The Elements of Piano Playing Op 30

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So sempre tenuto e marcato i fc=iSi i ^m (\o) ^ Mqr t S ^ -Eta— -a"^— i ^^^ mm ri5) I »**=**?
Pfp^ m.
i: S f (20) rj^^lffl^ ^ffl ^; S ffl^ (30) ^ S :S: 1764 # ^"^ ■ BBSS p^^^ i^ ^m n ^H 49 ^: (40) (45) (50) ^^M (55) - JS^^jCT l jf ?'w 3 8 ^ (1) This Etude doubtless forms the best introduction to practising passages in thirds. By the staccato lift of each fourth 16th-note(which, by the way, makes an excellent ex- ercise in elastic touch), fatigue is obviated. As a preliminary study, an amplifica
...tion of the first half of the figure is As secondary studies, the recommended: following variants may be tried: m and: 1764 (2) The octave-progressions in the left hand are to be played as energetically and decidedly as possible. The teacher should prevent the formation of that well-meant, amateurish bad habit of trying to connect an octave with a higher one by replacing the thumb by another finger, and thus (unavoidably) quitting the lower note of the lower oc- tave. (No less reprehensible is the reverse practice of replac- ing, in descending, the fifth finger of the left hand by the third, thus quitting the higher octave-note.

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