f f 
 
 JOUSSE^ JUL 271965 
 
 Musical Catechism 
 
 IMPROVED, REVISED & CORRECTED 
 
 By J. JOUSSE 
 
 INCLUDING 
 
 Dictionary of Musical Terms 
 Burrowes* Guide to Practice 
 Mohr's Thirty Home Rules 
 
 PHILADELPHIA 
 
 THEO. PRESSER COMPANY 
 
 1712 Chestnut Street 
 
PREFACE TO JOUSSE'S CATECHISM, 
 
 " Times change and men change with them;" 
 an adage that is especially applicable to musical 
 art. But it is only the progressive teacher who 
 changes with the " times'* and he demands that 
 the text books and studies for his use shall be 
 of the most advanced character. To meet these 
 demands, the " Latest Improved Edition" of this 
 excellent work has been prepared. The long con- 
 tinued popularity of the Catechism in Europe and 
 in this country is the test of its merit and the 
 guarantee of the correctness of its principles ; 
 however, it needed revision, that the latest and 
 best ideas might be introduced and the explana- 
 tions made more explicitly clear. This has been 
 carefully done and the book is offered to the 
 teacher and student with a feeling of confidence 
 that it will be found a reliable and worthy 
 assistant. 
 
 Thos. a'Becket. 
 
 Copyright, 1892, by B. F. Banks & Co. 
 
CONTENTS 
 
 PAGK 
 
 Chapter I. — On the Notes and Clefs 5 
 
 Chapter II. — On the Key-board 13 
 
 Chapter III. — On the Various Kinds of Notes and their 
 
 Values 15 
 
 Chapter IV. — On the Dot and the proportion of the Notes.... 18 
 
 Chapter V. — On Rests :. 21 
 
 Chapter VI. — On the Sharp, the Flat, and the Natural 22 
 
 Chapter VII. — On the Double Sharp and Double Flat 27 
 
 Chapter VIII. — On the Formation of the Scale 28 
 
 Chapter IX. — On the Keys and Modes 32 
 
 Chapter X. — On Time 38 
 
 Chapter XI. — On Counting and Beating Time 41 
 
 Chapter XII. — On the Italian words denoting the Speed and 
 
 the Character of a Movement 44 
 
 Chapter XIII. — On Graces or Embellishments 46 
 
 Chapter XIV. — On Expression 51 
 
 Chapter XV. — On some Characters in Common Use 61 
 
 Chapter XVI. — On Abbreviations and Licenses 64 
 
 Chapter XVII. — On the Position of the Body, Arms and 
 
 Hands at the Piano-forte 66 
 
 Chapter XVIII. — On Fingering 67 
 
 Chapter XIX. — On Transposition 75 
 
 Chapter XX. — Dictionary of Terms 81 
 
 Burrowes' Guide to Practice 89 
 
 Mohr, H., Thirty Home Rules nx 
 
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A CATECHISM OF MUSIC. 
 
 CHAPTER I. 
 
 ON THE NOTES AND CLEFS. 
 
 What is music? 
 
 The combinations and succession of sounds. 
 
 What is a succession of single sounds called? 
 
 Melody. 
 
 What name is given to several sounds in combination? 
 
 Harmony. 
 
 How are musical ideas expressed in writing? 
 
 By characters called notes. 
 
 How many notes are there in music? 
 
 Seven. 
 
 (5) 
 
6 CHAPTER I. — NOTEb AND CLEFS. 
 
 How are they expressed? 
 
 By the first seven letters of the alphabet : 
 A, B, C, D, E, F, G. In the French and Italian 
 methods they are expressed by the following 
 syllables : 
 
 Do, Re, Mi, Fa, Sol, La, Si. 
 
 C, D, E, F, G, A, B. 
 
 How are the n^tes written? 
 
 On five parallel lines and the four intermediate 
 spaces ; these are called the staff , or stave. 
 
 Lines. Spaces. 
 
 
 How are the lines and spaces of the ttaff counted? 
 
 From the bottom upward. 
 
 How are the names of the notes and their pitch ascertained? 
 
 By a character called a Clef, which is placed 
 at the beginning of the staff. 
 
 How many Clefs are used in Piano-Forte music? 
 
 Two ; namely, the Treble Clef and the Bass 
 Clef. 
 
 On what line of the staff is the Treble Clef placed? 
 
 On the second line. 
 
CHAPTER I. — NOTES AND CLEFS. 
 
 V.'hat letter does it represent? 
 
 The letter G. 
 
 Treble Clef. 
 
 i 
 
 ^ 
 
 
 G 
 
 What are the names of the five lines of the Treble staff? 
 
 The first line is E, the second G, the third B i 
 the fourth D, and the fifth F. 
 
 Notes on the Lines. 
 
 1 
 
 E 
 
 B D 
 
 What are the names of the four spaces? 
 
 The first space is F, the second A, the third C, 
 and the fourth E. 
 
 
 Notes in the Spaces. 
 
 m 
 
 F A 
 
 Are the notes always confined within the five lines and four 
 spaces of the staff? 
 
 No ; they often extend above and below the 
 staff ; then small lines, called leger lines, are 
 
8 
 
 CHAPTER I. — NOTES AND CLEFS. 
 
 added above or below the staff, and the notes are 
 placed on or between them. 
 
 Give the names of the additional lines above the Treble 
 
 staff? 
 
 The first leger line is A, the second C, the 
 third E, the fourth G, and the fifth B. 
 
 Notes on the Leger Lines. 
 
 3 
 
 A * t 
 
 I 
 
 A C E G B 
 
 Name the notes in the additional spaces above the staff? 
 
 The first space is G, the second B, the third D, 
 the fourth F, the fifth A, and the sixth C. 
 
 1 
 
 Notes in the Spaces. 
 
 t 
 
 6 
 
 t 
 
 1 
 
 G B D F A C 
 
CHAPTER I. — NOTES AND CLEFS 
 
 What are the names of the additional lines below the staff . 
 
 The first leger line below the staff is C, the 
 second A, the third F. 
 
 Notes on the Leger Lines. 
 12 3 
 
 
 C 
 
 A - 
 
 F . 
 
 What are the names of the additional spaces below the staff? 
 
 The first space is D, the second B, the 
 third G. 
 
 Notes in the Spaces. 
 12 3 
 
 i 
 
 W 
 
 D 
 
 
 B 
 
 Names of the Notes on the Treble Staff. 
 
 
 
 i — r - r 
 
 ^ 
 
 wAt 
 
 TP 
 
 0* 
 
 -h 
 
 m 
 
 A 
 
 B 
 
 c 
 
 D 
 
 EFGABCDEFGABCDL 
 
 Note. — See that the notes on the Treble staff are thoroughly 
 mastered before studying those of the Bass. 
 
IO 
 
 CHAPTER I. — NOTES AND CLEFS. 
 
 THE BASS CLEF. 
 On what line is the Bass Clef placed? 
 
 On the fourth line. 
 
 What letter does it represent? 
 
 The letter F. 
 
 Bass Clef. 
 
 ^ 
 
 <^ 
 
 1 
 
 What are the names of the five lines of the Bass staff? 
 
 The first line is G, the second B, the third D, 
 the fourth F, and the fifth A. 
 
 Notes on the Lines. 
 
 £ 
 
 B 
 
 D 
 
 
 What are the names of the four spaces ? 
 
 The first space is A, the second C, the third E, 
 and the fourth G. 
 
 Notes in the Spaces. 
 
 *£ 
 
 m 
 
 A 
 
CHAPTER I. — NOTES AND CLEFS. 
 
 TI 
 
 Name the additional lines above the Bass staff? 
 
 The first leger line is C, the second E, the 
 third G. 
 
 Notes on the Leger Lines. 
 
 ♦ 4 
 
 m 
 
 ] 
 
 C E G 
 
 Give the names of the additional spaces above the Bass staff? 
 
 The first space above is B, the second D, the 
 third F. 
 
 Notes in the Spaces. 
 
 S 
 
 
 B D F 
 
 What are the names of additional lines below the Bass staff? 
 
 The first leger line is E, the second C, the 
 third A, and the fourth F. 
 
12 CHAPTER I.— NOTES AND CLEFS. 
 
 Notes on the Leger Lines. 
 12 3 4 
 
 m 
 
 E 
 
 1 
 
 C 
 
 A 
 
 2 
 
 F 
 
 What are the names of the additional spaces below the staff? 
 
 The first space below the staff is F, the second 
 D, the third B, and the fourth G. 
 
 Notes in the Spaces. 
 12 3 4 
 
 CN 
 
 
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 D 
 
 B 
 
 §± 
 
 Names of the Notes on the Bass Staff. 
 
 H— t- 
 
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CHAPTER il. 
 
 ON THE KEY-BOARD. 
 
 How many white keys are there on a seven octave Piano- 
 Forte? 
 
 Fifty. 
 
 What are they called? 
 
 Naturals. 
 
 How many black keys are there? 
 
 Thirty-five. 
 
 What are they called? 
 
 Sharps and fiats. 
 
 On what key is the Bass Clef note played, reckoning from 
 the bottom ? 
 
 On F; two octaves above the lowest F. 
 
 On what key is the Treble Clef note played? 
 
 On G ; the ninth above F, the Bass Clef note. 
 
 How are the keys divided? 
 
 The white keys are in regular succession ; the 
 black keys are divided into clusters of three and 
 two alternately. 
 
 What is the name of the white key at the left of the two 
 black keys? 
 
 It is called C. 
 
 (13) 
 
w' 
 
 T4 CHAPTER II. — KEY-BOARD. 
 
 What is the name of the white key at the left of the thre« 
 black keys? 
 
 It is called F. 
 
 Can you by these two keys, C and F, find the name of any 
 other key? 
 
 Yes ; by naming the keys according to the 
 order of seven letters, A, B, C, D, E, F, G. 
 
 What is the use of the black keys? 
 
 Each black key serves for the sharp of the key 
 below, and for the flat of the key above. The 
 black key above C is C sharp, which black key 
 serves also for D flat. 
 
 Where are B sharp and E sharp played, as there is no black 
 key above B or E? 
 
 B sharp is played on the key of C, and E sharp 
 on F. 
 
 Where are C flat and F flat played, there being no black key 
 below C or F. 
 
 C flat is played on the key of B, and F flat 
 on E. 
 
 Why is there no black key between B and C or between E 
 and F? 
 
 Because these keys are only a half tone, or 
 semitone, distant from each other ; the other white 
 keys are a whole tone apart, as there is a black key 
 between them. 
 
CHAPTER ii(. 
 
 ON THE VARIOUS KINDS OF NOTES AND 
 THEIR VALUES. 
 
 How many different kinds of notes are there? 
 
 Seven. 
 
 What are they ? 
 
 The whole, half, quarter, eighth, sixteenth, 
 thirty -second, and sixty fourth. 
 
 Describe their shape? 
 
 i. The whole is oval in shape, and an open, & 
 or white, note. 
 
 2. The half is an open note with a stem. 
 
 3. The quarter is a black note with a stem. | 
 
 4. The eighth is a black note, stem, and a | 
 
 hook. ^ 
 
 5. The sixteenth is a black note, stem, and y 
 
 two hooks. ^ 
 
 6. The thirty-second is a black note, stem, H 
 
 and three hooks. / 
 
 7. The sixty-fourth is a black note, and has jj 
 
 four hooks. }/ 
 
 / 
 
 What proportion do these notes bear to each other? 
 
 Each note is equal in duration to one half of 
 the preceding, and double of the following note. 
 
 (15) 
 
l6 CHAPTER III. — NOTES AND THEIR VALUES. 
 
 PROPORTION OF THE NOTES. 
 How many half notes make a whole? 
 
 Two. 
 
 How many quarters make a whole? 
 
 Four. 
 
 How many eighths make a whole? 
 
 Eight. 
 
 How many sixteenths make a whole? 
 
 Sixteen. 
 
 How many thirty-seconds make a whole? 
 
 Thirty-two. 
 
 How many sixty-fourths make a whole? 
 
 Sixty-four. 
 
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CHAPTER III. — NOTES AND THEIR VALUES. I? 
 
 How many quarters make a half? 
 
 Two. 
 
 How many eighths make a half? 
 
 Four. 
 
 Hew many sixteenths make a half? 
 
 Eight. 
 
 How many thirty-seconds make a half? 
 
 Sixteen. 
 
 How many sixty-fourths make a half? 
 
 Thirty-two. 
 
 How many eighths make a quarter? 
 
 Two. 
 
 How many sixteenths make a quarter? 
 
 Four. 
 
 How many thirty-seconds make a quarter? 
 
 Eight. 
 
 How many sixty-fourths make a quarter ? 
 
 Sixteen. 
 
 How many sixteenths make an eighth? 
 
 Two. 
 
 How many thirty- seconds make an eighth * 
 
 Four. 
 
 How many sixty-fourths make an eighth? 
 
 Eight. 
 
 How many thirty-seconds make a sixteenth? 
 
 Two. 
 
 How many six'y-fourths n.ake a sixteenth? 
 
 Four. 
 
 (The pupil will derive much benefit from writing exercises 
 on the proportion of the notes.) 
 
CHAPTER IV. 
 
 ON THE DOT AND THE PROPORTION 
 OF THE NOTES. 
 
 What is the effect of a dot after a note? 
 
 It increases the value of the note one half. 
 
 How many half notes are there in a dotted whole? 
 
 Three. 
 
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 How many quarters in a dotted whole note? 
 
 Six. 
 
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 How many eighths? 
 
 Twelve. 
 
 How many sixteenths? 
 
 Twenty-four. 
 
 How many thirty-seconds? 
 
 Forty-eight, 
 
 How many quarters in a dotted half note? 
 
 Three. 
 
 (18) 
 
CHAPTER IV. — DOTTED NOTES, 19 
 
 How many eighths ? 
 
 Six. 
 
 How many sixteenths? 
 
 Twelve. 
 
 A dotted half 
 
 is equal to 3 1 
 
 M M M 
 
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 or 6 1 
 
 or 12 
 
 How many eighths in a dotted quarter? 
 
 Three. 
 
 How many sixteenths? 
 
 Six. 
 
 A dotted quarter 
 
 is equal to 3 
 
 or 6 
 
 f 
 
 U t 
 
 f P f f ff 
 
 How many sixteenths in a dotted eighth? 
 
 Three. 
 
 How many thirty seconds? 
 
 Six. 
 
20 CHAPTER IV. — DOTTED NOTES. 
 
 A dotted eighth I , 
 
 is equal to 3 ^ mm J J. 
 
 How many thirty-seconds in a dotted sixteenth? 
 
 Three. 
 
 How many sixty-fourths? 
 
 Six. 
 
 ON THE DOUBLE DOT. 
 What is the effect of the Double dot? 
 
 The second dot equals one half of the first 
 dot, consequently the two dots lengthen the note 
 three- fourths of its own value. 
 
 What is a half, double dotted, equal to ? 
 
 A half, a quarter, and an eighth. 
 
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 f • • , t+J/LfcT'i/ - V// 
 
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 What is a quarter, double dotted, equal to? 
 
 A quarter, an eighth, and a sixteenth. 
 
 equal to 
 
 
CHAPTER V. 
 
 ON RESTS. 
 
 What are rests? 
 
 Signs denoting silence, corresponding in value 
 with the various notes. 
 
 How is a whole rest made? 
 
 A stroke below the line. -** 
 
 How is a half rest made ? 
 
 A stroke above the line. -«. 
 
 How is a quarter rest made? 
 
 A hook turned to the right. \ 
 
 How is an eighth rest made? 
 
 A hock turned to the left. 
 
 J 
 
 How is a sixteenth rest made? 
 
 Two hooks turned to the left. JJ 
 
 How is a thirty -second rest made? 
 
 Three hooks turned to the left. M 
 
 How is a sixty-fourth rest made? 
 
 Four hooks turned to the left. 
 
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 Six- Thirty- Sixty- 
 Whole Half Quarter Eighth teenih second fourth 
 rest rest. rests. rest. rest. rest rest. 
 
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 Notice the several forms of the quarter rest now in general 
 
 («) 
 
22 CHAPTER VI. — SHARP, FLAT, NATURAL. 
 
 When the duration of a rest is prolonged, how is it expressed? 
 
 By placing a dot after it. 
 
 Whole rest. Equal to Half rest. Equal to 
 
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 mi 
 
 Quarter Eighth 
 
 rest. Equal to rest. 
 
 Sixteenth 
 Equal to rest. Equal to 
 
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 •*_♦. 
 
 CHAPTER VI. 
 
 ON THE SHARP, THE FLAT, AND THE NATURAL. 
 
 What is the effect of a Sharp (#)? 
 
 It raises the pitch of the note before which it 
 stands a half tone, and it is played on the next key 
 to the right, whether black or white. 
 
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 What is the effect of a Flat (k) ? 
 
 It lowers the pitch of the note before which it 
 stands a half tone, and is played on the next key 
 to the left, whether black or white. 
 
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 What is the effect of a Natural (fl)? 
 
 It contradicts either the Sharp or Flat, and 
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24 CHAPTER VI. — SHARP, FLAT, NATURAL. 
 
 F Sharp. F Natural. B. B Flat. B Natuial 
 
 Is the Sharp or Flat marked to every note of a musical 
 composition? 
 
 No ; the Sharps and Flats necessary to the 
 key are marked after the Clef, and are called the 
 signature; they have effect throughout the piece 
 unless canceled by a Natural. 
 
 How do we find the Sharps in their regular order? 
 
 By counting a fifth {seven semitones) above, 
 for each additional Sharp, always counting the last 
 Sharp as one. 
 
 On what letter is the first Sharp placed? 
 
 OnF. 
 
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 The second Sharp ? 
 
 On C, a fifth above F. 
 
 First Sharp. Second Sharp. 
 
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 2 3 4 
 
 On what letter is the third Sharp placed? 
 
 On G, a fifth above C. 
 
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CHAPTER VI. — SHARP, FLAT, NATURAL. 25 
 
 Second Sharp. Third Sharp. 
 
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 1 2 3 4 5 
 
 On what letters are the remaining Sharps? 
 
 The fourth Sharp is on D, the fifth on A, the 
 sixth on E, and the seventh on B. 
 
 What are the seven Sharps when placed according to their 
 order? 
 
 The seven Sharps are F, C, G, D, A, E, and B. 
 
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 By what method can we find the Flats in their regular order? 
 
 By counting a fourth {five semitones) above 
 for each additional Flat, counting the last Flat as 
 one. 
 
 On what letter is the first Flat placed? 
 
 On B. 
 
 The second Flat. 
 
 On E, a fourth above B. 
 
 First Flat. Second Flat, 
 
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z6 CHAPTER VI. — SHARP, FLAT, NATURAL. 
 
 On what letttr is the third Flat placed? 
 
 On A, a fourth above E. 
 
 Second Flat. Third Flat. 
 
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 Where are the remaining Flats found? 
 
 The fourth Flat is on D, the fifth on G, the 
 sixth on C, and the seventh on F. 
 
 What is the order of the seven Flats? 
 
 The seven Flats are B, E, A, D, G, C, and F. 
 
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 Is that order always preserved in the signature? 
 
 Yes ; the second Flat or Sharp is never placed 
 rffter the Clef unless preceded by the first, nor the 
 third without the first and second. 
 
CHAPTER VII. 
 
 ON THE DOUBLE SHARP AND DOUBLE FLAT. 
 
 What is the effect of Double Sharp (•§•)? 
 
 It raises the pitch of a note two semitones. 
 
 Where is the note played? 
 
 A note with a Double Sharp is played two 
 keys {one tone) higher ; therefore F Double Sharp 
 is played on G. 
 
 F Natural. 
 
 F Sharp. 
 
 F Double Sharp. 
 
 How is a Double Sharp contradicted? 
 
 By a Natural followed by a Sharp (bft) ; or, by 
 placing a single Sharp before the note. The latter 
 plan is the most usual. 
 
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 Wat. 
 
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 F Sharp. F Double Sharp. F Single Sharp. 
 What is the effect of a Double Flat (fife)? 
 
 It lowers the pitch of a note two semitones. 
 
 (27) 
 
28 
 
 CHAPTER VIII. — FORMATION OF SCALE. 
 
 Where is B Double Flat played? 
 
 On A, two keys {one tone) lower. 
 
 Same as A. 
 
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 B Natural. 
 
 B Flat. 
 
 B Double Flat. 
 
 How is a Double Flat contradicted? 
 
 By a Natural followed by a Flat (Jjb) ; or, by a 
 single Flat before the note. 
 
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 B Flat. B Double Flat. B Single Fiat. 
 
 Are the Double Sharps and Double Flats often used? 
 
 No, and are used as accidentals only. 
 
 A Double Sharp or Flat is used only before a note that is 
 already Sharp or Flat. 
 
 CHAPTER VIII. 
 
 ON THE FORMATION OF THE SCALE. 
 
 What is the meaning of the word Scale ? 
 
 A regular succession of eight tones upward or 
 downward. From the Italian word Scala, a ladder. 
 
CHAPTER VIII. — FORMATION OF SCALE. 
 
 2 9 
 
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 How many kinds of Scales are there in music? 
 
 Two ; the Diatonic and Chromatic, 
 
 What does the Diatonic Scale consist of? 
 
 It consists of five tones and two half tones. 
 
 What is a half tone? 
 
 The half, or semitone is the smallest interval 
 used in modern music. On the Piano-Forte there 
 is a half tone from any key to the next. From E 
 to F and B to C are half tones. 
 
 What is a tone? 
 
 An interval containing two half tones. 
 
 How are the tones and half tones arranged in the Major 
 Scale? 
 
 The Major Scale proceeds by two successive 
 tones, followed by a half tone, then by three suc- 
 cessive tones, followed by a half tone ; for instance, 
 the Scale of C Major proceeds thus ; from C to D 
 is a tone, D to E a tone, E to F is a half tone, F to 
 G a tone, G to A a tone, A to B a tone, B to C a 
 half tone. 
 
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$Q CHAPTER VIII. — FORMATION OF SCALE. 
 
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 Where do the half tones occur in the foregoing Scale? 
 
 Between the 3d and 4th, and 7th and 8th 
 degrees. 
 
 Is the descending Major Scale the same as the ascending 
 Scale? 
 
 Yes. 
 
 Where do the half tones occur in the Minor Scale? 
 
 Between the 2d and 3d, and 5th and 6th 
 degrees ; but this form is not used in the ascend- 
 ing Scale because the rules of Harmony require 
 the seventh to be raised a semitone.* 
 
 How many Minor Scales are there? 
 
 Two ; Harmonic and Melodic. The Har- 
 monic Scale has its seventh sound sharped ascend- 
 ing and descending. 
 
 Harmonic Minor. 
 
 12 3 4 5 6 
 
 7 8,,7 6 5 4 3 2 
 
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 * Every Major Scale has a relative Minor Scale which is 
 founded on the note a Minor Third (three half tones) below. The 
 relative Minor of C Major is A. 
 
CHAPTER VIII. — FORMATION OF SCALE. 
 
 31 
 
 The Melodic has the sixth and seventh of the 
 Scale made Sharp ascending, and Natural do 
 scending. 
 
 Melodic Minor. 
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 ON THE CHROMATIC SCALE. 
 
 How is the Chromatic Scale formed? 
 
 It consists of twelve successive half tones, 
 thus : C, C|, D, D#, E, F, F#, G, G|, A, A#, B, C. 
 
 ^ 
 
 — 
 
 
 i^g* 
 
 **j 
 
 tf 
 
 Can the Chromatic Scale proceed by Flats? 
 
 Yes ; generally in descending, thus : C, B, Bb # 
 A, Ab, G, G?, F, E, £?, D, Db, C. 
 
 +V*-9^W 
 
CHAPTER IX. 
 
 ON THE KEYS AND MODES. 
 
 What is the meaning of the word Key? 
 
 It is a family of the seven tones that bear 
 certain relation to each other, and may be used in 
 any possible order, while the Scale has the regular 
 order of these tones ascending or descending. 
 
 How many Keys are there in Music? 
 
 Two ; Major and Minor. 
 
 How do you know a Major Key from a Minor? 
 
 The Major Key has a Major Third, the Minor 
 Key a Minor Third. 
 
 What is a Major Third? 
 
 When from the Tonic to the Third above are 
 four half tones (on the Piano-forte five keys), the 
 Third is Major, and the Key is called a Major Key. 
 
 Half tones. Major Thin*. 
 
 s 
 
 \ 
 
 it! % i 
 
 & 
 
 -&- 
 
 (3^) 
 
CHAPTER IX. — KEYS AND MODES. 33 
 
 What is a Minor Third? 
 
 When from the Tonic to the Third above there 
 are but three half tones (on the Piano-forte four 
 keys), the Third is Minor, and the Key a Mino? 
 Key. 
 
 Minor Third. 
 
 Are there always two Keys, whether you have one, two, 
 
 three or more Sharps and Flats at the signature? 
 
 
 
 Yes ; any Key whatever must be either in the 
 Major Mode, and formed according to the natural 
 Key of C Major, or in the Minor Mode, and then 
 formed like the natural Key of A Minor. 
 
 What is the rule respecting the situation of the Major and 
 Minor Keys? 
 
 When Sharps are after the Clef, the Tonic of 
 the Major Key is a half tone above the last Sharp, 
 and the Tonic of the Minor Key is a tone below 
 the last Sharp. 
 
 Bj this rule, what are the Keys with one Sharp ? 
 
 The Keys of G Major a half tone above tne 
 *s and E Minor, a tone below FJf. 
 
34 
 
 CHAPTER IX. — KEYS AND MODES. 
 
 '±± 
 
 I 
 
 3£ 
 
 ^0 
 
 I 
 
 What are the Keys with two Sharps? 
 
 The Keys of D Major and B Minor. 
 
 # 
 
 -&- 
 
 a# 
 
 
 What are the Keys with three Sharps? 
 
 
 
 The Keys of A Major and FJf Minor. 
 
 What are the Keys with four Sharps? 
 
 E Major and Cfl Minor. 
 
 £fe 
 
 
 ±± 
 
 What are the Keys with five Sharps? 
 
 The Keys B Major and G$ Minor. 
 
CHAPTER IX. — KEYS AMD MODES. 
 
 35 
 
 What are the Keys with six Sharps? 
 
 The Keys of F$ Major and D$ Minor. 
 
 What are the Keys with seven Sharps? 
 
 C$ Major and AC Minor. 
 
 ON THE KEYS WITH FLATS AT THE SIGNATURE. 
 
 How are the Keys with Flats situated? 
 
 The last Flat is aiways on four of the Major 
 Scale, so the Tonic is a Fourth below the last Flat ; 
 the Tonic of the Minor Key is a Third above the 
 last Flat. 
 
 By this rule, what are the Keys with one Flat? 
 
 Bb, being four of the Scale, F would be one 
 of F Major ; D, being a Third above the Bb, would 
 be D Minor. 
 
 What are the Keys with two Flats? 
 
 The last Flat being Eb, a Fourth below is Bb ; 
 Bb Major ; G is a Third above, would be G 
 Minor. 
 
 9—&-V 
 
36 CHAPTER IX. — KEYS AND MODKfc. 
 
 What are the Keys with three Flats? 
 
 Eb Major and C Minor. 
 
 What are the Keys with four Flats? 
 
 Ab Major and F Minor. 
 
 With five Flats ? 
 
 Db Major and Bb Minor. 
 
 With six Flats? 
 
 Gb Major and Eb Minor. 
 
 With seven Flats? 
 
 Cb Major and Ab Minor. 
 
 How many Keys are there? 
 
 Fifteen Major and fifteen Minor Keys. 
 
 What are the Major Keys? 
 
 C, no Sharp or Flat; G, one Sharp ; D, two 
 Sharps ; A, three Sharps ; E, four Sharps ; B, five 
 Sharps ; Fiji, six Sharps ; Ctt, seven Sharps. 
 
 IS 
 
 fgg^fefjsjg j 
 
CHAPTER IX. — KEYS AND MODES. 37 
 
 F, one Flat ; B?, two Flats ; E?, three Flats ; 
 A?, four Flats ; D!> five Flats ; Gt>, six Flats ; O, 
 seven Flats. 
 
 F Bb El> A? 
 
 ?— — - 
 
 ^=2 
 
 D? Gi> O 
 
 MINOR KEYS WITH SHARPS AND FLATS. 
 
 A E B , Fjt , Cti 
 
 fTJ ■ _^ ^^5 ^^ ■ ^i ^^^S ^ ■ 
 
 D G C 
 
 #JjgEgEjEpEgEJg^^ 
 
 Bb Ei> Ab 
 
 -k-4- 
 
 
CHAPTER X. 
 
 ON TIME. 
 
 What are Bars ? 
 
 Upright lines drawn across the Staff to divide 
 the music into equal proportions. 
 
 What are these proportions called 
 
 Measures. 
 
 What is Time? 
 
 The duration of sounds in general. 
 
 How many kinds of Time are there? 
 
 Two principal, viz. : Common and Triple 
 
 How are these two species sub-divided? 
 
 Into Simple and Compound. 
 
 How is simple Common Time expressed? 
 
 Byg<r^; also by ^. 
 
 What must a measure of Common Time marked \~ contain? 
 
 Four quarters, or the length of a whole note 
 
 in other notes. 
 
 (38) 
 
:hapter x. — TIME. 
 
 39 
 
 ^ 
 
 ^- 
 
 
 What does a measure of the species of Common Time 
 
 marked . contain? 
 
 Two quarters, or four eighths, or the length of 
 a half note in other notes. 
 
 SSEE 
 
 S 
 
 ^e 
 
 -»-*- 
 
 What is the meaning of the figures ^, ? 
 
 The numerator denotes how many, the de- 
 
 nominator what kind in each measure, thus : J 
 shows two quarters, or their value, in each measure. 
 
 What is cmpound Common Time? 
 
 Two simple Triple measures joined into one. 
 
 How many species are there? 
 
 Two principal, viz.: o and o . 
 
 n 
 
 What is the meaning of the figures ^j? 
 
 That every measure contains six eighths, or 
 their value. 
 
4Q 
 
 CHAPTER X. — TIME. 
 
 -N 
 
 9 9~ 
 
 ! 
 
 What is the meaning of q ? 
 
 That every measure contains twelve eighths, 
 or their value. 
 
 n-«< 
 
 999 
 
 999 
 
 999 
 
 • ^m • 
 
 *"^ 
 
 1 
 
 There are also ^ and ^ , but they are seldom 
 used. 
 
 TRIPLE TIME EXPLAINED. 
 How many kinds of Triple Time are there? 
 
 Three, viz.: *>, a and 
 
 Explain each species. 
 
 The numerator shows how many, and the 
 denominator what kind in each measure. 
 
 1 
 
 2=^ 
 
 ^ 
 
 -& 
 
 9 
 
 -&- 
 
 \ 
 
 -p-P 
 
 9^-^—9 
 
 &^ 
 
CHAPTER XI. — COUNTING, BEATING TIME. 41 
 
 How many species of compound Triple Time are there? 
 
 n n 
 
 Two principal, viz.: g and J; the latter is not 
 used in modern music. 
 
 What is the meaning of *i? 
 
 That every measure contains nine eighths, or 
 their value. 
 i+ 
 
 CHAPTER XI. 
 
 ON COUNTING AND BEATING TIME. 
 
 how is the Time of a musical composition to be counted? 
 
 In various ways, according to the number of 
 parts contained in each measure, also according 
 to the speed of the movement. 
 
42 CHAPTER XI. — COUNTING, BEATING TIME. 
 
 In Common Time, 5-7, how is the time counted? 
 
 The quarter being the measure note, four are 
 counted in each measure. 
 
 Moderate 
 
 12 3 4 
 
 12 3 4 
 
 In slow movement, it is better to sub-divide 
 each part and to count eight eighths in each 
 measure. 
 
 Grave. 
 
 — 1 — k[— ffi 1 — [— 1 
 
 B 
 
 12345678 12 1J* 4 5678 12 34 
 
 How do you count Common Time marked Tf ? 
 
 Two quarters in a measure. 
 
 Allegretto. 
 
 4 
 
 In slow movements it is better to count four 
 eighths. 
 
CHAPTER XI. — COUNTING, BEATING TIME. 43 
 
 How do you count compound Common Time, marked q? 
 
 n 
 
 One to each dotted quarter or its value. Two 
 counts in each measure. 
 
 In slow movement it is better to count six 
 eighths. 
 
 How do you count Triple Time marked 
 
 Three quarters in a measure. 
 
 4 
 
 How do you count Triple Time marked 
 
 Three eighths in a mea sure. 
 
 h 
 
 Ifcfet 
 
 1 f i 1 I 
 
 1 23 
 
 ON BEATING TIME. 
 Is it necessary to beat Time. 
 
 It is better to count it, and aloud ; singers, and 
 players on v/ind instruments, being preventedfrom 
 counting, must beat the time. 
 
44 CHAPTER XII. — ITALIAN WORDS. 
 
 How do we beat Double Time, J7^, ±i or 
 
 Down, up. 
 
 to o 
 > B or S? 
 
 Down, right, up. 
 
 4 
 
 Quadruple Time, -J or ££? 
 
 Down, left, right, up. 
 
 CHAPTER XII. 
 
 ON THE ITALIAN WORDS DENOTING THE SPEED 
 AND THE CHARACTER OF A MOVEMENT. 
 
 How is the speed of a movement or a piece of music 
 indicated? 
 
 Chiefly by the Italian word or words affixed at 
 the beginning. 
 
 What are these words, and what is their meaning? 
 
 The following are in general use ; they are 
 classed here from slow to quick. 
 
 i. Crave, very slow. (X^t^C [0^± j^jftr^ 
 
 2. Adagio, a degree faster. ^W-^J /P /TLv-/*" 
 
 3. Largo, slow, and in a broad style. 
 
 4. Larghetto, a degree faster than largo. 
 
CHAPTER XII.— ITALIAN WORDS. 45 
 
 5. AndanlinOy somewhat slow and flowing. 
 
 6. Andante, a degree faster than andantino. 
 
 7. Moderate, moderate time. 
 
 8. Allegretto, not so quick as allegro. 
 
 9. Allegro, lively, quick. 
 
 10. Vivace, with spirit, fast. 
 
 11. Presto, very quick. 
 
 12. Prestissimo, as quick as possible. 
 
 What is the meaning of the following words : Assai, motto, 
 yiu, peco, non troppo ? 
 
 The words, when joined to any of the fore- 
 going, serve to extend or modify their meaning ; as 
 Adagio non troppo, not too slow. 
 Allegro assai, very quick. 
 Piu presto, quicker than presto. 
 Poco presto, a little quick. 
 
 How is the character of a piece and its style indicated 1 
 
 Generally by Italian words. 
 
 What words are mostly used ? 
 
 Affetluso, affectionate. 
 
 Agitato, agitated. 
 
 /imoroso, tenderly. 
 
 Brillante, brilliantly. 
 
 Cantabile, in a singing style, flowing. 
 
 Con brio, with spirit. 
 
 Con fuoco, with fire. 
 
46 CHAPTER XIII. — GRACES. 
 
 Con gusto, with taste. 
 
 Furioso, with great spirit. 
 
 Pastorale, in a simple and tender style. 
 
 Sostenulo, sustained. 
 
 Scherzando, playfully. 
 
 Vigoroso, with force. 
 
 Where are these words placed? 
 
 After the Italian word denoting the speed of 
 the movement, thus : Andante affetuoso, Allegro 
 agitato, Allegro con brio, Anda?itino amoroso. 
 
 CHAPTER XIII. 
 
 ON GRACES OR EMBELLISHMENTS. 
 
 What are the principal graces made use of in musical com- 
 positions ? 
 
 The Appoggiatura, the Acciaccatura, the Furn 
 and the Shake, or Trill. 
 
 How is the Appoggiatura or leaning note expressed? 
 
 By a small note placed before the large one 
 which it is intended to ornament. 
 
 How many kindsof Appoggiatura are there? 
 
 Two, the upper and the lower. 
 
 Explain both. 
 
 The upper Appoggiatura may be a tone 01 a 
 
CHAPTER XIII. — GRACES. 
 
 47 
 
 half tone above the principal note, the lower is 
 always a half tone below. 
 
 What is the length of the Appoggiatura ? 
 
 It borrows half the value of the principal note 
 which it precedes. 
 
 Written. 
 
 i ft 
 
 v- 
 
 1 
 
 -&- 
 
 ~&- 
 
 -&- 
 
 Played. 
 
 How is the Acciaccatura expressed and performed? 
 
 The Acciaccatura is also expressed by a small 
 note, but has a line drawn across the stem, and is 
 played very short. 
 
 Written. 
 
 ft V ft ft 
 
 -<5>- 
 
 * 
 
 * 
 
 W- 
 
 ±-6h 
 
 i 
 
 Played. 
 
48 
 
 CHAPTER XIII. — GRACES. 
 
 How is the Turn expressed and performed? 
 
 The Turn is the union of the upper and lower 
 grace-notes ; it is either direct, prepared, or in- 
 verted. 
 
 How is the direct Turn performed ? 
 
 It begins with the note above the principal, 
 and is marked S\J>. 
 
 Written. Played. 
 
 . -^— 
 
 1 
 
 How is the prepared Turn played? 
 
 The note is played first, and then the turn. 
 
 Played. 
 
 How is the inverted Turn played? 
 
 The inverted Turn begins with the note belov 
 and ends on the principal note. 
 
 Written. Played. 
 
CHAPTER XIII. — GRACES. 
 
 49 
 
 When a Sharp. Flat or Natural is placed over or undei a 
 Turn, what does it indicate ? 
 
 When placed over the Turn it shows that the 
 highest note is to be played sharp, flat or natural, 
 as the case may be ; and if under, the lower note 
 to be similarly treated. 
 
 Written 
 
 I 
 
 Played. 
 
 fe 
 
 J L 
 
 m 
 
 Played. 
 
 How is the Shake or Trill marked and performed? 
 
 The Shake, marked ( fffX an abbreviation of 
 
 the Italian word trillo, is a quick and alternate 
 repetition of two notes, the principal note and the 
 note above. 
 
 How many kinds of Shakes are there? 
 
 Three ; the passing, the plain, and the Shake 
 with a turn. 
 
5o 
 
 CHAPTER XIII. — GRACES. 
 
 How are these performed ? 
 
 The passing Shake is very short. 
 
 Played. 
 
 * A 
 
 Written. 
 
 tr tr 
 
 ¥*=* 
 
 ?-#" 
 
 .' 
 
 m 
 
 w 
 
 The plain Shake is longer. 
 
 Played. 
 
 The Shake with a turn, which is generally 
 introduced at the end of a piece, is played thus : 
 
 Written. 
 
 tr 
 
 i 
 
 4=^- 
 
 :St==1 
 
 Played. 
 
 #-#-##-#-f*-#A#-r 1 -## 
 
 4 
 
 u 
 
 ^-** 
 
CHAPTER XIV. 
 
 ON EXPRESSION. 
 
 What are the i rincipal means of expression? 
 
 Strict attention to the accents, emphasis, 
 syncopation, and a close observance of legato, 
 staccato, crescendo and diminuendo. 
 
 I. ON ACCENTS. 
 What is meant by accent in music? 
 
 The stress given to one note in preference to 
 another, according to its place in the measure. 
 
 Where are the accents placed in Common Time? 
 
 In Common Time, of four quarters in a 
 measure, the first and third parts are accented, 
 and the second and fourth unaccented. 
 
 T3 
 
 T3 
 
 *o 
 
 -o 
 
 •o 
 
 T3 
 
 "O 
 
 •o 
 
 13 
 
 T3 
 
 T3 
 
 T3 
 
 <U 
 
 a 
 
 u 
 
 t> 
 
 V 
 
 U 
 
 V 
 
 t> 
 
 0) 
 
 U 
 
 V 
 
 o 
 
 4-1 
 
 4-J 
 
 *-» 
 
 — > 
 
 w 
 
 «J 
 
 ~ 
 
 4-1 
 
 4-1 
 
 4-1 
 
 4-> 
 
 4-t 
 
 c 
 
 r* 
 
 C 
 
 c 
 
 r< 
 
 s 
 
 c 
 
 G 
 
 c 
 
 c 
 
 c 
 
 c 
 
 V 
 
 1) 
 
 c 
 
 V 
 
 U 
 
 I) 
 
 <u 
 
 V 
 
 V 
 
 u 
 
 V 
 
 4) 
 
 o 
 
 U 
 
 (J 
 
 (J 
 
 o 
 
 o 
 
 CJ 
 
 o 
 
 u 
 
 CJ 
 
 o 
 
 O 
 
 u 
 
 U 
 
 u 
 
 u 
 
 o 
 
 o 
 
 o 
 
 (J 
 
 u 
 
 u 
 
 u 
 
 () 
 
 
 < 
 
 
 < 
 
 (3 
 
 < 
 
 ed 
 
 s 
 
 <J 
 
 c 
 
 <J 
 
 c 
 
 < 
 
 E> 
 
 
 £ 
 
 
 S3 
 
 
 P 
 
 
 p 
 
 
 p 
 
 
 In this ordtr alvva^ s preserved? 
 
 No ; in slow movements, when the quarters 
 
 (51) 
 
52 
 
 CHAPTER XIV. — EXPRESSION. 
 
 are divided into eighths, the accents are more 
 frequent ; they fall upon the first, third, fifth, and 
 seventh eighths ; the second, fourth, sixth and 
 eighth are unaccented. 
 
 How are the accents placed in 
 
 4 
 
 The first quarter is accented \ the other un- 
 accented. 
 
 -&- 
 
 \ 
 
 v 
 
 
 V 
 
 -a 
 
 c 
 
 a 
 
 c 
 
 c 
 
 G 
 
 V 
 
 V 
 
 V 
 
 <u 
 
 u 
 
 o 
 
 o 
 
 o 
 
 o 
 
 o 
 
 u 
 
 o 
 
 <j 
 
 o 
 
 u 
 
 
 < 
 
 a 
 
 < 
 
 a 
 
 13 
 
 
 J3 
 
 
 £ 
 
 T3 
 (U 
 
 4-» 
 
 o 
 o 
 
 How are the accents placed in compound Common Time; 
 for instance, |jf? 
 
 The accent falls upon #«£ and four ; when 
 two dotted quarters occur in a measure, the first 
 dotted quarter receives the heaviest accent. 
 
 ■o 
 
 T3 
 
 H3 
 
 T3 
 
 T3 
 
 T3 
 
 *T3 
 
 0) 
 
 <u 
 
 <u 
 
 <U 
 
 u 
 
 (U 
 
 D 
 
 *■> 
 
 4-1 
 
 4-1 
 
 *J 
 
 ■*-» 
 
 w 
 
 4-1 
 
 G 
 
 c 
 
 G 
 
 a 
 
 c 
 
 c 
 
 c 
 
 4) 
 
 4> 
 
 <U 
 
 V 
 
 V 
 
 V 
 
 <u 
 
 O 
 
 o 
 
 o 
 
 o 
 
 u 
 
 o 
 
 (J 
 
 O 
 
 o 
 
 u 
 
 o 
 
 o 
 
 o 
 
 o 
 
 * 
 
 "< 
 
 < 
 
 <J 
 
 < 
 
 
 «i 
 
CHAPTER XIV. — EXPRESSION. 
 
 53 
 
 How are the accents placed in Triple Time? 
 
 One of the measure is accented, two and three 
 unaccented. 
 
 a 
 
 ¥■ 
 
 * 
 
 &1 
 
 
 T3 
 
 T3 
 
 -o 
 
 T3 
 
 T3 
 
 •a 
 
 T5 
 
 t3 
 
 13 
 
 T3 
 
 41 
 
 4> 
 
 V 
 
 u 
 
 V 
 
 V 
 
 <u 
 
 41 
 
 41 
 
 41 
 
 4-> 
 
 4-1 
 
 4-» 
 
 4J 
 
 4-1 
 
 4-1 
 
 4-> 
 
 4-i 
 
 *>J 
 
 4-> 
 
 c 
 
 c 
 
 c 
 
 c 
 
 e 
 
 c 
 
 C 
 
 = 
 
 c 
 
 c 
 
 41 
 
 11 
 
 41 
 
 11 
 
 V 
 
 u 
 
 41 
 
 V 
 
 41 
 
 41 
 
 u 
 
 o 
 
 o 
 
 <J 
 
 o 
 
 o 
 
 O 
 
 O 
 
 O 
 
 O 
 
 o 
 
 o 
 
 o 
 
 o 
 
 CJ 
 
 o 
 
 u 
 
 CJ 
 
 o 
 
 o 
 
 < 
 
 c 
 
 e 
 
 <J 
 
 c 
 
 a 
 
 «i 
 
 
 c 
 
 <! 
 
 
 p 
 
 £ 
 
 
 13 
 
 £ 
 
 
 £ 
 
 £ 
 
 
 In a slow movement, when each measure con- 
 sists of six eighths, the first, third and fifth eighths, 
 are accented ; the second, fourth and sixth are 
 unaccented. 
 
 Does every piece of music always begin with the first part 
 of the measure? 
 
 No ; for the sake of keeping the accents in 
 proper places, a piece frequently begins with the 
 last part of the measure ; then the last measure 
 must be short that part. See example on page 51. 
 
 2. ON EMPHASIS. 
 What is meant by emphasis? 
 
 Emphasis is a deviation from the rules given 
 concerning the accents ; it takes place when a note 
 which should not be accented has a stress given 
 to it ; for instance, in Common Time, the second 
 aud fourth parts of the bar are unaccented. 
 
54 
 
 CHAPTER XIV. — EXPRESSION. 
 
 Should a stress be laid on one of these parts, it 
 will be termed an emphasis. 
 
 How is the emphasis marked ? 
 
 By a small angle — < under or over the note ; 
 also by the words sforzando, sforzato, or their 
 abbreviations, sforz., sf., rf., fz. y rfz. y or even f t 
 over a single note. 
 
 3. ON SYNCOPATION. 
 
 What is the meaning of the word Syncopation ? 
 
 Syncopation takes place when the unaccented 
 part of a measure is joined with the next accented 
 part. This occurs — 
 
 1. When long notes are placed between two 
 others of shorter duration, as a half between two 
 quarters, or three quarters between two eighths. 
 
 or 
 
 # #— | 
 
 & 
 
 a— — # 
 
 2. When two notes are connected by a tie 
 or bind, either in the middle of a measure or 
 
CHAPTER XIV. — EXPRESSION. 
 
 55 
 
 from the last note of a measure to the first of the 
 next. 
 
 
 IZf 
 
 
 II 
 
 When Syncopation takes place, how can the Piano-Forte 
 player keep time*? 
 
 The Treble and Bass seldom syncopate to- 
 gether ; one part generally marks the time by 
 equal notes. 
 
 ON THE LEGATO AND STACCATO. 
 
 What is the meaning of the word legato? 
 
 This Italian word signifies a smooth and con- 
 nected style of playing ; blending the sound of 
 one note with that of the next. 
 
 How is this effected ? 
 
 By keeping each key down until the next is 
 struck. 
 
 How is legato expressed ? 
 
 By the curved lines over the notes, which „ re 
 called slurs. 
 
56 CHAPTER XIV. — EXPRESSION. 
 
 What do small dashes placed over notes signify ? 
 
 That the notes are to be played short and 
 distinct, lifting the finger from the key when one- 
 f airth of the length of the note has expired. 
 
 Written. Played. 
 
 g-JM^M^iN^fap^ 
 
 v 
 
 How is this style of playing denominated? 
 
 It is called Staccato^ and produces a fine effect 
 when properly contrasted with the legato style. 
 
 When dots are placed over the notes, how are they to be 
 placed? 
 
 Not so short as the dashes ; the finger is lifted 
 when one-half of the length of the note has ex- 
 pired. 
 
 Written. Played. 
 
 What is meant when a Slu is placed over a succession of 
 dots? 
 
 That the finger is lifted when three-quarters 
 of the length of the note has expired. 
 
 
CHAPTER XIV. — EXPRESSION. 57 
 
 Written. Played. 
 
 — ■ • I TT ^ V 1 
 
 5. ON THE MODIFICATION OF THE SOUNDS. 
 
 What is the meaning of the word piano, abbreviated pii. 
 ox p.? 
 
 To be played in a soft and delicate manner. 
 
 What is the meaning of mezzo-piano, abbreviated 7nJ>.? 
 
 A degree greater than piano and less than 
 forte. 
 
 Whac is the meaning of pianissimo, abbreviated pp.? 
 
 The utmost degree of softness. 
 
 What is the meaning of forte, abbreviated for. or /.? 
 
 To be played with energy and force — loud. 
 
 What signifies mezzo-forte , abbreviated mf.? 
 
 Medium, between forte and piano. 
 
 W T hat signifies forth„*mo, abbreviated^"./ 
 
 The greatest degree of force ; avoiding, how* 
 ever, any roughness. 
 
58 
 
 CHAPTER XIV. — EXPRESSION. 
 
 What is the meaning of the word crescendo, abbreviated 
 cres.? 
 
 A gradual increase from soft to loud, marked 
 
 What is meant by the word diminuendo , abbreviated dim.? 
 
 A gradual diminishing from loud to soft, 
 marked >=— . 
 
 When these two angles are opposite each other, thus: 
 — <C^ ~^^ = =~ > what does it mean? 
 
 That the sounds must be gradually increased 
 from soft to loud, and afterwards gradually dim- 
 inished from loud to soft. 
 
 What is the meaning of the word tremando written over 
 some chords? 
 
 That the chords must be divided into two 
 parts, and played with rapidity as a shake. 
 
 Tremando. Written. 
 
 a. 
 
 zz 
 
 & 
 
 
 & 
 
 3 
 
 & 
 
 J? 
 
 sP 
 
 \ 
 
CHAPTER XIV. — EXPRESSION. 
 
 59 
 
 Played. 
 
 What is the meaning of the word arpeggio? 
 
 That the chord must be played in rapid suc- 
 cession from the lowest note to the highest, instead 
 of striking them all at once. This is usually 
 expressed by a waved line before the chord. 
 
 Written. 
 
 Played. 
 
 
 ^ziz 
 
 What is the meaning of the word pedal, abbreviated Fed.? 
 
 That the damper or right-hand pedal must be 
 pressed with the foot, to raise the dampers and let 
 the vibration continue. A star (2£) is usually 
 placed when it is to be discontinued. 
 
 In what passages is the damper p e da /introoi ced? 
 
 Chiefly in passages in which the same Har- 
 mony is continued ; when the chords are changed, 
 the pedal must be dropped. 
 
6o 
 
 CHAPTER XIV. — EXPRESSION. 
 
 What is the Bind or Tie? 
 
 A curved line placed over two notes on the 
 same line or space of the staff. 
 
 What is the effect of the Tie ? 
 
 The first note only must be struck, and kept 
 down the whole length of the two notes. 
 
 ■8 
 
 S v 
 
 in H 
 
 o 
 
 3 
 U 
 
 4-1 
 
 cn 
 
 <L> 
 
 H 
 
 o 
 
 3 
 u V 
 
 o 
 
 3 
 — 
 
 • mm 
 
 H 
 
 m 
 
 What is a Pause? 
 
 A semicircle with a dot, ^\ and signifies that 
 the value of the note or rest over which it is placed, 
 is to be increased about twice its length. When 
 placed over a double bar, it indicates the close of 
 a piece of music. 
 
CHAPTER XV. 
 
 ON SOME CHARACTERS IN COMMON USE. 
 
 What is the use of single lines drawn across the staff? 
 
 These small lines are called bars and serve to 
 divide a piece of music into equal portions, called 
 
 measu "es. 
 
 ist strain. 
 
 2d strain. 
 
 I! 
 
 II 
 
 W> at is the use of the Double Bar? 
 
 ty serves to divide a piece cf music into two, 
 throe or more parts, called strains. When dots 
 are placed on both sides of the double bar, both 
 parts are to be repeated ; when the dots are only 
 on one side of the double bar, the part on the 
 same side as the dots is to be repeated. 
 
 W^at is the use of the Brace, \ ? 
 
 It serves in Piano-Forte music to connect the 
 tv. u staffs, the upper of which is for the right hand, 
 and the lower for the left. 
 
 What is the meaning of the words Da Capo, abbreviated 
 D. Cf 
 
 They signify that the performer must play over 
 again part of a piece from the beginning. 
 
 (61) 
 
62 
 
 CHAPTER XV. — CHARACTERS. 
 
 What is the meaning of the words Dal Segno? 
 
 These words refer to a preceding mark of 
 repeat, and indicate that the part of the piece must 
 
 be repeated from the sign, S^, to Fine. 
 
 What is the use of the figures i and 2 placed over some notes 
 -\X a Double Bar? 
 
 They signify that a part of the piece must be 
 played twice ; and that in playing it the second 
 Mme, the performer must omit the bar marked i, 
 and instead of it play the bar marked 2. 
 
 What is the meaning of the word ottava, generally abbre- 
 viated 8va, followed by dots? 
 
 That the notes over or under which it is placed 
 are to be played respectively an octave higher or 
 lower. 
 
 Writt-n. 
 
 8va 
 
 ^k - Z- 
 
CHAPTER XV. — CHARACTERS. 
 
 6j 
 
 * 
 
 
 Written. 
 
 i 
 
 g^g^g 
 
 -f- 
 
 Sva 
 
 R: 
 
 
 
 
 Played. 
 
 
 J 
 
 J 
 
 
 1- 
 
 H 
 
 
 1 1 p- 
 
 
 " J 
 
 
 -#- 
 
 -V- 
 
 J. 
 
 1 1 r- 
 
 ■^ -4 -+ 
 
 — f 
 
 — ^- J 
 
 What is the meaning of the word /<?^.^ 
 
 It is generally used after the word ottava, and 
 signifies that the music must be played as written. 
 
 What do the letters R. H. or M. D. under some notes in the 
 Bass signify? 
 
 That they are to be played with the right hand, 
 main droit, crossing over the left. 
 
 What do the letters L. H. or M. G. over some notes in the 
 Treble signify? 
 
 That they are to be played with the left hand 
 main gauche ', crossing over the right. 
 
 What is the meaning of V. S. {Volti Subito), placed at the 
 bot-**)m of the page? 
 
 The performer must turn the page quickly. 
 (Generally found in old publications and manu- 
 script copies.) 
 
CHAPTER XVI. 
 
 ON ABBREVIATIONS AND LICENSES. 
 
 What is the meaning of a dash over or under a whole note 
 o through the stem of a half or a quarter? 
 
 That the notes are to be divided into eighths. 
 
 Written. 
 
 ^ 
 
 ^ 
 
 -&- 
 
 ^m 
 
 Played. 
 
 0-0-0-0-0-\ 
 
 What is the meaning of a double stroke through the stem o( 
 a half era quarter note ? 
 
 That the half or quarter is to be divided into 
 sixteenths. 
 
 # 
 
 f— h , 
 " 00 00 
 
 & 
 
 What is the meaning of a dash after a group of notes ? 
 
 That the preceding group is to be repeated. 
 
CHAPTER XVI. — ABBREVIATIONS. 
 
 65 
 
 Written. 
 
 Played. 
 
 1 
 
 1 
 
 m 
 
 Segue after a group of notes has the same 
 meaning. 
 
 ON SOME LICENSES. 
 
 What is the meaning of the figure 3 placed over or undei 
 three quarters, eighths or sixteenths. 
 
 It shows that three quarters, eighths, or six- 
 teenths, must be played in the time of two ; each 
 group is called a triplet. 
 
 9^ 
 
 Ej 
 
 t 
 
 What is the meaning of the figure 6 placed over or undei 
 six eighths or sixteenths ? 
 
 It signifies that the six eighths or sixteenths 
 must be played in the time of four of the same 
 soecies. 
 
66 
 
 CHAPTER XVII. — POSITION. 
 
 Is the same rule observed with respect to other figures, as 5, 
 7, 9» ctc ? 
 
 Yes ; five eighths are played in the same time 
 as four, seven as six, and nine as eight of the same 
 species. 
 
 The figures 3 and 6 are sometimes onvtted ; then the manner 
 of grouping the notes indicates the mode of playing them. 
 
 CHAPTER XVII. 
 
 ON THE POSITION OF THE BODY, ARMS AND 
 HANDS AT THE PIANO-FORTE. 
 
 What is the proper position of the body and arms at the 
 . Piano-Forte? 
 
 The performer's attitude, being seated opposite 
 the centre of the key-board, must be erect, with- 
 out the appearance of constraint ; the arms from 
 the elbows upwards must be a little advanced, and 
 close to the body, except when the right bind r^avs 
 
CHAPTER XVIII. — FINGERING. 67 
 
 on the upper part, or the left on the lower part of 
 the instrument ; in which case the arms are neces- 
 sarily a little extended; the shoulders must never 
 be raised; the seat of the performer must be so 
 adjusted as not to require their elevation. 
 
 What is the proper position of the hands and fingers on the 
 key -board? 
 
 The hands must be a little above the keys, the 
 wrist turned slightly inward, so as to prevent the 
 thumb from being withdrawn from the keys. The 
 fingers must be bent, and each finger must be over 
 the centre of its respective key. In striking a key 
 with a finger, the others must not move, and the 
 finger which has struck a key must be kept down 
 until the next key is struck, when it must be raised. 
 When rests occur, the fingers must be raised from 
 the keys. 
 
 CHAPTER XVIII 
 
 ON FINGERING. 
 
 What is understood by fingering ? 
 
 The proper disposition of the fingers during 
 performance. The hands should be kept as much 
 as possible over the five keys, so that each finger 
 may cover its respective key, and the motion of 
 the hands be scarcely perceived. 
 
68 CHAPTER XVIII.— FINGERING. 
 
 How is the fingering expressed? 
 
 The thumb is marked by a cross, X; the 
 fingers, i, 2, 3 and 4. In Europe 1, 2, 3, 4, 5 are 
 used and the X omitted. 
 
 When a Diatonic succession extends beyond five note*, how 
 
 is it played ? 
 
 By passing the thumb under the long fingers 
 in ascending, and these over the thumb in de- 
 scending. 
 
 Under which finger is the thumb to be passed in ascending? 
 
 In ascending, the thumb of the right hand 
 may pass under the first, second or third finger, 
 seldom under the fourth finger. 
 
 Note. — The foreign fingering is placed over the notes: the 
 A.meric.in (so called) fingering is below the notes. 
 
CHAPTER XVIII. — FINGERING. 
 
 69 
 
 In descending, the first, second or third finger 
 nay be passed over the thumb, the little finger 
 but seldom. 
 
 5 
 
 •£■■#- ^12 1 
 
 
 XIX 
 
 1 3 
 
 X 2 
 
 3 2 
 
 Is ft allowed to pass one of the fingers over another? 
 
 No ; for besides being awkward, it would 
 prevent the sounds blending into each other. 
 
 Is it allowed to play two or three consecutive notes with the 
 same finger? 
 
 No ; unless a rest intervenes, every note should 
 be played with a different finger. 
 
 Which are the principal means of facilitating the execution 
 of rapid passages? 
 
 First, by changing fingers when a note is 
 repeated. 
 
7o 
 
 CHAPTER XVIII. — FINGERING. 
 
 13 O 
 
 3 2 ^ 1 3 1 3 
 
 -f — - 
 
 
 
 
 21X 21X 21X 
 
 Secondly, by making use of contractions. 
 
 Thirdly, by extensions. 
 
CHAPTER XVIII. — FINGERING. 
 
 7i 
 
 4X214 
 
 Which is the proper fingering of the scales? 
 
 In the Key of C, and in keys with Sharps at 
 the signature, viz.: G, D, A, E and B (Major and 
 Minor), the thumb of the right hand plays the first 
 and fourth degrees of the scale, ascending and 
 descending. 
 
 i 
 
 1 2 X 
 
 e 
 
 $ ft „ . m-^-f- 
 
 #— ±*-f F— ' — 
 
 -H 
 
 The Key of F$ is an exception to this rule. 
 
?2 
 
 CHAPTER XVIII. — FINGERING. 
 
 What is the fingering of the Keys with Flats at the signature? 
 
 In the Major Keys of F, Bb, Eb, Ab, and Db, 
 the thumb of the right hand is placed on F and C, 
 ascending and descending. 
 
 How are the scales fingered with the left hand? 
 
 In C and the Keys with Sharps, the thumb 
 must be placed on the fifth and eighth degrees of 
 the scale. 
 
 9i 
 
 1 
 
 0—^ 
 
 0—* 
 
 \ 
 
 X 
 
 X 
 
 m 
 
 5 
 
 *— + 
 
 w—o 
 
 O JL 
 
 X 2 X 
 
 The Key of B and Fn Major form exceptions 
 to this rule ; in B Major the thumb falls on the 
 fourth and eighth of the scale, in Ftt Major on the 
 fourth and seventh of the scale. 
 
 B Major. 
 
 g$# 
 
 
 X 3 
 
 1 
 
 \ 
 
 
CHAPTER XVIII. — FINGERING. 
 
 73 
 
 FJ Major. 
 4 3 2 1 
 
 9*%? 
 
 -ff" 
 
 Bj? 
 
 +r— # 
 
 x 
 
 #- * 
 
 X 
 
 m 
 
 How are the scales with Flats fingered with the left hand? 
 
 In Major Keys with Flats, as Bb, Eb, Ab and 
 Db, the thumb of the left hand falls on the third 
 and seventh of the scale. 
 
 Bk Maj 
 
 or. 
 
 *ii 
 
 3*3 
 
 £ 
 
 -0— F 
 
 
 X 
 
 X 
 
 The scale of F (Major and Minor) is an excep- 
 tion to this rale ; the thumb falls on the fifth and 
 
 eighth degree of the scale. 
 
 3 
 5 1,21 
 
 m 
 
 4- 
 
 — i- 
 
 1 
 
 m 
 
 x 
 
 X 
 
74 
 
 CHAPTER XVIII. — FINGERING. 
 
 How are the Minor scales with Flats fingered with the left 
 
 hand? 
 
 The Minor scales of Bb, Eb, Ab and Db are 
 not fingered as the Major scales of the same name ; 
 the thumb of the left hand plays C and F ascend- 
 ing and descending. 
 
 Bfe Minor. 
 
 iSEE 
 
 ¥4 
 
 4 
 
 £ 
 
 B=* 
 
 X 2 
 
 X 3 2 
 
 EfeM 
 
 inor. 
 
 2 
 
 9!^ 
 
 :iz: £ 
 
 
 1X4 X 2 1 
 
 Which is the best mode of fingering the Chromatic scale? 
 
 Second finger on all the black keys, thumb on 
 all the white keys, except C and F right hand and 
 B and E left hand, which are played by the first 
 finger. 
 
 3 1 
 
 Right hand. 
 3 12 3 13 
 
 1 
 
 ^ *#*1fr3 >™ 
 
 
 
 V 
 
 X1T2 X "2 
 
 2 X & X 1 
 
CHAPTER XIX. — TRANSPOSITION. 
 
 Left hand. 
 
 75 
 
 X 2 X 8 t X 2XSX21X 
 
 Practice the Scales daily. 
 
 CHAPTER XIX. 
 
 ON TRANSPOSITION. 
 
 What is meant by transposition ? 
 
 Putting a composition into another key ; this 
 may be done in various ways : by reading the 
 notes as if written higher or low ; by changing 
 the Clef, which changes the name of the notes; 
 and by changing the key and Clef at the same 
 time. 
 
 Is there any other Clef besides those already explained? 
 
 Yes ; a third Clef, called the C clef, is used in 
 vocal music and in orchestral scores. 
 
 On what line of the Staff is it placed? 
 
 It may be placed upon the first, second, third 
 or fourth line of the Staff; and according to its 
 situation, indicates a different part. 
 
76 
 
 CHAPTER XIX. — TRANSPOSITION. 
 
 When placed on the first line, what is it called? 
 
 The Canto or Soprano Clef. This part is sung 
 by female voices of high compass. 
 
 - <s> * — f- "1 
 
 1 1 
 
 a m P ~ 1 
 
 XX 
 
 J a • m i 1 
 
 f 
 
 j * 1 1 
 
 CDEFGABCDE 
 
 When placed on the second line, what is it called ? 
 
 The Mezzo-Soprano Clef, a part sung by female 
 voices of low compass ; this Clef is not used in 
 modern music. 
 
 When placed on the third line, what is the C Clef called? 
 
 The Contralto or Counter-Tenor Clef. This 
 part is sung by female voices of very low pitch, or 
 by male voices of high compass ; and is also used 
 for viola, or Tenor violin. 
 
 ^E 
 
 T* 
 
 -F -«-jt 
 
 =5=3 
 
 ■4 
 CDEFGAGFEDCBAGF 
 
 When placed or. the fourth line, what is the C Clef called? 
 
 The Tenor Clef. Thh part is sung by male 
 
 voices. 
 
CHAPTER XIX. — TRANSPOSITION. 
 
 77 
 
 : M~ ~* 
 
 p i — P—0- 
 
 
 CDE F G F E DC BAGFEDC 
 
 Are the names of the notes on the lines and spaces the same 
 in every Clef? 
 
 No ; when the position of the Clef is changed, 
 the names of the notes are also changed, as may 
 be seen in the foregoing example. 
 
 How do you transpose from the Soprano Clef to the Treble 
 Clef? 
 
 By reading and playing every note a Third 
 lower. 
 
 Written. 
 
 pE^E^H 
 
 C D E F G A 
 
 Read and played. 
 
 
 Hew do you transpose from the Contralto to the Treble QXtil 
 
 By reading every note a degree higher, and 
 playing the notes an octave lower. 
 
78 
 
 CHAPTER XIX. — TRANSPOSITION. 
 
 1 
 
 Written. 
 
 ^=jt 
 
 T=W 
 
 0—fi 
 
 I 
 
 C D E F G A 
 
 Read. 
 
 -f 
 
 1 
 
 -*-— r- 
 
 fp 
 
 s— p 
 
 Played. 
 
 How do you transpose from the Tenor to the Bass ? 
 
 By reading the notes four degrees lower, and 
 playing them an octave higher. 
 
 Written. 
 
 S 
 
 ^=W 
 
 si 
 
 C D E F E D C 
 
 Played an octave higher. 
 
 W^A 
 
 -m 
 
 ?=3=d 
 
 i 
 
 Read. 
 
 . . 
 
CHAPTER XIX. — TRANSPOSITION. 
 
 79 
 
 How do you transpose from one key to another? 
 
 By adding, after the Clef, the Sharps or Flats 
 which belong to the new key, and reading the 
 notes according to the new Tonic. 
 
 How do we transpose from the key of C to that of D, a tone 
 higher ? 
 
 Having placed after the Clef two Sharps (viz.: 
 F rnd C), we read or play every note a degree 
 higher. 
 
 " God Save the Queen."— Key of C. 
 
 Transposed into D. 
 
 rr? 
 
 M*-\ — i — 
 
 v- 
 
 
 How do we transpose from the Key of C to that of Bfe, a 
 tone lower? 
 
 Having placed after the Clef two Flats, Bb and 
 Eb, we read every note a degree lower. 
 
 Transposed into Bl2 Major. 
 
 0-0 ? 
 
 i r 
 
 t± 
 
 V 
 
 y+ 
 
So CHAPTER XIX. — TRANSPOSITION. 
 
 Should any accidental Sharp, Flat or Natural 
 occur, they will be subject to the same changes in 
 the new key. 
 
 The student who, by constant application, has 
 fully mastered the various points explained in this 
 catechism, should not rest with this first step, but 
 must by unremitted attention, endeavor to advance 
 still further in the science. Music requires much 
 study and practice before great proficiency can be 
 attained; and " Those who think they have done 
 so much see but little to do. ,, — Dr. Johnson. 
 
ABBREVIATIONS 
 
 Accel. 
 
 Accelerando 
 
 
 Mod. 
 
 Moderato 
 
 Ad lib. 
 
 Ad libitum 
 
 
 P. 
 
 Piano 
 
 A temp. 
 
 A tempo 
 
 
 Ped. 
 
 Pedal 
 
 Brill. 
 
 Brillante 
 
 
 P. F. 
 
 Piuforte 
 
 Cresc. 
 
 Crescendo 
 
 
 PP. 
 
 Pianissimo 
 
 D. C. 
 
 Da capo 
 
 
 Rail. 
 
 Rallentando 
 
 Decres. 
 
 Decrescendo 
 
 
 Rf., rfz., orrinf. 
 
 Rinforzando 
 
 Dim. 
 
 Diminuendo 
 
 
 R. H. 
 
 Right Hand 
 
 Dol. 
 
 Dolce 
 
 
 Ritar 
 
 Ritardando 
 
 D.S. 
 
 Dal segno 
 
 
 Riten 
 
 Ritenuto 
 
 Espres. 
 
 Expressivo 
 
 
 Scherz 
 
 Scherzando 
 
 F. 
 
 Forte 
 
 
 Semp. 
 
 Sempre 
 
 Ff. 
 
 Fortissimo 
 
 
 ^{7 
 
 Sforzando 
 
 Forz. 
 
 Forzando 
 
 
 Sinf. 
 
 Sinfonia 
 
 Graz. 
 
 Grazioso 
 
 
 Stacc. 
 
 Staccato 
 
 Intro. 
 
 Introduction 
 
 
 String 
 
 Stringendo 
 
 Legg- 
 
 Leggiero 
 
 
 T. C. 
 
 Tre corde 
 
 L. H. 
 
 Left Hand 
 
 
 Tern. 
 
 Tempo primo 
 
 Marc. 
 
 Marcato 
 
 
 len. 
 
 Tenuto 
 
 M. S. 
 
 Mano sinistra 
 
 L 
 
 Tr. 
 
 Trillo 
 
 M. D. 
 
 Main droite 
 
 
 Trem. 
 
 Tremolando 
 
 Men. 
 
 Meno 
 
 
 U. C. 
 
 Una corda 
 
 M. G. 
 
 Main gauche 
 
 
 Var. 
 
 Variation 
 
 M. M. 
 
 Maelzel's M 
 nome 
 
 2tro- 
 
 V. s. 
 
 Volti subito 
 
 M. M. 
 
 1=92 The beat of a 
 
 quar- 
 
 
 
 ter note is 
 
 equal 
 
 
 
 to the pulse 
 
 ofth 
 
 e 
 
 
 
 pendulum < 
 
 Df th 
 
 e 
 
 
 
 Metronome 
 
 with 
 
 • 
 
 
 the weight 
 
 set at 
 
 
 
 92 
 
 
 
 
 81 
 

 DICTIONARY OF MUSICAL TERMS. 
 
 A, at, for, with. 
 
 Ad, at, to. 
 
 A Capriccio, ) at the pleasure, fancy or w.ll of the performer, 
 A Piacere, j as to time and style. 
 
 A poco piu lento, a little slower. 
 
 A poco piu mosso, a little more movement. 
 
 A Tempo, in time. 
 
 A Tempo giusto, in strict time. 
 
 A Tempo primo, in the original time. 
 
 Accellerando, with increasing speed. 
 
 Accentuato, accented. 
 
 Adagio, very slow. 
 
 Ad libitum, at the player's pleasure. 
 
 Affettuoso, tenderly. 
 
 Agitato, with agitation. 
 
 Agilita, with agility, quickness. 
 
 Al, alia, to the, or, in the style of. 
 
 Alia breve, 2-2 time. 
 
 Al segno, to the sign. 
 
 Alia cappella, in the style of the church. 
 
 Allegremente, sprightly. 
 
 Allegretto, not so quick as allegro. 
 
 Allegro, quick. 
 
 Allegro agitato, quick and agitate. 1 
 
 Allegro ass^i, or molto, or di moito, very quick. 
 
 Allegro con brio, or brioso, quicx. and brilliant. 
 
 Allegro con fuoco, quick and animated. 
 
 Allegro con moto, faster than allegro. 
 
 Allegro furioso, quick and furious. 
 
 Allegro con spirito, quick, with spirit. 
 
 Allegro maestoso, quick, but dignified. 
 
 Allegro vivace, quickly, with life and brightness. 
 
 Amabile, amiably. 
 
 Amoroso, lovingly. 
 
 Andante, slow and quiet. Walking movement. 
 
 Andante assai, or molto, slower than andante. 
 
 Andante appassionata, slow, with passion. 
 
 Andante con moto, quicker than andante. 
 
DICTIONARY OF MUSICAL TERMS. 8> 
 
 Andante maestoso, slow and dignified. 
 Andantino, slower than andante. 
 Animato, spirited. 
 Armonioso, harmoniously. 
 
 Arpeggiato, \ b , d . h } 
 
 Arpeggio, J F J v ' 
 
 Attacco'subito, } P roceed at once to the Allowing movement. 
 
 Ben marcato, well marked. 
 
 Ben marcato il canto, mark the melody well. 
 
 Bewegt, with movement. 
 
 Brillante, brilliantly. 
 Brioso, with spirit. 
 
 Cadenza, an ornamental passage played ad libitum. 
 Calando, diminish both in power and rapidity. 
 Calmato, calmly. 
 Cantabile, in singing style. 
 Capriccio, caprice, fancy. 
 
 Chord, two or more tones arranged according to the harmonic law. 
 Coda, an addition after the natural close of a piece. 
 Colla parte, with the part. A direction to an accompanist to 
 follow the voice or instrument he accompanies. 
 
 Comodo, "as convenient," as "allegro commotio" quick as 
 convenient. 
 
 Con, with. 
 
 Con abbandono, with abandonment. 
 
 Con affeto, with affection. 
 
 Con anima, with animation. 
 
 Con brio, with vigor. 
 
 Con delicatezza, with delicacy. 
 
 Con dolcezza, with sweetness. 
 
 Con dolore, with pathos. 
 
 Con eleganza, with elegance. 
 
 Con energia, with energy. 
 
 Con espressione, with expression. 
 
 Con forza, with force. 
 
 Con fuoco, with fire. 
 
 Con grazia, with grace. 
 
 Con justo, with exactness. 
 
 Con leggierezza, with lightness. 
 
 Con mofo, with motion. 
 
H 
 
 DICTIONARY Oft MUSICAL TERMS. 
 
 Con passione, with precision. 
 
 Con semplicita, with simplicity. 
 
 Con spirito, with spirit. 
 
 Con tenerezza , wilh tenderness. 
 
 Con vivacita, with vivacity. 
 
 Con velocita, with velocity. 
 
 Crescendo, contraction Cres., or ~~Z. m increase in power. 
 
 Da Capo or D. C. , from the beginning. 
 
 Dal segno or Dal CL from the sign. 
 
 Deciso, decided. 
 
 Decrescendo, decres. or ^r==^, decrease in power. 
 
 Delicato, \ del : catelv 
 
 Delicatamente,} delicate, y- 
 
 Diatonic, through the tones. 
 
 Diminuendo, diminishing. 
 
 Divoto, devoutly. 
 
 Bolc^ente 1 ,"} ««** 
 
 Dolorosa, mournfully. 
 
 Dritta, right. Mano Dritta or M. D., right hand- 
 Duet, a composition for two performers. 
 Elegante, gracefully. 
 Energico, energetically. 
 Egualmente, equally. 
 Espressivo, expressively. 
 Etude, a study. 
 Facilita, an easier adaptation.. 
 Fine, the end. 
 Finale, the last. 
 Forte, or/", loud. 
 Fortissimo, or^", very loud. 
 
 Forzando, forz, fz. or A, accent strongly the notes thus marker 1 
 Fuoco, fire, passion. 
 Furioso, furiously. 
 Gaiement, with gayety. 
 Gamut, the scale. 
 
 Glissano, to glide over the keys with one finger. 
 Grandioso, grandly. 
 Gravamente, solemnly. 
 Grave, ihe sluwe t movement. 
 Grazioso. gracefully. 
 
DICTIONARY OF MUSICAL TERMS. 85 
 
 Gioviale, joyfully. 
 
 Giocoso, joyfully. 
 
 Gustoso, tastefully. 
 
 Harmony, a combination of sounds. 
 
 II, the. 
 
 Impetuoso, impetuously. 
 
 Innocente, innocently. 
 
 Intrada, introduction. 
 
 Istesso tempo, the same time. 
 
 Key-note, one, or the first note of the Scale. 
 
 Languido, languidly. 
 
 Largamente, in a broad, large style. 
 
 Largo, very slow movement. 
 
 Larghetto, not so slow as largo. 
 
 Larghissimo, slower than largo. 
 
 Legato, smoothly. 
 
 Legatissimo, very smoothly. 
 
 Leggiero, lightly. 
 
 Leggierissimo, very lightly. 
 
 Legeramente, lightly. 
 
 Lentando, slower by degrees. 
 
 Lento, very slow movement. 
 
 Loco, in place, as written. 
 
 Lusingando, languishing. 
 
 Ma, but, as (t allegro ma non trofipo." Quick, but not too quick. 
 
 Maestoso, majestic, dignified. 
 
 Main Droit, M. D., the right hand. 
 
 Main Gauche, M. G., the left hand. 
 
 Mano Dritta, M. D., the right hand. 
 
 Mano Sinistra, M. S., the left hand. 
 
 Marcato, marked, emphatic. 
 
 Marcatissimo, very emphatic. 
 
 Martellato, marking the tones distinctly, hammered. 
 
 Marziale, martial. 
 
 Meme Mouvement, the same movement. 
 
 Meno or Men, less, as li meno mossoj' not so (ast; "men forte" 
 not so loud. 
 
 Mestoso, mournfully, sadly. 
 
 Mezzo, halfway; as mezzo forte, half loud; tnezzovoce, with halftone 
 
 Modersto, moderate movement. 
 
56 DICTIONARY OF MUSICAL TERMS. 
 
 Mclto, very. 
 
 Morendo, dying away. 
 
 Mosso, movement, motion ; piu mosso, quicker. 
 
 Moto, movement ; con moto with movement 
 
 Movimento, movement. 
 
 Nobilimente, nobly, grandly. 
 
 Non tanto, not too much. 
 
 Notation, expressing sounds by visible signs, as notes, rests, etc. 
 
 Obbligato, a part which may not be omitted. 
 
 Opus, a work. 
 
 Ordinario, usual; tempo ordinario , usual time. 
 
 Ossia, otherwise, used sometimes in place of the word Jacilita. 
 
 Passionato, passionate, impassioned. 
 
 Pastorale, in a pastoral style, light and graceful. 
 
 Pause, a sign to stop, a hold. 
 
 Pesante, to be played emphatically. 
 
 Patetico, ~| nnthetirallv 
 
 Pathetique, J P^ net, cally. 
 
 Ped , pedal. 
 
 Perdendosi, gradual diminution of speed and power. 
 
 Peu, a little. 
 
 Piangendo, painfully. 
 
 Piano, soft. 
 
 Pianissimo, very soft. 
 
 Piu, more ; as piu allegro, more speed, etc. 
 
 Plantivo, plaintive. 
 
 Poco, a little ; as pocj piano, a little softer. 
 
 Poco a Poco, by degree* ; us poco a poco cres., louder by degrees. 
 
 Pomposo, pompous. 
 
 Portamento, in singing, a graceful glide, or carrying the voice 
 
 from one tone to another. 
 Possible, possible; as phi prest o possible ', fast as possible. 
 Precipitato, precipitately. 
 Prestezza, rapidly. 
 Presto, very fast. 
 Prestissimo, fastest movement. 
 Primo, first. 
 Prima volta, first time. 
 
 Quartet, a composition for four performers. 
 Quasi, in the manner of, as quasi presto, like a presto 
 
DICTIONARY OF MrtJSICAJ; ZT^'V S. 87 
 
 QuietO; quietly. 
 
 Quintet, 3 composition for five vcicc" crinztrLi7.zcr.lz* 
 
 Raddolcente, softer by degrees. 
 
 Rallentando, Rail., slower by decrees. 
 
 Rapldo, rapidly. 
 
 Recitativo, Recit., in piano music this ::ignifh3 r.n imitation of 
 
 the style of musical declamation cahed by -he same name. 
 
 Replica, repetition. 
 
 Rigore, strictly, exactness. 
 
 Rinforzando, Rinf. , with emphasis. 
 
 Risoluto, in a resolute manner. 
 
 Ritardando, ) , v j 
 
 Ritenuto, j slower by degrees. 
 
 Scale, a succession of eight tones. 
 
 Scherzo, a light, playful movement. 
 
 Scherzando, ) . ., c 1 
 
 c? u ~„« r ln the manner of a scherzo. 
 
 Scnerzoso, J 
 
 Segno, or ^£ a sign. 
 
 Segue, \ now follows, also sign'fies that the passage following is 
 Seguito, j to be played in the same way as the preceding. 
 
 Semitone, the smallest interval; a half tone. 
 
 Semplice, with simplicity. 
 
 Sempre, always, as smj>re fiiano, always soft. 
 
 Sentimentale, in a sentimental mann- r. 
 
 Senza, without, as senza replica, without repetition. 
 
 Serioso, seriously. 
 
 Sextet, a composition for six persons. 
 
 Sextolet, a group of six notes. 
 
 Sforzato, ) of „ , . ,, , 
 
 Sforzando, J ' em P nasize the note strongly. 
 
 Signature, flats or sharps at the beginning to mark the key of a 
 composition. 
 
 Slentando, diminution in speed. 
 
 Slur, the legato mark. 
 
 Smorzando, smothered. 
 
 Soave, softly, sweetly. 
 
 Solo, a composition for one performer. 
 
 Sostenuto, sustained tone. 
 
 Sotto Voce, in an undertone. 
 
 Spiritoso, with spirit. 
 
 Staccato, detached. 
 
38 DICTIONARY OF MUSICAL TERMS. 
 
 Stringendo, hurrying, accellerating the time. 
 Tacet, silence. 
 Tardo, dragging. 
 
 Theme ( ^ e su ^J ect or theme. 
 
 Tempestoso, stormy, tempestuous. 
 
 Tempo, time, movement. 
 
 Tempo Commodo, in a convenient degree cf movement. 
 
 Tempo Giusto, in exact time. 
 
 Tempo Primo, in the first time. Used after rit. or accel., etc. 
 
 Tendrement, ) . , , 
 •r a JL r tenderly. 
 
 Tendremente, j / 
 
 Tenuto, hold the sound its full vaiue. 
 
 Timoroso, timidly. 
 
 Tranquillo, ") n . ,, 
 
 Tranquillamente, j tranquilly, quietly. 
 
 Tre Cordi, three strings, used after una corda, which see. 
 
 Tremando, ) .• . , ., f . ■ , 
 
 t ~, i~ r the rapid iteration ot a note or chord. 
 Tremolo, j r 
 
 Trillando, a succession of trills. 
 
 Trio, a composition for three performers ; also a third part. 
 
 Tromba, a trumpet. Quasi tromba, like a trumpet. 
 
 Tutti,all. 
 
 Tutta Forza, with all force, as loud as possible. 
 
 Un Poco, a little. 
 
 Una Corda, one string. Refers to the pedal of a grand piano 
 
 that shifts the action so as to strike one string. 
 Unison, the same sound. 
 Veloce, with velocity. 
 Velocissimo, with utmost rapidity. 
 Vibrato or Vibrante, a firm pressure on the key is implied bv 
 
 this term. 
 
 Vigoroso, boldly, vigorously. 
 
 Vivace, ) , . , . . , 
 
 \Ti..~^L~.*.*. r briskly, with animation. 
 Vivamente, j J} 
 
 Vivacissimo, with extreme vivacity. 
 
 Vivo, lively, animated. 
 
 Voce, the voice. 
 
 Volante, flying, light and rapid. 
 
 Volti Subito, or V. S., turn over quickly. 
 
 Zefiiroso, zephyr-like. 
 
Gaide to Pt*aetiee. 
 
 INTRODUCTION. 
 
 The course of practice recommended in the 
 following remarks cannot be expected to coincide 
 with the views of every instructor, or be equally 
 applicable to all pupils ; the point sought to be 
 established is, that the pupil should have a regular 
 system to go by, and in whatever particular this 
 may differ from the views of the teacher upon the 
 various points connected with the mode of practic- 
 ing, he can easily point out the differences he wishes 
 to be made ; at all events, if this work serves no 
 other purpose, it will have the effect of bringing 
 the subject of practice more particularly into 
 notice, and, in default of better instructions, be at 
 least some guide to the pupil, and prevent much 
 
 of that waste of time which daily occurs with 
 
 (s 9 ) 
 
QO 
 
 GUIDE TO PRACTICE. 
 
 those who even with the greatest diligence do not 
 combine method. It may be said that every 
 instructor is the best judge, and gives his own 
 directions as to what and how his pupil shall 
 practice. To a certain extent this is true ; but, 
 upon the principle that "everybody's business is 
 nobody's business," it may frequently be left 
 undone; besides if it be done, a master cannot 
 constantly repeat the same thing, and pupils do 
 sometimes forget. 
 
 No master disputes the utility of the daily 
 practice of Exercises and Scales, but many pupils 
 have a great disinclination thereto ; and, though 
 it is not to be doubted that every one will practice 
 them to the extent he may be desired, still, as 
 that which is done willingly, and with a conviction 
 of its being conducive to improvement, will 
 always be not only more pleasant, but much more 
 satisfactory in its results, than that which is 
 done as a mere task, the author assures all pup ; ls 
 that more improvement will be made in one 
 month by those who practice them daily than will 
 be made in six or even twelve months by those 
 who do not. 
 
 The greatest performers never discontinue 
 the practice of Scales and Exercises. 
 
GUIDE TO PRACTICE. 
 
 9* 
 
 It is scarcely necessary to remark that practice, 
 to be efficient, must be upon a good principle. 
 Practice upon a bad principle, or, what is more 
 common, without any principle at all, will but 
 confirm error, and render it more difficult to 
 conquer. It is, therefore, essential to prevent 
 any bad habits from being acquired ; and the 
 very first time a child puts its fingers on the keys, 
 it should be taught to do so in a proper manner. 
 This opinion is much at variance with common 
 practice, which is, to let a child learn any how at 
 first, and, when it has contracted all sorts of bad 
 habits, to give it a good master, who has not 
 only to teach, but also to unteach, if, indeed, that 
 can ever be done. A child's learning anything 
 may be compared to the winding of a skein of 
 thread, which, if it has not been tangled, may be 
 easily, though perhaps in some instances slowly, 
 wound ; but if it be tangled, not only will the 
 trouble be increased tenfold, but the chances are 
 that it will be broken in many places, and 
 consequently never perfect. Some pupils have 
 naturally, that is to say, without any instruction as 
 to how it should be done, a better mode of 
 touching the keys than others, as some persons 
 are naturally more or less graceful in all they do, 
 
Q2 GUIDE TO PRACTICE. 
 
 while others are more or less awkward ; but it is 
 not sufficient that anything be well done ; it must 
 be done well upon principle. Those who have 
 what may be termed a natural good touch will 
 have less difficulty to contend with ; but they 
 must not be allowed to be ignorant of the principle 
 upon which they do well. It is not, however, 
 in the province of these remarks to give a detailed 
 explanation of the principle upon which different 
 passages should be played. This can only be 
 properly and progressively done by a good 
 instructor. 
 
 One thing cannot be too strongly impressed on 
 the mind of the pupil, which is the necessity of 
 patience and perseverance in thoroughly under- 
 standing and playing correctly, though perhaps 
 not fluently, the early exercises, as upon these 
 will depend all the future progress. If there be 
 but two notes to be played, still those two notes 
 must be well dohe, and it is not sufficient that the 
 pupil be able to do them well once or twice, but 
 he must practice doing so ; and the rule for going 
 forward must never be when anything has been 
 played a certain number of times, or when it is 
 merely correct, but when, by repetition, it has 
 become habitual to do it well. As an incitement 
 
GUIDE TO PRACTICE. 93 
 
 to perseverance, it may be remarked, that those 
 who understand and do play even two notes well, 
 may soon, with the same application, play four, 
 and so on ; whereas those who pass over the 
 first two notes, or anything else, without being 
 thoroughly understood and sufficiently practiced, 
 will never make any satisfactory progress. 
 
 For the sake of giving precise directions, it 
 has been assumed that every pupil should 
 practice two hours a day ; and it may be 
 with truth said, that those who expect to make 
 any efficient progress should do this at the 
 least. Those who adhere strictly to the direc- 
 tions for the two hours may, it is conceived, 
 from the habits acquired thereby, be safely 
 left to their own discretion for any additional 
 time. 
 
 ON PRACTICE IN GENERAL. 
 
 Fixed hours should be appointed for practice. 
 It is not enough to say that a pupil should 
 practice two or more hours a day, but the time 
 for so doing should be fixed ; every day's 
 experience shows that whatever is left to be done 
 at an uncertain time is frequently left undone, 01 
 at best done but imperfectly. 
 
94 
 
 GUIDE TO PRACTICE. 
 
 / 
 
 The first portion of every hour's practice 
 snould be devoted to Exercises or Scales. 
 
 Practicing a passage, exercise or scale, does 
 not mean playing it through once, twice or 
 thrice, but a careful repetition of it twenty 01 
 thirty times successively, and the practice of the 
 same should be resumed daily till it be executed 
 with correctness and precision, and with as 
 much fluency as the progress of the pupil will 
 admit. 
 
 The degree of rapidity with which anything is 
 played may be conceded to the age or ability of 
 the pupil ; but respecting the principle upon 
 ivhich it is played, there must be no compromise. 
 A. pupil, therefore, must not conclude anything to 
 be sufficiently practiced until 
 
 Not one wrong key is struck. 
 
 Not one wrong finger used. 
 
 Not one finger dow r n when it ought to be up, 
 or up when it ought to be down. 
 
 The hand held in a proper position through- 
 out. • 
 
 The piece or passage played in proportion, 
 and without looking at the fingers. 
 
GUIDE TO PRACTICE. 
 
 OS 
 
 Nothing which fails in any of these particulars 
 can be termed correctly done. 
 
 RULES TO BE OBSERVED AT PRACTICE. 
 
 I. Never pass a mistake. 
 
 Never pass over a mistake, but whenever a 
 wrong key is struck, a wrong finger used, if a 
 finger be down or up when it ought to be other- 
 w ise, or if the passage be not played in proportion, 
 recommence the passage, and continue to do so 
 till it be done correctly. Passing on, intending to 
 rectify the mistake at another time, will only serve 
 to confirm the error, and render it ultimately 
 more difficult to conquer. 
 
 II. Practice slowly at first. 
 
 Avoiding mistakes is better than having them 
 to rectify. Practice, therefore, slowly at first, and 
 when the passage is done correctly, increase the 
 rapidity to the desired degree. It is certain that 
 that which cannot be done correctly slow, will not 
 be correct when done fast The rapidity may 
 render the incorrectness less observable, but it 
 will not be the less bad. 
 
q6 guide to practice. 
 
 ill. Ascertain the nature of the difficulty. 
 
 When any passage is found to be difficult, the 
 first point is to ascertain exactly where, and in 
 what particular \ the error or the difficulty consists. 
 Suppose, for instance, in a passage of twenty 
 notes, the difficulty lies in the execution of two or 
 three notes only ; in that case, practice those two 
 or three notes till they be done with readiness, and 
 then practice the whole passage. 
 
 IV. Practice with each hand separately. 
 
 It may be sometimes advisable to practice a 
 passage with each hand separately. It may be 
 relied on, that if a passage be not played correctly 
 with one hand at a time, it will not be well done 
 with both hands together. 
 
 V. Select passages for practice. 
 
 As all parts of a piece will not require the 
 same degree of practice, select those parts in 
 which there is any difficulty, and practice 
 them. Much time is saved by this method. 
 For example, suppose, in a page of forty bars, 
 tnere are two which will require practicing 
 fifty times, or more, to do correctly ; it is 
 

 GUIDE TO PRACTICE. cfl 
 
 obvious that it will be less trouble, and take 
 less time, to practice the two bars fifty times 
 than the whole page fifty times ; besides which, 
 any difficulty will be much sooner surmounted 
 by being played fifty times successively, than if 
 it be played the same number of times, with 
 forty or fifty bars intervening between each 
 repetition. 
 
 VI Practice in small portions. 
 
 When a piece contains no decided compara- 
 tively difficult passage requiring to be practiced 
 as above, still it is desirable to practice it in small 
 portions, rather than straight through from the 
 beginning to the end. For instance, suppose two 
 pages containing eighty bars are to be practiced ; 
 the pupil will be much more familiarized with the 
 piece by playing portions of ei^ht or sixteen bars, 
 as may be convenient, each twenty times, than if 
 he play the whole eighty bars straight through 
 twenty times. 
 
 VII Caution required in selecting passages. 
 
 In selecting passages for practice, it is desirabie 
 not to begin or end always at the same place, 
 unless it be a completely detached passage : 
 
gg GUIDE TO PRACTICE. 
 
 otherwise a habit of hesitating or stopping at a 
 particular place will be contracted, which it may 
 be afterw ards difficult to overcome. 
 
 VIII. Extend and reverse passages. 
 
 It is frequently useful to lengthen or extend a 
 passage to a greater compass than may be 
 required in the piece, or, in fact, to make an 
 exercise of it. For example, if an arpeggio 
 extending two octaves requires practice, it will be 
 good policy to practice it to the extent of three or 
 four octaves. 
 
 It is also desirable, when the passage will 
 admit of it, to practice both ascending and descend- 
 ing, although only one way may be required in 
 the piece. 
 
 IX. Repeat correctly six successive times at least. 
 
 No passage that has been badly played should 
 be considered as sufficiently practiced when done 
 once or twice right ; six successive times 
 without error is the least that can be depended 
 on. 
 
 If, on resuming the practice of the same on 
 another occasion, it should be incorrect (as will 
 
GUIDE TO PRACTICE. qq. 
 
 frequently be the case), it should be practiced till 
 it be done twelve successive times without 
 error and so on till it can be, with a certainty 
 played correctly. 
 
 X. Practice the piece as a whole. 
 
 After practicing in detail as above described, 
 the piece must be carefully practiced as a whole 
 from beginning to end. If, in doing this, any 
 mistake should occur, the best remedy is to 
 recommence the whole page or two (nothing fixes 
 the attention so much as this), and continue to do 
 so until 
 
 Not one wrong key be struck. 
 
 Not one wrong finger used. 
 
 Not one finger be down or up when it ought 
 to be otherwise, and until the whole be played 
 through in proportion. 
 
 XL After correctness, practice for fluency . 
 
 Practice, besides being necessary for insuring 
 correctness in any piece or passage, is afterwards 
 requisite for the purpose of gaining more fluency 
 or more finish in the manner of executing it. 
 
IOO GUIDE TO PRACTICE. 
 
 XII. Practice till perfect. 
 
 Lastly, it may not be amiss to remark, that 
 although it is desirable, both by diligence and 
 method, to accomplish as much as possible in the 
 shortest time, still a pupil should remember that, 
 when any piece is played, nobody inquires how 
 often it has been practiced, or how long the 
 performer has been learning it — the only point 
 is, whether it be well or ill done. No stated 
 number of times can, therefore, be fixed upon ; 
 
 but a PIECE SHOULD BE PRACTICED TILL IT BE 
 PERFECT. 
 
 POSITION OF THE HAND AND ARM. 
 
 The hand and fore-arm should be in a straight 
 line from the elbow to the middle joint of the 
 second finger, keeping the wrist neither raised nor 
 depressed. The fingers are to be kept moderately 
 bent, and apart (directing particular attention to 
 the second and third fingers, which are more apt 
 to be too close together than the others), so that 
 one finger may be over the centre of each key ; 
 and the thumb must always be kept over a key. 
 It is of the highest importance to attend to the 
 keeping of each finger over the centre of a key, 
 
GUIDE TO PRACTICE. IO i 
 
 for many persons, notwithstanding they may 
 encompass five keys from the thumb to the 
 little finger, by keeping the other fingers at 
 unequal distances, play indistinctly. For example, 
 supposing the right thumb to play C, instead of 
 striking F distinctly with the third finger, they 
 strike both E and F with the third finger. 
 Errors of this sort are not at all uncommon, 
 particularly in arpeggio passages, and should be 
 guarded against from the first, by acquiring a 
 habit of keeping each finger over the centre of a 
 key. 
 
 OF THE MANNER OF TOUCHING THE 
 
 KEYS, OR PUTTING DOWN AND 
 
 RAISING THE KEYS. 
 
 
 
 This is a point not generally sufficiently 
 attended to, but it is one of the greatest import- 
 ance, and should be thoroughly understood and 
 put in practice at first ; for the want of a proper 
 manner of putting down and raising the fingers, 
 throws great additional difficulty in the execution 
 of everything that is played and not only adds 
 difficulty, but gives a bad effect, however perfect 
 
102 GUIDE TO PRACTICE. 
 
 the performance may be in all other respects. 
 If the attention be strictly directed to this at first, 
 : be proper manner of putting down and raising 
 .he firger will become a habit, and will cause no 
 trouble afterwards, whereas, if this be neglected 
 at first, and the pupil be allowed to practice upon 
 a bad or upon no fixed principle, bad habits will 
 be acquired, and become more or less confirmed, 
 in proportion to the degree of practice, and 
 which, if ever they be overcome, must be so at 
 the expense of much labor and time. It is, 
 therefore, essential to prevent any bad habit being 
 contracted. 
 
 The rule is simply to hold the finger down on 
 one key till the next is down, but not longer, 
 or, as it may be otherwise expressed : 
 
 Two keys which are to be played successively 
 must not be held down together, neither must 
 one be raised till the other is down. In order to 
 direct the attention particularly to this point, it 
 may be as well to remark, that if the finger be 
 held down too long after the following key is 
 struck, it may be so in a greater or less degree. 
 For instance, suppose C D are to be played 
 Successively ; C may be held during the whole, or 
 
GUIDE TO PRACTICE. 103 
 
 half, or a quarter of the time after D is down, 
 either of which is wrong, though not equally so. 
 It is not unusual with those who have a bad touch, 
 when five successive keys are played, to find the 
 whole five down at once ; so that the first is down 
 four times longer than it ought to be, and the 
 others proportionately so. 
 
 It may be remarked, thai those who hold the 
 fingers down too much in some places generally 
 raise them too soon in others. Raising the fin- ers 
 from one key before the next is down n.ast 
 equally, as a general rule, be guarded against, as 
 it gives a broken and disjointed effect. 
 
 Let it not, however, be conceived that either 
 holding one key down after the next is struck, or 
 taking one up before the next be down, is wrong, 
 if marked to be so played. What is intended to 
 be impressed on the mind of the pupil is, that the 
 general rule must be to 
 
 Hold one key till the next is down, but not 
 longer. 
 
 And no exercise, passage or lesson should be 
 played in which this cannot be strictly attended to, 
 until a perfect habit of playing upon this principle 
 is acquired ; after which the exceptions, such as 
 
404 GUIDE TO PRACTICE. 
 
 raising the fingers at the rests, repeated notes, and 
 those marked to be played staccato, etc., must be 
 learned. 
 
 OF PRELIMINARY EXERCISES. 
 
 It is important, when striking a key with one 
 finger, to do so without moving the others. To 
 acquire the power of doing this, exercises in 
 which some fingers are held firmly down while the 
 others are moving must be practiced. Exercises 
 are termed " preliminary," because they are to be 
 practiced before, and because they differ in 
 principle from all others in this respect, viz., that 
 for the purpose of acquiring for each finger a free 
 action, independent of* the others, those fingers 
 which are not employed in playing are to be held 
 down ; whereas the general rule in all other 
 exercises is to hold none down but what are 
 actually employed in playing. 
 
 The daily practice of these, for a snort time 
 previous to other exercises, will always be highly 
 beneficial. 
 
GUIDE TO PRACTICE. Ic >5 
 
 OF LOOKING AT THE FINGERS. 
 
 It is essential that the pupil should acquire 
 the power of playing without looking at the 
 fingers. To accomplish this, a little time 
 should occasionally be devoted to this object 
 exclusively. 
 
 It must be obvious that the object of all 
 exercises for this purpose will be defeated if th ey 
 be played till the pupil remember them ; therefore 
 the same must never be played twice in one day. 
 
 Besides those which are expressly intended (by 
 directing the attention for the time being to that 
 object solely) to teach the pupil to play without 
 looking at the fingers, it must be borne in mind 
 that all the other exercises should be played at 
 first, and afterwards practiced till they can be 
 executed without once looking at the fingers after 
 first placing the hand. 
 
 OF THE PRACTICE OF EXERCISES. 
 
 The greatest difficulties arise from a want ol 
 attention to the position of the hand, and the 
 manner of putting down as well as taking up the 
 fingers at the proper places. The attention of the 
 pupil must, therefore, be directed to these points 
 
I06 GUIDE TO PRACTICE. 
 
 in the practice of exercises until it becomes 
 habitual both to hold the hands well, and touch 
 the keys in a proper manner. Exercises are 
 classed for different purposes, such as the practice 
 of single notes, double notes, arpeggios, etc., etc., 
 and as passages similar to all exercises will be 
 found in lessons, they will, after being practiced 
 and mastered as exercises, not appear as difficulties 
 when they occur. 
 
 ORDER OF LEARNING AND PRACTICING 
 
 THE SCALES. 
 
 When the pupil is sufficiently advanced the 
 Scales should be learned and practiced daily. 
 
 On Mondays, or any fixed day of the week, 
 learn one Major Scale, taken in regular order, and 
 its relative Minor, and practice the same six times, 
 or more, every day during the week; but if, at the 
 week's end, they are not done correctly, and with 
 as much fluency as may be desired, the same must 
 be practiced for a week, or as many weeks more 
 as may be requisite, before proceeding to the 
 next. 
 
 The Scales should be practiced in several 
 different ways. 
 
GUIDE TO PRACTICE. I07 
 
 First mode of going through the Scales. 
 
 Practice with each hand separately, ascending 
 and descending six or more times without inter- 
 mission. 
 
 It may not be useless to remark that, in 
 whichever mode they be practiced, the following 
 points must be attended to : 
 
 The hand must be held in a proper position 
 throughout. 
 
 As one finger goes down, the former must be 
 raistd, so that always one, and only one, key be 
 down at a time. 
 
 In passing the thumb under the fingers, or 
 fingers over the thumb, great care must be taken 
 to do so with as little motion of the hand as 
 possible. 
 
 When this is thoroughly, though perhaps 
 slowly, accomplished, the pupil may proceed 
 upon the same principle to the scale next in 
 succession, until all have been gone through 
 with. 
 
 When all the scales have been practiced 
 through in this manner, it will, most probably, be 
 desirable to recommence, and go through the 
 
I08 GUIDE TO PRACTICE. 
 
 same course again, before proceeding to the next 
 mode. 
 
 Second mode of going through the Scales. 
 
 Practice with both hands together, ascending" 
 and descending eight or more times successively. 
 The same directions as to position of the hand, 
 correctness and repetition, if necessary, of the 
 same Scales, must be attended to in this 
 and succeeding modes, as are recommended 
 in the first mode of practicing the Scales ; 
 also, the repetition of the whole course if 
 necessary. 
 
 Third mode of going through the Scales. 
 
 Instead of ascending and descending as before, 
 practice each Scale six or more times, ascending 
 only, and then as many times descending only, 
 with each hand separately. 
 
 Practice progressively with increased rapidity. 
 
 Fourth mode of going through the Scales. 
 
 Practice each Scale eight times or more, 
 ascending only, and then as many times descend- 
 ing only, with both hands together. 
 
 Practice progressively with increased rapidity. 
 
GUIDE TO PRACTICE. log 
 
 Fifth mode of going through the Scales. 
 
 Practice each Scale in thirds eight times, or 
 more. 
 
 To play a Scale in thirds, begin with the right 
 hand on the third of the Scale, with the finger 
 that would have been upon it had the scale 
 been commenced on the key note, playing at 
 the same time with the left hand in the usual 
 manner. 
 
 Sixth mode of going through the Scales, 
 
 Practice each Scale in sixths eight times, or 
 more. 
 
 To play a Scale in sixths, begin with the left 
 hand on the third of the Scale (viz., a sixth below 
 the right hand), with the finger that would have 
 been upon it had the Scale been commenced with 
 the key note, playing at the same time with the 
 right hand in the usual manner. 
 
 ON THE PRACTICE OF OLD LESSONS. 
 
 It is desirable to keep up the practice of old 
 lessons, but it is presumed that a little time will 
 suffice for that purpose, if they have been 
 
IIO GUIDE TO PRACTICE. 
 
 properly learned ; therefore, at the second hours 9 
 practice, on Tuesdays, Thursdays and Satur- 
 days, practice an old lesson ; if it be done 
 properly, proceed to another ; but if not, resume 
 the practice of the same on the appointed days, 
 till it be perfect. 
 
HOME AND DAILY LIFE RULES FOR THE 
 
 MUSICAL GENERATIONS NOW 
 
 GROWING UP, 
 
 BY HERMANN MOHR. 
 
 MOTTO. 
 Who Music as a friend has won, 
 Has a heav'nly work begun, 
 For Music wa3 not born on earth — 
 To Heav'n itself she thanks her birth 
 There the angels, bright and fair, 
 Each and a!l musicians are. 
 
 —Dr. Martin Luther. 
 
 1. That which thou findest to do, do it with thine 
 whole heart. Do not be discouraged by difficulties, 
 for it is perseverance alone that leads us to the 
 goal. The greatest masters studied and practiced 
 without interruption. 
 
 2. The foundation of a fine, fluent, anu artistic style 
 of playing is, and will always be, the ENERGETIC 
 STUDY OF TECHNIQUE. Should you neglect it in 
 your youth you will continue to be more or less of U 
 
 2 
 
bungler all your life. " You cannot teach an old do* 
 jew tricks ! " 
 
 C Rhythm (time) is the soul of music. It is a diffi- 
 cult matter to attain absolute certainty in time. Many 
 fail therein during the whole of their life. The sense 
 of time can only be developed by counting aloud, 
 especially in movements of um qual rhythm. The 
 subdividing of the beats of a bar into '* ooe-and, two- 
 and," etc., certainly does not sound fine, but it refines 
 the sense of rhythm. 
 
 4. When practicing a new piece do not, at first, play 
 it more quickly than it is possible for you to do 
 without making material mistakes in fingering and 
 time. Pay special attention at the same time to a clean 
 touch, to an accurate time-value being given to notes 
 and rests, and habituate yourself to the immediate 
 recognition of the signs of expression. If you cannot 
 manage all these, even in very slow time, the piece 
 is too difficult for you .Lay it aside, for time a.:d 
 trouble will be wasted. 
 
 5. Take pains at an ear)/ s£ag" Jo recognize by ear the 
 puch, major or minor scale, intervals, and harmonic 
 relations of a piece. 
 
 3 
 
6. In pianoforte-playing you must sit at such a height 
 as to brir g your elbows exactly on a level with the 
 key-board. Rotary stools are unpractical and so are 
 cushions. Seats (boards) which can be raised and 
 lowered at will and which are adaptable to any chair 
 are to be recommended. 
 
 7. It is a bad habit to keep on hat, overcoat, bracelets. 
 Tings, etc., during the lesson. All these things are 
 superfluous and detract from a free playing. 
 
 8. Never strum ! Practice up even a simple task very 
 correctly and with conscientious accuracy of touch and 
 delicacy of expression, and always imagine that a 
 judge of music is listening to you. 
 
 9. It is better to play easier pieces really well than to 
 perform more difficult ones indifferently well. 
 
 10. A piece of music which is played without any ac 
 cent and expression reminds me of meat without salt. 
 
 11. Read diligently that which others are playing from 
 notes. By so doing you are training the ear to recog- 
 nize what the eye sees. You will thus learn to hear 
 and correct faults — ay, you will be led on to feel the 
 written sounds in your mind. 
 
 12. It is an art to turn over neatly and at the right 
 moment for others. Learn it ! 
 
 4 
 
13. Always take care to have your music stitcbed or 
 bound and to have any loose half-sheet in the middle 
 pasted in. You will thereby save nuch time and 
 avoid many a mishap when performing. 
 
 14. Bear in mind that the pedal is not a footstool ; 
 neither must it be used as a cloak for inaccurate play- 
 ing. The more delicate sense of the correct use of 
 the ped^l will come of itself when you study harmony 
 diligently. 
 
 1£. Habituate yourself to playing before company, 
 but play only that which you can perform properly, 
 otherwise abstain therefrom. If possible, learn by 
 heart that which you propose to play in public. L 
 you have no trouble about the notes you can concen 
 trate the whole of your mind on execution and ex- 
 pression. 
 
 16. If you are sensible you will gain more by the fault- 
 finding of a musical connoisseur than by the praise of 
 fifty others who understand little about music. 
 
 17. Neglect no opportunity of playing in concert with 
 others, especially if they are in advance of you. 
 Through unisonic playing on two instruments, through 
 four- and eight handed playing, through duets, trios, 
 
and quartettes, your own playing will become more 
 rhythmical, flowing, and soulful. 
 
 18. A few sheets of Cramer's studies, of Beethoven's 
 sonatas, or Bach's preludes weigh more than ten 
 pounds of dance-music, operatic melodies, and pot 
 pourris. 
 
 19. There are many who can play difficult pieces with 
 good execution and who are nevertheless unable to 
 undertake to accompany a simple song or violin piece. 
 He who cannot do this should learn to do so, for he is 
 still very far distant from the portals of the temple of 
 art. 
 
 20. You will soon attain an appreciation of the inner 
 meaning of music if you practice transposition. Be- 
 gin with easy pieces with which you are familiar and 
 leave the greater part of the work to your musical ear. 
 
 21. A good instrument will help rapid improvement 
 more than an old box of castanets. Insist upon adhe- 
 sion to the French pitch and to accuracy of tuning. 
 
 22. My child, occupy yourself in zeal and love, with 
 musical theory, the laws of harmony, and counterpoint. 
 If ycu cannot yet recognize the full importance of 
 such study you will find later on that it is as if scales 
 
 6 
 
had fallen from your eyes when you enter the sacred 
 Temple of the Muses. 
 
 23. When your teacher gives you Sebastian Bach's 
 ■works to study, rejoice that he should think you 
 worthy and competent to familiarize yourself with the 
 greatest master of tone in the universe. Even if you 
 fiud no taste for the same at the beginning, do not be 
 led astray, but bear in mind that you must first culti- 
 vate your taste. 
 
 24. Take every opportunity to attend concerts at which 
 good music is artistically performed, but shun low and 
 trivial operetta and music hall entertainments, where 
 art is trampled under foot. 
 
 25. If you have any voice at all, sing in a choir, tak- 
 ing in preference a middle pa r t. That makes one 
 musical. But if you have good vocal qualities do not 
 delay in cultivating the voice. 
 
 " Regard it as the grandest gift 
 
 That Heaven has granted thee." — Robert Schumann. 
 
 26. Should the opportunity exist, avail yourself of it 
 in order to practice the organ or harmonium. Every 
 inaccurate and careless execution on either of these 
 instruments is its owr immediate avenger. Tha 
 
mighty harmonic effects will inspire you with a love for 
 the noble and beautiful in art. 
 
 27. If you play a stringed instrument strive to cooper- 
 ate in quartette or orchestral works, but remember, 
 that if all would play first violin, there would be no 
 orchestra. 
 
 28. An ordinary violinist always carries a new set 6^ 
 strings, rosin, and mute with him. A thorough violin' 
 Lt can also play the viola. 
 
 29 As soon as you are old enough, take up the history 
 of music as a study. It is of as much importance to 
 the musician as universal history is to the educated 
 man. 
 
 30. Honor your teachers, the masters, and all those 
 who have awakened and developed your artistic exist- 
 ence. Do not become proud if you should happen to 
 surpass them. On the contrary, be doubly thankfuJ 
 to them for your success. 
 
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