/ 
 
 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 
 
 * • 
 
 PIANO-FORTE 
 
 BY 
 
 HENRI BERTINI. 
 
 NEW AND CORRECTED EDITION 
 
 Of TEB 
 
 JFI7BHSIT7] 
 
 SAN FRANCISCO: 
 PUBLISHED BY A. KOHLER, 
 
 178 WASHINGTON STREET & 276 STOCKTON STREET. 
 
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6V7 
 
 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. 
 
 mug; 
 
 IEGOIERO. 
 
 |jffffm-^ 
 
 The keys should he struck from the wrist in chords and octaves, 
 in lively and light movements. 
 
 ALLEGRO. 
 
 * ^N mmM NJJl ^ 
 
 And in a moderate movement, where the expression demands 
 great force, the keys must be struck from the fore-arm. 
 
 HODERATO. 
 
 0-0-0 — ' ar-fi— aT-'- -0-0-0-0 — ■ — g> — ' 
 
 -0- J 'W 
 
 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. 
 _1__ a a^rr?vA- 
 
 i 
 
 e=F 
 
 s=a 
 
 i^^ 
 
 Measure in four parts divided into eight Quavers. 
 
 1 9 3 4 5. 
 
 ^f^=^ 
 
 <te 
 
 »e 
 
 i 
 
 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| ' 
 
 k Ab Bb Pb Kb Ob Ab Bb Db«b < >b ■ \fQ Pb Eb Ob *b Bb P b »b hC-^^ 2 " 
 
 , b \&J>*2 — — — —~ 
 
 
 \fC *° 
 
 : 5<9- 
 
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 bis™ 
 
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 Ss^J^- 
 
 F# li£ A# C# B# F# Gtf A# C# T># F# G# 
 
 A# 
 
 #? 
 
 #25" *F 
 
 m& 
 
 -*» 
 
 ^^ 
 
 ~J&L 
 
 ?&- 
 
 *&*&■- 
 
 c# d# f# a# a# c# p# 
 
 Ftf «#_** #©-* C - — ~ - - 
 
 *^" 
 
 3PZ 
 
 *?*^ 
 
 I#Z*?= 
 
 •#• 
 
 |gj g -— • 
 
 iwiwwuiMn 
 
 nmrn 
 
 ! 
 
 SE 
 
 arr» 
 
 -© T X B o 
 F ° 
 
 ABCUEFOA B*^- ^ 
 
 =r:^ 
 
 ^-r^T 
 
 f a a b c n e 
 
 o fc 
 
 OABCDEFCtABCDKF 
 
 
 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.) 
 
 Do 
 
 The clef of G, (treble,) is placed 
 on the second line. 
 
 Clef of F, (or fiats Clef.) 
 
 M 
 
 The clef of F, (bass,) is placed on 
 the fourth line. 
 
 Stave. 
 
 5th line.- 
 4th " - 
 Td " . 
 Sd « . 
 l«t « . 
 
 The stave consists of five parallel 
 lines, upon which the notes are writ- 
 ten. 
 
 © 
 
 © 
 
 The notes are placed either on the 
 lines, or on the spaces between the 
 ines. 
 
 When the notes reach above or be- 
 low the stave, they are placed on ad- 
 ditional lines, called 
 
 Ledger Lines. 
 
 m 
 
 £l 
 
 Above. 
 
 -<s>- 
 
 D 
 
 -3Z 
 
 -<S>- 
 
 Do 
 
 Re 
 
 * — 
 
 X 
 
 1 
 
 2 
 
 A a - 
 
 fln 
 
 ts> 
 
 9 
 
 c 
 
 D 
 
 E 
 
 w. 
 
 4 
 
 a 
 
 
 vs 
 
 . <?...._ 
 
 Q 
 
 ^ 
 
 Do 
 
 Re 
 
 Mi 
 
 
 
 i 2 
 
 3 
 
 
 y 
 
 
 cs> ^ 
 
 
 
 A 
 
 G> 
 
 
 
 
 fth 
 
 
 
 
 
 
 *¥ 
 
 
 
 
 * 
 
 c 
 
 D E 
 
 n 
 
 F 
 
 i 
 
 
 C?v 
 
 
 a u 
 
 
 
 \L- 
 
 
 ^, o 
 
 
 
 V, ^j ^, 
 
 
 Do 
 
 Re 
 
 Mi 
 
 Fa 
 
 Below. 
 
 ?W 
 
 Double Bar. 
 
 The double bar is used to denote 
 the vdA of a strain. 
 
 A- . 
 
 
 i 
 
 8 
 
 3 
 
 4 
 
 Q.. 
 
 
 
 o ■ 
 
 
 
 X. ^ 
 
 ffi 
 
 'a' 
 
 T 
 
 C 
 
 D 
 
 E 
 
 F 
 
 i 
 
 G 
 
 X 
 
 es. 
 
 
 .... a 
 
 
 
 ST" ."" " 
 
 B 
 
 p 
 
 
 o 
 
 
 
 
 o 
 
 
 
 
 
 
 Do 
 
 Re 
 
 Mi 
 
 Fa 
 
 Sol 
 
4 
 _C2_ 
 
 3 
 
 1: 
 
 G 
 
 J\r 
 
 Sol 
 
 4 
 
 JSL. 
 
 G 
 
 3 
 
 F 
 
 Sol 
 
 Fa 
 
 A IlKMt 
 
 Two dots before a double bar de- 
 mote that the previous strain must bs 
 Dlayed again. This is called a Re- 
 cat. 
 
 f 
 
 4 
 
 3 
 
 2 
 
 ( 
 
 | 
 
 \ 
 
 ® - ~ —-' 
 
 I 
 
 G 
 
 X 
 
 F 
 
 i 
 
 s> 
 
 E 
 
 e 
 
 Sol 
 
 Fa 
 
 Mi 
 
 n 
 
 4 3 
 
 2 
 
 1 
 
 i - 
 
 
 S3 
 
 S 
 
 
 G F 
 
 ' * j 
 
 H (9- - 
 
 E 
 
 — a — 
 
 D 
 
 
 
 
 
 Sol 
 
 Fa 
 
 Mi 
 
 Re 
 
 4 
 
 _«2. 
 
 2 
 
 3BELL. 
 
 -<s> — 
 
 -x- 
 
 ISSE 
 
 G 
 
 x 
 
 E 
 
 D 
 
 E 
 
 :«2i: 
 
 -9 -, 
 
 c 
 
 -s>- 
 
 Sol 
 
 Fa 
 
 Mi 
 
 Re 
 
 Do 
 
 N. 6. — it is very important to ac- 
 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 
 
 * Accidentals are the 
 Sharp, 
 
 # 
 
 Double Sharp, 
 x 
 
 Flat, 
 b 
 
 Double Flat. 
 bb 
 
 He 
 
 — X 
 
 S2Z 
 
 1 
 
 — & 
 
 2 
 
 3 
 
 G> 
 
 4 
 
 3 
 
 S> 
 
 2 
 
 l 
 
 — &- 
 
 r X r-. 
 
 : ■■ « ■ - 
 
 £5 
 
 " 4_ 
 
 3 
 
 . 2_ 
 
 1 
 
 -£- 
 
 1 
 
 — 9 
 
 8 
 
 Ending. 
 4 
 
 ig_ 
 
 23" 
 
 & 
 
 .....&: . 
 
 
 
 
 a • 
 
 « 
 
 — " a 
 
 
 
 [wiversittj 
 
LESSON II. 
 
 I 
 
 M 
 
 X 
 
 -gr- 
 
 4 
 
 —h~ 
 
 X 
 
 2 
 
 4 
 
 -. . ©... . 
 
 2 
 
 • 
 
 l ■* n 
 
 " a 
 
 JK\7 
 
 
 4i 
 
 X 
 
 — ?5 — 
 
 — a 
 
 
 — a 
 
 X 
 
 • 
 
 B 
 
 Ending. 
 
 m — 
 
 
 
 
 
 o 
 
 1 
 
 : et ■ 
 
 c 
 
 a 
 
 4 
 
 
 & 
 
 
 
 
 .. c 
 
 
 
 • 
 
 a 
 
 » 
 
 
 Repeat each strain twenty times. 
 
 A ■ 
 
 v 
 
 2 
 
 \t 
 
 2 
 
 4 
 
 2 
 
 4 
 
 O 
 
 2 
 
 
 
 42- 
 
 
 €3 
 
 
 & . 
 
 
 O" 
 
 
 o 
 
 
 A 
 
 « 
 
 
 o 
 
 
 
 
 
 • 
 
 a 
 
 ffh 
 
 
 *Sr 
 
 
 w 
 
 
 o 
 
 
 n 
 
 X 
 
 
 X 
 
 
 
 O" 
 
 4 
 
 
 . .4 . 
 
 
 ""»■■ 
 
 
 ■ «SJ 
 
 
 . 4 
 
 \y 
 
 
 C3 
 
 
 a 
 
 
 22 
 
 
 «■ 
 
 
 
 
 
 
 
 
 
 
 
 
 • 
 
 <o ' 
 
 
 
 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. 
 
 
 2 
 
 v 
 
 2 
 
 
 2 
 
 4 
 
 2 
 
 4 
 
 
 
 ij 
 
 o 
 
 
 - gj.. 
 
 ... . 
 
 23 " 
 
 
 22 
 
 
 X - — ■ ■ 
 
 
 JT 
 
 
 2? 
 
 
 
 
 
 
 • 
 
 e>- 
 
 
 f/T\ • 
 
 
 
 Vm/ 
 
 
 
 
 n 
 
 
 Q 
 
 
 n 
 
 X 
 
 
 X 
 
 
 
 fS"- 
 
 
 4 
 
 
 4 
 
 
 «=» 
 
 
 25 
 
 4 
 
 
 v£ 
 
 23 
 
 
 O 
 
 
 23" - 
 
 
 "23 
 
 . 
 
 
 
 
 
 2? 
 
 
 O 
 
 
 
 
 . 
 
 ' "g 
 
 
 
 
 
 C\. 
 
 2 
 
 
 2 
 
 v 
 
 2 
 
 4 
 
 2 
 
 4 
 
 
 9 
 
 23 
 
 
 
 
 
 ' 23 ' 
 
 
 23 
 
 
 
 / 
 
 
 rz 
 
 
 <s? 
 
 
 
 
 • 
 
 o 
 
 frh • 
 
 
 "k 
 
 
 •/ 
 
 
 
 
 
 X 
 
 
 X 
 
 
 
 f?v 
 
 4 
 
 
 4 
 
 
 « .... 
 
 
 . 22. 
 
 
 4 
 
 v~ 
 
 
 22 
 
 
 . .£3.._'.. 
 
 
 25" 
 
 
 c 
 
 
 
 a 
 
 
 23 
 
 
 
 
 
 • 
 
 22 
 
 , , . . 
 
 
 
 
 
 
 
 
 
 
 
 
 2 
 
 
 2 
 
 4 
 
 2 
 
 4 
 . 
 
 2 
 
 V 
 
 1r 
 
 
 a 
 
 
 "23 
 
 
 ' 25" 
 
 
 22 
 
 
 x 
 
 .... 
 
 
 ' ■» 
 
 
 
 
 
 • 
 
 o 
 
 ffn • ■ 
 
 
 «jj 
 
 
 * 
 
 
 
 
 
 
 X 
 
 
 X 
 
 
 /Fv " 
 
 
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 4 
 
 
 g^ 
 
 
 G> 
 
 4 
 
 v u - 
 
 B 
 
 "25 "' 
 
 
 23" 
 
 
 
 
 • 
 
 
 
 
 ■ ■« ■ 
 
 
 
 
 
 
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 . .. .c?:... 
 
 — 
 
 
 4 
 
 221 
 
 4 
 ,0 
 
 9 
 
 22: 
 
 221 
 
 '0~ 
 
 22: 
 
 221 
 
 X 
 
 22; 
 
 _<?_- 
 
 Ending. 
 
LESSON III 
 
 
 
 1 
 
 4 
 
 3 
 
 
 1 
 
 3 
 
 i 
 
 - w — ' 
 
 Y 
 
 
 o 
 
 
 a 
 
 
 
 
 
 
 iF" 
 
 ..,..,. 
 
 
 
 
 a 
 
 
 
 
 o 
 
 ft- i * 
 
 
 Y 
 
 
 
 
 
 
 
 
 
 
 
 
 X 
 
 
 
 
 1 
 
 
 
 © 
 
 _f '..■" 
 
 
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 1 
 
 8 
 
 
 3 
 
 - .. 4 
 
 *S 
 
 
 23" 
 
 
 &'" 
 
 
 
 
 ,--) 
 
 
 
 23 
 
 
 
 
 C? 
 
 
 
 ^^ • 
 
 23 
 
 
 
 — — - v ,„„ 
 
 z 
 
 < 
 
 2 
 
 4 
 
 % 
 
 
 1 
 
 3 
 
 1 
 
 3 
 
 1 
 
 
 
 23" 
 
 
 23 
 
 
 "' 23" 
 
 
 
 
 
 
 
 
 J- ° " 
 
 
 
 
 
 
 '«" 
 
 
 
 
 
 B» . 
 
 23 
 
 
 
 >A ' 
 
 
 
 
 ~h~ 
 
 
 >L 
 
 
 
 
 1 
 
 
 1 
 
 
 
 © "■% 
 
 
 _jST 
 
 
 
 3 
 
 
 8 ' 
 
 gg 
 
 8 
 
 4 
 
 p » 
 
 
 23 
 
 
 23 
 
 
 
 
 
 ,-3 • 
 
 
 
 
 
 
 23 
 
 
 
 
 
 c^ • 
 
 ,., . 
 
 
 5 
 
 Music for the Piano Forte m 
 written on two staves. 
 
 The clef of G, (treble,) is placed 
 on the first stave ; and the clef of 
 F, (bass,) on the second : 
 
 Clef Of G. 
 
 i 
 
 Clef of F. 
 
 £ 
 
 1 
 
 
 
 i 
 
 2 
 
 3 
 
 2 
 
 4 
 
 2 
 
 4 
 
 23 
 
 1 
 
 3 
 
 l 
 
 3 
 
 
 \l 
 
 
 
 "_23 " 
 
 
 23" " 
 
 
 O 
 
 
 
 
 
 
 
 fk— 
 
 .23 
 
 
 
 
 
 
 
 
 
 
 
 • 
 • 
 
 23 
 
 
 
 
 
 i_ 
 
 
 X 
 
 0— 
 
 X 
 
 
 i 
 
 
 1 
 
 
 fS 1 
 
 i 
 
 a_ 
 
 
 
 
 <2L 
 
 23" 
 
 a 
 
 
 S_ 
 
 
 4 
 
 W" 
 
 
 
 _£?~ : 
 
 
 ' 23 
 
 
 23~~ 
 
 
 
 
 
 & . 
 
 
 
 "_23" 
 
 
 
 
 
 
 
 
 
 
 
 • 
 
 C? 
 
 
 
 Sometimes it is necessary to 
 place the same clef on both staves : 
 
 £ 
 
 
 -"F 
 
 I 
 
 ets — i " i i i I 
 
 IS 
 
 
 
 1 
 
 2 
 
 3 
 
 2 
 
 3 
 
 1 
 
 4 
 
 2 
 
 
 1 
 
 3 
 
 2 
 
 4 
 S3 
 
 1 
 
 4 
 23 
 
 
 y 
 
 
 
 23 
 
 
 23 
 
 ^ 
 
 
 
 23 
 
 
 
 
 23 
 
 
 
 
 x- - — 
 
 M_ 
 
 23 
 
 
 
 
 
 
 
 
 
 25 
 
 
 
 
 
 
 • 
 
 23 
 
 rir\ * 
 
 
 \H/ 
 
 
 
 
 
 n 
 
 31 
 
 r* 
 
 1 
 
 
 X 
 
 
 
 
 1 
 
 
 X 
 
 
 X 
 
 
 *?>• ■ 
 
 1 
 
 3 
 
 
 
 
 
 8 
 
 23 
 
 
 
 8 
 
 
 
 23 
 
 ft 
 
 JS2 
 
 -'".' 4 ,' 
 
 >5 
 
 
 
 <5> 
 
 
 2V 
 
 
 
 
 23 
 
 
 
 
 23 " 
 
 
 
 • 
 
 
 
 (V 
 
 
 
 
 
 
 
 
 
 23 
 
 
 
 
 
 
 • 
 
 o 
 
 g- 
 
 iP^ 
 
 E 
 
 : 5 
 
 ^- ? 
 
 a 
 
 
 ■ -V 
 
 1 
 
 
 t 
 
 2 
 
 3 
 
 2 
 
 3 
 
 2 
 
 3 
 
 4 
 
 23 
 
 3 
 
 2 
 
 3 
 
 1 
 
 4 
 
 
 
 
 . 
 
 
 
 
 
 
 23 
 
 
 23 
 
 
 O 
 
 
 
 
 >"3 
 
 
 
 
 X 
 
 
 23' 
 
 
 23" 
 
 
 
 
 
 
 
 
 
 
 
 
 
 • 
 
 <o 
 
 
 
 
 
 
 
 
 
 
 
 
 1 
 
 
 1 
 
 
 1 
 
 X 
 
 1 
 
 
 1 
 
 
 X 
 
 
 ^ 
 
 r .. i 
 
 II 
 
 \ 
 
 3 " 
 
 
 - S> ■ 
 
 
 
 
 
 23 
 
 
 — a — 
 
 
 a 
 
 fS 
 
 4 
 
 v= 
 
 
 
 
 
 23 
 
 
 2V 
 
 
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 ^_ 
 
 • 
 
 
 
 * ^ 
 
 
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 • 
 
 23 
 
 
 
 Sometimes the same stave u 
 used for both hands : — 
 
 irfl 
 
 / 
 
 Sffi 
 
 l«F 
 
 e 
 
 
 g 
 
 as 
 
 s^ 
 
 -0 K-J- 
 
 2 
 
 3 
 
 4 
 C3 
 
 2 
 
 — 23 — 
 
 3 
 
 4 
 «5> 
 
 8 
 
 -X— 
 
 1 
 
 2 
 
 3 
 
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 2 
 
 1 
 
 I * r 
 
 A — ^~ *" 
 
 
 
 
 
 
 
 O- 
 
 23 
 
 -<»- 
 
 _S2_ 
 
 
 -<s>- 
 
 g, . 
 
 -O-— 
 
 23 
 
 vfi) 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 • 
 
 
 
 a 
 
 1 
 
 X 
 
 
 1 
 
 X 
 
 
 
 
 
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 g£ 4 ■■» 
 
 
 gg 
 
 2V 
 
 
 
 23 
 
 
 
 8 
 
 — 5* — 
 
 
 » ■■■■ 
 
 — fl — 
 
 3 
 
 4 
 
 
 2> 
 
 
 
 e> 
 
 
 
 2V 
 
 
 
 f? 
 
 
 
 f? 
 
 —-, • 
 
 
 i * r ~ & - 
 
 - — 
 
 
 
 
 
 
 
 ft» 
 
 
 
 
 
 
 ^ . 
 
 : B : 
 
LESSON IV. 
 
 — 
 
 
 a 
 
 A 
 
 3 
 
 a 
 
 4 
 
 1 
 
 3 
 
 v 
 
 2 
 
 1 
 
 3 
 
 1 
 
 3 
 
 2 
 
 4 
 O 
 
 
 
 
 
 - or ■ 
 
 
 
 a. 
 
 
 
 
 
 23 
 
 
 
 
 
 o 
 
 
 
 X 
 
 O' 
 
 
 
 
 
 
 
 
 .. o " 
 
 
 
 
 
 
 
 • 
 
 G» 
 
 ffh 
 
 
 \w 
 
 
 <p 
 
 
 
 
 1 
 
 o 
 
 X 
 
 
 1_ 
 
 
 Q 
 
 
 1_ 
 
 
 i 
 
 Q 
 
 X 
 
 
 ffv 
 
 
 
 3 
 
 
 
 23 
 
 3 
 
 
 A 
 
 
 .. 9 
 
 
 ■ 
 
 
 
 o 
 
 4 
 
 K2 
 
 
 W" 
 
 
 
 « 
 
 
 ■ 0- ■■■ 
 
 
 
 s? 
 
 
 
 0- , 
 
 
 S3. 
 
 • 
 
 
 
 '23 " 
 
 
 
 
 
 
 
 
 ~BT . 
 
 
 
 
 
 
 
 • 
 
 o 
 
 
 
 rt 2 
 
 . y 
 
 3 
 
 0- - 
 
 1 
 
 4 
 
 3 
 
 3 
 
 1 
 
 a 
 
 
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 4 
 
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 y » 
 
 
 
 
 
 s. 
 
 
 
 23 — 
 
 
 
 
 
 
 
 23 
 
 
 
 S2. 
 
 
 
 
 
 
 
 
 23 — 
 
 
 
 
 
 
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 23 
 
 
 
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 — & — 
 
 _ B 
 
 
 ■ 
 
 23 
 
 
 4 
 
 V,' ° 
 
 
 
 — fij-- 
 
 
 23 
 
 
 
 © 
 
 
 
 
 ■ a " • 
 
 
 
 C? 
 
 
 
 
 
 
 
 
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 • 
 
 O 
 
 
 
 t\ 
 
 x 
 
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 3 
 
 a 
 
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 4 
 
 3 
 
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 v 
 
 SL 
 
 
 e. 
 
 
 
 
 
 — 23 
 
 
 _ ... 
 
 
 
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 . c?._ 
 
 
 
 23" 
 
 
 
 
 
 
 
 
 
 
 
 
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 ffii 
 
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 23" 
 
 
 ■ »- ■ 
 
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 m • 
 
 
 
 23 
 
 
 
 S5 
 
 
 
 
 
 
 
 
 
 
 
 
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 C? 
 
 
 
 A, 
 
 a 
 
 X 
 
 1 
 
 a 
 
 3 
 
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 a 
 
 3 
 
 4 
 
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 3 
 
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 a 
 
 3 
 
 r x r 
 
 9 
 
 " 23 
 
 
 
 "-23 
 
 
 
 "" 23' 
 
 
 
 23 
 
 
 
 
 
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 / 
 
 
 a 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
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 <s> 
 
 fifi " "■■ ■■ ■" " ■" ■ .._ • 
 
 
 w - 
 
 
 
 h 
 
 — 4 — 
 
 a_ 
 
 — 9 
 
 1 
 
 — ® — 
 
 8 
 
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 l 
 
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 23 
 
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 1 
 
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 3 
 
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 4 
 
 3 
 
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 2 
 
 23 
 
 3 
 
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 23 
 
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 f 
 
 £ 4 
 
 3 
 
 _4_ 
 
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 3 
 
 8 
 
 1 
 
 -a— 
 
 i &- 
 
 1 
 
 "£" 
 
 1 
 
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 -fl— 
 
 1 
 
 -a— 
 
 1 
 
 -fl— 
 
 =H=5r- 
 
 a 
 
 4 
 
 
 ^ 
 
 ' «' 
 
 -S>- 
 
 23 
 
 _S> — g g — S2_ 
 
 S- 
 
 _&?._ 
 
 
 Gt_ 
 
 
 
 
 
 
 
 _&£_ 
 
 
 
 -« £^-- 
 
 —&~i 
 
 &-. . , 
 
 
 
 
 l^T^l 2 l 2 5, 2 i. 23 « 34 s 3 2 3 2l 2 1 2l , , 2,2 
 
 
 2r~ 
 
 — « ^o^ s>- D -«■ ^2- ^ ^ - " ^ ° tfD g m °'a o 'a & -» "23 — 
 
 ... . -X - 
 
 
 23 
 
 
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 J 
 
 
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 fc 
 
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 4 
 
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 b~ 
 
 
 , .«? :._. . 
 
 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- .-, 
 
 
 « 
 
 s> 
 
 w* 
 
 & 
 
 e* " 
 
 
 
 
 | .^ - <s> 
 
 
 
 1 
 
 
 r 
 
 
 
 a 
 
 
 1 -4- 
 
 3 
 
 
 
 
 
 
 « 
 
 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 
 
 ~_q_ 
 
 -0 
 
 l 
 
 I 
 
 
 — i— 
 
 ■5 
 
 
 
 
 
 
 
 
 c* 
 
 _ 
 
 • • 
 
 • 
 
 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. 
 
 < 
 
 m 
 ■ 
 
 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- 
 
 • 
 
 
 ~±-»3b — *- 
 
 
 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 
 
 -& 
 
 ^ 
 
 4 
 
 X 
 
 is?: 
 
 s 
 
 2 
 
 P 
 
 9 
 
 ZJOL 
 
 "I 
 
 £ 
 
 ~g~ 
 
 321 
 
 :ffl- 
 
 1221 
 
 t 
 
 :fi=S 
 
 5 
 
 ,g g- 
 
 ^~(» 
 
 £■ 
 
 j=m 
 
 P 
 
 ?a- 
 
 js: 
 
 £ 
 
 ? 
 
 isz: 
 
 £ 
 
 53.: 
 
 ~o~ 
 
 rt 
 
 — s. .. 
 
 EXERCISE FOR SHOWING THE USE OF THE DOT. 
 
 * 3 
 
 
 
 
 
 
 
 
 u 
 
 
 
 
 
 
 a. 
 
 ^ 
 
 
 c — 
 
 
 /Lp 
 
 & 
 
 
 " r 3 
 
 
 
 
 
 
 r 
 
 
 
 
 a 
 
 tin 1 -' 
 
 
 1 
 
 
 
 
 
 1 
 
 
 
 
 
 uu 
 
 
 
 
 
 
 
 
 
 
 
 
 Mil 
 
 1 I 1 1 
 
 IMI 
 
 MM 
 
 X 
 
 MM 
 
 1 
 
 MM 
 
 IMI 
 
 1 II 1 
 
 f?y 
 
 * 
 
 
 
 
 . «s> 
 
 
 
 
 
 \i:*f» 
 
 ts ' m 
 
 
 
 
 B 
 
 — 
 
 i° « 
 
 
 ^-* Vj a 
 
 r 
 
 
 
 
 
 
 
 o ■ 
 
 
 1 
 
 
 
 
 
 
 ! 
 
 
 
 
 
 
 
 
 
 
 
 
 1 
 
 i 
 
 
 
 
 a 
 
 
 
 
 m 
 
 4 
 
 
 3 
 
 
 
 3 
 
 
 i 
 
 
 
 ^ l - 
 
 
 
 
 
 Q 
 
 
 • r 
 
 
 
 
 "5> 
 
 
 s ^ m - 
 
 'Zjb 
 
 
 
 9 — 
 
 
 JLf* 
 
 a 
 
 
 
 
 
 
 
 
 
 i 
 
 
 
 
 
 
 
 =•» — 
 
 , ar , 
 
 wh^ 
 
 
 
 1 
 
 
 
 
 
 
 i 
 
 
 
 
 
 
 
 
 
 xXp 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 •7 
 
 
 X 
 
 I 
 
 1 
 
 
 
 
 (9" l 
 
 
 O 
 
 ^k. 
 
 
 
 
 
 
 m m r 
 
 
 P* 
 
 O 
 
 
 * m 
 
 
 o ,. 
 
 
 <s — 
 
 
 ^- , C a 
 
 r 1 ' 
 
 
 
 
 
 
 1 r 
 
 
 
 
 1 
 
 ■" 
 
 " -«5>- ■ " 
 
 
 1 r i ' ' 
 
 
 
 
 
 
 1 — +-H 
 
 
 
 
 ) 
 
 1 * 
 
 
 ISC 
 
 32: 
 
 221 
 
 ■-»- 
 
 4 
 
 i 
 
 x 
 
 fefc* 
 
 "i — r 
 
 -T 
 
 a^=r 
 
 £ 
 
 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^:=:*: 
 
 *± 
 
 _J o «-l 
 
 --p— 
 
 3 
 
 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. 
 
 »P j]AflABAfl:flJ3Aj]te B 
 
 czx 
 
 :a: 
 
 ua: 
 
 r n n n 
 
 g 
 
 zxzzs 
 
 _«_#. 
 
 1£ 
 
 n n n 
 
 a. 
 
 3 
 
 :ir 
 
 :s: 
 
 H.ii.n - n 
 
 .«_* 
 
 n J3. nil 
 
 I2SZL 
 
 These exercises 
 will be particu- 
 larly advantageous 
 when practised 
 slowly and dis- 
 tinctly. 
 
 CONTINUA- 
 TION OF 
 
 THE SAME 
 EXERCISES. 
 
 J I 
 
 SsSsg 
 
 
 3 
 
 m 
 
 4 
 1 
 
 rq — nm - - 
 
 4 
 
 1 ITT 
 
 •shh i i -+B3= 
 
 T 
 
 ^SEEEE 
 
 333333 3'3-HH BEF* 
 
 : F 
 
 3333 
 
 mm 
 
 SE: 
 
 E^ 
 
 ^lii 11-44 - 
 
 : f 
 
 ;-X 
 
 S f * f 
 
 Tf - — W tj ot — W — tt ™ W 
 
 • J— -*--f 
 
 ^ 
 
 ¥ 
 
 -0—0- 
 
 '-¥ 
 
 _ n _ n 
 
 — 0- 
 
 —s> — 
 
 — x— £ — •-— 5- 
 
 n 
 
 1 0-t— I — -)—•—• 4—0—0 
 
 # — I — 0— \- -0- -m—k 0—0 
 
 i 
 
 3 
 
 *eS 
 
 n 
 
 n il rj =*=ti 
 
 m — « — « — « 1 
 
 ■# — 
 
 -0 — 0- 
 
 -&- 
 
EXEKCISK 
 
 FOR PASSING 
 
 THE THIRD 
 
 FINGER OVER 
 
 I-HK FOURTH, 
 
 AMD THE 
 FOURTH FIN- 
 GER UNDER 
 THE THIRD. 
 
 31 
 
 jttijtti jthjjx 
 
 =cxzb±=tn=m 
 
 ^wg 
 
 
 — i — i — i — i I i I n 
 
 i i ii — 1 ' i l 
 
 34343434 34343434 
 
 3 4 3 4 
 
 3 4 3 4 
 
 34343434 
 
 -A 
 
 j 
 
 ^ife 
 
 1 
 
 0) 
 
 ? f#?-= 
 
 t — r 
 
 
 E 
 
 §E*EiE?E£ 
 
 
 
 ~1 
 
 j rl-f fyf ■ ■ 
 
 3=1 
 
 f 
 
 T" 
 
 F- 
 
 1 
 
 »*F F p P F P 
 
 r I i r tZ 
 
 -r — f '"('" 
 
 1 
 
 3 
 
 i^fi^- 
 
 ^ 
 
 ^^^4 
 
 T 
 
 3 
 
 (1) Sextelet , a 
 group of six notes. 
 
 Accent the note* 
 in couples. 
 
 AAA 
 
 £feP 
 
 Q^E 
 
 
 ^^ 
 
 1111 
 3.333 
 
 — 1~ 
 
 i 1 r 
 
 3 LjtJt-JlJt 
 
 i* 
 
 EH 
 
 F=£ 
 
 r- i ■ — i r 
 
 l r 
 
 
 -fr 
 
 •i I I — r 
 
 --■#•- 
 
 JO 
 
 - i r 
 
 T~ 
 
 'i r 
 
 #8z 
 
 r.*r*& 
 
 ^ieHS 
 
 1 — r 
 
 i r 
 
 i — r 
 
 ri£Z. 
 
 tztz' 
 
 I* 
 
 JfrfrTf 
 
 5 
 
 i — r 
 
 i 
 
 The sextelet it 
 indicated hy a fig- 
 ure 6 placed ovei 
 or under the six 
 notes which com* 
 pose it. 
 
 
 "i : t 
 
 
 se^ 
 
 1 
 
 3 
 
 9 ? 
 
 
 
 r -fv — i xixi x-i-x 
 
 e=r=F=r=^s=^E 
 
 n — r 
 
 : F 
 
 i r 
 
 3 XlX3X3X 
 
 £ Ilbllll==== : — i 
 
 i: e=P :: 
 
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: 
 
 ^ 
 
 ^ 
 
 -;i- 
 
 ^- : 
 
 £== 
 
 s 
 
 3 
 
 -r — 
 
 :«3: 
 
 T 
 
 ..22: 
 
 E=^z±=== 
 
 :^=S 
 
 @: 
 
 W^2 
 
 
 22E 
 
 ^s? 
 
 23.(5^5 .§: 
 
 ^ 
 
 ^ 
 
 i r 
 
 I f 
 
 E 
 
 f 
 
 Si 
 
 G p-- G pr-2-- 
 
 J_1_J L 
 
 • t 
 
 O i 
 
 EE2EB 
 
 1 
 
 £: 
 
 22®: 
 
 ^ 
 
 i 
 
 r 
 
 1" 
 
 rfzz-^: 
 
 :£: 
 
 ^ 
 
 2=F=0=X 
 
 -eg" 
 
 :rzat: 
 
 i i i 
 i 
 
 «2- 
 
 22: 
 
 SB 
 
 '( — r 
 
 :s: 
 
 
 i i i 
 
 i 
 
 ^2= 
 
 221 
 
 -rtfc 
 
 : r=?5 
 
 -h 
 
 ^ 
 
 4 14 
 4 
 
 
 
 -m FFF 
 
 ^ 
 
 i i i 
 
 jea. 
 
 •»•• Demi- 
 ' Staccato. 
 
 4 X 
 
 4 X 
 
 X 4 
 
 X 4 
 
 S 
 
 3E 
 
 
 'I 
 
 £EE 
 
 3 
 
 ¥- 
 
 Ff^=P 
 
 t— I — ^j~ 
 
 CP 
 
 £ 
 
 i 
 
 3fe 
 
 azxzfcsrn 
 
 '* 
 
 1^ 
 
 E 
 
 3 
 
 T 
 
 "X - 
 
 3 
 
 ~X~ 
 1 
 
 3 X 
 
 A » » 
 
 mt& 
 
3:< 
 
 ^4_ 
 
 XG>- 
 
 1 -&- 
 
 _3_2_i_x_#_ 
 
 1TWW 
 
 „ , y m 3 2 1 x_< 
 
 3=f=^E=zfL 
 
 
 1 — i — r 
 
 :szr 
 
 ±zt£:£ 
 
 k£: 
 
 :i — czx 
 
 "i i r 
 
 :g] 
 
 8 1 X 
 
 T P rrnr 
 
 "i r r 
 
 
 r 
 
 7~ 
 
 Changing fin- 
 gers on the sama 
 key. 
 
 a i x 
 
 m 
 
 JZZ 
 
 :E 
 
 2 1 X 
 
 ^35 
 
 sg^ft 
 
 
 «E 
 
 5^ 
 
 £- 
 
 zzszizxrrziz: 
 
 r h* 
 
 ~i — r 
 
 <S3 
 
 cis?- 
 
 A 
 
 1 x 
 
 \0Z0Z9zrr 
 
 "i — r 
 
 T i»IM 
 
 
 £ 
 
 TTT 
 
 
 _X_JLX_pL 
 
 ?=F=F 
 
 -<©- 
 
 Syncopated Noiei 
 
 # 
 
 f 
 
 XJX 
 
 =ft^ 
 
 rn 
 
 ^2: 
 
 ei 
 
 -2_1_X • 
 
 ffi 
 
 4 
 
 
 "ri"r 
 
 -»- -ar 
 
 2 1X1 I 
 
 xrx 
 
 -«2- 
 
 1221 
 
 x<s>- 
 
 l-<5>- 
 
 r 
 
 "X" 
 
 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 
 
 ~r 
 
 2 
 
 1 
 
 
 T" 
 
 ) l x ..= 
 
 ! 
 
 
 an 
 
 iU 
 
 ^ 
 
 -0- # 
 
 3E 
 
 at 
 
 ^-5= 
 
 — r 
 
 -e-r-j^ 
 
 Scafedz^ 
 
 ¥-i 
 
 -•- -#- 
 
 
 
 • #, 
 
 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 
 
 -!- 
 
 m 
 
 i i i 
 
 =E 
 
 — r 
 
 £ 
 
 -i — 
 
 _SZZ3?I 
 
 ^ 
 
 _JB_-^ — b=g: 
 
 -s>- 
 
 5St 
 
 B 
 
 T" 
 
 *z=5: 
 
 :xl 
 
 ^h- 
 
 h^EjsE 
 
 ^ 
 
 ~r 
 
 :tjs: 
 
 3E 
 
 
 31 
 
 EE 
 
 j9/> Andante. 
 
 3z: 
 
 M a— 
 
 JSEL 
 
 e- 
 
 ISZZSI 
 
 t 9 " 
 
 is: 
 
 i 
 
 1ST 
 
 f:1~ 
 
 fc=±= 
 
 :SZ 
 
 ~£3 
 
 =1 
 
 s -rg=^:r 
 
 isF'dz 
 
 rsEEzE 
 
 x 
 22: 
 
 ^^ 
 
 ^ 
 
 :P? 
 
 "i r 
 
 £ 
 
 is: 
 
 isi 
 
 3 
 
 3 
 
 == c 3 : 3! 
 
 4 
 
 -<S>- -S-- 
 
 ^_3_ 
 
 ■I Ol 
 
 ~~r 
 
 -js- 
 
 TE 
 
 I 1 
 
 5 — i r 
 
 ^ = 
 
 _SI 
 
 T 
 
 F^#^ 
 
 ~X 2~~ 
 
 . 
 
 
 ^c= 
 
 cixi 
 
 ezr^'^T' 
 
 "r 
 
 -&- 
 
 '■&— 
 
 izcii: 
 
 ^F= 
 
 •<9- 
 
 ^a. 
 
 S-L:^=i: :±zi— l^l I— -^-4- 
 
 g 
 
 "i — r 
 
 ■"i — T 
 
 ->V 
 
 IS 
 
 USUI 
 
 X 
 
 — s>- 
 
 
 \2L~-X. 
 
 P 
 IXZ 
 
 — 1 — w 
 
 #W- 
 
 rg*-^- 
 
 =SE 
 
 ~i — 1 
 
 *i 
 
 x 
 
 :ix: 
 
 i» « 
 
 ixz 
 is-4- 
 
 si 
 
 gas 
 
 f m 
 
 1 — r 
 
 -Xu 
 
 ^f-T 
 
 :sr-#^ 
 
 ■sr-J© 
 
 : E=F 
 
 ITS?! 
 
 ~3~ 
 
 isczg::^-, 
 
 T 
 
 rjizix 
 
 : ~zq — 3 
 
 isi 
 
 IX __ : 
 
 :£=* 
 
 IS 
 
 SI 
 
 
 X 
 
 . 
 
 i»- -fs- 
 
 ix: 
 
 ~__|3 
 
 ~ : x 
 
 USSI 
 
 =fcpa: 
 
 EE 
 
 
 fe 
 
 r-ft- 
 
 9-9- 
 
 =3=^ 
 
 n 
 
 :#' 
 
 #3 
 
 *t 
 
 _4_ 
 
 ipz: 
 
 zsz: 
 
 4_ 
 
 
 F=^=F 
 
 ^E; 
 
 T" 
 
 -2=r o 
 
 — 1 r 
 
 "Or 
 
 ^ _s. 
 
 3Z 
 
 -a- 
 
 iii 
 
 ^^ 
 
 ^zi: 
 
 =^ : 
 
 
 -&—&T 
 
 3ZZZH 
 
 15" 
 
 ~x: 
 
 ■p- 
 
 X 
 
 zsr_ 
 
 _2X_ 
 
 :sr 
 
 ■#- 
 
 EE 
 
 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 
 
 Srtrr 
 
 :pzz#~z#" 
 
 -| 1 — zt — i — 
 
 #-*-^ 
 M 
 
 ^^ 
 
 i 1 r 
 
 =s=s 
 
 t=zm—9i 
 
 T. — r 
 
 1 1— - : 
 
 2 
 
 > • i — 
 
 • » '"if '* P; 
 
 rfEF 
 
 / 
 
 1 X 
 
 -#— £ 
 
 irzzrzzi r 
 
 r r i r 
 
 ^=3:^=-S: 
 
 rzrzi! r 
 
 T^ i 1 r 
 
 =s 
 
 3fpt 
 
 -#•- 
 
 : r= 
 
 t# 
 
 ..#. 
 
 r£ 
 
 ffT Tz: I i — r~ 
 
 to 
 
 ezzz znzzztz — r— — zrzznr 
 
 n~#" 
 
 r 
 
 / 
 
 5? — T" 
 
 
 -ZZZr 
 
 n r 
 
 2 X 
 
 i r 
 
 ±3 
 
 S3 
 
 { 
 
 f# 
 
 -*- 
 
 
 * *tf ^f 
 
 ~i — i — 
 
 r* d — i- -i — 1~ 
 
 :c — r z± 
 
 ■-C 
 
 "I r~ 
 
 3= i J - JL 
 
 1*31 
 
 tz r r^ 
 
 ■~L=-=L^£ZJ=: 
 
 
 4 2 
 
 tzzxzzz zzi: 
 
 
 i 1 1 ^ 
 
 r I — rzzr 
 
 i I 
 
 ■0 — 
 
 =i=i =? 
 
 j£Zl»—P- 
 
 :r_r_r 
 
 ze"a 
 
 ^ 
 
 -i— 0— m — *- 
 
 nzzzwi 
 
 :i — i — i 
 
 ■| — ~i — r 
 
 =, j== 
 
 S=S 
 
 -ft- 
 
 ,»' " 
 
 *5p 
 
 4 
 
 -#sP 
 
 3~H— 1 = H HH H -| -4-|- n^ 
 
 n — r — i J~j — i — n — i — j—n — j~ 
 
 :#1 ft 
 
 :d~J= 
 
 
 rr* 
 
 3^± 
 
 iJ 
 
 33 
 
 :<?=?: 
 
 rr-j~y 
 
 =S: 
 
 :?z^: 
 
 := ^ 
 
 #i r 
 
 i — 
 
 
 :ziz:zz 
 
 
 
 s-=s 
 
 * 
 
 -w- 
 
 -Gt- 
 
 { 
 
 2 
 
 :«it: 
 
 T-f- 
 
 ~i r 
 
 *-# 
 
 / 
 
 **$=*= 
 
 § 
 
 lfc*c 
 
 zrzzr 
 
 
 l 
 
 D r 
 
 x i 
 
 T 
 
 HfT^T""tf-: 
 
 
 X 
 
 ^a^t 
 
 r 
 
 i — hz 
 
 :*— x: 
 
 ::rz=fzz*z ##: 
 
 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 
 
 J J e *» 
 -#- # x 
 
 si 
 
 3 
 P^ 
 
 c: 
 
 ^g 
 
 2ese 
 
 ti*. 
 
 :S 
 
 ss 
 
 2a: 
 
 nrx: 
 
 "£** 
 
 ■*H7 
 
 "IT 
 
 H5B? 
 
 %=j* 
 
 =B^ 
 
 
 u 
 
 ■Tin — si - 
 P # n 
 
 ,x 3 
 
 
 3<=3 
 
 1 
 
 •*x 
 
 Ffi* 
 
 ~'r\ 
 
 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 
 -rrn — z *«~ 
 
 m r »i — 
 
 TfflJ 
 
 :z= rr11rn-iP- 
 - »P_rnJ — 
 
 :za: 
 
 irscz: 
 
 en 
 
 I M~l IST" — 
 
 ^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. 
 
 
 £*W-r- 
 
 ft-i 
 
 
 ^5 
 
 _g 
 
 sg-zzzzfa.g 
 
 T 
 
 3 
 
 P2I 
 
 i3E|K5=: 
 
 SESii? 
 
 *& 
 
 :£^ 
 
 22: 
 
 T 
 
 3ZX 
 
 5^* 
 
 3- /r-cB=*-£ 
 
 9 
 
 T 9 "' 
 
 T 
 
 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? 
 
 ? 
 
 X 4X4 X £!><■ 
 
 — "-M~!~t+j" 
 
 ■2^ -#- r i 
 
 X 4 X 4 
 
 l r* — v~a — 1-»- 
 
 FFF? 
 
 
 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 ? 
 
 
 
 -« ~ L 
 
 tS~T2Z=:* 
 
 — P — 1 r~ -■ 1 1— 
 
 E 
 
 m ^. 
 
 m 
 
 i i 
 
 3E5E? 
 
 333 EE 
 
 IS 
 
 
 £ 
 
 _r r 
 
 
 E|EPE?3: 
 
 "I 
 
 "i — r - 
 
 Zt-ZIZIIEZ^ 
 
 :?=i*z:*rzrz:z:z_ 
 
 y. 
 
 ;a=BES 
 
 ^=J=±zH 
 
 inzx: 
 
 
 ) ^ — 2 e — 
 
 
 1 r m ± 
 
 r — r — 1 1 f 9 . 
 
 1 l IW ^ C^ 
 
 ] 1 r — r * — m Z3 
 
 1 r 
 
 ( 
 
 t #-— , — 1*-*— #2 
 
 1 1 1 
 
 :jac 
 
 W 
 
 rrrfri 
 
 rrn — 
 — m 
 
 RSy f r 1- 1 i - 
 
 r rj" — rrr 
 
 3 2 3 
 
 nsg 
 
 "5?~ 
 
 r 
 
 r 1 t 1 
 
 F 
 
 £ 
 
 3hf 
 
 m -Ft F m 
 yrr 
 
 
 rii i r 
 
 T 
 
 
 1- I I 
 
 -Ft-F-0—^ 
 
 1 . — *jta~ 
 :rrT-rzxz:fj 
 
 I_2T 
 
 '^F 
 
 »#j 
 
 
 fc-rfc} 
 
 SB 
 
 -Hji-tW 
 
 Wg-mr 
 
 fB + B 'Pr i 
 
 T'rrr 
 
 SB 
 
 S&S 
 
 
 taEgSS 
 
 r rrr ^Xj 
 
 ^ 
 
 *:?;i 
 
 ±tt~t- r~:rr:F-_0- 
 
 r.r 1 
 
 X i# *^0^ 
 
 m* F tJTC r"»" 
 "r ri - r-rr .1 
 
 -fT-f^b-jt- x- 
 
 ' rrr 
 
 
 -t-»-FT-Fl* 
 
 TTTl — rtTT 
 
 
 ^2 
 
 X 
 
 «ss 
 
 m — n 
 
 "t — 1 — 1 — rr 
 
 E 
 
 -- — <g>- 
 
 •J' it J 
 
 3 a 3 
 
 -©- 
 
 4 ■ 4 
 
 i 
 
 
 EtEfE 
 
 3*3*3 
 
 3*3 
 
 F r rj — r— rr 
 
 -* 
 
 1X1 x 
 
 Cm*~mBZ.'^B- m , 
 
 t?T-prz?T£-s 
 
 rT M — rrrn r"r-r-r-F-#-* — 
 
 1— f— r— 1 rm — ~r~r~r'l — rrri' 
 
 
 : tTT1: 
 
 4*^ J i€J.jr itfadzuaj: 
 
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 
 
 »-trzf 
 
 
 ^ 
 
 £-"£ 
 
 
 S 
 
 2 
 
 f: 
 
 g3 
 
 •f^p 
 
 £ 
 
 »1E^E^ 
 
 5¥S 
 
 S£ 
 
 PS 
 
 ic 
 
 s 
 
 i — © — -5^ — . * j 
 
 ^z^5EpgSE 
 
 zzzzdi=zaz«:*;_: 
 
 fr n . IT n 
 
 2 1 
 
 
 M-55 
 
 c*:^»: 
 
 T" 
 
 
 
 
 L I 1 rfjL- 
 
 ^ j^ r r r m 
 : :3~2'3'yr rT~r~f 
 
 =£. 
 
 
 frsy ^i 
 
 -*J^XJL 
 
 i?£z±±±H-f-H 
 
 -a^a^--& 
 
 '.pf mf mf~mf- 
 
 ZI 
 
 9* 
 
 iw 4 3 4 ft 
 
 as=E£ 
 
 H^zF^^lrH 
 
 3=fj| 
 
 4„-' 
 
 Itf^r- 
 
 "3 
 
 1 2 
 
 gaas 
 
 "^n — ^^^ 
 
 rrT - "! — H 1 1 
 
 T 
 
 r 
 
 yj~i — rJCXx 
 3 1 * 2 1 
 
 X X 
 
 — *--• - 3 ,-m 2 -a- 
 
 • rn — PT~r r~ 
 
 rri~n nrr 
 
 -<S>- 
 
44 
 
 EXERCISE IN CHORDS. 
 
 Andante. 
 
 2 
 
 _X_ 
 
 .o:v 
 
 ~r 
 
 £#-a 
 
 t3 
 
 -*T® 
 
 l| < g 
 
 3 
 -X_ 
 
 -S 
 
 "on 
 
 -4 
 
 S>- 
 
 A 
 
 -#^0-T- 
 
 "g 1 ^ 
 
 te 
 
 »- 
 
 2 
 X 
 
 IZ3£ 
 
 ©- 
 
 4 
 
 -4" 
 
 F3^ 
 
 -2 -: 
 
 4 
 
 -4 
 
 -Sh 
 
 1 
 
 4 
 
 -4- 
 
 ^ 
 
 *± 
 
 2 
 
 ~W$- 
 
 X 
 
 c: 
 
 P 
 
 2 
 
 X 
 
 -<^- 
 
 x " 
 sfc: 
 
 -Hi 
 
 _j:2 P : 
 
 X 
 
 (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. 
 
 ■!*Txr8fVxr* :Ir_x. 
 
 XT '0JL.X.' 
 
 S3 
 
 ijis: 
 
 IT 
 
 U 
 
 M 
 
 S3T* 
 
 I i* ' 
 
 SJ 
 
 kf 
 
 3 
 
 » 
 
 ^3: 
 
 : -4- 
 
 :zri 
 
 T C: 
 
 zxr=nrx_ i 
 
 LJT 
 
 is— 
 
 i "• 
 
 ~—ZJzizrz 
 
 ^F 
 
 
 h*-*- 
 
 
 3 
 
 f S 'I -*-•' -£-'1 f 
 
 T 
 
 SJ SJ Nl 
 
 £=3=? 
 
 — *- 
 
 :x: 
 
 =fc 
 
 
 tj 5 
 
 2. 
 
 S 
 
 ? 
 
 j§£ 
 
 T 
 
 T 
 
 ^feip 
 
 tr~t? 
 
 El 
 
 X 
 
 5= 
 
 iz ^ - J . i ..:. J £ 
 
 WWW^r 
 
 X 
 
45 
 
 * *, ^ *r 
 
 __| ##— Jr 
 
 -3z^z^£-^^z=— J? 
 
 
 -*tP- 
 
 urn 
 
 fcj IS 1s vi 'kj 
 
 £ 
 
 -2 
 
 3 
 
 5+ 
 
 ■ r 
 
 k'-'kr 'kj 
 
 f-i! f- 
 
 fc 
 
 t#— ^ 
 
 i 
 
 p=*^ 
 
 ;g=3 
 
 T ^ 
 
 i 1*T^r 1* t1 
 
 #*-+- 
 
 :?zs: 
 
 L/ 
 
 
 •J 
 
 r^zs: 
 
 -thttQ 
 
 : i=^i=j 
 
 ^Cj 
 
 3 
 
 
 lx_ 
 
 £ 
 
 -*i(^ 
 
 321 
 
 i 
 
 :xz 
 
 ** 
 
 j~" 
 
 SCALE 
 IN A. 
 
 LESSON XX. 
 
 ijfcr 
 
 F^ 
 
 B 
 
 * * p r 
 
 *.+-*- 
 
 ^=a 
 
 "I r~ :~ 
 
 ^i^ ^gz^E^gJi 
 
 x. z$ Y ^ 3 
 
 -# — Pzzr — ' — rr=" 1 ■^az — i 1 r ~P 
 
 f— f-l-f— I — r 
 
 i — i — n 
 
 S 
 
 IB 
 
 ■^ 
 
 tfc* 
 
 K!=zfc: 
 
 P^ 
 
 r^ 
 
 3CC3 
 
 #-^ 
 
 ea 
 
 „" r» ^ n 
 
 tnzdzzszff; 
 
 *P 
 
 'v—r 
 
 m 
 
 •| — i — r 
 
 -r-r-r 
 
 "i — r 
 
 2 - X 
 
 » P * m 
 
 3 — i — r . 
 
 'i — i — i — r~ 
 
 i i — r^F- 
 
 rrrzgz~ 
 
 ^fciECfci^ 
 
 
 Ftzrzx 
 
 S3EE 
 
 F?" 
 
 nzzzi — r 
 
 1 x 
 
 ■m~P~r 
 
 3 — L_t 
 
 *EI 
 
 FP 
 
 x m -P- 
 
 i r 
 5T 
 
 t*^^— T_ 
 
 
 ^====n=i=w 
 
 JE^zEE 
 
 :?z#: 
 
 3: 
 
 £i£ 
 
 ± J .-. 3 
 
 fc * r rr r r.g EgjjEj^ jggy^ 
 
 
 ICZTZI 
 
 £ 
 
 •n~a — r 
 
 <PJ=JP^¥ 
 
 I i i ,r~ ~~r 
 
 S^3 
 
 zzg^zJE^gz^E 
 
 f-p-9-P 
 
 ?&¥=+■ 
 
 3 — i ii r 
 
 ■| — i r 
 
 i — i — i — i 
 
 :x: 
 
 3 -Q > 
 
 T~i rn i — i I i 
 
 a^zzT© 
 
 urzzzr 
 
 T 
 
 BE 
 
 d 
 
 
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. 
 - # 
 
 -■*£& 
 
 0) 
 
 %^g&¥E£ 
 
 t f f f 
 
 :szizxr 
 
 ^V-f-r- 
 
 i± 
 
 TEN. 
 
 $ 
 
 m 
 
 12 3 1 
 
 f » 
 
 m 
 
 ffl 
 
 =t 
 
 I I J I TEW. 
 
 31 
 
 (2) 
 
 1 | | i TEW 
 
 4 2 
 
 TEN. 
 
47 
 
 $* 
 
 M »— L-J L 
 
 p^m ^ 
 
 M: 
 
 1 
 
 5fc 
 
 8 u' I 
 
 T r 
 
 ^ 
 
 tw=a£ 
 
 X 
 
 ~ter 
 
 — "^a 
 
 I 
 
 J_1_L__I_ 
 
 J^il^S: 
 
 f 
 
 -***=* 
 
 3se 
 
 5^ 
 
 HE 
 
 P 
 
 a 3 
 
 1 I T 
 
 3 J i 
 
 j» 
 
 £ 
 
 m 
 
 BC 
 
 ( 
 
 -#- 
 
 :»: 
 
 TEH. 
 X 3 
 
 -fit: 
 
 TEN. 
 
 4 
 
 "9 — HI — *1 I 
 
 ^ 
 
 j v 
 
 r«= 
 
 y? r * r 
 
 X 
 
 :»~T 
 
 gins 
 
 -#■ 
 
 f 
 
 I 
 
 f: 
 
 j J 
 
 ucia: 
 
 
 JL_1 
 
 *-£: 
 
 h#— i *- 
 
 "*, 
 
 X 
 
 -#- 
 
 1 
 
 S^ 
 
 i ' 
 
 i i 
 
 Lj f I * 
 
 c£: 
 
 t 
 
 12 3 1 
 
 ft ,1 
 
 fe£ 
 
 
 S , i * 
 
 a 
 
 4 
 
 f=ff=F^ 
 
 FES 
 
 S£S 
 
 tS 1 - 
 
 FB 
 
 r 
 
 i j i i 
 
 4 2,1 
 
 ■J— L « 
 
 QiSC 
 
 £ 
 
 S 
 
 S: 
 
 t# 
 
 ft f ? f I Y t 
 
 ss 
 
 i g 
 
 ±_U 
 
 1 T A 
 
 y 1 1 
 
 £ 
 
 J* 1 
 
 i I i 
 
 £ 
 
 «i" 
 
 g 
 
 t: 
 
 ?£EE 
 
 iM 
 
 Jgg=^E 
 
 i — ^~r 
 
 PFP 
 
 £: 
 
 JS-: 
 
 £ 
 
 ~i — i — r 
 
 -pT" 
 
 i r 
 
 l 
 
 :a: 
 
 =T 
 
 :r-t^z 
 
 "i — r 
 
48 
 
 LESSON XXI. 
 
 *£f 
 
 r#-* — a , B 
 
 ftft fl ']'■]• J pTTt 
 
 I m — J — * — * — r — ! r— r 
 
 sliPPI 
 
 i r „ I _^> is, 
 
 m^M 
 
 &m£g 
 
 
 . * t 
 
 A* 
 
 *£:** 
 
 f _:r; • .,. x 
 
 5E 
 
 «zt 
 
 - c-r-f 
 
 m=E 
 
 r 
 
 :cnD 
 
 1 * x 3 
 
 iz* 
 
 'r-r-p-*r 
 
 it^rzrz 
 
 
 i — r 
 
 m- X 
 
 r f ji 
 
 TI T 
 
 8 » * 
 
 1* r r VStr"^ - 
 
 ^ ~»~ff~ rj^r j— I— r~ P--jr 
 
 
 "i — 
 
 ^523 
 
 'I — I — 3" 
 
 S 
 
 !&* 
 
 fflSI 
 
 » 
 
 i=* 
 
 ^Efe 
 
 ■WALTZ 
 MOVEMENT. 
 
49 
 
 STUDY V. 
 
 FOR CROSSING 
 THE HANDS. 
 
 Mfc* 
 
 Allegretto, 
 
 * ~£~a~T~j — i — ! — 5 — H — ex 
 
 J- z 4 
 
 a 
 
 •fre- 
 
 :1 
 
 -fzzz±z±\ 
 
 ~#~3~ ■ 
 
 sm^mi^m 
 
 T~, 
 
 m 
 
 3 
 
 (i) 
 
 c^: 
 
 -J-3 * -^3 * 
 
 =3PCiP 
 
 ^A" 
 
 £5 
 
 xzzz: 
 
 *G 
 
 
 id: 
 
 m 
 
 m 
 
 w 
 
 & 
 
 nx 
 
 J L 
 
 ^ 
 
 £ 
 
 Z~r 
 
 igzn'ihtr^iH'nzT 
 
 X 
 
 r§fj^-F|? -^-F 
 
 (1) Play the 
 left-hand notes 
 slightly staccato, 
 and be careful 
 not to derange 
 the position of 
 the right hand. 
 
 
 lJZjM 
 
 1PTT 
 
 £«3 
 
 r± 
 
 -ft 
 
 V 
 
 p 
 
 s 
 
 3 xrif czaKCl IZzE 
 Jit* rr -i.i 
 
 "i — 
 
 p » 
 
 -i i— " 
 
 lizzzizzcz 
 
 -4 
 
 I 
 
 ZJ. 
 
 m 
 
 •a- 
 
 "r~r~i — i — 
 
 :?:x:^:»5i 
 
 tsfc -^-v-s -fs-** 
 
 1^1 L EC 
 
 H»r :zr: 
 
 zxzzfc 
 
 i — r 
 
 s 
 
 aSF 
 
 
 i 
 
 at 
 
 X 
 
 
 tfcfcSzdrzzzrmdzcz^izzz:^: 
 
 * X X X X X x 1 x -* -' 
 
 % 
 
 §=•== 
 
 s= 
 
 13 
 
 ::t£ 
 
 :3zz# 
 
 
 P -t i- 2L <~ -i f-vZ: 
 
 :~xzxz(g|^— zizxz^pg 
 
 IT 
 9 
 
 — - — >w- 
 
 ISI 
 
 M 
 
 iz^- 1 
 
 3^ 
 

 
 Hfc* 
 
 rt=s 
 
 push 
 
 3E3 
 
 3 
 
 SI 
 
 ip 
 
 S 
 
 I- 
 
 ^R^ 
 
 X 
 
 ^ 
 
 ,--*-!-* 
 
 8 
 
 'f^ 
 
 ^ 
 
 I JIZDZZZC: ^ 
 
 iS 
 
 £ 
 
 f*»— or 
 
 3S 
 
 f*£EEE§ 
 
 in 
 
 LESSON XXII. 
 
 SCALE 
 Ilf B. 
 
 t#z* 
 
 rt 
 
 *£=£ 
 
 ^ 
 
 tfr* * * 
 
 ■£ 
 
 3 _- 
 
 #v»j Ffrjji 
 
 epg 
 
 ^eq3?± 
 
 I r w a 
 
 0-m-i 
 
 3 
 
 x~^~jp~ f~r"r-g — ri — -i^r~ — ^ 
 
 p_j — ( ! U^ 1 — ^^— 
 
 r- 
 
 :izrn 
 
 £ 
 
 -*z£ 
 
 =-=w^ r4-g-P-F 
 
 i — i — r 
 
 ~9o~rzzJ^^—ZZ. 
 
 •| — i — r 
 
 2 
 
 <* 3 m 0~P~ 
 
 i 
 
 -#- 
 
 « 
 
 t 
 
 igg£ 
 
 Zr~r-\ r-^zZZ ^^SiJZ 
 
 
 W 
 
 £±ac£ 
 
 i*EE£ 
 
 f 
 
 j-r-pH 
 
 J U#-*£ 
 
 O 
 
 l ' _. i m /m 
 
 nzzzz^zziiJZZTZzr: 
 
 f=Wl^lv=il 
 
 J I r~r 
 
 
 
 tzi-^Pzvziil 
 
 &$$=£ 
 
 
 r 
 
 :-F 
 
 s 
 
 1 x 
 
 fry qj : . P f rf rfftTjl c r f > 
 
 
 
 * « « ~*~ 9. m 3 
 
 :*ie 
 
 1 — r— 
 
 £ 
 
 X 1 X 
 
 2*4 
 
 i — i — r 
 
 f^ 
 
 j i r 
 
 " L ii f 
 
 L T~ 
 
 ^ 
 
 *E»2 
 
 3*3 
 
 :rnzz 
 
 S^fFf?^ 
 
 f^=^£d 
 
Appoggiatura. 
 
 51 
 
 EFFECT 
 
 =P 
 
 1 
 
 Appoggiatura ; an Ital 
 ian word, which signifies 
 to support. 
 Appoggiatura, or Grace Nott 
 
 Lento. 
 
 f *%tgr 
 
 
 0) 
 
 fP= 
 
 X 
 
 ti 
 
 55 
 
 -ett 
 
 I-* 
 
 5 
 
 ±- 
 
 
 s 
 
 Jt-IK. 
 
 Han 
 
 
 5Q 
 
 X 
 -»- -»- 
 
 j — r _ 
 
 \ 
 
 ± 
 
 (1) When a small line is 
 drawn across the appog- 
 
 giatura,T it should be exe- 
 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 
 be unaccented. 
 
 The portamento differs 
 from the appoggiatura, in- 
 asmuch as it always com- 
 mences on a more distant 
 interval. 
 
 fL 
 
 ff n W lA 'r F|f d 
 
 £ 
 
 T~ 
 
 igW 
 
 t 
 
 zn^\ 
 
 fa 
 
 In the portamento, the 
 small note always forms 
 part of the chord which 
 accoinpar.^.-s t'.ie note it- 
 self. 
 
 
 :*E 
 
 i^$ 
 
 =^~n 
 
 
 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 
 
 See5 : 
 
 (i) 
 
 3£ 
 
 « 
 
 BE 
 
 s 
 
 t 
 
 ^ : 
 
 ztz 
 
 -H 8 — "- 
 
 % 
 
 ■p-^- 
 
 :ti: 
 
 -p— ^ 
 
 i 
 
 3 
 
 1 
 3 
 
 5' 
 
 ±^E% 
 
 ~=v 
 
 i 
 
 i 
 
 3 
 
 '-=£ 
 
 
 S: 
 
 =rzT=z3 
 
 f==: 
 
 H#- 
 
 EFFECT. 
 
 1 "^ 
 
 3==! fff 
 
 r# 
 
 *_i_i. 
 
 f 
 
 gfeffiSSl 
 
 f. 
 
 f. 
 
 :]Z:±:ZSLZ:± 
 
 "»= 
 
 ^|J=l3 
 
 
 
 S===i : 
 
 -=1- 
 
 '-V- 
 
 
 £3 
 
 ^rz-__.=zr 
 
 uzie: 
 
 3=E 
 
 ^ 
 
 fi» '1 I? 
 
 -=7| L — ^p- 
 
 T 
 
 3 
 
 3ZEI 
 
 3: 
 
 ~T 
 
 zr 
 
 ■Ka * 
 
 Zi 
 
 3r~# 
 
 4P- ' ~' 
 
 i 
 
 3 
 
 ^ 
 
 ** 
 
 A 
 
 •S* 
 
 x 
 
 ZBZg: 
 
 
 ft— M-f-^-i 
 
 M 
 
 #: 
 
 -ST 
 
 II 
 
 zz^WLzl 
 
 i 
 
 * 
 
 _zcf: 
 
 — *- 
 
 ft 
 
 sr 
 
 zzxQK 
 
 4 
 
 J 
 
 "X" 
 
 s 
 
 1 «i!L3" 
 
 3 
 
 Fine. 
 
 1—r- 
 
 
 nS: 
 
 :3E|: 
 
 — r 
 
 
 X 
 
 ? 
 
 
 
 3 
 
 d: 
 
 x 
 
 i 
 
 4 
 
 I 
 i 
 
 3 
 
 1 
 
 -X#- 
 
 £=3: 
 
 ;ft |#fefe 
 
 zrS 
 
 B 
 
 1 
 
 :#feife 
 
 t 
 
 I 
 
 3 
 
 1 
 
 1 
 
 X 
 
 
 3 
 
 a 
 
 p-c 
 
 :int: 
 
 4 3 
 
 X X 
 
 3 1_. 4J 
 
 ip-j^P 
 
 T 
 
 cze: 
 
 ~t 
 
 BE 
 
 ± 
 
 •*-g 
 
 4 4 
 
 1 1 
 
 x . X 
 .i_JL 11 
 
 -xg-g-flg- 
 
 I 
 
 eye 
 
 i r 
 
 fe 
 
 
 1 
 X 
 
 zznsc 
 
 
 3 
 
 S^feiffefe 
 
 zcz-'i — r 
 
 ** 
 
 3 4 
 
 3 
 X 
 
 4 
 I 
 
 4 
 
 1 
 
 SfeBBS 
 
 Jtti^i-sfr-^P-g- 
 
 :t 
 
 & a 
 
 -r=r 
 
 "rt 
 
 -jm 
 
 m 
 
 t 
 
 tp-~rf?-~ 
 
 ZZZ3L 
 
 3Z3I 
 
 44 
 
 s 
 
 Z3ZZIZ3ZZ] 
 
 S 
 
 TZ.TZJ 
 
 4JL aJLa : 
 
 ^E 3 : 
 
 fc- 
 
 3 
 X 
 
 1 J 1 ! 4 
 
 :z::a_zD 
 
 tfm-^+p- 
 
 ZEgzzi 
 
 ~r 
 
 3 
 
 1 
 -X_ 
 
 znaznzs: 
 
 ■yr* 
 
 E2S3. 
 
 :#' 
 
 s 
 
 *_-=l 
 
 Id, 
 
 '3. 
 
 3E 
 
 ^ 
 
 ^ D.C 
 
 3.1 
 
 3 1 
 
 LESSON XXIII. 
 
 SCALE 
 
 
 
 izz£ 
 
 H F#? 
 
 ' ■ »Fr 1 .1 1:1 
 
 •mwr 
 
 3 
 
 "i r 
 
 p ^-. i rni^r 
 
 rr-f fF? — t TT^ Fff " 
 
 □ — rrrf «n^j »ri t „ 
 
53 
 
 ( 
 
 ) 
 
 js&m 
 
 2 3 
 
 
 'J«S^^^ 
 
 
 SCALK 
 Hi F#. 
 
 
 3 4 3 4 3 4 3 
 
 iTH--z& 
 
 'r-f— r~l — T"r"" r " ! — n nn — — 7T 
 
 T-r;ri— rrg T — rrn — 
 
 
 fe^S 
 
 3*3 
 
 ^^fe 
 
 
 tEfifetasatz 
 
 ti i rr~ 
 
 r rrr 
 
 
 
 t=m 
 
 us-mfc 
 
 W^IWJ'.ZM^.'M. 
 
 i 
 
 □EhEf 
 
 3 
 
 3 
 
 3 
 
 Moderato. 
 
 MINTET, 
 
 
 ! 
 
 _zr__fczc 
 
 r#&#= 
 
 TRIO. „ 
 
 X 
 
 ^S?: 
 
 ^3EB= 
 
 Abbreviation of 
 tbe Italian word 
 fortissimo, (very 
 loud.) 
 
 (2) ;>;> 
 
 Abbreviation of 
 tbe word pianissi- 
 mo, (very soft.) 
 
 (3) t# 
 
 This sign con- 
 tradicts the double 
 sharp, and restore* 
 the single sharp. 
 
 -rf-rv - 
 
 -f 
 
 T-T 
 
 -X. 
 
 i — r 
 
 3?: 
 
 1 r 
 
 4 
 
 ~i r 
 
 (zr 
 
 
 HP 
 
 i* 3 
 
 r-i— r 
 
 T~~r i i r 
 
 rrrrri 
 
 B 
 
 / 
 
 t~t~t 
 
 Kfe 
 
 ■#g- 
 
 rf=t 
 
 ■■I — 
 
 *g- 
 
 
 *T 
 
 -#« 
 
 1§> 
 
 £ 
 
 BE 
 
 £ 
 
 T~ 
 
 ±= 
 
 1 — r 
 
 "i — r 
 
 T=~T 
 
 4 4 
 
54 
 
 STUDY VII. 
 
 ( 1) Exercise 
 preparatory to the 
 
 itudy of the trill. 
 
 t* K» * 
 
 w*?rri*yfi*i tetftt 
 
 ^«. 
 
 i 
 
 -0- 
 
 •^r»=^: 
 
 -r — I — ' — i — rrn — r ~~ ri — rrri 
 
 £ 
 
 rfyfyfyfyfyO-A-g-o-g- 
 
 n-rrj rjirj rr-p-f-jy- 
 ■^f-r ^pyi i i I It rT^T^r 
 
 -F- 
 
 :=E=z:^ 
 
 :#r-C 
 
 '■ " j> i> w — S _ _ 3— _. S — S 3 — S 2 — I 
 
 ¥ 
 
 
 * 
 
 & 
 
 ) 
 
 l: ?iJ!j3395 
 
 'EE3^M^I£* 
 
 2 
 
 is£ 
 
 2 
 4 
 
 
 ?=> 
 
 : 
 
 4 
 -S>™ 
 
 is: 
 
 £ 
 
 -w- 
 
■fc-J 
 
 1 X 
 
 'd&iJ^UUEB 
 
 'w+~ » f * f -m-f-wrf- m f i * « ir 
 
 r-i i — i — ■— -| ' i L^«L^| — L~ f^f 
 
56 
 
 LESSON XXIV. 
 
 SCALE IX C# 
 
 
 r#:*i 
 
 * 
 
 i — «r*- 
 
 X 
 
 1 
 
 
 Wii-an- 
 
 **££ 
 
 
 ___ ^_^ #— rj — I"' 
 
 i»i?z_rx: 
 
 g&f|P 
 
 
 -ft- 
 
 
 3 
 
 ~f 
 
 Srj 
 
 
 ..^_ 
 
 — :=: 
 
 l§*5=i=i§=§l 
 
 ffl^t 
 
 Hills 
 
 ■ 
 
 ^tf 
 
 5 
 
 *3 
 
 * -#. 
 
 i£ 
 
 rf„# 
 
 s 
 
 -4 
 
 -dl 
 
 1=}- 
 
 13. 
 
 
 gE^ 
 
 K 
 
 -& 
 
 ■zzrj: 
 
 ^ 
 
 :izj: 
 
 £ 
 
 f-f- » m 
 
 -<s>- 
 
 ZZ22: 
 
 tfcfe # -i U--U 
 
 :?zir-*e={ 
 
 i 
 
 g&UrfTIl 
 
 V — 9T* 
 X 
 
 2 
 
 #- 
 
 rr _ 
 
 TTJ — 
 
 rfS 
 
 
 ±±±rzrrizt: 
 
 S£ 
 
 ^H 
 
 X 1 X 
 
 firf£? 
 
 
 -— -»— 
 
 
 y^ 
 
 & 
 
 ~~i: 
 
 •Ti"3'r' 
 
 2 ! 2 
 
 s 
 
 <-—&- 
 
 ^?S 
 
 T~1 — rrrr 
 
 I2?_ 
 
 
 
 
 • ^ f » 
 
 rH? 
 
 ■m X- 
 
 1327 
 
 r nri — -— — 
 rrn 
 
 m 
 
 rrn rrrn 
 
 rrrr 
 
 — — i — * — i — — rrri — ' — 
 
 JL 
 
 =£#■ 
 
 I#5 
 
 5P 
 
 
 m 
 
 '~a:~r 
 
 rf*p5JgZ??i? : 
 
 irfP 
 
 
 2 
 
 art 
 
 rn 
 
 r 
 
 T~1 
 
 s 
 
 £ 
 
 nriic 
 
 2S 
 
 ■rrn — rrrr 
 Trri — rrn 
 
 f 
 
 -F FP r-Ff 
 
 rrjr— - rrn 
 
 >-« — «- 
 
 TTT 
 
 ^,- 
 
 y-rx 
 
 r r r~i — i~rr r~ 
 
 — tor 
 
 EJ 
 
 a X l 1 X . 
 
 -a 
 
 : -r- 
 
 -<5>- 
 
 1 
 
 2 „ 2 l 2 
 
 X -■ ft 
 
 rrrr-rrrr- 
 
STUDY VIII. 
 
 Lento, 
 
 r**r«r^ 
 
 (1) LEGATO. 
 
 — 2 
 
 ^BS^^Et^. 
 
 T~ r 
 
 4 
 -US- 
 
 f-t-r-tf-** 
 
 ^ 
 
 te 
 
 ft± 
 
 — a 
 
 w££ 
 
 **£? 
 
 fe~ 
 
 6? 
 
 (1) Leg.; 
 abbrevia'ion 
 of the Italun 
 word Le^alt, 
 
 signifying 
 smooth. It ia 
 the reverse at 
 Staccato. 
 
 — rrr □ — r~r rr r-r~ 
 
 'rr"rn — i— r~r r-r |— 
 
 r-y-r— r~r-i — r~r~ r~r r-r~ 
 
 - r^-i — i — r^ 
 
 r'rr^T^-rt — ^r-rrr l — 
 
 3I"3Xr2 
 
 4 1X1X1 
 
 "-8-^: ff i:-^f-r-^-r-r-r-r-r-r -|— — 
 
 «sSt^=ei 
 
 :« 
 
 *±g 
 
 JS-=- 
 
 ffint: 
 
 fffffp fe T 
 
 m 
 
 " r ^ r 
 
 tfcc 
 
 ;^ef 
 
 
 NT rf — # f » Pir". — ! i — 
 
 st 
 
 £21 
 
 Atf£.- 
 
 j rr f *. 
 
 — ^3" 
 
 
 topE± 
 
 
 (2) Rah.., 
 abbreviation 
 of the Italiat 
 word Rallen 
 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. 
 
 i(»~~3a 
 
 
 (3) 
 
 g 
 
 1®- 
 
 2==^ 
 
 ^EEB*E 
 
 -KG)' — -*.-&- 
 
 -V- 
 
 ~3T5£~ 
 
 3$fflr 
 
 "x* — 
 
 :=^=zzi>2t=H 
 
 "ST 
 
 W 
 
 d==^4 
 
 3 | 
 
 HTM: 
 
 ~J7Jff~ 
 
 ~zz£*zi: 
 
 28E 
 
 'TT 
 X 
 
 "2" 
 X 
 
 "I — 
 
 ElfF: 
 
 T^- 
 
 93- -"5 
 
 (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 
 
 =± 
 
 rz r 
 
 1M — H-fif 
 
 b-^ 
 
 trot 
 
 ^=3 
 
 r r 
 
 ^ 
 
 3£ 
 
 -« 
 
 32C 
 
 JSgl 
 
 -G»V 
 
 -o- 
 1 
 
 X 
 
 ZSTL 
 
 4 
 
 U i 
 
 5SS8^: 
 
 ~sr~ 
 
 =#4 
 
 "23"" 
 
 "•=*- 
 
 3 
 
 3q - 
 
 4—^ 
 
 :ez: 
 
 s 
 
 3?" 
 
 -S>- 
 
ARPEGGIOS, or BROKEN CHORDS, 
 
 FOR BOTH HANDS. 
 
 IHTII 
 
 (1) Arpeggi * 
 (or broken chord;; 
 should be consi i 
 ered as choni. 
 and fingered &- 
 cordingly. 
 
 \ 
 
 < 
 
 ~SElZZZZJ3L 
 
 ^±z±:gz-z 
 
 **3t 
 
 ~ST 
 
 I 
 
 (2) 
 
 s% 
 
 x 
 
 J5: 
 
 x 
 
 -3& 
 
 -S* 
 
 it 
 
 «?: 
 
 ib 
 
 55F 
 
 f= 
 
 3 
 
 +1. 
 
 3 1 
 
 SI 
 
 — bf© — 
 
 * 
 
 83: 
 
 lTPST - 
 
 P ca 
 
 r_fe:: 
 
 X ^ 
 
 -X_ 
 
 -3-1 
 
 ^F 
 
 (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. 
 
 { 
 
 -#-«F 
 
 sr 
 
 g: 
 
 S- 
 
 -**-«i 
 
 "sr 
 
 IS 
 
 jDd 
 
 :s£: 
 
 £ 
 
 JLL 
 
 
 is: 
 
 x 
 
 s* - : 
 
 ^ 
 
 "2?" 
 
 -*»- 
 
 
 :i£gp: 
 
 :~:s 
 
 i — 
 
 x£a=z 
 
 F^ 
 
 ifc 
 
 3= 
 
 X 
 
 
 X 
 
 T5f 
 
G2 
 
 (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. 
 
 ill 
 
 gfe^lf 
 
 bs±3e^§ 
 
 -jrf-; — Jr 
 
 - 1 
 
 a 
 
 ® 
 
 a 
 
 A 
 
 ^S 
 
 \zt- 
 
 £ 
 
 * 1 J 
 
 a: 
 
 - ■jf u.I*f 
 
 :r 
 
 gte 
 
 f^zr^ 
 
 
 ^f 
 
 3 -|»-p- 
 
 .»t-E- 
 
 igg 
 
 
 **£ 
 
 TfH-ffl 
 
 Practise well 
 the same exercise 
 in simultaneous 
 chords, by trans- 
 posing them into 
 all the keys. 
 
 w0m 
 
 FE^EB=-£tEEE: 
 
 All common 
 chords are finger- 
 ed in the same 
 wanner in all the 
 zeys. 
 
 K.ght Hand. 
 
 -i.^:. 
 
 -&■ 
 
 Left Hand. 
 
 3E 
 
 "XK 
 
 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 
 
 ^il& 
 
 Count three crotchets in a measure. 
 
 Legato. 
 
 KEY OP G. 
 
 bfi 
 
 f-0 1 
 
 4 
 2 - 2 
 
 0~0 
 
 
 
 # 
 
HKT of O. 
 
 #-3- — -•» 
 zztezjzf 
 
 
 %--8- 
 
 2 _- rz- 2 
 
 5 ~ FT i f f ~f 
 
 0-1 1 I ; w 
 
 IF 
 
 "ST" 
 
 ^E££* 
 
 i-« ; ".( — ! — 1 — r m l 
 
 r ' ' ' i i r 
 
 r zxzizszr 
 
 I — I F~ 
 
 •itrrrt-** 
 
 ea 
 
 E£*V 
 
 zfczizu 
 
 2Z 
 
 KEY of A. 
 
 fcfc= 
 
 til • 
 
 -F^EEE 
 
 sjl*=5 
 
 3=4: 
 
 ^F^F 
 
 -s— 
 
 r ^t- 
 
 --*-»• 
 
 -r~r— r~ r~ r-y-* 
 
 -s- 
 
 x - x 
 
 ?=FR 
 
 -S-- 
 
 -X- 
 
 T~#T 
 
 ^ W- ^ 
 
 -»'- • 
 
 "i — r 
 
 +- ' *]»i 
 
 •^ 
 
 -•-X- 
 
 ■^v 
 
 12 4 2 
 
 X 1 2 1 
 
 HE5?* 
 
 *a**£ 
 
 ^ l ^l * x 2 2 
 
 4 2 
 KKT of B or c[> 
 
 2 » 2 
 
 isggllg 
 
 
 X~*T± 
 
 
 X •_ X 
 
 i_» r *♦ jl 
 
 -ZEzllttr 
 
 2 # 2 
 
 X » TZ » x 
 
 3 . » :rz:cZCi«_L 
 
 "i r 
 
 i r 
 
 EZZIZI 
 
 ixztzt 
 
 „-_K 
 
 "O" 
 
 KEY of F# or «b- ^^^R 
 
 '■$%£'- 
 
 z_:sz3Ziz 
 i-— * *x< 
 
 or'. 
 
 X 3. # . 3 
 
 m 1 — i — 
 
 "i — i — r 
 
 _ ( __ # _ 
 
 
 3 — • 
 
 2 1X1 
 
 ■sF 
 
 ) 
 
 KEY of C# or Db- 2^ , 2 I*" 2 j 
 
 d&gtfcf 
 
 *^=S 
 
 ^x~? x S? X? 
 
 -X-*--j 
 
 T~T~"r* * 
 
 _J » 
 
 ^3 
 
 4 
 
 2 - 2 
 
 1 .#J*Z». 1 
 
 x-»--FFt--#-x 
 
 2 # i — i — i — r-T ~-» 8 „ 
 
 "#-i — i i i i — tsrr-m-*- 
 
 #-L^?3zazxz 
 
 f'l — I — I — *- 
 - »~l I I "I I — V 
 
 fi^H-FFFrF 
 
 «*T* 
 
 Sa 
 
 8 2 
 
 4 
 
 xr l * 
 
 • Same fingering in both Keys. 
 
-«-p-r=» — 2 - 
 
 Wr 
 
 
 KEV Of 1*1) or A#. 1 #_ 
 
 1 »-f-« 
 
 S x 1 ^^ 13 4 3 ^ 
 
 x i 3 i r , — 1— ,^ 
 
 — r 
 
 sjjfEfix 
 
 — I : 
 
 5E 
 
 2 #_~r~ # -» 
 l-FT-r-rhi.- f» 1 
 
 "2?" 
 
 5Elr£f 
 
 
 
 £ 
 
 KEY of Et) or D# 
 
 Count four in a measure, 
 
 12-42 
 
 12 4 2 
 
 1 
 
 Same fingering in both Keys 
 
( 
 
 1 ^ I *3 » 3 3 
 
 KEY of C#. 
 
 W^W : 
 
 * Same fingering in both Keys. 
 
* rffff-M 
 
 EXERCISES ON THE CHORD OF THE 7th, 
 
 
 Fingering of the Chord 
 struck simultaneously. EXERCISES. 
 
 IN ALL ITS POSITIONS. 
 
 3 
 
 r 
 
 i. ii. 3 
 
 &S+ 
 
 X O I 
 
 -H-X-ilf-f 1 -" 
 
 (1)-'- 
 
 3 X-^'P-'F fV 3 
 
 • r~ "r _ T^*"*r" "i~ r~ r r ~ __ 
 
 Fingering of 
 the Chord. 
 
 
 T 
 
 3 - ^~ 
 
 =S 
 
 nP 
 
 -X-#- 
 
 ^z- 
 
 
 :«z~iu: 
 
 x ~?-;g: 
 
 '-&%> 
 
 s»g=~ : 
 
 r-i: 
 
 
 (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 
 
 
 _J_r "_A^ 
 
 ST 
 
 X 
 
 
 -&- 
 
 
 , 3 ff~ +fj 
 
 ft 1 
 
 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 _ 
 
 "TIT 21 
 
 — mS ; q 5 
 
 
 Lento. 
 
 ^rJ&=c 
 
 X 
 
 § 
 
 r-fe 
 
 ^ 
 
 8 
 
 rr 
 
 *Eizp: 
 
 ^epsi 
 
 s*- 
 
 s^ 
 
 f: 
 
 
 ^ 
 
 4 
 
 
 ¥ 
 
 :gi 
 
 "i" 
 
 jEC 
 
 EB5S 
 
 ^ 
 
 -<S>- 
 
 EXERCISES IN ALL THE KEYS. 
 
 4 
 
 2 
 
 •OWTINTJATION 
 OP 
 
 EXERCISES 
 OK THE CHORD 
 
 OF THE 7tli. 
 
 r# 
 
 _x_ # W _:pi; : > 
 
 fel 
 
 S^g=E^^=^?E=g^ 
 
 
 i± ■ 
 
 x 
 
 e=:=-z-^i:fctc 
 
 ^ *_ ^ 
 
 frf &» * * &£ =&=i 
 
 u^ , 2 • *F"1 — — r "i — (-#■# 
 
 nnzwi 
 
 tit 
 
 
 V 4 -"FT— ' 
 
 -* — r Pg=-n 
 
 »~r r- r^agT— — 
 
 I — |»" - x 
 
 K^3 
 
 ^ 
 
 i 
 
 S£ 
 
 wm 
 
 4 X • ftfc 
 
 1 ■ f QJ-. 
 
 H=v 
 
 & 
 
 tt 
 
 :*=±3: 
 
 XZaC 
 
 ^3 
 
 :.*- 
 
 :«:fc 
 
 4 X ftf"^ T*-# X 4 
 
 i-^^r ^?__ 
 
 ££ 
 
 ^L 
 
 ^*E=&:£ 
 
 x * #-r L: p £•* * x 
 
 ^P 
 
(1) When a 
 chord consists 
 of fire or six 
 notes, two mar 
 be played with 
 the thumb. 
 
70 
 
 Allegro. 
 
 EXERCISES IN ARPEGGIOS, 
 
 FOR BOTH HANDS, ALTERNATELY, 
 MODULATING BY THE COMMON CHORD MINOR. 
 
 ssiiS: 
 
 C MINOR. 
 
 m 
 
 2: 
 
 :.r-gv 
 
 pm 
 
 XZMZ 
 
 £§§ 
 
 3 
 
 3E"£ES£Eg| 
 
 X 
 
 ^r 
 
 <i MINOR. 
 
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 , r Id — ^j i f^ 
 
 : ^ 
 
 ^ 
 
 «* r 
 
 ^?g^ng 
 
 D MWOB. 
 
 F=^P^ 
 
 ^ 
 
 "'offtfo 
 
 ^ 
 
 A MINOR. 
 
 S5rx- fl 
 
 ^ 
 
 3?T 
 
 !=?-• 
 
 T3 
 
 
 x 
 
 ?* 
 
 g: 
 
 £: 
 
 3 
 
 3E 
 
 h^^* 
 
 K MINOR. 
 
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 •^ a x 
 
 £ 
 
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 a* 1 1 
 
 
£: 
 
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 2 ^ T" - 2 
 
 <- »frTp g. 
 
 s 
 
 ±*b* 
 
 
 i - 1 - i 
 xu,. £: fcfc#. x 
 
 Wt 3&± 
 
 c*r 
 
 V 
 
 £ 
 
 £ 
 
 5 
 
 C MINOR. 
 
 
 
 a ^ 
 
 EXERCISES 
 
 IN 
 ARPEGGIOS. 
 
 Allegro. 
 
 — »- 
 
 t~! — i — r 
 
 ■-«- 
 
 -e-, 
 
 x r ,-[ 
 
 fcfc£_! 
 
 gfe^g 
 
 p* 
 
 Practise the same exercise transposed into C#, 
 and C b , with the same fingering. 
 
 xzc 
 
 T=I=C 
 
 -f— I— r 
 
 -*-< » r » • 
 
 \ ~>»5^ "TO — i — i — 9 — r^52 2 
 
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 H-H-; 
 
 p! 1 I f^ ir 
 
 i i i i i r 
 
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 rs 
 
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 ff± 
 
 • 
 
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 S^i 
 
 * * 1 1*1 1 
 
 13 4 3 
 
 r~r»" 
 
 • 
 1 — I i I £ F I 
 
 SEzra 
 
 ~T* y »" I m 9 — l "* #" 
 
 JE x - m - f — p- | , 1 9 ■ -; 
 
 4 2 13 
 
 4_3EZZz: 
 
 8 1X12 
 
 f>" 
 
 4 a i a 
 
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 
 
n 
 
 < 
 
 ^I^zfzv 
 
 
74 
 
 EXERCISES IN ARPEGGIOS, 
 
 WITH SMALL NOTES. 
 
 Moderate 
 
 ! 
 
 ?-i ?Pf jT* jpf - rf £ iffff t rf Ej?Pf P * - j jf^ fef? fe n 
 
 e 
 
 ~ r a ^n — 4 7r i iTfrl — 4 "rt~r 
 
 fclf 
 
 SSI 
 
 rn rrr 
 
 Pfoy the small notes together. 
 
 i — . — . »_j — | — fa r — i 
 
 '& 
 
 = s= 
 
 ffl 
 
 fe 
 
 W> rf£ 
 
 
 ni^ 
 
 
 •t 
 
 fe 
 
 ^EEE^EEpEEgE 
 
 3 
 
 -fC^ fr 
 
 BffigE£E^ir.i3 
 
 izflpt 
 
 7£ 
 
 i — r 
 
 i«E 
 
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 £=*=££ 
 
 
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 w 
 
 ±3C 
 
 LJ -U 
 
 qz 
 
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 *w { - m i #t saj r ■ 
 
 T ^rT"^?^^ ' j. 
 
 _^|fir_JL_4j>Lrf4__ 
 
 u: 
 
 j i i r 
 
 <s- 
 
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 ±na 
 
 r 
 
 E 
 
 c ^ 
 
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 74"^ 
 
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 3fy^£H^-i 
 
 Zlrll ' f ?TTT f 
 
 W 
 
 m^^ 
 
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 ^S3z&!EEEES 
 
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 
 
 vva. 
 
 B M1SOH. 
 
 >lf 
 
 8va. 
 
 # 
 
 t 
 
 O MAJOR. 
 
 t# 
 
 -?-4- 
 
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 : -s-->~ 
 
 ^ * 
 
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 33^ 
 
 x_ 
 
 
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 tat 
 
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 S3— <S>- 
 SJ~ S> — £3" 
 
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7* 
 
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80 
 
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 81 
 
 1 x 
 
 a 
 
82 
 
 x 8ta | ,,„„, 
 
 
 
 A" 
 
sa 
 
 CHROMATIC SCALE. 
 
 (1) x a - 
 
 fee — | — M—F T 1 ?t8 ff ^^T ^ TT ^^ ^T t 1 .J.3=f= = 
 
 W x 3 x 2 — — — 
 
 (1) Tim most 
 
 usual and best fin- 
 gering, because it 
 is uniform, and is 
 calculated to g ; ve 
 equal force to each 
 finger. 
 
 X 3 x 2 
 
 £ bp- £ ^ J » » 
 
 'i ' i f 
 
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 -p 
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 32ZZI 
 
 (2) This mode 
 of fingering may 
 be employed in 
 a moderate more- 
 ment. 
 
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 
 
 _=czr-rz:Pz*-iZ#;*i5ir 
 
 " F - P" 
 
 ^ * 1 • £ • - * >\ 
 
 Legato. 
 
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 KEY OF A I) 
 
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 S£* 
 
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 rtl 
 
 4 
 
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85 
 
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 i i r 
 
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 T^S^-l— I I — l — r~i — f— i — r-\— 
 
 ^S^s^ 
 
 KEY OF Gb- 
 
 X 
 
 
 4 
 
 X v 
 
 'i i i n~f— i — n r~H P rg 
 
 8»a. 
 
 ffi^ 
 
 
 
 4 
 
 »'" r C f f r ;; Jl ? 1ffflTg- 
 
 — i — pi — r r^Ti~3~< * n r~i ' "" ^ 
 
 — ■■-■ T tJ — • — MP. 
 
 III. x ' 
 
 r#~r n — r~r-ri y-|*~' — r~|—M — rr* - 
 
 KEY OF i<:b. 
 
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 Lento 
 
 Lento. 
 
8€ 
 
 MELODY FOR FOUR HANDS 
 
 SECONDO. 
 
 Allegro. 
 
 £: 
 
 £=£ 
 
 * 
 
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 £: 
 
 f-f 
 
 B 
 
 5 
 
 No. 5. 
 
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MELODY FOR FOUR HANDS. 
 
 No. 5. 
 
 PRIMO. 
 
 Allegro. 
 
 W u - A 
 
 A trz 
 
 ±. r^ +■ ^ * 
 
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 ix: 
 
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 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— "- 
 
 
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 a 
 
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 «« 
 
 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 
 
 
 -^w ■-»- 
 
 EEE 
 
 3EI JD 
 
 HEE3 
 
 
 4 
 
 x 
 
 -0- 
 -»- 
 
 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-. 
 
 *j: 
 
 m 
 
 *: 
 
 y p - 
 
 ill 
 
 J3C 
 
 r^_ 
 
 #^ 
 
 » r-».-../;,- w lfc 
 
 *£ 
 
 H 
 
 a 
 
 c? J a Jt 
 
 \ 
 
 p 
 
 3—EE 
 
 r 
 
 s 
 
 x 
 
 3 
 
 5 
 
 X 
 
 4 
 
 X 
 4 
 
 X 
 
 4 
 
 1 
 
 'H 
 
 5=5 
 
 *zn-a 
 
 @ 
 
 :zxz 
 
 izc 
 
 i 
 
 4 
 
 31 
 
 E 
 
 » » ' » 
 
 ^ rzzt 
 
 4 
 I 
 
 if- t 
 
 SB 
 
 "i — i r~\ "T . 
 
 **■ k*" '^> 
 
 — » »- 
 
 31 
 
 5 
 
 a* 
 
 •v J- 
 
 Z3EZZXT 
 4 
 
 X 
 
 -a- 
 
 fEzzE 
 
 * 
 
 W= 
 
 x 
 i 
 
 r« j 
 
 X X 
 
 ? EEpi 
 
 :Ezzi: 
 
 5% 
 
 -*r ' 
 
 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 ; *-, 
 
 
 -*=- 
 
 :lzz: 
 
 2 
 
 3t 
 
 "f r 
 
 "i r 
 
 X 
 
 21 
 
 
 E=X 
 
 A 
 
 -P 
 -4- 
 
 r 
 
 «Z_Z11 
 
 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 
 
 
 
 
 
 
 """'<?' """' 
 
 
 -#s>- 
 
 
 p r * 
 
 * p— 
 
 • 
 
 r f- 
 
 f~ ~ 
 
 
 t f 
 
 — r— r— " 
 
 r 
 
 I 
 
 
 
 • 
 
 p 
 
 ..... ! 
 1 
 
 =1 
 
 p— 
 
 
 p # 
 i i i i 
 
 
 41- 
 
 
 
 # 
 
 #i 
 
 * r 
 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 
 
 -#p- 
 
 3E=£ 
 
 3 ■ 
 » P 
 
 4 
 -«2L 
 
 "i — i r 
 
 i r 
 
 :»=£ 
 
 "i r 
 
 _ r r 
 
 1 
 
 ~T~ 
 
 -e 1 
 
 e--. 
 
 :x: 
 
 -Si- 
 
 ^ ^ 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 
 
 
 -<s>- 
 
 :£ 
 
 -»- 
 
 a: 
 
 tS: 
 
 «: 
 
 tS«rx: 
 
 ! -f--f- 
 
 -P- -P- 
 
 p_P__r r 
 
 * 
 
 — 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 
 
 ■#t-p-hp4- 
 
 1 — I — I I I T 
 
 □ — rrr 
 
 4- 
 
 f: 
 
 2 -P- -P_ 
 
 **ff 
 
 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: 
 
 =3 
 
 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 
 
 ~i — i i i. r 
 
 • m ft m * m-* m 
 
 "( — i — r 
 
 "i i i i i i r 
 
 Wzm 
 
 ES333; 
 
 B g^ j 
 
 4 3 2 
 
 L_C 
 
 #< 
 
 U'*JJJ J ^g 
 
 & 
 If 
 
 a 
 
 i _ i i r 
 
 zqrnij i: 
 
 
 :s?z 
 
 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>- 
 
 -<s- 
 
 «- 
 
it.:* ■ 
 
 97 
 
 STUDY XII. 
 
 Allegretto. 
 
 ,#-#- 
 
 _? 
 
 ,....3 
 
 ssEfePg 
 
 i})p 
 
 
 m 
 
 > 
 
 -0- f 
 
 -# — 
 
 S: 
 
 
 xzz 
 
 4 
 
 3Q 
 
 r 
 
 > 
 
 MZ3d£3 
 
 r~r 
 
 :sz:x: 
 
 zz..sziiz?zjM 
 
 ^=_z?_ 
 
 3___3 
 
 fe 
 
 IZZ 
 
 :*zc; 
 
 •*-»- 
 
 ___3_i 
 
 h^ss 
 
 r 
 
 -f- 
 
 :i g 
 
 1 1 — r 
 
 r 
 
 !fe_ 
 
 — r 
 
 E 
 
 .gzzztBzzr 
 
 ~»~ — 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 
 
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 (i) 
 
 The first note 
 should be accent- 
 ed, the second 
 unaccented, ac- 
 cording to the 
 
 
 
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 £ 
 
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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 
 
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 f? : 
 
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 .f-ff Ettt "-F : r-r-P- ., 3 
 
 3 - » "P"i — P~ 
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 ,r~a: 
 
 • m 3 v 
 
 -I i r 
 
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 4 
 
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 ^ ^^g 
 
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 i==I=i^ = f :: ^-^- = 3=3H^i- 3B31 
 'E — *~P~ r~r — i — i — I — i — — *~*~3 E3jk3 
 
 
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 prfl Trrf 
 
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 -<S>- 
 
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 Allegretto, a | 
 
 
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 m 
 
 r _ 
 
 l 
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 ^ • • 
 
 w~ n — P — P " 
 
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 s~c 
 
 s 1 
 
 
 EiEi 
 
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 be 
 
 £ 
 
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 £ 
 
 t~ 
 
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 *s>— -, 
 
 STUDY XIII., 
 
 Andante quasi Allegretto. 
 
 
 2#: 
 
 :t 
 
 XfS>- 
 
 
 ^ 
 -*-—*— 
 
 ■ttjfc 
 
 2 
 
 X£?- 
 
 :x#: 
 
 
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 PS 
 
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 ■*»!•" 
 
 -e — ■ — a- 
 
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 of 
 
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 *»- 
 
 ^ —i 
 
 f — x* — I 
 
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 xs> 
 
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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-~ 
 
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 iggegr^pd 
 
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 tz i — i — r 
 
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 S 
 
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 r ? ? FFF>f#- 
 
 "i — i — l — r 
 
 "i — i — 
 
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 £• :' * 
 
 i — i i r 
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 r— r 
 
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 i i i i i r 
 
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101 
 
 J7~"jzsz~a 
 
 ?^a^ 
 
 
 
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 :r~cz r 
 
 
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 1 X 1 
 
 fflf^g 
 
 ffi 
 
 ssa 
 
 "2~3 2" 3 
 
 -*-a-3- 
 
 
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 S-fr 
 
 a 
 
 sfe 
 
 JE!E?EE* 
 
 Eg 
 
 »—-*-# 
 
 -p- 
 
 "2" 
 
 s 
 
 3SE 
 
 £=s 
 
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 Tl 
 
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 m m » m ° a 
 
 j-g-p-g— P- 
 
 r- 
 
 i — i — r 
 
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 J — i — i — i i — i — i — r 
 
 ^ffi^Bg 
 
 CTT 
 
 ^ ^m^ 
 
 m 
 
 
 1 2 3 2 3_ 
 
 
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 ~i i i r 
 
 ~i — I i n 
 
 EffiE 
 
 izfz#: 
 
 Allegro., 
 
 W 
 
 BE 
 
 re 
 
 IPp 
 
 1 x 
 
 
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 •It 
 
 :» P 
 
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 "i r 
 
 Us: 
 
 S 
 
 5- 
 
 ^ 
 
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 ^r 
 
 
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 ;?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-| 
 
 "I — I HI — T" 
 
 II I ■ — ' — I 
 
 4X2 
 
 E5E 
 
 * 
 
 f=E 
 
 i I I 
 
 ~\ — 5^ 
 
 -# 
 
 *** 
 
 J2L 
 
 ? 
 
 I** p 
 
 'i r~ 
 
 2EEEEE 
 
 *F 
 
 *£ 
 
 £— E 
 
 :?!»-£ 
 
 i — r 
 
 "i i i i r 
 
 i i I "<r" w ~^ >■ i — i — i 
 
 £ 
 
 £=£ 
 
 ■■—-F—F- 
 
 ^ 
 
 p 
 
X 1 
 
 7TT 
 
 3 X 
 
 
 g; 
 
 ^ rf- f-^ 
 
 n^TT"n-r-f-«-T^-f 
 
 3 z ^-f 
 
 "i — i — r 
 
 f P- 
 
 3*3 
 
 HWfcKfci 
 
 1 ! ' I ■ 
 
 I 
 
 I F r 
 
 "I — r 
 
 f 
 
 *rry$rT ^=*m 
 
 i 
 
 f— f- 
 
 :^PCT= 
 
 i 
 
 F^^F 
 
 I oa 
 
 (1) Crescent* 
 signifies a grad- 
 ual increase of 
 sound, from soft 
 to loud. 
 
 i r- ' ■ — i ~ r— — r~r~r~ r~ ' ' -■ — ' — ' — i ' ' ' ' ■ -| ' — r ~ ' — ' — ' — ■— --■ — < — *-■ 
 
 f 
 
 EEi 
 
 g-r: 
 
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 Tg- 
 
 £ 
 
 I=? : 
 
 p 
 
 s>- 
 
 E 
 
 mm 
 
 (2) 
 
 & 
 
 ®- 
 
 >*£EtEEi 
 
 ~i — r 
 
 Diminuendo. 
 
 4B- 
 
 9- 
 
 £ 
 
 lS>- 
 
 p 
 
 ^J. 
 
 24 
 
 V S' 
 
 X— #-* 
 
 P f # 1 f 
 
 "I I — f 
 
 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 
 
 &=# 
 
 g-rf 
 
 a 
 
 ^fJ^rai^^ 
 
 ?5=ffiS 
 
 cZtt^-t-t-f^^f- 
 
 ~i — r 
 
 -F 
 
 23 2 3 2 3 
 
 3*2 a * 
 
 t 000 
 
 rii^feliii 
 
 
 SpHii 
 
 eft 
 
 
 S 1 ^ 
 
 ^^^ 
 
 
 
 # *~5 g 
 
 act 
 
 3^ 
 
 2 
 
105 
 
 S 
 
 i 
 
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 *#£ 
 
 Aria. 
 
 Andante. 
 
 
 a 
 
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 Et 
 
 e^ 
 
 1 4 i * 
 
 X * X 
 
 J a 
 
 sw^rvj 
 
 a 
 
 4 3 
 
 ! f 
 
 nt 
 
 f 1 
 
 ~! — — I — r 
 
 2 g J 
 
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 T 
 
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 4 
 X 
 
 ^3=f=p=fc 
 
 -^--» 
 
 I r 
 
 £ 
 
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 bf|»--r- 3 3 3 3 
 
 T - 7— 
 
 1 r 
 
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 #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- — 
 
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 -r — f- 
 
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 £ 
 
 K 
 
 1 — i ^^ — ■ i ni-- 1 — h — | ■ 
 
 ^ 
 
 at 
 
 +22 — b "» — ^H — i — i — 
 
 J 
 
 Jfe 
 
 #2 
 
 4'- 
 
 % 
 
 J Ji 
 
 * 
 
 -*> 
 
 ^5 
 
 i 
 
 I 
 
 p 
 
 ■f F — ; 
 
 E 
 
 £ 
 
 £ 
 
 EE 
 
 \ 
 
 
 S5 
 
 £ q#£ 
 
 £ 
 
 £ 
 
 
 ~j> W 
 
 S 
 
 * » « » 
 
 -J- -»- -g- -j»- 
 
 £ 
 
 y=F 
 
 H r 
 
 s 
 
 ,Efc= 
 
 iP 
 
 s 
 
 :fc=: 
 
 -(8-: 
 
 Si- 
 
 £££: 
 
 * — * 
 
 2 — u- 
 
 
 •^ -^-f". 
 
 * 
 
 =CSF 
 
 -*£ 
 
 X 3 2 1 X 
 
 / 
 
 — «? 
 
 "i I ^ I ZEZEI 
 
 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- 
 
 % 
 
 £ 
 
 -# 
 
 
 *—«-#• 
 
 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^:-: 
 
 PIP 
 
 1 — 1 _ 
 
 T-a— 
 
 i 'i i 
 
 I 
 
 3**¥3 
 
 s 
 
 ** 
 
 
 af 
 
 »b 
 
 MAJOR. 
 
 ^ 
 
 
 ISfe^ 
 
 2 
 
 [EEI 
 
 ^^ 
 
 e 
 
 :£S*^ 
 
 T~r-\ — brr~i— *~P 
 
 -■* 
 
 "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 
 
 ^£ 
 
 E±=MZ 
 
 W 4iUP4^ ^^^ 
 
 f r < ■ J J i 
 
 f-^jg^ 
 
 &' 
 
 fe^ 
 
 _x. 
 
 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^£: 
 
 « 
 
 *!*=fq 
 
 "i — r 
 
 / 
 
 ^^ 
 
 f »— *•—*#- 
 
 £ 
 
 ^g=? 
 
 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 » 
 
 Hi n 
 
 s 
 
 & 
 
 ^a^ 
 
 :£ 
 
 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 
 
 -4--W-- 
 
 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; 
 
 
 ■V 
 
 ? 
 
 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. 
 
 X- V— _•- 
 
 ^ ^Plk 
 
 SS 
 
 hir 
 
 ig3? 
 
 A 
 
 mx. 
 
 & 
 
 Jt'rr* 
 
 FF 
 
 « 
 
 
 =* 
 
 5fe 
 
 [gar 
 
 & 
 
 &E.\ 
 
 rt 
 
 IP 
 
 Ss 
 
 ^§ 
 
 ffi 
 
 s^P 
 
 3E 
 
 x 
 
 i i x 
 
 fez 
 
 ^!_2 Z 
 
 £5 
 
 a 
 
 :a^ 
 
 W^p 
 
 m 
 
 5? 
 
 
 x ix 
 
 «H 
 
 >: 
 
 : ^ 
 
 j r 
 
 2 •- iff -• 
 
 e 
 
 "i — rr"r 
 
 rffft&r 
 
 §^l 
 
 23ZI 
 
 iSJSJj 
 
 ADAGIO. 
 
 
 T =3,= r 
 
 pmm 
 
STUDY XVII. 
 
 Andante. 
 Maestoso. 
 
 Ben marcato il canto. 
 
 . _. A A__ 
 
 119 
 
 -kr- 
 
 AT 
 
 Religioso. I I I l J I I I I !><>'> ' 
 
 — S-b-ir±-t— tizztz: zfczzz --F-t— t— -HS-E 
 
 * 
 
 :fc 
 
 i: 
 
 "51^ Z3 
 
 -t I zpz^zp 7:5^: 
 
 x »- -p- -#- -» x »- -»- 
 i I J I I 
 
 » p 1 
 
 — ozi 
 
 i 1 i i ' i 
 
 *-»— •—»—»— ••3»- -»-»-6 
 
 ITmW 
 
 *0-0- 
 
 p ll S w P p 
 
 i i i i i 
 
 *tt££qfcfc 
 
 gg,ff ' 
 
 zzriL-Kztzc4=4z25z:srn^i^:pzpzM-"xr4=: 
 
 ±* 
 
 fl-4 
 
 KgES 
 
 S* -«££ 
 
 ___ fzcrai 
 
 -$»—»- 
 
 
 -r— r~r~r~-tx~i — 
 
 3 4 
 
 x~r~ 
 0000 • • 
 
 ftff p~w 
 
 I — IT— _ 
 
 rzznziz 
 
 x 
 
 3' 
 
 T 
 
 
 ■-^— «— ** *- I n ; IX | 
 
 E:S 
 
 
 T 
 
 -J- 
 
 3 
 
 4 2 
 
 £3 
 
 i i 
 
 — r — i r — i — " — 
 
 ~5T 
 
 4 
 
 * y r !? f^ p 
 
 iilirV r~~or 
 
 • 'ffrf 
 
 i LLj fr » » » 
 
 -fZjZZ 
 i i r 
 
 JL 
 
 ■ - P p .x — 
 
 r r i i 
 
 -| — r 
 
 .2"iZOi" JC 
 
 T 
 
 41 4 1 4 1 
 
 V-, «-^ — «■■«■«•■«— -. 1 i 1 — I 1 r— 
 
 5^ 
 
 ^ 
 
 T7 > p 
 
 X#~#~ 
 
 r i 
 
 l^jbyq^fc^ I^TfT? 
 
 & 
 
 .i^:^jr-_fi?Lf: 
 fr y j > . p— p- 
 
 i i f 
 
 B 
 
 I I ~i — t — r 
 
 r 
 
 JL 
 
 It: 
 
 1 I La I 
 
 ^-p-pS&p- -m- p - r -- m - 
 
 IX I IX 1 (XI I X 
 
 •- .0. -A • » 
 
 fc 
 
 -0—0- 
 
 'i r 
 
 ipzp 
 
 •i — x 
 
 I 
 
 ~r~ 
 
 3 
 
 •JEz 
 
 '.i — XZ " ~i — I — — .i — 1* i* 
 
 * 
 
 3 
 
 II I It-p 
 
 IX I 
 
 "i — r 
 
 • YJ0 v« 
 
 ■p-~P~-P"fp~^lf 
 
 ZZZZZZZ3* ■ 
 1 I i Mi — r 
 
 ~i— rr~~i — — i — r— r~ 
 
 f f f f » ' 
 
 * > 3 *, *l 3 | 4 * 1 *l Vl 
 
 &Hz-±-J-\ R— -; 2 1 — EfEEEzEp 2=^ £j 
 
 P^^-TtT 1 ^-- 1 =^==» l — -t F-=F— " =5^ -*-- 
 
 i-ta^^^zzizizzz :3zSz|zS= ESzTzTz^z =«3=1= 
 
 S 
 
 I^ZIZIZI^Z^ZJ 
 
 : 4 3 4 3 4 3 4 3 
 
 skj^gj^Ei 
 
 4 3 4 
 
 3 2 
 
 4 4 3 2 
 
 -iEgzdzzTzJz^zzl 
 
 
 : E P_5ZZ=zzzi: 
 
 5: 
 
 Azi 
 
 EEg^EJ^^Q 
 
 -«— •- 
 
 -#— # 
 
 -0 m --0—0- 
 
 :5:i>zjz:2 = z::g 
 
 — s>- 
 
 -| — r— :r 
 
 f 
 
 * 
 
 -2~X~"T~X 
 3 3 3 3 
 
 2 — x: 
 
 3 3 
 
 s 
 
 -0- 
 
 1 Sr ■ 
 
 t8 
 
 i*- 
 
 '^S 
 
 I I 
 
 'm — m ~ r — r 
 
 f J? f 
 
 fcift 
 
 -» — * — »- 
 
 ^ 
 
 <5T 
 * 
 
 I I 
 
 £=?=£=£ 
 
 -0 — 0—0 
 
 -h- 
 
 tt? 
 
 r~\-~\ 
 
 J L 
 
 p p.t 
 
 iUrJ 
 
 ■•- -»- -»- -p- -»- -»- 
 
 I 
 
 5 C — p— ■ 
 
 r r 
 
 *iuc 
 
 T — r 
 
 ~i — r 
 
 TT 
 
 f 
 
 
 f - >" f • If- fr 
 
 I _J I 
 
 0—0 — 
 
 0- 
 
 E^ggE^EPEJ 
 
 ~&' 
 
 l-l-l 
 
 tt^^l 
 
 -»-r 
 
120 
 
 LESSON XXXIV. 
 
 The first six 
 flats are placed 
 on B, E, A, D, 
 fi, and £. «P 
 
 MAJOR. 
 
 * -£ i 2 
 
 fe£ 
 
 
 312 2^ 
 
 swtijjjyflf 
 
 ^^^^^^^3ES3^ 
 
 111} sr 
 
 _ ■•• 9. - ••• 9. ->/ 
 
 :zx: 
 
 -<s>- 
 
 2 X 
 
 -<S> — - 
 
 Lento. 
 
 fc5 
 
 « b 5 
 
 ^^ 
 
 ^ ' bJ J J ft 
 
 3 S - ! s - * - ^ 
 
 E-fr S^^ x g - ^ 1 X * & 
 
 r- x — — -J x t 2*2 x l« 
 
 jJlAfaffraf 
 
 ig?f2*agro£E=3B; 
 
 -i— I — i — — — S^ — ^hU — ^s- 
 
 =t££=£c£i 
 
 P . ■■■mi 
 
 ^g filgg 
 
 fSfessfe 
 
 gj^j^P] 
 
 z=dzq-Sz«zfz&M=^^== 
 
 4 4 
 1 1 
 
 55^ Z P = ^ : 
 
 3 - #^ 
 
 • p^ 
 
 a^ 
 
 fj &G&EI* 
 
 ,»- ii 
 
 -1= +-3 
 
 :ei3zs 
 
 :c: 
 
 £ 
 
 ^i 
 
 X 
 
 _1_ 
 
 i= # : 
 
 ^ 
 
 Allegretto. 
 
 *s&£==?@£ 
 
 "T 
 
 EEcpB 
 
 
 -ZB 
 
 ^ 
 
 P 
 
 Pi 
 
 CP 
 
 5 
 
 -•g 
 
 F 
 
 «P 
 
 CCT 
 
 f- 
 
 m 
 
 i:t 
 
 tP 
 
 m 
 
 slif 
 
 X 
 
 3* 
 
 tt±= 
 
 IC3 
 
 ff^L ffij^ 
 
 3? 
 
 3s± 
 
 3da 
 
 ±i± 
 
 ~2~i — r 
 
 £: 
 
 ^ 
 
 4 
 
 ^piibpii 
 
 I=C: 
 
 
 ffi 
 
 iz 
 
 3d 
 
 S& 
 
 :«j2 4 
 
 x 
 
 Jjft 
 
 « 
 
 3E 
 
 £S 
 
 =M=E 
 
 X 
 X 1 
 
 3Zt 
 
 ^ 
 
 riz 
 
 H 
 

 121 
 
 w 
 
 X 
 
 m — L * 
 
 3S* 
 
 £ 
 
 :g 
 
 SP^3 
 
 a 
 
 J 
 
 s: 
 
 im 
 
 igs 
 
 X 
 
 £g 
 
 ^ 
 
 1 . 
 
 
 
 ■-r 
 
 — x » 
 
 ^4 
 
 ^^ 
 
 x 
 
 zf^Ezz" 
 
 r 
 
 i 
 
 STUDY XVIII. 
 
 Allegro. 
 
 5±5Mz3E:^-ME» 
 
 -^ite^^zzt? 
 
 '~ n ~ l r I r ~ 
 
 1<1 '**! gtf 
 
 h 
 
 i — r j — * 
 
 ggE^ B^ijsi; 
 
 g ^ >. b f i f ip ^ 
 
 it 
 
 Same fingering for loth hands 
 
 - f*. A Pi. M A '^ 
 
 ^ijii^j-gLjiji^ij 
 
 zmzzcszzlj 
 
 »-b?_ 
 
 zzznu 
 
 r — *t" 
 
 flHf -^f-^ 
 
 illlgi 
 
 =fc 
 
 fZBZzI 1 
 
 yHM-f4^ 
 
 • 
 
 ifcAfcJE L IU 1 ^-4*=^ 
 
 JL 3_ 
 
 fe^zzzi^ii^ _£=]_ffcziz£ 
 
 
 33£ 
 
 f t T 
 
 I^Z^jZ^z^ 
 
 3z2zdz*zhi?zz4Z 
 
 r > — h ft-. pg jS — — ft [V- ft B ft 
 
 s 
 
 t~h: 
 
 Tj*Z1 
 
 _f _f - 
 
 
 ■*»- 
 
 ^=5^=iB. 
 
 
 
 fcs 
 
 5±* 
 
 tfc 
 
 3=3=3=3- 
 
 1 
 
 faiwte 
 
 2 ? 4 2 f 4 ? 2 
 
 X * X - X X #- X 
 
 — »-f — kg a a ra b a a b 
 
 1 
 
 -H a 3 — 
 
 "» 
 
 g I <^ r" «i" 
 
 znL rn~~g zn: 
 
 1 * ' I * Q ? 
 
 i. 
 
 ~*-sra~srd~si r" ~~~T*|~si ) «i *!;g:to* =^~-i~T jz~»rd~si • g — r"*i — ^-sj— n~g- 
 
 zszzizJzDzJzzzgz 1 J 1 J" 2 3Jg: izzizszzd? jizzcjnczi: ^3 ^1^ J 1 fz3 
 
 "f * ? 2 5 a *r-~ ■ 
 
 X 1 X X . u- * x 
 
 fcfe 
 
 "I (-T " 
 
 i 
 
 irfzpzgip: 
 
 52: 
 
 -f-- 
 
 -j I i l_t L 
 
 "Bf 
 
 X 
 
 4 
 
 X 
 
 4 
 
 1 
 4 
 
 s 
 
 X 
 4 
 
 1 
 3 
 
 T 
 
 4 
 
 X 
 
 4 
 
 ^ e H ■ _ xx— x- 
 
 ' X x X m X 
 
 ) £i_* *_Jt. •__-f-__#_ b ^ »_Mf- £-_._ 
 
 ; x i x 
 
 X 1 
 
 
 :5 
 
 
 -i — ^-i— 
 
 ~~cr~j~gi 
 
 x^ 
 
 E^3 
 
 =^ : 
 
 2 ? 
 
 X X x 
 
 _f jf _f . r^-f~ 1P~^- 
 
 ^=±^: 
 
 ft 1 1 » n&i f i 
 
 . x - x . 
 
 I •r I ^ ^ 1 
 
 J X X J 
 
 ^S^z^E^Mz: £EBlPz5z»z3= £3: 
 
 «-^ — ^ g 9 a -Ljj £ a a — . 
 
 e'2 
 
 : tZ±. 
 
 " 1 
 
 -a a- 
 
 ft .. J — ^-r —i— — in — |fc — |v <^f . 
 
 _a_5la i ~i *l »»! l"-«i m r^\ i •■ i — g~jg~ ■ 
 
 \p±3pzm~ _ ^!LJ-Ljp-j=±g i : _ ^ - i»- XL- zzzzzizn: 
 
 E£35pE :=£=^53^3I :E3-zz^Ezztzz]i^E 
 
 a a a g -P — • ^ 
 
 ZZZZ—?ZZ-J—ZZT1 
 
 ci=z)=^zjlzDzg: 
 
 — F--8— -Fz:- 
 
 0) 
 
 ill This sign, lq J->, annuls the double fla» 
 
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 
 
 *5 
 
 55^ 
 
 -J7-9—X eg 
 
 §EE3E?Ep 
 
 ±f 
 
 
 rrffr> 
 
 X~~~KL 
 
 X 
 
 ■^wg 
 
 3 -fffP 
 
 rri r i >"M'T 
 
 •g a I 
 
iS 
 
 ±Z 
 
 
 te£ 
 
 :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. 
 
 -X#- 
 
 -E- 
 
 **■* '•' e g~ f M 
 
 -*»- 
 
 t5 
 
 3W: 
 
 "3"2TX" 
 
 £ 
 
 f 
 
 B^r rrf * 1 h 
 
 &5 
 
 4 
 
 1 s 
 
 r- 
 
 apyy^zz^qpffffjE^ 
 
 i 
 
 S 
 
 M 
 
 JOE 
 
 I 
 
 £ 
 
 8fla.-v«wx. /oco. 
 
 3S 
 
 1- 
 
 -&&« 
 
 3^2Ezz3^f£=E3= 
 
 * 
 
 iK*± 
 
 ±¥ 
 
 P 
 
 =F 
 
 # 
 
 1 
 
 321X3 8t>a. /oco. 
 
 *f f f pf f-ffff-ffff- -0- 
 
 TTTT-r-^r - 1 - -^-t-i — rrrr £■ 
 
V24 
 
 Allegretto quasi Andante. 
 
 STUDY XIX. 
 
 ggg£ 
 
 -0-0- 
 
 •P 1-^-1- 
 
 » 
 
 fe^ 
 
 X X 
 
 -"£ -f- £ * 
 
 ZZT~T~'g 
 
 P^E^ 
 
 £: 
 
 •2~T~X" 
 
 1-^H^-1 = 
 
 X X 
 
 03 
 
 :: F !! S : 
 
 fzzzzzrzz^ 
 
 2~ T - X~ 
 
 £••£ 
 
 ^f^^HrSja: 
 
 i i i # 
 
 SSS3 
 
 2 - r-x 
 
 i j 
 
 znzzi 
 
 A # A 
 
 T 1 
 
 — u-fc-jj 
 
 £E=be=±=H3 
 
 i 
 
 £ ^: 
 
 ezb: 
 
 nriuJH.1.1 
 
 n-i-1^ 
 
 -S-*-X- 
 
 $ 
 
 3zz£z3 
 
 ±±±zg 
 
 fe 
 
 xzizszgzrz 
 
 o IX 
 
 :«ze:»" 
 
 £ 
 
 nzr 
 
 5 
 
 ? 
 
 ■^H-FI 
 
 :Mf 
 
 zS 
 
 -t-e-i- 
 
 ( 
 
 Lzta:zz2zrzxrjz:z 
 
 -F- 
 
 HZT 
 
 3 
 
 -r- a 
 
 zzzszzi 
 
 i — r 
 
 *-*r 
 
 — ^¥^~S — - 
 
 r~5~r 
 
 ?=i« 
 
 f 1 - 11 ^-^ 
 
 2"T _ X" 
 
 J ii n ' 
 
 x x X 
 
 .i__L_L_«: 
 
 HE 
 
 g£ 
 
 -F=¥^— =}■ 
 
 "2~r - x~ 
 
 3zx±ezz1 
 
 X X 
 
 II 
 
 m 
 
 ZE 
 
 ?: 
 
 £ 
 
 jzlzrJzzrxiizj 
 
 i — i — y 
 
 izs 
 
 s 
 
 
 i* a 
 
 nr 
 
 J J J ' — 
 
 :Ezzr 
 
 Si 
 
 rzi 
 
 4 
 
 i^fzfz'zzzzzzzz-EZziE 
 
 ££ 
 
 i ■' r 
 
 |!-1«-. 13 ' "E 
 
 3 
 
 fe 
 
 "i — r 
 
 P- 
 
 ztzxzzt 
 
 *-*-x 
 
 s 
 
 vt 
 
 £ 
 
 3 *•> r* t! "' 
 rill; 
 
 i r 
 
 xzrzxigzxzc 
 u 
 
 J_. I I 
 
 nzizczki 
 
 ZZZ£ZZ 
 
 ±z3zr: 
 
 f 
 
 I 
 
 £ 
 
 Fine. 
 
 
 : !>± 
 
 •#- -p- f 
 
 SzSI z iB5E. : zz!zzzE^3 
 
 Sl 
 
 =S5 
 
 ^ 
 
 5 
 
 1 4 X~ 
 
 -ft* 
 
 it 
 
 r 
 
 ip 
 
 i* »i e» 
 
 DIE 
 
 s 
 
 • «_ 
 
 * 
 
 *fc33EEEEpd 
 
 FFi- 
 
 2 1 X 3. 
 
 ^Mi 
 
 V "^ 
 
 X 3 X 
 
 P=|P 
 
 X 4 V 
 
125 
 
 5& 
 
 S — F — =H g - J= ^- = - ;5 g F — 5 
 
 -0-0-0' 
 2 1 X 
 
 :x« 
 
 gg fc^BBS 
 
 ~h: — — i 
 
 IE 
 
 2 1 X 
 
 d^fcEEES 
 
 g&i 
 
 i i 
 
 l» Cl» 
 
 £ 
 
 ~r~r 
 
 :&=3£:=3: 
 
 §a_a" 
 
 i i 
 
 -F -3- F? 
 
 ^n — r~gj~M 
 
 fff^ 
 
 s 
 
 f 2 - 
 
 £ £:. 
 
 :3-3: 
 
 IEZn= 
 
 — i — fcj — r - 
 -in— r—r— ^-T 
 
 "x~4 _ >r 
 
 X 4 X 
 
 X 4 X 
 
 X 4 X 
 
 —isztzas 
 
 g"_+tzns3z3: 
 
 nzzzr 
 
 "i r~» 
 
 SEBE 
 
 i r 
 
 4 
 
 3EE5S 
 
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 i 
 
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 D.C. 9 
 
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 -( 1 1 1 
 
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 p # y I x 
 
 4 4 4 
 
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SCAL 
 
 S-*f-T- '~ ^ J ^ --/bri~?r ! 2—*=« -i—m—~- -^—w^-8»— g — «— ^— - p^ i, ^ — ^ --F— »-r -^ = - 
 
 , 2 ? j, — , ^1 m %- -i#--P- ^f--»- -£--0- r^ ^-^ 
 
 al x 4 c a - ^ ri if ff ff ,.ff gff n *v -^ -^ r — n 
 
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 mi s flr fa sd i^- jg-H- g 
 
 x j ^ ^r >3 fj ■*■ 
 
 ftt # - 2 ^ 4 
 
 
 
C MAJOR. 
 
 I MINOR. 
 
 G MAJOR. 
 
 E MINOR. 
 
 Lento. 
 
 LEGATO. 
 
 143 
 
 q 2 3 2 3 i » i_# f "W -£■■&-&-* Z~\ 1 X 3 - 
 
 ggEjipi^gEpi 
 
 # I tttf Wtl -**\% 4 X i 
 
 --e : 
 
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 ^-j U^F'JTO 
 
 
 
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144 
 
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 2 3 t i^a i 3 i 3 -#-5--»- 
 
 
 B JIIKOR. 
 
 2 1 2 1 A I- 2*2 -* 
 
 A MAJOR. 
 
 P MINOR. 
 
 
 4_fjJ 43 3 4 f .•** Efafci j £ V^J 4 
 
 £ V?fi AW T {if f E it£ i Ei ^ 
 
 B MAJOR. 
 
 C MINOR. 
 
 3 £ X^, -0- m x # -*- 
 
 ^S-«- -r?— *-l-^ p— E13EE wSzF- E8 
 
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Ab MINOR, 
 
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 £--*-? Ml 8-4 -it- v— ^""^S— Lc± -~r*3# 
 
 
 
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146 
 
 Kb MAJOR. 
 
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 lb MAJOR. 
 
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 Hi s if-T riFFI 
 
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EXERCISES IN THE CHROMATIC SCALES, 
 
 WITH DOUBLE NOTES. 
 
 0) 
 
 LEGATO. 
 
 i 
 
 { 
 
 < 
 
 ( 
 
 4 
 
 4- 
 
 4 
 X_ 
 
 (5 
 
 5ES 
 
 ^^^Siffl 
 
 4433 „ 4 3 * X ? X 1 * 
 
 ,^-s»«^-:WF-i^=p ^-f i T ' j --- 
 
 2 
 
 p i ■ ! r ~ 
 
 v i x 
 
 4 3 2 U 
 
 3 5 3 I J 
 
 • * X 15 3 2 Aq 
 
 **fyt:t£lM-V&- * ? x ? x 6 ? 4 , 
 
 ■i r~ 
 
 WW: 
 
 'i r~ 
 
 x 
 
 3 
 
 
 i x* T 61 x*f -•- 
 
 J 4 2 3 X 
 
 X- 
 
 a 
 
 x 
 
 2 
 
 
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 X ? £ 3 
 
 4 1 X , 
 
 2,^,2 £_ 
 
 ■■MB 1 1 1" ""I 
 
 Allegro vivace. 42321 
 
 2 3 2 3 2 x i x 1 \ 1 *— 
 
 v» y o 1 1 H 1 J J J 1 I - 1 1 i~ 
 
 2 
 X 
 
 4 
 
 1 
 
 i 
 
 2 
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 Legato. (2) 
 
 1 x 
 — -a — s 
 
 
 x 
 
 X 
 
 2 
 
 •Z£ *M *i_fL* : 
 
 3 
 
 1 1 h" 
 
 
 ~p 
 
 -h' 
 ■P" 
 
 
 4 X I * 
 
 t*T?T 2 3^3 r* 3 
 
 4 4 3^ 
 
 4 
 
 a 
 
 u, " ui X ? A 3 2 
 
 2 
 
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 "I — 
 
 51" 
 
 T~ 
 
 
 
 TTT.l 
 
 i 3 
 
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 P~P~2 
 
 :#^tfs 
 
 
 2 
 
 2 
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 ±- 
 
 
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 3 X 
 
 W^ 
 
 
 3 2 
 
 _1 4__ 
 
 1— 
 
 -*»*- 
 
 ■- 
 
 4 X 
 2 
 
 "I p r ff- r 
 
 2 
 _X _ 
 
 
 
 Allegro Moderato. 
 
 3 4 
 1 1 
 
 =3^ 
 
 3 4 
 X £ 
 
 3 
 1 
 X 
 
 4 
 1 
 
 .2- 
 
 I 
 1 
 X 
 
 m 
 
 *? 
 
 m-^-^:E; s |:^jj 
 
 _.J>« 
 
 
 7. 
 
 > -*• -i 
 
 rnr 
 
 x x 
 2 1 
 4 3 
 
 x x 
 I 3 
 
 r 
 4 
 
 1111 343 
 
 X X X X 1111 
 
 Fffl-*HHg§ 
 
 3 2 
 
 Wp^Sty 
 
 x 
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 4 
 
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 S¥* 
 
 M7 
 
 (1) This ia 
 the only method 
 of fingering by 
 which the chro- 
 matic scale in 
 thirds can be 
 played smoothly, 
 but it must only 
 be applied to 
 movements Mod- 
 erato, Andante^ 
 Adagio, &c., otc. 
 
 (2) 
 
 This mode ot 
 fingering is the 
 only one applica- 
 ble in movements 
 Allegro Vivace, 
 Presto. 
 
148 
 
 (i) 
 
 Fingering of 
 the chromatic 
 scale in octaves 
 for movements 
 Moderate, An- 
 dante, Adagio, 
 &c., &c. 
 
 In rapid move- 
 ments, the 4th 
 finger may be 
 used on all the 
 notes, particu- 
 larly for the 
 staccato. 
 
 Moderate. 
 
 3 4 2 3 
 
 4 finrrT^ 
 
 V-- 2-! 1 - — i*L — - #» 
 
 3F«C 
 
 »-#»- 
 
 ffl fr it l £ £fc 
 
 TiT t~ttt n ' ' F 
 
 N 
 
 4 
 
 "i — ^r — i r-ffcc — r 
 
 3 4 2 
 
 X X X X 
 
 ^ 
 
 #* 
 
 4itt£t**j* 
 
 a, — E 
 
 ¥ 2 s 
 
 
 £Lfcyv 
 
 ^ 
 
 *£*#•-«»: 
 
 5/\ 
 =1 
 
 
 
 ^— tfi-b; 
 
 x x 
 
 2 3 
 
 : ¥=^ 
 
 ****** 
 
 "X»V 
 
 —4 
 
 X X 
 3 4 
 
 Allegro Moderate. 
 
 x=03^S*S- = 5 : #-=pf-^ 
 
 ===== ▼t t fr i x « i 
 
 . 1 , g j 
 
 5=— « p«— J 
 
 n-;r-r-i r t — i i i -i t 
 
 X 1 £ 3 4 , o 
 
 Fit T f f tU MM f *-*. 
 
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 "23" • 
 
 
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 Moderate. 
 
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EXERCISES IN THIRDS, FOR BOTH HANDS. 
 
 149 
 
 2 Repeat each, exercise twenty timet. 
 
 
 Lento. 
 
 :r=r- 
 
 
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 -p- 
 -m- 
 
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 ~i r 
 
 r r i 1 — r 
 
 r r i I i r i ~r 
 
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 jb-l.il »:< 
 
 1 r" 
 
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 Si 
 
 S 
 
 : j i _ 
 
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 *3=S 
 
 s 
 
 ES 
 
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 - — i , l j J q 
 
 ~»~ 
 
 i f ■ g ■ » ■ 
 
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 t 
 
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 p-J •-*— p 
 
 x 
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 w-e-s-w-P-p— P-r— r-»-^ 
 
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 12 1 3 
 
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 i i i j i i ,1 
 
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 gjpp* 
 
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 ;z, 
 
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 S.T'S.'r'S.n — £ - 1 • 
 
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 L"Wf3..T3?3 g3 
 
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 jp& ±Z--* ±± 
 
 n 14 14 14 14 1 
 
 
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 — rrr 
 
 X2 X2 X2 14 
 
 ■■■■■■■■■■■■■■1 ■■■■■■■■■■■ H _ HH ___ H ___ \/ Q 
 
 r l~ i p~r bpj — i" 
 
 ^p f^SN f 
 
 X 2 X 
 14 1 
 
 4 4 4 4 
 
 3 2 3 2 3 2 3 2 
 
 44* 
 
 fe 
 
 1 3 
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 S i _ szn i — I I ~ 
 
 X x x x 
 
 -U-IU- 
 
 XT" 1 ' 
 
 n 
 
 ~r , 
 
 •«-S-«- 
 
 3 J' ' ' l — l ^ _l — P5 
 
 i 
 
 _3_3 
 
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 i x 1 
 
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 izsz~z 
 
 Allegro. 
 
 §rf 
 
 r; 
 
 £ 
 
 =3gnzdfe 
 
 j I 1 
 
 EjE 
 
 zq:: 
 
 S 
 
 isza: 
 
 £: 
 
 «r-» #- m I t ^S— *— 1— #- = S— » 
 
 2 1 
 4 3 
 
 1 r 
 
 ,-•-» -0-m-0-&~* i-#-S-#- 
 r^-t-m-t-w-W-m-f-m-W-m- 
 
 Eff 
 
 i — r 
 
 
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 ^ fl :^ms*. 
 
 m~ 
 
 ;i i r 
 
 ~i — i — r 
 
 I — I — I — r 
 
 i&*&t9***9 
 
 — Ezrzf— 
 
 i r 
 
 'i — r 
 
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 S 
 
151 
 
 wm^wsmm^i 
 
 - [ i — r — i — i — i 1 — r~ i ; — I — | 1 — i — M I | f J M | JTT 
 
 iSii^ip 
 
 
 
 Allegro. 
 
 
 
 3-3 
 
 JSl 
 
 
 • S-* 
 
 -p— F— 
 
 ¥±£ 
 
 1 
 
 js 
 
 FT 
 
 fES: 
 
 =T 
 
 F^ 
 
 "i r 
 
 £3EK 
 
 PPi 
 
 1 
 
 ies^ee 
 
 £: 
 
 2 
 4 
 
 is* 
 
 J J d 
 ft* 
 
 '9-mZWZEZ 
 
 "I — f 
 
 333 
 
 jb3. 
 
 mf-0- 
 
 
 2z» ^ 
 
 »-5 -»- 
 
 ~ w~r~i — r 
 
 i i r 
 
 i- * * 
 
 n 
 
 itt 
 
 : *&£ 
 
 "i — i — r 
 
 -^ 
 
 -rfi-y 
 
 =^3 
 
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 fcfiF 
 
 s 
 
 :&:=: 
 
 ■i^lH-is w& 
 
 J=5 
 
 8 
 
 •-5-» 
 
 P 
 
 =C^ 
 
 i r 
 
 •ZSI5I 
 
 -»-S-» 
 
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 -t 
 
 m 
 
 ■ ti #- 
 
 p : 
 
 ■P3 
 
 Sis » !*~ 
 
 P~i — ; — , i — 
 
 -F- 
 
 %^L 
 
 1 r 
 
 13 
 
 It*-*- 
 
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 1 — taig 
 
 izsx: 
 
 «-3 • 
 
 S 
 
 rs- 
 
 Trl r— 
 
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 EXKRCISE 
 
 FOR 
 CHANGING 
 
 THE 
 HANDS. 
 
 Allegro. 
 
 9BS 
 
 -8- 
 
 2 
 
 ~w 
 
 R.H. 
 
 f^Pp: 
 
 0M-0 M* 
 
 -•:s:«^i€ 
 
 »-»-»- 
 
 Ik H. I J I ^ I 
 
 . -8 Pt-f-h-ri M 1 SSSSS 
 
 -E 
 
 ■»— "— 
 
 2 
 
 irfjefcE 
 
 
 
 rrrrr 
 
 i 
 
 3 
 
 ^ r 
 
 4 
 
 +£ 
 
 -8- 
 
 ^ 
 
 g^Sz: 
 
 2L 
 
 ^ 
 
 ^r- 
 
 TTTTT 
 
 i r 
 
 
 Ttf-#:fzi 
 
 «-a-« 
 
 •-&• 
 
 i I 
 
 <k£&£&£±&&&. 
 
 »-S-w 
 
 ^i:_a 
 
 r~r 
 
 I — ar 
 
 ±=E 
 
 "tea T 3-: 
 
 1 I [J- * 
 
 ^ 
 
 Efc^ 
 
 1 
 
 «"S"*r — » * 
 
 I 
 
 r 
 
 "is;: 
 
152 
 
 Allegro. 
 
 -9- a ~9~ 3 22 A v 
 
 3 
 X 
 1 
 
 1 
 
 
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 _^ 
 
 ?=5=s 
 
 a — m — * — m — * 
 
 2 
 X 
 
 I 
 a 
 
 IS 
 
 5 
 
 IEI 
 
 r 
 
 
 2 
 
 ■+ r 
 
 Hi 
 
 m -m- -m- 
 
 r • — 1 1— 
 
 -I r 
 
 E=t 
 
 • • • 
 
 -»- -•- -f- 
 
 i 1 — 
 
 T" 
 
 2 3 
 X 1 
 
 r~*- a 
 
 P-f-g-p 
 
 ~§rv 
 
 "I — r 
 
 i 2 
 
 i^E=E, 
 
 1 — 1 r 
 
 W W WW 
 
 ~ err 
 
 aa9BS5^SiTi 
 
 tiztr&Zt 
 
 ^mmmt^mt__^. ^ hr-<— — — —I 11*1 
 
 
 2 
 X 
 
 1 
 
 "3" 
 
 •J 
 
 X 
 
 3 2 
 1 X 
 
 3 
 X 
 
 1 x 1 
 
 II — r 
 
 
 •a: 
 
 1 
 
 X 
 
 1 
 
 -g-s- 
 
 r i — 
 
 „ 2 « 1 
 3 x-a a a -2-#- r #- a -#-»-* 
 
 -j-g : ^--^-li^H8-Pi?-f?-i> 
 
 -*-p-»-»-»-i — pr "1 E±z 1 1 1 1 — r 
 
 3 
 
 3 
 
 "i r 
 
 — S-2-S-f-#-f-#-*-«-*-» 
 
 ^l^^j-fggg 
 
 v , 2 3 f 3 
 
 »^-*- g -*-*-F-Pm = -F- +T+ = FFFF-Fi— ■'-H 8 - 
 
 X 
 
 2 -0- m -»- m -0~£-'-»~%- +-■£--» 
 
 "i 1 r 
 
 3 x 
 
 * m * m * m '■'- 
 
 rrrfg i 
 
 "i 1 r 
 
 
 -€_ # _M. 
 
 X 
 
 2 
 
 ■■M ' 1 ' 1 1 1 I 1 
 
 Allegro. 
 2 
 
 2 
 
 (ZZJl — 
 
 
 4 3 4 . 
 
 -a--«-a -«-S-«-«- J-4-j-«- J- -J- J — — \- a 1 — — i — — 1 — K 
 
 2 
 _x 
 
 3 4 
 
 2 
 
 33S 
 
 J^^j ^g^pply 
 
 1 x 
 3 2 
 
 1 
 
 r~r — ; — 
 
 ^ 
 
 ~i — 1 r 
 
 "ti-s^ 
 
113 
 
 Articulate with the wrist, and avoid any stiffness of the hand. 
 
 ~3~ 
 
 §jz£ F# • * 3 # 
 
 Moderate. 
 
 U3 53J2UJ 
 
 F^R — r H~5 
 
 _*r*r*r: 
 
 ' S"S^ j*~P'l* :| * : n-r-rr g -* : -* : !*"* : * " 
 
 2 4 
 
 2 4 4 4 X 2 
 X 2 2 2 
 
 EXERCISE IN 
 
 DOUBLE 
 
 NOTES OF 
 DIFFERENT 
 
 INTERVALS. 
 
 I | M r _ 
 
 '—±m 0-0-0-d •'-#i^«-3-"5 : 3 :: i#^-i-#c 
 
 —0 0-0-0-0 9 xi 
 
 " # X 
 
 X X X 2 ° 
 
 2 222 4-000- 4 p004 : 
 
 : » - 't7~i»T~r"i — rrn r rT~i — i i , r 
 
 3a 
 
 -• — 
 
 X 
 
 
 
 Moderate 
 
 
 1 — r — 
 
 — i — i -j — i 1 — | ^i wi 1 — <~M~M 1 — 
 
J 54 
 
 | 
 
 I.. H. 
 
 2 s s 
 
 rh - i 3A 
 
 BMSf 
 
 :S 
 
 ftfe 
 
 a x 1 
 
 = 
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 »** 
 
 SEE 
 
 2 
 
 .151. 
 
 2 
 
 •x 
 
 I * 
 
 ^r 
 
 =?EpE^I 
 
 fa 
 
 3 
 
 
 g »i »i 
 
 I 
 
 
 ^ 
 
 Presto. 
 
 £i£ 
 
 3 
 
 . — I a — 
 
 ]^Ep3^^^P§g 
 
 la 
 
 -4 
 
 )E 
 
 agEzg 
 
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 B-=? 
 
 lazzjizzrr 
 
 3p 
 
 * 
 
 3 j^~~» 
 
 1 fr n 
 
 33E* 
 
 £ 
 
 2£ 
 
 I 
 
 
 
 ifezz^zzzfczzzfcz' 
 
 * • — ^j— 
 
 5 — * 
 
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 SEZS n \ tfzSzzazi!* a pzzazzf — =i — • 
 
 4=^— 3— *— 1^ 1 gZ^ZZj^^ZZ^ZZI 
 
 fc 2 3 
 
 ft ^Sg". j^aZSHZ -:rJ«-aZgZgzffzgZPZaZ 1*~ c '~F" 5 i~S~ g i~l~ g i~a~ M~n^r^'^f">~M" t — wrsr si — ^ hM~xr-T^-xy--sr*~f~~~* 
 
 ^ H g H t H P H S-az^szfezazSzazl: 
 
 5 5 " 
 
 ? : £ - f • m 
 
 zipzzzgzzzSzzz £z~z»zzzszzz»:zz:szz 
 i xi »<r^ ««i 6* «i )^ wi p «r^ «*i ^ • 
 
 e — p — g_ 
 
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 EEz 
 
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 ^ r 3 jirff"! 
 
 zz^llzzq^zybzqi^^zgzqrg gz^-: 
 
 2 
 _X_ 
 
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 3zzz^ZZZaZ~t"W; 
 
 r^zzzzzzzs 
 
 -Jr^z£3zzz*izzzaz#z»z»z5zzrizzza~5- 
 
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 f ^zf 
 
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 rj.r 
 
 *1 a_ 
 
 FH 
 
 £^ 
 
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 X 
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 Example. 
 
 This exercise may be varied hy executing the chords in Arpeggio. 
 
 -RF3=4— Ti=» 
 
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180 
 
 STUDY XXVI. 
 
 CHORDS EXTENDING TO 9ths & IOths. 
 
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 THE THUMB 
 
 MAY SOMETIMES 
 
 BE EMPLOYED 
 
 TO EXECUTE 
 
 TWO MOTES. 
 
THE THUMB EMPLOYED ON TWO NOTES STRUCK AT THE SAME TIME. 
 
 Megro - ■ j S : ■!■ 
 
 181 
 
 STUDY XXVII 
 
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STUDY XXVIII 
 
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Moderate 
 
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 45BBEBSE 
 
184 
 
 EXERCISE 
 
 PREPA1UTOKY 
 TO THE STUDT 
 OF THE TKILL. 
 
 TEN. 
 
 is??: 
 
 Allegro. 
 
 STUDY OF THE TRILL. 
 
 -t— a- 
 
 1 1 r— i — 1 — ~r i i 
 
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 2 ° 2 
 
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 =g 
 
 EPE 
 
 4 3 
 
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 mm 
 
 E5SSS3 
 
 -flJ-8-L 
 
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 ^ffi 
 
 £*£»- 
 
 ?£E£ 
 
 MfeQ 
 
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 1 t r TTT T^ 
 
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 lis: 
 
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186 
 
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 1 — i i i — i — i — i — r 
 
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 II III 
 
 44044 4-4-4- 
 
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 zzz? zzzszizz 
 
 STUDY OF THE TRILL. 
 
 Lento. 
 
 I 
 
 EXAMPLE OF TRI1LS WITH DIFFERENT TERMINATIONS. 
 
 1 tr . ... It R=9 
 
 s-e— ®— =J 
 
 _ BJ 
 
 rg~zzzz 
 
 -<s>- 
 
 -o 
 
 I'M 
 
 -s>- 
 
 Jl 
 
 
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 -<s>- 
 
 -Gh 
 
 hN-i^- 
 
 :s>: 
 
 ~&OZZ- 
 
 122: 
 
 
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186 
 
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 g 
 
 jffl 
 
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 mf 
 
 r»r 
 
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 = 
 
 
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 § 
 
 e 
 
 a) 
 S3 
 
 
 dbg — 
 
 -«- 
 
 jfejgggi 
 
 £iz 
 
 4- 
 
 ¥ 
 
 53= 
 
 ^ 
 
 P 
 
 "^r 
 
 I22~ 
 
 (1) 
 
 The trill may 
 be sometime! 
 prepared by a 
 grace note 
 
 Allegro. 
 
 - x 3 i-4 — x- 
 
 EBEBB& 
 
 E 
 
 ^^^E^^aegssag 
 
 :zzs: 
 
 qi: 
 
 3E 
 
 (2) 
 When a tril! 
 is very long, 
 the fatigue may 
 be avoided by 
 changing the 
 finger* 
 
 ETEKCISE 
 ON THE TRILL 
 
 FOR THE 
 RIGHT HAND. 
 
 iEi 
 
 Allegro. 
 
 -«- 
 
 # 
 
 — <s>- 
 
 :s: 
 
 V j ^V ikJkgg *■ J - 
 
 -e- 
 
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 1521 
 
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 Zffi 
 
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 I 
 
 i. fl aji i_n 
 
 tr 
 
 JBL 
 
 -a- 
 
 4 
 
 tr 
 
 5 
 
 4 H » 
 
 s 
 
 «£. 
 
 XI 
 
 S: 
 
 i - 
 
 -&- 
 
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 x 
 
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 i— <S>- 
 
 "JSL 
 
 2 
 
 Ifflt 
 
 iLsI 
 
 -(S L 1 
 
 JUL 
 
 rT 
 
187 
 
 Andante. 
 
 EXERCISE 
 
 ON THE TRILL, 
 
 FOR THE 
 
 LEFT HAND. 
 
 s-e— 
 
 IT 
 
 -4— 
 
 ife 
 
 *C ST 
 HB- 
 
 ^ 
 
 s a: 
 
 i 
 
 Jr. 
 
 eE3 
 
 i^za 
 
 sb^J 
 
 -s> — a- 
 
 te^f 
 
 rxj 
 
 *h± 
 
 Z22I 
 
 IX2XI 
 
 * 
 
 iL 
 
 J-^L 
 
 fcft 
 
 1X01 
 
 JLXaJL. 
 
 J- 
 
 -»- 
 
 JUL 
 
 *iai- 
 
 -o- 
 
 2 
 
 J£ 
 
 JSL 
 
 m 
 
 ^ 
 
 1&Z 
 
 £ 
 
 ^sE 
 
 2z: 
 
 22: 
 
 -iS- 
 
 
 i : 
 
 Z 
 
 -sk- 
 
 ip 
 
 ■«>— 
 x: 
 
 A 
 
 tr 
 
 3BL 
 
 _te_ 
 
 -<s>- 
 
 •g- 
 
 SEE 
 
 -®- 
 
 -S>- 
 
 : ;r 
 
 S33BEE 
 
 %$H 
 
 -^-sHr 1 
 
 S 
 
 x 2 
 
 TJT 
 
 feaftti 
 
 * 
 
 1 — r 
 
 : ^TT 
 
 :x =5" J 
 
 ip: 
 
 i=i 
 
 a 
 
 =M£f 
 
 &lJ£ 
 
 -p 
 
 4£ 
 
 JX 
 
 .2ir 
 
 «2z 
 
 MEASURE 
 
 THE TRILL BY 
 
 MARKING THE 
 
 FOCIt BEATS. 
 
 r 1 r 1 r r ftj ft] r 1 r 1 r 1 3ftJ 
 
 > 
 
 -7»~iT 1 r~iT#~ ( iT»T # T3E 
 
 S^-tr- 
 
 13 Allegro Moderato. 
 
 m 
 
 
 ~* — ^~ -" 
 
 1 1 
 
 rftTf--^- 
 
 IX 
 
 £ 
 
 s 
 
 Zl. 
 
 
 £ 
 
 r- 
 
 tr-. 
 
 m* 
 
 -F- 
 
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 -F- J - 
 
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 :sz 
 
 ^_ 
 
 k«2- 
 
 _• #_ 
 
 i=E 
 
 -# — 0- 
 
 ~. r 
 
 r 
 
 P 
 
 £ 
 
 gp — #r=^~ 
 
 p 
 
 ±? 
 
 r SEE|: 
 
188 
 
 Lento. 
 
 ft 
 
 tr — aLp 
 
 tr 
 
 & 
 
 ^ 
 
 33T 
 
 ^3 
 
 "2" 
 
 gpoi 
 
 #=*£ 
 
 sfc. 
 
 "n?' 
 
 * 
 
 f ^g ^ - 
 
 & 
 
 S=ft 
 
 ll 
 
 ::se=::jj 
 
 tr 
 
 22 
 
 J21 
 
 t r 
 
 _ P I 
 
 s 
 
 ri-jjE- 
 
 -#- -•- -iS> 
 
 -» — » — T=> 
 
 — I — 
 
 . tr.. 
 
 tr 
 
 *c 
 
 4=- 
 
 -(t 
 
 g; 
 
 ^S=#!=s£ 
 
 :sfi 
 
 ? 
 
 
 -tc 
 
 icfe 
 
 ^--#J---^- 
 
 :«*- 
 
 1=1= 
 
 W 
 
 :°=» 
 
 ft 
 
 n M- 
 
 nr 
 
 - 
 
 !5? 
 
 I» »" 
 
 "ff" I s " 
 
 f 
 
 
 be: 
 
 :p=3 
 
 s 
 
 £ 
 
 I 
 
 xs 
 
 -£1 C ^ 
 
 jp — ■ — g?~ 
 
 3 
 
 3ZZISZIDG: 
 
 -®-. 
 
 -0-2- 
 
 _fc. 
 
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 Jjl 
 
 fr q 
 
 .-#> 
 
 tr 
 
 M 
 
 Lento. ■ 
 
 tat 
 
 "gr~ : 
 
 tr > 
 
 gEg 
 
 mx: 
 
 -F: 
 
 itip 
 
 T-x: 
 
 -<s>'- 
 
 $£ 
 
 SS 
 
 iE* 
 
 ISC 
 
 rrl 
 
 -*- 
 
 M- 
 
 P 
 
 &Q 
 
 P P "Ul 
 
 i 
 
 14 
 
 Jr_! 
 
 -i* 
 
 "2 3 
 
 ^ 
 
 1 2 — 3-jt 
 
 3" 
 
 S 
 
 6 
 
 tr P "TZ 
 / I ■ E ' ' "J* 
 
 " 1 ■■=' 1 ' ' [- 
 
 " - . p | ^- — " r 
 
 . ! 
 
 S gj 
 
 
 ._ ... _# _,# -lr 1 — — 1 
 
 — -1=1=3== 
 
 « ! 1 — 
 
 1& 4 - — 
 
 -f- -P- tr, 
 
 L P 'p-P- 
 
 3HSFT3 3 
 
 v=t *b *i jJ 
 
 ^=— p^pca: 
 
 ' » w JJ 
 
 4? 
 
 v ' » "s? — :~r 
 
 1 -.<"\_> 
 
 — v^_ 
 
 L — s>-5 — CJ 
 
 Lento. 
 
 i 
 
 Jr. 
 
 -p— Qg — i^~ 
 
 r?rrEE3 
 
 HBiS 
 
 z; 1-3- 
 
 a 
 
 £ 
 
 -r-j- 
 
 s 
 
 £: 
 
 2323 
 
 -«- J-J- 
 
 3-©". 
 
 f — r 
 
 TRILLS 
 
 FOR 
 
 BOTH 
 
 HANDS 
 
 tr P 
 
 %t 
 
 ^9r 
 
 & 
 
 4 
 
 it 
 
 fr 
 
 _cr m- 
 
 _C2. 
 
 
 "3TS" 
 
 j= 
 
 TRILLS, 
 DOUBLE 
 
 AND 
 TRIPLE. 
 
 2323 
 
 JtXiX. 
 
 r — tr- 
 
 Sij&=gzz3j: 
 
 tr 
 
 tr 
 \<S>- 
 
 -X"9" 
 
 e -« 
 
 34343 « 3 
 
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 -tr— 
 
 e: 
 
 tr 
 
 s- A 
 
 vs- 
 
 4 
 
 3z: 
 
 2323 
 1X1X _ 
 
 — be — e 
 
 -e— s- 
 
 ^ 
 
 :xi_ 
 
 -tr- 
 
 
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 1J2. JjL 
 
 :s; 
 
 34343 
 1x1x1 
 
 ^,-3 
 
 3434 
 1X1 X »« 
 
 &. -3 
 
 1^ 
 
 :s: 
 
 .El 1 
 
 
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 — re* a-» 
 
 O 3T 
 
 :4: 
 
 4 
 
 -o- 
 
4 
 
 _tr. >a 
 
 zx. 
 
 Z&=3± 
 
 "f tr 
 
 xs; 
 
 -<s>- 
 
 34343 93 
 
 •J 3 
 
 34249434 
 
 189 
 
 -W 
 
 tr 
 
 5%= 
 
 J^ ji 
 
 _«_ 
 
 ljajj 
 
 LJ_5Lw- 
 
 Ul 
 
 -a — s' 
 
 1= 
 
 1X3ZXTX: 
 
 i"~i~S — i" 
 
 miffflf 
 
 
 tr 
 l-<0- 
 
 TRILLS IN SIXTHS, 
 SIMPLIFIED FOE SMALL HANDS. 
 
 3 *"3 
 
 \--G>~- 
 
 I 
 
 "2T 
 
 4-<S>- 
 
 TRILLS IN SIXTH& 
 
 (1) 
 
 When a trill accompa- 
 nies a melody, it should 
 be divided into notes of 
 real value. 
 
 EXAMPLE. 
 
 XFFECT. 
 
 ■J- 
 
 g^H 
 
 Allegro. 
 
 i 
 
 '^ 
 
 i 
 
 < 
 1 
 
 -te» 
 
 -P-— P-zfcfl- 
 •-i — tfri — sj— I — i-*- 
 
 5 tr~ > I* 
 
 Pr ff Pr P r 
 
 r 
 
 Allegro. 
 
 TT^ 
 
 23 2 3 
 
 S-s>- 
 ,-s>- 
 
 321 
 
 p£t£d^££^e^di^tft£p 
 
 £: 
 
 
 * 
 
 • 
 _r~ 
 
 I 
 
 A TRILL DIVIDED, ACCOMPANYING A MELODY. 
 
 IKGTHE 
 
 HANDS. 
 
 =^ 
 
 R=FR 
 
 l-i 
 
 XL 
 
 5=f 
 
 g 
 
 (1) A TRILL DIVIDED, ACCOMPANYING A MELODY. 
 
 ¥ 
 
 Jr_ 
 
 '2s> : 
 
 r CZr r 
 
 r 
 
 r 
 
 ±j±±±-t. 
 
 ^=6=tzrzzr= 
 
 a — Ip~1pH* — »— 
 
 j — r 
 
 X~C 
 
 Jr_ 
 
 -r»-# 
 
 tr 
 
 £_£*£u£ 
 
 -»-»■ 
 
 :»~»~bt*~I»" 
 
 "i~i r 
 
 ~i — r_ - 
 
 is: 
 
 
 Adag io. 
 
 — T~H 
 
 tr 
 
 S 
 
 -F- 
 
 HX 
 
 Ea 
 
 ? 
 
 "SF 
 
 3E 
 
 
 -tr- 
 
 na 
 
 ¥~ 
 
 3 
 
 St=*= 
 
 -S>- 
 
 "S5Z 
 
 £# . -s 
 
 ££ 
 
 r6-^ 
 
 -x-x> 
 
 Andante. 
 
 & 
 
 rz- 
 
 -&- 
 
 & 
 
 ran 
 
 4 
 
 ::sz|: 
 
 -i- 
 
 Iffi. 
 
 -ag- 
 L -s>- 
 
 Allegro. 
 
 2 3 
 
 
190 
 
 3£ 
 
 2 
 
 - tL r 
 
 & 
 
 4 
 
 -«c 
 
 m 
 
 * *fi 
 
 IZISZZ 
 
 £ 
 
 E2XZZIJ: 
 
 i 
 
 r c g = 
 
 I I 
 
 — -*»- 
 
 
 r r 
 
 :«x: 
 
 3E 
 
 2 
 
 ==Ez 
 
 »x £: 
 
 i 
 
 
 ~zK 
 
 ■m- 
 zsz 
 
 I 
 
 ^ y^^ :feN=f^^=pfpfff?i^| 
 
 .hot- raro pJTO- ^ro 
 
 i 
 
 ■OTPOT-^OTffiS 
 
 is: 
 
 E 
 
 ? 
 
 f 2 - -*- 
 
 s: 
 
 ^-e 
 
 £=: 
 
 Lento. 
 
 if 
 
 2 
 
 5 — "=& 
 
 _a IE Ji u. u 
 
 m 
 
 J2L 
 
 Ir 
 
 M 
 
 
 
 X3Q R - r < 
 
 22" 
 
 EE 
 
 Jx_ 
 
 -<s>- 
 
 .2 32 
 
 H^P? 
 
 #J *X1Q 
 
 ii 
 
 2 33 
 
 Lento 
 
 f °- ! ! R I R 
 
 dzzEazzzzirirLzig: 
 
 2 
 
 i 
 
 ^fe£a£M 
 
 "55-1 
 
 u 
 
 i, 
 
 -l'^lb" 
 
 ~i n 
 
 f 
 
 ^ZIBI 
 
 3 
 
 ^ 
 
 Ir 
 
 21 J 
 
 I* 
 1 
 
 fr 
 
 21 l 
 
 i±li3to::is^fcaEKOT- 
 
 IT 
 
 F^t 
 
 
 L «> 4 
 
 
 3 
 
 : r T 
 
 1 
 
 i <* 
 
 3 
 4 
 
 1 
 
 a_tr __^ ft-t? -— - -_ 
 
 33S==rrS5= S 'X^T^ ^ 
 
 f- — -^•-#Sr — » ^T-«- LL — 
 
 * ^-S 1 I ** 1 p 
 
 u 1 
 
 Allegretto. 
 
 , tn 
 
 _lr_ 
 
 q_--rzD=n. 
 
 2 IX 
 
 jF'-=S3F 
 
 2 IX 
 
 Jr_ 
 
 4 
 
 1 
 
 r 
 
 •unss 
 
 t 1 
 
 X 
 
 '■-s=^7kl 
 
 4 
 
 i^ 
 
 -«- 
 
 4 
 
 j j . U JJL £ 
 
 3 
 
 2 IX 
 
 Jr_ 
 
 :S= 
 
 •J^-^^r 
 
 ? 
 
 Jr_ 
 
 1 T 
 
 ^ 
 
 ^ fr-rrfrff^f-rFrff fr ff-f rfrfrtf frfr 
 
 
 '.XIX 
 
 _ I >-, J l | +_| l ■ i i ^-J^_M-^- i | ! 1 i i ; I 1 | j 
 
 2s: 
 
 :s?: 
 
 + 
 
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 5 • : 1B333B35E1 :^1zrS thic . L - 
 
 : ^^ ~g7X'x p~~ y — 
 
 ~l ~8 3 2 
 
 T¥" 
 
 -<S>- 
 
91 
 
 SCALES DIVIDED. 
 
 DAILY STUDY. 
 
 a 
 
 Allegro. 
 
 
 X 
 
 'T~r 
 
 2 3 
 
 ■&**• 
 
 _- 4 I ' ! I A ^.»-FT~ n ! A 3_ _ 
 
 7Fy/» x r""T*1 ^m0 rV f , \l- ^T^ ST< _ 
 
 1*~» ^. a 
 
 ^^ 3 
 
 RTF fff-ij , 
 
 M l l 
 
 rjjabtj: 
 
 t~r 
 
 V 
 
 2 
 
 
 
 Allegro 
 
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 ^ a 
 
 L i X ? 3 
 
 hi — i i — i — r~ T r~i r #-_ A a. 
 
 ^S — SIX r-r— r- f-# 
 
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 53-7 
 
 
 
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 A 
 
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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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 KOWE'S ri'^O-FOBTE INSTRUCTOR, 38 
 
 WOO LF-INSTRUCTOH, 38 
 
 OHAOxNER'S AST OF PLAYING, 1 SO 
 
 ADAM'S ELEMENTARY LESSONS, » 
 
 DIABEIXrS ELEMEKTABT LESSONS, 38 
 
 SBAMEB'B INSTRUCTIVE LESSONS, 50 
 
 Fiai 
 
 •rimers and Catechisms. 
 
 *UB~. ' PlaNO PB1MEE. New Edition S3 
 
 OLIVER PRACTICAL TEXT-BOOK 50 
 
 FORCES' CLASS BOOK Ai.D PBIMEE, BS 
 
 TOUSSE'S CATECHISM OF MUSIC, S3 
 
 KWORH'S METHOMCAL GUTBE, - 50 
 
 Pinta«» ;-*<«.«ltcs and Exercise. 
 
 I JCHOOL, 3 50 
 
 ;an voluntaries, 1 so 
 
 SUCTIONS. Ei»«,C*ixott,Wa»mh 150 
 
 N VOLUNTARIES, 3 00 
 
 rn^i ORGAN, in Nob. Each, 50 
 
 "MRLES. ByHu.;. In No*. Each,,... 50 
 
 ;tu»i r& ORGANIST, 1 50 
 
 VOLUNTARIES, 150 
 
 SO. ii-LoDES AND INTERLUDES,... 50 
 N0» ■£ XX 3 ' .ORT MELODIES. In No*. Each, 38 
 
 Organ music. 
 
 jnEBTTJfTS STUDIES (Op. 84) Rudiment! du Pianist*,.. 3 00 
 
 IX>. 85 t>^ "DIES 100 
 
 00. tHOBQDUCTORY TO CRAMER, 1 50 
 
 DO. f"0ALI;$ AKD ZXEBC1SE8, SO 
 
 *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 
 
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 "lute Ifooks. 
 
 i 00 
 
 so 
 
 38 
 .18 
 33 
 38 
 
 38 
 
 WRAGG'S FLUT 
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 HOWE'S SCHOOL 
 ETHIOPIAN FLU1 
 
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 INSTRUCTOR, 38 
 
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 SELF-INSTBUCTOB FOB THE FLUTE, -. 38 
 
 JULLLEN COLLEC'N OF FLUTE &. VIOLIN MU" "•« 
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 Accordeon Books. 
 
 NEW AND COMPLETE METHOD, 
 
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 ^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*