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WILLIAM.L.CLEMENTS
LIPRARY OF
AMEl{ICAN IIISTORY
| UNIVERSITY:/MICHIGAN
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REPOSITORY OF MUSIC,
CON's "A NING:
ELEMENTARY AND ADVANCED LESSONS,
SEI-IEC’s CIEE) FIROMC Trºile: "VV"OEIºS
OF
A. B. L & T TEAC H II & Rºſsº,
|
|
“I have bought golden opinions from various authors.”
| Nºmumºmº. A -º-º- … *_-_^_^.
| CANTERBURY, N. H.
PRINTED AT SHAKER VILLAGE,-
L88O.






NOTATION OF MITUSIC.
•-Gº-O---
IC, ESSON I.
The Staff.
1. What is the staff?
EXAMPLE. wº-v e-º-º- mºmsºmºmº umum-mºs —
*—º.
2- - --- 2-
º º v vºy-ºr ºr ºr w º v-y
emºs º-mº um- G wr-y wr-w ºr - Uºmº ºn A N. A tº . vºy *Tºmy -º-º-º-º-º-
2. Where are the notes placed?
On the lines, or in the spaces.
EXAMPLE.
3. How are the lines and spaces of the staff counted 2
Upward, from the lowest to the highest.
Lirnes. Spaces.
5 —— — 5 — *º-º-º-º-m-tºmºrumºrº me--
4— — — ——4—- #– 4
ExAMPLE 3––a–3– 2 -- • ºl
1 —-H-— wº-ºº-ºº ºvº, 1III
4. How many degrees does the staff include?
Nine degrees, viz. five lines and four spaces.
5. What is a degree?
Every line and every space is a degree.
6. Of how many parts does a note generally consist?
Of two parts, a head and a stem.
7. How are the heads usually made 2
Either open or close, (that is white or black,) and must be placed on a line
or in a space.
VVELITE IN OTES.
Orl Illines. In Spaces.
| –
TTT2-STPI TTTTT2 .
TI-ii-Izº fºr TT TTTTTTºT
–––2–~~--—— TøTT
Leº Tºº-T-I---- 4 x = a- « » - A- ºr « » « .
IBILALCIN INTOTES.
Onn Lines. In Spaces.
| .*—A –
---L---&- TTTTT JT
FHF -o-H a lº- tº & j-ºf-
Leº-ETE —-l—º-—l-
8. Must the stems turn up or down?
They may turn up or down, without making any difference in the music.
9. How many notes do we place on the staff?
Nine.


ii
10. When more than nine notes are wanted what may we do?
Use the spaces above and below the staff.
*ALºv u zºº-u -
------
EXAMPLE. T.T.T
------
III.
& 2
_&_
|-
ſº ºw-mºw & Lºmºv F--
–––– tº lºw \mu
-g--
11. If more notes than these are required what are we to do?
Added lines are drawn above or below the staff.
Line Above- Line Belovv.
4- *- C sumºmumumu- m. m. ºn wºm yºu wºn
—F-
EXAMPLE. T.I.T
ºmum-e emuru-un mum-
----
-ø.
——-ºf---—”-
Tº Tºlºl. 25 F | || 2 ſº
IIT aſ fºr III ºf T.
TT ej T. ſ. Tº €2 || || Tº
|-ed | O [ . & Y_Y_* *
Leº- £2

12. How many lines can we draw or add above or below the staff?
Any number may be added, at pleasure.
13. What use is the brace?
In music for keyed instruments, when a staff is wanted for each
they are joined together.
r
| sº UP tº ºf ºf 7 & mºm mºv dº a 2- 2- 2-
EXAMPLE. !
!
hand,
14. When more than two staves are joined together by a brace, what do they
contain?
Music for different voices, or instruments to be performed at the same time.
15. What is this union called 2
The score.
E_ESSOINT II.
The Clef,
1. From what were the first notes named 2
From the first seven letters of the alphabet, as A, B, C, D, E, F, G.
2. If the tune or melody exceeds these seven what are we to do?
The same series of letters must be repeated.
A-º-º-º-º-º-º-º-A—A-º-º-º-º-º-º-º:
3. What is a clef
CA ºut aza(character placed at the begining of the staff.
TREBI.E CLEF. fl-º-º-º: BASS CLEF. @:#F-
—G-- nºw-em-sum
wºr-wºr-wr-wºr-wºrwºr-v-vºz v_ \ºmº ºf hº
4. What is its use 2
To determine the names of the degrees.
. Where is it situated P
Always on a line.
5
6. How many clefs are generally used in writing music?
Three.
'I'he IR clef. C clef. G. clef.
sº-
== =#E
. What are these commonly called?
The bass, tenor and the treble.
8. How are sounds distinguished?
By their difference in respect to pitch, and divided into high and low.
9. Where are the high sounds placed ?
In a staff with the G. clef, and called treble.
10. Where are the low sounds placed?
In a staff with the F. clef, and called bass. .
11. How are the tenor sounds obtained? --~~~~
From the upper sounds of the bass and the lower ones of the treble.
12. Where are they placed 2 \
They are sometimes placed in a staff with the G. clef.
TIETIE, G-- CTLIER".
13. Where must the G clef turn on the staff?
On the second line.
14. What notes are placed on that line?
All the notes on that line are called G.
15. From what do the other degrees take their name 2
From that as the clef line.
=
7
—G-— on the clef line.
=
OF THE F OR BASS CLEF.
1. Upon what line of the staff is the F clef placed
Upon the fourth line.
2. Where should we place the two dots?
In the third and fourth spaces.
3. What notes are placed on the fourth line *
All the notes on that line are F.

iv.
U . . . 2- A. ºr Lºº - 2- A- A--- A-
4. How are the other degrees reckoned?
They take their name from that as the clef line.
Q * EXA-INACIPLE OF THE F. C.L.E.F.
f ={}-C-
on the clef line.
gºmºſºmºſºm, sºmºs C= -ºº-ºº-ºº ºmºmº-
A. a-mºw-mº --—tº- —-
ICLESSOINT III.
-C-C-C-
Of notes in general.
What do notes represent?
The notes of music represent sounds, with their difference of pitch and dura-
tion of time.
What are these two qualities called?
The tune and time of notes.
. When to any series of the seven letters the eighth is added, what is the
whole number termed?
An octave.
What is an octave called?
A Key or scale.
. When the scale was first fixed in pitch what letter was used as the first
sound?
A.
In the scale now most common what letter designates the first sound 2
C.
How do the two scales differ?
In the position of the first sound.
What is the first scale called?
Minor.
. What is the other scale called 2
Major.
—4:0+---—— — .
LESSOINT ITV.
–Cºº-
Of the tune of INotes.
Upon what does the tune of notes depend?
Upon their relation to each other, and upon the distances between them.
Are the intervals between the degrees of the scale equal or unequal?
Unequal.
Why unequal?
Some intervals are nearly twice the distance of others.
What words are used to express these intervals?
Tone and semitone.
. What is a tone 2
The distance between two notes, or the union of two semitones.
*.
b.yes
490.
O
G\%%, $.&
*
6. What is a semitone *
One half of a tone.
7. What is the distance between C and D,-F and G, D and E,-A and B,
G. and A P
A tone.
8. What is the distance between E and F, -B and C2
A half tone.
9. What does every series of the octave contain?
Five tones and two semitones.
10. What is a note *
A note is the sound which is heard, or the character which represents it on
the staff.
11. What is a tone 2
It is the distance between two notes.
12. How can you illustrate this?
The distance from A to B is a tone; and therefore A is a tone lower than B
and B is a tone higher than A.
4-º-º: Ú ºr )
I_ESSEOINT TV".
–º-Ǻ --
The Scale {Pf C WHaajor.
A-sco in Clin) g- | | IDesce inding.
-----------------------------------
|--|- || || || || Tºyº gº.-2 - I - , , , ,-
III. T. L. Leº Tºº Tº...] Tſ Tø Igſ. TITT -
–––… cºjº Cº | F- --—
* * ~ * *C- ºrv - -- dºº-dº as -º-º- ºm a P. m. , wº T--> ---, * - *- -, 4- ºr- º N- C- Tº G -- a--> *-* - ſº- --> -º-º-> < x = - Gº-A- ———
—cº- 'º' €2 left-
1. Upon what does the effect of these notes depend ?
Upon the position of the semitones.
2. In this series where are the semitones found 2
Between the third and fourth, seventh an 1 eighth, of the ascending scale.
OF TI-II-2 T ITVIIC OIT N O'ITIES.
1. How is the duration of a note in respect to time known 2
By its particular form, making it either white or black, and with or with-
Out a Sten).
2. Which are the three principal notes?
The minim, the crotchet, and quaver ; or the half note, quarter note, and
eighth note.
3. What is the form of a half note *
'ille half note is a white note with a stem.
*—w -----eve ----> w- -um- v-Tº-T-7
— .* A Y-Z
EXAMPLE. º – --
•y------
4. What is the form of a quarter note?
The quarter note is a Llack note with a stem.
wºmy-º-º: v ū- B -- we, www.umºm sº e s m =yº
• * |
EXAMPLE. --~~~~ --
, - . & ——
ſº-º-º-h 4-4-- * * *-* = ** * = mºm’ wºme wºum, *º-wºrm am-º,-r

vi
5.
10.
*. *—º. Cº-Cºx - *= --- A---—A-. A—A-...-A—A-. A—A-...--A—A-. -
What is the form of an eighth note?
The eighth note is a black note with a stem and a hook.
EXAMPLE. T.
mr-
mºv-º-º-º-º-º-use
. What is the length of a half note?
As long as two quarter notes, or four eighth notes.
––– TTºTTSTST Tº
– lº. is sists:
EXAMPLE. Iº- -o-o-º-º-
& P wº-a-2 AN-C-
}
*ſºme
T
–3–2
v v
. What is the length of a quarter note?
As long as two eighth notes.
TTTTTº-Tº-
H.H.".
EXAMPLE. Tig II
C- ºr-º-º-º-º-my
How is the eighth note divided ?
Into two sixteenth or four thirty-second notes.
–2–Ha-e-Hºº-º-º-º-H
ExAMPLE. Hº-Hºº-º-F-º-º-º-º-
+2+2- 3 -Hºº-º-º-º-H
. What is the form of a sixteenth note 2
It is made like the eighth note, and has two hooks.
an eighth note.
It is half the length of
TTIS, IIIgº.Tº II
_ISITIFºl tº .
EXAMPLE. Tº IETº.
T*II sº sº I
What is the form of a thirty-second note?
It is made like the eighth note and has three hoo
length of an eighth note.
W-s
i\S a
It is one fourth the
TºI.L.I.T.T.T.T.TITITITITTº ſº. 6 TºT&I&T PI&T I
ITSIII & TT.I & TºI & TøIºI&II gº º tº 2 gº tº gº e.
EX. Igs I–IIILE-L-Tº-º-º-º-E-º-º-º-º-º: Iº-º:
T*ITTTTT Tº a T º gº tº gº. TT Tº TøTº Tl2Tº sº gº tºº. T
11.
12.
13.
What longer note is sometimes used in music?
The whole note.
What is the form of a whole note?
A round white note without a stem.
sºm mºm ºvº - 2-ºxº- ºp sº-º-º- ºr x- 24-4 m
EXAMPLE. T.
What is the length of a whole note?
As long as two half notes or four quarter notes.
ſº G - & a mº- 4 × 4 m w =w-umºr * amº-A-4 ºr zºº A- *= & \º
ſple. Hº- sºfº
EXAMPLE. F- _TTTTTTTTTI
TTL-I-C-I-T-I-T-Tſ.

* IV[EASTCFIRE.
1. How are musical pieces divided ?
Into portions of time called measures.
2. How are these measures ascertained?
By straight lines, called bars, drawn down the staff.
3. What constitutes the measure ?
All the notes between two bars, constitute a measure.
I3 ar. Measure. IBar. IVſ easure. Bar.
er b & Yº Y_º_b ºr * > < * ~ *
& tº &m mºm-
* =
4. What must every measure contain 2
A certain number of notes, according to the time marked at the beginning
of the movement.
wº-y-Tº-Tº-y ~-_-_- -4-6)→ v tº ºwn ºv-,
LESSON VI.
–Cºx C-
Musical China racters.
1. What is a sharp 2
A clara ſter used to indicate that the note before which it is placed is to be
raised a semitone in pitch.
A. *——— — —&—
# +r 3–69
v. Qy-
-*.* * - |
2. What is a flat 2
A character used to indicate that the note before which it is placed is to be
depressed a semiton2 in pitch.
EX. b ŽTELLATIf I
3. What is a natural 2
A character used to contradict, or remove the effect of a sharp or flat which
has preceded it.
5x. A ſº-ºpe–-i-º-H3–
{} ſ---T-6s H
*—— F-——————
4. What is a pause, or hold 2
A character placed over Cr, under a note or rest, indicating that it is to be
prolonged.



VIII
2- 2- *
ſº ºf ºf ºm A^_º
5. What is a double bar?
A double bar is used to indicate the end of a piece of music.
6. Does a double bar effect the measure of music as marked by the single bar?
It does not.
A-_-_^_^. z º._^*_^_^_^*. à *
A---—A-A--- .*—A- 4--A—A- A- à
v-Tº- wºr-v-wºr-v --~~~
IDou]>le Bar. IOouble Bar.
* - ºf- - - - Mºmºmº- &_*- Y_Y_*-ſ ºf ºb
wº- tº ~my gºmy ſº ºmº- ºr Gº amum ºn
EX. - - - amº - ºn 2- tº-º-º-n -m-, - mºm-am– um jºu, -º-º-º- amºus- w = s.
< * > gº ºmºmº ºf hºmºm *mºn *
7. What is a close?
The close is a character which shows the end of a piece of music.
Close-
8. What is a crescendo?
A character denoting an increase in loudness of sound from the beginning to
the enl.
EX mºmºmºmº sºmmy aºmºmºmºmºmº emum-w-w dºm-m- a---ºp a u---> ===ºmºmºm mºs
9. What is a diminuendo?
A character denoting a decrease in loudness of sound from the beginning to
the end.
[ _ • &
… * A g-wº * - ºw-
EX * A ſº-º ºf º- v-, -y ºr-ºr --> Y-y tº-v-ºr x-ºr-wºmy & ºf . w-Tw
- ƺ-º-º-º-º º vºy wºr-wºr-v-vº v. vºy º
10. What is the union of both the crescendo and diminuendo?
The union of both indicates that the first part of the passage is to be soft,
the middle loud, and the last soft again, as the figure shows.
A 2- A---—---— —A. A—A---— —- *r-vºm-ºr wº-y ºr ºr-ºrvºr A- … * A-A. 4- A ºr w-v ºdºm ºw-mºwº e
EX. 2-A—A- A—A A—A- A
11. What is a Rinforzando? se
A character denoted by smaller marks of the same kind, which are to
increase or diminish the note as marked.
EX.
V " © vº-
They are also naade thus: v' /\ + º-


wºmerºr-wº wº-v
12.
13.
14.
A- *—º. AEA
What is a staccato or dash?
It is a mark of distinction showing that the note under or over it is to be
sung very emphatically.
——I-T—-I---
EX. ==== ITITTI
ºff e-E-G-: Gº:
TTTTTTI* GT
l l l i
What is a tie 2 -
A line straight or curved drawn across the stems of notes, or over them to
show that they are to be closely united in music.
What is a slur 2
A character drawn over or under as many notes as belong to one syllable in
singing. A slur is placed over notes on different degrees of the staff.
_T -> --—g-->-T---ºs- [- -
& —
Ex. 2- --º-Hºº-º-º-º: -j-e-º-º-a---
| | | ETſ. Tºlſ TTT.Cº-º-º-º-
SJIT e IIe T. Tº • ºm-P = - ºf 9.
15. What is a repeat?
16.
17.
A series of dots placed before and after a passage to be repeated, in per-
formance, or often only at the end of it.
Q
EX. wr-v-wr àmài him as Q *- —-e-
- -*-–-------º i :
*—a 4- wr ...A … - …-a- dº Q
What other sign of repetition is used in music?
EX. VI.T.T. H. H.T.Tºs. Is TT
* —-º-——-º-º-º- : slº,
_º__ —-º-. © = Tº ſwºm ºmº- mys mºmºmºm ºv- sºme mum-mm->
- Q S. — * Amºmº Y ºmºp *r Wºmºmº- E-
* @ Kº mº 4- ºv
This sign is placed at the beginning and also at the end of one long repeat,
that includes several short ones.
EX. &T. #.
P--——- ... º. ſº-'º-ſºle
What is a mark of abbreviation ?
A single or double stroke over or under a whole note or through the stem of
a half note or quarter note, divides them into eighth notes or sixteenth notes.
———º. —---ET-----——--- sºmyn º dº
yº. _ _ _[ººl ——º-— —&2-— *º---—||--
EX. T ST. If-'T &T
6 £–E–F#–E– sº-sº- =#
su- |-g-g-g-º-º--—s—--—



X
|
18. What is a point? p
A dot placed at the right hand of a note to raise its value, or prolong its
time, by one half, so as to make a whole note equal to three half notes,
and a half note equal to three quarter notes. A second dot adds one half
the value to the first.
{
ym
EX.
19. What is a direct?
The direct is a sign employed at the end of the staff to show upon what
degree the first note of the following staff is placed.
20. What is the meaning of the figure 3 placed over or under three quarter
notes, or three eighth notes, or three sixteenth notes?
It signifies that the three quarter notes, or three eighth notes, or three six-
teenth notes must be sung or played in the time of two ; of course a little
quicker than usual. Each group is termed a triplet.
a wºn = yºv ºn a ºn m^** —- ----- S_. * * *-* * º ºr 4- ) *-wºº -ºmºus
* ########i
O. —-i-Hºº-º-º----|--|->|-}
–0– –H–*-g-g-- - * g. * >
Rºess 3.
mumwe -->
21. What is the meaning of the figures 1 and 2 at the end of a repeat? &
It shows that the note under figure 1 is to be sung before repeating, and is
to be skipped after repeating, and the one under figure 2 sung in its stead.
• I 2 ©-º-º-º-mºm. -a-mº- *-* *-* = .
-g-gº-- *i-I. T.
* } Eſtº-sº-Ee-º-Hi
––––2-º-º-E---—:#”
22. What is an appogiatura 2
A small note placed before the larger one which it is intended to ornament.
p O |
—Jº- ------TT–2–––– gº a Y
†—º-jº-ji- f2–ff
Eºf -i. =#||


23.
24.
25.
xi
A-_^. A- .*_-_^_^. A-_^-
How many sorts of appogiatura”
Two, the upper and lower.
Explain them.
The upper appogiatura may be a tone or a semitone above the principal
note ; the lower one is always a semitone below.
What is the length of the appogiatura 2
It generally borrows half the value of the principal note, which consequent-
ly must be sung or played shorter.
–44)--~~~~
I_ESSOINT TV II.
-º-C-O-
Generic R arraes QPf The flºcale.
& –––––––––––a–2–
5–––––––2–– ea ——- fºLºmºv unm ºuvuºus-um
* T =.
a * -ummy. — 6-2 U ºm m. mºmº-Gº dºmºſºme mºm ſºme ºmºm wºmºyº wº mºm ww.º. ººm - A = x = - UAD ºr ºp ºf ADA a
I-5. Teº
1st. 2ndl. 3ril. 4th. 5th. 6th. 7th. 8th.
. What is the first note of the scale called ”
The Tonic.
2. Why?
Because it is the basis upon which all the other notes rest, and from which
they are reckoned.
3. What is the second note called 2
Supertonic.
4. Why?
Because it is situated just above the Tonic.
5. What is the third note called ”
The Mediant.
6. Why?
Because it is midway between the first and fifth, and forms a connection
with the Tonic. It is the important chord in harmony.
7. What is the fourth note called?
10.
11.
Subdominant.
Why?
Because it is under the Dominant, and Sustains the same relation to the
eighth as the fifth does to the first.
. What is the fifth note called 2
Dominant.
W hy ? * .
Because of its importance and constant occurrence, and its immediate con-
mection with the Tonic. Next to the Tonic it is the ruling uote of the scale.
What is the sixth note called 2 ©
Superdominant.
xii
12. Why?
Because it is just above the Dominant.
13. What is the seventh note called?
The Sensible or Leading note.
14. Why? t
Because the ear, upon hearing it, naturally anticipates the octave.
15. What is the eighth note called?
The Octave.
I)ivision of Intervals of the scale.
& D. Gº & N 4 M \º cº-º-º-º-º- ºr 4
Tone. Tone. ASemitone. Tome. Tone. Tone. ASemitone.
N armes of the Intervals.
1F.X.
–––––––––––––e5–2–
A Y- > - > * ~ * ~ \mu__ºf_* g \mu=\ºm ºmº ºmºm & & º Y - ºf ——a 5–– Gº). Tº tº - ºr- *- - - - - - ºmºmº. A mºme
U- Y - \{ | —---------- ——eº ———º- ––––– --~-—--- —-
-e).- -Cº- -Gº- -e- -6:2- -e- -e- -e- -e-
TD misom. 2ndl. 3rd. 4th. 5th. Öth. ºth. Octave.
16. How is the Diatonic Scale formed? & • .
First, by two whole tones and a semitone, and then three whole tones and a
semitone.
17. What does diatonic mean? Ç
Passing through tones. (From two Greek words, dia, through, and tonos,
tones.)
18. Where do the semitones occur?
Between three and four—seven and eight.
19. When two notes are near each other and upon one line, in what position
are they said to be placed?
In unison.
amºmº- —- Cº- —
I_ESSON VIII.
—e Cº-
or THIE REST.
1. What is a rest?
A pause, or interval during which all sound is intermitted.
2. Write an example of the rests.
TVW hole Rest. FHalf- Quarter. Eighth. Sixteently. Thirty-second-
* = x(x=-
a mºmº D-ºr e- wº- º
& Am A am a - > = <--, -e, -, *r Um' -- A—A wº wºn sº dº y
— -----gº- Cºmºmºmº *r-ºr-º-º-ºmr e & Y_* \º Yº ºr-ºr A-------—A-º-º-º-A—A- 4- Y - * * *- Y__Y_Y_ºp 4- A = } e e º 'º - º **-* * * *-*-a- , = amum-a-a-a-e-evºus ev = - -a-rmºureum-
––––––––l——*— — — —º–––––––––º!—l-––––
fºr TITTTTTTILTTTTTT.IITTTTTT —º- |


10.
xiii
. How are rests counted 2
They are counted in exactly the same time as their corresponding notes would
be, if performed.
. Where is the whole rest made?
Below the fourth line.
. Where is the half rest made? ©-
Above the third line.
. Which way does the quarter rest turn?
To the right.
. Which way does the eighth rest tºrn?
To the left.
. What of the sixteenth 2
It turns to the left, and has two marks.
. What of the thirty-second?
It turns to the left, and has three marks.
What is the whole rest always used to denote?
A rest during a whole measure.
LHCSSON IX.
-º-C-O-e
Q | RI H [YTHIM I.
. What is rhythm?
It is the relation and absolute duration of sounds that follow one another in
a piece of music. It also comprehends the various movements of the voice,
in relation to time, accent, emphasis, and musical feet.
. What is measure ?
It is a rhythmical division of music.
. What is time?
The measure of sounds with regard to their duration.
. What are the two chief species of time?
Common or equal, and triple or unequal.
. What do we count in the first 2
Two, four, or eight at each measure.
. What do we count in the triple 2
Three or six.
. What does common time contain 2
One whole note, two half notes, or four quarter notes.
. How is this designated 2
By the semicircle placed at the beginning of the staff, after the clef.
EX. \ –é– ––– ū
xiv.
10.
11.
. How are the measures of common time divided?
. How many species of this time are in use 2
Into four parts.
How are these parts accented 2
The first and third are strong, the second and fourth are unaccented or weak
parts of the measure. th.
IDOTUTELE. TRIPLE. SEXTUDE”I_E.
2 2 3 3 3 6 6 12
2 4- 2 4- 8 4- 8 8
What do the figures signify 2
The lower figure signifies the division of the whole note into parts, and the
upper, the number of parts in the bar.
# time has two halves of a whole note, that is two half notes in a measure.
# time has two fourths of a whole note, that is, two quarter notes in a
IQ623. SUITé.
# time has three fourths of a whole note, that is, three quarter notes in a
Iſle 3.SUITC.
§ time has three eighths of a whole note, that is, three eighth notes in a
Illea,SUITC,
§ time has six eighths of a whole note, that is, six eighth notes in a measure.
TIERIELDEC " INIMCE.
Three.
1st. Three half notes
2nd. , , quarter , , in a measure.
3rd. , , eighth , ,
. What does a measure of the first species contain?
One dotted whole note or three half notes.
. What does a measure of the second species contain?
One dotted half note or three quarter notes.
. What does a measure of the third species contain’ º
One dotted quarter note or three eighth notes.
. Of what does the measure of triple time consist? .
Of three parts.
. How are these accented ?
The first strong, the two others weak, although the last is rather strong in
comparison with the middle part.
. When two measures of three quarter notes or three eighth notes are united,
what is the measure called?
Compound Common.
. Why common 2
Because every measure is equally divided.
. Why compound?
Because each half is a single measure of triple.
xy
10. How many species has Compound Common in general use?
Three.
A-...--—A—A- a. *_º_-_^_^_^-_^_^. … º.
… *a- 2-—A- 2-
~myº-º-º: v ºr-wºr-º-º:
A tº *. … * … * … *
*-y Y-Z º ºr-ºr v www.w-w ºr-º-º-ºmrºyº *Tºmy ºf v wºr-wºr-w
1st. six quarter notes
2nd. , , eighth } % IIl 3, IOlea,SUII'ê.
3rd. twelve , , 5 7 & )
11. What does the first species of this time oontain?
Six quarter notes, or two measures of three quarter notes each, joined in one.
12. What does a measure of the second contain’
Six eighth notes, or two measures of three eighth notes each, joined in one.
13. What does a measure of the third contain’
Twelve eighth notes, or one measure of twice six eighth notes or four times
three eighth notes.
14. When two measures of six eighth notes are united into one, what do they
form 2
Double compound of twelve eighth notes in each measure.
I_ESSOIN X.
--O-O-O-
Counting Time.
1. IIow is the time of a musical composition to be counted ?
According to the number of parts contained in each measure, also according
to the speed.
2. How is it counted in common time marked C2
The quarter note bearing the measure note, generally four parts are counted
in each measure.
3. How is 3 time counted ?
4
Two quarter notes in each measure.
4. How do you count compound triple as marked
Generally, two dotted quarters in a measure.
5. How do you count time marked #2
Generally three quarters in a measure.
6. How do you count time marked § ?
Three eighths in a measure.
7. How should the time be counted ?
In common time the hand must fall on the strong part of the measure and
rise on the weak, or fall on the first and rise on the third.
Ex. #: -e—s-----|-
6 2
8 *


Cº. Ta-Tº [TT-Tay-&-
-o-e-H TTTTTTT
xvi
2- A *. - A. - ^ - ^ -º tº º … *_^.
v-y ºr vºr vºy
LIESSOINT XI.
•-C-O-C-
Aſ Transposition Of The Scales.
~ C, M.A.JOR,- G., OINTE SIHAEP.
–––––IT-#––––z-z-e-º-
— | I-- 2 |--|-
––– ———r-
TI ITTTTTT2: E2Tº TſII. H z-2-2
––––2–a–s------|----TT
==F2-2-2-º-F
I), TVVO SHARE'S.
A, TELEEE SHARE’S.
P-AE-E
F-
<-2 => gº-º-mºmºmº- me
a ºf Y_*-
…e. z º.º. º. e. a = A-A-_-_^_^. A tº | 2 -º-
| | | || 2:S. T. ##–TTT-z-z-É2–if I
––––––––––2– 2-2– TāIII.3TøIf-'Iſ IITT
—— Ta- 2T2. *-F -— ITIET: H. | –––. ſº-º-º-Y_*- B -
–2–2 ºr ſºmºs ſº ºn , – *_*- A ºr a > \ } ºf > 0 , amºmºmº-º-º-º- amº-º-º-º-
E, FO UE SEIAERE'S. E, FIVE SHARE'S.
# | # -a- -2
‘....T-TTL = a-TTH+...+1 − as a 2-f t t →
# #TLItta af2.É # *...Iajafiºſi i IIT III
T. Ceºſ C ºf TTT T*TT.T. sm tº A-A Amº- tº ºf X-
Tø 22 TTTTT – Tº-T-I-- ( * * *- EP ºxx -
ſ
# *::= H------|--|->|->
| |
###EEEzzº 2 |--
| !---2––––––
—za
1. From what are these transpositions formed?
From the Major scale of C.
2. In the Major scale where do the semitones occur 2
Between E and F, and between B and C, or between 3 and 4 ; 7 and 8.
3. How is this change formed?
By the addition of sharps.
l 2 3–2'4'
4. Into what scale is the first transposition by sharps?
Into the scale of G.
5. How does the scale differ from the Major scale of CP
By the introduction of one sharp.
6. How do we determine where to place
the sharp 2
By ascertaining which note must be raised to bring the semitones between 3
and 4; and 7 and 8, as in the model
* -- hº ©º º * * * a ume mºm ºf \m ºf ºur- ºx- — e--- =^* *
— A Y- * * > | ſ
EX. === E2–2-º-º: — —
–ez——i-i-º-º-
scale.
I D I.E. IF2T G.

10.
11.
12.
13.
14.
16.
17.
18.
19.
20.
xvii
*—º-º-º. A 4-A—A- *—º. .* Æk—º. º. º.
w-v-wi-v-v w w w =w=r_w_w_w_wr- ſºme ºu º Aº vºmy
~my Y-y U.
Why is this called the scale of G 2
Because the first or tonic note is placed on the G line of the staff.
A- A- - Y Yº YºA--- ºr
. Why is G in the scale of C numbered 5, and in the scale of G numbered 12
Because in every scale the first note, or tonic is one, the second note two, the
third note three, &c. Hence in the scale of C, C is one—In the scale of G,
G is one—In the scale of D, D is one.
. In this scale of G as now arranged where do the semitones occurf
Between B and C, and E and F; or between 3 and 4, and 6 and 7.
Is this correct? Q
It is not. The second semitone is found between 6 and 7 instead of be-
tween 7 and 8. This is also determined by the formation of the scale on
page 12, which has two whole tones and a half tone—then three whole tones
and a half tone.
In what does this scale differ from that form 2
This has two whole tones and a half tone, then two whole tones and a half
tone, then a whole tone. 0.
Wherein shall we change this scale to make it correct?
By placing a sharp before the letter F which raises it one half tone, thereby
making a whole tone between 6 and 7 and reducing that between 7 and 8 to
a half tone.
What is the second transposition ?
Into the scale of D, having two sharps.
Wherein does this scale differ from the model?
The semitoues are found between 2 and 3 and between 6 and 7. They
should be between 3 and 4 and between 7 and 8.
. IIow do you change this scale to make it correct?
By placing a sharp before F, we make a whole tone between E and F, and
a half tone between F and G or 3 and 4. Then by placing a sharp before
C, we make a whole tone between B and C and a half tone between C and
D or 7 and 8, which conforms to the model scale.
How are the sharps added ?
By fifths.
What is the order of the sharps?
F, C, G, D, A, E, B.
Where is the first sharp placed 2
On F.
How do you find the second sharp 2
By counting the thumb and four fingers.
By this mode of counting where does the second sharp fall?
On C.
LESSOIN XII.
--O-O-O--
Traunsposition of the Scales.
C., M.A.J. Olº. IT, ONE FLAT.
6
4A-7 - ºv-e ‘m, un-m mem=ar amum-me, sººn ºf mºmºmºmºmº ºm m a - - - --------- & º
| | | ––––––––––2–3–E–-
ITTTTTTTTTTTTT2 TºTITIE, TTTTTT aeff=#
TITLE-3-2Tº –F–— –B–EEE2F2TTTTTT
—--|->|-2 | | | T TTI 2 –––T---
=2, 2–2- amº ammum ºv-, -um-m
Bb, 'I wo FLATs. ۼ Eb, THREE FLATs.
D ea TFT )
†h-EEz-e-ºf-fºr-Hºbº-THFEF-E-P-
Ib" aſ 22-fºr-TIt TT.IIIb. Iaj-2If? T.
-v---|--|--|--T--- It’. DTITTP TºTº"ITIſ III.
———— —— eſcº 1 ſ TT
Ab, FOUR FLATs.-- Db, FIVE FLATs.
—l. Tº ſ T-T252 f.------ ~~~ –––– C-
IbTBTL 25–2 fiſ: I, b-5-IIa
...B. EP. Taj. 2 #2. TTT.IIIbº III.3.2.f
} Y-D-2T→ FIET III: It’-bib Ti-Iz-z ‘’I - i.
§4–––––––––– – "…]—2−2− [ITI
G. b., SIX #Lars. eº cb, sIEVEN FLATs.
Th–BIII: ITT-Taº ºb-B-H.E. ––––––––.
-Fºr-B-5——i–23–2-e-Hº-H- --v–D–––––––– -
=Bººz-2-2.É.-HB-bº b — -- Tºp - - - - -
1. Into what scale is the transposition by flats?
Into the scale of F.
I F (G. A 2-N B C I DO E-J. F.
–––––––. fººm. Cºmum. ºff
Pºm---
EX. ——I- +z-e-e-fºr-
I&T are TT
Il 2 3-221- 5 6 7-8
2. As arranged in the above scale where do the semitones occur:
Between B and C and between E and F, or between 4 and 5 and 7 and 8,
which makes the scale to consist of three whole tones and a semitone, and
two whole tones and a semitone. This does not agree with the model scale
on page 12.
3. Where shall we introduce the flat?
Before the letter B, which depresses that note one half tone and brings the
semitone between 3 and 4.
EX TTTTTTTTTeTºT *T
&=======#|
l 2 3 -> 4- 5 6 7->78


ſº
Dº|
1 ().
11.
12.
xix
.*_^-
. How are the flats added ?
By fourths.
. What is the order of the flats 2
B, E, A, D, G, C, F.
. Where is the first flat placed 2
On B.
. How do you find the second flat?
By counting the four fingers, omitting the thumb.
. By this mode of counting where is the second flat?
The first being on B, by counting from that note, thus B, C, D, E, the sec-
ond flat will fall on E.
. How do flats and sharps affect a foovement when placed at the beginning of
a tune?
They affect all the notes of the same letter, in every octave, throughout the
Imovement. b
What are they termed?
The signature. Q
If an additional one occurs in the movement what is it called?
An accidental.
What do these notes affect?
Only those notes which they immediately precede.
I_ESSON XIII-
--C-C-C-
INTEFRV All AS,
1. From what are the names of intervals derived 2
From the number of degrees which are contained between two sounds.
. Of what does the interval of a second consist?
Two degrees.
EX. ———ſº
wº-y | |
H-I-
. How are they situated?
They may be distant from each other either one tone or one semitone.
. How many kinds of seconds are there?
Two.
. What are they called?
A major second or tone, and a minor second or semitone.
IMaj. Second. IVIin. Second-
TT.III —
EX. == ſº ºn tº ºn s amº w H


XX
C. L. ºf . v-ºr A--A. ſ_\mſ - ºn ,
|-yºmº- ºxy-4 ºm m'º -> *-x zºº. u-º-º-º-º-º-ºwº A-º-º-º: *—A-A A-º-º-º: ****
wr-v-w v vºy wr QYO tº mºſº | vºy w vºy vºy wºr w wr-y
* 6. From what do intervals take their names?
From the number of included degrees.
7. How are their species ascertained?
By the names major and minor, according to the number of tones or semi-
tones contained inclusively between their extremes.
8. How many diatomic intervals have we in the scale?
Fourteen. (See scale, page 12.)
9. How is a minor second formed?
By two sounds at the distance of a diatomic semitone as B, C, and E, F.
C is a minor second higher than B, and B is a minor second lower than C.
10. What is an inversion of intervals?
When the lower note of any interval is placed an octave higher, or the
higher note, an octave lower, the change thereby produced is called inver-
| G
sion. --
*
A. Second be connes a Seventh. A. Third be corºnes a Sixth.
< * , tº * u, Yº Amºſ i
—T-----T— ---F————-----T—º--es—— H-E-
-T- H T TITL IT —— ----------- -
—J–2–1––––––2–2–– ==={
11. What do major intervals become by inversion ?
Minor.
12. What do minor intervals become by inversion?
Major.
13. Which are the most important intervals?
The Major and Minor thirds.
14. What is a Major third 2
When from the tonic to the third next above, there are four semitones, the
third is major and the key is called a major key.
Ex. C to E is a major third.
Serraitories. N/Iajor Third. Minor Third-
+--—”—-—?——4— &mmº ºme 2 mmm, mºme- v -º- ºn wº- ºf W. Cºmº ºme
IT TI ITTTTTTTTT * mºm w amº-ºw-uºm, EAE-E
–––––––––––––––––– &TTT
mº - sº-u º – e' = (-rumºv-u-º ºf-_* ———"— [Tº ſº.
-o- -#e- ºf -o-
15. What is a Minor third 2
When from the tomic to the third next above, there are but three semitones,
the third is minor and the key is a minor key.
16. How are augmented intervals formed?
By raising the Major intervals a semitone.
IMajor Sixth- Aug. or Sup. Sixth.
0.,!
:
Ø






ſº-º-º-º-º: - ~-_- A - —A— A- - *- A-A* =&ºm= ** - --~~-_-_-_-_-_-_-_- 2- 2- 2-k
ºr ºr v-ºr-wºmy-ºr-ºr-ºr —w— ºr ºr ºr-ºr ºr ºr-ºr ºr ºr ºr ºr ºr-ºr ºr ºr
17. How are minor intervals formed?
By lowering them a semitone.
Major Sixth. Minor Sixth.
TVIT T.T.T.T.T. º
YT ==== IIIbº L-
-69- –69–
18. How are the perfect intervals changed?
They are augmented by raising them and diminished by lowering them a
semitone.
EPs 1-ſect Fifth. Altıgrxhe inted Fifth. IDirrhinished Fifth.
ń. *. … * *. .*.
dº sº ---> gºm-m ºv tº- ºr Yº-Yº -7 * 4 x > ~ U → 2
19. Can they ever be major or minor?
They cannot.
ILESSOIN XIV.
--C-C-Q-
M II (NY&Plºt, SC AI L. E.
1. What is the difference between the Major and Minor scales?
The chief difference (to the ear ) between the Major and Minor scales is
in the third : that of the Major being composed of two tones, while that of
the Minor is only one tone and one half.
2. How does the Minor scale commende 2 -
It commences on the numeral 6–and on the syllable La, of the Major scale.
La is taken as 1 of the Minor.
3. What is the form of the scale?
There are two forms in general use, as will be seen in the examples.
---4-----Hoº-º-fºas-a---->|--|-
TITI -z-zº-E- |T|TºT&T’s TILT ---
Ex ºf ºff-HEffº ºf
{{}_*-*-H-I-----—————H-Hº
Q/
__2~. 1-2% ºf £e-o-l_-_TS---
T.T. gig ºf IT fºrgia Ti-I.
Ex. xiii., § ºf Tri-ETI fºº-º-e-
º-º-º-E-E-Eſ-––––F–F–F–F–A–
CIHIROM.A TIC SCA LIED.
4. How is the chromatic scale formed?
It consists of twelve successive semitones, major and minor.
TFE Hº-H
gº”252.2bºº
dºm- ºne-º-º-, -º-º-



xxii.
5. What does chromatic mean?
Proceeding by semitones.
TTI.i.azzeżałºſłęże zhaaba. -----
:* ***zezia
6. How many semitones in all?
Twelve.
7. How many major Ž
Five.
8. How many minor?
Seven.
9. What does each whole tone contain?
A major and minor semitone.
10. How can you determine a major semitone?
When both notes are on the same line or space.
Cºx ºf ºm mºb ºf Tºmº
©s TTIII, Ba-IITTTTI
* =ºriº Hº-Hºisi
11. How do you determine a minor semitone?
When the notes occupy a different line or space.
==Febe–Fshe
--|--|-T-I----T-I-T--
FX.
2
—4-6)→- ~ U-A A-º-A
I_ESSON XV".
-Q-Cº-
The Distinction between the Major and Mif nor Scales.
1. Are the clefs sufficient for this purpose?
They are not.
2. What are we to do?
Look over the piece and find the notes forming the perfect chord, that is, the
chord of the tonic, being the key note, the third and the fifth.
E’erfect IMajor. Perfect Minor.
1EX.
3. Where should we find these chords?
The melody or the accompaniment should indicate one or the other of these
chords. \\
4. What is the object of this?
To discover the Major or Minor thirds.





t
ºQ0.
xxiii
—w-w- Y-y v=v-wr-w ºr-º-º-º:
5. How are the Major and Minor thirds defined?
The major third is composed of two tones and the minor third of one tone
and a semitone. wº
6. Are there always two keys, whether you have one, two, three, four or more
sharps or flats in the signature?
There are, any key whatever must be either in the major and formed ac-
cording to the Key of C major, or in the minor and then formed according
to the Key of A minor.
. What is the rule respecting the situation of the major and minor keys?
When sharps are after the clef, the tonic of the major key is the semitone
above the last sharp, and the tonic of the minor key is a tone below the
last sharp.
7
C, MAJOR, and its relative A, MINOER.
* === #2 *
-VIT ––––––– EIIL = 2 *t ——
− a 22-º-º-ji=2 °-L––––
Tº *r-ºmr-vº-vºr º --->|-- tº a 2 wr-u- ~w-r- ww-w-w-wºw * > -º-º-º-º-º-º-º- *=wº-ºº-ma------- A—A -º-, dº … * w_º -
G-, MAJOR, & E., M.I.N.O.E.
* * * an a an > º ºr sº ºf y * —6:2-S- w-4 - > *-* - *- - - -º- ºr x- Y-F 2- C-2-e Dº y
#zzzzº-Heazzº H
ſºme < *-ºſ-A Y yº-yº - > I Tº fº- tº a a * * *=^m, sº a º * * x_* > A. a ame ºr me – m º ºm > * = dºs =º dººr-ſº sº º awº 4- - 2
(9–2 == TITIff. Izº ‘’TT ---
ID, MAJOR, & E, MINTO ER.
gºv- -** == –––––2–- -# I----→
**-* = • *-d--> --> <-º- m, sº emu- sºme ame e – 6e » --> A-A-A----- 4- ºp
9–2 z- Tº 2. ‘’T ſºmº- ºmºmº m ºf D Cºmºmºmºy " – ––- -
-j-2-2-2––––––––––– * = ~ *-º-º- * u-u_e=m-am mºe ºmºm summº-um' suſ-4
Al, M.A.J. Olºº,
–4–3––––––– _-_&_2
# fºr cº-2 2
# *-- U ºw- ºwe wºwºw-wºwº, º ºw
*#=zz
++22°º-

8. How are the keys of flats situated?
The tonic of the major key is a fifth, and that of the minor key a third above
the last flat, or a sixth below.
IT, IMAJOE, & ID, IMINTOIR.
-a-62-- FT- & Q = \m mººr * --> = ^.
*º-ºrºmy-ºr-grº mºs ºmºm-º ºf D J A \mº ºmºmºmº em.
Eb, MAJOR, & t C, IMINTOR.
––– *º ſº. TT
zzº =#
& ET, IMINOR.
a "f*
ºb-B-----e- 22-fººt TTL-III.ibib TITLT i.e5:2.É2-
––––a–E–2––––––––TT-F-I-v--------z-z-E------ wº-> --- ºwe &
B- J-a-º-º: É:=== =#;"ººze = **H
emum-wwwºwº mºv- amºumºuw-wºw-e ºw-up mºv-ºw-up ºwum ºn-m-, m-m-aa-ºº-º-ºw ( A=º ſº Q = -
Db, MAJOR, & Bb, MINOR.
–tº–F–––––––Tz.-- ºb-B-E-zº. cłęº * = wºn tº mºv - e º a .
&#azzº Hºff;
t act
—a-a- , ºvº » « ,
Gb, MAJOR, & Eb, MINOR.
ib-B-Hzzº-Hº-5-HTHzaz -I.
Bºazzº-E # * Cº artie- #
w ºn ºn am--a dºmº U a ºn 2 dº º Aº 2 & A-C 4 × {2^ = º ºſ-- a-->
wimum mºm-a-a-wºme dºm-m ºm-mm amºa amºº ºº m-mm, am, tº ºr yºu * - am uºmº um mum,
Cb, MAJOR, & Ab, MINOR.
ºb-B-I-T-E-----Hrb-B-Hºº-º-º: ~~2.4°ft.
# ====Hººzze –––– =#
* *mum amº-vºus TT 25.2 F. ---TT– < * > . A tº YA,
-a af’ •


9. How many keys are there in all?
Fifteen Major and fifteen Minor.
10. What are the fifteen Major keys?
C Major, G one sharp, D two sharps, A three sharps, E four sharps, B
five sharps, F# six sharps and f(# seven sharps. O
Fone flat, Bib two flats, I j three flats, Ab four flats, D'b ſive flats, #C b
six flats and CD seven flats.
11. What are the Minor keys?
A minor, E one sharp, B two sharps, F# three sharps, C# four sharps, G#
five sharps, D# six sharps, Aff seven sharps.
D one flat, G two flats, C three flats, F four flats, Bb five flats, Ety six flats,
AB seven flats.
A-...-A—A-. —4-Q->
I_ESS ON XVI.
COM IV (GDIAN CC （TO] RI DS.
1. How many major common chords in the scale of C2
Three.
2. How many minor?
Three.
3. What are the three major common chords?
Do, mi, Sol. Fa, la, do. Sol, si, re.
4. What are the three minor common chords?
Re, fa, la. Mi, Sol, si. La, do, mi.
CONMIMCON CHIOJEIDS IN THE SCALE OFT. C.
Major. JMinor. |
–––H–a– === –––H–E–F–2– *
-———--—%—-H-&—++—z—--|---&--|-->4—++ .
—e- –3–4–3– Eº- —º-4–*— = "
~ 3 - * * > U-2 awa. –- TayT —69– w—w • * • * . .
5. What are called common chords?
Chords of three sounds.
6. How many major thirds in the scale?
Three. Do, mi. Fa, la. Sol, si.
7. How many minor thirds?
Four. Re, fa. Me, sol. La, do. Si, re. -
8. If to the common chords another third is added, what chord is formed?
A chord called sevenths.
9. What are thirds?
The interval of a tone and a semitone, as the minor third, or of two tones,
as the major third, and embraces three diatonic degrees of the scale.
f C# is not used, as composers prefer writing in Db.
: The key of Gb is seldom used: F# is preferred.
xxvi
10. How is a major or minor chord determined?
If it consists of more than one third, the lowest third decides its character as
a major or minor chord.
º,
INTERVALS.
An interval of two degrees, containing one tone is called a major second.
An interval of two degrees, containing a semitone is called a minor second.
a 4-
w- Cºmºmºmºs ºmºmº Y
Ex. T.I.T
-* --> 2-
- a ba-
An interval of two degrees, containing a tone and a semitone is called an aug-
mented second.
An interval of three degrees, containing two tones is called a major third.
An interval of three degrees, containing a tone and a semitone is called a minor
third.
wº-yº
** === 5-H
-—BC−2–
—Cº-
An interval of three degrees, containing two semitones is called a diminished third.
-U,
#-e-
An interval of four degrees, containing two tones and a semitone is called a
perfect fourth.
Ex.
v
xxvii
An interval of four degrees containing two tones and two semitones is called
an augmented fourth.
An interval of four degrees, containing a tone and two semitones is called a
diminished fourth.
An interval of five degrees, containing three tones and one half tone is called a
perfect fifth.
An interval of five degrees, containing three tones and two half tones is called
an augmented fifth.
—w— —w—w w-v----—w ºr-ºr u-rº A A Lº 2
w-Tw e-
Ex. —-T-
—Cº-
An interval of five degrees, containing two tones and two half tones is called a
diminished fifth.
An interval of six degrees, containing four tones and one half tone is called a
major sixth.
An interval of sixth degrees, containing three tones and two half tones is called a
minor sixth.
ºr wTvTw ºr v-z
Ex Lib-L
—Cº-
An interval of six degrees, containing four tones an two half tones is called an
augmented sixth.
xxviii.
- ºr-º-º-ºr v-Tº-Tº-ºº-y v-y v-Tº-Tº-Tº-Tº-Tº-y
• t ſº Q © º ( . d
An interval of seven degrees, containing five tones and a semitone is called a
major seventh. •
An interval of seven degrees, containing a major third and two minor thirds is
called a minor seventh.
Ex. →Be---
An interval of seven degrees, containing three tones and three half tones is
called a diminished seventh.
Ex. →b2--
All major intervals become minor by inversion.
All minor intervals become major by inversion.
The unison inverted becomes an octave.
By inversion a second becomes a seventh.
” ” ” ” third becomes a sixth.
” fourth becomes a fifth.
” fifth becomes a fourth.
3 x 3.5 x * ” sixth becomes a third.
” seventh becomes a second.
an eighth becomes unison.
In the chromatic scale the semitones are alternately chromatic and diatonic.
(See scales, pages 21 and 22.)
A chromatic semitone is the distance or interval between any note and that same
note elevated by a sharp or depressed by a flat.
A sharp, flat, or natural raises or lowers a note a major semitone, leaving a min-
or semitone to the next degree.
35 2 3 33
33 53 2 3
3 y 25 2 y
3 2. 3 × 32
A semitone is major when both notes are on the same line or space.
A semitone is minor when the notes occupy a different line or space.
1
COMMON TIME, OR FOUR BEATS IN A BAR.
In common time a semibreve fills the bar, and there is a crotchet for each beat.
Let the pupil understand that the sharp raises the note a semitone.
This time may be marked # that is, four fourths of a semibreve, or four crotch-
ets in the bar.
LESSONS IN CHROTCHETS.
Wºme ſº mº ººm ºf - wº ºf \mu v-Tº-ºº- ºr mºmum ( ) @ ºr wº w
-- w ƺ dº. ſº wºr-wºmy
|
Moderato. .
* The sharp raises the note a semitone.



Moderato ————— (ſ
a rººmſ \m dº
* = \| = vºy v-my- ºr-ºr
Cºmmº [ 4 x ---- * 2 « , » - * = ºn
— –E–F– tº ºr 2 º &
a mºv Cºmº- as sº-º-
-w
ºp Aºmº-
–2––s—— J––-º-T Wº º
TTTTTTTTTTTTTTT2 TITILITITT.II
==HE He–Hºº-º-º-Hº-E #
*E===Hz-E | o
—T-T--|--|---Tw—T-–—#4----
F- —— E=#e-
A A- am mesmº -a - am usurumºustºm ºm- Q = « » « » « » - > 4 - A D. C.
* - ºf- L. -
ITI-To-T----|--|--|--|--------------
E.E.E; +E"—E H HF =|
---—— E Eer-T-s-º-e









U- -º- an-
•– —
-—w -
Amº
& a 2-> A rum ºn tº
-mº
----———
dº ºf Nº dº ºmºmºs ºf ºm > &
… *_-_^_^. A *. ..º._-_^* A-
-----|--
ºrm mºe. A * >
A- a ._^. … . .” -
LESSONS IN MINIMS AND CHROTCHETS
=
* * = wa, º,
Moderately slow.
#
————O wº-y
––––
—
-a-
—
©T
e–
--
—r- • *= -
U. amº - A - wº º
«»
ºwºmum
lej
g-vºy-
C-
–––. wºu wº A Gº-
—ſ- vºy ºr A
ºr ºmº








Moderately slow- — – —— s—- ——-—
TTTTTTTTTTTT2 TTTTTTTI, E.-
FF, f v } w - mº ius ºmmºn +-----— ſºme º ( ºr am us —F. F- #
—--——— mºnº-ºº-ºº ºm ºmºmºmºmº sºmum -um - [*mºm -—-4––—O-— *º-º-º-, -m-m-m-m-mºmºmume *P F——-
• TCT -e- -2
“The flat lowers the note a semitone : it is the opposite of the sharp.




5
LESSONS IN CHROTCNETS AND MINIMS.
_Moderately slow.
•ºmsømm-mm- -—————l- Y-y v-y ºr-º-º-º: |
–2----|--—— — * =º-º-º-º: *. … º. º. *. ºr •
2- w —a
sº-h º-v ºm a nº-
t * e = * wº-
l, I
t - | •
- * *
b
Cºmºmº-Cº dº ºr ——----- U ºwmºre -mºm a ºn tºº --- Uºmº
| • & s . *
mu = , mù cºmm wºm =ºum, wº-y wº-y ºr ºr ºr
——l-— mº um v-ºr Ovº-ºp & *
wº-y A. 4 e--- ºr-wºr-wº ſº 2- ºr e--
42 |
fla Q [ _ –- ºr ºw- sº-ſº (- , ºr v
f
* , , A .
==
ºre m-m-e-º ºmºmºs w-w-v-v-u
~mºr-º-wºmy *Tºy w wer wº º |
A- A- A-...-è.
º
& |--- ºr-º-º-º-º-º: - - ) dº
| *—º
a— —r—
T--
==F-
{
ºr b. *e Cumu- —o- A----& 2- U. S. º – Q
ºr ºr Y-y U- --ſº º A. ºr Y-y g=ſº 2-
&mu;-wº ºr wº-y ºr-v ºr v=w v-, -y U-2 wº, -º-ºws wº, º sº, Y-y
|
um ºf hºwn g Y-Z U- ºn ,----- * A umºus w -
)
{ | {.
—w wº dºme em. ºn Y-y vºy --- ºn tº a º yº- mºmº me mºſ-ºn sm dºº-ººs -
> v * - Y-Tº-Tº-y ——o
Ş7 e II* Izj









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#
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H
tº b A-º-º-º-º: &= -à v
&
—T-—
H
=|
==
|---
r–
I-
– a –––––––
C–
IT
–69
——
— --— — — —--
mº- m^ -
( >
``'`-g
6-v-u-dº dºw-mº umm sme
|
|
-Cº
E.
H
º 2- ºn tº º Y_Y_
2
*
–– w
2
|
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—
—-
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C2T
e----|--
ſ---—a---
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o
T
– T-–
e
—-
>
.
m-wºm. *=w=
#9–5–
—I--
–C
—-T—
=E
--—--— |
––––.
* - e,
*ºm
* \mºmº --——
Q = 2
ſ
– a
ſ
A-
—Am
vºmy
#
H
E
E*
º E
5
ſºmºwº ºr , |-
•- &m-maa-ººm amº-ººmºs
T
—
C
º ºr wº- ºmºs ºº º sº. Nº ºr
2.
C.
A- ---------- U- A = <--
º
p- Æa A- º Aº 2- 2- 2- \m 2
–23–
* = ºrd mºm D mºme ºf \ºme sº hºmºmº ºm >
==
—e
9 8tow. --
v-z. CTT)
——
s
— — — ——
|
|-|–|—
—A—
}
A—A- --T-Z-5
|
}
ºr a T-myº-º-º-mºmº- v-r ºr
|
== mv - rs arm-a-m ºv-m-m- v-y v
A tº a tº e. A-
Moderatel
== f-2=
F- F-
&
{=
%
&
-
––––––
—-
* - Tºw- Q = w = wº wº- ºr ——
* =ſ* - 2
{=
&
|





REVIEW OF THE PRECEEDING LESSONS.
Moderately slow.
–2-— TøTI)
—--—
sº-sº mº, sº- a - Y-y ºr Yº-Tº-ºr ºxy ºr * A--A. A 2- A-A- wr | ſº-
—l > | -
)
* * *mºnº hºmºm & A amº- m^mº wº-ſº ºf ºf - -m ºw-me wº- Æa. A © *—º. A-. A. 2- 2- wr 2- 2- *my
| |
aſº º A 2- = —a-- —! vam m. mºb º A *. *. *E*—º. dºm, wºm. J - - - - v-º-º:
ºmºs mºm, as 2- v-y v ū ºw- —c- v-z 2- zº * ºr ºr A ºr wº-y
.





8
Nöte well the beats throughout this lesson.
w - Moderately slow.
–––––
|
2 « » (A- us tº Cºmº
rº-- =ed
]
wº A—A- wºr-ºr A-. 2-T <----
ze. *. l €2 © U ºw ºwn ºf Nº dº my
&
After having said this lesson in common time, let it be repeated in # time.






9
*w- = − = * = * * - * —- ---------a -um, " - ww vº-- - -v-um-ass' alºa-ºe .” ---~~~mas -º a Tºy .
I.ESSON IN THE DOTTED MINIM.
2-HEPHE
EE2– e- ----|-- ITT
-e); -ex.”
_Moderately sloto. tº 2 2
–2——H···S- : —— #
--z----T-I- — — — — — — —---
=4===EEE|2–2–
X,ESSON IN DOTTED CROTCHET.
--
-
vºr –T--|--|--— --- * = -º-, -º-º-º-
SITT ºf Tºp TIAL THE
Q * #: e- *EE .#
© . A Rººm, --—2—






º ( ). 10
Is III: TISTITIST:Is:T
Hº sº ºp EHe -º-Hº-H #
—ar-—
IIIlº...ISIE’.
Is ==#EE * -
---. =HEz
{ I.T.T.T.
OF THE SYNCOPE.
The syncope is the union of two notes blended together, the second being a
continuation of the first, with a beat between them. When the syncope operates
from the end of one bar to the beginning of the next, it is marked by this sign.
EXAMPLE.
H----|--~Tº ºr ——I-——— A
#-F#- e-e- -G-E-P-e-H
:4–6–H–H––f- Sº-º-º-º-
F-- —————r-
This syncope is in its regular form, It is also written in unequal divisions.
I-z-z-----—
=E=== #
—ſ-——- tºyºs
wºr-vºmy ºmy-º-º-ºmrººmy- ºr-vºmy ºw-> 0 = &mum w-
5T 4 * m w x > ºn A : « ºn A ºr ºn º ſº º ºs & A dº-P






11
T&T. &T
§I F-
→
——
—— (
amºmºmº um mmemº
fºr mº, ſº ºw-mºw- *-ºf-mºmºm
«» «»
HE-
Eaſte
–H–C–
OTHER SYNCOPES.
* = -
•
wºm
Cºmº ºn a 2- tº .
--
F-
#.
—e—
—!--
|
wºr-wºr E.
===
e—
Eº-
sº II.
!-
—l
—- ==
* =
4- A
---—
3.
|
ºmº- tº sumº uºvº - “mº wºº tºº-º- me
* >
ſ
ſ
º CA. As
ſ
----
– a
–G–
#
--F
&T
tº e-º-mºº sm.
v-a-
__Broderato.
Če
&
T
–G– ~€2–
==E
III
( )
–-I--
&












===2–HE ###
====H # #



13
-—tº-: *:::-----—— —-----—
—-z------T-– T--T—T——-2– == dº--->{_X-e-º-
====EE HEEPEE ===
ITGIºTTº TTTI
—-P- -
fº- U-xx-xxx, Rººmſºmºſºſºſºm,
==#EEEEEEEEEEE? F;
ºrº P G A ºf Aºs a - &mduºmº, º ºs ººmºmºs
*w- ww-um, Y-y º ºmºr-ºr-º-ºr
———————?— --~~"—
• --- *&^_^-tº-ºw- wºm, sºme wºme nº mºmº wºme tº 'º sum, • *———. -r- - *º-ºr-ºr
#–E–2–H–F–F–F–F–F–F–F– ===== TºTTT
ITIº e IIT. If a TITHIf TřT.
§7-ITIT-T II*-f-c-#5 If IT fi & TIT-TI s
F-
—-——' -–––––––––– ——-
| T g
--|--|-T----|-T—a—z-T ––a–––T ––––. --T----—T
===HE ====E== ==HE #
––2–~1–2–I-EFIFF-EL-º-º-T-9-s
——?—
U--> * > * >umºm- vºy - - - ~~~~~~~ ——º- Cº-ºººº Y - Yºº my-mºr-º-my ——”——
—-I-e-T—-fºr-T—---T—z-–a–T---T—----
–9–F =s=Bo- =#EEEE – ==#
º F- F- [º F–F c [ - ºf-ſºv
-r— <-- dº- Rºmº-º-º- Y-Tº-ºw-Tº-Tº- = m^ſº-ºº º y =ſ_ºw
—2-——s —T—T-—
–C–F–F–F–
--------——————— — — — — — — — — —”— ———
—-
ITT3TTTTTTTTTTTTTTTTT&TITTTTTTITT
e–E–F–?–A–D–––a–T--|--|--|-> 4- A = A —T-
Tº TTT I&T.T.T.” TTTTTTTTº Tº-T
TôT -º- -e-
OF THE REPEAT.
The sign of a repeat or return, Ś placed in any part of a piece, requires that
when it occurs a second time, so much of the piece should be repeated as follows
from the first sign to the word Fine, (Italian,) signifying the end. The words al
segno are sometimes placed over the sign. They mean “to the sign.”
Andante. §












14
2. (- , ,
#H#H#######|
O yºu º Aºmºh Ax —T —-I--T————T- —?--——-— U- -> d \, , , ºf N
AET FEH ------ EHF -z5-T—T----
–2–2-Fe-2-E
ſº ºut-
vºrºms ºv
*. A- 2-
wr-vºsy
fººm, dº --62— Ú-ºn-
—?———--
HEz–H
##########2
º A__º T&T.I.PT F--————
LESSON IN SIX-EIGHT TIME.
The ; time is composed of # time.
Andantiato:
*I---|--—T——---T—--T—T———T——I-—
2 -T –––. —T-a,
& f ---- &
zº A —º-
º ºr-º-º: v-Tº-Tº-Tº-Tº-Tº-Tº-y —w— sº- º ºr *my wºr-w *my-ºr- ~my ºmºrº vºy-ºr-mºr º mººs º-º-º: v
v
EEEsºf EEEs-HEHE =H
====E=########
| S-







15
tº.
sºmy mum-sum ºwm-ºº-º-º:
º
& L- & ºmºmurº) A--A—A--- U - , • * ~ - A >
Jºseºmº wºme I-D ~ *-m-e-
O
imºmums mº mºm, sº X ºn Dº Yºº ºr º
Q
wºr-v vºmy-my-my
vTy
.V.T.T.Ta-T ==s=s ---T-L-T--
5–eº-F- – Fºfº, --—H-
TT T. T. tº a sº Rººm sºmeºm
F--
ºr-ºr wT-Tº-TzTw *Twº-Twº-Tw-wºw
&
• * * * * L-Y º —
Fā- Is– HEEE ---|-- −I-T--
O —-------—— Umºmº • * *mºmºmºmum * tº
*—F-#~ * - U → Q, {TT T.
wº-y-y ( —aft- — — | sº —: & Mººſ ºs : ^_^*_> ºr ºs = ºr
O º, a & C
« » dº nº ºmºm am mºm ºmºmº Yºmº, —º: ºr-wºmy * * *º- ºr
- wr wºu rºmyrmwº sm-wºº, ºr tº mº wº-ºº-umumus, Y-Tº-Tº-Tº-y tºº, ºr …- Yº-y 2- AEA [ _Y - ==w w Y-y * A-
©
EXERCISE IN SIX-EIGHT TIME.








{ * LESSON FOR THE STUDY OF DOTTED QUAVERS.
Separate the semiquavers clearly but delicately.
Moderato.
2. sº Y a sºm & G - a--> ºf ººº-
**-*-*===
eurºtrumºtºmº uºmºm-
—mſ— e ———T-----
f II* II* I & # E== #
===hºm 4-4 ׺ mºus---> *-- or a emº- ºr -- dºme-m º º amº- -e
#T-FEEI-F-º- E====
|
F-mº-
| -- ===== * A - Y -
==#EE
ºr ºr Tº"my
wºumºr A *- : ——ºmms--, ----ese-–––.
& Y_b ºr ºf n & X === ºr =#H# #####
| -- --s: |--|--|--— Q 6–2, mºm O & P
O —T--|-> ºw- Tø3
—zy- -as-º sº ºmºmº ºf a ºr-º-º-ºrº -º-º-º-wºmy-wºmy -wºmy
















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18
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To commence properly an incomplete bar, we count the beats which are want-
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the bar. Thus in the following example, we say or beat 1, 2, 3, 4, and then
sing the quaver la. The same method applies to all pieces beginning with incom-
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Lesson showing the use of the RESTs in common time. The semibreve rest
equals the time of the whole bar; the minim rest of half the bar or two beats;
and crotchet rest of one beat.
Andante. L
9 º
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24
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—a— v-ºr ( = - - - - - - Asſº, wr-v U ºwmº, º sºm-º ºm. * = ºf 2 A = ~ x = 2= - - x-x A, A- A-º-A ---
( )
Sta – bat – ma – ter, do — lo ro — sa, Jux – ta.
-----T –0– --—b–º
la – cri — mo – Sa ; Dum — pen – de — bat fi
---|--|-- s'— TTTETTTTTT z —2– 2- --~~
†e-s ºf e-z-E-F-GE = BTITT FE
————ſ---———-a- *umºv- sºmeºmºmºmº ºme emº L-ITL-DT
CI’ll — CCION

e--2-
2.
# === –9–0–E* sºm sum-um,
* -º-º-º wºmºdºm ºf ºn mºms & Ne tº lºv ºn Mº [- d - hºme Cºmº wº
* º —e-e—e-- < *s Y-y ºf hºmºmº
x= 2= x x > z ºr me *—6=2——s * * * = Q, e.
Sta — bat — Ma – ter do — lo – ro – sa ; Jux —ta cru – ce
{ } & FOR MINOR.
a"F* *
*º-º-w
m la —

H-E-L-L-L---|--|--|--|--|--|--
__--> 32 T e-ITS TS- —b-—b– ——
{==º
–2-E-ºf-a-i-º- E *we: FºEEEEE
-º-mºmºs
—— ————------> *——&#3––––
Assº-TT º Sº e-wº- ( : =aº mºm-m-m-m-m- ~ gº ºn mºme-ºm Dºm -m m. me -a-m- mum -me ev-v- wºm-vvum, sº- ºr-- a w-v -w ºr v- sº
cri — mo – Sa la – cri — mo – sa ; Dum — pen – de — bat
l!8. Sta — bat Ma
3.
b b b
†---------
J
& ºmº L__NT & Y_Yº sº ºm Y_* * * * * * - 2T&T
—— T-
a gº-º-
> 3 > 3 > 3
Sta-bat Ma-ter do — lo — ro – sa, Jux – ta. CI’ll — CCRIl
b
—— *—f-à- w ºw- = - m-m-m
T º TTTTTTTTTTTTTTTTTTTTT
© dº -— --~~~~~ o –2–2–2----|-- — — — — — — —
& º & ºr Lºwºw dºmº &m Agº-º-º-º-º ºurum-m ºf a C U-ºv- -*—69– — — — — — —
*** *
|
New-ºw * \º sº-º- & Mºmº - hºmº- ºv ºn me ºf hºmºs & – T&T
> 3 - > 3 –ez-
la – cri — mo – Sa Dum — pen — de — bat fi — li – us.
Jux ta
b CI’ll C& OD
–2–3– *** * *- ==
& ºrd ºn tº b.
la – cri — mo – sa; dum - pen — de — Q_º - bat







ºf- I- *-* - w—w wº-y U- a - m^* - ºf s is ºr º ( - a nº-º ºr . ..º._- *—A- Aº-k—º-º-º- ſº sº- - Gº. e-º- ºne , ſº ºf ºf Y__ ſmº-º-º-º-º: ſº U - amºn 2- tº-
( > 4-w + — --T——. Y-y ºr-ºr hºmº ºmº tº O. Cº-º-h ºr ^n \, C amº ºn-ºn-a-um U Auº ºn ºn Y-y ~- --~~- - ſº, CA 2- ºr #
sº he « » ––– &D vºw wºº wº ºr wº- v-, -y (, hºw a ºr ºr ºr * = ºr w- I - a mºuſ A & dº dº ſm, ===s**-aa sº-º-º-º-º: 2-—A---—A- 2- ºr-º-º-ºr ºr-wºmy-ºr-º-º:
ſ |
ſ
––––––– ºr Unº aſ ºr , , , - Q w u º vº-º-º-º- ºr wºme ººm-use
2-º-c-e-ºſ------------
\–
;FE
=b
> – mºr=w
Sta — bat Ma – ter do — lo — ro — sa Jux – ta – cru —
–––––s––a––a––––––––––f
–2–3–E–F– T-1--, ---prº-25–E–F–F––––––
~ *-*beg-º-bete-º-º: Ebº Eji= >
*—A &= --> —H- --- gy
— S- > T ~ *-y v-, 2- w—w U ºwº ſºvº º tº ºn
`-- ~ —’ A A A AS- —-'
CGIYY. ia – cri — mo – Sa ; Dum - pen - de - bat Fi -º-º-º- " )
'vis.
ber ,- - - - - - - - - —————————
:= u-º
>
A- a º, mºrº - - Mºmº sº mºr A- w º v=v, vºy dº A-. .*. w vºn & vºy .*. A---. A- 2-
* * Al
Y-Tº-T-T wº Y-y v-y wº, wºr- -ºs, ºr-ºr ºr-ºr ºr ºr-º-º: smº ºr wº-y *r-vºm-ºr
-Geº-
—'
*w-
S-
YTY-Tº-Tº- li — us.
~ *—º- —º.— . . . . .º- ºk º Aº-k ºmº. TP º ºr Yºº Yº Y- > *w- Yº A A amº - Y AL- & A. A zºº Y \e & A. N. mºm & Y Y \,\ u' \ \º ºuſ myº Y \, \, cº-º- ºr- d -
Żºłº Fiº- ==His « » - > •==
*\tº iTTº gº i TøITſ. & tºº & Tº Tſ. T&T = TITITTº
{{}*-a-sie-ºº-e-H-º-º-Hi-º-º-º: e–H *—o 3TT3T3 -
| s ºr sº. T
—’ i \– t —’
Sta - bat Mater ma - ter do - lo - ro - Sa Ma - ter Jux - ta
> gº 4- A-A*– ~A-ā-A &_\e wº, a w = \i & \{^{- wº, we
F-F-I-cº------...-e-------|--|--|--------- s===
ºb-e-j-ºs-s: ae-º-Hº-sºg-tº-: *-*s-a-
g---------------------------- ſº
sº Nº. \–
cru - cem Mater la - cri - mo - sa mater Dum - pen - de






ZAIRT3TTUTIST. S.
####
àm A^*
|
\–
bat fi - li - us Dum - pen - de - bat fi - li - us Sta - bat
tº ºn sº-º-º-º-º-º-> ( ºr º) =>–3– g—º-Lº- 2-—2-> w-wºw-v wº—e ºmºm sºme am a dºmimºs mºm (A ſºme
#Eºf. Hººf-ºff
-º-Ti-f-gº-º-E-i----is-à-º-----| – 6-i-Hi-Hº
== Hº-H-H2−2− =–ºf–ſ---—º-º-º-H
\–
Mater Ma - ter do - lo - ro - sa Sta - bat Ma - ter.
---T— – T---------es- Ta-TTT T.
TITTTTTTTT ===== | | e-f e *-ºſ---
« »
ń Am— m
-vºy
Sta - bat Mater do - lo - ro - Sa Jux - ta cru - cen, la - cri -
Le-J-T-C-E---|--|->|->|--|--|-----e—f º-
Eº-º-o-º-º-º-o-º-º-º-º- t –––––.
fº-º-º-º-A- *r-ºms - sº- v O. v= º Tw ºr A « Nº x- « » - , Yºr ºr ~my --- Sº TTT T - A * ºr wr-wºr *s ºr ~my-ºr ~~ms mummy m ms em mumº
zº-_^... .º-º-º. … a =z- 2-—A- -—--- ºw-w ºr v --|--|-- Y-y * - a ve Gºw-Mºw- < * | ..º._^-º-º-º- a dºe. * wº-y wº-Tº- Y-y º– 39T
&= \m ºr ºm ºf \m &
a—mºm, as emum w- -
mo - sa Dum - pen - de - bat Fi - li - us Sta - bat Mater
–––––––- -is – 1–1 =
ſº
IsIsºs TTTIAIz, T.I & ITIs Il
–eaſe Fº – e====riº : Le T-
A-a sm am mus-cº-º- memº ºm-' ºw- * ————-—H ----—sº---- iss, TTT
do - lo - ro - Sa Sta - bat Ma - ter do - lo - ro - sa, Jux -
* > –r- a------------ —-r——
A \ A Rit.
Exxºcanºringfºr e ( * > Y ºr º-º-v-we a w- =w Y_>
Tº T. sTs ---TEE- *3. 69++ as- --------—'-º'--— — — — — —
isfies ºf º ==Hiſ Jºe Hee-,gºt
-j-º-º-º:#e tº He-ji=g-sheet------tº-Hes:
N- —’ —’ V >
ta, Cru - CeII] la - cri - mo - Sa 4 A Y - > * >J U-º-º-º-º-º-º->
—m--~~





u- ~ y =ºmº ºmºmºmº Amºs º-º-º- ºr L-Nº ºvº-º-º- > tºº -º-º-º-um- mºvº, amº-º-º-º-runºmºs º-
º
* = gº-º-º-º-º-wº d = mºm ºf a * * * *-ºp vºy ==-
===Hi-E.E.
========
Sta - bat Mater do - lo - ro - Sa Jux - ta cru - cem
Ts-Tss-º-T F-—————
====Ear-E LL-
===== – ——— * vºmy —
-e
\ ^ Y_º_º --- * * *= a-a-a-ume gº-º-º-º-º-º-ºum amºumºus --- AA amºmume mºms ºn A--A—A-º-A—A-º-º-º:
w adº º ºr ºr v-y
* - ºr ºmºmº º
© Nº - ºr mºmº.
N- >~
la - cri - mo - sa.
8.
A A A A A A A A
— — — ————---—-I--- ---T——I-
=====HERE
g- ºfflº — Ç
\, = \mº D.
Sta. - bat Ma - ter do - lo - ro - sa



38
Sta - bat Ma - ter
do - lo - ro - sa
Jux - ta cru -
º wºr-º-ºr | wº-y-FTY-Tº-y - º Y-y U amº *- Unº a wº- ºn sº mºp = \mºs C mºmºmºn up - Pe. =º-º-º: wºrd- 2- - - - -—f------
º “O v vº, vºmy ºr ºf- sº -- ------—- A- A &mºmºmº-b –––
49-9
Hsº
——w—- -e-Ee-
#62-" .* >
\–
CeIOOl la - cri - mo - Sa
Dum - pen - de - bat fi
-> >
—#-- — —- TTTT - TøTTT2-S &= -- *--—
yºu-- w =mm-mm-mm amº ºn-m-m-
ºf º- ºr - Y -- e---e-------|--
=fºr ºf Hºfe-ºf-z
Tsº * = x > - - - - - - - -a-- —s– ——g-—- ---Ea d-ºm my x >
—— T E-TTTT
F- | d F-
L-
—— 69*. TT
>
—’
do - lo - ro - sa
li —— us Sta - bat Ma - ter
Sta - bat Ma - ter
do - lo - ro - Sa Sta - bat Ma ter
dum pen de bat





-#-ax-I--T- T-Bºz - ——— —- ——
ºf 2-e EEHe bes— — –
Sta. - bat Ma - ter Ma - ter do - lo - ro -
__*\ _--> 2- __*-
A A A A A A , A A
fºLIR- ====e. –– ======= –2–2–s ºf Eº
mº-º-º-y Tºm mºm ºn & •==P- - - - - ( *- 4- A – aw-ºms gº ºf A-º &_*. *-*= &_*-2 wº ºf Yº U ºn am & A_2=v-A = -º-º- ºn b
A- G zº- A
ºr ºr 4- A *-*. ºr-v ºr ū - tº v Lºyº gam. =- * NY N \ S. 5–--— — —- , º— . . > -J C tº- ºr-º-wrºs fly Y-Tº-Fr Y- w
tempo. 2- ~ 2- 2-
A A A A A A
ºb-o-o-º-e:-Fe--Hirai-Tºr S# is
R5––––fº-fºr-Hº-Hºº-Hºo-º-º-º-º-
2 Tº I-f-ºf-ºf-ºf- * Taºs
fi
*——H------alº- ( tº º
Dum - pen - de - bat fi - li - us
sºmſ li *r-º-º-º-ºmrºr-vºms ll.S.
MINOR. _-- _-->
A A A
A A tèall. poco a poco.
v – mº, m. l ------
>
º, ( * º
| }
- TiTIT-T IT. T.I.. If D&Tägtº'º'Tººl
===His Eg-o-Hº-Hºº-ºº-









40
Tempo.
A A -
a N A
A A I S A A A
I - º sp-r I se º - – Ei – fE E Lyn- E Es fi e HÉ
Sta - bat Ma - ter
Ma - ter fi - li
llS,
- Co-
11.
=E=E- E-E-g- TE
# i si
d » | |
–I
= - –T-T- e -
S- S – S – S- –
–+----------:--:--:
#EEEEEEEEEEE
º– º –
=p - ––----
Eh E – – – -- srs - Ei






41
INTRODUCTORY REMARKS.
The foregoing Series of Lessons are especially designed for practice in develop-
ing musical tone, or, voice-building. e
It is very evident that each particular lesson written by the author, was intended to illus-
trate a theory long since proved; WIz:—that “Voice is breath made vocal, or breath con-
verted into sound,”—and that every variety of musical tone can be successfully made by an
intelligent management of the breath, together with a proper positioning of the lips, or vo-
cal mold.
Ott of this theory we get the fact, that after the pitch of a tone is determined, the breath,
(supplied from a full lung,) may be directed to any point of resonance in the mouth, or
buccal chamber, and the desired tone be obtained. *
Por example, to get intensity or sharpness of tone, direct the breath forward to the teeth.
If a graver or more mellow tone is desired, direct the point of the breath to the dome of
the mouth. To get a very high tone direct the point of breath to the pharynx, and let the
lips assume a smiling position.
To modify the high pharyngeal tone let the point of breath, directed to the pharynx, as-
sume the form of an arch, and return to the point from whence it started.
2:-
—-s—-s———--T—t-–T-s—f-e—e-z———
Is...}s LSI-3-IIT THITITIAET -*-i-º-º-º-o- s—
===w=s_is===S-H=HEC-F –2–4-2-3-2 _*T
tº & N. &T g. Tº TTº
TRT Tº em-us-me mum- y a - -º as ———— ——
IT Täs ITSIRI ºn IIITTTT IITITT. v-Tº-Tº-Tº-Tº-Tº-Tº-y
Eºsi- ~~~~~~~–– =#
-Gº-
Frequent practice upon the syllable ant', on the above simple lesson, will have a tendency
to modify and soften sharp pharyngeal tones.
Lesson No. 1.
Analysis of No. 1. In sections one and two of this lesson, retaining the breath in the
mouth, and then giving it out evenly in pure tone agreeably to the foregoing suggestions, is
very essential to the nice delivery of the first four tones therein written. The next four
should be given as evenly, yet lightly. The upper long tones in each phrase of the Major
key, should be accented.
Section No. 2 should be executed with great care. Commence softly on the tonic of the
chord and gradually increase in volume as you ascend. Now fill the lungs to their utmost
capacity, to sustain the succeeding high tone, (written below a pause,) stead:ly, and as long
as practicable, then carry the voice to the next low tone according to portamento.

42
The closing passage must be given lightly and in strict accordance with the marks of ex-
pression written.
—ºot-
Tuesson No. 2.
The especial design of this lesson is to aid the student in acquiring brilliancy of tone.
Frequent practice on the intervals here combined, agreeable to the rule in No. 1, for di-
recting the breath, will secure this quality. The high tones recurring in this exercise
should be attacked in a forcible manner, with a prolonged swell upon each. Let the cadence
be sung softly with the pharyngeal tone. Q
**Cº-
Lesson No. 3.
The first four tones should be given in full voice and strongly marked. The six suc-
ceeding triplets very lightly, with the point of the breath, as it were. The next consecu-
tive tones, accented as indicated. Sing the cadence or closing strain lightly but evenly.
-ece—
Lesson No. 4.
Should be executed with a very small amount of breath (i. e.) it should be sung lightly
throughout. Practice upon this lesson will render the voice flexible. First sing the tones
equally, then repeat the same agreeably to crescendo.
*CCO-
Lesson No. 5.
The principal design of this exercise is to render the voice able to execute long and short
tones evenly when recurring alternately as in present instance. The short tones should be
sung legato, the long tones, finished with a swell.
The dynamic character written, must be carefully observed.
=-e-Q-C----
Lesson No. 6.
This exercise is intended for brilliant execution. Much pains should be taken while sing-
ing it, to accent the dotted eighths, which recur at intervals throughout the lesson, in a
marked manner, but each plain quarter note must be sung very smoothly and evenly.
Be particular to take a full breath before the word “mater” preceeding pause, and thus
prepare the voice for a perfect rendering of its conclusion, observing, also, a slight retard
on the same.
sus-CO-C-
Lesson No. 7.
Is for especial practice in expression, or light and shade in music. It may be sung (a-
tempo) to the eighth measure, then, (Rit.) five measures. The succeeding musical run
wºmy wºm, ºr wr vºy *Tºmy
N. B. These notes refer especially toLesson No. 1. A--A
* Nots No. 1. The Sharp B is designed for the closing chord of the Minor.
f NoTB No. 2. Tenors and Sopranos may sing this lesson in the following keys: G, Ab, A, Bb , in the
Major, and in the same number of keys in the Minor.
t NoTE No. 3. In the Major key of Lesson No. 1. the chromatic intervals are all sung.
§ Basses and Altos take the following keys : D, Eb, E, F, G. The Basses end, where the Teners begin.
43
should be vocalized to the syllable ah—commencing very softly on the lowest tone and
gradually increasing in power as you approach the highest. The first part of this exercise,
also is better expressed with a sombre quality of tone, or that produced by directing the
breath into the dome of the mouth.
The second part, or where the Key of G modulates into D, is of a brilliant character,
and the breath should be thrown forward to the teeth, to give this quality to the tones used.
*—º-C-O----->
Lesson No. 8.
This exercise is one of the most valuable of the series mentioned. The student should
first practice it with the syllable lay, to get a clear open tone and give each interval in Stac-
cato, then repeat the same legato and Portamento. •
Following these exercises, the syllables Sta-bat &c. may be used both in staccato and lega-
to ; after which, practice the vowels c, a, ah, o, oo, in same manner.
All of these exercises are calculated not only for developing voice but for giving flexibili-
ty, richness and smoothness to the same.
--O-O-0–-
(ExPLANATORY NOTEs.)
I,essons 9, 10, 11, are combinations of all the various methods noticed in the preceding
ones. If the rules suggested for these be strictly followed, and the dynamic characters scru-
pulously observed, we can warrant a perfect execution of the lessons quoted in this note.
Lessons 1, 2, 3, 4, are arranged in both the Major and Minor keys; By observing the
flats written above the staff, at intervals through the lesson, we give the music a minor
quality, or, resolve the major into the minor key.
The tendency of the minor intervals is to mellow and soften the tones, consequently,
when a voice is too sharp, the minor lessons should be used; therefore, minor lessons are well
calculated to improve the alto voice, as the tones are usually given by directing the breath
to the arch or dome of the mouth.
VOCAL STUDIES.
Keep the mind, as it were, in the mouth, so as to sense the location of the tones.
We would advise practicing all the vowel sounds to a given pitch, before a mirror, till the
habit is formed of placing the mouth in a proper position for each vowel.
No. 1.
Medium soft, organ tone.
––––––.ETILITICs
–2–23– –e-º-c-e- 2–
**-----e.
`-- Yºº-sº
a; e - a, e - a -all - O - oo,
Here-e-r-ţ-zº-
(* - ºf-mº-Cºmºm ºn l |--|-- I Ave amº
Tº ſº I T T
S--—- S-— —’ L__\atºmſºmº -—-'
e - a - ah- o - Oo, e - a- ah - O - oo, e - a -ah - o - Oo.


44
As the vowels are the only singing sounds, they should be molded with great care and ac-
curacy.
When once the mouth has assumed the proper position for any vowel sound, it should re-
main unchanged while that particular vowel is being sung; as any change in the position of
the mouth would change the character of the vowel.
The emission of sound should be firm and decided. Avoid striking below the true pitch
and sliding up to it; as from five to eight, &c. which is a bad, but common fault.
NO. 2.
_Slow, medium power', organ tone.
sºmy ºn
—-4---— f U ºmºmºmºmº &m ºf Nº am wºme – º ºx ºm wº —2–– -e)———
-Geº-
Loo, loo, loo, loo, loo,
loo,
To gain strength and flexibility in the speech-forming organs, practice Nos., 3, 4, 5, 6, and
others of a similar character, first with the sylables do, re, mi, &c. till they can be executed
rapidly : after which, vocalize them; slowly at first, then increasing by degrees.
NO. 3.
amºm ---—— ==H-----|-F ===
==== =F.F.PFGF2H- F.F —e-º-º-
-a, -69- -g- -&- -a- Ig & Cº. & g.
N-- f__ºm , ~" N- ——- S- —’
Do - - - - - - - - - - & D re, - - - - - - - - - - - m], - - - - - - - - - - -
A - - - - ve, a - - - - VC, a - - - - Ye,
º & ºr mºus a = - « » 2 ( x = º', ; 2 - ... ºf Ezº ºf -- -y- - -e v v
----|--|H=H --------
Tiz TT ==== ºf-a-...-a ºff-a-º-c-e-a=
my 2 & wºe ºf ºf D me D G D sol, - - - - - - - - - - la, - - - - - - - - - - -
tº 2. ve, 3. | > ve, 8. - , Ve,
ºb---- ––– == --|->|->|------——
——-l—e-------|-º. & Zºº C aſ Nº. ſº ºmºmº- a mºm-mºmºmºmºmºmº-ºm-ºf-hºmº
–5–2–3–2–C–C–F–F–C–4– -e-F— —- ºr
X- A . . . —’ X-— —-
S1, - - - - - - - - - - do. - - - - - - - - - -
{l 2 ve, &l mys Ve




b & \m a =E= •º-º G ºu dº & X , ººm - sº- #
TTTTTT === F:
— -º- sº
----, -º-
Do, º, I- (- - - > -- it - (- - - - - - Q 2 ſº Q J & 2 & G- E J & © . re, - - - - - - - - - - - - - - - - - - - & D & D C
A ( , ) 4 , &A_\ } & ) tº ah, A C-C ºf 2 Q > tº . . ) « >
==b-— T------ ----|--——
+H=
==Fi-º-º-º-º-º-º-º-º: ——l
U- , º, º um, 2 J tº 2 Q Cº.) - D Q- .
—-- —————— — — — — —-r-------
mºm + TT =TZ. & Tº"TºTº dº º'TºTTT2: .
e-º-º-o zºº — —2– - ##
ºf \m - ºf ºn ITTTTTTTTTTTTTTI Wºm \m
6.
&
# -----|-FFF |--
II*I jTEITI." Tiji Ti_ sº Il
-e-ºe-aſ-it-i-te-e-ºº-º-
3. Q ) º, Q_2 ah, 8,
–5–
ºb------—-if-E-HTIT-
=b+z=== He ºf E ===Bºº cºe
Tº I-7
mº wº
|
{ } ---|--
mº -ºum & A = 2 * x x > < . "TT"Tº iſ . . . . . . T
am mº m >
—b--TFT-.T-I---—T--z-e-
#Eº-E E=== *-e-r-












46
Tº sºm- « » « » tº º dº sº hºmºs º ºf mºre me —ºn *msſ- -ammºn manſ—
TTI == II*IIIHTT e. =}
|-> ––––– 2-º-º-º *-os-e- e-
e- Tay" -a-
ſm ==== &m-m-m-m-m-m-m-mºº – ame --ºr-tº-2 |
== *: – H---—r————I – « » --63-29–––
H. •-e-2 —!—º- 2-º-º-º-º-º- 63
* 2-T--
—f-e-º-º-º-º-º-º-E-2–––6–4–4–
& & O iſ º gº ſº º & b iſ 2 & D O & B Nº. || | | | | | | | | | | | |* @ D & D & ſº D & D = D ſº Gº Gº Gº si sol fa
(; G
—p------a--- I-I-III------L---------al-L------
dº A- -------aſ--H--e-------E------aſ---i-H-------——
5–-r-º-º-º-º- # --, -º-º-E- H
mºmºmºmºmºmº u IP = m, , , mºm--a mºm" "ºnºmº ºm- –TTºe TE----e-º-º-º:
STL —’ ºf-sº
mi tº º sº tº ºn tº dº tº dº ſº º dº &º do sol mi do E - E - Gº & 3 º' tº dº ſº tº m ºp ºn
E---T--—-F-I-T- ————-T---——-
º |-s: ----|-- – eºsis: -- ===
A- a-- zºº -º-, i-tTg iſ tº Tºº gº e-A-T--|- sº-º-T-
\-—- C N- º' ºſ-
mi - - - - - - - - - - - - i re - - - - - - - - - - - - fa la re
==b+-s–L-I. —- T---—I —
#; |T. ==H---|--|-- H. —-H
——-——*— Tô — QTT Tº IT
*a-mº wºme ammºmºmºmºmº a
[ _-_>
amºm.
^-—’
do - - - - - - - - - - - - - - mi sol mi da - - - - - - - - - - - -












No. 8,
§:4-i-º-it-- fºr IIITTTTTT ====
Z * | | | | |i º – TIT-TDTT–T-
-º-º-º-º-º-e 4- AT"º , º, 65T35 & 2.
E, a, ah, o, OO, e, a, ah, o, Qo,
IT TTTTTTTTT-TiTTTTTTTTTTTTTET.
IITTI H *=F.F.F.F.HE2F
2 el-e-IGT.G.T.T.T. 23. TTT&T&T&TøTTT2.--& T.
e, a, ah, o, OO, Al - ma ma - ter, Al - ma,
---- | ITI TTI. T. | ** ammºn sºm-º, amºa -º-º-
| | | | | | TIT sm Tºll - - - - - - - - ! -m-
22– G-G- eſ e– .* TITT &I e. are: º
–––– *E. TITTTTTTS ºf zº
t-
* = 2 * * , sº em m mºur
*—º.
v =Tw-T-Twº-
O spe-ran-za mi - a, ca - ra me-mo - ri - a,
mº-: * * * = a- - wºm-º-n - un uº- A- a m-e x-T-I-. TT 6- 6: Tº TøTaº Tag T-zo-TT nº. T
-e-º-º-e-º-o- 2===E=:::::::Hz− =#
*Tºm, *myTºy
--—ga-a-a-a-i----———- —º--> !---— — ———
Ad - di - o pre-ci-o - sa, Ad - di - o pre-ci - O - sa.
*Cºsm-
IPOPIRTA ARENTO,
Portamento is the art of carrying or lifting the voice, as it were, very gently, yet grace-
fully from one interval to another, in order to connect them. This can best be accom-
plished by the anticipation of the coming tone: allowing the voice to glide over the inter,
val in so light a manner as to be almost inaudible. Especially should this be the case in
giving expression to very tender and gentle emotions; but in more impassioned sentiments
a greater amount of tone may be employed with good effect.
Portamento is a ‘‘grace,” which should be used sparingly, and with judgment. Avoid a
drawling style.
In this work, Portamento is represented by a slur, thus: (~)
--—––––1––––---T---------L--------L-----|--
IT IIIS-TITITNº IT ITTI l FTI TTITIRZ III IJTS-T.
TTITITI ITTITT TITITTTTTTTTI. TT2. TITITI3PTT
T] —- IIT i. III. 69 — --------
re, do - mi, do - fa, do - sol, do - la,
–––––2-—–––-––– *————-->-——
II ITTTTEITTT2:..I.T.T. ITI IT
#EEEE?===E===E==
IITITITITTITITILITTTTI ––––
–2. F- F-F- F-
Sl do - do mi - do Të - SI do - la
> −–––––––------>––––––––º--——--—
4-y III. T.I.T.T.I.TITITITITIT
C. P ºTITFTIIºT TIF II 2.2 ITTTREITTTTTTT.IIITIS2T
tº AJ TITT2, ſ. TT JTTTTTT –2-— ſº III. Tº
TITI* ITI & III GTTTTTTTTTTTT
'ſ- F- ſ— -zº ~2:




48
IET NU DE,
#
2–
F-
T-T-
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F=-
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wºr-v IPTE
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f
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mº -e-v - wºumº
2–
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ri
tº ºv — ====
New
In O
H
TøT
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f
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wº- ºr 2 N \, ºn
wºn ºf ºm >
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& A_A^ - tº a , ºº mºº-
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<
Gº TO D
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49
*f
-->
ºm
a - Ve,
iſ:
Iſ I
e.
T
ºf ºme sº-Aºmº dº -> *
*T.
a - Ve,
gº
IF
4 « »
N_*
~...]
**Cº-
HHS-
*º
—s
mater,
º
3. * V6
4-, e --> w-
zº
ETUDE.
e =
Tº"
ma - ter,
*Cºn 2
* *
º --—A-
-º-
A & 2 -ve,
Mío. 12.
l
—&
º-º-º:
4- A - ºr
! v u >
*_\mºm” m & A_º_º - >
º-º:
« º-
e
F-
#
dºus ºf Cº ºf Cºº mum
I lºſſ
69
TøTº
Hºc
&
:
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III
R--T-
Tºº
s 2 sº
#
ki lik
Lºſſ
Nº,
sopſiANo.
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* =
( *
#
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e
ma -ter,
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----- wº-wº-
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mº º
e w-
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& vºm Cºmº dº ſº,
wº
al - ma
t- -- m ^* wea-s v we
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si
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III, IIT
Tº
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& Nºmº Rººm ºm > -e ºs (, , , ºf Nº dº ºr
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a £6.7m
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« A- ºr , u-b º Aº Y_Y_A_ tººl---——- wº-ºº ºf º-º-º-
« » ºf Nº 24, Amº - 2
--> –º ºxy-
º
§2–39
ºn me me mºmº ºw-mº ºmº ºmºmºmºmº
-0 °C ºwn-C,
mater, al
TTº
amº - ºf .
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mater,
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t- ..— ——º-–
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w =y - *_^_^m_h m. mrumºm s mºm am um * * … *
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i
No. 13. I 3 'UI DIE,
4llegro moderato.
gº ºur vº- 4-º-º- Lºw -t- -ºvº -umumm, a mºm a-a-m me -m-
* |
« »
#2-#
re £Hz == -
a - Ve Ima - ter a - VC,
––– ==#5 ———-
TIII º-Tº-Tº-STI –––
–––at– – #º #EE
Tº ºv"
ve mater, a - Ve,
–––– #25 k-
| | Iſ Tº T iſ
--> -- - w = ºr-º-º-ºmrºy
& TºI. [.
Y- ºn mºme, wºmmºn I-
… *. a tº
w— —w— wº-y
|TF—=[-aſ---T—as---T—aſ-------T—Zº-----
| AIT †† Tº iTÉ? Li Ti lºia; ºr, tº fºilº ETI.
| ?--ij-e-3-e-ºf-f-a-ºf-a-º-º-Tº-ji ºf fºr
} o amº ºr a IG5 & 5 & ºmºs ºn N Cºmºmºmºn ºf Rºm ºmſ him dº ºmºmº ºm Nº mºm wº ---ºn-Tri- *—------------------
&l V mater, a - Ve, a - ve mater, a - Ve,
Tºm---—w-w
( b €
Tº TT GTTTTTTTTTTTTTºTºº LIIITTTTTN-T
†HºHºº H
... Ha-Gº-s-s © Cº Till T ºn 3 –2–g—
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a - ve mater, a - - - - - - ve,
ſ 7 *—A—A- —º- Z-S
7.5- -T-I-T-2->-T-2 Zºr-T-----———
©; #EEE —£2-fº-fºr---ºfesſiji= TE-
& © I * * | & Y ~ * v wº -------- Tø *————
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>
T2.- ZI-Fºlzº, ITI-Taº? alº. **-*e-º-º: --~~~~~
- : : tºº S-s *Sºf sº
a dº mum hºma A- U ºv- « » « , A
a - ve mater, a - ve, a - ve ma - ter, a - ve,
-- a- —-
• * * = |* = a ==z-
---TTETTº s–Tº S. Tº CTTºº III ITT
—zis a Fºz Titº lºſs ºf ſee: ..f...I.I.I.
F:- ºf a #ºg –3–2–1 -
&l
- Ve ma - ter, a - Ve,
& 2. « » - e &_ºf_y ºw-
ve,
I-I-ii-Iš --à–3–à– *E****, E
- Tø | ſº-
2 [[TITLETI IT ſº ------
==a wºme amºmum ºmºmº P & A_2 * > . . . . . ~-
A---—A A-º-º-º- 4- Y-y º ºg wºme sum º sº ºn ºf D - Aº Aº-º-º: ºº - . U - \m - -








51
*
!
}=======Fa-Fe-Hºº-
% 2-2 # ==HE º—
} ºf U A- - - , mº Yº — fºumºmºuſ ammumumum-m-lºumºs
* * *
i
ºr UA ameº gººmººum C mºm summºw
a - We mater a - ve, 8,
Am mºv ºn 5. wº- ºm > y « » ().
ITRG II
(...)
-e); S-
~s
was umum-wºv-timº suº-
|y|--|->|->|--|--|--|--|--
=º-Hº-Hºº-ºº:
e -º ~25 --gº-g-g TøI º T. — —º--gº-
a - VC mater a - ve, 3. * * ~ *
O
| 3: — * == -E-L-E-2–––f-----——
| ºr T & & & L.I.T.I.T.T.
—— A—A-º-º-º-º-º-º- —º. ! |
w = - - - - -Twº- aumºmº-º- amºw- —w— 'a" €2—————
Elbitzi E.I.TIE-si-sis|Is IEES ---|-º-º-º-
TTT). Tº Tºlºl TTTSITNET. Tº IIITT|Tºº T.
-s. Tº T-2.
vºy Hey--- - & he sº mº e a um am ºf a ºr ºr T
A - we ma-ter, o a -ve ma - ter, a - ve ma-ter o a - ve
–b is TTTTT.IIIs IIIT-slº T-TTF =
5–b-º-Hº-Hº- • Tº ºf F-e Hº #1-#-e.*
ma - ter, a - ve ma - - - ter, a - ve, O 3, - V (2 IQ 3, - - - - -
sºmºs b. I TTN=TTST TRTTT º TTº Tº --E---—- ------ - Tº Tº
†I. -e-j. sis -- IT TIRISTITIT º
I& e–J INTT II -e)— — tº 9 as
&T&T. Le T-g-
Yº-
ter, a - ve mater O a - ve ma - ter, a -ve mater, o a - ve
–5––––––T----Is NESTE is His TTE
ºs-b-b----5-º-Nº- --~~~~sh.J-4J-Pºo-º-l-H------- s
& Hºfsisſiºłº-ziº. E.; si
º & -----|--|--|--|- ſº -º- &m mºm'ſ º
S- &T&T & Té9 s < * ~. 㺠-
ma-ter, a -ve mater, O a - We mater, O a-ve, a-ve, a -
Tib: 4--& A- * a tem O.
ºr iss. TTs, Tºss TTº TT. Tº TTTTT ——— º
my –5–5–––H º --sº Eºs is E ===s c- -s-s sº
amº-2 O |-g l Tºg º --~- be- § – *:::Be -- F- -
<s
T
TIt is Tºzo e IE —r— —w -—e,-----—t ------
Tat < < < --a-
ve, O ma-ter, O ma-ter, a -ve mater, a-ve mater,






52
T- --T - T--
=Hºff
} ETTUI D]... I FOIRB SO] RI RANO GOI R, TFEA (DJ R.
No. 15, tº
Allegretto. ~ C ~ Q Cº-º-º-º-> -º- \ \ºm mºn D-
1–1–23––– —1–1–2–––– —— *>
4– ~~~~ ------ -º-º-º- Tus-sa- -* e-e— – jº-
––– --> ºf -E-º-e is ºr ---E-º-o- * E. e- e-à-
J-i-TT-gº---T ––T.E-T- -º- ww- ------v
O O F- Fſ- Q
Pre-ci-o-sa, pre-cl-o-sa, O . . . me-mo-rl-a,
_TS g: gº ſº _-”
——2––––––T-6-2-1--s—- T-fºr-
===º-o-º-s-e- fºL E. fee.
ſº - A---—A- A-
TTTTTTTTTTT) —-------
LTL-I-T-I-T-I-T-2.
º a tº ºf AAL_s = - A -T-C-- wºe T
pre-ci-o-sa, pre-ci-o, sa, O
—º-F------—”–––––2––
º —e:
TTºº-T_ſ
—L--—T-T-
me-mo-ri-a, me - mo - ri - a, me-mo-ri - a,
--~TI - I- *—ran.
_*~ __º-J Jºe
--T--s—fººtººº-ºs--6 Teº-z-zTº-I:# *-
−ise ºil-ºf-fºr-sº-sºciº-e? -j-. d-D. ººº-º-º-º- ºn hºmº = -a - X- ºf my mº 2 m \,
ſº ſº. *#0–1–H----º-º-E-F-C-E----|--→
--- * **-*—é.
<-y ºmy *mºm
*-ºwºwe wºme & ammºm amº-mº =a^^*=m-m
w—
me-mo-li-a,
**E*. Es== =e. ſº-gº-
vm a
2-teas--e-EH-E-ºe-Eſ-E
-ºud mum mºme um=mº -m-m- • tº Y \s Y-y 4- -ē-ă–&–
v -ºº º mºmºs emº ºmºm. & A.
*_b =^ * * ==uº.
sºm-
C3, - T3, º O O O O O O
a tempo
& Y_N < * * * * [ _^*_> ( *
~ ~
#-#—*-*-*——-Tºz——T-2-3-4-º-º: >
*
TÉI Tºº ll ºn Yº! I as ºn- tº-P - º-º-e-a-z- →--E.
v-z. |- ---------T- Tº T. *—A—Ame
−FF---e. —- "-ga--a ––
pre-cl-o-sa, pre-cl-o-sa, Ca-ra O ca-ra, O Ca-ra,
2--> * ... …-----> -- -- ~-a-S –––––.
##– F-I-- Fº alºs --→E→-º- ...” e-º-
+EEEEEEEEEEFºº-ºº-ºº-----|->|-Fºr-2–=E
( * * , L––––––––––. ~g- J -- 2–TTT
T F- *
Cà. G. T8. y Q Q O (2 O C81-T8.. O ( ) O Ö ©. Cà-I’ā, }
1) 2- ºr ºmy-ºr-mºr-º-º: U-> Cº-º-º-º-º-º-º-D
##–ººz–––ºr-H-I---→ T == -—
º–Eº-rº-F#–E– New *
----- # ſº-, - == IøT.I. |
ºmm mº m ſº um us º-
* > Cº sumºº, amº- * * > dº ſº A-...--—-
\e Nºte: ( )
O . . . One-DOlC-TI
~
º
8.



















S.
53 !
RULES FOR THE
PRONUNCLATION OF ITALIAN.
A has always the sound of the English a in the word far.
E has two sounds : that of a as in late, and e as in let.
I is pronounced like ee in meet, or i in dim.
J is a vowel, and at the beginning of a syllable is like y in yon. At the end of words it is
like ee in feeble.
O has two sounds : That of o in bone, and o in lord.
U has always the sound of oo in moon.
The consonants b, d, f, l, n, p, q, t, and v, are the same as in English.
C is like k before a, o, and u ; as in calf, cost, cool. When followed by e, i, and y, it has
the sound of ch in cheek. - b
CC before e, or i, is like tch in match. Ç
Ch before e, i, is like k in English. Example: che is pronounced ka, chi—ke.
G when followed by a, o, and u, is hard, as in go. Before e, i, and y, it is like jin jest, or
g in geum.
Gh before e, i, and y, is hard as in get.
Gi before i, has the sound of ll in brilliant. Followed by a, o, and u, it has a hard sound;
Before i, followed by a consonant, it has a hard sound. « .
Gh before a, e, i, o, and u, resembles the English mi in minion.
II is silent.
R should be lightly rolled.
S between tow vowels has usually the sound of s in the English word please.
Sc followed by e, i, is like Sh, as in the English word shell. Defore a, o, or u, it has the
: ound of sk. Q = *
Sch is pronounced like sch in the English word school.
Z is pronounced like ts. Example: Senza, pronounced Sent-sa.
NoTE. - -
In Italian words, the sound of each and every vowel must invariably be preserved, independently of the
consonants with which they may be associated. •
VAIRMBERS $60 ARLIES.
A scending Gi. mut.
_Moderato. <-
1st War.
mºr-º-º- a - sº-ºº-ºº ºm me *_º-º-ººs º-º-º-º-º-, * v- sº-º-º-
--- - = -º-º-º- mºv-, * v- * - •º *-v- sº- a- www- * > . . . .



3d War.
F-----|--|--| Tºrº-T-FFFFT}{Tl2·ſ−2 s−12-
2- :: : 3. Bººl gif jºf P-F
* - -sº & b sº º ºs wº T- a w-º º ºf TºyT.
4th War.
—— ––– ---|--|--|--|--|--|-H-FFFF. HºFF-
2-—T + [a] Tº :#fº 2 fººt
CºTT ( ; -wi-T-T |
1 GLT2 º' Tº g. - THE-Irr
5th. War. (In syncopes.)
––––--T—-----T——T-—I--——-T-I------|-----1–2–-T—-g:
d = tº sºme dººm a ––– —i-T-E-L-T-F-I-T-T-i-Ízº----H, f2 is fat-
#H#H###2 ºf
Hº-Hºº-ºº-feº =: ITT TIF I j.III iſ
( ) * - -
| |
-------- * *
ITTT2TTT2"Tº I 4-º-º-um, as dº ºur- amm - " -ºr sºm, sº e a
-e ‘Gºa [ . | i
IIIT STT TISTTTTTTTTTTTTTTTº TTTTT
G dº- Is ++ |TTT TTTºTT|T2:...Tº T.T.T., ºf: Iš.
jºjº
**Terrerº's ge:IFISTFIIs II.
jºjº
jºjº
2-ºf-a-F Teº
*Hººſities:
"Tajagº' assº as 69 ———f-—F-
FT-sºº's
8th War. (In syncopes.)
ſº-rºsiºsfºr-Esfar-e-Hº Hºnºf; ºf:
#: Ez. . 2– sº Jr. -či 'ºe. *::::: 2- &
ºrsºsºsia-Herzºr-Hºrts:
9th War. (In syncopes.)
2
####ºf:
- A - ºr ). –––– ~! D | tº a –– º a—a-v ºw-> m, ºm- mum, um- P -v-
- flººm ºwn © sº- -
<- *
p -º
10th War.
2
-I-T----|--|--tº---T--—
T E. Hº-Hº-Hº-Hºi H- º T
& tº a *ē,
Tºſº.o.º.º- cººl-Tel-Jºly P*
11th War. or abstract.
––––TT — ITT. === --|--|->e---e-T--
===Hººijºjºſºft
2-—— #: jºjº #####
—
|
4-2 gº mº, ºr C. & Amº Dº is ºm- 69 sº-ſº ( - *-a-
P -º- - Cº c-











55
VAL REI 5), D SCA LIES.
Descending Gamut. Jº
Ó ºf Am. ºm ſº yºu º mºv - - - P - tº ºn a mº Yº Q - A Nº tº-ºº-º-º-, m- º' mºm amºunts ze. a- *—º. awº ſº ºn & Cº - º aº-º-º-ºp mºmºmºmº º **-uº ºr mºmºmº,
gºs = -º-º-º: S----ex- ºr ºr sº-O dº ºm dºw- ( - Aº dº -º-º-º - º my mºm, sº ºm mºm º ºm > Y ºf > * > gº dºmºº yº-ºººº Y > dºº-º-º-º-ººm. -º-º-º-º-º-h ºf hºmº mºnº- [ x = * fºLO = a - A - *
Lº an ºm 2-——º • A - « » - —e) — -a- mº---> ºf hºmº A. ºmºmºmº mº ºmºm. Nº º mº ºm > nº ºn wº-y wºn tº ºn º ºw umumumumumw-ºn aſ ºmy | \, sººn ( >
*Cºmºx a mºm's mºv - a ºn 4 × 2 = x = x > 4 -> ºr U ºw Nº ºn C A- mºmum a dºm dº a hºs —-62– -a- —--—- - - - a mºry ºmſ a ºn zº º ºn Öhmºº ºp zº- A tº Uºmº -me
*-Cºvº is -º a, e, e ---wºumé-ºw-uº-ºººº - T wºumºm, Cuºvº • mu-º-º-º-º ºr nº Q a hºr, C. Cº-º-º-º-º- Cºmº Y > Y - O tº av s ºr ſº sººn dº a gººm,
dº y
wº
Tę *_º gº A—A.
J)
——-—— – T ——-T-I--—T—— —-T—— T ———T ——FF
Tº NTAET ºTT2 TTL-T —t-i--T-I--- ----T—-–1–- —
sºjº a & ++ T TITITT. =#
–T-–L-1---- | Tº ‘’T&2 & Tej el-TITLE
2Ta2T2:...
2d War.
2. T.I.L.I.T.T.TITTTTTTTTTTTTTT
§ Tº Tø2Tº ſº. Tº HITIl TITTTTTTTTTTTT III ITT.
ſº ºff ºf 12 º’iaºgizjºij. I I III-III
TTTTTTTTTT T. Tº “*Tø & & Tøg gTL. IIITH A.
m =
2
Tººgºl; Tººl ºf TTTTTTTT. T. T. LTT-I-
* !--- I62. -? * g. r = & 2. ( *- -lºg- T.I. [T] --- I l T. H. 4- 9 ºf a wº
- ? tº jºiºſº giºs ºf jºke ºf eji-ji tº
2I ITT CTI. T.I.T.T.T.T.T.T.T.T.” *T*E*Lººg Tºgº <-
|
—f-------------. 69 & "a lº
4 Ill War.
ºs--, -º-º-º-º-º-Hº-H-I-Hº-Hº-TH-----|-----
2-fººt-ºfe-fººjº eigº:-ºf-i-ºf- H====
–E-FTETFIEF-Tº-ºº-era-ºeſºt,
mum
5th War. (In syncopes.)
< * s eme sºme
(E-L *Hºº-º-H2-H2 + +++ –––. Hº-º-º-º-;
6.9 4 -º ( . . . . º. tº- - - --> * * * * * * = ºr * -- ~~~ āy--N ºr D G = - =v-º- ºr 0 = & Sº
º----ſº-ſºº & Lºgiz fºr Tiz.:- Hi-Lº-Ti-I - Ti-I ºf
Sº- i-- -1– *...] -- & &
&T. Tº Tº TTT at TT TTT
sººººº-
ºr wn C
6th War.
F---—isz-T—--T----T-I-T-I-siſ----|-siſ—T- — 1–––
§3 ºf
& 2 ºf: *EFFHºº-ººººººoºo...Hºgea Hº ———
Gr. -- &T ſº Tº Tº
7tll War.
“T--——zº-T—-T— --T-I- T—a-l-T—-Y-T——T-—
A.E.Iggº's gºa *I -Hº- T.I.T.T.Tº...]IITIºTITISINº.
§ºf Hiſtºfºreigaº's Hºse.js ºf Hijīlīf
2 ºf ITT.IIT *eface’s false fift f
F- wººd' º'ee:
V. †-ſ-ſ-ſ-ſ-ſ--
-ºf– |-a----'Ha--T-'- « »
8th War. (In syncopes.) ſº
| Tax LT2:...T.I.T.T.T.T.T.T.T.T. Is TTTTTTTTTT
ºfeº
— ... * H-r-ţ- (l ‘ee- 3- : +3. Peºp. —e 2 .' ' º
º-HESE-Hºº-º-º-º-Fsº J-Hº-Hº-
*—ww. | l : 4 - A 2 tº sº sm - * & ~mºme cºmrº ºf ºrºurumº m \ºm *- &m my my my * tº- ºr- ſº - • = y = –
-a-—--—ſ--sº-ſ--s 's Gººgle’ss ºr o
=umum-, =^-º- 4-
& 6–
IsIºT Is I.I.T.T. ITTI ITT
ºjºjº
} | | |
+ = #8 º’s Fe2e. * * *-* =* - * º-ºº ºf ºf ºf
& º Je’es s º
9th War. (In syncopes.) .










56 .
\
10th War.
ºr mºwººm-- ©mumºm-m am, º, º cº-
v vºy g-P -
ºn Cºmº º &A ----------------|------- *—-I-T----
sºciº=#:#
---T-F Ax => --|-- —ſ ---- – __ººl * + & ‘ –- ºr-------- [ _* > [ _ =U- º ºs « » « »
------|--|--|--|--|-- *F± Y-y -&--igeº- &
T T. --ºn- ITIT. –––––– ---— g-g-
* Y_\e º 'º - †:*H # -—-——-— =}}
&T — *e,
sº--— ————g-
ū ºs ºrºr vºy v-y us ºmº- - sº- as wºumºv-e ºwn wºmw =w=wºum. As *=.
v- |-- TITLTTIs II. I. I. TTI ITTTTTTTTT
J.T.T2:...TTTTTTTTºTTTTS Tºscal sºrg]. I *: 4 × Jº ºn
2 estafałºgºs.ii. 2-rºfit. If I
v-u gº-º-ºw g; gº ºf $2.7 - .6%j- &g ! ––––––8
& 6 * & G.T. g.
-----—
LESSON FOR THE STUDY OF THE FA CLEF.
_*—£ºnto.---- - - 2 -6:2- -62 – 9
e.)
{ } [ _ _-_- + - vº- tº P & b -er- —-T—-T- ºr - I -º, T ------|--|- 8
(*g-z 22. F2 PH-E-HHH ſº a Fºz, Hº- f
S-Z dº?. Pr. I.T.T.ſ T.I.I.I.I.I.T.T. III. I.I.T. F.I. 62 I
d_ºf_* ºn Yºmº, º sº ºn emº. –––."- & { e 3–
—o--- dºme - ( > * * *-*- am m. ººmfm. * * * * =y-
'll] ... ...T. - %
G ſ
do remi fa Sol la si do do si la Sol ſa mi re do.
IP Andazte.
*Cº-º - hº … *-* * zº
Cº
‘9-––
&m ammºm wºme-m ū -em,
Y-Ty —w-w-
sol la si do
Andante.




5?
=ąºeſferºz
ſē№fſ*i+H|-|-
→@#--p-º--º-p-—25————•—•—•——æ3–-------
№ºrſ=ITĒTETTE-TÊ-IÊ-IÊ-IÊ-I-II
• → → → →→→→►►！-- - ) — -• →*ær«-»u_-^_^） ：-） ） ） ） » ~~~~， ， ） » ^ ^«»ÎLL，
<！-- - - ） w \，：））， ， ， ， ， ， - - - -.-^-^--.---><！--->©
-º- ©→ → → → → →→→→→→→ →→→→→→→→→→→©
Ťº-Eſte E-, TETEP-ſºfiſſº，
|------|-|-|-|---*-İEH-º_º:Eſ-h-ſ-t-i-Tae-ºf-ſºf
TTTTTTTCTICI©ICT[_ITILITIETTIȚIII
（~~~~ DOETOE £，●----|----
©
----©
z*:---º--º-º-p-------p-—ſe-as-p-tº-—|----º--r--º-№
(&: #f-r--FH-º ！！！ Eº-f№ſſº-E-F-F-ºſſº-ſ-t
~~~"+-----+---+-eſ-i-i-|----[-|-|-|-|----
p ---------———-TF-E-FEE-E
©
-- «-º----------،،•« »©）->-> <！-- <-» «） —
−−−−
* =） ） « »^ • • •=
f–
|----
--） > →-º--º-Aş-º-№-* ———————————————©-º-
º Llei~~TT）TTrzòTT （ )•T-ſº-ſ*-+---r-ſzig–
@;-+-+-+-+-fº-H-±=-cae-zºſtał|-ºf=}
>– + ––––-H -- №ſ- i-'--f-h-ſ-t-et-----|--†-№i---+------|--+---+----
TTTTTTTTTTTTTTTTTTTTTIȚIEIȚII
-- « =• •»∞●• •
�=> → → → →→→==-->---> --~~~~ ~ ~ ~ !, «-> ~~~~）~
-ſºº _ •
•^{� ( )· –·
@-Zaļeºffſfºſſe-№-Erfºſfº-ſº-Eſſºſºg
ºººſł---#--#-#--#--# ººſ-+-+-+-+-e-|----#--##e2+#--#--#--#-
- L| |--— ºrº ）--> --~ G --★ → 4- {----！ 2
----- --p—
--------
+----•）0 ）） → → → → →∞ «）， «…» «）r------
• →→→<>^）
varsmarrows.
THEME.
ÞModerato.
eo e ）; ſº： -º- eo ea
zš-jº“）“ za Eº-№-Lİ，--†* L-e?--Li---- Lijſ-ſ-
&#ē-º-TITTI FIT-TIITLITTIIIT ITT
|-• •—~=~~~~ ！= ==========--~~~ ~ ~ ~=====-
f---©» •
�^） ）, «…） ：）） •=v= =�■ ■ -^ ^=*'）） & A__，_| ，_»
( - - -> → → →→→→→
Åst Var.
P
z*:: -----^_^ ） » _， _， |_>e–c）^•
ºrºſºſ
4 （-）^ ^ ^）
zº_-º--º- e2_2
, !©
———— pe-Ți---+---ţ-ū！--№-ſpe-º-eſz-
！ ！ -, ， , ， ， ， ， ， ， ） » I »__）[−（TOEC------CIT|
ITT [[T， TTCIITTOETITI [TOE__
�）^！-->s-r， ， ， ， ， ,! » ( ）ſ-）ºr
2d War. (In syncopes.)�
__P__øºp ，º-º--º--º- • •
-->�
© đ） •）º-ex-ſeį-- :« »r—————9–—， ， )）<^—）
(&#āſ#ŒHE-EE#####ºſſºſÉ#
• → 4 ) <=）->--> •
• • • • •º• .
ĢĒĶī£ €№zje-№i-eſi-i-i-i-ſº-p-H- + e+ī£e，
ºſ iFEIEETTE[IITTITTIIȚII–IITTTTTTTTTT©
|| ， ， ）_-__-^_^ ^ ^ ;Caeſ） ----！~ ~=• →∞(（-， -， ， ， , ， ， ， ，
-e–- «） • • •）--> <--« » «， ， ， ， ， ， )
�
« »）， → ← →→→→→----©）））））））））•，，） <！--（），-，= <！---> ， ， ， ，*…»■•，，-，-，-，-，














58
4thVar.
P(…)！
！9
→→→→ (-ae-） → → → → →La _ſº_II_ºIſºt）, Tºt_e2___e
@₪º FÆFſſ-TE-EEe– ſeſº-H-I-ſ-g-º-Tº-g-fºrzg-
ºtſeſ--E-F-HEI#####=№（-E-#####
-，_，_|_^-^_^） --★ → ← → • --★ → • ， -, -.) --- ， ） »， -, -：-， -， ， ，• →→→→→→ ∞）））））
őth Wur. (In syncopics.)©
º „TÉ?--, off •-º- _ -º- • •
s-ſ-ſorºſ--№re—4） • •） » «）， （-） > →→→
§:---º-qºſºrºſ--A|--e-ſ-ſºrº --） —ſºſ —ac----
ĢĒĢºſ-ºff----#--#--#--#--#-----#--#--#--#--#--#--#--#-2-#--#-fºr--
2：CV-7ſ_Tº_III_I_III_I_IT_T_I_TITILIITILITI|-1——.
） --- »<!--（） ». «-> • D-（-）-，-，-） • T • →→→→ → → → → → → 4-a.
©_-^-（-）， №v --★ →----«…y→→ ،©）^）. C-））））• →→→ •
6th Var,
Q
P_�∞ºa»• Tºº „sº e- →�
&#;：ºrºeſº，ſºſſº，ſºſſºsºſ ſºeaeºſ-e-f- º.
ºº-G, H-S-ți---S-+-+-+-+-Fe+-+-+-+-+-+-+-2-#-##2 +-+---+---+--+
^-^_^-^ ^-^-^ ^-^-\， ， ，-，-，-，-）， - - - - ~--~---- ， ， ， ） （） - ___， ， ，__J_TiQ … »：-））^）^， ^■^^） （） ， ^^）. — • • →→→→ → → → →
|-
7th Var.69
ſ pº©•• - oaººº -º -ºe»-º-oe. «�£?.
Ģeº-aſºſ?•№ſſº-ſº-ſºeſſºſºegºſ-e-ſºº ;
●| | || | |?& Iſ]§ [[I]Q|| Nº
+&H）-+|-|-|-|-|--ți-ºff-º--º-j-º-Eiſ-siſ-f-r-s-t，
©_-）-^-）_---， -）— — —• A • • •= «（…） « »
«…）. •-*- ----~-[ ， ， ， ， ， ，
<！\， ，
« »
،）
ºy
• → •—•—•）. .-x_a，x_ae• → ）
�），~~~~ ~~ ~~~~））
8th Var. (In syncopes.)
→aſººeººz，<_-^v •！ºgº~~~~）; « »
Ģeºrºeſºſffºſſºeae ºſſºſ
TTTTTTTTTTTTTTI@T ȘTIȚI，TITĘ！= -A_»
TT? TISTTOETSTITIT，ETTTTTTTTT
�■■] ©--º,|-
|（___|_，_，_|
<！-- |« -»
» → → → ~ ~~~~©）^）^）^， »
-ţ-ūſīſ） ſ-ſ-ſ ſºſiºſ Iſ-ſºſ
•••••• •TITT [[[[[[I • ！ T-I},
！ ！！ ） (-）^*）^*） ） ） » ， ） → → → ← → ← → ←→→→→→→→→ ）…w.*…*•））^~ 4））sy-sær- →=r-
– ſº-
--—r ſººſ=p-ſeasºegº--ºrgeºegº-=ºff
10th Var. (In syncopes.)æ：2•o�
zºſºsgºſº -----eae69–ºtſee•«ºº,9©T ：)
&#aseſeeeeee2----|-— —~~ ~-----*|–}4_（=pæ-f---« » ،ſº ſeg
-，----€，~~ ~~ ""|--~~- - -^ ^）^， »*#！**|-—-----Es！----īs，·ſ−FĒ
^-v，-） ---- » ->^« »
. ^_^=P~> 4）• • • • • • • • • • • ►►، ، ، ، ، ، ،« A » «， ， ， ， ，•） »•）» «） »
11th Var-
} ?>���-ſºſºº- ººgº
№ºrſº--（°-I-ºsº-p-i-i-i-I-№-I-ºeº-T-zase – †
RETTTTTNETTTISZTETT” TSZETIȚITĒT TTITE TTTTTºiTTTTTE“#
！ € + H+|-+-+-+-+H+TTTTTTTTTTTTTTTTTTTTTTTT LIT FTIT
a-x_a）（x_2-x-，c）^»
�~~~~）. ：） --★ →•=^）^» ^-^ <--
« » -，،،«…）））…» -…）））…-）… ：-））） ------ »
،a_a）^_^
«…y-）））-，-））））））， ， ， )~~~~ ~ ~）
12th Var. or Abstract.
*@«-»—−√æ√−ær — «-» — «ær|---+---+---+---+---+---+-+-+-+-+-+-+-i-ſi-№fſ-ººſt-fºe-fºr-i-ſºs
CIT-TITLIITTI，===s~III TIITETT， IT-TIFS, FII
.ae）.
*-º-º-ºww-y：：-：-（：-（：-（ºr*ær─w-y«…y
«）v=-->
&āEi - Iſº-ſº-Tºſºfºſſºſ;43°øZºº&#
Q_º©
--._.--._.--._.-'，ºr__ _ _ _ ·• ، ， ， ,©）<！-- → C ） --- »«） »•， ， ， ，vær











59
GAMUT IN FA MAJOR.
• Cºº e O
re sº sº-º-º-º-º-> * dºs e e Lento. * x > • 6.2e Ez. T_ & ºr a-º-º-º: €º e O 2-->
7:ST. ºf 25; Tø-Tº-TF-1}- TTTTTFTT2 ... Tº TTTT = N = Triº
(9:- #2: IIT IIſ IIIT FE I es fºiſºfaziºiºs
—b-4–4–T--|--|-- ---f- +--- TTTTTTT.IIſ III ——
——-F-----——-----|- -—— —!--—— A-. ———º-——l- [ITTTI
* * ===
Let it be observed that the si must be flut in or ler to have a semitone between the medi-
ant and the sub-dominant, that is, from la to sity.
Andante. -º-z, -ºp
ſº
zº”-------------ºr-ſºº'er---tºr- vºm gmummy Aºmºmum mºb ºf ºn sºme J dºmº dº A & A_ _º - > dº ſº.
(e:#EEEEze-Eºfºriº HE ºf Hºfs. Eºfº
–5-4--- Tº L&T It Tº TTT ( [ ] { [[ITITITTTT
F-- F- —- |-- F-
& -º-tº-9 "fºg,
Gººse Hes...}~ ºf ºs-Hº-ºh-EEHisłºżºłże-
ºffe feeiz Effi Hºeffig Hºsefº FHEEE
| | r– q . H
—b-HEP-FFF:FE-FF-FFFFE-F-asſºſ Fºº FEFFFF-E--
* - amºum umm mum, unease - um.”
H-----------— F-----------|-- wº-ºº-O 62.
~2. tº.62 fºr p -69-49
§I*** Till ºf Hiji Iſesj -be Ilija II ºf f*Iai:
(9:-Hºº-º-H+ H-E- Hºsłºsłaº-H-I-Hege:HºHºº
Ib TT|TT.IIſ. IIITT TITT.III fit as as if &ffei iſ iſ firf
*—---|-- --- Til Tſ TI. I. T.I.. TºI ITTTT | TTT
ſ— FF-
Ö 69
gº as -ºo
tº ºf II* Lººpſ? Iseº pººls ºf Izº ---T-
(9:-H Hº-Hº-Hºº-ºº-H Hº-Hº-He
IIIb TTITTTTTT.IIITTTTTTTILIT III
gº -69–
gº'ſ "Tº 9-T--—----,
ºf Eizanº ºs--
* = * @* = 2 * * * * * |-- -
| -
– fir-E-F-º-º-º-º-º-
U - A- * * * * * * \m mº m = mr \ \sum^ = \m-º-º-º- ºr b =ºm * * * * *-d ºr dºmſ ºf hºme FT-I- { -T-
–––––––F–F––––––––
sºme-w-s. Tºw-Nº Q
-e- ºw-
ſº Iz.T. &ITETTILTTTTT2 TT.I & IL-TazzT2:...I
(* 2: E-fe: E →---j-E-f-E----|-2–Hºee-HP =::
LIBILITIEIſ T&IETILTIETººlſ.I.T.T.T.III H-I-P--I-I-T-
; T || || || & = ** { } { * * [TUTTTTT TTTTTTTI,
d
s—-> -º-º-º- - - - v- v wºumº tº dº. 2- ſº-º-º-º-> -º- ºf ºf ºr * = r = º ºx º Aº Aº
« ºf A- Y > w-ºn.
GAMUT IN MI MINOR.
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sº l II: T ºfte- †-ºf-a-j-----|--|--
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tº as if f TTTTTTTTTTTITTTTTTTTTITILITIT-
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Žº 2-fººt-fººt-ºf-Hºf zerº, HP,
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2 *E.I.T.sº I*T *T2:..I. & TºI*TT. TF T&T.
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Mº
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60
*VARIATIONs.
F THEME. Q
—#—aſºrate. --T-I-T-I-T-T—-T——T-T-T—T-I-T---- ——
#e3+ º- # ########## ~~
Sº T.I.T.T. º. ºf ex-fººt ºf º-tº-a-a-i-z.
IP 1st War.
-#----. -——
#egº
2
—-T—H-TI—T-TTT---- ? -T-T--—— —
TTT) —--| Tii if TITTITIT-T
Pºłº-cº-º-º-º-H2--
F-T-I- tº gº ºf a dº - tº Y__º, ºr ºf . , tº Yº Yº - suº-ºp --> --1–62—
.2d War. (In syncopes.)
=F EIII
*H:
—fº-º-º:
T-T - –– ITILTT.I.
:sº sº
Amºs º-º-º:
v º
Ax-º-º-
Fº
II.I.I.I.III.TITITIIIT IIITITITI. T.J. T.I.
FºEºPH-E-HºHºº HºH--º-º:
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tº-º-ºp dº > & ºr & & m > Cº. amº-º- [ . . » • - a T#et 62- - *
- FFF-Tº-H-I-E-F#–E–F–F–F#–E–-
T_TITTTTTTTT-ITIllſ. Tº TT li III Tas
— sº-Tº-T2.---Tº-jº-Tº-cº!, T-AE--
x > * a 2-fa--tº-zºtºzºº #2; 2–.
ITT. T in
:#.
sº Iººsseſs
6th War. < .
#----|-- ==ar-i-ITI
Herº,
& at
gº-
7th War.
#eº:
ſ—
jºiſ
Tay"
8th War. (In syncopes.)
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• *Iºſſy -ze zee-Eºcaeſºº
10th Var. (In syncopes.)
ſeºsfääſſzaeſī№ſſae••
eer:ſeºseſº=•.•*№.BºeºſººfſººÐ，20）¿?<--！>
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12th Var. or Abstract.
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∞
--|
±,±JE-ŁĘTTĒĒĒĒĒĒĒH.
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~- → -->--------• →vær^—^^）^， ^■*-+•） • «-» ，-，-，-，-，-， d-，-，-， º
GAMŮ“T IN RE MINOR.
Modcrato.© •#º-�-2.-2�#eº2�
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62
T--T——T--—T—1–
cº- ===
F-2EEE 2FFE-
dºm. A. z - ---
tºº wr-v-wºr-y wºr-vºy -wºrvºr & Nºm
TT. T.T.T.T. ---|--|--
Pºłºf:-}
r +e [[& TIF sºlº I
-T—
3d War. (In syncopes.)
I = =A= a
=bººk ---- º - ºri º ==HºH = f
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!
tº A U ºm-e- *º-º-e mºm ºf ºf he sº Y - ºmºmºmº mº Yºm r- •ºm, dºm Amum-ºs--a cºurs s -º-º-º- ºmº-ºmºm. mys 4 - wºm-º.
4th War.
P_
TVIIIT-ITI ºf ITT.I.T. Hº Tº T- :
- -- | |T TøTT. & TTTºi Tji-ji ºf TT
—F-2- - * * * ~ -I-— -T--T-–7–1–)-,-,- —-
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º:T Ta’ri-Tº- & A ºr ºm ºmº- tº Lº-º-º-º-º-º-º-ºw * > v × ºn
*ā-
*Tºy
5th War.
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TT. T.
#º
VII ITTI === zºº TT #: †- f
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################
AN
4- e. E & y & Lº A = * > * * |- sº- sº sº.
* --- sums-º-º-emºs =
8th War. (In syncopes.)
P T-> I- __--> T-- T- T-- —s —s.
TTTTTIII
=E2 #2; ##2 ºf
IC&I * - ſº mºm º ºſºmº, amº 4-
9th War.
ºf:
Fº #2, #:#: #2. I
iſ fººt 'izzº iſ . zº ºn me =#:
Eze. *E=E---E ee-tº-ee- }
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2 ºf...Fºr
& ——º:G ©ºm ºs
G \\ aºmº ºruºmº ºn amº - m-m-
©
. . 10th War. Or abstract.
P_ \
Q & ºr dºf TTTTTTº
YI #2-ji e-Tº-HºF
—-—z---g-----2 F----
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e TTTſ Tº TRPTTTTTRETTITIT-Ti T.
m = º Yº Yº ( > ---º-º-º-o-4-22A- +–K+--|--|--|--|--|--|-
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63
VAIRLIA Tºg tº $3.
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64
8th War.
I Fe
yº–F-E-HHHej Hº-Hº-FE H----FE--- sº
bää JEE-E ee- º HIHFedefºr-Hºf;
#EEEEE*E*H: e º, w mºm, º T&T&T
# →e ºmy ºmy ºmy
9th War. (In syncopes.)
P &
TITTTTTTTTTTTT
Splºº. ——r- ==== – a L Nº
# TE+z=#2-ºf-HHH
ºf "Ta" dº ——— –F––– #2 *
I0th War.
|P [*.
IIT III.T.T. S.IIIST|TTTTTTTTT.T.T.
§ º
: – - 1– Zºmºmºmº amº-m ~~ & cº
( ) Ö aerºſe" a
•-O-O-O-
a mºr-º-º-º- amºur e º sº m = m^_> =^e mºs TITLETTTTTTTTTTTTTTTTT
blºº. Tº -e- sist f e'H-
* HººHººsłº ** 22.
EF-Hºº-Hº-Hº-F
-Ti- =; *He
amºmºmºmºm. Amºmumº-. ITITT"I*T & jTTIt
<- 69 © Tº 2
mº ºu lº gº ºn mºs ºf ºn tº 4 Y. M. & e º dº a m a. – T-I ITT I – T-I-T--T—-I-T--T-I-T--T— *_A_ _º_
TITIS i. TITTTTTTT) -TE Tº =H- T]T ----
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WSZII-Taz Tº I* es £2T2.- T. 4- A *—ee ** sº
( > --|--|-- a--T-I-25T TH
;HºHº Hî
gaº "--—— aTzº
Cy #2- &T" a
( )
|
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& ( ——— =eji= º c
( ) • T ——l-I-—, * = -
††
6––. 4 × 4 × - s
º - ºf-ºf-hº ºr ºm > w- ºr , s =
— T-I-
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º *** ---> e -->
Gºes TTL fººds Lºº º Erie T. Lºi ſpºłe T
****fee-feſſºr fººt-i-fift EFEATETTE
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lºſ TTI IT - T -- I - a 2-4 x = -— — — —
s
Tº Q e - -º
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+-ſej * [T TITITſ. ITTTTTT ſº I TT.IIIſ TITT TT H= -
ITIº T' TTTT TTTTT-Tſ J.T. -
CHROMATIC SCALE.
===Pºzzº F#
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€5
LESSON FOR THE STUDY OF THE CHROMATIC SCALE.
w wºr- ºmºm, º 4 x < y,
sm– sº ºm > *-* =^*-* < x ºr sº-v- - -
...)
!"
--4T &
* b = -
sºme ( ~ \m.
[ -7 , =Ap
cºde
t
gº ©
*- 4 × &
sm ºf sm
&mºm º Aº X- tº º ºs = ~-
-—
T
2
T. -T-
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==
:#&#
—
lºyme
‘….”
* : *
- w = ºw ºw
= -
e
#
dºº-º-º- e. mm, was ºmºmºm ammº- am tºº muy -wºme wºmmº
ºf Mººm º "-ºº-ºº-ºº ºmºm ————25
* = ** = wºme a m =
* = & ºmºmº em mºm
tº
wº-
& ºm.
a- - --dº-
& Yºu • & Y_º dº * *- Y Y_A=
--->-
3t, (5uiſm effe's 330 taſ (Éxertists.
<>- lºmº
CIHIAIRT NTUIMEDECIF ONE.
3
22
1 4 6 8
1 4 8 6
1 6 4 8
2 4 5 7
3 7
3
1
1
1
8
b
5
7
8
3
2 5 7 4
2 7 4 5
7b 3
1 6 8 4 1
1 8 4 6
3
8
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3
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4. 2 5 7
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4. 1 (; 8
8
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5 4 2 7 5
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4 6 1 8
8
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8
7 5 2 4
8. G 4 1
1
3


66
r
CULTIVATION OF THE VOICE.
**C. Cº-
In singing, as in speaking, it is necessary to cultivate a clear and distinct articulation.
The voice should proceed directly from the chest divested of all extraneous sound, and
the mouth should be well opened assuming a smiling position.
Breath is not vocal till it reaches the “glottis”—the force or power of voice, comes from
the diaphragm, and its intensity, by concentrating the tone in the mouth, the clear open tone
by opening the mouth upon the vowel A, the sombre tone, upon ah, modifying the other
vowels to correspond with these two most in portant ones in the production of pure tones.
Voice is vital, like the organs which produce it;-therefore, one should never experi-
ment with it, by singing beyond its compass. Twenty minutes careful daily practice upon
some one lesson, (especially the scales,) will do more good than protracted singing in a
careless manner.
The major part of all practice should be with the mezzo power of voice, as this enables
the singer not only to judge better of the quality of tone given, but helps also to preserve
its vigor.
Taking Breath.
In taking breath, make as little apparent effort as possible. Let it be done quickly with-
out changing the position of the vocal organs.
Never take breath between the syllables of a word.
Words closely connected in meaning, should not be separated while singing, by taking
breath, in other words, render the sentiment as you would read it.
Articulation.
Articulation, is essentially dependent on the consonants. This, should be given quickly,
smartly, and with great precision.
Pauses.
Pauses, especially rhetorical pauses, are essential in good singing. When necessary,
such may be obtained, by shortening the tone, immediately preceding another.
In all vocal performances, attend to the meaning of the words. Enter into the spirit of
the sentiment being sung; and, if either music or words must be sacrificed, in order to give
proper expression, let it be the music.
Singers should neither eat nor drink immediately before singing.
It injures the voice to sing in the open air indefinitely.
Directions for Practice.
Stand erect, fill the lungs and with a firm diaphragm, begin at tone G, second line of the
staff. Ascend by semitones, sustaining the tone upon the vowel E, to IX:# for Tenors and
Sopranos ; and to C# for Altos and Basses. Now return to G, second line, and descend by
semitones to C natural for Tenors and Sopranos, and to A below the staff for Altos and
Basses.
Repeat the exercise, using the first power of the vowels E and A. Pass gently from E
to A reserving the intensity of tone for the second vowel.
To practice intensity of tone take a deep inspiration, or fill the lungs, and convert all the
breath into sound, by throwing the vocal column into the mouth.
For soft or sombre tones, use less diaphragmatic force and allow the vocal column to re-
cede to any point of resonance to obtain the desired quality of tone.
Exercises 2 and 3 may be sung to syllables ‘stay” or “stah', in all the different keys car-
rying the voice from the first to the third, as in portamento, with no more muscular action
than is necessary for an easy rise and fall of the lungs.
ExERCISE 2.
Basses and Altos may sing to E. Tenors and Sopranos to G. Ex. 4, may be sung to any
vowels suggested by the teacher.
Portamento teaches how to control the breath, in carrying the voice from one tone to
another. If cniployed too often, it becomes a mannerism, It should be used as an orna-
ment, only.
In passing from a low tone to a high one, sing the low tone softly; thus reserving a suffi-
cient amount of breath for the high tone, taking pains, meantime, not to change the position
of the vocal organs. Keep the same quality of tone throughout these exercises.
Some voices though able to sing in tune, have still a reedy quality. This is caused by
failing to direct the breath to the dome of the mouth. To remedy this, practice simple ex-
ercises to the vowels. Others, have a sharp equally unpleasant sound. These direct the
breath too far forward : therefore, there can be but one rule for all,—viz. When practicing,
concentrate the mind upon the direction which the breath should take in the mouth in order
to produce the quality of tone desired. Do not expend too much breath in executing a
piece. But economize breath by singing very lightly : much practice of this kind is neces-
sary.
If a person sings out of tune on low tones, practice the following exercise, directing the
breath to the dome of the mouth. Repeat the same in different keys, keeping strictly to the
compass of the voice.
Cº-º- #————--— ºn ºf ºf Rºs C. Nº ºn º dº nºm º ºr ºn A \º rumºmº dºmº ºm > gººm ºmºmy. Nº ºmºmºrº A. Amrum- a vur-m-m -mm ammºm ºmºm-m me a mºm’ ºr m - am vºw-mº wºm-m-
A-. A U-ºx , vºy vºy vºmy ſº vºy- –wºr-vºsºr—w-vºr -wºr-w U- \mu > \ , wºm ~~ ºr v * us - Cy U. mum he ºmºmº wº-a wºme ºn a-mºmºmº ºmºmº- ºmºmº mºvems w-wºm,
t-
º ºr Y- ºr ºr Y-y v-Tº-, Tº-y *r-ºr —e--——2–––------ ºr ºr º ºr-v ºr v-, -º ºr-ºr *—A—A- U - wº zº A_^-
us ºut ºf mºrd me a m = \mu= m^m
—w—
T2: TTFTTT2 TTTTTTTTTTTT2 TellT
-* ~ * =ſ_ºf_*
Uºmº 2 wºmºyº - ww.mº e *º-º-º-º-º: sºme um- -a, -º-º-
U P = **C* sº-ſº sºmºm º ºr sºmºmºs = \ºmº hºmº & Aeº & \m ºn d > \º º ºr Y. I
(2-8), e—ah C–3, e—ah (2–3, e—ah ©-3,
Children's voices, are usually sharp enough. They should sing Scale exercises to the
syllables a or ah, (never e.) They should never be permitted to sing too loudly, nor
bove E, fourth space, on the staff. The best period for developing voice is between the
ges of 17 and 35.
Beating time while singing, is strongly recommended.
Scale exercises to Stah baht, etc., are beneficial. The same syllables also, may be used
to advantage, on one tone. ( >
-C-C-C-----
COMPASS OF WOICEs.
Soprano from C below to G above.
––––––––– TTTTTTTTT2C z-Le—º E
& Mºrº- tº dº is a sº um, mum. Ta Y-Tº-y *r-ºr e).--- dºs wººd-º- ºr me w— – Nºv. 4- º ºs ºn º, ºm ºf hiſ a um, sºme ºur-- a--am-m-ºw amº-am = -e-, -º-º-º- emº
Q
––––2——e v-y \mu , U- ºf º A–A mum ammumºmumumusº ºmºmumºmº-º-º-º- ºr mºmº dºw-º-º-º-º sºº * * *º-ºº-º-º: ==-a-º-º-º-º:
( >

68
Contralto from G below to E fourth space.
sur- v-u ºvem um am--a-e' am -m an=== m^*=m, emm-mm- a-um amºus-um-us-um = --- = - = =nº mºm, sºme a mºm-m-um, "ººm-º ºn-º-º-º-º-º-º-º: * *-- * * *- * * — Gº- w_*-º-
* = A___ __º - ºf º- sm ºf ºn Y S & A-4 tº amº b = x - 2 = < −, Y- -— –––––a–e5 –––––-
———— — — ————----------z=5–62—º- - == *- [ x >
--- - - -aº -e-- gº
-a- -e-
Tenor from C below to A allove.
-e)—
ammº emum, .4, u-mum, sº tº dº ºmº, amº º dº nº A & ºm > < x > gº & ºmu ºr ºf a s Y-Tº-ºr-y ( > wº-y < * = &ºm= —eº—-S-- –
-------L----L-----z-z-e-ºf–-
––––––––. —a — e…) -—-9-et--— Cº. & - sº-> vºmy – —-
• A ſº-, -, -ºvº zººmº ºmº . ** —62 v-y m ammº ºmºmºmwum am, mºm, em emº amº • y=Q_b ſº-º-º-> -- ~~~~ x ſº-ºw -ºº º Aºmº ºm >
25.T&2
Bass from F below to C above.
–éº-
-----a -a-, -- *-- *-* -- *-- ~ *- = -- a-- a-- = - 2- U me «Tºm 2 mºm’ ——麖Š---——
:------—--——— –––––25 —62—º-—-———-
2––62— • Iyº- ºr Y - a tº 2- ū - > d x ~ dº y º Amº- - P - ºr 6–w -ºm-º ºr a hºmºmºmºs º- ºr - nº ºr um-m ºr sm um ammº. [ _*
A DICTIONARY OF MUSICAL TERMS
Æ-AA= AEA. A -Q-
A ; an Italian preposition, meaning to, in, by, at &c.
Accelerando; accelerating the time, gradually faster and faster.
Adagio; slow and expressive.
Adagio Assia, or Molto; very slow.
Ad Libitum; at pleasure.
Affetuoso; tender and affecting.
Agitato; with agitation.
Allegretto; less quick than Allegro.
Allegro; quick.
Allegro Assia; very quick.
Allegro ma mom troppo. quick, but not too quick.
Amoroso, or Com Amore; affectionately tender.
Andante; gentle, distinct, and rather slow, yet connected.
Andantino; somewhat quicker than Andante.
Animato, or Con Anima; with fervent animated expression.
Arioso; in a light, airy, singing manner.
A Tempo; in time.
A tempo Giusto; in strict”and exact time.
Ben Marcato; in a pointed and well-marked manner.
Cadence; closing or ending; also, an ornamental embellishment at the close of a song.
Calamdo; softer and slower, by degrees.
Cantabile; graceful, singing style, a pleasing melody.
Canto ; the treble part in chorus.
Comodo, or Commodo; in an easy and unrestrained manner.
Con Affetto; with expression. Affetuoso; emotion and feeling.
Con Dolore, or Com Duola; with mournful expression.
Con Energico; with energy.
Con Espressione; with expression.
Con Fuoco; with ardor, fire.
Con Grazia ; with grace and elegance.
Çon Imperio; with force, energy.
Con Giusto; with exactness.
Con Moto; with emotion, agitation.
Con Splºtto; with spirit, animated.
Coro; Chorus.
Da; for, from, of.
Da Capo; from the beginning. Dal Segno; from the sign §
Declamando; in the style of declamation.
Devozione; devotional. º
JDivoto; devotedly, devoutly.
Dolce; soft, sweet, tender, delicate.
Dolente, or Doloroso; mournfully.
Energico, or Con Energia; with energy.
Espressivo; expressive.
Fine, Fin, or Finale; the end.
Forzando, Forza, or F2; sudden increase of power.
Giusto; in exact and steady time. -
Grazioso; smoothly, gracefully.
Grave; a slow and solemn movement.
Gusto; with taste. -
Larghissimo; extremely slow.
Larghetto; slow, but not so slow as Largo.
Largo; slow and solemn.
Legato; close, glidi.hg, connected style.
Lentando; gradually slower and softer.
Lento, or Lentamente; slow.
Maestoso; with majestic and dignified expression.
Meza di Voce; in half voice.
Moderato; moderately, in moderate time.
Molto Voce; with full voice.
Morendo; gradually dying away. * •
Mordente; a transient shake, with two or more notes preceeding the principal ones.
Poco ; a little. Poco Adagio; a little slow. º, .
Poco a Poco ; by degrees, gradually. .
Portamento; the manner of sustaining and conducting the voice from one tone to an-
other. [* w Cº.
Presto; quick. b
Prestissimo ; very quick.
Rallentando, Allentando, or Slentando; slower and softer by degrees.
Rinforzando, Rimf., or Rinforzo; suddenly increasing in power. . . .
Ritardando, or nºt. ; gradually retarding and diminishing.
Ritenuto ; slower at once instead of gradually.
Sempre; throughout, always, as, Sempre Forte; loud throughout.
Sforzando, or Sf2. ; with strong force or emphasis, rapidly diminishing
Sicilian ; a movement of light, graceful character.
Smovemdo, Smorzando; dying away.
Soave, Soavemente; with very delicate expression.
Solfeggio; a vocal exercise.
solo; for a single voice or instrument.
Sostenuto; sustained.
Sotto; under, below. Sotto voce; with subdued voice.
Spiritoso, Con Spirito; with spirit and animation.
Staccato; short, detached, distinct.
Subito; quick, sudden, passionate.
Tempo; time. Tempo a Piacere; time at pleasure.
Tutti; the whole, full chorus.
Un, as, Un Poco ; a little.
Va.; go on; as, Va Crescendo; continue to increase.
Vigoroso; bold, emergetic.
Vivace; quick and cheerful.
Voce; voice. Voce Sola ; voice alone.
To sing in good taste, sounds must be be varied with respect to Power, sometimes singing
louder, and sometimes softer, according to the character of the song or sentiment. For this
purpose, Dynamics are used.
–- Cº-
DYNAY-IC CHARACTERS EXPLAINED.
JPiano, marked p. Soft.
Pianissimo, 39 ſpp. Very soft.
Forte, 92 f. Loud.
Fortissimo, 29 ff. Very loud.
Mezzo, 2? º, Medium.
Mezzo Piano, 2} 7mp. Rather soft.
Mezzo Forte, 99. ºmf. Rather loud.
Crescendo, Jº cres. or ~ Commence soft and increase.
Diminuendo, 29 dim. or - Commence loud and dimimish.
Swell, 99 ~- Gradually increase and diminish.
Sforzando, or Explosive, }} sf, or > /\ Sudden and full. -
Staccato, O) • * ! ! Short and distinct.
Legato, 9) 2-, Connected and smooth.
Organ Tone, 2? T. A tone commenced, continued and
ended with an equal degree of power.
Passing Notes, Small notes representing tones that
do not essentially belong to the melody, but are regarded as ornamental.
Turn, 29 ^*, Consisting of a principal sound,
with the sound next above and below it.
THE END.
ii;
:º
&*
—-
71.
Abbreviation marks
Appogiatura O
Brace, The-
Bar
Bar, Double
Clef, Treble
** Bass
** Tenor •
Close - { }
Crescendo Ö
colºrTºBENTT's.
I Fºº-ºº º ºs º is C,
-º-Gº-e
Chords, Common in the scale of C. O
Diminuendo
Direct
Flat
Hold
Intervals, names of .
{ { & 6 6 & ( )
& & £ 6 & &
& 6 of inversion.
Keys, fifteen major .
& 4 “ minor .
Lines
Ҽ added
Music, notation of
Measure * Q
Notes, white { }
6 & black
“ in general .
& 4 the tune of
& £ 8,
& 4 half
& 6 quarter
6 & eighth
& 6 sixteenth
Octave, the
Point
:I2
1
0

Rinforzando O .
Repeat . Q ().
Rests, the Q C
Rhythm © O
Staff, the - Q O
Spaces ( ) Q
Scale Minor • ( ,
& 4 Major O ( )
Semitone, a O Q
Scale, of C Major . ( )
Sharp Q [...)
Staccato O ( )
Slur t ſº Ö
Scale, the generic names of
& 4 division of intervals .
Scales, transposition by sharps
** Minor ( ) Q
* Chromatic Ç Ç
“ distinction between major and minor .
“ relative Ö
Tone, a O ©
Tie ( ) ( )
Time, common © O
44 triple C ( )
6 : sextuple 2 O
& 6 counting {} O
Thirds, major and minor defined
Bass, for the voice ( )
Bars, incomplete . Q
Breath, taking () Q
Crotchets, lessons in Ç
4 & Q
& 6 Ö Ö
é & dotted . C
Contralto, for the voice O
Clef,-Fa, lessons on O
Characters, dynamic O
Directions for practice
Dictionary of musical terms
YXynamic characters explained
Q C
O © ©
:
:
:
73
Explanatory notes
Etude, No. 10, 11, 12.
Exercises, vocal
Gamut, sol major
6 & fa. é & {}
& & mi minor .
& 4 Ire é &
Minims, ( >
** dotted
Portamento
Quavers, dotted
Reviews
Repeat
* Rules for pronouncing the Italian .
Rests in common time
Syncope
Sta-bat, Ma-ter
Studies, vocal
Soprano
Scales, varied
Scale, chromatic
Time, cornmon
§ { triple
é & lesson in six eight
& 4 two four G \
& 4 lesson in triple
Triplets “ “ ( )
Time, common { }
& & two four G 2
** rests in common -
“ lesson in three eight
& 6 é & & £ nine & 4
é & three four ( >
& 4 & 4 § { ( ,
& 4 COIn Iſl{OIl ( )
€ $ & 4 Ǻ
& & three four { }
** common ( )
§ { four four Vº
Tenor, for the voice -
Vocal studies
Variations & )
Voice, cultivation of the
Voices, compass of -
13.
41
65
56
59
59
61
9
47
I6
13
53
23
10
33
43
52
53
64
10
14
16
17
19
20
21
23
25
26
27
28
28
30
31
32
33
52
43
57–61
66
67
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