鋼琴進階教本第一系列 (綠色) 最初級

1.   KOHLER, Op.300 No.50 : For ease in turning the fore-arm
2.   CZERNY, Op.599 No.3 : For full singing tone
3.   HEDWIG McEWEN : For ease in turning the fore-arm
4.   KOHLER, Op.300 No.22 : For finger control
5.   GURLITT, Op.82 No.12 : For imitation between the hands
6.   H.WOHLFAHRT, Op.88 No.4 : For imitation between the hands 
7.   BEYER, Op.101 No.37 : For tempo variations
8.   GURLITT, Op.82 No.9 : For ease in turning the fore-arm
9.   BEYER, Op.101 No.39 : For using lightly the thumb of left hand
10. GURLITT, Op.82 No.25(ii) : For using lightly the fifth fingers
11. GURLITT, Op.82 No.25(iii) : To show the melody on the weak beats
12. F.WOHLFAHRT, Op.36 No.6 : For full and brilliant tone
13. BEYER, Op.101 No.25 : For legato and evenness of tone
14. GURLITT, Op.187 No.18 : For the lilt of triple time
15. GURLITT, Op.187 No.19 : For the lilt of triple time
16. F.WOHLFAHRT, Op.36 No.5 : For imitation between the hands 
17. BEYER, Op.101 No.16 : For full and brilliant tone
18. KOHLER, Op.218 No.16 : For similar motion
19. GURLITT, Op.82 No.17 : For imitation between the hands
20. GURLITT, Op.187 No.30 : For cantabile tone
21. KOHLER, Op.300 No.40 : For legato and evenness of note successions
22. KOHLER, Op.218 No.18 : For marcato touch and strict time
23. BEYER, Op.101 No.27 : For playing broken chords legato
24. BEYER, Op.101 No.53 : For tone gradations
25. F.WOHLFAHRT, from Op.36 : For playing two melodies together
26. GURLITT, Op.187 No.37 : For playing broken chords evenly
27. F.WOHLFAHRT, from Op.36 : For tone gradations and legato
28. GURLITT, Op.187 No.9 : For dotted notes
29. H.WOHLFAHRT, Op.88 No.6 : For dotted notes
30. HEDWIG McEWEN : For silent beats
31. GURLITT, Op.82 No.34 : For silent beats
32. BEYER, Op.101 No.29 : For tied accented notes
33. F.WOHLFAHRT, Op.36 No.26 : For tied unaccented notes
34. BERTINI, Op.137 No.2 : For trills
35. F.WOHLFAHRT, Op.36 No.17 : For rapid rebound of the keys
36. HEDWIG McEWEN : For rapid rebound of the keys
37. KOHLER, Op.190 No.34 : For phrasing
38. GURLITT, Op.82 No.44 : For slurs from accented notes
39. BERTINI, Op.137 No.21 : For slurs from accented notes
40. GURLITT, Op.187 No.31 : For compound time and legato
41. HEDWIG McEWEN : For the half-tone scale
42. HEDWIG McEWEN : For the whole-tone scale
43. GURLITT, Op.82 No.56 : For turning the fingers over the thumb
44. BEYER, Op.101 No.68 : For double notes
45. BEYER, Op.101 No.69 : For double notes
46. GURLITT, Op.82 No.25 : For bringing out the melody in the inner parts
47. LE COUPPEYC : For phrasing
48. HEDWIG McEWEN : For tempo variations
49. F.WOHLFAHRT, Op.36 No.21 : For slurs from unaccented notes
50. BEYER, Op.101 No.60 : For phrasing
51. BERTINI, Op.137 No.11 : For syncopation
52. GURLITT, Op.187 No.32 : For phrasing and tone contrast
53. GURLITT, Op.82 No.29 : For finger control
54. GURLITT, Op.82 No.30 : For finger control
55. F.WOHLFAHRT, from Op.36: For phrasing and tone contrast
56. F.WOHLFAHRT, Op.36 No.18 : For phrasing, steadiness and accent
57. GURLITT, Op.187 No.22 : For accompaniment
58. HEDWIG McEWEN : For trills
59. BEYER, Op.101 No.75 : For tone gradations and legato
60. GURLITT, Op.187 No.50 : For tempo variations and for turning fingers over thumb and thumb under fingers