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MT542.R63|F57
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: -.- ;.;:;:;::
sVERSJTr
.UTAH
at the
Brigham Young University Library
rJ
Qiftof
Jack "Nebergall
fit
Rw3
F51
E Ml
FIRST LESSONS FOR THE HARP
COMPRISING A SERIES OF GRADEDTECHNICAL EXERCISES AND MELODIOUS STUDIES
ACCORDING TO THE FAMOUS
HASSELMANS METHOD
"Love took up the harp of Lite,
And smote on all the chords with might."
BY
GERTRUDE INA ROBINSON
PRICE $2.50"FT B-C
CARL FISCHER ?§S£S£ NEWYORK»0$TOn 36O BOY14TON IT. <MCAOO LBriMRHlCO.
EI IS
>
Digitized by the Internet Archive
in 2011 with funding from
Brigham Young University
http://www.archive.org/details/firstlessonforhaOOrobi
GERTRUDE IN A ROBINSONsolo harpist
Madison Square Presbyterian Church
new york city
Teacher of the famous method of the late
ALPHONSE HASSELMANS
at the
Conservatory of Pans
France
HAROLD B. LEE LIBRARYBRIGHAM YOUNG UNIVERSITY
PROVO, UTAH
Preface.
The author, in her experience as a teacher, has felt the need of a concise and
attractive book for beginners on the double action harp. Much of merit has been
given to the harp world for the more advanced student; but to the novice at the
instrument, there is very little that is not tedious and severe.
The plan of this work is to give a variety to each lesson, and in so far as
possible to make it melodious and interesting, while giving the principles of the
technique in their essential forms.
This method for the double action harp is .also applicable to the small harp
taught in the key of C flat. There are a few places that the text runs an octave too
high for the small harp, but in these cases it can always be played an octave low-
er and within the range of the small harp. The author is very favorable to the use
of these harps in the kindergarten, as preparatory for the concert harp later.
Attention is called to the fact, that the correct position at the harp is most
natural. For one of medium height, a chair nineteen inches high should be used.
The harp should recline very lightly between the knees, and without resting on
the shoulder, or feeling any weight of the instrument; which is so constucted as
to balance at the angle at which it is played. Tipped slightly toward the play-
er, it is easily controlled by the slightest touch of the knee. Reach out for the
strings as you would for a book that was handed to you, with the elbows in a
straight line with the hand.
Place the fingers on the strings with the thumb pointing up, and the second
third and fourth fingers each on a string, and pointing toward the sounding board;
then play the fingers, bringing each into the hand as you play, as if you were clos-
ing the hand. This gives a firm grasp on the strings and will develope a positive
and smooth touch.
Having given sufficient cuts to illustrate this method, and with each exercise
carefully fingered, it is hoped that to the earnest pupil, it will become in a large
sense a self- teacher, and aid the novice to acquire the fundamental principles of
this most fascinating instrument.
The Author.
15877-58
3
MUSICAL NOTATION.
Musical sounds are represented upon paper by signs called notes which are written upon five
lines and the spaces between them. These lines and spaces are called the staff or stave:
lines spaces With notes or
Staff or Stave:-*-
-o- ITr»
1ir
When notes are written above or below the staff, leger or added lines are used:
Line above _ ~ ~m +. Jt ^
Stuff:
Lines below ~ — ^ With notes. ~*~ t ~+~
The notes are named from the letters of the alphabet: a,b,c,d, js, f,G. A sign called aclef is placed at the beginning of the staff and determines the name and position ofthe notes. Two clefs are in general use; the treble or G clef, and the bass or F clef. _*The G clef is placed on the second line of the staff:- - thus: 3C=
and fixes the names of all the notes above andbelow it:
-o-
O
$m •
-o- ete.
gabcdefgagfe deb
The Fclef is placed upon the fourth line ofthe staff,
thus:-o-
fgabcdfe d c b a g fSCALES.
The diatonic major scale consists of seven tones, or degrees, and the eighth or octave fromthe first degree. These succeed each other by steps and half steps as follows:
Degrees.12345678% -»-
~Cf~
o «j -"step step o s * eP step step step step
Steps.
FORM AND VALUE OF NOTES AND RESTS.
The value, or duration, of notes and rests is. expressed by their different forms. The fol
lowing table shows the comparative value of the notes.
1 Whole note.
2 Half notes.
i Quarters.
8 Eighths.
16 Sixteenths.
f r
r r r r
r r r r r r r r
„ Tkirty second, @WEIW£9WSWEach note has a corresponding rest as follows:
HTiole note Half note Quarter. Eighth,
rest rest
^E -: J
=*
Sixteenth. Thirty -second. Sixty -fourth.
« i 9^=t
A dot after a note increases the value of
the note by one half, thus:
A dotted whole note *»
A dotted half note
A dotted Quarter
A dotted Eighth
is equal to
is equal to
is equal to
is equal to
T»~
P*
A second dot following a noteincreases the val-
ue of the note by one half the value of the first
dot, thus:
3Eis equal to 3E
etc.
15877-58Dots after rests follow the same rule as those
after notes.
CHROMATIC ALTERATIONS BY SHARPS, FLATS AND NATURALS.
The H (sharp) placed before a note raises it
a chromatic half-step, as C to C sharp:
f.Csharp
The ^(natural) restores a note which has beenchanged by the flat or sharp to its original pos-
ition. The x (double sharp) raises a note which is
already sharp another half-step:
C sharp G dou ble sharp-TTM
The I? (flat) placed before a note lowers it a
chromatic half-step, as C to C flat:
C Cflat
TheW? (double flat) lowers a flatted note an -
other half-step:
„ Cflat C double flat
4^ "-wThe!]# and \\\> restore the note which has been raised by the x or lowered by the \>\> back to the orig-
inal sharp or flat note. Sharps or flats placed at the begining( Signature) of a piece affect all thenotes upon which they are placed during the piece, unless they are contradicted by accidental flats
,
sharps, or naturals, and these only have effect in the measure where they occur.
DIFFERENT ORDERS OF TIME.Time may be either common or triple, and is indicated at the begining.The time signature shows
how many notes of a certain kind there are in a measure. Commonior duple) time is indicated as
follows lUb* 8 r»\ 4 a
etc. Triple time is indicated by: mi etc.
The lower figure shows the kind of note, and the upper one the number of that kind in a measure;
8 signifies that there are three eighth notes in a measure. Compound triple time is a contraction of
two or more simple-triple measures into one, as, | instead of?; § instead of 3, etc.
When a strain is played twice, two or more dots are placed by the side of the double-bar:
=jf=Double bar. EE Single bar
E Double bar with repetition of the follow-" ing strain.
Sometimes the word "bis" is written over the measures to be repeated.
VARIOUS OTHER SIGNS.
ziJE Double bar with repetition of the preceed-
ing strain.
Double bar with repetition of both strains.
*->. A bind or tie connects two or more notes of
the same name.
C\ A pause, which lengthens at will the duration
of a note or rest.
-=A crescendo, or gradual increase of tone.
^"A decrescendo, or gradual decrease of tone.
SIGNATURES OF MAJOR SCALES.
oA swell an increase and then a decrease of tone.
> * > - Indicate that a marked accent is to be given
to the note or chord over which it is placed.
The abbreviations vf, sf,fz, s/z,/p, r/z etc. are
also used for the same purpose.
% Dal segno (the sign), means to return to a simi-
lar sign.
MAJOR KEYS IN SHARPS.Key of C G D
*A
&*B n
ife*c#
Ite-?.'' i §§£ 3§g mMAJOR KEYSKey of C F
IN FLATS.Bb Eb
kA\> Dl> G\>
k^$= * s a S£ m fife
15377-58
Plate showing the names of the strings and the relation of the letters to the treble and bass clefs.
HOW TO TUNE THE HARP.
To tune the harp make sure that all pedals are in the upper notch, because when the pedals are all up
the strings are open, and this gives the natural key of the harp, seven flats, or Ck
Then tune # string to of the piano, and proceed to tune in thirds, fourths and fifths
as follows; being careful to strike first the note with the stem down, and tuning the note with the stem
up to it in perfect intervals. teasTTr
J i ri J J
»-mfollowing chords;
ffi^l, | j^j
-rrTest the tuning by playing the
and proceed in octaves up and down the scale, being
careful to play first the note in the octave already tuned.
15877-58
Copyright MGMXII by Carl Fischer, N. Y.
International Copyright secured.
First Lessons for the Harp.
Position of the Hands.
Position of right hand. Position of left hand.
The fingering is marked according to the German method, the thumb being marked 1 and the other fin
gers in their order, 2-3"4, to the little finger, which is never used on the harp.
The natural key of the double action harp is Ck All pedals must be in upper notch.
Lento, (very slowly)
t* 4 4 4—4~3 3 3 ~3
3 2 3 2 11112m.- tW:4-0^3
Place all fingers on strin rs.
m u e -EP^
Hold all fingers in position on strings while playing each in turn.
hJgMi, 1
.
1
1
4) t *Yj& 2 1
^_ ,i_5
*)'-—Mn i>R
4 4 4 4 —3 8 8 33 3 3 2 1111 4
' n\\ "° I)
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1
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1—1
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* •—8^ ^ ^ ^
(r7 \> \>\\ jJJ-± W fW w w
I—4 U
fl 1 . 4 1 1 4 1
Jf V b \ ji 3S3 Ai a
l 3 ' 1 -.
3X , ™ p. 4 4 4fth ? V
I
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4
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' ^ w ~r i> • -4— *»w v p i
15877-58Copyright MGMXIT b// Carl Fischer, N. Y.
International Copyright secured.
\l Ml,,
, .11
\§H^ JJJJI
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Leave each finger off after playing note but prepare next note.
This mark means prepare fingers. Play each hand separately, then together.
1 1 . | iV H 4 —m^-tyi—1— 4 4 4 4
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1
V This mark means all fingers off the strings.
Scale.4 o y
If. i
i18 «- -* 2-
as?4 3
PP22=5 fg=
4
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19-3 4
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2 V 2. V . , 2 V-*-»
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Chords.
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15877-58
8Study of Scale in two Octaves.
Andante. (Slowly.)
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THEME . It is understood that all chords in whole, half and quarter notes are rolled, as indicated by
waved line (J]. ^O
j A hi,, S^ ?=? w &./5=g E 5L-—^5^ t$
27
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5T 25
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Play these two exercises like the above theme, breaking each chord into sixteenth notes
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15S77-58
10
Three Finger Study.
Andantino
.
(A little quicker than andante.;
v
k2t+]—1—rri—pH—i—
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^^ 2 O V 13VJ2 3 Vwrrw-
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ppi£i£
Pi SS§« §pf^5
Play each of these like number one, ascending and descending the scale.
2. 3. . 4 5.
it -8—S- 3 l 3 j g 3—
t
4—«—i-3—4—ft-
PPIP #E
S1}
3 2
i g
1 T2 48
# gj # -
1 . 2 i
F S p>F J Ji - i 4 1 g -4—2-
1ras*£f -*-r
Chords with three fingers.1 1
tJN^F^J 5
J !
5
5
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«_*s-^E 5 : 3Z3 »st *v
15877-58
1
23» 1
23
42 £Z-9
11
2=22=&
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ltf 9- £L
-*9- 3 ^2*t g=g^3^2 *=g *"#
Fingering of different intervals.
| 1 i 1? 3pr 3 24 4f 3l 3
11112, 3 2, 23 3 4 3
1
24S
^S£f
1 1 1 13 3or 2 •?,
4 4 3 3
1
23
1
23
1
24
24
IE
THEME. With varied forms of breaking chords.12
\
1
/J?, - ** _ n\ ^ 9- * n.dW \y -» ;u '
J1
!J /, y ' *J s.fL 7
? » * i/> 'J '5 rf *r v. £* i V v J f' * *>
f/K ' r , i « t* *i fJ W l-# «»
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c c c1^ U 1^ "i y & V f, ff ftp ? b L V V e-
" "p 6 &
c' 4 i'J *? t f.
4Lr *-*
5 5
VARIATIONS. Carry each of these exercises through the above theme.
A1. . 3 2 1
<>
3
1 '
m
I.12 3
**-F-—
!
J.2 1 3
•*=S=j1
-9—— -0 J- 7 J 1
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6 4 6«
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3 1 2
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r-T-1 -98
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15877-58
12
$tfe5
7.2 12 12 3
HT, 7
8.12^2123
si * ••
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-•—
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^s 2:a F^:
Exercise with three finger chords in left hand.n\
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15S77-58
Arpeggio Study.13
Position of the right arm. Position of the left arm.
The elbow must be at right angle with the strings, The elbow must be at right angle with the
and the wrist slightly toward the strings. strings, and the wrist straight.
Hold all fingers in position on the strings except the one being used.
Moderat 0. (moderately.j
3 20-* * 0—
i
0-i#-i•-i0-2
• • >3 4
—t9-0-0<-0—0-
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15877-68
14
&m ^ r jr nature f¥ ^ sq*#—
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S a a W ,i it it i* WW mm m iE%
M^unnn i mm&3 M
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Itit It <t1
i- Iffct^:
R.HS Right hand)
Z.Zf. (Left hand)Arpeggio fingering.
i fes2 * . *—— V = — —
a It* f q 2 i i a o f g a g
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s -a-Z.#
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15877-58
15
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J-±lbf=£ -4 =Chords in different positions of fingering.
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15877-58
16 Four Finger Study.Allegro. (Lively.
J
\ 331432
gv* w4
am ~ 3
Play each of these like number one, ascending and descending the scale.
k3.
m1 2
4 8 4 ^ 3;j
^^ a s , ^ 2 s
1 3 2 4 34. 2 13 1 5.4 2 12Hill >^4w 11 ii"
8 9 ,—8—3-
m +-=-*
3 , 8 3 ' 3ol^l
JJ* J J"3=^
s * a .—3—3-- 4 ^ 4
"1I1 m »:.»*¥f £ S
Play the three following exercises descending the scale also.
Skipping a string between first and second fingers.
1 ,,
4 3 al 4 3 a L
Skipping a string between second and third fingers
,4 3 2 1 4 3 2 J_a
1 ,433143*
1rjTJjTXJ
3 1S 2 gj 4 3 ^ #
5 LCTJ^CEJ-. i1 I
efeg£ jczzzm
Skipping a string between third and fourth fingers.
4 3 3 1 3 2 J.
15877-58
17
SB
Arpeggios, four octaves.
4
4 3-g- 1 0*71 ,
s^m 1^4
• H,V|,
tt ]2Ifi» i
Si1 4
"3—
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PF8R.H.
aaaa.
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=F
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^H^y-^m -e^i t15877-58
18
Placing hands one above the other.
L aTgO . (Slow and distinct .
)
l.H. #.'\
R.H.i- t
£ 1a #
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s ^=^Sr-
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ik £p££
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Glissando Study.LEGATO (Sliding of the fingers smoothly.)1 1 This mark means to slide the thumb from one note to the next.
p^s
^Sj j^j1 yjjj ^
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15877-58
194 4
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15877-58
Study of Glissando 21
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15877-58
22
Exercise in drawing second and third fingers.
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33
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Lay 2-3-4 fingers flat on strings
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Exercise in connected fifth and sixth.
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15877-58
24Octave Study.
Keep second and third fingers well in the hand.
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26 Accord Study.
Fingering of intervals of third with octave.
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15877-58
Rapid Scale Study.37
Continue these exercises one octave ascending and descending.
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15877-68
38
Pedal Study.(MODULATION OF KEYS.)
Position of Pedals.
Left Ridht
Upper position.
First notch.
Second notch
When the pedal is up, the string is open and the tone is flat.
When the pedal is in the first notch the tone is natural.
When the pedal is in the second notch the tone is sharp.
Modulation from the key of Cl> through the flat keys to the key of C
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15877-58
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15877-58
30
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15877-58
31
Study of Pres de la Table.
In the following studies there will be an exercise in each of the major keys with a theme in which thisspecial form of technique, demonstrated in the exercise, is used in its practical application.
Pres de la Table means to play the note at the end of the string nearest the sounding board, with theend of the second finger where single notes are used, and with the second and third fingers where two notesare used together.
The tension of the string is greater here, and considerable strength should be used.
Position of right hand. Position of left hand.
Key of C major
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Etouffe Study.
Etouffe position.
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Staccato sign • means dainty short tone and often played En table (at the sounding board) Chordsmarked thus <$> are struck with the flat hand after being played.
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33
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15877-58
34 Study in Legato Touch and Crossing Hands.
Play in the middle of the strings and move the hand directly from one chord to the next,
Key of F major.
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Press right hand toward the left side and play very smoothly.
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15877-58
Harmonic Study 35
Harmonic position of right hand.
O Harmonic sign over or under the note.
The harmonic in the R. H. is made by closing the hand and placing the string between the first andsecond joints of the second finger, pressing it firmly while the thumb plays the note.
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Key of G major.
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Harmonic position of left hand.
The harmonic in the L. H. is made by pressing the string firmly with the side of the hand, while
playing the string, and turning the hand from you as you play the note.
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15877-58
86 The Bells of Shandon.
Rev. FRANCIS MAHONY.
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Study of Arpeggios and SynonymsIn playing arpeggios be careful to place the fingers from one note to the next, having the following note
prepared before the first is played.
When the same tone is produced on different strings it is called a synonym.-Where notes are repeated, as in the following exercise, for instance, Bl> is played twice in succession, set the
A| pedal, and play the second Bt> on the A string. _^_ Sva -
Key of B\> major.
15877-68
37
THLME . with Arpeggio accompaniment and the synonyms used.
Legato
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15877-58
38Trill Study.
To play the trill,point the fingers well down and the thumb up, and be careful to replace the fourth finger
as far down on the string as possible.
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pen hand flat over the strings and well above the middle of the strings.
This will give a positive tone without striking the next string and
making a disagreeable buzzing sound on it.
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39
Exercise in trills and grace notes.i>acilisc in inns aiiu giaw; nuica
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15877-58
40 Study of Arpeggios as Embellishments for Themes.Key of El> major.
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15877-58
44Study of Technique in Thumb and Second Finger.
Keep the thumb well up, and bend the first knuckle slightly as you play, placing the second finger as far as
possible from the thumb and pointing toward the sounding board.
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Key of A major.
1.-S77-58
45
THEME illustrating this form of technique
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15877-58
46
Pedal Study.
Place the pedals in each notch as indicated , keeping the heel firmly on the floor, and use the pedals positively
and quietly.
Key of Al> major.
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Study of Arpeggio Accompaniment in Left Hand.
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15877-58
48
MELODY with arpeggio accompaniment in left hand.
Andante.2 123 2 3
15877-58
Study of Varied Forms of Technique.49
Key of D? major.
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15877-58
Violets.
Theme showing practical use of these forms.
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15877-58
51
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Study of Broken Octaves.
Keep the wrist well toward the strings and connect the notes closely.
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Study of Keys Practically Little Used.
Exercise in the key of F| to show the possibilities of the key, which is seldom used because the enharmonic
key of G\> is prefered, being in the open strings and with less complicated pedaling.
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Exercise in tl : .owing possibilities of the key ra used because the enharmonic key
D? is prefered. . in the open strings and with less complicated pedaling.
Moderate.
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Pansies.
H.E. PARKHURST
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BRIGHAM YOUNG UNIVERSITY
3 1197 21351 5866