Sa EXERCISES FOR DEVELOPING ACCURACY IN PIANO PLAYING GUSTAV L. BECKER PRICE, 80 CENTS 1712 Ghesnqut Str. Se poe 71EXERCISES FOR DEVELOPING ACCURACY IN PIANO PLAYING No 12952 GUSTAV L. BECKER Special Notes ‘The habit of accuracy in piano playing is developed by practicing, with utmost attention devoted to exactitude. Examine the nature of the motions required in every new exorciae. When ever practicable apply the different sequence forms and transpose to all other keys.(Think out your tones ‘and tone groups before playing, and endeavor to have your hands and fingers reach their positions without looking at ‘either the keyboard or the hands.When playing exercises ‘written on one staff play one of the hands one octave above or below the position represented in the notes Let the hands ‘and the fingers accomodate themselves to the most favorable playing positions.'The fingering above the notes is for the right hand, that below for the left hand. In all exercises not employing the thumb, this fingor is to be held loosely under the palm of the hand. Keep the wrist as much relaxed as is possible ‘With several rows of fingering, practice at fist that nearest the notes. In exercises Nov. 1 and 8,28 well as similar ons, sim at smoothness and rhythmie regularity in the silent exchange of fingers on one held key,as well aa ih the audi- ble results of the playing motions. Carefully observe all tios and slurs.~ After anisfactory performance of Nos.tand2, apy the same fingering and touch to sections of the chro matic scaleyupwards and return from b,c, and gf, then trans- pose to all other major and minor keys. Not too many exereises ‘ould be taken up while preceding ones are not yet mastered. Position at the Piano Sit exactly in front‘of the middle ¢, the stool far enough from the keyboard, so that the elbows will come to be slightly Legato 4 : 1 ‘ in front of the body, the hands placed upon the keys—and sit low enough to that in this position the forearms will be about horizontal thi aie ot 5 sy Teptas as fora erat pee @ Legato, , , tag te a Peis stesea te seams ee ae aed fia alain cris ati Copyright 1915 by Theo. Presser Co.—18Leggiero a otis tttat oF rears sass Bist sesisise 2 a1 sa5is pees re 1o8 s's‘s ss 8 L-H.two octaves lower. 43 4a 415 fi tone Rees sist eae ‘chrom. sequence ‘Transpoee 17S Legato Crossing tones in octaves (Transpose) nl 4 (Also reverse hands) a eS 2% = In ea. 25 26 (seo 50) satya, t fos, s he Sos pets é fener ay 12052-18,1295218: fier pee j eee z 19 "lat, SOF ney | ieee fatusues 4 8 Bs fgaey sa a | 55 fammmwoation 56 cS Ain °F uit : geet oa iets pnt ; eu Ascendlag sud desvonting CUP TRAE EUNT 4 chromatic progression of saettndaste peateea E 3 we taenefagtaul 84 e484 reversing R-H. fingering. Sinilarly progressions of $ major sixths with fingering =t S| $ Band? LH. reversing. tFrom the same 76 i 3. fos ays asc = a in broken intervals. i 73 eri y 4 #f> 8174 nen * 12062-13 isa £ KH alone Litelone , E & p70 8 8 N077 to be played msi bee Pee at oe simultaneously with oe the wo lind gern G of bath hands on 3 7" iene acantando 87 te, In 86 RH&LE. alternately. 7 T Preliminary practi for LH. part of 89 Hensels Etude in F# “Ie Twere a Bind”con pedale Nos. 95 & 06 with each sing flagor and with every two fingers. ‘Transpose to A,E,B, APand G? major. 95 96 oe are ‘No97-In as smooth touch as possible. i simite ‘Transpose to D, 9% aa 1g For Nos.07,98 & 99 supply with L.H. ordinary arpeggio, without ski and ©, PF& Ebminor. A 100 » he 99. the 5 4 tate me For Nos.100,101 &102 supply with BH. ordinary arpeggio, without skips. 120521812 ‘Take 5th finger on white keys and 4th on black keys. ‘Transpote to B,Ch rand 74 major. eae 103 i 8.8 8 104 Nos. 108 & 104 aloo in the following ehythm. 106 4 BS os 107 ere B. 8 Ge (EGER ‘ranspe%e to ByBbA and Abmajor and to F# minor (harmonic) —_——_—. soo; 3,3.3 ,8 a ron legato 410 i i 2 oie -Nos-118,114 4115 also in A major. Notes in the upper staff for the 1952-18119,120 & 122,123 & 124 ote, (Broken chords of Nos. 18,114 & 115 #0. (Broken chords of Nos. 116,417 & 18 +. played together) layed together) “qutlaby” Transpose to Ghee E. 125 “Andantino —— bs Ee 5 £415 Melody by Mendelssohn arranged for £1 alone AZT Teansponoto D and E. ae eee eee ey Og 4128 Melody by Mozart, grranged for the L. mmopose to Jone. ‘To supplement the foregoing, practice the difficult places in HELLER: Op. 16, Nos.2,3,8,0,40 & 28; Op. 45, Nos.2 & tl; Op.46,Nos.7, 14 & 25; Op.47, Nos.12, 18 & 25. FRED.HILLER: Op. 15, Nos.10,14,16 & 28. AD.HENSELT: Op. 2, N06.and other studies with large LOESCHHORN: Op.88,N? 25; 0p. 66, NO 27 SCARLATTI: Gigue in G.(N@ 6 Bilow edition) and Concort Sonata in A. BACH: Partita in C m.; and other selections. CZERNY: Op.740, Nos.0 & 38-and others. ‘ SCHUMANN: Op.3. WEBER: Momento Cupriccioso,Op.12, (measures 32-84, 39-42, and the firet 16 of the last 82 measures. ‘» Rondo brill, Op.62 (abounds in technio furthering material) RUBINSTEIN: Valse Caprice, in EP. and studies. LISZI'S, Rhapsodies and “Campanella”- and other studies. CHOPIN~ most of his larger works. Left Hand pieces:~by ZICHY; FOOTE, Op.82;, HOLLANDER, Op.81 &52; i.BINBERGER, Op.t15; BACHJOSEFFY, Gavotte in E; CHAS.G.SPROSS “Albumlesf;"R. SPINDLER, Op.156, nd many others. Among many studies those by CZERNY; H.BERENS, Op.60; and SCHYTTE, 0p.75,v0l.7.-" so950-19