BRJUNARD'S NEW AND IMPROVED EDITION OF THE I II iiliiil CONTAINTNG THE I Rudiments of Music, dTJuinrjxrumnjij\nxLrm C4X.CULATKD EITHER FOR Prlvatfs 'f uition^ or Teacliiiig In Olasses; lliCil Ar>])ED A F. BURROWES.^^ TftEODORE PRESSER F«ILADELPf4IA PA f n IVEW AND IMPROVED EDITION OF THE PIANO -FORTE PRIMER; CONTAINING THE RUDIMEKTS OF MUSIC, CALCULATED EITHER FOB miVATE TUITION, OR TEACHING IN GLASSES: TO WHICH IS ADDED A BY ; > PREFAOl. The rapid sale of this little work, and the flattering approbataea Which has been bestowed upon it by many of the most eminent Pro- fessoi-s, have given great satisfaction to the Author. In presenting another edition to the musical world, he begs to repeat, that it is not intended to interfere with the mode of instruction which any Master hs 4 already adopted, but to be used either in private tuition or teach* ing in classes, in addition to the regular lessons already in use. The author thinks it necessary to repeat, that he does not offer this book as containing anything new ; yet he hopes it will be found useful in explaining the rudiments, and thereby enabling the Master to devote more time to other important branches of music. The following remarks, although certainly superfluous to professorff in general, he hopes will not be thought intrusive. The principal object of every teacher should be, to make his pupils thoroughly comprehend one question before they proceed to another; for this purpose, each one shonid be provided with a music slate, upon "^rhichj after ssplanation, the teacher should write an exercise drawn from the questions or the Appendix, leaving the blanks to be filled up by the pupils. Every exercise should be repeated, and the form of it varied, until it be done without a mistake, and until the pupil be able to give an Example upon the instrument, or answer any question, whether proposed in the regular order or otherwise. This will be attended with a little trouble to the Master in the first instance only, as the author recommends that the learners of the second chapter should be ^eachers of the.^r5^; and this should be done at a distant part of the room in which the Master is giving his lessons at the piano-forte, that he may, by way of keeping up the attention of the scholars, oc- casionally inspect their Examples ; and it is recommended that an examination of the whole school should take place at stated periods, nr PREFACB. On the subject of teaching in classes, it may perhaps be necessary to say a few words. The author has practised it for some years, whenever an opportunity has offered, and he is of opinion that so far as relates to the rudiments of music, and of thoroughbass, (whicf this book does not treat of,) it is highly advantageous ; not only on account of the emulation which it excites in the scholars, but also on account of the time which it saves. Much more, however, is neces- sary, in playing the piano-forte, than mere accuracy. The author, therefore, is strongly of opinion that only one should be taught to play at a time ; for, independently of reading the notes, striking the proper keys with the proper fingers, Lc, &c., the greatest attention is requisite, both on the part of master and scholar, to the position of the hand and manner of playing.* The author, however, by no means wishes it to be unders^-ood that he is averse to the pupils play- insr occasionally together what they have first learned separately : on the contrary, he thinks it highly desirable, particularly where they have contracted any hesitation in their manner. In this case, he has found great advantage in making on 3 scholar play the treble and an- other the bass ; or in making the second scholar play an octave above the treble or below the bass, while the other is playing the lesson with both hands ; or, what is a still more common practice, by adding an accompaniment himself To those who may not have already taught their pupils in classes, the author ventures to suggest the following outline of a plan for forming CliASSES FOK MUSIC IN SCHOOLS. The school to be divided into classes by the master ; one whole class to attend at a time, with one pupil from the class next above as teacher. "To thoge who are unacquainted with the piano-torte, a few words in explana- tioa of what is meant by 'manner ot playing/ may be neces.-ary. In the first place, one key must be held down until th« next is struck, and no longer; a deviation from this rule will either produce a want of clearness, or want of connection of every passage that is played; after a habit of doing this is acquire^^, the exceptions must be attended to: which are, to raif=e the fingers from all the Notes that are to be repeated, and from those which ha^ e particu- lar marks set over them, as well as at the Rests. More, it is ponc^iviwi, need not be said, to c<^>nvince aj)y one of the impossibility of teaohiUii prvijieilv a mnn- ber of scholars toeether. Skeh pupil to be teacher in turn. The pupils not to be admitted into an upper class until they liave passed regularly through, and can give all the requisite Examples m <3ie lower classes. Pupils of talent to be removed to the upper classes as soon as Master finds them qualified, without waiting for those who are less rapid in their improvement. The Exercises of each class to be appointed by the Master. Thej may be selected either from the Primer, or by making the pupils ex- plain to the teacher the lesson about to be played ; both the time marked and manner of counting it throughout, pointing out those Notes from which the fingers are to be raised, those Notes which are to beheld down, the reasons for the fingering, &c., &c. The classes to be held only during the time the Master is giving his lessonrf at the piano-forte. The younger pupils to be attended at their daily practice by one of the elde^ ones, who is to be appointed by the Master. After being made thoroughly acquainted with the contents of this book, the pupils may proceed with the study of Harmony, and the practice* of playing from figured bases. Copyrighted mdccclxvCTo I ■■ II ■ Ill I -I CHAPTKR 1. OF THE KEYS, STAJ^. How are the Keys ot the Piano-Forte nanaed ? From the first seven letters of tne alphabet : th^ Eighth, or Octave, is a repetition of the first. Example : A^B, C, D, E, F, G, A, B, C, &c. How are the Letters applied to the Keys ? First, by observing that the Black Keys are divided into groups of two and three. D, is between the two Black Keys : G, is on the left, and A, on the right, between the three Blaok ones. Describe the situation of the others. C, is on the left, aad E, on the right hand side of D. F, is on the lert of G ; and B, on the right of A. What is a Stajff ? A Staff consists of five Lines and four Spaces, upon whacb the Notes are placed, and named regularly by degrees. 10 KEYS, STAFF, &C. Nam© tlie Degrees ©f the Staff upwards and downwards. " 5lh Line- 4th Space. 4th line. — 3d Space. 3d Line. — 2d Space. 2d Line. ^ — 1st Space. • — 1st or lowest Line. ~ Suppose a Note upon the first Line is called E, what will be the name of a Note in the first Space ? If the first Line :s E, the first Space will be F ; the second T^me G, the second Space A, &c. By what means is a particular letter applied to a Note, upon any degree of the Staff. By a Clef or Key to the notes, which is placed at the beginning of the Staff. "What Clefs are in present use for the Piano-Forte ? The G, or Treble Clef, generally used for the right hand, or upper part ; and the F, or Bass Clef generally used for the left hand, or lower part Upon what line Is the Treble Clef placed ? The G, or Treble Clef, is placed upon the second line, I consequently, the Note upon that Line is called G, or Clef Note Name the Treble Notes, upwards and downwards from the Clef Notew A B 0 D E :t or Clef Note. Give an example upon the foregoing Treble Notefik Xjpou what Line is t le Base Clef placed ? KEYS, STAFF, &C* 11 The F, or Base Clef, is placed upon the fourth Line ; consequently, the Note upon the fourth Line is called F, or the Base Clef Note. Name the Base Notes, upwards and downwards from the Clef Notes. G A 9i G B E F or Clef Note. Gire an exercise npon the foregoing Base Notes. How are higher or lower Notes written ? Upon, above, or beloiY Ledger lines, which are drawn a boTe and below the Staff. Name the Degrees above and below the Staff. ! 1 % 1 Note above the Staff. Upon the 1st Ledger Line, above the Staff. Above the 1st Ledger Line. Upon the 2d Ledger Line above the St^. Above the 2d. Upon the 3d. Above the 3d. &c. 1 &c 9 Note below t^e Staff. Upon the 1st Ledger Line below the Staff. Below the 1st Ledger Line. Upon the 2d. Below the 2d. 12 KEYS, 8TAFF» &C< Ml « 41 P Q M % III be rf2 i k 14 114 Ilk 1114 Give Exercises upon the foregoing Treble and Bass Notes. How is the situation of the Clef Notes determined on the Piano-Forte ? First, by finding the C, which is nearest the middle of the instrument, called middle C : the G, or Treble Clef Note, is tfee :^rst G aboye, or on the ^i^ht harjd side of LENGTH OV NOTES, RESTS, &C. 13 The F, or Bass Clef Note, is the first F, below, or on the left hand side of middle C. How are the situations of the other notes determined? By going to the right, for those above : and to the left, for those below the Clef Notes. Give an Exercise for naming and striking some Treble and Bas? Notes CHAPTER IL ox THE LENGTH OF NOTES, RBftTft, &C' How many aifferent sorts of Notes are In ge^rai xisc ? Six. Describe and show their different forms ? L ''^ It ft- r ♦ Whole Note. Half. Quarter. Eighth. Sixteenth. Thirty-Second, ^Miat proportion do they bear to each other ? Each Note is onl}^ half the length of the one preceding ; for example, a half note is only half as long as a whole note, consequently one whole note is as long as two half notes. Suppose you wish to know how m?Jiy Sixteenth Notes are equal to a whole, or a Half Note, in what manner will you reckon them ? By beginning frora any one, and proceeding in rotation, always doubling the number ; for example, one Quarter is as long as twa Eighths, four Sixteenths, or eight Thirty- seconds. ♦ In the present edition, the more modern names of Notes, viz. Whole, Half, Quarter, Sixteenth, and Thirty-Second, instead of Semibreve, Minim, Crotchet, Quaver, and Semiquaver, have been introduced, as being more generally used and ]a»re readily understood. 14 LENGTH OF NOTES, RESTS, &C, Bepeat the general Table of the value of Notes, 4-3 o O K 2 = O Quarter. Eighth. Sixteenth. Thirty-Se( A — Q o — ID = 2 - 4 = 8 = 16 r - 2 = 4 = 8 f = 2 = 4 = 2 ^ Name the half, the fourth, the eighth, the sixteenth oi a Whole Note ; of a half Note, Quarter Note, Eighth Note, &c. What are Rests? Marks for Silence, corresponding with the different Notes. Describe and show them. WJiole Half Quarter Eighth Sixteenth Thirty- Best. Best. Rest. Best. Best Second. Under a Line. Over a Line. Turned to the riglit. Turned to the left. With two Heads. With three Heads. Wliat is the use of a Dot after any Note or Rest? A Dot is equal to half the preceding Note ; consequently a Whole Note with a Dot, is equal to three Ilal^ Notes, or six Quarters, &c. A Dotted Quarter is as long asi tbr«e Eighths, &c. LENGTH OF NOTES, RESTS, &C. 15 Wliat is a Triplet? When tliree eighth notes, instead of tim^ are played to a quarter note, they are called a Triplet ; or three sixteenths instead of two, to an eighth note ; and in the same pro- portion to all the other Notes. Triplets are generally, but not always, marked with a figure 3. A figure of 6 is sometimes placed over six Eighth Notes or sixteenth Notes. &c. W^hat does it signify ? It signifies that the six Eighth Notes are to be played in the time of four, or in the time of one Half Note. 16 CHAPTER m, OF TIME. What are Bars? Short Lines drawn across the Staff, to divide the Muslo into equal portions ; but the Music between two of these, is ftlso called a Bar, or Measure. How many sorts of Time are there ? Two : Common Time, and Triple Time. "W^hat is meant by Common Time ? An even number of parts in a Bar, as Two, Four, Six w Twelve. What is meant by Triple Time? An odd number of parts, as Three or Nine. How is the time marlied ? At the beginning of every piece of Music ; sometimes it is marked by a which signifies Common Time, and the Bar then contains the value of a Whole Note, but generally expressed four quarters in a Bar : the Time is also occa- sionally marked by two Figures, which have a reference to the Whole Note. How do the figures refer to the W hole Kote. The lowest figure shows into how many parts the Whole Note is divided, and the upper Figure shows how- many of those parts are to be in a Bar. Name the Divisions of a Whole Note. A Whole Note divided into two parts, will become Half Notes : divided into four parts, it will become Quarter Notes : divided into eight parts, it will become Eighth Notes ; consequently, the figure of 2, represents lialf Notes ; the figure of 4, represents Quarter Notes ; and the figure of 8, represents Eighth Notes, Explain the following marks of Time; pointiugout which are Common, and which ;ire Triple Time. 12 =-|r2— 1 — 1 — ^ - . 8 O J CI 4—^ 4 — ' U-4 r—H— : OF TUIE. 17 How many sorts of Common and Triple Time are there? Two of each, viz : Simple and Compound. How are they distinguished? The easiest way is to remember, that if the Number of Notes, expressed by the figures is less than 6, it is Simple ; but if it is 6, or more than 6, it is Compound. Explain again all the marks of Time, pointing out which are Simple and which are Compound. Is it necessary to count the Time, exactly as expressed by the Figures? No. Two quarter Notes may be counted as four Eighth Notes ; three Quarter Notes as six Eight Notes, &c. How is the Time to be counted, if the piece contains Triplets? It must be counted by the value of the Triplet : for ex- ample, if there are three eighth notes to the quarter, the Time must be counted by quarters : if there are three six* teenths to an eighth, it must be counted by eighths. CHAPTER lY. OF THE POSITION OF THE HAND, AND MANNEK OF PLAYING, &c. In what position should the hand and arm be held ? The hand and arm should be even, neither raisins; nor de pressing the wrist : the fingers should be bent at the mid- dle joint, so as to bring the points of them even with the end of the thumb. How many Keys should be covered by the hand in its natural position ? Five ; one finger over the centre of each Key. In press- ing down a Key with one finger, care njust be taken not to move the others. How many Keys are to be held dowji at a time ? Generally speakings one ; and that miist be Kept dowE. FcsmoN OF THE uum^ &c. «iitil the next Key is struck, but not longer. When two <» more Keys are struck at one time, they are considered but as one, and they must be held down until the next Keys are struck. In what cases should the fingers ne raised? When any Key is struck more than once, it should be raised every time but the last ; and the fingers must of course be raised whenever a Rest appears. What is the meaning of playing Leoato ? It signifies playing smoothlj^, always keeping one Key down until the next be struck. Wliat is playing Staccato? Separating the Notes from each other, or rai^i7ig the fin- ger from one Key before the other is down. What is a Slur ? ^^"^ . . It is a curved line, drawn over^ or under, two or more. Notes, to signify that they are to b.^ played Legato. What is a Tie, or Bind ? " ~ ---.um-^ It is of the same form as a Slur, but placed to two Notes alike : it binds the second to the first , so ths:t only the first is to be struck ; but the finger must be heh,^ down the full time of both. How are Notes marked whicli arc to be played Staccato? With round dots or pointed specks, above or below ^hem : those with dots, are to be played moderately stao^ cato ; those witli si)ecks, very much so. Play the following passage, in the three dilferent ways it is marked. OF Si/ABPS, FLATS, &C. 19 H©w are Notes to be played whioli are marked with Dots and Slurs also ? On a repetition of the same Note, they should be played as closely as possible. -I — I — F- When Notes, thus'markec! , are pla3^ed in succession, the iSngers should be gently put down, and gently raised. • <» 1 -I — h CHAPTER y OF SHARPS. FLATS, &C. What is an Interval ? An Interval is the difference or distance between two sounds. What is the smallest Interval ? A Semitone, or half a Tone. Each Key of the Piano- Forte is a Semitone from that which is next to it, whether it be a White Key or a Black one. What is a sharp ?^ A Sharp placed before any Note, raises it one Semitone^ or to the next Key on the right hand. 1 = =1- j^^ — a> HT*atisaFlat? [) A Flat placed before any Note, lowers it one Semitone, or to the next Key on the left hand. 20 or SHARPS, FLATS, &C, 0 ffhat is a atiiral A Natural brings a Note that has been raised b}' a Sharp, «T lowered by a Flat, to its former place again : m — 9 • ^» oonsequently, a Natural sometimes raises and sometimes k)wers a Note. Why are Sharps or Flats placed at the beginning of a piece of music? Any Sharps or Flats placed at the beginning affect all Notes of the corresponding names, throughout the piece. For Example, a Sharp on; ^^ the tifth line, signifies that all the F's are to be played sharp ; and Flats upon the Si^ace, sisrnify that aD third Line, and fourth the B's and E's are to be flat. What are Accidental Shari)s, Flats or Naturals? Accidentals are those which are not marked at the be- ginning of the piece. How long does the influence of an Accidental last ? An Accidental affects all Notes of the same name in the Bar. For Example : i signifies that all the C's are to be sharp, though onlj the &:st is markedc COMSION CHAKACTEKS, &C. 21 # r i 1 10 \^ — . The Flat in this Example, although placed to B on the third Line, affects the B above the first Ledger Line. Do Accidentals ever affect Notes in the Bar following? Yes : if the last Note of one Bar, which has been made sharp, begins the n'ext, it is to continue sharp. \ — 1 The j^ame is to be observed of Flats and Natural, CHAPTER VI. OF COMMON CHARACTERS USED IN MUSIC. What is tke lase of Double Bars ? Double Bars are placed in the middle, or at the end of a piece of Music, to show that a part, or the whole is fin= ished. Wlmt is the use of Dots at a Bar, or at a Double Bar V They signify, that that part of the Music which is on f.be sam^ side as the Dots, is to be repeated. For Example, 22 COMMON CHARACTERS, &C. these Dots being on i the left-hand side of the Double Bar, signify that the Performer is to repeat the former piece : but j"!" • " these Dots being on i the right-hand side, signify that the performer, after hav- ing played to the next Dots, is to return to this place. mat is the use of a Sign? ^ The second time it occurs in a piece of Music, it is gen- erally accompanied which the words '•Dal Segno^' which signifies ^From the Sign ;' consequently, the Performer is to turn to the first mark. What is llie meaning of da capo ?~ generally abbreviated D. C. From the beginningc What is the meaning of da capo al segno ? From the beginning at the Sign. Why are the Figures 1 and 2, sometimes placed at the Double Bar, in the middle of a movement ? 1 The Dots at the Double Bar show that the piece is to be repeated ; and the Figures denote that the performer, in playing it through the second time, is to omit the Bar marked 1, and play that which is marked 2, instead. What is the use of a Pause ? ^\ A Pause placed over a Note, signifies that the finger is to be held down, and the performer is to pause as long as he thinks proper. ^ that the finge-rs are to be raised. USED IN MUSIC. 23 Wlf&fii'fc^anse sometimes placed over a Double Bar? 1 A Pause,, (or the words II Fine^) placed at a Double Bar, ^hows that the piece is to end at that place, after the Da Capo, What is the meaning of the word bis ? It is generally accompanied with Dots at the Bar3\, and placed under a Slur ; it signifies, that the passage 0^*r which it is placed, is to be played twice over. Bis. What is the use of a direct ? tr It is placed at the end of a Staff, or at the bottom of page, to indicate the name of the following Note. What is the meaning of Volti Subitq? generally marked V. S. VoUij means turn over ; Suhito^ quickly. What is the meaning of Ottava Alta? generally marked 8va. It signifies, that the Music over which it is placed, is to be played an Octave higher, as far as lh3 marks of con- tinuation extend. Wliat is the meaning of Loco ? It signifies, that the Music is to be played as it is written that is to say, no longer an Octave higher. The Fupil should now toe exercised in naming the Keys of the Piano-Forr© without looking at the instrument, remarking that the Black Keys are occasionaliy called Sharps, and occasionally Flats. (See Appendix, Exercise 1.) the white Keys also, commonly called E, F, arid B, C, frequently change their names, and ai-« used AS Flats or Sharps to their neiglihorin^- Keys ^4 OF GRACES The others too, are occasionally called Double Sharps aud Donbla Flats, whidi jire explained at the beginning of Chapter XI. (See also Appendix, Exercise II.) Xame a Chromatic Semitone* above A, A^, &c. &c. A Chromatic Semitone above A is Xi^ ; a Chromatic Semitone above is A x? Name a Diatoni^ Semitone aboA e A, B, Sea. (See Appendix, Exercise XIII, page 53.) Vame Diatoiiic Semitone beloM- A. B, &c. (See Appendix, Exercise XIII, page CHAPTER Yll. 'JS- QE?A«:t AXB C0M]Vr0N MiiRKS OF EXPEESSIOK. Wbat is an AppoglaiuB It is a small not^ ]Teflxed to a large one, from wMph it generally takes hah ts time. For example, an appogiatura i ::befort i half, must be pla^^ed as a quarter, conseqi.f\ ilyit does not lengthen the Bar. Wlien an appogiatura is placed be/oie a Double Note, is it to be p\ayed by itself, 'fiLS it appears,) or with the lower Xoi- ? The Appogiatura is to bc.pla^^ed instead of p- art of the upper note ; consequently, the lower note must be plf jed with it. For Example -. ^ _ . ^ * For an explanation of tlie diSgrence letween a CLrcmati* aad a Diatonic feemitous^ b<3s p^i:e -±3. AND COMMON MARKS OK EXPRESSION. 25 must be played as if writteo thus 3 Are all Appogiaturas to i&e made half the time of the Note they precede? No : they, as well as the other Graces used in Music, depend greatly on the taste and judgment of the performer ; consequently, they can be best explained as they occur. How Is a Turn 5\5 to be. made ? . ^ , A Turn is to be made with the Note above, and the Note below that which is wi'itten, beginning with the highest : consequently, a Turn upon C, will be made with D, C, B, C. Should .. Name, write or play a Turn upon A, upon B. C, D, E, F, G, &c (See Appendix, Exercise 111.) How is a Turn made upon a Dotted Note ? By first striking the Note itself, and making the Turn afterwards. OS) -I U^ - What is an inverted Turn ? An inverted Turn consists of the same Notes as a Turn ; but beginning with the lowest, instead uf the highest Note. Make an Inverted Turn upon A. B, C, D, E, F, G, &e. How is a Shake lo be made ? A Shake is made with the Note above, and the Note which is wiitten ; beginning with the highest, and con* ^^luding with a Turn. For Example : 26 OF GRACES. f Must be played Or thus, The rapidity of the Shake depending on the ability of the Performer. ; Make a Shake upon A, B, C, D, E, F, G, kc. Wl^t is the iiieaniiig of Piauo ? Soft ; generally abbreyiated P/a, or P. "Wliat is Pianissimo ? Very soft ; generally abbreyiated P Pmo, or PP What is the meaning of Forte ? Loud ; generally abbreyiated For. or F, What is Fortissimo ? Very loud; generally marked ^j^mo. or^^ What is the meaning of Mezzo Forte, and Mezzo Piano? Mezzo Forte signifies moderately loud, and Mezzo Piano moderately soft: the}' are generall}- marked and mp, Wliat is the meaning of Dolce, or Dol? Soft!}', or sweetly. What is the meaning of Tennto, or Teno? It signifies that the fingers are to bo particular!}' held down during the passage to which it is applied. What is Forzando, or Sforzato ? They each signify that one Note is to be played strong : they are abbreyiated/:;. and sf, "NThat is Riniforzaado ' AND COMMON MARKS OF EXPRESSION. 37 It signifies that several Notes are to be played strong ; is generally marked rinf, or rf TRiat is the meaning of Crescendo, or Cres. Begin softly, and gradually increase the sound. The fol- lowing mark is also occasionally used, to signify that the Performer is to play Piano where it is small, and Forte where it is large. If a small mark of this sort is applied to one Note, it has the same effect as/^. Wliat is tlie meaning of Diminuendo, or Decrescendo ? ' Begin loud, and gradually diminish the sound. They are generally marked dim, decres, or Wliat is the meaning of Calando or Calo. Gradually softer and slower. TVTiat is the meaning of Perdendo£i? It has the same meaning as Calando. What is the meaning of a Tempo, or Tempo Primo ? After having slackened the Time at Calando, it signifies that the original Time is to be resumed^ Wliat is the meaning of ad libitum, or ad lib ? It signifies 'at pleasure that is to say, the Performer may play the passage as it is written, or introduced any Cadence he thinks proper. When two Notes are marked with a slur, thus, i ^ what manner are they to be played ? As if marked thus, / + — -r that is to say, the first is to be pressed and held down, the second pla3^ed softly, and the finger raised immediately* • 28 OF INTERVALS. What is meant by a curved or waved Line placed before a Chord? ne piacea oeior I It signifies that the Notes are not to be played quit^ together, but successively from the lowest upward. Chords played in this manner are called spread, or arpeggioed chords. CHAPTER VIII OF INTERVALS What is an Interval? An Interval is the difference or distance between two sounds. It must be remembered; that all Intervals are called according to the degrees of the Staff, or according to the numbers of letters they are distant from each other For instance : is a Second. a Sharp Second : but if the same Keys are struck, and called 2S the interval is then called a Third. Are intervals to be reckoned upwards or downwards ? Always upwards from the Note named, unless the con- trary be expressed. WTiat is a Tone? It consists of two Semitones. The Interval between F and F:j^, is one Semitone ; and between Fit and G is another For Example, ttP INTERVALS. 29 1 2 * A Bonsequently, the Interval between F and G- i» a whole Tone.* What is a Minor, or lesser Third ? ^ A Minor Third (sometimes improperly called a Flat Third) is three Semitones from the Note named. For Ex- ample, the Minor Third of A, must be reckoned thus : from A to Aj^ one Semitone, to B two^ to C three. 12 3 AAA i Hew many Semitones is a Major, or Greater Third from the Note named ? Four ; (this Interval is sometimes improperly called a Sharp Third.) 12 3 4 A A A A As the Semitone above C, may|be called either C:j:|: or D , is it immaterial in reckoning the Major Third of A, whether you say or D^) ? No : the Major ThM, of A, must be called Cj^ For ex- ample, A, B, C, is a Third, and J^, B, C, D, is a Fourth! Name, write, or play Minor and Major Thirds to A, B, C, D, E, F, G ; * The Pupil should be required to prove all Intervals,by inserting (or counttog, the S^itones in this manner. t In reckoning Thirds, or any other Intervals, the Pupil is recommended first to fix upon the proper letter, and afterwards ascertain (by counting the Semitones) whether the letter fixed: upon, is to be Natural, Sharp. Double Sharp, Flat, or Double Flat. For example, after having decided that the Third of A must be C, it remains to be proved which of the five C's ( viz ct], C#, C>j<, C[), orC^ t>) is the ©ne required. That C, which is three Semiton3s from A is the Minor Third, and fete,: whdeh is «9ihr Sk^itones f!r©m A is the Major Thii!4. 80 OF INTERVALS. F,G; to A:f:|:,B#,C#,D#,E#. G^; to A^, B^, Ct>, D^, Efc,, F^, G^. (fiet Appendix, part of Exercise IV.) How many Semitones is a perfect Fiftli from tlie Note named? Seven : 1 2 3 4 5 6 7 A k k k k k k but the easiest way is to remember that every Note, ex- cepting one, has a Fifth either Sharp, Flat, or Natural, like itself. For Example, the Fifth of C is G, the Fifth of C| is G#, the fifth of Cb is Gh. What Note lias a Fifth unlike itself? B ; the fifth of which must be raised a Semitone to make itperfect. For Example, the fifth of B is F^, the fifth of B^ is F^, the fifth of is F. Name or write Fifths to all the Notes, begmning with F, and proceeding always a Fifth higher. F, C. G, D, A, E, F, Fi, C^, G#, Ag, Eg, Bg, E^, C^, &c. Name Fifths to Flats now, comraencing with ¥[), Ft), cb, Gb, Dt, Ab, Eb, Bb, Eft, &c. By way of Exercise, now name the Fifths below, and observe that in reckoning downwards, every Note has a Fifth like itself, excepting F, the Ffth below which must be lowered a Semitone. For Example, the Fifth below F is B|;), tlie Fifth be- low F[^ is B|^ t^, the Fifth below F:ji is B. B, E, A, D, G, C, F, Bb, Eb, Ab, T>b, G^, C\), Fb, Bbb, &c. Name the Fifths below to the Sharps, commencing with Brjij:. B#, E#, A#, Di, G#, C^, F#, B% &c. Name again the two Letters which have Fifths, not Sharp, Flat or Natural llk« themselves. B, in reckoning Fifths upwards • and F in reckoning Fifths downwards. What is the Leadins Note ? ^ INTERVAI^. S^l The Leading Xote is the Sharp Seventh of the Scale, it is eleven Semitones from the Xote named : but the easiest "Way is to reckon it one Semitone below the Octave. 1 2 3 4 5 6 7 8 9 10 11 A A A A A A A A A A A you say shakp seventh, is the leading Xote always a Sharp? No. For Example, the Leading Note of F, is Ej : the Leading Xote of A. is Gs^ : and the Leading Xoteof Cf), is Bb.* As the Leading Xote is one Semitone below tlio Octave, is it immaterial whether the Leading Xote of A^be called GsS or A . No : for although A+) is a Semitone below the Octave, it is the eiglitli letter or Degree, and the Leading Note must be the seventh. -Name or write the Leading Note of 'A; of B, C, D, E, F, G; of A% B^, C#, D^, E#, F#, G#; A^, st), ct, D^, E^, pb, ob- (See Appendix, part of Exercise lY.) Name or write Minor Thirds, Major Thirds, Fifths and Leading Notes to A, B, C, D, E, F, G; A^, Bg, Ci^, D^, E#, F^, G^; Afc, Bfc, Cb, Bb, Eb, Fb, Gb. See Appendix, Exercise IV.) Name or write Minor Thirds, Major Thirds, Fifths, and Leading Notes to AP, B^, C, Db,E^,F, G^; A*f, B, cfc, D^, E, Fb,Gi?; A, BT), CS, D, E^, F^, G. * In naming Intervals in general, it is sufficient to name the letter, if a Natural be intended. Thus it is sufficient to say that the Minor Third of A is C, and not say CiiJ ; but in naming or M-riting Leading Notes, it should be always expressed ; thug ^he Leading Xoteof is Afa, the Leading: Note of is Dt], <^c. This is recom- mended that the Pupil may hereafter more re^di^y ^'intJ t^e ^.e*'J'njr Nr»te.» of *hf 3£inor Keys, which are already marked Tvlthaii Ao?ia^>^ hliaip. ^x3t, or Namra* 32 CHAPTER IX OF TH£ tsIGXATTJRE. Eovr do you determine what is the Toxic, or Key Note of a Piece of Musie ? Principally by the Signature, or niimber or Sliarps or Flats at the beginiLing. What metho[), Fss. Ac. &c.? How many Keys hare the same Signature ? There are tico of each. For example, every Tonifc, or Key Note, has its Relative Minor.* How is the Eelative Minor of any Key to be found? The Eelative Minor of every Key is a Minor Third be- low. For example, the Relative Minor of C, is A Minor ; the Relative Minor of Bf, is G Minor. Xame the Relative Mmorof C. of G. D. .A . E. B. F^, C#, ; of C. F. B^. E|^, At). Dt^. Gf). and C^. (See Appendix, part of Exercise V.) In what manner do you decide whether a piece is in the Key which is indicated >y the Signature, or in its Eelative Minor By looking for the Leading Xote of the Minor Key allud- ed to ; as the Leading Xote of every Minor Key is marked ♦ The difference between Major and Minor Kevs will be more fully ei:plained | hereafter: the present is only given as vba snADlssr way of enabimg a Pupil to I ascertain what Key any piece of Music is in. ' FORMATION OF THE SCALE. S3 With an Accidental Sharp or Natural. For example : Judging from the Signature, that may be either in C, or A Minor ; but as the first G is Sharp, (which is the Leading Note of A. the piece is in the Key of A Minor This piece having one sharp at the signature may be either in G, or E Minor ; but as tlie first D is not sharp, it cannot be in E Minor ; consequently, it is in the Key of G. Is this ail invariable Rule for ascertaining what Key a piece of Music is in? No ; exceptions to it (through very seldom) may be met with ; but these can only be understood by those who study Harmony. Name or write the order of Keys with Sharps and Flats ; also the Relative Minor and the Leading Note of the Relative Minor, to each Key. (See Appendix, Exercise V.) As the Relative Minor of any Key is a Minor Third below, of course, the Relati"f e Major of any Minor Keys is a Minor Third above; name, therefore, the Relatiy* Major of A Minor, &c. &c. (See Appendix,Exercise V. ' CHAPTER X. OF THE rOl&MATION OF THE SCALE . , hat is a Tetrachord ' A Tetrachord is composed of four sounds, placed at the Intervals of two Tones and one semitone ; that is to say, the Interyal between the first and second sound must be a Tone, S4 FORMATION OF THE SCAI.E. between the second and third, a Tone ; and between the third and fourth, a semitone. Make Tetrachords. commencmg with F; A^; B[): Y\). Mark the Semitopes with a slur. (Sec Appendix, Exercise VI .) Make descending: Tetrachords. commenciug with A|^ ; ; F; B{^[^,and o}>- serve that the interval of the Semitone must still be between ilie two highest Sounds of the Tetrachord. (See Appendix. Exercise VII.) "V^liat is tlie Diatonic Scale ? The Diatonic Scale must consist of the seven Letters or Degrees, and the Octave to the first, in regular succes&^ou proceeding b}' Tones and Semitones. How do you form the Diatonic Scale? By making two Tetrachords, leaving the Interval of one Tone between them, called the Tone of Disjunction. Form the Scale of C. Mark the Semitones with a slur, and separate the Tetra- chords, at the tone of Disjunction, by a Bar. Lower Tetrachord. Upper Tetrachord. It is to be remarked, that the Semitones are between the third and fourth, and between the seventh and eighth of the Scale. In all Major Keys, the ascending and de- scending Scales are composed of the same Notes. Name every interval of the foregoing Scale. C, is the Tonic, or Key Note : B, the second ; E, the third ; F, the fourth, &c. &c.* Make the Scale of E^ ; the ec:ilG of G\). (See AnnendLx, Exercise VU.) Maice the descending Scale of A'rj : Fii. (See Apn*»ndix, Exercise IX.) In what manner are Scales to be formed, so as to sh^M- their connexion with each •ther, and to show the ordei cf *he s?ven Sharps? * Tlie Pupil sljould be rc(;v.ired to riame the luter'^ais of every Scale tliat is iorMiei. FORMATION OF THE SCALE. 35 Commence with the scale of C, and take the upper Te- trachord of one scale for the lower Tetrachord of the next. Observe, thac every scale will be a fifth higher than the preceding, and will haA^e an additional sharp. Scale of G * Scale of C. Make Scales progressively ; mark the first and each succeeding Sharp upon a rate Staff, until you have found the order of the seven Sharps, viz r See Appendix, Exercise X. After having round the order of Sharps regularly, Jjy making Scales, the Pupil will do well to remember, that F is the first, and that each succeeding Sharp is a Fifth higlier. In what manner are Scales to be formed, so as to shov/ the order of the Flats? Exactly the reverse of the former ; that is to say the lowest Tetrachord of one scale must be taken for the upper Tetrachord of the next. For Example, the lower Tetra- chord of C, is the upper one of F. Scale of C. Scale of Bj^, Scale of F.f • In order to avoid the inconvenience of the Ledger Lines, it will be necessar}', in commencing the succeeding Scales, to copy the Notes of the alternate Tetre- diords an Octave lower. t la ordjej: to avoid the inconvenience of the Ledger Lines, it will be n-ecessary 86 FORMATION OF THE SCALE. Make Scales progressively ; mark tbe first and each succeediug Flat upon sep* arated Staff, until you have found the order of the seven Flats, viz • (See Appendix, Exercise XI.) After having ^onnd the order of Flats regularly, hy forming the Scales, the F\i^>H v/ill do -well to remember, that B is the first Flat, and that every succeeding Fiat is a Fifth lower. "WTiat is meant by the Dominant and Subdominaut ? The Dominant signifies the fifth above, and the Sub Dominant the fifth below. Every Scale is intimately con liected Tvith the Scales of its Dominant and Subdominant. Form the Scale of with its Dominant and SuJjdominant. WTiat is the difference between a Major Key, and a Minor Key ? A Major Key signifies, that the TJurd of the Scale is a Major Third from the Tonic ; and a Minor Key signifies, that the Third is a Minor Third from the Tonic. Kev of C Major, or Key of C. Avith a Major Third. Key of A Minor, or Key of A, with a ]Minor Third, ^ Gd. '^vTiat 13 the Mhior Scale ? The Minor Scale consists of the same number of Tones and Semitones of the Major, (viz : five whole Tones and two Semitones,) but difierentl}- disposed; the ascending also, differs from the desGending Scales. For example, A is the Relative Minor of C, and has neither Flat nor Sharp at the Signature. in commencing llie succeeding Scales, to copy the Xotes of the alternate TctniF« chords au Octave higher. rOKMATION OF THE SCALE. 37 The Semitones, it is to he observed, are not in the same situations as in the Major Scale. How is the Minor Scale to be formed? The easiest way is to form it with the same Flats or Sharps as its Relative Major, remembering, that the Sixth and Seventh of the Ascending Scale must each be raised a Semitone by Accidental Sharps or Naturals. For Ex- ample, D is the Relative Minor of F ; consequently, must have Bt? at the Signature. The sixth and seventh, as has 4)een before remarked, are raised by Accidentals, in the Ascending Scale. Why are the Sixth and Seventh Notes of the Ascending Minor Scales raised by Accidentals ? The seventh is raised, because * every Ascending Scale must have a Leading Note ; and the sixth is also raised, that the Interval between the sixth and seventh may not be greater than a Tone ; for the Diatonic Scale must con- sist of Tones and Semitones. Kepeat the Method of making a Minor Scale. First ascertain what is its Relative Major ; secondly, write the Signature : thirdly, write the Scale ascending and descending ; fourthly, raise the sixth and seventh of .tla^e ascending Scale, each one Semitone* 3b FORMATION OF THE SCALE. Write the Scale of D Minor, G Minor, Minor, B Minor, C Minor, &c, (See Appendix, part of Exercise XII.) Write the Scale of the Relative Minor of D, E, D , C^, &c. &c. (See Appendix, part of Exercise XII.) Write the Scale of the Relative Minor to C, G, D, A, E,B, Y^, Cij:, C, F, Bt>,Ft>, X[) ,D\),G\),C\). (See Appendix, Exercise XII.) Wliat is the Chromatic Scale? The Chromatic Scale consists of Semitones only. i -0-^0- Is it immaterial, in writing the Chromatic Scale, whether you write A[7 or G^ and ArJ^orBb? No : the Signature must be attended to. For example, with three Flats, you must not write i: but every Note should haA^e its proper situation on the Staff, according to the Signature : thus, This renders fewer Accidentals necessary. B)^ way of Exercise, write the same passage as above with four Sharps fojf ifif Signature. FORMATlGiT 01' THE SCAI^, In order to draw the attention to the subject of fingering, it is now recommended that.the pupil should write and fitger all the Scales, commencing with the Scale of C, and going on progres- sively as far as the Scale of C#, and the Scale of Ct>, ascending and descending two octaves both for the ri^ht hand and the left. These should be first written upon a slate, fingered, and when corrected by the master, copied into a book for daily prac- tice. The Major Scales should be written on one side of the boo'k, and their relative Minors on the opposite page. The proper Sharps or Flats belonging to each Scale should be placed as the signature at the beginning, and not as they occur in the Scale, excepting of course the sixth and sev- enth of the Mioor Scales, which require raising by accidentals in the ascending, and contradicting (on account of being written without Bars) in the descending Scale (See Appendix, pages 55 and 56.) In fingering the Scales, the following remarks may be found useful. Thb fingering is only to be marked upon the first note of the Scale, and where the thumb is to be passed under the fingers, or the fingers over ihe thumb. In the ascending Scale of two octaves for the right hand— com- mence with the thumb — pass the thumb under the second finger — next under the third finger, ^nd again under the second, which will prepare sufficient fingei s to ascend to the top of the Scale. In descending, commence wilh the fourth finger — pass the second finger over the thumb — next pass the third finger over,and lastly the second finger over. When the Scale commences wi^h a Black Key, commence with the first finger, and follow the foregoing rule as closely as the situation of the Black Keys will admit of; obs(*rving that neither the thumb nor the fourth finge*: must be placed upon a Black Key in fingering a Scale. In the ascending Scale of two octaves for the left hand com- mence with the fourth finger — pass the second finger over the thumb — next pass the third finger, and lastly the second finger. In descending commence with the thumb — pass the thumb under the second finger, next under the third finger, and lastly under the second finger. The situation of the Black Keys will render it necessary to commence in some. Scaies with the third, second, or first finger, instead of the fourth, out the foregoing rule is to be followed as closely as circumstances will admit of. (See Appendix, pages 55 and 56.) No scale ^hou^d be practiced till it has been inspected by the Master. Nothing /^an be more generally useful than the daily practice of ^he Scales, at the same time the greatest attention is requisite on th'^ part of the pupil to the positon and steadiness of the hand, as well as to the clearness and connexion of the Notes- (See • Chap. I V^.) 40 CHAPTER XI. OF VARIOUS CHARACTERS USED IN MUSIC What is a Double Sharp? ^ A Double Sharp raises What is a Double Flat? \) \) A Double Flat lowers a Note two Semitones. a Note two Semitones. How is a Single Sharp or Flat replaced after a Double one ? By means of a Natural and Sharp, or a Natural and Flat. m As a Dot after a Note makes it half as long again, what is the use of the second Dot. The second Dot is equal to half the first ; consequently a Quarter Note with two Dots, is equal to a Quarter, Eighth and Sixteenth. is equal to t; As SEMI signifies half, and breve short, why is the longest Note called a Semi- breve. A Semibreve is the longest in present use but there were two others formerly called a Long and a Breve What proportion does a Semibreve bear to them A Long is equal to two Breves, or four Semibreves ; consequently, a Semibreve is equal to half a Breve, or a quarter of a Long. Is a Tliirty-Second the shortest Note ? TARIOUS CHARACTERS, &C 41 "No : there is one called a half Thirty-Second, made — ^- -it- thus, ^ ~and its Rests thus, ^ sixty-four of these are equal to one Semibreve. Ih what manner is a whole Bar Rest marked ? In the same manner as a Semibreve Rest, be the value of the Bar what it may. In what manner are Rests for more than one Bar marked ? A Rest for two Bars is made from one line to the next ; for four Bars, from one line to the next but one ; J but a Figure, expressive of the number of Bars, IS 6 frequently placed over ; and when the number is very great, Figures only are used, In what manner do yoi^ c^unt several Bars RestV By naming the number, instead of the word One on the first of each Bar. For example. f 3 >f - 1 — ™- These five Bars' Rests should be counted 1? 2, 3, 2^ 2, 3, 3? 2, 3, 4^ 2, 3, 2, 3. instead of always one, two* three^ 42 VARIOUS CHARACTEBa ' What is Melody? A Melody is a succession of sounds. What is Harmony ? A combination of Sounds. Are tliere any more Clefs than the Treble and Bass ? 11 11 Yes : the C Clef. gj This Clef is occasionally placed upon either of the four lowest lines of the Staff, and gives the name of C to all Notes on the same line as itself, the other Notes are, of course, named by degrees from it ; its situation on the Piano-Forte is the middle C. When this Clef is placed upon the first line, it is called the Soprano Clef ; when upon the second line, the ::::Mezzo Soprano Clef, when upon the third line the c Alto, or Yiola Clef; " ~^ ~"and when upon the fourth line the l^IZ^Tenor Clef. Name all the Degrees of the Staff, according to these Clefs. Do the Treble and Bass Clefs ever cha:ige their situations on the Staff? Yes, in very old music : but all Notes on the line with the Treble Clef, are called G, and all Notes on the line with the Bass Clef, are called F. Give Examples according to the following Clefs. 1 O F "Wbat is the difference between a Chromatic and a Diatonic Semitoiae USED IN MUSIC. 45 A Chromatic Semitone remains on the same degree of the Staff, and is called by the same letter, as whereas a Diatonic Semitone changes its degrees and name thus : Miat is the meaning of Enharmonic ? The harmonic Diesis, or Quarter Tone, is the difference Detween two following Notes, one of which is raised, and the other lowered a Chromatic Semitone. This interval cannot be expressed on the Piano-Forte, from its construc- tion ; but the same Ke^^s must be struck for the Sharp of the lowest Note, and the Flat of the highest. i r — ^ CHAPTER XII. OF THE COMMON TERMS RELATING TO TIME, &€. Explain some of the words which are prefixed to pieces of Music, to express the Time and Manner they are to be performed in. They are very indefinite ; but the following are the most common. GRAVE In the slowest time. ADAGIO Very slow. LARGO Slow. LARGHETTO Rather less slow than Largo. MODERATO In moderate time. CANTABILE In a singing and a graceful style. ANDANTE In a marked and distinct manner. AND ANTING In a flowing style. PASTORALE In a pastoral style. M^STOSO Majestically. ALLEGRO Qaick. ALLEGRETTO Not so quick as Allegro. VIVACE Lively. PRESTO ....... Very quick PRESTISSIMO . . . . , A3 auick as possible. APPENDIX. In conclusion, the Author oegs to observe, he does not wish it to be understood, that he conceives the foregoing pages to contain all that is necessary a Pupil should know ; many things, no doubt, have been inadvertently, and oth- ers have been intentioually omitted, as it is his opinion, that persons frequently fail entirely of attaining their object, by attempting too much : he only hopes that those Pupils who thoroughl}' understand what he has endeavored to communicate in this Book, will not be considered the most deficient among the numerous Students of the Piano- Forte. APPENDIX. EXERCISE I. Kame the Kej-s of tlie Piano-Forte. C, C# or Db, D, D# or Eb, F, E, F# or Qb, G, G# or Ab, A, A# or Bb, B, C. ^ EXERCISE II. T F^i: (or B^, C^, &c. a Black Key, or a Wliite one? N. B. In the following Example, the Black Notes are used to express the Black Keys, and the White Notes the A\niite Keys. i EXERCISE III. 4$ ^ Turn upon A B C " 1) E G ' A# " Bb C# - I)# " Eb ^' Fb " Gb TURNS. must be made with B, A, G^, A. C*B, A#, B. D, C, B, C. F, E, D:i|:, E. G, F, E, F. A, G, G. B, A#, G-x<, A#. C, Bb A Bb. D C# B# C^. E D# D:j:|:. F Eb D Eb. G, Fb, Eb, Fb. A, Gb F Gb. EXERCISE IV. At B A# B# C# D# » Ine Signature (viz : the Sharps or Flats at the beghming of the piece of Mu- s\e,) will determine whether the upper Note of the Turn is to be Sharp, Flat or Natural ; therefor© in the present Exercise, the letter only of the uppeir i«i y>.fce iie^ be nam«d. ^ The intervals are to be reckoned from these Letters. 46 APPENDIX. EXERCISE lY.— Continued. E# F# G# Ab Bb Cb Db Eb Fb Gb EXERCISE V. The rel. Minor of C is A Minor : the leading Note of A is GJ^ a G is E Minor: " " " D is B Minor " " - - A# a " " A is E# Minor " " " " E# " E is C:H= Minor " - - B# i i " " B is G# Minor E^ "r#isD# Minor " " . " i i C# is A# Minor " G^ " C is A Minor " " " G# a " F is D Minor " u . c# ii " BbisG Minor " " F# a " Eb is C Minor " b!^ i i " Ab is E Minor " " - Ebl " Db is Bb Minor " - Ab "Gb is Eb Minor " " " C b i s A b Minor ' ' " Gkj. APPENDIX. 47 V^^'heii the Pupil is thoroughly acquainted with the fore- going table, the question should be reversed, thus • What is the relative Major of A Minor, &c, &c. ? Or, in other words, Of what is A Minor, the relative? EXERCISE Yl.—TetracJiords. i EXERCISE VII. — Descendincj TetracJiords. 1 t ZI22: 2^ EXERCISE Yin,— Scales, W if^ ^ — It II 2s: EXERCISE IX. — Descendltig Scales. 9^- ^ 2S 9 1 APPENDIX. APPENDIX. r- APPENDIX. exercisp: XII. MINOR SCALES. A Minor, relative o-' v/. E Minor, relative of G. B Minor, relative of I). F Minor, relative of A. Minor, relative of B. APPENDIX. ftl EXERCISE XIL— Continued. MINOK SCALES. D# Minor, relative of F^. A Minor, relative of C. D Minor, relative of F. 0i G Minor, relative of Bb. C Minor, relative of Efj. 82 APPENDIX. EXERCISE XII.-'-CoNTiNUED. MIXOR SCALES. "F Minor, relative of Ab. Bh Minor, relative of Di Eb Minor, relative of G[j. Ajj Minor, relative of Cb. ATTwmnX. EXERCISE TJH, A diatonic semitone A diatonic senaitOMS above A is Bj^ below A a B is C it a B isA# i( a a C is Db a a ii C is B i< a iC D is Eb i i a it D is C# Ji a a E is E tt it tt E isl># it a ti " F is Gb ti tt it F is E a a ti # is Ab tt tt ti G is E# IC ti it A# is B li a it A# is G^ a li a B# is C# it a a ^# is ti it ti C# is D ti a a C# is B# a « a D# isE a ti a D# is C^- it ti E# is Ei): a it it E# is ii ii a E# is G a ii it E# is E# iC ti G# is A a it ii G# is E^ a a Ab is Bbb it ii ii Ab is G ti it Bb is Cb ii ii ii- Bb is A it a a Cb is Dbb a ti ii Cb isBb a it it is Ebb a ii ii Pb is C <>& it Eb is Eb ti it tt Eb is D C» is Gbb (C ii Fb is W$ m s» 1 U 56 APPENDIX. m p I— I O O -51 o o 0%1 I 1 4 •141 I 1 X X QLi 1 1 %iJ_L i I *1 1% X c X rrri I ii'i^x I ! J 1 1% •'•I The foregoing will be sufficient to show the general form of writing the Scales, the number of finger-marks which are requisite : the ac- cidentals wliich are required in the Elinor Scales — alsOy one instance in which the Scale for the left hand cannot be commenced irith the fourth finger. _ _ GUIDE TO PRACTICE. INTKODUCTION. The course of practice recommended in the following remarks cannot be expected to coincide with the views of every instructor, or be equally applicable to all pupils ; the point suu^hc to be established is, that the pupil should have a regular system to by, and in whatever particular this may differ from the views of the teacher upon the various points connected with the mode of practicing, he can easily point out the difi'trence he wishes to be made ; at all events, if this work serve no other purpose, it will have the effect of bringing the subject of practice mure particu- larly into notice, and, ia default of better instructions, be at least s( me guide to the pupil, and prevent much of that waste of time Wiiioh daily occurs with those who even with the greatest diligence do not combine method. It may be said that every instructor is the best judge, and gives his own directions as to what and how his pupil shall practice. To a certain extent, this is true; but upon the principle that " everybody s business is nobody's busi- ness," it may frequently be left undone ; besides, if it be done, a master cannot constantly repeat the same thing, and pupils do sometimes forget. No master disputes the utility of the daily practice of Exercises and Scales, but many pupils have a great disinclination thereto; and, though it is not to be doubtfdthat every one will practice them to the extent he may be desired, still, as that which is done willingly, and with a conviction of its being conducive to im- provement, will always be not only more pleasant, but much more satisfactory in its results, than that which is done as a mere task. The author assures all pupils that more improvement will be made in one mouth by those who practice them daily, than will be made in six or even twelve months by those who do not. The greatest performers never discontinue the practice of Scales and Exercises. It is scarcely necessary to remark that practice, to be eil&cient, must be upon a good principle. Practice upon a bad princ ple^ or, what is more common, without any principle at ail, will but confirm error, and render it more difficult to conquer It is, therefore, essential to prevent any bad habit from being acquired, and the very first time a child puts its fingers on the keys, it should l>e taueht to do so in a proper manner. This opinion is much at variance with common practice ; which is, to let a child learn ani/ how at first, and, when it has contracted all sonsoi bad habits, to give it a good master, who has not only to teach, 58 GUIDE TO PRACTICE, but also to unteach, if, indeed, that can ever be done. A child's learning anything may be compared to the winding of a skein of thread, which, if it have never been tangled, may be easily, though perhaps in some instances slowly, wound ; but if it be tangledj Lot only will the trouble be increased ten-fold, but the chances are that it will be broken in many places, and conse- quently never perfect. Some pupils have naturally, that is to say, without any instruction as to how it should be done, a better mode of touching the keys than others, as some persons are natu- rally more or less graceful in all they do, while others are more or less awkward: but it is not sufficient that anything be well done ; it must be done well upon principle. Those who have what may be termed a natural good touch, will have less difficulty to contend with'; but they must not be allowed to be ignorant of the principle upon which they do well. It is not, however, in the province of tl ese remarks to give a detailed explanation of the principle upon which different passages should be played; this can only be properly and progressively done by a good instructor. One thing cannot be too strongly impressed on the mind of the pupil, which is the necessity of patience and perseverance in thoroughly understanding and playing correctly, though perhaps not fluently, the early exercises, as upoa these will depend all the future progress. If there be but two notes to be played, still those two notes must be well done, and it is not sufficient that the pupil be able to do them well once or twice, but he must practice doing so ; and the rule for going forward must never be when any thing has been played a certain number of times, or when it is merely correct, but when, by repetition, it has become habitual to do it well. As an incitement to perseverance, it may be remarked, that those who understand and do play even two notes well, may soon, with the same application, play four, and so on; whereas those who pass over the lirst two notes, or anything else, without being thoroughly understood, and sufficiently practiced, will never make any satisfactory progress. For the sake of giving precise directions, it has been assumed that every pupil should practice two hours a day; and it may be with truth said, that those who expect to make any efficient pro- gress should do this at the least. Those who adhere strictly to the directions for the two hours may, it is conceived, from the habits acquired thereby, be safely ^^ft to their own discretion for any additional time. ON PEACTICE IN GENERAL. Fixed hours should be appointed for practice. It is not enouga to say that a pupil should practice two or more hours a day, but /he time for so doing should be fixed; every day's experience shows that whatever is left t(7 be done at an uncertain time is fre- quently left undone, or at best done but imperfectly. The first portion of every hou'^'s practice should be devoted to Exercises or Scales. GWIDE TO PEACTIOB. 59 Practicing a passage, exercise, or scale, does not mean playing it throujih once, twice, or thrice, but a careful repetition of it twenty or thirty times successively ; and the practice of the same should be resumed daily, till it be executed with correctness and precision, and with as much fluency as the progress of the pupil will admit. The degree of rapidity with which anything is played may be conceded to the age or ability of the pupil ; but respecting the principle upon which it is played, there must be no compromise. A pupil, therefore, must not conclude anything to be sufficiently practiced until Not one wrong key is struck. Not one wrong finger used. Not one finger down when it ought to be up, or up when ic ought to be down. The hand held in a proper position throughout. The piece or passage played in proportion, and without looking at the fingers. Nothing which fails in any of these particulars can be termod correctly Hone. EULES TO BE OBSERVED AT PRACTICE. I. Never pass a mistake. Never pass over a mistake, but whenever a wrong key is struck, a wrong finger used, if a finger be down or up when it ought to be otherwise, or if the passage be not played in proportion, re- commence the passage, and continue to do so till it be done cor- rectly. Passing on, intending to rectify the mistake at another time, will only serve to confirm the error, and render it ultimately more difficult to conquer. II. Practice slowly at first. Avoiding mistakes is better than having them to rectify. Practice, therefore, slowly at first, and when the passage is done correctly, increase the rapidity to the desired degree. It is cer- tain that that which cannot be done correctly slow, will not be correct when done fast. The rapidity may render the incorrect- ness less observable, but it will not be the less bad. III. Ascertain the nature of the difficulty. When any passage is found to be difficult, the first point is to ascertain exactly w^iere, and in what particular^ the error or the difficulty consists. Suppose, for instance, in a passage of twenty notes, the difficulty lies in the execution of two or three notes only ; in that case, practice those two or three notes till they be done with readiness, and then practice the whole passage. 60 GUIDE TO PRACTICE, lY. Practice with each hand separately. It may be sometimes advisable to practice a passage with each hand separately. It may be relied on, that if a passage be not played correctly with oae hand at a time, it will not be well done with both hands together. V. Select passages for practice. As all parts of a piece will not require the same degree of practice, select those parts in which there is any difficulty, and practice them. Much time is saved by this method. For exam- ple, suppose, in a page of forty bars, there are two which will require practicing fifty times, or more, to do correctly ; it is ob- vious that it will be less trouble, and take less time, to practice the two bars fifty times than the whole page fifty times ; besides which, any difficulty will be much sooner surmounted by being played fifty times successively, than if it be played the same number of times, with forty or fifty bars intervening between each repetition. YI. Practice in small portions. When a piece contains no decided comparatively difficult pas- sage requiring; to be practiced as above, still it is desirable to practice it in small portions, rather than straight through from the beginning to the end. For instance, suppose two pages con- taining eighty bars are to be practiced ; the pupil will be much more familiarized with the piece by playing portions of eight or sixteen bars, as may be convenient, each twenty times, than if he played the whole eighty bars straight through twenty times. "VTI. Caution required in selecting passages. In selectiHs: passagces for practice, it is desirable not to begin or end always at the same place, unless it be a completely detached passage ; otherwise a habit cf hesitating or stopping at a particular place will be contracted, which it may be afterwards difficult to overcome. VIII. Extend and reverse passages. It is frequently useful to lengthen or extend a passage to a greater compass than may be required in the piece, or, in tact, to make an exercise of it. For example, if an arpeggio extend- ing two octaves require practice, it will be good policy to practice it to the extent of three or four octaves. It is also desirable, when the passage will admit of it, to prae- tice both ascending and descending, although only one way may be required in the piece. IX. Rfpr-ai correctly six successive times at least. No pas=?age that has been barlly played should be considered as sufficiently practiced when done once or twice right , six suc- cessive times, without error, is the least that can be depended oo. GUIDE TO PBACnOE, 61 If, on resuming the practice of the same on another occasion, it should be incorrect, (as will frequently be the case,) it should be practiced till it be done twelve successive times without error, and so on till it can be, with certainty, played correctly. X. Practice piece as a whole. After practicing in detail as above described, the piece must be carefully practiced as a whole from beginning to end. If, in doing this, any mistake should occur, the best remedy is to re- commence the whole page or two, (nothing fixes the attention so much as this,) and continue to do so until Not one wrong key be struck. Not one wrong fioger used. Not one finger be down or up when it ought to be otherwise and until the whole be played through in proportion. * XI. A fler correctness practice for fluency. Practice, besides being necessary for insuring correctness in any piece or passage, is afterwards requisite for the purpose of gaining more fluency or more finish in tiie manner of executing it. XII. Practice till perfect. Lastly, it may not be amiss to remark, that although it is desir- able, both by diligence and method, to accomplish as much as possible in the shortest time, still a pupil should remember that, when any piece is played, nobody inquires how often it has been practiced, or how long the performer has been learning it — the only point is, whether it be well or ill done. No stated number of times can, therefore, be fixed upon; but a piece should be practiced till it be perfect. POSITION OF THE HAND AND AKM. The hand and fore- arm should be in a straight line from the elbow to the middle joint of the second finger, keeping the wrist neither raised or depressed. The fingers are to be kept moder- ately bent, and apa.rt, (directing particular attention to the second and third fingers, which are more apt to be too close together than the others,) so that one finger may be over the centre of each key; and the thumb must always be kept over a key. It is of the high/est importance to attend to the keeping of each finger over the centre of a key, for many persons notwithstanding they may encompass five keys from the thumb to the little finger, by keeping the other fing^ers at unequal distances, play indistinctly. For example, supposing the right thumb to play C, instead of striking F distinctly with the third finger, they strike both E and F with the third finger. Errors of this sort are not at all uncom- mon, particularly in arpeggio passages, and should be guarded against from the first, by acquiring a habit of keeping each fin- ger over the centre of a key. 62 GUIDE TO PRACTICE. OF THE MANNER OF TOUCHING THE KEYS, OR PUT'= TES'G DOWN AND RAISING THE FINGERS. This is a point not generally sufficiently attended to, but it is one of the greatest importance, and should be thoroughly under- stood and put in practice at first: for the want of a proper man- ner of patting down and raising the fingers throws great addi- tional difficulty in the execution of everything that is played, and not only adds difficulty, but gives a bad effect, however perfect the performance may be in all other respects- If the attention be strictly directed to this at first, the proper manner of putting down and raising the fingers will become a liahit. and will cause no trouble afterwards; whereas, if this be neglected at first, and the pupil be allowed to practice upon a bad or upon no fixed principle, bad habits will be acquired, and become more or less confirmed, in proportion to the degree of practice, and which, if ever they be overcome, must be so at the expense cf much labor and time. It is, therefore, essential to prevent any bad habit being contracted. The rule is simply to. hold the finger down on one key till the next is down, but not longer : or. as it may be otherwise ex- pressed. — Two keys which are to be played successively must not beheld down together, neither must one be raised till the other is down. In order to direct the attention particularly to this point, it may be as well to remark, that if the fini-erbe held down too long after the following key is struck, it may be so in a greater or lesser de- gree. For instance, suppose C, D. are to be played successively: C may be held during the whole, or half, or a quarter of the time after D is down, either of which is wrong, though not equally so. It is not unusual with those who have a bad touch, when five suc- cessive keys, are played, to find the whole five down at once; so that the first is down four times longer than it ought to be, and the others proportionably so- It may be remarked that those who hold the fingers down too much in some places, generally r lise them too soon in others. Raising the finger from one key before the next is aown must equally, as a general rule, be guarded against, as it gives a broken and disjointed effect. Let it not, however, be conceived that either holding one key down after the next is struck, or taking one up before the next be down, is wrong, if marked to be so played- What is intended to be itrpressed on the mind of the pupil is, that the general n^le must be to Hold one key till the next is down, but not Lo^'GER. And no exercise, passage, or lesson should be played in which this cannot be strictly attended to, until a perfect hab't of play- ing upon this principle is acquired; after which the exceptions, such as raising the fingers at the rests, repeated notes, and those marked to be played staccato etc. , must be learned. ©UIDE TO PBAOTICE, 68 OF PKELIMINAKY EXERCISES. It is important, when striking a key with one finger, to «o without moving the otheirs. To a^jquire the power of doing this^ exercises in which some idngers are held firmly down while the others are moving must fae practiced- These exercises are termed preliminary," because they are to be practiced before, and be- cause they differ in principle from all others in this respect, viz., that, for the purpose of acquiring for each finger a free action, independent of* the others, those fingers which are not employed in playing are to be held down ; whereas the general rule in all other exercises is, to hold none down but what are actually em- ployed in playing. The daily practice of these, for a short time previous to other exercises, will always be highly beneficial. OF LOOKING AT THE FINGERS. It is essential that the pupil should acquire the power of play- ing without looking at the fingers. To accomplish this, a little time should occasionally be devoted to this object exclusively. It must be obvious that the object of all exercises for this pur- pose will be defeated, if they be played till the pupil remember them; therefore, the same must never be played twice in one day. Besides those which are expressly intended (by directing the attention for the time being to that object solely) to teach the pupil to play without looking at the fingers, it must be born in mind that all the other exercises should be played at first, and afterwards practiced till they can be executed without once look- ing at the fingers after first placing the hand. OF THE PRACTICE OF EXERCISES. The greatest difficulties arise from a want of attention to the position of the' hand, and the manner of putting down as well as taking up the fingers at the proper places- The attention of the pupil must, therefore, be directed to these points in the practice of exercises until it becomes habitual both to hold the hands well, and touch the keys in a proper manner. Exercises are classed for different purposes, such as the practice of single notes, double notes, arpeggios, etc., and, as passages similar to all exercises will be found in lessons, they will, after being prac- ticed and mastered as exercises, not appear as difficulties when they occur. ORDER OF LEARNING AND PRACTICING THE SCALES. When the pupil is sufficiently advanced, the Scales should be learned and practiced daily. On Mondays, or any fixed day of the week, learn one Major Scale, taken in regular order, and its relative Minor, and practice the same six times, or more, every day during the week; but if^ OTIDE TO PRACTICE. at the week's end, they are not done correctly, and with a« mxioh fluency as may be desired, the same must be practiced for a w^ek, or as many weeks more as may be requisite, before proceediivg to the next. The Scales should be practiced in several different ways. First mode of going iJiroucih ilie scales. Practice with each hand separately, ascending and descending six or more times without intermission. It may not be useless to remark that, in whichever mode they be practiced, the following points must, be attended to : — The hand must be held in a proper position throughout. As one finger goes down, the former must be raised, so that always one, and only one, key be down at a time. In passing the thumb under the fingers, or fingers over the thumb, great care must be taken to do so with as little motion of the hand as possible. When this is thoroughly, though perhaps slowly, accomplished, the pupil may proceed upon the same principle to the scale nex^ in succession, until all have been gone through with. When all the Scales have been practiced through in this manner, it will, most probably, be desirable to recommence, and go thraugh the same course again, before proceeding to the next mode. Second mode of going through the Scales, Practice with both hands together, ascending and descending eight or more times successively. The same directions as to po- sition of the hand, correctness, and repetition, if necessary, of the same Scales, must be attended to in this and succeeding modes, as are recommended in the first mode of practicing the Scales; also the repetition of the whole course, if necessary. Third mode of going through the Scales, Instead of ascending and descending as before, practice each Scale six or more times, ascending only, and then as many times descending only, with each hand separately. Practice progressively with increased rapidity. Fourth mode of going through the Scales, Practice each Scale eight times, or more, ascending only, and then as many times descendiuii; oaly, with both hands together. Practice progressively with increased rapidity. Fifth mode of going through the Scales. Pvactice each Scale in thirds, eight times, or more. To play a Scale in thirds, bpgin with the right hand on the ihird of the Scale, with the fi iger that would have been upon it had the Scale been commeno^^d on the key note, playing at the game time with the left hand in the usual manner. fSDIDE TO PBAOnCE. ^issth mode of going through the Scales, Practice each Scale in sixths, eight times or more. To play a Scale in sixths, begin with the left hand on the third ®f the scale, (v'z., a sixth below the right hand,) with the finger that would have been upo*^ H had the Scale been commenced with the key note, pl?.ying u.^ o^*** saiae time with the right hand m the usual manner. ON THE PEACTICE OF OLD LESSONS. It is desirable to ke^ip up the practice of the old lessoucs, but it 5s presumed that a little time will suffice for that purpose if they have been properly learned ; therefore, at the seconl Four's FBACTiCE. on Tuesdays, Thursdays and Saturdays, practice an old lesson, if it be done properly, proceed to another; but if not, resume the practice of the same on the appointed days, till it bt iDerfect. new Ceacbind Pieces* IRST GRADE. IN A GARDEN. 5y Adolph Schroedcr. six beautiful and melodious pieces for beginner^, carefuily adapted U tquiremeuts of young students. 1. Doll's march 2. Humming-bird waltz. j Sli^eet brier gavotte | 6, Phyllis (Qipsy danee) Price 20 cents each. 4. I/ittle boat song o. Sandman (Slumber son^; SECOND GRADE. SOUNDS FROin TfiE SEA-SfiORE. By Carl ficnscbei, six ^e xceptionally good pieces which teachers will find to be gejus for homer d exhibition purp'ose«f. While they are in every case easily within ade in point of difficuity, s he eraceful treatment of the melodies, in e ja^fgcsts music of a hi^ ner grade. Dance of the mermaids .1 r-^^f -.-a'^" i 4. Whispering '9vave^ t Revo rif' I o, Silveiy spray Song oi the sea-shell gavotte \ 6. Dancing moonbeams m. Price 25 cifnts each. The above ilrst and secotid ^ nde pieces are all carefullv fing- ered and eradtd THIRD GRADE. By Eminent Compost Compositions of unusual merit and invaluable for j>u;pils who, though not having mastered the difficulties and" tecnnique of strictly clas ;icalcpmpt-si- *ions, are ambitious to play such pieces as are acceptable to ail loversx>f ra 1. s. 3. 4. 5. 0. Brownies* gavotte... 35 Kntre nous two-step 40 Mascot march 40 pr. • • a melody ....... 35 Alet ^: f wo-step . . . 40 Jolly Pioneers. ........ 46 7, Dedication march..,.. ......... .8. Dancing in the moonlight ... 9. The merry dancers two-step. ]0. Field day march.. 11; Le gai cavalier. Two^^tep... 12. Black Horse Troop march . . The above are all new and original composition