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LIBRARY
University of California.
GIFT OK
Mrs. SARAH P. WALSWORTH.
Received October, i8g4.
Accessions No.\j^oyjZ^^A Class No.
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PROGRESSIVE AND COMPLETE
FOR THE
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PIANO-FORTE
BY
HENRI BERTINI.
NEW AND CORRECTED EDITION
Of TEB
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SAN FRANCISCO:
PUBLISHED BY A. KOHLER,
178 WASHINGTON STREET & 276 STOCKTON STREET.
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PREFACE.
My intention, in publishing this new Method, has been to facilitate
Che study of the Piano-Forte ; and I have tried, as much as is in my
power, to furnish a Progressive work, in which the young pianists
might, assisted by the experience of their master, find all the elements
of instruction.
A great number of elementary works — many of them written, too,
by men of talent, and very good in some respects — have the disadvan-
tage, that they are rather a collection of popular airs, than a series of
lessons connected and graduated so as to develop the musical knowledge
and mechanism of beginners. I wanted to avoid this fault, and I
have therefore written especially for this work, a series of melodies
and exercises, instead of resorting to popular melodies, romances,
waltzes, etc., etc., which are commonly annexed to instruction books.
It has hitherto but too often been forgotten, that an instruction
book is intended for a grammar, and not merely for a book of amuse-
ment ; and hence the false system which made elementary works
consist entirely of little airs which the memory can easily retain.
This custom perverts the taste of the pupils ; it prevents their mind
and ear from making themselves familiar with the different harmonic
combinations, and it fills their heads with musical trivialities, which,
more and more drawing them away from the works of true art. will
ultimately incapacitate them from understanding the works of the
great masters.
It is very important to have the first studies of children directed
by a skilful master ; for on the principles imbibed in the first lessons
always depends the future success of an artist. Faults then acquired,
and confirmed by long practice, will never be lost.
I would, therefore, make it the duty of parents, and those who
have the charge of pupils, to act, in this respect, with circumspec-
tion, and to consult artists before concluding about the choice of a
teacher.
In studying very carefully all the works which have appeared
within a certain number of years, I have been struck with their
general deficiency in the important qualities of order and logic.
Some of them are objectionable on account of too great simplicity
in their means ; others have appeared to me to be in a still worse
condition, for they contain many useless things, and a total want
of progression. I hope I have succeeded in composing a solid work,
which will force the pupil to exert himself, and familiarize him
with all the difficulties of tonalite, fingering, and rhythm.
I have graduated all my lessons from the natural key up to those
most charged with chromatic signs. My system will, therefore,
necessarily give more trouble to pupils in the outset , but from V
there will afterwards result a great good to them, — for, in learn-
ing to play the Piano-Forte, they will, at the same time, become
good musicians.
I have often observed, in pupils who had already obtained a certaii;
proficiency, a difficulty in reading music with accidentals ; and I
doubt not but this want of readiness is to be ascribed to the timid
ity and excessive reserve of the old instruction books.
My course of Piano-Forte instruction, if followed from tte begin-
ning to the end, will offer one advantage, which, I hope, will be
appreciated. It furnishes elements of study for more that a year,
without making it necessary to have recourse to a multitude of little
pieces, almost all of them carelessly written and badJy fingered.
Mechanical means to assist the hands and arms sfc ould be rejected
in the thorough study of the art of Piano-Forte playing. They
should only be considered from an orthopaedic poit t of view ; tliat
is, they can only be used with any appearance of ? ^vantage as a last
resort, when a pupil has been badly directed, or us an aid in cor-
recting a bad formation of the hand.
Some persons have the erroneous opinion, that the metronome
could be of service in the study of the Piano- Forte. The intellect
and judgment must direct the division of measiue* and the different
rhythms, and the metronome is only a means u.t'.l by composers to
indicate the true time of their compositions.
The pupil should sit before the middle of th'j key-board, in order
to be able to run with ease over the keys from one end to the
other.
The wrists should be turned outward, so that the fi/v fingers may
be always on the key-board, and ready to strike their <t'X3S.
The wrists and arms should form a straight line.
The hands must be rounded off, and the keys shuck with the
extremity of the fingers, but not with the naih.
The body must be held erect, and all grimaces and exaggerations,
which would give a ridiculous appearance, must be avoided.
In order to obtain great equality, agility, force, neatness, and a
beautiful sonorousness of tone, — qualities which constitute true
talent, — it is necessary to know how to strike the keys from th#
fingers, from the wrist, or from the fore-arm.
Thus the touch should be given exclusively from the fingers in
trills, in runs of the scale, and in other running passages.
AUKORO.
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IEGOIERO.
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The keys should he struck from the wrist in chords and octaves,
in lively and light movements.
ALLEGRO.
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And in a moderate movement, where the expression demands
great force, the keys must be struck from the fore-arm.
HODERATO.
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But this last way must be used very sparingly ; otherwise it
would easily degenerate into a habit, and produce a stiff, heavy
touch.
I recommend to pupils constant practice of the scales ; at first,
in slow movement, then moderately fast, and thus progressing to
the highest degree of velocity.
In order to prepare for the exercises, and to give elasticity to the
fingers, it is important to go through the five finger exercises, in
single and double notes, which are given in the instruction book.
It is absolutely necessary to have the pupils early acquire the habit
of counting the time aloud ; and, where they cannot make at once
the correct division of time, they must subdivide the measure into
•mailer parts.
Thus, if the measure is marked in 4 parts, it will be divided into
4 quarters, or 8 eighths, or 16 sixteenths.
Measure in four parts divided into four Crotchets.
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Measure in four parts divided into eight Quavers.
1 9 3 4 5.
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Measure in four parts divided into sixteen Semiquavers.
3 3 4 5 6 7 8 9 10 11 19 13 14 15 It
The principal diversities of shade in music are contained in the
modifications of sound and time. There are a great number of in-
termediate degrees, which form a chain between pianissimo and fortis-
simo, between the slowest and the quickest movement ; and the art
of interpreting the different composers is only obtained by scrupu-
lously observing the indicated marks, in studying the contrasts, in
trying to give coloring to the musical phrase, and in taking the time
exactly as indicated by the composer, or by custom.
A master, however skilful he may be, can never give a superior
style to his pupil ; for style is something that cannot be transferred,
and for which no rule can be given. There are, in the arts, quali-
ties with which nature alone can gift certain intellects ; and the
master can do no more than transmit to his pupil a faint shadow of
his own manner, and which will never make any thing but an imi-
tator of the pupil.
Style is the spirit of the performance ; it is the art of giving a
form to the ideas, and of transmitting feelings. There is as much
difference between a man of mere execution and the true artist, as
there is between a great talker and the true orator. A man may
be a skilful instrumental performer, and yet be only a very mod-
erate artist.
Only by the careful study of the works of the older schools of Italy
and Germany, the works of Haydn, Mozart, Clementi, Dussek, Cra-
mer, Beethoven, Hummel, etc., and those of the better modern com-
posers, the true talent will be cultivated, and ultimately acquire
individuality and originality in style.
It is to be regretted that the study of the ancient masters is almost
altogether abandoned, and that beautiful works, in strict and grand
style, have been laid aside, almost exclusively, for the easy success
to be obtained from performing variations, and a number of little,
light pieces, which have no real merit.
I leave it to the discretion of the teacher to decide on the time
when the exercises in thirds, sixths, octaves, chords, etc., should be
taken up and gone through with. I wanted to avoid filling my text
with useless matter ; and I have endeavored to give to my definitions
the utmost simplicity and clearness, so as to make them accessible
to the intellect of young learners.
If my work, the fruit of long meditations, and of conscientious
labor, be acceptable to my colleagues, I shall be happy to have mado
a step forward in the beautiful art which has occupied every moment
of my life.
H. BERTINl
OF THE KEY-BOARD.
The key-board most generally in use embraces an extent of
gix octaves, which commence on F, and rise to F of the sixth
octave. Within a few years, Pianos have been made extending
to six and a half, ^nd even seven complete octaves.
WI7IR-SITT]
As it is very easy to become familiar with the additional keys
of the seven-octave Piano, we shall confine ourselves to indicating,
by the following table, the name and position of each key of a
Piano of six octaves only.
TABLE OP A KEY-BOARD OP SIX OCTAVES.
Ab B
Pb
Bk Db , E| '
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LIST 0¥ THE PRINCIPAL ITALIAN MUSICAL TERMS USED IN THIS WORK.
GRAVE, the slowest kind of ume.
LARGO, very slow and grave.
LENTO, slow.
LARGHETTO, less slow and grave than Largo.
ADAGIO, slowly.
SOSTENUTO, sustained m regard to tone.
MAESTOSO, majestic.
AFFETUOSO, affectionate, tender.
CANTABILE, in a graceful, singing style.
TEMPO DI MENUETTO, in the time of a minuet.
TEMPO DI MARCIA, in the time of a march.
ANDANTE, going neither to slow nor too quick.
ANDANTINO, somewhat less slow than Andante.
TEMPO GIUSTO, in strict time.
GRAZIOSO, in a flowing and graceful style.
ALLEGRETTO, moderately playful and vivacious.
ALLEGRO, fast and animated.
PRESTO, very quick.
PRESTISSIMO, the most rapid degree of movement.
DOLOROSO indicates a soft and pathetie style.
CON ESPRESSIONE, with expression.
MODERATO, with a moderate degree of quickness.
COMODO, quietly with composure.
CON BRIO, or BRIOSO, with brilliancy, brilliant.
AGITATO, with agitation, anxiously.
SCHERZANDO, playful.
MOSSO, animated.
CON MOTO, with spirit.
PIANO, (or simply the letter p,) sweet, soft.
PIANISSIMO, (orpp,) very sweet and soft.
DOLCE, (or Dol.,) sweet.
FORTE, (or f,) loud.
MEZZO FORTE, (or mf,) rather loud.
FORTISSIMO, (or /,) very loud.
SFORZANDO, (or/z,) rendering the sound suddenly
loud.
RINFORZANDO, (or Rinf., rfz,) rendering the sound
loud, but not suddenly.
CRESCENDO, (or Cres.,) increasing the tone.
DECRESCENDO, (or Decres.,) decreasing the tone.
DIMINUENDO, (or Dint.,) diminishing the sound.
SMORZANDO, (or Smorz.,) smothering the sound
by degrees.
LEGATO, (or Leg.,) slurred, smooth and flowing.
STACCATO, notes to be played short and distinct
PORTAMENTO, a gliding from one note to another
RALLENTANDO, (or Rail.,) retarding the time
and diminishing the tone.
RITENUTO, (or Rit.,) decreasing the movement.
TENUTO, (or Ten.,) to be sustained' the full time.
ACCELERANDO, (or Accel.,) accelerating.
A TEMPO, in the regular time.
ESPRESS1VO, (or Espress.,) with expression.
LEGGIERO, (or Legg..) lightly.
CON ANIMA, with feeling.
CON SPIRITO, with spirit.
CON GRAZIA, with grace.
CON GUSTO, with taste.
CON DELICATEZZA, with delicacy.
CON FORZA, with force.
CON CALORE, with heat.
CALANDO, diminishing in tone and quicKness.
BEN MARCATO, well marked, strongly accented
AD LIBITUM, at the will or pleasure of the player.
A PIACERE, at the pleasure of the performer.
VOLTI SUBITO, (or V. S.,) turn ovw quickly.
2
LESSON I.
PREPARATORY EXERCISES
FOR PLACING THE HANDS ON THE KEY- BOARD.
The Brace
is used for uniting the two staves.
Clef of G, (or Treble Clef.)
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on the second line.
Clef of F, (or fiats Clef.)
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The stave consists of five parallel
lines, upon which the notes are writ-
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custom pupils early to the combina-
tions, and difficulties in regard to tone
and intervals, in order to render them
familiar, as soon as possible, with the
key- board, the most complicated meth-
ods of fingering, and the various acci-
dentals* so common in Piano Forte
music. In attacking difficulties from
the beginning, (within reasonable and
relative limits,) the pupils are forced
to think for themselves, and the result
will be truly beneficial, because they
must make, in a short time, aprogreai
which could never be anticipated
from following a feeble and puerile
course, that could hardly be expected
to command their serious attention
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These first lessons should be
played very slowly, with an equal
touch, avoiding, above all, any stiff-
ness of the fingers.
Great care must be taken to raise
the fingers when the time of each
note has expired, (for the sake of
distinctness,) and to keep them down
the full time of each note, so as to
blend the sounds together as much
as possible.
Stiffness of performance is the
greatest and most unfortunate fault
of beginners. The best method to
prevent it, is to play very slowly, to
finger carefully, and not to attempt
a quantity of tone inconsistent with
the physical powers of a young per-
son. Stiffness will lead to a con-
traction of the cords, which will
eventuate in a dry and heavy style
rt performance.
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LESSON III
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written on two staves.
The clef of G, (treble,) is placed
on the first stave ; and the clef of
F, (bass,) on the second :
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b~
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b—
OF THE MEASURE.
PRELIMINARY EXERCISES
FOR DIVIDING THE MEASURE BY CROTCHETS.
Measure in Common Time. Count four crotchets in a measure.
-fr-^x
i
2
3
4
3
2
i
O
<5
X
GE C °
a
5Sr
12 3 4
Ml
1 1 1 1
12 3 4
1 1 1
1 1 1 1
12 3 4
MM
i i i i
12 3 4
Mil
i i i i
1' 2 8
4
12 3
1 I 1
111
4
1
1
12 3 4
III!
i
2 3 4
12 3 4
MM
V^'-P- .-,
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s>
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1
r
a
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«
1 1 L
Measure is tha
division of time; it it
determined by the num-
ber and value of the
notes.
There are two sorts of
time — Common Time,
which is divided into 2
and Triple Time, divid-
ed into 3.
Common Time,
subdivided thus : —
Measure in Two-Four Time. Count two crotchets in a measure.
=f ^f] &c-
_(2) *_
-+-
I 12
ZBL
je:
4
1 2
s:
^
1 2
2
£2..
Triple Time,
subdivided thus : -
H2H
^&-
■ Jebb
&c.
The space which con«
tains one or more notes
is called a Measure.
It ts very important to know how to divide and count (or beat) the time.
The measure is beaten, or counted, in equal divisions.
There are accented and unaccented parts of a measure.
a
s
s
Unaccented.
4
Unaccented. 2
3 Accented.
Accented.
* (
1 R J
Una
]
Ace
ccented.
1
I
Measure in 77
or
Triple
1
l
ented.
| 2 Unaccented.
Measure.
fill
(1) The measure it
common time
is indicated by s% ■
this sign : — -
It should be counted
by four crotchets.
E JS?
T-
(2) The measure in
two-four time
is indicated b y 1 2 ~
this sign : — 4:
It should be counted
by two crotchets.
u
8
The different characters which fill a measure are as lollows : —
Semibreve Rest,
Semibreve,
Minim Best,
Minim, ....
2
Crotchet Rest, [*
Crotchet,
Quarer Rest,*]
Quaver,
8
Semiquaver Rest, ^
Semiquaver . .
16
Demisemiquaver Rest, ^
Demisemiquaver, .
32
1 Bar
<-!
Hemidemisemiquavers are represented thus, — fcj Sixty-four are equal to one semibreTe.
The bar is a perpen-
dicular line, to denote „ ,
h& division of the The different kinds of time are indicated by two figures placed after the clef, at the beginning of
measure the piece.
Triple time is ex-
pressed by the follow-
ing sign : —
Count three crotchets
a a measure.
fera
12 3
Six-eight time is ex-
pressed by the follow-
ing sign: —
jS:
-8-
And is counted in
mo divisions, thus: —
A figure [1] represents a Semibreve,
[2] a Minim, J
[4] a Crotchet, J
[8] a Quaver, '. J
[16]
[32]
[64]
a Semiquaver,
a Demisemiquaver,
a Hemidemisemiquaver,
J
2 2
Thus j represents two semibreves, and » two crotchets, &c.
The Breve is
equal to
two Semibreves
Breve.
a
Semibreve*.
N. B. — There are longer notes, called the Long and the Largr, which are omy employed in tne
ancient ecclesiastical music
OF THE DOT.
A dot placed after a note increases its value one half.
KUMPLE.
— ' -l»l
P
• 1
• —
m -
r
Lfi zf-
•
■*
f. 1_.
1
i
■i
— £ ,,,,7-L -
i
EFFECT.
The dot rep-
resents the
value of one
crotchet.
m
j*
-e — (=—
■
1
w
m
f g_ H
-f" fc=£zE
1
'
p™"
L_ F^-p-U
When two dots are placed after a note, the second is equal in value to one half of the first.
— » r- T — :»-
f 1 . ." a
—6 p —
-r —
r»
— F —
- r "C,
— F — — - — F-
l >
i "i —
1 -1'
EFFECT.
si
W s>
■
c s
1 w
02Tt*i1f^-m
h» -e
•
1
...... 1
-f-
>
-U — i
=£-:
f f P
ffefc
f f
- f p=ffl
A dot placed after a rest has the same relative value as though placed after a note.
—6 —
—
w ' ■*!
#
p
— =1
a
w
S
ll(
-1 »
a
3 *" # -
— V
— ■#• —
i
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l
I
— i—
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•
h*
.
•
—?-
-1
•
• #
=3
• • .«
L/
1
L*
1 l
y
u
1 Lj
^ -
A Dotted Semibreve
is equal to Three Minims.
A Dotted Minim
is equal to Three Crotchets.
is
A Dotted Crotchet
equal to Three Quavers.
A Dotted Quaver
is equal to Three Semiquavers.
o
«l"
.. >
U«S
O
•J 1
o 1
Si
4
a!.' ' *""':"■
a
m
•
1 f 9 •
4
zj_
o
£
l u - ■
t
s
i
1
M
■
o
■■J
tr
a
a.
2
c
a
o
|
e
D.
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m
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8.
f
1
I,, o , .
I
O
I
o
r r*
^ —
•y 5 c ■ 5
•J
•J
J .
•J
1 J
j
•J I s r r
q a a a
1
a
a
9
Q
9 9 — -
*
1 C 9 9"
£
-*
w
10
Minim Rest.
Crotchet Rest.
Quaver Rest
Semiqua rer Reft.
...o .
O 1
o
, Q_
*)
— gp m
o
~J P
■o
V
" J
v
cfl —
-4r ** '
-8-
•
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Value of the dot
Value of ths in*.
Value of the dot
Value of the dot
10
If.B. In commencing drts
lesson, divide the time by
counting four crotchets in a
measure.
ft-i "1 X ■iA^
{!,
HU
LESSON V.
Slow.
EXERCISE Ilf RHYTHM,
A dotted minim is equal
to three crotchets.
A dot placed after a note
adds one half to its value.
KEY OF C.
EXAMPLE.
DncT.
m
When a note is followed
by two dots, the second is
equal in value to half that
of the first
IXsHTLK.
effect.
A dot p aced after a rest
has the same relative value
as though placed after a
note.
y-
EXAMPLE. /
C* *
1
%
l
M
effect, r
# w
\
I
^
i
Semibreve.
One semibreve is equal
to two minims.
Minim.
f
One minim is equal to
two crotchets.
Sotted Minim.
P •
Q
W,
COMMON TIME.
f;
m
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^
4
X
is?:
s
2
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9
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^~(»
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j=m
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js:
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isz:
£
53.:
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rt
— s. ..
EXERCISE FOR SHOWING THE USE OF THE DOT.
* 3
u
a.
^
c —
/Lp
&
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r
a
tin 1 -'
1
1
uu
Mil
1 I 1 1
IMI
MM
X
MM
1
MM
IMI
1 II 1
f?y
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si
^
is:
One dotted minim is equal
to three crotchets.
A dot placed after a
minim is equal to one
crotchet.
One semibreve is equal
to tVur crotchets.
MM
£
:s2i
1=±
~3I
£
fit
2
S2I
£
fiE
t - r
3
-e
r
£
£E
"1^:=:*:
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2 J . 2
-y-f-W-r-^
:tt=t
.pzc=. _r
-g- A ^e
1 — LZi I tzcjtzzzi
2s:
It if highly important that the due order of the thirty-six lessons which follow should be strictly adhered to, because they have been arranged in a
methodical manner, in order gradually to familiarize the pupil with the use of the sharp, double sharp, the flat, double flat, and the natural, in pas-
sing through the degrees of the ehromatw scale. The mechanioai diffioultlas have been so proportioned to tha labor as to render them easily progrw*
air*.
LESSON VI.
II
~zz:.
xzc
^ O mP?
iz*=£
t
r~r
£
&-r
nFfl
,«2_
P
±E£
i i r
£
(O—
-M-J—
£
.-#-£
■fP :
^
£
V _ * ■
»-p^zwi
- p~
A Minim
is equal to two crotch-
ets : —
j^gjfegg
1:
e---
££
-m-P-T-p-
-\ — i — r
i ' r
£f£
~r~' — r
x
P
tlzwdt
-JdtXl
f-f-
mnr
a^g
* i M
££&
19-Pzf-Pl
i — I — r
"i — r
-x-
fi"
IES
f
-az^:
^ft=f
— -p---
fl
SsS
r~rr
-a — ft
m
izi
P
xzc
P--F£
¥?
S£
C£
* ' - ■ ■ X 1 X
1«
X j X 1
gg
^^
e n a
n ■ r
2-2
3EZT
5g*
r-i— »— r
jg2T~ar
s ziz£-3-
i ' i — r
\
Minim Rett.
A minim rest is of
equal duration witk
the note.
~&-^£
W
C a . P
2 3 3
pzPz^iPi
"zzczf
s-> z
r r
-t~r- 1
F
* 1 ■*-
~i — i — r
~ ~P _| — ' ' — zz
~i — i — r
$m
&■
2
6#
'-Ft-
m-P-M-m-
£
?£££
g ;
Semibme Best
A semibreve rest is
of equal duration with
the note.
s-e-
-*- — f-
w
£==f"
zzzjzrx
!f^f^
t
S>
i-?nr
4
Xi 1 » la r
x
-F
(•-r— 1»
a-tgf
^r
"i — r
"i r
zss:
The dotted tnin-:rn
is equal to three
crotchets : —
zp—f-pz
zjz-zrzzz
gzzH
ft V *
3 »
i *
3 *
a 3 4
i a
li"
i
y »
- fa "• r*"
w
• i*
X m &
« r *. -
J r* a • P
1 1
- r*^
-* i
1
i i
, _ p »,
i p E -
«, —
ft) ™ '
' 1
i
■ 1
i i <
r-f
1
vSJ i
■
1
I 1
i
--* — J-
-a a-
-e-J-£—
-T-S-«
-szh^c
^&=^-P-
l-p-^-p-
-
*-±-f-
-f- — r
H*-^
-4=fP—
-f-^f-r
_.. - a ..
i 1
.."" 1 "
-,_ I ■
i i
n '
rii
1
1 '
1 v
r r ;•
1 ' -
j
^^ OP THU^ 7 ^-
[W17SRSIT'
12
LESSON VII
LESSON
FOR SHOWING
( 1 ) One dotted
naumn is equal to the use OF
three crotchets.
A dot placed after
a note increases its
value one half.
THE DOT.
Count four crotchets in a measure.
(2)
Semibrere.
car cur
One semibreve is
equal to eight qua-
vers.
1 2 1
ss
(S~
-X-
1 x n x
- 1 - a
SHEF
^=f=f
3
jtLvmv
=f-F : F~
h-p-z
?
¥
x n x
*-Q-#-
th:
? :
X X I
£:
X _ X
3
£
x x
:r
.!_-_!_
T-
-W-T
~i — r
*£
^
g-^rl
ipjsEI:
(3) The dotted
minim is equal to six
quavers.
LESSON
( 4 ) The minim is ra ftUAVKRS ,
equal to four qua-
vers, for THE
( 5 ) The crotchet LEPT hand.
ks equa. tc twa qua-
(6)
w
*„ X
* ~f-pf— f- 9
m
: FP=
t~i — rT
4
JSL
iBTF
t
TT7
i — r
E
r;
^=-
2
3E
X x X
szp:~
3
IEEE
:«5"
x„ x
i rr~M i r ill i r~i — i— i — r~
Countfour crotchets in a measure.
4
(2-
i
i — x-
3sz:
321
^1
I i — i — i — r
ft 7Wv<^
EXERCISE
OK FIVE NOTES,
TO GIVK
Eftf A L. FORCE TO
THE FINGERS.
ffi; — f-j—pj — i — i — I — i — IZiZZfTJ^J Uracil i i i I t
r i r^j — r~r — r -
te^
* i *j i
I — I — dEZj
T1 r ^ # ". lI r #-»
"i — ! — r
"i — r
Fine.
O'
♦ » »
.....
CaoU- <£)•
LESSON VIII.
3 2 3 4
/
1
EXERCISE
SHOWING THE
USE OF THE
riE AND SLIK.
-X_L K _L_ '^
S^£E
52:
~r~i — r
1)
i^r-r:H == : zzzsszir::
P
&£
fffl^fip
x
fci*-
£££
adfcjdEjE:
r - 1 — r~l — r
i i
-a-
&*£
13
Count four crotchets in a measure.
(1)
A Tie.
A Tie is a curved
line placed over two
notes on the same de-
gree, to signify that
the second should not
be struck.
Example
S
Effect.
A. similar mark is
called a Slur, when
placed over a grou >
of notes on difi'ere it
degrees, and signifies
that the sounds should
be connected together
by holding one note
till the next is struck.
EXAMFLX.
Legato.
An Italian word,
signifying smoc tliness
of execution.
')&*
14
EXERCISE
OH THE TUB,
FOR
BOTH II A5DS.
Count four crotchets in a measure.
P
22!
g=
BE
S
-2_1
4
/
3*3
ES
t¥?
£
i r
'i — i — r
is:
J ,*a£ZEn
i x V x 1 x
sz:
5BS
4
I I r
4^x-
9 -r- 9 -0
ZZJBL
ILZCZT
1 — I — r
f3
iEfefei
1 — r
m » l
^3
j-j.
: FF
is?:
j <—
y
l-^AAJUJ
\ -SI; i — i — | — I — i — i — i — r~ h i — i — ' — i r i — i — r
EXERCISE
ON
FIVE NOTES.
THIS SCALE '
MUST BE
PLAYED
VERT
•LOWLY.
— r-j — F— i — I — i — i — I — h — i — r~i i r r I
3 - o 3
1 A * 1
?ff ffr t
1 — i — i — i — i — i — r
:s=i=5:
EEa
t~i i — i — i — i — i — r
x
_A_a_
yffnrrrt
iJ
* u s (J 1 1>
LESSON IX.
Counf /bur crotchets in a measure.. — ."
-pi"—*- »■
-t7 — i t~r -
4 3 2
~321
i X-
j Ba^
15
EXERCISE, I
SHOWING
THE VSE
OF THE
DOT.
Slow.
3
JET-
~l — f
1
X - 1
pz:
zbzsezil
4
SL
T — I — r
i 1 — r-
s:
?
¥
ff-r
-a-i
Efg
-34
wm
X
:s2i
*
EXERCISE
IN
TENTHS.
EXERCISE
FOR
FIVE
FINGERS.
(1) Care should bs
taken to strike both
notes exactly together,
and avoid aiy motion
of the arm, or stiffness
of the hand.
I d
<?■- r l l J
0~
ou
V
r--
LESSON X.
Slow
(1) Sharp. #
The first sharp is always
placed on F.
~9 — #
EXERCISE
ON
RHYTHM.
Rhythm.
Rhythm is the division of a
certain number of sounds, of
different intervals.
The rhythm of an air may
be expressed by the value of
the notes, without the melody
In the marching of a mili-
tary corps, the drum marks
the step, by the effect of the Slow.
rhythm alone.
Melody.
Count eight quavers in a measure
V E rr r f ff
i — r
Rhythm of the air below.
33H3ES3
+ + *
frff-
I — I
~p-r
1
\*-
32
££
$
£2-
if ;
t
t
221
* f - P- -f-
T l I I
3 3
3
T
:#:zq:
4
3
m
~T
JjZZWZlJ
2
A
m
3tt
gj3
X
1
-- H-H
!k
^
3
§
x
321
1
T" r
122:
2 •- 3 -f8-
f-F-p-F-
m
2
*=££
T
(1) Sharp. #
The sharp before a note
raises it a semitone.
C natural.
3r*=
C sharp.
I
S£
x
# , ,T
•_ 3 A
I T
£
je:
t-±U~t
£
* t
3
?=P
f
-<S>
* -r- 1^
^=F
4
i
*:
1.1
-i-
C# is
the same
as J)\) on
the key-
board.
C#
:«C
5£
Db
Sloiv.
A semitone is the smallest
hMarval.
tifc
4
_!2_
.4. 3L_2
£
^
^£
•??zz^
i^
■m
P f W ~
^
S3
17
EXERCISE
ON DOTTED"
MINIMS.
(1) Lento.
2
TT& T—jr
pae;
jP-
r
i
4 • #--]'
S3
X
• 3
r a.
*T"
:c:
-iE
X 2 *
JCX
X
T
F-
4
j
T
1 X
Ml
T
{S-i.
4
1 < S> »
: !
2
^
Count four crotchets in a measure.
x
(1) Lento, an
Italian word, whwh
signifies 5/ow.
4
X
L :-#-
^
£.
:r~x
:r
x
1 f?L
I
:x
ix
x
±4=£±
zxz
4
#
m
tt
:x~
f-
'i — r
4 ■#-
"i r
X
.:
3
*£
*. 4
-4= p T
4 *
, 1
- r J
: ^ a.
9 * «
H= r
1 x
4 -#- -,«-
i x
4 ^ n a
I r f~
i x
1 x
,if f-
s? • —
1 x
4 -,- -p.
^-#-r—- ! — I
9
"f- '
-r~ i "' ■
frt b -
f=L r .
[ '
"I "- '
-I
-j
-T — '
4
4
f EXERCISE
ON FIVE
NOTES.
iTR.
j -\
2 1 2 1 - - 2 3 2 3
i ffff rff- p frfrfrf;
2. I I ii i — i i i i — i i I i i i r
~t~i — i
P— —g-ft-g-— — -
m i i i I 1 I
T ^i i ' f
Mot
t r i — i czn
*
/ 1.
18
(1) The first
two sharps are al-
ways placed on F key of d.
■aid
EXERCISE
m
t
OX
RHYTHM.
0)
X
t^m^"
SCALE IN D.
m.
BEgEE
2 *
r i I
LESSON XI.
&±u*
x
■P-
^-£
i r
1 2
&
"I r
E£
=«=*:
3 1
Count four crotchets in a measure.
%
Capo.
Lento.
Sign to repeat
from the beginning.
»
* e=fc=p^
& __ — a.
L
s
«^fe
£
ff
f
£ef£
i
S2I.
-#-*-!»
£
tfd
p
^
fez
fe££
?
E
tfi
: F
3
PPP
1 9
Eeit.
r
(3) Crotchet
•est, equal to a
crotchet
•Rest, j"
g
i
STrf'r
:«:
?
J— F
5=5
ff#
e
1 x
3CC
re I f «P :izfc*it: -*r
H
<s-
£
EE>
4
[ fe
t_t
r
^
^ff#
f-HF
T~*"
m.
Fine.
Z
^sa*
P
^
iS^f*-
^frg
( 3 )
£
:r_
rrr
x , x
- i£M
.Note,
*r^=r!W ^m
X , X
w /■-■—» 1 —
«:
C — L
X l X
tfff
•g — ~r
X X
I fff
r i i n
T&Tf-t
~&L.
rT-r-
T"r~r
P
£*
=1
g^Eg
X ! X
fr£
■^
f
3z:
RETURN TO
VHE SIGN,
AND END AT
THE -WORD
•'FINE,"
(4) Practise this
passage very slow-
ly, and connect all
the notes.
EXERCISE
ON
THIRDS.
\ I
eXERCISK
ON
SYNCOPA-
TION.
1) Syncopation for the right hand.
:£— 3:
: &eT
i
Lento.
m
ilEfcE?
7&L.
Mil
II I I
£ — fe
£
^
^
R-
22
£
•f- ^
r
*=fc
7\oo Seats in a measure.
z
~327-
ate
»
els
zz
19
( 1 ) Those notei
are called syncopated
which are accented
between the beat*.
Lento.
Allegro.
t#r— *-*■
1X321X3 21X321 X 3 2 1X321 X, 3 81X381X
%t*tp-pzp-p-p-p-p-p- p p p-p p-p-p-r -p-p-p-p-pzp-p-\
^-tiH — I — i — r~i — i — i — r~ -i — I — i — i r~i — i — r~ j — i — i — i — I i i i
n — i — r
Articulate slightly with the wrist.
Lento.(2)
Bfc
■s>-
i-e-o
i r
:i — c
-P-P-Pp-Pffp^
-<&-■
~n — r~rT~r
-<s-
A CHORD.
Syncopation for the left hand.
IgFfcE
X
X
:fc±
:£±
-X,-
^
Z22I
^
Two beats in a measure.
f
3
:sz
>~^
s
^
3
* p j *
T"
EXAMPLE.
fc 6FFP
£T
m
VZ.fl_JS_
--A_
(2) Chords.
When three, fot
five, or more notes
are struck at the same
time, they are called
chords.
A Chord of three
Notes.
A Chord of four
Notes.
A Chord of foot
Notes.
--R ft *
1° f°fy?
20
&
b o
LESSON XII.
(1) The first three
•harps are placed on
F. C, and G.
-*L_
EXERCISE
IN
s
I
0)
^m
1 — w
-n^
z^j^p
S^^lto
( 3 ) Measure in
triple time is thus
marked :
3
4
It is counted in K * ERC » SE
th«se crotchets. on the
CROTCHET
REST.
gy
(2) a /-J
4
Sz^E
:^~:
Fr t
5:
£
=F
3c
, X_
4
2
xsz
42:
3
)S2_
5*
jg
s:
-fl-i —
■42-
2 .
rr
'-ft-"'
gryr
Cojm* tAree crotchets in a measure.
4l
( 3 ) The crotchet
rest it equal in value
fc ne note.
Rest.
I*
I
r#
.«-
£
ii
:«:
*:
£
^
4E
H
3
22:
£
3"
:?
n:x:
3
=£
TX
rs: zzi
?£
xis:
T~
:<?::
x x
2 „ 2 - 2
frrrrr
•TTTT
r-r~r~r-T
£-
E=&:
Fine.
i r
Crotchet
(4) Mark of abbre-
riation.
To repeat the same
notes, as in the previous
aeasure.
X
^z£
£
£:
?-
£
J I
"^~*"
I I
^
^
3 :
ri —
:*=r
3EP
L i
*i£.
JS
SEE
=t=f^p
fe
« 8
3
i=fEE
5
EXERCISE I
ON 1
RHYTHM, 1
AND TO J
OBSERVE
THE
.CROTCHET
REST.
EXERCISE
DOt'BLK
NOTES.
(1) Care should be
taken to strike the dou-
ble notes simultaneous-
ly
(2) When two kinds
of fingering are given,
the lower figures are in-
tended te be used vWin
the hand is i Vif T W * tt
reaching tlw oeti»*i».
£*&,
Lento
EXERCISE
ON CHORDS
FLAYED
STACCATO.
(4) Exercise on the quaver rest.
&C£ * *jf~ii—
3
X
n i»— pp~~) » "Ta- IZLBITIZLS -L9f
¥=&=V
i
tJL
E£Pi&S*
^
ZL
X_2
zzLtzi:
X
_*_>
4
X
3
X
a a
z2x
3
.• r
- z 1 Jl 1 .■ i u Irt x— «
x_
:t» — 1*
* f-zH~-*~\ *~ r __
ZX~-2T~r~r~Z
IzdS
(3)
S
1
Quaver rest.
r
f Quaver.
The quaver rest is
equal in value to a qua-
ver.
(4)
1
1
Effect. •
A staccato note is ex
ecuted by giving it about
a quarter of its value,
and striking the key
with sudden force.
/a.
~y.>
22
(i)
The first four
sharps are al-
ways placed on
F, C, G, and D.
fct
KEY OF K.
LESSON XIII.
2 4
(2)
Natural.
n
When a note
is affected by a
■harp or flat, the
nrtural restores
it to its original
Mund.
EXERCISE
IN NOTES
DEMI-STACCATO
AND LEGATO
ALTERNATELY.
(8)
/
The demi-
staccato notes
are executed by
giving to each
about one half
its value.
EFFECT.
.ftft
Moderate.
$
\%
x
t* DEMI-STACCATO,
WALTZ. P.
*23
:*-*i
3
3
Z3
33S
£=
(2)
s&—
:- <?
S
e=£
g±
(3) Lesson for observing the quaver rest.
■#
ftH^r-
sl
1
-fcri — i — o"
-i i r
£
J*
x
HE
-g-*—
11X3
a 3 * a
~ rf rr~ ?r
"i — i — r
"i — i — i i i r
*fiL
*%rf-f
£5E
U*
t ' r
I
2
X •
Pit Fmx
2
X-i-
,** Pi T F m i x: 1 ; 1 - me ^ i a • ■ 1« -f-f- r-f-# i
- P-r--| — r ".U— t -
X f 1 X
s
2_1 JLi
D. C.
EXERCISE
OK RHYTHM.
Lento.
e
3se
£#-£
gBZI
rf
TX
£
f f ffr
Count eight quavers in a measure.
rs
Lento.
LESSON FOR
CHANGING
THE FINGERS
ON THE SAME
KEY WITHOUT
REPEATING
THE NOTE.
(1) Change the
finger without re-
peating the note,
and keep the thumb
on A.
i
(2) Glide from
the black to the
white key, without
quitting it — that is
to sav, from D# to
£.
(3) Incline the
right hand to take
G-B, and do not
quit the F# until it*
full time has ex-
pired.
(4) Change oa
D-B with the left
hand, without quit-
ting the keys.
3^
24
(1) The first five
■harp:
on F.
The first five /
is are placed I
, C, G, D, A. \
_*_# MB /
i
(1)
__« ^ ,_s
LESSON XIV.
— -i—
*
^
^ts^
x
r~r~i — i — i I i I ~*g^~i — r- w»— — r
L 9 *»
f=*
LESSON IN
DETACHED
(2) Take care toR DKMI -
to connect well the staccato]
melody. notes for
THE LEFT
HAND.
Lento.
w
*£:
321
(2)
icb^
*Sfe^E
(3)
"pr^
f
-2_#L
?
see
T=p
fe
3
X X
2 • 1 •
:'
-f— jBT
1 I* ! f
T
X X
1.2.
3EJ — ill
— r~rz
-| 1 0-
3_j>_2 •
• m • r
:rf3Er=
-£=3z
T
T2
r
(3) Give the i
tached notes one
half their value.
JiXAiltLE.
IXXX
de- /
>ne I
' )
t#T*
rt
i
^
-F4
X
• 1
ggggs
*-&■
i r
1 r
1 x
• 3 • 3
» ♦
£
nc
;F=tf:
s:
2 3 • 3
~?m-
^
X 1
• 3 • 3
g
3
5C
* x
m
<B..
2 1
I 4 14
IXZIB
I r
:^
i x
• 1 • 4
(=3
9EBE
ffe?
IXL_
*
X
i r
~i — r
SI
ANDANTE.
•ft
s^^s
a *-
Legato.
sa
^-#--e
it
Ig-JLg
i — i r
a^
zjze:
i x
e^
i x ,
2 1 -
r^Ftf^tf
TT
TT
Legato.
(4) £1^ port well
the lell VUiid on the
fourth finger, to lesson in
prevent skipping in Sl4l/RREI>
executing the two
notes which form NOTES POR
the Ktave. the left
HAND.
Andante.
t#-
rt
~^&-
i
?
*#
#:
ftF*
3:
T - r
i
i=±
-rr- — r
X2
i
a
1
:i — r
£
1213 X 3 X 3
3
i
5=*
SEE
x
3
IX
(2) *
i x-:
T
85
(1) Change
from the 3d hngfi
to the 2d withe-
taking off •)•
thumb.
(2) Change
from the 1st fingei
to the thumb, on
the same key,witlt-
out quitting it.
Andante.
2 3 , _Jt
-?-?- t* — "^d — F~^ t F
-~ LrM — r — * — a t — -
^ x i
^sga 4 ., . [ f rrj- -J > J H f ^? 1
"*^^» — if* x «i — x
4
Tim
:3i^~3
liig^E^E*^^
-* — * —
_3 m _m
_____ 3 ------- !
miiii
i — i — I — I I — r~\ r~ i i — 1«
gZiLH«-*Z3=g= *Zg= 3Zj-
g #f • r r ff j
~r~\ — r_t — i — \zTzP:
3 * x
^ 3
- S Z P :
f rrr rrr r
i — i — r i w--l — r
-*#£* f ? ,
~~ /Fv~ r~ r rrj r i i r
" h — i — I — r — i — i r-
czzzwz :
3 4 3 2
utJS.
K s-#— 3
I — | — i — Fl-^T
'V frFF-T-f- ERSE-*
-X — 8-
~ \ — r
#.sr
"3 — ~i — r
* »-T3
~i r
3T3-3:
j i
-x — «-
= t — i — j — f=^t
~-i~3 — I — u 1 — 3 1 — J
H
"T"ri—
3=#-3=^=Z:=«=3
J I
3=__-3
zx:
G
26
LESSON XV.
Lento.
KEY OF
The first six
■harps are placed
on F, C, G, D, A,
and E.
rV# — w — it —
Accent particu
laxly all the crotch-
(3)
I?
Double
sharp.
*-«-
^»="
in
*=£
-X-
££*
^f
IT'
T
EE s -i-*> :
pp^ips
ifc
Count ei^Ai quavers in a measure.
#"
rrr
ri— r-
PT~TT~
^=^**
-^iT-r-
?=FF
f r rff f r f f i -
~r~r-|~r
I I ' ' ■
rr~r
-ifjrA
~r~x r*'r»- rrn-
£* ; i
^^
t.. S frfff k. *
saE^sffi Efe
TTTT
EfE^^E^
3 ~0
ff __..rri — l i i I r_ rr
^p
S » rf fr> «
"# — f r r] — i r~
: -TT f ?rf f ffr
tciis:
S
BffiH
^a
"X
s
The double sharp
raises the note two
semitones. F dou-
ble sharp is the
same as G natural
on the key-board.
:xs:
-He-
> =*==-|g3-L —
1
?-*-£*
*&
-^-
Sharp.
~ i 1 1 —
— t j [—- — •
Natural. Double sharp.
Somitone. Semitone.
EXERCISE
ON THE
DOUBLE
SHARP.
-^m
f^k=M
E=EB32
E^^i^^=^^=ES^=-E=-! x*?
j X — « — »EP — en rrPgZm *
ZZZ E3
D
Andante
< 2 ).
£
31.
Forte. Piano.
When two notes
are slurred togeth-
er, '.he first should
be accented, and
the second unao
ceckj-J.
*?
3
X
I
I
1
Jr~ ^ m
^
Pt
'*=t
^
IzzlzEi
r&r
-gy— g — i-
M-L
T-
:sr
:x^
«2.
h 1
:£&
£:
¥
^p=^
1 — r
5
=^
-rC>*.
3 2 12X1
cz^-z^
-£=WX=£
~i — r
i
£
i — r~
in:
2 13X21
t:
27
'i-Pi^
i tr-
=^F
*~<ir
,n
grSjji=E==Eg
3P
*•-,': -*^-
fe
3
3z:
SI
:ns?:
x^
S
2«-
X-sr
:f=c
xs>'-
-p-f-p-
~J~T
^s
z
V3 •
"T
IX"
Tn — r
zczz
*i#:
:#=£
8
II I I
*=*=*:
«=;
=-' 5 ±> ■# ft
ZK2I
^z|_*£d
«=t
3- 5
X5?:
is:
TO"
p
nn
~gy~
e
ffl«L
(1)
1=3
l^-M
1®-
4
5ti
~r
(1) Whep »
pause is placed
over a note, it
may be prolong-
ed at pleasure ;
but, as a general
principle, the note
should possess at
least double its real
value.
The same rule
should be observed
when a pause ii
placed over a rest.
t*t*
ft
-#*
i|ES :
1X2132
iczr
55 *— r-
:cx
i
n —
1 I 133
:x#:
:3:
-*P- :
3Z
3=3
:xs:
#±
is£
<2_ •
S>— *■
i
E
3 g g
DZC
A Pause
is placed either
over a note or «
rest
EXAMPLE.
28
LESSON XVI.
The first seven ,»
■burps are placed KKVOFcff.
on F, C, G, D, A,
E, snd B,
Lento.
&£&
^- ~V > \ »
ms m
$j^
:t=^-
: -5KfcE*2B
*=*»"£
mm
?E3=1 Z
35P
3d
-0
3=g333
3^g :
fi MF
S^fe^i
t^^F
«
1 — 1 — : — r
±— ff *k
l*£
:jz*
x 2 ,
**
-8
#?
=M:
Pifze
1 — r
^g
t r
SSffl
pr f rrr-P- ft
^*ip*p»p\r.ftftrff
2 3 _2_ 1 _2_
rrrrrrrr
m^*fr
*=±
i i ' 1 — 1 — 1 — r— r~
rTTTTrr?
¥=f=¥=f= f=f=^
t-l ■ j — X-
EH
> = &
E^F
-#-
y. . ,)_«_ ft _ g g).
IE*
*— x-^x--
^ qctftttf
gfifF gff g g
j f^FS u fy
t — r
T*
"i — 1 — r
(1) The 7Wp-
At is a group of
notes, indicated by
a figure 3 placed
over or under the
throe notes.
SXAMPLE.
US
EXERCISE
IN
TRIPLETS.
ffe
(i)
#
*=3*
X
"«
O
^B^f F= j
ss
1 r
^~
rx
3 1
-F-
3?
xizzrifls:
'*ri — tz
™^£:
g
lzc
^r psr
^x * 2
w
1 — r
£ee%e
EJ3f£iif
f 1 X 1
-is m jg
—a 1
(2) #H
Sign or mark to
contradict the dou-
ble sharp, and re-
store the single
sharp.
*fe*
£*=&
-xfFrz=^F
^
m&
«fe
«fc^
:&
i
r-
W
£
£
**
=E
*»-
; r -
rr
E
"S^i
ngize:
*
3*2:
x
X
5fl
?£
1 — £
See
W 1
Ik
H3CC
3E
*RF
**?S
5E
3=f
ff
*?x-
isfe.
•S3EEE25
*£
£.
W^
Wim-Sk
*£*£=%&
w^
i^
•3- g a fr»—
£
P
x
sipis:
-*p-
PP r~ — i* _ iz _ r k —i — zpzzz — r-rr _ r — f
XX X
as
:<=>:
4 14
3X3
4 14 3X3
29
Exercise
ON TUB
TRIPLET.
Lento.
_L
lEczEEEEE
^EEE&
2
m
"i — r
"i r
£
-yf-f-
:rzLzn
£
^a
_ 4 5
a:
g
j
EZHS
l x
'ST
T '
g
-X-
S
-«- * 3
• | i rrr
~2T2
:e=?-r
T~i — r
"I — r
212
(1) The trip-
let in quavers is
equal in value to
a crotchet, or
two quavers.
l—X
mjm
mm
\
£jn 8 q i__x g u_ | r
3 T
-m — Si
:xr:
^
^ j:
: F=fl = P=F
JL
l I
=f=
-XfS>-
W&31.
i — r
i
i
,#^__2 3
^ZZj'ff-rzrzpip—
£ * — j*-
2 i x 1
0JL0^
-\ — r
-r—i—i—r
T
iC iSE
£
S
1
±fil
IS
X | 3 2 1
PUS
• P •
i r
"i — i — r
32=111
w
_ r
-X
2_JL
3ZJ
3^
V2~
St-
ziiJ
-^* — W*0
3C
m 1-
-sT
=»=*-
"i — r
fT ff
i r— i —
-*-r
I
_ r _
: J l 2
Bg^Pf^p
:*#
3
IB P
a i ai
P*
-ffi=fc
=F
^
=^
^L_C
^r
"i r
x:
a X 3
3t
-»-
J=i-Fg-
i .i
3=_r:
-s>-
, SSE^
©*£*
M
*Jt
;g~~T
x
2 X
H
Pfe
-^
~SL
221
_X_4_
S
— r-tJ v » ~
,J^
sc
4*
_X_4-
=-W-v-
&
22
ix:
:<3~
B
i^s-
^:
xxr
izriasii:
Ezezr;
^s>-
iS
3s:
(2) Ten.; ab-
breviation of the
Italian word Te-
nuto, implying
that the note
should be sus-
tained its full
time.
(2)
TEN.
30
INTRODUCTION
TO THE
STUDY OF THE SCALES.
The art of play-
ing the Piano well,
depends almost en-
tirely on being per-
fect in the execu-
tion of the Scales.
The practice of
the scales is of the
utmost importance
to the pupil who
wishes to acquire
good execution.
He should make
them his constant
study.
Carefully avoid
any movement of
the body or arms,
and also any mo-
tion of the fore-
arm while you pass
the third finger
over the thumb.
EXERCISE
FOR PASSING
THE THUMB I
TJNDEK THE '
SECOND FIN-
GER, WITH/
OUT ALTER-
ING THE
POSITION OF\
THE HAND.
EXERCISE
FOR PASSING
THE THIRD
FINGER
OVER THE
THUMB.
Lento.
=3=3
x
x x x x
■^n
X*~
m
lESEg^teggg^S^ ^BS g
iSE
Ending
r "x — ~r~*~x:
Hold the semibreve with the second finger to the end of the exercite.
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czx
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ua:
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zxzzs
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a.
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:s:
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n J3. nil
I2SZL
These exercises
will be particu-
larly advantageous
when practised
slowly and dis-
tinctly.
CONTINUA-
TION OF
THE SAME
EXERCISES.
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EXEKCISK
FOR PASSING
THE THIRD
FINGER OVER
I-HK FOURTH,
AMD THE
FOURTH FIN-
GER UNDER
THE THIRD.
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1
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3
(1) Sextelet , a
group of six notes.
Accent the note*
in couples.
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tztz'
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The sextelet it
indicated hy a fig-
ure 6 placed ovei
or under the six
notes which com*
pose it.
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32
RECAPITULATION
Signs used in tne
Recapitulation.
C Common Time.
f Crotchet Rest.
-■- Minim Rest
O Semibreve.
Gr Minim.
Crotchet.
($: F Clef.
joe*
# Sharp.
fc| Natural.
Slurs ;""> or Ties.
OF THE
PRECEDING SIXTEEN LESSONS
-X_^ a . 1 K
— J »
Notes slurred and
•taccato alternate-
Tenuto.
Several notes can
be made with the
thumb, while the
hand is supported
by the fourth fin-
ger.
"*"■ "^Legato.
•* Quaver Rest.
ANDANTE.
Lizzie:
Count four in a
ifc
measure.
I
3
25:
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^
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f
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rfzz-^:
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4 14
4
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jea.
•»•• Demi-
' Staccato.
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4 X
X 4
X 4
S
3E
'I
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3
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Changing fin-
gers on the sama
key.
a i x
m
JZZ
:E
2 1 X
^35
sg^ft
«E
5^
£-
zzszizxrrziz:
r h*
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Syncopated Noiei
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f
XJX
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rn
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ei
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ffi
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r
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T4 .■
:f=^:=p:
IX
4
Dotted Note*.
0-0 0'0
Dot.
Double Dot
• • •
Tie over two
notes on the same
degree.
Change fingera
on the same nota
without quitting
the key
34
Triplet!.
dT
? >
gpIS
gj=p^
E
:ffe
-<s>-
*S:
H ^~r~r"^ j y; J ^~^ r~ — r ip — tZI
2»_
3"E
2:^-
33E
x
it
-F-
lign ef Abbrevi-
ation.
3 ^—
! 4
*
£
r
m
fis
11
-r
f-££
£»
£
rr~r
1.
*3
x 1
:@
steSs:EtK£
C£J b L
E
f
'ml
?;
£*
C
: ^=
X l 4
SI
Piu Lento ; a
little slower.
The pause ^
(or organ point)
ir double the val-
ue of the semi-
breve.
Allegretto.
!*■ > 1 3 2^4
x 1
I)ott»d Notss.
e;
is:
—
x
sr\
1
-<s>-
Dotted Notes and Triplets alternately.
J3-
5
^
-s>-
-<s>-
Exercise upon
rhythm frequent-
ly used, princi-
pally with re-
gard to the dot,
the tie, and syn-
copation.
Count eight in
a measure.
COUNT i 3848678
COUNT 1 a
RffPTO
-&
f:
~<sr
^EJ
^^^
x — *~x~
Dotted Notes and Semiquaver* alternately.
L
TJ5L
s
P*
W-
s
IJIZCJ
==s
*-x-
31
i
3=-f
^Siiii
2:
x — *~x — *^
DottedNotea for th
for the right hand.
TT
T"
3*
~ rr —
iP !
:c:
-<s>-
-<s>-
Count.
3 4
fi 6
Syncopation for the left hand.
12 3 4 5 6
Count
35
(i)
A
This sign sig-
nifies that the note,
over which it is
placed, should be
accented strongly
13 2 4 2 3 X
IX
Tj 1' — 1 —
(2)
This sign ip]'-
cates that the first
note should be
strongly accented,,
diminishing on the
note or notes which
follow.
1 2
3 X
_2L
* 1
-\~
T~
-m- -r-
r"
£
r
£
T=j:
BE
i i
X 3
V \4i
:=^z^
•
T~~
(3) .j.
n — i — r
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2
1
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an
iU
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at
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Scafedz^
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• #,
A. .». .fL
-»- -»- -b-
(3)
When two notes
are slurr'd the first
should be accen-
ted, the second un
accented.
V
*
V
r^ i — i — i* -' — r^-p-i — i i i — r
-3—
3?:
[Mr IV ST.
36
No 1.
MELODY FOR FOUR HANDS
Count four crotchets in a measure.
___X 3 K.
s-e-
-•tiaro. 1
HKCOXDO.
(
pp Andante
■6 — F-r:
m
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m
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t 9 "
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15"
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Note. — When possible, let these little Melodies be played by two pupils, (counting the time aloud.)
^5
■T-~f s -'r i
:az::z r
: ^i;
:«si = ^rc^
F
3zzx;
-sr
No. 2.
Andante. $$
PRIMO. 1
MELODY FOR FOUR HANDS.
3
SECOKDO.
3 1
t+* '
2 1
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33
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8 D. C.
*=5E
5
LESSON XVII.
THE SCALE.
_ SCAMS OF
I he scale is composed
of five tones and two c MAJOR -
semitones.
Scale in C Natural.
i
-iZZMI
**— ' Tone. Semi-
Tone, tune.
ZZZ^ZZBl
Tone. Tone. Tone. Semi-
SCALE IN
TENTHS.
1
.Zfgliz±±ZZl
^^
r
JCEI
^
i^P
P=^g
T"i r
■4— ft
5
cg^F
fe
CT f r> >:
s^
fcft
3§gg£§
ESEfctES
2
I — r
m^m
r~i — r
'i — r~T~ r-p >~^rl — * — ^r m~F'T -
rffff £ g?
i r~9—m-~ — IT
— <s>-
P # , x
i i r
f-Pi
Major Mode.
The first note in the
scale is called the
tonic ;
The second, super-
tonic — second ;
The third, mediant
— third;
The fourth, suhdom-
inant — fourth ;
The fifth, dominant
— fifth.
The sixth, submedi-
ant or superdominant
— sixth.
The seventh is call-
ed the leading note —
Beventh.
The seventh degree
is always found a semi-
tone from the key note
or tonic.
r~r
|p" i .i*i n i *
3
p.f-f
i 1 i —
X
2
EXERCISE
ON THE
SCALE.
KIT OF C.
— i — g —
&
J=m-j -
£*£
r-r» - * i_
SSduir^r-P"
c:
33
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-#- # x
si
3
P^
c:
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2ese
ti*.
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ss
2a:
nrx:
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u
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3<=3
1
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Ffi*
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SS^fe
&P1
S
LGTJ— .SLH
Sjfel
XI
Key of Cb.
The leading note in
the key of C is B nat-
ural.
Hill
Leading Note. Tonic.
Key of E.# # # #
rfxt
J ±sp:f ~x
#^ # x
X
'•<3- — »T-p-f
2
•P
i»# — V
rrr. ~*#jt
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m r »i —
TfflJ
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- »P_rnJ —
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irscz:
en
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^55F
3"3.
tttV # *
TT~n — i
53E
3fl
X
l^t
tm _ — ■
pS
t=mft
*P
The leading note to
EisD#.
-*»-
Leading Note. Tonic.
7 iT-H — rrn
MM Mil
III III
'x~
/gy !~i~i~ i — nrt
SSzBxr-
'7
EXERCISE
ON
RHYTHM.
Allegro
EXERCISE INTRODUCING THE SKHHICAV1CK REIT.
Count eight quavers in a measure.
39
Major Mod p.
The major mode is that
in which the third note of
the scale forms a major
third with the tonic.
I Tone. 1 Tone.
a — a-
Major Third.
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ft-i
^5
_g
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T
3
P2I
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22:
T
3ZX
5^*
3- /r-cB=*-£
9
T 9 "'
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3
3:
The semiquaver rest is
equal in value to the note.
(1)
Semiquaver Rett.
=1
Semiquaver
C
E9 t «H'? : 3t«tfe3cd
S^5
1 ^ 2 J
21
;e
4*
^F
3
is:
2 4
X 3 ^ ! .
X 2
2 4
4 2
I ■
I 4 2,
! ' 2 X , — > f ' 2 X ,
—t—j f-\ — i — j— r-r— i — n t tt
Lento.
A semibreve is equal to
sixteen semiquavers.
Semibreve.
o
E9 0000 0000 0000
I
Semiquaver..
(2)
Flat,
b
A flat placed before »
note lowers it one semi-
tone.
£ natural.
*P
=»
E flat.
r-
E flat is the same as D
sharp on the key-board.
E flat.
D iharp.
sm
7 /'
40
Practise this
study slowly,
and in the legato
style, giving a
slight accent to
the notes form-
ing the melody,
which are mark-
©i by this sign :
STUDY I.
Andante.
x I
i
US
X 4 1
+&
p o-
1SL
T=M-
3
r
22"
t T T "'
E£2I
-ap-
FFT?
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X 4X4 X £!><■
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l r* — v~a — 1-»-
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TX"
-L-i
i 3
X 4 1 4
§^
SeWeS
X 4 1 4 X 4 1 4
E^E^E^
X 4 1 4 . X 4 .1,_3 _.
41
LESSON XVIII.
OF G.
j»ff* i n J 7~ j ~ r
;^fcj— 3-3— *— — a
f f>>
TO q ?
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tS~T2Z=:*
— P — 1 r~ -■ 1 1—
E
m ^.
m
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3E5E?
333 EE
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3 2 3
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F r rj — r— rr
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1X1 x
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: tTT1:
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42
V
(1) Abbreviation of exercise
tiano, (soft.) in
DOTTED
NOTES.
/
(2) Abbreviation of
te, (loud.)
Ul
This sign indicates
a gradual diminution
of tone, commencing
with forte, and ending
piano, at the termina-
tion of the angle.
w
'Id flFr
w.
(2)/
3F?
SH-
*&
£
3E
n •
f-
mi
The same sign, re-
versed, signifies a gra-
dual increase of tone
from piano Xo forte.
(5) This sign sig- qmTTTjY TT
nines the union of the M UJJi "•
two effects : —
Crescendo. Diminuendo.
Andante.
^zrzrwTf^l
4
-2 -jt
'ill
5^
£
fe^SS
T~r
£2=
fct
^g^BS
^f
-i
Ml
^3:
■rS-
:^2:
r
(6) This sign, placed
over or under a note,
signifies that it should
be struck with sudden
force.
-rg— 68*-
SE
s^z
:b?s::
LESSON XIX
43
PSi
I_2_l_:t
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^
£-"£
S
2
f:
g3
•f^p
£
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5¥S
S£
PS
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EXERCISE IN CHORDS.
Andante.
2
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(1) Exercise
irith the melody
for the third and
fourth fingers,
and an accom-
paniment for
the other fin
gers.
(2) Accent
«he notes of the
melody, giving
them their full
value, taking
care that the
accompaniment
does not pre-
dominate.
MELODY.
3 4
STUM III.
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LESSON XX.
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46
Andante.
EXERCISE
INTRODU-
CING
THIS SIGN,
(1) Exercise
in staccato notes
for both hands.
(2) When
this sign A is
placed over or
under a note, it STUDY IV. «
signifies that it
should be struck
forcibly.without
moving the arm.
Andante quasi Allegretto.
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48
LESSON XXI.
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■WALTZ
MOVEMENT.
49
STUDY V.
FOR CROSSING
THE HANDS.
Mfc*
Allegretto,
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(1) Play the
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slightly staccato,
and be careful
not to derange
the position of
the right hand.
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Appoggiatura.
51
EFFECT
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1
Appoggiatura ; an Ital
ian word, which signifies
to support.
Appoggiatura, or Grace Nott
Lento.
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cuted with rapidity.
The appoggiatura bor-
rows half the value of the
following note.
(2) EXAMPLE.
^ J#
EFFECT.
The note which follows
the appoggiatura should
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The portamento differs
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asmuch as it always com-
mences on a more distant
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In the portamento, the
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The portamenfj is of
one half the value of the
not* itseit.
5?
( 1 , Exer-
i ise on the ap-
(>o7«ia'urafor
. ,.i. Lands. STUDY VI.
The Short
ippoggialura
Allegretto quasi Andante.
ii
1
v
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SCALE
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53
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MINTET,
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TRIO. „
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Abbreviation of
tbe Italian word
fortissimo, (very
loud.)
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mo, (very soft.)
(3) t#
This sign con-
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54
STUDY VII.
( 1) Exercise
preparatory to the
itudy of the trill.
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56
LESSON XXIV.
SCALE IX C#
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STUDY VIII.
Lento,
r**r«r^
(1) LEGATO.
— 2
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T~ r
4
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f-t-r-tf-**
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**£?
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(1) Leg.;
abbrevia'ion
of the Italun
word Le^alt,
signifying
smooth. It ia
the reverse at
Staccato.
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abbreviation
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tando, signi.
fying, retard
ing the time
No. 3.
MELODY FOR FOUR HANDS.
** £ te. m* ,^_.
No. 4.
MELODY FOR FOUR HANDS
Count four crotchets in a measure.
$ Andante.
5*»
PRIMO.
(1) 8»a This sign indicates that the notes over which it is placed should be played an octave higher than they are written.
(2) Loco. This word signifies that the notes should be played as written.
0)
To produce this
♦fleet, (arpeggio,)
the notes should be
naved successive-
ly, and not simul-
taneously. The ar-
peggio is signified
by two difFeren
s-gns.
EXAMPLE.
liT 2d.
mm
i-&- -o-
In chords mark-
ed arpeggio, com-
mence with the
lowest, and sustain
each note until the
chord is complete i
by the upper note.
The notes com-
posing an arpeggio
chord, should not
be struck simulta-
neously.
BAD.
=t
i-\ 1
GOOD.
(2)
This style of
arpeggio requires
ihat the fingers
■hould be raised
Buccessively from
the notes which
compose the chord,
accenting particu-
larly the semibreve
forming the melo-
dy, which should
be sustained its full
ralue.
ARPEGGIOS,
IN THE HARP STYLE.
Lento.
EFFECT.
Lento.
EXERCISE
IN
ARPEGGIO
CHORDS.
TEN.
TEN.
TEN
TEN.
TEN.
TEN.
Lento.
CHORDS.
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(3)
AH the notes
•imposing a chord ,
i*»eu!d be struck at
the same time with
the bass.
Articulate with
the wrist in passing
from one chord to
saothei
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ARPEGGIOS, or BROKEN CHORDS,
FOR BOTH HANDS.
IHTII
(1) Arpeggi *
(or broken chord;;
should be consi i
ered as choni.
and fingered &-
cordingly.
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(2) Exercise on
chords with notes
tied.
Care should be
taken to give each
note its full value.
This exercise is
very important to
enable the pupil to
play music written
in several parts.
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(1) Fingering
cf chords in C
major.
In practising this
exercise, be care-
ful to observe the
exact f-ngering of
the chords, so as
to establish an in-
variable rule.
LESTO.
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Practise well
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all the keys.
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All common
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zeys.
K.ght Hand.
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FINGERING OF ALL THE COMMON CHORDS,
AND THEIR INVERSIONS,
IN ARPEGGIO MOVEMENT, MAJOR AND MINOR.
Allegro.
KEY OP C/ 1 # -f— ^ 1
4
3 -3
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Count three crotchets in a measure.
Legato.
KEY OP G.
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Count four in a measure,
12-42
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Same fingering in both Keys
(
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KEY of C#.
W^W :
* Same fingering in both Keys.
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EXERCISES ON THE CHORD OF THE 7th,
Fingering of the Chord
struck simultaneously. EXERCISES.
IN ALL ITS POSITIONS.
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Fingering of
the Chord.
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(1) General rule for fingering all the arpeggios, or chords composed of four notes.
The 3d finger always on K\>, and the thumb on C. The thumb always on G, and the 3d finger on B^.
9
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67
The 3d finger
always on Off,
and the thumb
on E.
The thumb al.
ways on G, and
the 3d finger on
Bb.
The 3d tinge-
on Ah, thumt
on Bfcj.
Thumb on F
3d finger on Ah
The 3d fingei
on F# thumb
on A.
Thumb on C
and 3d fingei
onEb.
(1)
Arpeggio.
Exercise on
passing the 4th
finger over the
thumb, and the
thumb under the
4th finger.
(2) Exam,'
of the arpeggio,
where the sair.o
fingers (the
thumb and 4th
finger) are user'
on differs n 1
notes.
68
EXERCISE
FOR PASSING THE LEFT HAND OVER THE RIGHT.
L.. II. L,. H. I*. H.
Sustain the minim 1 I 1
u. its lull value. I •
^3 — » 7 3-»- <5 '
UAMPLE
IN ARPEG-
GIOS,
CROSSING
HANDS.
Count four crotchets in a measure. 4
ft #3 _
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EXERCISES IN ALL THE KEYS.
4
2
•OWTINTJATION
OP
EXERCISES
OK THE CHORD
OF THE 7tli.
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(1) When a
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notes, two mar
be played with
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70
Allegro.
EXERCISES IN ARPEGGIOS,
FOR BOTH HANDS, ALTERNATELY,
MODULATING BY THE COMMON CHORD MINOR.
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EXERCISES
IN
ARPEGGIOS.
Allegro.
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Practise the same exercise transposed into C#,
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72
EXERCISES IN ARPEGGIOS,
WITH SMALL NOTES.
ASCENDING.
Moderate.
(1) Divide the measure by four crotchets, and do not play the small notes until after the second beat.
DESCENDING.
(3) Tht same fingering as in ascending
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EXERCISES IN ARPEGGIOS,
WITH SMALL NOTES.
Moderate
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DAILY STUDY OF THE SCALES,
11
IN ALL THE KEYS, MAJOR AND MINOR.
x 8va
O MAJOR.
RELATIVE
MINOR, A.
The relative minot
of a major key wil
always be found a
minor third below
the tonic.
The relative major
of a minor key will
always be found a
minor third abov«
the tonic.
Key of C Major.
Relative Minor A.
Major Third,
Composed cf two too*
:E^E?E
Minor Third,
Composed of a lone and a
half.
s^E?E
Begin the practice
of the scales slowly
and continue unti
they can be execu
ted with rapidity.
Give all the notes
equal force, and
carefully avoid any
movement of the
hand whilst the 3d
finger is passed over
the thumb, or the
thumb under the 3d
finger.
(1) Accent wel
the two beats of tin
measure.
76
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(1) Tim most
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EXERCISES
In passing the thumb after the 4th finger, and. the 4th finger after the thumb, without regard to the
ordinary rules of fingering.
Note.
This fingering may-
be admitted in some
cases, without being
adopted as a general
rule. Still, as it is de-
sirable to acquire the
greatest degree of ex-
perience and dexterity,
it is very important to
become familiar with
this mode of fingering,
because it is the key to
* great number of diffi-
culties, and may fre-
quently De employed
to advantage.
Allegro Moderato
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MELODY FOR FOUR HANDS
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Allegro.
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No. 5.
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~t — i — r
£=?
F=*
: ^P=FPhF
Pfe
D. C.
88
1 (i)
This mode of
fingering should
be avoided, on
account of the
unequal strength
■which exists be-
tween the thumb
and the 1st fin-
ger ; the 1st fin-
ger being the
weakest.
CHROMATIC SCALES.
g
x 1.
• E ~ ff r — r i i r
via 3
t i „ ■ a i .." ^i-r-JI-^-^-Mf-P-F-^n— "-
"i r i r
R--
■g—g^g — i — i — I — \zr
X 1
~X — T
a
x fi 1 x ,
X_1__2_X
^S
.2
bziat
-2
««
V
-X-^-2
rrrrrw^
i — r
f£££-g- ib ? ><
^=E
-1—1-1—1
^#_« b»— » 1 X *__« „ __.
EXERCISE FOR PASSING THE THUMB.
Presto.
r. h. x a
X 2 x 8 x
3X2
X 2 ^ 2 X 11
"x~2:xir^Z3-x_L»x T _s:3— 3-2zxzr
— p — m^-n-i — rrrrnff-i — 1 3 r
— M — h — n — [ — i — ri — r~i — r~r '~ * '
R. H.
(2)
Indicate the
time by group-
ing the notes in
triplets.
.j-^-s-j-if-v^— x-3-J-
X 2 *
. f -f¥ 4.^ Jj -J X .ft *_ , A
j — ^^-F=F f=F^*pi ci; f=r ^-+-i-| = a =frF a
2 * » 3 X 2
V x ?/ X 1
* 1 2
_ r T _
1 r
i^^giPpi
•j — i — r
-<s>-
EXERCISE FOR PASSING THE THUMB.
2 X L ? X u 2 x 2
!•. h.
! f¥
'i — r
X 2 vy 2 Xi i X 2 ° Xi
ife
L. H.
I
m
89
= ^i — | — j — ! — ^_ g= j=^i=g— ^-^^ ■-
X 2 X "
x 2 x 2 *,_bi b#
1 — G I I ' =
l_
— p-«p— P-*F=-f=f — i ; rrT~r
1 i i ZT
r> \
A
T__J_
X 2 x "
* < M . * 5 ^? » » * '
Indicate the
time by group
ing the notes i»
sixes.
2 1
b,
P
1 — i 1 r
X 2__
-x-
:j=S
i
EH
&^3^
->
:*=i=5i-
3
— —
X 2 1 v „ * , D f
x 1 2
SI — I —
-| r
x a
=Efep£
~E
"i r -
■F- —
-St
x
T~
CHROMATIC
SCAItE^
IN
CONTRARY
HOVEMEST.
6
g
2 1 *
HP*
s^i i iiigii^fe gs
"i — i r
* 2 i
-J-W-4
-p
qZIX— g-
#'-b# L
^m t ry f T T -
Zir— f— m 1 1 r~ ~f—
'i 1 r
>-
ife&e^
8i?-i f TrffT
—4— -a
gins^
^IPPlSlRP
Succession of
notes, proceed-
ing by tones and
semitones, major.
' DIATONIC SCALE.
lpS|
Succession of
notes, proceed-
ing by consecu-
tive semitones.
CHROMATIC SCALE.
feg^=S=Mil^i
In the notation of this scale, C# may be
written Dfj, and vice versa ; D# may be
written Eb» and vice versa, &c- &c. &c.
ENHARMONIC SCALE.
=il^Hii3N?z?=»
fe^SI
90
LESSON XXV.
The minor mode is that in
which the third note of j*e
scale forms a minor third
with the tonic.
Minor Third.
- ■■ '
To»e. Semitone.
SCALE
IN THE
MINOR
MODE.
5q^t
EpiH
■-w
z ^&
»'
^Vw
-»-a
<4_rrri» — •
saf
^E gjj fgfeg£^
r -.•-te^TT— H
— ■gjazrrrrP —
•SSTf
=^E
^rp-
.». ± -» .^ 3
b ^ j ^7?g
err
S,
F T f*m .
«Bg— T-f r r
■sr
rrrrrj
^
T^sf*
&£
: x izt*in
T iT — r ,-
rrn — rrrr
v
^gr
^5BF
=M5
(i)
Mordente, (or Shake.)
:C^
EFFECT.
>
=P=iP
t^S*
»-r-
tztztzr
The small notes should be
lightly executed, giving the
iccent to the principal note.
r
Good.
Porte. |
Bad.
Piano.
P
■&=3 -* pg==
^-__i# — ! not | 4*Z_0 —
Piano.
Porte.
(2)
« ■
*%H
i^S
ARIA.
S*35£
"ITT
Crr-
TFT
tife
ri i r^
n — i — r
n~
^j-
•*-
FSE
Pr*F
r»l 1 1
w
n — r
&&fci
ZX
*
3- p S
^^W
ttti r
HE:
$ Andante.
When the thumb has a
note to sustain, several notes
in succession may be execu-
ted with the 4th finger.
The same rule should be
observed when the 4th finger
has a note to sustain : sev-
eral notes in succession may
be executed with the thumb.
EXAMPLE.
4 4 4 4 4 4 4 4
fll £ V r- f
g=
P-
EE
T? ! — C2 I"
:32D
:fe
JBC
5
jPine
»i
2
I
— T 1 1
-I — | r
Jl
:= r =
::^sz:
xzc
E
-<s>
2 1
fl* 3
II — I L
_J?#«'_
Win
x5.
Ten.
4-S-
EXAMPLE.
:t=
-P-»
X X X X X 1 X X
ft
-#*<-
£
it
£
1
#-•
^C= -=9
$
l
-0L
JL
a>-
£
X
I
-fr
1 S 3
Efe
.Jlbl _•_
2"
91
a
:PE=
E£=f=t
m
STUDY IX.
Allegretto. ' «
bcSS
EXERCISE ON STACCATO NOTES.
"rz L
Zfc
; 1 *- t: £
r
F
S^EL EL
^
— »-
±-
4
£:
~i~3 — a
be
2
Sft
-J^-
T/ie Aand should be extended, so as in reach the octave without deranging its position.
—
v-
:^±r:z*
:^
SE:
e
r
3
E
"T
^
it
^
BT3
F
r
Sr
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EEE
3EI JD
HEE3
4
x
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m
±
s
T
: ^(H
fcr
:c =*E
xzzi:
— r r -,
Ed — n — ^~r — 5~
*
3
:g
A
fe£
5
:*i
KJ
IF
Szffe
3
Kg-.
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m
*:
y p -
ill
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r^_
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a
c? J a Jt
\
p
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r
s
x
3
5
X
4
X
4
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4
1
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5=5
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izc
i
4
31
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if- t
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5%
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Of TH1 "'^Sl
fuHITBRSITr]
o
tMAD
««nv/
92
HIKOR.
#
lE^E^:
^e=F
:#zzr:<j~r;;
LESSON XXVI.
I !-?—* ZZtlZZSICZZtzrzzfclZZZ
?gg^^
g ^
E
P»
"( — rzr
e
£E
-r- ■ ^j — r~r-r -|»— t
i — r-
KIXOH.
s
Y*-
S-.
=g?ffiE
_##^
4_
:*:
X # 3 I J 4 ^
P-p-hr~ rfy' w « _ I H "" i "I Ja N*** 1 1 f"*j* » y J- T^ *1 1 IT
Kz :-=!^izlii^zrr ^Jzszizfzxzzzzzzz+zzzi^izzzzzz'zez :J=«=
^^* x m X
«= ' = «car r— I H I ' 3 ^ I X * t» \7 T^"^%fc^i 1
: zMzzH-
E-K=£-g^I
=^
i i r— i — r i — o —
razz::
ISOR. \
§S^=
ITT J ii — ^ ^» I I
r r — ffr _ # — 3 — izi"i z. 1
r ««, x-2~ — r _ 2
4 m*. * 3 1 2
SgffZZ'ZZZZSZzzi — r~r ; r r r — f f f 1 i
: ^
g^^f
1=F=,
I 1 r zi— t— 1— 1 :
9=#-=3=«
fZTJr
T T J
3
:az*z:sx*
*
atazrzi
Wfoj
T~
WALTZ.
Allegretto, a
t#-
-3- — is — 1
~3
i i«i
A
.3
T
zczztzznz"
EzF
1 *
r^*t ; *-,
-*=-
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2
3t
"f r
"i r
X
21
E=X
A
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r
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tzzzjzz:
A
IE~zr
*i 1
r_ # #2: _zfr_
i f— F- z£
L^"
y Iff r^ -
j 1
41*
r j* ->
-F— F-
jS.^_
jPine,
g^
J2-.
mi !■ ir i! b
x 1 3 2 4 a
T
is:
£
=£
—3—3—1—2-
x
x 2
; P=
t
T~
31
"X~2f-
£
x - 2
-[—
99
At
P
£=jjfe^
i i i i 1—
:=ps^e
i_JLt^
EXERCISE OK STACCATO NOTES, FOR THE LEFT HAND.
STUDY X.
B 1 ^
_X__
^--^-'f4-n<S-'r^-
I * J
=*3
£
:s:
£
1
W-
4
~g?~
4 ._
W=F-
f-
1
•
r
£
~r\ ^~r _ — — r~
f*r-?*-
— rj — r~r
1 I *
Bis
?
=3
n_n
=NE
— r
3
4
2
3
i
"""'<?' """'
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p r *
* p—
•
r f-
f~ ~
t f
— r— r— "
r
I
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p
..... !
1
=1
p—
p #
i i i i
41-
#
#i
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r i
p
—p=F-^
tf-JL-x-jgfc
:p=£=x:
:E
i r
T~
l
"i 1 r r
=r=F=i=t=
§ft=q
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3E=£
3 ■
» P
4
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"i — i r
i r
:»=£
"i r
_ r r
1
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-e 1
e--.
:x:
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^ ^ n <
=*
3
2EZ
£
x
t
tzr~nr
1?-W
rt-
m_i _a_
cSPjpJfP:
— x-f-
armi
:r
-i — x
e
-F-S
T
-p- #
£-?-?-
rr-f-
^^=^
: ?=F
3_
3"~T~
■ I #
:pir-
:^
r r
s
-p
: F
£•
*
lux
(1) The F, being a semibreve, must be sustained during the whole of the measure.
W
94
(i)
Brupetto, (or Turn.)
Grupetto is an Ital-
ian word which signi-
fies a little group.
The Turn is some-
times composed of
three, and sometimes
of four notes.
Torn of four Notes.
Turn of three Notes.
m
m
3*t
^m
Abbreviation of the Turn.
EFFECT.
When an abbreviated
turn is accompanied
by one or more ac-
cidentals, they are
marked over the sign.
*
±±
EFFECT.
n
¥
wrier.
B
MINOR.
tft
?^Z£
t*=
LESSON XXVII.
m
tfe
#
;e^e
=r=F
B
EE
f-f -F
^
?=£
^p
55
-r=
&
L ^r^
e^i
s^
85
fg=3
*
3
•-* 3
p
r^F
— ^* c — i i — r^
fl
j£s
S^ 1
[?"'
a • x
**
FputCS^— — *** C ±j — r~ ~ff I i W —
g£
*
^ _ *
ft
"i — r
«F
^FPFrV-
s
tor
pfffrtf
gg
TT
-T^*-*r7- iL r?-^ iL ^-?* : f--g-F
— SICILIAN.
Andante.
5 ^na F rl < ~~l
38 IX 2
-8-
"i — r
"-r-r
Count six quavers in a measure.
g£fi
*£
iszzz:
f f f f
1 b — 1 w
t • * W
^ • V 0»or«TTO.
*
5:
ft:
j *
g£5
'-ri
« x 1
i p r t
:#'
»
d=5
^B:
Irr^
HS
£=5=£
*
^3j 1?
s:
i — *-
iS
^=x=
^
zr=3!Zirz F
i __. x
'~g — 5~l 1 -
>4 *4— r-
3
«1 * 3 »L-J* 3 illl
F
"»" ai»;
m=£
r
m
h*.
^-'Hfp^-^
T
?
fc*®
£*£*
"I — r
£U
I f' »'
£
P£F^
i ij-fr jr^ a
^^^^
3
X
Turn indicated
by abbreviation.
£=£M<
3=F
e
»ns
ni"
-r^--
3E
S 3
4
1
ztzxzzrjza:
E
: M^-
CF7-
i X X
i O. 1i
2 A 2 3 "r
^
S3:
STUDY XL
Andante
1 — M — i — I — i — i — ri — r~l — r
-^-P-r^fVFtFFTitE- -f-P-^-p-j»-F-F-r> -rf- r-
"i — r-r- -F— i— I — i~i — i~l — r i — i — i — (— I — i — i — rT~ri — r~
Countfour crotchets in a mearwre.
^
5&
3£
"_s:
-<s>-
L -x- JL -x-^-
-«-
All the notes thus marked, A, should be strongly accented.
f , A. ff» j
I? i~f i — m — m — rrr
, A 9 A
ft
TT
?*?=
TT
si
;i
-*~- *
A.
£
# A £ _ 1 A m -p-
gEE^ff g^ff fJIi
"i — rrr
95
1 2 -ft - -ft
| jf y 1 y j — p — j [ x — 1
i — r~TT
m
Ezifiliifcl
J 1
t
r r
r~r~i — i i i i i r
-*— ■ r«-
x i x 1 x~l P 1
fff rrf fff4f
~ r~r"i j^rrr^T-j rjr
ja2:
-<s>-
S^
T
•3:
Sr* 1
ji i.
©
^
TTTTT 1 T
1 ./l -
^3
E
£
p p i
ffl=ffl
_L 1.
» -#-^
*f r l>
-£
ffgffffl
1 1
4
4L 4L
ffis
pg
n — i i i i i i — r~r
l i ii
a
121
(S>-
S:
p=t:
r#
£
12
i
4L4L
P_ p_[=:=:
US
? =Hfffl
FEE
yPyfyr*
PS
m^EKa
otui
fflS
£
as
EFF
aa.
BE
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:£
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a:
tS:
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tS«rx:
! -f--f-
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p_P__r r
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— rrrrrTTr-r-
Pt pTpj f\ p I f
— r~T~T~ T "n — h ~
•o-
g
» f#rpi < »{■
i — r i i itt
: FT
"i — i — i — i — r~r~i — r~r
Sl
UJ LL
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1 — I — I I I T
□ — rrr
4-
f:
2 -P- -P_
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H» P i P ~
sm
Is?'
#
*-
£
■ffuf-
gin
21X
-C9-
f
(1)
E-££
Tj rr- 1 — — ^V" ~i — r\ — *V~
~ i r
4X2 X
nr» i»i
rr~ — ' Si - " ~ i — i — i — rT-T ~rr~j — QQ - 'LQ — rr~ — r~ri — rrr
m
r
i
4
rrT
rrr
4X 1 X
T
£:
(1) Th« triplets in
the treble must be exe-
cuted according to the
following example, to
make the movement
equal with the bass.
3—
i=^
Jl
96
LESSON XXVIII.
H
MOTOR.
Hfc*
«H^
*s2E
P^gg
E^t
r
3Z3j*28t
rt
iE33
:: i
^^p
Hi
*«_-
i»^¥
^
~r
<£T
ffij**
fc M
_X 1
n:
m=i
1 — l ^-f-g-j—;
gpgl
a —
ff H * JLJL
r£
!- 3 :
i — i "
QJprfnrjrTzg:
Il_ ~Tg — #ff^TTr~ i ll I — r i i j ~ i — !~ q f p — *»~2 — r
1 ^ '^^n 2 _ g _ 5 _ 3 — ^-^-j-^ T**C — x a-iy
-f-f-P—f-f-f-f-
i l r i i r^
"i — i — r — l i i i
EPP:
=E£
^>
J — I"
r3z±a:
— i i i i — r-f— izs '
^pt^-pppc
lazizaza:
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l_
^grr^r-m
i i ii j
r#
t'^gffrit ■ ■ frtcfm
j_
T~r
S
t ftr'r
«z£z«l:£:
yrrr t
F=pts:
1 I IT
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"i i i i i i r
Wzm
ES333;
B g^ j
4 3 2
L_C
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If
a
i _ i i r
zqrnij i:
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r
EXERCISE
PREPARA-
TORY TO
THE STUDY
OP THE
TRILL.
Allegretto,
— 8"7»~'l~rT"i — r rri — rr'h n*
Hr-#
x:
*=FEF?= FEw-0 U 0-
'i — i — i — r
KS
as
:r!
-i — i — M i — i i I r^r~ I — r~i — r~
s>:
P-t-tZ-^-PP
•g:
1
21
"1&~
*■
*=Zfrt=^T^^
zg:.
^^^-j^^^r^
-<s>-
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«-
it.:* ■
97
STUDY XII.
Allegretto.
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,....3
ssEfePg
i})p
m
>
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S:
xzz
4
3Q
r
>
MZ3d£3
r~r
:sz:x:
zz..sziiz?zjM
^=_z?_
3___3
fe
IZZ
:*zc;
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h^ss
r
-f-
:i g
1 1 — r
r
!fe_
— r
E
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~»~ — r~r'^r~i~r'^i rysj-n^^-iav --pis ~rv
:_z?_z?zEz
T r
4
2 _|
f"l 1"
"TV [•• I i*
"» — g
I B. ~ »t >»•
■ i • i r«
z
£>-«-
I r i
x ft i i-gn
2 fl
g I >*_
JZ
:j==S
^
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P
fe
SfpEE
z t _zt
w I w j~r-
g
4
4
J551-P
r*
3*
z>
4z~ ezzz
21
*•
T~
m E
r * r »
i — r — i — i —
• ■ 1
(i)
The first note
should be accent-
ed, the second
unaccented, ac-
cording to the
(M M— faWP-K a
K:zzz**
aj — # 3-
_:«
glggl
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: P-^
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z,
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iz|«ZLfzrz^3^z^-3
b# / £
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1 *
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IZZZZEZET
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if"
3
-i — -'c; ;
31
i-t— m~
-^->-* —
czc
ZZZ-'t
o
98
Position of the
Flats.
s^zfe
life
izi
The first flat
is always placed
•nB.
F MAJOR. <
§|
The first flat
is placed on B,
the second on E,
the third on A,
the fourth on D,
the fifth on G,
the sixth on C,
and the seventh
•nF.
LESSON XXIX.
™ X **^
Si
^3S
JET±
^5-
BS
f r r J /Jl ;
Fingering of a Scale or nine NotM. 4
EP
"I — r
fo-f-p"j-5
^f
x
Si
^ S g zc 5Eg
Lento.
5&=£
I^M
BE
(i)
fgSE^gg
# P M r~~ I P
-ritz*
S^f
—j»~» IS -f>"Bij^
:s:
-©-
E-F£&=fe^
*
1 — I"
xZ^jtzj:
Si
fly Exercise
for passing the
thumD after the
3d finger.
Be careful to
avoid any move-
ment of the hand,
and do not raise
the 3d finger un-
til the thumb is
ready to strike
its note.
Observe the
same rule with
legard to the
thumb when the
3d finger follows
it.
Accent the
principal note.
Piano. Forte.
ifm
Forte. Piano.
in
4
>-F"f~F~-
pSpaH
iE
v-
3C
1-i
4
?
f? :
* «- -P.~r I — C # - 3
.f-ff Ettt "-F : r-r-P- ., 3
3 - » "P"i — P~
~iP~P~r~r i i i r~
,r~a:
• m 3 v
-I i r
pff=
"r~i — r
*=35^
m
4
^
^ ^^g
ffi
i==I=i^ = f :: ^-^- = 3=3H^i- 3B31
'E — *~P~ r~r — i — i — I — i — — *~*~3 E3jk3
ISE^
prfl Trrf
F MAJOR. .
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1 9
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be
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r
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2 • 12 1
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STUDY XIII.,
Andante quasi Allegretto.
2#:
:t
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2
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of
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2 1 8 14X4
100
i — i — i — -I — — 1 — — i — h
r-
fyfff- k . +0
(i)
Rallentando ,
»n Italian word
which implies a
gradual diminu-
tion of time and
tone.
(2)
Tempo Peimo
signifies, in the
first or original
time.
(2) Tempo Primo
4 I
4I>
I
- -F F-E EFL=R^-==
LESSON XXX.
The first two
flats are always
placed on B and
P
b\) major.
* m -0- -f~ -0 - m 2 x
: F-~
3
iggegr^pd
»
i x
— i — i — 0-^0 ^ —
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rr
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+-snrf
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tz i — i — r
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tzw
m
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rTTJ J^-^
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2
e
r— r
^
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i i i i i r
&
3ZXZU
101
J7~"jzsz~a
?^a^
#?1 2
:r~cz r
i i r
1 X 1
fflf^g
ffi
ssa
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a
sfe
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s
3SE
£=s
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1++
m m » m ° a
j-g-p-g— P-
r-
i — i — r
P
J — i — i — i i — i — i — r
^ffi^Bg
CTT
^ ^m^
m
1 2 3 2 3_
ffl=ffl;
BBE1
~i i i r
~i — I i n
EffiE
izfz#:
Allegro.,
W
BE
re
IPp
1 x
«
•It
:» P
» P
"i r
Us:
S
5-
^
*=f-
i r
—»•
^E=£
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&
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SET
;?E£
"#~a — i — i"
2 , *
'sr
l
~f~ *~a~i — ESS
3*
~ci:e
P
102
Allegro moderate.
STUDY XIV.
(1) Abbrevi-
ation of the oc-
8
A figure 8,
placed under a
note, signifies
that the octave
below should be
added.
MM
(2)
When the fig-
are 8 is placed
orer the note, it
signifies that the
octave above
should be add-
ed.
X 1 2 3
14X3
X 1 X 3
4X2 X S
5= — ^~P-
T
i r*r-|
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i — r
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i i I "<r" w ~^ >■ i — i — i
£
£=£
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^
p
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3 X
g;
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f
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i
f— f-
:^PCT=
i
F^^F
I oa
(1) Crescent*
signifies a grad-
ual increase of
sound, from soft
to loud.
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f
EEi
g-r:
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Tg-
£
I=? :
p
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E
mm
(2)
&
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Diminuendo.
4B-
9-
£
lS>-
p
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24
V S'
X— #-*
P f # 1 f
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P
Effl
j — r
(2) Diminu
endo signifies a
gradual dimin-
ishing of sound
/ v l I X 0'f-
4L
104
LESSON XXXI.
The first thre<s
flats are placed
onB, E,and A
P^te
ii^lSlls
g!ii3EBIEE
siri
1 l I ~1 ~ J r~~ ~1 i
1 s 1 2 1
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g-rf
a
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23 2 3 2 3
3*2 a *
t 000
rii^feliii
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eft
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act
3^
2
105
S
i
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Aria.
Andante.
a
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1 4 i *
X * X
J a
sw^rvj
a
4 3
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nt
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bf|»--r- 3 3 3 3
T - 7—
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T
I 1
#a//. (1)
-*
M
g
xix
T r
TT 1 1 r^ r
t 1 r
a2
D. C.
(1) EiLti
abbreviation
of the word
Rallentando
106
(1) Accent
■trongly the STUDY XV. «
four beats of
the measure.
> ' > .?,
SKP1
(I)'/
§5
s
i
pspfP
- -•» — Trr — r — r~ "i — ■"■ s- —
E=E
g^^^&S- >
£
-r — f-
i
-F— F-
g-fc
*
i
■S
a
£:
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£
K
1 — i ^^ — ■ i ni-- 1 — h — | ■
^
at
+22 — b "» — ^H — i — i —
J
Jfe
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p
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£
£
EE
\
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£
£
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£
y=F
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s
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s
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Si-
£££:
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2 — u-
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X 3 2 1 X
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r~^-~ — ~ r~i — ~r
1 ■ r ~;y— r^-r
E
i
£
x 3 2
fiz?
: P qp-*feg-
/
H& —
107
lg
tf ^ g£g
^-sf^ ^-fh- ft f} f 85
L
*
i
i
is
^
£
fc^
S^m
dt=f±
=^S
f£=
S3
£
-F — F-
i - r p. . n
P=F?£
-4-
%
£
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*—«-#•
B
*HS
s
azt
'[ — ^r
L±
(i)
Dim.
Abbrevia'ioi
of the won*
Dirrinuenao,
108
LESSON XXXII.
The first
four flats are
placed on B,
E, A, and D.
feZfcZ
-f
MAJOR.
J&^^Pg!
f^ggE ^^ ^
+L0 2__
t¥
H
t=s
^
m
w^rn
^-r^:-:
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1 — 1 _
T-a—
i 'i i
I
3**¥3
s
**
af
»b
MAJOR.
^
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2
[EEI
^^
e
:£S*^
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-■*
"l — r— r
^"iS 8 ?
j_-t«.
i r
i — r
t
-i— M ' J^»' l **«Lj ==
ssfigS
i — i — !•
s
^^^
100
frmr
IziL
£
m
^^fet.
**=
ai
I
i r
s
e£t
5
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W 4iUP4^ ^^^
f r < ■ J J i
f-^jg^
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SS^=
m 4 2 4 J J J =?
- 9 -m- m -
'wzgrr
S3
S~ 7~t 3zrn rT - pt J
b V JJ*J *-4
^SffiS
i i rn rip
x a i x 2 i
j> j jy J j.* y
•• J.'.dJ.fdJ.* 1 *
Ij^S^ p^g^^ ^g
9 ^T- 3 ^i
ffl3
"^r
jStj
3 3
2 3
EXERCISE
PREPARATORY
TO THE
iTUDY OF THE
TRIIX.
Lento.
(1)
1 x
JSJffliXJa.J2S
iP5
-<s>-
<F£
SMJ
-s>-
fit
3:
•ZZaZZZZ ZZZZZaZ ZaaZaiZZ ZmZuZZ
Take care to
hold the serai-
breves.
2 3
2 3
2 3
2 3
(
2 3
2 3
fa
S5
^htfZTM
£5 l"3"T3 J"J1"3. I
g j —m zf-m * * * * \ d~
3
£
^=F
^r g:
2
_X_
is:
(
V-*-JL*-
JL ^.1^
-^
? i r
b2
£
22:
~ g~
-fi?
221
STUDY XVI.
0)
Lxogiexo ;
with lightness.
Aftegro moderate.
g R 2 ^ ^
i~±-
^*
IS
(1) Leggiero.
i
4
£
i i ' i r
i s
4
^
S
fes
fen
e
^
s
£
f
U-h ^ =g
>r&
BE
2
-it
£
SiS
g- :-'
221
£
2
5=
;=?=£
i i i
i »
g^
1
SF^FI
I— i»-
•~i — i — r— i
■^m^
fe*
£
y^
L2
£
tr
A
B
^
-4 #-
£
«#to$
rfrrTfc-
3TT3
-| — rrr
Li
£
fewSS
t
-s* 1 -
|
JL
izzfez
P
^^
p
m
Fine. j-j
TW-
£E^£:
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"i — r
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f »— *•—*#-
£
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i — r
**
H
«f^f-*£
Sz&zqEEE
S
£
83 «
^
-#- -#- -#-
-» — » — »-
•F ft
-• »-
i
D=
111
m
^^
*
p -rP-m
^-
mz
&
"I — r
is!
-fr #■ £
q*- * -*-
£ f f
-» — »-
S
#--»-
*F» »
**=
fa
fcxr^
:'
dim.
. x
ft.
~i i i r
..q:g-__»__j:
§&e!e^
v — g
g
izzn
I
S
^E
£
Si=i:
U_. 4_
siih
1
(1)
Izfez
pufl
S
£
i§
P=t
»fl
— r~r" -i I i
^
£=E
£
«HF
P)
Change the finger
on the same key,
without repeating
the note, support-
ing the hand by
the 4th finger,
which must not be
raised till the key
is filled by the
thumb, without re-
'£{ peating the note.
The same rule
should be observ-
ed in changing
from the thumb
to the 4th fingei.
D.C.
EXERCISE.
Moderate.
X
4X
&
w
"XT
£
£
X4
~5X"
?
4
_*.X_
XT
£
fc
X4.
3E
"5X"
^
112
No. 6.
Andante.
MELODY FOR FOUR HANDS.
*.> il i *JL x i^ri. . at h_
- ^F-p .-Fr^ .Fr^ .f Hp-T
* A.tf--F-* -r 1 £ ^ S) -
PRIMO.
STECOXDO.
8m.
/oco.
Fine.
Fine
zc
«
^
3
1*1
£
g:
P
fc £
i I
a
i
a
zjzz^zzi:
±=*
-# — •-
r— r r ' I = F z: F
-F-F-
:1
I
— m •-
J
3Z
r
fibt
-F
^=F— F= ==t ^r— F=?
8tw.
4 3
7
F
EXERCISE ON SYNCOPATION.
Moderate
TTT
till
x
r-r'r"r'i r ' r ^rrr
-jjita
~yi — i #_ r - ^
1 " i ' i
td — i t r
i — □ — r
£*-£
: ^FF
-X
^r-
T1 — r
: F=F>
ktT=^
-i — i — r
1 2
■ 4 f--t# * *
"i — ri i rn *
.-fc. £
-JH-*
tzrzm
1 — I — [
~r~i — r
~ f~ B
113
Practise this
exercise with
care, and give
each note its
full value.
^-ff^ff^
114
TRILL.
Begin the trill with the principal note.
tF
B
is:
B, — principal note of the trill.
TRILL,
(In Italian, Trillo.)
Improperly called Cadence;
An alternate movement on two notes in juxtaposition, indicated hy this sign: —
«r
Effect.
Lj-U U-U fe h^J-rfr^
1
=f=
' ill
A trill is either minor or major, according to the mode in which it occurs.
Minor.
Major.
f=l
-• — 0-
SCTS3S3
m
■t
There are several modes of terminating a trill, but only two may be considered as strictly proper.
ANCIENT TERMINATION.
i
^
MODERN TERMINATION.
*
All other modes of terminating the trill should be considered as having their source in the taste and pleasure of tha
performer.
EXAMPLES OF TRILLS MOST IN USE.
115
TRILL, WITH SIMPLE TERMINATION.
£e£
fcft
TRILL, WITHOUT TERMINATION.
EmM Ji & m
m^&m
23
a
I
4
frvvw
a
I
jt
B
^
*
TX ~
t:
-<p-
321
321
Ltll
T»n.
Ti 3
DOUBLE TRILL IN THIRDS.
IN SIXTHS
-»-<s>=3
EJzsaz:
g£
Txir.
IJBLJ.J.
3?:
-fr
3d *
n
u
i
3
fi
*
BEH
a »
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s
&
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:£
3?:
Tin
Tl!..
HSTTECT. -
KXBRCISK
OH THE
THILL,
fcS=
_fcL
Count four quaver* in a measure.
tr.
5
ei
s
=r
3?_
— s>
s-
£
Xl 23
see
*-*—H
"jrr
xb«
i
±L
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Si
83
tr
fSL.
#
"i r
fcB
R=i=i
Pfi
Efc
23
_tr_
j P f
m
:=
S3
_tr_
^
ft
a
mF
£
*H ' _■ '
*
=3=F
Jx, i*_
s
^arr;
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3:
23 1 x
t^fe^
&
^
^
3ie:
Si:
T2"
*£
£
, 3~g :
"J>\ L
-*- a
a
-k4-n«
X 1 S3
a:
3
335
iVTocfiilcaiion
frequent use.
tr
I
*=m
Bad.
116
The trill may also be used without termination.
Example.
'^z^^x^^^^-U-J:^.
I
Always begin the trill with the principal note.
?^s
Principal note, — C.
Sometimes the trill is prepared by a grace note.
TPw
I
*
i — <s>-
X tr.
#»-
m
The fingers may be changed when the trill is continued through several measures.
Example.
_X_2._L
X 3 1 2
■f^^^^^ -rf r ^ ^F=f^=^ ^frf-rfr^
Begin the practice of the trill slowly, and increase the movement until it can be executed with rapidity.
To facilitate the practice, it should be divided into actual notes, and the time marked.
TEH
p=^^^5^
— H
^^^&=3^^^^i=f^^^&=p
SBPI
Note.— When a trill accompanies a melody, the notes which form the melody should be played with the principal not*
of the trill.
EXERCISES.
117
M
*£=&
~JSL
fffe
Lento.
£
®^ii=
if:
-<s»
-o^
tf'V^^V/ f
*
£:
GL
5^* Wi r.
m
-Gt-
~#"
£
»T~ !5"
fr-,
B — r
z^zz^ze
3=E:
ESSB
1
:s?i
-^— ¥■'
-yS>-
T~
£
5£e£
ifefzi:
EE
3&QE
Allegro.
S
Qj — g
S
= d= — ^ F= T
EFFECT.
Fp== Iee£ ^ xfe£=s i i i i i
ggbrfzzEE
=2
¥
:f±3
f=3:
:»:
^:
£
£
Allegro.
tT'VW
gs =
IS
ffiSffzaEB
3:
Allegro.
-F-
23
s
-H-
__A-r
ra— i — 0-
~r:
21
:;:
£
n
21
~SJT
9t
A
A
1
A
2
A
3i
XI
Andante.
-Hr-4-
-t
A b a ^ ntf a. aa cifi m tm t m i to j jdtiJtluttti Bi
Xi
Xi
118
The first tiva
flats are placed
on B, E, A, D,
and G.
LESSON XXXIII.
P^i^^^ ^M^ j ^^
*-f-fc
±A
i§H6Si
IT*"
O)
Hold the note
on C while ex-
ecuting the trill.
(2)
Doable Flat,
bb
A double flat
preceding a note
lowers it two
semitones.
A double flat
B is the same
u A natural.
bb*-
t =S
EFFECT.
Db
MAJOR.
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T =3,= r
pmm
STUDY XVII.
Andante.
Maestoso.
Ben marcato il canto.
. _. A A__
119
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120
LESSON XXXIV.
The first six
flats are placed
on B, E, A, D,
fi, and £. «P
MAJOR.
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STUDY XVIII.
Allegro.
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h
i — r j — *
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it
Same fingering for loth hands
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122
(i)
Accent lightly
he four beats
of the measure,
■uid connect to-
gether the 12
jotes composing
he measure, as
4 they were ex-
tcuted by the
vme hand.
it. II.
The first seven
flats are placed
on B, E, A, D,
G, C, and F.
*=¥
Moderato.
CD Dj
LESSON XXXV.
4
P-m.
N^te^
SE^
t*
T3T-
imi^
yppft rrFr-trri — rn*r- •
rrr i — rrri — rrri — rrrr —
I
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:s:zdb:r~LJ i' ' ■
-F
EXERCISE IN
CHANGING
FINGERS ON
THE SAME
KEY.
Andante.
Eg assgggEBgff
±f±z
Articulate with the wrist, and avoid the action of the nails.
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Allegretto quasi Andante.
STUDY XIX.
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125
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D MINOR.
TW-
zjiw
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LESSON XXXVI.
«^-r^f-
E^jgE ^Ejg gE
^^^
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~es~
Allegro.
+2
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i
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ilffi
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2 ° 2
1 I 1 i ' n i i i i i i
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2 ■ 2
2 X X 2
a
T
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'''' '' '' g i i i i i r - i i i I I i L —
-&
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3£=5
Lento.
5fcm£-
TO
2 1 X
E
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ebe*
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2 1 X
2 1 X
gccz
£
Met
2 1 X
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127
4 a 4 a 4 «
x f? 1
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3-^- 4
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ft f
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t:
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p
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£==£
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x i x
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Allegro Moderate.
4
STUDY XX.
JFa/te Movement
-£
2
5.
i= :-«*=[_-,-
H^
Si
f=£:
£*£
P=FP*P
£
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«_ # II,— — , U»— ' X -4-r 1 *—l
FFfcEWE :j y-H^+ ¥r :
i — i — I — I — I — — zzn j—\ i i—L
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g g-
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sznza
r
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O MlJiOU.
LESSON XXXVII.
f-*r ft
^^ai
#y¥-
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B=^^SpM^p
X
-f:
^ 1 ^ ~ -XT*-*-*
~2?~
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Allegro.
I 1^
J 1_?
2 1
s&-=e :
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2 1
2 1
0) r
' 2 1
j fe %zz 'iBPr^
if±*
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~ W—m— m
1 2
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ezrzgz
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r:*:
p^s
9_J 2 1 21 2 1 21
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1 2
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wrtiiu^iifi^
:sa=c=f
3 — r-f
12 12 12 1_2
JCd — i — I — Ln — r
129
(i)
This pa s .y\pe
should always
be executed with
two fingers, viz ,
with the 1st and
2d, in ascending,
and the 2d and
1st, in descend-
ing, for the right
hand, accenting
the first of the
two notes to give
effect to the slur.
(2)
Divide the
notes by two and
two, accenting
strongly each first
note.
!
bLEE
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i>
m
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2c.
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— r i — rzr
zarr:
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zc:
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tee:
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verb
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tt
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l 2 n{
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130
Allegro Moderate.
STUDY XXI.
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X 81 X 32 •■"
1 21
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zjEE^E
(
£
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3 =^
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t 2 "*""^ 2 3 2 „ ^^~""^- L
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2 1 X
s=4==S
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m
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131
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changing of the
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EXERCISES IN THE CHROMATIC SCALES,
WITH DOUBLE NOTES.
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Allegro Vivace,
Presto.
148
(i)
Fingering of
the chromatic
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for movements
Moderate, An-
dante, Adagio,
&c., &c.
In rapid move-
ments, the 4th
finger may be
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staccato.
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149
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EXERCISES IN SIXTHS, (BROKEN.)
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Example.
This exercise may be varied hy executing the chords in Arpeggio.
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180
STUDY XXVI.
CHORDS EXTENDING TO 9ths & IOths.
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Megro - ■ j S : ■!■
181
STUDY XXVII
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PREPA1UTOKY
TO THE STUDT
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TEN.
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Lento.
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EXAMPLE OF TRI1LS WITH DIFFERENT TERMINATIONS.
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ETEKCISE
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EXERCISE
ON THE TRILL,
FOR THE
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DAILY STUDY.
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93
Practise these exercises in all the keys, major and minor, observing strictly the fingering, and accenting strongly each
beat of the measure.
DICTIONARY
OF ITALIAN, FRENCH, GERMAN, ENGLISH, AND OTHER MUSICAL TERMS.
w Ml t.) by, tmt
} jfHjtiLI.ERANPO. (ft.) accelerating the movement
! »CCOMPANIMENT, a part added to a principal one
J by way of enhancing the effect of the composition.
ADAGIO, (It.) a very slow degree of movement
A.DAGISSIMO, (It.) «xtremely slow.
A.D LIBITUM, (Lath*,) at will, or discretion. This
expression implies that the time of some particular
passage is left to the pleasure of the performer; or,
that he is at liberty to introduce whatever embel-
lishments his fancy may suggest.
4FFABILE, in a kind an4 courteous manner.
AFFETTUOSO, (It affectionate, tender.
AGITATO, CON AGITAZiPNE, (IC with agita-
tion, anxiously.
AL, ALL', ALLA, (It.) to the j sometimes, it the
•me of.
ALLEGREMENTE, (It.) with quickness.
ALLEGRETTO, (It.) somewhat cheerful, but not so
quick as allegro*
ALLEGRETTO SCHERZANDO, (.ft.) moderately
playful and vivacious.
A I.I Ff-REZZA, (ft.) joy j as, con sllegrezza, joyfully
Hiiunatedty.
ALLEGR1SSIMO, (ft.) extremely quick and lively.
ALLEGRO, (II) quick, lively. A term implying a
rapid and vivacious movement, but which is fre-
quently modified by the addition of other words;
as, allegro agitata, quick, with anxiety and agita-
tion, &c. "Q%
A.L SEGNO, AL SEG., or the character $o # , si^ni-
aes that the performer must return to a similar
character in the course of the movement, and play
from that place to the wordjSnc, 01 to the mark ^s.
over a double bar.
ANDANTE, (It.) implies a movement somewhat slow
and sedate. This term is often modified, both as
to time and style, by the addition of other words.
ANDANTINO, (It.) somewhat slower than andante.
ANIMATO, CON ANIMA, ANIAiOSO, (It) with
animation, in a spirited manner.
A PIACERE, A PIACIMENTO, (Ic) at the pleasure
of the performer.
APPOGGIATURA, (It.) a note of embellishment,
generally written in a small diameter
APPOGGIATO, (ft.) dwelt, leaned upon.
ARIA, (It.) an air or song.
ARIOSO, (It.) in the style of an air.
ARPEGGIANDO, i (It.) pxssages formed of the notes
ARPEGGI ATO, >of chords t.iken In rapid succes-
ARPEGGIO, ) sion, in hmiation of the harp, are
said to be in arpeggio.
ASSAt, (IL) very, extremely. This adverb is always
joined to some otlier word, of which it extends the
signification; as, adagio ami, very slow; tdlegro
niMJ very quick.
\ TEMPO, A TEM., (IL) m the regular time.
A TEMPO GIQSTO, (It.) in strict and equal time.
\TTACCA, ATTACCA SUtll i O, (It.) implies thai
the performer must directly commence the follow-
ing movement.
BALLAD, a short and familiar song.
BARCAROLLE, (ML) airs sun? by the Venetian gon-
doliers or boatmen.
BEAT, one of the principal graces in music.
BEN, (ft.) well; as, BEN MARCATO, (It.) well
marked. This exprrssion indicates that the pas-
sage must be executed in a clear, distinct, and
strongly accented manner.
BIS, (LaL) twice. A term which indicates that a
certain passage, distinguished by a curve drawn
over or under it, must be performed twice.
6RILLANTE, (IL and Fr.) an expression indicating
a showy and sparkling style of performance.
IRIO, BRIOSO, CON BRIO, (It.) with brilliancy
and spirit
BR1SE, (Fr.) sprinkled, broken into arpeggios.
CADENCE, a close in melody or harmony ; an orna-
mental and extemporaneous passage introduced at
tne close of a song or piece of music.
CADENCE, (Fr.) a shake ; also, a cadence in harmo-
ay ; as, cadence parfaite, a perfect cadence ; cadence
rotnpue, an interrupted cadence.
CADENZA, (It.) a cadence, or close, at the termina-
tion of a song or other movement, introducing some
fanciful and extemporaneous embellishment.
CALANDO, (IL) gradually diminishing in tone and
quickness.
CALORE, (ft.) with much warmth and animation
CANONE, (ft.) a canon or catch for several voices or
instruments.
CANON, a species of uninterrupted imitation.
CANTABILE, (It.) in a graceful and singing style.
CANTANTE. (It.) a part to be executed by the voice.
CAPELLA, ALLA, (ft.) in the church style.
CAPO, (ft.) the head, or beginning.
CAPRICCIO, (ft.) a fanciful and irregular species of
composition.
CATCH, a vocal piece in several parts, of a humorous
character.
CAVATlNAj (ft.) an air of one movement or part
only, occasionally preceded by a recitative.
JNANT, (Fr ) a song or melody ; the vocal part.
CHE, (ft.) than : as, poc« piu che andante, rather slow-
tr than andante.
uriROMATIC, proceeding by semitones, or formed
by means of semitones.
CODA, (ft.) a lew bars added at the close of a com-
position, beyond its natural termination.
HOLLA PARTE (It.) implies that the accompanist
n'lst follow the principal part in regard to time.
• CON, (ft.) with ; as, con 2sprcssione, with expression ;
son brio, with brilliancy and spirit.
CON^ENTO, (ft.) concord, agreement. A selection
of pieces is sometimes so called.
CONCERTO, (ft.) a composition intended to display
the powers of some particular instrument, with or-
*4«etra' accompaniments.
DOLCEZZA. (/«•) with sweetness
CON DOLORE, (IL) mournfully, with pathos.
CON GRAVITA, (ft.) with gravity.
CON GRAZIA, (IL) with grace.
CON GUSTO, GUSTOSO, (It.) with taste.
CON IMPETO, (IL) with impetuosity.
CON MOTO, (ft.) in an agitated style, with spirit
CON SPIRITO, (It.) with quickness and spirit
CRESCENDO, or CRES., {It.) with a gradually in-
creasing quantity of tone.
DA, (IL) by.
DA CAPO, or D. C, (IL) from the beginning; an
expression which is often written at the end of a
movement, to indicate that the performer must re-
turn to and finish with the first strain.
DAL, (ft.) by ; as, dal segno, from the sign ; a mark
of repetition.
DECRESCENDO. (ft.) gradually decreasing in Quan-
tity of tone.
DELICATEZZA, (ft.) delicately; as, eon dehcateiza,
with delicacy of expression.
DELICATO, (ft.) delicately.
DIATONIC, (Greek,) naturally ; that is, according to
the degrees of the major or minor scale, or by tones
and semitones only.
DILUENDO, (IL) a gradual dying away of the tone
till it arrives at extinction.
DIMINUENDO, or DIM., (ft.) implies that the quan-
tity of tone must be gradually diminished.
DI MOLTO, (IL) an expression which serves t** aug-
ment the signification of the word to which it is
added ; as, allegro di motto, very quick.
DIVERTIMENTO, (ft.) a short, light composition,
written in a familiar and pleasing style.
DOLCE, or DOL., (ft.) implies a soft and sweet style.
DOLCEZZA, or CON DOLCEZZA, (IL) with sweet-
ness and softness.
DOLCEMENTE, (ft.) in a sweet and graceful style.
DOLOROSO, (A.) indicates a soft and pathetic style.
E, ED, the Italian conjunction and; as. Jtaulo r rioli-
no, flute and violin ; nob'dimtnU vd animato, with
grandeur and spirit
ELEGAMENTE, ELEGANTE, (IL) with elegance.
ELEGANZA, (IL) with elegance, gracefully.
ENERGICO, CON ENERGIA, ENERGICAMEM-
TE, (ft.) witn energv.
ESPRESSIVO, or CON ESPRESSIONE, (It.) with
expression.
ESTRAVAGANZA, (IL) extravagant and wild, as to
composition and performance.
FACILITA, (It.) a facilitation, an easier adaptation.
FANTA1SIE, (Fr.) ) a species of composition in
FANTASIA, (ft.) i which the author gives free
scope to his ideas, without regard to those system-
atic forms which regulate other compositions.
FINALE, the last piece of nny act of an opera, or of a
concert ; or the last movement of a symphony or
sonata, in the German style.
FINE, (ft.) the end.
FORI E, or FOR., or simply/., (ft.) loud.
FORTISSIMO, or ff., (It.) very loud.
FORZANDO, or FORZ., or fz., implies that the note
is to be marked with particular emphasis or force.
FUOCO, CON, (It.) with intense animation.
FURIOSO, or CON FURIA, (ft ) with fire.
GAIEMENT, (Fr.) in a cheerful and lively style.
GALLOPADE, (Fr.) a galop; a quick German dance
tune.
GALOP, (Qer.,) GALOPPE, (Fr.) a quick species of
dance, generally in 2-4 time.
GIUSTO,(ft.) in just and exact time.
GRACES, occasional embellishments, sometimes in-
dicated by the composer, sometimes spontaneously
introduced by the performer. The most Important
of these are the appo^giatura, the turn, and the shake.
GRANDIOSO, (ft.) in a grand and elevated style.
GRAN GUSTO, (ft.) in an elevated, grand style.
GRAVAMENTE, (It.) dignified and solemn.
GRAVE, (R.) the slowest degree of movement ; also,
a deep, low pitch in the scale of sounds.
GRAVITA, (ft.) gravity ; as, con gravita, with grav-
ity.
GRUPPETTO, (ft.) a group of notes ; a turn.
GRUPPO, (ft.) a turn, or grace.
GUSTO, GUSTOSO, or CON GUSTO, (ft.) with
taste, elegantly.
IL, (ft.) the.
IMITAZIONE, (ft.) an imitation.
IMPETUOSO, (.ft.) with impe'uosity, impetuously.
IMPROMPTU, (fV.) an extemporaneous production.
IMPROVISARE, (ft.) to compose or sing exieiapora-
neously.
IN, (IL) in ; as, in tempo, in time.
INNOCENTE, INNOCENTEMENTE, (IL) in an
artless and simple style.
INTERLUDE, an intermediate strain or movement.
INTRADA, INTRODUZIONE, (ft.) a short intro-
ductory movement.
ISTESSO, (ft.) the same ; as, i*e*rso tempo, the same
time.
LARGHETTO, (ft.) indicates a time slow and meas-
ured in its movement, but less «o than Largo.
LARGHISSIMO, (ft.) extremely slow.
LARGO, (ft.) a very slow and solemn degree of
movement.
LEGATO, (It.) in a smooth and connected manner.
LEGATISSIMO, (ft.) exceedingly smooth and con-
nected.
LEGEREMENT, (Fr.) with lightness and gayety.
LEGGIARDO, (ft.) light, gentle.
LEGGIERAMENTE, (1l) lightly, gently
LEGGIERO, or CON LEGGIEREZZA, (ft.) with
lightness and facility of execution.
LEGGIERISSIMO, (IL) with the utmost lightness
and facility.
LENTANDO, (ft.) with increasing slowness.
LENTEMENTE, LENTO, (IL) in slow time.
LIAISON, (Fr.) smoothness of connection; aiso, a
bind or tie.
LOCO, (Lot.) This word implies that a passage is to
be played Just as it is written in regard to pitch ; It
generally occurs after 8»a alta, or Sva basso.
MA, (ft.) but ; as, allegro ma non troppo, quick, but not
too much so.
MAESTOSO, (ft.) with majestic and dignified expres-
sion.
MAIN, (Fr.) the hand ; as, main droite, main gauche,
orM. D.,M. Q., the right or left hand in piano music.
MARCATO, (ft.) in a marked and emphatic Btyle.
MARCIA, (ft.) a march.
MARZIALE, (IL) in a martial style.
MELANGE, (Fr.) a composition founded on several
favorite airs ; a medley.
MEME, (Fr.) the same ; as, meme movement, in the
same tune.
MESTO, (ft.) mournfully, sadly, pathetically.
MBSTOSO, (It.) sadly, pensively.
METRONOME, (Fr.) an ingenious instrument for
indicating the exact time of a musical piece by
means of a pendulum, which may be shortened or
lengthened at pleasure.
MEZZO, (It.) in a middling degree or manner ; as,
mezzo forte, rather loud ; mezzo piano, rather soft.
MEZZO CARATTERE, (ft.) implies a moderate de-
gree of expression and execution.
MODEBATO, (IL) with a moderate degree of quick-
news.
MOLTO, (ft.) very, extremely ; as, motto allegro, very
quick ; molto adagio, extremely slow.
MORCEAU, (Fr.) a piece or musical composition of
any kind.
MORDENTE, (It.) a beat or transient shake.
MORENDO, (ft.) gradually subsiding in regard to
tone and time ; dying away.
MOSSO, (ft.) movement ; as, piu mosso, with more
movement, quicker.
MOTO, or CON MOTO, (ft.) with agitation.
MOVIMENTO, (ft.) time, movement.
NOI1ILE, NOBILIMENTE, (IL) with nobleness,
grandeur.
NOTTI'RNO, (It.) a composition, vocal or instrumen-
tal, suitable for evening recreation, from its elegance
and lightness of character.
O, (ft.) or; as, fiantn o violino, flute or violin.
OBL1GATO, or OBLIGAT1, (ft.) a part or parts of a
composition, indispensable to its just performance,
and which, therefore, cannot properly be omitted.
OTTA VA ; or 8va, (ft.) an octave. This word is gen-
erally joined with alta or bnssa; the first signifies
that itie passage to which it is applied must be played
an octave higher than it is written ; the second, that
it mnet be played an octave lower.
PASSIONATE, (ft.) in an impassioned manner.
PATETIOO, (ft.) pathetically.
PATHETIQUE, (Fr.) pathetic
PASTORALE, (ft.) a soft and rural movement.
PEDALE, (ft.) a pedal or stationary bass. In piano
music, this term implies that the performer must
pre** down the pedal « hich takes off the dampers.
PERDENDO, PERDENDOSLor PER DEN., (ft.) im-
plies a gradual dimiii'iiiii'i, both ; n the quantity of
tone and speed of movement.
PEIJ, (Fr.)* little.
PHRASE, a short musical sentence containing an in-
complete ide.t.
PIACERE, (ft.) will, pleasure; as, a piacere, at the
performer's pleasure in regard to time.
PIANISSIMO, or pp., (ft.) extremely soft.
PIANO, or p., (ft.) soft.
PIU. (ft.) an adverb of augmentation; as, piu presto,
quicker; piu piano, softer.
P^ANTI VO, (ft.) expressively, plaintively.
PLUS, (Fr.) more; as, plus anime, with greater ani-
mation *
POCO, (Vr.) a little, rather, somewhat; as, poco pres-
to, rather quick ; poco piano, somewhat soft
POCO A POCO, (ft.) by degrees, gradually ; as, poco
a poco crescendo, louder and louder by degrees ; poco
a poco diminuendo, softer and softer by degrees.
POI, (IL then ; as, piano poi forte, soft, then loud.
POLACCA, (IL,) POLONAISE, (Fr.,) POLONOISE,
(Fr.) a slow, Polish dance, in U-4 time, of a pecul-
iar rhythmical construction, as the melodtal mem-
bers usually terminate on the third crotchet of the
bar.
POMPOSO, (ft.) in a grand and pompous manner.
PORTAMENTO, (ft.) the manner of sustaining and
• conducting the voice ; a gliding from one note to
another.
POSSIBILE, (ft.) possible ; as, piu forte possibile, as
loud as possible.
POTPOURRI", (Fr.) a fantasia on favorite airs.
PRECIPITATO, (ft.) in a hurried manner
PRECISIONS, (IL) with precision, exactitude
PRELUDIO, (it.) a prelude or introduction.
PREMIERE, (Fr.) first ; as, premiere fois, first time.
PRESTISSIMO, (ft.) the most rapid degree of move-
ment.
PRESTO, (ft.) very quick.
PRIMO, (ft.) first; as, violino primo, first violin ; tem-
po primo, in the first or original time.
OUADRILLE, (Fr.) a French dance.
QUASI, (IL) in the manner or style of; as, quasi alle-
gretto, like an allegretto.
dUIETO, (ft.) with calmness or repose ; quietly.
RADDOLCENDO, RADDOLCENTE, (IL) with aug-
mented softness.
RALLENTANDO, (ft.) implies a gradual diminution
in the speed of the movement, and a corresponling
decrease in the quantity of lone.
RAPIDO, (ft.) rapidly.
REFRAIN, (Fr.) a burden or tig-end to a song.
F.INFORZANDO, RINFO!iZATO, or rinf., or rf.,
(It.) with additional t/;ne and emphasis.
RITENENTE, RITFWUTO, (IL) a keeping back, a
decreaae in ae »>eed of the movement.
ROMANCE, (*>.,) ROMANZA, (ft) a short, lyric
tale, s.t to ..nisic . or a .-i:np!e ami elegant melody
luitab'e to such wonlt^gpPj ^^^tw
•*0f TOT ^
RONDEAU, (*>.,) RONDO, (IL) a compoaltien *
several strains or members, at the end of each a
which the first part or subject is repeated.
SCHERZANDO, SCHERZANTE, SCHERZOSO.m
SCHERZ, (ft.) in a light, playful, and ifwrlivi
manner, w
SEGNO, or 55, , (ft.) a sign ; as, at segno, return i%
the sign ; dal segno, repeat from the sign.
SEGUE, SEGUITO, (ft.) now follows; or, as r„
lows ; as, segue tl coro, the chorus follows ; *rgu« U
finale, the finale now follows. It i* also used in the
sense of in similar or like manner, to show that n sub
sequent passage is to be played Iiko that which pre-
cedes it
SEMPLICE, SEMPLICEMENTE, (ft.) with riw
pticity, artlessly.
SEMPRE, (ft.) always; as, sempre staccato, alway*
staccato or detached; sempre forte, always loud;
sempre piu forte, continually increasing in tore*'.
SERIOSO, (IL) in a serious style.
SERPEGGIANDO, (ft.) gently and si';ntly creeping
onwards, quietly advancing.
SFORZATO, SFORZANDO, or sf, (IL) implies thai
a particular n'le is to be played with dmpnasM.
SICILIANA, (ft.) a movenfent of a slow, soothing
pastoral character, in 6-8 time, resemb'ing a <i.ni<t
peculiar to the peasantry of Sicily.
SINFON1A, (IL) a symphony or orchestral compost
tion in many parts -
SLENTANDO, (ft.) a gradual diminution in the tin.*
or speed of the movement
SMORZANDO, (ft.) a gradual diminution as to tono.
SOAVE, (ft.) in a soft, sweet, and delicate stj le.
SOGGETTO, (ft) the subject or theme.
SOLI, piural of SOLO, (ft.) implies that two or more
principal parts play or sing together. Such parts, of
course, are never doubled.
SOLO, SOLA, (IL) alone
SOLO, (ft.) a composition, or even a passage, for •
single voice or instrument.
SONATA, (ft.,) SONATE, (Fr.) a composition eon
sisting of several movements, generally for a single
principal instrument, with or without accompani-
ments.
SOSTENUTO, or SOST., (ft.) sustained, conunuowt
in regard to tone
SPIRITO, CON SPIRITO, (It.) with spirit.
SPIRITOSO, (ft.) with great spirit
STACCATO ; (IL) implies that the notes are to b«
played distinct, and detached from one another.
STESSO, (ft.) the same.
SUBITO, (ft.) quicxly ; as, volti subito, turn quickly.
SUITE, (*V.) a series, a collection ; as, une suite At
pieces, a series of lessons.
SYNCOPATE, (IL) iu a constrained and syncopate*
style.
SYNCOPATION, the connecting the last note of ont
bar to the first note of the next, so as to form hot
one note of a duration equal to both ; this displaces
the accent, and produces a peculiar effect
TACET, (Lat.) implies that, during a movement, o»
part of a movement, some particular instrument u
to be silent ; aa,Jlauio tacit, the Mute is not to play
TANTO, NON. (ft.) not so much ; not too much
TARDO, (It.) slowly, m a drugging manner
TEMA, (ft.) a subject or theme.
TEMPESTOSO, (ft.) in a tempestuous manner
TEMPO COMODO, (ft.) in a convenient degree ».
movement.
TENDREMENT, (Fr.) affectionately, Umderly.
TENERAMENTE, TENERO, or CON TENERE7-
ZA, (ft.) tenderly.
TENUTO, or TEN., (ft.) implies that a note or notrt
must be sustained or kept down the full time
THEME, (Fr,) a subject
TIMOROSO, (It) with timidity and awe.
'PRANaUILLO, TRANaUILLAMENTE, or ■ <>>
TRANaUILLEZZA, (ft.) tranquilly, composed)
TREMENDO, (ft.) with a tremendous aipwtaln
horribly.
TREMANDO ? TREMOLATE, TREMOLO, (ft ) ira
plies the reiteration of a note or chord with «v»
rapidity, so as to produce a tremulous kind .nf u.
tion.
TRILLANDO, (ft.) a succession of shakes on difle.
ent notes
TIULLE, (Ft ,) TRILLO, (ft.) a shako
TRIO, (ft.) a piece for three voices or instrument*
This term also denotes a second movement to »
waltz, march, minuet, &c, which always leads hack
to a repetition of the first or principal movement
TRIPLET, a group of three notes, arising from th«
division ot v ;i note into three equa. parts of the neii
inferior duration.
TUTTA FORZA, (IL) with the utmost vehemence,
as loud as possible.
TUTTI, (ft. plural, all ;) a terrr used to point out
those passages where all the voices or instruntnta
or both, are to be introduced.
UN, (ft.) a ; as, wn poco, a little.
VALCE, (ft.,) VALSE, (Fr.) a walte.
VELOCE, or CON VELOCITA, (ft.) in rapid time
VELOCISSIMO, (It > with extreme rapidity.
VIBRANTE, (IL) a peculiar manner of touching th«
keys of the piano.
VIGOROSO, VIGOROPAMENTE, (fL) boldly, Tif
orously.
VISTAMENTE, (ft.,) VITE, (Fr.) wUl. quickneaa.
VIVACE, VIVAMENTE, or CON V1VACITA, (iit3
with briskness and animation.
VIVACISSLMO,(ft.) with extreme vivacity.
VIVACITA, (ft.) vivacity.
VIVO, CON VIVEZZA, (ft.) animated, lively
VOCE, (ft.) the voice.
VOLANTE, (IL) in a light and rapid nnnn«r.
VOLTA, (ft.) time of playing a mo* ascot; r"
volta, the first time of playing, &x.
VOLTI SUBITO, or V. S., (ft ) turn cvjr quiett*
WALZER, (Qer.) 9 'valU-
i?SIV*RSITT
?>
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o
UN1YKR 'ITY OF CALIFORNIA LIBRARY
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*ACH*i FUrTRlUT IirVENTIONS, 75
CRAMEB'3 CELEBRATED STUDIES. New Edition,.. 3 00
CZKBNY'6 101 PBEPABAT0BY LESSONS. 3No».,ea., 75
t^EBNTS irNGEE EXERCISES. 3Nos. Each 1 00
DO. GBAND EXERCISES OF THE SCALE,.. 75
*0. KTDDES DE LA VELOCITE. Bound l so
DO. LO. DO. 3Noa,ea. r 75
jiO. X0O E*.8Y LESSONS Four No*. Each,... 30
uO. TWENTY-FIVE EASY PBELUDES SO
$W MX STUDIES FOB LEFT HAND, 81
DO. CLASSICAL SCHOOL. Three No*. Each,.. 181
-a) VEBNOTS KCOLE DU KECANISME. 3 No*. £*., So
DO FIBST LESSONS. Four No*. Each,.- S3
AStXB KXEBCIBES AND SCALES, 75
DO. 18 SPECIAL STUDIES. 3 Km. Each, 75
EB'9 30 DRAMATIC STUDIES. 2«« a«
.TUBES FOB TWO HANDS 2no
.138 AND EXEBJliES. 3Noi. Ka., 38
lY JUVENILE STUDIES. I»3No»., 1 00
FLAtDTS TECHNICAL STUDIES, 9 00
ilANIS'i;* BEST COMPANION, SO
94 PRELUDES. By Sitrau Hiixi*. lu 9 No*. Each, 1 00
TIGBFRIK'S PBELUDES, 75
FOYILy DAILY EXEBCI8E, 93
KnarDTS FIVE-FIN6EB EXERCISES, SO
MELODIOUB STUDIES. By Finuiiu, 1 00
"> :W MUSICAL ALPHABET, at
-•OARTAH EXERCISES, 89
i*« .• ^.NIC EXEKCTSES By P. H. Blow**
Methods for ih«* Voice.
LABLACHE'8 METHOD. Complete, a 50 j Abridged,
DO. DO. FOB BASS VOICE,....
CAJVELLTS IBSTEUCTIONS IN SINGING,-.. •
FKBBABTS IN8TBUCTI0NS FOB VOICE,
EXEBCIBES AND SOLFEGGIOS. By h. Mum,..,
FA'JSBBON'S METHOD OF VOCALIZATION,---
I 50
DO.
JO.
DO.
DO.
DO.
DO.
l m
a oo
Abridged, 1 00
3 SO
1 00
300
37
3 »
400
. 78
300
2 00
: 25
DO.
ABC OF MUSIC,
BO. Smaller, for Clauses,.
METHOD OF SINGING IN PARTS,
GAMUT and SOLFEGGI. 9 Voice*, 63:
3 Voter*, 1 00; 4 Vol«e«,.
COOKE'S SINGING INSTBUCTOB, ,
BODOLPHE'S SOLFEC: T ,
VOCALISTS COMPANION By E.B Ourn,
CBESCENTTNI'S ART 0> j-iCGING,
BOBDOGNI'S THIBTY-BLU. VOCALIZES,
DO. TWELVE NEW VOCALIZES, -
Sopran. In 3 Nos. Each,
NOUBBirS 48 PBELiMXNARY FXEBCLIEC.-.-
CONCONE'S 50 LESSONS. In 2 t .. Each,.
10. EXFT- ?. THE VC>
DO. 15 ,jflALIi.2u B No*. Each
8EMINAKY CLASS BOOK OF MUSIC,
BIMfiAULrs HAND BOOK OF SINGING,
BOSSI'n'S EXEKCTSES FOB THE VOICE
Guitar and Harp Instructors.
CUBTISS'3 METHOD FOE THE GUIIAE, .
TORP'8 IYSTBUCTION BOOK DO
CARCA_.v T 'S GUITAB. Complete, 2 50 ; Abridged, 1 SO
CAR SLLVS GUITAR. Complete, 3 50 ; Abridged 2 00
GUITAR WITHOUT A MASTEB, 50
HOWE'S INSTRUCTOR, 38
BOCHSA'S INSTRUCTOR FOR THE EABP, 9 50
Melodeon and Seraphine.
ZUNDELL'S MELODEON INSTRUCTOR 3 00
OARHAiiT'S DO. B. ? OO
AMERICAN SCHOOL FOB THE I ELODEON,
THE MELODEON WITHOUT A MASTEB,
GREEN So WHITES INSTRUCTIONS, ....'-
HOWE'S MELODS'IN £ ;D C BRAPHINE
W00DBURY3 SELF ITI8TBU--T0B,
Muaic,
Violin
SPOHR'S SCEf
MA?i8'8 IN81
MODEBN SCHC
SAUNDERS' 81
THE VIOLIN C
VIOLTN WITH
HOWE'S BCHO,
WOODBURY'S
VIOLIN MABE
ETHIOPIAN VI
SELF-INSTRUCT
OLE BULL VIO-
miction l^ooii.i
Comp:-re,C OO; Abridged,...,
.'CTiONS
L. J>J rnirJoi»,
F-LNSTBUCTING SCHOOL,-
MPLETE,
IT A MASTEB, ,
FOB THE \'OI,IH,
OLIN LNBTBUCTOB
ASY.
.IN INSTBUCTOB,
E FOR THE VIOLIN
■J INSTRUCTOR,
"lute Ifooks.
i 00
so
38
.18
33
38
38
WRAGG'S FLUT
BERBIGUIER'S
BRESSLER'S COI
BOSTON FLUTE
HOWE'S SCHOOL
ETHIOPIAN FLU1
INSTRUC 3,
istruc:ions, S so
'LETE LNSTRUCTI0H8, a 50
7STRUCT0R, 38
'OR THE FLUTE, 38
INSTRUCTOR, 38
WOODBURYS FLITE INSTBUCTOB, » - SB
FLUTE WITHOUT A MASTEB, 38
FLUTE MABE EASY, - ... 38
SELF-INSTBUCTOB FOB THE FLUTE, -. 38
JULLLEN COLLEC'N OF FLUTE &. VIOLIN MU" "•«
PORTFOLIO FOB FLUTE OB VIOLIN. ^ »*
Accordeon Books.
NEW AND COMPLETE METHOD,
CUNJAP^^L'S PBECEPTOB,
^CCORl/.or WITHOUT A MASTEB,
BTE. uPLAi ACCORDEOil INSTBUCTOB, -
TBtK SELF-I^<.rjiUCTOB,
HOWil'S COMPLETE PBECiSPTOB,
' DO. DO. DO. 8»**B,....
PRECirTOB FOB GERMAN ACCOEDSOl,
THE FLDTINA- A Client/' of Hnate,
*
4
BJ
M
38
88
at
Clarionet, File, Flageolet, <&«.
HOWE'S SCHOOL FOB CLABIONET, *
KENDALL'S CLARIONET INSTBUCTOB, >... t*
KOWE'S PCHOOL FOE THE FIFE,..
DO. DO- FLAGEOLET,
DO. BANJO PRECEPTOR, * 'V
8EDGWICK'S CONCERTINA INSTRUCTOR, »
ROMBERG'S VIOLONCELLO. - • a 88
THE VIOLONCELLO. Abridged from Eiinno, 1 08
HAMILTON'S PEETEPTOB FOB VIOLONCELLO,.. SC
BILEY'8 DO. DO. ...alt
KYLE'S INSTBUCnpNB FOB BASSOON, BO
Harmony, thorough Bass, &c.
WBBEB'3 MUSICAl, COMPOSITION. 2 Vol.., 408
PESTALOSlTAN SYSTEM OF HM'NY. A.N Jokotok, 1 M
W00DBUBV1 MUSICAL COMPOSITT05, »
CZERNYS 1. TROUGH BASS, ..-•, ■-. SO
CORFE'S HARjilONY AND THOROUGH BASS,.-- 58
FIRST STEPS IN THOROUGH BASS, 88
BURRO WES' S THOROUGH BASS PBIMEE, 38
SCHNEIBEB'S I.IEOBY OF B ARMONY *
BAKER'S THEORY OF HARMONY, at
RIMBAULT'S HAND-BOOK "F HARMONY,-. **»»aB .
HA?«aTON'S MUSICAL 11 xONARY, S» '
FIVE THOUSAND MUSIC. L TERMS, 88
WARNER'S DICTIONARY W MUSICAL TXBMB,. 88
THE TUNER'S GUIDE 88
Instrumental.
LOGIEB'S INSTRUCTIONS FOB BUGLE, 1 88
DISTIN'S TUTOR FOB BAX HORN 88
BURBITT'S PREOtx'iORB TOR BUGLE, SAX HOBS,
POST HORN, CORNOPECX Each, M
BOSTON COLLECTION INSTRUMENTAL MUSIC, •• »'
MUSICIAN'S COMPANION. 3 Vol*.,«ach, *!
INSTRUMENTAL MUSICIAN. 6 No*., each, M
14 PIECES MU8IC FOR SMALL BRASS BAND,-.. 8 80
SELECT BRASS BAND MUSIC. 50 Piece*, : rraaged lot
BMdofl2orl4Ine'Bt«,byR A.Bo*DiTT,ouU*rd! PerB«t, I 08
THE GERMANIA; A OoU. f «aiul Ban » .« « « 8 Inat*, 1 08
Secuinv niitsic.
MOORE'S IRISH MELODIC. P'*i
OPERAS 0? NORMA, LUCIA LI 7,AMM>-
i uOtmAMBULA, ,^ID
.Word*. Each, S J»
UF BON GI'TVANNL 159
A . HORUS BOOK. E. CkiWiiiT* <fc J. E. Gocu>,.. 9 04
t'G FOLK'S GLEE BOOK, 100
COKTINENTAL GLEE BOOK, 61
TYROLIEN LYRE. A Glee Book. Wkit* fc Gonz.s,.... 1 00
JENNY LIND GLEE BOOK. By Datid P»i*»,... 1 00
WREATH OF SCHOOL 30KG8. By Wniri tc Oom*,. If
MAY FESTIVAL. Dy J. O. Jo*™* 19
BAKER'S StB *0L SONG BOOK, 83
SONGS FOR THE PEOPLE. Hlustratwl 1 00
BOSTON MELODEOJ* * Each 100
THE NATIONAL GLEE ;i OK, 75
CLASSIC GLEE BOOK, SO
BEAU^.TES OF CALEDONIA. ■* '"* Hong*. 1 <W
THE iJHAK';. Arranged for Piano and Guitar, 1 00
THE If FARP. do. do. T «
THE Or.PHEAN LYRE. In 2 Vol*., ea. 1 50 ; in 1 Vol.,. 3 00
THE GEMS OF SONG, St
AMATEUR SOL'G BOOii .' 50
PARLOR COMPANION. A Collectloa for the Piaao r 1«
BOSTON TEMPERANCE GLEE BOOK, *
THE TEMPERANCE MELODEON, 38
ETHIOPIAN GLEE BOOK. 3 No*., ea. SB ; 3 In 1 VoL,.. 1 88
ETIttUETTE OF THE BALL ROOM,
Sacred Mustc.
ORATORIO OF CREATION, 1 »
HOSES IN EGYPT. A» «ung by the Handel A. llaydaSoe'y, 1 6
SACRED CHORUS BOOK. E. L Whit* 4: J. E. GomLD. 9 Ot
•o
BEETHOVEN'S MASS IN C, do
HAYDN'S THIRD JiASS, IN D, <1». do.
HAYTEB'S SELECTION OF CHANTS, I
BIRD'S ONE HUNDRED CHANTS
ZEUHER'S AMERICAN HARP, *•
HABMCNIA SACRA. Short Chant*, Choro***. ** X
CHUB :H MELODIST. A CoHeetlon of P^^ei Tim**,..... 7j
ANTIQUARIAN. A Coll'ia of oid-faahkmed Church Mute, !•
THE MODERN HARP. Whit* * Soou 7.
THE POLYHYMNIA. C. P. B*r*»**, ,
SABBATH blHOOL LUTE. Whim fc Cteoi.*,
this work can be forward*! hj Kail* Catalo^nes of Shett Music forwarded on applisation to the PoWisbfT*