The aim of every modern accordionist is to play with a Aawless technic and to achieve that perfec-

-tion in as short a time as possíble. When Hanon wrote his celebrated studies, it was consídered
a natural procedure to practise approximately ten years before being able to play any piece of even
rnedíum difficulty. The science ol pedagogics, in keeping with the modern tempo, has attempted to
eliminate useless drudgery and monotonous repetition as much as possíble consistent with sound
,-
musical training.

To rhts principle we have conformed in these books, The studies are transposed to various keys, not
only to break the monotony of the key of C, but to give the player a mastery over the bIack keys not
posslble in the original form, - an innovation in Hanon. The left hand has been arranged in
strictly accordionistic manner, embracing the different technics from sim pie bass and chord accorn-
paniment to difficult synchronizing of the hands in contrapuntal formo

In hts advice to students. Hanon suggested the mastery of every study by spending a week on each,
always returning to exerci se No. 1 and eventually going through the entire book without a stop as a
daiIy drill in technical development. The difficuIties are so presented that each successive study
offers a new and interesting problem without the monotony and fatigue of useless repetition. When
mastered, the entire book may be played in about one hour and wilI be found invaluable also to
teachers and professionals whose practise time is limited.

The perseverance and courage necessary to become a great artíst is consíderahly aíded by inter-
esting studíes. In presenting this book, we believe we have added a new chapter to the progress of
accordíon literature and a great aíd to ultimate artistry.
The Publishers

The keyhoard touch and position of the right hand

It is advised that the player employ alI varieties of touch and dynamtcs throughout the book. AIso
graduated nuances (crescendo anddiminuendo wirhin one measure, within two measures, etc.) for
the development of style and artistry. Vary the touch for each exercise, ~or instance:

No. 1, Íegato, the absolute binding of alI notes.

No. 2. staccato, the crispo light touch.
No. 3. leggiero, the enunciated touch between Íegato and staccato.
O. 4. martellato, the 'hammered' stroke.

The position of the right hand is haIf dawed. the approximate form the hand would be in grasping
a base-ball.

At the first tempo (M.M. 60) retake the beIlows every two Q~rs, always at the beginning of the
measure. When the faster tempos have been reached, retake the bellows every four measures.
 4 Book ~o 1
"Al\IPCO"
HANON
ACCORDION
~I.M. J: 60 -108 Special AMPCO arrangernent by
Re pe at this me a sur e until ALFRED d'AUBERGE
the fingers are fluent

fl
in the musical form
,I 5 4 3 ~
5 1 3 2 1 2
-~ 1 2
-
..-
1 2 3 2 1 1 2

·· ··
1• .
r-.
mf ;;:
Pu 11
I
(
•
I Close ~'
>
--- -i.mjl e
~ -
i
. ·· ·· -;
~
:J. 7 •• 3
4- •
4
• 2

I
~ 1 2.
- 1 2
.- 1 2 _ .'~._ 1 ~. •• 1 2_.~._, ••
2
1.•. ~
_ • _ .•
_

, t

? :=- ) ir \
\ » 1 ,/ -\~ -
·
- 4
-
2
~ ~ ~ .- ••• ••• •<\ •

~
5
4
.fI- ••
'. _.~... ~~.-_.~ ~.:.- \ 5
_. ~-
5 ~
-
5
• 4
5
4

}
~

··
(- -.- -
-"
,
- r
,- \ iiiI"""'"
-

7 ~ :J. ~ -" 4 2 •'I

•

~ 5
......:...... , 5-!.... s...!....
fl 5 4 ~ 5
1

j
• --=:::I ===== • • ••• ._." .•. ·· I~

~ j
/ - ~ Repeat D.C.
·· ··
4-
~
•• 7f
~
T :J.
3
:;t "

-
, 2 -4
3 \
Each exercise has for it's airn, t he mastery of a spec if'ic di ff icul'ty, The player is earn~s~ly adv~sed
to mastcr each study befcre progressmg to the ncxt. Thr oughout the book, the repet tio n slgn í

on the second Iast measure indicates a D. C. from the first mcasure.

7l'7-46
Ent ir e Book Copyright 1943 by ACCORDION MUSIC PVBLISHlr-;G CO.,46 Greenwich Ave.jNew York,N.Y.
l ntcr nat ional Copyright Secured Made in C.S.A. AlI Rights Reser vcd
 5

This study given A minor l:armonization by additíon of the Arnatural ) minor scalc in the Ie f't
I
hand. I

íRepeat many times for

fluency in the form) 1 z ~ 1 2 5
1 2 5 ~ 3 1 ~ 5 43'1 3 2
1 , 5
~ '132

, mf ··I
-41'-
·· .. ••.......
2 II . (

Sempre i3.S.

··
I

~ ~~
··
~ ~1 -:;t ~ -:;t •••
2
••••••••• ••-
3
..•. ..•
3 '1
2

- 2~ 5 ___ 5

'.
5
5 2 ._
• :. :. fI-.,. -.:f:. fI. •.
~ 1 2 ~
5
1 2 ._ 12#-_ 1 --- 1 _;;..

t •••••••• ••••
-
·· ..
4
.. • - 2 3 4
I,
2
-

--- .....•..
5 5
•• __ 2 1 5 5
fl ~~1
j!:2
.• 1
• • .2 1 • 2 1 :. 2 1

~I' ~

• · .. ..
2 ••••••• 4 3 3 •4

fl 5 2 1 -=2
5 1 5 2
'-"';" 1
5 2 1
~1 1

j , .. ··
(
" - "*" 09-

~ · ·
--- '* 4
..•. -; 7T -; ~ ~4t 2- 2
 6
This exercise transposed into F to develop fluency on one black key,

(Re peat many t ime s )

12543234 5
1 l .: 12 .•.• __ •

I ••••••

mf
3
,. ,. ,.
3
3 4

•
3

2 3

~
5
~.! 1 .• i1*- .•
5
•. 2 1
, .. 5
~ 2 1
5
• z 1 !z 1 5 2 1

<
, ---- ""-lI t::=::::I

I
· ~~:j. 4
-
3
z
,. ,. ,.
3 ••••

5 '. 5 ~ 1
) ~ ~ '-:;"1 .-.:;,. 1
5 l 1

t , .- •••• ,. •.. .". .•.. •• •••

··
~

·· ·
707-46 !. -. -. -. ~~-:;J 4
-
3 z
LI'
3
 7
Exercise speci al Iy des igned to develop equal strength between the 4th and õ th fingers
(descending) as ez st s between the 1st and 2nd (ascendíugj.
í

~ 1 ~ I - 5 4 3 ~
1 - 1
5
I l
-- 5
1 l
5
2._ 1
5
z •.• _
·· ··
4 <
41
- -
I . ·· • ··
3
• • 2 3
-
4 ;it~~

5
2 1 2 1

fl 5
~ •• 2 1 5
l 1 5 2 1 5 z - 5
-· 1

I ·
,
~
41
- - - 1 2
1

..
··
707 -46 l • • •
3
••
l
++ TTT
4
;it:J.:J. Q
3
 8
Rhythmic bass and chord accompaniment here added to insure absolute evenness inaU the right
hand notes.

1 5 1 5
1 5 ~ 5 ;J -\ .: 3
1 5 4 5' 3
) 4 z 3 1 5

t
··
... ·· • -
14 ••••••••
5 <
....
M !. M
. 7 M ~
I
\ ·:;J ·· T .... --., 3
2
3 3
3 3

~ 15 1~_. -
5
1•..••..
• - 1·~-- --- • 1 ••• _. ,•.. 1:'-· 5

-----
I
, -
, iiiI"""" j-

<
-----
M M ! 7 .! M
· ..
-
3 3
~
:;
7 ••

~ ~-- _ .•• ~ 1 _ .•• __.,.~ 1 _

._~ - 1
- •.• 1 • 1

I
14
<

·
M
-fi#'- M ...
M
7 .! M

3 2 •
3 •• 7i ~

fJ 1 1
.
1 1 1 1

I
<
i~
- -.- . - -6-

M
M -! '-'
7
I ·
-fi#'- M
.
707 -46 • .... ..- ~
 u
A variation on the th emc of NO.5. On cach study he sure to repeat the first measure until
the fingcrs have developed fluency in the formo
154535~5 15 1 5

,
1 5 4 5 3 é. 2 5
~ 1 5

·· ·
... - ·• -
• · .
·· .. -
6 <

I
. ··
..
::
....
··..
M
•• ··
7
M .
~ . M

c,.....
1.1
~~

-
r- t--- c-
1 5

M M
M 7 M

5
5 5
~ f
f-l ._~
.~ ~
__ F-l _ • ..,.. 41-1
•
5
~l
5
• 1 !i
t t

<

, •
7 .~
M
M M .~
M
M

~
t--- ~ ~ c- C-J

I
I

, :t
~ 5 1
5 1
~
-- 5 1
~

- -
5-!,.

•. - •. •• ••
5_1

•••••••• *1 3
··
4

....•.
1

M
. 7 M
•••• M M

··
707-46~ c- t.... ~
L,..-..I ~

Are you keeping your hand in the correct position? Remember the fingers shonld be clawed as
though gras ping a base bano
 10
Th s exerci se transposed
í into G for mastery of F~ with all fingers. Strive always forstrength,
flcxibility, and independence of alI fingers.

. ~4 ~
,, ~ :.;
fl .•• ,1 ;, 1 3 3 3 1 :J 3 1 ~
. 1 3 4 3 5 4 3 1 3 l 3 4 3 1

·
-:;.~~~rrif 1"'-··'" ...•. I ..•. • .•. · • • I.•.. ' • -- - • -
7 (
~
:..../
.~
~../ ~.i
~ ::" ;. .fL M ....
M
~ M
. .
:
t
·· ~ 7t
-

313

,
1 3 1 3
fl •• :J
3 1 3 1 3
"
I~~-
' -
<
~
M
.... ; -fi- M .fL
7
.,.. M

I : ~-
... •

:J 1 3 3 ,1 3

M M
M M

~ .. ' .fL.*-_. ::. .•. • 3 ! 3

-
5 3 5 3 5 3

<
t

;.
---- i=I::::I::::i ~

~
l.f'- !.~
-.
M M M
I- ··
• .,..

~ .. "
3 3 5
3 5 3 5 3

t • • .•... • ..•...•...•..·· 71
<
.... .•...
M
M ; ~ M
7
~ ~
·· ---+---+-
··
~
.'
-
-+
_. '--
---
-

-
 Further technical development in the key of G. Observe the rhyth mic variation in th
companiment.
.
--
~. ..
,\ 5
..• ~ ~ .,
fJJ.J. 1 ~ .. s 3 4 .: 3 1 .. 4~ -I .: 1 \
" '~:J
' --t====
t ·· ·· .- --
~
i"''' •• ..".* • '

I .•. • I.' •

8 <
\
7
I
I
. ·
\ M r

··
~ M
~" .. ::-~~
f
r r - - =-~- t-= I
I i
r í r !

I
fJJJ 1 z~ 1 Z ~
<\

1 .: -I 1 ' . -I 1 .
._#_F -\- .
<\ •

I -t-

<
•
7
Sii"""" ;iiiii""'"
-
M
• •• M ~ M

I ·· &:
-fI'.
4-

r- r- i i r r r T I I i

1 2
1~ +~
. ..
M
M M

e I

..
5 -I
~JJ .fL. 2 1 3
- • .4 2 1 3 ~ .\ 2 1 s -4 2 1 5 4 2 1 'I==:~ - :-::::.

~
<
41
- - - ==== -
~~~

I
M

··
M ~ M ~ •
I I r r i i r- r r
--
r
S-::. I z 1 -....!......21
5
~,i,j 5_1 Z 1 S 1 ~ 1 S 4

...- ...•..··
I
r

\ ~

M
• ••
7
• •• ••••• •
7
7J
+

~ M IR. M IR.

~ ·· ··
707-46
r r I I I r 1 : r'
 12

Exercise with preparatory scale form for tlie lcft hand,

..
1 3 5 4 4 3 5 1 2 1 "
2 1 2 3 1 ;1
~ J "
3 N

·· ··
-
,
~
• •
. .
:
-
9
o •

<
o
o
o
• o
•
•
o

•
.
o

..
o
::
o

~/
·· ·· .•.. .•.. .-
~
3
~ ~~
3
•• •• 3
T -.- •• 3
•
4 3
4 "
--.- •
4 2
.2... ;1

1 ;1 1 2

4 2 4 2 3 Z

4 2 4 3
4 4 4

- ,..,:.
-
5

.'
fj ':'_a ,.-..__ +-~ ..-. 5 e

~4 ! 4 5
4

I
ti.
<

I ··
7i~T7
z 3
3 2 3
-
2 4 ;1
- 4 2 4 --: --.- , • ... . •

/.
~ 5 4 5 4
.;....!
5 . 1 5_1

\ ~ - • • ..... ·· 4
1

) -
~ •
·71 .•..• 7f ~ .,. .!. ~ .2... ··
;1 2 3
T 3
-
" 3
-
2
- -
1 2
~
3
 13
Preparatory study for the tri ll.

~ 154 3
1 • ~ 1 5
1 5 3 .,
~ 3 2 3 - 3 2 3 1 5

· ·
• •• - - •• lõiiII""'"

10 <
}
..
I ·· · .. ..
~
3
7
:l
~'
3
,
7! •• 3 !"' --
3
••4 4'
3 I 2 4 2
!. z

I~
5
5
1
1 1 1

4 2 4 3
4
3 .;:> :l

3 4 3 4 3
1 2

2 3 2

5
1 1 5 1

3 2 3
-
2 4
- 2 4 2
-
4 z 4 2 4
-
3
4

"
5 1 5 1 5 1 5 1
1

3 3 2
z
3
707-46
The pIayer is reminded that a brilliant trill depends as much on the evenness of the notes as i
does on speed.
 14

This cx er ci se transposed into D to develop facility on two black keys.

1 ~ 5
1 ., ~ 5 4 1 z 5
5~ 5 5

,
~ 5 4 3 4 1 2 1 l

I , ·• ·· •.•... •.•......
··· .. \1
,

11 <
lj
I . ··
••••3
..,. ·· •• I 4- •
3
• 4 z

5
5 5
2"-.-
5
1;.f!: ••.• _.
~ ..• 1z ! a
5
1 Z .•..••.•..•• a 1
2._._ - 1!~_*a_. -~
1 --- '~l=-~

I
~
t
- -
I · ..,
.!. 2 ...-
3
4
2
•• •
3
• 4

I
~~
5
2·
:.•. ·-F
.••
- ~é"a~. •
5

.J-.J- ,... •.1 ~~ --

5

i-
• ~fL.~F- r-:•.
•• 2
5
1 •z 1 !.•.•.
.~~+=t=
3 2
!"; 1..!.
5

;::1::.
1 .:.!;. i~ a 1 z
- • -
1 2,;':'

t.
<

I · 4 z •. •.
2 "

4 :3

~~
5
~~ 1_ _ a_
5

t~~a ..•.•. - ~!1_ _a _ ..,..2 1

5

-
5
.2 1 ! 2 1

t
-
~ ·
••
2
I I 41- .,;
3
7 ~
I
:iJ 4 2 4

5 2 1 5
)..• 5
_ 2 1 5 2
~ ~1
~1
1

I , lIiIi::I •••• - .- .-.- -· c;

I.

~ · •. • 4 ... ..- , I I
·· -U
~ 3 2
•••• ~ ~ -
4 2
3
707-46 3
 15
Further technical study in D embracing Major and Minor 7ths.

~~

··
5 1 3

.. .-
-,
1 ~ 3 1

· -
5
-~
- 1 ~ 3 1
513
~
- -- - -
5 1 3
5 1 3

•·
I
t - - b:i::*:::t
12 , . <

. ·· ..•. ,
3
'.., ·· ... 2
, r ,
••• ..
3
• 4 :l
_ •.•. _i

5 5
5
fl~
5
•• 1 3
5
"1 3
5
-'1 3 !'1!
• ti.':". .•* - --- ~1~ _a

I
<
t
- -
I · -; , ... , ... ..
4
-z 3
'-; •3 4

1
1

5
fl ~ 1 •. 3 •• #.. .*' 5
1.fL! .•..• -. ..fL 1
5
-#-! •.•• _ * I! 3 _ • _ • 1 :. 3
- 153

<
t
- ••••••• ••••••••• .-
I ·
~
, '4-
-
4 ~ 4
..
3
.. •• , ...
153
1 5 3 1

~----
5 3
~ ~ 1 5 3 153 1

~
4IJ .. I~ ..•. ·· v
-~

,
<

·
'-; , ,
\
·
-zt
707-46 --- 3
~ ~ - 4 z 4
2
3
 1f;

Exercise to develop dexterity in thirds.

3 1" :s 1 "
31425345

13

3 5 2
13" 3 5 2 3 5 2
~ 3 5 2
1 3 " 352 1 3 " 1 3 4
1 3 " 1

I , - ••
·· .6J-

~
M
. M ! •• M #" •• 7
~ ··
707 46~ ~ ~ t> ~ V t--- c- t- t.-- ~
 17

Further trill study. (3rd and 4th fingers ascendíng, 2nd and 3rd fingers descending)

1 z 4 1 2 '\
1~434354 1 2 4

14

5
1~
Study in A for mastery of the black keys. (Further dcvelopment of melodic thirds.)

121324351213,4351213 1 2 1 3

,, :
I

15 \/ M 7 M
M
M

!. 1.3
-
1 " 1 3 • _..- 1 ____
" _ 1 2 1 3 _ • 1 2 1 3
~ •• ft 1 2 1 3 1 2 1 3

<
• M
.==== M

I
.. ~ ~ 7 M
- 7
-
M
- iR- ~

c.--- ~
I
~ ~ r
t--- r-

2 1
2 1 5 3 2 1 5 3 2 1 5 3 2 1 5 3

M M
M

1 5 3 5 :3
fl •. ++ " ~ 1 2 5 3 2 5 3 3 2 1

I
~ - .- .- .•. .- .•....- ...•... - .·· ~

,l:r! .
T
1t- --
M

_.
7 M
- M
M
R.

·
t.-- ~ I j,.......-I
~
r
c- 4'

}!)7-46
3 4 5 z 3 4 ~ simile
This exercise should a l so be 1 " 3 1 1 2 3

t ud ir'd in Harmonic t h ir d s, viz; ct c.

 19

Expansion between 3rd and 5th ffngers.

1323543413235 1 3 Z 3

16 M
M
M

5 5
1 3 .IL.- .-.
~iJ. ~.
1 3
5 A~5 1 3
5 l' 3 !- _ 1 3 .•.•••• 1 3

I
• - ~ 1......-
<

. .:~ M M
- - I ·7 M
- -
M
.fi. -IL
1 ..•.
• ~' T

5 5 5 1
.fI!2. ,,2 _
~ iJ. ~ 1
- 1 .-2 1 5 2 1 5 2 1_ 52

I
• ---- t:::I::::::i:::
M

I
. I
7 M M ~~ M ~.fI!

• ~ ~

~~ ~
..•...
5 2
1
5 Z 5 Z
5 2

.•.. .•.. .·
1

.. .
1 5

I -
~
t • - • ••••••• ~ ~
~

M M

I . - I 7 M

··
707-46 ~ • • ••
 20

Expansion between 2nd and 4th fingers.

., 1 2 4
1 2 4 1 ~''\
1 2 ·4 3 5 '\ 4 3 5
5
~ 5 4 3 4 5 1 2 4

·· ··
17
t
<
I~

.. · •
~/
M
.
··· .
· .:
:
·.
: :
·.
i
•
7
M
• .- M
-
! ...
I · ·· !Ir
•• • !ir ~ ~ '" ""

5 5
5 4 1 ~~ _ •.• _.
4
~ 1 2 4 ! 1 2 •
4
_+. _.
5
1
2..-. .--.~ 1 z...~~f:~.~ 1. 2-- _ .~--
1"'"_

(
•
• •••••••• - -
...
, M M
M

--
7 M
• --
M

..
~ ~ ~ .- ~ '"
-=
4 3 s '\ 3

2~~~~t:~ _-t-r.-.
~!.,. f- 1 2 • -- •• -~ 1 i ~f:~~f~
f--
f--'-I--
~~
f-.
2 ~
•
1
~
2,;'
•.•.
1 ~~ 2 Ia.
- !..•... 1 2 1

t t.

· .-
(
M
M M
M
... •.. M
--
I I ..
5
5
5
~ ~;'!+1
•..• ~.;. 2 •• 1 _ •• ~! 2 1 ~ 3 2 1
5
•.. 3 2 1 •
5
3 2
1~

,
(
•
··
...
M

~
••
••
7

~ ~
...
M

~
••
•
M

I
M

I
...
M
•

5
1 1
5
l!'Ioií...
3 2
-.::.
5
~
~ 3 2 5 3 2 1 1 ~2

•. -•...- •. ·
1 1

~
• •• •• -4

M
M
•• •• 7
M
... M

Ii ·· -- ··
• •• ...
7U?· 46
. '"
•• ~ ~
• I
 21
study in contracting the hand. (Between 1st and 3rd fingers ascending, and 3rd and 5th
fingers descendíng.)

~ 1 2 <\ 35423 1 2 <\ 3 5...i 2 3 1 l 4

3 r_
1 z 1
3 _
-
It
··••• .- · .- - -
18 ~
. ·
M
• •• 7 ,.. ,..
M
M ! ,..
I ··
~
••••••
~ •• ~
•••••
••
--- ~
---
~ 11"
•••••

~ 12<\ 5 1 2 4 ~ 124
5
•
4
1 2 • ..•..5
1
4
2••.•
5
~ •.••
1 l._ ••.•.•.
4 5

i
1'- •••••••
(

M M ,.. ,..
M 7 ,..
M
~ M
,
~

•••••••
J.-,.I
~
•••••
~ li'" li'
--- ~
•••••
~
--
.,. 11'

"3 !I 4
~
5 "
"".:.. 1 _ •.• ~~! .•.1 •••
4
~ .~ 2 •• 1
<\
.•.:.".2 3 5 4
1
!. 3 ! 4 2 1 4 3 :. 4 2 1 4 3

t
<
t

M M
- ----
I
. 7
•• •• M M
•• •• M

-
----
-- • !li'
L....J
iiJ"
•••
- ~ ~ ••••• •••••

~ 5 4 2 1 4 3 5 4 2
•.•.... ~
- 4 3 5 4 2 1 4 3 542
1 4 3 1

I
~
• - • 4-

I
.
M
•• •• 7
.-
M
•• M M 7
.
•• •• 1....-1
707 -46
•••••
~
---
!ir

For exerci se in the remete keys, this study may be transposed to .C* by reading the same notes,
---
~ ~ ~

employ~ngthe signature of C#, seven sharps,

22
Exercise in G. Development of fluency in melodic 6ths.

1 5 o
- " 1 5 3 "
~
I
~ JJ.

·
1 5
3 "
5 3
2 "
. 153
" 53:.! " 1 s
3 "

I
• 1:~'r
11 • • :
~!L.l
••••••• -41 • •••• 7t - -41 •
19 <
:::: M 7 M
•• •• ••
,
. iR- ~ fl- M M

t ·· I
~ •• •• •• Ir

1 5 3
-
-
15"

j
~~ 1 5 3 l' ! 3
5
1 • 3 _.
-
tJ

M
... 7
- - 7
•• •• ~ ~
-- M ~ ~ ~ M

·
~ ~ ~ ••• '"" '""

5 5 5 s
~~
5
1 .•.. 3•.•.. • 1" 3_. _+ 1~.!.~_. 1--=;"'~._~ ~1_~. _.••• ! ~1! •.••• 2

41
- ... ...
•• ,.. ••• •• "-
M M 7 M
M ~ •• fi- M
".. "..
· ,. ,.
ti: r. ~ r. Ir ••• 11'- ~ ~ r-
••• ~ •• ~ ~ ~

~
~~
5
_1 3 _.2 .1
li
3 2
5
.13 ~ 5 1 3 2 li 1 3 2
5".",;;.,..3
1
•••••••z

• 1== - 1=1::1:I

,
<

·
!ti
7
~ iR- ~ !ti
}I
~ iR-

•. ,.
".
!ti
•• •• •• M

,.
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••

..
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513
2 5-1
1 JJ. 3 2 5-! 3 2 5 1 3 2 5 1 3 2 1

I
...- - • -- ..•.. - ... ··
~
• • • • .-. ~.7T :71
7 M

•
~ ".. ".. M ~ iR- ~ M ~ If. ~
I

I 11' 11' 11'

·
~ ~ ~
107·46

This exercise may be transposed into Gb by reading the same notes and employing the signaturr
of Gl,. six f lats.
 Exercise for the development of dexteríty in one octave arpeggi08. 23
Transposed

~.
into E minor, employing the Harmonic minor formation.

()

5
2 4 5 1- 2 "
1 2" 5 1
" 3 " 2 " 3 " 2

20 m m

3
"
" 5 "
-, 1 2 2 1 2

m m m

5 " 5 "
2 1 3 1 2 1 3 1

5 " 2 1 5 " 2
5 " 213 1 3 1 3 2

707-46 -
 24
Introducing 16th notes in the bass to develop perfect synchronizing of the two hands.

(M.M. J : 60 to 108) 3.....!

.. ..
1 5 1 5_1 , 2
5 4 3 4 5 4 3 2
I ~ 1 2 3 2 2 3 4 3 4 2 1 2 3 2 1

I ··
~::~
·· ., .. .,
t
: : :...
.. :
...
21 ".
- - · ., --.
'"
< ••
"
•
..
".oo •

.. Sempre' B.S.:

~ ··... ..- ~
3
3 2 .!. 2 4 ~2
2 3 l- i.

~ 1
2
- 5 - 1_
2
- 5 ==::s 2 5
J

t , •••••
<

. -
I
-

·
2
..•. 3 2 3 2 4 2
., ~ 2 4 2

5 5
~ 1 2 5
- 1 2 •• •• 1 2
•••••• ••••
t'
- .~ -. - -
(

· - •• I .•..-
I
3 2 4
.....,
~ 1
5
2 ••.•.
__...-•• --
-
1
••
2_.#
5
•• "~.- •. 1 ••••• !..---·~.•.
5

~ff!: ••
j
;,
4

I ··
.f!•• _ ~ •. ~~.---
r r

707-46
 25

3 4 z 2 4 2 3 2 4 4 2 !..:.. 3 2
-- 342 4

í
5 5 4
~ ~--- .•.fI-. _.• ••.• •..•.fI-~.
5

.~--•.
5 4

•• ... -.--- 5 5
.-.iL! •
I ,
~

~
. •• .•. .I!
- • -#
• -
2 3 Z
-
2 .;! '\ 2
4 2 3
-
~ ~.
5 5
- •.•. 1. - .-
5
_.4
5
-
5
- 5 4

~
I
t
- -
.
I
--- r
-
I
J 5 5 4 - "
5 5 '\ - '- 5
-
5 '\

,
- -
-
~

, - I
~

r ..-- r -,J .•.• ..•. •. -

5
-
5 1 5 5 4

- ... -
~ 1

t , .. - - .- •.... •·
·
,
~

..
707 -46
I
-

~ ~-,j'" • -
- ~ -

~:J~~
·
-e-

.:e:
26
Exercise to develop fleetness in the left hand staccato.

5 3 4 3 5 4 3 5 3 4 3 5 4 3 2
2 2 3~
~ 1 3' ~ 3 1 -, g 4 1 3 2 3 1

I, ·· .... ·· ••
t 4-· •
22 . < M
• •• •• •• 7
I ··
= ~
'fi- ti ~
··
~
,. r l' T

- -
3
~ 1 ,. 2
~
1 3 - 3
1 3
2 3

,
~
•...
M
-

•• .. •• M
~
M
-
•• •• •• ••
•
-r -r- -r ., ~ i- i r" r" • r r r r

~ 1 3 2 3 1 3 2 .••3 .•. 1 3 2 _ .• 3 •..•.•

~
• ~~ . iiIII"'"

. M :M I
M
••• ... •• ...
I
4.
I I I I
f =r f f

~ 1 :1 2
_.3_ ._ 1! .•• !•.L"!--'-._, .. 1.~ •.•. .!..~~:.~.~~.---
~ ,
'-
~ I
li
7
•• •• •• •• M
I

r 1F ,r T - r- -r- -r- -r- ••• ,. ,. ,. ,. ..

~
!..it--.__ !•.~•.!. -••..l.~_--'_..!. ---
_.•.• --~
•.- ~. - !.! ... 2_. ....•_--. 3

I t

~
! •.•• ••
I . M M

r r r r - I i I I I I

707-46
-
 27

lr~~t --!-- '*".~.

4 3 5 4 4 5 5
~· -,.-! z 1 ! ! ! •.
~E~Ej:f:....
" 5
• ·._,~l_Z
3 3 __l!~~
3 ,3 3 • '1*'."
·~._,~!_.1_.+
~

,
! ... ... •.. M
M
... ....•.....
· .,. .,. -r- -.:
r r r r r r r •• r

-.
5 5
3 5 3 5 5
~ .,.
••..•~!_.1.:. - 1 _.-.L .• - • -'1*-5 -" • 1! _ 1 ........•.
!.•.4L!_ 1 ~ _ 1

I ,
<
7 ! ........ -... M

··
I

j
r r ""(T' l' T ~ ti- :r- =f 4-

5 5 5 3 5
~ .•. 3 •• .4 1 3 1 _ ••• •• 4 1 3 1 5 3 5 4 1 3 1
j

~
• - - - ~

·
M

r
!
r
... ...
r r
- ,. ,.
M

r r ••

~ 5 3
5 "
~1 - 5 3
5 "
1
5
- 3 5 4
-:

I
41
-
<

I · .,.
... ... ... ...
M

.,.
7

r r ,,
! ... ...
-
r r 4- -;
= :r ~ ~
~

5 3 5 3 5
~ 5 " -_4
1

~
,. ........•
- •• ...•. •• 4-
·
•• · -Er

<
M M 7
I · I
··
I I I I
[I -e-

707-46
28
Review of the technical worz in F.

1 2 3 z 1 15'\3~3'\3 1 2 3 2 1

23 ...:
P;.'. s. siinpre

2
3 2 3 '\
2
3 3

1 5 1 5
M 1 1 5 1 1

~
t
•••• • •••• .'~ •••• • 11-- .. -.-
-- -- • .•..----....---.. .•.
I

t ··
2 4 3 '\ 4 Z 4 2 4 2

1 5
1 5 1 5
1
~ 1 1

t t • • •
<

/ -- · '

4 2 3 2 r 2 3 2 s ~ 3 2
-
3 2 3

1 5
I
~ 1 5 1 1 ~ 1 1 ••

I
-
,
li'
~

- • -
3
SjijI""'"

2
!
1-

- •• ••• ••
••••••

~ ...•. ~ .•...

5
1

707-46
 29

~ j!:.
5 '"
~.*.
'" 5
_.
5
·1 !. !*..
4 5
.. .- _. -._
5
.• JL 1 .. 5
••• ...•... 5
•• •.. 1

I
t

, · •.... - ..•.
(

- - -
2 4 ~ 4 4 3 3 2 3

f1 5
•• .. !1 ~ - 5 1 5 5 1

~
4:1

<

, · ,
2 3 2 3 2 2 4
3

, S
5 1
.•..- 5
5
- 1 •.... 5 5

j
t
•. -.-- -
<
I

I ··
'"
r 2 4

I
~
5
~-- 5

-.
5 5

••• •••• .-'--

,
li ••• • • •••
(

·
3 • •• • •• • • '*
3
7t+--r

707-46
 30

3 2 3 1 3 5 3 .• 2 3 2 3 1 3 5 3 .• 2

24 B.S. sempre

2 z

5 3 4 2

'.
~ 3 5 3 .•2 3 2 31 5 3 4 2 3 1

I , .-.•.- ...•.-. "-ij. •..•.

-- .,.-- • - •• •• ..... .. .... -.- ...
~

, · - I I

3
'"
2 4
2
- 2 3 2

5-.;::.
3 '" 2 3 1
fJ 3 1 3 '"
2 3 1 5 3 '" 2

I
~ - • • - -w - -
<

I ·
,.
r. 2 3 ~ 3 2 3 3
'"

3 1
~ 5 3 '" :l 3 5 3 \ 2 3 ! 3'" 2

j
, .~

t
.
2
..•.. -
.<
~ ..•..
- ~.
2 .•
2 '"

t
~ 3
5
,,!.2
- - -
3
- .:'--.2 .--,---
3
• • ~!.!
•
~
... t:~ I.•. t~ I~ ~t
t
2 3 .!. 4 2 3 2 .!. 2
707-46