I

I
 . ,

/ //// ///
/'//ff// //y f' /f/w/t/.t />/* '///.j/r ///'////////<////
r
on S7//f/s r/np // //// y tr,/////t/e.i, /y // //y
/'V
/a ///'/.
///// J // V V /// V/ /V V W /////</ ;

Printed and Sold />v (i.C.r/nmnci-

Musiga l Ware 'House . /^QIFkakkux Street

Where Ar/ras/ /Ae lutesfancl hest Pi/A/t< v//^^/ s or ^ ///v?

/^ffl0

a/tf/ j///n>/ /< a, /ot/ e////v with n general /t^^lmmWf

,"/'///
f
o1 Must _
I

ca2 Instruments onrthe A<s( Terms, Piano .for~tes S<>/<//:.( < Am/n/n/

/.<'/ X also tunetlih Tonm Jh tbunirvattke Shortest A'ottcr

Copt' /Itij/if .\<inriif.

 PREFACE.
THE rery favourable reception which the first edition of the following work has
met with, and the still increasing demand for it in all parts of the United States, have induced
the author to publish a second, with additions and improvements. He deems it unnecessary to
enter into a minute detail of the various motives, which, in addition to the above, have prompt-
ed the present undertaking. It is sufficient, perhaps, to say, that the study of Music (more
particularly vocal) is daily becoming more and more fashionable in this country, and the con-
sequent measure of rational enjoyment which its practice affords, both to hearers and perform-

ers, has fully realized the anticipations of its warmest friends.

Of all Instruments as yet known, the Piano Forte claims precedence as an accompani-
ment to the human voice ; and its use has become so universal, that the education of a young
lady is hardly thought to be complete without it. But the excellence of the Piano, as an ac-

companiment to the voice, is not its greatest recommendation. As a Solo Instrument, if we

take into view its power of combination, it is perhaps superior to all others ; and accordingly
we find that the greatest masters of modern times have successively exercised their talents in

eliciting its various powers ;

which, indeed, are now so far developed, that is probable no furth-
er improvements of much importance will be made.

Sensible of the above facts, and convinced of the necessity of a standard elementarrj work,

both for Teachers and Learners, the author of the following work has spared no pains to ren-
der it as complete as possible. He has consulted the best modern works of the kind, and taken
such hints from them, as he thought would be useful, more particularly as applicable to the

compositions of the modern school. These, added to the improvements which his own long
experience in teaching has enabled him to make, he trusts will render the work still more wor-
thy of the liberal patronage, with which the former edition has been already honored. In this
hope, and with the most grateful acknowledgments for their liberal encouragement of his pro-
fessional exertions, this new edition is respectfully submitted to the public.

Boston, Jan. 1, 1825.

i >' .
if a/ r Q F &/U»&>£/\
\
 . . .

TO THE ART (>/' PL/l YlffO ON TJI-E '

PRE LI M X AK I IK S
ill musical sounds are expressed by certain characters raided Num. which are named from
tin- first seven Letters of the Alphabet vi*r_

\ , b , ( : j D , v., v , c;

V Sr \vv t oiitains Lines, and — 22: Spaces: the lower line is ( ailed the first.

The notes are plat ed on the lines or in the spaces included in the stave === and the

additional lines, called Ledoh Links are for the higher and lov*er notes.

€ l is F s
[it order. to determine the Pitch <>i music al notes, certain signs c alled Clefs have been i» vented
*hi h .»re set at the beginning of the staves.

Table of ^vll the clkks It

"\
First Treble Voice.
_ (

C
KlRSTTBKBlK
v I u I.I NO.
- ;
1
Second Treble Voice.
\
second Treble
(. SOFBANUi

Tli ird Treble

r (THIBD 'IVKBL K.
.>! V.7.Z0 S o r A N O.
( I'.

- U'Ol'NTKR T EN OR.
/
'
Counter Tenor Voi cc.
— ^ « *
>

1 —r—
n

Tenor Voice

X
5

(
tk n ok.
IZKOIZ. m — !

^/^JBass Tenor Voice.

Q ( bass Tenor.
£ Bchiioko.

\ 1ce

( B vsso..

i
1
1 1
(
1
f
1
I ' I ! i I i
1 1 1

: I :
i !

ABC
. i
! ! i

F <. A H ('
I) E F GAB ( I) k F C> i> K F (
j

a B c: j) k i' 6Ai t i> e f c; ir A i$ C

1 1 t

— • = - - : - ; = * " - I ,J £ n «S -£ «g 5 ft .
£ £a £ 5AS if't JiXr
J20
 2
*
REMARKS
, OX THE TABLE OF ( L E F S.

ExpEBiEKCi has proved, that the ordinary and free Extent of the Voice, does not go above an
Octave and three Notes; and this probably. determined the first Institutors of the Art to on- (

fine themselves to the'five Lines of the first Stave, which suffice to write the eleven Notes of the
Voice; that is to say, five upon the Lines, four in the Intervals, one above the. highest/ -and one belo*
the lowest; and to distinguish th^se seven Sorts of Voi< i'S from the Gravest to the most Acute, they have
employedSigns.r ailed Clef s, which can change at discretion, the Name and Gravity of the Note upon
each Line.

The Voices may

properly be divided into seven different Sorts: The Voice w hich is the deepest of
r

all, is called Bass, and its Extent is from the second F of the PianoForte to the B, inclusively.of the

following Octave;andit is that which is d e s gn a t edjay ;the Mark put upon the fourth Line (See first,
i

or bottom slave in the foregoing Tabl e) which is called the F Clef-upon the fourth Line, or Bas s
Clef; all the Notes plac ed upon the Li n e of that Clef, are called F and of consequence, the Note
; w rit _
ten below the lowest Line is F, and the Note above the highest is B .

a The second Voice Bass-Tenor and its Extent is from the second A of the Piano Forte to the
is called
D, inclusively, of the following Octave; and is* designated by.^ Mark resembl ing the Bass Clef, pu ton
the third Line,( ./ v seen on the second S lave,} and all Notes placed upon that Line, are al ed F. < 1

called Tenor, and its Extent is from the. second C of the Piano Forte, to the F of
The third Voice is

the following Octave. A new Sign has been invented, and placed upon the fourth Line, and is called
tlie- C Clef upon the fourth Line,or Tenor CI ef;all the Notes written upon that Line are called C and

t f)iisequently,the Note whichis above the last of the five Lines is F, and that below the first is C .

(See Stave 3.)

1 '

The fourth Voice Extent is from the second E of the Key-Board to

is called Coirn ter-T^enf)>\&x\& its

the fourth A, or the A of the Oc tave following; and is written as seen by the fourth Stave.by pu ting t

thu C Clef upon the third Line; and all the Notes written on that Line are called C .

TheVoice is called Third-Treble, and its Extent is from the third G of the Key. Bo
fifth
.rd to

the C of the Octave following; it is designated by the C Clef put upon the' sc ond Line, and < I !

the Notes written on that Line are called C.( See Stave 5".)

sixth Voice is called Se r on d-T re bl e, and its Extent is from the third B of
the Pi
The
Forte to the E of the Octave above, and is designated by putting the C Clef upon
the fir-

Line as shewn by the sixth Stave.

of the seventh Voice, called the First-Treble, is from the third D of

the Piano-
The Extent
Mark,whichbeing
Forte to the G, inclusively, of the follow ing Octave; it is designated by a new
Clef .( See Stave 7.)
placed on the sec o nd Line, is called the G Clef on the second Line,or Treble

The Treble or C. Clef, and the Bass or F Clef,are in general used for the Piano.Forte.
420
 F upon the 4'! 1

Ledger Line

G below the 3
l
! &.'

A upon the 3* d?

B below the 2*2 dV

— -C upon the 2*? d?

•D below the IV 3?

E upon the IV d2

#, below the Lilies

-G upon the I
s
.' Line
...ii -A--. IV Space

B 2^ I-i^e

C- 2f Space
D Line

v .wE— $9 Space
-'— -4.'.h Lii.e
c
-
i $>--

_~._-J - J. '."Space or b« lo* tlM-2'.'Lg.LincTrenleClef.

-A- 5'.l, Lineor upon the 2^ Lg.Line _

MM
B ;ibove the. Lines or below the Lv A'i

C upon the IV Ledger Linr

D below the Lines or above the 1 V Lg.Line Bass Clef.

E upon the I V Line or upon the 2"^Lg.Line

-p -IV Spate or abovethe2 .'

d'.'

-G .
'-^H* Line or upon the3 .'
d?
.A
— "- Space EE
B > - - 3? Line

C 'J I Space

D ~-fc.4f*till« • .

4 Space 'J'

5 f.h Line

-G above tin Lines

---A upon the IV Ledger Line

—B above the I V d'.'

C upon tJle c
2 d do

D. above the 24 d?
rjzj.^ _E up()ii the ^J d'.'

* above the 34 d?.

"til*

| J.|| G upon the * lh

. d?

ltfl*"""
A i,bove tIu '
4 '
J '
d"

5'.h
-l-f^fl- --B upon the d'.'

--jrjr|4~-C above the .5*:' d?

.52
 1 • KKMARK OS T 11 K. FOREGOING SCALE.
first Right Votes in the Treble St;i\ e from G tt> Gjare the same is the corresponding Eight note
T i i

j). udh ul n ly under them in the Bvss Siwt, both in Name and S<mnd; thej are played, therefor*
i
|

on the same Keys".

NOTES OK THE LlNKS*AM) IN THE SPACES SEPARATELY,

-t-
I
1
Kt.H I. El
I
rt • n F A C K -G B , D F A C
I
A / ,B

• £ £ E
\: A s s

•TGBDFAC KG B 1 ZpI±oD ACE<;B DVF A

I
C
K
o jb
G
— EX K I' I S E FOH ThEBLK NoiIS.
.

]
i.

H
——*a

I
? I
-r—

3
ExEucisE koh Bass "Votes.
=— # ^ ~
•,rV,.fV?>

^
-i •
U
l
:

i
'

-I !
|
| i
1 ,

f^-)

J 5f .
*3
INTERVALS.
An Interval is the D stance, or D fferiSni e between two Sounds in point of Gra\ ity or Acuteness.
i i

The least of our Interval Is is railed a Semitone.or Half 5TTe: It is the literval, in the X a r v B a t 1 r.

Si a le. betv* en E'and F and between U and C, E X A 31 V L K

i
(

' •
>
4
> fcF B C
The regular Progn ss ion of the other Notes in the Natural, which is also c ailed the D iatonip
Scale, is by an Interval of t*'> Semitones or a whole Tone.

The Interval between C and i), between D and E, or between any contiguous X <>t es, in the
S. ale 1> called a Second the Interval best ween C and E^or between 13 and F, «Scc. is called a.Third.

E XAM I'LE O K 1 N r E B VA L S .

rth-

The Interval of an S*.'

1
is commonly called an Octave.
\. B. The Nature,and Name of the Intervals remain
the same, whether the single Note? be played
suc< v»si\ely,or whether two, or niore,be struck together; the former is properly called r. o n y, M t.

and the latter Ha'rm oxy . r

"Ex JIPLE OV AT T
A i H " C I -

^ \ flu

The Notes thus taken tocether are also called CHORDS

.520
 FlGTRK, LkNGTH and , lu.LATivt V A H'K ok N.OT KS, Vi xh j lulu B v.s t BCTJ v E HKST S
N OT.ES.
Semibreve. Minum. Crotchet. Quaver. Semiquaver. Demi- Semiquaver
Rests.
3:
There is a certain proportion assigned to the Notes and their respective Rests for the purpose
of regulating the system of Time,,which will be better elucidated by the following' Table,
which, shews their true proportions .
—

V alue ot't.hi- Semibreve The Semibreve is' equal U

. .2. Miliums,

.01 4 Crotchets,

. ... or o U,u avers,

. .or 16 Senuquai ers,

,,oi'32 DemLSemiqi avers.

V alue of the Minum The Minum is equal to

*— — 2 Crotchets

-* ——-•— - or 4 Q.ua\ e rs

—V —
<

9 or S Se it iqua ers
»

or 16 Demi.Sc-mic|ua\ en,

V alue of the Croti het .The (rote het IS equal to

•;r-; 1* 2 Quavers
1/'
1;
. or 4 Sen iqu avers

..or $ DemLSeini quavers

\ alue of the Q u a\ er . . . The Quaver is equal to

, . . . 2 Semiquavers

* • • or 4 Pejni.Semiquavi rs.

E E
value of the Semiquaver.
. . . .The Semiquaveris equal

. . . . .2 DemLSem iquavers.
=
A Dot after;, Note, or Kest, makes the Note or Rest half as long
.*»'• affain
» i

.Written .
- .
S

AT placed over two Notes of the same pitch, binds

the second to the first; so that only fl,
irst is struck, but the Ffclger must be held do* n the
full length of both .

.520
 G TIME and its
*.•*
DIN I SI
• ^
ON ..
f [

Tin H V K, made thus Edivides a music Composition into EqvTAL portions ot' Time •

Tl MK
is divided into t* o sorts* Common and TRIPLE 5 each ot which is either Simi
• or Compnunid: and the character or sign, v»hieh denotes it, is placed at the lug-inning of
every Composition, alter the ( let* .
Simple common Time
When marked thus 51^ 3 ^.denotes,, that each Rar contains one Semihfeve, or
its Equivalent

H h=k If
When marked thus
Pi the Bar contains two Crotchets or its Equivalent.

mm m m
=aa=t = — 1— l=J ; 11

IS
s OKI",
Compound comnigu Time Explained.
Coot. Quavers in a Bar,.fezg;
ULP ~M*
1 I or their Equivalent »

I iJ.I
V
1

Sort. ^J?,*
: '

Cont. * Qua\
"Vers in a Bar,
,

" , Ir
or their Equiv al'ent *
ffj)
j
|

f-^^f^ 1|

O. .
Sort.
Cont. 12 Crotchets in # # # g or their Equivalent
a Kar.
^ , , ,

-K Sort.
font, a Crotchets in
.

a Bai
P * * m m .0-
or their' Equivalent *

fhr* e Crotchets in a Ha
e/

Simple
n
The
-i
tv-w)

*
N
J,

«
last

Trip! c

«
p
SY>rts

! a> .
are

'

•
Ti m e
J
very

«
Seldoiij.

'J

«
— «usf il

E xplained

Hi
ii&iiiodern Mu*ic«

or their Equivalent •

m
i

« # # * «
Three Quavers in a Bar =£= IT.' 11-
or tlieir Equivalents

» .
.

Sine Crotchet or their Equivalent

Sine Quavers in a Bat Or tlu ir Bquivah ; 1 1 .

( otupound triple Tiui'e Is veiiloiri vised in modern Music.

1 figures, reference to the Seniihreve; the lower rum
which mark the/Time; have a
'i-X into divided; and the upper numher, ho* many
how many parts the Seniihreve is _

of icti
I part's are taken to fill up a bar. Kor K\AM1'I.K | denotes, that the Seniihreve U
rtivid into four parts, namely, four Crotchets; and that two of them are taken fof eai
Bar: Likewise indicates, that the Seniihreve is divided into eight parts, namely, eighl
Quav< and that three of them are adopted to fompleat a Bar.
The KlCliRK of '3' 'placed oyer throe Crotchets, Quavers or Semiquavers

thus m D r « I f-f-f^TrjpLZ- f * m — -
--- f:al ]v( \ TRlPLfeTS, denotes, that the

th must be performed within the time of two common Crotchets;

Crotchets
tl three Quavers uithin the time of two common Quavers; and the three Semiquavers; '

- bin the time- ot* two common Semiquavers . The figure of (j denotes that six Notes
be performed within th.- ..time of four of the-i/.saine kind..
I
•
 ACCIDENTS.
I.t- h Sound may be al tered by add in^; any of the following Signs.

vtShah 1

r ) placed be'fqre a Note, rai. s it a St in itone (a r Halftone.)

Scale of Semitones or Chromatic Scale.

rr~r ~\— B=
. rig Keys of the Piano Forte, or Harpsichord, are commonly railed the Natural Keys,
thi«gh they*, asionally ser\e for Sharps and Flats; and the short Keys,£re called Sharps and Flats,
being tiM'd o.tly for Sharp and Flat Notes .,
11 -
Sharp be placed before C, tin Note is called C Sharp; and fafcound on the Instrument
ten C Natural, and I) \ ituralj'heing one of the short
Kefs 1) Sharp . is the short Key
1 J
" "" K ; but between E and
no short Key, nor is it wanted:for the Interval
,
F, there is
» K, is but a Semitone; and therefore when we want
k id
I

E Sharp, w e strike the Key

generally called F Natural F Sharp will be found between F
Natural, and G Natural. C. Sharp
.

between C. and \ Natural; V Sharp .bett ween A and B Natural and

B Sharp is under the same •

Predicament as E Sharp; we therefore strike C Natural for it.

A Fx vr(b) pi U before a Note, lowers it a Senutone or Halftone: and if the Note is
B,
!

»o whi< the Flat is perf ived. ,t is tln n railed B Flat; and it is

I,
found between B Natural and a'
Natural, being one of the short Keys. '.

Every Flat is found by going one Semitone lower,- that is,

towards the Left Hand; and
... by goingone Semitone
higher; that is 3 towards the Right Hand.
.

X >Otlbli for Chromati, Sm,k raises the Note two Semitones; 'and therefore, if )
it be F )

'<''
• Sharp, we str-ike I, Natural; c\i\.
•

«
'
.
•

\ I), Fla r'(W) lower* the Note two Sen, t ones; and therefore
libl.e
w e go i
as much to the Left
Double Flat, as. we did to the tfight for a Double Sharp.
V V* . , , ) takes .way the Effect of a Sharp, or Fiat; whether single „r double. And
t#,
" 3 .i instates the single Sharp or Flat.

It must be obseM ed ~ 1
im.w that Jt i
s strui k I
.ythesa,,, K > j ff j |
and Jr ; •by the same Key as _ _

Nov
th- I„,„nv,nl....,,. of charging the „,,„,„ ry
» i,h the various uses of the ..me Keys
Sma1 '' " h "•••«" «'"• ''n-raUir^ility ""
of performing on »„ ,,„,„,„„.„ tur
'

n.shed a„l, Ke, S perfectly rorrespouiiing

; Shaver, Flat and Sharp, Single or double, wW«*
composition may require. - , ..

* h -en adopted in tuning, railed

„ <:h l)Jf , SIni T „, i . A m . K T;
"

,
, u
"
-""» the Truth of every Interval, e*cej,t
the Octave, render, the los,„,„,e„t
eapahle
» T satisfying the Ear in every Key
6 '20
 When a Sharp is placed cloee .to the Clef thus; it affects every F .through —
out the piece: except where the Sharp i
is ^contradicted*' by th*
thi Natur.il.
"Natur.il.

When a Flat is plated by the Cleff ^ r> EE it affects every H throughout the piece;

except where contradicted by the Natural^

iral% The same rule holds, when more Sharps or flats

are placed at tlv^ Clef • *' " '

- * .

. "When a Sharp, VI at, or "Natural is prefixed to a Note, in. the cotilrse of a j>ie< <;. it af__

fects all the following Notes of " the same'name contained in the sanie Bar? it is then called
an ac cidential Sharp, Flat, or "Natural .

NB. The Notes affected hy Sharps Or Flats still retain their names with the

addition only of Sharp or Flat, as F Sharp, B Flat, <fcc->

^
iff Example yh yedi u t, mun t i n.-
^~C^^ 2r~t
2;&*EX AMPLE

3T^EX iMPLE.
mm av- ritton

Which abbreviatons are a modern Improvement •

The foregoing rule extends even to the first Note of the subsequent Bar, when
the affected Note is the last, of one Bar, and the first of the nevt •

Example .
as if written thus

And the same \»iih Ktats ami Naturals*

The . order off SHARPS, z&l 4 T)es< ending hy A l.C and

at

The
the Clef

order off F I, i i s,
P
-Qz
A s< ending by

:Ascending by
6iP

A?, and
at the Clef rDescending hy

Various other Marks.

The PAUSE j nr renders the Note longer at pleasure; and in
I

cases, the Coniposer expects sole Embellishment from the PerfomeT • but tft

On a Best T only lenghtens , at pleasure, the silence .

The SIGN or Repeat is a reference to a passage, or strain, to which the

performer is to return: The Italien \»o r ds AL SECSO or /:.//, SEGKO, denotes

suth a return.

'

The DOUBLE BAH - marker the end of a Strain; or the conclusion of a Piece.
[j

Tin- dotted IUk^ — or j

'

denote the Repeat of the foregoing, and

following Strain .

When the B\KS are marked thus

8 nr then the Strain, only;

on the side of ttve dots is to he repeated .

 9
AH BHliVlATlONS .

Style, Graces, and Marks of Expression, &c.

The best general rule is to keep .down the Keys of the Instrument the full

•
length of every Note* for Vrhen the contrary is required, the Notes arc marked
either thu* called in Italian, S.TACC v to ! denoting distinctness, and
sUnortness of Sound: which is produced by lifting the fc'inger up., as soon as it has

J E which, when
L>
struck the Key:* or they are marked thus :Zjt£z^ Compeers, are exact

in their writing, means less Staccato than^the preceding mark; the Finger therefore

is kept down Somewhat Iohgerf*%jr thus; 7(7-^ f ;

which means still less Staccato
-

^**
The nice degrees of more and less, ^however, depends on the character, and

passion of. the Piece; the style of which must be well observed by the Performer.

The Notes marked thus: -Jr called Legato in Italian,

.
must be played in a

smooth and close manner ; *J which is done by keeping dV>\*n the first Key, 'till the

lie•xt is struck; by which means, the Strings vibrate sweetly into one another.

NB. When the Composer., leaves the Legato, and Staccato to the Performers taste
the best rule is, to adhere chiefly to the Legato; reserving the Staccato to give
spirit occasionally to certain passages, and to set off the hi-he^ be;a..ies of the Legato.
This mark c prefixed to a Chord s ignites, thr/i the Notes must be played
successively, from the lowest; with mo re or less velocity, as the sentiment may
require; keeping each Note down 'till the time of the Chord
Chords market
ed thus: -Jf *L -It -
are played as the preceding Chords, with
the addition of a Note vhure
where the
the' 1
oblique line Vis put, as if written thus
^ written, played,
but the additional Note not
is to be kept down.
10
EXPLANATION
j

-
Of V A \ri O
*
IS TE R M »
S
' L -
I K '
ML S I C .

List of Terms mostly in use, to ascertain the velocity of

I- *
every Composition _ 'he^nning* by the slowest decree, which is
* * « ."t .. ."

6 m and gradually proceeding*

Adag*io_ i to the quickest, which is

Prestissimo .

1 . Ad AGIO . 6 . ANDAiyTE,! ll. Maestoso . 16\ SPIRJLTOSO .

9 Grave . 7 . AND \NTLNO. »-..

12 .Cox commodo. - l7 . CO S BRIO .

. Largo . 8 . ALLEGRETTO. 1.3. ALLEGRO 6 . IS. CO N Kl O< O .

i . lento . 9 . MODERATO 14*. VI WC K . •

^ 19. PRES I O

.->. L\KGHETTO. 10. TEMPO GIUSTO. IS ^ CONSPIRITO. '20. PR1-.S TlSMMO .

A Table of Technical Terms by the Alphabet.

A TempO s in strict Time* (\tntahile, in a vocal Style
A J agio, the slowest Time. (\inzoneUn; a sort of com-m »n Air .

U LiJttinn, at Pleasure. Cap rieiO , an Extemporary, .

or piece of

djfeiiidsC, Tenderly . Music, in whit h the Author, -withotit any

Agi'tate, A.I •i tared . . Restraint of Tiroe,. gives •
Liberty to his
Allegro, quick Time u Fancy, nearly the same as Preludiuin •

dlleg ret to. not so quick as Allegro . Co<ht, Conclusion or Appendix .

41 Segno, signifies to begin again at the C.0)i Cotmnodo , with east. .

"
"'
• Repeat) <md finish at the double H;ir, Cres<e*h\dc (:i)i Calando, or «<^>.a gradual
or the Pause • . Base and- Kali of lilt* Sd r.d .

S . o. an" Octave higher than w ritten • •

Crescendo R rrnforv.a mlc or a gradual
Amoroso, or Te n dll fm en t'j\ nearly as Affetuoso. Rise of the Sound .

Andante, rather slow and distinct. j

. . Da CdpO, signifts ai

AncLintinC, a little quicker than Andante. end with the first -

{
•; r .

Arioso, in the Style of an Air. Dnninifendo Calando 3 oi\^>a gradual

Arpeggio, or Arpcggiuto, requires that the i
Fall of the Sound
Notes of a Chord he played successively. Direct (^Y.J shews the place of the fir

Ass. n, to augment the quickness or slowness, note in the next Stave.

as Allegro Assai, Aery brisk; Largo Assai, . Dolce, or Doll sueetly, tenderly.
very slow . Di MoltO, very, as Allegro |)i Molto,
/>/ ,
play those bars twice, oyer which it is A ery fast; Largf> l)i Molto , very SloW,

pla< i d . Duett, Duetto or Duo, a Piece for two

Br trite, in ; briffisfet Style . Parts, either Vocal or [nstrutnehtal .

Brid, S it. as Con Brio, \«iih Spirit . Quale, the Last Movement «>t' a musical <

r
Finis, Fine, Fin, denote the End of any Move__ rerdc7idosi , s*?e Calauuo. AA
in. 'lit or Piece. Viano, or F. Soft.
F. or b'orte, Loud. Pi Jssiii, or Pianissimo, very soft.
F F. or Fortissimo, v» i \ Loud . Viu, Mo r*.
Fugit, op Fuge, a particular species of Com. Pcco, L ittle; as Poco Pin, a little more.
position, wherein the subject being Pom poso, in a Grand Style.
led by one Part, is repeated again by P res CO, very quick.
the Other parts. Prestissimo , quicker than Presto..
Fi.d o, Fire, as Con^Fuoco, with Fire. Primo, First.
Giusto, Just> Exact; as a Tempo Giusto, in Primo Tempo, acco rd ing to the Original Time.
just and exact Time. Quasi, manner of: as ^u<»si Andante,
in the
(.race, very slow Time. in tlie manner of Andante.
Grazioso , in a graceful; pleasing- Style. Kallent mdo, gradually slxckening the Time.
Gusto, Taste as (on Gusto with Taste. , Rcndeau, a piece of Music in which
Ro->:du,
La rgc, slow the first Part is repeated once or oftener,
Larghetto not *o slow as Largo.
, the course of the Movein»nt] and with
Legato, Slur'd, a Style of playing- in op_ which it finally ends.
position to staccato. Rinfcrza ,0r R.F.Xo reinfoce or increase the
Leniamenie rather Slow. , strenght of tones or Sounds.
Lento, a little quicker than Largo. Scber%dndo, in a playful manner.
Lentando, the passage over which this is Segue, to continue or follow.
written should be played slower, and Sent pi ice, with Simplicity.
with much expression. Sen%a, Without.
Loco, after having' played the Octave above Sfor-zando , particular airess on the Note
to play Hie N"t« h i i 11 as they are written so marked
Largo Asst., verj -low and solemn. Sicihanc Pastoral Movement . in Com-
Maes'osc , Majestic, in a bolt! Style. pound Co mm o r: T i no e

Ma n i udo, decreasing in sou nd, see Diminuei do SmCr-zato, SmOriai?: dc, smoothing' away
Marc i , \Lirr r,a Military Air; generally the Sound,
played by Wind Instruments. Sostiin uto, to sustain the Suund by keeping
V/ i, But. tl»<' fingers down on the keys.
\leno, Less. SpiritO, with Spirit.
\\esto, '\u * Melancholy Style Sptritoso, with much Spirit.
Me'zzo i'ortt uv n.f. rather lou. i. SiaeCi.i to, til e reverse to Legato, see. P.O.
Mezzo Via' -' or m. p. rather soft. Tacet , be Silent.
Woder ito, Moderately.' Tempi , Time, in respect of Measure and Bars..
Woltt , Very, s»-». di Molto. Tettfiite, Or Tcnuto, to hold a Note, as So.stenutQ.
\iinuettfOi Dante <»f Xlinuetto^ a serious Tbetil i, th<- original Air Or S object; up on
a moderate movement in Triple Time. which Variations are made.
Musi cc, a Musician Or Music Master. Trie, three Parts, or the third Movement of
A on, IN ot, a s \ on Troppo Prestc,noiiooquk a Minuett.
Yon Troppo Largo, not too slow Tremando, Trembling..
ObtigatO,i\u\\ part of a composition which any
Variazione, VariaiiOni , Variations on
is intended to shew the effect of some Air or Tune, keeping always the same
particular Instrument, or the skill and fundamental Bass.
abilities of the performer. Volti SubitOf turn over quickly.
( ity iure, •& piece of Music Composed for Vivace, Lively.
Instruments in Eigiit or more parts. Vigo rcso, lively and firm.
 12
ARPEGGIO, or ARPEGGIATO, requires that the Notes of a Chord shall be played

successively; which may he done in various Mays .

Example. BE thus
or P ll <rfl.

thus

Ortava. All' S'i'i' , &Ti* Alt a, set over a passage, means that the Notes
p are to he play :1

an octave higher; and LpcO, that the "Notes are to be played again, as they are written.

The Al'POGGlATl K.V is a Grace prefixed to a Note", which is always played Legato,
and with more or less emphasis; being derived from the Italian Verb Appoggiare, to

lean upon; and is written in . a small Note. Its length is borrowed from the following
large Note, and in general, it is half of its duration; more or less, however, according
to the expression of the passage .

Appoggiaturas anci other Graces in small Notes exrlained.

9^
°fj g r jjjE -to bo 'played
~^f^
i
^ U 1^\-LL^ ~pl ay c d thu s
i

thus 1

~^ ~
I
i r~i rr

with spirit as taste best directs in the passage.

Sometin
53"

Sometimes the small Notes are added to give Emphasis.

j_T ^yod ±
ix AM N.E.
^ ;
|
» J p J
|* thu s
1
N >* . The Finger or Thumb must be taken off immediately from the
. lower Notes

E\ MkfPLE.

EX *VI r%E. ——
t im«» uwS—3 n- - -
c f

J. 1
'
i

1
F-H
pg I

\jf
'

.. 1*

Exam pl

Rxplained iu double Notes.

 IJ
Tt'ivNS, Sharks, and Beats Explained,
-^HV ., ... .....
The Tik.v.

The plaii Tin- dotted

—^ m I
l
^7T\ rn
Note and Tui Note turned •

INVERT EO Ti

N B

KX AMPLE
• The

if?
Lowest

5
"Note f)t* every sort
: ;
of Turn
, Q 1
is
'

,
mostly
^ a semi tone.

] s J
^l/; 1
-Pllj ? J. m J il.„

shake* ^' -ru) -"""

gg QQ^g*
gQ^Q/^-jMHsFg | H
Short Shake, Q ,V Q

Transient or
W \\ T^
passing Shakes.

Turned Shake.

Continued
Shak

Prepared Shake thus

The Shake L EG ATT) m ith the preceding Note explained

'

a:
"ffl i s
SEE
TTh 1 1 1
thus -
or thus * tluis

N B . The general mark for the Shake is this: h" and Composers trust
chiefly to th<- taste and Judgement of the performer, ..whether it shall he
long, short, transient, or turned.
J'2()
14*
Exercise far the Double Shake.
With the Right Hand . Seldom hvitb tie Right ///-*/.
3 3 2 3 2 3 2 * 3 4 3 4 4 3
* /7\ 43 4 :i 4- 3 4 3 4 3' 3 -1 3 '2 3 2 2 3 .3 '2 <2

1 + I +' 1 + I
+

The length of the Beat is determined, like that of the other graces, hy the
circumstances of the passage* ,
-

"SB. When the Note preceding the Beat is an interval 1

of a second, Jet the
Tone
beat

RX \
adopt

M PLE
it ,. 'whether
———^it

played thu s
be a Semitone or

o'
a

-
whole
"
y l ayed thvu
I
But vhen the Beat is on the first Note of a passage; when it follows
or
«i whose intarVal is greater then a
N«<t.-, '
second, it should be made uitli a
i . • - •

Semitone; as the following' Example will show .

EXAM P L E . i t hus thu s

Lastly
^ let us remark, that the Beat is seldom used in modi-ru Music.

Major and Minor Modes o/ Kkvs .

Vulgarly called Sh*ARP and FLA T K E ^ S .

Fundamental Note, called the TONIC ojc Key NOTE, of a Composition

The
is either in the MAJOR, or MlN'OK Mode . An Exposition of the Scale in each
Mode, will best explain their essential difference *

A seen
scending
din and No c
Key ill £C Z

rie«<
-c ending « a I
^
^y<P >
f
^

'
»
„J_
•! <L 3
in the K<.y of

( MAJOR.
N B. The Intervals in this S<aK: are in their simple state; but in the folio w_

ing, tliey Octave higher, and are (ailed compound Intervals; still retaining
are an
their names of 3J*^ &c« as in their simple state. r

The stands for Not. of the same pitch, (ailed I nison: this last •

figure 1 , a

remark is 'confined to the foregoing Example •

Ascending and ' ' " " " -" -

* ^ *

descending scale
j^j |

in the K<-y of )
1

A MINOR. fg§
s •
* VH. making the Shake, not to move I , !>h mearlj the <

B.- very Careful, in

 The first difference, which strikes the Kye, is. that in the Major Key the

Semitone lies between the :M''J and -kit, and between the 7(i' and both -ascending

and decendingj whereas in the Minor Key, it lies between the and 3H^J and

between the 7//' and Hit* ;

ascending, bul in descending', between the and ,

and between th<- a?** and U.".

4
^ Authors vary however in regard • to the.- ff//' 'and

7//
1
of the Minor Mode .

Tli. essential and immutable difference, therefore, l)etween th< Major and Minor

Key, i^ the Interval uf the ' , Vhich differs by a Semitone; for if we analise

the 3.'^ in tin' Major Scale, it Mill be found to contain two whole" Tones; or

t ur Semitones .
' .•

~^hoie *» whole so ml — — ton

emi s umv

1
I

Exam ple _, 1

. l

tim #==
a
^ nu- j tuiu i I e I 1t) +n>

Whereas the in the Minor S^alc, uill be found to contain one whole tone

>* ttli a Semitone; or three Semitone's .

iMPLE.
^ "tone ,* u I
or
|#
lonpftjP tone.p tone p ||

Now, tlie Last, and if a Chord, the lowest Note -of the Bass, in every
regular Composition, is the Key Note , ';kt the conte nts then pf the first fulj

Bar be examined, (Treble and Bass,^ where, it' the be Major, the piece is

in such ;» K i
y Maj<«>r

ihrr7==^\
-

II
V. X \ M P_L £ of a
1 1
The last and lowest

Com lusion . _Note of the Bass is F

K HAMPLS of the
:The SH' of T, whii h is A in
Begin ning Major,
the' first full Bar is

of the same Pie jf^h-^y— * | Q S~

{ li therefore the
thc> Piece is in
r
1*4,
4~J "jZ^E^ K- Major .

1
Here, the ?>r. d of A is

of
Minor, the Piece .is

ending .
therefore in A Minor.

N 15 . Sometimes a Composition in a Minor mode may have a Major ending, for

whi«h reason, it is safer to examine the Beginning, in order to determine the
Mode . \ '
'
<

>
i
 F I N G E R I N G .

To produce the best Effect, by the easiest .Means, is the great Basis of the

Art of Fingering. The Effect, being of the highest Importance, is first consul-
ted* the way to accomplish it is then' devised; and that mode of Fingering is

preferable which gives the best Effect, tho' not always the easiest to the Performer.

But the Combination of Notes being ; almost infinite, the A'ft of Fingering
Mill best be taught by "EXAMPLbS .

PRKLIMINARY DIRECTIONS .

*
*

The Hand and Arm should be held in an horizontal position; neither depres_l

sing nor raising the "Wrist: thi seat should therefore be adjusted accordingly.
The Fingers and Thumb should be placed over the Keys, always ready to

strike, bending the Fingers in, more or less in proportion to their length.
All unnecessary Motions must be avoided .
*— . * -

Position, of the Hand ready to strike .

The X is for the Thumb, 1, 2, 3, 4, for the succeeding Fingers

Right Han

432 1X123 4 32 1 X123 4 321 XI 23

Left Hand - (^ :

j ^< rfi* l
<*0.
I
N H . Every Note must be played even, in regard to Time,, -i^cl \* ifh

equal Strength .

J-2G
 17
Scales in all the Major Kins, with their relative Minoiis .

+ +

G, major.

I), major, ++j£f+z H, .minor.

A. major. 4 Ftf.minor^* +

1 +

IV, major. C|, minor.

NH. the. \\ t means that the double

Sharp is taken away, and that the Note is
to be played with a single Sharp. The single Flat is reinstated in a similar Manner
after the double Flat, as has been before remarked .
 Ft, major. + I)?, minor.

I+3
D^, major. Bb, minor.

w0m 1+

PS 1
major. F, minor.
,

I
V . :
O,
„

—
1 1 y

X
Kb, major. ^ +JgL^? C, minor.

All the preceding Scales should he extended, in Practising tun i»r tfcree ()tt'H\««
more, as likewise the Scale of Semitones.
 19
Gamut for exercising both 1
Hands together, verj quick..

i «- ry|-«-*T*n
n i i
1
:
MM , +
111
2
. + « +

gjj f I I
i I
I I

4*5 * 1

Z3L7M.
i
J J
.
'I 1
i
1 1

i ,
,
+
'* jbjj
* * JJ J
'>^=B
l
=
Kxrkcise for ascending; by thi.
lArds with both Hands \ \ \\ + <23

rvffM^
,

6tog.-t1uT.MT> quick. i
. + 1 US

NB.T1*
unless hy Minor
Chromatic Gamut ran never be ascended
thirds.
In thirds
+
^ ^ T^f^F 1 2 3

Ex ercise for accustoming- the two Hands

01 an OCTAVB .
to f*o together in the spac :e
^ ^

9 **1«*J • Ascending?,

'
'TTr-,
Cromaiick SHARP^20)
'^,f,-^^.||
Explained . s, P Ra e e se\en
Ji
lf,.

.
l
^
20 Q y
maj.lHtce tiding.

I) , Uiaj . Ascending .28

-2_

4 . 4
D, .ma J .Descending:.

A, niaj Ascendin

C7
A, pia^, Descending. 4

;
^ ^i^'Q'yi 1 "!

1% niaj . Ascending.

.520
 F, niaj . Ascendin

jpfl*^^
^ k J-»^^*" ^
^^^^g^i^^^^^^^^^b^^^^"
4. .
^
4. *

Ka inai. 4 Deceiving.

General Remarks on the foregoing- S( ales . Pag»e 17 &18.

The Right has the Thumb on the Key Note or , Tonic
Hand and on the fourth
of the Key Note, in the following Major and Minor Keys-^ C, G, 1),. A, E, and B •.
In all Major Keys with one or more Flats, the Thumb is put On C, and F .

The Left Hand has the Thumb on the Key Note, and on the fifth of the Key,
in the following Major and Minor Keys; F, C, G, D, A, and E .
In the Major Keys of BP, Ap, and DP, the Thumb is put on the 3.™ and IIP of the Key.

E X E; R C I S E
to accustom the two HANDS to go in contrary directions.

" —1
'^^1.1
I

MS
 Exercise and Examples where it is neressarj to deviate

from the established principles of Fingering.

9 4
r.
1 —
1 —
9 1 i
—
—^
i
+
Q
r ; i =

4 1
9)
« 1 a
• 1

1
+ 1

—
i
^
i
4

p
£ -4—r-*
m-±
1

1
i —
—j
r 3
<•
4.
*

m i ?
i

3 - +

H must have been observed hy the Scholar, from the foregoing exercises, that the
thumb is most used in ascending and descending the octave; it being- the shortest,
the tinkers can easily- pass over it . ' •

In certain cases, however, the fourth

finger supplies the place of the thumb, (pur^
ticularly in Legato passages) as the following
exercise will shew.
 OF EXTENSIONS, CONTRACTIONS &c.
'

4* 3 ft
4+
Right i
4" 1

4* 4"

Left Hani
^ 4 3
T "t 4

N B. The 44- means that after striking C with the 4{^ Kinder, the Thumb is

shifted on the Key without striking; it; and in a similar manner with the left Hand.
This mode of Fingering should be much practised in* various ways, the Legato Style
requiring it very frequently •
The Shakes should he practised vith every Finger, not excluding the- Thumb; and
upon the short as well as h>j)g c

E X A M PL E S 8 Hut when the Note» repeat it.

of Fingering for the Z (juiclt for the tame Finp« r, it
Right Han d • — [% then necessary to change.

2 1
3*21
3 L2 I

B§3 II i .FT*R M tb ii i?"^ ^1 rn Hi n h nl -i itl FT 1

n*]*'^
 4. 4

v ^^ \^ ^ + -ji; ^

Dow wafd
i nine or -ten Bars longer, keeping dotfli .the Thumb and vwvy Kinder
as long as possible; being our of the best Exercises *foT opening the Maud ,

4 4 * '

4 4 ,4 4 4
,0 4 ,
? { 1 |
4[ jj j
 ?2 32£s3f43 2l

14-
1
4 4
# — ^ - M el 1 £
g
11
II

+ + 1
+
3 »
1
1 v

+.1+1+1+ +1 + 1+1+ + 1 + 133 2+2 33 +^32 ^32+ ^ + +1 +

Most of the Passages fingered for the Right Hand, may., by the Ingenuity
and Industry of the Pupil, heroine Models for the Left.

m
fa- &
E XKrcis

j
J
E

* «
—
-H-f-
for

-
—
both

_J J w J-
Hands .

J« J* J •>

rrrrrpr
J •> J J m »
j j j

~j—
1*1
1
h- 1

lijujjj
1
1

^fT^frf ^-^ 1

J20
r rf
-
r r
r rr r i'r r r f r f
 27

When there is a succession of Octaves to be flayed by- the same hand, in a

Key which contains Flats or Sharps, it is necessary to use the 3Vi~ Finger for
the black Keys and the 4?/1
tor tin whit*, in order to .facilitate the execution of
suc h passages in qui* k movements •

E X A M1PL K .

-k-Ti llH — *

m Lijl i
J . i
i
- +
3
—t—

IS—' *
r -L f«

%'
Li_i Lj ct^ryiaii] Hi _ t
U .

Of Fingering' the C HOl i) S .

It is necessary, in Fingering' the Chords; to place the Fingers such

in a manner,
that the position of the Hand may not appear constrained.
-
See the following example

— -r*lt!nl5"r*
-
« r» *^
1
-* 1
r
* 11

4-
Q m | xJ
pt**t
> n —jpa^ II

11
1

J'2
2S
In a succession of C hords the highest notes of which forin the Air, it is

generally ttecessary to i>

1 ;i v them arpeggio , as the following exainjgle* will shcu .

Yj X A M .P L F. of Chor (Is •

- cr 1— wH~
—a m f ^ ^
n
e
*
)•
1*
4
-
— ——
-f\
—
A
yji' .i
j
'-y?1
1

j'J }

*
~-

- n

h .11/ J J .
1

—•> —Ir-ar* 4v_^

0^' w m •

....
r 1
V Vr-M •
1

—i * '
'

i: *
-«
|» ft;

•-i
ujUs-^J —
^ s
1
v{
^ " T i

Sometimes Chords occur of so great an extension , that it is itnpnssihlc for a <-in:.!l

hand to reach all the notes. In these cases flu- |ui|>'l must he careful » <>« to «nmt »!. upper
notes of the right Hand, nor the lower miles .it Hie Left; those being the notes most es..

sential to the Air and the Harmony. „

liici

Kxtension;
I . E I I

EtXRCl
 v
8 '
1 u i
.3
l ] 2 1 2 1
P —4
—4— |
|* r
| ft -jt 1*
f"
rfr
+ + + 1 + 4 +
3 3 3 3 m-
\ '
l'J

#^
by G .G.
l 2 * 1—
—2 1
5t
"~ ' j I |V 1 ?-! r —— 1

i t? ^r»-

(70// CvnxmOilo,

'

i
1

i '
i 'pi ' Pi i
1
i

3 1 + 1
^-y i 2
£ :l|f-
-
1
1
1

1
r"r " i

$M h'Ii, iiani "iMuid iiumUL

» S •

2*i
m
I
+ + + 2* 1
- 1 2J;' 2 1 1 +2 X 131
~y" r-

+ + +
1
It »^

+
1^ + i i
-H-i

4 4 3 3 G- i 3 3 + +
Q .
-p- _
4 3 3

J2()
 * i
s —m
i * a £s g i
2
i
1 ri ? r"rc/ i i
fn^W [^TrpiP 1 '

3 4 4
: T i J I

m
hy Loelein

hy A \iiim
3 3 '+ i
2 + 3 Q 3 ,

* i
•—
O—2
|c ^4-^ Lull
,> y « * a, v
—U-J
Mm
h" 1
^-4
+ hd
1

S. Allegret L0+ 4
4 4
j
i

—
,

4 .
:

© 4 -- '
» !
,
!

"4 1

4 4

4
i 3 q
2 2 I
i

1 1 4 1
—*
. 4
la 2 3 4-t- 3

m ]il 4.

i ^t.
4 .

.5 'i (
 i * 2,1

pW 2 + 2
-O
i
-G
1 <2
'2 « 1
© ? o 1 1 .

7. g.\n
<2

,
—
t r-L-r-
1 1

p<

t
1

! III
1
i
1
i'
Ij_ J.
f-H-
+ +
1 l
2 1
u • *i T« 1 . ,
!

1
i
1

i
1 11
I

1
Wfff

+' 3 4
1
'
2 1+1 2

w
r\ '2 'ij + '2 1 '2 2 +"
1 »
3

cm ^m +
l| '
|
11
3

i ph
+ +
+ i f —4— -1—2 + i
* +
1

l" rr
 /r Hook,
4 o 3 4 o .3
5G
si
.

o v^'i" i

2§£ /
C [IP
Uegretto .
-i ^
.

+
J XIV /
TO* 4 * #a L «

2 3

l—i^r^p i

^j ^ji^u iS^i

I Si eg
2 i >i + a_+

4
2 2i ,
#2+
S4*
¥
t_ ,
|# ,
, .J 3—
J**
,44 4
2
g^
+ i +
i
m P 1
4 4 4 4
h fl + Qi HH <?4-3o, ^ '2Lt3g ! q4,3 , 3 ^2 T -m-^ ~

1 2 +
-e 1-

P
4 ^ 1^2. -h
1
-"^

.5 <2<)
 2 3 4 4
f 1 2
T

fr—
+ 1 1
^ * • —*
In
-p [S

/ /
"•"» W—
— —rkf
»
u— -
•
\
1
< »
|
;

-W-
1

3E5L — urn
—
1.9
i —V—— J J wJ J_ J J V • _ • • V
3 4
s 1

+ 3 2
<»
2
iff — <*
i 2

Fine
2 1 + 4 2 i
> J J J JJ J J
1 i
i?

f
4 2+2

fen-
^
— J
4
J
-
"
r
4
+ » 1
, 3 1
t i
» -
3.
#
1
~j r—p—
i
1

j
jffr
f3j*
o
J

-±
]r~+m-+ v
?
S i"s r f= —— I ft-

it

4 2 3
'J -.
s s
.212 i

—
(-rfl 9-
rffp
P
+ + f
£. i_
4^ +
-f-
^ ^ —4—f p-
w
4^ —
4-. r
-

y^.f: $

%)
la »P ih L
r >i—w
4 —n"
i

1
1 1 j 1
.5'2() 4
 Air in the CHEROKEE. I*. (; major. J9

4
If » ^ -V — *•

• » *
r- 4 £ i

LJ U — — — p- ^
1
1

—u
1

II, -

• ° *
+ 1 + 1
4
j XIX fig * 2

3
-1
—
—A jr J- "
j

*
1
H j|

r
—4 » —a s

m +
i

+j + + + *
is +
1
—
i
— i
i
j

2
-i —S
1 + + 3
+
23 D.C.
\ 1
± i
+ +* 1*+ i
4-f*

J'2
 ... *

40 La rgbetto Vleyel .
lb

o k
r^,+ ^: 1
l 2 J/WLO
f legato 1
i
r.a
r .
1
1

o. 2 1
.? 3
ft?
XX 22: lt—t
t^— t: 1
'

,- 1
p 5 J
—— r**<l 1
1
'J • 9
•

€S ,

*=s= r r
-
J i- - h •jt -J r J r li +J -.

3- ^%

Mg8 m ; -

if mi.
— i.

+ 1
p . >s 1 J"
—
r -
q
^-y p-i —© — J f
\
in i
-
- ^|ft

Allegro .

i + + i»-

4
— » -. 9

1-

*
*frf
^2=

_ At Libitum .
< leinpo

P +

.^2
 4-1
Gkkman HvM\.\Mth Variations. by Vljyel.

^ 3

1
j

J *
J ~ I ?
! 4— 1 .» 1 , j
U
•
ft* if^jf
1

+ jJi
+*~ 9 '

/y r
Lj
1
.

*
r i

1
^-H^q
|
4|# 1

1
L
T
——
- i

•
3
^^p-j: tit
4

• • •

,ioa Vr
'
1

a— ' La - ui 1
b~j aJ 1

LB— b-i l a- i
1
w-u* 1
m_j eB

> 4

I*
3ji

P<H

=|=
pf
^4- r
3-,

^T^j^a-jB
M-

I
=F
— i-J
La - •
—
4fe
1

fn 1
#
g •

/'
'
-
I 1
, | 1

S3 4- "J
—* 1—
 4
p*>. 4 —©
1 .1r» 1 ^ ? 1
^
h
""N Allegretto, + + i i
fT
: xxni
vv p ^ U 1

6# i

2
3
-

1 " 1
r' i
1 ~~

-.I
1

-4t —3 « i

—tri— fftf |T
f '-:
U—"4
 «
MaioT
i i 1)
f *
«5j 1= m
—
—*-r • 1
V
— —
ywist 4?iLJ__«
»7» 1
-

.*< m 1 • ri 1 L

» 1

-XXI

sfc f ft 'J
-+T> s"
f- -f- -ft -
'

Vfl'

r t r \ j t r g r
1

Ha;
8
5H2
8 8 8
5
8

w
/Hfl

g— »gf ai * if —

4* •

^ 1
h i#=# M=P=: ^7
> iU -i

—t» —*^ —S— m—m—

Hteti *
ig
>
r r r -< i* —r—
} »] g » S~*T*^T r% ^ ^ 4 %m *i m m* fl ^ ^ S
^ IT U
^ *i *i"

iiiij -
1

1
; i
r ii
'

&«2
 MlKuETTO Allegretto 4

1 + | Mi ^ 4 4
J I 4

4=
\ \Uz
4 2 -

t= "
2 4 3 "2 1
.V _o
^4— r
f-f-
H
i,

I
1

1
Til I
'
M i
—— ' ;
-A- i-

.Mo

« ffitan . ^9»g

, s* * 3 +jt -t*. Li-

•SJ
P
4
2^2 3 2 trr-2 C— 3 . 2 1 3 2

—
3 r$
w 4»

,v2
iiiftti^f + +
i — in 1 j —
-
1 2

I. |
1

1 i-m—m —m—t

4
E !i \\ Jjj : gg* i

* '
t

H ^ i - i

—
* -2- 1

4-* 4«*
'
— ," • .

4 4
4 4

PN
»
4 2 1

1"
^=
-r^Tf-
fP
1
2

—
1

+ .

—n*
=t=F -f—
r

Z3# — F* 1—

J2()
 +
P
r9
1* \
=P m p—U-
!* 1 P - -5 1
V 1

m
!•
•
n

f3
l
r i j i
1

4»3

9
43
2
24.3ij p
"
I *J-
»«'
1

/'

I£
25 1
32 1
3-

• M znueiio*

.*<2()
 x „

*3
Ale man i). k
'

j A ^affB
'

i </i j.i
2. 3-
^f^^^^^^
•^S*2l?-.- J.F B „rs*, HFR r*7l

M f xo R .
l
^ +
J
—^> zc-m
?—p
» w4 1
—r*—— *—— •— • *
'
line.
--if :
* :4fULj
-—* m 44
:

1
~d- <J

2 1

1
+ +

as
^

1^ U ,11"
LL'

m
I). (' . tlleuiarx
t + + + + , + L * +

1
J2D ~x
 Polonoise, Allegretto* 47
8 _ dienM -4

.. . tem^P i iL u
I

'ti n OuOii '.Li

+•
Jk •

i +.

1 3 3l&
3, 3_
5 a is

rr€s;
 by Corellu.

All EM AND.

rinj
I J 1
1 1

- n??/"
^
k w \ti I
Ul 'I f

•I
1 » j
1

Jyy jVf 1

J J

1
g.^+.'.f&l fey. 4^1

). T*iV ^o^nrj.v hi, ./n, .'Th, ,^. ,

. f .

'!) Capo.
1
'

•j Fi . if
+'
,| j +: ,i
t r+i v
It-iiiaiul .
Jo

^ * ZT. » 2t • 1 T * +2 ^,„, , , , { Iff Tim

Tiiii^^JJOTh^
4-* __ i»

i*i
' dale*
re
do lee
n rl+ T
1
i
8
1
+ «
25
+ \ 2 -i 1 2 J { 1 +
T
L

r r
*9

^^^^^^^ ^^ww 113 i

1
l
f
l
i ,1
r

=
 of the Pedals Jl
The English Square PiWo (wb/cb almost u n/terstiUy i<s€</ i?l tbti Country) has but
as .

one which raises the"

Pedal, Dampers, and of (nurse continues the vibration as long as th.
foot remains on it _
^
. '_ ,

This mark shevs When. the foot is to-be placed on the Pedal, and this when it must
be taken off. The English .GRAND PlA.VO has t*o Pedals; the right raises the Dampers,
and the left moves the Key— Board so as to play on one string only instead of three
The use of the ri^ht hand Pedal is expressed by this mark -fy- and the left by this /|A . —
III both rases this mark sheus that the foot must be taken off.

Pl.AI>\, DIRECTION TO TUNE T1IF> Pi ANO FORTE .

i zz 2Z -fi-
pi
First Trial
HZ
I I 1
The first Note (' must be tuned m ith a tuning Fork

1 1
Second Trial .
J;
1

fro uri>
g 1
1b
bo .
1-
ho , b 4*
1
*

~j~ If C gives npV a good Sit? to F, then . tune hack to thro* the Imperfection in
E fc> and A 1?

ZZ =3£Z 'j^'Aiul so on by' ©—

L-WJ u
OCT \ V US Oct \ v es
[
© r
th. the Bottom.
I* rto

NB. By tuning the Bass "by Octaves it will be proper to compare each Note
* ith the Note of the same Denomination in the first Treble Octave, as the Ear
is apt to he deceived.

To obtain the Temperature; that is, a small proportion*

Deviation from the
Truth of ev.ry Interval, except the Octave., the Jlfr niust be
tuned rather f]at
and the 3# rather sharp t l,«., Otherwise.; if
this is well observed by tuning the
Tirst Octave, then the first v» » prove a perfect to F below.
» 1 1

It the first trial (|4ves a fine Third,

then what has been done may be depen-
ded on but if otherwise,
; it win be. best to begin a fresh, and tune all over
again, and the same by the Second, trial.
v.* 20 ,