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GAYLORD RG
BOOK TWO
FUNDAMENTALS
of
PIANO TECHNIQUE
BOOK TWO
ADVANCED TECHNIQUE
by LEON
CONUS NDO/?S
ARRAU
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CURZON
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fladimir
DORFMANN
rudolph
QANZ
HOROWITZ
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ISTOMIN
:'<*,
William
KAPELL
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MALCUZYNSKY
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alexandarUNINSKY
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summy
co
2013
http://archive.org/details/fundamentalsofpiOOconu
by
LEON CONUS*.Q
FOREWORD
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 systematize these contents, I have divided the exercises into seven categories, first acI
dedicate this
work
of
my
Page
FIVE-FINGER EXERCISES
Page 11
Page 17
Page 23
to de-
Co. 4327
Printed in U.
S.
A.
The
THUMB
its
re-
sponsibility in piano playing is very great in so far as skilf ulness in changing positions and maintaining legato are concerned.
best exercise of all for equalizing the fingers and for acquiring the "jeu perle".*
is the
The TRILL
The usefulness
of
is uni-
versally recognized, and their preponderant role in most piano pieces is excellent proof of the wisdom of working at them regularly.
Good DOUBLE-NOTES are among the most outstanding accomplishments of the virtuoso, and steady practice of them is required.
An
agile,
all
opens
mobile and subtle WRIST is the key which doors and helps to conquer technical dif-
ficulties.
if
one
is to attain
pro-
WILL POWER, MENTAL AND MUSCULAR COORDINATION, AND CONSCIOUSNESS IN THE FINGERS. I consider the possession of
these three faculties as a necessary foundation for all successful technical study. To obtain the best result in practicing exercises, one must vary the method of work. This can be accomplished by the following:
1.
2.
3.
4.
exercises at different speeds and keys Use different touches and nuances Change all exercises by utilizing various rhythms and by displacing the accent invent different figures in addition to the ones
Play
all
illustrated
5.
Memorize
all
exercises
conviction that even the musical genius, inspiration, intuition, and all the other gifts of nature, 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. This also appears to be a devine gift. For without this there would have been no great men - neither scholars, nor poets, nor painters, nor architects - and certainly no great composers or interpreters.
I
}
To conclude, possessed of
my
....
Leon Conus
*Pearl-like playing
SECTION
Example
I
EXTENSION
3333
3333
L
33
p
-*
MpMp
<^^^^
I
-a 3 2
aaaai
3 2
3-
Other fingerings t
m m
s
e
5
1:
Br
IX ^E
I
etc.
i
2 2
JLi^ri
i
prrfrri rrrrrr
2
2 2 2
/ct
r'
M
Example
ri JTT7T]
I
if^s:
II
^ u
'Jr~Jl
j^
P^g liiiii
m m a w m
J3
^-etfc
Consider the size of your own hand in practicing this exercise; a large hand may add one or more notes, and a small hand may diminish the extension.
2 2
C.F.
S.Co. 4326-41
Printed
In
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Example
With
*
III
^
5
4
etc.
,y
y
2
,
*
*
^4
*
:z
z_
4521
etc.
i
t.
^z~
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-m-
ZZL
21
3E
etc.
i r
C.F.
S.
r~
Co. 1326
Example IV
Those persons who have small hands must be especially careful in practicing extensions, and not sustain notes which make the stretch too difficult.
STEP
IN
ALL KEYS
$
STEP
II
-*&
ffl
m ^
Play the following exercises slowly, emphasize the action of each finger, keeping the wrist low; while holding the half-notes at the end of each measure, control the flexibility of the wrist by moving it up and down.
SIX
GIVEN CHORDS
4 8 2
a
m 53^4 *
D
Left
^WP 53
2 3
45 43
r
4 8 4
4
3
12
25
4 3
K 4
321
2 1 ^If 3 2
-e^e*
'&
12
5_
#
Left
-e-tCi-
On
all six
chords
lower
0^
H^S
C.F.S.
Co.4:j-:)
-e4cr-
On
all six
chords
1234
m^rm
-etor
On
all
six chords
6
Slower, after the stretch, the hand resumes its normal position
'
4
:
^m *
Q^^
efe7
on
all six
chords
T,
a
'
'
3 I
-etr
on
all six
chords
4
fe S^ I
D
4 5
3 2
12
i
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3
Tv
i
r
i
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xLJ'
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3
l
r^TU'LUlIrClg
5 3
^fej
<
a ^
4 2
42
^5 # k#
s
i B*ii
..A &
-eter
With
Example
V
3
Legatissimo, slow and mezzo forte, holding all notes of each measure, raising only one finger with a quiet movement, always controlling the complete relaxation of the arm and wrist.
5
H^i'
1
3 4
JiJi * 4 3 Jijij 4 3 2
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rwTO'OTrM^Ecff
r'
Left
m
Br ,
tt
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rrf
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i-
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lt
tt
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e tr
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lt
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a -P
2l
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4
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3
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3
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3
5
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r
2
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.
te-5
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3
12
5
iffi
1
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tt
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cto.
Example VI
Four times
Four times
-6
*
m
t^^J^
|
Jr
^J
J -J
=d
^m
etc.
Slowly
imfiMiii^^
5 3
14
3.
41
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WM^/hiL g
turn
Leggiero
Slow, legato
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i^-'
i
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Example VII
If the
5
extension
is
rt''
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m
-*=*-
y
1
2^
2 *
34v
/ r
2 5
;r=*
#*
2 4
lO
-*-
2 4
7"
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igzgj
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pr
I P
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Example VIM
Legato, wrist flexible, both voices legato
j^j^j
(o^^-r ^-f
r fr--f
^
1
Jq
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rrjyn
fp-^_
w-t^-j^h
w^-f
1
r f
r^ r^r^i=r
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f-iJ-M^r^
C. P.
mf
S.Co. 1326
7^~C
jrrpipTTTJ
ITE
-eth
Legato? after the stretch the hand resumes its normal position
legato
Example IX
First, practice the following group of three chords in chromatic sequence
m
ka.
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SECTION
Example
+
:
II
11
i times
8" iJ
twice
holding
all notes
P
1?
JiJ H
1,J
I,
i;
W p
leg-giero
^
j
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y.
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j
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4
j
j
j
m
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B
: :
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3
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#J7?
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Use
different
^S
rhythms
: <
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:
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IS
g^^^^p
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l^^ fp*
LaT^-J
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ten
p> p^ p>
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ten
few
ten
ten
ten
ten
a)
E
L.
WW 5P
.
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l|J
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b)
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bJ
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p p p bJ
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wp
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a;
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b)
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ii
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c)
WW
-tf
P
J
i
*=*
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,r*
^^
M
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S^
ft' tt*
1
J J J
1 1
J J
...
mi
j
* n j. w * *
j.
i J
J,
j=^^
WW
3:
C.P.S.Co. 1326
13
c)
^z
I
WW
^HP
J ' / /
' J
Example
II
2
3
34
Bisyissi
2
3^
4^4
2 5
3 4
*
^
i
2
* w *jm
M>
gM
etc.
r
F m
4 3 5 2
2zi
Varying accents
CF.
S. Co.
1326
14
ffij^m
jlggl
L.H.
in
,.n
j^ajfljrg
e .,.|
jf j] s\
r
Example
i
III
i&
ti...;?^
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OC
nra
#-,
tTf
mH
31
F JlJ
4hym-0^ ZM
#->-#
m*
0m +
#^-#-=
=-#-#-
C.
P.S.i
Example IV
L egg iero, fast
a) 2
15
323
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23
Sva.
2 3 2
a^ B Spi
W#
^(7.9.50
cuir,
fl%p
j /tf<#
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FfTf
*L*
ft
fg
FS
etc,
^SW^* M
5
s
Other fingering o-j \
*
tt
r r^r
rtt rrfr
asso.
Legato
;ig
%tff?
rfff p rf
e# &
234
JE^JE
F*P*
liitfVyfff
I
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rrri
ffi^gffgfl
8^
w basso
C.F.S. Co.
4.1:26
16
gvm.
_
a
is *
ift
^^
J
etc,
ij^gjgi'jj*^
gra basso.
&
5__3
2
d*r- #
Other fingerings 4
3~
twice
#-=-#-=
=L-#
Example
V
4 times
s -fr-f^
"'
m as
3ZE
twice
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^
ffff
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u^cium
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i r
w
t~
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9s'.
alt
d.
^
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fr^
fT
t5H
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=-^-r
P.S.Co.
$p ^
n^n
7TC
III
^ iwfiii
-
22
SECTION
Example
3
,
PASSAGE
of the
THUMB
First practice legatissimo, slow, holding three notes, then leggiero, fast without holding
I
i
=1
f * J 2 T | 3
i
1
a 3
nn
m
Other fingerings
4
1
ff P*
t=A
*i *s
2
H*
13 13
'
l^t
t
5
.
** r* ^r
3
4
J J J J J
|
'teak
*
1 in/ 12
*-
13
f
i
1 I , , ,
t^~^j
*
lN
i &
95
i
= =====F=^ p p F r
p^-j
^ P^imf^i^^iiif^^'IW
i i
CF.S.Co.432<5
P/W/ffl||B |
Also
in
groups
of six
oto.
r r
r
and
In groups of
eight
#i ^rrrrrrrfrrf^rfTT
3454 4131
1 2,1
1
oto.
3454 21314131
B
2 3
1
31 d 1
In
all
keys
^ftt rff^ffl^r^Fr*^
3
4
5
p&fr^M
* g * i -#! 4
-etoi
Example
II
* m
* ^S
1
w=w
r
r
5S
* y i
^
2
(5^-
13
pq
Holding notes
w
5
=*
4
3
^=&
3:
12 13
p=s
'/
*/.
m
- J
^
V V'fdi
'
I
3
f
^s
r
JC?_JL#_H
f^JJJjJ^
f
^^
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3a:
jEZZg
/.
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.4326
19
ppr 9Pi
2
3
1
i
4
5
^^
4
lJtj.l>
13
i
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frt*
s sBl
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al
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2
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14
a
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4
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3
15
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it
^=^
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5Th-
ip
^=^
Example
After
III
Hanon
12
14
4 3
14
3S
5e^
^W3
#
Z&
CT.,. ,pito
<
f
0:
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^^
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.F.S.Co.
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5S m 3S
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R.H.
i
etc,
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4
33
/ /.
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a
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13
j
12
1343
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3
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ff
2 3
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Example IV
R.H.
4
1
I
4l,
/.
4
/. /.
fapE
|
2
]*
p
1
I
1
g1
up
2
^
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'
14
p
1
|
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z /.
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P
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C.
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12
j
tat
12
etc.
F.S.Co. 4320
oo
Example
S ra...
4
1
V
3
JL
i
S
i
J
2
1
^BE
w=w
3
* w
vr
^^
^W
W=5F
^
2 3
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4
12
S 1'*
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C.F.S.Co.
23
SECTION IV
4
TRILL STUDIES
* *4
5^
12
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miffifiSEffl
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C.F. S.Co.4326
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24
Different touches
i r=f
J J J J J J J
J
ft
mn
*
II
5?
Example
2 3
4 3
4 5
*~^* +-m-*-*
4 3
2
Z#--# m
4
3
AUll* tt|Jfl3*J53*
**
^p.ypf^g
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4 5
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z MTnEy*
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iiii
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45
4
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gggggg
Going down
i jbtjjjjL
2 3 2
1
^s
5
3fe
21
BJyffl 23
1 i
k car^Bjr^ car* mt
#-^#
4
3
BS9
Z
4 5
JJJ J *^
2
J*J *
^J * J
'
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'
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m 5
ffi J3jj*J333
iS
Sfl*JI3] z
MB
=
C minor harmonic
flyja*
i,
ro^sz
etc.
g
C.
P. -.
rrrr*
Co.
i;:';
Bg
'
l
fflr^rr^ Egr*Blr*
[flr*ffi
r*m ^
m rgtotf
25
The same exercise
in
groups of 6 notes
I JflJJiJJjJJJJJJJ^JS
etc.
Example
III
W-*-*
#-J-# i
3S
I
etc,
^
After S.Rachmaninoff
^ ijHTO-TO ^ M
ji^i
j i j <
4 i *
^^
Mi
^
2
3
5 g
u
j j
m
j
/7]|i^^^ /ii|i^^^ / v^
i
-
jih nj ~
a<i
*i
Ti
jj
mn lll ^i
ll
ll
ll
fajfcjg s
I
jtet
ir
t
g
hm XE
at PHii
z igj
>
^=^ SiM
-O-
tt
M s oti
-fe
1
I
z z
z y
/.
z
i
I*
io-
y.
y.
^e
te
^
*
tty
i,
y.
ia
.e-
'
^
E
V
'/
'/
g
/
SttM
^^
a&
tt
/. y.
p
C. F. S.Co.4.J:ltt
21
95^
v.
si
* y
'
26
fefii a
IT
"'
j J j J*'/'/
^ j
sra /,//
tt
l
w
j
i iftw
3^
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<
9 y-'
i: t
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Pz
+-*
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1
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s
i
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4*
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H o
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93
1EE2
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f# i '//.*lfc
pap z
s
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=
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tei
.-
i=^
J J ///
ii
i^
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rf ifjg>^?
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^:
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fe a
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py
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MI J
1'UI 1J
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llMI
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4EJ
^ JM
-vj
m- *t rvMv.i
^^
l^&L iP 3 P
b& a *
ti
fc]
tf*
^^^ 5BE5B
i F
Ba la
--
iwimtM-A hp
If
* .*.*.*
Ct
i
r
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*
3JI
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w#
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f p
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l
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p||
p 4'ft p
xy ^lifi
^F'i
F^ f'i F '
,
l
-oj
C.F. 8. Co. 13
!6
27
SECTION
a) Play in
fl
V3
1 1
*
|
12 13
? m,
^-^
ta
7
ffFf
r
Trrr
turn
^s
1-2
1
gl
m
7
-eter.
^
g
3
"
7
*^
-ete^
12
T?p*if.mprr
3 2
1
m
/
##
4
1
/./.^jfljff^l
^S
'/
yl^ A
^ y
/.
SE
f: "-
/ Z
/.
/.
*=3
/ / /^ p T
:
ffM
r r r r
* *
]jaijjni^]jj^
j
^nj]]j,n
Jff [afflij
jflJffatfiJTJjjijja
jflJfftfri
flf^^lfljflB^lffl'Cttl
i
i rrr-r^-^j]
j jj jj^ ^^
flnumflflmr
#jpg
m.
i^
3B
m
i
mm
r r
.
^= Tf r
r r r r
JUI n
i
-T TJ
r _T
ff ff fr r
,.u
in
The same
C min. harmonic
Example
*
4 times
II
twice
^ s
>FW
-etc-.
&
tJ
^=2
-9-
m ^ijj^j'jj
C.F. S.O,. 13 6
29
o
mm S
4
i
1
1
1^ 4
SB
'
;&
4
i^
2
a
3
P
:;x
M digj
ffl
\# ~ \ I2
* ~-*-
gt
jpp
ft
1* *
I
* *:!*X**
is;
v,
^S
TT\ 1 5 i 84
TO
|fr
-*J=
s^ za
^ V
1
i
Example
4 times
g a
Pp
III
S2I
^^^r p i^a
in
twice
#s
twice
/ g
/.
^~y.
'/
k
J.
J.ji
ZZ-
rf>
I
I
=13
^^S3E
_/t
3d y*
kJ,
#
C.F- S.Co.
4;i:2(j
^f
1;
^m r
*
t;
#-=
USM
r
i
t*
fc
i
t>Q-
m R5
*
-rra
g
{>'
'
-ete-.
^^
i*
#-=
4
#
Example IV
Use these two chords
in
XT
I ^~
!-
T*^
&
F^
<9-
cto.
#-=-#
tJ
'
ET
C.F.S. Co.
J.;.',
ii
31
^
i
3
Fff^
54 14
5
1
^S in
-ete^
Wrist flexible
12
*4
2
B#
S* a.
rff*?
5
"3
1212121 212 ^4
:-
*=
A
3 3
Jb.
21
gNr^i3
212121212
454i454
12
145 4i
*
1-5
# d #
/
te
etc.
1-5
1-5
Hi
m_ m
i
TT
--
mmm
S
4 a
'
2 3 4
4 3
2U3-
^^
-et-e^
ii.4
4 3 2
12
C.
F.S.Co.4326
32
*
-0-
4
2
1
m
s
#>.
^
5 wa
-
'ij
i
f
H^Et ""ftjJ^EU
i^ifi
cto.^^P
*
I
3Sffl
^'
CL
SB
CTf^Erf
etc.
Different rhythms
J-
^
li
r
S-^
^
1
:/r^
etc.
I p?Nmw
Example
mm
as
1
-ete:
P
k 4
2
fP
etc.
V
2
1
isJ
2
1
L
3
|4
14
14
is
^P
^ j^n
-9-
m
iv
r
s
^
J '
i.
cJj- j-Jl
c^Lr
r r
1j r r
c-Lf "tr
i
r r
LU
i?Lk
lU
JUlnn
zac
rj3
^ 'lro
-ete^
*
C. P. 8. Co.
* _ *
^p^
43
56
33
Kg
-
\>f
^f^ *
sE
r^p"
SECTION VI
Example
5
I
WRIST EXERCISES
8 V a. 8 va.
!
-0-
pi
5 3
SES
4
5
m
3
5
J
f=TF?
PP
J
#w.
i=m
w
J
y \t m\&
s
EEf
H. one octave lower
fcr
L.
gva.
8 va.
j *3
m
m
I
3E
J i
=^=r
;t
f
*=^* 3 5
^Fi 3
gva.
gva.
i3E*3
1=* j
ft
B=E3
?
eg
iJ
B
3E
^
I
*
3E?3E3
Mb
^^E^ij=^ b 5p
*#
ft
'
Fingering 4
5 3 |-j-j
Play
1
in different
keys
ova.
a=i=t
1
,
^=?
:.1
izt
E=
^
^5 i=a2
^
S
^
=
7=
JL
? 7
7
Ii a=S
&
5
etc.
-.
Up and down
CF.
S.
Co. 4326
34
etc.
of
mzzzm
'
etc.
%
Example
II
5 5 5 5 5 5 5
555
Slow;
resumes
its
normal position
i ff^f^i
IUL.h ,i.h i A
,
^^^^ rTri^Ts?
,
h Jiiii,* i^f* A,
>,i). J) i XT
ft
9J
f
.
.:
JJ4
3
l
'.ah
4
i
2.
iS^
i
4
1
il, i
|
h.
1 p^>_Mj{p'i,a
-s
^^
F. S.
i^^
4
k
l
r>i\ 1
Co.
35
,,^...,1 H>q> 7 BE j
ar m
^
i.
,
,i..^
^-..h
*J>
*+*
^r
down
wrist motion
gg z JLTJ EJlEJlgBllg
j
^^f^^i^^^^^f^
"*-
I
3J
!Si
#
1
Ifet
Zl
l4f* I*
tS 5E
rf
*
LP-FCEJ EE-FC-E^
ffe
dPe i
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v.
iifi^i
j0 tAl* ft w ti i
:
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-
#.
i
I
r t
m m
i r i r g
'y^r
ai I
t j s
fife
St
ESFjJTfc
Pi
g
#-ft# I
^^Jfffej^feg^
f>*3^
te
#ir*
i,
*>
g|
fep
>u
EKE I
8s
J-
r*
CF.
S.Co.
432(5
36
Example IV
rrPP-i HH i.ppff ^ r^ * J J
ii'i
n
/
1
J.
J. d
nVk FPffrrl^ *
BW^Pro^Wrrrp.
J S J
p-f * J
'"''i^u^i^ "
-,
:
3=f
1
1?
J?
'.,
',
II
^
:
rfrpp
&fci-=irf-p-f
J J --
i=is 9
iW
F"
zgBSg
-J- -J-
j * j j
I.
'"
.
"
..
,n
.
_j.
J J
J. J.
J d J.J.
_. a--J-
-P-
|.jP]f
ff ff |Hrr~wr p
]*"
f p p
i l
I;
i
Jffi r f
fp
r r
rj^
1
P P f"f" P P
/
E
fl
'
J. J.
J * J J.
'
-^ ^i-^^-^-l
-Ji
j J
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J1
II
n^te
i^JZ_^
!mP
P-P
JTTI^ r r r Jffl
fL
a"
i
B-S
i^jz
i
j
flrr-ff?
^
j j
tib
jffljp]r r
J.
J?
ffl^
$%\
y
; b
BR pf-fr p
p Ht
ffPrf ffrri n
ffrffrmffrr^rm
i
J J j
ffflff rrffp.
'^
J J J
J
1 '
j j j
p^
'
I F
5
C. P. S.
*fc
W
#-
^#te ffi
m
Co. 1326
m ^
W
l
fflff r
ft
ST
Bff
37
Ht rrrCffrri r ftftffi -F#to L r KLLl.LL H rf-f j-pKp
.1
ffi_
r r
rtfttt
(2
-S>
iy
W
t
JL
=i=5=
=*=BZ
-=i=
LB
Lit
-a fP'T"rpp
1
J J gj ^g-K-^J
^^
ti:
ZS
Example
V
3
aH*
E=
ua P*
s va.
*
BE
-#-
r
guar.
ti
8 va.
4
"1
4
I
si
=f
I 3^
&*
:
** S3
fill
^
I
'I ^i
m
I
-H fl
'tLFg #^
r=F
gv*.
=fE?
r e=
h
e=
r
ft
t=^
#"<*
A iM
ttfl
sn
f
I
S ra.
t
I
fl
fcH
#/..
l=i =*
fl Tt i i=T=^ i =^g= r
n^ iiPiS
i r?
C. F.
i s
^^Ii
S.Co.
4:ll(i
Example VI
l>
fc
ite
p ^ --^
:=*=?
J. J.!
>
J J. J J,^ * J.^H J.
yfr^j:
#1
#fH
a
DC
ff
etc.,from all
f
szja-ta
a=
in
*#
* &#
r^vvl
ZEZ3II
*= I
#
mj
P ly 1r h*rmtiE i
\,
:?L__r:
C3
^=S
3EI
1 *=A
* *
8 va
b*=*
te te
i*
53
^jj
3
it
^* ZE 3
twice
*
j. J.
1>J
I
^ 7T1
* go
=3
*pt
?
te= i I
*ftte
s
H^i^P *S*
"*"
' *
I *^l*
fc
te te
t#-.
-*
13
va.
in
5
k
*
pk
iEfi
IZEI
a
m ^%
I
iti
5 1
RhF^ twice
is
*w
^m
efer
13
p^
Continue in octaves
^^
~t+
j^j
i>
i)
^^a
:<;
is 9
Li
L
M
etc.
C.F.S. Co. 43
MAJOR
8 8 8
8
39
jT3 LIJ 8
simile
i
lU
C-T-^
r r_r
m cu^^^
j
<g
rrr fLr-nn
A MINOR
j^pi
g iji
jn fl" 3
[r
8 8 8
EU n?
simile
F MAJOR
m
ft rr
r
r
B jp-m eP
rfrfrfri
ji
8 8 8
simile
^
D MINOR
LL/"
^f3
I
e^
PS
u 8 8 simile
1
-W
f^fffto
C.F.S. Co.
432(5
S^S m
&s
pp
-e+err
1
40
SECTION
Example
11
VII -
DOUBLE NOTES
2
5
2 5
'4
Fast
ffflff^frn
m
i
etc
eiih
30:
in pi m m m in sn in
r
f-
mmmni
etc/
-r
'-r
r-^-r-3E
J7]j gy
p
j-ij-,j
mr lit cLr
-Lejp
*
?
,
S r g
-s
m~
r
dlt
j .
^ciJT
-etc^
Llr
i>i
'
r^dJT^S
7
etc.
*
p
B=B
p->
p
^
fe-3.x:
ii ii i
i
7
J * zzj
.:.
EJUJ^Lll
il
^-4^
-ete-:
-ete-.
0-T
II
Example
:UUv
L.
'to
i
wawi^iju
:|
| v^B J33
(
.
/y
'
^V-M^' JR
^i^ 5
iiiQfl?
'-^y
pH
F. S. Co.
43
56
41
1 'iHit t i
i t
iii
^3
* i
'"-j-s
it
^s
r'
^=^
Pi
i i I * d
^=^
a==:
1 nj.l>
Use
different
5^ m ^
rhythms
7|g^g^
WjgPP
W^:*
1
-ete^
Ji^gy M*l:
3
1
iff
S
J
1]J
">
ff fEjy
J [J J J ^E^E
1
11
'
**
-ete^
13
ffp
#
2
a
1
te pi 3
J
J
3 J
i i
ff
J.
* J
tt
1|J
s
J
|>
pP
5
^B
III
4
5
1*f
-et<^
Example
3
2.
Ff
TtTrtHlt-nn ,dj,i t
\,i-'
m
fi
'7
3d
.y
J J
-7
3^,'^jJ
-7
m s Qj "^Z^WUr Lij^UJ
$f
JT3 t-JT3i.ni .HU73>7
"
C-LJ
m
I
5p
.1
3^!
S 3eS
l^v^^ f
?3'l
7 JJT3^ g
-
U*^*
r
4326
*
r
*
-7/ITr
ij.
-7
-7/"L2J
?rT
?/
If ?/"^ 3py. ot f
l*T
'?/> 9 f
C. P. S. Co.
42
Faster, legato
L, -^#
(9ajl:
2Z3
m
s
^1
^
?=
f
J I
=
legato
m ^3
I
Ur
s^
After N. Medtner
5
3_
s*
nel^
Slower, legato
a
Example IV C MAJOR 3453 4
sH
I
3,
21
3
5
f 4
35
o
e
43
2 ~
5 3
*=*s f 3
1
p^^S^^p *#*
J
C MINOR HARMONIC
i-jJJJJJJJ JJjjj
mi
''
'J
J J
j ?T^ 1
i
fel g *%
'
i *
in*
'
as
ST"'
MODULATION INTO
1 r*^
H
j
i 1 1 j
^?
Dk MAJ.
"'I I
BE3
^^WWt^**
*?*
3
1
a <i i*
5**?*
**=*
m MAJOR
^^ ^ *=*=#
5
?*
4 2
3
^ ^ ***f **
3
'"
II
3
1
4 2
s
3.
3
1,
4
2.
J
t
j
%j
J 5
<
2 4
a 5
fff 4345
[2
m[
12
^
3
5 3
4 12
t ljnfTTi
3
5
1
5 2 4
#
Q
a *
1
.
^1
3**
S.Cu.
:'-
43
Ctt
MINOR HARMONIC
t
*&$k
fi
m^
it
*t*
'iHi
iti^i-*
MODULATION INTO D MAJOR
1 ^^
i i
$?m
3
*** i*S^
j44 ii9t
' 4
5
4 *
Example
4
1
V
1-
4
3
H
2
t
9 4 2 It
5*3
2
2
,g
rrr^-i
"1-^=^
# -<9
_^=^-^
*r
etc.
ti
44=
f
s fa'
3
Ui
!
*L
^H
2 4
r
1 >
4 8 5 2
ilU
C.
P.S.Co. 4326
44
During his long life, LEON CONUS was regarded as one of the best pedagogues
in Russia.
a musical
who settled in Moscow, where the author was born. He received his earlier education from his father, and later, the Moscow Imperial Conservatory, where his associates as pupils Medtner and Lhevinne. Upon graduating,
he devoted his time to teaching for several years at the Imperial Conservatory of Moscow, and later in Paris at the Ecole Normale de Musique. In 1924 he helped found and establish the Russian Conservatory in Paris where he became the vice president of the institution. Leon Conus moved to the United States in 1936. Here, he became Professor of piano at the Cincinnati College of Music. He remained at this post until his untimely death, January 18, 1944.
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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