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Muzio Clementi's Introduction to the Art of Playing on the Piano Forte Mutopia ǀProject ǀ ǀ 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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Page 1: Introduction to the Art of Playing on the Piano Forte

Muzio Clementi's

Introduction to the

Art of Playing

on the

Piano Forte

Mutopia ǀProject

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

Page 2: Introduction to the Art of Playing on the Piano Forte

Acknowledgements for this edition

My gratitude to the LilyPond User Forum and the Mutopia Project, for making this project

possible; 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.

Page 3: Introduction to the Art of Playing on the Piano Forte

Table of Contents

Music Notation

4Preliminaries

4Clefs

5The Scale, or Gamut

6Intervals

7Tenor, Counter-tenor, and Soprano clefs explained

8Figure, Length, and the relative Value of Notes and Rests

9Time and its Divisions

11Sharps, Flats, etc.

13Various other marks.

13Abbreviations

15Style, Graces, and marks of Expression, etc.

17Turns, Shakes, and Beats, explained

20Major and Minor Modes or Keys; vulgarly called Sharp and Flat Keys.

21Explanation of Various Terms

Fingering

23Preliminary Directions

23Scales in all the Major keys, with their relative Minors

28General Remarks on the foregoing Scales

29Extensions and Contractions etc.

30Examples of fingering for the right hand.

33The left hand.

Preludes and Lessons

Lesson I

34Prelude in C Major

34Away with melancholy: by Mozart

Lesson II

35Aria

Lesson III

35Air, in Atalanta, by Handel

Lesson IV

36Air, in Saul, by Handel

Lesson V

38Dead March, in Saul, by Handel

Lesson VI

40Allegro by Corelli

Lesson VII

Page 4: Introduction to the Art of Playing on the Piano Forte

43Prelude in A minor

43Gavotta by Corelli

Lesson VIII

44Prelude in F Major

44Air, in Judas Maccabeus, by Handel

Lesson IX

45March, in Judas Maccabeus, by Handel

Lesson X

47Sarabanda, by Corelli

Lesson XI

48Giga, by Corelli

Lesson XII

50Arietta, by Mozart

Lesson XIII

51Minuet and Trio, by Mozart

Lesson XIV

53Le Réveilmatin, by Couperin

Lesson XV

57Prelude in D minor

57Larghetto, by Scarlatti

Lesson XVI

59Allemanda, by Corelli

Lesson XVII

61Sarabanda, by Corelli

Lesson XVIII

62Prelude in G Major

62Ah vous dirai - je maman

Lesson XIX

63Triste Raison

Lesson XX

64Fal, lal, la. Air in the Cherokee.

Lesson XXI

65Larghetto, by Pleyel

Lesson XXII

66Arietta

Lesson XXIII

68German Hymn, with Variations by Pleyel

Lesson XXIV

71Andantino, by Dussek

Lesson XXV

73Allegro, by Handel

Lesson XXVI

75Minuet in Samson, by Handel

Lesson XXVII

77God Save the Emperor, composed by Dr. Haydn

Lesson XXVIII

78Rondo in the Gipsy stile, by Dr. Haydn

Page 5: Introduction to the Art of Playing on the Piano Forte

2

Lesson XXIX

86Prelude in E minor

86Tambourin by Rameau

Lesson XXX

89Prelude in B flat, Major

89Minuetto by Scarlatti

Lesson XXXI

91Lindor - an Air

Lesson XXXII

92Minuet and Trio, By Mozart

Lesson XXXIII

94Gavotta in Otho, by Handel

Lesson XXXIV

96Andante with Variations, by Cramer

Lesson XXXV

100Prelude in G minor

100Allegro, by Scarlatti

Lesson XXXVI

104Prelude in D Major

104Gavotta, by Corelli

Lesson XXXVII

105Minuet in Ariadne, by Handel

Lesson XXXVIII

107March in the Occasional Oratorio, by Handel

Lesson XXXIX

109Waltz, by Beethoven

Lesson XL

111Allegro, by Corelli

Lesson XLI

115Prelude in B minor

115Giga, by Corelli

Lesson XLII

117Prelude in E Flat Major

117Rondo by C.P.E. Bach

Lesson XLIII

124Prelude in C minor

124Minuet, by Scarlatti

Lesson XLIV

126Prelude in A Major

126Andante Allegretto by Paradies.

Lesson XLV

129Prelude in F# minor

129Adagio by Corelli.

Lesson XLVI

131Prelude in A flat Major

131Slow March by Couperin.

Lesson XLVII

Page 6: Introduction to the Art of Playing on the Piano Forte

3

133Prelude in F minor

133Allegretto by Couperin

Lesson XLVIII

135Prelude in E Major

135Polonoise and Minuet, by Sebastian Bach

Lesson XLIX

138Gavotta, by Corelli

Lesson L

139Prelude in C# minor

139Minuet, by Dr. Haydn

Page 7: Introduction to the Art of Playing on the Piano Forte

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 ª 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.

Page 8: Introduction to the Art of Playing on the Piano Forte

5MUSIC NOTATION

THE SCALE, OR GAMUT

Shewing the position, and name of the notes.

d

�d

e

� d

g

g

f

c

�c

c

�e

�e

f

�g

�a

�d

a

e f��

Bass

Treble

a

�g

�d

�ca

��b

�b

b

�f

�g�

g

e f

��

�b �

�c

g

�d

�f

�c

��

a

�b

���

eª b

�f

�a

Let the PUPIL now strike the notes on the instrument; taking notice, that the first LONG key, on the left hand,

serves for the first F; the second LONG key for G; the third for A; and so on: making no other use, at present, of theSHORT keys, than as GUIDES to direct the eye; by observing, that between B and C, and between E and F, there areno 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 the SAME

keys.As a help to memory; let the Pupil contemplate the notes, SEPARATELY, on the lines, and spaces; beginning by

the FIVE lines.

�Treble

�CC �A�B�

F

��F �E

�G�AC

�G

�G

ª ��E�B C�AF

� �E�DA

Bass �E �D��

�� �B

D��BG

�F �D �F

�C E �E�C�ATrebleBass

� �GB D � �F�

D

��G

�B

�F�A�

�� ��� �� �

���� ��

�� �� ��

� � � �����

�� �� �

� ��

� ��

�� �Exercise for treble notes:� �

�� ���� �� �

�� �� ��� � ��� � � �� �

�� ��

�� �

���� �

� �� �

ª �� ��� �� ���� �

Exercise for bass notes:

� � ��

N.B. Let the Pupil FIRST be familiarized with the notes, by READILY naming them; and then find them out as

READILY on the instrument.

Page 9: Introduction to the Art of Playing on the Piano Forte

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE6

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

ª

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 NATURAL or DIATONIC scale.

tonesemi-

�tonewhole

�ª �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, is call aSECOND: 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

�ª � 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 thelatter, HARMONY.

Example of the latter.- �� �� ��� ���� ���

The notes thus taken TOGETHER are also called CHORDS; the succession of which, played from certain figures

set over a bass, according to a system of rules, is denominated THOROUGH-BASS.

Page 10: Introduction to the Art of Playing on the Piano Forte

7MUSIC NOTATION

TENOR, COUNTER-TENOR, AND SOPRANO CLEFS EXPLAINED

�d�

�g

��b

���g�

�f�

�eª

�ßare played as if

written thus:

The notes

written thus:

�a

��c

�b

�f

�a

�g

��Bass�c

Tenor

��e

�d �e

�d�

�f�

�b

� �c

�d�

�f�

�d�

�b

��e�

� �c

ª

��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: the

Counter-tenor notes, one seventh HIGHER than the Bass-notes: and the Soprano-notes, one third LOWER than theTreble-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: ª 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

Page 11: Introduction to the Art of Playing on the Piano Forte

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE8

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 is added 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 ���

Page 12: Introduction to the Art of Playing on the Piano Forte

9MUSIC NOTATION

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, or

their equivalent

�����3

d sort 412� ����� ��� 12 crotchets in a bar, etc.

� ��� ��� �464th

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:

Page 13: Introduction to the Art of Playing on the Piano Forte

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE10

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, into three equalparts.

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 83 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� or

� � �3 3 3� � � �thus ��� � �

or �� 33

(which are called triplets) denotes, that

the three crotchets must be performed within the time of two common crotchets, or of one minim; the threequavers within the time of two common quavers, or of one crotchet; and the three semiquavers within the time oftwo 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; that is, tobeat the first of every 3. (N.B. SCARLATTI, and others have written three demisemiquavers to a quaver; and threesemiquavers to a crotchet in some of their pieces.) The figure of 6 over quavers or semiquavers, means that theyare to be performed within the time of four of the same kind; which is a similar case to the preceding one. Thefigures 5, 7, 9, 10 etc. follow the same rule.

Page 14: Introduction to the Art of Playing on the Piano Forte

11MUSIC NOTATION

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'theyocassionally serve for SHARPS and FLATS; and the SHORT keys, are called SHARPS and FLATS, being only used forSHARP 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 key betweenD, and E; but between E, and F, ther is no SHORT key; nor is it wanted: for the INTERVAL between E and F, is but asemitone; and therefore when we want E SHARP, we strike the key generally called F NATURAL. F SHARP will befound between F NATURAL, and G NATURAL: G SHARP between G and A NATURAL: A SHARP between A and BNATURAL: and B SHARP is under the same predicament as E SHARP; we therefore strike C NATURAL 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 double FLAT,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 method therefore,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.

Page 15: Introduction to the Art of Playing on the Piano Forte

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE12

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

� � ���� ��� � �� ��� � �2

dEx:

� � �as if written thus� �

� ��as if written thus

��� � � �� �3

dEx:

�� � ���� � ������ �� �� �� �� � 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

Page 16: Introduction to the Art of Playing on the Piano Forte

13MUSIC NOTATION

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� � �� �

�� �� �� �

Ex: � � �� �� �

thus� �

� �� �� �Ex: � � �����

thus�

� � �� ��Ex: � � �

thus�3 �� � � � 3� 3�

� �� �Ex: � �� � �� � �� �

thus

� 6�� � � ��Ex: � � � �� � �� 6� � � 6� �

thus

� � �� � � ��Ex: � � �

played thus

� � � � � � � ��� �

Page 17: Introduction to the Art of Playing on the Piano Forte

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE14

� � �� � ��Ex:

� � ��

thus

� � � � � � ���� � The ITALIAN word, Segue; means, it continues, or follows:

� �� � � � ��Ex:

� � � ����

segue

���� � � � �� �� � � thus

Tremando, or trembling:

�� � ��� � ��Ex:

� �� ������� thus

�� � �� �� �� �

Page 18: Introduction to the Art of Playing on the Piano Forte

15MUSIC NOTATION

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, andPASSION 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 oneanother.

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 to set off theHIGHER 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 thechord 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 P moor pp, VERY SOFT.

Fortissimo, or F moor ff, VERY LOUD.

Forte, or For: or f , LOUD.

Mezzo f , or Mez: f , RATHER LOUD.

Page 19: Introduction to the Art of Playing on the Piano Forte

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE16

Forzando, or sforzando fz, or sf , to FORCE, or give emphasis to, ONE note.Rinforzando, or rinf: to SWELL 2, 3, or 4 notes.

Crescendo, or cres: marked sometimes thus means GRADUALLY LOUDER.Decrescendo, or decres: GRADUALLY SOFTER; the same as the following; viz:

Diminuendo, or dim: thus GRADUALLY SOFTER. N.B. this last mark often denotes anEMPHASIS, where it is WIDEST, and then DIMINISHING.

This mark means to SWELL and DIMINISH. ARPEGGIO, or ARPEGGIATO, requires that the notes of a CHORD shall be played successively; which may be done

in various ways.

�� � ������� thus

or ���Ex: � ��� ����

thus

� ��� ����Arp:

��� ������ ���� ������ ���

thus

or� �� � ����� ��� ����� ��� �������� ����� �� �or ��� ��� �� �� or

��� � �

OTTAVA, All'8va

, 8va

alta, set over a passage, means that the notes are to be played an octave higher: and LOCO,that the notes are to be played again as they are written.

The APPOGGIATURA is a GRACE prefixed to a note, which is always played LEGATO, and with more or less

EMPHASIS; being derived from the ITALIAN verb APPROGGIARE, to lean upon; and it is written in a SMALL note. ItsLENGTH is borrowed from the following LARGE note; and in GENERAL, it is half of its duration; MORE or LESS,however, according to the EXPRESSION of the passage.

APPOGGIATURAS, and other GRACES in small notes explained.

�� ����� �� ��� �

as taste best directs in the passage.

thus��

or thus��

�Ï��Ï ���Ï ���� ���with spirit

�������Ï �thus

��� ����

�� Ï ����� thus

���

��� �

�Ï

��

thusÏ

or�

thus��Ï ��� ��� Ï

� played thus�� � or�� � �� to be play-

-ed thus

�� or�

� �

Page 20: Introduction to the Art of Playing on the Piano Forte

17MUSIC NOTATION

� � �� ��

�Ï � �Sometimes Ï

� � �played thus�� � ��� ��

�Sometimes the little notes are added to give EMPHASIS:

� �� �� � �� ��Example� �� � � ���

Ï� � Ï� Ï

� � ��

played thus

N.B. the finger or thumb must be taken off immediately from the LOWER notes.

��Ïthus

expressively� � timessome-but Ï �

���� ����Ïthus

ÏÏ ÏÏ� ������� �3�

th:����ó

�Ï�ó �ó

�Ï

� ����Ex: � ����� �������played ��

thus

� ��

� �� Ï ��Ï�� ��

� Ï ��Ïó�� � � � �� thus � ��� ��

Ex: in double notes

ÏÏ thus�� � �� thus� �� Ï

TURNS, SHAKES, AND BEATS, EXPLAINED

ÏThe Turn

Ï Ï �� � 3played thus � � It is sometimes writ-

_ten in small notes �� � �

� ���� �� ��� ������ �� 3�� ��� �

thus

��� 3� �

thus

�� thus � �

� � thus� � �� � �� � � � ��3� �� thusThe plain

note and turn

� �Ï

or� The dotted

note turned

�� � ��3

Page 21: Introduction to the Art of Playing on the Piano Forte

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE18

thus��

or �� �

�� Inverted turns �3

� � � �3� �

thus � � �� ! � ��or

N.B. The LOWEST note of EVERY sort of turn is MOSTLY a semitone:

� 3� � �

thus�Ex: 1st � � � � �� 3���

thus

Ex: 2d�� � �

� "

� thus� ���� �� �� ��Ex: in dou-

-ble notes�

3����� ���� �� ��thus�

��� �

3� �3

� ������� thus��

� � �Some Authors

mark it thus

� � � � #�Shake.�� � �

orplayed

thus

� ��$ $� � �

��Short shake

beginning by the

note itself.

� ��� �$ $�$ $ �thus

� �� � �� played thus

� � �%� �� ��Transient

or passing

shakes

��Ï ��Ï$ $� Ï� or thus� Ï

Sometimes ex-

-pressed in small

notes.

�$ $� �� �%� �

����turned thus

and sometimes�� ��Turned

Shake.

�� ���or or

�$ $�or

&� $ $�� �� ����#�thus

played

&thus

� 6�ÏPrepared shake

� �� ���� ���� � 6���� ����� ''''''''&Continued

shake.thus

��� � ����� ��The shake LEGATO with the preceding note, explained:

Page 22: Introduction to the Art of Playing on the Piano Forte

19MUSIC NOTATION

�� ��3��� ��� �� 3��� ����� � �� � � � � �� � ����� �thus

���thus

�or thus

� �N.B. The GENERAL mark for the shake is this & and composers 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.N.B. When the note preceding the beat is an interval of a SECOND, let the beat adopt it, whether it be a

semitone or a whole tone:

�� thus� �� � �played

thus Ex: ���� � �� ��( (

But when the beat, is on the FIRST note of a passage, or, when it follows a note, whose interval is GREATER thana 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.

Page 23: Introduction to the Art of Playing on the Piano Forte

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE20

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

�ª

Ascending and

descending scale

in the key of

C, MAJOR.

� 3

��2

�Key-

note

�1�3� �

�5�Key-

note

1� �4��2

� ��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 figure1, stands for a note of the same pitch, called UNISON: this last remark is confined to the foregoing example.

�5��

�4��3�7

� ��6

��ª

Ascending and

descending scale

in the key of

A, MINOR.

� ��2

�Key-

note

�1�3� �

�5�Key-

note

1� �4��2

� �

�8�

�8��

�6� �

�7�

The first 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 between the 5th

and

6th

. Authors vary, however, in regard to the 6th

and 7th

of 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 contain two wholetones; or four semitones:

�� semi-tone�semi-

tone��Ex: � 3d

�wholetone� 3d

wholetone� semi-

tone�semi-tone�or

Whereas the 3d

in the MINOR -scale, will be found to contain one whole tone with a semitone; or threesemitones.

3d�semi-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 3d

be major, the piece is said

Page 24: Introduction to the Art of Playing on the Piano Forte

21MUSIC NOTATION

to be in SUCH a key major.

the LAST and LOWEST

note of the bass is F.��� �ª �

��Example of a conclusion:

��� �

� ���

�� ���

���Example of the beginning

of the same piece:

��

�ª43�43

���

�� the 3

dof F, which is A in the

first FULL bar, is MAJOR:

therefore the piece is in F

MAJOR

�A

���Example of

A MINOR

ending. ª� � �

���

��

�� here the 3d

of A

is MINOR, the

piece is there-

fore in A MINOR

��

�� Example

of the be-

ginning 42ª42�

���

��

��� �

� 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

ADAGIO, POCO ALLEGRO , etc. We shall annex a list of the terms mostly in use; beginning by the SLOWEST degree,which is ADAGIO; and gradually proceeding to the QUICKEST, which is PRESTISSIMO._______________________________________

1 ADAGIO

2 GRAVE

3 LARGO

4 LENTO

5 LARGHETTO

6 ANDANTINO

7 ANDANTE

8 ALLEGRETTO

9 MODERATO

10 TEMPO GIUSTO

11 MAESTOSO

12 CON COMMODO

13 ALLEGRO

14 VIVACE

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 ALLEGRO , not too quick etc. We shall subjoin some of the most common, with their explanation.MOLTO, DI MOLTO , or ASSAI, very. NON TROPPO , not too much. UN POCO , a little. QUASI , almost. PIù, more.

MENO, less. PIù TOSTO, rather. SEMPRE, always. MA, 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. CANTABILE, in a singing and graceful manner. AFFETTUOSO, in an affecting andtender manner. GRAZIOSO, in a graceful and elegant manner. CON MOTO, with a certain degree of vivacity. BRILLANTE, with brilliancy and spirit. AGGITATO, agitated; with passion and fire. CON ESPRESSIONE, orCON ANIMA, with expression; that is, with passionate feeling; where every note has its peculiar force and energy;and where even the severity of time may be relaxed for extraordinary effects. SCHERZANDO, in playful and light

Page 25: Introduction to the Art of Playing on the Piano Forte

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE22

manner. SOSTENUTO, to sustain, or hold on, the notes their full length. TENUTO, or abbreviated thus, TEN: tohold a note its full length. A TEMPO, in strict time. AD LIBITUM, at pleasure or discretion, with regard to time;introducing in certain cases an embelishment. TEMPO PRIMO, or PRIMO TEMPO, in the original time. RALLENTANDO or RITARDANDO, gradually slackening the time.

SMORZANDO, MORENDO or PERDENDOSI, extinguishing gradually the sound, 'till it be almost lost. CALANDO,

or MANCANDO, diminishing by degrees the sound, or slackening almost imperceptibly the time; or both. DA CAPO, abbreviated thus: D.C., to return to, and end with, the first strain. VOLTI SUBITO or V.S. turn overquickly. The LATIN word BIS, means TWICE; it is generally placed over a passage within a curve line, whichdenotes the extent of the repeat.

Page 26: Introduction to the Art of Playing on the Piano Forte

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 offingering 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 arm should 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, always ready tostrike; bending the fingers in, more or less in proportion to their length. All unnecessary motion must beavoided.

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 �3�3 �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�42ª 2�1�

SCALES IN ALL THE MAJOR KEYS, WITH THEIR RELATIVE MINORS which ought to be practised daily.

�3

�3 2�

4�1�

1�3�

3�

2�

1�1�

2��5

1

�4

2

��C major

Right Hand

�ª�

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�

3�2�

4�1�

5�

3�

3�4�

2�1�

2�

2�

1�4�

2�

Page 27: Introduction to the Art of Playing on the Piano Forte

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE24

���

3�

4�

1

���

3��

��

��

�ª��

5

��

��A minor �

1

��

�� �

3

����

3

��

��

1

2

1�

��

��

�3

3

4

2

�5

1

� �

2

1

���

��

3��

2��

1�

5�

��

1��

4

��

��

1�

2��

4

�1�

1

��3�

�1�

1�2�

1

��

2

��G major

��1�

2

��

3

��

3

��

1

�3��

��

4��

1��4

��

2

��5

1

��

1

��

3

� �5�

��

��ª� � 3�

��

3��

��

�1�

��

3�

4�1���

��

� ��

���ª���

5

���E minor

�1��

��

��

3��

3

��

��

1�

��

5�

��

���

1

��5

��

1�

��

���

��

3�� �

��

1�� 1��

4��

��

1�

��

4�

1

��

��

��

1���

5

��

��D major ���ª

���

1

��

�� �

�3

���

3

��

� 4��

1�

��

��

�� �

�5

1

��1

�5�

��

��

1�3�

��

3��

��

1�

� �3

� �

4

1

��

����

1��

���ª����

4

���B minor

��

��

��

��

3

1

��

��

��

1�

��

1���

��

�4

1

�4

��

1

��

���

��

��

2��5�

� ��

3��

��

4��

1�

Page 28: Introduction to the Art of Playing on the Piano Forte

25FINGERING

��

4�

1

��

��

��

1���

5

��

��A major ����ª

����

1

��

�� �

3

���

3

��

� 4

��

1�

��

��

�5

1

� �

1

��

5�

��

��

1�3�

��

3��

1�

��

���

4�

1�

1

2��

2��

3�

��

1

1��

��

4

�F� minor

43���ª43���

2

��

3

2��

5

1

���� �

3��

4��

��

1

1�

��

3�

�4

2

���

1�1�

2�

��

1

3���

2�

3�1�

2�

��

4�1��

��

��

1��

5

1

��

�E major �����ª�����

1

��

�� �

3���

3

��

� 4��

1�

��

��

�5

1

� �

1�

��

5�

��

��

1�3�

��

3��

��

1�

��� ��

4

1

��

��

3�1�

1 �

1

1���

��

3

2�C� minor

43�����ª

��

3

� �

��

4

1

���� �

��

��

��

1

�2

3

�3

2

4

��

1

1

�3�

23�

2�

34� �

43����

1

��

��

3

3�

23�

��

4

1

��

��

1��

��

4

1

����B major

������ �

��

��

� �

3

1

��

��

��

4

��

1�

� ��

3

��

�4

1

1

1

2

��

��

��

��

�����ª 1�

5�

� �

3�3��

4��

1�

Page 29: Introduction to the Art of Playing on the Piano Forte

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE26

��

1��

1��

��

��

4�

��

��

ª43������

��G� minor

43����� ��

3� �3

2�

�4

��

2�

1� �3�� �

1�

2�

��

2

3

�3

2

�4��

1

1

�3��

�2��

1��

��

3��

� 3��

1

3�

1�

1��2

� ��4�

1�

1�

3��43������ª

43�������

��F� major

4

�1

�� �

��

��

��

3��

4��

1�

3�

�4

2

��

1�

4�2�

34�

3�

23�

��

��

3�

23�

1�

3�

��

��

3�1�

1�1

��

43������ª43�������

�D� minor

3

2

�1

� �3

2

�4

1

��

1� �

� �

�3�

�1

1

�3

2

��

�4

��

�� �

� ��

1�

�4� �

4

1

�1�

3�

43�����ª43�������D� major

1

� �

2

3

��

��

1�2

3

�3

2

�4

�1

1��

4�

��

�3

4�

4��

1�

1

��

��

��

�4

��4��

� �

3��������ª

�������

3

�2

��B� minor

1

��

��

1

��

��

�3

���

4

�� �

��

��

���

1

�1

�3

2

��1

��

3

��

�3��

��

4

�3��

2��

3� 1��

1���

1�

��

Page 30: Introduction to the Art of Playing on the Piano Forte

27FINGERING

�4

��1

��1

��

���

��

3��

������ �2

��A� major ª ���� � �

��

��

�3

��1

����

1

�1

���3

��

�3

��2

3

��

�1

��4

�3

��3

��

��

5

�14

��

��1

��

��

�1

��

11��

� �

4��1�

��

���

�3�

43����ª43�����

�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

��

23�

1�

23�

����ª����

2�

34

1��

��

1�

��

4��

��

1

3

�� ��

��

��

1

���

4�

43���ª43����

�C minor

��

�� �

5

1

��

2

��

3

��

��

��

����

�4

��

�5

1

��

1�

��

2�4�

�1�

5�1��

�4��

1���

��

��

1

��

4���

3���

3

2

2

���B� major ª

����

��

��

1

��

3

���

1

� 1�

3

��

��

2

1

�3

2

4

��

1

��

1��

� 1��

��� 2�

4� ���

1�4��

1�

Page 31: Introduction to the Art of Playing on the Piano Forte

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE28

��

1�

3�� ��

��

��

1���

�4�

43��ª43���

�G minor

��

�� �

5

1��

2

�3��

��

�� 1�

� ��

��

��

�5

1

��

1� �

��

2��

�1��

�4��

� �

5�

��

��

��

4�

3�1�

��

23�

1�

11�

5

��

���ª���

1�

��

��

4

�3�

1��

1�

�5

1

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��

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3�

23�

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45�

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1�

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2

� �

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2

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1�

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1

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1�

�� �N.B. All the preceding Scales should be extended, in practising, 2 or 3 octaves more, as likewise

3

�1 2 �4 � � � �3 ��

2 2

� � etc.�1�� 2� �3 3��� � � 34the Scale of semi-

-tones for the

right hand:��

�1

21

��� �3

�2

11

�1

� 1 23

2

�2

� �1�4 ��2 �2

��� ��31

� �1� 235

3

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3

12����

1

�1

3 �3 � ��

2

and for the

left hand.2

4 �ª �2 �2 4

1

���3

2

� �� ��1

2 �1 3 ��� � �� 2 �2�13 ��1 ��

1

� 1 �1

21��

�� � 2

etc.� 22�4 �

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.

Page 32: Introduction to the Art of Playing on the Piano Forte

29FINGERING

EXTENSIONS AND CONTRACTIONS ETC.

1

�5

R.H.d�1 �

5

�4 �

�5� �

1� �5�5 �4 �1R.H.

d �1 �1�5 �1) �1�5

�5L.H.

d

�5⁀1"L.H.

d ª 5�� �5� �R.H.

d

5 11��1

N.B. The 5⁀1 means that 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: ª�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.

Page 33: Introduction to the Art of Playing on the Piano Forte

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE30

EXAMPLES OF FINGERING FOR THE RIGHT HAND.

3�� 3 �2 1�24�5 �� � �1 �4�4 �3 �2 �4 � �3 �2 �1�2 �3 �2But when the notes re--peat too quick for thesame finger, it is thennecessary to change.

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Page 34: Introduction to the Art of Playing on the Piano Forte

31FINGERING

��5 4� 1� 4�2� 11

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bis

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bis

�� 3��

� �5 � �� �1 �bis

4 downward 9 or 10 bars longer, keeping down the thumb

and every finger as long as possible; being one of the best

exercises for opening the hand.� � &�2 �3�3 ��� � ���2�

5

�1 � ��bis

4�

Page 35: Introduction to the Art of Playing on the Piano Forte

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE32

15��

15��

1But when

wanted

legato, thus:

15��

11

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Page 36: Introduction to the Art of Playing on the Piano Forte

33FINGERING

THE LEFT HAND.

2 5�3 3� �3��1��� 3�5 2�2

� �1

�5

�5

�� �

1� 3�1��2�

5

1� ��ª 4

1

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1 �2�2

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�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.

Page 37: Introduction to the Art of Playing on the Piano Forte

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

3

�5�

����1

�2

��5

124

3�2�1

42ª42� 5�3�

3

12

�2

�1

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��

5�4�3�

24

1 ���� 2�1� 3�1�2�

�����1�2�

3�4�

AWAY WITH MELANCHOLY: BY MOZART

2

f�

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5�

4�3�1�2�1�

1�3�Moderato

�ª��� �

p4

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4��

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4�3�

Page 38: Introduction to the Art of Playing on the Piano Forte

35PRELUDES AND LESSONS

LESSON II

ARIA

����

�����

4�

5 5�

4�1

5

p�

5�

1�

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2�

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1

f�

LESSON III

AIR, IN ATALANTA, BY HANDEL

��������

2

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1

Page 39: Introduction to the Art of Playing on the Piano Forte

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE36

LESSON IV

AIR, IN SAUL, BY HANDEL

1�1� �

3�

&3⁀2

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Page 40: Introduction to the Art of Playing on the Piano Forte

37PRELUDES AND LESSONS

&

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Page 41: Introduction to the Art of Playing on the Piano Forte

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE38

LESSON V

DEAD MARCH, IN SAUL, BY HANDEL

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CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE40

LESSON VI

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41PRELUDES AND LESSONS

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Page 46: Introduction to the Art of Playing on the Piano Forte

43PRELUDES AND LESSONS

LESSON VII

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Page 47: Introduction to the Art of Playing on the Piano Forte

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE44

LESSON VIII

PRELUDE IN F MAJOR

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Page 48: Introduction to the Art of Playing on the Piano Forte

45PRELUDES AND LESSONS

LESSON IX

MARCH, IN JUDAS MACCABEUS, BY HANDEL

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CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE46

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Page 50: Introduction to the Art of Playing on the Piano Forte

47PRELUDES AND LESSONS

LESSON X

SARABANDA, BY CORELLI

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CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE48

LESSON XI

GIGA, BY CORELLI

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49PRELUDES AND LESSONS

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Page 53: Introduction to the Art of Playing on the Piano Forte

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE50

LESSON XII

ARIETTA, BY MOZART

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51PRELUDES AND LESSONS

LESSON XIII

MINUET AND TRIO, BY MOZART

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Page 56: Introduction to the Art of Playing on the Piano Forte

53PRELUDES AND LESSONS

LESSON XIV

LE RÉVEILMATIN, BY COUPERIN

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Page 58: Introduction to the Art of Playing on the Piano Forte

55PRELUDES AND LESSONS

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Page 59: Introduction to the Art of Playing on the Piano Forte

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE56

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Page 60: Introduction to the Art of Playing on the Piano Forte

57PRELUDES AND LESSONS

LESSON XV

PRELUDE IN D MINOR

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Page 61: Introduction to the Art of Playing on the Piano Forte

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Page 62: Introduction to the Art of Playing on the Piano Forte

59PRELUDES AND LESSONS

LESSON XVI

ALLEMANDA, BY CORELLI

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Page 63: Introduction to the Art of Playing on the Piano Forte

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE60

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Page 64: Introduction to the Art of Playing on the Piano Forte

61PRELUDES AND LESSONS

LESSON XVII

SARABANDA, BY CORELLI

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Page 65: Introduction to the Art of Playing on the Piano Forte

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE62

LESSON XVIII

PRELUDE IN G MAJOR

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Page 66: Introduction to the Art of Playing on the Piano Forte

63PRELUDES AND LESSONS

LESSON XIX

TRISTE RAISON

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Page 67: Introduction to the Art of Playing on the Piano Forte

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE64

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FAL, LAL, LA. AIR IN THE CHEROKEE.

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71PRELUDES AND LESSONS

LESSON XXIV

ANDANTINO, BY DUSSEK

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73PRELUDES AND LESSONS

LESSON XXV

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75PRELUDES AND LESSONS

LESSON XXVI

MINUET IN SAMSON, BY HANDEL

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LESSON XXVII

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