No. 11. Not too slowly. The second line should be marked pp. It was a mistake. [3 beats in a bar: 60] 1st Var: Pairs of slurs, therefore the second note softer than the first. (CPE) [48] 2nd Var: Rather and odd one! If the performer is not very advanced, I suggest leaving it out. [48]
No.12. Phrase as in 2 + 2 + 2 + 2 bars and practice the nuances with good intonation. 1st and 2nd Variations: the same. [108]
No 13. To study smooth intervals. Each variation gets more difficult. Play all three with the various nuances marked and the usual phrasing. [52]
 No.14. The lower notes should be more sonorous than the upper ones but the reverse in the variation! Hold the first note a little. [100]
No. 15. To practice happy staccato! The phrasing indicates ascending to the second beat which can be held a little. (One two…/one two…/)  In the 9th bar, it changes: One…three/ one…three/). 1st Var: same phrasing as before but the first is long, the second and third played staccato. 2nd Var: Accent the first and play the second and third notes softer the get the right effect. [92]
No. 16. The shape is 2 + 2  + 4 bars and is a minor key variation on Study No.1.. The same phasing should apply. [100] 1st Var. Accent the first but don’t hold it. In effect, it should like a diminuendo through each group of 5 notes. The same half way through. [72]
No. 17. Perfectly even throughout. [116]
No.18. Crescendo through the first bar to the top of the phase, the first beat of bar 2!. Nothing more to be said! The Variations:  The same applies if you are capable of playing them! [100]
No. 19. A nice tune: 4 bars; 4 bars; 2 bars and 4 bars, repeated. Be careful not to play C# too high: in this key, it is the major third of A major and sounds more expressive when it is flatter than the piano pitch. [84]
1st Var. The turn should be played as an elegant way to connect two notes of a melody. Not hurried but, as Moyse wrote, ‘Well sung’  [72] 2nd Var.  In the late 19th and early 20th centuries, romantic trills were played with the 1st note held slightly before trilling. Pianists do this. Be sure all trills are the same speed - and even. [72]
No.20.  The first note of each group is the melody and the other three notes should be less important. Avoid playing the upper notes louder than the lower ones.  [54] 1st Var. Same as before. [54] 2nd Var. Diminish to the second note, but return though the third and fourth notes. The feeling is One…..three-e/, One…three-e/. etc. [54]
No 21.  This seven-note melody is to be played fluently and with a good speed without distorting the even rhythm. [72]
No 22. An important one. Accent and then diminuendo on the second and third notes without shortening, to achieve a true syncopation. Be sure to give a little accent to the first staccato note. Piano! [100] 1st Var.  Take care to accent and diminuendo during the crotchets and play staccato where marked to get the correct atmosphere. 2nd Var. Nimble fingers required. [100]
 No. 23. A study in turns. Think of them as an elegant way to connect two notes. The first and third can be thought of as instrumental and the second and fourth as vocal. Sometimes they are faster (binary as in Var. 2) and sometimes ternary connecting the 1st and 2nd beats elegantly. [56] 2nd Var. More expressive. [56]  3rd Var. Diminuendo through the slurs so as allow the melody to dominate. [56] 4th Var. Diminuendo a little through each slur. (CPE) [56]
 No 24. A variation on Study No.2. A study in smoothness and without accents. Finger the notes ‘correctly’! It is hard to do but the idea is that both the easy and the difficult intervals and fingerings should sound the same. [56]     
     
                                                                                                Trevor Wye   2020

A piano accompaniment for these studies is available here:-
https://scorevivo.com/product/24-little-melodious-studies/                                                                                                                                  
For further reading, see his book:  Marcel Moyse. An Extraordinary Man. A Musical Biography.
Winzer Press
www.Winzerpress.com    $22.95
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