WITH SCALES FOR THE BOEAM FICE. BOSTON: PUBLISHED BY JEAN WHITE, 226 WASHINGTON STREET.he me °” 1550697 RUDIMENTS OF MUSIC. PART I. ‘Tux stndy of practical music may be divided into two general parts: Ist, Reading; and 24, Executing. ‘The former part consists in the thorough understanding of all the signs used in musical notation,—Rudiments of ‘Music; the construction of scales and keys; the meaning of clefs, time and rhythm; and a knowledge of inter- vals. ‘The latter part begins with the practical study of an instrument; the artof producing a good tone; and in the gradual aequirement: of facility of execution. ‘The following pages will be mainly directed to the consideration of the “Rudiments,” which ought to be mastered before an instrument is taken in hand, so that the practical progress is accompanied by theoretical knowledge of reading music. ON NOTATION. very sound produced on a musical instrument has a representative sign called a note, ‘The first thing necessary for notation is the staff or stave, consisting of five parallel and horizontal straight lines "of which the Lowest is called the first line, and the following respectively 24, ES ‘Ba, 4th and 5th. ‘The spaces between the lines are likewise counted from the bottom. As to the eye a note placed on the first line —=t—= is lower than that on the fifth ——, so the sound is to the ear lower or higher in pitch, as represented on the stave. ‘These five lines, however, are not sulficient to represent all the sounds an instrument is eapable of produ cing hence, a number of Ledger lines are added =, which are named as marked, either 1st, 24, or 3d ledger line above, or Ist, 24, or 3d Below the stave. 2 A note may be on, [J above, fT", or below, aq, the ledger lines. (‘Though some instruments, especially the Pianoforte, require many more ledger lines both above and below the stave, brass instruments very rarely use more than two above or three below it:) ‘The names of the notes are the first seven letters of the alphabet; A B CD E F G, the next following note being called the octave (8th), and bearing the same name as the first. For example, if we begin @ scale (or progressively ascend note after note) from C, coming to the 8th note it will be C again. 8 to. a 4 5 6 7 Sito eipe erator eee OO emi Glace. oD BF G@ A B a Hears But though"we have thus our notes, their names, and the stave to place them upon, all will be compar atively useless without a clef. 7 Copyright 188, by Youn WhiteIn Brass Bands two clefs are used; the Treble, or G clef =—>—, and the Bass, or F clef. J—"— Each of these clefs has its own notation, or, in other words, one and the same note will have a different name and sound, according to the clef in which it stands. ‘Thus, for instance, take three notes === cope sd posing the Tbe let thie nes ae G=—FE=P=E, and in he Das nat ON CHROMATIC SIGNS, “ACCIDENTALS.” ‘These consist of the sharp %, the flat b, the natural }, the double sharp x, and the double flat >>. The # makes any note before which it stands'a semitone, or half note sharper or higher. ‘The b denotes that the note before which it is placed is depressed, made a semitone lower, or flat. Any note already made sharp or flat, on having aj placed before it, regains its normal state—is made natu= ral again. A double sharp x, as its name denotes, when placed before a note raises the same fwo semitones, and ‘8 double flat b> depresses it in like manner fwo semitones, or a full note. Every note ean be made either sharp or flat, according to the requirements of the melody or harmony. @ sharp, Bist. Banataral. double harp, -E double fat, Chromatic signs cither denote the “key” or are “accidental.” In the former case they are placed smme= diately after the clef, anid influence all notes which stand on the same line or space; for instance, if the “signa ture” of the key consists of two flats, we perceive that the first is on the third line, where the note B stands, and the second on the fourth space, where the note E stands, and they signify that every B and H in ‘the piece is to be made flat. If occurring at any other place in the piece, they are called “accidentals,” and influence only the one Bar in which they are found. ‘There are two distinct Scales, namely, the diatonic and the chromatic. ‘The diatonic, again, has two modes, the major and the minor, commonly called a major scale or a minor scale. ‘The distance between two notes is called an interval, which may consist of one, two, or more notes, and is called a second, third, fourth, fifth, sixth, seventh, octave, a ninth, and so on. Ina scale there ought to be no skips, but it should proceed upwards or downwards by “degrees” of one note. ‘The succession of intervals of a major scale consists of five full tones and two semitones, which all bear a fixed relation to one principal note, called the fonia, or key-note, and this invariable progression of certain intervals constitutes the key of the scale. ‘The normal, model, or natural scale, called in the key of C major, consists of two full tones, one semitone, three full tones and another semitone, thus:— a Pet € —————— Full | Semitone | Pon | Fe Full._| Semitone, If we want to construct a major scale of eight notes on any other scale but C, we find that these semitones will oceur not between the 8d and 4th, and 7th and 8th, but at some other place, and we must use certain ac dentals to restore the precise succession as shown in the above scale. ‘These accidentals are placed at the beginning of a piece, and form the “signature” of the key; and the initial note, upon which the scale is con- structed, gives a name to the key. The following diagram will illustrate the formation of all the scales in use, with the signature and name of each:—‘y SHARP KEYS. FLAT KEYS. ult Tone | ult Tone Fearon | a gone, Urine | Fall To, all Tone. Haitian | TIGRATORES pat ater the ole Baty ctl te Rey? AE REY: inc, ing, in a. =fin sate. in B nator, in oar. ae, in 3 a in Ba, in As, in Dat, in eta, ince,‘The minor scale differs from the major mainly in the position of its /frst semitone, which is not between the 3d and 4th notes (or degrees”), but between the 24 and 34, thus making the interval between the 84 and 4th a full note. Tonic. Second. ‘Third. Fourth. Fifth, _Sisth. ——<—= Full Sonitone | Fo Several other modifications, with regard to the Gth and 7th intervals, are given by various writers on the ‘theory of music, but to enumerate them is not necessary here. ‘Phe chromatic scale consists of a succession of semitones, generally effected upwards by sharps, and down- ‘wards by fats. SSS Ss + & = = ‘There is another kind of interval necessary to be mentioned, consisting of two notes different to the eye, ‘ut the same fo the ear and fingering. Teis called the enharmonic. Taking, the notes Of and D? we have an enharmonic interval, of which the following example affords some other illustrations: ae = = =} > = =| |" —E ON THE VALUE OF NCTES, “TIME.” ~ Hitherto we have looked upon our notes as representing only musical sounds, but now we have to consider ‘the value of them with regard to time, or their relative duration, ‘The sound of the note depends upon the position of its head on the slave; but the value is denoted by the shape of that head, the stem, and the hook. 1. Tueopn or white note, © cal whole not all abet 2, Thegpen note withasten, @ "Malt" 18. ‘The Bac or closed note, > quarter, ” ‘The Vac note witha bok, @ “4 The came with to hooks, Bo” 6 With tree hooks, 5 ”thirty-second note, It is often considered more difficult to learn “time” than it really is. The student has first to impress upon hhis mind the shapes of the notes, and remember their respective talues, which latter is best done by taking any fone of the first three notes as the unit of time, and either halving or doubling it will give him the relative value of the others. aS : One 2 is equal to two? ?, or four f P fror cight PP PPE ES for sixteen 9 9 § for thiny- ee two 9994. Or again, taking the quarter asthe unit we finds one quarter is canal of 5 2 et, org g 5 § Asixteenths, pepper or EF EL SSS 8 thinty-seconds,7 Lt makes no difference whether hooked notes are detached § For fooked together, grouped, Caeaaf ore fide. ‘When a dot is placed after a note, thus 7", or f *, it denotes that the value of the note is to be prolonged dy one half of its duration. Thus:— ‘A dotted whole note © + is equal to 8 half notes: ‘Adotid halt moto?" —” — squarer: (7) | Adottadeighth mole F° —” — Santoontacf If two dots are placed after a note, the second one denotes half the value of the first, or one fourth of the note. FP | scotiod quate note inoqaal to dsighths: fr: * iscqual to PPPs orf canal to PF | Eyery piece of music is divided into a great number of symmetrical little portions, marked by a straight ‘The end of a piece is denoted by fwo rather stouter bars, called a double bars which also denotes the close of a longer period of a piece, such period being called a part. If « double bar has the adlition of to dota oF hooks, chur | I fy 4| FE AF ie wigniton cat tho part towards which these dots point is to be repeated. It is then commonly called a repeat. Every bar must contain a certain definite value, specified by the time marked at the beginning of the movement. ‘There are two species of time, the common ot equal, and the triple, compound or unequal. ‘The sig- natures of the former are 2, & & and 2; those of the latter 3, 2, , 2, &, 8, and 4, the upper figure showing hhow many parts are in a bar, and the lower how many of these parts constitute a whole note, 2 standing for two Dalf notes, and f for four quarters. = two g — tea = oe = quaners, 4 = quarter, = cigitin Exauriss, aasd 1 2 8 @ 12 $4 1234 128 12 8 2a8 123 123 456 128 45 64 It is frequently the case that common or equal time is mixed with compound or triple time, in which case the figure 3 is put over three notes, then called a triplet.” ‘The mere fact of being grouped together is, in many instances, sufficient to identify triplets. z « aE ‘Exanr In the performance of a piece of music a cessation of sound often takes place during a difinite portion of time. This is called making a rest, and there are as many distinct signs for rests as there are different signs of value for notes. Whole rest Half west, ‘Quarter rest “ighth west. ‘Sistconth rest ‘Thirty-second rest,‘Ifa dot follows the rest, the same rules apply in this case that have been given with regard to dotted notes. Bxawru, equal to equal to ual to equal to equal to, At the repetition of phrases of moderate length, the trouble of writing them over again may be saved by an “Abbreviation,” which may be for part, or a whole bar, or even for several bars. Brote, — Bnoten G notes. 4 notes, 4 notes, 1 ber, 8 notes, 2 bars 16 notes Aroten Tnotes. 16 note 4 notes ‘A single note may be divided, or “broken up,” in the same manner. Fou. Ananrviariox. fa Finally, I may refer to the practice of “time beating.” By this the conductor infuses unity into the per= formance of the band, who ought, both individually and collectively, to pay the strictest attention to it. ‘To the young conductor a few diagrams will illustrate the way it is to be done. In 2 and ff or 3 time, the bar consists of ttoo beats, the jirst down and the second up. “And in Qand & time, nine beats in = 987 — ee tho bar are to be indicated thus:— Tn common time, or when a 2 : —" : ‘movement is very slow, the beats 2 | In the latter timo, if the move- 456 are: ment he lively, only three beats— Bae like $ timo—are to be given, each 12, ‘comprehending three quarters or eighths, 130 1B time is generally beaten fee es es eee like common time, or,ifit be a 65,4 2——> 789 bar are to be as follows: Ee Slow movement, thus: 1 128 Te is necessary, for the completeness of the “Rudiments,” to mention those signs which are used to pre- scribe the various shades of “Articulation” and “Accentuation.” ‘On all wind instruments the tone is produced by the withdrewal of the tongue from between the lips, tech ically called “tongueing;” the correct method of doing this constitutes a good articulation, and the degree of marines with which it is effected determines the various shades of accentuation. ‘The signs of articulation consist of aud 4a. Tho “slur” (legato), indicated by a curved Tine PP P Pf over or under a given number of notes, sige nifying that all of these should be played with one continuous Breath, only tongueing the first.9 &. The “soft tongue” (punto-legato, or mezzo-staceato), marked fran: 6 f f fi where every note is but tightly tongued. eee ¢. Tho “congue” (puntata), marked by dots PP PP, where every note is distinely tongued: and d. The “sharp tongue” (staccato), marked by dashes f f - f where the notes are separated from each other by the eharp pronunciation of a "4" ‘The accentuation includes all marks having reference to the various degrees of power, such as 9, DDI, ff, dim, eres, of, =, ands “GRACES,” OR EMBELLISHMENTS. ‘These are written in half-sized or small notes, called “grace notes,” They are ornaments added to a sim- ple melody, and their execution will generally prove the talent and school of the performer. Tt amounts to almost an impossibility to give rules for the execution of embellishments, by which a begin ner might profit. A performer must be considerably advanced in the use of his instrument before he can attempt to “beautify” a melody, and unless he has good taste, and the advantage of a skilled teacher, he would be safer in leaving grace notes alone altogether, than, by their incorrect production, to offend good taste. ‘The graces consist of: ‘The “Acciaccatura” (jammed note), written thus }, or \, or sometimes i ‘This note is to be played with great rapidity—"jammed” into the note following. ‘The “Appoggiatura” (leaning note), which is distinguished from the Acciaccatura by the absence of the stroke througa its tail. Its value (duration), is to be taken from the note following it, and it is generally played as if it were a full note. Warrrex. Praven ‘The “Tum,” indicated by two signs, either ae, or @ ‘With regard to the second sign, 2, there is a double signification, as it sometimes indicates a “simple turn,” and at others an “upward” one; it consists of three notes, and is generally employed between similar notes, thus: Warnes. Upward, Prayer. a where the first two signs are interpreted as a“simple” and the third as an“upward” turn, Here, as in some other ornaments, the taste of the performer must discriminate which way is best. Its value is always deducted from the preceding note. ‘The “full tun” oe, consists of four notes, beginning with a semitone above theinitial notes if an accidental is added to the tum, above or below, it influences the highest or lowest note of the turn, thus:— Warr, b « 7 ws 2a eee Praven, —;, ooSometimes the turn is written i full, thus: = = =: E =E — Sy ‘The Beat” (mordente), indicated thus a, over the note, consists in the rapid alternation of the initial note with the one above; itis, in fact a shake on a note, the duration of which ia 6o short that the alternation eannot take place more than once or twice. Tt should always be slightly accented. Wares,_All BxaMrirs, _ —_— ESSE ‘The “Shake” (trill), marked fr, is a rapid succession of the principal with the note above (like the Beat, but of longer duration). It should always be finished with a turn downward, and if the note be of sufli- ciently long duration, it should commence slowly, increasing in rapidity. Most artists begin the shake with the ‘upper note. Warm. ca a Bas —— = oR eto t gto totot o ‘The “Cadenza.” This ornament was formerly only indicated by a pause, thus: =, at which the solo per former or singer was at liberty to perform an elaborately ornamented passage, on which he, as a final and crowning effort, lavished all his ability and invention. In our time composers introduce cadenzas oftener than ‘was formerly done, but always write them down, inventing the form, and leaving only the finish to the executant. ‘Cadenzas may be infinitely varied, and therefore one example will here suffice piacere —— From “Dinorah,” by Mevrnanen. a ee ete ap tte ek‘stot wa ty GAMUT FOR THE BOEHM FLUTE. ‘Tho first stavo is forthe chromatic seale with sharps, the second isthe equivalent in fats; tho black dots ® aro closed holes, the © arv the fe] open Holes, the x are for tho Keys when required to be open. When omitted, the Key or Keys aro closed. I (A) This Key is to shako CZ upon DZ. (B) This Koy isto shake CH to OH, or CH to DS. (©) This key is open, itis closed with the thumb loft hand ; the small x on the same line moans that the thumb should be taken off. @ “conpriaht s y Tea WasTHE FINGERING OF THE CHROMATIC SCALE fo + FOR THE EIGHT-KEYED FLUTE. Boa ee aaa Petree eee riease eee ee oso sillllleoe © 0 Joo H os oF 3 0 <0 gille ee we elomo = esc 000m F dees 0,29 0.0 one to 2g |; oo = Zl eee! =o 2 eee oe oo Beieteierous lees coo t 7 | ~ a a 0 Tone IT eee! 00? § |IIlle oe oe som aiiiowe 00 0 2 eo = e ae e Mice e ee eo coe ee ene ‘ << Saar : —" 29000 0-0 eoeee = : eee em #8 2 = 2 ee eo oO 2 o oo gilli oe o elo & =e e £ lllooo ee e-o a < ° eee ee 0-0 a ee eee & |llloe oe one oe 2 oa @0000 oo é IIIl.90 00 0-8 oF 3 : my oe econ 4 ° ©o 0-0 i B lhtees oo os sees 38 g =: —0- 3 4 ee 00 one Hees 00 050 z ae qos? O5' 2s ox Son i on i [lloce ce eat [eco ee es : 3 en — - a eoe oo ere aa i t 5. alll] ee 0 00 ow & Ht &o22 ©0 0-0 — 2! pees Se é 5 fee ane am 7 4 eee 0 0 0-0 os = eee 00 ono = =o eee coon w 4 o54s 13 € 2 fo = ° Oo ° ° ° ° ° ° . . . 25 fs gfe sfr or spe fs ays iy 4 Shy hy iy ty 4 ‘y ay by by boy by Sy day Seale of all the Major and Minor "shakes which can be made on an Eight-keyed Flute. ‘Those notes which have no epecial fingering marked, are fingered in the ordinary way ; as marked in the scale of fingering. ‘Those shakes which are imperfoct aro marked thus. + ‘The sign fr indicates tho fingers to be shaken. ‘Those shakes which aro impossible are marked thus ‘The large note indicates the note shaken from ; the sinall note indicates the one shaken to. ‘A figure placed under any note refers to the same fingering marked with that number in the scale of fagering. ria Sree ee rae eee ee ~~ Beat [wifeTABLE. SHAKES OF ONE TONE, ob) J gpd 2) so) oedsheael hgh he = E ae Ba foger Lite finge on Gor ape oe Shake Koy. i 1st hinger. Shake Koy. 28 finger. Shako Key. vofefe ‘ afssfesee 2d finger. * nagpeer | t iam 7. Little finger on ©. ipa Sn as al TABLE. ‘HALF TONE SHAKES, es rho IGE SD nye) ng) po) at) fl ofp aio} gulshel shonshslNeBIPMEES are cares = 1a Sage 2 Then, i Hage Lie dager on Gi or : eee fepek Lb cbebfefeefeefeefenbendafede bb tL IEEE ELE TE EL AL. Df or Eb key. 2 . “Littl finger on CF or Fey. Little finger on Cf [ernment 16 x MANNER OF HOLDING THE FLUTE. ‘The flute must be held with the embouchure turned inward, on a diferent line from the other holes. Tt must maintain a perfect level, a3 raising the elbow too high, or lowering the head by fatigue of either, causes a change of position of the embouchure, by which the purity of tone is lot. 1. ‘The fte uit rest on the third joint of the left and; the tub opposie the fst holy th rt and second gers well arched that the third fnger may readily reach the third hole, the fourth finger finding position over the Gf or A’? key. athe right bund is then placed near the lft in tho same position, the fourth hoger remaining alwaye over ihe Df key, the use of vii i tequenty reqved ils at svcd i unastoal or eonstraioed potion, using all posible care and attention that eave and grace may be at ngs noqied “ts mi pat to he out, tng on the hn the ip leds the onbrachore guns, he Easy prion f the unter if aad somowbt coveted by i Soul the instriment by forcing trough the closed Ripe, (thus opi em, & sal Mesa ait wth wtih the Tangs hao Boe filed before commencing. “athe hes remein‘uheowered il the fone star minds with freedom and parity. ‘Avoid forcing the wind wit the stron, Arete sedwalof breathy the fot note i truck with the tongue, sping the Table.” ‘Wh Ge pupil can prods «ful ton io thio manner, the Sager tay cover thet respective holes andthe sale may be come wwenced ° “Rs‘higher the notes played; the grestr ia tho necessity to Keep close the lips, which is done by advancing the lower ‘TAS betty of che Novae vos sists tet bing ful and sonorous, aod‘ te higher tone a being amet and por a1. ‘To acquire a good tone on the flute, the seales must be well studied, slowly, and increasing and diminishing each note without changing in the least the position of the embouchure. "The forte and piano must be made equally perfect in their tune. In commencing the piano, the lips must be close together, ping gradually to produce without brupaen tho forte. Proeed inte rovers manner fo rtarn to the pio, Tis aay, Hf not agreeable, is very nocossary. Exercises on Tongueing. Der.cuxo Sores wearers Attack each note firmly ith the tongue, using care thet the fingers act at precisely the same time. ‘Noris Suomnep mx Grovrs oF Two. eee ae : vy en EEE rE EEae aaa aoe: oe fates eed eee IE see ete os ‘This articulation la very brilliant and effective when properly used. AnricoLatios Coxtzazy To Tun PaiceDsxa, =e a 2 ‘This articulation is seldom used.17 Exercises on the different Styles of Articulation. ae Eset saspoee eae = eiteste sxsp ote eonase Spbse st ey ng php gp tee CPt hen gti 5 AER ‘qe — tt atites naame 5 (GER A EEE ee ey No examples in double tongueing are Its too early uso prevents ap tice of double tongueing, the DOUBLE TONGUEING. this style of playing should not be used till after two or three years’ study. ‘and the tongue. When a propor time arrives for the prac yaneiation to adopt. 107,ON THE TRILL. 1» A trill is made by alternately striking two successive notes of the diatonic seale, either major or minor. The lower note is the principal note of the trill, but it is usually commenced on the higher note. MAJOR TRILL. tr ‘MINOR TRILL. Jr Effect. — 5 fe open eutatats 2 =| ‘Tho trill should always be finished, if not otherwise indicated, by a downward turn. Examples on Terminations. tr Terminations. tr as — f il ‘Trills in piooes of slow movement as Andante, Adagio or Largo, should be made with less rapidity than in those marked Allegro or Presto. EE Turns, Indicated by sign ae. ‘Tho first note must be slightly sustained, the remaining fre belug played evenly. PASSING TRILL. Another kind of trill has no ending, and consists only of lightly striking the note with the fingor. ‘This tell is used only on short notes.20 ‘ GRACE NOTES. Graco notes aro small notes used to modify or ornament a piece. ‘They have no regular value, but take from tho ncto to which thoy are slurred. Exarne. Effect. 2 ON BREATHING. ‘Many persons, wshen commencing to play the dute become fatigued from not observing the proper places for breathing. Breath may be often renewed by making a slight suspension on certain notes, without injury to tho flow of the melody. This rest ‘usually made after every tio oF four measures. If tho pioco be of slow movement, a phrase of four measures is difficult of exe- ceution with one breath, ‘Then the judgment of the teacher will indicato the proper places to pause for breath without marring the piece, When this principle is thoroughly mastered, less ftigue is experienced by the performer, and his execution is more agreo- able. In the following example, the pauses for full breath aro indicated by a point and comma; shorter pauses are indicated by a ‘comm only. gee Respiration must be made very short at these incidental pauses, but a fall breath must he teken for the long notes which prevede the termination of a phrase, at the points and before the slurred notes at the end, as indicated by the commas in the above example. ‘Nevertheless this license must not be abused, as unnecessary breathing makes the performance uneven. —> toe E Tr in a long passage are found two notes of the same degree, and the breath is insufcient, the second note may Tose some- what of its value, that the breath may be renewed. = weiy a7 Lessons on Counting Time. ae 21Triple Time. Count three in each measure.L , | = | 4)Exercises in Syncopation. Syncopation means that the ordinary accent is reversed ; that tho unaecented part of the measure becomes the accented. * Syncopated notes are easily recognized, as they are always found between notes of half their value. EXAMPLES. ‘Note, ‘The secent naturally falls on tho anoren nambers. 4S. FORTY EASY MELODIES. ARRANGED PROGRESSIVELY. Andantino. = < ~ 7 ~ =— No.1. i A = Et Air from the Muleteer. D No. 2. ‘Tho White Veil.29 Guard of the Mill. sore,Allegretto. penne No. 5. Gorman Air. No. 6. Song of the ‘Mountaineer. No. 7. Child's Prayer. | |Pastorale. No. 9. ‘Marriage Portion. 1550697Allegretto. No. M1. Ee mes. (EE33 No. 12. Austrian Melody. No. 13. ‘Swiss Molody. Allegretto. ae No. Md. Oe a “Air from ae ea it34 Pe peneree ey eoamuua : : & ed aon.No. 18. er} ‘Tho Noblemen 4S ‘and the r Swallows.‘My Guardian Angel.No. 21. ‘Arabian Air, fee, ettNo. 25. ef Galop from Giselle No. 26. Air from ‘Anna Bolena,40 No. 27. Annen Polka. > Sfp et ffir. pee No. 28. Flower of the Field.= No. 30. ‘Workingman's Sunday.42 No. 31. Air from Giselle. No. 82. Fireside Happiness.43 No. 38. Galop of Maskers.44 No. 88, By tho Gree of Got 4% No. 86. ‘The Fool of Toledo.Allegretto moderato.46 ae Peart pii sl No. 88, ‘The King D'Yvetot.. p i AD. ADAM. |e = ee | -4 oe =; 4 x - Sa =e 5]No. 40. Waltz from Giselle. 49, ADAMfe coor EA fete ee ee pes GEatGe eee fatetete £te2. fetstee reccceds? Aish stot sFat aoe ope Ge === pest ttite. ratte = Slurring Two Notes. ‘There are several ways of writing and of playing such articulation. Ist, The two notes slurred are not separated from the other notes slurred in the same way; in playing, the sound must be sux tained. cote 24, ‘The two notes slurred leave en interval betwoon them and the following ones; in playing, the sound must be stopped. =F] ‘This articulation, written thus, produces a sort of skipping elect which is most brilliant. ‘The second note must never be played. oe 14057.60 Exercises.—~ as a Pe == — = E f= F ate ea tS ——— See (GES52 ‘Tho first note must be attacked with force and the sound diminished to the second. Exercises. ee 2 <—- = ie at Pace eee * i= fs SSS feeSaeate wo GES SS eS 1S Se 5 Te op ft ip 2 ga ss Peers er eer ee alate mare Males eee Slurring Three Notes. Se vo GR tree $22 Tes gets 2a ost.vos (GRO Fegan ioedy oe Two Slurred and Two Tongued.ie en: ftias pean eeSet etateh = I et =F Three Slurred and One Tongued.———= J —— == No. 2 ex ia cae PEE £ehatae SeP 5 AOS Ry Letters Sets $42cFes 2 Wo. fee Saar SSS pete tree.—_~ —a -. — > Serr: Sept o nce ntttt aot ttiesttppp eee 2h Et atte ine eh oe PRE ee reer eee 70 ee tee eee vp Sa rae = aoe Etete «thee na. SSS : aa ttt ta ate. 2tt ap tte ass peep thee kh Zoe tet eee SEE ts adie See ee61 _ ms rg Saag Bas x8 gs Pi gama i ee Een cates eae ee eae a ceatiat tttted ve. plete oe ge eee eS Gree ane 108.02 On Articulation of the Triplets. ‘Very frequently triplets are played without attention being given to the disfarence which exists between the three notes compos: {ng the triplet andthe thee sine notes belonging to {F time. ‘The samo passago written in & and J ought not to be played in the same manner. age = fe Ex. 2. e In playing this example a stress must be put upon the first note of the six of cach boat. ‘The J time being composed of only four eighth, «stress mast bo put upon each of these eights} this rule applies Wkewise to common time. ‘The fault here pointed out is so easily distinguished, that in practising triplets there ought not to be any difficulty in avoiding it. Exercises. wee63 STUDY OF THE SCALES. Tn the study of the Scales in all the keys, attention must be paid to playing strictly in time, and to the raising uf the fingers with rogularity, that all the notes receive their proper value. Likewise observe the nuances with exnciness, Seale in C major. ‘e M2, asainoe Scale in @ major, mer:Seale in D major, 6566 SealeinAmajor. _— aa tt? fee ee ae Se, ‘i a Fe Seer fe 2 = te68. Scale in B major. s Ld BO < % fh 5 5 Hite HHL. EteeSeale in FE major. 09eet: cittee. = aette fe. pte =|Eb major. aastt gore ieee= este. ae possestiteees. ~ pyZte St wigs Se See < sepetiteee. = GigE = ee pgp estt HA tis ; EEStes. Fitesas, ofa Sites ep pits = ee Ap sion. ; Eten oat 2t2tt Etttes..> eset tit sever se £ : =e eS = tea settee: Pte ee ee £ f oe Z z tee : eetttt te, tette othttes, Ettee, ttre, s thos, Seeittee etteee, Steen, = fine aGb major. Gees No. 12. casetecthe & ée Ea ties, eet: eeett fee cfs . oagtttttles Ettteeees annette sp cttttee te eetttt tanChmjr, og 83: No. 18. Oe = t 5, sacdttt asabthiadt ASPET E pcp —o eett feEee a te Eitten,, octtittar,, aettttees, saettten ost == — = pow Hee AES chaste, 7 gaatteeeetttees, : sees tee te se eee78 Scales in Minor Keys. ‘Tho scales'in the minor keys being composed of the same notes as those of the major, it is necossaty to give here simply the soda of ack le, ‘Tne wn bin wih a eer a ih meron, ott eset OBeeee, oe A nine teas SS SS] A minor, E minor. B minor. weet rethas i SSS] —S Ese ae seme SCT BusterBp minor. EY minor. AD minor. aa mist PEESESEE ELE At abe, ease SSE] On panetteftetesa acetteletces.. eater Reta Chromatic Scale Ascending. = be ae | ae re pane Ee Bee eee te erie bat81 ee eS eS eee rae —————__—_| ,. —_—.=. cere area he y, oratestes! bate she ste ete bate ote ste tect etn EE ee ciecinie tte £ 2 te teste = aay p-easistestesteeZiele Pe Chromatic Scale Descending. eof Be ttstnete stan, EE Sziaieae wate eee CE Ta ; E Sooo Inthe prceing chroma err ther is no chango of tna. We now give tbls of chromate als in al the al keys. eo bate Fade obs , C major. ie — sie sa ee tater ebet clory, es (eae eee Eee eee Say a ie Sitbtebestela Se Ss Soy wratestoc fisizedes aes Sexe Sere8 Bp major. E65 potostacittie Fabeshens sys > = eee Eelesiee| BD sor pao warn ie Ce EE EE ey fits C minor. EGSPb: & & t Ny H ny Lage i tte, ie it te) Lie) Lie: te tt, ty F minor. Dp mor. BY winor, Gb major, Eb minor,B major. sdeseeSieSt Bette Hite B minor.86 On the Arpeggio, ‘The arpeggio is formed by the notes of a chord being played in quick succession. st Eft. ‘The Tearner in practising the exercises on arpogsios, will be careful to maintains fll quality of tone, to make the notes sueseed cach othor with perfect regularity, and to observo with exactness the mune. Chords of the Perfect Major, Perfect Minor, and Diminished Fifth. > at Bye ek ppt et att wo Gat rare a 1 \4 as ee aloes = iy y EER ae L a = ee Seen Bans |90 Chord of Dominant Seventh and Diminished Seventh. ——. ————_~ —_~ 2Exercises on Intervals. No. 1. No. 2.sre tet re Wo. 4. In the following exenaso the connection of the upper note with the bottom one mast be carefully observed. = = ~ = ¥ ~ BOR ORfoe eseesesei 5)E 2) 2) 2) e \ 2) ; 2)2)£) £))2\8)E 2)8) SAVE ee" (2(EF£ £)2)'s~ E Este Eb aes fen 2) fe) 2) =7 On Double Tongueing. ‘The ordinary tongueing being found inadequate for the performance of detached notes in very rapld movements, an accelerated ystem of tongueing was sought for. ‘The first thing tried was to add re to the syllable tu, which is used in the ordinary tongueing, pronouncing e for the fst syllable. ‘This stylo of tongusing fell into Afternrds Dogue was hought of: fv eto of tie pronunl ‘Dowgue Dowgue Dowgue Dowgue dou ‘ation was too soft, the separation of the notes not being suliciently distinct. ‘Then Uo pronunciation was altard to angus, [ EC =A =P AAP PA] PET] rns anoword prety hey, nqeuqe tgenqe w Dut it was wanting in regularity ; the chango of vowol in the pronunciation guvo to tho first note greater force than to the second. style of tongueing very aly te poison stp was ty, (GEASS ASP PREIS to kn tr ku tr ku te ku tu fairly unites the sonority with the regularity, and is called double tongusing. ‘The learnor in practising this must devote all his at- tention to the second note, giving it the same degree of sound and the same value as the frst. The observance of this rule is the only means by which double tonguoing may be performed with lightness and regularity. Slow. pe ft ee eettt settee 22 22“tet sree 999-9 Yo. 5. [@- Cee ee ee eS - tke taku tote EEttess seee see eeee = fae fee Esse $fttece #tttoes IS ———— eects “3 sepettt seeette PEt eee seeee ———— | — Sree ke ta ku tu ku tu ka set gtettstess pnansststti pei Sasttesttest + - oe p-9-9-9- oo oe a 2 Sz SE Ss ff SS eS ee = EEtteeent tees pte tope$ —£ Scere. Esere 8 ee oh eee eee£ £ as acts inka é to tkuta | In practising the following exercis ie Eee ae (giese ee Serer = No. 1. ooo Wher ta ka fe = ae Paha ie ieee . as, % [caer cserteerce As Eeieaererere ste seer eer AEH eet etree grate tented! ater Lp oot ah £ faa é ee 00 tte eee ee wt ka te £ 92 Foe f> eee t tu tuku tyi aka be 2_Ist time, V5 2d time, eee 5 : = at 5 eae oak aku to Seles ioe deceit : fe arireise ye | eet ee eee ee otte = f et ee Er Ets = 2 epee ce et foto ott eee ae Bee. ees > 3 tet Etheeetsesn Sat pas eater fa tukutubes = 7 taka ta x be ig Pere e ¢£ a £ = Fizua sr | Pkt read eae -__* 2 tt * ae =F £103 0 Pit tte ste tPF eg the ee Eaoree i tuku or stuttt tetseee see ste teceeee dee see tee or =fettt eee see 2 e dee eee see No. 18. 5 Stt sop teeceee Zee tu to tuku fi Stt See seesece + Eee nee tit sfstete ste ote etetete ite ate tte» = = ae No. 19. tu tu ku tw ffs sistete ¢ tu tukutu statete 2t2 pee ste etek = eet =] ake104 No. 20. tokwtrkuta pe Pt te, ie. fe + ta taku tu ku ta ku os ett eeete - *we tek tu astttete pcientiten tu taku te y EPs ebieteecinateg, my aeettin = fr teka tu tukutu taku tu tu tukutu , foripstesicey Fee ee eee ma kate a ae o tee No. 24.6"? Cane ot —Sn tke ku tu felt 0 ta ta ku to jp see fe ta fake Ete a eu ka tka ta Tor ka tn “lit wukwit wok ke pte — pte egith fterateee tatu kato kv ta w tert ke kee fo ku tatu kata ke ta > f: ott trast tutu ke take to16 Triple Tongueing. ‘Triple tongueing is to the triplet what double tongucing is to the sixteenth, It is pronounced tu ku tu. Ex. at = * ta ke te Tat ahve wre een eet te ‘The same as in double tongueing, the sound of the socond syllable is wouker than that of the first; therefore the second note of the triplet must be blown with greater force. No.1. Tita wknwte whine No. 2. f. pe = a ee & iS fe Epa z= =] No. 3. + firs otra tre SS aes - 2 tEAt etes eres oe. oy No.4. p= =e chia when #8 te. = shana fEste tote, == waka f. fe. be bhankaeste cu ku tute tu ku bu epithet tet etter ta! ttstyeptet teeters es, === SSE Sire whee we £ £ ¢ Ghaetea ate whet ahrn w ttt Ffteee,= £ festett sipetettett ap,etertett feetetiste ee eee EteEtetset ftattattet eo,0,,, = titateses, thestestest Wu tu teeta to No. 10. é tte109 2 tesennt leasanet * ee SSS bahae Rectrr SP Sree eee ‘fokota tr kota tr kata ‘take ta fakota t@ kota Z110 Broath may bo taken by cutting ovt those notes over which there is tis sign 1 « iita22= ott poe titaie | £ ft 2112 Slur and Triple Tongue. No. 17. a tukww tthe , twkutwta twtr kote tekote tu tthe tei eqtesresteet oe eee eS “tian eanenee cps pte ESE Stteees = No. 20 See = Shokan ohenatia .xo. 01. eee = i @ wukvtkue t mimkuwukutt ce teeteeeesS tte = si teen ane. ee SO oy peeeeet tices seecceteet terre No. (Papers Ss Se eee115 tttees seanteeteetteceeee: see, Sassy psnatestiioses seeseetse: v0.5 [G36 Raa tee Ce eS seetereetene epteppereertse ee eS] ptentsetettttesereeses , Pe een eaaeeneeas No. 10. Siresesanas tart Heeteet» uy sfteteetice Store 2the titetpetents i 1 vo. 1. PRE eepea pi eertpe ap ey CaP PP eRT EES BA No. 12. eatastioctettett papeesitett .erpet ppb ee = = SS SS SS Etttettetestectesen a, Sreetp ate # st Ftote). + =119 No. 17. sisetecteese az Reed sot fetatens janie se tet ‘eeepc tet, sotittentasticee120 CADENZAS in MAJOR KEYS, eer ters! Basan. ate to oo 5 wo P Pp iin ER “eerezeenda poco © poco PT a = ) #2) th) 27) 10,CADENZAS in MINOR KEYS. eee122 EIGHTEEN EASY DUETS. a Deer. sa Emin, relating to G major,5th Deer. relative» Daajor, aon,124 Allegretto. i a in D maj. it 23 or125 Allegretto, eee ath Does. am A minor, relive Cmjon. 9th Durr. in Cajon, 107,126Moderato. a 2 2 18th Deer. in F major14th Durr. in Dir, relative to F major. 15th Doze. in Fimajor1th Dux. | | | | | |132 Allegretto. 6 Roxvo.1st136 ee tai pro i Pantone. p-8138 Pretuoe. fn G nice.Allegretto, 107,140 Seale. Perfect chord.FEO ARE DY SN Te 12 Seale.Aen cte the ite te te Purceon gt ‘aD me etee Pe fesse 2tPerre tt 2 =152 Prete p= in Finan, Pest cor, oe eattte aepeett Sam ase = Sites <> ——eerie, 407,156 Perfect chord. Panzvoe eee : nD nicer. Prelude.Sees Bae et A Bp Ge fot Ffete tht Abe pristice weeseh Variation. Beh ‘Variation.6th Variation. 161 Parcopy in A major ,, Perfect chord. tt j=166 Preoney Apso. pores. ees= =~ ttle pattite date at eee SS eS—— 7 Parwoor ge bge—e EF aePa faeces atte peA Pte ie pg erst. tr ae faySy Pano; in F minor, Prelude. aa 5sp “Hr og #0 et >. \_4t ~~ = = 1 ite a 7 ~s2t att fb Fie See See ges or,PPO. tro Allegro xg“~ & == etter |office 25Fa182 TWELVE GRAND STUDIES, Are oderatg of eye oo fens o AE CAs (Gee gee ee hes 7 Se heane af ai, aegid) pdinnatnaiins snag Rete a ititeboty es — tee git see Ee aia Bt.ya Sie e Let tet hey FOE A aie ee ae attire ties pe, ase y Pepereeae 7 a ‘i aoe Teen 5 Be BeOS 1 faa pe spe espe spn ope son fon 650 pte lee pete ate Ge a a ties $22 Settee son tee Gp tou thet Be a pies ple £23 . atttes; iSst sat Suchet ) tit ita ces , 2 — 7 ta Be 5 tin, - 3 = 3 i ° “ eeaati ieee th pitt ert pe Se SeerSat ae a ges >= 2 epacs ae Se 3 sina ao eeeies a “Le = EfCaer Appt eee a He ee et + ete € a Septet tess r=192 Allegro risoluto. Peed =o Fe ot tt $oR Se cine le See Bietteeas saa, sade ? pS Se ee Sa? fPapcet 2 4 a fea 2t2y ae — fe, ED pastes « ' gS ie EE ere ee tee | ~ aaatt &> are ee oreo e+. tf eenteertet aes Ate 9 =f gece es “f feaatanttt trate ttt = = coo ee ot altte> Qm—m~ fetes = tt = eae pen et195196 Allegro moderato. zee efeae Fe S2ers gent Geiss a, eee ae Cie ee Lust | +. oe fie ts Eee SE ~*~ tate. A he ee heaoe Zt a pe Pa teat Py pa eeg se eee eee Hee gg ree eye ASar| “Ek sa 6 6 Ree Ee Fs pi Asbo ares Eat ee gent ; ete £ ee seitets, bea tp te ft fittos~a “TEMPO” (TIME) OF MUSIOAL, PIECES. Titherto, we have spoken of “time” with regard to the value of notes when compared with each other. But another signification of the word must be explained, namely, when speaking of the time of a picco, or ‘more correctly expressed, the Tempo,” by which we moan the speed with which a piece is to be performed. ‘This is always indicated by the prefix to every piove of some Italian words, the right interpretation of ‘which is most important. ‘The following list contains those most commonly in use, arrenged in six divisions, indicating by their order ‘the gradual increase of speed, from the slowest to the quickest movement :— o Mogan ee Alegre « «Nok qe Alegre ae Sees « (ere eer 7 “ terns |e Mere Undead S.A da ‘Aire. + Qik + am © Modgeine aor Lrys Lng aCe + + Blow end gentle And Quick. } Animaio . . “ wae rome" Patt Als << Ale mono. Bij fin Wik peas”) dito io dirs want Ver qick «Aone Vices Wid Bathing St Pr | Thome id meena Prime ‘The following words, indicating variations or alterations of a previously fixedtime, are frequently put cover the stave, and imply :— Prumone oo. Alilefer . . : no moses ‘Acclirande Accelerating the timo — 1 dead. | Pin temo Pis alegro . Tasers eee et es Pia AD] Ad Flite Bitardando Tetarliog the tine SS Biter. | piacere alltondo . Geting gradealy wer | | 2 Teall Bitento 2. Hsiang Bite. ‘The following abbreviations of words relating to articulation (and sometimes to expression) are placod, under the stave, and signify iD : erate : x sign pte 7 Site {reread cme Dimoedere. os ‘The words relating principally to eapression, and indicating the style of a phrase, aro placed over the stave, and are: Boe... Gin expres ‘apne mabe Gm grasa: | boats by sects pee ee Hind nd Sig) | ont sore rm ‘used in conjunction with otber words ; for instance : sempre f, meaning all (ite whole) forte oe sempre 7p, all eft. ‘Do Giger BG mom np toa ging, Dal Sign 4D Spat ep” olf as oe beng ad edt Fn, 00