£iKtiS2aaiii£i» ' a , asra3ffisaH®» > S\ rvA/vy v y'YSA >x if ■ ' SHE 11 EXERCISES FOE THE PIANO-FORTE, PUBLISHED BY OLIVER DITSON & CO., 277 WASHINGTON STREET, BOSTON. 1 BACH'S PRELUDES AND FUGUES. (The Well-tempered Clavichord.) By J. Sebastian Bach. 2 vols., each $4.00 ; complete, . $7.50 BACH'S FIFTEEN INVENTIONS 75 BERTINI'S SCALES AND EXERCISES CO BERTINI'S RUDIMENTS. Op. 84. A Collection of indis- pensable Exercises for the Acquirement of a Perfect Mechanism. Book I., 3.00; Book II., 2.00; complete, .... 4.00 BERTINI'S 25 STUDIES. Op. 29. Introductory to the cele- brated Studies of J. B. Cramer. . . . . .1.50 BERTINI'S 25 STUDIES. Op. 100 1.50 CALISTHENIC EXERCISES. To precede Hcrz's Exercises and Scales. By H. Brown 30 CLEMENTI'S GRADUS AD PANASSUM. A Set of Ex- ercises for Beginners. . \ . . . . .75 CRAMER'S STUDIES— Revised by Julius Knorr. With rtew Fingering and Explanatory Notes. In Parts, . . each 2.50 Complete in 1 volume, . . . ... . .4.00 Each of the twenty-one studies of the first book has been provided with brief remarks upon musical elocution and mechanical points. The fingering has been revised, and the musical phrasing of the single studies more correctly indicated than in former editions. CZERNY'S CLASSIC SCHOOL. No. 1, from the works of Haydn; No. 2, from the works of Mozart ; No. 3, from the works of Beethoven. ...... Each No. 1.50 A collection of the most spirited passages and sentences from the works of the great composers. CZERNY'S 50 GRAND FINISHING STUDIES. Op. 409. In Six Books, . . . ... .' each 1.25 CZERNY'S FIVE-FINGER EXERCISES. Op. 802. . 1.00 CZERNY'S GRAND EXERCISES OF THE SCALE, and most necessary passages in the Twelve Major Keys, as a Prepara- tory School to all Studies of Velocity. . . . . 1.00 Masterly and elaborate exercises, intended to illustrate important points in piano-forte playing, and intended for advanced performers. CZERNY'S 100 FIVE-FINGER EXERCISES. Designed to render an Acquisition of a Knowledge of Playing the Piano easy to the Young. Op. 139. In Three Parts, . . . each 1.00 A more valuable assistance to learners of piano music does not exist. Every pupil, and those even who aro somewhat advanced, will find their use exceed- ingly advantageous. CZERNY'S 101 PREPARATORY LESSONS, of moderate difficulty; to which are added 25 Fingered Exercises, and R New Studies for the Left Hand alone. In Three Parts, each 1.0Q; complete, 2.50 These exercises combine all that, in this species of composition, the most correct judgment and the most classical and pure taste can produce. The recent additions made by the author to this edition alone, have ranked it as the Btandard copy, — it having been entirely revised and "nlarged, with several requisite improvements by him. CZERNY'S 100 PROGRESSIVE LESSONS. Easily arranged and carefully fingered. 4 Nos., . . each .60 ; complete, 2.00 CZERNY'S 6 NEW STUDIES FOR THE LEFT HAND. .35 CZERNY'S STUDIES IN VELOCITY. 30 Etudes de la Velocite. Calculated to develop and equalize the fingers, and to insure the utmost brilliancy and rapidity of execution. Preceded by Nine new Introductory Exercises, and concluded by a new Study on Octaves (composed expressly for this edition) for the Pinno- Forte, with Notes by J. A. Hamilton. Stereotype edition. 3 Parts, each .00 Complete, .,....,. 1.50 Engraved edition, 4 Part., No. 1, 1.00; Nos.2and3, ench .75; No. 4, 1,75 CZERNY'S 30 HOUVELLES ETUDES. Op. 849, No each .en CZERNY'S 25 VERY EASY PRELUDES. (Etudes pour Le Jeunesse.) For the Piano. . , . . . .60 DOHLER'S ETUDES. Op. 20 .38 DUVERNOY'S ECOLE DU MECHANISME. 15 Studies. In 3 Nos., each 50 ; complete, ...... 1.50 DUVERNOY'S ECOLE DU STYLE. 4 Nos., . each .60 DREYSCHOCK'S EXERCISES AND SCALES. . . 1.25 DUVERNOY'S FIRST LESSONS. Air« from the works of Rossini, Auber, Herold, Le Barre, and Bellini. In 4 Nos., each .25 Complete, ........ .75 1.00 EASY AND MELODIOUS STUDIES. By Franz Petersilea. $1.00 A most excellent series cf studies, imparting habits of strict time, regular accentuation, and rhythm. ELEMENTS OF VELOCITY. By J. H. HeUcr. 4 Nos., each .50. Complete, . . . . . . .1.50 HELLER'S 24 PRELUDES. Op. 81. In all the keys. In Two Books, ........ each 1.75 HENSELT'S 12 STUDIES. Characteristiques de Concert, for the Piano. By Adolph Henselt. ..... 3.0ft HERZ'S 18 SPECIAL STUDIES. By Henry Herz. In Three Books ; 1 and 2, each .60 ; 3, . . . . . . .75 HERZ'S EXERCISES AND SCALES. Written expressly to form the hand of the pupil, and to impart, by an easy method, a per- fect execution. ........ .75 HUNTEN'S SCALES AND EXERCISES. For the Ac- quirement of a Perfect Execution. In 3 Nos. : No. 1, .30 ; No. 2, .40 ; No. 3, .30. Complete, ....... .75 JOUSSE'S 12 MAJOR AND MINOR SCALES. . .15 LEMOINE'S 60 JUVENILE STUDIES. (Etudes Enfan- tine.) In 2 Nos., ...... each 1 .25 MOCKER'S 30 DRAMATIC STUDIES. (Etudes Drama- tiques pour Piano.) Op. 74. Two Books, . . . each MOSCHELLES' STUDIES FOR THE PIANO-FORTE. For the further Perfecting of advanced Pianists. Consisting of Characteristic Pieces in the different Major and Minor Keys, with Fingering, and with Explanatory Remarks upon the Object and the Manner of Performing each. By Ign. Moschcllcs. Op. 70. New edition, improved by the author. Book I. . . . . MOSCHELLES' DAILY STUDIES. In all the Major and Minor Scales and in different Rhythms ; comprising 59 Characteristic Pieces, harmonized for 4 hands. Intended for the Use and Amuse- ment of Teachers and Pupils. By Ign. Moschclles. Op. 107. NEW MUSICAL ALPHABET. Containing 100 Exercises in one Position of the Hands, for Juvenile Pianists, and intended to precede any book of instruction. By Charles Chaulieu. . . FLWIST'S BEST COMPANION. (Schmidt's Five-finger Exercises.) A Collection of 213 Five-finger Exercises for the Piano- Fortc, intended to impart an independent and equal action of the fingers on that instrument. By Aloisc Schmidt. With an Introduc- tion by J. A. Hamilton. ...... PLAIDYS TECHNICAL STUDIES. (Tcchnische Studien.) For Piano-Forte Playing. By Louis Plaidy, Teacher in the Con- servatory of Music at Leipsic. Translated frcm the German by J. C. D. Parker In this work many useful hints are given, which arc undoubtedly well known to all good teachers, but which have, thus far, been omitted in all schools. PUPIL'S DAILY EXERCISE. To which arc prefixed Pre- paratory Exercises to the Studies of every Master. . . . .30 ROSELLEN'S 12 BRILLIANT STUDIES. Op. 00. 2 Nos., ..... ... eacli 1.60 SCHMIDT'S FIVE-FINGER EXERCISES. (See "Pianist's Best Companion.") ....... .76 THALBERGARIAN EXERCISES; or, PIANISTS' DESIDERATA. A Complete Mastery of Chromatic ScalM, together with all the Shakes, accomplished in a comparatively short time, in a Series of One Hundred Progressive Exercises, arranged uniformly for both hands, on a novel plan ; with a Plate, showing tho exact position in which the hands should be held, lly Edward Frost. .75 This work is calculated greatly to facilitate the pupil's progress, and effect a saving of much time and labor to both master nnd scholar ; thereby proving n valuable auxiliary to all other elementary works extant. To those who may have contracted bad habits, and find rapid passages difficult to execute, they are strongly recommended as unfailing correctives. TWELVE PROGRESSIVE STUDIES. Preparatory to Reading and Playing Classical Music. By C. F. Ebers. . • -40 VIGUERIE'S PRELUDES. (Douze Preludes dons les tons, les plus usites.) .....-•• •" WOLFERT'S PREPARATORY STUDIES. For very Young Beginners. . . . • • • .1 2.60 2.00 Sheet IMuslc 3c IVIuslo Books Bent by Muil, FoRi-paid, on receipt of price. Complete Catalosrues Airjiishecl on appli I ■3E METHODS OF INSTRUCTION FOE THE VOICE. YafaaMe Books for Schools and Classes, Published by OLIVER DITSON & CO., 277 Washington Street, Boston. BASSINTS ART OP SINGING. An Analytical, Physiological, and Practical System for the Cultivation of the Voice. By Carlo Bassini. Edited by R. Storrs Willis. Complete, $-1.00 j abridged, $3.00; for Tenor "Voice, $4.00. This -work is one of tho greatest excellence as a System of Thorough Instruction in Vocalization. It is constructed on a rigidly scientific basis, considering the mechanism of the vocal organs, different qualities of voice, just methods of articulation, true process of culture, &c, with a seriC3 of exercises from the simplest method of uniting the chest and medium registers to the most difficult trills, and is, unquestionably, the most desirable system extant for both teachers and pupils. An eminent professor of music pro- nounces it superior to nil others, and adds, "In the first nineteen pages is embodied more sound sense on the nature and capabilities of the human voice, than can be found in half a dozen similar works by European masters." BALFE'S NEW SINGING METHOD, without the Use of Solfeggio, designed for persons who cannot have the assistance of a Master. $2.00. BAKER & SOUTHARD'S VOCAL METHOD. Illustrated by Comprehensive Examples and Solfeggios from the works of Pansoron, Pac-r, Garandt;, Bagioli, Winter, and others. By B. F. Baker and L. H. South- ard. $3.50. BORDOGNFS ART OF PHRASING. Book I., $1.00; Book II., $1.26. BGRDOGNI'S 36 VOCALIZES. For Soprano or Tenor Voices. In 3 BookB, each $2.50. . The author endeavors to present, in the clearest manner, all the ornaments and styles of song, the most useful to render Intonation perfect, easy, and flexible ; to give a knowledge of accent, and at the same time to instruct the pupil in respiration, — the most difficult acquirement in the art of singing, and one on which tho perfection of soc^ depends. CAMFANA'S EASY SOLFEGGI, for Mezzo-So- prano or Contralto, in tho style of the best Italian school. $1,00. CONCONE'S FIFTY LESSONS. For the Middle Kcgistcr of the Voice. In two boolcs, each $3.00; com- plete, $3.50. CONCONE'S EXERCISES FOR THE VOICE. Being a continuation of " Fifty Lessons for the Medium CONCONE'S FIFTEEN VOCALISES. In two Nom ae-h $l.i CONCONE'S FORTY NEW LESSONS. For B:iss or Baritone. In Two Books, each $2.50. The studies of the First Book begin simply with sound- ing a note, that the singer may give entire attention to producing, every sound with perfect accuracy of intona- tion, equality of force, and purity and fulness of tone. Those of the Second Book arc confined within the compass of a bass voice. CRESCENTLNA'S ART OF SINGLNG; or, 25 New Vocalizes. Arranged with Harp or Piano Ac- companiments. By A. Panseron. $3.50. COOKE'S VOCAL METHOD. (Rovised Edition.) Conjoining, in addition to the original work, numerous Exercises, Solfeggios, &c, on Portamento, Sustentation, and Flexibility of the voice. By T. Cooke. $3.00. CRIVELLI'S ART OF SINGLNG. $1.50 GARCIA'S SCHOOL FOR SINGING, In which the Art is elearly developed in a scries of Instructions and appropriate Examples ; to which nre added Exer- cises written and composed by Manuel Garcia. $3.00. GRAMMAR SCHOOL VOCALIST. A New Col- lection of Favorite Choruses, Glees, Ducts, and Part- Songs. Transposed for young voices, and arranged with Accompaniments for the Piano-Forte, expressly for Schools. By Geo. sx Curtis and F. H. Nash. 75 cts. LABLACHE'S METHOD OF SINGING. Com- plete, $3.00; abridged, $1.75 ; Bass Voice, $4.00. This is a new edition of one of the best vocal methods published, and has been greatly improved by the addition of New Exercises for Sustaining the Voice, arid an Eu- graving representing all the parts of the Mouth and Throat brought into action in its cultivation. LABLACHE'S 12 VOCALIZES. For Soprano nnd Tenor. $1.25. MASON'S VOCAL EXERCISES AND SOL- FEGGIOS. With an Accompaniment for the Piano- Forte, and adapted to the wants of Private Pupils, or Classes in Vocal Music. Selected from Italian, French, and German composers, and adapted to Treble and Tenor, or Alto and Bass voices. By Lowcii Mason. $1.50. MUSICAL CLASS BOOK (AMERICAN). For Female Colleges, Institutes, Seminaries, Normal and High Schools ; containing Elementary Instructions, Vocal Exercises and Solfeggios, Duets, Trios, and Con- certed Pieces. By T. Bissell. 75 cts. This work has been prepared with great care, and in strict compliance with the wishes of teachers and the wants of collegiate nnd other institutions of learning, in which Music forms a branch of education. MUSICAL RECREATIONS ; or, A Relief from Study. A collection of Two-Part Songs, consisting mostly of Elegant Extracts from tho works of eminent composers, with English words, and being principally intended for Female Classes hi Music, maybe sung by one or fifty voices on a part. By E. Ives, Jr. 63 ctB. MUSICAL SPELLING-BOOK. A new Method of Instruction in the Itudimcnts of Music ; together with Musical Eecreations as a Belief from Study. By E. Ives, Jr. 1.00 NASON'S VOCAL CLASS BOOK. Containing n Thorough and Systematic Course of Instruction in the Art of Singing ; together with a Choice Collection of Music, Original and Selected, adapted to the Use of High Schools, Common Schools, the Social Circle, and Juve- nile Singing Schools. By Edward S. Nason. 60 cts. OPERATIC ALBUM. A Collection of Music, in Parts, for Ladies'- Voices, Intended particularly for Seminaries, High , Schools, Musical Classes, and the Social Circle. ByE.Ivci, Jr. $1.34. PANSERON'S A B C OF MUSIC. Tho A B C of Music ; or, Progressive Lessons in the Rudiments of Music and Solfeggi. Translated by J. R. Fiy ; with Additions by F. Dorigo. $4J)0. This work aims at the introduction of a system adapted to the physical ability as well as the intelligence of chil- dren. It is highly approved of by the most eminent for- eign composers and professors, and is adopted as a stand- ard work in the Paris and other celebrated Musical Conservatories of Europe. In preparing this edition, certain additions and explana- tions have been made which may illustrate the original Lessons ; and it is offered to the profession in the United States as a work of peculiar value in conducting primary instructions in Vocal Music. PANSERON'S GAMUT AND SOLFEGGI. For Two Voices, CO cts. ; for Three Voices, $1.00 j for Four Voices, 50 cts. PANSERON'S SINGING IN PARTS. Compris- ing Gamuts, Solfeggi, Vocalizes, and pieces of different Sonatas, for Two, Three, and Four Voices. $3.50. PANSERON'S METHOD OF SINGING. Method of Vocalization, comprising 25 Vocalizes and 25 Exer- cises. By A. Pai PART SONGS, FOR THREE AND FOUR FEMALE VOICES. Selected mostly from n Col- lection by S. Muller, and translated by Fanny Maloue Raymond. For the UBe of Normal Schools, Young La- dies' Institutes, &c. 75 cts. RIMBAULT'S HAND-BOOK OF SINGING. 75 RODOLPHE'S SOLFEGGI. Containing Elemen- tary and Progressive Lessons with Figured Bass. For the Use of Musical Academies. "With a new Analytical Method of the Rudiments of Music. By Ld. Meigncn. English and French Text. $4.00. * RONDLNELLA'b INTRODUCTION TO THE ART OF SINGING. $1.25. The aim of this work is to improve the present intro- ductory system of Italian singing, and remove the incipient difficulties of the art. THE NIGHTINGALE. A Choice Collection of Songs, Chants, and Hymns for Juvenile Classos, Public Schools, Seminaries, and Home Recreation. By W. O. and II. S. Perkins. 50 cts. THE TWIN SISTERS. An Operetta. Adapted to the use of Female Colleges, Schools, Exhibitions, &c. By Herman S. Saroni. 50 cts. THE GOLDEN WREATH. A Collection of Fa- vorite MelodicB, designed for the nsc of Schools, Semi- naries, and Select Classes ; containing, also, a completo course of Elementary Instruction in Vocal Music, upon the Pestalozzian System, with numerous Examples for Practice. By L. O. Emerson. 50 cts. '250,000 copies of this book have been printed and sold. WOODBURY'S GUIDE FOR THE VOICE. Comprising Instructons for its proper development and Cultivation. With Exercises, Solfeggios, &c. Selected, Arranged, and Composed by I. B. Woodbury. $2.50. Sheet Music Digitized by the Internet Archive in 2012 with funding from University of North Carolina at Ghapel Hill http://archive.org/details/richardsonsnewmeOOrich RICHARDSON'S MUSIC I.IRRAW ^r -, c-chapelwu nT2-:i NEW METHOD FOB THE |BF|ISi IsFtYsSI AN IMPROVEMENT UPON ALL OTHER INSTRUCTION BOOKS IN PROGRESSIVE ARRANGEMENT, ADAPTATION AND SIMPLICITY; FOUNDED UPON A NEW AND ORIGINAL PLAN, AND ffafratea f>g a Serb of f kks, sjofoing Ijje fbiiiort of % Sanits aitir Jfrapu. TO WHICH IS ADDED RUDIMENTS OF HARMONY AND THOROUGH-BASS. NATHAN RICHARDSON, ACTHOK OP "THE MODERN SCHOOL FOR IH1 PIANO-FORTS.' [AN EDITION OF THIS (YORK WITH FOREIGN FINGERING, CAN BE FURNISHED, IF PREFERRED.] BOSTON: OLIVER DITSOIST & COMPANY, 277 WASHINGTON STREET- Entered, according to Act of Congress, in the year 1859, by OLIVER DITSON & CO. : In the Clerk's Office of the District Court of the District of Massachusetts. PREFACE. A correct and practical knowledge of music is, at the present day, admitted to be an important element of a liberal education : the public should therefore receive with indulgence every endeavor made to extend or facilitate it Since the publication of the Modern School, I have consulted many eminent composers and professors, in relation to its plan or system. While bestowing praise on it as a whole, they have invariably disapproved the difficult progressions, and the complexity of many important features, a lucid treatment of which, in a course of Piano-forte instruction, is so indispensable to the sure and rapid advancement of the pupil Becoming at length satisfied of the truth of these criticisms, and convinced that great improvements might be made, and were obviously, needed, I determined, if possible, to remedy the defects. Profiting by the experience and advice of the best practical teachers in the country, I commenced a thorough and critical examination of my first method, and finally concluded that the only remedy would be to bring out a new work on an improved plan, which I now offer to the public, confident that it will be found much more progressive and complete than any similar work extant. It embraces the prin- ciples of all other Piano-forte instruction books, at the same time many new and important ideas are introduced, which I trust will be favorably received, and tend to give the New Method a wide popularity. Specimens of the compositions of celebrated composers, such as Hunten, Bertini, Czerny, Beyer, Clementi, Mozart, Heller, Dreyschock, Mendelssohn, Thalberg and others are interspersed, by the study and practice of which the student will gain a knowledge, and in some degree imbibe the styles of these eminent masters, instead of confining himself, as is often the case, to the monotonous practice of the etudes of one particular author. As it was found expedient to abridge and otherwise alter some of the selections, in order to make them conform to the plan of the work, it is not thought advisable to affix the authors' names to their respective compositions, which would, in a manner, be making them responsible for the alterations. It is therefore deemed unnecessary to give other credit to contributors than is contained in this preface. I have endeavored to take the straightest possible path to guide the pupil progressively, step by step, from the first rudiments of music, to the highest department of the art of Piano-forte playing. I have avoided all unnecessary exer- cises, lengthy studies and uninteresting pieces, which are so often uselessly employed to enlarge and fill up a book Most of the Exercises are modelled into the shape of melodies, to interest the pupil and make practice a source of pleasure, instead of discouraging him with dry examples and indifferent selections. The plates illustrating the various positions of the arms, hands and fingers, are selected from a popular treatise on the subject by L. Kohler, one of the highest authorities among the modern professors of Germany. At the conclusion of the work, a chapter is devoted to the First Principles of Harmony and Thorough Bass, a depart- ment of music much neglected, although of the utmost importance to every one who is desirous of playing well, espe- cially those who have it in view to make teaching the Piano a profession. The examples, exercises and explanations here given, will be found simple, interesting and instructive. By their acquirement the pupil will find an introduction to the works of the great masters much less difficult than had been supposed. • . NATHAN RICHARDSON. ILLUSTRATED POSITIONS OF THE HANDS. No, 1, CORRECT POSITION^ OF THE RIGHT HAND AND ARM WHILE PLAYING THE PIANO. NO. 2. P1W OP THE LEFT HAND FROM THE RIGHT SIDE. NO. 3. POSITION OF THE HAND "WITH THE FINGER RAISED FROM THE KNUCKLES. ILLUSTRATED POSITIONS OF THE HANDS. NO, 4. POSITION OP THE HAND WITH THE THUMB EAISED BEFORE STRIKING. N 0( & POSITION OP THE HAND RAISED TO PLAY PROM THE WRIST. ILLUSTRATED POSITIONS OF THE HANDS. No. 6, POSITION OP THE HAND AND AKM RAISED PROM THE ELBOW. NO. 7. POSITION OP THE PINGER RAISED TO STRDIE FROM THE SECOND JOINT. NO. 8. POSITION OF THE FINGER AFTER THE KEY HAS BEEN STRUCK. ILLUSTRATED POSITIONS OF THE HANDS. 4 No. 9, COMBINED TOUCH FEOM ELBOW AND WEIST, STRIKING FROM THE WRIST. NO. 10, COMBINED TOUCH FROM ELBOW AND WRIST, STRHONG FROM THE ELBOW. I RICHARDSON'S NEW METHOD. BUDIMENTS OF MUSIC. Remarks. The first principles of Piano-forte playing, which inculcate a knowledge of the Keys, and the notes, are the only dry and unpleasant features in learning this instrument ; but when they have been once thoroughly mastered and fixed in the mind, the pupil will daily derive more amusement as the study progresses. It is these first principles, therefore, that the teacher should dwell upon, and insist that the pupil should have perfectly established in the memory. Those who from the first, manifest a desire and love for the acquirement of the first principles, and apply themselves to the subject with a determination to succeed, will obtain a perfect knowledge of the notes, keys, &c, in a very few weeks, and their progress will be rapid ; while others discouraged at the tediousness of the labor, often spend many months in attaining the same object, and finally lose their interest Music is a branch of education, and the pupils who desire to understand this very important study, should apply themselves with the same interest and zeal they would devote to the pursuit of any other branch of education. THE NOTES AND THE STAFF. Notes are the written and printed signs of (ones or sounds. Of these only seven are used, and the first seven letters of the alphabet are applied to them, viz : A, B, C, D, E, F, G. When a musical passage extends upward to eight or more notes, the foregoing letters are repeated in the same order. When the melody or a musical passage descends, the letters are named backwards, thus : G, F, E, D, C, B, A. Five horizontal and parallel lines and four spaces constitute what is called a Staff, and musical notes are placed on these lines and in the spaces. EXAMPLE. _J" *ES£g.- When notes are placed above or below the StafiJ short lines are added which are called leger lines. On and between these lines notes are placed, thus : ILLUSTRATION. _ See the Leger lines above and below the staff. Richardson's New Method for the Piano-forte. Music for the Piano-forte is written upon two Staffs, which are connected by a Brace. The upper staff being for the TREBLE, which is the highest part, and the lower for the BASS, which is the lowest part See Example. TREBLE STAFF. BASS STA FF. 1st. Remark. The right hand oftentimes plays notes written upon the Bass Staff, and the left hand notes written upon the Treble Staff. 2nd. Remark. I will here suggest that it would be well for the pupil to write out either upon a slate or a black board, the Elementary illustrations, such as the staff, notes, and all other musical characters belonging to the rudimental depart- ment, in order to impress them more deeply on the mind. It becomes necessary to have some sign or character by which we can ascertain the names of the notes and their places on the Staff (See Key-board, page 21 ;) this necessity has been supplied by what is called a Clef, which is placed at the beginning of each Staff, there are two Clefs used in music for the Piano-forte, one shaped thus : dt and placed upon the second line of the Staff, is called the Treble Clef, and is used to designate the highest or treble part. jEg EXAMPLE. TREBLE CLEF. i The Bass or F Clef is placed upon the fourth line of the Staff, and is used for the lowest or Bass part EXAMPLE. BASS CLEF. As the pupil is now supposed to have become familiar with the Staff and Clefs, we shall advance another step, by introducing THE BAR AND MEASURE. A Bar is a perpendicular line drawn across the Staff, and divides it into Measures. When two perpendicular lines are drawn across the Staff, they are called a Double Bar, and indicate the end, or close of a musical strain or sentence. EXAMPLE. BAR. MEASURE. DOUBLE BAR. I NOTES. Characters used in music to denote the length of sounds are called notes, of which there are seven different kinds ; viz : A white note without any stem ( ) is called a whole note. A white note with a stem (, ) is called a half note. A black note with a stem (•) is called a quarter note. A black note having one mark at the end of the stem (J) is called an eighth note. One with two marks / 5 \ is called a sixteenth note. One with three marks / J \ is called a thirty-second note, and one with four marks / 5 \ is called a sixty-fourth note. ' " ' 1) Richardson's New Method for the Piano-forte. VALUATION OP NOTES. -ft f * 1 i u p -p v 1 / P P= U P -U P NAMES OP THE NOTES ON THE STAFF. NAMES OF NOTES ON THE LINES. NAMES OF NOTES IN THE SPACES. TREBLE STAFF. % E G B D F NAMES OF NOTES ON THE LINES. FACE' NAMES OF NOTES IN THE SPACES. cy. — Si <=> c=S = W B D F A A C E G ADDED OR LEGER LINES AND SPACE! E G £ T- E F D RESTS. Characters indicating silence in music are called Rests; each and every note has a corresponding' rest EXAMPLE. NOTES. CORRESPOND- ING RESTS. :b * A quarter Best. An eighth Rest. A sixteenth Rest. A thirty-second Rest. A sinty-ltmrth Rest. mmsam Sy~ See remark next page. 1 ■ Richardson's New Method for the Piano-forte. Remake. Notes are indicative of sound. Rests are signs of silence, and of course cannot be played, but indicate that the music must be kept silent until the time of the Rest expires, as for example, should we play a Whole Note in the time of counting four, a corresponding Rest would require to be kept silent the same length of time. THE DOT. EXAMPLE. (•) A musical character called a Dot, placed after either a note or rest, increases the value or length of that note or res!" one half, for example : we play a whole note in the time of counting four, but should a dot be added thus, (© .) we add one half more, which is two, making six thus, d^ 4 5 " 6 ) Sometimes two dots are placed after a note or rest; in such a case, the second dot is valued one half of the first, hence, if we count four to a whole note, and two to one dot, making six, and one to the second dot, which is half the value of the first, the whole number counted to the white note and two dots would be seven. Example. ( l ff 4 5 * 6 ,) DOTTED NOTES, VALUE OP THE DOT. EQUAL IN VALUE TO. ^^m^ §■ ■■■g J/ V- - g e m NOTES WITH TWO DOTS, 1234 56 7 VALUE OP TWO DOTS. EQUAL IN VALUE TO. 1834 56 7 =F=P=P= f f A : £=s= -V B- EXAMPLE OP RESTS WITH ONE DOT. RESTS WITH ONE DOT. 1234 56 VALUE IN EESTS. 1234 56 -* *h 3=$z j^g ^^H RESTS WITH TWO DOTS. 1234 50 7 RESTS WITH TWO DOTS. VALUE IN RESTS. )* 123 4 6 6 7 = ? f~ -? — 7 — %- T=lj=%EESEEE3jEEh=, m 'A •A Kichardson's New Method for the Piano-forte. TIME. There are two kinds of time in music, called Common, and Triple, which are subdivided into what is called Simple and Compound time. The characters used to express Simple Common Time, are C, (fc, 2, and 4- ; these are placed at the com- mencement of the piece immediately after the clef, thus : P gpg n m The following figures § or | or ^g 2 , express Compound Time. Simple Triple Time is expressed by |, § , |, and ?, or 2 express Compound Triple Time. It will be observed that when two figures are used to express time, they are written like fractions, one figure at the top (the numerator) indicates how many notes of the kind indicated by the denominator fill each measure. For example, | shows that two quarter notes fill the measure. It makes no difference whether quarter, eighth, or sixteenth notes are used, the quantity of miscellaneous notes in each measure must be exactly equal to two quarter notes, or two fourths (or one half) of a whole note. EXAMPLES OP VARIOUS KINDS OP TIME. FIRST EXAMPLE. SIMPLE COMMON TIME. 12 3 4 !•■■ 2-. S-.. 4-. !■• 1..2-. 3--4- Remark. It will be observed in the above example, that there is a sufficient number of notes, of their relative value, to equal four quarter notes in each measure. SECOND EXAMPLE. OP SIMPLE COMMON TIME. f-EU-p-gtof gg i f -c ffi ^ EXAMPLE OF COMPOUND COMMON TIME. 12 3 45 6 12 3 45 6 12 F = f I EJLT ^M ^m t m i •? p p EXAMPLE OF SIMPLE TELPLE TIME. I EXAMPLE OF SIMPLE TRIPLE TIME. 2 3 12 3 1.. F^F=^ ^=s P P p c zcipr EXAMPLE OF COMPOUND TRIPLE TIME. 123 456 789 "12 8 4 5 6 789 12 3 4 5 6 7 8 ? 1 r f r r^ ggs ^ n»~w — p—p—P- 10 Richardson's New Method for the Piano-forte. THE SCALE. The seven musical notes, namely : A, B, C, D, E, F, G, written in a series ascending or descending, form what is called the scale. It may be a Diatonic or Chromatic Scale. The natural scale is called Diatonic, and consists of five whole tones, and two semitones, which vary in position according as the scale is Major or Minor. The Chromatic Scale ascends and descends by a series of twelve semitones, alternately Major or Minor. A Minor semitone is between two notes bearing the same name, as for example : C|, C, D>, D, (See explanation of flats and sharps, page 16.) A Major semitone is between two notes of different names, which take different places on the staff, as for example : C, m, or Cfl, D. Remake. The pupil should thoroughly understand the difference between whole tones and semitones, and also fix in his mind in what part of the scale the semitones occur. In the Major Scale the semitones are between the third and fourth, and seventh and eighth notes, and the remainder of the notes are a whole tone distant from each other. The distance from one key to the next, whether black of white, is called a semitone, for example, from C to Cti, or from C to D[>, (See Piano Key-Board.) THE DIATONIC MAJOR SCALE OP C. -ad 4th 1 i 7th 8th , — 8th 7th 1 1 4th 3d- -fl— ad 4t h | -| 7 th 8 th 1 semitone. B C C B The Minor Scale differs from the Major Scale, and in ascending, the sixth and seventh notes are made sharp, or in other words raised a semitone, to accord with the laws of melody, and to make a more agreeable succession of sounds to the ear. It will be seen below, that in descending, the sixth is made natural. It may be here remarked that the Minor Scale is of a melancholy character, and is caused by the displacing of the semitones. As before remarked, in the Major Scale the Semitones occupy the spaces between the third and fourth, and seventh and eighth notes, but in the Minor Scale they occur between the second and third, and seventh and eighth. HARMONIC MINOR SCALE •I EXAMPLE OP A TRUE MINOR SCALE. Semitone. wm^ BE^ffi^ s« A Gtf ^^m if x MINOR SCALE. THE MINOR SCALE COMMONLY USED IN PIANO MUSIC. Ascending. Descending. ABC D E Ftf GH A A Gj{ F|5 E D C B A 1 Gjf A A Gj( F& Remark. In tins method there will be found many instances, particularly in scale exercises, where the Barmonte Minor Scale is used instead of the usual Minor Scale. Richardson's New Method for the Piano-forte. 11 KEYS AND THEIR MODES. The Key Note or Tonic is the first note of any Scale. Every musical composition is written in a particular key, which is ascertained by the so called Signature, which will be hereafter exemplified. The Natural Scale is in the key of C, and has neither Flats nor Sharps. The Major and Minor Scales have already been illustrated and explained. Every Scale except the Scale of C, which is natural (because it has no flats nor sharps) must introduce flats or sharps to bring the Semitones into their proper places ; we therefore give every scale and piece of music, a Signature which is always formed at the beginning, or, in other words, it precedes the scale or piece. This Signature decides which notes throughout the piece are sharped or flatted. For Example : it will be seen below that the Key of G has one Sharp, which is placed upon the fifth fine, and is called F Sharp ; this indicates that every F, throughout the piece, is to be made sharp, unless the sharp is cancelled by the introduction of a Natural, thus, ( h ). THE SIGNATURES OP THE TWELVE MAJOR KEYS. fefefefe&^a THE SIGNATURES OP THE TWELVE MINOR KEYS. ^^aBa^iS^ P^^^ ^^ i Remark. There are oftentimes additional sharps and flats introduced in musical compositions, besides those indica- ted by the signature ; in such cases, they are called accidentals. The natural, ( jl ), is used to cancel a flat or a sharp. The Double Sharp, ( x ), is introduced to sharp again a note which has already been made sharp. The Double Flat, (Pp) is used to depress still lower a note which has already been flatted, or in other words, a double sharp indicates that a whole tone higher should be played, and a double flat indicates that a whole tone lower should be played. TRIPLETS. When the figure 3 is placed over or under a group of three notes, such groups are called Triplets, and are to be played in the time of two. See Example. TRUE TIME OF PLAYING. 12 Richardson's New Method for the Piano-forte. SEXTOLETS. When groups of six notes occur, having the figure 6 over or under them, such groups are called . Sextolets, an<] should be played in the time of four of the same kind of notes. See Example. SEXTOLETS. EQUIVALENT. , i - fi * ?_p— pcqc i=±t= a p i » _?=?: :i=P— #=7n =^[ =P — P — * — «^ :p=p=s=p: =P — f — *^=1>- We have also other groups of nine notes, called Nonolets, and groups of twelve notes are called Duodecelets EXAMPLE. rfc *-z "~~P> « ,fafi 12 u , ^ .. "=£— h "i —Mi F_f m__ -P — — o~T~W~ n»— r d_ -1 — F H— fli r r i — I- 1 NONOLET. DUO DECELET. == i ^-~ _ — ~ 4~V i •* * i )• 1* P i -/ p • r f r ■ ■ There are also irregular divisions of one note into 5, 7, 9, 10, 11, 13, and even more parts; the numbers should always accompany these groups. EXAMPLES. I S^Er^E m H 1 1- PLAYED IN TIME. jf^g^^^^ aa^^^^ SIGNS OP EXPRESSION. THE SLUR AND TIE. "When several notes are to be played very legato, and held out their full value of time, and closely connected to each other, they are, or should be, marked by a Slur, or curved line. EXAMPLE. p ^N^^N^to^^^N^E frifHH -* — *: m '§Sm Richardson's New Method for the Piano-forte. 13 THE TIE. The Tie, or Bind, is a curved line drawn from one note to the next, and indicates that the second note should not be struck, therefore the sound is prolonged the length of the two notes together. EXAMPLES. m ^^ ^^ The tie has sometimes the same effect as the dot ; for instance, and like gf " "> &c. sounds as if written tius, STACCATO MARKS. When points, or dots, are placed over or under notes, they indicate that such notes should be played staccato, that is, short and detached. EXAMPLE. ±=Z=£ i ■/ 1 — i — i \ ■/ PLAYED THUS. fr^-fr Hg \ Jl g=^^E^^^g^^^M : f : ^#g^ ? = ^ = ^ t SYNCOPATION. The word syncopation, is used in music to express certain peculiarly accented passages ; i. e. when the accent is brought upon those parts of the measure which are usually unaccented. EXAMPLE. p^^^ ^^^m^m^m^^ ABBREVIATION. When we wish to avoid the necessity of writing out at full length, notes and passages of the same identical character, the following signs are used to abbreviate them, thus : EXAMPLES. v ^" tten - ^^t pla y ed - ^ ^J Written - ^ ^ played - ^^^ Written. ^tzW Written.]£=g3piayed written. ^ W^^'l Pla y ed - feFfffi=^=^|3r^33 Written - ^f^ ^^^^f 14 Richardson's New Method for the Piano-forte. TREMOLO. When notes are written to be played in a tremulous, rolling style, the word tremolo, is used to indicate the movement, thus: EXAMPLES. T ^- 01 - - =£3 *-* -P-P-P-r--r~+-P"0~+-0"0-r0~ Written i ~ "'' "' '" ' ■ '~ or Ep§=*fo=&^zg=^ or gii^g N. B. The two last examples are the most simple, and therefore are more often used. MISCELLANEOUS SIGNS AND MUSICAL CHARACTERS. The marks or letters of expression in music to indicate loud, are (/) and (ff), the latter meaning very loud. ( mf) (mp) also (tnz) signify neither loud nor soft, but medium, [fp ) signifies that the note over or under which it is placed, must be played loud, and the following ones soft; (pf) signifies the contrary, that is, the first note soft and the following ones loud. * Single notes to be played with emphasis, are marked by (a) or (>) thus A or £ ; the letters sf and rfz signify the same thing. The character — ==d signifies crescendo, i. e. increasing from * soft to loud. The character ]^r== — mi • So,t " I^rad- Soft. . . • ' signifies decrescendo, i. e. decreasing from loud to soft. This character — ==ZZZ^ =- is called a swell ; it indicates that the music commences soft and increases to loud, and diminishes again to soft When a piece is to be repeated from a certain place, a sign thus : §. is made use of D. S. (Dal Segno, or Da Capo,) signifies from the beginning. A Pause or Hold is written thus, 'rt\ and indicates that the note or rest over which it is placed, must be sustained. The Double Bar with two or four dots on its left side, thus, : | or ! | signifies that the passage just played should be repeated. When the dots are on the right side, thus, | : or | j the following part should be repeated. When dots are placed on both sides of the Bar, thus, : |: or i |! both the preceding and following parts are to be repeated. When a chord of several notes is to be played bike a broken chord, that is one note after the other, this character, \ is used, or thus, S for example, t ?~ ^** When a passage is to be played an octave higher, it is marked thus : 8m. or &va §§g= * £3=4 5Stei= fe - «- 1 g m 16 Written. Richardson's New Method for the Piano-forte. LONG APPOGGIATURAS. =5= ^^^jj^dj g=fe^3^ §S ^ ^E ^L W^- =3critc== g: Played. gp^B '95e 3= II 3^ 1 The After-note deducts its duration in time from that of the preceding large note, to which it must always bo closely connected. It consists of one or more notes, and is always to be played softer than the principal note to which it belongs, since it occurs on unaccented parts of the measure. Written. 3 |g H.M pE *4ftFflJI£p^ ^i As the After-note on paper closely resembles the Appoggiatura, the player's own feeling must distinguish it from that In most cases, however, the After-note is written in large notes, to make it more apparent to the understanding, (as it ap- pears in the above after the word " Played.") Among the Embellishments indicated by particular marks expressly invented for them, we may notice the Mordent, the Turn, and the Trill. The Mordent is expressed by the mark -w, and is in reality, only an Appoggiatura of two notes, to be played as rapidly as they can be with distinctness, and without interrupting the connection of the piece ; for instance ;- i\ | "«™nrr » ■■■!«■■■ Written. i J. J i \-i Written. : 3Btt-pd*j=g=L Pk7ei wmM From these examples it appears that the Mordent is treated in the same manner as an Appoggiatura, and comes in together with the notes of accompaniment. The Mordent is sometimes inaccurately marked in engraved music like a Trill, when the movement is so fast as to make it impossible to play a Trill. Richardson's New Method for the Piano-forte. 17 The Turn, (or Gruppetto,) one of the most attractive embellishments in singing, is -written thus, as, and is used before or after the tone to which it belongs. In either case, the main tone is embellished by two assistant tones, situated on the next degree above and below the main tone. The assistant tone above is generally indicated by the signature. The one below is more dependent upon the taste of the performer, who may sometimes choose a Major in the place of a Minor second. CSS AS uas as "Written. § f &¥f& L EXAMPLE Played. ^mM-^mm For the sake of greater certainty, a $, J>, or \ is frequently placed over or under the as. The Turn upon a note, is, as the preceding examples show, an appoggiatura of three notes, to be accented, and always to be played together with the notes of the accompaniment ; for instance : — Written. - AS "? 3 The Turn after a note (between two notes,) however, is an after-note of four tones, and like that, always to be played soft and lightly. It depends upon the movement of the piece as to its greater or less rapidity, always forms a distinct part of the measure, and must never be played hurriedly ; for instance : — Written. AS AS When a Turn follows a dotted note, the final tone of the turn should always fall on the dot, so that the following note may come out distinctly. The taste of the player must decide in which of these three ways to play an example like tho following : — pH n ■• jjggg^s - i^ggi » sjjjiii Note. As * ' and *~m are equivalent, the above example might be written also thus : — The inverted Turn is now generally written out in little notes, thus : — i JL-PV-j: as the mark for it Ec [T T -8- has become obsolete. 18 Richardson's New Method for the Piano-forte. The Trill is the most brilliant, but at the same time, most difficult embellishment, and one above all others, in which every player must acquire perfection. It is generally marked by the abbreviation, tr, and consists of two contiguous tones, viz : the principal note, (which is written,) and the next note above. These two tones are struck in rapid alternation, and with perfect equality as to time, as long as the value of the principal note requires : EXAMPLE. Written. P^l j— f Played. -•— P— »— P— »— *— 0— ft— t ^! a Note. The auxiliary note may be a minor, or a major second, according as the Key in which the piece is written may require. It is not necessary that the trill should begin with the principal note, (as in the example of the preceding section;) it may commence just as well with the auxiliary note, or with a note added from below : for instance : tr Written. Played. P— 0— *— 0-P— 0— P=#=P= ' — * "Written. ^fa Played. The conclusion of the trill is played with the same rapidity as the trill itself, and is always closely connected to the principal note. In playing connected concerted pieces with accompaniment of other instruments, it is well to make it more prominent by playing it slower ; thus making it the sign for coming in accurately with the Tutti, for instance : "*■""■"" Tuttl. i £g=fi \JS Ilitnrd. The player is also permitted to terminate the trill in a freer manner, for instance : tr tr tr The trill has no termination when the next note descends. EXAMPLE. Written. 3== J'& 0^1 Played, j t ^ =ff=£E£=£=f l_p_ ^- ^=F=f g f S H Note. In cases where the trill doe3 not have a termination, composers frequently write only the mark **• over the note Upon which the trill is to be made. Richardson's New Method for the Piano-forte. 19 Trills succeeding one another in skips, are likewise played without a termination, as the time allowed for their execution is too short, for instance : -» — P — m — P — #- - r j - , _ , Written. ipfa Played. T=5 ?> tr tg tr Written. ffipp ^^ Ij pi aye d. A _j__J_j_ a j_n ^= Descending chain-trills in a diatonic series, cannot receive terminations, as that would render the beginning of each new trill, less prominent, for instance : tr' Written. : a Btjfejiiggp ^i Smmmmmm?i As to ascending chains of trills, there is no particular rule in this respect. When the trill is followed by the same note tied to it, it receives a termination, if the next following notes go upward ; but none if they go downward. Written. . ^^s tr- EXAMPLE. ^gi Played. ^^=p= g==? =g=P=^==y=^=f^==| tr Written. Played. H? » f- f •--P—K- ^^ When other notes are played along with the trill, the place of the mark indicates the note to which it belongs. EXAMPLE. tr % !Hll=l P Ttr W In cases when the trill accompanies a melody above or below it, to be played by the same hand, it is best to distribute it regularly over the beats of the measure, for instance. I^-S5 : Played.: Written. J|L^!_aZ=zzpzr*ii: *^ 1ST 13 When a tone of the melody is too far from the trill notes, as in the preceding example, that which is marked N. B. the auxiliary note may be left out, in order to facilitate the execution. The principal note, however, must immediately succeed, for instance : 20 Richardson's New Method for the Piano-forte. tr Double trills for one hand, JL— § — : f£ = t are subject to the same rules as single trills. Ta m es of the Letters and Keys In the Bass. EFGABCDEFGABC Names of the Letters and Hers in the Treble. 13 Remark. We have already explained the Scale, and it is understood that the semi-tones in the Major Scales are between the third and fourth, and seventh and eighth notes ; hence in the Natural Scale of C, the semi-tones are between E and F, and B and C, therefore, it being only a half, or semi-tone from one of these letters or tones to the other, we use one to sharp, and the other to flat. For Example : to sharp E you would play F, to sharp B you would play C. To Flat F you would play E, to Flat C you play B. With the use of the Black Keys we make the entire Key-Board into half tones, as seen above. POSITION AT THE PIANO. It is necessary to acquire a graceful and appropriate position when sitting at the Piano-forte. The seat which is used ought to be just high enough, so that the elbows, when hanging down freely, may be a very little lower than the upper surface of the keys ; and if the feet cannot reach the floor, have a stool made of a proper height, to place them upon. Always seat yourself exactly facing the middle of the key-board, and at such a distance from it, that the tips of the elbows may be a little nearer to the keys than the shoulders. Equally important is a graceful position and carriage of the head and upper part of the chest ; it must neither be stiff nor bent. Particular pains should be taken to control the muscles of the face, so as to avoid making a disagreeable ap- pearance. It is not merely that an awkward position is disagreeable and ridiculous, but it also impedes, if not prevents, the development of a free and elegant style of playing. The fore-part of the arm (from the elbow to the fingers) should form a perfectly straight, horizontal line ; the hand must neither rise upward nor be bent so as to slope downwards. The fingers are to be so bent, that the tips of them, together with that of the thumb, when extended may nearly form one right-line ; and so that the keys may always be struck with the soft and fleshy tips of the fingers, and that neither the nails nor the flat surface of the fingers shall touch the keys. In striking the black keys, the fingers must be stretched out a little more ; but even in this case they must always remain sufficiently bent The percussion on the keys should be effected 22 Kichardson's New Method for the Piano-forte. solely by the fingers, which, with a light quick blow, must press each key firmly down ; and in doing this, neither the hand nor the arm must be allowed to make any unnecessary movements. The thumb should always strike the key with its external narrow surface, and in so doing it must be but very little bent The white keys are to be struck on the middle of their anterior broad surfaces, and the black keys pretty close to their nearest extremities or ends. Great care must be taken not to strike any key sideways or obliquely ; as otherwise, a contig- uous and wrong key may chance to be touched, and, in music, nothing is worse than playing wrong notes. While one finger strikes, the other fingers must be kept near to the keys, but always bent, and raised somewhat in the air ; for we must not touch any key before the moment in which it is to be struck. The most important of the fingers, is the thumb : it must never be allowed to hang down below the key-hoard ; but, on the contrary, it should always be held over the keys, in such a way that its tip may be elevated a httle higher than the upper surface of the black keys ; and it must strike from this position. To observe all these rules exactly, it is requisite that the elbows should never be too distant from the body ; and that the arms, from the shoulder downwards, should hang freely, without being pressed against the body. Remarks to the Pupil. The knowledge of the notes is a mere affair of memory ; and for every note, you must endeavoi to find and strike the proper key, on the instant, and without the least hesitation. In music this constitutes what is called reading the notes ; and when you have acquired this readiness, you will have overcome the most difficult thing wLch the elementary portion of music will be likely to present At first you will naturally learn only the notes in the the treble clef; and for this purpose you may employ the follow- ing means. First. When you look at a note, name it aloud, and then strike the key which belongs to it. Secondly. When you strike at hazard any white key on the treble side of the key-board, you should name it aloud, and look directly for the note belonging to it. Thirdly. After having struck any white key at hazard, you should describe aloud, in words, on what line, or in what space, the note belonging to it is written. Fourthly. You must often play slowly through, the easiest pieces, note by note, and with great attention, naming each note as you proceed. When you have learned to know all the notes perfectly in the treble clef, and are able to play slowly, but correctly, with both hands, all the following pieces which are written for both hands in the treble clef, then take those with the bass notes, and proceed with them in the same manner. You must practise each piece, paying the strictest attention to the fingering indicated, until you are able to execute it without stopping, or stumbling. Each day you should read through a couple of fresh httle pieces, to accustom the eye and the fingers to the various, and ever new passages, which are formed by means of the notes. At first : after each note you may also look at the key which is to be struck ; but afterwards, when you have attained a tolerable degree of certainty in finding the keys, it is better to fix the eye on the notes, rather than on the keys. FINGERING. In general, that mode of fingering must be chosen by which we may most easily, and naturally be able to maintain a tranquil and graceful position of the hands, a firm and perpendicular percussion, as well as a correct holding down of the keys> and a beautiful, and connected performance of the melody, and of the scales and runs. There are two methods of desig- nating the thumb and fingers, namely : The English or American, and Foreign. The American characters are made thus, X 1 a 3 ■*, the cross is intended to designate the thumb, and the 1234, the fingers. The Foreign characters are 13346, No. 1 designating the thumb, and 2345, the fingers. In this edition the American fingering is adopted. Another copy with the Foreign finger marks, can be obtained if desirable. HOURS OP PRACTICE. It is highly important to practise regularly, every day, a length of time that will not be fatiguing, either to the mind or fingers. The time of practice should be divided, that is, a certain length of time should be occupied in the morning, and then again as much in the afternoon. From two to four hours a day of regular practice : health, convenience, etc. to be consulted. Richardson's New Method for the Piano-forte. 23 FIEST LESSON. EXERCISE No. 1. Exercise in Whole notes, for the right hand alone. Names of notes. CDEFGFEDC Name the notes aloud as they are played. m FINGERING. X EXERCISE No. 2. Exercise in Half notes, count four to each measure. CDEFGFED C CE in D F E C D F EG 5 £ i ±&. «-=)■ i m X a i a a x is 3 4 x~3 a l S? EXERCISE No. 3. Exercise in Quarter notes, count four to each measure, strike each note firmly ; name these notes to the teacher. t £=k s IS EXERCISE No. 4. Exercise in Whole notes for the left hand. Name the notes aloud as they are played. N. B. It will be seen that the Bass notes of the same name are written a third lower on the Staff CDEFGFEDC GFEDCDEF EXERCISE No. 5. Count four in each measure. CDEFGFEDC §5e &m, i^ =tae Name these notes to the teacher. =3 4= *s: I EXERCISE No. 6. Exercise in Quarter notes for the left hand. Name these notes to the teacher. gpggg^ m t=t± Si^f^HS EXERCISES FOR BOTH HANDS IN UNISON, (THAT IS, THE SAME NOTES TO BE PLAYED WITH BOTH HANDS, BUT AN OCTAVE APART, IN THE TREBLE CLEF.} (See next page.) Remark. The fingers must be raised high and brought down on the notes with a firm touch. Let the finger be removed from one key the moment the next takes its place upon the following, and in all cases the time should be distinctly counted aloud. The pupil must be accustomed to count while playing from the very first, as by so doing much time will be saved hereafter. Let the lesson be learned well, as the pupil proceeds, otherwise much time will be lost, and discouragement, and loss of interest will follow. Practice slow, and learn well, and make the lessons a source of amusement, rather than a matter of labor. 24 Richardson's New Method for the Piano-forte. § EXERCISE No. 7. iiBi i n^ EXERCISE No. 8. X a . & 2 A a o X 1 — © — 3 1 ° 1 — o — 3 | IS 1 X ®— H B If te= h — 4= — tt J Remember to count four to each measure. -fl , , 1 r 1 1 1 1 r , 1 . n- /M^ ^r ft Pr)^ 1 — ep — — e — 1 1 — @ — i — @ — — o — 1 B u c=> <_J I S= — ^~^ n- => , ,. EXERCISE FOR BOTH HANDS IN HALF NOTES. Remark. Raise the fingers high, and strike strong, to get strength. EXERCISE No. 9. 1 o_ fe e ^m gz==£ Count four to each measure. £i=i mmm f^? EXERCISE FOR BOTH HANDS IN QUARTER NOTES. Remark. Let the strength come from the hand alone, do not contract the muscles of the arm ; let the fingers fall with ease. EXERCISE No. 10. X1X121212323434823232121X IX 1 X X1X121212323 4 343232321 2 ^^m H Tati 2^ 3 -*" 2 1 2 1 X 1 X 1 2 1 2 1 2-^ 2 *^S- J "f- J A VARIETY OF EXERCISES IN DIFFERENT KINDS OF NOTES. (See next page.) Remark. Be very careful and play the notes clearly and distinctly, and in good time. Separate the fingers well, and be sure that two fingers of the same hand are not down at the same time. Avoid all stiffness, and make as little exertion as possible, in order to make an easy and graceful appearance at the Piano. Richardson's New Method for the Piano-forte. 25 P EXERCISE No. 11. x ^^ £ i m m EE3 I a 3 x x 2 EXERCISE No. 12. X X 2 1 4 4 2 XXX 1 4 4 X N^ r"^ — t- -P 1* P i ^=M i -1 — -ft #^E= q) ' t##=± ^H^ =5t ■jfa-? ^=^ 1— — « — •— — Ay 442 442 3XX24442442 3XX EXERCISE No. 13. 321321 X 21X2 21X24324321321X21X24 3 2 A 3 a 1 £ x fe^^^ iff1^^^ g ^^^=F^H^M f 2342X12X123123 4 2342X 1 3 XI 2 3 X EXERCISE No. 14. < A 2 X ^ ill 2 X3^4_X2^4X132 ^^^^ 42 X34X24. n ^^ I g=^q ^^^p^^^i^p -Tlj j ■ 4X24X2331X2 4 2X42X43213 4 EXERCISE No. 15. g 3IX . fr • ?. * x . * ft * ^._j 13 X & - 3 * x $ 3 2 ' 3 - 4 3 2 1 X 4321X 141 42312X 4.321 X 4.321 X 12321 4 X x • X 3 1 • 3-«S-~X 1 2 ■ -^tx 1 a T 1 -O- T 1 * 1 3 • X a x * 3 a~T" xl2 3 -4 3 7 a " ' x a '"T - A x * a "~T - -" * " a T a~'"a 4 26 Richardson's New Method for the Piano-forte. EXERCISE No. 16. feM fe^E V^ 1 Count 12 3 4 , •Introduction of the Dot See explanation, in the Rudiments. Remarks. By this time it is supposed that the pupil has thoroughly learned the preceding Lessons. We shall now proceed another step, and introduce a few melodies, with a Bass written in the F, or Bass Clef. Much attention must be given to time and correct fingering. The greatest care should be exercised, particularly in the first stages of progress, in order to lay a perfect foundation. $ Mo'lrrnto. 2 "£- S^^if 1 m mm^£ PS a =e £ Give the dotted notes, their valuation of time. Count the time aloud. i §g^^^g^^=pgjggg^N^ £^g «-fP-= -t "-7-*^ 1X42 X 3 1 X 3 X 42 X 3 1 X3 B I) 0. £ m m "3SZ $±E «"~~ »- E^g^^^i^f^ =^ ^^^f^g X i3 .1 X 3 x a l x 4' X 4 Richardson's New Method for the Piano-forte. 27 P P R^ 44 E=£S 1-4. -# — * — # J Give each note its full time, and do not hurry. Count three in each measure, x x x x ^ r E £ E ffl^g=S=Sf=r^rr^gff E E E r' 4=1= m I in ^ it H^-^^- r ^^f^p I 4 1 X ,.^5 1 X / FIVE FINGER EXERCISES. Remarks to the Pupil. A thorough knowledge of the notes and their places, &c, avails us but' very little, if at the same time the fingers do not begin to develop that degree of flexibility which is requisite for striking the keys, and for playing in general. The daily practice of Five Finger Exercises with untiring diligence, and the greatest attention is therefore most earnestly recommended. You will thus speedily acquire flexibility, independence, and volubility, which are so indispensable to a good performer on the Piano-forte. You not only gain rapid execution and equality of touch, through the practice of Five Finger Exercises, but you gain great strength in the fingers, which is very essential. It is impossible to play the Piano-forte well, with weak, stiff, untractable fingers. Flexibility of fingers is one of the chief requisites in playing the Piano-forte. Rules. Practise with each hand separately at first, and very slowly. Raise the fingers high, and strike with a firm blow. Avoid having two fingers of the same hand, down at the same time. Play even and in strict time. Be careful to strike the notes with equal force. Avoid all stiffness, and play each exercise at least, twenty-five times, before proceeding to the next EXERCISE No. 17. ^ ^^^^^^^ m^^m 2ie=^ ^=?= * a i a fEJE?EJ3ElE^mE^ ^^^B^^$ ^^ ^^^^^g^^ ^ ^ ^f^^ ^g^t 28 Richardson's New Method for the Piano-forte. 9 i= ffi ;= r E i E i^ pr^^^ ^^rff ^mi^m^^i^^^ ^m^m ^f^^ff^mrrrrff^^f^n^wtT^ ^^^^^ F^ggfgr^S^^Egg o — »-i — #-- 1=U-U= gfe^^E^ ^ffii^ig gfe^ ^ ^ fflH^^ fe5^jqm ^^^7r7n^ ^^^^^^ p=_ p tnai gi^^^iss^^ p — » — « — • *=rfrFm^ m^*&^^ &tt*ffi& &$- Richardson's New Method for the Piano-forte. 29 The following little piece is in | time, therefore you will he careful to count three in each measure. Play as legato as possible, at the same time separate the finger's well, and be sure that one rises the moment the next falls. Play slowly, in order tcvstrike the right notes ; when there is a rest, let the hand be entirely removed from the instrument £ 2X2 3X2 2X2 m 2X2 BEE ^ i a i x a x „ a a i a J A 2 A J. i a a a a T f— m— Of_l 12 1 X X 2 X ^^±5ft 1 More variety attention. iety of notes, marks of expression, &c, will be found in the following piece ; therefore it will n C^ _ . | If there should be any unfamiliar marks, or characters, look them out in the fore part of the book. < f~ ;|T 4 1 X 1 2 3 4 30 Richardson's New Method for the Piano-forte. ■0 v ! p^^ mt^fr^ ■ ; & 8 1 3 HS^E^H§ -> P- 4X1 4 X 3 X 4 4X1X 4 ^^ r>ff^=gf^^ ■*• ' x , , .' ; ■ ■■ , ■ : A < ii_i_ 4 v ^ f^^ ^^ ^^ ^pE^ ^^ 4 A » si 4 1 X 1 2 3 4 X 2 X ■ 4 X 4 3 4X1X 4X2X4 S ^d=: i=^==P SI FIVE FINGER EXERCISES. In the preceding Five Finger Exercises, we employed but two fingers in each Exercise, in the following, we employ three. Each Exercise should be studied a sufficient length of time to commit it to memory. Remark. It must never be supposed that Five Finger Exercises are learned not to be played any more ; they must always be played. It should be the first morning exercise of advanced players to play five finger exercises. EXEKCISE No. 18. -#-P-#-»-»-P-»- ^^ma^HB^^^ ^ g s Pi m^f^^^^ ^^rtm^ ^^^^^^ ^^^^^^^^^^^^^g^^^^i & i^Ss^s m^^^m k Richardson's New Method for the Piano-forte. 31 ^^^^^^ ^ ^rrjfTTfW ^^^^^^t ^^^^^^^^^^^^^^^^^^^^^^ | •jC w&mm *^± pm^¥ ^^ ^ ^rfg fe g ^^ ^ ^^^ p^^^^t ^gg^ ^^f ^^jg^^^^B^f^ T3=c I fe^#^^S^^^I^^gg^ gtg5B JB ^f^r ^ i'rl^rT^v^ Sis^ %^m^^M £m^ m?^ ^^^ 9^g ^rg ^^^g : t^p g S'^gj ^-j^ f^^ -»U»J — — — i— L^d — Ldy — ■ — Ud. — JJJ — ' i i — 'ill ' ' '-In — — — *— 1 II-' -rt ij — 32 Richardson's New Method for the Piano-forte. FIRST STUDY. The following is a simple study intended more particularly for exercising the left hand. It has but little variation, but requires a steady movement, in strict legato style, in the left hand, while the movement of the right hand varies somewhat Particular attention should be paid to the few staccato points in the treble part. Do not fail to count the time, and per- severe and learn the entire piece well Play very slowly until the hands are thoroughly trained to the piece, and the fingers strike the right notes. H X ALLEGRO VIVACE. 2 £ *3 X I X 4X2 X 4 X 2 X • ' ' '■- I | —: r=£± P p -q* P F I 1 **? ■ ?* * ffi£ffiE SK5 -JH — l * I ^ 1 f» p a r Tf4-rf-ff -rl*V s iS=BB=E i* * — « =e R; — ?-yj*=jE^:a:=pii -F P -p-P-+- P , f T7? " -jH" — P a P"Jh — P --p—- p-^p— *-*— gggf ^ ±E 1 X 3 X 3= --?=*- I \. I (ijgg ^ g f^ ^^l Richardson's New Method for the Piano-forte. 33 It will be observed in the following piece, that the Clefs change several times. You will find yourself playing part of the time in Treble Clefs, and part of the time in both Bass and Treble. This is to accustom you to changes early, that at a later period you may give your attention to difficulties without any great annoyance. (It is my object to lead you step by step and so progressively that you will soon be astonished at your own performance. The pupil must faithfully and thoroughly learn every page.) ALLEGRETTO. m *=£ 3t rfftiGtrTjft ^ m *-^t? * — ^ ^F+ X 1 2 S X I 3 13 1 §^m&%^^ 2 X 1 3 4 1 X 2 1 X 3 p^ m ^^^mm?mmm^ x > _Tx x > 4 -#--| FIVE FINGER EXERCISES. In the following Exercises four fingers are employed in each exercise at the same time. It is necessary to play with exact evenness, and practise with great patience. EXERCISE No. 19. .n ,^ m 4 3 2 1 2 3 4 3 2 12 3 =P=*= ±=t a m4iM^ Jia=a ^MlP^^^S 34 Richardson's New Method for the Piano-forte. * K • &3 is^^^^^ ^^ffi^^S^^^^^^^^Si ^^^i^^MMi z.j=i^-jjp p H ^.p^ H _^|_pF ^_4ZF^- t -|--t- I r | T Xf=^P- t q=t-f- pt*j- < -q=i--»-M--f=qf ^^^a ^^^^^ ^fyfyf^^ ^^p^^^^^ &S^^SIlsri!li«^iii f+l-jdt^M m^^^^^&^^^^m ..) Richardson's New Method for the Piano-forte. 35 miiiti ami; In playing any Exercise or piece, care should be taken to strike the keys in the middle, to give a clear effect to the music. ALLEGRETTO. 4 4_ 3 ^^^^ r^^^. 4 3 4 3 Count three in each measure. 4 3 4 3 m m * j ^s h — I ? T — IX «■ -»- A jj:^ _ 3=fr _ 4* 4*mf- r + m I *s V ■f" Give each note its full value of time, and do not hurry. Play sloiv and sure, and your progress will be more rapid. ALLEGRETTO. 3 -x T-r' *J 1 X Pin. f n m X X 7 X W X -#- 3 -F- 3 -»- - 2 X -»- a 1 2 fe£ :» *• m&mm T*P=*=F PI ^ ^PP^ X tt? *T-J* &£=£ 1 • *- S^# All Exercises in double notes or chords, should be practised with great care. The chief difficulty found by beginners, fe in striking the several notes together, one finger is liable to fall before another ; let all the fingers drop at once. MOLTO ALLEGRO. :flb=fcdb m X ? fEE SE =E£ m 3 1 X 3. 1 X 4 X X 1 & r , je=p= t« V 36 Richardson's New Method for the Piano-forte. „ XXX S^- # T X i ^j FfF=^ fee I m mm t=ttfc=hd£^3^&==t=$= 49 0— -40 4=-t B i^ * o m 3 4 * 4 1? 4* *- F F- 9 X -• 0- -»- -•- 2 ^ 2 2 4 ^r = rrtf=^rffi£zEH r r rr ^ii^ F=F¥N=*-- i > i i «= ii . ■ — ». FF«=t fe^ =F — ¥ — £ I S3 4 2 X 3 1 -•- •- 2 X X 4 ^^ -# P^^ £=£=P^ S — t — y- 1 FIVE FINGER EXERCISES. The importance of Five Finger Exercises, is so great, that it becomes necessary to introduce them in every possible shape; the pupil cannot give too much time to the practise of them, as they give equal strength to the fingers, and form an elegant touch, which is so requisite to a fine performance. .--- _- — -^.XEKCTSF N C; %)'.' "' ggag^E^gp^ i Richardson's New Method for the Piano-forte. 37 iwffif jif i# WTTW *-» p m * irf •H^ ^^ £ + *+»rF i «==t TiF =P=T* i — —i — i — I — i — H- 8 -! — i — i — i — \ ! .' r - baHHad •■•bbpocbm " -—■-■■ — i k=avun — ■ — " i wipii EzaEmi^Bi ^asni nwii irm M — — ! ; umaaun **' ^^ p i^^ pp^ jfe^ gggL^ irrffrp t 9 ^n7T[a"t T g5^gf^^ ^^^- l ^F^^rLgr = ^t ^^g^^^^^^^^g^^^f ^^^ ^^ ^^^^^ ^^^Bgi In the following piece we introduce an accidental ; that is, F is sharped, thus ($,) in one or two instances ; and in one instance it is again made natural, by a character made thus, (fa.) When an accidental is introduced in a measure, it holds good for the notes before which it is placed throughout the measure, unless it i- crncelled by a natural. FFF 4 3 X 335 X 2 4 3 X pjj gfjfe ^ ^TOP ili^i^ : X 4 1 X £d zm ?- -j-ypf ±t I Alleero Modernto. :tJi= l m XI l_l 3 X_ m!£5- % 1X13 1 ^^a ^^gj g =j F"F=Ua 3X . ^F-W I I M 3 X 1 X 3 , 38 Richardson's New Method for the Piano-forte, I 1 2-f- -i — -y- f ft~i g — * — * — » — F- -*»- 3 3 £^r j / r y Se£ aa s g v - KLKYKHTH IJIViSKHKNT. In the following piecethe Dot is introduced. The half notes in the Bass should be held down through the measure, because there is a dot placed after them, which adds to the note one half of its value. Several mai-ks of expression are also introduced, which must be looked out, if they are not thoroughly understood. This piece is in the key of G, and the Signature is one sharp, (Fit,) consequently all the F's must be sharped. f»-t, IX X 4^1 3 » X ON PLAYING CORRECTLY. Remarks. In Piano-forte playing the two following points are most essential, and must not be overlooked. First Strict- ness in taking the right notes. For every false note is also a dissonant note, which sounds very disagreeably, and strikes unpleasantly on the ear. Secondly. Correctness in keeping time. For without time, music is unintelligible, and becomes mere jargon. To correctness in playing belong attention, tranquillity, a good position of the hands, correct fingering, and the requisite habit of striking every key in the middle of its breadth, so as not to touch any contiguous key. To keeping time belong also the following points. At the first deciphering of a new musical piece, the beginner cannot of course easily play in time, since great attention must be bestowed to striking the notes correctly, and on the fingering ; and each wrongly played note must be corrected immediately. As soon, however, as this is amended, the piece should be played through at first slowly indeed, and then the practice continued until-it can be gone through with as quickly as the composer has indicated, and in strict time. *" Richardson's New Method for the Piano-forte. 39 When there are rests after the notes, as in the third measure, the hand must leave the Piano entirely ; let it rise from the wrist in an easy manner. (See Plates, Position No. 5.) Avoid all stiffness in such passages. ALLEGRO MODERATO. I . 12 3 g^^^B^-H ==¥= ^ 1 f?iS= - ^fffTfffrHffl> ,V> &^fefe£^fe a jry==H^£*fe^7+J-^-+fc^ ^^ ^ .*.■.#* Ptgpga ;*=i=p= 3 g ^ g g^ fe -P — r> £ B =HW Sgg^FSSili FIVE FINGER EXERCISES. Another variety of Exercises which will be found exceedingly useful. They should be practised veiy slowly, with a firm touch, lifting the fingers immediately after they have struck the key. All Five Finger Exercises, should be played with the fingers alone ; let them rise from the knuckles. (See Plate No. 3.) AH motion of the arm must be avoided. The arms should hang loose and easy from the shoulders. EXERCISE No. 21. SSSSg£E£E P^^# #E^F^i ^g5^ ^t^££l^£ii 40 Richardson's New Method for the Piano-forte. ^t^ Siigl^SP^Sr ^=fe B ^ cfgreg pN ^^S^PHI S 3£^=*: -mioj- E^^^ ^^-f-r-r-p SECOND STUDY. A Theme with variations in a variety of movements is given below, which should be practised with care, and learned well Different kinds of notes and rests are introduced, also Syncopation in the right hand. THEME. 2 4 2 X 1 X, 3 2 13 1 x , , 4 2X3 4 2X3 3 2 3 1 2 V * | 1 p 1 11 1 o <=> o 11 Or, — = c=> <=> -=j 1 1 h c=_H 1 11 VARIATION FIRST. 232124 XI. kr& ^ipg^^^pifcgSfSl 321321X2 1 S*? g^B §1G: ^z VARIATION SECOND. X l 4 1 . =6^== TO P* g 3=a: t=t « fefeSB^ The Half, Quarter, and Eighth Rests will be found in this variation. 3te ^1 VARIATION THIRD. x i 4 r 2, i&fc 4324 X, 313 ^^ pgjjg^-I^ ^ilE^^fegPgp^^^ 24-2 13 1 181 X2X 1 \\ 4 3 1-m- 2 1X1X4 2 Richardson's New Method for the Piano-forte. 41 FIVE FINGER EXERCISES. Below are given two different kind of Five Finger Exercises. The first are all sixteenth notes- to be played in time ; count four in each measure. After these, another kind of Exercise is introduced, which will be found excellent to give independence to the fingers ; four fingers are held down while one is striking. Lift the fingers high, and gain all possible strength in such exercises. EXERCISE No. 22. ^^^ ^^^^^^^^^^^ TWiX -0 P + « -»■ S^^E?S^Ef3E^&£^5S^& > • '< d d ddd d ^z^z^-Za r r~ d~*~- 9 zwiz - r^~T~»- I Ji ^TrTTl f m w * i - =p^»= i J_(i_*.#_JLjCi H — I — I — F-ki P^ F ssj ^ „ .i- jm em- 1 ■ rm — (=i-T ^-j^-^ j^^-j-^ ItQ^V ^ d =!*: ^£ 4 4 4 _ fi_ j L J L J ; 3 J ! | | j j h- U_l 1 — . — ', 3 , « ■ ■ p e 2 4 3 X F ^Bl AUDANTINO. r 2 4 X S 1 3 3 X, 2 4X3 24 X, 2432 X, 24 1 + £ P •-?- » ? I - #- g i ~T* F ' » g f j JJ I I I [4_g 4 ^g- 4 ¥1= 4 **- | I | I I I * $ .4 *g- * gtTJg -6 1 1 1 — :h h d =h 1 — < — h 1 — I — h ' h — =-P — -ar — a - *! — S — ff - g 4 ~*l — ■ — «"- -a — • — a — m- a 3 — 5 — *r «-rt* — i — * — a — * — * — *r - — € — a — *z ~ai8 — ' - „ a -f- 4 ,21 X34 2 -F-,,3 2 ilI X 4 #-^" 4 21X2 4 m ~F~ 2 4 gi 4X32 24 X 2 4 3 2 X 2 4 X 3 1 m rz*zji H^ -+-* m Q.' r J J - j I r J 4=J I I g - p^ -r^ h^-a-^-pa— J W j I , J J «l I | W~ =£g TgT^rE ^fe^^^E 3 ^ S=^=^=^- : ^F^Ep^: rp=l=^=E - i ^zgrza^zg: ^=jg=^ =^ _^=p=g— ^ t-^=N I 46 Richardson's New Method for the Piano-forte. FIVE FINGER EXERCISES. EXEECISE No. 28. X21X12J 3 2133 2 i5 2 2£l32123 utm ^m^mmm F$ r?m fm&s^&* &*mm^ ^m&^^m mm I^^SiiffiK^S^Sillf^i 3= r r , r , r r ,r r ,k, rrrtrrrnmFrmi f r r r r r ,r , r team m ^m a fiL a a c- g^a P yf ^ w b Pkt ,! 9 - — F lisSll §ss **; =p^ ^ =»=P= gg^^^^^SSl Richardson's New Method for the Piano-forte. 4T FIVE FINGER EXERCISES. In the following Exercises, three fingers are held down, while the others are kept in constant motion. Such Exercises give great flexibility to the fingers. EXERCISE No. 29. m'P m f m f m % m& fl ^SS^£ fefe =gfe#^pt^^E^^tt f^H h~^ S3^SS^tS^S^^ m ^p- ±z ^fe^^ Sg£ fe# g5 ^ F : ^gaf 5©-f P fa— , aaaa aa a _E=LB-m_fL- - - » ££ ,g D . P . P = P=? i ^£?s tfm=i THIRD STUDY. PRELUDE. tj 1 — ^ * a i g i * ' v -^-^-^r^ 4 ^r*-*^-^- ' a g = T z 3-^P- t rr » g.a a I P I..4, -<£- fe Lift the hand lightly, in a springing style at all the rests. I :«=*i* M m z=z 1 4 1 * * 1 3 1 14 1*14 m ?=: S 1X1 1 P-§-4 Sife i -&- 1X1 1 flp-4-p: X P -i j-P^j-P^F iJ j-^AJ=F i ^-P £ 4-^F * ?ijj_ a -P- 4_jl 3 4 3-P- 48 Richardson's New Method for the Piano-forte. i a 1 m i 4- 10. ' - -*4-*-*-*-*-±- _i — o— i — «— i — a 1 — ■ — i — a — i — *— + — - 1 — ■— i — a — i — *— i — n 1 — « i a — i m— i _ ^ « j l a i — #-+- '-&- -\ a — i— 1 -" — i a, — i — m — i a U- FOURTH STUDY. Give the rests and notes their full value of time, and observe all the marks of Expression. Count the time, and play- each note clear and distinct Practise slow at first, and gradually increase the time, until the proper movement is acquired. MODER ATO. X 1 2 3 4 a 3 3 2 3 2 X | ^?tfu f „ l = i — I — l — 0-*- 3 12 32 -I X 3 234323432 4 fe j^g^fejpi^ =i= iL Richardson's New Method for the Piano-forte. 49 § x""l 3 3 4 X 1 2 3 4 »-PT P m - ?^f~ ^" =P ^tt g ttE ^=T~r - Eg Igl P -•-1 3 4 iS>- = i^^B FIVE FINGER EXERCISES. The following Exercises may be played up and down, at least two octaves, and then repeated many times. From five to ten minutes should be given to each Exercise of this character, in order to do them justice. EXERCISE No. 30. 4 3 3 4 S3 xi*x ia .S_i»x la TT^xi ^^^ ^ 0^m ^ ^mm^ ^^^sm 3 43 3 4 3 3 4 3 3 4 3 4 3 4 3 3 4 4 3 4 3 3 4 4 3 4 3 14 3 ~1?" a ~5~l 3 X Y V . 4 3 4 3 14 _ -#- -8— -a- -S— M- 2 -#■ -#- -•- a o 3 4 3 1 4 » 1 H m \ mmmfmmf I -• * » ^^^EiS^ v 50 Richardson's New Method for the Piano-forte. FIFTH STUDY. A modulation into the key of A Major takes place in tke ninth measure, and then it goes into A Minor in the twelfth •measure, and returns to the original key in the seventeenth measure. ALLEGRO. 1 ,,3 4 ,, 2 4 2 1 X .^z J.-*- MN fe££B^§ £ £ fe£ . i t JEg J—* te^i -«-2 1 X 4 2 1 nm p# «- X 4 2 1 X -\ P — ^ : ^ rfT3 1 i j i i ? „ i *-^rii-»i»?TTP-H» 1 TJ 2 3 2 X ^ pi f rr ± £H S £=£ E^ai«— *~ 1— — *^^ Hi§iso HP ^E Richardson's New Method for the Piano-forte. 51 THE GHR^ISTD PEACTICE OF THE SCALES. Important Remarks. From every musical instrument we may produce either a fine or a bad tone, according as we play it. The same violin, for instance, which in the hands of a clever player is so delightful, will, when used by one who does not know how to play, sound most disagreeably. It is the same with the piano-forte. If it is not properly played, or if we merely thump and bang the keys, the best instrument will sound hard and unpleasant So, also, if we employ too little force, or do not know how to use this power in a proper manner, the tone will be poor and dull, and the performance unintelligible, and without soul or expression. The interior mechanism of this instrument is such that the strings will only sound well when, in the first place, we strike each key perpendicularly ; that is, straight downwards, and exactly in the middle, and therefore not sideways nor obliquely. Secondly. When, after the percussion, each key is so firmly pressed down as to cause the full tone of the instrument to be audible. Thirdly. When, before the percussion, we do not raise the finger too high ; as, in that case, with the tone, there will be heard the blow on the key. Fourthly. When the hand and arm, even when striking with considerable force, do not make any jumping, chopping or oscillating movement ; for it will be found that the fingers cannot play pleasantly and tranquilly when the hands and arms are unsteady. Fifthly. When the player observes all these directions, in rapid runs, or even in skips and extensions, as strictly as in slow and quiet passages. All the finger exercises, and particularly the scales, are intended to accustom the fingers to the application of these rules so thoroughly, that the player shall practise all that he studies in future strictly in accordance with the principles we have laid down. The scales are the rnost necessary of all, not only for beginners, but even for pupils who are much advanced; and, indeed, the most expert players do, and constantly must, have recourse to the scales and practice them. The passing of the thumb under the other fingers, and of the three middle fingers over the thumb, is absolutely neces- sary, and it is the only means by which we are enabled to strike a long series of keys quickly one after the other. But this passing of the thumb and fingers, even in the most rapid passages, must be effected in a manner so natural, equal, and unlabored, that the hearer shall not be able to distinguish the smallest interruption or inequality. This, how- ever, is one of the greatest difficulties in piano-forte playing ; and is possible only when neither the arm nor the hand make the slightest movement upwards or sideways ; and when the joints of all the fingers have attained, by gradual and long practice, so great a degree of flexibility and address, that in a rapid run over the key-board, one is almost tempted to think that the player has as many fingers as there are keys. To attain this highly necessary faculty, there is no other way than the most diligent, uninterrupted, daily practice of the scales in all the keys, as you will find them given in this method, and illustrated by the requisite explanations. But the scales have many other uses. There are few musical compositions in which they are not introduced by the author in some shape or other. In every piece, whether written to-day or one hundred years ago, they are the principal means by which every passage and every melody is formed. The diatonic scales, or the chords broken into arpeggios, are universally employed. You will now easily imagine what an advantage a player has who is perfectly acquainted, in all the keys, with these fundamental passages, from which so many others are derived ; and what a command over the entire key-board, and what an easy insight into any musical piece, is thereby gained. Furthermore, no faculty is more necessary and important to the player than a well-developed flexibility, lightness, and volubility of the fingers. This cannot be acquired in any way so quickly as by the practice of the scales. For, if we wer« 52 Richardson's New Method for the Piano-forte. to try to acquire those qualities by merely studying different musical compositions, we should spend whole years to accom- plish our purpose. Many beautiful pieces require to be executed with a very quick movement^ and with great dexterity of fingering. But how tiresome and disagreeable would these same pieces sound, if played slow, stiff, and unequal ! And even those com- positions which are slow on the whole, still contain many occasional runs and embellishments which require great rapidity of playing. All these difficulties are already conquered by whoever is able to play the scales well and with sufficient quickness. The pupil, no doubt, already perceives that correct fingering is a very important part of piano-forte playing, and one which costs every pupil a good deal of labor. .JSow, the scales contain all the principal rules of fingering, and in them- selves are sufficient, in nearly every case, to show the pupil the right fingering. Rules. It is now proper that the pupil should be informed in what way the scales ought to be practised. For, if studied in a wrong manner, they may prove as injurious as they are capable of being serviceable when properly practised. It is well known that the thumb and fingers are by no means equal to each other in natural strength. Thus, for example, the thumb is much stronger than either of the fingers ; the finger next the thumb is much stronger than the little finger ; and the finger next the little finger is, with almost every person, the weakest of all. The pianist, however, must know how to employ these various degrees of power, so that in playing the scales all the fingers may strike their appropriate keys with perfect equality of strength ; for the scales sound well only when they are played, in every respect, with the most exact equality — namely : Equality of strength, equality in point of quickness, and equality in holding the notes down. No one note ought to sound louder than another, even in the smallest degree, with whatever finger it may be struck. Each note must follow the preceding one strictly in the same degree of movement, whether we play the scales slow or quick. No key must be held down for a longer or shorter time than the rest ; that is, each finger must only keep its key pressed down till the following one is struck, and it must then be taken up exactly at the very moment that the next finger comes in contact with its key. This, of course, must also be observed in passing the thumb under the middle fingers, or in passing the latter over the thumb. If we only offend against even one of these three principal rules, the equality and beauty of the run is destroyed, and the utility of the practice lost. Each scale, therefore, must be practised in the following prescribed order : first, with the right hand only, and then with both hands ; at first extremely slow, always consulting the judgment of your teacher, or taking counsel of your own ear, whether the fingers sufficiently observe all the rules. From week to week you must increase the degree of rapidity, till at last all the fingers are in a condition to fly over the keys with lightness, firmness, and distinct and beautiful execution. Every day, when you seat yourself at the piano- forte, let the scales be, for one half-hour, the first thing which you attack ; as by this means the fingers will be got in readiness for everything else. Scale op C Major, in Similar Motion. ,-. ^m r NT. B. Observe strictlvtbfifiTTo-Pi-W I— < I— J !-J ¥0- xm a x N. B. Observe strictly the fingerings x » l * Richardson's New Method for the Piano-forte. 53 Scale op Major, in Simple Sixths.* „ , *_3 _ . Scale op C Major, in Contrary Motion. 3 4 3 -Z- X*-^ 2 X ^S ^P=S PPPP 34a Scale op C Major, commencing from E, the Third. . „ , j^f f#i|jE i a l Scale op C Major, commencing prom G, the Fifth. Scale op C Major, commencing prom C the First, in the Right Hand, and E the Third, in the Left Hand. m±s+m^ 12 1 * For the convenience of pupils desirous of practising the Scales, they will be found together at the end of the book. 54 Richardson's New Method for the Piano-forte. Scale op C Major, commencing from C, the First in the Right Hand, and G, the Fifth in the Left Hand. 8TB-. Scale of C Major, commencing from E, the Third in the Right Hand, and C, the First in the Left Hand. 3 X » 2 - X Ttt gmm 3 4 3 Scale of C Major, commencing from G, the Fifth in the Right Hand, and C, the First in the Left Hand. 13 1 Scale op C Major, commencing from E, the Third in the Right Hand, and G, the Fifth in the Left Hand. z^ jjJ±B kUM±±^ -a — a — F ?" a» " Richardson's New Method for the Piano-forte. 55 PRACTICE OF THE SCALE OF C MAJOR, IN SIMPLE THIRDS. Remarks. It will be observed that the same fingering is used in very different movements of the Scale. We do not leave the rule for fingering the Scale of C. By learning to play the Scales from each note as is here laid down, the pupil becomes so familiar with the Scales and fingering, that he is at all times ready to strike into the right fingering in every running passage at first sight ; therefore, a thorough practice of all the Scales commencing from each note, with the finger that belongs to that note of the Scale, cannot be too strongly recommended, as one of the great difficulties in playing, is correct fingering. |I Scale op C Major, in Simple Thirds. x X H M r i &■<. a i x i '■■■J . i f -m- -J- -f- I i!E a x l a, r \ k. F— d 1 i i p^^ _ " r: i-± m^m ■5— » p r i j . i —*- 4 • a l x i a a Scale of C Major, in Simple Thirds, comhencino on the Second and Fourth or the Scale. ?, *., i, 'eiJ , a a ^^^3""^ ^53— »«■■■ l 9 5 r i f x 3 a a x J a Scale of C Major, in Simple Thirds, commencing on the Third and Fifth op the Scale. 13X13 *~A 3 1X3 Scale op C Major, in Simple Thirds, commencing on the Foitrth and Sixth of the Scale. , -us 14JU, x ^i^i x c . „ i 3, r3235^ I 2 -*- d ^Z Er*— £. a 2 i x j^c — ^g5^-g-; -F-*=^= ~ T3 f-t f. M rf=^y=^S= is^rz u-?3s£^ x 5 ?* 1 "' - * 3 a * a 3 R la -^sca _^& ^ k \ 56 Richardson's New Method for the Piano-forte. Scale op C Major, m Simple Thibds, commencing from the Fifth and Seventh op the Scale. ' ■ I I ». 1 X 8 X— - —^ r r ,-■!— H B "^X 3 XI l -^2&«| C-T*" "S _ fi- 3 ^^ Pi Scale op C Major, in Simple Thirds, commencing from the Sixth and Eighth op the Scale. 2 3 4 3 3 1 M m^SB **.*■* ' GW 1 -9 1 X 3- Scale of C Major, in Simple Thirds, commencing prom the Seventh and Second op the Scale. -3-4-3 SKYKNTKKNTH AWniHT. Remark. The difficulty which the observance of the ft, tj, 1? causes, will soon disappear if the pupil firmly applies the memory to this point, and constantly takes notice of, and quickly apprehends the marks of transposition, which are indicated at the beginning of each piece, as well as those which occur accidentally in the bar. In the following piece will be found several accidentals, with various marks of expression, and triplets, which are introduced for the purpose of exercising the mind as well as the fingers. MODERATO. =?!>- £fe =!lli!li mtm^m=m ^sm -#-p- m £gi=E= 3 -m*M- *» voice* 4—"- m ~P~~ — "" &~ j "~ ~0~ -0— —0— — m -jm ~ r ■ 1-.. i I | j | . . i I I ■ . ' I 1 I i I L ■ ■ ^ ^^=^ Richardson's New Method for the Piano-forte. 57 \ t _^_ _^_ . fl _ _»_ -0- t^m.- -0— m -&- a E=BE £ ^=^3= 4 -» _ » #-— » - =ft=*FP* -9-»- -* #- ii§^§3 s6- £S " l^f^fer '^^k^M=z e^SSEeB£ i ±t=^= , \- »-P- =f=_ =f= =?= •>-»- =F =E -g- -fif-^rm -•-#■ SHH ISi SIXTH STUDY. Particular attention should be given in playing the following piece, to the value of the notes and rests. Remarks. The Sub-division of the notes in music is a thing so certain, and so positively determined that we cannot well commit a fault against it, if we give to each note and rest its exact value, and if in so doing we consult the eye rather than the ear. For the eye always sees aright, when it is supported by the memory ; but the ear by itself may very often be deceived, particularly in beginners. ^^ 33 -a-i— x >- jtZLjZ m df- _„ gfc -%- -f--*- ^ -g - -g- -£_zg=3- ■ \ 1 58 Richardson's New Method for the Piano-forte. CTfrT ■= — i — i — i — i — t- ig^ T T A — i F I — I — F- a i x >- ^ p $3 =U^m J j I j f^ B^E^^S rfr*= ™"^"^^- - =^ — 1 — ; ; ■^rq= r— ■ r-"8^T X — — 1 -S — f- -4-J- 3 4=^ f -T =t= r i -J * X -f— > — T l_| L_^^ ■'F P ' T : 5^ — T — -F- i a l a _4U_ a -*=•= 3 a i a ■= 1 — i — i — — - ^ fclfe i - y y y y 3EE& ■t- — y- 14 i-i ii I^F-f" ^ B F * a F * H*-F # E ^y— y- B*£=*=F -«P F^ ^E jpp jfe^t FIVE FINGER EXERCISES. EXERCISE No. 31. Repeat each measure at least twenty-five times. Richardson's New Method for the Piano-forte. 59 =^3= m i ^ ^^y^U^WM » J ; ^^ ^^s m^^i^ i. ^^5 ^f^^ #T ^^^ ge££a^g ^^^ ^ ^^^^^P^^^^^^P^ ^^S^pl ^^P^^p^^B^^j^4j^g ^^ ^.^^pi F a-* F - ?-» ^-a-»-^-*-*i Pl^-a-P^^^a-g P „ •-, P^, i^^^ ^B^g^^i^ ti^^gpg p=#- Sg^S^£ 2^2 — rZZrr~ in I """"*— . ==— — — I— *-* -WW -g; ™^ — |— i— I — ztzztt-tm- ■* p r P P <— ^-"^ K" i- F H - 1— i-r- i i n CSSP 1 - 1 - i . > ■ x=5?c 60 Richardson's New Method for the Piano-forte. ^^^^^^F^^^gi^^ ^=r- q : -,-»-# — p-@- 9 , — *-.-» — P-H-, p s P = —»-*-M-^» f m IH RR*— g— P— *— p^-*-— P=»= si :*— r B ====i— f—; — i : i — === H i I , ||- I P=^ iSas -9 — P- ON PLAYING OUT OP TIME. Remarks. Some players have a great fault of playing their pieces either too slow, or too fast, or perhaps commence slow, and play quietly for a while, and then becoming excited, go on, and play quicker and quicker, and at last, finish with such rapidity as to destroy all proper effect To avoid this, the pupil must practice even those pieces which have been already played well, as composedly and attentively as when they first began to be studied, and in so doing, the fingers must not be allowed to indulge their own fancies, or to be in the least degree inattentive, for the fingers are disobedient jreatures, if they are not kept well under subjection ; and they are apt to run riot, as soon as they have gained some degree of fluency. The opposite fault of hanging back, or dragging in the time, generally proceeds from having begun too fast, and by that means stumbling against difficulties which cannot be overcome in that quick degree of movement Hence the rule ; never begin a piece quicker than you can with certainly go through it to the very end. Count the time aloud, and give full value to all the notes and rests, and observe the marks of expression. This piece requires an easy and elastic touch, to give it the proper effect INTRODUCTION. BARCAROLLE. ALLKGItHTTO. ■ t y i m mi^- Sg *-•- -Pi LEGATO DOLCE. i^^SEtp^EJ^E^^^i^^i g^pg^^pgp^spjifefei Richardson's New Method for the Piano-forte. m&m^ m $ -P^ s P I — i = • S a — ^^P » - ^->- ELEGANTE. ^S=£ i^ ■— M ■ ^ 1 J fcJfcJ . P j'. ^=jgg| l^§^ =E3 ^1 -a L £=±=£ *-jj y «-^ g — » ~d • — m- X"l X 1 X ^\~*- <7->- ^7-f- .. ^ • ' -V- D i, mi " R"»«fe#- • &- • -*-. ■ ^^^^yi^^-ii^i^^p^ 62 Richardson's New Method for the Piano-forte. EXERCISE IN DOUBLE THIEDS. Great care should be taken when practising exercises in double thirds, to be sure that both fingers of each hand strike the keys at the same time, and with equal force and strength. In order to learn to separate the fingers well, and in the shortest time, they should be raised as high as possible when practising. The practice of on3 -hand at a time is recom- mended, to enable the pupil to see the fingers when they rise and fall Let each of the following Exercises be played twenty-five times before proceeding to the next EXERCISE No. 31. 3 3 4 3 3 3 4 3 4323 4323 m f=* nwr i f^wtTF^ m^^^mm SEVENTH STUDY. Count the time, and remove the hands from the piano at all the rests. ALWGKETTO. g^i Egji i BiJi i fT* I i \ vr ~* I ? =5 jt=Sz @s ' m 3G g 1-g-B: ^^ ^f^^^^ ^^^3E^^ m -T f— ^^^1 ^=g~* £ s , Richardson's New Method for the Piano-forte. 63 EXERCISE IN REPEATING NOTES. When playing Repeating Notes, let the fingers strike the keys and slip away from them in an easy manner. It will not be necessary to raise the hand at all from the wrist (See Example in Plates, No. 7 & 8.) EXEECISE No. 32. -i-X a ixaixaiXn a a i x a - a -^— x- w^»~*t ~r rir— ' I "— 'r*-i— ' | pi Let the chords marked staccato, be played light (See Plates, No. 7.) ^_^fc 2$ee£eee£ ±=ft *=t f^ — i f^ : a 1 x a 1 x ' — - i- tt i JLa | gig ' ^^ *" ' != LU= b^^^N^^= ^=^= faiN^MNif u Richardson's New Method for the Piano-forte. -A 3 g 1 X si -#- -p- -5- P F C=x=tf-7 — g j^gg mimm EXERCISE PREPARATORY TO THE PRACTICE OP ARPEGGIOS. Strike each note with a firm blow, and with equality of touch. EXERCISE No. 33. S " ii-p^i ^P==t=t 13 4 3 1 X I S 4 3 1 g s^Bsg^p g S i 1, a 4 . 2 1, x,. 4 ' 3 ' l V ' 1 J ■ II— & — 9 3 . 9 3 " • 4 3 1X13 4 3 1X13 43 1X13 «-3 3 1*-- a-^P- I ^-F jpp= gfe^E ii^a e£BBEteEB= s* !rt- 12 4 2 1 X I 2 4 2 1 p3=«— =£pB: P-R-4- si *£* l iT-ii mBiJ — £ I £i^=3 W 3 ri x 1 1 3 ! 4 'a-'i x 1 'i 3 3 a 'i 'x 'i-'a 4 3 'i"x S a" i X 1 J a 4 a i x 1 3 $3 p=p: X ' l 2 ' 4 ' 2 ' l X "t i tz ^^fe^^ 421X12 421X12 / i Richardson's New Method for the Piano-forte. 65 i r^4-p- r r : i i n "j i ' fe fHytr fi i i x i i * ' a jijie j » a n - =r*=*= 31 >« 1 < j-« lx2 »J * X" 3 ^ 1 #1-» 1 X 2«fcl X™^^42 1 )^^Ts ] Be careful in pasting the thumbs under and the -#- EIGHTH STUDY. Remember the remarks already made. Practice of Triplets, with reference to raising the hands at the rests. ALLEGRO NONTKOPPO. 2 4 g =^^^ P#£gp==6i ^==jFRjg *-»- -p^i — 2 4 " _ :±at 3H^ ^=3= V p ^a^g • rr » HS «* «F jsfe^l * a ^~ — Q 1 ^ 66 Richardson's New Method for the Piano-forte. SIMPLE OCTAVE PRACTICE. Be sure that the notes are produced with clearness, and let the hand rise from the wrist (See Plates, No. 5.) Scale op C Major in Octaves. i *""" w/ ^au^#isiii^^«fti ^ ^ pq^t £=g iS^^Milili^ — p-F — ^ ■ — i- «- ±- — r- :i 1 Richardson's New Method for the Piano-forte. 67 IN OCTAVES. (•- -*- i ffiHffig gi M i W 1 e — **• a i — — L -^j — ^ j ■ u — a^ 1 ^ j ' u — ■■■' ' —i — ^-^— ' ' i i i— i " i =F^ I ( TWSNTT-SSCKHNB AMISIMIiT. The only difficulty in playing the following piece is in the left hand ; that is to give each note its full duration of time, and at the same time not give them more time than they require. ANDANTTNO. m p^? . mm ^ — 0- :d t- DOt.CE. I ^iffip SSiS .t-J iii LmLbMiii I m 68 Richardson's New Method for the Piano-forte. ~«=£ faEz ff- r~i -if-fe= g :t=:t #- -PL- _^_ JJL !■(•- I-P- I -*- ^MzgE^EE ^=H= _-£. t=t=l= F ~F 1-^- L^ A Tempo. |--F-J-P-J-*- 1—r-t-E 3=2 ^ £ — r — I: £ g# 4=t « FF++i~ ^FK h^-F= -F-t-M- - -!-4=F4H = -t— - fci 3=S; SSI. GRAZIOSO. ^^ fepCf- i MODEKATO. . J^ftFFg ^^ 3t=3t Sfii-5-P-S % ±i tl TIME OF WALTZ. S«E M: ^ £e£h=£eEeEHEE££eeeE i -S-* — a-p-l — -ft #-Jf r> I'^g^gggFp^ . H< ?=F : »=* -#- -§. i£ Richardson's New Method for the Piano-forte. 69 i x£=t H«=i= =5 #E -P— » fc=t ^fr^* < a : ^^T^ I*=fc ^ ^^^ S =5- 31- ziJ - =?_ 4^_ h»_ X £n raien tiesiint. S=± ^^ 1 :*— £ 3^ tt f^gl=B *^ r r * * • be pzcm pi^= ^IfcE -f — f- =t=t= ?=^E FIVE FINGER EXERCISES. The great importance of the practice of Five Finger Exercises, to acquire that beautiful touch, and equality of strength of the fingers, so essential in perfecting the execution of the Pianist, induces me to introduce another short series of Exercises, different from those already given. In the following, one finger is kept constantly down upon the keys, while the others are in motion. EXERCISE No. 34. ■ y * a 4. 3 2 9 2 * 2 3 — ^^— » » » ^ 5 ^ pqq 53^ =3=3 p== d ! EffiS 3 ^B^ I i i i I i i i H"^"^ H^^ I i i i I i , i hw* pm ^^ ^S hTP rH"j ^n m =&^m MMMl—gM^M- SI ^^^^^^1 •=r^£?— ^ 70 Richardson's New Method for the Piano-forte. IBS >*'*•* . y) • d • d - • d - • d : ir * * * r—*d — "*~ -l| * "* * * * ** M ~ 0-j-e- i»^"^ — i™^"^ 1 )-H — — I — I — I- ■th-j-» — V-0-j-*- fts^^H^^^^Pi n sn p^-^«^ f^ni|i^ U^-s^sa^ K R in ». ri H^a^ J31 * H J ^U^l uti* ^ "■ :ffi5±l;5 f^a^S ess raq I ^=±idi=±^:i3iii^= Hffi d—t-d -j£^JKZ7JC Jt_a'-* -j* 'j !. ^ ^ gggjL^llgB |i^i§§i&^^i^^*af : ^ ^ "-^ g g^^j^^ ^HI |5§^^ ^^ ^B5f^ wq=f ^* V"^*; }^^^J|i^f^^Si^^J^^I^ B P te Siill; 1 Richardson's New Method for the Piano-forte. 71 ON THE HABITS OP PLATERS. Many when they wish to strike a note, with peculiar emphasis, have the bad habit of elevating their knuckles so much that the hand seems to form waves, like troubled waters. Others endeavor to manifest their feelings by widely jerking out their elbows ; or they mark the commencement of every bar by making a low bow with their head and chest, as if they were desirous of showing reverence to their own playing. Others suddenly take up their hands as far from the keys, after each short note, as if they had touched a red-hot iron. Many, while playing, put on a fierce and excited countenance ; others, again, assume a perpetual simper. One of the worst faults is carrying the ritardando and accellerando to excess, so that we are often left in doubt for some time whether the piece is written in triple or common time. This produces nearly the same effect as if some one were ad- dressing us in a strange and unintelligible language. To all these faults we may accustom ourselves, in the zeal of practice, without knowing it ; and when, to our mortification, we are made to observe them, it is often entirely too late to leave them off The pupil, however, must -not suppose that he is to sit at the piano as stiff and cold as a wooden image. Some graceful movements are necessary while playing ; it is only the excess that must be avoided. When we have to play in the highest or lowest octave, a gentle inclination of the body is at once necessary and appropriate. When we have to play difficult passages, chords struck loud and short, or skips, the hands are and must be allowed a moderate degree of movement As we must sometimes look at the notes, and sometimes at the hands, a slight movement of the head is, if not necessary, at least very excusable. Still, however, the pupil should accustom himself to look at the notes, rather than at the fingers. The elegant deportment of polished life must always be trans- ferred to the art ; and the .rule applies, generally, " that every movement which conduces really and essentially to our better playing is allowed f here, however, we must avoid all that is unnecessary and superfluous. FOR ACQUIRING A GOOD STYLE OF PERFORMANCE. INTRODUCTION. ALLEGRETTO. SSI ** _ 1 2 li ii J =— • 1 *^ X' " ^ X 1 2 W & Dolce. > I, - n -f —T^ ST. . i I -? — F-i — i — Fh — i >***•* ^iliriifeittfei w ax . J5>--fc. %k=£ I *-S#-f=- m^mm^* Wee ST Elesainente* 4 -§■ % A- vff *- EE .±t m± ^ f~wrw E=£=f M= &F=rrr& 72 Richardson's New Method for the Piano-forte. s^^^iS I rg-n+rg rx- s IS afc*j£ lit*:* tMT «m-' >.jKl ; L*7^y *: K alien t ud Poco. Seniprc rallent. dh- ^S « -*2f= -i- *=f=p= H n e t=t W A Tempo. -spS-4-*- ■? i """ — • fax > — v 1 a Y £ J X J! ^ E&?E=* =»=<*= ^t±6 « .9/ sa i* 1 *?^ -p--i— ^=i^3^ 0E^ p-f-M-^J :p=F=ffF S ita ^£Sg^§ »i — A jTjC g^ fEgEjEgS^i ?-?- tfcfc i =s ■*- ■-?■ T Efcfcfcfcfe* ^^3E?3 TT1 fc=2=i±=: ^^ P^^^^^^^fa^tJ *=*F ^m T Richardson's New Method for the Piano-forte. 73 SCALE OP C MINOR. Scale op C Minor, in Similar Motion TU V,« ,.„.^,nto,l hanb times \^~ 1^^ ^*J ll IX To be repeated twenty times. X L2 J * P ttl S Sfe E^E S c=t *=» : ~nj ' — ■■ J Scale op C Minor, in Simple Sixths. S=g= ■—— 1 1 hi — i »* X g — *— - — -i-SM—z*— tz, X * a * ! 1 1-" * i — 1-"»» rr I r- — iw a WT^T E^ £= i^a Scale op C Minor, in Contrary Motion. «S x U2 hi x#- Scale op C Minor, m Contrary Motion, commencing from E, the Third Observe the same fingering is applied to each exercise, *§isigggj!l Scale of C Minor, commencing from G, the Fifth. ^*7» x#- • - m Q J, 74 Richardson's New Method for the Piano-forte. Scale op C Minor, commencing from C, the First in the Right Hand, and E, the Third in the Left. ti F^^=PT'iP f ^^= Scale of C Minor, commencing from C, the First in the Right Hand, and G, the Fifth m the Left. *™ _— . - .. i us hi ■%- hi 1= 1 4 * 3r— ±9 3 K- g-ffi P 1 S 3 X 1 j I I i 2 X ^2 Scale of C Minor, commencing from E, the Third in the Right Hand, and C, the First in the Left. ■a-Mfrf fefefe--^ *i4»-« * » ;i§^ S3 ^^ 1 1 J il 2 i— * * fl# * ^ , — X 1, 3 h j **- 3 4 3 Scale of G Minor, commencing from G, the Fifth in the Right Hand, and C, the First in the Left. 3 x i -*- >P- -£ W- 3 4 3 Scale of C Minor, commencing from G, the Fifth in the Right Hand, and E, the Third in the Left. - -1 -Ljj -a ^ -i -* 9 X- -X 8 — B i 3 B f-- 13 1 Kichardson's New Method for the Piano-forte. 75 Scale of C Minor, commencing prom E, the Third in the Right Hand, and G, the Fifth in the Left , 8 g jtf-jL j:-f:^ I Scale of C Minor, in Simple Thirds, in Similar Motion. X 3 2 1 X 2 1 X iGE I *-s )4hJ3* Wi4 ■ £=£ I 5=^ 5t m -?=#= C^n=^=£ 4 3 2 1 X 1 2 3 4 I ^ Be: Scale of C Minor, in Simple Thirds, commencing from the Second and Fourth. 3 x V a * 2 !-* 3 -•— T— r — -! LuT h- K^^ : i^.j W-H"3 i^^^x"" '2 1X3 x i i X 9 1- 2X12 $ Scale of C Minor, k Simple Thirds, commencing from the Third and Fifth. 1 X I >-»S!£5»— "I J 2 J ^3S5*"""< 2 1 X EE -g^^-JIj-i-J- 1 2^-3 fWI i s^ 2 1X2 Scale of C Minor, in Simple Thirds, commencing from the Fourth and Sixth. is =Si£ s 76 Richardson's New Method for the Piano-forte. Scale op C Minor, in Simple Thirds, commencing from the Fifth and Seventh. 1 232 i x i i — #Jg — 5-5* — P^j- * —- ' l-, i fH?* — S-Eg J j j — a^^^— -H -3— A "J Scale of C Minor, in Simple Thirds, commencing from the Sixth and Eighth. X ., ^ ft , * ?, 9 ! -#- -fiS- -»- -f- x ' -€t -3 1 X 8- Scale of C Minor, in Simple Thirds, commencing from the Seventh and Second. 2 1X3 Scale of C Minor, in Octaves, plated in Similar Motion. fcfcSfefe Arpeggio on the Chord of C Minor. sm^ gf£^ » — "I J y -I a J r""".'""«i u> i a i x j s ^x r -•- - — E!?*^a—i ££ ^fer^^ ^ Richardson's New Method for the Piano-forte. 77 I TWIiTI«FKFTBl iHOUHIHT. Exercise in Minor, in legato style, which consequently requires smooth execution. ODEltATO.2 ^ !=b£ =*=# ras -•— *- ^mm BEN LEGATO. gSpfc^^^^t '^^m E ^^^ ^g B I SE ^ w -CD ^-— *^ - Si- mf -s r~ -» #- of Dimin. ™— ' ^~~"^ • Cre con ...... 'IS ^te tftzzj i^s=^^^=56 s? i^pspj » I Dlmln. =P =P V 1,. 'I I f Iliinln. L&* Jfc Richardson's New Method for the Piano-forte. 70 TENTH STUDY. Strict attention must be paid to the fingering, and various marks of expression. ALLEGRO. 4 :jjEip::pE £: j: jfrLfry . m x 2 X2 - 3^=1 \ ==r \ — -\ — H— r — • — m 1 w 3 1 . I I i I i — — — — — — — — — w 3 2 • •- f M BEN 4UAKCATO II, BASSO. 1 X 31 4=^j to h KfeE BgEgj ^ P=f w 33 33121*83 s 3 r g | > ^ ^ W ^m. •^ II 1 X 2 z jO}* 1, -J-l 2 m f - X 1 X 4 1 X 2 4 8 XQ. j^ p^g^p t i ^i ^H 4= 7 1X21 t£l . -:- ". .:M: -= rf^m=^f=^ ■v— ; ^ 3 i x a^^bJ-k^^=-f- ea Jb ^S5 -T— y- ■FT= ^ 80 Richardson's New Method for the Piano-forte. FIVE FINGER EXERCISES. In the following Exercises, two fingers are kept down upon the keys, while the others axe in constant motion. EXERCISE No. 35. ^^^ISl^^^^^^Si^i 1X1 1X1 1X121X1 Sd^g^^ Swg=ffl l IP ^^gggSs^^ft a-^-a-a 3 43 a- a 4 a a 3 4 3 §E iS33^3 ^tmp^rtt^-i-j^y^, lili^ipillllplllpi i^^t ^^P= ^^B^^^^I^^^^ JS^jyjSjjgpga Richardson's New Method for the Piano-forte. 81 B^q R=H F==q -a h ; j -j-j — i-h | ^ - i J I ijgg ^p^^^ ^ ^li^^ ciz^ p^^^nri : ^te Wffl g^^E^g^l^^Si 1 — I — i 1 1 1 — A 1 1 1— — i 1 1 .-v. d — I — i— H 1 — a 1 — a 1 1 1 — H 1 — a — J. ■ ■ — I 1 1 — m 1 1 ! — M — d ► g^^^g ==jzrg=zgzz*g^^^rzgE3^^Bzgrrjzjzrgzi^^^- j^zj SCALE OP G MAJOR. Remarks. When practicing the scales the pupil should play them in every possible manner, as, for instance, loud and soft, slow and quick, commencing loud and ending soft, commencing soft and ending loud ; and also in staccato move- ment. It will be observed that all the movements in the following scales are not written out, for want of space, but the importance of practicing all the scales in all the different movements, as written out in the scales of C Major and C Minor, should be impressed on the mind of the pupil. They are played in the following order. RULE OR REGULAR ORDER OF THE MOVEMENTS OF ALL THE SCALES. First. In similar motion, up and down the key-board, from two to four octaves. Second. Contrary motion, both hands commencing from the same note. Third. Commencing with both hands from the third of the scale. Fourth. Commencing with both hands from the fifth of the scale. Fifth. Commencing with the right hand from the first, and left hand from the third of the scale. Sixth. Commencing with the right hand from the first, and the left hand from the fifth of the scale. Seventh. Commencing with the right hand from the third, and the left hand from the first of the scale. Eighth. Commencing with the right hand from the fifth, and the left hand from the first of the scale. Ninth. Commencing with the right hand from the fifth, and the left hand from the third of the scale. Tenth. Commencing with the right hand from the third, and the left hand from the fifth of the scale. The pupil will become perfectly familiar with all the scales by practicing them in the above order. It will be noticed that the fingering does not change throughout all the different movements of the scales. 82 Richardson's New Method for the Piano-forte. § b -*. . — « — ■ — Scale op G Major, m Similar Motion. 2 .'( 4 3 2 1 a=a a a^ig E P 3t± *— # 1 .J^L 'I*; =#=F tst "fcJ" ST a T x 3 ] -»-P ffi r f > r Rt*-^-* 1 -^ *=£ ^b^^pi 1 Scale op G Major, in Simple Sixths. 2 3 4 3 3 _ 1 -\—\ — j— # — * — - — - — m — e — m — ■ — « — j— 4 p pl^ — =^ ^ X2 1X33 ^ I e: Pi 3 X 1 2 ^_ S3 1 ?EE= ±=t -P — lS»- Scale op G Major, in Contrary Motion. 1 S@ *=#= ^=s=p=te 2 C* 1- *^2 1 , X 3 j 1 X Scale of G Major, in Simple Thirds. 3 1 — . — »_ # — c — | — i_j — — <*0—- — a — i — x — i i — . . r— - ■— t — •— — i — r X 3 2 1 X 4 -m- -J- -0- 2X 1 2 ■■■J , \ F -0- * -0- 3 x ■■■j i r 1 2 x"% a^ p— ^ s I 4 — a — a — i -a — a ■*- m wm^ 4* 4 fr^ I il l Richardson's New Method for the Piano-forte. 83 Abpeggio on the Chord op G Majob. 4_ a * ■*- — , -> — -*■ * m^Ba 13X1 1 3 K 8 lBfli Iff A CHORAL WITH A VARIATION. 4 4 ij P 1 m — g era B si g£ :GE ~^S = > § E :I^ -*=*- *s£ *oj — x^h 5i?GE xcs_ g^BE^E EE ii x©- - x R X^^ ^ x^CT A1l p _ :x R so- o 5 = hB B g S I a £ p. yes p ^ ^=p -4- Jt Variation. To be played in a light style, hands up at all the rests. I » ^ £=F SE s b=* IiEGGIERO. w$+ ^ T—^===^f==^ g& — ^ ^^ 1 ~Vw^ 3 ■ 4 3 .4 1 v n^_ ^»_ m m fci es ^p^tf 1 ^ Richardson's New Method for the Piano-forte. n^-j^ 35 ^~ S j — — k ? 7 r I WE* r a -#-+- T- ist -* — - Remarks. The following piece requires great care in giving each note its proper duration of time. Duration of notes is effected by the fingers being held down on the keys ; that of the rests, on the contrary, by the fingers being kept off the keys and free. It is necessary to take care not to confound these two important things, for each note must be held exactly as long as its prescribed value requires, and the key must not be quitted either sooner or later. Simple and easy as this rule appears to be, it is often sinned against by many who style themselves good players. This arises from the fact that most persons are neglectful on tins point when they are first taught ; partly by careless- ness, and partly also because the holding down of keys appears tiresome and inconvenient ; or, on the contrary, some- times because the fingers are too unapt and sluggish to quit the key at the right moment. Those who hold down the keys too long, accustom themselves to a lingering, adhesive, indistinct, and often discordant manner of playing. Those who quit the keys too soon, fall into an unconnected, broken style of playing, which is without melody, and winch degenerates into mere hacking and thumping the keys. So it will be easily seen that both modes will conduct the pupil into wrong paths. The above remarks should be thoroughly comprehended and remembered. Richardson's New Method for the Piano-forte. 85 P #=^ —uU-U S3 4 ^^ E^ ^ i p i FTP 2 IJ, >i x, j, . ij x i i^s -» — p- i 3=?r i^U= « W ' I I 4 3 3 4 , 3 , 2 a _a ! 3 , ! I I i ^=£? — « U =j j — ^ J J ^Tl — I T"i J ><-4 =t -^ i — J = ^=r == ff ^= r ~ tP — ^= r— V — ^= * ^=^=^F^ F=p=^ ,¥ ^_LiJ f I p h~p ~ 1 ? i p rrT p ! ?~^i h ~t^.S^r ^.^ g=F ■ v, - _^_ — ,, a 0»2 X RtfUent. 1 -£-. _ -«- -£- -I -#— -#- -S X ^ 1 „ if 2 3 4 13 2 34 3, 223,3 I J • 1 l*» ' , 4 J-^ _ 3 1 1 -*- « X 3 X 4 -#- ,— > ^^fe •-p= :t = ! itt 1 SCALE OP G MINOR. Scale op G- Minor, m Similar Motion. 2 3 4_ 3 2 1 ^ sEE ^E . -~ a i x i 2*"x i 2 _ „ • „ J I v I Scale op 0- Minor, in Simple Sixths. 2 3 4_ 3 2 1 ., hw *— p- Ute^i^ 3 X 12^ T=J= s X 2 1 X 3 S UJ: :p <=> v _-«*n 86 Richardson's New Method for the Piano-forte. Scale op G Minor, in Contrary Motion. i Scale op G- Minor, in Simple Third8. it- UPLE THIRD3. x , 2 mm£, x 3 rsMMSmBMM g ^gfi — =_ I 1 "1 ^ E i- A a a 1 1 1 1 ,4 !*• -4 — 3 — a — It- Scale of G- Minor, in Octaves FIVE FINGER EXERCISES. In the following Exercises, two fingers are kept down upon the keys, while the others are in constant motion. These Exercises differ from the preceding, inasmuch as the whole notes (held down) are a third distance from each other. EXERCISE No. 36. |g|jBB||g| Richardson's New Methed for the Piano-forte. 87 ^^^^ ^IJ^S^ ^^S^^^ $ g^HE±|3EE£p I ■IJ-' J. J ^37 3^3= ^^^S^ ^Z^Sff S^^ ^Tj^^^^^ ff j^£gj L ^gg ^ -0 •— # ■ l +-&+-4r+-1r9 •— *—•— j— •— j 3 I i I I i i 1 i i ! ; i ! | I3t=fc* ^HyHySd ggp^ggjagagS -*— — J- ^1 \ JS* Richardson's New Method for the Piano-forte. ELEVENTH STUDY. An example and exercise in Syncopation in G Minor. Count the time aloud, and be sure to give each note its true value. (See explanation of Syncopation in the fore part of the book.) S¥ #&k=te=^^ -* — p- t=5z==U SZ==3 — I y =g .. t-~-fr I g i p l u^v -4 ff- i « ^ -P — • — « g=Fg— I M H«— I f= r~rT~r =^ =p= +-.* — » ==$ a &= i==t jt 3^7 f ij ^ pHp-fr S WODEllATO A v 4 3 v ^ 2 -• P ^FV-*h 1=^-7-4=^— 5 HS -S S -g - -»£ -i f- j frzgE: ,-fr- -f - -^-^P-iH * ., P ., f-^— =^— s— »-c-V-=-4- P .. P- ^ Sjjz7Zu_5 -gz^=E ^^g^^feg^ trfr.r .t- ' - ■f^— 7-^=¥=g=7 : P===P===P- iSiiiiitafe^^^l^i 5±trf=lrf=fc± 1 x I ,.? x 1 X i It? ^^ s i-Ht §a -»l — J- 4 4 4 4 4 4 4 X Richardson's New Method for the Piano- forte. 89 tfe - " 1 -v 1 - R ■ J H L - , f- ^ v- =&P-S-i X 2 35r<& j l O ^ -&&^ ~ * 7 E T *=* i^ffi TWELFTH STUDY. Exercise for learning to bind the notes together in a legato style. i P=* :at 321X12X2321X12X ¥■ « J * f jfcg *=iE -X i 3 X 9- -a-ff-i — x — i — a — x- Sc ^ p r ? — ^ — p> - -•— * t=P- 3p: 3 3 4 3 _ 3 a 2,,1 2 »-*-2 -XI 2, 4X23 g ™'^ { ^==£ 3S -»-»h * #* • hd- * - 1 . * yi -4X2 9— 4-j7d-g- g XW 1 2 2 3 2>" X 2 1 X ^^3— 4 '3 4 ^—* j 5 k v s au _5f Ipif_|_4£S. ise m X 3 SJF X 2 1 X I 1 i 1 n i r -ii. r T *- 1 ii I — . ■ ■ i — i— i i i i — ku L-i_i — e £=e f I' 1- i SCALE OF D MAJOR. Scale of D Major, m Similar Motion. <-j, 3 H 3^ 3 -i x L— J Tx^ 5 ^ i x 1 £— v Uj i x , V 2 1 •_ 3 3 2 X r*"2 LJ 12 v . -^-fr 51 ^-^ — J E J— == j- | -P — - i — B i I I 90 Richardson's New Method for the Piano-forte. Scale of D Majoe, in Contrary Motion. Scale op D Major, in Simple Thirds. 2 x ia-»-r [J la- 1 *, ix is *■■(. L r r"— i x ^1 HP=g 2 ^ H3? £^n mm 4 3 2 1 Scale op D Major, in Simple Sixths. •»*5.— y — •— * — - — i — a — — r — r^ — a rr* — * — it -4 — X — * — rH ' I giU^Hg fife I ±=t Scale op D Major, in Octaves. ?=r^x Richardson's New Method for the Piano-forte. 91 Abpeggio on the Chobd op D Majob, Second Position. 1 3 4. 3 1 X mM y^=r=t Si - — E *» —,, "s i « ^ £ i ^ )B" I' I J » 1 X 3X^^J 4 I £ — n ^ »^f — » — 3 1 Arpeggio on the Chord or D Major, Third Position. 4 3 m t^ SF^"- 3^^i mw^mm^ i g r Tym && i a x i JyoL • ^ 5ffS 3 ^=S^I m m^ ^^^g^ ^p g __£_e -r^r-pf-pj -^ " r -|- r r _» « «_ 92 Richardson's New Method for the Piano-forte. ; *»l3|t "& SE^feifeEg ^^^^g^^ ^s 3 ^^PIP^WM^MPI! ^iM^iig *=? 1 B J — I — « m - m xm_ i t^ --$& :r SCALE OP D MINOR. Scale op D Minor, in Similar Motion. 2 3 4 3 *^ * 2 I U— • .21X1 '■■■• . _ J . ; W 21== ^£E -*— # « — F h fc=*:=t3 s i£ JN ±=± ^^Pi Scale op D Minor, in Contrary Motion. 2 ^ — * — • — x — i — a U— ' - ■ 2 3 4 3 "^J; \~ ^S te 1=3= ^ =£3= -^ — x— » ^ faf^j- Stfe SgJj^a^pigif& gfifgB i Scale op D Minor, in Simple Thirds. X 3 X 1 mmMmz te a 4 3 8 1 Richardson's New Method for the Piano-forte. 93 Scale op D Minor, in Simple Sixths. 3 a siMMM: -^ K^m - ^r-r P S It ^F I ±=t ^ Scale op D Minor, in Octaves, ^BES w - I J * ? | I - 2^ - •_ fit«t tit at ^l - 1 ' — ^s , ft- ^ =ft f : fj g jEgj: £ p eE £ Efr d£±jL^_ £=£*£-.. t-T- F X P? ■/ r ^Tit r > y mr^ 3 n J ..n ^=B ^ ^^ 3 X T^"3 Exercise for the prolongation of the tones or notes ; to he played in strictly legato style, and in perfect time. xS- £g- x»- ^, xS- x *xp-.4 3 4 xS^£g= *#= =£= =J- -pj- -f- x^-f^r^- - V X 1 2 X X X _ == ^- ^ -^ ^ ' j»~^>. X X 1 2 3 : * = #*- ^=«-» =p-# SEE£ p — p- m m m jx*xtj s 44JM-S. g- j^M . H -*^-t 4$^ " i r y - p=^p 3 fc»3fc± 3lg =C + = ^^Bl -"ia-J 2r-=i P 94 Richardson's New Method for the Piano-forte. Exercise for learning a singing effect, or what is often termed the Singing Tone, on the Piano. ANDANTE. I . I 'I I" £ pat a4 4 4 * 4 a* « 4. * * 4 ' L J/ IDolcisBimo.J it J* -4_ m I fcs=* - — «-» — 1 — i ' i ' ' ' 1 — i -i | — I ! 1 — | . I ^m % $ U. ! ~x«H» 0000 i =»= i— !— t Pi I ^^ i !p?=5= -*t-# — • — * — m- 444444 44 4. 444 s ..-*- -^ £ is ^* SCALE OP A MAJOR. Scale of A Major, in Similar Motion. 4 3 I fe pL|ie HU* -0 — ■ — a — x- ■ — a — m — m ■ F — ^' s 3 3 4 Richardson's New Method for the Piano-forte. 95 Scale op A Major, in Contrary Motion. liii* -A.- /„> . S — -, ■ — - — — I — ^^J _ — -m- UV^ l 1 2 <, X 1 §g Ht-^AJf - =!=* LJ B 1 P-S M 3C* f=fc=t Scale of A Major, im Simple Thirds. Scale op A Major, in Simple Sixths. 2 3 4 3 2 1 i j v^ r"3-rt n 3=5 i^x ,. ^3=?^ g i «— *- 2 X SJ H^-1 -J- Sgt^g^ ^^^ S 12X1 Scale op A Major, in Octaves. inltefi ^gp^fiif Arpeggio on the Chord of A Major. r=^Hfc^=fl 96 Richardson's New Method for the Piano-forte. Broken Arpeggios on the Chord op A Major. A m ^^ — i — i — _ — *- ^^^ m -mi=* » i C34£fc-. THIRTEENTH STUDY. Introducing the Scale of A Major practically. Great care should be exercised in giving all the notes their right effect^ also to regard all the marks of expression. X 3 ;j-J-»-*- 3 x y* ^ — 9- x_ ' • —^^ J a x a 9 ^-^zJz 1 I )C * io II r^^tr -?-+-? i sfe egS©^ I P -m W - J -^ £ £ m^- m Richardson's New Method for the Piano-forte. 97 !# — * g * j £^qin x m -0-r- m -) •- «- rff| l f.T^T 1 ■ ^ — ^ 1 — fc ■fc «f= tt ?^ff -«S— f- Si* -X-i-X *^ L y ^;Aff£J^ £ :t=^ ^==j $= i » 1 f 2 f I 1 X t-»-i - i i j ae' ^^^^^^^^^ N. B. D. C. signifies to return to the beginning, and play to the word fine, where the piece ends. SCALE OF A MINOR. 1 I ■a — x — ^J — I ^^ J — =F 98 Richardson's New Method for the Piano-forte. Scale op A Minor, in Contrary Motion. 2 X fiSp .,3 X i #- f I. ^ - y g j x a ' , I 3^¥ m ¥ ^m CTR !8X ■»» 3^ _fc_S H^^^^S 3 a 1 x p_-ff- I Scale op A Minor, in Ssmple Thirds. 8 - X X 3 X 1 !■■«■( X 3 < i s a r- ■*! J I ,■*» 2 i ■- * 7 ««- X * I U— « 3 2 1 X 12 ■"■.' »»J r ^ -»- -J eft i u— ' ix 3X12 -".j ~ w a 3 2 _ X 2 XI ■"■-J 9^^ i § ssfe Scale of A Minor, in Simple Sixths. 2 _a 4 3 2 _ 1 e 1 atJff: -» — P — •- :?=£i= to-*. X 3 3 3 •■■■* ^^3 e i£* 2 _ 1 =£=•= 5=G B 1 X - 2 -12X1 Scale op A Minor, in Octaves. Arpeggio on the Chord op A Minor. 4_ 2 1 !> § f^lflfl -■ J ~1 ^^ BB B ?# b==i a 1 3 X ^^m Ml^S^tt 18X1 Richardson's New Method for the Piano-forte. 99 FOURTEENTH STUDY. Exercise expressly for the left hand. Join the notes well together, at the same time prevent two fingers of the same hand from being on the keys at once, excepting when the music requires it. ALLEGRO. , _ /* <=) - -Sfa- 1 *e- II, CANTO BEN TENUTO. % I X. 2 IX, ^— " -^i -•- m -0--F--0- m -0- . 2 ] X "[,2 1 i__ ■". 2 1 X G: -0- r 0-*-0- *= +Jt±Jt±± t£@i i=3==£ 3 H ' * * d h '& • 4 +A- 3 ^-vi^- Exercise for Staccato practice for the left hand, while at the same time the right hand must play perfectly legato. ANDANTE CANTABILB > P^fpSp=! IE 4=+ m 100 Richardson's New Method for the Piano-forte. ^M *— T?*- *^tm * i» *= - ? £ 1-i m ' " — — — i = — ^— ■■- -! 7 — ^P F^ 1 — faSkSfcwl 1 ^? tt i t ; V± P= « — P » 5- -c^ — W «— 5 i=t ' -#H — •-! — •+-•— r«- — ^-1 — P-' 3^S=g •See ^ ^p^- tfT -^T . ^=j^ I is -g— g * .hJ-:-K-* . i-^-i .ai- . i-^-:A 1 1 ,,i ■■■■■I., ib ill ' «f>rW»W-kJ 1 1— — I [—- L 1 b„g — e lL SCALE OP E MAJOR. Scale op E Major, in Similar Motion. 2 3 4 3 3 2 1 X mm H, w r i- 2 1X1 2 P«i S^g '=i ? =S ^ fe^==i -2— i — x — a — i — x- Scale op E Major, ra Contrary Motion. 3 4 3 1 Richardson's New Method for the Piano-forte. 101 Scale op E Major, in Simple Thieds. a 1 X -J| 2 r± x 3 a 3 I 1 ,-■•• 2 i 3 2 1 X a l X l a X 3 X ■"■J |j 1 X * — i — w »««- m Scale of E Major, in Simple Sixths. a. a 2 3 X 1 2 3 paa. 2 1X2 i 2 3 -3 ri; n -FA.+.L -jTj n ^ , a tl if 2 X »"""| J a -»- -*- — -=- — ■*■ -0- J J I ■■*- 1X21 X X7 * | u>» U— J ,21 X 1 2 X — -J I ! f -»- [J 3 2 1 X ! 3 "-^-x L | ^^M £E -f=S 1 Scale of E Major, in Octaves. #-#^ H3 Arpeggio on the Chord of E Major ' _2. ^iiii,., l X .2 X ^ ^ I^S SS^— | I 1 FIFTEENTH STUDY. Exercise for the third finger and thumb of the right hand, which should be played with smoothness. MO I) ERATO. X 12 3 1 n x IT i 3 x ^— -' x tf i 3 x ' x tf i 3 x ECS "__ x i 3 x x i 235 -esl- 3 3 102 Richardson's New Method for the Piano-forte. 12 1 3X41 ■3 -l-tt- *-3-lr-tt-*-3 -fr-*- ,. 1 a-*- X 1 -0 1X . — , I > I : ■ I I I lr .1 a x 3 =3^5 3^=t f * ^ Z JS=5^ fc ^^^P^P 4^§: 1 s -* » £ . 7 : SIXTEENTH STUDY. Exercise for giving independence to the fingers of the right hand. Give the half notes their full value of time. A1V1HHMTIX O. r -ft=L iS^gSjjgj is \* ^ pep fc H*=»= » Iff: ^ fej=a=gii ^i j# I ^^ ^^^Bfe • i i ' " 1— 1, ??' -? »ptf FEB=di|&Rr I .#_ • g f f e g i. ffi ^ » -*-*-»— d — I — H I 3 J — * . _ d d d /— i — h-| I -m-m-m-m-d-*-* 11 - S zr * — * — «*-» — » — *■ i? e=u r 106 Richardson's New Method for the Piano-forte. SCALE OP B MAJOR. Scale op B Major, m Similar Motion. 4 3 2 a x i *fA J™**! 21 x a l|e ^ S * s baa ■_ 2 1X12 3 **J *--X 3 t- :£=; ^jaEs^E 1 X 2 1 ^S ^r^N » =*=sE i Scale op B Major, in Contrary Motion. 4 i--P--i- alX21X321X21 w 133X12X1- -#-T --*- m 1 * 3 IX 3 a l x a l -tJ--#- ■ " -»--=4- P Scale op B Major, in Simple Thirds. 2 a x j. *!-**•. X_ 3 2 l X UJ X-3 2 * X * 2 3 xS C? ^2 3 2 P^ 2 y J — S, 3 ^ u*H_ I x 3 a i x 2 X I J "«■■■ 1 X mmm Scale op B Major, in Simple Sixths. 4_ 3 • I I L»»< 2 1 X 1 2 3 "■■■■! ^ mmm a — x-L-i — a — »"J- — h- — "- 1X32 Scale op B Major, in Octaves. jg ffi a » * ES. -#"-P- "P : -P •■ Richardson's New Method for the Piano-forte. 107 Arpeggio on the Chord op B Majob. 1 2 & ' X NINETEENTH STUDY. Exercise for changing the place of the thumb, for the third finger of the right hand. ALL EC3R O. ^- . - f TWT-W $A ^^^ = l^j tL^r ¥F* rrr-r M X r ? r? = H #- -s-^-a-H-a- j- rrrr ~_ •-»-#-* Si ft" ^ [&Ejv ^3E g — g 5 r- ^^ -7 — y- ^=£ =^3=?=5=S= S=b 13 1 g-a-4-a-x- Delicatamente =F. =£=. x X 1 1 £ -» 7 P 7 L * ~7- g 7 ^ -^=7^ ^6 li l lffi^ fl pa^^ £=S — E — 7 — r- -7^8 7 £ ^ 2-a- -7—?- s ?i±t £^fe #— ■— 9-4-fl-»-#— —*- eS I g g r -^? — £ x & 7 g 7 g- =a — y- -f-i I I It 108 Richardson's New Method for the Piano-forte. Exercise for the display of the musical taste of the pupil To be rendered with as good effect as possible. -a a A WALTZ. -•- 4m-m a X 1 3 I > 1 > > X 1 1 . .-#4 40- ~W~ * m ~a a ■*• L 1 I a • — -i- x ± ■* * 1 x • •-' £*=£=U ^^ *!«- ^ *q — f ?- fc£ g r i?^^ ff=g^r ^ g m -&=-- ape ITfe 4 '2 4 1 4 :i* -g- -g- -g- 1 ^ :b=3- H -x — a — x — a — x- _M ^__J_J__{}*Z j T v_ fl * 3^p-S «• -0- -0- Hm -0- -0- 2 . -•- 1 m 3 3 4— a — x — 2 — x — a-tj — 9 — x — a x a M- 5 M - > — 1 I = t : K §§6g *7 a" o 3 2 DOLCE. :*5%- • — da 1 X 1 > 3 gi£g j^ agg-^s a SCALE OP B MINOR. Scale op B Minor, in Similar Motion. 4 3 l H 1 — -J wJ .«— 1 #£f *=£ 3T=iI ^ i Richardson's New Method for the Piano-forte. 109 Scale op B Mmob, in Conteaey Motion. 4 -* — i — a x g^ BT'F^B rap* icj u 3Ft=*=* s^a & 2 x i a S^^^lfPgiP^li^gS Scale op B Minor, in Simple Thirds. a l 2 3 X 1 ,^«. X 3 2 1 X 3 H;r3 5!lp SilSti R I fiftg i^PP 1X3 a i .x Scale op B Minor, in Simple Sixths. . 4_3 . . ,, i a 3 x jgg Vj J H-^ai- Jj I S y g 3 3 "^STR » iH 1 ^_ # _p_ f=g^ =P= »- 3=£ S Vx 3 a Scale op B Minor, in Octaves, fe5i — it-Hfe — * r ->.—*— ■5-— — — d — - »r ■ fc rrr...__ * — #-]*=- x* ll xx^ f ^Pff r i fe f f r fs i ^=^^6^*? Arpeggio on the Chord op B Minor.,, v * 3, p I ~" j H^ 110 Richardson's New Method for the Piano-forte. Exercise for giving the practical effect of Triplets. ALLEGRETTO. 4 *xl ' i « t t i ~rr~r 11,1 ■— 1«"» + ' ' ' ' z^u. 9 tt*=& tt E^ FTT =p=p=p :p=F=F I I t I ifcs E? P=F=* *l p&^ SCALE OP Ffl MAJOR. Scale op F$ Major, in Similar Motion. .ajw -*— *- i^^ K *=#: e^ ■ *. a*~)n~ ^— r =r=p=» a 3 5«si. 3 1 — X 12X1 jfcpppll I 1 9-1 ■* Richardson's New Method for the Piano-forte. HI Scale op Ftt Major, in Contrary Motion. tt . m ■#- #- -•- > _ fe UW^ jj^t^ ^^ ^ ^^S^^ S S S s & a m slfete =4* — — m — _ I X — 1 t"«B — i— 9 8 S— . m^ -X 1 ■■J >-*-ml 3 X ■ O J • ' *X rn— m s=r ^^ i F sis i tta Sfe Scale of Fs Major, in Simple Thirds. xt. a -^ f -j M Vn vi - feg S3 I x i -*^ f -#- -S- i 2 3 "^ I t-ti m ftJrtH H ^S 3 Scale of Ffi Major, in Simple Sixths. I pe =W : J-fc bt i 2 ^*i r J ^-X i V^ J""*! 3 r*^ x 3 ai „ „ f I u— • *»J i r -0- • i x U-«" ,33 1.2 ^J . I ^- 3 a . i x -&x ■■J i r*» i +-r*- *T wm?&m m±M - d i — i — PS# 3 £g»- a — 22- i a x* *-x ?££tpei f— i — FBP *ffl# * - Sg-^ « 1X W mzr m X4 f u a — »f-zH — 0- fe3E ge^ii i fffl^< i x i -a-»-^-i — i — #h — • — i jm h b p — •-< — i — i — 0A — #-j — »h — m-\- 4 3 2 4 P? j^s — ™ — ! ==5W ^ ^- ^ ^ sbh 1 : ^^.^s' ^^^J J ^s £=ig £=^= Richardson's New Method for the Piano-forte. 115 SCALE OF P MAJOR. N. B. In most other instruction books, the Scales of F# Major and Minor; are Mowed by the higher flat Scales, commencing with ~D\>, (Signature of five flats,) and ending with the Scale of F natural, but I consider this Scale easier than the Scales with more flats than five. I commence with the most simple Scales first, and arrive at the more difficult ones as they come fn turn. Scale of P Major, in Similar Motion. ax V-* r\ fi ■*- -J- gT-1 "W2 i x p^^= *=g =*— I r\Tr - ?-f r= R3^P=^=g=*= p « . - Ui * — i — a — a a — — r ' i — h — «— ^ ^-»* x l ' *— 4 — ■■■■* — i r — — m 3 « x a is^ s^e S 45- m- ^= ±=* 1 fe^ ^ m -X f -pr-f- ^=r Scale op F Major, in Contrary Motion. ££l££to P— •- ■j— 1~ f=F rX 3- 2^1 -h- =*Ffl : Wh =Jt=fc X 1 m m Lr 2 X — ■ - —a — x— 3 X -P— • — f — a— 1— jg — a- =T^ -a — 3 — 4 — a— 1 — r-"» «■■ "i— =n= -a — a- -•i X- -*— X- r P-=t 2 1 'ft ft 2I^EF — + — a- — — mm J -x — t- -J -1 U -* — — „ — a— ZP=f_ -x — a- = u^ -a — a-l hh-x- iV Scale op P Major, in Simple Thirds, j_p =fc p ^=a :*=* 5=P= * — W- ±=t a 1 X 3 2 H«=» t=* & 1X21 ■ III J ^ 2X 1 ?=s=r I x 1 J - g J: ^S Scale of F Major, in Simple Sixths. 1 a 3_ a . — •— i— B — = — # — P r P r-# — a ti 116 Richardson's New Method for the Piano-forte. Abpeggio on the Chord of F Major. „ „ 1 a 4 a l x ^1 1 i i S=T E^^x; ?$i g^^ rrr TWENTY-FIRST STUDY. Exercise in Arpeggios for both hands, that is, one hand playing one part, and the other hand playing the other part This may be called one kind of Arpeggio. ALLEGRO MODERATO. mmmmmmmmmmmmm "J^W^^Lr^-^— *_ ~^ -±zzz~ i^ =z^=zrz- (-"(-( BE p - > Eft — £ — g I 4 lll fafai^E^l if ¥ — r — ! ^ ? — T" -5 m ~-~^ m — g- €. /C3 £ r^B M i *=3F ~ B ST ^^i^^i^ :fc £E=3=B -• — i a — h 1 S ( * — s r f f ^ p(**~-( g= ^E i .( 4 ^=S i JMf- £=g== B Richardson's New Method for the Piano-forte. 117 " t? -rite 33 SCALE OP P MINOR. Scale op F Minor, in Similar Motion. PTv -U-L_L~L 1 x a 1 PI ^^1 ^£ I i ggs rj >jjJMg Scale op P Minor, in Contrary Motion. a : ¥=^ : S ■^s a 2 X a _ 3 X 1 ■ — a — J — a — I — 9 , v — L« — L^J a — a_l_ i. §B*5 =P— • fe 1 -i — a — ^^ ==£ Scale of F Minor, in Simple Thirds. 1 _2 X 1 z rm± X- 2 1 =5=t Scale of F Minor, in Simple Sixths. 18 3 3 I xi 23 X rA , fj 1X21X323 X12X ""J" 12 3 hpct i isgM^ " §K3 Scale of F Minor, in Octaves i^^^P^S^P^^^ "-Wli^t I 118 Richardson's New Method for the Piano-forte. Abpeggio on the Choed op P Minor. 4 3 IX m j | — 1 a p r J | |T...J_,^ ~r 1 * ^3 -*^_L»»^- ,,, * i I i-t ^ r^= ^r I The following piece is from one of Clementi's Sonatas, and it is hoped will be appreciated, and played with taste and finish, which are necessary to give the required effect to such compositions. Let the notes be heard clear and distinct Let also the time be perfect, and not hurried. 1 ^ 4 • • 3 ^ ^ q¥ ANDANTE. 4 2-2- s^^^P^^^g^^^i IotSw 2 IX, 2 1 X 21 X 3^ 2 1 3 2 1 _ .- i 3j 1 3 * 2 4 * ~ X 3 '2 fZ P x x x -=/2 J? £ -iy- §ss 12 £ pp^Sspi iSJ j~^~p 3 ft- -*3— EB U 3-#l 2 4 gi b' :jtt==E x Xl XXX Ifei^gpiMgi^^g Richardson's New Method, for the Piano-forte. 119 *^=±r l^g XI 2 3 M S5^ SCALE OP B!j MAJOR. Scale op B[> Major, in Similar Motion. & ft.55. h vj w fc£ *=•= ^3=Sg S333 ^^ I #=£= UJ 2*""l * * 23 X1 ^— ' -p-4- 1 — r — * — ■ i 1 — *— * — * I — tt ?— H— i U — ' U — * Scale of B[? Major, in Contrary Motion. 3 1 2 m 3 1 *-F--#- « X 2 1 X j P i i f r f=*=i - , . _ , ■ X 1 3 3 X 1 2 X m -»--F--»- m X 2 1 X 3 3 1 3 3_ 1 X 3 IX Bspg^gggpi^ Scale op Bp Major, in Simple Thirds. i 1 3 ^ 1 r» X i 3_ 2 1 x 2 1 , , X-i 3 -S^ ^v 2 1 ^ S ' ^' H ^ ^ 2 1 v ^y y^s ^^ — a ha 1 WP* Scale of Bp Major, in Simple Sixths. 3_ 2 ^ fe-f- p-p-F-y UPP x- * 2 r :sx 120 Richardson's New Method for the Piano-forte. Scale op Bt> Majoe, in Octaves, -m—P- Abpeggio on the Chord op B|? Major. ^— ^ J x EXERCISE IN BROKEN THIRDS. 3 I will here remark that all the Scales in Broken Thirds, are fingered precisely like those in Double Thirds ; that is, the same fingers come on the same notes. (See Double Thirds.) EXERCISE No. 37. 2 4X2 - -*- 1 m -p- .12X4 ^4— i — —*= --kMd ' ' L II fi ___ Mil ta— Z3-bi-U- __ 4 2 3 12X3 1 N. B. It would be well to practise the following Exercise with one hand at a time. EXERCISE No. 48. JiA.Jl;ltU10Jli IN 0.40. _ _ _ a m B B S_ X 4 3 3 4 1 X 4 1 X43 241X41 X-_ - „ -#- # -*■ -•- "f-*-#-f- ■+*■ "FP VF« "F I - R -^-»+- -p- •^ ■ ' • I i i i ! i I ' ; | i I i ' iH i i ' ■ B5S 4_X 1 2X3 4.X 3 4 X12X34X3 f" ™ - ' ' I I I I " ■ ' ■ "l ) — — \ - M M -#•- jJaJS Efeggli -**- m — m -^-FFR-R-t=t=t=at 43241X41 # 4324 ♦JET* SSj ■ ^ ^ ^ S^^^g^^^^^M Richardson's New Method for the Piano-forte. 121 CON KSPB.ESS. THIBTY-SIXTH AMI X 4 3 1, 3 13X21 211 ANDANTE- W X JZ X ^M \ X ^ !==— sa U- kd4^^^ i JBB g l_ 3. -•-•h K=PP ris , j . g W=pP= 15 «- ±3 5z» S50S y^ ^ g |^ ^ # M SS - 2 „ 3 iX. . 3 -P-m-P-m lr* P- a X a , 3 1 4X 2 X 3 X ,4 3 fc^ jg-i^ g i-^ g rx 3^ *=t ^^P^^j^g^ii^tt y-^r *=* *1 — -i P~<™1~1 — I I I , i |»» — ,— 1 P 1 ^ IVr— 3 1 I 3 X m--t-*^ §gi _»_ f^a.J'z.m *" r "* *■ ^ "«tu £ 2- 13 ax 13 gfe^ 122 Kichardson's New Method for the Piano-forte. SCALE OF B\> MINOR. Scale op B[? Minob, in Similar Motion. x j, V* L rH J~kJ W 3 ,-i x_2 ^rRT& §fe i x a x ..» ^ .• -»-fl«- £±gE££S gggg -x — i — s — x- ==BS^g3g 3 Scale op B|? Minoe, in Contrast Motion. 3 2 3^ X 1 3 X hi |S- jg - feS -hi X 2 1 X 3 2 1 X 8 1 ^s^^^^ ^ -*— * H — ■■ _._j._j_q « -- ^ — m— ■ h Scale op Bp Minob, in Simple Thirds. BS 1 ,, r~J U"»*', 3 3 l 3 3 X '■■"•I L~ P X 3 &»&le of Bp Minor, in Simple Sixths. 3 ^3 ; x- 3 « * 3 2 ' i % Scale op B|? Minor, in Octaves. &ULE op Bp Minoe, in Simple Sixths. 3 ^3 ) x* hi«« ■■"■ l *_ _«- u_ i u^^u* I g^=! *:*: Richardson's New Method for the Piano-forte. 123 Arpeggio on the Chord op B[7 Minor, HiH=s=ft TWENTY-SECOND STUDY. The right hand part of the' following piece will be found to be composed mostly of triplets, also the running passages for the left hand. pfc --•- X 2 - X 2 4 _3 lSiXif* F*\-b1 a~»- a #-X 2 a X 2 4 X ALLEGRO. Rf^^ * = ^ N 5 — gEjgf =E=f == P — r^ a «- 2ig C4- £ | J^S^?=r= fr-y-*- J^^E^ feE s/: s/: 3-23 £ 3 f* 3 2 "XT otT \/ ■» "v 1 o ■»■■■■■ —■»■»»»- ^ ^C 1 a TI x 3 'x 1 2 Hfe Sf- ■ ±=5z £^g 4^-^-T- f ^^E X 4 1 Cres ^P^ fe^^^ -f- y teg^^p ^^ fe S 1 3S *=5 i !H — £ : *^t 14 2 ^_ 2 4 2 SUSP J H?- 1X1 1X1 §^ ,- S -;f- ^Hl §££F^335 se tfs r i I y=e ^@ X 3 X »* 3/ 124 Richardson's New Method for the Piano-forte. x i a xi#-a-Wf5i m-m-iS-x "Pil # -#-2#-X 2 i X 2 4X I . 3.X 1 2 3 X £ # -2-Mfc] ^_ ffi B^§S l£5- ■f — ? T i f ^^Si ^Mf- :b=?=£ i^-i— i*- 5/ S/ I X2-X24X1 #^- s xa H ^a -g-g- i± ft^=^ 'fm m s x : : "*^^fe X •-#- 4 J- a x 3 Y-Wm x ,_. ,, .. a ij^3 e 2 x siM -ax a i 3 e m c=?^ -T>- P=f=*=?=?==^=£ 434X 434 X i &+=&*■ THIBTT-'SITXHTH AMISi; Exercise for the practice of the Tremolo, or repeated notes. Ill CANTO so£ 1 2 ., 12- Scale op E|? Major, in Contrary Motion. 3 X a -S- a X 3 1 ^2 ., 1 2 a -0- -F- -| V 0- „ 2 1 3=4= s^g I X 3 2 1 X a tt 3_ X 1 2 1 X 3 2 1 X 2 1 2 -t-^— £= Scale of Eb Major, in Simple Thirds. 2 X 1 X % SEE zJ »- -J — i — 2 — • 3 2 Px Pi X 3 a 3 x 2 x S» i i r -» ^g=P= J i r~ !' i 1 2 -*— 5- S -b — s x 1 f ^i rn Scale of Eb Majok, in Simple Sixths. v i a -2. x -J. V-i, x «»3 2 «_l LT ^e^ 1 @^s 3 2 IX ££ *— •- i=f m 1X21 2 3X1 KT3 •-?- — g I ' ST— a — *— ; ■i- a x TI S===P- Scale of E|? Major, in Octaves. ^feSd^^ il#^f ■=-=^1 I silf — ^— — ' ^"—-=3 "— ■ ■ ^^t- I Richardson's New Method for the Piano-forte. 127 Arpeggio on the Chord of E|? Majoe. m -j — ■ a — F--t^— H -■ z — r — u*- , f2»^ i 4 3 HINTS TO PLATERS. Remarks. One of the most necessary acquirements for a pianist, is to be equally practiced and ready in all the keys. There are many who are very much startled at a piece having four or five sharps or flats for its signature, but in reality to the fingers, all keys are of equal difficulty ; for there are as difficult compositions in C Major, as in C Sharp Major, and it is only necessary that the eye and memory be early accustomed to those keys with numerous flats or sharps for their signature, in order to become familiar with them. As in such musical keys, the black keys must be principally employed, and as they are narrower than the white, and therefore less certain to be struck, it is absolutely requisite, on the part of the player that the hands should be kept particularly firm, and somewhat higher than usual over the keys, and a very decided touch employed, in order to acquire the same degree of certainty as on the white keys. THlBTY-KJUmTH AHVTSSHKNT. ALLEGRO IUODERATO. pa X 1 3 ,f9 X / „ ESPRESS. ^^""^^ — = == ^1 ™ m ^-3L m T^-p 5 -• — *- wm y- 1 — £ gJTrm A - f f rhr tm *& i r v : II f- ? ^=J ,—*—WT- *_£_«_ -*?- !f=fc£ I 128 Richardson's New Method for the Piano-forte. TWENTY-THIRD STUDY. Exercise in Double Notes, to be played even and legato. IUODERATO. l m 233: SS3 Si =t-y: — t.rpTO i pass^l ■fc=¥f ^ i 23434343 33 2 434 a ^U 1 3 3 ?=^ -*- !>.('. siu u] Fine. W W ft — a ^ 3 CALE OP Djf MINOR. Scale op Dti Minor, in Similar Motion. H^ L— ■ X 3 *H-# X 1 2 3 i^igppfj sfe i s Scale of Dti Minor, in Contrary Motion. m*mmmMi ig Mmimm * alile^l *-+ 2 3 X 1 a x S^E ■**5-4*- : im Scale op Dtt Minor, in Simple Thirds. ^eeSeS 3 y =1 ttt^t i^IPP Richardson's New Method for the Piano-forte. 129 fe~ : ^ Scale op Dtt Minor, m Simple Sixths. " X 1 2. 1 X 3 a a ^m r^» ?■*• 2 1 rdjri ni5z*>±i-in i-j vg 3^ , x»— g =#3* 3?=^ g P P§=^^! i=^ f uT U He IU H*=#= fftrrT j i ¥0- ¥ I 2 1 K 2 r-i r-» u-r x 1 -& — X 1 — g a — "• Scale op Dtt Minor, in Octaves. Tl loeo ^^ji^ ^ffii^ ^lg^ b— — j^CS., 1 1 1 — 1 — ..s^ Arpeggio on the Chord op Dtt Minor, y * J ^ £ Va"""!*"" - ! " j o J I I i^pgjpiHi MISCELLANEOUS EXERCISES, Practise the following Exercises slowly, and play them as legato as possible. EXERCISE No. 39 ^-i^fe,jgj Nam^i^^ ^.... 1 ...— =gM^ ( ^^jg^Ep^^a^ ^^^^p:-^^ ■ ■ ■ 1 ■■ UnaalB>4 k> ^* 1F=H— I ■ I I X 130 Richardson's New Method for the Piano-forte. EXERCISE No. 40. ■^M- — i i ■* — , ' a " — ^J — *-- i i — i i — F — I — f — I — »-r— #-F— l *#- **- iPi wjplSEjm -f=I Mr -T P BE «E J 1 i-J , i i h-—i— «==—— i h~""—- 'H t ^ T-l* 1 -F- — I » 1 » * n L P^^%¥l^%^|^| # §£=£ ^E SEE* I EXERCISE No. 41 -F-X l = p-l x4—X i- *F- -»- 1-1 — 1 x-p— 1 I ' I I — I — I ■ I ■ ■ — "- 4X43X4 wl™ ra <™.— ™X™T°:i X 4 ™X°4™f"x*4 Tx3 4X3 M^— i 4X3 4X3 3X43 X 4 4"X"3"TX"3 EXERCISE No. 42. ^ & 4 3 4 3 a --S '0- *P- 4p-» 3 4 3 4 -F- F> -0-m a 3 4 3 4 14 1X41 iSiiS^iii^ttlKte^Sffi X™4~ X"™^] X41X41X4 XI 4 1 X4X1 *x"iT" ji'U I 1, XXIX 4X141 EXERCISE No. 43. _— 1-4— -^-f— a e f h 1 -F 1 E 1 — : F — ^ p-s-4-»-3 — G *" i | J I — rr -0--9-° X f ;.. Cu»«J 3 4 3 4 3X34X3 b.i, . ... — ' I I '' 4 3 • * 4X43 4 3 4 3 ' 4 4X34X3 i niiili i ' 4 3 3 4 3 4 Richardson's New Method for the Piano-forte. 131 EXEKCISE No. 44. 4 l~m- -I- it- «M 4 3 4 3 - --• »- 4F- 4F-0 »-- _ 3 43 4 :LJ , 3 X 3 4 X 3 4 X '4 -^4-^-Jgf ^p^f fap ^^^gjfeggjjg a-X y 4 34 #-* ^ ^e^ f--r-r-- A#- IF-f* ^^Pl Sfee*^ =S irw f =t^r !^T x x 1 1 2£E For the practice of the dotted eighth note. legato. AIXEKUTTO. Dol. IT X" X ix i_x ^j- ^z^zd^ ; e 1 — j=p — 3=£&= zjrgrj^p^ ^^ ^ - | — 3— r ^£&= ^-,'jzxm^ ^^ E .-" j. j © Se 1 as ^ Ml x a **3 a /£" +— g J =t^ N^ a 2-* — r*»— 1 — *a ^2 — 1X1 /2 x fZ V fZ P ill ^^^^g^^^^iS 132 Richardson's New Method for the Piano-forte. a SCALE OP At MAJOR. Scale op A[j Major, in Similar Motion. IS if ^ ,— a — a ^' n »-^»- -i — (■"■■» — s— »— F -• r 0- K P: UJ F =-»- SI 3=3= -F— » 3t=F: -i — s — ■ — I f=*Ei SB ^J~ x * =» xi V*i i a Scale op A[> Major, in Contrary Motion. x i - i x 2 4 £t*fc Jt3t=»: 3 x a ■»--*--] 1 1 F- -0- a X 3 ±3 it DTS hJ x — i — a P«r I m^ =t=t 3tlt Ttt ^ 1 — u— »- Scale of A[? Major, im Simple Thirds. 2 =^= rm 3 3 X_ 3 2_ 1 a -3 n 3 H £J &S :tzf: !_<* -fi jj Q pg*m >aii-^ rarca, — , j*a*a» X- — 3 ■— ■ ^^^=^M===f==hN== J= r n* , 'i r= • l L««" X 3 ft 3 k —»J I F -»- 3.2 i £ -^H ^^ rru 1 X F_Jl !-*• 2 — x x X 18' a 1 2 «»«•.' I I ^ Scale op AJ? Major, in Simple Sixths. r-i V£ . .. £j x-^T 2 * x l r- 3 TJ. 3 2 I X s ee q=t 1 J=S 5-J 1X21 CJ =•=£ '^^^^^ s *=i~ X 3 *JL *=•= =^P3 3^X 1 ! ea -4-r 3£ess3£' f3t*s £ Scale op a£> Major, in Octaves. I bd=== =P=s ^tri Richardson's New Method for the Piano-forte. 133 Arpeggio on the Chord of A[> Major. 1 _2 2 X. i --J 2 1 = -- P^ -^ — l^^E For the exercise of the fingers of the left hand on extended chords. MAESTOSO. | ^3' « 3 3=?= 1 v ? azrpezpcr^z 5-£ :Ld=^ £ »r« >r » £.«_ __+._ ,.*** liSH*i a^ -*-4-P- =P=P= s I I br » -™.i,~ ii ■ i J bj B^ FT=E=fe=^ be ^ if=p= i r-i — a T — F i #r= f #^ « * ~i- f> i P ~r ffp ■ - - ~- * § g? z± m=i | ££E33 ^ ~t^~r~T r f > r ^( PWft#trf -4 »-«• F=M*-^»-*4=*= I — F > F - ^ ^jJ^Mf « a £ — - g-,* g -=P *^*-» St ^^Hggfe^^^g^felgsl^^^ 134 Richardson's New Method for the Piano-forte. rfr-k— i rfcz 3=i*= ») I j — F— * iMK- S ill 3i^^^^=PEfflEf=^EES?ffia=^ qe rttrp F =p=p= Hi ^=p= S I I I A SE]: :fi3fc > > > > > x W^m f=F_f=S: f r f =t=fr H»h.b.Uh -* f- : £== I fe s/ £S^ 5^ 4£ ^^ TWENTY-FOURTH STUDY. Exercise in Broken Octaves. The pupil is recommended to play each strain at least twenty-five times in slow time, with a firm touch. After each strain is thoroughly learned separately, then let the entire piece be played without repeating each strain. ALLEGRO MODERATO, ft Richardson's New Method for the Piano-forte. 135 I We -•— #- p- \*- ftTVff; -»-^ BP- -F-=P= JL £i=pp: =i = FFf^ I ^ s^ •ffTijF §Sfet P »- d— I — I — I ■ I — t—^ I 235=^ =r=v i gj5p» »*•*!! -f+-#- =PO=F iF- ^ -gte * 1 oP^ ^S I i g l> i ' 4l ik-J*- =S§ bsa SsS^-fessf ^ 3Hpst m 3-j — 3- fc£ fci A. - =fc ;£= St EE * =fc at: =f="EE ^ •PP ■f- : — -f--f- #-ps=a- ^s =t s£^ EF Fi I i i g ii §as ^ attfc r3=F*gg g EsHS 136 Richardson's New Method for the Piano-forte. C'rcsc. ]J bm*7!3 K?^ 3t±± & B? fes BE^ *S= p— q^^~^ s 3E I S r -? •- fr S^E- I I ^= tt m^ s -^—^~ fr-z 3= =? i 8 X E—g|, H SCALE OP G# MINOR. Scale op CHI Minor, in Similar Motion. x j, s^i x 2 '■-J x"3 2 3 X*""l 2 X , „ „ w p 3 i . 1 > y-j.i ,* , i ■■ * J I E=*E ^i J-* X— J. # *= BS 12 3X,„JJal W. -u— '- 1X33 Scale op Gtt Minoe, in Contrary Motion. x x 2 «Lxi.r|:x|L #g_ 2 i x ~ -jJ r 2 3X1 n a — x — i — a 1 — J * * — *— ' — ; k— — b — ** ■" ; — z. 1 —* — i K 3X12X121 X21X321X Scale op G$ Minor, in Simple Thirds. , ■ ri ^, ., , M. X 1X33 ■ > yVi r3-J.-J.J~l 1- i x , r , i x , . -!»-* I » ±=4 Richardson's New Method for the Piano-forte. 137 mg m Scale op Gtt Minoe, m Simple Sixths. 32 ix m mm i v-* ^-^=^ *^t -• ? r=#_-» "k r K a X X 1 2 3 +-*- wm^f r n^ ^=E ^—^ I"~ X 3 2 1 X Scale op GJJ Minor, in Octaves, ob, in Octaves. gv xy rg^L. ^_ ^fiilf i Exercise in strict legato style, , A NDAN TE cantabile. $=£ ^3 — SE =P=J = P-F ssdftii ^^i^& 7 [ _^ — ^ — I— ■ — - :«= :*!= f^fg p^f jjlj 5=5= w— *— * £g _r^-^r3- 1= p= 138 Richardson's New Method for the Piano-forte. Crcs ...... ^p -p-f-^p j?- m ?n=F= * to ^ *i£S£PlL£i £E §5S fc* str=:=r:j=* ate ^S ^EEE^ r JIS^l ^P^ ^ ^ sJ=I * »=g^ se^ g gig — r ^=p p^ fcjfeE I*=I S^E zap^ 1 ^¥ , »j*j Dlorendo. I -• — « — c- -S — * — d- 33?Si 1 TWENTY-FIFTH STUDY. For the practice of a melody and accompaniment for the right hand. wmm Tx» \f ANDANTB. i ! ' | I ~>-"* J— - ; * j~ i=4.»=r* -4 J 4* s>-*2<» 1 — m— r- ±==t M£ IS r^r | i i rs -fc-g- jtrP" yr *=£ £ Richardson's New Method for the Piano-forte. 139 « m 1] 3 ^ -4» -*-a ; m 1 — a • — ^ — #—- m — e # 1& ^1 Ii3t=^ 1 ftfey- IfiI m Z*IiZfiZ M f IF™ w ?f F=^=F^ f >=P-^=if=^ ft"hf -*-*«- r-r f T ir r -^rv S ^ 4-tX4 fS F=Ef 3= 4 3 a l -} ^ rflFr? i rrr -p 'a a Uts a gferz^rjjjr-f-T *£j- SP^^ *Cj /SI — :j&b=r±- ^!p- ir 4^ 4i io — 2 — • — " L -i — » — I— xp i — F ( -*TF Fl F In Tempo. i i i . i — -=- -- ■ p^ i j«^^ X. sJ_ d j — -q -^ — | I 4*5j=j =f¥ =F *L ~ *~ ~A 1 1 a 40 v -*-« 1 = tite TfH^rjf - : L *F 140 Richardson's New Method for the Piano-forte. SCALE OP T>> MAJOR. Scale op Dt» Major, in Similar Motiok. hi — a — P— r— h~d Er H 1 p— •— a — - ■ -*— » 9 -p- P I _J i-— J „ i x a x ^^8 K*- 1 2 3 X §rft ^fFFTPH* fe l ^ LwwE^a J: g£ EfH^. g^ PPB 2 1X3 fc*F S 2 3X12 3=3= B$ej ^=J^E g Scale of D[j Major, m Contrary Motion. 3 x a X 3 1 f— H be-" 1 """J 1 iim 1X3 2 1 s "■ X 9 J- =P^ II: P=1=i -F- -#- - a .b x ' l s X-i „, v , 21x21x32-, -0- -£=>- K • -•)- -J- -13- • A! B$e Scale of Dp Major, in Simfle Thirds. , !H Vs ^g ^x . y=H — -— ^ r*°\ ' — 2 — s — * — Z — P — 5-i -• — s ' 1 1 P*» ■+ " TJ C-L 32 ' x ** r^O^ C/Tf i 1 5& 2 3 -• — 1 — — £ — r — r -'■^ u— -- — a It ■£r 5 « =S^-J 1^ 2 1X3 Scale op Dp Major, in Simple Sixths. . „ X 1 2 3 U=J X*"l *■■■' ?=sr-i P^ — J — J—*—* r» — * — P — F ■ -t P — ■ — a -m- 4 x 3 i^P^E^iS Scale op Db Major, in Octaves. =^-™-5=*=f=f— Richardson's New Method for the Piano-forte. 141 Arpeggio on the Chord op DJ? Major. -. * 2 * s- f : 3 i HOW TO LEARN A PIECE. Remarks. There are pupils who study attentively enough, it is true, but so slowly and with such frequent interrup- tions, that pieces become tedious and disagreeable to them before they are half learned. Such pupils often take half a year to learn a few pieces tolerably ; and by this wasteful expenditure of time, always remain in the back-ground. Others, on the contxary, try to conquer everything by force ; and imagine that they shall succeed in this by practising for hours, laboriously indeed, but in an inattentive and thoughtless manner, and by hastily playing over all kinds of diffi- culties, innumerable times. These persons play till their fingers are lamed ; but how ? confusedly, over-hastily, and with- out expression; or, what is still worse, with a false expression. We may escape all this by preserving the right medium between these two ways. When, therefore, one begins a new and somewhat difficult piece, the first hours must be de- voted to deciphering the notes strictly and correctly in slow time. The fingering to be employed must also be deter- mined, and a general insight gained into the whole. This, in a single piece, can at most require but a few days. After this the whole piece must be played over quietly and composedly, but at the same time attentively, and without any distraction of mind, till it can be executed without trouble, and in the exact time indicated by the author. Single pas- sages of great difficulty may be practised apart Still, however, they ought to be often repeated in connection with the rest of the piece. All this too may be completed in a few days. But now the time comes when we must also learn to play it with beauty and elegance. All the marks of expression, therefore, must be observed with redoubled attention ; and we must endeavor to seize on the correct character of the composition, and to enforce it in our performance accord- ing to its total effect. To this belongs the very important quality, that the player should know how to listen properly to himself, and to judge of his own performance with accuracy. He who does not possess this gift, is apt, in practising alone, to spoil all that he has acquired correctly in the presence of his teacher. Let each Strain be practised separately until learned, and then let the entire piece be played without interruption. ALLEGRETTO. MODEItATO. i^lfe 142 Richardson's New Method for the Piano-forte. ±hL&£ *NM= £ i± $*k&k t \i s=-^ ^g^E^f if- JsJ- i l?f= ?t E *fr ^ P*= i^t ji «|.jL lU- J- Xj .i x #i ^m. ^isi^ Jfc- ij^ ^ g i_^_M_^ g M ^- ^_a^ p_ _ I iii ^at=^z«Mzt| i ii ^^i^^fe^^gl i i m i iQ^ *3=£ ap^ £3^ a&i ii^^s^^i i j^^i =fe: 2=?==-:=5=ti=3=5==i!=5=U It: ±=5 fc~ p * ar: IT jai rfii rfii t^tiM-i S:«fcu£Lu „ -y-r- : g=^F E Richardson's New Method for the Piano-forte. 143 N. B. Change in the right hand by the introduction of Sextolets. 3 :-fSz a £E 3 3 3 ? m X-#- 2S- X a#-j!- „ f 1 4 3 3 4 2 3 3 ^____ i i=£ §i: 4 it 3 3 _ vffi- «£ §.-""» ~§r m r-^—i 6 jf I i i • -• a rr- — h*— r- ^NfN^n — Tl-qt i i 11 l" S I s PPS ■ i p — i — m fi^I -S= 1 x 144 Richardson's New Method for the Piano-forte. SCALE OP CJf MINOE. Scale op Ctt Minor, in Similar Motion. 3^X 1 X 3 2 w M a 2 l X 12 ■••J f I ^^ X 1 2 3 X 1 2. i«S^ 2X123 33 Scale op Cjt Minor, in Contrary Motion. *=*=£ fe^E^jg^p g £f= m 1 X 3 2 1 X 2 1 E^^^^m .. -)MU 1.1 2 3 X 1 2 XI 2 3X1 3X121 X321X21X -#-*■ J-W frt 3tH? t=t i=i*£ £E 1^ *fe Scale of ctt Minor, in Simple Thirds. 1 2 X — n^ 1 V i _S 3 J£ ,— * f | p— -i 3^ 2 ife feS« rtf? i gj^pgg^g X 3 ii ££ ii 2 1X321 Scale op Cn Minor, in Simple Sixths. m •— ■ H- x »— P— • —x-Hrz ■ z, 2 3X112 ■* -#- • P I L— "L U— I 2 1X1 2 X ""-J P -»- • -O- 3 2 1 X m kx r lt*T 1 2 «=*«J 3 X ^"»' fc X 3 2 1 X H^IG Scale op Off Minor, in Octaves. F^fgo: §si^ps^iii|pi|||pp Richardson's New Method for the Piano-forte. H5 Arpeggio on the Chord of Oft Minor, 1 Jk 4. „ X 1 l -0 0- I r- "__ 3 ^m ~^^m TWENTY-SIXTH STUDY. Exercise on the repeated note with broken octaves ; a very useful practice. Each strain may first be learned separately, afterwasds the entire piece may be played without repeating. I i m ^Jl^^^ ^^^^^^^^^^agS^^^iff^^ ^ife^ _I«L ■* J + T=*¥ ™- — i j — in ii '.■ I — m m I — e 1 -««,•=== — i ■ — P-kA — w-r- -^—9*0 a#- 4s- ffi- h g^a ^ ^_E!Eg^^^E^ES^ : MjL-U -• — \-0 — f^"f^-«-»h « as \s 146 Richardson's New Method for the Piano-forte. w : F= = =l| *• f i T l^_ i^ it3^^qii=fci=pfafa^=pt §^^E£ h I — I I i i — !""■ p"^— i — I "i 1 . : | g- g — i -g-g -» — h-g-g-g — h- g-g-g — | m\ w ' ■ ^^igfefefc^^F tsa_ * — \* ^S^^^^^S g^g^SS^^^^^^^^^^^^g^ ^^^ ^^^^jg fr — r-» ^Prf-.g-Ri L ..jmisi— jjkaiai— M»m»l— •»-^-g 1 r -gj--F-g-gj— g- g -P-|— F-|— h- 1— p 1 .a«»B.r"» g |— g-*-F|— Ft— (- -i— ' _ bn -._%=- it -t— -P- -g m - ^ , g * -#MhMiF# c y g p 5^ E p-a-0 » *.- :C==C S -3t j5=j Richardson's New Method for the Piano-forte. 147 THE CHROMATIC SCALE. This scale is of great utility, and it will be found an excellent practice. At present eight different movements are given, which must be practised very diligently by the pupil, and in every possible form. It is not only necessary to simply learn to play the notes in their order, but they must be played with taste and style, introducing various expressions. Let each scale be played Loud, Soft, Legato, Staccato, with Crescendo and Diminuendo, also in Slow Time as well as Quick. The pupil should become perfectly familiar with this scale, and be able to play it in every possible manner required by the teacher. Chromatic Scale m Similar Motion. Chromatic Scale in Contrary Motion. X I X, 2 X _ -fm ba -L2_ x u 2 x 1 2 x 2 X.l.ax „ a xai x ax a lxsx.a xjj, , Chromatic Scale in Simple Major Thirds. x 2 x u x 2 Chromatic Scale ln Simple Minor Thirds. x a x a X t^^ 2 pj*-^4 X_2 X 2 V 148 Richardson's New Method for the Piano-forte. Chromatic Scale in Simple Major Sixths. a x i x p"r Chromatic Scale in Simple Minor Sixths. 2 X 2 X 1 X 2 X P" "»"« 1 ,™*1'= a f"H 2_X 2 1 = -*|5-«^1 " x a LEU ££i 2 x 2 x i i 3 >«'«; l . 2,x a > Li ii -i.il I I teknio! Chromatic Scale in Broken Thirds, i " x a is. 4 rrr c - 1 3 2 4 X 2 1JJ3 * 2'*! U CTjSi+J Jtkj^&fttd* -U.ib-liiiil iiir.iiiil.nl —fir I xaE |-ffi — S-H — f in Tin i.il 4 2 3 12X312X31 ,2 X 4>2 Jf 3 i^»if- ^MMt^W^ » 2 X 42312X31 2 X ^^MWj gjjJB X 4 2 3 I 2 X 3 1 2 X 3 1 2 X 4 2 J, 2 X^I 1 3 2 *^S^J^j^u ^,_4 >< 2 d 3 x -^ — KH — 1 — M — ^h5^--FB*-*-» ,i r i '«-«-2tt- l L km x 2, 1 3 x 2, 1 3 x 3 1 3 TWENTY-SEVENTH STUDY. Introducing the Chromatic Scale practically for both hands. AIXEORO BltlT.T.ANTE. AU.EGRO BRIT.T.ANTE. , — -^ udULm n lfta X ff 2 _ — §s Richardson's New Method for the Piano-forte. 149 frfrTt fl M-rW fefc * Bva.-->- *-g')m _L 1st. time. 2nd. time. I si ? r — I l ~~^ — jl— 4>— ^-&l 1 If !""!™f — I — 1 a-a-x-a 1 i x - £==£ ^^ *fol i^ ^^p^gBg i ^ga rf^prip E 3 _=£_ J -mtm- 9 x*2 x^a cre.c. 3ft2 1 150 Richardson's New Method for the Piano-forte. — -""^ 5E5 5 — ..I- 1 — i-4-h — P-|— S3 — b_b>cdsH — i- -h — Peep* i^rf&E --^i x 2 x £ =1^1 HINTS TO THE PUPIL. Remarks. The end of all the simple scales has now heen reached ; but it becomes a duty to charge the pupil not to neglect the continual practice, with equal or even greater zeal, in the finger exercises, and scales in all the keys. The utility of this accessory practice is infinite ; the Diatonic and Chromatic Scales in particular, possess peculiar properties, which even the most skillful players have yet to fathom. And it is most earnestly hoped that while the pupil is studying new pieces, those already learned will not by any means be forgotten, not even the earliest ones. New pieces serve but little good purpose, if on their accc unt, the preceding ones are forgotten. For the adroitness and expertness of the fingers, the eyes, and the ears, must of necessity repose firmly and fundamentally on the experience which has been already gained ; while these qualities are to be enlarged and refined by more acquisitions. If for example, a piece which it took three weeks to learn, is forgotten, those three weeks are as good as lost. The pupil should therefore retain, as a sort of absolute property, all the pieces that have ever been learned ; keep them safely, and never lend or give them away. If with a fixed determination to excel on the piano-forte, the pupil dedicates to it daily, hut three hours only, of which about half an hour shall be appropriated to the Exercises, as much more to playing over the old pieces, and the remaining time to the study of new compositions, this will assuredly be sufficient, step by step, to attain a very commanding degree of excellence, without necessarily causing a neglect of other pursuits. Richardson's New Method for the Piano-forte. 151 COMMON CHORDS IN ALL THE KEYS. Remark. The following are all the Common Chords in all the Major and Minor keys, ■with their different positions, including the Octave. They will be found fingered, and the pupil will find it very easy to make Arpeggios from these Chords, which are recommended for practice. They may be all played as Arpeggios. ( See example of Arpeggios below.) First PosltH m tt- m Common Chord of C Major. 2nd. 3rd, J * |-'--i 2 -3# r« — X»-l ¥0 1 h— H X 1BUEJL. » — r»— x»-ffflt-4« — a Chord of C Minor. Chord of G Major. X«_ Chord of G Minor. Chord of D Major. -J — K«- eI%3£E^ Chord of D Minor. A £— ft? 2 ! — « — iS — o g ftf~ig — at — w=#y L 4| — as — 4»-ff?tt-x« — i- 5 — Aa-it-**— *« — -&* — |- it*- i ' tr^* Is- ■ Chord of A Major. x8: Chord of A Minor. Chord of E Major. Chord of E Minor. g^pg^ Chord of B Major. Chord of B Minor. Chord of Afe Major. Chord of Fjj Major. Chord of Fjf Minor. Chord of Dfe Major. Chord of C| Minor. Chord of Gjf Minor. ^MftM^A^MMritfMriit Chord of Bt> Major, Chord of Bt' Minor. Chord of F Major. Chord of F Minor. *e- i ..J ¥*- Chord of Eb Major. Chord of D| Minor. Double Chord. EXAMPLES OP ARPEGGI OS. £3 3 1 X <* — . — -- 1 — r* 3« 40 "• 4 3 1 X 2 1 X -30- • Al "Peeirio. N. B. It will be seen by the above, the construction of the Arpeggio from Chords. 152 Richardson's New Method for the Piano-forte. STUDY OP ARPEGGIOS. Aepeggio on the Chord of C Majok, Second Position. 1 _3. =f^-"P m KM &rfz?U 'i ^^ ^ffP^^H ^ ^^^ g i =P=T=S m JJ pS^R ^£HT^ 3 ?^^3 m Abpeggio on the Chord op G Major, Second Position. 4 3 1 X ^S= =¥ I I m y Effi i^S 8X13 Arpeggio on the Chord op A Major, Third Position. 1 3 4 3 sft &e 1X3 1 ££ 1X81 ^^g^ ^3= l II 1 2 Arpeggio on the Chord op Dp Major, Second Position. ■♦_ 3 Richardson's New Method for the Piano-forte. 153 Arpeggio on the Chord op Fit Minor, Second Position. 4 ff 3 1 3 dtU 3B : m m m* i^m Arpeggio on the Chord op Bt» Major, Second Position. n mM -\ -0- #- _ > 1- A Tempo. ::z5- ^j=* -«- S 4 3 1 » -0- -0- • • -0-?-< § ^ g P - £ 5£=±=ig "0 9 C— ■£ T i< > > > > ^^ ff==(E c¥=p; I ^Z=£ IH ♦, » ♦, », , — s i;-: y-#— l<-- — (-fr- Sl^gii^ £±= SS I A Richardson's New Method for the Piano-forte. 155 BROKEN ARPEGGIOS. EXERCISE No. 45. Broken Arpeggios on the Chords of D and G Major. 1_4 i_a_x_a 4XU c**^ 1 x-P-L P^n X 4 ! 2 X 2-£-4 ^ 12X2 X C=^ - F^.-f- FT ! |*1J1x4I 3 * 4-P-l „' X 41 2 2 1 4 X " X""™'l j I f J| 4 x 2 ': Broken Aepeqgiob on the Chords op D and A Major i ' ' 1 tf a 1 4a 3 3 ^S eiLW- 4X42 1X21 4 . Ut-—f * " jji: ^isfc^r 1 Hi !** CHS™ 1 J x 2 ™L U'+i>:j rt l ' rev 2=M ^^^&^m% H^i tis - -a-^--— ° ^— h — ^^^^rr — i x 3 »~* u y 4. X 1 2 - -»-« 2 V -*- ^^"TT^ l "^fl BSg iX2 l ji X 4 X 1 2 a -»-- 2 X -*- L*- I H™—lx 4 1 2 X 2A 4 „ 12X3 ^^Efefe^ SXT3 BSJ Broken Arpeggios on the Chords op A and E Major. teS=± -_ . W ft 1 xajLa^ 2X 2 l-i* 2x2 l-^-X-P-p^C-P-*- u d-4»d — • 1 ■ I 1 i 1' — b>Wsh.^.kH — a -1--4- 3—1-5 m X — P— ° XV X — #— ~-j--9— -J* X 4 ^ -3 htti "#- J V ,, S412X4 „ 1 2X2X 4 1 3 X 2-#-4H — #H — I — *- 4^_l 2 | » ft -i *-p- f X 3X41 2 X a X 3 X 4 '-f- 2 X 2 X 3 X •^*»=a -9 <=> s^ 11 - # ft -I--*-*- 3 J 4 X 2 X 2 X 3 14X2X2 £ 3 1 4 X 3 EESz I 156 Richardson's New Method for the Piano-forte. ALL THE CHORDS OP THE DOMINANT SEVENTH hi (WITH THE OCTAVE.) J Chord of G Major, with the 7th. Chord of C Major, F with the 7th. B|? with the 7th. ES? with the 7th. Gti with tl < X e with the 7th. i i I l . , tf 9* (^» gag % * K X/ 3 1-*-* h Gjf with the 7th. Cj( with the 7th. Ffl with the 7th. L. I Jii A with the 7th. Jh ARPEGGIOS ON THE DOMINANT SEVENTH CHORDS. N. B. AH the following Arpeggios may also be practised in octaves, as great benefit may be derived therefrom. Arpeggio on the Chord of G, with the Seventh. First Position. fl IS 4 3 Second Position. dp. ^S^^^BeseG 2 3 kLT r X 1 2 3 Arpeggio on the Chord op G, with the Seventh, n X 3 2 2 1 X J 2 3 ~£^* Isn: .* Richardson's New Method for the Piano-forte. Aepeggio on the Chord of G, with the Seventh. 2 3 4 3 157 •Third Position. ^Fl -^zL — zzz zar—zzzz±J_ *-n ad -» = — — — I— i I IB Fourth Position. ( fe^ Arpeggio on the Chord op G, with the Seventh. — d — • = — • — ! ' 1 • — #■ -" a- f L-J-H X 3 2 1 £S3: ^Iffi -^J-^a 23 i^£r Arpeggio on the Chord op C, with the Seventh. 2 3 4 3 3^1 §teSigg£ ^-*? Arpeggio on the Chord' op C, with the Seventh. 2 3 4 3 Xl 23 ^CTr ^ 2 3 Second Position. -4-» — #-!ij 1 ',— »«»— ' r inibi r _ f — # ( fe BS_ a ^ Fr=^ < 3 9 1— J— X 1 S 3- ^^ I^iB *u= -n l^^U **ft >T 158 Richardson's New Method for the Piano-forte. Third Position. e Arpeggio on the Chord of C, with the Seventh. 4 3 2 3 L^T**!-* — -0- 1 7l ?-»«afc2 1 .. tie*" "• \nd -0 -0-rim Ha« g ;.« ». 2-3, s^r^ xiT*5 Q> w= =•>*- 3SI T=P= =*» : ^5r-f»: Second Position. P Arpeggio on the Chord of B[?, with the Seventh. 2 3 :?jfl: iS £-^S= x 3 ' u^ _rj W-^— = £ fep=^fag & == — to- \>0-l p^ggi, I *i^ B— "*" -' — — : : - F^'wi^ ,_L * 1 X 1 2 3 ?3C 70- M_ 90<¥- S£ 1 m - a * i X 3 2 l Uo>""2 1 Third Position. Arpeggio on the Chord op Bp, with the Seventh. 4 3 2 3 P^"TlJ ■*- <4 , TH X 3 S^'^Tf £l I . M «_j — C3_ SEE 1 3""3 3*** 1^ X 3 =^ p =g^[|=^ft "^3 HP Arpeggio on the Chord of Ej7, with the Seventh. 2 3 4 3 First Position* ,t>> Sips x"^"S) * Richardson's New Method for the Piano-forte. 159 First Position. x , ^jB, T~T~*J &*• §- Abpeggio on the Chord op C$, with the Seventh. x - 2 * a jj- g a= foe QE5E ^ ^*" >T^ X _- W^f Exercise on the practical use of the Arpeggio. LARGAMENTO, 5g£ ss ^^7' =* J 1 T" 1 s^tT 7 * - = — ^ J 71 FPTTJ -•-' j "I i ! I 1 1 LJJ^J J I #Pcd. ES_ 3SC _i _ ^i_^ 1Z-.0 I — L ^ a *__o a L" Richardson's New Method for the Piano-forte. 2 2 X _-»•+- »-_ 1 -f) 1 # - j 1 0— \g -r- . O ^tf-^ V —4 3 X-F- * I _L_M *g:q: i _ • i:.i f »-Fi— ■ * Ved. *4*=l 3 s£^ •J- Pod. i- i * Wir b d!u izr ^ t: ^ :dzr=] r=^ rCJ ^ ^^^^ Tr=rPF ^=^^s^ Zfcg: .EEB3 Fcd.97 I.escie II I CRANDIOSO. /ncqnzzq — ~j ' i * r g : ■ flfeBcgs I fr — =g g — I — : \p — cj- 8 -8 ^ P P -^ • o. 9"^^ •- __^ *^ — " Richardson's New Method for the Piano-forte. 161 4 Fiornmcntc f-9# — 3 1 i j 3 x-pff'-P- %i, g|^ilf BROKEN CHORDS AND ARPEGGIOS EXERCISE No. 46. 3^- •- tF E±?- •- 34 U— "^T X 4 2 i , x-«--!- jj X 1 2 3 4 ,.J^ ^ * . * 1 » jp. ^?ry _*_IZ^ !P^ 162 Kichardson's New Method for the Piano-forte. ^Ms-j -j x 3 x a - I - - ! N 1 P T ~" a x 3 Ji-^-2, 1 X 1X1X 1 X 3 l4- X *-»- li J+ X 1 3 4 X 1 *T S^ ~g X 4 3 1 X X3 X 2 l-^ft-Vf "#- ._.. «-J-* — ™«-„ - „ZS — « — P-| — 1— I— r— »-"»-l— !— I k_J b»k_U — tx - ,, 421X IX1X1X2I4X12 „ ., -#t— « -F-P- f-.f . F-f— ■ "I 1 ' 1 I ___ — i^ *^-*— fl ^ ^ TTT^J&Pix x rSST xTal TTTx *^j» x 4 1 x 2 1 4 x*",-T- ■^^ o 3 4 2 2 X~w~ X2X 313 243 1X3 E^gS WZ\ 34X134X124X134 31X421X4. 11X4. 4X31 ** J X4X312X1 3 X» X 12*4 X^^~ X 1 3 4 X 1 2-W^ 2 1X4 BEST 3VX431X1 * 1 1 2^4 4 31 A 4 Richardson's New Method for the Piano-forte. 163 NOCTURKO. L^—O s h a — • — ^ —-r* ' — m 1~» — r S Cantabile. Ped, jf — £ <-^-»-Tff; siS Jf=* & * Ped. «=E lS§i^Pg P§ X1B41SX1M ■/, i a U^-J — x- 4 12 4 1 lP £ tac=t *=*= ^=^^ jg ^Hlg lJJi jg * Ped. -£- * Ped. j. Ped. ifi- 3r*-- #-*+=»- -^-2=H , -_ -*k23=*- feS I ^4- 3:^ -4*- =t 4# ! »- S£ 5^'=3 • g T ^ ££ 5*^— ¥= * Ped. _ * yj^j 1 — ' ' i l ' i ' " — '• i — ■- i=t =p=«r ^ gg^^^^ %#^^ #p ^| ^ ||| & Dim.*Ped. * aa Pe.1. * -»3-^-#-»-»-»-^-#-»-^-»-#^#-»-»-»-^#-#-#-»-»-^#P»H» : ¥ : ^»-#-»-f--»-»-»-»-4 -*— | 1 , 1 1 1 1— | p — ; — p— I — | — pi— | — I — p — i — i 1 1 p — p-4 — i 1 1 1 I ! 1 — H — I 1 h- — — — I- — m-*0-m-*-» m m »», » - !> . m ■ »» *» • p p .» p m p \ > -»h» y » -»-#-* -^ p » p [ 161 Richardson's New Method for the Piano-forte. *-* nil i i i i i i i i i 9 ~~k „.-pG * v -tt"' 'f -r.'-ir' r-r^^ r ffi Q|t— ^-0-0-0-0-0-0-0-0-0-0-0-0- -0 ., ^.t g-^-ii^g-Hj -^ i> — 0-0-0-0-0-0-0-0-0-0-0-0 -•— ' — ^ o ' <~0 ' Ped. 5/ Sf* JJ Ped. - * I •- — i*- a ifflF*- E - ; *q=F*- -h±4- • - I ^ 9 V ¥12 X 4 1 3 X ^fe -»-*•?*- f=HW=t * Pel. - * -Jfc »=s a ■■ i — b— «■ — 0— o ■*±Et2=Efc£:fc=SH :^^ Ped. . Ped. ;£ Ped. % ±z: ■flpR-!-— b- m ^ =tr=5=^ }cpj=: jflr* 1 1 C eTTt — k^-ir HE i — ^— uU — LiJ — ^J— wJ— J-uJ b_- — i — y j V- S^& p^^ r_ ffa Richardson's New Method for the Piano-forte. 165 Tri r r r r r r r r r * ^ • i r~ — t? Ritard. Ped # - 1 2 1 X -<1 « THE DIMINISHED CHORDS. m m^F^^^^^ ■b * | J» f«» - in Dim. Chord of Cfl. E. G. B>. F| A C. E|>. B. D. F. A[?. i ^ =& fl* Iwf rjag: ^1 1st ARPEGGIOS ON THE DIMINISHED CHORDS. Akpeggio on the Diminished Choed of E. ..,2 3, 4 3.. P -# • — ^»& H^T 3 a — i=J-^ — i — a — 3 — ■^E^&H »&-, — - — 3H— f— ' — " iI is Fr^ TF V: ***2 1 a ~ 3 fcStr Ep^tNNI 4 3 "^ Arpeggio on the Diminished Chord op C. 2 3 4 3 X 1 2^3 C^S: fHlrf -^Sfe- 166 Rifchardson's New Method for the Piano-forte. Arpeggio on the Diminished Chord op B. «L± =^z =P^S= = - 4 , > Arpeggio on the Diminished Chord op D. 2 3 4 3 * r I ii) -j < 3 2 1 X 1 2 3 P4^H X 3 W-^ — =V*- Z2^_j S X 1 2 3 □" ! f X 1 Arpeggio on the Diminished Chord op F. 1 "fiEFI IS3. *- • i^tt ggg^Ss^ -^"^^-X-t^2 1 rj Pr-^a i i**.^?* i="?*«5F ^ ^ Arpeggos on the Diminished Chord op aK 4 3 2 3 - —I""""'! ""j ft*- J T"n X 3 K^JlL - , - l ^?S X32 i^B Richardson's New Method for the Piano-forte. 167' MISCELLANEOUS EXERCISES. N. B. Play each exercise through twenty-five times. EXERCISE No. 47. 3-^-3 AT.T.FGRO. ^. l~*-\ 1 ~P~f * \ » 1 ii -^ 1 m-f— 1 i ! ■ ii — *-*-*-*— z — u. r l - — 4-1 — » - — I — I — b-i J 4 — ■*-* c^zza ■*■ — k— i— LJ S53 mi* :fc i=qc X__4__X__i i :*t SP I as * — p- -9 — * — 9 9- m m *fe$=fefE=| tXZ teg* ESSi I > 6= F 4 X 3 X 3^a^ls#E%#pjaf W^t 2S^ : J^^^i^^^^^L^^^ ffi 168 Richardson's New Method for the Piano-forte. 4 2 3 X m —4 — 1 9- 5 — • — 1-* 1 X nl X F-""^^^' - ' MAZURKA. vx3z ANDANT1NO. X Ci=fr ffiti -e-P-& 1 2 3 2 X — t~ i t"* rp 1 *■> 4 . .1 P=H |^iL?fc^ AA Con srazia. HIe =± fe ?-i— 4-? — m — ig g LirrWrSz? g p- -*;- * Fed '■f -iJM- 2 3 2 Fed. it 3= g=^gg v 7 y :»=^ -l*-#4-j t=tdSEBi ±i * i- SS=8 ha- ifj Ped. Si? Pcd. ^E— *^ ^ j— = S Tttr tt ^55zt * =£ =ts£ £± &=&»= m & -csF fE^g JL SirS^ -$- * isE *•* P8d - *-*- * ! -f-T-^ =3= -JT -*- 4* 3 J 34* 3 ? -~-f- ^ . ■ Ik — gz f-7-^ =C 4=* Richardson's New Method for the Piano-forte. 169 i^;_ri-3_ ffi Wtg j ^ ^P^^ ^ fg — 3 dt£±$. ^ -* m H^_ A A ^ . ^#Jg^ E | 3 -y-T-f^ = -=£ r^ »f-&-f a f\ — i»~ J red. A * ___ ^ ! _ ov , 1 - w , i — ^ -g 1 1 v r- r — rj TV — T fH r P -^X ^ 0- -N-tV * ^ Pod. < ^ * I £ H5 "^ 9 , ^« ifcTrf ^T TTrrri rr r g y . Br rm 9 9-9 0-0-0-9-0-9- 1«- 0- -5- -•- -*■ y-y:' 99-9-9-0-0 — 0-9- 3EEE r>^ JV-iT* 6S I?3t Pod. SEE Dtt * * ^ zi- 7 r ? « 7 f g|3iiie i ! ! I I I • t. r 8S-5=*%- -9-0-0-0-0- -000 0-0-0- ^0-0, 170 Richardson's New Method for the Piano-forte. _- . ..^.pHB^f. . . . •n»-m- J J -9-0-9 -* -9 -0- -9-9-9-9^0-0- ■*-% »S-S -t. • *■ _ * -'* 'a a o~»- 00-P- y*-t*-*-f*- - ^&W 4 : d « d Wm irate te VJ-, jgj^g *=?=*-. £=* i- I g ■ i l 1 r-j — F — ■ P J, w to»i 1 r B -6±»* 3: : £=3- ^-3-#-? ll&J^Es -F- ^- p^-^' f > < * 3pfli=3E§=J r^ S *T § j F^ r ^4 -=si ■Mo: I'll :«-«-= a J£8 L-iiiiiin..iiL..ii Mi 1i i i i i i gggjig -# •* -ff -»- -9-9 9 99 0- *r 9 0m* 9 & 9g0- -0-0 -* -# -#- -to -0-0-0 -0- -0-0-0-9-0-0- B9m» e B g 9.S a e) 9 0-0-09 0- < — i — I — i — i— i— 9-0-0-m-wm i *L*Lr E g iI*L i — *-#-•-»-•— . — 0-0-0-0-0— T 0-0 00 0-&T™~'i- , - mz -r0 099-r -e-m 9-0-0-0fg-0-0 -9-9-1 m 1111 ■ 1 1 ' ''■'■■' — V J JL LbmnJ -Luona'aJ ' iiiiiibjiii.i 1 ' 1-- 1 — I- |— ) LL -| 1 1 1 L ' I I I— I— M— * U^ ' t^B* n » ■ =£ _f .0. Jt .0 .?_ ^f-fl-fi^ p q* -» • £ -•- +9999-9- ■ -99- m-m- 9S^Eg&£]g££g^ gEpf£gs ^^ ^ *SS*: -990 99- -J--*-?-?-*--*-?-*-*-*-?- ~m000- -0- -0 -9 -9 - 9- -9 -9-9-9-9-9- »-\B-+-9-i -■&- 1^~* * fed. * zzjcpzprpTca S -•#» ^ P ^: m :m^^mm. 1 1 ^ n ' 1 1 *-A A fe **^h 4 ?&»-=a MM£Uffe= -g » - 1- h-- *n — -f- -h~ s 3=S ±5- •& 17 ^Pi P ~nn ' I I ' I I ' ' ' «=—. _»■■>; 1 I I I I I III I I I 1 ii ■■■■ ' lii.'i -_»■»»•«-■•. ■ num. n ■ I. I I ■ I I — — ». — ... . - ■— * »■ ■■= I 1 i^=PPPi <> --^ ' ' I i i i i i i-'^^-^ ■«■''!■.« I i i ; J ^a _^ -. 23232323232X1 2323 XI 2323 __ _».»«•_»_• *«**«*«*«*«^*«^***'»'»'»«** ^*^*I J I-**' "l *J „ ■.,.,,- ii. an^BE. 1X2X2X2X2X232 1X2X 32 1X2X - m m m m *» **> ffi afl*» O • "*" .» H3»m X323232323231 312X2X2X2X2X2 ,-^ ^»i i »->■ > t I, ^--— >»»»»_)-»b..»»b,t.^^rt^ .i i i r .-"; -1 ","' ~!~r.~|-^r It 172 Richardson's New Method for the Piano-forte. •flg» — 09*i^f§p0 — fo** — m- SS ESS SS9 ESS ESS ESEI ^2- BS w^ ^^ -tt -J3Q -*SS -*gQ c5 «£gB -JS Bj^ JtW r.^BtN gB *•««- ESS S3 CS S3, I o 1 ~ -»++ a -.J: « s ^^ai^^M! t=s i yen rr ^+ as "^Ifa * _4*_ ^^^^^faj&gj&grgg^ft^gi^^ *- n-« — F-n — FhFh -I SS3 SS E=c* 1> , 1^8= 3 Q g- J*f=-**LJ- ^ ! : w — — — — — — — — ^ I I ] ' I J se ■ -a* « a 1 x x 1 J I J_ ¥0 — r — y :* at 343 P <=» £ « H , ■^.^Jil .ta-g.A ^ X X,-0< X X X X I f—f=^ttp?wzhjZ0Z tr^ I 'J I ' J ^^mm. tr tr &•— — pm / tr. 1X1 3 2 4 4 4 3 2 174 Richardson's New Method for the Piano-forte. ON EXPRESSION. Expression, feeling, and sensibility, are the soul of music, as well as of every other art. If we were to play a piece of music with exactly the same degree of forte, or piano throughout, it would sound as devoid of expression, as if we were to recite a beautiful poem in the same monotonous tone in which we are used to repeat the multiplication table. In every composition, the marks of expression, f, p, cres, dim, legato, staccato, accelef, ritard, &c, are " so exactly in- dicated by the composer, that the performer can never be in doubt where to play loud or soft, increasing or decreasing as to tone, connected, or detached, and hurrying onwards in the time, or holding it back. The same exactitude with which you are obliged to observe the notes, the marks of transposition, the fingering, and the time, must likewise be employed with regard to the marks of expression. But the most difficult part of all is ahoays to observe the proper medium at each mark of expression ; for there is great diversity in the shades and degrees of forte, piano, legato, staccato, accel- erando, and ritardando. The utmost fortissimo should never degenerate into mere hammering and thumping, or into maltreating the instrument For the same reasons, the most gentle pianissimo ought never to become indistinct and unintelligible. Richardson's New Method for the Piano-forte. 175 F0BTT-8KYKRTH AMU8XHXRT. &m*m5m^m ALLEGRETTO, quasi. ANDANTE. j fe P -^ -^ Vpl r^ =P= 3^ -»-^-» K- ta — r IS=£ £ m/ fcKaE^izd^ ^=j=r S 4 ! * i r *i • ftrfcfct ^EfeE =1 : s= =£ r jgj ^f^ ^^ia^ ^H^g ^Eii ^glEi^ *pcd.* Ped - J9* 1 #4. S^ ^^ £fe£E ±=* m h ^ l^gg^gg - — |jrrt-r^ »F^ A ^A ^ '/Ts R temps. ^^:j^^i^^fe:- r j . r> s| N -fr-*~»T*~ ?=t=kl==^=? S^ S «: i ^ e Delicatamente. *t5 -«H$- -: f • -*-9 — _* fc z±=zz±f=fc — 1 1" a ^ — L — I >o — '— F — » 5 .?■•'?■ -i — j= - - = *^3bj-«-*-j" ±=E *T* .. #^ ^B g$##^g atrt -»-•- Ped. 3tZE aEEifc UlI 1 176 Richardson's New Method for the Piano-forte. SCALES IN DOUBLE THIRDS. In practising the Scales in double thirds, the fingers should be kept as close to the keys as possible, and the hands very quiet. The Pupil should exercise great care in practising the double thirds to render them even and Legato. Scale op. C Major, in Double Thirds, in Similar Motion. 3 3 2 3 3 3 ?2 y n u >wl v- at 3 g 4 2 3 3 * Jsj p ;rj jfi * ^- J- J T^i 5-2 ? I ? 3 4 •- s x i s i r-x 3 s I s 4 2 3 5 Hx U g , x v , X 1 2 3 m -0- 32 32I2-3 21X12 U-M-l-l-g-r-^- ^ r r 3 4 -gl-f= -T-I-g-l-l — £ — fr r.^L — B — ' — ' — i — R- rrh p -Hf S3^ Scale op C Major, in Double Thirds, in Contrary Motion. 2 1X1 2 3 4 a I x m -m- a xi 2 4 3 5 X „ *- -5- -B- -g »- B X 2 3 3 3243 9S^ 1 X 1 2 ES= X13_aa_43 2 » # -«- -S ^- Scale op C Minor, in Double Thirds, in Similar Motion. ? 232X1X 2123 2 3 2 3X1 f^ Na. «—«. l X 1 2 3 3 4xt xi r-n iW -*- 1 d rrn r«— x i X 1,2 3 1X32 3 2 1 X ^rf -4— "-9 m 0- mi k^ 1 'm~ — j — — j^ Scale op C Minor, in Double Thirds, in Contrary Motion. &E£ \-3 x 3 ?=£ 2 3 2 3 K=3=? M Richardson's New Method for the Piano-forte. 177 Scale op G Major, in Double Thirds, in Similar Motion. :S: 1 . U ■* " 2 1 X 1 3 3 t—""., 1X4323 1X3 2 3 4X1 Ln*"", X 1 2 4 3 2 3 2 12 •— 1 ! J f*m X 2 3 3 3 2 £=c FEgE I ^ 2 3xi %Y ■—«. i Scale of G Major, in Double Thirds, in Contrary Motion. 4 m -0- m 2 3 2 a -»- -ft- B- -g #- m 3 2 2 3 2, 3 X I e -#- -ft- "# - -T- i F •- -S- -#- « 1 X 3 2 -(^-# — 9 — » — F — | 1 ! U>* a — a — a-— 1 3 — a — a — a — a — a — * — «^J 1 \~ —*- i -0 — * — i — — — I ' — ^— — — |— x i x i- x l — [■ - x — i x j 3 ——J- mm m 1X12X1X1 * -9 - -5- -*- -yi- -+ -+ -A ^- -#- -J- -#- * XI X 2 1 X 3 3 2 3 4 2 3 2 3 * -0- -£- "f" -#- "« £- ■#- • 232433 I =e; Scale op G Minor, in Double Thirds, in Similar Motion. 2 3 2 3X1 *J fA P"| X> !>. 3 4 3 2 3 3 3 4 w»"1 J ^ ,"■««• X 3 3 2 ? « ^^i^ f=*%^ 1 Scale op G Minor, in Double Thirds, in Contrary Motion. Ste ^ 33=3 J * 3=?= »-— rt m 3^W wmm 178 Richardson's New Method for the Piano-forte. Scale op D Major, in Double Thirds, in Similab Motion. U X I, 2 X 1 X I r=s=E a — a — «^J 1— -U-" a — a — > § 5. g^=B ■0- -2- x .i ^ a n —m s ^ n - * ^> « ■< o * « *. u rt *_ -j * __ • » — p- -s- — w— * j a a E3 -£- Scale op D Majoe, in Double Thirds, in Contrary Motion. J. -«. :£: —~ a — a — a — a »J 1 1 f 1 - — a — x —i — x — i a — 3 — —-J — h—\ I *— «J "^F- -T- -9- -3- -#- m 3 3 3 2 3 4 2 1 X 1 X 3 2 ■-—I m -»- -8- -5 P 2 - ^=S-« M . ^ - ■ s ^zjrfjrT^ 1 - x - r y J rT ! =A - *^ r • 4 3 2 3 3 3 Scale op D Minor in Double Thirds, in Similar Motion. 23232342 X- Bg- "S" 5P" -P" B» 2" E*- « X 1243 2323 3 x 1 x 1 x 1 3 x m -0 -S ■ tf#- -#-flp- H-fri f-fy»- -g- -S- » X 2 1 X 1 X 1 X y-s-.jj :^f=S Scale op D Minor in Double Thirds, in Contrary Motion. fc*||£fe£Tf-r x t x i x 1 5 x # -*- -s-w- -f-rp -h f F- -f- 1 "*- -5- -•- i * 3 J x _i_x»_I x — • — ■ — * L-* — "—a — a — t— x >-^ — * — 3 — a — ^f — ■«■! — ' m — » g ** ^--tr^rt: Richardson's New Method for the Piano-forte. 179 2 3 4 3 3 2 1 Scale op A Major in Double Thirds, in Similar Motion, 2 3 2 3 2 3 2 3 X I XI X 1 2 3 4X1 f^m !■*■ r—m X 1 X 3 2 3 2 4 1 X IX 2 XI X 1 2 4 m £ X 3 2 = S^5 3 2 1 X *14 *— r-zSri: • — a >< 1 X 1 I -t— ijz 2--^ s S=^e£ g-fer^ Scale op A Major in Double Thirds, in Contrary Motion. See si 2 3 4 2 3 2 3 1X21 il|fe£ ■^=»= x r"x ■P— 9- &T=P^= :£=*: -e=J- 2 3 2 3 4 3 — x l a — i | x t — a — 3 mmSm p? rt J J H :rt X 2 1 X 2 4 3 2 I X T X 2 3 2 3 2 4 la SONG WITHOUT WORDS. IUODERATO. ^3*-3-* — - - ■Jj^:'ii ; ll |ii , , , , , t p»i »-• » — - - _ r |F _ u 'r IM — J— ■±- Sj ttffi E3 J^-f>- =fi- a^E3 "3^ =tf fff «3* f f-t ri^fifad kifet^ 1 I ■ 0-0 0- I -0- i i= ■ — - -0 ^— r— S- -•.4 m^mm a — -^g z \ 1 ^ ^^, 1.11m. # ^ jym ] _i^^ u i >j,TjJ'jj 5nJ rzd^z** *-0:t—Wz0i0ZM !*-*-»-« =: F =P=i= -<-=-# ^ 180 Richardson's New Method for the Piano-forte. -e- p J r ^ T T i Tr r t* fes Al ,----- . ^ fit _(t_ _p fe _a m. • _ # _ ^s^ £S3£ S — F — f — •- S ^^&&wm^ fcfcEJ U r I - ^! ! I f\ ! I ■"■■ ■'"' C2SSE3 I ■ - I ' I ' -*-*■ iB H r^ SS -■hf- '35 Scale of A Minor in Double Thirds, in Similar Motion. * .3. 4 3 9 3 9 1 9 X i_ x g a -*r • „ . f J h- J . 1 x i x U«J_ L I v . • -^~ A X 1 X 2 1 2 3 2 3 2 „4 3 ,,. 1X1X2123 X124 3 4X1 2. 2 * 2 x i x -9ruM : * LL* 2 3, ^2 HHFe-T* ?^e1 Scale op A Minor in Double Thirds, in Contrary Motion. isfc J x I x i £ x i x i I x S x r x ? a x l \ l l x i I i I x I 2 i x Richardson's New Method for the Piano-forte. 181 Scale op E Major m Double Thirds, in Similar Motion. ** % 3 i 3 3 S ? 3 * S 3 2, 32 32 4 3 2 =^3 ^f M= fJ*PM^^glpipFi Scale op E Majoe in Double Thirds, in Contrary Motion. m * — -i mm- >-« 4- X 1 X 1 X 1— L-X 1 X S— <»J .I f » ^ JX ■f-r H — P""" — a— -a—i-4 — x — i — a — x — a — x — 3 . x — 9 — i — x — a — a -— •-, — —— . —I 1 i r*- 3 — a — s — 4 — a — i — a — i a — 4 — a — a •——, p_,. r j 9 —0 — — 0~ m saBt m -*=f- I i \ \ 3 2 t^s^Nii 33 Scale op E Minor in Double Thirds, in Similar Motion. 2 3 2 3 X _ 1 2 3 „ — * g — — W—i \— — 1 1 1 P — 9 — g — *-nm — • ■•— S S^&l la JM 1 x i x ,,i ^H Scale op E Minor in Double Thirds, in Contrary Motion. fhrw I 1- ^# — p i j -F U— ' — a — a — a — a — a — 3 s — 3 — a — 4 — —-J- — \z — b_— f — * — 5 SB l. r * l ""'"" 1**" == 1— ' * 1 a X 1 X 1 — r—* » 1 ^ 3 J mm *1 I g H TT - P-H E £=*: "*■• 182 Richardson's New Method for the Piano-forte. wm Kp Scale op B Major in Double Thirds, in Similar Motion. 9 3 2 3 3 3 3 3 X 1 X J X ^^^^^ Scale of B Major in Double Thirds, in Contrary Motion. MA ggj ^ig^ 54=B*! — L^ a — a- —3 — 4 — s — a — a — a — i — a a — a — s — * — « — a — a— a— ™««J 1 — — - — - — t — hJ— i — a — x — i — x — i — x— i ' y — s — " — •* — * — " — > — *— •- — ■— ! I X X 3tfcf: 71 laxixixi * -5- S- -g- tJ -g- -B--5- • x ] x 2 i 34232323 » -«- -S- -*- » 2 3 2 4 3 Scale op B Minor in Double Thirds, in Similar Motion. 3 2 ?i U M H W U 3 2 3 2 gp^f ffl^ H u- ■'. sr, g ^s— g* SH3 tefc § Scale op B Minor, in Double Thirds, in Contrary Motion. * 34332323 * -0- ^%- -0- ■ 3 9 Richardson's New Method for the Piano-forte. 183 w$& Scale or Fji Major in Double THffiD3, in Similar Motion. 3 3 4 3 I X 4 3 _ . ! 'rj-D fa y 1 ^ "r-5 J3 ^ ^S^^ iSg^i B Scale op Ftt Major in Double Thirds, in Contrary Motion. 33 3 334X1- -»- -5- -*- -f- -f— H p- -F- -*- -g- rft" »1X43333 3 JUU » -#--S--#-tj-^F -*--«- -3--*- * iS*** Scale op FJJ Minor in Double Thirds, in Similar Motion. *fc 4 X 1 r mm . x 2 3 a a ft.,- '- ^ ^^m m ^mH 1X3233 IX 1 rg W*"^ 3 13 3 3 3 H 4 3 tt g £=*=* JH a 1 * 1 fc±=£2-i ^tferp^ Scale op Ftt Minor in Double Thirds, in Contrary Motion. £S a , a 4 s i x s -#=-*- g^££^ 3=r- n^ **§ «~r JUL in ■~n^J g— #- s *=i £3 Effi tm^^^^^f= m^m in 184 Richardson's New Method for the Piano-forte. ANDANTE ESPRESS1VO. 3E* m SOE mf . =p — »- -*=F P 2=T rWPrl^ =?=•= ^cct c±==d j 3t=it=± 1 1 1_ ' i i ill — L HM ' ' 1 m J tfj far -• — =p H ^^^sm* #3 J=d m m- -»• 1 ' ' ' ' l Sf Ei=E ^— —— — ■ ■ ■— ■ — QT II u H ^E P=± «-' ' Crei ...........--- can . - - - - - da. ^NilbHPPsJ^Slii^ Richardson's New Method for the Piano-forte. 185 fiTTJ; TTW 1=2 if ^ 7T^ 3^ FT £S 3£fe 3g 3 -!••-. .-»- -»- £3f '-*-» ♦"«* ^Mmm^m^m^ -r -*—+ EKp ?*=t s/ -.- ■ i ■ i — i — ' — i — 1_^_ ■ ' — i — ' ' — > ' — * ' — -i- mf h =p=P= =p=? it*: s Ift— ? -It i! J. s t*= — a Egi^ — * — h — # #& p=p=^ p^F 3 ^-^n Zfnfc :» ^i . Dim. ==^I ±Z3t r T- . -■■ — a — i— i 1—| _ ' '1 — i -\ ' — l. ^__ ^_ — ii — J - — »— . J — J ? Mk ^> — — ! ■— \» m . gas. | i | | r 3* ife,«-»*-»?= •*"»• =: =t i « / ** - Ml rtrtrt =* titerf 186 Richardson's New Method for the Piano-forte. _if y~- ^ nj r^ V- -fcrrih fej: jJ_ — -J? JL -J-. 3 — 9- f * r » sr S£#^3 m^^ri^p^T^^ mw J m J m $ =2= S s/ J^9 fe ^r isl te=t:=ti 1 —+ H- -f -+ -t Pllf^^^i^^fflllflfWlril Scale of D[> Major, in Double Thirds, in Similar Motion. 3 2 3 2 3 9 1 X 1 X 3 2 4 2 1 X —"^ !■■■- 1X33 2 3 2 X ^m -Id' "■*" 1X43 1 X 4 C— ! V^X 3 2 4 3 2 3 4 2 H LJ S^^J =t=t 2 3 x 1 x ^S Scale of Db Major, in Double Thirds, in Contrary Motion. m , LtlJ JLIi-X J 4 * f f SJiJE Ag I- 1 - 1 1 s t ? 7 i x ix Ix 1 2 * -•--5- -5- » x 2 i xix i x 2 1 x 42323334 * 24323233432 ^fe Richardson's New Method for the Piano-forte. 187 1 Scale op C$ Minor, in Double Thirds, in Similar. Motion. m^mm Scale op Cft Minor, in Double Thirds, in Contrary Motion. jfe £'gfc £'|fc uUfe * *» — l_«^ a — 4 — a — s — a — »-+-s — 4 — 3 — a — """J 1 — : 3 3 — ■ [_ m %=£■ e& •-#-* 2 4 a a ;i 3 a a Scale of A+» Major, in Double Thirds, in Similar Motion. ? I 8 ? 8 ? „ , , X 1 X 1 2 X 1 X S=i=f* t^ 2, 3 X 1 3 2 4 2 ^ Sgn i S-S--«- H^:g^ g-jJEE gEg MEfej r*s £ 5 ! Scale op A\> Major, in Double Thirds, in Contrary Motion. * ± £ J £ zi mdMMmaMMim i 0iMmk i -r-Z Tj=g-g-gl 1X2 * 2 4-« £*£ 188 Richardson's New Method for the Piano-forte. a f-J. i 2- Scale op Gtt Minor, in Double Thirds, in Similar Motion, 2 3X1 i t x -a r-i S I 3 a 4 2 3 2 3 2 j—""! J o ' ^^ 1 X 3 2 -Ff U-J L ! L ? wm h W f p yt. Scale op Gtt Minor, in Double Thirds, in Contrary Motion. , ,■ . "J — » — 2^-S — ^- pj I T-*-f - [T =t= ifc* SEE' J:??: I- 1 — 'I— x — t— x — i x — s &■>£ a: «_. "s * P Scale of Ej? Major in Double Thirds, in Similar Motion. =&ldUS 331 3 S 2 1 2 3X1 «■■»• 2 3xi r""" i ' i 3 2 ? i x -4 rj -/-2.=*-f H"! x 1 yfz Sl *M "T pyyrfi != J£f=- H ^ _ x gg^ pre gig^ i= EE jEj E^S Scale of Ej> Major in Double Thirds, in Contrary Motion. ■H-F— I — l — — ^*- — +-ta«"" -3 3 2- — 3 4 3 rnFit x 1 * * * ~~ l J=s - rm- =Sf^=s= 1 X 1 X 1 x r»— B— •— d— 1 ><^ 5 x i 3 » -5- — a — t — a- =P=F=f^; «: ;: 1 US". 1?! ^ Richardson's New Method for the- Piano-forte. £J Scale op Dtt Minor in Double Thirds, in Similar Motion. 2 3 2343 33 M U X r^ "4 M. x ^i U 3 *■ ' 2 I l»»"T., 1X4323 421X ^»! , X 1 X 3 2 s~rH4 4t 1X32 1X32 U » * — k^ X»- -I BPB Scale op Dtt Minor in Double Thirds, in Contrary Motion. i -5- X#- M X 4 3 2 32324 -f-^ -f- -»- a 2 1 X 1 X 1 X 2 S=S X1X1XIX2 23232324 ±f*-m —j 3=5: -H 1 1- -J — * s J X IX 3.2 -C ^ L» ^ ' < ^^? fci*P= m ALLEORO vivnco. 1 IE 3 * XI 9*: ft ft ft: §^S!3eSeE£ ig^l^^^^? 190 Richardson's New Method for the Piano-forte. sg^jfc tf feji il *(&&* m a o — m — » — o e fi — t— I 1 "" I ' i 1 ! ! — r ^.. m — m — u-0—m-*—tt-te— r*£ — fi 1 v ~ — P-r P loco. 3 HH 1 - L - X kizi^-t - ■ JLt= ' ~r~ / / s_ K i i » -f- 3 fP^5*W^ 0. _p_ _gz _^_ -»- -m- i £££ /2 /2 3 5: -*7— £ -*-W-T jHg II * V Jz Scale op Bl> Major in Double Thirds, in Similar Motion. 72=£ /2 383332 9 3 3 4 S 5 X 1 X 2 IX tr 2 3 2 X I m 1X32 1 I J P.. m&3& m t — a — j — a— '"^J 2 4 3 2 g^lgff Scale op B|? Major in Double Thirds, in Contrabt Motion. — 9 3 — S — :l ""—I 1— ; 3 *=H i .' \ Richardson's New Method for the -Piano-forte. 191 Scale op BJ? Motor in Double Thirds, m Similar Motion. ^l^iii =F= -ft J^'^ -ni=S-+* — ^~+t^= •-rA-Z = rSr- ■ -9-hm— mj^gggg X 1 X 1 X 3 3 3 3 2 K$e Scale op bS? Minor, in Double Thirds, in Contrary Motion. gi^S est a —a — a — * — » — *- -3 — a — a —a — a— v 2 x i"x ix i 2 1 m ^ 9 ^S--£+^--*- -J--*- 1 * *^ b- ^ rx 1 X 2 42323334 • -#- -2" -#- * 3 2 3 2 4 Scale op F Major in Double Thirds, in Similar Motion. 3 2 12 "*»i 1X32 _. i*A£ 11 K4 r^A-s r i kg Li LJ 7— Xj-I-*— -fj*- Lj'lj =*- ^" § ? x ? x^l r- ? ie— '„ i X ? x W-. r— - ,■*-, . 1 V* t-( w r-i I Scale of P Major m Double Thirds, in Contrary Motion. ss^asafx m -m- -§- ^8- -P- ^f— £ ^F ^--S^-S--*- i 3 2 a 23232 9?^ ^T ±=3= =*=* : 4r^ , l 3 S 3 2 3^ HB =fc^_ _j_r£_S= in ™S^ 192 Richardson's New Method for the Piano-forte. Scale op F Minoe in Double Thirds, in Similar Motion. W 2X5 33 ] I l U»" I X 333243 333213 '•■■J 2 1X3 *■•"■_ X? 3 a 34 XI )«•«. X 1 m a e r*-i ±B a 2 Ifcfc- Scale op P Minoe in Double Thirds, in Contrary Motion. -a — a — a — a — «^J — t 2X1X1X12 X21X1X1X2 4 2 3 2 3 2 3_4X1„ „ „ „ X12433,32334 ?=vT-i *-r» — i P""" r**>—i— 2 — 3- — *— i — ¥ — 1 — a — I i * — I a — *- — ; j-=-" i i - — r- — s — «-«- Chromatic Scale in Double Minor Thirds, in Similar Motion. 3 232 32 32 3243 M m^Mi^M^=^== =--==\= =3 == ! — ? — ' — F r £±±pk Chromatic Scale in Double Minor Thirds, in Contrary Motion. 342 33 342 , a a , , I , , X ? 2 X 1 X i X 1 X 1 X i X 2 1 X X X 5 3 * , 3 3 2 4 a a 3 2 4 32323243 2 3 2 4 1X1X1X21 X 1 X 2 Richardson's New Method for the Piano-forte. 193 TO PLAY BEFORE OTHERS. Remarks. There is no higher satisfaction than in being able to distinguish one's self before a large company, and in receiving an honorable acknowledgment of one's diligence and talent. But to arrive at this point, we must be perfectly- sure of our business, for, want of success is, on the contrary, vexatious, tormenting and disgraceful. Above all for this purpose such compositions should be selected as are fully within the powers of the performer, and respecting the good effect of which no doubt can be entertained. Every difficult piece becomes doubly difficult when we play it before others, because the natural diffidence of the performer impedes the free development of the abilities. Many half-formed players imagine that everything will be right, if they do but step forward at once with a difficult piece by some celebra- ted composer. By this means, however, they neither do honor to the composition nor to themselves ; but merely excite ennui, and, at best, are applauded from politeness and compassion, while they are in danger of being blamed and laughed at behind their backs. For, even with regard to amateurs, persons avail themselves of the right to blame when they have not received any pleasure ; and, in fact, who can take their doing so in bad part ? Many, otherwise very good players, have in this manner, by an unsuitable choice of pieces, lost both their musical reputation and all future confi- dence in themselves. When playing before others, a performer should especially endeavor to execute well-studied pieces, with tranquillity and self-possession, without hurrying, without allowing the mind to wander, and above all, without coming to a stand- still ; for this last is the most unpleasant fault which we can commit before an audience. Before commencing, the fin- gers must be kept quite warm ; any inconvenient mode of dress must be avoided, and if possible, the player should always play on a piano-forte with the touch of which he is familiar ; for an instrument having a much lighter or heavier touch than that which one is accustomed to, may very much confuse a player. But, besides professedly playing before others, it may often happen Chat one is suddenly required, in the company of intimate acquaintance, to play over some trifle to them. It is very necessary, therefore, that one should study and commit to memory a good number of little, easy, but tasteful pieces ; so that, on such occasions, they may be played by heart ; for it appears rather childish to be obliged, for every trifle, to turn over one's collection of music ; or, when in a strange place, to be always obliged to draw back, with an excuse such as " I cannot play anything without the notes." For this purpose short rondos, pretty airs with variations, melodies from operas, even dance tunes, waltzes, quadrilles, marches, &c, &c, are perfectly suitable ; for everything does credit to the player ivhicli is well played. Playing before others has the great advantage that it compels one to study with unusual zeal. For the idea that we must play before an audience, spurs us on to a much greater measure of diligence than if we play only to ourselves, or to senseless walls. MISCELLANEOUS EXEECISES, FOE THE PEACTICE OF INTEELOCKING THE HANDS. EXERCISE No. 48. 194 Richardson's New Method for the Piano-forte. tl^fei I U "hi I || ll | VT V \ Tp- 1 i m=m psq JSiizfclzrgiSCs -*-*-"£*- ifc^ Sj ri-0-a S/ 3 » * -J ^3 P 3 #-^ ?£ th-0-a — #-*-»-_. i i U4 _ ea -1=5- Li 5 rtp^^^^#^pS#P^ 2 I p— ^r- =^SeR Richardson's New Method for the Piano-forte. 195 THE SCALES IN DOUBLE SIXTHS. (LN SIMILAR AND CONTRARY MOTION.) Scale op C Major in Double Sixths, in Similar Motion. -4— J— i — f=* !-•■« X 13 4 3 4 X X Scale op C Major in Double Sixths, in Contrary Motion. f-f-frg^ •^ i J L— "^ 4 3 4 a E^E 1 4 3 a a. w -a — J 1 1 j- -m~ a 3. 3 4 a £ee Scale op C Minor in Double Sixths, in Similar Motion 4 3 1 I ^ L. f 3 4 3 4 4 3 4 3 1 X 4 3 r uL iL- r? i J-. kL _t- -£. £^S L* ftl *£jd fww^w *— 4 i fci-z^ >W5 P^ H Scale op C Minor in Double Sixths, in Contrary Motion. m L-J i* - 3^ 4 . m -*-tiF-=Fflfr - -#- . i* gTJFz g- p A x x r slii^|pllii|S t X f X 1 x t% — Juj ^ i fei^l^ i x tst?t a y 196 Richardson's New Method for the Piano-forte. Scale op G Major in Double Sixths, in Similar Motion. a 3 i x 2 4 :.n ft U U H 'ij ,-f?f f T-fe ^.f Iff ■ fi^h ■ H -V x i x I 2 -*-££= r» 4 » a 4 a J H K+i » 1 x 3 4 _ -»- -P- -I \— -k- 4 3 4 3 -H— - -H F- -»- - £J^U3==Li3 1 — ■— ^ bs« Scale of G Major in Double Sixths, in Contrary Motion. tar ^ A-»- F — E 1— F H=£? 1 X * HHHM £fe£=?=S 4 3 4 3 • -0--j--m- m 4 3 2 4 3 ^mm. 1 Scale of G Minor in Double Sixths, in Similar Motion. Scale op G Minor in Double Sixths, in Contrary Motion. mmm £ m M ££* 4 3 4 3 2 Tl • -•- -— ri f X * 1 * I 1 x 4 * i1H-*-i r 3^:^ :: ^-ft a ^ # J i I i Richardson's New Method for the Piano-forte. 197 Scale op D Major in Double Sixths, in Similar Motion. 3 4 X X 1 X 2 4 , 4 — -a — j_^_^ — *_i 1 — i c=0 — 1> — 0-LJg — i 1 — F— — ■ — • — p- 1 -- — i — * — a ^It 4 3 i _x, -•- p -L- -#- r J L ! r -p- -k- ^-- "•- -»- i^ x 4 3 4=F-f-f- f -fcf If H i Scale op D Major m Double Sixths, in Contrary Motion. mm a Scale op D Minor in Double Sixths, in Similar Motion. 5 V f 3 *e : xruiF -*- ^ R irSrH e^s "T* Scale op D Minor in Double Sixths, in Contrary Motion. i i i i *S lJ r P — ^ Hi j — « — F I | 1 L— J ^>J 1 -^J «=*■] * — — J— L tirH I — B — — = J — M- Httf^C-T L - ' Pi IT x I x it x ! x f ^ r*i5s ^ •f- fr -p • - H r* 14 I I * * l I 4 ? I XXIX *=■: Szftfe SP :-#-*- 198 Richardson's New Method for the Piano-forte. nocturne. s~- g ^g_, -t ij "jr~ ^ _ a rr^_ ^~ , _ ^— . , * ANDANTE CON ESPltESSIONE. s^t 2-e * L—. 1 . I I I sg 3# ^«^«&#^ipfcrgi : & te^=^3tellg e g — ^T 3 § ■ * * Pod. * 421X1121X ^-f-3 : *a- : SfS^B^B^P^ >#t- $> —x—m-m—0? — mm m=% m wSS, * ■ Pea 1PI * s*o* # 7ST fl* JE S I Richardson's New Method for the Piano-forte. 199 JSifi-0--i-' a %-. feV=p=> h H ■tn-K /?S fl»--^»- as £ |T P- E& ^ fe ^ * — ^ ^! ^ 'r- 5-# — pgfm ? 33 rrf=£ "6P- a i ; I ! I J^^ fp^p gE^ 32l ^MM> f S 3t==*= ^3 »F-(- — i I 1 * licccieramento* §1 :iJ- -15= t S r r T- « <-€ *?- T^l *~s «■• <* f# «dj <*- 4-P- J-J S>- - g^fer^F Scale op A Majob in Double Sixths, in Contbabt Motion. ^£^£ ixxixi xi • -*--*-—}--* — *- 'XIXIXIXXIX 1 43343434 * -0- m 34343433434 Scale of A Minob in Double Sixths, in Similar Motion. E: i ,,43 VJ.-+-*- x iL x f ,x S 1 " -*"*=£ fa 4 . wzf-t-J v7 rt u h ii h 2 2 i 2 rTnvfnS x i 5r l 3 1 I 4 4 Scale op A Minor in Double Sixths, in Contrast Motion. X I 3, 4 3 2 * -©- -t- flF- -f- -*- * .. r*» xixixi xi •— ■ i , m -§--f-W- rfcr i i iTtm i i r ^^j^^m $g | j * pj 4 x x 4 x kichardson's New Method for the Piano-forte. 201 Scale op E Major in Double Sixths, in Similar Motion. I 3. 4 ■ * U V* >-S >4 £j| , -#- 1X43 43 I U p 1 1 .00 rt — 1 — . 1 p>»» x T 3 a -*T I ;■■*» X X 4 3 4 3 j- -" - ~ g- d I I**. 1.X IX I -» F 1 1- ^ifes $ i I x Scale op E Major in Double Sixths, m Contrary Motion. _, _.=ft:£=ft: 3 a -• F--i — I — L^-w-h"-- — p ^--B-"tr - l — £--#- - i fefro fBfrff L »— ^ — U * » a — 4 Hlt _±r£qftL#-Jj I — | , V^ 3 r4 3 4 a * i 3 4 U4; Scale or E Minor in Double Sixths, in Similar Motion. iG: Sfe X 1 X 1 3 4 3 4 s t r ux K 3= =t: £ Scale op E Minor in Double Sixths, in Contrary Motion. -a ' — J ■■ ± T 3 4 3 a 4 a »— - # "-ftjff 202 Richardson's New Method for the Piano-forte. Scale op B Major, in Double Sixths, in Similar Motion. 2 3 4 3 4 X _X 1 X 3 4X1 »-""\ ^* X 1 3 4 * 3 ?, 4 X I ■"""I N J >—■ X 1 3 4 3, 3 4 3 tJ. n u 4 3 4 3 a a 4 3 j s r* x uj. z Scale op B Major, in Double Sixths, in Contrary Motion, t 1 * ♦ * * e i £ ' # - s ~ * X 1 X X 3 1X1XX1X , 1 X 1 X ., o 4 3 4 8 3 4 3 IX 1X4343 w Zjg.'w *-)=- m^m Scale op B Minor, in Double Sixths, in Similar Motion. i «G^ * ~T 4 T »- a -#" -r- -t-lfc- 3 4 :>. T^KeffejEj -»^H» XI 3 3 -g ? i^ i^g - 1 . ^ P=S=T trr Scale op B Minor, in Double Sixths, in Contrary Motion. ■ " - f L^ 4 g 4 X X 1 X 1 a-^il Richardson's New Method for the Piano-forte. 203 F1FTY-THIEB AMISIMIIT, & ^^ m&3&*£ &m 1 — I — l—i— i- i^sg^ -» • B#- i -g — r- Jt£*su= s<Hitf? ^ > gg -^L*" #-*- -• »=C=P=h =: ^» =C=t= ES^ fef ttii* / J9 / P §3=3 5 u « r gs *¥ | r^ffi z^^g^ jj^ * 3T+** ^ 9 $E t=F==|fc!z*?: : f V _jr = =2&ib±=£ub 3=£±£rtt=£ =p - ^qj^g" gs SE*ffi ^feT h: Jk ?gg£gg=E -BP- D^-^-^pta^ ai -^^-^^^ P J P Pi _J_ '"J :fr j^j ^ ■m=m acj: ^H? * : ^* B g g r - 5WE G ■Hf- ^ 'nmT, f h m m P JU31 Jl rnr'jf -p-p-m-p-p-p-m-m^^-p-p^-po-p-Y^-** P f f = • J-^p- F - fr - f P : 8 h-|-t -b±±± Pi ^ — »c 204 Richardson's New Method for the Piano-forte. ^^^^^^^^^MB i J - 1 — '■ L nJ, J. sfefr=£ sr» it i »4-#-#-r-» Eff ff ff f P V «tt# --* „ -tr~ /;> /jo //? 7 • * • ±PE=rrfp=5jc t=^t 3= f=»* IgUilll V 1 V =M 3-#- --»- 3- 3=fc§; «=- psfe^P^ipfllppiP ibl fell? -g g f — ^ 1*4= - f— — 7- pig jj-5-5-— 5- -*- m-*-»-+m-*-B- j0 / i& 6 g£gfe£ V .^ / hjj.ji] jn ■ Av-*?— 1 — i — ' — I— M— 1 — f -J^-ms-m-m-p-*-*-*- -2 f- Richardson's New Method for the Piano-forte. 205 T3 I- TJ^ttttrt^fttttlt^Ttt @s S^ -g ^ g ggg^^ >=eE2 g-| jj MM ! / P t P ^m$ 1 p p / p 1 -T *- m^m t- tr . g S y r — P=l L i 'J 3 ?"J C ' I - f U -#^F ' F » ' H F -h- s — t^tsF / p -0 ^ M m » » * s=t= S-JJl -m-m- -p-- -m-0~ fa-Jj^S-; L-0-4- * =X T» ■"*LT try.tr !fj-r ^* i ±i-^ ^g^=^ Ipfe^Pg^^ pi eg P 9 M -=i — y 206 Richardson's New Method for the Piano-forte. Scale op Pfl Major in Double Sixths, in Similar Motion. U U t aum E=ES££S3333E 2 3 1 X 0*~) I""- I X 4 3 « — 1 — ! — I— jd— « — § — * — t* — I F-+-B — JJ— ff— s — -J 1 — • — «— fJ 1 — x -i U^J 3 4X1 W -m- x x l^egEg^^ -a- a 4 3 l X 1 -| P-- g- # 4, a _4 Scale op Fjt Major in Double Sixths, in Contrary Motion. T -*--**—»- ., 4 2 3 4. X 1 ^*H a -#--F--l 1 1 V--B- m 3 4 3 4 ,i!fl ^ » P— a— J- o — m 1 i i^ *» !•«■» — 4 — a- 1X1X 4 3 4 3 ■■■* —4 3 4 3—i ••■■"I »>^ F 1 — *J 0- -gf--J--^--J g(_ » 3 4 3 4 Scale or Ffl Minor in Double Sixths, in Similar Motion. 1 X f. r* i ? -*- X X 1 v V f"3 _tf mmsiSM Scale of Fjt Minor in Double Sixths, in Contrary Motion. f I — 1 Ml xx rx m :*=«: 5=*W »--#-: zCi^ri «_ *. r"""! xxixixix ixix r-" - ! « H»--r a - „ a -t r'r r — *~ « - J I 2 , 8 4 _3 4343 4343 — ^ n - -#--f-" — t=- i x x i x i x i • v wgL -ij- 3r -jsnfp zJrri air» * i x 1 xi xx I 48343434 +r*^T_ # _. - .Z4l^_ # _# fr ^ 34s4 if 4 3 3 1 Richardson's New Method for the Piano-forte. 207 Scale op Db Major in Double Sixths, in Similab Motion. B^ M u ^ sspip : 43 LI rn H. /^_ i—*r-4- :*=S=f= S -#-# s £S 5T""i x - "i n 3 * 3 4 :E — I — i — t — • — i" — i TX J 4 3 '. Jtrjt. ^ I & 5&t m ^ 5fc EE r$ 4 X 1 X ^se* & Scale op Dl? Major in Double Sixths, in Contrast Motion. _p_ _^. _,_ ip l|ll :»- IB! t it ^_ Ii_I _#. _»_ a 4, a — ■* — s — s — 4 — .3 — ""-J — I — — ' — I — r — w ■• — F — j 1 1= — #-r— F — 1 1 » »i»» — 3 £=£ t: — ! P 5 ^ lEE f X i x • „ ^» X1X1X1XX1XX1X1X1 __ __ j^ r lxixi x • -»- -J- —•---+ -^- -«- -«h- -« — a - -3- — F -A -# :r * x x b— ^ ixi 4 3 4 3 4 2 • -•- -W- -J (- -3 1 - -J- -•- * 321X434 ^ —0 £j 1 — ^ — — V — ^ 4 3 Scale op Ctt Minor m Double Sixths, in Similar Motion, - 1 £fe 6 &| H=£ 4 a f a x t UtjTa-13 !H U n f 5 f * i st teB i 3 t— v -#• -»- i~T^r-. m X 1 X 1 r - ! x-c Scale of Ctt Minor in Double Sixths, in Contrart Motion. £±3= f . n -^ xi5fixxixxixixixx il_ brfH ht-^fr ■»: * ^"l -1 r 3»i 3 4 2 8*3243 Lyl-X^-J^gJ^ i x —J i x * -•- ^^-^^A-* 71 ? 171 ! 1 -^- -#- -3- T7-+ — J- -J- -*- • ly-^v ip" - L 4 3 1 X 1 2 X | ^-^.jf^^^^J ^SP^- 4 I O |l 208 Richardson's New Method for the Piano-forte. Scale op A? Major in Double Sixths, in Similar Motion. f M kSz 3 4 3 4 a K T" p — L — t — i — •—•4—2 — » — b — f S3 m 1 K-Or 14 Scale op Al> Major in Double Sixths, in Contrary Motion. "•-* — W~ | H! n xl xxlxfx ^^ -j— -. — "--#- a - P--"i x i x x i x xi mo*-, m -a- -*- -t— -£:- ixixxixi * -•- -J- -J- -»: — •- " X 1 X 1 X X \ X 1 X J 43423434 * -*- * 34343343434 0m=£ Scale op &jj Minor in Double Sixths, in Similar Motion. 3 4 & f N»- X ? 3 4 4 2 x i v rgj-j ri w y i 5 m$£it t — ! — d — #-** — *-*• — r- x* i S x g — a — d — I — ^-y« — it- J — i — -f"*- — H— rr ^rSp=^i^=SifepEigf — p— i — „,.»_ 4—*- 1 Scale op Gtt Minor in Double Sixths, in Contrary Motion. _*.*-.::•:*•_ _.. -*-•-* x ? x ^ xf xfxxfx "g~ Richardson's New Method for the Piano-forte. 209 ALLEGRETTO GRAZIOSO. lilHl v s- 1W= g g y^j it y K iij*- Sptfc f n I :?jfwi?|f: *= ^ * ^ =r — eUS J* n a-fl-B — *— -9 3 Sbti 5 -^-fhV r fife n ^ \? Hp= s~— 3::r=5 -trr^- i . * w II,,,.,,, ■ j ■ i \ $=#=£ ^=5= % ' 3 T V — ^ff I3S^£3E3 E=^£ -_?; N_1^-E1_ T -^— g£= , s J££: rt 9^fa^£=g^^E^ => i" r w M ^- ^ - - s ^ I ^^ • £ 5 Sf I - ^5q ^ -a-? .i=g-^ :ei r 1 i '=£ =f g SE 3 4* ±E ier -tt-r IP B! 210 Richardson's New Method for the Piano-forte. • i-«*i — > J S£ .f i I V JLfl /- ■aSe is 7 =»- rff 7 r'\. hV 3^7- Dim. — v- -7— T- a r>- B* ijfi HV-7- ^~7" '•~pr .. — m— 3 5PS S ■ES tr- if^f - ? §«P=: LJfe 7=p- 7 **T 7z?»- B 7»^> ypr #*=d -=¥ ^f S=5 ' z^5z JiJt'l^ - ^H I- z3-?j£_=t* — ±j mp *^ r — *-**» — f — -r^T — ^~r- -" — ^-7 _; -"# g; ^1^1=^==^ CLU£ Dl - - - ml :*='— ? -5=3=5 ^s t^ i & M I I — 1 ii 1 !■■■! — I — h- 1— *-F |— |— »- t«u — B 11 I '- H"'7 ; }-!-+ -' limiu. EnS Ft— * "-+• . tf»- 3 Ped. * tfe g_ j=_^ Jg 3* -^ -5— ^a f- ^i^P I5S <-£= 1«* \r * £ d. rp-F-"** g R . Pod. H— fc Pod. [if- £|S= '#' t — I IT -BlfJ-fG -7 J— 7- =£*==! 35 m -#- M -& S^ fl* 5= •y " 1 *f "~ p" *f * ~^ %/_ m ?r«i ^ta 3 — 1— N- ^ 2i==x iil 5^i Richardson's New Method for the Piano-forte. 211 i &-/ S^g= IE £1 ^=^i I 5E ■^k Tit *Ptz= I fU^ H e 5#E *=£* T^W i£ iSi^sp^^^iP^^p Sflc 5^ l I -~esi— 3M H F«? fc ^ ff ® £ 9=- ~w ^^3 ^^^fe ^g=^^^ ^^|i s^ p^ SE p mh i s 54 D^rf P Voice. s^^^Mig^^i a- E 3" T]^~7^ 5=:: 7m s — «? — >-t-p E — kf j — ■ — t-H *H±. 7 — ' h* i, — '+a r — ■ Tffl^l ^fife — «r- 2z=± — '?■ ^tc t ir= -^i ff ? V^ ff «M i »=*- Jfe- i a E gg *? 'T rj «-*t- l i ^fctt- ^ — ^-h*h^T ^^ a & r — r^z 3 ' P^I^^^ 1 212 Richardson's New Method for the Piano-forte. Scale op Ej? Major in Double Sixths, in Similar Motion. Scale of El? Major in Double Sixths, in Contrary Motion. 3 4 3 L i ± J£ J. M -*- #■ ^ £= -£ - _£_ 43433434 3 * X »-#--#- 1 F #- -X13434 324 3 4 „ , i x i _x, x I x I x t -» f r t- •£- t — I- -r- sfc m *. I x _ x xx Tx_ 1 i x i x i x x i 9 -4- -d- — — r -*E -*-n h -J- V -*- «*^ 1 x 1 x 1 43434234 "*" "W" :2: £t lil "TT "•" 4 3 4 3 4 ^te &_ Scale op Dtt Minor in Double Sixths, in Similar Motion. V5 P^ SBjgS -S — • — r — I — ^t-U— « w— ■, T" - " x x - =i 1X43243 i RT 3 4 2 3 1 X 4 3 4 3 Scale op Dft Minor in Double Sixths, in Contrary Motion. -,-=£=££; **■ < ■ " P— 3 — i — i — tS- 3-x — I — * — x^J — x — ?— x^E — x — x— * — i— j ' — J —! r r 5 ^ »t *""" - 1^^ a 4 3 4 3 4 3 4 ^^ x 1 x 1 x I x 1 ES * tep ■ :,■ U H I U n I U Richardson's New Method for the Piano-forte. 213 Scale of B|> Major, in Double Sixths, in Stmtt.ar Motion. § m H i^-d a — 4 — ^ 1 1 m — m — U- J — *, — « — * 1 «=3 3EH i BE 3 4 a. m ^ -* TFTTf -* — r rcr §3e=fe* -*- ^ a — » — r-=a — t;^ — L — »— — h- — t — ^TR £=£=£ a -Sit 4-i- I 4 R f" I Scale of Bj> Major, in Double Sixths, in Contrary Motion. I 4 !J 3 t | I -A- £ J # I £ : crtt Ifmi asteiEs SEE m -9—P- < i = — a — al — H T-"» — a — 3—4 — 3 «-*! F 1 H — a — *- -P — I 1 • * -*- 3- y- -•- • Scale of Bj> Minor, in Double Sixths, in Similar Motion. IS te-i 3=£l# 4 » IJ ' J ^ f J 4 ' B .3Bm j**- it vjiJ^--^ "i> _ Q^"r ^*#3=*u a, \ I 4 St 1X13 2 ifc Scale of B[> Minor, in Double Sixths, in Contrary Motion. £» -f-B* — i — - — ^*«i — t-~c\ — E-r- — * — x ; — r-i — x — a—* — *■* — r* — , • I . - a -5 f-r^ — rr 214 Richardson's New Method for the Piano-forte. Scale op F Major, in Double Sixths, in Similar Motion. 3 4 3 4 4 2 X f *J X ^ xf 3 3 '•*'"Q'^ Hii^ihHU i g 4 1 X 4 3 a H" - „ 1X4343 IX ^ij 3 4 gs = ^^-i'-g= 4-i > -JL^ | I — a ~^ r> Scale op P Major, in Double Sixths, in Contrary Motion. ^pj!^ H=H 3 4 — """J «««, LI 1 — r ^S i -£--#-« X1X1X1XX1XX1X1X1XX - -• — F 2 - -f— ^T- -P- -»- B 3 4 3_ 4 3^ 4234 3 2 434343 2 m -S- -F- -I A 4 3 4 2 ■*■■#"=■ tJ *■ ^** 4 3 4. 3 4 Scale op F Minor in Double Sixths, in Similar Motion. Scale op F Minor in Double Sixths, in Contrary Motion. ^ii^Mra __i|E*-5-. r-i * 1 I 5 1 f 5 | i I 8 i — i Q . -f-* i- 8 B il fP^ipliFmt TTT r Richardson's New Method for the Piano-forte. 215 Chromatic Scale in Double Major Sixths, in Similar Motion 3 4 3 4 2 3 4V 4 3 I X X T 2 3 mmm$^^B^!l^ I "1 I | i i I , 1 X 1 X 2-134 IX 4 3 4 3 a= ^rf^ x™x— T— x 2 3 4 3 2 4 3 4 k X 1 X I 5 N I, I I \ \ Chromatic Scale in Double Major Sixths, in Contrary Motion. t x x ! j k t a x Lit. fc! fr- gg= ^ fg= -£= 5£ ^ fc= g^ jg= g jj 2343 4 i 4 s 3 * a i 1 F ^ ^ ^*" -TT-Sipp: ti t te * K ^_ |i t4 h! & ^ x j E i?N=S t^f=g=5— jg 4 5— 216 Richardson's New Method for the Piano-forte. THE SELECTION OP THE MOST SUITABLE COMPOSITIONS. Remauks. In the choice of musical pieces, the following points should always be borne in mind. 1st. That we ought always to proceed from the more easy to the more difficult as to execution. 2d. That as far as possible, we should make ourselves acquainted with the works of all the great composers, and not by any means tie ourselves down to any favorite authors. * 3d. That by degrees, we should also thoroughly learn the classical and truly valuable works of the earlier composers. Every distinguished composer requires to be played in a style peculiar to himself. With many, a brilliant, showy, and strongly marked manner predominates ; with others, an expressive, quiet, connected, and gentle style of playing is most generally called for ; others, again, require a characteristic, impassioned, or even fantastic or humorous expression ; and, in many compositions, a tender, warm, playful, and pleasing mode of execution is most suitable. Lastly. There are pieces which include all these different styles, and which therefore, compel the player to adopt corresponding alterations of manner in his performance. Thus, for example ; Hummel' s compositions require an extraordinary and pearl-like mode of execution, which is produced by a light dropping of the keys. In Beethoven's works this style will seldom be suitable ; as, in them, great charac- teristic energy, deep feeling, often capricious humor, and sometimes a very legato, and at others a very marked and emphatic style of playing are requisite. A piece which is played too fast or too slow, loses all its effect, and becomes quite dis- figured. When the time is not marked according to Maelzel's metronome, the player must look to the Italian words which indicate the degree of movement ; as allegro, moderato, presto, &c, and likewise to the character of the composition, and gradually learn by experience to know their real significations. No less important is the proper mode of treating the pedals ; by a proper employment of the forte or damper pedal, the player is enabled to produce effects which would seem to require that he should have two pair of hands at his command. But used at an improper time, the pedal causes an unpleasant and unintelligible noise, which falls disagreeably on the ear. It has been already explained how important to the pupil is a gradual and easy progression, as to difficulty, in the selection of pieces. And a few more words on this head will now be added. All composers, as well as all players, found their art and their science on what their predecessors have already done ; adding to that the inventions of their own talent. By these natural steps in advance, it is evident that the compositions of the present distinguished pianists are in many respects much more difficult than those of time3 gone by ; and that whoever desires to study them must already possess great knowledge of music, and a very considerable degree of execution. Many pupils, however, as soon as their fingers have acquired some little facility, led astray by the charms of novelty, run into the error of attacking the most difficult compositions. Not a few who can hardly play the scales respectably, and who ought for years to practise studies and easy and appropriate pieces, have the presumption to attempt Hummel 's concertos, or Thalberg's fantasias. The natural result of this over-haste, is, that such players, by omitting the requisite preparatory studies, always continue imperfect, lose much time, and are at last unable to execute either difficult or easy pieces in a creditable manner. This is the true cause why, although so many talented youth devote themselves to the piano-forte, we are still not so over and above rich in good players, as, beyond all doubt, was the case formerly ; and why so many, with the best dispositions, and often with enormous industry, still remain but mediocre and indifferent performers. Many other pupils run into the error of attempting to decide on the merits of a composition before they are able to play it properly. From this it happens that many excellent pieces appear contempt- ible to them, while the fault lies in their playing them in a stumbling, incorrect, and unconnected manner, often coming to a stand-still, on false and discordant harmonies, missing the time, &c, &c. For the execution of pieces written in the strict fugue style, such as those from Bach, Handel and others, and of such single passages in the same style as we often meet with in the most modern compositions, there are required a strict legato, and a very firm and equal touch ; and also a clear enunciation of each single part ; and for the attainment of all this, a peculiar mode of fingering has to be adopted, which, in general, deviates very much from the usual one, and which chiefly consists in quickly and adroitly substituting one finger for another on the same key, while it is held down, and without sounding it anew. By this substitution, the fingers are in a manner multiplied ad infinitum, and we are enabled to play each of the four parts, of which such passages in general consist, as smoothly, connectedly, and in a manner as singing as though we had so many hands. Kichardson's New Method for the Piano-forte. 217 OCTAVES. The practice of Octaves is of great importance, and in order to learn to play them well and rapidly, much depends upon the manner they are practised. They should at first be played slow, letting the hand rise from the wrist, (See plate of positions,) and care should be taken that the keys are struck directly in their centre. fc n- ?-»- 8 f- i f-^ — •h-t— '- 1UOLTO ALl,EURO. 3 Se=± sssS§^& trS — r3? m Hz ^-^=^^ ^J= 3z±±j^B mm s=t M$S^ig&MiS ^ellsti; ffl ipg^Mj^Mg 218 Richardson's New Method for the Piano-forte. ^^S^p^^B I 1 I I I ' , I I I I I bataavd 4 3 4 3 4 ^-^"li§ : bnobd Ibbhb^ ^^m>^^^^j^^^ a » ' J imnca rvw Urs ine -f v *-' &5 • 9 — a 9 9- i.9-9% 1 ^feife ^ Mn i r i* "'^ pac=acz^Ajia^««imTinBmia| ■■■■ .i £ 6'"' &— * 1 — • 1 — * 1 — • >-rr-fl — i m' — i — i — I — N=j^> i-53-r -*■ -»- -#- -»- «-' ' .4»-«a«-»- u«LJ 3 i\ i !' ™ I " — ] I . , I 1,1 I ™^^™^- I i ii#f', : f'#:r ^ = g=-f — * J 2 "^ - ■ * • • >#l «- r ,9 2 f +•' -O- ^c ±4 2=S=3=88 Richardson's New Method for the Piano-forte. 219 ^M^^g^i^ ri MHM U bi r^ '''- C£3— f * f : C t r &1 'f t : f -f#i Ui=ESi^EE£&=^-^S: / Marcato. -fpi Cresc. -f^ Wmg£ -x-a C * h 1 fc 220 Richardson's New Method for the Piano-forte. §13* £f£fc a ' m ™-- -I*- =£ fit- ■£* t>- j f f l»- f f £>- -* f fa. &•-•-•- ^ : iSF 4= 3=3 -4.*qP^fff^'jii* «J ; .i.i-'i.i I ' i.-iiiii.,— ' II II I ! i I ' h..i..— ■ P ' Sh^, L- k tfg g"^ b»ln»k=j — s^WFf i^^^^ pp ^^ip^^pig AT V tf — U+fts — F+.fciS fls-htf*H — FH — hd **^i- — bH — |— F — h*+l — — hd #-W| h— »-•-* — F-f-U-^— - r Wrt ha^-Hf" — F-bS'S*— "f^+T — hie^* — ^**J ^^ir — tH — &»■"' 1 — I — |— 1 — ™ H — I >— #-F-F — h ^4* M* — h-"! — P4f-tg-~ L - 1 ^i.l i hul U * **^ i J — ^•"ol — ' w * **^ LfaU — •— ».J ^bcU l mf- Seiuprc Piu Cresc. wm^^z ^ ±ib 1 — 5- -F- -« J371 Ji =ja=t — -H = H— g — i 33 i ^B 1 | = f r l_ ' g 1 Richardson's New Method for the Piano-forte. 221 j ^^ i ^^ g ra ii i *p p ^ mm ■"■ lta ^" — ^ ^ ft Ancora Pin Cresc. I \ \ r q S ECI i r. f#=B ^ 33£feS g->;it i — i — k-a»— L — Ptd — r i i n §j 3 J -t ^^t - i-T— -$-*& -$-&— »— » — *— J+Hi^S— S— J — %—%—% — S^ g^g ^^R g^^te#Ni!)i^^ ^^ t* I A Tempo. A. Sempre piu Cresc. igBigli ipfP3» «- =^=^»- /2"^- SI /2=r 222 Richardson's New Method for the Piano-forte. EXERCISES IN SKIPS, &o. EXEECISE No. 49. 4 a 2 -*-»**■ 2 3 4 4 3 J-J-¥-|-i3 4 4 3 £-»-»*-*- 2 S 4 -*j£ *£ 4 4 4 3 4,4 Si SS tai2 baoaW =P=i= ftFUy i ^P 4 ,,3 4 . , 4 A -f- X «= * ¥ £ ¥ rr_ rS= m m^ m§mmm '^ ^^w S^^^^m^ mrm r.'/T.T^ """"""^ ^^5 ff^ f T -ffP-gy-sp--FE- ea# gg^ JkJfkJt mmmi -£ A ^ .0. f V te fej#l ^§ -*— F Hi Dol. Htaceuto. ri^ra *< 1 eB g=gg m =s= T "^ ^p^E^f^^^^g^ LMali^ i^FFJ P rl rl rlT rT i H tI r l lyi . J J 1 e^ c • -iti j = _jap s§^? Richardson's New Method for the Piano-forte. 223 £ -IT mM^^^^ gr • Br s r i # i-»- -»- i-i iiig jVfcfg I ^^ - '■ -a-^ yf-yf-y r-K "- H H r# . ™ s :m =a igggi a fi j -5 s 5 — i-HF i-5d -± f=t — 5} ^m^™ ' > — kf^*^ — q ^ r — ^ — = *-l St ?£ i gg^ ^fiz^ -?— I= -f Svn loco* SE-jfc' ' B- S= E3 1 ftva loco. *£44-- .... ' - ^-ISE_i^ » t±s bs ted C LLr I A-55- g — g- f-tl-tJ^M^ -7 g- fc^ i ^g?=j— ^ a .te* JJSvi ._ 8vn Eff— loco. — P— loco. a - ly tip- S A K -»- K. »P- loco. -p- - — +- 2 2 -^t 3 3 "fc X -9- -9- t 4 ^ 4 4 -a/- 2 224 Richardson's New Method for the Piano-forte. aE^NDE FINALE. PRESTO AIXEGRAMENTE. ^* ^*i I J N TUTTA JOA W1U/.A. Bhb ii^— in ij s M*bp=£ H*fe* SEE ^g!*zaia= B ' ^ p^i^y^i^J l- ^ pW^ sy^fet ^ § **t* • 4. ±± 5=F=R=F fe ■— i 'i ■ 3=f£ ^ggjB ai- 3=^ t* 33 H-iU Sg ^«fe 313 * £^ £ _ _J J J -f- 1- ^ p -fl^fazjjfc£jb ife?^ LgfeHjSiamiB L Cl J-3 : -??-gg-*n "S^-^J. Richardson's New Method for the Piano-forte. 225 , ji_ A Temv ^ i-f5-, 1 — rm P-A^r =-— ^^ Hr~f" r - — - i± -• # — £ 1 — ■•-••-r Pill i TTs2s » F~~^ w ^WWrW^SS^ b^: « ~ » " — ~ b— mm Ji-r 1 "1 /TN « — 4 — »-- ' - . — "- -fer 226 Richardson's New Method for the Piano-forte. 03ST EXTEMPOEANEOtTS PLAYIITa. Concluding Remakks. Music in some measure is a species of language, by which may be expressed those passions and feelings with which the mind is burthened or affected, and we are able to play on any musical instrument, more particularly on the piano-forte, much which has neither been written down before, nor previously prepared or studied, but which is merely the fruit of a momentary and incidental inspiration. This is called extemporizing. Such extemporaneous performances cannot naturally, and indeed ought not to assume the strict forms of written compositions ; on the contrary, the very freedom and inartificial nature of such productions give them a peculiar charm ; and many celebrated masters, such as Beethoven, Hummel, and Mendelssohn have particu- larly distinguished themselves in this art Although, for this purpose, and indeed for music in general, a certain share of natural talent is required, still extem- porizing may be studied and practised according to certain principles ; and it may be assumed as a fact, that anybody, who has attained to more than moderate skill in playing, is also capable, at least to a certain degree of acquiring the art of playing extemporaneously. But for this purpose it is requisite to commence this sort of practice at an early period, (which, alas ! most players neglect ; ) and that we should learn to indefatigably apply the experience which we have gained by studying the compositions of others, to our own extemporaneous performances. To learn to extemporize, one should commence connecting together easy chords, short melodies, passages, scales, chords in arpeggios, or what is much better, leave it to the fingers to effect this connection at their will and pleasure ; for extem- porizing possesses, this singular and puzzling property, that reflection and attention are of scarcely any service in the matter. At first, this will appear difficult, and what is played will seem unconnected, or even incorrect ; and one is apt to lose that courage and confidence which are se necessary to this purpose. If the pupil does not become frightened by this, and will repeat these attempts day after day, the power will become more developed from week to week ; and with a more extended knowledge of thoreugh-bass, faults against harmony will soon be avoided. At first short movements only, somewhat similar to preludes or cadences, must be extemporized. By degrees these should be extended and interwoven with longer melodies, brilliant passages, chords in arpeggios, &c. In default of original ideas readily offering themselves, the player should take advantage of such as have been learned from other compositions, such assistance is always very excusable. The scale-passages, and the chords of transition which connect them, are a good means of filling up any little chasm, when no melodious ideas happen to strike the player. All music may be reduced to simple chords, and conversely, simple chords serve as the ground-work on which to invent and play all sorts of melodies, passages, skips, embellishments, &c. When one has'devoted a considerable time to a rational practice in the way here pointed out, it will be a matter of astonishment to observe the great improvement, and variety of applications of which the talent for extemporizing is capable. It will be found that nearly all the forms usual in composition are applicable to extempore-playing. For instance, we may extemporize variations on themes, chosen by ourselves or given for the purpose. We may put together veiy interesting potpourris or fantasias from favorite operas, &c, combining them with brilliant passages, so as to form a striking ensemble. We may also distinguish ourselves by extemporizing in strict four-part compositions, or in the fugue style, &c, &c. But for the attainment of all this, great and highly cultivated facility and rapidity of finger, together with a perfect command of all the scales and a mastery of every mechanical difficulty are requisite ; for it may be easily imagined that the happiest and most fertile mental talent avails nothing, when the fingers are incapable of following and obeying its dictates. Another important requisite which must not be overlooked, is an intimate acquaintance with the compositions of all the great composers ; for by this means only, can one's own talent be awakened, cultivated, and strengthened, so as to enable us to produce music of our own invention. To this must be added a thorough knowledge of harmony ; and Lastly — our own indefatigable and rationally-applied industry. Courageous and cheerful perseverance in this very honorable branch of the art, are therefore most earnestly recommended. If the labor is great the pleasure and reward which one may gain thereby are still greater. Richardson's New Method for the Piano-forte. 227 RUDIMENTS OF HARMONY AND THOROUGH-BASS. Harmony and Thorougb-Bass, form a very necessary and interesting department of Musical Science. I will endeavor, by the following explanations, to give as clear an idea as possible, what Thorough-Bass or Harmony is, and what purpose it serves. Music consists of melody, and harmony. When, for example, a person sings alone, without any accompaniment, the song is pure, simple melody. When another person sings with the first, in such a way as to produce chords, this will form music in two parts, which may be called two-part harmony. When to these two voices a third is added, there arises a harmony in three parts. And lastly, if a fourth voice be added, we shall have a harmony in four parts, in which each part sings a different melody, but, nevertheless, the whole together sounds harmonious and pleasing to the ear. It will easily be imagined that the singers do not sing at hazard, alid without any agreement, for that would produce discordance. The chords of which harmony consists, are arranged by the composer according to certain rules, and those rules constitute the theory and basis of harmony, consequently, by this theory is shown; — First. What chords are possible in music ; and Second. How these chords must succeed each other in regular progression, so as to give to each melody the necessary harmonic ground-work, or accompaniment. The pupil may say that in the pieces he plays, whole lines, often occur, in which there are are no chords, and nothing but running, or skipping passages in one hand, while the other strikes single notes ; or there are like passages in both hands. He asks if all this arises from thorough-bass ? I reply yes ; for all these passages are nothing but varied or arpeggioed chords ; and, in all music, no phrase occurs which does not repose on this foundation. Even the fullest chords, which often consist of ten, n^y even of twenty or thirty notes, are for the most part formed from four essential, that is, really different notes ; the rest are only duplications of them. If we consider the following example in four parts. I and afterwards this : m •^ :p=— 1— • ^1 ^ I 1 we shall readily perceiye that the second example is only an extended duplication of the first, that it consists of the same chords, and consequently contains only four real parts. 228 Richardson's New Method for the Piano-forte. We shall now give some examples in which these chords are varied and broken into arpeggios. -1 — e » — A — a J — -9—9- 3 =T- ^ -ess=*— :EE :p=t=2= I "Kt" -I — I — ^W""3 — P»^ir-|— &fe* tr ^±fTp m^^ ^m^EEE^S3^ *-+r I :3=*±5==^ E 3t2=5 It is easy, as may be seen, to form from these chords innumerable passages, and even entire melodies, while the harmony on which they are founded still remains the same. And it is the same with all the other chords which are practicable in music. A composer must have studied thorough-bass well ; otherwise, he would, in every composition, entangle himself in irregular, and therefore irresoluble discords. And, even to the player and practical musician, this science ought not to remain unknown ; for it is equally useful and pleasant to be able to determine scientifically how far each composition may justly lay claim to intrinsic merit ; and because thorough-bass is of the greatest assistance in extemporizing, playing at sight, and accompanying. But before we learn to know the chords, we must see from what they are constructed. Each chord must consist of at least three notes, sounded together. When we strike only two notes together, it is not a chord, but merely an interval. There are ten such intervals in music which here follow ; C being taken as the lower note or root Unison. Second. Third. Fourth. Fift h. Sixth. Seventh. Octavo. | Ninth. | Tcnth. 1 | | d II /_ i | d |l rn | * II V\) II J -»- -»* -0- -»- -e -»- -»- -*- -9- -»- .11 I I I I i I I I With respect to these intervals, the following remarks are to be made : 1st Any key which we choose to fix upon, may serve as a root or bottom note to all these intervals ; and consequently they may occur in all keys and in all octaves. 2dly. They receive their names from the greater or less distance iom their root, according to the number of degrees by which they are removed from it Thus, for example, the third is distant three degrees of the diatonic scale from the lower note or root ; the fifth, five degrees ; the sixth, six degrees ; and so on. 3dly. The unison (or same sound ) is no interval ; but it must be so considered in thorough-bass, because two different parts occasionally take one and the same note. 4thly. When we strike intervals separated by still wider distances, than the tenth, as, for example : i J I J A m s r -r r- -f- -f- such intervals are merely fourths, fifths, sixths, sevenths, &c, taken one or more octaves higher ; and the same is true even of the most remote distances, extending through all the octaves. The tenth itself is nothing but a third taken an octave higher. Kichardson's New Method for the Piano-forte. 229 5thly. The nintk is also, ia truth, but a second taken an octave higher ; in thorough-bass, however, it is used in a different maimer ia both forms ; and it is, therefore, sometimes named in the one way, sometimes in the other. 6thly. All intervals are computed and sought for from the lowest note upivards — that is, in the direction from the bass to the treble — and never in the opposite, or from the upper note downwards. Their inversions will be explained afterwards. 7thly. The above scheme of intervals is constructed on C as a root, and is therefore in the key of C major ; the subse- quent examples will also be givea in one key only, generally that of C major or A minor. It is, however, of the greatest importance that one should transpose all these examples into all the other keys, and that too in writing, for which purpose,- it is very useful to be able to copy music. It should be remembered here, that all the examples in a major key can only be transposed into major keys ; and, similarly, all the examples in minor, only into minor keys. Thus as the preceding scheme of intervals is formed from the diatonic scale of C major, it can only be written in this way in all the rest of the major keys ; and the key-note of the scale selected must always be taken as the root from which all the intervals must be sought for in ascending. By way of illustration, I here give a similar diagram in Af? major. Unison. Seoond. Third. Fourth. Fifth. Sixth. Sevonth. Octave. Ninth. Tenth. TbV' 1 — 1 1 ' - j . - 1 " i . 1 J "If ■(y\) ' ; -1 t- -4- . 1 — nt L — 4 1 r 1> 9 * -4F -r -r -f-"- .-f~' . -f- -f- ~r ~f And similarly in all other major keys. Every note may be raised or depressed by means of the ft \>, [j x, \>\>. And as this is naturally possible also with respect to every interval, each of them admits of three kinds ; and this difference is indicated and determined by the epithets diminished, minor (or smaller,) major, (or larger,) and augmented, as may be seen in the following table : Unison is twofold. Seconds threefold. Thirds threefold. Fourths threefold. Fifths threefold. Sixths threefold. Sevenths threefold. Octaves threefold. Ninths twofold. Perfect. Aug. Minor. Major. Aug. Dim. Minor. Major. Dim. Per. Aug. False. Per. Aug. Minor. Major. Aug. Dim. Minor. Major. Dim. Per. Aug. Minor. Major. -m m m c m & p m- -m- ~m- -m s- §m m- \& e — &- l^i ^^ The tenth is the same as the third. It will be observed that many different intervals, when struck, are taken on the veiy same keys. For example, the augmented second and the minor thirds ; or the augmented fourth and the minor fifth, &c. But, in thorough-bass, these intervals are distinguished from one another in two ways ; 1st. Because each of them requires for its accompaniments, quite different notes, which therefore form different chords ; and 2dly, because each is resolved in a different manner. It may also be further remarked, that, in each species of interval the notes retain the same alphabetical names, whether it is minor, major, or augmented ; the difference is produced merely by the marks of transposition, whether jjj or 7. Here follows the same scheme of intervals in two more keys. In F sharp. Unisons. . ■ t .*'_' Seconds. Thirds. Fourths. i ife 3^EE 3^g3p£EE| J: fcac B— IVj Perfect. Augmented. Fifths. Major. Augmented. Diminished. Minor. Sixths. Sevenths. T=T^=f P to :W= Major. Diminished. Perfect. Augmented. Octaves. Ninths. i t fJ— -fr»— r-bJ — frJ — ,J_ T= §j == flj P -jft ■seb r-H* -f- Mine False. Perfect. Minor. Major. Augmen, Dimin. Minor. Major. Dimin. Perfect. Augmen. Minor. Major. 230 Richardson's New Method for the Piano-forte. w< ±fefe£ Perfect. ^M&£ Augmen. Mini Augmen Fifths. 3 Wi l^E^ False. Perfect. Augmen. Minor. Hajor. Augmei Augmen. Diuiin. Sevenths. -1- r. Minor. T Major. Wat iat V ^ Dimin. Perfect. Augmen. Octaves. Niuths. -P* ]] « Major. Dimin. W Perfect. Augmen. Minor. Major. 1 ON THE FORMATION OF CHORDS. The Pupil, no doubt, has already discovered, that among intervals, many sound agreeably, and many others very much the reverse. For this reason, intervals are divided into such as are consonant (or agreeable to the ear,) and dissonant (or disagreeable to the ear.) Consonant intervals are (a.) The perfect unison ; (d.) (b.) The major and minor third ; (e.) (c.) The perfect fifth ; (f.) All others are dissonant Consonant intervals are still further divided into perfect and imperfect. octave. The imperfect are the major and minor third, and the major and minor sixth. Concords are distinguished from discords, among other properties, by the latter requiring a resolution ; that is to say, that the dissonant interval must be resolved into a consonant one ; and this resolution must therefore naturally at last take place on a concord. Among all the concords practicable in music, there is only one in each key which is called the perfect common chord, or perfect triad. It consists of a bass note or root, its third, its fifth, and, when in four parts, the octave, also : The major and minor sixth ; The perfect octave ; The major and minor tenth. The perfect are the perfect fifth and perfect I i± I I m I The third may be either major or minor, according as the key is major or minor ; but the fifth and octave must be perfect. The pupil must bear in mind that all the intervals in each chord are always computed and sought for from the lowest note upwards. In the two preceding examples, the octave is the highest part. But as the third or the fifth may also be the highest part, it follows that the perfect common chord admits of three positions, which may be named according to the interval occupying the top or highest part : Ex. £ Octavo Position. Third Position. Fifth Position. £ Octave Position. P I ^ For the different changes or duplications of the middle parts, do not, in any way, change the chord. Richardson's New Method for the Piano-forte. 231 All this occmrs also in the minor mode ; that is, when the minor third is taken in place of the major third. But the perfect common chord admits also of two inversions, by which two less perfect, though still consonant chords originate. The inversion of a chord occurs when the bass, instead of the root, takes one of the other notes, of which the chord consists. For example : First Inversion. Second Inversion. i Perfect Common Chord. Chord of the Sixth. Chord of the Sixth and Fourth. S The chord of the sixth, so called because its principal interval is the sixth, has also its three positions, like the perfect common chord. Example : £ I Sixth Position. Octave Position. I Just so it is with the chord of the sixth and fourth, which derives its name from its containing those intervals. Example : Fourth Position. Sixth Position. Octave Position. i It is very necessary to know all these chords readily in their different forms. All this applies equally to minor keys, if, instead of E&, we everywhere take E[>. These two chords are less perfect than the common chord, because, although they are tolerably agreeable, they do not sound so satisfactorily as to enable us to make a close cadence by means of them. The second Principal Chord in thorough-bass ; is the chord of the dominant seventh. It consists of a bass note, its major third, perfect fifth, and minor seventh, and consequently of four essential parts; so that it requires no duplication of notes in four parts. It takes place on the fifth degree, or dominant note of every scale ; and therefore, in C major or minor, it falls upon G. Example : I 232 Richardson's New Method for the Piano-forte. It lias the property of requiring a natural, and to the ear, desirable, resolution into the perfect common chord. Example. m ^m In It has four different positions ; viz. First Position. Second Position. Third Position. Fourth Position. $ m In all these positions, it always remains the same chord of the seventh. It also has in addition to this, three inversions, by which different chords originate ; namely, the chord of the sixth and fifth, that of the sixth, fourth, and third, and the chord of the second. First Inversion. Second Inversion. Third Inversion. (J =; -7. i — h - H / is* sc H fn\ -- i: - ii — li ■= " ' ' J Chord of the Seventh, Chord of the Sixth and Fifth, 1=5 Chord of the Sixth, Fourth, and Third, Chord of the Second. )• 1 R 1 I ■J 1 1 - -I • 1 1 I 1 1 Each of these new chords has also its different positions. Ex. 3 S*= 1 = ^==— , — o — sP ■ s^- £E m First, Second, Third Position. First, Second, Third Position. First, Second, Third Position. ^ riTHG. DCrona. Chord of the Sixth and Fifth. Chord of the Sixth, Fourth, and Third. Chord of the Second. The natural resolution of these chords also is into the perfect common chord. The chord of the second, however, is resolved by one of the inversions of that chord. Example. m fefe^gfeg Richardson's New Method for the Piano-forte. 233 In the chord of the second, it will he dbs irved that the discordant interval, viz., the second, though rather harsh in itself, sounds pleasing enough in this application of it When the chord of the seventh is played on other degrees of the scale, it is very dissonant, though still capable of being employed. Ex. % If, in the first of these four chords, we were to make the seventh minor, it would certainly sound much better ; but it would no longer be in C major, but in F. Ex. i m If you give yourself the trouble to transpose these chords into other keys, you will speedily be able to trace them out in every composition, under whatever forms they may occasionally be hidden. Each interval assists in the formation of some particular chord ; and if, therefore, we go through all the intervals in this way, the pupil will become acquainted with all the chords which can be employed in music. The Perfect Unison is no real interval ; but two different parts are often obliged to meet on the very same note, by which means the unison is formed. Ex. =t A A _L 3 m £fe m £ The x, shows where the above interval occurs. The Augmented Unison is a harsh discord, which is occasionally employed as a passing noit. e The Seconds are all discords, and like all other dissonant combinations, generally require to be prepared, as well as resolved. Preparation occurs when we previously take a concord suitable to the purpose. To the minor second there is required, to make it a chord in four parts, the perfect fourth, and the minor sixth. Ex. * JSt i 234 Richardson's New Method for the Piano-forte. To the Major Second is required the perfect fourth, and the major sixth. § m m §3Efe£ To the Augmented Second belong the augmented fourth, and the major sixth. : r e To the Diminished Third, which is a harsh discord, belong the false fifth, and the diminished seventh. Ex. feF it =-& 35 The Minw and Major third belong to the perfect common chord ; and these chords we have already become ac- quainted with. To the diminished fourth is to be added the doubled minor sixth. J. feM To the perfect fourth may be added either the perfect fifth, or the major or minor sixth. H -& — g- — & S g To the augmented fourth belong the major second, and major sixth, or, in lieu of the second, occasionally the minor feird. x x Richardson's New Method for the Piano-forte. 235 To the diminished or false fifth, is generally added the minor third and sixth. It then forms the chord of the sixth and fifth, which we already know. I The perfect fifth we know already, from the common chord. To the augmented fifth belong the major third and perfect octave. I The diminished sixth is accompanied by the minor third and diminished seventh. •x 3 :fe= * ~-%\ 1**- To the major or minor sixth, we usually add the major or minor third and octave ; and we already know this chord as the first inversion of the perfect common chord. To the augmented sixth, belongs either the doubled major third, or the major third with the augmented fourth. Instead of this latter interval, the perfect fifth may also be taken. x x $ S 38 fp^i=iiillfp^ l m 236 Richardson's New Method for the Piano-forte. To the diminished seventh belong the minor third and the false fifth. i ^ ^ I With the minor seventh we are already familiar. To the major seventh belong the major second and the perfect fourth, to which, as a fifth part, the perfect fifth may also be added. i §t i i To the diminished octave are to be added the minor third and minor sixth. I IN m £= It is now supposed that the pupil is already acquainted with the nature of the perfect octave, from the perfect common chord. The augmented octave is a mere passing note, and it may be accompanied by the major third and perfect fifth. i =N= d= I 1 The minor and major ninth require the major third and perfect fifth by way of accompaniment, to which may also be added the minor seventh. __] i x ! It , , x ! m v?- Jjg_i| a ^ rte=p^- i ^P= I m 1 And from this, one may perceive the difference between the ninth and the second. Most of these chords have likewise their different positions ; and the manner in which these are formed has been already explained in the chord of the seventh. But it is perhaps advisable here again to repeat, that these chords must be practised in all the keys, if the pupil wishes to derive any practical benefit therefrom. Richardson's New Method for the Piano-forte. 237 MODULATIONS IN -A-LIL, Modulation from C Major to G Major. To D Major. 4- THE ^E^S. i 3 d: g=gj gb I I # H= r t=*s ^G=g=f= 3d g: I m^ £ S s: I To A Major. To E Major. -O i© — J -iS> #^^ ^G: =J- *« I I r^ IK S i „ i HP £3- To B Major £E *S ^ Hit To F# Major. ^^ fel=£ S^i^ i^Etp=». IP SiE: fej J Major. To At> Major. =t 3 1 -1- LS2 » — <=s-i- — fr-es u. » — ss: -s> R- Asfc .J- .J . ^ r =±R=t ?^G» ?E3EE a=^ ^ ^P PI i= To Dp Major. fc f- P JbA fe=::h,=^i irr^TJ^-rM-» )./» as kgs= S^= p=S e — rt*s> s>- I I 238 Richardson's New Method for the Piano-forte. To A Minor. To E Minor. 1 si 3 I JS=CS * 1 I I 1 f= ■ ■<=> p ' J. i fe ^ To B Minor. M 5± To Fjf Minor. H^ 3 3d: 3=fc=: F~ a^- fe =t Ist F fe **" =L To C| Minor. To G# Minor. _^ faz^d^dzbzzl F=*s 2 ^ = *r WW^¥ -& $=!— J : t "M IF =d: e ^=^= To D Minor. To G- Minor. 1 *=:=^ -Si Si — — c^ e^ s Sfe =1= a ^ 3d: i>^= r-r- 1 r>— r To C Minor. To P Minor. P?=t tS= j : :^=12f=: tsozzd rp: mmm j. w= ^. r -2g= ^ -sJ- ^U I 3 "P- 3=e: ^ 3S5I f— r To B[? Minor. ?^F To El? Minor. "fc ■jgj- -gj- j>gj ^g==^b^o==B -^L feifi ire- 'P=¥^T 1 fr DICTIONAEY OF MUSICAL TERMS. A (Italian.) By,fot A Capriccio (Italian*) At will, agreeable to our fancy. Accent A slight stress placed upon a «te to mark its plat a and relative importance in the bar. Acci acatura (Italian.) A species of arpeggio. Accident!. Occasional sharps, flats, and naturals placed before notes in the course of a piece. 4.CUTE High as to pitch. Abbreviation. A sign for contraction in notation. Adagio (Italian.] A very alow degree of movement demanding much tasto and expression. Accelerando. A gradual quickening of movements. Adagio Asbai or Mot.ro (Italian.) Very slow and - For two voices, or instruments. A.DAU10 Cantabile e Sostenuto (Italian,) Very slow, singing, and sustained. A Due (Italian.) A Deux (French.) Ad libitum (Latin.) At will, or discretion. Th expression implies that the time of some particul passage is left to the pleasure of the performer; < that he is at liberty to introduce whatever embellish- ments his fancy may suggest. Affettuoso, Affettucsamente, or Gon affe' to (Italian.) With tenderness and pathos Agitato, con Agitazione (Italian.) With agit tion. anxiously. Air (French.) An air or song; as Air Ecossois, Scotch air. Al, All', Alla (Italian.) To the sometimes, in t. style of. Alla Breve (Italian.) A quick species of common time, formerly used in church music. " Capeli.a. In the church style. " Mjlitaire. In the military style. *' Polacca In the style of a Polish dance. " Russe. In the style ofRussian music. " Siciliana. In the style of the Sicillian ehep herds' dance. ■■ Scozzese. In the Scotch style. " Zoppa. In a constrained and limping sty»e. All* Inglese. In the English style. " Italiana. In the Italian style. Allegremente (Italian.) With quickness. Allegretto (Italian.) Somewhat cheerful, but not so quick as Allegro. Allegretto Scherzando (Italian.) Moderately playful and vivacious. Allegrezza (Italian.) Joy: as con allegrexza, joy fully, animatedly. Allegro (Italian.) Quick, lively. A term implying a rapid and vivacious movement, but which is quently modified by the addition of other word; Allegro Agitato. Quick, with anxiety and agitation " Assai. Very quick. " Comodo (Italian.) With a convenient de gree of quickness. ". Con Brio. Quick, with brilliancy. " Con Moto. Quick, with more than th( usual degree of movement. " Cox Spirito. Quick, with spirit. " Furioso. Quick, with fury. *' Molto, or Di Molto. Very quick. * Vivace. With vivacity. *' Vivo. Quick, with unusual briskness. Allemande (French.) A dance peculiar to German} and Switzerland. All' Improvista (Italian.) Extemporaneously without premeditation. All' Ottawa (Italian.) In the octave. An expres- sion often met with in scores, to signify that one part is to play an octave above or below another. Al Segno Al Sea., or the character :$: signifies that the performer must return to a similar character in the course of the movement, and play from that place to the y/yrd fine, or the mark /-s over a double bar. Alternativo ' Italian.) Alternating, proceeding al- ternately from one movement to another. lto (Italian.) In vocal music indicates the coun- ter tenor, or highest male voice. It also indicates, the part for the tenor in instrumental music. |Bri wateur ( French.) A non-professional lover of m Amoroso Amorevole, or Con Amoiie (Ital Affectionately, tenderly. ndante (Italian.) Implies a movement somewhat stow and sedate, but in a gentle and soothing style. This term is often modified, both as to time and style by the addition of other words; as, ndante Affettuoso. Slow, but pathetically. " Con Moto. Slow, but with emotion. " Grazioso. Slow, but gracefully. " Maestoso. Slow, with majesty. " Non Troppo. Slow, but not too much so. " Pastorale. Slow, and with pastoral aim plicity. ndantino (Italian.) Somewhat slower than andante nthem. A composition in the sacred style, the words of which are generally selected from the Psalms. vticipation. A taking of a note or chord previous to its natural and expected place. A Piacere, A Piacimento (Italian.) At the plea sure of the performer. See Ad libitum. A Plomb (French.) With exactitude as to time. Appoggiatura (Italian.) A note of embellishmen' generally written in a small character A Quatre Mains (French.) For four hands. A forte duct. Aria (Italian.) An air, or song. There are several of airs; as, ffa. A comic air. abilita. An air of difficult, execution. Cantabile. An air in a graceful, singing and flowing style. (Italian.) In the style of an air; vocal dicating a showy and sparkling style of per fern (Italian.) With brilliancy and spirit. Con Brio) BnisE (French.) Sprinkled, broken into an arpeggio, in treating of chords Buffo, Buffa (Italian.) Comic An actor or sing. er who takes the light and humorous parts in the Italian comic opera. This epithet is also applied to the pieces themselves; as, opera buffa, a comic opera. Burlesco (Italian.) With comic an even farcical humor. Burletta (Italian.) A light species of musical drama somewhat in the nature of the English farce. Cadence. A close in melody or harmony. An orna nental and extemporaneous passage introduced at the lose of a song or piece of music. denza (Italian.) A cadence, or close, at the ter- othe ntrodu :ing elodi( Arpeggio (Italian.) Passages formed of the notes of chords taken in rapid succession, in imitation of the harp, are said to be in Arpeggio. isai (Italian.) Very, extremely. This adverb is al ways joined to some other word, of which it extend: the signification: as, Adagio attai, very slow; Allegro sai, very quick. tempo ) (Italian.) In time. A torm used to d tem ) note that, after some short relaxation the time, the performer must return to the origin degree of movement. tempo giusto (Italian.) In strict and equal tun Attacca, Attacca sueito (Italian.) Implies that the performer must directly commence the following movement. Ave Maria (Latin.) A hymn to the Virgin. lad, A short and familiar song. let. (French.) A theatrical representation of me story or fable, by means of dance or metrical tion, accompanied with music. In England, the sec- id or concluding piece. Barcarolle. Venetian Gondoliers Song. ~a.r7tono (Italian.) A male voice, intermediate, in respect to pitch, between the base and the tenor voices. Phillips and Tamburiki are fine exam- ples of this species of voice. a.sbo {Italian.) The base part, vocal or instrumental. Ben (Italian.) Well: as, Ben Marcato (Italian.) Well marked. This expression indicatos that the passage must be executed id a clear, distinct, and strongly accented manner. cne Tlacito (Italian.) At will. Bis (Latin.) Twice. A term which indicates t at a certain passage, distinguished by a curve drawn »ver or under it, must be performed twice; this abbreviation saves writing the passage over again. Bolero. A Spanish dance with castanets. Bravura (Italian.) An air requiring great spirit and volubility of. execution. Breve. A note twice the length of the semibreve, seldom used in modern music. Brillante (Italian and FrentK.) An exp-ession some fanciful and extemporaneous embellishment. In modern music the cadenza is generally written in small notes ilore (Italian.) With much warmth and animation. Camera {Italian.) The chamber, as, music a di ca- xtra, chamber-music. ntabile or Cantando. A graceful and singing- :yle. Cantante (Italian.) A part to be executed by the a (Italian.) A vocal composition, of several ) A female singer. choral species TTATRICE (Ital tticle. A hyn Canto (Italian.) Tho highest vocal part ccio (Italian.) A fanciful and n imposition. Castagnets, or Castanets Hollow shells used to mpany dance-tunes in Spain and other southern tries. Catch. A vocal piece in several parts, of a ^umoor- character, Cavatini (Italian.) An air of one innveanenw or part ly, occasionally preceded by 9 ,«,ative. nsonnette (French.) A trrrt or little tong sse (French.) In the hunting style. (Italian.) Than; as, poco piu che andante, rather slov thai ate. Chiroplabt. A guide for the hand in pianoforte playing. *oir. That portion of a church set apart for the sin- gers in divine worship; as also the singers themselves taken collectively. ioral (German.) A psalm tune. mnn. A combination of several sounds fertaicg harmony. aromatic Proceeding by semitones, or formed by means of semitones. lavier (French, German.) The key-board of a piano or organ. Coda (Italian.) A few bars added at the close of a imposition, beyond its natural termination. ., Coll', Colla (Italian.) With: as, col arco, ith the bow. la Parte (Italian.) Implies that the accompanist ust follow the principal part in regard to time. "ommodamkmte (Italian.) Quietly, ■ith npos >mmon Chord. A chord consisting of a bass note, together wuh its third and fifth, to which the octave is often added. Con (Italian.) W th: as, con espressione, with expres- >n ; con brio, with brilliancy and spirit. C«n Comodo (Italian.) In a convenient degree of ovememt. Pi i.i r; en z a (Italian.) Diligently, in a studied inner. [pathos. Con Dolore (Italian.) Mournfully, with griaf wd DICTIONARY OF MUSICAL TERMS. Con Geazu (Italian j With grace. Cow Gubto, Gustoso (Jtaitan.) With taflle Cow Mjto (/to/tan.) In an agitated style; with spirit Connoisseur (French.) One who possesses a know- ledge of, and is a judge of music Consonance An interval agreeable to the ear. Con Spirito (Italian.) With quickness and spirit. Contralto (Italian.) A counter tenor voice. The highest species of male voice, and the lowest of fe^ Contrapuntist. One who understands counterpoint. Con Variazione (Italian.) With variations. Counterpoint. The art of composition. Crescendo. A gradual increase of tone. Decrescendo or Diminuendo, Gradual decrease of tone. Da Capo or D. C. (Italian ) From the beginning. An expression which is often written at the end of movement to indicate that the performer must retur c j and finish with the first strain. Dal (Italian.) By: as, Dal Segno, from the sign; a mark of repetition. Dklic atezz a (Italian.) Delicacy: as con delicatezz with delicacy of expression. Delicato (Italian.) Delicately. Destra (Italian.) the right hand. jrt (Italian.) Of. Diatonic (Greek.) Naturally; that is, according to the degrees of the major or minot scale, or by tones and sem'tones only. Diminished. Somewhat less than perfect, as applied to intervals, chords, &c. Oi Molto (Italian.) An expression which serves to augment the signification of the word to which it added; as, allegro di molti, very quick. .Dirge. A funeral song. Dito (Italian.) The finger. Divertimento (Italian ]* A short, light composition, written in a familiar and pleasing style. t.vERTissEMENT (French.) Certain airs and dances reet/jphling a short ballet, introduced between the acts 01 the French or Italian opera Also a compo- sition in a light and pleasing style. Divoto (Italian.) Devoutly, in a solemn style. Dolente, Con Dolore, or Con Duolo (Italian.) Sorrowfully, pathetically DoLORObO (Italian.) Indicates a soft and pathetic styli Dominant. A name given by theorists to the fifth note of the scale. Doffel (German.) Double. Dolce, Dolcemente, or Dol. "With sweetness. Duo. (Italian.) For two voices or instruments. E, Ed. The Italian conjunction and: as, fiauto eviolino, flute and violin, Ecossais, Ecossaise. An air in the Scotch style. Eleoamente. With elegance Emphasis. A particular stress. Energico, or Con Energia, With energy. Equalmente. With equality. Espressivo, or Con Espress. With expression. Et (Latin.) And Etude (French.) A study. Falbetto (Italian.) Certain notes of a man's Voice which are above its naturat compass, and which only be produced artificially. Fantaisie (French.) \A species of composition in Fantasia (Italian.) y which the author gives free scope to lis ideas, without regard to those systematic and syrfimstrical forms which regulate other compo sitions Ferma (Italian.) Firm, resolute Finale. The last piece of an act of any opera, or of a concert; or the last movement of a symphony or so iKi.f.;i, in the German style. Fine (Italian.)} The end This expression is gene. Fin (French.) } rally used to indicate the termination of a m'jsical composition. Flebile (Italian.) In a mournful style. Forzando, or Forz or Fz. implies that the note is to be marked with oaitieular emphasis or force. Forza (Italian,) Force: as, con forza, with force Forte. Loud. Fortissimo. Very loud. Fresco (Italian.) Quick and lively. Fuuue. A composition in the strict style, in which a subject being proposed by one part, is repeated and imitated by the other parts in succession and accord' ing to certain laws. Fundamental Bass. A bass formed of the roots of chords only. A bass of this sort is not meant to be played, but merely to serve as a test of the correct progression of the harmony. Fuoco. con (Italian.) With fire, and intense animation Furioso, or Con Furia (Italian.) With fire. Gallopade (French.) A galop, a quick German dance tune. Galop ( German.) \ A quick species of dance, gene pe (French.) J rally in ^ time. '. The scale of notes belonging to any Key. Gavot. A lively dance in common rime. Giusto (Italian.) In just and exact time. A composition for three or more voices. Grazioso. Gracefully. woo (Italian.) In a gliding manner. Graces. Occasional embellishments, sometimes indi cated by the composer, sometimes spontaneously in troduced by the performer. The most important of these are the appogsriatura, the turn, and the shake. rave (Italian.) A very slow and solemn movement: also a deep, low pitch in the scale of sounds. regorian Music. Sacred compositions introduced into the Catholic service by Pope Gregory. Gusto, Gustoso, or Con Gusto {ftatian.) With taste, elegantly. H. This letter is used by the Germans for B natural. armony. The art of combining several sounds, s< as to form chords, and of treating the combinations thus formed. Il (Italian.) The. roBo, or > (Italian.) With impetuosity iptu (French.) An extemporaneous production In (Italian.) In: as, in tempo, in time. In Alt (Italian.) Notes are said to be in alt when sit uated above the F on the fifth line of the treble stave iterlude. An intermediate stra/j or movement. itertal. The distance, or difference of pitch, be tween two notes. La Chasse (French.) A piece of music in the hunt g style. LANGunTo TE \ ( Italian -) With languor. Larghetto (Italian.) Indicates a time slow and measured in its movement, but less bo than largo. Laroamente, or Larohissimo. Extremely slow. Largo (Italian.) A very slow and solemn movement. Leading Note. The seventh note of the scale of any key when a semitone below the key-note. Legato. Smooth and connected. Le*giero. With lightness. Lentando (Italian.) With increasing slowness. " bnto (Italian.) In slow time. )co (Latin.) This word implies that a passage is to be played just as it is written in regard to pitch; it generally occurs after 8va alia, or Sua bassa. Ma (Italian.) But: as, allegro ma non troppo, quick, but not too much so. aebtoso (Italian ) With majes-ic and dignified e: pression. Main (French.) The hand as, main droite, main gauche, or M. D., M. G. t the right or left hand is piano music. Major Mode. One of the two modern modes; that in which the third from the key-note is major. Ma no (Italian.) The hand. Mono dritta, the right hand; mano sinistra, the left hand Manual (German.) The key-board. Mar che (French.) \ . . MKncix (Italian.) ' J A march. Melange (French.) A composition founded on sever- al favorite airs: a medley. eiodrama. A specius of pantomimic drama, ir which much of the interest <*CfCnds upon descriptive instrumental music. Meno, or Men. (Italian.) Less: as men presto, ess quick; men forte, less loud; men piano, somewhat softer; meno vivo, with less spirit. Mesto (Italian.) Mournfully, sadly, pathetically, Mestoso (Italian.) Sadly, pensively Mezzo (Italian ) In a middling degree cr manner, as, mezzo forte, rather loud; mezzo pianG, rather soft Mezza Voce (Italian.) With moderation as to tone; rather soft than loud. Mi (Italian.) A syllable used in solfaing te designate E or the third note of the major scale. Minor. Less in regard to intervals. Minuetto (Italian.) A minuet; a slow dance in tri- ple time. Mit (German.) With; as, mil begleitung, with an companiment. Modlrato (Italian.) With moderation. Mordente. A beat, or passing shake. Molto (Italian.) Very, extremely us, molto allegro very quick; molto adagio, extremely slow. Mosso (Italian.) Movement: as, piu mosso, with more movement, quicker; meno 7nosso, slower. Motetto (Italian.) A motet, or piece of sacred mu- sic in several parts Motivo (Italian.) The principal subject of an air or other musical composition. MoIto, or Con Moto (Italian.) With agitation, anx ily Non (Italian.) An adverb of negation, generally asso- ciated with troppo : as non troppo presto, not too fast. otation. The art of representing musical sounds and their various modifications by notes, signs, terms, &c. ottur no, Nocturne. A composition, vocal or instru- mental, suitable for evening recreation, from its ele- gance and lightness of character. bligato, or Obligati (Italian.) A part or parte of a composition indispensable to its just performance, and which, therefore, cannot properly be omitted Oboe (Italian.) The hautboy. Oboi, hautboye ctave. An interval of eight notes. aATORio (Italian.) A musical drama, fun. .Jet cq some scriptural story, performed without (he aid of scenery and actwn. rdinario (Italian.) Usual: as a tempo otdinario, in the usual time. Ottava, or 8va (Italian.) An octave. This word is generally joined with alta or bassa : the first signifies that the passage to which it ii applied must be played an octave higher than it is written; the second that it must be played an octave lower s.s (French.) A dance: as pas settl, pat de deux, a dance by one, or by two performers; pas redouble, a quick step. assing Notes. Notes foreign to the harmony, but which serve to connect those which are essential. vstorale (Italian.) A soft and rural movement. £RDENDO,PERDENDOSI,OrPERDEN(i7flh'an.) This term implies a gradual diminution, both in the quantity of tone and speed of movement. acere (Italian.) Will, pleasure: as a piacere, at the performer's pleasure in regard to time. Pieds (French.) The feet : as avee les pieds, with tne feet in organ playing. Piu (Italian.) An adverb of augmentation :* as pii presto, quicker ; piu forte, lsuder ; piU piano, Bofler ; piU tosto lente, rather slow ; piti lento, slower. lus (French.) More: as plus anime, with greater animation. Toco (Italian.) A little, rather, somewhat: as poco presto, rather quick ; poco piano, Bomewhat soft voco piU, somewhat more ; poco meno, somewhat less. Poco a Poco (Italian.) By degrees, gradually: ns peco a poco crescendo, louder and louder by degrees ; poco a poco diminuendo, softer and softer by degrees. 1A slow Polish dance in 3-4 timo, of a peculiar rhythmical con- stiuction, as the melodial members UBually terminate or* the third crotchet o! tho bar Pomposo (Italian.) In a grand and poinpi DICTIONARY OF MUSICAL TERMS. 11 Portamento (Italian.) The manner of sustaining and conducing tin voice A gliding from one note to another. Possibii.e (Italian.) Possible: as il piu forte possi- ble* ad loud as possible — Herz, Potpourri (French.) A capriccio or fantasia on fa- vorite aira. Precipite (Frenck.) Hurried, accelerated, Premiere (French) First: as premiere /ots, first time. Prestissimo (Italia i ) Tlio most rapid degree of movement. Presto (Italian.) Very quick. Prima Donna (Italian.) The principal female sing. in an Italian opera. Primo (Italian ) First: as viohio primo, first violii tempo primo, in the first or original time. Quadrille (French.) A French dance, or rather, set of five consecutive dance movements, called Le Pantalon, La PouU, L' Ete, La Trenise ou La Pas tourelle, La Final*. Quasi (Italian) In the manner or style of: as quasi allegretto* like in allegretto Recitativo (ItaL\an ) A recitative or musical decla- mation. Retardando (Italia-* ) A retarding of the movement Risoluto, Risolumente (Italian.) With boldness and resolution. Ritenente, Ritenuto (Itah a decrease in the speed of the i Rondeau (French.) } A rondo t Rondo (Italian.) \ strains of each of which the first part Rondino, Rondjletta, Ron letto (Italian.) A short rondo. Root. The fundamental note of any chord. Sans (French.) Without: as sans pedales. Scale. Gamut. Scher'zando. Scherzantb, Scherzo, Sch bo, or Scherz. (Italian.) In a light, playful, and sportive manner Segno, or •$: (Italian.) A sign : as al segno, return !e the sign; dal segno* repeat from the sign. Begue, Segvito (Italian.) Now follows, or as fol lows. Examples: u^ut \L coro. the chorus follows senile la finale* the finale now follows. It is also used in the sense of in similar or like manner, to shew that a subsequent passage is to be played like that which precedes it. Semi (Latin.) Half: as, semitone, half a tone, &c Sempre (Italian) Always: sempre staccato, alway staccato or detached; sempre forte, alwnys loud; sem pre piu forte, continually increasing in force. Senza (Italian.) Without: as senza orga'no, without the organ; senza rigore, without regard to exact time senza replica, without repetition. Siciliana (Italian.) A movement of a alow, soothing, i ) A keeping back, ivement, composition of several - members, at the end subject is repeated. inetto, or Rondo pastoral character, in R time. Shake. A rapid alternation of two notes. Sinistra (Italian.) The left hand. S-OAVE (Italian.) In a soft, sweet, and delicate sty o SorrtANo (Italian.) The highest species of female Sostejjuto, or Sost (Italian.) Sustained, continuous in regard to tone. Sotto Voce (Italian.) In an under tone. Spirito, Con Spirito {Italian.) With spirit. Spiritoso (Italian.) With great spirit. Stark (German.) Forte, loud as mil starken stimmen. Staccato. In a detached, abrupt manner. Stave. The five para lei lines on which the notes are placed. Strain. A portion of a movement divWed off* by a double bar. Subdominant. The fourth note of the scale of any Kfiy. Subito (Italian.) Quick'v. Syncopation. Connecting latter part of beat or measure to first part of next. Ienuto. To be held its full length. ema (Italian.) A subject or theme. empo or A Tempo (Italian ) It time An expres- sion used after some relaxation in tL measure, to bid' cate a return to the original movement. empo Giusto (Italian.) In strict time. empo Primo (Italian.) In the first or original time. heme (French.) A subject horough bass. The art of accompanying a figure bass on the piano or organ. {mpani (Italian plural.) The kettle-drums. 3Nic. The key-note is so called by theorists. re (Italian.) Three: as, a, ire, for three voices or instruments. kemahdo} (Italian.) Implies the reiteration of i remolo ) nnte or chord with great rapidity, so as to produce a tremulous kind of motion. Trio (Italian.) A piece for three voices or instruments This term also denotes a second movement to a waltz. march, minuet, &c. which always leads back to a repe- tition of the first or principal movement. Triplet. A group of three notes arising from the divi- sion of a note into three equal parts. Trillo. A rapid alternation of two notes. Tutti (Italian plural.) All the voices, or instruments, or both Unison. Two or more sounds alike in pitch. Un (Italian.) A: as, un poco, a little. alse (French.) A waltz. A.RIAZIONI (Italian plural.) Variations upon an air or theme. eloce, or Con Velocita (Italian.) In a rapid time. This term is sometimes used to signify that i particular passage is to be played as quick as possible. Vivace, Vivamente, or Con Vivacita (Italian.) With briskness and animation. :vo, Con Vip -zza (Italian.) Animated, lively. Voce (Italian.) The voice. Voce Di Petto (Italian.) The chest or natural voice. Voce Di Testa (Italian.) The head-voice, that is, the falsetto or fe'gned voice. Voll ( German.) Full : as, mit voile or gel, full organ Volta (Italian.) Time of playing a movement: as prima volta, the first time of playing; seconda volta the second time, &c Volti Subito, or V S. (Italian.) Turn over the pag( quickly. PHRASES WHICH OCCUR IN MODERN AUTHORS. Not too slow nto un poci style, with thi Andante ma non troppo e con trislezza but with pathos. (Used by Kessler.) Andantino sostenutc e simplicemente, i piU forte. In a sustained and simpl melody somewhat louder than the other notes. Colla pii forza e prestezza. As loud and as quick a; possible. (Herold.) Come J l primo tempo. In the same movement ns at first Come tempo del tema. Same movement as Ihe theme. Cantabile, ornamenti ad libitum, ma piu tosto pochi e buoni. In a singing style, with embellishments at but few and well chosen. (Dussek.) Con abbandono ed espressione. With self-abbandon and expression. (Herold.) Con brio ed animato. Animated and brilliant. Con 8va ad libitum. With octaves at pleasure. Da capo senza repetizione, e poi la coda. Begin agai but without any repetition of the strain, and then pro- ceed to the coda. Dolce e piacevolmente expressivo. Soft and with plead- ing expression. (H. IIe r z. f FF, principalmente il basso. Very loud, especially the ban* II terzo dite a tutte le notte di basso. The third finger on all the notes in the bass (H. Herz.) Istcsso valore, ma un poco piU tento. The same time, but rather slower. Moderate astai con molto senlimenlo. A !gre jf movement, with much feeling try Piano, sempre staccatc s marcato il basso. 8*ft wiU. the bass always well marked and detached. Poco a poco, piu di foco. With gradually increasing animation and fire. Poco a poco crescendo, decrescendo. Louder, softer fcy degrees. Pot a poi tutte le conie All the strings, one after an- other. An expression used in playing the grand pi ao- Segue subito senza cambiare il tempo. Proceed diitctly and without changing tbe time. Segue senza interruzione Go on without stopping. Sempre piano e ritenuto. Always more and more soft, and falling off" in the degree of movement. Sempre piu decrescendo e piU rallentando. Gradually softer and slower 11 Jfmo. Louder and louder lo the a fndo. Much louder the second Sempre piu forte,... fortissimo. Seconda volta molto time of playing. Sin 1 al fine. To the end Tenete sino alia fine del suor.o. Keep the keys drown a» long as the sound lasts. ABBREVIATIONS. A temp. Accel. Ado. Affetto. Andte. Decn A tempo Acoellerando Adagio Affetiuoso Andante Ajw Callando Cres. Da Capo DecrpRcendo Ad libitum Allegretto Allegro Aflrettando Andantino Ad lib. Alltto. Alio. Affreto. Aidno. Arpeggic B. Brillante Con. Esp. Con Espressione Crescendo Do! EspresB. Espressivo Energy Forte IT. Fp. Forte, and then Piano; whei note it marks a strong od to a einglo Introduzione Log. Legbto Mano dritta Mano sinistra giero M. IMP. MaclzeFs Metronome Maesto. Mezzo foite Mezzo piano Maestoso Moderato >r 8va. Ottava Con. 8va Con ottava, i Op. Opera Orgo. nth octaves Organo Ob. Oboe or oboi Pedal Piano and then forte Prestmo Perden pp. Rallcn Kiillo. ,. . , Rf. Rfz. or Rinf. It inforztindc a'Untando. Ritar<] Rilardando Riten. Ritenuto Scherzando Sempre ivorzando Stacc T. S. Tr»Bto Solo Tem. Tenrpo Smorz Sifiorzando 2do. Secondo Sosten >r sost Sostenutc Staccato T Ten Tenntc MAJOR SCALES. Scale op C Major, p""! r m ^ l — n r- 1 '-J-JL ii -JT] r-, 1 V b- " ' U "" J ^ 3 XT * * 2 1X2- -»- -P--0- a 2 v =B: Scale op G- Major ft: , „ 3 X 1 2 X -Jl f^ J l—i r^ 1^>< BEE@?eS 2 1 X 3 , .-. 9. 1 4 3 Scale op D Major, rir 2 3 4 3 Z 3 4 3 Scale op D Major. , „ x^ J, r - ^ J^» 21 Y _ t — x— t — ^ — i > — " ■ --f- 0— — * t * — 0— — j — J — -j-i f— — 9 ^r* — * n 3 X 1 2X12 0^^^m X 1 2 3 4 ±=t li?Si^ Scale op A Major. 2 3 4 3 dUb fe w jid — — fcr-fcd — h-^s - ! - 3 x lr* r\ N-J-J n X r -S i^x 3 2 u— ' y-^ x i -*J i r^m x - s x 3 i 2 x r*J„ J J i t^E=zg^=L a - 8 — : — — r- 5— EE±d — F^P-si-Ht 2 3 I 4 3 2 1 2 3 I 2 3 4 3 Scale op E Major. 3 , , X 1 fl ^ j*-, X^a 4 3 Scale op B Major. H SCALE OP JtS MAJOR. x . » " |~""j is i a 2i?PzGz»-zp=?zz*=t:=t££S 1 *-?_» I^siiii^ff MAJOR SCALES. X 1 2 -3 V£ 2 ««i X 3 , „ , x 2 i * 3 2 3 x^i 2 x 3 a 1 j -g --f- x * - #- #12 3 I I §5E ._^^ ^ 1 1 — w — »-i~* ■ m — O — m — r — • — fl h — I 1 ^ IT Scale op Bp Major. — h 3 — X- teg g3 :?t=«z= , i 2 d r-i i x smwH^cj «=T S £§§ I -w»J — V- -#■ C3 I * :■- I': *: =0 Scale of Ep Major. , 3 x ^i -e—W^o •- a U "Hx 2 x i :«Z-4 X 3 n *zz*z ZWZZg ~r=i L^aiE 1 2 "■"■J, ±±± E^E3^E 3 X 1 2 S :t=±- :e=: 1 Scale op Aj? Major. le op A? Major. , .. x l 2 :i 3 x v-3 rn n r* 2 - i a „ , „ u ? i x U K ^ 3 SK u r i *~r 1 X 3 1 X 3 2 Scale op D|? Major, i £ 3 X 1 ££ SS ?=*= -•— =i- M 3 >C 1 >< xi vs rn J-+JL-+ j-^ w< 2 i x 3 „ , mm^S :t=t: i LJ » X 2 | R -*-- » 3L-«3>. 3=M= I Scale op C Minor. MINOR SCALES. ^ m -=— J—rJ — • — * — t- , 1 J^_1.4^ o — a a 3 _-X_i! |2R__L_ , I "«*J — 1 -i — | P— o — m — x- — a— a-- 1 — -a — -a — *— 1- u l-k-'z u ■*— #- ES *-*■ i igss=i§: e :£=fc: I Scale of G Minoe. V 3 DUAi,ii uf vx jiiusuk. x j - ^^ '^^ 2 1X2 ill '-J. W -F-r-p-p -e- i"- i 2 r-r^^ r* Scale of D Minoe. i§i£ .n_ J3: "*l r igtigfcbUj. J— i r ie^v 2ixi -»■» «^y r p =! ab£ R -»— p- -CSSSST — EgEEE Scale of A Minor P _ £3 P^p- i=r-|— 2 3 I i Scale of E Minor. VU BpS^ 3— *-T z-Vta-%0— P-l^-fKa — r I *- •to 8*h^3=S5^;e r L—t 2 1X1 IT^x •?■■£ r_ r~$* !•- -X— +— ""J- 1— ■* H^ EOT 1 Scale of B Minor. ; 4— {= — j"^- T — t — X — 9 — 1 si^ ^i^ gg L-j # l| « I » j' 1 e kit MINOR SCALES. v IK St ± it hi § r«««, 2 i Scale op F^ Minor. x t *^ f _!i_E^_n — « — « — u -J-0—P — | — ^ [_— ^ — ««J — +->^—\ — I — P—o—m-H — i — " — ° =ri — — " i^tr^^^^^k^^tf — X L-J X3 2 1 X ! 2 3 -^ 3 x 321-21 X1 -P- ,» 1 2 3 l - P— F O I3[ Scale of F Minor. 1 2 4 3 , i K ^ ^ 3 ' a ^X r Hi^.. , 3 4 2gj^z|=f = fc===:=== = r=:==^^ Scale op Dtt Minor. v , 2 a X r- i ] J— i ><•> ■ i — r*"" — * — * — a — rif jgfep^ 2 1 Scale op On Minor v , o ,„ uX 2 TX ^ 2 ' 3 X . -. ■ ■■> Popular & Standard Methods of Instruction FOB THE ORGAN, PIANO-FORTE, MElODg'ON, HARP, AND GUITAR. Published by OLIVER DITSON & CO., 277 Washington Street, Boston. MODERN" SCHOOL FOR THE ORGAN". A ■ New and Progressive Method. In Three Parts. By John Zuudcl, Organist and Director of Music at Plym- I outli Church, Brooklyn, N. Y. Part I. History and Description of the Organ ; Ele- mentary Instruction ; Exercises and Voluntaries in all Styles of Organ Playing (without pedals). PAKT H. Pedal Playing. Part III. Combination of Stops ; Voluntaries and Pieces suited to all occasions. Price, in separate parts, each $2.00; complete, $4.00. This work meets the student after lie lias obtained a moderate knowledge of the elements of music and of the key-board of the Organ, and conducts lilm through the details of fingering^ touch, slops, pedal-playing \ &c to a full and complete mastery of the Instrument. SCHNEIDER'S PRACTICAL ORGAN SCHOOL. Containing all necessary Instructions in Fingering, Management of Stops, Pedals, &c., with a great variety of Exercises, Interludes, easy and difficult Voluntaries, Ac, to which is added a complete Treatise on Harmony and Thorough Bass. Translated and adapted to the wants of young organists. $3.50. AMATEUR ORGANT3T. A Collection of Opening and Closing Voluntaries, from the works of Handel, Haydn, Beethoven, Mozart, Einck, Pleyel, Mendelssohn, Von Weber, Andre, Schmidt, llcssc, &c, prepared with special reference to the wants of beginners, and forming an excellent Course of Study for the Organ or Melodeon. By John Zundcl. $2.00. IMPROVED ORGAN INSTRUCTOR. Contain- ing Instructions and Exercises in the various branches of Organ Playing, with a Selection of Music from Kinck, Callcott, Hamilton, and Warren. $1.50. EiLCS'O 48 FUGUES. The Well-tempered Clavi- chord. Being the cclcbratud -IS Preludes and Fugues. By J. Sebastian Bach. In two volumes, each $i.00; com- ' plcte in one volume, bound in cloth, $7.?0. TWO HUNDRED AND FIFTY EASY VOL- UNTARIES & Interludes. By John Zundel. $2.00. Thlii vo'imo contains twelve opening voluntaries, and two hundred and thirty-nine interludes. It is superior as a collection of good organ music, and furnishes, at a very low price, a great variety from which the beginner can select, and old players, even, find exceedingly useful. BEAUTIES FOR THE ORGAN. A Collection of Pieces adapted as Introductory, Middle, and Con- cluding Voluntaries. In Nos., each 80 cents. PRACTICAL ORGANIST. A Collection of Volun- taries by the best Composers. $1.00. BLESSNER'S 12 PRELUDES AND VOLUN- TARIES. 75 cents. BCKNEIDER'S VOLUNTARIES. $2.00. ZEUNER'S ORGAN VOLUNTARIES. Part I. 105 Interludes and Short Preludes, in which are intro- duced all the various Keys used in modern Church Music, $1.50. Tart II. Practical Voluntaries to be used before and after services in Churches. $2.00. Complete, $3.00. HILE'S SHORT VOLUNTARIES. Nine Nos., each 60 cents. RXNCK'S PRELUDES AMD INTERLUDES. For Organ, Harmonium, and Melodeon. 75 cents. PIANO-FORTE. RICHARDSON'S NEW METHOD. An improve- ment on all other Instruction Books for the Piano, in Adaptation, Classification, Progression, and Facility of Comprehension ; founded on a new and Original Plan, complete in every Department of the Art. By Nathan Kichnrdson. $3.75. With this book, ten thousand copies of which arc sold every year, tenchers are enabled to impart a thorough knowledge of Piano Playing with far less difficulty and greater rapidity than l>y any otlicr system, and the Scholar is better pleased With liis daily progress, and looks forward fo his next lesson as a pleasant pastime rather than as an irksome task. The usual chill and wearisome exercises for practice aro Ju this NEW METHOD superseded by charming Melodies that please the ear while they assist the pupil in his efforts to become nn excellent pianist. Two editions aro published, one adopting American, the other Foreign Fingering. When the- work Is ordered, if no preference Is desig- nated, the edition with American Fingering will be sent. BEYER'S PRELIMINARY SCHOOL. Intended for tlic Use of Beginners. With " Czcruy's Letters on Piano Playing" appended. Bound in cloth, $2.50. Parents will find this a most excellent book for tlie home tui- tion and practice for their children. BERTINPS PIANO METHOD. Complete, $3.00 ; abridged, $2.50. HUNTEN'S PIANO SCHOOL. English and French Text. Complete, $2.50 ; abridged, $2.00. BURGMULLER'S ELEMENTARY INSTRUC- TOR. English and French Text. A New and Im- proved Edition, including " Czcrriy's Letters on tie Art of Playing the Piano." Bound in cloth, $2.50. MULLER'S METHOD — Revised by Knorr. With English and German Text. In 2 parts, each $2.25 ; complete, $4.00, CZERNY'S PIANO-FORTE SCHOOL. $3.50. BOSTON PIANO-FORTE INSTRUCTOR. An abridgment of " Czerny's School," with an addition of Marches, Quicksteps, Waltzes, Dances, &c. By E. L. White. Complete. $3.50 ; abridged, $2.00. MODEL SCHOOL FOR THE PIANO. A Series of about Two Hundred Examples and Exercises, favor- ite Songs, Polkas, Waltzes, Marches, &c. $1.50. "WINNER'S PERFECT GUIDE FOR THE PIANO-FORTE. Designed to impart a Knowledge qf Piano Playing without, the aid of a Teacher ; with a large Collection of the V . pular MelodieB of the Day. 76 cents. ' The best low-priced book. New and attractive. PIANO "WITHOUT A MASTER. By E. L. White. 76 cents. THE CHILD'S FIRST BOOK FOR THE PIANO. 75 cents. MELODEON. ZUNDEL'S MELODEON INSTRUCTOR. Con- taining Elements of Music ; Progressive Finger Exer- cises ; Airs, Marches* Waltzes, Dances, Variations, &a ; Favorite Movements from Operas , Voluntaries and In- terludes , Selections from Oratorios, &c. $2.50. This work is the most thorough Instruction book of the kind published, and is recommended by Lowell Mason, Coiilius Girac, Wm. B. Bradbury, and every one who has examined it. AMERICAN SCHOOL FOR THE MELODEON. Presenting in a series of nearly two hundred popular studies, a Complete and Progressive Method of Popular Instructions for the Melodeon and other Heed Instru- ments , together with a Selection of the most admired Songs, Duets, Trios, &c. By T. E Gurncy. $1.50. A volume calculated for student or performer, equally valuable as a method of instruction and a favorite collection of music for the melodeon and all reed instruments. The exercises and examples exhibit every phase of execution, a diligent practice of which will enable the pupil to perform with case and accuracy any of the popular compositions of the day. CARHART'S MELODEON INSTRUCTOR. $1.50. * MODEL MELODEON INSTRUCTOR. $1.50. WINNER'S PERFECT GUIDE FOR THE MELODEON. resigned to enable any one to obtain a Knowledge of Playing without a Teacher ; with a Col lection of the Choicest Melodies of the Day. 75 cents. MELODEON "WITHOUT A MASTER. Easy Lessons and Favorite Music. By E. L. White. 75 cents. WOODBURY'S AND HOWE'S MELODEON INS TRV-'C TORS. Each 50 cents. 1-I-A.jcSI? «& OTTITAIS. BOCHSA'S INSTRUCTIONS FOR THE.HAB.P. $3.50. CARCASSI'S METHOD FOR THE. GUITAR. Complete, $3.00 ; abridged, $2.00. A now edition of this celebrated work, cmbraalng much vain- able matter not contained In those previously issued, including a number of songs hi each of the different keys. CARULLI'S METHOD FOR THE GUITAR. Complete, $4.00 ; abridged, $2.25. CURTISS'S METHOD FOR: THE GUITAR. Easy and Progressive Lessons and Exercises j admired Songs and Popular Pieces for the Guitar. §3.00. FEDER'S GUITAR METHOD. $3.50. "WINNER'S PERFECT GUIDE FOR THE GUITAR. Designed' to lead to a Knowledge of the Art of Performing on the Guitar, without the aid of a Teacher, and presenting, for Practice and Recreation, 150 Select Pieces of Music arranged for that instrument. 75 cent b. GUITAR WITHOUT A MASTER. 75 cents. One of the most popular of low-priced Instruction and mnilc books for the guitar ever published. HOWE'S GUITAR INSTRUCTOR. 60 cents. Sh.ee* Mu3io and Music Books sent by- Mail, IPost-puid, on. receipt of price. Catalogues furnished application.