Muzio Clementi The Art of Playing On The Piano Forte

Muzio Clementi's
Introduction to the
Art of Playing
on the
Piano Forte
Mutopia ǀ Typeset using LilyPond © 2014 by Javier Ruiz-Alma — Mutopia-2014/02/18-1938

ǀProject ǀ Creative Commons Attribution ShareAlike 4.0 International License — free to distribute, modify, and perform ǀ
Acknowledgements for this edition
My gratitude to the LilyPond User Forum and the Mutopia Project, for making this project
possible; especially:
Nicolas Sceaux, Chris Sawer, Glen Larsen, Mats Bengtsson, Mike Solomon, Jakob Lund,
Janek Warchoł, Keith OHara, Nick Payne, David Nalesnik, Reinhold Kainhofer,
David Kastrup, Shane Brandes, Xavier Scheuer, Eluze, Robin Bannister, Phil Holmes,
Thomas Morley, Federico Bruni, Felix Janda, Bas Wassink, and Edward Neeman.
Table of Contents
Music Notation
Preliminaries 3
Clefs 3
The Scale, or Gamut 4
Intervals 5
Tenor, Counter-tenor, and Soprano clefs explained 6
Figure, Length, and the relative Value of Notes and Rests 7
Time and its Divisions 8
Sharps, Flats, etc. 10
Various other marks. 12
Abbreviations 12
Style, Graces, and marks of Expression, etc. 14
Turns, Shakes, and Beats, explained 16
Major and Minor Modes or Keys; vulgarly called Sharp and Flat Keys. 19
Explanation of Various Terms 20
Fingering
Preliminary Directions 22
Scales in all the Major keys, with their relative Minors 22
General Remarks on the foregoing Scales 27
Extensions and Contractions etc. 27
Examples of fingering for the right hand. 28
The left hand. 31
Preludes and Lessons

Lesson I
Prelude in C Major 32
Away with melancholy: by Mozart 32
Lesson II
Aria 33
Lesson III
Air, in Atalanta, by Handel 33
Lesson IV
Air, in Saul, by Handel 34
Lesson V
Dead March, in Saul, by Handel 36
Lesson VI
Allegro by Corelli 38
Lesson VII
Prelude in A minor 41
Gavotta by Corelli 41
Lesson VIII
Prelude in F Major 42
Air, in Judas Maccabeus, by Handel 42
Lesson IX
March, in Judas Maccabeus, by Handel 43
Lesson X
Sarabanda, by Corelli 45
Lesson XI
Giga, by Corelli 46
Lesson XII
Arietta, by Mozart 48
Lesson XIII
Minuet and Trio, by Mozart 49
Lesson XIV
Le Réveilmatin, by Couperin 51
Lesson XV
Prelude in D minor 55
Larghetto, by Scarlatti 55
Lesson XVI
Allemanda, by Corelli 57
Lesson XVII
Sarabanda, by Corelli 59
Lesson XVIII
Prelude in G Major 60
Ah vous dirai - je maman 60
Lesson XIX
Triste Raison 61
Lesson XX
Fal, lal, la. Air in the Cherokee. 62
Lesson XXI
Larghetto, by Pleyel 63
Lesson XXII
Arietta 64
Lesson XXIII
German Hymn, with Variations by Pleyel 66
Lesson XXIV
Andantino, by Dussek 69
Lesson XXV
Allegro, by Handel 71
Lesson XXVI
Minuet in Samson, by Handel 73
Lesson XXVII
God Save the Emperor, composed by Dr. Haydn 75
Lesson XXVIII
Rondo in the Gipsy stile, by Dr. Haydn 76
Lesson XXIX
Prelude in E minor 83
Tambourin by Rameau 83
Lesson XXX
Prelude in B flat, Major 86
Minuetto by Scarlatti 86
Lesson XXXI
Lindor - an Air 88
2
Lesson XXXII
Minuet and Trio, By Mozart 89
Lesson XXXIII
Gavotta in Otho, by Handel 91
Lesson XXXIV
Andante with Variations, by Cramer 93
Lesson XXXV
Prelude in G minor 97
Allegro, by Scarlatti 97
Lesson XXXVI
Prelude in D Major 101
Gavotta, by Corelli 101
Lesson XXXVII
Minuet in Ariadne, by Handel 102
Lesson XXXVIII
March in the Occasional Oratorio, by Handel 104
Lesson XXXIX
Waltz, by Beethoven 106
Lesson XL
Allegro, by Corelli 108
Lesson XLI
Prelude in B minor 111
Giga, by Corelli 111
Lesson XLII
Prelude in E Flat Major 113
Rondo by C.P.E. Bach 113
Lesson XLIII
Prelude in C minor 120
Minuet, by Scarlatti 120
Lesson XLIV
Prelude in A Major 122
Andante Allegretto by Paradies. 122
Lesson XLV
Prelude in F# minor 125
Adagio by Corelli. 125
Lesson XLVI
Prelude in A flat Major 127
Slow March by Couperin. 127
Lesson XLVII
Prelude in F minor 129
Allegretto by Couperin 129
Lesson XLVIII
Prelude in E Major 130
Polonoise and Minuet, by Sebastian Bach 130
Lesson XLIX
Gavotta, by Corelli 133
Lesson L
Prelude in C# minor 134
Minuet, by Dr. Haydn 134
MUSIC NOTATION
PRELIMINARIES
All musical sounds are expressed by certain characters, called notes, which are named from the first seven
letters of the alphabet: A, B, C, D, E, F, G.
The Stave contains five lines, and four spaces: the lowest line is called the first.
The notes are placed on the lines, or spaces above, or under the stave and the additional, called LEDGER
lines are for the higher and lower notes.
CLEFS
In order to determine the PITCH of musical notes, certain signs, called CLEFS or CLIFFS have been invented,
which are set at the beginning of the staves.
There are five in general use.
The Bass clef, on the 4

th
line ª The Tenor clef on the 4
th
line
d st
The Counter-tenor clef on the 3 line The Soprano clef on the 1 line

nd
And the Treble clef on the 2 line
The Treble and Bass clefs are chiefly used for the Piano Forte.
4 CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE
THE SCALE, OR GAMUT
Shewing the position, and name of the notes.

g a b c d e f g

Treble
abcde f gabcde f
ª
f g a b c d e f g a b c d e f

Bass

g a b c d e f g
Let the PUPIL now strike the notes on the instrument; taking notice, that the first LONG key, on the left
hand, serves for the first F; the second LONG key for G; the third for A; and so on: making no other use, at
present, of the SHORT keys, than as GUIDES to direct the eye; by observing, that between B and C, and between
E and F, there are no SHORT keys; which places in the scale are distinguished thus .
⁀
Remark on the foregoing Scale.
The first EIGHT notes in the treble-stave from G to G, are the SAME as the corresponding EIGHT notes,
perpendicularly under them in the bass-stave, both in NAME and SOUND ; they are played, therefore, on the
SAME keys.
As a help to memory; let the Pupil contemplate the notes, SEPARATELY, on the lines, and spaces; beginning
by the FIVE lines.
Bass
E G

Treble C E
ª
D C A

F A C E G B F A A C E G B D F

D F
ª G B D F A E G E
Bass F Treble
C
D B

C B A G

G B D F

Exercise for treble notes:

Exercise for bassnotes:

ª

N.B. Let the Pupil FIRST be familiarized with the notes, by READILY naming them; and then find them out as
READILY on the instrument.
MUSIC NOTATION 5
INTERVALS
An INTERVAL is the distance, or difference between two sounds in point of GAVITY or ACUTENESS.
The least of our INTERVALS is called a semitone, or half-tone: it is the INTERVAL, in the NATURAL scale,

ª
between E and F; and between B and C.
Ex:
E F B C
The REGULAR progression of the OTHER notes in the NATURAL, which is also called DIATONIC scale, is by an
INTERVAL of two semitones or a whole note.

Example of the NATURAL or DIATONIC scale.
ª whole whole
whole semi- whole semi-
whole tone tone tone tone
tone tone tone
The INTERVAL between C and D, between D and E, or between any two CONTIGUOUS notes, in the scale, is
call a SECOND: the INTERVAL between C and E, or between D and F, etc: is called a THIRD; and so on.
Example of INTERVALS

ª
d d th th th th th
2 3 4 5 6 7 8
th
The INTERVAL of an 8 is commonly called an OCTAVE.
N.B. The nature, and name of the INTERVALS remain the same, whether the single notes be played
SUCCESSIVELY, or whether
two, or more, be struck TOGETHER: the former is properly called MELODY; and the
latter, HARMONY.
Example of the latter.-

The notes thus taken TOGETHER are also called CHORDS; the succession of which, played from certain
figures set over a bass, according to a system of rules, is denominated THOROUGH-BASS.
TENOR, COUNTER-TENOR, AND SOPRANO CLEFS EXPLAINED

Tenor

ß

The notes
written thus:

c d e f g a b c d e f g e f d b g a b c

are played as if ª
Bass
written thus:
Counter-tenor

when written thus:

c d e f g a b c d e f g e c f d b d b g c

ª
Bass
are played thus:

Soprano

when written thus:

c d e f g a b c d e f g a f d b g f d b c

Treble
are played thus:

By which it is evident, that the Tenor-notes must be played one fifth HIGHER than the Bass-notes: the
Counter-tenor notes, one seventh HIGHER than the Bass-notes: and the Soprano-notes, one third LOWER than
the Treble-notes.
It is now proper to take notice, that the bass-clef is also called the F-Clef, as it indicates by its position
where the note F lies: ª F

the tenor, counter-tenor, and soprano-clefs are called C-clefs, because
Counter-t:

Tenor: Soprano:

they determine the place of C: and the treble-clef is called the
C C C
Treble:
G-clef, being placed on the line where G is found

G
MUSIC NOTATION 7
FIGURE, LENGTH, AND THE RELATIVE VALUE OF NOTES AND RESTS

Notes
Semibreve, minim, crotchet, quaver, semiquaver, demi-semi-quaver

Rests

One Semibreve
Is equal in length
of time to
2 Minims
Which are equal to
4 Crotchets
Which are equal to

8 Quavers Which are equal to

16 semi-quavers Which are equal to
32 demisemi-
quavers

A DOT after a note, or rest, makes the note or rest half as long again. Ex: ¸ is equal to a minim and a
crotchet; or to three crotchets, and so on: is equal to and so on: by which it is evident, that the DOT
to a minim is equal to a crotchet; and the DOT to a crotchet is equal to a quaver; etc: When a second dot is

added to the first, the second dot is considered as the half of the first; therefore a double-dotted Crotchet thus
is equal to a crotchet, quaver, and semiquaver; or to seven semiquavers.
Let us farther illustrate this by the mark, called a TIE, made thus which, when placed between two

notes of the SAME pitch, binds the second to the first; so that only the first is struck, but the finger must be
held down the full length of both. It is therefore indifferent whether we write thus or or

and is the same in effect as
TIME AND ITS DIVISIONS
The BAR, made thus divides a musical composition into EQUAL portions of time.
TIME is divided into two sorts; COMMON and TRIPLE; and of which is either SIMPLE or COMPOUND: and the
character or sign, which denotes it, is placed at the beginning of every composition, after the clef.
SIMPLE common time, when marked thus or denotes, that each bar contains one
semibreve, or its equivalent.
Example or

When marked thus

42 the bar contains one minim, or its equivalent.
Example 42
Four sorts of COMPOUND common time explained:
12
8
st containing 12 quavers in a
1 sort bar, or their equivalent
d
2 sort 86

six quavers in a bar, or
their equivalent
12
4
d 12 crotchets in a bar, etc.
3 sort
th
4 sort 46 6 crotchets in a bar, etc.
The two last sorts are very seldom used in modern music.
SIMPLE triple time explained.
23 three minims in a bar,

or their equivalent
43

three Crotchets in
a bar, etc:
83

three quavers in
a bar, etc:
MUSIC NOTATION 9
COMPOUND triple time explained.
49 nine crotchets in
a bar, etc:
89 nine quavers in
a bar, etc:
COMPOUND triple time is seldom used in modern music.

N.B. The contents of every bar, in common time; whether SIMPLE, or COMPOUND, may be divided, (by
beating or counting) into four, or into two equal parts: and in triple time; whether simple, or COMPOUND, into
three equal parts.
The figures, which mark the time, have a reference to the SEMIBREVE; the LOWER number, showing into how
many parts the SEMIBREVE is divided; and the UPPER number, how many of such parts are taken to fill up a
bar. For example 4 2 denotes, that the SEMIBREVE is divided into four parts, namely, four crotchets; and that
two of them are taken for each bar: likewise 83 indicates, that the SEMIBREVE is divided into eight parts,
namely, eight quavers; and that three of them are adopted to compleat a bar.
The figure of 3 placed over three crotchets, quavers or semiquavers
thus
3 3 or 3 3 or 3 3 (which are called triplets) denotes,
that the three crotchets must be performed within the time of two common crotchets, or of one minim; the
three quavers within the time of two common quavers, or of one crotchet; and the three semiquavers within
the time of two common semiquavers, or of one quaver.
N.B. The easiest way is to consider them all as three to one, and to beat or count the time accordingly; that
is, to beat the first of every 3. (N.B. SCARLATTI, and others have written three demisemiquavers to a quaver;
and three semiquavers to a crotchet in some of their pieces.) The figure of 6 over quavers or semiquavers,
means that they are to be performed within the time of four of the same kind; which is a similar case to the
preceding one. The figures 5, 7, 9, 10 etc. follow the same rule.
SHARPS, FLATS, ETC.

The SHARP placed before a note, raises it a semitone or half-tone. Let us now observe a scale of semitones,
called the CHROMATIC scale.
The intervals of the contiguous

Ex:
notes are all semitones.
N.B. The LONG keys of the Piano-Forte, or Harpsichord, are commonly called the NATURAL keys, tho'they
ocassionally serve for SHARPS and FLATS; and the SHORT keys, are called SHARPS and FLATS, being only used
for SHARP and FLAT notes.
Now if a SHARP be placed before C, thus: the note is called C SHARP; and it is found on the
instrument between C NATURAL, and D NATURAL; being one of the SHORT keys: D SHARP is the SHORT key
between D, and E; but between E, and F, ther is no SHORT key; nor is it wanted: for the INTERVAL between E
and F, is but a semitone; and therefore when we want E SHARP, we strike the key generally called F NATURAL.
F SHARP will be found between F NATURAL, and G NATURAL: G SHARP between G and A NATURAL: A SHARP
between A and B NATURAL: and B SHARP is under the same predicament as E SHARP; we therefore strike C

NATURAL for it.
The flat placed before a note, lowers it a semitone or half-tone: and if the note is a B, to which the FLAT is
prefixed, it is then called B FLAT; and it is found between B NATURAL, and A NATURAL, being one of the SHORT
keys.
=====General rule: every FLAT is found by going one semitone LOWER; that is, toward the left-hand: and

every SHARP, contrariwise, by going one semitone HIGHER; that is, toward the right-hand.
The double SHARP raises the note TWO semitones; and therefore, if it be F double SHARP, we strike G

NATURAL; etc.
The double FLAT lowers the note TWO semitones; and therefore, we go as much to the LEFT for a double

FLAT, as we did to the RIGHT for a double SHARP.
The NATURAL takes away the effect of a SHARP, or a FLAT; whether single, or double. And , or ,
REINSTATES the single sharp, or flat.
The Pupil must by this time have observed, that is struck by the SAME key as and
by the SAME key as etc.
Now, the inconveniency of charging to memory with the VARIOUS uses of the SAME keys, is but small; when
compared with the impracticableness of performing on an instrument, furnished with keys, PERFECTLY
corresponding with every flat, and sharp, single or double, which composition may require: a method
therefore, has been adopted in tuning, called TEMPERAMENT, which, by a small deviation from the truth of

every interval, EXCEPT THE OCTAVE , renders the instrument capable of satisfying the ear in EVERY key.
When a SHARP is placed close to the clef thus it affects every F throughout the piece; except
where the sharp is contradicted by the natural.
N.B. The same rule holds, when there are two or more sharps at the clef; every one affecting its
corresponding note.
MUSIC NOTATION 11
When a FLAT is placed by the clef it affects every B throughout the piece; except where the flat
is contradicted by the natural.
N.B. The same rule holds, when there are two or more flats at the clef; every one affecting its corresponding
note.
When a sharp, flat, or natural is prefixed to a note, in the course of a piece, it affects all the following notes
of the SAME NAME , contained in the SAME BAR : it is then called an ACCIDENTAL sharp, flat, or natural.

1
st
Ex: is played as if written thus
d
2 Ex: as if written thus

3
d
Ex:
as if written thus
which abbreviations, are a modern improvement.
The foregoing RULE extends even to the first note of the subsequent bar, when the affected note is the last of
one, and first of the next.

Ex: as if written thus
And the same with flats and naturals.

th
The order of SHARPS descending by a 4 and
th
at the clef. ascending by a 5

th

The order of FLATS ascending by a 4 and
th
at the clef. descending by a 5
VARIOUS OTHER MARKS.

The pause or renders the NOTE longer AT PLEASURE ; and in certain cases, the composer

expects some EMBELLISHMENTS from the performer; but the pause on a rest
only lengthens,
AT PLEASURE, the SILENCE.
The SIGN or REPEAT

is a reference to a passage, or strain, to which the performer is to return: the Italian
words, AL SEGNO or DAL SEGNO , denote such a return.
The double bar marks the end of a strain; or the conclusion of a piece.
The DOTTED bars denote the repeat of the foregoing, and following strain.
N.B. The second part of a piece, if VERY LONG, is seldom repeated; notwithstanding the DOTS.
When the bars are marked thus or then the strain, only on the side of the DOTS
is to be repeated.
ABBREVIATIONS
Ex: to be played thus

Ex: thus

Ex: thus
3 3 3
Ex: thus

Ex: thus
6
6 6
Ex: thus

Ex: played thus

Ex: thus
MUSIC NOTATION 13
The ITALIAN word, Segue; means, it continues, or follows:

Ex: thus
segue
Tremando, or trembling:

Ex: thus
STYLE, GRACES, AND MARKS OF EXPRESSION, ETC.

The best general rule, is to keep down the keys of the instrument, the FULL LENGTH of very note; for when
the contrary is required, the notes are marked either thus:

called in ITALIAN, STACCATO;

denoting DISTINCTNESS, and SHORTNESS of sound; which is produced by lifting the finger up, as soon as it has
struck the key: or they are marked thus

which, when composers are EXACT in their writing,

means LESS staccato than the preceding mark; the finger, therefore, is kept down somewhat longer: or thus
which means STILL LESS staccato: the nice degrees of MORE and LESS, however, depend on

the CHARACTER, and PASSION of the piece; the STYLE of which must be WELL OBSERVED by the performer. The
notes marked thus

called LEGATO in Italian, must be played in a SMOOTH and CLOSE
manner; which is done by keeping down the first key, 'till the next is struck; by which means, the strings
VIBRATE SWEETLY into one another.
N.B. When the composer leaves the LEGATO, and STACCATO to the performer's taste; the best rule is, to
adhere chiefly to the LEGATO; reserving the STACCATO to give SPIRIT occasionally to certain passages, and to
set off the HIGHER BEAUTIES of the LEGATO.

This mark prefixed to a chord signifies, that the notes must be played SUCCESSIVELY, from
the lowest; with more or less velocity, as the sentiment may require; keeping each note DOWN 'till the time of
the chord be filled up.

Chords marked thus are played as the preceding chords, with the addition of a note

WHERE the oblique line is put, as if written thus
but the additional note is not to be kept
down.
p,
Dolce or dol: means SWEET, with TASTE; now and then SWELLING some notes.
p,
Piano or Pia: or SOFT.
pp,
Mezzo, or mez: or mezzo-piano, or poco or poc:P, RATHER SOFT.
mo
Pianissimo, or P
ff,
or VERY SOFT.
mo
Fortissimo, or F
f
or VERY LOUD.
f f
Forte, or For: or , LOUD.
Mezzo , or Mez: , RATHER LOUD.
MUSIC NOTATION 15
Forzando, or sforzando fz, sf

or , to FORCE, or give emphasis to, ONE note.
Rinforzando, or rinf: to SWELL 2, 3, or 4 notes.
Crescendo, or cres: marked sometimes thus means GRADUALLY LOUDER.

Decrescendo, or decres: GRADUALLY SOFTER; the same as the following; viz:
Diminuendo, or dim: thus GRADUALLY SOFTER. N.B. this last mark often denotes an
EMPHASIS,
where it is WIDEST, and then DIMINISHING.
This mark means to SWELL and DIMINISH.
ARPEGGIO, or ARPEGGIATO, requires that the notes of a CHORD shall be played successively; which may be
done in various ways.

Ex: thus
or
thus
Arp:

or or or
thus

va va
OTTAVA, All'8 , 8 alta, set over a passage, means that the notes are to be played an octave higher: and
LOCO, that the notes are to be played again as they are written.
The APPOGGIATURA is a GRACE prefixed to a note, which is always played LEGATO, and with more or less
EMPHASIS; being derived from the ITALIAN verb APPROGGIARE, to lean upon; and it is written in a SMALL note.
Its LENGTH is borrowed from the following LARGE note; and in GENERAL, it is half of its duration; MORE or LESS,
however, according to the EXPRESSION of the passage.
APPOGGIATURAS, and other GRACES in small notes explained.

Ï
Ï
to be play-

or or played thus
-ed thus
Ï

Ï Ï Ï Ï

Ï
Ï

or thus thus thus
Ï Ï
Ï
Ï
Ï

thus thus or thus
with spirit
as taste best directs in the passage.

Ï Ï

Ï

Sometimes played thus

Sometimes the little notes are added to give EMPHASIS:

Example Ï Ï Ï Ï played thus
N.B. the finger or thumb must be taken off immediately from the LOWER notes.

Ï played
Ï ó Ï ó Ï ó Ï

Ex: th:
thus
Ï
ÏÏ Ï Ï 3
but
ÏÏ

thus some- expressively
times thus

Ï
óÏ
ÏÏ Ï
thus thus thus

Ex: in double notes
TURNS, SHAKES, AND BEATS, EXPLAINED
3
The Turn played thus
It is sometimes writ- ÏÏÏ
_ten in small notes

3 3
thus thus thus

3 3

The plain
note and turn
or
Ï thus
The dotted
note turned
thus
!

or 3
3
Inverted turns or thus thus
N.B. The LOWEST note of EVERY sort of turn is MOSTLY a semitone:

MUSIC NOTATION 17
3 3
d

Ex: 2
Ex: 1
st
thus thus
"
3

thus
3 3

Ex: in dou-
thus thus
-ble notes

$$ #
Shake. played
thus
or Some Authors
mark it thus
$$ $$
Short shake

beginning by the played thus thus
note itself.
$$ $$ %

% ÏÏ ÏÏ
Transient Sometimes ex-
or passing or thus -pressed in small
shakes notes.
$$ $$ #
&
Turned
Shake.
or or or
played
thus
and sometimes
turned thus
& ''''''' &

Prepared shake
Continued
ÏÏ 6 6
thus thus
shake.
The shake LEGATO with the preceding note, explained:
3 3
thus
thus or thus
N.B. The GENERAL mark for the shake is this &

and composers trust CHIEFLY to the taste and judgement of
the performer, whether it shall be long, short, transient, or turned.
$ $ (

The BEAT or thus or 3 or or or
The LENGTH of the BEAT is determined, like that of the other graces, by the circumstances of the passage.
N.B. When the note preceding the beat is an interval of a SECOND, let the beat adopt it, whether it be a
semitone or a whole tone:
( (

Ex:
played
thus
thus
But when the beat, is on the FIRST note of a passage, or, when it follows a note, whose interval is GREATER
than a SECOND, it should be made with a semitone; as the following examples will show.
( (
Examples thus thus
Lastly, let us remark, that the beat is seldom used in modern music.
MUSIC NOTATION 19
MAJOR AND MINOR MODES OR KEYS; VULGARLY CALLED SHARP AND FLAT KEYS.
The FUNDAMENTAL note, called the TONIC or KEY-NOTE, of a composition is either in the MAJOR, or MINOR
mode. An exposition of the scale in each MODE, will best explain their essential difference.

Key- Key-

note note
Ascending and
2 3 4 5 6 7 8 8 7 6 5 4 3 2 1
descending scale
1
ª
in the key of
C, MAJOR.
N.B. The intervals in THIS scale are in their SIMPLE state; but in the following, they are an octave higher,
d d th
and are called COMPOUND intervals; still retaining their names of 2 , 3 , 4 , etc: as in their SIMPLE state.
The figure 1, stands for a note of the same pitch, called UNISON: this last remark is confined to the foregoing
example.

note
Key- Key-

Ascending and
note
descending scale
ª
in the key of 1 2 3 4 5 6 7 8 8 7 6 5 4 3 2 1
A, MINOR.
d
The first DIFFERENCE, which strikes the eye, is, that in the MAJOR-KEY , the semitone lies between the 3 and
th th th
4 , and between the 7 and 8 both ascending, and descending: whereas in the MINOR-KEY , it lies between
d d th th d d
the 2 and 3 , and between the 7 and 8 ascending; but in descending, between the 2 and 3 and between
th th th th
the 5 and 6 . Authors vary, however, in regard to the 6 and 7 of the MINOR mode.
The ESSENTIAL and IMMUTABLE difference, therefore, between the MAJOR and MINOR key, is the interval of
d d
the 3 , which differs by a SEMITONE; for if we analyse the 3 in the MAJOR-SCALE, it will be found to contain
two whole tones; or four semitones:

3d 3d
tone tone tone tone
semi- semi- semi-
tone tone
Ex: whole whole or semi-
d
Whereas the 3 in the MINOR -scale, will be found to contain one whole tone with a semitone; or three
semitones.
3 3
d d
Example whole semi or semi-

tone
semi-
tone
semi-
tone tone tone
Now, the LAST, and if a chord, the LOWEST note of the bass, in every REGULAR composition, is the KEY-NOTE ;
d
let the contents then of the first FULL bar be examined, (treble and bass); where, if the 3 be major, the piece is
said to be in SUCH a key major.

ª
Example of a conclusion: the LAST and LOWEST
note of the bass is F.

4 3 d
the 3 of F, which is A in the
Example of the beginning first FULL bar, is MAJOR:
of the same piece:
ª 3 therefore the piece is in F
4 MAJOR

2
4

Example of Example
d
here the 3 of A
ª 2
is MINOR, the

A of the be-
ª
A MINOR
piece is there-
4
ginning

ending.

fore in A MINOR
N.B. Sometimes a composition in the MINOR mode may have a MAJOR ending; for which reason, it is safer to
examine the beginning, in order to determine the MODE.
Let the Pupil remember, that the NATURAL major-key is C; and the NATURAL minor-key is A; which latter is
called the RELATIVE MINOR to the former; and that every MAJOR-KEY has its RELATIVE MINOR in the same
proportion, namely one tone and semitone UNDER; as will be shown in the collection of scales.
EXPLANATION OF VARIOUS TERMS
The DEGREE of velocity in every composition is ascertained by some ITALIAN word or words prefixed to it: as
ADAGIO, POCO ALLEGRO , etc. We shall annex a list of the terms mostly in use; beginning by the SLOWEST
degree, which is ADAGIO; and gradually proceeding to the QUICKEST, which is PRESTISSIMO.
_______________________________________
1 ADAGIO 6 ANDANTINO 11 MAESTOSO 16 SPIRITOSO

2 GRAVE 7 ANDANTE 12 CON COMMODO 17 CON BRIO
3 LARGO 8 ALLEGRETTO 13 ALLEGRO 18 CON FUOCO
4 LENTO 9 MODERATO 14 VIVACE 19 PRESTO
5 LARGHETTO 10 TEMPO GIUSTO 15 CON SPIRITO 20 PRESTISSIMO
Various other terms are sometimes added to the preceding, in order to MODIFY or extend their meaning, as:
NON TROPPO ALLEGRO , not too quick etc.
We shall subjoin some of the most common, with their explanation.

MOLTO, DI MOLTO , or ASSAI, very. NON TROPPO , not too much. UN POCO , a little. QUASI , almost. PIù,
more. MENO, less. PIù TOSTO, rather. SEMPRE, always. MA, but. CON, with. SENZA, without.
MINUETTO A TEMPO DI BALLO, dancing-minuet time.
To determine more particularly the style of performing, some of the following terms are also used: MESTO,
or FLEBILE, in a melancholy style. CANTABILE, in a singing and graceful manner. AFFETTUOSO, in an
affecting and tender manner. GRAZIOSO, in a graceful and elegant manner. CON MOTO, with a certain
degree of vivacity. BRILLANTE, with brilliancy and spirit. AGGITATO, agitated; with passion and fire.
CON ESPRESSIONE, or CON ANIMA, with expression; that is, with passionate feeling; where every note has its
peculiar force and energy; and where even the severity of time may be relaxed for extraordinary effects.
SCHERZANDO, in playful and light manner. SOSTENUTO, to sustain, or hold on, the notes their full length.
TENUTO, or abbreviated thus, TEN: to hold a note its full length. A TEMPO, in strict time. AD LIBITUM, at
pleasure or discretion, with regard to time; introducing in certain cases an embelishment. TEMPO PRIMO, or
PRIMO TEMPO, in the original time. RALLENTANDO or RITARDANDO, gradually slackening the time.
MUSIC NOTATION 21
SMORZANDO, MORENDO or PERDENDOSI, extinguishing gradually the sound, 'till it be almost lost.
CALANDO, or MANCANDO, diminishing by degrees the sound, or slackening almost imperceptibly the time; or
both. DA CAPO, abbreviated thus: D.C., to return to, and end with, the first strain. VOLTI SUBITO or V.S.
turn over quickly. The LATIN word BIS, means TWICE; it is generally placed over a passage within a curve line,
which denotes the extent of the repeat.
FINGERING
To produce the BEST EFFECT, by the EASIEST MEANS, is the great basis of the art of fingering. The EFFECT,
being of the highest importance, is FIRST consulted; the WAY to accomplish it is then devised; and THAT MODE
of fingering is PREFERRED which gives the BEST EFFECT, tho' not always the easiest to the performer. But the
combinations of notes being almost infinite, the art of fingering will best be taught by examples.
PRELIMINARY DIRECTIONS
The hand and arm should be held in a horizontal position; neither depressing nor raising the wrist: the seat
should therefore be adjusted accordingly. The fingers and thumb should be placed over the keys, always
ready to strike; bending the fingers in, more or less in proportion to their length. All unnecessary motion
must be avoided.
Let the pupil now begin to practise, SLOWLY at first, the following passage; observing to keep down the first
key 'till the second has been struck, and so on.
The 1 is for the thumb, and 2, 3, 4, 5, for the succeeding fingers.
1 2 3 4 5 4 3 2 1 2 3 4 5 4 3 2 1
and so on, a great many times.
Right
Hand
42
ª 2 5 4 3 2 1 2 3 4 5 etc. N.B. Let every note be played even, in
4
Left
Hand regard to time; and with equal strength.
SCALES IN ALL THE MAJOR KEYS, WITH THEIR RELATIVE MINORS

which ought to be practised daily.
Right Hand 2 3 4 1
3 2 1 3 2 1 4 3 2 1 3 2 1
3 4 5 4

2 3 1 2
Left Hand

1 2 3 1
5 4 3 2 1 3 2 1 4 3 2 1 3 2 2 3 1 2 3
C major
ª
1 4 1 2 3

1 2 3 4 5

3

5

1

1 2 3 1 2 4

1 3

3 2 3 1
ª
A minor

1

4

4 3 2 1 3 1
1
5 5
FINGERING 23

5 4 3 2 1 3 2 1 4 3 2 1 3 2 1

1

1 2 3 1 1

3 1

G major
ª 1

1

4

3

5
1 3

1
5
1

1

3

4

4 1
1
ª
E minor

3

1

1 5
3
5
1 3

5
4

1
1

3
ª
D major 1 1

3

1

4

3 1 1
5 5
5 3
1
4

1

1 1 3

B minor
ª 4
1 2 1

3

4 1
1

4 4
3

5

1

4

1 1 1 3

3 1
ª 1
A major

4

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

1 4 3 2 1 3 2 1 2
43

2 3 1 1

4 1 1
ª 3
F minor

2

3
4 1 1

4 4 5
3
1 1
5

1

1

3

4 1
3 1 1

E major
ª 1

4

3 1
5 5
2 3 1
3 4

3

1

1 4
3
3

22 1 3
4
1 3 1 2

ª 3 3 2 3 1
C minor

4 3
1
2 1 4 1
3 3 4
5 3

4

1

1 1 1 3 1

4 1
ª 1
B major

3 4

3 2 1 4 1
1
4
1 4
3 2 1 2 3

3 1

3
4
2
3 2 1 4 3 2 1 3 1
ª 3
G minor

3 2 3
4
1 1 4 3

3 2 3 4 1 1
3 4 3
1 2 3 2 1
4 4 3 2

4
1 3
3 2 3 1
1
ª 3
F major

4
4 3 4 1

3 2 1 1 1 3

4

4
1 2 1 2

4
D minor
ª 3 3 1
3 1

4 1 1 3 4 3
4
FINGERING 25
1 3

3 4
4

4
2 3 1 1 3 2
4 1

D major
ª 3
3 1
4
3 2 1 4 1

3

1

1

1
3 4 1
4

3
ª
B minor

2 1

3 4 3 2 2

1 3 4 1 1
1

3 3
3

5

1

1

31 1
3 1

4

A major 3
ª
1 3 2

2

1

4 3 4 1
1
3
5 1 3
3 4

4
1 1 2 1
1
2 1 1

ª 3
F minor
4
1 3 4 1

5 5
1 4
3 4 3
3 4
1 2 3 2

2 1 1

1 2
2 1 1
1
E major
ª

4

2 1 4
3
3 1
3 5 4 4
1

4
1 1 3 2 1

1 2 1
ª 3
C minor

4
4
4 3 1 1
5 5
1 3

4

1

2 1 4 3 1 2

1
ª
B major

2

1 1

4

2 1 4 3 1
1 2

3 3
5 4
3 3
1

1

1 2 1
4
2 1 1
G minor
ª 3
1

4
5 3 4 5
1 4 3
3 4 45 4
1
3 1
3 3

2 2

1

4
1 1

3 1
4 1
1

F major
ª
1

5 3 5
4

5
43

1 1 1 3 2 1

D minor
ª 3 1
1

2 1

3
4
5 4 5

N.B. All the preceding Scales should be extended, in practising, 2 or 3 octaves more, as likewise
1 2 3 1 2 3 4 3 2 1 3 2
etc.
2 3 4

3 1

the Scale of semi-

1 2 3 4 1 2 3 1 2 1 2

1 2
-tones for the
right hand:
1 2
FINGERING 27
3 2 2 3 1 2 3 4 1 2

ª
1 2 1 2 1

3 2 1
1

5 4 3 2 1 2 1 3 2 1 4 3 2 1
and for the etc.
left hand.
3 2 2 1 2 1
1 3
N.B. The semitones are to be fingered in the same way, ascending and descending.
GENERAL REMARKS ON THE FOREGOING SCALES

th
The right hand has the thumb on the KEY-NOTE or TONIC, and on the 4 of the KEY-NOTE, in the following
MAJOR and MINOR keys: C, G, D, A, E, and B.
In all MAJOR keys with one or more flats, the thumb is put on C, and F.
th
The left hand has the thumb on the KEY-NOTE, and on the 5 of the KEY, in the following MAJOR and MINOR
keys: F, C, G, D, A, and E.
d th

In the MAJOR keys of B , E , A and D , the thumb is put on the 3 and 7 of the key.
EXTENSIONS AND CONTRACTIONS ETC.
5 4 1 5
5
) 5

1 1

5 4 1 5

1 5 1 1 5 1

d d d
R.H. L.H. R.H.
1 5
ª
"
5⁀1

5 1 5 1

d d

L.H. R.H.
th
N.B. The ⁀
5 1 means that after striking C with the 5 finger, the thumb is shifted on the key without striking
it.
1⁀5
In a similar manner the left hand thus: ª 5"
1
Which mode of fingering should be much practised in various ways, the LEGATO-STYLE requiring it very
frequently.
The shakes should be practised with every finger, not excluding the thumb; and upon the short as well as
long keys.
EXAMPLES OF FINGERING FOR THE RIGHT HAND.
5 4 3 3 2 2 1 4 3 2 3 2 3 2 4 3 4 3 2 1 4 3 2 1 4

But when the notes re-

-peat too quick for the
same finger, it is then
necessary to change.
3 2 3 2 3 2 3 2 3 3 43 2 43 2 5

4

2 1 2 1 2 1 2 1 2 43 2 1 43 2 1 43 2 1 4 4 3 3 2 3 43 2 3 43 2 3 43 2

2 3 2 1 3 2 1 4

3 2 3 4 3 2 3 4 3 2 3 4 3 2 3 4 3 5 3 1 3 5 3 1 3 5 3 1
3 3 1 3 5 3 1 3 5 3 1

5

1 2 1 4 2 1 2 4 3 2 3 5 3 2 3 5 1 3 1 3 1 3 1 3
42 4

2 42 42 2 43

212 4212 4212 4212 4

1 32

2 3 4 2 3 4 2 3 4 2 23 43

31 3 1 32 1 3 3142

1 32 41 3

2 41 31 32 41

1 2 3 1 2 3 1 2 3 1

5342 3131

5

1 2 3 1 2 3 2 3 4 1 2 3 1 2 3

2 1 4 3 2 1 4 3 2 1

1 2 3 2 3 4 3 4 3 2 1 4 3

3 2 1 2 4 3 2 1 4 3 2 1 4 3 2 1 3 2 1 2 4 3 2 1 4 3 2 1 2 4 3 2 5 4 3 2 5 4 3 2 5 1

4 4 3

5 5

3 2 1 2 5 3 2 1 2 5 4 3 2 1 22 11 23 43 45 43 23 11 22 22 11 23 43 4 43 23 11 22

5

1 5

3 4 3 2 1
3 4 3 2 1 2 3 2 3 2 1 2 1 2 3 2 1 2

3 5 5 4 3

5 5 4

1 2 3 4 1 2 3 4 5
1 4 3 2 1 4 3 2 1 2

1 3 2 3 5 4

3 2 5 5

1 3 2 3 5

1 2 1 2

1 2 5 2 1
&
1
&
1 3 5 1 2 3 5 1 2 3 5 1 5 2 1 5 4 2 1 5 4 2 1 5 4

5

5

5

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

1 3
& &
4 4
3 2 3 2 1

1 5 4 5 3 5 2 51 51 51 51 5 5 5

5 3
2 1 3 2 2 2 1 4 1 3 2 5 3 2 1
2 1 2 1 4 1
FINGERING 29
1 2 3 1 2 1 2 1 2 3 5 1 2 4 5 1 2 4 5 1 2 4 5 1 2
1 42
5 4 5 4 4 5 5 3 5

2 1 2 1 3 2

2
1 2 3 5 1 2 3 1 2 4 1 2
5

5 5 5 5 5 3 5
4 2 1 2 1 2 3 51 2 3 51 2 4 5 1 2 3 1 2 4 1 2 4 51 2 3 1 2 3

3

4 5

1 2 5

5

5 4 3

2 3 5 1 2 4 5 1

5 1 3 5 1 4 2 1 2 1 2 3

1 2 3 2 3 5

5 4 3 1 4 5 4
1 2 1 2 1 3 2 3 5 3 2
5

5

1 5 3 2 3 2 3

1 4

1 2 3 2 3 3 2 2 2142 1

2 1 3 2 1 1

4 2 4 2
4 5
3 2 1 2 1 4 2 5 1 3 2 1 1 4 3 2 1 4 3 2 1 3 1 3 1 4 2 5 1 2 1 3 2 5 1 4 2 5 1

5
1 3 4

5 5

5 2

5 2 3 1 5 2 4 1 5 2 4 1 2 5 1 4 1 4 2 5 1 4 2 5 4 5 2 5 2 4 1 4 1 5 2 4 1 4 5 2 4 1 4 1 5 2 5 2 4 1

4 2 5 2 4 2 41 5 2 5 2 1 2 3 4 4 3 2 1 2 3 4 5 4 3 2 1 2 3 4 5 4 3 2 1 2 3 4 5 4 3 2
5 5

bis bis bis bis
1 2 3 4
5

5 downward 9 or 10 bars longer, keeping down the thumb

1 2 3 4
& and every finger as long as possible; being one of the best
bis bis exercises for opening the hand.
1 5 1 4 1 5 1 4 1 5 1 55
5 1 5 1 5

5 1 5 1 5 1 5 1 5-4 5-4 5
1 5 1 1 5 1 5 5 5 5
1 But when
4 1 1 1

1 1 1 1

wanted
legato, thus:
1
5

5 5 4 25 5

3 4 53 31 4 5 3 4 5 4 3 5 42 31 5 4 3 2 3 42 3 2 3 42 3 2 3 4 5 4 3 4 5 4 3 3 5 3 5 4 25

3242

12 2312 2133 3 2 1 1 1 1 11 2 13121312 12121 1 1

or

5 Staccato thus:

3 4 53 4 3 4 3 4 3 4 5 4 3 3 4 5 3 42 3 42 3 53 4 3 5 4 3 4 3

3 3 3 3 3 4 4 4 4 4

1 2 2 1 2 1 2 1 2 3 2 1 1 2 3 1 1 2 1 3 2 1 2 1

1 1 1 1 1 2 2 2 2 2
2 1 2 1 2 2 2 1 3 2 1 2 3 1 2 2 3 2 1 2 1
5 5 5 4 5
4 5 41 5 4 5 4 1 4 1 4 1 2 1 42 5
4 3 4 3 3 5 4 3 4 5 3 4 5 4 5 4 4 5
1 2 2 1 2 1 3 3 3 4 5 4 3 4 3

2 2 1
legato
legato
2 3 5 3 5 4 2 4 2 4 2

5 1 1

1 2 1 1 3 5 4 5 4 5 3 1 5 1 5 1 5 3 5 3 5 3 5

1

1

1 2 1 2 1 2 1 1 2 1 2 1 2

3 2 31 53 42 13 21 5 42 31 53 42 3 2 5 4 3 4 5 2 31 42 53 42 3 2 5 2 3
5 4
3 1 1 3 2 1 2 3 1 1 2 1 2 1 2 1 3 2 1 1 3 2 1 2 1
4 3 4 3 4 53 4 3 5 4 3 2 5 4 3 4 3

1 1 3 1 1

4- 5 4- 5 4 5
5 4 - 5 4- 5

4 5 4 5 43 43 43 43 43 4

5

3
2
2 1 2 1
1 1 1 2-1 1 21 21 2 3
1 1-2 1 2 21
1
5 5 5
5
4 4 3 5 5 5 5

2
1 1 2 3 4 4 4 1
2 1 1 1 2 1 2 1 4
2
FINGERING 31
THE LEFT HAND.
3 1 3 1 3 1 3 1 3 1
ª
2
5 3 4 2 3 1 4 2 5 3
1 2 1 1 2 1 5 1 2 1
5 5

ª 4 5 4 3 1 1 3 4 5
4 2 2

4 3 2 1 2 1 2 3 4

2 2 2 2 5 1

1 2 1
2 3 1 3 1 4 2 3

3 15 1 3 15 1 4 15 1 4 15 1 2 4 1 5

1 2 4 2 5 1 2 4 5 & 3 1 5 5 1 2 1 2 1 2 15 1 2 1 2 1 2 1 5 1 2 1 2 3 4 3 1 3 4 3 1 3 4 3
1⁀2
1 2
ª

1 3 4 3 1 3 4 3 1 3 3 1 3 4 3 1 3 4 3 5 1 2 5 1 2 1 5
1
ª

The majority of the preceding passages for the right hand can be used for the same exercise with the left
hand, by the ingenuity and industry of the pupil, which is very advantageous.
PRELUDES AND LESSONS
To preserve the order of keys, some of the difficult are intermixed with the easy lessons: but the pupil must
practise the easiest first. Viz: No.1, 2, 3, 7, 8, 9, 12, 15, 17, 18, 19, 20, 21, 22, 23, 25, 26, 29, 30, 31, etc.
LESSON I
PRELUDE IN C MAJOR

5 4 3

3 4
42

5 3 2

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

1 2 3 1
ª 2 21
1
24

213
44 5
AWAY WITH MELANCHOLY: BY MOZART

Moderato
2 2 2 4 3 3 2 3 4 4 4 4

4 3 2 3 2 1 1 1 1 3 2
p 1 f 5
ª

1 2 2 1
4 4
3 4 4 3 3 3 2 2 2 3 2 2
5

7 3 2 1

1 3 1
1
p 2
4 4
1
ª 4 3
3 3 2 2 3 4 3 4 4 3 3 3 2 2 2 1 3 1
5

13

1 f

2
ª
4 1 1
5 4 3
PRELUDES AND LESSONS 33
LESSON II
ARIA

4 4 4 3 3 2 2 1 2 3 1 5 5 4 4 3
42
5 5

1 1
p
1 1
1 5 1 5 2 5
ª2 2

5 3 5 5 5

3
4
4 5
3 3 2 3 3 2 2 1 2 3 1
12 5 4

4 4

2 1 1
f
1
ª 5 5 5 5 3 5 1 2 4 5 2
1
1

3 2 5 5 3

3 1 5
LESSON III
AIR, IN ATALANTA, BY HANDEL
Ï 4 3

1 2 3 2 4 Ï 3 2 1 &
3⁀2

5

4

5 5

4 3 5 5 4 3 4

3 2 1 2
2 3 2 2 4 5 5 2 4 3 3
2 1 1

2
ª
1 3

5
4 5 4 3 2
4 3 2 5 1 2 3 2 4 5 4 Ï 3 2 1 &
3⁀2

4

8 2 3

2 2 1 3 1
4 4 4 3 1 2 5 2 2 1 3 2 4 5 5 2
2 1 2
5
ª
3
LESSON IV
AIR, IN SAUL, BY HANDEL
4 3 2 1 2 1 2 & 1 2 3 5
3⁀2

3 2 5

43
3 3 3 1 3 1 3 1

2 3 5 2 1 5 2 3 5 2 1 2 3 1 2 3 5 2 1 2 3 2 2 2
ª 3
1 3 5
4
3 2 5 4 3 2 1

& 2 1 4 3 1 & 1 4
4⁀5 3⁀2 1. 2.

3

10 2

1 4 1 2 3

2

1 2 5 2 3 5 2 1 2 3 1 2 3 5 1 2 1 5 3 1 2 3 1 3 1 2 3 4 5 1 2
ª

& 12 3 4 & 2 3 4 3
3⁀2 4⁀5
5

19 1 2 1 3 4 5 2 1 3 2 3 4 2 1
3 4 5 2 2
ª 2 4 1 4 2 1 3 5

1

1 1 2

1 2 2 4 3 1 3 2 4
3 3 1 2 3 Ï 3 2 3 4 1 2 4 3 4 2 3
4
5 4
1 5
5 5
Ï
3 3 2 1
28 1

1 3 1 5 1 2 3 3 4 5 3 5 2
1 5 3 4 3 2 5

5 2
ª
1

1 5 1 1

5 1 3 1 4 3 2 1 3 2 3 & 2 3 4
4⁀5
2
⁀5

3 2 5

37 4 2 1 3 2

3 1 3 2 4 2 1 2 5
2 3 5 2 2 3 1 2 3 5 2
ª
1
1 3 5

1 5 4 3 5 3

Ï 4 3 4 2 1 2 1 3 4 2 1
5
4 3 1 4 3 1 2 1
5 5 4 3

3 2

47 1 2 3 5 1 2 3 3

1
1 3 4 1 2 3 4 2 1 5 2 3 4 2 1 5 2 3 4 1 2 1 3 2 5
ª
2 1 4 1 3 5
LESSON V
DEAD MARCH, IN SAUL, BY HANDEL
Grave 4 5 3
"
5
"
4 4 4 3 4 5 4 3 3 3

2 3 1 3

2 2 5 2 1 2 3 2 1 1 1

Ï

ª
1

"
4 3 4 5 4 3 3 4 5 4 3 4
3 4

1 2 3 2

4

2 1 2 3 2 1 1 2

1 2

ª

"
"
4 3 4 4 3 4 4 3 4 5 4 3 4
Ï Ï
7 2 2 2

1 2 3

5 1 2 5 2 1 5 2 1 4 2

Ï
1
ª
2

5 4 3 4

10
Ï

2 1 2

ª

"
Ï
4 5 5
3 2

Ï Ï 2

14 1 1

ª

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

18 5 3 2 3 1
Ï
1 5 3 2 1 1

2

3 5 2 3 3 1 1

ª
2 1 3 2 2 1

4 4

3 2 5

4 5

5
"
5

3 3 5 3 3 3 2
4 3 5 4 3 2 5 4 3

22 1 1 1 1
Ï
2 1 1 2 1 2 2 1 2 3 2

4

1 2
&
2⁀3
ª
3

2

1 2 1 2 5 4 5 1 1 2 5

5 5 4 5 4 3
Ï 3
3 4 5 3 2 1 4

1 2 5 2 2 3 5 2

26

1 2 1 1 2 1 1 2 3 4

4 5 4 5 4
5
1
ª )
3 2

4 1

2 1

5 4 3 4 5 4 5 3

4 5 3
"
3 5 4 3 5 4 5 5 4 4
3 2 3 1 3 3
Ï
1 2

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

4

29 1 1 1

1
&
3⁀2

1
ª
2 3

2 3 1 2 5 4 5 5 1 5

LESSON VI
ALLEGRO BY CORELLI
1 3 5 3 1 3 5 1
Allegro 5

2 5 1 3

2 4 4 2 3 5 3 1 3 5 3 1
2 1 2
2 1 2 5 1
ª 2
1

5 5
5 3 2 3 5 3 5 1 4 2 1 3 5 3

4 2 5 2 1 5 4 1

3

2 3 2 4 2 1 2 4 2

3"
2 4 5 3 1 3 2 5 3
ª 4
4
3

3
2

4

3
2

2 4 1 4 2 1 3 5 3 2 4 5 3

5 5 2 3 5 2

4 5 4 3

5 1 2 4 1
1 2 4 1 2
ª 4"

4 1

5 2 5 1 2
1 3 5 1 2 4 5 2 1 5 4 1 2 3 5 3 1 2 4 1

2 3 5 2

1 4 5 2 1

2 5 1

7
2"
ª 3
1

1 3 3 4 5 3

5 3 1 2 4 2 4 2 4 4
3 5 3 1 3 3 5 4 2 1 5 2 4

5

9

2 3
ª 3
3
2 2
3

2

3 1


5 4 5
1 2 1

11 5 4 2 1 5 2 4 3 5 4 1 2 1 4 1

3 2 4 1 3 1 2
ª 1
3 3

1 2 3 4

2 3 5 1 2 3 1 2 4 2 1 4 1

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

5 5 5

13 2 3
5 3
2" 2"
ª 5
1 2 1 3 4 1 5

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

15 2 3
ª 1

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

5

17 2 4 1

ª

4 4 5 4 2 4 5 4 2 4 5 4 1 4 5 4

2 5 4 2

19

1 5 2 1 2 5 2 3 4 5 1

ª

4 5 4 2 1 4 5 4 1 4 5 4
2 4 5 4 2 1 4 3 4 1

21

2
ª
2 4 5 1 2 4 5 1 2 4 2 1 3 5 2

4 1 5

23 2 1 2 3
5 1 2 4 5 1 2 4
2 2 1
ª
4 3 1 2 2

1 3 5 2

2 4 5 2 1 5 4 1

1 3 5 1

25

5 2 1 3 5 2

1 3 2 3 5 2 1 3 5 1

1

1
ª
3

4 3

2 1 2 5

5 4
1 3 3
3 2 5

5 1 2 3 5 2 1 2

1 4 5 1 2 4 5 2 1

27 3 5 1 2 5 2

1

Adagio
ª 2
1

1

1

1

2 3
1

2 3 4
5
LESSON VII
PRELUDE IN A MINOR

5 4
86
5 3 5 3 5 2

1 1 1 1 5 2 1 4 2 1 5 3 2 1

1 1
ª6
2

3

1 5 3
8
GAVOTTA BY CORELLI
Allegro

5 4

3 4 3 4
2 3

2 31

4 3 4 5 4 5 5 1 5 1

1 2 2

2 3

1 1 2 3 3 3

ª

1

5

1 2 5 2 4 3 2 3 1 2 3 1 2
4 5

4 3 5
&
5 4 3 2 3 5 4
&
3⁀2 5 3 3⁀2

4 1 2 1 1 4 3 2

2 2 1

7 1 1
p f
1 4 1 2 1
1

5
1
3
ª 3 2
5 3 3 5

4 5

5 5 2 2 3 4

3
LESSON VIII
PRELUDE IN F MAJOR

4 3

3 5 3 1 1

1 2 3 2 1 3 2 1 2 1
42
1 2 3 4 1 2 3 1 2

1 2 3 5 3 2 1 5

1 1 1 3
5 5 3

2 3 2 1 2
5
1
ª 2
4

AIR, IN JUDAS MACCABEUS, BY HANDEL
2 3 4 5 4 3
5
4
42 ÏÏ
3

2

3 4 1

5 5 1 2 3 4 5 3 2 2
3 1 1 3 4 3 5
ª 2 5 5 5
4
&
3⁀2
& 1
3⁀2

4 3 4 3 2 3 4 3 4

7 5 3 2 3 2

1 1 1
Ï

1 1 1
ª 5 3 2 3 4 5 2
4 5 3 4 5
4 3 2 3 1 *
3⁀2

5 4

3

13 5 Ï

3 2 3 4 3 4 3 5

1 3 1 1 2 3 4 5
ª 3 4

3 4 5 5

&

19
Ï

ª

LESSON IX
MARCH, IN JUDAS MACCABEUS, BY HANDEL
& &
4⁀5 3⁀2

3 2

2 1 2 3 1 2 3 2 4 2 4 1 3 2 4 3 5 4
ª 2 1 3 1 5 4 2 1 4 3
2

1

2 3 4

6 1

1 3 2 4 4 3 2 3 4 3 1 3 2 4 3 4
2 4 1 2
2 4 1 2
ª
1 5 1 5 1
3 2 3 4 5 4 3
2
& 2 & & 2 3

4⁀5 4⁀5 4⁀5
5 4 3 4 5
3

11 2 4 2 4

2 1 2 3 1 2 3
3 2
1 3 2 5 1 5 4 2 1 2 1 3
ª
4 2

& 3 2 3 4 3 4
3⁀2

17 1 1

4 3 2 1 2 5 4 3 2 3 4 5
21 1 3
2 1
4
ª

1 5

2 5 3 4 3 2 4

& 2 4 3 5 4 3 2
3⁀2
2 4 1 2 3 2

23 2 1 2 3 2 1 3 1
ª 1 2 1 5 3 2 1

4

5

3 1
&
3⁀2

28 2 3 4 3 4 5 4 1 2 3

1 3 2 3 2 1 4 2 4 1

1 3 5 2 3 4 3 1 3 1 3
ª 1
2 1 2 2

3

3 5

LESSON X
SARABANDA, BY CORELLI

5
& &
4⁀5

5 5 5 4⁀5

4 2 4

4

3 3 3 1 1

Vivace
43

3 3 3 2 1 1 2
1
3 1 3 2 1 2 1 2 1 2 1
ª 3 5 5 4 5 3 3 3 5 2 1 2 4 3 5
3 2 1 2 3 4 3 2 1 3 1 3 1 2 15
4
2 31 3 2 &

5 5

5 5 5 5 4 3⁀2

2 4⁀5

1 3

1 4

8

2

2 1 2
4 2 2 4 1 5 3 1 2 4 5 1 2 2 4 5 3 1 2 4 5 1 4 5 3 1 3 5 2 4 1 2 1 5
3 2 1 3
2
ª
1 1

3 1 1

&
4 4⁀5

5 2 5

5
1 2
5 4

3 3

2 4 2

3 3 2

1
16 1 1 1

1
ª
1 2 2 3 2 1 1
3 2 5 4 1 3⁀1 5

1 2 5 2

4 15 3 1 2 4 5 1 2

3 4 2 4 1 3 1 2 4 5 1 3

&
2
4

25

ª

4

LESSON XI
GIGA, BY CORELLI
Allegro
2 4 2 1 4 1 3 5 3 1 3 1 3 5 3 1 3 1 3 5 3 1 4 1
3 5 3 1 4 1 3 5 3 1 3 1

12
8

ª 12 1 1

1

1
8
3 2 3 4
4 5 2 3 5 3 1 4 1 3 1 2 3 5 4 3 2 1 3 4 5

4 3 2 1 4 5 2 3 5 3 1 4 1 3 2 1
4 2
1
ª 2
1
3

5 4 3
5 5

7 2 1 2 5 2 5 3 1 2 3 5 2 3 1 2 5 2 5 3 1 2

1 3 4 1 5 4 5 3 2 1 3 1 1

1

ª
3 3
1

4

5

4 2
3 1 2 1 4 2 4 1 21 4 1 4 1 3 5 3 1 4 1 2 4 2 1 4 1

5 5 5 5 5 5

10
ª 1 2 1 3 2 5 1

2 3

2 4 5 1 4 1 2 4 2 1 2 1 4 5 2 5 2

1

13 2 2
1 2 1 2 1 3 2
ª
2 3 2


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

16 3 3 4
1 3

1 2 1 2 1 2 1 2 3 1
ª 5 3
3 4 1 4 1 3 3 1 4 1 3 5 3 1 3 1 2 4 2 1 4 1 3 5 3 1 3 1
5 5

5

19
ª 2 1 1 2

3 5 4 4 3

2 1 4 2 1 5 2 1 3 4 2 5

22 3 5 3 1 3 1 3 5 3 1 5 3
4 3 2 5 1 5 3 2 5 3 1 5

ª 3
1 3

3

1

4 5 4 1 2 3
3 1 4 3 4 2 3 4 3 3 3 3 3 1 2 3 1 3 2 3

5

25
ª 1
1 2 2

5 2 1 3 4 3 5

LESSON XII
ARIETTA, BY MOZART
Andante 3 5
"

3 4 3 4 5 1 4 5 4 3 3
2 1 2 1
86 Ï
1 5 2 3 2 1 1

2 4 3 2 3
Ï Ï
1" "

dolce

2
ª 6
8
4 3 5 5
"
" " 5 5 4
4 3

6 2 4 2 4 2 3 4 3 1

1 2 3
Ï
4 2 5 5 5

p 2 1 2 1 1"

1 1 1
ª
2 2 2

4 3 3 4 2 5
3 3 Fine. 4 2
5 5 5
5
" " 5
3 4 3
3
1 2 1 5 3 4 3

12 1 D.C. 2 4 2

2 5 5 1 5 1

1 3 4

1"

4 1
2 1

2

3

2
ª
5 1 5
3
4 5 4 5 5 4 5
LESSON XIII
MINUET AND TRIO, BY MOZART
4 3 3 1
5 5 4
3 2 2
3 5 5 5 4
4 5 3 3 2

2 4 4 4 3
43
1 1 1 1 1
3 2

1 1 1 2 5 3 3
Minuet 5 1
ª 3 )
3

2

5 1 1 1 2 2 3 3
4 3
2 41 41 1 2 2 3

2 1 2 3
4 3 4 4 5 5 5 4

4 3 4 5 4 4 5
2 1 2 2 2 1 5 4 5 4 5 4 3 1 3
2 1 41

1 2 1

7

3 1 2 1
ª 1
5 5" 5

1

2

5

1 5
4 5
2 1 1 2 2 2 1 1 2 1 1

5 5 5
4 3 3 4 53 4 5 4 4
3 4 3 1 5 4 5 4 4
2 3 2 2 4

2 1 1

13

3 1
3 4 1
2 1
2
1 3

5 2 3

4
ª
5 4

5 1 5

5 4
5 5 4 5 3 4 2 4 2 1 2 2& 1 2 3 1 2 2& 1 2 3 4 3 2 1 2 3 4

43

fz fz fz
Trio 1
ª 3
2
4

5
2 2 2 2 2& 1 2 3 2 2 2 2 4 3 1

3 5
4 5 3 4 4 3

1

6
fz fz fz
ª

3 2 21 1 2 4 2 3 5 3 1 2 1 2

5 4 5 5 4 5

4

2

3 3 3

1

1 2 4 2

11
fz

1
ª
3
4 3 &
5
3 2
4
3 2 2 2
2 1 1
Ï

3

Ï

4 3
Ï 2

15 2 1 2 21 2
ª

Men.D.C.

LESSON XIV
LE RÉVEILMATIN, BY COUPERIN
Vivace
" 2 3 4* 5 4 * 3% #5
4⁀
"

3
12
4 1 2 4 3 4 2 3 4 3

1 1 2
8
1" 1" 1" 2" 3

ª 12 5 2 1 2 1
8
2
2 3 4 5

* 5 4 4 1 2 3* 4 3 4 3% 2 3 4 3 3⁀#2
5

3

4

1

3 1 1 2 3 1

1" 1" 1"

2" 3
2 2 1
ª 2
1
5
2 3 4 5
5
3
1 " 3 1 4 3 1 4 3 1 3
2
5
1 5 2

5 1 5 1

2 1 5 2 2

ª

% 1 5 5 1
2

7

ª " 1 3 1 2 1 5
3 1 3 4 2 5 3 1

2

5 3 1 3 # 1
4
2
4 5 3⁀2 1

9

ª
3 1 3 4 1 2 1
" " "

3 5 2 4 1

# & 5 5
3#
2

4 5

4 3 4 5

5

5 4

1 1 2 3 1 2 3 2 3 4 4 3
1" " 2" 2"

1
ª 2 2⁀1 5 " 1 1 3 1 2 1 4 2

3 5 1 2 3 5

15
ª 1 3 1 1 3 1
4 2 5 4 2 5

3 3 3 3

4 2 3 # 2 3 4 5 4 3% 2 3
5
% % 1 3#

3

3
5 3 2 5

2

2

17 3 4 2 3 3

2 3 1 1 2 2
1
2 3 1 2 1 2 3 2 4 1 2 3 5 "
ª 1 2 1 3 5 " 2 4 " 1 "

2 1 4 2 4 3 1 4 3 1 4 3 1 2 1 1 2 5

2 5 5

5

20

2

ª

"
# 2" 2"
1 5 4 3 4 2

5 4 5
5 5
3#
4
2 1
4 1 4 1 5 4 3 5 3
1 2 3
5

3 2

4

22 3 1

1 1
2 3 5 2 4 3 3 1 2
1 3 2 1 4

1
ª
5 1

3 5 3
" 2 " 1 5 4 3 4 2 # 2 1 3 2 1 2 4 3 2 1
1 5 4 3 4 2

5 2 5 5 4 1 4 5 5

2 3

25

1 3 2 1 1 1 3 2 1 "
1 3 2
5 " 1 2 3
1
ª
4 1

4

5 3 5
2 3 3
5
&
4⁀5
2 5 1 4 5

3 1 4

28 1 5

3 1 3 2

1 3 1 4 1 2 1 1

ª

4
# 2 1 3# 4 5 1 5 4 4⁀#5 2 2 3 1 2 1 3 4 4 3# 1 3 2 3

2
%
1

3 2

30 1 2 3 4 5 3

3 1

5
1
ª
1
2 3 2

4
3 5 1 3 5

5 5

33 2 1

ª 1 3 4 2 5 3 1

1 2 3 1

4 4 2 3

4
5 3% 2 1 4 2 4⁀#5 2
2

1

35

ª 3 3 4 2 5 3 1 1 3 5 " 4" 1

"
1 1 2 2

The graces of the first and second bar to be played like this:
4 3 4 3 2 3 4 3 4 3 2
4 3 4
Ï Ï Ï
3 2 3 4 3
Ï Ï Ï Ï ÏÏÏ Ï Ï ÏÏÏ Ï Ï Ï ÏÏÏ Ï Ï Ï Ï Ï Ï Ï Ï

Ï
LESSON XV
PRELUDE IN D MINOR

3 5

4 5 3 5

1 2 1 2 1 2

1
ª
1 2

4 3

4

1 2 4 4 5

1 4 3 1
ª -
1 4 2 1

2 3 1
+

5 5

LARGHETTO, BY SCARLATTI
2 % 4 2 1 2 3 4 1
5 4 2 5 4 2 3
3
1 2 5 3 2 1 4 5 4 5

4
1 2 2 1
1 1⁀5
ª 3 4 2 4
1

4 2 1 2 1 2 5 4 5⁀3 4 5
4

&
3
*

3
óÏ Ï óÏ
1 2 1 2

7 1
5 4 2 1 1

2 2 3 4 3 2 2 3 5 4 3 2

2 1
ª 4⁀5
1 1

3⁀1 2 5 4 3 2 1⁀5 5 1 5 1 2 5

5 4 1 %2 1 5 5
Ï 3 1 2
3 4

13 5 3 2 1 5 4 3 1

3 4 2 2 4 2 3 1 2 2

ª 4 1 2 5 2 1 1 2
1 2

1 2

5

4 4 2 1 2 5 3 4 1 2 5 4 2 1
Ï Ï
3 4 5

3 1

19 4 2

5 4 3 2 1 3
Ï
ª 2 4 2 1 2 1 4
1 2 1 1

5 5 5

4 3 2 1 2 1 2
& 3 2 1 *
3⁀2
ÏÏ
3

24 1 2 2 3 4 2

1
óÏ
ª 5 3 1 3 5 1
3 2

2 4 1 5 1 2 5

LESSON XVI
ALLEMANDA, BY CORELLI
Allegro
3 2
5

5 5 4 4

3 3

2

1 5 3 4 5 4
ª 3 2 3 3 4 5 4 3 4 5 3 4 5
1 1 2 1 2 1 2 3 2 1

3 2 2 5 5

5
4
4 5

3

1
3 2 3 1 2 3 1 4 3 2 4 3 2 4

2
1
2 1 3 2 1 3 4 3
ª
1
3 2 1 3 4 3 3 4
3
5
2
4 4 5
2 3

5

1 3 1 2 1 2 1 2 3 4 3 2 3 5 4 3 2 3 2 1 2 3 4 5 3 2 3 5 4 3
ª
"
3 3 4

5
1
3 4 2 1 2

2 3 2

7 1

2 4 1 2 1 3 1 2 1 2 3 4 3 5 2 1 1 4 3 2
ª
3
5

4

4 3

4 3

2

1

2

9 2
1 4 3 2 2 3 1 4 1 2 3 1 2 1 2 1 3 5 2 4
1 1
ª
2 1

"
5 5
1
3 4 3

3 1 4 3 3 4

2 1 2

3 1

11 2 2

1 3 1 2 1 2 1 2 3 2

ª 3⁀5 5 4 3 5
2

5 3 2 4 1 4 1 5
3 2 3 1 2

5 4 4
1
5

5 1 2

3 4 4 3 2

3

2 3 2

1
14

1 2 1 2 1 2 1 2 3 2 3 4 5 4 3 5 4 5 4 3 2 4 3 2 1 4 3 5 4 3 2 1 4 1 2 1 5 3 3 2
2 1
ª
2
2
4 3 5 4
2 3

17 1

ª
1 2 1
1 3 2 1 3 4
3 2 5 2 3 4 1 2 3
1

1 3 2 5

5

4 4

3 5 4

4 3 3

2 2

19 1 1 3 1

2

1 4 2 1 3
1
ª
2 1 3

5 4

4 2 3 4 5 4 3

3 3

4

3

1

2 3

1

21 2

1 5 3 4

1
ª 3
3

2

3

4 1

1 4 3 2

LESSON XVII
SARABANDA, BY CORELLI
Allegro 5
5 5

4 3 4 3 1
1
3 4 2

1 1 4⁀3
2
2

1 2 3

86
1 3 5 1 3 5 3 1 5 1 2 1 3 2 1 2 1 2 3 4 3 2 1 2 1 3
ª 6
8

1 1 2 3
5 4
23 41 3
5 5

4 3 3 2 31 3 42 3 42 3 4 3 4 5 4 3 5

1 2 2 3 2 1

6 2 1

1 2 3 4 5 3 2 3 1 2 3
ª 3 5 3 " 5

1 3 4 2 1 1
2 1 2 3

4 5
2

4
1
4

3

12 1 2

ª 5" 4
1
3 "

LESSON XVIII
PRELUDE IN G MAJOR
5 4
3 5 4 3 2 3 2 1
2 2 1

1

1
4
1 1
ª 3 4 3

5 3
3
5 4 3 2 1 3 2 1 4

5
3 2 1 4 3
2 1 2 1
3

2 2
1 2 1 2 1 4 2 5
1
ª
5

AH VOUS DIRAI - JE MAMAN

2 1 1 3 2 3 4 5 3
Ï Ï
3

3 3 3 2 1 2 2

1 4
4
2 1 4 5 5 4 4 3 3 3
2 4 1
1 5 2
4 3 2 5 3 5 5 1
3

1
5 1
ª 2
1 5 1 5 2 5 3
4
5 5 3 3 2
4

5
2 1 2 3

13 2 1 1 4 5 3 1

4 3 4 5 3 3 2 1 4 3 3
Ï Ï
ª 1 1 4 3 2 4 2 1
1

5 5 1 4 1 3 2 5 2 1 5 1 5 1 5

LESSON XIX
TRISTE RAISON
*4

5 4 3 3⁀4
3
3 3 4 3 4 4 3

5 4 3 2 5 4 1 5 4 1 5 5
4
1 1 2 1 2 1 2
!
2

3 2 3 3
ª 3 5 1 1 1
3

2 2 5
4
5 4 3 3⁀4

3

3 2 5 4 1 5 4 1
Ï Ï
6 2 1 3 4 3 3 4 3

2 3 5 1 3 5 2 4 5
Ï
Ï ÏÏ
1 1

1

3

2

3
ª
5

3 5

1 5 1 2 5 5

5 31 42 4

5 4 3 3⁀5 4

4 3 4 4 5 2

2

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

1 2 1 2 3

12 1

3 1
* Ï

ÏÏÏ

2
1
ª
2

3

5 1

LESSON XX
FAL, LAL, LA. AIR IN THE CHEROKEE.
" 5 4
" 2. 4 4 5 4
42
1 5 1 2

3 3
" 2 2
1 2 4 4 4 1 5 3 2 5 1 1
ª 2 4

4
5 1"

3

5 2 1 2

6
Ï
4 4 3 1 3
Ï

5 4 23
ª
1

5

2 4 5 2 4

1 3 5

3 1 2 3 4 3 1 5 5

1 3 2
1 2 4 2
ª
1⁀5

5
"

15

Ï
Ï

ª
LESSON XXI
LARGHETTO, BY PLEYEL
" " "2

5

5 5 2⁀4 3

4 5 5

3 4 4 3 4 4 1

3

3 2 3 3

1 2 2 2

f1 2 1 2
1
dolce
1 3 4
ª 3

3

" 1 3 2 2 2 1 2

3 5 4 5
5 4 3⁀4 1 5

3

7 2 2 2 2

3 2 1-2
p p cresc.

5 1 1 3
1
ª 4
3 2 2

1
5
3 5 2 4

5 4 3 3 3
"

2 1 Ï 1

5 3 2 1 1 1 3 3 3

3

13 2 3 2 1 2 3
1 1

1

1 3 1
p
f

1 1

dolce

)
2 2

4 3

1

5 3

" "

2 1

19 5 1 3

Ï
f p 2 1

5 1 3 2
ª

LESSON XXII
ARIETTA

Allegro
2
2"

3 3 2 1
42
3 3

1 5 3 4 2 3
2 1 2 4 5 3 1 3 5
2 1 5 3 2 1

ª 2
4 5 3 5 3
2
5 4 5

2 3

5 3 3 4 2

1 1
#

5 3 4 2 3 2
5 3 5 3 2 1 5 3 2 1 42 3 1 3

ª
1 2

4 2

5
4 3 2 3 2 3 2 5
Ï

10 3

1 1 2 3 2 1 2 1
2 1 2
5 5 2 2 4 2 2 4 2 1 2

ª
1 1
4 3 2 1 3 5 3
4 3 2 3 4 3 2 3 4 3 2 1 Ï Ï Ï
4 3 1
Ï
2 2
Ï Ï Ï Ï
1 1

14 2
$

3 Ï
Ï Ï
fz 12
2 1 2
5 2 2 4 2 2 3 2 2
ad libitum
5
ª
1 1 1

3
5
"
5

16 3

1

3 4 2

ª
a tempo

20

ª

LESSON XXIII
GERMAN HYMN, WITH VARIATIONS BY PLEYEL
Andante
" "
5 5
2
4 3 4 4 5 4
1⁀2 3

5 1 5 5

1 2 2 3 1
4

2 1

3" 4 "
ª 2 5

3
4
1 1 5

5
"
5 5
"
4 3 3 4 4
4 1⁀2

4 3 5 5

2 1 1

9 3 2

1 1 2 1 1
%
p pp
fz
4" 5
"
5
ª 3 3 5 2
1 2

5 4

2 5 3 2
3

5
1

4 4 5
2
3

2 4 2 3

1

1 1 1
&
4
p
1
2 3 1 1 2 5
Variat. sempre staccato
I
ª 2 "
4
5

5 5

4

3

3 2 3

2

1 2

6 1

1 p
ª

"

4 5

5 2
2 3
11

1 1
%

f

ª

2 1 2 3 4 5 5 1 2 " 3 5 4 Ï & 2 2 1 2 3 4 5 5
3
4 1

4
2 3

" "
Variat.
II
ª 2 dolce
4
Ï "
5 4 5

2 3 5 3 4 3 2 1
Ï
7
5
2 1 3 2 3 1 5 2 4 4 3

1 3 3 1 5

4
'
p f
2 2
ª
3

1

4

5 1 2

1 2 "

12 2 3 1

2 3 2 1 2
Ï
p
ª "

5

2 1 2 3 2 5 3 2 3 1 2 4 1 2 5 2 1 3 3 1 2 4 2 4
5

4
" "
Variat.
III
ª 2 " "
4
1 3 5 3 2
5

4

ª " " "

4 4 4 1 5 3 1 2 1 2 3 1
1. 2.

7 1 5

ª "

3 3
2 3 1 4 4 2 3 1 2 4
5

5 5

5 5

10

1 3 3

ª " " "

Ï
1

5

13

2 1 2 3 1

1 1
ª " " "

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

"
16

ª "

LESSON XXIV
ANDANTINO, BY DUSSEK
Andantino ma Moderato e con espressione

"
2 "
5
"
4 4

1 4 4

3

1 5 5 2 3 2 3 3 3 3 4
4
4
1 1 2 Ï

(

p 1
1
1
2
1 2
ª 2
1 1 2 1
3
2 4

2 5

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

3 3
2-5
4 3 4 4 5 3

1 5 2 5

2 3 1 4

8 2 1 2

4 3

(
pp
f
rf 1 1
1 3 1 3
1
)
2-3 2 1 1

3

3-5 4

4 3

1
2
5
" "
ten. 5 4 4 5
5 2 2

3 4 5 1 1 4 2

15 5 4 3 4 3 2 3 4 1
31
1 1

p
Ï Ï
21
"
1
1
ª 1

2 1 2 1
1 2
2 1 1

2

3 4

1 3

3 5
4
5
" "
5 4

4 3 4
5 3-4
5 4

4 3 4 5 4 3 3 2 3-5

5 4 2

22 2 1

3 1

Ï

óÏ Ï óÏ Ï
pp

1 1 2
2 2
cresc.
ª 21
1 1
1

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

1 2 5 3-1

3

28 2

Ï

)
p2
1 f 1

1
1 2 3-4
ª
2-3 2 13-2

1 1 3 1 3

2

2 3-5 4

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

2

1 1
4 4
1 3
4"
2 1 1

1
ten.

5 5

4 3 4

34

5 3

'

Ï
1
1 pp 3 3 1-2
1 4 1 4 1 1 2 2 1 2 1 1
2
2 4 25 5 3 1
2
4 2-1 1
ª
2

1

5 5 4 3 5 4 3
LESSON XXV
ALLEGRO, BY HANDEL
3 5 3 5 1

5

3 5
&

4 4 2
4
2 4 5 1

5
3
2 2 1
ª 3 4 2
4 3 4
1 4 5 1 2 3 1

4 2 5 1 5 3 5

4 1 5

1

2
1 2 1 3 2
1 2 4
ª

1 3 4 5 1 5 1

5
3 5 4 3 2 1 4
5

8 5

1 3 2

ª
3
3 1

2 2

5

5
4-5
1 1 2 3 5 3

5

11 2 1 4 3 2 1 2 1

1 1

ª
4 2 1 4 2 1 5 1 5 2 4 5 3
5

5

14

1 1
2 1 3 2 3 3 2
ª 4
2 1

3 1 5
5 1 1 2
4
3
18 1 5 5

2 1
3 2
2

1 1 2
ª
3 1 1 4
5
5 3 4 2 5 1 4
3 4 3
5

21 1 5

3 1 3 2

1 2 1
ª
5

5 3
4 1
4-5

1. 2.

24

3 5 5

5 2 1 2 1 2 5 1 5 2 4
*

2 2

1 1
ª

2 3 1 3 1 2 4 5
5 2
LESSON XXVI
MINUET IN SAMSON, BY HANDEL
&
3⁀2

2 4

4 2 1

83
42 5 3 5
1 5 1 4 5
2
2 1
ª 3 4 3 5 3 1 2 3 4
1

1 5

1 5

2 1 3 4 1

1 3 2
8
" "
4 5
2 5 &
5 4⁀5
"
3 4 5 4 3 4 5 4
2
1 1 3 4
5 4 5 3 4 4 5

2 2 3

2 1 2 3 2
1

2
2 1 2 1 1

9

4
+

ª 3 4
1 1

1 2

3

& & 2 & 4
&
2 5⁀2 5

,

17 4⁀1 2 4

1 3 4 2
1
2
ª 2 5 3 1 2 3 5 1 3 2 1 3 5 3 1 2 3

1 1 1
& 23
5 5
" "
4 5 5

4

2 4 5 4 1

2 5

25

3

1 1
1
1 5 3 2 1 3-5 5 5
2
ª 2
3

3 4 31
"
3 4 3
&
3 3 4 5 3 5

5 4 1 2 5 4 5
1 2 1

5 1 2

3 2 1 4 1 2

33
-

ª

Fine.

4⁀5
& 2 31 & '''''''''''''''''1 3 1
4 3 2
5 1
3 4 3 4 5

1 2 1 2 3 2 1

42 5

1 3-5 2 3 5 2 1 2 1 3 1 3 5 2
ª
1

2 5 4 3
&
5 3 4 &

50

3 1

ª
2 1

5
" " " &

57

D.C. al Segno
ª

LESSON XXVII
GOD SAVE THE EMPEROR, COMPOSED BY DR. HAYDN
Poco Adagio Cantabile 5

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

3 2-3 2 4 3

2 2 4-3 2 1 2 3 1

1 2 2

1 3 1

2
3
5 2
3 2 1
ª 21

2
41 5
3-2

1 5
45

"
5 5
4
5 4
4 5
4 3 4 2

2 5 4 1 5 2

1 1 1

4 2 1 3 2 1 1

3 2

3 3 1 2 3-2 2 1 2 1 1

5 3 1
ª
2 5 2

5 5 5-3 3 5 3 2

5 4

4
4-3 3 5 4 3-1 4

3 2

2 2 3 4 2 3-4 2 4-5 4

5

11

1 4 1 5 2 3 1

1 1 1 1 2 1 2 3

Ï
.

Ï
4 5
1

2

1

1 5 2
ª 21
1 1 5

2

5 2

2
3 4

5 5
LESSON XXVIII
RONDO IN THE GIPSY STILE, BY DR. HAYDN
2 3 4
Presto
"
3 1 4 2 3 1 3 1
4

5 3 4 2 3 5 1 2
3 4 5 3 4 24 1

ª 2

4
"

1 2 1 2
!
6 4 4 1 3 1

3 2 5 3 1 2
"
ª

11

"
)

5 4 3 2 5 5 4 3 5 5

16

fz fz

ª

fz fz
1 3 2 4 3 2 4 1 3 1 3 2 2 1 2 3 1 2 1 3 1
3 2 4 4 5 4

20

ª

3 4 2
4 5
1

4 4

24

1
"

29

"
)

4
"

2 5

4 3 4 3 2

3

34

1 2 1

2 1 1 4

fz
ª

" "

40

fz fz
ª

"

46

ª

" " " " " " " " " " " "

52
$

ff" " " " " "
ª

" " " " " " " " " " " "

58

" " " " " "
ª

" " " " " " " 5 3 ÏÏ ÏÏ 2

2 3 2 3

4

1 4

64 2
$

1

" " " " fz fz

ª

3 3 3 3 3 ÏÏ ÏÏ
1 1
5
70

$

fz fz

ª

ÏÏ ÏÏ

75

$

fz fz

ª

ÏÏ ÏÏ

3 5 4 3

3

80
$

fz fz

1 3 2 1 2

ª
3
3 5 4

3

5

85
1 1 2
ª

90

ª

95

" "
ª )

100

fz fz

ª

fz fz

105

ª

109


114

" "
)

"

119 1

ª

1

124 1
#

fz fz
ª

3
2 1 2
5 4

2 4

1. 2. 2

129

ff

ª

ff

3
2 3 4 3 1 3

134
1 2 1

fz
ª


139

fz ff

ª

ff

144

ª

149

ª

154

p " "
ª

)

159

fz fz

ª

fz fz

164

ª


169

"

174

"
)

179

ff 2 1 3 1 3 1
ª 4 3 4

183

"
ª

"

187

"
"
ª

"

191

ª

LESSON XXIX
PRELUDE IN E MINOR
5 4 5 2 5 1 5 1 5 2 5 1 2 1 2 1 2 1 2 1 2

ª

1 3 2 4 1 3 2 3 2 4 3 2 1 3 2 1 2 1 5 4 3 1 2 1 2
4 5
3

1 1
3 2

3

5
ª
5

5

1

ª
4 3 4 4 4 4
1 2 1
5
TAMBOURIN BY RAMEAU
% 1 2 3 4 1 3 2 1
Vivace

1 1 5 1

ª
2 1

1

% 3 2
3 3 1 % 1
% %

2

7

1 3
ª

% 5 4 2% 1 % 2% 1 3 5 3% 2 1

13

ª

%
%

19

ª

% 2 3 3% 1 3 % 1 2 3 % 2
1 5 1 3 4 3
2 3 3

25

2

1 1 2 1

1 1 1 2 1
ª
2

2 2 2

3

5
5

31 1 3 4 3 5

2 1 1 1

ª

% 1 %

5

36 2

5
ª

% Ï Ï 4 Ï Ï 3 2 Ï Ï 4 3
4 5

3 4

42

3

3 1 1
ª

ÏÏ Ï Ï 4 5 Ï Ï 4
4 5 4 5
ÏÏ ÏÏ ÏÏ Ï Ï 2

2 3 2 3 2 3 2 3

48 3

2 2 1 1 2 1 1 2 1 1
ª

2 4 1 4 2 4 2 4 1 4 2 4 1 4 2 3 1
5

53

ª

1
1 3

58 1 2 1 2 3 4 2 4

1 4 2 3 1

1
ª

LESSON XXX
PRELUDE IN B FLAT, MAJOR

6

sempre legato 1 2

2 1

2 4 5

4
ª
1

5

4

4 2 3 5 3 2

1 1

ª 3 1 2
1 2
2
1

4
5
3
MINUETTO BY SCARLATTI
3 5 2 1 2⁀1 4 4 2 ÏÏ 4
5 4 55 2 5 5 3 4
&

3
4
2 1 1 2 5
5 1 2 1 2 1 2 1 2 1 2 1 1 2
ª 3
3

4
4

Ï 3 2
2 5 4 Ï 3 2 1 2

5 4 5 5 4

4

8 5 1 2⁀1

3 2 3 4 5 3 2
1 1
ª 4⁀1 5 2 1 5 1 3 2 4 1 5 3 2 4

3 2

4 3

2 1 4

1 4 &
4⁀5 2
5 2
5 2
1
5 1 3
3 4

1 2 1 2

15 5 1

5 3

2 2

1

1
4
ª 4 2 1 1
1

3 2 2 2 1 2 3 3

2 4

1 1 2
ÏÏ (
4 2

2 3 5 2

3
22 4 3 2 5 4 3

4 1 3 2 1 2 1 2 3 Ï 2 1 2 3 1

1 1
3
1
2
ª
5

4 4

4 5 5

5 5 3 2 3 2 1

LESSON XXXI
LINDOR - AN AIR
4 5
Allegretto
"
3
"
5 3 1
4

3 4 1

5 2

4 5 1 3 4
42
1 3

4 2 3
3 1
3
2
5 3 2 1 1 4 1 2 4 1 5
ª 2
1
4

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

4 3 4
1 4 3 1 4 4 3 2 4 4

2

7

1

1 5 2 4 1
2
4 2 4 1 4
ª
1

4 5 4

3
3 Ï 4 3 2 2 &
3 2 5 1
4

13

2
" 2 1
ª
1
2 4 2
2

4

5 2 3 1 5

1

5 4 1 2

LESSON XXXII
MINUET AND TRIO, BY MOZART
5 4
4
4 3 2 3 2 4 3 1 2
2
3 2 3 3 3
1

4
2 3 4

2 42
a tempo di ballo 1
ª 3 3 35 3

Minuet 1 1 2 1 3

2 1 2 5

1 5 2 4 3
4
4 3 4
& 34 4 5
4⁀5
& 1 2 3
3⁀2
" 2 2
4 5 5 4
2
5 5

1 3 5 1 2 1 4 3 4

2

7 1 2 1

fz fz
ª 2 1 5

4 1 2 "

3

4 3 1

5 4 2

12 2 1 2 1 2 3 4 5 2 3 2 3 4

Ï

2
1"

2 3
ª
1

2 1 2 2 4

5

4 3 4 3 4 4 3 2 1

3
4 5 3

5 4
43
4 4 3 5 4 5 5 4 3 2

2 3 1 2 1 3 2
(

3 4 3 4 3 4 3 5 1 2 1 4 1 5 1 4 1 5 1
5
1 2 1 2 1 2 1
Trio
ª 3
4
5

5

4 4

5 3 5 5
3 4 2 1 3 3 4 2 3 2
5 1 2
3 4 4

2 1 3

4

7 1 2 3

2 1 2
#

2 3 1 2 3
1 2 3

2 5 2 1 4 3 1 3 4 3 3 4
1
1
1
ª 5
2 1 2 1

2 2 2

3 2 1 2 1 2
3

4

2 1

5 5 4 3 2

2

1 5 4

12 3

1

1 2 3
Men.

D.C.
ª 5
1

4 4 5
st
N.B. The last note of the bass in the 1 part must be played
d st d
with the thumb the 2 time, on account of the 1 note in the 2 part.
LESSON XXXIII
GAVOTTA IN OTHO, BY HANDEL
2 2 5

4
5

3 1 3 5 4 1 2 4 3

5 4
Ï 3 2 1 4 2 3 2 1
(
2 1
ª 2
5 3 5 2 3 1 3 2 3 4 3

( ( 2 1 3 4 2
4
5 4 3 Ï 4 3 2 &
4⁀5

3
Ï
2

5

3 4 4

5 1

6

4 1

4
Ï
/
Ï
1
2
ª 2 2 5 2
3 1
2 4
3

1 3 5 1 2 5 1 5 1 2
( ( 2 1 3 4 2 3( 2 1 3 2 1
5 5 5 5
4⁀5

3 2 3 2 3
2 1 Ï
1 1 1 1 4

12 4

1

1 3 5 3 2 5 1 2 1 5 3 1 2 5 4 2 1 2 3 1 2 4 1 2 5 3
ª
1

5 1 2 3 1 3 2 1 2 4
%1 1 ( 2 1 5 (

3 3 2 1 4 5 5

2

17 3 4 5 3

1 1

3
ª 2
2 1

1
3 1 3

1 5

1 3 5 1 3 2 5

4 5
3 5 1 4 3 2 & (
4⁀5 4

2

5

2

5 Ï 1

5 5
22 1 2 Ï

0 1
3 5 3
1 2
ª 3 1 1
3 3

1

2

4 5

5 5 5
3 4 3

1

2

1
Ï

&

27 5

2 Ï
Ï
/
Ï
( 1
5
5 3 1 2 5 3 1 5 4 3 2 4 5
2
ª
1 2 1
2 1 2 5 1
3 5
3

2
5

LESSON XXXIV
ANDANTE WITH VARIATIONS, BY CRAMER
5
2 5 " " "

3 4 3 1 5
4 2
4 2 3 1 2 4 3

2 5 4 2 1

1
p
3
" dimin.
4
1
" "
2 1
ª 2 5
4 3
4
"
" " "

p
2 14-3 2 3 " "
ª 3 4 5 "

2 5 4 2 1 2 3 4

4 1

2 1

3 1
42
2 1 1 2 4 2 1 2 3 5

Variat.
"
I
ª 2
4

5 4 1 2 4 3 2 5 3 5 2 5 1 3

"
1 2 3 4 1 5 1 dimin.
ª
rf

"
5

3 4
!

1

1

ª "


5 1 2

14

3 4 1 5 2 3 5 2 4
"
p
ª
"

" "
2 "

4

Variat.

II
ª 2
4
4 3 2 1 3 2

"

4
Ï
fz p
ª

"

"
"

7

"
ª "

"

"
Ï

fz fz
ª

" " " "
" "

Ï Ï

13

p

ª

" " " "

"

16

p
ª " "

"

"

5 4
2 2 1 3 1 4 2 1 2 1 2 1 4 3 1 5 3 1 2 3 5 1 2
1 4 2 5 5 4 4 3 5

1 4 4 2 4 2
4
f "

Variat.
III
ª 2
4

5 2

5 3 5 3 5 2 5 3

5 4 2 1 3 1 2 5 2 1 5 4 1

2 1 4 2 1

5 1 3 1 4 2 1 1 1

rf fz dimin.
ª

4 2 5 3 5 4
" 1 2 3
5 4 3 2 4
1 5 4 2 5 3 1 5 4 2
!

8

5 4 2 1 1 1

"
ª

2 4 3 2 4 3 2
1 2 2 4 3
2 1 3 2 3 4 5 2 1 5 4 2
3 4 5 4 3 4 3 2 4 3

12

1 2

" )


1
15 5 2 1 5 3 2 5 2

4 2 1 4 3 1 4 2 1 5 2 1 5 5 4 5

3 1 3 1 3 1
fz
2 1

5 4

2
ª "

" " "

"

Ï

"
"
ª

ff
LESSON XXXV
PRELUDE IN G MINOR

4 3 1 2

ª 3 1
1

5 3
5 4 3 2 1 4 3 1 4

3 2

3 2
"
3 2 1 2 1

ª "

ALLEGRO, BY SCARLATTI

4 3 4 2
3 5

2 2

1 2 4 2
1 2 1 3 5
ª

3 1

5 4 5
2

4 4
2 1
ª 3 2

1 5

4

6

ª


2 4 3 1 3

8

2 5 2
" 3 1 3
ª
" & "

3 2
4

1

10

1 Ï

2 1
4 4 3 3 2 3 3 4 4 3 4 3 4 3 4
ª
4
& " &

5

4

12 2

1

5-4 3

5 1 5 1 2 2 2 3 4 1
ª

4 3-5

4

14 3-4

1

ª 1 2
2 1 2
1
1

& 2 3 1
4⁀5

4 5

16 3 3 4 3 4

2 3 2 1

2
ª
1

2 1

4

4 1 2 & 2 1 5 2
4⁀5
4

1 3 5 2 1 5 1 4

18 4

4 1
ª "

5 2 3

4 2 1 4

5 3
ª
4 3 2 1

24 2

ª 2 1
5

3
& 2 4 2 5 2
4⁀5

26

5

1 2
1 "
ª
4

2 5 3 4 5
5

28

2
1 1 2 3 1 2 3 4 1 2 3 1 2 1 2
ª

5
5

5
ou 2 1 2
5 5 3 1

5 5

30

1 2 1
3 4 2 3 1 2 3 4 5 3
ª 3

4
3 1
4 3 1 2 4 3 1

32

3 1 3 1 2

ª 5
3

3 5

2 2 3 3 4

1 2 & 1 3 1 2 1 3
5

5

34

2 1 4

ª 2 1 3 2 1 5 5 4 3 2 1 1 2 1 5 2 3 4 5
1

3 4 2 4 2 3 1 2 1 5 4 5 2 & 1 2 1
3⁀2

37 4 5 3 4 2 4 2 3 1 5 2 5 3 4 2 4 2 3 1 4

2"
ª 1
3 2

4

2 1 2 4 1

& 2 1 5 1 2 3 5 2 1 5 4 1 2
4⁀5

4 5 4

4

4 1 3 2 1

,
40 4 5 4 1 4

2"
ª
1 2 3 2 1

3 2

4 3

LESSON XXXVI
PRELUDE IN D MAJOR
Allegro 4

4 5

1
6 1 3

ª
6 1 3 1 1

1 1
3 4
4 5
1
4 3 4

5 2

2

2 2

1

3 1 3

1

1 1 1

4
3
ª

1
2
3
GAVOTTA, BY CORELLI

Allegro 5
1 & 1 1 1 &
2 3
1
2
5 3 3⁀2 4 5
4 3 3⁀2
4 4 1

1 2

4 5 3 4

1 3
3
2 5 2
5
ª
1 1

2 2

1

4 5 2
3 2 1 1 2 1 4 5 3 4 & 1
5 3 2 3⁀2
4

3 5 2

3

5 4 1

2 1
ª 5 2 2 1 2 1 4

5 5

2 1 3 4

LESSON XXXVII
MINUET IN ARIADNE, BY HANDEL
4 2 1 3 4 4 3 4 3
3
3
3 4

5
1 4 5
2
4 Ï Ï Ï

2 3 5 1 2 4 3 Ï
1 3 2 1 4 2 4 3
1 2 1 3 5 2 1 2 1
ª 3 dolce

1 3 5
2 1 2
4
Ï 1 3 3

3 2 & 1
3⁀2
Ï 2
3 5⁀2
3
5 1 3
4
"
8
-
Ï
4

1
p
ª 1 2 3 4 5 2 5 4 3 4 5 1 2 1 3 5 2 3 1 5-2 5 1 2
2

5 1

& 1"
4⁀2 &
5

3

Ï Ï Ï
17 1

5 4

2 3 2

pp
f
ª
3 1 3 2 4 1 3 2

5
3 1 3 2 1 3 2
4 5 4 5 4
Ï Ï
5
2 3 2 3 1 3
2
Ï
⁀2

4

4
26

1 2 1
pp
ª 4

5 1 3 4 2 1

& 1" 2 & 1 2 1

4⁀2 3⁀2
& " 4

34 5
$
Ï
Ï Ï p
2 3 5 4 1 3

f Fine

ª

& 2 3 1 3 5
4⁀5
& 2 3 1 4 5
4⁀5
& 123
3⁀2
3

4 4 2

3

43 3 2 1 3 4 2
Ï

cresc. f dolce
ª 3 5 1

3 4

5 1 2 4 1 5
2 1 3 2 5

& 21 3
4⁀5 5
5 & 1"
4⁀2
4 5 3 Ï
3 3

4
Ï Ï
3 2 3

2

51 4
2 4
2

1

1 3 1 5 3-5 1
Da Capo al Segno
ª
2 4 3

3 1 3 1 4 2

LESSON XXXVIII
MARCH IN THE OCCASIONAL ORATORIO, BY HANDEL
4 3
5

2 3 42 3 42 3

2⁀4

3

1 1 1 1

4 1 1

2 2 2
ª 3 2 1

3

4 2 1 4 2 5 2 1 3 2 1
4 5 4 5 5 5
2 4 31 4 3 4 5 4 5
1 2 3 2
2 1 4 3 3
2
2 2 2 1 2 3 2 1
1
2 1 3 1

7 1

ª 3 2 1 4 3 4 3 2 1 5 1
4 3 4 3 1
5

5

& 1 "
3⁀2 5 5 5 5 5 4

4 4 4 3 4 4 3 4 1 4 31 2

2

1 3 3 2 2 1 2 3 4 2 1 2 3 1 1

1 2

2 1

12

1 1 2 3 4
ª 4 5

1

5

5 4

5 3 5 5 4

4 4 4 2

5 2 2 1 2 4 2

3 3 1 1 2 1 1 3

2 3 2 1
19

1
4 1
3 2
ª
5 4

5 3 5 3 4

4 5 4 5 5 5 5

4 4 5 4

3 4 4
1 1 & 1
3

1 1 2 4 2 1 3 2 1 3 1 2 1 2 3⁀2
2 2

5 4 3 1

24

1

1 2 4 1 5 1 4 1
ª 4 3
2
5 4

5 5 3 3
4
3 4 4 2 2
3 2 &

5 4

2 5 2 2 1 1 3

30

1

2 1
ª
2 1

2 1 3
LESSON XXXIX
WALTZ, BY BEETHOVEN
Presto
2 1 4 2 5 4 2 1 2 3 5 3 3 2 1 5 4

5 5

2 5 4

2 1 4
43
4
ª 3
4
5 4
5 4
5 5 3

7

2

2 5 4 1

ª

5 4 2
1. 2.

14

2 1

Fine

ª

1 3 2 2 1

21

ª

1 2 3 3 2 3 1 4 4 1 4
5 5 5
5 4 2 4

27 4 3

1 3 1 2

ª

5

34 2

ª

40

ª D.C.

LESSON XL
ALLEGRO, BY CORELLI
4
5 1 5 2 1 5 1 2 1 2 3 5 3 2 1

5 1 2 1 5 4 5

2 4 2
1 2 4 1 3 3

1 2
⁀1
1
ª
4

5

2 5

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

5

5 1 2 5 3 1 5 2 1 5 4 1 3

3 1 3

1 4

1 1 1
ª
⁀2

2 3 5 4⁀5

3 1 2 3 3 2 1 2 3 5 3 2 1 2 4 3 4 1 4
5 5 1

5

2
1
⁀1
ª
4

5

2 4 5 1

1 4 2 3 1 2 4 3 2

5 5 5 5 5

2 4 3 2 3 1 2 1

7

1 2 1

1
ª 2 2⁀1

4

3 2 5 4

4 3 2 5

1 2 1 1 3 2 1 3 2 1 2 2 1 4
5 2 5 4 5 5 4 5 5

1 2⁀1
ª
1

1⁀3 5

5 5 4

2 3 4 5 2 3 4 5 2 1 5 4 1 5 4 5 2 5 2 5 1 5 3 4

11

ª 2
2 4 3 2 4
2 2 2 1 4 3 1 3 4 1 5 4 5 2 5 1 5 3 4
5 5 5 5 5

13

ª
3

1 5 2 4 2

2 5 2 5 1 5 3 4 2 5 2 5 1 5 4 5

&
15

ª 1 2 1 4 2

4
2 5 2 4 3 4 1 2 4 1 3 1
5 5

17

ª 1
1 4 2⁀1

5 4 5 2

3 1 1 4 3 4 2 4 2 5 4 5 1 4 3 4

5 5

2 5 4 5 2 5 3 4

19

ª

5 1

1 2 4 3

5 4 5 4 3 4 2 4 2 4 3 2
3 3

2 1 1 1
5 5 5 5 5 4 5

21 2

1
ª
4 1⁀5

1 3 5 4

3 5 3
4 5 4

1 4 3 4 1 5 4 5 2 4 3 4 2 5 4 5 1 4 3 4 1 5 4 5

,
23

1 1
2
ª
⁀1 4 1 2
⁀1
1

5

4 5

1 4 3 4 1 5 4 5
3 2 1 5 4 1 5 5 3 5 4

2 3 1 3 1 4

25

1 2
⁀1
ª
2⁀1 1⁀5 4

4 3 2

2 5 4 5
1 5 4 5

27 1 4 3 4 1 5 4 5 2

4 3 4 1 3 2 3
ª 5 1 2
⁀1 4 5 1
2⁀1 4

1
1 5 1 5 1 5

29 3 5 4 5 2 5 3 5
p
ª 3 2

1 4 3 2

1

LESSON XLI
PRELUDE IN B MINOR

5

2

4
Moderato

3

1 3 5 4 3 2 3 1 5 3 1

" " "

ª

4 2 4 3 2 1 3 2 3 5

4 2

#

4 5 2 3 1

" rallentando
ª

GIGA, BY CORELLI
12 1 2 3 4 2 3 5 4 5 2 1 2 3
Allegro 5 5

5 4 2 1 4 2 3 5 3 1 2 4
2
8
1 1 2 1 1
ª
3 4 5 4-5 4 3
5
1 4 5 2 4 3 3 2 4 2 2 1 2 4 1 3 4 2 4 2 3 1 2 2

5 5 4 4

4 4 2 1
3 2 1 2 1
ª
4
2

5 4 1
4 3 2 3 4" 5
5
5 2 1 2 3
4⁀5 4 4 4 5

7
7

2 3

2⁀1 1 1
1 2 1 2
3
1
ª
2

5 4 4⁀5 4 3
11
3 5 3 1 4 2
1 4 2 1 5 4 3 5 2 5 3 1 5 4 1 3 4 2 3
5

2 3
) 1 3

11 2 3⁀1

4 5 2

4 4 2 3 4 2 3 4 4 2 5 3 5 1 3 2 4 1 4 5 3 1 2 3 2
5 5 5

14

ª 1 2 1

14 3 4

2 5 3 4

3 1 1 5 4 2 5 2 3 5 3 2 1 2 3 2 5 4 5
5

17

17
ª 3 2
5

4 3
LESSON XLII
PRELUDE IN E FLAT MAJOR

4 5

5
Allegro 1 2

3
1 2

ª

ª

RONDO BY C.P.E. BACH

2 3 5

4 3⁀5 5 4

2 "
3 4
1 2 1 3

4
p
ª 2
4
" &
3⁀4 3
& "
Ï 1
5 5 4

5 4

ten

1 1 2 1 31 4 5

3 4 1 2 1

8

-
1 1 2

1
p

p p
ff ff
2 2
ª " " " " "

1 2

ten
ff
" " "

5 4 5⁀4 5
"
5

17

2 4 ff
"
1

1 2 3
ª
1 2 1 1 2 3 4 5

p

ten
& "

26

1
p

ff ff
4 5 5 4 "
3 41 23 23 1
ª
2 3

ten

p
"

3 2 3

3 2

35 2 3 2 3 2 3 1 1 2 1 2 4 2 2 23 23 23

p
f "
1
ª 5

"
5 5

4

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

2 3 1

43

4 3 1

p
mf "
ª

"

52

"

-

p p
" " " " ff"

ª

ff ff

& & Ï Ï
ten
Ï
61

ff p
p ff

ª

ten

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

71

p
ff
ª

3 1 2 "
3 2⁀4 3 2 5
5 4 3 1
80 5

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2 ff
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4 2 4 1 3
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&
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ten ten

88

1

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ten
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ten p
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5 5 4

5 4

1 2 1

1

2

96
p
p
ª f

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104

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ff ff

113

p ff" p ff" p

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121

p"
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129

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ff ff
ff "
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p p
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p
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146

f " ff
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p

155

ff p ff f p
mf f
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165

ª

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173

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f

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5

4 4 5 4 5 4 2 41

181

1
$
1 1 2 1 2
p
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ª

2 1
2
4 5

4 5 4 5 2 41 3 3 2 3 4

189 1 3 2 2

1 2 1 2 2

1 2 1 2 1

1

2

3 2 2 1 2
ª
2 1 2 1

1 3
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4 4

5 1 3
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2

197

ff
ª

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206

ff"
p
ff p
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p
&
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ten
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215

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ten

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224

6

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&
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1 2 3 4

233 5

1 3
ª

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

239

ª

3⁀4
1
4

3

2 2

243 1 1 3 1 1 3

2 1

1 1 4 4
p
ª "

"

LESSON XLIII
PRELUDE IN C MINOR
5 5 4 4 5 5 4 5 5
Moderato 2

2 1 1 2 2 1 1 1 4 5 5 5 4 3 4 5 3 4 4 4

1 2 1 2 1
3

legato

1

2 1
ª
3 2 1 1 2 2 2

2 3 2

4 3

5 5 5 4 3 1 1 5 3

MINUET, BY SCARLATTI
5 5 5

1 5 4 3 5 2

2 5
43
2 2 1 2 5

1 2 2 1

2⁀1

1
"
3 2 2 1 2 3 2
43
3 43

5 4 4 3 4 5 4

& 4 5 2 5 2 3 1 2⁀1 4 5 3 &

2 2

6 5 5 3

1 4 2 3

1
2
1
" ª
2

4

3

5

5 1 2⁀1 4 5 Ï &

2

3 4 1 2 3 3
1⁀2
1 5 2 5 1 5 5 2

12 3
% 1

2⁀1
1
3
ª
3⁀5 5⁀2
1
3 4

5 5 3 5 4 2
2 1
5
Ï 4 2 3 5 3 &

1 5 1 5 5 2 1 5 2

19

1
" " 15 2
3 1
1 1
ª 1
4

1 5 4

1

3 5 4 3 1

LESSON XLIV
PRELUDE IN A MAJOR
6 2 3 4
5 3 2 1 2 5 5

5 3
1 3 2

5

" 2

ª
1

5 3 2 1 5 4

3

5 3 2 3 2 1 3 2 1
5
"

2

ª 5

1 2 1

3 2 3 5

ANDANTE ALLEGRETTO BY PARADIES.
2 3" 2" 1 3" 1"

& & 2 5 2 3 " 5 2 "
3⁀2 4⁀3

5
& 1 5 1 5 2 5
3⁀2

55

1
2

4
3 3

1 1 2 1 1 2
3 3
3 1 2 3 1 3 1 4
1
ª 2
5 5 5
(
& 1
3⁀2
&" 5 ( &" 5 ( & 4
545
"
545
"
8

5 4

2 3 1 p

&
5 "1
ª 2 4 3 4 2
5 3"
3" "
1 1 2 3 1 2 1

1 1

3 1

3 4 3 2 5 4 1 2 3
1
5

(
&" 5 ( &" ( &
545
"
545
"
"
17

2

2 3 1
&
" 3" 1 3" " f
Fine.
ª 2
2 1

1

1

p4 4 3 4 3 2 5
1
3
5 5 4 1 2

3 2 5 4

1 3

4

26 3 2 3 2 4 1 3 1

2 1 3 3 2 4 3 2 4

Ï

1

35 4
⁀ 2
32 3
2 3

ª 5
3 4 1

1 2 5 3 5
Ï & "

34
p
ª

&

42

Ï
&
f sin' al
D.C.

ª

" 2 1" 4" 2" 1 &

Ï Ï Ï Ï

50
5

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

ª
" " &

58

+

" "
ª

&
" " "
66
-

Ï
p f
" "
ª "

D.C. sin'
al Fine.
LESSON XLV
PRELUDE IN F# MINOR
2 3
Moderato e legato
52 1

,
4 1 2
5 5 5

ª 2 5
1
3
2 1 2

2

3
4
5

ten

5 5 5
2 3

1

1 2
1
2 1
ª
3 1

5

ADAGIO BY CORELLI.
3

1 2
5

4⁀5 5

4 4 5 5 ⁀ 4 3

32

2
2 1 23 1 2 1

&
ª 3

2 2 1 2 1

1 3 4 5
& 4
3 1
5 5 5 5 4 3⁀4

4⁀5

5 5 4 4 4

2 1

7

2

12 1 2 2 1 2 1 3

ª 2 3 3 2 1

4 4 5 4 3 2 5

4 3
2
2

4

5 2 3⁀4 1 1 3 4 5 42 2 5 4 3 5 1

⁀

13 3 1 21

3 2

1

2 3 1 2 1
Ï Ï
&
ª 2 1 2

1 2 3 4 5

4⁀3 5
& 1
⁀ 3454 4⁀3
&
5 4 4 5 21 4 4 1 3⁀4

1

20
2
1

2 1 1 2 2
2
ª 3 1

2 3 2 1 3 2 1 3 2 5

LESSON XLVI
PRELUDE IN A FLAT MAJOR
Moder. e legato
3
3

3 5 2

4 4 4

2 15

1
$
1 2 4 2 1 2 1
4
3 1 2

ª 3
4
1 2 3 5 1 4
2

5 5

4 2 1 2

1 2 4

ff 1 p rallentando 1

ª
2 2

5 3 1 2 3

3
SLOW MARCH BY COUPERIN.
#3
Un poco Andante.
% % #
4⁀

343 343 4⁀ 3

4 2 1
4 2 1 2 3 4 5 2 4 4 1 3 4 5
+
2
Ï
2

% 4

ª

2 323 1 1 1

2

5 3 4 5
5⁀4
4⁀3
& 4 # 3 " 4 (2
121
( 4 212
(4 5 4
323

5

2 3 1 3 2 1 5

ª

4 4

#
432 %
5 343 %
343 4⁀#3 (3 4 5
121
#3 2 "
4⁀ 3
Ï Ï

10 2 1 3 4 4 2 5 1 2 2 4 2
Ï

1 2 3
ª
"

15
% 3 2 4
5 4% 3 2 3 3% 2 ( "
32323 4
-

Ï
4 2 1 3 1 3 4 2 1 3 4 2

ª
4 3 2 3 4

1 2 3 4 3 2 1 2 3 2

1 2 3 1
2 1 2 3

5

#3
% % # ( ( (

20

Ï Ï

(
%

ª
1

#
% # %

25

Ï Ï

ª

#
%1 3 4 # (
"
3
!
30 4 1. 2.

2 3 1 2 3 1 4 2

#
2% "
ª

1 2 1 3

3 4 2
#
LESSON XLVII
PRELUDE IN F MINOR

5 3 2 4 3 2
" 1 5

3 1 4 3 2
"
$
1 3 1 3 2 5

2 3

"

Moder.e sempre legato 2 1 3 2 5
ª

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

5 3 2 4 3

1
1

ALLEGRETTO BY COUPERIN
6 1 2 & 1
Più tosto Vivace.
4 3 4 3232
% 1 2 3 1 3 2 1

&
8
2 2

3 5 1
1 4 2 1 2 3 4 3 2 3 4
ª 6
3 2

5 4
8
&
4⁀3

& % 4 3 2 1
5 5 4 2 3 4
Ï

1 3 " " 5"
ª

3⁀2
& &
4⁀3 4⁀3
ÏÏ 3 % 2 1 3⁀1 & 1

1

2 2 3 4343

4 3

12 Ï

4 2 3 1 2 3 5 " 4⁀5 2
ª 3 1 3
1 1

2

2

4 1

% ( % ( & &

17

#

"
4 " 3⁀5 1 3⁀1
ª
1

1 5

LESSON XLVIII
PRELUDE IN E MAJOR
2 2 3 4 5 2 3 1
3

3 2 3 5 2 3 1

2 3 2 3 4 2 1 2

2
4
4 3 2 3 2 3
2 3 2 1 3 2 3
4⁀3
1
4⁀3
3
ª 2
4 3
3
2 3 2
6

3⁀2

2 3 4 5
&
2 5 4 3

2 3 1 4
ª 2 5 4 3 1 3 2 1
1 1 5

1

4 5
&

1 4
2 3 4 ⁀
53 1 2 3 1 ⁀
23
POLONOISE AND MINUET, BY SEBASTIAN BACH
3 4 5 4
& & 1
Andante 4⁀3

3⁀4
3
5 4
&
3

2 1 3 4 3 4 3
4
1 2 3 1 3 1 3 2 4 2 5 2 4 1 3 1 4 1 5 2 1 5 3 2
ª 3
Polonaise

4
3 3⁀5 1 2 5 1
4

5 1 2 3 1 2 3

5 4 2

1 2 3 3 2 3 1 2 1 5 1 4 2 1 2 3 2 5
ª
1 2 3 4 2
&
4⁀3

5

ten

5

5 ten

10 2 3 4 3 4 3 1

1 4 4 3 2 1 3
1 2 1 4 1 2

ª 3 4 5 1 4 1 5 2 3 4 2 5 2 4 2 3 4 2 4 2
1 1

1 2 3 4 ( 5
3%
5 4 5
1 32323

15 2 2 3 1

5 1 2 3 2 1
ª 3 4

1 2 1 2

2⁀1 2 5

3 21 5 1 2

5 4 1
4
(

14 2

20 2 3

2 3 4 5 5 1

1 1 2 3 4
Ï
1 2 3 1 5 1
ª 2 3 5 5 5
1 2 3

1

2 1 1 2
5 5
54 5
3
Allegretto
21 1 3 1 1 3
5

4

4 5 4

1
!

1

3 2 1 1 2

2 3
4

ª 3
Minuet

1 2 1 5
4

5 3 1 3 2 1 5 4 3 1 4
4

4 3 2 1 5 4 3⁀5 4 3 1 4

7 2

1 2 3 1

ª 2 1 2
1 2 1 5

5 4 2 1 3 4 5 3 4 1 5 2 1 1 4 5 23 4 5

13

4 3 1 2 3 1 2

3

ª

2 1 3 2 4 3 5 4 3 1 4 3 2
2⁀4

4 5 4

19

1 2 3 5 1 2
Ï
1 2 3 3 5

5

3
ª 5 1 3 2 1 2 "

5

1
LESSON XLIX
GAVOTTA, BY CORELLI
2 2 2 2 4 3 1 2 3 2 1 2 1 1 3 2 3
Allegro 5 5 5 5 4

)
4
st d
1 time piano 2 time forte.
ª 2 3 2 1 2 2

4

5 5

2 3 4 3
2 4 3 4 2 5 3 5 & 2 4 3 4 1 5 4 5 2
4⁀3

5

1 2 1
ª 2 3 1 5 5
2 2

1 3

4 5

2 &
3⁀2
5 4 5 2 &

11

1

p
ª
2

1 5 4

LESSON L
PRELUDE IN C# MINOR
4⁀5

4⁀5 4 5

Moderato 5

23 4 3 23 4 3 5 4

3 1 1

2 3 2

2 1 1
4
dolce p
5 5 42 13
1 2⁀1
4
1

1
)
3 2⁀3 2 2 5

3

4 4

5 45

"
" " rallentando

4

5

ff p " "

2

ª

5 p
MINUET, BY DR. HAYDN
2 3 2 1 2 3 1 3 4 3 4 2 3 1 2 4 3 2
Moderato ten
3

4 1
2 42 4 3 5

1
3
2 3

3 2
ª 3
5

5

4

1 2 3 4
3 4 3 2 1 2 1 4 3 2 1 2 3

7

Fine.
3
2
5 2
1 1
ª
2
3 4
5 3 3 1 2

5
4
3 1 3 1

3 4 3 2 4 1 3 2 1
5 5

13
3
2 1

3

ª
5

3 4
4 3
1

2

5

Ï Ï

18

1

2 1 ff
ª
2

4 D.C.

5

Muzio Clementi The Art of Playing On The Piano Forte

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Mutopia ǀ Typeset using LilyPond © 2014 by Javier Ruiz-Alma — Mutopia-2014/02/18-1938

Preludes and Lessons

lines are for the higher and lower notes.

There are five in general use.

The Bass clef, on the 4

THE SCALE, OR GAMUT

Shewing the position, and name of the notes.

Exercise for bassnotes:

Example of the latter.-

TENOR, COUNTER-TENOR, AND SOPRANO CLEFS EXPLAINED

where the note F lies: ª F

FIGURE, LENGTH, AND THE RELATIVE VALUE OF NOTES AND RESTS

Semibreve, minim, crotchet, quaver, semiquaver, demi-semi-quaver

TIME AND ITS DIVISIONS

semibreve, or its equivalent.

When marked thus

SIMPLE triple time explained.

23     three minims in a bar,

COMPOUND triple time explained.

COMPOUND triple time is seldom used in modern music.

The figure of 3 placed over three crotchets, quavers or semiquavers

SHARPS, FLATS, ETC.

    The intervals of the contiguous

 by the SAME key as  etc.

VARIOUS OTHER MARKS.

The SIGN or REPEAT 

Ex: to be played thus

Ex: played thus

The ITALIAN word, Segue; means, it continues, or follows:

STYLE, GRACES, AND MARKS OF EXPRESSION, ETC.

the contrary is required, the notes are marked either thus:

struck the key: or they are marked thus

notes marked thus

Forzando, or sforzando fz, sf

Crescendo, or cres: marked sometimes thus means GRADUALLY LOUDER.

This mark means to SWELL and DIMINISH.

APPOGGIATURAS, and other GRACES in small notes explained.

Sometimes the little notes are added to give EMPHASIS:

TURNS, SHAKES, AND BEATS, EXPLAINED

N.B. The LOWEST note of EVERY sort of turn is MOSTLY a semitone:

& ''''''' &

The shake LEGATO with the preceding note, explained:

N.B. The GENERAL mark for the shake is this &

Example whole semi or semi-

EXPLANATION OF VARIOUS TERMS

1 ADAGIO 6 ANDANTINO 11 MAESTOSO 16 SPIRITOSO

We shall subjoin some of the most common, with their explanation.

The 1 is for the thumb, and 2, 3, 4, 5, for the succeeding fingers.

SCALES IN ALL THE MAJOR KEYS, WITH THEIR RELATIVE MINORS



GENERAL REMARKS ON THE FOREGOING SCALES

EXTENSIONS AND CONTRACTIONS ETC.

EXAMPLES OF FINGERING FOR THE RIGHT HAND.

    

3 2 1 2 5 3 2 1 2 5 4 3 2 1 22 11 23 43 45 43 23 11 22 22 11 23  43  4 43 23 11 22

       

THE LEFT HAND.

AWAY WITH MELANCHOLY: BY MOZART

23 three minims in a bar,

The intervals of the contiguous

by the SAME key as etc.

The SIGN or REPEAT

3 2 1 2 5 3 2 1 2 5 4 3 2 1 22 11 23 43 45 43 23 11 22 22 11 23 43 4 43 23 11 22

& 2 & & 2 3

2 31 3 2 &

2 41 41 1 2 2 3

5 5 4 5 3 4 2 4 2 1 2 2& 1 2 3 1 2 2& 1 2 3 4 3 2 1 2 3 4

2 2 2 2 2& 1 2 3 2 2 2 2 4 3 1

3 2 21 1 2 4 2 3 5 3 1 2 1 2

# 2 1 3# 4 5 1 5 4 4⁀#5 2 2 3 1 2 1 3 4 4 3# 1 3 2 3

3 2 2 5 5

ª " " "

" " "

" " " &

"

ª 3 3 35 3

2 5 " " "

" " " "

" " "

& " &

3 2 &

ª " " " " "

" " "

& 4 5 2 5 2 3 1 2⁀1 4 5 3 &

5 1 2⁀1 4 5 Ï &

Ï 4 2 3 5 3 &

Ï & "

" 2 1" 4" 2" 1 &

ÏÏ 3 % 2 1 3⁀1 & 1