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311 
 
 PREFACE. 
 
 THE plan of this Method is entirely new : the Author having brought the Common 
 Harp and the Harp with the Double Movement into a comparative point of view, and united all 
 their relations— constantly treating the latter as a sequel to the former; and clearly proves, that 
 whoever understands the one, will in a very short time be perfectly acquainted with the other. 
 
 Two principal difficulties seemed to prevent Precepts and Examples for both Harps being 
 united in one Book of Instruction: — 1st, the difference in the action of the Pedals on the Common 
 Harp and on that with the Double Movement— 2d, the difference in the mode of Tuning both 
 Instruments, and the Key best suited to write Musical Compositions for each of them. The 
 Author has, however, after mature reflection, found that these difficulties were more in appearance 
 than in reality. 
 
 1st,— The difficulty arising from the difference in the action of the Pedals. The Harp with 
 the Double Movement being but an improvement of the Common Harp, to understand the new 
 mechanism of the Pedals, a previous knowledge of the Ancient is necessary. There are on both 
 Harps seven Pedals, which are used to raise their respective Notes a Semitone: but on the Com- 
 mon Harp, each Pedal can be pressed down but once; so that each of the seven Notes of the 
 Scale can be raised but one Semitone: on the contrary, on the Harp with the Double Movement, 
 each Pedal being pressed once, and fixed into the first Notch, can be pressed a second time, and 
 fixed into the second Notch ; so that each Note can be raised two successive Semitones. By this 
 means, Modulation, which on the Common Harp was confined within the narrow limits of thirteen 
 Keys, has been extended to twenty-seven Keys ; an incomparable advantage to Composers and 
 Performers. 
 
 2d,— The difficulty arising from the difference in the mode of Tuning both Harps is easily 
 removed. The Key of Et>, being the Key in which all the Pedals are unfixed, and in which the 
 Common Harp is tuned, has been hitherto considered as the Natural Key of that Instrument; 
 but this is a palpable error, for it would be as absurd to assert that the Natural Key of the Violin 
 and Violoncello is A, because these Instruments are tuned from that Note. The Keys and 
 Modes of Music are independent of the Tuning of any Instrument, and nothing prevents a Per- 
 former on the Common Harp, after having tuned it in Eb, to fix the three Pedals of B, E, and A, 
 and to practise his Lessons and Exercises in the Key of C, the Natural Key of Music. 
 
 B 
 
PREFACE. 
 
 ' V j 1 tin Hams the Author has written all the 
 
 To render this method eoual.y adap.^ l»« ^^ a „d which o„ the New 
 Examples and Exercises in the Ke, o , b F|ats or sharps; f„„ a, 
 
 Harp being the central Key, . best -ft^jW £ J, any Key , whether the Tonic 
 
 on the Harp with the Donb.e Movement a Mm- ,£ ^ ^ ^ ^ rf 
 
 he taken from a Natural Note or from the same t ^ ^ ^ M n0 difficulty 
 
 stu dy for the Pupil is to pract.se all b. » • -*>£ ^ ^ on „„ ^^ were he 
 „e will be able to transpose them tnto My J ^ , ?) .^ ^ ^ plmling 
 
 a, first to practise them m the Keys wth Plats, ( ^ ^ ^ ^ fa ^ &e 
 
 tohim), hemns. afterwards tra^po* ft--* ^ .^ ^ fc 
 
 Keys with Sharps, which is as absnrd as a Geome.e, g 
 
 describe a circle. 
 
 a ,.= Knt the Author trusts, that whoever 
 This Method may appear volnmmous to some -" ^ precepts or Examples, 
 pcmses it attenfively, will find nothing useless o, superfluous, et.be, 
 
 tial part in the Instruction of a Harp 
 
 The general principles of Fingering, which orm an 'J^V treated of in a light manner 
 
 Play er, and which have heen omitted in some WrucW B^> ^ ^ 
 
 in others, are in this Worfc completely developed, an — Y ^^ 
 
 various means of attaining E*«w&». a reqmstte so essentral 
 
 explained and exemplified. 
 
CONTENTS, 
 
 Introduction • 6 
 
 A short History of the Harp, and its Improvements 7 
 
 Chap. I. — Directions concerning the Stringing and Tuning the Harp 10 
 
 II. — Directions for the Position of the Body, Arms and Hands of the Performer 12 
 
 III. — On Fingering, and various Rules on ditto 14 
 
 IV.— On the Scales 16 
 
 Various Exercises on the Scale 18 
 
 V. -On Intervals 20 
 
 Art. 1. On Intervals played in succession 21 
 
 § 1. Exercises on Seconds 21 
 
 2. Ditto on Thirds 22 
 
 Observations on a Mode of Fingering peculiar to the Author 23 
 
 3. Exercises on Fourths 24 
 
 4. Ditto on Fifths 24 
 
 5. Ditto on Sixths 24 
 
 6. Ditto on Sevenths 25 
 
 7. Ditto on Octaves 25 
 
 8. Ditto on Distant Notes 26 
 
 Art. 2. On Intervals played at once 27 
 
 VI.— On Chords 31 
 
 Art. 1. On Chords struck abruptly „ 31 
 
 2. On Chords played in Arpeggio 32 
 
 VII.— On the Pedals i 35 
 
 Diagram, exhibiting the Effects produced by the Pedals 37 
 
 A comparative View of all the Keys in which the Patent and Common Harps can be played 38 
 
 Exercises on the Pedals 40 
 
 VIII. — On Borrowed Notes 44 
 
 IX.— On Graces 45 
 
 Art. 1. On the Apoggiatura 45 
 
 2. On the Turn 46 
 
 3. On the Shake and Double Shake 47 
 
 X. — On Harmonic Sounds 49 
 
 XI.— On the Sons Etouffes 51 
 
 XII. — On the Manner of Playing two or three Parts at once with one Hand 52 
 
 XIII.— Explanation of various Terms and Signs peculiar to Harp Music 54 
 
 Crossing the Hands explained 55 
 
 Triplets explained 56 
 
 Lessons and Preludes in the Principal Keys 57 
 
 Terms relating to Expression, and the manner of abbreviating them, explained 70 
 
6 
 
 INTRODUCTION. 
 
 e ;„ Pnhl'if" or Private Concerts, two 
 AMMO to various I,— ,-tX: : 1 Harmony with Melody, 
 onlv, viz. the Harp and Piano-Porte, enabl to ^ J idea from 
 
 On either of these a Perform can «£*£ valuaWe advantage insures to Harp and 
 ft. Score, of the merit of a Drama„c Compo.,«om Th ^ ^ rf 
 
 Piano-Potte a pre-eminence over any other *—'"' or 5Welling t h. 
 
 they am certain* the most -P'«. ;°' mhStMd ' n t S he t horwll , not « presentmtdertaae to 
 sounds; bnt which of them deser.es the preference, the Anchor 
 
 deC ' de ' t K„„l to form a great Instrnmental Per- 
 
 Two distinct branches of Instruction must be combmed, t ^ ^ fc 
 
 fornrer. The nrst consists of a knowledge o , e ^ ™ ^ he object of the second branch 
 ,„ t e„ necessary to be conversant to play wel . any I"rt a ^ ^ rf 
 
 is the Mechanism pecnhar to the Instrumen wh ch th P"P ^ ^ aim; 
 
 the Instmction Boohs, in attempting to e* pta n these £ b nch ^ ^ 
 
 for by carrying on two Works instead of one, each "^'^ with both, which he 
 w. «. that the Pupil has hitherto been but superncauy u. 
 
 «££ unolod m ! hotter had „e studied them separately. 
 
 ■a ,■ „. the Author has not inserted in this Method any of the 
 ^pressed with these cons,d.ra,,o„ the An ^ ^ ^ ^ ^ (o 
 
 principles relaring to the general stud, • rf Ita* bu ^ fe ^ t „ e 
 
 merits of Music. 
 
A SHORT 
 
 HISTORY OF THE HARP, 
 
 'Mo its fmprotoements* 
 
 THE Harp is an Instrument of the greatest antiquity. In a Letter from Mr. Bruce, 
 (a celebrated Traveller), printed in Dr. Burney's History of Music, a particular description is given of 
 the Theban Harp, an Instrument of extensive compass, and exquisite elegance of form : it is accompa- 
 nied with a Drawing, taken fiy>m the ruins of an ancient Sepulchre at Thebes, supposed to be that of 
 Osymandias. Mr. Bruce considers this Instrument as the Theban Harp before and at the time of Sesostris, 
 who reigned in Egypt 1485, before Christ ; and who caused it to be painted there, as a monument of the 
 superiority which Egypt had in Music, at that time, over all the barbarous Nations he had seen or con- 
 quered. Concerning the Tuning of this Harp, which had thirteen Strings, the opinion of Dr. Burney is, 
 that they furnished all the Semitones to be found in modern Instruments, within the compass of an Octave, 
 as from C to C. 
 
 It seems a matter of great wonder, with such a model before their eyes as the Theban Harp, that the 
 form and use of such an Instrument should not have been perpetuated by posterity; but that many ages 
 after, another of an inferior kind, with fewer Strings, should take the place of it. Yet, if we consider 
 how little acquainted we are at present with the use, and even the construction of the Instruments which 
 afforded the greatest delight to the Greeks and Romans, or even with others in common use in a neigh- 
 bouring part of Europe but a few centuries ago, such wonder will cease ; especially if we reflect upon 
 the ignorance and barbarism into which it is possible for an ingenious people to be plunged, by the tyranny 
 and devastation of a powerful and cruel invader. 
 
 About the time of Sesostris, if, as Sir Isaac Newton supposes, this Prince and Sesac were the same, 
 the Harp in Palestine had only ten Strings ; but as David, while he played upon it, danced and sung 
 before the Ark, as recorded in the Scriptures, the Instrument upon which he played must have been of a 
 small size — we may suppose a little larger than the modern Harp-lute. The origin of this Harp was 
 probably Egyptian ; and from the days of Moses, it had been degenerating in size, that it might be more 
 portable in the many peregrinations of the Israelites. 
 
 The Harp has always been a favorite amongst Northern Nations. The Inhabitants of Finland have 
 for many ages played on an Instrument called Harpu, which had only five metal Strings ; it was tuned in 
 A Minor, the favorite Key of the Inhabitants of cold Countries. The Poems of the celebrated Ossian 
 prove the antiquity of the Harp in Scotland. In England, the Harp was known long before the invasion 
 of the Danes. Historians relate that Alfred the Great, scarcely fifteen years old, deprived of his crown, 
 hidden in a cottage, and wishing to observe the Camp of the Danes, disguised himself as a Shepherd, and 
 
 C 
 
8 
 
 with a Harp in his hands, gained admission into the Tent of Guthrum, the Danish Chieftain, before whom 
 he played for several hours. To this day, the Shepherds in Wales play on the Harp in the fields and on 
 the mountains: the elegant form of that Instrument, and its brilliant tones, give them something romantic, 
 which recall to the mind of the Traveller the Shepherds mentioned in Virgil's Eclogues. 
 
 The Welsh have three several kinds of Harps — the Single Harp, with only one String to each Note ; 
 the Double Harp, with two Strings ; and the Triple Harp, with three. On this last, the two outside rows 
 are Unisons, the middle row serves for Flats and Sharps ; its compass extends to five Octaves. This 
 Instrument has been improved by the invention of Pedals, by which, without fresh tuning, it can be 
 played in all the different Keys ; and which have rendered it less complicated and inconvenient, by reduc- 
 ing the Strings to a single row. This has not only improved the Instrument, but the style of Music, which 
 seems to have been totally confined before to National Tunes and vulgar variations. 
 
 The Irish have always been partial to the Harp : their Bards, or Musicians, were long celebrated for 
 their knowledge and their military exploits. The Irish Harp remained in the same state for several centu- 
 ries. In the fifteenth, it received some considerable improvements from a Jesuit, (Robert Nugent), who 
 lived some time in Ireland : he gave it a double row of Strings, which made the Instrument more sweet 
 and more sonorous. One may observe, that the Arms of Ireland consist of a Harp : Henry VIII., when he 
 was proclaimed King of Ireland, took this Escutcheon, either because the Harp was a favorite with the 
 Irish Nation, or to perpetuate in some measure the state of perfection to which they had brought this Instru- 
 ment, or perhaps as an emblem of their military exploits. 
 
 On the Continent, the Harp was very early cultivated as a favorite Instrument. Tacitus says, that 
 amongst the ancient Germans, the Druids, who were their Priests, and the only depositors of their know- 
 ledge, had no other Archives than the Chants of their Bards, who were Musicians and Poets, and who, 
 with their Verses and Songs, inflamed the courage of the Soldiers, and led them to battle at the sound of 
 their Harps. 
 
 In the days of Chivalry in France, the Harp passed for the most noble of Instruments, and on that 
 account the Romance Writers have placed it in the hands of their Heroes, as the ancient Greek Bards did 
 the Lyre. This Instrument was in such general favor, that an old Poet has made it the subject of a 
 Poem, called " Le Diet de la Harpe," (The Ditty, or Poem upon the Harp), and praises it as an Instru- 
 ment too good to be profaned in places of pleasure, saying, " That it should be used only by Knights, 
 Esquires, Persons of Rank, and Ladies; and that its fine and gentle sounds should be heard only by the 
 elegant and good." 
 
 Before the invention of Pedals, the whole range of sounds on the Harp, on the Continent, was reduced 
 to the Diatonic Scale, with a single String to each Note ; the Semitones being produced by brass rings, 
 drawn with the left hand, at the top of the Instrument. These were both difficult to get at, and dis- 
 agreeable to hear, from the noise which, by a sudden motion of the hand, they occasioned Some years 
 elapsed after this expedient, before the secret of producing the Half Notes by Pedals was discovered. 
 This method, which has rendered the Harp a fashionable Instrument, was invented at Brussels about 
 the year 1757, by Mr. Simon — others say by Gaifre. It is an ingenious and useful contrivance in more 
 respects than one ; for, by reducing the number of Strings, the tone of those which remain is improved ; 
 
9 
 
 as it is well known, that the less an Instrument is loaded, the more freely it vibrates. It was in the year 
 1772, that Dr. Burney first heard the Pedal Harp at Paris and Brussels, where the Instrument was con- 
 structed of an elegant form, and beautifully ornamented; its tones were sweet, distinct, and capable of the 
 greatest expression. 
 
 In the year 1810, the Harp was brought to the greatest perfection by Sebastian Erard. This inge- 
 nious Artist, without altering the mechanism, which he had invented in the year 1802, found the means of 
 extending its power; so that every String, by means of the same Pedal, could be raised two successive 
 Semitones. This last invention has rendered the Harp superior to the Piano-Forte, in point of Modula- 
 tion and powers of Harmony, for it can be played in all the Keys; and every Note of the system has a 
 distinct sound, as Flat, Natural, and Sharp, which cannot be done on the Piano-Forte; on which the 
 Sharp of the Note below is occasionally taken as the Flat of the Note above, or vice versa, although they 
 materially differ. 
 
 The following are the principal Advantages which result from the Double Movement. 
 
 1st.— Modulations, which on the Common Harp were confined within narrow limits, (13 Keys), have 
 been extended to 27 Keys; an incomparable advantage to Composers, who can give scope to their genius, 
 and introduce variety in their Music. 
 
 2d.— The inconvenience of borrowed Notes does not any longer exist. Performers upon the Common 
 Harp generally played only pieces of Music written expressly for that Instrument, in which Composers 
 avoided to use A#, B#, and E#, also Db, Gb, Cb, and Ffc which cannot be played upon the Common 
 Harp. When these Notes were introduced, the Performer was obliged to make use of borrowed Notes, 
 that is to say, he played Bb instead of A#, and F# instead of Gb, &c. But besides that the use of bor- 
 rowed Notes requires a sudden contrivance, which is difficult in a quick movement, another still greater 
 inconvenience exists : when a Sharp occurs in Music, it generally ascends to the Natural Note above; on 
 the contrary, a Flat generally descends to the Natural Note below: therefore, if to A#, which should 
 ascend to Bft, a Performer is forced to substitute Bb, he must play Bb and Btf successively on the same 
 String. This can be done but two ways : first, by striking the String of B twice, which produces a jarring 
 and disagreeable sound ; secondly, by striking the String only once, to produce the first sound Bb, and 
 leaving it afterwards to the vibration of the String to produce the second sound, B|f. This renders the Bb, 
 which replaces A#, much louder than the Btj : hence originates an inequality in the sound, which is a 
 fault in point of execution. This inconvenience disappears upon the Harp with the Double Movement, 
 and nothing prevents a Performer from playing in succession, and in a quick movement, A # ascending to 
 B[f, because AS is produced upon one String, and Bfcf upon another; so that every sound being produced 
 from a different String, all the passages are performed with rapidity and neatness, without any difficulty in 
 point of execution. 
 
 3d. — Performers who wish to accompany the Voice, may now accompany any kind of Music with as 
 much ease as on the Piano-Forte — they may even perform all the beautiful Piano-Forte Sonatas of Haydn, 
 Mozart, Dussek, &c. ; and will find only one kind of passage difficult for the Harp, viz. the Chromatic, in 
 quick movements ; and even passages of this description can be played much better upon the Patent Harp 
 than upon the Common one. 
 
 From this short account of the advantages which are derived from the Harp with the Double Move- 
 ment, one may anticipate that it will become as fashionable as the Piano-Forte. , 
 
10 
 
 CHAP. I. 
 
 Directions concerning the Manner of Stringing and Tuning the Harp. 
 
 THE construction of the Mechanism of the Harp is so clearly shewn in the Plate annexed to this 
 Work, that it is unnecessary to enter into any particulars on that subject. 
 
 The compass of Modern Harps is six Octaves, beginning and ending with E. They contain seventy- 
 two Semitones; twelve Semitones in each Octave. The Strings are of Catgut, except the eight largest, 
 which are of Silk, covered with Silver Wire, to render them more sonorous: this covering gives them 
 partly the properties of Metallic Wire: if they were made of Catgut, their extreme size would render the 
 sound very dull. To assist the eye in finding certain fixed points among so many Strings, all the C 's are 
 coloured red, and all the F 's blue. 
 
 Method of Tuning the Harp with the Double Movement. 
 
 The Harp with the Double Movement is tuned in Cb, all the Pedals being unfixed*. 
 
 1st.— The Note Cb (see A in the following Example) must be tuned in Unison with the Sound given 
 
 by a Tuning Fork. 
 
 2d.— Tune the Octave below that C b. ( See B ) . N. B. The Octaves must be as perfect as possible ; 
 but the following Fifths must not be quite perfect, lest the Thirds should be too sharp. 
 3d.— Tune Gb, a Fifth above C b- ( See C ) . 
 4th.— Tune D b a Fifth above G b. ( See D ) . 
 5th. — Tune D b, the Octave below. ( See E ) . 
 
 (SeeF). 
 (See G). 
 (See H). 
 (See I). 
 
 6th.— Tune Ab, a Fifth above Db- 
 7th.— Tune Eb, a Fifth above Ab. 
 8th. — Tune Eb, the Octave below. 
 9th.— Tune Bb, a Fifth above Eb 
 
 10th.— Tune Fb, a Fifth below Cb, the original pitch Note. ( See K). 
 
 B 
 
 C 
 
 D 
 
 E 
 
 F 
 
 G 
 
 H 
 
 K 
 
 ffett^Tj^ 
 
 • When the seven Pedals are fixed into the first Notch, the Harp is in Cty, and when they are pressed a second time, and fixed 
 into the second Notch, the Harp is in C #, every Note of the Scale being Sharp: therefore, each String, by means of the Pedals, an- 
 swers the effect of three Strings. 
 
n 
 
 All the Notes of the Scale being tuned, try them together, with the following Chords: 
 
 ■4- 
 
 
 If you find that the Notes of these Chords agree well, and please your ear, go on with your tuning ; other- 
 wise trace it back, to find where the defect lies. 
 
 The other Notes are to be tuned by Octaves above or below those already tuned, thus : 
 
 By Octaves, 
 
 upwards - w^^^^ 
 
 By Octaves, 
 downwards. 
 
 Observe, when the Harp is to accompany the Piano-Forte, it must be tuned in perfect unison with that 
 Instrument: this is done by fixing the Pedal of C to the first Rest, previous to taking thepitchon the Ctf of 
 the Pi 
 
 lano-Forte. j^gEEF: j The pitch once taken, unfix the Pedal, and tune the Harp in Cb, accord- 
 
 ing to the directions just given. 
 
 On the Method of Tuning the Common Harp. 
 
 The process for Tuning the Common Harp is the same as the foregoing, except that the Pitch Note 13 
 taken from Eb, either on the Piano-Forte, or from the sound of a Tuning Fork. 
 
 g^i 
 
 #^- 
 
 -^ 
 
 j 
 
 \ 
 
 H2 
 
 *jfc 
 
 ftP 
 
 ^ 
 
 J& 
 
 a 
 
 Proof. 
 
 Observe, should the Common Harp be tuned in C, the Natural Key of Music, the compass of this Instru- 
 ment would become still more confined than in its present state in E h ; for the effect of the Pedals being to 
 raise every String a Semitone, the Flats could not be produced, as the Strings could not be lowered. 
 After several trials and researches, the Key of Eb was found to offer more resources than any, and to be 
 more intimately related with the other Keys introduced in Compositions for the Harp; for which reason, 
 the Common Harp is generally tuned in E^. 
 
 Observations on the Strings. 
 
 To render the Harp capable of producing a fine Tone, it must be mounted with Strings of a proper 
 size. Thin Strings are very prejudicial to a good quality of Sound, as when struck firmly, they are apt 
 to vibrate against the Pegs fixed in the Table of the Harp, and to produce a jarring and disagreeable 
 Sound. The size of the Strings Once determined upon, they must be selected with care and regularity, 
 throwing aside all those which have the smallest knot, and which are not equally thick throughout their 
 length, which is ascertained by bringing the two extremities close to each other. Italian Strings are con- 
 sidered the best: they are dearer— but here, as in many other cases, the best are ultimately the cheapest. 
 
\o. 
 
 CHAP. II. 
 
 Directions for the Position of the Body, Arms, and Hands of the Performer. 
 
 THE Student must direct all his attention to the acquirement of a good Position of the Body, Arms, 
 and Hands on the Harp. 
 
 lst,-He must be seated in a graceful manner, neither too near nor too far from the Harp, but so as 
 to be able to reach with facility the highest and lowest Strings*. 
 
 2d -The height of the Seat must be suited to that of the Performer, who, when seated with the 
 Harp resting against the Right Shoulder, should have the lower end of the Comb (or Neck) about two 
 or three inches above his Shoulder % 
 
 3d -The Le-s must be placed so that the Feet may be on each side of the Pedestal : they must rest 
 on the ground in I vertical position, rather inclining forwards than backwards, that they may be lifted 
 easily, to be placed on the Pedals. 
 
 4th -The Performer must be seated sideways, so that the front of his Chest may form an acute 
 angle with the whole surface of the Strings. The Harp must be a little inclined towards the Body of 
 the Performer, leaning on his Right Knee, and a little on his Right Shoulder. The upper part of the 
 Right Arm (from the Shoulder to the Elbow) must touch the Body of the Harp, exactly below that part 
 where it is joined to the Comb : however, the Harp must not fall on the Arm, as it would prevent Us 
 motions, either in ascending or descending Passages. 
 
 The following Advantages are derived from the foregoing Positions : 
 lst,-By leaning against the Body of the Harp, in the manner just described, the Performer will 
 have the free use of the whole fore part of the Right Arm, which is sufficient to enable the Hand to run 
 over the Strings from the highest to the middle ones, being the ordinary compass given to this Hand. 
 Should the Right Hand be obliged to descend lower than the middle String, (which is seldom the case) 
 then the Performer may incline the Harp towards himself: but in general, by keeping the Harp as well 
 
 • The Author disapproves of the custom adopted by some Masters, of making Children play standing; because the constant 
 movement which they are obliged to make, to place the Feet on distant Mais, must distort their shape. 
 + The size of the Harp should be proportioned to the size of the Pupil. 
 
13 
 
 as the Body in a fixed position, which essentially contributes to a good Execution, the Performer will be 
 able to play any Passage with his Right Hand, written for this Instrument . 
 
 2d,-The slanting position of the Body enables the Performer to see all the Strings with ease. 
 
 3d,-By keeping the Left Shoulder nearly facing the whole range of the Strings, the Left Arm and 
 Hand can be easily used on all the Strings, from the smallest to the thickest, since their extent taker 
 an horizontal direction does not exceed twenty-one inches, which is generally the length of the Arm fr 
 the Shoulder to the joints of the Fingers, even in Performers of short stature. 
 
 :en in 
 ■om 
 
 4th,-By keeping the Body in a steady position, in performing the most extensive Passat the 
 motions of the Feet, even when very quick, become easy-the Performer being always in a perfect^ 
 bnum on his Seat; and in case of necessity, the Harp, which must constantly touch the upper part of the 
 Right Shoulder, may serve him as a support. 
 
 On the Position of the Hands. 
 
 The Thumb being shorter than the first, second, and third Fingers, the best position of the Hand 
 will be that which will render the other Fingers as nearly equal as possible. This end is answered by 
 keeping the Thumb in a vertical direction, and by bending the three middle Fingers. However the palm 
 of the Hand must not be too far from the Strings, so that the position be too horizontal; for 'then the 
 difference (in point of length) between the three middle Fingers being greater, the Performer would 
 be forced to advance the first Finger further between the Strings than the second, and the second more 
 than the third, which is evidently wrong: therefore, the Performer must, in bending the three middle 
 Fingers, diminish their length so as not to have one further between the Strings than the others To 
 effect this, the palm of the Hand must be near enough the Strings to render the joints of the thre^ 
 middle Fingers which are not between the Strings, almost vertical. 
 
 To resume the foregoing Directions, the Thumb must be nearly in a vertical position • the Hand 
 must have a round form, the first and second Fingers reclining a little on the Strings towards the Body 
 of the Performer: the palm of the Hand must be rather close to the Strings, (to enable the Fin-,™ to 
 touch them with ease) : the Fingers should go between the Strings, so that in drawing them back, they 
 may pull the Strings in a manner sufficiently strong to make them vibrate freely. 
 
14 
 
 CHAP. HI. 
 
 On Fingering. 
 
 A food the Art of disposing the Fingers of both Hands in the most favorable 
 manner, to perform any V assage wi 
 
 requisites for true execution 
 
 ,„d third Fi»g«.. bj Ihe F.gures 1, 2 and J, ^ be j^jjy, 
 
 and the Fingering of a Passage wmen H 
 
 be treated on first. 
 
 RULE I. 
 
 ■ , Z Passaae whatever, is that which requires the least number ofmoUons 
 The best m *£Z£Z^, for rapid ity being one of the principal qualities which 
 or changes of the Handle rea, n ^^_ ^ ;f a p assage can be 
 
 constitute execution, the changes should not * * nl *P™ than wben two or three successive Posi- 
 
 perfo rmed in one Position of the Hand it wil be £**^ be ^^ referred t0 in t he 
 tio„s are required. The first principle rs essential, and consequ 
 
 course of this Work. 
 
 RULE II. 
 
 fn Passaae must not be kept distant from the Strings ; 
 The Fingers required for the Performance of a *»»*" ^J it can be done with eas,- 
 but each Fmger should be piously placed on *, u*~* *■* 
 
 r£°*-^ the third Finger, followed by the second, 
 For instance, in playing the following Passages ... 
 
 • 1 thP Strings but all at once, although they must 
 first , an d Thumb, should not be placed successive, on h ^ ^^ ^ place 
 
 act in succession. This second Rule is derived ft m the fi * * ^ ^ ^.^ — ^ 
 
 ,. This second Rule is derived iron. mugt be 
 
 four Fingers in succession on the Strings, whilst they may e P.ed once. p^ ^ ^ ^ 
 
 strictls followed, to obtain a brilliant execution by great rapidity, 
 
 should be. 
 
15 
 
 RULE III. 
 
 Two Notes succeeding each other on the same degree, must not be played (few cases excepted) with the 
 same Finger. — For instance, in playing the following Example, should the Fingering marked at A be used, 
 the second Finger, after having struck D, must recede from the String, and be brought back to strike the 
 second D, which is an useless motion, and which delays the striking of the second D. 
 
 A. 
 
 Bad Finserinw. 
 
 # 
 
 2 2 11 
 
 =j^^ 
 
 B. 
 
 Good Fingering. 
 
 l x 
 
 l x 
 
 ¥£&£ 
 
 This defect does not take place when the Fingering marked at Exataple B is made use of; the Thumb 
 having struck the first D, the first Finger is ready to strike it a second time, whilst the Thumb has time 
 enough to be carried to the E : the first Finger having played the second D, is ready to play the second 
 E, and so on. 
 
 RULE IV. 
 
 When two, three, or four Notes of a Passage ascend or descend in the same way, either diatonically 
 or by a skip, not exceeding a Fourth, these Notes must be played with Consecutive Fingers, without leaving 
 one Finger between any two others. — The reason for this is evident : should the Thumb and second Finger 
 be used to play two Consecutive Notes, the first Finger would become useless ; whereas, if the two Notes 
 are played by the Thumb and first Finger, the second Finger can be used immediately on any other Note. 
 This Rule is only liable to one exception, (which will be explained hereafter), and even when this excep- 
 tion occurs, it is done to follow more strictly the other Rules. 
 
 RULE V. 
 
 When several successive Passages occur, composed of Notes ascending or descending in a similar 
 manner, and which can be played with the same Fingers, and in the same Position of the Hands, they must 
 all be Fingered alike. — ( See the following Example). The reason for this Rule is, that more uniformity, 
 and consequently more equality, exist in the execution of the Music, when similar Passages are performed 
 with the same Fingers, than when they are played with a different Fingering; therefore it must be pre- 
 ferred — equality being one of the chief requisites to a fine execution. 
 
 Seconds, Ascending by Triplets. 
 
 te 
 
 *-#-* 
 
 fit IxZlXZ **'« * x * 
 
 Ditto, Descending. 
 _x x 1 3 x i g x j 
 
 ^ XI' 
 
 2X1 
 
 US" 
 
 &c. 
 
 Observe, in the foregoing Example, tbree Notes follow eacli other diatonically, viz. C D E, D E F, Ac. These Notes, accord- 
 ing to the Sib Rule, are fingered alike, 2, 1, x, in ascending— and in descending, x, 1, 2. 
 
16 
 
 RULE VI. 
 
 Whenever the Performer is forced to change the Position of the Hand, the Fingering of the last Note 
 nmst be such as will enable him to have the greatest number of Fingers at his disposal for the follomng 
 Pos^on.-ShouM the Student apply this Rule to the Example just given, he will Gad that the Hand ns- 
 i„c uniformly at each Triplet of the ascending Series, or being lowered in the descending Senes, the Posi- 
 tion of the Hand is changed at each Triplet; and that the Fingering marked is the most convenient to 
 play the next Triplet with ease, as soon as the foregoing has been played. 
 
 N B-The first Triplet of the descending Series is not Fingered like the others, because in begin- 
 ning the Passage the Performer is not restricted to a Fingering which would be the consequence of a pre- 
 ceding passage, as in the other Triplets. 
 
 Observations, preparatory to the Seventh Rule on Fingering. 
 
 If the Student peruse the Exercises on the Scale attentively, (page 18), he will find, that in theFin- 
 o-erin. the Author has constantly adhered to the fourth and fifth Rules. These Scales, which are diatomc 
 are divided into groups of four and four Notes, that this Fingering 3, 2,1, X, in ascending, or X, 1,2,3, 
 in descending, may be constantly applied to them. 
 
 Some important Instructions on this subject must be here given to the Pupil. When the Scale is 
 
 q o 1 X 3 2 1 X X123X123 
 
 Fingered thus, 
 
 3 8 1 X 3 2 1 X X123*123 
 
 it is evident, that after having played the 
 
 „ 4, .«!„,.. 3 2 1 X, the Consecutive Fingering cannot be applied to the four other Note., without 
 
 Si a break would take piace between the two groups, a»d the Note F at the Astensk .. could no 
 ' La, the following G. This would offend the ear , fo, the Scale cannot be properly plajed 
 
 Hand is changed. 
 
 To effect this desideratum, the change of Position most be prepared beforehand, by passing the 
 .r^* under the others as soon as it has struch the nrst C, and by caus.ng the other 
 follow immediately, as soon as the, have plajed their respective Notes. 
 
 A similar proceeding take, place in the Scale descending, bat in a contrary way. In the ascending 
 Scale Zm Finger, then the 2d and .st, pass under the Thumb ■ in the descend.ng Scale, on the eon 
 ,b ; It and 2d Fillers pass over the 3d. This way of passing the F.ngers under the Thumb 
 
 and takes place whenever the Hand changes its Position, after having played two, three, 
 Hence this general Rule :— 
 
17 
 
 RULE VII. 
 
 When the Position of the Hand is changed', the highest Finger, when the Hand descends, or the 
 lowest, when it ascends^ must be brought (as soon as it has struck the String) on the next String ichich is 
 to be struck, by passing over the other Fingers, if the Hand descends, or under, if the Hand ascends, — 
 This skip of the hand being more difficult in the performance of a Scale than in playing any other Passage, 
 the Author has placed the Scales at the head of his Exercises. The Pupil cannot spend too much time in 
 their practice previously to any other Exercise, being attentive above all, always to keep the Thumb very 
 elevated, to have more facility in passing the other Fingers under it in ascending, and the Thumb above 
 the Fingers in descending the Scale. 
 
 This Chapter will be concluded by advice, which the Student must keep continually on his mind : 
 
 1st, — He must always begin the Exercises (especially the Scales) very slow, observing to play all the 
 Notes of the same length, as equal as possible. 
 
 2d, — He may accelerate the Movement gradually, but not before he is quite certain of being able to 
 keep, in the length of the Notes, and in the intensity of their Sounds, that equality which alone constitutes 
 a pure and brilliant execution. 
 
 3d, — The Student must not invert the order adopted for the Exercises : consequently, he must never 
 go to an Exercise, unless he can execute the foregoing one fluently. 
 
 The Trill is an exception to this advice. As on the Harp it is very difficult to do it well, the Student 
 must practise it every day, from the very first Lesson he receives. The manner of performing the Trill 
 is explained (page 47.) 
 
 Lastly, as the Pupil advances in the practice of new Exercises, he must play over again (twice a 
 week, for instance), the Exercises which he has learnt before, that he may become quite familiar with 
 them. 
 
18 
 
 HAPTER TV on THE SCALES 
 
 stant practice of the Mates . ■ _ att ,„ tiwly , passing the fibers under 
 
 , In fte first place the stnden. — P™ - f"™^^ , f„ tie descending 
 
 *. ft um h in fte ascending •-£-**? ££ £fc 2£ „ ote . at.o.tna, the 
 
 ^ES^^ Practice than the ^gSJS- 
 p ,„,„g ft, scate, „ift no.h hands nrns, praise fte. .£*-* * J^ ^ 
 
 :* ;: as, - — ««*** * *#? ^ «*■* eMcut,on • - . 
 
 Exercises on the Scales 
 
 1* L Right hand. 
 
 793 
 
 
6^ +12 
 
 i^^^p^^p 
 
 f^lp^^pj 
 
 ipp^ip^pfciS^^ 
 
 SCALES in which the thumh and the third finger must he 
 used on two consecutive notes hy gliding; . 
 
 The pupil, should now refer to what is said page 23 in the ex- 
 planations which fellow the exercise on the interval of 3<?that the thumb or 3 r . d 
 finger are used on two consecutive notes , to have a. spare finger, and that the 
 hand may he entirely free, when the scale is ended, to begin the following,either 
 with the 3*. finger, when the scale ascends , or with the thumb when it descends . 
 
 In the following exercise the S^fmRer glides on the two first notes of each 
 scale ascending, and the thumb on the two first notes of each scale descending. 
 
 NB. The note on which the thumb or 3 r . d finger glides must be M „,k with a 
 sufficient force to produce as much sound as any other note, and the hand must pre- 
 serve its true position , avoiding any improper motion. 
 
 Exercise I s - , , , 
 
 
 ^ 
 
 
 I 
 
 ^m 
 
 m 
 
 ipgfefr^^ 
 
 d descending. 
 
 
c zo 
 
 mst be played with the 2'. P* 
 
 ()bs, Sometimes the first note of a passage ascending rm 
 
 CHAPTER V. on INTERVALS. 
 
 to h^. » ** ■»»«*« ** «- S """ d ° r "°" ° f *' SCa,e '° """*" Pr °" 
 ceding from the lowest to the highest ■ mother of degrees con- 
 
 . Interval, are expressed by figures .Inch md. ca.e tho ™»^ B 
 tai .ed in the interval, for i-u- a ^^^^V^ d^ees. 
 C D or D,E, is expressed by the figure 2 , a third whicn c 
 I C.O, E ,Vex P reLd bv the fignre f^g^^"^,*. ^ 
 
 A Dkgkee is the difference in point of position taetwet 
 consists of seven degrees,five of which are tones "J^^™^ or Mino, 
 
 The Skv.tonk is the smallest degree used in music* and may J 
 
 the Major semitone is found between two notes of different name and positio, 
 
 the stave, as E,F: B,C: C*,I>: A,B\>: &c: _ „ arn e, and- -place on 
 
 The Minor semitone exists between two notes of the same name.and p 
 
 the stave", as C,C#: Db,D: E,Eb: 
 
 The Tone is formed by uniting the Minor tone. 
 
 ^^m 
 
 forms a tone , C.DP.U.anotiieT . - - - - - ~ ^^ y - 
 
 There are as many simple and primitive Intervals de { ^ A wilhin 
 
 seven, the intervals above the octave are but repetitions of those comprise 
 its compass , the 9 X } is a ^ , the 10 ,V 
 
 l a8?,&ci 
 
 " * The £Z tone ^1 b I ^3 be^ £ *■* - « -*J '"* *T f« ^ "i*^ 
 C# * Db,or Aft fc B'p , can be exf-e.^d on the Patent Harp « the double act,on , but not on 
 jna common Harp or Pi.ino Forte . 
 
A Table of Intervals, their names and ficures . 
 
 21 
 
 m 
 
 Unison. Second. Third. FourtU. Fifth 
 
 Sixtri. Seventh. Octa\e, 
 
 I 
 
 1 
 
 ^ 
 
 2 
 
 -» -ep -* -er ^r -*■ 
 
 tf 4- J 6 7 8 
 
 (jbs: The nature and name of an Interval remajns the same , whether the notes of which it 
 consists he played in succession, as in Melody, -or whether 'they he struck at once as in Harmon)'. 
 Two or three Intervals, sounded together form a Chord (sec pageSl ) the fingering of Intervals 
 varies according to the distance which exists between the two notes . 
 
 m 
 
 Ascending. 
 Ml_i ±_ 
 
 General Exercises on Intervals 
 
 + .. — *: — ± — «^-a ± 
 
 ij i i i I j ii j >nj j i i^ m 
 
 fourth. fifth. sixth. seventh. -octfoK 
 
 +' 
 
 I 
 
 5="^ 
 
 LH 
 
 second 
 
 third. 
 
 I I-,' gg 3 1 1 IVI'J .3 I 
 
 «& 
 
 ^^ 
 
 :2z: 
 
 2E: 
 
 -J- 
 Descendinrr . 
 
 CTt •'!■] mj .'Hi ;n i 'i g ^p 
 
 second 1 . third. lourth. filth. sixth. seventh. 
 
 # 
 
 A 
 
 W j || i | B^^lhJ I I I^Hh^ Hk 
 
 i i i iX-^-j ^ 
 
 octave. 
 
 The two notes which form an Interval- may be played either in sin cession or at once, these 
 two ways will be explained in two distinct Chapters . 
 
 ARTICLE 1 st on Intervals played. in succession 
 
 At first the Student must practise each hand separately, then both together . 
 
 o 1. Exercises on Seconds , 
 
 ist 
 • Ri<rht hand. 
 
 JL • Right hand. +1 + i , , 
 
 + i ±i X2 
 
 l-fllj^i i ^ i r i ^n i j ij^ 
 
 s 
 
 £ 
 
 
 Qd 
 
 
 J^jflj^ 
 
 + 1 , +1+12 + 
 
 12+ 12 
 
 CftOTfl 
 
 -i»an»- 
 
 s 
 
 -t-ft 
 
 5 
 
 11 
 
 «l**l* 
 
 »W* H«tf 
 
 : *^5 
 
 7<W 
 
 ~* t" i t_ i~i- — '—i — r- 
 
 l^rh^f j-jfjr.|zt---t±j -- i — r MM TT1 ' S I I I ~ 
 

 ] .' Right hand 
 
 ,4-1+1 + 
 
 ^2. Exercises on Thirds 
 
 fe^§P§*P 
 
 ( fel ted 
 
 5=1 
 
 fpgl%pipf^wiil^al 
 
 ^M^»^^ 
 
 ( g^^rTrffrf^ ^ 
 
 „. (See the_otaserv ations on imsmuuc u. tl .. & --. ... & -- o ; +_l_g 
 
 s o l g i ++i ■'' l ' ++ i i — nTl i l — r^ — ^^^^H ^^^^^ FF-i^^ 1 i 1 i '! — ' 
 
 
 lip^ 
 
 i + i 
 
 S^^ 
 
 
 jMe 
 
 l 2 
 
 „ jq+gj+ i-j;{ 12+ !- .?+ , 1 11 1 111 1 11 11 ,111 i -i — t --r- i — -ll 
 
 w-s-d-^r- 1 - 
 
 I t TTf ■! ii ^-K^-i S I ' ' I HiJ 1 Mil I ilMU ' L^^J -CsH 
 
 793 
 
Observations on a Mode ^.Fingering peculiar to the Author 
 
 In the following' passage and a few others of a similar description a difficulty 
 occurs which, might puzzle the student, and which on that account will be explanv 
 ed here.' The passage is here given without any fingering. 
 
 23 
 
 wmW 
 
 Mi 
 
 This example consists of five similar series of notes , which are indicated by a line 
 drawn over them, each series consists of five notes following each . other diatenically. 
 Many performers at a first glance would think it necessary to use the 4.. finger, 
 Hl-rHH3+H 3 4.S+12 34 
 
 ""IS 
 
 thi 
 
 But every experienced Harp player, must allow that the three consecutive notesBAB 
 of the second group, and the three others AGA of the third group &c: cannot be 
 pWd with the same force and neatness with two fingers of such unequal length as 
 the third and fourth , as if the third and second fingers were «sed,which are nearly 
 of equal length ; besides to pull the string with the little finger, which is the only way 
 of producing a good sound, it becomes necessary (on account of the shortness ot this 
 finger^ tct turn the hand towards the column of the Harp, and consequently to derange 
 h from the round position which it should always preserve; if the performer by dis- 
 pensing with the little finger, can avoid distorting the hand, ^ another mode of play- 
 ing the passage can be found , it should certainly be prefered , conformably to the 
 1 st Rule on fingering (pagel*) which prescribes to avoid useless motions of the 
 hand, as retarding the execution; this manner of playing the passage, the Author 
 thinks he has found, and consequently he has adopted it as being more favorable 
 for the execution: it is as follows . 
 
 + +• 
 
 + + 
 
 + + 
 
 Obs-1 In the foregoing example the slur drawn over two consecutive notes finger* 
 thus ++ implies that both notes must be played with the thumb ,but that alter hav- 
 ing struck the first note in a firm manner , the thumb must not be taken off, but 
 should glide immediately on the next string", to play the following note whuh must 
 
 be detached as usual . 
 
 Obs-2 men five notes ascend diatonically instead of descending, the fmgermg 
 must be reversed, and the third finger must glide from the first to the second ot 
 the five notes, and the four remaining notes must be played by the 3. 2. and . 
 fingers and the thumb . 
 
 793 
 
xcrcises on Fourths. 
 
 fe^jj^jMR^Pii^ -iB^R . TO ,, ^ 
 
 
 -2-1- 
 
 rr f rrn- i rnh erne rn> ea ^^ 
 
 1+12 a+ 12 
 
 £3f£f^jg 
 
 ^ 4 On Fifths . 
 
 A succession of Fifths being offensive to the ear , is strictly prohibited in Music, there- 
 fore the Author has not given any Exercise on Intervals of Fifths . 
 
 , in ascending;. in decending. 
 
 When five notes in succession occur, they must 
 
 be fingered in the following manner . _ _ 
 
 s - j nTJ 1 B J"Jtj j i 
 
 §' 5 - 
 
 Exercises on Sixths 
 
 j'j T P Pi 1J j l fMr y 4 i- s A-Sm a 
 
 * J^U 
 
 jj-nrp ■ mmmmmm 
 
 3d 
 
 + 2+2 
 
 
 p j 1 &-faayj -Q i j r p^ ^ 
 
 vk ^k i 
 
 ^Sl 
 
 793 
 
° T 
 
 ml -*- W 
 
 + 
 
 1« 
 
 
 
 ^^^^* 
 
 ^^^^g jjgiii 
 
 ^fp;;itii||iTrnitTTTi,rrT^rT^^^ 
 
 P 
 
 - v.. :^l^- » ! ' ' i'.r r f i _. . - r rr i rrrr^irf-^tf£#^tfg a ? ,^ ff-1 £ 
 
 1 jjjBjag^ ^ariMji 
 
 LtiTi , ii, l , |ffrr n ffrr,iifrn-i,rrri,,ifr l - ^ 
 
 /rth „ 
 
 -^ " 2+121 a 2 + i2 13 
 
 25 2+1 2 13 ^^i?, fTT-rn — rrF^^ i * » ■ -r- 
 
 +, ~ , „ »iiai'i 2.1* ft- - £ i » a ^idfe»A. , Erf 
 
 ill 
 
 2 L 
 
 m 
 
 £ 
 
 2=5 
 
 ;i2ia af. 12 ! 3 , '^ 
 
 m^ 
 
 f f rrf r rrrlff'rrr 1 ^^ ™^ 
 
 S=E— U-LL-U -I I I i l \ v .- 
 
 2^3 
 
 «^T 
 
 K 
 
 ^^^* 
 
 vS 6 . On the Seventh 
 
 The seventh being a discord must be generally prepared ■ + l 
 
 and resolved , therefore a succession of 7^ s is not given here, oj^aa — SS SeH 
 Seven notes in succession are fingered thus. _ _ - 
 
 * + 3 + 
 
 & 7 . Exercises on Octaves . 
 
 + 
 
 793 
 
26 
 
 i 
 
 ^ 
 
 + 
 
 V-f-^'f ■■£ 
 
 i #• 1»- 
 
 ^23£ 
 
 S 
 
 + 
 
 v. . 5T •• ir 
 
 ^b- 
 
 -Uf-U- 
 
 qe 
 
 ^Er 
 
 ^W .F^ 
 
 5& 
 
 M 
 
 &0M 
 
 — *- — •> — ^t 
 
 i§ip|ii 
 
 
 bgii^i!ig»iii*t<*p 
 
 •EiK^^^^ 
 
 
 g= ia 'in iJ f 
 
 fejp4Ufct= 
 
 7 l . h 3+3.1+3 2 
 
 + 4- 
 
 
 S 
 
 f f _f_i*r"f f 
 
 ^ ^CTWg lf 
 
 i±ijj^ 
 
 + + 
 
 a 
 
 P 
 
 rr z- j? 
 
 B v- — ; * i 
 
 ** 
 
 &S 
 
 g^^ ggr ' nr m g d/ 
 
 S 8. Exercise on distant notes 
 
 : *^#T?? 
 
 I 
 
 1+1+2+2+3+3+ 
 
 +1+1+1 +'2+2+3+3, 
 
 Aft &• £&:££&&£££■ 
 
 I F l i # -mf— : ' . 
 
 Eac'tl 'oi-.(\ separately r ^ ■*#■ -^ 
 
 ^#s#f 
 
 +1+1+1+2+2+3+3 
 
 79 'J 
 
ARTICLE 2* on Intervals played together. %7 
 
 Sometimes the two notes which form an Interval are to be played together . 
 
 Exercises on Thirds . 
 
 Right Hand 1 + 
 
 -«st t 4. l + 1 J, 3 2 
 
 3 2 3 
 
 + 1 + + 1 4- , 
 
 t i 2 2 3 + 1 • , , . 
 
 ^p£E* 
 
 ffi h 1 1 f 1 1 f ^ f p p j ttj^^^ iii 
 
 3? +1+1 
 
 2 3 2 3 
 
 4*1 + 1 + 
 ^* 3 2 3 2 
 
 /jh+ 1 + 1 
 " 3, 2,i 2 3 
 
 + it 
 
 When the movement is not too quick it is allowed to play 
 several consecutive notes with the same fingers . _ _ 
 
 To play a scale in thirds descending when the movement is quiclealways glide the thumb . 
 -x-~r~. — ■ 
 
 ft jj ■,£!* ■ 
 
 ++>^< Bad. 1 1 I I <* a JLd 
 
 Bad fingering . 
 
 tt+ + + ++ + + . 
 
 793 
 
 LH.2+ 2 + 
 3 13 1 
 
28 
 
 I s * Right Hand 
 
 Exorcises on Fourths 
 
 rhtHand +i +' + 1 
 
 i+UM iJ ti 
 
 + 1+1 
 m 3 -' 
 
 i^^g^S 
 
 ^* 
 
 + 1 + 1 
 
 2323. 
 
 -r-— = — ^-n played by gliding; the~^Jgg 
 lE^P thumb. - 
 
 movement ii ^ 
 passage must he J ^p 
 
 + 1 +1 
 ^st Right Hand 
 
 1 \±ii 
 
 Exercises on Sixths 
 
 + l 
 
 ^st Right liana + ^ 
 
 a slow movement 
 the Sixths may he fin- 
 gered in the following 
 manner . - - - - - 
 
 + + + + + 
 
 %$ 1+1 + »*#-1 
 
 £2^ a 2 
 
 l + 
 
 s^SS-tr tj 3 2 
 
 3 2 3 
 
 ^pr-* 
 
 -hiiti 
 
 
 Si 
 
 R.H. gi ||.£| + J + + + +I>_Jb H 
 
 i I i rr>'ft:: «- 
 
 U*£:± + 
 
 ^y in a quic. 
 movement . 
 
 RH. 
 
 ^ 
 
 ^ , 4- 4- l Good 
 
 Bad +^fefe++n£P- 
 
 II g » FBip iz: 
 
 + + i + + , 
 
 " r4j"r-t + ++- 4 -.. fl n 1 P-c^T^ji^^T 
 
 
 * z * 2 2o> « 
 
 g ^TFiiwi 
 
 Bad. 
 
 793 
 
 "■? 2 
 
 i 2 i 3 
 The second finger must not he used in glulint 
 
 _ i •■> o 
 
Right Hand 
 
 Left Hand 
 
 Exercise on Octaves 
 
 + •+;* 
 
 29 
 
 3 a a 
 
 u 
 
 + ± 
 
 311 
 
 + + 
 
 w 
 
 % i + + 
 
 m 
 
 it + 
 
 € 
 
 ^ 
 
 l *4W4 #J 
 
 MB. In playing; the foregoing exercise, carefully avoid placing the fingers of the left 
 hand which are not used (the I s . 1 and 2^) between the strings to ; ' , i J-J +1 
 
 aX — 
 
 serve as a point to lean upon, a fault which many Harp players 
 -are gmlty of, this cramps the motion of the hand, especially, 2^. *Hf 
 
 I when octaves are to be played quick 
 
 However when several consecutive octave>^on 
 
 3 3 
 
 the same degree are played.it is allowed in order 
 to support the hand,to rest the intermediary fingers 
 on the strings without striking them . thus ; - - - 
 
 2? ++++ 
 
 %. *-rrt* r-m fill 
 
 swag 
 
 Exercises on Octaves. 
 
 3*£ 
 
 m 
 
 mm 
 
 
 IB***"* 
 
 
 »"»n 
 
 W^lO fl § g 
 
 
 i 
 
 
 •»ft 
 
 '^^^ 
 
so 
 
 When two Intervals are joined together, they are fingered, thus : 
 
 U*bA4$ 34and^ h lSU'6* 3^ and 7* h S^ and 8\ e -And 8 V ? 
 
 + o „ +_Q „ +Q 
 
 | g II tn H | n r, ii ^ j jj 
 
 J* and 8V 6* and 8\ e 7* and 8\ e . J th and 7* 4* and 6* 
 
 i 
 
 i 
 
 + o 
 
 ±jg- 
 
 -e-e- 
 
 -=t 
 
 £& 
 
 -*-e- 
 
 ^M^- 
 
 I 
 
 4ffc 
 
 -8-e- 
 
 I I ■£_! 
 
 The fingering of the three first Intervals change when they are followed or 
 preceded by other notes as in the following examples. 
 
 R . H .j LiU J+J + SSI ] £U + 1+1 + 1+1 4itii i t 1 t t }±_ '* 
 
 + 1 + 1 ++ ++ 1 + 1 + - + + + 
 the following example, the fingering must Q ■ = j = «— ]— a " 1 *" ^ J j""* ! ^ -^ — Fj J j II 
 
 When a series of Intervals occur, as in 
 ! following example, the i 
 not vary at every chord . - 
 
 3 iJ 
 
 Exercise on two Intervals played togetlier 
 
 EtH + | + { + ■+ + + + 
 
 % eacn hand separately. I | 
 
 ;y.,^f^g jJJJ||JJJ 
 
 w^m 
 
 ^^^ate 
 
 + + + + 
 
 + i 
 
 + 
 
 irtfffjjji.il 
 
 together 
 
 fair - f J J J || 
 
 i = ffT TO 
 
 i f il l £ Il * 1 B #P 
 
 ^ i gtftfif^ p 
 
 i 
 
 *** 
 
 »* -»* j: 
 
 Two Intervals followed by a single note are fingered, thus ; 
 
 + 
 
 1 + 
 
 1 + 
 
 1 + 
 
 £*£*£ • ?j£i*i* 
 
 * 
 
 IP 
 
 
 793 
 
 is^iptt^ 
 
 ip 
 
 n 
 
31 
 
 CHAPTER VI on CHORDS. 
 
 Three or four intervals played at once form a Chord . 
 
 The notes which form a chord may he played either at once or in Arpeggio .these 
 two ways will he explained in two distinct Articles . 
 
 ARTICLE I s . 1 on Chords the notes of which are 
 
 STRUCK AT ONCE. (ACCORDS PLAQUES.) 
 
 To play the notes of a chord in an abrupt manner, the four fingers must be placed 
 at once on the strings which they are to strike .The wrist of the right hand must lean 
 on the table of the Harp and the hand must be strictly kept in the position explained 
 (page 13) that it may pull the four strings at once, with an equal force, so that the 
 sound of one note may not be louder than that of another. 
 
 NB. Owing to the position of the fingers, the chords which have a third at top and 
 bottom, and which are marked by Asterisks are more difficult than the others, there- 
 fore the student must practise them oftener that he may play them with equal facility . 
 
 Let him practise the following examples , striking the chords with equal force and 
 at equal intervals of time, without stopping on the more difficult chords . 
 
 RH.l 
 
 M 
 
 Exercises 
 
 3 + u|f 4 4. 
 
 6 
 
 LH. 
 
 
 ^4 W C/J3. g-^ C7 Z 
 
 TmiiHtiililHWfW i. 
 
 LH. 
 
 3 3 3 
 
 Each hand separately 
 
 ?ET=g 
 
 Mii^m 
 
 m 
 
 Plf 
 
 t t £ ^^ 
 
 3- 3* -' 
 
 Exercise on chords distant from each other. 
 
 P#P 
 
 rh: 8 
 
 + 
 
 5-' I f, I ' i 
 
 LH 
 
 o Each hand separately 
 
 t 
 
 3T 
 
 "* 
 
 ± 
 
 f 
 
 
 m 'iifj 'i^.u i 111 
 
 ^p In the foregoing Examples the chords are disposed so as to keep 
 
 clear of consecutive ,£ ths & 8 ths which woiild take place if the . 
 
 793 fpllowing disposition was made tise of... _ _ _ _ _ , 
 
32 
 
 ARTICLE 2$ on Chords played in Arpeggio .' 
 
 A Chord is played in Arpeggio, when the notes of which it is composed are 
 played in succession, and with great rapidity, let the time he what it will. 
 
 Arpeggios are. particularly suited to the Harp , this Instrument being unable 
 
 to sustain the sounds, and the vibration of its upper strings being very short, it 
 
 is necessary, especially in slow movements , to prolong the harmony by ficticious 
 
 means, which is done by playing as much as possible all the chords in Arpeggios. 
 
 When a chord is played in Arpeggio this mark ( or this j is placed before it . 
 
 Right Hand . 
 
 Some composers make use of a 
 
 line across the chord thus ; but . —jfc 
 
 Written 
 
 MP 
 
 Played. 
 
 Written . 
 
 Played. 
 
 =? 
 
 ^ 
 
 I 
 
 Arpeggios for the Right Hand. 
 
 this mark is not in common use ', 
 
 NB . Arpeggios generally begin by r the lowest note 
 of the chord . 
 
 K~L~eft Hand . 
 
 i 
 
 
 Obs:l. In a quick movement chords in succession are seldom played in Arpeggio, as 
 
 it would retard the speed of the time . 
 Obs-.2.When a chord is played in Arpeggio with both hands , the left hand must begin I s . 
 
 Arpeggios with "both hands 
 
 -, written thus. played thus . 
 R.Hand ' 
 
 L.Hand. 
 
 Obs:3. Two notes joined together, although they do not form a complete chord, 
 may be likewise, played in Arpeggio. 
 
 Exercises on Arpeggio. 
 
1 fc g^iiiftj 
 
 ifoU JW I cfflfl 
 
 33 
 
 J#tft l Ct% ?fe 
 
 
 1 
 
 .fffr i _ rr f r 
 
 t^^miwIiM^m^r 
 
 »-2 
 
 r*M 
 
 1 ?-^ 1 + -*^ L 
 
 ^ ; f i j i €^ i i j |'rf i j'ii'i%i%j'n%r fa 
 
 ■ ^ i fi<%ij' i /T(to jtrfW p -jjii & 
 
 9 
 
 -* 
 
 ^ 
 
 
 
 
 m 23+l 3+13 
 
 +13 + 
 
 j j trg m m j fe j pjfp 
 
 ^t 
 
 ^ 
 
 §1 
 
 14 3+^^^- 
 
 £51 
 
 
 ^ n ii T i m rttfon mn ■.u'Tyrf. rr, ^ t.i.- [ 5 p#«^ 
 
 "93 
 
^^pE 
 
 21. +1+ 2 +l+ 22- +1+2+1+2 1+13 •f , "l.. tlll"?^? 
 
 ^?p^ 
 
 + 2 1 + oi + 
 
 ggflggg 
 
 
 i ±a c33e£r=icg Sa g «~* ■ nV i 
 
 
3L# 
 
 CHAPTER VII on THE PEDALS 
 
 The right management of the Pedals forms one of the most essential requisites to a 
 good harp performer , as modulations on that Instrument cannot be introduced with 
 -out their assistance i therefore the student must pay. the greatest attention to the pre- 
 cepts and examples given in this Chapter . 
 
 The explanations to he given on the pedals relates only to the mechanism, and not 
 to the key in which nnisic for the harp should he played , let the pupil put the Instru- 
 ment in its natural key, that is to say with all the pedals up ,that he may see the ef- 
 fect of each pedal . 
 
 Therefore if the pupil has a common harp , let him put it in the key of Eb, if he 
 has a harp with the double action, let him put it in the key of Cb . the pedals serve 
 to raise the notes one semitone on the common harp, or two semitones on the harp 
 with the double action : There are as many pedals as notes in the scale , viz seven^ 
 all the E's correspond to one pedal, all the Fs to another . &c: 
 
 The Pedals are placed round the pedestal of the harp, in the following order, the 
 three pedals on the left hand , correspond to the B's the C's and D's , the four pedals 
 on the right hand side correspond to the Es,F's,G's andA'stthe pedals are moved 
 by pressing on any of them the extremity of the foot (either right or left) ^6^ when 
 a sharp or natural is accidentally introduced , the pedal need not be fixed into the 
 notchjbut kept down with the foot during the length of the note : but when the sharp 
 or natural is after the clef , or when the modulation lasts for sometime , the pedal must 
 be fixed, after having been pressed, by drawing it into the notch cut on purpose in 
 the pedestal of the harp this gives the performer the free use of his foot for another 
 pedal if wanted . (see the plate Fig: 5.) 
 
 On the common harp each pedal only produces a single effect on the string to 
 which it corresponds , that is to say , it sharpens the string a semitone .because the 
 pedal when pressed by the foot and placed in the notch cannot be lowered any more. 
 
 natural sound, a semitone higher. 
 
 P Zg= | ■ ^ ^ ==g — effect produced by^ r 
 
 Ex: on the CommonHarp m'^f. I " | * II pressing the. pedal. 
 
 It is the same for the other six notes of the Scale 
 
 Upon the Harp with the double action each pedal sharpens the string two succes- 
 sive semitones, because after it has been pressed by the foot and placed into the first 
 notch, it may be still pressed a second time, and placed into the second notch .(Ftg:5.) 
 
 natural sound. 1- semitone. 2- semitone. 
 
 j | 1 1|» 1 jp =E=j 
 
 Ex: 
 
 I s . 1 effect,'the pedal being J 2^ effect.the pedal being 
 pressed & placed into the ) pressed & placed into the 
 first notch . I ) second notch . 
 
 I9fi 
 
 IT The Common Harp has the same number of Pedals . 
 ■fc-%: In pressing the Pedals only the extremity of the foot must be. used , the heels must be ki-pt elevated , 
 
 ^ See the Pl.ite Fig: 4. '* . ' '. 
 
3 V 
 
 On the Harp with the double action a Performer can play in twenty seven k< \s, 
 fifteen major and twelve minor, as follows . 
 
 Major keys with sharps C,G,D,A,E,B,F#,C# . with flats _Fl|',Bb,Eb,Ab,Db,Gb,Cb . 
 Minor keys with sharps A,E,B,Fft,C8 . with flats D,G,C,F,Bb,Eb,Ab . 
 Whereas on the common Harp he can only play in thirteen keys, eight major, 
 and five minor . 
 
 I s . 1 When all the Pedals are up , the Harp is in the key of Cb major, and all the 
 notes of the scale are flat . (Ex: 1.) see the plate Fig: 1 . 
 • 2^ When all the Pedals are at the first rest, the Harp is in Cfc), major . (Ex:2.) F>&2 
 
 3. When all the Pedals are at their second rest, the Harp is in C8 major . (Ex:3.)Fig:3 
 
 The seven Pedals unfi 
 
 uypSgj 
 
 ¥ 
 
 # 
 
 1 
 
 The seven Pedals at the 
 centre or first rest . 
 
 Ex.? 
 
 ^ u j. i J.N JJ l J - 1 J ■! J J JJ.-J 
 
 The seven Pedal 
 their second re 
 
 Ex: 3, 
 
 Is at .0%L ■ ' =: 
 
 «. (f' V» jj J 
 
 l=h=& 
 
 gpffP 
 
 On the common Harp when all the Pedals are up , the Harp is in the key of 
 Ep major. (Ex:l.) 
 
 When all the Pedals are fix'dthe Harp is in E major . (Ex: 2.) 
 
 1 
 
 Ex:l. 
 
 r 
 
 & 
 
 Ex: 2. 
 
 J r r r t \ \M 
 
 m 
 
 i 
 
 Ff^ > 
 
 Obs: All the Lessons and Exercises of this method are written in the key of 
 C, the natural key of music, and the best calculated on the Harp with the double 
 movement for modulating either into the keys with sharps or into the key's with 
 flats, as maybe seen by the following. Example. 
 
 Major keys with flats atthe signature. 
 
 • UnfixDt| . UnfixAt). UnfixE^ . CnfixBlj 
 
 •T Ab_ Fb 
 
 Central_JCey. /Major keys with sharps atthe signature. 
 FfixFJj. FixCj(. FixGJj. Fixl)j{. 
 
 Ab. Eb. Bb. 
 
 Unfix©!] . Unfix Cl] 
 
 £ 
 
 £ 
 
 J&Z 
 
 z&b 
 
 F. 
 
 £1 
 
 #£ 
 
 32: 
 
 *£ 
 
 ££ 
 
 D. 
 
 FixAfl. FixEJt. FixBf, 
 
 j ^EgffiE^ 
 
 Fft. 
 
 Cft. 
 
 ^r The fingering on th« Harn is the Mini* in all the keys an advantage wiUch the Piano Fort.- does nc 
 
 possess . 
 
 12A 
 
37 
 
 ' ~////A* Sr7/u/o c/K>s?T.. ^ ' ^/i"W^rt6^-rf'<™-^>*>< :iif * lf -- \ L ^fa*g±^>* l <*>™ / o//u'fJim t :/i;»^_ 
 
 ffurt FmM dt£itto* v &— f-un^y seaJa, 
 
 7S3 
 
i > J J 
 i)0 
 
 A comparative view of all the keys that can "be played in on the 
 
 H \RP WITH THE DOUBLE ACTION^ 
 
 Major Keys 
 
 with sharps. 
 
 Relative # 
 Minor Keys. 
 
 * 
 
 A. 
 
 i 
 
 :§= 
 
 D 
 
 ± 
 
 im 
 
 m 
 
 B. 
 
 :n=ji 
 
 Major Keys 
 with sharps 
 
 Relatn e 
 Minor Keys. 
 
 P 
 
 O 
 
 * 
 
 G. 
 
 P 
 
 B. 
 
 pK 
 
 xc 
 
 F». 
 
 =S= 
 
 H^ — e-»*- 
 
 D. 
 
 Hfe^ 
 
 IS 
 
 at'. 
 
 p 
 
 fe^* 
 
 : * ± = 
 
 |W 
 
 E. 
 
 i 
 
 i£ 
 
 E. 
 
 tf£ 
 
 m 
 
 b ■ 
 
 F. 
 
 C#. 
 
 ^ 
 
 tin ff 
 
 £fi 
 
 •^r Thr relative Minor 
 of anv Major Key is 
 played a Minor 3. be- 
 low or a Major 6 . abo\e 
 the Major Key. 
 
 J* 
 
 fcirrn: 
 
 it 
 
 J 
 
 793 
 
39 
 
 Harp with the double action and on the Common Harp . 
 
 Major Keys 
 with flats. 
 
 Minor Keys. 
 
 * 
 
 B 
 
 A. 
 
 D. 
 
 SB 
 
 5 g g 
 
 Ab. 
 
 G\>. 
 
 Cb. 
 
 793 
 
 G. 
 
 -©- 
 
 Bb. 
 
 Eb, 
 
 Ab. 
 
 Major Keys. Minor Keys. 
 
 A 
 
 D. 
 
 C. 
 
 33C 
 
 i 
 
 P 
 
 — . O 
 
w 
 
 Exercises on the Pedals. 
 
 Obs*l. When a Pedal is, to remain down for some time.it must be drawn 
 into the notch cut in the pedestal of the harp ; the words fixB or A, are gene- 
 rally marked under the notes . 
 
 When the same Pedal must he unfixed , the word (off) is generally inserted . 
 
 OhsS.To play the following exercises , the Harp with the double action 
 must be in Ct| that is to say with the seven Pedals at their first rest, the com- 
 mon Harp must be in C major, with the Pedals of B,E and A fixed . 
 
 In the following example the Pedal of F must be pressed without being 
 fixed, as the Ftf is but transient . 
 
 NB. This mark a shew, when the Performer on the Common Harp must stop, and these 0© where 
 he may resume the Modulation . ■ . 
 
 Bxercisel 
 
 In this Example the Pedal of F must be fixed after being 
 pressed as the modulation lasts for some time . 
 
 Exercise 
 
 Modulation from C into all the keys with sharps 
 at the signature 
 
 j 1 | J — m ■ ° 
 
 
 & 
 
 53 
 
 f 
 
 p 
 
 ■m ■ •» 
 
 f 
 
Exer: 2. Return from C8 to Ct) 
 
 41 
 
 
 iflifpl 
 
 ■ off 
 
 I 
 
 0© 
 
 : I J I JlVj 1 \\\% I I I 
 
 i 
 
 agp* 
 
 ( ¥"'P .- T. i ( ^"l r) - D XcaubUg fFJc 
 
 ^^ 
 
 $*±s 
 
 , i TT i ' J I i i PI M jt^n 
 
 Modulation from C into all the Major keys with 
 
 T~9. 
 
 itf 
 
 flats at the signature . 
 
 C (BHoff)F, 
 
 t^f^ff^T^^ 
 
 (Etjoff) Bb 
 
 W 
 
 iPgfll 
 
 M 
 
 "CT 
 
 m 
 
 rr 
 
 ^ 
 
 ■9 » 
 
 a=« 
 
 i 
 
 mm 
 
 H-hh^i -.: 
 
 m. 
 
 M 
 
 XT 
 
 tr 
 
 (Aft off) E\? 
 
 i Tt i ^-g- 
 
 ^ 
 
 ' w » 
 
 © 
 
 (i^oi'f) Ab 
 
 33: 
 
 
 XE 
 
 ^=*=4 
 
 j^riro 
 
 (gM 
 
 33: 
 
 - . , icbj Gb m WW 
 
 Exer : 4 . .Return from Cb Major to Ct| 
 
 I .CXer : ^ . Keturn trom Cf Major to Ct| . , 
 
 Cb . ^ Cb (fixFii) G (fixc^) Db (fixGh) 
 
 l i . - , ©© 
 
 ixih) Eb' '( 
 
 (fixih) Eb 1 (fixJ^O Bb (fixiti),P . ffixBl;) C 
 
 : rj-H , l>j.J L 
 
 5 
 
 WW 
 
 te 
 
 *M: 
 
 
 33 
 
 -^>. 
 
42 
 
 Modulation from A into all the Minor keys 
 with sharps at the signature. 
 
 A '(fK'FJt&Dtt.E' 
 
 WT 
 
 5B 
 
 £ 
 
 B 
 
 (Wtfjl^ B 
 
 4* 
 
 
 ''8' 
 
 Return to A Minor, 
 
 ivr mill lu n mim/i . 
 
 •■'F* ' (Ettoff)(tixD«B8) C' , ( C8,(Btf 9 ff) Ftf, , , 
 
 5 
 
 trShr 
 
 (Afioff). ©e 
 
 ^ *(fi 
 
 — : — zgr^ — ~w 
 
 
 g — a 
 
 5 
 
 E8) 
 
 hi 
 
 (EJfoff)(fixA*0 . 
 
 S 
 
 
 (fixGtt) A 
 
 ^*# 
 
 
 Modulation from A minor into all the minor keys 
 with flats at the signature 
 
 Exer:6. 
 
 •4 -a 'J t» I . n. 
 
 -♦")*•£* 
 
 A 1 ' D A 
 
 I " C 
 
 
 Return from A\> to A natural 
 
 ^xer./j^ a\» ^ Eb ^ Bb F 
 
 ^^^^^b% fe^^^ 
 
 5P^S 
 
 .J. ' ■ " * 
 
 ^ 
 
 HX 
 
 79:5 
 
 ^ 
 
 £j=j=^5ft tf 
 
 ^ 
 
43 
 
 CVbserve, When a passage, as the following occurs, 
 the three pedals of. FJf, Gft & At} must be pressed at once 
 with the same foot, for besides that it can be done without any inconvenience, since 
 Atj follows immediately FJt, and G is not heard during the short time that the foot 
 is on the other pedals , the performer could not in a quick, movement find time 
 enough to fix the pedals of F and A . 
 
 On the Chromatic Scale. 
 
 This scale is formed by a series. of twelve semitones alternately Minor & Major 
 
 - 1 t +- 1 +1* 4- 1 + 
 
 12 4-1 2 
 
 Left 
 Hand 
 
 MB. On the common Harp the Afl marked with the asterisk# is played on Ti\> 
 
 Exercise on Octaves with chromatic notes 
 
 Right 
 Hand 
 
 Some performers play a succession of semitones in 
 ascending by playing only the natural notes,leaving to 
 the vibration of the string suddenly pressed by the pedal, 
 to form the sound of the sharp, without striking the 
 string a second time ._ - - -. - - - - - 
 
 .not plaved but produced x 
 .by the vibration of - 
 ' the string. s 
 
 In a descending series they play the 
 chromatic in the following manner..- - 
 
 nut plaved / 
 
 pi sty t d 
 
 played 
 
 This mode of playing produces ;, wretched effect; as it destroys the two principal 
 requisites for a gqod execution, viz; Equality and distinctness in the sounds . In the/ 
 first place the sound is not distinct , and does not reach precisely the degree and pitch 
 which it should have; and secondly .the sound is not equally strong in both notes, for 
 it becomes weaker as the vibration of the string becomes so . 
 
 7a3 
 
44 
 
 CHAPTER VIII on BORROWED NOTES. 
 
 To extendi narrow limits within which musical compositions for the common 
 Harp are confined , owing to its imperfection, bo rrowed notes must be used, that 
 is to say that when the sharp of a note cannot be played; the flat of the note above 
 is played instead of it , and vice Versa, when the flat of a note cannot be played, 
 the sharp of the note below is taken for it . 
 
 Example . 
 
 - - ■ '"".."!..■■-.!■ 
 
 Written 
 
 Played, 
 
 For Fb which cannot be played on the common harp, is substituted E^ , forCb, 
 
 Bti, forG\7,F».&c: 
 
 Obs: The inconvenience arising from borrowed notes is very great, for besxdes that .the 
 necessity of striking the same string twice hinders the rapidity of the execution and that 
 the action of the pedals destroys its equality, the fingering is changed,so that borrowed 
 notes can only be introduced in a slow movement, or in playing chords . 
 
 Written . 
 
 Played . 
 
 An attentive perusal of the Diagrams Pago 3H will display to the student 
 the rich resources of the Harp with the double action , and the inutility of bor- 
 rowed notes on that Instrument, which can express any note in Its true state . 
 however when a double sharp or a double flat occurs (which is very seldom the 
 case) borrowed notes become necessary.* 
 
 Written 
 
 Played 
 
 £& 
 
 or 
 
 
 Sfe 
 
 i^^^^Ui 
 
 m 
 
 lE^^^M 
 
 fa=£p=L 
 
 ^^^^^ 
 
 S 
 
 ^ To r,i.r«i a double sharp or double flat, even 
 
 be „„„,,„„, irhj . would roiidcv '- MocSwni'sm too complicated. 
 
 n the Patent Hnrp a Third action of Oli P-dnls vronld 
 
 79:? 
 
4.T 
 
 CHAPTER IX ON GRACES. 
 
 Graces are notes added to a principal one for the sake of embellishment or ex- 
 pression . The chief graces are the Appoggiatura, the Turn, and the Shake . 
 
 ARTICLE l* 1 ON THE APPOGGIATURA OR SMALL NOTE. 
 
 The length of the Appoggiatura is not strictly fixed.it depends chiefly on the cha- 
 racter and expression of the piece ; generally speaking (especially in slow movements) 
 it is equal to one half of the long note before which it is placed . 
 
 The Appoggiatura is always played Legato with the following long note . 
 
 ^^ 
 
 + -4 2 — 3 or t-| 2J} 
 
 Appoggiatura * ^ > n played f~» -~^ °i| f~m • jT'm Tt 
 writte'n thus. W 1 '^ =fl . thus. . (fo I 1 =jg f i M g f^ 
 
 Sometimes when a composer wishes to fix the precise length. of the Appoggiatura, 
 he expresses it in the following manner . 
 
 Exercise on Appo£g;iattiras. 
 
 JV^. -^ 
 
 written 
 
 plajed. 
 
 mm 
 
 W^wutm 
 
 i^^^m 
 
 s 
 
 p ^^pg 
 
 ^fef*M> 
 
 fe^£ 
 
 =3^^ 
 
 When two Appoggiaturas occur, the 2? of which is above the 
 principal note, in a slow movement the}- must be fingered thus; 
 pressing the thumb on the second Appoggiatura . _ _ _ _ ^Slow 
 
 This mode of fingering closely connects the second Appoggiatura to the prin 
 cipal note, and contributes to the expression . 
 
 In a quick movement the following fingering may be used . 
 
 
 An Appoggiatura placed before one of the notes of a chord.is played as in the following Ex? 
 
 in a slow movement 
 
 written . 
 
 played . 
 •798 
 
 Slow. 
 
 ick movement 
 
 i. j. , i d 
 
 ^rf 
 
 EST 
 
 
46 
 
 When a double Appoggiatura occurs , in a slow movement, it is played as at A 
 and in a quick movement as at B . •_ QUICK 
 
 i 
 
 Written 
 
 Played 
 
 i^ +— 1 _ju±_M' 
 
 2 3 2Tj ^ , T2 
 
 ARTICLE 2* on Turns, 
 
 .; written. played. 
 
 The Turn consists pf three notes , the principal note , the _, 
 
 w 
 
 note above and the note below, it is expressed thus v 
 
 Exercises on Turns . 
 
 1, +i 3-r2 1 -H?i-2 , 1 
 
 =* 
 
 Ex.1. 
 
 
 
 +1?+ a 
 
 The Turn may he made on one of the notes ofachord either at .thetop or bottom. 
 
 Written . 
 
 Played 
 
 Pf 
 
 OW.l -When the sign denoting a Turn ~ is preceded hy a flat thus b~ the first note 
 
 of the turn must be flat . (see A.) , . , m 
 
 2 .When it is preceeded by a t| the first note » to be natural .(B) . 
 
 3. When the sign is followed by a sharp the last note must be played sharp (O on 
 
 the contrary when the sign is followed by a natural the last note must be so . V U ) 
 
 S- a sharp placed below the sign the s4note ofthe turn must be sharp (E) 
 
 on the contrary when "a natural is placed below the sign the 3<* note mnst be so . (F) 
 
 Written 
 
 Plajed. 
 
 k 
 
 "HJ ;Mj 
 
 _x 
 
 1 fl~ » Hi" ■■ -* — ■ - " 1 * -; - 
 
 ^ras*s 
 
 The Inverted .Turn begins by. the lowest note 
 and is expressed thus I • - - - - ~ •' " 
 
 7 1:5 
 
 written. played. 
 
45 
 
 ARTICLE 3^ on the Shake . 
 
 The Shake is an alternate and quick repetition of two notes, the principal note and 
 the note above: it always begins from the semitone or tone above the principal note 
 in playirg a shake the arm and wrist must not move.the fingers alone must act . 
 
 Shake I s } 
 
 written 
 
 conclusion, another conclusion. 
 
 played 
 
 d Exercises on the Shake . 
 
 Right Hand. IS 
 
 Left Hand. 
 
 
 + 1 gj. 
 
 ^=* 
 
 fe* " ■ +1 
 
 rt 
 
 + 1 O 1 
 
 jpx 
 
 -e — if- 
 
 ;cc 
 
 1 fe u + £ 
 
 J fro P - 
 
 '£XZZH. 
 
 ~o — I 
 
 IE 
 
 :fc 
 
 -*-+ 
 
 3= 
 
 1 
 
 ^H 
 
 BIN ■ P 
 
 ,4. +H1 21 2 ,213 , -213 L. 21 3 , 9 J 3 l. gj"3 
 
 ■ it j... ja y £.ja £, a l.ja. „ 
 
 ; +1+1 )|! 313 313. 21 t '■'1 3 . 2 + i 
 
 
 S "+1+1 5Tj--. . 21-- • 21+ 3'2+ 32+ 3 2 + 
 
 +1+1 2 1 + 
 
 793 
 
48 
 
 Double Shake with the right hand 
 
 Written. 
 
 PP 
 
 D? with the left hand . 
 fr'' 
 
 +1+1+1+1 
 
 Written. l} gg =: 
 
 2 3 2 3 2^23 
 
 Shake at the Sixth 
 
 212 
 ft 
 
 «.,«.. (i^ ^ gpro gg pTO 
 
 + 1+1+1+1 
 
 
 2 3 2 3 2 3 2 
 
 D? for the left hand . 
 
 + i+i + i+i 
 
 ^m 
 
 m 
 
 +1+1+1+1 
 
 «J 2?'2«'2.T'2T »»»»»» 3 ,rrrl JTrr" ™» i aaaaa 
 
 2323 2 323 
 
 Right Hand. 
 
 Left Hand. 
 
 Shake at the Sixth with both hands together. 
 
 + 1+1 +1+1 frv 
 
 2 3 2 3 2 3 2 3 
 
 Shake at the 3 d and at the 6* 
 
 + 1+ 1 . k 
 
 less used but easier, 
 
 3 3 
 
 Some Performers often introduce this shake, which is evidently vicious, for 
 the chief beauty of the shake consists in the perfect equality of the sound between 
 the two. notes which form the shake, and here this equality does not exist, since 
 two notes are played in one part of the shake and only one in the other . 
 
 Of the accompanied Shake . 
 
 Shake on the upper note . Shake on the lower note . 
 
 ! ++ + ++++ + + 
 
 
 ^f 
 
 3 3 2 * 3 2 at 3 2 3 3 3 3 2?iT^^^ W ' 
 
 793 
 
49 
 CHAPTER X on HARMONIC SOUNDS. 
 
 The term Harmonic is applied to those sounds which on the Harp are pro- 
 duced by pressing the fleshy part of the hand lightly ,or the edge of the palm of 
 the hand, on the twiddle of the strings, striking; them at the same time with the 
 fingers, which are kept in a position nearly vertical, and rather leaning on 
 the strings . 
 
 The effect produced is easily explained , for according to natural Philosophy, 
 the sound of one half of a string is an octave above the sound given by the whole 
 string, and here the palm of* the hand divides! the string into two parts as a 
 bridge would do . 
 
 Observe that when the palm of the hand is placed on the fourth part of the 
 string from the upper part, the sound given is at the double octave of the 
 open string; and when placed on one third of the string , the sound given is 
 at the fifth of the open string : but why the sound produced by any of these 
 intervals differs in quality from that of the open string is a question of 
 too Philosophic;)! a nature for our present consideration . 
 
 Ihe -Harmonic sounds being very sweet and calculated to produce great 
 effects , the Scholar must study attentively to produce them with facility and 
 certainty, no other direction besides what has just been mentioned can be 
 given towards producing them , practice alone giving the Student facility & 
 ease in that respect . 
 
 Harmonic sounds are generally introduced in passages for the left hand,, 
 and within the compass cf the two middle octaves ; however, they must be prac- 
 ticed also with the right hand on the upper strings, but they are difficult of ex- 
 ecution on account of the common position of the hand . 
 
 Hvrmonic sounds are played with the right hand in the same manner as 
 with the left hand, they may likewise be played by pressing the side of the 
 first joint of the forefinger against the middle of the string, striking at the 
 same time the string with the thumb . 
 
 A Performer may by placing the palm of the left hand on the middle of two 
 or three different strings , strike at once with the fingers of the same hand, a 
 note its third and fifth, or tYie whole of a common chord ;' afterwards he may ven- 
 ture long passages in Harmonic sounds , which, if properly composed , will unite 
 a regular harmony to the most enchanting sound ever produced by any Instru- 
 ment , the Harmonic a excepted. *j 
 
 79:5 
 
50 
 
 K Performer should not however introduce long passage, in HakMOKXC sounds 
 as in t'e Wes 6 & 7 at the bottom of this page which for want of a Bass .become, 
 mto otonous & tiresomeXastly the effect produced by the H— sounds whe 
 p^ introduced in harp music, may he compared to the.eliect produced by t he 
 wind Instruments in Haydn's fine Symphonies . \ .^ ^ ^ . f - t>1M . wd 
 
 NB Single notes in Harmonic sounds are played with the thumb of exther hand, 
 two or three notes are played as in the ^Example , 
 
 The mark(o) denotes when the notes are to be played m tins manner as m the follow 
 
 ingexamI>Ws - Harmonic sounds with the right hand. 
 
 of ~ "" o - <> u m — 
 
 
 Harmonic sounds with the left hand 
 
 Ex:2. „ i I o -o 
 
 
 
 
 Harmonic sounds in Thirds 
 
 es 
 
 Z 9 m tSL — Z^iM— O ff I ^ft ~ 
 
 
 -2r n " | ■ 
 
 Three harmonic sounds at once 
 
 Ex: 5. 
 
 Right 
 Hand . 
 
 Slow. 
 
 Harmonic sounds with hoth hands 
 
 Left i^^^^^^^^ 
 Hand. p g 1 LT . I - 
 
 Harmonic sounds played with each hand alternately 
 
 
61 
 CHAPTER XI on THE SONS ETOUFFES, 
 or DAMPED SOUNDS . 
 
 The Sons Etouffe's (damped sounds) are those the vihration of which is sud- 
 denly stopt by means of the hand . 
 
 The Sons Etouffe's are seldom introduced in the right hand hut generally in the left. 
 
 To play properly the Sons Etouffes with the left hand, the palm of the hand 
 must be placed very close to the strings , to he ready to stop the vihration of the 
 sound as soon as the finger has struck the string. 
 
 In playing a succession of notes with the So? :s Etouffes, the left hand must not 
 at each note recede from the strings , hut the fingers being kept close together and 
 stretched out, their extremities should lean on the strings to enable the palm of 
 the hand to damp their vibration with rapidity and precision . The thumb is.ge- 
 nerally used to produce the Sons Etouffes in single notes ; but when two or three 
 notes are to be played en Sons Etouffes they are fingered as in example 2?"> 
 
 NB. When the Sons Etouffe's are introduced at the l 
 
 right hand,whichis seldom the case, they are produced Q t t l 1 ^ ■ » P 
 by immediately replacing the finger on the string 
 which has been struck . 
 
 SIP 
 
 Left 
 Hand. 
 
 Ex:l. 
 
 3E ^ ^^ 
 
 w 
 
 TTf - 
 
 ^m? 
 
 + 
 
 sons etouffe's 
 Ex:2. 
 
 mm 
 
 £ 
 
 m 
 
 + + + 
 
 Ex:2. X__±1j£ % t ± ^-g-f'-g-f* f-g-g -g- _ 
 
 sons etouffes 
 
 To play a chord with the Sons Etouffes the chord must be at first played 
 in Arpeggio , and the whole hand must be quickly placed on all the notes which 
 have been struck to form the chord . 
 
 Ex: 3. 
 
 ^ 
 
 i 
 
 £ 
 
 sons etouffe's 
 
 t 
 
 ^^^m 
 
 ! 
 
 m 
 
 ,. The ordinary position of the right hand prevents the.performer from play- 
 ing a chord with the Sons Etouffe's , in the same, manner as with the left hand; 
 therefore the vibration of the strings must be stopt; by placing successively and 
 
 suddenly on the strings the fingers which struck the chord . 
 
 ■- with both hands . 
 
 Chords with the Sons Etouffes . /pff~=~~l=b^ T77j"~, J <n I 
 
 I Slow. 
 
 Right 
 Hand. 
 
 "4~Soiiie performers damp the vibration of the string with the finger, which 
 is a hindrance to a rapid execution . . ( 
 
 193 
 

 CHAPTER XII on the Manner of Performing 
 
 TWO OR THREE PARTS, WITH THE SAME HAND. 
 
 In the Introduction to this work the Author insisted strongly on the necessity ' 
 of going "beyond the narrow limits within which most of the Composers for the 
 Harp have hitherto confined themselves, and to follow the new tracks opened by 
 all great Pianists, performing at the same time two and even three parts with the 
 same hand , which is. the only way to gratify the ear by a complete harmony; but 
 as the difficulties attending this species of performance might stop the student, 
 it becomes necessary to shew him the manner of overcoming them . 
 
 The following Example shews how two parts may he played by the same hand . 
 
 fe=4 
 
 m *v^u^*^ 
 
 s 
 
 This Ex-ample forms a Duett and might have been written on two staves , thus 
 
 I 
 
 S3E 
 
 m 
 
 m 
 
 FfffrFq 
 
 j=» Jd IJJ g 
 
 1 
 
 i 
 
 33 
 
 m 
 
 The foregoing Example may be performed on the Harp as if written on one stave, thus: 
 
 + 
 
 +»*+* lSZ>il£X*X \ VJ\Vr>h3il~ \ *Jrrr ,* 
 
 Hand. ffi< J JJJ. Q ^U^ MlL^i^^^U^p 1 [ I j B 
 
 One may see how a. passage understood in this manner is easily performed , 
 therefore the student, must learn early the habit of immediately simplifying all 
 passages in several parts, to be played with one hand; taking no notice of - the 
 sustained notes which occur . 
 
 Observe that by the foregoing manner of performing, part only of the inten- 
 tion of the Composer is fulfilled, the notes are heard in succession as they should 
 be ; but the dotted minims are not heard with the same intensity of sound during 
 the performance of the other corresponding notes ; this is an inconvenience pecu- 
 liar to the Harp and Piano -forte, which Instruments cannot sustain a note; on the 
 latter this inconvenience is remedied as much as possible, by keeping the finger 
 on. each dotted minim .during the whole of its length, the same thing can be part- 
 ly done on the Harp, first by striking the dotted minims with more force, that the 
 sound may continue longer, next, by not damping the sound of the string, after the 
 note has been struck, tli at the vibrations may continue as on the Piano-forte . 
 
 79.< 
 
S3 
 
 This forms a general rule which the student must have present in Ins 
 mind when passages of this description occur; which is frequently the case 
 in pieces in which the same hand has two or three parts to play, as sus- 
 tained notes are generally introduced in one of the parts.. 
 
 Exercises for the Right Hand. 
 
 Written 
 
 Pluved. 
 
 
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 212+3+1 
 
 
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 Exercises for the Left Hand 
 
 Written. 
 
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CHAPTER XIII Explanation of SIGNS and TERMS 
 peculiar to Harp Music. 
 
 I. Tin- words PrES DE LA TABLE .(near the sound board) when 
 placed over or under a passage , shew that the strings must be struck *j^l r U ^j -! , 
 
 close to the sounding board , the strings being unequally divided, gjjg H^-J -J-J =5* ^ 
 
 3* 
 the sound becomes more shrill . 
 
 II. In the exercises of the first part, the Author has marked the notes to be 
 
 played by gliding the thumb or the little finger by a semi-circle thus: 
 
 mark has sometimes other significations,^ when placed over :/' ^VtT^ . 
 
 dots, all the notes are to be played with the first finger, thus : ^_^£.*' H 
 
 2^ When a curved line is placed as in 
 this example, it does not relate to fingering s g ,-_ 
 but simply shews that the notes must be yery (j) J p i 
 equal and closely connected . 
 
 3^ When the slur is placed as in this example, 
 it shews that the three first notes under the line 
 must be played with the three first fingers , the 
 four following notes with four consecutive fin- 
 gers and so on of the rest . ... 
 
 4$* When a slur is placed over two notes ,thus: 
 they must be played as the fingering indicates, 
 giving an emphasis to the note played by the thumb. 
 
 When several notes of a bar are to be played with one hand while the other 
 hand plays a single note, as in the following example at A, the single note is 
 generally placed in the middle of the bar , but it must be always struck with 
 the first note of the other part , as if written as at B . 
 
 B. 
 
 ^/ , -#^- ■■■■■■ 
 
 f 
 
 5^ 
 
 ZZtZCC 
 
 When the figure 8 is placed under a note , it shews thatthe lower octave of that 
 note is to be played with it .(see A.) but when the 8 is placed above a note or a 
 series of notes.it indicates -that they must be played an octave higher than written 
 (seeB).untfll the Italian word Loco which signifies at the usual place, occurs . 
 
 Written 
 
 Flared 
 
 7 :•' 
 
 C- « v . a - > i° co 
 
 Hp^i 
 
 ipteSM 
 
56 
 
 When the' notes of the Bass part come too near the Treble part, they are 
 either written on the Bass stave with the Treble Clef , or one Treble sta\e, the 
 student must get familiar with these two particular ways of writing, by practis- 
 ing the following exercise written on purpose . 
 
 Left Hand. 
 
 fffff 
 
 f 
 
 T 
 
 T* 
 
 pm 
 
 ^ 
 
 H£ 
 
 w lt 
 
 r 
 
 t;r 
 
 I 
 
 *5 
 
 *S 
 
 Crossing the hands explained. 
 
 Frequently in playing a piece of Music one of the hands must pass 
 over the other, this is generally indicated by the letter R which signifies 
 Right Hand, or by the letterL which signifies Left Hand . 
 
 Example 1 
 
 Sometimes the change of hands is indicated only by the different direc- 
 tions given to the stems of the notes , which are turned upwards for the Right 
 Hand and downwards for the Left Hand . thus 
 
 Ex: 2. 
 
 Ex.3 
 
 
 
 1 
 
 2 L 2 1 
 
 O 1 
 
 J LLJ J 
 
 
 If 
 
 79:? 
 
6G 
 
 Thfc following Exercise must be played light!} ? and delicately . 
 
 Ex.4. 
 
 r^f%%%V 5 gJp%g 
 
 Sempre/Jiano 
 
 l a — ~-^-fc=_~l_I_l ^f 
 
 p 
 
 Triplets Explained . 
 
 Oftentimes in Music composed for the Harp, Triplets are to he played 
 with one hand while the other. hand plays notes of equal length, as Triplets, 
 cannot be perfectly divided , and played to notes of equal length, they must 
 be played as in the following, examples . 
 
 Ex:l. Triplets with the Right Hand and equal notes with the Left. 
 
 
 Ex: 2. Triplets with the Left Hand and equal notes with the Right . 
 
 PPPP 
 
 ri rT \ '*ffrft \ i w 
 
 Sometimes four semiquavers are to be played with, one hand, whilst the other 
 hand plays a triplet , this is very difficult , and no fixed rules can be given for the 
 performance of these passages , the ear must serve as a guide and the performer 
 must endeavour to end his triplet on the last semiquaver of the group . . 
 
 Ex: 
 
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 LESSON (§ElP 
 
 XVI. 
 
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 Moderate + -1 +2 | 2 3 x + 3 
 
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 March in Tamerlane, with Variations. 
 
 Lesson 
 XIX. 
 
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 l, \ pianation of tiie various Terms relating" to Expression. 
 
 Ad libitum. _ 
 Agitato _ _ _ 
 Accelerando _ 
 \nimato_ _ _ 
 Affettuoso _ _ 
 
 Arpeggio - _ . 
 Brillant* 
 
 Calando _ 
 
 Crescendo 
 Confiioco 
 Con espressione 
 Da Capo _ _ _ 
 Decrescendo _ 
 Diminuendo- _ 
 Dolce- * - - 
 Forte _ _ _ ' _ 
 Fortissimo _ _ 
 Mezzo Forte _ 
 Perdendosi- _ 
 Piano _ _ _ _ 
 Pianissimo _ _ 
 Rallentando_ _ 
 Rinforzando ) 
 Rinforzato f ~ 
 Ritardandp _ - 
 Forzando ) 
 Sforzato \ ' ~ 
 Scherzando _ _ 
 Slentando - - - 
 Smorzando^ 
 Mancando .._ _ 
 Mqrendo ) 
 Sostenuto _ 
 Staccato _ _ _ 
 TeiiTito - 
 This mark_ _ _ 
 
 ilhn 
 
 M i l;h: _ 
 
 V V U- . 
 
 \<r-l:_ 
 \nimV _ 
 
 AftVt: _ 
 
 ArpV . 
 
 Ton e^p: — 
 
 D.C. _ - 
 
 Dccrfs: | 
 
 Dim: j~ 
 
 Dol: _ _ 
 
 Fov: /_ 
 
 F«r: ff. 
 
 Mez: For." 
 
 Percl: _ _ 
 
 Pia: or p - _ _ 
 
 Pia™ or pp-ppp 
 
 Rallent: _ _ „• - 
 
 Rinfor: Rinf: — — 
 Ritar: - - _ 
 
 if~- 
 
 SCor: 
 
 S<her:_ 
 Sle-nt: - 
 
 Smnrzl — 
 
 sfz 
 
 llwir Meami-i--. 
 
 the time is left to the discretion of the Perform* t. 
 
 agitated, with passion and fire. 
 
 (he speed of the time is accellerated. 
 
 ■With animation. 
 
 indicates a soft and tender expression, 
 (the notes of the chord must he played one after the 
 (other. 
 
 in a brilliant and animated style. 
 (diminishing- gradually the sound, and slackening' 
 (the time. 
 
 a gradual rise of the sounds . 
 
 with spirit and fire. 
 
 with expression and feeling. 
 
 hegin the Air again and end with the 1? strain. 
 
 a gradual fall of the sounds. 
 
 in a soft manner. 
 
 play loud. 
 
 Aery loud. 
 
 a medium between piano and forte. 
 
 diminishing gradually the sound. 
 
 soft. 
 
 as soft as possible. 
 
 the same as Calando. 
 
 to increase the sound of several notes. 
 
 the same aS Slentando. 
 
 a stress or Emphasis on a note. 
 
 in a playful manner. 
 
 the time is to be slackened. 
 
 [the passage must be diminished both in I'm. 
 land sound. , 
 
 support the sound. 
 
 the notes must be played short and distinct 
 
 to hold the notes their full length. 
 
 the same as Crescendo. 
 
 the same as Decrescendo. 
 
 (includes both, and therefore implies first an 
 (increase and then a diminution of sound.