r&* rO* * *V" ft)*

PLEASE HANDLE
WITH CARE
University of
Connecticut Libra Connecticut
fc fc* #^ rfe rfc L BR
I A R IK S

GIFT F

Bruce Bellingham
from the Collection of
Patti Bellingham

1 1 1 1 1 1 I llllllllllllllll
3 ^153 nmaa^a 2

GAYLORD RG
 BOOK TWO

FUNDAMENTALS
of PIANO TECHNIQUE
by LEON CONUS
BOOK TWO
NDO/?S

.arioBRA i
ARRAU ^ lecOMMEHD** ADVANCED TECHNIQUE

town CASAI 0*
\>1

H DORFMANN
ansa
ford
CURZON

ise
ECHANIZ "** FIRKUSI
rudolph
QANZ

fladimir
HOROWITZ wgene
ISTOMIN

:'<*, William
KAPELL itolri
MALCUZYNSKY

leo
PODOLSKY

alexandarUNINSKY

7/2^ clayton f. summy co

I
 Digitized by the Internet Archive
in 2013

http://archive.org/details/fundamentalsofpiOOconu
FUNDAMENTALS OF PIANO
TECHNIQUE 535

BOOK TWO ADVANCED TECHNIQUE by LEON CONUS*.Q r

* see page 44 for biographical sketch

FOREWORD
I dedicate this work of my
long life to advanced pupils and aspiring teachers.
The exercises here are the result of careful thought and experiment during the
many years which I have spent teaching. In order to facilitate study and system-
atize these contents, I have divided the exercises into seven categories, first ac-
cording to their classification, and second according to technical difficulty:

EXERCISES FOR EXTENSIONS Page 3

FIVE-FINGER EXERCISES Page 11

THE PASSAGE OF THE THUMB Page 17

EXERCISES FOR THE TRILL Page 23

SCALES AND ARPEGGIOS Page 27

EXERCISES FOR THE WRISTS Page 33

EXERCISES IN DOUBLE-NOTES Page 40

Thus, each of these series has a special aim or purpose:

The EXTENSION EXERCISES are designed to facili-

tate stretches, loosen the hand, strengthen the fin-
gers and give them independence.

The FIVE-FINGER EXERCISES are designed to de-

velop agility, strength and independence.
continued page 2

C. F. S. Co. 4327 Copyright 1953 by Clayton F. Summy Co. Printed in U. S. A.

International Copyright
 The THUMB must be specially trained, for its re-
sponsibility in piano playing is very great in so far
as skilf ulness in changing positions and maintaining
legato are concerned.

The TRILL best exercise of all for equalizing

is the
the fingers and for acquiring the "jeu perle".*

The usefulness of SCALES AND ARPEGGIOS is uni-

versally recognized, and their preponderant role in
most piano pieces is excellent proof of the wisdom
of working at them regularly.

Good DOUBLE-NOTES are among the most out-

standing accomplishments of the virtuoso, and
steady practice of them is required.

An agile, mobile and subtle WRIST is the key which

opens all doors and helps to conquer technical dif-
ficulties.

Three basic human faculties must be employed and developed if one is to attain pro-
WILL POWER, MENTAL AND MUSCULAR COOR-
ficiency of technique; they are
DINATION, AND CONSCIOUSNESS IN THE FINGERS. I consider the possession of
these three faculties as a necessary foundation for all successful technical study.
To obtain the best result in practicing exercises, one must vary the method of work.
This can be accomplished by the following:

1. Play exercises at different speeds and keys

all
2. Use different touches and nuances
3. Change all exercises by utilizing various rhythms
and by displacing the accent
4. invent different figures in addition to the ones
illustrated
5. Memorize all exercises

To conclude, I should like to express my

conviction that even the musical genius,
possessed of inspiration, intuition, and all the other gifts of nature, still can have
no real success unless at the same time he possesses a knowledge of how to work
and a love of the work itself. This also appears to be a devine gift. For without
this there would have been no great men - neither scholars, nor poets, nor paint-
}

ers, nor architects - and certainly no great composers or interpreters.

.... Leon Conus

*Pearl-like playing
 .

SECTION I - EXTENSION
Example I

For two fingers only, low wrist

3333

L . H .
33

one octave lower

m
3333 3

p MpMp

-* -a
3 2 aaaai
3 2 3- I
<^^^^

Other fingerings t .

5 5 5 5 5 5

IX i JLi^ri
$
m m s 1 ^E
etc.

prrfrri rrrrrr /ct

1: e Br 2 2 2 2 2 2
i
r'

M
5 5 5 5 5

ri JTT7T] I
^ I
'Jr~Jl
P^g
j^ J3
^-etfc

if^s: u liiiii
m m a w m
t
Example II

Consider the size of your own hand in practicing this exercise; a large hand
may add one or more notes, and a small hand may diminish the extension.

2 2
2 2 2
L.H. one octave lower
Other fingerings f 5
o 4

Cojoy right 1968 Clayton F. Sumi// Co.

C.F. S.Co. 4326-41 International Copyright Printed In U.S.A.
 4 4 4
444
[3 Jr# i
a
sp B q
feE
* . 3X
f et c.

f 2 2

5555 555
M UJ. 2
-r^-JttJ
I

2
iJA S 5 IZ~~ofo

5 5 5
5 5 5 5

1 1

Example III

With flexible rolling wrist 4 5

- *
4 ^ 2
^
4-
etc.

y
5
*
^4
:z
z_
,y g
S 4521
z
2 , * * *

The Left Hand two octaves lower

etc.

it. -m-
ZZ1 ZZL
21
^z~
3E Z

4 2 5
etc.

ir r~ S S

C.F. S. Co. 1326

 Example IV
Those persons who have small hands must be especially careful in practicing
extensions, and not sustain notes which make the stretch too difficult.

STEP I PRACTICE THESE SIX CHORDS IN ALL KEYS

s m^ ^
331

$ -*&
ffl

STEP II

Play the following exercises slowly, emphasize the action of each finger,
keeping the wrist low; while holding the half-notes at the end of each measure,
control the flexibility of the wrist by moving it up and down.

PLAY THIS EXERCISE ON THE SIX GIVEN CHORDS

45 43 4 8 4

^WP
5 4 8 2
4 3 2 3 4
13 3 2 1
2 3 a
3 2 12 3

m
53^4 *
4 D
53 4 3 2 K 4
25

321 r
2 3 4 2 ^If
|

3 2
2
1 2 3 '&
-e^e*

* d 5 4
Left Hand two octaves lower

s
Paster, lighter, exact raising of each finger, flexible wrist

12 2 3
3 4
_ _ 4 5_

H # ^ 1
-e-tCi- On all six chords

Left Hand two octaves lower

2 4

0^
1 3

* m U m -e4cr- On all six chords

1234 4 5

H^S 1 m^rm
i % -etor On all six chords

C.F.S. Co.4:j-:)


Slower, after the stretch, the hand resumes its normal position
a ' 4

^m * T, '
'
P
*
f * f i
P
:
efe7 on all six chords

Legato with flexible rolling wrist

i a 2 -^
4

Q^^
a
3 -etr on all six chords

3 i 4
I
4 5 3 2 12

4 j LriT'lf^
i
r i Tv i
l

L xLJ'
i
r
[aj
'
ci'Trn F\%\
S^
I
fe
12 3

_
r^TU'LUlIrClg
^fej -eh

Example
3

With
<
l

V
a^
4 2

# k#s
^5
rolling wrist ,pivoting on quarter note

Legatissimo, slow and mezzo forte, holding all notes of each measure,
5 3
42

#
i B*ii
& ..A m -eter

raising only one finger with a quiet movement, always controlling the
complete relaxation of the arm and wrist.
5 4 3 4

I H^i'
1 2 3 2 3 4 * 4 3 Jijij
JiJi'
4 3 2
i
rwTO'OTrM^Ecff
Left Hand two octaves lower

m rrf
P i

l U
tt rF. i
r'
5 P-.
S tt f i
ttftt f FlHr,.pltr,4
1

<+
Br ,

M
e tr i

i
*r> e to
i- a.
t

m Mrj. lt

riprrrrniix

i

g
i

jUAJ^pf^igg ITO Tr f^r i.j'Jnj i

j l
^jjL < OT lt
jrtJj
j

C P.S.Co. 4326
 Leggiero, fast, piano, without holding any notes
5 4 3 4

m 4
12
DC &*

L. H. two octaves lower

3 2
g g g lj J7JP
3

4 T 4
3
2l 2

AE^SS z
3

3
2

4
3

3
4

2
*/. z =^fE p
12 8
5 4 8 4

r
2
/zz
. te-5

<e
5 4
12
iB
4 4
iJL_ 3 2 3 5

a -P iffi J tt J i
iJ i JTT3 ^ cto.
1 2 3 2 3 4 3 2
5

Example VI

Four times Four times

-6
Z 4~
L.H. two octaves lower
3

* t^^J^|
J
Jr i ^J J -J
=d
I ^m m
Slowly

m imfiMiii^^
1

5
3.

3
2

14
41 5

etc. *"
i WM^/hiL
g
turn
L.H. always two octaves lower

Leggiero

Slow, legato

H g r gjEZZg #-s *;
eTc?
:

YPr PpF ^ i^-' i

rr r^ ^
f
^
C.P.S.Co. 43*26
 Example VII
If the extension is too difficult, hold only one finger

5 2 5

rt'' i |

L.H. two octaves lower

!f.-i:E m p f y
2^ -*=*-
34v h
- 1
I
2
*
4 4 r
/
2
2
5
* I f
;r=*

lO
#* 2
4
2
4
7"
K
-*-
igzgj '
pr PI I
r F
-T0

f
-*-

'^'HfNtlJ

Example VIM
Legato, wrist flexible, both voices legato

j j^j^j j

(o^^-r ^-f

Jq I
^HW
r fr--f ^
rrjyn w-t^-j^h
i fp-^_
j
w^-f 1
r f 1 r
f
1
r^ r^r^i=r
-J^j^J^j^
C. P. S.Co. 1326
f-iJ-M^r^ mf
 c :

^HW r f-r-M-Cr
J
7^~C J
i
jrrpipTTTJ ITE

UMm'-Mm-
'i^ V' lUfriirf^ i
-eth

Legato? after the stretch the hand resumes its normal position

legato

Example IX
First, practice the following group of three chords in chromatic sequence
vW
i
$ mka. .

''tJ l*K?I It*!,?! j

g
*ir m
f>^~
m
|
> i^
f^"

Legatissimo, slow, holding all the notes of each measure

\fi p[ffgn.g P r
TTF^Vl
k
f-ff ihre* M CITt#*Jt
i
=(t3 ?^P: -^gjrfrgi
A9

P--P-
y^-^ r i ,,
=EJ-a^ p * r* r*

-mP l
tit
"-""
J^ " 1 If
?- p TT-
-In P w
Hi > P-
y|#y

fMt^ s:
>f^
rrtrr'fm p p f>'J I f_I. p. p -jT-^fl-^-^l- \-rUX^4\ J* Jlrp- p-p-J-1 1
1

'3
#^=FP

-^ 1
-* hkn
p-t^ ^-s.-
1 1 -^p-- L_J
i"|
;;;.
| ftp
z^r ^
^p|
1
" 1 1 L .
K
HT
Ei '-
i_
cE

c. f.s.Co. 4.i:r,
 ,

10

IeI
te* 5S m-sT
~
i ft
i i
J ^ iI CJ3T CZ IZE i
^
1

foET nt" r?

^Pff
^ *te=
ffo'LC F..F-F.,*
i
^ ^^^if'^i'r^-'^ifiCtM
i
ZJE
i
n p p p p p
etc
7

# ff
w J
*M - m ^m^ 4
,w m m K
P
-^ \'
9 m _ m F^
f Zs m 5r^=zft
% # 4
-35-
a
m ^rT'T 7 ^ ^^''TT MM fY''r'^^^^ ^s v ,,
i^pf,
''r''T ^ <
'

V T 7? HPFFPH 7 FTP fTFp

|
|,
no- r r' *'T*ho- r''

7T V V V

& & & ii>i b>, ii ii Ji Ji> bhjl ^ 4U> ^.^^uua'v

HE P 3
-K s $ 1 j j
f l^T p r

v_ :
;
j

v^ r f'x i S 3ggJ^g1 5: ; > 7 P > 1 3 5w3 1

h fefe k^hrjr M? 1 jtelfe is jjjjiig js'is fe isi ^s

Ei i
* v 1
tnp f f* r F-^T
V- i.-^r**
WffTPPf
C.F. S.Co. J.;.;
"
P f P pp f f
P f Pff f f?P
 : a

11
SECTION II - FIVE FINGER EXERCISES
Example I

+ i times twice

8" iJ
:

holding
p all notes
P JiJ H
: :

iH J ^^.^ J ^-i^^^^
|
!

without sustaining
^^i^ J A^^U^ 1,J

L.H. two octaves lower

#
twice

leg-giero
I, J i; J W p ^
1? -J J y.
J ;
| |.j J J ^J j * I

4 m iig * j j j j j i B itJ J j j j J J J J j j
:

ii

* g I i J
i i i
: :
J
j j j ^ tt ^ J J li
j J r

J bJ 8

^
b^ i.Ji

^i
3 4 5
1
/ // H
^ ;!r#
Hf r i J
#J7? c

#H se ^S I* **j
g=**
j
3h

Use different rhythms

PPU \
1 l rj^tt^lFj^tti^^i!^
i .Wtp-M d -M " i-J^
< S **"
* " ahW?*1 :

N
:

l l^^
fp* LaT^-J IJ,

t>J.^J-^J-JlJ/"-iJ.JM-^-JJ1l-J, J -^* gi^^3

fefe IS g^^^^p i

H ^m t> J Jl J
l; ) l; J!> " J 9^f9^j9$9^9 W^ ^J^-JJl-JlWi^

^ 5 n~^jj2 ip^i
i ~
p j S J JJpl

4 i I
C.F.S.Co.4326
,j
i ^^ -*t<'-.-
 # b

12

H k=fc=fe
X3E
L?
E
*~P#
3 ^
l ^s3
Tf -I I
ii
^jgy r B S fli ^*
i

j jjjij
;
:

ii
XJJit^^ Jg^ J f5j
: :

|
|: :
|
|:
JjPr Brf^
p> p^ p> /> ^ . fe# . ten . few ten ten ten ten

m
t i ten

E
a)

L.
5P
H
WW
.
m
always two octaves lowers
^ W^ b)

l>J i
iJ bJ "^^j. j =f

^=^ I
l|J bJ J l >J '
| I rJ J J " " | J p bJ J J

p p p bJ H
J bJ 'J. bJ H J wp 1
* J 1>

^
a;

"
b J
P P b j ^j ftj
j
-
g J J i|J JJ J ii J J u j i j ^i f
b)

j-^^J WW P *=* ^=W W^ =

^=^
c)

IFf -tf
^^ J J J J S^ J J J J 1 1 J J J J j

,r* M ... i mi WW
y j. w * *
* n * J
j. j ft' tt* 1
i J J, j=^^ 3: v i

C.P.S.Co. 1326
 13

c)

$ ^z I
WW ^HP J ' / / ' J

Example II

2 3 4 34

Bisyissi

2 3^ 4^4 2 5 3 4

*
2 4 3 5

* w *jm M> gM
r etc.

i
^ F m
2zi

2 4 3 5 2

Varying accents

CF. S. Co. 1326

14

ffij^m

2 3

I jlggl f
,.n
j^ajfljrg e .,.| jf j] s\
L.H. in
r
contrary motion an octave lower
r

Example III

ti...;?^
1
'^^ ^-^ OC # ^ nra
# #-,
i zs:

i&

tTf

mH 31 F JlJ 4hym-0^
ZM
#->-# m* 0m + #^-#-= =-#-#-

C. P.S.i .
 15
Example IV
L egg iero, fast
323
a) 2
..a^

2 3 2 3 23
Sva.

S"-
a^ B Spi W# ^(7.9.50
cuir, fl%p
j /tf<#

d)
*L*
FfTf ft fg
FS

etc,

^SW^*
M 5 asso.
s tt r r^r rtt rrfr

Other fingering o-j -

\
Legato
;ig
*
%tff? rfff p rf I
&
e#

2 3 4 234

I F*P* liitfVyfff i
JE^JE I
'
I rrri _

ffi^gffgfl

8^

w basso

C.F.S. Co. 4.1:26

 i

16 gvm.

_
a
i
is * ^^
etc,

ij^gjgi'jj*^ :
&
ift J d*r- #

gra basso.
5__3
Other fingerings 4 2
3~
Example V
twice twice
4 times

$ s
-fr-f^ m as p ?
#-=-#-= =L-# ffiS

):?] "' 3ZE ^ i 0- ^ - #^ -=-#-

ffff u^cium BEUB BBUB CS^flC

ir
j

Lr CJ
alt d.
^

W
-!-= =-^-r

w fr^
9s- t5H
fT ^ff^CT i
t~
C. P.S.Co. '.

n^n 7TC 1 ^

$p p
^ ^ 22

iwfiii
SECTION III - PASSAGE of the THUMB
First practice legatissimo, slow, holding three notes, then leggiero,
Example I
fast without holding

i * !
3 , 3
1
I
ff P*
nn
2 * 2 1

* JT3f2
=1 i i a
3 t=A
1 2
3
|
L.H. one octave lower

*i *s H* l^t
m t
** r*
^r
4 5
Other fingerings 1 - . 1

2 13 13 2 1 3 1 3

in/ 121 4 2 *-
1 I , , , t^~^j
vJ J J J J
' 'teak
|
1

2 13 1
f f

i p^-j
lN * = =====F=^
p p F r
*

95
i& i

CF.S.Co.432<5
r ^ P^imf^i^^iiif^^'IW
i

P/W/ffl||B |
Also in
of six

and
groups

* r r r r
r
oto.

In groups of
eight
#i^rrrrrrrfrrf^rfTT oto.

3454
21314131 ,
3454
4131
2,111 31
d 1 * 1 o In all keys

B ^ftt rff^ffl^r^Fr*^ p&fr^M i

-eto-

2 1 3 1 4 1 3 1
3 4 5 4

Example II

w=w
* m ^S
* 1
-#! 4
* g * i
r
* y i

^
2
2 13 4 5 4 3 1

pq r 5S *
Holding notes
Holding 2nd fingers only

w ^=&
(5^-
=* 3: i j i

P
5 4 3

Holding 5th fingers only

12 13
p=s
4

P '/ */. J
m ^
I ^s - J f^JJJjJ^ V V'fdi
'

3 ^^
JC?_JL#_H #T jEZZg f /. /
F
3a:

f P.S.< .4326
 19

$ ppr 9Pi i ^^ lJtj.l>

2
2 3 1 4 5 4 13
U
*Wj -3_
fc4zm: *-frw frt*
i -t

s sBl 2^ =jhF== #--

'fli P J * ' " )H J
f

g j
lJ-1
Iggg
u>
^=W i
*=*= P i P .
Efcf
3 i PI h!5F

* ^'' *^# ^S MS ^^
^ j p^ K^i^ J al

f
J ^ij-J^ *^

gE i i8 i
j!L ill r * /.
- #=p=^
EEg
li'Syii: I 'fp y. /. J a f p | g
i rr
sty i-y-^jj^s

UP
0^3 P^l i " J o. J ft
2

2
2 3 4 1 5 14 3

y=f t a i:

l=P

^F=VE
I f ' im J j J J ' s g p
' # i **=^

p ^=^
ICi!
pp

-#
^^ p p *-#-
^^ r
i <>

r
,
i -*-
*s=
^=w r y y. gg
i
C. F. S. Co. 4326
'20

4
i f "eft** i^ r

15
I 1
4
E
3
r
#

/
f-H-l
^=^
r

5Th- tei . it r ip r s ^=^

i

Example III

After Hanon
12 3 4 14 3 4 1 2

4 3 4 14 3 4

3S
f
5e^ ^W3 CT.,. ,pito
# ^
*i^
< 0: 5 P
^^ ^ es^e Z&
^^
f
.F.S.Co. 1 ; .';
 21

4 3 4

5S
m 3S i '/. Z i E S 33
/ /. /.

etc,
-r Bff
333: t-k-^J-
y# ^2E 5Z
3BE
3PI x /. /. HE

Example IV
R.H.
13

L.H.
3
2

4
3

3
^3
ff
12 3

3
4

2
1343

3 2 3
W^ 3
1 4

f
^Sl
W # #

R.H.
4 1 I 2 i 4l, 2 l 4 1 2 1

^
a jg | p
1

]* I /.
g1 1
up
1
fapE

1 p
/. /.
| ' ' * z /. / / '/ g
L.H.
2 1 4 1 2 14 1 2 14 1

L.H. one octave lower

3 g
P r / -/ / r /. -/. */ I F* '/ /. /. r / / /
p
p
z /. z

3& Zf;i^r> L^fe=g n*

B l^Tn 1

'

B i

H
^J :

I
4 12
r It
1

5
4

12
j
tat

1
:z_

4 12 1 etc.

C. F.S.Co. 4320
 #

oo

Example V
S ra...
4 1
3 JL o
J ^BE w=w
i * w vr

1 4 1 2 3

^W
i 2

S ^^ m _

i W=5F

^ ^=>E
2 3 4 12 3

S 1'*

**.

I? 0^ * ^=W m-^ ^=W ^n^

s

"
p = ^=p
P# L- C ^3E -etd-
1

Play the above exercise on the following six chords

R.H.
* v^>
[>g
V*
fee ^gT7?v
ifl
b
ta
"
M
"s"

L.H. J? i ^ t m 1
o11
C.F.S.Co. J


23

SECTION IV - TRILL STUDIES

4 5^ mmmmm ^^m ^^m
* *4 miffifiSEffl jg?!M
* 2 12 1
f
^z
r-^ -r
^g^g?

^ jBySW&ffl S3 9J*J*J*-JjLdMLm-
WBJffiB 35J5- g^
zp:
n f^ 4 3
T^rfi p f :z:

- 0 ~

t F^i 1

2 3
2
SZ

5 % w^t s:
?

g ffljfflj^i
^3E
fEZ*
# -
Z3Z
0~
P ^^ 2 3
f
ffifffi SB SB =F?R
?
j.

,j.
_ #
j

i 3

^ P9
: ^ / /. :
3 VPV: HOT -h-^h-rl SI I " j^EBSB Bi I 1'^

I F^ # # /. y. j

^ 7TTPr. n]^
f
J J J

pN .

"*
- ^ *-
- ~* m

y
T
X.
y
X.
J
P ~

^ 57 rr
-
-^~ r~~*~* *
~
9- *- -

{
0J
~
m
*-- A A
:

!
-

F,
->

i . e
J
. il^ .
J
, e
, r ,
J
l^J
r> 4

P
J J j J j J J T!
l-rrrrfrrrfrfrprfrfrfrrrrfi ^j^J
^~
4*5- tJ
JL-
''rrrrrrrrrrrffrffiTrrjiSr
C.F. S.Co.4326
J j
1
wm HW^T J J * I iirij

"
 1

24
Different touches

J J J J J J J * .

J J *
mn
ir=f * ft
* 5? P

Example II
4 3 4 5
2 1 2 3

*~^*
+-m-*-*
Z#--# m AUll*
tt|Jfl3*J53*

4 3 2
3_ ii-A. 4 5 4 3
<* * **
J
:

^p.ypf^g Z*=3 2 /to/pr-/ i

J p3*J533*
feSllSiliJHl<ffl! [)>*[[[[*

^fe z MTnEy* iiii I Vt *'''" /^& ^fto^

45 4
#--*

I ^'/^^ar*^* mr^cccr^ m*^* gggggg

Going down

i jbtjjjjL ^s 3fe z JJJJ-/JTB-/ BJyffl

21 23

2 3 2 1 4 5

1i k aflH* rrrr^rrrr* JJUy.J^ y.

car^Bjr^ car* mt BS9

#-^#
Z JJJ J *^ ^ J*J * J^Ji '* d * d ^J * J '
JJJj juj. '

4 3 4 5 2

fflf / &/

C minor harmonic

m
5 ffi
J3jj*J333 iS Sfl*JI3] z MB i
flyja* ro^sz
etc.

m rgtotf
g rrrr* Bg
'
l fflr^rr^ Egr*Blr* =
i,
[flr*ffi r*m ^ M
C. P. -. Co. i;:';
 25
The same exercise in groups of 6 notes

I JflJJiJJjJJJJJJJ^JS
etc.

Example III

W-*-* i
#-J-#
^ I
3S
etc,

^ ^ ijHTO-TO ^ M 4 i *
^^
After S.Rachmaninoff

Mi ji^i j i j < 5 g j j m /7]|i^^^ /ii|i^^^ / v^

i
H ^L. ,#, *,! *-,!
air l - fajfcjg s jtet
^ f
I

ah in
jih a<i u *i mnlll
^i j l ll ll i ll - ir
nj ~ Ti jj u I

2 3
3 4

t hm
XE
* d z igj i * > ^=^ SiM -O-
h tt l l M s oti --
1 a z z /.

at I* io- tty
g PHii
z i / y. y.
^e te fe

^ i,
| I
z y . y.

ia i
g
'
* ^ 9 j '/ '/ g SttM * a ^^ x /. y.

p
.e-
21 95^ V
E
1 g v. / si a& tt F * y ^
C. F. S.Co.4.J:ltt
 ' J . M

26

fefii
aIT "' o
j J j J*'/'/ 5 ^ j
y -
sra /,// M w i iftw
3^
W g^B
<
9 y-'
? i: t Zi Pz +-* /.-/.'/.
^ftf^ c ^ SflpjZJ y mI 5 3 /. ft f'fte
tt l

j
''!/.* %
1

i ***** rr^t 5^2 ^p^l 2 gppgggg

^v^
IP3
TV
i.
zs s #^ #t Zt3K

*T

^ Jl * *y 93 1EE2 WEftI
i
i '//.*lfcf# pap z 4*
H
o

B3 ^ W'i>!^ eh*^** ^niani^>g s i=^ M h J J ///

ii

=
1 i^ /^ >
rf ifjg>^?
te-
i .-

^s 19^jjjM*
^^rf^ ^ii>ii/ii..

^f; *' vt vi in
&a ^ y 5 Z > gBS
# & <

* *
-
g a* ^3 i y.y.y.
m
i^: fe ^,^KT
^: r> l p I
py r a f f f /// !J
4
Kill
ttriwrih
MI
M
J
1'UI
1J ITilfi
-i
,tt
Kill
i

llMI I'll! MTT JTT

4EJ ^ JM
*9r
i.i- -vj m- *t rvMv.i
t
*2r
Ati
^^

^ SKS ^^
i l^&L
iP 3 P b& a * ti fc]
tf* ^^^ 5BE5B Ba la S6S
jpg* if*

iwimtM-A hp
--
If * .*.*.* #== >>- . ...
i F /
Ct

i r fSWi i
581*1 I* w# *
M
iTOP*
^X?f
k**^tf*
f
SW^ o-
TT

3JI
*>'
Xf x -x+ i *
-
HtWl

p|| p 4'ft p f p
xy ^lifi
t ^F'i
,
F^ f'i F '
l , l l l

F
>t s
-oj

C.F. 8. Co. 13 !6
 27

SECTION V- SCALES and ARPEGGIOS

a) Play in different keys, retaining the fingering of the scale

fl
12
13 2 3 3 1
1 *
|
2
? m, I i I I I
^-^

L. H. one octave lower

ta r
ffFf
Trrr
turn ^s gl -eter.

^ \ "
7
*^ m
7
-ete^

1-2 1
7
3 12 3 1
##
g ^S
T?p*if.mprr
m 3 2 1 4 1
/./.^jfljff^l

f: "-

yl^A /. / SE '/ / Z

^ y

/ / /.
r / /.
*=3

/ / /^ p T
:
ffM r r r r n * * j

C.F. S.Co. 4326

 r

]jaijjni^]jj^ a
^nj]]j,n Jff [afflij jflJffatfiJTJjjijja
j i
i

j flf^^lfljflB^lffl'Cttl jflJfftfri

i rrr-r^-^j] i
j jj jj^ ^^ flnumflflmr i

#jpg

i^ 3B
I m.
m mm
^= Tf r r r r r JUI n i
1
1 -T TJ r r _T i ff ff fr r r r . ,.u 1 1 1 i

The same in C min. harmonic

Example II

* 4 times twice

^ s
&
tJ -9-
^=2 i m^ijj^j'jj >FW -etc-.

C.F. S.O,. 13 6
 29
o 4 1

mm 1^
4
2

SB

'

3
i^
i

2
1

l
;&
2

4
a * P M digj ffl * ~-*-

S jpp
gt
1* * :;x
*
*:!*X**
is;
I 2 \\# ~ v,

ft
5 i 841
TT\ TO -*J= ^
^S V
1

I
3 s^ za z
; ,

Play the next exercise on these six chords

i g a Pp p i^a
^^^rin |fr #s

Example III

4 times

L.H. two octaves lower

S2I
I
twice

^ twice

/ g /. |

^~y.
I '/

J.ji
k k rf>
J.
ZZ- I
I =13 _/t 3d y* i

kJ,

# I ^f ^^S3E 1;

C.F- S.Co. 4;i:2(j

 # #

a ^m
r
#-= USM r
i
t*
fc

r
3 1

* i m R5 -rra
i t; t>Q- * g

m *
'
{>' 1 -ete-.

S
H i*
^^ #-= #
4
g i

Example IV

Use these two chords in sequence as a basis for the following exercises

4
XT
I
^~
!-

T*^ F^
&
cto.

#-=-#

tJ * ' 3 3 !

L.H. one octave lower

<9-

^
ii

8 * *
ET
C.F.S. Co. J.;.',
 2 #

31

i i

Wrist flexible
^ i
Fff^ i i ^S in -ete^

12 *4 5 4 * 4 54 14 5 1
3 4

*=
A
B# 1212121 212 ^4
rff*?
5 "3
2 3

S* a.

Jb. 21 :- f
3
gNr^i- g !
212121212
12 3 4 145 4i 454i454

te
* /
# d #s etc.

1-5

1-5

1-5
i mmm

#
P Hi i --
m_ m
TT

B S 2 3 4

4 a

ii.4
2U3-
1 4 3

^ ^^ -et-e^

'

t 4 3 2 12 3 4

C. F.S.Co.4326
 r f r i

32
* 1 + -0- 4
2 1

^
5
3
m 'ij J

5 wa -

s i H^Et i^ifi
""ftjJ^EU

#>.

* 3Sffl f ^'
CL SB cto.^^P
p CTf^Erf

I
Different rhythms

J- J
j -

^ ^ etc.

:/r^ li r S-^
etc.

I p?Nmw as P
mm -ete: fP etc.

Example V
Retain the fingering of the chord
1 2
*
k 4
1
2 |4 1
isJ L
m
2 3

2 1 4 3 2 14 1 2 14 3
is
^P s m s
^ j^n cJj- j-Jl iv r c^Lr r r 1
1j r r c-Lf "tr i r r ^

-9-

LU j
J
j
lU
JUlnn rj3 *
'lro
^ J '

* i?Lk

i.
* _ * zac
-ete^

^p^
C. P. 8. Co. 43 56
 * i

33
Play the preceding exercise on these six chords

* Kg \>f ^f^ * sE
i
r^p"

SECTION VI - WRIST EXERCISES

Example I
5

pi
5
3
2
5
3

4
5
!
-0-

SES m 5 f=TF?
8 V a.

PP
8 va.

i=m w
y \t
m\& fcr
- EEf J J
s
L. H. one octave lower

gva. 8 va. #w.

m 3E
* 3j i J i
=^=r
3 J
;t
f J J
*=^*
3 5 ^Fi
3 J

m
gva. gva.

I i3E*3 1=*
j \

ft I j B=E3 eg J 3E
2

^ ? iJ

^ Play
3E?3E3
*

in different
Mb
^^E^ij=^
*#
b

keys
5p
j
ft
'
/
*
!

ova.
/ B Fingering 4 5
|-j-j3

h
1
a=i=t
W
E= ^5
i=a2
I 1
^=? :.1 izt
^ ^

Up and down

&
etc.

S
,

b
JL
V *
-.

=
7=
g ?
Ii
a=S 5
^

^ 7 7

CF. S. Co. 4326

 A

34

etc. of 1
m mzzzm '
etc.

%
Example II

5 5 5 5 5 5 5 555

Slow; after the stretch the hand resumes its normal position

L . H . two oct ave s lower

iff^f^i
IUL.h ,i.h i A
^^^^ rTri^Ts? , ,
h Jiiii,* i^f*A, i
i>,i). J)
XT
x

4 2. K 4 il, i h.

JJ4 I l
1 .

ft
'.ah .

3 iS^ -s
i i |

1
.: p^>_Mj{p'i,a

^^ 9J *
3 l

i^^
4
h

^ ^ i l
k
r>i\
1
i rW,
1 l^sh
I
^-, n4 1 \

f
f
. F. S. Co. 1 ; 6
 35
*J>
^ ,,^...,1
H>q> 7 BE j ar m ^i.
,
^ ,i..^ . ^-..h
gjM i>jj r^j'^M r: 'J *+*
h

^r
h

Faster, legato with up and down wrist motion

i gg z JLTJ EJlEJlgBllg
j

^^f^^i^^^^^f^
"*-
Ifet
I
!Si Zl l4f* I* tS
5E
3J # 1

* rf ffe
dPe
i
LP-FCEJ EE-FC-E^
)|g #.
j0 tAl* ft w ti i
: : : -
m m

# iifi^i

t
i
I
r t i r i r g 'y^r
1

P ai I
t
j s
fife
St

^^Jfffej^feg^ te
ESFjJTfc g
Pi f>*3^#ir*
>u
g| #-ft#
I i fep 8s i,

v.
EKE
I * !
J- *>
r* W

CF. S.Co. 432(5

 .

36
Example IV

HH i.ppff rrPP-i ii'i FPffrrl^ nVk BW^Pro^Wrrrp.

n J ^ r^ * J

J. J. d
* p-f * J

'"''i^u^i^ "
/ . 3=f
1? J S J 1

1 J? 1 '., ',
II ^ ? rfrpp -,

:
&fci-=irf-p-f
J J --
9
i=i-
s 9
iW
T
-=" --f-
J J *
-- f-f f
" J J J J P *
f
F"

"

..

zgBSg :

-J- -J- j * j j _j.

I.
'" . .

. J J J. J.
,n

J d J.J. _. a--J- -P-

rj^
ff ff |Hrr~wr p f ]*" f p p P P f"f" P P
|.jP]f
I
i l
I;
i
Jffi r f fp r r 1
1

/ '

fl

J * J J.

' -^ ^i-^^-^-l ^
!

-Ji j J J J1
J. J. EJ

E II
n^te i^JZ_^
1
;
!mP
P-P

g fL
JTTI^ r r r Jffl

a" i i^jz
i flrr-ff?
^ tib
P jffljp]r r
J. m
ffl^
J?

BR pf-fr p ffPrf ffrri n ffrffrmffrr^rm

$%\ p Ht

ffflff rrffp. ffPPftrr

y ; b
'^ J J J
B-S
J J '
1
j j j j p^ j j 1 ' b
i J J j pj^-^H'^ jJJ
aadfl

p-p
a *fc
^#te
I
F W ffi
W
5 m
#-
S m^ fflff r l r

ST
ft -

Bff
C. P. S. Co. 1326
 I

37

(2
r ftftffi
-F#to L r KLLl.LL H rf-fj-pK- p
Ht rrrCffrri
.1 ffi_ r r rtfttt -S>

iy W =i=5=
=*=BZ
-=i=
Lit
LB
flrrfrm
J-J-^g g-pJlj 1
J J gj ^g-K-^J
-a fP'T"rpp
^^ ti: ^ ZS
L

Example V

ua P*
s va.

aH* E=
$ t 3 3
L. H. one octave lower
8 va.

* JL -#-

ti
a 4 t
J
r J
f

guar.

*
BE 4 I
=f
si
I 3^
&* **
S3 "1
fill

^ ^i'I I I m
I
:
-H fl 'tLFg #^
gv*.

=fE? r=F
e=
I ? I
S ra.

t=^ A iM ] sn
f
3 t
I
r ft

i e=r h
ttfl I
fl 8

n^ iiPiS
#"<*

fcH
!

I l=i fliTt i r
=^g=
# =* i=T=^
#/..

i r?
i
s ^^Ii
C. F. S.Co. 4:ll(i
 t

Example VI
fc
l> ite k i
:=*=?
p ^ --^
J. J.!
>
J J. J J,^ * J.^H J. yfr^j:
-

DC
#1 #fH
a E i

ff
I
f
etc.,from all notes of Chromatic Scale

a= *&# r^vvl szja-ta * P ly 1r h*- S

in *= ZEZ3II rmtiE i
*# I
1 mj 5

\,
te te * i*
:?L__r:
3EI
#
I C3 * 53
1 *=A ^=S *
twice 8 va
^*
* b*=* I ^ 7T1 =3
^jj ZE 3
j. J.
1>J I t 5 ?
I I 1

*pt
it i *ftte go
* te= i
3 s
H^i^P I
*^l*
l
f ? I
*S*
"*" *
'

te te * b
t#-. in
i -* 13 5
fc
*
iEfi

IZEI

va.

a iti 5 1
RhF^
twice
k
-
pk
is
*w ^m
=
efer

13 p^ Continue in octaves

m
^% ^^ ~t+
i bj^j i> j i) #

I ^^a
C.F.S. Co. 43 :<;
is
9
t
Li
H
L
M etc.
 39
C MAJOR

E
8 8 8 8
m
8 8
i jT3 LIJ
8
simile lU C-T-^

^ f r r r r_r m cu^^^ i jnJ'J ] iuj

o 8 8 simile

<g rrr fLr-nn j j^pi

A MINOR

8 8 8 simile
g iji jn fl" 3 1

[r EU n? m i

F MAJOR

m eP jp-m B 8 8 8
g
simile
a !
#

ft rr
r
r
rfrfrfri ^ 5
LL/" J

^f3 ji e^
D MINOR

I PS
u 8 8 simile

-W
1
S^S g &s
f^fffto m pp
-e+err

C.F.S. Co. 432(5

 1

40
SECTION VII - DOUBLE NOTES
Example I

Legatissimo, slow, holding 4 notes

11 2 1

2 1 2 i
5 U 5 '4
L.H.two octaves lower
Leggiero faster without holding any notes
[4 2i 4 2 j> 1

Fast

ffflff^frn
m etc =
eiih 30:

m m in sn in in pi m
Legato between two voices
mmmni
i

r
f-
-r '-r
etc/
r-^-r--

j-ij-,j
mr lit cLr
3E S
r g dlt
-s
m~
r
m i

J7]j gy j . ,mj rnJ rnJ rn4

p -Lejp ,

r^ciJT Llr
'

r^dJT^S
i>i ii ii i
* B=B
*
?
p-> p ^
J * zzj

P
i
.:.

-etc^
EJUJ^Lll
7

etc.

il i 7

fe-3- ^-4^ -ete-: -ete-.

.x:

r 0-T
Example II

:UUv L. H. one octave lower

'to wawi^iju S

| v^B J33
/y '

^V-M^' JR i i
^i^ 5 :|
l
iiiQfl?
'-^y pH ^
( . F. S. Co. 43 56
 41

^s ^=^
Pi ^=^
1 'iHit t i
i i t iii * i '"-j-s it

1 nj.l> ^3
a==:
^ I 2^
g'^ifiiii " i^i
r'
i i I * d ^
5^ m
Use different rhythms

jj^ 7|g^g^
-ete^

WjgPP
W^:* 1
3 Ji^gy M*l: v iff S ">

ff fEjy
11
' **
-ete^

13
ffp
2 4

2
3

a
5

1
2 4

#
2
3

pi
te
3
1

J
J
P 3 J i i * S J 1]J ff
^E^E
J [J J J 1
J.
* J tt * 1|J
s
\
J |>

pP J ^ ^B 1*f
5 -et<^

Example III
5
4

S
3
2.

TtTrtHlt-nn t
,dj,i i m 3d J J 3^,'^jJ -7
Ff \,i-'
fi
'7
.y -7

s m
Qj "^Z^WUr Lij^UJ "
C-LJ
m
S 3eS
t-JT3i.ni
.HU73>7 JT3 7 JJT3^ g
$f 5p
3^! l^v^^
f
?3'l

U*^* * -
ij.

# r -7/"L2J
.1 *
r -7/ITr ?rT ?/
f ot ?/"^ If
3py. -7 l*T '?/> 9 f
I

C. P. S. Co. 4326
 J 1
42 Faster, legato

i #
(9ajl:
L, -^# =
^1 ^ J I J s

2Z3
a m legato
=

m^3 t ?=

I s
T f
Ur m
Slower, legato
s^ s*
a nel^

Example IV After N. Medtner

C MAJOR
3453 4
p^^S^^p
5 5 5
1 2 1 21 3 3

S
3, 3_

sH 3 f
4 35
o

3
e
43
2
~
*=*s f
3 *#*
5
L. H. one octave lower
C MINOR HARMONIC

I i-jJJJJJJJ JJjjj mi 1
''

I J 1 1
'J
p
J J
j j ?T^
1
fel
g *% '
i *

MODULATION INTO
in* * *

Dk MAJ.
^ 1
r*^ i H i 1 1
j i
^?

as ST"' "'I I '

BE3 1
i i
^^WWt^** I j i*
a <i
j 5**?*

**=* ^^ ^ *=*=#
*?* ?* ^ ^ ***f **
m MAJOR 4 3
'" 3
1 2
s
3. 1,
5
3
4
2.
3
1
5
3
4
2 124
3 5
3

%j
II
t
j
J
5
2
4
1
3
J
a
5
l

fff
4345
[2
4
m[
3
12
4
^
3 i 3
5
1
3
5
2
4
#
Q
5
a
*
4
1 .
t ljnfTTi ^1 3**
m
< K S.Cu. J ; :'-
 43

m^
Ctt MINOR HARMONIC
*&$k it
fi t 1
*t* 'iHi

iti^i-* *
MODULATION INTO D MAJOR
*
1 ^^ 4 \ t f t 4
* i i

$?m *** i*S^ j44 ii9t ' 4

5 4 *

Example V 4
3
H
2 t 9 4
2 It

3 4 5*3 1-
2 1 2 2

,g rrr^-i # -<9 # * ^
"1-^=^ _^=^-^ *r ti J J
etc.

44= j
*L
f Ui J J ^H
s fa' 3 2 4 1
r
> 8 S l 4 8 5 2 ilU !

C. P.S.Co. 4326
44

During his long life, LEON

CONUS was regarded as
one of the best pedagogues
in Russia. He came from
a musical French family,
who settled in Moscow,
where the author was born.
He received his earlier ed-
ucation from his father,
and later, the Moscow Im-
perial Conservatory, where
his associates as pupils
were Rachmaninoff, Scriabin, Medtner and Lhevinne. Upon graduating,
he devoted his time to teaching for several years at the Imperial Con-
servatory of Moscow, and later in Paris at the Ecole Normale de Mus-
ique. In 1924 he helped found and establish the Russian Conservatory
in Paris where he became the vice president of the institution. Leon
Conus moved to the United States in 1936. Here, he became Professor
of piano at the Cincinnati College of Music. He remained at this post
until his untimely death, January 18, 1944.
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FUNDAMENTALS OF PIANO
TECHNIQUE BOOK ONE
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