/
/ ,
. krfiftftfniiif ■
r '
// ■/// -
)
, ) - ////// /y'/'////r///j
OF / ^
1.
/ _^ — J
// '///r// //ryC?.)/ //r///y//^y//.j /y^ ///y//y y/?r r/rry r /y
, . 7 ^ ,/
To w liirli are added
A/if'r// ,'-'f/i.n<if/.
with a Fr elude to each Key )
TM]E 9"
A ^1 i I
A/f f/t('W('/Ls rf'f/tr ff/^4>S'i' Aftf/N'/:
Although several excellent Books of Instructions for the Piano-Forte
have been lately published in this Country, yet as improvements are
daily made which tend to facilitate the attainment of the Musical
Science, the Author presumes to publish his method ; hoping, that as
the whole of his life has been devoted to the study of Music, the
result of his experience will not be unwelcome to the Public.
Experience proves that introducing popular Airs arranged as Lessons
for the Practice of Learners, greatly promotes their application and
improvement ; besides, when desired to play, they have the satisfaction
to observe that they afford more entertainment to their hearers by
pieces of this kind, than by playing long and uninteresting composi-
tions: therefore the Author has selected for his Lessons many favourite
Airs which he has arranged in a familiar style, and in order to preserve
the necessary progressive gradation, has composed the remainder of the
Lessons.
His plan of Instruction is somewhat peculiar : instead of placing at
the beginning of the Work, according to the usual practice, all the
precepts necessary to the Piano-Forte player, he has preferred inter-
mixing with the pieces whatever relates to graces^ characters^ and
expression; for the best place to point out their use, so as to make a
strong impression on the mind, is undoubtedly when they occur in
practice ; therefore it must be allowed that this method of placing them
successively under the eye, is much more eligible than to refer the
Pupils to a general account, w)iich few take the trouble to read, much
less to learn.
The preliminary Instructions necessary to a Learner, such as an
explanation of the Notes, Clefs, Sharps, Flats, Time, &c. are given at
the beginning of the Book, in the most simple and concise manner ;
to these are added Precepts and Examples on Fingering, in which the
numerous combinations that are likely to occur, are placed in particular
classes and fingered by the Author.
At the end of the Work is a short Appendix, explaining the Intervals,
the Chords, the Tenor Clef, and Transposition ; which articles are not
necessary to a beginner, and would have been displaced in the former
part of the Work.
The whole is concluded with a general Dictionary of such Italian
words as frequently occur in Musical Compositions.
Such are the outlines of the present Work ; should it meet with the
public approbation, the Author will consider his trouble amply
rewarded.
In the present Edition many new and familiar Lessons have been added,
and others suhstituted for those which ivere found, too difficult in the former
Editions.
Digitized by the Internet Archive
in 2015
https://archive.org/details/thirdeditionwithOOcram
Elementary Instructions
Let Students read attentively the foUomng; nine pages, and try to impress on their mind
the precepts which they contain, before they attempt to play any of the lessons .
OF THE NOTES AND STAVE.
The . characters by vrhich Musical sounds are expressed are called Notesj there are
in Music but seven Notes, to which in England the first seven letters of. the
Alphabet A, B , C , D, E , F, G, are applied .+
When a passage extends to 8,9, or more Notes, the foregoing letters are repeated
over again in the same order; in a descending ntielody, the letters are named backwards,
thus; G, F, E,D,C,B,A, but the Music is read from left to righ as printing .
The Musical Notes are placed on, and between five horizontal and parallel lines,
to which the name of Stave is applied .
>B:The lines and spaces of the Stave are counted upwards, from the lowest to th*^ highest.
f
Stave
P>linc
When in a piece of Music some Notes go higher or lower than the Stave, _
little lines, called Ledger lines, are added above or below,
and the heads of the Notes are placed on, or betwixt them.
Piano -forte Music is written on two Staves, connected by a Brace, y Treble jj i tavp"
the upper Stave serves for the Treble notes, y
and the lower for the Bass notes . , (j
Bas s Strtve .
>B". Sometimes the Right hand plays Notes placed on the Bass-Stave, and.
Vice versa the Left hand plays Notes placed on the Treble -Stave .
OF THE CLEFS .
To ascertain the Names of the Notes and their places on the Key- board, a
certain character called a Clef, is placed at the beginning of each Stave .
"^M^Tw.o Clefs only are made use of in Modern compositions for the Piano-forte, viz:
I. The Treble or G clef, shaped thus ^ and placed on the 2^lme of the Stave, 0 ^
all the notes on that line are called G** this clef serves for the highest part . ^
II. Tbe Bass or F clef, shaped thus D* and placed on the 4<^ line of the Stave, ^
all the, notes on that line are called F.'^ this clef serves for the lowest part.
The. Italians and French prefer the method of calling the Notes by various Svllables,beginning'
at C, thus; Do, re, mi, fa, sol, la, si.
C, D, E, F, G, A, B . ^ , , ■
■^M^ In . A.itient music another Clef shaped thus, jj^j and called the C clef is frequently used,
to g^-atify the curious an explanation is given page 4<9 in the Appendix .
4
On the Names of the Notes
According to their po^sition on the lines and spaces of the Stave, the Notes re-
ceive their names
Notes on the lines . in the spaces .
Q _ 0 , .
Treble
.f. , ■ ■ ■ ■
ZJ Z « B D F
E
Notes in Alt and
A
E
Additional
Lines and Spaces^
;Altissimo
- C A
JL :=
A C E G B
G B D F A C
DBG
Exercise on the Treble notes
^^^^
It! nuies
1 :
Notes on the lines,
in the spaces.
Bass ^
G
Additional "^"j y
Lines, and Spaces
B D F A AC
^ E C A F
E
C E
Exercise on the Bass notes
^^^^
D B
G
B D
3t*
Of THE Scale or Gamut.
) The seven Notes of Music placed in a series ascending or descending, form
what is termed the Gamut or Scale .
The Sfvile may be Diatonic or Chromatic.
The Diatonic Scale , vhich is the natural Scale^ consists of five tones and two.semitones"^"^
which according as the Scale is Major, or Minor, are differently placed .
In the Diatonic major Scale, the first semitone is from the ^4 to the4*** note, the
second Semitone is between the 7^and 8^ the remainder of the notes are. a tone distant
from each other.
. Descending
Ascend me* a » r r, n a
Diatonic
of C-{-
This Scale may be repeated several times in positions more grave or acute: but al-
ways similar, with respect to the places of the tones and semitones: see the following
page, which shews the names of all the notes and their position on the Key-board .
^ C B ^ ^ ^ ^semi.
.G F E
— e—
tone •
-4 : ^«tn».*tone<l>tone»ton.
-# — jsomi
degree
6^
, ^Luii^*
Jt^^th <^d
•
2d
77
The Chromatic Scale is Explained page 17
A Semitone is the progression from one key to the next, as from C toCi^,or Db .
a Tone contains two adjoining semitones C, Ctt,D, form a tone, El7,Et|,F'l, another. .
^ ■j'Tlie Minor Scale is Explained page Li".
The Piano-forte Key-board Explained
5
Modern Piano-fortes, with additional keys, contain five Octaves and seven keys,
from the lowest on the left hand which is F, to the highest on the right, which is C .
Piano -fortes without additional keys have only five Octaves from F to F.
Nj: Tlie keys. as well as the Notes are named after the first seven letters of the Alphabet.
Treble
Bass
FGABCDE FGABCDEFGABCDEFGABCDF FGABCDEFGABC
Keys
of the
:*I ANO-
Forte
Explanations
1. The Key-board is composed of long and short keys, the long or white keys, serve
for the natural notes, and the short or black keys serve for the Sharps and Flats.
2. The W^ite keys are at equal distances from each other, whereas the black keys
are divided. into alternate groups of two and three, parted by two white keys
without a black betwixt .
S.The^ite. key before any two black keys (going from the left to the righhand) is
called C, in every part of the key -board, the next white key is D, the next E, and so on,
following the order of the letters C,D,E,F,G, A,B,C .
4i.There is an. interval of a semitone between each key} two white keys with the
black key between, form a whole tone .
5. Each black key may be taken for the Sharp of the white key below, cr for the
Flat of the white key above: so the^black key above C, may be Ctt or Db .
6 . As between B and C, E and F, there is no black key, these notes are used respec-
tively as Sharps or Flats to one another: therefore Btt is played onCil,and Cb on : -
EtI is played onPl^, and Fb on E^l .
7. Every succession of eight notes, as from C to C inclusively, is called an Octa\e.
each Octave is exactly the same with respect to the disposition and names of the
keys, it contains seven white keys and five black keys.
8 .The keys which are in the middle of the key-board are used either for the Treble
or lor the Bass as required: therefore in the foregoing Scale the notes which have
a double stem, ihus ; J from G in the Bass, to G in the Treble, may be played either
i
with the left or with tlie right hand.
i ino -fortes with Six Octaves from F to F, have been lately made, but they are, not yet
. .. i\ vTsallv introdufd
On THE DIFFERENT SpECIES OF NoTES .
Six sorts of Notes are made use of in Musical Compositions, viz:
the Semibreve
Minim
1
Crotchet Quaver
r
s
emiquaver
Demi semiquaver
The length, or duration of these Notes varies according to their shape
Time Table,
Shewing the respective proportions of each Note .
^ j a Semibreve
j is equal to
2 Minims - -
4i Crotchets -
8 Quavers
16 Semiquavers -
32Deniisemiq?'^ ■
-- v
. r r
NB: The Semibreve being the longest
note in Modern Music, is made the
standard and regulator of all others.
J
Obs-. The stems of the Notes maybe
turned downwards ^ or upwards
~(the notes maybe detatched thus ^ ^ \
or grouped together, thus ^J^^J
yet their value remains the same .
a Minim —
is equal to 2 -
2 i
(5
4.-
8-
16-
- 1
- r r
ra. B f'f'
Quavers may be abbreviated thus ^
4' Semiquavers thus ^ and
4- Demisemiquavers thus ^
a Crotchet -
is equal to 2
: 4.
8
00»
a Quaver
is equal to 2
4-
Tlie Pupil must have a perfect knowledge
of the different sorts of Notes, and their
length, before he attenipts to play a lesson .
3;^ a Semiquaver-
o
p. i i.s cquil! to 2
Another sort of Note shaped thus ^ and
called half Demisemi quaver, is sometimes
used, but it seldom extends beyond abar or two
N5-. After having learnt the Time Table as it stands here, the Student will derive
^reat benefit by learning it also the contrary way .(reversing the book)
^ « Of the Dot.—
A Dot placed after any Note, makes that Note half as long again; thus.
a Semibreve
with a Dot
is equal to O
a Minim
with a Dot
is equal to C
r
a Crotchet
with a Dot
. , n
is equal to j» ^
a Quaver
with a Dot
is equal to
a Semiquaver
with a Dot
is equal to.
Two Dots placed after a note, make it three quarters longer^ therefore a Minim with a
double dot ^ • • is equal to ^ j* ^and a Crotchet with a double dot * is equalto ^ ^ ^
Of the Rest s .
Kests are. Characters which denote silence equal in duration to that of the Notes
which they represent, ( when a Rest occurs the hand is to be taken off the keys.) there
are as many Rests as various Species of Notes .
Semibreve
Minim
Crotchet
Qaaver
N
Semiquaver i Demisemiquaver
Rest Rest Rest Rest Rest Rest
N5:When a Rest is dotted, its duration becomes half longerr* is equal toT" and*1*is equal tol^
When a Rest of several bars happens, the number of Bars is
in Modern Music, expressed by a figure over the Stave, thus; - _ ^ 2 ^ 4<ljars
in Ancient Music small strokes across the Stave are made
use of, according to the number of Bars, thus; - _ _
i
±
— _ /
Of the Sharp, Flat and Natural.
The Sharp,thus(tt) raises the Note before which it is placed a Semitone ^ ^ • • C double .shar
TheDoubleSharp,thus(x)raises aNote alreadySharp another Semitone; ^ [:
IsB: On the Key-board the Sharp is taken on the Right side of a Note.
The Flat,thus(b) lowers the Note before which it is placed a Semitone
The Double Flat,thus( li? ) lowers aNote already Flat another Semitone; -W-j^
the Flat is taken on the Left side of a Note .
The Natural, thus (tl ) placed before a Note that has been made Sharp -
or Flat, restores the Note to its original place. :
playe d-
on U
B . Bb . B double flat
r on
C.Ctf.Cti B.Bb.Btl.
A Natural after aDoubleSharp is marked thus(tltt) it takes ofiP oneShai^. -(j ...^^
A Natural after aDoubleFlat is marked thus (tib) it takes off one Flat
The Double Sharp, cannot be used but to aNote already made Sharp, and so of theDoubleFiat.
Obs: I . A Sharp or Flat placed after the Clef on a line or a space, affects aU the Notes
on such line or space and their Octaves throughout the piece: but when introduced in
the course of the piece, it is called accidental, and only affects the Notes placed on
such line or space within the Bar where it occurs . ^ .
II. When the second Sharp or Flat (according to their progression) is set after
the Clef,, the first must have been introduced .
Progression of the Sharps and Flats.
Fifths -g-^-
nding; —
by Fifths
asce
4-
by Fourths
ascending
m
7
7
2 » 5 4 5 6 7
2 5 4 5 6
■^■Wlien the last Note of a Bar is affected by a Sharp Or a Flat, and the first Note of the following
Bar is on the same line or space^ it is to be played Sharp or Flat though not marked so .
8
Of Time
There ai'e in Music but two sorts of Time, viz: Cotnmon Time, wh icli consists of
t\yo or foui- equal parts in a Bar, and Triple Time, which consists of tJiree parts in a
Bar: each of the foregoing is subdivided into Simple and Compound.
Simple CommonTime is expressed by any of the following figures 0 ^ (j^ , ^ >
placed at the beginning of the piece,immediately after the Clef. .
. Compound CommonTime is expressed by or ^ , or , .
'8484
3 S S ... 99
Simple Triple Time is expressed by^ ,or^,or^ , Compound TripleTimeby*^,or^ .
. ^BrWhen two figures are used to mark the time, the lower figure denotes the quality
of the Notes,whether Minims, Crotchets or Quavers, and the upper figure the quantity used
to make up a Bar, thus;
Tliree halves of aSemibreve\ Tliree quarters ofaSemibreve\ Three eights ofaSemibreve^
-or threeMinims
/2 in a bar .
^ -or three Crotchets
in a bar.
S ^ r three Quavers
^ 8 — - a hav
in a bar .
CommonTime exemplified.
Simple
Common,
Four Crotchets in a Bar, or their equivalent, in other Notes or Rests .
C<?linted 1234 * 2 3 4.
1 2 3 4 1234 1:^34
Second Species of Simple CommonTime.
N3: In a slow movement it is better
Two Crotchets in a Bar or equivalent. to count four Quavers in each Bar.
ntedST^ 1 2 12 .12 12- r2 12
Adagio
5
12 34 12 3 4 12 34
Two dotted Crothets in a Bar
or equivalent .
Compoxmd . : Qf\ in « 1 1^ 1 ^
CommonTime
In a slow movement it is better
to count twice three quavers
.e #^g^ ^g ^^^^^^
CoVlted 1 2 1 2 1 2 12 12 312312 3 12 3123 123 123123
6 '1'2 12
Observe. The three other sorts of Compound Common Time, viz: ^, ^ and g , are
seldom used in Modern Music .
Triple Time exemplified.
Three Crotchets or equivalent iti each Bar. ThreeQuavers or equivalent in each Bar.
Simple y~S '
Triple
Kited 1 2 3
12 3 1 2 3
123 *^ 123 123
2 3 12 3
123
Nine Quavers or equivalent in each Bar.
Compound
Triple Time (^\}^ [
3?rnted 1
COi
12 3
The other Species of Compoun('
Triple Time viz:J| is not used in
Modern Music .
The Italian Words relating to Time are explainedin the Dictionary, pages S2 Sc53 .
Of Keys and their Modes. 9
The. fundamental note of a Composition is called the Key-note orTonic. .
Every piece of Music is written in a particular key, to which all others introduced
by the Modulation must be related.
The Bass of a regular Composition always ends on the key-note, and the Piece is
said to be composed in the key of C, when the Bass terminates on that note .
A Key may be either in the Major, or in the Minor Mode: this may be ascertained
by the first third in the scale .
I.^Vhen from the key-note ( first degree) to the third note above, there is an Interval of
a major third, the key is in theMajor Mode, and is called a Major key (vulgarly termed
a Sharp key.) a Major third consists of four semitones, or two whole tones. ( see A)
Ex: of the Major third
Semitones
A
The Scale in the key of C Major.
32
S3=^
n.When from the key-note to ihe third degree above, the Interval is only. of a Minor
third, the key is in the Minor mode^ and is called a Minor key (vulgarly termed a Flat key.)
a Minor third consists of three semitones, or one tone and a half. ( seeB)
Ex: of a Minor third
Semitones
The Scale in the key of A Minor .
2
3
Observe. Thq. essential difference between the Major and Minor mode is a semitone
in the interval of the first third in the scale . ,
As the Scale may be divided into twelve semitones, and as any one of them may be taken
for Key-note, both in theMajor and Minor mode; there are of course twenty-four keys,
twelve in the Major and twelve in the Minor mode.
The natural Major key is C, the natural Relative Minor key is A^ all other keys
are hut, transpositions of these two .
A Table of all the Keys
Major keys with Sharps at the signature.
^- ^ ° ^ — ^
XT
s
33:
B
_C3_
P
n
Major keys with Flats at the signature.
V . Bk_ Eb Ab
E
E
Si
The key of Ctt is rarely
used, Composers prefer
writing" in Db.
Gb
Minor keys with Sharps at the signature
A E B Fi^
XT
E
i
ci
Minor keys with Flats at the signature.
D G C F
E
:C3:
X3:
Bb
I l?U zi: lb \y I ' ZC3
Eb
^ The Relative Minor of a Major key, has the same number of Sharps or Flats, it is found ono
tone and a semitone under the other, ( a Minor third lower or a Major sixth higlier .)
10
On Fingering
A proper manner of sitting at the Piano -forte^ of holding the arms, wrists and
fingers, will greatly facilitate to StudcMits a rapid and brilliant executioit. on the
contrary a deficiency in these partitculars , will materially injure their execution .
Directions relative to the Body, arms and hands of the Performer.
Let the performer sit in a graceful manner opposite the centre of the Kev -board,
neither too near, nor too far from the Instrument, so as to be able to reach with
-facility the highest and lowest keys .( see the plate)
The heigth of the seat must be suited to that of the performer, wiio , when seated,
should have the elbows a little above the Key-board, and the feet resting firmly on
the ground near the pedals, to be ready to press them down . the Arms must not be
kept too close to the body, nor too distant from it: tlie shoulders should be rather
depressed; the wrists must be nearly on a level with the arms and elbows,tlie knuckles
being kept some what elevated, the 1**. 2*! and ^4 fingers must be bent, so as to bring
the thumb and the little finger on a line; each finger must be placed over its respec-
tive key^ and. remain in that positioit whether used or not .
The extremity of the fingers, but not the nails, must strike the keys; their motion
should be so smooth as not to be noticed; the thumb must be kept over the keys rso
as to bring the other fingers close to the black keys, ready to strike thetn,tliis will
prevent the vrist moving uselessly backwards and forwards .
r
General Rules and Examples on Fingering .
Observe I. . The combinations in the passages of the melody being innumerable^
makes it impossible to give fixed rules suited to all cases; however the following
rules and examples, if studied and practised with attention, will soon enable the learn-
er to find the proper fingering of any passage .
II . In England the fingering is marked in the following manner; in each hand the thumb is ex-
pressed by a cross (+) the f^2^.8^and little fing er are designed by the figures I,2.c?.4< .
Righthand ^^-ri n'^T"*^ ^
Left hand ^t^^lj^'^
Rule I . The fingering of a passage is to be regulated according to llie number of the
notes ascending or descending, also according to the distances: passages of five notes,
may be played in one fixed position, each finger striking its respective key ( seethe
foregoing examples) but when six, seven, ten, or more not'^s are placed in a series,
the thumb must either pass under the long fingers in ascending, or theseover the thumb
in descending , thus;.
Right hand
.4 4
S s
Left hand
81 + ^i^'*-tj ^+ig3 +
il
u
Rule II. The thumb liiay pass under the 1^124 and s4 finger in ascending^ but not
under the or little finger.
^orT+i sf 2 + 1 a +^*^ +12 3 J + 1 sis*'^
In descending, the c?4 24or I**.* finger may pass over the thumb, but not the little finger.
Rule III. A long finger must not pass over another, as it would displace tlie position
of the hand, and look very awkward.
_ 1 2 ^
Bad
2 S
Good
Rule IV. It is not allowed to play two successive notes with the same finger, unless
a Rest or a Pause intervenes, when the same finger may be used twice
Bad
•-
1
Good:
^l + 1
9 3 -
- 1*^1 2 3+1
Good:
RuleV. The natural place of the thumb of the right hand, in a series of notes
ascending,is immediately after a short or black key, and in descending, before a
short key. on the contrary the rataral plac»^ of the thumb of the left hand in ascend-
ing, is before a short key^ and in descending,after a short key .
3**3
J *1 2 + i*^^ + 2 1 7 -J^f 1 +2TT^ '^-J-
^B. >Vhen the thumb passes under the long fingers or these over the thamb,itmust
be done with as little motion of the hand as possible.
RuleVI . Wlien a note is repeated, the performer should take that opportunity for
changing the position of the hand, upwards or do^vnwards, as required, by playing one
of the repeated notes with another finger, thus;
+ 212+212 +
m
or
3 2 ,
1 3 2_ 1 3 2 T
^^^^
2
+ 1 +
2 + 1 +
•
or 3
+ 1 +
. Rule VII . \Vlten by the nature of a passage you are led out of the positionprescribed
by the rule, always place the 3'^. f inger after the thumb , ui^tiU you have recovered the
right position .
^^^^
g V 1 t
1 + 3 2 I
Some particular passages in the LEGATO style, also double notes and chords, must be
excepted from this rule, as they often require the same finger used twice ,
17 '
12
Examples on Fingering.
, 11 Diatonic succession of three Notes
1 3 2 3 1 2
n 2 + 1 21831 2 3 1 2 _1
+ ^l"^M+2i;g-»*Y^ 1 1
or 1 2 1 ^ +2 1 +orl 1
2^1 8+1 2 + 1 «+i 2
2 D? of four Notes B5BS + 3 + 1 2
- + +
34 I s
^^^^^^
+ +"' +
o Changing fingers
1 4 3 4 +? +1
2 + 1 2 + 2 1 + 1, 1 2 |!tl»-< 1+11+2 1+ 2 1 + e } 4
;^^^^^:f!flt^^
or 12+12
+ 12 +
, Arpeggios of two Notes
. « . „ , 2 , 2
D? with Flats
+ 1 +
with Sharps
4+^
or +
or3l2+s"7i»^31^ +
24+2 yS"^^"— ^
-1+41+
— ^^rP*H
—
2fi^f-u + ;-^
4
1* +1^
4^
6
D? of four Notes
• 3l+t3T+ :
4,^ D9with Sharps
D? with Flats
y Arpeggios of three Notes, 4,4 s^s^ , D? with Sharps D? with Flats
n inverte d. ^ pw •^+^2+3 utt+2+l3+l 1+^ + 1 _ I , ....t. ^ ^
iT^^i^t 13+13+ 'M ^3132+ ^ ^ UJ ^ f 37+2+13+131 U4
^ 4. J t" 1 ' or - ^ ^
4, . . D9 with Flats DV with Sharps
DV with Sharps
. ' u tl3+4l3+
1,';^ Extensions
Harmonic Extensions
Skipping a finger
Passing over the Thumb
=&i -Vr^ttrfS^sfe^
+ 1+
2§ Parsing the Thumb tinder the Fingers
Turns
S 2 2 1 2
+
PI Q 3
tiSS or-f 1 2 1
Double Notes in 3^^
20 2S%'i
D? with Sharps ^j^h Flats "^'r?' ^^"S^^'"''
20 y 3 X 2 3 3 2 3 2 3 9 ? 1 + 1 ^
2 I +
Double Notes in St^s 4, 4 « 4 4
1 + J +J-+1
D? with Sharps
43*0
I 1 3
8*^^& double Notes
4 4
D?wi?hF.ats i
D?with Sharps
+ +
H^'^^'Ascendisii; and Descen-iing
+
D? w !r!-. Sharps
'3 4 o 4,
Legato Passages
4
<. o 434
2.T
3 4
3*3 4
■ M^ j "^1 ^ -^ ^ '-J ^.o-
tins
2 ? ? ^1^ ^
3 o <i 2
2 « 1 +■ ' + 1 ; 1 + i
1 +
3 4\3
11
27
Passages ibr the Left hand
+ 1 + +
with Flats „l2+2+ gio+gl,
^ — '-^^ 312+31 y.-
29
^0
4 3
1+1
4^4*^ Z' +I2 + 4
A- _ _ + 1
1 + 1
2 2
3 2 3
^-J-+^
" 12 +1
5
-:it -J:
2 fi2
+ 4.
:L« ^-^i •^ l424'^-^23l4242-^3U242aI.3l
31+2
34, p
•^f2* 31 -J
SB
+4
53
5^
+4
4^--! —
JJ; 1 2
4
4 1
3^
• J.4
Most of the Passages '^iven for the Right hand may serve also for the Left hand,by reves-siiig
the Finj^eri n;j; The foregoing examples are peculiar to the Left hand.
77
IS
The Fingering of the Scales Exemplified,
The Author strongly recommends a constant practice of the Scale, as the best
mode of attaining a neat and rapid execution. -
Students should at first practise each hand separately, when they can play all the
Scales with one hand, they must practise them with both hands together .
Observe. In the Scales ofC,G,D,A,E and B, Major and Minor, the Thumb of
the Right hand is always used on the key note, or degree,and on the 4^.^ degree
of the scale, in ascending and descending: the Thumb of the Left hand is placed
on the key note, and on the 5. degree.
Major Scales Minor Scales
« 9 * <? 4,
2 2
— -1 r fl^^ r rtfS'rr* ^; ' '^'
2 ill 2.
1+ _ +
minor
3 +
it*
1 L?nlkiL?l
43^
I!
The Scale is in the Minor m<)de,when from the Tonic or 1^^ degree. Example of a Minor 3^ '
to .the 3 degree above, there is only an interval of a Minor third, n i 2 g:seip 2tnnes
which consists of three Semitones , thus; __ _ _ - - Z^ L^_ ^ i^J — 'kzTI
The Minor Scale has a peculiarity, in ascending the 6^ andVf^notes are made Sharp,to conform
to the laws of Harmony and modulation: in descending the Sharps are left off,-and the fi^'^and 1^}^ .
notes are Minor, as well as the 3^ which gives the Minor Scale a melancholy cast.
16
Major Scales . Minor Scales
. The following Scale is an exception to the common rule of fingering for as
it begins on a black key the 1^.* finger is used on the key note. .
Major Keys with Flats . Minor Keys with Flats .
. Ol)serve. In all Major Scales with one or more Flats at the signature^ the Thumb
of the Right hand is placed on C and F,in ascending and descending.
11
Major Scales
Minor Scales
Ifll
2 1"^ 1 2 1+ 1
1 Aj?!'"" ^,1+1+ Ab^'
^^^^^
01 +
Eb ■ ..^L^iLl. + l
The key of DbMinor is very seldom used ,
as Composers generally write inCtt minor.
I2
Obs: In the keys of Bb, Eb, A!?, and Db in Major) the Thumb of the Left hand is on
the and 7^"^ degrees of the Scale, in xiseending- and descending.
Of the Chromatic Scale.
The Chromatic Scale ascends and descends by a series of twelve semitones, alter-
iialely Major and Minor.
Ascending with Sharps
Descending with Flats .
2.3 +
1 1 +, 3
2 I 1
Right
hand
Left
hand
Ascending with Shai
Descending with Flats .
2 1 +
2 1
A Minor Semitone is between two notes of the same name as C, C 5 D, Db .
A ])lajor Semitone is between two notes of different names and places on the Stave, as COh; Ctl,D .
18
Observations on the Lp:ssons .
I. The following Lessons are set in the principal Major and Minor keys, be-
ginning from the keys with Sharps at the signature, and following their progressive
order by S^^^ ascending, viz: C,G, D, A and E; the key of B with five Sharps and its
Relative minor keyGtt being too difficult for learners, and seldom used^have been
purposely omitted.
II. Eyery Major key is foDowed by its Relative Minor key.
in. A short Prelude is set at the beginning of the Lessons in each key, which
if practised with care, will form the hand and taste of the Pupil.
IV. The Fingering is not marked to every Note, which would confuse the
Scholar, but only where a change happens in the position of the hand, or where
some difficult passages occur.
V. At the bottom of each Page are annotations explaining in ^ simple and
concise manner the various Characters , Graces &c. introduced in the Lessons .
The letter (a) refers to the T.* annotation, the letter (b) to the 24 and the
letter (c) to the '3^ 8cc .
VI. Pupils are advised to learn the easiest Lessojis first, leaving the more
ditficult ones until they have attained some proficiency on the Instrument.
V)
PRELLDE IN THE KeY OF C MaJOR
3 + ^ ^ +
S2:
@
Mo D ER ATO
+ 2 («) 1 2 1 S
2 1 +2
i
\ 2 +
1 +
(c)
p
2 4
2 8
i
i
+ 1
+ 1
1 +
2±
Mode R AT o
+ 2 ^ _ ^ I ^ ■ 2 1 2 + 1
® 1 £ g I
( A) A circular stroke ^ — ^ over two notes on the same line or space is called aBlNDj it unites th'e two
notes into one, therefore the first only must be played, and kept down the whole length of the two .
When a Bind is over two similar chords, the first only is struck.
(b) Every j)iere of Music is divided into small quantities,ca\led Bars,by lines drawn perpendicularly
through the Stave ^
each Bar is. of equal duration, and contains a certain number of notes, *
determined by the figures placed at the beginning of the piece, after the Clef.
(c) A Double Bar across the Stave, divides a piece of Music into two or more parts railed Strains;
t!i'» preceeding and the following strains aie repeated, but >v her.
when dotted on both sides ,
the dots arc only on one side, the strain only on the side of the dottedbar must be repeated
20
3 .
Allegretto
m
l' ^
3
8
3 '
M •
/
«-J —
1
)•
+
-f
— i -^f m-= — Ut
: ■
s
1 — '
— ??-
i +
1 +
0 # •
•
locc
)
1
3 .
1 21
8
3 1
+
L
+
m
[
+
+
n+ 1 4
'4 ^ y l# J —
F^F
-t
+
2 + 3 g
l> ^ + I / 3 4 1 _ 2 1 +
3^ ^? ^»?^r F7^'* i »
22
1 2 1
1 2
3 ,
4 3 "
-1* pT^'
3
2 ;
J— +
I
1
+
1 2 +
j-J-l* 1
2 +
bJ — ^
L\) When this figure (abbreviated from the word Octava) is set over a passage, every note as far
as the line extends,is to be played an octave higher than written^ this method of writing saves a
number of ledger lines.
{ R ) Loco, this word shews that the notes are to be played again as written .
Ic) Arircular line placed over some notes on different lines or spaces, shews that they must be p.layed
in a smooth, connected style, keeping down each note its full length.
This style of playing is termef( in Italian Legato, it is generally used, unless some particular mark
should direct to the contrary.
ROMAl^ZA
21
Bochsa
ASOANTINO
GRxVZIOSO
-if i i | WTnj, |tfll] rF] | ,l- ,.rn§
(.) »tlu tt^ ^fljj dp ■ tiiJ . ^ . j-i. u '
•C^ — — ^ ^ zi ^ g j p r
1 J
i-.tDpt
at
— 1»-
— !• — I*-
* m
-i*-H B — ^
— ^-^r-* p—fi
1 1
j J
.Til -
-T» ft
— r
^
L_|=
And anting
Con Moto
•-t
■(c)'
-F — ^
m
-F
(a) This Bass is written on the Treble stave to save the Ledger lines which would occur if the Basji riei
was made use of, it might have been written on the Bass stave with the Treble cleff, thusj." ^ | J J ^ ^ v^c
(b) This Small note before the Minim^is called an Appoggiatura (leaning note), whatever length is vvei
to the Appoggiatura, is taken from the following large note, with which it is Always pUyed Leg-alo
about one half of the Large note is generally given to the small one.
(c) The first note of each group in the Bass, having a double stem, must be kept down while the two
other quavers are played; the effect produced is that of two parts .
22
1 4
+ + . 4
1 f^^^^^^g
Allegho
(A)
2
J
2-3 1 „^ 4 2 1
- - — = — = — m
Is
4 ,V
* I I I I I I J • I
*m ^
4/ +
-^—0
z =42
( .\ ) Two or Inree notes under each other form a Cliord. •. double notes are struck at the s.tm'?
Umo as single notes , therefore they make no alteration in point of time .
For ;.n Explanation of Chords and the manner of playing them, see page^O.
(r) This mark is an abbreviation often used^ it shews that the foregoing group is to be
pl;'.ye<l ovor ai^ain .
Sfimetiiues ihe word Se|L;" lie, which signifies to play as before, is written under .
23
Prelude in the Key of A Minor
^ ^ (\) 4.1 + 41+ 3 4 4, 4* 1+ 4,1+ 47+ 3
(B)
z:
us.
Russian Air.
N " .9
Mod ERATO
34434 44
+ + + + + 1 +pi
of 5 3 4
444
+ + +
4 4
+ +
N I N
4 4,4
+ 3 + 1 +.
3 3 *
+ + +
^^^^^
^ ^
T ^ ^ + i ^
Air Savoyard .
1 4_ o2 I 2
^: 10.
xVllegretto
+ 432
1 + 13 2 4 1 3
^3 • r|i_' A^J^'ra q g
8^:^^- 4-
(a) The Treble of this Prelude is written in Compound Common Time of (four triplets of quavers
in each bar ) the Bass is written in Simple Common Time .
(b) The letter (R) over C.E.A . shews that those notes must be played with the Right hand,
The letter(L ) under the three following noteSjShews that they must be played with the Left hand .
(c) In Minor keys, whenever the Vt'^ of the scale Ascending occurs^ either in the Treble or Bass ,
an accidental Sharp is placed before it.
77
24
Prellde in the Key of G Major
U)
^^^^
+ 1 + 1-^31
+ 2
^3
2-^2
ROKDQ ALLATURCA. 4
4
Allegretto
tat
(a) These Rests r^,"!,*! ,in the Treble and Bass of the Prelude, indie ate silences equal in duration
to. the notes which they represent, when a Rest occurs the hand is taken off the keys . (^foi- a furtli ■>
Explanation see page 7 )
(b) a Rondo, is a piece of music which Ends with the First strain . . .
AllaTurca,in the style of Turkish Music .
\ C) The Italian words Da Capo .(often abbreviated, thus: D.C.) shew that the Lesson must be played
over again from the beginning;, and Ended at the Double bar .
'77
2S
God Save the Emperor
13
Larghetto
2 3
4i 3 4.
3, 2J +tsl[ ?,
Sempre Legato + 1
Ha^dn .
' .4 ,
3 4| 3^ y -5
1 + 2
4 3
4
*i 1 4| 1
s ^ jr.*:
3 4.,, In
3
•■ ' + r
c> 1
+
3
14 +
J + li, ^
3 2 -J.
,2
Rondo in Harvest Home.
4
Allegretto
mez; for.-
O ■ ■ J >^ el I J J >^ ' J >^ J >' ' » ^
—
^ — ^
ft
1 ■ ai — : » * y i
_ Fine
M
|| £_
- 1
J — i
^ . ^ ■ i p ■ p
(b)32
( a ) ten: is an abbreviation of the word tenuto, which signifies that the key must be kept down
the . full length of the note . .
(b) This mark /f*y^~r\^-^ over the four Minims, shew that a Continued Shake must be made with |he
Right hand while the Left hand plays the Bass notes, thus :
(c) The Treble clef on the Bass stave, shews that the
passage must be played in the Treble, the Left hand
crossing over the Right.
26
N': IS
Allegretto
t2
Allegro
moderato
The Guap
4
a Spani
shDanc
~r
4
4
m
H
H i lull J
+
al :
4
1* 1
4
o
» 1 +3
1^
- 4
1 1 1*1 |*i
L.^PL
>- ^mf»
(a) -This Les son begins with the middle of the bar^ which has been done by the composer to keep the
accents in their proper places, the completion of the 1^.^ Bar is at the end of the Air.
\VhtTi the Bass of an Air is%vrittenon the Treble stave, the Left" hand plays it on the treble part
of tlie Instrument.
' <^ 'Th:s Alr,for the reason given aboye^begins with the 2^ part of thebar^ which is rather uncommon .
Ihis marir::r=> shews that a stress is to be laid on the first note of everybar, being the accented part .
k:17
4 A
4
Wo elf 1 -
2
» . ^ ^
"SI
-1 —
ft
— ^
1 Sf Sii
•
' f f
p —
TTrn
1 r r i|
— \ — h-f —
1
•-Si —
T — r —
ff
1 li —
r.
'r r '
1 -i '
! •
Prelude in theKey of E minor .
5>+4
0
J31
•fi • ^
4
1
• iS • 1
p4 i-
N? 18
And ANTING
+ 12 +
!3C
+ 12 +
(a) These small dashes(ttll ) shew that the notes mast be played i;i a distinct and separate manner, gi\ iivj;
.each abaut one fourth of its usual length, and lifting the fingers from _^ ^
Hhekeys,as if a Rest intervened, and the notes were written, thus: -9 ^ "P ' ' ?"^^^f ^^^^^^^ '
This style of playing is termed. Staccato , (detached) . ~i/ ^ t' f , _
N5: VVlien Dots (....) are made use of, the notes must have half of their usual lenf^lli .
11
28
Prelude IN THE Key of D Major . (a)
•A
3^
s
_-l — p-
Ik my^Cot .4 3 +
N? 19
MODERATO
, * 2 1 1 2 a
4, 4
2 1
3 4 3
.+ A +
^5
3
+ 1
+ 1 -1 Jiv
i
2 3
+ I
1 3 4 3
+ 1 +
jBE
4
on
-^1— F-
4, ^ J g —
Russ I AN Air .
3
Vl V A CE
%2 + i
3:
-*-7'
4^
2 3 2 3 1
L4< — F§[
(c)
m
1» !•
8 1
+ 3
^'^ii r I ^ "J
^ J
7- lA-^L'
( A) The Tipper note of each group is to be kept down, while the others are played,,
(b) Thi^ mark ^ is called a Pause, it renders the note longer at pleasure, and in certain cases thj
performer is to display his taste by introducing some extempore and fanciful passage .
N5 •. A Pause on a Rest only lengthens that rest .
(q)'WTienever along note is placed under others of less value , it is struck with the first and kept down
while the other notes are played: in the foregoing Air the D is kept down the whole Bar.
77
29
And ANTING^
SOSTENUTO
E
Cantabile
Aria
1 8
Mozart .
1 * 3-
tM ^ ^^ ^^
^ • — *
+^ I : I fTJ** >*l • 1 - 4 ===
B) i 1
2^
Rondo Pastorale A^)
2 i
+ +
^f i _f * f I _ f _ f I
it
."'■uii' giV^iuii'i b-*ntfrti'^ l p-rc l 'T|fi'^
1
{2^
(a) Three notes grouped together with, or even without the figure 5 over tiem, form a Triplet, and
are to be played in the tiine of Two notes of the Same species, thus; ^ Sc
This Licence by length of use has become a Rule. vd \ i i ^—
— flEg-
Six notes grouped together are to be played in the time of Four notes of the same species, they form
a Double Triplet .
( b) In that place theBass is not in Triplets, therefore the four quavers are struck with those in the Treble .
' (' ) Pastoral'', in a simple and easy style, in Imitation of those Airs which the Shepherds are supposed to pi iv
30
An D ANTING
G AVOTT A , in Achille and Deidamie .
1 — •
4
■P
-•
i
9 ^
. 2
8
f +
H
•
»,.\
•
■
■
te:ip —
1 4
■
|» (i
■
f — .-Jf—
i
Allegretto
+ 3 1 2
• }t1 t t1S-- .f- .
^ 1-2 1
+ 2
1 + i + 1
+
+
tL • 1
=
•
t
^ a) Each of these Chords is to be played Arpeggiando,
siistainirfg each note till the length of the Ci-otchet be expired; thus,
aGavotta,is a Dance consisting of two lively strains of four bars in common time, it begins with
the half bar.
written. played.
b) When an Appoggiatura is placed before the upper note of a choi-d , ^ J N.^^ J*^ n
only affects that note,and must be struck with the lowest note, thus} ~^ z^^fE^Eij^-J^ j-^—j ^
1 -i f'li rllu r Explanation of the Appoggiatura , see page21. *y I |
The Anglo-Caledonian Air.
(aJ. ^ s 1
31
And ANTING
mez:for:
•• '~" ~ "T"^ — .,1. i ■ I .1 ■ . ill I . I.. I . I— . 3 I I . ... . . ■'"""'^
N?26
Andantino
4f
1
-
• ;
0
•
r
— •
1
■4i 3
1 i
•--
1
-FT
« 1— r-v-T
^ J ^
1 ^ _^
J II
. .
(a) This mark ^ signifies that a Turn is to be made on D, thusj
the Turn consists of a principal note, the note above and the note below. '
^^^^^
The Turn is one of the chief Graces in Music and often introduced.
(b) The upper part of this Prelude is written in^^, each bar consisting of four Triplets: but as each
Triplet is passed in the time of two Semiquavers , the time does not suffer any alteration: the Buss is
written in Common time of two Crotchets in a bar, Or four Quavers .
( c)Romanza, a Romance is an Air of the soft and plaintive kind .
77
S2
Prelude in the Key of A major
iLLEGRETTCr
NON TROPPO
* 4 2 3 3 4 2_g
* H Jj g Ip g a Ig ^J Ir ^ j ' j^ tg
Riisiello.
1» — ^
1 (*^) '
2 1 3
.1 ^r. g
r ,1*- f-
-a- i t-
I tBataaaiuH I .
is::
1
( a) a Stroke under any line of the Stave^^^^; generally expresses a Semibreve's Rest, here it is adopted
to express the Rest of a dotted Minim for want of another sign, distinctly different, and which is
wautiai;- in Music.
( B ) These two letters(/^) abbreviated from the Italian word trillo, shew that a Shake is to be made
on the note A . the shake begins from the note above and ends on the principal note.
When at the End of a piece it is generally followed by a Turn; thus, ^ A* W J ^^ tgd^ J^jj^J.^^
The Shake to be g-ood must be quick , alternate , even and distinct.' i-u . l^
-If'. written . play a ^
Students should practise the Shake with any finger, not. excepting the thumb, on white a^' well'
as on black keys . -
( C I Eaf h of the sra4^1 notes h^^fore th" large one is called an Acciacatura, or short beat, this Grace is
always <<. semitone below the prinr ipal n<)te,and is passed very quick, the force is given to the principal note.
33
N° 28
VnD ANTING
2^
~f — T^*
' ... »
1
1* " ' 1* * f
. » —
A)
— ^
— ■ UT
rF^^rf p r
1^ l-'^ ^ 1
# » (i
3 4
^^^^^^
L=s
' - i'
— —
+ 0
^ * , ^
-rJ J^-
V
(b)
29
Allegretto
1 a + '1
— * — rf — +
*^ (c)
mez:
> "
1 J
^»
— ^
1
• y
7
^
y — '
— *i —
2
2
-4— j-
• n
-(•
J 1 <
1* f
—
r ^
M4
-p —
M
1* — 1
•
1* rr —
•
r V
A.
1/
/ \
L
V
• — r*
■
. ■
(a) . The Trebie of this Air is written in Simple common time, and the Bass in Compoimd common
time or four triplets in a Bar: where a quaver dotted and a semiquaver is found in the treble,
play the whole triplet of the Bass to the quaver dotted, and puss the semiquaver alone, rather quick.
(b) Scozzese, in the Style of Scotch music.
(c) mez; abbreviated from m^ZO indicates a moderate degree of force.
34
Orazioso
Air. (a)
;i i f -T T^ ' !■i.^|^| > T^V 4 ^-
Mozart .
3 +
— 3-
Is
^ 1*
• ^
i -
m
2 1 +
2 1^3
4 2
1 ^
5
4 , 2 l2* 3 2 ^1,
4
+ 4
IE
Prelude in the Key of FI^ minor .
4 12+ i U) N
^ji ji 4 1 2 + i(,B rVl ^ 3 g .i-g-^^K 1 . N2i
±5
o 1 + + 2 1 + 1 +
32
W2.
+
2 3 2 1 +
(a) The Transient Shake is played, thus ■ - -:
in) When the unaccented part of a bar is tied with the following accented part by a Bind,, >
ii forms a Syncopation. ( for an explanation see page J 1
c ) In this Air the tbumb of the Right hand is used several times on a black Uey, not to displace
tlie position of the hand.
' I)) On the Piano-Forte the E)^ is played on F natural.
pRELUDfi IN THE KeY OF E TVTA.TnTt .
3+31
21 o 3^3^
Andante
ill
1 fn" H'
lozart .
+
1 4 ■ P-
1 r ^
If ■ r'f-
•
•
•
1 &^
s
1 J +> f
3
-
+
=^
r
w • ^
+
1* 1
— •
'
1
-•
-
Allegretto
r I p ■'J I ^ :g?=|=
4 1^
1 r
4 1
-1 — 0—0-
m
p _
J — __
2 M
4 1
4
3
D
.^S
1 ^
» 1*"
#ff=
(a) Tile circular stroke under the two dots denotes the Mezzo staccato^
the Notes are not to he so short and pointed as if marked , thusj
q^^^Sl- or th«s^^^ =
(b) When a Slur — - is placed over two notes of the same species,th&first is played with ^^^^" p;^^^^^
more force than the second, to which generally but half of its usual length is givenmq^]^^^ "
(c) These two figures placed under a slur +1 indicate that the 1^.* finger must be substituted to
the thumb without striking the key over again .
77
Them A
34
And ANTING
ricU'cJii'i Lr iriP
^-4 1-
4 ! 8
1 + 3
4
r^^
1
+
t rrti
_B -
*
41
1 J >^ *i
4-
1 ^1 —
3 +
•Sj
2 3
4
t-
— n-^-
mi —
1 +
J
-F
t — —
1 IB fill •
--V-^ll
Marc I A
Maestoso
1/
ij
\^
y *^ ped r ^ p<
ft
• *
— =1
*i — : — H!H-H
* 1 *
>_ai
t
p
»ed'*
■ 1
^
P — f
;d
• — L
«
,C 1
=rT
• •
P
J
¥
-=H-- —
y ped ^ p
ed
K
L
* I
1
2»
• •
led Y ^ \
Jed
—
i-n-
ped
r *
• •
^ 1^ ■
r-»
/
•r
V
(a) This mark ped: shews that the pedal which takes off the dampers from the sti-itig-s must
bo pressed down, it is generalh placed on the Right side. In Square Pianofortes the pedal is
phued ill the middle of the Instrument. This mark"^ shews that the pedal must be drdpt . '
77
Prelude in the Key of Ctt minor
3 4 314
31+3 4+j4 3 + ] 4 3+14
Aria
MODERATO
Steibelt.
+ 2
4 3
■+ 3
m
2
1
-■-^
-J i
m
•
^ K-
r-S 3 g a
+
-i# —
+
r\
^—
^ '
-9 !
^ [ 1 1 1 ■ ^ *^
1
K-T-
4
4 3
1 — J
•L-
— J
^1.
u , + + , 1 + o ;f +» _ +
(a) J liis t. ai-k/'^on the first Note does not indicate a Cadenza, it sh<'ws that the chord is to be
played in a slow Arpe^i^gio, as a kind of Prelude to the Air,
(b) As there is no black key betuoen B and BS is played on C natural '.
17
38
Prelude in the Key of F major.
^ ^ 2 32 1+
'r — Q O Bia Wf^T
4- ^
€ r~
4
--H-
(A
And ANTING^
Grazioso
Gr^ AZ lOSO
Sue Margine d\tsi Rio.
+ 2
• ^ 2 • I I e gpga ^. 2 3 2 (b)
N i
is;;
3 ^ j- 4 i-ii + + 1
is:
3« T
Zt
2
1 +
1
. 4B lap
m
4 1
3 >^
2+4
■B3SL— ■
S^^
-T
J ^
1— ^
+
•T — f
-J- '
i
^
Nt ■
(a). The Small note placed before each of the Minims in the Bass (at the end of the Prelude) is
called a Portamento^ or short Appo§;g;iatura, it is played quickj dwellings on the second note^
which is sustained. "
{n) These Notes with dots under, are to be played short and distinct j thus,
77
Aria
S9
Mozart ,
Allegretto
mez: for : cres ,
3 4 « z* Ts 1 1 J r j I r I r I \ *
a — w
\\}r}\^\r\\\v4
-_-J ^-1—1 — ^ ^
Rousseau s Dream.
Mod ERATO
^ mez: for; . * ^^r*- ^ine
mez: for; / x
4 3
2 1
3 3
+ 1
m
i
I " I..
^^sn^oJ-z^^do Da Capo
— _ -
T.YROLESE Waltz :
Andante
3 1
T
=^
^ Fine p
r
•
J (
21- alSe
1=-4-
•
77
( a) The greatest part of this Air consists of chords of two notes, which with the Bass form an
Harttiony in three parts.
[a) The Slur placed under the dots indicates the mezzo staccato. ^ ~T r
(( j Sinorzando play Softly, and let the sounds die away.
'd) Waltz, a german dance in triple time ,
(e) ,/% abbreviated from forzando, indicates a Stress on the note. '
40
1 2 _
+ 3
+ 1
^^^^^^^^^^
+ 1 +1 +1 +1
+ 21
Da Cap o
al sefflio
MODERATO^
AftS Al
Ro M ANCE
, 9
Haydn ^
2 ^
+ +
3
-^4- + + +
P n
j'i..r;iir [f 1
i— p 1» 1* —
-* F-
«1
_i
(a) Pollaccti; a Polish movement of three Crotchets in a bar^, chiefly characterised by the emphasis
being; laid contrary to the rules of the accent, on the unaccented part of the Bar.
ib) Where this marlCll::==— occurSjobserve the emphasis or stress on the first note ,
(cj "this mark-.^ shews that the lower note of the turn is to have an accidental Sharp.
When the Turn is on a double note, its first note is struck with the lowest
of the two notes. ■^'^
written. j^pla\ofl
41
4
2^2 1
m
J 2 I
* 2 +
t-jS L —
1
- ^ 1
-7-^ —^W
1
n N
Jl rrnh
—
— 1
1 JjJj V
1
r -
"t~l*
Prelude in
■ Jr ■ 3 1 1
i i 1
THE Ke
» r r • -f
> T ' '
Y OF D MIN
OR .
^ — ^r— a
i 1/ 4
• •
•
■
»
(
c)
Of Noi
3LE RACE W
AS Shexkin .
_ — «
2 3 t
— ^
—
Maestosoj
4-8 U
• 1
=^
■-- *W
+
^ r
— 1-^-^ ^-
r~i ^^'^T"
V
frfz
4 4
rM^rirH
-■ji 1 1 —
■ —
r 1 .
1
4
#r
+
'lit
;^=»=^|
1 2 2 1 3 1
■ — !» M m
+ ■
— «
2 1 2+ 1 3
1 ;
+ +
+
1 1 4
If f r ^
+
1 +4 1 1 4
P ^^f ==ifc=p:-
— uP-J
( a) This Appog'giatura being; placed before a g-roup of four Semiquavers, is passed quick with the
I'r.st note, so as not to break the regulavily of the groiij).
When Small notes are placed before a Chord, the Notes are struck one after the other and kept
>^iiv, which is not the case in the common A|-peggio,. some Authors call this style Appoggiando .
This Air is a fine Specimen of the Welsh National Music, originality and boldness of cham^ ter
united in the Melody.
42
Prelude in the Key of B\> major
Andante
^—^1+ 4 , o-^^+ . A ^ Viotti.
Allegretto
Rondo .
3 1
4.
(a) These two figures under a circula-- stroke," thus, 32 shew that the second finger is to be substi-
tuted to the first, without striking the key over again.
\H) a Pause is to be made on F_, the small Notes after the Minim, make no part of fhe Bar. but are
ornamental Notes introduced to bring in the subjoct.
>Cy Thf Bottom note is to be kept down while the two others are played.
(d) al Se^T.o signifies that the Air must be played over again from this mark to the double liar.
SI". 48
Andante
Grazioso
Saxon Air
.4-1* 2
3 4.
45
1— M-
pedi
t 1 »
m M m P«d, , ,
-fir^-*— -g" • M'-^—rA^
-=i — p — n-
^ 3 Dussek
Rondo
2
^ , , ; 1 . . t^^Xf: ^^g^A ^n ^^fr jL.
1 - ^1^ J » 0 — H -^^z^^arj^ ^f • <^ ^ ■ -
dSSS
1
•
J
J
— ^
(a) Observe carefully the Legato and Staccato which througliout this Air form a fine contrast/
(•s|n cially where their effect is heightened by the Open Pedal .
V b) P/J. abbreviation of piaiiissimOjas Soft as possible.
^c) These notes ' skvrred two by two are to be played as at D .
Beetfvvjvtn
t g g :
i- 1^ • •
^ r : g r=
•*
1:
F^-n ^
i-. . .! ...-p
» 0 «9l
--LJ---LJ
•
— •
—
rf— n
! — r
—
Pp.elude in the Key of G minor
.3 • S
Folia dEspagna.
4 4 3
4 ■'* 4 3
4 4.
4 ^
31
4 3
3 1
4 3
+ 4-
1. 3
a 4
1-^ * 3
j rii rs i \ - ■
1 + 1 T 1
0
1 ■ I T
V P 4.
^ 1
r
1
— •
. — —
1 —
' d . '
(,a) .The rj,i;-iire.sl marked over the two Bars of this Air, indicate tliat tlie B;u- oiuioi
the fiij^are 1, is lo he • played the first time, and the Bar under the figure i2j must be played
ihf* sf(ond time, instead of the Bar under the fi.ijiirel.
U! At th s place a Syncopation takes place between the upper part and bass. (see pagc.Jl)
) This Spanish Air is of great Antiquity, and on which Correlli made some Variations more
u!i hmic'.red years ag^o," has still preserved its heauty and ori^ iiiality.
4S
Prelude m the Key of Eb major .
2 tfS
Maestoso
3 2
• 0
^ A ^ ^ ^
^1 „
+
•
70 0
4_
• • • I
ten II
1
-Zji
i !■■
Da Capo
i»- >!•- o al Fine
Andante
2
1^
■m 1^-
I
—
4
— s-H-
1»F
(a) The Minim is struck alone^ and kept down while the three other Quavers are played ,
(b) The Two first notes are to be played Legato and the two others Staccato.
(c) Strike only the first of the two notes under the Bind, hut keep it down the full lenj»;th of the two.
(l>) The Gliding of the first f ing er from the Black to the next white key is not only allowed^ but
produces a g;ood effect.
46
Allegretto
Rondo
1 t
Fine
2
yi,[ritrrrif:cf|^mi^^fn-ri rfte- -^
( i fi, i ',,.iii t.f farii^^u ifiir''"i'^^Vfl '
-^ 2 . -i- i #^ ^ - DaCapo
Rondo
Clementi .
4
Allegretto
3
2 ^
4 2- . Iti^^
— gT^-- j--
4 .3
I ^+
. Fine/'
— •••|« I2l3
+ 4
+ 1 + „ 1 2 1 3 + 1 + 3 1 2 1 3 «
(a) This Bass althoii§;h it Appears far distant from the Treble is quite
close to it,and might have been written on tho Treble stave turning the
stenis 6f the Treble notes upwards, without altering the Bass clef, thus;
The Author prefered the other way, which renders the music
more distinct, and facilitates the reading.
SX^ialta T
47
Prelude in the Key of C minor
4 +
S LOW
RosLiN Castle .
p F—
• —
•
<
>
• —
•
— ^
>
4.
2
1
4
4
' — •
. — I.
(a) In this Prelude observe carefully the Bind which unites the Crotchet dotted with the following
Quaver, as it produces a good effect. . "
(b) The First note is to be played quick ^ pressing down the second note, which is frequently
done in .Scotch music.
(c) The Semibreve is to be played to the 1^} Crotchet, and kept down the whole bar.
48
Prelude in the Key of Ab major .
Allegro
Them a
V
Nr
S]S IV .-j=-
-4-
-2 i-
8 4.
4
3 2
_l — i-
3 ^
3
-P4
4 ^* •
Prelude in the Key of F minor . • „
1 31 1 3 1 1 I + 1 -1^ 1 + + ^ 1 2
Scotch Air . She rose and let me in.
Plaintive
1 , — 1
m70 M
•—
— g i
* 4-
4 1
l Y i f j-n,' i "Ti'fe
1 3 4-
2 4-
WE
iz^
1 ■
3
1
§i — IN r'f
2 3 .
2^ ^ //•
prwT
3 2
^tjJ -
3 4 +
* • •
l°j "J 'J Hr
•id
•
(A) Thenia, a subject on which Variations are made.
'Hi Be careful to lift up the hand from the keys at each Rest.
' I 'I'lic Minim is to be kept down^ until the eight Semiquavers are played.
Appendix
/..9
i
The Articles contained in this. Appendix, althoug^h al)Solutely ne< essarj to a
^ood performer, are useless to beginners, and above their capacity: therefore they
in «y pass them over, until! they have made some proficiency in Music .
I . Explanation of the C clef.
Besides the Treble and Bass Clefs, explained page 5, another Clef shaped, thusj and
caUed theC Clef is also used in Antient jnusic, and particularly inMiisic inScore,itmay be
phi{ ed on the 1^43^and4 1 ine of the Stave, and according to its situation denotes various parts.
I . Wlien placed on the l^^line of the Stave, it is called the Soprano or CantoClef, _ C
this Clef is used for high Treble Voices.
II .When placed on the 24line of the Stave, it is called the Mezzo Soprano Clef, _
and serves for the lowest Treble Voices, (this Clef is very seldom used)
Tll.Whenplaced on the Saline it is called the Contralto or Counter Tenor Clef, —
this Clef is used for the highest voice of a Man, or the lowest Female voice.
IV.Wlien placed on the4<^line of the Stave, it is called the Tenor Clef, _ -
it is used for that part which suits the common voice of a Man .
>B: All the foregoing C? are the same in pointof pitch, and played on the same key of
the Piano -forte .
n. ON Transposition.
By Transposition is understood the writing or Reading of a piece from one key
ir.to another, or from one Clef into another, or both at the same time .
I .To Transpose from the Soprano Clef to theTreble,
Read and play every Note a third lower . Transposed thus
i
L_C_
written
thus
J J i * r
ncBEF(^AB
1 J J ^ r ^
II. From the Contralto to theTreble^
Read every Note a degree higher and plav an octave higher
"t 1) E F G
F E D
D? to the Bass,
Read every note a degree lower.
-\ r
lower
III .From the Tenor to the Treble
Read every Note a degree lower and play an octave lower.
and play an octave higlier
D? to the Bass.
^T_._ _ ^th
^ 8\^lower- - _ -
CDEDcB AGF E
To Transpose from one key into another, place at the signature the Sharps or Flats
which belong to the new key, and read or write your Melody higher or lower^ ac -
cording to the new key.
God save the King
In the
Key ofC
Major.
D .Transposed
into the Key ofBlr
a Note lower.
,Y7
Transposed in to theKey of D , a tone higher .
^ ^^8 mm ^ I F i ^ r f 1 r - p
• >B: A knowledge of Transposition is
absolutely necessary to an Accompanist, to
accommodate an Air to theV oic(> o f tlie 8 i i * ' r.
60
III. Intervals Explained .
All Interval is the distance between one note and another, as from C to D , C to E &c .
IntevvaLs are counted from the Bass, and the lowest note is the fiindaniental .
Intervals are expressed by figures, which indicate the number ofdegre.es contained
ill each Interval; thus, a Second which contains two degrees of the Scale, is expressed
by[2 ) a Third which contains three degrees
The least Interval in use in Modern music is tlie semitone, which may be Major, as from
B toC,E toF, or Minor, as from B to Bb, Eb toE. two semitones united as C,Ct<,D Ibrm a tone.
There are as many primitive Intervals as degi'ees in the Scale, any Interval above the
Octave is but a repetition of another below, the 9^]^ is a replicate of the 2^ &c . .
Figures
2
3
1
1
5
Names - -Unison, Second, Third, Fourth, Fifth, Sixth, Seventh, Eighth.
W. OF Chords and the manner of playing them.
Several Intervals played successively form a Melody, when Struck together, . they
form a combination called a Chord . a succession of chords constitutes Harmony,
and the art of accompanying a voice, or an Instrument with chords played according to
some figures set over the Bass Notes of a composition, is called Thorough bass. .
Chords may be played in two different ways, first in an abrupt manner, striking aU
the Notes at once, which is done chiefly at the end of a piece or a sentence .
24^y In Arpeggio sounding successively the Notes of which the chord is composed,
and keeping them down till tiie time of the chord be filled up .
When a chord is to be played in Arpeggio this mark ( or this ^ is generally placed by the
side of the Chord, some Authors make use of a stroke across the Chord, thusj z=^ — \ — 9^
Phiyed thus . ^ ^ ^ ^
Chords jwrit
ten
thus
— ■ — . .
1*
y^- ^ 1^' ^
N^.: The Notes of a Chord are played with more or less velocity, as the character of the piece rpqu ires .
>(Vhen the hand of the performer is two small to reach all the Notes of a Chord, the
lower Notes of the Treble may be left out, but not the upper one; also the highest Note of
the Bass may be omitted,but not the lowest.
When the word Tremando is written under a Chord, jj^^^^^^^^' V^^'^ p ,
the Notes are divided into two parts , which are play-
ed with the rapidity of a Shake. trfm^i^ ^
The Tremando introduced with the open pedal, swelling and diminishing the sounds,
in oduces a great effect in some passages .
V. ON Musical AccKNT . jl
i t tlH» pei-fcjrnior pay a particular attention to this article, for without accents the
1 Mil SIC looses its effect, as an oration delivered in a monotonous voice; .
liie Accented Notes in a piece of Music are those on which the Emphasis naturally
I'lils, they must he played with more force and more pressure of jhe finger.
I . In every bar of Common Time which
co nsists of four parts, thel^i^andS^ parts .
crented, the 2^ and 4^?* unaccented . .
are acr(
XT
ac un ac un ac un ac uii ac un
II . In Triple Time of three Crotchets inabar,
the V^} is accented the 2^ and 3^ unaccented .
ac
See
In slow ComnionTime the accents are more
frequ<>nt, hut they follow the same rule.
ar irn un ac un un ac un un ac
In slow Triple Time, when the har is subdivided
into QuaverSjlhe accents are more frequent,'
Adasrio-i
■
m
\
Andante
J-i4-~^ — \- — P — » — - — ,
•
•
ac un nc un ac un
. .9 ,9
ac
In 4^ j^mdy the first part of the bar is accented,the 2 , unaccenterl . In'y aad4, the first note cf
< :u"li Triplet is accented . Sometiines to produce effect, a Composer places the accent on the
weak part of the bar, this deviationfrom the rules of the regular accent is called Emp?T ASis .
The Emphasis is generally expressed by this m;^r\^;i>- under a note, q — ^ ^ r'~^
also by the Italian words Sforzando; Sforzstto, or their abbr evi ations sJ\J^x; ^^ ^ \ ^. i ^ \ t-
tlie notes on which the Emphasis lays, must be played with more force than the others.
VI. ON Syncopation.
Syncopation takes place^wiien the unaccented part of a bar l> tied with the following accent-
ed part, so that the place of the accents is deranged. There are several cases of Syncopation.
I . "When the last note of a bar is tied witli the first of
the following l)ar, or the second to the third part - _ --
3^
II. When long notes are placed between short ones.
Crotchets between Quavers, or Quavers between Semiqual***
When Syncopation takes pla,ce in the Treble, the Bass
generally marks the time by equal notes .
VII. ON THE Use of the Pedals. *
Square Pianofortes have l)ut one Pedal, which ser\(>s to raise the dampers and is
commonly placed near the tcntre of the In st ruuuMU . . .
Grand Piari./ fortes (horizontal and upright) have two Pedals, the Right hand Pedal,
is the same as in Square Piano fortes, and serves to raise the dampers: the Left hand
Pedal serves to move the Key-board from Left to Right, and takes off' one or two Strings
from the hammers; it is chietly used in Piano, Diminuendo andPianissimo passages.
When the Right hand Pedal is to be used this mark is generally set under the pas-
sage, and when it is to be dropt this mark is used .
Some Authors prefer writing ^Ped.j when the Open Pedal is to be used, and when it
is to he. dropt, they use this mark ("^) • As the Left hand Pedal is only used in soft
passages, it does not require any particular mark. The Open Pedal is chiefly used
in slow movements, when the same harmony is to be prolonged.
NR : When a ciuaige takes place in the Harmony the Pedal must be dropt .
52
A D I C T I O N A R Y,
oi Italian and other Words used tx Music
Ad libitum^
A, ill, for; \ n^npo, in stn'i t time.
A Due, fi>v tvvoVoicesj aTre,for three Voices .
Adagio,a vei-y slow and expressive movement .
the time is left at the Performer's
pleasure .
Aft ettuoso , with tenderness .
Agitato, with passion and fire.
Allegro, a lively movement .
Allegretto , not so quick as Allegro.
I play over again from thi-s mark
Al Segno, . , , , , ' ,
I and end at the double bar .
Amoroso, tenderly.
Andantino , a slow and distinct movement.
^Vndante, a little faster than Andantino .
Aria, Air j Arietta, a short Air .
Arioso, in the style of an Air.
Assai , much: Allegro Assai . very brisk .
Bis,pl:iy the passage twice over.
Srio, orConBrio ,with spirit and brilliancy .
Brillante, in a brilliant style.
Cadenza , an extempore flourisn .
[diminishing gradually the sounds,
Calando. S ^
land slakening the time.
Cantabile, in a ,-;inging style.
Capriccio, an^^rregular piece of Music .
(Ti phrase added to the i«i?d of a piece,
' |b/ v^^ay of conclusion.
Con, withj ConViolini , with Violins .
Con Aniiiia, with feeling.
a piece for a single Instrument,
jwitW Accompanime (its for a Band.
I a piece for two or ii\ore Instruments,
^|with Accompaniments .
Cr<iScendo, a gradual rise ofthe sotmds or-rcum
^Jbegiuthe Ait- .igain and end
Coda.
the lir>i ilrain
Decrescendo, fa gradual fall of the sounds,
or -<
D iminuendo, (abbreviated thuTp ^
Dolce , sweetly .
Duo, Duetto, a piece for twoVoices orlnstuments
Espressivo, with expression and effect .
Forte, loudj Fortissimo, very loud .
Fine , the end of a piece .
Finale, the last movement.
Forzando , a stress on a note , oY^^
Fuoco , spirit: Con Fuoco, with spirit .
Furioso, orConFuria, with fire and energy .
Gavotte , a lively Air in Common Time .
Grave, a slow and solemn movement .
Grazioso, in a graceful manner.
Giusto , exact.Tempo Giusto . in exact time .
Giga,a quick dance in CompoundTime . ^ . or .
Gustoso, or Con Gusto, with taste . v
Largo, a slow movement.
Largbetto, not quite so slow as Largo .
Legato, a smooth and connected touch.
(at the usual place,after having played
|an8\« higher. -
Maestoso , in a majestic style .
Ma, but; Ma non troppo, but not too much.
Mancando, diminishing the soundsT^I^^;::^^^^
Men, less j Men Forte, less loud.
Mezzo , half.
MezzaVoce,witli half the usual force of the ton« .
Mezzo Piano , a medium between soft and loic, .
Mezzo Forte, rather loud.
Minuetto, a slow Dance in Triple time
Molto , much ; Allegro Molto , very brisk .
Moderate , moderately quick .
Morendo , let the sounds die away.
Moto , or Con Moto, very brisk .
Non, not; Non tronpo, not too miK h .
6
Obligato , a part that cannot be omitted .
{signifies that the passage
is to be played an octave
higher than it is written,
Presto , q^uick ; Prestissimo, very quick .
PomposOj in a pompous style .
.Perdendosi, diminish gradually the sounds.
Piano, soft; Pianissimo, as soft as possible .
Piu,more:Piu Presto, faster.
Piu to sto , rather .
Poco , a little ; Po CO lento , a little slow.
Poi , then; Poi Segue , then follow .
Rallentaudo^
Ritardando ^
ResolutOjia a bold style.
^crease the souiid of several notes,
Rinibr-zando,-^
j th is sign -=^^__J[s often substituted.
Scherzando, in a playful manner .
Sclolto, in u distinct manner .
Sempre, always; Sempre Piano, always soft.
Sotto voce , wiih a low voice or tone .
Sforzando . a stress on a note?:>-
Siciliana,a pastoral movement in commontime.
•1
^ slacken the time by degrees .
Spiritoso, with spirit.
Staccato, play the notes short and distinct.
Slentando, slackening the time .
Smorzando, smothering the sounds.
Senza, without .
Sonata, a piece with two or more movements .
Sonatina, a short and easy Sonata .
Soave, sweetly.
Sostenuto , support the sounds.
Solo, one Instrument only .
Tasto Solo , play the Bass without chords .
Tempo di baUo, in the time of a dance .
[play in the originaltime ,
Tempo Primo,~)
(after an ad Libitum.
Tenuto , hold the note its full length .
Tr lo, apiece for three voices or Instniraens .
Tutti,all the Instruments together, after a Solo
Vigoroso , with strength .
Volta the first time .
Voiti Subito , turn over the leaf quickly •
Un , a ; Un poco , a little .
Unisoni, play the parts in octaves.
Abbreviations Explained.'*'
Ad? Adagio .
F. Forte .
Seg: Segue. (see page 22)
Ad lib : ad Libitum .
FF. Fortissimo.
Smor*. Smorzando .
All? AUegro .
Fz : Forzaudo .
Sf: Sforzando .
AUetto Allegretto .
Mez: Mezzo.
Stye: Staccato
Arp 9 Arpeggio (seepage JO)
P . or Pia: Piano .
S o s : So s tenuto .
Cal? Calando .
PP. Pianissimo.
T. Tutti.
ConEsp: ConEspressione.
Ped: Pedal.
Ten: Tenuto.
Cres: Crescendo .
P<> r : Perdendosi.
Var: Variazione .
D.C . Da Capo .
Rinf; Rinforzando
V.S. Volti Subito.
Dim-. Diminuendo,
S ( herz : Scherzando .
Uni; Unisoni.
Dol: Dolce.
1 Sem: Sempre.
Each of these Words is explained in the Dictionary
.coinpoledx- refpoclIiiUy dedicated to
M luri' /liny In hnii juAU l\il>li<'hni hv Ihr .fiime Author l/n' JI<unionir Tnc ,<ir l/ioi-<'iioli J'livs iii fiu • h .i I'rici >. /ilciiii ,(>.'( oliHiir, ' .
A Complclc Bootof Uiftniclioiis Cor llu' I'iano loi-lc .^ iili ;. yon li ■> '
(
A' r
/// . //•/ /-l/'l!, //'/,■>,"
7
/
/
/// //c
/
/
'?Y//yy ///y r/ //(■//•/ rA , vr>/r'.".i A //.yw ///v-
. A /// /■ ? f ///r A ^/ //rr//,- ///
/ /
yr //'/ ,'."// A r.i A ;'r/.) / /
Z' y///'' y^y'y<f<''^'- . //y/ /A<r/ yr// /^//r /rr/f vv, v//^-- ///^ /vv// / /
^^^r^;''^ v^^vv;^/^ r/yAr.rAr.. A r^//y/y>.^rr ^V/r y/^.A/y
yr,//_/^r.yyrr/ A y >ryAAzr/e.
Through the course of my Profession I have often lamented to see Voral Music in general, but
nioro iia/tirularly Solfaing" so much neglected in this Country.
This art is considered as a distinct part in Music which is left to professed Singers , while it
oiTght in some respect to serve as a preparation to Instrnmental Music, and remove those obstacles
whicli an untutored Ear forms to the progress of Beginners
To the practice of SoIfain<5" the Italians ire indehted for their excellence in Vocal Music ^ for
so many eminent Singers who have been and are 'daily atlmired in. every part of Europe.
The Musical education in their Conservatorios (Public Schools of Music) always begiiisby learn -
iiig ths' intonation of the seven Notes in various positions, and solfaing Vocal exercises; when perfect
in that, Pupils are taught Instrumental Music and the rapid progress they make proves the excellence
of this method.
The neglect of Solfaing" is the true cause of the scarcity of good Singers in this Country & tho'
gifted with as great a share of natural abilities as any Nation, the English will never arrive at a great
degree of proficiency in Vocal Music unless they pay more attention to that part of the Science.
How is it that so many Amateurs after several Years spent in the study of Music can seldom join
with any Credit in a Duo,Trio, Glee, &c . because unacquainted with Solfaing,they are not firm in
their intonation and obliged to trust to their Ear which often misleads them; after sonn' niisuccessful
attempts they think themselves unqualified for singing, they leave it off despairing of e\<'r attaining
iny proficiency and attribute to their incapac ity what is a consequence of the wrong method they pur-
sued . ,
Here I must remove a prejudice which prevails respecting Solfai ng ; it is considered by many as a
very dry and difficult study: but this is a mistaken notion , for with a good Tar and a little applica -
tion this art may be learnt in a short time, as the different Syllables used in Solfaing the Notes, as -
sist tlie memory in the recollection of their intonation; Ixvsides the labor may be short-'ned by clear
instructions and easy Examples.
To publish such a method as will facilitate the study of Vocal Music to Scholars, i.. 1 the teach-
ing of it to Professors has^tteen my aim and study in coniposing tliis Nvork,the plan 'A which differs
from any one published on the Subject.
Instead of presenting at first to the Pupil all the principles of Vocal Mii'^ic and coi.i ti^ing his Ideas
by a multitude of objects, I explain them successively and in the order they ought to be learnt.
The first Part is on Intonation and contains t^^■elve Exercises on the scale , ascending and descend-,
ing , on Intervals, Harmonics, Chromatic, and on the Major and Minor Keys.
The second Part treats of Time, which is exeniplitied in variotis Examples both Comnion and Tri-
ple, Simple and Compound , with the manner of bi-ating each
Execution is the object of the third Part, Graces, Divisions, Cadonzas, and the various styles of
singing used in modern Music are successively explained .
To save the Learner the expence of another Book,l have inset ted by uay of introduction, the E-
lements of Music necessary to a Singer and proper directions for tlu* Voice.
N.B. As the g?>i'.erai;ty of Pupils con.sist of youny J.., dips, ihe Voc al exercises are set in the Tre -
ble Clef, bvit it sung an 0< Jave lower they will serve ais'^ lor (icntleinen, or they may be transposed
into the Tenor,or !J ss Cii is,by refering to the Transpose h.d Table |pagi-\I\ .)
The Author huinhlv solicits the indul!.;ence of his Readers for any inaccuracy of stvl<',iS. hi ^s theyv^ ill consider tile diffi -
cult e.s he had to ncouot< r, writint^ in ,i l.nigaage foreign to him 8c on a subject hitherto so liCl'' ^\j)](?red .
!:n ;ra\(! by J. li \i.LS \o 8, Middle Scotland Yard,^T\itehall.) /
C O N TENTS. \
INTRODUCTION. " r Rfi^e
Chapter I. a short history of Music from the earliest period IV
G HAP: II. On the Voire i n j>;eneral ................... . . .VI
Article I. How the Voice is formed , ....... f . . ibid
ART: II. Observations on the Organs of the Voice. . .Vll
ART: III. On the different sorts of Voices and their natural compass . VIII
Artificial Compass of the Voices compared to the Keys of the Piano Forte . IX
CHAP; III. Directions for singing with propriety . . X
C HAP: IV. Elementary Principles necessary to a Sing'Cr.
I'?* Number of Notes and Clefs. 2'.^ Names of the Notes. . . v. . . . . . ............ XII
^4 Proportion of the Notes. 4"^^^ Accidents of Music. . . < XJII
CHAP;V. Of transposition . XIV
Part I. on intonation.
Lesson 1. On the Diatonic Major Scale ;. '. . l"
2. On Intervals .2
Progressions of Intervals ibid
; Intervals witliout the intermediate Notes . v . 4
5 . The t Intervals compared to each Note of the Scale S
6 . Progression of thirds ascending and descending extended to 2 Octaves ibid
On Harnjonics and of the accompaniment of the Major Scale . . .6
(S*. On the Minor Diatonic Scale y. . . . ibid
i- f). On Harmonics in the Minor mode . . z'
10. On the Chromatic Scale ibid
11.
Exercise on Chromatics ibid
12. The Gamut transposed into all the Keys Major & Minor 8
Part II. ON TIME.
SECTION 1. On Common Time . .10
2. On Triple Time . . ......... ibid
S. The manner of beating Time explained. 11
L 10 S S ON 1. la Common Time,with a Semibreve or 2 Minims in a Bar. . . . , 12
2. D9 . with Crotchets and Quavers intermixed. . l.'J
S. D9 ......... .with Quavers and Semiqtxavers II
4. D9 with Semibreves, Minims, Crotchets J Quavers,&c. ..... . . 1,^
& ^. D9 with two Crot(hets in a Bar | 16'
In Compound Common Tin)e,witlt six Quavers in a Bar ^ IT
<V. DV [ .with twelve QnavM-s in a I5.ir'2 [\jH
1'
SECTION 4<. On Triple Time . , ,• \:>
Lesson 9. in '] ^ith a Minim dotted for each Bar. . ihul
70 D? with three Crotchets in a Bar .ibid
. D? with six (Quavers in a Bar. ,20
12 . D? with Minims Crotchets (Quavers & Sc^miqiiavers . ibid
15 . In Compound Triple Time with three Quavers in a Bar g . 21
14< . D9 with nine Quavers in a Bar %. . ... . 23
SECTION O. Of dotted Notes 2 t
Lesson 16. with dotted Minims ibid
16 . With -dotted Crotchets il)i(l
1^. With dotted Quavers 2.;
Section 6. Of some licences introduced in Music 26'
LESSORS 1^^ . In which S Quavers are sung- in the time of 2 6 as 4- ibid
Section 7- Rests explained 27
Lesson 1^). with Crotchet Rests ibid
.J^O.With Quaver Rests. 28
21 . With "every sort of Rests introduced. 29
. , Part III. On EXECUTION.
CHAPTEU T.On Graces . .'iO
SECJXION I. Of the Shake ibid
L E S SON I . Tri ^vhich various sorts of Shakes are ■ introduced ; .31
Sr:CT: 2. Of the Boat. SECT: 3, Of the Turn . SECT:^.()f the S!ur. SECT-.,5^.0f y Anticipation.'i2
CllAPTi^::^ II. On Cadences in Major & Minor .7 I-
TIT. On Reprises in . , . ...iJ
rV.On Divisions with various Exampl's< Sd
V. On the different styles of singing. 37
SECTION 1. Of the Pathetic ibid
Of the Bravura ibid
3. Of the mixt style inid
' \ Of the Lejg'ato style with a Lesson on D? .'i<S
6. Of the Staccato style with a Lesson on D? 3!)
Chapter VI. On Syncopation . 40
Lesson with syncopated Minims ' ibid
6 . With syncopated Crotchets 41
6 . With syncopated Quavers ibid
First g-eneral Lesson , in which various sorts of Crraces are introduced. 42
Second j^enf*ralLessf)n oh DV in a Minor Key. 43
A Dictionary of Italiarri Words used in Music 4J
Section 6. Of the Appo-rgiatm-a & Lesson on D9 ... 33
INTKOBI ction:
Chapter I. a short history of Vocal music.
,The origin of; Music may be traced to the earliest period of tlie world, indeed it seems to have been '
coeval,wirh htiman nature itself,and that, when our Ijrst Parents received from the Almighty tjie uJie
of speech , they were also gifted with the facultv of modulating the accents of their Voice according
to the dictates of their hearty and producing a Melody which although more simple than ours, was
more expressive of their joy, gratitude, &c. towards their great benefactor .
However as no authority can be produced in support of this assertion, we will trace the origin of
Vocal Music to Jubal a descendant of Cain,M'ho was according to the Holy Scripture Gen:4Ver:12.
the fatiier of those who sung a<. companied by the Harp and Organ.
At th;» flood, Music was buried in oblivion and it was a long while before it appeared to cheer the
desolated universe .
The Egyptians instructed bj Cham and Mesiaim his Son, brought aga&i this fine art to some
degree of splendour.
Moses the chief of the Hebrews ,Iiaviug been adopted by the Daughter of Pharaoh,was brought up
at the court of Egypt and among other Sciences iear/ied Miiaic; he made use of his knowledge to
instruct the Hebrews trusted to his care, and we road in tlie Scripture that after having crossed the .
red Sea, they .sung an Hymn of thaaksgi^ ing for their liberation, and the destruction of the Egyp -
tian Army and that they were accompanied by Miriam, Aaron's Sister, and other Women singing in ■ '.■
chorus, and playing on Timbals ^tc. '
Vocal Music began to be in great repute among the Jews, and. in the reigns of King Da\id and So-
lomon, numerous Vocal Performers w ere emploj ed in the service of the Temple : David who was an
excellent Performer on the Harp, us nl to sing the Psalms he composed and accompany himself on
that Instrument . .
The Greeks during th -ir intercourse with the Egyptians , among other Sciences learn'd Music^vihic h
by their ingenuity they biouijiit to a degree of periVction unknown before.'
Mercury invented the Lyre which he mounted witb four Strings, the soxrnd of whic h a^swerd the
Notes mi,fa,soLkij this was tiie first Tetrachord (Scale of four Notes) but the compass of the Lyre
in so imperfect a state being found loo limited to acccjmpany the Notes of the human Voice, three
more Strings were added bf-low ; these seven Strings the tones of which rose gradually^ although not
reguljirly, had different nam. -s according to their place in the Scale .
To these inventions Pythagoras made great improvements , this great Philosopher was the first
who rejduced Music to fi.ved principles , he added another String below the seven, and thus compleat -
ed the Diapason or Octave. ;
Some time after another system cons'sfirig of sixteen sounds was adopted which was called Dis -
Diapason, or double Octave
The Greek I'oets sung Verses in honor of their Divinities and fleroes accompanied on the Lyre,- ^
the art of singing by Xotes with correc;tness was consider'd as an indispensable part of a liberal edu-
cation; and Themistocles that great Gener ic being present at a banquet and desired to sing, as he
did not comply was considerd as imperfect in his education.
The Melody of the Gre«ics wa.s pure and simple, only c alculated to give energy and expression to
their Poetry: yet(if the records of ancient history may be credited) they could procluce with it wonderful
effects, and raise or assuage various passions accoi^ding to the mode they played in .
The labour of tive Greeks, and the improvements which they had made in Music were soon lost, for
Cor. .fantiiiople and other Cities of Greece having been pillaged and desti<iyc{ by the Turks, tlie fine
Arts and with them Music was partly buried in ruins and the few pieces which escaped d'structioi> ,
cannot convey an Idea of their perfection in that Science. . .
IVom the Greeks we will trace Mnslc to the Romans; at first it made very little impression on these
illustrious Conquerors, but in thf:^ fourth Century, Constantiiie the Great having embraced the Chris-
tian Religion introduced Vocal Music into the service of the Church, and from that epoch it underwent
a total change.-
.St Ambrose A'-chbishop of Milan adapted the Psdlms and Hymns of his Church to the Greek Music.
In 490 Pope Gregory added other Hymns and Anthems to those composed by St Ambrose ; these
Chants,the melodies of which were without refinement and more calculated to raise pious sentiments
in the Auditors than to excite admiration, were adopted by other Churches in Italy.
Vocal Music continued in that imperfect state till the 11^.^ Century, when Giiido Aretino a benedic -
tine Monk of L^reat knowledge in Music to remedy the defects of the Greek s\ stein, invented his cele -
brated Hexachord (Scale of six Notes) to which he applied the six monosyllables, nt,re, mi,fa,sol, la,^f
taken from a luliii Hymn in honour of St. John the Baptist, he also introduced th'^ fashion ofwriting
Music at first on four lines, then on five lines, and in their spaces,with round and square points:**
These notes were of \ery long duration, sometimes one of tliem listed a whole period; this intonation
of Giiido spon became oosolr^tt^ and in 13 J3 John de Miiris a Frenchnian invented the difTerent species
of Notesjvia.thc' Larg- E^t^ rKe Long ET^ the Brev • g the Semibreve O and Minim (the CrotchetjQua-
V'.*r, an<i Semiqu'n .u- \\ -^r-^ introduced afterwards) by which the different times were expressed.
He also invented tlio three Clefs which use and by placing them at the beginning of the Stave as -
cert lined the name and pitch of the Not^^s . '
Music being thus gradtrallv cleari"J from tne difficulties that impeded its progress advanced towards
perfection with rapid stride-i , and from tiie Church where it had been till now confined, was introduced
on the St ige (in tlie U*".^ Caj;^' ..-y an ItaUaii Opera sinnlar to the Grecian Tragedies was compos'd bv
Baverini , and in 1674:' the Operas of Ariadne, Daphne &c.were performed at Venice .
At that' period, Italy, which was already conspicuous for eminent Artists, began to produce Composers
and Singers of tlie first merit .
Among the former was the celebrated Pale strina, a Venetian ,sumamed by his Cotemporaries the
Prince of Music- he flourished in the sixteenth Century, and as he was the first who put in practice
the theory of the art, he may be called the father of old and modern Composers, equally successful in
the sacred and profane Music, his works which are monxnnents of science served as patterns to those
immortal Composers who afterwards rendered Italy, Germany, and other Countries so celebrated .
From ISOO to 1700 the taste for Dramatic Music daily increasing, several Schools for singing were
instituted at Naples, Ronie, Florence, Milan ,Venice, Bologne,&c. which produced Singers of great abi-
lities; one of the first for antiquity and fame, was established at Bologne by Pistochi,who after having,
been universally admired "for his knowledge,judgement,and taste in singing, formed several Pupils of
eminent merit.
From Italy other parts of Europe borrowed their taste and knowledge in Vocal Muslc^-hirh is now in
high repute and cultivation in every civilized Nation .
''^ In the sixteenth Century' Guidos method of soUiiiniJ- was simplified in France by Lemaire,who by adding^ s. seventh
syllable (sij to the six of GukIo, removed the difficuities vshich were before occasion-*e! bv tlie mutations ( the semitone
■ " > - • i' ■■ ■ ■
wherever it ocrurd was called (mi ■
'" Before the invention of the Stave and Notes, mii.sic<al sounds were expressed by Letters placed on a singledine ,the
Greek pieces wei*- wrote in that nianner, this method St Ambrose adopted tor his Chants-substituting for the Greek C ha -
racters, Roman letters thus ^B-G-^-E-F-Gt^^ tr O P . ' ■ •
' . Pope Gregory siiiiplified this system bv using only seven letters which he repeated over again writing them in sm.iller
Characters . A B -€-i>-E-F-<f a^h-c-il-* t-g ^- —
VI
Chapter II. of the voice in general.
The sum of all the sounds which a Man can draw from his organs in speaking', singing'jor cryinif-, '
forms what is called the Voice , the qualities of which depend on those tof the Sounds by which it is for-
nied . _
The Voice may be distinguished, 1*1* as a simple and inarticulate Sound, such as in Infants and dumb
people. 2^ as an articulate and distinct Sound like the human speech, .'i^as in dec]amation,by whirh
the tone and accent proper to eat h passion is imitated, arid which depends on a modification in y sounds
th
entirely different from that used in speaking. 4 . as in singing,in which the sounds of a Melody are
produced togethei^ with the Words to which that Melody is set.
The Sing-ing" Voice will be the object of this Treatise . '
Article I. how the voice is formed.
The Organs employed in the formation of the Voice are the lungs,the larynx ,the glottis, and the cavi-
ty of the Mouth and Nostrils ; the thrOat, tongue, teeth and lips serve for the articulation .
I^.* the off ice of the lungs is to receive the external air which we continually inspire,and from which
the Voice is formed , and to supply the Voice with it, they may be asshiiilated with propriety to the Bel-
lows of an Organ, from which the Pipes receive the wind that forms the Sounds .
'. 2*? from the lungs the Air is forced through the Tracliea (vulgarly termed the Wind pipe) it is a car-
til.iginous and minnbranous Canal which begins at the root of the Tongue and terminates in the lungs:
its upper partis called Larynx,and is composed of five a-nnular cartilages placed above one another,they
are united by means of elastic Ligaments or Fibres, and enabled by the assistance of their several Mus-
cles to diiate,or contract, and perform that variety of motion which seems to point out the Larynx as
the principal organ of the Voice .
.3^ at the top, and inside of the Larynx are two semicircular membranes, stretched horizontally which
" thoiigh capable of joining close together, generally leave between them an oblong apertui-e called Glot-
tis, which though very narrow, (not exceeding the tenth of an inch) can be dilated at pleasure, and may
be ctmipared to the Reed of a Bassoon, or of an Organ Pipe, as being put in vibratory motion by the Air,
impelled by tlie Lungs, it modifies the sound in various manners: when dilated it gives a grave sound,
and when contracted an acute sound .
the Voice thus formed, is strengthened and softened by -a reverberation from the pala,te and other
hollow places in the inside of the Mouth and Nostrils, and according as these are better or worse sha-
ped for this reverberation, the Voice is more or less agreable .
5^ the Tong^re by acting and rea.cting against the Palate and Teeth, contracts or dilates the aperture
of the Mouth, consequently the sound being detained in its _passage,or left to flow freely, acquires dif-
ferent modifications which form the articulation and pronunciation .
the Teeth being of a hard substance, and placed close to one another on two rows, form an aper-
ture through which the Viice passes without loosing any thing of the quality of its sound.
7 . the Lips by making now and then that aperture smaller, form those Syllables denominated Labials.
AliT: TI. Observations on the Ohg axs or the Voicf: .
1'.*^ On the strens^th of the Lungs depends the power (if the ^oire,M'hen naturally weak they niav I)'"
sti-<'M:j;^thened by moderate exercise, and a sober, regular life; any intemperance impairs them and conse-
quently the Voice .
2^ of the greatest difficulties in singing consists in the proper management of the breath;on this
point depends partly the perfection of the Voice, for although we do not see the different shapes and al-
terations which the LarynJc and Glottis go through at each sound which we, form , yet we oughttoknow
that their motions should be freehand the breath regtilated in such a manner as to produce the hekt ef-
fect; if the air is' impelled with more force than necessary, the Glottis becomes contracted like the Reed
of an Hautboy pressed too much by the Lips of a bad Performer; fear or constraint produce the same
effect on that organ and injure its flexibility: if the breath is taken with too much hurry, the Voice be -
comes unsteady and fluttering.
3^ The Tong^ue where it can possibly be avoided, must never touch either the Teeth or roof the Mouth,
when this is not practicable.it must be done with as much ease as possible, in sounding the letter S,
the Toiigue must hot be used with too much force, otherwise the sound will be hissing and unpleasant;
the letter X must alo be softened by^drawing back the Tongue, and i ' suffering it to touch but lightly,
the roof bf the Mouth .
^^A'The Teeth mu^t^no^ be kept shut as it will injure the sound of the Voice,(this defect is very com -
mon to Learners especialJyvin England.) Cliildren should not begin to sing till they have changed their
front Teeth, and it is best to waiKtiH the whole set are compleatly formed as the quality of the Voice gi-eat-
ly depends on them . "^v ,
6 . The Lips must not project beyond the Teeth, otherwise their soft substance will render the sound
of the Voice dull and weak : in the pronunciation of such syllables as oblige the Lips to be compressed,
.they must totich each other as lightly as possible . In sounding the letters B and P,the Lips should be
projected a little to prevent their being compressed too tight and smoothering theA'bice.
6^ An opinion too prevalent is, that none can sing well but those who are gifted with a fine "N'bice ;
this opinion is erroneous, for although a fine Voice is a great gift of nature, yet it is possible to be a good
Singer without it; some of the first Singers have rather indifferent Voices, but owing to their great know-
ledge and skilful management, they are much and deservedly admired . i
An accurate Ear, a strong constitution, and good spirits are much more necessary for singing well
than a fine A'bice without these blessings .
When the Ear is accurate and the Voice indifferent,it may be greatly improved by a judicious Master;
but if the Ear is deflcient,he .need not l-abour to rectify it's defect, as probably he will toil in vain and sel-
dom if ever succeed . '
However,a Master- must be careful how he judges of the Pupils Ear,and not conclude that it is incor-
rect if at first he should happen to-sing a little out of tune .
Some Scholars will sing difficult intervals in perfect t«ne and will be deficient in the intonation of
others nuich more easy: (owing perhaps to some defects in the organs .) .
When the Ear is not dfrf(sctive,a Scholar may by practice,and with the assistance of a good Master,
acquire a good intonation: whoever is gifted with it by nature may be said to have three fourths of
the qualities fequisite for good singing .
/
Anr. in. Of the differeint voices and their Com j>Ass
Tliero iji <> six species of the Hiim.iii Voif-e which rank in th** follow in^- order,beginni from the h,w
est, viz. the Bhss, Baritono, lenor, Contralto , Mezzo Soprano, and Soprano.
Each species of Voice can ascend or descend a certain number of Notes which form what is called its
Compass; this compass is either natural or artificial .
Th|e |*natural Compass of each Voice (as experience proves) does not exceed eleven Notes, (an Octave
and three Notes) and is confined within the Stave, J Notes being on the Lines, 4 in the Spaces , 1 Note
bol<>w the Stave and 1 above it.
Various Marks called Clefs are used,which according to their shape and position on the Lines, deter-
mine ihi^ species of each Voice, its compass,the name of the Notes within its compass, and their pitch or
elevation, without altering the form of the Stave . f
The first and lowest Male Voice is called Bass, its Clef is
called F. Clef on the fourth Line, its natural Compass is from
Pkto Si. (F. B.)
The 2^ Male Voice is called Baritono or Bass Tfenor, (be-
cause it partakes of both Voices ) it is mi^rked bv E Clef on the
3. Line, its natural Compass is from La to Re.(A.D.)
The 3^ Male Voice is called Tenor or Voce hum ana, (be -
ing the natural Voice of Man) it is marked by C.Clef on the 4 .
Line, its natural Compass is from Do to Fa. (C.F.)
' The 4*.^ Male Voice is called Contralto or Counter Tenor,
,and is the Voice of Adults, but may be sung by Men,though
with difficulty, and sometimes by Women; it is expressed by
the C.Clef on the 3^ Line, its natural Compass is from Mi
to La. (E. A.)
The species of Voice, and the 1^.* Female Voice is called
Mezzo Soprano, and is a Treble "Voice of a low Scale , it is
marked by C.Clef on the 2^ Li^e,its natural Compass is from
Sol to Do.(G.C.)
/ The 6*.^ species and 2^ Female Voice is called Soprano,&
subdivided into high and low,or ,l^.^& 2^ the low Soprano or
Canto is marked by the CClef on the 1^.* Line, and is now^ex-
cept in Italy,] generally marked by the Treble Clef; its natu-
ral Compass is from Si to Mi. (B.E.)
The high Soprano or Treble (which is likewise the Voice
of young Boys) is marked by the G. Clef on the 2^ Line; its
natural Compass is from Re to Sol. (D.G.)
fa
la
do
mi
sol
SI
re
fa
.a
e
la
-Q
• lo
(~1
mi
si
mm
sol
_0-
re
A View of all the VOICES, their CLEFS;y name of the NOTES, and their place in the
General Scale.
i
-CO.
fl-rliHI-'iiH
Line added 2
- C
Q
o
02
re. mi. fa scd-la. si. do re mi fa sol.
i
Oil
—9
■ fa, sol
la, si
do, re
mi, fa sol,, la
si, do
N.B.The extent of all the Voices put together,is S Octaves, and 2 Notes ; each species of Voice is at the
distance of a (two Notes] from the next species.'
^ i V
The natural coinpass ol'oach ^<>ice may be evteiided by practice and art to fourteen <jr nt'teen Notes,
and even more; this renders sonic Voices useless, as their part can be sung by others, thus tlie Baritono
and Mezzo Soprano are out of use. . ,
Artificial Compass of the Voices in iise, compared to the Keys of the Piano-Forte, i\ ith
^ the Clef proper for each Voice and the Names of the Notes,
G
B
C
D
E
G
B
D
E
G
B
D
E
G
A B
D
E
F G
B
DiE|F|
Female ;an4
Boys Vqices
Counter Teaor;
or Cont;ralito '
; Trebl
I Soprano;
Soprano 2?'
orlZ-;^
m
do re
mi
t
m
rt'
Tenor
m
Bass
3E
SI
do
re
"•7
ml
mi
fu
fa
sol
sol
la
SI
do
do
do
re
re
mi
mi
mi
fa
sol
la si
fa
do
fa
fa
sol la I si
sol
SI
do
JL
re
z:
mi
fa
sol
JL
la
si do
mi fa sol la
do re
Male Voices
sol la si
fii sol la si do re mi fa sol la si do re mi fa
N.B.Each ^oice has something peculiarly relative to its kind.
The Soprano has more volubility than any Voice, and is also equally adapted to the pathetic.
The Contralto has more pathetic, but less. volubility than the Soprano.
The Tenor has less pathetic but more volubility than the Contralto .
The Bass is more majestic than any Voice, but should not be so rough as sometimes practised .
The Voice as to its quality is of three different species : the first and best is called in Italian,Vbce-
di petto, and is a Voice that comes from the breast or chest; it is full, sonorous and expressivejbut les§ ,
manageable than the two other species; among Ladies we sometimes hear a Soprano entirely di petto .
The second species is termed Voce di testa, and is a Voice which strikes! from the Throat to the Head;
it is capable of more volubility than the foregoing, but not so good. ^
TliL> third species is the Falsetto, or feigned Voice, which is entirely formed in the Throat, and has
more volubility than any but is of no substance and requires a great deal of management *
The greatest difficulty a Pupil has to overcome, is to unite his natural to the feigned A'bice,so as to
render imperceptible tlie joining of both ; should a Master overlook this important part,the Scholar
Is ruined; he will be obliged to sing within the narrow co^mpass of a few Notes, and unable to accom-
plish any of the, modern Songs which mostly extend to a^reat compass ,
The Pupil must in "Several ways pass froild the natural to the feigned Voice and vice versa, (with few
cxrcptions he will find it more difficult to leave than to resumeitthis part where the naturalV)i( e ends,
to give way to the Falsetto i^j called in Italian 11 ponticello ,the little ^bridge; it is the rock indifferent,- /
Sing<M's generally split upon, great Singefs will effect the junction of the two Voices so nicely as not to
lie discovered. ■ . ' .'>•
Chapter III. Directions FOR SiNGixG.
■ l^^ Open the Mouth moderately (rather broad than erect) and place it in a smiling fbrm^ di i wing'
the Lips as it is done in laughing' , so that part of the Teeth may be seen ; this position is th^- most
favorable tw^the formation of a pure and harmonious sound, obiServe that some words require the
Mouth to be more, open than others; for instance, words expressive of grandeur and majesty should
' i;: ' ' be given out more open than a simple ditty. \
2. Articuiate clearly your Syllables, and give every One its proper sound without harshness or af-
fectation . 7|c ' ' ; . '
3. Keep your Voice steady without deviating from the ti-we ihtonation of the Notes for nothing is
so wretched as singing out of tune .
4< ^ Do not force your Voice in order to increase its power, but give it out in an easy and pleasing
manner : acute sounds if forced will resemble shrieks , the higher the Notes are the more care should
be taken to bring them out soft and clear . Should a Singer (especially a Soprano) force his Viice
in the upper Notes , he will in time inflame the Glands of his Throat and lose the clear, rich and flex
ible quality of the Sounds.
S. Practice frequently the swelling and diminishing of the sounds marked thus it is one
of the greatest beauties in vocal Music and contributes to give Passages expression and effect.
The swelling and diminishing of the sounds is to be done in one breath, beginning very soft and
gradually increasing to the utmost power of the Voice, then diminishing insensibly till it comes again
to the softest degree ; this should be practised on each Note of the Scnle, ascending and descending,
throughout the compass of the Voice,& in slow time, the Vowi'I A may be used at first as being more
open and afterwards other Vowels ; this exercise although a liitlo troublesome to beginners is the on-
ly one calculated to acquire a Voice truly in tune, clear in it's sound, and mellow in it's inflexions there
fore the Scholar should practice it as often as possible, resting now and then when he is tired .
6 . Practise daily the holding out a Note, the longsr y<ni do it the better as nothing gives a Singer
more command of theV)ice; in holding out high Notes avoid that fluttering and trembling of the V>ice
so common to bad Singers, and try to givi? the Notes a clear,nrni,and mellow tone.
Blend softly the sounds into one another, the end of a Note with the beginning of the next so as
to form one continual Melody, excetpt in stac cato passages or when a Rest intervenes .
8^]^ Take breath in proper time or else the Voice will inflect and get out of tune; this is one of the
greatest defects in Learners , they never think of taking breath till they are quite exhausted and una-
ble to proceed any farther.
The breath is to be taken at a Rest,or when the periods of the musical sentence are ended, they ge-
nerally end on the accented part of the Bar, the 1^.*& 3^ part in Common Time, and the first part in
Triple Time .
Observe that to take breatii in the middle of a word (unless it is under a long division of Notes) is a
fault ag^ainst nature and should be carefullv^ avoided.
"UTien a long division of Notes happens, take breath at the beginning or else you will run the risk
of stopping in the middle and spoiling the effect . '
N^B.In otrder to produce a clear and brilliant tone, it is absolutrly necessary to fill the Lungs com-
pleatly,and then t) husband the collected air as nuich as possible by a ri;'Ht nianagement of ythroat,
when the Lungs are thus distended the Muscles of the larynx and iraclu' i which are connected with
the Chsst,haye a firm point to act from, and can exert themselves with more advantage.
' In solfaiiig.the Syllables do,re,mi,fa,sol,la,si,are:' to be sounded luvtrly thus;dow,ray,mee, faw,sol,l3w.
1.
B^}^ Si '.n s tlie compass of yoitr Voice and do not force it to acquire agnriter con)pass , but rather
strive to ini(»rove^vhat the Italians call \bc;e di testa, in order to join it so v»"e!l to jour natural Voice
terrified Voce di potto, that the transition from one to the other may be imperceptible ; either of them
should always come forth neat and ck-ar without passing throiig^h the Nose or being stoptiny Throat
for these two defects are th;? most intolerable in a Singer and past all remedy wh«n oncp grown into
a habit. y ,
, , ■ _ . ... 'j
10\'^ Keep yonr Body in a graceful attitude , your Head erect, and put on a serene countenance,no -
thing prepossesses an audience more in favour of a Singer than an open smiling appearance .
Whatever difficulty may occur, avoid distortions of the features ; if you are inclined to any, study
before a Friend or a Looking Glass and Jj^epeat the passage till you accomplish it freely and with grace .
N.B. Pressing the Breast gently with the Arm will assist a weak Voice, as this attitude makes the
Ch'_»st steady and strengthens the muscular power.
11^^^ Head several times over the words of the Piece which you are to sing, observe the poncttiation
w here the emphasis lies, ponder the sense, try to make your own the sentiments express'd. by the Notes.
Sounds dif:tatL'd by feeling tan alone express passions with truth and energy; if you copy the Piece
you will learn it sooner, it ^ill make a greater impression on your mind and the Eye will catch quick-
er the proportions of the Notes.
l^^'^ As singing requires a great deal of practice which if continued would impair your health, sing
little at-a time but very often, and as much as posible standing, as this situation's very favorable to
-the Chest and proper for the organiZ;ation of the Voice.
IS. Be guarded against hurry which destroys every effort of art, imitate Children who fearful of fall-
ing, walk at tii'st slowly and carefully. Beginners in general are impatient , they want to become soon
perfect and by their eagerness retard their progress: and hinder the good a Master could produce,
they begin on a WTong principle, pursue their method >\'ith fatigue, useless efforts 1 after a considera -
-ble time and practice they leave oir,(;espairing of ever learning, and accuse nature w ith defects which
had their origin in bad habits . - ^
.' I t^.^Do Tiot hold the music Book too close to your face, for it not only obstructs the sound of the
. Voice , but makes a Singer appear bashful . '
th
16 ." Accustom yourself early to sing before People of rank, or before Professors of merit and know-
ledge that you may acquire that confidence so necessary to a Singer.
A timid Singer can never display his talents to advantage, his voice is unsteady and trembling, lu>
labours under the diffic ulty of fetching breath , and is obliged to stop at each Nc te for fear of being
choaked he gives pain to the hearer and spoils the effect of the best Music.
th
16 . Regulate your Voice according as the place you sing in, is larger or smaller; a Church or a The -
atre requires a greater volume of Voice than a Room, and the Voice that will please in the former, will
" be troublesome in the latter.
17^?^ Observe carefully the Piano,Crescendo,rorte,Diminuendo,&c . marked in a Piece,they may be
called the Chiaroo s curo , or the light and shades of siiiging,for what those are to the Eyes, the otiiers
are to the Ear, which is liappily relieved from monotony,by a judicious mixture of both .
IS^.'^When you sing in a Duo, Ti-io,&c. attend carefully to the othfer parts, and try to accompany them
w ith judgment and . taste; avoid the defects of soitie Singers, who, full of their pretended merit.try tp en-
i,>ross the whole attention bf the Audience ©n their part,Vv/iich they disfigxire so much by misplaced Gra-
ces, or sing so loud as to destroy the effect of the whole . lastly,whatever appl;.nsesyon may receive at
lit-st (rom the Public,be guarded against pride and conceit,think that they are |n\pa to you out of indul-
g'Mice and as an encouragemcMit towards obtaining a greater perfection, and that il j<»u know something,
> oil have a great deal mor j to learn . '
fa.
sol
G,
la,
A,
SI,
B,
XII Chap. IV. elementary Principles.
/ NLMHRR OF NOTES AND CLEFS.
Th'-n- are in. Vocal .js ip J nstr uincrL-il Mnsic,biit seven Notes .
Thry ur'- deii(>jn;!)ju'd by Uie foH'ming Syllables, Do,'>^ re, mi,
whic h are hotter adapted for pronountiation than the letters C, D, E,
used for Listrumentil Music . ,
Tlip seven Notes are placed on five parallel lines called a Stave, - either on the lines or
in the ':pu( es,aDd may be transposed into situations more acute or grave, still retaining their num.
her and name. ■ ■
The name of the Notes and their pitch, or the elevation of their Sounds is fixed by placing at the
beginning of the Stave a Mark called Clet' or Cliff.
The Clefs in use are . •
1 . The F.Clef ihus ^=^E it is placed on the fourth Line and serves for the lo'.vest Voices .
2 . The G. Clef thus^^ placed on the second Line, and which serves for the highest Voices .
3"^ The C. Clef thus "|^| this may be placed on the 1^^ 2'} 3^ & 4^!^ Lines of the Stave and accord -
,th
ing to the situation indicates a different Voice .
Soprano
Bass Tenor Contralto Mezzo Soprano or Canto
m
Treble
m
N.B. The^ Note placed on the Line where the Clef stands, goes by the name of the Clef, and that
Note becomes the stand:jj-d by which all others are found.
The Pupil may confine himself for the present to the Treble Cl.-f.
J^. Names of the koTES.
Notes on the Lines .'Ledger Lines
i
d .-.^^ Q
1
Notes in the Spaces.
. th c^-CL
"^l apace*-"* '
fa, la, do, mi,
sol, si,
re, SI,
mi, sol, si, re, fa, la, do, do,
Observe, when Notes go above or below the Stave little Lines are drawn occasionally called Led-
.-ger Lines and the Notes are placed on or betwixt them . The Notes above the Stave are called Notes
in alt . ■
Exercise to learn the Name of the Notes.
m
33:
1
33:
33:
xi:
1
33:
-o-
d-
N.B.The Pupil must be perfectly acqtiainted with the Namesofall the Notes before he proceeds
~ to their intonation . •
^•^The French make use of the Syllable (ut) instead of (do:) but this last used by the Italians is pre-
fc rable,being softer and more harmonious. . '
XUl
f3. Character juid VALUE of NOTES and RjESTS.
The Notes are of six different Species which have various names and shapes, thus .
A Seniibreve O Minim ^ Crotchet f Quaver ^ SiMniquaver ^ and Dt-misemiquaver 5
their length or duration- is in tiie following propprtiou . ^ .
The Semibreve ^ is equal in duration
to 2 Minims ^ Minim is equal to 2 Crotchets
to 4- Crotchets ^ ^ A Crotchet to 2 Quavers '
to 8 Quavers p J» ^ ^ t, ^ P P^, ^ Qwaver to ^ Semiquavers
to 16 Semiquavers ^ f f f f f ^1^^ A Semiquaver to 2 Demisemiq:
www mism^l
to .'?2 Demisemiquavers t
The duration of any Note may be increased by placing one or two Dots after it.
One Dot makes the Note half as long again .
O • is equal to OC| j ^ * equal to f | f * equal to j* ^ * equal to ^ ^ |
Two Dots after a Note makes it three quarters longer.
O • • equal to O <^ ^ j ^ ' ' equal to ^ ^ ^ ^ " equal to ^ ^ ^ &c .
There are also marks of silence called Rests, introduced eitiier to give the Singer time to take
breathjor to produce some particular effect, each Note has its respective Rest.
Semibreve Rest . Minim Rest. Crotchet Rest . Quaver Rest. Semiquaver Rest. Demisemiq: Rest.
i~ " r 1 ^ '"' ^
The Rests are sometimes dotted and their duration increases. T * is equal to r*1 & *1 ' to *1 •] .
ACCIDENTS of MUSIC.
The Sharp # raises the Note before which it is placed,one Semitone . .
The Flat \> lowers the Note before which it is placed, one Semitone . • _
-The Natural ^ contradicts a preceding Sharp or Flat, & restores the Note to its former sound.
The Sharps are placed at the Clef in the following progressive order.
l^.V 24 3^ jth gth j-th ascending by fifths,
F. C. G. D, A. E. B. or descending by fourths .
The Flats are placed in the following order, which is reverse of the. foregoing .
B. E. A. D. G. C. F. ascending by fourths,
1^.* 24 34 4^ J*.*^ 6*.^ 7*.^ or descending by fifths.
N.B.The last Sharp is alwayis placed on the 7. or leading Note, and the last Flat on the 4 . of the .
Key, and is introduced to render ilperfectahd in a Minor Xey to render the 6^^ Minor. -
The 24 Sharp or Flat is never set at the Clef without the 1^* nor the 34 without the 24
The Sharps or Flats when set after the Clef on a Line or Space, affects all the Notes on such Line
and Space, and their Octaves throughout the Piece, Unless contradicted; but if used in the middle of
a Bar, they do not extend beyond the R,ar, except when the first Note of the following Bar happens to
on the same Line or Space. * <
XIV
ChaP: V On Transposition.
To Transpose, is fo remove a rausital Piece frbm one key into anoth^r^or from one Clef into ano-
ther, or to change both the , Clef and Key at the^same time .
Transposition is often necessary to accommodate Voices or Instruments.
In order to render the Tranposition exact,the Intervals of the original Piece must he preserv'djtliere-
fore great attention should be paid to the Sharps and Flats of the new Key .
if Case. Transposition of the Clef.
Suject in the Treble Clef .
2 . C A S E . Transposition of the Key
without chang;ir!g' the Clef.
To transpose the Subject above into the Tenor,
read every Note a degree higher than written .
do
do
D9 transposed into the key of D,a Tone higher.
4-4-
.To transpose the Subject into the Contralto, or
Counter Tenor, read every Note a degree lower.
re
do
!gree lower.
T)9 transposed into the key of Bl>,a Toce lower
To transpose the Subject into the Soprano,read
every Note aline or a space higher
I
SI
. o D9 transposed into the key of Eh,a Minor S^hig^er '
do »V tl:
To transpose the Subject into the Bass, read
every* Note a line or a space lower.
mi
D? transposed into the key of A,a Minor 3^ lower.'"
3 . Case. Transposition of the Key and Clef at the same time .
Suhject in Treble Clef,&inthe Key of C.Major. Z ^ i* ^ i
*^ do
Transposed into the Soprano & in A Major,
a Minor 3^ lower.
D? transposed into the Contralto, and In D Majoi
a 7^-^ lower.
1
If .
re
D9 transposed into the Tenor, ■& in Bl? Major, an - a P ^TfLf_f-f I p a J ' I ' 1 I I
. Octave and one X(«t.' iower. dnJiLL^ ^ | | | j" |^ * | J J
D? transposed into the Bass,& in E Major, att q^l^^^j^^Z^-;::^^ J | I j , I C
• Octave and a G^^lbwer. ';. _p I-rp^Jl^£E|z|r 4 T ^ ^ J | a^j-J^ ^^
P a r t I. on intonation.
. A g-ood Intonation is the first lequisite in a Singer, vain he is perfect in every other point,
if deficient in this his talent is lost. . <.
By a g-ood intonation is understood, not only singing the Notes in perfect tune, but giving the
Sounds that occasional swell and decrease from v/hich greatly depend expression and effect.
N.B.Not to divert the attention of the Pupil frotn the intonation^ the Examples of this l^.^part
have no.^Piano Forte accompaniment and are not wrote in any sort of time, the Learner sliould
at first practice them very slow with another Singer or with an Instrument,in order to guide his
Ear and prevent false intonations . . //
L E S s O N I. On the Gamut.
A gradual succession of Sounds from any Note to its Octave inclusively is called Gamut or
Scale . The Scale is either Diatonic or Chromatic .
The Diatonic Scale proceeds by a series of Diatonic intervals,- (Tones and Major Semitones)
the Chrojnatic Scale proceeds by Chromatic degrees ; (Major and Minor Semitones.)
The Diatonic Scale may be Major or Minor, the former has a Major third , the latter a Minor
third, (see Page 8 .j
Diatonic Major Scale ojpC. Model of all Major Keys. ;
This Scale consists of five Tones and two Major Semitones which are from the 3? to the 4^f*
Note and from the to the 8*1^ and are mark d by a Slur — ^ .
2
3
4.
S
6
7
8 8 7
6
S 4< 3
2
1
-ferr
-^-^
do
re
Serni
mi
tone
fa
sol
la
Sem
si
itone
, do do si
la
sol fa mi
O
re
do
N.B. EachfNote of this Scale is to be sung very slow and in one breath. forte
' . . . . ,^'''"\?/>
"the sound is to begin as soft as possible, to be gradually increased to the ^^x'^
Piano
middle of the Note,which must be sung very loud and then gradually de
creased to the softest decree.
The musical Rhomboid placed over the Notes indicates these gradations.
When the Pupil is perfect in this exercise he should siiigtwo Note^ in one breath,swelling o:' tke
1 . till he comes to the beginning of the 2'. which is to be sung Forte and then decreasing the sound
to the end .
Example
re mi fa sol la si do do si la sol fa mi s ' -
Afterwards he tuay attempt 3. ^.J. 6.7. 8. and more Notes in one breath .
Lesson 2^ on intervals.
An Interval is the difference in point of gravity or acateuess between two Sounds or Notes ,
, there are as many sorts of Intervals as degrees in the Scale, viz .seven .
Interval of
Second
Third
Fourth
Fifth
XT «^
1
1
33
X 3-^Q — z:^
"CT
do re
do re mi do mi do re mi fa do fa do re mi fa sol , do sol
Sixth Seventh
jCs:
1
1
o i>
O V3
do re
jio
re
mi
fa sol la do la
P
Octave
mi fa
Second
sol la si
O SI
Third
o
jcs:
m
33-
do re mi fa sol la si do do do do si
Fourth Fifth
do si la do la
Sixth
do si la sol do sol do si la sol fa do fa do si la sol fa mi
=— ^ v> o o
!a sol fa mi do mi
Octave
do si la sol fa
Seven th
□31
1
33=^
O
331
331
v> o
"C5"
o
do si la sol , fa mi re do re do si la sol fa mi re do do do
Lesson progressions of intervals.
Progpression of seconds ascending*.
13= Q - i:^
1^=33:
33
re
do ,
Descending"
mi
fa
sol
la
SI
do
re
1
33
33=^
-O-
la sol fa mi re
mi
re
do
SI
Progression of thirds ascending" .
i
i
i
33
i> II
\.> II o— 43
do
"C5~
re
33:
mi
fa
Descending
o
33
" o ~r r
sol
la
do
SI
i
i
i
la
sol
fa
mi
N. B.TIioi's.';-h these pi oj^ressions .are confind to an Octave to sa' e room, yet they may be practised
IV <• tiie Oc e . . '
Progression ol' {burt]is asf coding;.
do re mi fa
Descending ^
pfT o ° " o " II Q M o "
" o
JL> -O-
sol do
SI
la sol fa
Progression of fifths ascending;.
o ■> o ° " "o'^" o M o <^ ° ^ ° ||i
f\i\ rf» mi
do re mi
Descending
^- ^^ ° " " II " ° '> O c. O II
fa do si
\jt O — ^-^ ^^^^j-u \J o Q "
la sol
Progression of sixtlis ascending. .
do ' re mi
- Descending ■ , ,
> °.. oil " '"^ "o^"^ll Oo.^"J I
do . ^ si la
Progression of sevenths ascending. \
dd re mi . t
Descending
- ^ -^ Q Q o C5^ Q
re do % si
Progression of Octaves ascending.
do re ^ mi »
Descending ^ '
mi re do
Thirds
th
L E S S ON 4
Intervals without the intermediate Notes
Ascend:
ng
— c
4^4=\
d
■• c
— d
I — '
do mi
Descending-
i
mi do re si do la si sol la fa sol mi fa re mi do re si do
Fourths
^>iJlj^ilj-'l,HlJ'lllil-i'a-}^U^^
do fa re sol mi la fa si sol do la re si mi do fa re sol ^ mi
— I O ~ Q 1 —
i
~ I n
spl re fa do mi si re la do sol si fa la mi sol re fa do mi si do
Fifths
m
i
m
do sol re la mi si fa do sol re la mi si fa do sol do"
sol do fa si mi la re sol do fa si mi la re sol do fa si do
Sixths
22
do la re si mi do fa re sol mi la fa si sol do
sol si fa la mi sol re fa do mi si re la do sol si do
Sevenths
1 I J 'I
i
do si re do mi re fa mi sol . fa la sol^ mi. do
P
1
i
sol la fa sol mi fa re mi do re \^ si do la si re fa rfii do
()cta\es
Q ■ , I — n I q .
do re mi fa sol sol fa mi re do
Lesson 3
th
The seven Intervals compared to each Note of the Diatonic Scale, an excellent ex-
ercise to extend the Voice, and acq^uaint the Pupil with the different Intervals, Major &
Minor .
3^ 4*!^ 6^.^ 7*^ 8^^ 2^ 3? 4*^ s'^ 6*.^ 7* 8*?
1
i
do re mi fa sol la si do re mi fa sol la si do re
^^^^^^
mi f a ■ sol la si
i
m 6
do re mi fa sol la si do re mi '> fa
sol la si do re mi fa sol la si do re
mi
fa sol la i
r ^
—Or
C
- Cj
C
SI d(
J re
mi
fa
so]
la
si d
o r<
mi
fa
SO
■H — 1
I la
si
li-
do
L E S S O N
Prog-ression of Thirds ascending" & descending- thro' the whole compass of the Voice
do
i
i
,11 JIJ Jl'l J4tH [
re
~C5"
mi
fa
I'l I ' I ^ I " l i'i 1 1 i 'I I " I
la si
1
□3:
sol
1
25
33:
1
SI
do
i
i
re
mi
fa
sol
la . si la sol
i
xs:
[-0
r
Or-
1 ^
1 Cj
J
fa
mi
re
do
■ 1 ^
c
d
-0-
Mb
C
6
■ Lesson ox harmonics.
Harmonics are those accesory Sounds which accompany the Predominant and apparently sim -
-pie sound of any Ncne ; they are the 3^ 6^]^ and their Octaves.
Two or three Harmonics with the fundamental Sound,form a combination of Sounds pleasing to
the Ear and on that account called Perfect Chord.
3 .5
J 8 S S 3
S 3 S J 3 8 3
S 6 8 J 3
F.
c-g-
33:
1
-o-
-o-
-o-
F. 3 J
3J8 3 S 8 3 6 S 3 S 6 3 8 6 3
3 F.
33
3zs:
331
331
33
33
331
i
33:
or
F. J 3
,5 3 8
S S 8
3 6 8 3 6 Fund: 3
33:
,5 8 3 6 3
8 J 3 F.
33:
33:
33
33:
However pleasing- a succession of Concords may be, it would soon become tiresome by its mono- •
tony, therefore as a relief to the Ear some Discords are generally introduced, which form a con-
trast with Concords and increase their effect.
Accompaniment of the Major Scale ascending" & descending with Concords & Discords.
X. B. The Notes in black are Discords .
Ascendmg"
i
33
33
i
33:
33
33
X3
33
xs:
33
p
do
Desceliding
Xi
re
mi
fa
sol
la
si
do
33
33
Xi
33:
Xi
xx
do
SI
la
sol
fa
mi
X5"
re
do
IE
The Pupil must practice carefully this exercise however difficult the intonation of some of the
Intervals may at first appear to his untutor'd Ear .
i
' th
Lesson (9: On the diatonic minor scale .
The Minor Scale is known by its Minor Third. (See page 8 for a difmition of the Minor 3^)
This Scale consists as the Major, of five Tones and two Semitones, which are in ascending from
the 24 to the 3^ Note, and from the 7^^ to the 8*.^ and in descending from the G^.^ to the this
alteration is owing to the 7*^ Note being made sharp in ascending: (conformable to the
rules of modulation) in descending the Sharps are oinitted,and the G^j^S^ J*!^ resume their natu-
ral sound .
\ 2 3 4 6 6 7^-^ 8 8 7 6 J 4- 3 2 1
i
6
xs:
— x>
xx
XX
xx
Seuiilu i ie
si do
eiiii one
TetfTT
la
re
mi
fa
sol
la
la
sol
fa
mi
re
do
si
la
This Scale is to be practised in the same manner as the Major, swelling & (liminishing the sound .
Lesson ,9
E\< rci,s<' on llarinonic s in the Minor Key of C .
^ ^ ^
th
33:
XX
33:
-e>-
Xs:
do
nil
do
PS
do
53
sol
53
mi
do
so]
13:
xs
XE
33
EE
xs:
mi
so]
X3L.
do
do
sol
mi
do
33:
jS3_
xs:
XX
xx
xr
XE
xx
3X
3X
-o-
-o-
Accorapanimetit of the Scale ascending" and descending" in the Minor Key of ^
33
i3
^3 41
33:
33
XX
33
3X
33
33
33
T5~
re
-4^
mi
fa
50l
la
si
do
33
.43
XS-
III
33
33:
33
33
^ II —
mi
. do
SI
la
sol
fa
~C5
re
do
ith
Lesson 10-. Onthe chromatic scal
E
The Chromatic Scale proceeds by a series of 12 Semitones Major and Minor .
N. I*. The Semitone is Major when the two Notes hy which it is formd have a different nnme and
di'.^re" 0.1 the Stave as E.F. B.C. C#D. Bi'C. - ^
The Semitone is Minor whi'n the Notes have the same name and place on the Stave but differ b)
a Sharp or Flat as C.Cl D.Dit. Bl>Bi|.
Chromatic Scale ascending" by Sharps . ^' \i.
Minor. Major. Min: Maj: Maj: Min: Maj: Min: Maj : Maj- Min: Maj:
"Seiiiitoui.'y
-xrr b O Q
Descending by Flats .
Maj^ M Ln^J^ J^aj^r Mi^K^ ^la j: Min; Maj: Min: Min.- Maj: Min: Maj:
xx
4 ?
1
Th- Chromatic is wonderfully expressive of sorrow, the Semitones suc ceeding^ each other strilce the Soul
forcibly : butit requires a good Ear & a great flexibility in the Organ to accomplish it.
Lesson 11^}^ Exercise on CHROxMATlC.
do re mi ta
mi fa
4^
sol
la
25:
si
do
re
re mi fa
sol
la .sol
fa
mi
re
re do
Si
L E S S O N On KEYS or MODES.
- - ■ ■ ' ■ .
A Key or Mode is a certain disposition oftheTonts and Semitones which composp the Diatonic -
Scale, with respect to a Note considered as Principal or Key Note . , . ;
A regular Composition generally begins and ends by the Key Note and is said to be in the key of
C or D if the last Note is C or D.
There are bat two Keys or Modes,the Major and Minor, either of them is known by the third; ,
the Major Key has, from the Key Note to the 3*^above,an interval of a Major Third which consists
of two whole Tones or four Semitones . '
In the Minor Key the 3^ is Minor, being only three half Tones above the Principal, all Keys are
but transpositions of the natural Keys of C Major and A Minor, and Sharps or Flats are setat the Clef
to render the intervals in Major similar to the mode of C,and in Minor to that of A .
Observe that every Major Key has a relative Minor Key with the same number of Sharps or Flats
i& placed a 3^ below, or a 6^.^ above.
N.B.The Semitones are mark'dby the Slur placed over the Notes .
-t'-solut 1 2 3456 /' S 8 7 6J4 321 13J8531
c
Major
,7 ^ o
-4a o-
mi la
A
Minor^^^
X5
Harmonics
re sol
Major
^ Q o , o o
i3r
— o-
i
E
SI mi
Minor TO o o Q :
331
XX
33:
€> ■ O
— <a
1
D
la re
Major
! B
fa si
::^=3C5:
o — o-
33=^
00
Minor
rcsr
o o
-o-
i
mi la
Major ^^^"^
XX
ix
01 33
i
ut fa
' . 0 1
.
i I < .^^ sMlable s'a<-us tl'- .loniinantjOr o^}^, the 2^? syllabl<^,the Key Not<*
.9 ,
si 1 2 3 i. 6 7 8 8 7 Q
B
J 4 3 2 1 1. 3 ^ 8 3 i
MajorHR>-^"5
T5
^3
~— — "
1
XT
1
XX
o v . > :
o
OX33
o:
o i% Q P^- o o
X3"
O , Q
— <^
o-
1
C
i
xs:
3zs:
xs:
xs:
^^^^^^^^
xs:
Minor;
o o
XT
33=^
XI.
xx
xs:
xs
a:
i
o ^
<3 I O
xs:
I
xs
Db
Majc
i
13:
Bb -z:^^
i
I Minor
-o-
^^^^
( Ob - i-AJnu,
iMajor^^^^
x>_
a
xs:
O
o ^
[Minor"^^
O O
-o-
xx
O &1
m
o o
O <3
N3.G is the best Key for Female Voices, D for Male Voices, & A for a Youth's Voice .
P A R T II. ON TIME.
Time is the measure of souikIs in regard to their duration .
A perfec t knowledgt» of time is absolutelw necessary to a Singer, and the least deficiency lu
that part will prove a continual obstacle to his talent.
The time of a Vocal Composition is Common, or Triple, either of which is simple or compound.
The Character which denotes the species of time is always placed after the Clef atthe begintiin^j
of the Piece; Triple Time, if simple is known by ^. ^.or if Compound by ^. ^.
Simple Common Time is known by Q or or | and Compound by f - 4 - 4- 1 •
N.B.The Figures which. mark the time have a reference to the Semi breve,which being the long
est Not^^e in use, is made the general standard of reckoning.
The inferior figure shews in what parts the Semibreve is divided ; the superior figure indicates
how many of these parts are necessary to make each Bar, for instance, in 2 the figure 4f shews
that the Semibreve is divided into four parts (or Crotchets) and the 2, that two of these parts are
taken for each Bar.
§
1. COMMON TIME EXPLAINED
Simple
Commo
Containing- a Semibreve or equivalent in each Bar . Two Crotchets
Two dotted Crotchets
Four dotted Crotchets .
^^ ^^^ p r r< I r • r ^ ymtmn^'T^"^
5 o
Two dotted Minims.
Four dotted Minims .
33:
33:
i
These two are seldom used in modern Music.
^.Triple time Explained.
Three Minims . Three Crotchets . Three Quavers
Nine Crotchets .
Nine Quavers .
These two are seldom used in modern Music .
The degree of velocity in which a Vocal Composition is to be performed is ascertained by some
Italian word m3.rked at the beginning as Largo, Allegro^&c. The Italian words commonly used
are the following , standing in order from, the slowest to the quickest .
1 Adkgio J J Andantino 9 Tempo giusto 13 Spiritoso
2 Grave , 6 Andante 10 Maestoso • I V Vivace
Largo Allegretto 11 Con commodo 1^ Presto
. I- Larghetto 8 Modera,to 12 Allegro If? Prestissimo
Sometimes other wrords are added to the preceding,to modify or extend their meaning, such as
Xssai , Molto, very; Piu, more; Pof (),a little; Meno, less; Non troppb,not too mnch;Allpgro as-
sai,A 'M-y ((nick; Viu presto, faster; Po( t) presto, a little fast;No 11 troppo presto, not too fisl .
II
S . On b e a t I n c time.,
To heal t ime is to mark aiid regulate the measure of the Movements by a mollou of the Hand or
Foot, in a ( oncert this is done by the Leader,or the Person presiding over the Concert,
Jii every vort of Common Time'' the Hand or Eoot is to be down at the beginning- of the Bar,aiidup
at the middle, in Triple Time the Hand or Foot is to be down at the first part of the Bar, and up the
third
The best way for a Singer to practice beating Time,is to mark it with his right Hand in two, three,or
four different motions,according to the species of time, (see the figures .|
. 4 up .
EXAMPLES IN COMMON TIME.
Every Bar is divided into four equal parts and mark'd thus
left 2
.3 right
down
3 4 1234
2 up
In quick Movements every Bar is divided into two parts and markd
2. 1 2 1
Every Bar is divided into two equal parts and mark'd as the foregoing-
dowi
up
■ r ■ I lf~ 1 down
r 2 12 2 up
2 12 12 12 12 12
Same as the foregoing.passing 3 Quavers in each part^
I f » » f » a ^ I 1 m'T -
Or o
i-S-
" I:
I own
Same as simple Common Time in 4 parts, 3 Quavers in each .
4
1
12 3 4
1 2 3 4 1
, Examples IN TRIPLE TIME.
Bvery Bar is divided in three parts an^ mark'd thus
3 4 1 2 3 4
3 up
do^^^ll
right
H
a;
p— (
£1-
1 2 3 1 2 3 1 2 3 1 2 3 1 2 3 1 2
12 3
I 2 3 1 2 3 t 2 3
Compound
Triple
1 2 3 1 2 3 1 2 3 1 2 3 123
^.rrrrrrrrrhi^-Tii:^ ^rr::^; i r;r-rir-- i
1 2 3 1 2 3 1 2 3 1 2 3 1 2 3
1 2 3
12 3 12 3
: N. 15 .The PupiJ is to sing the Examples above while he beats tintie,if his voice is too weak he
may solfa them verbally.
Observations on the following lessons.
I. A Bass accompaniment is added to the Lessons of the 2^ & 3^ Parts.
By practising the exercises of the first part,the Pupil must have acquired a firm intonation,
and be able to sing with another part.
He may at first practise each Lesson without the Bass,then he should sol fa it while his Mas
. t^.r or Himself (if he can do it) plays the Piano Forte part,as nothing injproves the Ear more
than to sing with an accompaniment .
II . Convinced by experience that Scholars learn' faster and with m'drjs facility when they have
but one object in view, I have purposely omitted all Graces in the 2^ part,and confined myself
to the^explanation of the various species of time. Simple or Compound,the. different sorts of
Notes, Rests, Dots, &c .
N.B. Should the X^ipil be of a weak constitution, he need not sing the Lessons, but sol fa them
verbally, beating time with his right hand .
IlL The Figures under the Bass Notes relate to thorough Bass,and mark what Choi-ds are to
be played; where no Figure is market the Common Chord is to be played.
To avoid confusion, each Chord is expressed by a single Figure, except when two are necessary
as in
^ 6 ^ firr^
4' J» 3'*^^-
The Minor 7**^ and Major 3^ ( 7^>of the dominant) is marked J J J the l«.*| luse in ge -
neral, the other two ^ & ^ occasionally, according as the 3^ is accidentally j( or |j after a Flat .
The three inversions of this 7^^ are maVked thus, the false ^, the little sharp sixth ^,the trito.
nus 4f; the diminished is marked^, the inversions J^, ^or "J,^ 2+;the superfluous seventh^.
the superfluous fifth , Sx, the other Chords, as usual; a Dash 1 denotes the continuation of the
foregoing Chord .
Lesson 1. m common time with a Semibreve ok 2 minims in a Bar.
2
In quick Common Time,every Bar consists of two parts, and is marked thus
12 12
1
up
down
Moderate
InC
331
m
[ — ^
— e
— ^
V \—
>
1 — d-
6
1 d— J
f
— o
— Q
— w
3
Z2
23
^ 6
6 o+ 6
4
6
P
^1
I:.
3
i
+
3 7^ 3
6 gk— 3 3
— o-
-a
— S|-
*~ —
— o
11
13
c
— ^
<r S
I— d
—
— ■ — H
— ^
6—
S Q Q 1 S
L E'S SOX ^. IN SLOW COMMt^N TIME, WITH CROTCHETS & QUAVERS.
'■ ■ ■ 4
Each Bar consists of 4 parts which are marked thtis 2'
1^ df)wn
Major : J J
6 ^
7+3
(S— 4f—
v.s." ■
14^
|l
i^^- r
] '_
■f — T
1 ^
6 4h-
6— 6—
, 1
3 —
i
irriiijr.Jii
* 4 * +
1% II
3
Le S SON 3. On Common time,mith Quavers & semiquavers
Each Bai- consists of 4 parts, with two Quavers or four Semiquavers in each. 2-
iarg:lietto rjjj ^^
In B b ^ *^
a
•
q
Q
r — 1
p —
• —
^ 3 ^
+
7 3 7
+ +
r7 ' I 'f ir j.^^^
— '■
6 —
rat
'^):j'r r r r
0 f , f T'
-* V ■ g
6 3 6 3 6 6 6 6_. 7_
J 4 i,
f l "Tc; l ■ r' rt ^^l [II; I [^^ e
• • • • •
i
7
+
7
+
& 3
3E*
L a. , f" . r^*, t-^- f- -f
Lesson -I^'-P i\ • o\n50N !l^iK,^MTlI Semihukves, \iixt>is,crotc ii i, rs,
QT^ VERS AND SEMIQUWERS
luEb
Major
4t
M
=4^
— ~r"P~
b4
— 1 — — f —
^1
- — ^ — ^
^ 3
_L_|_J
1 . >
4-
— . — A_ —
1 — J-
I hy — ^
+
p
«
>•
d
•
T ' 'c
3
1
1
3- b7
Unisoni
-"HI
4 +
' 6
6 7
-4 .\
8
The ft)llowin<j; abbreviations are now in general tiseyviz .
A Semibreve with a stroke above oriindef thus o or 2« played as S (^a .t\ ers
A iMinim with a stroke thus is played as 4 Quavers, with 2 strokes as 8 Semiquavers.
A Crotchet with 2 strokes ^ as 4 Serniquavers ; if dotted and 1 stroke ^ ' as 3 Qua\ers. ^
* ''-^This murk / after some Quavers, and this // after Semiquavers , means lo repeat the same Nots
L E S S O N J. ON ^ GALLED FRENCH TIME
5 2
Every part consists of two parts.jwliich are markd tints
Allegro ri ^a j
up
down
Major i^^^
6 6
6 6 6 7
^ 4 ij
4^ 6 iSv ^ 6 ^
0 0
6—6 3 Jr__
^ 6_I 3 6— 6
7-^3
"1 — f — r
0
p
4 ^
d
6! ^
6 ■
-0 — 1
^^^^^^
7
+
Mo deratoi i^ g 1*
In A
Minor
4f 6 ^
Lesson 6. on the same.
^ e ~
7-f 5
up
down
4+6 6 Jl
6 6—
r; -i. <> 6 6 O
O <> ^ 4
2 I up
In D
Minor
"S Allegro 0 .
4 . •
_l — It -
1
1 "1 — ^
■ •
— /
• —
»
* — 1
m
—
I — •
— 1
a
=t=!
^ 6 6 e 6-^ 6 7 4.
L E S S O N 6*. IN
In G
Minor
\ Andante
i',y.M2 - - ■ - 1
m
n
i^ ,y —
ft
3 6-
4_
6
H '•'^V only C<'.ii(>r)und. Common Times used in modem Mnsir, are obsolete.
6 -
,V..S
1< 4
dN Triple TIMES . ^'^
SiUiplP Triple Time has eilher tbre-? Minims,three Crotchets,three Quavers in a Biir,or equivalent
Cr nipound Triple Time has nine Crotchets, nine Quavers, or equivalent.
%:,\'jiy sort of Triple Time consists of three measures or parts in each Bar " 3 up
vihich are marked by the liand in the following' manner.-
down 1
2 right
LUSSON J^. IN § WITH A MINIM DOTTED IN EACH BAR.
Andante
InC
i
•0-
— »
7-
J
]
-a ^
■O i-
— 0>
-a — =-p
1 T~
h
: •
1 — ■
1 — —-
+
^ — ^'
-^Q
m
•
3 *
#=
• j» » '
f
.,,c. .
0 •
— H- —
-f-
4Ht
6-
— <
^
3
6
6
J,
- 7
+ V,
1— i^--H
Lesson in^ with three crotchets in each bar
0-0-
44-6" IS. -.^^ K 6 3
4
6" ^ 3 3 4+
43
' v.s.
20
£4L
1
^^^^^^
2(- 6 6
6 f> .
6_ 6
^6 ex ^ ^
Lesson i/. IN £ WITH six quavers in each bar.
m
i
C
-1 ^
J
6
^i
-f
3
-G
—f-
L ^
i ' 1 -
3
Leseon:/^.in ^ WITH minims, Crotchets,quavers,& Semiquavers .p'-^
Andante
7X
Unisons
3 6 IX — — ' 3 ^ I
15- 6
6 6 7
.r 4. +
Mlnhn dotted with a stroke across the tail '-^* ^.s played as six Quavers
ji-
1
1
— V P-
1^*
-(» 1
^ •! ^ M A A >
LI ^
6 «».
7 '
N :> . As & ^ are very seldom used, an example on them would be of little use to the Pnpi!
24
O N T) O T T i : D NOTES.
A Dot aftci* a Note makes it half as lonj^ again; for an explanation of this see the Eleni(^;itarv
Principles page XI 1. '
LE S SON i5. On DOTTED MINIMS, j
Every Bar consists of two parts, the 2^ part falls on the Dot ;
up
Allegretto
InG
— ^-J-
■-^
1 c
— k_
1 — ; 1
-d
:— #-
L_^ —
d
6
1 — ! — ^-J
— 1 —
— o
^ 1
^ 1
^
— o
^ 3 6
1!
—
—
1
6
.5+
6 ^ ^'
—
— d
, ' \> ^ »-«L-
« ^6
' o d
G
6
6 !
6 6
be 7
Lesson 16. on dotted crotchets.
Every Bar consists of four parts, the 2^ 8c 4^!^ fall on the Dots.
1
Andantino
III C
Minor
1 •
— N
> — I
^-
— —
— L
-r#-
m
.1 1 1
1 1 1
6
4<
33:
s
t)6 — f 3 ^ 3 ^ 3 /: .
^ _J
33:
i
^2
i
4^-
3"
6-
6—
4<
Lesson 1^. on dotted quavers. ^ f^.^.
— I — »j
Mi
nor
iS-^ :
— r — f — ^
— 1 —
! . 1 . ■ ■ ■ f 1
^
6_ 6
.yW
. 3 -
f^r nJ i ^fr r-^it/r rTi[ji ^
^,1 J
^-frfrfririfTi'tfririiTf ii./.^iiwir'
Bis
3
- — 6—
6 e 5^
3 '
M
6^—
1 J f J
1 — 1 — f — 1 — r
»7f--^-^tj
"1 — T — ~i r
1 — • —
-1 r.
• . ^ ____
3 ^ <
- I ■
Bis mpans to repeat these Bars twire over: the Dots express the same thinjf .
26
§. 6. Of so
ME LICENCES. Y
There are in Music certain licences, which by lengtli of use are grown into rules; such are the
following. ; ^ as
Three Notes tied together with the Figure 3 markd above, thus
are sung in the time of two of the same kind.
Six Notes tied together and having the Figure 6 markd above^thus
are sung in the time of four of the same kind. 1"
as
NJ.The Figures '3, &,&c. are often omitted,yet the rule is to be obsei-Ted as abovd .
Lesson 18. in which three quavers are sung as ^ and six as 4i.
A«e,.^ettoj -^- < ^ ^ jjj m :a:j:s[!i^
Minor, i iy.u i I I I I i f r i "^ ^ I r r =j^F~^
• a f ^
3
^ 6 ^
i
s
1
3' 4 ' 4
^11 "I
4 ff
7+ 3
m
1
r
fine ^
f f r f 1
*•
: — 1 —
6
J P z
6 r
3 ^ ^
«l —
r r r rirr^J ' lr
S 6 3 3—
7+ 3
3— 7-
+
a Capo
al fine
1
m m m
3zs:
3 ~^ 3 - S
e '3 5; 3 ^ is ^ 7+ 3-
^.C, or Da Capo, denotes you are to begin the Piece again, and end at the word fine
§ 7- On Re
27
\ Rests.
There are in"Vocal Mjiisic as in Instrumental, Characters of silence callfed Rests,the duration of
•which correspond with thev length of the Notes which they represent, thus .
Semibreve .
Mir
— , ^
lim .
Crotchet .
Quaver.
Semiquaver.
Demisemiquaver . ^
a
1 ■
4
4. 1
%J Rests ,
L_4- 1
1
=^
When a rest of several Bars happens, the number is generally markd above
Lesson crotchet rests . 2.
In A
Major i '^-^•^ff
i
7
+
7 •
+
4
6
6
i
4 ^
o
i
r 1 r
r ! r
—
' r f r
•
1 ^
— ■ — M—
1 • r ! 1
— P=:pP=
1 \
3 —
.,, . .
5
-1
1 f r f i
J* r ' r
1
1
r r r r
f p I — f
^ 6
#1— -
4H-
If • g
4h-
-•I — --
4+6
6
4^6
O TT
rr^fitrp ji^ ^^^^
^(9
Less on j^O on quaver rests. 2
Allegretto-^
|n G.Major pj.ff p
^-,r,n,;nH^f. ^ fri|.rrfirf,,j';r
3
m
e— 6
+
-0 1 —
1 — 1
1
-a
7
> Ma^ 1"
-a
E ^
1
9 |S
• — f—
' — — T —
■W— f — P-
ft
7
-I-
1 —
=^
J
"..» rr
111 r,rr
•— P P
P
-J ^
^#
^
— T""^! —
Q
1 —
— i —
7
+
• •
' — f — T
3 7
r
7
¥^
,..pi..i
1 r ^ J
3-J —
r.
6
6
P# P
-p-s f-f-ii if
1 — 1 1 1_4-
+ e 4+6
;):^ J J it
iiLlj p 1 J f 1
p^- —
4+6 6
h_ — r ^ ij T
'^47
+
J4 ■ 1 ;
L ESS O X ^/ On Rests, in gener..! . I >2 21)
Minor
■ — _ .
P
.. —
6;
6 -
q •
^4-7
f — f~T
6 —
4+ • 6-
.3
^^^ ^^^^^^^
J r r ~~t (• r g —
6_ 3
4
'rrir"r
J- »
J — i s —
h— ^
— L
' 1 : ^
pQ
Unisoni
F-
-■1 — -
-i ' —
— I , —
^ — ,
— ^
-0—4-4 — L.
6
a
6
it -J
so
P \ R T ' III . ON EXECUTION
Uiidei- the g-ent-ral nani.o ol' executio n are comprehended, Graces, Divisions, Cadenzas, ahd the
differer.t styles used in Vocal Music; each will be explained in a distinct Article.
• t
ChaP; 1. On Graces. *
GracP.s are occasional Embellishments which a Performer introduces to-give effect to a Pas-
sage, the principal are the Shake, the Apogiatara,the Beat arid the Turn.
§. i. Or THE SHAKE .
The Shake is one of the greatest beauties in Vocal Music.
This Grace consists in the alternate reiteration of two Notes, beginning from the highest,which
mast be a Semitone,or a Tone distant from the principal,(never more) the Shake may be shorter
or longer according to the length of the Note,the time of the Piece, or the judgement of the Per-
former; the turned Shake is chiefly used in a final Close or Cadence.
The various sorts of Shakes are explained in the following Example.
Transient or passing Shake. Common Shake. " Turned Shake. Continued Shake.
As wrote
•7
As suns
Prepared Shake. The Shake legato with the preceding Note. A [)ogiatnra & Shake
— . : — ^.A- v^-^
As wrote
As ,i^ung
m
N.B.Both the Notes that compose the Shake must be sung at first slowly, gradually increasing
till it comes to the greatest quickness; this must be sung in one breath.
PRACTICE OF THE SHAKE ON EVERY NOTE OF THE SCALE.
"1
0^9 ^9
From the tone above or Major Shake, used in a Major Key
#^ii'JjJjiJjJjJjjj i JjJjjjJiJjJjJj
/y From the Semitone above or Minor Shake used in a Min or Kev-
331
33:
□3:
31
of th('Sf» \()ti>s is to he sung as above and in one breatli
'1 h'^ must <l(votp eM'i-y Day,a certain portion of time to practice the Shake on every Note
v.;tliin the compass of his Voice; hi- may at first use the syllable do for this exercise, but after-
wards he must shake with other vowels except e & tt .
He should at first make his shakes as long as he can^and rather slow, but when perfect in those,
he must try transient and quick shakes on every Note of the Scale,to enable him to introduce them jn
divisions .
A good Shake is of the utmost importance in Vocal Music; whoever is perfect in this, although de-
ficient in other Graces, will always have the advantage of conducting himself without giving distaste
to the Close or jCade^ice where it is very essential: on the contrary whoever wants it will never be a
good Singer let his knowledge be ever so extensive .
orreat difficulties occur in acquiring the Shake, first,because no infallible rule can be givn to teach
it , nextjbecause nature imparts this Grace but to few, so that often both Master and Scholar decline
taking any farther trouble about it, the former out of impatience , the latter despairing of ever acquir-
ing it: but both are wrong, the Master, as he should do every thing in his power to perfect his Scholar,
the Pupil as he should strive to overcome every difficulty.
The Shake to be good, must be equal, distinctly^ mark d, easy, and moderately quick; the defects of
the Shake are,to be uneven, quivering, too slow,otit of tune, or in the throat.
The Shake should not be introduced on holding Notes, the Messa di voce is preferable • ' '
4
Lesson 1. on shakes
N,
^3
P
lurnd Shake
WITT
Turn'd Shakf
— 1~
— i—
— o
—
*-
1 L_
■
<: : — s
■d
„1 — '
«-«—
<
- —
' »-
k±4
- Tin-n^'l Shake ijo Common Shakes ' - _D.C.
32
§.
2. Of THE Beat.
Th^ Hviii consists as moU as the Shake in the alternate reiteration of two Notes at a Semitone or
a tone dlstante, hut wi1h this difference , that the Shake begins from the transient Note added above
the principal, whereas the Beat is m.ade from the transient Note below; the length of the Beat is de -
termined by the taste of the Performer and the nature of the Passage.
This Grace which is very little used in model'n Music is marked thus
■*' ^ — ^- --^ ' ' '
m
.'. Written Sung Written Sung AVritten Sung
^. 3. OF THE TURN. (Mordente.) i
This Grace consists of the thi-ee Notes , a principal one , the Note above it and the Note below, the
litter is generally at a Semitone distance ,
There are various sorts of Turns viz. the common, the inverted, the Note and Turn &c.
Common Turn. D?witli a Sharp. Note and Turn. Inverted Turn. D? with a Sharp.
^. Of THE SLUR ANT) DRAGG.
The Slur consists cif som? Notes added to a principal one with which
they are blended by a S'.nooth and gliding progression, and is marked
by a curvilinear line placed over or under tlie Notes thus . \J
The Dragg in Italian Strascino is used' in slow Movements on an even and regular progression of
the Bass to blend the sound of some Notes at a great distance from each other; the sound begins on
the high Note an?l^.i,s drag;^t'd gently down to the lower Note with inequality of motion .
In the pathetic nothing is better calculated to touch thr^ heart than this vJrace when introduced uath
jadgnient.and performed vvith taste and precision, especi illy when performed by a fine Soprano.
N.B The Dragg is ne\er us h! in ascendinsr.
Adag-io;
^ 1 KT
^^^^^
m
§.
5. Of THE Anticipation. (Called also portamento .)
' t
This Grace is not only very elegant but very uis^ful 1 . to ascertain with more precision the intona-
tion of an Interval, next to preserve the shades and connection of the sounds which compose a Melody.
It is chiefly necessary when a difticult interval happens or some harsh discord, as it prepares the Au-
ditor for the following Note and softens the shock which the Ear nnoht experience.
The Anticipation may be practiced on every interval in the Scale ascending and descending.
fa do~
^th ,.th
rth
sol
la
do
SI
do
6 . O N APP O G ( i I AT UR V .
Tlie n.M.ir ()! this fii-Kc is derived from the Italian Mord Appog-giarCjW hie h means to \\\^-
on tlx' little N'otp beiiiL;; always played with s6nie emphasis, and more or less stress laid on it.
I'he Appo^giatura is chiefly used in slow Movements either to soften some Intervals or to re -
tard the coniplc^ion of the Harmony and make a Concord more pleasing by dwelling on the Note
which is the l^istord.
Appoggiatura . are generally written in small Notes to avoid a breach of Harmony.
This Grace affords a full scope to the Singer for displaying the flexibility of his Voice, and giving
expression and effect to Passages: its length is taken from the following large Note;in general it is
half of it s duration , sometimes more, according as expression and taste require .
P
Appoggriatura as, written,.
33:
- K For emphasis .
A
s sang-
3f
Lesson J^ /On apogiaturas. ,
Ir-
-'••h'J J J I '1 r ^M -I J J JirJ riJ r Jn
S4<
Chap. ii. On Cadences. In Italian Cadenza.
\ Cadence is a pause or suspension on a Note to afford the Performer an opportunity of introduc-
inj^ a u-racfful extempore close, and is marked by a. circular stroke over the Note .
There are two sorts of Cadences, viz. the intermediate and the final.
The Intermodiate Cadence is introduced in the course of an Air and does not end in the Key Note
for instance,Mhen the sharp ■i'^^of the Key goes to the .^^l^of the Key, the final Cadence is introduced
at the end of the Piece, and terminates on the Key Note .
A Cadence to be good ought to bear some resemblance to the melody of the Piece; it is generally
sung in one breath , therefore a Singer must not undertake a Cadence above his powers .
He should beg^n by swelling the sound of the Note , then run his division and at last terminate by a
brilliant shake on the penultimate Note, or 2^ of the Key.
The Cadences of great Singers are generally more attended to than the Air which precedes- them .
Final Cadences in C.Major ,
p^P jt rp --— r- — rP m
^ From the 3'? of the Key. ' /^^° —
-a-
r> From the S^^ of the Key. / HS^J^
i
Final Cadences in A. Minor.
Pm mVP f *^ r
m
i
From the 3^
1 ^
r
I— _L
N
r
^^^^
\.H. T'u P ( 'i! may ti anspose those Cadences in several Keys
ip.tt rniediate Cadences from the Sharp ^^^^ to the J V' of the Key- '^'^
th .^^^th^^
4.*
■^-
=^
.ir'
«
CHAP: III. ON THE Reprise, in Italian RI pre SE. - ~
As all Subjects begin on the Key Note, 3^ or of the Key, the following Examples will shew the
Learner how to introduce a Reprise to these Notes .
Reprises from the S : of the Key to the Key Note .
Sr»l tin o^l rlrv C!«1 rl r»
sol
do sol - . , . - - - _-do sol - _ do
i
Reprises from the 6: to the S? of tlie Key.
lTi?firfrrfi i ^;]f)ft..t;;;i_CT. i l
Keprises from the 5 ? to the Sr itself.
4^jP^:^j i ij..F%^Trrnn i ijroi,]a
I
Reprises
Fl-om the 4*!^ of the Key to the Key Note . From the 6* to the 3^
From the 6'*.^ to the Key Note .
; CUA^.TV. ON DIVISIONS.
By the word Division is uriderstoad a long- series of Notes so running into each other as to form
one connected chain of Sounds .
) In Vocal Music a^ division is always applied to a single Syllable and is to be sung in oijie breath ex-
"Cept when too long, which is ^seldom the case, or when Rests intervene .
The beauty of divisions consist in beingi perfectly in tune, markedjequal,distinct and quick; to ac-
complish them with effect a Singer besides an excellent ear and a flexible organ must have a great
, knowledge of managing the Breath. • , . ,
' As divisions have not power suHlcient to touch the Sonl,ancl ran only raise our admiration of a Siij,-
ger for the happy flexibility of his Vjice,they are confined to Bravxtra Songs and not used in pathetic
Airs; they must not be introduced on syncopated or bound Notes ,the Pxrpil must not attempt them
untill he is pei-fect in his intonation and has acquired a facility of running the Scale ascending and
descending in a neat and articulate manner, otherwise he will ruin his talent ; he must also avoid the
bad habit of marking them with the he ad, chin, &c. or even with too much force of Voice, or else they
will appear ridiculous, for instance, should a division on A be forced,it will sound like Ha,Ha,Ha .
Divisions may be practised at first with the vowel A, then with O &c. never I nor U.
Various
> EXAMPLES O
N DIVISIONS
^^^^•-^
men
a- - _ -
men.
^ Tn
— ^ 1 efes-^^
joi .== ^ . . .
- TT. _ ce m
? Sec
Songs
DIVISIONS IN TRIPLETS.
DIVISIONS WITH RESTS INTERMIXT.^-^_ ^
CHAP. V. ()\ THE DIFFERENT STYLES.
There ure three different styles used in Tocal Compositions, viz .the Caiitabile,the B ravura , and the
Mezzo Carattere .
§. OF THE CANTABILE or PATHETIC.
The Cantiibile is the most difficult style, to excel in this a Singer must be gifted, 1^.^ with a fine
Voict*, of the sweet and plaintive kind that the long Notes of which this style is composed may of them -
selves delight the Ear. 2^ he must be perfect in his intonation for the hearers have time to appreciate
every sound. <3^ he must have great sensibility to feel nicely and express in an affecting manner the
sentiments which the Composer intends to raise . 4 . he should be possessed of great taste and fancy
v' " _ .... +li
highly to ornament-- the Melody and give to it that elegance which is essential to this style. J . his
judgement must be very accurate to keep his fancy within due bounds and not throw in too many Gra-
ces, (it is only for want of true feeling and expression that some Singers overload the pathetic with
unseasonable Graces) he should be acquainted with the rules of counterpoint ,to know precisely
what liberties he may take with respect to the harmony of the other parts. 7^^^ he should know the
art of stealing on the time called by the Italians Tempo Rubato and which is of such importance
in the pathetic that according to Tosi/*^whoever does not understand it,does not deserve the name of
a Singer'/ and lastly to avoid monotony he must now and then swell and diminish some Notes; ob-
serve the Piano and Forte, Crescendo, &c .
Thv' pathetic according to the general opinion is most delicious to the Ear, most sweetly affects the
Soul and is the strongest basis of harmony . If this style is partly laid aside it is because few Singers
can excel in it; the study of the pathetic was the most favorite with ancient Singers , while the modern
p ly more attention to the bravura, the former sung to the heart,the latter sing to the ear, perhaps
the fault lies also with Composers who overload Airs with so many rapid divisions that they hardly
give the Singer time to breathe and much less an opportunity of displaying the power and melody of
his Voice ,
§. ^. OF THE BRAVURA.
A flexible Organ is the chief requisite in this style in which rapid divisions, chromatic passages, as -
cending and descending. Shakes and other Grace are mostly used, sometimes passages in the pathetic
style are introduced in the Bravura , especially in the second part of an Air, of course a Singer who de -
votes himself to the Bravnr a must also study the Pathetic, if he wishes to be perfect.
. 3. Of THE Mezzo carattere or mixt style.
To this class sflong Airs of easy executioh , mostly Andante's, Allegretto's, Allegro's Sec To excel
in this style a Singer must have a partial knowledge of the other two, he must be able to swell and di-
minish a Note, to run divisions and to sustain long Notes : this department although not so noble as
the other is more extensive.
88
4^. On the Legato Style.
Wheh the word Leg"ato is alTixedto a Passage,or when a Slur^ — ^is placed over or under some
Notes, they are to be sung in a tlose,smooth and gliding manner, holding the sound of each Note
till the next is begun, and blending the sounds into one another so as to form one continual stream
of melody-. ,
■ . . . ■ ■■ • ■ ' . ■ 4. \ .
The legato style is peculiarly soothing and calculated to express tender paS'sions .
Affettuo.s(x
In. G.Major
TP <7-
, —tjaa^
1=
-TTr=^H
— T-
t
c
c
1
!
^ J
+
s
3
1*
— d 1 — L
f
m
- •
— rffl
' . r , 1 "
"TS ^
Q 1 — -
r ' r 1
jr 0~ ^
-f — ^
1
6 ^
^
^ 6
}
7
1 {f
.)J
_U _
6 -hi a a
' A riiTiiI'ir sf r<JK:(> Tjurs ovi^r or under a Note,shews a siis.[jf iision nl" tiin,'!^ ^
V--- '
\ 7.
ON THK STA.CCATO STYLE.
hen tlif'A\()rd Staccato is placed over a Passage, or vshen small Dashes"/.' are marked oier or:
uii'lt'i-tho Notes they are to be sung' in a short pointed and distinct manner a^^ if Rests were placed
allM- the N()<('N . ■ ■ ■ .
XMs stjle admits of several gradations which are differently expressed . (See the Example)
A Passaire wrote thus oj^ , or . . .• is sung as if wrote thus .
pointeil less pointed^ still less
Le s son S. with staccato passages
-F ^
44- 6 ^
5
4^ 6 6-3^ sr^es*
4 J 4 7
K:
■ a ! — !_
P
m
m
f t •'[• I f
6 6 6. 7
i
/r
-■^^
^1
-J 1 1
=^
1 ■ —
• •
—4-;-
' 4f4-
> i >^ 1 > T'-
- r f •
-i 1 :
^^1M II -
40
Chap: VI. On syncopation
Syncopation takes place whenever in a Composition the Melody or Harmony is so disposed,
il);it the last Note of a Bar is connected with the first Note, of the following Bar, so as to form
hut one Sound, see A. -
Or when two parts of a Bar are joined into one by a tye ^ see B . - ,
, Or when long Notes are placed between shorter ones, see C .
•. N.B. Of two syncopated Notes the first only is named in solfaing and its sonnd continued the
full length of the two. *
— St—
1 Q
1
-i — -^-v 1
1^
t
The syncope is frequently introduced in Melody for the sake of expression, and in Harmony it
is used to prepare and resolve Discords.
LESJSON 4. X)N SYNCOPATED MINIMS.
Allegretto
up
down
L.E s s ON On Syncopated Crotchets.
i
3
i
5f
—
^ i'r 3 •
rt!rr j|
p
1^ ..V 1
o
. 6
7
6
—o-
4H
.■^
— ^
r<j
7+ 3
6
i
1»
331
it— I*
f t
i
■44-.
6 J^ ^
Lesson^, on syncopated quavers
Allegro
InG
Major i ^Wf^
# i • *
p r (■
^3
7-
^ R « *y 1
6 « 7
4i2
iV'Gi ERAL Lesson ix the major key of D.
This Lessoii as the following', is a recapitulation of the principal graces and styles of playing' ex
pjainod lu The third part; the Pupil must pay g'reat attention to the iiiarks placed over or lindertho
Kotes and "ry to express with his Voice the various Graces >Vhich they denote .
Allegretto
/r
— P—
-m
■
~f — r
1
3
6
6"
6
i
4 +
Leg"ato, smooth and connec ted ./see page .38.
Staccato, short and pointed .'ncc page .'?9.j
Arpi^ .'j.r'iiito. in the stjle of 11. rp Musk .
Syncopated or driving' Notes ,(se« page 40.
f>F, or Sforzando,a stress on the l^l^ Note.
Shake, ^see pa^^c .'iO.j
Ji^'.' gem;ral Lesson in the minor key of B
Lento
Volata, a rapid flight of Notes .
Slurs '-"^ denote a siriopth style .
Hinf,or Rinforzando, swelling the sound
Shorzando, ill a plav f!.! manner . ,
Three Notes tied together with the figure 3
above, a re play d as 2 of th e same "kind .
Six Notes tied with the figure G mark'd above,
are pla\'d as 4 of the same kind .
Before I conclude this third part I must caution the Pupil against a defect too often prevalent in-
Singers of little taste, that is an indiscriminate use of Graces; if they meet with a plain Passage'
in a Composition ,they introduce flourishes without consulting the Composers ideas'ajjd often destroy
the simplicity and effect he intended . .
Judicious Singers are verv cautious in introducing Graces, being iiware of the danger they run
of mistaking by trying to improve an Authors ideas, they prefer nature to affectation and an elegant
simplicity to tawdry ornaments . Graces when introduced ought to proceed from the character and
sentiment both of the Music and Poetrv. . ' ^'
A Dictionary explaiiiin :*- soch Italiaflr^^i'ds as oc cur in \bcal Music
N.B /I hi ^Vf)rds relative to Tiine^re explained, pag-e 10.
. A battuta ?|^In the origiisa] time, after a sus -
'A tempo. J pension oi' it by a Cadence .
Ad libitum . (At pleasure for the time .
Beneplacito Cadence may be introduced.
AfTettuoso. In a tender and delicate style.
' Agitato. In a broken and interrupted style ,
Al Segno. At the sign of repeat markd thus S.
Animato. With boldness and spirit.
j!^morosq . In a soft,delicate, amatory style.
Appog-giatura. For an explanation see page 33.
Aria. An Air or Song. j
Arioso . In a singing and melodious style.
Buritono. A Voice of low pitch between Tenor & Bass. Messa di voce . The swelling of the^ sounds gene -
Grazioso . In a graceful style .
GiTstoso . With taste .
Imitation . A kind of Fugue .
Intermezzo . Interlude, play 'd between the acts
of a serious Opera.
Legato. Smooth and connected .(see page 3Sj
Melody. A succession of simple sounds without
a Bass accompaniment.
Mezzo Soprano . ATreble or Soprano of low pitch.
Mezzo forte . ^
V Medium between loud & soft .
Mezzo piano. J
Mesto . In a melancholy style .
Bra\ lira > A quick Song of difficult execution .
Bri<v or Con brio . With spirit.
Brillante . In a showy and brilliant style .
' 'talaiido . Gradually softer and slower.
Cantabile . In an easy and graceful style .
Canto . The highest vo pal part.
Canon . A Composition in which the parts follow
each other in the same melody .and intervals .
Canto fermo .Aplain Song or chanting used in ,.
Cathedrals .
Canzone. A Song in one,two,or three parts .
Canzonet. A short Song.
Contralto . Counter Tenor, aVoice between the
Treble and Tenor.
Cres or Crescendo . jGfadually louder. —
^ Dim-.or Diminuendo . Gradually softer
Crescendo poi dim: Louder then softer.
,D.C.or Da.Capo. B.esume the Song from the
fjeginning. ' , '
Expressivo . With expression.
Flebile . In a doleful style .
FiiocosOjOr Confuoco .With fire & spirit..
FuriosOjOr Furibondo . With boldness & energy.
F or Forte. Loud. FF. or Fortissimo. Very loud.
Fuj^^'iio. A flight; a Composition in which one part
] ■;rls olTa Subj^>ct which is repeated a .i*.'^ or 8^!^
higher or Invvfr by .t!v,>' ot'a-r parts . .
rally used on a holding Note .
Motett . A Latin Anthem in parts .
Obligato . Apart that cannot be left out.
Octava alta . Sing an 8^ higher than written .
Perdendosi . Diminishing the sound till almost lo
Porta mento . Conduct of the Voice,it is good when
the Voice is neither nasal nor guttural. '
P. or Piano. Soft. PP or Pianissimo .Very soft.
Ripieno . A part that sings occasionally .
Rallentando . ( Slackening the time to produce
Ritardando. | some effect.
Ritornello. The Symphony of a Song.
Scherzando. In a playful manner.
Sciolto.The Notes must be sung free &seperate( .
Siciliano. A Pastoral Movement in ^ or .
Soprano .The Treble or highest Voice .
Sostenuto . |
> HoLlingthe Notes their fuU length .
len-.or tenuto .j ' /
Sotto voce,or mezza voce . Rather soft.
Staccato Distinct & pointed . (see page 39)
Virtuoso ; A Performer of celebrity .
Voce di camera. A feeble Voice fit only for a Room.
Voce di petto . AVoice which comes from the Breast.
A'ore di testa . Afeigned Voice from the head.
Volta . Time . Volta 1? the first time .
VoUi S ibito. Turn o'.er quickly,
t nisoni ."^^ rie!i several Voices sing the same p:.rt .
ft
ri
Live Music Archive
Librivox Free Audio
Metropolitan Museum
Cleveland Museum of Art
Internet Arcade
Console Living Room
Books to Borrow
Open Library
TV News
Understanding 9/11