Wm Htbrarp THE LIBRARY OF THE UNIVERSITY OF NORTH CAROLINA AT CHAPEL HILL ENDOWED BY THE DIALECTIC AND PHILANTHROPIC SOCIETIES MUSIC LTT?TV' "" This book must not be taken from the Library building. Digitized by the Internet Archive in 2012 with funding from University of North Carolina at Chapel Hill http://archive.org/details/entirenewcompleaOOgemi ! '•"v UTOSTC LIBRARY .UNC-CHAPEL HILL jFOJt THE (OC foetzMJ^aMti iM^ftrfbtlt < ferret i */?#& brv&z. !uo B ^vl,H la d aJ .e^}'c«d, t nofWit 1 «ri fflU ^cn^'f J ,a I Len t Mbli^^nlWsitt PUUfrtHftti] and for E X? „vtut.nn ■V r NEW INSTRUCTIONS F O R T H E VIOLIN The firft thing to be learned is the Scale of the Gamut as it is here fubjoined. The 4^ or biggeft String The names of the Notes i O 1 2 3 4 The3^String J The2.' v StTing P^ O 1 2 3 4 G, A,B, C D, D,E,F, G A, m O 1 2 3 4 A, B,C, D E, The l? r or Treble String r m 1 i = 1 i IT 1 4 = ■whole Shift O 1 2 3 4 E, F, G, A, B C, D, Next it will be requifite for the Learner to get the names of thefe Notes by heart, that he may be able to know and tell their proper names readily, whenever he fhallfeethei in any pJ ace, tune or lefson whatfoever. The next thing to be learned is the method of tuneing the Violin, which muft be by filths , in the following manner, the fourth or biggeft String open willbe G, commonly called lower G, becaufe it is the loweft note on the Violin , the third String open will b< D.the fecond String open willbe A* and the firft String open will be E , as for Example E gg 555668 ith But if you cannot put your Violin in tune l>y the former directions, do it thus: Meafure out the feventh line from the Nut which is drawn acrofs the Strings in the enfuing Example, and draw with a little Ink a line acrofs the finger-board at the fame diftance from the Nut as that line, having done thus,fcrew up the Trehle String to as high a pitch as it can moderately hear, then put youT little finger on the beforemen- tioned mark on the fecond ftring, and caufe that to make the fame found as the Trehle String doth when it is open; afterwards put your little finger on the fame mark on third ftring and caufe that to have the fame found as the Second String when open , laftly, ohferve the fame' method with the fourth ftring. Directions how to play of£ the feveral Notes marked in the Gamut. Hold the Violin with your left hand about half an inch from the bottom of its head which is generally termed the Nut, and let it lie between the root of your thumb and that of your fore-finger, then you may proceed to the playing of all the notes • in the fcale of the Gamut, to which purpofe it ought to be obferved that there are five notes appertaining to the fourth or biggeft String, Viz: G, A, B , C , and D. now G is to be played open, A muft be ftopt with the fore-finger of your left hand almoft at the diftance of an inch from the Nut, B with your fecond finger abouthalf an inch from the firft, C with your third finger clofe to your fecond, andDwith your little finger about half an inch from the third. The third ftring hath in like manner five notes, Viz: D, E,F, G, and A. (oh the 4. of which the Cliff is commonly placed) D is played open, E is to be ftopt with your NB. The Notes marked I), upon the 4. String, A. upon the 3. and K.npon the 2. hi the <-umut,are to he played with the littli or fourth Finger? which makes a t'liffpn to tht opt ri Note upon the next String, and in fome uafsuges is found to be more equal in t in to the other Hotfs than- playing tin open Siring. l^e *„ger abou^ The fecondrtring hath alf„ five notes, Viz- A B C n , f* * open, B is to he ftopt with your fore Inrfffw * - * *" A muft he P^yed fecond finder c .ofe\o the &ft, fSft &*"* " '" ch **»* the N„t.C with /o HT inch from the fecond, and E with the littfe £n2er bo.? ^ .f'^ three ' narte " ° f S The iirlt or Treble String hath five notes uf. S? " , lnCh from *^ *ircf . F, G, A, and B, play E open , ff„ p F wYth " U r fore f !&,, a W' TO P«»*«rf thereto , Vi, : E , your fecond fi n g er about three cxuarte/s of an 7S5 T" £*£ "^ +he Nut ' B **«■ finger at the fanfe diftance fro m^e&oon 3 HTH r ° m 2 * flrft ' A - ith your third £er half an inch from the third: but £ i^^^/^ **? ^ B **** *»<* little fin- more which require the whole Ihift , to ?E « /^r h "™ "'"^ ^° not * s with the firft finger inftead of the *ir f B with J r mal t* lf * y°" r hanrf ancf Aop'A Cwith the third fjofe to the 'too^^S^***?******** i™h from the firlr, cefsary likewife to take notice that allinf 1 f /° m the tMrrward er 2 either with Ink or bits o^ paper paW on i ft J**" * /ompafie. »»* out the lines tance as in the Example, /us^ou^ eafilv tlxT * ^ Vi ° lin ** the f ™ SI pxactxce learn how to ftop in tune ffJ^gSfSJ^ ' — ^ * littIe Of Time. There are two forts n¥ Ti™.^ r< one Semibreve.two ^^frTx^C ^^ ^T «« C ° n * fts °* either thirty-two Demiiemiquavers in a Bar a „rf i^ V fi ^vers ' flxte€n Semiquavers,, or V > b ^ »»J airy movements ; the f g fi ffiWe offtT ** * llttle tafter ' an <* Mother value of a Semibreve in a Bar, which muA be heM ? f ° haract « rs Cont "» **<* to the four- the laft never contains more *™a Mini™ ♦ £" y ° U C *" morfer ^y count i^Bar.- this is commonly called French^W ' ^ Cr ° tClietS ' * W W«* toi. a « ^ A SCale ° f ** N ° tes in C <™on Time . A Semibreve, 2 r4 D r8 I— — -«S— It Tripple Time. ra^lS:;^ 1 ^f e CWCtCr S i i t I *l** *rft two of theft Cha 1 is Minuet Time, one contains three Crotchets in a Bar, the other three Quavers , € - , o though in reallity they l>oth anfwer one end , only 8 is generally played fomewhat quicker; the three remaining Characters are always marked at the beginning of Jiggs ice: the firft Icontains fix Quavers in a Bar, the fecond fix Crotchets, and the laft twelve Quavers; theie Characters in fact anfwer one end, as in the courfe of practice the learner will difco- vsr; a farther explanation would only lead the mind into agreater labyrinth . A do teed Minim is as long as . A Scale o£ Notes in T ripple Time. 3 Crotchets, or 6 Quavers, or 12 Semiquavers kc: Wben a Point or Dot is added to the right Tide of any note, as for Example, a dotted Semihreve thus O . fignilies that the Note muft be held as long as three Minims; and a dotted Minim thus C\ -as long as three Crotchets. .v _ • Flats, Sharps and Naturals, are three Characters of great ufe in Mufic, Viz. a ±lat thus b ieing placed before any Mote, makes it half a Note lower than £± is -""""j' a Sharp thus ft makes it half a Note higher than its natural tone, and a Natural thus^ re- duces any note that is Flat or Sharp to its primitive found or ftate; lor if Flats °* S1 ? d ^ S are placed at the beginning of any Tune or Lefson , it affects every Note upon that line or fpace throughout the whole Tune unlefs contradictedby a Natural. , - AKep eat is marked thus "S. or thus s : and fignifies that fuch a part of a Song or Lef- fon muft be played twice over from the places overwhicjhjfaeg ijg. , Bars arc line, drawn acrofs the five 1^'*«^^^^^^^ °^ on the firft of which fignifies that the Strain ends there, the laft of thefe having t* o each fide, denotes, that the Strain muft bex>layed twice ^ over . thus ^lhews the The Treble or G Cliff is marked thus ^A Direct at the end ol a Stave t the Vjf ? C £iTft N ? G ™ *! L nex ! Stave ' A Pa <^ i« niaxkecf thus ^ and at fuch a mark aU tnZ? a T J? a JP° nCert W» OTt a moment, in order to join again with the greater eftect, and is often fet over the finilhing Note o£ a Song or Lefson . H AVben you fee thefe marks ■ r 1 =) which are called Refts , and explained by the follow- ing Example; you are to ceafe playing the length of time of thofe Notes over them from -which they take their names. Example of Refts . Semibreve,Minim,Crotchet,Ouaver,SemicrF Reft Reft Reft Reft Reft Of Beating Time. All movements either of the body or head are bad habits which muft be avoided.andl wilh you would not make any motion with your foot, as I am certain a Perfon ma v pla v very well m time Without beating, for which purpofe you fhouldbe perfectly acquainted with divilxons of^eaftres andhave all the di ffere nt times in your head. Ho^eTr as the attitude oi beating time, when well executed, is graceful, and likewife fome people Sfffl?'?/ 6 ac ^ uainteftAvith i*' Ihave(in order to render this work *e more accept. SWif^I \*«m P les f andfirft of Common Time, where any otM.efe marks , re fot, IZtn T r.r- ^'^ i° 0t niuft £ orfow » atthe beginning of every b^andrife at the middle or half of the bar, as in the following Example . Note, the letter d,lhews where it muftgo down , and the letter u.where it muft rife. Example mm 3 3 In Tripjple Time.wheTe any of thefe maTks axe fet, Viz: 4 and 8 , the foot muft go down -with the firft Note and rife with the third • Examples gMSfffBTO^ggftfr The fame rule ferves for % (which fometimes occurs) for there the foot muft keep down at the firft fix Ouavers, and rife at the three laft: where you fee thefe marks ,Viz: 4% I", ^ your foot muft go down at the beginning, and fife at the middle of the Bar. it being as Common Time, half up and half down: obferve in beating time the heel of your foot muft be kept down, to avoid making a difagreable noife;the toe being fufficient and genteelelt foT dividing the time . , On Bowing. The tone of the Violin principally depends on the right management of the Bow. The Bow is to be held afmall diftance from the Nut, between, the thumb and fiugeTS , the hair being turned inward againft the back or outfide of the thumb, in which pofi- tion it is to be held free and eafy and not ftiff: the motion is to proceed from the joint of the wrift, and elbow in playing quick notes, and very little or none from the joint of the Ihoulder.- but in playing long notes where the bow is drawn from one end to the other, the joint of the ihoulder is alio a litile employed:the bow muft alwaysbe drawn par;:' Ic 1 •J with e th. ri ^ e T M f Can , n0t H d ° ne lf lf iS hGld fA ®> anrf **"*** Pre^duyon the firing With the fore-finger only, and not with the whole weight of the hand, the heft Jrt g *?r V °^ the J\ inci 5 al he««ties of the Violin is the fwelling or increafing andfoft'nin* or leT ' lf± " rf r n^ PrefSi ^ ^ W U *° n the ft *4* ~i* the fol finger mofe S"S« l£ Ju y M *r* J ? Jo "^ notes AefounrfihouWhe hegan foft,andgradualI v fwell ol n ^fV e ' a,Hl / r ° m thenCe ^dually foft'nerf to the end: And Impart icu£« care muft he ta ken to draw the how fmooth and even from one end to the othe^wlthout Zav" x>arX,° n °X^ V V% * ** ^^ ** ° n thi » P«-ipal. y , and kee^hehow S?S?|. W v^ brirfge, andprefsing it only with the fore-iWer upof the ftrmgs with difcretion , depends the fine tone of the Inftrument . 8 P • Of Graces . Graces are notes added to thofe fet in the tune, in order to make the melody drlfs as'the mS£°* S.ft " v *$** ^ ^ P r °P erI y be c »"*<* **• ornament o* Shake LtlTsl Z I?* " / ™***™ without them: the chief of which is the f^eclTJnr ! tn " m t de , fr °^ thC "° te ° r haJ£ n ° te ^ove, V o„ m „ft however rt JrVnrr ^ C Gra9e f ° +he leD ^ th ° f * e " ote ' i£i * isaMinim to continue the Grace according to its proportion, if on a Crotchet, half the length of a Minim, and hut very little on a Quaver, it heing hut half the length of a Crofchet; hut as i I wcu id Ported n^Th v° n f ^ t0 J™ a **"« ^ finitio » of all the Graces which can he per . formed on theMolin.we have annexed a Tahle of the ornaments of Exprefsjon JO nocefsary to the playing in good tafte, ancf are as follows . Viz.- 2,a tur ned Shake . 3,aSuperiorApogihrra.4» anlnferiorApogitura. a j u Eg jggggfcg kfcn ' « i J « "~" ■■■■ h - r* i ... >- i k^* -n -n-. 1, A plain Shake. A. ^I l egf^lir if fe rff ^^l r i rn» J r i J > J f ¥ 5, Holding" the Note 6, Staccato. /.Swelling. 8, Diminishing. 41 ! ' 9, Piano. lO, Forite. 11, Anticipation. 12* Separation on. 13- a Beat. __ 14, a clofe Shake* < v . . . iij. a neat. w,a cioie anaKe* The clofe Shake cannot pofsibly he defcribed by notes as in the former Examples, to perform it you mutt prefs the finger hard upon the StTing, and move the wrift in and out equally, fuelling the found by degrees , drawing the Bow nearer to the Bridge . Of Keys f By a Key is meant the fundamental Note of any Air Scc.and on which the Tune alwaj s ends, especially the Bafs: Flats and Sharps which have been already explain'd when fet at the beginning of a Tune or Lefson, affect every Note on that Line or Space throughout ihe whole unlefs contradicted by a Natural • Keys with a Flat Third . JJ GP Al» (,T»L -„L w *> ^ O Db Keys with a Sharp Third. *l» #F{, G# r * l>E# FF ^^m ^he th L ^ °* D# PE# E # *# apply ™ SX^^^^S^^ *• *"*>i»* InlWtions , he may o play any piece of mu fic, W ever foSffi! n g f - hand ' f ° thati>e ™yk«.ble lowing Examples. TO* difficult; as will he fuIIy explainerfby fhefol. Firft Order or half Shift. Second Order or whole Shift. th 4. Str; Third Order. ° 3 4i284i ~nrr a* 2? ^^^^g Fourth Order or douhle Shift. m^\ ,st 11? A Complete Scale of all the ctifferent Positions of the Fingers upon the Strings . o t t* S t T T-— U s IV— i S^ — ± Iggj r | r T iff o ;p — jj 2 3 2 3 4 «_8.,4 « 3 4 2 3"" 4 2 3 4 2 3 4 T T . , S T T S T T S I J 3 i i • i a •» .4 « * 2 _^3- 4 2 3 4 2 3 4 s" t T " ST T T S T T S T T „ s .a. ■_ 1 ox 1 11 T 1 1 T I _J_ 1 1 Zd T tyW 2 °^ S 2 T S T * T^T TT TJ T t g.ff* 'tfW.ig ' ^^ "2 3 ttX~^2 . 3 ^^2 3 2 3 4 "2^-3 4 "2 —'3 4 "2~"3 4 s a 4 th String T S T T T T S T S T NJ. T,S~md s for Tone, and S, for Semitone, and the Figures under, which Finger thefe Notrs urftn he ftopt wrth. m 13 Gorf fave the King m fM M' iir r 'rig The blue Bell ofScotlam =faf^ f p 1 1 ii T?^~i ^p^^^iiajinqigyifrJ^Bip Tink a tink ^I^^P^ ^^m 14 The Rufsian Dance j"iii i r T iriri|iiiiil 4' ii niLr i rr f i r ,a#f3F v " ti,7ii..w.i.. ii ' ' I The Bugle Horn Little Fannys love gippl .-^^fl ^.J jiniejan nys l ov e ^^^^ &— * Frnrspnr i* 1 ^ TgE% a" l^iUILLxjk^ f ^tom^m^ Life let us cheriih ^^The ATchers Dance ' '♦ i Hayrf n's Fancy 4^ i lil I ^ ~~ -^ f liiill ^^p^^^^^i y ^aia a ~,«r* 1« tea Pleyels Rondo ^ f 'Twas -within a i Twas -within a mile i^^^ I &£ ff^l^P Royal quick Step ' flHl/llH r r l ml 'Hi'u l ir[|ll V |F*HTT^[T rw-iccrrcritt f L£JC£l.l l iffM ||||||i|i § i illl'ii nn 'lilf. H Tjf"T~Z | The Rage, or A ftley g flag ._ , r ! || niiuiii iji i r . r r f iu.ii n . || i f u'Lii Tf ' r n- ^ynrjf i if^ ^ ^^ ^fHJ Prince Erfwarrfs fancy ■5- r r f f Illilllll|p PleyelsHymn M^^^^^ ^^^^^^^^^^^ £ jfcrjfc: -^- IM 3 * r-f- 18 Away -with Melancholly ^'