Musical Ornaments

London: WEEKES & Co., 14, HANovER ST., REGENT ST., ·vv.

Chicago, U.S.A.: CLAYTON F. Su'.\rMY Co., 220, Wabash Avenue.

PRICE ONE SHILLING ANO SIXPENCE. CLOTH GIL T, TWO SHILLINGS.

( Licenriate of the Royal Academ v o/ ivlusic, Ff'llow of the Royal College oj Organists, i.rnd Licenéiate of r-i«. Co!l., London.)

Mus. Doc., Oxox.

H. A. HARDING,

BY

J. S. Bach, Handel, Clementi, Czerny, Haydn, Mozart, Beethoven, Mendelssohn, Chopin, Schumann,

and Crieg.

\VrTH Nuxs nous Ex.nrPLES FRO:vr THE WoRKS OF

SIMPLY EXPLAINED,

Umamen ts, l\!Iusical

SECOND AND REVISED EDITION.

lDeNcate~ to WILLIAM H. CUMMINGS, EsQ., F.S.A., Hon. R.A.M.

(Principal of the Gui!dhall Schoo! of Music.]

) { ~·

BEDF01w, September, 1898

H.A. H.

The Author is aware that it would be misleading to lay clown absolute laws for the interpretation of Ornamental Signs and Notes, it being impossible to reduce the intentions of the different composers to a defmite formula. In fact, the greatest performers do not altogether agree in their rendering of the older graces, and, it is well understood that sorne of the signs are brought down to us by traditions, which cannot be regarded as authoritative and final. Therefore the rules given in the following pages should be regarded as applying ge11craUy rather than dogmaiicaliy,

PREFACE TO FIRST EDITION.

27 72

20

15 62

80

77

14

74

60

70

Shake, t urn of the

Shake, in old music ... Shake, in modern mu-ic Slide 1Schleifer) Turn Turn, combined with Mordent v e e

Turn, inverted

Arpeggio, d o wnwa rd Bebung, The ... Mordenr, upper Mordent, indicates a shake Mordent, lo wer

Mordent, extended Shake

Arpeggio, combined with Acciaccatura

Appoggiatura .

Appog-giatura, combined with Shake Appoggiatura, double Arpeggio

After-note (N achschlag) Acciaccatura

Tlie Nu mbers rcfcr to the Paragraplts.

INDEX.

* Modern composers write the Long Appoggiatura with ordinary sized notes embodied in the time of the bar. '

2.~The Long Appoggiatura is not often found in music corn- posed sin ce the end of the eighteenth century. * It is indicated by a note printed in small type (not counted in the time value of the bar) placed before a Melody note (Principal note), from which (if divisible into two parts) it takes half its value ; tnc accent is upon tlze Appoggiatura.

Ex. 2.

(MOZART, Sonata No. 7.) Ex. 3· (CZE.RNY, Op. 355.) ~ '

~~t-=Flli~~:w~~~ (! ft-J=;-9 tt- Q.j'- --- 1

Played.

j-·-~~~~-··--m~ ¡··1- .. ~ ---l:'"l- ~ qL H-~~C...~-+:.-~. ~ =--______ -ti:::±•=c.. -·ª .,., ·-i i'_-.= --~~~F=. '~--··--_· -·~~==5==- ~~=~-·- .. -¡- ! 1 1 1

THE LONG APPOGGIATURA.

(Leaning-note, from the Italian,Appr~R;¡;iare, German, Vorschlag, French, Port de Voix.)

1.-There are two kinds of Appoggiatura, the Long and the Short (the latter is called the Acciaccatura in modern music); the time value of the Appoggiatura is taken from the note before which it is placed (called the Principal note); the Long Appoggiatura takes an appreciable amount-one half, two thirds, etc.,-the Short Appoggiatura is played as quickly as possible, and only robs the Principal note of a small portion of its valué; both kinds of Appoggiatura necessarily more ar less delay the sounding of the Principal note. In old music both the Long and Short Appoggiatura are indicated by the same sign, viz., a note printed in small type. Ex. I. Long Appoggiaturn. Short Appoggiatura. Short Appoggiatura, Modern p-~-.- ... - .. -. - .. ·-;l .. &Jz ~~ . , ... 1 version. (See Acciaccatura ... ) ~~-~===e===i ,,, =4~ - ~ J ffÉ J D

Playecl. I'Iayeu.

jT3!~="i$~X ~I

THE APPOGGIATURA.

ORNAwlENTS. NI U SI CAL

Ex. 9·

~=r-U

5.-When the Long Appoggiatura is placed before a note tied to a shorter one, it takes the whole vaiue of the first note, even if it be a dotted one. (Se~;! Ex. ro.)

Ex. S. (J. S. BACl-I, Organ Pre lude and ,-., Fugue in B minor.)

t~IP%· .t-t-11

4.-When the Long Appoggiatura is placed before a short dotted note, it sometimes takes onc third uf its value :-

Plavc d.

Ex. 6. (J. S. BACH, Prelude XV, Book II.)

~~~~=id~I Ex. 5.

3.-When the Long Appoggiatura is placed before a dotted note, it generally takes two thirds of its value :-

Ex. 4. (J. S. BACH, Prelude XVIII, Book 11.)

=1JJ_j¡ !, ~ '-~±~~r ~ ~- }:B=I::tE==:l-:==~I - =

MU SI CAL ÜRNAMENTS. 6

* In J. S. Bach's original MSS. the Short Appoggiatura is generally indicated by these hooks.

but the Short Appoggiatura is often expressed by a small note in precisely the same manner as the Long Appoggiatura, it is therefore

j'.'.:::::-_"'""~--- _,,_ - =t=ºr-;-= .

Played.

:J=@:;:~ll

13.

~;,,.= r -

- -

Ex. 12.

7.-I~ old music the Short Appoggiatura is sometimes indicated by a hook, or two hooks, from above ,. ~. from below (, f ;,*(see J. S. Bach's Suites,)

THE SHORT APPOGGIATURA.

Played.

Ex. 11. p~ \-=:_~~~===11 --\-•---

6.-When the Long Appoggiatura is placed before the highest note of an Arpeggio chord, it should be played as follows :-

7 MUSICAL ÜRNAMENTS.

~@tlq~ J -• 1 r ~ ·- , ._,, 1 1 1~

lt is hardly necessary to say that the Short Appoggiatura is here íntended.

Played as a Long Appoggiatura. l ~I J IÜ. •b±

~··fQdtr~~ ---~

* Sometimes, however, the accornpnnying harmony will help the student to arrive at a right conclusion, as to whether the Appoggiatura should be long or short, for instance, in the following extract from J. S. Bach's Sarabande, Suite V., it will be seen that the rule given in paragraph 3, for the Long Appoggiatura, is quite inapplicable, because of the consecutive fifths which ensue between Trehle and Bass.

------------------------------

(Italian, Acciacare, to crush.)

9.- Thc Acciaccatura is played rapidly on the beat of the Principal note, whiclz retains its accent.

Ex. 15. (SCICUl'llANN, Papillons No. X 1.) i ·:' 'i )" )" )" )" A"

J:~~ ! :. .. t~·---f~~==r-§~~~~~-.:~~-:~f!~· -~:;Jf-~-·-==t·I -.+!' - -.--- - -t1Fz---~- __ ¡., ---------- -_ -"-=-- · -=·-·---···----·L....... - --f~-==t=:-_-=:==c=---+===

/\ r. ---¡::- /\ - - ;~~ !:::=~ r; /\ ¡\ /\ Played. /\ • ...i~ ti~' J..,. 1 ,~. ;;:::: ;;::: ;;:::: ;::::

~3{ ~ -- _._.,~ --· ---..-.--- - ,, .... _ ... ; ... ' .... 1 E~:;=m~-==g=~~ ._!_ -~~_!_:--_!_:-=:!$E11 ~==4 --- - - -~--~,---~¡==

THE ACCIACCATURA.

very difficult to distinguish between thern;" it may be helpful to rernernber that in the works of J. S. Bach, the Short Appoggiatura is more frequently intended than the Long. Bach generally incorporated the Long Appoggiatura in the text with notes of ordinary size.

8.-The Short Appoggiatura in modern rnusic is more easily discernible, because it has a stroke across its stern and hook J', and it is now called the Acciaccatura. In sorne compositions written at the end of the eighteenth and the beginning of the nineteenth century, the Appoggiatura is written, when the Acciaccatura is intended, and vice versa; the opinions of the various authors differ as to when this is the case, therefore, it is impossib'e to give any reliable rules on the subject.

MUSICAL ÜRNA:\.fENTS. s

* Here the Acciaccatura belongs to the upper G.

Ex. 20.

11.-When the Acciaccatura is placed befare tlze lzigltest note of an Arpeggio chord it should be played as follows :-

Ex. 19. r~-~ -·- ~.~-·~-==-=.==11

10.-When the Acciaccatura is placed befare a sltake, it simply indicares the note upon which the shake is to commence.

Ex. 17. *

(SCHCl\lANN, Op. 22.) ! r-~

'W=¡~-2 =i i--is:_ª--~ -. -·=~-- ~· ·- --- -- ~I

_ _.t__l---- ----p-- ----- . -=-'.::±: --f--- --'='t-· ··--- 1 1

Played. ~~ : ,.._

J-;-1,<)--m,---·~··- -~-~~~- :~- --- ... __ ~_ -- -¡--- - -f'Cc:il -- --~- - ____ 4 -1- ~- .. --H

'-..../1 ....._____.,¡ i

Ex. 16


* See After Notes.

THE DOUBLE APPOGGIATURA.

( German Doppelvorschlag, A nscltlag.)

r 4.-The Double Appoggiatura consists of two notes in small type, the time of which is taken from the Principal note, before which they are written; the distance of thefirrt of the two notes from the Principai note is not restricted, but the second note must be only one degree above, or below it.

(CHOPIN, No. I., Op. 37.) Ex. 25.

13.-When the Acciaccatura is placed before the /oioes: note of an Arpeggio chord, or of several Arpeggio notes (in small type), the time of the Acciaccatura should be taken out of the preceding note."

12.-When the Principal note is the first note of the bar, and the bar line separates the Acciaccatura from it, * it should be played as follows :-

MUSICAL ÜRNAMENTS. IO

* The U pper Mordent sign w ( Pralltrilier¡ is often used to indica te the shake, especially by J. S. Bach, (See paragraph 62.)

t In quick passages the accent is often necessarily upon the first note of the Upper Mordent,

l'layed.

jTTJ?t .. fr" · .. 11 == 1 1 -

Ex. 32 n r q,__: .-n

=- ! 1 --- Played.

Ex. 31. f3F"~~ $0 ----4--+-' ,J) ----- 1

16.-When the note, upon which the Upper Mordent is placed is preceded by an Appoggiatura, the Mordent is delayed. The Appoggiatura is sometimes indicated by a slur, also by the old Short Appoggiatura sign ~.

Played.

/\ "-

Ex. 30.

Jcwf1_ ¡~ Played.

Ex. 29.

15.-The Upper Mordent w (German, Pralltriller)~' consistsofthe Principal note, the note of the scale above, and the Principal note again, played as quickly as possible in the time of the Principal note. The third note should be of longer duration than the preceding ones, and should bear tlze accent. t

THE UPPER MORDENT.

Piayetl. ,..-----..._

J-;-1'-~a--~~hi!!,.-.._ ~s---1_1 fi :::A---~=r===t===c== -- =~ -----

Ex. 23 Ex. 27. (J. S. IlACH, Sarabanc e.)

' ~~--~*a-- ---..-,, ~---:rt~.------=i::--= _4_c::::: __ -----------

I! MUSICAL ÜRNAMENTS.

Ex. 26.

Short (See

A goocl effect is oíten produced by beginning the upper Morclent with a ,\p¡:oggiatura when the Principal note is preceded by one of thc same pitch. :-1hakes, paragrnph 55.)

~~~~~ Played. i~_;@p In sorne cases when it is impossible to execute the thrce notes of the upper

Mordent owing to the speed of the rnovement, an Acciaccru ura only rnay be played.

19.-Whcn an accidental is placed above the Upper Mordent sign, it si:-;nifies that the up/1er note is to be raised or lo wered a semitono.

Ex. 37. (GRIEG, Musctte, Op. 40.) 1 .-----.. ~~---=~:~~==----==~ -~u Y-~¡:L - ., -~----11._ifl __

¡_/- -~, . --:- r-

18.-The Upper Mordent is sometimos indicated by the actual notes printed in small type, (See After l'-lotes, Ex. 140, paragraph 7 3.)

Ex. 35· Played, .i r----., ~~¡ '

_ttrtj':.c~~Ill ~~=:~~:·~j~I

~1:-===5;;f3== Played. !JZ==fCIC~~~~11

17. -When the U pper Mordent is placed before a chord, it only affects the particular note before which it is placed.

Ex. 34·

¡--1--,, - ------ :~~ 1 ./

MUSICAL ÜRNAMENTS. 12

* The rule with sorne authors is, that the note helow should invaríably Le a semi tone.

Ex. 41. Ajv ~= I'±'___ -.==-11 ~C~~-or_IJ_.r-.:==u_ . •

22.-ln old rnusic the Short Appoggiatura is sometimes combined with the Lower Mordent.

21 .-When an accidental is placed below the Lower Mordent sign, it signifies that the lower note is to be raised or lowered a semitone.

Played.

20.-The Lower Mordent 'o/ (German, Mordent) is not found in modern music; it consists of the Principal note, the note of the scale below* (unless otherwise indicated), and the Principal note again, played as rapidly as possible in the time of the Principal note; tite tlzird note should be of longer duration than the preceding ones, and should bear the acceu/,

THE LOWER MORDENT.


26.-The upper extended Mordent » .. wis otten used in old music for the shake sign-there should be no turn, unless indicated by two small notes following the Principal note.

25.-The lower extended Mordent 4v must not be mistaken for M{ which signifies tlle slzake wit h a turn, as follows :-

Ex. 46i'vv{ Ji ~ [I Played ,

-~-- :-- -·-·-·!!:!.=O· =- ='-t::'.: ~= "-- ---

Ex. 44. ¡~-=~=~ U Played,

24.-The Extended Mordents, Upper and Lower.zvw + consist of five notes instead of three.

Ex. 43. Q. S. BACH, Praeludium.) Played.

--r-3= -~-~;u@- : -5--=ttj- - ~=~l ·---~: .. ,,__ .,¡ 11---+ .. -~--- 't'--- -r'!v.,_ V -~ .. -~-· : .,r.' •

-·- ~ ....,,_,_ 1 --· 1 ~I =,..j ==-i

23.-When the Lower Mordent is placed befare a chord, it only affects that particular note befare which it is placed.

MUSICAL ÜRNAMENTS.

Playe d. _

--:.:::.:::3-=~, r:==:~~==~=-=1~. 19r~~~~--~~~:~~=~J -:"~l~- .. ~-iif- ... ¡,- ~~-#lf~t=:'-;t~---~' . -==11 ll ';1' --- ~-- -!!' ----

* In J. S. Bach's wor ks the Turn should be played wit h t h e diatonic notes of .he scale, un l css otherwise clirected.

30.-The under note of a Turn is generalty a senutone below the Principal note, especially is this the case,

A. \Vhen the Turn is placed upon each note of a scale passage. Ex. 51.

Ji=~~ e]~~ J~~;;~~~~=~:t~]~~j

29.-Sornetimes these necessary signs are omitted, though obviously intended; the folloioing rules are gú•en to lzelp tite student, wlzen suc/: is tlze case.

28.-\Vhen either of the notes of the Turn is to be accidentally raised or lowered, the necessary signs are invariably placed over, or under the Turn si gn.

Ex. 49

27.-The Turn '" divides the note ovcr which it is placed (the Principal note) into four notes, viz., (m modern music*) the note of the scale above, the Principal note, the semitone below (see exceptions) and the Principal note again ; in qui'ck time these notes should be equal, in modera/e and slow time the last note should be longer than the others.

(German, Doppelschlag.)

THE TURN.


* Except in a succession of Shakes upon a scale passage,(see paragraph 30.) + Except when it skips.

32.-When the Turn is placed over a note preceded by a rest, or staccato note, it should commence upon the Principal note (not upon the note above),making a Turn of five notes.

E. When placed upon the second of the rnajor scale followed by the key-note, or third of the scale.

Ex. 57. Playcd. =a~~ ;_E:._- --=====u~?±- --~== rL=ii--~=:.- -=:==r1 ~~= c~-=:r==-E:::-'.=:::- e~=:=_ ~=~===~:-~::::r-+--=====3 ' -e:-_

D. When placed upon the seventh of the major scale.* Ex. 56. Played.

E----~=:-: -=-=-F-if_ --;--~:-:-::¡ ¡"dt=-!:i-- =::=· -- -;--==:-::=-.__ :::1_:=,._==;::;--l1 ~A L~~~ ~:::E::,-- L: -~-~ ~::4:-::=:~;=--~=:_':3-r---c==

C. When placed u pon the third of the major scale. *t Ex. 55. Played .

~~j=~-it~-:;-~~~:~~-·.-~-~-~-::S~~J~=+~ll ~- ----·-- --~- ~- - ------- -·----·- ----

B. When placed upon the raised seventh of the minor scale. Ex. 54· Played.

~"~-~?l . ~- nw_- ~=-:~~-:---·=~é=;~~ª~==C==n V t

A. When the Turn is placed upon the second degree of the minor scale.

3r.-The under note of a Turn may be a Irme below the Principal note,

B. When placed upon the fifth of the minor scale. Ex. 52.


• This rule only applies when the second note is not of the same pitch as the first note. (See paragraph 36 '

u Ex. 61. MOZART," Sonata No. 5.

-t-.1--1...-----=-,_ __ _.._.__."------r•-~-•--_· __ -~f!L~_..__ __ • • 1 - -j 1 =;L::::~ = - I~-----==~

34.-When the Turn is placed over, or after a dotted note, followed by a note of the value of a dot, completing the beat, or division of the beat, but not of the same ,iJltch, the last note of the Turn should take the place of the dot. *

Played. J*-t:3-·. ~

Ex. 60. (BEETHOVEN, Op. 2, No. 2,)

~~~@=U - -~------

33.-When the Turn is placed after a long note, the Principal note lasts for nearly its full value, leaving just enough time for the Turn at the end.

Played. ~ • ....-----.. • ~ · ~ • 5 _, --~~-~- ------. . ~· ~-G1i r----·;;i·--~ = ~1= ~~ -d': ,,!

11, _ r--u

'l./

Ex. 59. (HAYDN.:.., Sonata No. 1.)

í · f ~_;_;'_-----u~:f.-:!!.- T.L· ~=t!"i 1 1 11 1 1 1 tE=n

Played.

J K :i

Also expressed. -tit-lj~H,___,_1 _J---1;;;1---J-+-: ---110

Ex. 58.

MUSICAL ÜRNAMENTS.

(CZERN\', Op. 355, No. 33.) F.x. 67.

:::.~.-.·· -!.}_-==- ... - •• ::: ~.:~.-·-. =1·1 - ~~ --··-E-'-_._-IE-.,_m!!: __ --4 -~-

: '=4-~ ~ -.J ··-------

Played.

Ex. 66.

¡_144$2=~ v

38.-When the Turn is placed over a note, preceded by one oj the sanie _pitcli of twice or four times its value, it should be played be/Ne the note over which it is placed, even if the second note be dotted. (See note to paragraph 57 .)

ti

37.-\Vhen the Tum is placed over, or after a dotted note, followed by two short notes complcting the beat, it should run on into the two notes without stopping on the dot.

Ex. 65.

36.- When the Turn is placed over, or after a dotted note, followed by a note of the value of the dot, and o/ t!1e same pitclz, it should be played as if the Turn were placed over the second note.

Ex. 64.

~%;~ (!~

Ex. 62.

n+7'_@JggJI Playe<l i~~=t -u If, however, the dotted note (followed by a note equal to the dot) be preceded by a note of double its value, and of the same pitch, the Turn should generally be played before the dotted note. (See Ex. 68.)

35.-When the Turn is placed over a double dotted note, it should end on the jirst dot.

Ex. 63.


40.-When only three notes of the Turn are written in small type befare a note, the Turn should general/y be played upon that note. <See paragraph 4i.)

Ex. 7r. (CLRMRNTI, Op. 38, No. z.)

¡---1'.-·---~--~~- ~ {; -~~-.z:---- -'!r·--~ -~---j--.;-• -~-11 -~--~=::1: :1 ---- =~~- -----~- - =-

~ Played. ~-- I

:-l-t----·-*--~~-< 1 ~= .. =u ~~------¡.-~-- =·~--1-,,-~ ~. _..--~=---=-=1---~= -=:p:_! - • =t==

39.-When the Turn is written out in ful! (in small tyµe) it i:-: generally played in the same manner as when indicated by the usual sign ,.....,,

Ex. 70. (BEETHOVEN, Sonata, Op. 31, No. 2.)

JPbit "==is~ etc.

When, however, the second of tite two tied notes is dotted, the Turn may be played as explained in paragraph 34.

Ex. 69. (BEETHOVEN, Sonata, !!~-------!' Op. 31, No. z.)

E 4 1 :::j - -~ -i -::i==U ~= --- --- __ ::---::r- -- ________ ___.,,

This rule also holds good when (under the same conditions) the two notes are tied.

Ex. 68. (BEETHOVEN, Rondo in e, Op. 51, No. 1.) - ==i==--= ---"'-~-P- ·--~-~. ~ • 11 1f __ • ~0 =1=--l] --~ . F--f-t===T . -- .- 1:1 --


the U pper, or Lower 44.-When the Turn is combined with Mordent, a Turn of five notes is intended.

Ex. 76.

43 - When the Turn is placed over a note preceded by an Appoggíatura, the first note of the Tum is tíed to the Appoggiatura.

Ex. 75·

j]}E~ gJI Played. ii=D~~I

42.-When, as in old music, the Turn is placed over a note, preceded by a note, in small type, of the same pitch, the Turn commences upan the Principal note, the small note is not struci:

Ex. 74. Playcd ,

~~~ ~l'-=IIJ:~=="i=~$B t=ff ~,

(MOZART, Sonata, No. 3.) Ex. 73· ~ ,

- ---- ~ .¡¡ ' .. =~- 4.-- 12•- --- -::#-~ · =- ---¡~ct::t:-§dª1 ~g ------ '--'

Plaved. -;---- __ .,_ ~ i.. _

J-rt=i±tEE ~r~rr -u. P:- - ~ =-=4:-::- ----~ ====

41.-When three notes of the Turn, however, are written in srnall type before a note which is half tlte value o/ the preceding note, and consequently the same value as a dot, the Turn should be played be/ore the second note. (See paragraph 34.)

Ex. 72. (HAYDN, Creation, No. 5.)

jli ~~ -~-~-=e=n _ --==-?ti-~ = r L:l_J-ER ~ffL @f~-=! H

MUSICAL ÜRNAMENTS • . ~o

* Also hy ~ and +,.

Also see Beethoven's Rondo in e, for the Pianoforte, Op. 5 I' N d. 1'

wherein a similar passage occurs.

47.-Sometimes the student is puzzled by mistakes of notation, for instance, the following passage from Beethoven's Sonata, Op. z, No. 3, first movement.

Ex. 80. _, Should evidently be written. ~ _, -~ ~_, ~ .~'"~ ~Jmt~2=1 ~· t¡H--=;r-11

It is playe<l.

~ ·-· ~- ¡: ........... =-=!= ljª1J e: -t-4~3~J-Jd_J_J=J:I::~~=~~ .------.-~~~ .--•-;r ~ . --~--------

......__

46.-The Inverted Turn consists of an exact reversa! of the Direc' Turn ; it is indicated by ~, but it is more often written in smal notes.

Ex. 79. Ji -r -+-s=::=--__,~n Played. jla r r r r H-~

This rule, however, has not been strictly adhered to in the foregoing examples for the sake of clearness.

Is better expressed. Often played.

~ . t"~fFFít]

·----u 1 1 C:=

Ex. 78.

f~ [' 45.-When the Turn is played during the latter part of the

Principal note, it is better not to commence it upon a beat or division of a beat.


• There is one excepi ion (see paragraph 49). t A waved line is sometimes placed after the shake sígn Ir ~{see Ex. 9-:>).

B. When (in modern music) it is followed by another note of the same name, whether tied to it or not, and the Turn sbould end upon the second note. (In old music, see paragraph 51 C.)

Ex. 84. tr tr

14-r-+-W?---r=ll or ~~fe~

--------

50.-The Shake generally ends with a Turn, wbether indicated or not, especially is this the case-

A. When it is followed by an accented note (the last note of the Turn of the Shake rnust be the Principal note; to accomplisb tbis it is often necessary to introduce a triplet near the end),

Ex. 83. tr Played.

~ffi-=~l~~=c-=;t~~·~:ª#J=_t~==r=~~H ~==== v '-/'

THE TURN OF THE SHAKE.

49.-When the Shake is placed upon the sixth of the harmonic minor scale, the upper note must be the flattened seventh, because the note of the scale (the seventh) is an augmented second from the sixth.

Ex. 82. tr Played. 1!9~fü~~· = __ :;=1 ~J=;a;~~._~-~!$=r;;!?'~1_'ªªi~•JJ~Ju;:=;::_~~-0

(Italian, Trillo; German, Triller; French, Trille.)

48.-The Shake is indicated by the sign Ir (in old music byNV,..Yvv ), the note over which it is placed is called the Principal note. The Shake consists of the Principal note, and the note of the scale above* being played in a rapid and regular manner, alternately, during the value of the Principal note 1

Ex. 81. P!ayed.

~r=f2-=g~- -==11j'l-•e"c:S:-_1i•~ ~I"~ -~. ~::i:=il ~=4 _t::=:=f::_= . · ~==--Wr---='- L p ~I

THE SHAKE.


• There would be a Turn at the end, if this example were accompanied by Ex. 99. t This rule is optional.

B. tWhen in a succession of Shakes on a scale passage (unless indicated) except after the last Shake.

Ex. 88.

*• - __!_:_ ~_º _e:__"_·---.-.------,.- 0?7- L-~==========tl=: ~-----

Ex. 87. tr z =s j±ftt . u 1 r u Played, Ji=tit1-, ~r _iG_•~UJJ~§

..._59

51.-There is no Turn to the Shake- A. When it is followed by an unaccented note. (See paragraph 53.) Ex. 86. tr

~- =-r-e ·~---~-- E-~-- R ~~=e:- ---~=Et=--c-1]

Observe that the Shake cornrnences on the upper note. (See paragraph 54.)

""' ' C. When (as in old music) it is indicated by~,IW',),NW, orMAJr-.

Ex.~~~ fEr-D Played. P=~~~e-jl


F. When the Shake is upon a note of small value. Ex. 96._,..(HAYDN, Sonata No. 5.)

-i-!'-- tr tr ~-_r'-.! ~ ~ r E r r r r r E E llP!ayed.~ #tg¡g·tEtgtWJI

~ Played. ~=U In old music.

Ex. 95·1r

Ex. 94·1r l~~R -+-r _"1 U Played. ~ H ~ r I' r ¡;o/fEH E. When followed by a rest ; (in old music the Shake need not

occupy the whole value of the Principal note, when followe<l by a rest.)

Ex. 93·

JF~~D Played. ~ t [ó"tr~~g¡j

Played.

Ex. 92.

D. When expressed by MN unless the Turn is indicated by two notes after the Shake.

Played. ,.-.,.

~~~~11"fh1'ª4~~ This rule <loes not hold good when the second of the tied notes is a dotted one, followed by two small notes indicating the Turn.

(J. S. BAcH, Fantasie Ex. 91. L in e minor.) Played.

N\Af ~~ gu· '= ' --!!!!!!~ .¡,.---L::1- . ~-~ :f::í!=:j , _--l""'T-- ' ~:-,--l~ ·-i=~-r=i. '--=-1~ _L_ ______ ,,, ._¡ ,,_lL-p:.,,_._,,_lll.,_1:-•-.-•- - "-"

(J. S. BAcH, Pre lude XVI., Book l.} Ex. 90. tr ---·----:::~:::::::~::::::::::::::::::::::::::::::~::::::::::::::~~

J:;-h---ª -·----------r(ll. __ -,c.__ n =Fe ------------------ l=tc'---~c -----:----===--====------------------'!::O- -

C. When (in old music, Bach, Handel,) it is placed upon a tied note. In this case the Shake ends a little before the second note; (for modern music see paragraph 50 B).

MUSICAL ÜRNAMENTS.

54.-In music composed befare the end of the eighteenth century, from and during the time of Bach and Handel, it is generally understood that the Shake (often indicated by/\NVorm) should commence upon the upper note.

Ex. IOO.

THE SHAKEi IN OLD MUSIC.

Played. ( See paragraph 57.)

~~~-="~~+&~Wº·gitf U

5 3.-There is one exception to the rule given in paragra ph 5 1 A. There should be a Turn to the Shake, if it be placed upon a dotted note, which rises to an unaccented note, equal in value to the dot.

Ex. 99. tr

~ J J __ r~·~~~~§± ~o

Ex. 98. (ScHUMANN .) Played. tr

5 2 .-When the Turn of the Shake is indicated by two notes in small type, not included in the time of the bar, the speed of the Shake is left to the player's judgment, but when the two notes are written in full sized notes and included in the time of the bar, they indicate the speed of the Shake. Sometimes a single Acciaccatura note indicates the Turn. (See Ex. 98.)

Ex. 97. (J. S. BACH, Prelude X., Book I.) i_ ,-.... tr J~º=r=-rmr-~--u


Played.

piµtp=n~r-r=c: U

C. When it occurs after a rest. Ex. 104.

~--~-"- tr -===fil==•==- u ~=:o: -Er:::=r==§-r----~. --~-e:==

B. \Vhen it occurs after a staccato note. Ex. 103. (J. S. BACH, Fugue VI., Bo·)k l.)

tr .

~~~~¡Eé=f-- ~bf==E--i~=====-~~~~==r~=-~" --! -r- r=~ ~1:::=---~::::__c_-===-~-=--=--~...::..::.= --o

Played. /";:"\-;=--·=-=----===--1 -~ ----;;-t ---,----, ---, ---, -, .. -r-t ¡==t u ~~~==~=~~:!!=~ =~! ¡ f;p-=i·~~~~~-iC ~_:_-

56.-The Shake begins on the Principal note and not on the upper note-

A. When it occurs upon the starting note of a subject. Ex. 102. t (J. S. BACH, Fugue XIII., Book II.) ~~31¡ ~ ~=-3 J~~ _;c]S~ etc.

OL • -·- _,,_ - .. -

PJayed.

j ~ti#:g::--~-E ----;=====~ ----==-===== #-- 1 ~ ¡p~-.CLJ--ij=J=::L-~-=k;,; --~~-,- etc. -----·-· ------- ~=---·- ---.,-•- .----.. . -~- - (Also see Ex. 90.)

Ex. IOI. (J. S. BACH1 Fugue XX., Book U.) tt

~

tr tr ---~!r ~~~ ~e------------?-~' - E _l:= l ~ _A _ ~ E""'"'" ~---i ~ . _ ~~.-• ilCJL_!_ -U __¡_ . . -+ --,p•---- -----.-- ..... ' . -·-·

55.-The Shake should invariably begin on the upper note, when the Principal note has just been heard.


* In music composed before the nineteenth century the value of the dot was very variable.

58.-No Turn is required when (as in the last example) the dotted note /alis to the note equal to the dot (completing the beat), if it rises to it, however, even though that note be necessarily an unaccented one, there should be a Turn.

Ex. tor, (J. S. BAcH, Fugue VI., Book II.) tr rt-.

JiE_J]-E~---; ~~ ---~-+-~--+d-01

57.-When the Principal note is a dotted one, followed by a note equal to the dot, completing the beat, or division of the beat, the Shake should end upon the dot, which may be prolonged* and the following note shortened.

E. When the preceding note is above the Principal note, to preserve melodic outline,

Ex. 106. (J. S. BACH, Fugue in A major.)

::j::f~~-~=1 ·•--,,--:• -_ ..... ~~- ~:~_ -----,,-• tr ·¡=::ts:etc. ~~!IJ--~ -=-~~-=-~·------~-

Ex. 105. (J. S. BACH, Toccata in C minor.) Ir !~

-:2-_- b - s~ ~~~~~~lJ . l ªªl Adaeio.

Played. · 1~ 1~ ~~-- ----s,-=·n ~3 ~tt~=f:i 1 J J ~:::: ·444§=-~---g u:ºr_~--ª31 --- ---1----- - l-l-1 -J,--t-+-t--1 ""="' ~~~ ~ .__ --- . ~--·-· .•. ·-1-·-. -·- ~ ·-·- <:»

<:» "" ---

D. When it occurs upan the second note of sorne characteristic interval.

MUSICAL ÜRNAMENTS.

----- ------- ------

Ex. 112. ~ MN _ ~\ \-r=-. ---------1---r-r~u

l Short Appoggiatura. l

Ex. III. tr tr

~t ~ s~':l~:~~es J i ft 1 r t u 1 Long Appoggiatura. I_ -

Played.

~S-.JL •. ._.-+f:c=Ell ~ :t===t:::t::t::=t2!o~

60.-When the Principal note is preceded by an Appoggiatura the first note of the Shake is tied to the Appoggiatura.

-·- tr Ex. 109.

59.-The rule that the Shake should end on the dot (paragraph 57) does not hold good, when the following note is not equal to the dot ; nor when the following note, though equal to the dot, <loes not complete the beat, or division of the beat.

(BACH, Fugue XIX., Book II.)

Ex. 108.

MUSICAL ÜRNAMENTS.

Ex. u5. W'

63.-Also in a perfect cadence, when the last note is anticipated in the same part.

Played. J!=sr=?~ r r r gg:::§-~~

62.-In old music (J. S. Bach's works especially) it is often difficult to determine whether the signNJ' indícates an Upper Mordent, or a Shake; the latter is generally intended when the Principal note is followed by two small notes, which may be looked upon as the closing notes of a Turn.

(See also Bach's Fantasie in C minor, Ex. 9 r.)

Ex. 113. U· 3. BACH, Prelude IV., Book l.)

~ ~--- L.vvv (2 r r L~!-~É~- ----~etc. :U - \;t 1 ll

61.-Another sign is used in old music to indicate the combination of the Appoggiatura and the Shake, viz.,l.-vw, but the Appoggiatura in this case is not tied to the first note of the Shake.


Commencing and ending with a direct Turn. Fx. 120

~} g e =U P!ayed.

--------- --- ---···· ----·-----·--·----- --.-----:.---- .... ----~. . -~-·-i!::•-·-EJ =t=c:-~-~:---,9!!:-T -L. e-~ c-~E ==== 1

Cornmencing with a direct Turn. Ex. 119. e: w_~-g_- H Played.

Cornrnencing with an inverted Turn, ending with a direct Turn. Ex. II8.

~ ~ e- . u Played.

C!W ""!# cr H Played. t:===EI

Cornmencing with an inverted Turn. Ex. 117.

Ex. 116. IVW' ~f n Played, w~~~~P=ll The Shake without a Turn.

64.-The Shake is also often expressed by the following signs :-

MUSICAL ÜRNAMENTS.

* The ornaments in Chopin's compositinns should be rendered in the spirit of the old masters.

67.-The Shake comrnences with the ztf}t'r note, when a rnelody accompanied by a Shake, has to be played with one hand, the melody containing notes out of reach.

Ex. 125. (BEKTHOVEN, Sonata, Op. 10, No. 2.) tr~~-.r~~~~~~,,~~~~~,~~

~-~~jf;e:-=--=:-==--~=~ ----~----~~- - ~~==-:t: - _ f------------------ ------~ES--

Played.

Ex. 124.

~I-i:'Sll

Playc.l.

66.-The note upon which a Shake commences is often indicated by a note in small type, placed before the Principal note.

Played. ~

tr~ __

0 ·- --~--- -f-----

Ex. 122.

65.-In music composed since the commencement of the nineteenth century,* (Hummel, Czerny and Moscheles) the Shake should begin on the Principal note (unless otherwise expressed).

THE SHAKE, IN MODERN MUSIC.


Ex. 129. ~tr ~ j J ,; r lB Played. µ·--..-r-r ~r r~E44J~-. ~l=@ill~

1,....

_a_ • :t:: ~¡:: ~-----.____,,. ~--fll--:-r':-~- i

-- f--- 1 1 1 1 f---l'~-+--1- a: :4 i":::t::ll == 1 ---

'* Observe that the note B is not struck twice.

68.-When the Principal note of a Shake is preceded by two or three notes in small type, t:hey should be incorporated in the Shake.

1 '

¡~~~tr~ffii u

Ex. 126. l"'

1 1 (BEH.THOVEN, Sonata, Op. 53.) 1 1' _._ -:- • ., 1 tr I' - = --· - _,, ,,..-..,. ---

~~- r-p- -~Jt'={~~ 11 ~,,,~L~-~---


Played, ~eya

71.-When the After-note occurs (in old music) between .. wo notes of the same pitch this sign is sometimes used (\.

Ex. 135. "::1:-_=? .f\ ~==n ~---~3)

11

Ex. 134.

Ex. 133.

(German, Naclzsclzlag.)

70.-The After-note,(in old music,) is a note of small value, the time of which is takcn out of the preceding note; it is expressed by a hook \ or stroke /, and consists of a passing, or connecting note, between two essential notes.

THE AFTER-NOTE.

Ex. A32.

tr 'ª~ Ex. 131.

" tr ~~-EJ=t :11

Ex. 130. #

~~-;=H

69.-•When a #, 1', or ~ is placed befare or above the Shake, the upper note is to be played #, ¡,, or ~' according1y.


Also when the small ornamental note anticipates the following Principal note (see paragraphs r 2-13 ).. Again, when two notes are written in small type between two essential notes, it is often difficult to decide whether they indicate a Slide, or After-notes. ·--~-~-------~

·:11' Also see Schuberts "Moment.; Musicaux," No. 3, in .F minar.

I'layed. ,~. *~~--JI - ' :-~· ..,----9=1== .. ., --- Ex. 138.

7 3.-As a general rule, all ornamental notes are played in the time of the Principal note to which they belong ; but whether the Principal note is the note _precedíng or .fol!owing the ornamental note can, in sorne instances, only be clearly understood by a reference to and study of the context, under the guidance of an efficient and experienced teacher ; for instance, although a single note, printed in small type, is invariably treated as an Appoggiatura, or Acciaccatura, yet when it connects two essential notes of the melody, it may sometimes be looked upon as an After-note.

72.-The Slide in old music is indicated by a sign sornewhat resembling the U pper Mordent; it consists of a diatonic passage of three notes, the time of which is taken out of the note following the sign.

(German, Scldeifer.)

THE SUDE.

Ex. 136.

~~~~~ P!aycd j~-=11

M USICAL ÜRN AMENTS. 34

76.-The above rule as regards the Arpeggio commencing on the beat, does not always hold good, especially when the small notes are written befare the notes of a cantabile melody.

(MOZART, Sonata No. 5.)

7 5.-When the Arpeggio is written in small notes, it still begins on the beat, but the small notes are not held down.

Played ,

Ex. 14r.

ja:hll >---

(From Italian, Arpa¡

7 4.-The sign i indica tes that the notes of the chord before which it is placed should be played quickly, one after the other, beginning at the lowest note on the beat ; all the notes, after they are struck, being held down during the value of the chord.

THE ARPEGGIO.

Ex. 140.

The two small notes in the following Exarnple might be either an Upper Mordent or Alter-notes.

Ex. 139,

E·-~~ Played as ~-·~ll Played as ~I ~Z::=t==~ ~ a Slide. ~$:-----~ After-notes. ~~


79.-When (in old rnusic) chords are marked with the word "Arpeggio," all the notes of the chord should be played rapidly one after the other, both up and clown several times ad lib.

Ex. 146.

í~~~~~u J:~-r--- t~~;~~c~ll

Played.

Ex. IjJ· )_:.¡_~ ~.

·.-- - - r-:=--

78.-The Downward Arpeggio (sornetimes met with m old music) is played as follows :-

~~--1-I=rl Played. ~ iL=111=--. -. -·- .,.-•--v~ -- 1 1

( Observe that the Acciaccatura is not held.)

Ex. 143. 1 1

E~--------=~=-~'---~~=::ti ~=--=--~g ~--~~ -=-~J=- Played.

~-----------. 1

~.7---=-~ ~-3- J-~-· :~~E~-==--n , ::v -------.-- .. --~-•-~. . •-t--i---. .-,.-•- F~- - --·~-_,-""--T----=i-~I""- loooí!~~--=-r-c::::; -·-- ---- r L' e::=== :::::::::= _...

===== ~ (Also see Mendelssohn's "Lieder ohne Worte," No. 30.)

7 7 .-The addition of the Acciaccatura, or Short Appoggiatura, to trie Arpeggio, is expressed by a stroke, under the note before which the Acciaccatura is to be playecl.

MUSICAL ÜRNAMENTS.

* There are numerous examples of the Bebung in this Sonata,

(Beethoven, Sonata, Op. I IO. )1' 1 5

Ex. 149. 3 2 ;--:::

~

-~------- ·----i---...J- 1 -~ ±')----F""':::·--;- __ 111! __ _ i'~±H:::=~~#=~~=··· etc.

<:» 5

Played, 3 2 I ~

=~- -~~±~=j~=:,,_~::J.::..-:-"-= etc. - . .. ·±n_.,_,¡¡. ... -.,.-- - ·-- - -·- ll----tr~-11!"- --

[Chopin, Ballade, Op. 47.) 4 5 4 5

Ex_ 148. ~ !=--'• 1 ----·- ·~ ---- ~ ·--- ~~-=n- . ---•---•-- ---•- ---u ~=-=~=:li==:J -E¡. ~~ .

4 5 4 5 Play~~ =L_ __ ~-- ·~--- ¡¡::~-Le: ---ll1--•----- --ill-•---u =¡;:fn=~---· __,_ -t:i--~--·-,--_+~-- --=-=-fi-L---=~-=;-=5=---=•=•='.".:l=

s/ t'P sf PP

THE BEBUNG. 80.-The Bebung is an old form of musical ornament found in

works written for the clavichord; it is expressed by a curve and dots ~ placed over a note -::2:.=·---:-:_~ which is to be gently repeated wit!iout it--,- lifting the jinger entirely from tite key.

Although its proper performance is only possible upon the clavichord, it is, nevertheless, met with in the pianoforte works of Beethoven and Chopin. The dots are usua1ly omitted, and it generally consists of a curve placed over, or under, two notes, or chords, of the same pitch; at first sight it appears to be a bind or tie, but as a change of finger is marked, it is obvious that a repetition of the note is intended. In playing the Bebung on the pianoforte it is generally understood that the first note should be struck somewhat firmly, arid the second note Iightly and smoothly, carefully avoiding any break between the two notes.


o

6 o

Patti nson, James. ~The Majar, Minor, and Chrornatic Scales in Single and Double ~ «tes, and Arpeggios of Comrnon, Dominant, ancl Diminished Seventh Chords in all keys. (This work inciudes both the hariuon.c aud arbitrary miuor scales) ...

Phipps, Alex.--A cornprehensive Guide to the Study of Music net

6 o Mansfield, Orlando A.--The Siudent's Manual of Pedal

Scales, and Arpeggi for the Orga.n

4 o

Lowe, C. Egerton.-Scale and Arpeggio Manual for the Violin, consisting of the complete Major and Minor Scales (the latter in the rnelodious and harrnonic forms) and Arpeggios of the Common Chords and the Dominant and Diminished Sevenths

2 5

6 o Holmes, G. Augustus.-The Academic Manual of Scales

and Arpeggi ... The Arpeggi of Dominant and Dirninished Sevenths, published

separately

o

o

Hard i ng, Dr. H. A.-Scale and Arpeggio Exarnination Tests. Book l. Containing a complete list of the 1,248 Requests on the Major, Minor, and Chrornatic Scales, in Similar and Contrary Motion, etc., required for Local Examinations net

Book II. (in the press). Containing a complete list of the 1,152 Requests cm the Major and Minar Common Chords, Dorninant Seventh, and Diminished Seventh ... ... . .. net

5 o 6 6 4 o

5 o 5 o 5 o 6 o

Ehrenfechter,, C. A. -Technical Exercises: No. r.---Thirty-one Prog ressive Exercises for the Pianoforte

,, 2.-Sixteen Short Preludes ,, 3.-First Series Technical Exercises on the Deppe Method ,, 4.-Second Series Technical Exercises in Contrapuntal Style

Goddard, Joseph.--The New Graduated Method for the Pianoforte

Ditto Ditto Enlarged Edition Time Exercises for the U se of Pianoforte Students

Dyer, A. E.-A Short System for the Pianoforte 4 o ".A. very useful and concise tutor."

Buhl, Aug.-A Wrist and Finger Exercise in a Single Study. s. d. Op. 73A. 4 o

Clark, Adelaide E.,-First Steps in Music. Theory and Scales taught conversationally. Declicated by permission to Frederick Westlake, Esq., F.R.A.]\L Demy 4to net 6

1.-TUTO.RS, .STUDJES, SCALES, &c.

Weekes & Co.'s Educational Works.

Barnby, Louis H.-Some Elementary Remarks on Musical Theory o

CONTRNTS.-Time Signatures from a Mathernatical point of view. -Intervals.-Construction of the Diatonic and Chromatic Scales.- Triads and Chord Construction.-Rules for Four-part Harmony.- Modulation.-Analysis of Form.-Analysis of Beethoven's First Sonata.

Clark, Adelaide E.-First Steps in Music. Thc::ory and Scales taught conversationally. Dedicated by perrmssion to Frederick Westlake, Esq., F.R.A.M. Demy ato net 6

Harding, Dr. H. A.-Musical Ornarnents Simply Explained, with N umerous Examples from the Works of the Great Masters 6

JI.-Tff EORY, HARMONY, &c.

Weekes, Samuel, Dr.-The Choral Primer. An Instruction Book for Sight Singing. Revised and enlarged, post free net o

" In this book a single suggestive word has been used as a tcxt, on which the teacher can enlarge. . . . It can with equal advan- tage be used by male or female voices." - Extrae! fro»i Preface,

o net Violin Tutor

Weekes, Frederic.-The Scale and Arpeggio Manual 5. o Also separately-

N o. 1.-Scales in ali the Majar and Minar Keys 3 o ,, 2.-Arpeggios on Common Chords, in all keys and in

extended positions, also on the Dominant and Diminished Seventh 3 o

,, 3.-Arpeggios on Comrnon Chords and their inversions, in ali keys, in clase position 3 o

4.-Scales in Double Notes, Thirds and Sixths (with hints far fingering from rnemory) 3 o

Exercises to Prepare the Hands for Scale Practice 3 o Harmonic Minar Scales o Instructions for the Violín 5 o

Vi n ni ng, W. S.-Forty Progressive Lessons for the Pianoforte in Large Type, for children--" to inculca te from the beginning good taste and expression » o

Somervell, Arthur.-Ten Studies for Pianoforte. An invaluable and interesting set of studies for wrist and finger . .. o

net 4 o

net 6 o Sauerbrey, E.--School of Sedes and Arpeggios Or separately, Scales 2/- net, Arpeggios 4/- net. Technical Studies in Double N ates ...

s. d. o Prlce, James.-Technical Studies

"These Studies will commend thernselves to every earnest student of the Pianoforte ; they are the result of rnany years diligent and care- ful experiment in the art of finger training. They afford systematic study of ali keys and their relation one to another, and will enable the stndent to transpose with ease."

Works. Weekes & Co.s Educational

JU.-ff JSTORICAL, &c. Lowe, C. Egerton.--A Concise Chronological Cyclopeedia

of Musicians and Musical Events from A.D. 300 net 2 o CoNTENTS.-·lndex to Musicians.-A Chronological and Biographi-

cal Dictionary of the Chief Musicians.---Index to Musical Events.- Chief Events in Musical History.

Taylor, H. J., F.R.C.0.-Hístorical Facts relating to Music. 711 Questions and Answers on Musical Composers and their Works, Musical Instruments, and Form. Compiled and arranged in periods, for the use of Students preparing for the Trinity College and other Local Examinations. (Seventh Thousand) net 6

Gates, W. Francis.--Anecdotes of Great Musicians, Three Hundred Anecdotes and Biographical Sketches of Famous Composers and Performers. "A suitable book far school prizes." Cloth, gilt, crown 8vo 5 o

Holmes, G. Augustus.-The Academic Manual of the s. d. Rudiments of Music. Dedicated by permission to Dr. A. C. Mackenzie, Principal of the Royal Academy of Music, and used at most of the large teaching Institutions both at home and abroacl. In cloth, 8vo net o

Three Hundred Questions and Exercises on the subjects con- taíned in the (,, Acaclemic Manual of the Rudiments of Music." U seful to all Students of M usic, and especially to those preparing for Examinations. Cloth, Svo net o

Jopling, l. L.-150 Exercises and Questions on the Elements of Music. Arranged in chapters to be used with the Primer cornpiled by F. Davenport, Esq., Professor of Harmony, Royal Academy of Music. Specially intencled for the use of Candi- dates preparing for the Kensington, International, Trinity College, and Royal Academy Examinations net o 6

Mansfield, Or·Iando A.-The Student's Harmony (Second Edition) net 4 6

"This book is essentially designed for stuclents; but while primarily in tended to ensure success in examination work, it claims to be equally adapted to give the student a knowledge of chonl constructíon and progression sufficient to enable him to analyse the harrnonic structure of the classics, and so solve the problcrns contained in sorne of the finer progressions oí the great mast ers. n~-Extrad from l'u/ace.

"An excellent sclection of examples oí the uses l)y the great masters of the chords describcd , accom pan y the explanation. "-lllusical Times.

'' The arrangement is satisfactorily clear and logical. It is almndantly clear our author is master of bis subject.''-1lfusical Standard.

"The primary object of the book is to ensure the studerit's success in examinations, and this, it may be confidently said, its pages are well calculated to sccure. The constrnction, classification, and use of chords are set forth in a clear and practica! manner, the definitions of the technical terms are terse and lucid, and the musical examples are well chosen."-Athena:um.

Phipps, Alex.--A Comprehensíve Cuide to the Study of Music net o

Thomas, Adelaide, Mus. B., Oxon., Cert., A.R.C.M.- Royal Road of Pianoforte Playing. A Practica! Essay on Pianoforte Playing, or Royal Road to the Art of Touch for Students of every grade net o

Weekes & Co.'s Educational Works.

Musical Ornaments

Documents

Transcript of Musical Ornaments