Liberty Ladies College - Liberty Yearbook (Liberty, MO)

Page 40 text:

Second PeriodeTechnicxal exercises conducive to the development of strength, flexibility, endurance and velocity. Varied rhythmical treatment of chords, scales, arpeggio and passage work of all kinds. Studies Of such grades as the following: Doring Progressive Studies Op. 8, Duvernoy School of Mechanism, Bertini Selected Studies, Czerny School of Velocity, Selected Studies from Heller and Cramer, Bach Little Preludes, Easy Sonatas and standard compositions by representative composers. Third PerionExercises requiring a greater com- mand of technique, more musical and mental control. Practice of scales, chords, arpeggio, with various accent and rhythmical treatment continued. Doring Octave Studies, Cramer studies continued, Bach Two and Three part Inventions, Czerny School of Finger Dexterity. Clementi Gradus ad Parnassum begun, Sonatas and oth- er compositions of moderate difficulty. Fourth Periodf-Special exercises and ctmlcs dc, signed for overcoming the difficulties met with in 111:; works of the great composers, Clementi, Gradus ad 1211'- nassum continued, Kullak, Octave School, Bach Well- tempered Clavichord begun, Sonatas and Solo work from Mozart, Beethoven, Schumann, Mendelssohn and others. Fifth Periodedvanced technical work continued. Clementi Gradus ad Parnassum finished. Bach W'ell-tem- pered Clavichord concluded, Advanced Etudes from i- ous composers, works in single and cyclical form frum Beethoven, Schumann. V011 XVeber, Brahms, MacDowell and Schutt. 'lfschzlikoxx'slx'y. ENSEMBLE CLASS. The class in ensemble playing is formed from the advanced piano pupils. Standard overtures, symphonies, suites, etc., are studied, thus enabling one to become acquainted With important work in the larger forms not eaSIIy undertaken as 50105; this kind of practice is of mestnnable value in developing sight reading: fn'm rhvth- mlcal feehng and a larger musical perception and grasp 111 general.

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Glnurap nf g?tuhg PIANOFORTE. The course is intended to give a broad and thorough musical education based on the works of the best com- posers, classic and modern. It is of primary importance that students should acquire a thorough foundation in technic and elementary theoretical knowledge, as without these even a literally correct execution is impossible. W' e take the utmost care in cultivating a clear, even and elastic toucheso desirable in the production of a full, singing, musical tone, holding steadfastly to the principle that the development of the intellectual musical understanding must go hand in hand With technical progress. All students are urged to take the full theoretical course in conjunction with whatever special branch they may pur- sue. Candidates for graduation in either vocal 0r instru- mental music are required to do so. Students may enter the Conservatory at any stage Of advancement, but Will be classified according to the quality, not the quantity, of past work. Such studies, exercises and pieces as may be used, Will be carefully selected and adapted to the requirements of individual students in their respective grades. The course is divided into five periods, as follows: OUTLINE. PreparatoryaCorrect position and movements of fingers, wrists and arms established, proper execution Of simple passage work and various degrees Of touch em- ployed. Practice material selected from following list or its equivalent : djaud, , ... mm 1 ., ,, wen m H V Piano Schools of Germer, Beringer, D'amm, Urbach, Dollis Introduction to the Pianoforte, Emeryis Founda- tion Studies, Easy Studies by Le Couppey, Lemoine, Kohler, Bauer, Loeschhom, Czerny, etc., Selected Sona- tinas and smaller pieces.

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:tger Dexterity, vinntns and oth- and etudes de- net With in the Gradus ad Par- ool. Bach XVell- Solo work from 561111 and others. 2701i: continued. Bach XYell-tem- 211616 from V?i'i- ::i 2.1 form from Tschaikowsky, t practice is of 21'. 5mm rhyth- 5' and grasp Y. W. C. A. CABINET.