PCTTMH 
 
 
 
 6-7 3 
 
 J - 
 
 CONTAINING A( CI' KATE SCALES 
 
 AlRS,.MA»CIlJBS, Auiim. 
 
 ("tT^ ■ ( <^2) aM fe* Concise C_Jl^ L. '^3^ 
 
 BOSTON, Published by G GKAUPNKR and Sold for him by 
 JOHN ASHTON N° 197 Washington S\ 
 
 \j 
 
INT RO DUCT ION 
 
 TO THE ART OF P L K Y f VG OV THE 
 
 GERMAN FLUTE. 
 Preliminaries . 
 
 All musical Sounds are expressed % certain characters, called notes *hicb are na. 
 
 s wlm-li arr 
 
 .tt VT. 
 
 med from the first seven letters' of the Alphabet, A , B, C, D, E, F an 
 
 . . -j 4 6 
 A Stave contains ^ pg 3 
 
 called the first, The notes are 'placed on the lines or in the_spagc s included m th 
 <iw == = and the additional lines called ledger lines 
 
 er and lower notes. 
 
 Ill order to determine the pitch of musical notes, certain signs, called Clefs 
 have heen invented, they are seven in number of winch the G, or Tr eble Clef 
 
 is used for the .Flute.! and is placed on the second line of tfc> £tave thus j fW^l . 
 > pG A B CL P k ( j *-' G 
 
 from winch ihe notes ascend and descend as follows: 
 
 ^ G F i gf^ 
 
NOTEJS OX THE LOSJ3S A>*D SPACES SEPARATELY 
 
 ^ -J E G * U -*D* A ° 
 
 ^ EXERCISE ,gfc - - 
 
 MOTES. 1 
 
 Figure, Length, ami relative Value of Notes- with their respertire Rests. 
 
 & 
 
 Rests 
 
 ■@^ 
 
 SemihreTe. Minim. Cr otchet . QuaTer . Semkpi ayer. Dein^njnK^. 
 
 There is a certain proportion assigHe 
 
 A to the Notes and their respective Rests; 
 
 for the purpose of regulating the System of Time; which will he Letter elucidated 
 by the following Table, which shews their true Proportions. 
 
 
 535442 
 
4< 
 
 It is indispensably necessary in order to arrive at a proficiency in Music , that 1 lie pupil pay. 
 minute ami particular attention to Time in its various divisions, as the ground work or foun- 
 dation on which all his future excellence depeds; and without an intimate and thorough know. 
 leiln-f of which, all the effect of a rapid and easy execution of the most difficult passages, . 
 will fall far short of const itut i tig- a good and correct Performer : nor wi 1 1 the Student , u n less . 
 well grounded in Time, ever he eualiled to play in Concert , or even add an accompaniment to a 
 Piano Forte, i shall therefore endeavour to initiate the Pupil in the most familiar method 
 of acquireing it by fol lowing examples. 
 
 TIME TABLE shewing the respective proportion of each, note.' 
 
 1 Semi breve . . >©-.; <s equal in length of Time to 
 
 .'2 Minims Q"' ' **" @ which are equal to 
 
 4 Crotchets f~~~ ~~"~f* 'P^^" ~~~f—~ ~ ,v ' 1 ' cn BLTe 'qnal to. 
 
 v*"* > "■*■.> ' ■* ■, ,*"*>» 
 .8 Quavers » ■*# p" "*p m" p p > which areequalto. 
 
 lb Semiquavers i m g p m p f » p p p • p •_"hic.n areequalto 
 
 There is ;• nother Note sometime* made 4ise of, called a Quadruple Quaver which is half 
 tlie lenght of a Demisemiquaver ,but i*' seldom used. -« K 
 
EXAMPLE OF RESTS. £ 
 
 A Bar Rett, 2 Bars, 3 Bars, 4Bar*, 5 Ban, 6 Bars, 7iJars, 8Bar>, 9 Bars, IQBars, 
 
 ■ | ■ " | ■' | ■'" | II | II" 1 I ' ' ||' 
 
 £ 
 
 A Dot after a Note, or Rest, makes the Note or Pest half as long again. 
 Written. 
 
 ATieoi* Slur placed aver two Notes of the same pitch, hinds the second to the first, 
 so that only the first is sounded, hut the sound is continued tire length of hoth 
 Notes, or heing placed irvc-T Notes on different lines or spaces, shews that they 
 must he played in a smooth connected style, continuing each Note its full length. 
 This style of playing is termed in Italian Ecgato, written thus 
 
 The opposite style, »f playing, termed Staccato, denotes distinctness and shortness 
 
 of sound, written thus 
 
 or written thus f f J »"<"" less Staccato, 
 
 and thus ■ • } j means still' less Staccato, , written.- played . ,», P 
 
 ? 
 
 \ t 
 
 *.■* 
 
 r . . p y ' w^t-— g p ■ t y 
 
 . i 
 
 ** 
 
6 
 
 Time and its Divisions. 
 
 The Bar, made thus — - 
 
 :divi;les a musical Composition into Eqi U, Por_ 
 
 tions of Time, 
 
 TlVtE is divided into two Sorts; COMMON and TFIPLE; each of which is 
 either simple or compound: and the Character or Sign, which denotes i(, is placed 
 at the Beginning of every Composition,..aftcr the Clef. 
 
 Simple common Time . 
 
 When marked thus ^X.* " E (, ilrimtps, that each Bar contains one Scnribreve, 
 
 or its Equivalent'. A^id is timed by Crotchets in Quick -movements, and by Quavers in slow 
 movements . _e ^_ 
 
 Example. || Q m - ^xEr 
 
 'I'li'T'.rr.CLcr'r^fl'Cfl'casr " 
 
 When marked 
 
 thus ^g 
 
 the Ear contains two CiHdchets or tteir Equivalent . 
 
 Example. 
 
 •1SE 
 
 \ i ■ i r r i r ■ g i u cr-imsr ww^ 
 
 Counting in music should l>e like tlie pendulum of a clock even and exact, as the 
 notes must he timed by it . 
 
Compound common Time Explained. 
 
 isduavcrs i.. >■ B''^^ J 7f- c ^f ::5 ? E f :5: -r J T T TIT I' ll or their Equivalent 
 otted Crotchets jgpS ' I I I ' 1 I ^ " LU I 
 
 -•'•" • SoRT - Oio i i . -t r 
 
 Count 6 Quaver? ia a Bai^^g=£±f g j i" g 1 fTT g ' I I 1>r theil ' Eg™™! 
 or 2 dotted Crotchets ^' 9 1 " | 1 W LU | 
 
 iYotchcts in a. IW , ^p'"-"|Hrrrr f"| " II or their Equiyalent,; 
 
 ].*.* NOKT. 
 
 Comit 1 
 or 4 d 
 
 2"- 1 SoRt. 
 
 ent . 
 
 .J • • S O K I . 
 
 Count YJ. 
 or 6 M 
 4U 1 sort 
 
 '-*"• SORT. Pff , 
 
 o Count 6 OWehcts in a WJS5 | gg g : f g f = r g 5 g 
 
 or 2 dotted Minims ./ ll l HB III I I 
 
 The two last Sorts arc very seldom used 
 
 | | or their Erv.ivalcnt . 
 in modern Music. 
 
 SIMPLE TRIPLE TIME EXPLAINED . 
 
 || : o v their Equivalent . 
 
 Three. Minims in a Bar, ^ '-' ' | | 
 
 TJiree Crotchets in a Par A_X. 
 
 Three Quavers in a flar.^g g j ,|. --~> | g ±Ej||e 
 
 or their Equivalent .' 
 or their Equivalent . 
 
8 
 
 Nine Crotchets in a 
 
 Compound triple Time Explained. 
 
 ' B - ^iTrrffff 
 
 ;, * i ,'.,' • TO. 
 
 i 
 
 ti 
 
 Er, 
 
 ilcnt . 
 
 lent . 
 
 Nine Quavers in a Bar jj |S ' | g fTf 1 T j | I" T ' I I or their Euuivalc 
 Compound triple Time is seldom used in modern Music. 
 The Figures, which mark the Time, hare a Reference to the Semibreve; the 
 lower Number, showing into how many' Parts the Semibreve is divided; and the 
 upper Numl>er, how many of such Parts ■ are taken to fill up a Bar. 
 
 For Example ^ denotes, that the Semibreye is divided into four Parts, Namely, 
 four Crotclicts; and that two' of them are taken for each Bar. 
 
 Likewise | indicates, that the Semibreye is divided into eight parts, namelj', eight 
 Quavers', and that three of them are adopted to complete a Bar. 
 
 The Figure OF 3 placed over three Crotchets, Cuavers or Semiquavers thus 
 
 in ill m guT. ■«- ' 
 
 Crotchets must be performed within the 
 
 led TRIPLETS, Denotes, that the three 
 Crotchets must^ be performed within the Time of two common Crotchets; the 3 
 Quavers within the Time of two common Quavers; and the three Semiquavers 
 
Of 
 
 E X P L. A N 
 
 J A R f O US T E.R M S 
 
 ATI ON 
 
 ]7 
 
 v / ( 
 
 A Tempo, in strict Time. »- 
 
 Adagio, alow Time 
 
 Ac! Libitum, at Pleasure*. ■; v., 
 
 Affetuoso, Tenderly. , ; 
 Agitate, Agitated. 
 t Allegro, «j itii-k Time. 
 Allegretto, not so (jijiek as Allegro. 
 Al Segnv, signifies to. begin again at the'-S-. 
 t»r Repeat, and finish al th,- double Bar, 
 01" the Pause. 
 Hi." an Octave higher then written. 
 Ana -rest), or Tenderment, nearly as Affetuoso 
 Andante, rather slow ami distinct. 
 An, In ntinc, slower then Andante. 
 Ar/esr, in the StyL of an Air. 
 Ass,i^, to Augment 
 as Allegro assai. 
 assai "very sli.w . 
 
 tbj '/uickness or slowness 
 veiy brisk; Largo, 
 
 afs twice, OTer which 
 
 Bis, play those 
 it is place.)!. 
 Brilliant, in a brilliant Stile. 
 Br/o, Spirt, as con Brio, with Spirit 
 Bene lHaato, at Pleasure. 
 
 Cttntith/le, in a vocal Stile. 
 .Cans.one-lia, a sort of common Air. 
 rid a, conclusion or Appendix, 
 Con Commodo, with an easj Stile. 
 Crescendo pot Culu ndC, or <3> a gradual 
 
 rise and fall of the Sound. 
 Crescendo Runforv.a into, r>r< a gradual 
 
 rise of the Sound. 
 Bn CipO, signifies to begin again, and 
 
 end with the first Part. 
 Diminuendo Cahtndo, or>!i gradual fall 
 
 of the Sound. 
 Direct (W) shews the place of the first 
 
 Note ill the next Stave . 
 Dolce or Vol: sweetly, tenderly. ' 
 Di Mollo, verj, as Allegro 111 Molto, Very 
 
 fast; Largo Di Molto, very Slow. 
 Duett, Duetto or Duo, a piece for two 
 
 parts, either Vocal or Instrumental. 
 Finale, the last Movement of a musical Piece. 
 tints, Fine, or Fin, denotes the end of 
 
 any Movement or Piece. 
 F. or Forte, Loud. 
 
18 
 
 pp. or Fortissimo, very* Loud, Fallen l/indo, gradually sla.k.ni n'j; ill. I i , 
 
 Ciiisto iust" Exact, as a /Leriip'o Giusto, Rondo, or Rondeau, a piece ol Miis*.' m wh 
 i» just and exact Time. the first Part is repeated once or Often 
 
 Graw Torj slow Time. , i„ j ho com-se of the Sfovemeul; ? na « .1 
 
 Gnnfao, in a graceful, plcasfcig Style. which ,t finally Ends. _ 
 
 C«*/ft E««* a s <"*" C^ ,4ith Taste. Rmfvrva, or /?. F. to re mforro „.• 1.1,-n 
 ' ' ... . *■ - ■ the strength of (ones or Sounds. 
 
 LaJl'ett .iol so slo„ as Largo. . Scb,„*w<fc, ift a playful M 
 
 LentUnicnie, rather "Slow . ,$«#/*, to contunvc-, or lollow 
 
 ienlc, a little quicker than ' Lar.go. to »,/;//«•, with Simplicity.: 
 
 Afaerwo, Uu/est/c, in a hold Style. to»«u, Withowi. 
 
 f ,/r<k Sf«r*/ f *, a Military Air?* «/Y r*,i Wr ; particular stress „,. the Not, 
 
 M„, But. •• - ( s <> W«>'ted. « , ■ 
 
 Mctio Less. ■ S-ivilitinOj a Pastoral Mowment, in I om_ 
 
 \fest0, iii a ' Melancholy Style. V pound Common Time. 
 
 Mev.zo Forte, or /«. f. rather Loud. Smorv.atc, or Smorxanch', smoothing a»ay 
 
 ;in mi' . 
 IIWi 
 
 Mm, 
 
 'P'eut , 
 
 in 
 
 (', 
 
 me. 
 
 
 
 
 >nli. 
 
 snioot 
 
 Inn 
 
 CT 
 
 the 
 
 Soiim 
 
 1. 
 
 
 Spi, 
 
 •it. 
 
 
 
 ifrnt ft<wift or wk. rather Soft. the Sound. 
 
 Mnferato, Moderately. ^" f '"'' ( > . '," " , *. tH . ln 
 
 Mo/to, very, see di Molto . Spintc, with Spirit. 
 
 Von not as Wot? Troppo Presto, not. too quick. Spiriiose, with mucli 
 
 7uvi 7V(W^ £« *■£«'» not too Slow. 7>*r«Y, he Silent. 
 
 TYttfce, or P. Soft. 7*>//i/>r, Time, in respcet of measure and Bars. 
 
 F'' More Teniae, or Teniuo, to hold a Note as Sostenutn 
 
 7VrV little-'as Poco Piu, a little More. Then m, the original Air or Srihjcet, upon which 
 
 ZW»«M», in a Grand Style. Variations are Made. _ 
 
 $V«£ very Quick. Variaricne, or F.ir™**?"" Variation, on an, 
 
 7V«,,.v.v7W, quicker then Presto. Air- or lime, keeping always the same 
 
 Prime, First. , .. „ _. v f™**™ nU } B,SS ' nL( 
 
 Prime Tempo, according to the original lime. Vein Svbito, turn ever Quickly . / 
 
 <2«<*«, /'« «/'C manner of: As ^ww andtitut, Vivace, Lively. 
 
 in the manner of Andante. Vigprote, llTely and rirm. . _ 
 
OF TH E EMB () I C H I R B . ■ , I- - 
 In order to acquire a knowledge uf the German Flute, ihc'Tirst thing to he 
 attended to, is, placing the Flute properh to the Lips, to do tliis, take tJie first 
 joint of tlic .Instrument only, 'and place the Emhouchure, or liole thereof, , to the 
 upper part of the under lip, drawing that, and the upper one even with each othclj 
 and eMending thcni a v little towards each ear lcavmg, a small ; aperture for the 
 wind to piss frccrj into the Instrument . , 
 
 j^rin Flute being placed and the lips formed as described, the next step is to 
 acquire th'' intonation or method . of sounding the' Flute, v hich is done )>J 
 inclining the limhouchure a little inwardly or outwardly and hlowing moderately 
 
 into thel rjutc till n clear and distiuM sound is produced, then put the remain 
 
 ing part of tic Flute together, and mark with a pencil on the upper and second 
 joints, where thej meet, with a line thus. [l^ one half of the line on the top joint 
 and the other half, on the second joint, to meet it; hy this method thej 
 will hcj sure of the hole thcA blow into, heing al,ways turned in the .same dit— 
 
 ircetioni iintl will find, that it will very much facilitate their pvogress towards 
 
 I ' if they f > 
 
 obtain Jhg a good embouchure, pay particular attention to the following rules 
 
 anil i 
 
 serrations respecting the position of the Flute. 
 
20 
 
 POSITION KK HOLDING THE FLTTK.' 
 
 First, the Flute should rest nearly on' the middle of the third joint of "lie 
 first finger of the lef.t hstud , placing, the thumb a little belov\ the first hole, on 
 tlie side of jirnr Inst rumeiit . ; . ;.- 
 
 Second, the tliumh of the right hand should he placed nearly under the fifth 
 hole with the little finger over the i) sharp Key, M hick ;y>l\\ cause the tips of 
 the other three fingers to lay over, the holes which, they are to stopl. 
 
 Third,: the Instrument hcing thus held, sustain it to the lips, as stlatliU is pos_ 
 sihle, with every finger off, at a small distant* from the holes in a parallel 
 direction v\ it h t he • Instrument • ' 
 
 This do ne endeavour to produce a free' tone,*' which and when SrVjuilrd you "ill 
 produce (' sharp; as the seventh Note of the Gamut, of 1) Major, llltni proceed 
 1)1 putting down the first finger of the left hand which is b natural Ant" so On 
 as in tlie Gamut of 1) Major, 
 
 ,• Great tare should he taken to bring out the lowest note in as full (ami round 
 tone as possible, having all the holes stopped perfect, being careful not to force 
 the wind in too -strong, or contract the lips so muck as for the hlglcr 
 Notes . f. 
 
THR GAMIT WITH T 11 E BEST FINGERING. 
 Or a SCALE of NOTES not affic tid l<y the Additional keys. 
 
 21 
 
 i) 
 
 »E* 
 
 coo 
 
 O 
 
 m 
 
 • • 
 
 g 
 
 • • • 
 
 F* 
 
 *±1 
 
 • • • 
 
 E 
 
 
 
 
 
 
 u 
 
 
 
 
 m 
 
 
 Or* r\ 
 
 D 
 
 D 
 
 o c o 
 
 p 
 
 □ . 
 
 Xi±±Hr 
 
 One Keyed Flute™ L ' y 
 
 F=fe • • 
 
 E p 
 
 • • 
 
 □ 
 
 4 
 
 m 
 
 o 
 
 D 
 
 cft =£=... o • • 
 
 • c 
 
 p 
 
 B =£= • o 
 
 ceo 
 
 D 
 
 •- 
 A • • 
 
 c o 
 
 D 
 
 • 
 G • • • 
 
 ceo 
 
 D 
 
 F# • • • 
 
 • c c 
 
 
 ■ 
 
*"£ The six Cyphers in the preceding Scale are intended to represent the six Holes of the flute, 
 »nd the Square denotes the Key. 
 
 The white Cyphers are for the Notes that arc to remain open, and the black ones those that 
 are f<> be stopped. 
 
 The Pupil must begin at the bottom of the Gamut and read the Notes upwards 
 
 EXFRCISES. 
 
 I would recomend the pupil to practice every note thus. ^?L to produce a good clear and 
 powerful tone on each Note. 
 
 /. BA". in Gamut. 
 
 L.-rrrr^ffrrrfrr J 
 
 rrr J J i 
 
 £ 
 
 m 
 
 V 
 
 ILEX.' in Seconds. 
 
 ^$m&m^ 
 
 ,» tp**f*»f a&<4 
 
 M i ll"" H I 
 
 fffmrrrtissm m 
 
 Iimx: in Thirds. 
 
 ^m^m 
 
 frfrTr r E r fc H 
 
 JWih-H- 
 
 F/.E.V.in Fourths. 
 
 Fourths. ^. -*«#-f*- -*- • 
 
 ^ r j r r r r rrfr WWr^ r r r r ri^ip fff 
 
 P 
 
 K FXin Fifths 
 
 ifpffffpf. 
 
 ^rJrJrirrW r r^W r r r rJrJrjf fe^t 
 
 V T ThTs is executed by performing a long Note, begin nine piano, gradually efcreasing 
 middle and diminishing it imperceptibly towards t 
 
 the end. 
 
 creasing the tone to the 
 
VI. EX: in Sixths 
 
 iririrrWFr*ig¥&m 
 
 s^ 
 
 Fit. EX.' in Sevenths 
 
 fl j r i' iViW-riyirir | i 
 
 VI! I. EX: in Octaves 
 
 /.Dw . in uctaves ^_ ■ m. m 
 
 25 
 
 In the preceding Progressive Exercises, I have not extended the Scale beyond EJ 
 wishing the Pupil to apply himself particularly to acquiring a full Ton* on the low- 
 er "Notes first, as »11 others beyond E, require a peculiar formation of the Lips 
 to produce them clear and distinct, which will be found comparatively easy 
 to be done in proportion to the Pupil having familiarized himself with the 
 preceding Exercises. 
 
24, 
 
 CHROMATIC SCALE OF ALL THE TSOTFS 
 
 ^ 
 
 • • • 
 
 i 
 
 c c c 
 
 D 
 
 • • • • 
 
 E#F 
 
 *w 
 
 • • • 
 
 4p 
 
 d*e[> 
 
 ^^ 
 
 Dl, 
 
 ^ 
 
 D 
 
 • • 
 
 q 
 
 D 
 
 En^D: 
 
 1 
 
 . • , Sr o o o 
 
 •••□ 
 
 — F — i — > 
 
 coo n 
 
 . ' ' ' '4 ooo 
 
 HO 
 
 ooo d . 
 
 mii i ti»i?r---o 
 
 •••o 
 
 1 1 • 
 
 fit] I h. •© 
 
 ooo Q 
 
 
 
 ••°a 
 
 A # Bb ESM- •©'• 
 
 
 A ^ F— fc- — • m n 
 
 O00 Q 
 
 1 j^r^rwK » • w 
 
 
 ii 1 
 
 •••a 
 
 G^Afl ■■■ 1 m. a ~ 
 
 ?if FS • • • 
 
 
 One Keyed Flute. 
 
 The two Notes that of rur in the same line, are played the same, tho' of different sigmfira 
 tion. 
 
25 
 
 k, 
 
 • • o 
 
 G#Ab 
 
 ^^"••° 
 
 m 
 
 l • • o 
 
 gc 
 
 • • • 
 
 F#Gfc 
 
 mm 
 
 • • • 
 
 £#rt 
 
 - u. h »7 
 
 • • • 
 
 E 
 
 \ 
 
 I 
 
 • • • 
 
 pftfrffS 
 
 • • O 
 
 ^ 
 
 fR- 
 
 o •• 
 
 o o o 
 
 D 
 
 • o • 
 
 n 
 
 o o 
 
 p 
 
 ooo 
 
 n 
 
 o o 
 
 D 
 
 • o • 
 
 • • o 
 
 • • • 
 
 □ 
 
 • • • 
 
 . 
 
 • o • ■ 
 
 D 
 
 1 ■ 4) 
 
 • C# D 
 
 A 
 
 *0 • • 
 
 • 00 Q 
 
 u.,.L ' * 
 
 *°*n 
 
 *.o • 
 
 •••□ 
 
 b!) ■• 
 
 ooo Q 
 
 rf-b^l ^ * 
 
 •••n 
 
 
 ooo n 
 
 Chromatic Scale continued 
 
26 
 
 Afv 
 
 1 
 
 • • o 
 
 ■ 
 
 -EftFqi 1 o 
 
 *• • 
 
 • o o □■ 
 
 
 c • • 
 
 □ 
 
 
 
 *-bt ** 
 
 a 
 
 iff ■> 
 
 D#Eb S • • • 
 
 : — >" 
 
 o • • 
 
 D 
 
 • • 
 
 • • 
 
 D 
 
 1 
 
 »b l=S ° » * 
 
 ooo D 
 
 A#Bfc>| 
 
 • 
 
 • 
 
 ■ 
 
 1 
 
 c • • 
 
 • • c 
 
 ■ 
 
 g#aI? 
 
 *0 • 
 
 o • • 
 
 a 
 
 
 
 ^O C • 
 
 O 
 
 D 
 
 
 • • 
 
 
 
 
 • • 
 
 • • 
 
 tm o • 
 
 • o 
 
 ?• 0,1 
 
 
 
 • • 
 
 •• • 
 
 • 00 ■ 
 
NATURAL GAMUT WITH THE BEST FINGERING. 
 
 27 
 
 *=p 
 
 ■ 
 • • • 
 
 ■ 
 
 
 
 ■ □ 
 
 QD 
 
 r b£ 
 
 ■ 
 • 
 
 a a 
 
 on 
 
 E ' 
 
 1 * — 
 
 ■ 
 ■ 
 
 ■ ■ 
 
 an 
 
 D Ut= 
 
 ■ 
 ■ 
 
 ■ ■ 
 
 an 
 
 C N 
 
 ■ 
 
 1 ■• 1 
 i | 
 I ,11 
 
 \ \\ \ \ 
 
 \ N 
 
 G 
 
 • • • 
 
 E 
 
 .> 
 
 D 
 
 • • 
 
 o • o 
 
 K 
 
 o o 
 
 I 
 
 • • o 
 
 o o o 
 
 a 
 
 • o 
 a a 
 
 • • • 
 
 ■ ■ 
 
 • • • 
 
 a 
 
 ceo 
 
 D 
 
 
 
 a 
 
 an 
 
 □ o 
 
 DO 
 
 DO 
 
 DD 
 
 DD 
 
 an 
 
 J . 
 
I _ I 
 
 28 
 
 mm mn 
 
 
 
 g_ 
 
 D 
 
 ©*• 
 ■ p 
 
 □ D 
 
 F 
 
 — 
 
 
 • • o 
 u 
 
 
 
 
 
 
 
 -[»- 
 
 ■ 
 
 •• 
 
 ■ □ 
 
 a a 
 
 £ 
 
 
 
 • • 
 
 
 
 t 
 
 
 ■ 
 
 
 ; 
 
 m_ 
 
 ■ 
 
 O 
 
 ■ a 
 
 a a 
 
 D 
 
 
 
 o • • 
 
 ■ 
 
 
 
 
 
 
 
 f 
 
 ■ 
 
 • •• 
 ■ a 
 
 a □ 
 
 C 
 
 - 1 
 
 o • o 
 
 ■ 
 
 
 
 
 
 
 
 • 
 
 ■ 
 
 
 ■ D 
 
 D D 
 
 K 
 
 | 
 
 ■•0 
 
 
 
 — ' 
 
 ■ 
 
 
 ■f- 
 
 ■ 
 
 • • 
 
 ■ 
 
 OO ', 
 • ■ D 
 
 a a 
 
 A 
 
 
 
 
 
 
 
 • 00 
 
 ■ 
 
 B 
 
 En • • o 
 
 a 
 
 ai- 
 
 o • • 
 
 O • 
 
 □ 
 
 • 
 
 ■ D 
 
 L 
 
 G 
 
 • O • 
 
 • •o 
 
 ■ ■ 
 
 • • 
 
 D 
 
 □ D 
 
 a a 
 
 d a 
 
 These Gamuts will likewise do for a Four Keyd Flute hy taking no notice of 
 the two bottom Keys and beginning- at the second Note. 
 
a □ 
 
 a 
 
 o o o 
 
 • • • 
 
 3 
 
 □ D 
 
 O.O 
 
 □ 
 
 o o o 
 
 n 
 o •• 
 
 3 
 
 Iff 
 
 I 
 
 a 
 
 a d 
 
 a d 
 
 o O 
 
 □ 
 
 • •• 
 
 a 
 
 o o o 
 a 
 
 3s 
 
 a a 
 
 • 90 
 
 o o o 
 
 1 
 
 G 
 
 ■ 
 • • • 
 
 % 
 
 3 | 
 
 da 
 
 D U 
 • *0 
 
 O D 
 
 a a 
 
 o • • 
 D 
 
 I 
 
 Ca 
 
 o«« 
 
 #00 
 
 D D 
 
 □ H 
 
 o o • 
 
 • 
 
 • o • 
 
 Wf9 
 
 • o o 
 
 3- 
 
 <\y\ 
 
 • • o 
 
 Ii 
 
 a 
 
 • o • 
 
 3 
 
 D 
 
 0* • 
 
 n 
 
 \ " \ ill',' ' i r ' f 
 \\ ,11 1 ! ff » 
 
 '•■'■' ' / r 
 
 \ \ 
 \ \ 
 
 D ■ 
 
 ! 11 1 t 
 
 '■l I 
 • • • 
 
 D D 
 
 D 
 
 D ■ 
 • •• 
 
 I II 
 
 if f 
 
 • • • 
 
 fc 
 
 D 
 
 c me 
 
 a a 
 
 D 
 
 • • O 
 
 • • • 
 
 m 
 
 m 
 
 • •• 
 
 a 
 
 d a 
 
 a a 
 
 o o o 
 
 o o o 
 
 era 
 
 a 
 
 OOO: 
 
 • •• 
 
 m<\ 
 
 J9 
 
 a 
 
 • | • 3j£y 
 
 □ 
 o«« 
 
 ilf 
 
 D 
 O O • 
 
 p a 
 
 □ a 
 
 DD 
 
 a ■ 
 • •• 
 
 □ 
 
 • • • 
 
 Sf 
 
 OOQ 
 
 r 
 
 D 
 
 c«# 
 
 p p 
 
 • • o 
 
 • • o 
 
 » 
 
 9 • • 
 
 
 (M • 
 
 ^ 
 
 3U 
 
 oMiHaoNi.a xsaa hhx rxiav xcimto xvij 
 
an 
 
 an 
 
 .□□ 
 
 DQ 
 
 □ a 
 
 cm 
 
 a 
 
 o o o 
 
 a 
 
 o o o 
 
 a m 
 
 • • • 
 
 □ 
 
 • c • 
 
 a 
 
 • • o 
 
 D 
 
 © © O 
 
 • • • 
 
 □ 
 
 □ 
 
 o • a 
 
 #9 
 
 m 
 
 #v 
 
 o • o 
 
 m. 
 
 53 
 
 O O O 
 
 ^ 
 
 #3 
 
 • • • 
 
 ""iri 
 
 #a 
 
 □ 
 
 #3 
 
 a n 
 
 D D 
 
 an 
 
 d a 
 
 a 
 
 o • o 
 
 a □ 
 o • • 
 
 D □ 
 
 o o o 
 
 □ 
 
 c o 
 
 D ■ D 
 
 m n I ^ *- ^ I ^ - 
 
 © © © 
 
 n*« 
 
 a 
 • • • 
 
 **a 
 
 #3 
 
 © • • 
 
 u 
 
 H • 
 • • © 
 
 a 
 
 P 
 
 #9 
 
 ■hrti^v! 
 
SHAKES TO THE NATURAL NOTES. 
 
 SI 
 
 G 
 
 -K 
 
 tr 
 
 o • • 
 
 tr 
 
 m 
 
 *o 
 
 tr 
 
 m 
 
 i 
 
 { 
 
 h- 
 
 m 
 
 • • 
 
 T» 
 
 tr 
 
 • • • 
 
 • • • 
 
 D 
 
 • • 
 
 * 
 
 • • 
 
 
 
 o-o-o 
 
 o o o 
 
 f 
 
 * 
 
 • 
 
 • • 
 
 ♦ 
 
 S "©- 
 
 bo 
 
 -a 
 a 
 
 J! 
 
 s 
 o 
 
 ■> 
 
 u 
 « 
 
 (6 
 
 S3 
 
 a 
 s 
 
 o 
 
 .2 " 
 
 H o 
 
 , tr 
 
 ' r$n ° • • 
 
 c — — | 
 
 it o 
 
 /r 
 
 B — 1 7 
 
 ~0~ CTO" ' 
 
 p 
 
 A^ *4° 
 
 
 
 tr 
 
 _o o 
 
 t^t-"-« 
 
 4 ° • . 
 
 * - AAA 
 
 + • = .- 
 
 E L — ^ *'*-■ 
 
 
 ••■*'■ 
 
 , SHAKES. 
 
 .To . .hake middle and upper BPyou must shake the first fing-er of your left hand c « l> 
 eluding ^wlth it do wn . To shake G* shake the second finger of the left hand,if in a Minor' 
 S&Jflft? t- 1 '? fmger(lf not found too difficult)when you playina Major Key,but either 
 way will do. To shakelower and upperFhsliake the first fingvr of your rig-ht hand oonclud in- 
 with it down. The othershakes are the same as on the common German Flute. 
 
32 
 
 ON DOUBLE TONGUEING 
 
 Double Tongueing is the effect produced by tlie action of the Tongue against the roof 
 of the mouth, and is to be acquired by the Pupil endeavouring to articulate the words 
 tootle, tootle, tootle, very distinctly, at the same time accommodating such articulation 
 with the corresponding notes, as in the following Passages; the first of which, I would 
 recommend to be played very slow, and continued until the Pupil can with facility 
 articulate each syllable distinctly. 
 
 Ex:l. 
 
 Ex 
 
 Ex:4 
 
 1 
 
 Ex:2 
 
 too tie too tie too tie too tie 
 
 tootle tootletootletootletootletootletootletootle 
 
 m^. 
 
 e tootle too tie too tie 
 
 too tletootletootletootletootletootletootletootl 
 
 The following Example is a deviation from the ordinary mode of Double Tongue. 
 ing, and will be found to produce a distinct expression in passages where the 
 Pupil may wish to substitute it for the usual articulation of the word tootle. 
 
Ex:5. 
 
 55 
 
 leete te tleteete 
 too tie too tootle too tootle too tootle too 
 
 fj | Jte t?te*£te *! te £-te jg te > g 
 
 Ex:7, ;* 
 
 ^c£#-£ts 
 
 
 ^^m 
 
 ,,7n PS in : whl ,«* thp »ot« are dotted as in the last Example must be played by 
 articulating- the syl.aMe te, distinctly with each note as above; * 
 
 ON BEATING TIME. 
 In Beating- Common Time the foot should descend at the first note of every bar 
 and ascend at the expiration of half the bar; as in the following- examples. 
 II..- Letter D. sig-nifying- Down, and the C. Up. 
 
 Simple Common Time. CO u,nt four Crotchets in a Bar. 
 
 s,.i..|gig — mug M i -r r r iriirfe te 
 
Simple Common Time 
 
 2 3 4 12 3 4 12 3 4 
 
 count two Crotchets in a Bar. 
 
 i It I 2 
 
 D When Adagio it is best to count four Quavers in a Bar. 
 
 r 
 
 Ex 
 
 Ex, 
 
 Compound Common Time., count two dotted Crotchets in a Ba 
 
 •' I'Mir-j. i r-c rri 7, r |tfrcr nr • F I 
 
 g ' i 2 ' i -r ** 4 ' i '2 pn 2 ' i ^ 
 
 D V DUD U I) V I) I 
 
 In Triple Time the foot should descend it. the first note of every Ba r ami ascend at the 
 expiration of two thirds. as examples. 
 
 Kx.Ljsa 
 
 D D 
 
 m m r 
 
 1F^ 1 2 <T 
 
 13 ■ D 
 
 U D 
 
 T 2 3 
 
 
56 
 
 Simple Triple Time. 
 
 Ex 
 
 Ex. 
 
 count three Quavers in a Bar 
 
 Lvers in a car. _ m 
 
 f i fj*nf M 
 
 1 i I i 2 h 1 
 
 D 5 
 
 1 2 3 
 
 T~2 — 3" 
 
 Compound Triple Time. count nine Quavers in a Bap. 
 
 I 
 
 
 4—4 — P# r ■ p i S p i* 1 
 
 »Fl# 
 
 r2345tJ7 
 
 PROGRESSIVE LESSONS . 
 KEY OF D. MAJOR. 
 
 rs~g" 
 
 Common Time 
 
 DLETTO.l. 
 
 Andante 
 
 P^f 
 
 xn 
 
 X 
 
 K 
 
 count four Crotchats in each Bar. 
 
 I'rriiTrr i f 1 ni 
 
 234 1 2341234 1234 1234 12 34 1 2 34 1234 
 
 fcWJ r JliJ r J| r Jf l| f l r l|j l|l||J |J |l 
 
 m 
 
36 
 
 12 3 4 12 34 1234 123 4 1234 12 3 4 12341234 
 
 iVr ' T'/ ' inr i ii'i '|, '| 'iiii'l'-rnn-rr. 
 
 Common Time 
 
 count four Crotchets in a Bar. 
 
 DUETT02 
 
 Andante 
 
 IVr I j p 1 m i i f .M r r ii irirr i f 
 
 V~} 12341234123412 3 4123412341 2 '3 4 12 34*' 
 
 y*f uiJijJrJ i i r f r iiJjjiuiJ 
 
 o t ]'•"•' 
 
 i 
 
 *g^s 
 
 ^ 
 
 T2 
 
 rr.H'Ti; 
 
 1 2 34 1234 1 234 1234 1 234 123 4 1 2 3 4 1 2 3 4 
 
 fr V jJ r Jl„iJrJ i jJ r JMJ UiUiJijJi^ ^ 
 
 32 
 
 m 
 
f 
 
 DUETTO. A 
 
 
 iL hi! * 
 
 count two Crotchet in a Bar. &7 
 
 rfjf t\T | f f i r r n Hi iiij^ 
 
 m 
 
 fie 
 
 ^ c 
 
 ■ ' ■ ' I I II I" I' l l Hfp 
 
 i 
 
 a 
 
 «#=%<: 
 
 A- 
 
 f rip H 
 
 ip£ 
 
 =£=£ 
 
 a: 
 
 ^^ 
 
 ^H 
 
 DUETTO. 
 4. 
 
 Andantino. 
 
 flr c/i.-'r 
 
 i/>'m, i i,f ifl Mii 1 1 1, mi i |i,ii| 1 1 | 
 
3H 
 
 is 
 
 m 
 
 
 L^nr c/irccr 
 
 iwg^ 
 
 ps 
 
 ** 
 
 1 
 
 ^^PI 
 
 ^ a - a ^ 
 
 i iuj.n i cjir i ui-TO Jgppig 
 
 DCETrO.\f§E=3; 
 
 ^nrinrrnn ^^^^ 
 
 s 
 
 fTF 
 
 »B 
 
pi 
 
 w-#r 
 
 i 
 
 fg * 
 
 ^•#r rr irj 'II i i lull 1 i I 
 
 count two dotted Crotchets in a Bar. 
 
 DUETTCT 
 6 
 
 ■;t f-fffjr%rfi] rr% -|^r^ri7n: 
 
 •J 1 2 1 I 1 2 l 2 ' ** * ' 
 
 ^'■■1 iii i r-ofhinyj^a^ 
 
 x^ 
 
 Fin. 
 
 P. C, 
 
 Q£j-ri i rrhg 
 
 i -i 
 
 FT ' I fi-'Uto 
 
 1 i 
 
 i 
 
-*() 
 
 duetto" 
 
 7 
 
 Since then I'm Doorad . 
 
 countfour Quavers in a Bar. 
 
 nr Qj-if ■ J-i.JTT?n^ 
 
 £^ 
 
 3E± 
 
 ^^^mism 
 
 rn^ux 
 
 2 
 
 
 ^ 5#t^ B: 
 
 l/U^^ OT l 1 H i I L ^ ^te 
 
 DUETTQi 
 
 8 
 
 Sicilian Mariner's Hymn 
 
 - f-g r 
 
 LU Ll' l n u r 
 
 
 nx 
 
 r r i a7]|.rP] | ^ i| l , i, U |irrri|i » 
 
fy * j J 1 j 
 
 Bounaparte's Grand March. 
 
 DUETT(j> 
 
 g ^ Bg^sBg. j rr ' r i I r r I i fffffflr 
 
 ¥^^^^m jmi^^u!^m 
 
 r.nr.nirrrnj' itrg g 
 
 s 
 
 
 prri'i^rmnfea^^g 
 
 jf^rnriiifrrr,^ 
 
 rwcj- i riff.]^ 
 
 ^^^^^^fe 
 
 f^^^^m^^ 
 
42 
 
 i 
 
 m -1—1—E—^—&—Mt-T 
 
 n^ns^ngm^^ 
 
 General Washington's March 
 
 DCETTCf 
 10 
 
 il ijiiH|| U r hC iiCiii i ^i j ii^^ 
 
 p i j' iii n^ irr ^ r j i JJriJj i J]^ 
 
 /- • /• 
 
 c£tfr J m 
 
 i 
 
 ifrcrffc i ^ 
 
 jLPTinrrnnj^ irmnTn % 
 
 Y ~~\\\\~\\\\\ 1 1 1 ^^c/i^ i ^rr^- i .^rr^ 
 
 •• rnjrijjjini ||i J i iJ^i i fmn/Tfl pi#fe 
 
lDj m 1 1 1 m ^lutfii 
 
 dht kTifm i'h u T rrrfffri^p 
 
 i rr.rr. i fTTl rTTf i ■T77. rnr 1 i - fTm 
 
 m 
 
 inu^Tn^iTmi^ ni||i ni „ 
 
 
 ^'■ i . n^m gi 
 
 3 # 
 
 CJ-J ' ' ^ J 
 
 1 ir < rf 
 
 ^m 
 
 V^Lr i ^i^'rn iJri^ir'iijir^ 
 
 =& 
 
 ■iTl 
 
 L I I V ■ ' I ( I / f M I Q , I llT f ^a M l Vj 
 
4<4 
 
 i 
 
 m 
 
 pp 
 
 2=^ 
 
 ' f ^ { \ ' \ { m i i 
 
 i 
 
 P&P 
 
 | g , r, a 
 
 p@^=p 
 
 _Q_ 
 
 -P— 7 
 
 1 
 
 Andante quasi Allegretto. 
 
 DUETTO] 
 12 
 
 
 Haydn 
 
 L'./.rr rl iuiirfiiin j i j^ic J i ri;;frirk 
 
 4h g 
 
 ■i i 
 
 rtn i nj | j^i ffrfa #; 
 
 i i 
 
DUETTO. 
 
 ^ eifrnf I rrrn e f 1 1 , cnf ff^^^fe 
 
 y^jrr r'rrf^-T I ,J r^ 
 
 JQ. 
 
 CL 
 
 P -P-P 
 
 § 
 
 0. 
 
 p-p p -Pr 
 
 ^»fffffr , FjT,fHfrrfr rii m jM 
 
 *k 
 
 «i 
 
 v« 
 
 W§ 
 
 p^PP 
 
 $f£fcSfe 
 
 s^yf ff 
 
 CTfrrirci-j^g 
 
 m|fffrf% If fffr ji j j j j j 1 1 frrr^ ffffr]m ■ 
 
 A # mm mo a -^ I m\ «Pi_A_— ._. Q»m»o _*- I ^ _ *- > _ M L 
 
 rE rrr (mn^r r iigi,rri» 
 
J^6 March in Lodoiska 
 
Air in the Barter of Sevillt 
 
 By Rossini 
 
 47 
 
 DUETTO 
 
 15 
 A 
 
 {yrrriPiir rr i rnii r~t \ r .^te ^p^ 
 
 
 m& 
 
 
 1 w 
 
 P 
 
 ,/ g S 
 
 ^rnn r.iPT^ir TJliJT TJ i.r jTT i. 
 
 'I 
 
 P ^m H t'l' r c r " r r T ■ i J IT, iiTjIi i 
 
 fc ITTIi ntl. fn-ii r^ fc rrn rm r-£J- i ^^ : 
 
 > * i 
 
 Z£ 
 
 H Bi 1 1 I § H IS ^rrr ^ 
 
-fcH 
 
 H 
 
 se 
 
 I 
 
 ^^-A&I 
 
 lp^ 
 
 tp 
 
 ^ 
 
 m 
 
 crnnj 
 
 ^ 
 
 f ff,fr r jf ftHi 
 
 -^ 
 
 LX jv r / i ^f 
 
 i 
 
 
 duetto: 
 16 
 
 A Spanish national Air. 
 
£9 
 
 ' "*mTT||I | h , |ll hi 
 
 m 
 
^ero^ji'^ 
 
 CTu Ji 
 
 g?^m 
 
 pp? 
 
 rnirr 
 
 ^W 
 
 iff i trj 
 
 
 •aV.^tim. 8Y? alt: ' DI_T.mr Palpitti. 
 
 -ffrr 'itV , ..rrrrWiiiii ^ f^fr^- 
 
 -i.fr^n, ,,-ff^ jj'r ff^rfffrn-ih, ||jjg^ 
 
 — — -I'll I '- — ' -J U-U =3= . 1 - 
 
 *>0 
 
 m 
 
 ^ 
 
 3 
 
 M& 
 
 D -^ 
 
 J^z: 
 
 hj i i 1 1 g»j^fe ^^^^ai