Béla Bartók wrote the first four volumes of the Mikrokosmos as a series of beginning piano exercises for his son Péter. The great Hungarian composer's complete six-volume collection represents one of the most comprehensive anthologies of contemporary technique ever assembled. This edition, consisting of the first two volumes, presents more than 100 pieces of study material suitable for first- and second-year students. In a 1945 radio interview, Bartók explained, "The Mikrokosmos is a cycle of 153 pieces for piano, written with a didactic purpose. That is, to give piano pieces which can be used from the very beginning and then going on. It is graded according to difficulties. And the word Mikrokosmos may be interpreted as a series of pieces in many different styles, representing a small world. Or it may be interpreted as 'world of the little ones, the children.'" This volume constitutes the definitive edition of Bartók's tutorials, drawing upon all known manuscripts and the printed originals for a corrected version approved by the composer's son and the first student to benefit from these exercises. Hungarian composer Béla Bartók (1881–1945) was inspired by the themes, modes, and rhythmic patterns of folk music, which he incorporated into his own distinctive style. As a teacher, ethnomusicologist, and pianist, he was enormously influential in the direction of 20th-century music. Mikrokosmos Books 1 & 2 By Béla Bartók Dover Publications, Inc. Copyright © 2018 Béla Bartók All rights reserved. ISBN: 978-0-486-82446-8 PREFACE The first four books of these piano pieces have been written for the purpose of giving material to beginners — young or old — which should embrace, as far as possible, all problems met with during the first steps. The first, second and third books are designed for the first or first and second year. These three books differ from a Piano Method in the traditional sense by the absence of any technical and theoretical description and instruction. Every teacher knows what is required in this respect and is able to give the earliest instruction without reference to a book or method. There are frequently several pieces dealing with the same problem to give the teacher and pupil an opportunity of making a choice. It is not necessary to study all 96 pieces. The first four books have exercises in an appendix the figures in brackets referring to the respective piece the technical problems of which are dealt with in the exercise. For some technical problems several exercises are provided. The teacher may choose the more difficult for the gifted pupil, the easier ones for the less gifted. It is advisable to practise the exercises before studying the pieces. As a matter of fact, quite simple exercises (i.e., simple exercises for the five fingers, for the thumb under, simple broken triads, etc.) are not included — another difference from Methods. Every teacher knows such exercises and should be able to invent them. The pieces and exercises are arranged in progressive order according to the technical and musical difficulty. However, the teacher may alter this order in accordance with the ability of the pupil. The metronome marks, especially in the first, second and third books, should be considered as approximate indications only. Many of the first pieces may be played slower or faster than indicated. As progress is made deviation from the tempo given should not be encouraged and in the fifth and sixth books the time indications must be adhered to. An asterisk at the number of any piece indicates that an explanatory note will be found in the appendix. For four of the pieces a second piano part is provided. It is most important that the pupil should be given the opportunity to try concerted music as soon as possible and these pieces can be played in this form where two pianos are available. Four other pieces are set for voice with piano accompaniment. Instrumental tuition should be developed from suitable singing exercises. H started in this way, the practising of pieces for voice and piano should not be difficult. Such exercises are very useful as practice in reading three staves instead of two, the pupil singing and accompanying himself. The numbers 74 and 95 are arranged for piano solo as well. They should be practised first without voice and only after study should the voice-and-piano arrangement be tried. The fourth book should be combined with, e.g., the easy pieces from J. S. Bach' "Note Book for Anna Magdalena Bach," the appropriate studies by Czerny, etc. You are recommended to transpose the easier exercises and pieces into other keys. Even the transcription of the suitable pieces from the first, second and third books could be tried. A "strict" transcription only is meant, with cembalo-like doubling of octaves, Some of the pieces, Nos. 45, 51, 56 for instance, can be played on two pianos, the second player executing the same pieces on the higher octave. Sometimes other dev