Piano and musical matter . I ilS 2 l£ i g### 1 I 3 « ^2 1,313 fJfe-JLjiJk^i 3 1 3 1 3 2 13 13 ^ u u - ^ fi^ #?#- S3 ^ ^PPijli 9 t ^ ^ h—h -^ fl -£>- Fingering ofthe perfectchord. When one of the three notes composing the perfect chord is doubled, whetherthe chord is played square or arpeggio, the fingering is this: first, second, andfifth fingers are always used; there remain two fingers for the one note left, andthis is the rule to be observed: when between the little finger and the nextnote to it, there is but one white key, the fourth finger must be used, but whenthere are two white keys

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Piano and musical matter . I ilS 2 l£ i g### 1 I 3 « ^2 1,313 fJfe-JLjiJk^i 3 1 3 1 3 2 13 13 ^ u u - ^ fi^ #?#- S3 ^ ^PPijli 9 t ^ ^ h—h -^ fl -£>- Fingering ofthe perfectchord. When one of the three notes composing the perfect chord is doubled, whetherthe chord is played square or arpeggio, the fingering is this: first, second, andfifth fingers are always used; there remain two fingers for the one note left, andthis is the rule to be observed: when between the little finger and the nextnote to it, there is but one white key, the fourth finger must be used, but whenthere are two white keys, the third finger is used. This rule applies equally toboth hands. Example : — 5 JO. & iin^iii C is doubled. C is doubled. >fO~A-Q 3C e G is doubled. G is doubled. ** how to correct If the thumb is too heavy on the note in such a passage as this. m E5 1 fafil 3 II practise it in marking the accent thus, until the over-accentuation is corrected. *? 3 i Pf=q ± TTTl

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Keywords: ., bo, bookcentury1800, bookdecade1860, bookidpianomusicalmatt00lamo