No. 6545 200 TWO-PART CANONS) {0} (0) (0) (0) (0) (0) (0) o} (0) (0) 0) (0) (0) (0} (0) 10} (0) (0) (0) (0) (0) (0) (0} {0} (0) (0) (0) (0) (0) 10) 10} (0} (o} (0} (0) (0) (0) (0) (0) (0) (0) (0) 10) (0) ) (0) (0) (0 10} 10] 10) (0) AUGENER'S EDITION No, 6515 KONRAD MAX KUNZ 200 SHORT two-part CANONS (not exceeding the compass of 2 6h) for beginners A Supplement to all Pianoforte Schools Revised & phrased O. THUMER AUGENER LTD. 9) (0) 0) ) 0) (0) (0) 0} (0) (0) (0) (0) (0) (0) (0) (0) (0) (0) 0) 0) (0) (0) (0) (0) (0) (0) (0) (0} (0) (0) (0) (0) (0) (0) (0) 0) 10) 10) (0) (0) (0) (0) (0) (0} (0) (0) (0) 0) (0) 10) 10) (o} (0) (0) (0) (0) (0) 0 0 SSBSSSSSSS SSS SSS SS SSS SOS SOS SSS SSS SSSSSSOSSS)“AUTHOR’S PREFACE When the beginner can play this gure quite legato and pevectiy at smaderate seedy In vasous keys, fepeatng it {our tines in each key, atthe same tine giving unremitting tttetion to the toch, the corect positon of Body, elbows, Irvte and Gngers, and counting avd continuously the bar Gvisions(erotehete he inay then see the present work with oft. Velocity by wo menor the abject aimed at Repetition (fa notes avoided, excapt In slo time or afer atest (which fatraly id ot Tecan the labour, Further, the ae of the ite fryer and the thumb on black notes is avoided (except ‘hom No. IS? onwards}: alo the socalled dyramic marks of tapesson (feet, AG), a ley. all double notes and ‘Stamens. At the poner tne the ater may Be intodaced Bye wacher, On" the ether hand, every attention must Be Pui tothe poodustion ofthe tone, to toreconnecton (ez), tnd above alto. singing” syle of playing flor touch is «0 the pianist what breathing isto the singer ad so fom the ‘ery beginnog one must away ive after 2 nat and perfectly Cortect perlrmance, ‘The encieises in thenever are eiey nous “That the beginning of anything efit, indeed the eet Aly, in well known to every plano teacher who ae had Sy expeienee in the matter In this department our grand (Oly Masters hase let lle or nothing bebind them forthe pop. ‘The dexign of the resent work is, then, so fr ay oes 10 fil p tile nquetonable gap. As the compass ous fot in any piece exceed ith, every temptation to he performer te lock anay Hom the musi tothe hey removed. Thos the tye becomes familiar with the symbole repreenting note, ‘mechanic! playing by bear ie aveted, andthe pups leans ead.” As already hintdy eae ie taken that there be fxputted of him no eificely which he may not be able to tretcome, even before be bat thoroughly committed is ite pce to memory. (Later, e oughe by al means to exercise bis memosy, in Tearing by Neate daily a certain number of eco already well practise) “the independence of exch band will etanly te mos ficively stained, not by one ang ax mere aecompaniment {othe other, but by both sooner o later having exaty the rame ‘porkco do For this purpore the frm ofthe Canon is the most fatale; foe, under proper guidance, Hide people very toon take a delight in i and it best develops thei tate for the poly hoote style of the great masters Finally the pieces ae all hort, because longer movements might easily exceed the ‘comprehension andthe patience of young people In order to minimise, o a least to ralieve, monotony (hich fn the case of ro great ber of places within such narrow limits could not he ently avoided) ee hasbeen made of the folowing means:—change of Rhythm, of Tine and of Key. With regard wo Lay it wil be ackoowtedged that nothing can ossbly be more tedious, more wearisome, more soul-iling. 01 ‘nove terse for teacher and papi than to be doomed omy Jong pages without a ehange fem the hey of C major. Co sequent allthe weal key ve been une, and inteninaly faranged in no given order ciber of fiths er of related keys Forte, variety of character Sx imparted to the melodie by ‘using aa their foundation the diferent terachorde of course ‘rtrd the compas to Bh by the ation of a note above for below). For example, a aplody which Ties between the It nd Sih degeees wll sound diferent fom ove between the Sth Sand Oh, the eh and TOth, andthe eh and Heh degrees ofthe fae sete. Use is made of uch variety wherever praciable ‘The imitations are morly in the oat, but they ill lo be ound ily quently in ober intervals. fe are wed inthe inversion, for which parpore double counterpoint (nthe Sve = seed. The flowing tine sgratres are represetted PRE ELD ES BH BB ae 1 is lear, then, that the author bas spared no twoube earing in mind, the preept * Nothing can be too good for the young.” he hay at Teast done hin uteet, Tt isto be hoped thatthe itl eres wil be rated with Hi Ako t9 more advanced pupils these Canons will eomsmend themselves: in the fre place as exercises in sight reading, fereard at matetal for the study and practice of tasposiion. ‘And any of ther might be made ure ofa exercien in the {eaching of singing, expesially with the addition of words ‘Avo the oiyn of thi work few words may be permite, More than thiny yeers ago_80 Capone ot the rime hind sppeated. ‘The Imperial Court Kapelimeister, Da. Hast vox Euiow, encouraged the author some years ag0 10 prepare thew cation of it, Without hie encouragement. thf would tan not have been dene. With = rper judgment shout 20 bere avers rejected. Among the present 200 pieces ony a {ew ofthe old ones remain, and there ave been semodele ‘cordingly, thin hock sppeats a8 an alot entey new Wark: it sould pot, theefive, be published au a second edition ofthe ‘old one (now long tof pin) KONRAD MAX KUN a. Bowe ‘+ Tandtin by Gorge Langley200 SHORT CANONS. Revised and phrased by 0. Thiimer. K. M. Kunz. Op.t4. Copyright 1012, by Augener Limited, 4420 Angoner's EattionModerato. 12. ‘Augener's Edition 14470Moderato. Alla breve. 14. Moderato, 2 16. Moderato. sui70 Augener's EditionAllegretto. oe 18. Allegro non troppo. 19. Andantino. 21. Augener's Edition 16070Andantino. a Andantino con moto. 5 * Allegro non troppo. ae Andante. Moderato. ‘Moderato. 4, ——. —_ 14670 Augener's BditionAllegretto, Allegro. <—————__ Allegretto, a Allegro non troppo. ‘ a eee ~n—~ Augener's Edition sco7 Allegretto. 37. ao Augener’s EditionAllegretto. 2 Moderato. 8 ee 40. Allegretto. we ne ee eee ee Al. . Moderato. 4 42. Augener's Edition 14010Moderato. i> > Allegretto, 2 45. 3 Moderato. 2 6. a) Augener’s Edition40 Allegretto. 4Y, Moderato. 49, ‘Moderato. 1 50. ‘Augener’s Eaition1 Allegretto. Moderato. ———— 3 = Augener's EditionAllegro non troppo. 2 a 5 Augener's Edition 154708 Adamtime, ‘ S 59. r Moderato. _— __ ~~. Augener's Edition4 Allegretto. £ 14 63. Allegretto. _—— 64. 65. Moderato, 66. $6070 Augener's Eaition15 Allegretto. ‘ Augonor's Edition16 Poco lento. ——— Andantino. —— 2 72. 73. Moderato. 75. Augener’s Edition 180707 Moderato. , 7 11470 Augenes's Edition48 Moderato. an 81. Moderato. 2 Se 82. ‘Moderato. ae 83. Allegretto. eee eee oe Con moto. Augener's Edition 14670Seer eee ees Cseress Allegretto vivace. _ —== 86. Lento. 8% Moderato. Moderato. Augener's Edition20 Con moto. a Allegretto. — = ee eee Oe Oe Moderato. Moderato. — _——_———~ 93. Alla breve. 94, Augener’s Edition 14470at Moderato. 95. ‘Moderato. Moderato. S800 Augener's Edition22 Allegretto. 98. Moderato. ‘ 99. Allegretto, 100. Augener's Edition 143702B Allegro. 101. | Allegro non troppo. 1 102. | Moderato. 103. | 104. Ane ee wl 14370 Augener's Edition24 Allegretto. Augener's Edition ao5 109. Allegrett, ; , , 110. a) — Andante. il. | Moderato, i — U2. Moderato. 13. 14070 Augener’s Edition26 Allegretto. ri Andante con moto. — re? ora FO 15. Moderato. 116. i Augener's Edition 1442027 Allegro non troppo. a 118. Allegretto, 119. Allegretto. ‘ 120. ? KS Moderato. bgt 122. Augener's Edition28 Allegretto. ae a ee 2 = — 123. Moderato. 1244 Moderato. 125. Moderato, == 126. Moderato. 127. ‘Augenee's Edition 14470Allegro molto. Allegretto. 129. Cantabile. 130. Augener's Edition30 Con moto. 131. Moderato. T 182, 13470 Augenes's KditionModerato. : ee eS 134, 135. Andante con moto. _—$_——____ suazo Augener’s Edition32 Allegro. Andantino, ie 140. Augener's Edition ssaz0BB Moderato. 141, Moderato. 142. Moderato. 144. Andantino. 145. 14470 Augener’s Bditiona Allegretto, 146. 147, Allegretto. a = be = zs = 148. Alla breve. breve Hit 149. Moderato assai. Augener's Edition 1447035 Allegretto. te 151. Moderato. 600 Augener’s Edition36 aa 155, Moderato, ae TT a ae = etre Moderato, ———— 158. Sj “te t eel Augener's Editiona Allegretto. 7 160. . Moderato. ee fi 161. Allegro molto, 162. Allegretto, 4 Vv Vy ‘Moderato. 164. 14470 Augener's Edition38 Moderato. 165. Moderato, 166. Allegretto, 2 167. Allegretto. 168. Moderato, 2 169. Augener's Edition39 Allegretto. ar er 172. Allegro molto. o 173. Moderato. ee 174, Moderato. 2 eR 175. _—__ _——_, > _——, =_——_ a 14490 Augener’s Edition40 ‘Moderato. 176. Moderato. 177. Allegro. 2 178. z Allegro molto. : 179. 14070 ‘Augener’s Edition“a Allegro. 180. Moderato. 181. Moderato. pat Oe 182. Allegretto, 183. Allegro molto. 184, “Prom here onward the thumb and little finger are to be used on the upper keys. 14470 Augener’s Editionaz Moderato. J ———> > —_ > 188. Con moto, 1 189. Augener's Edition sa7014070 Augencs’s BaitionaA Andantino. ‘ > 194, Allegretto. te ee eT 195. Augener’s Baition sii45 Moderato, 198. 16470 Printed im England by Augener Ltd, Acton Lane, London, W. 4 Augener’s EditionTHUMER’S SONATINA SCHOOL FOR THE PIANOFORTE [A Selection of carefully graded movements from the best known Classical and Modern Sonatinas. BOOK 1. (Preparatory Grade.) ZULCHER... -Rondino CLEMENTI “altegre DIABELLI —"Aliegro moderato LICHNER “Rondo CLEMENTI “andente REINECKE —/Shephertt! Dance” CLEMENTI “Spirto DIABELLT. Se arso HORVATH “Alisgrto DIABELLL 1. Polonaiwe DUSSEK "Rondo REINECKE —“Rondino ESIPOFF Romance ANDRE, Moderate bn, Ho. oe BOOK Il. (Preparatory Grade.) KUHLAU.. soallegrett. LOESCHHORNaegro ma grasions CLEMENTI Preto me CLEMENTI “Rondo GURLITT—"Vieace DIABELLT —“allegro modaralo ALN CARSE “aulegr vivo DUSSEK ‘Alico gua presto CLEMENTI “Alegre com spirito. BOOK 1, (Preininry Grade) SCHMITT Rondo - DUSSEK Allegro wom tonto CLEMENTI — “audante con epreion. DIABELLI "Scherzo RUHLAU,. lodndentingn RELUER ‘Altegro com spirita Mozart ‘Alegre spiitoso SCHMITT “Andante CLEMENTE" Alegro con spirit. KUHLAU.. “Allegro con atta DIABELLG —tumpoudt maria KUHLAU.. —Allgre com spirit st Ho ore BOOK IV. (Preliminary Grade) KELLER (Quasi Mennatoe graxiow KUMLAU.. "Tempo di marcia ESIPOFF.., “Allegre exprstiee DIABELLI “Rondo - BEETHOVEN Tempo di momett KURLAU..-Vinace ee GURLITE Viewer ROHDE ‘Andante con mato KRUG. “Allegro gocoso LOESCHHORN.- Moderate DERTHOVEN —Larghetto macstoo Each Book 3) BOOK V. (Elementary Grade.) KUHEAU.. Allegro DIABELLI “allege moderato KURLAU.. “atiegro DUSSEK 2. Rondo DUSSEK 01 Monet LAUBACH andante ESIPOFF... Allegro visace PAUER 1. Lfltoallgro SCHUMANN 1 Con anima LOESCHHORN Andante vstom'a en, , 886 BOOK VI. (Elementary Grade.) DUSSEK on Allgret ne ROHDE, “Ategro BEETHOVEN Andante RONDE ‘Allegrti chervando PAUER Molto eace LOESCHHORN Andante ELLER “Alegretograsioe ARJEON “Altera nom tropto ma con sfrito SCHUMANN “Allegro ae BOOK VII. (Lower Grade.) KELLER Altego aita Poaeca LOESCHHORN...Alioro marcato DUSSEK .. Andante GoEtz ‘Rondo PAUER Alaetoo, intempo di marcia Gortz Allegro moderato. PAUER alla Tarantella BOOK VIII. (Higher Grate.) PAUER Minuto contz Allegretto grasioso PAUER “ategrevo SCHARWENKA dilegro SCHUMANN fe tempo dana marca PAUER Minato GOETZ allege com be net “This colletion forms an admirable introduction to the Classical Sonatas and the entire literature of music.” AUGENER Lap., (8 Coxnrar Srmuer (Regent St. Corner) & 18 GREAT MaRLuoKoUGH SriE, fom Sraext, MaRLENONE, LANDS, W. SSREES zone ESEER Roar 6