Tlu\' Harp being* perfectly tuned, the Master will beg-in this days instruclionj
by ex[>hiining\' the P/a/c 1, which represents, the structure of the Instrument, and
the most eJigihle position for the person of the performer. He will then make
Ihe pupil acquainted with the nmnber of octaves contained by the Harp^, and
show t])e relation of the several string\'s to the various stations of the notes in
the stave .

The Master will next direct tlie popiT\'s attention to the different parts of
the Instrument^ teaching\' him their distinctive names, particularly noticing\', that
the red string-s, express the note 0; the blue string-s^ the note W,- and that the
white string\'s sound the other notes of the octaves .

The best position of the body is so clearly exhibited by the Plate, that a few
words on that point will be sufficient .

First: The elevation of the music-stool must be so suited to the height of
the performer\'s fig-ure, as to bring- the lower part of his face upon a le\\el with
the neck of the Instrument, while the feet are so stationed on each side of the
pedestal, as to g\'ive them an easy and g-racefal command of the pedals .

Secondiy. Juvenile practitioners whose feet will not reach the g\'round witl).
out their being\' seated too low to command the string\'s witli ease, may place

them lig\'htly on the pedals, as a resting\' places but the more proper co!we_
nience for young* performers will be that of using- a smalh r Instrument.

The inclination of the Harp towards the right shoulder of the performer,
and its consequent pressure on the rig\'ht knee, have sometimes caused parents to
object to their children beg\'inning* this instrument too early .

To supersede this inconvenience, a Sprhig- has been devised, hy tiie use of which
the Harp may have any deg\'ree of inclination g\'iven to it; an<1, of course,be pre-
vented from pressing* either on the knee, or the shoislder .

It is proper to remark, that this Spring of Support will prove not only an ac
commodation to young\' practitioners, but also to pupils of any ag*e, since it dimi-
nishes the fatig-ue of the arms, allows them g\'reater freedom of action, and gi\\rs tlie
rig ht foot a more perfect manag-ement of the pedals . *

Til.\'- Spniip ofSiipportwilha description of the manner of fixing- it, m;iy he had at Mess*".^ Krats, y.V. Berners .Street,
-nd ;.t til," Pul)Iis]t. rs .

Vosition of the Bight Hand and Arm. The Master having- placed the hodv ol
the pupil precisely as represented in Plate 1, will direct his attention to the position
of the rig-ht hand, and place it exactly as represented in the same P/flfe, that is,with
tlie middle fing-ers and the th.umb, (the little fing-er being- too short to be Used

time, careful to inipress on the pupiFs mind the necessity of keeping- the thumb
erect, and the fing-ers g-ently bent towards the palm of the hand,with the knuckles
upwards, and all the joints rci.nded, strictly avoiding- the position g\'iven in Figure
Plate which will prevent the string\'s from being\' struck by the extremities of the
finders, or the nails, instead of. by that side of the round or fleshy part of the
fing-ers which is towards the body.

AV\'hen the execution Is on the middle of the Instrument, the arm must not bear
on the Sounding--board at the wri-it-joint, but a little above it; (see Figure 2) yet
when the hand ascends towards tise hig-her string\'s, the bearing- will naturally ho
g-radually nearer to the wristj and ultimately, beneath it, so as to bring- the bear,
ing- on the hand itself.

In rapidly-ascending- passag\'es, the whole of this bearing- must be extremely
iig-ht, lest tlie necessary freedom of the fing-ers should be impeded.

The pupil, while attending- to th«3 fing-ering-, will keep in mind, that the thumb
is desig-nated by a cross (x ), the first fi{)g-er by the figure (] ), the second, bv the
fig\'ure {2}, and the third by the fig-are iS) .

The pupil cannot be too particular with reg-ard to the position of the hands, the
proper holding- of which, is somewhat difficult, on account of the contraction it
necessitates; especially in^ the rig-lit hand.

The rig\'ht hand being- placed as represented in Plate 1, in which the three
middle fing-ers and the thumb are on the four string-s, C, AiJ.iP, the pupil is
prepared for the first exercise.

The note first struck will he ^-j-rz: played with the third finger, by
slightly, but elastically, bending\' it, care being- taken not to withdraw the fing-cr
too far, nor to move either the wrist or the arm; because the whole action is to
l)e confijul to the motion of the fitig-er-joint .

the third note^ with the first fing-er^ the same rule must be observed as that
g\'iven for striking- with the third .

it nmst be very slig-htly hent_, so that the action may be solely
that of the thumb-joints and not at all of the wrist^ or the arm: a propriety very
difficult to effect.

It is particularly necessary to remark, not only, that after the note is strsick
care most be taken to instantaneously return the thumb to its vertical position,
but thirt vhile the thumb is acting*, and also afterwards, the fing\'ers must he
kept half bent, so that the third fing\'er shall be somewhat long-er than the
second, ajid the second somewhat long-er than the first, while all are near the
string-s: the Master taking* care at the same time, that the pupils little fing^er

In performing* this, the notes must be played very slowly, and with an equal force of
tone, g*iving\' to the strings, a strong* and clear vibration; after which the pupil
will repeat the same four notes, in the same order, g\'radualiy increasing* the time,
as marked in the following* exercise, and constantly taking\' care while one note is
struck, to have the next fing*er placed on the succeeding" string*, in order to its
being* ready for immediate action.

It is a imiversal R ule that, to secure a steadiness of hand and freedom of ex.
ecution, one or more fing\'ers, (according\' to the number of notes next to be play-
ed,) should be previously placed on their respective string*s in reg\'ular succession,
agreeably to the order of the notes .

One principal object of this rule is, to prevent repeated and superfluous
motions of the hand.

In concordance with this General Rule, Wnd pupil, before he strikes the fourth
note t>f the second exercise, with 4he thumb, will prepare the third finger
for €J, the succeeding* note; and for the same reason, before the is struck, the
second finger must be placed on the ]D; and so with the rest .

The oblique lines \\ extending- from each fourth note to the following- €,
will remind the pupil of this important Rule.

»vhiie the wrist and arm are held neither too hig-h nor too low, but in an easy
and graceful manner, the pupil is prepared for the third exercise; in performing-
^vbit li, the rules laid down for the rig\'ht hand must be rig-idly obstii-ved.

\'I he left hand not having- the same support on the sounding- board as the rig\'ht,
the pupil, of course, will find it more difficult to prevent the motion of the wrist

arid Ihe arm, Ubr the position of which, see Plate 1 ) so earnestly recommended
to tile |iupi! to avoid, especially in striking¹ the fourth note with the thumb.

To diminish the siiffness and fatigue attending- this circumstance, a kind of Bracelet
has been invented,from the use of which during- the first fortnig\'ht the pupil will de_
rive considerable aid and relief. *

The following* exercise is exactly the same as that g\'iven for the rig\'ht hand; ( see
Exercise) and all that is there recommended, must here be equally attended to.

The rig\'ht and left hands having* been separately employed, it is now lime to bring-
them into conjoint action. This will be be-^t done by applying-both hands siioiiltane _
ously to their past and respective Exercises, as g\'iven beneath.

Tliîs littlf m.\'icln.\'ie acoornp.inieil vith a card of explanation may be had of the Mamifacturers Mess^^^ Eratt.

The pupil having* played these four notes in an aM\'ending* succession, will pro-
ceed to perform them descending-ly with the rig-ht hand, as g\'iven in the Exercise;
being\' particularly careful to have the first fing*er ready for the second JE, the fifth
note, before W, the fourth note is struck with the thumb j and so with the rest .

It will be necessary to recollect, that previously to performing* the first four
notes of this Exercise, the fing\'ers must be placed on their respective striiig*s, as
seen in the Figures relating* to the hand\'s position already referred to .

down for the rig\'ht hand in Exercise Fiffh. Great care must be taken to keep the
elbow up, (as in Flafe I). ,

This exercise terminates the first day\'s lesson, and the Master, at leaving* his
pupil, will recommend a sedulous attention to all the foreg*oing* rules, and the pre-
paratory practice of the following\' exercises,emanating* from the previous examples,
and intended for the second and third days . -

It is necessary to observe, that the pupil will derive considerable benefit, from
the constant habit of practising* for half an hour, at least, immediately after the
Master has left him, in order to fix in his mind the most prominent particulars
of the lesson he has just received .

The pupil being* now left to himself, it is proper to g*ive him some few directions,
as g*uides for his practice .

The first thing* to be recommended is, that he does not play too long*
at one time, but that he stops the moment he feels his wrist or arm fatig\'uedjlest,
by too continued an exertion, they should contract a stiffness, which will impede his
prog*ress. With respect to the whole application of each day, it should not amount
to less than between two or three hours, and be so divided\'into different periods,
lhat each division may . be g-radually extended in proportion as his streng*th of hand
increases .

The obHervHiu-e of this rule, liowcx < wiil liavc soine ch-pciKlaiiee on the talents
of the pupil", and tlu\' Author\'s lon^* i-xpt ricnce in tiie art of teaching*, enables
him to say, that a moderate portion of abilities, and due ^dlentib?! to the new
method of practice, here laid down, mi!) ensure a certain and respectable power
of performance. >

The pupil, before he sits down to his instrument, should he careful to have it
perfectly in tirne^ lest its impej-fection in tliat important point , should affect the
delicacy^ and injiiire the correctness, of his ear .

The adoption of th<> Braeelet should be continued till its use has thoroug\'hly
established the steadiness of the left hand. Though not applicable to every extent of
practice, it will be foujid perft^ctly so, in all passag\'es which are calculated to
fix a g\'ood position of the hand .

It is recommended, that these directions be closely attended to; and that the ex.
ercises be practised very slowly before any quickness of execution is attempted.

In practicing\' the following* Exercise, the pupil will be careful, as before, to
prepare his fiisg-ers for the fifth note, while he is striking- the fourth; and tlie
Master not b« ing* present, the pupil is strong-ly recommended to refer fre({ueiitly
to l,and F/^v^r^^-1 and g, ill order to satisfy himself that he is ri^-ht in regtird

of the {jositions of his hands, wrists, and arms.

Tl>e practice of this day will commence with the retrospection of the direc-
tions already g\'iven, both as to what is to be done, and what to be avoided.

The following\' exercise consists of the combined employment of both hands,on
the notes g\'iven separately for each hand in the Fifth and Sixth Exercises.

The practice of this day, Hike that of the preceding-, will beg-in with
tnc rcises of the first day^ wliicli will be succeeded by those of the se-
cond day; after which the pupil will proceed to the following\' Exercise,
eoMsistiiig- of direct inversions of the Eig-hth Exercise^ and consequently, the
former rules for placing- the fing-ers will here apply inversely; that is, as
in that case, tiie thiri! finger was prepared while the thumb was striking- the
fourf/i riotCj here the thumb will he prepared while the third fi?ig\'e7^ is
striking\' the fourth note; and so witli the rest .

In the following^ Exercise, the pupil will have a considerable difficulty lo
surmount^ that of keeping- the thumbs erect, and near their proper striii^rs,
while the\' third and second fing-ers, and afterwards the second and first, are
in action . .

It cannot he too often repeated, that in this, and all siaiilar difficulties, the
Bracelet will he found particularly efficient .

—H ^ H 2

-i-U

In this stag-e of his prog-ress, the pupil will do well to take an hours prac_
tiee, immediately previous to the expected visit of his Tutor, whose first attention
will he g\'iven to the position of the body, and that of the hands; especially in
res|)ect of the fing-ers and the vertical situation of the thumbs.

After hearing- the repetition of all the former exercises, he will explain the
following example, consisting\' of an ascending- diatonic Scale .

The pupil will have observed, that hitherto, he has only been playing* four
notes, in varied successions, hut always preserving- the same position of hand:
but now, having\' to play four additional notes, he will be oblig-ed to chang\'e
that position .

"While striking\' the fourth note, W, with the thumb, the third fing-er must
g\'ently pass under it to the fifth note, forming* the first of the upper
four notes, as shewn in the Ffg-my; 3, to avoid that 1)reak in the effect which
would ensue from an abrupt shifting\' of the hand, in performing- these eig\'ht
notes. TUe second and first fing-ers must ^be prepared for striking\' the sixth
and seventh notes, and the thumb, immediately after striking\' must be brougiit
to its proper place for striking\' the upper C?.

In chang\'ing* the position of the hand, at passing- from iP to Cif, the third
fing-er must be placed sufficiently low to permit the second and first to be
easily placed near their respective string-s, <iâ and J?, while the thumb, passing\'
from must keep its erect position , (see/«g*. 3

It is of the first importance that the hand, in changing- its position, should
avoid any movement of the wrist, or the arm.

The following- scale for the left hand will be played in precisely the
same manner, as that which has heen presented for the rig-ht hand; that is,
vith a strict reg-ard to the like rules , (see fig-. 5,).

After the separate practice of the Litter exerci\'-«\'s, the saine scale must
he played l)y both hands conjointly^ striking- all the notes Mith eq^ual force and
clearness. \' ^

This process being* completed, the next step will be, to reverse the same scale;
as in the following* exercise.

In playing* the notes in this order, the tliumb will be placed on the upper
the first fing-er on the JB, the second on the , and the third on the and
while the three middle finders are playing* their respective notes, the thumb
wiW pass g-ently over them, and fall on the JP, as marked in the Fig-nre fi.
While the thumb is striking the JP, the first fing-er will be placed on the jB,
the second on the 13), and the third on the

In descending", the same steadiness of hand is to be preserved that was recommen.
ded in the ascending* scale, as the only means of attaining* a free, smooth and easy
execution . Rig\'ht Hand .

Li the following* exercise for the left hand,the above rules are to be strictly attended to.

The next exercise consists of a descending* scale for both hands; in playing* which,
the pupil will keep in mind the instructions already g-iven.

p—

-L—S-

Th is concludes the second licsson-, and the practice of the foreg*oing* exercises
^ill complete the fourth day.

This day\'s practice will commence with the exercise of the first, proceeding-
reg\'ularly to the Ias( «ixercise of the fourth day, repeating- them several times, espe_
Cl ally the scales, which, on account of their necessitating- a chang-e of the hand^s
position, render it iin]3erative to give them the fullest practice, as particularly ten_
ding- to iiKiuce a fret .command of finjr\'f: after this, the pupil will practise the foL
lowing- exercise, consisting* of alternately ascending- and descending* octaves.

This exercise will he succeeded hy runningr up the two ascending* and con-
secutive octaves, as given beneath,- which rang-e of notes will require three chang-es
of position, one after the first ]M\\ one after the second CJ, and one after the second tt.

These three chang-es will be effected in the same manner as was the chang-e of
the preceding- scales,- that is, the third fing-er will be passed under the thumb .

The pupil will observe, that as after the third chang\'e, there remains but three
. ^ A. f.

notes, (»4, jB, C, ✓ \' i I ^ two fing-ers and the thumb will suffice to play

them; conse([uently, the second fing-er, instead of the third, will here be passed
isnder the thumb, agreeably to the g-eneral rule, of g*iving- the thumb the upper
note of the passag-e, whatever that passag-e miiy be .

The same scalej as follows, will be practised by the left hand and in the
same manner. >

^^ ƒ

The pupil will now exercise himself upon the same rang-e of notes, ascen_
ding» and descending-, playing\' them tog\'ether with both hands; this will demand
three chang-es in each direction, which will he effected in the manner recommen.
ded in the previous case.

i ^ ^ L »

^^ if \\\'n

The sixth day being\' immrdiately previous to the third lesson, the pupil mil he careful
to be prepared for his Master, by due practicej because, not having\' more than a
sing\'le exercise emanating\' from the notes of his past practice, he will the more
be expected to be tolerably perfect.

In the following: exercise, consisting\' of different scales, care must be taken, in
ascending-, to prepare the third fing-er for striking- the first of the next eig-ht notes,-
and in descending-, to have the thumb ready for each second note of the remaining-

\'^\'miJ I j M dJ I \' \' i i I ! I i I im—---^

Tile Masttn- having- heard all the former exercises of the scales, paying-strict
attention to the chang-es of position, and g-iving\' the scholar the advantag-e of his

own practical example, will proceed to the twenty-second Exercise, showing\' succes _

sively the us^ial way of fing-ering- tlie seven intervals of tlie octave, ascendirsg*
and descending\' .

In striking* the first of every two of these notes, in ascending*, the pupil will,
he careful to have the thumb in its proper place for striking* the second, and also
tile fing\'ers ready for their respective notes .

In descending*, the same -rule, in reg*ard of the preparation of the thuinb and
fing\'ers, will be uniformly observed .

In performing\' this passag\'e with the left hand, similar attention will he necessary.
Exercise 23. ^

Hitherto, the pupil has had only sing*le notes to attend to at a timcj but now
the Master will explain to him, that the exercise he is about to enter upon, con-
sists of a combination of two notes,- and that, consequently, he will have to\'encomi.
ter a new difficulty . To surmount this, he should, in striking* the string\'s, depend
solely on the spring» of the fing-ers, avoid the action of the wrist and arm, keep
the thuinb in its erect position after every note, and preserve a perfect steadiness of
the hand. .

The same ^ule must be strictly attended to in the same passag-e for the left hand.
As this will be found more difficult, on account of the left hand not having*that
support from the body of the instrument which it affords to the rig\'ht, (if the
Uracelet is not used) it will require much practice and patience.

I\'his concludes the third lesson; and the Master will recommend a close attention to
all the foreg\'oing* rules, on the observance of which the pupil\'s .future prog\'ress
will chiefly depend . .

A part of the remainder of this day will, of course, be devoted to practical appli.
cation, and reflection, on the remarks and instructions that have been g\'iven .

The practice of this day will heg\'iii with the Sevenfecnth Ka-ercise, and he regu-
larly pursued till the Twenty-fifth. The three hist days ])ractice Iiaviug- heeii diffi-
cult, and furllier time being- necessary to render the pupil more perfect in what he
already is png-ag-ed upon, nothing- new should be g\'iven him to_day . ,

On this day^ the pupil will beg-in with the sixteenth, twentieth, and twenty-first
Exercises, and those of the seventh day; all of which he will practise very attentive.

ly. After this, he will try the .Twenty -sixth Exercise^ the intervals of which are
founded upon those g\'iven in the third lesson .

In practising* this, the scholar will be careful to keep his hands as steady as possible,
During* the performance of the last four bars of that exercise, marked thus )
consisting\' of alternate reiterations of the lower and upper notes of the octave^ the
first and second fing-ers of the left hand must rest on the string\'s Grand jS, byway
of support; for it is a g\'eneral rule, (for the left hand,) to rest the first and secondlin.
g\'ers on the fifth and third string\'s, counting- from the third fing\'er, except when the
octaves are quickly varied, as in the two bars preceding- the four former .

In playing\' the octaves with the rig\'ht hand, the first and second fing\'ers must
be kept g\'ently bent, without being* broug\'ht in contact with the string\'s . ■

The Master will here heg\'in with hearing* the exercises of tlie second and
third lessons, and that of the ninth day; to which he will devote the main part of
his present visit; as the future prog-ress of the pupil will so g\'reatly depend upon
his attention to the correctness of the performance of these exercises.

It now becomes hig\'hiy necessary that he should assure himself of his pupiPs
capability to tune the instrument, according\' to the rules g*iven in the remarks
preliminary to the first days lesson.

This done, his next object will be, to show the true method of striking* a full
chord, or four notes in combination, as g\'iven beneath. The three fing-ers and the
thumb are to be placed at once on the string\'s, as represented in 6 , the fiiK

g\'ers being" s<» bent as to g*ive an easy roundiiess to their external parts, while
the thainb preserves a vertical position, and the arm rests on the edg*e of the sound,
ing\'-board, a little above the wirist-joint.

In striking* the chord thus prepared, the fing*ers will move simultaneously, and with
an elastic spriijg* towards the palm of the hand; the thumb moving- at the same time to-
wards the first finger, and instantly returning* to its former position.

It is not to be forg*otteii, that thoug-h the fing-ers and thumb necessarily retire from
the string-s for a moiiient after striking- them, the hand and wrist are to maintain their
stations, preserving* a perfect steadiness, (^-ee/zg-.7.)

It is proper to remark, that notwithstanding* all the notes of the chord are sup_
possed to be s^tuck at the same moment, yet, except in rapid\'performance, they are
to be struck in rather a quick succession, and that hence, in Piano-forte mtisic, chords
so played are called Arpe^-g\'io Chords: and it is to remembered, that the notes must
be struck with precision and an equality, of force.

The manner of strikhig* the chord witli tlie left hand, will be similar to that directed
fer the ri^ht; (see Figure 8) care\' however, being- taken not only to g-ive the stroke
purely by the spring- of the fing-ers, but afterwards, to bring- the hand quickly back,
without moving- the arm. For preserving- these rules, the pupil will receive great
aid from the Bracelet.

In the following- exercise, the chords are varied. In performing- this,
the pupil will be mindful that the string\'s are to be struck by the sides of the
fing-ers, as directed in the first lesson, in order to prevent the nails frorn coining\'
in contact with the Jitring\'s, and thereby checking* their vibration, (see fig; o).

The following* exercise for the left hand, will be played in the same man-
ner as was the last by the rig-ht hand .

The Master will conclude this lesson, by directing- the pupil to perform the
two last exercises tog-ether, strictly attending- to what has been said respecting- tliem.

1 As the number of exercises continually increase, to prevent perplexity and
loss of time, the pupil will not be expected to return to them every day; but
will ap^ly himself to the following- exercises, consisting* of the most important
of those he has already practised.

Since now. there will necessarily be more of music than of direction, of prac.
tice than of precept, it is proper to remind the pupil, once more, of the principal
rules that have been g\'ivenj that is to say, of the vertical position of the thumb,
and the manner of bending* the fing-ers» always preparing- them for the succeeding-
notes, avoiding* the action of the wrist and arm, and chang-ing- the position of the
hands in the.scales, without breaking* the equality of the notes.

/ .1
. On this day, aftet practising* the exercises of the Eleventh day, the pupil

will enter upon the following*, consisting* of six reg-ul i-ly-succeeding* notes, first in

This\'^exercise presents a new difficulty to the pupil; that of passing* the first

fing*er under the thumb, in ascending\', and the thumb over the first fing-er, in des_

cending*. In doing* this, the thumb must be kept hig\'h-enoug*h, and the first fin.

But nevertheless, the fing-ering* of six notes wil 1 always be subject to variations,
according* to the notes that may precede or follow them.

INow that his pupil is acquainted with some of the principal rules of per-
formance, the Master (after having* heard him g*o through the exercises of the
two last days) will pl^^y to him the following* little melody, as preparatory to
the scholar\'s trying* it.

This exercise will present to the pupil two fresh processes; that of combi-
ning* two parts, and that of keeping* time^^ To facilitate the latter, the Master
Will g*ive-an example, by counting* the time himself, before the pupil begins.

As the bass varies in almost every bar, the pupil will recollect, that the first
and second fing-ers of the left hand are not to rest on the string\'s; and that it
is g-raceful, to take the octaves rather hig-h on them, by a g-entle elevation of the
arm.

The fig-ures 1, 2,placed between, the two staves, desig\'uate the measures
of the time,- which, in this case, is Common Time, or four crotchets in a bar.

\' 1 2 ^

12 5 4 12 3 4 12 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 i 2 3 4

The Italian word JJof/f\'/VZ/o, means moderated time. PiaUOj, To he played soft.

\'1\' Double bar. Generally used to mark the termimition of a strain; and when dotted it implies a repetition.

Before the Master leaves the pupil, he will let him try the following- exercise,
consisting* of the ncites of this chord.

played in successioh; which will pre-
pare hirii for the last exercises of the next day .

In this exercise, the hand will be placed exactly as when striking-a chord, care
being- taken, in ])lacing\' the third fing-er for the fifth note (or following- low )
to keep the thumb near its proper string- (the upper <C? ) and to prevent it from
sinking-; a fault to which it is very liable .

This days practice ihust commence with an attentive repetition of the exercises
of the eleventh, twelfth, and thirteenth days; after which the pupil will proceed
to t^ie performance of. the following- passag-es .

The exercises of the preceding- four days being- somewhat complex and diffi.
eult, and consequently, requiring- considerable practice, the pupil will continue
to attend to them throug\'h this day . \' -

The Master having* heard the repetition of the foreg\'oing* exercises (which
will occupy a considerable time) m^II not now proceed to any new exercise for the
fing\'ers; but will enter upon the explanation of the manag*ement of the pedals, the
art of which forms so important a point, as being* the only means of affording*
the power to modulate; that is, to sharpen or flatten the different string\'s; not that
the pupil will expect to immediately acquire the ability to modulate with facility
in all the keys; towards which facility, however, that he may continually advance,
the following* exercises in various keys will now be g\'iven; which exercises, in point
of fing\'ering*, will not be more difficult, because all the sharps and flats are
produced solely hy the action of the pedals ,

These Pedals are seven, corresponding* in number with the notes in music* .
Four of them are on the rig\'ht side, The first, or nearest, of these corresponds
with the JE?^ the second w^ith the the third with the and the fourth with
the o^? . The other three are on the left side; the first, or nearest, corresponding-
with the the second with the and the third with the ID? .

On the Double Actmn Harp, the office of each pedal is, to raise successively
its relative string\'s two semitones. For example, the note t\' being\' flat, the pedal
will first raise it to C^, -and then to and, in like manner, all the other pedals
will efTect their respective string\'s .

This raising of the notes is produced by the pressure of the fore part ol\' the
foot on the pedal. When the note is to be raised from flat to natural, the pe_
dal is conducted to the first notch, which the pupil will observe in the aperture
of the pedestal; and when the note is to be raised from natural to sharp, the pedal
must be conducted from the first notch to the second, or lower one .

The following- example will serve to illustrate the chang\'es alluded to, as g\'iven
to the seven notes by the two motions of the pedals.

The Single action Uavp, which is a very imperfect instrument, is, as before
observed, tuned in M flat. The number of its pedals, is the same as that of
the pedals of the double action Harp; and they correspond with the same notes;
but they ^have only the power of raising* the notes one semitone, \'ds shown by
the following* example . .

—er

action Harp. The several crosses over the sig*ns of the different keys, serve to
show in what keys the Sing-le action Harp can be used .

The pupil will observe, that the Double action Harp, being- tuned in C flat, the num-
ber of pedals required for the different keys, and tlteir situations in their respective
notches, will always be determined by the number of naturals and sharps appertain_
ing- to the key in which he is playing*.

The pupil, {if he have a Double - action Harp) will beg-in this days practice,
by putting- it in (its natural key) that is, by having- all the pedals up.

He mil then perforin in that key the exercises of the thirteenth and fourteenth
days, that he may accustom his ear to a chang-e of key. After this, he wallprac.
tise the following- exercise, which is in and founded on bis past exercises .

fix the three pedals corresponding- with the notes JE, iS, in their respective
notches, and play the past and next exercises in that key.

The pupil always attentive to the necessity of practising- his past exercises,
will here begdn with those of the eleventh, thirteenth and fourteenth days, not
omitting- the little Melody there g-iven, nor the exercises of the last day. After
these, he will proceed to Ex: «5 0, in order to be ready for his Master^s next visit.

The .Master will now hear the exercise of the seventeenth day, the melody
last g-iven to his pupil, and ascertain hy interrog\'ations, whether he perfectly un-
derstands the powers and employment of the pedals. He will then proceed to the
following* exercise^ which contains a modulation from C flat, to G flat .

To effect this, the pupil,(when the natural ^ is to he strnck,)will place his foot
on the pedal corresponding-with that note, and fix it in the first notch.

(If the pupil\'s harp he only sing\'le-actioned, this exercise must be in iCi^,andthe
modulation, to G- natural will be effected by the introduction of JP# . )

The next Melody is an exercise in & flat, the key into which the pupil has
just passed. The mdtement being* slow, the chords must be well Arpeg^g\'ioed,
that the fullest vibration may be g\'iven to the string\'s,

lb) wij

After some considerable practice of the exercises of the three last days_, the
scholar will proceed to the following\' exercise, consisting* of a modulation from ok
to JDflat: \'This modulation is effected by placing* tKe foot on the pedal corres .
ponding\' to the (C, and fixing- it in the first notch.

J^jct it bo understood, that in all the pieces in /Z«/\' /tc^as which cannot be played
on the Sing\'Ie-Hctioned Harp, they will be taken half a note hig\'her; that is to say
if the exercise for the Double-action harp; is in Grl?, or in JE)/?, it must be^ played in
itfi?, with oine sharp, or in with\'two sharps: and so of the other keys; hut still
the process . with the fing\'ers will remain exactly the same.

-C-G

-fT-n

The tutor, as usual, will require a repetition of the last exercises^ and then
proceed to the next, which is in ^ flat, for which JFtj^ and must \' be

rea<ly iixed. This exercise consists of Arpeg\'g\'ws^ or chords broken into sing\'Ie
notes, which, on account of placing- the fing-ers for the succeeding- notes, the com_
pass of which is g\'reat, will require considerable attention. In their performance,
the hand must proceed upward and downward with an easy and g-liding- motion.

In the following\'pieasing- Melody {by Bishop,) the first and second fing-ers of the
left hand mast rest upon the third and fifth slring-s. In the bars containing the
repeated .

The rig-ht hand must strike the thirds, Octaves with equal force, and the
time must he strictly counted, as marked , 1,2,3,4,5,«.

-4-

• • 1

ZSL

* "When a natural is merely accidental, or transitory, the pedal must not he fixed in the notch, but
the foot be kept upon it in a moveable position. This rule equally applies to accidental shurpS And fluts.

^^^ Andantino, slower than Andante. CO/i espressioiie, expression. 7f. 7\'infor.

zando, increasing- the sound of the note over which the term is placed, deeresc-eudit, to decrease tlie sonnd.

On thi«? day, the pupil, instead of proceeding- to any thing- new, will prac
^ise the ext^rcises of the four last days .

Bt\'iu ath, are g-iven some eii^ercises in tlie several keys, in which the pupil has

already played, which will he found hig;-hly useful in equalising* the freedom and
flexibility of the fing\'ers .

it would be very inconvenient to chang-e the position of the hand, after the fourth
note, adj only for one note; they will be performed, in ascending*, by sliding* the third
fing*er from the JE to the JF; and, in descending*, by sliding* the thumb from the M to
the <»d . To effect this with ease, in ascending-, it would be necessary, that the third
fing*er should, at the moment of sliding*, be but little bent, in order to its g*liding*
more smoothly from string* to string* . In descending*, the thumb must be kept in

its usual erect position, and its movement from string* to string* be effected with-
out the least shifting* of the hand or wrist.

The following\' popular Waltz (by TVêócrJ will be found an excellent exercise
for the above rule^ as well as sei-viceable in streng\'thening\' the second and third
fing\'ers of the rig\'ht hand.

The past exercises being\' ag\'ain repeated, the pupil will proceed to the following*

The Master mil direct the pupil to put the Harp in Mh, and instruct him On the
subject of Grace notes-, under their several appellations of Appoggiaturas, Turns .

The Appogg\'iatura consists of a small note prefixed to the note it is intended to
ornament; and its leng-th in performance will depend, partly on the nominal leng\'th
\' of the embellishing\' note, and partly on the style or character of the music in which
it is introduced; that is, it will be long-er in slow^ and pathetic, than in quick and
lively movements: and vice versa.

Example.
Maiau r of playing* it
Bochsa\'s Daily Precepts.

J\'iie Tinni, marked thus (\'v) consists either of three notes prefixed to their princi-
pal, or of four following- it, as g\'iven below.

The following\' Melody is an illustration of the Appog\'giatura, and the Turn, the
mi<ldh> stave shows the melody as it must be written, and the upper one as it is to be
performed .

The shake is a Grace, effected by a rapid alternation of llie principal note and
that immediately above it. The shake, to be g\'ood, must not only be quick, but dis-
tinct, and performed without any motion of the arm, or of the wrist .

After hearing- the repetition of the foreg-oing- exercises, tlie Master will direct
the pupil\'s attention to the Harmonic Sounds^ w^hich forin one of the most beautiful
effects of the Harp .

The Harmonics are produced with the rig-ht haiid, by g\'ently pressing- tlie string-
exactly in the middle, with the first joint of the first fing-er, in a bent position,while
the thumb g-ives the note, {See fig\'.lO.), In order to g-ive the string\' its free vibration,
the fing-er must be removed from the string\' the moment after the note is beared; in
performing-the Harmonics with the rig-ht hand, care must be taken, not to bend
too much the second, third and little fing-ers, but so to hold them, that they shall
form an easy and g-raceful curve .

When the Harmonics are to be played, the notes have this sig-n over them (o ♦> o).

When tlie Harmonics are performed with the left hand, the effect is produced
by pressing- g-ently the middle of the string\'s, vith the fleshy edg-e of the palm of
the hand, (not with the ball of the thumb) w-hich part of the palm is removed from the
string- instantly after the thumb has struck the note, (see fig. 11.).

The position of the left hand, enables it to produce two, and even three, harmonic
soui\\ds at once, as shovv^n below.

The following- popular Air, (Rousseau\'s dream) is g\'iven as an exercise for both
hands in the Harmonics. ; ¹

oQ "S

rj rJ

q hrj

^-^

The Master will explain to his pupil, that to produce the Sons étouffés, or damped
sounds, with the left hand, the whole of the hand must he laid flatly ag-aihst the string\'s
in a horizontal position,the fing\'ers being* held close tog-ether, and their extremities
fixed on the string\'s/ as shewn in Fig\'. 12. The note will then be struck with the thumb;
histantaneouly after which, the string* must be strong-ly pressed with the ball of the
thumb, in order to stop or stifle the vibration ; the thumb must be kept erect and un_
bent; its power to g\'ive the note with force will be derived from the pressure of the ex_
tremities of the fing\'ers on the string\'s; and by a little jerk or turn of the wrist, the
thumb will be prepared for striking* the succeeding\' note.

The Sons étouffés are g-enerally desig-nated by the following* sig*n ^____ placed

Tiie Chords efpuffe\'s, prodaceA by, the left hand, are of striking- effect, especially in
Martial Music.

In playing- them, the hand must be so held, that the palm may be near tlie string-, in
order to facilitate its immediately damping- or stifling- the sounds. The fing-ers ni\'ist
be h ss bent tlian usual, and the elbow be kept somewhat low.
The Chords etouffe^s are always Arpeg-g-ioed .

It is to be observed, that the usual position of the rig-ht hand does not well admit of
its g-iving* the Sons étouffés-, and that whenever they are produced, it is by replacing- the
fing-ers as soon as the notes are struck.

The next exercise, consisting\' of a March ^or both hands, is,at it? beg-inning\',to be per_
formed very puino^ and g\'radually increased in loudness.

The semiquavers in the right liand part must be played in a short and pointed manner,
without any motion of the wrist, or the arm; and before the semiquavers are struck, the
fing-ers must be so placed as to be ready for the succeeding- chord, which, in the next
exercise,( on account of its character) must not be arpeg-g-ioed.

The Master, before leaving his pupil, will play to iiim the exercises of the two followin
da\'s, and explahi to him their styles, and the nature of the several difficulties he wàll have
to encounter. , ,

Ill practising\' the next exercise, the pupil will be careful, when crossing- bis hands^
to have his fing-ers always prepared, for the notes about to be pbyed; by wbichhc wiil
prevent a break in their succession.

The first six. weeks being\' now concluded, and the pupil having* been attentiv e to his
Tutors instructions and remarks, will find himself tolerably well ac([uainted with the most
frequently occuring* passag\'es, and with the leading- principles of good performance ;, con _
sequently he is now prepared to eng\'ag*e in the more pleasing* task of playing* regular pieces,
which he will find in the appendix following* this book: but at the same time, as he can
not be quite perfect in all his former exercises, it will be necessary that he should at
least twice or thrice a week, recur to the most important of them; among* which will
be those on the g^ales, on -^^peggios, Harmonic sounds, Modulations, and Shakes.
It will also be requisite that he should frequently re-peruse the instructions g*iven from
time to time respecting" the proper position of the hands, and all the rules laid down
for practising* the manag-ement of the pedals.

The pupil will also bear in mind that he should never sit down to practice without
t-ming-his harp. ,

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