TH E A R T

OCTAVE PLAYING
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FOR THE
PIANO
-

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C A R L. F | S C H E R.

BOSTON N E VV Y O R K CHICAGO

PHILADELPHIA
 M Tz 27
-
|- 4
Fundamental Principles of Octave Technic
Our ability to use at will either the shoulder, elbow, wrist,
FIVE MODES knuckles, or the axis of the forearm as a pivot for applying
OF ACTION power by leverage to the keys of the piano gives rise to five
modes of action: whole-ar/ action, forear/ action, /a/d action, ſinger action and /øteral
forear/ action.
Complete transmission of the power applied can only be gained, if a con
dition of perfect freedom exists at the joint used as the pivot, while firm resistance

all
is maintained at the other joints.
The tone-producing downward action can

be
TWO MODES deliberate

a
--. - - -- - -
///sci/ºr /i/ Decisive,

of
brilliant

or

.
weight.

.
OF TOUCH stroke sudden

by a

e
- - -

-
tone produced vigorous muscular stroke. Mellow, singing
of is
weight initiates the descent the key.

of
tone results when lapse
applied of weight-lapse should

of
Neither the amount force nor the duration
requirements tone-production. Key-bed hitting and key-bed pressing
of

exceed the
all

pernicious faulty piano-technic.

of

of
are the most the practises
The five actions enumerated above, combined with the two
CLASSIFICA- 4. - -4 -

up
possibili
•

touch, tone-moulding
of

..
..
..
.
.
.
.
open
..

TION modes
- the wonderful
-
ties of our arms and hands.~
J//ho/e-ar//
–

Forewſ:// - ///ole-arm

–
Hayd - fro/e, and Forcar/ - weight

|
\
–

- -

'S
2

Finger - Hayd -
–
-

Lafºrd/, //rear/ Later/

\
forearm
should find judicious employment our playing, the technical and esthetic pur
in

if
-
of

poses composition are properly safeguarded.

be
to
a

The force and speed required each particular instance will determine, what
in

by

part relaxation,
be
of

or
our arms should motion muscular exertion
in

in
set
order produce the desired effect.
to

all

Finger-ſtroke—this most important pianistic modes

in of

of
OCTAVE practically employment octave playing.
no

touch—finds The
TECHNIC
by

its
force generated this stroke inadequate for octaves, and
is

use for such purposes therefore limited.

is

producing brilliant, staccato octave effects.

of

Hand-stroke the chief means

is

the wrist characterizes this stroke, more less sudden side-adjust

or

Pivotal action
at

of...ſºji
a

taking care positional changes.

of
of

ment the hºnd

Forcar/-/ro㺠releases, more force and eminently suitable for the playing
of
is

large choré Aikini forêe-eirects will call for w//-arm-stroke, which, however,
a

frequently resorted to.

be

should not
octave-passages, going beyond the possibilities hand-stroke,
of of

Extreme speed
in

t
by

can only peculiar combination

be

of

taken care ar/-viºration: forearm- and

a

this stroke.being impossible, only

of

of

hand-stroke. Perfect control

in

passages
rhythmical uniformity can successfully employed.
be

-
it
of

the playing mellow, singing quality, the hand-weighſ will

of
In

legato-octaves
all

quite insufficient, fºrear/-weight

be

found and the will have precedence over other

producing Under favorable conditions,
of

of

touch this class

in

modes tone-effects.
w/o/-ar/-weight - appropriate
of

broad and slow melodic progressions, the use

in

is

and desirable.
by

The lateral motion produced

of

the axial rotation the forearm

to in

used
is

playing broken octaves. ſafera/forearm-weight, according

or

Latera/forearm-stroke
the tone-quality desired, will have employed
be

these octave-formations.
in
to
º-9.
cont ENTs
Principles - - - - Preface

of
Fundamental Octave Technic

-
-

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A

N
E
O
P

R
BRILLIANT STACCATO OCTAVES PRODUCED
BY MUSCULAR STROKE

A. REPEATED STACCATO OCTAVES.–Hand-stroke

1.
Right Hand Octave Study–Döring, H., Op. 24, No.
C.

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Left Hand Octave Study—IOoring, H., Op. 24, No.
C. - - - - -

2.

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1 .
. .

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Octaves with Alternating Fingers–Köhler, L., Op. 290, No.

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Octave Triplet Study—Köhler, L., Op. 290, No.

2
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Octave Velocity Study—Gurlitt, C., Op. 58, No. -

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Octave Endurance Study–Köhler L., Op. 290, No. 4.

2
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STACCATO OCTAVES WITH INTERPOLATED SINGLE NOTES-Alternating
B.

hand and finger-stroke

“Blind Octave' Study–Köhler, L., Op. 290, No. 26. - 14

-
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Accented Octave Study—Kessler, Ch. - - - 16
J.

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5 .
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1 . .
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. . .
Octaves with Interpolated Double Notes—Burgmüller, Fr., Op. 105, No. 1S

. .
. .
. .
. .
. .
Bimanual Octaves with Interpolated Double Notes—Kröger, R., Op. 30, No. 20
E.

SCALE PROGRESSIONS IN STACCATO OCTAVES.–Hand-stroke,

C.

with positional
side-adjustments of the forearm
11. Diatonic Octave Scale Study—Czerny, K., Op. 553, No. 26

,
1
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. . . .
- . . . .
- . . . .
- . . . .
- . . . .
.
.
- .
.
12. Octave Scales with Chromatic Passing Notes—Burgmüller, Fr., Op. 105, No. - - 2S
9

13. Reiterating Octave Scale Study—Hiller, F., Op. 15, No. .31
5.

.
. .
1 .
. .
. .
. .
.
. .
. .
. .
. .

- . .
- . .
- . .
14. Octave Scales with Sudden Turns—Biehl, A., Op. 144, No. - 34
.

15. Left Hand Octave Scale Study–Biehl, A., Op. 144, No. 35
-
-

-
3
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16. Combination Octave Study–Czerny, K., Op. 740, No. 49 36

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D. LARGE INTERVAL-SKIPS IN STACCATO OCTAVES- Hand-stroke with quick

positional side-adjustments
of

the hand
- Right Hand Skips–Kleinmichel R., Op. 61, No. 39
Octave Study
in in
*

. 6
.

. .
. .
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- .
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.

18. Octave Study Left Hand Skips—Döring, H., Op. 25, No. - - - - - - - - - - - - - - - 43
C.

2
.

19. Free Octave Skips—Döring, H., Op. 25, No. 46

C.

.
.
.
2 .
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9, . .
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- . .
- . .

20. Interlaced Octaves–Birkedal-Barfod, L., Op 22, No. 5()

21. Octave Melody with Hand Alternation—Vogt, Op. 145, No. - - - - - - - - - - - - 53
. .
J,

22. Two-part Alternating Octave Study—Czerny, C., Op. 740, No. 38 - - - - - - - 51

.
.
.

23. Unisonal Octave Study–Doring, H., Op. 25, No. 59

C.

7.

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BROKEN CHORD PROGRESSfonS IN STACCATO OCTAVES-Hand-stroke,

E.

with vigorous side-motion

of

the forearm
Right Hand Octave Study H., Op. 24, No. - - - - - 64
15

24. Broken Chords—Döring,

C.
in

. - -

. - -

. - -
.
. . .
. . .
. . .
. . .
. . .
. - .
. - .

67
. 14

25. Left Hand Octave Study Broken Chords—Döring, Op 24, No.

H.
C.
in

. -
. -
. -

. -
. -

. -
,

. .

69
33

26. Octave Study Fºxtended Broken Chords—Czerny, C., Op. 740, No.
in

27. Octave Independence Study–Wolff, B., Op. 106, No. 73

3
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2S. Octave Passages Parallel Motion–Biehl, A., Op. 145, No. 30.
in

.
.
.
.
.

STACCATO OCTAVES RESTRAINED BY SUSTAINED NOTES–Finger-stroke

F.

29. Study–Seifert, U., Op. 4S, No. 78

9.

Octave Interference
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):363
-
(;
:
 CONTENTS – Continued
G. HIGH-SPEED STACCATO OCTAVES.–Arm-vibration -
30. Left Hand Octave Speed Study—Handrock, J., Op. 100, No. 25 . . . . . . . . . . . . . . . . . . . . . . . 80
31. Chromatic Octave Speed Study—Döring, C. H., Op. 25, No. 5 . . . . . . . . . . . . . . . . . . . . . . 84
32. Octave Passages in Uneven Rhythm—Döring, C. H., Op. 25, No. 6 . . . . . . . . . . . . . . . . . . . . . 88

H. STACCATO OCTAVE-CHORDS—Forearm-stroke
33. Repeated Octaves with Added Notes—Köhler, L., Op. 290, No. 16 . . . . . . . . . . . . . . . . . . . . . . 91
34 Right Hand Octaves with Added Notes—Vogt, J., Op. 145, No. 15. . . . . . . . . . . . . . . . . . . . . . 93
35. Left Hand Octaves with Added Notes—Vogt, J., Op. 145, No. 16 - - - - - - - - - - - - . . . . . . . 94

I. OCTAVE-CHORD ACCENTS-Alternating forearm and hand-stroke

Octave-Chord Study—Biehl, A., Op. 154, No. 12 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
Chord Accents with Broken Chord Accompaniment—Vogt, J., Op. 145, No. 12 . . . . . . . . . . . . . . . . 98

J. INTENSE OCTAVE-CHORD ACCENTS–Whole-arºn stroke

3S. Bimanual Octave-Chord Study–Löschhorn, A., Op. 179, No 12 . . . . . . . . . . . . . . . . . . . . . . 1()1

P A R T TW O

MELLOW LEGATO OCTAVES PRODUCED BY LAPSE OF WEIGHT

K. MELODIC LEGATO-OCTAVE FORMATIONS.–Forearm weight

39. Legato Octave Study–Döhler, Th., Op. 42, No. 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

L. LEGATO OCTAVES WITH INTERPOLATED DOUBLE NOTES-Alternating

forearm-weight and finger-stroke
40. Melodic Octave Study with Interpolated Double Notes—Döhler Th., Op. 42, No. 40. . . . . . . . . . . . . 108

M. CLOSE LEGATO-OCTAVE CONFIGURATIONS-Forearm-weight, with quick

positional side-adjustments of the hand
41. Chromatic Octave Turns—Biehl, A., Op. 144, No. 10 . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

N. BROKEN-CHORD PROGRESSIONS IN LEGATO OCTAVES.–Forearm-weight,

with vigorous side-motion of the upper-arm
42 Legato Broken-Chord Octave Study–Köhler, L., Op. 290, No. 14 . . . . . . . . . . . . . . . . . . . . . 114

O. OCTAVES COMPOSED OF LEGATO AND STACCATO NOTES-Alternating

forearm-weight and finger-stroke
Articulatory Octave Study–Czerny, C., Op. 335, No. 33 . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

P A R T T H R E E

BROKEN OCTAVES PRODUCED BY LATERAL FOREARM-ACTION

Right Hand Broken-Octave Study—Biehl, E., Op. 40, No. 2 . . . . . . . . . - - - - - - - - - - - - - - - 119
45. Left Hand Broken-Octave Study–Wolff, B., Op. 106, No. 10. . . . . . . . . . . . . . . . . . . . . . . . . 123
46. Staccato Broken-Octave Study—Clementi, M., “Gradus ad Parnassum,” No. 28 . . . . . . . . . . . . . . . 126
47. Stretch Development Study–Schmitt, A., Op. 16, No. 14 . . . . . . . . . . . . . . . . . . . . . . . . . . 130
48. Broken-Octave Tremolo Study —Döhler, Th., Op. 42, NJ. 29 . . . . . . . . . . . . . . . . . . . . . . . . . 133

PA R T FOU R

OCTAVE STUDIES COMBINING SEVERAL ACTIONS

137
49. Brilliant Octave Study—Pirkhert, E., Op. 11 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
50. Octave Virtuosity Study–Kröger, R. R., Op. 30, No. 6 . . . . . . . . . . . . . . . . . . . . . . . . . . 142
 by
BRILLIANT STAccAto ocTAVES Muscular stroke

H.;
* PRODUCED
—#e3––
A. Repeated Staccato Octaves
—-O->
Sigmund Herzog
by
Edited RIGHT HAND OCTAVE STUDY
and Andor Pintér
for hand-stroke
Döring,

H.
Op. 24,

C.
N9

|
Moderato sempre stacc.

18296 150 Copyright MCMXIV by Carl Æischer, Mew York

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 LEFT HAND OCTAVE STUDY
for hand-stroke

C. H. Döring, Op. 24, N9 2

18296 – 150
 OCTAVES WITH ALTERNATING FINGERs
for hand-stroke

L. Köhler, Op. 290, No 1

Moderato

18296 – 150
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for hand-stroke

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C. Gurlitt, Op. 58, N9 8

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OCTAVE ENDURANCE STUDY
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for hand-stroke

L. Köhler, Op. 290, N94

Moderato

18296 - 150
 più cres.

18296 - 150
 -
14

B. Staccato Octaves with Interpolated Single Notes

—c-o->–
“BLIND OCTAVE” STUDY \
for alternating hand and finger-stroke

L. Köhler, Op. 290, No 26

Allegretto vivace

m? 1 :
; 2
-

18296 – 150
- 18296 – 150
16
ACCENTED OCTAVE STUDY
for alternating hand and finger - stroke

J. C. Kessler
Allegro maestoso
A A A
A.
A. A A
8

Jºcon energia

$º. º.º. º. º. ºº).

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18296 - 150
18
OCTAVES WITH INTERPOLATED DOUBLE NOTES
for alternating hand and finger-stroke

Allegro F. Burgmüller, Op. 105, N95

dolce, con leggierezza

2
cres, molfo

18296-150 º # º tº: %). # $º. t;

 19
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a tempo

18296–150
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 20

BIMANUAL OCTAVES WITH INTERPOLATED DOUBLE NOTES

for alternating hand and finger-stroke

E. R. Kröger, Op. 30, N9 |

Allegro molto

`--
By Permission
>
of the Publisher Breitkopf & Härtel 22 - 24 West 88th Street New York

18296 – 150
 21

18296 - 150
22

18296 -150
 poco riſ.

18296–150
18296 -150
 * #

18296–150
 w
26

C. Scale Progressions in Staccato Octaves

DIATONIC OCTAVE SCALE STUDY

for hand-stroke, with positional side-adjustments of the forearm

Carl Czerny, Op.- 553, NWQ A

Allegro moderato . g .
* * * * * * * * * * * * § 4 5 * * . &------------------------------

3. º
Ap leggieramente

18296–150
 ~ : boco
p. rif.f a fempo 5 4 5 4 5 4 +
5
5

-
5
18296–150
28
OCTAVE SCALES WITH CHROMATIC PASSING NOTES
for hand-stroke, with positional side-adjustments of the forearm

F. Burgmüller, Op. 105, N9 9

A. :*
Allegro non t roppo
*— . .
4 4
. . .
- 5–4 - - - . . . . - “ . . 4
; : .

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18296 – 150
30

dim., rit.

18296 – 150
 31
REITERATING OCTAVE SCALE STUDY
for hand-stroke, with positional side-adjustments of the forearm

Allegr etto ioso F. Hiller, Op. 15, N95

5 sºZ 5 . . 4
•
sempre staccato
5
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13. my
2.

espressivo

18296 – 150
 s-EE#EEEEEEEE-E_EDE

18296 - 150
 33

18296–150
34
OCTAVE SCALES WITH SUDDEN TURNS
for hand-stroke, with positional side-adjustments of the forearm

Albert Biehl, Op.444, N91

A11egro &------------------------------------------------------ *

18296 –150
 35
LEFT HAND OCTAVE SCALE STUDY
for hand-stroke, with positional side-adjustments of the forearm

Allegro Albert Biehl, Op. 144, N93

".

-
*
18296-150
36
COMBINATION OCTAVE STUDY
for hand-stroke, with positional side-adjustments of the forearm

4.
C. Czerny, Op. 740, No 49
Vivace - -
?
- - - - • - - - - - -
4 =

16.

..f-E, sempre staccato

sempre staccato

18296–150
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18296-150 äviſāſ;
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D. Large Interval - skips in Staccato Octaves
—-o->–
OCTAVE STUDY IN RIGHT HAND SKIPs
for hand-stroke, with quick positional adjustments of the hand

R. Kleinmichel, Op. 61, No 6

Allegretto con moto .

sempre staccato
4

5 4.

18296 - 150
40

sempre staccato

18296 – 150
 |
41
sempre staccato
e.

ºº

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18296 150
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18296 – 150
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OCTAVE STUDY IN LEFT HAND SKIPS
for hand - stroke, with quick positional adjustments of the hand

C. H. Döring, Op. 25, N22

Molto vivace
4 5

T.
- -

Tº P-3
leggiero
18.
r-YE.

18296 - 150
 44

18296 – 150
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FREE OCTAVE SKIPS

for hand-stroke, with quick positional adjustments of the hand

C. H. Döring, Op. 25, No

Allegro moderato 1
5 4 5 4 -
5 5 5 5

18296-150
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18296 -150
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18296 - 150
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Molto Allegro
INTERLACED OCTAVES
for hand-stroke, with quick positional

L.. Bi

–
adjustments of the hand

-
Birkedal-Barfod,
d. Op. 22,y N9 2
Op

18296 - 150
 51

18296-150
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18296-150
 Con fuoco

fº
–
OCTAVE MELODY
for hand-stroke,
WITH HAND ALTERNATION
with quick positional

-
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J. Vogt, Op.

-
145, N9 9

-
53

U
I2. poco con fuoco
rit. a-N

18296-150
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 54
TWO-PART ALTERNATING OCTAVE STUDY
for hand-stroke, with quick positional adjustments of the hand

C. Czerny, Op. 740, No 38

Molto Allegro
"gºſlag

18296–150
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 UNISONAL OCTAVE STUDY59
for hand-stroke, with quick positional adjustments of the hand

C. H. Döring, Op. 25, NQ 7

Molto agitato
sempre staccato
********** • ** * · · -
23.

>>
sempre staccato

-- - - - - - - - - - - - - --- ****************
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18296–150
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18296-150
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RIGHT HAND OCTAVE STUDY IN BROKEN CHORDS
for hand-stroke, with vigorous side-motion of the forearm

C. H. Döring, Op. 24, NQ 15

Allegro moderato sempre staccato sº
> > >

18296 - 150
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for hand-stroke, with vigorous side-motion of the forearm

C. H. Döring, Op. 24, NQ 14

Allegro moderato 5

25. my*

>
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sempre staccato

18296 - 150
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18296 - 150
 69
OCTAVE STUDY IN EXTENDED BROKEN CHORDS
for hand-stroke, with vigorous side-motion of the forearm

C. CZERNY, Op. 740, No 33

A11egro
Mgº

§
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(E};

sempre dolce

18296-150
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OCTAVE INDEPENDENCE STUDY
for hand-stroke, with vigorous side-motion of the forearm

B. Wolff, Op. 106, NQ 3

Allegro commodo
. . . . .. . .
&--~~~~~~~
sempre staccato
27.

&---------------------------------------------------------------: [1. | 2. |

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18296–150
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18296 -150
 75
OCTAVE PASSAGES IN PARALLEL MOTION
for hand-stroke, with vigorous side-motion of the forearm

-
o
A. Biehl, Op. 145, N9 30
Presto
4. 4.

a)

28. --
sempre staccato

h
a) The fifth finger for the white - key-octaves and the fourth finger for the black-key-octaves should
be uniformly employed throughout this study.
18296 - 150
18296 – 150
18296 – 150
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F. Staccato Octaves Restrained by Sustained Notes
—-o->–
OCTAVE INTERFERENCE STUDY
for finger-stroke

U. Seifert, Op.48, N99

Allegro moderatº
;

29.

& simile
;

18296 – 150
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– <>-o-<>–

LEFT HAND OCTAVE "SPEED STUDY

for arm - vibration

S. Handrock, Op. 100, NQ 25

A11egro moderato energico

I IIIIID - |
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CHROMATIC OCTAVE SPEED STUDY
for arm-vibration

C. H. Doring, Op. 25, N95

Moderato
a.

31.

sempre staccaſo
b

a) The fifth finger for the white-key-octaves and the fourth finger for the black-key-octaves should be
uniformly employed throughout this study.
18896 – 150
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º
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18296 - 150
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OCTAVE PASSAGES IN UNEVEN RHYTHM
for arm - vibration
w

C. H. Döring, Op. 25, Nº 6

- Allegro non troppo

-
Tº- “ . . .. ---. #:
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-
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32. Jº energico
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a)
viº sempre staccato

sempre staccato

J.
Heb

a) The fifth finger for the white-key-octaves and the fourth finger for the black-key-octaves should
be uniformly employed throughout this study.
18296 – 150
18296 – 150
18296 - 150
 91
H. Staccato - Octave - Chords
->-o->--
REPEATED OCTAVES WITH ADDED NOTES
for fore-arm stroke

Moderato L. Köhler, Op. 290, N916

18296–150
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RIGHT HAND OCTAVES WITH ADDED NOTES
for fore-arm stroke
-
J. Vogt, Op. 145, NQ 15

Allegro &---------------------------------------------------------------------
; > 5
4.
> 5
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4
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34.

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18296–150
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LEFT HAND OCTAVES WITH ADDED NOTES
for fore-arm stroke

J. Vogt, Op. 145, No 16

Allegro --> - - ~ 4 5
4

*—s --~

35. mf

4. 4. 4.
5 5 5

con fuoco

J.

poco cres. > f= -

-

18296-150
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I. Octave - Chord Accents
——o-o->–

OCTAVE - CHORD STUDY

for alternating forearm and hand-stroke

Op.
A. Biehl,

No
154,

12
Allegro risoluto

A
A
A
A

A
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36.

º). º. %).
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18296–150
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18296–150
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CHORD ACCENTS WITH BROKEN CHORD ACCOMPANIMENT
for alternating forearm and hand-stroke

J. Vogt, Op. 145, N912

Allegro con fuoco

5 Ž 5
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—C-o->
194

BIMANUAL OCTAVE-CHORD STUDY

for whole-arm stroke

Larghetto A. Löschhorn, Op. 179, NQ 5

A.

18296–150
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ten. 4 5
5 fez. 4

fen.
fezz.

cres. sempre

18296–150
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18296–150
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con futta forza

18296–150
 105
II. MELLOW LEGATO OCTAVES PRODUCED BY LAPSE OF WEIGIIT
-gioi

K. Melodic Legato-
-o-o-C
octave Formations
LEGATO OCTAVE STUDY
for forearm - weight Th. Döhler, Op. 42, Nº 1

il canto espressivo
Andante semplice

39.

sempre mezzo staccato

18296 – 150
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96.38% – 091
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L. Legato Octaves With Interpolated Double Notes

MELODIC OCTAVE STUDY WITH INERPOLATED DOUBLE NOTES
for alternating forearm-weight and finger-stroke

Allegro agitato Th. Döhler, Op. 42, Nº 40

tl can fo essiz,

40.

sºmºle
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18296–150
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M. Close Legato-Octave Configurations
->-o->–
CHROMATIC OCTAVE TURNS

-º-T-
for forearm-weight, with quick positional side-adjustments of the hand

A. Biehl, Op. 144, N9 10

Moderato assai

=
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18296–150
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18296 - 150
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N. Broken-Chord Progressions in Legato Octaves
—--> --—
O

LEGATO BROKEN - CHORD OCTAVE STUDY

for forearm-weight, with vigorous side-motion of the upper-arm

L. Köhler, Op. 290, No 14

Moderato assai
5

Jº 3: Jº

18296–150
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18296–150
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O. Octaves Composed of Legato and Staccato Notes
—cº-º->
ARTICULATORY OCTAVE STUDY
for alternating forearm-weight and finger-stroke

—ET
C. Czerny, Op. 335, NQ 33

-T-T
Allegro vivo e scherzando
tº camfo hem fem?/fo

5 5| 5 5 2.
5

43 e
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w w
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18296–150
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W. W. W.
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W. W. W. w w y w w w w w Y

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RIGHT HAND BROKEN - OCTAVE STUDY

for lateral forearm - action

--—
E. Biehl, Op. 40, No. 2

Allegro moderato

#.

22 amabile
44.

*T-T.
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LEFT HAND BROKEN - OCTAVE STUDY
for lateral forearm-action

Allegro brillante
B. Wolff, Op. 106, No 10

Jº

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STACCATO BROKEN - OCTAVE STUDY
for lateral forearm-action

M. Clementi, “Gradus ad Parnassum, N928

Veloce 5
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46.

18296 - 150
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18296 – 150
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18296 -150
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N
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STRETCH DEVELOPMENT STUDY
for lateral forearm-action

A. Schmitt, Op. 16, N9 14

Moderato

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1
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18296-150
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BROKEN - OCTAVE TREMOLO STUDY
for lateral forearm- action

- Th. Döhler, Op. 42, No 29

- ->
Allegro

** * * * * * :- -- ----
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3.
A/
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3–3

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IW. OCTAWE STUDIES COMBINING SEVERAL ACTIONS
—->-O->--

BRILLIANT OCTAVE STUDY

for diversity of action and touch -

E. Pirkhert, Op. 11

Vivace
a) sempre staccato
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49. mf fuocoso

%), &O.

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sº eft|Floyed
throughout this study.
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pill cres.

18296–150
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ºcò.simile

18296 – 150
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martellato

fe º 3, ºcò. ; ºcò. ; ºcò.

accel, poco a
S-----------------------------------------:
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con gran forza

-

stringendo
- incalzando &----.

18298-150
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OCTAVE VIRTUOSITY STUDY
for diversity of action and touch

- E. R. Kröger, Op. 30, N06

Allegro vivo
5 * * * *
4 - * * : * ,
* * * * * * * 8
5 4 5 5

50 Jº legato 2
Sempre

º–A š º A– ºn simile

By Permission of the Publisher Breitkopf & Härtel 22-24 West 88th Street New York
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