ETUDEALBUM

A COLLECTION OF ETUDES

PIANOFORTESELECTED AND ARRANGED IN PROGRESSIVE ORDER

Schmidt’s Educational Series.PIANOFORTE STUDIES.

voi AILBOUT, HANS.67. Op. 316. 20 Progressive Velocity Studies 0.76

BACH, J. S.

24. 15 Two-Voice Inventions. Edited by Arthur Foote 0.76

BICHL, ALBERT.Preparatory School of Technic. 12 Etudes 0.7510 Octave Studies 0.7512 Melodious Studies for the developmentof the left hand- 0.7512 Melodious Ai-peggio Studies 0.75

9. 15 Selected Etudes for the development of technic

and expression 0.75

66. Op. 139.

91. Op. 140.

29. Op. 158.

39. Op. 156.

BOSE, FRITZ VON103a-h. Op. 6. 14 Special Studies in modem Pianoforte

Technique. 2 Books each 0.7.6

CONCONE, J.

96. Studies in Melody and Interprefation. Aiigjnented.

Edited and Arranged by 'I'hoinas Tapper . . 0.75

DANA, ARTHUR.108. Arpeggios in all keys. The four forms of tin- .\r-

peggio with their tingerings for the Pianoforte 0.60

DENN^E, CHARLES.37. Progressive Studies in Octave Playing (with ppccial

preparatory exercises) 1.00

116. 75 Eight -bar Studies for the intennediate irrades.

.\dapted. edited and arranged in progressive order 0.76

EGOELING, GEORG.75. Op. 90. 18 Melodious Octave Studies of Medium

Difficulty l.<H»

llOa-b Op. 122. .60 Melodious Studies Hook 1 d 2 e.ich 0,76

16a-b. Op. 170. 25 Etudes (without octaves') for technical

and musical development. 2 Books each 0.7560a-b. Op. 176. Pleasure and Process. 35 Descriptive

Etudes for the earlier grades. 2 Books ea. 0.75

FOOTE, ARTHUR.2. Op. 27. 9 Etudes for musical and technical deve-

lopment73. Op. 52. 20 Preludes in the form of short technical

Studies

116. 36 Two-part Studies for Independent Part-playing.

Selected, edited and arranged by Arthur Foote

74. Etude Album. A Collection of Etudes, selected

and arranged in progressive order . . .

1 .00

1.00

0.

75

1.

(X)

68a-b. Op. 75.

FRIML, RUDOLF.Etudes Po6tiques. 2 Books , each 0.75

GURLITT, CORNELIUS.Velocity Studies for Beginners 0.75

53 Very first Studies 0.75

16 Studies in Melody and Rhythm . . .0.7516 Melodious Studies for more advanced

players (A .Sequel to “Studies in Melodyand Rhythm” Op. 198) 0.75

Studies in all the Major and Minor Keys.

2 Books each 0.60

106a-c. Op. 228. Technic and Melody. A FundamentalCourse for the Pianofort.e. 3 Books each 0.75

41. Op. 186.

31. Op. 187.

51. Op. 198.

52. Op. 199.

101 a-b. Op. 201.

Voi. HELLER, STEPHEN.78a-b. A Compendium of HELLER’S Pianoforte Studies.

Revised, Edited and Arranged in Pro-

gressive Order by Arthur Foote. 2 Bks. ea. 0.75

HOFMANN, RICHARD.40. 10 Melodious Etudes from Op. 72 0.75

KAISER, ALFRED.25. The Weaker Fingers. Exercises and tuneful pieces 0.75

KRAUSE, EMIL.26. Op. 99. 12 Technical Studies for the equal deve-

lopment of both hands 0.75

KRENTZLIN, H. R.

07a-c Systematic Finger Technic. Progressive Studies for

the Earlier Grades by Carl Czerny. Selected,

arranged and augmented with studies after

motives from Czerny. .3 Books . . each 0.50

LYNES, FRANK.8. Op. 20. 10 Special Studies 0.75

92. Op. 21. 8 Studies for the development of the 3*’d,

4tb. and 5ti» fingers 0.75

MAC DOWELL, EDWARD.4. Op. 39. 12 Studies for the development of technic

and style 1.50

MAYLATH, H.

55. Op. 163. Melodious Etudes. Edited by CharlesDenn4e 0.75

MEYER, FERDINAND.70. The Pupil’s First Etude Album. 53 Easiest Etudes 0.7571. The Pupil’s Second Etude Album. 34 Easy Etudes 0.75

NEUPERT, EDMUND.61. 10 Selected Studies for the development of Expression

and technic. Arranged and edited byCharles Denn4e 1.00

0,75

0.75

PFITZNER, HEINRICH.13. Systematic training for Polyphonic Playing. . .

SARTORIO, ARNOLDO.21. Op. 214. 14 Melodious Etudes (without octaves)

SCH’YTT^, LUDVIG.7. 10 Melodious Etudes from Op. 66 0.75

TAPPER, THOMAS.12. Sight Reading and Memory Lessons 0.75

THUMER, OTTO.112arb. Velocity and Finger Equality. A Practical Course of

Progressive Studies for the Pianoforte. 2 Bks. ea. 0.75

TURNER, A. D.

86. 15 Short Melodious Studies from Op. 30. (Selected

and Edited by F. Addison Porter) . . . 0.7587. Special Studies for the Pianoforte. (Selected, Re-

vised and Edited by F. Addison Porter) . 0.75

WILM, NICOLAI VON.77. Phrasing and Agility. 12 Etudes 0.75

ARTHUR P. SCHMIDTBOSTON LEIPZIG NEWYORK120 Boylston Street. 1 1 West 36‘*’ Street.

No. 54. Printed In Germany.

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COMTEHTSN°

1 Al. Schmitt

2 Carl Czerny

3 J. B. Duvernoy

4 J.B. Duvernoy

5 J.B. Duvernoy

6 H. Maylath7 H. Bertini

8 Arthur Foote

9 H. Bertini

10 H. Berens

11 J. B. Cramer12 A. Biehl

13 Arthur Foote

14 Stephen Heller

15 H. Bertini

16 J. S. Bach

17 J. S. Bach

18 L. Kohler'

19 A. Loeschhorn

20 A. Loeschhorn

21 J. S. Bach

22 R. Hoffman?J3 H. Bertini

34 Adolf Jensen

35 L. Kohler

36 L. Kohler

27 Arthur Foote

38 J. S. Bach

39 Pietro Domenico Paradies

30 Stephen Heller

31 Anton Krause

33 M. Moszkowski

33 H. Bertini

Page

Five Finger Exercises 2

From Op. 261 8

From Op. 120 10

From Op. 120 12

From Op. 120 14

A Wrist Study 15

From Op. 29 16

From Op. 52 18

20

From Op. 61 22

24

From Op. 153 26

From Op. 52 27

From Op. 46 28

From Op. 29 29

30

From the Two -Voice Inventions 32

From Op. 173 34

From Op. 66 35

From Op. 66 38

40

From Op. 72 42

Op. 29 44

From Op. 32 46

From Op. 173 48

From Op. 173 50

From Op. 27 52

Prelude from the“WelI Tempered Clavichord” 54

Toccata 56

From Op. 45 (A Pedal Study) 58

Op. 5 59

62

66

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5560 - 6?

N21

Five-finger exercises.

Al. Schmitt.

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(a) Five notes up and back; (b) the same, lowering the 3d a half step; (c) the same, lowering also

the a half step; this brings the player to the new key a half step above fa), and the exercise

can be continued indefinitely. Any form of five finge'r exercise can be adapted to this.

da.i?8. 5560-67

8

N2 2Curl Czerny.

A. Allegro. (Repeat at least 10 times.j (from Op.2<U.)

B. xVllegro. (Repeat 10 times.) 2 2 2

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Ai?8.5560-67

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(from Op. 120.)

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In practising, also play each mcasuiv 4 time's.

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A WRIST STUDY.

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ARS. 3560-G7Copyright 1884 by Arthur P. Schmidt

Copyright 1912 by the Children of Henry Maylath

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N2 8Arthur Foote

(from 20 Preludes, Op. 52)

dft.P8..5560-67Copyright 1903 by Arthur P Schmidt

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N2 9

Allegro(J=76 ) ^H. Bertini

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Allt'f^ro. J = 132 . J. B. Cramer.

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N212Allegretto (J. = (>5»)

Albert BiehlOp. 153

1. h. legato

ca.IfS. 5560-67 Copyright 1895 by Arthur P. Schmidt

N2 1327

RIGHT HAND ALONE

Moderate (Jrjit;) 20 Preludes, Op 52)

AfiS. 5560-B7 Copyright 1903 by Arthur P. Schmidt

28

N? 14Allegro con trio.

Sfoplieii Heller,

(from Op.4t>.)

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dA.P§. 5560-67

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INVENTIONJ. S. Bach

From 15 Two-voice Inventions:

dft.PS. 5560-67 Copyright 1892 by Arthur P. Schmidt

33

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N2 18L. Roll lor.

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A. Loeschhorn.

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5560-67

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N2 21

Allegretto grazioso, non troppo vivace (J=ij6)

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J. S. Bach

sempre lepg. stacc.

5560-67

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N222

Moderato (J=i04)

sempre legato

Richard HoffmanOp. 72

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5560-67 Copyright 1890 by Philip Hale

Assigned 1890 to Arthur P. Schmidt

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The pedal, (syncopated,) is to be taken up and changed at the next mark,excepting where the usual sign -Jf is used for taking it up.

APS. 5560-67 Copyright 1892 by Arthur P. Schmidt

63

51

PRELUDE.Allegro niolto.

N2 28J. S. Bach.

(from tlie Well Tempered Clavichord)

5560-67

c/l.-PS. 5560-67-tv

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TOCCATAMolto Alloirro.

Pietro Domenico Paradies.Revised and fingered by Arthur Foote

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A PEliAL STUDY"

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5560-67

TECHNIC AND MELODYA Fnndnincntal Course for the Pianoforte

by CORNELIUS GURLITTThree Books Op. 228 Each 75 Cents

Practical simple and essentially musical.The ^radinf; of the material is so arranged that there is no break in

its easy continuity.All necessary assistance in the principles of music are given in the text.

No single essential feature of the fundamentals of pianoforte playingis wanting in its pages.

The compositions for two and for four hands are thoroughly preparedfor in the Technical Studies.

An abundance of text makes the application of the material simpleand full of interest.

Lists of supplementary pieces, carefully graded, are given in each hook.This Course is being used with unfailing success by thousands of

teachers and students.The last and ripest work of the author.

Sent free; “How to use Technic and Melody”An interesting and instructive booklet for all piano teachers, containing

the author’s direct intentions for using the three volumes of “TKCHNICAND MELODY” and general useful hints on pianoforte instruction. It is

supplemented with lists of graded teaching pieces, especially selected for

use with this or any other method.

Key Circle Exercisesfor the Pianoforte

by

Frank LynesThree Books :::::: Each 75 Cents

To the teacher who desires material which is so constructed that it

serves more than a single purpose, ‘‘KEY CIRCLE EXERCISES,” for the

piano, will be found especially valuable. While contributing to the teach-

ing repertoire a distinctly useful group of technical studies, this work is

also of value in affording indispensable practice in MEMORY TRAINING,SIGHT READING, TRANSPOSITION, PRINCIPLES OF MODULATION,PROGRESSION AND RESOLUTION OF HARMONIC COMBINATIONS.

The books contain a comprehensive course of study in scale playing,

chords, arpeggios and broken chords, double notes, and various touches,

trill, band expansion, part-playing (Including the scales in canon form, etc.).

Send for descriptive Circular

: ; PIANOFORTE STUDIES BY GEORGE EGGELING : ;

Eighteen Melodious Octave Studiesof Medium Difficulty Op. 90 :: Price 51.00These studies, of medium grade difficulty, serve admirably as prepa-

ration for the more advanced octave studies of KULLAK and others.

While especially designed for octave practice, the musical characterof these studies gives them additional value, particularly to the pupil whoneeds not only technical training, but opportunity for study in the art

of interpretation.Hence, expression, pedal, broad phrasing, and the application of the

octave equally to right and left hands, gives this collection of studies

particular value.

The eighteen studies are- not cast in one mold, but offer a fine variety

of “pieces”. They appeal to the musical seuse, and consequently developit, while the technical training is going forward.

Fifty Melodious Etudes in all the Major & Minor Keys

Two Books :: Op. 122 :: Each 75 CentsSeveral qualities recommend these Etudes. First, they grade naturally

from a very simple two-part study in C major to a point where a variety

of rhythmic groups and simple arpeggios contribute to produce very ori-

ginal and musical pieces which are no longer than two printed pages.Each of these Etudes has a distinct purpose. To mention a few in

order will show the character of the collection as a whole. They are:

MELODY STUDIES, SIMPLE CHORD STUDIES, BROKEN SCALE GROUPS,BROKEN CHORDS ALTERNATING BETWEEN THE HANDS, INNERVOICE MELODY, SPECIFIC RHYTHM, EAST WRIST STUDIES, THESCALE AS A WHOLE, DOUBLE NOTES AND SYNCOPATIONS, and Typeforms like the WALTZ, MAZURKA, and MARCH.

Every one of these is taken up as a fundamental MUSICAL problemand tbe treatment is from the MUSICAL side. While chords are freely

employed, the octave is very sparingly used.

These Etudes will be welcomed by teachers who are looking for mu-sical pieces in which an essential problem is so presented that the student

will gaiu the good of the problem while enjoying the attractive melodicand harmonic qualities of the composition in which it is incorporated.

Book I contains Etudes in not more than three sharps or three flats.

Book II contains Etudes in all the remaining major and minor keys.

Twenty- Five Etudes (without octaves)

for Technical and Musical DevelopmentTwo Books :: Op. 170 Each 75 Cents.

(Schmidt’s Educational Series No. 16a-b)

The studies of this Opus are intended for introducing the pupil to andaffording practice in third grade work. They are somewhat more am-bitious in design and difficulty than those of Op. 122. While octaves donot appear, there is a free use of short chords and of varied rhythmsthat constitute many original short pieces. Each study aims at a specific

purpose, some of the problems presented being the following:

Studies in RHYTHM AND PHRASING, TRILL STUDIES (No. 14 is a

fine example), MELODY STUDIES, FOUR NOTES AGAINST THREE, THETURN, INNER VOICE MELODY, CHORD STUDIES (with application to

both hands equally) STUDY OF DOUBLE THIRDS (equally for both hands),

WRIST STUDIES, THE APPOGIATURA, STUDY OF PEDAL EFFECT,and VELOCITY PASSAGES.

Before beginning this Opus, the student should possess some freedomand independence in the simpler jiroblems of the items specified above(which .simpler ]»resentation is afforded by Op. 122).

Op. 176. PLEASURE AND PROGRESS35 Descriptive Etudes for the Earlier Grades

(Schmidt’s Educational Series No. 60a-b)

Book I :: Book II :: Each 75 CentsIn the attractive little Etudes comprising this Opus the composer has

successfully applied many technical features in the form of short descrip-tive pieces, each bearing a suitable title and skilfully contrasted. Note-worthy features of this collection are the strongly marked rhythms em-ployed and the careful attention throughout to the equal development of

both hands. Fingering, phrasing and all details necessary for enhancingthe value of this work to teachers have been most carefully added. At-tention has also been given to variety of keys and time signatures. Thefollowing description of the various numbers will show the scope andcharacter of these studies. They are progressively arranged and cover theintermediate first and second grades.

At the Brook (Finger Equality in both hands). The Spinning Wheel(Legato playing-triplets). Dress Parade March (.Scale passages for L. H.-

rhythm). Echoes from Capri, Tarantelle (Velocity), At the Spring (Ac-cent, etc.). Birds in the trees (Trills), Playing Tag (Legato and Staccato),

The Shepherd’s Song (Broken Chord.s), RIppiing Waves (Melody), TheChase ((Jontrast of forte and piano). Folk Song (Melody and detachedchords). Berceuse (Sustained Melody), Forest Sounds (Crossing the hands).Elfin Dance (Staccato).

SEVEN ETUDESfor

the Development of the Hands in Extended Positions

Op. 172 ;; Price 75 Cents

This set of Etudes has a specific purpose; “The Development of theHands In Extended Positions’’. These Studies are applicable only in

advanced work — and well repay the study necessary to perform themartistically.

The following description of each Etude will show the extent of theapplication of the “Extended Position” principle.

No. 1. MELODY. Long, sustained chords, in both hands as accom-paniment.

No. 2. INNER VOICE MELODY, with extended chords In the left

hand and triplet accompaniment above the melody for the right hand.This Etude is six pages in length and makes an excellent recital number.

No. 3. BROKEN CHORDS (arpeggiated) in the left hand withbroadly sustained melody in chords in the right hand. Secondary, orsubsidiary melody in the accompaniment.

No. 4. MELODY STUDY (Melody in Soprano, and later in an innervoice). Accompanying figures as extended broken chords.

No. 5. IN MARCH RHYTHM. Strong and well-sustained theme. Oc-taves are freely employed and some measures of echo-like grdee notesare used as embellishment.

No. 6. INNER VOICE MELODY with extended broken chords in

the right band. A most excellent melody study for the left hand.No. 7. MELODY DIVIDED BETWEEN THE HANDS. The ex-

tended positions are confined chiefly to the left hand. An excellent re-

cital number.

Besides the specific purpose to which each of these studies is devoted,all are most excellently adapted, to the general study of the pedal.

Phrasing is clearly indicated and sufficient pedal marks and finger-

ings are given to insure an artistic performance.

ARTHUR P. SCHMIDT, BOSTON :: 120 Boylston StreetLEIPZIG :: Lindenstrasse 16NEWYORK :: 11 West 36th Street

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Schmidt’s Educational Series.

Pianoforte Collections.Voi. BOHM, CARL.30. Op. 358. Lyric Suite. 6 Compositions 0.7549. Musical Echoes. 10 Instructive and melodious Com-

positions 0.75

DENN^E, CHARLES.lOOa-b Album of Selected Compositions 2 Rooks , . . each 0 . 75

EOOELING, GEORG.98. Transcriptions from the works of old masters. . . .0.75

FRIML, RUDOLF.3. Op. 35. Suite mignonne. 6 Compositions. . . . .0.75

GURLITT, CORNELIUS.93. Op. 172. Miniatures 0.7550. Op. 197. Fireside Fancies. 12 Little Tone Pictures

on Five Notes 0.6011. Musical Sketch Book. 15 Selected Compositions . 0.75

hAndel, g. f.

64. Instructive Pieces. Adapted by Carl Faelten.2 Books each 0.75

HEINS, CARL.15. Op. 270. Six Fancies 0.75

HENNING, MAX.1. Op. 22. 12 Two-Part Fughettas and Fugues (In-

troductory to the works of J. S. Bach) . . .0.75

KAISER, ALFRED.57. Arlequinade. Suite of 8 Compositions 0.75

KRENTZLIN, R.

59. Op. 19. Village Scenes. 6 Characteristic Pieces . 0.75

LACK, THEODORE.47. Morceaux po6tiques. 8 Selected Compositions . .1.00

Vol. LYNES, FRANK.53. Op. 14. Bagatelles. 10 Melodious Sketches. . . .0.7519. Op. 47. A Pleasant Beginning and other tunes for

little fingers in all the major and minor keys 0.75

MAC DOWELL, EDWARD.107. {) Little Pieces i.\fter Sketches of .7. S. Bach) . . . 0.75

MEYER, FERDINAND.76. Christmas Suite 0.75

MOSZKOWSKI, MORITZ.89. Op. 89. Impressions Masicales. 5 Waltzes.’ , . , . 1.00

(Valse-prfelnde — Valse mignonne — Valse triste

Valse tendre — Valse Tourbillon.)

THE PUPIL’S LIBRARY.43a-h. First Series. 2 Books each 0.6044a-b. Second Series. 2 Books each 0.6045a-b. Third Series. 2 Books each 0 . 60

RITTER, G. P.

27. First Amusements. 12 Pieces on Five Notes. . . 0.75

SCHYTT^ LUDVIG.48. Instructive Recreations. 8 Selected Compositions . 0.757. 10 Study-pieces selected from Op. 66 0.75

SGAMBATI, G.

90. Introduction and Etude brillante (Reveil des F^es)

by E, Prudent 0.60

SMITH, WARREN STOREY.38a-b. Effort and Pastime. 24 Melodious Pieces in all

keys. 2 Books each 0 . 60

TORJUSSEN, TRYGVE.63. Op. 3. Norwegian Suite. 6 Compositions , , . .0.75

WOLF, OSKAR.88. Op. 7. Aphorisms. 6 Compositions 0.75

s

—

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Pianoforte Duets.BARBOUR, FLORENCE N.

105. Rambles in Musicland. First Duets for Pupil & Teacher 0.75

BODENHOFF, HAROLD.94. Op. 7. Bagatelles. 6 Duets 0.75

DENN^E, CHARLES.6. Op. 18. 5^e Children’s Festival. 10 Easy Duets . 0.75

FOOTE, ARTHUR.20. 12 Duets on Five Notes 0.75

GURLITT, CORNELIUS.35a-b. Op. 178. Tender Blossoms. 20 Melodious Duets.

2 Books each 0.75

KRONKE, EMIL.69. Op. 66. From Far and Near. 5 Duets 0.75

THE PUPIL’S DUET ALBUM.46a-b. First Series. 2 Books . each 0 . 60

SARTORIO, ARNOLDO.58a-b. Op. 400. Pictures from Youth. 12 Melodious Duets.

2 Books each 0.60

SOCHTING, EMIL.109. Op. 63. 3 Gipsy Dances 0.75

ARTHUR P. SCHMIDTBOSTON120 Boylston Street.

LEIPZIG NEWYORK1 1 West 36‘» Street.

Printed In Germany.

TECHNIC AND MELODYA FundaiiMMital Course for the Pianoforte

by CORNELIUS GURLITTThree Books Op. 22S Each 75 Cents

I'Schniidt's Educational Series No. KHia-o.i

Practical siniplo and essentially musical.The trradiiin oJ the material is so iirraiif^ed that there is no break in

its easy continuity.

All necessary assistanre in the principles of music are piven in the text.

No single essential feature of the fundamentals of pianoforte playin;;

is wantint; in its pajjes.

The compositions for two and for four hands are thoroughly preparedfor in the Technical Studies.

An ahundance of text makes the application of the material simpleand full of interest.

Lists of supplementary piece.s, carefully graded, are given in each hook.This Course is heing used with unfailing success hy thousands of

teachers and students.

The last and ripest work of tho author.

Sent free: “How to use Technic and Melody”An interesting and instructive booklet lor all piano teachers, containing

the author's direct intentions for using the three volumes of ‘TKCH.NlCAND MELODY” and general useful hints oa pianoforte instruction. U is

supplemented with lists of graded teaching pieces, especially selected for

use with this or any other method.

Key Circle Exercisesfor the Pianoforte

by

Frank LynesThree Books Each 75 Cents

To the teacher who desires material wliich is so constructed that it

serves more than a single purpose, ‘KEY CIRCLE EXERCISES,” for the

piano, will he found especially valuable. While contributing to the teach-

ing repertoire a distinctly useful group of technical studies, this work is

also of value in affording indispensable practice in MEMORY TRAINING,SHiJIT READING. TRANSI'O.SITION, PRINCIPLES OF MODULATION,PROGRESSIO.N AND RESOLUTION OF HARMONIC COMBINATIONS.

Tlic books contain a comprehensive course of study in scale playing,

chords. arpeggio.s and broken chords, doable, notes, and various touches,

trill, hand expansion, part-playing Gncluding the scales in cauon form, etc.).

Send for descriptive Circular

: : PIANOFORTE STUDIES BY GEORG EGGELING : :

Eighteen Melodious Octave Studiesof Medium Difficulty Op. 90 Price .fl.OO

Schmidt's Educatioiml Series No. 7fj)

These studies, of medium gradi' difficulty, serve adniiraiily as prepa-ration for the more advanced octave studies of Kl'LLAK and others.

While especially designed lor octave practice, the musical clniraclerof these studies gives tliem additional value, particularly to tlie |iu|>il whijneeds not only technical training, l)Ut opportunity for study in the art

of interpretation.lienee, expression, pedal, broad phrasing, and the application of the

octave equally to right ami left iiands. gives this collection of studiesparticular value.

Tlie eighteen studies are not cast in one mold, but offer a fine varietyof “pieces' . Tliey appeal to the musical sense, and consequent ly developit, while the technical training Js going forward.

Fifty Melodious Etudes in fill the .MfijorA .Minor HoysTwo Books :: Op. 122 Each 75 Cents

.Several qualities recommend these Etudes. First, they grade naturallyfrom a very simple two-part study in C major to a point where a varietyof rhythmic groups and simple arpeggios contribute to produce very ori-

ginal and musical pieces wliich are no longer than two printed pages.Each of these Etudes has a distinct purpose. To mention a few in

order will show the. character of tlie collection us a whole. They are:MELODY STUDIES. SIMPLE CHORD .STUDIES. BROKEN SCALEGROUPS.BROKEN CHORDS ALTERNATING BETWEEN THE HANDS. INNERVOICE MELODY. SPECIFIC RHYTHM. EAST WRIST STUDIES, THESCALE AS A WHOLE. DOUBLE NOTES AND SYNCOPATIONS, and Typefonns like the W.ALTZ. .MAZURKA, and MARCH.

Every one of these is taken up as a fundameutal MUSICAL problemHid the treatment is from the MUSICAL side. While chords are freely

cmiiloyed. the octave is very sparingly used.

These Etudes will he welcomed by teachers who are looking for mu-sical pieces in which aii essential problem is so presented that the studentwill gain the good of the problem while enjoying the attractive melodicand harmonic qualities of tlie composition in which it is incorporated.

Book 1 contains Etiides in not more than three sharps or three flats.

Book II contains Etudes in all the remaining major and minor keys.

Twenty -Five Etudes (without octaves)

for Technical and Musical DevelopmentTwo Books :: Op. 170 Each 75 Cents.

(Schmidt’s Educational Series No. 16a-b)

The studies of this Opus are intended for introducing the pupil to andaffording practice in third grade work. They are somewhat more am-bitious in design and difficulty than those of Op. 122 . While octaves donot appear, there is a free use of short chords and of varied rhythmsthat constitute many original short pieces. Ejeh study aims at a specific

purpose, some of the problems presented being the following;Studies in RHYTHM AND PHRASING, TRILL STUDIES (No. 14 is a

line example I, MELODY STUDIES, FOUR NOTES AGAINST THREE, THETURN. INNER VOICE MELODY, CHORD STUDIES (with application to

both hands equallyi STUDY OF DOUBLE THIRDS (equally for both hands),WRIST STUDIES, THE APPOGIATURA, STUDY OF PEDAL EFFECT,ami VELOCITY PASSAGES.

Before beginning this Opus, the student should possess some freedomand independence in the simpler problems of the items specified above(which simpler presentation is alforded by Op. 1221.

Op. 176. PLEASURE AND PROGRESS35 Descriptive Etudes for the Earlier Grades

(iidimidt’s Eiiiicatidnal Series No. GOa-b)

Book I :: Book II :: Each 75 CentsIn file attractive little Etudes comprising this Opus tho composer has

succe.s.Mfully applied many technical features in the form of short descrip-tivi- pieces, each bearing a suitable title and skilfully contrasted. Note-wort liv features of this collection are the strongly marked rhythms em-plovej and the careful attention throughout to the equal development ofhotb hands. Fingering, phrasing and all details necessary for enhancingthe value of this work to teachers have been most carefully added. At-tention lias also been given to variety of keys and time signatures. Thefollowing description of the various numbers will show the scope andcharacter of these studies. They are progressively arranged and cover theintermediate first and second grades.

At the Brook (Finger Equality in both bandsi. The Spinning WheelLegato playing-triplets;, Dress Parade March (Scale passages lor L. H.-rhythmi. Echoes from Capri, Tarantelle (Velocity), At the Spring (Ac-cent. etc.). Birds in the trees (Trillsi. Playing Tag (Legato and Staccato),The Shepherd’s Song i Broken Chords

i, Rippling Waves (Melody), TheChase (Contrast of forte and pianoi. Folk Song (Melody and detachedchords I. Berceuse i.Sustained Melody i, Forest Sounds (Crossing the hands),Elfin Dance >Staccatm.

SEVEN ETUDESfor

the Develoiiineiit of the Haiuls in Extended Positions

Op. 172 Price 75 Cents

This set of Etudes has a specific purpose;“The Development of the

Hands In Extended Positions”. 'These ,'?tudies are applicable only inadvanced work — and well repay the study necessary to perform themartistically.

The following description of each Etude will show the extent of theapplication of the “Extended Position” principle.

No. 1. MELODY. Long, sustained chord.s, in both hands as accom-paniment.

No. 2. INNER VOICE MELODY, with extended chords in the left

hand and triplet accompaniment above the melody for the right hand.This Etade is six pages in length and makes an excellent recital number.

No. 3. BROKEN CHORDS (arpeggiated) in the left hand withbroadly su.stained melody In chords in the right hand. Secondary, orsubsidiary melody in the accompaniment.

No. 4. MELODY STUDY (Melody in Soprano, and later in an innervoice;. Accompanying figures as extended broken chords.

No. 5. IN MARCH RHYTHM. Strong and well-sustained theme. Oc-taves are freely employed and some measures of echo-like grace notesare used as embellishment.

No. 6. INNER VOICE MELODY with extended broken chords inthe right hand. A most excellent melody study for the left hand.

No. 7. MELODY DIVIDED BETWEEN THE HANDS. The ex-tended positions are confined chiefly to the left hand. An excellent re-cital number.

Besides the specific purpose to which each of these studies is devoted,all are most excellently adapted to the general study of the pedal.

Phrasing is clearly indicated and sufficient pedal marks and finger-ings are given to insure an artistic performance.

ARTHUR P. SCHMIDT, BOSTON :: 120 Boylston StreetLEIPZIG Lindenstrasse 16NEWYORK :: 11 West 36th Street

MMlPRINTED IN GERMANY.