Fixed and mobile notes. As for set 1 you can try different articulations and dynamics. Play each exercise once with one hand and once with the other hand.
1 – Fix the upper or lower note and alternate the two adjacent
The fixed finger limit the mobility and requires more independency.
 |
|
|---|---|
 |
2 – Fix the middle note and alternate the two adjacent
Similar to the exercice 1 but a bit more difficult.
 |
|
|---|---|
 |
3 – One hand on top of the other
Play both hands together non legato.
 |
|---|
4 – Extensions
Extensions for each pair of finger. The difference with extensions in set 1 and 2 is that one note is sustained while the other change. You can adapt it to your hand to feel a bit of stretch but no pain. Remember that after each stretch the fingers return in their initial position on five consecutive notes.
 |
|
|---|---|
 |
5. Thumb under and the others over
It is similar to the thumb pass exercise of the serie 1 but here one note is sustained while the other change.
 |
|
|---|---|
 |
6. Repeated notes
Like in set 1, you can use this technique when you need to repeat notes fast. The difference here is the sustained note.
 |
|
|---|---|
 |
7. two notes sustained and three repeated
In this example, I suggest for major scale to use dominant seventh chord (fundamental position for right hand and first inversion on left hand). In minor it would be diminished seventh. If the stretch is too much for your hand you can simply use five consecutive notes.
 |
|
|---|---|
 |
8. One melody and trills
Actually you don’t need to play it as fast as trills. Play the melody as legato as possible. This exercise is good for fingers independecy.
 |
|
|---|---|
 |
9. Mix of trills
Sames inspiration as exercise 8 with other examples : one note sustained and trills with thirds, trill two notes and one note.
 |
|
|---|---|
 |
10. Mix of tremolos and trills
This exercise contains trills, using fingers, and tremolo, using the wrist. It’s better to play it slow and clean than quick and dirty. For the last one the notes are the same as for exercise 7 (dominant seventh and diminished seventh) so if the stretch is too important you can use five consecutive notes.
 |
|
|---|---|
 |
11. Arpeggios
Arpeggio in fundamental position and inversions. Each arpeggio has to be played one time upward and one time downward.
 |
|
|---|---|
 |
12. Chords from p to mf
To play the chords p, mp or mf the hand fall on the keyboard from different heights. The notes are the same as for exercise 7 (dominant seventh and diminished seventh) so if the stretch is too important you can use five consecutive notes.
 |
|
|---|---|
 |
13. Chords fortissimo
Play it two times. First one the fingers are placed on the keys and play by a movement starting from the top of your back. Second time by scratching the keys and using the pedal to sustain the sound. The notes are the same as for exercise 7 (dominant seventh and diminished seventh) so if the stretch is too important you can use five consecutive notes.
 |
|
|---|---|
 |
14. Independence of dynamic
Each time you play the chord one finger play forte and the four others piano. The notes are the same as for exercise 7 (dominant seventh and diminished seventh) so if the stretch is too important you can use five consecutive notes. Try to play all notes exactly at the same time.
 |
|
|---|---|
 |
15. Gruppetti of chords
Actually it’s not as fast as a gruppetti. Play all notes of the chords simultaneously and regularly.
 |
|
|---|---|
 |
16. Jumps
To perform the jump imagine two steps : first is moving your arm as fast as possible above the following chord, second is adjusting your position and playing the chord.
 |
|
|---|---|
 |
17. Repeated chords
Relax as much as possible. To do that your finger are rigid at the moment you play and relaxed just after.
 |
|
|---|---|
 |
18. Alternating hands
Keep your fingers close to the keyboard.
 |
|---|
19. Trills of chords with two hands
Keep your fingers close to the keyboard as in exercise 18.
 |
|---|