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Muzio Clementi's
Introduction to the
Art of Playing
on the
Piano Forte
MutopiaǀProject
ǀǀ
Typeset using LilyPond © 2014 by Javier Ruiz-Alma — Mutopia-2014/02/18-1938 Creative Commons Attribution ShareAlike 4.0 International License — free to distribute, modify, and performǀ
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Acknowledgements for this edition
My gratitude to the LilyPond User Forum and the Mutopia Project, for making this projectpossible; 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.
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Table of Contents
Music Notation
3Preliminaries
3Clefs
4The Scale, or Gamut
5Intervals
6Tenor, Counter-tenor, and Soprano clefs explained
7Figure, Length, and the relative Value of Notes and Rests
8Time and its Divisions
10Sharps, Flats, etc.
12 Various other marks.
12 Abbreviations
14Style, Graces, and marks of Expression, etc.
16Turns, Shakes, and Beats, explained
19Major and Minor Modes or Keys; vulgarly called Sharp and Flat Keys.
20Explanation of Various Terms
Fingering
22Preliminary Directions
22Scales in all the Major keys, with their relative Minors
27General Remarks on the foregoing Scales27Extensions and Contractions etc.
28Examples of fingering for the right hand.
31The left hand.
Preludes and Lessons
Lesson I
32Prelude in C Major
32 Away with melancholy: by Mozart
Lesson II 33 Aria
Lesson III
33 Air, in Atalanta, by Handel
Lesson IV
34 Air, in Saul, by Handel
Lesson V
36Dead March, in Saul, by Handel
Lesson VI
38 Allegro by Corelli
Lesson VII 41Prelude in A minor
41Gavotta by Corelli
Lesson VIII
42Prelude in F Major
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42 Air, in Judas Maccabeus, by Handel
Lesson IX
43March, in Judas Maccabeus, by Handel
Lesson X
45Sarabanda, by Corelli
Lesson XI
46Giga, by Corelli
Lesson XII
48 Arietta, by Mozart
Lesson XIII
49Minuet and Trio, by Mozart
Lesson XIV
51Le Réveilmatin, by Couperin
Lesson XV
55Prelude in D minor
55Larghetto, by Scarlatti
Lesson XVI
57 Allemanda, by Corelli
Lesson XVII
59Sarabanda, by Corelli
Lesson XVIII
60Prelude in G Major
60 Ah vous dirai - je maman
Lesson XIX
61Triste Raison
Lesson XX
62Fal, lal, la. Air in the Cherokee.
Lesson XXI
63Larghetto, by Pleyel
Lesson XXII
64 Arietta
Lesson XXIII
66German Hymn, with Variations by Pleyel
Lesson XXIV
69 Andantino, by Dussek
Lesson XXV
71 Allegro, by Handel Lesson XXVI
73Minuet in Samson, by Handel
Lesson XXVII
75God Save the Emperor, composed by Dr. Haydn
Lesson XXVIII
76Rondo in the Gipsy stile, by Dr. Haydn
Lesson XXIX
83Prelude in E minor
83Tambourin by Rameau
Lesson XXX 86Prelude in B flat, Major
86Minuetto by Scarlatti
Lesson XXXI
88Lindor - an Air
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2
Lesson XXXII
89Minuet and Trio, By Mozart
Lesson XXXIII
91Gavotta in Otho, by Handel
Lesson XXXIV
93 Andante with Variations, by Cramer
Lesson XXXV
97Prelude in G minor
97 Allegro, by Scarlatti
Lesson XXXVI
101Prelude in D Major
101Gavotta, by Corelli
Lesson XXXVII
102Minuet in Ariadne, by Handel
Lesson XXXVIII
104March in the Occasional Oratorio, by Handel
Lesson XXXIX
106Waltz, by Beethoven
Lesson XL
108 Allegro, by Corelli
Lesson XLI
111Prelude in B minor
111Giga, by Corelli
Lesson XLII
113Prelude in E Flat Major
113Rondo by C.P.E. Bach
Lesson XLIII
120Prelude in C minor
120Minuet, by Scarlatti
Lesson XLIV
122Prelude in A Major
122 Andante Allegretto by Paradies.
Lesson XLV
125Prelude in F# minor
125 Adagio by Corelli.
Lesson XLVI
127Prelude in A flat Major 127Slow March by Couperin.
Lesson XLVII
129Prelude in F minor
129 Allegretto by Couperin
Lesson XLVIII
130Prelude in E Major
130Polonoise and Minuet, by Sebastian Bach
Lesson XLIX
133Gavotta, by Corelli
Lesson L134Prelude in C# minor
134Minuet, by Dr. Haydn
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MUSIC NOTATION
PRELIMINARIES
All musical sounds are expressed by certain characters, called notes, which are named from the first sevenletters 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 4th
line The Tenor clef on the 4th
line
The Counter-tenor clef on the 3d
line The Soprano clef on the 1st
line
And the Treble clef on the 2nd
line
The Treble and Bass clefs are chiefly used for the Piano Forte.
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CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE4
THE SCALE, OR GAMUT
Shewing the position, and name of the notes.
d
d
d
e
f f
g
e
g
f
b ba
g
a
c
Bass
Treble
cb
d
a
g
b
f d
a
c
c
b e
e
a
b
a
c f g e
e
c
g g
f
f
d
Let the PUPIL now strike the notes on the instrument; taking notice, that the first LONG key, on the lefthand, serves for the first F; the second LONG key for G; the third for A; and so on: making no other use, atpresent, of the SHORT keys, than as GUIDES to direct the eye; by observing, that between B and C, and betweenE 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 theSAME keys.
As a help to memory; let the Pupil contemplate the notes, SEPARATELY , on the lines, and spaces; beginning by the FIVE lines.
G
A
C A FDB
F
C
Bass
D CE B
EGE
FE A Treble
C A
G
D A B
D EG
DB
TrebleG
F
F
Bass
C FF
D
B A G BGEC
Exercise for treble notes:
Exercise for bass notes:
N.B. Let the Pupil FIRST be familiarized with thenotes, by READILY naming them; and then find themout asREADILY on the instrument.
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5 MUSIC NOTATION
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,
between E and F; and between B and C.
Ex:
C
E
F
B
The REGULAR progression of the OTHER notes in the NATURAL, which is also called DIATONIC scale, is by anINTERVAL of two semitones or a whole note.
Example of the N ATURAL or DIATONIC scale.
tonesemi-
tonewhole
semi-
tone
tonewhole
tonewhole
whole
tonewhole
tone
The INTERVAL between C and D, between D and E, or between any two CONTIGUOUS notes, in the scale, iscall a SECOND: the INTERVAL between C and E, or between D and F, etc: is called a THIRD; and so on.
Example of INTERVALS
7
th
6
th
8
th
2
d
3d
5
th
4
th
The INTERVAL of an 8th
is commonly called an OCTAVE.
N.B. The nature, and name of the INTERVALS remain the same, whether the single notes be playedSUCCESSIVELY , or whether two, or more, be struck TOGETHER: the former is properly called MELODY ; and the
latter, H ARMONY .
Example of the latter.-
The notes thus taken TOGETHER are also called CHORDS; the succession of which, played from certainfigures set over a bass, according to a system of rules, is denominated THOROUGH-B ASS.
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CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE6
TENOR, COUNTER-TENOR, AND SOPRANO CLEFS EXPLAINED
d
g
b
g
f
e
are played as if
written thus:
The notes
written thus:
a
c
b
f
a
g
Bassc
Tenor
e
d
e
d
f
b
c
d
f
d
b
e
c
are played thus:
when written thus:
b
c
g
f
a
g
d
Bass
c
Counter-tenor
e
e
g
f
b
d
c
b
d
f
g
a
f
are played thus:
when written thus:
d
c
b
f
a
g
d
Treble
c
Soprano
e
e
g
f
b
d
c
By which it is evident, that the Tenor-notes must be played one fifth HIGHER than the Bass-notes: theCounter-tenor notes, one seventh HIGHER than the Bass-notes: and the Soprano-notes, one third LOWER thanthe 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: F the tenor, counter-tenor, and soprano-clefs are called C-clefs, because
they determine the place of C:Tenor:
C
Counter-t:
C
Soprano:
C and the treble-clef is called the
G-clef, being placed on the line where G is found
Treble:
G
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7 MUSIC NOTATION
FIGURE, LENGTH, AND THE RELATIVE VALUE OF NOTES AND RESTS
demi-semi-quaver
semiquaver,
Notes
Rests
minim,
Semibreve,
quaver,
crotchet,
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 isadded 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
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CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE8
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 thecharacter 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.
42 Example
Four sorts of COMPOUND common time explained:
1st
sort 812 containing 12 quavers in abar, or their equivalent
2
d sort
86 six quavers in a bar, ortheir equivalent
3
d sort 412 12 crotchets in a bar, etc.
46 4th
sort
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 ina bar, etc:
83 three quavers ina bar, etc:
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9 MUSIC NOTATION
COMPOUND triple time explained.
49 nine crotchets ina bar, etc:
89
nine quavers ina 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, intothree equal parts.
The figures, which mark the time, have a reference to the SEMIBREVE; the LOWER number, showing into howmany parts the SEMIBREVE is divided; and the UPPER number, how many of such parts are taken to fill up a
bar. For example 42 denotes, that the SEMIBREVE is divided into four parts, namely, four crotchets; and that
two of them are taken for each bar: likewise 8 3 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
3 3 3 3 3 or thus or 3
(which are called triplets) denotes,
that the three crotchets must be performed within the time of two common crotchets, or of one minim; thethree quavers within the time of two common quavers, or of one crotchet; and the three semiquavers withinthe 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; thatis, 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 thepreceding one. The figures 5, 7, 9, 10 etc. follow the same rule.
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CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE10
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.
Ex:
The intervals of the contiguous
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 usedfor 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 keybetween D, and E; but between E, and F, ther is no SHORT key; nor is it wanted: for the INTERVAL between Eand 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 CNATURAL 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 isprefixed, 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 doubleFLAT, 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 methodtherefore, 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.
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11 MUSIC NOTATION
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.
1st
Ex:
is played as if written thus
2d
Ex:
as if written thus
3d
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. The order of SHARPS
at the clef.
descending by a 4th
and
ascending by a 5th
The order of FLATS
at the clef. ascending by a 4
thand
descending by a 5th
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CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE12
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 Italianwords, 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
thus Ex:
thus
Ex:
3 Ex: 3
thus 3
Ex: thus
6 Ex: 6 6
thus
Ex:
played thus
Ex: thus
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13 MUSIC NOTATION
The ITALIAN word, Segue; means, it continues, or follows: Ex:
segue
thus
Tremando, or trembling:
Ex:
thus
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CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE14
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 toset 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. Dolce or dol: means SWEET, with TASTE; now and then SWELLING some notes. Piano or Pia: or p, SOFT. Mezzo, or mez: or mezzo-piano, or poco
p,or poc:P, RATHER SOFT.
Pianissimo, or Pmo
or pp, VERY SOFT. Fortissimo, or F mo
or ff, VERY LOUD.
Forte, or For: or f , LOUD.
Mezzo f , or Mez: f , RATHER LOUD.
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CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE16
Sometimes the little notes are added to give EMPHASIS:
Example
played thus
N.B. the finger or thumb must be taken off immediately from the LOWER notes.
thus
expressively timessome-but
thus
3
th: Ex: played
thus
thus
Ex: in double notes
thus thus
TURNS, SHAKES, AND BEATS, EXPLAINED
The Turn
3
played thus
It is sometimes writ-
_ten in small notes
3
thus
3
thus
thus
thus 3 thuse plain
e and turn or The dotted
note turned 3
thus
or
Inverted turns 3
3 or thus
N.B. The LOWEST note of EVERY sort of turn is MOSTLY a semitone:
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17 MUSIC NOTATION
3 thusEx: 1
st 3 thus
Ex: 2d
thus Ex: in dou--ble notes
3
thus
3
3
thus Some Authors
mark it thus
Shake.
orplayed
thus
played thus
Short shake
beginning by the
note itself.
thus
or
Sometimes ex-
-pressed in small
notes.
Transient
or passing
shakes
thus
turned thus
and sometimes Turned
Shake. or or or
thus
played
thus
6Prepared shake
6 Continued
shake.thus
The shake LEGATO with the preceding note, explained:
3 3 thus
or thus
thus
N.B. The GENERAL markfor the shake is this andcomposers trust CHIEFLY to the taste and judgement of the performer, whether it shall be long, short, transient, or turned.
or or The BEAT or
or thus or 3
The LENGTH of the BEAT is determined, like that of the other graces, by the circumstances of the passage.
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CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE18
N.B. When the note preceding the beat is an interval of a SECOND, let the beat adopt it, whether it be asemitone or a whole tone:
played
thus thusEx:
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.
thus Examples
thus
Lastly, let us remark, that the beat is seldom used in modern music.
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19 MUSIC NOTATION
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.
5
4
7
6
Ascending and
descending scale
in the key of
C, M AJOR.
3
2
Key-
note
13
5Key-
note
1 42
8
8
6
7
N.B. The intervals in THIS scale are in their SIMPLE state; but in the following, they are an octave higher,
and are called COMPOUND intervals; still retaining their names of 2d
, 3d
, 4th
, 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.
5
4
7
6
Ascending and
descending scale
in the key of
A, MINOR.
3
2
Key-
note
13
5
Key-
note
1 42
8
86
7
Thefirst DIFFERENCE, which strikes the eye, is, that in the MAJOR-KEY , the semitone lies between the 3d
and
4th
, and between the 7th
and 8th
both ascending, and descending: whereas in the MINOR-KEY , it lies between
the 2d and 3d , and between the 7th and 8th ascending; but in descending, between the 2d and 3d and betweenthe 5
thand 6
th. Authors vary, however, in regard to the 6
thand 7
thof the MINOR mode.
The ESSENTIAL and IMMUTABLE difference, therefore, between the MAJOR and MINOR key, is the interval of
the 3d
, which differs by a SEMITONE; for if we analyse the 3d
in the MAJOR-SCALE, it will be found to containtwo whole tones; or four semitones:
semi-tonesemi-
toneEx: 3d
wholetone 3d
wholetone semi-
tonesemi-toneor
Whereas the 3d
in the MINOR -scale, will be found to contain one whole tone with a semitone; or threesemitones.
3dsemi-tone
semi-tone
Example semitone
3d
wholetone
semi-tone
or
Now, the LAST, and if a chord, the LOWEST note of the bass, in every REGULAR composition, is the KEY -NOTE ;let the contents then of the first FULL bar be examined, (treble and bass); where, if the 3
dbe major, the piece is
said to be in SUCH a key major.
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CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE20
the LAST and LOWEST
note of the bass is F.
Example of a conclusion:
Example of the beginning
of the same piece:
43 43 the 3
d
of F, which is A in thefirst FULL bar, is MAJOR:
therefore the piece is in F
MAJOR
A
Example of
A MINOR
ending.
here the 3d
of A
is MINOR, the
piece is there-
fore in A MINOR
Example
of the be-
ginning
42
42
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 iscalled the RELATIVE MINOR to the former; and that every MAJOR-KEY has its RELATIVE MINOR in the sameproportion, 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
A DAGIO, POCO A LLEGRO , etc. We shall annex a list of the terms mostly in use; beginning by the SLOWEST
degree, which is A DAGIO; and gradually proceeding to the QUICKEST, which is PRESTISSIMO._______________________________________
1 A DAGIO
2 GRAVE
3 L ARGO
4 LENTO
5 L ARGHETTO
6 A NDANTINO
7 A NDANTE
8 A LLEGRETTO
9 MODERATO
10 TEMPO GIUSTO
11 M AESTOSO
12 CON COMMODO
13 A LLEGRO
14 V IVACE
15 CON SPIRITO
16 SPIRITOSO
17 CON BRIO
18 CON FUOCO
19 PRESTO
20 PRESTISSIMO
Various other terms are sometimes added to the preceding, in order to MODIFY or extend their meaning, as:NON TROPPO A LLEGRO , not too quick etc.
We shall subjoin some of the most common, with their explanation.MOLTO, DI MOLTO , or A SSAI, very. NON TROPPO , not too much. UN POCO , a little. QUASI , almost. PIù,
more. MENO, less. PIù TOSTO, rather. SEMPRE, always. M A , 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. C ANTABILE, in a singing and graceful manner. A FFETTUOSO, in anaffecting and tender manner. GRAZIOSO, in a graceful and elegant manner. CON MOTO, with a certaindegree of vivacity. BRILLANTE, with brilliancy and spirit. A GGITATO, agitated; with passion and fire. CON ESPRESSIONE, or CON ANIMA , with expression; that is, with passionate feeling; where every note has itspeculiar 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. A D LIBITUM, atpleasure or discretion, with regard to time; introducing in certain cases an embelishment. TEMPO PRIMO, orPRIMO TEMPO, in the original time. R ALLENTANDO or RITARDANDO, gradually slackening the time.
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21 MUSIC NOTATION
SMORZANDO, MORENDO or PERDENDOSI, extinguishing gradually the sound, 'till it be almost lost. C ALANDO, or MANCANDO, diminishing by degrees the sound, or slackening almost imperceptibly the time; orboth. D A C APO, abbreviated thus: D.C., to return to, and end with, the first strain. V OLTI SUBITO or V.S.turn over quickly. The L ATIN word BIS, means TWICE; it is generally placed over a passage within a curve line,which denotes the extent of the repeat.
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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 thecombinations of notes being almost infinite, the art of fingering will best be taught by examples.
PRELIMINARY DIRECTIONS The hand and armshould 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, alwaysready to strike; bending the fingers in, more or less in proportion to their length. All unnecessary motionmust 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. 3 2 4 5 4 42Right
Hand
1 and so on, a great many times. 4 5 4 1 2 3 2 33 2 1
5
etc.
4
Left
Hand
N.B. Let every note be played even, in
regard to time; and with equal strength.
2
3
4
5 3
42 2
1
SCALES IN ALL THE MAJOR KEYS, WITH THEIR RELATIVE MINORS which ought to be practised daily.
3
3 2
4
1
13
3
2
1 1
2
5
1
4
2
C major
Right Hand
1
2
3
3
3
3
2
1
3
3
1
2
1
1 4
2
3
Left Hand5
1
2
1
2
4
3
2
4
3
32
4 1
5
3
3 4
2 1
2
2
1 4
2
3
4
1
3
5
A minor
1
3
3
1
2
1
4
2
5
1
2
1
3
3
3
2
1
5
1
4
1
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25 FINGERING
1
1
3
43
43
D major
1
2
3
12
3
3
2
4
1
1
4
3
4
4
1
1
4
4
3
3
2
B minor
1
1
3
4
1
1
3
2
1
3
3
4
3
2
3 1
1
1
4
1
1
3
2
A major
3
1
1
1
3
3
2
3
1
4
3
3
5
1 4
1
1
1 1
4 1
3
43 43
F minor
5
1
2
3
5
1
1
1
2
1
4
1
5
1
3
1
4
2
E major
4
1
1
1
3
2
1
3
2
4
1
2
3
1
2
3
23
4
1
1
4
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27 FINGERING
1 1 5 3
12 2
1
2
etc. 1 13
2 4
and for the
left hand.
3 2
3
2
3 4 12 2 1
1 1
3
2
3 2 3 1
1 3 2 4 2
1
2
2 1
N.B. The semitones are to be fingered in the same way, ascending and descending.
GENERAL REMARKS ON THE FOREGOING SCALES
The right hand has the thumb on the KEY -NOTE or TONIC, and on the 4th
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.
The left hand has the thumb on the KEY -NOTE, and on the 5th
of the KEY , in the following MAJOR and MINOR
keys: F, C, G, D, A, and E.
In the MAJOR keys of B , E , A and D , the thumb is put on the 3d
and 7th
of the key.
EXTENSIONS AND CONTRACTIONS ETC.
1
5 R.H.
d 1 5
4
5
1 5 45 5 1
R.H.d 1 1 1 15
5
L.H.d
5 ⁀ 1 1
5
L.H.d
5
15 R.H.d
1
N.B. The 5 ⁀ 1 meansthat after striking C with the 5th
finger, the thumb is shifted on the key without striking it.
In a similar manner the left hand thus: 5 1 ⁀ 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.
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CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE30
32
3 15
3
3
1 5 2
5 2 4 1
32
32 4 15
3 4 1 4 1
3 1
5 2
5 2
5 2
4 1
4 1
5 2 42
5 3 3 1 4
3
1
5 3 42
2 3 12 1
3 1
42
3 1
42 5
3 2 12 1 4 13 15 3 42 1 42
3
5 3 5
3
42
5 3
3
1
5
33
3
1 1 4
2
4
thus:or
4
2
4
2 4
2
42
5
3
3
1
5 3
1 1 13
4
2 4
2
3
3
425
3 4
2 4
2 42
3
1 3
5 3 1
42
4
4
2 42
4
22
3
1
3
1
3
1
3
1 2 3
1 Staccato3
1
3
1 3
1 5
3
5 3 3 1
42 42
3 1 1 5
3
5
1 5 3 42 42
42
42
3 1
3 1
3 1 42
5 3 5
3
5 3
42
5 1
5 2
4 1
42
legato
4 5 2
4 1
2 4 1
5
5
1
5 1
2 42
5 1
42
42
3 1
42 42 4 3 1
5
2
5
13
12
2 13 2
5 5 1
3 2
1 4
5 2
25 2
25
13
5 2
1 4
1
legato
15 15 1 4
1 4
13
4
13
1
5 2
13
5 1
32 4 1 4 1 5 3 32 4
1
42
2
2 1
5
1
3
3
1
42
42
3
1 5 3 42 3 1
2 1
5 3
42
3 1
5 3 1
42
3 3
12
2 1
3
5
1
5 3
42
35
3
42
5 3 3
42 425
3 1
3 1
1 2 1
5 3
42
3
1 2 133 1
4
5 4
2 1
4 3
1
3 4 2 - 1
1
5
3
5 2
4 2 1
4 3
2 1
4 3
2 1
4 32 1
4 3 1
5 4- 4 - 5
12
5
1
4 - 5 5 4
2
1
4-
1
1 - 2
5
2
4
5
1
5
1
4
2
4
5 1
2
1
3
2
5
4
1
5
4 1
5
2
4
5 3
1
2
1
5
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31 FINGERING
THE LEFT HAND.
13 5
3 1 25 33 1
5
2
1 3 4
12
1
1 1
23 1
3 1 4 5 22
1
35
1
1 22 5
1 4 15
1 4 1
5
433
2 5 43
2 43 1
1 1 1 2 12 4
2323 13 1 4 2 3 4 4
2 1 5 4 15
1 2
2 15
1 5
13
2
5
12 1 2 12 15
2 12 1 43 1 3 432 3 433 1 ⁀ 22 1 5
2 1 1 4
4 5
2
12 1 1 2 1
5 13 2 15
3 4
1
5
13 3 5 1
1
2
2
15
1
3 3 4 1
3 4 3 1
3
4
3
1
3
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.
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PRELUDES AND LESSONS
To preserve the order of keys, some of the difficult are intermixed with the easy lessons: but the pupil mustpractise 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 3
1
2
5
12
4
3
2
1
42 42
5 3
3
12
2
1
2 13
5 43
2 4
1 2 1 3 12
12
3 4
AWAY WITH MELANCHOLY: BY MOZART
2 32
f
2
1 1 1
3 1Moderato
4
5
4
4 4 1
22 4
423
4
p
1
2 232
1 4 33
2 42
1 7 2
4
1
3
2 4
5 3
3 1 12
4 4
3 13
3
p
233 2
3
3 2 4 3 4
5
13
1 1
12 3 13
2 23
42
3
4
32
f
1
5
43
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33 PRELUDES AND LESSONS
LESSON II
ARIA
4
1
5
5
5
1
32
1
5
p
42 425
5
42
3
2
5
3
45 4 1
5
1
4
3 5
2
1
1
23
5
3
1
3
1 5
23
2
5
5 3
412
3
13
1
12
5
2 1
4
5
5
3
2
2
3 1
5
5
2
15
4
4
3
2 4
5
3 1
1
f
5
LESSON III
AIR, IN ATALANTA, BY HANDEL
4
22
43
3 15 5
2 3
32
4
15
5
15
2
15 5
232 4
2
2
33
32
3 4 3 ⁀ 2
1 4
2 1
4 43
5
4
1 4
4
3
5
2
1
5
5
2
3
2
8
5 5
23
3 ⁀ 2
1
42
4
33
4 1
5
2
42
2
42
2 1
23
32
3
4
13
2
4
5
1
22
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CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE34
LESSON IV
AIR, IN SAUL, BY HANDEL
1 1
3 3 ⁀ 2
2
5
3
2
2
1
2
25
3 43 43
2
1
5 2 1
3
2
3
5 1
3
3
1
5
5
3
23
2
3
12
33
3
4
22
22 1
5
2 1
13
1
5
1
1.
3
4 1
13
5
2
3 ⁀ 2 4
22
1 3
3
1
5 210 3 1
1 2 1 2
2
3
2. 2
35 2
2
1 2
3
5
4
4 ⁀ 5
1
2
3 1
4 1
3
5
4
2 1
33
12
2
2
3
4 2
4 1
1
4
2
3
2
3
3 1
1
2
2
19
3
5 12
4
5
2 3
1 1
12
4
4
2
5 1
1
4
13 ⁀ 2
2
4
2
4
1
3
2
3
4 ⁀ 5 3 2 3
5
2
3
5
3 1 1
4 2 13
2 1 3
4
5
5
32 1 28
4
45
1
5
1 4
23
33 1
3
1
1 1
5
4 3 2 1 1
225
5
3
35
25
3 3
5 3 4
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35 PRELUDES AND LESSONS
2
1
3
4 ⁀ 5
35
3 4
3 1
232
3
5
2
3
37 1
42 3
4
5
12 ⁀ 5
4 2
5
2
22 1
3
5
5 3
42 3
3 1
12 1
5
225
33
1
3
12
22 5
4 1
32 1
4 3
5
2 3 1 1
1
5
2247
22
4
13 4
3 1 3 1
4
1
5 2
43
3 4
1 43
1 1
2
2
3
5
5
1
15
5
2 3
23
3 4 4
23
3 1
1 2 1
4
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CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE36
LESSON V
DEAD MARCH, IN SAUL, BY HANDEL
13
2
4
13
13
Grave
35
13
35
5
2
4
2
1
4
2 4
35
2
4
2
4
13
13
35
2
4
4
2
4
13
2
4
2 4
13
13
2 4
13
35
2
4
2 4
4
13
2
4
122
4
13
35
7
2 4
1
3
5
2 4
2
4
5
5
2 4
2 4
13
2 4
10
13
2 4
2 4 5
13
14 25
1 4
25
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37 PRELUDES AND LESSONS
42
2
3
5
42
3
5
3 1
4
5
13
1
4
18
3
1
5 3
3
1
4 1
5 2
5 2
5 2
3
4 1 3
42
5
2
1
3
5 3
1
2
5 3
5
2
3
4
32
2
2 15
15
12
4
3
2 4 22
2
2
5
13
2
13
2
2 4
1
15
1
35
1
2 4
2
35
25
1
13
2 ⁀ 3
5
13
5
13
4
3
4
3
1
42
2
5
4
4
5
2
5
3
3
3
26
42
1
5
5
3 42
2
3
25
1
5
5 2
4 1
1 4 1
5
1
4
1
4
42
5
43
3
5 2
1
5
1
2
5
5
1
3 1
5
1
3 ⁀ 2
3
1
5
3
1
5
4
2 42 1
29
5 1
2
3 42
3
42
3
1
3
1
5 3
5
4
32
3 1
1
1
3
1
3
42
2
5 1
1
5
1
42
2
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CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE38
LESSON VI
ALLEGRO BY CORELLI
2 1
3
3
25
3
5
2
1
3
1
5
Allegro
2
5 2
1
1 1
15
5 3
1
5
23
5
4
2
4
23
5
1
3
1
5
3
1
1
2
42
2
4
5 3 2
3
42
4
1
2
2
1
3
3
4
5 3
3
4
2
2
2
5
5
3
4
3
5
5
3
2
2
43
3
13
5 3
1
2 4
2
23 15 4
4 1
125 2
2
35 1
5 3
45 4
4
2 1 1
3
42
4
2 15
5 425
12
3 45
5
1
1 15
4 4 2 4
5
7 1 4 35 2
12
1
2 1
1
5 3
1
33
25 4
2
5 33
2 1
3
3
2
12
5
2
5
3
33
5
3
1 9 42 12 4
5
13
4
22
4
2
332
135
2
3
3
4
2
4
5
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39 PRELUDES AND LESSONS
2 4
1 4 33
1 11 1 5 5 45 2 15
1
1 42 4 4 23
3 1 4 12
25 3
3 1
2 1
2
3
1 2
42 15
5 3
13 1
12 4
5
5
45 12
5 3
1
2
1
3
5
2
1
35
23
2
3 1
3
5 3
5 3
1
1
3
5
3
1
3
15 1
1
2
5
5
3
3
5
3
1
1
5
3
3
1
2
2
2
3
5
2
1
5
3
2
3
35 3
1
17
35
25 3
23 4
2
135
15 3
23
45 42 45 4 4
2
19 4
1 45 5 45 2
32 1
4
125 2
45
5 4
2
1
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41 PRELUDES AND LESSONS
LESSON VII
PRELUDE IN A MINOR
1
2
5
4
1
86
1
86 3
5 2
3
4
1
5
1
2 15
5
1
3
2
1
5
1
2
3
5
1
3
GAVOTTA BY CORELLI
1
1 4
35
35
2
23
3 2 1
1 4
Allegro
3
3
2
35
5
13
2
2 4
23
1
1 1 4
4
13
25
2 4
3 2 1
35
5
2 4
1 4
4
15
2
1 4
5
5 f 35
3 5
1
1
3
7 2
1
3 4
32
3 ⁀ 2
5
3
2 1
5
1
3 ⁀ 22 4
4
2
3 1
4
2
1 4
5
5
23
3
3
15
5
p23
4
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CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE42
LESSON VIII
PRELUDE IN F MAJOR
1
5
1
1
5
3
2 1
2
3 5
1
5 3
1
2
42 5
32 1
42
1
2
3
2
1
4
1
3
2
1
4
5
1
3
3
3
2 1
13
3
2
2
3
2
1
1
2
AIR, IN JUDAS MACCABEUS, BY HANDEL
5
4
2
3
2
1
3
5 42 42
5 35
32
4
5
4
1
3
3
3
5
5
4
3
4
5
12
5 12
4
3
3
3 4 4
25
1
2
4 7
2
3 ⁀ 2
5
1
1
1
1
3 ⁀ 2
4
5
1
1
5
5
3
4
4 3 43
2
3
33
3 2
2 15
4
3 5 4
15
3 3 ⁀ 2 13
3
4
43
4
43 1
2
3
3 1 4 2
3
35
5 5
3
3
19
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43 PRELUDES AND LESSONS
LESSON IX
MARCH, IN JUDAS MACCABEUS, BY HANDEL
2
3
1
3 ⁀ 2
1
2
5
43
4
23
3
4
3
2
1
3 1
22
1 1
3
2
1
4
2
2
45
4 ⁀ 5
4
2
5
43
13
4
33
15
3 4
26
1
4
2
2
3 1
235
3 4
4 3
2 1
1 32
2 4
1
4
42
2
4 2
1
42
22
4
5
4 ⁀ 5 4 11 32
2 13
3
1 4 ⁀ 5
1 43
2 4 ⁀ 5
3
5
2 4
35
22 13
13
5
2 2 1 4
2
5
1 1
33
4 13
2
3 ⁀ 2
17 3 2
4
5 3 4
3
4
1
2
33
4 4
12 5
4 2 2
3 2 1
2 1 4
5
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CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE44
4
1
1
2 32
23 2
5 4
3 1
33
432 12 12
5
2
1
2 1 3 ⁀ 2 4
13
2
235
3
1 1
323
4 1 1
2 28
2
3 ⁀ 2
3
45
15
3222
3
13
43
43 1 1
3 122 4
33
2 4
5
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45 PRELUDES AND LESSONS
LESSON X
SARABANDA, BY CORELLI
2
4
3
35
3 2 4
3
1
2 1
5
4 ⁀ 5
1
1 43
43
Vivace
3 12
1
1 4
3
15
1
4
3
3 13 42
1 1
5 2 1 33
1
2 1
35
2
3225
2
25
5
3
3
4 ⁀ 5
35
5
1
3 4
2
4
4 ⁀ 5
5
1 1 2 5 3
25
2 4
5
32 1 2 13 ⁀ 2
1 5
8
3
1
3 42
1 2
45
3
232 1 4 1 45
2 4 2
3
15
2
3 1 2 1 22 15
13 4 1
35
1 2 45
5
15
22
1
2 3 1 13
35 4
5
1 2 4 1 2 1
4 ⁀ 5 3 ⁀ 1 1
5
16
25 1
42
42
4
1
3 2 4 4 2 1
3 1
5
5 3
2
3
5
1 25
1 3 1 2 45
2 1
1 2 4
5 3
3 1
25
42
4
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CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE46
LESSON XI
GIGA, BY CORELLI
3
1
3
1
1
3 1
3
4
5
2
2
1 1
Allegro
812 812
1
1
3
2
4
5
1
3
4
3
4
3
4
1
1
5
3
35
5
1
3
3
1 1
1 1
3
3
3
1 2
43
4 4
13
3 1
4
5 5 12
3
2 4
1
33
3
1
2 4
4 1
5 1
5
3
5 3 4 5
2
2 3 1
3 1
5 2
2
3 4
2 2 1
5
3 5 5 25
7
1 5
4
3
12
5
2 4 1 1 2
3
3
5
3
1 2
5 43 5 1
35 2
1
2 3
4
23 1
1 1
3 5 1 4 1
5
1 1
3
10 1 4
22
23
1
45 1 1 4
2
2 45 2
1
3
2 1
4 5 4 5 5
1
5 3
12
1
1 12
2 1 13 2
5
3
43
1 2
5
222
22
4
2 4
2 1 1 45 2 12 1
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47 PRELUDES AND LESSONS
3 5 5
45
12
2 3
1 16
5 3
12 2 5
3
1
22
132
22
3 13
5
22
135 1
3
43 4 1
5
3
5
19 35
3 1 1
2
3 1 1 4 1 4
3 4
2 2
1 33
5
1 1
1
1 3
1 3 4
2
3
5 5 4
1
1
2
233
4
3
1 1
23
3
22 5 2
125
3
43 1
4
3
2 5 1
1
5 5 5
4 2
5 3 1
3
1
4
3 1
35
5
5 3
3
4 3
13
3 3
25
5
2
132 323
45
3 1
32
4 1 1
3
1 2
32
35 4
3
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CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE48
LESSON XII
ARIETTA, BY MOZART
5
5
13
2
4
3
2
5
3
3
2 4
3
Andante
86 86
13
2 4
5
2 4
13
13
dolce 4
2
2
4
1 13
15
5
4
4
2
2
3
5
13
5
15
5
4
4
5
2
6
1
15
3
5
4
4
42
p
3
2
3
5
5
2
23
2
2Fine.
4
1 1
25
1
4
3
3
22
1
3 1
2 4
5
25
4
1
13
5 12
5 1
1
3
4
3 1
3
42
5
1 4
3
3
5
2 4
D.C.
1
4
5
2
5
1
5
2 2
1 3
4
5
5
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49 PRELUDES AND LESSONS
LESSON XIII
MINUET AND TRIO, BY MOZART
5
1 1
3
35
5
1
5
1
42
5 3
3
Minuet
43 43
1
12
5 3
4
5
2
4
1
4
1 4
3
4
4
2
2
3
1
35
1
1
32
3
1
3
25
13
23
3
2
13
42
2
3
1
4 1
5
1
4 1
5 4
42
5
7
42
5
5 3
1
3
1
2
42
42
3
42
1
5
5
2
5
1
4 1
3
5
2
1 4 1
5 2
4
4 1
5
1
5 2
15 2
3
4 1
3
1 4
5 1
5
25
2
4
4
4
35
4 1
5
4 1
13
5 1
4
5 2
15 2
4 1
5
4
4
3 2
13 1
5 32
3
1
42
2
3 1
4 5 3
3
2 4
1
2 42
5 42
1
35
1
8/10/2019 Clementi Op42 a4
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CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE50
5
3
5
4
fz
123 2 4
2
fz 4
Trio
2 4 4
2 1
3
fz5
43
43
322 2
1
1
2
15
3
1
22
2
4
fz 2
22 2
13
2
2 4
2
135 2
3
fz
6 1
4
4
3 35
2 fz
11
1 2
2 4
12 2
4
fz
5 3
23
5
3
1
135
22 4
3 2 4
1
123
5
1 4
35
3 4
15
Men.D.C. 2 322
2
12 1
3 2
4 5
4
23
2
2 2
1
13
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51 PRELUDES AND LESSONS
LESSON XIV
LE RÉVEILMATIN, BY COUPERIN
5
2
3
4
2
3
2
3
4
3
4
Vivace
812 812 2
1
2
3
1
2
1
4 ⁀ 5
3
4
1
5
2
1
3
2
1
4
3
1
2
5
4
4
1
3
2
3
5
2 4
3
4 2
3
2
1
3
1
4 1
3 ⁀ 22
32
2
1
3
4
1
335
1
1
1
2 1
5
3 1
45
4
4
2
5
1
5
5
2
5
1
2
5
1
4
1
3
5 32
3
1
3
12
4
1
1
3
3
1
4
5
7
3
5
1
5 1 2
1
1
2 23
1
5
1
3
2
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CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE52
3 3
5 4 1
5
3
2
2
1
9
12
1
3 ⁀ 2
4
5 4
1
4
3
3
1
1
4
1
2
2
5
3
4
2
3
5
3
5 4
2
2
5
1
5 4
3
13
4
2 3
2 4
1
5
2
1 1 1
1
5
32 2 3
1
43
5
1
2 ⁀ 1
5
5
2
3
1
3
415
1
3
4
5
2
3
1
3
1
3
2 3 2 2
3
1
432
12 2 3
1 43
317 5 4
2
3 2
3
3
4
12 3
42
1
5
3
1
2 1
3 3
5 2
5
32
2 1
1
12
5
3 3
4
5
2
2
2
5
1
5
5
1
20
2
2
1
5
3
4
1
1
2
2
4
3
2
3
4
4
1
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53 PRELUDES AND LESSONS
4 1
1
2
5
3
3
4 4
1
3
4
5
2 1
1
22 5
3
1
4
2 1
33
5 4 1
5 1
4
2
4
3
2 12
3
4 5
5
3
3
1
22
5
3
5 1
5
42 1
2 3
5
3
2
3
3
1
2
4
1
45 3
1
5
3
3
4 2
2
3
1
25
22 1
5 4
5 3
5
3
2 5
1
2 1
1
2
2
2 1
4 2
2
5
5
1
3
1 4
5
5
3
1 4 1
4 1
4
5
2
1
3
3
1
5 2
5
5 1
28
1
1
2
4
4
1
3
1
4 ⁀ 5
1
3
2
3
1
3
4
1
2
1
3
3 4
5
3 4 3
3 1 130
2
33
1 2 5 3
5
4
5
1
2
4 5
4
4
4 ⁀ 5 5 3
2
3
3
2 1
2 13
1
2 13
2
1 42 1
3
1
2
5
33
3
2
4
1
5 1
2
4
5
1
1
4
3
2
3
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CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE54
3
5
3
42
5
1
2
1
1
35
1
4 ⁀ 5 2
4
12
4
2
1
3
4
3
23
2
5
1
The graces of the first and second bar to be played like this:2
3
3
4
4
2
3
3
4
4
3
3 3 4 2
4
33
4
8/10/2019 Clementi Op42 a4
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55 PRELUDES AND LESSONS
LESSON XV
PRELUDE IN D MINOR
1
1
5
3
2
2
5
3
2
5
4
4
1
1
1
2
3
5 4
1
3
1 2
4
4
4
1
3
1
4
2
5
12
4
5
1
LARGHETTO, BY SCARLATTI
1 4
5 5 ⁀ 3
2
1
5 1 ⁀ 5
4 4 4
2
43 43 1
1
5
43 4
5
1
2 4 2
2
2
5 1
2 4 1
22
2
5
2
3
5
12
4
2 1
1
4
4 3
3 4
13
2
3
2
5
7
5
1
3
2
3
1
2 4 1
1 ⁀ 5
1 2 2
3 43 2
5
1 1
1
5 2
4 1
5 2
13 ⁀ 1
2 4 ⁀ 5
2
2
5
4
23 3
2
5
1 1
42
13
4 5
5
1 1 4
5
1 12
3
2 2 42
23 1 4
5 2 1
5 2 3
1 122
5 13
2
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CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE56
2
43 2 1
15
2 1 1
5
19 1
5
5 12 4
4
4
2
5 2
23
4 4
3
1
5 5
13
4
2 4 4
12
2 13
1
15
1 25
42
23
24
5
2
2
2 1
3 4
12
1
32
1
5
2 3 ⁀ 2
2 3
43 1
3
13
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57 PRELUDES AND LESSONS
LESSON XVI
ALLEMANDA, BY CORELLI
42
1
2 4
3 1 2 43
2
Allegro
3
4 5 5 2
3
1
1
5
3
5
3
1
5
3
4 4
4
2 5 35 1
2 4
35 3
4
323 3 13 15
4
3
4 4
125
23 4
35
2322 3
1 1
25
123 3 43 43 1 1
2 4
2 3
2 1
2
3
2
4
5
3
5
3
4
5
4
35
5 3
3
1
2 4
2
2
1
3
43
4
3
35
3
2
3
1
2
2
2
1
2 1 13
3
2 4
2 4 1 1 3
1
35
7
3
5 3
22
32
3
4
2 1
3
1 1
4
2 12
2 4
2
3 1
35
1 9
4 12
4
2 2
13
2 4 1 1 4 3
2 4
1
32 1 2
13 5
2 1
2 4
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CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE58
3
1
23
1 2 2 1
5
1
1
23
3 ⁀ 5
11
5
4
3
4 1
3
2
5 2
5 3
2
5
3
5
1
3
4
32
3
3
1
2
4
1
2
4
32
2
4 1
1
1
43
1 42
2 4 3
42 1
5
1
2
5 3
4
3 3 214
1 1 5 2
42
32 1
2 1 22 42
3 15
22 13 1 1
4 35
3
22 45 43 4
5 3
4
3
5
2
3 5 12
4
12 3
43
17
3
4
3 2 2 1 1
23 1 13
2
1
2 4
1
35
5
12
2
3
35
13
3 19 3
5
12
4 1 3 432
3
45
1 4
3
4
1 4
4 1
2 4
4
23
5
3
1
3
3
21
1
5
2 1 43
4
23
3
2 1 4
3 12 4 1
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59 PRELUDES AND LESSONS
LESSON XVII
SARABANDA, BY CORELLI
225
3 4
2 13
1
3 15
1 2
3
1
4 ⁀ 3
Allegro
86 86
12
3
12
5 3
3
1 4
1
1 1 4
123
3 5
3 45
2 2
5 1
32
1
2 3 4 42
1 3 3
1
1 2 5
5 3
1 4 5 3
4 1
2 36
42
25 3
3 32
13
1
3 5 3
3
42
5
42
1 2
5
42
3
1
2
42
3 1
3 1
23
1
33
1
5 3
5
42
4
4
23
5
1
1
1 4
12
3
2 4
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CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE60
LESSON XVIII
PRELUDE IN G MAJOR
4
3
2
1
15
3 43 43
3
2
5 2 1
5 1
42 1
13 4
1 2
1
5
1223
5
3
3
1
2
1
5
2
4
123 2
3
1 4
2
5
2 4 1
4
1
23
AH VOUS DIRAI - JE MAMAN
2
1 2
3
23 1
2 4 5
4 3
4
5 5
1 4242
5
43
5
5
1 1
4 3
4
3
2
3
5 1
1
5
3
2
3 1
5 1
2
3
12
2
4 5 5
3
1
3
1
3
3
3
1
5 1
5
3 3
4
1 4
1
4 2
3 4
4
5
13 4
2
1
5
3 13
1
1
5
5
1
3 1
2
5 5
2
4
5
3
1
1
23 3
2
5 2
4
5
1
2
3
12
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61 PRELUDES AND LESSONS
LESSON XIX
TRISTE RAISON
3
3 1 4 5
4
5
12
5
5
1
43 43
1
3 ⁀ 4
2
3
2
5 4
35
35
2
4
2
4
3
5
1
3
1
1 4
3
2
23
4*
1
1
3 4
2
5
43
135
5
5 2
6 33
5
2
3
3
1
3 5
2
3 1
1
13 ⁀ 4
1
1
5
23
5
4
3
45
5
4
2
4
4
3
3
1 5 1
2
4
13
1
5 3
2
5 4 4
5
2
12
12
23
4
* 3
3
13
5
35
5 4
4
1
2
1 4
2
3 4 5
2 4
12
3 ⁀ 5 1-3
1
4
4
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CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE62
LESSON XX
FAL, LAL, LA. AIR IN THE CHEROKEE.
12 4
4 4
42 1
5
2
4
5
4
3
2
42
3
2
2
4
1
5 4
1 5
5
3
4
1 1
2
1
4
4
5
6
1
23 1
3
5
2
3
1 3
5
2
4
32
2
1 ⁀ 5
5
2
5 1
1
4
35
5
4
2
32
1
3
4
5
15
2
43 1
5
15
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65 PRELUDES AND LESSONS
16
3
3
5
1
a tempo
4
2
20
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CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE66
LESSON XXIII
GERMAN HYMN, WITH VARIATIONS BY PLEYEL
43
5
1 4
5
1 ⁀ 2
5 5
1 4
3 42
42
12
4
5
2
4
35
123
13
5
15
Andante
4
5
5
1 ⁀ 2
4
5
2
9
2
1 4
5
3
5
fz
43
5
23
3
1 4
p
5
23
2
1 4
5
3
32
1
5
1 4
pp
1
23
1
5
1
5 3
1
1
2 1
sempre staccato
4
Variat.
I
42 42
4 1
5
5 3
1
2
2 1
42
p 3
1
5 32
5 3
1
p
5 32
6
42 1
1
11
5 2
f
42 1
5 3
1
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67 PRELUDES AND LESSONS
2
3
5 3
42
1
5
42
2 Variat.
II
4 5
2 15 4 4
2 1
2 3
3 1
2 4 5
3dolce
5
23
1
33
3
2
5
15
7
4
1
2
4
f 5
p
2
1 4
1
2 3
5
4 3
5
3 5
1
2
3 3
2
4 1
2
4
1
2
3
5
2
12
2 2 1
2 3 1
p
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69 PRELUDES AND LESSONS
LESSON XXIV
ANDANTINO, BY DUSSEK
125
15
1
3
4
3
1
4
2
32
4
1
4
1
42
42
Andantino ma Moderato e con espressione
3
1 45
4
2
5
1 4
1
42
p 1
4 1
25
25
5
3
13
3
3
13
2
2 4
5 3
1
4
1
13
pp
13
2
4
2
4
2
4
8 4
1
23
125
5
3
43
1
42
3
1
f
2-33-5
2-5
13
5 3
3
1
rf
1
1
4
2
3
1
5
2
2
1 1
4
3
1
2 1 1 4
15
5 2
2 1 13
p 5
ten.3
3
4
1
5 1
1
4
5
4
2
5
3
2 1
3 1
4 4 4 1
23
2 1
5
35
3-4
5
4
2
2 4
13
3-5 1
22 2 4
5
5 2 1
1
5 4
4
4
5
2 1
cresc.
5
1
42 4
pp
3
2
3
2
3
1
35 4
1
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CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE70
3-2 1
3-5 2-3
3-1
42
5
3-4
43
2
5
1
28
3
1
4
1
1
5
f
3
1 4
15
4-5
2 4
5
1
5 1
2 4
32
35
5
p
42
3
2
5
4
1
5
3
4
2
5
2
1
1-2
2-1
3
3
4
3
2
42
5
1
2 1
5
3
4
1
23
34
5 4
5
4
4
1
1 1
5 2 1
1
4
5 3
1
2
1
4
5
ten.3
3
1
5 2
pp
5 2 1
5
2
42 1
4
3
1
5 3
42
4
1
1
4
1
42
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71 PRELUDES AND LESSONS
LESSON XXV
ALLEGRO, BY HANDEL
4
1 5
22
1
4
5
43
43 5
3
4
2
2
1
4
3
5 3 5
4 5
3 4
2
3
3
2
1 2
5
4 1
2 15
1
3
5
5
1
4
1
2
5
1
35
2 1
4
4
5
1 1 1
5 4
2
1
3 435
5
4-5
5
8
4 1
33
2
5
22
5
1 3
2 1
1 1
2
1
2
11 1 35
1
1 2
3 4 125
3
23 1
13
35 1
4 1 4
22 12
3 1
5 145
4
2 1
5 4
5 3
1 225
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CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE72
1 135
18
5 2 2
132
1
2 4
3 1 1
1 15
5
42
33
2
4 1
5
5
21
25
5
15 1
4
4 3
4-5
2
4
13 3
1
1 3
5
2
12 3
1
5
3 5
1
2
24
2 1
5
2.
3
1
5
2
4
1
2 4
2
1.
5
5
2
2
5
1
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73 PRELUDES AND LESSONS
LESSON XXVI
MINUET IN SAMSON, BY HANDEL
4
1
2
3
1
1
3
2
5
5
3
1
1
4 2 3 4
4 1
2 1
5
3 ⁀ 2
4
1 5
2 83 83
2
4
5
2 1
5
3
1 2
5
3
4
1
5 2
4 1
42
42
5 2
5 1
3
1
2 1
42
3 1
4 1 5
4 ⁀ 5
2
4
4 1
1
1
42
9
3
5
4
32
3 1
42
5 3
42
5 3
5 3
4
3
5
2
2
3 1
2
1
5
1 4
3
3
2 1
1
2 3
15
5 ⁀ 2
17
1
4
3
2
1 5 3
2
2 2 4 ⁀ 1
1
1
5
5
3
1
2
5 2
1
5
23
25 5
4 4
5 32
3-5 1
1
5
1
3
5
5
4
42
2
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CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE74
42
Fine.
35
3 1
4
2 2
3
4 4 3
1
3
5 1
13
1
32
5
1
4
33
5
3 4 1
5
2
5
3
1
2 1
1
1
2
2
3 3-5
4 ⁀ 5
2
42
1
3
2
3
2 4
2
1
13
5
4
3
2
4
2
35
2
1
1
5
1 4 5
1
3
5
5
3
13
4
1
3
50
3 1
2
5
5
D.C. al Segno
57
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CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE76
LESSON XXVIII
RONDO IN THE GIPSY STILE, BY DR. HAYDN
4
4
5
1
3
4
Presto
42 42 1
3
2
1
3
3
3
2
4 4
2
5
1
3
5
3
2
1
4
3
2
1
3 46
4
2
2 1
1
5 3
1
3
1 2
11
5
fz
fz
2
16 4
5
5
fz
fz
3 4 5
5
3
2 4
3 1 3 2 4 1
3 20
2 2 1 3
2 3 3
4 1 1
2 12
3
4
1 4
5
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77 PRELUDES AND LESSONS
4
4
24
1 3 12
4
5
4
29
fz
12
4
5 3
42
34
4
3
1
2
3
1
4
2 1
40
fz
fz
46
ff
52
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CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE78
58
5
1
64
fz
4
23
2
3
2
2
1
3 fz
4
fz
3
70 1
fz
3
3
3
3
5 1
fz
75
fz
fz
3
1
80
3
2
3
1
42
5 3
fz
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79 PRELUDES AND LESSONS
5
3
85
42
5
3 1
3 1
90
95
fz
fz
100
fz
fz
105
109
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CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE80
114
119
1
124
fz
1
fz
1
1
2
2
3
129
1.
2.
2
4
ff 2
ff
4 5
fz
134
3
1
1 4 3
2
1
3
2 3
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81 PRELUDES AND LESSONS
ff ff
139
fz
144
149
154
p
fz fz
159
fz fz
164
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CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE82
169
174
179
4 ff
13
4
3
2 13
1
183
187
191
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83 PRELUDES AND LESSONS
LESSON XXIX
PRELUDE IN E MINOR
2
1
2
1
1
2
2
5 2
1
5 1
5 45 2
1
2
5 1
5
1
2
3
1
2 5
5
3 12 1
2
3
2
13 4 1
2 1 4 423
1 3
2
5 3
1
3 425 3
4
5
5
1
4
2
1
1
4
4
3
4
TAMBOURIN BY RAMEAU
1
2
23 1
1
1 Vivace
5
1
1
32
1 4
1
1
3
2 17
1
3
3
23
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CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE84
1
3
5 2 13
2 4 1
5
3 1
2
19
1
1
5
32
2 2
1
3
25
43
1
2 1
2
2 1
2
33 1
3
2 1
3
2 1
3
3
2 1
2 1
5
1
31
5
2
3
4
1
5
3
1
1
36
5
2
5
1
3
1
3 4
45
342 3
4
2
3 4
1
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85 PRELUDES AND LESSONS
23 4
1
5 1
2
1
48
2
45
3
2
1
2
4
3
15
23
2
23
2 4
1
53
5 4 1 42 2 4 4
1 4 4 1 1
32
2 4 2
12
4
1
358
3
1
1
4
3
1 42
1
2 12
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CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE86
LESSON XXX
PRELUDE IN B FLAT, MAJOR
5 2
1
42
sempre legato
4
1
6
4 1
5 2
1
32
1
3
2
2
35
4
2
1
4
3
1 1
5
2
MINUETTO BY SCARLATTI
1 4
25
2
2
1 4
2
4
15
43 43
2
4
3
12 ⁀ 1
2
4
5
12
5
5
2
1
5
12
2 1
5
5
13
4 1
32
5
1 2
43
5 3
1
5
2 4
12
235
1
8
4
4
2 1
32
5 4 1
5 3 4
4
5
32 4 ⁀ 1
3 1
3 2
25
2 ⁀ 13
122
45 4
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87 PRELUDES AND LESSONS
2
122
3 1
22
25
1
1
15
3
3
5
3
4 1 4
12
4
2
4 1
2 4
4 1
1 4 ⁀ 5
3
5
25
1
12
5
1
22
3
5 3
4
2
3
1
3
1
2
2 422
1
3
5
2
5 3
1
2 1 4
3
5
4
5
4
2
1 4
2 1
3
2
22 1 3 1
5
2 1
45 23
1
23
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89 PRELUDES AND LESSONS
LESSON XXXII
MINUET AND TRIO, BY MOZART
42
3
1
4
2
2
1
3
43 5 3
4
3
43
3
1
2
42 4
2
2
2 13
5
1
12
4
Minuet
4
a tempo di ballo
5
3
1
3
4
2
3
2
3
1
3
42
3
5 3
43
fz
4 ⁀ 5
fz
2
7 2
4
5 2
13
42
25
15
2
5
4 1
2 1 4
3 5
4 1
3 ⁀ 2
2
3
1 5
5 1
2
3 4
32
3
4
1
22
5 12
42
13
1
2 1
4 42
2 4
4 1 13
5
2
5 3
2
42
4
3
42
3
1
3
1
2
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CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE90
1
4
1
5
2
13
42
13
5
2
4
3
1
5
5
1
Trio
43
43
4
5
3
4
2
1
3
4
1
5 3
5
13
4 1
42
5 3
3
2
4
42
1
5
3 1
2 45
2
43
3
1
3
32
4 4
2
3
3
1
1
5
4
2
2
2
4
2
3
3
7
2
5
4
1
4
1
3
2
2 1
1
2
2 4 1
3
1
2
3
3
12
5
1
5 3
5 3
5
2
2
1
4 15
13
42
2
2 1 22 1
Men. D.C.
12
3
2 1
4
2
15 4
5 1
N.B. The last note of the bass in the 1st part must be played
with the thumb the 2d
time, on account of the 1st
note in the 2d
part.
5
3 1 3
2
4
3 15
2
4
5
3
4
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91 PRELUDES AND LESSONS
LESSON XXXIII
GAVOTTA IN OTHO, BY HANDEL
4
2
3
3
4
2
1
3
5
4
4
2
5
3
3
4
5
2
1
2
2
5
5
2
5
1
3
1
3
3
1
3
2
1 4
3
2
2
1
1 3
2
4 4
5
1
4 ⁀ 5
32 1
12
4
6 2
4
4
2
3
2
3 1
15
3
2
1
2
4 5
5
3 2
5
32
43
5
1
4
2
5 4
3
2 1
1 32 4
42
4 1
1
23
312 1
3
2
2 1
5
3 4
125
15 3
1
2
1
4 ⁀ 5 2
5 3
1
32 1
5 2 1
2 4 25 25 3
1
15 1 5 3 1
5
2 1
32
5 3 1
4 1 2 17 45
2
3 1 1 1
25 1
5
2
3
1
3
2
3
1
3 5 3
4 1
5 1 2
32
13
2
1 1
5
1
3
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CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE92
2
135
22
3
2
45
2
1 5
3
5
5 5 3 1
3
1
5
32 1
12
4
5 4
3
1
4
1
4 ⁀ 5
2
2
13
5 5
32
1
2
5
5
2
5
42
1
5 3
1
25 3 1
5 3
1
127
5 1 2
3
4
25
2
5
5
43 1
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CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE94
2
5
4
5
1
4
3
p2
14
5
3
2
1
Variat.
II
42
42
4 fz
123
p
24
3
7
fz
fz
13
p
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CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE96
5
4
1
3
5
1
2
1
3
15
2
4
1
2
5
1
5 3
4 2
4 1
4 1
2
3
2
5 1
2
5 2
3
5
fz 1
5 1
ff
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97 PRELUDES AND LESSONS
LESSON XXXV
PRELUDE IN G MINOR
1
3
3
5
3 1 2 1 4
2
3
3
1
4
2
2
2
1
5
3
4
3
3 4 1
1
2
ALLEGRO, BY SCARLATTI
1
5
2 4
2 5 3
35
42
1 3
1
23 4
2
1
5
2 4
4
3
1
422 2
5
4
6
1
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CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE98
3
8
3
2
35 1
23
2
4
1
2
32
32 3
1 4 4
4 4
10
3
3
1
4
3
4
4
4
4
3
3 1
5
23
5
4
23
4
15-4
2
12
5
1
1 1
2
2
2
3-4
14
2 4
3-5 1
1 4
1
1
2
3
4
23 1
16
4 ⁀ 5
4
5
3
2
1
3
3 1
4
2
1
2
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99 PRELUDES AND LESSONS
1
4
1
18
4 ⁀ 5
2
5 12
2 4 1
2 5
15
3
1
4
4
4
4
5 3
2
1
2 4
4
1
4
5 3
32
5
24
2 3
2
1
4
3
5
26
5
2
1 2
5
2
5
4 ⁀ 5
4
2
4
12
5
5
28
2
1
3
2
1
2
1
2
2 1
1 1
1
3
25
ou
4
5 3
2
2
5
4 32 4
5
30
2 1
5
3 43
5
3
1
3
3
5 1
1 2
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CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE100
1
3
1
5
3 3 5 3
432
3 1 2 13 4
3
1
2
2 3 3 4
2 1 5
1 1
33
34
5
3
4
1 4
2
1
1
5
5
5
2
1 2
2
1
1
5
3
1 4
3 2
2 1
2
2
42 4 5 2
2 4
4 4
32
1
2
1
37
3
4 2
2 4 2 4 1 4 1
1
2
3 ⁀ 2
3 1 4
3 4
3 5 5 2
22 1
25 5 3 3
1 2
1
3 4
4
4
2
1
40 2
5
3
4
5
1
3
1
4
1
4 ⁀ 5
1
2
2
3 4
5
1
4
4
4
2 1
25
1
2
2
2
1
3
5
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101 PRELUDES AND LESSONS
LESSON XXXVI
PRELUDE IN D MAJOR
1
1 33
1 4
5
1
Allegro
4
1
1
6
1
6
3
1
5
4
4
12
1
1
1
5 3
3
23
123
4
4
3
2 4
1
5
12
GAVOTTA, BY CORELLI
1
2
35 1
25
4
2
1 5
4
4 3
2
1
3
3 ⁀ 2
4
5
5
15
4 4
1
2 4
3 ⁀ 2
12
Allegro
1 2
13
5
3
3
1
2
1
3
4
1
2
1
12
5
4
1
4
3
5
1 3 ⁀ 2
4
5
2
1 4
1
4
5
23
1
3
35
5 1
225
5
2
223
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CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE102
LESSON XXXVII
MINUET IN ARIADNE, BY HANDEL
3
2
4 4
1 5
2 1
1
42
1
2
5
3
3
3
4
2 43 43 1 1
3
4
1
4
3
4
2
1
3 1
32
dolce
5
1
4
23
5
5
32
4
2
2 13
3
3
3
3 25
p
5
1 1 4
1
2
28
1
3 ⁀ 2
1
2 5 5-2
13
5 4
2
4 32
5 5 2
5 ⁀ 2
3 1
3
4
5
43 1
2
13
1
17
4 1
4
1
3
2
4 ⁀ 2
25
3
1 3
pp
2
3
5 32
5
1
f
1 3
1 42
2
1
26
2
3
pp
42
4
5 3
5
1
1
5 ⁀ 2
3
3
2
1
3
4
4
2
2
4
4 1
5 3
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CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE104
LESSON XXXVIII
MARCH IN THE OCCASIONAL ORATORIO, BY HANDEL
3
1
123
22
2 4
35
2 ⁀ 4
1
13
3
4
2 1 4
4
2
2
2
13
1
5
2 4
13
3
1
4 2
12
5 3
3
1
5 3
5 42
1
42
3
1
1
1
35
1
7
2
4
3
1
5 2
2 1
4 3
1
42
42
5
2
3 1
4 2
3
1
45 3
5
3
22
15
1
42
4
42
3
5
35
1
15
42
1
5 4
42
3
1
4 1
12
4 3
1
2
5 2
4
2 1
3
2 3 ⁀ 2
1
1 5 32
4
3 1
5
4 1
1
4
3
5 3
2
4
1
42
2
5 3
4
2 1
4 1
5 2
4 1
1
2
4
319
3
4 1
4 5
5 2
1
32
5
5 3
332
5
42
2 1
35
2
4
4 1
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105 PRELUDES AND LESSONS
3
1
2
4
3 1 4 1
2
1
3 5
1
1 3 ⁀ 2
2
4
1
3
5
2 4 1
4 1
2 1
5 2
4
4
1
5 3
4
24 4 1
5
12
4
1
2
5
5
4
5
5 2
4 3 4 1
23
1 45
3
1 123
30
3
2
2
5
4
235
4
1
123
2
12
2 45
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CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE106
LESSON XXXIX
WALTZ, BY BEETHOVEN
5
1
3
5
3
2
1
5
3
43 43Presto
4
2
4
1
4
5
2
4
5
2
4
5
2
2
2
4
1
23 4
5 1
7
5
4
5 25
5 4
1.
14
2.
Fine
4
5
2
1
2
1
3
12
21
2
2
4 1
3
1
1
4
5
4
27
3
5
4
1
3
2 4
5
3
5
3
2
2
4
1
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107 PRELUDES AND LESSONS
34
2
5
D.C.
40
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CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE108
LESSON XL
ALLEGRO, BY CORELLI
15
1
1
12
1
5
2
5
1
5
5 3
2
2
3
5 42 ⁀ 13
4 1
5
12
1
2
1
4
2
5
3
2
5 2
4
1
4
15 1
5 1
1 ⁀ 2
1
2
3 1 1
5 32 235 3
3 132
5 4
1
2
1
4 1
5 4 ⁀ 5
32 1 1
2
5
3 1
4
4
5
1 4
43
5 1 4
5 3 123 2 ⁀ 13
2 1 23 1
2 1 1
5
5 2
5 3
2
2
3 1
2 ⁀ 1
3
2
1
4
1
2
1
7 2 1
2
4
4
5 4
23
32
1 25 45 5 35
5 2
1
23 15
5 2 1 4
1 ⁀ 3
2 1
9 2
1 12 3 23 5
4 4
5 4 5 12 ⁀ 1
1 4
5 5
5 25 1
5
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109 PRELUDES AND LESSONS
2
5 4 43 2 12
23
11 5 5
25 4
25 5 1
2
43
4
5 4 4
3 1
2
5
1
5 5 4 5
13 4
1 35 2
2
3 5
5
1 3
2 5 1
4
25 5
3 4 5 4 22
1
4
2
5
15
4
2
5
5
3
4
5 5
2
1
1 1
5
4
1
2 22 5
1
2 4 2 3 5
5
1
4
17 5 4
1
2 5
45
1 2 ⁀ 1
3 4 12
5
1
4
3
4 1
45 2
1
19
1
2
4
5 2
5
4
1
3 5 4 5 5 4 3 5
2
4
4 23
3
1
4
5
3 45 5
2 5 4
21
1 ⁀ 5
2 1 5 3 4
13
25 4 3 4 4 2 15 4 5 3
12
5
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CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE110
45 5
15 4 43 23
1
1 4 5 45 4
13 45 4
25 3
2 ⁀ 1 1 43
4
45 1 2 ⁀ 1
25 45
1 1 43
2 ⁀ 1 1
5 3
5 3
1
25 4
1
3
4
5 4
45 3
3
5 2 ⁀ 1
1 4
1 43
2
1
4 4
1 ⁀ 5
2
5 2
1
2 ⁀ 1
1
5
4
323 1
27
4
25
5 45 4
5
2 ⁀ 12
5
4
5
1
1
1
4
3
5
1
43 4 4
2
1
3
3
5
5
29
1
1
5 5 3
3
2
1
45 4
2
5
5
p
1
1
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111 PRELUDES AND LESSONS
LESSON XLI
PRELUDE IN B MINOR
3
3
4
5
1
2
Moderato
5
1
3
1
3
2
3
4
5
3
2
1
2
5
4
5
3
4
2
rallentando
3
4
2
4
2
3
1
GIGA, BY CORELLI
4-5
4
5 32
5
2
35
1
3
3
2
5 4 1
2
4
4
3
2
4
3
5
3
5
812
Allegro
1
2
4 1
1
22
1 1
1
5
5 4
42
5 42 12
2 3 1 1
44
4 42
1
35 2 42 1 4
4
2
5
4 3 2 42
5
1 3
42 2
12
1
3
1
2
4
2 4
1 3
3 1
5 5
4 ⁀ 5
3
2
4
4 1
5
7
7
5 2 2 ⁀ 1
2
4 ⁀ 5
5 4 2
1 4
1
3
4 323
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CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE112
35 4
42
15 2
3
5 32 4
11
11
5
3
2
3 1 4 1 2 4
4 5 3
1
2
3 3 2
1
5
3 ⁀ 1
1
5
3 1 1
4
325
4 4
4 43
14
14 2 3
5 4
4
2
5
23
43
5
5 1 1
322
42
3 125 5
5
5 2
1 4 5 5 3
3
17
17 4
2
5 5
3
3
35 2
1 22
3
4 1
2
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113 PRELUDES AND LESSONS
LESSON XLII
PRELUDE IN E FLAT MAJOR
1
Allegro
2
5
2
1
4
5
3
3
RONDO BY C.P.E. BACH
4
5
3 ⁀ 5
42 42
5
3
4
13
p
2
4
3 1
2
ten
ten
1
2
ff 2
p
1
p
5 2
3
1
4 1
4 1
p
5 1
3 ⁀ 4 1
8
ff
3
1 2
4 1
5
4
5 2
1
3
1
2
ff
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119 PRELUDES AND LESSONS
p
215
6
ten
ten
p
6
224
233 2 5
3 1 4
3
1
2
3
239
2
1
2
1
1
1
3
1
2
4
p
1
3
243
13 ⁀ 4
2 4
23
1
23
1 1
1
1
4
1
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CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE120
LESSON XLIII
PRELUDE IN C MINOR
1
4
2
4
1
1322
4 1
3
5
4 1
5
5 2
12
5 1
5
5
1 4
3
5
4 1
1
1
2
2
2
5
4
Moderato
3legato
5 2
5 2
5
1
4 1
2
5 2
2 4 5
4
1
3
3
4 3
5
MINUET, BY SCARLATTI
2
2
35
4
43 43
5 3
5
42 1
3 1
3
12
5
1
1 5
2 5 3
4
2
2 5
5
4
1
2 ⁀ 1 4 3
2
2
2
42
5
4
3
3
6
2
4 1
2
5
4
2 ⁀ 1
1
2
5
2
1 5
2
3
4
2
3
3
5
5
1
5
2
5 3
4
2 ⁀ 1
5
1 ⁀ 2
5 ⁀ 2
4 2
3
13
5
3
3 ⁀ 5 5 2 ⁀ 1
3
1
4
2
1
2 1
2
1
5
5
5
1
5
3
2
3
5
1 4
2
1
5
12
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121 PRELUDES AND LESSONS
1
3
3
5 1
2 5
32
19 1 5
1
1
2
1
4 1
5 3 1
5
5
1
3
5
1
5 1 4
4
4
2 1
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CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE122
LESSON XLIV
PRELUDE IN A MAJOR
1
2
3
1
1
1
4
4
3
5
5
3
3
3
5
5 3
26
5 5 2
2
2
2
5
2 2
3
2
2
5
1
3
5
5
3
1
2
2
1
5
3
1
3
ANDANTE ALLEGRETTO BY PARADIES.
3 ⁀ 2
2 5 3 1
1
5
2
3
5
5
4 1
42
42 3
1
5
5
3
2
13
5
1
1
2 1
2
2 3 ⁀ 2
3 5
5 2
1 1 4 ⁀ 3
1
2
2
3
1
3 3
1
5
5
3
2
5
3
2
1
1
1
5
2
3
2
4
4
3
1
5
p
8
1
4
5 4 5
5
1
2
4
1
3
3
3
1 1
1
3 ⁀ 2
1
4
3
5
3
2
4
5
5 4 5
5
3
2
1
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CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE124
58
f
D.C.sin'
al Fine.
p
66
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125 PRELUDES AND LESSONS
LESSON XLV
PRELUDE IN F# MINOR
23
23
1 2
1
5
1 42
Moderato e legato
42
5
5
2
5
3
5
12
2
5
3 1
ten
5
1
3 5
2
5
1
1 5
1
2
7
ADAGIO BY CORELLI.
2
5 1
2
5 15 2 3
3 25
1
1
12 4
5 3 2 ⁀
4
42 1
23 23
3
4 ⁀ 5
2
1 4
3 ⁀ 4
3 1
2
4 42
4
4 ⁀ 5
4
2
1 2 2
1
4 3
5
1
5
4
45 25
2
7 4 2
5 15
1
5 3
2
5
3
1
3
1
4
42 1 ⁀
1 12
5 3 3
35
12
4
3 ⁀ 4
1 1
3
2 4 1
2 4
2
2 2
13
5 213 23
5
3
1
5
2
42
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CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE128
1
1
2
3
3
2
2
2
2
3
2
3
3
4 4
3
2
15
2
4 1
32323
2
1
2
1
2
3
3
4
3
2
1
3
1
4
4
2 4
5 3 3
4
5
3
2
4
1
3
20
1
3
25
2 3
1
4
30
2.
1
3
2
3
2
2
1.
3
1 2
4 1
3
42
4 1
3
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129 PRELUDES AND LESSONS
LESSON XLVII
PRELUDE IN F MINOR
5
3
3
2 2 1
1 1
2
2
1
5
3 2
32
5
2
1
1 1
5 Moder.e sempre legato
3
4
1
2
2
3
3
2
5
2
3 4
3
5
1
22
3
2
5
5
3
3
3
1 2 4
3
3 1
1
ALLEGRETTO BY COUPERIN
3
1
4 1
1
3232
3
3
22
1
86 86
3
2
2
3
4
3
1
4
1
5
2
5
2Più tosto Vivace.
2
4
3
2
4
3 1
4 2
1
4 ⁀ 3
4
5
6
3
2 1
4
3
1
3
2
5
4
5
3
3 ⁀ 2
1
3
12
3
1
4
⁀ 5
4 ⁀ 3
5 2
1
4
43
2
2
3
3
4 ⁀ 3
2
1 2
1
3
3 ⁀ 1
2 1
1
4343
4
2
1 2
1
3 ⁀ 5
4
5
1
17
1
3 ⁀ 1
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133 PRELUDES AND LESSONS
LESSON XLIX
GAVOTTA, BY CORELLI
3
1
2
4
2
5
1
2
1
4
5 3
42 3
2
3
42 5
1
2
1
2
2
2
Allegro
3
5
4
3
2
2
2
3
4
5
5 1
st time piano 2
d time forte.
4
3
5
42
2 1
3 45 2
45
5
2
4
22 1
4 ⁀ 3 1
5 4 32
15
1
5
3
5 3
2
2
4
11
1
3 ⁀ 2
5
p
1
2
5 45
2
8/10/2019 Clementi Op42 a4
http://slidepdf.com/reader/full/clementi-op42-a4 137/138
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE134
LESSON L
PRELUDE IN C# MINOR
2 ⁀ 1
35
5
13
4
5
1 p
2
4
42
1 4
3
1
15
4
2
4 ⁀ 5 2 3
2 ⁀ 3
4 5 3
1
2
4
5 3
Moderato
dolce 35
5
1
4 ⁀ 5 2 3
2 4
13
42
p
rallentando
4
p
2
5
ff
MINUET, BY DR. HAYDN
5 3
2 1
2 5 3
3
43 43
32 42 1
3
2 1 33
2 1
2Moderato 23
2 4
1
3
ten
5
4
2
4 4
3
2
4
1 23
1 4 4
2
3
1
4
7 132
3
Fine.
32
3
2
3
2
5
1
2
1 15
5 3
23 4
8/10/2019 Clementi Op42 a4
http://slidepdf.com/reader/full/clementi-op42-a4 138/138
135 PRELUDES AND LESSONS
3
45 4
2
1
3
5
1
1
13
3
1
2
1
3
23
35
3
18
D.C.
1
2
4
42
3
4 5
5 2
1
ff
3
1