HAROLD B.

LEE LIBRARY
BHK3HAMYG ITY

PROVO. UTAH
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:- THE

AMATEUR'S FIRST BOOK

OR

TIE FLUTE WITHOUT A MASTEH

CONTAINING AN

ANALYSIS OF THE RUDIMENTS OF

MUSIC,
ARRANGED ON AN* ENTIRELY NEW SYSTEM,

IN

PROGRESSIVE LESSONS

BY AN AMATEUR.
•

•
•

•• •

BUFFALO: *
•

PUBLISHED AND SOLD BY GEORGE A. PRINCE, •

*

200 Main Street. ..".'

;
* #'•'
•''
1844. » .

*
'
-
V.: •

V • **

;_
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. * '•

9
 Entered according to Act of Congress, in the year one thousand eight hundred and forty-four.
BY GEORGE A. PRINCE,
In the Cflerk's Office for the Northern District of New- York.

Wil-m' Presj, Bit*.

- '

BRK
PKOVC UTAH

\
 INTRODUCTION

After examining the numerous highly approved and daborate systems of Instruction for the Fiute, the idea of proposing

any thing new on the subject, may be considered, by i>me, as strange and visionary. There is, however, no satisfactory

reason why the old systems of musical instruction may aot be improved upon, and presented in an entirely new light, with as

much advantage, as old and well known mechanical poicrs may find (as they undoubtedly have done) new and before untried

channels for their application.

There are works professing the ability to conduct the learner through all the changes of time and modes; the varieties of

skilful execution, tasteful embellishment, correct tone, &<., without the aid of a teacher. These seem to profess too much; for

it frequently happens (through the want of proper arran^ zment, and a minute explanation of each step in his progress) that the

learner is at a loss to discriminate as to what is, or is no , essential at first; or how he must really begin his task. He is thus

often confused with the mass of rudiments, or more fi iquently neglects them altogether, because he does not see their

application. ,

But I cannot believe that any person can progress as advantageously without a teacher, as he might with his adv;ce and

experience. If it be possible, he requires more simple an explicit directions than the author has yet seen.

The object proposed in this work, is to simplify the couse of instruction. The method adopted, is to omit at frst, all that

tends to distract and confuse the mind; to exhibit only wh t is indispensable; explaining every part, in its order, clearly, thus

rendering it intelligible to the comprehension of all. A n rltiplicity of rudiments, communicated without a proper system, wi
perplex a pupil. It is intended, here, that the rudiments ; so methodically arranged (by the side of examples, as they occut in

the lessons,) that they will explain themselves, and that t ; pupil shall be enabled to see the reason and the meaning of/aeh

rule.

Another error, in the old system of instruction, is that f commencing with the key of D, two sharps,* with exar/les for

practice; because, perhaps, it may be more readily finger i. The defect of such a course is, that it does not give th/ pupil an

insight to the natural succession of the scales, or the rea ms for introducing the sharps and flats. We have soug/> (and we

trust successfully,) to remedy this error in the present woi ;, so that the pupil shall understand more thoroughly Jf foundation

of the scales, and their connexion with each other

The Divisions of Time, have generally been too vag ely set forth in ordinary instruction books, and i/nany instances

barely glanced at. This part of the science is univers; ly acknowledged to be an indispensable groun/vor ^ of musical

'"Nicholson's Preceptive Lessons," is the only work knowledge of the writer extends) commenci/^ "3 tile * eJ of C; but
for the flute | ofar as the
1

work doe6 not ons are not intended foi

hi6 follow the regular succession of the 6cales, for the purposes of modulation; and hie^
showing neir connexion
beginners, but (as he says in his introduction) "for those who have ma* some progress on the instrument.''
education. The arrangement of this subject, and the method of imparting a knowledge of time, in this work, differs from any

other now known — the advance being gradual, and the explanations so simple, that they cannot be misunderstood.
The lessons for practice are generally familiar subjects, better calculated, than the tedious monotony of uninteresting exer-

cises, to engage the mind, and to lead, by the ear, to the correction of any mistakes in the intervals, which a pupil might

make. These lessons aro also arranged in their simplest form, unincumbered, in most instances, by marks of expression and

embellishment; leaving these latter points to be treated of in a separate section, after the pupil is well established in the more

essential matters of the art.

Though the whole of this work may, in fact, be a compilation; still the arrangement of the different subjects is claimed to be

new and valuable; and if the object aimed at may be considered as obtained here, the Author will have accomplished his own
designs, by obviating, for others, some of those difficulties which he bimself has encountered in the study of music; while, at

the same time, he has also employed, with pleasure, some of his leisure hours.

AN AMATEUR

I
 OF THE PROPER MANNER OF HOLDING THE FLUTE.

la this work, I shall speak only of the 4 6 or 8 key'd Flute. The improvement of the several notes which depend on the
use of the B flat, G sharp, and F natural keys, is so important that it is useless to attempt, or expect perfect tones without
them. Of the C shake key, and the F natural key, it will be time to speak, when, in the progress of this work, their use may
become convenient, if not necessary.
Much depends on the proper manner of holding the Fltite, and this should, therefore, receive our first and careful attention.
When the instrument is raised to the lips, it should be sustained in nearly a horizontal position; the head of the performer
being perfectly erect. The mouth-hole, or "Embouchun," should then be turned inwards, in such a manner that the centre of
the under lip will cover a small part of the hole. The li[S must be braced together, leaving a small acute ova] aperture for the
breath; as you would prepare them to blow into a bureau key.
The Flute should rest on the lower part of the third jo nt of the first finger of the left hand as its main support, and the
thumb of the same hand should be placed just above the E flat key, which is on the second joint of the instrument. The thumb
of the right hand must be placed nearly under the first, o; upper hole of the third joint, and this will naturally bring the little
finger of the right hand just over the D sharp key, whichts on the fourth joint of the flute. Then each finger resting just over
each corresponding hole, and the little finger of the left liand above the G sharp key, on the second joint, you will have such
command over the instrument with your first, left hand fiber, and the thumb of your right hand, that you can press it closely
to your under lip.
Success in obtaining a. good tone depends very much onlthe firmness with which the flute is pressed to the lip, and upon the
steadiness with which it is held. As an illustration of this you will frequently find that the left hand first finger (of those who
play well and practice much) is callous, and sometimes thdpart of the flute resting on that finger is considerably defaced.
The breath must then be directed steadily downwards inn the flute, with care that it does not escape over it. By blowing
steadily, the learner will soon discover the point at which Be must hold the flute, in order to produce a pure tone; which being
accomplished, toith all the holes open, he may commence closing the holes, one by one, beginning with the first finger of the
left hand, and so on downwards, blowing each note firmly ntil he can produce a clear full and sustained tone, down to the
very lowest, with all the holes closely stopped.
If he have the additional lower keys on his flute, he must continue on by closing them in their regular order, and by blowing
their respective notes also. Great care must be taken to st< i each hole perfectly, as the notes, (particularly the lowest,) depend
on the apertures being thoroughly closed.

OF THE PROPER TONE

The value of the Flute depends on the tone which may b produced on the instrument. Unless a proper tone is obtained
the flute losesits character, and becomes a mere whistle.

The peculiar and true qualities of the Flute tone, can arcely be' described.
s It was, (in the days of Dryden, the poet,)
designated as "The soft complaining Flute." Its tone was :nc
li to that of "the bird;" but since Mr. Nicholson's appearance,
1

the character of the instrument is changed, and we now he r it spoken of, most frcquentty, as "The Trumpet tone;" and
though the more tender and delicate notes still belong to the Bute, and comprise no small share of its beauty, it is the latter
quality which now forms its prominent characteristic, and yhich gives to the Flute the rank it now holds, as a Concerto
instrument.
The nearer any note approaches to its eighth or octave ab ve, without running into that octave, the nearer does it approach
to the true, clear,firm and brilliant tone which good perform rs produce, and which gives to their style of playing its principal
charm. To produce this tone, much depends on the streng and velocity with which the breath is forced directly into the
'i

flute, (allowing none to escape,) and on the firmness with which the lips are braced. The velocity is increased, (as will bo
readily understood,) by articulating the syllable "too" forci ly into the flute. This is called "tongueing," and is of essential
service in producing a good tone. The learner may also pr< luce long sounds, sustained to the length of his breath, and by
increasing its force steadily, he will find the tone acquiring a H'illiancy and beauty, which is the great desideratum in playing.
And here, I may remark, that a teacher's experience is jequisite, to exhibit to thepupil the true tone, so difficult to be
described, and which may more readily be acquired by imita ion, after hearing it, than by application to preceptive rules and
personal effort.
The lower notes do not require the lips to be compressed t so small an aperture as is necessary for the higher ones; but
they must not be too much relax'd, or the tone will deteriorat< The learner, having obtained a firm tone on all the notes,
should be careful to hold the flute in the same position, sleadi If it be turned in or outwards, varying its first position, the
r.

cotes will become either too flat or too sharp, and the perform r will almost unavoidably blow the octaves out of tune.
 OF THE GAMUT, AND THE DIATONIC SCALE.

The Pupil being now supposed able to produce a steady, firm tone, in the manner already prescribed to him, must proceed
to learn and practice the Gamut, as it is set below, after having acquired a thorough knowledge of the Diatonic Scale, which
may be described as follows:
There are but seven primary sounds in nature, which consist of five tones and two semitones; and the repetition of these
sounds, in regular succession, is called The Diatonic Scale. The* eighth note, which makes up and is included in what is
called "The Octave," is a repetition of the first. These seven primary sounds arc represented by the first seven letters of th<
alphabet, which are repeated in the several octaves, thus, I have taken C as the Tonic or Key note* CDEFfiABC.
The key of C, is called the natural key, because the two semitones contained in the diatonic scale, occur in that key, by tht
order of nature, in their proper places, that is, between the 3d and 4th, and between the 7th and 8th notes of the scale from the
tonic! These arc the natural places for the two semitones; therefore, from B to C, and from E to F, are natural semitmeb:
and if any other note than C is taken for the tonic or key note, the two semitones must still be placed between the 3d and -1th, and
between the 7th and 8th, and you arc therefore obliged to raise certain notes by sharps, or to depress them by Jlats,i to keep
these two semitones in their proper places. There is no other reason to be given for this peculiar location of the semitones,
than the fact, that the ear is so formed, that unless the two semitones are found in the places, as above described, the sounds
of the scale will immediately appear to be incorrect, and the ear will be disturbed by the improper succession. The place of
the two semitones, as ordered by the laws of sound, will be further exemplified as we proceed to the several changes of the
tonic or key note.
As apart of the system adopted throughout this work, (and wherein it differs from most others, which introduce the learner
into the hey of D
two sharps,) this gamut is arranged in the key of C major, which requires no flats or sharps. The several
scales which embrace the flats and sharps will be explained in their order.

THE NATURAL GAMUr OF C. MAJORS

semitone ton* ton* o mium* *one tone *<i* «n,.u.r,*

tone tone * : mitotic tone tone tone semitone tone tone acmltott tone tone tone
3 4 7 8

C D E F G A B c D E F G A B 1
c D E F G A B 1
c
• • • • • • • o o ft • ft • • o o • © • o • •
• • • • • ft o • • • • • • o • • • • o • • P
B. b Key. »
'o 'o 'ft o 'o 'o o >
o '•,
G. # Key. » 9 5 9 9 9 7 9

• • • • o o o ft • • ft o o o m o o m o • o o
• • o o o m • o o o m o m c • o •
F. ^ Key.
o 'o 'o
»
o o o 'o 'o 'o • 'o 'ft 'o '© 'o

D. # Key. 5 5 i
-j
J
a 9 9 9 9 9 9 9 9 9 9 9 1 9 9 9 9
C. # Key. These two keys remai n opei throu gh i the rest o f thisGamul •
C. £ Key. 9

In the above Gamut the finger holes and keys to be openel, are denoted by a circle, thus, o > an(l lo ^ e closed by a dot, thue,J

Music is written on and between five parallel lines, which, thus placed, are called the "Staff;" and when the course of the
melody runs above or below these, the additional lines are callec Leger lines.
The names of the lines and spaces correspond, in all cases, vith the letters as given in the above gamut—that is to say, C is
the leger line below the staff: D is the first space below the staff: E is the first line: F is the first space: G is the second line:
A is the second space, &c. &c.
*The Tonic or Key note is that which regulates, in every key, the signature of the semitones. It is the predominant note, or may be compared to a
starting point, from which you must calculate the distances; and the semitoies must be at just such distances from the tonic, or the scale will not he
correct.
tin counting nn interval from one note to the other, it is proper to count boh notes. For example: when we eay that from C to G is a fifth, we must
count C as 1; D 2; E 3; F 4; G 5.
•A sharp, thus «f, raises a note half a tone. A
flat, thus \), depresses a noe half a tone;
(jAll the scales and lessons, in this work, art arranged in the major key. Of the scales in the minor key, and wherein tbey differ from the major key,
we shall speak hereafter.
 In the aboveGamut there are three octaves, but it is scare ly ever necessary to use any note higher than A above the 4th
ledger line. There are various modes of fingering several Aotes of the above scale, which will be exhibited hereafter. At
present it is unnecessary, and would only tend to divide the a tention of the pupil.

The pupil should obtain a perfect knowledge of the forego ng gamut, and he should bo able, without hesitation, to call each
note by its letter —
to describe its location on the staff, and tc finger each note with or without the gamut before him. It is

useless to proceed further until he is entirely familiar with th< above scale, and able to read it, and execute it promptly. As a
test of the pupil's proficiency in this gamut, let him take any piece of music, and read it by the letters, and he may also be
called on to sound any note or set of notes, without the gamut] A part of each lesson will be profitably employed in this exer-
sise, and the time so occupied, at this period of the pupil's prepress, will be well spent.

OF REGULATING THE EAR B THE PRACTICE OF OCTAVES.

of a great portion of pupils is untutored, and requres to be regulated.
The ear It is not uncommon to find performers, of

considerable proficiency in execution, deficient in this importart particular. When playing a Solo, they appear, (to an unprac-
tised ear,) to play well; but when they attempt to play v;ith others, (as for instance, with the Piano Forte accompanyment,)
their upper notes will be found out of tune, generally too sharp\ and continual discord will be the result.
A regular and systematic practice of the octaves, will tend lo correct a defective ear. It cannot be too strongly enforced,
and should he the commencement of every lesson. They are aranged in the simplest division of common time, and the time
should be marked with the foot, in the manner set forth in the \ext section below the exercises. This practice of octaves is of
much value; not only at this stage of the pupil's progress, bu even after he is familiar with the various scales; as he may
practice the octaves in crotchets, quavers, semiquavers, throug all the varieties of key, to very great advantage, and as rapidly
as ho pleases.

. EXAMPLES (F OCTAVES
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U D U D U D U D U D U D U

OF TIME, AND THE MANIER OF BEATING TIME.

All music divided into equal parts, call'd Measures, by lineslrawn across the staff, callM Bears.
is In every piece of music.
all the measures
are, equal in time, one with another, whether thej are filled with notes or rests. This is a general rule without
any exceptions. Notwithstanding, even should one strain of a j see of music close with a part of a measure, the next strain
will commence with the remaining part of the measure —
the time will thus remain unbroken, and the beat will also correspond.
Anotlier general rule without any exception, is in beating time viz: the foot must come down at the beginning of every mea-
sure. There isno exception to these two rules, either in comm 1, triple or compound time. As the hands are engaged, the
fore part of the foot is employed to mark the time, (the heel al ays resting on the floor.) We shall speak now of beating
ommnn time, and leave the other divisions of time for future inve igation
 OF THE FIRST DIVISIONS' OF COMMON TIME.

In ihe first division of common time, you are supposed to count, to each measure, 1, 2, 3, 4, as it is indicated by figures over
or under' the measures in the ahove examples. The fore part of the foot must be brought down, at the beginning of the first
half of each measure, and up, at the beginning of the last half ttareof, as indicated by the letters and U, in the foregoing D
examples. These letters, (standing for down and up, wherever they occur in this work,) refer to the position of the foot.

The greatest difficulty in Dealing time, is to preserve the regular movement of 1, 2, 3, 4, dividing the measure into four equal
parts, while the foot is brought down at 1, and up at 3. The moion of the pendulum of a clock will materially assist the pupil

in preserving this regularity, and in avoiding the common

do well to practice before one,
error of hastening time. He will

causing the foot to beat down when the pendulum is at the extreme right, and up when at the extreme left.
We have seen that the time or duration of all the measures, inany one piece of music, is the same and equal; but the mea-
sures may, nevertheless, be filled with different kinds of notes aid rests, and these notes and rests, though of different dura-
tions, are regularly proportioned, one to another, in the following ratios.

The longest note in modern music, is a semibreve. -a-- And this is equal to

2 Minims :
p— or to

4 Crotchets d d- or to

8 Quavers or to
-|»-r»-|»-r»-

I6 3emiquavers F^gggH^^g^E -»

32 Demi-
semiqua
£-d d d^d^d d^d d d-d^d-d-d-d^-d-d-d^d-d-dS-d-d-
vers.

By the same relative proportion, one minim is equal to two cotchets, or to four quavers, or to eight semiquavers, or to six-
teen demisemiquavers. Reading them inversely, a minim is <f course h of a semibreve; a crotchet is J of a semibreve; a
quaver is J of a semibreve, &c. &c; always referring to the smibreve as the standard.

All music/or the Flute, is written on the Treble Clef, whic! clef is designated by this character,

'"*';
T\\c first division of common time is represented by this ch;racter "-A-»" and sometimes by the figures signifying four-

fourths of a semibreve in each measure; or, in other words, far crotchets in each measure, (a crotchet being one-fourth of a
semibreve, and therefore one semibreve filling a measure.)
The following staff exhibits at one view: 1st, the'' clef: 2d, fie character of the first division of common time: 3d, the diffe-
rent kinds of notes, and their relative value in time: 4th, the letters D and U, showing where the foot should be down and
where up, or the manner of beating time: and 5th, rests, wheh denote silence, corresponding, in time, with the note under
which they are here placed, as a semibreve rest, a minim reslkc. &c.

1 Semibreve. = to 2 Minims. = i Crotchets. 8 Q,ilaver». 10 Semiquaver*.

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OF THE KEY OF C MAJOR.

The proceed to practice the lessons under the various keys as they occur, commencing with the key of C
may now
pupil
major, as laid down in the scale below; keeping always in mind, that from E to F, and from B to C, are natural semitones
—
that in the key of C major, the two semitones contained in the diatonic scale, are in their natural places, between the 3d and
4th, and between the 7th and 8th; and that therefore there are no sharps or flats in the signature of this key.

SCALE OF C. MAJOR.
tone tone tone f" ,
c '
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e tol,e '

o! 4 V
m
~m — JL-1*"

3 "T -&— *3=£

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This is considered the best fingering of middle C, where it is ne-

cessary to dwell on tlic note. The fingering of this note in the gamut

is better for rapid passages. For other fingering of the upper C, pee

Harmonics.

EXERCISES IN THE KEY OF C MAJOR.

No. 1. Count four Crotchets to each Bar.
12 3412 3 4 1-2 34 12 34 1 234 12 3 4
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This fingering of E octave ie the best and easiest in such passages ae the above, and when the muBic id a rapid
• • • <•
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movement, though the E, as laid down in the gamut, is perfectly correct.
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No. 4.

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No. 5.

3t*

LESSONS IN FIRST DIVISION OF COMMON TIME

Count 4 Crotchets to each bar. SACKED IttESL.OD'E'.

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ADEST2 FIDELES.
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MORELLFS ESSSOrT.
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9 «£ In rapid passages, like those in No. 4> the C may all be fingered in the manner here laid down.

t A double bar, marked thus, — t- divides a piece of music into two or more strcine. When marked thus, I j | or thus, t V the perform*! mn*t

repeat (ho strain next to the dota. The close, or end of the whole piece, is marked thuf, -j

t A dot after anote, (or nfler a rest,) increases its length one half; and two dots adds three quarters to its original time. That is to say— a dotted qua-
ver equal to a quaver and a semiquaver; and two dots will make it equal to a quaver, a semiquaver, and a demisemiquaver.
is
To illustrate the effect of
dote, the Jubilee March, and Morelli's Lesson are inserted— the former with dotted notes,
and the other written simply. They are precisely the aaoM
notes, but oi very different character of music
 — — —

11

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OF ACCENT.
In reading,we require certain portions emphasized, or it becomes monotonous; so also in music, each measure is divided
into accented and unaccented parts.
By accent, says Gardner, in his music of nature, we mean that stress or force put upon a sound which renders it more con-
spicuous than others, by which a peculiar expression, or rythm, is given to the musical phrase. By the peculiar construction
of the ear, wc learn that the different degrees of loud and soft, constitute one of its greatest pleasures, and that it is unfitted to
receive two sounds of equal force in succession; and accent is necessary to parcel out the sounds into such portions as the eav
can approve. In common time, of four crotchets in each measure, the first and third are accented, while the second and fourth

3 Denotes that any three notes marked thus, are to be ployed in the time of two of the same denomination.
t D. C.al segno, directs the performer to repeat from the sign'fg and is called a "Da Capo." The pieces marked thus, generally cod with fhe
first or wooikI 6train; and in such coses "Fine" or "/JS" is written over th« double bar, m appeara in the tnst example.
12

robs the following one of its energy.

notes are unaccented; and this is natural, for, says Gardner, an accented sound invariably
that each alternate step w louder than the
If we listen with care to the tread of our own, or another's feet, we cannot but notice
other, and that the walking pace of a man is in common time. Marches are therefore all in common time. 1 he accented and
unaccented parts, in some of the above examples, are noted by the letters a and u.

OF THE SECOND DIVISION OF COMMON TIME.

common
The pupil having thoroughly practiced the foregoing selections, and being supposed familiar with the first division of
*
time, may pass on to the second division of common time.
The first division being one semibreve, or its equivalent, as the length of a measure; the second division takes, as the length
which
,hs
only one half as long, or | of the time of a semibreve. This division of
of a measure, one minim, or its equivalent, is

common time is therefore designated by the signature i and is : beat in the same manner as
down
the first division, with this excep-

at one, and up at two.

tion; that instead of counting/our to each measure, you count only two; and the foot is

LESSONS IN THE SECOND DIVISION OF COMMON TIME.

Count two Crotchet3 in a Bar. THE FX.OUGH BOY.

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* A Pause, marked thus -^> over a note, directs that note to be sustained beyond its given time, as long ae the performer may fancy. The
mark is at times Btrikingly beautiful.
of thin
accent in § time, corresponds with the beat, and is on the first note of each measure, and the second part of the measure is unaccented,
The
tarked in the above iirst example. When the regular accent is in any way broken, as in La Cracovienne, it produces what is called Synco-
pation. Syncopation is, therefore, striking with emphasis n note just preceding or following the regularly accented note in the measure, and this
effect may be continued through any number of measures, by connecting the short or "driving note," in one measure with the short note in the
measure, and emphasizing the intermediate notes, and is written thus:

ZL
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3^
=»=*
Syncopated notes cxpresa agitation, surprise or fear; and the effect is frequently most powerful and surprising.
 — — — — r —
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THE HUNTSMAN'S CHORUS, in Der Freichutz.

1st time. 2d time. *

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ttM measure marked "1st time," should be omitted, and the measure marked "2d time," should be played in its stead, and the piece then proceeds to it*
«©»ch»(»irn.
14

CHASE, SWEET GXRX*

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The pupil is presumed, by with the key of C major, and to be capable of playing any piece in com-
this time, to be familiar
mon time, in this key, with ease; and unless this be the fact, he is advised to continue his practice in that key, until he can do
so. It is proposed now, as the most convenient course, to change the key from C major, to the key of G major, or, as it is

sometimes called, the key of one sharp.

OF THE KEY OF G MAJOR.

In this scale the tonic or key-note is G, which is a fifth above C; and by referring to the explanation of the diatonic scale as
to the place of the semitones; and by making the same calculation as he did in the key of C, for the semitones, the pupil will
find that, as he commences with G, the first semitone is already in its proper place, between the 3d and 4th, because from B to
C is a natural semitone. He will also find, that now there is no semitone where it should be between the 7th and 8th, but that
it is between the 6th and 7th, or E and F natural, as that is also a natural semitone. Therefore, to make the scale correct, he
must now raise the F half a tone; and instead of making it natural, as before, make it sharp, which will thus change the semi-
tone from between the 6th and 7th to the 7th and 8th, and the scale will then read thus:

SCALE OF G MAJOR.
t<*« Me semitone

tone u«.-' .•Tnitoo- tooo u*k Ujdc Ecmicone tooc lone etmiloiie tone

r" t~ r
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Mr. Taylor's flutes require the
This mode of fingering F# with the F^ key 2d instead of the 3d finger of the o
ojien, is the most perfect; and some flutes are flat left hand to be raised to produce
without it, producing Gfo instead of F#: the
•
F$ octave; and when G and F#=
lower F# is, in all respects, similar to this.* are alternated rapidly, that fin-
C
o gering is the most convenient; o
but the mode used here is the best o
when practicable.
6 6

In this key the signature after the clef, being a sharp on F, all the F's above and below, must now be made sharp, unless
contradicted by a natural, thus, ^ ; which restores a note, that was before flat or sharp, to its natural sound. have We
already seen, that when a sharp is placed befor a note, it raises that note half a tone; and if that note, so sharped, should be the
fast note in a measure, and the first note in the next measure be the same, the effect of the sharp extends to the latter, and
raises that note also, half a tone. The same rule applies to flats which depress a note half a tone.
When flats or sharps are inserted in a piece, other than such as are indicated by the signature, they are called accidentals.

LESSONS IN THE KEY OF G MAJOR.

AH! FERDONA.

^a 3^F
1©-

* Mr. Nicholson etrongty recommends the performer to finger the two lower F^f in descending passages, thus:

Jt is amatter of convenience, as to fingering, and a question of taste, as to the tone; as the mode given in the scale of G above, is conceded to be correct
with the F^ key raised.
 w —

15

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OF TRIPLE TIME.
There arc but two general divisions of time, viz: Common Time and Triple Time. Common and triple lime arc each sub-
divided into simple and compound; but, according to the original plan of this work, the design of which is, that the pupil may
not be perplexed with the complication of rules; we shall only speak of the simple divisions of common and triple time at pre-
sent, and hereafter we shall explain the varieties of compound time.
We
have seen that simple common time contains two or four equal parts in each measure, and with these the pupil is presu-
med now to be thoroughly acquainted. Triple time contains three equal parts in each measure, that is to say, three minims,
marked £, three crotchets, marked I, or three quavers, marked |. The first species, -£, is seldom used except in some speci-
mens of sacred music; and as it is beat in the same manner as I, we proceed to explain this latter division of triple time, it be-
ing most suitable to our present purpose.
The signature represents three fourths of a semibreve, or three crotchets in a measure; and the rule generally given for
*-

beating 3 time, is that the foot should come doton at the beginning of each measure; (this is correct, and without exception;)
and should come up on the last third of the measure. But, by ibis rule, there is no direction, (while beating with the foot,)
bow to count the time of the second note in the measure. For this deficiency, I would suggest a remedy, which is this: let the
knee, or foot, be moved to the left, on the second part of the measure, and it will then be beat thus: down, left, up.
I have always found this a convenient and correct count for one, two, three; and, with all due deference to the old system, I
—
would strongly recommend it as the best as the heel should never be raised from the floor, it is the only means left of marking
the second portion of the measure. Not so when beating I time with the hand, for then the heel of the hand is brought down
on the second part of every measure; but now our hands are otherwise employed, and the knee can be easily substituted.
Triple time is a beautiful and graceful movement, and some of the most celebrated specimens of composition, are to be found
in this mode. Gardner, in his music of nature, has very aptly compared triple time to the graceful motion of a horse cantering,
and common time, to the stately movement of an army marching. As we have before noticed the fact that in a man's walking
pace, every alternate step is louder than the other, so also, in the canter of a horse, we must see that every third step is louder
than the other two; and this throws the sounds into triple time. Though the two last parts of a measure in triple time arc said
to be unaccented, yet, as bctu-een these two parts, there is a partial accent on the last, which should be a little stronger than th«

—
one preceding it. This may also be noticed in the canter of a horse the third step is louder than the second, but not so loud
as the first. Waltzes exhibit the triple accent.

LESSONS IN FIRST DIVISION OF TRIPLE TIME.

KXERCISE.

D
Co-ant three crotchets to a measure,

\j U n n
1 ii^EE 3SE
u n l u
and accent the first.

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DLU DLU DLU DLU DLU DLU DLU

I
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m•- rT-
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DLL' DLU
I

This mark > directs a sadden, forcible, emphasis to be laid on the first part of a note, and to decreasfe on the second part. The expression which a
proper attention to these marks produces, is astonishing, especially in a plaintive air. They are ueually neglected, but they are essential to express lb*
Mtbor'a sentiment, (For a general account of these marks, see embellishment, on a subsequent page,
t A douW'j dot adds (hn»o quarlen to tho original length of a note.
 — —r r :

17

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Slow.

3J=i5E

• See note under the scale of G major, on flats, sharps, naturals, and accidentals.
t E has been substituted for C# in the original of this air, to avoid any sharp not yet exhibited to the pupil; any other alterations which may be noti-
«*4, art made with a view to preserve the system on which thifl work ii founded.
 18

OF THE KEY OF D. MAJOR.

The next key in the order here proposed, is the key of D. major, which is a fifth above the last key, G major. The pupil,
by referring to the explanation of the diatonic scale, and keeping in mind that the natural place for the two semitones, is be-
tween the yd and 4th, and between the 7th and 8th, will find by taking D for the tonic or key note, (which always regulates
the signature of the simitones,) he must now add another sharp to the scale, as follows: commencing with D, we have the F
already sharp, and the first semitone in the scale, is consequently in the proper place: as we proceed, the 2d semitone is now
found between the 6th and 7th, (from B to C being a natural semitone,) and therefore we must raise the C natural half a tone,
to C sharp; thus bringing the 2d semitone to its proper place, between the 7th and 8th: then making all the F's and C's sharp,
above and below, the signature will be two sharps, and the scale will read thus:

SCALE OF D MAJOR.
kiu tHM HnmitOIi" lOQO tOOi? loue semitone tone tons aemitone tone tone semitone

# (©-
£
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I

If you have the additional C keys, the ,• <° M

first fingering of C# is the true one, and • °<
renders a rapid passage easy. If you
• •
have not those keys, the second fingering
i3 to be used, but must be blown sharp. <• .• o
k
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6 6
« J
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LESSONS IN THE KEY OF D MAJOR

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 — — —

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BUNGABXAST WALTZ.

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Trover any two of <he tome denomination—«s thiee semkiBavej* in the lime of
The sign three notes, directs the three to be played in the time of
(wo semiquavers.
 ! —

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BOW GENTLY HERE, BET GONDOLIER.

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LE PETIT TAXtXBOUR.

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JSJT HTr~

OF THE SECOND DIVISION OF TRIPLE TIME.

We have already seen that there are two divisions of simple triple time. The signature of the first division is 3, and of the
second division §. The only difference then is, that the second division is a more lively movement, and contains only half the
time of the first division, or § of a semibreve in each measure; so that, instead of three crotchets, or their equivalent, as in I
time, we have now, only three quavers, or their equivalent, in each measure; and therefore the time is designated, after the
clef, by the fraction "§:" one quaver being one eighth of a semibreve.
,

The manner of counting and beating theirs/ division has been explained; and the lesson under it should be thoroughly prac-
tised, and renderedy*a7/u7?;ar, before proceeding farther. When this is accomplished, the pupil will be competent to execute with
ease the 2d division of triple time, which is counted, and should be beat, in the same measure as the first division. The follow-
ing lessons will exemplify this subject more fully.

LESSONS IN SECOND DIVISION OF TRIPLE TIME.

EiraciSE. Count three qoavtra in each measure.

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OF THE KEY OF A MAJOR.

The next fifth above D, (which was the last tonic,) is A. Taking the diatonic scale, and keeping in mind that the semitones
must occur between the 3d and 4th, and between the 7th and 8th from the tonic, and taking A for the tonic or key note, we
have already C and F sharp, and thus far the scale is correct; but to bring the next semitone between the 7th and 8th, we must
now add another sharp, viz: G sharp; otherwise the second semitone would occur between the 6th and 7th, which, we have
seen, is incorrect.
We have now, therefore, three sharps, F, C, and G; and this is called the key of A major —A being the tonic, and the scale
will read thus:

SCALE OF A MAJOR.

tone tone semitone tone tone tone ,,

semitone £
_«_ 19- - p- £ £
1
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G# on the 2d line, is fingered exactly as G# above.
The G# key is raised with the little finger of the left
o o
hand, and when A and G# are alternate notes in a
o ,o
rapid passage, the key may be kept open.

LESSONS IN THE KEY OF A MAJOR.

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23

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I See note on page 13 ante. —
t Thia same celebrated movement may be found in the key of G, to which refer for description of marks of emphasis.
 r

24

HOURS THERE WERE.

OF THE KEY OF E MAJOR.

E is the next fifth above A, (our last Taking the same explanation of the diatonic scale, that we have made in
key note.)
the preceding keys, we have already F, C, and G
sharp; and having now E for our tonic, or key note, we find the first semi-
tone in its place, between the 3d and 4th; but there is none between the 7th and 8th, until the D is made sharp. This \s the
4th sharp now added, and the scale will read thus:

SCALE OF E MAJOR.

tone tone semitone tone tone tone semitone

tr-p-
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• The fingering of this
note requires the key G#
to be open. o

e 6 6

LESSONS IN THE KEY OF E MAJOR.

EXERCISE.

lentando
_^ >_
H^flPS^
«*
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EH" lfi\ -m fn 1*=
6F
NO, 'TWAS NEITHER SHAPE NOR FEATURE.

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* Though the signature of this piece is in D, two sharps, the third eharp, G, is introduced in the second part, and it ie then in the key of three
sharps. would end on A, the key note of three sharps, were it not brought back into two sharps, by the G natural, at the conclusion, and the repeat.
It
This mode of passing from one key to another, is called modulation, of which this is the simplest form.

This is the only practicable fingering of C sharp, in passing to and from D sharp, in passages like the above. It must b«
o o o • • « <E>

blown quite sharp, as directed under the key of D two sharps. The same rule applies to the octavs C sharp.
 ^ C

25

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The foregoing key of E major, is a peculiarly brilliant and beautiful key, and deserves careful attention. It will eventually

become a favorite key with those who study it sufficiently to appreciate its beauties.
It is proposed now, to exhibit only the scales of B major, (which is the key of five sharps,) and of F# major, (which is the
key of six sharps,) and to omit any lessons for practice in those scales. The key of C# major, or seven sharps, is synonymous
with D\) major, or five flats, and will be found under the latter signature.
Our reason for omitting the lessons in the keys of five and six sharps, is, that they are comparatively very seldom used, and
though these extraneous keys have, of late years, come more into vogue than formerly, the beauties of the (lute are not, as we
think, enhanced by their use.
6
26

SCALE OF B MAJOR, OR FIVE SHARPS. SCALE OF F# MAJOR, OR SIX SHARPS.

semitone
semitone
lone semitone tone tone tone

ie

ft

E# is the same note as F^> as

there semitone between
is no
them, or, as before explained,
"from E to F is a natural semi- •
tone."
o
6

These keys will hereafter be adverted to, in describing the harmonical circle, which will show that the above key of B
five sharps, is synonymous with Cfr, or seven flats; and that the above key of F#, or six sharps, is also synonymous with GJ),
or six flats.

OF THE REMAINING DIVISIONS OF TIME.

As we arenot to proceed farther with examples of the other major keys in sharps, it is a convenient and proper opportunity
to explain to the pupil the remaining divisions of time, now, before proceeding with the major keys in flats. have already We
seen, (by the section on triple time,) that common and triple time are each subdivided into simple and compound varieties
Compound common time has two varieties. The first contains six crotchets, or their equivalent, in each measure, marked \,
or six fourths of a semibreve. The second has six quavers, or their equivalent, in each measure, and is designated by the frac-
iion f , or six eighths of a semibreve.
Compound triple time has also two varieties. The first contains nine crotchets, or their equivalent, in each measure, and is
designated by the fraction |. The second contains nine quavers or their equivalent, in each measure, and is designated by the
fraction -|. These latter divisions of triple time rarely occur, as they are no more nor less than three measures of simple triple
time thrown into one. It is true, it may be said, there is a difference so far as accent is concerned; but for our present pur-

pose, this explanation is sufficient.

Compound common time is beat in the same manner as f time, viz: two beats in each measure, one down and one up; but
you must count three, or triplets to each beat, which is six in each measure, instead of one to each beat, as in common time.
There are a great many interesting compositions in compound common time, and the lessons which follow will be necessary to
illustrate the subject, keeping in mind that | and -| are beat in the same manner; the only difference being that the latter
movement is written in quavers and the former in crotchets, or their equivalents. £ time is seldom found, as it is more natural
to write two measures of | time instead of one measure of f time.

LESSONS IN COMPOUND TIME.

£XEKcii>z. Count six croUhcts to c<ir,h measure. Count six quavers to each measure.
_jt__ 12 3 4 5 1 2 3 4 .i 6

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53

OF THE KEY OF F. MAJOR.

The key is F natural, which is a fourth above C natural. These major keys which have flats for their signa-
tonic of this
tures, progress from C natural by fourths; and they differ, in this point, from the
major keys which have sharps for their sig-
natures, and which, we have seen, progress from the same C, by fifths. Taking F natural for our key note, and leaving out of

the scale the sharps, which we have heretofore used, we look for the first semitone between A and the third and fourth; and B—
as it is naturally between B and C, we make the B flat, to reduce the semitone to its proper place. The second semitone, from
between 7th and All the B's above being rendered flat
E to F, (being a natural semitone,) will be found in its place, the 8th.

by the signature, the scale will read thus:

SCALE OF F MAJOR.

tone tone
semitone

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IQ
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The second fingering of B\),

produces a fine tone, and is high-
°< o ly approved, as it may be forced
0, i

to any extent, and may be used

o o to at all times. Both are, however,
o <° correct.
o
6 6

LESSONS IN THE KEY OF F MAJOR.

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N. B. The above exercise should not be played in triplets.

FHE3K AN9 STRONG.

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30

OF THE KEY OF Bft MAJOR.

The tonic of this key is Bft, which, by counting upwards, will be found to be a fourth above F^, our last key note. Com-
mencing with Bft, for our tonic, and looking for the semitones between the third and fourth, and between the seventh and
eighth, we find that, to bring the first semitone to its proper place, we must reduce the fourth note in the scale, half a tone,

making it Eft, synonymous with D#. The second semitone will be found in its proper place; and this gives us, therefore, two
flats for our signature, viz: B and E. The scale will then read as follows, the Eft being fingered as D#.

SCALE OF Bft MAJOR.

tone semitone tone

*-
tone tone
semitone

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E 1
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This note may
Eft below, is produced with be considered as o
all the finger holes closed, and almost useless,
thismay be also, with great few flutes being
convenience, as the note can o capable of pro-
then be forced, and not be too ducing the tone.
sharp. It is given for
form's sake.
6

LESSONS IN THE KEY OF Bft MAJOR.

GE -11*1AN AIR. Dittersdorf.

Andante.

* If the pupil have a flute with the long F key, it may be proper, Acre, to remark, that
it ia intended to facilitate the execution of certain passages in
thisand the succeeding keys. It is used in the place of the Fshort F natural key, (being raised by the little finger of the left hand,) and it enables the per-
former to glide from E
flat to F
natural, without any intermediate note, as the third finger of the right band and long key, may be raised simultaneously.
This cannot be done while using the short key.
 — —

31

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OF THE KEY OF Eft MAJOR.

The tonic of this Eft, which, by counting upicards, will be found to be a fourth above Bft, owr last key note.
key is Com-
mencing with the lower Eft for our tonic, and looking for our semitones between the third and fourth, and between the seventh
and eighth, we find that, to bring the first semitone to its proper place, we must reduce the fourth note in the scale, (A,) half a
tone, making it Aft, (which is synonymous with G#.) The second semitone will be found in its proper place, and this gives
us, therefore, three fiats for our signature, viz: B, E, and A. The scale will then read as follows, the Aft being fingered as G#.

SCALE OF Eft MAJOR.

semitone semitone
tone tone , ^ tone tone tone

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* A flat, and its octaves, are fingered as
£X

G sharp.
1
LESSONS IN THE KEY OF Eft MAJOR.
 — i —

32

ALICE GHAT.

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33
OF THE KEY OF Afr MAJOR.
Afr, which is the tonic of this key, is a fourth above Efj, our last tonic. Commencing with Afj, and making the usual cal-
culation for the place of the semitones, we must now 'make the J) fiat, to bring the first semitone between the 3d and 4th. The
second is already in its place. The signature will now be four flats, viz: B, E, A, and D; and the scale will read thus:

SCALE OF Afr MAJOR.

semitone

semitone
tone tone f- :p t
E
tone tone
E.
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D|j is commonly considered as synonymous with C#; but this is in fact erroneous, as the C#, (fingered with the long C#
key, as in the key of D major,) is sharper than Dfc. There is no alternative for the lower D\j but to finger it with the long C#
key, as C sharp.
LESSONS IN THE KEY OF Afc MAJOR.
EXERCISE.
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HOME, SWEET HOME.

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Andante P.

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OFT IN TBS STILLY WIGHT.

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OF THE KEY OF Dfr MAJOR.
D\j, the tonic of this key, is a fourth above A^, our last key note. Commencing with Djj, and following the rule for the
place of the two semitones in the major mode, we find it now necessary to add another fiat to the signature, to bring the first
semitone to its place, between the 3d and 4th. The fourth note from Dfr being G, we must reduce it half a tone, and make "it
G\f. Our signature will then be five flats, viz: B, E, A, D, and G. This key is the same, in substance, as the key of C#, or
seven sharps; and by calling the tonic C#, instead of I)fj> ana a 'l lne other notes in the scale, by the sharps corresponding to
"

the flats in the following scale, (as if situated half a degree lower on the stave,) the parallel will readily be seen. The scale of
DJj major, reads thus:

SCALE OF Dfr MAJOR.

semitone tone tone semitone

tone tone

is
1
G\) is often considered synonymous with F#, but it is really fatter than F#; and
therefore the F and D
keys should be closed as here set — for Gfr. The octave is fingered
in the same manner.

This key is peculiarly beautiful, and expressive of the most tender emotions. Beethoven has selected this key for some of his
most sublime thoughts. On the flute, where harmony cannot be produced, and the melody alone is heard,) this key is plaintive,
and descriptive of sorrow.

LESSONS IN THE KEY OF Dfr MAJOR.

Andante _ R0BIN ADAKl -

Pnw !©
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 1 —

35

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She Harp that once thro' Wara'c Halls.

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YOUNG EXAEN LORRAINE.

Slow and
.
plaintive.
* *

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OF THE REMAINING MAJOR KEYS OF SIX AND SEVEN FLATS.

The following scales of six and seven flats, are given below; but as the are seldom used, it is considered sufficient to show
theircorrespondence with the keys of six and five sharps, as explained under those heads. They arc respectively situated half
a degree higher on the stave, than the corresponding sharp signatures; and by reference to those keys, the similarity will be
seen.
SCALE OF Gfo. SCALE OF Cft.

semitone
tune tune semitone tone tone tone semitone tone tone tone semitone

OF THE HARMONICAL CIRCLE.

Having now exhibited the whole twelve major scales, we will next show their relation to, and connexion with, each other, by
moans of the Harmonical Circle. Taking the circle as represented here, and commencing with C natural, (our first key note,)
and calculaiing the intervals between each key note, they will be found to progress by fifths, if we take the left hand; and by
fourths, if we lake the right hand side, round to C again; always remembering to count upwards from the last ionic; and when,
by so counting, you would be carried beyond the stave, exchange such tonic for its octave below, as is done in the circle. For
example, from C to G is a fifth: the same from G to D: the t.-ame from D to A: A to E: E to B: B to F#i F4f to C#: (';-.
(or I)]),) tj A fr: Ab to Efr: Efr to B|>: Bfr to F: F to C uctace-.
•J
'
 3«

You may, in the same manner, go round the circle in the inverse order, taking the right hand. By this course, the tonics
progress by fourlfis instead of fifths, as before. The reason of this difference is plain, viz: if you count upwards, from F to C,
octave, is a fifth; but from lower C to F, is only afourth: the same from F to Bft: Bft to Eft: Eft to Aft: Aft to Dft: Dft to Gft:
Gft to Cft: Cft, (which is B,) to E: E to A: A to D: D to G: G to C octave.

THE HARMONICAL CIRCLE OF MAJOR KEYS.

Kg life

OF TRANSPOSITION.
The subject of transposition is connected with of our course of instruction, and deserves attention of all amateurs
this division
who would be able to play in concert with other instruments; or who, finding an interesting composition, arranged for other
instruments, would wish to transpose it to the compass of the flute, or to some key of a more favorite character than that in
which the piece is written.
If ft should be desirable, under any such circumstances, to transpose a piece of music-^-^rs^ determine to what key you wish
to transpose it; next calculate what is the interval between the latter key note, and the key note of the piece as now written;
and whether it be a semitone, a whole tone, a third, fourth, or fifth, each note in the piece to be transposed, must be raised or
lowered to correspond with that difference between the tonics. For example: If you find a piece set in the key of C natural,
and it is so low as to carry you below the compass of the flute, you may wish to transpose it to the key cf F natural, and tho
tonic F being a fourth above C, you must therefore raise every note a fourth, and having prefixed the signature of one flat,
your object is accomplished. Or, if you should be playing with a pianoforte accompanyment, where the piano may be a semi-
tone below concert pitch, (which is not unfrcquently the case,) and if the composition should be in four flats, which is Aft, you
must play in G; or if in E four sharps, you must play in Eft, which is three flats. The same rule is applied to any interval.

OF THE HARMONICS.
The Harmonics comprize an important branch of information as to the capacity of Tthe flute. They are produced simply by
Mowing any note up to its octave, fifth, double octave, and sometimes to its third above, without changing the fingering of such
note. The tones, obtained by the use of harmonics, are of the most delicate and refined character, (resembling the iEoIian
harp,) and this quality has tended to bring them into constant use. Besides this, there are many passages where the use of
 37

harmonics is indispensable; but as these different fingerings might have perplexed the mind of the pupil,
before he was familiar
with the first notes, they have been omitted for the purpose of exhibiting the whole at one view. They now deserve his undi-
vided attention, and the occasion for their use must be left to the judgment or convenience of the performer, whenever he can
utuH himself of them to advantage.

SCALE OF THE HARMONICS.

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As a Brief and comprehensive example o{ harmonics, the following air, "Sweet Home," is arranged in the key of C; and
by the use of harmonics, it can be performed without once moving the left hand. The fingering is given below in small notes,
except where the note may be blown as written above, and then no harmonic note is placed under it. This is given merely as
an example, not to say that it is the best mode of playing the whole piece, but simply as a curious specimen of their use, and
for practice.

SWEET BOEZ3.

The use of harmonics will be found to facilitate the execution of passages similar to the foregoing, and the pupil is strongly
recommenced to study them attentively. From the specimen given above, the pupil will see what can be done by their use; and
whenever a difficult passage occurs, he may depend on the harmonics to help him out of the difficulty. As the harmonics de-
pend on the management of the embouchure, and not on the fingering, those with the greatest power in their lips will succeed
better with the harmonics than those whose embouchure is weak.

OF DOUBLE TONGUEING.
Double tongueing is considered an essential in the art of flute playing, and many passages cannot well be executed without re-
sorting to this method of performing them. It is true, there are some who profess to play the most difficult and rapid music,
by tipping every note; but the instances are very rare. The execution by tipping, is very difficult to perform perfectly; and
double tongueing is almost universally the method most approved.
Double tongueing is performed by the repetition of the syllables li too-tle, too-tle," into the flute, while the notes are simulta-
neously fingered. The passages which require double tongueing, are similar to the examples given below; but the principal dif-
ficulty is, to articulate the last syllable as perfectly as the first, and that the two should be exactly equal in time and strength.
To acquire this perfectly, will take much time and diligent practice. At first the pupil should confine himself to the shwesi
movement; and by practice and perseverance, he will gradually be able to increase the time, until he can execute the most
rapid passages. The usual marks directing that a passage should be double tongued, are these: '. ^ Ut ' n wr '^ B 8
? , ^ TTTT
music, they are frequently omitted, leaving it to the performer's judgment, to decide how the passage is to be played.

••-» .. .*

•
 — —

39

PORTUGUESE AUt— Variation 2d.

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SXGXXiIACT AIR-Variation.

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OF EMBELLISHMENTS.
This and of so much importance to the proper display of the beauties of the flute, is one which is
sbject, so fall of variety,
liable to much
abuse; and in the hands of illiterate musicians, fully exemplifies the adage, that "there is but one step from the
sublime to the ridiculous." As music for the flute is now written, almost every measure has its respective marks: such as
Dolce, Staccato, Marcato Legato, Crescendo, Diminuendo, Forzando, and Reinforzando, or Emphasis; the Glide or
Portamento; the Trill or Shake, Vibrations, simple and inverted Turns, Appogiaturas, Piano and Forte, &c. &c. If
careful attention is paid to these, the performer cannot fail to give a proper expression to any composition.! Some of these
graces have been so aptly illustrated in "Gardner's Musk; ok Nature," 7 that we cannot do justice to the subject better than
by giving the author's own words, so far as they may be applied to thejlute.
Dolce. "This term expresses the quality of tone which the passage, over which it is written, requires. It should be, as the
term implies, soft, smooth, and delicate. When this term is applied to instrumental music, it is generally to those morceaux of
melody peculiarly adapted to the voice, and the performer cannot express them better than by taking the vocal tones as Lis model."

— —Z
f f

-- — -^ n»
j—
Staccato. "This term implies, that the note should be struck in a short and pointed manner; it is ex-
ZZLZLSJ pressed by a dash, as written in the example here given, and is usually applied to forcible passages. In all

IB works on the flute, this mode of striking the note is called "lipping."
s Marcato. "This term is expressed by a spot put over the head of the note, as in the last example, im-
_ZT^IZ ply ni g tna t the notes should be struck short, or spotted in a more light and tender manner, aiming at neat-

ISil^Tr—
TI" ness rather than brevity." The effect is produced, on the flute, by tongueing each note separately, with
delicate distinctness, while the sound, or tone, is sustained through the whole, without interruption, as is in-
dicated by the bind over the whole passage.
Legato. This expression is the very opposite of the two last foregoing: It implies that the notes
should be performed in a close gliding manner, holding each note smoothly, until the next is struck;
. — rm
!

Its character is a circumflex, or curve, as in the last example.

•If This passage is to be pi ived in a legato or gliding movement, and is distinguished from the passages to be double tongued, by the omission of the staccato marks under the bind.
- Pa inges sinjilr to the above, can only be well performed !>v the use of the harmonics.
* Th ''"''' '; '""•' not
be considered strii tly embellishments, it lus been thought proper to bring them all under one head, for the purpose of showing their respective impor-
'

'

tance. Another object has been, to proscrve the pupil's mind free, to study the rudiments, unembarrassed by these various und diversified marks of expression!
 39

Crescendo and Diminuendo. "There is no accomplishment in the art of singing more fascinating than the swelling and
dying away of the voice. When used with judgment, it never fails to delight us." The same may be said of the effect oi* this
grace in instrumental performances. They are found separately and combined. A Diminuendo, on the flute, may be executed
with such delicacy, that it is almost impossible to say when the tone ceases altogether. They differ in their application from
Forzando and Reinforzando, though similar inform. Crescendo and Diminuendo, are applied to any -passage, or number of
notes; while Forzando and Reinforzando; are applied to a particular note. These latter, also, differ from accent, as properly
understood, though we have seen them represented as the same in effect. (See article on accent.)
Sforzando, Forzando: or sj -Jz, or > — "The striking effect, produced by a proper attention to these marks of emphasis,
forms a strong feature in the character of modern music. It may he described as a forcible expression of sound, which is no
sooner uttered than it drops into the utmost degree of softness." It is produced, by suddenly forcing the breath, (by tongueing,)
into the flute, on the note so marked, and allowing the sound to subside, in a great measure, on the next note.
—
Rinforzando, Reinforzando rf, or < "Is the opposite effect. It is the sudden increase of sound from that of softness to
loudness, and is expressed by the character last above." These two latter marks of emphasis are of continual occurrence in
modern compositions, and especially in arrangements for the flute. They cannot be neglected without destroying the effect
intended to be produced by the composer.
Glide or Gliding. "This is a grace of much simplicity and beauty, evidently drawn from nature. It expresses the most
tender and affectionate emotions. The effect is produced by a gradual raising from any given tone to a higher, in one unbro-
ken stream of sound." On the f^jte, it is effected by gc:;tly sliding the fingeifonvard, from over the hole, instead of raising it

off the hole at once. "The descending grace is exactly similar, but in opposite progression." When used with discretion, it
adds much to the force of expression; but when employed on all occasions, it becomes mawkish and disgusting. It is left to

the taste and good judgmenent of the performer to select proper occasions for the use of this embellishment.
Trill or Shake, tr. "This embellishment is the most refined of all the graces. It is rather ornamental than graceful, and
its application to melody, is like the use of brilliants in dress, to adorn that which would otherwise appear fiat and vulgar." The

shake consists of the alternate repetition of two notes, commencing with the one above the note marked "tr," at first slow, and
gradually increasing in rapidity of motion to the utmost degree, as is written in the example before us.
?ErE3_&
The Shake is written and played
thus: thus:
'ff*-—
T3. 1
The shake from a Beat; which latter alternates the semitone below, and is not considered a grace of so much refine-
differs
ment as the regular shake. Great variety may be given to the shake, by combining the forzando, crescendo, or diminuendo.*
Vibrations. This embellishment is one of great beauty, and in a large room, produces, at times, the most powerful effect.

It was a favorite grace of the late Mr. Nicholson, and was compared, by him, to a waving line, continually decreasing in its
curves, until it vanishes quite away. When a pause occurs on a note, so that it may be held beyond its given time, at the dis-
cretion of the performer, the vibration, on that note, may be introduced with great effect. It is not produced like a shake, nor

is it intended to vary, essentially, the note, but gives to it a vibratory or tremulous motion, resembling the protracted tones of a
bell, as they arc dying away, on the breeze. When the note is forte or loud, the vibration must commence very slow, and in-
crease its motion as it decreases its power. When the note is struck more delicately, the vibration corresponds in rapidity.
"We have seen it suggested, that a vibration may be produced by a tremulous motion of the flute; we must differ on this point,
and refer the pupil to the scale of vibrations, on a subsequent page. Vibrations are directed by a vibratory line, placed over
the note to be so embellished.
Cadenza. "By this term is meant, that extempore flourish upon the instrument, which is introduced at the willl of the per-
former, to exhibit a display of taste or talent." When this is made the vehicle of new and appropriate effects, and conducted
with skill, it may add much to the beauty of a concerto; "but when it is reserved for the unpremeditated flights of illiterate
musicians, who would lain treat us with "their facilities, it too often proves but the mere empty wanderings of ignorance." The
flute is, perhaps, better adapted to give effect to this embellishment, by its sweetest and most delicate tones, than any other in-
strument; but it not unfrcquently happens, tiiat the whole subject is entirely frittered away by the injudicious constant use of
such flourishes. "Great science is requisite for the introduction of the Cadenza, as the ear is sensible of any deviation from
that course which a correct harmony prescribes; and the highest delicacy of style is required in the execution of this embellish-
ment." No better rule can be given than to study the style of the most approved authors in the cadenzas, which they have
introduced in their arrangements of favorite airs.
"This grace is derived from nature," and is written in

mm
p
k AppoorATurtA.
smaller notes than the principal subject, as in the example here given, There
=F arc two varieties, the use of which depend on the character of the subject. When
the subject is joyous or active, we naturally dwell on the tone above the one to be
embellished. This is called the superior appogiatura. When the subject is languid or sorrowful, the semitone below is dwelt on
before reaching the note to be embellished, and we rise toThis is called the inferior appogiatura.
it.

When used as a cadence at the close of a piece, its duration is more lengthened,
and it is then written as in the last example. "Tho' sometimes the touch-note is
written in the same way as in the first example: the effect of the touch-note is the
reverse of imparting smoothness and flexibility; but it gives force and strength to the
note to which it is prefixed, and is struck with such energy that it may be said to be driven into that note;" whereas the appo-

* The long C key, on an tight keyed flute, which reachea from the first finger of the left hand, to the first finder of trie right hand, is not intended to

make C natural; for there are other more approved inethods; but it is intended expressly to shake B where C is natural. This shake is produced by ma-
king H natural, and striking the Ions key with the right hand, which is at liberty. The octave B may be shook in the Fame
manner; ami we have also
given the octave as the harmonic of E, which is shook with the F natural key, though it is not so easy as the fkot method; and on some flutes,- the second

hand is to be raised.
ringer of the left
10
 * — — — r

42

LESSONS IN THE MINOR MODE.

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BRIGHAM YOUNG UNIVERSITY

197 01025 1400

DATE DUE
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OCT 9 2i nz

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HIGHSMITH 45-220