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The Concertina & How To Play It- de Ville

The Concertina & How To Play It- de Ville

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If you ever thought of taking up an instrument....that doesn't require years of mastery, the concertina might be the one for you.
If you ever thought of taking up an instrument....that doesn't require years of mastery, the concertina might be the one for you.

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Published by: paceminterris on Jun 24, 2012
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THE COIVCERTIM

ami

Hon/ To Plaj/It
by

Paul de Ville

InducHng 250 Patriqik

and Sacred Songs

and

well

known Melodies

2.00

Carl Fischer
Inc.

02311
'^P'ZJf

>'JS^&f/Hr'*»M

Digitized by the Internet Archive
in

2010

http://www.archive.org/details/concertinahowtopOOdevi

THE COWCERTmA
and

How To
by

Play

It

Paul de Ville

Including

250

Patriotic

and Sacred Songs

and

well

known Melodies

Carl
03311

Fischer,

inc.

Copyright 1905

by

Carl Fischer.

New
U.S A.

York

Pnm»d

in

Rudiments
Music
I,

of

Music
ear;
it is

Let us say to the beginner, here at the start, that no art, science or branch of industry can be successfully mastered or acquired, unless the strictest attention is paid to the rudiments or first principles.
is

the art of combining sounds in a
II,

manner agreeable to the

divided into two parts,

Melody,

Harmony.
combination of sounds which by their elevation, duration and succession, serve to form a
another combination of sounds which by their spontaneous union serve to form chords.

Melody
tune.

is a

Harmony

is

STAFF
written with seven figures called Notes: they are named from the first seven letters of the alphabet and aie placed upon and between five parallel lines, called the Staff or Stave.
is

Music

\

4tll

rt||i'"e

j '

srdllne

and

line

1st line

The

lines

and spaces are counted upwards,

tlie

lowest being called the first line or space.

LE GER LINES
the instrument requires a greater compass than the staff, small lines called Leger lines are added, below the staff for the

When

lower notes, and above for the upper notes.

THE NOTES

IN

ROTATION
D

B

r

a

Treble Clef

Bass Clef
C
It
I>

will be
in a

observed that

in

continuous scales a note of the same name

may occur

several times, but al-

ways

different position.

THE FORM AND VALUE OF NOTES
The value or duration of a note or of
serves to illustrate this:
a rest
is

determined by the form of the same. The followinp Table

TABLE
One Whole Note
(or

one Bar)

o
U the
equiv.iji nt of

two half notes,
or 4 quai ter notes,
or 8 eighth notes,

T

I

r

r

or 16 sixteenth notes,

^_j»
f

^» ^»
f f
CSS3E3

^
f f

g_^

g_J»

»

f

|

or

32 thirty-second

notes,

fTf ff

f* *f ff

^^^^9 BSBSS9
or

BSBSB tSSBIS CSCSCS &ICSSS TJJ* b^SSS

t^* f f ff f f ff

e4 sixty-fourth notes. f*f^fTTTTTTTTTTTTTTTTTTTfTTTTfTTTfTTTTTTTTTTf?TTT*TT^*TT***^**Tf

RESTS
A
Rest
is

a character indicating a temporary suspension of sound, or pause, while playing. There
it

is

a rest

to correspond with each note, and

has the same value

in

regard to duration of time as the note.
16th Rest

Whole Rest

Half Rest

Quarter Rest

Eighth Re^t

32nd Rest

G4tiiResl

Coiiuted flame

a.'^

a

Whole Note

2
Rests, (or pauses
)

3

4

10

20

beyond the extant of a

singlej
'

bar are indicated by numbers thus:_

I

DOTS.
Dot, placed after- a Note or a Dotted Whole, Dotted Rest, increases the value or duration of that Note or Rest one half of its original value.

A

Half, Dotted^Quartw, Dott«< Bglith, Potted Sixteenth,

A j: ample.

When two dots
a note or a

are placed after

rest.Ihe sf-rond dot has
Ej-rt inplc.

half the value oft lie first.

BARS.
Jlusic
is

divided into cquil por.

The space and contents between two Bars

is

called

a

tions by lines
staff,

drawn

t4jrough the

called Bars, thus:

_

3 Measure, or Bar of music Each bar or measure conJ tains an equal value of notes. Or rests, according to the time indicated at the commencement of the piece.

Double Bars are used to divide a piece of music itlto two, three or more parts, called STRAINS, and are always placed at the end of a Strain or piece of music. When dots are placed on one side of the double bar, the part on the same side as the dots is to be repeated. When dots are.placed on both sides of the double bar, both parts are to be repeated.

TIME.
The following" are the figures used to indicate the different kinds of time, most generally usedCommon time,*' Two-four, Three-four, Tliree-twn, Three-eight, Six-eight, Nine-eight, Twelve-eight,

*'The figureC

is

more generally used than 4 Either one indicates Common Time.

of the various kinds of time. time has four beats or counts to a bar. In all cases, the upper figure of the time-mark signifies the NlTMBERof notes, and the lower, the KIND of no1i.-s or their equivalent in the measure.

The following Examples show the manner of counting some

Common

EXAMPLES.

The

wiird

rt7/rf is

used

to iiidicafe the half

i.f

a beat.

I

i.

.3

12H
4.1

tandaaud:ijnd
H

\

i

"
7.

I

^ i
fi

landa 3

i

ZH

ia.3

(or tliesameas two-fuur time)

12

3

7H

«

1

a

3

4

5

?8M

li;34.iH

3H

ta

i

4.iH

in

H

('

(or the

L

t same as three

*

'-

four-time)

.,

\

1

a
S

3

12
loll
12

3

I

-4

:i

K345H

7KM

Ii>lll2

12

4

5

H

?8»

1234.';«

7N«

loll

Iz

H '(.)- 59

'

SHARPS, FLATS, AND NATURALS.

In order to alter the tone or pitch of a note, characters called Sharps and Flats are used.A Sharp ($) placed before a note, raises it half a tone. A Flat ([>) placed before a note, lowers it half a tont The Natural (1;) restores the note, which has been changed by the $ or h, to its former position. The Double Sharp (x) raises a note naif a tone higher than the simple « would raise it.

The Double Flat (H>) lowers a note half a tone lower than the simple The IfJI and ^[> brings the note which has been raised by the k or lowered by the H> hack again by half a tone. they are called the Signature, and desfl j When Sharps or Flatsareplaced "r ^zg= ignate what key the piece is iir. at the commencement of a piece,
\>.

^ cf When so placcd,theyaffecf all notes throughout the piece beanng the same name as the lines or spaces on which they are placed. For example, a sharp placed on the fifth line,immediately after the
clef, thus:

.^

~

} ^

1

1.

3?^^

Q ^

which
"''"»''*

is

F,

(in the

Treble

clef),

sig-

^

^hat

ALL the Fs,whether higfr

or low, are to be played sharp, except when contrartictedby a natural.

tions,

musical composiBesides being used for the signature of a piece, sharps and fiats are introduced in the and are then called Accidentals. An Accidental # t or placed before a note, affects all following notes of the same name in that bar ONLY.
i;

THE

TIE,

SLUR, TRIPLET,

Etc.

The Tie, or Bind, is a curved line placed over or under two notes, occupying the same line or space, and indicates that the first note only is played,and the sound prolonged the valueof the two notes. The Slur is a curved line placed over or under two or more notes,
occupying
on the staff,and signifies that they are Example:a smooth and connected manner. Notes with Dots,or Dashes placed over or under them, are to be played short and distinct; which is termed staccato.
different positions

to be played in

Examples:—

Whea
listinct.

marked with

the Dash, tney are played

very short and

When the figure T" and a slur are placed over or under a groap oflhree notes, the group is termed a TRIPLET, and the three are Example:played in the time of two liotes of the same value. which is termed a Pause or Hold, \v hen placed over a note or rest, indicates that the This Sign player can nold the note or rest beyond its regular time. When this sign -=r is met with, it signifies that the sound of the notes under which it is placed luusv be gradually increased from soft to \onAj the -worA crescendo or crf*<?. is also used to indicate the same. When the sign is reversed, thus, :=» it signifies that the sound must diminish from loud to soft. The word diminuendo or dim. is also used to indicate the same thing. When joined thus, -^-r: ::>- it is

O

termed a SWELL.

Da Cajto, placed at the end of a piece, or a double bar, signifies over it, or the to go back to the beginning, and play to the double bar with a oause word Fine, which means the end. Thus; _
The
letters D. C. or

^
/y«e

O

When the Sign or the words DnlSegno or /?. 6". are met with, it signifies to go back to where a similar sign % is placed, and play to the end indicated by the pause.or word Fine placed at the double bar.
!!S,

When the figures 1 and 2 or 1st and 2d are placed at a double bar, thus: _
The Sign .S'l^jfoUowpd by a wave line or dots, signifies that the notes over which it is placed must be played an octave higher than -written. Example: _
2483-.^ 246:<:<

they signify that in repeating the strain, (which is indicated by the dots at the double bar) the part marked lis omitted,andinsteadof it the part marked 2 isplaj'ed.
Played

When placed under the notes, they are to be played an octave
lower The word loco means
to play as written.

914.i-69

i

When it is required to emphasite a note occupying an unaccented part of a measure, it is designated by either of the following signs: fi or ^f, or A or ^. Example.-—
a note of long duration is placed between two notes of a shorter duration of time,thereby making the : weaker part of a measure the stronger,such deviation from the regular accent is called SYNCOPATION:

^6ipr p iu:;pi r;j5
'

When

:

f-jJ r

i

Y-TrrJii<^

i
,

i

J

i

jJUJg r»
i

ABBREVIATIONS.
For the
saJca of

economizing space, the following abbreviations are sometimes used:

~ihr^\

SCALES.
Inthe following Scale.which
is called the
ar.'

Scale of C

SCALE OF C MAJOR.
qTOMC^ 2nd.
3rd.
41h.

Major or Na(tir«lScaIe,be(viuse there
between the
:Jrd

no sharps
dcjE^rees

Bth.^ 6th.

7th.

fith.

orflatsinitjit wilfhe observedthat the half tones occur

and 4th and 7th and Nth

of the Scale.

halftone.

Every Major Scale, no matter on what note started, is so formed; hence the necessity sharps and flats. Every Major Scale has its Relative Minor, which is found one third below the Major.

of

DIATONIC SCALES.
SCALE OF C MAJOR.
Ascending.
Degrees.
1st

SCALE OF A
Descending.
8 7 6
5

MINOR.(Relatfve

of

C Major.)

Ascending-. Degrees

2

S

4

.5

6 7 8

4 3

2

1

12 3

4 5

6

7 8

Descending. 7 6 B 4 3 2 8,

1

In Minor Scales, in nscettdiiig, the halftones occur between the second and third, ai.d seventh and eighth degrees of the scale; in descending, between the fifth and sixth, and second and third. The Minor Scale always bears the same sigiinfnre as its Relative Major ScTle, and the difference in its intervals is made by substituting extra sharps or naturals,insteadof writingthem at the signature.

C MAJOR.

SIUNATURES.

TRANSPOSITION OF THE KEYS.
taken as 1, the scale or Key is said to be in its natural position, but either of the other letters may be taken as 1, in, which case the scale is said to be Trn iisposcd. As 1 is (he basis of the scale, the foundation on which it rests, so the letter wnich is takenfor the sound is called the Key -Nofe. Thus, if the scale be in its natural position, it is said to be in the key of C; if G be taken as l,the scale is (n the key of G; if I) be taken as 1, the scale is in the key of D, and so on with the rest of (he seven letters; whichever letter is taken as 1, (hat letter beis

When C

comes the key-note

of the scale.

In transposing^ the scale, the order of (he intervals, or tones and semitones, must be pretone from 1 (o 2, a tone 2"to 3, a sei/i/fone from served, Th'.is, (he interval must always be 3 to 4, a tone from i (o 5, a tune from 5 ((. ti, a ioiic from 6 to 7, and a semitone from 7 (o 8. The inter\al from one letter to another li (d r is also the same and cannot be chang'ed,— thus it is always a tone from C to D, and from 1) to E, a semitone from E (o F; a tone from F to G, from G to A, from A to B; and a semitone from B to C. In (he (r.insposi(i(in of (he scale,
;I

therefore,

it

letters, so as to

becomes necessary to introilnce sharps and flats,orto substitute bhaq)«abdorflatteued preserve the proper order of the intervals.
from
('

First transposition by sharps

(o

(i,

a fif(h hi/j^her, or a fourth lower.

The same method is li llowed in all (he transpositions by sharps, viz. the fifth above or fourth below is taken as 1 of a new key, in every succeeding transposition, and an additional sharp will be required olao in every succeeding transposition. To transpose the scale by flats, we take the fourth (instead of the fifth) of every new scale. F is the fourth of 0, hence it is 1 of the new scale (key of F). The order of intervals must be the same in the flat keys as in the sharp; hence (he B must be made flat.
Transposition by Flats from C to
F,

a fourth higher or a fifth lower.

DIFFERENT SHADES OF TONE.
p pp
means: means: J" means: Xf means: ////means: cresc.ar

pinno, softly. pianissimo, very softly
ybr/t-, loud.

fortissimo, very loud. mezzofor/e, moderately loud -~ means </t'Axr//^/«, increasing the sound. dim. decresc. or 11:==- means diminnendo, decreseendo,A\mv\\^)\m^ the sound. means sforzomlo, rinforzando,s\\:\r^\y ace. ntuated. qf, rf or fp means forte- pinno, loud ami im-nedia(ely soft again.

^

24632 24638
914.5-69

J

GRACES, EMBELLISHMENTS OR ORNAMENTS OF MELODY.

THE APPOGGIATURA.
The appoggiatura
above,
it

is

a

grace note placed above or below a principal note. When

it

Js

placed

is

always
it

principal note
-

at the interval of either a tone or a semitone. should always be at the interval of a semitone.

itten so

m-^

'-^l

the value of

When

crossed by a s.nall

line, thus

^
it

When it is placed below the When the appoggi'atura is

is

one half of the following- note
its

value

is but
it.

one fourth of the note

that follows

EXAMPLES.
Written thus.

Played thus.

|i'

j

U.-'

n

rr'n

I

r

;[r{j| iJ_J

i

i''rr

ii

r>

;:-^vj-,,j
ii

There is also a double appoggiatura, which is composed of two grace nofes,placed the first one degree below the principal Jiote, a. id the second one degree
above.

Written thus

^

'•

r

'V

^

-i^ i

EXAMPLE.
Played thus

i

''

[j'r J^.'

II

THE TxRUPPETTO OR TURN.
Is

composed of three grace notes placed between or after a principal note.Theturn
zr.-

is

marked

thus

A

small sharp placed under some of the signs thus:
is

(}"

indicates that the lowest of the
j(

three grace notes

sharpened. Should the sharp be placed above the sign thus:
8
in

v..

the upper

grace note must be sharpened; or lower grace notes

case of a sharp above and belowthesign

"S,

the upper and

.nust be sharpened. The same rule applies to flats, only that the grace notes must be depressed half a tone in that case.

EXAMPLES.
As
writt<'n

As pl&yed

THE PASSING SHAKE.

"

The passing shake, often written thds «, must be played quick and round in the following manner

As written.

As played.

j-^rfrr^-rr rri
THE SHAKE.

The shake or
the note in

marked thus the next degree above
trillo

fr
it.

consists in the alternate repetition of the note marked, with

As written

As played

THE NOTE TO SOUND ON ANY INSTRUMENT TO CORRESPOND WITH a1^.

#
iDl> Piccolo,

b

»»

On

the Piano or Organ.

WIND.
A
Piccolo or Flute.

*

e!>

Clarinet; Ek Cornet

and Et Alto.

BI>

Clarinet;

Bl>

Cornel

B!>

Baritone,

Bl>

Tenorand

b!>

Bass.

(In Trebleclef t

Clarinet and Cornet in A.

^b Baritone, and Bk Trombone.
gl.

or Eb Bas

CS

Trombone

In A.

The C Clarinet, C Cornet, and
(fan

all

Instruments in C, will sound

A

the same as the Piano or Or-

List of the Principal
With
A.
.

Words used
measure

in

Modern Music
Moderately soft

their Abbreviations and Explanations
time
ifeitv-ptano (nipi

to, in

or at^ o

^«m/i'>. in

' Accent '

Acceliiraniio(accel JGrmiuAily incrcasin/f the Bpe*(i Emphasis on certain parts of the
lib
I

Minore Muderato
Hulto
M'irendo
.V-.jso

Minor Key
Moderately.
fratelv fast

Allegro mderato, mod,

.

Ailaxiu

Adtibitum(iid A du» (a 21. Arilato a/ or Alia Alia Marcia
. .

Slowly leisurely At nleaaure, no in str; 01 _ To Be plajeii by br th instrumenl'* Restless, with agitation
"
'

Much." very

Allegretto.

In the style of In the style of a March Diminutive of alleRro: moderately fast. Incly;

Mulo

Rq"'**'*"' "> 'api'^ J^'" mmi/, quicker. Motion. (Ton moto, with animal ion
,

Dying away

,

Non
notation

Allcgiu Alltgro

.

.

faster than andante; blower than allegro Ijively. brisk, rapid
.

Not The art of reprcbcnting musical by means of written characters

sointds

Obbligala

An

indispensable part
'

ttssai
.
.

Very rapidly
Affectionately
In moderattly slow time I)iminutive piatuian/f^, si rictly s/«»«r than dantc, but often used in the reverse sense
ail

Opus
Osti

I

Op.).

A
'

work.
Generally indicating an
rest.

Amoroso Andante Andantino
ttna.

Or; or else

.

Qttava (Rv

Pause

(O,

easier method To be played an octave higher The sign indicating a pause or

con
.

With anunation
At pleasure: equivalent to ad libitum Impassioned A broken chord Very, Allegro aesai, very rapidly
In tne orieinal tempo Attack or becin whatTolIows without pautinR A Venetian boatitian's song Twice, repeat the passage bold; spirited Brilliant; Showy, sparkling, brilliant

Ferdtudast
pleauur

Animato

A

piactr*.

Ve

Appassionato

Ansa A tempo

YP'fg'O
.

More More quickly
Ouir.ker

AUaeca
Bit

.

.

A A
A

little
little

Barcarolle

Gradually, hy degrees; little by

Bratmra
Brillante Brio, con
.

A

little faster little slower little faster

Cadenia

.

With much spirit An elaborate, florid passage introduced
as an embellishment In a singing style A short song or air At pleasure, ad libitum An air, shorter and simpler than the aria. and in one division, without Da Capo The narmony of three or more tones of different pitch produced simultaneously A supplement at the end of » composition ^

Then; afterwanls Pompous, grand As quickly as possible
\iry quick; fa.uer than Allegro

Cantaiile.

Canaonttta
Capriecio
t
.

The As

first
if;

A piece A

Cavalina

in the

of music for four performers. style of

Chord.

.

.

Coda

.

.

.

Ttallentando(rall Replica.
„,r^y^. ,^.,.*» Rinfortando Ritardando 'rit.l
.
.

Col or eon Cretcendo (erne.)

With

piece of music for five performers Gradually slower Repetition. Senia replica, without repeats

Ua

Swelling; iDcreasing in loudness

or.dal
(D. C.)

Da Capo

Dal Signo ,_ ,„ -- (D.S.)

From From From

With special emphasis Gradually slower and slower
Resolutely; bold; energetic In slower time Playfully; sportively

the beginning the sign

Ikereicmdofdecresc jDecTensiag in strength Miii>fiMm<<o frfim J Gradually softer Diviti Divided, ettc^ part to be played by a separate instrument Dolce (dol.) Softly; sweetly Dolcittimo Very sweetly and softly Dominant The fifth tone in the major or minor scale m^t or Duo .A composition for two performers
. .

Ritoluta Kitenuto SeKertandu.
.

.

.

.

The second singer, instrumentalist or part Follow on In similar style Simply; unaffectedly Semplice Without. 5<ni<i tordtno without mute Senza S/urzando fe/) Forcibly: with sudden emphasis Simile or Simili In like manner Smorzando CsmuriJPiminlshing in sound. Equivalent to
Segue

Secondo (2do)

Mieganle Bnergieo

Mnharmonie
geprettivo final*

.

.

.

Klegant, graceful With energy, viga,>ausly Alike in pitch, but different in notation With expression The concluding movement

Murendo
Sole.
.

.

Sordino
Sostenuto Sotto
Spirito Staccato Stentando S tret to vr stretta
.

fine
forte ff) forte - piano (Jp)
.

The end Loud
Accent strongly, diminishing instanUy to pjano
.VtT'j loud
.

fortittimo(ff) For*ando(fz::>l

.

.Indicates that a note or chord

is

to

be

For%a lfioeo,con Qioeoeo
ffiueto

strongly accented Force of tone With fue; with spirit
Joyously; playfully Kxact; -in strict time flr.tml; pvirpous; majestic

Subdominant Syncopation
Tacet

For one performer onlv Soli, for all A mule. (Ton jorrfino. with the mule .Sustained; prolonged Below; under. 5o«o eoe«. In a subdued tone Spirit, eon Spirito with spirit Detached: separate Dragging or retarding the tempo An increase of speed. /"ib ttretto faster .The fou.-ih lone in the diatonic scale .Chan^< of accent from a strong beat
to a weak one. "Is li'.enl " Signified that an instrument or vccal part, so marked, is omitted during the movement or number in question. .Mnvement: rate of speed Kfturu to the original tempo Held for the full value. -The subject or melody. The key note of any scale •*
U,

tjnndioeo Brave Oratioso

Very

i.l"w

and solemn

Tempo Tempo prima
Tenuto (ten)
Tontc Tranquilln
.

.

Oracclully
In Kcnrral. a combination of tones, or chords, producing music The first degree of the scale, the tonic
.

H<irnnny
Ke)/ note Larga/ncute
iarghetlii

TKema or Theme
Til inolandi'.

.Very broad in sl)Ie Slow, but not so slow as Largo; nearly

TVaw

largo
legato

Andantino Kroadand sloi
like

,yUt
the hloweat
line
.

tempo-

.Smoothly,
line.
ill

(hi

iJgtr
lento

added

Trappo

lafr

yuietl/ A Iremnlcius flurlalmn of tone. A piece iif muMc for three performers. A group of three notes to be performed in the lime of two of equal value in the regular rhythm. Too. loo ch AUrgro. non iroppo.
i

JO

L'iatetio

tempo

loeo

b.-l» In lliu In plare Play
I

Amis
n>.

all

nuickly the instruments

wnllen
V.iri<ir.,.»<>

.

.

.On one string.

octave higher or lower

.

Hut
Lively, but not too ipufh Majestically,

dignified

,, ielou
,

Major Key

'•*'•'»'''

Mariala

Marked
. -

'

Meno Meno motto
.

Leas

trttto.

.kS^'^mwlerately

yoiii

yyvace rivo Subito KS.

The transformation of a melody by means of harmonir, rhythmic and melodic changes "^ "(nd emhel ishments. Quick, rapid, swift A wavering tone effect, which should be sparingly used. With vivacity; bright; spirited Lively snirited Turn over qui ckl/.

13

Description of the Concertina.
The Concertina consists
of

Tops and Sides made
etc.

of fancy

woods, ornament-

ed and trimmed with metal and

The Bellows

is

made

of

cloth,

imitation leather

or genuine leather.

The Keys are made

of bone,

also of
steel

wood covered
and
silver.

with metal.

The Reeds are made of

brass,

The Hand -straps are made
Concertinas are made
or
in

of oilcloth

or leather.

various

shapes and stjies, some with 10, 80, 22, 28
style called the

30

keys,

called the

German Concertina, another

Anglo-Sax-

on Concertina with 20, 28 and 30 keys.
Still

another

style, the

English Concertina, with
the

48

keys.

The Concertinas most used are
and the English with 48 keys.

German and Anglo-Saxon with 20 keys,

Instructions for the Concertina
The 20-keyed Concertina has
page
15.

a

compass of twenty. five notes; see diagram,

How

to

Hold the Concertina

Pass the four fingers of each hand through the hand-strap on each side of the
instrument, in such a manner, as to have
full

command

of the keys.
tight.

The hand- straps should not be too open, nor too The four fingers
of each

hand should

fall

direct

upon the keys, the

tips of the fin-

gers slightly bent, and touch the keys

lightly.

Both the thumbs being outside the hand-straps, the thumb of the
kept
in

right hand being

readiness to use the

thumb -valve -key when required.

10118

-

«7

How
When -two
or

to Use thr

Thumb-Valv<^-K«'y.

more notes follow each other which are
it

to be

produced by drawing
to

outwards, and the bellows are already extended,
thumb-valve, the same method
is

will

be necessary

use

the

to be

adopted when pressing inwards.

Beginners find a

difficulty in using the

thumb -valve -key

judiciously,

generally

either pressing or drawing the instrument too violently,

thereby extending or conis

tracting the bellows to the utmost, so that the thumb valve
often causing the duration of a note to be shortened.

required,

and

thus

Particular care must be taken

riot

to

draw

out,

or press in the instrument, with-

out a key or the thumb-valve being open, for should both be closed, and the bellows

moved, the instrument, being air-tight, might be considerably
ing the reeds out of tune or breaking them.

injured, besides

forcr

This instrument can be played either
If played in sitting position,

sitting or

standing.

the frame of the instrument should rest
right hand.

on the

left

knee, and

is

drawn out or pressed together by the

A

sling to

hang around the neck may be used

to hold the weight of the instrument.
is

When

playing tunes which require expression, a very pleasing effect

produced by

gently swinging the instrument backwards and forwards.

Explanation of Letters and Figures.
The
letters

D and

P,

over the notes refer to the

action of the bellows.

D
P
The

signifies to
signifies to

draw
press

out
in

the bellows.

the

bellows.

figures under the notes denote the proper kaj- to touch.

Figures

marked

thus:

1

2
2'

3
3'

4
4'

5
5*

6

7
6'

8
7*

9
H'

10
9*

are for the
10"

Right hand.

Those marked

thus:

1"

are for the Left hand.

\
15

16

Scale for the

German Concertina

with

2H

keys,

and three rows of keys.

Scale
in

the key of

Bk

Scale
in the kej' of C.

GBCDEFGA jj jJ J^ giyj
CG
i i i

rr irrirr rr
i i

BC

DE

F^-*-^
|

f^

in the

Scale key of G.

The above scale row on each side
different.

is

the

same as

for that with
in

82

kej's,

with the addition

of the

top

of the

instrument

the key of Bb,

but the keys are numbered

The following intermediate notes
is

are wanted to complete the Natural scale

Uhat

without flats and sharps)

of

German Concertinas.

Notes wanting on the 10-keyed Instrument.

iS.

i

j—
-[]

Notes wanting on the 3(0and 22 -keyed Instrumer nt.

fff^
Instrument.

i ^
^

^

I

W
,

I

I

f —
F

A

E F

Notes wanting on the

28 -keyed

m
D
K
G|

h

Note:

Some

of the following notes

T Bk

r
CI

r
DIt

"'"
I

n

il
Bl.

may

l>p

nirl

with

OK

in

the melodies contained

in this

Self
I

-

Instructor, but. as ihi-y
loi

cm

oulv

h<- pi i>diu<-it

on Concertinas with more keys,

give the fmgerinn

thr mitural note

The Concertina
Each key produces two
and one
in

17

different notes or sounds, one pressing the bellows together.

in

drawing out the bellows,

Compass of the 20 keyed German or Anglo-Saxon Concertina, showing notes which can be obtained from the instrument.
Action of the Bellows:

all

the

Vi-draw,

P- press.

^PDPPDPDDPPD ppPPD
^
1"

PD
»'
»

1.

Names of the
Right
\

notes,

Kei/s to be used,

with

|^ ,.

i"

„.

i „
P

*

^.

3.

6"

7-

*'

*'

7-

^-

^'

^'

^'

and

Left

Hand V

D
c

P
c
1

P d

D
d

D

9-

10' 2

e 10- 2

ppDDP eff^ggaab
P

n D „D
T,

P

D

P D L ^

P
m.

P
ti

D
t:

aD

^

^B
f% g
10
9 b

be
5

c

d
S

e

e

3

6

6

3

4

7

7

4

S

5

9 the

10

The

regular scales in

C major and G major can be

played

from

preceding

scale without anj- notes

being missing.

Examples.
Scale of

C

major.

(All naturals.)

^
a 4

^

r
e

g
3

7 f
3

d
10*

r

r
c

r

J-^
a
H-

^

g
H'

10-

9-

7 f 4*

J

J
e
••

J
Z
i-

J *

Scale of

G major.

(One sharp.)

9

10

9

M

Exercises
For the Concertina
Right Hand.
p

4

3

3

2

2

Left Hand.(-)
P P

DP
'

DP
'

DP

U^'t^'i 'U' i-i

ii jj

7-

8-

8'

9-

9-

10-

6-

10-

6'

«

C major.

Right Hand.
i

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The Heart That Feels No
>)

Sorrow.

39

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40

Kildoug-halt Fair.

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Machree.
Irish Air.

103.

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Teddy, You. Gander, or Bully For You.
Irish Air.

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Irish Air.

The Low- Backed

Car, or

Jolly Ploughman.

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Larry O'Gaff.

41

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on the Ocean Wave.

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Soldier Laddie, or Independence Day.
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Mountain Maid's
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Tyrolese Air.

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Matrimonial Sweets.
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