Donald Waxman Exertudes 4 Advanced
Uploaded by
Ana KovačevićDonald Waxman Exertudes 4 Advanced
Uploaded by
Ana Kovačević175 Exertudes
by
DONALD WAXMAN
Book 4: Advanced I
Nos. 106-140
106. Broken 4ths in Contrary Motion ................................................................................. 5
107. Exchange of Broken Triads ......................................................................................... 5
108. Right Hand Crossovers .............................................................................................. 6
109. Held Notes In Stretch Positions .................................................................................. 6
110. Legato 5ths and 3rds Through the Circle of 3rds .......................................................... 7
111. Grace Notes ............................................................................................................. 8
112. Crossunders and Crossovers in Contrary Motion .......................................................... 8
113. Opposing 4th Chords ................................................................................................ 9
114. Black Key Figuration in Contrary Motion ..................................................................... 10
115. Rapid Four Finger Passages in Parallel 6ths and 5ths .................................................... 10
116. Measured Whole and Half Step Trills .......................................................................... 11
117. Repetition of 3rds in Alternating Hands ...................................................................... 12
118. Consecutive 4ths ....................................................................................................... 12
119. Independence of 5th Finger and Thumb ....................................................................... 13
120. The Pattern 5241 ....................................................................................................... 14
121. Alternation of Two Note Repetitions ........................................................................... 15
122. Five Finger Passages and Two Note Phrases over a Broken Octave Ostinato ................... 16
123. Alternating Black and White Key Whole Steps ............................................................. 17
124. Five Finger Pattern in Parallel 6ths .............................................................................. 18
125. Bass Skips ................................................................................................................ 19
126. Legato 3rds and 4ths ................................................................................................. 20
127. Right Hand Finger Independence ................................................................................ 21
128. A Major Scale as Accompaniment Figure .................................................................... 22
129. Chromatic Pattern in Augmentation and Contrary Motion ............................................. 23
130. “Inchworms” and Crossovers ...................................................................................... 24
131. Legato Black Key 2nds and White Key 3rds .................................................................. 25
132. Major and Chromatic Scale Passages .......................................................................... 26
133. Parallel Progression of a Three Note Pattern ............................................................... 27
134. Legato 3rds ............................................................................................................... 28
135. Pattern of Alternating Fingers and Thumb ................................................................... 29
136. Right Hand Four Note Pattern .................................................................................... 30
137. Legato 3rds in Contrary and Parallel Motion ................................................................ 31
138. Three Note Pattern with Holding Notes....................................................................... 32
139. Parallel Scale Passages in Irregular Meters .................................................................. 33
140. Two over Thumb in Contrary Motion........................................................................... 34
Pr eface
Preface
The 175 Exertudes in five graded books grew out of an earlier technical project, my collection of Fifty
Etudes written for intermediate to advanced students, also published by Galaxy Music Corporation. My
goal in those etudes was to expand the techniques, or as the French call them, the méchanismes , of the
19 th-century etude writers such as Czerny, Concone, Bertini et al, by way of a musical language that
would be more meaningful to young, contemporary students than the severely restricted rhythmic and
harmonic language of that period. “Technique” for any instrument is a collection of techniques. For
today’s piano students a solid technique is the mastery of many individual skills: scales, chords, broken
chords, wrist staccato, finger staccato, trills, rotations, jumps, repetitions and contemporary techniques
such as clusters, glissandos, open string techniques, et al . An etude exploits a single technical skill,
setting that technique into play within a composition that is usually through-composed in form. Even
more restricted in form is the technical genre known as an “exercise.” Scales and arpeggios are exercises
and so are all manner of finger patterns and chord sequences, many of these taught by rote. There is no
rhythm to most exercises other than a fixed pulse, and usually both hands are playing the technical
pattern in unison. I was interested in the challenge of taking these bare bone méchanismes and breathing
musical life into them, giving them some shape and form. A colleague, also a pianist and composer, said
that I had “taken the exercise and given it wings.” Some would say that these are really miniature etudes,
but I feel that they lie midway between exercises and etudes, a new technical hybrid that I call “exertudes.”
Building technique in all of its facets is of course the main goal of these five books, but exploring the
musical language of the Exertudes will, I hope, be a parallel goal for students. The examples of intervals,
modes, chromatic patterns, cross-rhythms and contrapuntal devices in these pieces can be a springboard
for students to fashion their own improvisations and compositions, using the same elements of the
Exertudes as models.
I have a few remarks about some of the titles. Crossunders and crossovers in passage work refer to
crossing under or over the thumb with the long fingers or crossing the thumb under the fingers; crossovers
and crossunders of the hand refer to the right or left hand crossing over or under the other. There is
another form of movement of the fingers and thumb in legato passagework that I call “inchworms” for
want of a specific term. That technique involves, for example, drawing the thumb up to the 4 th finger
before releasing the 4 th finger (and the reverse). This reminds me of the curious way in which an inchworm
moves up and down a flower stem by drawing its hind end to just behind its head before releasing its
front end. What I call 125 and 145 triads, for example, in the key of C are a CDG and CFG chord,
respectively. In traditional harmony, the mildly dissonant 2 nd inside the 5 th of these chords resolves
immediately to a conventional 135 triad. Since the early 20 th century, though, these triads with 2nds have
become so commonplace in contemporary music that they often exist as independent harmonies that do
not resolve, and this is often how these 125 and 145 triads are treated in the Exertudes.
In the more advanced books, particularly at the end of Book 5, some of the Exertudes have fully spread
their wings and matured into true etudes. Thus has the collection of 175 Exertudes come full circle to
join its predecessor, the 1976 collection of 50 Etudes.
Donald Waxman
November, 2006
Boca Raton, Florida
Catalog No. 1.3355 5
175 EXERTUDES: Book 4 - Advanced I
DONALD WAXMAN
Broken 4ths in Contrary Motion
1 4 2 5
1 4 2 5 1 4 1 4
Moderato h = 84
1 4 2 5
1 4 2 5 1 4 2 5 1 4 2 5 1 4 2 5
106.
poco f legato sempre
1 4 2 5 1 4 2 5 1 4 2 5 1 4
4 1 2 5 4 1 2 5 4 1 2 5 4 1 2 5 1 4 3
1 4
4 1 2 5
5 1 2 5 4 1 2 5 meno mosso
mp
4 1 2 5 4 1 2 5 1
2 4 1 2 5 2
5 4 1 2 5 5 5 2 1
Exchange of Broken Triads
Allegro grazioso
3
1
5
q. = 138 1
3 5
mp
107. 1 1
1
5 3 5 3 1
5 5
1
5
5
2
1
5
1
4 2
5
5
1
2
2
4
1
4 2 4
© Copyright 2007 by Galaxy Music Corporation. A division of ECS Publishing,
Boston, Massachusetts. All rights reserved. Made in U.S.A.
6
Right Hand Crossovers
Allegro q = 160
5
5 4
2 2
2 5 2 4 5
108. mp 1 1
2
5
2
5
4
5 5
cresc.
2 1 2 5 3 2 1 1
5 1 5
1 5
1
1
1
2 2 2 2 2 2
3 3 3 3 3 3
3 3 3
loco
3
3
4 2 1 4
3
3
1 2 3 5
mf
3
2
3
3
3
3 3 3
3
f
Held Notes In Stretch Positions
5
Adagio q = 60
1
3 2
109. mp 5
senza ped.
1
5
1
5
2 3 2 3
5
7
5 5 5
Legato 5ths and 3rds Through the Circle of 3rds
Andante q. =72
4
5
2 5
1 3 1
110. mp
1
1 3 5
5 2
4
5
1
1
5
5
1
1
5
poco rit.
5
1
1 2
1
1 2
5 5(4) 5
8
Grace Notes
Con moto q = 92
1
1 1
111. mp
4
1
cresc.
4
1
4
mf 5
4
5 5
4
f
4
Crossunders and Crossovers in Contrary Motion
Con moto q. = 112
1 3 1 5 3
1 3 1 3
112. mp
1
1
3
1 3 1 5 3 3
9
1 3 1
1 1
3 1
3 1 1
3
1 3 1 3 1 3 1 3
4
1 11 3 1 4 1 3 1 3
1 1 3 4 1 3 1 4 1 3 1 3
1
poco meno mosso
1 3
1 3 1 3
p
1
3 1
1
3 2 1
3 3
4 5
Opposing 4th Chords
Adagio q = 56
5
5 5
2 2 2
1 1 1
mf
113. pesante
1
1 1 1
2 2
5 5
sim.
2
5
4
10
Black Key Figuration in Contrary Motion
Con moto q. = 132
1 2
3 1 2
3 5 3 2 1 3 2 1 1
114. mf
1 3 1
1 2 3 1 2 3 5 3 2 1 3 2 1 1
1
1 3 1 1
1
3
1 2 3 1
3 4 5 3
5
Rapid Four Finger Passages in Parallel 6ths and 5ths
Poco allegro q = 108
3
3
3 3
3
3
3
4
1 1
1
115.
1
p
leggiero 1
1 1
4 4
4 4 4
3 3 3
3 3
3
11
4
4
4
1 1 1 1
4 4 1 1
4
4 4 4 4 4
4
4
4 4
3
1
1 1 1 1
1
5
Measured Whole and Half Step Trills
Con moto q. = 80
1 3 1 3
p sempre e molto eguale
116.
mp
1 2 1 1 1 1
3 5 2 5 2 5
1212 1313 1212
1
1 1 1
2
2 1 1 1 2 2
3 2 2 4 3 5 5
5
pp
5 2 1
12
Repetition of 3rds in Alternating Hands
Allegro q = 100+
2
4
4 4
2
2 2 4 4
2
117.
p
2
4
2
4 2
4
2
4 2
4
leggiero
4
2
2
4
5
3
1
1
5 5
Consecutive 4ths
Moderato q = 120
4 5 5 5 5
1 2 2 2 2
118. mf
1 2 2 2 2
4 5 5 5 5
13
2 1 2
5
2
5 4
2
5 4
1
5
Independence of 5th Finger and Thumb
Moderato q = 108
*
4
3
2
5
1
mf
119.
2
3
1 5
4
1 5 1 5 1
5 1 5 1 5
4
1 2 3
7 5
2
5 4 3
1
* Abbreviated ties between whole notes appear in this Exertude to avoid
the collisions that full ties would cause in the inner voices.
14
The Pattern 5241
Allegro grazioso h = 76
5 2 4 1 5 2 6 5 5
5
6 4 1 5 2 4 1 5
120. mp
3
5 5 5
1
1
2 1
5 5
p
2 4 1
5
15
5 2 1 2 1
3
5
Alternation of Two Note Repetitions
Allegro q = 100+
3 2 3 2 3 2 3 2
121. mp marc.
3 2 3 2 32
32
3 2
3 2 32
3 2 3 2
3 2 3 2
3 2
3 2
3 2
cresc.
3 2
3 2
3 2
3 2 1 3 2 1 3 2 1 3 2 1 3 2 1 3
2 1 3 2
mf
3 2 1 3 2 1 3 2 1 3 2 1 3 2 1 3 2 1 1
16
Five Finger Passages and Two Note Phrases
over a Broken Octave Ostinato
Allegro moderato q = 138
5
122. mp 5 5
2 5 1 5
1
5
1
1
1 1
5
5 5 5
1
1
1
5 2 1
5
1
5
5
5 1 1
2 5 1 5
17
1 1
1 2 1 1
1 1
1 1 2 5 1 5
2
1
5
3 4 5
1 2 1
2 1 1
mf
1
2
5
Alternating Black and White Key Whole Steps
Veloce q = 132+
2 3
Accidentals in the upper staff do not affect notes in the lower staff.
2 3 2 3
2
p
123.
3 2
3 2 32
3 2
legato, secco 3
Do not break between hands.
4
18
Five Finger Pattern in Parallel 6ths
Allegro q. = 138
1
mp legato ma ben articulato
124.
5
1
5
3
5
1
5
1
5
1 1
più f
5 5
3
5
1 1 1 1 1
5
5 5 5 5
19
1
5
Bass Skips
Energico q = 116
5
1
5
f1
125.
1
5
pesante e ben marcato
5
2
1
1
4
5
3
1
1
2
5
1. 2.
53
1
1
1
2
1
3
3
5 5
5
20
Legato 3rds and 4ths
Moderato q = 112
3 5 3 5
2 1 1 2
126. mp
2 1 2 1
5 3 5 3
3 5
1 2
2 1
5 3
35
12
2 1
2 3 1 2 3 2
5 3 4 5 3 4 5 4
3 2
5 4
2
1
p
2 1 2 1 2 1
5 3 5 4 3 3
5 5 5
21
Right Hand Finger Independence
Moderato q= 100
4
R.H. 5
3
*
127.
1
mp 2
5 4
3
1
mp 2
1
5 1
4
1 1 1
3 4 5
1
5
* Abbreviated ties between whole notes appear in this Exertude to avoid
the collisions that full ties would cause in the inner voices.
22
A Major Scale
as Accompaniment Figure
Con
moto q = 100
p
128.
1 2 1 3
1 3
1
5 5
legato sempre
5 5 5
3 3 4 3
1 1 2 1
5
4 3
2 1
mp cant.
5 5
3 3
1 1
5 5
3 3
1 1
5
3
1
3
1 2 1
1
3 4 1
1
5
5
2
1
1 1
23
Chromatic Pattern in Augmentation
and Contrary Motion
Moderato h = 66
5 4 2 1 2 4 3 2 5
mp
129.
2 1 2
p
legato sempre
1
p
mp
2
4 5
1 1
mp p
2 3 4 1 2 p 4 2 1 2 4 3 2 mp
5
4
3 3
mp p mp
p mp
3 3
1
2
1
5
2 1
2
24
“Inchworms” and Crossovers
Allegro q = 120
1 1 4
1
4
4
4 1 1
4
4 1 1 4
130. mf 1 4 1 1
1. 2.
5
2 2
4
1 1
1 1
2 2
1
1
2
3 5
1 2
4 1
1
marcato
1
2 1 2
5
25
1 1
f sf
3 5
1 2
1
2
1 12 4
Legato Black Key 2nds and White Key 3rds
Moderato q = 108
3 4 3 4 3
2 1 2 1 2
mp
131.
p
2 1 2 1 2 1 2
3 4 3 4 3 4 3
p
mp
2 1 2
3 4 3
4
1
mp
p
1
4
2
3
5
26
Major and Chromatic Scale Passages
Vivace q = 144
4
1 1
mp marc. 3 2 1 3 1 3
2 1
132.
4
4 4 3 1 3 1 3 1 3
1 3
3 1 2 4
1
1 3 1
4
1 1
1
cresc.
5 3 4 4
4 3 2 1 3 1 3
2
1
1
f
4 4 2 1 3
4 3 1 3
27
Parallel Progression of a Three Note Pattern
1
1 1 1 1
Presto h. = 76+
1 1
p legato ma ben articulato mf
133.
3 3 3
3 3 3
3
1 1
3 3
1 1 1 1
3
11
p
3 3 3
3
3
1
4
1 1 1
1
mf p
1 2 1 2
1
3
3
3 3 3 1
3
3 3 3 3 3
3 3
mf p
1 1 1 1
1 1 1
3
3 3 3 3
1
mf
1 1 1 1
28
Legato 3rds
Andante con moto q = 108
5
4 3
3 3
2 1 2
1 1 1
mp
134. grazioso
p
3
5
2
3 1 3 3
1 1 1
5
3
p
mp
3 1 3 1 3 1 3
5 2 5 2 5 2 5
3
1
mp
p
5
poco rit.
29
Pattern of Alternating Fingers and Thumb
Allegro h = 100
1 2 2 3 3 4 3
135. mf legato ma ben articulato, cresc. poco a poco
3 4 3
1 2 2 3
3 2 3 3 4 4 5 4
2
3 3 3 4 4 5 4
4 3 4 4 4 5 5 5 4 3
4 3 4 4 4 5 5 5 4 3
4 5 5 5 5 5 5 5 4 4
f dim. poco a poco
4 5 5 5 5 5 5 5 4 4
3
1
4 3 3 2 3
p
3
3 1
3
30
Right Hand Four Note Pattern
1 2 1 2 1 2
Allegro q = 80+
6 6
6 6
136. mp legato sempre e grazioso
1
1 2 1
1 1
1 2 1 2
1
1
3 3
1
2
1
2 1 1
1 1
3 1 2
1
3 5
1
1
2
1
1
3
31
1
2 3
4
sost.
3 3
1
3
1 2
2 1
4 4
4
Legato 3rds in Contrary and Parallel Motion
Moderato q. = 84
2 3 4 5 4 3 4 3 2 3 4 5 2 3 4
1 1 2 3 2 1 2 1 1 1 2 3 1 1 2
137. mf legato sempre*
1 1 2 3 2 1 1 1
2 3 4 5 4 3 2 1 1 1 2 3 2 3 2
4 3 2 3 4 5 4
2 3 4 5 2 2 2
1 1 2 3 1 1 1
1 1 2 3 2 1 2 1 2 1 3 1
2 1 2 1
2 3 4 5 4 3 4 3 4 3 5 2
4 3 4 3
1
3 2
*This Exertude may also be played non legato. 5
32
Three Note Pattern with Holding Notes
*
Moderato q = 112
2 4 3
138.
RH 3 3 3 3
mp legato sempre
LH
4
1 5 2 4 3
4
1 5
4
1 5
4
1 5
1 5
* Abbreviated ties between whole notes appear in this Exertude to avoid
the collisions that full ties would cause in the inner voices.
33
Parallel Scale Passages in Irregular Meters
Allegro con brio e = 208+
1
3 1 3 1 3 1 3
139. mf legato ma ben articulato
3 1
1 3 1 3 1 3
5 1 2 1
2 1 2 1
3
1
1
1 3
3
1 2 1 1 2 3 4 3
1
1 1 1 1
3 3
3 4
3
3 1 2 1 1
1 1
1 3 1
1 3 3 3 4
34
Two over Thumb in Contrary Motion
Allegro q = 112+
4 4 3
5 5 5
1 2 1 2 1 2 1 3 1
140. mf
1 2 1 2 1 2 1 3 1 4 4 3
5
5
5
1
1
1 2 1
3
1 2 1 3
5
5 5
4 5
2 3
2 3 4 5 5 5 5
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