Philadelphia: G.André & C; PREFACE. To be brief in my statements to the Musical Amateurs, [have merely to say, that in writing the following Instructions, I have made use of such books and translations as I have thought would best illustrate the subject. And if the pupil will but carefully peruse%the rudiments contained in this little work, he will by that time be well able to form a correct judgment of its merits.ELEMENTARY PRINCIPLES OF MUSIC. Marie fe the art produces SRLODY. Sounds s0 combined,that they ining and expresting: sounds; « succession of varlous agreeable sounds 1 heard sixullaneugsly, produce HARMONY. ‘To express sounds, signs called orks areused; they are Written on five parallel lines, a spaces between the Ii "The five Tinesand four spaces are called the STA. Inthe As the Staff is not of sufficlent extent to express all the soundsin Musievadditional or LrD6ER Jines ave intrudueed abode and. below the Staff when required. atte HEE E men Ledger flrs abo the eat as. OF THE NOTES, Music is compored of seven nutes which are named after the firet seven letters of the Alphabets viz A,B\C,D,B,F,G,A: By repeating froin the note C a seale of eight notes is furmed called a Gasnut. OF THE CLEFS. ‘The cumvisa sign placed at the commencement of the staff to determine the naine of the notes. There aver dierest Ce wed n musshevmior oc yh lado 28 nn trade use of tn compurltons for the Gite, Example of the Noter on the G olef: Sae CHARACTER AND VALUE OF THE NOTES AND RESTS &: ‘There are seven different forms of nutes exch having a different value. It is understood by the val. cue of & note, the duration of wound which it representssthis duration Is determined hy the form of the rote itseIt, Each of these notes has « Rest or silence,which curresponds with it in value vr duration, ‘Seeythe Titne table on the next Page. THE DoT. ‘The dot is placed iiminediately after « note oF rest, and increases its value one half. Thus,a dotted Somathreve is equal to three Minis; a dutted Mink is equal to three Crotchets; a dotted Crothets to © 4 @ dotted Quaver,to three Sewiquavers &e: 4 woud dot Is added to the first, following a seafbreve, minim,erotehet quaversseiaiqua- Value is equal tv one half that of the fire. See,examples on next pags.TIME-TAnLE, Semibreve L-Semibreve fs equal to Beet Sl Crutehet Crotehets, or Cree Semigpever SSS Demigemi aver te iad litt 1 isthe division of any piece of music into parte of equal duration e are three principal measures;the measure of four beatsyof three heats and uf two heats in a the others are derived from these three and are called Compound Messutes. ‘The Measure oF Time,{s marked at the commencement of every piece of music by signs or hy numbers, fidicating the subdisielons of the Measure. The Staff is divided by vertical lines called Bars ‘The following are Examples of different Meacures,the inanner in which they are marked at the coiminencerment sf each piece uf musieyand the method of hesting Tine conor sisigued betsinamenion, 24 FEEDS a 4 oe fs marked by a Cone fe boston thus, ces ‘Huu 4 TIOTe,orthree beats fa meosure ie marked 3 and te beaten thus “(‘Two 4 thE or two beats in a measure, is snared and fe Wiaten thus, renuvi § innedsived fu Common tng frmarked YZ and fe beaten In four dlvtlune sis 8 stmt derived rom Th tase ward one eaten te ton A Measure of Two heats isealled ALLA bxnvx,and is wurked Q or 2 and febeaten intwo divisions and has thestinewaliest Commnon thae wane 8 ra ic warked Band eben tn thee dsians = OF THE TRIPLET. ‘The Triplet is a group of three notes,over whigh the figure 3 Is placed; these three nutes are played in the same time that two uf the saine duration wuuld be plased without the figure ‘When si placed over a grup osx nots they are played io the tie of for af the See OF THE SHARP, FLAT AND NATCRAL ‘The Sharp(#)is a sign which raices the note,hefore which it fs placed,s semitone, The Flat( ) lowers ita semitone. hel 4) Natural restores {to its primitive sound frum which it had been altered by thee or D [A Sharp oF Flat placed before # nute singly, ts called Accidental und-aets uty inthe meature in “which'ft happens to he placed. When these Signe are placed at the commencement uf « pives of tau 4 point out the Keyyall the notes which are on the same Tine ur space are effected by thet. There are any Flats and Sharps as there are notes and placed un the fines and spaces,cummencing with Fy cotainence with B fn ascending by four that Isynext after the Cleft, warps ascend hy filths and descend by fourth; The Fl ‘There fwaleo a double Sharp(x)which rases a note a whole tone abd a double(?) Flat which loners the note a sthole tone OF THE INTERVALS. ‘Thedistance be, _,_Uslson. Second. ‘Third. Fourth. Fifth. Sixth. Seventh. Octave ween two vunde ‘eatted an interval, ===OF THE TONE AND MODEorKRY. A Toneis a sound which determines # fundamental note on which a Piece uf muse established very nute can become a fundamental note ur Tonic. The More or Key ist character uPa tunes they are of two kinds,vi2:The Major and Minor moder Key. The key 1s majur when there are to full tones frou the tonfe to ite third above) and winor,when there is a tone and an half fromthe tonke tuite third above. Major hint, Gene ete] The key of plece oF aus Chat. Bae yor hey bi by ll is indicated by the numberof Sharps or Flats which are placed atthe ts relative minor Key,it is called relative because itis inarked at the Cleft same auiaher of sharps or flateas ite major keyjexcept the key of © inajor and its relative A talnor which have no signature ‘The relative key ie third below its majur Key,us the follo ig table shows. ubmaser _ ubmajen _ ab mtr Shrusior. Choate ‘Ty shorten the study of the fureguing table and to kuow ‘which key a pivee of imuste fait fs neces sary to know that when there are no sharps ur flats at the Cleff,tis iu Cigajor ov A minors with the § the major key is on semitone above the last sharp placed at thecleff; and the winor Key one semi tone below it, With the? the major key fe four semitones below the last) et the eleff and the mi -not kay (wo semitones above. ‘To Know whether we are in themajor or tainor keyyit is necessary to examine whether the fifth of the najor key is accidentally altered by a sh uf musie is in the wajor oss If itis altered, then itis in the minor key. OF ABBREVIATIONS. ‘To abbreviate fs represent saveral joes by a single one ur by a single sign, ‘The Pause O placed over notes ur rests Indicates that the performer must pause upon that note or rest a longer time than the length of the note or »THE REPEAT, [=F indents that the part fa to be repeated when dots are placed Immediately before the double bas,the first Part must be repeated and the saine with the 2d: part, DA CAPO vr D.C. means thet the piece Is to be played ass trom the beginning ur from the sign to to tins WORDS AND SIGNS INDICATING THE DEGREE OF POWER. PIANO oF means sweetly oF soft. wf means hall loud. PP very sult fey suddenly loud Tou. St fF very loud, eres: increase the woud. dim: 1). daorouse the sound. GUITAR SCHOOL ‘The GUITAR has six steings;the three first of which are gut and the three othersyof silk wound with silver wire. They are taned by fourths with the exception of the third, this’ below the secund string. pre MANNER OF HOLDING THE GUITAR. ‘Tu hold the Guitar well)t i necessary to sit on a seat a litle higher then those in common uses ‘the teft foot to rest on a stool of # height proportionate to the seat,throwing out the right legydraw. ing back the foot a little;the left log to preserve its natural position fhe hody of the instrament to ‘est on the left thigh. Being thus seated;the Guitar is placed transversely on the thigh. ‘Thie position is preferable to all others because it affords support to the instrument and balan. cos it co us not Lo require the support of the hands,other positions being very inconvenient and ‘uncomfortable often produce stiffness THE LEFT HAND. ‘The left hand should lightly press the neck between the thuiab end the fist finger,the endof the thumb shoula touch on the side next to the thickest string between the Ist:and 2d: fretsyand the large joint of the first finger between the Nut and 1st:fret on the side next to the thineststring. ‘The arm-should hang naturally,with the elhow separated from the bodystaking care to hold the fore ari and weist curvedsthe fingers should be separated and held as hammers ready to strike on the strings between the four flest frets , ‘The fingers in this position will naturally fall upon the three first strings; when they are requ. red to roach the other three strings,the wrist should be still more curved,and the:thumb brought. tuore under the neck.'The thuinb is also used"sometimes to press.on the sixth string for particular notes when to be thus tsed, the word;thumbs will be put under the Note. : RIGHT HAND. {ght fore arm should rest un the edge formed by the side and the sound board,in the dizec. tion of the Bridges the little finger should be extended and rest lightly un the Sound board nearthe The wi10. first string and a short distance from the Bridge.’The thumb should be extended and rest on une of the covered strings. the dther three fingers should he a Hile curved and held aver the uncovered strings; When it is desired to soften the tone uf the @uitar,the hand should be moved towards the Rusette MANNER OF TOUCHING THE STRINGS. ‘The strings are made to vibvate,with the thumb, Jet: 2dsand Bd; Pingerss the bth: Gthsand Athestele ‘ugs,on which are played most frequently, what are called Buss uotes, are played with the Chumob; the uther theee strings are played in the gamuts and phrases of melody with the Istand 2d: fingers, alternately changing the finger at euch note, ‘The little finger is not used except in Chords and arpeggios of five and six note ‘To obtain a full and mellow tone,it is necessary to apply rome fores with the end of the fingers avviding to toueh the steing with the nails; the fingers 1 + $0 as to cause thew to vi- -brate across the finger board. ‘The thumb of the right hand,in stefking the thick strings; should always slide toyand rest on the string uext to the ons made to vibrateand should not he removed but (o strike the next notesexcept in cases where the string on whieh it has stid,should be wade to vibrate hy another finger in the har imoediately after, when the thuh ought to strike the steing without touching any othe ‘There ure a grout many casos in which it is necessary to play on the Sd;and 2d:eteings with the ‘thumb,and on the 4th:and Sthistrings with the 1st: and 2d: fingors. These cases present themsel- ves in chords,arpeggivs, pustages of thirds,sixthe,uctaves and cantabile phrases,the nutes in all ‘these cases, which ought to be played with the thuimb are written with a double stem if tu be play. 1d alone,and with the stem turned down for the thumb.see the following examples. +p OF TUNING THE GUITAR ng fork fs used in tuniag the A (5th:) string at a distance of two octaves lowers then «Press the finger on the sme string at the Sth: ret un the finger board, which will give Dsts which wots the Ath: string is to be tuned in unieongthe finger fs then to be placed on the 4h{D)steng St frat, which will give G.to which the 84: string fe to be tuuid in unison; then place the-fingeron the 84: (@) string, Ath: Fret, which will give Bytu which sote the 2d etring isto be tun1. Finger is theato be pressed on the 24s(B)string, 5thetret,which will give Hyto which note,the Ist string is to he tuned in unison; The 6th sthing fe then to he tuned (u to the Lat(B)stefng,butat fs dictaney of two vetavee lower, ves the following Ex After having tuned the gaitar ite well to pruve if hy sounding the oetaves,as fullows, 2 7 ‘The following aie the sigue used by most authors who have weftten for the Gultaryto idfeats the fin ing. ss. For the left hand, 0, for Open siting. | For the vight hand. “fur the First finger 45 for Fizst Cingor. oy Bd Ruger, 2) 2d: Finger fe Bd finger. ayy Bd: finger ‘Thueh, THE POSITION ‘There areas many positions as there ave Frets on the fnger-board:It is the Fiestfinger which de- Jermines the position that the hand fs inj for Instance,when the First finger Is pressed un the First fretythe hand is in the First Position; and so on with the other frats ur positions. GAMUT showing the notes and extent of the Firet Position, The figures placed uver the nutes in- fate the fingers of the Left hand and the Trats on which they are to be placed. "The fingere of the Right hand have thelrSigns placed under the notes anc arinas dinning éc J Spe oben MOLL oSvet tie ¢ es baer A minor. (mg rani ney 0 men) PreludeN02. FoeraaeePreludeN23. 7 on “Jdad ed e ead Sealeof @ major. Seale of E minor {he rative ay t9 8,00) 7 Cadences, Seale of Dinajor.Seale in B wajor en Sealeof C#iminor (ine pies 2103 dus + eth ey + Prelude, ra 7 er Seale of F toajor: sip ebhas, ty sopsragyoeeee SEAZA 52504 Ret srouent es = Dy Trees 2 ben Fisgie a ‘Seals uf D inlnor. (ie relative oF maior) a es ee bites fron Prelude potasF. Weiland ¥ D.C. F.Weiland,Aik feow the Opera Othello by Rossini. Larghattol18, Hyaeynth Polka.ged hy FWeila nd. 3 aaae 2 wees