PART I. : Seales. PHYSICAL GROUPING WITHOUT FINGER MOVEMENT. (In order to represent the preliminary studies pictorially, the Black Keys of the Keyboard have been printed as crotchets and the white Keys as minims.) Students commencing scales should be required— without @ book —to build up each from the order of tones and semitones and be then shewn how and where the scale divides itself into physical groups. Every scale is composed of two physical groups of Keys—one of three and one of four notes— in alternate succession throughout its entire compass It is imperative that in every scale the two groups of fingers should be instantly allied in the to the two groups of Keys. For instance,in the scale of B major the fingers should be mentally grouped to the two sets of Keys: 4 * ot The student should practise placing the entire group of three or four fingers required lightly upon the surface of the group of Keys concerned, at first within the compass of an octave as above and af- terwards through a compass of four octaves as follows:— Each hand separately. ho, ha 4 6 Care must be taken that the forearm travels to and fro in as continuous a movement as possible. It is best for the Right Hand to commence low down, between == and the Left Hand high up, & = between eS. ‘The angle of the hand and forearm thus naturally formed should be maintained as nearly as possible when the scale is played in several octaves. - ON FINGERING. ‘The Principle on which scales are fingered is this: The thumb in the Right Hand should be placed onthe white note next after a black in ascending and on the white note next before a black in descending. For.the Left Hand the same rule should apply in the contrary direction-the thumb after a black note indescefding and before in ascending. In the Left Hand of the following scales; C minor, G major and minor, D major and minor, 4 major, and F major and minor, the author has given two sets of grouping. The first is in accordance with the principle just laid down and will be found to give far greater facility in execution than the other which is that usually tobe found in scale books.* 4 st will be seen that by the first method the Ring finger (AtB Continental fingering) always falls:~ Right Haild Major Scales of G to on the “Leading Note; F shezp to Fon-Asharp or Bflat; Left Hands © to O sharp on Psharpy fiat to F on the Subdominsnt aui8864 Practice the following grouping for all scales in the same manner as directed before for B major. Major. + ‘ “| Majer. Major. KEY OFC. f 4 Hiemat # — : i = aad 2 + a KE 3 Harmonie| Minor, Harmonie’ ‘Minor. Harmonic Minor. KEY OF E. Harmonic Minor, i KEY OF B. Harmonic Minor. 18s Descending. gg Ascending, 2 Melodie Minor a Desgenting. edt ke stetoaie ‘tse rr Desgent Ascending. ee Netoate ‘on Ascenging Desens i, i i i Meiotio Minar Descending. Ascending, erating, rot ig Melodic Minor. t i i i 4 Descending, Ascending. Melodie Minor.Major. Major. ‘Major. Major. Major. Major. KEY OF F SHARP. C SHARP (gaharmon: 2 4 et gd Piet o =e Minor. + r 4 e io aot Harmonie Minor. Harmonic Minor. yf KEY OF F. yb at seats e He i ian Se pot or \ Desgending. io Ascending, Melodic Minor. ri rt i to. D flak) Ascending. Descending, ae Melodic ‘Minor. “Ascending: Descending. Melodic ‘Minor. Ascending. | Descending Melodic Minor. i Ascending. Descending. Melodie Minor. Ascending. Descending. i p Melodic! Minor, Lboa etPHYSICAL GROUPING WITH FINGER MOVEMENT. 4 Place and retain the 2or {fingers of each group on the surface of their respective notes and prac- tise the thumb movement (i.e.first finger in Continental fingering) from the first note of this group to the first of the succeeding one. This must be with stationary hand and the thumb movement in unbroken continuity. Ex: Right Hand. ‘ os ba tants. Peat y Now play the two fragments of the scale just learnt in unbroken succession, thus: Ex: Right Hand. Ex: Left Hand. In like manner to both of the foregoing, the linking of the two physical groups which form the se- veral scales must be each and all practised until the mind instantly and subconsciously allies the re- quired notes and fingers. Certainty and facility depend entirely upon this. RHYTHMICAL GROUPING. ‘The student having now acquired the subconscious connecting of a fixed group of fingers to a fixed group of notes must proceed to acquire also the instinctive joining together of the Rhythmicgroups of which all scale and passage-work is éomposed. Scales and other passages should always be felt to be in Time both as to regularity of beat or pulse and as to the internal details of the beats. mi886Commence by practising in short Jengths, from a beat-note to a beat-note, afterwards extending o- ver three, four or more beats.*) Ex: In groups of four. Ex: In groups of three. @oe . 3 r 7 —= © All scales should be practised:— (a) three octaves in rhythmic groups of three (b) four octaves in rhythmic groups of four, (c) legato and (d) staccato throughout as well as in the manner indicated with each of the following examples. “By this method of breaking up passages the most difficult can soon be overcome. The author has found it invariably suocess- Kee E Bee fal in uch a case as the following 58 a Beethoven Op. 10 Ne 4.®, AE i i Ae Ge - 4 eekaSCALE OF ©. Major, in contrary motion, “Pana f, el oi eo 8 Pants, 1 g. / ee te r 1 Ts : of 3° Maio, in Thirds, oF Teaths, Major, im contrary motion staging from the Third. , * " Soa kat Bae 9 48 fedie is @ ete & 3 7 zu! 6 © Major, in sixtns. Major, in contrary potion tying trom th Bist 1 13, baa 4 7 roa 3 ast 8 week Harmonie Mino, in similar motion Harmonie Minor, in contrary motion. Dent f, 4d gle Panif gh 3 13 3 oo 6h Harmonic Minor, i. Thirds or Tenghs, Harmonic Minor,in contrary nid ; 4 on, starting from the Third. 2 Aa g) Ba ay 3 @y apes 2: da g 2 Sie 31 $ ¥y ba o 6h Harmonic Minor in Sixths, Harmonic Minor,in contrary motion, starting from the Sixth. ie se i 7 or Melodic Binoy, in similar motion only Melodic Min @ $ in Thirds, or Tenghs 4 443 = # é 4a) 6) Melodie3 aT “aa i ot tat ‘These various rhythms to be practised in all Keys- both Major and Harmonic Minor. ‘masse* SCALE OF G. Midori stat motion, Maio, gatrary motion, a Poss as rmihs at 22 Major, in Thirds or Teaths. 5 Mab Inconary a aang. from the Third, 4 3 (a) & Aa 1 g SS =< =F = yy a ( a e9 z @ Major, in contrary motion, starting from the Sixth, Majoryin Sixths. % ions 1 a 1 13h at 1 4 2 @) : 5 7 2°t8 Harmonic Minor in similar motion. Barabelé Since ti oe motion. pat + Os 424 z eet ‘ gee has't 3 a: + sayct PWS hoes a — ws , é 2 i = = = 7 $ - ; v4 + siontartinn 4 ‘ody’ ® Set tet tet Ee - « — => 1 1 4 ¢ Te nF ® "3 7 ® Melodic Minor, in simitar motion only. Metodio Minor in Thirgs, or onthe, f at 3 4 4 @) ja ogee ve a of + oa oe Aes & 2 hoa et © : 5G] woe fy ‘his shyt o be practised in ALL Keys ead 1 StSCALE OF D. at Mri sina aon join enrry san. Poy ys sry gy #2 rei. > t rad Major in Thirds or Tenths. Major in contrary motion, startigg from the Third. a4 2 @ gy Pen at 3 Saols A) 7 : = % z Major in Sixths. Major in contrary motion, stagting from the Sixth. as 3 a1 See Set A348 34 3 4 =a a = i = z E = ® = 7 o t Harmonic Minor in similar motion. Harmonic Minor in contrary motion Pat ay Patt, at 15 i 4 Eaateie Minor a Thicke o Tate Hrmcle Mio incontrary mf ag rom oT : @ aid 4 ® 7 é4 4 Harmonic Minor in Sixths. Harmonie Minot in contrary me chase f 3 i PF ‘Melodic Minor in Thirds or Tenths. ». ox ag 7 ea Metodic Minor in Sixths. @)a, 4 o ds 1= SCALE OFA. Majer in simitar motion. Major in contrary motion. peas aa Pat f, 44 ‘Major in Sixths. Major in contrary motion, starting. frc ra ¢ a a or ot oF z 5 Hermonic Minor i similar motion. Harmonie Minor in contrary motion. paif a1 Bad : Poh aes nr 1. . = oa ts to, cy Harmonic Minor in Thirds or Tenths. @) et ond 4 = =— => —— = => wo + ao ry a kao ee t ‘Harmonic Minor in Sixths, Harmonic Minor in coptrary moti ing from the Sixth. ai a . 1 A» i 4, wr Mette Mio instar mot ty Met Minor in Taig, Tatts, a ee (2) a? Z ays 3 111886 Sotto eySCALE.OF E. % Major in similar motion. ba Major in contrary motion. —_(g) Perit 4 oa ot Postfy at 5 cae 7 3 Major in Thirds, or Tenths. Major in contrary motiog starting from the Third. Crees | 5 2 Ga ing. from the Sixth. fase =i a 5 Harmonic Minor in similar motion Harmonic Minor in contrary mation. a, Pond fy 1 pr Pane f at 3241 oe > i, 5) Tt =e Harmonic Minor in Thirds, or Tenths. Harmonic Minor in contrary motion, starting from the Third. 2 Baca etch beta igh @. eS = te Harmonic Minor in Sixths, Melodic Minor in simiJar motion only. Melodie Minor in Third,or Tenth. ‘Melodic Minor in Sixths. at at 32 ot # “tate ¢ . i ‘This rhythm to he practised in ALL Keys. ie nag hd ©SCALE OF B. Major in similar motion. Major Soa? ‘motion, + i 1s pan 4 dao? es .,15%0 7 ro 4) 3 ‘ Major in contrary moon stati from the Sixth, ) ue s ge1 1 3143 feet ere TST Harmonie Minor in similar motion. Pep at Gye > ee fo ra 3 Harmonic Minor in Thirds, or Teaths, Harmonic Minor in contrary motion, starting from the Third by ®. a SH Tara Sag taney a ain sey mpi arian om at i 13. 1 315, ¥ 7 t : ‘Melodic Minor in similar motion only. Melodie Minor in Thirds, or Tenths, Melodic Minor in Sixths. Qa, aig La. ® 1 Oa. 1, ete 4 a 3 ria a : his thythm tobe practised in ALL Keys yy Se > : T ee 11986Major in similar motion. Paid f 15 ma SCALE OF F SHARP. Gnharmonic G flat.) Minor i cog mation gia 2 PMY 91, ha ga = oo Major in Thirds, or Tenths. Major in contrary motion, RE @® a 1 @ 4, @, 31-5 @ ve SS = SS us = = ape ts fees ee Sees a . a Major in contrary motionstartingffom the Sixth. 1 a | ~Eetttene = = mig rae 7 oe a . Harmonic Minor in similar motion. Harmenic Mipor in contrary motfin, Pan f 3 oe ‘ Gar az ® zy — bs i “a ¢ 3 7 ‘Hart aie Mi Fin Third: ‘Tenthe ule Moin Theor ppb Harmonic Minor in enptrary mgtion starting from the Third. ere 4 pate Melodie Minor in similar motion, only. Melodie Minor in Thirds, or Tentps., anise6 2 1316 \) )/v') “SCALE OF C SHARP. (Enharmonic D flat) ‘Major in similar m6tion, 21 ai Major in contrary motion, 2 13 aug fat 22 Pret TT y motion, ran ‘the Third fe, Major in Sixths. 5) tihoaie ics delice sain. isis ong a eaiy naa oe ti moe 5 Oy Harmonie Minor in Thieds,or Tents. Harmonic Minor in contrary moti, starting from the Third. sat e251 ai 4! $241 1 ey = @ ee) 3 ey Harmonic Minor in 2 ixths Harmonic Minor in contrary motion, starting from the Sixth Sie d gt: 2 las ia i ® at 4 @ ey sr 2 [i ae ¢ Melodic Minor in similar motion only Melodic Minor in Thirds, or Tenfhs,, nb3 1 ay bo og a4 — ~ fi = = a 3 ss ie = = This shythm to be practised in ALL Koys fel ior i i 2 9, be practised i Melodic Minor in Sixths. e : als, ey T at) of { a Ty oO tiseSCALE OF A FLAT. (Enharmonic G sharp.) Mi Major in similar motion, Major in popes motion. Pag bs Ze ot = Poa 1 A %) Harmonie Minor in contrary motion, Harmonic Minor (Enharmonic Giminor) in similar motion, penitg ® Harmonic Minor in Thirds, or ny Ga Harmonic Minor in contrary motion, st Gi at 7 oF ™ gt Molodic Minor in similar motion only. ‘Melodic Minor in Thirds, or Tenths, 1 3 “Ts @% 9T Melodie Minor in Sixths. ‘This rhythm to be practised in ALL Keys, 3214 la fe Bag, s1iss6 318 SCALE OF E FLAT. (Gnharmonic D sharp.) Major in simjlar motion Major in contrary motica Rant 1 © Peas re ws Major in contrary. motion, sta da @ ) 41-3 & ta 3 erat ® Ze BF oo >| = : 7 i 7 = T so: Harmon MgB aii ito Barone, Ming ncaa gen ou, tae, etten tp @ Xs D Ls @) Ab PH = | ov : as ea at ST #1 Harmonic Minor in contrary motion, 2 7 a? Melodic Minor in similar motign only. Melodic Minor in Thirds, or Tenths, : baka @. 13 ha 1 dan. eS er = = a 7 = Melodic Minor in Sixths aq Thig shythm to be practised in ALL Keys gs 11886SCALE OFB FLAT. 49 Major in contrary motion. Major in similar motion D, 81 ce a ® eae er a Major in Sixths “Major in contrary motjon, stagting from.the Sixth @r_atys a i ® © Harmonic Minor in similar motion, Harmonic Minor in contgary mgti ‘mou gary mg ba @r_ ah and f oat ig eta eed a 5 4 7 Harmonic Minor in Thirds, or Apaiis, Harmonic Minor in contrary mi pea, starting from the Third at eehe 2 4 at ioe! 3 — => SSS SS -_ ze : = if > T oa "Fr ae =o Harmonie Minor in Sixths. Harmonic Minor in contgary motion, starting from the Sixth, a ¥ 3 Git eet fie, g @ ste a Ly Melodic Minor in similar motion only Motodic Minor in Thirds, or Tegths. 2 3 iw a1, 2. Ts 7 Melodie "Minor in Sixths ‘This, rhythm to be practised in ALL Keys. Sa deals 154 @. sys20 SCALE OF F. : Major in similar motion Major in contrary motion Major in Thirds, or Tenths. Major in contrary motion, , Sap 2 91.3 bye Major in contrary motion, i from the Sixth. Ay ai Harmonic Minor in similar motion. Harmonic Minor in contrary a pandf 1 @ 3 , pa 7 a, Phe at 4 Hehe, = at — > % ef ne feed 1 pipe EEE Stes Harmonic Minor in Sixths. 4 ag J 1 Ras a ——— ; ffes rd ‘Melodie Minor in similar motion only, tis 6 i) 6 ‘This rhythm to be practised in ALL Keys Melodie" Minor ia Stxths, ares igh ae |e 3 an1ss6 3 oe aeCHROMATIC SCALE. a1 ‘This fingering is suitable when played with energy (forte) and not very fast Physical grouping shewn thus: — Ia similar motion ag In contrary motion, starting from the Third. 3 1318 to3yg1a beLg 1 e rere ergata ie PTs SS srt In Sixths, In contrary motion, starting from the Sixth, ANOTHER METHOD OF FINGERING. This fingering is suitable for the swifter and lighter (mf to pp) touch. In similar motion. In contrary motion, = e Q rare rae 5 re seat er FA s $ ree pe a0 5 > Rie eta dy 2, area tigre ie a iieas So io Sixt, ip tai tio, ora pom fs a. 1 ‘aut at