First Series of Graded Pianoforte Studies – Preliminary.

Description

Sixty studies for the beginner pianist, including works by Carl Czerny, Cornelius Gurlitt and Hedwig McEwen.

Contents:

1. For Ease in Turning the Fore-arm – Kohler, Op. 300 No. 50.
2. For Full Singing Tone – Czerny, Op. 599 No. 3.
3. For Ease in Turning the Fore-arm – Hedwig McEwen.
4. For Finger Control – Kohler, Op. 300 No. 22.
5. For Imitation between the Hands – Gurlitt, Op. 82 No. 12.
6. For Imitation between the Hands – H. Wohlfahrt, Op. 88 No. 4.
7. For Tempo Variations – Beyer, Op. 101 No. 37.
8. For Ease in Turning the Fore-arm – Gurlitt, Op. 82 No. 9.
9. For Using Lightly the Thumb of the Left Hand – Beyer, Op. 101 No. 39.
10. For Using Lightly the Fifth Fingers – Gurlitt, Op. 82 No. 25(ii).
11. To Show the Melody on the Weak Beats – Gurlitt, Op. 82 No. 25 (iii).
12. For Full and Brilliant Tone – F. Wohlfahrt, Op. 36 No. 6.
13. For Legato and Evenness of Tone – Beyer, Op. 101 No. 25.
14. For the Lilt of Triple Time – Gurlitt, Op. 187 No. 18.
15. For the Lilt of Triple Time – Gurlitt, Op. 187 No. 19.
16. For Imitation between the Hands – F. Wohlfahrt, Op. 36 No. 5.
17. For Full and Brilliant Tone – Beyer, Op. 101 No. 16.
18. For Similar Motion – Kohler, Op. 218 No. 16.
19. For Imitation between the Hands – Gurlitt, Op. 82 No. 17.
20. For Cantabile Tone – Gurlitt, Op. 187 No. 30.
21. For Legato and Evenness of Note Successions – Kohler, Op. 30 No. 40.
22. For Marcato Touch and Strict Time – Kohler, Op. 218 No. 18.
23. For Playing Broken Chords Legato – Beyer, Op. 101 No. 57.
24. For Tone Graduations – Beyer, Op. 101 No. 53.
25. For ~Playing Two Melodies Together – F. Wohlfahrt, from Op. 36.
26. For Playing Broken Chords Evenly – Gurlitt, Op. 187 No. 37.
27. For Tone Gradations and Legato – F. Wohlfahrt, from Op. 36.
28. For Dotted Notes – Gurlitt, Op. 187, No. 9.
29. For Dotted Notes – H. Wohlfahrt, Op. 88 No. 6.
30. For Silent Beats – Hedwig McEwen.
31. For Silent Beats – Gurlitt, Op. 82 No. 34.
32. For Tied Accented Notes – Beyer, Op. 101 No. 29.
33. For Tied Unaccented Notes – F. Wohlfahrt, Op. 36 No. 26.
34. For Trills – Bertini, Op. 137 No. 2.
35. For Rapid Rebound of the Keys – F. Wohlfahrt, Op. 36 No 17.
36. For Rapid Rebound of the Keys – Hedwig McEwen.
37. For Phrasing – Kohler, Op. 190 No. 34.
38. For Slurs from Accented Notes – Gurlitt, Op. 82 No. 44.
39. For Sluts from Accented Notes – Bertini, Op. 137 No. 21.
40. For Compound time and Legato – Gurlitt, Op. 187 No. 31.
41. For the Half-Tone Scale – Hedwig McEwen.
42. For the Whole-Tone Scale Hedwig McEwen.
43. For Turning the Fingers Over the Thumb – Gurlitt, Op. 82 No. 56.
44. For Double Notes – Beyer, Op. 101 No. 68.
45. For Double Notes – Beyer, Op. 101 No. 69.
46. For Bringing out the Melody in the Inner Parts – Gurlitt, Op. 82 No. 25.
47. For Phrasing – Le Couppey.
48. For Tempo Variations – Hedwig McEwen.
49. For Slurs from Unaccented Notes – F. Wohlfahrt, Op. 36 No. 21.
50. For Phrasing – Beyer, Op. 101 No. 60.
51. For Syncopation – Bertini, Op. 137 No. 11.
52. For Phrasing and Tone Contrast – Gurlitt, Op. 187 No. 32.
53. For Finger Control – Gurlitt, Op. 82 No. 29.
54. For Finger Control – Gurlitt, Op. 82 No. 30.
55. For Phrasing and Tone Contrast – F. Wohlfahrt, from Op. 36.
56. For Phrasing, Steadiness and Accent – F. Wohlfahrt, Op. 36 No. 18.
57. For Accompaniment – Gurlitt, Op. 187 No. 22.
58. For Trill – Hedwig McEwen.
59. For Tone Gradations and Legato – Beyer, Op. 101 No. 75.
60. For Tempo Variations and for Turning fingers over Thumb and Thumb under Fingers – Gurlitt, Op. 187 No. 50.