MODERN :- ........ : :.· ..

METHOD . . ·. ·. : . . :. ·: : _._ ·. _.::. .~ . :_ ~ -·:~· :~::;~ ···::.:::. ~:.·

·. :.:. . .-: ... :. . :.. --~.- :._ . ~ ~ : . . .:...: . .:. _ . .-~- ~- :._ .. . ···"· . '~ -~ .. ·. ~ . . .. . . - .. ·­· - · .....

POR THB

EED RGAN .. Embodying the Latest and Most Approved Systems Conducive to

--- . Jlapid Progcss and Artistic Intcij}rctation~ ALSO CONTAINING

/ ----------- ~---/ ----- -------

Various New and Important Features, Such as Regi.stratie,ftf-stop- Nome.nclature~ ~ _____ , Adaptation of Piano Music, etc.~ etf:... ·'Not tci']3e-¥o~ · .

------------.,r--......;~n J....ny. 9ther Work. of the Kind. · · -._ '"·

. !.··-: ..

. ·-·. ,J.

-·-··. -. :..--~

W. F. SUDDS.

-- ..;i

.,

coPTBIIHIT, JIDOOtmClVJl, BT w ..... ll'UDDIL

To THE

'

i !

TEACHER.

Every e~rienced teacher has doubtless endured the inevitable pupil's perceptions a.nd promote the habit of c}.osely scanning the trials incident to teaching beginners, chief among which, perhaps, is music when played for the first time. lhe difticulty of inliucing young pupils to raise and drop their fingers It may be almost superftuous to add that it is next to impossible without sluggishness while their eyes are intent upon the music page. to exaggerate the Importance of a correct beginning.

Referring to this particular trial, a recent writer aptly says: "I Leading teachers now concede that a pupil can be properly arr'ved at the conclusion that the pupil ought to be his own watch- taught, musically and technically, in such a way that much of the dog, as it were, and see himself play, which is contrary to universal drudgery consequent upon old methods w'ill be avoided, while at the dictum." And so the competent teacher of to-day wisely refrains same time more rapid progress will be attained; and this, too, while from teaching the beginner to read music until a sufticient amount of the studies, instead of being dry and uninteresting, are made actually prior practice by dictation shall have assured the proper position and enjoyable. movement of arm, ha.nd and fingers while the eyeJJ are engaged by the Every effort should be made to awaken the musical instincts of music book. This method is well calculated to awaken early interest the pupil. The successful teacher will know how to do this by and to maintain it; for more so than the older custom of-endeavoring numerous little methods which must be varied to suit the individu-to teach the proper use of hand and fingers and the reading of notes ality of the pupil. Many players and singers are mechanical ,.tmultaneou!!ly. musicians because they have been taught too much mechanism and

'Ve assume that beginners in the profession of teaching music, too little music. Care fllhould be taken that the pupil's soul be not· having no prejudice in. fiivor of the"old way, will follow our sugges- smothered in the drudgery of finger exercises, however indispensable tiona without question ; but seme of the older teachers may hesitate these may be in their proper place. to adopt a system so directly opposed to time-worn custom. To the Music teachers, who are worthy of the name, make as much 1atter we will simply say: Try it, and let the results render a verdict.. money by teaching as do the workers in any other profession. Mnny However, the teacher may ignore the dictated lessom1 if so disposed, n business man does not clear a8 much money in a year as is earned and begin on page 12. by scores of hurd working, competent music teachers, and it is Ml~·

Next, we urgently recommend (unless the conditions posit-ive1y the lazy, shiftles.'!, incompetent, so-called teachers of music who bring forbid, and especially if the pupil be very young) that daily half-hour public odium on a comparatively lucrative profession. But the lessom, or practice in the presence of the teacher, be insisted upon, at possession of talent is nothing unless it be accompanied by energy and least during the first three months. industry which give it a place in the busy world. It stands to reaSC>n,

We also desire to impress upon the young teacher the great that, to secure success in life, the musician, whether teacher or artiRt, importance of enoouraging, during the earlier stages of musical tuition, must cultivate the money-earning talent like other men. Musicians

-the habit of deep, serious tho11ght and careful, critical liste~ing, as is must learn to take practical views of art life. 'Vhether they a.re witL again suggested bi. subsequent annotations. In other words, do your tng or not, the world will force them to learn the hard lesson of life. best to make the pupil use brain as well as hands. Further observa- The editor of this work has recently compiled an instruction tions regarding this important duty will be found on page 89 which it book entitled will not be amiss for both teacher and pupil to read and consider in MODERN PRELIMINARY METHOD FOB THE PI.L~·v;- .,,... -advance.

By no means allow the pupil to ignore, in the slightest degree, the immediate success of which, as evidenced by the hearty testlmo· the directions as to touch, in its varied forms, and their application; nials and prompt adoption for use, by many of our experienced, or to shirk the difficulties and drudgery of technical exercises, coupt- leading teachers, shows that for once, at least, a lung felt want hai; ing aloud, etc., ere. really been filled. ~ ·

Encourage the pupil to commit to (play from) memory all of "Tith this fact in view, the aim in the present work bas been to the more important pieces found in this work. As a means to follow, as far as consistent with the difference between the two instni-. promote this valliB.ble 11i,Cqulrement, we have found that the following ments (a. difference here oonstrued to be all t?i_at t_he term implie8), plan bring& g®d ~ylts : the same carefully graded course, which in a8 many cases as possible

First call the pupil's attention tp_..fr.., __ general plan, form, or includes the aame ezercisea, technical and otherwise, with, of course, noticeable features of the piece a,l;><nt to be playedTtileii g~ive warning any necessary ada.ptatlon to the organ. This subject is again ref<:_~-· that after playing the first t};lte0 or four measures, you wirrCover'--:the to on page 42. Teachers who ~Is on both piano a~d'""orga,n

· ·• -..:.IJW!!!)._~tW: him,,W play the pa88age .from memor,1;. It iW .... , will appr~s;.-.::e ine convenience of having at their command instruc· astoniBhlng how a frt:C1uent resort to this expedient will quicken the ~ for either instrument, coutu.iuillg so _muc;h in common.

__ ,.,....,,-' -·----~ PARENTS.

In the better C'laes of publir schools-if the editor ha!" heen correctly iufotmed-it is now the practice to teach children to read t~ore they have learned the alphabet. A geueration ago such a process would have been considered as evidence ·of insanity, which rroves that we are progressing in our educational methods. If, therefore, the plan employed by the music teacher of your selection &hall pro\•e to be a radical departure from the methods formerly in vogue, remember that this very fact may be a strong recommendation ~~ .

It there be a choice of teachers, you. will find that the best re.suits will be attained by employing the most competent instructor; 11' possible, one of experience and established reputation.

Parents should willingly cooperate with the teacher in enforc­mg the. observance of regular practice hours, and doubtless would do so far more faithfully if they c-0uld realize ho~· largely a pupil's caecees and aclvancemeot depends upon such parental cooperation.

1'2)

With our modern system of teaching beglnnere, there ls no reason why children in good health may not begin their musical studies at the age of six or seven years, espeeially if rjrcumstances permit ·the pupil to take daily lessons-which should certainly be done at the outset, if possible. · .

It is a mistake to expect great results simply because a chili displays unmistakable talent. Parents should remember that wit boat the talent for hard work natural gifts a.re practically worthless.

Among other things that indicate the advisability of an early beginning, is the fact that school duties are likely to crowd hard aftel" a child reaches the "teens," and later the demands of society are more or less exacting .. Moreover, when cbUdren begin early, mllsi.Q becomes a part of their school life; and, by the way, when th~ summer vacation ~q~~1 let it be a vacation in musfo also. •--..... /;'

. . THE AU'I('H,Q~J~

-~ ~ ; .

· <Modem. Method for the Recd Organ. ·~ / ·. .

A FEW ILLUSTRATIONS OF MODERN REED I (1897) they seem to be as near perfection as can b~ pos~ible ORGAN MECHANISM. in an instrument of their size and cost.

· The principle of the American Reed Organ was first · discovereq about 1835 by a w<:>rkman ill the factory of

M. Alexandre, a Harmonium maker, in Paris, who, after . - c:ui18~ff2!1ting a few instruments on this plan, became dissat-

J isfied with·_+heoi and discontinued 'to manufacture them. 1 Subsequently his invention was brought to the United . States, the first of the instruments constructed on this plan ~ being known as Melodeous. About the year 1860 the first

American Reed, or Cabinet Organs, were produced by a Boston manufacturer, since which date their improvement has_ be<'n constant and rapid; until at the present time

.. ~1;·-~

i

Fig. 1.

AMERICAN (REED) O&<h.N; - A free reed instrument --~· similar. in construction to the Harmonium, but with.certain

· imvorianCdl1'1'ernrrees.- In the first place, the ·reeds of the · American Organ are considerably smaller and more curved and twisted than those of the Harmonium; producing a

· . tone of more 'uniform power. In the American Organ, moreover, the wind channel, u_nder which the reeds are placed, is always the exact length of the reed; whereas in

-·• the H~nium it is varied according to the quality of tone required. _ A~1other .point of difference is that in the. Har­monium the wind is forced outward through the reeds, while in the American Organ, .by reversal of the bellows action it

The tone of the reed organ is produced by a current of air being drawn (sucked) through reeds. A. reed-in the sense here used-consists of a block aud to1.igue, the block being a thick strip of rolled brass in which a slot is cqi... Over this slot, and securely fastened to it ,tit one end, is a thin strip of brass called the tongue, the fret; 1'lta of which is caused to vibrate by the rush of air brought\ upon it by the action of bellows. The size of reeds vary accprcli~_g ,to the pitch required, figures 1 and 2 showing respec~hE larg..t and smalleot used. \

Fig. 2.

Organ, as compared with the Harmonim..,, are that t blowing takes much less effort, and that t~9tlro _ morE organ-like quality~ -~i<:tiiii!7Yi,. ----

.\.,,_ .

TUNING AND VOICING.

The pitch of a reed is changed· by filing or scraping To raise the pitch, the free end of..+he tongue is mad~ thinner, while to lower it the other en 1',f the reed must b1 similarly treated. 1

• The voicing of reeds consist$ in a ~-'~ _.:.......... -twisting or curving the tougues, which detern:-· quality of each set of reeds . .I( is drawn inward. The main advantages of the American

-- THE WINDCREST AND REED BO.\.RD. ~ : .-

-'.•

. , ,_: . ;,,,.

-';-" Fig. 3.

The ~)>le-like surfac~ on ~hich appear~ ;,.the terraced similar row, in a double reed organ. J~si~ ~w 0f cells, called the reed bo#«A (Figu~ 3),"shows the slot, or channel, o~er which t~~ upper surface or the windcbest and the cells in which the a pass•ge for the air curr:eµ',...... 1~lacecl. The op~osj~e s~d~ of ~q~ ~eecl ~~rd has a . thus causiqg the reed~- '

"'- \ . --· - :_ ________ '_,{'f_,,,_·. . '. - .. ·. L--- .- -~"· ---- --- - - -...• ,.~-··-

I --.-,·

-;:• \ ..... ·'. ;. ~ ' .,{

MODERN M.ETHOD. '·-,---~

\ . j_

Figure 4 shows the reeds of an 8~foot .treble set, and a foot bass set, lying directly in front of the reed cells to hich they belong. ·From beneath each of the organ keys

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/ .

;· '

j ' j

·1. · a little ·wooden rod or piston passes down through the ree-, board into the windcbest, its lower end standing ..\tpon·'.~ valve, which pressure upon t.he key opens.

/ ---

Fig. 4 •

' · JN.1!11""' Ii, RliA>ws these -pistons, supported in perpendicu-~r position by a thit' at.r!_t> of bM.rd through which- they m, before (l()!lJ.iPg. _to the_ reed board, and windchest, and nally to the ·valve, oil which, as before stated, they act, nder pressure of the keys. -- . _

The metal rods which lie diagonally in front of the

·-~ __...J - ~-'*'·--·-

. . .,,{ _ ·.

!:;pistons comprise the mechanical contrivance known as the ·· ::Piyid!lc!_--Goupler "; which Js c911trolled by a s~p or knee- _r-'·

. swell" (sometimes called "knee-stop "), by wbicii-~ an -~ octave above, or an octave below; from the keyboard centre ~-are caused to sound in additi_on to the reeds directly below ;.· the key pressed. --

-L

Fig. 5,

THE VA.L VES. A valve is a small piece of wood carefully formed, one

le of wh~ is covered with thln, soft sheepskin. The ~ve is kept in place, directly below the reed cell slot, by l'tain ·mall, pin-like metal posts or guides, and a strong ~ which presses it firmly up again~t the

-~···-T'hwer that forces the piston and 'tion the instant the finger , ued.

STOPS. An organ stop &<?ts upon a sort of door or shu~er

which, when closed (the.stop knob pushed ih), prevents th1 . air current, caused by the action of the bellows, from reach-"" ing or acting upon $he set ~f r?ed~ cont~olled by ~aid stoP/' and door. A careful . exammat1on of Figure ~ wlll sho"' the reeds in their cel-b.~low the door or shutter wlJMl-i w'!wq c'osed~ mak~ ill~~ te~ds~'quite invisible.

LA.--.~-

0

MODERN METHOD.

)

Pig. 6.

THE VOX HUMANA OR FAN TREMOLO. Figure 6, furthermore, gives a general rear view of an

organ stripped of its case. The wheel-like contrivance is a sort of wind motor which causes the fan to revolye, the proper use of which is explained on page 34. The valve (A)

~ l _j

t '\ ..... ~ .

at back of the bellows is the escape valve, so-called, because when a too vigorous use of the blow treadles. is made, this valve opens automatically, thus preventi~ .. injury to the instrument from such misuse. · ~-j·

•

J. Fig. 7 •.

' Figure 7 'gives· a ·general front exposure ~of an organ stripped of its case.

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r--· L_.c- ;..T1r· 111F( . ...-1e~··

"

6 MODERN METHOD. ·

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The importance of a proper position at the organ should· be thoroughly impressed upon the pupil at the outset. The stool or bench should stand quite firm, with no tendency to rock, and of sufficient height to bring the elbows a little below the level of the upper surface of the white keys, when the arms hang naturally at the sides.

For the convenience of a child pupil too small to reach the blow treadles, fixtures made of iron or brass rods, in this form, n and of the required height., can easily be attached to the blow treadles, as sl1own in the following illustration.

..

The teacher may first proceed to assist the pupil in committing to memory the alphabetical application (letter names given) to the white keys of the keyboard.

Attention called to the alternate groups of two and thrtle bla~k keys, thus locating the C's and F's, will soon enable the pupil to name the white keys without hesitation.

fig. 8.

"

This is known as" foreign fingering," and is in almost universal use to the exclusion of the so-called American, in

·which the thumbs are indicated by an" x" and the fingers, proper; l; 2, · 3i 4. No doubt the American is quite as

' consistentas the foreign, but the fact that much music of foreign public ., n is used in ibis (;~>Untry renders it advis­&bief as a. COl,1! '.'nee to .American pupils, that our ow\ll pu"blica.tions shO'\i~d conftwm to those of the "old countr;j." ,. . 1

' Assuming the pupil to be a child, no further men~al

labor, other than that above suggeste<l, s!J.onld be req uir ed for a first lesson but that of holding the right hand in; e. proper position and the use of the fingers in playing thl:·: Exercise·No. 1, dictated to the pupil,·or any similar exercise that may sugges.t itself to the teacher, __ This preliminary finger drill mhy be done on a silent fey board, i. e.; without using the blow treadles.

Next draw the two principal :;:tops, the Ditq•ason u!id Melodia, for instanc~ u11d placing the pupil's fingers c•f 01ie,

or both hands, on keys thnt will produce the chord offi(C,. E, G), proceed to drill the pupil in the use of the blow treadles in a steady alternate motion. The chord is sounded merely to afford an escape for the air from the wind-chest while the treadles are being used. Impress the student with the fact that the fewer the keys and stops used, the less is the 1·equired motion of the Llow treadles.

Until considerable adv11ncement has been made,it will be well to use but two of the organ stops; those mentL .ied above, for instance. Later on the matter of. using the other stops of your organ will be discussed at length.

Preparatory to what may be called finger toutffi, i. e., ' with uo arm or wrist motion, have the pupil close the· hands into fi::;ts, with considerable streugth of grip, and thus call l}tlention. to the constrieted, cramped feeliug of the wrists iis something to avoid. Then, opening the hands freely, to the feeling of release nnd ease in the relaxed muscles, as something to maintain. ·

Now, holding the right hand at the proper elevation utove the keys (see Fig. 8), but not touching them, move each finger from the knuckle joint, slowly and lightly many times in succession, naming them l>y their reb,t?ectwi/ 1111 m hers, as given in Fig. ~-

. _ . ...,,._,

I •. 'f

l

Fig. 9. Marks of Fingering, Right Hand.

The pupil may now proceed .. to play, from dictati~,· No. 1, repeating it until easily and properly done. T. ,Q

pass on to the following numbers, practicing them in · ke manner. It is advisable that all the dictated exercise be at first practiced -qpon r. silent lteyboard, thus concent.r. ing the mind upon the matter of finger motion only. . -·1

Some authorities go,'so far .as~ to advocate this sr>tt of. drill upon a table, instea<d of a keyboard. l -

I. i

MODERN METHQ·u.

· No. 1. Right Hand. No. 2 .

.• ~~ ~ -~ f 1 -·:----

Have the pupil at first name the keys·tou·ched.

No. 3.

Fig.10.

_______ _,,

No. 7. Left Hand.

No.9.

No.11.

No. 4.

No. 8.

No.10.

No.12.

Fig. u.

MARKS OF FINGERING LEFTHAND.

JL ·- • __fJ.__ ----------"f"" --- -- -- -- --~-- • ~ ,,_ -------.----~---±-~-~2 I _4 _s __ 2 ~ ~ 2_s_. 4 5 4 a 2

~ _c~-=r= -- . Fr ·E'fr .. - =:i: · r ~----=Fr=Qtl -\. ... '"'"'1

8 METHO.D.

No.15. Left Hand. 5 3 1 5 3 1 2 3 4 1

n~~r No. 16. 1 ~ 1 2 1.

a. 5 3 4l-5 -!'- + 3 4 MW =~1ttrf Nb. 17. Right Hand. No. 18.

~~-~£US:1 No. 19. Left Hand. +

.. • Should the pupil evince anxiety to begin playing

from the instruction book, ·i.e., to begin reading music, convince him, by all means that to do so before a reason­able degree of facility in finger motion has been ac­quired,-which is much sooner attained through the practice of dictated exercises, would retard, instead of accellera.ting progress. In fact, teachers will be entirely

.. 1'.o.. 9.1

No. 23.

No. 20.

justified in adding many other dictated exercises of their own invention, especially in the case of a child­pupil.

The following four exercises should first be prac­ticed with each han'd alone, and afterwards with both hands together. If desired, the hands may piay·them two, or even three octaves apa.rt .

No.22.

No.24. ·

MODERN METHOD.

--- Explain to tne pupil, that inasmuch as no black ke_y appears between B and C, or E and F, the sharps of B, anq E are p,rotluced by white keys. ' ·

No.2~

Now teach tne names of the black keys, as flats, in like manner, practicing Numbers 29, to 32 inclusive, first with each hand alone.

No.2& No.30.

-,....__ . __ --· --Exp.lam tQ,..tll~ pupil that F flat and C flat, are produced by white keys. ~~'·-·----' ·--~~ 31 ..

'

'

f.'7 -. "'-'\._

_\

- ____,,/',,. __

Drill the pupil thoroughly on the following scale exercise: and see that in passing the thumt>-tmider, anrt' the 3rd finger over. the wrist is not turned outwa1·d any more than absol,utely necessary,:

10 . MODERN METHOD: .

The pupil may now be given dictatecl drill in fin--,:, ger ·staccato, and in counting. Be sure that the count­ing is very slow and distinct, 1, 2, 3, 4, the teacher meanwhile playing the exercise, (No. 33.) then vice versa, the pupil doing the playing. Make the touch the crisp staccato indicated. When this.much has been accomplished, have the pupil do both counting and

0 No. 33. Left Hand.

.3 \

playing. By all means impre_ss the student with the fact that, at this stage o:ftpwogress, counting correctly is of even greater importarwe than playing correctly, as the accuracy of the latter is really dependent upon the former. ·

If neceRsary, to illustrate finger staccato, show the pupil Fig. 75, page 29.

1 3 3 3 · I 2 2 2 1 4 .4 4 · 1 6 6 6

~~-~.,-~.,~I~-~., t~~., ~., ~~-s ~£1 ~--~--~--~-- ---------- -----;--,lif---ii ' . - -0

No. 34. Right Hand.

$-4-~ . -~-'1-b-'1-b'1=J._i ; ~ ~ 'I ~ ~ ~ 1--~-;-'1-~ 'I Ft- s ~ ~~'1-j _-4_-_~_ ----i-t--~--_--ii"~--3_ -_s __ il_ -_ ---'i~-=-i;;' ___ -_s_ -_-_ii_ et --"-il=== .... E_s_

•

·Then play Numbers 33 and 34 together.

Fig.12.

/:

,; '

Finally drill the student in hand or wrist stroke. ( ~ illustration !!'hove.) Make the pupil place the haud in playing position over the key-board; then raise it ~tirely-from the wrist, the arm remaining motion-

' .• I!' .l'!f. •

··•; ---~-· . No. 36. Right Band.

less. When the hand is up, the· wrist should be as relaxed as possible; Let this practice be (at first, upon a silent key-board ) persevered in until the motion becomes easy and natural.

. . . . . ..

I~·, ,·--·~· . ~5i----1--~~· -. 1"-· -~5.,.._· -1'"-'---1 ' ~ . . ~'I.-- •==-~-=~==---~-~ ===~--= ===~-. ==-~-=-===-F~ · ===----== ---r--;'--r--__:__ -----r==--===-r -r--=---

Left· Hanel.

'1•-.·· --.. ~~-~4-· --tr~r~;, , ,.."--, </. ~-,--.n...-----·n,,,;4.-".,.. L , ...... "1 _...,__- _) _ i11. -·

.. :{ .. · I

v

I t

j '·

( i "

~ i,' r·· ... :,J).'

' 1' 1.

,f ~~

.. ·-· 1-·"'":T- -. ------lrl-_. ,,--1-_. -

I 1- 1--,-

,/ ·.t

j :. ~·

KEY~BOARD O'.F ·A .FIVE-OCTAVE ORGAN 'l

' ~ ' ......

--·~~···~----

,,· ~ u·

D 1'E l'F

F GAB c D ~.F GAB. c DEF G_ A a· C•D E Fa AB c DEF GAB c DEF

·,_

. ' . . . . . . . . ... . ' ·.. ( , '

The above diagram isl fo~ eonvenience of reference, and a possible aid in teaching the pupil the various names applied to the same key. Fo:r

tanc~, the white ~~.k~ u/ua.111: ~amed B, is at times called C flat, and a~tJiers, A double sharp. If your organ has a six-octave key-board, ii

"

\.··-.

:s: 0 tJ tz1 • :~ z ···, ,;....

~ tr:1 t-3 . :i:: 0 0

~-.

bably extends ·an octav~ higher than the compass of that above shown. ~ome':... ..... c: .~1 key-boards extend from C to C, instead of from F to F . t'·· . , i-.. l '· '"·~-· . I f \ .. . . r

r ~,.. ' i ; ;; . '\

). I \ ..._ I I ,,; .

' ·1···

r.-.. - ;.g

MODERN M£THOD.-1~ )-p-l

·~ (. ,rihe pupil may now be taug. t the lettered application ~ the lines and spaces of the treb~e _·staff. C'owiitirii/ from ~ljie lower, the spaces spell the vrnrd "face,"-a fact which may aid the beginner in reDl._f'.;lhbering tht:!m.

SPACES. LINES.

--==---===[-~~ -B D ~--y--L.__-:------- ----~&--~-----~­~----------- --E~----------------

1 counting; then with counting, slowly, four to each

. __ '.._ Explain to the pupil this character, - as note. See that a proper position at the org~.n is _ _ maintained. sh(,,.w.J~ ~!!) the staff above, is called the treble or G clef, and reserve further explanation until playing from the bass or F clef, is called for,-which in this work i~ purposely deferred until much later on.

, \' Now explain that the C given on third space of · t~ ~ treble staff, is but oi1e of five or six: Cs found on the key:l:>-ottrd, and is located next above middle C.

WHOLE NOTE.

After explaining that this character f-=--50 is called l\ whole note, the pupil may begin playing Number 3~, fi_~st naming the letter played, without

'···· .,.' \ . '

lllABXB OF FINIJERllfO BIGHT HABD.

·1.- ---

No. 36. : Right Band. ·

'~-_!~3 ~- ~==foe~ ~- ~==~---=1- ~ ~~~-. ~~--±: ~-=1 -------- -- -4·~-fi~ -;;;:---· ----- ---- ---__ ------- ' . e· teacher should· be watchful that no more Have the 1-1tudent _practlce the following four s given .to the blow treadles than is necessary exercises in th~ same manner, ·i. e., fir!iJt naming the 'he windchest full. Beginners are apt to keys ·by letter, and afterwards counting four in each

Vigorous a use of ·the treadles during their. me_asure. n practice. · Explain the meaning. of_ t4e _Repe~t. Dots : )ff

. -;7. Right Band. .

· . a 4 h 4 • __ -_a __

-v--~ ~ ~ ~--=i=~~--1==~11....__ ,\:i! 3 4 eto.

- N I . .

,~. ~.-·--~· ~ ~ .~·.1 1 · b~~.· d-·~ ... I ~2l=--r=;:---===--=== -. . --~==--====--==:I - ·--. _4i_::_ ·-' .• -~34 eto. .

- -....:1!"'-~·-----+......,-.---.--...:--

lfo. 40.

,=h-·~ -e--~--1 ·,-T~ • BeillJi!", J.ll!p?ehensive th-.t BO!!i] teac~ers m&y decide t.o. omit the foregoillg ~~'~lesa&DS: 0oerta.in explanations ar11<1~Ji ~ii>h m "Y """'n R':'_1'"':'.~-a ""-~-

I - I

MODERN METBQD.

Fig.10.

FOR THE LEFT HAND.

\

\ \

\

~ \· '.

~.

:UBKB OF FINGERING LEFT RAND.

' \

~. ..~ __ .. "'~:'\

t.,'.

' . \

To be practiced in·the same manner as the foregoing exercise. Permit no cramped position of the wrist.

No.41.

It is tru~, as previously stated, that we count . the lines and spaces upwo ,:cz from lower line of the 1;fajf, below which, however, the 1·eve·rae is true.

Make ~ careful study of the .)'ollowing diagram of added lines and spaces, and r~~ember that the C . located upon the fi.r8t a<lded line befow the (treble) staff, is mMdle C.

i 3RD ADDED 8PACE.-3RD ADDED LIJ'!E.-'---------n-".E- ~\_ . . 2ND ADDED SPACR-2ND ADDED LINE.------B-C----

-----~---. ------------- lST ADDED SPACE.'-lST A~E-F-Q;-A--:---===--_..::;:__

~ -. . ._ . . ~ G ~ B "-D===-=--=--~· ~ - I ---.~ADDED SPACi:=-------=---=-~=E-· -===--=------· ---------------' -

2ND ADDJD SPACE; lST ADDED LINE, . ,C _ }I -, . . 3RD ADtl:BD SPACE.=~:E ~~~ ~~~:~--- ~A--:-G F-===

' ~ < . . . --- .. _ _.,,,........

J It 1.

/

MODERN METHOD.

I . I "'7 '9

8 2 • 6

Although we advocate oral instruction, especially to children, rather than entire dependence upon printed rmtter, we have thought best to here insert full explanation as to the names of notes, their comparative ~ngth or value, and corresponding rests. Also as to dotted notes and dotted rests.

DURATION ( LDGTH) OF TOKES. The relative duration-Qi notes (tones) is determined by their shape, the following being the forms of

Lotes of modern use. It may be observed t.!ia~ notes consist of head, stem, and dash or dashes on the stems. and that the

nore dashes· thP shorter the note. · · Slli:ty-fourth note.

. . . . Breve or .. · · . Thirty-senond note. ~ ~ doilni.J"w;&'tiliniOte~ ,,WJi.~~~ note. . '.Half note_. _ Quarter note. Bighth~ote. Sixteenth note. ~----~-

--~ \ . -~-E-=t:=i-=l ~ 1~==~-.~--E-~--=::::ll -u ·· .. =~-=E a_~_ "" - ~ E ""==t • E L=_=31 NoTE. The terms se:pibreve, minim, crotchet, quaver, etc.-having become "terms of the past," no use of them will be ma<le in tb1s w01·k. .

By the aid of th~ following table, the teacher need not fail to make the pupil clearly understand that wo half '.notes; ·four quarter notes, eight eighth notes, sixteen sixteenth notes, or thirty-two thirty-second notes, nly eqmtl in duration· a single whole note.

-Whole riote.

~=-= - -- . -~~ --- . ~· Balfnotes.

~-------·------i--~ '~--.---- ~----~----------~­-----

--!--.-------------~-

Jighth notes. . "' =-= ~ ~ . __ =1i1---=:,;--~=--=--·· -_,. .. __ '._-_,,. ·' . =ti

~ • . i.. . t .·.· ~ll 1~--;_ .,. .. ,._. •• _~ienth notes.

-~ --=====· -~ =C • ·~~----· ~~- • -~~ ~

.

'':-$···· ... iJ " 5 = = __ ·. JJ..J · · P1~__J__J 0! ~iii ______ -.iih-__, __ •,__.,,,•,,__,.,•,,__·=:z. P .. -. ~7-=r-fl.. • • '1 ~ ~ = "

----- =E·. -::::. =· I • I ~- ---- _,,,,_,, . .- -- "'··-~-- /

;ay be up, or down, and those . with dashes on stem, _ruay by the. .. tta.~nes he joinc>d, <li,'t in any wise altering t~t~ :sigplfication. / · · ·

· .:, l'onr teacher, DQW or .)1.-,.,. ..__..... ~· · ~ · 7 :.,)!n ~int which may not be 91,...e clear to you. ' 1 ~ie:;_ .. '

MODERN METHOD. 15

RESTS. When speaking of 1·ests m music, silence is meant; hence each kind of note has a corresponding rest, as

may be seen below:-

Whole note. Half note. Quarter note. Eighth note. Sixteenth note. Thirty-second note. ..-------·---.---·------ ------

~----: --=== ----· ----==--== -::=: __ ~ ~===- ---~·----== ~ -~---~--:::E ~-- ~

--------- ---· --- ----iiiil---1-·--iii'------~---';t._ .,

Whole rest. Half rest. Quarter rests. Eighth rest. Sixteenth rest. Thirty-second rest.

----~-====-- --i--· _ii_--1-·----- -1=== ===-~-=== -.-------- -~-or-~~or,k----1------- ------ -. --------------------- --------- --------1-·-- --- - ---

DOTTED NOTES AND RESTS.

A dot, placed after a note or rest, lengthens it one half; a second dot has half the value of the first dot. Thus, as may be ·seen by the following, a

dotted half note is equal to three quarter notes; a double dotted half note· to three quarter notes and

_an eighth note.

The Single Dot.

The Double Dot.

-- . ~ -~ --:- . - ~~ . --, . .. -= =;-.!_­~

. . As in language, certain words or syllables receive more emphasis than others, so in music, certain notes·

require similar prominence, called accent.* Mm1ical accent should usually, (not always,) recur at regular interi•als: and this brings us to the subject of

MEASURE AND BAR.

The bar is a line drawn across the staff, dividing the music into equal portions called measures. Two heavy lines, called a double bar, denote the end of a strain,-complete musical idea,-or an entire ,

· Measure. Measure. Measure.

---~------i----u ----- -- ____ __:__ __ --------·--- --------------------· ----------·- ·,·. ---- --------------

llar. llar. Double Bart

*Unfortunately, the di:tficulty, if not impossibiHty, of p1oducing a.c;cent, i~ the chief defect of the organ, as com_paxea iWith other in~trumen which will a.gain be referred to, later on in this work. .Ji· · ,i$1t

" ... ,

"

16 MODERN METHOD.

Practice the fol19wing three exercises, at first with each hand alone, regarding them as diviped into measures. Count four tO each meai;;ure, ~cen-t·iniJ with the voice, the first count, ( 1 ) of each measure. Remember, that at this stage. of youl· progress, qpf.mt-

ing correctly is the most• important feature of your study. Form, the habit of coq.nting staccato, (if nee· essary your teacher wili explain. the. Dieanirig .of the word,) instead of drawling "one-un" twO-oo/etc.

.,,

This chora<iter connecting the staves, thus :_c is called • brace.

No. 47.

-------------·-----·-· - -- __ , ___ ...... ••·-»----Jc"'---------------------------· - ----------. ------·------

~·

:4- s -~ -f ~--e;;~ ~ _, • ------1-------9 3 2 3 5 4 4

Ko. 48.

----- --·--"--- ----·---------· - ------1------1------ -- .... · - .. --

--------1------11+------HI

No. 49.

----- --· --+---· -·- ----&---.---------~· -.--s----• --h--===---~...:..--= -s __

-· -------------------

~ 3

--~---:;s,.----~-

7.7 2· l 5

--- -------5- ---4'--· ------- ---- --s- a -+--- ------+------ +---- -----s--.· -·- . --s---------s------

-IT :!:; s--r---- ....

------------------

---·- ------------------- --· ---:---- ------ ---.------------:--- --··---~------------------------ --

• •

• • .Q· ~

l

-- ----I -y --·---··~~-

7.7 . a

+--

----...__

0 •

MODE~N METHOD. 17

• ·. MORE ABOUT MEASURE AND ACCENT~

II Usually spoken of as common, or four-four time, and contains a w hule note, or h8 equivalent in each. measure.

. .

@tLt ~ ~--.. -~~·~.~_ l=t_ -==e====A~ ~§I · Usually spoken of as· three-Jo·ur time, and contains a dotted half note, or its equiY:alent, "in: each measure.

Ii!; ~rn b ~----===LJ---~~m f ·.- I Usually spoken of as two-four ttrne, and contains a half note, or its equivalent~ in each measure. .

~~-0 _=::I • . , 1---,-i---~ b--1-~-=-· -----~~--=---=E._t?' __ ~--==t__ iii/ '· --' I ! -jill-----1_.1---jiil.-·-=::El--

Usually spoken of as three-eight time, t],nd contains a dotted quarter note, or its ~quivalent, in each measure.

ri:15?--01.-==P. ~·~1~ ~-· --: '. ·-~~-.-~ ~:S=t: =t==r . . r- -=+== iii' ~===t r- . . . . ... _ ......... --F4'r-____J .... Usually spoken of as sia;-eight time, and contains a dotted half note, or its equivalent, in each measure.

It should be made clear to the p~pil that the "upper figure .or. numerator design~~s the number of beats or counts in each measure, and also tells the number of notes, of the kind, represented by the lower figure or denominator' it takes- to fill ea.Ch me a.Sure~ . . . . ' . . . ' . ' . . '' . . . . ' ' ' ' ' .. ' ' . .

_ Thus' *:ct i or@£ 1indicates4 quarter note~ or their equival;ntin ~me kind of n~ or

nota. Such a measure may cont.in, for inBt&rice,-i' ( ~ -i -=r=--r==tf:GW e e s ~ which, taken together, equal but four quarter notes. ' .. . ·- ' . ... '

Notes have no positive leiigth or dura~ion except as regulated by the metronome~*- But whatever time is occupied by a whole note, that required by four ·quarters, eight eighths, &c., &c., must, of course, be the same.

~OJJOME.

Metronome (met-ro-nom), a measurer of time; a. chrm1ometer invented by Maelzel; consisting essentially of clock-work a11d escape wheel, and a pendulum swinging on a pivot in the middle of its length. It can be made to go slower by sliding a ball up toward the top of Uie ·pendulum. The rate is indicated by. the lettersM M for the metronQme, a figure showing the place of the ball on the grad· uated scale of the instrument, and a not.e which is to occupy_t;he t~e of a sing~e ti~. · .

' ' --~J

18 MODERN ·METHOD'. . Introducing half

Numbers 50 and 61.

No.®. Count.

notes, each· of which is to receive two count(!. Have the pupil mark the fingering in

'~~~~+~~~-~Tc~1~_2c··=·=a~-~4·=·1,t~~~~-=·=·1-~=·1cj::'~~··-·=·3r=~~3E~~~~==--~-~=l~i==j-~==~~-::rl!~~::==_:::::~-r=i=~~~~c=~~-~~~~r-~-:=~1:=r.=;;:::::m , •• ~.+~H-·4~~~-~t--j~---l=i:: 1 ~--J·--~I>----f1---1-f-1---~--~~-+---i_.__--t----t---~--=-t:r-1-+f-~ __ it---t--~-~-.... 111.:.t.J~--1!.--i.----1-.-1------1--·-- ----'--t-t--__._·- -----1r-------- i=i;::----1----1..-

Introducing quarter notes, each of which is to receive a single count. No. 51. .

f 2 :1 ~1--.....-----

•

• •

6 6

.-.:i....-~---~~.+------~--:i~----~-1;==1:::::i~:::::::1;=t:=!=~=

4 6

. Take care that the proper position of the hands is not overlooked while giving attention to reading the notes. Have the pupil mark the fingering.

No. 58.

.... .... .... Thus far the studies have been confined to ! measure, but now

page 17 · and, therefore, have but three counts to the measure. No. 64.

6

( __ -··~·--·.

"'-L----='--:.-----+-----a--1-''--..J..---j-.... e e we shall use i measure, (see Rhythm,

.... 6

• •

MODERN METHOD.

Introducing Rests; remember. that rests &i.re counted the s~me .,refer to page 15, for i:uformation on this subject.

as no~es :of similar length. _ ~ If ~ecessa1

No. 66.. :1 I

-- ... 54 .45 4 4 4

Introducing dotted note.a (refer, if desired, to page i5 ). Pupil mark the fingering. Observe the whc meas-u re- rest.

No.681

~iL-~ .

~- ..... s• • JA_ ~- • • J'''"._ _._ :I :ii: I ~-r ---I I -t- ~ 1-c--

I f--"- -

< .LJ. ' -t~~ I

I :ii J: . I-· I i--._-

"'if· ~ -.-1-• ~ J: EE J: I I - 1-l. .,, :;,oi_ c:;I. • ... ~ . .- . -.- -

The new feature of Number .57 is .t4at it begins.with .a fragment. of a .measure .. In . .other words, its fi note belongs to the third count. ·As 8. preliminary exercise, have the pupil count .several measures of measure, by dictation, playing the third, only, thus:-· · · . aniI afterward this.

;1:~~~;=r=o fci·.r·~·· .. ~ Pupil mark the fingering.

No.67.

·"'---r-~-+--t-r--t-.:._-+--+~i---1---t---l--~-+--t-:-~+.:-.:_+-.1-f,..;_.::..__.

--.. _ -·- -~-~.

~· '~

/

~-1-1-- ... oi ..

MODERN METHOD.

As a preliminary exercise to playing eighth notes, have the pupil drill thoroughly on playing two notes a. count, by dictation, thus;- · · ·

1 2 3 1 2 3 1 2 8• 1 • 2 8 1 2 3 ~ t. 2 3 .

~-----.H---------1UYI!1U0Q_1l_~ et I El r:1 CJ I !1 !1 Cl II 1 2· 3 1 2 3 1 2 3

ISTlT tta ~ 0114 .. u=a ~ Pupils with a. weak sense of rhythm find this a. ·great stumbling block, hence too much care at this

ge is almost impossible.

N'o. 58.

•

.. •

Observe that N umbe~ 59 begins on the fourth count.· . It is a good practice to count aloud the 1-2-3, king in the first measure. Mark the correct fingeririg.

N'o. 59.

I.

~ \

An interval in music is the distance of two different .tones apart from each other; which will be readily !J,'&Wod by "ihe follo~ing series of examples:- ·

Iut.enal. of a 880011.1\. Il11'fui.of ~tmrd. Intsn:a.l of a fourth. Interval of a fifth, Int.erval of a sixth. Interval of a seventh. Interv: :~r:v:ighth,. • J. -·-·--. -~-

==+= . ~ -l I --iJ- J_ ::;;;[

J :.:: J. -·- '5' t 4 ... 5 1"" "t 2 1

o:r thus, I- . ---- :i I l ..

:3 j+:_ --1 1--• --l ~~. '-•---

a

I:

=::i-~

~ 6 . =::1------·--------'~-.= .... 8'11.,

l \

~: I --

1" 7

=1=--· -· 1--1------1 ----!-----.... .

7th-

._ I

=[ ... 8 1

:;J. --=.:.-.i~-·-··

L---i-----... . . 8th or ootave.

~.

I .l

MODERN METHOD.

In the foregoing e~ercises wherein the hands were employed together, .they were an octave apart, and hence playing the same letters at t.he same time. In Number 60, such is no longer the case, and the difficulty of reading and playing two different parta

1'o. 80. ,.., . 3 _ ....

-~

::r

. Count very slofwly.

1' 8 ... --"-

~N; '!: ...

]" _fo"' ~

::r

t~ --'-

]" -i.-

6- 2

-""­""--

~

j

J: ic;.ol'

::r

8

:::r

:r & _T

6 4 6

a

~ _....

I-· _, ~ ...

The new feature of Number 61, lies in playing two or more notes in· one part, to one ·in another. It is an excellent idea to regard these parts as voices, as though sung . by two persons, soprano and alto, for

Ko.81. ·

at the same time must .now be mastered. ThE increased difficulty; however, is well compensated fo1 in the much more agreeable effect produc·ed, for no-w you. h8'.ve ha_rmony as well as melody.

& 8

_i. ----t--lfr----11-- ----

~ ~ 8 i.. 8 ....._ --"-::r ..t::: . ~ ·..t::: ~~ ....

-1. ~

l .1 :[ -I- l"

- J." ]" I J. I

_r . f'::ii = T '""' ic;.ol' - 2 ·Ir

4 ? 4

instance: or, as played upon two ·different instruments, two violins, perhaps. No other way·of studying mu­sic is so conducive to a thorough understanding 01

keen appreciation of a musical composition.

···a· 6 4· • .,. 4 6 4.

Be careful to observe the correct line above, in the eleventh measure.

N'o. 82.

fingering and that the right hand plays as high as C, second added i

' ... ' - - -· ·-

MODERN METHOD.

Numbers 63 and 64, are preparatory exercises io the March, Number 65. Practice Number 63 alter­ttely with each hand, naming each letter as played until you do it without hesitation.

__ lfo. 63.

_ _The pupil should if possible, commit this little piece to memory and play it with considerable spirit id aniination. Observe that it consists of two so-called strains, of eight measures each, notice also the re4

~at dots at the right of the double bar at the beginning of the second strain.

No. 65. MAB.OB OF THE LITTLE TIX SOLDIER. 'W. F. S.

MODERN METHOO. 23

The last chord excepted, the following exercise is entirely in "thirds~" If you have forgotten what is meant by a "third~" refer to Intervals," page 20. Practice it carefully and thoroughly, using the hand touch, a sort of bounding, mild staccato, indicated

No. 68.

• • . -@'" .. =¥ """fl' l' :r 99 I ----

--_,___ ·~ -

.. • • -

J:

....1..:

....t:il. ...... ~ -- ... '!ii -':I • 5+

• •

. ...... -...

A~ • .:

,.

• -·· :J.:.:

·=== -. ~ _..._ - ""1""' -n.· ~ -- I I ~ :r I --r .

- I :f .. -I -..-: =· .. -if ·-=-=-• •

by the dot above or below each note, (as explained page 10), for it is a needed preparation _for the exer· cises soon to follow and may finally be played some­what rapidly, with less of the hand, a.lid more of a finger stroke.

• ---

_._ • • ... l"' • Jl :>ii: :r -; - --........ ~ ..

J:

:! I ::I J:

l' "'J .,. -. . .Iii -""- - .. =-· ~ ::I ~ =· :::oil ::I ~ • :• • -. • -.

• • ~ ..,,

.. • • • :c: • • _.. "t

l"" "ii" - :I I -; --... - :...!.. ........

·---4 --

i" I ]"

1 I J: ::1 - -- • -~· .~ ~-- ~ -._ ~ n_:oll -~ • -.. • -x-. .4 ... : • •

• •

At page 9 of the dictated lessons, you learned the names . of the black keys of the key-board~ We are now to learn their representation on the eta.tr, where, in our Pl'.esent use of them, they are called "accidental,s,"

ACCmENTALS AifD 'tBEIB 11SB. '

Accidentals are characten called sharps, flats and natural· tone, which, in every case, is a white key.' naturals. A sliarp # placed. before a note indicates · Accidentals effect not only the note before which! that the next key to the right, be it a black or they are placed, but all notes on the same degr~

. white key, is to be use~ the tone being thereby rai8ed throughout the measure, unless ca.ncelled. When the one semitone, or half tone. last note of a measure is affected by an accident&.~

A flat P pie.Ced before a. notie indicates the re- and the first note of following measure happens to verse of the above, Viz., that the next key tO the be on the same degree the effect . of, the accidental left, black or white, is to be used. continues. This rule is not so generQ.lly observed as

A natural # or cancel indicates the use of a. it was. ·

In the next exercise, a chromatic scale, the pupil should name· the tones as they are played, until it is done without hesittttion, first with the ·right and later with the left hand.

No •. 67. -

U. I 81 ·~3~~ 31 I . •

~~IJ~ ~llJffi!=ilJ-<EID@ Jlij ;rt)~IJZJIJ ~1a. .- Jat

}40DERN lv.U~'r-HOD.

V ~u -will observe. )hat accidentals are ~sed if the re.~ ls plainer) is. in eighths: : This :is, perhaps, reely in Number .68~ .The notes having stems both pward and down~a~d; ar.e to be h_eld fully the as_ clear an :explanation of the subject as we can ~"!1~h. -~~ q~~r.ter J:lO~s .. ·-·I~. 0~~er '!<;>rds, the melody offer at your present stage of musical knowledge. 1~d1cated by the double-stemmed note~}: consis~~ See that you hold every note i~ full length. Com-lainly of qua..rter notes, while the movement, (motion, mit the piece to memory, if possible.

No. 88. ~VElfIKG. SONG. 8 6

-; a

3 i . ~- 8 . 4 - -~

4 8 4 4· 8 ~

J. .. a .L ! l ~ ..li :r J: J. ...._

~ _...._

"' _j_ :r :r . -- ~ 1L J: _.._ ~_,,_.:: -~

::! - :;J ~

~ ,m • Ml ·~ ,,_ _._ _.._ --~-"""- Li;:I ::I! -.,- -Siil ~ .. ~ If !T }~ l"': f1f f1ft

_._ _x eJ ..

- ~~ ~r: f I IT9 --. .. ..,.

1

r~ - . . --------"-I

~ ~- A\

-'- - .. ~

=l J: I I -- ..r: ' _]"'" ~ :r :I[ :oil: ...1: :r I J.: I I : ·-r J ~-~ • l I •• -~ • ... ~ -:af ... -,,- -rt • -+ l 8 I a 1 I 8 1 l

4

THE TIE .. A. tie. is -a curved line· connecting -two notes of the ·same pitch, ·of' which the : ft;,st, onlJ', is struck, to

1ow that the second is a continuation. of the first.

-No .. 69 . .. .-

I

· Notes m(ty ·be_ tjed acros : the. Bi:i.r as above, see · ·· · Number· 69. · .

.. .

•

... <. 6

MODERN METHOD. 25

'the following exercises should be ·thoroughly practiced in each of the versions of fingerh.1g given. See that the fingers leave the keys promptly, though not to the extent of making a staccato effect.

Practice each hand alone until considerable facili­ty has be~n acquired, then both hands together, the left an octave lower. than written. If desired, these exercises ··may be extended to two or three octaves.

'I'he -four measures inclosed in the bracket I 1 I in the following piece, we call a ''first ending." Then comes the repeat and when you arrive at the thirteenth measure a second time, you omit (skip) the four measures of the first ending and play the four measu~s marked I 2 j instead.

No. 71,' FAREWELL WALTZ.

4

26 MODERN METHOD.

Practice the following in, the same thorough manner in which, we trust, you have already done Number ro. Console yourself for the drudgery of such work with the certainty that you are aQcomplishing more .n the direction of proficiency, than in any other way. ·

Ifo. 72. R.H. 4 a 4 5 a 4 a a 4

328 423 428 tc -..._.....· ..---j.JefrJtJiJJJt=T~ I J J -£El=Ur-& i: ltletc. 2

3 L.B. 4

a 4 6

2· 8 4

a 5 4 a 5 4

6 4 6 4 3 6 4 ·.3 4 3 2 4 4 3 •• ~ • l • • •

li:=44__ 0-:n::tiU i e~ t J IJ E ~1--.-1--I .. ..,---;-D-+--1-J=·~ II ~ 1 2 1 2 3 . l 2 3

2 3 2 3 4 ~" 3 4 8 4 8 4 6 I .4 6 i etc. I

THE SLUB.

A slur is a curved line over, or under, two or more notes of different pitch, indicating that the notes U'0 to be "played· in a smooth, connected manner. When two notes only are marked with a slur, thus:-

thus:- ---... ..-.._ ~ .

-=-~~l{J~ ~hey should be played

PHRASING. For a brief definition of the term, we fin~, from

rarious authorities, that a -"phrase, in music_, is a >assage of melody that makes sense, but no.;t com­>lete sense," meaning, we may suppose, a litt;le pas­i&ge, or musical sentence, which. lacks the. element of -epose or satisfaction to the listener. The first two neasures of Number 7S, for example, make such a >assa.ge, or sentence, in playing which, a sort of punc­. nated style should be aimed at, making (for waD:t 1f a better comparison) a sort of "catch your_ breath" 1nding, or very brief silence between "phrases. · It is unfortunate that the curved line indi<l'ating ~ phrase, in nowise differs from that indicating a slur, ience, as is inevitably the case, the two measures of ~umber 73 alread~ referred to, bear both slur -and

phrase marks, the slur ending with the first note of the second measure while the phras~ includes the entire contents of the two measures.·~·

Without attempting, at this stage of progress, more than a few off.;.hand, approximate statements, we will simply add that the symmetry of music gen­erally includes the

PBBIOD •

8EOTI01'. ~ ........... ~ ......... ,- ~ ~ ~

PBBABE. PBBABE· l"BBASE. PBBA.BE.

hence, in Number 73, each two measures make a phrase: each four measures make a sect'i<»i: each eight measures make a period. And the same is true as to the division of the closing eight measures.

MODERN METHOD. 27

NOTE.-1.a.m quite a.we.re that musicians differ widely both as to what consfftutea a phrase in music, and also how it should be played. One says "end a. phrase softly and begin a next phrase with slightly increased power." Another says "lift the hand

before and after a. slur, that correct phrasing depends upon this." My own opinion is much in accord with that of Dr. Hugo Rie· man (of the Wiesbaden Conservatory,) who says "the employment of a slnr·as a mark of legato playing is, (probably means "~hould be") quite l!ibandoned, the new office of the slur being to indicate the articulation of the musical thought into its nat­ural divisions." To put this prominent musician's idea in other words, the term "Phrase,'' in its general application, may well be substituted for "Slur." In my own teaching, I use the-word "phraselet" for slurred subdivisions of a phrase, like this, for instance:-

and rarely find necessary use for the word slur."

In cases ·like the ~econd ~eas- . Jp ~ ~ ~re, the quarter note. is seemmgly --i ignored, the note C bemg struck but l==t:==--­once and held the full length of the half note.

It might more properly be written thu~: · but custom sanctions the other manner of presentation, he.nee the student may ==== as ~ell become familiar with it from the outset.

No. 73. LITTLE FUSS BUDGET WALTZ.

28 MO.DERN. ME~fI.OD.

Obser\Te that in the next little .composition, the phrasing is indicated. As soon as you can play this

-piece at fair speed without hesitation, notice the effect of the two measure phrases, which, at the ninth

measure, second strain, seem to chase each other. Count two in ~ach measure. Con moto means with motion,

rather fast.

No. 74. AT PLAY. (B.ondo.) From GuRLITT.

5 4

~--~~~---'-----1--11~-t--+~t--1--1---t--+~+--l--+----il--ll---I~ ----,---1~--~1--1--~--l--...ol-·l--1--.i----.J.~-1-_._..

~~4<--~-+--J-'--,,,;--!IE._a---~-=---~~~~~--~~·~-1----l .. ~r---

Gurlitt, Cornelius, was born at Altona, Germany, Feb. 10th, 1820. Was a class-mate o~ Karl Reinecke; a solo pianist of recognized merit at the age of 17; bis compositions for piano alone, numbering into

' ,. the .hundreds,. show him to be an exceedingly pro-'lliic composer. His easy piano works are admir~ble

6 - 4

. ;'! • 1<:

for children, being conducive to the cultivation of refined taste, as well as technic. Although having spent several years in the larger. European Cities,, he has returned to his native place, . where he is now ( 1897,) Organist·. m.· the most ·prominent Church.

. -··- .. ··-·

MODERN METHOD. 29

KNUCKLE STROKE AND :fINGEB. STACCATO •

In practicing the fol~owing exercises-the im­portance of which can hardly be ovet estimated,­for tn~ acquirement of facility in finger stroke, a finger should rest on the _key held down (represented by the whole notes), with sufficient pressure to in­sure the needed steadiness of the hand; much care being taken that the quarter and eighth notes struck,

' ·, j. - -!J ..

··~·'76. JI,, B.

. be hPld down precisely the proper time; after which, the finger must promptly leave the_ key to again remain suspended the exact time of the rest.

The dotted lines of accompanying figure rep­resent the finger at the moment of contact with the keyboard, and also when it has left the key before

. -

being again elevated for another stroke.

' I l t etc. Mild half staccato. Full staccato.

~~: 81~ )! J J ) 11+ _J\'!~ _ .. •41 I ~., ~~¥-¥_, ~~~~-!::=-.-~-fii--~--.-~,-· 11 ~~e-=s1-~· ~ -- e"--+= ft -i i • ~-~ ~ .. :!::~ ~ --

......... ~ """'-w F""""" ......... .? 4 2 2 tc . 6 a a e • 8 1 1

L ...

No. 76. Jl. H. etc.

llo. 77. . .

R.H.

i iTI"'t!j&~-r~~~~~w=~·n . . . _ ~ ~3:i " ff ...r Ii • - • . 11 • i=~~ .F Y" 7;=#; ...... , 4 6 i

' L& , • ~ .

" -------------------------------------------------------------------------

30 MODERN METHOD.

ponement unnecessary. Thus far the insertion of dotted notes, in which the added length (by. reason of thee dot) causes the note to· terminate "between the countB, has been studi~nsly avoided. But now the pupil is supposed to be sufficiently advanced and to have acquired a sense of Rhythm which should render further post.~

If the pupil's sense- of rhythm. is in anywise weak, have him play the left-hand part alone a few times, cownting aloud the while. . Use ·the given words, by having him sing them, if possible, which may help to a proper conception of the subject.

No. 78. BEA0'11FUL BELLS.

bells, Ma- ny the sto- ry your mel - o-dy tells.

• •

Chimeargain, chimeargain, beau-ti-fu.l bells,

- --------------- ..____ ________ -----

4

6

In the next recreation also, you have to deal with dotted notes, but inasmuch as the left hand part is in eighths, three of which go to the dotted quarter, you will find little, if any, difficulty. Follow st\\ctly the fingering given, as well as the phrasing. j1'~-~

No. 79. RECREATION RONDO; Con ihoto.

2 3 4 3 4

...-A---....--11~~-~llW-_,.~__,IL-i·-:ir--a--..,;::~~~"""1""-i·--•--i·--aa.......-~__,,~.--111~---=-- ....... -=-

~~§~~§§§~m::::± ~·~~~~~~

'~~-----+--r-....-..--=--·---=1-·-*'-·---1--------1---..1------l----=--11------=I ,. .J ___ !'_~ •· • -rt 12 +la _6_!,,....., :;....!.,_.....-- 6

If desired, at about this stage of progress, Loeschhorn's Easy ·studies, Book 1, Op. 65, pleme~tary to this w.ork.

may be used sup- · /

0 ///

.•

• MODERN METHOD. 81

So far you have been called upon to read mu­

ll!• from the treble, or G clef i on!~, whereby

the middle C of the keyboard, is placed on the first added line below the ·staff. The bass, or 'F clef, is

represented beJow. The relation between the two difterent staves, is readily perceived, and that middle C on the hasir staff, is on the ·first added line above. Observe too, that there are a number of tones that may readily be represented on either treble' or bass staff. · ·

'fre ble or G Clef. · ·

--· -------· --------------------. ·--~·~-D

-------------F-G-A--B-:--0-~ - - .- 9?:T·-s- -. ~7'!:1''9 •• : T.. • • • • • B.... • • • ••

B":sorr~-------- m~ ~--:.~ f "f" ~-• --~~~-tf-e =!--

. Q ~=--"D--E-------'"' . -9 . ~--r A·. ---;i

• I' .

B F 9

~D ~ ~

td!!! --------A--BS -F-G~~__rfL_

--E - t9 s tdit • ~

. . . . • • • • .. • • • • -9 .a.

& ~ - -- - - -E-1'-G--A ..

------------

Have the pupil name the letters as he plays the following exercises.

No. 80.

No.82. 1

~· 4 e ... . ...

Li "=t~ I .1 -$1. r I t ~ t I i . _t_ ~

Ko. 88.

No. 84.

~~~Ir rr r I~ r~ Jfj1 r rt!. fffffr r Ir &i k~~f r rlt .rr cl~ wir rifiji fi r Ii.ti ,;

; j

2 MODERN METHOD. The nel!" feature of N u~ber 85 lies in you~ hav­

g . to read from both treble· and bass clefs a£ the .me time~ . Perseve~ · anci you wili soon master the fficulty. · Observe ·that at· (A)_ the: _thumb. of· the

N.o. 85.

Number 86 is your first exercise in i . measure, hich, in slow music, is to be counted six in a· :easure, i. e., a count to each eighth note, or its 1uivalent, hence, in the fourth and last measure ~e dQtted quarter receives three counts, the quarter

In the next, you are called upon to play six­mth notes, of which, of course, it takes twelve to , a f measure. If necessary, refer to page( 14 );,_about s. Observe that in the first two measures, the mts come precisely with the notes played by the

Ko. 87.

right hand p~es under the. ~h~. finger. to .the; po&­tion required, while at (B), the third· finger passes over -the thumb to the :ll.ex'.t note<below,... ·

following two, leaving the sixth count for the eighth rest. The word Andantino ( An-dan-tee-no) means rather slowly, but not so slow as Andante ( An-dan­ta). Observe the tied notes in the fourth and last ·measures, and follow the fingering strictly.

L. H., .afterwardE! with the eighth notes,. mostly . by the :a,. H. O<YWnt evenly, · and make your playing

. subservient to the counting. Young-players are apt to do just the revel'Se.

MODERN METHOD. 33

OB.GAN STOPS AND TBEIB. USE •.

Thus far we have purposely a.voided confron~ing the pupil w_ith the somewhat complex subject of regis­tration, for the. reason ihat the rudiments of music, so far represented, together with the technical require­ments, were in themselves enough to thoroughly engage the you:p.g student. And, even at this stage of advancement, the teacher may in the case of a child pupil, see fit to still further postpone thorough mas­tery of the subject. However, inasmuch as the study of expression, ought to begin.thus soon, it would hardly do to proceed further without teaching the character and general use of the fundamental registers, (sets of reeds,) the use and effect of the Couplers, and the

. Knee Swells. We will ·suppose, then, that your organ has, among other more or less important Stops, the following: Diapason. Viola. Oele1Jte. Mel.odia. ·

Assuming that you have been using the Diapason and Melodia, in your practice, you have observed that a rather soft effect was the result. ·Now, perchance you desire additional power, the stops Celeste and Viola, may be added; and for still greater power, the Coupler Stops, thus exhausting the capacity of the instrument, (providing, of course, that it contains but two complete sets of reeds,) except the additional power .obtainable by pressing the right knee swell as far. to the right as possible. This knee-swell, it is important to remember, adds power to whatever.com­bination is being used, but, unlike the left knee-swell, brings on no additional set. of reeds, or, in other words, does not act in the place of . stops, as does the left knee-swell.

Some makers call the left swell the " Grand Organ" stop, because its use brings on the full capacity of the instrument; i.e., permits all the reeds to sound the same aR though all the stops were drawn.

This feature of modern reed organ construction is obviously an important one, inasmuch as it obviates to a great extent, the former necessity of changing

. stops for either increase or·deorease of power. In fact the mecha.nism of this swell is such that even with every stop closed, its pressure to the extreme left brings on the full power of the instrument.

The foregoing general directions will suffice for the present, if the teacher and pupil so prefer, but we will now attempt a more definite explanation of the subject for either present or future use.

EIGHT FOOT TONES are so-called from the fact that it takes a pipe S feet long to produce the lowest tone

( C) 12: 1 · U in the diapason, or any 8 foot -+ ...

register of a pipe organ. 8 foot tones are of the same

pitch as those produced by the human voice, the violin, or piano, and are sometimes . referred. tO as "abs0ltite" pitch. · The Diapason ·arid MelOdia regis­ters consist of 8 foot tones, and iii '.nearly· all .cases should be the· first stops pulled for use; whatever· other stops. the organ may contain, may be added to them, built upon them, so to speak. Indeed, it is a recog­niz_ed rule in registration, that 8 foot tones slwuld always predominate. ·

FouR FOOT TONES are· in pitch one octave above 8 foot tones. 'Xo illustrate, pull the Diapason stop only, and note the pitch of the tone produced from

the key ~ne octave below middle C. ~-=:£:=0 Then, still holding down· the same key, push.in the Diapason, and pull the Viola stop, which produces a 4 foot tone. If. your organ contains a Flute stop, you will find that by shutting off all stops but the Viola and Flute, a complete scale of 4 foot tones is obtain:­able. But remember, four foot tones should never predorninate._

The Use of Stops in Pairs. FmsT PAIR. Reed organ stops should usually be

used in pairs. The Diapason and Melodia together control one complete set of re~ds; the division, or "cut offt'' appearing from two, to two and one half octaves from the lowest tones of the key-board, varyi_ng thus much among different manufacturers. For rea­sons, before mentioned, we might consistently consider these two stops, (Diapason and Melodia,) the "first pair."

SECOND PAIR. It will perhaps. be safe to say, that the majority of reed organs in private use rarely con;, tain more than two complete sets of reeds; and whereas the treble sets in such an organ (usually named Melodia an;& Celeste; Melodia and J ubi.lante; or Melo­_dia and Cl:arone,) are generally b.oth of 8 foot pitch, while the t>\ss sets, (usually named Diapason and Viola, ·or Di~pason and Principal,) consist of one 8 foot, and one 4 foot set, it follows that in this case, ~he "second pair," has a break, or sort of "jumping off place" at the cut off, where the .lowest tone of the treble set, (Celeste, perhaps,) is foll<?wed (downward) : by a tone from th~ Viola set, a seventh higher. This seems an absurd idea but being of the second pair, of stops, built upon, and rather subservient t.,o the first pair, (all of 8 foot tones,) the effect of the 4 foot set, the aforesaid "break" notwithstanding, is by no means unpleasant, however much opposed to theory. No doubt that the fact has been demonstrated that two 8 foot sets in the bass, of an organ of such modest capacity, produce a certain heaviness of effect the rt'Verse of agreeable. At all even ts, organs limited to

' .

34 MODERN METHOD.

twR complete sets of reeds, containing for their "second ~,"this combination of 8, and 4 foot tones, a.re in mij.ph greater demand than organs in which the 4 foot is shbstituted for the 8 foot Celeste in the treble. ·

THE FLUTE SET. Should you use an organ hav­ing a Flute stop, ( 4 foot tones,) in addition to the "two pairs," above described, it can at your option be used instead of the 8 foot Celeste, in the treble; and in connection with the Melodia and Celeste, it certainly adds much in brilliancy of effect.

THE COUPLERS as found in modern reed organs, coupling, as they do,. the octave in either direction, fyom the centre of the keyboard, are remarkably effec­tiy~ and easily available as a means of adding power an~: brilliancy. Inasmuch as a coupling effect is rarely, desirable except in addition to the volume of tone proliuceable wilhout it, one need rarely make use of the · Coupler stops, because the left knee swell acts in place of them, and the player is thus enabled to in­stantly produce or dispense with their effect without removing the band from the keys for the purpose. Certain crisp, staccato effects, too, a.re much more pro­nounced, with, than without the couplers, a practical application of which will be made further on .

. SIXTEEN FOOT TONES and Two FOOT TONES. Some reed organs include a ~et of reeds of 16 foot pitch, i. 11., an octave below absolute. pitch~ and occasionally we .Jind one containing a set of 2 foot reeds, (two ~yes above absolute pitch,) also. To use such reg­is~ effectively, a sensitive ear for the delicacies of "ti~bre" and tone color, must always be the only safe guide. In fact the subject really partakes of the art of orchestration, a field too vast for invasion by a work of this kind; and for which, indeed, there can be no "iron-clad" rules. ·

THE Vox Huiu.NA. or TREMOLO consiS:ts of a re­vobing fan, placed near the reeds whici lle nearest the back of the organ, (commonly called the "back sets") and, consequently, does not affect. the reeds which are placed near the front of the organ. I:t is controlled by a stop, and is decidely effective, particu-

. larly in soft music of plaintive character. · It answers a purpose similar to the tremulous motion which the Violinist, and the Violoncellir;Jt, make with the left ha.ni in sustained tones,-a motion particularly notice­able;, especially in Violoncello playing; which instru­ment, by the way, the 16 foot reeds of. a reed organ ~ intended to imitate, and after which the stop controlling them is usually named.

. SUB-BA.SS. This set of powerful 16 foot reeds, usu&Hy of but one octave compass, is properly, . per­haps, becoming more and more a rarity, in the modern

parlor organ; inasmuch as the divided couplers furnish a substitute, of sufficient depth and power. In any event, the Sub-Bass should be sparingly used, and only for very powerful effects.

Diversity in Stop Nomenclature.

The chief obstacle towards attempting definite registration in reed organ music, lies in the fact that scarcely two different reed organ manufacturers name their stops alike for a given combination.

With the hope of making this subject as clear to the student as possible, the following chart is given, showing the diversity among seven of the principal reed organ manufacturers, (merely numbered at ran-

. dom) in their names of the foundation stops, in an organ containing two complete sets of reeds. It will be noticed that in one case, (No. 2.) the t1·eble set is labeled, Diapason, and the baBs, Melodia. And, that the greatest diversity of naming, applies to the treble end of the "second pair" of stops, all, however, meano ing practically the same thing.

Chart. (Five octave key-boards.)

No.1 . .

Dh1.pason. 8 foot. Bass. Melodia. 8 foot. Trebl~. Viola. 4 foot. Bass. Sera.phone. 8 foot. Treble.

No. 2. Melodia. 8 foot. Bass. Diapason. 8 foot. Treble. Viola. 4 foot. Bass. J ubiletta. 8 foot. Treble.

No. 3 . .

Diapason. 8 foot .. Bass. Melodia. 8 foot. Treble. Viola. 4 foot. Bass. Clarone .. 8 foot. Treble.

No.4.

Diapason. 8 foot. Bass. Melodia. 8 foot. Treble. Viola. 4 foot. Bass. Celeste. 8 foot. Treble.

No. 5 .

Diapason. 8 foot. Bass. Melodia. 8 foot. Treble. Principal. 4 foot. Bass. V ox Celeste. 8 foot. Treble.

No. 8. Diapason. 8 foot. Bass. Melodia.. S foot. Treble, Viola. 4 foot. Bass. V ox ,J ubilante. 8 foot. Treble.

No. 't. Diapason. 8 foot. Bass. Dulciana. 8 foot. Treble. frinciJ>al. 4 foot. Bass.. Vox Celeste. 8 foot. Treble.

MODERN METHOD. 35.

OLD BEED ORGANS. Fully aware that what has been said concerning

registration, the use of knee swells, etc., will only in some measure apply to the very old reed organs, many of which have but one knee swell, some none at all, and those with ·coupler ·usually coupling up-1card only, while occasionally may be found one coupling downward~ Hence, our space being limited, we have considered it most expedient to treat of the more modern instrument rather than the old, the mechanism of which is rapidly falling into disuse.

UNIMPORTANT STOPS. It has long been the custom with reed organ

makers to place beside each of the ' regular stops, ( i. e., those mentioned in the foregoing chart, and others included in organs of greater capacity,) another stop, (to which is usually given some name implying softness, such as Dolce, Piano, etc.) to act upon the

same set of reeds, but so constructed that its use, iu place of the regular stop, allows a little less sound tQ. escape. As a single illustration, we take, for instance, Number 3, of foregoing chart, and find· as "-slightly softer than the Diapason, the Cor Anglais; -as slightly softer than the Clarone, the Celeste; as slightly softer than the Viola, the Viola Dolce; as slightly" sof~r than the Melodia, the V ox Angelet.

We pronounce these substitute Stops "unimpor­tant" because the difference of power or quality be­tween them ~d the regular stops is so slight, that they rarely find necessary use:

PROPER MOTION OF_ THE BLOW TREADLES is naturally acquired by experience. Beginners are apt to make a more vigorous use of the treadles than the conditions justify, but the matter soon regulates itself, and the proper motion.becomes intuitive; based, we suppose, upon the law of "supply and demand."

DEGREE OF POWER (Volume of tone)

is usually indicated by letter abbreviations of the Italian words, pianissimo, piano, mezzo, forte, and fortissimo. So that a passage, for inst.~nce, swelling from the very softest to _the loudest possible, may aptly be represented, thus:- ·

As already stated, page 83. the function of the knee swell as a means of expressi-O'll, ( varging the degree o/ power,) in reed-organ playing is of great importance.

The use of the right swell, be it remembered, increa-ses the power, somewhat, of any combination, but brings on no additional sets of reeds.

The left swell, or kiiee stop, brings on the sets of reeds whose stops have not already been pulled. So, the left swell is much the most effective of the two, and therefore requires· care and judgment in Its proper use. ·

'No. 88. Slo1iiy.

Practice Number 88 without use of the swells until you can play it without hesitation; then ·prac­tice it by gradually pressing the right swell so that at the greatest divergence of these lines

it is as far to the right as it will go. Then as grad­ually allow it to a.ssume its natural positioll, .and so on throughout the exercise.

Finally, play. it as before, exc_ept that during the last four measures, use both swells together, and observe the difference of effect.

*It has already been sh~wn (page 34) that i11 some.organs, otht:r 1111m~ than Diapason or Melodia are given to the stops controlling the foundation set.I' of reeds. ··

36 MODERN METHOD.

Wher& no rests occur between different chords, pass the 1Uigers to each new position with a firm creeping motion. Use the knee swell as indicated. . .

llo. 89. CoNCONE. 8k>wly.

The study of the · following excellent hymn ihould prove particulary interesting to the young player, affording as it does, a good opportunity for "expression" or display of musicianly taste.

The fingering is not everywhere indic&tted, as the pupil should by this time have acquired a general knowledge of its principles. A guide here and there, showiitg changes of position, will, with perhaps cer­tain exceptions, be suffident from now onward.

For instance, with the position indicated, thus :-

Q 4 tl 1 '

it is simply a matter of common sense that the follow­ing J; and B should be played, (fingered)· thus :--i, g.

After mastering the few technical difficulties,. give especial attention to the "shading" by means of the right swell. At the· clitm~ of the piece,-the begin­ning of the last four measures,-the left swell may also consistently be brought into use.

Finally, sing with your playfo.g, if po~sible.

For the meaning, as well as pronunciation of the word "''Andante" consult the dictionary found at the end of this work.

Ko. 90. EYDIKG HYlO'.

MODERN METHOD. 37

::::

•• TBmt morn- iug bells chime, Shield me from

The following four exercises, for the acquirement of smooth, legato playing, (see dictionary for meaning of legato, and allegro) should be thoroughly mastered. Have the bands · in readiness to pounce upon the chords as they occur, so that the running passages of

No. 91.

16ths played by the other hand, is in nowise delayed _ thereby. Play very slowly at first, and thus gra4ually

attain the "allegro" indicated. If desired the Coupler stops may be drawn, which somewhat quickei the speech of the organ.

'

38 !to. 92 .

.AllegTo.

Ko. 93 . .Allegro.

----

MODERN· METHOD.

-3

~ -e-e· -~ ·~. -;-.-i---r:: _ .. _ a . • ilf: I ii[ ..._ • • _I"': •- - •- -• -!t .:ii: _.._ • _.._ I I ~ I I I -~ J"". J"". .J

- ...

5 5

::::

-!4

•· No.94 .

.Allegro. d}----1~-~.I:!~- -IC -~..L.n...l

ft'~ < mf

/ I :::ll..• ill:

~ 1- _._. _L_!I!. Ji. z -, .... I

'.£.

if

ii[ _._ _I"':_ I

--ill! ~ ~---F+-!f - -•

• • -... ~ A

I i i _fit ...... -• if - - !f-=i!:-J: A: la. -• -1! -ii-· ~-

- ... - --:::: -

'/' ::a: T_ _.._ _.__ _._ --- -•- •- •- •- •- ..._ ____ ._ _._ - -• -:IL ._

-•- J"'' •: r- I ~ ~ :-. -f'-1 :f ± ·~:f ~I ~ ~-I l I I I I _._ _I"': - I I i

- ~--~-----.~--r-·

~l~-:illl: ~~: I

!f--~---- :I[ _.._1 ~~ ~ -~=-- -"~ i• T+...8..

< -~~:

..... _ ~ • _..._ ' ii[ i[ I .._ -· • • ._ ._ -..-·~·T_ ii[ ~ _.__ • "' I -"- :I "'- ~ "ti/I_ JL ..._ .!!.. ::iii:: =-: I :.-.. ---

., - Ii ··-··· ., ·-- -~ ~ I I -~ .L f- .. ~ --- I I I •

_I"':

MOOEF{N METHOD. 39

AlluamT l'OB l'OUB BABDS.

(Organ Duet.)

In the playing·ef Number 95, teacher and pupil should change parts occasionally. Use the same stops as in the foregoing exercises.

:r :r :r :r

:::::

~ PUPIL OR TEACHER •

6 _! ... __ ... -!"' I' 1 -. -• ' -1 ,.

6 -.... ... •. -·· 1 -.. l":rJ"J'I

:I ..I]~

--J_

...a.. ft. --"'-

-- N ..

_!"" .. i!'!:il•• ::r • ..I :r

I •

I I

.,,~~~·c~::::::====1===-=-=-==·----·---- ------ll------1---------1--·-----1----M .I ~:Z· ~ :e;r= - ~ ~. .=! {•11--i:.·~ ---1-----~--~------------l-·------t------1----....u

~ --

(fl::: L~ ...il.....11.. 8...1 _.__._ ---a....._ a _ _,,_ _i -.. •• -.+- _. ___ ::.£_. -1"".---1"'--..-.-.,,.--. ~ :r :r :r :r ?'"-:I_ :r _c: --

_...._ :.. • _,;a_r_ _... •I --,.- ...,... -.-r-..

-1"". -- ~I"" :I f'!'jj 11:-..I· ~~ :r :::IJ: ::r :r::r::r:r:r :r ._ :c :c ~ J: ..1 • ~ • tJ ....... - - . r

6 I 4 4

~ :::: ._ ~

. ·-lft-· - :!

( 3: :I -- ------ ::r ~ ...I• -= ........... -= --.--.. - ::r • r __ _._. - - SJ-

::;;; j j - • I~ -= ...,; ~ .... ::: ..""".' -• ..._..

4 6 4 ~a -1-'--~ -~ 6

4 ... t;. ._ ._ =•: - ............ a +_!_ ... --- .,,_ I~ 1 • ..J, e ,... ,., 1:..-_. - _.__

-- •--·· - =-•.I-• ... .I f::r f 1 ]'.,. .,. t' ]"'

( I~ :I :r::r:r I -• 1 71" • .. ... _._

' .... _._. _,._ - .. ] j ::o::u· - -;a -;9~ _,,. [ -,.,. 1:z:::i:· ~~ ~ ::r ~ ~ -~--- ~ -_A.

--------+-- .. · .. ,

~

tm-I~~--,~- 1 I I-· -- • =- ~ -- f'!'jj • -::::!: - _, - - -.:;;;;II'"

mf is 8tll abbreviation of the Italian words Mezzo forte (Maywo fore-tay) signifying "medium, or rathei loud."

MODERN M_ETHOD.

Number 96, introduces the eretreme legaf.o or cling­ing touch,-an acquirement of such importance- tha.t without it, arti8tic playing is impoBBible.

Inasmuch as the second and third fingers are the inost manageable, the pupil should begin with them, 1.lthough it would not be well to delay too long the ~se of the fourth and fifth. These weak fingers should ~ave the benefit of early attenti_oii.

No. 96. 6 • 6 • 6 • 5 • 6 etc • '.- • • 4 • 4 • 4 • 4 • 4 4 • 4 • 4 • 4 • 4 etc . 8 • • 3 • 3 • 3 • a • 8 3 • 3 • 3 • 8 • 8 etc. 2 • • 2 • 2 • 2 • 8 • I 2 • 2 • 2 • 2 • 2 • 8 • 1 • • l • 1 • 1 • 1 • 1 • l

• : etc. 2 • 2 • 2 • 2 • 2 • 2

• I

Stri~e- middle C with the first finger of the right hand; the second being raised in a curved position, well up, over D, which it may strike, but not too softly; care being taken that the C first struck, is not released until ~r the stroke upon D. Then slide the first finger to the side of the second on the same key ( D), and proceed (upward) as before. The sounds produced will be discordant, but if desired, may be practiced on a silent· key-board.

5 • • 5 • 5 etc . 4 • 4-4 • • 4 • 4 etc . 8 • 8 3 • • 8 • 3

2 • 2

• 1 I• 2• I• 2• 2••2 •2 ,,.,,._...__..· ~rt=ta

• 2 • 8 • 2 • 2 • 1--·--. 1 • 1 • l .• - l • 1 • l • 1 • l • 1 • • 2

1 • • 1

,. @pq --..... . . . . - ..

-Piar-·the above with the second and third fingers, third and fourth fingers, and fourth and fifth fingers.

1'o. 97. 4 •4 • 46 etc. 6 • • 5 • 5 .• 8 • 8 • 8

4• ·•4• 4• 4 2 • 8 • ·2 • 8 ••

8 • '• 8 • 8 • 8 .• 8 • 8 1 •l •l •l •1 •1 .

~~~d~~1r~ . - ····- ---- ··-- -··.

4••4• 4• 4 • . 4 5 • 6 e 6 II 6

8 • • 3 • 3 • 4 • 4 • : • • : etc.

2••2• 2• 2• 2 8 •8 II 8 ,• 3

1 • • 1 • 1 • 1 • 1 etc.

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Play the above with second and third fingers, third and fourth fingers, and fourth and fifth fingers.

.·- Although :-:tne :n.ext piece should at first be prac­iiced slowly and carefully, as soon as it can be done rith perfect accuracy, and certainty, the speed should ~e increased to_ quite .a rushing effect, so ~ speak. ~unt 8 in each measure, one to each eighth iiu-Q:, :or its equivalent.) See that the passages in sixteenth

notes given to. the left hand~ are played just as smoothly as those assigned to the right hand. Alle­gretto ( al-lay-gra -to) means sprightly and cheerful,

. but not as fast as Allegro, (~1-lay'-gro ). ~c4~rzando

I · \Sl\:erirsan-u.v / means in ·a nlayful; spottive ·style. Notice the phrasing.

MODERN METHOD. 41

In :many cases no mention ~s made of the stops to be used. Learn to use your own judgment in this

matter, based upon the expression-marks given, and the general character of tli.e composition. For instance, it

would be absurd to use much power for a soft evening hymn, or to use the soft stops only for a brig~t,

vigorous march.

SONG OF THE BROOKLET. No. 98 . GURLITT.

.Allegretto sc'lier?.n,1ndo. 3

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42 MODERN METHOD.

The exercises in "clingi_ng touch," page 40, and, those of finger staccato (knuckle stroke,) page 29, are a good preparation for the work about to follow, viz; so-called "elastic" two finger exercises, a style of execution, which has long been considered of consid­erable importance, especially in view of the modern school of fingering, which differs from the oid school in so much that it is no longer considered best to keep the hand statwnary as long as a passage remains within possible reach, but rather to allow the arm to

move freely in either direction, thus taking the place

No.100.

of the sudden jumping of the old system, to some desired position.

Practice Numbers 99 and 100 with a hand-touch"' accent upon the first note of each measure, and the second note with the indrawn finger-touch, (as shown at page 29) the hand proniptly bounding from the key-board, during the rest. Use alter~ately, all the different fingers as indicated, and by no meams, neglect the weaker ones.

Remember, too, there should be no stiffness of' the WT'UJt.

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3 1 l . 4 2 9 2 etc 6 3 3 3 •

4 4 4 6

Finally, the pupil may practice the above two exercises simultaneously.

*In the event of possible exceptions being taken by teachers, as to the necessity of "hand touch," accent, etc., in organ playing, we will say1 First-that generally speaking, too much difference is supposed fu exist between. ( the proper) organ and piano touch; even it attempted "accent" on an organ, iB to a great extent "make believe."

Second.-Whatever may be urged against it, it is certainly true that the American reed organ finds more use in playing d~nces, marches, etc., as published for the piano, th°: in organ music proper.

Third.-No experienced teacher can have failed to observe how commonly it happens, (particular1y during the past few yeam,) that the reed organ is sooner or later exchanged for the piano.

Indeed organ players possessed of good taste, 'and having at their command aU the varieties of hand and finger touch, can produce_ remarkably good orchestral-like effects from many of the easier class of piano publications; specially with the ability to adapt, wbtru necessary, to the orga.n. This subject, (adaptation,) will occupy a place later on in this work.

MODERN METHOD.

Apply the touch, called for in Numbers 99 and 100 to the right-hand part in the following little melody. The words are merely given as a hint towards phrasing, though there is no objec-

tion to your singing them if desired.

No.101. Con moto.

We to ear 1 : &: J __ ..

mp is an abbreviation of the Italian words mezzc piano, signifying "medium soft."

DOWN THE STB.EA:M.

2 1

float - ing down life's stream,

- ly la -

but

1

bor go,

9~ •

the

a

stream,

dream" ' 1 2

'Till in time

Days and years still

While the years 1

wea - ry grow;

short - er seem. 1

-~

roll

Bear.in mind that "const~nt review" is the price of success.

Number 102 is a bright little piece; a further application of Number 99. The chords assigned to the lef hand, should receive a rather staccato-like touch. Commit this piece to memory.

No. 102. RECREATION. H. WoHLFAHRT

.MODERN METHOD.

The word "cres" is an abbreviation of "Crescendo," meaning with increasing power. The word "decres." or : dim." (the latter generally used,) means with decrea.Bing, power. --..... ·

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You are next introduced to your second organ (See-cone-do) (second), but in this. work, mainly for luet, or four-hand piece. You must sit a little farther the teacher's convenience, the two parts are sometimes .o the right than when playing alone, not only for · in "score" meaning one part directly above or below rour own convenience, but, also, to make room for another. 1he second performer. Although the primo is here marked pupil, and

The sign I:"\ called a hold, or pause, over the last the secondo, teacher, it will be an excellent idea for iote, indicates that it may be held as much longer the pupil to learn to play eitlier .part. Four-hand 1han the regular length as good taste and effect may playing is justly regarded as an important feature of 1uggest. Four-hand music is usually printed with a pianist's practice, as it is certainly one of the most ~ach player's part on separate, opposite pages, under agreeable; a remark that to a great extent is applic-;he heading "Primo" ( Pre~-mo) (first) and "Secondo" able to organ practice also.

No.103. TWO IS COMPANY. Allegretto. DIABELLI. -- -... - -

fJ TEACHER.

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In four-hand organ playing, the player sitting at the right can co.ntOOl~ tne right swell, and the player at the ift, the left swell. ·· · · ·- ·-··· · · · · · ···· ··· · · ···

MODERN METHOD . 45

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Diabelli, Anton, born _at Mattsee, Salzburg, in 781, was a composer of graceful, well-written piano [eces, which, in their time, were exceedingly popu­.r. In 1818 Diabelli became partner in a music

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publishing house, which eventually became -Diabelli & Co. He was one of Beethoven's personal friends, and well thought of by his many friends; he died in 1858.

MODERN METHOD. 47 The following piece introduces the "Triplet," by

which is meant a group of three notes, played in the time of ~wo; or, in other words, the time allott~d

to two notes, equally divided into three. Triplets are usually indicated. by the figure -S- and a curved line, above or below, although in cases where the 'triplet formation extends several measures, the figure 3 is rarely used after the first measure or so. The first of the three notes comprising a triplet, is to be accen'ted, more or less, according to whether or not it falls on the regular accent, or pulse, of the m~asure. Young players readily get the rhythmic sense of a triplet, by comparison with three syllable

words, such as 4' merrily; happily," etc. For this reason we have adapted words to the first eight measures of N um her 104.

A sudden pressure of one, or both knee swells is the only means of accent afforded in reed organ playing; although in a quick succession of tones, such as the triplets in Number 104, even this means i& m1available. · Accents, like those of the first three measures of the second strain, on notes marked thus > may to some extent be produced by the means above mentioned. Try it ;-taking care thaL the hand springs from the previous note with a prv nounced staccato ( stahc-cah-to ).

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Bo.104. MERRY WE GO. Moderato.

-...!.-- 3

mp Mer-ry we go, o-ver the snow, laughing and sing - ing 3 1 :::::::: 1 6 4 •

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Pleasuresofwin - ter dai - ly.

J FINE.

~~~~~~@~~-·_L_~=13e!==:s;;~EEE~-L~ 1 2 3

The word Fine (fee-nay) means the enJ. D. C. or Da Capo ( dak-kah-po) means from the beginning; hence, in the foregoing piece, after playing it through, return to the beginning and stop at the end of strain marked Fine.

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MODERN METHOD.

Number 105 provides further study and practice lll triplets. The word "Tenuta" or "Ten.," implies ~hat the tones must be carefully sustained their full length, i.e., a sort of a creeping, binding, or so-called )rgan-touch being called for. The words "Dal Seg­:10" ( dal-sane-yo) or D. S., mean from the sign, hence you are to return to the sign ~ and ·play to the \Vord Fine. It differs from D. C. only in so much,

that, you return to the sign ~ ( as before stated ) instead of to the beginning.

In a few instances, you are called upon to change your fingers while holding down a key, (see measures 13-14-15) which requires to be very .care­fully done. Notice also, that the left hand part has two and one-half measures in the treble clef. In case you use a five octave organ, play the entire passage A to B, an octave lower than written.

No.105. WOOD NYllPJI. Alkgro moderaw.

cres cen do. 3 f ( B) __.,,, FINE.

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MODERN METHOD. 49

The teacher should make every effort to firmly

establish the pupil in the habit of beginning each

practice hour with a reasbnable part of the time

devoted to the exercises as Numbers 70-72, 91, 92,

93, 94, 96, 97, and 99, 100, or future technical ex­ercises of similar importance.

SYNCOPATION is displaced accent. The first, third, fourth and fifth measures, (right hand' part,) of Number 106 are syncopations; the quarter note receiving all, and per­haps more, than the accent that would ordinarily have fallen upon the first note of the measure ..

What is said at page 4 7 q,s to accent in organ playing, applies here and for all similar cases.

No.106 . .Allegro.

a 2

lllJNGABIAX PATROL MARCH. DIABELLI.

1

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• 4 5 a • a •

In the following piece you will find further practice in syncopation; and, also, other rythmic difficulties, perhaps. Begin with practicing the 'left

· hand part alone, making sure that the movement of oighths is perfectly d'l.'en, and regular. Then, very slowly at first, play both parts together, without much

..

• •

attempt at expression, until you can play it "through without hesitation, and in good time. Then, give your attention to the· touch, and accent as indicated. You may have to be more than usually persevering, in order to master this somewhat peculiar style of piece.

50 MODERN METHOD. No.107. THE POLISH IU.mEN.

-Polacca, means a Polish National dance. A~la, "in the style of."

4llegro. .Alla lblacca.

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CHORDS.

Three or more tones, bearing harmonic relation to each other, and sounding together, constitute a chord.

In piano playing, chords should usually be struck witli a free .wrist, or wrist and arm touch; the more power desired, the more is the arm called into use. But in organ playing, except when a pronounced stac­cato effect is required, the fingers pass from one to

another chord with a firm grip-like movement not easy to describe.

In beginning the practice of this exercise, go very ·slowly at first, feeling your way, so to speak, without regard to time or touch, until your fingers have fitted themselves to the shifting chords. Then play in strict time, and with accents as sharply defined as possible in organ playing. Imagine yourself producing the combined effeGt Qf t1i chorus of singers.

MODERN METHOD. 61

No.108. Moderato. >

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In Nµmber 61, your attention was briefly called to the importance of regarding the different parts in·. music as "voices." Number 108, for instance, is really a four-voiced piece, for, although a few of the chords consist of but three different tones, as in the eighth measure, it is in such a case, understood that two voices are, for the time being, merged into one. Playing hymns from any Church Hymnal is good practice, if the music is carefully studied as to the leading, or . melody, of each voice part separately, as well as together. The piece following may also be considered as four­voiced. The third chord will sound hargh and unpleasant, as though the upper voice (the soprano) at first declined to'join the three lower voices in making an agreeable chord, but afterward thought better of it, and in the · next. (fourth chord) makes perfect -harmony, with the sharped F. A si.QJ.ilar though less

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harsh effect, is f~mnd' at ( A ) where the two upper voices seem to disagree with the two lower voices until the following chord; .yet strange to say, when all four voices are reconciled after their brief dis­agreement, the effect . seems, like sunshine after a storm, all ~he more charming. The · pupil shouicl search out the many other instances of' similar na:: ture to · those. mentioned, throughout this piece. Observe too, ·how, from ( B) onward for several measures, the tenor obstinately remains on D, while the other voices, particularly the bass; and alto, move about in quite melodious style. · ·

We can assure the pupil that he c1µ1I1ot possibly be too observing in the matter here referred_ to; in fact, without the acquirement of the ability to analyze a· -composition, it is impossible to become a musician in the true sense of the term. · :: -:· : . ~~~ ... '' ...

Practice Number 109, at first, without regard to ties. Then, by observing thein~,tlliis finally "l>f<>ducing a more satisfactory effect. - ·· .. ···

The subject of when to tie notes (not so indicated,) will be treated of, later on in this work.

No.109. Moderato . . ,- .

52 . MODERN METHOD ..

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. The following three exercises in ''passing the thumb," are preparatory to scale playing, or smoothness in shifting the position of the hands in either direction on the key-board.

Practice· them, at first, with each hand alone.

Ko.110.

MODERN METfiOP. 53

Facility iu playing scales, or scale passages, depends largely upon proper looseness of the wrist, 3llld curving of the fourth finger, thus affording the necessary space between the hand and the keys so that the thumb can easily a,nd quickly pass. under the hand in rettdiness for its next position. The wrists may turn out slightly, but not so far as to

cause the prqjection of the elb<Yws. Beware of this too common· fault. The proper position of the fin­gers is assured if only the fourth (which seems ro control the others in this respect ) is properly cuiroed. Now. ill tne time to establish good and pr<iper habitA in these points, hence, too much care cannot be taken.

Ifo.W. ET~E.* STREABBOG.

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*An Et~de (ii.'-tood) is 8: com~oaition usually more interesting Crom_~ musical s~udpoint, tha_n the so-called Bbudy, and is generally intended as an applicatiOll of some certain 'tyle of techmc. Indeed ·some Etudes are really compositions of considerable merit. · •

54 MODERN METHOD.

ETUDE .

. -· ·Probably the greater part of the music we play, or hear others. play, consists of a single melody, i.e., hut one melody at a time, and its accompaniment of chords, in the various forms. Usually, the melody is fl.ssigned to the right hand, but in the following pretty little waltz, the opposite is the case. Be that as it ·

may, however, the melody should be made prominent, so that it is not ''covered up," by the accompaniment. The only means of producing this effect witli an ordinary reed organ is by playing the melody decid­edly legato, and the accompanying notes· or chords as decidedly staccaw.

No.113. THE WALTZING BROWNIE. GuRLITT,

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MODERN METHOD. 55

. 6

By no means should the pupil fail to practice the two following exercises daily for weeks to come.

Begin by counting very slowly as you play, accenting the first note of each measure. As the motion is quickened by more . notes in the measure, see that your counting is in no wise changed thereby. In. fact, these exercises are conducive not only to desired facility in execution, but also tQ :fir.rnruMB of the BtmBe of rhythm. As previously suggested, count

1'0.118.

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--- .. ---'-1!5J--=-··-.-. - -i--. --· - +=-.. --

6 5-9

correctly in any event, and make your playing con­form to it. Pupils lacking iri sense of rhythm, may at first use ·a metronome, beginning at about J :::: 69 and gradually increasing in speed, according to ability. Finally, however, the use of the metronome must be abandoned.

The touch may vary from legato to a crisp staccato, in Rrder to re'°p the full benefit of these exercises.

MObERN METHOD. Bo.114.

4 3 6 4

The pupil's part (Primo) of the following piece, is a good specimen of two voiced music, being written originally for two violins. Observe the charming effect in the first eight measures of the second strain,

No.115. Moderato .

0

where the lower voice see~s to answer the first with a similar figure. Make the movement some­what slower than ordinary waltz time.

PLEYEL.

..L:. ..... - _.ft. -""- _..._

rl1~ il_==l-LI:_~-I--~ ~!_ l I "J:-' ~- :I~ .!""' _:_~ J.. · _.,,._ 1 J. J. ~ I '~~ · 1--I-1---I+--~If----1-~I----+"'"-1-+--+--+----+--t--------+-+-f+---9-·--~--i~~l-f __ -~- -""- ----, eJ ~J. I - ' --- .. 1 - -a - ·2

~ fJ PUPIL. -:.: :::: --::: .:::::

lh_.-:·~..-----1------1---------1--------1---------·---·--:--i------~i--·J-----.--+--11 ( ,. ::!>~ 1-------1-------------- ----~---~---1-----1----11

i.• •:Z ~--1f-----·--"-"I----·-~.---~------1------1------1------,.ii--1--++-~I1--~Io1---1 _,,,, :I ---i---.·----I~--1---1---.1·...i..--..ll!..=--1

":;;t • ~ • -~- • 4 . -sJ. •. ~ -·tJ ~ _______ _,,,,,, ........ _,., .......___ ______ .

· Pleyel, Ignaz Joseph, born June 1, 1757, at Ruppersthal, Austria, w:ai:t a. pupil of Haydn and a. most prol~fi(} composer, especially of string and

orchestra inusic. His earlier compositions are con­sidered his best .. He died November 14, 1831.

MODERN METHOD. .67

·---1~1-i---·---11--1---1---li--l-~·--•-+----.i---..._ .......

&· __!_ ~ f&· f: :r I~·-· --:::r--

< 1-e-·-· "---::--'

~ ~ .I• :ii: I[_- _.. ~ ~~

' :-'iJ

~: • 'E}J-- .I.. _,,. , .I•~

.. lriJ:

~ ·J• ...... ~ "JI' :.I• ~

-<

·l-----1-.• -·---I------------------1----+.1

·---1-------------------·--------------·---

~. ~. ~.. ~. --....... ___ ....,...._

4 4 .... .fL .... J: :r J: _c: __ :c:__

::: -:::=::::j_ --- . •

-"-v ....

• • .... ~ ~

Jllll". JI"".: ..... I ~ I

~ ~ j =-·-

. --. 3 ~

4 1 ~;

~ -::::=fC= """[

1 :r

:::. _..._ .. l--*_ -u;& . .=. . .. =r: J: ~ ~ --rn· I I I

.:,...

• .. • ~ ~==4 1"''

:! .. 1 . ~

]'

~ ~ ]_ ::::IJ.:J: -~ • n. -- 'I'

--.... ____ _ 6 4 ..... JiloL

I I -nr J:

== ::::.. _..._ .J.

T ...... :a I JL . =~ -. T T

i:: J: I

•

~ w.-:!:::'

JI" 1"'" ~ . ~

I I ~

~ ::J . ---.. -. ·~

l

4 • 4: 8 . ..,, - .....:._ _L

~ T ~ • ... :.a: J: ~ ~~~ 1 I :I _I ___ t:= .JfL

-1- I P:

::::: -... J_ _llL

_J _.;_I 1a: I .3. -&-~ ~-

-~

F ._._ I I

I ][ :;: I .-1 -.- J.Ll ..... I ... ... ~-

• • • ... ~ ~ f~f r--_b-~ _._ 1! :t;:

I T ..--+-~. ~ ~ .I 1----~-=t= =----·---!

,. l ,. --~ :P :i= ::::Q:

] "'l"' -:Ji. :r -· I -,:J-

1:6:------------~ ---------------1---- ----::::i::----~ Gi!! :f -~ l ] I j ::3: =J; J: 1 j---·--"---i,__~_.J.-1- ==l--1-_±i:--+ l : ~l{m -i -fl--.;J • . - ~ ~ • ~ -- -.- ~ ~ _..,, d re:f'~ - • -- - -- -. -- -- -... -- -.. -- _,.·

--.... t rwi:: ,.l-£-·---~1--1:------t-+-+--t-~-1-----~--1----1--1--~---l!!=--l·---l~+-l--L...

~ - ' .- - _.. --·- .... -~ • -• --. -• --~ • • -. -I"' 1 -. -. -•- ~ J: .. 1 j j J: i J: J: i i 1 =t 1 ± •

~ --~ I • -- ---- ----

~ ..,,.:i~.----ilr--- ---------------------------------------11---w l""E;t! -:JI_ :.i!. ---------------- -- -------Ii-+---"'"'•M

\. --49 .... J.,~.__,~Z--ll-~-~~~--~~~--_,.~-,--:- ~-. ; • ~-. ---r--:; ~ 1--~--J-.---=."""·-WI

MODERN METHOD.

With the exception previously mentioned, and ater, Numbers 111 and 112, the pupil has, so far, >een confined to matter which postponed any neces­:ity for introducing either the theory or practice of •he scale. So far, the word "key" has been used mly as applied to the key-board (the white and black (eys ). Now, however, we are, through. custom, ob­iged to use it in still another sense. We speak of . composition as being in the key of C, G or one harp, F or one fiat, etc., etc. So in this sense, it riay be defined as a family, or chain, of tones, bear­ng certain relations to each other. To establish the ~ey or scale of c, for instance, seven tones

i~~re~~-~~~~-k~--d~-~-=====--=---&--5---a=-,--+~----tf' ~--fL-..J 4 5 6 . 7 8

'1'e necessary, which, for convenience, are numbered .s here shown; the first number (1--C) or again lumber 8 also, being the key tone, or tonic* of the :ey of a. In vocal music, the syllables do, re, mi, etc., .re used instead of the numbers.

·Rather than incur the danger of mystifying the roung student with what we might consider an 'overdose" of musical theory, we will merely add .hat the. formation of the seal.es (major) in which re are just now interested, is that the interval of

the semitone, or half s'le;p occurs between numbers 3 and 4, and 7 and 8 of the scale. Observe the ab­sence of· a black key between E and F and B and C on the piano key-board. It is very important that the "order of intervals" be remembered in order to fully understand scale formation.

· By reference to Number 32, you :will perceive that you really partook of scale practice, by dictation, · even thus early in your studies.

The importance of the daily practice of scales, is conceded by all teachers; for without their constant use, certain qualities of neatness and facility in so­called "running passages" are quite impossible.

Practice Number 116 at first with each hand separately, without regard to Sva .... , which means that a note, or passage so marked is to be played an octave higher. Keep the arm and wrist free from constriction and, for a while, pull the key down, as it were, at least until the fingers have become fitted to the requirements of correct fingering. The wrist may turn outward sliglitly, allowing the thumbs to readily pass under, the fourth finger well curved.

After the scale is thoroughly mastered with the hands separate, then play it with both hands, observ­ing the Sva .... ** for the right hand .. It may be repeated as many times in succession as you see fit.

:No. 116. SCALE OF C. Bvti ...... ....... , ............................................................................... ·········: .

Now let us form a new scale, taking the tone G >r number 1 of the scale, thus:-

-

s ~ -------~~~::Q ____ _ ----....-· ·· l!f----r..--~--S--'--__ I ---------

1 2 3 4 5 6 7 8 It seems correct until we examine its order of

itervals, when we find that to have the required Ital/ !6p8 between numbers 7 and 8, we must use the sharp black key) F

4

6

--. -~-s eJ tt::e= -- -s-~-

~ ~ 3 -4 5 -6---1---s-­otherwise the seoond half step of the scale comes be~

tween 6 and 7. Hence, the scale of G must inc 1 ude one black key, (sharp F). The sharp placed . on

the upper line of the treble staff, thus:-$ d

*It is unfortunate that the terms "key" and "scale" are used eynonymoualy, inasmuch as a BCGle mwt always consist of a. certain form while the tones which ta.blish Tuy may appear in endless variety of forms.

**In the use of a five octave instrument, the suggestion to play Sva. must, of eQurse, be ignored, here, and in all similar cases.

MODERN METHOD. 69

called the signature, indicates that 6'1J6'1"/J .F, be it high or 1nw on the staff, is thus in.a.de sharp, subject, of course, to cancellation by an accidental before the note. The following {Number 117) has the signer

ture one sharp, indicating the key of G.* Practice this new scale according to the direo

tion ·for practicing Number 116.

No.117. SCALE 01' ·. G.

8·va .••••• •••••••••••••••••••••.•••••.••••. ~ ................................................. ; •••••••.•••••

>-

Though seemingly simple to play such a piece as the following, it really requires considerable skill and, still more, good taste, to render such muSic properly.

Observe that m:uch of it represents two voices as it were, with an accompaniment by the left hand

--- . ' . iJ • .

>-

in which the double stemmed notes a.re to be held the full length of half notes. Make the touch de-· cidedly legato, the ~rd, 7th and 15th measures ex. .cepted. Observe the expression marks, and rem.em· ber all the Fs m·e 8harped by the signature, and that hence, you are playing in ~he key of G.

Ko.118. FA'MJI.TAB. SCOTCH MELODY. (Blue Bella of Scotland.)

*Teachers who prefer to include the minor scales a.t thissta.ge ofprogreBB, can do so, as they a.re to be found in the latter pa.rt of this work. Even in the case of an adult pupil, however. we advise their postponement for the present, notwithstanding that the pupil will, from now on find the minor keys introduced. The reason for postponing their practice is that the confusion consequent npon practicing two widely dilferent scales, of like signaturea, is thus a.voided until a. time when the pupil is better prepared to confront this seeming enigma..

80 MODERN METHOD.

5 1 6

No.119 . ETUDE. .Allegro.

------------------

6

6....._._. _______________________ 6

:MODERN METHOD. 61

The following familiar ,song-melody affords a good opportunity for special registration .

. As a means of rendering the melody with its deserved prominence, draw the Melodia and the Celeste of the treble, ( 8 foot sets), and the Viola, only, of the bass sets, and play the left hand part an octave lower than written. By so doing, (the Viola being of 4 foot pitch), you will be really playing the accompaniment, precisely where written, but with but one set of reeds,

against two sets in the treble, thus affording the desired prominence to the melody.

The use of the Vox Humana, in cases such as this, still further enhances the effect.

In the 1st, 5th, and 13th measures of the melody, "substitution" in fingering is called for, preparatory practice in which has already been provided, at page 40.

Con espress. means with much expression.

No. 120. THE LAST ROSE OF SUMMER. · Andmde con espress .

.-;-.

62 MODERN METHOD.

N'o.121. BECBEATION'. · Waltz movement.

l 1

In the event of still more technical matter being required during the ensuing ten lessons, Kohler's Studies, Op. 50, Book 1, may also be used; a single page of which may be included as a part of each Lesson, or in any other supplementary manner that Dircumstances may suggest.

The following Etude is excellent for the practice C>f sustained melody (in this case, two.voiced) wh~re intervening notes occur which seem to be for the

l 1 1

I .L 1

purpose of "filling out" the harmony and giving .to

the melodies an agr~eable accompanying rhythm, or motion, which relieves them from a certain thinness of effect. Be sure ·to play the half notes (melody) extremely legato, and the eighth notes ( accompani­ment) with a touch sufficiently staccato to leave the melO<ly always audible. Remember what key you are pl~ying in and what its signature is.

MOD.ERN METHOD. 63

No.122. ETUDE.

2 ~-_.....5 1--.....--+m

--501-----Hf------.. --·~·-1--- --r---1-+----HI . --t-----i-·----1.----

64 MO:OERN METHOD. •

The suggestions as to registr.ation for Number 120 are als~ applicable for the following excellent melody, th"e .last .six ·measures excepted, where the Diapason or some ·similar set of ·.s foot reeds should be added to the Viola. It so happens 0 that rests occur in the left hand part -just here, freeing th~ hand for the purpose.

In changing stops during _performance, it is im-. portant that the· stops should be pulled out on the

accented part of the measure, and pushed in on the unaccented. When the stops are directly back of the key-board, it is often possible to change them without freeing either hand in so doing.

No.123. llELODY FB.011 "STABAT KA.TED.." ROSSINI,

Moriera to.

=-

0

... MODERN METHOD. 65

The signature of Number l24 being one flat -in~cates the key of F, in which, to preserve "the ~quired order of iitervals, B --flat;-mstead ·of B nat­ural, must. be used. ·Notice too, that the -passing- of the fourth finger, descending, and the thumb,- ascend-

' . ing, occurs at" ntimber ,4 ··.of. the scale instead of number 3 as in the case of the foregQing scales.

. Do not imagine that learning· correct fingering of -the scales is sufficient: 'The: practiee · of · th:em:·:cannot _ realiy begin, until that __ much -ha,s bee~ acc~mplished.

~--lllllW--t+-~+-+-~--..---1-11--1--~--.... ~+-+-++~-11---=-~-~~-:;.J.l---~lllL--I~ -~------

~ -c

(

=£ -~~l .... 3 2 :J.- 4

Xo.125. .Andantino.

r. -T ,_ "'

''I(. h.~

IIm~ A! .--. ti -.r -r

p -

......... ..... ~-0" ' ""'I• ~=i=!= Z"h:JL I . v~

4

-.-"[

T

... 1.0.-

J_

3-'I' -....-

-.-1"

8

cres.

..

I • .. ~ -...

• I

4

I :. I·

:.ail_ .. -·=-= ·- 2

BVEIIRG ll'Dllf.

- ...,..-.... :I. .. ft A -. -:I" T I "'l"" [II" ~ J:

T x::ij_ .. ..... ·~-~

. ..... ... ~~- ~ ..... --- .. _._ -~

I I I T .-_._ - ft -. ...... I .. -- -.. "r ;a 8 ;--,' 1 6

--a·111n.

ii I :~r .... ,..

-...-

...~ .... ~ -. ± 4 0-

-.- :- ~ -

I I

-:;;i· <>

i=;: I

JI!:

• •

~ .... -.- --T ~l.

4 6 2

>-..

I ~

·--.;::

GUBLITT •

I .. _.._ J:.. -"'- "" ~-![''

---- ... -. ..... ~ ~ 1~bi- ;.--. r.-_

I ~ ~ I'~ . ...

...... ·-ID - . ,.

• ~

l.i • -.:r

r_ ·J - - ·. . I ,,,-..

66 MODERN METHOD.

Let no marks ·of. expression, or fingering go unnoticed.

Ko. 128. COKTEMPLA.TIOX . .AndanfliJao.

rl~=li=il:lhil+Pl=P:l==lfiP~=== --1--lfS-~-·-tJ . ._-EJ--~--- ---+---z-t-1 ---1--+-:---~----""--~1-•~~·~fl'iiJ---

----~

1.a. ·ll"----IL---'fl''--~~-+-+-S~~~~~~~!-"-1"'-+-1H9--t-~~r--1-1~

'~-~--------~§§§§~~~~~

wne succes11i.on of rec-

" Also the following three tone groups:-

--··-------··--·

MODERN METHOD. 67

Observe the ·frequently .recurring figure with which the han~s begin in Number 127 ;_ also, that at (A) the figure for the left hand is the same as

at the beginning except . that . it . iS . transposed . the interval of a fourth lower, while at ( B) it resumes its former position.

No; 127. THE VILLAGE CJIDIE. couPPEY.

Mode1·a.w .

.,......i:J.~~ - - ~ _-_:;_~~11-~=·~~=~~=~t~~=·~r--=J-..,_t-=--+-+-+-lr---iJ-i:-l---l~~-~=--.!::..j-;---·il--I

Have the pupil mark the fingering for Number 128.

68 MODERN METHOD. No.118. BY1D' TUD. H. K. OLIVER.

1'l l l l _J.j J: ~- -~- J_ I

~ I~ ::Ei. ~ _. -• ± ± 3: =r-.i- _, I . -·· -- rJ I I I~~ ..... -- l'!".iil- ._ :;it_ tr·-1= ~- ~ - ... ~ __. _ __._ --·· _..- ~ ~---.---'- ~

eJ -.. '

_,,, _,,,

~ Are not thy mer - mes large and free? May not a sin - ner trust in thee?

( ~ e- _,_ ~ '-9 e ,.J - 6 - ~ -Bi: r:.r:; ::ii!: - -~ _.__ .... ._, ... w.. r- '.:Ill'. -~

_._ 'T: _1•·· ~ _..._ ~ ~ -

7~. ± I IC ± I I_, --EL-=:-- J""''. I :I I I

I

By no means pass by the following Etude until you have mastered it, sufficiently to play it with unerring accuracy, even at a brisk allegro. The chords marked f .> should be emphasized by a sudden pressure of the knee swells.

No.119. ETUDE. THEODOR KIRCHNER.

f > 4 J

5 2

69

-+----t-·~~-:j r­.. . .__., Theodor Kirchner, was born in Saxony, December, 10th, 1824, and is still (in 1897) living. His composi­

tions-mainly in the smaller forms-are poetic, characteristic, always musicianly, and rarely lack in originality.

No.130. SCALE OF D~

6

Observe that in the following study, the hands play in unison, except in the ·Jast five measures. Practice it, at first slowly and gradually increase the movement, until you can play it quite rapidly, without mistake or hesitation.

No.131. STUDY.

10. MODERN METHOD.

~~··_-,,~

You must at first be content t<? play Number 132, much slower _than waltz time, but ·by care and perse•''*'­ance you will accomplish it. For the definition of the terms Rallenmndo, Soa-tenuw, &rnpre, and their pronuncia-tion, see the dictionary at the end of this book. ·

No •. 132. ETUDE.

Waltz Movement . ....-L', _Jf_ ~.i__.__.__... .... fl....-...__._ I l 5

-- Ill. __ _._ _._ i_ i._ -- Ill. ---..Xii llll'U::!l. ...&. ,... _I"" _I"" ,... _I"" _I"" _.._ ~ ..... I"' F F

,... F3: -~ ~ u._ :::U: -= I I I I _[ --.. - --;x- .

'If:""' ...'I' _JI_ __._ ..J. . _ ..... .... :JI .... _ ...... .... .... _._ -• ~- -rI ..-- '!ii -2 -""" _"!!' _3 _. a . ...Jll! .JI! ~ I -··e;.i __..... ._......... -.,. ""I ""I __.... i.---

~ mp ~ ::: -- ·-

~. ~~. '-<. =~

...... ~. '~--· -~ BiL=:il~---.--------1--E r- .. r-

• i-.. • s• - ~· • -----1

... ..,,, "'[ ::a: e ~ ,~ ,'-";:

_'!" +-·. ~ I --l . ..... I

l ~ 6 4

~·_Jf_ J I ' 4 ... 4 Ir ,3,..... ~ 1 2

~ _ ..... u. JL .......... I -~. • ~ - ··-~E ~~ ~- I .,..,

~ ii_ • -~. - • t:>. .. __._ .... ... ::ii! • I I -- - .. .; -1! 2• . .n.. _L .. -'---· . =i=== 1':_'1" -..- --... ··-· ·- .. mf- - f::.. :::::- -:::

~· ...... __ .

1), t !:lili i-.. • ~ ~ ± ---1 IS- • • 7'( ...... :::;;;[I I I ~ I I :I z '.'I • .... .r...t1 -__._ il'r. ..I!!. __.___ ...._ iw.;; :JI JL 1111'~ JL

"'!'. ~ IL ..2 ... :.:.! ..2.. -'= ~ -2 .... ... ...2.. llll"Z' ..-i: T . e;l "l '-v ·,.J i~ ,..., .. .-i "'i ·~ . -5'- -- ... -~ 5 .

J~ ...... J

_.#"', -~ 4 4 • 4 4 2,..... ~3..-:: ~ ±

2,- ~3...-~ llll'L

~ • ~. -. '.-. ...... ::n. I 1!:L • ~.

.---..,

(111 ~- • - • ~ ._ -~. ..

~.n -f-· .__.___ ,._ . .;::;____ • • I

, tJ

-< mf ::: mf

I 6

jji

t: I I ± ::r 3: ~= -- ....I I~I:;;± I ~- .I . -,.. ._......... i/:1-:i. .fi-71_ ..'.!'. :..:·~I__.:JI... w. if: ":IL ~ I~ LJlll'...; :f- :f •.:oil. ]L ................. - ..2..~ ~ ... ... ._ __ .._ .... _... 11111"1: ~ .., -i'= -..,- ,,,,,, ii..!.u 6.-u"l""li 6~ - ,,,,,, 'i~v v

""" ....

MODERN METHOD.: 71

-..CJ _»_ l l J i .__.~~ ~ ·~-~~ J

~ ~~ I I"' r . --.- -~

-~.I.lo. --.- --- ..... -~ ~ I~-:![ _. ::11!! ..... ::f ~ ::11!! JLill "ii I J. :;,o =~ I . ;::::;;;r ... ::11!! ... ... -.

I~· .+.---. - -. ..._:.:. ft T ~· -- "'!' - 11111 ...... 2 ..... !I . -..- -_....... -z -..- -_.......

-

~ ... ... ~ 1 ~ -~ '~. '.-t: • _( .. "'-.-:· -

( ~ .Ji ~ t" ,..-.. ,_ -··~

1-:I•llll'U. - --- '- • - • 1- • • --.J IT'l't ~ ::r --,. !.-. -::_'l'T _.A_ J:

I I_ -·-· .... - ... ...... . -- .. -

72 MODERN METHOD ..

, __ ·• .- • - • - • ,,,,,...,. . • ..... . • ( I~ - r- t""" r- ~ r- ~ T• • 1-. • 1-. • 1-. • • • • • 7 "'ll: - - ;- !"'"" = ~ ----T __r=:

f J: -r

re-ti~ ....

~-- .i ... ·- ~

"' -. .! ~ .. :il· .

,.. IL fl· I"" • - 1""' I"" ii( ..... µ • ....

~ ~tit. I"" r"""

~ -- - --~ ~ 'I' -.. ~ :ilf -• J_ :..IL :::.~ ··.....: I~ J: :I • .. eJ I

.... Sempre dim.in do. ~ - - uen - - -.-C • ~. '.-(. '.-( . '.-( . '-"'· '-

~ ..,.

t-E-· • _!"'"" r- l"" . r- •••111 1-. • '-" . ~ '-' • 1-. • ~ =i '7. ror: ....-.: ....-.: ::i. 1-:: ~ ~ ~ .. :n - Ii'" -r . . ..

Before beginning the practice of Number UIS refer to page · 23 as to the conditions m which accidentals continue their effect beyond the measure. in which they occur.

No~18a. STUDY. Moderaw.

6

MODERN METHOD. 73 A Nocturne is a. composition of quiet, 1:1ind usually rather elegant cha.ra.cttir, which, (the term being derived from the word

nocturnal) we are supp98ed to consider as appropriate for night, or evening performance. The title, however, may justly be con­sidered a. vague one,. being applied. to a cla.ss of compositions which might as consistently be called Meditations, Reveries, Sere­nades, etc., etc. Have the;pupil alternately play the Primo and Secondo of the following Duet.

No. 134. NOCTURNE. REISSIG ER.

~ _tlf. Andante Moder'!to. ~ .... ~ 2 __ 6 .r.-------{' ~ ~ H J: J_ ~ ·F°'.--E ~ I • ~ _IL ~ • -i 19"-------~=E!-s_,_,_ ~ ~. JL ~ _::: -!- p~ =t: =[ _ -=c~c=: :E =1=. :q: =t:==-·t: 1± ~ L -< e:. 1/l p ... . ..... :: ::::=- :::::

~ f/l!tO-·-~-- J:~ J: -k. b.~ • I --t:::::i-==-~a:------l, 4 r::J... r::J • L~ • ~ •. I r::J • :;;= •

., 4'-- J ----- -n----·---i-oT---~· ru-

!, , - .Mii 2 _.__ ·-- ~ ...... ~.!..---------- ~ --------------- r--_.:r::._--...... .JII :JII -:IL ... ~ (1,~1:=~~;:i_c==:=r.:=Cl.1":1!!~.1":~~~.1":~=1: .. 1!=1~=~~i::t.1":~:::'.:'.1::::C::t::r::t::Cl::::J::C:l=!:i::C:1= ~.1": ~ ~·~#::4_~ lI LI l I LI I I I II I I I _..I I I _[l l 1 I I

...,.-

< SECONDO.

~Jl~~:tJ~!ll~i.;:f~~~.__:::;::,.=1:====---i=---------------._·_-----...... _-...:__---1:======----l--~·=======f=~===I-~~-~-~-~-~-~-~~~~-=t-=-==-=~=-=-=e===--== , ''IJ.:I~ I • s• --1

,

1 :n. x 4. ..... ·---~-_J--.-.---~1-:·-----6-J..-t--:.-----·-~ : .. --· . :;t. ~.----i '6t..._ ____ 7~

""='

~tlf-~~:S;~t-ti:;:mrr..!~Ln~·-_:t!,1--4.:a=~==j=r:j===:;,:i.6,..~l:~~_,~===~~!:-:=Jj~~-j-~~~=!.~ p. "J_':illillr...--r--._._.--=•~··--;;_._~-rlt:-r-i:-!-.it-i_-r-t!~T-__,.1":~•:-;~rr-_~--H -· ~ ii. ~ ~ ± ± ± I :t=1F~ I I ± =· l"". ± .t=:

T-- + lilll""" --=~E-.Ii---1-'----~:_=

< ::::-====--- -i .::::=- - :::::=- FINE.

~ ~~=-::::!i:J~=1:ii:1tt====--:t~1:t:::=:::::t= .b: J±=-b-.-----Et -It-c;:--~H-t:iil'J-J-H - . =-~---·--------~-----~· + ~ ~ J 4

... ... ~- .... ..... ... ... ~ ,,_ ___ ..... _._ 1111..11!..tj .+i.- ?- + + .fl-_.._.-.._._~_.._ .-.. _.._.-.. ..-. . .-_ P-...:: __._ _._ __._ I "J. -~ + _... -I ---r:: ..i _.--~

( 1-i~ :I I I 1 p f f I f _[ ff f _[ l 1 I I I I I I _[ TI :fI f f-j ± l ~ ~ +:- r- --j

7' ~ ...... _"llli""'"'---+~---M ,---"""--' ............. -.-------------------- ------------- -----.- --------

FINE. i"'=' I

'jli;_i:ti~,_ff1u.;:;::-+===1====== ------tt·--·-1-----•·------ --:E--1---.-Fl--1-=±=± _____ --1--H

..,,, '.'.]; 1.. . .U.::1 -""~ l l ._. ::.t t: • -:::f- • -::J.- • -~·-·---I-1--,,-- t:IO • :• ~ ~- 1~.,__.....,I,=--•---+-L.11

~· ~ JrJ ~ e• ~~ .... ·-----J~n · - T

. IL 8 n. 1-'-•-L 3 _ JJ. i_ Lot: _:;;~ .... " ,,-.~. 9, 8 ~ _f!l_ . • ..... ~- ~™ ™:i:: i 2 i . -.i.. --- - .!t.~ ~F _ .. _. • ~ ~.t:H -•- ..'[] :f -!--Y-1 ~ I ~ I~ ¥ !- .IJ r ~·m .1 I ~ ,.J_ I • , il'lZ ..:r: ...._~ I ~ ~_._,.,. - - =L.. -.!!:I -- - ---p>'--11--=•1 f-11

!-==== :.::::::::=-11-=:::::::::::: ~ D.C.

~--·-1------- LJ.-----~---·- ------·--·--ll--oio--·---1---lf-ll

t .L•1111rL,I•:ii: I ., 1--1·--· --L.J_-----11--1I I I• ' z ·~n••~ t==I: 1-1'· ==t--=~:; ...... ;.====+====:=~;:=;:======:=~;:_L:~·=:;:====1-l:-:j ..... ·::_::_-::~+::..::..::..::..1..-:.,~:i~-.. .... ~ :.!!:. r::J • ~ • -- - -~-·~------1J1: ___ ... -'c,,,.>:J!:-....:•:...----1-'c"'"':J!:-....:•:...-,.,... .. ___________ I,_ _ _,_I-.Iw~-

'9· e e ::t .... Reissiger, Karl, G., born 1798, at Belzig, near Wit~nberg, became pupil at St. Thomas' School, Leipzig, in 1811. He

stlidied theology in .11U8,· :\>ut finally decided ta devote his life to music.· He was. a fine ba.rit.one· singer, a composer of merit, both in small and large forms; andwas·a.ppointed.successor_to 0. M. von We~er W$ 00I1ductor of German Opera, at Dresden in 1827, Be died in 1859.

74 MODERN METHOD.

Practice the follow,ing piece at first with each hand alone, until you can play the part for either hand with a brisk motion (about ~-= 72) and a rollicking style or expression. Then with both hands.

In other than: sl~w music, f time can be best counted 'two in each measure, mentally dividing each count into three.

CHEERFULNESS. LoESCHHORN.

Loeschhorn, A., an excellent pianist and writer of many excellent studies, was born in Berlin,-1819. The editor· is unable to give the exact date of his death, which; if we mistake riot·was.m· 1894. · ·

MODERN METHOD. 75

'rhe following piece introduces the Appoggiatura ap-pod-jiah-too-ra), sometimes termed "Acciaccatura" enerally called "grace note." There are the short nd long appoggiatura, but at present we _have to ncounter the short form only. It is crushed, as it rere, against the chief note, to which it belongs, ud its time, though so brief as to be hardly recog­Lized, is taken from the following or chief note.

In his own teaching, the editor has found that the expression "crushed against" seems to best con­vey the proper idea to the pupil. ·

This very common grace note is written smaller than the ordinary and with an oblique dash, thus :-t·. Pupils of even the most ordinary capacity rarely experience much difficulty in mastering this simple form of embellishment.

No.136. THE YOUNG UCRUIT. W.F.S Jn rna1·ching time.

1 •

. . --+-----~-

D.S.

76 MODERN METHOD.

EllBELLISDIENTS. For convenience of reference and comparison, all the necessary forms are give1'. below.

All the embellishments occur either between the notes or upon them.

1. The manner of executing the embellishments between the notes always depends upon the value of these notes, as well as upon the .measure and move­ment. Instead of many complicated rules, we give in the following examples-which embrace all possible cases-the manner of execution. The pupil will thus learn them in a practical manner.

2. In all embellishments occuring upon the notes, the first note is struck with the jfrBt note of the accompaniment. The rhythmical accent then falls upon this first note, the melodic accent upon the mel­odic (principal) note.

Simple Short Appoggiatura.

~­·t..

The Long Appoggiatura. The notes of the accompaniment are struck with

those of the appoggiatura. -This embellishment is in fact but an obsolete way of WTiting retarded notes. The appoggiatura proper differs from it by a small crossed line, f.. According to the length of the prin­cipal note the embellishment· receives one-half or two­thirds of the value of the former, as may be seen in the following example. It must receive a strong accent.

Mordente. This form of morden te has become practicall

obsolete.

Mordente. (INVEBT&D.)

Used in modern music.

PLAYED.

Simple Turn. An accidental above the sign of embellishmen·

affects the upper note; one below, the lower one. Tht whole embellishment must be clearly brought out ir each hand.

Turn Beginning with Lower Note. PLAYED.

77 MODERN METHOD. ..

Double Turn. PLAYED.

_=c;J_' j Jj_H-==-~...--.....-.El>--h---=-----1 .._....

WRITTEN.

. '1 ea stJ ~-2_1¥ -------.-

The Turn Between Two Notes. It is, so to speak, a paraphrase of the preeeding

note.

/

If a turn follows a clotted note, its last tone occu­pies the time of the dot, as the following example will show.

Although the key of B fiat is among the favorite keys of the average pianist or organist, the fingering of its Beale is, for the left hand at least, rather awkward.

N'o.137.

a

The Trill. This brilliant embellishment is indicated by th?

sign fir, and consists of the principal note, over or un­der which it is written, and the note above, being played alternately in rapid succession, during the length of the principal note. The Trill has usually a termination, which includes a note on the next degree below, except when the n9te follnwing the Trill deacend.tJ.

PLAYED.

PLAYED.

WRITTEN.

_f'

We therefore advise that you drill the left hand alone until it is thoroughly mastered, before attempting it with the right hand, or both together.

:; a

78 MODERN METHOD.

Remember the new :flat (E) in.:, this key, and play the following piece with a smo~t~, murmuring sort of ~ffect, not too slOwly and with a careful use of the s:wel.ls.

No.138. THE MEADOW BBOOX. Duv1rnNoY. Andantino.

-

Duvernoy, J. B., a well known teacher and composer residing in Paris, whose studies for Pin.no are de~ervedly popular.

MODERN METHOD.

Number 139 should be rendered wit.h much vim and spirit. · Make the reiterated notes, such as found in the .first measure of the right hand, a crisp staccato, like the ·effect of such , notes from . a corne_t

or trumpet. Keep the bellows well filled. Obse: the chance for an echo effect in the repetition of : measures 3, 7 and 11 of the second strain.

No.139. THE HIGH SCHOOL PATROL. KARL CZERNY,

In marching time. 1 3 2 1 3 2 • •

-.....i~-n.-=--- ._,.__.. _ _,,_•-.--·•--+---1-~~-.-+--r--1r-+-i

>- . 3 6 ! 3 . .,,_ t: . --1--1----1----1---1-~!~";tt~!· ~

( 1 01'. 01'. (,'1'e8.

-tr-EE-l--l=-.. ---i::--a-1-~--i----.-t---f--19-f..::=fi°"-lf JJ

MODERN METHOD.

Let a pronounced legato, or clinging-like touch · 1 changes of harmony which occur· in the second strain. lominate in playing the following excellent piece. Many persons who· care for none other than .the 'OU have a genuine musical nature, you will be common chords, are usually so far mistaken a.s to rested and delighted with the somewhat abrupt suppose themselves possessed of refined musical taste.

Ko.140. ANDANTE. 00NCONH.

Have the pupil mark the fingering. -

..... ~ ,,,.,. ~ l J. ..1 --:-.4•r .:Ed i • ._FI_.. ~---~~ ~ 1~ i J: ._ .-!.

-· --5---~ I ... '--1': _._ ___

--- -- f!;;J ..... -~ --. :;; . -~

i ,.. :i ::r ~ :II _. =:d:::-~- J: ............

~~ ~ '-I--' ,_ f:ii • l l J -. ..... t:"J- .

J-:= -= ::::--

o:::~~~ .,.. . l1"::a • -- .a. .,, __ ~

_ ... - • - 1-. H1" ,;;;, ~ ::.;;.; ~

-~---~ t-· - ,..... ~ i-- ---..

t:: -- ::i ~ - :I ::::J: '- • - ~ . ~ ~· .. .J. ·--- --..... -·- - -- .---

• •

MODERN METHOD.

, STUDY.

81

D.O .. -------_,,__ ___ _

·l'Rl"5J-------l-.q::il'Sjl-----==== =:=., !f I--

.82 MODERN METHOD.

SCALE OF A MAJOR.

it -

MODERN METHOD.

No.145. THE APPROACH OF SPRING. DuvERNOY.

Alleg1·etto. Remember, that the key of A has three sharps for its signature . ..- - ..-... ~~--=- ~~--==~·~5

m JJ I :::::::

~~.~~~~~~=!H3~~~-~-

84 MODERN METHOD.

The proper playing of such music as Number 146, is more of a tax upon the brain than upon the fingers See that each voice is accurately traced, and every note held its exact lengtli of thne.

No.-146. LARGO.

~~~~6 ~1E~l3·~~H~~~4 -~~-=--=--~--

The Minuet, is a dance form of ]'rench origin; as is also the word, from menu, (small) referring to the short steps of the dance; which was, "In Olden Times" much in vogue, especially with royalty, being the most stately and dignified of all dances.

As a recent writer says: "The eighteenth century was portrayed in the Minuet. A slow and stately dance. was evidently _not distasteful to_ political or chureh magnates. Hence the dignitaries of the

--

t--11-151-~ --=i= =-=== ·1-i-----;- -. -s- - ---

6

------------------

I

church regarded it with favor; and when, in 1774, they met in the Vatican palace to elect Pope Clement XIV, they did not deem its stately measures beneath their dignity, and performed it with all the solemnity which belonged to their ecclesiastical rank."

As a form in musical composition, too, its his­toric -importance arises from the fact that, unlike the other ancient dance forms, it -still holds a plac;i~ in the large fol'Il!S. <?~ ~us~c~ cq:niposition. -

MODERN METHOD. 85

The following i9 a charming specimen of its kind, and altogether·worthy of your study. Let us analyze it somewhat.

The opening subject, three voiced, consists of the first six quarter notes, the idea of which seems to be further affirmed by the following phrase of similar length and design, ending at (A), where the lower voice shows a determination to ~have its say, in which, however, :they all seem to concur, as evinced by the harmonious termination, or sort of "half close," which occurs at ( B). But here the lower voice seems to say, let us do it again, but with more melody in our lower voices; so compare the· 9th, 11th, and 18th measures, with the. 1st,

3rd, and 5th, observing in what respect they differ. Again, compare the measures ( D) and ( E ), with those at ( F) and ( G), and, finally ( H) and (I) with (J) and (K).

The curved line and dots, aS at ( H) indicate a mild staccato, often, improperly, termed "portamento."

If possessed of a genuine musical nature, you will soon not only commit this piece to memory, but will enjoy it immensely. And if, while playing it, you can imagine it as being danced by an ancient assemblage of Kh~gs and Queens; Lords and "Lad ye~,;' attired in the robes of royalty, you will be still more likely to enter into its proper spirit.

No.147. IN OLDD TDIES. (Minuet.) BERNHARD WoLFll'.

6 ~---i===~~~===~=i=::::t=~f£="-,c=,

•

1--•.

•

1

.---......_~(D)

---. .-1·-+=---

MODERN METHOD.

(l .rF.L) .=::::;::;;-=::::;;.!__ ----t-.... .:.- dolce. 3.... 1 ++-4L•

( K ) r-: I ::::: .,a. ~ •·-'.i!. -~---·-·- ~. -­............... ==-~- -11----__;

MO.DERN METHOD. 87

No.148. ADESTE FIDELES. READING.

lfo.149. ILFRACOMBE. WEBBE.

88 MODERN METHOD ..

The following exquisite little piece must be care­fully handled in order to bring out its proper effect .. If desire'd, the melody may be made prominent by the same means, (registration) employ~d in Number 120

• and 123. To insure the desired smoothness of the left hand part in measures 5, 6, .7 and 8, the some-. . what uncommon fingering indicated, ~ust be strictly observed.

Ko.149. · VEBSET.* · BATISTE.-

,,,.,,--. 6 • n=L •

I • I :::: mf ~: :f! ~ ...-: ---=----1

.....---~· ---I~µ=. g-:--=== ~~-==--?== . ---~-------= +==-- ------ - ---=+==---- ~ -------~ -- -----------

*A ahoi:t Voluntary.

Batiste, Antoine, Edouard, o~e of the most noted organists of our time, was born in Paris, March 28, 1820~ in which city he died Nov. 9th, 1876. In 1830 he was a. pupil at the Conservatoire, where he was a.ward~d the first prize in organ playing, harmony, C01JDterpoint and fugue.

Batiste, was a musician of severe and unerring taste, whose compositions, nevertheless, belong to 'the so called free school.

Perhaps it may be safe to say, that his style is not great, but he is great in his style; At all events, his works .have enjoyed a widespread popularity.

MODERN METHOD.

EXPLANATORY.

At this stage of progress, it may be well to state that it is not within the province or scope of this work to. include matter for adva~ced practice in scales, arpeggios, etc., but rather to merely initiate the beginner by a preliminary acquaintance, assuming that such matter (of which there· is no lack) as future circumstances may· require, will be procured at the proper time in continuance of present labors.

. · But we particularly emphasize the fact that it is within the province of this book to spare no pains in the endeavor to bring the pupil to a more ad­vanced stage as regards "musical intelligence," __ and interpretation, than is usually attained by an equal amount of study; being entirely confident that, hav­ing acquired so much, we may safely trust to the future ambition and diligence of the student for further technical achievements. · As to what is meant by musical intelligence, we take the liberty of quot­ing from a well known writer on the subject; who says:-

"The term· intelligence presupposes capacity and comprises all musical attainments that are teachable,

viz., skill and knowledge;_ and also all those apprc ciative qualities required by the intellectual perfet tion of the above mentioned faculties, elevating the1 into cultured refinement, good taste and sound jud~ ment. In fact, it requires ea.Ch and every musicE attainment acquired by the exercise of thought an mind, including self-control, mastery of emotion, an· repose. Intelligence aids and corrects talent; i guides and regulates emotion; it directs technique.

Discrimination of _touch is the· intellectual; th internal part of technique; finger velocity, only th mechanical, the external portion. Unfortunately, th majority of people are more influenced by externti appearances than internal worth. And so it is tha we have a crowd of pianoforte players for whor technique is the chief ambition. Technique shoul· not seek to shine by itself, and least of all give th impression of being the performer's strongest poin1 It is not so much a question of playing a grea many notes with great velocity in a given degre of strength, as to play every note clearly and i: the spirit of the composition."

ARPEGGIOS.*

Arpeggio means the tones of any chord sounded separately and in regular order. Broken chord means th same except that its tones are not necessarily in regular order. Compare the following illustration· (A} and _ (BJ

Xo.150. (A) Arpeggio. ( B) Broken Chord.

$~ifll1 1 ffi PEI F:J 11 ca f r&i+ f -TI Repeat each form at least twenty times in succession finally with the hands together, the left one or tw• octaves lower than written.

MODERN METHOD.

No.152. SCALE OF E FLAT. (Signature Three Flats.)

No.153. IN JOYOUS MOOD. GURLITT.

Sempre legato.

MODERN METHOD. 9-1

. -.--~~--.~ l----l--'!........1-~-=-----~1~.--~~-~--1~

--I-+-==-"' _!J-'---1~

::

.... 3 5 6

The term "Cantabile" (Kan-tar-be-Ia) means in graceful, singing style •

No.154. .ARPEGGIO OF E FLAT. 8va ....... .....••••••.••..•••••..............•

2 MODERN METHOD.

MIWOB KEYS OB MODES.

'fhere are two keys, (or modes,) either of which re indicated by . the same signature. For instance, ie signature three flats stands for either E flat major r C minor.

Applied to the scale, the tel'm major means that

order of intervals with which the pupil is already familia.r, v!fl'., whole steps excepting between 3 and 4, 7 and 8, ·as shown. below at (A), the half step

· indicated, thus: L-..;J .

SCALE OF C MAJOR. (A)

~----;;-s ~-s~ II ~ 6- a2 fL-....J4 5 6 7 . 8or1 1 .

Now examine the scale below and it will be I the three flats belonging to the key of E fiat, and 1und that the scale of C minor includes two of that its signature is borrowed, so to speak.

SCALE OF C llillOB. (Harmonic Form.)

The interval between 6 and 7 of the above minor 1ale, i1:1 called an augmented seoond, which, although Lvolving three half steps, or semitones, is represented i adjoining degrees of the staff.

There are, however, .severaI forms of the minor :ale. That shown at (B), th.e harmonic form, being fe only one susceptible of complete harmonization.

Among the other forms of the minor sea.le is that at (C) which, as you will observe, differs from the above in ascending only, wl;tile in still another form, that at (D) the 7th is fl.at descending, thus dispens­ing with the augmented interval both ascending and. descending.

SCALE OF C JIINOB. (The Mixed Form.)

-Q ----~ 4 r r 'tf" .. 5

SCALE OF C llI1'0B. (The Melodic Form.)

The harmony usually reveals the minor mode its plaintive effect; in proof of which play the

1t two measures of Number 155 according to the nature, then repeat them substituting E natm:al ·E :fia't, thus cl:Canging the minor to major. Then,.

1, the characteristic accidental of the 7th, in both les and chords, further d1stinguish it from the jor mode. · ,

Number 166 calls for a crisp touch on all notes rked with a staccato dot. Whenever sf>- occurs, a. :den pressure of the knee swells should take place.

You may freely draw upon your imaginati<?n as to the story conveyed by ·this piece, even ~ the stealthy approach of a midnight assassin towards his sleeping victim. After the change of key into C, the scene "changes, as it were; the melody .assigned to the right hand suggesting the glad awakening from a horrible dream; but at ( C ), the unwelcome vision returns with its former disquieting effect, and after a D. C., of the first thirty measures, skip from the Coda sign $- to the Coda, which means a final ending.

"

MODERN METHOD. 93

No.156. AN. UltWELCOllE DBE.A.It. DuRGMULLER •

.Alleg1'0 con brio. ( J • = 104.)

94 MODERN METHOD.

No-156. ARPEGGIO OF C MINOR.

No. 157. NUIT MYSTERIEUSE. CoNCONE.

Andante. tranquillo. "'-.,...,-----

MODERN METHOD. 95

---.

No.158. ARPEGGIO OF B FLAT.

*8va ............................................ . 4

*Exeept on a 5 octave}nstrumen~.

96 No. 159. (a)

C Major.

MODERN METHOD. ARPEGGIOS.

*Bva •.••.. .....•....................••..••••••••••••

! .

-+ ... ' 5

*Bva .. ..••............. ~ ..........••••. · · · · · · · · · ·. 5 5 : ....

~~E:l=ICC~~~~~~U-~~~~------r~-,,.....,~r-n~t= j--. -

{e)

-++ 3 +2

1 l

2 ..,,_ 2

l ... ~ :i:::~.a.

·~---<~-~~~~--~ .....

5

6

t

t-~--"-'1~.~·~~----~-

5

MODERN METHOD. 97

{ f) D Minor. 6

Like the Minuet, the Gavotte is also of the ap.­cient French dances, being, however, in. t measure; and generally of more robust, masculine character. Properly, it always begins upon the third beat; al­though we frequently meet with pieces called Gav-

. ottes beginninJZ on the fourth beat; these are merely

6

in Gavotte style and are not real Gavottes. To properly render the <lne which follows, great . care must be taken; observing tlie frequeri.tly changing touch from staccato. To play music· of this class, much serious 'thought is called for, without which the effort of the hands will prove unavailing.

So.160. .. LOOKING BACKW ABD. (Gavotte.) W. F. S .

J = 108. 4i-•lli!llmiila 6 8

• • ::::

===--tr-

98 MODERN METHOD.

6 8

-----4--1---1-~1--ll--~-~----l"'--t---rL--f---l--jll----l--,---I

-~~---~---=---..,,.--1 ·ww?'··=::::.::-~.E-----'--~-1--_._ __

:9. 9

~------""

_j Jl _j_

"T J.

..... a, -t-•·-.--- "I

mp --"

~ :11>• ·-=-------~~~1----l--- I 1--::I•- ::::Ll: I• -- II 1-·-+----:i::-r--f-------1---1-----~.1-------'I I~ :.I.!.: ·11 . • I k"= ·I----~+----~~-!-. -------

--"-- ~:I'lllll 17'::11111 ~l~------'7:.i~~~~~-L~~~l''!ill;i-. ~~--A~~~-------~-·~_::_::_-_::! eJ ·;-u,.._ _ _,p ___________ _:et.._ _ _,,,...,-u _________ ~'"-..... __ ,,,

~r ----=t=t:~~=t=:I=±= 6

MODERN METHOD. 99

. Give the fingers, for months to come, t~orough dnll in numbers 161 and 162; at first with each hand alone, and ~ater togetb,er, an octave apart, both. in plain legato and in mild staccato . touch, each receiving about equal attention. Comme~c~ rather slowly, but not too slowly, and gradually

No.181 .

. Xo.183.

~o.184 ...

increase in. speed to your utmost capacity . Afterwards, attempting still greater speed, Num­

bers . ~63 . and 164, carefully observing. the rests, which are of . ~pecjal i.mpo:rtance, as affording the needed .halting ·place, .or: test of accuracy, befo.N proceeding with the next.

100 MODERN METHOD.

Although the following etude is mainly in the minor mode, when played at proper speed, about J = 92, its effect is rather bright than otherwise.

The touch is an interesting application of the ex­ercises Numbers 161 and 162. The fingers must· remain considerably closer to the keys than when

using the same touch in slow movements, for, as a natural consequence, the more rapid the movement. the lesB time allowable f~r superfluous motion. A sudden pressure of the swells at A, B, C, D and £. must be your means of special emphasis.

Bo.185 . .Allegretto.~ 4 8 11

ETUDE. J.B. DuvERNOY. ·

.fl--....-•

MODERN METHOD. 101-

Ma.ny piano and Qrgan players, especially those of ordinary attainments, dislike playing in sharp keys. 'rl1eir prejudice is perhaps partly attrih1;1table to the fact that much the greater proportion of the music they use is written in fiats and therefore they have become more familiar with the flat keys than with those in sharps~ At all events, it is a decid­edly "amateurish" prejudice and one that will, to a

great extent, disappear if the student perseveres. For the reasons above stated, we have somewhat postponed the necessity of your playing in the key of E which includes four sharps, and for the same reason, we have introduced very melodious and easy music for your study in this key. By all means, drill the fingers well in the scale (Number 166) and study Number 167, before attempting what. follows.

Ko.188. SCALE OF E IU.J'OR.

Ko.187. SCALE STUDY. Allegretw. 6

• •

--

102

No.188.

Ko.169.

MODERN METHOD .

.ADIB LA.UBIB.

.ARPEGGIO OF E llAJOJL ·

Ii

•

• .. ·­•

6 f;.

• •

• •

•

MODERN" METHOO. 103

The following excellent Etude affords exceedingly "profitable" practice for the left hand, which happens to furnish a sort of contrapuntal (melodic,) accompani­ment to the vocal-like melody assigned to the right

hand; t!w combined effect of which provides "pleasure" to the player. Practice the left hand part alone until you can perform it at a rather lively pace without mistakes.

No.170.· PLEASURE AND PROFIT. H. BERTINI.

5 Sempre legato.

5

-~-a I .. ~ · ~--------- 5 : ------ 1-- -----e•

·t.1.';.~;::14--'1-- 't-==--====-- --s-====----==--===-----==- =-+-==----==- !!~ ·"f"---1 R-+H--'"'------------------j------------ -f-------l;f------------------ -r------------ -.------------

104 MODERN METHOD.

No.171. ARPEGGIO 01' C SHARP MIKOB.

The general character of the following little "Song Without Words" is indicated by its title.

Careful observation of the given fingering is important, _particularly the changes while holding down the key, as at ( B), for instance. In case of very small hands, however, some deviation may be found necessary.

This.character *' which appears in th<> left hand

part at (A) is called a double sharp, the effect of

which is to raise a tone, already once sharped, still

another half step. Double sharped C, is therefore

produced by a white key.

No.172. CRADLE SONG.

MODERN METHOD; 105

The next Scale, that you are to familiarize your­self with, is A fiat; which, although including the same number of black keys, as that of E, is, never-

theless, one of .the most popular keys, even with players of the most ordinary ability.

No.173. SCALE OF A FLAT.

lfo.174. ABPEGGIO OF A FLAT MAJOR.

• •

":6t •

•

108 MODERN METHOD.

ARPEGGIO OF F MINOR.

The general, somewhat pompous, effect which per­vades music of this kind, justifies your pulling all of the effective stops, (couplers included perhaps) at the outset, using, of course, the swells for what

little additional power may be required in the "cres­cendos." Notice that the left hand must produce both clinging and staccato effects simultaneously.

No.176. MARK TIME, MARCH. J. CoNCONE.

•

~=====::::::::::: •

~-.=~-~=r-, .--=r-==~----r--~-=r=-··~·-'···-~-· _· ~--. -• • • •

Concone, J., born at Turin 1810, was a flour­ishing professor of singing and piano; resided for some ten years at Paris. After, (in 1848,) he , re­turned to Turin, as Maestro di Capella and Organist

of Chapel Royal. He died in 1861, best known as the author of 50 ·vocalizes, which. are of world-wide reputation, and still in constarit·use, ..

MODERN METHOD. 107

..

The following Etude affords interesting practice in light scale passages for the left hand; against two­voiced passages in the right, which latter, should be rend~red decidedly legato, the fingers creeping, as it were, from one position to the next, in organ-like style. Practice with- left hand alone, until you can

play its part without hesitation, at a rather bright swinging pace, then, with both hands together, and its intended effect. will be revealed to you.

It may be made to serve a double -purpose, if the 16th notes of the left hand part be played, finally, with a sharp staccato touch.

ETUDB. H. LEMOINE.

108 MODERN METHOD.

>- • ,.....,_-<"-T-_=l=i----------+~~L.1111!:...:a-~---~.f-llll-h-b--··

~~~~---~-f-.:i!!-+~-+--:;..i:..--11---F--f.l~L.:.~~~~~~~-µ~+;--Jl~--___j.~-i--1

8

+a 0

-be :J -

• ·~--II~~~·-------~

The following is a curtailed and si~plified ver­sion of Jensen's. bright little composition. Its gen­eral character is manifestly that of rustic simplicity and' jollifi.catfon; and yet, not without an occasional touch of timidity, or hesitation, as though the happy peasants; at times, wonder whether "this sort of thing" is unquestionably proper, and for their sole benefit. -But inasmuch as it ends with the same

bright subject with whicli it began, they seem to have decided that all is as it should be, and that they may safely enjoy themselves to their hea~ts'

content. Much care should be taken to properly bring

out the sustained tones, such as occur in the first two measures, as well as to "nip off" the required staccato notes.

No.178.

MODERN METHOD.

A VILLAGE HOLIDAY·

109

ADOLPH JENS EN.

:t. Jensen, Adolph, (Yen-sen) one of the most pleas­

ing of modem composers, was born 1887 at Konigsberg; was a p~pil of Ehlert and Marpurg; has wntten much,

both songs and piano music. His piano studies, Op. 82 are considered important as preparatory to the study of Schuman's works. He died at Baden-Baden 1879.

·HO MODERN METHOD.

Jn the following Study, be sure that you give the dotted notes their full length •.

No.179. STUDY IX F llIXOB.

MODERN METHOD. 111

It is intended that Numbers 180, 181, and 182, should be practiced in small daily portions, in connection with matter immediately following, until the pupil h_as acquired reasonable facility in inde­pendent fulger action. The whole notes are to be held firmly down, while the fingers in motion must leave the key promptly after each sixteenth note. If preferred Numbers 180 and 181 may be practiced

No.180.

upon a silent key-board. It will be best to prac­tice each section or measure, at least twenty times in succession; at first with each hand alone, and later with the hands together, one or two octaves apart. Remember that much of this sort o~ drill, tedious though it may be, is positively indispensable to fu­ture success.

ii2 MODERN METHOD.

No.181. . .....

MODERN METHOD. 113

In double notes, especial care must be taken that the two fingers strike the two keys ·at the same instant. In the pltWas marked by the sign $ an exact connection is only possible by means of the tie.

1'o.189.

114 MODERN METHOD.

e following famous composition is part of an h~stral Symphony by Wolfgang Amadeus Mozart,

-by many considered the . greatest musical genius that ever lived. He was born at Salzburg, 1756, and died 1791. His father was a musician of ability .. At

the age of four, young Wolfgang could play many i;tlinuets and the like. We advise, you to QonsuH · musical history concerning the life of Mozart, and the many other great composers.

·MENUETT. ·.(;

SECONDO. W. A. MozAR'r.

• • •

~3 i ,,,...... - 1#"' ..:.

3 4 > >- .i,.: !· s 1 . . 4 5 5 • • • • • •

( ~--r-i# .... ::;: '] J: iii[ i1I2 ii'_ :. if if- 1 :J: ::I -.. ... .. .,, . .. iii[ J: .,. += ii:-.· ~ ..... --.- ,,.;_ - -r ,...

7 i:;- :r T I ]"' J""': VI"' .... ..... 7/C_ v

'I I T T ,. T

4·

~· { l•T• 1· I J: 3: T 7.,... :=l '17 ~ --.· ~: 1- I -i ..... - e·

• i • ._ _._ >->• • ( ~· J-- --· • i-· ,_ 1.- -.. • • • ..... ""'~-- I"" ..,.... .,. .,. .,. -.. 'I""-.

7.,... !""" • --.- .---. :Y. J:• :r 1 1 -r

>

~

>>> --1---=J-=F ~ ~· ~ --..... \. "'7 ~ ~ T -:r

..... ]

IT :f ...,. I I I :I :I ::J"...-• -r-:if "=F"=t -fo ....... . ............ ... . • • • • ,,,...... - 5

• •

-;.rt .- '!""" ~- ... _. . r_ ~ I I T "iii • • • -=~· . --.- =[ I -. _,___--c:: '-----,-

f ..

>- >- > >- >- >- >~· T .,.

T ! t t, ~ .... • T ]" J: ~· ·~ ---1"· 'T I -.. ~ :;;;,: -:;!" ~

1'" . ..... -. ·: ~~ :;t ~

-.. -.. ..... ... 1 .. • • • • • • ._..,.:_

•

3 • • ------- _____ ... ;:;.._ ----~ .,,- ~ .........

• • ~!: !" • _._ !!:: !"" J: I !""" . .- J: . -.-• --

]' T

~ -=fl!'"I!" • • ....4 =I: . ...... •

~ -.. ...... "'1JT T'1'"'

'T

fJ

=r ,. -::.=!' <""!' '"Ill' -

• • •

• •

-- ~ ----.- --.-.--1"" 1't "'[ ]""

] ::r :r

] --""":: :J. ~1-

4 5 6 B 6-4 , ..2 ... --:;--..·-~-• --· -~ ""(:;'_ ~ .,..~

!"" .,.. ~ Ill_ -.. ...... :r ;I T ,. I ]'

'

~- --~ =r-

-----" -

::r -i 3--...._;JT " 6 . • •

"

MODERN 'METHOD. 'ff5

MENUETT. PRIMO.

Ko.188. I ·t- I W. A. MOZART.

-Aliegretro modm.aw. >- • -• .- • •

. . . . 4

• • ... •

4 a • . . . . 4 6 •

• ·- • •

6 4 6 • • 4

• • • •

1.16

•

• •

M_ODER:N MET-HOP.

SECO_Noa.

-+­..

D. 0. al ffi.'.ne

MODERN METH·on. 117

PRIMO •.

Dolce.

······~··-.·

..

dolce.

----•--:-

D. 0. al .Fine.

-118 MODERN MET:HOD.

Number 184 is obviously an application of exercise 182, and care must be taken to render the thirds,

or double notes with perfect accuracy. . .... · ..

Although called an Etude, it is a .bright, yet dignified little piece, in style partaking of · both the

Minuet and Polonaise;

Bo.184. ETuDE.

. .... .,.

..

. Ko.185.

MODERN METHOD~

CHROMATIC STUDY .. As fast as accurate execution will permit.

. 5

. .+~....--+n-e-'1:-!:WHLrilfi-~ida.a~l~a~4~-t=---~~·~-r-~~-1.-~~iillit~+::t:!!!t=...--=!;:_~­i- -

·H9

120 N:ODERN METHOD.

llo.188. OBBOKA.rIC STUDY.

5 4 3 2 2 8 Number 187 should be played in brisk waltz time.

Upon·a broad interpretation of the expression marks, the intended effect of this excellent little piece will mainly depend. From (A) to (B), the movement, pro­perly retarded somewhat, seems to be suddenly broken

--- .

·up, as though the dancer, compelled to rest for a. moment,· takes the opportunity to bewail her sad lot. In fact, bright as the movement is .. a. vein. .of sadness pervades it throughout

MODERN METHOD. 121

Xo.187. THE GIPSY DADEUSE. F. LE CoUPPEY.

- -- • J=-:::;:::l==h==i;::;~~~~~~

• ~~=::jj:::t::::=::1=tEf558 f-~ iiT if- - =---=±:E:S~±::::==t-I~~t=~~====1+:=::j~ '' -r- -;t--- ----1--'-·--1---'---·--t-'4-

dolce. (A) •

•

122 MODERN METHOD.

• • • • ·1-9-1'-:s: _ :s: . :: ===

•

4

C'l'eB = - cen • • •

. :: === • • . i _!__.J ____ ,.... . :s: :s: •

6

This sign .-.., called the inverted Mordente, (see page 76,) IS often met with, and is easy of execution, as illustrated in the following Study:- . .. . .

No.188. Allegro._ .. .. -....

STUDY.

I f td 1 1

. MODERN METHOD. 123

Ko.189. APPLICATI01' WALTZ. LoESCiHHORN.

Tempo di Valle.

·l. Jml 6

•

a ...-;-a ~ ~----~~

~~ ~ • ·~ • _1._ 1 -~ +- 1 I I ~ ± =~· - ;;... J""" !'- .l _l l II ! I I I

I ~ .i:=:: I .:.l I .I .I .I

==- a < :::::: -::: _....1,. ~ J.l:: & . .U.. - --- --- --- --- --- j --- --- 1• "- _l_-1 !::_-t_ :t

~ r-~I _i::a_ ~ ~ ]--·~ :: _..._ ._ -M

f- OT_j[ • =-= ~ ~El Et:.:il!.~ --- ]"''" J""" I I I I I ~ ---~ l""" -i_ __._ _ _!j

7 '_'.l _1': I I • • • l. :L I I~~ " ::'I" l

:[ =[ I I I

124 MODERN METHOD. ' Ko.190. SCALE OF B MAJOR. (Signature flve sharps.)

6 ... .,,_

No.191. ARPEGGIO OF B MA.TOR .

.... ARPEGGIO OF G SHARP MINOR.

*R.H. an octave lower on a 5 octave instrument.

If you "th-ink hard" and thus remember all ~f the sharps, you will find n.o difficulty in playing Number 193. "i.Du should not need prompting as to touch and phrasing in connection with so simple a piece, and we feel confi­d"nt that you will play it correctly.

No.193. SPANISH DANCE. H. WoHLFART.

-....

~~ -.. -... - -~ , .. - ,.--.5 - - ,.--. ::=.. ~ .....-ji_ - - ...--__._--=-, JI!!: - ,.--..IL

(~~-n lllL ill[ ill[ .i. ~· " fl· I:I I I Ill. ~- --II.I-;~ ,,_ ~- ~- ....

.1 JllJL l_lllL ...I -1. -+ . _.,_ ,, ._ ..1 I"" ~: • ""I" - -_; i :JI! :ft - ::I!

i -.:- --x-~ • _._ _._._ _.__. _ ::I :I! ::I! ]!!' - 11- .__._ -• II _lllL -i-.._ + tJ 1 2 II 1- - - 1- - • • II [ L J. .I

2 3

< L---: {· J-- Ir- { .J "' "' "' Ir-. "' • • "' • 1-I:_. "' .. . ~ ... ... ..LI. il~ ~·· "- 1!: ~ ._ :I: -- ._ ~

11~~M' .UE~ - --- --- ~ --- r =~ F ~ r I I 1-:::I•l'l'[].'ru!f_ . .I•..!!. ± ~ _I": !""'_ _I": • _, '"[ illl'1'~• :! I I ::!::: l _[ I _[ J. J. • .'I" 1:1.

"TT

MODERN METHOD.

Observe that in the 25th and 27th measures the upper notes on the lower staff must be played by the right hand; a condition by no means uncommon in either organ or piano music. ·

No.194. SERVICE PRELUDE. BATT MAN.

Have the pupil mark the fingering.

126 MODERN METHOD.

No.195. SCALE OF D FLAT MAJOR.

SCALE OF D FLAT MAJOR. (Contrary Motion.).

No.196. ARPEGGIO OF D FLAT MAJOR.

N't.197. ARPEGGIO OF B FLAT MINOR.

MODERN METHOD. 127

: ,No.198. STUDY OF DOT'.l'ED 1'0TES 11' B FLAT Ml1'0B.

Every indication intended to guide the player, be: it fingering, expression or what not, must be carefully observed in order to produce the intended etrect ·of the following excellent Fotk~song~

5

The form of accompaniment found at the 9th, 11th and 13th measures is more piano- than organ­like. Make the best of it, by playing as smoothly as possible.

128 MODERN METHOD.

N'o.199. BOW CAN I LEAVE THEE I ·FoLK-SONG.

~··----

MODERN METHOD. 129

lnas~uch as the_ scales of six sharps and six flats are, on the keyboard, one and the same, we merely give the scale and arpeggio of the former, as it is much less common to meet with music written -

in the key of F sharp than in G flat. It fs a.n

· easy matter to remember their scale-fingering from the fact that it includes but two white keys, both of. which are necessarily played with the.-thumbs.

No. 200.* SCALE OFF SHARP.

/l!~~i3~E::~~£=l~~~~~~~~~:E~~~~t~~=t~~=+~41-~~j~t.!~=~e~~~;=~~~--;__-__ ~ ..... 4

No. 201.*

i

No. 202.

2~w4 4

l\To, 203.

i..,.....i--!1.-.---.E..-._ __ U-·~-----4 . -· --'- ..

ARPEGGIO OF F SHARP.

•

' H---:--:--=-~~r-lr--~-+-1,_...--t.....,_.-H I ---:--;

• •

6

SCALE OF G FLAT. 2

ARPEGGIO OF G FLAT •

\

~-t

• •

. { Rigb:_t hl!Dd .l!lfl -~' ' octave lowet on a. fi octave organ.

-.-.-. '

- ~ ... ~-- -· -

• • -+ -rt s ' ,.

-' ..

••

"

____ .:.___.....,,.._- .1.· -· -~.

1.30 MODERN METHOD .

. Number 204 further illustrates the fact that precisely the same effect is produced, and, of cou~e the same fingeting applies, whether music is written (for organ or piano) in the key of G flat ( 6 flats) or in F sha.rp ( 6 sharps). .

No. 204. . ANDANTE. w. A. MOZART.

-,,....:-·· I

---~E--ti,___,1---1--1---...,....-49:=:.rc==.:r.t::::::.=t.=---i-.--+---=--- -~-r----.___L:;:::::::;;;;Ji;;;;;;;iiiiilia--·J;;t-;ir-rE--r:--11--~iH---e:iii'-'•'-__.(-~

- ---·- 7 ,- .- __ ., '_____J ··-,---~

MODERN METHOD.· i3i-

If you have a taste for real organ music, you will enjoy playing Number 205. Remember all of the six fiats of this key; a~d ~arefully obs_erve_ the.ph:i;ash1g, ~!!d all indicatio11s; for defect_s_ ~11_performance are less_ endurable in this~ -than perhaps an:y- other class of niusic. · · · · · ·

SERVICE PRELUDE.

~ . • 1

• • • • •

• • •

•

• • • • . -

PLAYING FROM· THE VOCAL SCORE. In its application to music,. the word Score means .

the voice parts, or the instrumental parts, (for each kind of instrument) written in some certain order, one above another in such manner as may render possible

. the reading of the whole at a glance. 'fhe most com­pact form of vocal score is that wherein four voice parts are written upon two staves, (such as found in the ordinary Hymna.1,) upon the upper of which is written the -Soprano and Alto parts, in the treble clefs of course, and on the lower staff, bass clef, the_ parts for Tenor and Bass. Numbers 128-142, 148, as well as the following five numbers are ,specimens of this sort of score.

Although written in the bass clef, (in - this form of score) it frequently happens that the tenor part is beyond reach of the left hand, (as proves to be the

. case in the second measure, fourth strain of N um her 206,) and must therefore be played by the right hand.

_ Contrary to the old absurd custom, w:hich was that of playin$ th~ Soprano? Alto a11d 'feµpr~ with the

right hand exclusively, according to the much over-· . valued "thorough bass" system, it is now concededthl)t smoothness of effect is best attained by assigning two of the four voice parts to each hand, ~xcept·wheri com­pelled by too great an interval between the lower two voices, to ·do otherwise, as in the case just reierred to .. To tnake rules covering all similar cases would be next to imposRible. Many contingencies being liable to arise wherein rules may well be set aside, and good taste, according to circumstance, be allowed to govern.

For instance, were the organist playing Number 206, to congregational singing, under conditions where as much power as possible were desired, he would be quite justified in playing the bass in octaves, and thus assigning the other three voice parts to the right hand .

In order to produce the best effects in playing from. the ordinary Vocal Score, repeated rwtes, in one or two of the .. voice parts, should, as a'rule, be played as tliouy/t.

. . • .!I".... - - ... . ..... tiea.

132 MODER-N,.· METH-OD. No. 208. . ... · ·As wiitten.

ILLA.

r r -r--~ 1.' Lord . Je - sus, when we e stand a. • far; And

,..... ..I. .J:-"_. - '~J cross, gaze up - on thy ho - l:y

No. 208. As it should be played.

=5-

self, 0 ma.y ·we count the world as 1088.

.J_. .l I

~~;a ·J JI :J J J 11- 1JJ w I :-E-U-U==fut J Ejg-J+tz;j ~ ~ . ~ ~ I

Although as a rule, repeated notes of the upper voice, should not be played as though tied, occasionally even ·tha.t· is justified ·by the effect produced,· a case in point being the third, fifth and seventh measures of Number 207, and in any other similar cases where the melody, or melodies, lie in the lower voices, against repeated notes in the soprano. Observe, that often two

I-~ I ~ ·.~rm ~--- ~E31--.

different voices mB'fge, as it were, ipto one, as in the ~~s_t 9hord, second m.easur~, tenor and alto. In such cases, we need hardly say, the organ can only repre­sent the two voices by the same key on the instru­ment: or, in other words, it becQmes for the organist a th.ree voice chord.

Ko. 207. NUB.E?tlBUB.G. As written.

I

No. 207. As it should be played.

MODERN METHOD.

With the exception of the third strain, the three upper voice parts of Number 208 happen to lie within reach of the right hand. Of course, the tied notes indicated, do not appear in the vocal score, but are here given as proper for observance by the organist.

No. 208. DALLAS. From M. L~' CHERUBINI.

ctm§i ~ .~ ll I t_#:£@ sad d bLi I d i1 Come, my soul, thy suit pre - pare, Je · - sus loves to an - swer prayer;

.p_ ~ ~ · _..__ --1_-:-- r-. ---- =£ b ~ ~ ~ ·s =-==rttµ fi9-::_,/f IF __x_J¥ Fi f f I E-f I {!l

$If 0 g ~ .J d It'd • I 0 t;;t4 d I J p /11 him - self has bid thee pray, There - fore will not say thee nay.

~ ~~ .p_. ~ ~ ~b ~ ::!=t=r ~Bf F 1 F F 1 r = 11

The only peculiarity of the hymn-tune "Christmas" (Number 209) is that in the first chord of the last strain, the alto-part must be played by the left hand ;-a condition rarely met with in music of this class.

No. 209. CHRISTMAS. G. F. HANDEL.

_, ~111 ll I ffl[d_,(!J an:_~J_:tJ 1. While shep - herds watched their :flocks by night, All seat - ed on the ground ; The an - gel

.. ....-.. ...-..,-. I ... i:i_ -

In Numoer 210, will be found two instances wherein a voice-part (the tenor) is beyond the reach of either hand .. This happens rarely, indeed. In playing an organ having a pedal-bass, it might be ren-

No. 210. KARL. As written.

dered literally, by consigning the lower (bass) note to the pedal alone. Otherwise, we must transpose either the tenor, or bass, an octave higher. As given below, th~ tenor, you perceive, is the part transposed.

GEO,· KINGSLEY, arranged.

E3==~<D-l£Fi£ IJ :Cti~#-d ~ ~==-1:......, -.,,- '--- ·• _. I '-' 1. Earth has noth - ing sweet or fair. Love - ly forms beau ties

,--_.J_ .-_; ,,,..... rare,

bring Christ, of · beau - . ty Source and Spring.

=--__ r~ :-" -~17:-:-------~:~~u ff.! ff F I !ti fore

184 MODERN METHOD. Ko. 210.

As it may be played. I

.Fortunately, the time has come when the church organist is rarely confronted with other than the fore­going form of vocal score. However, it woul~ be well . tp be prepared, in case occasion may arise necessitating ·playing from the following forms which not so ·very long ago, were in general use, and in certain local­ities, may not yet be permanently "laid on the shelf."

The form shown in Number 211, absurdly placed the tenor upon the upper of the three staves. Then, too, like all the forms of vocal score, written on more than two staves, it involves playing the tenor from the treble clef, and consequently an octave lower than written. Practice Number 211, tieing repeated notes according to your judgment.

Ko. 211. BRADFORD. HANDEL.

1. Thou dear Re - deem - er, dy - ing Lamb, We love to hear of thee; No mu-sic's like thy charming name, Nor half so sweet can be, ·

'131dp1J.~lfij81il~ ~filJp liJl;;D . I . . I I I ....... ~ l

2. Our &v-iour shall be !!till our theme, While in this world we stay; We'll sing our Je - sus1· love-ly name, When a.JI things else d~-.cay.

::;tkkJ Gtlr w@JJ §f-~FU Gtlf r lx:b~-:-~ll The form of score shown below differs from Num­

J:>er 211 in so far as placing the soprano and alto on separate staves, the latter above the soprano. _ in this progressive age, it seems nothing short of ridiculous that such absurd customs were ever in vogue; but when we consider that in America, prior tO some fifty years ago, the instrumental accompan­iment to choir singing was ra.rely other than that of various orchestral instruments, or more often, none

.. of any kind, we can understand the imlifference of the age as to con ve11ience for organists. In fact choir collections published so late as 1878 contain similar absurdities in the forms of vocal score._

In m~ny cases a so-called tenor clef, thus: ~ is substituted for the regular G clef, but in nowi8e differs from the latter as to its lettered application.

Number 212 is in the quaint old style, quite popular in its time.

Ko. 212. CONTINEKTAL CJIURCB MUSIC. Tenor.'· ...._ ~

~r1JJWJrr1rrrJ1:tQft1 w w ~ acrmr~1J P J JJ1fm How long, 0 Lord, shall I complain, Like one thatseekshisGod in vain? How long, my soul, thine absence mourn, And still despair of thy return?

Alto. . ..

@I Jldd£1JJIJW IJUIZJ. JljJ!.§tdw~~JJJ-J;3-:-ajf¥1jljp2JE[]jU (. .. How long, 0 Lord, shall I complain,LikeonethatseekshisGod in vain? How long, my soul, thine ab - sence mourn, And still despair of thy return?

··. Sop. ·

-~t&lrr4JFdelflr 1rrtttr~· rdJ·l!hlt@IErtrJrrfFFrro-oirrrll.4 l~rrtDn How long,O Lord, shall I complain, Like one that seeks his God in YBiD P How long, my soul, thine absence mourn, Bow long, my soul, tbineabunce mo11r11, And still despair of thy return?

Basa. · · · '··~= :.- , .. · ;:i:. :I . - ..... ..-. "l' .

. , :I . . . • :II J: ~ .:I:~ ~ • :·b,~ = -1. .II , i:· · 'I ··· ·· . :1: .. .:.C: I d: :Jiii[ :C .:I: • :l I I ::u:ifJ

~- .. ~ """ TTT - ·

MODERN METHOD.

The most consistant form of vocal score in which the voice parts are on separate staves, is that found in the more recent and better grades of an­them collections, or separate sheet form publications, the order of which is thus:-

Organ.

~---.----== ----being the only form. consistent with the actual pitch of the respective parts, or voices. ·

As shown in the foregoing illustration, the modern anthem score usually includes a separate organ part, which, when written by a competent musician, in­cludes the proper instrumental support, as well as general indications for itS performance. But, alas, many of the so-called. anthems are not .only trashy and worthless (from a musicianly standpoint,) as to the vocal matter, but the instrumental accompaniment is frequently found to be really a piano accompaniment of the simple form consisting of a bass note followed by reiterated chords. Although this . form may at times be justifiable for use on a piano, when re)ldered literally, upon an organ, the effect is absolutely vulgar.

Hence, the ability to change, (adapt,) these bald forms to some other, less antagonistic to the character of the organ, is very desirable, and yet by no means dif­ficult, even for the amateur organist of average ability.

Mo. 214.

Although beyond the province of this work, to treat this subject in any wise exhaustively, we be­lieve that the few ideas and illustrations for which we ·beg to ·be allowed the space, will, in the hands of the ambitious and thoughtful student be applied and enlarged upon to his unquestionable . benefi\ and further know ledge of

ADAPTATION. Number 213 affords a praotical illustration of one

of the many different adaptations possible in euch cases, the improved result being mainly attributable to the BUBtained tone, (which in this case happe_lls to be made on A, first two measures, and Bin the third,) which in nowise changes the harmony, nor destroys the mo-r.~ent, (motion,) hut relieves it of the vulgar "choppy" effect which characterizes the written form. 'fest it upon your instrument, if possible singing the voice-part too, and the adaptation will spea.k for itself.

No. 213. YowE. Solo.

'!itlr · J IJ · J IJ -~-~~ When a.ll thy mer ~ cies, oh, my · God,

. ,P ~-11~ ~ifil t~qy=4J* ~x ~ x 14 xJk=MpS£1

. . .... ---- ~ ~~ ____ .....-....._ ..-.. ,.---- ..-.... ~~~JiW~§ilJ-~x;i-i=~~

' Adapted. -s- -s- "Q -S- ·,

~f!l•lil, F P±f3=1E1 l~@H~Q~.cE.~=il~~~g· ~;~~ ~I J~J~-~~§1 J~=J_§f"=§· ·~~/=tl~J~=--~~=fTI=:1 tJ

Not a. apa.r • row, fa.11 - eth, but its God doth know,

)~ ,., ... ;~~ ... ~ ~=tn JoJ J6 I 5=f!ZJ iJJj I•~-:) 2.J'J ]4 1

-s- ., I !I =iir 1"~--- -,,;- ::s: ) Adapted for the Orga.n. . . . ~ ~ . I ...._

~@;B ;j. =Ls j n j ;j

In the adaptation of broken chords it is gener­ally advisable to make the sustained tone on the interval of a third, or sixth from the bass, instead of a fourth, fifth, or· unison. In the sec<,>nd broken chord,

second measu:re of Number 215, adaptation would otherwise lead the player to sustain the lower note, A fl.at. By all means test this matter by playing it both ways, and the point we make will be clear t9 you.

MODERN METHOD. 1'o. 211. _

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Ko. 216. VOICJL

-·. Palm trees and flow'rs u - nite up - on our ....._.... way,

-=A

::p. ..IL ..a. _r.;e_ ..L ..,--:3 the stars are bright - ly shin - - - ing, etc.

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i

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~

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Greet - ing. they bring to us . of joy and glad - ness, etc.

To the student who has tested the foregoing illus- Forced, as we are, to concede so much, does it t~(ttions. of a_<J~P-t.1:ttign, it _is_ alll!_qst.superfluous ~- say,.~.-~ ·_ -~'?!. f~l.l~:w:.t~at,)n_as_~~~!i _ a_s a large pr()portion .of_ the that be the composition sacred or secular, whenever the organist-is cop.fronted with such, or similar forms. of . piano accompaniment; the necessity of adapting them, as best he can, to the organ, always remains, more or less imp~rta11t, according to the character of the composition. In fact a composition may be utterly robbed of its natural dignity, by a literal performance pf its (piano) accompaniment u:pon _the organ : the first and second. measures. of Number 216 being a forcible instance of this kind.

THE AD~~TIOW OF. INSTB,:U~AL - · - ···-·-=-JiIAKO MUSIC;-- --- ........ - ....... --

Much as the custom may justly be decried, the fiWt remains, that the modern reed organ finds frequent rise in the attempt to play the popular dance music of the day,-published for piano-for which instrument it is thus made the questionable substitute.

reed organ players will play piano music, any aid 'in adapting such music . to their instrument· ought to be welcomed. ·

Perhaps the most practical . adaptation of this sort, is that of condensing the usual bass-note and chord accompaniments for the left hand; for nothing is worse on the organ than wide " Elkips " such as follows:-

Number 217 affords a simple and common illus­tration ·in point, bringing the accompamment ~'.well under the .hand," as .the expression .is. · · '· ..

MODERN METHOD. .137

No. 217. GAVOTTE. .Ll. - ,--

,,- ..... ,,-

1t ,...- ~

~~ r I= . . . f Um"" ~ at- r Erh~

. St 51 GI e e ~ e ~ ~

. . As written.

--- J~ fw . .

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Lj =I l:t ~~ ti' ~ ., * ~ ......-J ~~ ~- ~ --! ~

....... . . I j :n ---e .. ~ ' •t~e ei=rFTci r ci t ~-

) Adapted for • . • . I.I ~ - I r l:t r ~ I +- --- --- ~ ~ tbeO..... X ·:C: =1 X ~ 4¥=1= ! .-rf4r ---~Pe i:t I E§===2 __ · -~~ ~ --....___...-, ........

A ·very few experiments; on the basis of present suggestions! will convince the observing student, tha~, wl1erever possi­ble to add to the right-hand part one or more of the tones which make up the harmony, ( ~hord-formatio"!l of. the a~om­paniment ), it will genera.Hy be best to do so. Our mea.ning will be readily un~erstood by testmg the following illustrations; the thin, unsatisfactory effect of (A) and ( 0 ), comparmg very unfavorably with ( B) and ( D ).

WALTZ.

For the adaptation of Number 219, the small notes are to be played, which involves omitting the same tones from the left.baud part, a sort of "robbing Peter to pay Paul" idea, or stealing from the left hand to give to the right, a species of theft amply justified by the improved effect, .

WALTZ.

In the following bright Galop we have endeavored to in­dicat.e the few changes necessary in adapting it, by insertiug small notes. Observe llhat in the first and fifth measures, (not counting the ·two introductory measures,) the only change is tlta.t of holding the first note ( G ), thus making it a quarter, in~ad of sixteenth note. Of course whenever these measures recur, which is frequent, they are to be likewise adapted. At (A), ( B) and ( 0 ), the upper note of the octaves is omit­ted, and other tones added, as suggested at Number 219, thus assigning something more than a hare melody to the right · h~nd. . The second strain does not seem susceptible of adapta­~on, but fortunately gives a fair e~ect precisely as .writteQ for the piano. . .

The first strain of the trio, however, affords ample oppor· tunity for adding to the'rigltt-hand part, as shown by the small notes, thus giving it a decidedly 0~43hestral-like effect, In case8 like this, the more crisp the staccato of the ae~m­paniment, again,si! the tones of the melody and its sustained harmonies of the right-hand part, the more effective will be the result.

In the fourth strain, a sha-rp staccato prevails for both hands throughout, and therefore the slight change indicated

. is all that is required, although the lower notes of the chords of the right hand, may be tied, .if desired. - Iii this class of mus~9 it is ppqµJarly importan. t that the organ bello'WB· be kept well filled. ·· · ., -.

·138 MODERN METHOD.

lfo. 290. TOUT l. LA JOIE. PHIL. ~,ABRBACH, Op. 54 .

• • • • • ~·.

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MODERN METHOD.

Trio.

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139

FINE.

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"" ' 140 MODERN METHOD . . MA.JOB SCALES.

)1i:l 3~2

6 4 2

G Major.

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... ./I. 1

• Ii'

... 1 6

tlQn the ae:a:t page, .directly opposite, wilrbe founcl the relative Minor, to each of the Major Scales. ·

A Minor.

B Minor.

MODERN METHOD.

llINOB SCALES.

5

1

141

_____ _.,... __ -+11111

. !.H--+---1 ..

4

"H----1-m .

• .

a

*By changing the order.of intervals, in descending, to a half step between numbers 8 and 7, thus ma.king the augmented second, 7 to 6, practice is !trorded ... two dilferent forms of the Minor Scales.

142

-G Flat llaJor.

B Flat Major.

MODERN METHOD.

llA.TOB SCALES. t i

.1

. .

• . --

8

• •

8

3

• •

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MODERN M;ETHOD.

F Minor. 4

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C Minor.

G Minor.

'·

..... 1

. i; ~: ::I"'

l

6

143

' .,

Pronouncing Dictionary of Musical I erms. A LIST OF SUCH TECHNICAL WORDS. AND PHRASES AS THE PIANO PUPIL WILL .MOST FREQUENTLY NEED.

Abbandono (It. li·biin-diY-no), Con. With aband.m.

Abbreviations, Accel.,accelerando M. D., mano dPS-Atl lib., 111! li!Jitum tra; malndrolte. A.ffel., alfuttuoso. Mt#., mezzo. AUo., allugro P., piano. AUgtto., 111legretto. Ped., pedale. Antl110., andaotino P. F., pin forte. AucUe., amlante. P. P., pianissimo; OoU' 80<•, coll' ot- plu piano.

ta\•a. B. H., right hand. Cal., callLn<lo. BaU., mllentando. Or88C., crescendo. B.f., Rja., rinfor· D. C., da capo. zando. D. S., 1!111 segno. RU., rltardando. Decra., decrescen- Riteu., ritenuto.

do. Schera.,scherzando Dim., diminuendo. l!f•., sforzando. Doi., dole•. Smoro., smorzando E>oprv., espressivo. Sos!., sostenuto. F., forte. Slacc., staccato. F. J:, fortlHBlmo. String., strlngeodo F. P., forte-piano. Ten., tenuto. F:I., Jk., forzando; T1·., trlllo.

sfonando. Tt·e1n., tremolaudo L. H., left hand. Unil., unison. Leg., legato. Var., v1<riazlone. Marc., marcato. V. S., volti subito.

(For the definitions and pronuncia­tions of the foregoing words, see under the wo,.d• themselves throughout the Dictionary.) A Capella (It. 11-cll-pa!'·llf.). In

church style-I. e., the voices with· out accompaniment.

A Caprlclo (It. 11-cA-pre'-tcho). At c1<prlce ; at pleasure.

Accelerando (It. 11-tchel·i rl!n'-do). Accelerating the time.

Accentuato (It. ll·tchen-too-11'-to). Accented.

Acclaccatura (It. at-tchack-a-too'· ra). A shvrt appoggiatura which ill crushed against the principal note.

Accompagnamento (It.11-kom-pan·

A~;::j;;~o)Th!~/c'f::'tc'!~';:;c~treats Of the natui;e'and laws of sound.

Adagio (It. 11-dll'·Jo). Slow; a sl01v mov9mint.

'1lilaglsslmo (It. 11-dii-jeee'-i•mo). Very slow.

Ad Llbltum (Lat. ad llb'-i-tnm). At pleasure.

A Dur (G. Ii dilor). Key of A major. Affettuoso Cit. ii-fi!t-oo-O'.zo). Afl'ec·

tionately, tenderly. Con Affetu• osn. With feeling.

Aglllta (It. A·Jil'·l-111). Agility, quickness. .

Agltato (It. iJ-J.tli'-to). Agitated, · restlese; U8U..Uy implies burrrying. Al, All, Alla (lt.'lf.l,iil'-Iii). To the;

in the style of. !\Ila Breve (It.). I measure, 11Kually

markedlfl. Ulegretto (It. Al-lay-itrii'-to). Mod­

erately qolck; noteo quick as allegro. lllegro (It. Al·IAy'-gro1. Cheerful, joyful; a qnlok movement.

11_ Segno (It. ail.n'-yil). From the 1'Jg11; return to the sign and procet!d to the word Filie. . tta, or.Sva (It. iil'·tii, or ot-tli'-vii). An octave higher than written. mablle (It.· a-mli'·be·li). Lovingly; genii• ; tenl!,e1·.

Moll (Gei. fl mlill). Key of A minor. moroso (It. im-0-ril'·:.O). In a lov· \ugstyle. tdante (It. lo-dii.n'-ti). Literally, JOlog at a moderate pace ; mode­'Rtely slow movement. 1dantlno (It. An-dan-tee'-no). DI· llinntive ot Andante; consequently ndlcates a slower movement than ltldmtls. Andantino la defined In I"' opposite ways-by some RB faster 1an Andante, by others as slower, ianltlng from the amhlgulty or its tel"al meaning-viz., "rather go­g." Grove, Stainer and Barrett fine It as "slower than Andants." ebster and Wot'C8ster both agree dellning It "1888 slow than An-11te.'' ma (It. an'+mll). Life. Con Ima. With animation. iacere (It. Ii pi!·ll·tcbi·-r6), At osure. 11&slonata (It. ii.-plis-sii-6-nA'·tii). pa1111ioned.· agglatura~ ip-pOdg·JIL·too'· ,from~g , "to lean upon:'

~orscfllag • A melodic orna·

ooth vocal and lnstmmenlal. ong Appoggialura receives half

e of the following note, and reseed by a. grace note; \be ppogglatura Iii crushed against nwlng note1 and is expressed !"'! note witu a.n o!Jlique dRBh

·•ho •te~. The short 9/!puv-•••••• ,,~.1.u•n

Appogglatura, Double. Corudsts of two short outes before a note of melody, one below and the other above tho ptinclpal note. In all CB8P8 the time or ooth Is taken from the rriocipal note.

Ard to (It. llr-de'·to). Ardor; wa.nnth.

Aria (lir'·lii). Italian for air or mel­ody. Arletta. A little air.

Arpeggio flt. iir-11iidg'-;io). A broken chord. The tones of a chord per· formed in 1ncc888lon Instead of simultaneously.

As (Ger. iis). A-flat (Alz). Assa I (It. liHll'-il). V ecy ; allegro

<J11<1i,ve1"yfast. ~Tempo (It. li·ll!m'·pii). In time;

a return to the origllml time after a change iulH been made.

Attacca (It. llt-tAk'·kii). Attack; as, at/acca subito, attack the next quick· ly.

Bar. A line drawn through the stall' to denote the di vision of the tim• in a piece of music.

Bass clef. The sign or the bwte stall'. It ftxes midtllo 0 OD the ftrst added line above.

B Dur (Ger. bay door). B ma,jor. Ben, Bene (It. bi\n, bi'·ni!). Well,

good. Bis (It. biiee ). Twice. Breve. A double whole note. Br 111 ante (Fr. brll-yitn'-ti). Bril

llantly. Brio (It. !Jri!'-o). Spirit, vigor, force. Cadenza (It. kli-d6o'-tsli). A flourish

of indefinite form, Introduced imme· dlately preceding the close of an Important section of the composition.

Calando (It. kil·liin1-do). With de­creasing force and speed.

Calmato (It.). Ca.holy. Cantabile (It. kilo-tii'·bi!-li!.). In a.

singing style. Capo (It. kli'-po). Head or oogln·

ning. -Caprlc:clo (It. kii-pre'-tchO). Caprice

or fancy. A composition irregular In form.

Capriccioso (It. kii·pr&-tche-ii'-zo). Ca.priclomly. •

Celere (Fr.). Quick, swift. Choral (Ger. ki!'·riil). A slow sacred

tune. Chord. A combination of musical

sounds, consonant or dissonant. Chromatic. The tones intermediate

between the diatonic tones of a. key. Chromatic Scale. A scale In which

all the tones occur In successive order.

Clef (Fr. klef). A key. A ohamcter useil at the beginning al' a. eta.ff to determine the pitch.

Coda (It. kii'-diiJ. An added part. Commodo (It. klim-miY-do). Easily,

without hRBte. Con (It. kiln). With; as, con brio,

with spirit. Con _Dellcatezza (It. del-li!-cll·ti!t' •

eli). With delicary. Con Disperazlone (It. di!e-pir-riit­

ee-0'-ni!}. With desperation. Con Dolore (It. dG-liY-ri!). . With

eadne&11. Con Bleganza (It. el·i-giint'-eii).

With elegance. Con Bnerglco (It. i!n~r-gee'-ci!). . With energy. Con Bspresslone (It. es-prea-sl-iin'·

ni!). With expreHSion. . Con Fuoco. (It. foo-aw'-cO). With

lire. ·• Con Furia (It. foo' rl-11). With fury. Con Orazla (It. griit'-sl-11). With

grace. Con lmpeto (It. lm·)lil.'·tu). With

lmpetuOelty. Con Justo (It. joos'-til). With ex­

actnese. Con Moto. With movement. Con Preclslone (It prii-tchli·zii-ii'·

ni!}. With precision. Con .Sordlnl (It. kown sor-dee'-nee).

In piano music It indicates use or soft pedal. ·

Con Spirito (It. spi!r'-i!-til J. With spirit.

Contr~lto (It. k6n·triil' ·ti!). The lowest female voice. The usual compass le from G or J1 below to C or Dabove.

Con Veloclta . (It. vii·lo-tcl1e-tll'). With velocity. ,

Crescendo (It. kri!s-shii.n'-do). In­creasing in power.

Da Capo (It. dlf. kllp'·o). From tile beginning.

Da Capo al Fine (II. al fee-nay). From the !Jeglnnlng to the word Fine.

Dal Segno (It. dlil siin'·yo). Frum the sign.

Damper or .Sustaining Pedal. Tn1nrnnAr1v -11AA "lnn.1. WM11>.tal " A

mechanism which raises all the dampers at once, thus allowing the strings to continue to vi!Jmte.

Decrescendo (It. di' -crii. ... hiln'-do ). Decreasing In power.

Diminuendo (It. dlm-in-oo-6n'-doJ. Dlmlnillhlng In power.

Dolce (It. dill·lch~). Sweetly. Polclsslmo (It. dill·tchii'-sl-mo.)

Vecy sweetly. Doloroso (It. di!-lii-rii'.zo). Sadly. Doppel Flote (Ger. dup-pel ftii-tii).

An org,.o stop compo•ud of wooden stopl1ed pipes with two mouths.

Dopp o (It.). Dou!Jle; as, doppio movement.a, doubly 88 fBSt or twice as fast; dopplo pedale, with double pedals.

Dot. A point placed after a note or rest which adds one-half to the value; a second dot adds hair as much as the first.

Double Bar. A broad bo.r drawn a.cro88 the stall' to indicate the end of a strain, or or the composition.

Double Flat. Two flats before a note, Indicating that a tone two half· step below ill to be used. ·

Drolte (Fr. drwlit). Right; 88, main tlroUe (ming drwlit), right baud.

Dur (Ger. diliir). Lltemlly hard. Ger­man name for major mojle.

D y n am I cs. That department of musical science which relates to, or tr88ts ot; the force of musical •on ode.

B Dur (Ger.). The key or E ma,jor. B Moll (Ger.). The key or E minor. Energlco (It. en-l!r-giii!'-co). Ener·

getlc. · Bqualmente (eq-wiil-men'·ta).

Equal; evenly. Bs 1 Ger. is). E·ftat. Es moll, E-flat

minor. Bsp ressl vo (It. ess-press-eee'-vo).

With expression. Btude (Fr. il.'·tood). A study, lo coo-

tradilltlnctlon to an exercille. Facile (Fr. fa-seel'). Easy. Fantasia (It. fAn·lli'·zi!li). A fautesy. Finale Cit. fii-nli' -16 ). } The end Fine (It. fee'ni!l. · Forte (It. fllr' -t6). Loud. Fortissimo (It. t'Or-tees'+mo). As

loud as po88ible. Porzando (It. fiirt-siin'-do). Sndden

force. · Fugue (fiig). A composition in con­

trapuntal style, In which a subject, taken by . one part or voice, Is answered by other voices according to certain mies.

Fuoco (It. foo-a'·kii). Fire, energy. Furloso (It. f00..rli-il':.o). Fmiomly. Olocoso (It. ji!-11:0'-zo). Jocusely. Olusto (It. joos'·tll). Exact; ae, tempo

giusto, In exact tlm•. QHssando Cit. glie-siin'-do). Playing

a. mpid p888Rgu on the piano by slid· ing the tips of the llugera along on the keys.

Orandloso (lt.grlin-dii.01.zO). Grand­ly.

Orave (It. grlL'·vi). Slow; sol~mn. Oravlta (It. grli'·vii-tli). Gravity;

majesty . Orazla (It. grlit'-se-11). Grace; ele­

gance. Orazloso (It. griit-oe-ii'.zo). Grace­

fnlly. Qusto (It. goos'-to ). Taste; as, con

gusto with taste. Half:Step. A term of m888nrement,

being tile smallest now In use. H Dur (Ger. hlL diliir). The key or B

ma,jor. lmpeto, lmpetuoso 1It. em-pa-to',

em-pi·too-0'.zii), lmpetuomly. lndeclso (It. en-di-tche'.zo). Inde­

cision. In Tem110 (It. en tem'-pa). In time. Interval. "The difference of pitch

between two tones; also th•lr eft'ect when pnoduced simultaneously.

Introduction. A short preparatory movement.

Key. A family or ton••· KeyQtone The tonic; the tone from

which all other tones are reckoned. Largo. Slow; !Jroadly. Legatlsslmo (It. li-glL-tes'-e-mi! ).

Superlative of lei:ato. Legato Cit. lil.·glL'·W). Connected:

each tone of a phrase being con· tinned until the next le heard.

Lentando (lt.16n-tiiu'-di!J. Slacken· ing the time.

Lento (It. liin'-tO). Slow. Loco. As written ; used after Sv,., Ma (It. mil). But. Main 1Fr. ming). } The hand Mano (It. mli'·no). • Meno (It. miil·nii). Less. . Metronome (miiy-tro-11001). An In·

lltrnment for measuring time. A clock-work, to the f1Pnrlulum of which Is atlaclted 11 {llil\lng ball. Ao.o ,,.,

Mezzo (It. miit'-so). Hitlf;-medlum. Moll (Ger. mill). Sort; mlitor. Motto (It. mOl'-to). Much; very

much. Morceau (Fr. mor'-10). Short mutri­

cal piece. Morendo (It. mG-rin'-do). Dying

a.wa.y; indicates dlmlnuendu and rallentaudo comhiued.

Mosso (It. 11101-eUJ. Motion; as, men" moBBn, less motiOn.

Moto (fr. mil'-to). Movement. Natural. A character used to cancel

I he efl'ect of a previous ftat or sharp. Nocturne (Fr.). A night-pieoe or

ser~nade. Non (It. nun). Not. Octave. Eight d.!'grees or too"8 from

any gh·en tone, either abo\~e or below.

Octet. For eight voicl'll or instru­ments.

Pause. To hol<I. A sign ('"") <lenot-ing an indefinite Eitop.

Pedal. A lever "l'•nttf!d by the fool. Pensoso (It. piln-so'-zii). Pensively. Pesante (it. pi-zlln'-t6). Pondervus,

heavy. ·Phrase. A short tone-chain whiCh

makes 10D1e, but not complete sense Piacere (It. pe-li·tchii1-re). Pleasure,

fa.ucy. Plano (It. ~e-11'-no). Soft; gentle. Plu (It. pii -oo), More; n•,J•in moBSo,

more movement. Placido (It. 11lii-tcbe' -do). Placid ;

pleasant. Plagal Cadence. A cadence in

wuich the final tonic chord is pre­ceded by the sub-dominant.

Poco (It. po'-ko). LitUo; as, poco anlmato, a little raster.

Polacca (It. pii-lll'·kii). A Polish dance i11 34 measure.

Polka. A Polish dancu in 2-4 m•.as­ure,. the thil"d 8th-note being ac­cented.

Polonaise (pOI-il-uiiz'). A movement ot' three qnarter .. uotes in a measure, with the rhythmical o"'8ura on the lost; also a dl\uco adapte<I to such

· mueic. Portamento (It. pol"-tli-miin'-to). A

carrying of the voice, or gliding from one tone to another.

Potpourri (Fr. 110-poor-ee'J. A mix­ture; a piece of music composed of different airs strung together; a medley.

Preclpltato (It. prA-tchii-pil-llL'·to). In a precipitate manner; hurriedly.

Precislone (It. prii.-tche-1.e-U-uil ). Pruci11ion; exactness.

Prelude (It. pri'-lood).· A short in­troductocy piece.

Presto (It. priis'·tii). Extt'elllely rapid.

Prima (It. pre'-mll). First. Prima 'Volta (It. vol'·tli). The first

time. Quadruplets. Four equal toneil per-

formed in the time of one pulse. • Qulntolets. Five equal tones per­

formed in the time of one pulse. Rallentando (lt.1·1il-611-tlin'-dii).

Gradually slower a.nd softer. Recltatlvo (It. ri·tchii-tli·tee'-vil). A

mmical ·declamation. Refrain. The chorus of a song; that

which is repeated at the en<! of each stanza.

RellJloso (It. ri!-le-je.O'-zil). Re-ligiously; devoutly.

Retard. Gradually slower. R· H. Right band. Rlnforzando (It. ren-filrt-siin'-dii).

Reinforcing;. stren!llhenlna:. Rltardando (It. rii-tlir'-dlln-dii ). De­

laying the time gradually. Rltenuto (It. re-t6n-oo1-t6). Holding

!Jack the pace. Ritornello (It. rlt-or-nill'-lii). An

lnrerludo; a short period between­each stanZI<.

R.omanza (It. rii·miint1-sli). A song or short lustrmnental piece in ballad style.

R.ondo. A 1'mnd. A composition in which the first strain is repeated at the end of each of the other strains.

Rubato (It. roo-bli1-tii). Robbed, stolen; BS, tempo ncbato, borrowed time-i. e., some tones held longer lban written, while others are pro· portlonately curtailed. ·

Sc:herzando \It. skert-eiin-do). Play· fully.

Scherzo (It: sk6rt'-sO ). Play ; sport. Sempre (It. lll!m'·Pri). Alway•. Senza (lt. si!nt'-sli). Without; as,

BelUR pedals, without pedal. Septolets. Seven equal tones per­

formed In lite time of one pulse. Sextolets. Six equal tool'8 per·

formed in the time of one pulse. Sforza (It, ef6rt'·sill. R,.,.,., .. ~ --

Sforzando (It. sfln·t-siin'-do). With force.

Signature. Sh1<rps or ftats place<! al the beginning or a piece to indicate th• key.

Slnlstra (It. sln'-Is-trli). The lefl ha.ud.

Slur. A cm'Ved lino connecting two or more notes, to show that they are to be playPd legato.

Sm or z an do (It. smort-siin'-<lo). Gradnally fo.inter and softer; dying away.

Sonata (It. sii-oli'·ti!). A composition, nsnally consisting ur three or four movements.

Soprano (It. 10-prli'-no). The highest female voice.

Sostenuto (It. s6s-t4n-oo'-Ui). Sne­taioing the tone.

Splrltoso (It. sper-re-to'-zo). In a spitited manner.

Staccato (It. stii-kii'·til). Detached; distinct; sr.parated.

Stretto (lt. strii-tii'). Contracted; close. That part or a fugue In which the subject llnd its answer llre brought closely toi:etber.

Strlngendo (It. strln-jin'-do). To press; hastening the tint•.

Sublto (It. soo-!Ji;'-to). Quickly. Suite (Fr. sweet). A form con•istlng

of several movements. The pre· cunor of the sonata.

Suspension. The holding of tones propPr to a. chord while rPt.~~.1~ing tones of the preceding chorol, tllns producing a discord.

Symphony. A sonata for l'ull or· &hestra.. ~he most impol"tf!,nt of all Instrumental forms.

Syncopation. The displacement of rhythm by driving the •<·cent lo that part of the bar not n.ually acceuted.

Tacet (Lat. ta'-set). Silent; a direo­tion for a vocal or iustrumeulal purt to he silent.

Tarantella Cit. tlir·lin-tiil'·lii\. A rapid Neapolitan de.nee iu 0-S m.a•· use; na111ed after the spitfo.r cullPd tarantula, whose !Jite is I opulnrly supposed to be cured by music.

Tempo. Time; movement. Tenor. The highest male voice. Tenor R.obusto (It. ro-hoos'·tii). A

strong tenor voice. Tenuto (It. tl!n-1100'-to). Sustaiue<I;

held. · Terzetto (II. tiirt-.siit'·to). A short

piece for three voices. · Thema (It. tii'-mll), Theme (Fr.

tiim). Theme. The principal me· Jodie su!Jject.

Thorough Bass. A sp,,cics of musi­cal short-band. It consist• ol tlw 0088 part, with llgnres adtlerl which indicate the _accompauyiug hu.r· monies.

Tierce (Fr. ters). A tl1ird. Tonic. The key-tone; Ute tune from

which all other tones are reckoned. Tre Corde (It. trii kllr'-rlii ). T11ree

strings ; discontinue the soft JlCl!nJ. Tremando (It. tri·mllu'-do). Trem­

bling; vlbratine:. Tremolo Jlt. trA1·mO-lo). A nut• or

chord made to quiver or sl111ke. Triad. A chord consisting of three

tones-viz., a. fuudameutal with lta third an<I its fifth.

Trlll. A rapid alternation of two contigno08 tones of the key; a shake.

Triplets. Three equa.I tones per-

T~~~e~: ~!::'a:i':~t~~ ~=.f~~~med by taking the adjoining notes ahove and !Jelow the principal note.

Tutta la Forza (It. toot'-tii IK f11rl'· Bil). With all force; 118 loud as posslblo.

Tutte Corde (It. toot·tii kor-dil). A II the sl!inge; discontinue the soft pedal.

Tutti 1 It. too' ·Iii), A 11 ; used after solo p8"8ages to indicate that all are to join In the performance.

Un, Una (It. oon, oon'-i.1. A; one. Una Corda (It. oo'-nli kor-dli). Lit•

erally oue et1i11g; a direction to UH8 the soft pedal.

Veloce (It. vi!-10'-tchil\ Rapldllf. Veloclssimo 11t. vi!-lii-tchee -see·

mo). Very rapidllf" Vibrato (It. ve-!Jril ·to). A tl"emulons

quality of tone. Virtuoso (It. ver-too·ii'-zo). A skill·

ful performer upon 1t t1pe .. ·~al instru· ment.

Vivace (It. ve-vli'·tchil). Quickly; sp1ightly.

Voce (It. vo'-tchil). The voice. Volti Sublto •tt. \"ill'·t3 sno-l•Jii'-tii\.

"'•••"' ---' ..