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fel,
/^
y L 650329'6, l\. hands.
Mu y8b.4i GoaoJ3ii2^g$:
Miniatures. Pxano, ^ hands,belections.
^.50 + .foi?
MYNY PUBLIC LIBRARY THE BRANCH LIBRARIES
3 3333 05859 0130
THE NEW YORK PUBLIC LIBRARY
MYAT
LINCOLN CENTER
Books circulate for four weeks (28 days) unless
stamped otherwise.
No renewals are allowed.
A fine of ten cents per calendar day will be charged for
each overdue album.
Records must be returned to the branch from which
they were borrowed.
GODOV^SKYMINIATVReS
In 3ixVolume5
C7Kr^^ v^^H'^.APrice ^ 2,-50 n^ t
Carl S'isch^rCooper5quare
PREFACE
A MINIATURE is an art expression in small dimensions, distinctive in its delicate and exquisite work-
manship. What Leopold Godowsky has done in these little compositions justifies title and definition,
x,uiioiuv.icii.iu>u> Schumann, Tschaikowsky and others of the great composers have written charming little pieces,
ostensibly intended for young students—that is, music conceived from the art standpoint, yet with an
underlying educational purpose in mind. But what they have created in this field is of an unevenly distributed difficulty ;it lacks
the continuity, the gradual sequence of development so necessary for the acquisition of balanced technical, as well as interpre-
tative results. And passing mention is all that need be made of the mass of inferior four-hand music available for teaching
purposes. In these Miniatures we find musical beauty within small dimensions, expressed in exquisitely finished workmanship;and in a novel form whose underlying educational importance is hardly implied by their title.
• /\ ^ THE composer himself writes in a letter to the publisher: "I have given a great deal of thought and^ "
/"% loving care to the Miniatures and though the pieces are smaller and considerably less complicatedI<J^3" than anything I have ever written, they represent the best there is in me. The experience and assimi-
lated knowledge, the aims and aspirations, the hopes and ideals, the disappointments and yearnings of
a sensitive nature and an artist's soul are all to te found in this series of simple five-finger pieces. Working within such
self-imposed limitations has convinced me that economy of means leads to a superior form of concentration, and the resulting
concentrated effort produces the quintessence of human endeavor, materially and spiritually. The resourcefulness needed in
dealing frugally with the means at our command often opens up unexplored and unsuspected regions of imagination. In work-
ing on the Miniatures I have been amazed at the possibilities created by the adopted restrictions. I have done my utmost to
give the same attention to melody, harmony and counterpoint. I have tried my best to make the pieces as simple and as easy as
was compatible with the intrinsic value of the inspiration and idea. I could have made them simpler and easier for the
teacher, but the result would have been artistically less satisfactory, and much of their attractiveness would have been lost. I
wish to inaugurate a new era in pedagogy, particularly as regards the earliest and early grades."
_ , . , ^ AHE MELODIES in the prima parts of the Miniatures are based on a five-tone compass. This furthers
I the acquisition of a permanently correct position of the hand, as the hand is thus kept in a stable five-
Advantages finger position, each finger playing throughout the entire composition the one key allotted to it. Theresult is an equalization of the fingers which no other method offers. The fixed position of the hand
compels the frequent use of the weaker digits, as the passing under of the thumb does not take place. (This gives the Miniatures
a special value for the rtiore advanced player who wishes to strengthen the more neglected fingers.) Their genuine musical
interest and rich harmonic texture will encourage a more rapid progress towards proficiency than would any number of drymechanical exercises. It is owing to imperfect control of the normal keyboard position of the hand and to finger inequality
that students, as a rule, are unable to play expressively with the weaker fingers. For purposes of prima vista reading the
Miniatures offer manifold advantages. Their interesting and scholarly workmanship will be appreciated by the teacher, so often
bored by the triviality and monotony of the four-hand part assigned him. Every detail of fingering, pedalling, phrasing, tempoand expression, dynamic light and shade, etc., has been indicated with meticulous care by the composer and should be acceptedas authoritative. The composer specifies that : "Of the forty-six numbers, twenty-two are easy, eleven moderately easy, and
thirteen rather advanced for the teacher, while the pupils' parts are all accessible to beginners and at the same time equallyuseful to advanced players. The more ambitious pupils can ultimately play the teachers' parts."
,, . , TT would not be just, perhaps, to deny that the easy four-hand collections of a Low, a Loeschhorn or a
I Spindler, as well as some others, have their place in the pedagogic scheme. Yet in many ways they rep-
Advantages resent abandoned standards and antiquated ideas. And present-day ideals of piano playing and teachingreflect so notable an advance, they so emphatically insist that the best is none too good, that the musical
as well as the technical advantages of such compositions as these Godowsky Miniatures are only too apparent. In them, a
fuller, more practical measure of technical benefit goes hand in hand with a stressing of the musical and artistic elements. TheMiniatures are healthily modern in idea and harmonic treatment. In place of the banal simplicity of some sixty or eighty
years ago (still noticeable in much instructive four-hand music of the hour) we have real constructive imagination, an art
beyorid cavil;a quality of appeal which none truly musical can CN-ade. Not only do the charming creations of Godowsky's fancy
guide aright the pupil's first half-conscious steps toward interpretation and esthetic expression of a musical idea—the acquisition
of color by touch gradation, dynamic and agogic emphasis, light and shade in playing, correct phrasing and articulation of
musical sentences—biit they give him as well a clear conception of most of the musical formSj ancient and modern, strict and
free, their contrasting characteristics being presented in a concrete though condensed manner. The short annotation which
accompanies every number helps the student to understand form and character in musical composition, while it offers the
teacher material for elaboration in an analysis of the Miniature in question. Though the above considerations aim to give
some idea of the purpose and scope of these four-hand Miniatures, there is one thing which it is beyond their power to do—to coi vey to the reader with approximate accuracy the spark of genius which illuminates these happy offspring of Godowsky's
muse, their absolute musical charm which cannot well be described or defined. The inti-insic worth of the Miniatures may be
appreciated only by actual acquaintance.Frederick H. Martens.
AlUlgi^ tli-& PBOPERTT OV TTTP rrr? 0? KW YORK /J / S^S^ Ol ^ /OIttB
LEOPOLD GODOWSKY[miniatures
FOR PIANO FOUR -HANDS. 5^-/- , ..,^7
A series of original melodies, including thirty -four compositions and three suites
in a variety of classic and modern dance forms, as well as others in established and fan-
ciful musical form, developed from five tone combinations and based upon essential re-
quirements of five-finger positions.
*THREE SUITESFIRST SUITE
FIRST SUITE
Andante (J =76-88)
N91In Church
SECONDO LEOPOLD GODOWSKY
p legato
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20914-10 Copyright MCMXVIII by Carl Fischer, Mw YorkInternational Copyright Secured
J.
FIRST SUITE
Andante (J -- to-hs)
N9 1
In Church
PRIMO LEOPOLD GODOWSKY
1 a :i 4 5
Compass
mw^l.h.
12 3 1
5 4 3 5
'r r I r
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20914 - 10Copyright MCMXVIII by Carl Fischer, New York
International Copyright Secured
N9 2
At Night
SECONDO
J-LEOPOLD GODOWSKY
Moderate ( J = so - 93 )
5«- 5^ 5^ 5
r -.^ P M. -H. M^ Ji ^I^
7/w« corda
p dolce
3 li 2
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Jli 3
^
3 1 3
li 3
s • 5 ltt » -3# ,iftp
Hr 5 i t4- 4-^
^pvup
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a ^^ I" J
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jBoco p^M sostenuto
mp \ pm,ip
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20914-10 Copyright MGMXVIII by Carl Fischer, New YorkInternational Copyright Secured
N? 2
At Night
PRIMO
Moderate (J =so-93)
LEOPOLD GODOWSKY
r.h.
mfJ
,2 S 4 5
Compass
5 4 3 2 *
¥ »=*
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i
B 3 4 5
jt?dolee
13 2 1
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m5 3 4 5
13 2 1
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eP5 3 4
-i
1 :j 2 3 4
-/JlJ J-1
g3 f 3 2
3 5 3 4
poco viu snatenuto
mp p*1 4 1
|4
3 4 2 3 4
^^J J J JJ ^^ i., N ^ ^^ 2 3 2 3
dim.
^ -^{jLi ^ //oco piu sosienuio
p piitp3 , o^^ ?^—f
Si/
cc20914 - 10
Copyright MCMXVIII bi/ Carl Fischer, New YorkInternational Copyright Secured
N9 3
Lullaby
SECONDO
Andante (J = 112 -
LEOPOLD GODOWSKY120)
ll 3 ^ 4' =1=
I
=-^\
\-
p dolce
una corda
^^^-s-s- f
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J J J J ,.i
^. ^.
menop
^ -Tj^M n
^ ^. *Sii. 'iSa.
<? c20914 - 10
Copyright MCMXVIIJ i.i/ Carl Fischer, X'evi York
International Copyright Secured
N9 3
Lullaby
PRIMO
LEOPOLD GODOWSKY
Andante (J = 112 - 120)
r.h.
m 345
Compass
6 4321
^ 1 2 3
^^^
4 3
il.h.
la dolce-'^
4 3 2
^3
^ 2 1 2
3 4 5 4
/??« J»
i1menop
i
2 3
4 3 2
2 1
4 5
2 3
4 3m^ m
4 ^9 m ^
w
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piupa tempo
menop piup
^^ tisz:
5 3
iel
i1 3 4
r^ *= JO.
c c20914 - 10
Copyright MCMXVIII d.i/ Carl Fischer, New York
International Copyright Secured
8SECONDO
J n4 ^ .41 p 2
^ ^r ^ ^I
mtp
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9
PRIMO
^ ini
C 4543433 1 2 3 2__3
5 4 32 1
i1 3 3 4 5
34 5 4 3 2
3 2 1234^ J ^ ' J •m * d d *
poco rail.
-PL.
r ^ r r r rs
« tempoprkp rail.
fc^ ^20914 - 10
10
N9 4Rustic Dance
SECONDO
Allegro con brio (J = los - 120)
LEOPOLD GODOWSKY
'> i* i rp t ? ? "C i ? «^i «F of^i:£
/" grott'esco
V-c J ^ J ^ ^^^ ^^f^ i
%>. %>. 'Six %.. 5S). "Sffl. Si). %il
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\'y- w^ \ P i t^ \\ i tefe*
^ S?F
pnco a poco dim.
m ^^t=^=^ fc^ ^^ ^=^4
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5^.
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a ^=^ fe^ iJ |;J ^J^ i*atztZM a^—|7i
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f f
3 J 4 b j
rr ?i^*r•— m =f^
^It 81
poco a poco cresc.
-4
%f
^ I^J=#:^3=«
HfT^'TfT-p^ r'^. ^ ^. ^. ^. ^. ^. v^
C C30914-10
Copyright MCMXVIII b.v Carl Fischer, Kew York
Internationa] Copyright Secured
11
N9 4Rustic Dance
:i
r. h.
12 3 4 5
Compasa4 3 3 1
il.h.
PR IMO
Allegro con brio(J =108-120)
^^-rrrrrrr^ A 4 5
/* grottesco•A 4 :^ 3 1
:^ 3 :<'i
3 4 3 3
f f f mW
LEOPOLD GODOWSKY
#-# ^4 :s o 1
3 w 4
# ^g O g
i^ .>r
5*34 5 3
1 333 13
• # f # m P
1 ^^ rr r »^ W mWi
3
i13" 335 4 3 4 3
4 4 5 4 ;^ 4 5 3
3 3 1 3 3 3 1 3
m I
45454 3 o
3 131 3 3 4
J ^ J ^ J ^
3
poco a poco dim3
m m 4
0-P- ^m pc^r^qe m ^
^^
i ^ s ^ J J J J J J J e*-#-*
c c20914-10
Copyright MCMXVJIJ b.i/ Carl Piacher, Neto York
International Copyright Secured
13
SECOND SUITEN9 1
Arietta
SECONDO
Andante cantabile i.d=r,Q _63) LEOPOLD GODOWSKY
^.%).
2 3 4
^"^ ^. ^. •^
ST
^. ^. %).
^ ;:?z
2 3
y/*/* espresstvo
3 2 1 2 3| 4,
^
;:?z- #
1.3
i?^ ^^ ^
^ ^ ^ i& ^* '^. ^.%3. *'^. "S^.
-S&i*
cc20915 -10
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Copyright MCMXVIII by Carl Fischer, New YorkInternational Copyright Secured
* ^. *
13
SECOND SUITEN91
Arietta
PRIMO
ir.h.
\*^ '133* 5
Compass
5 4 3 2 1
ifd-*-
l.h.
Andante cantabile (J = 56-63)
i
LEOPOLD GODOWSKY
S5 iit i ^1 3 ^2 4 ^ lo r;r3 '2 3
i n: EI
f 1
1espressivo
6 3 4 3
3 3
5 3 2 3 4 3 3 2
2 3
4 3 3 4 5 3 4 3
3 'Z
6 3 3 3
^ ^ ? t
cc30915 -10
Copyright MCMXVIII by Carl Fischer, New York
International Copyright Secured
14
N9 2
Sarabande
SECONDO
Largo (<J = 73-8o)
;^
LEOPOLD GODOWSKY
331 6-S O- ^~o *>"" -6-«- 31:2 l/J t r- i /r;^ *»' ig< «* ^ ~TT la <>Z
mif
7^^ »>
^7^. %i. ^.
siSig 5^:^*^
» m -^-o- ±jCE 4 H1 O 1 <^
331rJ <y zjmi
S/
1 z
^^. <;&>. -^
-t»- ±1 -^
^^^^ ^^ ^inS ^ 1^^^ ^i^f^'ifr^^ pi^ £^ i r-
^ <> :2i 311'5 lO
^-^^ 0^ -t g-a
"^-e- -»-
'S:'^ ^-
%»:
tS*- -o-
^' "Jdu).^. 1. ^^ Mwa corda
k\' r
15
N9 2
Sarabande
r.h.
1 13 '3 4 5
Compass4 3 3
^^
PRIMO
Largo (J = 73 -
LEOPOLD GODOWSKY80)
i?^3 P f^•
s
t =3=
5 4 5
!^I#-^
lS (S^-^
3 4
5-»-
^
l^t^ 5^ 5^^
-^13 4
3 3 3 4
5 5- ^f?marcato
irj a ii=^ i
^3 4 1^ Ki r4 •'^
4 54marcato3 3 3
¥^1 o# k^^ 4-
5' t^ l^
iiTEfZ an ./
^g^a= ^S£ fxn smr^^ ±11: 80 •
5x1=
if11 31 3 3 4 3
-3—a- 1 13 1
3 ^ 3 4 -i
i ii-Ji'i ^^a melodia marcato
©32 zz:JIZZI iM 1S1 1&52=«^&
i
fr-
P4 5 4 4
3 4
^^ +iS^ »-o- t-« l-O^3-«^ 3-»- 4^ 4Ty
marcato
CC30915-10 Copyright MCMXVIII by Carl Fischer, Netv York
International Copyright Secured
16
N9 3
Cradle Song
SECONDO
Moderate (J r 52 - 56)
LEOPOLD GODOWSKY
4t: .^ rjs2
mp4534 2 3 4
^ ffM«rt corda ^ "Sb. ^ -S^ ^ ^. ^ ^ ^. ^.
i ^ -«^ ?z: *i»- ^ z^: ^B1 3
m,ip2,
piiip
S i<5^ ^ ^ "Scb. *S^ ^. ^. '^. ^. ^. ^. ^t&. ^. ^.
"^ '^. %h, %i, ^. %). ^. ^ ^. ^. ^. ^. ^ ^.
>I ]"
r1" ^ #—^
s2 "4semprep—^—^— J-
5 4 5 2
1 rr-?r
^^. '&). 'i^ ^ '^. ^ '^~^^. ^. "^ ^. ^.
^ -S^ -^ ^. ^ "^ ^ ^. -Seb. '^. ^ ^. *cc
30915-10 Copyright MGMXVIII b.t/ Carl Fischer, New YorkInternational Copyright Secured
^r.h
C 'I 3 3 4 5
Compaas5 4 3 2 <.
i;.A.
17
N9 3
Cradle Song
PRIMO
Moderate (J = 63 -56)
LEOPOLD GODOWSKY
is
*
8 5
tnp5 3 2 1.
E^ ?
3 5 4 3
5 3 4 1
?
ll O
3 3 3 1
-d—^
P
=P
i ^ ^3
5
=^ tmarcato
^ i
i^?'m J(b»
4 4 3
poco cresc.
4 14 3
2 3 4
2 1 3
r? # ^mareata
t^ ^-0-
i ir^-^ ^-0- & P-
?Ff
y
5 5 4
3 3 3 3
3 2
1 I
seniprep
^^3 5 4 3
5 3 4 3
3 13
3 1 3
? ?SF?
P m T f m
^P/^/^>^ /joco rail.
# =frJ f i^ « St »<-*
C C20915-10
Copyright MGMXVril dj/ Carl Fischev, New York
International Copyright Secured
18
N9 4
Bagatelle(Valsette)
SECONDO
Allegretto grazioso (J • = 46 -58)LEOPOLD GODOWSKY
una corda
P
s=
^. * '^. ^ ^*
^ * ^. * ^. * '^. *
^. ^
^. e^ ^. * ^7i.
f c30915-10 Copyright MCMXVIII by Carl Fischer, New York
International Copyright Secured
X: t
19
N9 4
Bagatelle(Valsette)
PRIMO
Allegretto grazioso'J- = 46 -58)
LEOPOLD GODOWSKY
a tempo
\l ^rfTFT ^^^^
*e>^pr.
.fest
"if3 2 4
3
3 3 2 4
5 ^#
cc;20915-10
Copyright MGMXV7II hy Carl Fischer, New York
International Copyright Secured
30SECONDO
r r^ "SSx <^ ^. 'Slli). ^i&. ^ -Seb. 'Seii. '^.
expr.
piupatempo1 1
^- ? N J
M«a corda
^. %i). ^. ^. ^ %h. "U. "^ * '^. *
30915 - 10
21
PRIMO
I 5 4 5m ^M1 4 1 -J 1 4
y
ieapr.
3 4
"4
dim.
5 4 5 3
3 2 4 1 3 2 4 3 o 4 5
Prail.
i ^ :S S ^
ia tempo
f ± ^
^espr.
3 4
espr.
1
i i ^ f^4 1
#3 4 3 1
g4 3 4 3 4
I ^
•7 r r rf P ^rail.
2 3 2 4 2 3 2 4
S
30915 - 10
23
THIRD SUITE
N91Prelude
(The Organ Point)
Maestoso (J z 112 -126)
SECONDO
^
LEOPOLD GODOWSKY
1^^ 13 4 3 8 4 13 3
£_ ^w
1 3 3
sempre "F non legato e ben articolato
3 1 4 3 3 3 1 38 13 12 3 13
^^ ?9-
23
THIRD SUITE
ir. A.
*^'i 'a 3 4 5
Compass
4 3 2 1^ml.h.
N91Prelude
(The Organ Point)
PRIMO
Maestoso (J r 112-136)
E
sempre /* ?ion legato
1 2
E
LEOPOLD GODOWSKY
^^^
^^ Pf2 3 3
4332? ^f=^ i. i i""^
s/"
^ f
i
'1 2
molto cresc.
^^P ^^tt
y"
20741-10Copyright MCMXVIII by Carl Fischer, New York
International Copyright Secured
34SECONDO
s^
3 '^-^ l3 4 3 -
3
i ?9-
25
PRIMO
tI2Z
i
$
ff
3 3
^m?
^
20741-10
N92Chorale
SECONDO
^Adagio (J I 88-96)
4 a 5/^ 4^ •3 a"^te i3Ey ^
LEOPOLD GODOWSKY
^^
nti^^:-+« -4« :^:2
^ ^"5^5»
^. '^. ^. *$&. ^.
-Seiy. ^ -SSi. ^. ^. ^. ^SeJ). ^. ^. ^ ^. '^. ^. <^%).
^.%). ^ ^ ^.^ ^ ^.-S^. ^. -Sfe.
:—
11^
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International Copyright Secured
'^. ^
27
N9 2
Chorale
^m,234 5
Compass
5 4 3 3 1
iI. h.
d-*
PRIMO
Adagio (J z 88-96)
LEOPOLD GODOWSKY
^m m fzn
f
t
rail.
p a tempo3 4 3 4
m ^ ^
i
•—#
-o- -o-
fftj "J :<
P'3
3 4
5^^ ^^ ttl TT~
c c20741-10
Copf/right MCMXVin b.t/' Carl Fischer, New York
International Copyright Secured
38 N9 3
HymnSECONDO
Maestoso (J : 63 -72)
LEOPOLD GODOWSKY
esp7'essitm
^^ ^ ^I
f^S
* « *l.*l^«
IS!*-WS"
f-:;fc
f1f '. a
-t- -•-^;:24j
^•^ •Sii. -S^. ^. '^. '^. ^o). -Sei).
^. ^. '^^. ^. ^. ^.
espr.
'^. '^. '^. ^. ^.
C C30741-10
'^. -Sb. %b. ^. '^.^. ^. -Scli. ^. ^!^.'^.e&
Copyright MCMXVIII by Carl Fischer, Kew YorkInternational Copyright Secured
29N9 3
Hymn
PRIMO
Maestoso (J z 63-72)
LEOPOLD GODOWSKY
mr.h. _ -
2 3 4 5
Compass
5 4 3 8m ¥
l.h.
i
^f^ ^ f^^ ^
4 5
SI
M4 3
3 3 4
3 3
3 4
P
^ ^
4 4^^
T P^ ^^ ^±L
t
3 4 3 3
dim. poco rit.
4 3 3 4
5 3
J» « tevipo
1 3—|S ^—
4 5
2 1
4 3 3
3 3
3 8
3 4
3 1
1 3 5
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3 3 3
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Copyright MCMXVTIT by Carl Fischer, New York
International Copyright Secured
30
N9 4
Epilogue(Retrospect)
SECONDO
Andante cantabile (J r 76 - 84)
LEOPOLD GODOWSKY
CC ^. -Seb ^20741-10
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Copyright MCMXVIJT by Carl Fischer, Xew YorkInternational Copyright Secured
31
N9 4
Epilogue(Retrospect)
PRIMO
Compass
Left Hand a/one
^j r rf r r ^
Andante cantabile (J z 7H-84)
LEOPOLD GODOWSKY
ELeft. Hand ji.espressivo
2 1 2 3 4
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4 •< 2 3
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poco rit.
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3 2 1 234 34
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C C30741-10
Copyright MCMXVJII b.y Carl Fischer, New York
International Copyright Secured
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BOSTON380-382 BOYLSTON ST.
CARL FISCHER, NEW YORK CHICAGO
COOPER SQUARE 430-432 SO. WABASH AVE.
TOKYO, JAPAN—THE KYOEKI SHOSHA
LEOPOLD GODOWSKYMINIATURESFor Piano Four-Hands
.net. .75
A series of oriEinal melodies, including thirty-four conij>ositions and three suites in a variety of classic and modern dance forms, as well as others
'm established and fanciful musical form, developed from five tone combinations and based upon essential requirements of five-finger positions.
SUITES
FIRST SUITE
1. In Church \2. At Night f ^ r- r-± "ir
3. Lullaby ^Compass C-Gf net, .75
4. Rustic Dance i
SECOND SUITE
1. Arietta Compass l.h. C-G, r.h. B-FJ2. Sarabande Compass A-E3. Cradle Song Compass C-G4. Bagatelle ( Valsette) Compass l.h., C-G, r.h., B-Fj
THIRD SUITE
1. Prelude (The Organ Point))
2. Chorale f ^ tj t7j. » tc3. Hymn I
Compass B-Ff net, .75
4. Epilogue (Retrospect) (for left hand alone) .1
ANCIENT DANCES1. First Minuet (C Major). .^ Compass C-Gt net, .50
2. Second Minuet (G Major)! Compass G-Df net, .50
3. Rigaudon (also for piano solo) Compass G-Dt net, .50
4. Gavotte Compass D-Af net, .50
5. Bourree Compass Eb-Dbf (-"Ml black keys) net, .50
6. Siciliana Compass Ab-Gbf (All black keys) net, .50
7. Irish Jig Compass F-Gf net, .50
MODERN DANCES1. Polka Compass .G-Df net, .50
2. Tyrolean (Laendler) Compass G-Df net, .50
3. Valse filegiaque Compass A-Ef net, .50
4. Tarantella (Italy) Compass .VEf net, .50
5. Csardas (Hungary) Compass A-Ef net, .^56. Mazurka (Chopinesque) Compass B-pf net, .50
7. Polonaise Compass Db-Bbf (All black keys) net, .50
MISCELLANEOUS1. Serenade Compass C-Gf net, .50
2. The Miller's Song Compass C-Gt net, .75
3. Meditation Compass C-Gf net, .50
4. Pastorale (Angelus) Compass C-Gf net, .50
5. The Exercise Compass G-Df net, .50
6. Processional March Compass G-Df net, .50
7. Scherzo Compass G-Df net, .75
8. Arabian Chant (Orientale) Compass A-Ef net, .50
9. Albumblatt (Intermezzo) Compass B-Ff net, .50
10. Funeral March Compass D-Af net, .50
11. Plaintive Melody Compass D-Af net, .50
12. Ballade Compass E-Bf net, .50
13. Nocturne Compass Gb-Ebf (All black keys) net, .50
14. Barcarolle Compass Bb-Abf (All 'black keys) net, .50
15. Humoresque (also for piano solo) Compass l.h., D-A, r.h., Bb-F . . . net, .75
16. Toccatina Compass l.h., F-C, r.h., D-A net, .50
17. Impromptu (In Days of Yore) Compass Ab-Ebf net, .50
18. The Scholar (Fughetta) Compass l.h., C-G, r.h., G-D -net, .50
19. The Hunter's Call (Woodland Mood) Compass l.h., G-D, r.h., E-B net, .50
20. Military March Compass l.h., G-D, r.h., E-B net, .50
fidentical notes for both hands, one octave apart.
BOSTON CARL FISCHER, NEW YORK Chicago380-382 Boylston Street COOPER SQUARE 335-339 So. Wabash Ave.
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