Table Of ContentAN
JOHN Thomesons
Mover COURSE
AMAA OTAUNTO
JOHN THOMesons
| Modern Course
FORTHE PIANO
he
FIRST GRADE
Veweby ing
A CLEAR. CORRECT AND
COMPLETE FOUNDATION IN
THE STUDY OF THE PIANO
TO ENABLE THE PUPIL TO
THINK AND FEEL MUSICALLY
Cony, MEMORY
ty
1 Willis Masie Chany
PREFACE
PLS ook is design for the sae of FIRST GRADE pupil Perhapa the aratest
‘rwunmendstion is thot nukes haste dole’. Many atl habits which bamper
deat in the mpper grades xe Us ie raced directly to fully training in the beginning.
‘Phos, rnany hours of foluter, and moh Rnanclal egtbey ie Hnevecel acmualy i exon
Lines hopes Lisk of attempting to correct utter, aabits and mistakes What shold
ever hyve been allowed! ls tave mat ia the fre place. Aa the tee ie Dent, Une tree's
inclined?” this old aphor'sm applies equally to MUSCULAR CONTROL, TECANTOU
TIME. PROWLEMS, MTSICAL CONCEPTION, HABITS OF PHOT
PRACTICE,
MAKE A SHOWING WITH PUPILS
Tt ia ronsonale to sssuiie That mtost cerurs are cus, less to nattention on the part of
the teseher thor fo an eagertess to SEE THE PLPIT. PROGRESS RAPUDLY. Some:
times they og he the frit of uriug ereag mieriel. ‘great many eadly grade buoks hav
Treen appormntly writion for the exchnaive ave nf “ouddlng geniuses,” of whom these are
all tuo few. Yet, even these mould benefit imumeasieably from a eounde> melhve of lesen
jng fisdyenla’s which, ia 9 Bus] anelysis, have to be mastered aayway in Uhe end at a
meal sivriler of tine and edesgy” "Tbe yupil who Moroughly mastore every sfvaple sep as
iT presrnts lowland learas to play his fille enmpositions eleany, sorrclig and UP) 70
SPEED will make foe better show's than the one sho ia allowed la stumble in desul-
Toney faghiou through ire pretetis mama
ris
1S A FIRST GRADE BOOK
is iva frat grade Sook whieh is written in the fire-Binger postion throughout. hut
wwhivh a fem examples of owe Hager natonsinn awe been Snehuded tovrurds te end. Te
Tar any: pmpil of swernge ages wl i€ i» asattaed Haat auel pupil hus atl some preliminary
ivan werk in 8 preparacony gree nook
OBIECTIVI
Vu prtone of this bool ia to lay w cleue, camer and eomplete foundation for piano
study, to wvahle the pupil to THINK nnd FEL musicalle. Tria quite possible to teael
pupils af the frst grace how to phi with muuioal understanding. Though they ply
Bip: tnelodies and wory modest Little pignistin patterns. thee shonld be impressed with
Ue fae tha these ave the bricks, sil were, eich, sien laid together, build the greutest
cognitions. Te they leart tg reroguize ard perform these small fregments properly
land with intelligeaee tlcy will meet the larger forms of composition ws they proyress witht
perfect understauning, ad will not he hewrilsened a the, sreariay lovelher of many mustoal
Eragmente Ws Torin a perfect whale
‘THE IMPORTANCE OF PATTERNS
‘With thigin mind, the author lays wuck stres in this hook on MELODY PATTERNS,
RHYTHMMICAT. PATTERNS, HARMONY PATTERNS and FINGER PATTERNS,
Any elementary pnpil who Iourus le reeugoize patterns isa better Sight Reader, Memorizer.
Interpreter aud, trough « kiwlecge of Enger patterns. a hetter pianist than ue chill who
laboriously les hie eompesitions nate fy wate. A nate by note couecption of ausie is not
rmlg mfigusied but apt 20 lesen interest and rctard progress. Do nol allow studeats lo
‘sequive this eonoeptien if you wish to Keep them interested,
Preface (Contd)
FIVE-FINGER POSITONS
Proelieuly all ofthe examples in this buok somin jn the PIVE FINGER POSITION,
Wor this rexson TRANSPOSITION TS QUELE EASY hy" izcans af fouger posiorna, and
the pupil is given opportunity through ACTUAL EXPERIENCE ly develap a seal finer
sense i fiveinger groups Uelure venturing inlo more complicate liggering, "Tae fee
finger group is the basis fur sovle and arpragio fingering which folly larer” Seules wel
Axpegei of course. are the Fouudlstion of all piuae techmiyue:. Therelure Ave luger falls
shmll uol be passed aver in w supertial nue,
VARIATIONS ON FIVE-FINGER GROUPS.
As pmpily breome familiar with saveral Rve-Bager positions {C wajun, F major @
major. ete} Chey ute. TN THIS BOOK, gradually introrluced to examples rambiniug nore
than one fivesinger gromp. In uther words, Lay featn that iba no mere dienle to change
from one fivesinger positinn Us unother én th mame pier tha itis to clu so in to pics
each one a which requires a slilfrent position
Pupils are ulvo taught to recugnize five Giger goonns with extensions, Chat is will one
pote added sn either side of fhe grenp,
+. 4 - ee
ee =e as ree
ogee? Sat eg
KEYBOARD ATTACKS
Since the piumo is, afterall a mechanical insteustent swicle up of ks streys, hammers
and other eoxitdune mater als, all uur theughls ua exc ons moat he preaduerl Uwough fe
Dy the mechanical action of these mnedinme tn clive! enim wation wth our Agere, The
proper TOUCH: must be aecuized ur. nogardless uf the tnulions af ne perience, the
piany wil not respond. Therefore, HIE SAME KEYBOARD ATTACKS USED. BY
TH GREAT ARTISTS SHOULD BE TAUGHT IN MINIATURE 10 THE BEGAN
NER
Resolve that you prcils are ta have the beaeft of yuck train‘ ie uote. tn perusing
this hook yous wil find that the following Coueles are senile sensed Paved Le
Phraxiny Aue Woist siovaty, Foroarim Tague and Stnvets, Wh propeely and earcally
spplied they will entale the leginner to play little pieces with previstin, maywession ata
tusica, uederslanding. Whe ie ‘as fash Uhe bok, ti sup Wl he eat ele
for bis next step uy the musics! ladder into GRADE TWO. ~ Ie has leasuet, ts ploe be
pismo sa a msival istructent ancl not aba ort af Lypeweites
<i Them
dad ow page
a
—
PLS. Consificates of Movit hase tren i
2 awcorle jor “Examination
Revisne” popes £0, 89, 32 wad .
CONTENTS
“Something New Beery Lesson!”
rae | hase
Porerord >) 25 Examine ja. Staccato Te Tresme
1 gad. Position ic ini —The Fhnce cece n
Mus band | 26, Byended "Hand Postion az.
2. Musien Form “aun 3 Skis ut he
4 Tempn— "The Trikir: Co! v | ~ te Crotch “ "
S. Ton Shading "Sousa tie Take" § | 24, Ragehencal Pattern ws ly Uraime
Satins tr Ses Fate at An “
whofe Tones fain Sage rkiewase 12 | 28. New sttand Pasition® 2s Afsjeo1—The
6 Resllenaty “Ihescoprs Crider sD Tet Qn
BS Siti nose ano Fan Sickie THC vr che Be
6 Tephilady Paes the a ih Tryemute Pages in a Time "the
Stoo “ - #
Ooh neste art S) 28 Sheth Time Aji The Sens
Vhrusing Attack —Right Hisu! asd Tet Mowe as
vies W | 25, stage Position essendet io tafe hand
10, Combining Hand Positions “The Xob- UF Majors “Bisrtslay Cake ia
* VV | 34. Playing in Two “Mand Positions" “Tre
1A. inge and slarmions Patteroa—ar Sata 0
tins “
| 38. ‘mo aland Postone" see Fines ie
12 Many, Pacers Hh ou THe Be and sts j st
pe So 2 | 4 Sonuupation =" Sh Pasa 8
eee a lee EA ; Og
TEESE ES ane 6 sisios 21] a2. A Munting Sons “Tie Bin Ha? 34
Heaton. 72 | 38. two “Iland Pasirions"—""Io Celia” 6
Li Ascending Seale fn © Major "Seaap Eisminstion Sa g
the Mall 2B $0. CrosaeHand Position— "Tl: Frug Chorus!” 38
1A. Descending. Scale tn © Mujoe"Ybe
sina 4 | 40. weet Staceto te Si" 9
15, New "Hlaad Roscon" tor Lett Hand— | 4k, New Hand. Posi” 2) Ma
hord Ruilling.Lcieivety anil Tol
chord investoee Wosets aaj aw! 2 | 2. Forearm Attack—“Tering Het” a2
F Major. a 43. New “Hind Position”: 1
16 Reokon yrds # Mlods—Mouneai fone “
Choi 28
on won 8] te mieken nont Accom “Leng. Li
Nee Tin Postion area i “
18, A Fleet Recital Piece-—“The fairies ayy? a1 | 45: Taree "“Hfand Positions” —slent Night”
Ihe tooduedbu tw Qusvere shee 416, Seale Patterns yd Choris "A. Kes
meh a 2 oar Recreation o
AL New. “Toad Posicion’” 1D ion | 43. Interpreting Characterintle Mfuslo—
2A Nee “dupa Plion” C1 Hake) Lite | 4s, Nowe "Hand Paallon As tape) Un
Spe ng en mela 0
vo, sient ud Legico Groupe “Tae | | 4g, typ esto Postma tl tet
ves! tad ‘Dublin Lowa" 72
24 A Deserptne Recital Wece Ie Pai eamiinacion Sa :
oon | Rener Bune 4
asilowiton 86,3 S| TODO GAies oF Weeer |
EFORE Lugginning te play this piece, PLACE THE HANDS IN
THE POSITION shown shove. Pay each hand separately
afew times to get the Flood the lve fer position in Ue key’ ot
© Mayor.
MUSIC LAND
wae deancsen Ast Phrase
‘THE PHRASE,
Music ig a'language. I> can express thoughts and even tell atorics—oasieal stories.
When we hear a stury we listen sewenee by sentence, NOT letter by letter. So il 3 with: monde
Single woes ly therseloes meas nocking. Only eles the notes ars arranged ito musical
sentenes Uo they take un a definite meaning. MUsiecl sentences are called PHRASES, Learn
le think af sour muse phense 6y phrase. Note how the little musical story abave is told in
TWO PHRASKS.
2. PATTERNS
Use the same hand pesitinn as No. 1,
Ast Phrase
=
a
hows es fram
———
Ma-sic as its | pat-tems tou wun | awe for param und | Boas.
See
MUSICAL FORM
Recouse ie is built up ef many well ardered PATTERNS, musie hus often Leen eampared
to architecture, We have in mmsic, Melniy Pattrns, Rlgelmicat Patterns, Marmnwy Petters
anil in piano mosic} Pinger Pasleras. The ahifiry ra recognize PATTERNS is very impart
Ie makes for easier Sight-Rending, quicker Memorizing and more intelligent Interpretation
Fix in yous vind the abuve a
pattern tae night sed ane
Biante notce mace THES
STEPS upminl and ONTESIIE —seling pastor
Sownwacd
sok design starting ONE NOTE higher chan tre
soiy waters Cee “Ake Esher tHe TR
he THE ie 6.
= lonnarti= nthe
that che eecgnd roe eco ae Led For
We lee Sotho Bene era.
4 ine Siang we sate
ese Frese pstn gino. 1
3. RUN-AWAY RIVER
teed ord
(pi
RUYTHM and ACCENTS
ULV IDM has been called the Soal of Music. Rinytinuical sing” elves Tie to amy com
postion, The drat etep in avlticg the RHYTHLM ie by means uf the ACCENT. Aw ACCENT
Bra sqeksenphesis placed upon ONE of the boats iw a ber, RUN AWAY KLVER is vritten
iy THREE: FOLIC oh hr mee ONE sone ee each cratcLet and THIER, coats ws
wale bass vay’ act De rat beat of sack fay i Svea sligcn
COUNT: | ONE eve three | ONE ewo three ete
“‘DWO-FOLK shythwr means ONT: coat te eal: state vd TWO courts to excl bar. Accent
sack bot
[ONE two | ete Use the © ansjve bins position
Hot fur the MELDDY PAUTERNS
ASH by PHRASIE
hie wt yer pies
traf - fie
oe
the tiythanidd owing,
er a pave Ioas been
(steps or lusization,
