/.i^r ShtMall.

\'BW

DALMAINE % C? SOHO SQUARE .

; \'X-

\'T - ■

■■ ■ i, > ■

• - i / : ■

JP, M \' E ^ € JE .

*

The Pupil has now g-one throug\'h ih&f\'trst Six Weeks, and the First Appendix,
accompanied by the iVry/ Jhiok of Stâidios, the precepts and the exercises of whieli.
have so far opened his mind on the subject of Harp performance, as to fit him for
a further and hig\'her order of instruction . Here^ therefore, the Author, ag\'reeably
to the method he has so long* successfully adopted with his own pupil\'s, proceeds
to state some of the principal rules on which those precepts and exercises are foun-
ded, and to impart that information^ which, as the Pupil\'s attention was before suffici-
ently occupied, would rather have embarrassed than improved him.

Before the Pupil enters upon the present Appendix, the Author has to observe, that
he has purposely limited the marking\' of the fing-ering\' to the principal passag\'es,mean-
ing* that the Learner should, in a g reat measure^ be left to the exercise of his own
judg ement; he will, therefore, feel the necessity óf a istrict observance of the leading\'
ruks of fing-ering* which precede Xhe Eleg-ant Extracts.

In selecting* the following* prog\'ressive lessons, it has been deemed elig*ible to a-
void all those subjects which are vulg*arly popular, and to confine them to Themes
which, being* chiefly from the best Masters, and familiar to the ears of the Pupil,
will not only be more easily learnt, but be found adapted to his advancement, and
of a nature calculated to improve and refine his taste.i*)

To each Theme, Preludes have been prefixed, which the pupil will do well to learn
by heart. It will be seen, that each of these Preludes (except the first) consists
of a Modulation from the preceding* Key to that of the next lesson5 it will also 1)e
observed, that they are so constructed, that, the part of each, which follows this
ig\'n will of itself) when required^ form a separate and distinct Jfrelude for the suc-
ceeding- Theme. .

The Scholar, whilst occupied with the Eleg-ant Extracts, will not be unmindful of
practising* the Studioi^ contained in the PupH\'s Companion.

The Master, in prosecuting* this stag\'e of his Pupil\'s prog*ress, will do well, in
acquainting* himself with the contents of JJanima di Musica, the last class of the
Appendix, as tlie pupil, in passing- through the present Class, may occasionally be
in need of referring* to some of its precepts.

^^^ It is proper to remark, that the marg-inal directions follo^-ing- each Theme, are to he rPccived
as rules of g-eneral application. SheoM these directions appear to be too often alluded to, the importanr e of tin ir
being- strong-ly iinpressed on the. Pupils mind, wiEbe more than an excuse for their repetition.

^I\'jiendi" Clitss a. \'«ochsit .

\' M X ]p E, T jr © w ^

of the principal fundamental rules for fingering

The Author would recommend the Master to direct the Pupils attention to the follo^v^ iiig-
important rules; particularly at the present stag-e of his prog\'ress .

M Zr E, M Ff

N(» other fing^ers should he employed than are absolutely necessary fcr the execution
of the passag\'e, because, the using- any other fing\'ers than are really needful, would not
oiyly leave the proper- fing-ers unemployed, but impede the performance: for instance: In
playing* contig-uous notes^ ascending or descending-, the first fing-er and thumb are
sufficient; in playing- three contig\'uous notes, the second and first fing-ers and the thumb
are sufficient. &c . (see the following* examples) . *

EXAMPLES .

2. S, 1 S.

(j^ririinrrriirrrirrriiririn^^

or 3 2 1 X 1 X

Bad JmgeHiig\\ ^ ^ x g j

3 I 3 ..

3 3 2 1 X 3 2 I XX 1X321 X3 2 J X X X ]

When two, three, or more contig-uous notes are followed by other ascending- or de _
scending* notes, a chang-e in the above fing-ering* will of course take place,in Order that
the thumb, as it always should, may have the hig*hest note in the passag-e.

Ex. 10.

XI X

19.

18.

X

rnriiTTiiTfrrr

When a series of notes, contiguous or otherwise, lie within the compass of the hand, a
change , of its position should he avoided, because it renders tlie execution more easy,
especially in rapid movements.

EXAMPLES
Ex. 2.

One position.

y 1 XI

^ ^ Q S \'is g-
f ^ * ^ 1»

I xM ^ I ^ ^ |i ^ \'Q M i\' I I 1 r T I ^ " ^

3 2 8 2 3 2 3 8 a S 3 2 ^ 2^2^ ^ 2
^—--——Ti].!\' 4, ^—-------

n ^_ One ]>ositi<)n._■ -

V . I I \' \' \' I 1-i r : i^-r l^r I i

Two notes, contiguous or otherwise, should not he struck with the same fing-er, (espe_
eially in quick time) except after a rest or pause. (For the reason of this rule and its
occasional exceptions, see L\'Anima di Musica).

1 ^

Bad.

Ci.iss, 9. ;}oflis\'a..

■M u JL M

- Mhtîn changes of the hands position are necessary, (in ascending*.) they should take
place after the third or second fing\'er; and very seldom after the first fing-er; because
the latter is too near the thumb to admit sufficient time for the action . (See the
Examples 5,6,7,8,9 and 10, illustrative of the first rule).

The Author has founvl. by experience, that Pupils do not always perceive that
when the proper fing-ering* of a passag-e is g\'iven in any particular key, and repeated
in some other key, the same principle of fing-ering- also, applies in that other key ;
therefore, anxious to render as clear as possible^ the best way of effecting- the chang-es
of tlie hand in playing- a series of contig-uous notes, he here g-ives in figures only-R new
tablé of fing-ering", which the,.practitioner will know how to apply in all similar cases.

IJV A S C E J>r D I JVG .

In descending-, this table will, of course,be reversed;that is to say, the performer will
beg-in with the thumb, as thus: xl, xl2 &c, and it wiE be made to slide 5,9, and 13 notes,
instead of the third finger . In rapid passag-es of contig-uous notes,when tlie thumb or fin.
g-er must slide, it should be at the beg-inning-, and never in any other part of the series .

M UI, m

^Vhen a chang-e of the hand takes place, it should be from a long- note to a short one;
and never, if avoidable, from a short note to a long- one: because a short note does not af-
ford thé hand so g\'ood an opportunity for chang-ing* its position as does a long- note, (see
L animd di musica) .

Appendix class 8, (Bochsa.) , - ,

EXAMPLE.

M U E> JE 6

Every passag\'e connected with that which succeeds it should be so fing-ered as to pre.
pare the hand for that next passag-e; but, very often, the way in which several ascending*
or descending* notes are conjoined,perplexes the Pupil, and renders fit difficult for him to
apply the principle explained in the preceding rules. For ii^stiince: If two passag\'es like
the following*, be presented to him, he will, at first, be embarrassed; _

Ex. i. _ ^ 2.

_thoug*h if he saw them in the form g\'iven as at where they are tied,not as dictated
by the measure, but according* to their situations, in ascending* or descending*, he would im-
mediately perceive the proper fing\'ering*:

For this reason, the Pupil ds Teccommeiided, when he finds himself posed by the fui-.
g-ering- of certain passag*es, to divide the notes, in Ms mind, according^ to their ascent or
descent, without any reg\'ard to the manner in which they are tied; but still without breaking
the time, or violating\' the character of the piece; by which method,he will speedily ac-
quire facility and propriety in fing\'ering.

Ex.3.

Ex. 4i.

^(zll ^alr II ail cG} ii^iftrS

TX

ThePupil will now proceed to the Elegant iRlrfrffcf^; keeping-fully in mind all the past precepts

\'^Jipenrlix Class. 2. \' BorTisp) .

6\'

(a)

:P<i4MT<i4jyT\' JPOIUM JL\'i/l S\'WMIM. French Romarice.

\'W, ... v.i . ■ ^ I, \'

X X

Dolce A ? 1

ip-

-1-*--W Tl--

X X ^

3

Romance, a kind of Ballad. All the minims, crotchets, and dotit^ notes, to be g\'iven with a strong- and
marked vibration, (see L\'auimd cU ntUSlCa.) ^^^ In performing- tkis baVj the left hand must be supported by
placing- the first and second fing-ers on the string-s C, &E. ^^^ iSyniphony. A few instrumental bars, forming- the
conclusion of a v^oeal Melody. To avoid the abrupt leap of the thumb, in playing- the two successive notes E, F,

<!iey shoTildbeperfprmetlinthis manner, .^ ; ^^liich "uall allow time for shifting- the thumb.

Appendix Class 5?. ƒ B\'t< hsa i

PRE LUDE, Modul atzng\' from to U major.

BMiä/lMJE BT, W^MJE! Sjmnish Melody,

Ä_-4-

5 • I S • fi -

The first of each three notes in the Bass, to be strong-ly markt^.^ The note^ with this sign > to ])t> empha-
tically expressed. This, curve, pla^-e^l over,or under two notes of the same pitch or degree, sig-iiifjes
that they are to be performed as. Olie note, ecplial in length, to both . \'

^Pixndix Class SjBochsa.)

8

p R EL UDEj Modulating\' from G major to Mu major.

Cavatina ^ a little Italian Air. The Crotchets always to be played with more vibration than the

(^maversj and Semiquavers . The four small notes to be" performed between the second and third quavers of

tlie Bass . - , .

A])p«ndix Class S. (Bochsa.)

9

PRELUD E/ Modulating from jEjh major, io M h major.

&UJL jDIj\',^ MIO,

The Bass to be steadily and equally accented. ^^^ in sliding- tvo notes with the thumh, tJie first
to be g-iven wth force, (see L a7iima di »lusica.) : >

AppeiiHix Clabs . . ( lJo<iis.i.) \' \' , . ~

PRELUDE, Modulating\' from Mh ma]\'or^to U major.

FROM S]E<MIM<idMI]I])]E.

(a)

(fixC#andA#)

N

.1 • •

Hi -1 i-

X#_.X# 1

IJRl^M MMjLOB^^ . (COOLUN).

XX

x u ^ 2 X

^ » J I

# >•

2 x i x

The timc of this M«lody bein^i" vt\'i\'v slow, ail the chords to bo wt ll arpeggiot-d ^

PMImA CMS ^\'iM FJEGjrO .

M

»H—^—P

(b)

(a)

In this Air, the accent is on the second beat or measure of each bar. The first crotchet of each bjir.in the Bass,
to be g-ivt n vith a strong- vibration, and the tvo others, soft and staccato, as if they were marked thxis.J^^

i^m

prelude, Modulafmg from Mkmajon to & x x j

(FixAliy , (FixA^, Xjg 2 I^S rs.^

A|)|)"iiHiv. rj/\'ss. , \'\'"Ri,

given with g-reat force, and the following-DemisemiquaTCrs^in a soft,but sweeping-manner.\'^Vhe first of each four SemiquaTt-rs,to

he Veil accented . The fi rst of each ol these tour semiquavers, wliich is marketl as a Crotcliet (after the manPier of the

Piiino-forte Music) is to ht strong-ly marked, in t>rder te prolong- tlii-vibration . ( see Uanimu (ll VlUsioU.)

A^ipendiv f lMSs i.\', -i"^\'

PRELUDE, Mudulaimg\'\\from W minor, to major.

(Fix\'Eb, and Bb.) ^ (Fix\\Gè)

X 1
19 m—^

I

■O- ^

Cl Ij)^MjE]<M ]L<A. :

(Mozart.)

XJ

The Bass to he g-iyen in a steady and distinct manner, and the double notes struck with the a:ction of the
fing\'ers, witluait any motion of the arm. . .

.Appendix Class g. fBochsa.)

w

15

to follow in a g-liding- manner .
Ap])endix Glass 8. (Bochsa.)

16* P R E hV D K, Modulating from ¥ major, to B^ major ^

\' X 1 >< 1 ^

vhole to be performe<l in a livelv Hn<l animated manner .
Appendix Class 2. (BowhsaJ

17

^ € O T€ M <MM IL OB ^ .

i8

PRELUDE, Modüla fing from Jïï h\' major^ to € Ij major.

(a) • \'

<M<^M€ FROM MI€€MM]DO M ^OMcAHDJE . (Rossinu)

March. All the notes except thé Crotchets, to be g-iven StaCGUto. In quick movements, two
immediately succeeding- not*^s are not to be st^ck with the same fing-er, except wht^n the first of the two is loiig-er than ,

the second, as in this bar.

w

JDUJETTO, FROM -JEf \' €MO€I^\'TO .

1

P R KLUDK^ Modultiiing from M major^ to a/H major.

This truly Martial Melody is of course, to be played boldly and energ-eticaly, and the chords in minims Ijlse
those in dotted crotchets with a fullness of vibration; the quavers and undotted crotchets to be given with point

and shortness. \' (b)

Appendix Class 2. (Bpclisa.)

PR EL UD E^ Modulating from major, to JD minor.

(Beethoven .)

_ _______I..

the string\'s; the crotchets in the rig\'lit hand, miij;t be given withfiill vibration, (c) . (d^ playing,-these three m-tes^^-

^hepalni of i he I.ft {laiui niu-t \\m Vo lu ar to the string\'s, as to have the pover of checkins^the vibration of îhe tîirte liotvs. i.s H^Jy
«^ooTi as tlie tbird noU" is . ■■ \'

0 ~ ■

2 -w ^ ■ ■ ■

^^^ The pupil >«11 not for^t, the, observation respecting- the effect of the curve, vhen placed over tvo notes of the
same pitch or degree, that is to say, the second of the tVo notes is nojt to be struck^ and the first to be g-iven vith a
strong- vibration, \'\'l») In passing- the second fing-er under the thumb there should be, no brake or disjunction in i
the tJiree quaivers . . \' > ,

\' • i • Appendix Class 2. (Bochsa.i

24

€OMO, FROM (J^®UM^ JP©»WFIJLIUb .

ffy^rirWfi

# »

; k J ^ ; ;

1

ff j

The chang-e of position, with tlie left hand, to he efiected witli all^Jossihle ease .

26

\'\'tMM ^JMM TJJIMJ^G.\' (from the cyeafwn)

Haydn.

27

PR ELU D E, Modulating\' from Cl;, to JD. minor .

{Rossini.)

2

1^1 ^ St—

y 1 VI 2\'S| ■\'^rr ^ I

,(Fix Gt)
■ 1 ] X i ^

r Mr

U U U

> "1 1

il^^^iil Iii ,3 ai

•-i—

_I__a-

V--T/^--

29

PRELUDE^ Modulating\' from JE major, to Bh major.

V i

Tlif words (F#)and(D#) written under the mean that the pedals of F# and DS continiie to T)e

used instead of those of the Gb aiid Eb. This chang-e of the SigllS, without any perceptihle variation in tlie
soundsj constitutes what is called the Enharmonic. (See UAnima di Musica.)

Appendix Class 2. (Bochsa.) \' \' ^

so

^ of the Rig-Jit hand.
Appendix Class Bochsa.)

JDMB BEWX .

£

^ Plit\\Sempre staccato. *

J 3

:st

_______^

Sernpre Staccato. "The whole to be played in a short and pointed style
Appendix Class 9. \'Bochsa. ■ i \'

32

P RE L U D JC/ Modulating from Mb major, to € major.

ben marcato,

prom &m<m][m<kä.jm][]d]e].

as sung^ by Madame Pasta. (Rossini.)

ta)

This last Lesson comprising- nearly all the various passag-es which g-gtve rise to the past remarks, the Author
instt\'a.d of repeating- them, deem« ii aclvisabh- to trust to the pupils recollection, tire exercise of which will be found
hig-hly useful .
Appendix ClasH S? (UochHa.i

A|,\' e iix , ( ia^cs l;-.\'

yy -^igw

. rlass.2 . \' Borhsa

The pupil having- thoroug\'hly practised these Extra<?ts,win find himself qitalified to peruse attentively
all the precepts ^iren in the third Appendix, L\'amnia di musica, the consideration of which will he in- \'
dispensable to his attaining* that taste, eleg-ahce, and power of expression, that lig-ht and shade which varie_
g-ate and inforcf the effect, and g-ive a picturesque beatrty to performance. i

Amid his g\'eneral practice,the Scholar will not neg-lect to frequently recur to the Pupi/s Companion.

Appendix Class 9. Hdohsa^. \' .

- Î -
....