THE aaa @ a PIANO COURSE & Sree aft ld, thé Guu att Es Mucator & NEW aK) BOOK FIVEBOOK FIVE THE LEILA FLETCHER PIANO COURSE FOREWORD ‘The several Books of the Piano Course are numbered consecutively, not to represent the various grades in music, but as a presentation of a continuous course in music education. The Piano Course is designed to meet the requitements of the average pupil, and is graded to allow the average pupil to make sound, steady progress, and to enjoy the immediate satisfactions of fluent reading. The material used in the Course has been tested by actual experience in teaching a large number of students, and the results apparent from its use are: greater interest in music study, better musicianship, and fewer pupils who discontinue music study through loss of interest or through discouragement. ‘The Study of Music should be a delightful experience. Almost every child comes to his first music lesson with happy anticipation. The use of suitable musical material, logically presented, will undoubtedly advance the pupil’s interest in music, The Piano Course is dedicated to a four-fold purpose: the development of the ability to read music fluently and interpret it artistically, the establishing of a sound and comprehensive piano technic, the nurturing of the creative musical talent, and the fostering of a lasting appreciation of music. MONTGOMERY MUSIC INC. BUFFALO, NEW YORK 14202 Copyright 1954, 1974, 1982 International Copyright Secured Printed in U.S.A. : All Rights Reserved Including Public Performance for Profit Printed on high grade eye-ease, tinted paper Tift printing 64 pp. November 1986."Contents Foreword Rondo a Capriccio ‘The Soldiers Pass ‘Trepak ‘The Forgotten Melody. Blue Mountain Waltz Blow the Man Down. . William Tell (Fanfare) Old French Song Allegro A Sailor's Day Melody Wild Rider ‘The Troubadour. Jig Minuet Waltz, Phantom Parade L’Avalanche ‘ Preparation for Octave Playing Carnival ‘The Washington Post March. Git Along Little Dogies O'er Hill and Dale Waltz in Thirds Butterfly Etude Album Leaf T've Been Working on the Railroad Valse Caprice Minuet Transposition (Keyboard Harmony) PROGRESS PAGES Octave Study The Bells Thistledown Arabesque Listen to the Beat! Chord Capers ‘The String Quartette Musical Terms Certificate of Promotion Beethoven Rebikov Tschaikousky Loeschhorn Traditional ‘Sea Chantey Rossini Tschaikousky Mozart Kohler Rubinstein Schumann Mexican Folk Tune Irish Folk Tune Bach Brahms Fletcher Heller Duvernoy Sousa American Gurlitt Czerny Chopin Grieg American Rubinstein Beethoven Czerny Bertini Duvernoy Burgmuller Fletcher Lemoine ConconeRondo a Capriccio (Rage over the Lost Penny) Allegro vivace a 4 * The thumb plays two notes, G and A. Players with small hands may omit the upper note, A. ©Copyright 1954, 1974 by Montgomery Mnic Ine. nt Rishi ReservedThe Soldiers Pass Tempo di Marcia W. Rebikov 1Peter Tschaikovsky was born in Russia in 1840. As a child he had instruction in music, but he was educated for a clerical position, and although he was fond of improvising little pieces, he did not decide to make music his life work until he was about twenty- three years old. Recognition of his work as a composer came slowly, but surely. He became one of the world’s foremost com- posers. Songs, operas, ballets, piano pieces, concertos, and sym- phonies flowed from his pen. ‘The Trepak (Russian Dance) presented here is an arrangement for piano from the ballet “‘Casse-Noisette” (The Nutcracker). The well known Nutcracker Ballet is based on a Christmas fairy tale. Among the dances in the ballet there is a Spanish dance, an Arabian, a Chinese, and a Russian dance—the Trepak. ‘The colorful ‘Trepak is a very lively, animated dance; notice that it is marked “molto vivace” Trepak Molto vivace i eee a ma te ££ i fe S Players with small hands may omit notes in brackets { ] P. Techaikoveky (arranged) Play the re hand 8va t it with right yughout.The Forgotten Melody Andante cantabile A. Loeschhorn,10 Blue Mountain Waltz Allegretto ‘Traditional (© comic BY MONTEOMERY MUSE mC. TERNATIONAL COPY SECUREBlow the Man Down Con moto 4 oeVivace ae William Tell FANFARE Gioachino RossiniayOld French Song Moderato16 Wolfgang Amadeus Mozart, the wonder child of music, composed this charming Allegro when he was only six years old. And at this age he travelled with his father and his sister, Marianne, to various cities in Europe where the two children gave concerts. Mozart's childhood home was at Salzburg, and here many people came to hear him play and were amazed at his phenominal talent. ‘The ALLEGRO must be played with particular attention to phrasing, It is a delightful, gay composition AllegroL. Kohler Vivace (adapted ) 518 Moderato Anton Rubinstein 5 (adapted) 5 5 i ot : j ‘™p cantando19 = fF SS i eS allargando Weel oS bgepe ep eet behets — i =: = = 2 8 2 t = i :2021 Wild Rider Fine D.C.al FineBased on the Mexican Folk Tune “La Cucaracha"” Allegretto 2a 54a 24 8 4 aya Bt‘raditional Folk Tune “Trish Washerwoman” ; 1 4 : 5 ; et ee a et . fi2527Johani ines Brahms ‘adapeed)See fa oe | =Slurred staccato notes lose only one-quarter of their time duration. Written: f* * played: PY PR YF y In the “‘cantabile” (on the second page of PHANTOM PARADE) full use should be made of the pedal to hold and to connect the tones, so that the hand can move freely about the key- board without losing the legato effect. Phantom Parade for Left Hand Alone Leila Fletcher {= COPYRT 8Y MONTGOMERY MUSE NE TERNATIONAL Coa aFURED ALL cs RESENDA little slower cantabile 31L’Avalanche Stephen Heller Allegro vivace t a Tha — é 1 poco meno mossoatempa risoluto Players with small hands may omit sittin backs (9Preparation for Octave Playing 1. In this exercise, the Ist finger plays, the 5th finger is silent; do not play the notes printed in broken outline. ‘The hand is extended over the octave so that when the Ist finger plays, the 5th finger touches the surface of its key. Play slowly; hold each note long enough to look at the hand and see that the Sth finger is touching its key. The wrist and arm should be held loosely. (The tones produced will be non legaio, detached.) 2. The above procedure is now reversed, as the 5th finger plays and the Ist finger merely touches the surface of the key. The wrist must be loose, and the thumb neatly over its key. Scales in Octaves 3. Play non legato, wrist loose, hands separately; later, hands together. fo 4. Play the Scale of C Major in octaves using staccato touch. (Later, practice also using legato touch: holding the note, then moving swiftly to the next note in the scale so that there will be the least possible break in the legato.) 5. The 4th finger is usually used on black keys, in place of the 5th finger. i rept tt or GilaCarnival B Devect n : pean tt " 5 meee Hel Mela eee gee TU et oe 4 P staccatoJohn Philip Sousa, the renowned American band leader and composer, wrote a very large number of colorful, stirring marches. He also wrote several comic operas, suites, and dances, and many songs, but he is best known for his popular marches. ‘These won him world wide fare, and he became known as the March ing. Sousa was born at Washington, D.C., in 1854. He spent many years with the Marine Band, first as a player and later as leader of the band. In 1892 he formed the Sousa Band, and with it made frequent tours through the United States and Canada, several tours in Europe, and one tour round the world. The Washington Post MARCH Alla marcia eo *h John Philip Sousa Lie 1 Lad te * Players with small hands may omit the lower note of the octaves, and play the upper note as written, not 8va; the chord in the treble in the 7th measure should also be played loco (as written)Git Along Little Dogies In song style American Cowboy Song, a4 RaeO’er Hill and DaleAllegretto Waltz in Thirds Carl Czemny 41Butterfly Etude Frederic Chopin Allegro Vivace (adapted) Be pig ie _— p leagiero z+ -_ * _é a _; See =p { coryRa BY worrcowenr music metEdvard Grieg, the renowned Norwegian composer, was born at Bergen in 1843. He studied music at Lei zig Conservatory, and at Copenhagen. While on a visit to Italy, he met the great Franz Liszt, and they became well acquainted. Grieg lived his entire life near Bergen, travelling occasionally to other cites where he appeared in concert playing his own compositions. He gave concerts in London several different times, and in 1894 received the honorary degree of Doctor of Music at Cambridge University. His music reflects the clear, northern color of the pine forests, the mountains, lakes and fiords of his beloved Norway. Album Leaf Edvard Grieg (adap, sostennto cir a2 ————— he a 8 i qa a —I’ve Been Working on the Railroad ‘American Song Allegret! to Cantabile i. St s 4 ‘ 2 4f poet aN op 8 ot 3 ao poco cresc.BP (BH over)Anton Rubinstein, one of the world’s greatest pianists, was born in Russia in 1830, and gave his first public concert when he was nine years old. “In 1840 he made a concert tour, journeying to Paris with his music teacher, Rubin- stein was a very facile composer, his writing characterized by broad, sweeping melodies. His life was a brilliant succes- sion of concert tours. Highest honors were bestowed on him in his native counizy. In 1862 he founded the St. Petersburgh Conservatory. He toured America in 1872. Valse Caprice Anton Rubinstein (adapted )49 ‘The left hand melody part must be very legato. Memorize the part with the correct fingering, s0 that you can play it without looking at. the hand," You will then be able to give more attene ton to accuraey in playing the right hand chord leaps. This easier arrangement of the chords may be substituted in line 1 and line 3 of this page: Easier: ; i50 j aT i Fe ee | FP ett E il) wo 4 | wi Mt \s t | is i} ss i Sf 48 G3Minuet Tempo di Minuetto ae P L. van BeethovenTRANSPOSITION (KEYBOARD HARMONY) Follow the instructions given in Book ‘TWO, Book THREE, and Book FOUR for Trans- position at the Keyboard, STUDY No. 1 - Banjo Plink-a- Plunk (tight hand over) EP —— Study No. 1, Banjo Plink-a-plunk, is in the Key of G Major. Name and the Key Signature of each Major Key in which you play the Study: As you transpose, write the Name of Key: Key = = a = Signature: = - = 7 —— = = Name of Key: Key —— = 3 = Signature: = 5 a STUDY No. 2 + Cadence = ——— Write on the Key Chart the names of the Major Keys in which you play Study No. 2: I Iv v I No.2] KEY | Opginal CHARTSTUDY No. 3 - Theme Melody from Mozart 4 “The Marriage of Figaro” (Root position) (Ast inversion) ‘2 ig ee ee —— 1 — x SSS] care aes =— — sl short trill at the. ei = this Study are the Tonic (Use any fingering and the Leading-note of ‘on the trl) the Key. Notice that the Leading-note is a half-step emitone) below the Tonic. SS ‘The three-note broken chord series which begins on the last beat of the 4th measure, is the Tonie triad and its inversions in broken chord form. ‘The fingering for the triad is the same in all Keys: Right hand: 1-3-5, 1-2-5, 1-3-5. Left hand: 5-3-1, 5-8-1, 5-2. Be sure you know this fingering before transposing this Study. Write the Name and the Key Signature of each Major Key in which you play the Study: “ecorenicc MONT EDMEY Must ME MTERUAIONAL COPAY SEEWRED ALL OATS RESHVED,PROGRESS PAGES The Progress Pages present study examples in the various fundamentals of piano playing — scale and chord playing, passage playing, graces, thirds, sixths, etc., — in all of which instruction should begin early and be continued systematically. By constant association the playing skills are most readily advanced, making the study of music more interesting, more pleasurable. The Progress Pages are intentionally not easy, but offer a measure of challenge. Each page will be assigned by the teacher, as the student is ready to undertake the study of that particular page, which should be learned by the student, with help from the teacher only where necessary. Each page, once begun, should be practised carefully so long as the book is still in use, with the goal of a continuing improvement. The instructor will supply guidance, reviewing the student's performance of the pages from time to time. The student, by cultivating a listening attitude while playing, is assured of real progress. 1. Four Laps "Round ‘The study presented below is most important. Practise it DAILY When playing octaves, the elbow must remain free and flexible. This is absolutely essential. Use a bouncy wrist staccato for the study below, but do not exaggerate the movement; use just enough wrist to produce, with ease, lightly detached octaves—with both upper and lower notes of the octave sounding evenly. When playing octave passages on white keys, the tip of the thumb may be bent inward slightly to avoid striking two keys. For octave passages containing both white and black keys, play a little farther in on the white keys, in order to shorten the distance in moving to and from the black keys. On black-key octaves, the player may use fingers 1 - 4, or 1 - 5, Based on Czerny Study Practise at three different speeds—slow, medium, and faster. (Arr. by Leila Fletcher) 5S * (2nd time tol Tast lap) | est 1ap) | (last lap) = s55 2. Octave Study C. CZERNY Allegro moderato (abridged) “e coro SF MONTEOMERT MUSIC Ne ETSNATONAL COPYRONT SECURED ALL ONT RESEIEDShape the hand over the interval of a sixth and play with neat but flexible precision. Use wrist staccato. Memorize the study while it is new. Suggestion: Learn this study in two parts, as if it were two studies, the first eight measures, a study in sixths for right hand, and the last eight measures, a study in sixths for left hand. 3. The Bells Allegretto ' H, BERTINI (Arr) P dolee lege. = rhlegato s realy 5 { Cervo BY MONTCOMERY MCI ERRATINS CEPYRGHT SECURED. AL TS RESERVED37 Play this arpeggio study softly, flowingly, with no unplanned “bumps” or accents, the arm loosely balanced and free from the shoulder, the thumb moving smoothly under the hand. Practise also using this rhythm throughout: JJJ-a 4. Thistledown Allegretto J. B. DUVERNOY (Arr) 5 4 age, zt 4 34 4 4 + 4 £22, 42 ai2e at p legato Ped. simile 542i aszeat v poco a poco crese. < Mase 4 538 The TURN (so called because the notes turn around the principal note) is a musical embellish- ment (decoration). In the first measure of ARABESQUE there are two turns; the first turn embellishes the note C: D-C-B-C, and the second turn embellishes the note F: G-F-E-F. Play the turn very evenly. You will find it easy to play this very lovely musical embellishment evenly and clearly if you always “play through” to the note following the turn without the slightest hesitation. To do this, you must think very definitely of the note that follows the turn. For example, the first turn in ARABESQUE is followed by the note F: Think and play D-C-B-C-F 5. Arabesque , BURGMULLER Moderato aa ™P teggiero e legatoIn LISTEN TO THE BEAT: we have the five-note tum—the principal note is played three 5 times. The five notes of the turn in the first measure are G-A-G-F#-G. These five notes must be played in time with the beat of the waltz. The turn here occurs on the third beat of the measure; be sure to play through to the note that follows on the first beat of the next measure without the slightest hesitation. 6. Listen to the beat! iiedeenia (Trill and Turn Waltz) LEILA FLETCHER (pg 1 waa a Seo (RH. over) 5 5 . elses ee Ws‘The chords in this study are, with few exceptions, the well-known triads and their inversions. The fingering, therefore, has been omitted for the most part, so that the player may supply it automatically, from knowledge already acquired. Shape the hand swiftly over the chord, and play each chord from close to the key surface; feel as if plucking the chord upward, with a brittle staccato brilliance. 7. Chord Capers Allegretto . H. LEMOINEUse no pedal in this expressive study in passage-playing. (As you are aware, the instruments of 7% the string quartette do not have pedal to sustain the tone.) Play with a smooth, unbroken legato; this means correct fingering from the beginning! Only with the right fingering can speed with sureness be attained. Memorize the downward plunging passage in the first four measures with the fingering while it is new. 8. The String Quartette J, CONCONE Allegro ' Ne 4 poco crese. ‘Poco cresc.Musical Terms Terms Abbreviation|| Terms Abbreviation Accelerando: Gradually increasing speed ..| accel. || Mistorioso: Mysteriously. Adagio: Very slowly. Moderato: Moderate time Ad libitum: At the discretion of the performer Motto: Much, (time and expression) adlib. || Morendo: Dying away mor. Agitato: In a hurried, agitated style cess Alla: In the style of ont NL Ale marca: In march style, @ marching Nam Hpbi} INek (oka Allargando: Gradually broader, louder and Metdenedosts Uosion ltvell dying, away. biower allarg. |) Piano: Sot b Allegretto: Rather fast. Pianissimo: Very soft pe Allegro: Fast, lively, cheerful Pilu: More, Andante: Rather slow, gently. Piu mosso: More motion, faster. Andantino: A litle less slow than Andante. Poco, oF Un poco: A litle Animato: Animated, Poco a poco: Little by litle A tempo: In time, at original speed Presto: Very fas. Brillante: In a brilliant, showy style. Prostissimo: As fast os possible. Contabile: In a sustained, singing style Rallentando: Gradually slower all. Con: With Ritardando; Gradually slower Hineeg. Con moto: With motion, or rit, Con espressione: With expression Ritsuial Geacuclvielewer riten, or rif. Crescendo: Gradually louder cresc, || Romanze: Romance Da Capo: Return to the beginning, and play Scherzando: In a sprightly, playful style, ire Semplice: Simply, Da Capo al Fine: (the same as Da Capo) ee es Dal Segno: Play again from the sign D8, || Senza: Without Diminuendo: Gradually softer ida: || Sioeeandion reel; earadctens corns sfe Bei. Swactiy Simile: In the same manner. Dynamics: The different degrees of power Smoreando: Smothered, dying way smorz applied to notes—pp to fh Sostenuto: Sustained ten. Espressivo: With expression espress. |] Sotto voce: In an undertone (softly) Fino: Tho End. Staccato: Short. detached, the opposite of Forte: Loud } legato stace. Pistiaiimas Vary lava jf |] Tepe primo: Resume orginal speed Tempol Grazioso: Graceful. Largo: Very slow, broad Legato: Smoothly, connectedly. Leggiero: Lightly Maestoso: In a broad, majectic style (slow). Marcato: Marked Meno: Less. ‘Mezzo forte: Moderately loud Mezzo piano: Moderately soft lege. mare. mp ‘Tempo di Valse: In waltz time. Tempo guisto: In strict time. Tempo rubato: Robbed time; lengthening certain notes at the expense of others, for expression, Tranquillo; Tranquilly. Tre corde: Release the soit pedal Una corda: Soft pedal. Vivace: Lively. Vivo: Very livel nimated, fast and fast.Certificate of Merit- This certifies that has successfully completed BOOK FIVE The LEILA FLETCHER PIANO COURSE and is promoted to BOOK SIX The LEILA FLETCHER PIANO COURSE TEACHER