as the staccato used by

modern composers. Primarily it signifies a sep-

aration of the tones, not necessarily that each

individual tone is to be cut extremely short. TheDouble Inverted Mordent in the next to the last

measure should be played as shown in Illustration

No. 2. [§7]

Illustration No. 2

Fantasia, Mozart (page t6)

§5. This Fantasia is one of the most charm-ing of the shorter piano compositions of Mozart.

It calls for refinement and a keen appreciation

of the delicate nuances of tone so essential to

the proper rendition of the works of Mozart.

The importance of these contributions to the litera-

ture of the piano is recognized by the most emi-

nent of musicians and pianists of the present day.

As implied in its name, a Fantasia is a work of

rather fantastic character, usually free in form.

Nevertheless, well written Fantasias are not with-

out formal balance, though they may not adhere

to a prescribed scheme. The present Fantasia is

free in form when compared to the Sonatas of Mo-zart's time—but only in this sense is ic " fantastic."

The last measures of the Adagio merit special

attention on account of the ornaments arid the

arpeggio passages. Turns within dotted groups (52)

are played so as to divide the whole group into

four sixteenth units, of which the second is a Trip-

let. The third receives a slight accent, as shown in

Illustration No. 3. The arpeggio passage (53) maybe divided between the hands, for stronger tonal

effect, if desired. The Grace note in the left-hand

Illustration No. 3 Illustration No. 4

3'

part (69) is a short Grace note, or acciaccatura,

played as shown in Illustration No. 4. [§ 8, 9, 10]

Tango, Albeniz [page 22]

§ 6. This Tango is one of the more artistic

examples of this popular native dance, written

by one of Spain's foremost composers. The inter-

pretation must be flexible throughout, a con-

tinuous but not exaggerated tempo rubato per-

vading the entire composition. Keep the melodywell in evidence by subduing the accompanyingparts rather than bv playing the melodv iorte.

The peculiar rhythm of an eighth note Triplet fol-

lowed by a Doublet oi eighth notes, characteristic of

the Tango, may need careful attention. As played

in Latin countries, the effect closely resembles a

group of five tones of equal duration. [§ ii|

STUDY

Allegro (J

MAYEROp. 305, No. 3

. —1 ^ » 0T —

.—

STUDY

F MINOR, No. XVI

Moderate con espressione (J = 132)3 4

CRAMER

i '^ y i I2 ^3 . 3^^^^rrrrrmrrr

5 12 3

5 4

i3 41, 1

i ^ ^^ sa ^^^

^ iiJigffl^' i

&.yrrrrrj'tr''i^ ^ mf

13 3 4

jcrpt

5 251T3 ^^ "^ifr

^ 3 4^ ^2 -^^ i^T^ >—L 1/i»

^ » SEt ^^ ^Uv'CJ^'CJ^^-

^m wm^

•I

p^Mf.

13

''^'V'^[rD-:?^;?Ujr7**if^^*^w^^*^

^''•1'^ fj^iJiUfQ^ir ^j i

^sad/m

±t itE ^ipp

»! i•r

i

**: i » •-^r • ^'a *m 9 • m —•- ~^^~

m g=«=tS '"S 4 = 4 1 5 3 2

F lI

' • ^15 4 2

13

Tr^=(2) -

TWO -VOICE INVENTION

B MINOR, No. XV

Con motoUH

5 2 -^ 2 ^ ^^ 2*-^

Lfii.., /MTu^rj m243

-vv 1 a 1 1 '^v

BACH

2^P > y :i JiiAJd^ d3

VV-^K, J^y

P ^P^P^ J^yJ)y i'r i)

312sJ r'f^u ^ ^ u4 2

14

413

1 X ^ 3

J J ^TijjwJ-^

=S5^:^^ ^ s'T^tt^'^-i,r</

» 1

^^ 3 1 2^^^

3124 'W^ 312

m321^ ^ Ly^^^

15

FANTASIAD MINOR, No. XXm

Edited by

Charles Dennee MOZART

Andante (J = 72)

^=^=^

•a * P ^ m=.-:i' :i* t *

plegato i'—P\^-' m i i

P P ST f

i et=^f ^ IS^ ff - ^

/ di7n.

bn jnij- ^ a D^-J .rj^Jr r

»^rf-^f-J I L I

fe^ii (7\n' 1 * :«:SSfff

jDoco riieuuio

'^T-^Tt' lj'P tt ;

/J

^^

16

Adagio (J : 54)

2

i

P

-PJi-

ftF f i^jrig^ krX^\r}Z 1

y -rll^Ui

?=;a-rjj^^—y-

lEO TTf'^ t r t r

i ^J^H J J^^J Jy ^^ r gtl!

tir> ^ ^ ^^^pp

mJ J i J i i J^ % % n

P '^^ p- ;?

P^ .^ f,,^I

Q .y[ /LlJ A- i;^^cresc. f P

J' '

.^ j ^ J jl^i j^^*-^ ''^-^^6 2"

17

tl^ 1 ?^j' T ^^ i^cresc.

^itzzz^jh ^j/j« ** .t^ ^it jfT^

43

3 4 4 3 ^ 3

^^;p;3^4 12

^ fc=tmg^ ^^f ^q r l>g ^s^ f fa^ ^ yj'f

cresc.

^—S^^^^^^^^^ 3

:4^mEp XT^

i 5 2

18

^

T^54 4 ,

33 2 3-M f-ft^f^f^f „j rir. jt ^i

OB

^ Fi^^ ^ ^^

/

^^fcv.

p pp JP

19

Allegretto (J= los)

—m. —

^

m ^—L_ii~^ 3 2 1 ^^ ^A 1^5

p m m m \ m\ ^|* l I ^Frrrr r^icj? rm 3e±

i>

ai^g f

t=^ f

4 3

m ^t^ f«:

ffi-L*2 u^g

J. II 2.

i ife ^^ g

p

a pjfli J 4

>iiJ

m? ig 4

»ip

jyp

m2=*: ai^ ^3 4

5 4 3 2^

'

^ft^m ^ 1: 1^ 3

'T^rir it-Jt sflFf i^ffl^T^^

i^B^^^^«/°

4 3*3

«rtS^« 1.,—-.3 -i»- T».

P

p Ti pjm^i?

p

^j^i^JjJ^

1,—.« -p- if-

cresc.

1 S * * gg^f

20

' 1 I -•)»***

rail, e dim.

m^n^

m n jrn1 m M A

M -m— »—f-»- ^P dolce

a tempof- sf

P

^--Mi

I3^S «

—

•—m—m-

w—ar

fpM^ ^h n /?\ 15 3

pp seviplice

a tempo

iF

/ rail P

^== i 1^ ^ yS ^ P

ii J tri r E/

^321I . I g . il

*¥ SJ^^7^rail.

J'brillante

a tempo

^p "isr

5

^

I ^^

f

j(r

5===?:5^^

21

TANGOD. MAJOR

Edited byA.Pero

Andantino 4 3

J. ALBENIZ

3^

m ^^*^ff ^spJO grazioso

^ ^ ^^" ^=

•sa. .* ^. « ^. *

45 4

»i

,^ 'yr\

3 t ^4 5",

^^^ 5g^^m^T-pooo rit. ^ *

ra tempo

55=:^i itt :*4J itf =#4

" r "LiT ^" ^ ^=simile

i3-

1 3^1m^ m^S^ I^ ^ 3 5^BJ f=f r 1 r

tfifma

-y-h'J'^- 4^ siizr

^ ^a^^= f= ^^. * 'Sa. .,* 'Sa. * ^. *

Copyright MCMXVII, by The University Society, Inc.22

*^§s=i \< ^

^^ ^iS ^-^~ - te^i

^¥ *^=^ ff

*^%I

iiJif ^7*1 ^^ ^^f f Psa. *

I 3

Am i t pm I;i

,

i^^o^ # » * ^ » ^ ?E * V ^ ^¥^

//(/*« tempo

^te j4i 4(4•poco rit

m §=*

%%^ fiS ^ ^^^ e ^ra iempi^ 4fe 44? > tt^T 4^^ zzl r^^

11 "II"I i^ ^^ ^ ^

23

smm 3 •?

cresc. e rit.

M

^ 3 4

rTf^^i^

p w

ȴJ^ A_ *

^f^mt^

j^i^^,o m Wm 5i^f-^^a

i

jop « tempor

m #4 4^4 i :#i =#^ 4^i^r pEE^ —P^ ^^-«

una corda

Q" Q" B" Q"

^j.-M;- i^'ib^Lr y. ^Ji

i^

^ i^^ ^ ^ i2.-5^^ ^m ^m

rit.

s 1poea^^^rit.

i/^

^f3 J^a tempo molto rit. ppp

%-4—1—a-

-* iT-. *rsa. ® «eei). ^. * *

24

UNIVERSITYCOURSE

SENIOR GRADUATECHAPTER X

DOUBLE NOTES81. Under the general term Double notes is

included all combinations of two notes played

by one hand, except Octaves. The forms mostcommonly met with are Double Thirds and

Sixths, but perfect and augmented Fourths and

diminished Fifths are by no means rare.

Double notes require a high degree of finger

independence, and in this lies their principal

difficulty. Thirds are the easiest. Sixths are

very difficult, because the muscles whose func-

tion it is to stretch the hand interfere with the

free action of the muscles which move the fingers.

The problem is to balance two opposing sets of

muscles in the same hand. [§ i]

§ 2. Exercise No. i is very tiring, as are all the

.exercises in this Chapter. They should be prac-

Exercise No, 1

I 3 4 3 42 12 1

4 3 41 2 1

^UJJJiJJJV^^2 1

* 21 2

*=#*#% ^^^^^^5 1 2 ^ 1.2 1434

"^vif^fff^fin m1

2

4 i

rffrrrff./gmj^

^'-ffffftL^'U ^ rprprprp **Wf^ ^2 12 1

4 5 4 5

2 12 18*34

2 14 5

2 18 4

2 1

4 5

8 13 4

2 1

4 5

2 1

3 4

a\

'^ ^ 2 1 21 2 1_ 2 1

JJJJJJJr r

—

2 1 2 1

i * •

r f^ ^

tised a little at a time, alternating with other

forms of technic. Stiffness in the wrist is the prin-

cipal evil to be guarded against, and at the slightest

symptom of it, practice should cease. [§ 2]

§ 3. The Trill in Double Sixths in Exercise No. 2

should be played with finger motions exclusively,

each voice sounding as a perfect legato Trill, as

though the two Trills were played by separate

hands. As a preparation, or as a relief from

fatigue, practise the exercise in broken Sixths.

Later, transpose to all Keys, through the Circle

of Fifths._

[§3]

§4. The Double Sixths are irregularly grouped

in Exercise No. 3, wi h skips of Thirds and Fourths

interspersed with the single steps. The difficulty

consists in maintaining the same legato as in the

motiin without skips. To this end slow practice

is necessary at first. This exercise should gradu-

ally be transposed to all Keys. The figure is

fatiguing and will overtax the muscles if persisted

in beyond a certain point. [§ 4]

§ 5. Double Thirds and Sixths are combined in

Exercise No. 4. The figure develops the stretch

between the first and second fingers, and the

muscles which move the fingers laterally are

called into play to a greater extent than in former

exercises. This is evident in the last two six-

teenth notes in counts two and four of each

measure, where the second finger takes the lower

note of one Sixth and the upper note of the next.

This movement should be accomplished with a

quick, easy motion of the second finger alone, the

fifth finger holding its key until the first and second

fingers have played the next interval. [§ 5]

§ 6. The chromatic succession of augmentedFourths and diminished Fifths in Exercise No. 5should be practised first in broken form. Theexercise also may be extended throughout the

entire range of the keyboard. The succession in

its entirety consists of dispersed diminished

Seventh Chords. It should be practised also with

4-1 on the first interval and 5-2 on the next; andso on. Work out the exercise with a different

notation, using G\> and £b in place of F'^ and

DS in the first chord and so on. [§ 6]

§ 7. Double Notes grouped according to chord

relations constitute Double Note arpeggios. Exer-

cise No. 6 shows a figure of this kind. Slow anddistinct articulation, with pronounced finger ac-

tion, should characterize the first practice. Ascertainty is attained the tempo may be increased

to the limit of the player's ability. Legato andstaccato, and different grades of dynamics, should

also be employed. [§ ?]

Exercise No. 2 Double Sixths in Quadruple Groups [HANON]

^ fe^^^^^Si1 51 i

"''' itmtmcontinve

m4 ^ 4 ^

2 \sa M. s^pfPFpn FffFfFp ~n-

continue

i jjjjjjj l jj- .:tjiiti? ^ *^ J * J ^ ,i=g1 2* 5 1 2

Exercise No. 3 Irregular Double Sixths in Triple Groups [PISCHNA]

4 & *'s 2•> 1 ? 1

-e-

^fe ^mm^m -o-, 1 ? ^

*26

Exercise No. 4 Double Thirds and Sixths \r.-WSIQ\

RIGHT HAND

6 4 5

« .'J 4 li 11 1

m^CTlii: II

LEFT HAND

te^ jni OTj pfpf I fpjj34^4^45*5*5^11215 5 3454

#-• ^Mi112 1

3 4 :i 4

^a g m p^|££J^^^^ ^

3 2 3 1

6 4 5 2112 1

3 4 5 2 ? 2 3 1 1 1 2 1•> 4 6 2 3452

Exercise No. 5 Chromatic Series of Dispersed Diminished Sevenths [TJUSIG]

Study, Cramer [page 30]

*? 8. The principal object of this Study is the

attainment of an equal and smooth alternation

of the hands in Double Note passages. Play

with an easy wrist action; the effect should be

melodic and flowing, not a meaningless succes-

sion of tones. Give each note its exact value, and

no more. Avoid the tendency to prolong the first

and third sixteenth notes in each group. In the

first sixteen measures the musical effect is that

of a succession of Thirds and Sixths, with an

accompaniment which consists large'y of bass

notes in octaves. In the next period the chromatic

ostinato with crossed hands is the only melodic

idea to relieve what otherwise is only a succession

of broken chords. Observe the marked contrasts

in dynamics. [§ 8]

in the music should only be applied after the

Study can be played softly, in the indicated

tempo, without tiring. [§ 9]

Exercise No. 6 Double Note Arpeggios

3 1 I f5 4

3^1Study, Schmitt [page

§9. Endurance in Double Note playing is re

quired in this Study. The technical figure is

one which invites stiffness of the hand and wrist

muscles unless great care is taken to guard against

it. As a faster tempQ is attempted, play softly

in order to attain the requisite equality of touch

without stiffness. The degrees of force indicated

* 1 - ^ = 1•

2 1" ^ 5 J

Sonata, Op. 14, No. 12, Beethoven [pace 36]

S 10. This Sonata is a typical work from the

so-called first creative period of Beethoven.

Written while the influence of Haydn and Mozart

was still strong, there are evidences in this work

that Beethoven was beginning to break away

from the precedents set by his great forerunners

and to develop a more individual style. This is

especiallv noticeable in the development section

of the first movement and in the last movement.

27

First Movement, Allegro

The Principal Theme should be taken quietly,

in a smooth, flowing manner, with no attempt at a

brilliant rendition. In the first few measures

observe the proper rhythmic enunciation of the

melody. Because a long note occurs on the

second half of the first count, and the accompani-

ment in the left-hand part enters on this same

part of the measure, there may be a tendency

to treat this as an accented count. A slight

pressure accent on the first tone in the measure

will prevent this fault. This pitfall is shown in

Illustration No. i, in which the notation is given

of how NOT to play the opening Theme A slight

pressure accent on the first tone in the measure,

as indicated in the music, will tend to prevent this,

but it is only secondary to a correct mental concep-

tion of the composer's idea.

Illustration No. 1

The Subordinate Theme (26) enters in the

Key of the Dominant according to the classic

rule. Play with a clear, singing tone, with equal

importance to each of the tones forming the

Double Thirds. The passage in thirty-second

notes (41) should be done with light, briUiant

finger action and absolute evenness.

The Closing Theme (47), a very expressive

melody, should be played with a crescendo al-

ternately in the right-hand and left-hand parts,

as the phrases in eighth notes answer each other.

The Development Section begins with the

Principal Theme in G minor {^'^. Seven measures

later it is set against itself in imitation. A few

rheasures of this leads over to a statement of the

Subtheme in B-jiat major (74). We next have

a freer presentation of the Principal Theme (81)

in the left hand with a Triplet accompaniment

in the right hand. The staccato passages which

occur during this development in the left hand

should be very marked, and the dynamics em-

phatic. After a pause the Principal Theme enters

as at first, but in the wrong key (E-fiat major)

for the Recapitulation (98). The transitional

Episode that follows (107) should be played with

a perfectly flowing legatissimo for the right-hand

thirty-second note passages. This leads to an

Organpoint on D, around which a fragment of

the Principal Theme is sounded. This brings

the Development Section to a close on the Dom-inant.

The Recapitulation is an almost literal reproduc-

tion of the Exposition, except, of course, the cus-

tomary transposition of the Subordinate Theme.A Cadence (187) leads into the Coda, whichutilizes fragments of the Principal Theme. Withthe exception of the last four measures the Codais built upon a Tonic Organpoint. It is morequiet in character, though of the same general

speed as the rest of the movement.

Second Movement, AndanteThe second movement is an Andante with

Variations. The Theme, in detached chords,

should be played semplice, with a not too literal

interpretation of the staccato dots. These dots

indicate that the chords are to be distinctly

separated, rather than actually played staccato.

They should be taken with a light pressure

touch, followed by a quick release of the hands.

In the last four measures observe the alternation

of sforzando and piano.

In the first Variation the melody is placed in

the upper notes of the left-hand part. It should

be brought out slightly, but not by arpeggiating

the left-hand part in order to sound the upper

tones louder. The counter melody in *the jight

hand is played with a slight portamento touch.

It has more significance than that of a mere ac-

companying voice, but should not obscure the

Theme in the left hand.

The Second Variation is a little more restless

in character than the first, though the speed

should not be increased. The melody will be

found in the upper tones of the right-hand chords.

The third Variation should be played a trifle

faster than the preceding ones. The melody is

reflected in the • middle sixteenth note of the

right-hand groups, and these notes should re-

ceive a very slight emphasis. The ascending

scale in the last half of the eighth measure should

diminish and be given a slight ritardando, fol-

lowed by a tempo. In the last six measures a

return is made to the simple style which char-

acterized the beginning of the movement. This

Coda is to be played quietly, with an almost

imperceptible ritard near the end. The last

chord should sound full, but not too loud.

Third Movement, Allegro assai

The last movement, marked Scherzo, is in

Rondo Form. The Principal Theme extends for

twenty-two measures. It is played in a rather

humorous 'style. Observe the ritardando (15).

28

The First Subordinate Theme (23) consists of a

four-measure phrase followed by three repetitions,

and should be played stronger and more bril-

liantly than was the Principal 'I'heme. After a

rest of one measure the Principal Theme re-enters

(43), when the style which characterized its first

appearance is resumed. Then follows a modula-

tory passage (64) based upon fragments of the

Principal Theme. This Episode demands an

increased tempo, with a slight ritardando on the

last two notes just before the entry of the Second

Subordinate Theme (73). This Theme is in two

Parts. Part I ends with a perfect cadence (88).

Part II extends through twenty measures, to

the return of the first part. Thus we have with

the Second Subordinate Theme a perfect "Three

Part Song Form."

Next comes a recapitulation of the Principal

Theme (124) in G major, but in a free style, with

a modulation to the unexpected Key of F major.

After the Principal Theme is heard in this Key

(174), a transitional period of eight measures

leads us back to the Key of G major with a Third

Subordinate Theme. This theme (189) is sounded

against a Triplet figure accompaniment which

suggests the Development Section of the First

Movement. As with the Second Subordinate

Theme we had a "Three-Part Song Form,"

with the Third Subordinate Theme we have a

"Two-Part Song Form." Each part is twelve

measures in length. Not satisfied with one

statement of this section, Beethoven repeats

the whole twenty-four measures with a few al-

terations.

In order that the Rondo Form be not deviated

from it is necessary for the Principal Theme to

enter for a third time and conclude the piece.

This Beethoven does rather abruptly by having

the Prirtcipal Theme lead out of the Third Sub-

ordinate Theme (237) with the Triplet accom-

panying figure so prominent throughout the pre-

ceding section. [§ 10]

On Slow Practice§11. Throughout The University Course of Music

Study emphasis is laid upon the value of slow

practice. The student may have heard from other

sources that slow practice is a good thing, but

out of a hundred students of the piano there are

hardly two who have grasped the full meaning of

the idea, and who work systematically on that

principle. It requires the possession of the rare

virtues, far-sightedness and patience; but it is the

least burden on patience in the end for it gets the nome as far as possible without completely break-

result quicker in the long run. ing down. By increasing the tempo step by step,

As to HOW slowly to practice, perhaps. the most it will be found that the speed at which the scale

comprehensive law is: Practice always at a rate can be comfortably played is several degrees faster

WHICH prevents MISTAKES OF ANY KIND. If than it was before.

29

one makes any mistake he should know he is not])ractising slowly enough. A slow enough tempopermits the player to think calmly and clearly of

note-perfection, good t(jne, steady rhythm andcorrect phrasing. Experiment will demonstratethat unfailing accuracy in all these four things

requires the rate of practice to be very slow,

indeed. To most students this is an irksome re-

striction, for which they do not sec the necessity.

The aim and end of the whole matter is to playwell, with ease of body and comfort of mind.One cannot expect to be in possession of these

during performance, if he has not cultivated andapplied them fully during practice.

The mistakes which fast practice causes may be

divided into two classes: those of which the stu-

dent is conscious, and those of which he is uncon-

scious. If, in his endeavor to eradicate any con-

scious fault he is unwilling to slacken the speed at

which he is playing, he will on'y strengthen the

tendency to make the same mistake again, andhe will be so busy with the effort that he will be

unable to discover any of the unconscious faults

which are so quick to creep in. Slow practice

permits quick thinking, and since the task of the

mind is greater than that of the muscles, efficiency

requires that it be given time to learn its part.

Deliberation is an economy of time, and even the

most talented student has need to" economize

time, seeing that in music he has such a world to

conquer. [§ li]

On the Use of the Metronome§ 12. One of the surest methods of building up a

velocity technic is by persistent and judicious use

of the metronome.Taking the C major scale as an example, let us

suppose that the student is able to play it four

tones to the count, the metronome set at 72. Touse the instrument as a means for securing velocity,

set it first at 60 and play two tones to the count.

Then gradually increase the speed notch by notch.

This may seem rather long drawn out, but by

starting the- scale at a slow speed, one can devote

care to securing exactness in fingering, to the un-

derpassing of the thumb and an even touch and

thus eventually reach a greater velocity than

would be possible by practising at a tempo that is

too fast.

After the scale has been worked up in groups of

four to 120 and can be played with ease, set the

metronome at 60 and play eight notes to the count.

Again, gradually increase the speed of the metro-

STUDYB-FLAT MAJOR, No. XXXVII

,*

Prestissimo (J = 76)

5 4 5

T 3 2_^3

CRAMER

331

5 42 1

46 462 3 2_^(J

.2 54 5

l"3 2^

1» (»•1=^^ # (

f» F F I P ^^g I—

»

9 r

^"W? J.^

^ ^3 i ^#—

#

^ ^ —« mJ I j ij-

i y-if543p 54 43 54-^ 3,^2 2 1 2-1^S x=it % ri Hi 0- P P

i^ —\

3 aii »?.2^J 1^T'^^ # S ^« 0-¥ 9= r

I." F F^ >i^3»

4 52 3

4 51 2

F P rtr Cf r\v M>F ^

S

?r(9sa Tdi7n

^^T 3= ^

^ ^*—

*

-3-!-

r r w

i5 34 _2

5 5 4312 1 16 42 1

^ g==y^^ f=l»

PIVh" J''

rf«'W

.

s*iw/ ^g5^

3 2 ^ ^-«

if

6 34 5\Ji 4 1 2,

''^nn\hA

* ^#

—

dim.

m a 2 *)•

= it^^^^ i-3-^8-

3 2—

S

6 5« 4

^^1y II I JLAl ^tf

'>\i' ] ,^'

v» -^' p-^p^ s

^^rsi Iji^ ..---* ..

^'

^

# ^H

^4=*=3=3=5

*=^ ^t :4Jzv: « V

1 ^

Si-^i 3^ a » ^^

F#M=4

l-f-

4

«-

4^ 2

f—rk-

21,

•

B %

-%—

p

ff t*—Ft

1.4 5

^=4 1 ' • • •

cresc.

^r-i=?=

a.

J 'fi',-^,!i

\t-^1 §^ 1

-' —ij- 1b- ir^^4 4 3

p h %% F %% %m ^=t

s1^ /

TtE

Tm ^^ :^^

\i\}>^f ff ^ tl f^=f1 ^—

tf-

8—

^

1

\ 5 4-? 2 1-'

PT r=

cresc

T 1—i^ -1 2"^='-

dim.

-h— 1 1^ Jv'

^y^—

^

IT'i

^

JV—

«

:=^! ^\

J 3 6 4-? »

i» * ^^^-^ 1 1^

-9 *

XI

» -r

7 i71

-3—1-

r r

ff Cg ^

31

STUDY

Moderate e molto espressivo5^—r—r~

ALOYS SCHMITTOp. 16, No. 2

^i^m m ^ ^^^mf

^,xwui

m- m. m. m. #-#-#-#- ^• \\\\\\\\\^^.

a [1 »

2 18 4sempre legato

$i* I?* ?

J i~nj ^^=i

?wr~Ef ^ t^^^^^^2 15 4

m t.n . r' mi^r f ^PE^ f^^=^

eresG.

^m tti M ^ ^ef^tfgggp^

iiS,,2 ^

Pi» mesto

m^^^^ FTT] rm ~i j i j i j i j^^fiP

iff# •- 1 • «2 35

A IT- -W- 12 i 2 35 * 5

32

5 3 5 3

$ ^ r=^

2 46

#^ 1.;

M4

I sempre legato

g^

^^'l>^J

^'^P^2 t

3 5

^^9H^pF.«. 3- 33 i:

33

con espressione

4l'

'

5 4 5_4 5_4

JJ^'J)/^ ^'f

*

^ sPiu lento \

'(•—(» ^ ^^r?7.

^^ ^34

CT T

Tempo I.

%!). * *£«).

^* %B

» y w i ^.-^ >^^^rrf^f

^ /^£fm^^f i f=^ i

^ ^^^^«~^~«^

'Sa. * "Sa^.

i .'i>, &litff.#^W^#^ X /^

Edited bySigrriund Lebert

Revised by Charles JJennee

Allegro (J: 84)

SONATAG MAJOR

*^^Pi m m^BEETHOVENOp. 14, N9 2

nm» wcresc.

-^-^ «—*-

p legato

-a-Ty¥f^ ^- fl£=^ ^ i

fppWJ I J L J L

') f ^ r^ ,- •yLflf^ lf^ S^^S«-= »

(

#^g

^Ml-^^^ m ^^^^,4 3

4 3_

S ffi & sPif^ 8f=^ f

^

^-tt-

l;toX^ i^ 3P4 5 4 o 5 a'

«^—

#

:^

Copyright MCMXIX, hv The University Society, Inc.

36

'^^^^ ¥—A^P—=-i^

SI ^Ws -2-rT^ i^i*;?sfTi

^^^ff^

1 1

—— £*#--

EE^ h^ore.so.

-4^JJJ n^# tt # i^T^ 771^3

::i --i T~ .^Ir-^? i \ >.

fr¥rT^ri^^^^ \ZJ!J—} \

^'' ^^^^^^

'

^r 1 1 i z

h .7 i ^"^^rf^p^ ^:If ^y

3 4

555,1 ^ 4

1 4 3, 44 35 1^4

^^73j-s/

^ ^^3^^ ^^

3 2 3

V

37

iui3 1 _-^ 1 i^o 1

34,41

V sc

1"2 1^

^ mMI ^ ^f

mT

#5^P^^

^^^_A \. -j»^ A I I I I I 1_

38

*iS"^ -p—t—^y^

L'^'^M

i ^?^

%:?

^ ^f^

J L5 1 " .i

I

mf poco rit.

i^JlgJtl± ^ l

^^fcj^^i':i 1 4

^ e r jr-j

s ^ ^decresc.

J^-t-^H-r ^i ^3 2 3

.? IT If H

itT '^f: g-i: g :ffl

•^ se^te'^I

* J I** ' ^ ---w3=^^^s=1 gi

jp/>

^^f sempre legato

-I. 1»

—

i ^-iot

ECf

EM1 3

39

^

40

*=M

«^^

f^i VmiW

t. \^

^m ^#J L J L

•i 1^ i

.

nJ Itm .1, -A 1

^^mItXi

3 K

cresc-

g = J. jjjJ^

^ ^ ^^SUHll^t=^

^^

S^dimhiupudo

"r-31

FP.y .y

i• r

41

iffrnfr^fff

'h^. 2-^ .iia 2 1 ^^^jjJJbp^E^ £ •^- ra

^oeo r^y^s/" ^ fl tempo

^^^

V 7- ^ ^

42

m °!^TO i rr^m^-

3 2 3

43

5 5 *

I J^

45

M - •- T^

^^S ^gt^

f g^=F4^ 3\^,_2 3

44

53 •"> 5

1 ' i

7-P yH* P l» P ;

at li Ip^^ - .i" r't

Ir-m^l^ivreav.

^gg^ ^ S =^ -* 1-^^^ ^,_'J J J j

45

Andante (J -76)

i ^51=5; 5=S

Jp

1I

•> \1 jp!

rrf ^gfgj; ^i'^jjuiI'^r^

J^ 7 » -y ff -/^^ ^ 7 ff 7 J ' 7^ ^ :

")7 K7,^^

5 4

Itnr-S ^S 7 J ' 7 J'7=^^^=^^ ^^^m «—

#

p

I' 7 <^^ m I•^^

f"'

F•>

f^ 7 t'k 7 g ^

-^H-7^

i ^34

4 s 1

f=§ 51^ b. ^^^- K -P-

^E

P

W-f»- -f^

-4—5 3-43 4

5^ ^ ia 2

3

4|^^\l

h=^^ig7^j'7 fr?^^r:±^?,-^ 7 3 7

^ ^PTti^^P f

m ^-j^

7

T 7 h) 7 i^^^ i -^-7-

24

• li-lt te_

)' i 7 ^^ ^ -^ p •» 1^

4 S L <

^1J* 3

^•4 5

i* :&

^^1^^^t/ i*' ^f^ 7 L 7 7 L 7^-^-^ ^

g^^

D'z?" zs; rfy-46

VAR.I

i 4

i -h\ ^^^^ See^ :^=6E *=^cresc.

3 ii»- tS^ Nf f ? .Ill- ij J

P

1 a24

3 5 4 5 5 4 3

M^ ^ ^f^ t:

P

if P f P^^5 5 53

* i^-^ :^'^#

a M^ i

f

gy «#ti s

^—^

—

m- Mhi>

^y J K7^^ "W"

=?F

^

J J I *i^

=: 5t n -t ^i

^—

;

a f^47

VAR.n 5 I

f ^f

p _

M \< \t ?f f

=f^ =^ =^^mf^f=

*/=- ^f^

^^ M ^ •r ir

E^Et^ r

/ sf-m

i^^^^^^^LT^ ^* 1.4

It-ii* i

, i)

SIsSSHii iS3M mf--r

El

cresc.

I 1^^

i)*M-*j^ f- 1^1^ itf^ ^

q'^*#•

^ =# ^cr^^ ^ cr

h'l^.'j:^ ^ 5^ ^-j^ ^^^i^^zi ^^ ^1 ™^^S^^^ =;^* I* 5ffi

^p

V V VQresc-

^^ f >tt^ ^ */-

^LJ^^^ LT^^ ^ ^ L/^

r fV ^ .^i» llj«#.

Itli =^^ "F # ^^ ?• i*-

ffim%m si? /

^^^^ ^V hv

decreso. i? i'

^ 7 L 7^

fl ^ ^-1—rff^

48

\ 4,

:i-^^^Ai^

I '/ ii7 P» P '>P>

hnH^H

deoreso.

^ V P V P 7 P ^ i) V P ^ P s^/y> pofo r/V.

} V p V p v6^1 2 T

VAR.III

i1 i

5 1

'^^:i^^ia^g=yp=^y^ ^-^w^^I

ji>p a tempo

'K r f ^E£

> Jrr^cresc.

^rinf.

1 1

^i^ ^

JT^.-

i;;ri >. r^>. ^r

^

^

'^ cresc.

49

•?" "V -^

')• r r

^r^'^fWWp cresc.

^».P^^ ^J!iiI

^#—^1*

^

^^s gW^"

^^^LLfl-^E^rt^*i* cresc.

^^ if r

^p escresc.

sf P sf p rf Pf

^j^' ^.^J^

'

5 "F

f >*>? J.

ff ^ fii:^ H ^ P 7 :^

=^

^i??'

^^ :

Ipp

;^ ^^S

7i N7^

!7^ ^S^

^ff

^&50

SCHERZOAlk-'jTu assiiil J.--76)

*^TF^S

P

^^—

*

^^•i. :i'^^"

^± ^?t

f > »

K^^mTtti^ .^ ^1^;3i ^ P ^ fflJl^ ^v/:

r

s^tl^ ^5 •y v9= i i mm-^f-^f- -i^—

^

7 7

f F?;

^**—-~^4 :i i

1^* 1^ 1^ *

U' , ^ -r

cresc.

M7 :r

^r//.

^^^^

51

11 -^—

^

I^

^^

:±=t

= » 7 7

-^-^ —1—-— ^mp

h%

if ett

I

f^ si ^ s

^^=^

^

i 7 7

•J^^ JT^^'^ ^

t 7 7

HTJJ^^ •' i£C^cresc.^

1 b.^ o^

/^oco rif.

^Un pocliettino meno mosso( J-- 69)

14 3

^ E iJ9 rfo/cf

^^ ^ s1 ^=r

iKi^^ h7^^!—

^

^ ^s r r"'[i

::^?=F= ^53

i

m

m ¥Je= ^s y y

^*ag p

' r p "t^^

m i2 1

¥*^-^ ./f-'f / r ./---r

s iS ^ JTTj«ifi ^*^ *3 t

54

^_^Jl-^=f: ^^•z I

g ?±

3 S^ sr==^ fT 7

Tempo I.

fe*>/

^^decresc.

^t f t^ ^^? :^==S

:i=±:

1 a

J^=¥^

^-^^-^

P=1=3:

^

te ^(dim f

if Tf^If p

^^ m^ i 1 7 77 7

f7

Ms f f

«

^^^ ^

56

^merase.

^TXJT ..^,

dim

.

^mmm

-' ^j 1^ -.^ .,

I r^^

57

iH 1 3

i-=53^pp ^ -S- -# ^i^ir^^"TT ' * ^JJiJ'J

i1 2

^ i

mo -^

^

#^

^.•? .?.

y ^ - »

.•?. .•?.

T ^

^

m m F~W

f .•?.

^¥=^i

7 7 ij* 7 ^ ^ ' 7 7 7-l 9 1 7

58

ii 5 4

^^lt'i,>-ii/o vrr.sv. poco a

ktfllf

tmtrvato

pocn

•i .V,

;£ftfMr

1 i

tiCs^ -££^^^^

i4 a

•4 .=s

/ ^

M- - -^

;^^^-y ^^^ ^^-#* |> fc'^ i

-< ^^^^^ ^^ - #-

/

s ^^ ^ - *i

» ^# ^^rffrf-frf

^ 1 3

^mpiu cresc.

i-^^-^^

si^

•/ •/

cresc. poco a poco

il-*

3 S ^ ^^ ^ mfpI

•*. .-J

#^y- % y \ y »

59

4^ ^ ^ •-==-;—

1

=fl"5

=1= q V- •(

^ r—--.

f

t - • ^P —

1

§=^bJy.

bJy.

^—

^

« 1* J

^_aL z =i__|

p legato

"^ 1

<iresc.

^Ff=i— ^ ^ ^m^a

d 3=f—^

y^ 7 2— ^=^ 7 ^ Jk*: •Lg 1—

J

k^ ^

i^ %f^ f f^ , tE'/

a =3 ^ p cresc.

«H

i*^^ »? fe

54

£ ^#'

^»

i ^^^ ^ ' 7 7

§Mt^ ^^

dim.

-m m-

PP-

-0 #- = ^5=t -^^^

60

THE UNIVERSITY COURSE GRADE 4, BOOK 4. STUDENTS' ALRIDGEDOP MUSIC STUDY QUARTERLY EXAMINATION '^'^'^^

[If more space is required write answer on separate sheet and identify by question number and letter.]

1. How does variety in touch and accent assist in developing independence of the fingers?

(a) How may the scale-passages in thirty-second notes in the Studv, by Mayer, bethought as single units? (b) Is the measure simple or compound?

3. In what measures do the two subjects of the fvvo-voice INVENTION, No. XV, in ^B

7?iinor, by Bach, first appear, and in which voices?

4. (a) Why is it advisable first to learn the left hand part in the F minor STUDY, byCramer} (b) What kind of figures are used in this part?

5. (a) What is a Fantasia? (b) How does it differ from a Sonata?

6. (a) What is a Tango? (b) Describe a tempo rubato, such as is recommended to be

used in the TANGO, by Albeniz. (c) ^Vhat rhythmic problem is prominent in this

composition?

[OVER]

(a) What is the technical difficulty in playing Double notes? (b) Which are the moredifficult, Thirds or Sixths, and why?

8. When is the fingering | t required in playing Double Thirds?

9. (a) How many themes are found in the first movement of the BEETHOVEN Sonata, Op.14, No. 12? What are the usual divisions of the movement? What are the Keysof the principal subjects? (b) How do the variations in the second movementdiffer from the theme? (c) Give an outline of the Rondo form used in the

Scherzo.

10. Why is slow practice helpful?

Student Date Examiner Percentage

4-4