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Many Professors of reputation have written their methods of Piano-
Forte instruction; but their books on that subject aithough possessing-
merit follow in the same track and are generally but repetitions of
each other. The Author of the present treatise hopes that his plan
is newj it is the result of his long experience and practice in teach-
ing in Families of the greatest distinction, and also iu the first La-
dies^ Seminaries, where the time devoted to each Pupil is of necessity
very short .

An essential fault in many Piano Forte - preceptors is that Theory
and Practice are not sufficiently combined; by which the head of the
learner is filled with a number of precepts before he is suffered to
practise one in the easiest lesson or example . Iti the subsequent
work the Author presumes this error is avoided__as progressive in-
struction is particularly attended, to and a number of embarrassing
principia ( of no use in the beginning ] are passed over until the scho-
lar is qualified to understand and . apply them by the previous acquire-
ment of simpler and more useful informations. They will be found
in their proper place.

The following pages are but the wi-itten System of oral instruction
which the Author has so long and successfully acted upon. He there^
fore feels confident that in publishing them he does not present the
public with any inapplicable or abstruse discoveries but a plain sim-
ple elementary work whose leading, principles are clearness, brevity
and instruction .

V

1 N D E X

-a

—^— ■ o

Article 1 On the Notes and Staff . . . . ... ... . . . . . . S

On\' the Key Boards. . . . . : . . . . . . . . : . . 4

- On the Clefs . . . . . , . ..... .... .... 5

On the Names of the Notes . . . ............ 6

On Various Sorts of Notes. ............... 7

J

6 _ On Time ..............................8

7_ On Dotted Notes. . .....................9

8 _ Ou Rests...... ........10

9— On Sharps Flats and Naturals . . . ......... . ibid

10 _ Ou the Position at the Piano Forte ........... 11

11— Preliminary Exercises on Countini^ Time, and on the

First Elements of Fingering- ......... . . ... 12

12._ The Scale or Gamut . . .... ...... . . . . .15

Lessons

In the Principal Major and Minor Keys, in which Various Terms^
Graces &c: are Prog-ressively Explained .

N" 1. 2. 3. 4<. o. 6\\ 7. 8. 9. TO. in the Key of C. Major. N\' 11. in ^ Minor
_ 12. 15. 14.. 15. 1&. 17. in the Key of G. Major N? 18 . in E Minor.
_ 19. 20.21. 22 . 23 24<. in the Key of I) Major. ^^
_ 25. 26. 27. 28. 29. 30. 31. in the Key of \\A Major
_ 32. 33. 34<. 35. 36. in the Key of F Major N° S7. in D Minor
_ 3H. 39. 4^0. 41. 42. 45. 44. 45. in the Key of B Flat Major
_ 46. 47. 48. 49. 50. 51. in the Key of E Flat Major
— 52. God Save the Xing. S3. Rule Britannia. 54. Non Nobis Domine

A F F E - J^ B I X

N"! I.Major Scales. N°. 2. Minor Scales. N? 5, Chromatic Scale.

_ 4. On the Appoggiatura and other Graces .

_ 5. Various Exercises. N® 6. An Easy Duet for Two Performers.

— 7. Explanation of Italian Terms commonly used.

Thf Author has omitted here several Relative Minors knowing- by experience that they
at-M too diffieult for young Pupils, they will be found in the Sequel to this Work,

L E \'8 S\' O M.

On the notes akd STAFF.

The Musical Alphabet consists of Seven characters called Notesto which the
following: letters are applied, vi:^: A, B , C, D, E, F, G. ^

VMien a Melody exceeds these Seven letters, the same series of letters is re -
pealed, the Eighth being called C as the first &c:

The Notes are written on five parallel lines and in their four spaces which taken
collectively are called the Staff, (a Support for the notes j * >

The STAFF.

The Lines and Spaces of the Staff are counted from the lowest line upwards,
tiie lowest line is the First, the next the Second &c:

Spaces

Froui a line of the staff to the next space is a degree or step, and from the
space to the next line, is another degree &c: the staff consists of nine degrees.

n--^

4, 6-

Piano Forte music is written on two Staves which are joined by a Brace

T xl E B L E S y

li A ,s ,s kS T aIEIi:

The upper Staff is for the Treble, the notes of which are played with the right
hand on the upper part of the Key Board, the lower Staff is for the Bass, the notes
of which are played with the left hand, on the lower part of the Key Board .

Ii Vocal Music, the notes are called by syllables viz. Do, Re, Mi , Fa , Sol, La , Si

C , D , E , K , G , A , I?

S S O

On the key-board.

The Keys of the Piano Forte are levers^ which when pressed down raise the
hammers wiiich strike the string-s and produce sounds.

The Key-Board consists of Black and White Keys;the former are divided into
groups of two and three alternately.

The White Keys serve for the Natural notes and are placed contiguous to each
other, the Black Keys are used for the Sharps and Flats .

The Notes are to be found by comparing the Black Keys with the ^Tiite .

The linthor never failed to teach all the notes of the Key Board in the first
lesson I the Pupils being ever so young) by the following method.

r.^^\'The White Key before the two Black Keys(going from left to right) is called
C : let the Pupils observe the two Black Keys throughout the Key Board; make

f y vLr \' 7*

them show all the C ? marked as above

Thé Wliite Key after the two Black Keys is called E. make them sliow all
the E^ as above .

The White Key between the two Black Keys is D. D? as before* after that
let the Pupils show these three notes throughout till they know them well before
proceeding to the others .

4}^ The AVTiite Key before the three Black is P. Let them shew as above

S^^ The White Key after the three Black is B . D\'

The two Wliite Keys between the three Black are G^and A . Let them shew
as before; after this the pupils are to name all the notes progressively—first
ill\' ascending, afterwards in descending ( observing that the letters are reversed

as C, B, A, G,F, E,D, C, &c )

When the Pupils are certain, of all the Wljite Keys, they will soon learn the
Black, by showing- the "White Key in ascending- from left to rig-ht, in this njanner,
C, the next Black Key is C Sharp, D, the next Black Key is D Sharp,aiid so on,&C:
For the Flats it is the reverse,in descending; from right to left B, the next Black
Key is B Flat, A, the next Black Key is A Flat and so on .

The Pupils will observe that each Black key may be taken for the Sharp of the
next White key below, or for the Flat of the Wliite key above

Each Key, Black or White, is half a Tone (or Semitone) distant from the next
Key above or below, two White keys with a Black one between form a Tone and
Elg-ht successive Wliite keys with the five Black ones form an Octave, each Oc-
tave is the same, throughout the Key-Board.

L E S 8 O .
On the clefs.

The Names and Pitch of each Note are ascertained by a Character called a Clef,
which is placed at the beginning of the Staff.

Two Clefs are in general used for Piano-Forte Music vix: the G Clef and
t ie F Clef, —the G Clef is shaped th2is( §f) and used for the Treble or upper part
which is played with the Right hand; it is also called the Treble Clef, it is placed
on the line of the Staff, all the notes ^Tittefi upon that line are called G!

This Note is five Keys higher than C in the centre of the Key Board.
The F Clef sharped thus (O\'j is used for the Bass or lowest part which is play-
ed with the Left hand, this Clef is placed upon the line of the lower Staff,-
all the Notes upoa that line are called F®

Ex

This Note is five Keys lower than the middle C .

These two Clefs must be properly understood, as all the different notes take
their name from the line on which the Clef is placed.

As\'\'betweeri(B) and(c) there is no Black Key, and also between (E) and(F) these notes
are used either as Sharps or Flats to one another; therefore E Sharp is played on F Natuia!
and F Flat on E Natural, B Sharp is played on C Natural, and C Flat on B Natural.
1. 28.-7

^^ L E S S O .V
On the NAxMES of the NaT ES

Tlie Clefs being- known,the Names of the Notes on the Stalf are soon ascertain-
ed for instance (the Treble or G Clej^ being* placed on the line) count from that
line upwards or downwards the spaces and lines naming the notes according- to the or-
der of the letters -

Navies of the Notes on the

c/ gabg abc gabcd g ab cde gabcdef g f e

- When the Melody goes above or below the five lines of the Staff small lines called
ledger lines are added above or below, and the notes are placed on or betwixt .

Notes upon the Lines

CAT

^^ r I\' E

g e g b d f a c e g b ^zgilx

Genteral Scale of the Notes on the Treble Staff

Ü

F F G a b c b e f g a b c d e f g a b c

^ / The scale or gamut

g

When Eight Notes of Music are placed so as to follow each other in ascending or
descending they form the Scale or Gamut

in Ascending _-—i in Descending

Major Scale Q .Tnn.^ f J J

aToil«-. J .. ^

C/ -

This one is called the Diatonic Scale; it consists of five Tones and two Semitones
which in Major keys\'occur between the and the and degrees in ascend-
ing and descending.

The easiest way to learn the Notes,is to study those on the Lines and Spaces of the Treble
Staff comparing each note with its Correspondent Key on tiie Piano Forte, then the Bkss Notes
may be learnt in a similar "manner afterwards the Pupil may proceed to the Notes upon the
additional Lines . and Spaccrs . \'

For the Several Scales see pag-e

Nam k 8 () k t h k N i> t k s o is t h k B A s s S t a p p 4,

riit\' Names of the Nofes 011 the Bass Staff are also found by counting- frt)ni the
fourth line, on whicliv the F Clef is placed.

Additional Lines are also used above or below the Bass Staff.

^ ..jft : : ^ ^ ■ _ f f e d c b a g f

I Below^^^

"b ^ d b f^g t

Notes upon the Lines.

E r. B

St

Gknkral Scale of the Notes on the Bass S

a h c d e f g a

L E S S O

ON THE VARIOUS SORTS OF NOTE S .
Seven different species i>f Notes are used in Mt)dern Music, fix: The Semibreve.,
JVIinim., Crotchet.^ puaver, Se?ni(iuave^ Bemisemiquaver-) and the Semidemisemiq^uaver, or
{h-A\\f Demisemiquaver.)

Semibreve Minim Crotchet Quaver Semiquaver Demisemiqu? half DemisemiqaT

i^m

The length of a Note varies according to its shape; the Notes used in Music proceed from
the longest to tlu^ shortest by a regular succession, each degree of which in point of duration
is exactly half (>t the preceding one and double of the following.

A Semibreve is equal to 2 Minims, or 4 Crotchets, or 8 Quavers, or 16 Semiquavers,
or 32 Demisemiqoavers,or half Demisemiquavers.

Semibreve ^

o

. \' \' ^ \' \' .

0

• LJ LJ ■ LJ\'

16

SAr 0m00fÊ0i^0fÊlÊfp00ft

a

% By dividing- the two Miipms by dots or a line as above, the Pupils will perceive the value of one Minim,
which is equal to 2 Crotchets, or 4 Quavers, or 8 Semiquavers, or 16 Demisemiquavers, or 32 half Demise-
miquaversj and by dividing-• tl^e 2 Crotchets, they will see the value of one Crotchet, which is equal to 2 Quavers,
or 4t Semiquavers, or 8\'Demisemiqnavers, or 16 half Demisemiquawrs; and by dividing- ag-ain the two Quavers,
they, will find the value of one Quaver, which is ^qual to 2 Semiquavers, or 4 Deraisemiquavers, or 8 half
Desnisemiqnavers, &c-

L ..

8

L E - ^ S O

On Time.

To facilitate the reading- and performance of Music, every piece is divided into
small portions equal in point of duration, by lines drawn perpendicularly throug-h
the Staff; and every division is called a Measure or Bar,

Each Measure or Bar containing- a certain number of notes, which are deter-
mined by tiie figures placed at the beginning of every piece of Music\' .

Tiiere are two Sorts of Time_, wa;. Common Time, and Triple Time.

Common Time is of two kinds; the first has a Semibreve or 2 Minims or 4
Crotchets or their equivalents in each Bar, and is expressed by this mark C ^^ fl^

The second sort of Common Time has only one Minim or 2 Crotchets^ or their equi-
valents in each Bar^ it is called, half Common Time and is expressed by the two figures ^ .

ExampL E.

i

t r i p l e t i m e . .

In Triple Time every measure consists of an unequal number of parts either Sor
9 there are three species of Triple Time. when each measure contains three

Minims the Time is expressed by. ^ . when each measure consists S Crotchets

the Time is. marked when each measure contains 3 Quavers the Time is marked ^

Example of_
ofriple Wime -

3 Crotchets in a Bar. 3 Quavers in a Bar.

Triple time Explained .

\'iTiirrirr\'\'J

3 Minims or their equivalent Blc: 3 Crotchets &c:

The\'lower figure always denotes the quality«whether Minims, Crotchets, or Quavers and

thf upper fii^ure the quantity to compleHt the .

2HS \' \' \'\'

D

ON COMPOUND TIME.

Time is Compound when two Measures of Simple Triple Time are united into
one; for instance two measures of ^ will give one of ^ two measures of ^
form one ^ two measures of ^ form one of ^^ &c:

Example

m

ft • • Q 9

^ & ^ are seldom used and also Compound Triple Time g

L S S S O M
On Dotted notes

Any Note followed by a Dot (S \') becomes half as long again
a Semihreve dotted (o •) is equal to a Semibreve and a Minim, or 3 Minims &c
a Mmim dotted (• j . is equal to a Minim and a Crotchet, or 8 Crotchets &c
a Crotchet is equal to a Crotchet and a Quaver, or 3 Quavers &c;

a Quaver dotted ( !* \') is equal to a Quaver and a Semiquaver, or 3 Semiqu" &c:
a Serniquaver dotted \') is equal to a Semiqu\'; and a DemisemicjuY or 3 Demisemiqu"

r • - •

.Example

y-ji uplift - I» p^ffpl:

a Semibreve dotted &c: a Minim dotted &c : a Crotchet dotted &c: a Quaver dotted &c :

Sometimes two dots are placed after a Note (* *) then its duration is three
fourths longer: a Minim, with two dots is equal to a Minim a Crotchet and a Qua
ver; a Crotchet ( I* \'\') with two dots is equal to a Crotchet a Quaver,-and a Se-
miquaver &C :

Example

a Minim with 2 dots &c: a Crotchet with d"

a Guaver with d®.

8^/\' L iO 8 O

0 R E S T S

Every sort of Note has its Rest which corresponds exactly in value, and denotes
that the finger must be removed from the key when it occurs:

if i gt ■■ ^^ ..................... ...II»,,-I \' wf ■ ■ ^^ " \'\'\' »». I . --— \' ■—■■\'— \'

Semibreve Minim Crotchet Quaver SemiquaverDeimsemi--LDennsemi-
Re st. Re st.___Rest. Rest. Rest. quaver Rest quaver Rest.

Rests may be attected by dots in the same manner as the Notes from which they
take tneir names, when a Rest is dotted it becomes half longer.

When a Rest of several Bars occurs in a piece of ]V:
pressed by figures placed over the staff.

_2 S____4 5 6______7

thus \' —

ï

usic, they are generally ex-
8

EL

L .E S S O" M

On the SH ARP, Flat, and Natural.

Any Note may be occasionally played higher or lower than its natural pitch; this
Character is called a Sharp and indicates that the note before which it is placed
must be played half a tone higner, or on the next key on the right hand side^ C ^
is played on the first of the two black keys, D on the second &c:

6 7

\' \' \' . 1 Q 3

Q__The progression of Sharps ni¹

j^-izi---,-1 I I J ^ is by Fifths Ascending and-j^-t^ "

J ^ by Fourths Descending. ^^

g d a e b

The Flat is expressed by another Gimracter (b) placed before a note, and the note
atrected by the Flat must be lowered by a setnitoae and played on the next key on
the left hand side.

The progression of Flats n ^ ^ ^ S 6 7

is by Fourths A s ceiiding^f^n^
and by Rfths Descending.

The Natural marked thus {tj) placed before a note that has been q ^^
ade Sharp or Flat reinstates the note in its original place. ^ \' \'

made

When a Sharp or Flat is placed after the Clef on a line or space it affects all the
notes on such line or space and their octaves, but when a Sharp or Flat is introduced in
a bar it is called ^±ecidental,i\\. affects only the notes within the bar where it occurs.

MTien the last note of a bar is affected by an accidental Sharp or Flat and the first
note of the following bar is on the same line or space,it is to be played Sharp or
Fl tt, though not marked to be so .

As there is no Black key between E and F and also between B and C . E Sharp is played
witli F Natural and B 31iarp by C Natural by the same reason C Flat is played by B Natural
and F Flat by E Natural.

The Pupil mu.st observe that Ftf and Gb are played by the same key as well as the other
Note.s example

and when a note is raised by a Sharp or lowered by a Flat

it .still retains its name with the epithet of Shni-p or flat ad led to it as F Sharp B Flat &c.

1 

s

11

Ov the POSITION at the PlANO-FORTE

The Pupil must he seated with ease opposite the centre of the Key-Board, at
a moderate distance from the Instrument; the seat must be regulated by tlie age
of the Scholars and by the length of their arms, but they must not be seated too
near nor too far from the Key-Board. The Arms must not be kept too close to
tiie body, the wrist ought to be nearly on a level with the fore part of the arms,
and the knuckles must be kept almost flat. By observing this the hands will ha\\e
an elegant appearance, but quite the reverse if the knuckles are elevated.

The three long fingers must be nearly half bentso as to bring the end of the
little finger on a straight line with the others; but the position of the tiiumb re-
quires very great attention, it must be kept over the ends of the Keys, and a little
bent which will give it a great facility to pass under the fingers without mov-
ing the hands backwards and forwards .The fingers must be placed on the middle
of the large part of the Keys and never between them except when the thumb
happens to be placed on a Sharp or Flat in Arpeggio passages See :

To ol)tain a graceful manner at the Instrument the head must .be kept straight
and easy in a way to alTord the Pupils to look on the Notes and on the Keys with
facility without any motion of the head moving up and down. Nothing is more uu
graceful than to see the head of the performer constantly on the move or bent
forwards—besides it produces round shoulders .

Great care should be taken that the Pupils do not make wry faces which in
general they are apt to do in playing different passages, such as a quick Turn
or Shake __ the best manner to prevent this is to make them practice the

Turn or Shake slowly at first, avoiding all unnecessary motiou.

The Author expects that many persons will smile at this last remark;they will
call this a trifle &c hut as it is often said that such a Lady is a very great
or dashing performer. Why ? because she rattles away on the Keys and often rai-
ses her hands as high as her head; but often strikes her knuckles against the
desk of the Instrument and dashes the lights into the middle of the room &c:

Classical Tuition will prevent this defect, which is a very great one, as nothing
is more ridiculous than to see the performer raise his hands as if he had play-
ed a trick of legerdemain .

The Author intended to have had a long Appendix at the end of this
A^ork but considering, that the contents of it would be almost useless to a young
Student, he thinks that the explanation of the C Clefs_, the Intervals, Syncopation,
and the diflVrf nt touches, Chords, Transposition &c: will be better placed in the
v\\}iic!i is to tvUow this Book.

1

l^i P R R IJ M I N A U Y Ex K R CI sK S

I

On Counting Time and on the First elements of Fingering.

Tlie Thumb is marked by a cruss ( ) and the and little finger by 1, 3, 4 .

Count 4 in a Bar. .

Right-hand

alone.

Left-hand

alone. ~

Count twice 4 in a Bar.

3 * S

Right-hand.

Left-hand, in®
Count

Succession of Two notes, Count 2 in a Bar,\'one for each two mttes.

Succession of Three notes, Count 3 in each Bar.

1997

The same with another finirerinii-.

S V 1 2 I 2

Succession of Four notes Count 4 in each Bar.

2 3 I 2 3 ^ ■] 1 \' \' I 1 .

it*

. , tl 1

3 2

,•1

Succession of Five notes Count 3 in each Bar.

i &c. 2 J

The same Yaried Count 3. , ,,

iiSls^ 42s

U. tr^^f-fffr«!\'" I I

1 2

—^ m 0 ^

Observe; When tlio Thumb passes under (he and fing-ers in Ascending-, or those.fing-ers over^ the

Thumb ill Descending:, the hand must not J^Iove, it is to be done by keeping- down the ,

fingir till (lie Thiinib strike the next Note, and by keeping- down the Thumb till the fing-er

strike tlie followinc- TSote.

u

-=h-

-^-^

jSt

3

Count 4 one for each Quaver, two for each Crotchet and four for a Minim.

Count 3 in a Bar one for each Crotchet, two for the Minim and one for
the Crotchet rest. ^^

LKS SO J/;
Triple Tiuie.i

2 1 g 1 -4-

• I f > • I f •

For thf explanation of all tlie Italian words that oocur in this- book see the last Piig-e

I

15

Count 4 one for eadi Quaver and Iwo for each Crotchet.

^ ^ I . T_\\ J

Count 2 in a Bar one for each Crotchet. |

(B/ Tin\'s Mark ^^ called Dd C(l])0 or 1>. C.\' sig-uifies to beg-in the Air ag-ain, which Ends at the Doujble Bar.
S\'^rnifies F>iano (.VO/L) and ƒ Forte (?OWr/.)

r I" r I r r

1 2 3 4.

i

Lieber Augustine.

1 -cH 2 3 2

uU luJ lU-

i

ƒ

(a) When a Slur, thus x-—-v. is placed over or under two different Notes, the first is g-enerally accented

(b) The first note of the Bar having- a double Stem, must be Kept down while the two other Quavers

lire played,

S

T

Robin ADAIR.

(a) This mark v is called a Turn, whhh consists of the Principal Note, the note above, and the note below;

there are several sorts of Tums, which will be explait^ed

(b) a Double Bar y across the Staff, divides a piece of Music, into two or more parts, and when dotted thus
the preceding- part is to he repeated, but when dotted on both Sides ijj; the preceding- and following- parts are
repealed.

(c) When a Slur ^—is placed over or under two notes on the same line or space, it is called a Bind or Tie,
the first note only is played and kept down the Value of the two.

[8

On the Minor Scale

Althoui^h the Minor Scale consists,like the Tones and \'2 Semitones

yet it not only differs from the Major but varies accordini^ as it Asrends or Descends.

In the Minor Scale descending- the Semitones are from the to tlie and from
the to the degrees. .

In ascending the Semitone is also between the and degrees and from the
and S^\'^ -

Examples of the difference between
the Major and Minor Key.

2D

11

L E S S O jr.

19

Fkklude in thk Key of G major. ^

Common Time.

4 

r —

^ The Key of G Major, has a Sharp mark\'d after the Cleff, which is F Sharp, and consequently
all the F\'s are sharp. T»J:B: before the Pupils attempt to play in different Keys, it is necessary that
they should practise attentively the Scale of each: See Pag-e 47 & 4 8 .

vv a l t z .

S * J 1 3 2

PT
1

j. ir • iffj

(a) When a Small Note precedes 4 Semiquavers, it must be played quickly without altering- the time.

WK\'RE A\' NO DDI N.

 , s 4

i-; t

fWtffi

(a) When a piece of Music beg-ins with the part of a Bar, it must be counted as forming- the end of a Measure,
those; preceding- notes are always wanting- to Complete the last Bar of the first Strain or Movement.

(b) When a Semibreve is placed over or under four Crotchets, eig\'ht Quavers, &c: it is to be kept
down the whole of the Bar.

LESS

Coiiipouiul
Coiiiiiioii Time.
(C)

( c) This Measure must be Counted, two in a Bar, one for each three quavers, but in a Slow Movement it

is easier to Count twice 3, or 6,
( D) Cres is nil abbreviation of CrescendOj (increasing-) and sig-nifies that the Sounds are g-radually in-
creased, it i» often expressed by this Mark —^^^--_ ""

h.-iU. ■ ■

Di Tanti Palpiti. . ^ rossini.

1 Jt. • i £ I i

L.285.

(a) When two or three notes are placed under each otiier they form a Chord-, the double notes are
Struck tog\'ether.

Ye Banks and Braes.

(b) Dolce, Softly and Gracefully .

(c) Cdhtndo Sig-nifies that the Sound is to be diminished gradually and in Slackening- the Time.

(d), \'fills Mark /CV is called a PilUSe^W rendenK the Note long-er at Pleasure.

A Tempo, according-to Time, or Tempo Pvimo, the Time as before this Mark ^T^ occurs.

Air Savoyard.

L.285.

i

Phki/i\'dr in thk Kky of D major.*

^ The Key of D Major has 2 Sharps marked after the Cleff which is F jlf & C , all the Fs & C\'s
are to be played Sharps.

2  3

□c

>J# »

Love was once a Little Boy.

^ 1. , > ^

wwwm

\\ /"^ifTn -n I rrn n t rm

Allkgrktto
. Modkrato.

^ rm If-I\' 1 J^P "<f . I ^

I., ■i\'^.}.

Auld Robin Gray.

Con espressione.(a)

Von espresstone.[A) ___ a^ ^

Tji ^ii r 71 0 0 j-i J1 J!:^ ^

(iolce. ^ ^ ^ ^ ^ ^ r^ r 1 11

( b) These two fig-ures 3 placed under a Slur, Sig-nifies that after playing- with t)ie fing-er tlu- Thumb

is Shifted upon the Key without Striking- it ag-ain . i: H ttij pHBL-gHll—^-;

(c) h\' is the general Mark for a Shake, this one is to be played tlms,. ^

( d) When the last note of a Measure is affected by an Accidental Sharp,]PJat,or Natural, and

the first note of the following- measure is on the same line or space, it is to be played (he same as the last
Note, Sharp Flat or Natural^ and is seldom mark\'d twice as above \' —N-

(k) This Shake is called a prepared Shake, it is to be played,thus;

L.2S5.

23

I.K PKTIT TA MBOUR.

le s s O J^/

L.285.

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4 3

Kelvin Grove.

tfei^-^ I f c\' I s-^egtea^g^

^ /:r-i n n 23;= >., ^ p ^ ^^ r

rTii^rnJTl i I Lr

: 1

c\'KST L\'amour.

; 1» .-It It It

is

3 2

3z:

--y It iT

! j. JTi^ ] jsffl

Bai:

—I 0:

A \'I\'liis Siiiiill note is lo ln\' played quickly without altering- the Time

L.^85.

Sir

P« ^ I

(b) Sig-nify Left //fiwc/, which hand is to cross over the Rig-ht, to play ^.G.&c.

L.285. .V -

/il

La Suissesse au bord du I^ac.

^gth

L E S. ß O jy*..

ÂNDANTIÎi o.

L.285.

1

t i w

Quanto ptu Bella.

(a) When Small >fotes are placed before Larg-e Ones, each small note is called a Short Beat, it is always
played quick . ■

L.285.

P K K Lr I) K IN THE K E Y OF F M A J O K .

V 4

Rousseau\'s Dream.

m

Gentil Hou sard.

—^

L ..A. ^ .J

The Bards Bepuest.

_ 4_4 14. 4__1 1 I J <

fftj Jj\'jjlf p^g^g

■0 0 0

L.285.

ZiTTI ZiTTT.

f^^ PI ^ 11 T^ \'rrr-i i _ r nr^-lr

ifmit/f

^ " 4 —Il 11 / I I . ~

t i t - •

s

ÉÈâM£

_

L.^ni).

Pkklude in thk Key of I) minok.^\'f^

JL\'ï

{ A^ A Turn upon a dotted note is to be played thus

Prelude in the Key of B 7 major.i s .

m

1 m 1 1

-)f The Key of B flat Major has two Flats mark\'d after the Cleff which are B and E flat.

G L o RI o u s Apollo.

1, \'

I. K T K O r B A I) O K F) l T A G K .

_ (A), -f

n n

II- "ir^

Le Garcon Volage.

Adeste Fr deles.
^ i1

r n --L _1 ^___

L E S S O Jf.j

A N D A X T I N () . i "O r , [7 %

*»»

j* f, 1» I j* ^^

l.2S5.

BEN E D E TT A.

1 4 4 .92

tliose Notes Short and di<<tiiiri, mtd when tin re are dashes over them,thus\',r*3cacjtth \'y are play\'d still Shorter.

41

WATERS OF ELLE.

jno

^ tempo rt
^ 1

m

rrr^fntrfr-^ i J-J\'

i

l-\'vifpirrnri-fr

y

Sweet Home.

L.285.

44

tJ o r N p 1 p E .

-U

THE More E N.

1 .4-1 ! t 1 ¹

ƒ ^ P il 4- , ~ ^

I

J

-^-Jii_Vi, T I \' i \' "N I N ^»n 3 g 1_

r^JTlii I J r

M i^pMii -fpin eres »^fc

—I—-
/

1  ■ m

L.285 .

4G

h iS\' S S O X

A n u a n t k
m a ks to s o.

R u l e B rit a n ni a.

S:

Non nobis Domine.

Non no_.bis dq___mi___ue

M

O"

^«J

Non no__bis\'^ Do_ _ jiii__nf

-o-

!Niii> ni)._bis D;>__nii__:

1 4

mze

xr

X

Minor Scales with Sharps.

The Semitones or Chromatic Scale
Ascending with Sharps and Descending with Flats.

or 2 3 or 3 2

legato ^ .i bi 1

A9

^^ \\ Vppoggiati kas And other Graces explain kd.

I he Appo^i^iatura is a Small note placed before a imi^o one (one dei^nee above or be_
low) the len.i^th of it is borrowed from the lar.i^e note,it is generally half its duration.

wriUen. or thus i.layed p^ed written played ^^

Example

Small notes are also added to g-ive Emphasis to the large ones.

played . . pjiyed

Observe, The Small or quick note must be rais-d immediately.

In Double notes.

played

s I plaved

ff II l^dlpt^

The Shake.

There are several sort of Shakes, viz: The passing Shake, the Short shake, the Com-
mon and Turned shake, the prepared and the long or continued Shake.

The Beat is seldom used in Modern Music although itlie Short Beat has a g<MKt
effect to give Emphasis in the Bass as well as^ in the Treble\'.
L.285. ■ • ■ \'

50

Various Exercises IN Fl n GE ring.

For the Right II\\nd.

12 1 12 1 12,^

4

^ ^ ^ a a Ik

^ • I 3 1 34-3

L.285.

1 44- , 2 . s ^ tjmjj\'

, ,4

(a) To play the Thirds, Sixths, and Octaves,well, with 9®"kness and Facility, they must be done by moving- the
Wrist only, without any motion of the Arm.

(b) The Leg-ato is to be done without raising- the fing-ers at all, but by shifting- them.

For the Left Hand.

lo.

L.SZSj.

i

5 3

i* f I* Pi I

f