UNIVERSITY OF CALIFORNIA, BERKELEY MICROFILMED 1998 UNIVERSITY OF CALIFORNIA LIBRARY PHOTOGRAPHIC SERVICE BERKELEY, CA 94720 MAY BE COVERED BY COPYRIGHT LAW TITLE 17 U.S. CODE REPRODUCTIONS AVAILABLE THROUGH THE MUSIC LIBRARY 240 MORRISON HALL UNIVERSITY OF CALIFORNIA BERKELEY, CA 94720 UNIVERSITY OF CALIFORNIA AT BERKELEY BERKELEY + DAVIS * IRVINE * LOS ANGELES * RIVERSIDE * SAN DIEGO °* SAN FRANCISCO SANTA BARBARA °* SANTA CRUZ THE LIBRARY BERKELEY, CALIFORNIA 94720 | agree to the following restrictions on reproductions provided by the Music Library, University of California, Berkeley, of its holdings: 1. This item is to be used for scholarly purposes only. 2. Reproductions in whole or in part of this item must be authorized by written permission from the Assistant Head of the Music Library in every instance. 3. 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Signed Date The Music Library 240 Morrison Hall University of California Berkeley, CA 94720 U.S.A. TITLE: Compleat instructions for the guitar PLACE: London DATE: [18027] CALL NO: MNEG: 98-107 MT582.C6 1802 MUSI CASE X FILMED AND PROCESSED BY LIBRARY PHOTOGRAPHIC SERVICE, UNIVERSITY OF CALIFORNIA, BERKELEY, 94720 DATE: 8/98 REDUCTION RATIO: 11 Yo. VF 6 THe | wn S 3 & S20 =f of - I. 85 — = = = = — 25 aa. =] “I z= aad = ® = 3 " = i 2] =] gp B : - l STERLING |p iy <4, : , “43, Ao ‘br / 0, De, @ AN » oO vy w*o SA “a SF Cad So 2) FOR THE Ec; TT C 1 ATR : 7 on Bim ort mode. onLhrectrons soil, 4 forer Cramptis forTearnees /0 Gorter a Pe ty proficiency; Co y Oe rr ved ty the mar, oriviterct Af “rs. — AE ad whieh 15 aed © 7 bo bollctin of A, e_ Wie del Nl ( 2, ngs £7 /. fm x6 Adapted Ey for that Inftrument — Price, 2%... TO COTTS) XY Shitdort i Sintec { il 1, (ly Thoms Cc” (“24 es Widligfbyot Sp Of whom may be hiad Books of Infhuetions for every tingle Fftrunient Reuven voi ethic Mufical way onthe mot reaionable Tern MUSIO LIB. an - ST MA \ , Tg Musical 11 Hen NTA vps 18 id ¥-\ ker | iy DoTbors [1,11 J ban . Cro? is -~ Loxpox Car Ww — CT — - Nn ad gl LT" The GuiTTAR (or CITRA) is 2n Inftrument whofe Ladies , being efteemed a ver all the capable of producing Place it acrofs the Body,with the Neck inclined upwards; th the Bridge, fo that your Fir Firft Strings; holding the Nec inclining the heel of your Han this Pofition,is to fling "it over the left S Hands ,may be free to move i ftrument ,fo- that the INsTUCTION Ss. for the wey y compleat accompanyment to defired beauties of Harmony. The manner of holding the ft, Second and Third Finger kx between the ball of the d up clofe to the Neck, th houlder with 169 a 3 TUT T TAR. Delicacy 1% uy and down en apply your Ri s may hang Thumb and root © e belt way to hold it wi a Riband fixed moft fuitable for the the Female Voice , and 1s Guittar th eafe without ir té rrp . ght Hand near over the Third ,Second X £ the fore-Finger, i to both ends of =k: i AE A ir 3 When the Imftro ment Fs ngers ’ is thus Placed hog form a roundn els then {traig beginning at the fmallers , In like which the Pofition of the Finge The running the Thumb and fore Leffon fufficient f¢ Finger to begin + < Up. the Wrift fo as it may, together with the ht the fore-Finger an d draw it acrofs all the Strings, man ner, return rs will be, difcovered : the Thumb from the thickeft by ~Finger acrofs the Fé recommended js a 'r the firft Day : only the Thumb to leave one String for the with, and fo the fore~Finger leave one String for the Thumb , Of the Left Sixthor thickeft String Fifth S tring Fourth String Strings ‘as befo 5d] S330N uad be Third String fore -133ur pIrroy-I38ULg | | | — 1 T® Firft String ¢ Second String 3 Hand Fin gers Bufinefls is to apply the § TO produce a on B little oo -Y od Example explaind. i J Example 2 trings to the Frets (or Brafs Rars acrofs the Finger good Tone ;and this is beft done by preffing the Finger on 2hove the Fret from which the Tone : : ifferent method of his i Te 0 0.0.3 2:25 2.3. 1.1 Titi from thas Fer ye next l 4 7 > al 4 11 g is received | each of thefe Frets # = Ee three NO Day dh and as their St: a Bridge, which if the String is made to reft firmly upon, muft undoubte ly =< — 1 | Rd three ha i i i the open Note, : its prefent Pe e t 1 bl ('t e ta S ke then vi rate equally’, ax 3 ib ken that they are ftruck fo a se m Finger. / or t he inftead of the Thumb, are playe by the fore - i only the l1aft three fom 3 haz: ! YeCom i: rfection, the Th F€Ccommended are intirely ¢Xplodedspy ary ap ructions mult mar the Performance he Execution mended fop ufe, there were ebfurd recommendations tell us, that fuch Inf it would facilitate t over a String fhould At 3S abfolucely umb and fore—Finger were only thefe two, for all,but thofe Proved Mafters, for Common reafon T 2. means the fecond Finger, | Ya O means the Thumb. ; ’ €:had we a inger for every String 3 the third Finger. - the fore-Finger, . tion why a Finger that n be idle, and m a diftance to do Its neceffary to ma alike ufefull. Y rs — 5 . - rr: ) 1s - 5 - 1€ etore conti ‘ 3 1 T re unifons or the fame found,& ther aturally hang tring: as are clofe to each other = ; +: > , Such Strings as office thereof, ro x Su > ‘ 1 a a ——— ET ———————— ————————— iar Ass - Example 3 : Example 4 5 as in the 23 Ex: In playing up the Scale the Fingers nften pais over a {pace be t the Learner has at prefer? i may be applied tween the Frets the reafon of which Thall be hereafter given. All tha to obferve is, to play the Notes a» directed in the Scale and plan of the Finger-Board, ux:l, $n = ace it.For Ex:the 1° Note ©. PY dae Another Leffon on the open Strings Tr oF oF oF = 4 e . ho ( This is defigned : . i one pointing out the proper Finger, the other. fhewing where to pia en quadruple a ’ to Exercife the Fingers for double tripple Y is the Sixth String open, the od boing D.is the 2¢ Fineor on the ns String placed on the Imftru_ } ed equally on the Strings and th .In playing this Leffon,the Fin > I _ment as reprefented by the letter D.in the plan,and fo of all the other {topped Notes, the fame time viewing the St : en drawn in towards the Bod the Th gers muft be A The anxious Learner will no doubt think it unreafonable to be fo lcng detained without a Tune. ‘equal , which if Othoryif : Tings on the Finger-Board, to Sileones | wm) the rever{e : but let fuch be affured, that beginning to learn any Inftrument with Tunes , particularly known The® thefe Fxgraole, € 1t 15 a fign they have not b 1f their vibrations are ones , is generally the greateft hinderance they can meet with for their eagernefs to learn thei = bel mples are but een equally preffed, Tunes makes them hreak thro’ every rule and method the Induftrious Teacher has been la _ ve lengthened at Pleafure ; _bourins to communicate; whereas if the Learner would have a little Patience and firdit g € time be loft b «ther with a tolerable commu.’ eating them (which i h 1s her 1 ) © be Jengthened ut PL fore aking ( e defigned they hav endeavour to have a goed notion of the firft principles, tog th br irra : ng care thit no more ween the firft and Yue of the Fingers, his. progrefs would be fure and {peedy. Which ,1f otherwife, feldem fails of 3 ay be confidered as {ti : a diftinct Lef{ n effon and v j OF a rs . 0 : ach parcel ox Notes between the cro - being {low and uncertain, attended with awkwardnefs . repeated as above, ; ] : ik a Of Notes their Names and Proportions y At I, n : The Notes made ufe of in either Vocal or In{trumental Mufic are of {ix forts namely Semibreve ’ » g As to ‘their lengths & proportions, thi th ip, gl ’ C b E 1g ~ 3.String., ; [ Minim, Crotchet, Quaver , Semiquaver ,and Demifemiquaver , 1) a Semibreve is equal to two Minims, four Crotches ,%c. as in. the under . G [ 0 1 0 % 3 Ex ample or 32 Demifemiquavers i » or A'S wribreve as or or ; : 16 Semiquavers } The Learner being , i the open N : Pen Notes are pl is a» long 2 Minims [4 Crotchets [8 Quavers the above Scale has t i —— the Lines Xk Spaces on whi 5 ng the others , Each Ngt. above it Th. Right Hand Fi: «oo ps a - TRI gm . - - 0 . NASA A A wii ER BRR RR RAT RA a A A ARI RR RN I TE Ey » Of Refts Thefe are Characters which denote {ile to meafiire of time with the Notes after the fume Names | as Semibreve-reft, Mj C€, or an intermi{{ioy of found, and are the fame , as which they are placed, They are likewife called by nim-reft,Crotchetoreit fc, As for Example Example Semibreve | Minim Of a Dot or Point PL I. Qu: Crotchet Quaver | Semiymave ¥ NVotoy p— : . SpE 4+ A Dot or Point placed after any Note, | — i ry —enieee makes that Note longer by a half than it Ked'ts : i. : fon ly w. For inft: a Seq - rm . So —————— xXG1X mer y was * or In ance, da . € i alone is equal to two Minims, but by a Dot is made equal to three, a Min to 2 Crotchets, but with a Dot is equal to three, and fo of the others , nithreve im again 1s €qual Of Cliffs There js one’ or other of them fet at the » ~-ning of every Tune. The G.or trei one ufed €or this Inftrument , : C£11 le Cliff 1s the The G,Clifg Example == OF Bars Lines ys which are two kinds There ir Ines which crofs the five together with th led uy JOT thefe' there e paces betwixt them ynamely y Tingle and doub , ATE les the fingle Bars ferve to A de th Tune ce d t £ r ] 3 T B: & to iviqae &7v r rain of a 3 Til) ¢ ” e - » ¥ 0 1 S 3 S ne 0 e ax €X we 18 v ) £4 6 ye y {t Aa Ril . i * " I x ; v ) | { ! 1 t n safures eo ubl ‘ i oad . } . | Example 1 ai ith a Pt withiy 2%, pr! eel s qr There 16 2n arch or femme ircle, wen te . 1s called a Clie; : There An arc 31.v thib (Marattes fa 3. Se he firit double ACA 4 L : iy, ky Nete 1 1s P 4 er I ferves to fhev | that Hil ot the Note over ang ome : : 1t denotes, that $3 . Sh her times 11 at Lak “" he Nici : at ot < : is the laft Note of the ps : Chews ed over, is tke wT afure : «hich few: TrtHIE placed may be lengthencd at Ple ; ble Rar called 2 Repeat, t Th XE ee h ye r placed over the fecond double ) ‘which it is placed sand Dots, There 1s another characte . y 2 Note over whic! ‘ There 15 ang ther 4 b serformed Over again, from the Not that the Mufic is to be per t being : 1 I .r at the end of the € - aracter a ferve the fame purpofe, he other cha placed by the double Bar, ferve mn > a d » ) C¢ J | t! eng +I I f », refs ling a ol A { . : Of Sharps, Flats,and Naturals : oe d on thé Finger- Board is only a halt Tote ‘or Natesif a Sharp theretors a Ps a Flat has the contrary effect, as BL tanen are per ~per,or more acute than it De y a toanske it move Flat or Samii Cod Note fromiany Note Finger on the {pace above or heey than then it is played rrtmed % Dn i D.the {fecond Note 1n the Scale, the for inftance {fuppofe ‘ 1 . n Y {E « A" ¥ Rs hb J A . % . < ked , : ‘her the Flat 15 war 3 it a Flat, the 18 Finger mult be put Sows Sis ct the Notes on fuch lines te Ce eae io Beutining of a piece of Nally g rs ; - ¥ them 15 c da S > Y cir dif eren 1 » ER i thrd out the whole Tune,according to the or paces ’ , ore RE Ya 1 GAR i. nt MEE BOERS SR RRL AL Li Riis 1 Re it To] " i 0 a laa a ETE He — AAR Sharps # # _A Natural ferves to contradict Sharps or Flats 1s placed to its former Natural found. Flats bp. Naturals E y . y by reftoring any Note before which it Of a Shale y deficiency of the Inftrime: vantage of moft others of ;¢. full Harmony to any Note the Performer chufes which together with its Melodicwfnefs renders it a moft elegant Accompanier of the human Voice. : One method of a Shake ,is by founding the Note above and then moving the Finger of that Note as on the Violin. Ancther method is by {liding the Fingers over the S:iring beginning with the 1. Finger {triking two firings together for inftance if you wanted a Shake on D. draw your Finger over the open Notes E.% D . together which if done will have a very good effect, The next is the fame with the former; only with this difference, that inftead of moving the : i g “nd rifing form an oval, by which it will draw the String a little to a fide , {fo as to ren { This {feems to be the onl doubtlefs has the ad ’ Finger up and down perpendicularly, it muft in fall: ew the vibration, : O Pa Beat Finis dy beft done by preffing very hard on {tops the Note , which when done muft be ke the laft heard . the String , and moving the Finger that Pt down that the Note it felf may be. . Example it; for in every other refpect it compafs as it is capable of adding the Of a Slur 1 , AY fuch Notes as are Pres v Jikewlte where they T1kew » em lg # v3 atl | f - rium n 1gni fies O more Cc ) DOINT ou iN ‘3 +} Sengs L by d aw g the fame Finger over them ot ns 8 ed by drawing Bl 5 one Syllable. . - {fhew fuch Notes as are {ung to J Xxample Of Time . . , nin 0 always at the beginning tevs whic otes Time are Sa The Characters which den number ,vet there are ‘ ’ y Us many In a piece of Mufic; and tho’ they 2re 1s Tiras . me A rippie ITNT : y . S. : JT ) Y * hit ir ; con{ifts of one Semibreve, two Minims , four x on by the following Common Time c . iquavers in a Bar,and is to be kn | C1 bt) or thirty two Demifemiquavers in po ’ Movement, the next £ =») e : " : Move ’ : | . hi otes a ow 2 The firft of which C denot mark C ¢ b : : ; bt & PIV 4 fird e > thefe Character: BE Re th two brifk airy Movements , The firit thre of t the other t ’ : airy . ‘ long as vou rar an . ‘ ; Fd nuft be held as | ® J fatter, h to the value of a Semibreve in a Bar , which m Mint. or two Erotehets, w > \ ac # Vv“ . / ; : J | at . 1 gontates Sa 1 t four. the laft never contains more than A x ’ i oderately count iour, tl li ; 4d ‘French Time. gan yo %c.in a Bar. This is commonly Sills d : firft of thefe Characters ua ¢ e.] ‘ 2'Y wo fir SS : o Fou > “1 i k mn by thefe Characters 4 g & ° ! Ihe avers . though Tripple Time 15 Know ¥ = 8 BT. the other three Quavers, ¢ : i contains three Crotchets in a Bar, : hat Quicker . is Minuet Time one ¢ . sYaved cenerallv {owewha Ee) + : 1s played ¢ J Stenntain ¥ of Migs “c.the 1% ra C » thefe Characters Semiquavers, 3 i'w € snd . only 2 c.1ity thev hoth antwer one ena, y g ii hy ’ : : : ters is alwavs marked at the 8 5 ing Character 3 ) > a » Dyavers ve . . a1 he laf't twelyv e Ou. ’ : , od Crotchets ,and t : \ Ouavers in Bar the 25 fix will difcover's » Cy . - ‘ “2 a 4 ner . end as in the courfe of Practife the Lear : ill be neceffary (YY . «ry a . v : :d to play fome “Tunes , after which 1t vaay procee ye v ! ’ T} 3 rem fict anfaer [hz learnery obicrve the following rules. h i + ernie ot re mn fa aki = or a ar I a dt a . _ ” ro A Pe ——————— drawing ths Stry k m HE MSitrin aflide in 111 ! , e - raifing nee ? N Such Notes as may be vlavd rag the Finger from the Note above , Haan N1S manner have { ; 1 1 € dots above the them ’ . ° as have alfo thofe in hee i 1 di els B t ( nw ii 0 € - » ” o p - tne Leff: ¥ al ro : that thefe Notes thus Played bo n i {'t Ta : h i | : 4 . | i u ronger tiian th 6 othe X 5 ¢ | ' 1 oO Ei a" | ~-wife they will have 2 bad effect Firfl the ct { y lay t e ¢ 2 yd RN de { h S ( e by t i a t H: 1 L Pe 1 alc ma p a h No Bg. n {uch Mufic : 0 y < wi d cS ' «5 x rit 3 Y i1¢C . 18 Nn J ry . - N ~ Pd of -itning the Guittar nNIs 15 to be done only 3 > : ¥ Aly by an adjufted Eq thafe' who are s : J Jilted Ear, and therefore is not to b macquainted with Mudie / TR = to Pe attempted by t! 4t can tune a Violin i a Mufti + but as there 1s {fcarce a 1 ace deftit + pied by : any fic ye a i ac pli ute of o String or Stifuos ba 2 31y. IuCh may ealily tune a Guittay The method is thi ne bes > ; gs be tuned the {ame found with the 3d ¥; ? t! ® 15,1et the third Vvittch 1s C, this done. th d . ; TE # The gL. ringer on the 4+f\Sir} 1074 > -t $ e 2 + 5 2 - . rin of the ) String of ihe Violj oe [String !> maae to found the: {fame with the 15 i Yielin, third Fi he Y2olin, whichis FE.and js third to the f Th ow bi 3) on. the ad fird Finger on tl ome EY . i fi to the former, Then tune - tl x i ! 8 the {fame Violin String being G.bv - hich i ne ) String to the ttuned , When thefe three ar } o £ ¥-by which it becomes a §'0to the Stri nt As a proof of what h. Jo Hits tuned, they will found thefe three Not ep i : } 'O% 0% what has been don . poh: br Aree Noiehe TF 3 . rene, compare fuch N ; _—— 1 1 with th Woe ’ ch Notes as are croffed er € open St N : : ¢d on the F ~Boar tment As pen S rings above and if they bave th Lame. 0 £ the Toi Inger Board | r tu « As for inuftuanc ay ne douna the Inftr. i : Htance let the Note that is crofled in the p ot ment is {o 00 the fecond String have +t] le forind with the iy Siri WR AE open and fo of the thir! and fecond String , VIER id a ore sum returns’ of the fame found , they being 8 Notes Cif the 15 und Ladi hres Sorts Py “ctave to the 1%} the 5%, the 2d und the sth v Tt isin fign the Filton ian ro ound the firft three Notes in the French Minuet : i In tune; and fuch as cannot tune it ought to play Ch as the Ktiowle dae tf 3 i ge 0 t will greatly forward their tuning , O Remarks on the Pitch of the Guittar . The Notes appearing fo high makes 1+ feem impofdfible for +%¢ human Voice to ar his Inftrument ; but when it is confidered |, that the Mufic is fet an oc. A - - { 9 ‘ - - ne prevent too many ledghr lines er unarcufiomd Cliffs the difficulty wr The true {tate of the open Notes are theie, company ~tave above it -io will be removed. Exam p le = */ . = dy The Notes the Goittar plays (A= ¥ : / -) < ~~ 3 (= = 5 The Notes the Veice fings i ¥ \ < + 0d It cannot be too {trongly recommended that Learners endeavour to get the metho : ix #0 set Fingering perfectly before they attempt to play a Tune ,which will enable then it. Herve follows 411 the Notes afc ending rnd defcen he! 3 ' i. ! After thefe are tolerable BLAINE) i is- the fir{t Tune ~ward much {fooner than without with two {hort and very ufeful Le{fons . Learner; may proceed to God faveithe King which { adapted for that ‘purpofet well in the Bork and ~~ rea Ca 2 Tes, BE ea Ni i Es hl LI Es a a a a A a TAI] xEA—————— AN a yy. : : God fave the King Left Hand Fingers {top the Notes ; t . . ; fh String 4M String & 3 39g tring string °per l | open : e ° Ye s ; + LESSON / 0 . . ’ o Shift Hand Moderato Se ———— Lhumb Right Hand {trike the Strings ~Righ t Hand Fingers {trike the Strings SN —— —rd ll 0 a re | — i ya Lef{on A a Cor ; mE Felton's Minuet with Var; Lady Coventrys Minuet French Minuet z y Y ! " Minuct TET -_ dd RS BER ATER 1 5 RE Dh i : ; ALLEMAND . 16 | "wl Fe regal iE: iH Fy Cotillon k: . Rondeau. : ft re Marionets HH Cotillon © La Promenade To i BS i La Petit Ballet a —— # % TT Ih SR Se en roa 20 Cr BOVELY NANCY. HE | CUPID S Ry SERIEANT “ | > SF RR To Tn A ames WT Te el — phs a and ye Swains who are oa Swain who 1s wretched when banifhd your {ight and guy, At . tend to the call and hi Nancy thus cruelly ilight A — R ; ~~ 4 yr WY - 8 = A Pp : a A Eo == er = a So Te = a = i bicft while yu may: Lads and Laifcs hither come. To the < Who es vour inke a = lone thinks Life wortn his care But which foon 1 you frown on muft end in defpair. A QA re... ed >». 2 CY ZN yo Vays 1, : : 1 ry = prfat —= er EA. i | Free Er re HEEeEery / re Eley ol : : A EY MN —3F 1 Cis rete =A tl4-~ a i : found of the Drum,I have Treafures in {tore ,which x you never have feen; Then hafte let us ro eo the a 3 4, [Ep ft I Hlavd of Love Whér- ¢ apid is Captain and Venus the Queen. 29 2) | (3) p Each Nymph of Sixt v, vi vontid Fain be” a Wife > Wouid a Swain but be bleflr with a Nymph to his Mind, L Shali feomn have a Parte rr to biefs her Por Life? Let him enter wy Lilt, and his Wifh he fhall Find: i Then 1 f{es Prther come, T can blefls him For Life, 4 "We aly found of the Pram, With a kind v loving Wife, it i have Sweethiarts (in ore, fuch as niver were fee ny | More Reautiful Far , than was Nymph ever (een : 4 Helio yhafte 1ct us 1 y : ! Then hafte let us rove ’ ’ is Te the Iftand of love, To the Xfland cf Love, (2) . 4) : ' . 3 Where Cupid 1s Captain and Venus the Queen. Where Cupid is Capd: atin aud Venus the Queen , If you meant thus to Torture O why did your Eyes, 0 forget not the Raptures you Felt A my Arms | 4 In Paphos, we know T: the Iftand of Yove, 'To the Ifland of Love, Where Cupid 1s Captain the Queen. Where Cupid is Capgain and Venus the Queen, EEE ta aaa and Venus EE In Yacl And 4) Paphos we iknow of nor difcord, nor [trife, ’ ~ { . R v . = ‘ Kamps ind each Swain may he happy for Life In tranfport and ‘TN . = We each Moment employ 7 tafte fuch delights as were rpever Jet feen; Then hafte Tet us rove To the Ifland of Tove, Where Cupid is Captain and Venu th: Queen EE -_— iI “SPT i A ol Toru ps Tne ie "STGH NO MORE LADIES Sig no more Eadies Ladies {igh no L—— more Menweredeceivers ever Menwere decivers ce ns See svat . 2 a pm RV. One foot in Sea and one on thore to one thingcon!tsnt never — to one thing conftant Ha — ——— never & fo but let them g i ( be youbhlithgand bouny and be youblithe and a bonny {on vertingall your found of Woe con _verting all your foundof Woe to hey nony » ") y v — 0 / nony hey nony ~~ hey nony no ny he on J v ncn . Sing no mare Ditties Ladies {ing no Of Dumps fo dull and heavy The Frauds of more men were ever fo Since Summer firft was ieafy Then {igh not {fo but let them go And he you hlithe and bonny Converting ail your found of Woe I'v hey nony nony . FORCE ME AN Or oo A, a, — —— - 2 ; ” force mi not Jom mhimI love let Oh let thefe Anns isimmt [ll e_ver or emitt - B o- eh = EE prove 1 Live E wT ~~ love let Oh! = ay YY let thefeA msen. fuldthee ¢ you il e ver conftant prove I live [ liyggwhenyou He hofidm i THE MANSION QF PEACE -- ne 2p w » ~ ’ Yo. a Rofe from her _. Bofom has oditravd Tl ftrive to _replace will her Siumbérs in vade TIl wear it fond —- Yotrthnext my Hert 2 Alas. filly Rofe hadft thou known "Twas Daphne that gave thee thy place Thou ne’er from thy ftation hadft flown Her Bofoms the Manfion of Peace . IMPERFECT IS EXPRESSION. a. Y Va fome e_._mo_tiens to 1m . part; When we mean a \nd yet {eek to hide the Heart. When our Bofoms all com-plying With de _ ED * ey —\ cious tumults fwell; With whet broken faltring dying Language would but cannot te > y Deep St d terror, 0 that ®, Quite expreffive Paints or Cheek ; CE Sn The onus oY, An a eek ; Once my Souls [trong Feelings view; no more .. beheld your Error, Love has nought more found believe me , . ey he 5 re ie fpeak : Friendfhip nothing half fo true, : b ) Bt 1s.my Anguifh, From you, I am wild y defpairing ; : % r eatid nly 3 the Air 3 With you Specchiels as I touch Tx my Fyes and as they Lingyifh, This is all that bears declairing Read what yours have Written there And perhaps declares too much . ei NEW COLDSTREAM MARCH ho SUSANNA. Rectt: Fir Co Lite S——t = 3 TE SE Pe Lars Els a : s EE = — Cen BE as when the Seas were roaring With hollow blafts of Wind, A Dam{ecl lay deplor.. - - * : ml 2/ * - “3 aii 1 : } : 231 on GROG seclithi Wide Jer the foaming Billows, She caft a wifhful look JHer Head was crownd with Air, oh ; ’ ) 1 "Tw Willows [That tremabld oer the Brook, y — SE ™\ Ydid{t thou ventrous Lover JW hy didft thou truft the Seas JCeafe ceale ti hou troubld Ocean ,2And let myLover ref: Ah nl —~ Ho rr RE = a x ; * " It i hat y 1 o that witht nv aft. Ahwhats thy troubld motion, To thatwithin my Breaft. whats thy troubld motion, To that within wy Breait,Ahwhats thy tr N 3 ©) (3) ‘ The Merchant robbd of Pleafure ’ How can they fay that Nature, Views Tempelts with defpair ’ Has nothing made in yon, But what's the Iofs «£ Treafure > ! Why then beneath the Water, T: the (nfing of my dear, : Do hideous hocks 1 main , Shouwd You [ome Coaft be Toid on, . No Fyes the Kocks difcover , grow That Turk beneath the deep, : To wreck the wandringe Lover Mare to Weep, Where Gold and Diamends 5 : Youd $ind o richer Maiden, And leaves thee Fut none th 1 Love ~ A ul AY» LL i : T v 1 | v - ardy Sailor Piaves 5 hos Poetry xs his heart with{oft crotio® > > - Ra. br - —rtiy— ry ef ii thras to leave his ova throbs throbs yet his tin rah to leave Hs love be. hind. . wi 10 Ysave his lbve be ——— ; dens — = = ~toleave to Maye his love. _ he ind De — —- o— a, S—p— 1 . ~ ro . 4 5) : To v Io pres of fureign foes a ftrapger tho thesouiy can d ar gor & alarming fears paint Sh »- mil, : ee hk : fe ¢ IY dan, i I in 1 rival 11 h me A rm . p oer J . 0 a 5 Rl - la - - 10 Feas Gan —— at hoi ne Capo i — Nam go car Tt en a a Cae breeze OQ O _ dours Se Treafures —_——— calm ny J ; A Zepbvr i > hear me {hed where “Nature ud doth, ex. _ pand There e , aes: rome —— Woes Tho’ thou dear maid be not my lot Yet fhait thou never be forgot I'll weave a chaplet ev'ry Year And footh defpair with many a Tear For evry thought thy form thail hring On cruel recbllections Wing Each: flower each beauty which I fee Dear Nanny makes me think oa thee. I1 DO AS 1 WILL WITH MY SWAIN. NL vs yO) Pe ZT Andante with my Swain | He nev_er once thinks I — Ss wrong, He Tikes none fo well on the EN Plain, I pleafe him fo much with my a— PN “Song, A Song 1s the Shepherds de - ~ light He hears me with Joy all the oN ag WL ean “dull {or ry “when comes the Night, .Ttens the end of my (2) (3) With [ploen and with care once He afkd wie to foath aim the My Voice fot his Mind ail : (4) Beauty had I to gndear | But let me not Jealoufv raifle > No Trealures of Rature or Art | I wilh to re ft, ! But my Voice that had gaind Soon found out the was opprelt, No y while enchant but ny Sw.oin Enough then for me is his Pratl. to 1.1. He art i fing but for him the Iovd Stra: { To tev of that voice ou not pleafe 6 When Youth Wea! th yand Beauty may § He took me to Join thie gay irony eft Songs ton \ { J von the ’ on his Far, ¢ bh} - nd the Shepherd woud 1nd «(n r mn Me ad or i y cks op the clear Fx rs And your Shepherd clude 1! [ Your fweetn: fs of Sony m [ET] \ ur [x1 rich Prize all with eafe, ‘ : ’ yrown all n rae And myFames . ) u . p * . . Fm Liam Swog wwabrtoad withwy Song, | And gain I vadur v = x v EE il a Ns 4 dos Aranres fA Ete wr Jn Chanfon i pipes far ty =f BER por rE les St dars io me pri- -fai le da = -lan- -tour mais In de man-de a - -mon tour de la fai- -fon ou le -- te me tendre qui ——— hom ~ ma- -ge men rend moins tla - {au = = TRe -tems fut tous da - les -ge - Vdn = ber - ta . - gers -ge Sl EL Lh Bl lL SSSR BE ESS SH a SMI i Vv LOVELY NYMPH. : Ir : S) w/a a Bb -&- ; a \ on Amorofo Love _ ly Nymph af .. {wage my Anguifh, : /” At your Feet a — ee \ tender Swain, Bo SY let him Languifh One kind his Pain. og & 8 AY 9 look woud ea Lad that Courts you, He not long need {ue — : a \ — his MELTON OYSTERS. Prince of Song of Dance of Sports, You {fcarce will meet winding Stream, And Kifs re . flected Light; ~~ rr —— youve fo feldom been Whilft I my wake ful al s ; ~~ Sy Kate of A _ber.deen , With Kate of A _- _ ber_deen, (2) The Nymphs and Swains exceptant wait, In Primrofe Chaplets gay | Pill Morn unbars her Golden Gate, © And gives the promisd May : The Nymphs and Swains fall «II declare ry, ’ pr ymis’d Mav when [een » fo ¥ragrant, lal f fo Fair, 1iteto!l Aberdeen, (3) ‘TI tune my Pipe to playful Notes, And roufe yon nodding Grove , rill new wakd Birds diftend their Throats ’ And hail the Maid I Love ; At her approach the Lark miftakes ’ And quits the new drefs’d Green Fond Birds tis not the Morning breaks ’ Tis Xate of Aberdeen. Vi_gil keep With Kate of KATE OF ABERDEEN. The Silver Moons en. amourd Beam, Steals foftly thro’ the Night, To wanton inthe RB ~~ To Courts begone Heart {ooth -ing Sleep Where Se, Aber _deen JWith 4) Now blithfome oer the dewey Mead | Where Elves difportive Plav, The Feftal Dance young Shephe rds lead ’ Or Sing their Love tumd Lay; ‘rin May in Morning robe draws nigh ’ And claims a Virgin Queen, The Nymphs and Swains exulting cry, Here's Kate of Aberdeen . A ‘pAEOF To8urg oy 4 Rg A e of the “Natural and Sharp Notes, | & GY, i RIL LE Ba “Sc PI Le Ad RI Igo prey) » - $2 uaa pe J 30 pao v the Fin- CA AIP {51 0 acing | gph ' i i 1 : EERE SOR IR \ i = > = Qo © 3 * ni v = U = - ,Q fe 1224 301 44 1204 6 V tferent Strings 33.13 3S a Y 1 d and what Chord is produced by pl aux © t 2 0 + 5 PIX 0940 y- lat and Sharp Notes on the Guittar . + double Stops, LF slaved on three or ¥ iit Pafsages,and a \ 3 ourd at any of the ¥re EJ tur ‘3: . 2 > dittic nger 1 - 3 A ow each Note may be cuting Two Scales of the N pox acrofs the F Shewing h ence of exe i Zr : . Yok : La ps Xa {rs "8 Rs + 5 Hgts Z ~ Afurther Explanation of the Method oFiaking the fame Note on Sr Strings he (6th string |G String | 6 String] 6 [6 string ]6 string 6 String | 16 strin |65tuing 6 String 5 String er | open. | tEret.| 24Fret|3d Fret. athi.sth sthp sth th, st thE, sth! sth. #hi gthy sth 101 E.5 54) | Str.open | Str. ITE. str. 2dr.) str. 3dR.| str. Athi ser 5tE see sE | | Cathet ing AEG tein a string ast: ng | open. | 1 Fret. =! “Fret. [39 Fret. | | | | | L fo) i : 1 rE f = E 7 os : ET ica ; doe : a Ce pA 2 61. 5t cing 6 String 5String | 6 String 4 5 String 's String | A Strin gr | | 4 String | 4 String | 5 String 3 Strire. 1D Frets. 12.5 str 9 F.4Str| 10 FAS 11 F.4 Stn 12 Fd Str OES Str in F.3Str 12F.38tr./ 8 ¥. 2 Str. 9E.2 5tr.| Ste. EAthly F.4Str. [6 F.384|T F.3Str. SF. 3 St: AGF. 3sir OF. 2 Str. [6 F.2 Str TF.28tr. | AF. 1Str. 5 ¥.1 Str.| Str. ANE [5F.3Str.| 1 Fret. | 2Fret. i 3 Fret. 4F:28tr| 1 Fret. | 2 Fret, [3F.1Str. 1 Free. '| 2 Fret. en , ope | open | xs tt heehee ee ma P hp 0 es i + i : ' pl ren Torre Res v + i + I 1 7 | | Co. ib to 3StrllF 3Strl2E| 2 String | 2 String | 2 String 2 String | 1String | 18tring | 1String | 2Str. TF | 25tr.SE|9E1Ste| I0F.18ts| IF. AS ARTS 10 Fret. | 11 Fret. | 12 Pret 1Ste4F. [1Str.5F.[ 6 Fret. |7 Fret. ig | 9 Fret. T | t we wt pl t 4 Le srs aml a ——— cai mmm: 0 2 ego = ein mp I= plies mm fo ee rrp» mre a as baie ag Slimma. :3 tmnt vstmnti ug tte gemma aan Semmens 3 Co ladim — - mm———. Avast set SRA. rip rn ’ \ XA PN END OT TITLE END OF REEL PLEASE REWIND