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.
 FOREWORD
The purpose of this book is expressed in its title, i.e., to develop
velocity in piano playing of about Third Grade of difficulty. It is
designed to supplement the THIRD GRADE BOOK in JOHN
THOMPSON'S MODERN COURSE FOR THE PIANO and deals
only with the purely technical side of piano playing. All the various
phases of pianism have been considered and excellent examples for
Right Hand, Left Hand and Hands Together are carefully selected
from many of the masters of etude writers.
The editor has given short notes on how to practice each exercise
and space is reserved for keeping a record of the velocity attained in
each instance.
Needless to say, speed is of no value unless it is under_ perfect
control. Each exercise therefore, should be learned first at slow
tempo until accuracy and ease of performance are assured, after which
the tempo should be gradually increased.
While the prime purpose of the etudes is to develop the mechanics
of piano playing, every effort should be made to play them as artisti-
cally as possible. For this reason it is of great importance to observe
phrasing, the use of the pedal as indicated and the marks of
express10n.

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 CONTENTS
Page I Page

1. Finger Legato-Right Hand.. . . . . . . . . 3 26. Perfect Evenness in Scale Playing-

Left Hand 26
2. Finger Legato-Left Hand. . . . . . . . . . . 3
27. Broken Chord-Groups-Right Hand 27
3. Finger Legato-Both Hands.......... 4
28. Progress. . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
4. Legato Passages as Melody.......... 4
29. Albumleaf ......................... 29
5. Legato Scale Passages-Right Hand. . 5
30. L'avalanche ....................... 30
6. Legato Scale Passages-Left Hand.. . . 6
31. Tender Flower...................... 32
7. Wrist Staccato-Right Hand ........ . 7
32. Harmonies du Soir . . . . . . . . . . . . . . . . . 33
8. Rolling Attack-Right Hand ........ . 7.
33. Angel Voices ........................ 34
9. PaNak Playint-Both Hands ....... . 81 34. Chorale . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
10. T~t Hand.................. 9
35. Fanfare--Finger Staccato ............ 37
10
11. Dbhmic Swccw Right Hand· · · · · · · ' 36. Rippling Waters ..... · · · · · · · · · · · · · · · 37
12. ~a: ..re Slura--Right Hand....... 10
37. Carnival of the Birds-Trills......... 38
ll. • ...._ O..cle Right Hand ........ 11
38. Criss-Cross . . . . . . . . . . . . . . . . . . . . . . . . 39
K. . . . a.. 39. Gracefulness ....................... 40
Divided between Hands 12
Ji•' ~Hands ......... 14 I 40. Prelude in C minor................. 41
15 I 41. Staccato Chord Playing ............ 42

11. • tnu I! . . . . . . . . . . . . . . . . . . . . . . . . . 16 I 42. Chromatic Scales-Both Hands ...... 43

,."
a IAft a...l Pzw k Playint. . . . . . . . . . 17 43. Trill Figures-Both Hands. . . . . . . . . . . 44

B. X m Wlad-Left Hand. . . . . . . . . . . . 17 44. Scherzino. . . . . . . . . . . . . . . . . . . . . . . . . . 45

JI.. •"'*** a...-d.-Both Hands.. . . . . . . . 18 I 45. The Swallow. . . . . . . . . . . . . . . . . . . . . . . 46

ZL S r• 1-. the Thumb ............. 19 I 46. Turn Right-Right Hand ............ 48

20 47. Passage Playing-Both Hands........ 50

21. Slllootlmees in Passage Playing ..... 22 48. Light Wrist Staccato-Left Hand .... 51

M.. Ptdect ETelllless in Scale Playing- 49. Thumb under and Hand over in Ar-
Right Hand 24 peggio Playing .................... 52
25. ~divided between the Hands 25 50. Velocity-Both Hands ............... 54

[iv]
 3
Raise and drop the fingers
with military precision. jVelocity attained M. M.............. !
Finger Legato- Right Hand
Czerny
Allegro vivace
5 4 ?_ 3 4

1
5

Observe the phrasing and

marks of expression. IVelocity attained M.M.............. I
Finger Legato - Left Hand
Czerny
Allegro
2
1

2
5 5 4

5 5

4 5

~righ.I, KCNXXXVm by The Willis .Music Co.

W. )(. Co. RIM Printed in F. S. A.
4

Use well-articulated finger

legato in both hands. !Velocity attained M. M.............. 1

Finger Legato - Both Hands

Czerny
Allegretto

As gracefully as
possible. IVelocity attained M. M.............. j
The Brooklet
Duvernoy

3~ 1

W. M. Co. 5824
 6
Try to play the scales as
smoothly as glissandos. I Velocity attained M. M.............. 1

Legato Scale Passages - Right Hand

Lemoine
Allegro
5 5 5

5 5

5 5

tS: 1-e:
3-e,,

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6

Treat the scale figures as an

accompaniment to the Melody
which should be played as ex- IVelocity attained M. M.............. j
pressively as possible.

Scale figures as Accompaniment

Duvernoy
Allegro comodo
5
1

6
8

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 '1
Observe the phrasing
in the left-hand part. JVelocity attained M. M............... I
Wrist Staccato-Right Hand
Czerny
Moderato

l 2 2 .
t.!_i

Play the right-hand groups with

rolling attack, tossing off the last IVelocity attained M. M............... I
note of each group.

Rolling Attack-Right Hand

Allegretto Lemoine
5- ---

w. •. Co. 5824
 8
Practice first in four- four time.
Later in alla breve.
Apply the swells and diminuendos !Velocity attained M.M ............... j
as indicated.

Smooth Passage Playing

Le Couppey
4

9
2 '1 2

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 9

Practice first with well-articulated finger-

legato. Learn both sets of fingering.
As speed develops, keep the fingers closer IVelocity attained M. M............... I
and closer until they actually "ride"the keys.

The Trill
Kohler
Allegro

10

3 3 4, 3

2 1 2 1 2 1 2 1 2 1

3
2 a 4

.._•.c.. 1824
t.O
Play the scale figures with fingers close
to the keys and with a sweeping motion
of the arm.
IVelocity attained M. M.............. j
They should sound almost like glissandos.

Diatonic Sweeps
Kohler

11

Apply sharp attack and release to the

three-note groups in the right hand
while the left hand uses a plucking fin-
IVelocity attained M. M............... j
ger staccato.

1'hree-note Slurs Czerny

12

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 11
Play the right-hand broken chords
with a graceful Rotary Motion.
Observe the phrasing of the sus- IVelocity attained M. M .............. I
tained left hand.

Rolling Attack-·Broken Chords

Berens

13
5

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12

These arpeggio figures should be tossed

from one hand to the other and sound as I Velocity attained M. M.............. 1
smoothly as though played with one hand.

By the Seaside
Streabbog
Allegro moderato

14
5 6

5 5

4 2 1
5

5 5 6

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 f3

6 8 2

6 6

(.\

6 4 2
5

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 :14

Practice the broken thirds first

with high Finger Legato.
As speed dtvelops, use less and IVelocity attained K. M··-·-······ l
less finger action.

Broken Thirds
Kohler
Allegretto vivo
5
132!3

15

, n ~
J. ,,, 3
...
- - - -- - - - -- -
- 3 ~ t<,

.- - - - -- 4- -- -2
9

- -
. --
-
L- .... 5
3
-::--:------1.
-·
3

-
-... - -- - - ,... - - '"'
IL

...
'"' r
I

-.
"
~
. ;. ...- ;;~
f
.... •-
-- --- - - - ...- - - - - - ...- -- - -
-
. -
~

-
;-
I
,_
-
,_ -·- , ~ ~

5 4, 3-

5 5

6 4 3 6

.... M.Co.HU
 f5
Use a slight rolling motion in playing
the left-hand broken chords. !velocity attained M. M.............. J

Left Hand Broken Chords

Kohler

16

.. .. c... ...
t.6

Roll off the groups in 16ths.

Play the left hand chords with !Velocity attained M. M............. 1
forearm staccato.

Arabesque
Burgmiiller
Allegro scherzando
1

17

1. 1r 2.

2 2

. . . c.. . .
 17
Play the left hand with strict finger
legato - well articulated. !Velocity attained M.M ............... j

Left Hand Passage Playing

Allegro Czerny

18
2 ~-~
5

1 3 1 3
5 5
5
8

5 3 1
5
Play the l«:>ft hand with close finger
legato - employing, at the same time I Velocity attained M. l\1. ............. 1
a sweeping motion of the arm.

March Wind
Czerny
Allegro 5
5

19

.
i

"\":. Y. Co. 582-i

:1.8
Practice this first at moderate tempo
with high finger legato.
Later, as speed develops, keep the fin- IVelocity attained M. M.............. j
gers close to the keys and use a rolling
motion of the arm.

Broken Chords - Both Hands

Czerny
Vivace 5

20

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 i9
Let the sustained notes (played by
the thumb) support the weight of the
arm, while the upper voice is played I Velocity attained M.M .............. 1
with finger legato.

Sustaining the Thumb

Duvernoy
Allegretto

21

~ ...mnn
::::::-=::--...

...........--IJ<-~~~~~-.-6-

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20
Play the two-note slurs with a
rolling motion of the hand, and
toss off each group sharply.
IVelocity attained M. M~............. j

Chasing Butterflies
Streabbog
Allegretto
fi ~4
t(f

22

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nn·e:>·• ·a
22
In the following etude, strive to
develop the utmost in smoothness
and clarity. Always remember I IVelocity attained M. M.............. i
that speed is useless unless it is
under perfect control.

Smoothness in Passage Playing

Kohler, Op. 242

23

>

W'. X. Co. 18H

24
Learn this first in four-four time.
Later in alla breve.
Strive for absolute smoothness j Velocity attained M. M............. j
and accuracy.

Perfect Evenness in Scale Playing (Right uandJ

Czerny
Presto

24

fl
8----------------- q- 1.
---------------------------------5-------------------------------~------1
3

W. JI. Co. 5824

 26

I
J

Roll the arpeggio groups, tossing

them from one hand to the other. I Velocity attained M. M.............. I
Pedal may be used as indicated.

Arpeggios divided between the Hands

Czerny

25

W. 11:. Co. 181-1

26
Practice first in four-four time.
Later in all:t breve.
Strive for utmost smoothness IVelocity attained M. M............. j
and accuracy.

Perfect Evenness in Scale Playing (Left Hand)

Czerny
Allegro molto
5
1

26
1 3
5

5 5

5 5

1 ~

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 27
·------------------------------------------------------------------------------------------------

Try to make these groups sound

as though they were played with IVelocity attained M.M .............. j
one hand.

Broken-Chord Groups
Czerny

27
5

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28
Make sharp contrast between staccato
and legato -and be sure to phrase exact- IVelocity attaine~ M. M.............. j
ly as indicated.

Progress
Burgmtiller

28

5
5

5 5

11.8.

W.M.C.. MZ4
 29
Play the chords with arm attack.
Be sure to give a little extra emphasis to
the upper, or melody notes of each chord.
Play the whole etude as musically as
IVelocity attained M. M............... ,
possible.

Album Leaf
Heller
Assai moderato

29

L--1

......

L-_J

::::>
3

L,__J
3
~

1f. M.C.. NM
30
The diatonic groups should be tossed from
one hand to the other. Use a slight rolling
motion in combination with finger legato to
give sparkle. IVelocity attained M. M............... j
Play the intervening chords with sharp fore-
arm staccato.

L'avalanche
Heller
Allegro vivace

30

'---..J

t____J

I\

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 Si

3
3

1ef

W. JI. Co. 58H

.. A study in phrasing.
Follow the phrasing marks exactly and IVelocity attained M. M............... j
! play with as much artistry as possible.

Tender Flower
Burgmiiller
Moderato

31

5---

..•

.
•

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 33
A study in Broken Chords.
Observe the notes to be sustained
and pedal as indicated.
IVelocityuattained M. M.............. j

Harmonies du Soir
Czerny
Moderato

32

-------- 1

-----

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 34

Color rather than speed is essential

in this etude. IVelocity attained M. ~L ........... /
Play it as musically as possible.

Angel Voices
Burgmiiller
Allegro modera_t_o_~-
~ 4 ~ ---

33
r,

.
'i

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 35

\__ __·~~~~-'~~~~~~~~~~~~~~-"~~~~~~J\.-~~~~~A-.~~~~~~.J\_~~~~~~~

t!I----------------------------;

'1 2
5 5

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36

Play with forearm legato, being sure

that the upper notes of the right hand
carry most of the weight of the arm. ITempo attained M. M ............. j
Pedal as marked.

Chorale
Moderato Duvernoy
5
1

34

5 1
5

1
5 5
---1\__..J

W. JI. Co. 58H

 31
Play the right hand with
plucking finger staccato. IVelocity attained M. M............. )
Fanfare
Duvernoy
Moderato

35

• - -. -. -. - .. -. -. -. -. - .• 1.-., - 112.
., 3 5
.:.. ~ ~~
.L
2
,
fl
.... -. -. -. -. -. -
1 /j, 3 2 1 .:.. • /j, 3 2 1 lj, 3 2 1
.... ~

.... .. -·
~

• v

~ -
~

fl
.
-- - ..
I I I

- -
I I
,
- - ·- - ....,
-- ....- ....- --
~ ~

~
r~ •
~
-i r.J •
~I

Use the Rolling Attack

and toss figures from !Velocity attained M. M .............. J
one hand to the other.

Rippling Waters
5
Czerny

36

~~
5

W. M. Co. S8H
38
Practice the trill figures first
with high finger action.
As speed develops,tlw fingers IVelocity attained M. M............. 1
should be kept closer until they
finally "ride" the keys.

Carnival of the Birds

Czerny
Allegro

37

W. JI. Co. r;s21

 39

Pedal once to each measure and

strive to give a bell-like tone to IVelocity attained M.M ....--J
the accented half-notes.

Criss- Cross
Le Couppey
Moderate

38

5 2 Ped. simt"/e5

W.•.Co.HH
40
The Turn.
Play all 32nds with shallow touch.
IVelocity attained M. M.............. j
Gracefulness
Moderato

39

PP Fine

1
2 I
4
·.~. . A ~5

2 2 5

A 2

2 3 ~

JJ. c. "',._
W. ll. Co. 5!\"!4
 4t.
The C minor Scale used as melody.
Play with as much color as possible. IVelocity attained M.M .............. J
Prelude
Bertini
Allegro=---------

40

.
•

.
•

~-~

3 3

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42

Use forearm staccato.

Crisp, brittle chords. IVelocity attained M:. M........- ... 1

Staccato Chord Playing

Lemoine
Allegretto

41

' i

W. II.Co. UM
 43

Clean, finger legato with a sharp

release at the end of each phrase. jVelocity attained M. M............... j

Chromatic Scales
Berens

42
2
5

3 1
5 5
,.-....
5 •
2

5
3

fi fl
(.'\.

lf. Jf. Co. H:U

44

Attack and close the Trill

figures cleanly and sharply.
!Velocity attained M.M ........... -1

Trill Figures
Loeschhom
Andantino ----~~~~~--

43

ten .

..... c.. ...

 4£>
Use forearm staccato.
Observe the occasional IVelocity attained M.M .............. ,
slurred notes.

Scherzino
Le Couppey
Moderato

44
1 1 1
5 5

1 5
5

1 1
5

1 1 1
5 4 5

•. ll.Co. 5824
 46
Roll the broken chords.
Play the over-hand stac-
catos with bell-like tone.
IVelocity attained M.M.............. j
The Swallow
Burgmiiller
Allegro non troppo
l·.h.
2

45
5

Ped.simile

1f. Jl. Co. HU

 47

W. 11. Co. •sH

 48

Clean attack and release are

essential in playing the Turns. IVelocity attained M. M.............. J
The Turn
Czerny
Presto

46

2 5

fl 3 1
., i

n .
-· 3 1
, Ti

--
_, _, ... - -- - - - .,
- - --
-
- -- .,
- - - -- -
-

"-
~

.,
"
4!
r
~
--....._ - JI
-
_./
~

-- ~-
_, .,

~ - ...
\ -
~
..- .,
,
•
w- , -..
-,
cresc.
1111.

.• , .-:
-,
-,
~
-,
.,

. <>
4

5 5
5 5

w. M.Co. IH4
 49

..
:!

2 3 - ·-------·-;---~T-----·-•••·-·-··•-•·------------------
~---------------------------------
I 3

- 1 y !
2

W. -ti. Co. NH
60
Give special attention to the Fourth·
and Fifth fingers. IVelocity attained M. M.............. j
Keep the passages perfectly even. .

Passage Playing
Kohler
Allegro
4,

47

,,

W. JI.Co. &SH
 51
Play with close, bounc-
ing wrist action. [velocity attained M.M ............. J

Light Wrist Staccato-Left Hand

Czerny
l\foderato:.____.--~~~~~~~~~~;--~~~~~~~-;:.----

48

5 5

W. JI. Co. 5924'

62

Pass the hands over smoothly.

Play with Rolling Attack.
IVelocity attained M. M............. f

Thumb under and Hand over in Arpeggio Playing

Duvernoy

49

5~

!,l
1
3

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 53

3 5 4
1

..
-<
!•

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 54

To be played with
I Velocity attained M. M.............. 1
utmost smoothness.

Velocity
Duvernoy

50

1~

W. M. Co. 5824'
 55

a poco

W. M. Co. 5824'