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http://archive.org/details/firstpedalstudieOOgayn
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may be
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to
great care should be taken that the heel rests firmly on the floor and the ball of the foot touches
the pedal in all
movements.
in
notation.
In the following exercises as well as in the studies, the foot should press the pedal
down
at
the
it
is
may be
and the pedal may be formed:Again: Count steadily j press the pedal down
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it
pedal at
the rest
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still
may
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between cause and effect as applied explain the working of the dampers
to the in
of the strings.
Explain some thing of sympathetic vibration, and overtones and give a practical illustration as
follows
may hear
and twelfth,
etc.
These overtones so reenforce the fundamental tone as to add greatly to the volume of sound and hence the name u loud pedal" is almost universally used. It is better, however, to use the name damper pedal since this pedal effects the dampers and the term "loud pedal" is sometimes misleading. We should use the damper pedal primarily to prolong the tone and not necessarily to make it longer. There is no end of beautiful examples for the use of the pedal but they are not edited so that a beginner could use them. There are also pedal studies but they demand so much technical skill of the hands that they lie beyond the power of young players. I consider that the latter part of the first year is none too early for a child to begin the use of the pedal if any ease in its use is to be acquired. These studies are designed to be given in connection with any second grade material and can be alternated with the latter part of Melody Pictures by Margaret R. Martin, and Miniature Melo dies by Jessie L. Gaynor.
Play with one finger and count carefully.
GAYNOR
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ZIEGFELD
The
do a
This system of technics, the manual for the piano department of the Chicago Musical College, is an orig nal work in many respects, being practically an exposition cf the familiar experiences of every day teaching in a successful The book holds in compact form all that need be school. taught to insure that training of the hand essential to an early and easy virtuosity. The book provides for the necessary fundamental work and embraces all that is needed for the gymnastics of the lingers and essential to a thorough The plates and illustratraining and control of the hand. tions which have been prepared with unusual care, illustrate the proper position of hand, wrist and fingers. The skill of the author is so manifest on every page as to impress even the east discerning student with the perspicuousness of the work. Bound in flexible cloth. Price, $1.50.
everything is explained in such a clear, wide-embracing md comprehensive manner as to make the memorizing of music a simple art indeed. Price, 60 cents.
Favorite
Movements From
Concertos.
Famous Piano
Edited, rinrfvred
By
(Paris
I.
PHILIPP.
Conservatory.)
The Concerto is so closely allied to virtuosity and ideal composition that the study of its form and component parts is essentially a part of the curriculum of every school, and a In fact, many of the necessity for piano musicianship. teachers are now using parts of Concertos more prominent in place of Sonatas one of Mr. Philipp's purposes in the Heretofore it was necessary to buy a present compilation. complete concerto, singly, in order to get the desired movement, and, at a price in excess of this Collection of Favor-
Movements. Mr. Philipp has selected not only the favorite movements, but those best adapted to show the style of the composer, and to develop in students a dexterous virtuosity and a love for the best in art forms. In two volumes. Price, each $1.00.
ite
Grimm's Musical Writing Booh, ^tionl method AtK a! learning ^^ W a principles m the of A practical
JL.
*^>&
d-^4-3
seem sea *
mrif\
r*it sr
classics For
Carefully
The Young.
*'
and notation
By
This
CARL
W. GRIMM.
a students book. It has been arranged with the view to facilitate the easy recognition and reading of musical characters without giving superfluous help. Nothing so impresses a precept, or a fact, or a science on the memory as the writing of it; the work here planned is for such a purpose and designed for beginners, and is particularly adapted to those who have no knowledge whatever of music; the simplicity of the demonstration and the pleasure of writing and copying examples, robs the subject of many difficulties. This handiwork of the pupil promotes a desire to do more, and while not intended for show work, is always cherished as a prize to take home. In this book the author has made a radical departure from the method usually pursued in the course of rudimentary instruction by means of writing books. The instructions usually confined to a small text are here systematically given in an inductive manner, and, in such sequence and place as to prove apt and impressionable. In two books, each 25 cents.
is distinctly
This collection has been made for the purpose of helping to approach the works of the great masCompositions have been selected ters in a practical way. the favorite Beethoven and Mozart Sonatas, the Chopin Dance Forms, the choice Mendelssohn numbers; in fact, the best things from Bach to Schumann that are frequently These have been carefully heard in concert or in recital. simplified in such a manner that the essential features of the original have been retained, but arranged within the possibilities of small hands and early music study. The books present in a concise and practical way, the Price, each 50 cents. beauties of the classic school.
young student
PUBLISHED BY
York.
Lelpslo.
London.
Ohloago.
DATE DUE
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oct
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DEMCO
38-297