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I-

NOVELLO, EWER AND

CO.'S

MUSIC PRIMERS

EDITED BY DR.

STAINER.

DOUBLE SCALES
SYSTEMATICALLY FINGERED

FRANKLIN TAYLOR.
PRICE ONE SHILLING,

LONDON AND NEW YORK; NOVELLO, EWER AND

CO.

Mr
2.31

DOUBLE SCALES SYSTEMATICALLY FINGERED.


The
markable
scales,
all

fingering-

of double

scales,

as

given

in

the

various

pianoforte

schools,

exhibits
of

n
all

re
th<>

amount of
no
single

diversity,

no two

teachers
to

agreeing entirely

as

to

the

fingering

and
keys.

one

appearing

follow

any

definite

and

recognisable

system

throughout

want of uniformity adds greatly to the difficulty of acquiring a fluent execution in scales of thirds and sixths, since, in addition to the large amount of practice they require, a to commit to very considerable time has to be devoted to the endeavour not always successful
the

This

memory
this

the

fingering

proper to each scale.


technique
is

It

is

probably on this account

that

the

practice

of

essential

branch of pianoforte

frequently neglected

by students.

The

present

system
the

is

designed

to lessen the difficulties alluded to by establishing regular principles


in

of fingering, at

same time giving the order


It

which the scales may be progressively and most


that,

advantageously

studied.

is

based upon the proposition

since

the
is

right

and
for

left

hands are the

exact counterparts

of each other, but reversed,

so the fingering
the
right

which

good

one hand must be


left

good

for

the

other,

but

in the reverse

direction,

hand executing ascending that which the

hand executes descending, and vice versa.

MAJOR SCALES. THIRDS AND


The
fing-ering-

SIXTHS.

of a right-hand scale having- a

given

number

of sharps corresponds to that

of a left-hand scale having- the

same number

of flats, and vice versa.

For the

fing-ering-

to

example: If the following two scales are played together, the black and white keys will be found to follow each other in the same order, and the same fingering will he used in both hands.
be precisely similar, the hands
Scale
\)f

must move in contrary directions.

For

G, one sharp, R.
9

H.
3

Scale of + i 2

one +
2

flat,
i
al

L.H.
i

J
IN THIRDS.
the
little

SCALES
The
and
fing-ering- of

scales in thirds depends on the place of


fing-er;

fing-er,

which occurs

once in each octave, accompanied by the 2nd


i

the

remaining- notes are played with J

alternately.
8860

RULE
The

for

R. H. SHARP and L. H. FLAT keys


on the

(as far as five

sharps and five flats respectively.^


the sixth degree in the left.

little

finger falls

fifth degree in the right hand,

and on
to

Order
N. B.

in

which the scales are

be studied.

Rig-ht-hand scales to begin ascending, with the thumb on the key-note; left-hand scales to beg-in descending; with the thumb on the third of the key.

Key.

Scale of A. Right Hand.

32

Scale of
1

Ek Left
f
i

Hand.

>

f 1

t V t

Scale of E. Right Hand.


8

? +

8
1

tt**lJi;i

8 ?

(2)

f 2

Scale of

Ak

Left Hand.
+
1

123 23

ca>

Scale of B. Right Hand.

Scale of
t
1

Dk
t

Left Hand.
1

2
1

tl

_f*

on the highIn the above scales, the little fing-er may, if preferred, be used instead of the second, est note in the right hand, and the lowest in the left.

RULE
The

for

little

R. H. FLAT and L. H. SHARP koys (as far as six finger falls on G in the right hand, and on A in the left.

flats

and six sharps.)

Order of
Key.

study.

Scale of

Ak
8

Right Hand.
2
3

Scale of E. Left Hand.

Scale of

Dk

Right Hand.

Scale of B. Left Hand.


1

Scale of

Gk Right

Hand.

Scale of

Ftt.

Left Hand.

In the scales of Ab, R. H., and E, L. H., the little finger may, if preferred, be used instead of the in the left. second, on the highest note in the right hand, and the lowest

The scale of C having no black key, the place made to fall on G in the right hand, and on C in

of the little finger is immaterial.

It

is

usually

the

left.

Scale of C. Right Hand.

Scale of C. Left Hand.

6859

SCALES
The

IN SIXTHS.

fingering- of scales in sixths depends upon the place of the second finger, which occurs once in each octave, accompanied by the thumb; the remaining- notes are played with J and \ alternately.

RULE

for

R. H. SHARP and L. H. FLAT keys

(as far as five

sharps and five

flats.)
left.

The second finger faUs on

the sixth degree in the right

hand, and on the fifth degree in the

Order of

study.
left-hand
scales to

beg-in ascending-,

N. B. Rig-ht-hand scales to beg-in descending-, with the little finder on the key-note; with the little fing-er on the third of the key.

Key.

Scale of

Bk
r
*

Left Hand.
i

+ 348

4 8

+
(2

Scale of A. Right Hand.

Scale of

Ek

Left Hand.

Scale of E. Right Hand.

Scale of

Ak

Left Hand.

Scale of B. Right
4
3

Hand

Scale of

Dk

Left Hand.

RULE

for

R. H. FLAT and L. H. SHARP keys


falls

(as far as six flats

and six sharps.)

The second finger

on

in the right hand,

and on

in the left.

Order of study.
N.B. Right-hand scales
to beg-in ascending, left-hand scales descending-. Observe that the scales of El> and R. H., and the corresponding scales of A and F#, L. H., begin with the first and fourth fingers.

GK

Key.

Scale of D. Left Hand.


1

M Ull
*

+
i

+'i 1 1

Li

Scale of

Ek Right Hand.

Scale of A. Left Hand.

iiUUku^

iilliiii
Ak Right
Hand.

it **'

'

Scale of

Scale of E. Left Hand.

illt ^1 r-J
~a

i ^3 j @ ^. ^^^K^rv^yr ^

J 1 t
TJ.

1
i

|P

Scale, of
8

Dk Right Hand.

ty4rilllUU!iiU4
Scale of B. Left Hand.
i

11 i *

1 1

Scale of

Gk

Right Hand.

6850

10

Scale of
1

Fit.

Left Hand.
i

ill 1 -^-1* 2

>
3

+ 1 1 3

lu i^* c &

i 4

+
8_

Is

4 -e-

The scale of C having no black key, the place ly made to fall on C in the right-hand, and on G
1

of the second finger in the left.

is

immaterial.

It is

usual-

Scale of C. Right

Hand

Scale of C. Left Hand.


1

tU

till

MINOR SCALES. THIRDS AND SIXTHS.


succession of black and white keys in a minor scale varies according- to the form, melodic or harmonic, in which the scale is written. In consequence of this diversity, no regular system
of fingering
is

The

possible,

and

it

is

therefore necessary to learn

by heart the place

of the

little

finger in

scales of thirds,

The fingering

and the second finger in scales of sixths. of a right-hand minor scale in harmonic form corresponds to that of an arbitrary

left-hand scale containing a major third and minor sixth, and having as many flats in its signature as the minor has sharps, or vice versa, but such arbitrary scales are seldom used. The

following are examples.


Scale of

G
4 2

minor, harmonic form.

R.H.

Scale of El

major, with flattened

6^. R.H.

I
I

3
1

f
Scale of

ii'i

f
Scale of Ft minor, harmonic form. L.H.

major, with flattened

6$. L.H.

PP
6859

SCALES
To be

IN

THIRDS.

ll

practised first in harmonic, afterwards in melodic form.

Order of
Key.

study.

Right Hand.

12

Scale having the


minor.
2

little

finger on the Third


8 8

Degree.
8

hlibf-*b**l,i

2
?

2
Of)

Scales having the

little

finger on the

Fifth

Degree.

minor.

minor.
3

8 {
-

Scale having the


Bl?

little

finger on the Sixth Degree.

minor.
2
3

minor.

Scales having the

little

finger

on the Seventh Degree.

minor.
8

@; 2 2 +

O
i

**

rt

t?*M

Git

minor.

823 f

6859

Left Hand.
Key.

14

Fff

minor.
t
C4>

Scale having the


2
s
i

little

finger on the Third Degree.

12

til

minor. Scales having the

little

finger on the Fourth Degree.


S

id

il

Itt

minor.

it

it

Cjt

minor.

Scales having the

little

finger on the Sixth Degree.

15

minor.

minor.

Scale having the

little

finger on the Seventh Degree.

In order to play the above scales in the melodic form, it will be necessary to raise the sixth degree as well as the seventh in ascending-, and to lower both degrees, so that they agree with the signature, in descending-. The same fing-ering: is available for both forms. The following- ex-

amples will be a sufficient indication of the method of proceeding*.

Scale of

minor. Right Hand. Melodic Form.

Scale of

minor. Left Hand. Melodic Form.

Mil

,LJ

<

6859

16

SCALES

IN

SIXTHS

Order of study.
Right Hand. Second finger on Key.

IS!

degree

B
G*

Jtt

F
A

A!>

D
G C

B
E

Scales having the second finger on the First Degree,

minor.

6859

17

Scales having the second finger on the Third Degree.

minor.

Scales having the second finger on the Sixth Degree.

minor. L11111U1.

4 t

VS/

4.1

+ *
v

4o

ill

u!.Li*iJi^i si^lriiiaj

t*:ij

minor.

minor

minor.

Lit*

ifjjmiLUdiiMm^
6869

f 1

4
i

4
1

-e-

Left Hand.
Key.

Second finger on

A
E
F*

A
E

12 degree
>*

G* 225

"

F
G#

B D

C#

Scales having the second finger on the First Degree.


minor.

a Scale FJF minor.

having the second finger on the second Degree.


+
i

minor.

Scales having the second finger on the Third Degree. 4


1

Cfi

Scales having the second finger on the Fifth Degree. minor.

tjj]

UA*

minor.
L

+
3

r* 4

t
-cv

El>

minor.
+
1
1
.

T^ *

34

i 1 *

*
3

,
/I

^
ft

1
.

HllJ44i^
t
4

_J

Scales having the second finger on the Sixth Degree. minor.

fit!*
<*

j1

i 8 4

Scales having the second finger on the Seventh Degree. minor.

itii AiJi

.feiUJJ-Liti

*i 1J

minor.

U../-f>iL
Scales in sixths

may

also be played in melodic form, with the 6R59

same

fingering-.

20

CHROMATIC SCALES.
<

Chromatic scales of double notes are played in minor and major thirds, perfect and augmented fourths or diminished fifths), minor and major sixths, and in octaves. They are all formed by combining certain single scales, which have to be practised separately at first. These separate
1

scales are as follows.

SCALE N?
and C

1.

in the rig-ht

Played with the 2 hand and on

3l

and

4&

fing-ers.
left.

RULE. The 4&

finger

is

used on

E and B

in the

Right Hand.

Left Hand.
3,1.2

<D

SCALE

N? 2. Played with the thumb and ll

fing-er.

RULE. The thumb

is

used twice, on conse-

cutive white keys.

Right Hand,
i

Left Hand.

SCALE N? 8.

Played with the 8l

and 4

fingers.

RULE. The

1-

fing-er is

used twice, on conse-

cutive white keys.

Right Hand.

Left Hand.

6859

SCALE
and G#

N9

4.

in the rig-ht hand,

Played with the 222 and on

32 and 4&
E\>

and

A\>

fing-ers. RULE. in the left.

The 222

fing-er is

used

on

Right Hand.

SCALE N?

5.

and Eb in the

Played with the 222 8^ and 4^ fing-ers. RULE. The rig-lit hand, and on D!> and Gb in the left.

222 fing-er

is

used on

B!>

Right Hand.

Left Hand.

The

different

combinations of these scales are

made as

follows.

The
Scale

scale in

Minor Thirds employs Scales 1 and 2. Right Hand.

I.

ScaleH. Scalel. 2

Left Hand.
|

6859

The
Scale I. 3
Scale II.

scale in Major Thirds

employs Scales 1 and 2. Right Hand.

Left Hand.
Scale II.
1

Scalel.3

ff

ffll

Jf

J__2

The
Scale I.
Scalell.
i

scale in Perfect Fourths employs Scales 1 and 2.

32

Right Hand.
8

-e-

ScaleH.

Left Hand.

,8

,f

6H59

23
hand are seldom met with, as they do not form satisfactory with an upper part in the right hand. Fourths in the progressions right hand do not sound well unaccompanied, but taken tog-ether with a single scale in the left hand they form a succession
left

Scales of perfect fourths for the

of chords of the sixth, which

is

frequently employed, for example.

The

scale

in

Augmented Fourths

(or diminished fifths)

employs Scales 1 and 2.


3

Right Hand.
Scale I. 2 Scale II.
?

ilMl4JlilMiJj -rlte^.gfeg
..!>
b

4i^t>i*.u l^*

ii

i+

uu*
r
i

11

* r^^t;
?

?
i

*. i 9
3

22

i J

^ f f

+
2

I 1:114

JLL! l.AlJ

2
i-e-

^'

The
thod
is

scale in

Augmented Fourths may

also be played

by combining" Scales 2 and

5.

This me-

more

suitable for small hands.

Right Hand.

Scale V. 3 Scale H.

6859

24
Scale II. Scale V. 8

Left Hand.
.4

^^^

The
Scale Scale
III.

scale in Minor Sixths employs Scales

2 and
3

3.

8
I

II.

848

Right Hand. _ 8

4848 &
L

Ll

The
Scale IV. 4 Scale II. 1
.

scale in Major Sixths employs Scales

2 and 4.
"

?.i

Right Hand.
.

4 g.

(2)
,

4
i

Jt*L

25

Hands capable of stretching: a major sixth with li and 8 Scales 2 and 8, instead of 2 and 4.

fingers on black keys

may employ

Scale Scale

m.
II.

3
1
.,

frE-p- **"

u*

848

Right Hand.

The
Scale V.

scale in Octaves employs Scale


4
3

N?

5, together

with the thumb.

Right Hand. &

Left

Hand

6859

Ei^ravers

J(

Printers

.MT

231

Taylor, Franklin Double scales

T28

UNIVERSITY OF TORONTO

EDWARD JOHNSON
M'JSIC LIBRARY

MUSIC PRIMERS
EDITED BY

NOVELLO, EWER &

CO.'S

SIR

JOHN STAINER.
,

so very evident in this shou d be steps in every branch country Snderft in sound principles. The Editor has kept this object steadily Erected wTth skill and based on will prove to be as carefully constructed believes that each one of these Primers
of the utmost importance that the student's
first

view and he

authors

reu men of known


and

their lone

While
a hope authors

but express the kindness of these gentlemen, the Editor cannot gratefully acknowledging and as beneficial to art, as both the Primers may prove as useful to the public, that have endeavoured to make them. and
publishers
(/

but for the hearty support e branches of art, who have ability in their special valuable experience in their respective contributions.

and sympathy of those embodied the results of

I.

2. o

J'
456.

THE THE THE THE


V_J1
1^1

PIANOFORTE

E.
\V.

PAUFR

RUDIMENTS OF Music ORGAN HARMONIUM


%
<

H.

CuT.i MINGS

SIR JOHN STAINER

o o o
o
o

KING HALL
A.
.

* VJ A 1^ VJ SINGING (Paper Boards,


w--^-

~ f 55.)

RANDEGGER
^^

^/

78.

SPEECH IN SONG MUSICAL FORMS

A. J (Singers Pronouncing Primer)

bLLIS, F.R.S. E. PAUER

o
2
2

HARMONY
COUNTERPOINT
-

SIR JOHN STAINER DR. BRIDGE

o
o

2
2
I

910.

FUGUE
SCIENTIFIC BASIS OF Music

ii.

12.

14.

DOUBLE COUNTERPOINT CHURCH CHOIR TRAINING PLAIN SONG


-

JAMES HIGGS DR. STONE DR. BRIDGE Rnv. J. TROUTBECK


-

2
I

REV. T. HELMORE
Icsic

2 2
I

o o o o o
o o o o

INSTRUMENTATION
16.
1718. 19.

THE ELEMENTS THE VIOLIN


COMPOSITION

OF THE

BEAUTII-UI. IN

PROUT PAUER HKRTHOLD Touis


E.
-

E.

2
I
I

TONIC SOL-FA LANCASHIRE SOL-FA

J. CURWEN GREENWOOD JAMES

20.
21.

SIR JOHN STAINER


-.VlAINF.R

2
I

22. 23-

MUSICAL TERMS THE VIOLONCELLO

AND BARRETT

24

TWO-PART EXERCISES DOUBLE SCALES -

(39^)

2526. 27. 28. 29.

MUSICAL EXPRESSION SOLFEGGI (Paper Boards,

55.)
is.

JULES DE SWERT JAMES GREENWOOD FRANKLIN TAYLOR MATHIS LUSSY FLORENCE A. MARSHALL
6d. each.

2
I
I

o o o o o o o o

Or, in Three Parts,

ORGAN ACCOMPANIMENT THE CORNET


MUSICAL DICTATION

DR. BRIDGE

o
2
i

H. BRETT DR. RITTER


('JO

oj

BE

0\'TL\'UL'D.)
in

Any

of the above

may

be had strongly bound

boards, price 6d. each extra.

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