conus fundamentals of piano technique.pdf

June 24, 2018 | Author: kvastek | Category: Elements Of Music, Musical Notation, Musical Techniques, Musicology, Music Theory
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r&* rO* *«• *V" ft)* PLEASE HANDLE WITH CARE University of Connecticut Libra Connecticut »fc» »fc* #^» rfe» rfc» L BR I A R IK S GIFT F Bruce Bellingham from the Collection of Patti Bellingham 1 1 1 1 1 1 I llllllllllllllll 3 ^153 nmaa^a 2 GAYLORD RG BOOK TWO FUNDAMENTALS of PIANO TECHNIQUE by LEON CONUS BOOK TWO NDO/?S£ .arioBRA i ARRAU ^ lecOMMEHD** ADVANCED TECHNIQUE town CASAI 0* \>1 H DORFMANN ansa ford CURZON ise ECHANIZ "** FIRKUSI rudolph QANZ fladimir HOROWITZ wgene ISTOMIN :'<*, William KAPELL itolri MALCUZYNSKY leo PODOLSKY alexandarUNINSKY 7/2^ clayton f. summy co I Digitized by the Internet Archive in 2013 http://archive.org/details/fundamentalsofpiOOconu FUNDAMENTALS OF PIANO TECHNIQUE 535 BOOK TWO ADVANCED TECHNIQUE by LEON CONUS*.Q r * see page 44 for biographical sketch FOREWORD I dedicate this work of my long life to advanced pupils and aspiring teachers. The exercises here are the result of careful thought and experiment during the many years which I have spent teaching. In order to facilitate study and system- atize these contents, I have divided the exercises into seven categories, first ac- cording to their classification, and second according to technical difficulty: EXERCISES FOR EXTENSIONS Page 3 FIVE-FINGER EXERCISES Page 11 THE PASSAGE OF THE THUMB Page 17 EXERCISES FOR THE TRILL Page 23 SCALES AND ARPEGGIOS Page 27 EXERCISES FOR THE WRISTS Page 33 EXERCISES IN DOUBLE-NOTES Page 40 Thus, each of these series has a special aim or purpose: The EXTENSION EXERCISES are designed to facili- tate stretches, loosen the hand, strengthen the fin- gers and give them independence. The FIVE-FINGER EXERCISES are designed to de- velop agility, strength and independence. continued page 2 C. F. S. Co. 4327 Copyright 1953 by Clayton F. Summy Co. Printed in U. S. A. International Copyright I should like to express my conviction that even the musical genius. Three basic human faculties must be employed and developed if one is to attain pro- WILL POWER. The THUMB must be specially trained.. for its re- sponsibility in piano playing is very great in so far as skilf ulness in changing positions and maintaining legato are concerned. To obtain the best result in practicing exercises. An agile. This also appears to be a devine gift. they are DINATION. The TRILL best exercise of all for equalizing is the the fingers and for acquiring the "jeu perle". and steady practice of them is required.* The usefulness of SCALES AND ARPEGGIOS is uni- versally recognized.. and all the other gifts of nature. Change all exercises by utilizing various rhythms and by displacing the accent 4. AND CONSCIOUSNESS IN THE FINGERS. Memorize all exercises To conclude. . nor architects .and certainly no great composers or interpreters. Good DOUBLE-NOTES are among the most out- standing accomplishments of the virtuoso.neither scholars. nor paint- } ers. mobile and subtle WRIST is the key which opens all doors and helps to conquer technical dif- ficulties. For without this there would have been no great men . MENTAL AND MUSCULAR COOR- ficiency of technique. nor poets. and their preponderant role in most piano pieces is excellent proof of the wisdom of working at them regularly. possessed of inspiration. intuition. This can be accomplished by the following: 1. still can have no real success unless at the same time he possesses a knowledge of how to work and a love of the work itself. one must vary the method of work. I consider the possession of these three faculties as a necessary foundation for all successful technical study. Play exercises at different speeds and keys all 2. Use different touches and nuances 3.. invent different figures in addition to the ones illustrated 5. Leon Conus *Pearl-like playing . . and a small hand may diminish the extension. I <^^^^ » Other fingerings t — . 5 5 5 5 5 5 IX i JLi^ri $ m m « s 1 ^E etc. Sum»i// Co.A. 4326-41 International Copyright Printed In U.S. SECTION I .H. a large hand may add one or more notes. C.Co. 33 one octave lower m 3333 3 p MpMp « -* —-a— 3 2 aaaai 3— 2 3. prrfrri rrrrrr /ct ° 1: e Br 2 2 2 2 2 2 i r' 5 M 5 5 5 5 5 ri JTT7T] I ^ I 'Jr~Jl P^g j^ — J3 ^-etfc if^s: u liiiii m m a w m £ t Example II Consider the size of your own hand in practicing this exercise. low wrist 3333 L . H . . 2 2 2 2 2 L.F. S. EXTENSION Example I For two fingers only. one octave lower Other fingerings f 5 o 4 Cojoy right 1968 Clayton F. F. * * * The Left Hand two octaves lower etc.y g S 4521 z 2 . ir r~ S S C. * 4 ^ 2 ^ 4- etc. 4 4 4 444 [3 • Jr# i • a sp B q fe±E * . 1326 . y 5 * ^—4 :z z_ . Co. -m- ZZ1 ZZL 21 ^z~ 3E Z 4 2 5 etc. 3X f et c. 2 -r^-JttJ I 2 — iJA S 5 IZ~~ofo 5 5 5 5 5 5 5 1 1 Example III With flexible rolling wrist 4 5 . S. f 2 2 5555 555 M UJ. it. exact raising of each finger.S. flexible wrist 12 2 3 3 4 _ _ 4 5_ H # •^ 1 — -e-tCi. emphasize the action of each finger. On all six chords Left Hand two octaves lower 2 4 0^ 1 3 * m U m -e4cr. while holding the half-notes at the end of each measure. keeping the wrist low. and not sustain notes which make the stretch too difficult. Example IV Those persons who have small hands must be especially careful in practicing extensions. lighter. PLAY THIS EXERCISE ON THE SIX GIVEN CHORDS 45 43 4 8 4 ^WP 5 § 4 8 2 4 3 2 3 4 13 3 2 1 2 3 a 3 2 12 3 ¥ m 53^4 * 4 D 53 4 3 2 K 4 25 321 r 2 3 4 2 ^If | 3 2 2 1 2 3 '•& -e^e* * d 5 4 Left Hand two octaves lower s Paster.F.4:j-:«) . On all six chords 1234 4 5 H^S 1 m^rm i % -etor On all six chords I C. control the flexibility of the wrist by moving it up and down. STEP I PRACTICE THESE SIX CHORDS IN ALL KEYS s— « m^ ^ 331 $ -*& ffl § STEP II Play the following exercises slowly. Co. Co. » • 6 Slower. 5 4 3 4 I H^i' 1 2 3 2 3 4 * 4 3 Jijij JiJi' 4 3 2 i rwTO'OTrM^Ecff Left Hand two octaves lower m rrf P i l U tt rF. lt riprrrrniix § i g i jUAJ^pf^igg ITO Tr f^r i.pivoting on quarter note Legatissimo.A m -eter raising only one finger with a quiet movement. t m Mrj. i r' 5 P-.j'Jnj i j l ^jjL < OT lt jrtJj j C P. always controlling the complete relaxation of the arm and wrist.S. ' ' P * f * f i P : efe7 on all six chords Legato with flexible rolling wrist i a 2 -^ 4 Q^^ a 3 -et€r on all six chords 3 i 4 I 4 5 3 2 12 4 j LriT'lf^ i r i Tv i l L xLJ' i r [aj ' ci'Trn F\%\ S^ I fe 12 3 _ r^TU'LUlIrClg ^fej -e«h D Example « 3 With < l V a^ 4 2 # k#s ^5 rolling wrist . after the stretch.. 5 3 42 #— i B*ii & . slow and mezzo forte. 4326 .pltr. the hand resumes its normal position a ' 4 ®^m * •£— T. holding all notes of each measure. S tt f i ttftt f FlHr..4 1 <+ Br . M e tr i i *r> e to i. a. 1 2 3 2 3 4 3 2 5 Example VI Four times Four times -6 — Z 4~ L. H.S. two octaves lower 3 * t^^J^| J Jr i ^J J -J =d I ^m m Slowly m imfiMiii^^ 1 5 3. z =^fE p 12 8 5 4 8 4 r 2 /zz . 3 2 14 41 5 etc. Leggiero. eTc? : YPr PpF ^ i^-' i rr r^ ^ f ^ C.— —*" i WM^/hiL g turn L.H. 43*26 . legato « « H g r„ gjEZZg #-s » *. piano. «te-5 <e 5 4 12 « iB 4 4 i»JL_£ 3 2 3 5 a -P iffi J tt J i iJ i JTT3 ^ cto. always two octaves lower Leggiero Slow.Co.H. two octaves lower 3 2 g g g lj J7JP 3 4 T 4 3 2l 2 AE^SS z 3 3 2 4 3 3 4 2 */. fast. without holding any notes 5 4 3 4 m 4 12 DC &* L.P. both voices legato j j^j^j j (o^^-r— ^-f Jq I ^HW r— f—r--f ^ rrjyn w-t^-j^h i f„p-^_ j w^-f 1 r f 1 r f 1 r^ r^r^i£=r -J^j^J^j^ C. wrist flexible. P. 1 I » 2 * 4 4 r / 2 2 5 * £ I £ f . S.-i:E m p f y 2^ -*=*- 34v h «.Co. Example VII If the extension is too difficult. hold only one finger 5 « 2 5 rt'' i | L. two octaves lower !f.r«=* ¥ lO #* 2 4 2 4 7" K »-*- igzgj ' pr PI I r F -T0 f «-*- '^'HfNtlJ Example VIM Legato. 1326 f-iJ-M^r^ mf .H. p-p-J-1 1 1 '3 #^=FP -^— 1 -* hkn p-t^ — — ^»-s. slow.s. — L_J i"| — ... p -jT-^fl-^-^l. . ''tJ l*K?I It*!. K HT Ei '- i_ cE c.. c — — : 9 ^HW r f-r-M-Cr J 7^~C J i jrrpipTTTJ ITE * UMm'-Mm- 'i^ V' lUfriirf^ i -et€h Legato? after the stretch the hand resumes its normal position legato Example IX First.?! j g *ir m f>«^~ m | > i^ f^" Legatissimo. p TT- -In P w— Hi > P- y|#y fMt^ •s: >f^ rrtrr'fm p p f>'J» I f_I. . practice the following group of three chords in chromatic sequence vW i $ mka. =EJ-a^ p * r* r* • • -—mP — l •tit "-"•" J^— "— 1 •If ?.g P r TTF^Vl k f-ff i—hre* M CITt#£*Jt i =(t3 ?^P: -^gjrfrgi A9 P--P- ±y^-^ r i . 4. p. | ftp z^r ^ ^p| 1 " 1 1 L —— .Co.. \-rUX^4\ —J* Jl—rp.- 1 1 -^p-. holding all the notes of each measure \fi p[ffgn.i:r. f. »i^pf.^^uua'v HE P» 3 »-K s $ 1 j j f l^T p r v_ : .. m ^m^ 4 . > 7 P > 1 3 5±±w3 1 h fefe k^hrjr M? 1 jtelfe is jjjjiig js'is fe isi ^s Ei i * «v 1 tnp f f* r F-^T V.F.-^r** WffTPPf C.. i.«. " P f P pp f f P f Pff f f?P . j v^ r f'x i » S —3ggJ^g±1 5: .. — a m ^rT'T 7 ^ ^^''TT MM fY''r'^^^^ ^s v . no.w m — m K P -^ \' 9 m _ m F^ f Zs m 5r£^=±zft % # 4 -35..Co.* i ^ ^^^if'^i'r^-'^ifiCtM i £ ZJE i n p p p p p etc 7 # ff w J *M . r r' *'T*ho. S. r'' 7T V V V » & & & ii>i b>. ii ii Ji Ji>» bhjl ^ 4U»> ^.. — . — 10 IeI te* 5S m-sT ~ i ft i i J ^ iI CJ3T CZ IZE i ^ 1 foET nt" r? ^P¥ff ^ *±te= ffo'LC F.F-F. ''r''T ^ < ' V T 7? HPFFPH 7 FTP fTFp | |. J. two octaves lower # twice leg-giero I.j i ^^ -*«t<'-. t>J.4326 . : a 11 SECTION II .J L. J -^* g±i^^3 fefe IS g^^^^p i H ^m t> J Jl J l.H.S.!r# Hf r i J #J7? c #H se ^S I* **j g=** j 3€h Use different rhythms PPU \ 1 l rj^tt^lFj^tti^^i!^ i .^ J ^-i^^^^ | ! without sustaining ^^i^ J A^^U^ 1.j J J ^J j * I 4 m iig * j j j j j i B itJ J j j j J J J J j j : ii * g I i J i i i : : J j j j ^ tt ^ J J li j J r J bJ 8 » » ^ — b^ i. J!> " J 9^f¥9^j9$9^9 W^ ^J^-JJl-JlWi^ ^ 5 n~^jj2 ip^i i ~ p j S J JJpl 4 i I C. ) l. J i.Wtp-M d -M " i-J^ < S **" *« " ahW?*1 : N : l l^^ fp* LaT^-J IJ. | |.Co. FIVE FINGER EXERCISES Example I + i times twice 8" iJ : holding p» all notes P§ JiJ H : : iH J ^^. J . J W p ^ 1? -J J y.F.- .JM-«^-JJ1l-J.Ji ^i 3 4 5 1 / // H ^ .^J-^J-JlJ/"-iJ. 5P H WW .Co. 1326 . : ii XJJit^^ Jg^ J f5j : : | |: : | |: JjPr Brf^ p> p^ p> /> • ^ .S. bJ H J wp 1 * J 1> ^ a.r* M . few • ten ten ten ten m t i™ ten E a) L. m always two octaves lowers ^ W^ b) l>J i iJ bJ "^^j. w * * * n * • J j. fe# .. ten . j=^^ 3: v i C. i mi WW y j. " b J P P b j ^j ftj j - g J J i|J JJ J ii J J u j i j ^i f b) j-^^J WW •— P *=* ^=W W^ ¥=» ^=^ c) IFf -tf ^^ J J J J S^ J J J J 1 1 J J J J j .P. j =f ^=^ I l|J bJ J l >J ' | I rJ J J " " | J p bJ J J p p p bJ H J bJ 'J.. # b 12 H k=fc=fe X3E L? E *~P# 3 ^ l ^s3 T—f -I I ii ^jgy r B S fli ^* i j jjjij . j • • ft' tt* 1 i J J. S. 13 c) $ ^z I WW ^HP J ' •/ •/ ' J Example II 2 3 4 34 Bisyissi 2 3^ 4^4 2 5 3 4 * 2 4 3 5 * w *jm M> g£M r etc. 1326 . i ^ F m 2zi 2 4 3 5 2 Varying accents CF. Co. .n j^ajfljrg e ... i zs: i& tTf mH 31 F JlJ 4hym-0^ ZM • #->-# m* 0m + #^-#-= =-#•»-#- C.. in r contrary motion an octave lower r Example III i ti..| jf j] s\ L. P.H.14 ffij^m 2 3 I jlggl f .i ..S.?^ 1 '^^ ^-^ £ OC • # ^ nra # •—— #-. . 50 cuir. ^SW^* M 5 £asso.9. 4. 15 Example IV L egg iero.F. s tt r r^r rtt rrfr Other fingering o-j - \ Legato .S.a^ 2 3 2 3 23 Sva. S"«- a^ B Spi £W# ^(7. fl%p j /tf<°# d) *L* FfTf «ft fg FS etc.. Co.ig * %tff? rfff p rf I & «e# 2 3 4 234 I F*P* liitfVyfff i JE^JE I ' I rrri _ ffi^gffgfl 8^« §w« basso C. fast 323 a) 2 .1:26 . i 16 gvm.£#£ gra basso.Co. #^ — -=-#- ffff u^cium BEUB BBUB CS^flC ir « j£ Lr CJ alt d. t5H fT ^ff^CT i t~ C.S. '. _ a i is * ^^ etc. ij^gjgi'jj*^ : & ift J d*r. 5__3 Other fingerings 4 2 3~ Example V twice twice 4 times $ s -fr-f^ m as p ? #-=-#-= =L-# ffiS »):?] "' 3ZE ^ i 0. •^ ——•. P. ^ W -!•-= =-^-r w fr^ 9s. . 1 2 13 13 2 1 3 1 3 in/ 121 4 2 *- § 1 I . holding three notes.S. . Example I fast without holding i * ! 3 . ¥ n^n 7TC 1 ^ $p p ^ • ^ 22 iwfiii SECTION III . . slow. . then leggiero. one octave lower *i *s H* l^t m t» ** r* ^r 4 5 Other fingerings 1 .H. 3 1 I ff P* nn 2 * 2 1 * JT—3f2 =1 » i i a 3 t=A 1 2 3 | L. t^~^j vJ J J J J ' 'teak | 1 2 13 1 f f i p^-j lN * = =====F=^ p p F r » * 95 i& i CF.432<5 r ^ P^imf^i^^iiif^^'IW i i . PASSAGE of the THUMB First practice legatissimo.Co. 4326 . In groups of eight #i^rrrrrrrfrrf^rfTT oto. — P/W/ffl||B | Also in of six and groups * » r r r r r oto.S.< . 3454 « 4131 2. /• F 3a: f P.111 31 d 1 * 1 o In all keys B ^ftt rff^ffl^r^Fr*^ p&fr^M i -eto- 2 1 3 1 4 1 3 1 3 4 5 4 Example II w=w * m ^S —* 1 -#!»• 4 * g * i r * y i ^ 2 2 13 4 5 4 3 1 pq» r 5S * Holding notes Holding 2nd fingers only w ^=& (5^- ¥=* 3: • i j i « P 5 4 3 Holding 5th fingers only 12 13 p=s 4 P '/ */.J f^JJJjJ^ V V'fdi ' r 3 ^^ JC?_JL#_H #T« jEZZg f •/. 3454 21314131 . J m ^ I ^s . J a f p | g i rr sty i-y-^jj^s UP 0^3 P^l i « —" J o. F. J ft 2 2 2 3 4 1 5 14 3 y=f t a— i: l=P ^F=VE I f ' im J j J J ' s g p ' # i **=^ p ^=^ ICi! pp «-# ^^ p — p *-#-» ^^ r i <> r . 4326 . S. . gg i C. »/. Co. 19 $ ppr 9Pi i ^^ l»Jtj. i -*»- *s= § ^=w r y y. #=p=^ EEg li'Syii: I 'fp» y.l> » 2 2 3 1 4 5 4 13 U *»Wj -3_ ±fc4zm: *-frw frt* i -t s sBl 2^ =jhF== #--« 'fli P J * ' " )H J f g j lJ-1 Iggg u> ^=W i *=•*=• P i P . Efcf 3 i PI h!5F * ^'' *^# ^S MS ^^ ^ j p^ K^i^ J al f J ^ij-J^ *^ gE i i8 i j!L ill r * /. 1 .. it r ip r s ^=^ i Example III After Hanon 12 3 4 14 3 4 1 2 4 3 4 14 3 4 3S f 5e^ ^W3 CT. .'.pito # ^ *i^ §< 0: 5 P ^^ ^ es^e Z& ^^ f . tei .S. ..Co.F.'20 4 i f "eft** i^ r 15 I 1 4 E 3 r # § / f-H-l ^=^ r 5Th. . 4320 . 4 1 I 2 i 4l.i^r> L^fe=g n* B l^Tn 1 ' B i H ^J : I 4 12 r It 1 5 4 £ 12 j tat 1 :z_ 4 12 1 etc. Z i E S 33 /• /. /. 2 1 4 1 2 14 1 2 14 1 L. C. one octave lower 3 g P r •/• -/ •/ r •/. -r Bff 333: t-k-^J- y# ^2E 5Z 3BE 3PI x /. HE « Example IV R. etc. | '• '• *• z /. 3 2 4 3 3 ^3£ ff 12 3 3 4 2 1343 3 2 3 W^ 3 1 4 f ^Sl W # # R. F. /. r •/ •/ / p p z /. -/. 13 j L.H. 21 4 3 4 5S m 3S i '/. z 3& Zf.Co.H. 2 l 4 1 2 1 ^ a jg | p 1 ]* I •/. •/. •/.H.H.S.H. */ I F* £ '/ /. g1 1 up 1 fapE 1 p •/. •/ / '/ g L. H.H. I? 0—^ * ^=W m-^ — ^=W ^n^ s "• p » = ^=p P# L. * v^> [>g « V* fee ^gT7?v ifl b ta §" M "s" L. J . # oo Example V S ra..C ^3E -etd- 1 Play the above exercise on the following six chords R.Co. «J? § i ^ t m 1 o11 C.S.F.. 4 1 3 JL o J ^BE • w=w i * w vr 1 4 1 2 3 ^W i 2 S ^^ m _ i W=5F ^ ^=>E 2 3 4 12 3 S 1'* £**. — — 23 SECTION IV . »y X. TRILL STUDIES 4 5^ mmmmm ^^m ^^m * *4 miffifiSEffl „ jg?!M * 2 12 1 f ^z r-^ -r ^g^g? ^ jBySW&ffl S3 9J*J*J*-JjLdMLm-± WBJffiB 35J5. *.^ — *-• . —• —0 — ~ t F^i 1 2 3 2 SZ 5 % w^t s: ? g ffljfflj^i ^3E fEZ* # - Z3Z 0~ P ^^ 2 3 f ffifffi SB SB =»F?R ? j. £ . J l^J r> 4 P J J j J j J « —J —T! l-rrrrfrrrfrfrprfrfrfrrrrfi •^£j£^J ^~— 4*5. r . e . • « • "* .j. j ^ 7TTPr. _ # j i 3 ^ P9 : ^ / /. : 3 VPV: HOT -h-^h-rl SI I " j^EBSB Bi I 1'^ I F^ # # •/. S. il^ .g^ zp: n f^ 4 3 T^rfi p f :z: .4326 J j 1 wm HW^T J J * « I iirij " . •- { 0J— ~ m *-. J . y. n]^ f J J J —• pN .tJ JL- ''rrrrrrrrrrrffrffiTrrjiSr C.F. J P ~ — — — ^ —57 rr - -^~ r~£~*~* * ~ 9.Co. ~* m • • »y T X. -> i . e J .A A : ! - F. . Co. 4 5 4 3 <* * ** •J : ^p. ' 4 3 4 5 2 fflf / £&•/ • C minor harmonic m 5 ffi J3jj*J333 iS Sfl*JI3] z MB i flyja* ro^sz etc. m rgtotf g rrrr* Bg» '» l fflr^rr^ Egr*Blr* = i. car^Bjr^ car* mt BS9 #-^# Z JJJ J *^ ^ J*J * J^Ji '* d * d ^J * J ' JJJj juj. [flr*ffi r*m ^ M C. J J * mn ir=f * ft * 5? P Example II 4 3 4 5 2 1 2 3 *~^* +-m-*-* Z#--# m •AUll* tt|Jfl3*J53* 4 3 2 3_ ii-A. -. P.ypf^g Z*=3 2 /to/pr-/ i J p3*J533* feSllSiliJHl<ffl»! [££)>*[[[[* ^fe z MTnEy* iiii I Vt *'''" /^& ^fto^ 45 4 „ #-«-* I ^'/^^ar*^* mr^cccr^ m*^* gggggg Going down i jbtjjjj«L ^s 3fe z JJJJ-/JTB-/ BJyffl 21 23 2 3 2 1 4 5 1i k aflH* rrrr^rrrr* JJUy.:'.J^ y. 1 24 Different touches J J J J J J J * . i. 25 The same exercise in groups of 6 notes I JflJJiJJjJJJJJJJ^JS etc.#„». •/ si a& tt F * y ^ C. tty g PHii z i / y. F. ia i g ' * ^ 9 j '/• '/• g SttM « * a ^^ •x /. y. *.!» *-. ^ ^ ijHTO-TO ^ M » 4 » i * ^^ After S.e- 21 95^ V E 1 g v. at I* io.4. ir» nj ~ Ti jj u I 2 3 3 4 t hm XE * d z igj i * > ^=^ SiM -O- h tt l l M s oti -©- 1 a z z •/.J:ltt . Example III W-*-* i #-J-# ^£ I 3S etc.Rachmaninoff Mi ji^i j i j < 5 g§ j j m » » /7]|i^^^ /ii|i^^^ / v^ i H ^L.Co. | I z y .!» air « »« l . . fajfcjg s jtet ^ f I ah in jih a<i »u *»i mnlll ^i j l ll ll i ll . y. p . ^e te fe ^ i. y. S. i F / Ct£ i «r fSWi i 581*1 I* w# * M iTOP* ^X?f k£**^tf* ±f SW^ o- TT 3JI *>'• Xf x -x+ i * - HtWl £ p|| p 4'ft p f p xy ^lifi t »^F'i . -vj m.-/.*lfcf# pap z 4* H o B3 ^ W'i>!^ eh*^** ^niani^>g s i=^£ M h J J /•/•/ ii =££ 1 i^ /^ > rf ifjg>^? te- i .. l l l F >t s -oj C. m i^: fe ^. .'/. 8.*.i ±t *2r Ati ^^ ^ SKS ^^ i l^&L iP 3 P b& a * ti fc] tf* ^^^ 5BE5B §Ba la S6S jpg* if* iwimtM-A hp -»- If » * .y... ^f.* #== >>. ft f'fte tt l j ''!•/.* % 1 i ***** rr^t 5^2 ^p^l 2 gppgggg ^v^ IP3 TV i. Co.- ^s £19^jjjM* ^^rf^ ^ii>ii/ii. zs s #^ #t Zt3K « *T ^ Jl *£ *y 93 1EE2 WEft±I i i '//.// M w i iftw 3^ W g^B »< 9 y-' ? i: t Zi Pz +-* •/.^KT ^: r> l p I py r a f f f /// !J 4— Kill ttriwrih »MI M J— 1'UI 1—J —ITilfi «-i ». F^ f'i F ¥' l . M 26 fefi§i§ aIT "•' •»o j J j J*'/'/ 5 ^ j y - sra /. *' vt vi in &a ^ y 5 Z« «> gBS # £& < £* *« - g a* ^3 » i y. 13 !6 .F.*. ^ftf^ c ^ Sflpj£ZJ£ y mI 5 3 /.*t rvMv.y. ' J . .tt» Kill i llMI I'll! MTT JTT 4EJ ^» JM *9r i.i. F. 27 SECTION V./. 4326 .mprr m 3 2 1 4 1 /. SCALES and ARPEGGIOS a) Play in different keys.Co. H. I i I I I ^-^ L. S. retaining the fingering of the scale fl 12 13 2 3 3 1 1 * | 2 ? m. / SE £ '/ / Z ^ y« £ •/ / •/. ^ » « \ "• 7 *^ ±m 7 -ete^ 1-2 1 7 3 12 3 1 ## g ^S T?p*if. r / /. *=3 / / /^ p T : ffM r r r r n * * j C. one octave lower ta r ffFf Trrr turn ^s £gl -eter.^jfljff^l f: £"«- yl»^A /. r — j ]jaijjni^]jj^ a ^nj]]j. S. harmonic Example II * 4 times twice ^ s & tJ -9- ^=2 i m^ijj^j'jj >FW -etc-. C.F. . 13 »6 . m mm ^= Tf r r r r r JUI n i 1 1 -T TJ r r _T i ff ff fr r r r .O...n Jff [afflij jflJffatfiJTJjjijja j i i j flf^^lfljflB^lffl'Cttl •jflJfftfri i rrr-r^-^j] i j jj jj^ ££^^ flnumflflmr i #jpg i^ «3B I m.u 1 1 1 i The same in C min. two octaves lower S2I I twice ^ twice / g /.i:2(j .ji k k rf> J. 29 o 4 1 mm 1^ 4 2 SB — ' 3 i^ i 2 1 l .Co. ZZ. | ^~y. I 2• \\# ~ • v. # I ^f ^^S£3E €1©. I '/ § J.H. Play the next exercise on these six chords i g a Pp p i^a ^^^r—in »|fr ¥#s° Example III 4 times L.& 2 4 a * P M digj ffl * ~-*- S jpp gt 1* * :. I £ I =13 _/t 3d y* • i kJ. ft «5» i 841 • TT\ TO§ -*J= ^ ^S V« 1 • I 3 s^ za z .F. 4.x * *:!*±X** is. .S. C. .H. #-=-# tJ * £— ' 3 3 ! L. * g m * ' {>' 1 -ete-. one octave lower <9»«- £^ — — ii • « 8 * * ET C.. S» H i* ^^ #-= # 4 £ g i Example IV Use these two chords in sequence as a basis for the following exercises 4 XT I «^~ !©- T*^ F^ & cto. • # # a ^m r #-= — USM r i t* fc r 3» 1 * i m R5 -rra i t.S. t>Q.F.'. Co.. J. Jb.S. g ! 212121212 12 3 4 145 4i 454i454 te± * / # d #s etc.Co. f 3 gNr^i. F.4326 .4 2U3- 1 4 3 ^ ^^ -et-e^ ' t 4 3 2 12 3 4 C. 1-5 1-5 1-5 i mmm — # P Hi i -»- m_ m TT B S 2 3 4 4 a ii. 21 :. 2 # 31 i i Wrist flexible ^ i Fff^ i i ^S in -ete^ 12 *—4 5 4 * 4 54 14 5 1 3 4 *= A B# 1212121 212 ^4 rff*? 5 "3 2 3 S* a. J j - ^ ^ etc. P. * _ * zac £ -ete^ ^p^ C.^^P p CTf^Erf I Different rhythms J. Co. I p?Nmw as P mm -ete: fP etc. 4 2 1 ^ 5 « 3 m '£ij J 5 wa - s i H^Et i^ifi ""•ftjJ^EU #>«. Example V Retain the fingering of the chord 1 2 * »k 4 1 2 „ |4 1 isJ L± m 2 3 2 1 4 3 2 14 1 2 14 3 is ^P s m s ^ j^n cJj. 43 56 . r f r i 32 * 1 + -0. 8. :/r^ li r S-^ etc. * 3Sffl f ^' CL SB cto.j-Jl iv r c^Lr r r 1 1±j r r c-Lf "tr i r r ^ -9-» LU j J j lU JUlnn rj3 * 'l«ro ^ J ' * £i?Lk £ i. =£ 7= g ? Ii a=S» 5 ^ ^ 7 7 CF. S •. one octave lower gva. S. EEf J J s L. 4326 .t— f J J *=^* 3 5 ^Fi 3 J m gva. gva. b JL ± V * -. i=m w y \t m—\& fcr . * i 33 Play the preceding exercise on these six chords * Kg \>f ^f^ * s£E i r^p" SECTION VI .1 izt ^ ^ Up and down & etc. I i3E*3 1=* j \ ft I j B=E3 eg J 3E 2 ^ ? iJ ^ Play 3E?3E±3 * in different Mb ^^E^ij=^ *# b» keys 5p j ft ' / »* ! ova. H. 8 va. m 3E » * 3j — i J i »=^=r 3 J . / B Fingering 4 5 |-j-j3 h 1 a=i=t W E=± ^5 i=a±2 I 1 ^=? :. Co. #w«. PP 8 va. WRIST EXERCISES Example I 5 pi 5 3 2 5 3 4 5 ! -0- SES m 5 f=TF? 8 V a. * i^f*A. J) XT x ± 4 2. ft '. H . i h. 1 l^sh I ^-.h . »6 .i).i.ah . £ i i>. K 4 il. % Example II 5 5 5 5 5 5 5 555 Slow.h i A ^^^^ rTri^Ts? . of 1 » m mzzzm ' etc. two oct ave s lower iff^f^i IUL. .: p^>_Mj{p'i. after the stretch the hand resumes its normal position L . F. 3 iS^ -s i i | 1 . n4 1 \ f f . Co.a ^^ 9J * 3 l i^^ 4 h ^ •^ i l k r>i\ 1 i rW. 1 . — A 34 etc. JJ4 I l 1 . S. h Jiiii. ^ . . v. 35 *J> ^ ..h gjM § i>jj r^j'^M r: 'J *+* h ^r h Faster.. S.^.i. j0 tAl*£ ft w ti i : : : - m m # iifi^i t i I r t i r i r g 'y^r 1 P ai I t j s fife St ^^Jfffej^feg^ te ESFjJTfc g Pi f>*3^—#ir* >u £ g| #-ft# I i fep 8s i. *> r* W CF.Co. ^ . ^-.. legato with up and down wrist motion i » gg z JLTJ EJlEJlgBllg j ^^f^^i^^^^^f^ «"*- Ifet I !S£££i Zl l£4f* I* tS 5E 3J # 1 * rf ffe dPe i LP-FCEJ EE-FC-E^ )|£g #»«. £ £ EKE I * « ! J.. 432(5 ...1 H>q> 7 BE j ar m ^i. J • J J. EJ E II n^te i^JZ_^ « 1 .jP]f I i l I.J. J. « zgBSg : -J. • — 36 Example IV HH i. a--J..n J « d J.. ffPPftrr y . b '^ J J J B-S J J ' 1 — j j j j p^ j j 1 ' b i J J j pj^-^H'^ jJJ aadfl p-p a *fc ^#te I F W ffi W 5 m § #-• S m^ fflff r l r ST ft - Bff C. 1326 . !mP P-P g f±L JTTI^ r r r Jffl a" i i^jz i flrr-ff? ^ tib P jffljp]r r J. S. '" . d * « p-f * J — '"''i^u^i^ " / . J. Co. . . J. • I. '. — : &fci-=irf-p-f J J »-». m • ffl^ J? BR pf-fr p ffPrf ffrri n ffrffrmffrr^rm $%\ p Ht ffflff rrffp.ppff rrPP-i ii'i FPffrrl^ nVk BW^Pro^Wrrrp. • ' -^— ^—i-^^-^-l ^ ! -Ji j J J J1 J. • j * j j _j. n J « ^ r^ * J • J. P. _. . . i Jffi r f fp r r 1 1 /» ' • fl J • * • J J. 3=f 1? J S J 1 1 J? 1 '.-J. — 9 i=i- s 9— iW • T -«=" -«-f- J J * — «--« f-f f " J J— J J P * ——• f F" • " • . II ^ ? rfrpp -. • • -P- rj^ ff ff |Hrr~wr p f ]*" f p p P P f"f" P P |. H. =fE? r=F e= I ? I S ra.LL H rf-fj-p—K. * BE 4 I =f si I 3^ &* ** S3 "1 fill ^ ^i'I I I m I : -H fl 'tLFg #^ gv*. 4:ll(i . i r? i s ^^Ii C. one octave lower 8 va.«. — I 37 (2 r ftftffi -F#to L r KLLl. aH* E=» $ t 3 3 L.Co. S. F. p Ht rrrCffrri .1 ffi_ r r rtfttt -S> iy W =i=5=» =*=BZ »-«=i= Lit LB— flrrfrm J-J-^g g-pJl£j» 1 J J gj» ^g-K-^J — -a fP'T"rpp ^^ ti: ^ ZS L«— Example V ua © P* s va. t=^ A iM ] sn f 3 t I r ft i e=r h ttfl I fl 8 n^ iiPiS #"<*• fcH ! I l=i fliTt i r =^g= # «=* i=T=^ #/. * JL -#- ti a 4 t «J r » J f guar. J. 43 :<. t - Example VI fc l> ite k i :=*=? » p ^ »-«-^» J. in i »—£-* 13 5 fc * iEfi ¥ IZEI £ va.^H J.S.. is 9 t Li H L M etc. Co. »J J.from all notes of Chromatic Scale a=» «—*&# r^vvl szja-ta * P ly 1r h*. yfr^j: - DC #1 — £#fH — a E i ff I f etc. te te * i* :?L__r: 3EI # I C3 * 53 1 *=A ^=S * twice 8 va ^*» * b*=* I ^ 7T1 =3 ^jj ZE 3 j. J. . a iti 5 1 RhF^ twice k £-» »pk is *w ^m = efer 13 p^ Continue in octaves m ^% ^^ ~t+ i bj^j i> j i) # I ^^a C. S in *=£ ZEZ3II rmtiE i *# I 1 mj 5 \.F.^ * J.! > J J. 1>J I t ¥ 5 ? I I 1 *pt it i *ftte go » * te=£ i 3 s H^i^P I *^l* l f ? I *S* "*" »•* »' te te * b t#-. S. 432(5 . Co.F. 39 C MAJOR E 8 8 8 8 m 8 8 i jT3 LIJ 8 simile lU C-T-^ ^ f r r r r_r m cu^^^ i jnJ'J ] iuj o 8 8 simile <g rrr fLr-nn j j^pi A MINOR 8 8 8 simile g iji jn fl" 3 1 [£r EU n? m i F MAJOR m eP jp-m §B 8 8 8 g simile a ! # ft rr r r rfrfrfri ^ 5 LL/" J ^f3 j—i» e^ D MINOR I PS u 8 8 simile ¥-W 1 S^S g &s f^fffto m pp -e+err C. F. holding 4 notes 11 2 1 2 1 2 i 5 U 5 '4 L. Co. ^-4^ -ete-: -ete-. 43 56 . slow.:. 1 40 SECTION VII .mj— rnJ— rnJ— rn4 p —-Lejp . DOUBLE NOTES Example I Legatissimo.two octaves lower Leggiero faster without holding any notes [4 2i 4 2 j> 1 Fast ffflff^frn m etc = eiih 30: m m in sn in— in— pi— m Legato between two voices mmmni i r f- -r '-r etc/ r-^-r-- £ j-i—j-. . -etc^ EJUJ^Lll 7 etc.x: r 0-T Example II :UUv L. S.j mr lit cLr 3E S r— —g dlt -s m~ r m i J7]j— gy j „. . r^ciJT Llr ' r^dJT^S i>i ii ii i * B=B * •? p-> p ^ J * zzj P i .H. p il i 7 fe-3. one octave lower 'to wawi^iju S£ | v^B J33 /y ' ^V-M^' JR i i ^i^ 5 :| l iiiQfl? '-^y pH ^ ( . H. P.y -7 s m Qj "^Z^WUr Lij^UJ " C-LJ m S 3eS t-JT3i. 4326 .'^jJ -7 £ Ff \.i-' fi '7 .ni . * J tt * 1|J s \ J |> §pP J ^ ^B 1*f 5 -et<^ Example III 5 4 S 3 2. 41 ^s ^=^ Pi ^=^ 1 'iHit t i i i t iii * i '"-j-s it 1 nj. # r -7/"L2J . S.l> « ^3 a==: ^ I 2^ g'^ifiiii " i^i r' i i I * d ^ 5^ m Use different rhythms jj^ 7|g^g^ -ete^ WjgPP W^:* 1 3 Ji^gy M*l»: v iff S "> ff fEjy 11 ' ** -ete^ 13 ffp 2 4 2 3 a 5 1 2 4 # 2 3 pi te 3 1 J J P 3 J i i * S J 1]J ff ^E^E J [J J J 1 J. Co.i i m 3d J J 3^. TtTrtHlt-nn t .dj.HU73>7 JT3 § »7 JJT3^ g $f 5p 3^! l^v^^ f ?3'l U*^*» * - ij.1 * r -7/ITr ?rT ?/• f ot ?/"^ If 3py. -7 l*T '?/> 9 f I C. 1. t ljnfTTi ^1 3** m < • K S. Medtner C MAJOR 3453 4 p^^S^^p 5 5 5 1 2 1 21 3 3 S 3. :'- . legato s^ s* a nel^ Example IV After N.Cu. ^ 1 r*^ i H i 1 1 j i ^? as ST"' "'I I ' BE3 » 1 i i ^^WWt^** I j i* £ a <i j 5**«?* **=* ^^ ^ *=*=# *?* ?* ^ ^ ***f ** m MAJOR 4 3 '" 3 1 2 s 3. J . H. 3 1 5 3 4 2 124 3 5 3 %j II t •j J 5 2 4 1 3 J a 5 l fff 4345 [2 4 m[ 3 12 4 ^ 3 i 3 5 1 3 5 2 4 # Q 5 a * 4 1 . legato i # (9ajl: L. 5 3 4 2. -^#— — » „ —• = — ^1 ^ J I J s 2Z3 a m legato =»— m^3 t ?£= I s T f Ur m Slower. one octave lower C MINOR HARMONIC I i-jJJJJJJJ JJjjj mi 1 '' I J 1 1 'J p J J j j§ ?¥T^ 1 fel g *% ' i * MODULATION INTO in* * * Dk MAJ. 3_ sH 3 f 4 35 o » 3 e ° 43 2 ~ ° *=*s f 3 *#* 5 L. » J 1 42 Faster. 44= j *L f «Ui J J ^H s fa' 3 2 4 1 r > 8 S l 4 8 5 2 ilU ! C.Co.S. 43 m^ Ctt MINOR HARMONIC *&$k it fi t 1 *t* 'iHi iti^i-* * MODULATION INTO D MAJOR * 1 ^^ 4 \ t f t 4 * i i $?m *** i*S^ j44 ii9t ' 4 5 4 * Example V 4 3 H 2 t 9 4 2 It 3 4 5*3 1- 2 1 2 2 . P.g rrr^-i —# -<9 # * ^ "1-^=^ _^=^-^ *r t«i J » J etc. 4326 . who settled in Moscow. In 1924 he helped found and establish the Russian Conservatory in Paris where he became the vice president of the institution. where his associates as pupils were Rachmaninoff. where the author was born. and later in Paris at the Ecole Normale de Mus- ique. he became Professor of piano at the Cincinnati College of Music. Medtner and Lhevinne. Leon Conus moved to the United States in 1936. he devoted his time to teaching for several years at the Imperial Con- servatory of Moscow. Scriabin. January 18. He remained at this post until his untimely death. 1944. . Upon graduating. LEON CONUS was regarded as one of the best pedagogues in Russia. He received his earlier ed- ucation from his father. and later. the Moscow Im- perial Conservatory.44 During his long life. He came from a musical French family. Here. . - SUMMY COMPANY f » . See your dealer or order direct FUNDAMENTALS OF PIANO TECHNIQUE BOOK ONE The world's most complete and widely endorsed Keyboard Technique books for the serious piano student. 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