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LIBRARY

Young University

GIFT OF

John G. Morgan

Morgan Thomas

176941



Digitized by the Internet Archive

in 2012 with funding from

Brigham Young University

http://archive.org/details/whitneysrapidmetOOwhit



\

, WHITNEY'S3

Rapid Method-FOR THE-

PIANO -FORTE.IN ADVANCE OF ALL OTHER PIANO INSTRUCTORS.

COMPRISING A

Ik rough Progressive Course of Lessons presented in an Easy ^Attractive Form,

ILLUSTRATED BY PLATES*

Showing Proper Position of the Hands * Fingers on the Key-board.

IT ALSO CONTAINS

A ( reat Variety of Instrumental Pieces by Distinguished Authors, Songs with

Piano Accompaniments and Four-Hand Pieces for Teacher and Pupil.

THERE IS ALSO ADDED

A Practical Study of Harmony,Which will be Found More Interesting and Instructive than

in an,y other Similar Work.

EDITIONS WITH EITHER

American or FiG^ign Fingering.

EDITED BYja »'i

W. W. WHITNE¥r--.

PART I—Price $2.00. PART Il-Price $1.50. '»***/

' '*> fiCMEIJETEIElilVl^Hi-Prioe $*?.00.

Copyright, 1890, by The W. VV. Whitney Co. Copyright, 1898, by The W. W. Whitney Co. ;' •*>, '>,' V feopyfigM? 18'6,'by W. W. Whitney.

P^RT I—Price $2.00. COMPLETE EDITION—FOREIGN FINGERING—Price $3.0R

Copyright, 1902, by The W. W. Whitney Co. Copyright, 1903, by The W. W. Whitney Co.



PREFACE.

It has been the purpose, in editing this work, to assist

in their difficult task of instructing and holding

attention of their pupils by presenting a thorough,

concise, and graded course of lessons, commenc-

with the first rudiments, and progressing step by

through the five-finger technics, scales, keys, chords,

harmony, etc., presenting each grade in such

attractive form that it becomes a pleasure both to

and to instruct.

The otherwise dry technics are interwoven with pleas-

g melodies, etudes, variations, vocal recreationswith

duets for teacher and pupil, introducing

movements and styles of composition from the best

and modern composers. One subject at a time,

that clearly explained and adapted to the pupils'

has been the aim throughout this book. The

of the keys, position, touch, different form of

rests, time, accents, etc., extend through several

all under the five fingers ; and the essential

and flats, change of keys, double notes, scale

harmony, phrasing, expression, embellishments,

are each introduced successively and clearly ex-

with questions to encourage original ideas in the

mind of the pupil, with studies and amusements illustrat-

ing the subject at hand.

In the practical study of harmony the pupil rapidly

acquires a concise and correct knowledge of chords, chord

relations, transposition, modulation, and the elements of

musical composition. With each study and recreation is

given the tempo in metronome marks, the use of which

greatly aids in laying a foundation for correct time anc

perfect playing. Carefully selected lists of studies anc

pieces in the movements and keys appropriate to the

different grades and lessons, are given for the convenience

of teachers who may wish to illustrate further the subject

at hand.

A full Glossary of technical terms is also give' , to-

gether with an alphabetical list of different authoi and

their most popular productions. During the prepara-

tion of this work the most popular and practical fc eig

works were carefully studied. Also some of the .no.*

renowned teachers in this country were often con.-ulte-

and the manuscript was examined and approved byhen

before going to press. In fact, no item has been or tttefl,

nor pains spared to make this the most complete an per-

fect Piano Method ever placed before the public,

THE EDITOR.

• •• t

'

'

'

: :

k?r?f£?J'? R LEE LIBRARYATI | .-V, ,-WpHAM YOUNG UNIVERSi

PRQVO, UTAHVARSITY

<a



THE PIANO-FORTE.

The Piano-forte is so called from its equal command both of softness

and strength.

It is of German origin, traceable to the dulcimer, clavichord, harpsi-

chord and spinet.

The clavichord was an improvement on the dulcimer by the addition

of a clavier, or key-board. The harpsichord was similar in shape to the

modern grand piano, with two key-boards.

This was the instrument used by Handel, Haydn, Mozart, Beethoven,

Bach, Clementi, etc. The action consisted of a key, and what was

called a Jack, which was a piece of wood, with a moveable tongue,

through which a cutting of crow-quill was passed, to touch the string

when the jack was in action. Hammers were finally substituted for

quills by a Paris manufacturer named Marius. The Florentine, Chris-

tofero, improved upon this discovery, and his instrument, the first called

piano, may be said to be the model on which all subsequent improve-

ments were made.

The clavichord, harpsichord and spinet, continued to be used till

towards the end of the last century, and it was not until about the year

1 760 that the piano received public approbation.

The upright piano-forte doubtless originated from the upright harpsi-

chord, and was the invention of an Englishman named Hancock.

The English, for some time, enjoyed an almost exclusive fame for the

manufacture of the piano-forte. At length a rivalry commenced in

Germany and France, and finally in the United States, where several

important improvements have been introduced, until, for excellence of

material, simplicity of style, elegance of finish, and faithfulness of work-

manship, and, above all, for volume and variety, mellow sweetness,

brilliancy and permanency of tone, the American piano now challenges

competition from all quarters of the world.

There are three highly important agents in the present day for bring-

ing music into our homes, and enabling us to cultivate a taste for the

enjoyment of the best works in the art;—the first is the small cost at

which standard compositions are now published; second, the rise of

musical literature; and third, the greatly reduced prices of the piano-

forte. Any one of moderate means can possess a piano of the first

quality; and it is, above all instruments, best calculated to form a musi-

cian, in its capacity of obeying the touch, so as to enable the performer

to vary and accommodate the expression to those striking lights and

shades which so characterize the more refined compositions of the present

day.

The tone or timbre of this instrument depends almost wholly upon the

seasoning of the wood, particularly in that part of it called the sound-

board, which should consist of the finest spruce or pine. It is most

important that the wood forming the pin block upon which the wire*

are strung should be thoroughly seasoned, for if untempered timber be

used, the instrument will not remain in tune, and the quality of the tone

will be greatly injured. Therefore, it is better to purchase an instru-

ment from a reliable firm or manufacturer, giving the preference to the

home dealer, as you then have the double guarantee of both manufac-

turer and dealer against any imperfections that may appear in the

piano.

The best pianos, made of the most thoroughly seasoned material, are

necessarily affected by dampness and extreme heat. Thus, it is evident

that if the piano is to remain in good order for many years, good care

must be taken of it. The instrument should be closed when not in use,

in order to prevent the accumulation of dust, pins, etc., on the sound-

board. However, it must not be left closed for a period of several

months or longer, but be opened occasionally, and the daylight allowed

to strike the keys, or else the ivory may turn yellow.

Any hard substance, no matter how small, dropped inside of the

piano, will cause a rattling, jarring noise.

It is in every case desirable that an India rubber or cloth cover should

protect the instrument from bruises and scratches.

The piano should not be placed in a damp room, or left open in a

draft of air—dampness is its most dangerous enemy, causing the strings

and tuning-pins to rust, the cloth used in the construction of the keys of

action to swell, whereby the mechanism will move sluggishly, or often

stick altogether. Continued dampness will also injuriously affect the

varnish by swelling the wood of the outside case. It will also swell and

raise the soft fibers of the sounding-board, thereby forming ridgee,

which, by the inexperienced observer, are mistaken for cracks, while in

reality affording the best proof of excellent, well-seasoned material. All

this occurs chiefly in the summer season, and the best pianos, m&r\ of

the most thoroughly seasoned material, are necessarily the most affected

by dampness, the absorption being more rapid. Extreme heat is

scarcely less injurious. The piano should not be placed very near to an

open fire or a heated stove, nor over or close to the hot air from furnaces

now in general use.

Moths are very destructive to the cloth and felt used in the piano

and may be kept out of it by placing a lump of camphor, wrapped in

soft paper, in the inside corner, care being taken to renew it from time

to time.

Many persons are unaware of the great importance of having their

pianos kept in order, and only tuned by a competent tuner. A new

piano should be tuned at least once every three or four months during

the first year, and at longer intervals thereafter.

m



SHORT BIOGRAPHIES OF NOTED MUSICIANS.

Allegri, Gregorio (al-la'gre). Lived between

Pupil of Nanini. Celebrated for his

performed in Sistine Chapel at Eome.

Auber. Born 1784, died 1871. Popular French

His best operas are: Fra Diavolo, Ma-

and Crown Diamonds. He was a Knight

the Legion of Honor, and a Director of the Conserva-

at Paris.

Bach. Johiinn Sebastian. Born at Eisenach, Ger-

1685, died 1750. One of the great masters.

Chorales, Inventions, Preludes, Sonatas, Concertos,

and Passion Music, are celebrated for their

and originality. He had several sons who were

distinguished composers and organists.

Balfe. Born at Dublin, 1808, died 1870. Best

by his songs and the operas : Bohemian Girl,

and Puritan's Daughter.

Beethoven, Ludwig von (ba'to-vn). Born at

Germany, 1770. At twenty-two he went lo

to receive the instruction of Haydn, the

of the symphony. Already he was a distin-

composer. Up to 1800 he had finished his

two symphonies, 20 sonatas, trios, quartets, etc.,

many of his most admired productions.

In 1800, he wrote his only oratorio, Mount of

in 1802, his Heroic Symphony, between

his Fidelio, 1806-8, his fourth, fifth and

Symphonies. His works of genius number over

His deafness, pecuniary and other troubles sad-

the latter part of his life. He died in 1827.

Bellini (bfil-le'ne). Italian composer, born 1802,

1835. His most popular operas are : I Puri-

Norma, Somnambula and Romeo and

Bennet, William Sterndale. Great English com-

Born 1816. Author of the cantata The Mayand the oratorio, The Woman of Samaria.

friend and cotemporary of Mendelssohn. Died 1875.

Berlioz (bar'li-oz). 1803-1869. French com-

His dramatic work Damnation of Faust,

overture to Lear, and his dramatic symphony,

Borneo and Juliet, are his best known compositions.

Bertini (bar-te'ne). Frenchman by birth. Born

London, 1798, died 1876. A pianist and author of

Etudes and compositions for piano.

Boieldien (bwal'du). His Famille Suisse,

C Uffe de Bagdad, and La Dame Blanche, estab-

his reputation for being one of the greatest com-

of Frenchcomic opera. 1775-1834.

Brahms (brams). His songs, piano-forte pieces,

symphonies, etc., are very popular. Born

Hamburg in 1833.

Bruch, Max. An eminent German composer

of Loreley, Odysseus, Lay of the Bell,

Flight of the Holy Family, etc.

Cherubini (sher-u-be'ne). Born at Florence,

1760. Wrote many operas, among which wasThe Water-carrier, and Masses, the first of which

written at the age of thirteen, and the last, a re-

at the advanced age of seventy-six. Amongpupils were Boieldieu, Auber, Hale\y and Zim-

Chopin (sho'p&n). Born in Warsaw, Poland,

Achieved his first triumphs,as a pianist, in

His compositions for the piano, waltzes, ma-

zurkas, nocturnes, etc., are full of unexpected, peculiar

harmonies, which bear the mark of original, imagina-

tive, creative power. Died 1849.

Clementi (clem-en'te). The celebrated pianist

and composer. Born at Borne, 1752. He enjoyed the

highest consideration in England, France and Ger-

many. His ability as a composer and performer, won

for him the favor of Emperors and the admiration of

hiscotemporaries, Beethoven, Mozart, Schubert, Haydn,

Handel, Cramer, Moscheles, and other great musicians

of his time. Died in England 1832.

Cramer (crii'mer). 1771-1858. Born in Ger-

many, but lived most of his life in London. Known

by his sonatas, concertos, and studies for the piano.

Czerny (tzar'nl). Teacher and composer. Born

at Vienna 1791. Franz Liszt was his pupil. Besides

his daily occupation as a teacher, he produced up-

wards of 800 original compositions. Died 1857.

David, F. (dii'ved). French composer. 1810-

1876. Author of Desert, La Perle du Brasil,

Lalla Rookh, etc.

Donizetti (donl-zet'ti). 1798-1848. One of the

most prolific and brilliant composers of Italian opera.

He wrote very rapidly. The whole of the fourth act

of La Favorita, with the exception of one cavatina,

was composed in three hours. The most popular of

his operas are: Lucrezia Borgia, Lucia di Lam-

mermoor, Daughter of the Regiment, Don Pas-

quale, Anna Bolena, Belisario, Elisir d' Amor,

and Linda de Chamounix.

Dreyschock (dri'shok). A Bohemian, born

1818, died 1869. A brilliant pianist. Teacher of

Nathan Richardson and Wm. Mason.

Dussek. A Bohemian. A family of celebrated

organists. Author of many excellent works for piano,

violin, etc. 1761-1812.

FlotoW (flo'to). Popular German composer. The

opera Stradella, first gave him celebrity. This was

followed by Martha, L'Ombre, etc. Died 1883.

Franz, Robert. Born in Halli, 1815. A distin-

guished writer of german songs.

Gluek (gluck). One of the founders ? he Ger-

man opera. Artarsersi was his first opera, produced

in Milan 1741. His two latest complete productions

were Iphigenie in Tauris, and Echo and Narcissus.

His Orpheus run 28 successive nights, and Alceste

was the only opera allowed for two years at the court

theater of Vienna. Iphigenia, written in 1772, had

also a brilliant success in Vienna and Paris. He died

in 1787, leaving a fortune of nearly $125,000.

Cade, Neils (gii'de). A Danish composer of sym-

phonies, overtures, etc., who succeeded Mendelssohn

in the direction of the Gwandhaus Concerts at Leipsic.

His concert overture Ossian, and first symphony in

C minor are great favorites in the concert room.

Gonnod (gu'no). Born in Paris, 1818. Wrote

several masses, produced in Paris, Rome and Vienna.

First decided success was the opera Sappho, 1851,

but Faust, first performed in Paris, 1859, made his

name famous. From that day to the present this mas-

ter-piece has retained its place as the most popular of

modern operas. Faust was followed by La Colombe

in I860, Romeo et Juliette, 1867, Polyeucte, 1878,

several masses, songs, etc.

Hiilevy. French dramatic composer. Bestknown

i

r

e

i in

ii ..

i to

by his operas: La Juive, L'Eclair, and hisr

pletion of Herold's Ludovico. 1799-1862.

Handel (han'del). A native of MagdelGermany, born 1685. At nine years of age he pla„ i

the organ in the cathedral at Halle. At ten, coir

a set of sonatas. At twenty and twenty-one

the operas Amira and Nero. In 1709 Apina. In 1710 he went to London. Here his

IT

siah was first performed in 1741. His other or

rios, Samson, Saul, Joseph, Belsh? .

Judas, Maccabaeus, were at first coldly ru <-.

in England. At seventy, and after he became u '.

he performed in public upon the organ. His coinr

of this instrument was amazing, and its effects .

;

the audience indescribable. Died 1759.

DZasse (has'se). Born near Hamburg, 1699. »

1724, went to Naples and studied under Porpora ? J

Scarlatti. His first opera was Sesostrate. In I 3,

went to England, where his opera Artaserse, *as

performed for the debut of the great singer Farinelli.

In 1745 his Armenio was given in Dresden befo

Frederic the Great, who was so enchanted that he pre-

sented Hasse with $1,000 and a diamond r ;: _'. I

composed a Te Deum in his 81st year, which i; su

in the presence of the Pope. Died at Venice in 175 -

Haydn, Joseph (hi-dn). Born near Vienna. 11 .

When eight years old he went with Reiiter to Yieu

and was a choir boy in St. Stephens, practicing

from sixteen to eighteen hours. In compositi

was almost 6elf-taught, enduring penury du>-,

early career, until established in the house o i

Esterhazy. From this period his life was dev

study, producing, in the space of 50 years, 527 irstru-

mental compositions. In 1795, when 63 years o' Vcommenced his great work of the Creation, lab<

at it two years. Two years after he wrote a

oratorio, The Four Seasons, which was .

work. He died at the age of 78.

Heller, Stephen (heTler). The finished

and composer of e'tudes and piano-forte compc.

now residing in Paris, was born at Pesth, Hu1815.

Henselt, Adolph. A virtuoso pianist c-r

with the court at St. Petersburg. Was born in i

ria, 1814. Was a pupil of Hummel. His pian>

compositions are much admired.

Herold. Born at Paris, of German pan

1791. A pupil of Cherubini. He composed

operas, but his triumph was Zampa, in threi

1831. His Pre aux Cleres was his last. Died'

at Paris.

Herz, Henri. The popular pianist and eon:}

was born at Vienna, 1806. He has published o

hundred works, his music being distinguishedo

brilliancy. ^.^

Hiller, Ferdinand. Born in Frankfort on Miir

1812. Pupil of Hummel, and Rink, the fai.r.

ganist. He has published 183 works, among whi«f*'

Destruction of Jerusalem, Spring Symphony*'

Hummel (hu/ni£l). A cotemporary of 1*

'

ven. Born at Presburg, 1778. Was two years i^t.

the instruction of Mozart. Was distinguished ft

execution, and the finish andelegance of his nur

ous compositions.

ant

i

a, e, i, 6, ii, long, as in ate, eve, ivy, oh, rude ; a, e, i, 6, u, short, as in at, £bb, ill, son, but ; a, broad, as in far.

1,3



SHORT BIOGRAPHIES OF NOTED MUSICIAN&

Jaell. Alfred (yael). Born at Trieste, Austria,

1830. Well known pianist and composer.

Joachim (yo-ach'em). The great violin player,

was born at Kittsee, 1831. Resides at Berlin.

Jensen, Adolph (ygn'sen). Born at Konigsberg,1837. His compositions are imaginative and pleasing,

eomewhat in the style of Schumann's. His studies for

piano, Op. 32, are excellent. Died 1879.

Koehler. Known by his compositions for piano.

Was born 1820. Now lives at Konigsburg, Prussia.

lillllak, Theodor. A piano teacher and com-

poser. Was a pupil of Czerny, and founder of the

Conservatory of Music, at Berlin, and the Neue Aka-

demie der Tonkunst, of which he is the head. Born

1818.

Kalkbrenner, Frederick. Son of a Prussian

Jew, born at Cassel, Germany 1784. His compositions

evince a fine taste and fertility of invention. Died at

Paris, 1849.

Kuhnan, Johann. 1667-1722. One of the great-

est German musicians before Bach. He was the first

to write the sonata in its present form.

Lange, frusta v (lang'Sj Was a pupil of Loesch-

horn in Berlin During twenty-five years he has pub-

lished over 25C pieces for the piano. Is a German.

Born 1830.

Idszt, I r*n? (Iitst). This celebrated pianist was

•born at Reading, Hungary n 1811. At the age of

nine he performed in public. Studied under Czerny

at Vienna. His compositions are classed with Wag-

ner's, under the new German school. Died at Bay-

r«uth, 1886. Buried at Weimar.

L.ysberg, Charles (Hs'barg). 1821-1873. Born

in Geneva. Brilliant pianist and composer of salon

pieces.

Locschhorn, A. Author of the many excellent

ntud'es for the piano, was born in Berlin, 1819, where

he now resides as a teacher.

Maefarreil. George. An English composer,

barn, 1813. Known by his cantatas, operas, part-songs

and oratorios. His comic opera Don Quixote, was

written in 1846. The Royal Academy of Music, of

which he is the President, conferred upon him the

degree of Mus. Doc. He is entirely blind.

Mayer, Chas. (mi'-fir). The German composer,

pi? t and teacher, was born at Konigsburg, 1799,

died 1862.

Marchetti, F. One of the most popular of the

present Italian opera composers. Author of Ruy

Bias and Don Giovanni d' Austria. Born 1833.

Mendelssohn, Felix (men'del-son). This highly

favored and gifted composer was born at Hamburg,

1809. He was the son of a rich merchant and banker.

At the age of eight he could play at sight the most

intricate scores of Bach, and transpose Cramer's exer-

into all keys. He studied composition under

\ At fifteen he appeared before the public as a

t His overture of the Midsummer Night's

i, the exquisite Songs Without Words, his

'«ndo Capriccioso, Concerto in G Minor, beautiful

isies, and his oratorios St. Paul and Elijah,

.ie greatest of his works. The latter, Mendelssohn

' 'cd and conducted at the Birmingham Festival

16. At only thirty-eight he died.

A'oyerbeer (ml'er-baer). Though born in Ber-

lin, of Jp.ish parents, in 1794, he achieved his great-

•'iumphs in Paris, where his Robert le Diablo,

brought out in 1831. Hia other beat known works

are : Stabat Mater, Miserere, Te Deum, and

the operas Les Huguenots, Le Prophete, and

L'Africaine. He died in 1864.

Moscheles (mo-shel'es). Born in Prague, 1794.

Was Professor in the Royal Academy of Music, Lon-

don, and afterward, with Mendelssohn, in the Leipsic

Conservatory, Vienna, where he died, 1870. Mo-

scheles Studies, and other compositions, are played

by every virtuoso.

Moszkowski (mots-ko'ski). A young and gifted

composer of Berlin.

Mozart, Wolfgang. Born at Salzburg, 1759. At

the age of three he began to show his astonishing abili-

ties for music, and to play on the harpsichord. At

ten, he went with his father to Italy. In the Sistine

Chapel, at Rome, he heard Allegri's celebrated Mi-

serere. Knowing that, to give or take a copy of this

composition was prohibited on pain of excommunica-

tion, the youthful Mozart listened attentively and

wrote out the whole from memory. His most success-

ful operas were : Idomeneo, Marriage of Figaro,

Don Giovanni, Magic Flute, Don Juan, Cle-

menza di Tito, and the Requiem. He had scarcely

time to finish this before his death, which occurred on

the 5th of Dec. 1792, before he had reached his thirty-

sixth year.

Neukomm, S. C. (noi'kom). 1778-1858. Born

in Salzburg. Studied seven years with Haydn. Chiefly

known in this country by his oratorio David and

Mount Sinai. He has composed in all 743 works.

Offenbach. 1819-1880. Born at Cologne, of

Jewish parents. Popular composer of opera buffo.

Paer, Ferdinand (pa/er). Italian dramntic com-

poser. Born at Parma, Italy, 1771. Wrote some fifty

operas. Was teacher of the celebrated violinist, Pa-

ganini. Died 1839.

Plaidy, Louis (plidy). Author of Plaidy's

Technical Studies. Was for years a professor in the

Leipsic Conservatory. Died 1874.

Paccini (pa-tshe'ne). 1796-1867. Celebrated

Italian composer. The rival of Gluck in the Musi-

cal War at Paris.

Palsiello (pa-e-s6l-16). A cotemporary of Pacini

and Cimarosa. Wrote many Italian operas. Was

court composer at St. Petersburg, under the reign of

Catherine, and chapel-master for Napoleon. 1741-1815.

Palestrina (pal-es-tre'na). One of the founders

of Italian music, both sacred and secular. Was born

at Palestrina, 1524, died 1594.

Raff, Joachim (raff). This able composer has pro-

duced over 200 works, among which are concertos,

symphonies, and his well known opera ''King Alfred.

Born at Lachen, Switzerland, 1822.

Ranican, Jean (ra-mo/). French composer, born

in Dijon, 1683. Wrote several theoretical works and|

is sometimes styled, by his countrymen, the Newton of|

harmony. His operas are numerous. Died 1764.

Rossini (ro-se'ne). Born in Pesaro, Italy, 1792.

Was a great favorite with the Italians and was called

the Swan of Pesaro. An original, unique figure in

musical history. Studied in Bologne. The first opera

which made his name famous throughout Europe, was

Tancredi. Following this were: II Barbiere di

Seviglia and Otello, 1816; La Gazza Ladra,

1817; Moses in Egypt, 1818; Siege of Corinth,

1819; William Tell, 1830; in all thirty-eight operas.

In 1838 he composed his celebrated Stabat Mater.

His works were remunerative, and the last thirty yeara

of his life were spent in luxurious retirement. Died

1868.

Rubinstein, Anton (ru'bin-stine). Born in

Wallachia, 1829. One of the greatest of living pia-nists, and a fine composer of oratorios, symphonies,

etc., among which are his Feramors, and the colos-

sal Ocean Symphony with seven movements.

Saint-SaenS ( sa-sii'ong). This popular French

composer has written several symphonies, operas, etc.,

which have been successfully produced in this country

and Europe, among which are his Phaeton and

Danse Macabre.

Sell mitt, Aloys. Born at Hanover, 1827. Hia

father was a musician of note. He composed several

operas, and his Studies are used by the best teachers.

Schubert, Franz (schir'bert). In ballads and

songs it would be difficult to find Schubert's equal.

Of these, more than 200 have been published, besides

an incredible number of other compositions of every

possible style and form. He died 1828, only thirty-one

years old. Upon his monument is the appropriate

inscription: The art of music buried here a rick

possession, but yet fairer hopes.

Schumann, Robert, 1810-1856. The names of

Schubert and Schumann are associated as the founders

and exponents of the romantic school of music. Schu-

mann has composed a vast number of piano pieces,

many as novel and fantastic as they are beautiful in

form. The most faithful interpreter of his works is;

Mde. Schumann (Clara Wieck), the celebrated pianist,

whom he married in 1840.

Spohr. Born in Brunswick, 1784. He excelled

upon the violin. Among his works, the opera ' Jes-

sonda, and the oratorio Last Judgment, are the

most widely known. Died 1859.

Strauss, Johann. Born 1804. Lived in Vienna.

Died 1849. His dance music, and that of his sons,

John, Joseph and Edward, are known the world over.

Tausig, Carl. A great pianist. Born in Warsaw,

1841. He was a pupil of Liszt, and almost his equal

in technique and fiery vigor. Died 1871.

Yerdi (vaKde). An Italian, born 1814. The most

popular composer of Italian opera since Rossini, Bel-

lini and Donizetti. His operas are: Oberto di San

Bonifacio, Nabucco ( Nino, ) I'Lombardi,

Ernani, Giovanno d'Arco, Alzira, Rigoletto,

II Trovatore, Aida. Also a recent production,

Requiem Mass.

Wagner, Richard. This innovator in dramatic

music, was born at Leipsic, 1813. His early life helped

to mature that individuality which is marked througn

all his compositions. After years of vicissitudes and

humiliation, his Rienzi and the Flying Dutch-

man were at last accepted at the theaters of Dresden

and Berlin in 1849. From this date began his pros-

perity. Next appeared his Tannhauser and Lo-

hengrin, followed by Die Meistersinger, Tristan

und Isolde, Nibeliingen Ring and Parsifal. Hedied at Venice, Feb. 13th, 1883.

Weber, Carl Von (va'ber). Born in 1786. One

of the romantic school of German composers. Hi»

first and great success was in Der Freischiitz. In

1822, he produced the musical drama Preciosa, in

1823, Euryanthe, in 1824, Oberon. He died ia

England, 182$,



CORREGT POSITIONS FOR HANDS.

I.—Position at the Piano. II.—Position of Forefinger Down. III.—Thumb on Key, Forefinger Raised

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Position of Middle Finger Down. V.—Position of Ring Finger Down. VI.—Little Finger Raised.

VII.—Wrist Touch. VIII.—Finger Raised for Staccato Touch. IX.—Finger After Staccato Touch.

—Fingers on Black Keys, XL—Thumb Turned Under Fingers. XII,—Position of Hand in Chord Plaving

Copyrighted, A. D. 1902, by The W. W. Whitney Company.



M/2'3 /4 %%/% 3 /Zl

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FIRST SECTION.a

LESSON I.

The Kevs of the Piano-Forte.

The keys of the Piauo-Forte, when pressed down, produce

sounds, or musical tones. The extreme key to the left produces

the lowest tone ; the one to the right, the highest tone.

The Key-board consists of black and white keys. These are

arranged in groups.

Seven white, and five successive black keys form a group. Thus

:

The seven white keys of each group are named from seven

letters of the alphabet. Thus

:

From any key of this group, to the next key of the same name

above or below, is called an Octave.

The Octaves follow each other in regular succession throughout

the extent of the key-board, each octave being but a repetition

of the first.

The key-board of the Piano-Forte usually consists of seven

and one-third octaves. Thus :

Full Key-board of the Piano-Forte, 7£ Octaves.

-BASS -T-REBLE-MIDDLE C.

By referring to the above key-board, you will observe that the

five black keys in each group are arranged in two divisions : the

1st division with two, and the 2d division with three black keys.

Every white key to the left of the two black keys is C.

Point out all the C's on the key-board.

What is the name of the white key between the two black keys ?

How many D's are there?

What is the name of the white key to the right of the two

black keys?

How many E's are there?

What is the name of the white key to the left of the three

black keys?

How many F's are there on the key-board?

What is the name of the key to the right of the three black

keys?

Point out all the B's.

Name the two white keys between F and B. How many G's

and A'sare

there on the key-board ?

How many C's do you find on the key-board of your piano ?

Where is Middle C?

Beginning with middle C, strike the seven white keys to the

right, and name aloud each key. Repeat this in every octave,

commencing at the lowest C of the key-board, and proceed to the

highest C.

How many octaves do you find on the key-board of your piano ?

What white key is third above C? Ans. E. What is the

second above C? The fourth above C? The fifth, the sixth,

the seventh, the eighth above C?

What white key is third above D? Ans. F. Third above E

•Third above G? Fifth above G? Eighth above G?

The interval of eight tones is an oetave, as from A to A, G to

G, C to C, F to F, etc.

How to Strike the Keys.

As musical tones are produced by the action of the hammers

upon the piano strings when the keys are pressed down, so the

volume and quality of those tones depend upon the manner in

which the keys are struck.Therefore the first

andessential

steps in piano playing is to learn how to hold the hands and

move the fingera.

(8>



Position at the Piano.

The player should sit opposite the center of the keyboard, at such a distance and height, that the arms may move wiu

while the hands retain the position given in Figure I.

I.—Position of Arms, Hands and Fingers.

Exercises for Right Hand.

Place the thumb and fingers of the right hand over the five

C, D, E, F, Gr ; thumb on (an octave above middle C),

finger on D, 2d on E, 3d on F and 4th on G. Carefully imitate

I. in the position of the thumb and curve of the fingers.

finger should be kept over its respective key, and not rest

but held above the surface.

Movement of the Fingers.

Let the forefinger fall upon its key, as in Fig. II, without any

of the hand or arm. The finger should rise and fall from

knuckle joint as a hammer would move up and down whenupon a pivot.

II.—Position of Forefinger on Key.

The instant that this finger touches the key, raise the thumb asas possible, without moving the hand, as shown in Fig. II,

drop the thumb on its key and raise the finger high, as in

III.

III.—Thumb on Key, Forefinger Raised.

Exercise No. 1.

2

DI

c

2

Di

c

2 11

2 1 2 i t i

D o D c D c D

Order and regularity in fingering is so essential that each finger

has its own particular sign, and any note with one of these signs

placed over or under it, must be played with the finger indicated

by that sign.

American fingering is marked thus:

Foreign fingering thus:

Practice Exercise No. 2, with the fingers indicated by the figures

over the letters, keeping the wrist up, hand level, and moving only

the two fingers.

Exercise No. 2.

2

D3

e

2

D3

e

2

D3

e

2

D3

e

2

D3

e

2

D e i

Play evenly and slowly. Use only the two fingers marked in



No. 3. Keep them curved. Do not strike the keys on the nails,

but on the fleshy tips of the fingers. Cut the nails short.

Exercise No. 3.s

E4

f

3

E4

f

3

E4

f

3

E4

f

3

E4

f

3

E4

f

Be careful that you have the correct position, with each finger

over its proper key.

In No. 4, endeavor to move the fingers independently of the

hand.

Exercise No. 4.

4

F5

g

4

F IT

4.

F5

g

4

F5

g

4

F g

4

F5

g

Exercises for Left Hand.

Place the left hand in correct position over the five keys C, D,

E, F, G, as shown in cut:

Position of Left Hand.

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Follow the same rules already given. Remember that while

one finger strikes, the other fingers remain curved and motion-

less over the keys.

Exercise No. 1.

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G2

f

1

G2

f

1

G2

f

1

G2

f

1

G2

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1

G2

f

Speak the letters in a distinct, steady voice, like the regular

tick of a clock.

Exercise No. 2.

2

F3

e

2

F3

e

2

F3

e

2

F3

e

2

F3

e

2

F3

e

Raise the fingers from the knuckle-joint and let them fall with

a sudden stroke upon the keys.

Exercise No. 3.

3

E4

d

3

E4

d

3

E4

d

3

E4

d

3

E4

d

3

E4

d

The finger holding down the key should be raised quickly at

the exact instant that the next finger touches the following key.

Exercise No. 4.

4

D5

C

4

D5

C

4

D5

c

4

D5

C

4

D5

C

4

D5

C

LESSON II.

These exercises should be played very slowly, and repeated

many times, observing all the preceding rules.

A similar practice upon a table (where the arms and wrists re-

ceive support by resting upon it), may be of much benefit in

educating the fingers to independent action.

THE MUSICAL ALPHABET.Degrees of the Staff.

Notes.

Musical tones are expressed in writing by characters called

Notes. These Notes are named, like the keys of the Piano-Forte

;

C D E F G A B

When a melody exceeds these seven letters, the same series are

repeated like the different octaves of the key-board.

A Note serves two purposes : It indicates by its position on the

staff the definite pitch of a tone, and by its form, the length of

that tone.

Position of Notes on the Staff.

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The Staff consists of five lines and four spaces, which are counted

upward from the lowest to the highest.

Lines of the Staff.

1st-2d

-3d-4th

5th

Spaces of the Staff.

4th

— 2d1st

Each line and space is called a Degree. The Staff consists of

Nine Degrees.

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5th ~5Tth j7th- SOT — 9th

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Two Staffs are used in Piano music. They are joined by a

Brace.

Brace

-TREBLE STAFF-i

-BASS STAFF

1The Clefs.

In order to fix definitely the names of the notes on each staff,

two Clefs are used, viz. : The G Clef ^ and the F Clef §^

The G Clef (also called Treble Clef), is placed on the Treble

Staff; and the F Clef (also called Bass Clef), on the Bass Staff.

Thus

:

Treble or G Clef

Bass or F Clef

-TREBLE STAFF-^

BASS STAFF-1



THE TREBLE OR G CLEF.

When the G Clef is placed on the Staff, every note on the 2d

is named G.

Example.

Treble or G Clef i <5>- -<S>- mG G G G

From G we count upward, naming the Notes in Alphabetical

and downward in reverse order.

Naming the Notes Upward.

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G a b c d e f

the Notes Upward and Downward.

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Notes on the Nine Degrees.

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Middle

Keys Corresponding to the Above Notes.

Name aloud each note and strike its corresponding key. Whatnotes are on the five lines? What notes in the four spaces? Com-mit these to memory.

In the following study, play the keys indicated by the notes.

Name aloud each note as you strike the key, emphasizing the

capital letter.

Give each note the same length of time. Remember directions

for position given in Lesson I, and place the fingers over the five

keys indicated on page 7.

FINGER EXERCISES WITH NOTES.

First Study for Right Hand.

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Second Study for Right Hand.

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When the fingers are held properly bent over the keys C, D, E,

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must, therefore, be kept at such a distance from one another,

when the hand is at rest, each may strike its own key exactly

the middle of the broad part ; for which purpose the hand mustheld horizontal with the keys as in Fig. II ; the thumb must

be made to fall on the key in its natural

straight position, and the fingers curved so

that they, together with the thumb, will form

a half circle, and the side of the thumb and

tips of the fingers will touch the keys at the

points indicated by the finger marks in Fig. B.

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Third Study for Left Hand.

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Practice the studies in this lesson not only to learn the notes, but to educate the fingers. Pay strict attention to position and

Review Questions.

What letters of the alphabet are used in music? Where is middle C on the

key-board of your piano? Point out the C an octave above middle C. Also the

C an octave below. What is a note? How many notes on the staff? How are

the lines and spaces of the staff counted? What are degrees of the staff? What

is a Brace? How many Clefs are used in Piano music? Write on blank music

paper the G Clef. Write and name the notes on the lines. In the spaces. What

note on the first degree above the staff?

LESSON III.

The Seven Forms of Notes.

The various lengths of tones are represented by Seven forms of notes, as follows:

Whole Note. Half Note. Quarter Note. Eighth Note. Sixteenth Note. Thirty-second Note.

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Study in Whole Notes.

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Sixty-fourth Note.

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Place the right hand over the five keys indicated by small notes. Hold each Whole Note while counting four,

evenly, emphasizing the counts One and Three.Right Han. I.

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Count One two three four etc.

Rhythm or Time

Rhythm is the division of sounds into equal spaces of time.

One, two or more musical tones fill a measure of time. In the

above study,one tone fills a measure of time. This tone is repre-

sented by the Whole Note, and the measure by the space be-

tween two Bars.

Bars are the short, perpendicular lines drawn across the staff.

Thus:

%mBar. Bar. Do nb lf> Bar.

Measure. Measure.

II

Where the measure is divided into four parts, thus

:

and the accent falls on the

first and third parts, the

time is called Four Part

Measure or Common Time.

One —two -three - four

—

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Study in Four Part Measure for Left Hand.

The small notes indicate the kevs over which the fingers of left hand should be placed. Hold each note the fujl time of the measure.5*4 3 2 1 2 3 4 5eft Hand.

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Position for Both Hands.

Studies for Both Hands.

Place both hands in correct position over the keys indicated

by the small notes. Strike the two keys, the C with the thumb

of the right hand, and Gr with thumb of left hand, exactly at the

same time. The same also with D and F. Repeat the study

several times, as indicated by the Repeat Sign, viz.' : Dots

before the Double Bar.

Position of Middle Finger Down.

Position of Ring Finger Down.

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Measure.



LESSON 17. 11

Half Notes.

& t represents a tone one-half as long as that

of the Whole Note.

If to a Whole Note you count four, to a Half Note count two.

Thus:

One I two I One two

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One two I

As there are only two counts to a Half Note, it requires two

Half Notes to fill a Four Part Measure. Thus:

One two

feOr One two

Half Notes.One two One two

One two

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three.' four One two three four

Study in Whole and Half Notes.

Strike the keys with right and left hand exactly together, and remember the important rule, that each finger must be lifted up

exactly at the same time the next finger strikes its key.

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Two Half Notes to One Whole Note.

Strike the first Half Note in each measure, exactly with the Whole Note, and the second Half at the count three. Hold the

Whole Note the full time of the measure. In counting, speak the numbers promptly and evenly, with each count detached and short,

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DUET FOR TEACHER AND PUPIL.

By keeping the thumb in place, and each finger curved over its proper key, many mistakes are avoided.

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The Quarter Note ( 9 ) represents a tone one-fourth the length

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To a Quarter Note count One. Thus

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LESS02T V.

Four Quarter Notes fill a Four Part Measure ; a Quarter Note

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Finger Practice No. 1. 13

Always place the fingers of both hands in correot position over the keys before commencing an exercise. Learn each leHsan

thoroughly.4 5 5123. „ 1 m 1

Finger Practice No. 2.

Keep the hands up so that the finger tips are held about half an inch above the keys. Let the unemployed fingers retain a quiet,

relaxed and curved position, as shown in Fig. C. In counting, remember the accent

weaker thus ==~.

The strong accent is marked thus a and the

Review.

How many staffs are used in piano music? How are they connected? Write on music paper the brace. After the brace place the two clefs; after the clefs

place the sign of common time. Name the upper clef ; the lower clef. Write a whole note. A quarter note. A half note. How many quarter notes are equal in

Talue to a whole note? To a half note? How many eighth notes to a half note? How many quarter notes in a measure of common time? How many half

notes? How many whole notes? Write the following notes on the treble staff in whole, half or quarter notes: C, E, F, G, A, B, C, 13, D, F, D, G, E, C.

Divide the staff into measures by placing the bars at the proper intervals between the notes, after which play and count.

LESSON VI.

The Bass or F Clef.

You have already learned on page 7, that two Clefs are used in

Piano-Forte music, viz:

The Treble or G Clef and the Bass or F Clef

(i)When the Bass or F Clef is placed on the staff, every note on

the 4th line is called F.

Example.

Bass or F Clef m & -&

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From F, we count upward, naming the notes in alphabetical

order, and downward in reverse order.

Notes on the Bass Staff.Upward.

Bass or

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Notes on the Lines.

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Notes on the Nine Degrees of Bass Staff with Correspond-

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Study for Left Hand. Bass Olef.

Name each note aloud as you strike the key.

F E D C E DEFT HAND.

C D E F G

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mStudy for Equalizing the Strength of the Fingers.

Avoid all motion except with the fingers. Have regular practicing hours each day. Do not practice over half an hour at a

Long continued action tends to weaken, instead of strengthen the muscles of the hand. Two hours per day, or even an hour

beginners, if distributed and used to the best advantage, will be of more benefit than six hours of careless practice.

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Keep the hands always level and horizontal with the keys, as shown in Fig. C. In this position only, can the thumb and

retain their proper place over the keys.

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Fit the fingers to the five keys in this new position. Name aloud the notes of both clefs.

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* Every pupil should be provided with a Metronome, which marks the time evenly and exact. Always place the weight of the pendulum opposite thenumberin the exercise. If the number is 100, then there will be one hundred strokes of the metronome in one minute and every stroke indicate* the time of A

note. Begin with a much slower time than this, say #-^50, and gradually increase the speed, as you improve in executing the notes correctly.



To Strengthen the Right Hand Fingers. 15

fcpce.

Watch carefully the position and movement of the fingers. Avoid all motion of the arm or wrist. Strike each key with equal

Right Hand.12 3 4 5

J=100.3 5 2

Left Hand.6 4 3 2 1

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PUPIL.

Review.

How is tha bass clef written? Name the notes on the lines, bass clef. In the spaces. Write, as in previous review, the brace, clefs and time. On the Treble

» place the following notes: E, quarter note, D, quarter, C, half, G, quarter, F, quarter, E, half, D, quarter, E, quarter, F, half, E, quarter. D, quarter, C, half, G

quarter, F, quarter, E, half, E, quarter, D, quarter, C, half, D, F, E, D, quarter notes, C and E quarter notes, C, half note. Below these notes, on the Bass staff, write

the following in whole notes: C, E, G, C, E, G, G, C. Place a tie over two uetaa when they occur together on the same degree of the stall'. Divide into measurea-

and play and count aloud.

naff



Eighth Notes.

The Eighth Note is written singly, or in groups. Thus:

LESSON TIL

Table of Notes.

A Four-Part Measure contains:

I i

3J J

It represents a tone one-half as long as that of a Quarter Note.

two Eighth Notes have the same time value as one

Note.

n i ii000

\

You have now learned the value of four forms of notes

:

Half Note. Quarter Note. Eighth Note.hole Note

112

Quarter Note.

\

1 Whole Note,

or

2 Half Notes,

or

4 Quarter Notes,

or

8 Eighth Notes,

or

:s:

One two three] four

iOne two three four

& ±r.

One two three four

i ^_^t_^_#i_^

One two three four

The same value in C.

1 or ^

combined. Thus

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four

One ' two three

Rests.

Each note has its corresponding Rest, denoting silence. Thus:

Quarter Kest. Eighth Rest.

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Whole Rest. Half Rest

Study in Eighth Notes.

Play two Eighth Notes to one stroke of the metronome. Play evenly and observe the accent marks.

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There are three varieties of Four-Part Measure, represented by

fractional figures

f ^ or g and *

These figures show, respectively, that the value of four Half

or four Quarter notes, or four Eighth notes fill a measure.

Quadruple Time.

Half Notes. Quarter Notes.

z 1 i h-Hor 5 - or -

Eighth Notes.

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These three varieties of Four-Part Measure are classed under

the head of Quadruple Time.

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Recreation in j Quadruple Time.

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Technical Study, No. 1. 17

Repeat this study often, with careful attention to all the rules given in regard to position and tonoh. Raise the finger at the

rests and hold the hand quietly suspended over the keys. Do not hold the notes beyond their time value. While learning the

notes, it is better to count eight in each measure, one to every Eighth note. Point out the whole rests. The half reets. Thequarter rests.

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Vocal Study.

Do not attempt to sing until you can play the notes in time and without hesitation. Count aloud, one to each Eighth note.

Raise the finger promptly at the rests. Observe the new position for left hand. Repeat the names of the small notes. Sing softly

without forcing the voice, and in exact time and tune with the piano. Breathe only at the rests. Sing the syllables placed under

the notes. Give Do a full, round tone like long O; pronounce Re like ray; Mi (me) ; Fa (fah).

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For explanation of'Sva, see page 182.

Duet for Teacher and Pupil.

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LESSON VIII. 10

Two-Part Measure or Double Time.

Two-Part Measureis the smallest division

oftime.

Thereare

three varieties represented by the figures

21 5and

§The denominator always shows the kind of note into which

the measure is divided; the numerator, the number of those

notes contained in the measure.

The figures & 2: and*

show respectively, that the

value of two Half Notes, or two Quarter Notea, or two Eighth

Notes fill a measure. Thus :

M iz~-

1or fc*

:z£zt jejuniThese three varieties of Twro-Part Measure are classed under

the head of Double Time.

Double and Quadruple Time are again classed under the gen-

eral name of Common Time.

Theme With Variation.

Notice the change of keys for right hand. Watch the fingering. In Two-Part Measure the accent falls on the first count.

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Variation.

Play two eighth notes to one count, or to one stroke of the metronome. Keep the hands quiet and level.

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Study in Triplets.

T* h h^ h

.

A group of three notes written thus : or thus: is called a Triplet. It is played in the time of two of the

3 Qkind of notes. Example equals

\ \

or i . Where is the accent in *L time?

Hold the hands and arms steady, but avoid all stiffness. Strike each key perpendicularly , exactly in the middle. Keep the

over the five keys.

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Evening Recreation.

The triplets here serve as a light accompaniment, the melody to be played, first with left hand, then with right. Hold the keys

and connect the tones of the melody. Raise the hands at the rests.

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LESSON IX. 21

Three-Part Measure or Triple Time.

Triple Time is a division of the Measure into three equal parts.

There are three varieties marked *& *£ and |§-.

These figures show that the value of three Half Notes, or

three Quarter Notes, or three Eighth Notes fill a measure.

Thus

^prrN -Ep or

]

One two three

One / two three

One I two three 1

In Triple Time the accent falls on the first count.

First Waltz.

D. C. (Da Capo), denotes a return to the beginning, and from there play to Fine. At the Quarter Rest, end of first score,

carry the hand to its new position over the keys A, B, C, D, E, without changing the relative position of the fingers ; and at the

rest, end of second score before D. C, return to the first position.

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Study for the Voice.

Play and count the notes several times before singing. The half note with a dot after it is equal to three quarter notes. See

explanation of Dotted Notes, page 23. The notes inclosed in first bracket are to be played the first time through, and the second

time omitted, playing those in second bracket.

Pooitton for fingers.J=152.

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1



REVIEW OF NOTES ON TREBLE AND BASS STAFFS.

Ledger Lines.

Notes above or below the compass of the staff are placed on

between short lines, called Ledger Lines.

Notes Above and Below the Treble Staff.

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Notes Above and Below the Bass Staff.

B D

BASSSTAFF.

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B

The following table of notes on Bass and Treble Staffs comprise

four octaves, two below and two above middle C. The notes

inclosed in brackets( ) from G to F, though written on both

staffs, are played on the same keys.

Notes on Bass and Treble Staffs.

a.p.

STAFF.

;

BASS STAFF.

p 1st octave above middle

C__53=1:

C D E F G A B

2eqziq: =F =2=22

2d octave below middle C.

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2d octave above

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1st oct- below middle C. _.

Name and point out on the key-board the following notes

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SiStudy of Notes on and between Ledger Lines.

Notice the change of clefs on second score, which alters the position of notes on staff, but not on the key-board.

Keys for Eeft Hand. _ 1 3 4 5

Clef thus

:

or in

FClef.

5 4 3 2 1

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Study Hours.

Let the pupil endeavor to have stated hours for practice ; two hours a day if possible, and certainly not less than an hour and a

Youngpupils

should not practice over half an hour at a time. Concentrate the mind upon the lesson even in the most simplestudies, and thus form correct habits of touch from the very beginning. With some players it has required years to overcome

habits contracted during the first three months of instruction.



LESSON X.

Review of the Different Notes and their Relative Value.

23

Seven different forms of notes are used in music, viz: the Whole ( ^ ), Half (d), Quarter (4), Eighth, (4 ), Sixteenth (4 ),

& . IThirty-second (4 ), Sixty-fourth, (4 ).

A Whole Note is equal to

_£2.

12 Half Notes, or A Half Note is equal to

it: i4 Quarter Notes, or 2 Quarter Notes, or

A Quarter Note is

equal to

It it ± 1 It i8 Eighth Notes, or 4 Eighth Notes, or

An Eighth Note

2 Eighth Notes, or is equal to

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1 116 Sixteenth Notes, or 8 Sixteenth Notes, or

v- A Sixteenth is

4 Sixteenths, or 2 Sixteenths, or equal to

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32 Thirty-second Notes.

*_*_*-*-ft-#-/l-*-

10 Thirty-second Notes.

;E?™^]=aM 18 Thirty-seconds. 4 Thirty-seconds. 2 Thirty-seconds.

i121

Whole.

i

Review of Notes and Corresponding Rests.

_(G_

Half.

£

Quarter. Eighth. Sixteenth. Thirty-second.

t-

9Sixty-fourth.

1

II

Dotted Notes.

A Dot (•

)placed after a note or rest increases the value of

that note or rest one half. For example : we count two to a

Half note, then to a Dotted Half note we must add one half

i

more, which makes three—thus, e) •

2 and 1 = 3.

A Dotted Quarter note is equal to one count and a half—thus,

4 • Add an Eighth note to the Dotted Quarter, and you have

the other half count—thus, 4 • 4

1. h £= 2.

Table of Dotted Notes.

A Dotted Whole Note is equal to A Dotted Quarter Note is equal to

—*0 .

— —

a Whole Note and a Half Note.

S3 fj

1 . -

m • —1

a Quarter and an Eighth Note.

4'

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A Dotted Half Note is equal to A Dotted Eighth Note is equal to

22=11

Ita Half Note and Quarter Note.

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Van Eighth and u Sixteenth.

—,

—

_jf 4 *i iV or written thus i an

V V ^2=When two dots are placed after a note, the second adds to the

note one half the value of the first dot. Thus we count three toa dotted half note, and to a second dot we add one half more

—

i

thus: & • •

Questions for Eeview.—How many half notes are equal to one whole note?

How many sixteenths to one half? How many quarter notes to a whole? Howmany sixteenths to one quarter? How many sixteenths to one eightli ? Howmany eighths to one whole note? How many thirty-seconds to one sixteenth?

How many eighths to one half? How many half notes will be required in a

-Atmeasure of t time? How many quarter notes? Eighths? Sixteenths? How

. -3-

many sixtrenth notes in a measure of y time? How many eights? Quarters?

Place a half note in a measure of ^_ time, and how can the remaining part of

the measure be filled? Place a dotted quarter note (

m), and what other notes,

rests or dots will fill the measure ? Write ^T time and tlie required notes, rests,

or dotted notes to fill a measure. In no way can the different notes and their

relative time-value be so readily fixed in the mind of the pupil, as frequent

exercises on music paper of the different kinds of time, notes, dotted notes, reate,

etc.




SECONDO.

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Ritiinlando.

n. r.

5X

1

Is each lesson thoroughly learned before passing on to the next? Remember that a study is not learned because you can play

once through without a mistake, but it should be repeated again and again until you are perfectly familiar with the notes and

ement, and can render it with certainty and precision. Endeavor to practice daily a stated time by the clock, and never fail in

or faith fulneaa.



DUET FOR TEACHER AND PUPIL. 25

PRIMO.

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Review the technical studies each day. Merely playing them a few times accomplishes little. They should be learned perfectly

in slow, exact time, so that they can be performed without a mistake or hesitation, and then repeated with gradually increasing speed,

until the fingers become flexible; uneven fingers are made to play evenly from the knuckle joint only, without any motion orassistance from the wrist or hand, and strength and independence of each finger are acquired.



26 SWISS SONG.

Carefully observe the time and fingering. The five fingers in right hand must be a little extended to reach the interval of a sixth

between G and E. In the seventh measure the dotted eighth note, D, has the time of one, and the half of two, and the sixteenth

note the other half, so that G is struck directly after the F in bass-, at the word and. The same with D in the ninth measure.

Move only the fingers, not the hands nor wrists.

JN= 152.

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four,

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one, two, three, four.

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one, two, and three, four, and one, two, three, four

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Study of Different Positions.

The following study should be practiced with an elastic touch, the finger leaving the key lightly and quickly at the rests, and

while one hand is playing, the other hand should move quietly forward to the next position of five keys. Before commencing the

study, name aloud the notes, and point out the keys in the different positions.

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LESSON XI.

The Sharp.

27

The Sharp ( tt ), when prefixed to a note, indicates that the note is to be sounded a semi-tone or half step higher than the note

without the sign. For example, in the following study a sharp is prefixed to F, which changes the note to F sharp, and should beplayed on the black key directly to the right of F, thus:

£ This sharp has effect only in the one measure in which it occurs.

HfLflJFinger Exercise.

Vocal Recreation.

Learn the notes and time eorrectly before singing. Place the metronome weight at 168 =J\ a stroke to each eighth note.

>T or sextuple time has six parts in each measure. Accent the first and fourth. When singing speak the words distinctly, with a

broad, full tone on the vowel sounds.

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A pleas - ant man - sion in the west,

We fol - low oft the bound - ing deer,

PraiOn

rie lea,

the lea,

S» -^

prai

on

rie lea, Now smooth as bil - lows

the lea, With brae - ing air and

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shine the stars with glow - ing light, Se - rene up - on the prai - rie lea,

gold - en grain and ver - dure high, Our cot up - on the prai - rie lea,

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Dear old home to me.

Dear old home to me.

II



28 Berceuse.

In the following studies commence with the metronome, in very slow time, so that you can keep with each stroke and play the

notes correctly at the first reading. If you can not do this with both hands, try each hand separately. Watch the notes and not the

fingers. As you become familiar with notes and fingering, increase the speed until you can render the entire study without mistakes

or hesitation in the time marked.KOHLER

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Operatic Air.

Strike with the finger curved, as well on the black as on the white key.

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1769ULESSON XII.

The Flat.

8329

The flat (k), when prefixed to a note, indicates that the note is to be played a semitone, or half step lower than the note without

the sign. In the following study theJ?

before B changes the note to B-flat, which should be played on the black key to the left

of B, thus

:

MB This flat affects every B within the measure where it occurs.

Technical Study No. 3. To Equalize the Fingers.

Play very slowly at first, gradually increasing the speed as smoothness and certainty of touch is attained. Curve the finger on

the black key.

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The Legato Touch.

Legato means closely connected, smooth, flowing. Practice

the legato touch. It is indispensable to good playing.

To play legato, adhere closely to the previous rules.

Never drop the wrist, bend in the knuckles, straighten the

fingers, or turn the hand sideways.

Let each finger move free, and independent of the hand, or

the other fingers.

Moderate the force of the thumb, and strengthen the third and

fourth fingers, which are naturally weak.

The fingers should be held over the keys so that each finger

will strike the cen-

ter of the key with

the proper curve

of the fingers, as

well on the black

as on the white

keys, as shown in

cut.



MORNING SONG.

Do not attempt to sing until you can play the notes readily in correct time. Be thorough and systematic in your practice.

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Mer - ry sings the lark at the break of day,

Up, a - rouse ye now at the morn - ing call,

Tra, la, la, la, la, la, la, la, la,

Tra, la, la, la, la, la, la, la, la,

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The Natural,ft

The Natural sign(ft)

is used to cancel the effect of the sharp ( ft ) or the flat (?). For example, in the seventh and ninth

of the Gallopade, the natural sign( ft

) before B cancels the flat(

\? ), and the note is played on B natural, the white key.

GALLOPADE.

Notice the change of positions and watch fingering carefully.

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LESSON XIII. 31

Accidental Sharps and Flats.

Those sharps and flats which are prefixed to certain notes in the

course of a piece, are called Accidental sharpsand flats, and have

effect only through the measure in which they occur.

Thejj

(sharp) raises a note a semi-tone.

The {? (flat) lowers a note a semi-tone.

Thejj

(natural) cancels the sharp and flat.

Each of the seven notes, a, b, c, d, e, f, g, may be raised or low-

ered a semi-tone by prefixing the jj or j?.

Sharped Notes with Corresponding Keys.

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Flatted Notes with Corresponding Keys.

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In the example of flats real tlie notes from right to left.

The twelve keys in the octave (seven white and five black) are

a semi-tone apart.

Each black key is the sharp to the white key on the left, and

the flat to the one on the right. It, therefore, has two names.

Example: the black key between C and D serves as a sharp to

and a flat to D. See following table:

Table of Black Keys.

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C <fa fa fa

o o o

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CHARLOTTE WALTZ.

The accidentals in this study are FJJ in first measure, DJt, third measure, Cft, fifth measure. Move the hand quietly from one

position to the next. Adhere closely to the finger marks and do not turn the hand sideways. Raise the finger promptly at the rests.

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34 Essential Sharps and Flats.

Those sharps and flats which are placed at the beginning of a

piece and of each score, directly after the clefs, are called Essen-

tial sharpsand

flats.

Theyaffect all the notes

onthe

samede-

gree of the staff throughout the piece, and are called the Signature.

Example: F sharp is essential to the key of G, and is there-

fore placed, as a signature, on the F line, at the beginning of

every piece written inthe key of G.

Every F is then sharped, unless canceled by the natural sign (t}).

RONDO IN KEY OF G.

Remember, every F is sharped. All the other sharps are accidentals, and have effect only in the measure where it occurs.

The Slur, over the notes thus **v or _^ marks the motives, phrases and sentences (see explanation in future lessons), and

shows that the notes included within the slur are to be connected. The last note within a slur should be played light, with no

accent.

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LESSON XIV.

Double Notes. Thirds.

Be very careful to strike the two keys simultaneously, and lift the two fingers precisely at the same time. Play slowly and

with precision, repeating each section over several times.

No. 1.

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In the triplets and double notes, remember not to move the

hands or arms, but do not hold them rigid.

Let all the muscles be relaxed and elastic.

Keep the thumb horizontal with the key, as in Fig. IV.

Move it independently of the hand. Strike and raise it promptly

on time, but do not strike with greater force than with the other

fingers.

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36 HOME, SWEET HOME.

Remember the FJt. What is the key and time? Play with the metronome, or count aloud. Review carefully each day. Rave

every lesson perfect, and faithfully follow the directions of your teacher.

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Vocal Study in G-.

In the key of G, do commences on G, the key-note, instead of C, and re, mi, fa, sol, la, si, follow in regular order on the degrees,

a, b, c, d, e, fit. Notice in bars, first, second, third, fifth, sixth, and seventh measures, the whole note D. Hold this down with the

thumb the full time of the measure, while the quarter and half notes are being played with the other fingers.

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Practice of Double and Single Notes. 37

Strike and raise the two fingers exactly together in playing the double notes. Keep the hands quiet and level, moving only the

fingers.

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The following study is in the key of F. F is the predominating note, the key-note, Do. BJ2 is essential to this key; therefore, a

flat is placed on the B degree of the staff, after the clefs, and every note on that degree is played B|z, unless canceled by aff,

as in the

seventh measure. That B is played on the white key.

Learn separately the piano accompaniment and the melody for the voice, then sing and play together, being careful to speak the

words distinctly and to keep in exact time. Take breath at the sign » .

VOICE.

THE BROOKLET.^96.

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2. In among the peb - bles Wild the rip - pies play,

3. Oh, the blessed tin - gle To our fin - ger - tips,

Loit-'ring in the val - ley, Lab'ring at the mill;

Where the la-zy sha-dows Sleep the live-long day,

As the dripping leaf cup Cools our parching lips

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Ev - 'ry ti - ny flow - 'ret Kiss - ing o'er and o'er.

Wades the mer - ry school - boy Bare - foot in the brook.

That the bab-bling brook - let Mur-murs in - to rhyme

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38 LESSON XV.

The Staccato Touch.

VII.—WRIST TOUCH. IX.—FINGER STACCATO TOUCH.

The general position of the arm, hand, thumb and curve of the fingers used- in the legato touch, are retained in the

staccato, as shown in the Figures, and in this position the hand is thrown lightly upward from the wrist by an easy, springing

motion, and as quickly descends upon the key, falling and rebounding like a rubber ball; the entire motion, remember, being

from the wrist, the arm remaining quiet, and the fingers tranquil and unconstrained. In running passages the arm, of course,

moves along with the hand.

There is no pressure, or clinging to the key, as in legato, but simply the sudden stroke of the finger as the hand falls

upon the key-board

There should be no violent or jerking motion, but easy and natural, raising the hand only slightly by the wrist in the

rapid or soft passages, and higher for the loud tones, where more force is required.

The staccato touch is as indispensable to good playing as the legato. It gives variety, lightness and brilliancy to music.

For explanation of IStaccato marks, see Technical Terms page 77.

Practice of the Staccato Touch.

Practice with each hand separately, slowly and carefully, repeating each section several times daily. Persevere until the move-

ments become easy and natural to you.

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Staccato and Legato Touch.—Of each group of slurred notes, accent the first and connect it with the last note, playing the latter

staccato. Do not raise the hand too high at the staccato note, but leave the key lightly and quickly.



Study of Legato and Staccato Touch. 39

In the legato part let the fingers press the keys firmly, so that the tones are smooth and connected, while the staccato notes

are short and detached.

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Careful and repeated practice is required to play legato with one hand and staccato with the other. We advise the pupil to

practice first with each hand separately.

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42 STACCATO POLKA.

Before playing any piece or study, note the signature, time, and all the marks and signs. Commence very slowly, watching

the notes, so that the time may be exact, without mistake or hesitation. If this can not be done with both hands, practice the

passages separately. Never play faster than the acquired facility of the fingers will allow easily and correctly.

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LESSON XVI. 43

Repeated Notes. Portamento Touch.

Notes with dots and a slur over them require the portamentotouch. This is a medium between the staccato and legato. The

notes have nearly their full time value, but are slightly discon-

nected, and are played with a quick stroke of the finger from the

knuckle-joint, or, where more force is required, with a slight

wrist movement.

Repeated notes are played in the same manner. Thatis,

whenstriking the same keys two or three times in succession, the hand:

and arms remain quiet, and the key is struck with the free move-

ment of the finger only. Practice the following with right and

left hand separately, repeating each section several times each

day.

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Repeated notes. Connect the tones, legato style.

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The Q at the beginning of second score cancels the $, and changes the key. The predominating note, generally the last in a piece,

indicates the key. What are the two keys in first and second scores? Play slowly at first. Look at the notes and not the fingers.

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THE CUCKOO.

Study to play this piece with lightness, delicacy and expression. The sudden change from the legato to the staccato movement,

be carefully noted. At the legato hold the hands very still, the fingers near the keys, and connect the tones; at the stactaic

let the fingers touch and leave the keys like rubber balls.

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GREENVILLE, WITH VARIATIONS. 46

This study embodies the pure legato, clinging touch. Let the fingers, seemingly, cling to the keys, giving each note its full time;

fcrtc avoid over-lapping the tones in an indistinct, dragging manner. Every tone should sound clear and distinct, A piece may be

played purely legato, and still spirited.

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46 lesson xvn.

Study of the Diatonic Scale.

The Diatonic Scale is a series of eight tones.

Diatonic Scale Commencing on C.

Ascending Scale. Descending Scale.

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The five fingers can not reach all these tones in succession,

therefore the hand takes two positions in each octave when play-

ing the scale. In the 1st Position the fingers arc spread over

five keys precisely as in five finger studies. For example:

Thumb on C, and the four fingers over D, E, F, G; the 2d

Position, thumb on F, and the four fingers over G, A, B, C.

1st Position. 2d Position. î^l12 3 4 5

Scale with Fingering.1st Position.

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3d Position.

Let the hand remain in the 1st Position until the 2d finger

strikes its key; then, while still holding the key, pass the thumb

under the fingers to the next key F. At the instant the thumb

strikes its key, raise the 2d finger, and, supported by the thumb,

move the hand forward to its 2d Position.

In the descending scale the change from the 2d to the 1st posi-

tion is made by turning the hand over the thumb so that the

finger may strike its key.The left hand should be exercised in the same manner, at first

very carefully and slowly so that wrong movements may be

avoided. The touch should be prompt and exact, each finger

pressing down its key until the next is struck, so that the series

of tones sound smooth and connected. Keep the hands steady

level and horizontal with the keys. Very soon, by careful prac-

tice, the change from one position to another will become almost

imperceptible.

Preparatory exercise of passing the thumb under the fingers. Practice with each hand separately.

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Scale Exercises for the Voice.

The voice has three distinct tones, classed under Registers, as

follows

:

1st. Chest Register :—the chest tones, which in ordinary voices

extend from low G to F, thus : Z

1st Register, Chest tones.

?* + *

2d. Medium Register:—the falsetto tones extending from G to

D, thus : 2d. Register, falsetto tones : ~~far j—f—P-m

3d. Head Register :—the head tones, extending above D to the

highest limit of the voice.

The Chest sounds are produced by exhaling the breath freely,

in such a manner as not to strike against any part of the mouth

on its passage ; the medium sounds by directing the breath

against the teeth.

Practice No. 1 and 2, fifteen minutes daily in following man-

ner : Head erect, shoulders back, take a full breath ; commence

the tone softly, increase —=zZZ.> then diminish ^r==—allowing the breath to escape gradually and smoothly. Give the

tones out pure and clear. Change from chest to medium register

when directed.

No. 1.

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MtDIl'H TONES.ah,



Scale Exercises for the Voice, No. 2. 40

In vocal music the degrees of the scale are named Do, Re, Mi, Fa, Sol, La, Si. Sing the syllables under the notes. Observe

the chest and medium tones. Take breath at the comma ,

.

[ VOICE AND PIANO. CHEST.

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MEDIUM. CHEST.

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VOICE.

Sing in an easy, natural manner. Do not force the voice

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PIANO.

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1. I saw three ships come sailing by, Sailing by, sailing by, I saw three ships come sailing by, On New Year's day in the morning.

2. What do you think was in them then, In them then, in them then,Whatdo you think was in them then, On New Year'sday in the morning?

3. Three pretty girls were in them then, In them then, in them then,Three pretty girls were in them then, On New Year's day in the morning.

Si S X

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Review carefully each day. Have every lesson perfect, and faithfully follow the directions of your teacher. Remember that it

is not the number of pages passed over, but the thorough manner in which these are learned, that makes the player.

Allegro Movement.

Bring the thumb under the fingers so that the scale passages sound smooth and connected.

J=80CLEMENTI.

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50 LESSON XVIII.

Commit to memory the following exercises, and practice daily

with care and attention, remembering all the rules for position

and touch. At least half of the daily practice should be spent

upon these studies; at first with each hand separately and slowly;

with a firm, sound, elastic touch, holding the fingers quietly,

but without rigidity over the keys. The thumb must be already

passed under the fingers before it has time to strike its note.

and not merely when its turn comes, for otherwise a jerk may

easily occur. Vary the power and rapidity, softly, powerfully,

slowly, then quickly, according to the capability of the fingers.

Daily Technical Studies.

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BLUE BELLS OF SCOTLAND. Varied. 51

For explanation of appoggiatura ,K see page 182.

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Note to Teacheb.—Jf you wish to extend the scale studies in C, before proceeding to other keys, we would recommend the following: Elementary Studie*,

Op, 168, Kohler, including several scale forms in C; 101 Preparatory Larsons, Op. 261, Book I, Czerny, including Technical Studies of scale and five fingers; Sona-

tin«, Owtt* 4, No. 1, H. Lichner; and Les Etoeles iyor Valse, L. Streabbog

;good for recreations.



LESSON £IX. 63

formation of the Major Diatonic Scale.

The scale which you have been studying in the preceding

lesson is the Major Diatonic Scale. It is a series of eight soundsor steps, from C to C. In this series are five whole tones and

two semitones.

The whole tones occur between 1st and 2d degree of the scale,

2d and 3d, etc. Thus

:

C D-

1 2

-D E-

2 3

-F G-

4 5

-G A-

5 6

-A B-

6 7

The semitones between E F-

3 4

8th degrees.

-B C—3d, 4th and 7th,

7 8

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A scale may commence upon any one of the twelve keys in the

octave by using the sharps or flats required to produce the above

order of tones and semitones.

For Example : Commence the scale on G. Thus

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The whole tones must occur between

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The semitones between B C-

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Why is F# used in the Scale and Key of G ?

Commence a scale on each white key in the octave and see if

you can find the sharps or flats required to bring the tones and

semitones in their proper places.

Scale of G Major.

v , n /G A B J C D E FH G\ Q . . ^Key-note G. ^

2 g 4 & fi / 8 }Signature F#.

You now play the same scale as in preceding lesson, with same fingering, and order of tones and semitones, only it is transposed

from C, into the Key of G.

Observe carefully the rules for scale practice. Count aloud, and play in exact time. Curve the finger on the black key.

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54 Scale Stude in G.

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the recreations should also be played without the notes after learning perfectly.

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Phrasing.—Musical Punctuation. 55

Melody, like speech, is formed of periods. The period is

formed of phrases, and the phrase is divided into melodic members

or motives. Each period has a conclusion or long repose, which

is called a perfect cadence ; it is like the full stop or period of

speech. Each phrase has a less complete repose, which is called a

half cadence ; it is like the semi-colon of speech ; and, finally

each melodic member has a small repose, which is called a quarter

cadence, and which may represent the comma of speech.

The dimple period contains, as a rule, eight measures in slow, or

moderate time, and sixteen in quick time ; though these lengths

are often varied. It consists of two similar sections (or halves),

and each of these sections, again, consists in general of twophrases, making four phrases in the period. As a rule, two of

these phrases are entirely, or very nearly alike, and the other two

correspond or answer to each other.

Reading without the pauses would be quite unintelligible; so playing or singing, without making the cadences perceived, alters

the meaning of the phrases, and renders music unsatisfactory to the ear.

SUNSHINE POLKA.

Staccato touch. Point out the phrases, sections and periods.

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Equality of Strength.—In practicing the scales, all the fingers must strike their appropriate keys with perfect equality of

drength. No one tone ought to sound in the smallest degree louder than another, whether it be struck with the thumb, first, second,

third or fourth finger.

Every note should be struck in exact time, and held down until the next one is struck ; and the passing of the thumb under the

fingers, and the fingers over the thumb, should be so >m»erceptible that the tones follow each other like an even, unbroken chain ofsound.



DANCING QUADRILLE. Pour Hands.

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Rules on Accent and Phrasing.—Of two slurred notes, the first has the accent and the second is more or less short, requiring

a light raising of the finger or hand to indicate the comma pause.

The same rule generally applies to the last of three slurred notes. Also the last note of a phrase is generally without accent.

To accent the proper notes, and tastefully and clearly define the beginning and ending of the phrases and periods,the ear must

•losely follow the melody, and learn to feel the rhythmical movement.



68 LESSON XX.

Never commence a new lesson, until all the preceding ones are thoroughly learned and understood.

Second liltude in G.

What is the signature and time ? Practice with the metronome, then you will play evenly and in exact time.

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Observe the accents. Commit to memory and watch the movement of the fingers—their equality of strength, and independent

ction from the knuckle-joint only.

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SONG OP MAY. 69

Practice of rapidly changing position of fingers over the keys. Point out the melodic members, phrases and periods. Accent

the notes marked thus :==— and connect all those within the slur, raising the finger from the key lightly and quickly at the staccato

note, without accent.

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Practice daily, legato touch.

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For further recreations in G, we recommend : Harvest Song, Oscar Lowell ; Deitcher's Dog Waltz, Sep. Winner; Fairies' Dream, J. RumnieL, 4 hands; Weasel

Walts, £. Mack, 4 hands; Nos. 11 and 26, in Classics for the Young, Mox&ri.



60 LESSON XXL

Study of Thirds and Sixths.

LEGATO AND STACCATO TOUCH.

Half of the daily practice should be given to the technical studies. They are the foundation of clear, rapid, firm execution.

Commit to memory so as to give your entire attention to the finger movements. Practice first with right, then left hand.

Legato touch. Play slowly. Hold the whole note the full time of the measure; but at the other notes take the fingers up

promptly on time. Strike double notes exactly together.ill

In the following exercise staccato comes on the last note of each group, played short, without accent. Practice slowly and

correctly.

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Wrist movement. Legato and Staccato touch.

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62 CROSSING HANDS.

Play slowly at first, increasing the speed to the time marked. Pass the hands lightly over each other. L. H. gtands for left

hand ; R. H., for right hand.

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Sixths—Legato and Staccato.

Legato; connect the upper notes.

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Left hand practice of holding the bass note with other accompanying notes. Each dotted half note is held the full time of the

measure, but give the eighth notes each their exact time, raising the finger promptly. Play the bass subdued, and melody prominent

and sustained. Mark clearly the rhythm, accent and phrasing. For definition of all musical terms refer to Musical Dictionary.

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Allegro moderate Sostennto e ben cantablle.

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ARIE. Concluded. 63

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64 LESSON xxn.

Scale of F Major.

f FKey-note F. < G A^BjzC D E £ F2 3 4 5 6 7 8 f

Signature BJt.

Preparatory Finger Study.

Practice of passing the thumb under the third finger, and third finger over the thumb. Observe the same rules given for second

finger. Remember the BJ2. Keep the hands steady.

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The scale of C is here transposed into the key of F. What is the signature ? Why is B{? used ?

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SCHOTTISH MOVEMENT. 65

Staccato and legato.

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In scale passages, be careful to allow the striking finger to remain on its key till the instant that the next stroke has descended,

thus perfectly joining the tones, one to another, in a smooth, gliding manner.

Study in P.

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66 EXPRESSION.

There are four principal things to consider in the art of expres-

sion : 1st, sentiment; 2d, phrasing and accents; 3d, variety of

tone; 4th, execution and touch.

Mere mechanical playing does not satisfy the ear. To this

must be added warmth, feeling, coloring, to interpret the thoughts

and sentiments, which are as plainly expressed in music as in

language. In every composition are marks of expression /, p,

cres, dim, dolce, staccato, the slur, etc., which are of great assist-

ance, and should be observed with the same exactitude as the

fingering, time, signature, etc. Explanation of embellishments,

marks of expression, etc., may be found on page 182. All musi-

cal terms are given in Musical Dictionary.

The great variety of shades in tone which may be produced

upon the piano, depends entirely upon the stroke of the fingers.

For the softest tone (pp) the stroke should be very light. In

very soft passages the left pedal may be used. The stroke should

thus be graded according to the power, much force of the finger

being required for the loud tones (f or ff).

But each tone must be full, mellow, resonant, rich and song-like

in every grade of strength from ff to pp.

It must be produced entirely by wrist or finger action; never

by assistance from the right Pedal, or by a forward motion of the

arm, or by stiffening the muscles. The most effective of all the

marks of expression is the swell, viz. : the Cres. ~=^Z and

Dim. ^==— . Here the stroke of the fingers must be carefully

graded, especially in five finger, and scale runs, commencing

softly, lightly, with a velvety touch, and increasing gradually to

the full power, then diminishing to soft again.

KATHLEEN MAVOURNEEN.

I

Attend to marks of expression. Do not strike the second of the two tied notes.

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The C scale with the swell tones, should be practiced ten minutes daily. Never force the voice beyond its natural strength or

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68 LESSON XXIII

Recreation. Legato and Staccato Touch.

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mMAYBELLS.

Staccato with right, and legato with left hand.

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1 52 13 15 3

MENDELSSOHN.

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MAYBELLS. Concluded. 69

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Con grazia.

PEARLY BROOK. (Sonatine.)

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LICHNER.

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Teacher.—If the pupil requires other studies or recreations in F, we recommend: Sonatine, Oeuvre 4, No. 2, H. Lichner;

No. 13, Andante, and No. JO,Jdagio, in Cfcuwics /or (Ae Young, Mozart ; Cagliostro Waltz, Strauss ; Hopeful Waltz, P. M. Burke ; or Lied ohae Worte, No. 22, in (lassies for the Ycmnq, Mendelssohn.



70 The Sextolet and Turn.

In the following Rondo the Sextolet and Turn are introduced. The Sextolet is a double triplet and is played in the time of four

Written. l»lay«-«l.

of the same kind of notes. Ex : z fyf^^feggj-Egj The Turn. Ex

X 3For further explanation see page 182.

The tempo ^'=100 designed by the composer is too rapid for pupils at present. We would advise the slower tempo J^— 132,

making a triplet, or an eighth note to each stroke of the metronome.

RONDO MOVEMENT.

I

—

2QQ Allegro vivaceCLEMENT .

J=100. Two, or One, two,

h=132. Three, four, One, two, three, four,

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RONDO MOVEMENT. Concluded. ?1

5 3

Vine.

LESSON XXIV.

Transposition.

The scale, with its various successions and transpositions, fur-

nishes the material for all melody.

Any scale or melody can be transposed into different keys.

In transposing, the tones must stand in the same relation to

each other, and to the key-note in the adopted key, as they did

in the original one.

If the melody is trausposed from C into the key of G, it

must have the signature of G; or, if into the key of F, it must

have the F signature.

Transpose the following melodies, found on next page, into

the keys of F and G. RemeBiber the change of signatures, th«

succession of notes, and intervals between the notes.



72 Exercises in Transposition.

No. 1.Fine. l>. C.

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We would advise a careful study of transposition. Many of the eludes and recreations should be played in different keys.

Ufriting out, and playing short, original melodies in different keys, is also an excellent practice.



SLEIGH BELLS. 73

A composition may commence in one key and end in another, or it may change to other keys, and return to the original key.

WALTER HEWITT.'-=126.

3 Allegro.1

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General Review.

Write out the seven different forms of notes and their corresponding rests.

Explain the value of the dot and the double dot, and write examples of same.

What Is the value of the triplet? The sextolet? Write examples of both.

Write the three varieties of double time. How many eighth notes till a mcas-

of each? What part of the measure is accented?

How is triple time written? Where is the accent? How many sixteenth notes

fill a measure of t£, of ^, °f 3 time?

What does the numerator of the fraction denote? What the denominator?

Into how many parts is a measure of quadruple time divided? What parts

accented ?

Write the varieties of quadruple time. Of compound time.

The following is a table of the compound times and their accents:

Compound or Sextuple Time.

Two measures of Triple Time united into one.

#

5— V

or

V

ttttor

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Compound Triple Time.

Three measures of Triple Time united into one.

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V

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Compound Quadruple Time.

Four measures of Triple Time united into one.

V V V

V V \> 1/ t Vor

1/ V ]/

Write a similar table of all the varieties of time, each followed by three or

four measures with various combinations of notes, dotted notes, rests, etc., of the

required time value. For example, write Quadruple time thus:

Ex.

Or Sextuple time thus;

What are accidental sharps and flats? How are they written ?

What is the natural?

What are essential sharps and flats? How are they written? How do they

affect the notes following the signature?

What is the scale? Write the C, G and F scale.

Why does the C scale have no sharps or flats?

Between what degrees of the scale do the semi-tones occur?

Why is B flat the signature of the key of F?

Write a period of melody, triple time, key of G. Transpose into F and C.

Mark the divisions of the sections and phrases.

DAILY TECHNICAL STUDIES.

Memorize the following studies and practice them daily. It is an excellent plan to arrange a schedule according to the number

practicing hours, devoting a stated time to each technical study, so much to recreations, etc.

The object in these studies is to acquire, not power so much as equality of strength and flexibility—that buoyant, gliding manner

playing, which is so graceful and brilliant; also for acquiring the Cres. —=r: and Decres. z=— , as explained oil page 66. Re-

on touch, same page, must be strictly observed. Avoid too strong accents, or lifting the fingers too high, or playing faster than

suited to the capability and strength of your fingers.

No. 1* Transpose into F and G.

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TECHNICAL STUDIES. Continued. 75

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SECOND SECTION. 77

A Practical Study of Harmony.

LESSON I.

Chords.

A Chord is a combination of three or more tones written above

each other and struck simultaneously. Ex

:

wm%A Three-toned Chord (also called a Triad), is formed by adding to

any tone its intervals of a third and fifth. Ex :

E

A Triad is formed upon each tone of the scale

Triads of the C Major Scale

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The I (Tonic), IV (Sub-dominant), and V (Dominant), are the

foundation triads in every key.

In the key of C Major they are as follows:

iTONIC. SUB-DOMINANT. DOMINANT.

* i &-ii

IV

IV V VI VII

Three Positions of the Triad

Play these triads, give their names, and the notes of which they

are composed. Play them in all the octaves on the key-

board.

Transpose into the keys of F and G.

All triads (three-toned chords) may appear in three positions and two inversions.

T

mOriginalI'omiliou.

TONIC.

2d Position. 3d Position.

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SUB-DOMINANT.

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Play each triad, give its name and position.

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Exercise in Playing Chords.

Chords are played with wrist movement. In striking from the wrist, raise the hand as in playing staccato notes, see Fig. 5,

5 38; hold fingers motionless over each respective key, then, with an easy movement, throw the hand upon the key-board, and

;ach key be struck exactly together and with equal force. Raise the hand in proportion to the power of tone required.

Page

let each key be struck exactly together and with equal force. Raise the hand in proportion

Wrist movement. Use the fingers marked at the left of each note. Play slowly.

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Four-Part Harmony.

A bass may be added to the triad, making four tones in the

chord. This bass notemay

be the 1st of the triad (root), the 3d

or the 5th.1st 3d 5th

When the bass is 3d of the triad, it is called a chord of the Sixth, because it stands in its 1st Inversion, and it is indicated by the

Fig. 6, under the bass note. When the 5th of the triad is bass note, it is called a chord of the Sixth and Fourth, because it stands in

its 2d Inversion, and is indicated by \.

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Wrist movement.

Inversions and Positions of the Triad.

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78 Chord Exercise in Four Parts.

Wrist movement. Prompt, elastic touch, muscles relaxed. All the keys of a chord struck together. Name each chord and

ite inversion.

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Relation of Chords.

Each inversion or position of a chord may be brought into musical relation with one or more inversions of another chord. The

following example gives the Tonic, Sub-dominant and Dominant chords in musical relation.

Name each chord and its inversion.

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Very Legato.

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SPIRIT WALTZ.Wrist movement, staccato chords. Melody very legato. Point out tonic chorda. Others will be explained hereafter. Ob

slurs and expression marks.

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If other recreations in C are desired, the following will be found suitable and pleaaing: T\e Village Band, L. Streabbog; Barcarolle, Walter Hewitt; Sonatina

1, M. dementi ; Sonatina, Oeuvre 4, No. 3, H. Lichner ; Gantilene, A. Crowe*.



80 LESSON IL

The same order of Triads given in the key of C may be transposed into any major key.

Tonic.

E- #=P

Snb-domiuant. Dominant.

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I. IV.

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TONIC.Original Pos. 2(1 P. 3d P.

M B-IMUHSAST.O. P. 2d P. 3d P. O. P. 2d P. 3d P.

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noMINANT.

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Chords in Key of G.

Different Positions and Inversions of the Tonic, Sub-dominant, and Dominant Chords. Name each chord and inversion,

an elastic, springing movement, each note and chord, short and distinct.

Strike

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THE MOSS-GROWN COT. 81

Vocal and chord exercise. Name the chords. Speak words distinctly. Take breath at pauses, not between syllables.

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82 ADESTE FIDELES.

Very legato; the clinging touch. In the style of organ music. The notes written under each other sound promptly together,

and cling to the keys the full time of each note, but do not run the tones into each other. Observe the —=c r==- . See p. G6.

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LESSON III.

Chords of the Seventh. (Four-toned Chords.)

The chord of the Seventh (a four-toned chord) is formed by

adding to the Triad a fourth tone, the seventh from the root.

Triad. Chord of 7th.

Example.m -&-^ i

Chords of the Seventh may be formed upon each tone of the

scale. Example

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IV VI VII

The Dominant chord of the 7th, on the V. degree of the scale,

i« the most important of the four-toned chords. It is the Dom-inant chord with its seventh added.

Dominant 7th, key of C.

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Dominant 7th, key of G.

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IIII IV V

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Dominant 7th, key of F. t§-

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Play and name these Dominant 7ths in all the octaves on thekey-board.

Inversions of the Dominant 7th.Every four-toned chord has four positions and three inversions.

The Original Position with the 1st (root) as bass note, indicated

by the figure 7.

1st Inversion, with the 3d as bass note, figured £>.

2d Inversion, with the 5th as bass note, figuredf.

od Inversion, with the 7th as bass note, figured 2.

Key of*'.1st In. 2d In

Key of U.1st In. 2d In.

Ex.:

Play and name the above. Repeat in the octaves above andbelow.



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DANCING GALOP. Four Hand's.

Duet^for teacher and pupil, or two pupils. Name the Tonic and Dominant 7th chords in the Secondo.

PEIMO.

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BONNIE DOON.

Study the correct accent and expression. Play melody very legato, in a singing style, and chords subdued and staccato. Name

the chords and their inversions.

Ait. by WALTER HEWITT.

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If other studies in the key of G are desired, the following will be found pleasing and instructive : Barcarole, Th. Oesten;Violet Waltz and Rose Leaf Waltz,

4 hands, Ch. Bruuner; Sonatine, Oeuvre 49, No. 2, H. Lichner; No. 29, Concert Arie, and No. 12, Theme Vane , in Classics for the Young, Mozart; Sonatina II,

Clementi.

BROKEN CHORDS.

The tones of a chord are not always struck simultaneously, but follow each other in succession, when they are called Broken

Chords and Arpeggios. (Pronounced ar-pgd'-jo.) Strike together the successive tones of each chord and give its name, before play-

ing study. Play with accent and expression.

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86 LESSOU IV.

The Super-Tonic and Sub-Mediant Triads.

These are used in the same form as the Tonic, Sub-dominant and Dominant triads, with same inversions and change of positions.

SUPER-TONIC. SUB-MEDIANT. Original Position. 2d Position. 3d P. O. P. 2d P. 3d P.

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Play the ab«ve in all the octaves. Find the Super-tonic and Sub-mediant triads and their inversions in the keys of F and G.

Study of Chords.

Slowly and very legato, to be played also in the keys of F and G. Point out the Super-tonic and Sub-dominant chords.

1st Variation. Wrist movement.

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Vocal Exercise in 87

To the bass, add an accompaniment. As a guide, ?.ee Var. 4, preceding page, for position, and Var. 3 for movement

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VOCAL STUDY. HEAR, O FATHER.

Learn by syllable. Sing with expression and taste. Speak words distinctly. Study for broad, full, pure tones, and the correct

management of the breath. Avoid the common fault of allowing the voice to slide from one tone to another.

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AIR DE FIGARO.

This requires a precise, prompt, spirited staccato touch, every note perfect and in exact time. In changing fingers on the samv

give a sudden, energetic stroke, and as the finger touches its key draw it back quickly toward the palm of the hand.

MOZART.I 1 OA Jloderato tan risolti to.

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LESSON V. 89

Thirty-six Positions of Triad.

A triad may appear in 36 positions by inversion, and doubling its root,3d or 5th. The 3d is seldom doubled.

Give the order of tones in each position as figured to first bar.

ROOT DOUBTED. -0- THIRD DOUBLED.

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In vocal music the soprano has the highest tone, alto next be-

low, tenor next, and bass the lowest tone. In close position the

three upper parts are in the compass of an octave ; otherwise they

are in open position.

Example:

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Twenty-four Positions of Dominant Seventh.The Dominant Seventh, being a four-toned chord, is complete in itself, without doubling any tone, though the 1st (root) is often

L^-doubled and the fifth omitted. Ex

Key of C.

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By writing and playing the chords of different keys in the above, or similar positions, the pupil will soon be able to namequickly each chord in whatever position it may appear.

Aria Religioso.

Study of chords in open position. Strike all the notes of a chord exactly together, in same manner as staccato chords, but, after

striking, hold down the keys, to produce legato tones, especially in the melody, bringing this out smooth and clear.

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90 THE MILL ON THE BROOK.

Practice carefully. Do not move hands, but fingers only. Broken chords.

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NOCTURNE.

Finger so that the upper notes, or melody, is continued in a flowing, singing style, and let the other parts be subservient to this

melody.

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LESSON 71.

The Minor Scale.

Each major key has its relative minor: both having the same

The key-note of the relative minor is found on the

degree of the major scale.

The minor scale differs from the major in the location of its

semitones (half steps), the first semitone always occurring

the 2d and 3d degrees.

Example :

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The second semitone is governed by accidentals, the scale

having two formations, the Melodic and the Harmonic. As

follows

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Melodic Minor Scale. Harmonic Minor Scale.

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A Minor Scale. Relative to C Major.

4 5 ,4 HARMONIC.

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^1II III IV VI VII

The foundation chords in Minor, as well as Major keys, are found on the I, IV and V degrees of the scale, viz : Tonic, Sub-

dominant, Dominant and Dominant 7th. The Tonic and Sub-dominant triads in the minor key are minor chords, having minor

instead of major thirds. The Dominant triad and Dominant 7th, are formed alike in major and minor keys, having always a major

third, perfect fifth, and minor seventh.

Inversion of Chords.

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iO. P. latin. 2d In. 3d In.



SPIRIT WALTZ IN MINOR. 93

Play the melody prominent, and chords subdued. Keep the arms quiet, and do not raise the hand too high, in striking the

chords. Point out the Tonic and Dominant 7th chords. Keep your eyes on the notes, and play slowly at first, so that vou may be

able to strike the correct note without hesitating. By practicing with the metronome in all grades and varieties of time, you acquire

precision, evenness, exactness; and avoid the prevalent fault of hurrying. Observe the accents. Wh^re do they occur in triple time?

420.Amoroso.

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Vocal Exercise in A Minor.

By listening to, and criticizing the sounds emitted by the voice, many faults are avoided. Study for purity, and clearness of tone,

than power. A full breath is required at the commencement of each phrase, allowing it to escape gradually and slowly, so

the —< and >— tones are smooth and steady.

116. Audante Sostenuto.

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98 LESSON VII.

THE HUMMING BIRD.

This study requires a light, graceful touch ; legato and flowing, each broken chord following each other like a string of pearh

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while the melody with left hand is distinct and prominent.

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FROM SONATA PATHETIQUE.

Study the Crescendo and Diminuendo of tones. Play with expression and taste.

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100 ANDANTE MOVEMENT. Continued.

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102 LESSON VIII.

MELODIC.. jf 1 2 3 1 2 3 4

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The Crescendo —==: and Diminuendo ;=— are very effective when played correctly. The tones must increase and diminish note

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D Minor, Relative to F Major.

Name the tones and signature.

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Phrasing, accent, expression,gives beauty and finish to the most simple composition. Listen to, and criticize your own playing.

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ARIOSO. Concluded. 109

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LESSON X.

Broken Chords Between Two Hands.

The left hand finger, or fingers, must strike promptly, and not hold the keys beyond the exact time of the notes. The same

with right hand; and the two must act responsively, so that the effect of the broken chord will be the same as if played with one

hand. Keep the fingers rather close to the keys, so that the tones are flowing and legato.

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L'HARMONIE DES ANGES. Ill

Broken Chords in F Major.

In the first measure, F, A, C, are the tones of the Tonic Chord, and D is the passing note. In the fifth measure, A is thepassing note. Third score changes to D Minor. Play and name each chord from which the broken chord is derived. In executing

this study, observe instructions given for Broken chords between two hands, page' 109.

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POSITION OF VOCAL ORGANS.

The most miuutc changes in the position of the organs of sound,

and speech, materially affect the tones of the voice.

Practice the scale with the swell tones daily. Endeavor to

out each tone in the purest possible state, unobstructed by

throat, nose, teeth or tongue. Before each tone, take a full,

deep breath. Much depends upon the manner in which this is

done. In drawing the air into the lungs, the action of the mus-

cles must not commence merely from the chest, but from the ab-

domen. All clothing should be loose, admitting free expansion of

the waist.

NEED A BODY CRY?

Be careful to give the vowels their appropriate sounds, and to bind well together the syllables that form a word, and to 6ing

distinctly. Take breath without effort, and with regard to the punctuation and accent; never between the syllables of the

word.

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LESSON XL 113

ETUDE IN F MAJOR.

Name each chord from which the broken chord is derived.

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114 USE OF THE PEDAL.

Much art is required to use the pedal correctly. For that

reason the open (right) pedal has been entirely omitted in pre-

ceding lessons, andwe

advise pupils to use it still sparingly and

cautiously.

The fingers are expected to do the main work of sustaining the

sound according to the value of the notes, except in broken chords,

arpeggios, skips, etc., where the open pedal is required to prolong

the tones.

When used, take great care never to mingle dissimilar harmo-

nies, and thus produce disagreeable discords. It should rarely

be used in scales, staccato notes or rapidly changing harmonies,

although it is often required to sustain a single note or chord.

No fixed rules can be given, but good judgment and taste must

be the guide. The foot must be placed upon the pedal at Ped,

and taken up at the star *.

LUCIA DI LAMMERMOOR.

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The following are suitable pieces to accompany Lessons X and XI, if desired: No. 6. Serenade, in Classics for the Young, Schubert; Bella Bocca Polka, Wald-teufel; Morning Mists Rondo, Oscar Lowell; Peri Waltzes, 4 hands, Chs. D'Albert. Over the Prairie Galop, Davis; Maiden's Blush Schottisch, Kinkel ; Allegretto from

Sonatina III, Op. 38, Clementi.



116 LESSON XII.

Scale of D Major.

Signature 2 sharps, F#, Cfl. Tones. <D E F# I G A

II III IV

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Vocal Study of the Scale in D.

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ALLEGRETTO MOVEMENT.

FROM MOONLIGHT SONATA.

Study of expression, phrasing and syncopation. Syncopation is transferring the accent from the strong to the weak part of to'

|_-^52 Allegretto.BEETHOVEN.

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LESSON X11L

Technical Study. Wrist Movement.

The hand must rise from the wrist without any action from the elbow. Let all the muscles be relaxed and flexible.

Name each chord and its inversion.

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Cadences.

Cadences are : Perfect, Imperfect and Interrupted or

formed by a progression from the Dominant to the Tonic

arise when the bass has the root of the Dominant

form they are Imperfect. Half cadences end on the

the Perfect Cadence by the introduction of foreign chords

each cadence.

No. 1. No. 2.

Deceptive. They are also Authentic or Plagal. The Authentic Cadence

chord. The Plagal from the Sub-dominant to the Tonic. Perfect whole

and the Tonic, and the Soprano closes on the root of the Tonic. In any

Dominant. The Interrupted or Deceptive Cadence is a temporary delay

Play the following cadences in F, G and D Major, and A and E Minor,

Perfect Authentic Cadences. Plagal Cadence. Imperfect Anthentic. Imperfect Plagal.

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CHORD ETUDE IN D. 123

Care should be taken to strike all the notes of the chord exactly together. Lightness and flexibility of touch are required.

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SONG WITHOUT WORDS.

The melody is written in large notes, and the harmony, in the form of an accompaniment, in small notes. Bring out the melody

and distinct, like a voice singing, and play the small notes softly, as an accompaniment to the voice. Attend to the phrasing

accent. Sentiment and taste are required in executing music.

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Scale of B Minor.

Signature 2 sharps, Fg, C$. Tones : <JB C| D E Fj GII III IV V VI TTTT TTTrT > Relative to D Maior.

VII VIII

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'=96 Allegro vivo.

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MAEOHE HEROIQUB.

The same observance given to the notes, signatures, fingering, time, etc., must also be given to the marks of expression. Always

a piece at first slowly. Never stumble over the difficult places, but study them separately, until the whole piece can be

through evenly and correctly; after which increase the time.

SCHUBERT.'=126 Maestoso. 5

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A good selection of pieces and studies, Key of D, are as follows: Hear me Norma, Transcription, W. Hewitt; Maienlust (Joyous May), H. Lichner; Diabelli's

elodious Exercises, Book 3, 4 hands, in D major and D minor; Young Bugler's Galop, 4 hands, Karl Merz; No. 21, Largheito in Classics for the Young, Mozart; No. 27,

inale in Classics for the Young, Schubert ; Sonatina II, Op. 37, Clemanti ; No*. 17, 18, 19 and 20 of Progressive Studies, Book 2, Op. 65, Loeechhorn ; Hunter3 Return.

ustav Lange.



LESSON XV. 120

Key of Bt2 Major.

Signature 2 flats, Bt>, I>. Tones :

| J ufBfr C D £ Eb F G A * Bfr

in iv v vi vii vin }Relative to G Minor.

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Commit each scale to memory.

EARLY MORNING POLKA.

Explanation of small note, appoggiatura, see page 182.

;=ioo. vivace.

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130 ETUDE IN Bb MAJOR.

Practice daily all the scales you have learned. Use the metronome even in scale practice, for they must be played in exae4

time. Watch the fingering and be careful that the thumb does not accent stronger than the other fingers.

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CHORDS IN B-FLAT MAJOR. 131

Crossing hands, and repeated notes, to impart flexibility to the wrist.

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Melody for left hand, with accompaniment of chords for right hand. In accenting the melody avoid a jerking effect. Play

smoothly.

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134 INTERVALS.

An interval is the difference in pitch between two tones.

Intervals on the C Major Scale.

iPerfect. Major. Major. Perfect. Perfect Major. Major. Perfec*. Major.

figUnison.

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Major.

fFourth. Fifth. Sixth. Seventh. Ninth. Tenth.econd. Third. Fourth. Fifth. Sixth. Seventh. Octave.

The Unison is not a real interval, but two parts often meet on the same note, by which means the unison is formed. The ninth,

tenth, etc., are but the second and third intervals an octave higher.

Intervals are reckoned from the lower note upwards. Every note may be raised or depressed by means of theft, fcj,

•%. or \fo. As

this is also possible with respect to every interval, each of them admits of thre<«, and even four different kinds. They are called Major

(meaning great), Minor (less), Perfect, Diminished, Augmented.

Example of the Sub-division of Intervals.

Above the staff are the names of the intervals, between the two staves the sub-divisions, and below, the number of semitones

of which each is composed.

Unison. Secoud. Third. Fourth.

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Minor. Augmented. Major.

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Minor. Diminished. Augmented. Perfect. Diminished. Augmented.

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12 13 4 3

Chromatic 1 Chromatic .and Diatonic 2 Chromatic and 2 Chromatic and

Semitone. 1 Diatonic Semitone. 1 Diatonic 2 Diatonic

Semitone. Semitone. Semitones.

Fifth.

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Perfect. Diminished. Augmented. Major.

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A semitone is Chromatic when both tones are

written on the same degree of the staff.

3 10 11 10 12 11 13

It is Diatonic when written oa two degrees

of the staff.

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A Whole Tone consists of one Chromatic and

one Diatonic semitone.

Whole Tone. Whole Tone.

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KChromatic. Diatonic Chromatic. Diatonic.

Find the chromatic and diatonic semitones in the above table. Observe, in each interval the notes retain the same alphabetical

names and degrees upon the staff, whether minor, major, diminished or augmented : the change being produced merely by the marks

of transposition, theftor fc\

The pupil is advised to form a table similar tothe above, upon each note of the C scale.A knowledge of intervals is indispensable in the study of harmony, as each interval assists in the formation of some particular

cnord. The order of intervals in the minor scale is as follows:

Perfect. Major. Minor. Perfect. Perfect.

Example :

Key of A Minor. -ZKZ-

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Major. Perfect.

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Unison. Second. Third.

Play and name the following intervals on treble staff.

Fourth. Fifth. Sixth. Seventh. Octave.

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LESSON XVI.

Scale of G Minor. Relative to Bb Major.

136

Name the tones of the scale, and the signature.

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SCALE ETUDE IN G MINOR.

J=160.Allegro. Portamento Touch.CC321 14* 1 4

BERTINI.

Ben sosk-nuto 11 basso.

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Some part of each lesson should be committed to memory, and played perfectly without the notes. Memorizing cultivates the

, and teaches self-dependence. If it is practiced during the first lessons, the habit is easily acquired and affords many advantages

those who constantly play by note.



SCHERZO IN G MINOR. 137

,1=120.Allegro Sebcrmando.

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The following pieces are suitable for Lessons XV and XVI: L'Elisire &Amort, 4 hands, Donieetti, Arr. by F. W. Schmidt; Tvlip, Fantasie Movement, H.

Lichner; Gertrude's Dream Wdta, Beethoven; Andante from Sonatina IV. of 6 Sonatines, Op. 36, Clementi; No. 21, Loeschhorns Stvdies, Book 3. Op. 52.



SONG OF HOME.

Tne commas, semicolons and periods of music should be observed in playing, as well as in reading. Endeavor to give to each

a suitable distinction and coloring.

|—gg Allegretto.

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SONG OF HOME. Concluded. 139

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^^LESSON XVII.

Scale of A Major.

Signature 3 sharps, F§, C$, Gjf. Tones : <A B C#* D E IK G||A

III IV V VI VII VIII> Relative to F# Minor.

Two Oetaves.3 1

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140 CHORDS IN A MAJOR.

Name chords and their positions

No. 1.

Allegro vivo

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Major. Minor. Major. Minor

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lesson xvniChord of the Diminished Seventh.

Of the four-toned chords on the Harmonic Minor Scale;the

important are those on the 5th and 7th degrees.

chords

on Minor Scale. I

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The chord on the V degree, the Dominant Seventh, is the same

both major and minor keys.

That on the VII degree is called the Diminished Chord of the

It is composed of minor thirds.

Every minor key has its Diminished chord, so that there are

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DIM. 7ths OF D MINOR.

Study of Diminished Sevenths.

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LESSON XIX.

Scale of & Major.

149

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turn comes, for otherwise an interruption may easily occur.



150 VOCAL STUDY.

YOICEAFDPIANO.

B^ major. Transpose into C, D and F major.

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A deceptive cadence arises when, instead of allowing the Triad of the Tonic to follow the Dominant chord or Dominant seventh,

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LERETOUR. 151

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Teachers will find excellent teaching pieces, written in all the easy keys, in Classics for the Young, Arr. by W. Lenz. Vol. 1, contains easily arranged selections

the compositions of Bach; Vol. 2, of Beethoven; Vol. 3, Handel; Vol. 4, Haydn; Vol. 5, Mozart; Vol. 6, Schubert; Vol. 7, Weber; Vol. 8, Chopin, Dussek,

Gluck and various composers. There are also Vols. 3, 4 and 5, arr. for 4 hands. The following are also good: Alpenveilclten (Alpine Violet), in C major, H.The Hunter's Departure, C major, Lange: La Desire Waltz, Beethoven, G and E maior. Arr. by Jos. LeSw ; The Snowdrop, E major, F. Spindler; Tripping

the Meadow, Polka Rondo, Et? major, 4 hands, G. D. Wilson; Operatic airs and yvertures in various keys, Arr. for 4 hands, by Ch. Brunner; 8 Piano Pieces by

in various keys. Swing Song in AfiL W- F. Sudds ; Sonpirt H Lames, F min r, Croises ; 24 Progressive Piecu. Book No. 2, F. Hunte.1.



PASTOURELLE. Four Hands. 153

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Do not forget to review. Be thorough. Follow the directions of your teacher, and spend the practicing hours upon the lesson

given you if you wish to advance rapidly.



LESSOH XX.

Scale of C Minor. Relative to Eli' Major.

Name the tones of scale and signature.

31 i If lil|

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Resolution of the Seventh Chords.

Natural progression of the Dominant 7th and its inversions, into the Tonic chord. The Tonic may be major or minor. Trans-

into major and minor keys.

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Closing cadence. Closing cadence.

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Natural preparation and resolution of the remaining Seventh chords in major. Transpose into other major keys.

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aPreparation. Resolution.

IV III

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The natural progression of the Diminished seventh to the minor Tonic. Transpose into other minor keys.

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The above are the most simple forms of the resolution of the sevenths. Deceptive cadences may arise, and a manifold variety of

which further study and observation will show.



Scald Study in Triplet*

r r E r r Hf*r ^ 1- 3

155

1 3

Ben marento il Biisso.

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Difficult measures or passages in a piece should be practiced separately until familiar with fingering and movement. All studies

should be taken with slow metronome until perfect and even execution is attained.



SONG OF THE OLD BARN.

Moderato con csprcssione.

tu=£^

feizz-N- £ * Vr =£ —pv

1. The ghost -ly old barn with its weather-stained frame, How oft - en it ris - es to view

2. A tan - gle of vis - tas the old barn dis-played, With bins and its bar - rels, and all;

3. The old barn is gone, like the past with its dreams, Which crowd-ed, cha - o - tic, my brain

;

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Where the

All are

ite -Tit:

i -*—Nn-Ffch-jL^ jir-^K-

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narrow, green lane, cut in par - al - lei tracks, Where the heav-y farm wag- on wheeled through. The haymow, how fragrant and

spoiled, banished rocking-horse glanced like a ghost, And the lad - der leaned nar - row and tall

;

All still save the saw of the

gone—all are gone and yet oft - en I wish I could live in their E - den a - gain. Tho' the barn, low and dark, is a

I h—fs- ^* K7 > H'* *—*

1 h—-—hhi ^ h, h hJ Ht ?0-

welcome its scent How soft and e - las - tic the hay The nooks, how safe for hide-and-go-seek

The

car - pen-ter - rat, And drone of the wasp on the walls; Slight hoof-stamps, and rustlings that ran thro' the hay, And

dwelling of mark, And the lane is a street, wide and bright, Yet I long to go back to that par - a -dise-track, All



SONG OF THE OLD BARN. Concluded. 167

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floor, what a plat-form for play

munchings that came from the stalls. In that sweet light the heart grows bright, In the par - a - dise smiling a-

flash - ing and liv - ing with light.

round;

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Kit. ad lib.

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V- $—& EZ mnd we wish, oft-times, we were chil-dren once more, And roam - ing that mag - i - cal ground.

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Chord of the Augmented Sixth and Fifth.

with its root raised a semitone. Thus

:

P-dominant or dominant seventh through the \ Tonic chord, either major or minor.

65

2? -9his chord is formed from the Chord of the Seventh on the fourth degree of the minor scale, Ex:

~ 1| It is generally employed I j3 fcy^ 11~^~

iv

IÎZZ|| in its first inversion, thus: -$&^—%—W aD(^ naturally resolves to the

Resolution Into A Minor.

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3Îs?:

42-

Into A Major. Into C Minor with Deceptive Cadence.

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Find tfee augmented Sixth and Fifth of each minor key. Play the above with both major and minor cadences.



LESSON XXI.

Scale of E Major.

Signature 4 sharps, Fjf, Cj, G», Dfl. Tones:{ ^ ^ £* * ^ * ^ y

*

y^ }Relative to Off Minor.

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Scale of Cjf Minor.

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Scale Etude in E Major.

Bis means twice. See explanation page 182

Legato.

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STUDY OF THE TURN. 150

Explanation of the Turn e& and the double sharp * see page 182.

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160 EVENING AMUSEMENT. Four Hands.

SECONDO.

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162 LESSON XXII.

Scale of A-Flat Major.

Signature 4 flats, Bt>, Eb, A> Dk Tones :

j ^

Ab Bb C D> FJ> FIII IV VI vil vtit I

ê ât iye ^° F Minor.

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Preludes.

Name the chords in the following preludes, and play and transpose into all the major keys given in preceding lessons.

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CHORD AND SCALE STUDY IN AK

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164 THE PLAYGROUND.

Play slowly at first, with the metronome at #~=138, a stroke to an eighth note, six beats to a measure. When learned perfectly

in this time, change to J—88, two beats to a measure. This gives the effect of triplets in J time-

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ALTEBED CHORDS. 165

The Augmented Triad.

A major triad with the fifth raised a chromatic semitone. The

augmented fifth ascends one degree.

Ex

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The Augmented Sixth.

Formed from minor triad on 4th degree of minor scale, 1st

inversion, with root raised a chromatic semitone. It resolves into

the dominant chord, the augmented sixth ascending one degree.

Triad. 1st In. A Minor. A Minor. E Minor.

Ex:

S^zi33- 3±

IV. Koot raised.

Pi&ifil^ i

#6 W~ # #6 # #6 #

Augmented Sixth, Fourth and Third.

Formed from chord of seventh on 2d degree of minor scale, in

2d inversion, with the third of the chord raised a semitone. It

resolves into the dominant.

A Minor Key. 1> Minor.

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6 #64 43 3

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Chord of Augmented Sixth and Fifth. This is explained on

page 157.

Find the altered chords in other minor keys.

Exercise Using all the Altered Chords.

Transpose into the keys of F and G. Name each chord.

451

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In legato chords, the motion of the hand and fingers should be made with smoothness, without unnecessary effort or jerking of

the muscles. Keep the arms quiet, and fingers near the keys.



166 LESSON XXIII.

MELODIC.

mee

Scale of F Minor. Relative to A\r Major.

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Transpose the minor into all minor keys, and the major into major keys.

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PASSING XOTES.*

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A|j Major. 'I

fe^6 74

*' Passing notes are tones foreign to the harmony, occurring between the regular members of a chord. There are two kinds : Diatonic and chromatic. They

Diatonic when not accidentally sharped or flatted ; Chromatic when they are.

The Organ Point.

This is a sustained bass tone over which a succession of chords pass, some of which are foreign to said tone, yet harmonize wittt

other. When these tones occur in any other part but the bass, they are called stationary tones. They are generally found upon

Tonic or Dominant.

Organ Point on the Tonic.

4-

On the Dominant.

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Transpose the above into other major keya»



TECHNICAL STUDIES IN F MINOR. 167

Compound double notes. The long notes must be held down their full time.

No. 1.

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Keep the thumb in its place over the key, and raise it promptly, without moving the hand.

No. 2.

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TARANTELLE. Concluded. 169

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Suspensions.

A suspension occurs when a tone in a chord, which should progress one degree downward, in order to occupy its position in the

following chord, still lingers upon the tone of the first chord, while the others progress to the second.

Example : \

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ce: ii

Transpose into other major keys.



LESSON XXIV.

Modulation.

Modulation is change of harmony into a new key.

There are three general classes : Natural, abrupt and enharmonic.

The chords chiefly employed for modulating, are the Dominant,

Seventh and Tonic of the new key, the Diminished

and all the altered chords.

Natural Modulation is a change into the nearly related keys,

viz : those which differ from the original key by not more than

one sharp or flat.

For example: The nearly related keys of C Major are its

Dominant G, its Sub-dominant F, and its relative minor A. To

these may be added the Dominant and Sub-dominant of A minor,

viz : E and D minor.

The rented keys of A Minor are its Dominant E minor, its

Sub-dominant, D minor, its relative C major, and G and F major.

Modulations from C to its nearly Related Keys, through the Dominant 7th Chord.

Sî

^

4-

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C to G.

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i-£

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C to F. C to A Minor.

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G^^V to E Minor.

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C to D Minor.

I J ¥ I \ i **

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mmsModulations from A Minor to its Related keys, through the Dominant Chord.

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A to E.

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A to D. A to C Major.

G'

To © Major.

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Abrupt Modulation is the sudden change to a distant key, not closely related to the original key.

9- 3To F Major.

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II

II

No. 1.

Through Dominant 7th Chord.

m :zt *^4iz±zg=zfcf

C to B|j Major.

Examples of Abrupt Modulation.

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C to E Major.

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No. 2.

Through Tonic Triad.

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C to F Minor. C to C Minor. (' to A[i Major. C to D[) Major.

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A Minor to A Major.

I .si =iiEnharmonic Modulations are effected by altering the notation of one or more intervals belonging to a chord and thus, unexpect-

edly, changing the harmony. The chords adapted for enharmonic changes are the Diminished Seventh and all the altered chords.

(See page 165.) The Diminished Seventh, as explained on page 144, can be written in four different ways without changing its sound,

thus leading, through change of notation, to four different keys, either major or minor.



Examples of Enharmonic Modulation. 171

Through Dim. 7th of A Minor. Through Dim. 7th or C Minor. Through Dim. 7th of Ef-> Minor. Through Dim. 7th of F*i Minor.

V-

m^mmwmmm^^^mm\Minor to A[> Major. To B Major.

7 #« H*

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Throng* Augmented Sixth.

§fe

^

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Through Aug. Sixth and Fifth.

& IJ—&> & -

Ang. Sixth and Fifth.

^H Lg- g>

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C to B Major. C to B Minor.

I

1 .|) to D Minor.

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The Diminished Seventh, and the different Altered Chords lead to either Major or Minor keys, therefore the above examples

of enharmonic modulation may close with either major or minor cadences.

With the above examples of modulation as a guide, the pupil can form manifold problems of Natural, Abrupt or Enharmonic

Modulation, adding to each, and to the above, suitable cadences, so that the change of keys becomes satisfactory to the ear.

Remember that these modulations can also be reached through other positions of the chords.

After modulating into the new key, the harmony may either close with the cadence or continue on in the adopted key, or modu-late through a succession of keys, and finally close in the original key.

Abrupt Close With Cadence.

From C to E^.

Z2ZI'-iS-&-

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Cadence. From C to A. Cadence.

sii^l atrzr

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Transient modulation through different Keys, closing with Original Key.

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6 7

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Pi



Extended Modulation, through different keys, into the Adopted Key.

From C, throujrh Bj>, and W, to «[> Major. From G, through E Minor, C Major, and nfc Minor to A[> Major

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We would advise the pupil to analyze easy studies and pieces, viz: 1st. Give the name of each chord, if broken chords, tell the

from which they are derived; 2d. Point out the different Cadences; 3d. The Modulations, and how they are effected; 4th.

phrases and periods.

Agood exercise is to search out the different harmonies to short melodies as in following example ; remembering two principal

1st. No two parts are to move in the same direction if both parts form an interval of a perfect fifth, or a perfect octave.

are called consecutive fifth and octaves. Ex : « To avoid these, in passing from one chord to

follow the general rule, viz : Let the bass

parts, and one of the fingers remain upon that Ci & isr

-&--&-

~&L&—

~zr

progress in an opposite direction from the

U key which is to form a part of the succeeding

Melody With Three Different Harmonious Combinations.

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ite

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Modulation Through the 24 Triads,

i

Modulation through all the keys by use of the Triad. The capital letters denote Major, the small, Minor Keys.

No. 1.

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u



THE 24 TRIADS VARIED. 173

Wrist touch. A light, springing movement.

No. 2.

CZ_L_-«|

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LIED OHNE WORTE.

(SONG WITHOUT WORDS.)

Search oat the different modulations.

0P=1^O. Allegretto.

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LIED OHNE WORTE. Concluded. 175

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178 VIII.—Diagram of all Major and Minor Keys.

The scales of B and Cb major are played on

the same keys. So are those of G$ and Ab minor

;

of F# and Gt> major; of D# and Eb minor; of CJJ

and Db major ; and of A# and Bb minor.

From the above diagram it is. seen that the

sharp keys follow each other by ascending fifths,

and the flat keys by ascending fourths. The

major key F$ is identical in sound with GP, and

the minor key D$ with Eb minor.

Review of Major and Minor

Scales.

Learn each scale perfectly with correct finger-

ing and time, and commit to memory. They

should be practiced daily ; slowly at first, with

an even, firm touch, holding the hands quietly

level, and raising each finger independently from

the knuckle joint, without any over-exertion or

contraction of the muscles. Count aloud, or play

with the metronome until each scale can be ex-

ecuted evenly and smoothly without a single

hesitation. Only by long and careful practice

can facility and rapidity be attained.

Jlajor Keys. C.

)

C Major

—J—#—• _ _—•

—

—j 1i ^

m—• *— 1— I

*

—*—m—

-

— —W— I1

1

1

1—

I

1 F

—

to,—M-0—ptzfztf:

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+—+-&-

1 — ^^W— I

mto*-

**~*~^\ 1 3 1 =f*—-

J

J * +• — 1.3,, i • -*--*+- # 1 j.J

mm==t=m ^i^



SCALES. Continued. 177

G Major

<

E Minor. — ^\ £_ S^«tf_ ~n_ § M. -J. P

-^K # * ' LF 1 r—^J -^-^——« — |„i

^~h'0~fa ^~

*—#- î

1 I~ 1 3

B Minor. ^-^ .111 I ^L H^^, 1

/r-fi-8-T—t — —î

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—

#—

i

r* i -11 3

H (=

(gfefTHrf-ftifeE

*—d—+ 1

jjsgjisî

A Major.



SCALES. Continued.

yF# Minor.

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32

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i

1 _3 -V^ # -J- J fT* * *-

3, 1 4

E Major. A.^0* f JI ^ ^ _ ~ _ 2£ .rf. -J. F^******.-

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4 13 2

lEtES

C# Minor.

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j

-1

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1

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^1 4 4 1

1 3

to?^wsm%lj•gjin«l^zzzzi izzrzzzx Zâg^zf^|l5zpriifzzfz-tzzzzi^ ^zzzzzzz= ::

(

***B Major

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12 3 2

feG# Minor.

1 3

3 1

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1 3^1 4

2 12 3

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SCALES. Continued. 179

12 1

I^lfe—

=

F# Ufajor.3 4 1

g:gg^ 2=*=^V -*

•—f — i-

1 3 13 1

s^rl-^-f—^ , F*

• tf'11

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F

i4

»—f- t

1 4

I>s± Minor.l

rTtt$*-*± -î- t?-* v7 ~i V4—»—-# B 1 ,J B—__i j 1

^ ^ 1 2

H ^_#_B L#—#— i I—±_^^^_ | P—t—mtt—

H—

^

1 4

., i. 12

d h-

II

12 1

/_ J J d •+ a L_*-#_'

^/-fri P-b(^ »—#--f—n p—-^•—

*

Eb minor and D$ minor are identical in sound, played on the same keys.

4 12 1

|

gfe

te*te*

3 i r^î^î^î 3Bf> Minor. 1 Ja—^1 I L « L , r^^*^ 1 4

. ft, b fe

*-* f^J-rf^Tl H^^g^-^Q-^^-^^,^—ri-J -1_ 2

'

2 1 3 L_J»4_k- # i- • U- J 3 1

F—

^

i



130 SCALES. Continued.

Ap Major

trH-#

i i

ta« ^ 13 1 3 1 ^^ L-_ r VW

t 3

m—»—

F

h h-

-F-

*—0 ¥=-0--

1

s

j rrj-l MMajor. 1

*,1

rT i J* £ ± = * *i; j

1

r^*^i 4 1

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*w 1

mmi, mm

-Fsr

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—

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I

11

F

—

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^

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1

—

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i

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Bfc> Major.

(i ests 2

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d * * ——*—# J I r^— i-

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SCALES. Concluded. m

G Minor.

I

\

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4 1

W=*3 1

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I

m -0- S

---^—.» p r j—— —s-^

•

—

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3 1

11

F Major.1 4

-—a

—

—

F

1 1

11 1 f— —

9s

—

m—j 1—

\

II

I

1 I II b^. 1 3 I 1 , I 11 « L ^^^

1D Minor. 4 1 « I I I

ft# g-»- ~|^ fr * 1 —

I

— 4.

-fi J-3—*

F-^ tl-i—

—'—r^—*—

n -—

i

I—* d—

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^

\Ly. ^—^—* l_#— —I ^ b^^^J '

—

i^,.,;i F #

—

p-h ' *—

1

-^—-•-

The Chromatic Scale.

The chromatic scale includes all the tones in the octave, viz: twelve, or thirteen if we count the octave to the first note.

It is, therefore, a series of semitones, ten chromatic, and two diatonic semitones, calling into use all the black and white keys.

Study the soale with each hand separately, and observe the rules for scale practice.

Chromatic scale with French fingering.23 13 12 31 31 3 1

:2fc

-5p=^P

1 3 1 a

|E|^i=glk*

2 1 3 1 3 1 3 2 13 13 rr\

% :W J :9»—j- ^s^Ui - i»1 3 1.3 111 m *• » bm L3 1 ,31 2

1 =J . _^-J «= 1^^

1 «^—. .

1 3

-P-v?



182 TECHNICAL TERMS AND EMBELLISHMENTS.

Accidentals, D, b, &, %i or tta, ^2. Sharps, flats or naturals not belonging to the

original key of the puce, but occurring before a particular note. They affect not

only the note before which they are placed, but all the notes following on the

same degree within the measure.

Zijimzz Sharp: raises a note

a chromatic semitone.

Natural: cancels the

sharp or flat, whether

=jg= Flat lowers a note a

chromatic semitone.

accidental

signature.

T Single sharp:

jr in the

as r

fefc* used after a double

sharp.

r4-

Double sharp : used to

I raise a note, already

3 sharped, another chro-

matic semitone.

: Double flat: used to lower a note,

already flatted, another chromatic

semitone.

Single flat, as used after a double flat.

Abbreviation Marks. Strokes placed

over whole or half notes thus: indi-

cate a repetition of the note accord-

ing to the number of strokes. See

Tremolo.

^0, This sign after a group of notes

indicates a repetition of the

same group.

Strokes placed thus:

eighth, sixteenth or thirty-

Figures thus:

measures.

Written. Played.

ndicate a repetition in

second notes.

indicate a silence of that number of

m$'.

Appoggiatura, or leaning note. A small note which deducts its value in time

from the large note. There are two kinds, long and short.

The Long Appoggiatura borrows half the value of the large note, and is

accented.n s._

Long Appog:-~

fm -

~f—

-jM —I—*—r-

::=

Written. Played.

The Short Appoggiatura, sometimes called acciaccatura, is written with a

short stroke across its stem, and is played very quickly, without accent.

Short Appog

:

Double Appogiatura. Two ,_

small notes which take their

time value from the large note.

Arpeggio. The rapid succession of the notes

composing a chord.

Hold or Pause.

prolonged at pleas-

ciple, double its

over the double bar

Mordente )

Mordante j

fel

s?\Signifies that the note or rest may be

— H ure ; but, as a general prin-. ^H real value. It is often placed

thus: to indicate the end.

~0 Consists of two notes, the first, that over which the character

is placed, the second, a step or half-step above. It is played

like a double appoggiatura.

Octava Alta. Play the passage an octave higher than written. This is indi-

cated by the sign 8Ta~^~, with the waved, or dotted line continued as far as

the octava alta has effect, or to the word loco, meaning play notes as written.

Signs of Repetition.

Repetition of preceding strain.

Dotted Bars - Repetition of following strain. Ff

Repetition of preceding and

following strains.

or

or

Bis. Play twice. -

iKit..

». r.

Da Capo.Return to

beginning. Dal Segno.

Return to

sign.

Fine. The end of a movement or composition.

Staccato. Notes marked thus:

they are to be played distinct,

each other. Notes with the dash

the note; the half staccato *

i

I

i

»

or thns

:

short and

denoting that

detached fromhort and\

should only be held about \ the length of

about 2 the length.

mET-*-

± m mWritten.

The half staccato

mPlayed. Written,

is sometimes called Marcato.

siPlayid.

Staccato touch. See page 38.

Syncopation. Commencing a tone on an unaccented part o f a measure, and

continuing it into the following accented part; changing the accent from the

strong to the weak part of

the measure.»

(9

Tie or Bind.

second one is not

both notes.

Slur. Theclosely joined,

over or under

indicates the

Of two notes thus tied, the

struck, but held the time of

sign of legato, indicating that the notes are

When the slur is placed

notes with dots, thus: it

portamento touch, with

the tones very slightly detached.

Triplet. A group of three notes played in the time

of two, generally written with the figure 3 over themto distinguish them from other notes.

Sextriplet or Sextolet. A p^—group of six notes played n ^^^ 3^in the time of four; a -jiE

—

^-#-*6

—

^0—11

double triplet. Fg~g~f—?—*~f 11

Tremolo. A rapid reiteration of a note or chord to produce a tremulous effect.

Written.

Turn.

placed, and

Partial

Turn.

Full CTurn

Played. Written. flayed. Written?

y Consists of the note above, the one over which the character is

the semitone below it, performed in quick succession.

s\» -^v __n «\»_

»—f s—41 Direct

^£^=Turn.

Inverted Turn.

: 1 Notes of turn re

13 veersed.

Written. Played.CS9

Turn with the

note bel

made sharp

Written. Played.

EggWritten. Played?

I'laved.

Turn with the

no te above F

made flat.

Written. Played.

Trill or Sfialce. A rapid, even repetition of two

notes, the note over which the sign is placed, and

the note one degree above it, commencing and

ending on the first note.

The trill often ends with

the turn, thus:

To the trill sign, is often

added a waved line, thus : tr^^. Written.

to indicate how far the trill shall continue.Should the trill commence with the note r

above or below the principal one, it is indi- :

cated thus:

Written. Flayec

Degrees of Expression or Force.

Pianissimo or pp, very soft. Piano or p, 6oft.

Mezzo or m, medium, neither loud nor soft. Forte or/, Loud.

Fortissimo or^, very loud.

Grades of Movement.

Largo, very slow; Adagio, slow; Andante, moderately slow; Moderato, me-

dium, neither fast nor slow; Allegro, fast; Presto, very fast; Larghetto, faster

than largo; Andantino, slower than andante; Allegretto, slower than Allegro.

Styles of Touch and Movement.

Staccato or ', short, distinct. Semi-staccato or •,half staccato.

Legato or ***~ V, smooth and connected.

Crescendo or Cres. or —=^ZZL (Cra-chan-do), gradually louder.

Diminuendo or Dim. or _3rr==— (Dee-mee-noo-ain-do), gradually softer,

Forzando or/, or/2, or \, or =-, strongly accented.

Accelleriindo or Accelo. (At-chal-la-ran-do), gradually faster.

Rallentando or Rail. (Ral-ain-tan-do), gradually slower.Ritardando or Ritard, or Kit., holding back the time.

A Tempo, in the original time.



MUSICAL DICTIONARY.

(ak-sen-too-a'to). Dis-

tinctly and strongly

The science

Agitated, bur-

Accentuate

Accen.accented.

Acoustics (a-kows'tiks).

of sound.

Adagio (a-da/jo). A graceful, slow

movement, tender and often plaintive

in style.

Ad Libitum ) (leb'e-tum). At pleasure.

Ad Lib. J Time and embellish-

ments left to the taste of the performer.

AffetuosO (af-fet-oo-6'so). With pa-

thos, feel ins;.

Agilita (a-jil'i-ia). With lightness,

agility.

Agitato (aj-i-tii'to)

riedly.

Accelerando (ak-schel-er-an/d6). Ac-

celerating;gradually hastening the

time.

Al Fine (fe-nay). To the end.

Allegro (al-li'gro). A quick, vivacious

movement. This is often modified by

additional words, as Allegro agitato,

quick, with agitation ; Allegro assai,

ery quick ; Allegro comodo, with a

convenient degree of quickness; Alle-

gro non Troppe, quick, but not too

much so.

Allegretto (al'le-gret'to). A degree of

movement slower than allegro, but

cheerful.

Amore \ (am-dr-a). \ Tenderly, and

Amoroso J(am-or-6'zo). J with feeling.

Andante (an-dan'te). A moderate, dis-

tinct movement.

Andantino (an-dan-te'no). A little

slower than andante.

Anima, Con \ (an'I-mii). With life,

Animato / animation.

Al. )

All. > To the ; in the style of.

Alia. J

A Piacere (ii-peach'er-e). At the pleas-

ure of the performer.

Appassionato (ap-pashun-a'to). Pas-

sionately, intensely.

Ardito (iir-de'to). Boldly, energetically.

Assai (iis-sl'). Very. Used to modify

other words as, allegro assai, very fast.

A Tempo]

(a tem'po). Signifying a

A Temp. [ return to the original

A Tem. J movement after a devia-

tion in the time.

Abbreviations. For definitions see

page 182 : Cresc. : D. C. ; D. S. ; deer.

;

dim.;/1

;ff; fz;pp; etc.

Basso (bis'so). The bass part.

Baton (ba-tong'). The conductor's stick

used in an orchestra for beating time.

Ben. Well. Used to modify other

words as, Ben Marcato, well marked;Ben Tenuto, well sustained.

Bis. Twic-?; indicating that the notes

under or over the curved or dotted

line must be played twice.

Bravura, Con ( bra-voo'ra). With bold-

ness and spirit.

Brillante (bril-yiin'te). Brilliantly.

Brio 1 (bree'6). \ With brilliancy

Brioso J (bree-o'so). j and spirit.

Capriccio (ka-pret'ze-6). ) A fanciful

Caprice ' (ka-prees'). / composi-

tion., u regular in form.

Capriccioso (ka-pret/z3-6''so). Fanciful,

capricious.

Chef-d'oeuvre (sha-doovr/). A choice

performance, a master-piece.

Commodo \ (com-mo'do). Quiet-

Commodamente J Iy, composedly.

Con. With; as, Con anima, with anima-

tion.

Concerto (kon-shiir'to). A composition

written for a particular instrument,

with orchestral accompaniment.

Crescendo (cres-shen'do). Increasing

in loudness. Indicated thus: Cres.,

or

—=cCadenza (cii-dend'za). An extended

cadence introducing embellishments,

etc.

Calando (ca-lan'do). Becoming softer

and slower by degrees.

Caliua, Con (cal'mii). With calmness.

Cantnbile (csin-tab'i-le). In a melodi-

ous, singing style.

Cantando (cun-tan'do). Melodious,

gract ful.

Canto I kan'to). The melody or highest

vocal part.

Da Capo \ (da-ka'po). From the be-

D. C. Jginning ; indicating that

the performer must return to the be-

ginning and play to the double bar,

or the word Fine.

Dal Segno 1 (dal san'yo). From the

*• S. -if; Js'Kn ; *• e

>return to ;£

and repeat to Fine.

Dal Segno fin al Segno. ) From sign to

D. S. fin al D. S. Jsign.

Dur (dur). The German for major.

Debut (da/bu). A first appearance.

Decrescendo \ (de-cre-shan'do). Di-

Dec Decres. Jminishing the inten-

sity or force of the sound.

DellcatO (del-e-ka/to). Soft, delicate.

Dolce

Dol. Wdol'sha). A soft, sweet stvle.

Dole.

Dolcemente.

Dolcezza.

Dolcissimo.

Dolente

Dolement.

Do lent.

Dol.

In a sweet and graceful

style.

(elo-l.ln'te).

In a plaintive, mournful

style.

Doloroso (do-lo-ro'so). Pathetic; plaint-

ive.

Flegante

Elegamente.

Elegantemente.

Eleganza.

(el-a-gan'te).

With elegance and

grace.

Encore (Sng-kor'). Again; demanding

repetition.

Energia, Con. 1 w lU

Ener|ico. }^th energy.

Ensemble (au-sam/bl). Together; at

the same time.

ESS? ] t«H**HM0. .WUhp t. marked expression.

Espressivo (es-prese'vo). Expressively.

Facile (fft-sil'a). Light; graceful.

Ferm'o* I(far-mo). With firmness and

FermatoJde«sh>n.

Fermate (fer-ma'te). A pause or hold.

Bight hand.

Finale (fe-na/le). The final, closing

movement.

Fine (fe-nay). The end.

Fuoco. ) w.., . .. r

FuOCOSO. J

spirit, fin, animation.

Giocoso (jeo-ko'zo). In a joyous, sport-

ive style.

Gilisto (jeoos'to;. In steady, equal time.

Gracioso ) (gra-chc-o'suj. In a flowing,

Grazia. / graceful style.

Gavotte (ga'vot). A French dance, the

air of which has two lively strains in

common time, each strain played twice.

Derives its name from the (iavoto of

France.

Largo (liir'go). A slow and solemn

movement.

Largo Assai. Very slow.

Larghetto. Not <juite so slow as Largo.

Largamento. Broad, free style.

Legato (le-gi/to). Tied; joint d.

Legatissiliio. Superlative of Legato.

Leggiero (led-je-a-ro). Light; nimble.

Leggerissimo. Superlative of Leggi-

ero.

Lento. Slow.

Lentando. Increasing in slowness.

Loco. Placed at the end of an Sv».**#passage to indicate that the notes fol-

lowing are to be played as written.

Maestoso (mii-es-toVi). Majestic; state-

ly.

Main. The hand.

Main Droit. \

M. I).)

Main Gauche. ) T ,, , ,

m. g. ;Lc£t hand -

Marcato. Marked; emphatic.

Marziale (miir-ze-al'e). Martial style.

Meno (ma/no). Less; as Meno I'uino,

less soft.

Mestoso (ma-st(Vzo). Sad; pensive.

Moderato (mod-e-rii'to). With moder-

ate degree of quickness.

Moll. The German word for Minor.

Molto. Very ; as Molto Allegro, very

quick.

Morendo. A gradual diminishing of

the tone and slackening of the time.

Moto. Movement. Used with other

words; as Moto Retardando, retarded

movement.

Non. Not; as Non Molto Largo, not

very slow.

(Envre ) (iivr). *» Work. Used by com-

Opns /(O'pus).I

posers in number-

ing each of their compositions in the

order of their issue; as Opus 1, Opus 2;

or (Euvre 1, etc.

Passionato (piis-e-6-na/to). With pa-

thos and fervor.

Passionatemente. Superlative of Pas-

sionato.

Pastoral. In a rural, idyl style.

Patetico I (pa-ta'te-cO). Pathetic,

Pathetique|

plaintive.

Pin. More ; as Piu Vivo, more anima-

ted.

Po'co. Little ; as Poco Allegro, a little

faster.

Poco a poco. By degrees, little by lit.

tie.

Portamento Blending one tone into

another.

Presto (priis'to). A very quick move-

ment.

Prestissimo (superlative of Presto),

extremely quick.

Quasi (qua'seV In manner or style of;

as Quasi 1'astorule, in manner of a

pastoral.

Religioso. In areligious,

solemnstyle.

Risoluto (re-tj-o-loo'to). In a resolute,

bold manner.

Rilennto (ra-te'noo'to). Detained: to

suddenly slacken the time.

Ritardando. Bitard the time. See

page 182.

Scherzando ) (s>kCr-tsiln/d6). Light,

Scherz. jplayful, sportive.

Scherzo \ (shfir'tso). Playful, jo-

Scherzoso f cose.

Sthnell (schnell). A German word,

meaning quickly, rapidly.

Secondo (sa-c6n/d6). Second; the sec-

ond or lower part in a duet.

Semplice (Bam-plee'tshe). Simple and

artless.

Seinpre (si'm'pre). Always; as Semprc

Staccato, always staccato; Sempre Forte,

continually loud.

Sentimenlo, Con. With sentiment.

Serioso (sa-re-o'zo). Grave; serious.

Sforzando]

(sfcr-tean'ddj. With sud-

Stforz. I den force. One partic-

sfz ular note or chord to

> J be emphasized.

SSS& } « —i

•—Simile (8un

/e-le). In like manner.

Placed after Ped., or any mark, to

indicate that its use is to be contin-

ued in same manner.

Smorendo. l

Gradual] diminisMng .

Smorzando. \ i •

J 6 '

Smorz. J

d>'lnS awa>'-

Sostennto. Closely joined; tones sus-

tained.

Spirito, Con. \ Sjiiri ted ; with anima-

Spiriloso. | tion.

Suavita, Con. \ Delicate; with sweet-

Suavc. / ness.

Tempo. Time ; degree or style of move-

ment.

Tenule A (tt-nu'to). Sustained; the

(**

i, e, i, 6, u, long, as ate, eve, Ivy, oh, jruie; 4, 6, J, 6, u, ahort, as at, ebb, 111, ado, bat; a, broad, as far.

Tenuto [ notes held their full time

Ten. ' j value.

Tranquillo (tran-que'lo). Placid; tranr

quil.

Troppo (tro'po). Too much;often used

with Nun; as Non Troppo Allegro, not

too fast.

Tutti (toot'te). All; all the instruments

or voices.

Velocita.)^ith velocity, rapidity.

Yivace) (vO-va'shc). In a vivacious,

Vivo / lively manner;with life,

vigor.

Volante, Con (vo-lan'tc,. Flying. With

lightness and rapidity.--1



CONTENTS,

Page

Abrupt Close, with Cadenoe ..__ 171

Abrupt Modulation 170

Accidental Sharps and Flats 31

A Country Dance 84

Adeste Fideles 82

Air de Figaro Mozart 88

Airs from Pinafore 110

Allegretto from Moonlight Sonata 120

Allegro Movement dementi. 49

Altered Chords 165

A Minor Scale. Melodic and Harmonic 92

Andante from Sonata Pathetique .. 99

Andante Movement 143

A Practical Study of Harmony 77

Aria Religioso 89

Arie 62

Arioso 108

Berceuse. (Cradle Song) Kohler. 28

Blue Bells of Scotland. Varied 51

Bonnie Doon Hewitt 84

Broken Chords 85

Broken Chords between two hands.. 109

Broken Chords in A flat 162

Cadences 122

Cadences 166

Charlotte Waltz 31

Chord and Scale Study in A flat... 153

Chord Etude in D 123

Chord Exercise in Four Parts 78

Chord of the Augmented Sixth and

Fifth 157

Chord of the Diminished Seventh. .. 144

Chords in A Major 140

Chords in B flat Major 131

Chords in B Minor 120

Chords in Key of G._ 85

Chords of the Seventh 82

Chromatic Scale 181

Crossing Hands 62

Daily Technical Studies 74

Dancing Galop. Four Hands 83

Dancing Quadrille. Four Hands 56

Deceptive Cadences150

Diagram of the Major and Minor Keys

D Minor Scale. Relative to F Major

Dotted Notes

Double Notes

Duet for Teacher and Pupil





Early Morning Polka

Eighth Notes

E Minor Scale and Chords

Enharmonic Modulation

Essential Sharps and Flats

Etude in B flat Major

Etude in D Major

Etude in D Minor...

Etude in E Minor

Etude in F Major. Broken Chords

and Scales

Etude. Legato and Staccato Touch.

Evening Amusement. Four Hands.

_

Evening Recreation

Examples of Enharmonic Modulation

Exercise in Playing Chords

Exercises in Transposition

Expression

Fairies' Quadrille. Four Hands

Fifth Mazurka Chopin.

Fig. C. Position for both Hands

Fig. I. General Position of Arm, Hand

and Fingers __

Fig. II. Position of the Hand and

Fingers

Fig. III. Touch from the Third Joint

ef the Finger

Fig. IV. Touch with the Thumb...

Fig. V. Striking from the Wrist

Finger Exercise

First Waltz

Five-Finger Studies

Formation of the Diatonic Scale

Four-Part Harmony

Pago

176

107

23

35

12

15

18

24

32

129

16

102

170

34

130

116

110

103

113

148

160

20

171

77

72

66

40

96

10

6

35

38

27

21

59

53

Four-Part Measure 9

Gallopade 30

General Review 74

Greenville, with Variations Hewitt . 45

Gypsy Dance 145

Half Notes 11

Home Sweet Home 36

How to Strike the Keys 5

Humming Bird Hewitt 98

Intervals 134

In the Garden 72

Kathleen MavourneenHewitt. 66

Key of B flat Major 129

Ledger Lines 22

Legato Touch 29

Le Retour Burgmiiller. 151

L'Harmonie des Anges Ill

Lied ohne Worte Mendelssohn. 174

Little Folks' Polka 43

Lucia Di Lammermoor 114

Marche H6roique Schubert 128

Maybells 68

Melody with 3 Harmonious Combina's. 171

Militaire Galop 126

Millon the Brook Kohler. 90

Modulation 170

Modulation through the 24 Triads... 172

Morning Song 30

Moss-Grown Cot 81

Movement of the Fingers 6

Musical Dictionary 4

Need a Body Cry? Song 112

Norwegian Air.. 14

Operatic Air 28

Organ Point 166

Pastourelle. Four Hands -. 152

Pearly Brook (Sonatine) 69

Phrasing—Musical Punctuation 55

Polonaise. Four Hands 146

Position of Chords 92

Position of Vocal Organs 112

Practice of Double and Single Notes 37

77 Practice of theStaccato Touch 38

(



CON T K N X b-CONCUUDKD.

Preludes J

Preparatory Finger Study

Quadruple Time j

Quarter Notes

Reapers' Galop

Recreation in G J

Recreation. Legato &, Si accato Touch

Red Ribbon Polka. Four Hands. ..

delation of Chords

Repeated Notes. Portamento Touch.

Resolution of the Seventh Chords

—

Reverie in B flat -

Review of Major and Minor ScalesT

.

Review of Notes and their Relative

Value

Review of Notes and Corresponding

Rests

Review of Note on Treble and Bass

Staffs

Rhythm or Time

Romanza

Rondo in Key of G

Rondo Movement

Rules on Accent and Phrasing

Sailing Song

Sangerfest 1'olka. 4 Hands. .Strauss.

Scale Etude in E flat

Scale Etude in E Major.

Scale Etude in G

Scalr» Etude in G and D Major

Scfde Etude in G Minor

S<3ale. Etudes No. 1 and No. 2

^Scale Exercises for the Voice

Scale of A flat Major

Scaleof A Major

Scale of B Minor. Melodic and Har-

monic

Scale of C Minor ,.

Scale of C sharp Minor

Scale of D Major

Scale of E flat Major

Scale of E Major

Scale of F Major

Scale of F Minor

Scale of F sharp Minor

Scale of G Major

Scale of G MinorScale Studies

Page

162

64

16

12

61

54

68

132

78

43

154

131

176

23

23

22

9

102

34

70

57

49

118

150

158

54

117

136

47

48

162

139

125

154

158

116

149

158

64

166

145

53

135

64

Scale Study in Triplets— ..

Scherzo in G Minor

Scherzo No. 1. Four Hands

Schottisch Movement

Second Etude in G ---

Second Section

Sixths. (Legato and Staccato)

Sleigh Bells

Soldiers' Song Kolder.

Song of Home

Song of May Lange.

Song of the Old Barn

Song without Words

Spirit Waltz Heir ill.

Spirit Waltz in Minor. Hewitt.

Staccato Chords .

Staccato Polka

Study for Equalizing the Strength of

the Fingers

Study for Left Hand

Study for the Voice

Study in Eighth Notes

Study in F Hewitt.

Study in the Legato Style

Study in Triplets

Study in Whole Notes

Study of Chords

Study of Different Positions

Study of Diminished Sevenths

Study of Legato and Staccato Touch.

gtudy of the Diatonic Scale.'

Study of the Dominant Seventh Chord

Study of the Turn

Study of Thirds and Sixths

Sunshine Polka

Suspensions

Swiss Song

Tarantelle Stephen Heller.

Technical Studies in A Major

Technical Studies in F Minor

Technical Study in E flat

Technical Study in Triplets

Technical Study, No. 1

Technical Study. Wrist Movement..

The Bass or F Clef

The Chromatic Scale

The Clefs..

Page

155

137

94

65

58

77

62

73

52

138

59

156

124

78

42

Pag.

The Cuckoo.. _.. ...KGhler. 44

The Fairie's Quadrille. Four Hands. 40

The Flat 29

The Humming Bird Hewitt 98

The Keys of the Piano-Forte 5

The Mill on the Brook Kdhler 90

The Minor Scale 92

The Moss-grown Cot 81

Theme with Variation 19

The Musical Alphabet. 7

The Natural 30

The Organ Point 166

93(ThePlay Ground 164

14q The Promenade 61

The Seven Forms of Notes 9

The Sextolet and Turn 70

The Sharp 27

The Staccato Touch 38

The Super-Tonic and Sub-Mediant

Triads 86

The Twenty-four Triads. Varied 173

The Wanderer 108

Thirty-six Positions of Triad 89

Three-Part Measure or Triple Time.. 21

Three Positions of the Triad 7?

Transposition, 71

Triads on the Minor Scale 92

Twenty-fourPositions of Dominant 7th 89

Two-Part Measure or Double Time__ 19

Use of the Pedal 114

Vacation Rondo 48

Varied Cadence in G Minor 135

Vocal Exercise 67

Vocal Exercise in A Minor 96

Vocal Exercise in C 87

Vocal Recreation 27

Vocal Study 17

Vocal Study 150

Vocal Study. Hear, O Father. Concone 87

Vocal Study in G 36

Vocal Study of the Scale in D 116

Waltz Movement 142

Wintered (Winter Song) Mendelssohn 106

Woodland Echoes. Four Hands 104

14

14

21

16

65

107

20

9

86

26

144

39

46

82

159

60

55

169

26

168

141

167

149

58

17

122

13

181

7



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- Vocal & Inst.

lio, Instrumental,

when sent by mail.

A Book of New Music,

Whitney Edition No. 1. Price 50 Cents.

Whitney's Musical Cabinets,

Numbers 1 to 30 each. Price 50 Cents.

Album of Comic Songs, Price 25 Cents.

FOR DAY SCHOOLS.

Morning Bells, - By W. A. Ogden.

New Silver Carols, By Ogden & Leslie.

Price of either $5.00 Per Dozen.

EXCELLENT FOR SINGING CLASSES.

Song Prize,

S^ng Chief,

By S. S. Myers.

By Ogden & Myers.

Price of either, $5.00 Per Dozen.

FOR CHOIRS.

Crown Anthems, By W. A. Ogden.

Price $5.00 Per Dozen.

Royal Anthem;., By W. A. Ogden.

Anthem Choir, By W. A. Ogden.

Price of either $9.00 I'er Dozen.

ORATORIO-IN TWO PARTS.

Josiah King of Judah,By W. A. Ogden.

Price $7.50 Per Dozen.

BALLAD OPERA—in one act.

Three Old Maids, By W. A. Ogden.

Price 85 Cenls.

Send for Dress Description.



Date Due

All library items are subject to recall 3 weeks from

the original date stamped.

LOV 2 1 2000

OCi WMLotrrroo

'Jilt 2 92003

Brigham Young University



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