ILLINOI SUNIVERSITY OF ILLINOIS AT URBANA-CHAMPAIGN

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University of Illinois atUrbana-Champaign LibraryBrittle Books Project, 2011.

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Win. S TAHL'S

NEW MANDOLIN METHOD.Part I.

RUDIMENTS OF MUSIC.

Musical sounds are expressed by characters, called notes. These note are seven in number,

and are named after the first seven letters of the Alphabet. viz.'"A, B, C, D, E, F, G', These notesStaff.

are written on. between, above, and below five parallel lines called the Staff. WhenLedger Lines. -

notes are written above or below the staff, small lines are used called Ledger Lines.Ledger Lines..-.

A sign called a Clef, is used to establish the names of the notes as distinguished by their posi-

tion on the staff. This sign is called the G., or Treble Clef, in which clef all Mandolin

Music is written.

Small perpendicular lines placed across the staff are called Bars. The space between twoBar. Bar.

Bars is called a measure.

Double Bar.ADouble Bar indicates the end of a strain. _____ When two or more dots are placed be -

Repeat. Repeat.fore or after a double bar, it signifies that the strain included between them must be repeated

These Signs are called,the Sharp ( )- - - Flat ) - --Natural( )---Double Sharp (X) and Double

Flat( ). When Sharps or Flats are placed at the beginning of a piece, immediately after the clef,

they are called the Signature, and designate in what key the piece is written. When so placed,

they effect all notes throughout the piece, bearing the same names as the lines or spaces on which

they are placed.

Sharps, Flats and Naturals, which occur in music and are not in the signature are called accidentals,

they are of temporary effect and not intended to last beyond the measure in which they are written.

Stahl I. M, P.! .- 64.

THE MAJOR AND MINOR KEYS.

There are fifteen Major Keys and each major key has its relative minor key. Therefore, there

are thirty in all. They are called Relative Keys because they are indicated by the same number of

sharps and flats marked at the beginning, and are bound together by a relation of common harmony.

The difference between the Major and Minor Key, is a minor third or three semitones. The

Major third contains two whole tones, or four semitones. The following shows the number of sharps

and flats required by each major and its relative minor keys.

C MAJOR. G MAJOR. D MAJOR. A MAJOR. E MAJOR. B MAJOR. F# MAJOR. C MAJOR

A MINOR. E MINOR. B MINOR. F MINOR. C MINOR. # MINOR. D MINOR. A# MINOR.I J4_it-- -: -_-

F J B MAJOR. Eb MAJOR.MAJOR. A MAJOR. D' MAJOR. G MAJOR. C MAJOR.

D MINOR. G MINOR. C MINOR. F MINOR. Bl MINOR. E MINOR. Al MINOR.

Dal Segno (-) this sign when met with directs the performer back to the previous % from which

sign the music must be repeated ending at the word Fine or this sign (r) D. C. is an abbreviation

of Da Capo, and means to repeat from the beginning and end at the word Fine. This sign(f)when

placed over a note or rest is termed a hold. and signifies that the note or rest over which it is placed

may be prolonged at the will of the performer. Dots placed above or below any series of notes in-

dicat, what is termed Staccato, and signifies that the notes to which they are attached must be played

in a marked and detached manner.

When the Slur or Tie is placed over or under any combination of notes that are on different lines

and spaces it signifies that they must be performed in a smooth and connected manner, which is termed

Legato. 8va written over any number of notes implies that they are to be played eight notes

or an octave higher. A swell and dimuendo > are often united < the first is executed

by commencing the note soft and gradually increasing the tone, the second, by commencingloud and

gradually diminishing and when united, commence soft and by degrees increasing the tone until it ar-

rives at its full pitch, then diminishing it until it falls off to it first softness

Siah/s N. M Al. P I.[- 64.

5

THE TREMOLO.

The Tremolo is the only means by which a note can be sustained on the Mandolin. It is made bystriking the string very rapidly up and down with the pick. When music is written for two In -struments it is called a Duet, and the staves are connected by a brace.

SYNCOPATION.

When the unaccented part of a measure is to have a particular emphasis, it is shown by the char-acters, fz or or A and when the weaker part of a measure is made of more importance than the

strong, such deviation from the regular accent is called Syncopation.

1 11 1 1 1 1 1 ell. P,P--xa pi . 191 1- ) 'A*

A Dot after a note or rest increases its value one half.

A dotted whole note s is equal to ___

A dotted half note is equal to_

A dotted quarter note . is equal to

A dotted eight note is equal to _

A dotted sixteenth note e0;. is equal to

When two dots are placed after a note, the second adds (to thelength ofthe note) one half of the value of

the first dot. Example is equal to

Three notes with a figure three(,) placed over or under them, form what is called a Triplet; and

such notes are to be played in the time of two notes of the same value, the time of the middle note being

taken from that of the outside notes. Ex. _ A figure six (6) signifies that

the six notes are to be played in the time of four. Example

The word Fine, denotes the end of a piece of music. This sign r over a double bar is some-

time used in place of the word Fine.

When during the performance of a piece of music silence is required, Signs called rests are

used in place of notes. The following table will show shape, name and length of each note with cor-

responding rests.

NOTES. A9

Whole. Half. Quarter. Eighth. Sixteenth. Thirty Second.

Eighth, Sixteenth and Thirty-second notes may also be connected in the following manner.

Example

Stahl's N. M. JI, P -64.

_ _ ______ ____ __ ____I'V .. ..1%&%% I

6

MANNER OF HOLDING THE MANDOLIN.

The Mandolin should be held firmly against the bodyjust above and resting on the right hip,

the left hand supporting the neck near the-nut betveen the first joint of the thumb and second

joint of the first finger. Curve the fingers sufficiently to reach the G string without an effort.Then the pick which is generally made of tortoise shell., should be held between the thumb and

finger of the right hand. The right fore-arm should rest on the edgd of the instrument,just backof the bridge over which the strings pass. The wrist must be slightly curved above the strings andshould be free from constraint. -Preserve an erect position of the body and in all movements culti-

vate ease, flexibility and grace.

MANNER OF TUNING THE MANDOLIN.

The Mandolin is strung with eight metallic strings, each two strings being tuned in unison, thatis, both the E strings must be tuned to E, both A strings to A and etc.

In tuning the Mandolin, the pupil should first tune the second or A strings, the proper pitch can

be obtained either from A on the-piano or from an A pitch pipe. After the A strings are in tune,

place the finger on the seventh fret of the A string and tune the E string to sound the same note

open. Then place the finger on the seventh fret of the D or third string and tune to correspond to

the A string open. Then place the finger on the seventh fret of the G string and tune to correspond

to the D string open. As the pupil becomes more familiar with the instrument he will then be able

to tune it without these instructions. Figures placed at the

beginning of the staff indicate the time, the upper figures denote the number of beats in each meas-

ure, the lower figure the kind of notes to-each beat. Thus., A piece marked NN ould have thevalue of three quarter notes, or their equivalent in other notes or rests in each measure.

The following example will show the different kinds of time in general use.

Common Time. Three-four Time. Two-four Time. etc:.

ARuj~ +I JLJ L I- ":Four Quarter Notes. Three Quarter Notes. Two Quarter Notes. et c:

CHORD.

A Chord is a combination of three or four tones played simultaneously.

When the last two bars of a strain that is to be repeated are marked 1st Mo. and 2nd Mo.list too. lf~nd to. I

Example . it implies when played the second time, the second Mo. is to be played

in place of the first Mo. which is of course omitted.

THE NAMES OF THE NOTES.The best and quickest method of. learning the na~nes of the notes, is to learn the notes below the

staff 1st, the notes in the spat'es 2nd, the notes on the lines 3rd,. the notes above the staff 4th.

G AB D F A CE EG B DF GA Bc D ED G A

. . .M . 6 . ....... ......

Stahl"s N. M. M!. P .1.- 64.

7

EXERCISE IN READING NOTES.

AP d .. .. - Iw,

4t... ... ~ ~~I di ,!12 I[ .. mi I I

The notes on the four strings as represented on the staff.

..4th string 3rd string 2nd string 1st mstring- -7..." . . . .. . , . .. . . ..E, ,

. . . . . . . ... | ', . . . .. w!

EXERCISE ON THE OPEN STRINGS.

Always strike the first note with a down stroke, all accented and double notes are playedthe same way. Two or more noteg that occur on the same string, should be struck with the

alternating down and up stroke. Sixteenth and thirtysecond notes are played in the same

manner. The down .and up strokes are indicated by the letters D and U.

D D D D D D D D D D D D D D D D D D D D

D D D D DD D D D DD D D D D D D D D DD

APT If

Stahl's N A M. P I- 64.

THE SCALE.When notes follow in regular succession they form what is called a scale. It will be observed that

notes of the same name will occur several times in a regular scale but allways in a differentposition on the staff. The following scale should allways be studied first, as it is the easiest key of the instrument. A sharp (0) placed on the fifth line, signifies that all the F's areto be played sharp.

SCALE OF G MAJOR. (Signature one sharp.)Do not raise the finger until the following note is found as. one finger guides the other.

4t h string-G. 3 string- D. 2 string- A t string-E.Fingers:3 3 1 0

2 string. 3 string. , tring3 2 11 0, 3 2 1 0

0 5 02 3502 33 20532 0 042Frets:02 D DD DD DD DD DD DD DD DDDD D D D D 2 D0

After playing the above scale with a single stroke of the plectrum to each note the same shouldbe repeated with 2, 4 and 8 strokes to each note. Practice assiduously and results will prove it avaluable exercise for acquiring the tremolo. The plectrum should strike the strings midway betweenthe bridge and sound hole.

D DD D CHORDS IN THE KEY OF G MAJOR.

THE TREMOLO.In playing the following exercise the pupil should begin slowly useing the down and up stroke and

gradually increasing the speed until the rapid movement of 8 strokes to each quarter note is attained.This movement is called tremolo and its object is merely to sustain the tones.

TREMOLO EXERCISE.Count four to each note.

Pupil. I

Teacher.

CHRIST FARO.

OT oed ga$-E~~i~l~

Of may v 1 7 1- 1 1 eercse heup -1 1- b~i

9

EXERCISE ON THE E STRING

Figures placed above the notes, indicate the finger of the left hand used in stopping the

strings. Figures below indicate the fret at which the string is stopped. A zero (0) indicates anopen string. Two strokes of the plectrum to be given each note. The cross (x) means keep the finger on that note.

Repeat 10 times. Repeat 15 times.

2 2 3 0 3 2 0 2 3 2 3 5 32 53Repeat 20 times.

S 2 23 5 3 2 3 5 32 23 57 5 3 2

2 5 3 j 7 5 3 23 3 2 2 7 3 2

Repeat 10 times.EXERCISE ON THE A STRING.

Repeat 10 times.

I 10 0 i l 0 0 0 o 0

0 2 2 2 01 32 0 82 02 33 22

Repeat 20 times.

. 2 3 5 3 ,2 2 5 32 5 3 2 3 2 5 3 2 52

2 4 5 22 5 2 4 2 ' 4 L2 I 5 I " I I

EXERCISE ON THE G STRING.

2 4 5

Stahl's N.AT.A, P I.-64.

10

TREMOLO EXERCISES WITH WHOLE AND HALF NOTES.

Accent each note with the tremolo.1234

whole note.

0 | , a' n

When two or more notes on the same degree of the staff follow in succession, there must be ashort cessation of the tremolo between the two notes.

half notes1 2 34 1 2 3 4

12 34

xx

" ... -. ... .... " I * : - " j

\_ L . ...: , .I " : : . .. .AW" ..

x . .o , : ..: .

1 ... . o . l Aw- , ..n - , .... _. . ! .! . I _

THE TIE.

When two notes on the same degree of the staff are connected by a curved line thus: it iscalled a tie and is executed by a continued tremolo, the full value of both notes.

WHEN TO USE THE 4Ath FINGER.Sn A F

When we find the notes - preceded and followed by the next tone below, it is the rule

to employ the 4t h finger in preference to the open strings as in the following example.

3 4 3 3 4 3

Example:.M . 5j

Stak/s.N.M A.P.. - 64.

---------- Irv

LESSON WITH WHOLE, HALF, AND- QUARTER NOTES.

Tremolo all the notes in the following exercises.

I III

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x -P'',\A Am, ~I~I

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Stal// N. M. Al, P. I. -6~4

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12

ETUDES.

The followling exercises should be carefully practiced slowly at first w'Fith in crea sed speed w-Nitheach repetition.

D D SZD i h. v~-r~ ~XI

iN 1. Art - ifT-

if if

Arex olo

XX

xi 4 tremolo.

wiTo 2.

4 x t, rem 010.

THE SLUR OR TIE.When the slur or tie is placed over or under any combination of notes that are on different lines

kind space,-- it signifies that they must he performed in a -,mooth and connected manner wxithout thelatinterruption of the tremolo. Thi-s style of playing i termed legato.

51(1/1/SN Al1. Al P IT - 64.

A-F .1 1 i I I I i i

13

LESSON FOR THE S, LUR WITH QUARTER NOTES.

CHRISTO FARO.

-P Lento. x 4

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x 4

0

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4

SCALE OF C MAJOR. (No sharps in signature.)In playing this -m-cafe -altfernate mwith plectrum as ,per instruction i-,c,,le of CGmajor.

D U D U

CHORDS IN TUE KEY O FCkMAjOR

Slal/l N M. jfi. P 1. - 6'4.

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DUETT FOR TWO MANDOLINS.

11Andante .

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LESSON WITH QUTATERAll the quarter notes that are not slurred should hbe executed with

each new note Arrest for an instant the tremolo behorepassing to the

AAndante.4-6J t L.y 4 1

4

NOTES.the tremolo and with an accent onfollowing note.

CHRISTO FARO..

i - I

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15SCALE OF A MINOR, RELATIVE TO C MAJOR.

A Scale having the semitones between the second and third Nnd-seventh and eighth degrees, iscalled a minor scale.

Pla&y ]rem ol1o A; :

e9 -U 12 3 44 1i~T

TT TT VT TT T r-l T " Tl A

0 F 3

AI T XT d-A(-J U 1J L) I N 111Th 1X>Y U P AAlI N U H(.

DUETT FOR TWO MANDOLINS.

014

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Stakl/ N. M. M P 1:.64

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HOW TO EXECUTE WALTZES.

The rule for use of plectrum in executing waltzes written in 4time, is as followsD D D D U D D

Quarter notes _______ Eighth notes All longer notes tremolo.

LEOLA WALTZ.

Triple time = Three quarter notes in a measure, or their equivalent in other note,,; or rests.

9 x

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~ __Thre quater oI)

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explanation of the dotted note see Page 5.explanation of' the 1st and 2nd endings see Page 6i.

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Stahl's N.MAL MP. 1- 64

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Remember the (x's)

D IT D D D 1 D D Sinlll

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6 11xxI

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xx

TremolTremolo

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S/lakl N-AT. M, P1. - C6

ANS TT IX

Lesson with Two Quarter Notes Slurred and two Detached.When there is a dot over a note it must be executed with a down stroke of the plectrum without the

tremolo. Execute the half. whole and slurred quarter notes with the tremolo.

A, . . CHRISTO FARO.

Stahi/ NM.M. P I. - 64.

t9BONA ROSA WALTZ.

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S1(1/1/s N. M. M ,.- 64

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20 LESSON wirrii O1'ARTLR AND EIGHTH NOT)"ES.

To know whether to tremolo or detach the notes it is necessary lo comprehend the movement othe Piece and the character of the phrase. The gieat0er 'the e value ot the notes~the better subjectsthey are for the tremolo. On the contrary the sm-aller their time 'value all the more should they he miiadedetached. In the following Duett which is marked' Andantino (meaning slow n- md ed(Ate) play the quiarter notes tremolo and detach'the eighth notes. Iii the Duett on the following pite wNhich is tmarked Alleg-ro(- (meaning quick) the quarter notes are struck with the down stroke and the eighth t-otes wvith the a'lterniating down and- up strokes

Andantino.DUity'ETT FOR Trwo NIANDOLINS.

99 U . U . U W . w j

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4- O.I - L7 1 jU

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DUET FOR T'o NMANDOLI-NS.

Allegro.J - D- D D U-D D D P D DUD D1 PDD D D J) U D

19 1 60 I -I

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NIGHTIN'GA.LIFSONG.

8 im Six eighth notes in a measure or their equivalent in ether notes or rests.Tremolo all the notes.

Andante.Co Lilit

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THE EXTENSION. 23

The first position ends at 'B but it is possible by extending the same finger to reach C(rsharp without the other fingers changing their places on the strings,or the hand being moved. This Icalled extension.

THE TRIPLET.

Three notes with a figure 8 placed over or under them is termed a triplet, and are played in the timeo f 2 notes of' the same value. Thus m Three quarter notes must be played in the time of two quarters ,threeeighths in the time of two eighths, etc. Triplets are exe-cuted according to the character of the. piece. Inmovements neither fast or slow,. such as Moderato they are executed wvith the down strohe. See followingS el ectioim

SCENE S THAT ARE BRIGHTEST.(From M(Aritana .)

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EXERCISE WITH EXPRESSION MARKS.

fp fpf

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ABBREVIATIONS.Written thus.

Performed thus.ii

B is. (meansTwe)

1 - ,1

THE INTERVALS.

An interval i the ditn h etwveen two tones. The names given to intervals reckoninig upwvard.-

from C are Primes, Seconds. Thirdsz Fourth,. Fifth. Sixth. Seventh and Octave. The intervals standc

the same ascending or descending. The pupil T-houild -lkenotice thai -in every major scale the interval.,-betwNieen the 3 & 4 and 7 & 8 sound.s; of the scale (Are '-emii itone~i . anid between the other sounds theintervalsare whole tones. A semitone requiring in fingering the distance (f one fret and a whole tone two frets.

Prim ISecond IThirdIFourth FifthISlxiiSeventh Octave Ninth Tenth Eleventh

99 -44 -4 4 L b- 4 -

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EXERCISES,-*% ON THE INTERVALS.SECONDS. Give two strokies of the piecti-ill to eich nii,,te.

4ti

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,FIFTHS.

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ASIXTHS.

SEVENTS

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ETUDESWith Repeated Notes.

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PT;FSl(illl IV A1,41, P 1.- 64.

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ETUDES WITH REPEATED NOTES.

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28

SCALE OF F. MINOR RELATIVE. TO G. MAJOR.

EXERCISES IN KEY OF E. MINOR.

N 2 13.Count. 1 2 3 1 2 3 1 2 3 1 2 3 1 2 3

1 2 3 1 2 3 1 2 3 ~~ ?XA AL

,,In - 1 1 i I I I I 1 6 -1 1 1 1 1 - f- - & dm IFPO% I I I w I I r wr

ab I I -AGi wa

D U D D

22 3 2 3 3-14 1 l Aft

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N9 14Count. 4 3J - - j[ t x 4A" Am

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1w I I x dO

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D D D D D D D D D D

1 2 3 1 j 3 4 1 2 3 4 1 2 3 4 1 2 3too-I.; IPTft 0 -,a 1, 1 1 A

OR A& Al I I q.T l IW F3 0- "'Imi -T --r-OF- WF0 AliIW NO

CHORDS OF E. MENTOR.

A# 410 lim V 9 fla M f)lI Aaa I d-% a it 11 1 Ami .911 AWL I I I An AM Aml miAd I wl--A I di- dO

1 64~z

~S/a/0/ MrN. IW l, PI f /64.

29

SIREN WALTZ.

I I

-4 -0 -I

Q )J W WIF

I I

S NJJ.,VP.J1.-64

i-

--A

AD I

a Uf : o -or -A -A

z7~Fine.

. ORD

I I I I

I - I

40

slakls,

634)

'u D u D u IT P

L I

___f.#___-

1?I I

4p

lah aIsi -. NM,R.. -64

t I I II I

SCALE OF (C MAJOR. :

Pl~y tremolo.I'st p oS.

2d string

.looss- 2 Th . 2 1

1st string- cds rin

MELODY.Andante.

4

-_±Lizz!z±±m -+f-f-'-F~---~' 7 zip

2IT!2 0

:=:=:==-zP

p-X

9)-PSPay attention to the expression marks.

f

f

Andante.

PPl

X\2

I A1 -

xl.LiZf-)

HOW CAN I LEAVE THEE?Dulett.

3 43

3 x 3p>

r ia rd

Give two strokes of the plectrum to each note throughout the following exercise.

DUT DU

NQ 15.-I 4w w AO TI 4

p

9)T f

I I

4

I

p

I

2 2

pp

i-4 17-

23

I-st Pos.

--

7-----F

. w IFi - i i . I UI I I

1 I

-TF---4- - 4

Slahls' N.M. M, P 1. -

3,,2- -fV-

6

32SCALE OF F MAJOR (Signature one flat.)

A flat ( ) placed on the third line signifies that all the Bs are to be played flat.

Four strokes to each note.2 3 1 2 a 2 _~-

42

2 1 4 3-lam- N !f 1 - d&- -. .

CHORDS IN KEY OF F MAJOR.

2-22•0

ETUDE.

D D D simili xx x xxPo

em- .

Repeat this study with two strokes to each note(, )DU

:33TRAUlMEREL.

SCHUMANN.

Leinto.-

I'll

I.~I#~

w II'.

r.e o* -_I #7~ (~.

W ;#LIw

0. -N, i

tF)Wfr .j

r-i I -

-(f temnpo ~2

~- -

1IJI ii

S/oh/s N.M. M, PJ.- 6

FL-

/ 1 ;20 Ok i NMI 11,1001pillon - - I-f 14F ARL odg!--

3w 1- w - - -, f 1 ! i i i i i i i #- .,W IArL IW N

m v

ritard

t) w clo 711

TI

OP

34SSCALE OF D MINOR, RELATIVE TO F MAJOR.

Two strokes to each note.-3 3

3 0 4 3 2"0O 1 0

CHORDS IN KEY OF D MINOR.

MLt 031 2So i L m I 1 T [t W WI I I I . I I I - I I A ILI as

0Oo

ETUDE NQ17.

Two strokes to each note throughout the following study.simili

aDU DU DU DU ×

W7 W4 X W m' '

x 4 rmXt..~~ x =

4 X4 x 4

xNax

t - l I -+-,I " , -6.MWLoo m 4 V r j W4 -- 4 -

. . .. _ . . -

- 1 -114

S a M . ? .- 6

35

HOW TO EXECUTE SCHOTTISCHES.

The rule for use of piectrum in executing schottisches is as follows Quarter, dotted quarter and halnotecs are tremolo.

D D 1 ) DDU D U D UD U

Eighth notes thus 7 Dotted Eighth notes thus- Sixteenths thus

EXCELSIOR -SCHOTTISCUE.

S/lh/s N . 11,RL -64

I

6

Trio.

9 -)

9-) 4 -W ,. 1

4T

li ir 1___

--zr 7 i

4

"1.1

IWI~fz

n , I I,W I IAwl

51al /' N. JJf Al. P 1. - ( ;4

aw TI

A S. al Fine.

a

TT

I I

EXERCISES FOR INCREASING TEMPO.

S trike each quarter note twice, each half note four tines and each dotted half note six timnes.At any change of string, the first note on the new string must be taken with the down stroke no matter how many such

)otes follow each other. BazlaN9 18.A 1 D U D 17 &A ao .. t4 a-

N-

-0.0

EU ~

~4 x

-No 4

x. UD 44

.&aAA 9tD UU D D DD

_om -N _om

N~2 19.

- A.0

EUvw

SCALE OF D -MAJOR.3 0 '2t3~ 2 3

Signature two sharps.3 4 3 2 1 4 3~ 2 1

Q)

1UJ

Ai_ x

Af A* A ,M

9)

Q)

2 3

T) 17 D

S/IV, . M. AL P 1(64

A AD . . 10- 10-

m"

a -p6-p-

EI

4-4

SIMPLE AVEU.

THOME

Moderato.-fDDP

______ 4N

Pl5*tremolo3 3 3y 3-y

U

---------

#-- e Wo # p 0w -. a 0 . * vq ID- ---'.attw

1

-w- 0 -, - do

D

Coda.

( I n

3.. 3 37---3..,S3

StaIl N. M.M,P-64

39

D D

~ Wi-a- ov

ETUDES AND RECREATIONS IN QUICK MOVEMENTSWith fixed strokes of the plectruim.

ETUDE.UD D D DIJD) D D DU D D D DID D D

D DDD

DUD D D DD DETUDE.

4

N 21.'

P-C 0 L&- ;A. C. al Tine.

H"OW TO EXECUTE POLKAS.

The rule for use of plectrum in executing Polas is as follows Quarter notes and all longer

IDDID -P

Eighth notes,; thus: Sixteenth's thus

P U I U D U D U DUDtU

N otes written thus:() do not indicate the tremolo, but mean that each quarter note so marlhed ito be divided into four sixteenths notes.

CLJO POLKA.

pD ID BD

D DI U DuD DuD -DDUTJ PD

w w w w

Stahl'sNM. MJ.-4

40

NQ20.

a

~+ +h-

I

.Im do

wswl K-rne

a1- f --

~~72LZ4&

IzL-.

Sh Ik/i N. M. jM, A P 1- (54

41i

r7 a'

U U

DJ

]).C. al FinethenJTrio.

a

AN& -AM

r) .6 -- MgmoIff

Wp

- . i i in 411 1" -

Ali Ali

--- a 61 1 7-7

42

THE COULE (or slide) OF THE PLECTRTM ON THE STRINGS.

The Coule is the manner of executing groups of ;lurred notes in passing from one chord to anothewvithout the tremolo. in its execution it is necessary to ,--trihe the first note and then ,-;ide the plectrumover the-following notes without further accent.

with- two notes. with three notes. wN rith four notes.

D D

t) + W I

DUETT FOR TWO MANDOLINS.(Introducing the Coule.)

CHRISTA FARt).

B BID D

e)-- -

U

S/ak/sr NY Al.M. PJ1.-4-

-t - Ii

/

SYNCOPATION.

Comrnellcini L tone on (an unaccc-nted puqe of (a measure. and continuing it into the followirgaccenfepntlse thereby htemprarily displacing the usuial accent, is called syncopation.

LESSON IN SYNCOPATION.

Detach the eighth notes and tremolo the quarter notes.

2d.JPosition 21343

DU1 DU 'DIT s/mii

tremoloAS 0)7

MIE LU)Y.

Detdch the eighth note,.IAnd tremlolo all quarter and longer notes.

TT PUP P)

Quarter notes are not played tremolo when followed by a syncopation~unless tied with 'a tone of thesame pitch 'See example in following stud-v.)

I v IT-

Irl 0

TT

XIL-14 -rr-- -I- i i i , i K -- I

-107 Am

S1,A / 'k; N. V M. P Il. -

1 rTl -T I -V I I w

44DUET FOR TWO MANDOLINS.

Lesson in Syncopation.

Allegro moderato.1) oo D D r) )

4

CHRJSTOFARO.

,D

AA

I I

~U~W ~

~iJs ~

tY

Slak( XIl~N . AT P /.-(64.

9 Q)

U

9-)

I I

AS * nI

I i

A&

-F-- -- T

I I -4 - I

A 0

-T

45

This -sign (*) is called Alla Breve (meaning double quick) Compositions marked thus are reallyplayed as though written in 2 time, the pulsation being on half notes instead of quarter notes. Quar-ter notes in Alla Breve time are played in the same time as eighths in timte,and eighths as sixteenths,

[etc.

MERRY MAIDENSMarch and. Two Step.

Introduction.DD D D DIDDD Dunn

March.D D DD

t4) ~

U U U U

-i -

21 121

- D6P-U T) P

P-) w w w w w

112

This march is also published for Two Mandolins, Guitar and Piano.

S/alk/.A/ l M, PI.L- 64

D~ UPDJ

-t

II I I - I

I i I I I I

I I

(I

4Y(6

1 i AO

1UDD

Tin e

*a

IT U D

if

D D- D DTPUD PTP

#9t'iT

AA , MAll. Lp I - (64.

L -PIJ D ID

A2..Intro.

al Fine.

P DPP'2

OP

OIL r.0

a

-IW T- I I -7--7

-L-- - -L

or,- - --- T- r I010

e) -OL "P,- 190L- -OL W 14 ---

or pli op,

I I I I I i

tst Position

47SCALE OF D MAJOR.

3d Pos.3 3Pos.

9 A

fret 7 fret 9 10 9 7 53d Pos.

ri 0

3 xlip-1.

5 fret 9 5 10 5 9 5

Two strokes to each note throughout the following study.

TRIPLETS.

Triplets in fast movements are executed with a down stroke on the first and last note and an upstroke on the middle note.

EXERCISE WITH TRIPLETS.

Allegro .4Count 1 2 3 snil 1

Tremolo quarter and longer notes, and detach the eighth notes.

~=.~=:AM f- _r zz_ _ _ _ _

1 D D D -j I*jg .-rmw;[- I

BII1IL~rSB 2

Stah. NMM. . I - 64

p /p

--61---~t- _baa------------e~'7-A-

.4it8

MELODY IN F.

(RUBENSTEIN.)

Moderato.

A P

S/ak/s N. AI.A P 1. - 654.

4

w ww::::7-

S/ai/i/s N Mf. LW. P 1. - '

x4

x x >< ~

4F wr

50 RCETO

YALSE.

Stahl's S.MM. P I. - 64.

SCALE OF B MINOR RELATIVE TO D MAJOR.

Play& trem olo

CHORDS IN THE KEY OF 13 MINOR.

111 I I I I ~JJI j I I I I I

vo wWf w w w w Lq

00

w or 3

AM _ z±A ±i_ --lad jj±_499ft-_

AllegreD,

Itto . D1JETT FOR TWO MANDOLINYS.D D D D D DUD D D DI D 'D

p -I .alp4

1) 1)

# *L . tI vv

CH RISTOFARO.

6I;

Uv -- 41t /-

A -f M I

K K

-nwm nlw

-RAMIDF=Bm- am2PN

%w6

W ~. W ~ fri

ine.

in the above dulett is the same as in the Pola.

UNIVERSITY OF ILLINWMUSIC LIBRARY

51

C~

,-)D

Ad& Amh k

Am AM rl\

a

a

loom

Wivniiiii mm -

tl

C"ONTRA DANCE.

I~II ~III

AOL 4w: W:PW &

-ie.

~ ~JD. C. al~ine.-04 I M!m

SCALE OF A MAJOR.(Play ever F. C and G sharp,.)

CHORDS IN KEY OF A MAJOR.

0-

A J1

w -1 Uv

-6 4

Qmvx~ 4 xF,2

T7 4W 4W

* *

qw w IW I

Milo Almm

lw W4.

DUETT FOR TWO MANDOLINS.

Groups of three notes in time must not be confounded with triplets in 4 time.

Moderato.

53

CHRI STOFARO.

S/ah/ .N ill il P 6.

EL TROMPETERO

Mexican Dance.

CHARLES C. L3ERTHOLD.

DUD ID

w

DUDD D )DUITDD D

wE-ii

D UDD D

1)

I

DU DD D

DU D D

PD U 1) D

DU DD

Q)

1)

DU DD D

-)

S/a/i/s N M -41 P 1 (64.

SCALE OF F SHARP MINOR RELATIVE TO A MIAJOR.

D IT D2 3 0 2~ :8 1

4

3 3 4._

CHORDS BIN KEY OF F SHAR P MINOR.

ETUDE.]) IT I)DTU PT PUPIT DE P

ml-3x

x

Adlk

s1// Y 1j,/J/ /) / j"

P-) 1 4

MR MR

wr I I

MP;j X

x IDx

Alft

56

MANNER OF EXECUTING THE MAZURKA.

DD D) DDD

In thle mazurkai rhythm the quarter notes and all longer notes are played tremolo. Eighth notes thus

D UDUDUD D UD U D U

Sixteenths notes tus Dotted eighth notes followed by a sixteenth thus

There are of tourse exceptions to the above rules. The rhythm sometimes demands a down strole on thequarter note. The isolated sixteenth notes are also struck with the down stroke where a change of stringoccurs. otherwise the up stroke is employed.

ESTELLA MAZURKA.

Stah/s N .. , P. L - (4.

57

Sta/,/sWN MM/. -(64.

Exercises on Repeated Notes with different Strokes of the Plectrum.

CHRISTO FAR 0.

D DU DUUD UL UsTii

V-)

-dw Ale 0

) DDU~~ ii

No- wr-om

.i ) 1) D I

DD D DU YDU

60 .I .MMM

~ D D U

C) ~

B -

1 0 IIdIPL7 I - ;ot- ; 0-PT- 10Pi- POT _0 0or opo or

AM 0 -, o 0- doo- 000,or I or f, a or- OT- Aft -10-

4M 11 --- B-NM 0-

Ami a w Tl-

io 00,or" OT,

III. P I

98

- --L

m Ll- M OAU

ZTT I

mow PENN

mmmomm" Iawbow

AM klk * I I

AM

Am

I I -.-- i

I Ll 'm jw An 'm I

TI I I

mu f= MI-

59SCALE OF B FLAT MAJOR.

(E cand B Flat.)

2

CHORDS IN KEY OF B FLAT MAJOR.

ETUD IE.

si/nil1,

"(J 23.

A

.t w

M/a /JN Pl.I? /-(64,

4

_r ff r 1r 1 U

-1

--- wood

I wmv--

I x

SCALE OF G MINOR RELATIVE TO B FLAT MAJOR.

E and 13 Flat..

C')HO0R DS I-N KEY OF (G MINOR.

a a I I A.1j I .i1 I P.go go g

_0p --vo 0P A

D D D D 2

I~I DU DU1

The above study should also be played with two stroke's to each note(2

Tremolo all the not es

,Lento espressivo.

FLOWE R SON lfG.(LANG;E.)

I 1 q !hls N If M. P IJ -64.

4O%

6 1~

E -4

i Em in

I ___

-- _ .. "W-/

AM

poco ru.

Am, 1,41

;owl,

Ash F Am

I MV

6m, 1 1_- W-. qw

Odd Alm Aft M

PWF I AM

AM I. IN F-1 I M'.101

I w I dlvv 110 Alai

AM

Opp-] AM4p MftAs1 1-7

do - I dp- r- z

'41'' pf) /1.I

6 .4

DI'TT FOR TWO MANDOLINS.

#9

-

-j 9w--

-w w

Fine.

a .m1 4 m

#9

~ ~ I

-D -I -DIT 1) U D1)U

N Jhs YAl.Al P1) . -o4-.

4 4

ro 'Ifw

mw -OL VAW

:j - 4PL 4

TRIPLETSI,'EN QUICK MOVEMENTS.

Moderato . CHRISTO FARO.

Izz~zI

ww w

aL.. 4

w mV pa p W oW0-)

fn the following e xercise the plectrumn must glide over all the slurred notes that occur in passing fromone string to another.

A -DUD DUDDUD DUD mo

C) W3

,~ Dk DU

3 -4. .#

3

_.Owoo4

w ~ A 4

A 4 DDUTi

a 4

Q-) io

D D U4

C)T _

A 1 .

'I

II

C-) Vr

/hf N M. M.LPI. - 64.

U4

Am

Am Mbow-

mw

D I) U D U D

:j1

AM

64

LAREDO MARCH.

The plectrum ruile for marches ill~ time is the same as in pollas-

r~ nunu~B

,j'a

IM6 rem.

'1

-5- ~ - ~f75'

~fzz~zLZ I Z I --t

9

ID IT

: -1- -5- -- #4 f 4 * 4 - -* 4 f-i -t

4s 00.. .. I

- a

izzI

I4LI

. U U U- j j -;;i0 ,

Sta,Is'A N. Al, ft I.- -64.

-W

I

77

w

I

It)

a

:4L so so - Ll -OL

R

'

6 5

111,6 DJD ITJD uD u

_* 6 _

(resc.

8/a/i/sYN M.AlP I. -54.

2 k1

The end 'of Part I.

go a a - D

1A C. al Fine.

p

~Q)

0-) 4~

. 6 a lop,- -a-

ACCELERANDO (It.) Accelerating-the movement.ADAGIO (11.) A very slow degree of movement.AD LIBITUM (Latin) At will, or discretion. This expression implies that the time of some particular passage is left to the pleasure of

the performer; or that he is at liberty to introduce whatever embellishments his fancy may suggest.AGITATO, CON AGITAZIONE (It.) With agitation, anxiously.ALLEGRETTO (It.) Somewhat cheerful but not so quick as allegro.ALLEGRO (It.) Quick, lively. A term implying a rapid and vivacious movement, but which is frequently modified by the addition of

other words; as, allegro agitato, quick, with anxiety and agitation, &c.ANDANTE (It.) Implies a movement somewhat slow and sedate. This term is often modified, both as to time and style, by the addition

of other words.ANDANTINO (It.) Somewhat slower than andante.ANIMATO, CON ANIMA, ANIMOSO (It.) With animation, in a spirited manner.A TEMPO (It.) In the regular time.CADENZA (It.) An embellishment introduced before the close of a composition, or one of its principal divisions.CANTABILE (It.) In a graceful and singing style.CAPO (It.) The head or beginning.CAPRICCIO (It.) A fanciful and irregular species of composition.CODA (It.) A few bars added at the close of a composition, beyond its natural terminstion.CON (It.) With; as, con espressione, with expression; con brio, with brilliancy and spirit.CON MOTO (It.) In an agitated style, with spirit.CON SPIRITO (It) With quickness and spirit.CRESCENDO or CRES. (It) With a gradually increasing quantity of tone.DA CAPO or D. C. (It.) From the beginning, an expression which is often written at the end of a movement to indicate that the performe_

must return to and finish with the first strain.DAL SEGNO, DAL SEG., or the character Is:. Signifies that the performer must return to a similar character in the course of the

movement, and play from that place to the word Fine, or to the mark e over a double bar.DECRESCENDO (JI.) Gradually decreasing in quantity of tone.DIMINUENDO or DIM. (It.) Implies that the quantity of tone must be gradually diminished.DOLCE or DOL. (It.) Implies a soft and sweet style.ENERGICO, CON ENERGIA, ENERGICAMENTE (It.) With energy.FINALE The last piece of any-act of an opera, or of a concert; or the last movement of a symphony or sonata or any other piece.FINE (It.) The end.FORTE or FOR., or simply f. (It.) Loud.FORTISSIMO or if. (It.) Very loud.FORZANDO or FORZ. or fz. (It.) Implies that the note is to be marked with particular emphasis or force.GRANDIOSO (It.) In a grand and elevated style.LARGHETTO (It.) Indicates a time slow and measured in its movement, but less su than largo.LARGO (It.) A very slow and solemn degree of movement.LEGATO (It.) In a smooth and connected manner.LEGATISSIMO (It.) Exceedingly smooth and connected.LENTO (It.) In slow time.MARCATO (It.) In a marked and emphatic style.MARCIA (It.) A march.M EZZ 3 (It.) In a middling degree or manner; as, mezzo forte, rather loud; mezzo piano, rather soft.MODERATO (It.) With a moderate degree of quickness.MOLTO (It.) Very, extremely; as, molto allegro, very quick; molto adagio, extremely slow.MOTO or CON MOTO (It.) With agitation.PASSIONATE (It.) In an impassioned manner.PIANISSIMO or pp (It.) Extremely soft.PIANO or p (It.) Soft.PIU (It.) An adverb of augmentation; as, piu presto, quicker; piu piano, softer.POCO A POCO (It.) By degrees, gradually; as, poco a poco crescendo, louder and louder by degrees; poco a poco diminuendo, softer

and softer by degrees.POMPOSO (It.) In a grand and pompous manner.PRESTISSIMO (It.) The most rapid degree of movement.PRESTO (It.) Very quick.RALLENTANDO (It) Implies a gradual diminution of the speed of the movement.RAPIDO (It.) Rapidly.SCHERZANDO, SCHERZATO, SCHERZOSO or SCHERZ. (It.) In a light, playful and sportive manner.SEGNO or :8" (It.) A sign ; dal segno, repeat from the sign.SEMPRE (ft.) Always; as, sempre staccato, always staccato or detached; sempre forte, always loud; sempre piu forte, continually

increasing in force.SOSTENUTO or SOST. (It.) Sustained, continuous in regard to tone.SPIRITOSO (It.) With great spirit.STACCATO (It.) Implies that the notes are to be'played distinct and detached from one another.SYNCOPATION The connecting the last note of one bar to the first note of the next, so as to form one note of a duration equal to both;

this displaces the accent, and prcduces a peculiar effect.TEMPESTOSO (It.) In a tempestuous manner.TREMOLO (It.) Implies the reiteration of a note or chord with great rapidity, so as to produce a tremulous kind of motion.TUTTI (It., plural, all) A term used to point out those passages where all the voices or instruments, or both, are to be introduced.VIGOROSO, VIGOROSAMENTE f It.) Boldly, vigorously.VIVACE, VIVAMENTE or CON VIVACITA (It.) With briskness and animation.VIVACISSIMO (1/) With extreme vivacity.VIVO, CON VIVEZZA (It.) Animated, lively.

The Best for Teachers.S

IaA,ASm

STAHIa

U[iETo all those who have not as yet seen a copy of the above work, we will say that if you wish to

get the best, the above is what you are looking for. Stahl's New Guitar Method opens to the student the

shortest and best possible road to proficiency. The exercises following each scale are original and melodi-

ous, which not only obviates the drudgery of this essential feature of the work, but makes it an actual

pleasure to the pupil. Alternate fingering, so important to rapid execution, is marked. Also contains achoice collection of beautiful solos and duets, well worth ten times and duets, wl wor the price asked for the coplete work.

Secure a copy and be convinced.

~~AAO"AAAO

A

0 A progressive and complete method for this beautiful instrument. It teaches the elements of Omusic thoroughly, the explanation given being the clearest and most comprehensive published. The

S scales, exercises, chords, etc., in all major and minor keys, are arranged systematically and are more care-J fully graded than in other works. It contains a large collection of the very best music published, most

pieces being arranged for Ist and 2d mandolins with guitar accompaniment. This collection alone isworth more than ten times the price of the book. Teachers by adopting this method can advance pupilsmore rapidly and correctly in music than they can with any other method, as the material in the work

being arranged in all keys and positions, will enable them to teach thoroughly and systematically in theshortest possible time.

The Best for Students.

TH0

J!The most comprehensive and practical Banjo method that has ever been compiled, and the only

one in which a thorough knowledge of the instrument can be acquired without recourse to other text-books

or studies. The elementary studies and preparatory exercises are progressively arranged, so that the

student will find in them a study of much pleasure. Also a careful treatise on right and left-hand

harmonics. (The former method of playing harmonics have never appeared in any previous publication.

A perfect analysis of the Tremolo; the Major and M'inor Scales clearly defined; a thorough exposition of

the modern right and left-hand fingering; Practical Chords and Etudes in the various positions, including

a number of original compositions especially composed for this work.

BAN

0

ITA

A

ND

MU

JL'ETH0SLF

~4%1~ d ~-

'A A kAkk A A , A lsk, L A, Apl 0.1 A A A A, ALA& AL

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