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Pianoforte

Pianoforte

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FOR

THE

OFORT
PRICE FIVE SHILLINGS

EDWIN
BOSTON, MASS.: 218, Tremont Street.

ASHDOWN
(LIMITED)

LONDON:
Hanover Square.

TORONTO: 144, Victoria Street.

SYDNEY SMITH'S METHOD
FOR THE

PIAN 0 FO RIE,
";,1.~

PRICE

FlY~"SHILLINGS. I ,c."·,, '\.' J
\ NtI "- ""- ...~. /

I~D'vVIN
BOSTON, MASS.: 218, Tremont Street.
Hanover

ASHDO\VN
(LIMITED.

LONDON:
Square.

TORONTO:
144, Victoria Street.

SYDNEY SMITH'S PIANOFOR1~E METHOD.
RUDIl\fENTS
MUSICAL

OF l\fUSICAL

NOTArrION.

sounds are represented by certain characters letters of the Alphabet. viz.. A, H, C, D, E, F, G.

called Notes, which are named after the first seven

These Notes are placed on and between Five parallel lines called a "Stave,"
~---------

EXAMPLE.

_

r'_~---,,"

..

-------_ " "
..

thus:-

II .. .. 7L==:! '_~~~d
Notes in the spaces.

Notes on the Lines.

j
Bass

In Pianoforte Clef"

Music two sIgns called"

Clefs"

are used, namely. the"

Treble Clef" awl the"

THE
The "Treble Clef" is formed thus: CLEF·NOT};;.

TREBLE
~
~

CLEF.

the second line of the staveN B -The

~ G lines are counted upwards, the lowest being the first line.

t·,--.~G

and gives the name of "G" to all notes placed on

From this Clef-note
CLEF-NOTE.

i-- t!

all the other higher or lower notes proceed alphabetically.'

EX.AMI'LE.

@

...~
G A

•"
B C

" --D

__._
Ii:

"•"
F

..
C

"
B

..
A

E

D

,•
G
F

,.,_gg
E
~-

NOTES ON THE "LINES.",

...
~
.

.
-

CLEF-NOTE.

B
on the 3rd Iine. D on the 4th line. _'--,.,------

_"--

E on the 1st lme.

G on the 2nd line.

F on the 5th line.

NOTES IN THE .. SPACES."
~"

...,.-. -.,_

'--::
C in the 3rd space. E in the 4th space.

~

F

10 the

1st space.

A in th.; 2nd space.

.. . • .. . .. .. .. ..
,.
EXERCISE

ON THE "LINES"
~

"

--------

Z

.. .. .. ..
"

AND .' SPACES."
II
II

.. ..

. D. " As there are only seven notes in music. - . which form the compass of a Modern Pianoforte. • m this manner:- Played by the Left Hand._-----_ F CLEf'·NOTE this Clef-note. @O:=-"-F all the other @ . G in the 4 th spa. NOTES IN THE "SPACES... are merely repetitions of the followmg section of the Key-board v= SECTION OF KEY ·BOARD." •• c ~..ce.. @+~~ -_ .h linn of t. E in the 3rd space. D on the 8rd line.. E. and gives tho name of "F" to all notes placed on the higher or lower notes @:==:====From 4t. A on the 5th line. -eD • C 8 . (§ .. ~- . _--. G on the 1.. VIZ.. G. c D E F G A B .he stave. A in the 151 space. B. It' J£.. C.t line.." c· • ~ III III . • " The Treble and nass Staves are connected by a "Brace" Played by the Right Hand. THE KEY-BOARD. the Pupil will perceive that the 5U White Notes and 35 Black Notes. EXERCISE lJl ON THE "LINES" AND "'SP ACES. __ III E B A G NOTES ON THE "LINES" CLEF· NOTE. A.NOTE BASS CLEF.4 SYDNEY SMITH'S PIANOFORTE II'1ETHOD. F. B on the 2nd line. C in the 2nd space. "'_'" .. F on the 4th line. F C-iI G A G . THE 'I'hs Bass CI[~f is formed thus -CLEF. proceed al phabetically EXAMPLE.

a "balf note.he BH." qnl>rter ---------------* In Germany and in the United StateR of America the Remibreve is termed ~ "whole note. Bars." or HALF the NOTE." thp qnaver Bon"~hrhth. 5 Observe that the White Note on the Left Hand side of every group of Two Black Keys is called C. 1 x I~ .. oorr esponding rnats BrA named in t." They divide X denotes the thumb. half rest. music into equal portions.SVDKEY SMITH'S PIANOFORTE :-mTIIOD. &'0." SM page 6." &c . 3 the third fillger.." ~ 4 or WHOLE NOTE. f-o~ ~. 'I'he Black Keys are in alternate groups of twos and threes. 1. ~ " x ON THE "SEMIBREVE.. 1 the tirst tinger.rmer. or Half uotes.. are called" Bar Lines. -----------------------------------------------------------------. and will be explained when occasion requires their use. The following he has already Diagram of the Key-board higher of Iii Pianoforte will show the Pupil the position are wanted. 2 the second finger. Two minims. HI. and 4 the little fiuger." hs minim t Dote.. estave _. semibreve. 'I'he other and lower notes will be explained as they DIAGRAM OF THE CD KEY -BOARD. are equal to one EXAMPLE.. or Whole uote. sernibreve rei • . called ." the erotehet . Th . :ai f.· ~ 1 !II 3 x - ) 1 Iv 4 __ 3 . Bearing this in mind there will be no difficulty in finding any note. is called the" Semibreve. 'I'hey represent the Sharps and Plats. THE The" "MINIM. or "-Tbole note: it is formed Minim. KzV! 0' THB . The strokss which reach from the top of the treble sta._- __.. thns:semibreve." the ssmiqnaver a H !IIlxteenth. of the notes learnt. _----- • ." or Half note is the next in order after ~ by addiug " stem or tail to the semibreve. ij and BO on.:. the first of which It is formed thus:EXERCISE I No.ve ~o the bottom of the bass \h.lUema.i!~!IU I II! SPECIES OF NOTES.. DIFFERENT ~ are used in music.." tbe minim tt'll." • II whoJ& r'-""t.t a." or Whole PIANOFORTE THE Six specIes of Notes note...

and four to one semibreve." or QUARTER NOTE..) ~ to bach minim. ..· ·. or Half note. whioh the Pupil will lsarn gradually.) S 3 ...) .·. EXEROISE I 2 ON 3 1 {I MINIMS" (HALF NOTES. · '. · · . I . I • . · · .....·. so that two crotchets.. . .) AND II "OROTCHETS:' (QUARTEll NOTES. a x . ..t~ AND " MINIMS." (gUAR1'ER liOTEB... · . No.. After practising these Exercises..) 3 "MINIMS. or ha.. bar-2 EXEROISE J ON U SEMIBREVES" (WHOLE NOTES..." (HALF NOTES. in eaoh bar-l to each crotchet.. x t < r v fffE ----t--4 .) Count 4. 3 1I 1 3 t · . AND "OROTCHETS.·. or Whole note. ·~ · . ·2 . The" thus:~ Crotchet. ." Common Time is expressed by a C placed at the commencement of the stave thus:- 4!_~ : · There are several species of Time. . · · · X I ..~ _~JI:r::. 4 S X . or their equivalent in value (such as two mmims or one semibreve). . · 1 · . . · :I x . and the Crotchet half as long as the ...." or Quarter note..l!'OHTE METHOD. . · ·.. ·. X 4 1 #--c_ " I .. :! 3 4 4 !-I~~ L I ~.3. in each bar-l to each crotchet.· . .. 2. . 2 to each minim. or half note. always counting aloud.." (WHOLE N01'ES. Count 4 in a.. .rter note. . 4 • ~ 1 ~ 3 • .G SYDNEY SMITH'S PIA:!fO... : a 4 . . · . . . or quarter it is formed and is only half the value of a minim.. · .ro. A musical composition is divided into equal portions called "Bars. ..." (HALF NOTES. ..minim. No 4 • X • EXEROISE 2 ON "SEMIBREVES... it will be seen that the Semi breve is the longest note. or quarter note. X .... or half note. 0 · · · · · i )C THE "CROTCHET.·." When 8 bar contuins four crotchets. the composition is said to be in "Common Time.· ·.lf note. or one quarter as long as the semibreve.. · · X .) S 1I I Count 4. . No. 2 to each minim.. or half note .. · · X ·.. ·.. I ·.. must be played to one minim. .. 4 -#--- ·. · · . J&-l 34 =r-s l' '" 3 4 · ·. · · ·. . · · .. notes.--. comes next in order after the minim..·.r: 3-t!7-3 < I~ 1. or qua. " Iv I=-' I 3 -#-- . ·· X 1 I T .-. the Minim half as long as the semibreve..r1.

.. . " '-~ . .' . < Ie) . #- . .._--.-~ . . :t=~ P ~ 4 )II I • x • B. x )( . · .. -_. 4 4 I--.. _ II . . . 'a I."t' "j che <Lir must be repeated. I I a I . 7. . :'?' -f---+- ..3 2 X ---.- 3 . ... . .- . if the dots are OB the other BideD: the Becon.. x . HOME. .. 1I x !I I X .--.SYDNEY ElMITH'R PIANOFORTE METHOD... X . No. . .1 v. 3 x I t _ ~::_!~ _ __L______.. .f--- .._ . w911 a . x . 3 . be repeated..-Exercise Count 4 in each bllol'-2 to each urinirn..... 3 )( I 3 3 3 . a. . G 3 j . ---_ When marked 0 is sometime. -_ . ~ .. ~. thUB.m d ~be u. . .'--- I~- .-Exercises. ..BBO'._ ~ X ~ _.~ . -+----)( . I X --l--- )( --.• ~ 3 I 1I .. ._Q " :I II T e ·." :e- x -- ~ .. .. ':=n:::= -I . )( -3 -" - ~ 3 )( ~-.----------: x ~ ~n S = . lC . ! AND AIRS 3 IN "COMMON TIME. I ~-f . 2 < . .... 5. "- ... . SWEET HOME. .-_.---------.O~--_:: botb pH..i:r muss be repeated. Iv 1:=' 4 . r:~'' ~ '. . 4 :3 1 . dota are on both .. I . . '7 .. Repeat each Exercise many times. n.idM.. t the -=__~- if 'he the first part of the air muet . X 2 4 .*!~ "P=----.._-:1 'l " X 3 ! x " . placed at the end of the first part of an air.. '1 EXEROISES No. * A Deuble with dcte.__ ..Bar ~~~---~-end of the second part. ~ 1 _L .--- ... . )( -- -- S t ...- S 3 I .

&0. .. called" Ledger Lines.' D :a . T . 2: signifying be played 1 3. LEDGER LINES IN THE TREBLE CLEF..!o. E (fi f r firf f= f ~~J~J~~~IT~I~j~~~~J~T~·. They are The distance from A to A. LEDGER LINES.i~·~· ~~~_4f=~J~i~ . ." any number of which may be used. --. ... ABOVE THE B STAVE. .:1.. - F 3' 4 . .JL.! VE. 3 :r~ .. SUOBIi1..JL._ -..JL. and when placed under.. 1. :!!: .- EXERCISE ON LEDGER LINES IN THE TREBLE CLEF.. The Ledger lines above the stave are counted upwards. ... -~ D ...JL.f=:..8 SYDNEY SMITH'S PIANOFORTE YlETHOD.. (the abbreviation of ottava) is placed over the notes. and played on the same keys. NOTES LINBB . ~ Lr . When other notes (higher or lower) are required besides those on the lines and in the spaces. <:3 1ST OCT. 7TH Oeu.._r~~.JL. . i i NOTES.. J~~:i~ THE KEY-BOARD OF A PIANOFORTE SHOWING TREBLE CONTAINING SEVEN OCTAVES. To avoid the use of too many ledger lines. NOTES LINES. SUCKS. G -. SPACBS. short additional lines are brought into use.~ ON LEDGER LINES IN THE BASS CLEF .•. ~m_ A NOTES LIlU:S. the same lD name and sounu. is called an Octave. NOTES ABOVE THE G STAVE. . r . the notes must an octave lower than written.. F~ --. . BELOW I'HE STAVB.VE.. C to 0..eight notes in the Treble stave are placed over the last eight notes in the Bass stave. 'r f ~l . BELOW THE STAVE. 5TH OCTAVE.' D B -. and those below the stave are counted downwards. ~ ~--t=LI t i i rj-J144~JJ/ THE POSITION AND NAMES . 2ND OCTA.JL. LEDGER LINES IN THE BASS CLEF.2 . G -~ ~=J=~ Q I EXERCISE .. . t -fL .. B to E. B II D . A . . that they are to be pl~yed an octave higher than written.. The first . ! 4 .. 6TH OCTAVE.IL. ~ #= Et!±FF OF THE NOTES. 8va. SUCHS. B _ .JL.n.

- 1 .. · No..:= )( . ~~~ .~~~~~~~~~~~ .. . 10. ..SyuNEY SMITH'S PIA?iOFOIUE ~lETHUD.J!I 1 __..9..L..: :. )( · · · • t 1 )( x . !I I )( . . 2 x .. I x I ~ .i.. ----. 3 4 3 x !I 3 I ~ I . " THE BLUE BELLS OF SCOTLAND.--:-r. '.-. • . SCALE OF C MAJOR..+__ _-'-- --fIl- x !I I x .... between each of the other notes the interval is a whole tone. :~ x ~.:..~ ------.. No..._ :: I~_~~. 1 x . and the 7th and 8th notes of the scale are only semitones .--------.:..- )( \ f\ I 2 . ~ ...._ X .. . ~ 3 ~ 3 I ~ !I -4. flit • )(. . :1 4 X II X 1 • 3 . . Ubserve that the 3rd and 4th. -1 !I l( .. . A scale with these intervals is called a Major Scale.. . · .': • ..~~~~~~~~~~~~-_ 11 ."e1!l81 011 AND KEY OF C MAJOR. . but IS composed entirely of white or natural keys.. .!": . 434 HYMN.. :.-~ ':---l' ~ .-' ~- .~ . t-- 3 4 !I I X I ·.. -+----. - t~ .F--L.... either ascending or descending. of eight notes. II :-. 2 4 3 f S • I OJ THE f :t VESPER X I ~... . :: • • 'I s I. .. .~.. I No. )( ~ ----' . .. SCALE A IfU (''(. & X' . I -. 'I'll. -----~ I 2 -6).. is called a Scale... key of C major has no Sharps or Flats. 1I J ....8.)(-I n \I~~:.

.- - 1"=• ~ and The Semibreve.. i The" Quaver ..) raises a white 01' SHARP. the 7th note. I ~ x I ~ 3 x~ I I )( x x I II )( I 4 2 3 I 2 . x 2 ~ . Semitooe. No...10 SYDNEY SMITH'S PIANOFORTE METHOD. between the 3rd and 4th notes and 7th and 8th notes of the scale. 11.. 4 3 .~ ~ I x I x 1 2 3 2 3 ... THE "QUAVER" __. 4 3 I )( 2 . to show that all the 1"'8 must be made sharp.... This sharp is placed at the beginning of t. 4 Seruitone.. X I a 4 :I • X 3 2 I ~':' ~ 2 j__1_ )( I 2 3 • x 3 . a 'r-: --. 4 :l I... 3 I ~ I I~+ ) I tJ ~ Repeat many times __.3 rrrr . it is formed thus..:. I • >( 2 2 X 1 !! :I )( 3 II I X \!~ 2 l ~ I ~ 1 -. I x 2!... X ~!."'_ ~ x -~ -. 0 tJ • 3 --=0. X equal to rr \! I 2 or Repeat many times 1 I . on the fifth line (F). it IS necessary to raise F. that is to say..3!. . Black Note on the right hand side of F THE KEY OF G MAJOR. 4 3 4 3 .0"'\ --"'"' '. The Pupil has now learnt the following species of notes r-« '2 Minims. 4 Crotchets. The formation of all major scales is exactly alike. of the key. .-. ..' 1 ~_I . !9 l::2 .:. one key higher i it is then called F sharp. natural key a semi tone. All the F's must be made Sharp. in every major scale.:. ..he stave.2 )( 1 . . Iv I~. or one key higher White Note. KEY OF G (ONE SHARP F) (PI No. 12. THE QUAVER... • ~ . X 4 I 3 -t \! 4 1 ..~ ~ ""'""-J THE The Sharp 0. IS the species of note next in order after the crotchet is only half as long as the crotchet. the semltonic intervals must appear.I . 2 \! --I x I 2 -:' 3 X I '~I 3 ~: ._ ~ .. ~ )( or ttn lia ~ ) 8 Quavers... I! '1 - __ . To make the semitonic interval between the 7th and 8th notes of the scale 01 G.._... and is called the" Signature .--g 8 2 6 6 7 THE SCALE OF G MAJOR.jj. X - EXERCISE 2 3 ON I 1 ~ _~ !.

.. .r. • .No... . 11 .. I !( ~ x I~ 3~x . 13 ( n~ ROUSSEAU'S DREAM . ~~ tiuiea. • . :143 Repeat each Exercise mllDy times. 4 4 3 I~E~~'- H~- -----:...!:.- !I 3 -\ --1x _c. y L. 'fill. o ~ I -.. X 4~ X t • Repea. 15. 4 I It I . .J_ I -~-- • 3 _I I -(9- )( X x 2 --1-- X x I x X • No.. 4 x I .. -r-==i= ~ I I II )( _1 I I X I .... . 1I 4 3 1I I )( .~~ -==-:. I x I .t each Exercl~e llll< lll34 1J11H'V No.SYDNEY SMITH'S PIANOFORTE METHOD. • • ... I . _.!-iII .-r-- ~ . I . orotohets in each ba. X ~ 1 )( 1 ~ -- 1 . • 0 =p= • 0 ~~ . • 0' o 00 . .~ Count 4.. 14. -F--+-- . +~ot -.-----p-- . t---~- I( x -- )( - • 4 3 - 3 !I 1 I 3 x I I I x )( • 4 -'..j-----" --- ----+ 1 lit lit I .r-~--o . r-------.. =IL.f!_-~----F-- -.

2 . 4 . equal 10 2 Crotchets. r :I I{ x I . I 2 3 2 < I tJ . I X 3 ::. ~ - )( 3 3 I b I ~ -h· 'I . . 3 6>- . r-.. rr 3 I .. r - C " .. 4 I X .. .J_ I ~ I )( 3 x x x I __ :1 . THE DOT. 17.: 2 -I 2 X lie X I '" n .. t 4 crotchets I I 4 3 X 2 . ...J ... . ... 3 Crotchets. .~.· · · :I 2 ..J c. 16. .. COUO -¥-J! " If GOD PRESERVE THE EMPEROR. No.~X . ~. X I I X )( )( ~ 3 X X :. ... . I r-r1 >I ~J • J I III " x .._ J 4 3 2 I 4 ~ 2 X I I 1 11 J( . c. I I " 3 'I )( 4 3 !I 1 X 4 3 ) ) T 'l . /~. - III r. xax n . . !II 3 x 3 f !I . 4 . equal to ~~~-= .12 SYDNEY SMITH'S PIANOFORTE METHOD. · . · .. .. · " :II ~ x . "iii'" -~_ _ 2 I X " 3 2 2 -- I-: 3 A dotted Crotchet is equal to S Quavers. . 3 I ~ 4 a 3 $I J ) }11l l .. · X I X 1 :I 1 3 e:» X 3 I I X 1':'\ I + I + a 2 "JI. " 4 3 C ~ No. =r=r -!. A Dot placed after a note increases A Minim 18 the value of that note by one half A dotie4 Mimm IS For instance-> (...2:. .· .. THE SPANISH 3 II 3 3 CHANT. · . -..J . -' ~ -~_!__~~ b HUDN.x ...-..·.. .. I2 3 4 2 I ...-- 2 4 'n .

I ---I- 1 s .J.__---rT ._-....".'ll composition where the performer ceases to play for the tune represented by the rest.. 3 __r_ . . I • x... . -~x 4 ~ FINS. ....• :.~ of a IIlUl'llC. 18. . No. . t!ivel) note in music has a corresponding sIgn called a :. LIFE LET US CHERISH. When a musical compositron contains three equal parts in a bar.. _ . )( I ~ . t f•f I ~~__L_-" -p ' .. 4 x 3 X .---- ~= TRIPLE TIME. Rapea' ~he first pan of toh~ a.-#-JL-. EXERCISE ILLUSTRATING THE DIFFERENT KINDS OF "RESTS. V-JO' _1-"--. ~ 1 i 1 )( l ~ -f'L ~ 1 ~ x 1 f -..... . ... _ _.I to tht> left 4 No.@ Observe that the head of the crotchet rest turns to the right.SYDNEY SMITH'S PJANOFORTF ~IETHOD. l ! Itime-Count 8 crotchets in ~~ r "I-I flo bar." · · ~ t . 1 ~ x -t~ -fIL A.. · . 13 THE §." .. 4 < j 1 tJ I~"~: ~A~:- • .__ • D.• an abbreviation of "Da Ca...-- x .-- ~ 1 1 -==1I . .!I x 3 -te- x 3-fL--fIL x 4 -fIL-f'L 4 -IL-!.~_~~~.:... --. 3 ~ 3 II 3 ." ~ . a r 1 3 I --4 I 4 . • e 4 :im~~~R~e~..fIIt--~" ")( 4 D. I ~ • . end that of the quaver --~ 3 rest '. . Hest..::(Sj_ --0X .@§~Lj~U~"~Ve~r~l~tell~. . • __I~-- ." Triple Time is expressed by the figures! when there are three crotchets ill a bar.1'" funned.." Rests indicate those part.. ~ fI ~.. __ __ ~_J_. Thev 01.po" [Irom the beginning).. .C. 19. 4 x .. t~../II- .s: I S J _. 00 --...._ I s- 1f:~ _.. ~ o. x . ~4)( __ -"." RESTS..... . 3 3 f. CJ s . .. . .~. such as three crotchets or three quavers.. · · .. ...Of . tC11loWH: ~==_. · · · 4 4 :~_"" -'i fR-F-')(~ .r..t~~~"-~~(~)r~otc~he~t~R~e~Bt~.C..~)( I "~ f ~-r1 )( -. .. and finish at " Fine. it is said to be in "Triple Time. and B when there are three quavers. : x ~ ·. ..

. 3 I I ·f· FlU. r-r-'j iii •~ ... 4.--~ 1I 1 x I. . x " :r 4X I .. t\ SOALE .... 'fir . 4 _. KEY This key requires two sharps to produoe 8th notes of the scale.t: fL· N2· 21.OF D MAJOR.... uext species thus:- of the quaver.. OF D MAJOR... I over or under To effect the notes..~ " '* I I ~1'- -fL- ~E_~ -fIL 3 I · · 4 I 51 I X ~ '~_-fL. · ·· ~ ..J . S quavers in a bar. ft time. :~ tl -: flj -- 1. D.-. LE JET D'EAU. · ·.._ •• :.. be no "break" in t.EMI~UAVER SEMIQUAVER. rest has two stems it is halt the or tails like the note - ~--"·. 3_J.W This mark --.. I .-..rp.~..3 ~I 1I "--- .. ~ 1 II X _ 1 X X_ 1 < All the F'B and C'a to be Sharp.. Ilepeur sever .. · ·· · .-4.. until the moment rule must be strictly the next note is played.x 4.. I I :II X ~.~ 3 1 f 1 I x II II_ ...-...C.'BOD. I 3 ~ I 3 II II 1 a ~ -f"T I "I 1 • a f--. .... -X 1 . ." shall and - -r:». intervals between the the semitonio Semiton •.... ( .-r • X f : ¥ ' -x -:.. 3 SIX t~~_~~~~~~~~~~~ S !'·fir 4 I x -fIL All the F'B and C's to be Sha... ..ii: 1 "'l... 3rd and 4th. a II I X I I X 1 1I )( 1 1I I X X I II I . ---i x I . the be pressed firmly the note which struck... EXAH.... . ~-----.NOFORTE ME'l.J.. -x . I X 3 I I.~.."'2'! 4. j ~ ..- tJ D ~ 6 i*2SJ 7 8 Repea~ serer . -! 1': . .he notes must has been Thir be played this. observed in practising the scales. J Semiton •• No. .. SYDNEY SMITH. ItB corresponding As its name implies. 1 trm . I 2 "--- 1-"'3 • 1_/#= a "Slur. THE The length +Semiquever S.... II I ~ I !I UDle8.. < ~ ·. .----. ..X -fIL . I 3_J. 20. and 7th and =jEt a 1 3 4 :I s 2 iW " B 4 . 4 Crotcnete...... " is the REST.. ~ I X 1 51 1I r... · · . "X .BIDNEY SMITH'S P1A... is called finger must so that there - ...~i~~ lliniIDli. · · ·.· . t If 4- 3 II - . and is formed ----==- of note after the quaver. )('--'" 3 -I.. -----2 3 3 4._!. -.he sound..~ x .. placed very smoothly....l'LE. r._ indicates OIl that t..· • ~. "If 3 1~ . I < ..

.._ .i~ . 23.. ...J ~- ··O. -.. l~ " x I.. I <) ~... 3 -f!.3 ~ 1 II I 41112~ ~ 3 II I X II ) ~121 -71-. x - • 4 • f"'.-.---..--!!!!!"!! X 3- !I 1 . (rH.... x --..= ----=:.--...J !I 3 X c.. ... Repeat several times... 3 1<...~ ......_ .. l c.......SYDNEY SMITH'S PIANOFORTE METHOD.. !II I I No.0.. SWISS AIR. . t ....i- \..--_... l~ 2 crotchets in 12:1 a bar....J I I 1 .. r-rM r-T""M ~ I2I (# r-rn ..= 1.....L ~ -6t-si- -~. 3 1 1I ..~ ..... -a- ~ c. ~ M"'T""!X141X141 . I' I' I I I '-- _ 421~~ __..... -. .J. 24.. ~ 4 II I 2 ~ I 3 1 43 1. ~./ . !I 1 ~ ...t CHANT..._. - +- ---if + C.------. c. .....:_ ~3 I . rnltl i time..L. 1 X )~ I I~· 1--.. . 15 No ~2. t~ t X -E. X II ~ \... .--1... PRELUDE. c1~#'C.. .~ .J I( -4-" @IJI£ ... No. ~ !. ..... L..I:I .-.. • --1. 4'"1 LA DONNA I E MOBILE. II 2 1 r ..g I II CJ .!!I I x~ 1 j'"'F:I X I""'I""!'" I""M""\ _~ ... .-/-T .. 3 3 X v 1 .~ 4 • 2 !! I . I ..

I Ft¥-H Ie) ~. the proper Ie 6 Semitone E::2 fJ three sharps to produce Semitone (OJ 0 i ## 2 --. or Fortissimo.. A MAJOR.1 ... and Gtt.. J 4 ~... is to be performed." of each triplet must be slightly accented.... The tirst note 1 A group 01 three notes is called a" Triplet...rl II t . 4 f: I~ :"'iiI ..J 1 )( 23 rL.... 4 No 26. or Mezzo. ~ " 2 --r.. ~~I x 2 4 32 I 2 1-.~ 2 I ~ ~~ ~~ ILl ( "'I x /' 3 4 34 3I CJ.1t ~ Iv .~ ~)C __. I I)C ~~ X'- i 4 2 ".. very loud KEY OF The key of A major requires F. )( I J( 2 42 ijll: x · · · II )( "...--.1 'l I 2 __. very slow Andante. Cl!.PP.-. DEGREES OF LOUDNESS AND SOFTNESS . rather loud.---. I 11v »: x 4 . x -~.. " .. t X I 4 ! .~: 2.. quick. fast.. moderately Presto. or Piano. ·~l x ..--"I JC .. Repeat several times.. or Mezzo-Forte.. 'I I . Allegretto. soft. )C . For a complete List of other Masical terms. or Forte.~ __ I x t I .. ..- '~4~... P..._... It .Piano..-F +-f'~)( 2..!. The principal Italian words used to indicate the pace at which a composition slow.. . )( I ...tt.. . + I .. l! 4 )C I 2 .~ + 3 + 4)( 1!l- .i 4 Ie .. loud. .. 4 ~ ..~.' )C 2 1 J 3 1 X.. I XI a " ..' 2 4 2 ".. 3 x -..16 SYDNEY SMITH'S PIANOFORTE METHOD... '1 8 intervals in the scale-> viz. -it 'If~ x ~~ ~ I f 3 P""'" I( _.~ i-*..---.'T x ~~) 2 4 3 _1!l21 __ '(:-f:" -f"-. Pianissimo very soft. 11. ..... see end of Book.L L[lJ :i..--Ft x ~ I ) ~ I ~_.' "iI 2 • 2":.. f)T mp. 3 ~- ~ I 3 I l( ~ w. 4 OJ I2 ~~ )("1' II .. .~ x I ~ . and must be played ia the same time as two notes of the Btl-me species. x )( 3 2 1 ~~.~ X 4 2 I 2• I ~ I" :'r~ I l~ ... 7} X .""'''_~_I I- ~ 4 a .._ 1 )( I l( 3 ~ !I I -. ' = . ~. I 3 I~ " I !l ~ x . 343~ SCALE OF ~ A I )( 2 MAJOR.. ... EXAMPLE... ~-----------------2-3~-f ~x ~ )( I I ...-. Allegro. very faet." I~~ I X .. r-T""!""'! ~1 a 4 343I .. rather soft mj. are- Ada!lio. J.

No. DIA VOLO.." a. 9.. ----r -~ 3 .nd . X ~ 3 MARCH 4 3 ! .s -~ f':'. I 1( FROM "NORMA. 27. . * This .. ~ 1---71 ~. t Thilligu r.. I -l a J( ~ ~ 4 __ f. ----t 1 . C_. 28. note which hes been made sharp or fia.~._.." ~ 1 S BELLINI. but bald down.- ''---I-I .Ignttie...SYDNEY SMITH'S PIANOFORTE METHOD. No. ~ 4 . "Fau. I 3 X '1' f 1 X I .~ ALLEGRiTTO. 17 No. that 'he seeoud note (E) ilnot '0 be atruck. plaoed mu.- .. co Tie." 'the no'es over which it I. ADAGIO.."\ ill called.ign--placed between notes of the samll name is called a.t5}- -.I CJ" ~ .l~ . ON YONDER (FRA ROCK RECLINING.(~ X 1 . )( THE OLD HUNDREDTH..) 1X 1 AUBER. x 3 _' . ! .: I~.. . I-. . . I X . . 29.r- . .t be held down longer than their origin&l value." ~ t X )( 2 C-' t ~. " x i )( X. ! . I ! ..) .t to ita original position. 4 - ~ X ~ X -t<!J. X "'=' 4 J i 1 1 X - . t J.-:-- -I}.. ~. :$~ ~ I t ~f·~ I. . X I ..-+---.- . I J( ~ )( x l' ._~4 __ mj -u l(___.z. t The natural (~) restores a. -ri. (EXERCISE ON CHORDS.

AIR FROM "MARTA.'rongly mlorked._!.... IItruClJ[ wiih force loud . the finger lea.. ~ $I- ---. • . ~ I I _lLF lioooI -_N S.. • ~~_ ALLEGRO. - I- ~ FLOTOW. -t~ X . ~~ ..-X -#- . I 10 SON RIOCO.. 8 S • 'I - between the Srd and 4th of • 8 1 2 4 6 6 * Dots placed under or over notes signify th9.'""'-t »: -I X II I X ~ 1 X I&-i It. ~ .ving 'he key dlrllctly . .18 No.ck Note on the left ha. 'It !~~~ . Bla.!.. ~ )l~ n~~ • =I •.. Semitone. t. .) DoI(JZE'M'I. White Note." t Thill lign ::> i. D FLAT... oYer whioh i* it placed muat b.r ~ 2 I ... ~ t~ ~ I XX . -~4 ' p! 4 V I.~~ -c..~ 2 X 1 X «: ~'""'*-3 . KEYS WITH FLATS.J j the attention must DOU. Coun' 4. 4 . 80.t fihe notsl must not be kept down but struck lightly.nd Bide of B natural. or one key lower. l~)( - I .ti--~~ ---- . 3 .----t- ~ ~ -~ $1-- -t -- • _-f:." The note._..vertl. 31.. -t-- ~ J_: 3 l~~A I < ". This kind o-f touch is called " The StIoOOlotO. qua. called Ion "Acceui... The key of F requires one flat (B) to make the semitouic interval the scale. The Flat (17) lowers a natural note a semitone. e:) 6il • =--b. (ELISIRE D'AMORE.. FLAT../'. -s- f No.hl !lote is plloyed. . - .! .'. Hitherto the Pupil has been playing in keys requiring sharps for their signature now be turned to a few of the keys with flats." :I 3 THE D NATURAL.-."..fII--fll--IL ~ ~-. . Semitone. ~T~_~ - ..

. ~4 1 ! . 'l - All the's B 3 . 4 .-.-- -~- . X 3 • -17.S-._. x !! - 1 X 1 X I 'l 1--. OF PRAISE. 3 FfNE.-. 33.. < T_ tJ ...pelot till "Fine.." and r..'_ II S x 3:~t I • 3 OJ I ~ X No.1 II . !2 I ~ ""--"4 Xl-#-! 1X I..SYDNEY SMITB'S PIANOFORTE ME'I'HOD 19 No.L.-- 1 ~ Count S crotchets in each bar. :I SCALE OF F. MENDELSSOHN.. ~~ ~ ~~l I'" (-3"'C~ I 4~=C= .. ANDANTE. ~- . 3 --fi. -. 2 3 _.-1~ ~2 II --- I 2 I...) 4 Count 4 quavers in each bar.2X 4 3~ 1 x _. -. x 1 S " -""' )( 3 2 3 'l I ~ x '2 must be Flat.. . ..__ --.4 !I I :$ X 1 -. ..--. . -~- fl .------. I r I " tJ X _ .= .- -~ --F----:- • Go back to the first sign :g'. called "Dal Begno. 'l . • s I ~ X 3 . I II I -:_. 34. ~-!: ~4 Xl •• -'_- .1------....__-~-~ No. 32.- -._ ....--..--~ 4 I • .1=.H___.-··.-:: -- I • :ii -~. I WAITED (HYMN FOR THE LORD..~lX 13 2 --II .~ ~$: := :s: ..I~- :J: :C:: ---- ~.. .... -~- -v·.F 1 X r._I - --. 4 1 X -." .. 2") I 4 TYROLIENNE. 4 3 1X 2 I 1<. ALLEGRETT.

." OFFRNBAOB. ---... ~ _j: _ _._ ~ ~ ~..J ~f1' ~ 1':\ X 32I •• .. No. X ..ed voL"'.--. ._.. . "... -~ ~ MARCH -3 • f-+· \.. . rep. • 2X . LIEGST MIR 1M HERZEN.~ · ._ X 1 ~ _... 35. GERMAN AIR.. 2 3 . 1 Ji: _...._ --- t--.... ~ ..d._. >- . No.---~-----.J:~~ * The bar marked" lma voLta" (fiuHiIlle) time) too be played instea.20 SYDNEY ----... 4 3 -:- .v -#- =it.. _:I_3 /" .. ntr.~ X1 11 X I I X 11 __ . ALLEGRETTO.. II 3 2 ~ 4 . ~~_#:~._/ :.~~ === _--'=-..._ ~ ~ I ~- . I • · · 1 3 X 3 'll ~~ .....~ _i..... ~ JIL .a . DmiUlldwheu 'h... r-. 'J I~" I .. loud 'hi bu. ...".J _. ~::r .__t= x_. . >- II ~ . ~ .. 4 2 """""' I 3 1 . -~ -II- J"'"1 "..-. -:- - .[second ~da .._~~ ..--1!::_ . x-#- 1 .2 1 .~: • \. 31 . >1 .. 1'\ IttI" DU.... - no 2 3 2 I 1 .. _.... 2da volta. _. 37.. >>- ~_~_ X . 2 . ....-"l I II r .. GALOP FROM "ORPHEE.... air i. 3 ~ X :~.--.. _.. " t} .".-------.. )I~ ... No..." 3 2 <' I .~--" ~ I2X 3 S I 2 .. 2 r _.. ~. _. __ BELLINI.. (rJ::-~: <: ) It} ..-+-:t 1-- :c= $:: $ _t -..r lD.. • •• Ima votta. FROM "NORMA.....-:-. ~-t -~- -.tlld. r....._• _ . 2 2 It} rf:- ~_ -#... ...--~--=-~..--~--- SMITH'S PIANOFORTE METHOD._ :_~ =::- .I ~~~ J-. 2 X FINII.--ca_ X 123X I ~ 1 - -X -_.. "r~-I I I @k i:Ef':~gi-.~~ >- ~._ X -.. . ~.l1rl' par' DUh.1 1 X ._----. ro b.l\rl{.. 36. X321 -....

tS1 tl.. '? 6 "---tl". Semiton8. viz.SYDNEY SMITH'S !'1." DONIZETTI. sx 1I I I lC J )( .lNOFORTB MKTBOD. The key of BtJ requires two flats. to make the propel' intervals in the scale. ~1 No. Band E. )( I SCALE OF B FLAT. 7 8 4 6 1 No. x x I I 3 )( 1 . 38. AIR 2 ="--~ FROM Ie LUCIA DI LAMMERMOOR. 39. J :J5_:l_'l I )( -.@ ~o 1 a 2 8 x ---~ Semitono. ALLEGRETTO. :$2 KEY OF B FLAT. EXAl\[PLE.

X 3 1 3 ~-._..C1. I f .EGROj 3 -+- I 1 :I .._. l \ ±-:!:. N..---. II BOHEMIAN Am. . I +/'Ito + _l 1 ".. ~ ~ _----L_ -A . ~ r I -I' f I ~ ~ t ~+ l + + I + a i • I 1 2 + r._______ + + c-I' · · · -_ +L ... r '- l> I~ : . . I ".-+ i\ffi-'-oj Al. .- ~ • 2 1 1 "..=~ "">I . + "> > + + a >II :> 1 >+ >+ + >- ..- No... +1 I 1 +..l -- - I r " tJ i I 1 t + -#-T + i ~ ~ .l 4 3 ..l + 4 2 1 + ~ ~ -fI!-- ~ ~ ..l.. •A Variation" consists of passa.. 40. 41.::::t _ _.i + .____ . "" :I I . . --_ _--r .ges founded on the same harmoniea a. GOD SAVE THE KING."\ < ~ I • 1 + -----:--. .... spirito ~ti:i . ANDANTE.22 SYDNEY SMITH'S PIANOFORTE METHOD. . 2 - + ~ . No.. VARIATION._ I __ _(I/l_ tt/J- +_ _~_-"-f---- ~ #- -~- ~ . < . THE !I GIPSIES' !I 1- TENT.~ • ~ -t -.lTIONAL ANTHEM.. II :f'l= ~-'- + • .Om._---=:. .~ ~ -t • ...& the II Air" which precedes ii. 1 I >II .

SYDNEY SMITH'S

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O. L~1!:_ 8r-""" SYDNEY SMITH.~ 11~ L n.~ 3 x ~-:--f'-~- -. . 01' - rrrr ..---_ ~ I Ix ----------=-. like the note r-> 1= * As its name implies...t -... -=~ _1'L F-+--ritard.. 8 Qua. ~ 1~ " . -------_ ---._ -~ . :---. -r-' _£. I )( .. ~- __ -= A Semibre1'8 ...__ ~ FINB. • ~ w- . 47. .-F. I._ .!~ ~ -~ ..- . and is formed thus:tails. :: ~ ::::::l ~-== 11~- -~- I 3 _.i DEMISEMIQUAVER... or 16 Semiqnanra. .... GRAZIOSO..~ --I=- I~- -F- ) P --4 i== -== 1 :: ... THE The" Demisemiquaver ..f .' == n " • ~ .verl...__".~. ~ !---x t: 4 4 f!_--fL~. lei ~ ~ . it is half Its corresponding rest has three stems. No. Orotchetl.. the length of the Semiquaver.. is the next species of note after the Semiquaver.26 SYDNEY SMITH'S PIANOFORTE METHOD. . n MAZURKA. I )( _.-- X _lt~~~ -. 32 Demisemiquavers. (I-.! to rE 2 Minima. _..... ia equa. D... or ---. f I~ . _.

: ..--._..: _. =¥h~ ----- t < '" Iv !---.: ::: t: .. 1 .: ...-__ ---_.. I ~~==t== ..." X':' -~..-._ •• 4 3 II II 1 X 1 K I X 2 1 .---x-- - . ~- . No.SYDNEY SMITH'S PIANOFORTE METHOD. 4 .__...-+--. --.... A Scale which a... 1 X 2 1 a !l ...--I - .:::: -~ . -'- '~ _.. X I -. .: :J: • ~ 1!: . " Chromatic" . ai Uti. I r» X . .:f: AIR I FROM "NORMA. -__..: J!:.---- -IlL :: ~ I . i.. r- ... . r- ~"'¥J J a J ~ BELLINI._- ~ .. called .._. 3 X ~.. • .. -= Scale.. 1 __ .: .: • I 1=._-- :_________. 3 + ~ .. t II 3 .:l. I ~-- x ~ L ~ -. .....--+-- < I l' .. ~ i1 j MARZIALE.. - . ~ oj .. "1'-._ '-- ~ ! ~~ •. ...- ~-T- ~ -IlL ---- ---.:..: ::= L ~ \r:r "._2 X /""------. 48. ~ " .--__ -c- X ~ SIll _...-.&Candsor descends by Semisouea. .~ ::: ::= -.. one does.. 1 I I < .. ___ t---- IJ:.:: :c: ::: ..

6 . CHOIID C..jor. the Chord ill Ma. 3rd. EUlolPLE. 5 Major ThU'd II .. If the "Third" is Malor. C. :: C MAJOR...'.NDIN~ DIISCENDING. The Common Chord of any key consists of the 1st.~ce11ding the Minor scale. 8 i~ II @ OF As E Flat i8 a Minor Third from C. . ·Z" 6 SCALE Semit<)De. AI. ... 5 4 b:----< • 8 2 DESCl!.".*:=:3 MAJOII II 7 8 :::: • =:J. the chord or scale is consequently Minor.. Key Note. viz. III THE KEy OF C 15 {) MiliOR. Semitoue. MINOR SCALES AND KEYS..E 4 3 2 ..' . ARPltGOIO. 8 7 Semitone. tbe Chord ill Minor. The following are all Arpeggios. (A fi MAJOR ~ cw . the chord or scale will be Major also j but if the "Third" is Minor. 0 () Semitou. the Minor scales III ascendinq differ from Major scales in one particular only. EXAMPLE. I @? EXAM PLI!.. ? D THE MAJOR AND MINOR THIRD The Maj or Third of any key is 5 sounds from the key-note (both inclusive) The Minor Third is only 4 Bounds from the key-note (both inclusive) • $15 84.. founded on the chord of C :- . instead of the 3rd and 4th. .28 SYDNEY S~nTn'B PIANOFORTE METHOD. CHORD 0' C MiNoa. as in the Major scale EXAMPLK Ssmitone... IN 'fUE KEY or 0 MAJOR... that (in ascending) sernitones occur on the 2nd and 3rd notes of the scale. FJ 51 2 4 SCALB 5 ASCENDINII 6 2 MINOR 3 SCALl\: 4 Ii ASCENDUIQ... MAJOR AND MINOR CHORDS The "Third" of the key decides whether a chord or scale is Major or Minor. II SemltaR'" . the semitones occur on the 6th and 5th notes as well as the 3rd and 2nd.r II @ t2 8 ba 7 MINOR ". and 5th notes of the scale.. OHORD OF ~ 51 G [) II ARPEGGIO. 7 iO 8 II POI II When the notes which form a chord are struck separately instead of altogether CUORD OF they are called Arpeggios C. 7 8 But in de. Semitone.. E Natural is a Major Third fron.. Q . Semito. Q 5 SCAl. 2nd Position Srd Position..:'. Minor Third.

~ -._ ___ --it1- ._ ~+ ...~::_ . ~ x I 2 ..'\ CJ ~ i--r7 If I:J~ IT II No. the relative The relative Minor of any scala begins a Minor third lower than the Major scale. ..-$ ~ . .. .. 4 W l(.~ A MINOR. ~-~.. "":4 1Sl- '---- .. +--~ e) .." I ~ 2 X I 3 2 I 4--..... X !I • . _. 4x .. )( x PREL UDE IN A MINOR. l ~ J r.. ~ ~ ?~ ~ * ~ I'll 3 ~ . 3 ~ x .~ ~ I i ...-p. MENDELSSOHN...J. ~. I r....:1- ..)(.--=----3 ... 3_ - """1" ... 48.- a t -_g t"::=::J r.---.."\ x ---4f... ~ ~2 )( . 'rhus. l r ~ 1-' l : ~--. - -#II ... I J I I )(-£7- 1 . ..--.a .~ I 11... ~ ~I ~ . i ___ "iii--- )( 3 . 49.1 . -.... 'I'\_~ ~- ~ --. Minor of the scale of C is A.... d--- J" " l: h':l ~ -. . ANDANTE IN A MINOR.... ANDANTE.. )( -~ I ~ I II r-.. ...... RELATIVE MINORS.. )( )( 2 X 3 ~_~: -::::.."\ ---l.'\ ~ -IL 15lI ~ --I +2' I ~ f':'\ .. X =:=-~ (\ )( +: - --~ +- . ~..... .. 29 MAJOR No..j x 2 • .' 3 .II#__ x.--)( I )( ... ----41x'----__. .~. ~. r..p.::±-1 __ -..SYDNEY SMITH'S PIANOFOR'l'E METHOD... 1:1 ll' T'i' ~ 4 X"--- .. " SCALES AND THEIR C MAJOR...

. ~ __:_ :.. .J!-" .:':'"1f""""'tt ~-:- .f WUU l -- -!fL -!fL -!fL -fL- ~ ~ ~ . ~- ~ ~ -----~~~- ------~-~ ~ -- X 1 x -._+- """-'==---- ~ -~- -# -t-t- -X I :~_1!. No. ~ 'f'l -< r-_J 4 _.- ~ :~_~ -!fL~ ....30 SYDNEY SMITH'S PIANO]!'OIITE METHOD.3 it 1 ---IT~~-~ ~ . ~ ..-. ~----. I~1~'I!: __ 4~_ r x --.Ix :II a .fIL . AlII.. -== . x-IL ~- ~x 4 I~_L~ I i ~ 3 _) 1 1 X 3 .-.---!fL~ . 3 • -f-----J-- ~~ -:f!: --=~-. 50. r~~ < ALLEGRE~ I it THE CARNIVAL OF VENICE (Air and Variation).. -!fL :f!:_- ~ -IL-:f!: .i IX 'I x rx j x II"" .- f~~ f ) a • t 7. X ~--:f!: 4 I l( 3 I VARIATION it .JL L l.J .fIL I~ I L-_ t:r l..-. ----~---~ ~--f*_- 1r-3 . -\IL-- I ~ X 1 x 1"". -f#-- -f*-t-r- --t -.... II 3 f--...-_. I l( ITALUN --= e . I ...

#.. i'li-ela'in . G MAJOR... -_ i...be Major key h•• ODe .-- . E MINOR...-il: ~. 1)1../ =i.. -~ ~ "".j X I 1)( I II 4 j""!"""T" .j .-:-.-:-..rp the rll. l" - I-~-.. 81 I~ ( '" . I b.b.-. 'II. I I X I-J i._. Major..-_* a.illnatufl and 10 OD. ..ft I ~oft' I f J L.~ 4 x 1 ---- -E: -s-- -t- • I .-4- 11~:j • " - • X !II X -!_~ -- .1 " ~=! ott • ~ - 4 I _~_~____2 .-..-:-. J I x r1 -=--. I -~ • X I I~ : ~I f .:-t ~1i= . If ... 4 X :l < \I~r A'" X JII JII X .-I'--- '-1'--- fL --- __. # 11!" x ~ .x )( 3 X ! x 3 3 PRELUDE JII IN E MINOR.*in Minor will have one .___...SYDNEY SMITH'S PIANOFORTE METHOD. I- No... - += 1 f I • I . __.~-=':r-. A" 11. L I lI{ l J/l. l 4 __.J I I_ 1 IJ UU -fL ~ fL - 1 I· < r ..--:r -3-'.::± -f'T • The relali"e Minor h•• the •• me kel·..

. 4 =~ ..'-+-±. c" QZ. .. . f 3 l . $ .___ • 4 ~ )( f ... . Ie) ~. 41· . .fIL ~- _ 1- • i . . !Iond ~. 1: I- I " I • -...- . f C01I mollo espre55.. ~_: ~.- i® Ie) ~=1li . I ~ ...... I ..or-:I::J ~ '2 2 I .. ! ~ 3 .:... ANDANTE ~fl~ . ~ FORS' ~ E LUI (" TRAVIATA ").. 2 I'" =::1:::1 4 ~ ~ I < .J ...... ~• ~ ~ -# r ... . f J .. 3 . ~ I Wit d%. r ... "'-Jilt ~fl: -.o-.SYDNEY SMITH'S PIANOFOR'rE METHOD.. 1 . )( S-I· ~ . .." -fi-"....a 0 J 4 _ . @-f.. 1 .e.. 3 2 ~ -.... El. ~ ~ "' .. J r-i " I ~: < . ._ ~+ -:bo.. p 3 ~-----• .. "'-i. '!! a ._-II I . . .... . ~ ~ -._!.... . ..... l @I • ---3 ~ ~ .--. ~'ERDL 4 3 l~ 1&I~-f I~_' I l~ ~. _. 52..--. I ~ . An..... - .. -l+.-----"'!! ----::i -~ _~ . -'~l ~':=i± :f!_-.- ~ ~-- :~ --2--I~' . J( _. No..._ . . - 2 .-Il. -~...... • -t_ ) )( -f".. ~.. --4 ~~I - -.t- l x . • Ih!lorpiI. Key of EO Major. I .. . 4 r---- i~ '--- _.I :-fII~ ~-------.0 4 ~ <:»: I 4 .j..--112 ... )( . _____ ___ 3.

.... I ~ 1 No. '''' t- ~ J -.. " )( --..J -!L.I 1 I-- .1-----.' • .~ 4 I ... --1- l. I J ______ X 2 ~X~.~-~ I 2 2 1 ~ ..-... X __:_+= -..-- 'ill X r. I II X ~ .. - " _IL 2 . SCALE OF D MINOR.. 3 ~I '~ I I 4 X - 2 3 ... I < r " . ~ • AIR IN D MINOR.. S 4 ~_. -F ~ 3 ~q"triII" PRELUDE IN D MINOR.._ j/I_ --. ..JII.~~ '~' x '.Il ~ .-.I 1 -- .. 2 ~l .~_. _- +---- '* '* L---"'" I r........ II I --- I 3 I ~~I ~ :..>. ::. I~=t::=t~ X ~ + ....- !-. Sl'DNEY SMITH.~t 2 ~.~"_o--. I -~[jwg)j !fT~-'X I 2 4 2 I • ~~~ 11 I -I'-...)( ~ 2 .. _._.. -. _c~_· )( 4 t i~·· '-----'- --..fll- I ~.:. X -3 .SYDNEY SMITH'S PIANOFORTE METHOD. -1-"'. .~. l...t:-"'" ±:::.-r.-___ ~ X ~.-.-._' '.J" ~..._ ~ ~ ... I I ~ . J - - --f.1:: ~-+- 2 ._ _.--:::=1 ~tII.'---. )( X 11 4 ~ --.. )( t II 3 J~4 I )( ...--. f )( leJ .fL.._ r t~Ctf=._ )~- . )( =---tt eJ X "~' )(.. ._I . I __ ... -T1'l r.L . ---- X .. ... 04.. J~~ X I -----4 += . . " -. I ' l( -~ .. :1""--+: I x 3 ~~- . 83 SCALE OF F MAJOR. .

v MAJOR. BI7 MDiOL Etl MINOR. Two Sharpe.t A MAJOR.I ~- -- JL .. . " MUiloll...J'-~ . I FOR THEIR E . Six Flat&. -Ill. D MAJOR. I I E1 0# MniOR.___~- I - _.----.s. D MINOL G MINOll. . -.... Et) ~LuolL. 11 ".u-OL SIGNATURES.-.-- "" - X1 ---- t~ : I ~ >-- j r. a Minor .-~ )( --~ --'-- S . Four Flats.34 I 4 x .II'-_ -#-I -.. .J lone I E Sbarp. OtJ MAJOR..~)( ritArd.... II ~ -- 4 )( ____ I -I- l--' i I I J t 4 ~I~< ) I t.'- .--. • Five Sharps. Seven Fl&£a.. F MINOR.-. -~ At7 MINOL I 1 -.. . if -- --------- AMINO&' B MINOR.rpa. )( - -~: ~ . J • -' . " I B~ MAJOR.g~~ .__ • I )( r ~ . t----:-~ )( I :=~ ~. Six Sharps. . _.. ~ s I )( I < -iffR-t::: ~~ q r '-.: I -r - The following table shows the whole of the major and minor keys..______.f--- ~~ I. .. G# Minor. ..t-~ -fL -IL ------....$ MINOR._ KEYS WITH FLATS FOR THEIR F M.~"~.JL__-IIL JL_ Sol J- .. G I KEYS lI-UJOB. G17 )fuOL Co MAJOL J ) I~ ~- One Flat.. _ll F# ~ MAJOR.ts. _K__'j No Signature required.II SIGNA. ~F_:--t. ~ I: I ~~-f1l-- -IfL-~-~ -~ ~___£:E ~ li_ ._ - -~~ ~ ___l 11-\ I -~ . I !...• ._ . with their "signatures":- -~f}- NATURAL KEYS. -- Two Fla.A!:J MAJOR.. It _. 'l:hree Fla.f- ~-- " ----_ -T=3-. . MuOR. WITH SHARPS -~-- o .._ -IlL ~ ~ I~: _~ (\ .-.. ._ --~- .. ~ . D# MINOL ----~. tt B MAJOR..JL- ~'. Five Flats..ts. A-. Four Sharps.-fit- ....JL__ -IL -I'-- -- -I I - I _.TURES. -" I .~ Three Sha.:.._ g -'--rc I 1i-_ >- 2_ ~_.

for gtvmg independence to the fingers. 1)( . 35 PART THE SECOND.SYDNEY ~"fTTIl'S PIANOFORTE METHOD. These Exercises are specially adapted The semibrevea muat be held down while the quavers are played. II1I 11I I xxxx )()(XX 4· _". EXERCISES.4- -x- Each bar to be repeated 8 times.

.~~t: .0[ ·.4 ~ I 3 X !I ~ . 4 ~ 1 X X I .iIJ-~ -4.. .ret ..-:.. )( :I ..~.eJ .' ---+ I.. x 4 II I II 3 I • I 3 I II II 4 X ·· · ·· ·· )( I . ... --..-----l--!._~ - . . . .... . -... note >-'11 3' - ...-... ----=-. -#'-4-' 'l{ 2' • II :I ... X .- x I :. 'f*t- :I x 1~ s 4 -I a 4 r... I .· · • ___.... x -..-.. -4 - . ·· · · in each bar. . :..!" " eJ4-.. 3 - 3 ~p. 3 ~ 1X oIL .. .-: ~ 1l-~.11 ~ 2 2 . I .. -- - · --... · · ·· ~! ~ I ·· _._ X ---- .._ 2 I 3 .~_ . 3243 I . . ( n 4-'-Jt£- = ----f'L- -.2 . . 1I I < I eJ · I " ..- a --. X I~~_'~f*-~ '---'- j------ 4 X 2 _... .J . .. - 1 :. . 1+-6 .. ~ . 3 -..- 2 4 I . .· · X --.'21X I jl 3 4 ~ ._ : --.-t )( . .:.. : ..- - :. \~ r.-.x...- I~i~-... ----2 x _ ---<--#.... 4 3 -_._. ·...:.- __"__#-JfI_ ..36 SYDNEY SMITH'S PIANOFORTE METHOD... 3 . 3 !..~.I :I~- ~2 4 2 3 I . ... . ... · 'II .· · ._-...~ I x 4 X ~~3 3 I X ...q - -... ~ • )1~3 ~." I I. ... "~ Accen ~ the 6... ...::=I_ . . " ._~ I )( .

J ===:t= I i . 37 ----_-=z=_ .NOFORTE METHOD.SYDNEY SMITI'I'S PI.It.

. - · ·· ·· ·· .. . I~ ~= . I~~. " Ie) ... r..... Iii&iiiIiiiiI . • .O. . t .. .... .38 SYDNEY SMITH'S PIANOFORTE METHOD._~~ . -. ~--F.. · . f--IL. ... ..~..'" .. ---.. . # .. . . ~ :~..----+-- --.... ~- . ---- .. .--_ . .. -- ..... ~~ .. '~'-. .. - IP""'" .- -.. ~~..~. "- I~- iiNiiiiiiiiI ~ 'F--:fL~ - p-- n W ~ - ... ~ .h_ &iiiiiiiiiiiil ~ ~".-1L#-. ~ . :- -_ • . --F .. h . .. .. 1iiiiIiiiiiIiii'~ ~ . fL-:. " .. • ?-- l <.. .. ~ - .

~~~~~~~ 3.. ~@ B _~~~~.~~~.~O'j:rfilO'f"j' i-: ·': : ~.~~~ . 39 \.. :~:~Eiei~~~~~·~~··~~~~~~· OCTAVES.~ _.. ...SYDNEY SMITH'S PIANOFORTF... __ 11'.~~~.~~~. MF._ __. ~. REPETITION NOTES.THOD.~~j. _.:~ __ _~~" 4:'-_- ~~~~~~~~=..32 ~343 1212 XIXI .

SHORT OR PASSING SUAKII . according to the scale. THE TURN. and the semitone below._ and consists of the note over which it is placed. The Turn is formed thus: . tr_ SHAKE WITH TURN. 111e Shake is written thus: tr (an abbreviation of the Italian word trilla). . and consists of the note over which it is placed and the note above.. Ir SHAKE.40 SYDNEY SMITH'S PIA. THE Written. CHROMATIO SCALE. the note above.NOFOH'fE METHOD. according to the scale of the key.

le. ._ . . )( ~~ 'l •x )( '1 I X -+""'3 .• I --)( --"_ ~ -~ · ===+:4 .. !I The Sca.--.~ 2 I '1 3 ~ ~ - D MAJOR. . I )( B MINOR.'lI.. --: l( x 'l • I . I --~~ I X I ~ '( .. 3 2 1 X 'l I -."... 41 THE MAJOR SCALES WITH THEIR RELATIVE MINORS...-------- _-- I 'l 3 I :J_ \! 1 l( J. )( .._.ooI ~ A MINOR.-. .J - ~ il x )If.-' I 2 - )( • -~-fL- ~ --l:::_ ~~ X I '] :1 3 I ----~ 1 --..SYDNEY SMITH'S PIANOFORTE METHOD. lltl _ .. x I < IV -X I-------f"-- -'''--. ~~~ I 'I G MAJOR.--.--t= ---. mU8~ be played mAlly - 3 .. C MAJOR.-"I -~ j( ~-~-. ---21 I . --#- ~ times The I. .--.A$ note only be played a' the finl. OYAr. _- ..! )( I -._ )( I '---- 3 'l !I I --E MINOR. .h. :1 X _ ___£ t-- -..1)( -. ~ ~l - !I 3 x --'0 " 3 r ~~'-. I < n ... I ... """-1-1 I )( 2 3 )( 1 3 'l x 'l _-iL _:'-AL~-:X I ' - )( 1 I 3 • . X I I 1 .-"4 r x I !J ~ )( 3 1 'l ~~ II-...".-e--___. )( I '1 X ':' -1--'- · · - :J. n . - ..--_r---+ -#__ 3 X s . )( x _!f_'~ --r-- " -II--- 3 b..-1 \! !I X I 2 3 x 1 X 'l 1 )( I I )( 3 'l ! I~ 1-6 11ftt..

_X 3 --)( 2 I ~*-"t-X -.--~X • 1t4t=-l> ~# Iv -.42 SYDNEY SMITH'S PIANOFOl\n~ METBOn.- -: 1-- <r"'__"~ x -- G# MINOR ." II X 3 ~ -.. II I~~ X II x ..• X X x t F'O_'" tt -+~~:".. x ..' : 3 -- -f-+- - X I X ---.-41--..~ ".d X ~X - ~ x X S .l x 3 X X .. ~ 3 B MAJOR. ...-4. _......- _ --. s 1 J . ____ ....u FI MINOR... - ~ 3 X :£ X _L _ill X S :::.- . -IL -. ~ '. - --_ K . _ _. '.:.-~-~ 3 1 II 3 X 1 a II x 1 II E MAJOR.:J: ~. 1 I LfJ wrJl+ A MAJOR.. i II x x . a X 3 X I 2 X 1 g 3 ~ .. :I 01 MINOR..J"!!!oo 3 --#21 --------..--- - ~ -. ~ -.

_.-.AJOR. JII_ --- ~ ! ~:r:~J( ~:---. ~:r~~t=~~t:~~~..~--~-"~. _. ~l! .._. I ~!ii_-~- ..~P= )( )( 3 G MINOR )("-~ ~ X 2~ _k x .-f. .-. "-4~ )C :::r..SYDNEY SMITH's I'IANOFOHTE lIIEl'IlOD./fL~"'~"~§~£d§~~~3~J~"..~ II _. $I..r~~""":.._~' ~~~.--~~-~-~~~~~~~~~~$f 3 X !I ~ )( )C • . x l!l ~ 3 . 40 F MAJOR.= --+ -T x "§E' 3 ---~ . II )( -1--- t :--=H=~ ~ __ j~~~ ~~..BI =:f~ D MINOR.._~-.. - ~.._~~:-.~"~~. fit> M.-1 - ~ X a ~~" "'--T_""*X2 _r-. ._- E~ MAJOR. --T~." ~ 2 X ..~.-~ }.

_~~ 3 Et7 MINOR... ~ + ~ 3 ... ·. )( --K~4 I X ---_-_ ~--~....'.-. . ~. A'fJ MAJOR. X ~ )( Dt7 MAJOR. -:--~fl' ~" I -._ .1l. )C ".NOPORTE METHOD..J1--... G!7 MAJOR _)( X ~~~ '~+I 2 L I r 1\ :l3 I ~' x +- 1- JL-_" +r- _ X .44 SIDNBY SMITH'S PU....- 3 t ~ f - ---..----I X • + ...... 3 F MINOR )(~ ~.._ ~' ~ .. - - x .. ~I~ X !I ~ --:-= < 3 ..- - - '. I -# ~ --+ )( )( )( .. -. ..._. .._ 1 ~~ . '" ~ '._ += !1~ t. .._. ..I )( ._~ -{'-". . 3 .--.."_ .. ..• =r«.~ ~. 11~ ..~~~._..1 ~ g . )( II ~_ X . x 2 < IJ I n Ie "1 ' )( ..h_~~ . ~ II ~ 3 . . _ . + '2- I .. I 1=- -=1 -- n~1 J:id~... ---.. )( s 8 B" MINOR. ~~~~~ :)( b...--+ I- .

)( ...C· ·····~~r·=t:~ .. x 2 ".... -IL- -~ if.. ~ .. +r- -t-r- .-. ..IL ._. _~L •.L+-. . )~-= ... X -I--t-J ~--... .... .. 45 APPENDIX.f _- -. m.. . ~ ..Il.-----r-" .. 1--fSIK-.. -+-__.. (J 1..".J:J-r ~ j ~ ~ 3 I ...r'!.~ 1 ---._..::j ..-If-F ~. -+- 3 I ---l- -+ 2 4 X :I x === === .L__. < 11~1 . ~ -s FINB.. L X I 2 1 . ·s· .... r.-I 2 .r:" -". h .19 E~If" . .... 3 . ~~..- ....!I!'-I! ... . '---"..-.. -!}. _. F-. I·' ...- •• I . 4 . _ ~... . . ~ ...J...~ -. -~._ ! 1st tlme·ll 2nd tlm~. I':.SYDNEY SMITS'S PIAlCOFORT1!l METSOD..L ~~=+~ ..~ I _-L... " 4f )~ .... -r. X 1--. t 4 3 II 2 f'. 3 (~.j.s~ f--.- . ~. I~lt· ~j.. ..J1JL F -~ ~.. 4 I~· S • •~ .. . ~_ ....fl...- »..:: ~ I'''' ._ )( ~ Ie' ~.... CHARLES GODFREY.-./L -!L +...- L L_.-- -- .....". •... .::. . - '=~r ~ " I-L-~~~"'_- . . -.._- DLUSH :1 ROSE WALTZ. L!=E--==:E-. •.~ . • .... @. . ...• ~ . -.. -~ .!j= 3 .. I-~ d$1 I M -. ....._ ~ r r:= .iIL • -:-+--' . .. ". - I . .. ~ .c ...- t!:. )( . ~==f---l .+- .+ I..

BIRDIE. SING. ..i-c :.#.16 SYDNgy S:\llTU'S 1'1ANOFOlln'~ METHOD. •.~ .-. W.. SING.Chn f-----+-~#---j----I .

.~_fU ... .. - ~: + -P-- . 1 I . 1 I -B- . L-~ . ..... x X i. BOYTQN SMl'fH .~ -- ~ -. j ". If'_ :l 2' i/... 1 I I 1 r I r .... • • .. f :~ .._ . rail.. I.. . . .'J ~ '" -(II..... 3 .. I I --r-· .. -~. ~ - . I 31 4-1 ~ I ~='=--.. ~ 3 ) J Iv ~ I".... -!$I .. ...... . ~~ X .. .f~ ~ ~ . GJ : ....._ II- ~ If- ~ \ ~ I T . I . . .. ~ - ..."\ . t· -~ ~<'--____. I J~ P- I I - . 1"\ l -f~ . ~ ..... . . .~ ~ . ... -- I'" iIIf' 1 I --~4- f r :I 1 I < IV : . .._ .. . ~ ..- . . I Iv N5. .-~ . 1 .1 .. .. r. I r"l -I \ n "" 3 1 I 1\ o..~ ". ~ r .r ..I • ~ 1 .1It- x x~ £1 t::::"" 1 ~ ... 47 JERUSALEM THE GOLDEN.- MERRY n BIRD.. ~-I!- ./ ....... X '"------" I 2 4 3 ~ . P - 2""'__ ..c:. ..."1 ~t It. I 'J I ·__"-F--f-· "t"t ____. X . Xfj- . .iJ. I ... -it_..--iJ.. ~.. I rj::~ < ~. ~ .. ."_ ~ I-~~ . I ....... (~ 3 ....~" )( 2 . . . '-... ~ I ~ IlL fL .MODEHATO .--I..--iii.:j:... ...SYDNEY SMITH'S PIANOFORTE METHOD.~ . .__ - ~ 2x [oj ... CJ .. -It- .J I · · · ~.

II- .~ -' -J =I=S= ~ ""I ~--. ---~ '--. RICHARD80Jl .- 2 ...- ......~ . • .( f~-~~-.48 SYDNEY I.- "'" . -!fI. -------.3 . 1 :> I -~ . I~- • -S--S-~ I . . .--X -0 -~~ I "' < ..------.J X I' II ~ 4 -....:= f':::7 ]" -1'---1'T -.. -t ~ ... -S--S-~ . ~ '- l=i=::!: ... . _-- -~- c. ".- . I . mf I . • ! f~ ----=-s- fII- - ..0:'\ .. :iTT . 1t-6I- ~-t ---~ ._.._#- "'---". 3 fII-- ~-.::-:... -1'-- ._- __ C. .6Ir -~-~- ~~~t U :r -.= ~. .. . .- ~-I'-- -~ 1---4 I s . - a tempo .. . 7L 3 . rall. .~ _. .t.. L ."-fL .S.. 4 I I -_- ----.._ -I'-- ~'-I- ~ -'J:- _~..J/L -I'-- I'.J/L -I'-- -tot ~-~ -:~ _ .~ 2 " .. • .. -".. . r. I -1-. ._IIe _/ II!!: - t~: • 1~--tIf--- i~ ...-. - . -~~-- r:'" I Ie - Ie I tJ I~ 1 1' ..- .lMITH'S PIANOFORTE MErnOD. ~- Iiii"" .. -:~ -~ J~f ~ '" .. -~ -_____!_______2_.• Furl._ 1L__ .-== ~ -~ 11-- #-- .. .. or -d.-T -9./1'- I 2 2 r -I'----~ J -..1--. --- :> 2 :> 4 ___ X I X ~ ..J/L .f I DAMASK ROSE WALTZ.C. ---.-.:.

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. .. n r--.... ~~'-' . ._. "' -l"''''' ..!'!I "' _ _ _ _ . __ _. - · · . _... ~ _. · ...·· P . No..•••••......y j7.•.__ .... if __••• ~ r=>: ..•.. _ ..•••.. _ ~ ~- .> "'" -..· '" _ . I ~----- .. u iJ ff · eantab ile.. .•••••.•. _••••• _•.. • . ."'_"''' _ ~"' ... .••.. .! _ ~ I . . if 11_ ~ . . / · :..• . • · .••••••..• _•. ·. ~~ . 8t~...... .._. . --f--~_ - •. Jz .. S..... POLONAISB. . I I .2. J A DA SSO f~lN.... • -"._----. PRIHO. . - > >- ~ '- 8V~ _...•. ~ .SYDNEY SMITH'S PIANOFORTE METl~S~ 67 TWO DUETS FOR MASTER AND PUPIL..oIL . ~ .... _ >- ..- <. ~ ... .. ·.•.. " I':) • . Finger exercise.. . ~ . J...... >... if .--.•.__ __._---_. '"' ~ '-..>- v -F-._. ·. ._•.:n ~ ~ ...ftJt f a tft I E6t (g E bf:II¥31 AHa Polacca._----.. .•.s.... _._ . .. t < " o .. a :---: f . - · ..· .. . __ >. .. _. ..J .. _. .. .. ~ .. ..... . _..__.._•...---------------------_. ..41 ~ 8~~_•.••........ ~ ~ ~ L ~~~---... if - ...•.... ._----------------------_ 2 ~: u t1~~--. / .•. . ••• __•••••••••• _••••••••. .. .· .•• _•. ''''III> '''I' - .. r . I - ...• --_ ..••.· . .. _...• __ ..•.. .

Ped: . · =6 • Fed: ::e.- I Ped: Ped: . • :::::::=-- ~r • · · fb"t~ f'~ ~ l ... ':' . • r Ped: Pe<l: l'ed: ~___... p _~ !~~ ~ • t • . - bl[~:::::""1 . ~~~ :~ ~ e "'-1"- ~ ·......' .'}' r : :=: ~ _. fed: :: -I--- • 9..... red: >if :i...:. * .. ~' .68 SYDNEY SMITH'S PIANOFORTE MEn-IUD.. " -i !!! -iI~"" ~ bi~~ ~: u' E'ed: • • ..~ Ped........ l~: • ~ r- · · if :~~: ~!:~~ ~ ~: ~.... -G . -~>/#: ..~~~!~ ._. ~ · . t\ · · <: :: ~ : ::-:~ red: ~ .. red: =If..:: r ...) • -:e :t$. ~... .j ~ ....· . .. Fed: "~".! = _________ ~ -::::::::.. ~. · · . ~ ~':::: ...-- iii . • '. .'. SECONDO. '..11 f IW_ ~:'~:~ .• . ~~ h il I.. ... V #: Ped ~.. "" . ..-!!!I _ = •. . f orese: piuf ~ ~) ~ if :JJ: Ped: · · -J. .j.. . _ -. / t t '------ · · .. . . .._ f ' .. .

•.I .. _.1!L... _. (..PRIMO.-•.------_. _ a -. : -r- ::::::::. • • ~~ '1-1-._ ._ _. ~ .--_ .._...••••... ~ ...' ... ~ ... .. ~ r>: if ----.--. f _~ _•.. f I I I orese.-.. _ t =!i) It.. . ...._r-. .. _~ . -- """ a ...•.•.....- .•.. -_••.... ••••• _•••.•~ _.-- ..•.-..r - -. -- _M . . __ . • I" Q ... ff .. 8f!~.. ... _ ... ~ -.-_ _ ~~~ 7' I ...~ . 8~~ _ _.· JL - • . . piu! I I I f I L: .._...•. _Q • I -< ." ... .. I ~ ---..'\.. - - __ ----... ..•.... _ _ .SYDNEY SMITH'S PTANOFORfE METHOD.. _....... - . if • • < ~ p- r:": .. ~ ... sf __Q .. ~ I " . . ----- _ ------.... I' ..... Q ...... .-_ ./ r=>. _ "'...•.. . If-t._- sf ~~ ~ n~ if ~~ --..-.•.•••.. .....•.-------..... -.... '-"--'" eantabil~. 17\_- .. __. • lr~~~ .•... . ... ill. .••.- ~~~ 4L t -< "" espresso "" .......__ _..lit .. • __••••••• _•.• -..•. - .-.. _....•...- ---...... ...--. • ~ ....-... .. 8V~_.__.. --.. ... ...- .... .••.....-..•. -""" ..----. lot _. I ._.• ~~ ---.•• - ...-...-. B !. •... . • • " '- • • ---.... __......._.... r=>: ... '- r:': .. • - ... 69 .. . _ _ ----------III .._. -._._ _ ...r:!.

f I -- ~ . oft }IV " ~ a X I 3 4 J X I 3 --t-. I'"_ n . 4 J -~ I -_ ._- ::> 1!!- . t x I l'E IX •I .. ::> ::> -If'. )(-fL- ::> --. P AESIELLO.f J - ...70 SYDNEY SMITH'S PIANOFORTE METHOD.. -n-It-# . AIR AND VARIATION.f 'f:t. •s 1X x 4 -~ r=t~ • I .s- IC. 140[)[IlATO.f'L .

rl. Dolnrr (Jtali. In the Spanish etyle.. and pathos.. from tho Bign. d. that the perfnrmermllst· etum to.aing Telocity of movement.. Ad Lilliturn (Latin). charr. Witil elegance Euerqir».st. Joy. Somewhat cheerful. greeable to our fancy.. E8tinl. (Italian). that is. Acciaccatura (Italian). B.lleyrello Scleerznndo (Italian).. ella (Italj~n). --Pastorale..-dian). Two equal tim . sometimes spontn-ueoubly intrGdllced by the per· former.). A quick species of COlUmon time. becoming softer and slower hy degff:~~'8 Calcanrlo (Italian).lroftwl) mosnmcnte or p./m" (French).t.. after lome shor-t reJaxntion in the time. Expression. in the Turkish style.i<I7IameTIto (Italian). or Fz. &nd atyl". Slo . wit.za (ltalian). Fi"e (Ltaliau). Canta!'i/e (Italian). Placito (Italian). With gradually incr.1. A concert piece..o . . boldly. ..ted by the composer. At . Flebile (Italian).ndo.)..f. D" Cap" or D. Quick.ddit' OIl elf oth ·.... __ E. .d manner. (Italian).v.th afIlictlOn. (ltalian). mod. In the church . in strict or measured time. ____ Frlo". Quid. App« s"iQ>lulu. AI"omb (French). pleasiug style Dolce or Dol. __ Milita'''' In the military style. Delicatoly. (It. Allegro Al!Il&i.lian).. (Italiall).. dll&Uy increasing quantlty of tone. MoW..nte. Humorously. To the. ill. In the church style.. alld bass. with expreBl1iou. A Tempo. --l?ruziOlO.. In 11 gliding ma. A c1_ in melody IX harmony.he time.1. Q'lick. "PI. ExtremelyqlUckandhvely. Catandc (Italian).. Abba.. In a mournful style. a movement 8('Imewhat ~l().. In the Italian style. ___ MoUn.rp"k). Brf"r:.1ln) "~it. Con 8rlcJ'yia 01' Energi. tot-al aimplieitj-. AndantinQ (Italinn). An ornameutnl anti extemporaneoue pa&tage in trod aced at the close of a .. In the Scotch style. An agr'tl!lHahl~ ("(mlhinn. Fantasia (Italiall). Abba.ing style. With expression. Cma D11if1~"~ (ltali.zza. imo (Ita1. __ Turca. Cuncer·lo (it. All. Acc. (italian). Animato. movement.tyl e.. Slow.... quaurity of tone must be graduallj. Capl'iceio (Italian) A fallc.. With jlltenM animatio Furiasu. In the hunting . With q uick nes a. term of I'eference. Concerl-Stiicl (German). Indicates A soft and pathetic style. oyer It druhle bar. CrellC. Aria. and naturalsplaced before notes iu COUl'Seof a piece. alld ""e.. (-lUIck.'I.. . .ell of the noW8: tlley are of thl·ee k-. Attacca.c(JmClll.ign iii the course of the movement. In the style of an air.4more (Italian).m). hupli"".~liall).. Implies a 80ft and sweet sty le of performance..~II Aiz requiriug great "Pirit and volubility 01. Slow.allan)..... -Capella.<1 irregular species of eomposiuon.. ___ FU1·io. I em COli With grace. Divertissement (French).. &1. ___ ViI''''''. 'With: 8S con eapressione. uto (Italian)." Burnto (Italian). Alia (Italian). ."sl._lug or piece of music. Gradually diminishing ill tone and q uickneaa .1'o (Italian). with ![riel D" (U"lilln). Accent. Dwelt. Without labour. hurrying t. "mark of repetition.rt 01"". With extreme sweetness Dolente.. Anda. joyfully.s.alian). must follow the principal part in regM'd to time. but not so quick 0. Ot"(l~iflJil. W..irul . con (Italian). In the Venetia.. In a singing manner. wit.. but K.. Coda (It.•. In the style of the Sicilian shepherds' dance. SImilar -.Arp'9giQ (Italian). COli (ltalian).l. and pathetically. very quick. See Ad libitum. &0. A t>ery ~low a..tematicandsymmctrical forms which regulate other compositions. \Vith mucb . or or GiOC()30 (ltal. . .acefully. with fury. cOn brio..ith spirit.."Vith tM~ Can }.. energetically...). Polish dance. A ••ai (Italian). Ben. _.. (Italian). in the style of. C'hmrnllhc. T". ] tuplies that the nob iJo to be marked with particula. rapid and vi vacioue .ziana. An expreeIlion indicating a ahowy and sparkling style of performance.he 8cILle of 8ounds. A short.ea.ion (wlth neeompaniments) iutewled to display the powers of SOllle partioular in8trum~1I t..lfto~"o (Italian)..lnzione (Italian).r ~ "i!l'ni?e. also IL low pitch in t.. Passages formed of the notes of chorda.). A Cap. A composition for two Ita· . SloW &\i'hJ with. With brilliancy and spirit. COrt G'.'l'aHTloia. Uy decreaaing in q nant. Time. execution..). GioCMtlm~nt~ GU~JJr1tuj(J S...i3te.b.. ._. in a 'pirit.tyle. In the Enghsh . Molto. emotion.. Withquickrlet<s and spirit.-. AmM'el'ole. Capella. An air or song. __ Scozzese. Loud. With exactitude as to time..a fardcal humour.'\I.!L E •. ([ t... ___ A.i08. (Italian).8 Allegro. led by areoitative.m). armth and animation. legato and staccato. An air..nd ~·R.)... or ff (ltaliall).etl·urnent8 01' YOice.tando (Italian). . a duet ill wbich eaeh part i. Slow. A.~ (ltali"'.7·lalltt (Italian). Affectionat. Forz. Naturally. Doloroso (Italiau). In time. Air (French). With T.ufJo. A deux Temps (Fren ch)."rlo or Crt. Airs BUng by the Vene tinn gondol iera._Vi"" Quick.. ~ he beg'ill nil\g. tJO heighten the effect. (Italian). and .. F". as to pitch. With sweetness and 130ftrll'sR Dolcissime (Italian).ssiml wbich is often 'Written at the end of a thoTelllent. Yery loud. A Due (Italian) t For two voices or instruA Deux (French) )' meute. All' Anticll. t. Can Dolore. Colore (Italian). AU..). e.rnl At. .I'a"du (Italian). DimiTlfj. anxiously.ind8. Cha. A term used to A T~m.. Occasional aharps. singing.. by ...rt$~occaai oIlH. flat. Gf'nrinJl!m"T'I'r.ying ft. denote that. very quick..-ir. I" the bunt. with I'nxiety and agitation.). &8 CO" alleur. __ R."o or CO~ E"l'rtSlion. A species of Arpeggio.A DICTIONARY 0]' TERMS USED IN MUSIC. Adagio (Italian).on O. Quick.. This term Implies that . l're8. Graml Orcheslre (French). Amnn~ . El'gat".' or force.nlinn). In strict and equal time. Con A!I. in the otyle or . or Curl .. or (Ii. A_t1r tl'umiaJRen Ie. III :II hold and energetic uiauner Finale.).n).. A note twice the length of 8 semibre-n. With comic and eVe. (1tallan). Con A nims.. ___ Comor/() (Jt. A slight stre •• planed upon a note to mark. 1\. (It.. sometimes.c «. or Con Affetto. A term unI.. Altac". Gradu . IIU'grissimu (11.U" (Italia.·ly. light composition.(. with more than 1he usual degree of mOVP. A B":'uta (Italian). __ Ve".ity of tone.. A composition ill which the author givesfreescopetohia ideas. Chord...' aeity.uner. And.utl" and . (Italian). .lo.. From the h&giu!lillg. __ Zappa. as to oomposition and performance. Alia Caceta.. C. FOirlis"imo.iopaI mbelliRhmentA. A Maztl I:""f (Italian).llt of :hebe are the appoggiatnra.yle . E So. ___ Con J)". familiar and pleasing style. A few li!ill! added at tb.. Adagio Ca. aitern8 .. Braoura (HaIL'D). AI /II $'g.vok (Italian). Monmfnll.ing upon.co. or lJ.n). leaned upon.llient. empha.lian).{'tf~rs used to fietermine the namc nTul I. Apl'ogrri(!IIlm (ltal. Delicat ameme I (Itelian).sliall).. Diat?"..nist. Alia Rr. At the pleasure of the performer. At will or discretion.. Quick.. buth ~ tim. or boa tmen.. A particular stress or marked accent on auy note. --J[. return to the original degree of moverueut..dabik. &0. Or the. its place and relative importance in the b . A PiOCt.t. ill. with Bpiri~.. Slow.. The diminutive of Allegro.!=.%ill ~1t. Very quick. The laRt movement. the performer mn.1lltgramente (Italian). Extravaganza (Italian).butnot too u. (Italian).h diMretion.he turn.".a.. ___ Con FUOCQ. With intensity of feeling. &"uewhat less elo.uoh so. . from.j(i. FIa.ith p.1 nimo.l$o.((t" (.ly f principal and suhordinate.tion Bounda. Allegro (Itali.it. ___ Con ~'lJirito. to indicate that the performer must return to and finish with the first strain Dol (Italian). . wit h self abandonment.. The superlative of Adagio.h fire. tl'td.\.ion.d ~tyle Grave (Italian). Con (Italian).tyla A Capriccio (ltalia:n). the accented part of the bar.. of the major or minor scale. BOldly. T1w mos::' iml'orta. In IL constrained and limping style. Tbe end. Eslinlo (Italian). accordmg to the . Acut. Cad. Accompnniment. --elm Alioto. A very Blow degree of movement. Brillante (Italian o.n style. Adagi . An expression which eer res to Augment! ths siguification of the word to which it i3 added.hout regard tothoBGsy.ply f (Italian). Espr . agree&hly.m.. At .. Ai/rttta". A Cl)u)po~it.1 ) In flo fiowini! .lian). Quiok. Bis (Latin). with rapidity. Moderately playful and vivacious. By....".. Accidental s. Implie . A trumpet tune. . Fla.. Di".. (Ita. f/urzando. con j..tato. Arietra (ltalian)_ A short air or melody. or sf. In the church style.. In the style of Ruesian m!l8ic __ Siciliarw. 1 Fa. in regard to time and tone. With animation. gellerally indicated by >. Well.tato. D.. Decrescendo (1 talian]. grand ELnd CICVfl. graceful aud ainging style. Contretemp' (French).hing . Clefs.. WIth brilliancy." II Piaci""lIln(lt. A~ ciuo coneerto. Acoustics.cfwd. ---NI}n Troppo.li. ith majesty. CancP. (lnick. A II in terval Or chord displeasing to the ear. Accelerating or hurrying the time. ~ allegro di molto. Becoming extinct. A eourpoaitiou of a ligkt.. __ . B. awl Lhe 31mkn GrandlOso (Ita. With fury.c:·.tvl e. Allegro Agitato. For the full orchestra. With" gr . With a flutelike tone. taken in rapid auocession. An a. Allegre. da· ..mn move· meIlt._ Barcarolle (Italian).ct . a Scotch Air...o (I talian ). The general theory of sound. A note of embellishment. __ lnclese.llYl'rf'ce.•eo (ltalhn).. than Anda:nte. Cott Spirito (Ital.. e BOTllCtimfl8 indica. Implies that the ~ COll1po. AI Loco (ltaliltll). . Bnrle . formerly used in church music. AjI. Cuntuwlu (HaHn-.. With decision.. or r. Extravagant ami wild. Ardito..hat the performer must directly commence the following movement. . A performer h said to play with expression when he carefully observes the vari oua modificabions of forte and piano. Fort« or For.} (Italian). . or silj'. (bt'llch). (Italian). easy. net. seldom used in modern music.fit'd. and suatainod.. AjI.o (Itelian). Emphasis.)_ In n. but in a go.st.oot._ lr~liana..A part added for one or more iustrument. D"~ (h•.nd Bole. With fire Furore. Con Afflizione(ItaL). With tenderness and pathos.. A com blnation of Beveral aoan la formil1g harmony. Witb & eonvenient degree of q uick ness. or long. and play from that place to tbe word Fine...diminished. OCCB. . AI...B. In a su["lued tone. _~_ Cor.. Ben Marcato (Italian).l1an). __ Potocca. Appoggiatv (Italian). but which is frequently modified by the addition of other words: "".Iegr" .y"". Deoiso (Italiaa ). or Con IhuI~' (Italian) Sorrowfully. dying away. Cap» (Ha. With agitat ion. Aria (Italian). wit.h 'lUll. Duo (Italian). I'roceeding by semitones. Aff~ttHOSIJ. animatedly.e oloi\e of a composition. written in . with brilliancy aud spirit. Syncopat..lanll! Ajfi'. By. In an agitated sty 10: . Batiuta (Italian). r A.o. Tiero (Ital. !kating Time.yretl[) (ltllliall).. Implies . Con. ~. An expre. High. very quick. Marking the divisions of tbe bar by means of the foot or haud.. Di M ••/. Graces. tendel'ly. Delicnu. This term i. Brio (Italian).. with sportiveus8t!.dnnt! eQ" (Italian)."al bril!kll~"s.nu nee. From: as Val SegIlO. To BOllle orevioua place.n).ali. generally w)'itten in a small character.. fot..>le~ tenor. Dolcezza or Con Dohzza (Italian). .". as Air ECOBsaiA.. A Tempo Oiu uo (It.ret38. Chll. weB-marked.<sai. With energy. Very. or meaaure-notes in & bar. t.nd 1I'renc"1. spcndingly .. In the old styl e. Cnvali14a (Halign). Very elow. or tht'~ ll1!lrk I'r'.r<1.) WI" .l. light. Ai/reltal.ltvely. Dinertimentc (Ital. Colla I'llrt. Grf12i" (It.

A composition fcunded on ~verH. Not too mueh . first time.lIy. In tim I..~tQ$O. Muzo (It.If .lian].nt melody. Presto (Italian). First: . A gradual decrea . In a middling degr"" or manner: aa Dlt'ZZO forte..080 (Italian). (Italian). the fird time of playing.. and other. 1.Iuluui.j by ~b~ 8. " style of playinll. rather laud. A vocal or instrumental eomposition for six performers. des Fac/". LeKS: as menc mn". volti subito.11 . or that note of the scale which is situated a semitone below the key-note.1 favourite airs : a. Mournfully.1"'0 (Italian). Legati . With simplicity.-Nol.. l'he ~ Pa ssing Notes A piece of music in the bunting style. Implies tbat 11 Dote must be euetaiued the f ull time. or pp.ntt. S. Piacere (Italian). A composition for eight in8trumentL Notes foreign to the hannony. Tenuto. m&. t. (Italian). Tenderly.. Air.hon tied together. Tempo Comodo (Italian) In a convenient degree of movement .!/rJrzando. or obligati (Italian).J La adagio.. The mos. With the utmost vehemeu(·. A division (>r rapid flignt of 1I0te •.tl8 are held longe' than their vahle.. which alway.n) The pnnClp"l . Impressive.. Very quick. Exceedingly smooth and connected ugqieri. Septuor. .'Il0. "~ith 1Iarmo"". musical piece. nH . A piece for three perfonnen. V.pid degree Df movement. Patelieo (Italian). allegro rna nOD troppo. p. Notturno (Italian).\#elrU1wme (French). i\fae~lmw (Italian). Pr •• ti". r . Piaceoole (Italian).").n. &c.half atone. Ri. Ril!/iJrzato. &mpre (Italian). A. More: as plus anima. the flute is not to play. rather quick. A short piece fur three instruments or voicea.mmA. See Tema... "I"y".JW (It.. (Ttalian). A term used to poin! out passages where all tue inatrlllO. Strepituso(ltal... Witb spirit Spiritoso (Italian).nner.'i. A gradual diminution in the time of the movement.). moderately: as allegro DOn tanto. Lugubre (Itahan). repetitiou of the first movement.L lesR spirit. A march. . ahort. A soft and rural movement. 11600nda volt .'.~Ji. With impetuosity.zn "tlet' (I t. Period. lAttrVal. Imp ass ioned. not too f .~do (Italian). But:. uick. from its elegance and lightness of character. Siciliana (ItoJian).o (Italian). slower.ding in regard to ton~ aud time. An old rustIC da.o. &.e. so . A compositicn for nine ir. (Italian). ROlldw. M<. turn over quickly.. With ligbtn ess and facility of execution.. Pietoso (Italian). Serioso (Italian). A ..1 . . . Acceleratiug the degree of movement. A gradnal alackening of the time.) A simple and elclTa.. Pathetically. The. A subject or theme. A composition for l!Iix performers. Tanln (Italian) Not too much..n).. n 8 ow une. ljeilr . Lorgo (It. Non (I\alIan). ~/etlwdE (Freuch) A tr~tl~~ or book of InBuuctions.." little.UB8ta. I'olla (It"li .. StpleltD (Italian). Jlez.conda talte.'11". In . A . Tema (1ta\ian). (Italian). Prima Vista (!talian).. and detached from one another. The art of representing musieal sounds and their various modifications by notes. uggl<ro. Now follows. (French)..ij pili 11l08RO. poco piano. Portamento (Italian). No~inrn .. Leading Note.simo (Jtalian). l<. Roma.. lJUJ't. Me. J1f111l'0 (Itali .) A decrease in the move . 7flj~r(l1ll. It"IHtlly Recitnt..n.H<lTziak (Italian)..oft than loud.1H\D). With fury. .n T. A . trada } (Italian). Lentemt'1Ii (Fn!I1Ull). With fr. i\loicment: 8. Connecting the last note of one bar to the tlrst uote of the next. With majestic and dignifled e1prl"'R'. loud. Rw'f (French).. (Italian). Slave. piu Iento.kne •• and anima· "Ion. but uot too much 80..lM (Italian) \·ery.. T~mjlo Giustu ( taliau}. introducing Bev4lral aira. Pifero (Italian). A group of three not-a arising from the division of a.ll he ~. or difference 01 pitch. mo"~r~r . laveral Ths union sound •.v» (Italian).. or COli Leyy-itrezza (Italian). Nole Sensibl. rini or rf (Italian). boisterous manner. or a tem(.IDee or Con Vdo~itil (ltaliau). LUJingalldo (I talian). or ilhm (1 tal. Iu a melancholy . in regard to time. \Vitb morlt:ration aa to tone. repeat frolll the lign.mo (Italian). Potpourri (French). Stxtuor. S"" Ruhato.. QXIOUaJ. Roul:ade (French).. as loud as pOBRihle.. 1'1". Expressively. Polacca (Italian]. In an artle88 and simple . Syncopatiofl. A part or parts of a composition Indispeusa ble to its just performance.(}u. (Ital.. medley. ate &mplic.ts usl!lb lN MUStO. Wilb fiobl. With ~x.overuent to a minuet.1:i. or AI followa. A chanjl" of key . Subito (ltalian).h.. Sensa . A gradual diminution of tone and movement. R"balo (Italian).OlltAo are to be UttroJuceJ ..ure. persuasively. CO" '~fi"i/o (Italiall).afinn }. in time. (French). Sonata (Italian). Tbe jj ve parallel lines 00 which the notes are placed. ~ithout i sensa n-plic . r . Them. oompanil'li with singing.: pnma volta.1y. (French). Legal" (Italian).·ito. i &fl1w... An adverb of augmentation: lUI piu presto. Le11tt!U1".~ of "Ter.. very slow and solemn degree of movement. Non Ta1lto(Ital. A chamber.composition consisting of several movements. Pruuornle (Ital ). A grailnal diminution in the movement.. Innoeentemente (Italian). (ItaL)..tinolll. (French].. In (Italian).n>do (Italian). An . or Can Tenereeea (Italian). or Co.. rather 80ft. UleDO vivo. The seventh note of a scale of any key. A word which implies that during a movement some particular instrument ie to be silent: as flauto tacet. Han'ia (I talian)... Tf. The same . but Ieas so than Largo. hy meana of a pon. ionately.sionala. alway.. Premiere (French). ROlll/mo."gri". with greater anima. or ~ (1ta1ian). Poco (Jtal. or rather: as poco presto.'l s tesso 1f1ltJl" (Italian). With additional tone and empbaeis Ritardando (Italian). A Septet or piece for ""Villi performer •.'JN used to signify that a particular p'IB""ge ie to b$ played •• quiclly as po""ilde. 1'his term also denotes a second u. Bohlly. re uo (Italian).wan). In tbe same time./i.Tlando (II. A capriccio or fantasia from favouriM airs.h agi't..th". A8 tempo rllbato.~!. \Vith increasing elcwneea.~d(j (Itaha. ment.... Pause. Ten. which may be shortenerl or Ieug chened at plea-ure.i •• mountaiueere. Ir\nUt> 11. In: es in tempo.utto (Italian). T7let. Noneuo (Italian).. pensively. (It"liau).struments. String.. Comp .). Witn great spirit. between two notes. A. Pathetique (French)... Obligato.he exact time of a. with nlOr~ movemellt. Inlonation. the aooond time &0. meno forte. VewI.Halin.. With bri. Solto Vue.t. An instrument for indi catiug t. n). It's8 Loud i Ult:HHJ iHalJO. &II . Innocent». vlgorOl"ly. (Italian). t or original tune. Prelutiio (Italian). Solo (Italian). Soothingly. This term is Bumetimt. Soft... A composition for seven performer&.1t'B8 quick. ac. In a martial style. Vivaci.. A character w hich increasea the duration of . PI" (Italian).grandeur. soiaewhat softer.tyle lIarca/o( I tal. Dtc'1'toluttY OF '1':kln... A piece of Ulusical c{)mposition of any kUld.). lmpeto (Italian). moderately quick.tyle... wlt. 1'1. . &I "l'iatellllo tempo.I Rullentosuio (Italian)..alian). Poggiu. In a mournful style.dTerb of n8fl1'tlon." (Italian). Sltntando (Italian). "" Pertlendo or Perdendosi (Italian). Implies that a particular note is to be played with emphasis and force.. Tutti (Italiall). or V. Tim. Trio (Italian).eUa (Ital. f in : time. Gr .. \I(lS8() (Italian).:liding from one note to another.ociated whh troppo: &I non troppo presto. In a serious style. A Ron. S[OTzalO. [. no te in to three l'arbs of the next iuferior d uration..<I.. . of playing a mo. S"..neea and facility.. simo (I tali a n).t of" m'lJ!Ilcal compositiun Moto. 1It}le. A note to which a seriea of other subordinate notes bears II diatiuct relation. A short introductory lntroauzione movement.. P"'U1I. in the R..) In a I(IMk cd emphatic 8tyle.S.. Pa. sadly. (Italian). (Italian). nl' (It&lilw).I. note. ahorteher\. 'I'hie term implies thaI tb e DOtes are to be played distinct. (Latin).nort ROlldo. notea A.-imo (]taliall)_ \\'itL ex.ubj. Rite·"ente . extremely Blow.. Led~r Lines. JUI.Jujulion. or Rondo/. .at. "" nn poco. s.. rather soft. The first sigb' Prima Voila (It"lian).pm. In tho fir ...) In a noisy.72 Gwiu. Impreasively."~o. &. All _mbl. &c.1I.o (Italian). A [i Hie. character in • time. A movement of IL slo . Ouetto (Italian). [. Notation. .rno (Italian).liall). ImpellJ03ila.]. &c". ( Un (Italian). at the eud of eReb of which the lir. Phrase. q1llckt!r ~ Ul~1I0 mosso. ~'irs' tima Primo (Italian) ~'irst.II. or COA Pa •• ione (Italian). Tho art of producing musical sounda. ~ rally "".premiere foil. slower. Alone.</osv (It. Taeet Ma .If.treme ral)idit1 I"guruso (Italian)..~ltal. BO that the lan'e aLa. \Vith slowuesa Lt1tl(l.ubs..s.mpfl.. In a smooth and connected manner. A composition suitable for evening recreation.} I I ti Lento (Italian). Sp. In a pleasing style.). movement. eItreme)y: aM multo !l1lt'C"t"n. Helan9r (French}.. Thoae teruporury lines which are occasionally drawn above or below the stave. G1J. q locker.lo Or cOlHpu. (Italian). In a 80ft and delicate style. A prelude or introductory movement.. liradually . quick. lian). Jforenri ..". wben at the distance of a ..trellle VlV£U:. La Cha •.ty Vulli SubilO. Smorza7ld" (Ita!. Tempo Primo (ltalum).i(iou of 8everal strains or U1cmbers. A national Polish dance Polona sse (French). Half: 88 semitone. A fife. or COli impelu08ila (Italian). Sequilo (Italiaa). With a. meszo piano. Piani •• imo.omplete in the aggregat-6. lIlournfully.d. (lctave.. repeat. With feeling.e. Indicates a time slow and measured in it. In An under tone. Sentimentn (It. sadly. Ku"'. An interval of eight notes.I/thm. ligh' and oportlu s... . Vivace (!taL)..edom and di."" (ItsJ. In ai. Rapid" (Italian)." the same tima.on. Sf. v\'ry 4.). of [I uick"""s.tion.J I¥o~'''' . 1& RUIlIe.riet time. nvec (French). With the ntmost Iigln.. &nanio. Staccato (Italian)..UU \1' I'Culm). Wrench).. Ran.. Soaoe (I talian). Tutla Forzu (haliRll). A complete musical sentence. Larqhetto (Italian).. All. Tum u'er qUlcltly ViUantll . as to tone.." In a rapid time. in which 80me UOt.. al ""gno.dlU \I'ali. &mi(Latin).xtrewely 110ft. leads back to 5. Sempre forte. Mnw.. Pathetic.'I" lltalian).OIl. Temp" Rutoto (Italian). continuous in reg ard to ton e. The distance. Segm. Pi"M or p. Without repetition. or "'mJ mHto (itaJian) W~". or combination of r.t part or subject i. 'I'he uietre of Ui. mitone below the key-note.. Sustained. /I (Italian). . Impetuously.. } (Italian). signs. SD.'Ioderat" (Italian). A mu-ical declamation. The leading note of the scale. With ple .. . return to the oign i dal . A portion of a musical sentence.. Quickly: . to form "ut one note of a duration equal to both i a false or inverted accent..

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