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Les diagrammes suivants iliustrent la mithode. rrata ;o DBlure, 1 d D 32X 1 2 3 1 2 3 4 5 6 I k^.. f- j fc A^ it | i>^^^jii4Ai Ai>AAA iAIU^AJjMMia^ ■* 4 4 * 4 4 < 4 4 4 i 4 4 4 4 4 4 4 4 4 4 I" < 4 CANADIAN COPYRIGHT EDITION. j. |. 1. |rinttt| |onfe% ^a)[ittonM| of ||«ti<. A FIRST BOOK OJT."^H»-' THE GET O 4 4 4 4 4 4 4 4 4 4 X 4 3 BY LOUISA GIBSON, Professor of Harmony and the Pianoforte. «i w»v y i ; |i-- ' rf ' ' ly . ' , *8'? r.,, ,» ^ tmm l0t0ttto : ttOs^i^.T^W \^J\ \ nRT.ISHING COMPANY TI'Tlf^ i MUCCX^iLXXIX. If ► > * rr»f v > Jr R s R R N _ff _B _fi < A -1 ^ 1^ 1^ 1^ ,.l 1 ,„ r s s — ^—^- f(\\ m a m S m V ; "What is the effect of a dot after a rest ? A dot placed after a rest increases its value in the same proportion as the note represented by such rest, thus : — equal to ■F--^ In very old music the dot is sometimes placed in the bar following that containing the note to which it belongs ; and sometimes even a note is divided by a bar-line, thus : — Old Notation. fe^^^lE^ -«S>- ix- Modern. rf g gga^ag ggg -^^ \^^r2- ^-^:\ •r* 29 CHAPTER IV. Position of the Hand and Arm, &c. 6k- What is the proper position for a pupil at the piano ? The pupil, however young, should always be seated when playing, and the seat should be suffi- ciently high for the hand to be a little above the keyboard. How should the hand and arm be held ? The hand and arm must be straight from the elbow to the middle joint of the fingers, particular attention being naid to the wrist, which must always be on a level with the arm and hand, and should never be either raised or lowered when the fingers move. Why should the fingers be bent at tho middle joint ? The fingers should be bent at the middle joint in order to bring the tips even with the thumbs. 30 CHAP. IV. — POSITION OP THE HAND AND ARM, &C. Should the fingers be rounded ? No ; nothing spoils the touch of a pianoforte player so much as the habit of rounding the fingers, which is naturally acquired by every beginner if not carefully watched by the teacher. What is mt'ant by rounding the fingers ? When the fingers are bent at the third joint as well as at the second ; the fingers must be, so to speak, square — that is to say, rather indented at the third joint instead of being curved outward* What is the objection to rounded fingers ? When the fingers are curved outwards from the third joint, the key is generally struck by the nail instead of by the soft part of the finger. Why should the key be struck by the soft part of the finger ? When the key is struck by the nail, the finger easily slips from it, and it is then impossible to obtain a smooth or firm touch ; but when, by in- denting the third joint, the soft part of the finger touches the key, the player acquires perfect com- mand over the note, and can either retain or modify the sound to any extent. Should the fingers be kept yery close together ? When properly placed on the keyboard the knuckles will naturally separate a little. All stiff- ness must be carefully avoided. 1^ CHAP. IV. — rOSITION or THE HAND AND ARM, &C. 31 % How many keys should be covered by the hand ? Five; each finger being placed in the centre of a note, and as near as possible to the black keys, so that tliey may be reached with the least possible movement of the hand ; care must be taken when striking a note, not to move the other fingers. Tl;is is difficult for beginners, but should be accomplished by frequently playing finger exercises (Herz's recom- mended). Each note must be kept down until the next be struck, and then raised immediately. What is the best method of producing flexibility in the fingers ? Each finger must be made to work separately and independently of all the others. When practising, the finger, before touching the key, should be raised and extended as much as possible, the key should then be pressed and the finger gradually drawn back. Why is this movement so important ? The effort required to raise and extend the fingers naturally strengthens them, and it is this constant exercise of the muscles which alone can give the fingers power and independence. How is the wrist to be strengthened ? As soon as the hand can grasp an octave, the pupil should be made to practise octave passages daily, carefully raising the hand (not the arm) 32 CHAP. IV. — POSITION OF THE HAND AND ABM, &0. before striking each octave. Without this move- ment of the wrist little good is obtained from the practice of octaves. What object is gained by raising the hand from the wriat ? The wrist becomes strong and pliant, and rapid octave passages are easily performed without fatigue. The movement from the wrist also prevents that very undesirable movement of the arm and shoulder, 80 often observable even in advanced players. ^ 33 II ii CHAPTER y. Time. What is moant by time in music ? Time is the division of music into equal parts. How is music divided ? By short lines called bar-lines drawn across the staff. The music between these lines is called a bar or measure^ and each bar throughout the piece must contain the same number of minims, crotchets, quavers, or semiquavers, or their equivalent in other notes or rests. How is the position of these bar-lines determined ? By the accents. (See chap. VI.) How is time marked ? By means of figures, or a Q (originally a semi- circle) placed at the beginning of every piece of music. 84 OHAP. T. — TIME. Explain the meoniug of figures with regard to tima Two figures are required to indicate the time, in music : the lower figure always represents the divi- sion of a semibreve ; therefore, the figure Q, repre- sents the half of a semibreve, that is — a minim ; the figure 4, represents the fourth of a semibreve, that is — a crotchet ; the figure 8, represents the eighth of a semibreve, that is — a quaver ; the figures 16, represent the sixteenth of a semibreve, that is — a semiquaver ; the upper figure shows how many of these notes there are in a bar. How many sorts of time are there ? Two — common time and triple ti7ne» Explain the difference between common time and triple time. Common time always contains an even number of heats or parts, (in modem music) — two or four, in a bar. Triple time contains an uneven number of beats, — three, in a bar. How are common and triple time both divided ? Common time is divided into simple and com- pound common time; and triple time is divided into simple and compound triple time. Common time is also called duple when the bar contains two beats, and quadruple when the bar con tains iour ueatSt 1 CHAP. V. — TIME. 85 What is the difference between simple time and compound time? Time is called simple when the value of each beat is a simple note, that is— a minim, a crotchet, &c., thus: — ^ indicates two beats, each of one crotchet, in a bar; § indicates three beats, each of one crotchet, in a bar. Time is called compound when the value of each beat is a dotted note (compounded of three simple notes), thus: — £, indicates two dotted minims (six crotchets) in a bar : ^, indi- cates three dotted minims (nine crotchets) in a bar. Common Time. irow is simple common time marked? Simple common time is marked (in modern music) I'yC^orl-.lorliCorl. Explain the meaning of (n o^ q* When simple common time is marked (^ or g- each bar contains two beats, and the value of each beat is a minim, or its equivalent in other notes or rests. This kind of time is called " alia hreve^^ or ''tempo a capella,^^ and is much used in Churcli music. The old alia breve, four minim bar, also sometimes marked C' ^^ (B> ^^ seldom used in modern music. Music marked (jj is played much quicker than when marked Q, ) 83 CHAP. V. — TIME. P K Counted as two minims. X 2 Q :^ -^' h m Counted as two minima, 3 Explain the meaning of ^ Whej simple common time is marked ^ each 4' bar contains two beats, and the value of each beat is a crotchet, or its equivalent in other notes or rests. Counted as two crotchets. Explain the meaning of O or -j- When simple common time is marked Q or ^^ each bar contains four beats, and the value of each beat is a crotchety or its equivalent in other notes or rests. \ 2 -S v-ounLcvA a,6 tour erotciiCLS. CHAP. V. — TIME, 87 3 J 1^1^ t Counted as four crotchets. Simple common time marked ^, is very rare Compound Common Time. How in compound common time marled ? Compound common time is marked by 0, 13, oi nA u 6 C> ]Q 12 12 534 Explain the meaning of ^^ ^ • • (^ When compound common time is marked ^^ each bar contains two beats, and the value of each beat is a dotted minim, or its equivalent in other notes or rests. '-pi- t Counted as two dotted minims. Explain the meaning of tj. When compound common time is marked -g^ pqoV. Vvqr n/M^+oina fwA lipnfs. and thft valne of each aSCWSWmCJH ; 38 CHAP. V. — TIME. beat is a dotted crotchet, or its equivalent in other notes or rests. ^^^M Counted as two dotted crotchets. Explain the meaning of ^l^ lb* When compound common time is marked T?r each bar contains two beats, and the value of each beat is a dotted quaver, or its equivalent in other notes or rests. 2 Explain the meaning of Counted as two dotted quavers. 19 8- When compound common time is marked 12 each bar contains four beats, and the value of each teat is a dotted crotchet, or its equivalent in other notes or rests. Counted as four dotted crotchets. ; CHAP. V. — TIME. 39 Explain the meaning of s-tt. When compound common time is marked j^^ each bar contains four beats, and the value of each beat is a dotted quaver, or its equivalent in other notes or rests. 1 \, Counted as four dotted quavers. Compound common time, marked '^, containin four dotted minims, and '^, containing eight dotted quavers, are seldom used in modern music. Triple Time. How is simple triple time marked ? Simple triple time is always marked 3, as — 8 a 3. 3' 4' S 3 Explain the meaning of ^, When simple triple time is marked g, each bar contains three beats, and the value of each beat is a minim, or its equivalent in other notes or rests. 12 3 1 A ^ :ri . — . — I — f.™_ Counted as three minims. 40 CHAP. V. — TIME. 3 I, Explain the meaning of ^^ When simple triple time is marked §, each bar contains three beats, and the value of each beat is a crotchet, or its equivalent in other notes or rests. Counted as three crotchets. 3 Explain the meaning of H, When simple triple time is marked g, each bar contains three beats, and the value of each beat is a quaver, or its equivalent in other notes or rests. --^ft^- Counted as three quavers. Compound Triple Time. How is compound triple time marked ? Compound triple time is always marked by 9, 4' B' 16*. m r CHAP. V. — TIME. 41 y \. 9 Explain the meaning of ^ When compound triple time is marked |^ each bar contains three beats, and the value of each beat is a dotted minim, or its equivalent in other notes or rests. Counted as three dotted minims. 9 Explain the meaning oi, g^ When compound triple time is marked g^ each bar contains three beats, and the value of each beat is a dotted crotchet, or its equivalent in other notes or rests. ^^Wi Counted as three dotted crotchets. 9 Explain the meaning of apw^ When compound triple time is marked j^^ each bar contains three beats, and the value of each beat r 42 CHAP. V. — TIME. is a dotted quaver, or its equivalent in otlier notes or rests. a' S^ 3 zifi Counted as three dotted quavers. (The 2>upil should tvrite examples of the different sorts of time, and explain them, — whether common or triple, simple or compound, duple or quadruple. The author also strongly recommends the pupil to use Dr. W. H. Longhursfs Slate Exercises when studying the above cJ ipter.) i CHA.P. V. — TIME. 43 i TABLE OF TIME SIGNATURES. Signature. No., of beats. Value of beat. Signature. No. of beats. Value of boat. Simp le Com mon. Compo und Co mmon. • d^'-i 2 cJ 6 1 2 c/ • •1 ft 4 2 J 6 2 1 — 2^ 8^ 2 s 6 16 2 4 ^ c 4 ^ fi cl • 1- 4 4 4 1 ^ 4 • 1 IQ 16 l6 1 4 8 Sim pie Tri pie. Comp omid T riple. 3 3 1 1 3 C • 3 4 3 9 8 3 1 #1 • 1 1 3 s ^ 3 J\ u i mi rif i CHAPTER VI. Notes, Eests, Accent, &c. Wtich is the longest note ? The semibreve is the longest note used in modern music. Why then is it called the semi, or half, breve? There were formerly three notes of greater value n t=i than the semibreve : the large, the long, and the breve, \ZZ\ '"^ IMI 5 and these notes had the same relative value as the shorter ones ; then came the semi breve, minim, crotchet, &c., &c. Some of these notes may still be seen in old Church music. In the old alia breve time, each bar contains the value of one breve or two semibreves. Is the demieemiquaver the shortest note in use ? No ; there are two shorter notes occasionally used, namely — the semi-demisemiquaver, the stem of i '■•' CHAP. VI. — NOTES, RESTS, ACCENT, &C. 45 which takes four strokes — K and which is equal to one half of a demisemiquaver ; and the demi-semi- demisemiquaver, tho stem of which takes five strokes — § and which is equal to one quarter of a J" demisemiquaver. Eests representing these notes are made respectively with four and with five 9 crooks turned to the left — fl a Rests How should a rest for a whole bar be marked ? A rest for a whole bar is always made like a semibreve rest, whether the time be common or triple. I :eb^e How are rests marke(i for more than one bar ? A rest for two bars is marked by a thick stroke from one line to the next. A rest for four bars is a stroke from one line to the next but one. X I 46 CHAP. VI. — WOTES, RESTS, ACCENT, &C. Some old writers also represent rests for six and even eight bars as below ; but a figure is generally placed over such bars, and when a large number of bars are to be counted and not played, figures only, or figures with dashes across the staff, are often used. thus : — How should a rest for several bars be counted ? Instead of commencing each bar by saying one, the number of each successive bar should be named ; a rest for six bars should be counted thus ; — One, two, three ; Two, two, three ; Three, two, three ; Four, two, three ; Five, two, three ; Six, two, three* Tkiplets. What is meant by a triplet ? A triplet in music means that three notes are to be played and counted as two notes of the same kind, thus : — a triplet of quavers would simply mean that -U CHAP. VI.— NOTES, BESTS, ACCENT, &C. 47 tliree quavers, instead of two, are to be played to a crotchet. How is a triplet marked ? A triplet is generally, but not always, marked 3 with a curved line over or under it, thus— '3^' ^« Are more than three notes ever treated in this way ? Yes ; sometimes six notes are treated as four, and in that case a 6 and a curved line are placed over or under the notes, thus— 6 , ^. ^ /^ SE^E^^ izd: m Are notes ever divided in any other manner ? Yes ; almost any number of notes may be occa- sionally played to a crotchet or a quaver, &c. ; such notes ol course xusc Kucii ^^^s^'- '"-^^^-7 "' ' 1. 1 V 48 CHAP. VI. — NOTES, BESTS, ACCENT, &0. arc generally marked with a figure denoting their mimber, thus : — Accent. What is meant by rhythm in music ? Rhythm is the arrangement of musical ideas with regard to time and accent. What is meant by accent in music ? Accent in music implies that a particular stress is to be laid on a certain note. Where should the accent fall in common time ? In simple common time, when duple, the first beat only is accented in each bar ; when quadruple, the principal accent falls on the first beat, and a second- ary accent or the third beat in each bar. In compound common time, the principal accent falls on the first beat, and a secondary accent on each of the other beats ; but in quadruple time the third beat is more strongly accented than the second or fourth beat. CHAP. TI.— NOTES, BESTS, ACCENT, &0. 49 Where does the accent fall iu triple time ? In simple triple time, the first beat only is accented. In compound triple time the principal accent falls on the first beat, and a secondary accent on each of the otlier two beats. o Explain the difference betwo' n time marked ■^, and that marked S^ as in both cases the bar may contain six quavers. o The figures ^j indicate three beats and one accent in a bar ; the figures ^, indicate two beats and two accents in a bar. (See Examples chap. V.) Poes not the accent sometimes fall more frequently ? Yes ; for example, in simple time the accent may fall on every crotchet in time marked (3, t or ^ &c., but in that case the crotchet is subdivided into notes of less value, and these additional accents are indicated, in instrumental music, by the division of the notes into small groups tied togetlier. The prin- cipal accent, however, always falls on the first beat in each bar. In vocal music the note or notes of each syllable are detached. In chap. V. the principal accents are marked^ thus : — A, and the secondary accents, thus : — :>. What is emphasis ? Emphasis is a stress placed on an unaccented part of ihQ bar to produce a particular effect. ^ i 60 CHAP. VI. — FOTES, BESTS, ACCENT, &0. What is syncopation ? Syncopation, from ovv Kcmro) (sun kopto) to cut off with, is the sounding a note op an unaccented or weak par^ of a bar and prolonging it over the next accented or stronger part of the same bar, or even of the next bar. Example : — '-^~ -Jdr loL i :p: :2d: :^ M A whole phrase is sometimes syncopated, thus :- > > > > > > > ¥ :p ?^^ w ^ n CHAPTER VII. Double Bars, Da Capo, Pause, 8va, &c. Why are double bars used in music ? Double bars are used to indicate either the con- clusion of the piece, or of some particular part of the piece. Why are dote sometimes placed before or after the double bar? Dots placed before a double bar indicate that the music is to be repeated from the beginning, or from some previous double bar. _ Dots placed after a double bar indicate that the music is to be played as far as the next double bar, and then to be repeated from that place. 52 OHJLP. VII.— DOUBLE BARS, DA CAPO, PAUSE, 8VA, &0. Whj are the figures 1 and Q. with a curved line, sometimes placed at a double bar ? 1 Q The figure 1— indicates that when playing the music for the first time, the bar or bars marked 1, should be played ; but when repeating the music, the bar or bars marked 2 — should be played, and those marked 1— should be omitted. What is the meaning of " da capo "? " Da capo,^ or D.C., means that the music is to be repeated from the beginning. What is the meaning of :j§' ? The sign .g- indicates that the music is to be repeated from the first :jg:. The words '' dal segno " mean from the sign. What is the meaning of " da capo al segno ? " These words are used when the .^- is placed very near the beginning of the piece, and mean — near the beginning at the sign. What is meant by a pause, thus — ""T^ ? A pause is a lengthened rest or repose. What is the meaning of a pause over a note ? A pause over a note indicates * that it should be prolonged or 1^ 1 CHAP. A^II. — DOUBLE BARS, DA CAPO, PAUSE, 8VA, &C. 53 1 held down longer than its actual value. A crotchet with a pause, is generally played ap a minim, and a minim with a pause, as a semibreve ; but the length of the note is left entirely to the taste of the player. What is the moaning of a pause over a rest ? A pause over a rest, thus — — ' - has the same meaning as a pause T" _ZI over a note ; only instead of keeping the finger down, it is to be raised from tiie key. What is the meaning of a pause placed oyer a double bar ? A pause over a double bar, thus — ZIZZ * signifies that the piece is to end — HH there, after the "c2a capo,''* Sometimes the word ^\fine " (or " alfine ") is used instead of a pause at a double bar. What is the meaning of 8m when piaced over or under music? Ottava, alta, or Sva means that the music is to be played an octave higher. Sva" ^gg,- p4 -ti ^^ Written. Played. When octava bassa, or Sva is written under a passage, the music is to be played an octave lower ¥ H I 54 CHAP. VII.— DOUBLE BARS, DA CAPO, PAUSK, 8VA, &C. than written. The figure 8, or 8ve under music, indicates that the octave bcloiv is to be added to the note or passage. _^ritten.__Pla,yed. Written. Played. 8t'a bassa. ~'d0' 8. ^-<^ What is the meaning of the word loco ? Loco (meaning «at the place") contradicts the 8va, and means that the music is no longer to be played an octave Iiigher or lower. Loco. Sva : -m~ -f^ — m • -F— • -f— ^J m What is the object in using 8m ? It simplifies music by avoiding the use of a great number of leger lines, which are somewhat difficult to read at sight. What is the meaning of a direct av sometimes marked at the end of a page, thus : — The direct w is used to indicate the first note on the following page. This character is seldom used in modern music* 56 CHAPTER VIII. Legato, Slur, Tie, Staccato, Chord, Arpeggio, &c. What is meant by playing legato ? Legato signifies a smooth, connected style of play- ing, each note being carefully kept down until the next be struck. Is any particular sign used to indicate the legato passages ? Yes ; the slur. What is a slur ? A slur is a curved line, thus — ^ ^-- ^ used in music to indicate a smooth style of playing. X-" ^^E^: flow are notes played when two only are marked with a slur ? i ^ t m 'M 56 r II' I*' CHAP. VIII. — LEGATO, SLITB, TIE, STACCATO, When the slur is marked over two notes only, the first is to be accented and held down, and the second is to be played staccato and unaccented, thus : — P :t==t: ^ Is this curved line --— ""■^^*<.-.— ^ always called a slur ? No ; it is sometimes called a tie or bind. Explain the tie or bind. A tie is made like a slur, the distinction being, that— -whereas a slur may be placed over or under several different notes, the tie is placed over two notes of the same name. The first only is struck, but it is leld down the full length of both notes. Written. Played. Staccato. What is meant by playing staccato ? The word staccato indicates that the notes are to be played short, distinct, and separated from each other. CHORD, ARPEGGIO, &0. 57 now are notes marked when they are to be played staccato ? Either with round dots or pointed dashes. Explain these dots and dashes. Dots placed over or under notes indicate that they are to be played moderately staccato ; when pointed dashes are used, the notes are to be as short and crisp as possible. (Dashes somewhat similar to these are used by some old writers instead of :> or A to indicate an accent, but such dashes are very rarely met with.) • • • • • ^ ^ • • g • ^ r \ ~'f \ ' I * I -! — h^-h-h- 1 r I ^ = — How are these marks sometimes modified ? By a slur added to the dots ; and when such marks occur together, the notes, although separated, must be played with the least possible movement of the fingers. This is called slurred staccato. Tl m ^ 68 CHAP. VIII. — LEGATO, SLUB, TIE, STACCATO, I I Chord, Arpeggio. What id a chord ? A chord is the union of several sounds heard at one time. What is an arpeggio ? An arpeggio is a spread or broken chord. When the chord is written with a curved or waved Line placed at the side, the notes are to be played as quickly as possible one after the other, beginning with the lowest. Are all arpeggios to be played as quickly as possible ? No ; the chord is sometimes broken to form an accompaniment ; it is then written, thus : — Why are notes sometimes written as semibreves or minims with the stem of a quaver, semiquaver, or demisemiquaver ? CHOED, ARPEGGIO, &0,. 59 They indicate a contraction, and when written as above, the notes with a quaver stem should be re- peated eight times, because a semibreve is equal to eight quavers; the notes with a semiquaver stem should be repeated eight times, because a minim is equal to eight semiquavers ; and the note^ with a demisemiquaver stem should be repeated sixteen times, because a minim is equal to sixteen demi- semiquavers ; composers however frequently write music in a contracted form, thus : — Written. Played. #e ;=a ^^1 As there cannot be sixteen quavers in a bar of C time, when written as above, only the number of notes which make up the bar, must be played. >:. ^ i 60 CHAPTER IX. The Appoggiatuea, Acciaccatura, Turn, Shake. What is the appoggiatura ? The appoggiatura from ^' appoggiare'^ to lean, implies a note on which particular stress should be laid. How ia the appoggiatura written ? The appoggiatura is generally written, as a small note placed before a principal note, from which it takes half the value. The appoggiatura should be written of the length it is intended to last ; for instance, a crotchet before a minim ; a quaver before a crotchet. (1) (2) (1) (2) w ntten. Played. CHAP. IX. — THE AFPOGGIATUHA, &0. 61 It will be observed in the above example that the small note is played as written, namely — a crotchet (1), and a quaver (2). How is the appoggiatura played when placed before a dotted note? When placed before a dotted note, the appog- giatura generally takes the value of the principal note, tind to the principal note is given the value of the dot. Written. ^ Played. Sometimes however in a slow movement it would be tedious to prolong the appoggiat-ura ; hence the importance of writing the small note the length it is intended to last. When two bmall notes art placed before a principal note, how are they played ? When two small notes are placed before a prin- cipal note, they have no determined value, but are usually played short. They may be written in various ways. 62 f k CHAP. IX.— TllE APi'UUUIATUllA, When a smaU note is placed before a chord, how is it plajed ? When placed before a chord, the small note dis- places the upper note of the chord, and is played thus : — Written. Played. ACCIACCATURA. What is the acciaccatura ? The acciaccatura, from « acciaccare " to ci^ush, is also a small note placed before a principal note ; but it should have a dash across the hook of the stem, thus— ^^, to distinguish it from the appoggiatura. '^he acciaccatura is played so closely to the principal note, that the two are almost, but not quite, played together. Are the appoggiatura and acciaccatura always written ns described above ? No ; mode/n composers usually write the appoggia- tura (or accented note, not belonging to the har- mony), as a large note, and take its value fiom tlie principal no^^e ; so that the acciaccatura is really the ACCIACCATUBA, TURN, SUAKt). 63 II only small note now used, except in the works of the old masters. The acciaccatura however is fre- quently erroneously called an appo^giatura, and modern engravers, disregarding the distinction between them, print the one for the other. It is, therefore highly important that every musician should fully understand the difference between these grace notes. TUBN. What is the turn ? The turn is composed of three notes — the prin- cipal note, the note above, and the note below the principal note. How is the turn marked? The turn is marked thus — f^, but sometimes it is expressed in notes. $ ^ w=i^- Should the notes forming a turn be at the distance of a tone or a semitone from the principal note ? The notes used to form a turn must depend upon the signature. Three different notes or degrees must be used as above — D, C, B. When accidentals are required to form the turn, how are they written ? ^!' Hi A i 64 CHAP. IX.— THE APPOOdUTURA, If the upper note require an accidental, it is written thus— ^; if the lower note require the accidental, it is marked thus— 'j'; and if both notes require accidentals, they are marked as follows— j^. Example : — $ Written. b ^^ 3 1 2 How is a turn made upon a dotted note? When a turn is made upon a dotted note, the note itself is lirst struck, and then the turn is made, thus : — ^i? Written, Played. What is an inverted turn? An inverted turn, sometimes marked, thus— ^, is made with the same notes as the other turn, only beginning with the lowest instead of the AOCIACCATUBA, TDHN, SHAKE. 66 highest note. The turn always ends on the principal note. Written. •^ Played. Like all other embellishments, the manner of playing the turn depends greatly upon the passage in which it occurs, and upon the taste of the per- former. Shake. Describe the shake f The shake, made thus — tr^^^^^^'^ consists of an upper appoggiatura and a principal note, both of which are repeated in rapid succession the whole length of the principal note. There are three ways in which a shake may begin: with the principal note, with the note above, and with the note below. A long shake ends with a turn. tr \y\.v/\y-\/-vrvx tr .f\y>.r\^r\/\yyy\ tr^ .I'Kj^j^y'Ky^ $ t :pz: ^ P2- ^: i In a succession of shakes it is better to begin -with the principal note, and the turn is of course omitted in descending but not in ascending passages. 11: 66 CHAP. IX. — THE APPOGGIATURA., &C. Is the shake always indicated as above? No; it is often written as in Example 1, and in Chopin's music, when the shake should commence on the lower note, it is indicated thus : — Ex. 2. Written. Ex. 2 Played. j -rrrmr z &c. How is a very short shake indicated.? A very short shake, sometimes called a trill or beat, consists of three notes with an accent on the last ; it is written and performed thus : — SH-'-*— -■ What fa a double shake ? A double shake is made upon two notes at once, thus : — The beauty of a shake depends upon the rapidity and smoothness with which it is performed. 1 67 CHAPTER. X. Terms and Marks of Exprfssion. When any particular expression is marked, how long is that kind of expression to continue ? Marks of expression generally affect the whole passage unless contradicted by some other mark. What is the meaning of the word piano-forte ? Piano-forte, from piano, soft ; and forte, strong. It is so called from its capability of producing soft and loud tones. The pianoforte was introduced into England in 1776 by Zumpe. What is the meaning of pedal or jyrd, followed by a star, thus— ♦? The word pedal or ped. means that the foot is to press the open or riglit-hand pedal, and the :^ indicates that the foot is to be raised from the pedal. The words senza sordini, without mutes or dampers, are sometimes used instead of ped., and fi m 68 CHAP. X. — TERMS AND MARKS OF EXPRESSION. they are contradicted by the words con sordini, with mutes. {Sonata xii., Beethoven.) What effect is produced by pressing down the open pedal ? The dampers are prevented from touching the strings ; the vibration therefore continues, and the sound is prolonged. Ib the open pedal ever employed in sott passages? Yes ; and it produces a very beautiful effect when judiciously used with the soft pedal in pianissimo passages. When ped. and con sordini occur to- gether, both pedals are intended to be used. How is the soft or left-band pedal indicated ? Generally by the words una corda. What is the meaning of una corda 1 Una corda or une corde means one string, and is used to indicate the soft pedal, because when it is pressed down, the hammers do not touch all the strings ; therefore the sound produced is very soft. The words tre corde or trois cordes, three strings, are used to show that the soft pedal is to be dis- continued. Both pedals require very judicious man- agement, and should only be used by advanced players ; great care being taken that the foot be pressed down and raised, precisely at the place indicated by the marks. The left pedal is very CHAP. X. — TERMS AND MARKS OF EXPRESSION. 69 seldom used; the performer should acquire the habit of playing the softest passages without the aid of the pedal. What is the meaning of ad libitum or ad lib. ? Ad libitum or ad lib. signifies at pleasure, and means that the passage may be played according to the taste of the performer. What is the meaning of crescendo or cresc. ? Crescendo or cresc. signifies that the player is to begin softly and gradually increase the sound. The following mark has the same meaning— _=^^:;32i: What is the meaning of decrescendo, or diminmndo ? Decrescendo, diminuendo, and their abbreviations, deer esc., dim. mean that the player is to begin the passage loudly, and gradually decrease the sound. The following mark has the same meaning— ir==— What is the meaning of a tempo or tempo primo ? A tempo or tempo primo signifies that the ori- ginal time is to be resumed after a rallentando or accellerando. The following are the words generally used to mark expression in music : — Piano, pia. OT p Soft. Pianissimo, ppmo. ovppp. Very soft. . . Moderate. Mezzo I 70 CHAP. X. — TERMS AND MARKS Or EXPBESSION. Mezzo piano, or mp. Mezzo forte, or mf. Forte, for. or /. . . Fortissimo, ff. or ///. Forzando, ov fz. . . Sforzata, or sf. • • Binforzando, rf. or rinf. Hinforzato, „ it Ritardando, ritar. or rit Ritenuto, or riten. . . i ; Tenuto, or ten. 1 Dolce, or dol. Hk 1 Calando, or ca?. , , 1 Perdendosij or per den. 1 ; Cantahile . . Hl^^^BI'' Pastorale .. j Maestoso . . 1 Accelerando, or lUceZ. HB' , Rallentando ^^|B.; Grave ^^^^^^K. '% \ Adagio w :? ^«^:6'o 1 Zf^n^o ^^^^- 1 T'fl^'ri1i/>it/\ •I Moderately soft. Moderately loud. Loud. Very loud. i That a particular note is to be played with force. With additional tone and \ emphasis applied to cer- ' tain notes. A keeping back, a gradual slackening of the time and diminution of tone. That the notes are to be kept down. Softly and sweetly. / Gradually softer and slower, a dying away of the sound. In a graceful, singing style. In a simple, pastoral style. Majestically. Gradually quicker. Gradually slower. The slowest time. Slow and pathetic. In a large, grand style. Slow. Not too slow. CHAP, X. — TERMS AND MARKS OF EXPRESSION. 71 Moderato , . . . In moderate time. Andante . . j Moderately slow and very * * \ ■ j distinct. Andantino . , In a flowing style. Allegretto . . . . Cheerful, but not too quick. Allegro . . Quick. Allegro assai . . Moderately quick. Vivace . . Lively. Presto . . Very quick. Prestissimo . . As quick as possible. Con fuoco . , . . With fire. Con spirito . . "With spirit. Con brio . . . . With brilliancy. Un poco . . . . A little. Piu . . More. Meno . . Less. Non troppo . . Not too much. Molti . . Much, or very. Assai . . Eather, sufficiently. Quasi . . Like, as, almost. Morso Quick, stirring. Piu-mosso Eather quicker. Tutti . . All. Tutti corde . . Upon all the strings. Tempo Time. Sostenuto . . . . Sustained. Segue . . As follows. ill 72 CHAP. I. — TEH MS AIH) MASKS OF EXPRESSION. Misoluto Religioso Pateiico Parlando Giocoso Giusto Giusto-tempo Energico . . Ad libitum or Ad lib. Alia brevQ • 4 Cadenza . , ( With boldness and resolu- j tion. . In a devotional manner. . Pathetically. In a speaking manner. Sportively. . Just, exact. Exact time. With energy. At will or pleasure. ( A quick kind of common I time, r (Strictly) A cadence or close. At the end of a song or movement in a piece of • . ( music, it often indicates some fanciful passage which is generally written in small notes. .1 sJ I 73 CHAPTER XI. The Sharp, Flat, Natural, Signature, &c. What is a sharp 1 A sharp, made thus :— Jf, placed before any note, raises it one semitone ; therefore C J is played on the black key next abov^ C, and BJ is played on the same key as C t]. Ex, (1). What is the effect ot a double sharp ? A double sharp, made thus : — X? raises a note two semitones, and CX is played on the same key as Dt|, two semitones higher. Ex. (2). =«:p: ii^y i (2) ziKpzii: What is a flat ? A flat, made thus:— b, lowers a note one semitone; therefore Bb is played on the black key next below B, and Cb is played on the same key as B |:|. Ex. (1). What is a double flat? A double flat, made thus : — ji/, lowers a note two ■iirrlfTiiitlftfiliKiBltIi H CHAP. XT. — THE SHARP, FLAT, semitones, and Bbb is played on the same key as A b, two semitones lower. Ex. (2). Every ley on the pianoforte may therefore receive two or three different names, and the same key may be either C fc], B ft or J)b\y. Ex. (3). (The above examples should be explained on the pianoforte.) What is the use of a natural ? A natural, made thus : — b, contradicts either the sharp or double sharp, flat or double flat ; conse- quently a natural loivers a note one semitone when it contradicts a single sharp, and two semitones when it contradicts a double sharp ; but a natural raises a note one semitone when it contradicts a single flat, and two semitones when it contradicts a double flat. Are not the double sharp and double flat sometimes contradicted Yes ; but modern writers generally use a natural when the original note is meant, and a sharp or flat (without the natural) when the note is intended to be a semitone above or below the original note. ^. '- xw— Ji*—M^ i i _i-. u I WAXUEAL, SIGNATUEE, &C, f 75 SiGNATUBB. What IB meant by M^nc^wrg in music? The signatures are marks placed at the beginning of the staff. The first is the clef ; the second the sharps or flats required to indicate the key (see Chap. XIII.) ; and the third indicates the time by figures or a Q, &c. (Chap. V.) ;3Ee; SS: What is meant by the key ? Music is said to be written in a certain key when the number of sharps or flats at the signature correspond with those required to form the scale of the same name. Why are sbarps and flats placed at the signature 1 To avoid the frequent use of accidentals. When placed at the signature, how do flats and sharps affect rotes? Flats and sharps, when placed at the signature, affect every note of the same name throughout the piece ; thus — FJf at the signature, would mean that every F should be played as P'Jf throughout the piece, unless it be contradicted by a natural. B!? placed at the signature, would mean that every B should be played as Bl7 throughout the piece, unless, it be contradicted by an accidental. I 76 CHAF. XI. — THE SHARP, FLAT, &0. Accidental. What is meant by an accid-ntal? When a sharp, flat, or natural is placed in the course of a piece instead of at the signature, it is called an accidental, because it does not hf^^orygr to the key. How long does the influence of an accidental la«t? To the end of the bar; therefore a note made sharp or flat, although not contradicted by any sign, would be played as a natural in the following bar. Is this an invariable rule ? No ; there is one exception. When the note that has been made sharp or flat occurs at, or continues to, the end of a bar, if the next bar begin with the same note, in that case the effect of the accidental continues. Many modern writers however repeat the accidental, a practice much to be regretted, as it perplexes the student. Written. Played. ffljj^&c. Z&c. it 1 I 77 CHAPTER XII. Intervals. What JB an interval ? An interval is the difference or distance between any two sounds. What i9 the smallest interval called ? On the pianoforte, the smallest interval is called a semi-tont) or . alf-tone. Every key is at the distance of a semitone from the next, whether it be black or white; thus— from B to C is a sea tone, and from C to CJ( is also a semitone. Semitones. W 1^- T^^=t-r^- What is a tone ? A tone consists of two semitones; thus — from +j to C^ is a tone, and from C to D is a tone. I 78 CHAP. XII. — INTERVALS. Tones. i 1 I -t?:p: 1 — Are tones and semitones the only intervals used in luuBio? No; there are several other intervals, which are named according to the number of alphabetical degrees required to form them. They are as follows : the unison or first, the second, the third, the fourth, the fifth, the sixth, the seventh, and the eighth, or octave. Describe those intervals. The unison, C C, is not strictly speaking an inter- val, although it is generally treated as such in har- mony. As its name implies, the word unison means the same sound produced by two or more instruments or voices ; thus — C C, :p2: '^ When two letters or degrees of the staff are required to form the interval, as C to D, it is called a second. In counting intervals the first and last notes are both included. i ^m i CHAP. XII. — IKTEEVHIJB. 79 '¥ When three letters or degrees are required to form the interval, as C to E, it is called a third. :p: a: When four letters or degrees are required to form the interval, as C to F, it is called a fourth. -— p- 1 Wlien five lett^^rs or degrees are required to form the interval, as C to G-, it is called a fifth. i T^' i When six letters or degrees are required to form the interval, as C to A, it is called a sixth. T2~- When seven letters or degrees are required to form the interval, as C to B, it is called a seventh. tr . 80 CHAP. XII. — INTEEYALS. >'■* When eight letters or degrees are required to form the interval, as C to C, it is called an eighth or octave. n y " vi '-J n irT • • • t- a \5 ; • • • D ft. HS L • • Do accidentals affect the numerical name of the interval ? No; the name of the interval depends entirely upon the number of alphabetical degrees required to form it, and is quite independent of any addition or diminution by accidentals, thus: from C to DJf is a ^ndj C to D tj is a 2nd, and C to Db is also a 2nd. ;=ipi=.S^ :p=i^. :pzz^^ fc :tz- I lEow are intervals reckoned ? , Intervals are always reckoned from the lower note upwards ; unless the contrary be specified. Do intervals ever extend beyond the octave ? Yes; but for all purposes of harmony, intervals beyond the octave are regarded as the intervals of 2nd, 3rd, 4th, &c., in a compound form, whether the distance between the two notes forming the interval be really at the distance of a 2nd, 3rd, 4tli, &c., or whether one or more octaves intervene, thus : any E above C is regarded as the 3rd of C. t i; CHAP. XII. — INTERVALS. 81 IP -^ ~p-n -^r The interval of 9tli, and according to some emi- nent theorists, the 11th and 13th, are exceptions to this rule, and are sometimes treated as independent intervals, and sometimes as the compound 2nd, 4th, and 6th. What is a consonant interval ? A consonance^ or consonant interval is one that does not require to be followed by any other har- mony in order to satisfy the ear. Chords composed of consonant intervals are called concords, Ex. (1). What is a dissonant interval ? A dissonance, or dissonant interval is one that requires to be followed by some consonant harmony called its resolution. A cliord containing one or more dissonant intervals is called a discord, Ex. (2). -s»- All augmented and diminished intervals are dis- sonances, as are also all intervals formed of two notes alphabetically next each other as C, D, 82 CHAJ. XII. — 1NTEETAL8. p'!f m lit: What is a perfect mterral ? A perfect interval is one which cannot be aug- mented or diminished without being changed from consonant to dissonant. The perfect intervals are — the unison or 1st, the 8ve, 5th, and the 4th. The two notes forming a perfect interval are always alike, either sharp, flat, or natural, except the 6th of B and the 4th of F. Perfect 5th. Perfect 4th. ^- 122: -s>- :q: 1st degree. 2nd deg, 3rd d eg. 4th dfg. 5th deg. 6th deg. 7ih deg. How is the tonic or key-note determined ? By the signature, or number of sharps or flats placed at the beginning of the staff, which indicate that the music is in either the major or minor key of the same name as the scale which requires such sharps or flats. Are all diatonic scales formed in the same manner ? No ; they are said to be divided into two modes, from modus— form; the major mode, and the minor mode. What is meant by tlie words major and minor, as applied to scales ? The major scale is so called, because the interval 90 CHAP. XITI. — SCALES. of 3rd (and sometimes the 6th) from the tonic, is greater by one semitone, than the same interval in the minor scale ; and the minor scale is so called> because the interval of 3rd (and sometimes the (jth) from the tonic, is smaller by one semitone, t han the same interval in the major scale ; thus — C is the tonic of two scales ; in the major scale, the 3rd from C to E contains four semitones ; in the minor scale, the 3rd from C to Eb contains but three. In the major scale the 6th from C to A contains nine semi- tones ; in the minor scale the 6th from C to A(7 contains but eight. Major 3rd. Minor 3rd. Major 6th. Minor 6th. I ip: :p: :p- -jdr: :^-- -^- (In the major scale all intervals counted from tht. tonic, are either major or perfect. Some theorists call them all major. In the minor scale the 7th degree ascending is always major ; the 6th is some- times major ; the 3rd is always minor.) Major Scale, Describe the major scale more fully. Every major scale is known by its major 3rd (four semitones) from the tonic.. It consists of five tonea OHAP. XIII. — SCALES. 91 .. and two semitones nlaced at regular intervals ; two tones and a semitoi and ihree tones and a semitone; thus — C to D — a tone. J) to ^ — a tone. E to F — a semitone. F to G — a tone. G to A — a tone. A to B — a tone. R to C — a semitone. It will be observed that in the ascending major scale, the semitones faU uc'tween the 3rd and 4tli, and between the 7th and 8th degrees. Semitone. m la: -<^- -Z2_J^— -- Semitone. s 1st. 2nd. 3rd. 4th. 5th. 6th. 7th. 8th. Tone. Tone. Tone. Tone. Tone. What is a tetrachord? The word tetrachi rd, from rerpa (tetra) four, xopSrj (chorde) a string, means four strings. A tetrachord is therefore composed of four sounds, including two tones and one semitone, or one half of a diatonic scale ; thus — • C to O — a tone. G to A — a tone. D to E — a tone. A to B — a tone. E to F — a semitone. B to C — a semitone. It will be observed that the two tetrachord? I v». ,^^> IMAGE EVA! UATJON TEST TARGET (MT-3) 1.0 I.I I^IIIIIM 12.5 14 ill' 1^ ^ 1^ 2.0 1.8 1.25 1.4 1.6 "^ 6" - ► 7 % ^ c"J A C//^ Photographic Sciences Corporation S 4> n3| V ^ #1 6^ 23 WEST MAIN STKEET WEBSTER, NY. 14580 (716) 872-4503 4-

- -Z2ZZ^- ~jr2: -^^- Q_:^^i w^ How are new torics found for other major scales? By fifths ascending, thus : — starting from C, the model scale, every new tonic is found a fifth above the last tbnic; therefore the upper tetrachord of each scale forms the lower tetrachord of the follow- ing scale. Every succeeding scale requires an addi- tional sharp to bring the semitone between the seventh and eighth degrees How are these sharps found ? The seventh degree of the scale always requires to be raised, therefore the new sharp for every succeed- ing scale is found a fifth above the last sharp, for example : — the scale of C requires no sharp, the scale of Gr (fifth above C) requires one sharp, FJf; the scale of D (fifth above Gr) requires two sharps, FJp and Cff; the second sharp being a fifth above the first sharp. CHAP. XIII. — SCALES. 93 ^_Q^ What is the order of scales with sharps ? C has no sharp. Gr, fifth above C, has 1 sharp, P^Jf. D, fifth above G, has 2 sharps, P^Jf, Cjf. D. „ 3 .. FfeCfeGjf. XI, ., 55 E, n, 5? B, 5> 55 AJf. A, 95 '5 55 55 » 59 Fft Cfl, Gff, DjJ. F#, Ctf, GJt, D#, FJf, fifth above B, has 6 sharps, Fjf, C#, GJf, D#, A#, EJf. Cjf, fifth above FJ, has 7 sharps, Fjf, CJf, GJf, DJf, Alt, EJ, BJf. How are the signatures of the u,oove scales written ? The signatures of the scales with sharps are written in both modes as follows : — ■ C major. G major. D major. A major. E major. A minor. E minor. B minor. FJf minor. CJf minor. s- -ft i iS^ [■• 94 CHAP. XIII. — SCALES. B maj or. F Jf maj or. C jj maj or. Gjf minor. DJf minor. AJ minor. m^^m^s^^ When formed with flats how are the tonics of scales found ? The simplest manner of forming the scales with flats is by fifths descending ; thus— starting- from C each new tonic is found a fifth lower for every addi- tional flat; therefore the first or lower tetrachord of the preceding scale forms the upper tetrachord of the following scale. The fourth degree requires to be lowered by a flat in order to bring the semitone between the third and fourth degrees. Every addi- tional flat is found a fifth below the last flat ; thus— the scale of C requires no flat, the scale of F (fifth below C) requires one flat, Bb; the scale of Bb (fifth below F) requires two flats, Bb and Eb ; the second flat being a fifth below the first flat. What is the order of the sctJes with flats ? C has no flat. CHAP. XIII. — SCALES. 95 F, fifth below C, has 1 flat, Bt7. B^ „ „ F, has 2 flats, Bb, Eb. Eb „ „ Bt?, „ 3 „ BC7, Ei7, Ab. Ab „ „ Eb, „ 4 „ Bb, Et7, At?, Db. Db „ „ Ab, „ 5 „ Bb, Et?, At), Db, ab. Gb, fifth above Db, has 6 flats— Bb, Eb, Ab, Db, ab, cb. Cb, fifth above ab, has 7 flats— Bb, Eb, Ab, Db, ab, cb, Fb. How are the signatures of the above scales written ? The signatures of ine scales with flats are written in both modes as follows : — C major. F major. Bb major. Eb major. Ab niajor. A minor. D minor, a minor. C minor. F minor, ■t- t i: fit: . W- ^ Db major. Gb major. Ob major. Bb minor. Eb minor. At» minor. Et* a^^^^^ Is there any other method of finding the tonics of the scales with dais? Yes ; by changing the key of FJf (with six sharps) into its enharmonic, ab (with six flats), the tonics of these scales may also be found by a continuation of :s3s: 96 CHAP. XIII.— SCALES. fifths ascending ; only in that case, each succeeding scale with flats requires one flat less (inatead of one sharp more) at the signature, until at last the original scale of C completes what is called the circle of fifths. The tonics of scales formed in the circle of fifths will be in the following order:— C, G, D, A, E, B,. FJt (or Gb), Db, Ab, Eb, Bb, F, and the last fifth, is the original C. It will be observed that the number of flats be- longing to any key, added to the number of sharps belonging to the key in its enharmonic change, and vice versa, will always be twelve ; thus--the enhar- monic of FJt, with six sharps, is Gb, with six flats; the enharmonic of CJf, with seven sharps, is Db, with five flats ; &c., &c. {The pupil should learn to form the scales with flats, both hy fifths ascending and by fifths descending.) Minor Scale. Describe the minor scale. The minor scale is known by its minor 3rd (three semitones) from the tonic. The minor scale, accord- ing to its signature, is formed of the same notes as its relative major, but the semitones do not occur m the same order. The seventh degree in the minor scale requires to be raised by an accidental. The CHAP. XIIT.— SCALES. 97 n ir sixth degree is major or minor according to the man- ner of writing the scale, whether it be the harmonic or the arbitrary minor scale. Why should the seventh degree be raised in the minor scale? Because every ascending diatonic scale ought to have a leading note. What is meant by a leadinff note t When the seventh note of the scale is at the distance of one semitone from the octave to the tonic, it is called a leading (or sensitive) note, because it leads strongly up to the tonic. The seventh degree in the minor scale, being a tone below the octave to the tonic, it must be raised in order to form a lead-- ing note. How is the harmonic minor scale formed ? The harmonic minor scale is formed with the seventh degree only raised, but that note is raised both in the ascending and in the descending scale ; (the 3rd and 6th are minor.) In the study of har- mony the minor scale is written thus :— Harmonic Minor Scale. I ^i W ' 98 CHAP. XIII. — SCALES. How is the arbitrary minor scale foi med ? In order to obviate the interval of augmented 2nd between the sixth and raised seventh degrees in the minor scale, the sixth and seventh degrees are sometimes both raised ; but in that case they are not raised in the descending scale. (The 3rd is minor.) Example : — Arbitrary Minor Scile. :g2 — ^ Z2: i -<^- 3f 221 O- iQzz: <&- T2: -G^ n What is meant by the terms relative major and relative miner? The terms relative major and relative minor mean, a major scale or key, and a minor scale or key, both of which have the same signature. How is the relative minor tonic of a major key found ? The relative minor Ionic of any major key is found on the sixth degree ascending; thus— A (sixth degree ascending) is the relative minor of C major. ,.Q -^ :l2. -^ Z2: :q: z^zq: C major. A minor. i CHAP. XIII. — SCALES. 99 How is the relative major tonic of a minor key found ? The relative major tonic of any minor key is found on the sixth degree descending; thus— C (sixth degree descending) is the relative major of A minor. --?r5" :c2i^r: A minor. C major. =a=^ :r2Z^- :q '-- — -^— s>- 122 122: __^- "C?- -^- 122: ^=Q=H The minor key is also known by its minor 3rd (from the tonic), and generally speaking, every piece begins and ends on the tonic chord ; there are how- ever exceptions to this rule. {The jpujnl should form all minor scales with seventh degree raised, ascending and descending ; and with sixth and seventh degrees both raised, ascending only,) 100 CHAP. XIII.— SCALES. CiiiioMATic Scale. What ie the chromatic scale ? The chromatic scale from xp- fe:22'2Z2I^t^- :^2i 101 is now CHAPTER XIV. Clefs, Transposition, Fingering, &c. Are the treble and baee clefs the only ones used in muaic ? No ; there is also the C clef. Describe the C clef. | | The C clef (formerly marked ^^ , or [1 -^ made thus :— ^ or ij4j^ , and may be placed on either of the five lines of the staff. It is called the C clef because it gives the name of C to the note placed on the line which passes through its centre. V/hat is the ck' called, when placed on the various lines of the staff ? When placed on the first line of the staff, it is called the soprano clef. Vnien placed on the second line, it is called the mezzo-soprano clef. When placed on the third line, it is called the alto, or con- tralto clef. When placed on the fourth line, it is called the tenor clef. When placed on the fifth line, it is called the baritone. uistMCRMMMMM fW-jjiiwif' 1^ 102 OUAP. XIV. — CLEFS, TIIANSPOSITION, FINOEIIINO, &C. The following example shows all the above clefa compared with the treble and bass clefs : — Scale of G Major. C -cr : ~/r3 — <^ C U tn C i JJ_U__ -.^ _ — ^ — ^ . — - ■fe*^^ Tbnor clef. Ba»» or F clef. a The C clef on the second line (mezzo soprano), and on the fifth line (baritone) is seldom used in modern music. (Some writers place the '^^ clef on the first line for high soprano.) Transposition. What is transposition ? Transposition means changing the key of a piece of music, so that it may become higher or lower m pitch to suit different voices. How is this effected ? By placing every note at the same relative distanced from the tonic of the new key, as are the original notes from the original tonic. Beethoven. IMHIWI'M * ' «iM«»»Bn» 104 CHAP. XIV. — CLEFS, TEANSPOSITION, FINGERING, &0. In the above example the first rote is the fifth degree of the scale of Gr, the second and third notes are the third degree, the fourth and fifth notes are the 2nd degree, and the last note is ihe tonic itself. If this example be transposed into the key of E major, the first note will be B, the second and third notes will be Gr, the fourth and fifth notes will be F, and the last note E. Example : — The tonic E, being a third below the original tonic G, all the notes must be a third below the original notes. Transposition by thirds is much easier than by seconds or fourths, but a littlo practice soon enables any musician to transpose at sight into almost any key. Fingering. Are there any rules for fingering on the pianoforte ? It may be held as a safe rule that all passages should be fingered so as to cause the least possible moveDient of the hand. The old masters strictly prohibited the use of the thumb on a black key ; but modern professors of music allow such fingering whenever, by so doing, the mechanical difficulty of iJltJ piiSaagU i-Llil^ l^C Blli-iJ^iiliCVi.. J I 4 CHAP. XIV. — CLEFS, TRANSPOSITION, FINGEEING, &C. 105 In oclave passages the third finger should be used on the black keys. What is the rule for fingering chords and arpeggios ? When composed of three notes, as C, E, G, the second finger is used if the third note is more than one degree (a third) distant from the octave to the first note ; but if the third note be separated from the octave by one degree only, then the third and not the second finger should be used. Ex. (1). If a chord be composed of four notes the second and third fingers are both required. Ex. (2). The Germans, and others, use the figures, 1, 2, 3, 4, 5, instead of +^ 1, 2, 3, 4. ^ Ex (1.) Qia;z If— -gif 1 m: ?~F :&c» t i^ I. Ex. (2.) zzXz— :t::d: -f— 'Ger. &Cr 4 t ? \ ■«S 1 2 -I— ^ ^- ^ e= -\ :glf:=:3=:^-==^--zl=:d :t=t= ;-iii=tL-&c. 1 I 3 4 t 1 9 .c^t^q—j— -nr-— ,Tz_7^-qr^.7_if:ziz ^-e - onk. wmn^- U I I' ".JT-^ /«f From Madame Sainton-Dolby, Professor of Singing, London; Mv DEAR MISS GiBSON.-I am much obliged to you for letting me see yourb?ok It cannot but prove a great help to all who teach music to ?.Sners Its clearness ami simplicity makes it most valuable, and I am Sfshall have to congratulate you on its .great success as soon as it KirSor'o widely knUi to the P-^essxon.->J.th^^^^^^^^^^^ oelieve me. From W. H. LONGHURST, Esq:, Mus. Doc, Cathedral Organist, Canterbury. My dear Miss Gibson.-I have great Plea«"ve in tef ifying to t^^^^^^ you/excellent little book, and am very Ple^sedto find that the second em^^^^^ is so soon called for by an appreciative public. Your '"f"""^^^VlS Sve^^^ knnwlpdffe to the pupil, the lucid explanations, and the examples given, r^»rW /h«-work extrem useful, ancl I should earnestly recoi.imend man> in t,hfi work bv strongly recommending it to my pupils.— ueiieve mc, ymiia sincerely W- ^ • I^onghurst. Mus. Doc, &c., &c. From Chifp, Esq., Mus. Doc, Cathedral Organist, Ely. DR.CHiPPhasmuch pleasure in recommending the little work on the "Theory oi Music," by Louisa Gibson. From EDWIN Barnes, Esq., Prof. Mus., School for the Blind ; Org.Lon., W. DearMadam,-I am quite delighted f tVthlnk^Tknow^altt^kfJfThl With many thanks, sincerely yours, ^^'•'^^^ "^'^' From Herr Kuhe, Professor of Music, Brighton. Dear Madam,-In a former letter, evidently mislaid, I ^'"O*® ^o say that I sSfet;s.=iii^-^^^^ anyTsI yo^S, of my testimony to the excellency of your Pv^l»^^tj«»- With compliments, I remain, yours truly, ^ • '^^ From F B. Jewson, Esq., Professor, Royal Academy of Music, London. Dear Madam -I have i.ad with --h P?,«-f-£4«^, 'Sghl^S Vfhaif I ;oVdTd'vi?e°2e?y%*?i?nrSn^^^ rhall'c'ertainly rJcLmeud it to such -1-"-- JJ^, «^Bo'^?^fJEwloN. remain, yours truly, rujiu-iv From E. Bunnett, Esq., Mus. Doc, Cantab, Cathedral Organist Norwich. of^^^«^^i^:ii^ experience in teaching; so many are ;leilcient ^ «5-^^\;-- ^« ^^^'**''" recommending it, and using it my.elf.-Yours f'^^thfuUy,^^^^^ bunne^t. From Lindsay Sloper, Esq., Professor of Music, London. I have much pleasure in stating my opinion that in "First Book on the Theory of Music," Miss Louisa Gibson has explained her views with great clearness, and, above all, that she exhibits a capacity for teaching which is innate and cannot be acquired. Lindsay Wloper. From Bennett Gilbert, Esq., Mem. R.A.M., Lon , and Conaerv,, Leipzig. Dear Miss Gibson,— I am sure all teachers ought to thank you for bringing your "master mind" to bear on a matter which is a constant stumbling block to— not only youngbeginners— but to tolerably advanced manipulators. Your little work contains a vast amount of most useful information, and your method of explanation is particularly happy; indeed, I am perfectly charmed with the book, and shall recommend it as a duty.— Believe me, yours truly, Benneit Gilbert. From Herr Wilhelm Ganz, Professor, London Academy of Music, &c. ,,^®-'^^,.*''^'^*l"'~^ ^^^® ^^^'-^ through your "First Book on the Theory of Music, and find it very clearly written and thoroughly understandable for childron beginning to learn the pianoforte. The questions and answers are a great help to young students, and I have no doubt that when your little work becomes known, it will be the means of imparting a good deal of useful knowledge. 1 shall have much pleasure in recommending it.— I remain, dear Madam, yours faithfully, Wilhelm Ganz. From Sir Frederick GoreOuseley, Bart., Prof. Music, Univer., Oxford. Sir Frederick Ouselev presents his compliments to Miss Gibson, and has read through her "First Book on the Theory of Music" with great satisfaction. It shall not lack his good word and recommendation. From SiGNOR Brizzi, Professor of Singing, London. Dear Miss Gibson,— Many fclianks for the present of your book on the "Theory of Music." With such an opinion as you have had from Dr. MacfArran (one of the best Counterpointists in England), mine will go but a very little way ; but I will mention your book to my pupils, as after reading it through, my opinion perfectly coincides with that of Dr. MACFARRAN, and 1 thiuK its clearness will be most advantageous to young pupils in harmony.— With compliments, I am, yours very sincerely, F. S. BRIZZL From BRiNLEY Richards, Esq., Prof. Royal Academy, London. Dear Madam,— I have looked through your little work on Music, and shall certainly recommemi it. Your book is an excellent one, and will be of great service to musical students— especially as the information is convoyed in a manner which adds to its value. You are quite welcome to make use of my name aud any remarks concerning your book in any way likely to be of service.— With land wishes, I remain truly yours, Brinley Richards. From E. J. Crow, Esq., Mus. Bac, Cathedral Organist, Ripon. Dear Madam,— T have to thank you for your admirable little book on the rudiments of mi. sic. I think so highly of it that I have adopted it in my own family, an I limll have much pleasure in introducing it to my pupils.— Believe me faic!,' 'Jy yours, E. J. CHOW. From Herr Lichtenstein, Professor of Music, Edinburgh. This is a good elementary work, and m^^Jit, with advantage to beginners, be introduced even in larger schools where Music cannot be made a special stiidy, and where a cumpuiidium, not. voluminous, should be always before the eyes of the pupil. Bring written in a simple and clear style, I can well recommend it. George Lichtenstein. SWSSf <<^m^ I -HV ."^i... Prom J F BiinNET, Esq., Prof, of Harmony, Lon. Acad, of Music, 1 ondon. tT innV^TthouI the "First Book on the The ry of Music," by I have looked th our i -ne '"»^ . ^ j ^le to recommend it as LOUISA Gibson, an*t, study tb<* ance of the subject prevails ■' a Book sucloiir, simple, and GORDON SAUNDEUS, M B. From C Villiers Stamford. Esq , B A , Org. Trin. College, Cambridge T^..,. \rn,i.,m — T have much pleasure in adding oae to your many wt • From A H. MANN, Esq , M.B , Oxon, Fellow Col ege of Organists Ti«4r M-ulun -After having careful y perused your work on the '! heory nf ^i^iisic I have come to The conclusion that it is indeed a sp endul.y written and Idghly S^tmct;ve Book. It thoroughly deserves the good ^;Ss uL^^Sved from the most eminent imi^^ians in the^kin^do. - I am, yours truly ^^ " .uahi , , From THOMAS Rawson, Esq., Professor of Music, Manchoster • ,^.,.. xi5o. ri5h«on.-Mv candid opinion of your " First Book of Theory " is that it is "un^ceedin^y clever ahd useful kittle worK.~-\VitM.....^.ids yours very truly, From Edward BAnTLEir, Esq., (late Asa. Org., at Chichester Cathedaal.) Dear Madam,— I wish to convey ray f'est thanks for your excellent little book, which 1 intend to introduce among ray pupils.— V ours truly, Edward Baktlett. From J. K G. JozK, Enq., M.B., L., Mus., T.C.L., P. Har., Trin. Col , Dublin. Dear Madara, — Pray accept ray thanks for the little volume you so kindly sent me. 1 have read it carefully and am much pleaded with ttie plan of the work, which is sirap'e, as well as complete, in every respect. # » " " " —With best wishes, I remain, dear Madam, yours faithfully, « » « J. K. G. KozE, Mus. Bac, L, Mus. T.C.L. From F, H. Cowen, Esq., Professor of Music, London. Madand,— Many thanks for the copy of Your "Book on the Theory of Music " which you have been kind enough to send me. I consider the work admirable in every respect, and with it all the success it certainly merits — Yours truly, FREDERICK H. CowEN. From Jacob Bradford, Esq., M.B., Oxon; Prin. S. Lon. Training Col. Dear Madam,— I have much pleasure in adding my testimony to the praiseworthy object you have had in view, and the satit..actory attainment thereof, by the publication of "A first Book on tlie Tlieory of Music" 1 invariably use a Musical Catechism with my junior pupils, to whom I shuU certainly introduce your work, for I must say that it quite surpasses all others of the kind with which 1 am acquainted. Your b ok also contains much tliat i-t useful to advanced students ; I can therefore consfientiously recommend it.— I am dear Madara, yours fait'ifuUy, Jacob BRAoroRD. From the late Alfred Angel, Esq., Cathedral Organist, Exeter. Madara,— I have o^arefuUy read through your little work, which, I think, cannot fail to accomplish your proposed object. Your explanations are to accomplish your proposed object. Your concise and perspicuous, and their accompanying illust.ations excellently chosen.— 1 am, yours faitlitully, Alfred Angel. From J. M. VV. Young, Esq., Cathedral Organist, Lincoln. Dear Malam, — I have rend your excellent little work ~" A First Book on the Theory of Music " with much satisfaction. It contains a great amount of information, and the rules are clearly and concisely expressed. I shall have much pleasure in making the worlc known — Believe me, faithfully yours, John .M, W. Young. From H. E. FoiiD, Esq., Cathedral Organist, Carlisle. Madam,— I liave looke I through your book entitled 'A First Book on the Theory of Music." I think it will be found very u-eful to thos^ engaged in instruction, and I shall have mu«h p'.easu e in using it and recommending it.— Believe rae to reraain, yours faitlifully, H. E. I'ORD. From G. B. Arnold, Esq., Mus Doc, Cathedral Organist, Winchester. Dear Madam,— I have examined your work on the" Theory of Music," and can bear testimony to its excellence. It is my intention to recommend it to my pupils, to who n it cannot fa'l to be useful. — (Sinned) George Arnold, .Nlus. Doc, Oxon. •■,< '--dV* OPINIONS OF "SECOND" & "THIRD BOOK. n denLrve all that has been said of them, and i " Jf^ ^ ^ g. Martin. geierally used.-Yours sincerely, From F. H. COWEN, Esq., Comp., &c., London yours in liaste, ^ a- -p r OUSELEY Bart., Prof. Mus., University, Oxford, etc. fJ^Music^'^vhTeh are, in my opi . ;1ew ?hat they cannot miss their aim deserve.-Ycurs faithfully, From CH.K.ES SXEOOX.., Esq., Organist. St. f ^^^J' ^;;- ^f^^^; r^on Dear Madam.-I have P---^; ^Sf^'SSSLtiTet^^^^^^^^^^ "Th« Theory of Music," a'«t«*"^S many musicians, whose which your very clever wk has ehc^tecl trom ^^l^^^^ STi' ggall. commendations are of the aighes t vame. w.r . ■ * « n« wsn Prof . Royal Academy of Music, London. From BiUNLEY Richards, Esq., fioi., rv y a^^,,„,i" and "Third Dear Madam,-I have cai^Mly^^e-sec^ j riTf Se '^S'?^nhai?&^^ p^-sirEi^s-r ^^^"'•tt n « HUNT Esq m.a., Mus. Bac, Warden, Trinity Col.. London. knowtolge throughout the Kingdom^ ,. Air.nv Fsa Proteasov, Royal AoiuKSmy of Music ; ami From ARTHUR O I'E*«; •„!?% J^j^g School fov Music. Ma,.am,-Vour efforts to ,imp.H;y «» ^|Sa°oVrr;.J~.|| subject who otherwise would hn d diBicu liy ARTHUR OLEABV. principles. From JAMES TtllUMN, Esq., F-CO. " Dear Madam.-J ha.e to thank you ^f ;; Xe'^itr^'; tSL ^Sd stuuent-^ t-n- ; ••.— ;:- " „,i ■ ^m «iirH will recuivi; ii larg,* ••" • ---- ^ (Vire and perspicuity, and ^ ,^ra sure wiu ^^^^ ^^ the number v>f a-^ceptance. I consider y««rj3«o^s a veiy u-eim ^^^^^^^ ^ ,,^,j,^ j, elementary hand books on the Iheory ot .uusic i^ ^^^^^ TuRi-iN. language. f Music ; and From F. R. COX, Esq., Professor of Music, Royal Academy of Music. Tear Madam, — I have had a greo.j; deal of pleasure in reading carefully your two excellent little books on Harmony, etc. ; very clear, very concise, and always to the point. I think they cannot faU of being most useful to- all beginning this interesting study. F. R. Cox. From J. K. G. JOZE, Esq., Mu3. Doc, T.C.D., Prof, Har., Trin. Col., London.. Dear Madam,— Thank you very much for the copies of your " Second " and " Third Books," which I have gone through with no little pleasure. I have nought but praise to be.stuw on the manuals, which are worthy successors to the one you first published, 1 shall not fail to introduce them to the notice of my friends and pupils. J, K, G. JozE, ■ From F. P. De Pkins, Esq., Professor of Harmony, Dublin Dear Madam,— One of my first occupations on my return home is to write- to thank you for the two books you kindly sent me. I do not know of .any work on the "Theory of Music" in English which explains matters more clearly than your books do ; they will prove a very valuable work to the musical student. I hope, for their sake, they will make it their vade mecum. F. P. Df Peins. From Herb Kuhe, Professor of Music, and Composer, Brighton. Dear Madam,— I have to thank you for the "Second" and " Third Book " of your "Theory of Music," They are admirable, and I shall not fail to- take every opportunity of introducing them to my pupils. W. Kuhe. From G. F. West, Esq,, Professor of Music, and Composer, London. Having already expressed a most favourable opinion of Miss LodiSa. Gibson's "First Book on the Theory of Music," 1 can only add that the "So..r.nH " QTi. WOrks of Jl Cultivated 'Second" and musician, and harmony. Third Books " are also evidently the works of a cultivated I would earnestly recommend them to all students of G. F. West. From Herr Lichtenstein, Professor of Music, Edinburgh. Dear Madam,— Your "Second" and "Third Books" are a valuable com- pendium for the study of harmony in schools. These two volumes are excellent followers of the first elementary book, and v>iU be very useful to teachers as a practical and clear expos6 of all necessary rules in harmony, etc., etc., for beginners in music, George Lichtenstein, From Frederick Iliefe,^ Esq. , Mus. Bac. , Oxon. Dear Madam,— I have read your books, "Second" and "Third," with' great pleasure." They are written in an interesting manner, and I am glad to see you have avoided the introduction of useless matter, and have exercised moderation in introducing some few points which are somewhat intricate. Your books contain wonderfully clear explanations of essential elementary musical matters, and ought to be in the hands of every jpianist or vocalist who aims at anything beyond mediocrity, and who is anxious to^ learn " to build up music" by laying- goo4 foundation. ..... Frederick Iliefe. From C. W, Lavington, Esq., Cathedral Organist, Wells; Dear Madam,— I have read your three books on the " Theory of Music "" with very much nleasures and thank you for thenir I consider them ex^ictly adapted for the purp'^'-e intended, and one of their chief exceUencioa i« the cleaiuesa and persp y of their style. I shsill most certainly recommend them. C. W. Lavington. •^iti# i :j^ ""^' FROM THE MUSICAL WORLD, m '^^LY, ISTf. THE fault of those well-meaning but mis-directed authors who seek to ffuide the young intellect through the mazy intn°^ci«« ^ thescience^'iLsic/genefally lies in their ^^^J, ^X^;;^«?f^*^:^eoS^^^ lack of discernment. Seeking to do too much they end ^V J^^,^^ p^ing mtle^r nothing, and, instead of helping the student along Jhfthornv path, they place ^sitive obstructions in h.s way- fresh SfficS f aving t(7be^encountered at each turn, which ougk not to bfmei at allin a preliminary course. Miss Louis« Gibson ha« diB Svered where others have erred, and her ' ^"^^ ^^^^^^ J'^Xn- Sing but what is absolutely essential to a general ^"djompreh^^^^ rive uifderstanding of the subject in ite primitive form ; «^^^3\'' Slarly and definitely stated, and the facts ^«l«f* ^^f J^^^^^i^^^^^ useleM matter, argumentative or reflective. Perhaps tt^®. <>^® J^f.^i pointin the boo'det ia the fact of its being cast, in a cathechetical Jnrm This mav be all very well, and appropriate enough, tor tne t^Ailer/or whom the work is ostensibly written ; but a treat^e o^ STxcellence should have a wider sphere of usefulness, and appeal to those children of a larger growth who have not ^^f *3.^> ♦"li«n in numbers " In the Theory of Music we have a compilation of'KMhrWledge of which S ("dijpe^sible to the pmm^^^^ vocalist and the general scholar. In fourteen short chapters ame explanation is given of the notes and their ^^Ij^^ 5 f«*«5 dotted notes and rests; the various clefs; the position of the tands arm ^a Werswhen playing on the pianoforte; the separate »«in(», C