the virtuoso pianist - internet archive
TRANSCRIPT
The Virtuoso -Pianist.
Pari I.
Preparatory Exercises for the Acquirement of Ag^ility, Independence,
Streng-th and Perfect Evenness in the Fing^ers.
N91.Stretch between the fifth and fourth fingers of the left hand in ascending, and the fifth and fourth fin-
gers of the right hand in descending.
For studying the SO exercises in this First Part, begin with the metronome set at 60, gradually increas-
ing the speed up to 108; this is the meaning of the double metronome - mark at the head of each exercise.
Lift the fingers high and with precision, playing each note very distinctly.
i
(M.M. J = 60 to 108.)
C. L.HANOX.
1. mf\^^^^ 1_8_34_5 \ a \ z 1 «
J J#-»-•m 7.
4V *J -dm '7 *^
5 4 3 8*B4
5 4
|yyy^
(1) For brevity, we shall h«nceforward indicate only by their figures those fingers which are to be specially trained in
each exercise; e. g., 3-4 in N9 k; a-3-4 in N? 3, etc.
Observe that, throughout the book, both hands are continually executing the same difficulties; in this way the left hand
becomes as skilful as the right. Besides, the difficulties executed by the left hand in ascending, are exactly copied by the
same fingers of the right hand in descending; this new style of exercise will cause the hands to acquire perfect equality.
i^3™54 5 4 5 4 5 4 5 4
As soon as Ex,
1 is mastered,
go on to Ex 2without stop-
ping on this note.^pM'aii^-'
feLasy 'CgM-'Lackr[prfN?2
(3 -4) When this exercise is mastered, recommence the preceding one, and play both together four times
without interruption; the fingers will gain considerably by practising these exercises, and those following,
in this way.
2.ma 5 4 3 4 8 »
>> , JP^THI-t »
5
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1 a 5
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1
3
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1 3 1 3 1 3r
(1) The fpurth and fifth fingers being naturally weak, it should be observed that this exercise, and those following it
up to N? 31, are intended to render them as strong and agile as the second and third.1 JKKOD
(2-3-4) Before beginning to practise N9 3, play through the preceding exercises once or twice without
stopping. When N9 3 is mastered, practise N9 4, and then N° 5, and as soon as they are thoroughly
learned play through all three at least four times without interruption, not stopping until the last note
on page 6. The entire work should be practised in this manner. Therefore, when playing the numbers in
the First Part, stop only on the last note on pp. 3, 6, 9, 13, 15, 18, and 21.
jOO
3. 1 » 5 4 3 8 31 « 1 « 5
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3
5 3 1 5 3 1 5 3*
1 a 5
i 5 * J^^ i* M -0-^ ^* # J d#^^1^ #• 5
E^nXLLT5 3 t
1 3
N9 4.
(3-4-5) (1) Special exercise for the Sid, 4th and 5*J> fingers of the hand.
fe4.- 1 » 1 8 5 i a 8 5
m m rm Oiprn *-^Tf ^:w~^Tr «•--#
r^a<»^5 4 5 »
1
5 4 5 a i
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N95.
(l-a-3-4-5) We repeat, that the fingers should be lifted high, and with precision, until this entire vol-
me is mastered.
Tj:
1 5 4 5 8 4 S 3 1 5 4 5 3 4 a 3
(1> :* J
»
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5, 1 » 1 3 » * 3 5 1 a 1 3 « 4 3
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(5) To obtain the good results which we promise those who study this work, it is indispensable to play
daily, at least once, the exercises already learned.
6.
^^-fT4 1 S V a 1 a 1 -* *
4 V *'*-*
m ' rrrTr^r—m m ^ m
(3-4-5) Exercise of the greatest importance for the 3 _ ' 4^11 and 5^^ fingers.
i u:
97. 13»4354a 3 a 4 3 5 4 8
n mrmm- ^ m ro^ 2^^^^^^»f »r m-
5 3 4 2 3 18 4 5 3423 la* 5 3 S 3 5
#W-* im^H f^rir
"r^T^Frf:*! £rmSr
(l-Z-3-4-5) Very important exercise for all five fiiig"ers.
^8. 1 » 4 5 3 4 a 3 1 « 4 5 3 18 4 18 4 124.
*>i>i JJ»-^' J^
"
S' ^ 3 OS 73115#-"-^i»- m:' d ftp r m P^
5 4* 13 8 4 3 5 4 a 1 3 5 4 « 5 4 8 5 4 3
Extension of the 4tii and 5^1', and general finger- exercise.
P9. - » o « ^ 3 5 4
4V jt
. g a 2 4 3 5 4
'miOT1
»
1
«
S 4 5 4U-^3 4 ;* d 1 » ^4 3 4 « « * * 54
5 4
^ f<ljV^-a-^-
(3-4) Preparation for the trill, for the 3^^ and 4^^ fingers of the left hand in ascending (1); and for the
3^^ and 4th of the right, descending (2).
^10. 1 548a3»3
w=sm ^^m^1 543«3«8
J^ J JJJJJ
1 S 1 5 1 5
E fW=m-
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5 1 5 1
1 5
Q Si
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5 1 5 1«_i 5 1
i^Mi
« 5
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i 5 i 51 S 1 6 r
(3-4-5) Another preparation for the trill, for the 4*1^ and S^h fingers.
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1 3 1 3
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Extension of 1-5, and exercise for 3-4-5.
p12. S- 1 » a 1 a a 1
5 l_3 » 5_l 3 5 1_ 3 5^1 3
^^^ ^TO ^^?^?m01 ' ' s
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1 5 3 4 5 & ;i 5 i 5 3 4 5 15 3 15 3 15 3
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(3-4-5)
13.
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(3-4) Another preparation for the trill, for the 3*? and 4*^ fingers.
fe14.
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'>^ JJ^^^59< g 4 3 5 4
Zffi
4 5 4
^ij'^jyi=F ^^P=!:p
5'4 » 3 » a 1^ 5 4 a 3 » « * ^ 5 4 « 1 8
tac
13
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* 6 85 4 1 S 4 1 5 4 1 5 4 1
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Extension of 1-3, and exercise for all 5 fingers.
fe15.
1 ai a 94 3 5
^m1-2 1 3»4 1 3__«
;^Ea 13.
^m^ma4 a » 1 « * 5 3 4 » 3 1 « *
5 3 4 » 3 1 a 1 1 a "I 3 1 « *
^ 9r-*-
P 'TO^fj -^^Tffia 1 3 1 a g
^^^^^^1 a 1 3 * » 1 3 r
Extension of 3-5, and exercise for 3-4-5.
^16. 1 3 a 3 5 4 a 4 1 3 8 3 5 13 8 3 5 1_3 5
m41: it\ JJJ^»d' ^ s lEOTacsat ^'-d-* iP^^t
P*, #
^3 4 3 1 if -* * 5343* 534 3 1 5 3 *
li .. .hrr\
Extension of 1-2, 2-4, 4-5, and exercise for 3-4-5.
17.
lii>
p(i-2-3-4-5)
18. 1 g 4 3 5 4 « 4 g 4 5
l^-^^1 a 4 s 1_24__5
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19.
* (1-3-3-4-5)
Lo1
Extension of 2-4, 4-5, and exercise for 3-3-4.
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= J%JJj = acpiatjt*^ Z
ft
20.1 «45484» 1 «45 4 34 ^3
TUS!:i5P^^ WLZM^M.
fsT* 5 4 » 1 « * 5 4 » 1 «
!^ .
Transcendent Exercises for Preparing- the Fing-ers for the Virtuoso Exercises.
Observe, that the work done by the 3t<^, 4t^ and St^ fingers of the left hand in the first beat of each meas-
ure (A) is repeated inversely by the same fingers of the right hand in the third beat of the same measure (B).
(M.M. J r 60to 108.)
E21. a 3 «
CB)
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Having fully mas-
tered this exercise,
go on to the next
without stopping on
this note.^Ta^
Same object as N? SI. (3-4-5)
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Practise the exercises of this Second Part as we directed for Part I (top of p. 4); thus, in playing through the
exercises, stop only on the last notes on pp. X4, Z9, 33, 37, 41, 44, 46, and 49.
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26.
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(1-2-3-4-5): Prepares the 4^1* and 5th fingers for the trill given further on.
$27. 8 i H 'i i ''i 'i
5 4 5 4 :{ Si
* '• - J ^ J^ 3i4 8 3 1 3 5 4 5
Tl J,
m m ^ r1 3 3^
l» F l»m 1 «8 a 4 :{ 5 4 3 3
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;{ a 4 3 5 4 ;{ »
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28.
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(3-4-5)
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13 3 3 11 5 4 5 3 4 2 3
J U IJ I
gj - —# J)
* ^ d • J jjW~Z^Mtw=m=m. -r #-r wf #•
5 3 4 3 5 5 1 « 1 3 « 4 3 534 3 5 3l«* 3 « 4 3
t13 1
1545 3 423 1 5 3 4 » 3
|B*3
1 3
d^*^dm 1 3
1 5
F^ "»#
5 3 5 1
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5 3 5 12* 3*4 •' 5 3 3 2 4 3 5 3
5 3
li 1
^ . g . 3 g 4 3 ^ 3 4 a 5
" rrfr^^^^rrn rirrrrrrrr[r- f'm^m^
(l-a-3-4-5) Preparation for the Trill, for all five fingers.
S29. 1 " ^ a » « ? ^ ^^^^.^B
4 5
s^' '^ ^ Mill—T—m BsaBsar
nzgzatmpii *
i5453434» 3 « 1
a 4 5
J7]^j^j^^^^^i^
3 4 5 3 4 5
II
Ml III jOT^^^^i^3Mmp5 4 3 » i 5 4
3 ;2 1 5 43 Z i
5 4 3 « 1
j^ *» .., „,.—
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3
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3
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g^^ m -m mf
3 5 4 3 3 5 4 3 8 5 4 3
i
3?
3 13 4
J 33 13 4
^r?" wi^ m
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Trill alternating between 1-8 and 4-5.
^30.
S1 a 1 a
5 4
mznr »
f^fr'1 a
& 4 5 i
u rrr1 3 BBsas i a i 3
5 4 5 3
i5 4 5 3 5 4 5 3
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(l-a-3-4-5, and extensions)
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—
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Turning the thumb under.
i 4
Turning the thumb under the 21^ finger.
M. M. # = 40 to 7S.1 gigiai 1 1
1 a 1 8 1 a 1 * *
i 1 tillfl
1 1 1 i^l CTrnm^mrm 111 111_jj^ jjj^jjjj j
si * 111*
1 1 1 i££^'4 * 4 * 4 4-
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Turning the thumb under the S^y finger.
M.M. J = 40 to 7a.
33.
i ^ 1 Repeat thisOn ~~ measure 4 times.
m ^m I a 8i3a<a3i3»^ J*JJJJ *^• »»•
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1 13 8 1 13 81 1 3i8 1 i 3-»
:ra^#" ##
1 13 1 13 1 13 8 1 1 3
sv
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ffia £13 1 13 18 3 1 13 81 138
3 18 3 1 3 8 1 18 3* 13 8 1 13 8
1 3 1 3 1 3 1 3
1 1381 1381 1381 138
-+^-1 3 1 3 1 3 13 1 3
iffff
1 13 8 1 13 81 1381 138
1 1381 138 ffliflsr f1 1 3 « 1 13 8
Turning the thumb under the 4^? finger.
M.M.J .- 60 to 108.
BE34.
S'*Repeat this
measure 10 times.
1 a » 4 1 4 :{ »
^qpzpzzr=~zazMV- 1^ J ^ ^ =
1 3 3 4 1 4 3 »
^ * ^ *: ^
1 « 3 4 1 4 a
¥=
14 «
JTJlm-^ mS=«
1 4
#!--#
^ ^ « a 1 14 3 «
«L-» ^-*-M^
1 1 4
7^ ^77]1 4
0-0-0-^fT ^mirfs
1 41 4 a-i 4 4-HI »—4—
^
4-
« 1
1 i «.4i^.Bm i 4 « 1
cmmj-icm[g
it 1 4 m 1 4
W^*^1 4 1 4
P=P
LLcrmniLri14»1 1481 14 21 14 a 1 14 1
Turning the thumb under the 5th finger. This exercise is of the highest importance.
M.M. J r40t0 72.
135.
Repeat this measure,lQ timesmeasure,lQ trnies 1 2 5 16 4 3 2 6 15432
s6 1 6 4 3 2
JIPJJJ^^ ^JJJ^jJJ] 4^^^^^^^^^i,rrr,^
154T43aia846 16164821 » 16164321 6
S
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IS 1 B48 «1 5 161646ai 6 1^6 1 6 4 5 18 164 6 16164 6
1 15 2
-i-JJ^^UX :
,#
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HI 6-*-6 «-1616 4 12 6 16 2 615 2 5 1 8 ^.1».
16 16 4 ^ 1 61 64 5 16164
1 61 64
M^1 61 54
^J]]J]3'
16 184
*^*^JJJ jiMSE1 81 64
!C[rCttrrFCr'
[CC^^ PyPEi616 2 816 2l 618 2
f616 21 6162
Another example of turning the thumb under.
te36.' I43g t43gS 5
t43ai4 3^a t * 1 414 14
^ J J J ^ J 13^Tfprrr
12341234 ia34t2rr^:
8 412 12 12 12
12 1 2 12 12
S -*—a- nrr^rn mi; a * 1^ J
-W-9-« 8
5Fi I « 8 4 ^43*1-32
m ^M i ^ »
12 1 2
^^ 1 2 1 2
y-z' d *:
1 .2 12
JJJJJJJJ ^-^k ^-*^^^ =P S"^ V _^1 4 14
Special exercise for turning" the thumb under.
14 14 mms t14 14
Play this whole exercise with the two thumbs only.
sSl 111 1 4 1 4 1 1
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f FP|* PP;||;[pPPp^PP;^^^
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(1) Hold down these three notes with each hand without striking them, while executing these 18 measures
.
Preparatory exercise for the study of scales.
IP-
38.
m« a 4 ^ i^ •pJSP-
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The 12 Major Scales, and the 12 Minor Scales.
Each major scale is followed by its relative minor.
There are two ways of playing the minor scale; we thought it best to give them here after each majorscale, leaving it to the instructor to teach them as he sees fit. We mark by a figure 1 the first (modernl*
minor scale, also termed the "harmonic minor scale;" and by a figure 2 the second (ancient) minorscale, also termed the "melodic minor scale."
We know, that the modern or harmonic minor scale has a minor sixth and the leading- note both a-
scending and descending; whereas the ancient or melodic minor scale has a major sixth and the leading
note is ascending, and a minor seventh and minor sixth in descending.
M.M. J r 60 to lao.^ _—-^^^ ^^- 5
C major.. , , ^ ,
j^ L_,^.«g»r'^gl_LjEW,
F major,^F* ^^ ^~" "" _ m ^^ "^ ^— —" TTT--"^-..'^ " ^~
«? '3 :*
fflgLmi
Bi» major.
Eb major.
Al> major ^rrrrm^rfrm
D!> major.
B major.
E major nmn.
iW, '
•
oy
A major
^^
6r
G major
Chromatic Scales.
M.M. 60 tot-iO.
, At an octave. 3 1 8 i iaSl
» « 3 I 8
3 1 »
631 3 1
At a major sixth
* 3 1 3 1 3 1
\, 1 3 ^ a 1 3 a 1 3
» 3 ^ 8 1 » 3 1 3 1 3
In contrary motion, beginning on the octave.
13 4
3 14 3
Arpeg-g"ios on the Triads, in the 24 Keys.
1 8 ,
C major.
M.M. J = 60 to 108
*
^E\f major.
mII a 1 -«-
1S T1 8
B4 a 1 ; 4^
^S^m a 4 1
3 »
C minor.
4 «I*
t
mtirfiffi
T5 3 ail
^ 18 4 1-
ZZM
I
Al» major.S^ C
^^ ^^^^nr^ taW
1 * «1«
F minor. , i/\I
r minor. - i Ua j ^ it r:
5 3 a i 4 f^
3 »
mA major.
1*
7T mI ^1 «-^^ a ^
itf^
35
minor.
m^
wf
*
^ ^ m
m3 »
D major.
i«- ^T
r F r r r ."^ aas im
B minor.
1 «
T?5 3 ; « 1a
f^
^^ 12 4 1
i4 «
PG major.
^^"^ 3
^t
S
;PE minor.
-«—
*
.. 1
&-
n3 a
I1
^pf?^'
mr-^ •'
f
r
s^^ 1 I a 1 1 W ^a 1 T^
Extension (stretching) of the fing"ers
in chords of the diminished seventh, in arpeg'g'ios.
M-M. J= 60 to liO.
lepeat this measure 4 times.
4 times
1*345
Extension of the fing^ers in chords of the dominant seventh, in aq)eg^g^ios.
*M.M. Jr 60 to 140.
SRepeat this measure 4 times.j
i
End of Part II.
Parts I and II of this work being the key to the difficulties in Part III, it is evidently very important that
they should be thoroughly mastered before commencing the virtuoso studies contained in Part III.
Part III.
Virtuoso Exercises, for Obtaining^ a Mastery over the
Greatest Mechanical Difficulties.
Notes repeated in g'roups of three.Lift the fing-ers high and with precision, without raising hand or wrist. As soon as the first four meas-
ures are well learned, take up the rest of the exercise.
M. M. J = 60 to ISO.
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Notes repeated in g^roups of two, by all five fing-ers.
Study the first fingering- until it is thoroughly mastered; practise similarly each of the five following finger-
ings then play through the whole exercise without stopping.
Accent the first of each pair of slurred notes.
(M.M. J:6o toios) — ~- sttmle1 «
4 5.
l^i fingering.
4 5
4^h fingering/
5th fingering.
t^^^^^^^
The Trillfor all five fingers.
Practise the first 6 measures until theycan be executed in quite a rapid tempo-, then practise the rest of the
trill. Where the fingering is changed (1), be careful that not the slightest unevenness is apparent.
i'M.JzHO to lOS)
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Notes repeated in groups of four.
Lift the fingers high and with precision throughout this exercise, without raising hand or wrist.Whenthe first line is mastered, and not before, take up the rest of the exercise.
i(MM.Jz 60 to I'iO)
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Wrist - exercise.Detached Thirds and Sixths.
Lift the wrists well after each stroke, holding the arms perfectly quiet; the wrist should be supple,
and the fingers firm without stiffness. Practise the first four measures until an easy wrist- movement is
obtained; then take up the rest of the exercise.
(M.M. J =40 to 84)
4 4 4 4 ^{mi/p ^
48.
/
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(M.M. J = 40 to 8*)
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Stretches from the 1*1* to the 4^b fingers, and from the 3^ to the 5th, in each hand.
Sf
Very useful for increasing the stretching- capacity of tliese fingers.
(M.M. J :60 to 108)5 ^ .jft^ltA
49.
-/
Leg^ato Thirds.
We recommend careful study of this exercise, as Thirds occupy a very important place in difficult music.
All notes must be struck evenly and very distinctly.
(M.M.J:40 to 84)
iE
50.3 4 5 4 :{
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^^2^Scales in Leg^ato Thirds, it is indispensable to practise scales in legato thirds. To obtain a smooth le-
gato, keep the fifth finger of the right hand for an instant on its note while the thumb and 34 finger arepassing over to the next third; in the left hand, the thumb is similarly held for an instant. Notes to beheld are indicated by half- notes.CD Proceed similarly in the ohrormatic scale further on, and in all scalesin Thirds.
(M.M. J = 40 to 84) 31
Preparatory Exercise for Scales in Octaves.
The wrists should be very supple, the fingers taking the octaves should be held firmly but withoutstiffness, and the unoccupied fingers should assume a slightly rounded position.
At ' .•
.
erateslowly until the feeling ot tatigue
See remarks to NP 48.
ess, and the unoccupied lingers snouia assume a siigniiy rounaea posnion.
first repeat these three first lines slowly until a good wrist- movement is attained, and then accel-
the tempo, continuing the exercise without interruption. If the wrists become fatigued, play moreT until the feeling of fatigue has disappeared, and then gradually accelerate up to the first tempo.
(M.M. J Z40 to 84)
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Scales in Thirds, in the Keys Most Used.
Play these scales leg-ato, and very evenly; it is hig^hly important to master them thoroughly. See remarks
to N9 50.
C major.
A major. .,-533 4 5 ? ^
l
a » « ?
33 2 5 4 a , y 1
1 ,-
A major,
3 * I ijj. ^*
•i 3
Bt major. 345
II I JJJIl-m' iLiir
2 4 « 31 g i 1
auA minor., _ .. 4 s «
8 ? S 3 ' « 3_t
Scales in Octaves in the 24 Keys.
First practise each of these scales until it can be executed with facility; then play throug^h all 24 withr
out interruption.
We cannot too strongly insist on the absolute necessity of a proper wrist- movement; it is the only meansof executing: octaves without stiffness, and with suppleness, vivacity and energ:y.
See the explanations for N^^ 48 and 51.
[. M. J = 40 to 84.
G minor.
(1) In all scales in Octaves, the black keys are to be taken with the 4th finger of either hand.
-/
utA major.
The Fourfold Trill in Thirds, for all five fing^ers.
Execute this exercise very smoothly and evenly, striking- each Third very clearly.
CM. M. J z 40 to 9-i.)
a 43 41 a
6 43 it
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II . . 51
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The Threefold Trill.
Same remark as for N? 54.
M. M. J = 40 to 92
IE4 § i1 a 1
55.
.5451 2 1 2
4 5.1 2
5 i ^^^^^^^
be^'iai^tl " s *
41
41
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i ij i i i ^5:
Special fingerings for the fourfold Trill.
legnto.» 4 8 4» 1 a 1
IE
j|i ^ j.^ jitif~f\iiii 3 5 4
^ l'i n in«>«»i'r«ii n ^^I8 12 1a 4 :t 4 8 1
» 4
(flh
Special fingerings for the fourfold Trill.
legnto.» 4 8 4» 1 a 1
IE
j|i ^ j.^ jitif~f\iiii 3 5 4
^ l'i n in«>«»i'r«ii n ^^I8 12 1a 4 :t 4 8 1
» 4
(flh
A minor. d)
ii[ffl?PrrJrr
El» major
IP minor
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^ ii
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=
—
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Bl> minor.
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Gl' major.
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A major.
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E minor. * *>^gie£ ..^(.gfeggp^.^, g gtig,>>^.
Broken Arpeg-g-ios in Octaves, in the 24 Keys.
To beg^in with, practise the first arpeggio in C, which must be played cleanly and distinctly, with a goodwrist -movement, before passing to the next in minor.
Similarly practise each of the 24 arpeggios; then play them all through without interruption.
M. M. J = 40 to Ti
(1) Throughout <his exercise, take the black keys with the 4th finger of each hand.
P minor.
Di> major. 8-
iBl» minor. • ^
4t f#r *-^ -«>
1 i!>»
teGl» major.
(1) _ - *Eb minor-
.«-
^*e.
^ Ip •
f^K
PlE^ffK
:?;
B major.
(1) As this arpeggio, and the next one in El> minor, are on black keys alone, it makes no difference whether the 4thor 5th finger be employed.
E major. ^
*i * ^:r#:r
CjJ minor.
#—^ »'
i
^ft?fK^ V '» *^9*
A major. <y
mt
I
Pjt minor. ^ #^# ^
jl ;4g;— #
_J_» -J.
*.# * J-* —::9«7
se iS#%k5'^^
D major. ^8
G major.Emimmor^..
Sustained Octaves.
accompanied by detached notes.
Strike the octaves vigorously without lifting the wrists, and hold them down while deftly executing the in-
termediate notes with a good finger-movement
.
M. M. J = 60 to 92.
ten. simile.4
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S^Massa
Fourfold Trill in Sixths,
for the combination of the 1st and 4th, and 2nd and 5th, fingers of each hand.
Neither hand nor wrist should be moved in the least while playing this exercise.
(M. M. J = 40 to 84)
^ i m4—5-1 »
5 A 5* 8 4? « 1 «Repeat this measure 4 times
4 s1 «
*l 4 § 4JL * ^ ^ .» * 1
5 4
(M.M. J =40 to 8*)
8-
5*5 simile4 » 1 *
The Tremolo.
To properly execute the tremolo, it should be played with the same rapidity as the roll on the drum.
Practise slowly at first; then gradually accelerate the tempo until the movement indicated (M.M.J =72) is
reached. Finally, by oscillations of the wrists, the rapidity is still further augmented up to the tempo of the
drum -roll. This etude is long and difficult-, but the excellent result will fully repay the pianist for the trou-
ble and fatigue encountered. Steibelt made his hearers shiver by his execution of the tremolo.
60.
81 .«i
31 "k.
115S
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t^%^ii%%iii^^%r^Concluding: Remarks.
Now that the student has practised this entire volume, he is acquainted with the chief mechanical diffi-
culties; but, if he would enjoy the fruit of his toil, and become a real virtuoso, he oug-ht to play this entirebook through every day for a certain time 5 only in this way can he familiarize himself with these great dif-
ficulties. An hour is required to play the book through.
The greatest artists find it necessary to repeat daily exercises for several hours, merely to "keep up their
playing." We should not, therefore, be accused of exaggerating the matter when we require of a student aspiring
to true virtuosity, that he should play these exercises through every day.