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225

op. 151
 HAROLD B. LEE LIBRARY
8RIGNAM YOUNG UNIVERSITY
PRO VO. UTAtt
 Digitized by the Internet Archive
in 2012 with funding from
Brigham Young University

http://archive.org/details/easieststudiesfo151khle
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BRIGHAM YOUNG UNIVERSITY

PROVO, UTAH
 Preface.
In order to enable beginners in pianoforte -playing to devote themselves as early as possible to the acquirement of a smooth-
ly flowing style of touch, I have composed the following little studies, which, of all those of their kind hitherto published,
may, I think, be considered the easiest.
They are intended to lead to my Op. 50 (entitled The first Studies, forming a basis of execution',')and should be presented

to the pupil as soon as he can play with methodical correctness (even though but slowly,) and with a quiet hand, the first five-

finger exercises;

some easy little

knows all the notes

pieces for beginners.

on the "great staff of II lines"

We may
i.e.:

in addition continue te impart, gradually,

F to F
m and has attempted

such other elementary knowledge

as may be found necessary for immediate practical use; and should on no account neglect the daily practice of the scales,
and the following important mechanical finger exercises (useful even to more advanced players:)

Right hand (Main droite.) 4

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Each of these should be played with firmness and by each hand separately, for one or two minutes. The scales
decision,
should each be played 30, 50, or even 100 times; at first by each hand separately, and only later with both hands together.
When C major goes smoothly and correctly and the pupil has been through all the major scales several times (which would
perhaps take up the first year of study,) a new one, or a pair of new ones, may be practiced daily in the following order:—
C major and A minor; G major and E minor; D major and B minor; A and F$; E and C$; B and G$; F$ (Gp) and D# (Ep);
C# (d(>) and Ajf (Bp); Ap and F; Ep and C; Bp and G; F and D; and after this again from the beginning.
In the following little studies (each of which contains 32 bars in the same key and time) a principal part, in eighth-notes,
is given to each hand alternately; and each pair of studies is so arranged that melodic progression by degree alternates with
that by skip, continually.
While practicing, the principal part should always first be taken with the one hand, and played in comfortable, easy time
(no matter how slowly) until it is played properly, smoothly, and without exertion. Each study may, if desired, be divided in-
to groups of eight or sixteen bars, and such small portions repeated over and over again, in order to impress them upon the
memory; so that the eyes, requiring to be less exclusively fixed upon the written notes, may be free to attend to the posi-
tion of thehands and fingers. The more easy part, that for the other hand, should be played only now and then for a change,
and always in proper relative time; only when each hand is quite perfect are both hands to be practiced together, and at
first just as slowly as the separate parts have previously been played.
When one study is almost perfect, the principal part of the next one may be begun single handed,butthe subordinate part
(for the other hand)must not be touched until the previous study is completely mastered. This manner of practicing may
be recommended, even to more advanced players, as the surest, safest and consequently the shortest way to the desired end.
The utmost care should be taken while playing, to maintain the right position of the hands and fingers. The finger-tip
should be elevated fully as high as the black keys. The stroke should be delivered after quiet consideration, quite suddenly,
with decision, without any other movement of the hand, and without bending the knuckles. The pressure of the finger on the key
should be firm, "but not rigid or cramped, and should be maintained at the same power until the next finger delivers its own
stroke, when it should be swiftly lifted at precisely the same moment as its successor descends. Thus will a"souudful and
songful touch be formed. This refers more particularly to the studies based upon diatonic passages (progressing by degree1 )
Nos. 1, 2; 5,6; and 9, 10. In the others, based upon chords, the long holding- notes (those with two stems) must be carefully
held down as indicated.
It is also useful to hold down each successive note of such chord passages till the last note of each chord has been sound-

ed, as, for instance, in No. 3, thus

« f *r etc.

This will cultivate the extension of the fingers, familiarize the ear with the sound of the chords, and accustom the pupil
to instinctively realize the amount good legato.
of pressure requisite for the production of a
The speed must always be moderate and convenient. The volume of tone must depend upon the natural strength of the
player, but should incline rather towards too much power than too little, and must always be equal.

LOUIS KOHLER.

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:
 60ITI0N (HURCH (ATAbOGUe.
PIANO SOLO.
No. Price No. Price
15 Bach, J. S. —English Suites. Klindworth. Com- 18 Kuhlau, F.— Sonatinas $ 50
plete $1 50 46 Mendelssohn, F. von — Songs Without
16a-6 Same in two books. Each , . . 90 Words. Kullak . 1 00
40 dementi, M.— Sonatinas 50 2 Schumann, R.— Scenes of Childhood. Op. 15.
1 —
Gurlitt, C. Album Leaves for the Young. Klindworth 50
Op. 101 50 4 Album for the Young. Op. 68. Klindworth. 50

PIANO METHODS AND STUDIES.

No. Price No. Prlca
44a-<? Berens, H.—Newest Schoof of Velocity. 22 Kohler, L.— First Op. 50
Studies. . . . $ 50
Op. 61. Four Books. Each $ 50 23 Little Studies for Velocity. Op. 157. 50
5 Bertini, H.— Twenty-four Studies. Op. 32 . 40 24 Easiest Studies. Op. 151 50
41 Twenty-four Studies. Op. 29. ...... 40 25 The Very First Studies. Op. 190 . . 50
42 Easy Studies without Octaves. Op. 100 . 40 26 Short School of Velocity. Op. 242 . 50
43 L ttle Pieces and Preludes 40 7a Kullak, Th.— Method of Octave - Playing.
45a-c Biehl, A.— Light
and Progressive Studies. Op. 48. Vol. 1 1 50
Three books. Each ...
>Op. 44. . 50 lb Method of Octave-Playing. Op. 48. - Vol. 2, 1 25
21 Burgmuller, F.— Twenty-five Easy Melodious —
38 Lemoine, H. Juvenile Studies. Op. 37 . . 60
Studies. Op. 100 ....... . . . 1 00 —
31a-c Loeschhorn, A. Studies in Technic and
19 Czerny, C— School of Velocity. Op. 299. Expression. For beginners. Op. 65.
Complete 60 Three books. Each 50
20a-e? Same iu four books. Each 25 32a-c Studies for Intermediate Grade. Op. 66.
27 100 Preparatory Lessons. Op. 139 .. . 50 Three books. Each 50
28 Exercises in Passage Playing. Op. 261. . 50 33a-o Studies for Advanced Grade. Op. 67.
29 Preliminary School of Dexterity. Op. 636, 50 Three books. Each • . . . 50
39 Duvernoy, J. B. —
School of Mechanism. 34a-c Melodious Studies. Op. 84. Three bookg.
Op. 120 : . . 50 Each 50
8 Heller, S.— Melodious Studies. Op. 45 . . 1 00 35a-c Melodious Studies. Op. 52. Three books.
9 Progressive Studies. Op. 46 1 00 Each 50
10 Studies for Ithythm and Expression. Op. 47, 1 00 30 Schmitt, Aloys.— Preparatory Exercises . . 25
6 Herz, H. —Selected Piano Studies. Wilson G. 3 Steibelt, D.— Selected Studies. Wilson G. Smith I 00
Smith. . 1 00 36 StreabbOg, L. —Melodious Etudes. Op. 63 75
14 Scales and Exercises 50 37 Melodious Etudes. Op. 64 .
. '."_. ; 75
11 Kohler, L.— Children's Piano Studies. Op. 218, 50 17 Wagner, E. D.— Children's Piano Method 1 25

VOCAL.
No. Price No. Price
12 Concone, J.— 50 Lessons for Medium Voice, $ 50 13 Mendelssohn, F. von — Songs. Transposed
edition. German and English words . . $2 25
 3 11 97 00344 7338

DATE DUE

NOV 1 6 19113

FEB ] m
FEB 2 7 2006

PFR ? R TOTS! -

DEMCO 38-297