trigram

This is a table of type trigram and their frequencies. Use it to search & browse the list to learn more about your study carrel.

trigram	frequency
one of the	108
in order to	90
i do not	86
the study of	84
of the piano	75
a great deal	65
it is the	63
as well as	58
on the piano	57
of the fingers	57
use of the	57
be able to	56
at the same	55
what is the	53
of the piece	53
the same time	53
it is not	52
at the piano	51
the use of	47
of the hand	46
it is a	44
part of the	44
of the great	43
some of the	43
to the piano	42
great deal of	40
of the most	39
of the pedal	39
position of the	38
there is no	38
it may be	38
in this way	37
the playing of	36
there is a	35
the art of	35
in piano playing	34
the left hand	34
the piano is	34
away from the	33
to make the	33
the end of	33
that it is	32
is to be	32
at the keyboard	32
to play the	31
in the same	31
the student should	30
a kind of	30
but it is	29
as to the	29
of the instrument	28
of pianoforte playing	28
you do not	28
the subject of	28
they do not	28
it should be	28
the piano and	27
in regard to	27
of the pupil	27
study of the	27
the meaning of	26
to be played	26
a matter of	26
to play a	26
you will find	25
as it is	25
that of the	25
of a piece	25
by no means	25
this is the	25
of the music	25
in the world	25
at a time	25
i have never	25
that i have	24
which i have	24
is one of	24
the matter of	24
of the first	24
the fact that	24
the most difficult	24
i have been	24
of piano playing	24
a number of	23
to make a	23
the soft pedal	23
end of the	23
of the arm	22
action of the	22
the work of	22
for the piano	22
idea of the	22
on the other	22
as a whole	22
in the first	21
in order that	21
of the work	21
and it is	21
it would be	21
of the wrist	21
at the end	21
the ability to	21
the works of	21
to be a	21
able to play	20
the right hand	20
attention to the	20
the difference between	20
according to the	20
the case of	20
is the most	20
of the greatest	20
in which the	20
first of all	20
quality of tone	20
of the composition	20
in a few	19
it must be	19
he does not	19
and technic of	19
many of the	19
the other hand	19
it is only	19
expression and technic	19
the result of	19
and so on	19
to play with	19
it will be	19
is a great	19
should not be	19
of the voice	18
of the composer	18
meaning of the	18
the habit of	18
a part of	18
the student who	18
as i have	18
scales and arpeggios	18
and in the	18
i am not	18
from the piano	18
a great many	18
which is the	18
to do with	18
to play in	18
to become a	18
technic of pianoforte	18
to make it	18
up and down	18
the quality of	18
do not know	18
pianoforte playing series	17
the technic of	17
i believe in	17
is the best	17
piece of music	17
a new piece	17
the action of	17
well as the	17
questions in style	17
it is to	17
they are not	17
the effect of	17
more than a	17
and at the	17
to be able	17
it is difficult	16
of all the	16
the development of	16
the hand is	16
of the artist	16
seem to be	16
of the musical	16
at the beginning	16
with regard to	16
in the right	16
is not the	16
the practice of	16
it in the	16
the position of	16
as soon as	16
most of the	16
i have not	16
be played with	16
i have always	16
the principles of	16
more or less	16
the pupil is	16
at the time	16
to have a	16
a piece of	15
for me to	15
the number of	15
to be found	15
and i have	15
than that of	15
you have the	15
the same way	15
years of age	15
this is not	15
the age of	15
if you have	15
that is the	15
is difficult to	15
manner in which	15
of the teacher	15
of the player	15
to play it	14
the fingers are	14
to listen to	14
i could not	14
on the contrary	14
the hand and	14
for it is	14
for the student	14
is in the	14
that you have	14
the nature of	14
it was not	14
out of the	14
to the right	14
it seems to	14
in the case	14
of the student	14
that i am	14
work as a	14
knowledge of the	14
is a very	14
the beginning of	14
you wish to	14
ought to be	14
they must be	14
by means of	14
not to be	14
work of the	14
was born at	14
do you not	14
that you may	14
in the most	14
a long time	14
learn to play	14
would have been	14
you are not	14
of touch and	14
up to the	14
in the matter	14
hours a day	14
it has been	14
are to be	14
development of the	14
seems to be	14
of his own	14
nature of the	14
do you think	14
on the keys	13
in any other	13
been able to	13
it is necessary	13
the value of	13
technic of the	13
the pupil has	13
in such a	13
there must be	13
the hand in	13
a lack of	13
may be said	13
from the wrist	13
from the very	13
as you say	13
it does not	13
to see the	13
as far as	13
for him to	13
playing of the	13
it is quite	13
to bring out	13
it is very	13
the kind of	13
of the time	13
at that time	13
be found in	13
when i was	13
the interpretation of	13
there are many	13
and you will	13
of the keys	13
i have found	13
to go to	13
to those who	13
the music of	13
the little finger	13
in my own	13
to use the	13
what may be	13
use the pedal	13
must be a	13
so to speak	13
of the finger	13
from that of	13
have come to	12
to be the	12
so long as	12
more and more	12
conception of the	12
that they are	12
it is true	12
the importance of	12
to think of	12
are obliged to	12
training of the	12
the time of	12
the performance of	12
the character of	12
should be able	12
to play for	12
in the beginning	12
of a composition	12
the pedal is	12
you will be	12
style of playing	12
that you can	12
as i said	12
the idea of	12
i have heard	12
the place of	12
what i have	12
work with the	12
in new york	12
on the keyboard	12
in this country	12
can only be	12
all over the	12
come to me	12
with the greatest	12
the pupil to	12
the piece is	12
i feel that	12
of the two	12
think of the	12
the student to	12
the name of	11
the acquisition of	11
to the student	11
both hands together	11
point of view	11
if you will	11
is necessary to	11
i have no	11
before the public	11
the best way	11
of the notes	11
i have a	11
the question of	11
in the musical	11
and that is	11
be regarded as	11
in connection with	11
so that the	11
in the way	11
the manner in	11
of the modern	11
for the pianist	11
of this kind	11
to the keyboard	11
seems to me	11
of the future	11
the pupil should	11
for a time	11
he did not	11
any of the	11
to play them	11
me to play	11
how can i	11
a series of	11
the fingers must	11
to give a	11
in touch with	11
a knowledge of	11
the formation of	11
the manner of	11
all the time	11
even in the	11
is not to	11
the fingers and	11
there should be	11
of a great	11
on the pedal	11
of the world	11
in the study	11
is not so	11
a pupil of	11
to say that	11
he is a	11
but they are	11
the part of	11
the advantage of	11
do not think	11
is there any	11
i have made	11
the student is	11
that it was	11
so as to	11
for the most	11
in piano study	11
one or two	11
character of the	11
it is possible	11
if the student	11
he has been	11
in his own	11
the training of	11
note in a	11
lies in the	11
no matter how	11
to produce a	11
he was a	11
in the morning	11
to study with	11
do not believe	11
what i mean	10
and to the	10
of the same	10
in the piece	10
is apt to	10
which must be	10
depends upon the	10
be played in	10
to be learned	10
of time and	10
but do not	10
a good teacher	10
those who are	10
the course of	10
in which he	10
in other words	10
one who has	10
is so much	10
and i will	10
the work in	10
i should like	10
of the thumb	10
in addition to	10
which have been	10
of the art	10
principles of piano	10
is not a	10
if the pupil	10
the necessity for	10
as a virtuoso	10
should like to	10
was taken to	10
one of my	10
not seem to	10
may not be	10
i try to	10
a sort of	10
when they are	10
only a few	10
which it is	10
as a teacher	10
to my mind	10
a few of	10
to have the	10
of the child	10
one of his	10
with both hands	10
in the bass	10
fingers must be	10
are able to	10
literature of the	10
it can be	10
in the second	10
to be sure	10
play the same	10
to go through	10
a good deal	10
can be done	10
know how to	10
can never be	10
as much as	10
was able to	10
you may be	10
must be done	10
interpretation of the	10
for this reason	10
can play it	10
of such a	10
the names of	10
in the middle	10
down to the	10
how should the	10
play with the	10
in a flat	10
in playing the	10
this does not	10
that he was	10
that he had	10
would you advise	10
is the result	10
piano playing is	10
not only the	10
in these days	10
by all means	10
note of the	10
when i am	9
to do it	9
from time to	9
to get the	9
i have also	9
a short time	9
best way to	9
he has a	9
who have been	9
the first time	9
said to me	9
the studies of	9
but in the	9
that the piano	9
it is impossible	9
on the key	9
the great composers	9
and do not	9
of a fine	9
in your mind	9
the employment of	9
they may be	9
out of tune	9
of the new	9
two or three	9
for the last	9
time to time	9
the result is	9
the individuality of	9
it is always	9
bring out the	9
the pianist must	9
to do this	9
the fingers to	9
in that way	9
you can play	9
they should be	9
he must be	9
familiar with the	9
major and minor	9
play the piece	9
we do not	9
because it is	9
more than one	9
at the age	9
regard to the	9
on the subject	9
in a manner	9
i think that	9
of technical exercises	9
for the sake	9
with the great	9
you see i	9
with the most	9
if it were	9
to think that	9
of the best	9
and with the	9
the point of	9
but i have	9
to find the	9
to me the	9
as a matter	9
the most beautiful	9
i have had	9
it is in	9
the weight of	9
sense of hearing	9
interest in the	9
study of a	9
the pianist who	9
conference was conducted	9
the keyboard and	9
the soul of	9
the sake of	9
that there is	9
i have played	9
here and there	9
the beauty of	9
the three trifles	9
the construction of	9
that i can	9
in many cases	9
is the difference	9
of piano technic	9
the instruction of	9
the world of	9
is by no	9
so far as	9
does not mean	9
the keys with	9
is said to	9
which you have	9
he must have	9
art of singing	9
was conducted in	9
of the left	9
interpretation of a	9
the most part	9
of the orchestra	9
as a rule	9
this is a	9
the purpose of	9
when it is	9
would be a	9
i want to	9
of playing the	9
over and over	9
of piano study	9
the period of	9
as a pianist	9
it is of	9
hand and fingers	9
fourth and fifth	9
movement of the	9
he could not	9
for the first	9
at the very	9
side of the	9
have never been	9
is not necessary	9
it is also	9
for a long	9
sense of rhythm	9
is a little	9
say that the	9
to learn to	9
it was a	9
correct position of	8
the very beginning	8
the finger tips	8
is such a	8
at one time	8
should have a	8
hand in hand	8
of the keyboard	8
it is like	8
of the times	8
there is an	8
pupils who have	8
they seem to	8
of the many	8
in all the	8
my own playing	8
the following conference	8
of any kind	8
must be played	8
for i have	8
for which the	8
in music study	8
i am a	8
with the fingers	8
who do not	8
because of the	8
and try to	8
in the latter	8
of the performer	8
in this respect	8
a very good	8
the fifth finger	8
if he is	8
the scale of	8
is the greatest	8
the sense of	8
of their own	8
i have said	8
in the piano	8
i am in	8
of course i	8
the principle of	8
in the home	8
to improve the	8
if he has	8
there may be	8
and you must	8
it in a	8
we have to	8
side of piano	8
teacher of the	8
which can be	8
a great artist	8
will have to	8
it might be	8
i had been	8
the piece in	8
why does she	8
which is not	8
the leschetizky method	8
the literature of	8
to develop the	8
which is a	8
upon the keys	8
to me that	8
is the meaning	8
the first note	8
that the pupil	8
advise you to	8
of the right	8
of the famous	8
the amount of	8
a means of	8
should be played	8
even with the	8
difference between the	8
the work as	8
that when i	8
following conference was	8
do not mean	8
to the pupil	8
i find that	8
that he has	8
the difference in	8
of his time	8
what to do	8
and fifth fingers	8
as i do	8
a certain amount	8
do with the	8
the greatest possible	8
the aid of	8
more than the	8
in the next	8
the piano as	8
one of these	8
must learn to	8
the head of	8
play the piano	8
play for people	8
and with a	8
as one of	8
relation to the	8
notes of the	8
touch and tone	8
with a loose	8
incorrect position of	8
in a certain	8
performance of the	8
seem to have	8
as if it	8
not at all	8
the same in	8
of the other	8
of the different	8
touch with the	8
as a composer	8
of the past	8
beginning of the	8
three or four	8
of the works	8
it is often	8
if you are	8
to the highest	8
that the student	8
the way of	8
for two years	8
must not be	8
all sorts of	8
understanding of the	8
to the other	8
of the russian	8
not so much	8
to the world	8
will be able	8
and minor scales	8
to do so	8
the student must	8
weight of the	8
in the music	8
the best results	8
of my own	8
with all the	8
can make a	8
in a very	8
to study the	8
be studied in	8
such as the	8
would not be	8
is a good	8
the next lesson	8
that he is	8
comes to me	8
to play at	8
could not be	8
of which i	8
that i was	8
the pupil who	7
with the best	7
the execution of	7
the home of	7
of the present	7
study of music	7
have in mind	7
of the little	7
of the old	7
the lack of	7
has been my	7
the piano has	7
be said that	7
i went to	7
as you see	7
hand is in	7
in the air	7
take the place	7
is the one	7
this can be	7
it is this	7
and for the	7
nothing more than	7
is not only	7
to the point	7
for some time	7
a loose wrist	7
order that the	7
should never be	7
to play this	7
there can be	7
the nail joint	7
that which is	7
as for the	7
the present time	7
for those who	7
at all times	7
in the manner	7
i have already	7
be allowed to	7
the two hands	7
in the mind	7
in his work	7
how do you	7
i have often	7
should be no	7
there is so	7
of a new	7
the first and	7
so that i	7
i have done	7
sense of the	7
a multitude of	7
for the pupil	7
of my pupils	7
in the art	7
in a composition	7
so that you	7
of the tones	7
with the pedal	7
necessary for the	7
go through the	7
it to be	7
the career of	7
the basis of	7
play it in	7
he is not	7
they have not	7
to work up	7
that they do	7
a variety of	7
lessons a week	7
this may be	7
over the world	7
to the end	7
of the day	7
to recognize the	7
go to the	7
the ear is	7
can be made	7
work in hand	7
from the shoulder	7
to see that	7
and the same	7
construction of the	7
in which they	7
that i could	7
they will be	7
there are so	7
the way to	7
do not be	7
is to play	7
of the violin	7
to the first	7
is the use	7
of the body	7
all of the	7
the piano was	7
now we will	7
amount of time	7
please tell me	7
under the instruction	7
that i may	7
the great master	7
time to the	7
soon as the	7
arms and wrists	7
but at the	7
aus der ohe	7
matter of fact	7
of the metronome	7
with the same	7
you will have	7
after the first	7
to my own	7
with a certain	7
the one who	7
can play a	7
that they have	7
that there are	7
who are not	7
more difficult to	7
position of hand	7
piano is a	7
to it that	7
is only one	7
with which the	7
of the soft	7
the key of	7
i may say	7
is able to	7
that of a	7
the printed page	7
good fortune to	7
not believe in	7
so much to	7
men and women	7
to produce the	7
be one of	7
each hand alone	7
as they are	7
the teacher should	7
is of the	7
a beethoven sonata	7
should be the	7
of the interpretation	7
of the compositions	7
the process of	7
and that they	7
that you are	7
a beautiful tone	7
the advice of	7
as i am	7
of the word	7
he made his	7
is that of	7
matter of the	7
his father was	7
manner of teaching	7
given to the	7
close to the	7
in a way	7
the only way	7
are so many	7
the compositions of	7
the pedal for	7
to that of	7
pianist and teacher	7
and not to	7
be said of	7
of the subject	7
as long as	7
with the hand	7
to teach the	7
a few years	7
as an artist	7
the very first	7
play a few	7
and some of	7
the fourth and	7
much of the	7
shall not be	7
director of the	7
i wish to	7
hands and fingers	7
is it not	7
the selection of	7
work up a	7
there is something	7
be made to	7
if you were	7
because they are	7
in spite of	7
from the instrument	7
to give the	7
most difficult of	7
how it is	7
acquainted with the	7
it is an	7
have to be	7
a man of	7
said that the	7
of all instruments	7
of the technic	7
and that the	7
to a certain	7
in most cases	7
as if you	7
case of the	7
the first place	7
i did not	7
is a matter	6
one must be	6
be a little	6
play in the	6
for the development	6
as it were	6
which has been	6
of your technique	6
the wrist is	6
to be used	6
hour a day	6
and if you	6
of the pianoforte	6
you ought to	6
in tone production	6
and it was	6
to reach the	6
of any other	6
and if the	6
a little more	6
i have just	6
any other instrument	6
through the piece	6
i began to	6
with the utmost	6
upon the subject	6
the pieces you	6
such pieces as	6
all these things	6
in the end	6
think that the	6
the knowledge of	6
can do this	6
you must have	6
that i had	6
a few times	6
should be so	6
that they will	6
pianists and teachers	6
certain amount of	6
is not an	6
and vice versa	6
not think that	6
the movement of	6
must be the	6
in your playing	6
soul of the	6
at the conservatory	6
upon the keyboard	6
will tell you	6
who has been	6
at the present	6
he went to	6
to be considered	6
is liable to	6
is one thing	6
method of playing	6
are willing to	6
and from the	6
world of music	6
who have come	6
a succession of	6
the whole thing	6
of your own	6
the great masters	6
i can say	6
to the work	6
some of his	6
and that i	6
the piano in	6
as it should	6
you should not	6
in pianoforte playing	6
now before the	6
i can only	6
these are the	6
it is all	6
kind of touch	6
it is just	6
is the same	6
the sound of	6
came to the	6
is that the	6
all kinds of	6
of the master	6
he has no	6
of the mind	6
scale of c	6
the major and	6
seemed to me	6
when you have	6
the form of	6
to the pianist	6
is it to	6
with such a	6
it was my	6
the united states	6
to the musical	6
i was taken	6
due to the	6
the composer has	6
to make music	6
to form a	6
and the final	6
to hear the	6
find that the	6
played in the	6
the danger of	6
which he has	6
as to be	6
the pupil must	6
it is easy	6
are apt to	6
how may the	6
that i should	6
what do you	6
among other things	6
beauty of the	6
that is not	6
that i would	6
that is a	6
for a little	6
you ask me	6
by this i	6
between the lines	6
little or no	6
if it is	6
of great importance	6
if one is	6
the feeling of	6
it with the	6
way to play	6
until you have	6
in the course	6
and the way	6
which the composer	6
but you must	6
works for a	6
do not have	6
mind of the	6
is only to	6
at a table	6
kind of study	6
play for me	6
teacher in the	6
to keep the	6
be taught to	6
b flat minor	6
in the treble	6
did not have	6
while in the	6
a piece in	6
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how much you	5
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two years later	5
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very early age	4
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position and condition	4
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under the hand	4
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the international pitch	4
perfectly even scale	4
that many of	4
ferruccio benvenuto busoni	4
a piano recital	4
music schools and	4
i have in	4
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fannie bloomfield zeisler	4
records of the	4
the bass part	4
touch the keys	4
of musical history	4
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the old world	4
subject of touch	4
between major and	4
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in every way	4
the very start	4
chopin and liszt	4
on a piano	4
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of the pianists	4
study of musical	4
to employ the	4
this side of	4
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the fingers of	4
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the human voice	4
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time and time	4
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two grand pianos	4
every note must	4
playing the piano	4
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the suggestion of	4
in studying a	4
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when a new	4
from every other	4
because they have	4
without the aid	4
conditions in america	4
know the laws	4
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upon the pedal	4
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sound like a	4
the purely technical	4
play a great	4
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the best that	4
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in the present	4
eight hours instead	4
teacher and student	4
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lead to no	4
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difficult to play	4
last note of	4
at a high	4
when listening to	4
hand in the	4
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transposing at sight	4
with each other	4
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the great masterpieces	4
all the notes	4
friend of the	4
listening to a	4
the feelings of	4
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written for the	4
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the moment of	4
compared with the	4
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the other fingers	4
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kind of technical	4
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the time is	4
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played the piano	4
the tonal picture	4
me in the	4
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composition should be	4
subject of technic	4
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a piece is	4
scales in all	4
to be developed	4
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the skipping bass	4
the student working	4
evolution of the	4
was at the	4
that the hand	4
in the new	4
give me a	4
they could not	4
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exercises in the	4
my studies in	4
it to the	4
is to have	4
to the best	4
to realize that	4
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he gave me	4
execution of the	4
student who cannot	4
to study a	4
the requirements of	4
the time being	4
what i am	4
the very essence	4
the production of	4
such a thing	4
be familiar with	4
the author of	4
of the reasons	4
a new pupil	4
who wants to	4
that the work	4
a few months	4
do not require	4
worked out in	4
i ought to	4
all the great	4
has been able	4
the best teachers	4
arm and wrist	4
prelude and fugue	4
auxiliary note in	4
to the general	4
of the latter	4
material side of	4
master of the	4
made in the	4
the fingers is	4
by and by	4
the medium of	4
the muscles of	4
the damper pedal	4
and the playing	4
of any of	4
i like it	4
and the pupil	4
in accordance with	4
is like a	4
of the czerny	4
with the technical	4
to another teacher	4
the work is	4
a very great	4
the state of	4
of hand position	4
well as in	4
the edge of	4
the stage of	4
hear a great	4
the young virtuoso	4
than any other	4
of light and	4
never seem to	4
and the next	4
he comes to	4
those things which	4
the keynote of	4
a player who	4
but when i	4
i should advise	4
in the future	4
study of harmony	4
he is doing	4
of his musical	4
there is but	4
he did it	4
is made to	4
the last one	4
to enable me	4
the piano or	4
i am obliged	4
the general public	4
music be studied	4
the history of	4
way in which	4
the young lady	4
his work as	4
the want of	4
one after the	4
is only the	4
an expression of	4
he may be	4
he had a	4
before studying it	4
with a great	4
in one of	4
is nothing more	4
in the day	4
so much and	4
johann sebastian bach	4
the means of	4
that is what	4
the mechanical powers	4
take up the	4
was a pupil	4
is the case	4
and the piano	4
as it would	4
to the voice	4
order that you	4
the difficult places	4
sits at the	4
the degree of	4
mean to say	4
must be acquired	4
do you consider	4
the future of	4
four or five	4
of course a	4
you must take	4
of the water	4
variety of touch	4
she would have	4
the pupil in	4
i am playing	4
i know the	4
of this sort	4
you will come	4
do not wish	4
nearly as possible	4
of their art	4
five years of	4
it on the	4
the best method	4
that a pianist	4
lind and henrietta	4
have had the	4
in the shortest	4
be applied to	4
is that they	4
was a great	4
greatest of all	4
you are to	4
do not use	4
to determine the	4
he would have	4
the material side	4
not be too	4
make a great	4
piece as a	4
not realize that	4
he has done	4
of the foot	4
different from that	4
sonatas of beethoven	4
i was told	4
of one of	4
duple time against	4
in german and	4
only in a	4
way to work	4
i should play	4
order of studying	4
the evolution of	4
fact that he	4
students of the	4
we can make	4
reference to the	4
because they were	4
arched hand and	4
not give the	4
be sure to	4
will find it	4
the piano of	4
have learned to	4
order to bring	4
permitted to play	4
number of years	4
you advise me	4
there are no	4
to accompany at	4
and smoothness in	4
that they can	4
has to do	4
will be the	4
to discover the	4
in the performance	4
formation of a	4
anyone who has	4
as an avocation	4
in the olden	4
and tone color	4
and he will	4
hand by stretching	4
have the same	4
with the idea	4
time is not	4
it cannot be	4
is such an	4
to play all	4
all idea of	4
a really great	4
students and teachers	4
it should always	4
the latter is	4
of what i	4
as a piano	4
success in public	4
dominant and sub	4
very essence of	4
the piano a	4
from the arm	4