French Horn Tutor

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6&8 FOURTH AVE
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Rudiments of
sry
INDEX.
t>
Different shades of Tone.
31
Taking Breath
31
Minor Scales
34
The double
Sharp...
38
The double
Flat.....
39
Various Duets.
The Portamento.
45
Triplets, double Triplets and Groups.... 8
The Harmonic Minor Scale.
48
Time
The Appoggiatura.
49
The Gruppetto
50
The passing Shake.
51
The Shake
51
Studies on Chords.
61
Abbreviations.
66
Table of Signatures of Sharp Keys..... 5
Rests
66
Natural
Chromatic Studies
68
Grand Studies.
70
Transposing.
85
The Echo
88
Music..;..:
Duration of Notes
Comparative Table of the relative

value of Notes.
Bars.
Rests
Dots
..
...
Table of Times
Scales.
Flats
_."_
:
Table of Signatures of Flat Keys.
Sharps
_.
Introduction.
..:vr
General Instructions.
Complete Scales for the French
Horn with three Valves
The
The Pause
19
89
Thema with Variations
98
A.A.:.:V.':.':.?.:;A.l.v.L.::
Scales for shutting the Bell. _;.;.!..:
re
Slur
Turn
orchestral pieces.
9
! *
or
Various passages from
first Exercises
.40
List
of the principal
in
:S2
*tk*
*&&
words
modern music
100
RUDIMENTS OF MUSIC.
Before the student can commence to play on any instrument,
it
necessary that he should be ac-
is
quainted with the rudiments of notation.
Notes
The musical signs, which indicate the pitch and duration of a musical sound, are called
and are figured
thus.-
They are named after seven

above or below five parallel
mined by C lefs
J-* J etc.
E,F,G,A,B, and are written on, between,

called the Stave The names of the notes are deter-
letters of the alphabet: C, D,

lines
placed on different lines
Music for the French Horn

and for very low notes
The names
in the
is
written in
m the Treble or
Bass or F
of the notes on the
jp
^7^
five lines in the Treble clef are.
*'
second line ^fc
t îe
between
f ur *P a ces
the lines.
BDF
'
^=t
l
>H
E
F A C
These eleven notes being too limited in range to indicate

higher and deeper sounds, Ledger lines have to be added,
above and below the stave
of the two notes above

and below the lines.
Notes on the ledger lines JL T

mV
above the stave.
JES
Tj-J
^
E G
clefs, placed on the
placed on the fourth. 2E
clef,
.*!* *f
j-
Ê^
"^
Notes on the ledger lines

below the stave.
G F E
D C
Table of Notes
in
the Treble Clef.
B
C
W4
T
i
A
"table of Notes
H
B
1
T>
iE
in
mS^k
-B
B-
the Bass Clef.
To
^
b
'F
fe
DURATION OF NOTES.
Notes may be of longer or shorter duration, which
is
indicated by the
form of each note.
Forms of different Notes.

:cr
=F-
Semibreve
Minim,
Crotchet,
Quaver,
Semiquaver,
Demi Semiquaver
ScmiQ
Groups of the latter three kinds
may also be written

2044-100
thus
Quavers,
Semiquavers,
Demi Semiquavers.
COMPARATIVE TABLE OF THE RELATIVE VALUE OF NOTES,

A
Whole
is
ZEC
Note,
equal to
2 Half
Notes,
//\
or
4 Quarter
Notes,
or
8 Eighth
Notes,
or
18
Sixteenth Notes,
or
^
32 Thirty
1~
fTffffrfrffPfrffffff "_?J
second Notes.
BARS.
Notes are ,divided into 'Bars by single or double lines drawn across the stave.
One
line
and must
is
placed after each bar. Each bar contains the same number or value of notes,
last precisely the
same length of time. At the end of a composition or section of a composition,
two lines are placed forming a double Bar.
a double Bar.
:||:
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If
either
two or four dots are found by the
from the preceeding double bar, or
the whole section
double bar, from the beginning of the piece,
is to
be played again. This
is
if
there
is
side of
no earlier
called a Repeat.
RESTS.
Instead of a note a Rest indicating a pause of equal value
may
be used, thus.
i
Rest for a Whole Note, Half Note,
1832
100
Quarter,
Eighth,
Sixteenth,
Thirty seticond.
DOTS.
A
Dot placed after any note increases

2
is
Two Dots
its
value one half. Thus:
or
equal to
placed after a note increases
its
^m
to
or
value one half and a quarter or
to
F7-'
is
SJ
equal to j^""r*~rn etc
TRIPLETS, DOUBLE TRIPLETS AND GROUPS.

Triplets are
marked by a figure 3 placed over a group of three notes double Triplets are marked by a 6
;
are to be played in the same
placed over a group of six notes. Three Quarter notes marked thus
time as two Quarter notes
"T
not so marked.
-rwnrm-m
Or six Eighth notes,
and
seven
five,
marked There are
not so
also Groups of
like four Eighth notes
nine or
"""^
^"~
more
notes.
9
etc.
TIME.
how many Quarter notes, Eighth notes or Thirty
figures are placed at the beginnig of a movement, as under.
second a bar contains, special
In order to denote
Common Time.
W
Contains four Quarter notes or the
Two four Time.
Three four Time.
same
Contains tliree Quarter notes or the same
Contains two Quarter notes or the same

value of longer or shorter notes or
value of longer or shorter notes
or
value of longer or shorter notes
rests and four 1,2,3,4, have to
be
rests and three 1,3, #3, have to be
rests and two 1,2, have to be counted
counted in a bar.
in a bar.
counted in a bar.
or
TABLE OF TIMES.
Single or commonTimes.
^
r,
or
ft
or
or
Compound common Times. Single TripleTimes. CompoundTripleTimes.
i
E3E
When aline
1832-100
drawn through
the
thus (p
it is
called
m
ffi
Alia Breve and two(l,2,) are counted in a bar.
SCALES.
The ladder- like succession
of eight sounds, starting
tones anil semitones in regular order-
is
called a
from any note and ascending or descending by

of a scale is called a Degree.
SCALE and each note
Between these eight degrees there are seven intervals or distances, five of which are tones and two
semitones.
There are two principal kinds of Scales, termed Major and Minor whose ascension 'or descension is
diatonic /.^.intones and semitones; "and a third kind, whose ascension or descension is chromatic i.c.oriLy
in
semitones.
For the present only the major scale will be treated.

In the major scale the semitones are situated between the third and fourth and the seventh and eight
degress of the scale.
Example.
Each diatonic scale derives
its
name from the name of the note on the
first
degree or the Root
There are twelve Major and twelve Minor Scales.
The distance from one note
to
another
is
do not produce any interval, they are said
The intervals are named:
called an Interval
to
Two
notes placed on the same degree
be in Unison.
the Second, the Third, the Fourth, the Fifth, the Sixth, the Seventh the
Octave,, etc.
Table.
Degrees.
6.
1.
8.
i
Second,
Third,
Fourth,
Fifth,
Sixth,
P
Seventh,
Octave.
FLATS.
A
scale
may be formed on any note-,
but in order to produce semitones between the third and fourth
and the seventh and eighth degrees in any other but the scale of C -Major,
it is
necessary to employ
certain characters, wich raise, depress, or restore the pitch of any note in the scale.
One of these characters is called

The number of Flats employed
1832-100
the Flat!?, which,
in
when prefixed
to a note, depresses
a Scale, depends upon which note the scale
is
it
founded.
half a tone.
The
Flats succeed each other in the following order:

1.
3.
Eflat;
^//^/;
Thus
2.
it
I) flat;
flats all
When two
will be seen that if one flat is employed
when three
in
Aflat;
piece must be depressed half atone.
The
4.
it
GflaP,
Fflat.
Cflat;
must be prefixed to B, consequently
all
BV
in that
and Es must be depressed and
flats are employed, all B's
B's,Es and A's, and so on.
flats placed at the
commencement of each stave are called
course of the composition, are called Accidentals
the Signature , while any, which appear
TABLE OF SIGNATURES OF FLAT KEYS.

Number of
Flats.
2,
1,
Navies of the Keys.
B^
6,
7.
5,
4,
3,
fefe
Et,
Db
A\>
Ob
G\,
SHARPS.
A Sharp
prefixed to a note raises
half tone. The Sharps succeed each other in the following order.
it
5.
2.
F sharp;
The same
D sharp;
A sharp;
3E
sharp;
sharp;
rule, conerning Signatures, as in Flat
Keys
is to
E sharp;
B sharp.
be observed here.
TABLE OF SIGNATURES OF SHARP KEYS.

Number of Sharps.
|
Names of the Keys.
4,
2,
1,
jM
!*n^-.
lii
6,
Hi
||
%
F#
7.
jgjj
C#
THE NATURAL \.
In order to restore
pitch a Natural
Ej
is
any note which has been raised by a sharp % or depressed by a flat

employed, thus
zjjj
ft
fcp^
1832-100
I
to its original sound
or
=: F
raised by a sharp,
flat to
is
K to
* ts
original
restored by the natural
natural.
INTRODUCTION.
The French Horn (in French called Le Cor and
struments
known
Its
name
is
in
German Das Waldhorn)
very likely derived from
its
resemblance
in
is
form
one of the oldest
in-
to animal horns.
Historians have noted that early instruments were prepared from horns of beasts.
In
former times before the invention of the Valves, the different notes of the scale were produced
either
by the natural open notes or by
closing-
hand, which however, in the hands of a

of valves, they
were added to
the
more or
less the Bell of the instrument with the right
medium player produced only
sounds
dull
On
the invention
French Horn as well as to other instruments. There are French
Horns with two and with three valves,
the latter being generally adopted
now, becausecapablemore
perfectly to render in time the entire chromatic scale, especially the lower notes, some of which
cannot be produced on the two valved instrument.
Some
old players are still opposed to the entire use of valves, because they argue, that the charac-
ter of the original sound suffers in consequence.
on either instrument,
it
By comparing however,
will be found that the preference
a chromatic scaleplayed
must be given to the valved Horn as
it
renders every note with equal clearness.
The Compass of the French Horn with three valves
chromatic scale
is,
is
from
however? only possible from the low C
/'
to
|
iwm
GENERAL INSTRUCTIONS
I.
The performer may play
in a standing or sitting position, but
he should always keep the body
upright without stiffness, the chest well expanded to allow the free action of the lungs.
2044- 100
n.
The instrument
is
held with the left hand. The fore, medium and ring fingers rest loosely over
ready for use the thumb pressing against the under part of the tube.
The instrument must not lean upon the body, only the ring of the bell is to rest against the right
the valves, always
haunch. The right hand, outstretched but with fingers close together inside the bell on that part
next the body, to be ready for use when partial closing of the bell
is
required.
III.
The mouthpiece
is
placed on the lips, as nearly as possible
thirds of the mouthpiece on the

size of the
in the
centre of the mouth, about two
upper and about one third on the under
lip.
No
strict rule as to the
mouthpiece can be given, as for high notes a smaller one and for low notes a larger one
may answer best, very much however, depends upon
the formation of the lips.
IV.
To produce a sound on
the instrument, the lips
shouldbe closed as
in the act of
u
smiling, the tongue
put between the teeth, quickly drawn back, and at the same time the word Too"or "Uoo" pronounced.
A compression
of the lips will produce a higher sound and relaxing them, a lower one.
V.
Breathing should be effected without removing the mouthpiece from the
by opening a
little
lips.
Breath must be taken
each corner of the mouth, while steadily retaining the position of the mouthpiece.
Breath should never be taken through the mouthpiece. The cheeks should not be puffed out
playing,
it
makes the tongue heavy and looks ugly. Take breath as slowly as time
more slowly
it is
taken, the
sparing with the breath.
It
more
the player will have at disposal. In any case
when
will permit,forthe
it is
desirable to be
will enable you to respire oftener and is beneficical to health.
VI.
French Horn in keys of many Sharps or Flats, there are
Crooks for nearly every key. For the beginner it is advisable to practise only the El?, EC) or Fcrook.
At a later period however all the others may be practised.
In order to iacilitate the playing of the
2044- 100
'
Complete Scales for the French Horn with three
Some notes
valves,
can also be taken with
marked above.
the valves as
7>
B^ B^
V4 A
It G
iP
v>i
fit
very- difficult.
The same QOtes
TT *>
little
r-*
O^
:-*-
r4-
>
o
<w
>
ft
fv
# o
"4
!L
<3 ID
Hfrr L-e- 4-ff
The figures
1,2,3, indicate the
respectively. The sign
Y)C\ ô_
"r
P*J
+
I,
\\ fl* 1
ft
tfo
4i
r
VJ
f)
>
O
n
ft
o te
fe
I)Ol
'
o
'
_O.
45
>
4>
m3
used
r*n r4q r^
r-t-n
in the IB ass clef
B^
c# D
n# E
F#
G# A
BS
p:
verydifficiih
three valves to be pulled
O means
that the notes are
The Bass notes as written here, do
in reality
down by the
fore- middle
and ringfinger
open without valves.
sound an octave higher, modern composers have there-
fore frequently written the Bass notes as they really sound. The conductor should in such cases point
out the fact to the performer.
Compartive Table of old and modern notation of Bass notes for the French
Horn.
A difference of
an Octave.
Old Style,
m
m
Modern
^CT
tt
3T
-**-
"Or
-o-
_u_
o-
-e-
^Q=
--
_o_
3E
Style.
-O-
m:
-o-
These two are

in unison.
o
9
Table of open notes on the French Horn.
\o.
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the first Exercises.

Pronounce the word '"Too" for each note.
'2.
1.
fcS
a
--
3.
feey
afea*
afeg
'i
--
-O-
-e-
TV
-o-
-e-
--
33:
--
fee
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--
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331
-V
--
--
331
-o-
--
--
-O-
IE
-o-
-O-
--
-v
->-
--
33:
-&-
-o-
3X
-o
O-
XE
--
-&-
'
'
331
--
-O-
--
--
-GH
-o-
~&-
33:
--
-o-
-e-
--
--
-O-
-e-
3X
-e-
-4^-
--
33:
--
331
-O-
--
9.
--
->-
-O-
fes
-e>-
-e-
l|
fee
8.
--
-*-
"O
--
6.
fee
-o
0-
5.
7.
----
e-
4.
-&
--
'
--
33:
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Observe the time now and count mentally.

10.
ife
1
12.
2 84
12
13.
-,
3feE
12
14.
--
1.2.3.4.
i i i
i,
--
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11
j.
4
<t.
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4
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a,
2,
1,
3, 4.
3,
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4.
15.
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o,
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fee
i,
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2
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12
i,
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Observe the Rests.

16.
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1,
17.
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1i,
4.
3,
3,
J,
18
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4
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12
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12
i,
19.
4
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2,
1,
3,
2, 3, 4.
4.
H
3 4.
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21.
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5-
12
3
1,, o.
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1,2,3.
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12
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3
2044-100
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1,2,3.
22.
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29.
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Some Exercises on
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drawn over two or more notes binds them together so that only one stroke of the tongue is
produce them. Articulate the notes as marked below from a high note to a lower''tee-oo and
-s.
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Before proceeding to the use of the valves
it
will be
very useful
to acquire facility in
producing
tl^ intermediate notes of the scale by opening and closing the bell wholly or partially with the
right hand.
The scales which are given here, will show the pupil how
The explanation of the signs
The
The
is
for open notes.
is
for a note requiring the bell entirely shut.
is to
shut the bell one quarter.
The Vi
is to
shut the bell one half.
is to
shut the bell three quarters.
The Bell means
all
it.
is as follows.
The r4
The
'
to do
the space inside which the right hand acts, and the signs refer only to the space
between the hand and the side of the
and not to the space occupied by the bell
bell,
itself.
SCALES FOR SHUTTING THE BELL.
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some notes
in
order
2H
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Scale of F Major
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131
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Some more Exercises for the Frenchhorn without Valves.

132.
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26
Scales and Exercises for the French Horn with three Valves.
SCALE OF C MAJOR.
Omit these high notes for the

present until a good emhouehureis acquired.
SE
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In Thirds.
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27
When
dots are placed upon the notes thus
tongue should be short and the sound produced

should be similar to the following:
kind of tongueing-is called staccato
When
fff*?
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7
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g g
the stroke of the
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dots and a slur are written thus:
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be played with a soft stroke of the tongue, pronouncing the word "Doo"
in
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the notes should
similar articulation
employed when notes are written with a small line and a slur thus: =$z
only the notes in this case, should be played softly and long.
This
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In Fourths.
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In Sixths.
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Scale of C major
i
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in
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Bass
Clef.
;2
1
i
The same
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the low octave.
in
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31
DIFFERENT SHADES OF TONE.

p
means: piano, soft.

pianissimo, very soft.
pp means:
f means-, forte, loud.

ff
means: fortissimo, very loud.
jf means-, mezzo forte, moderately loud.
,f
vresv. or
-=
z means: crescendo, increasing the sound.
dim. decresc, or
sf,rfk, or;>~ means-.
means: diminuendo, decresccndo, diminishing sound.
sforzando, rinforzando, accentuated.
Jp means: forte. piano, loud and immediatly soft again.

In order to acquire a full tone and
in the
along breath, long sustained notes should frequently fee practised
following manner.-
Adagio.
136.3SB3
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--
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PP < f^pp Pp^f^PP

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TAKING BREATH.
In playing a
wind instrument,
it is
very important
to take
breath
at the
proper time. This should be
done quietly, without noise .and without any motion of the body. As musical compositions consist of
phrases, care should betaken that such phrases are not interrupted.
construction of the body, for
many players can keep the breath longer
rule can be given, where to take breath.
breath by a
2044-100
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or
Much however, depends on

than others, so that
Some Composers however have marked
as the following example will show.
the
no strict
places to take fresh
li'Z
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Allegro moderato.
137.
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Exercise with Syncopated Notes.

*
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33
SCALE OF F MAJOR.
1
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Allegretto.
142.
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SCALE OF G MAJOR.
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Allegro.
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MINOR SCALES.
Every maj or
scale has its relative minor, the root of which is to be found on the sixth degree of the major
Both scales bear the same signature. There are two kinds of minor scales, the Harmonic and the
Melodic of "which the latter from will now be explained.
the ascending of the melodic minor scale differs from descending, the former having its sixth and seventh
degrees raised by accidentals not essential to the Ke y. =_ In ascending, semitones are situated between the
second and third, and the seventh and eighth degress; and in descending between the sixth and fifth, and
the third and second degrees.
scale.
A minor.
Scale of
without signature, relative to C major

tone
semitone
tone
tone
tone
tone
semitone
/4th\
l^degi
Isemitone
tone
tone
tone
fm
fam
/5t]A
semitone
tone
hy
/7 th\
8tlA
/Sth\
tone
/4th\
TABLE GF MINOR SCALES WITH THEIR RELATION TO MAJOR,

A MINOR E MINOR B MINOR
*
"To
C MAJOR G
C# MINOR
G# MINOR
fcfe
î
MAJOR D MAJOR A MAJOR E MAJOR
G MINOR
MINOR
He
to
to
B\>
MAJOR
MAJOR
m
1S32-100
Bb
mte
mm
MINOR
MAJOR
Th
MAJOR
Ajf
MINOR
m mH
ito
To
F# MAJOR
C# MAJOR
E(?
MINOR
to
to
A\?
MINOR
Djf
Hi
F MINOR
to
El?
B MAJOR
*fc
25=
I;
P MAJOR
to
to
To
To
to
*
D MINOR
F# MINOR
Ai?
ateE
to
to
Gb MAJOR
MINOR
C\?
MAJOR
ss
be
til
as
SCALE OF A MINOR.
r^
1
^~
-a
-e
m s
|b
cEt'tt
B ^T
>
ffgBte
sg
jjj^
i^
-^f
3V'.J#
^ aJ J
rrirP
rrLTT
q_
^Ff
CEJI
PPP
r~r
^J
* #
77 & irr h
,f
fe
?r-tf
*>
Andante.
141
J)
LL*
f|J^]J^
J
"
^s
jm^-5.^ 5
f7>
J
|
f
Andantino.
146.
rj
2
3
i-
ife
WJ
Jji^^
SW
&!rTr*J
r tc^f
'
MZiiSZM
l!r#
te
j^JWrc;
i/P?r
pita
SCALE OF E MINOR,
I
<'.j]
Ji
if"
-3-3-
3z=g:
-O
-s
irff
1 yiy
Allegro.
148.
1fr0
2044-100
jp i
i
7
|
7|
j:
U"
oi
'
"-I
^lf
'
u ^tt^vttthji
e^M-9^1
jJ j> 7| l> ,7| Ji

7
^"r'rirrr
"-
iFt
-<5>
** 3*
a-
0,0.0a
An d ant in o.
148
#i
f^W^
>
.'
IS
#
sc
Mr
BE
4-
-3
+
,
.'{
"
^W
o
^TT
or: 1
Moderato.
-fr*
gS
.^J^f'f3 *
k
'
m/
^^
rS
/-
fcl
^S
#-
^
P^^
.
=r
-*~T
jarJTWg? J
yH^
^_
1
'
Sr
* EEE
rs^g=B
_
3EfcE5EE=5
l^^^bTTTiT]^^
""-=
-*V
=tf
if*:*
149.
1+01
4-
1;
--
1*J
~if
tic
*-
o+O
i=
SCALE OF D MINOR.
l
-J2.
t
L,
M.'J
*_n
E*
3z
ZZj
#,
Fr^^z^g
2Jf
^7
20*4-100
ij,
HH^
*-*
*3fc3
S=^
ST
a *
-^
~*is
9
_i
V3
37
Scale of B[> Major
^=^
i
-^
f^
G Minor.
Scale of
*^
"
\* %*
&
I E^F^
W-^^F*
^t^1K
fe=
3~p
^
-i^-
^3
i
+
#Mf
^^
^^
C Minor+
zzz
b#
r^gj
T>
+
I
&
-&
o-
r^
F'Tl
bi
-*
-75-?
Major.
jt
afcizS
frfr ,f
*=F
Scale of
^Wl
:d=*:
^^3î
bj
Eb Major.
RFff
-*?--
I* :
Scale of
or
Eg
B Minor.
Scale of
dl
or O
3i
EZI
=6
^hF
Major.
Scale of
fat!tml
Scale of
^JgfF^
'
<*
H r^
75"
rrnvSt
F-
F^
î
iff
Scnle of Ffj Minor.

1
g^D'vftJfr
204-1-100
ww
J, 1 *^-gr -#^
=
Wt.
t=3=tz
^^ wrt^
3t
38
SCALE OF
&
&I3E
g^
i
te
fcz
tt
k>
IP
-^
Cjt
Dl?
MAJOR,
* 3
MINOR.
^^
-^
-1
i i
Pgf 6S
L~
|J
^ ^
=*
*=
SCALE OF
yfes
f\.
'j
j ^
SCALE OF E MAJOR.
rr
^
3 ~
^ p4f# #^rtr^
^
SCALE OF
& 5
M3=3
OFF MINOR.
i3
1 1 1
44
p 'ji^
u
MAJOR.
SCALE
Hkj
Al>
S=
'##
1
:
f "V'^
'
t
"cr
SCALE OF Bk MINOR
gypff
i
l=^P=P
f^
m. s
i;
# ^pi
fei
pp
77
ifeii
-2
J
2
is
2044-100
^^
2,
54
prefixed to a note the note must be raised a whole tone

,
P U Jp
"
j
1
Thus
MINOR.
G(t
^+
i-.fi
*-
natural.
SCALE OF
iiJEHC
-e-
F double sharp will sound like gs
^v
THE DOUBLE SHARP.

a double sharp x
>!;
77
SCALE OF B MAJOR.
aPf?
When
1
1
-3
^p
f ititlYs
W'JijjLj
II
39
SCALE OF F# MAJOR.
*y
^s
1
i
i ^
rr^
^jj'j
22
_+
mi
*=ff
=:
Z7
SCALE OF D# MINOR.
*&*
W.jjjij.ffir
i==st
pp i^rfP
E
Ty
SCALE OF Gb MAJOR.
w^ 9 pB33
-&
jj|g r
r ri
rrr
rM
SCALE OP Eb MINOR.
1,1^1,
jj
^ 5^
ff
^^^WfffP
THE DOUBLE
When
FLATM>.
a double flat W?is prefixed to a note, the note must be depressed a whole tone. Thus
^^
Bdouble flat will sound like

Like fa
bh>L
i*
Ji,u>
P
p
T5
^_^
w*
fk<
A natural
Example.
^^ ^
J
i
J
i
J-
gjj
The following articulations shall serve an as example,
in
which different forms
all
2044-100
#=3K
-#
^^
scales should be prac-
tised.
ct
zz:
-**
J J
"J
"J^
<*u
4*^
fflir r?f
rr,f ff f
\s^m
p.
ij
Various Duets for two French Horns.

NQl. Fans are.
^m
14 Horn.
2 ni l Horn.
PS
##
^5
7^
Ei=zi
jg
T^T'
PP P
^S
j^g
l.af U
+h^
fcs-ft
5
E
^
S
E^*
See?
* J
*=ff
PSS ^^
^m m m P
-^
5^^
-^
P
5
*^
0-0-0-0
^^
**:
7^ 7:
# F #
N?2.
II
i
#=
#-
fw
#L
r r
i
# w
20 44-100
, O
#^S
r e
0-
^
*
&
41
N?3. Allegro.
^m
i>
i^
/
*
rrr
i'
rr
ir
lf
1 ^4r
i>
8w/
f=#=
>
f
t=
<&
^g
S*
wr- r?
5L
'
=F
i^tel
3
+ d
T% -*
Si
i
^ff
g:
; m
s*
Sicilian Fisher Song,
N9 4. Andante.
EEpp
p~=f
*--
SE
i>
-s-
20.44-100
|r** | l
m^
p~%
I
r
2>
-6^-
r* fir*
i
r
-6>
ft
S
~~X^P-
P
Thf-r*
PP
^
^^
tt
s^
:?
"^
^^^
-o-
-/
in.
3
XT
42
N?5. Allegro moderato.
fc
*>
Sf P
dolve
m w
3^
zt
PS ip
-&-
^5f
>
s*
Kb
J'HJ
fe*
f f -
32=
5E
fT^f
W
22:
-<&-
P P
==
s
fc*
==P1
^ff
+-r+
-- 22:
iC^fc
>,
Fm
Si p?^
a*
3?
r^
rs:
^*>
P*
s M&
-Q-
N9.6. Allegro
-(9-
i m s ^^
-&-
Z2I
^F=^
forte e marcato
3E*
fe
"27
~T^
t
-&
nrr?
&
q*Pjfr
IptfMf i/
2044-100
fW
;g^
Pi
F=t
77
3=
-&+S -
-5-
-o-
*-d
i i p i ^
Jj fTrr
e-
rr
*>*>
i^
p^
^^ ^
^9
43
N?7. Vivace.
Si
fif
gp^
^f>
fe
ft
P">
PP
fe
^ f ff-f
0-0
p?w ^ ^ T^m m
//
"
ffl J
J J J-^
f^FF
aa
ff=n
HP
^=Fi^
i
if
ii^^p fe
^ i
&
* m
#3
0-
m m E^
/
/#
i aa
^g
eH^
[IfLLfl
:.
^s
Ss
0+0
#-l
^0
if P
ft
fa^
^ ^
.J F*
i 3^
Hunting Song,
N?8. Quasi
allegretto.
i P
if
f
j j j
^S
ip
^^ ^S
^^
2044-100
^3
ppi
0-
Si
^P
"'
0'
P ^^
2.
II.
P^
^
t
W
5
* * *
1.
J J J --<
44
N?9. Menuetto.
mm
s
/
M
3
#-'--
?=^
5?
_*jiJL
*?
*lif
f~0
122
*=*=
ft
f if ..
(i
ZT
~
|
'
==:
-*
Pi0'
0*-0-0
-*
s^ iS
I$*
=f~* ^f
J 'J #
P m
^
^
4'
'
tst
/
L-^
#-
-#
#
0'
'
'
00
TRIO.
1.
f^CT
SP
II
2.
Pg?
=EF
Fine.
F^fg *fii
ss
^^
3^
iidi
2044-100
*zff=t
F^
1
^^
^S
3*
j~
r .
i>
^^
icspc
=~
grf*
^^
g^^
*
^fe
=F*=
g=fczt
S^ ^^ ^3
45
^ i^p
E3E
m S^
^
r^
j.
^Z3C
*i'i,U
i>
H#
-^
ÎP f
ir
=*
J- 7
Se
^=*=3
'4-
^^f rr^
-j^ ji-^
2044-100
f-+a
^7"
SS
O.Ji
'
^ ^
ê
r=^
i ?
a ^>#-
^^g
?=?=K
^ ^
S
'
E&
C*
^ #^
P*
Eh
T=?
3^
II
Mm netto DC.
10. Moderate.
3^$
II
tn=y
3=?^
r-rT
P~
^^
^s
i S
^
1
+-m
m
f
46
Nll. Polacca,
tip
u?
e sp
**==#
$L ?\L
*P^
^
? i?
<u
PSM Q*fft] g^F

Cj
^^ ^f
r v
^gcrar^
i
I f^l
2044-rlOO
e TU*
JJr r
J>
irtf
r^
bh
3E
1
in
Lfitflr
#^ ^s^
*
?
2E
^
PH
==3
m-
'
EN
as
3P
Qw
^P?utî
i^
lÊg
if*
Ft
c*
afe *
pg^l
?
*t
-ft- 2
#-

47
Hunting Chorus
N? 12. Vivace.
m m
1f
S f 10
(ita
f
F^
^r
^ S ^^
as
Pf
e e
PP
44-4
-440 *=3C
mei ^^
*
J*
N9 13. Allegretto.
I
*LlU
mm
-w%h
S? gg^
Ulil ^S
I
4 4 4
pT
frF^
ft
-/
ffl!
J *
1
*3
d Ad 4
^H
zz:
*=*
_v
US
F.SCHUBERT.
44
ng
4-4tw-0
s*
^^ gS
^ S
^ nY.
22
***
-^TT
# j -#
;Ê5E
C\
i=
P &
Song.
#^-
-hr
44-4-^4
J"H
l-#
||P
44 4 4
^^
\J
2044-100
WEBER.
r P
J-VJ
KTfr.
i
JfFfp if*
*
a^ S
C.M.v
^S
3=*^
#^
hv\}
From"DerFreishutz."
^
^
r\
r\
Si
tempo.
^f
48
N9 14. Moderate
Sî
J-*
(9-=
ss
^fc
(9
P
* vet
*=^
^ m im
err
22
P^
22
pp
r>
;
^=22:
J1E3E
-^
J2j
^^
^H ^
mm ^^ ^
-su-
tf**
S
mmwm
pi
n
P
--
PP
SUP
ps^
^=n
J*JJ?J:
.22
J J
^ w* mm
ip^
&-
r,.,^.
ffe^
^m
-r9-=-
^s
22:
N915.FANSARE.
^m
* I^
2044- K>0
m ii
^^
iig P g& V- V
*
r. rr
-#-=-#
rCrn
2
>*
^T^
Graces, Embellishments or Ornaments of Melody.
THE APPOGGIATURA.
The appoggiatura is a grace note, placed abuse or below a principal note. When it is placed above it is
always at the intervals of either a tone or a semitone. When it is placed below the principal note, it should
always be at the intervals of a semitone.
the value of
its
value
is
is
it
When
one half of the following note.
the appoggiatura is written thus
When crossed by a
but one fourth of the note that follows
small
(k
line, thus
it.
Examples
As
-written.
As played.
B^^
ms
mm n
m
wm
*?m
#=E
'f^m
^^
3s3i:
There is also a double appoggiatura, which is composed of two grace notes, placed: The
below the principal note and the second one degree above.
first
one degree
Example.
As
written.
As played.
=N^4
Allegretto.
îhg-l'JÛJ
f}
hî
PP
^S
P
(J
n-^g
sdk
'-r
Prcj
F->>
-** Cadenza.
:*
*=
cre.se.
^#rf
* The Cadenza
should execute
1832-1 oo
is
is
W t- ~pr
a term which indicates that the measure of time
is
j|p
^jijji
dim.
pp
1^
suspended, and its performance left to the players pleasure, who
tastefully and in correspondence with the preceeding movement.
THE GRUPPETTO OR TURN.

composed of three grace notes, placed between or after aprincipal note.
The Turn is marked thus: co. A small sharp placed under the sign f indicates
is
grace notes
sharpened. Should the sharp be placed above the sign
is
be sharpened. In case of a sharp above and below the sign
cg>
thus-, Je
that the lowest of the three
the
upper grace note must
the upper and lower grace notes
mus t be
sharp-
ened. The same rule applies to Flats, only the grace notes must be depressed half atone in that case.
Examples.
As written.
As playedJ
(fo
err
*>1
OB
a^
ffat
3Bz=P
S Si
*OE
M
e#
si
^*
s5
I,
0>C
flats'.
cc
P-
*d
fflp
ess
p m
Pf
With sharps and
7 i
mm
& M
cc
CO
gt r
oo
oc
rx
n
es
Moderate
97;
*K jfltrte
P
ftm
*--*-+
vî
g?
rrnr
-0
C^N JJJ TO
^=1*
r^^rf
i
r lt
lt" cr
cc
EflCfTCf Thefci
same as bar P
ffi
E&fri^-P r^pi
i
1832V-
100
^
r^M
^
i^Bd^^Bîî^^ f^
4m
0^-
Jl
<9
[rrr
PS
51
THE PASSING SHAKE.

lie
passing shake, often written thus *v must be played quickly and round in the following manner-,
Example.
fe f
As written
or
As played
$m
THE SHAKE.
The Shake or Trillo marked thus 4r consists
,
degree above
the note in the next
in the alternate
repetition of the notes marked, with
it.
Example.
As written
As played.
Chain of Shakes.
As written.
As
played,
A shake
from the
with two open notes requires constant practice because
lips.
entirely produced by the pressure
it is
The shakes, where valves are employed, are easier. To acquire a fine shake,
it
should
be
practised first slowly, then with gradually increasing velocity in the following manner.
(i
mPmPmPm
Adagio.
fyy
tf
&
m
2044-100
?r
rfp
^SI
^ûÂApm
*fc
vr-rr
P m P m p-rP-rf P f P P
ff f T fT.
<#\.
*E
mj
<tr
t
-\
.>rr^= feE=i
52
Short Studies on Scales.
fe
J J
~#~a:
ji^p
JJ
Jj
|(>ji
J.
<t>
2.
~c^r*
jj ijj
e#
jj^j
ij
rtiTt^
*=*= *
u jjj
jjj
7f ^rTr
=#^
ir
j1
ij
SB
rrji.jjjw
f
Ji
>
f l 'Jjj
'
fnn^
'rrT
*=*
f*2
4.
I JJ^l*
r
jfl
fl PlHlg/
l^l'jjjjftlf lJ^/l[
i6 cr J
Srir
cff
grip
I^Qll
l
|
i^tm^gigg| f
iprf
lÊU
Ai
5.
i r *^
rrp^
<
J7r]
i
/jr^jrj
r,
6.
*^^
i J
efr<TOiJ7J?
BE rmjrp.
U
m
ft
h
*
I*
<
m
f J ---m
tH^cSj
ULLf
a""^
^"P
f~
r-j^
drr
10.
i
2.44-100
r0
*m
Cp
*~
iii
m~
Ld;T tm
J
f~mp
m
m
-_-s
_tv^v
Lffij|JTOjj
<7>
3ti*
-fi>-
r
53
11.
P '"JJTJ^
13.
Cl
uj
i'
"JiW '^î^^jjjn
'
'
- 3^
L - tL
^
"-9ff9^^
iJ
^
H
u*'j^^>
u^jjf^j
rrrrn rr
JLp_- n-===
g
:===
jJ J J
|LJ -
cl T LctT ciji
l
^#
pr^jJ?|T'j
< i_^j^Li-j
^^j^H-jjjjj
j jj^
jjjfi
14.
S ^~*
j^J
J*TJj J ^ J J
^l!>
".
|>
SrrIgi
rr
'
gg p #-F
Br^ ^gW
at ?-*-**+
J^JiTOi
15.
-*-*
e=B
r>
i^=>
* J
Q=
l3
16.
Ê
tot^ '^j^rî
22:
^S
17.
SI
3 ii*3 1 i
2044-100
SfwUPfiP
w**w
BI4-U-
'
54
mm
^^
18.
fT~r
m
<t*
rn;
r sg
^f
-t-
m&
b
i
+=ar
g^
y~~:
T
uj
-S-*
==4
v-*
19.
Ir
~m
m m.
ff
^jffl.kJj
20.
s
\&r
j
rrcccr irr
J
i
'
J
r
FflpiJjjiflHiigP
*+
3Ji^ JJjj]iJ
j7j
2Z
l>
îrr^ rr.îrrffl
221
^
*'
:^ry
-#
*--=n#
JrjlU^JÛ^r>lJ^HJ?^
v
ll
=p=
!^
r^
ir
.^@i.
p
r-
^p
zz:
^^
^ ^^j^^^J^'Jlii
21.
-F"*
i#
i B
yar* i
22.
na jto' flai^
^^
'
J^Ji^
5:044-100
'
Jîft
^ P ^^
J
'
'
^^
r
I
gfc Elf
'f'
lCOi
îJ^.îJfflCT
^fcp
J
d 4 *
LLEJi^[
pf
^flJJjJij^^
55
23.
k=fcJ44*?^)bT
r
MMM-
J *
Al 0F^$
r"
>
L_d>.
>*
24.
-*-
^^
î^JcW
S3 -r~-m
# m w * m "
#y
^
a a
*"
D
i
icr C
crg g r
itfS;
ââgpjggpjg^^^jp
cr ucrcr
*
i
a^ y^ s gii
.H^SJ"]
N23,24,<& 25, should also be practised one octave lower.
26.
E^= *
j^lJTVJ
=?=* j
2044-JOO
r?
r r
J>>
o^
* ^
'
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r^ umius^r}
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l
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i
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ICcCfJJJ
Pi
30:
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J I
*-4gSf
ifficr
J
*
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i
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ffiijjj
icff^r
ijgJBjri
31.
rrw
LcrCLfCjfe^^^
32.
fl-J
^J3 ffll JBffii i
j,
f m. m f
f i^fî
2044-100
î
Lf
^^R
mrfff
^^ ^^î^j
i

57
33.
=fc^.
**********
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'
mm
^mm
fJl rTJj i
tf-
'^J**
34.
l^^g^^fgtg^^tf^f^
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p -Pi-
5g^
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J
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tef[^ff;frT rf%Ji]
i
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6-
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38.
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> rp
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rn
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s
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40.
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=s^
rfÛBfea
Ij^
'
41.
shg ijajj?i^ j 3gc
iH SB
tr^rS
204~i00
pf f>
,
lea
a S3
pj
M^-
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JBairfl'Qffll
^^
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i
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s=*
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iEi H-WTj'^J
liB
IS
.
*- --=-#
fi r7:J3J?i!UoJ^
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59
42.
1
3?
iff
Sri*
':
mm
^V"^'
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to
g
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^
^
r
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Ur-^J^f^^
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44.
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^^
q
ijTT
r _i
18
^^
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2044-100
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#jj i[rirr^1^
m
tiO
> m*
s^WsdW
m-
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;
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m P
P>
^mîn -ii
jrjj-jj^.jyj^
l
^^
ta
ra^
ânr^ ^^ ^ '^^
1
iTOffi
'
Various articulations to N945
2011-100
i-ffl c^pffl -î
j
<)1
^^
G Major.
&B%
ll
,|
]tj
t Jf * Qg gg |i
Jjr ^j
:i
Major.
fe^fe^Fl
^j
Minor.
^^V^î
jbgâq^^! jf JTT
i
/\
ur
||
Bk Major.
#=p=?
?
j^*
[f iJ 1t
|
||
iviinur.
Minor.
ffltfj/gn
I 'jJiJTjrflJJjf
E|>
frT*.
Major.
fT3rr ,
tCf
.?
fr dip
2041-100
jfl
[[a
^ im
lia
fi
r5 Lr
fl
'
% ^ ^ph
'H
62
4 fc
e
C Minor.
J>| rTl^n
3=5=
Plipll
*^r
S pg^îjflJ^ jj
I
JJfl
Major.
g3
%^
j^jjjf^ jjtj^ T i,^

i
At
aj3 J jp
jj
%i
^r^ ^r^
D\>
Major.
a ^tftr^'itftfttQjif^'jTi^jri j!^
m mM
Bl?
îp'-^F'-gg
a
3?
Minor.
j^t^^h- jj^î^j&
i
2041-100
jj
o:j
G# Minor.
I rriTTi
C$ Minor.
,
""'
^jgfri
^
"jr^'j;
1
jfpfri-tjfli
Minor.
^#g#%%11^%%
2044-100
*=^
04
Various articulations to the previous Studies on Chords.
J
w
5
illpiplp
j
ffl
-ete-r
^2
Lzt
\f^^- --m
:==
-eter.
sfe
{5
^JB
J7
ête^FP
Also the following forms should be practised in different Keys and with various articulations.
^ fcn
P^
jj
TP
^^
^^j Jl
rf iFru
#^
LUj
0.
g=
r
E
4.
1 iMa^
fr^^'ij* Hjî
^^y
Some other Studies on Chords.
^m^^mm
Mgsmm0mm
m an m w g h s '^
-
aJJ
2015-100
#
65
m mr^'
r&r^tfFtt,
j *
^^
^J^ f^^jra
r^^ J^tt^ Jâ^ jMi
^/'Juij-î^
8.
^*
r>
fr-?*
g^
r*
m .cm
i^pflrf
pf
i).
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J'
ti
^ ^ y
nil
r p-^. r
ffr
y-isBsfca
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P i
f r
'
'
'
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r
'
SI
p if
g^ *ffjT^J-^-^
t|f
tt
f m
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r-HH
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l.
^'
Fffi Fffi fffi hfffi *TP T fl^rff.rrr.rr
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p
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l>
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y
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#
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pr u
i
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cresc.
s
-
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U-J
66
ABBREVIATIONS.
Abbreviations are employed in written music, to avoid repetitions of a single bar or passage, Thus
stead of writing four quavers
a minim, marked with a thick line E2:
the same-, or
(fo
||
for T T *
(van's ^
And
sign mir1f"f1
thus^
a-* i"
or
nnum
S
used.
ti
Ff
JJJJJ
^N
^p;p;
E= ."j
j "lr^
etc.
Orinstead of repeating an identical bar, a
Jn =~^
^tj
Uj
'Cjj
#^^ O
r
T>
3-
y
i
Hi
11
s
J-
etc.
j j
\:.
fTTr
2>
f^P
*
pT^ HPfr
;t?
will indicate
S
FW?
Allegretto
or
in-
^m
]
<
î^S
fWrl
122:
RESTS.
When
a composition requires a prolonged silence for any instrument,
or
or
Meaning that so many bars of the movement should be counted

2044-100
indicated by numbered rests.
10
it is
or
in silence.
etc.
THE HARMONIC MINOR SCALE.

The Harmonic minor Scale
differs
from the Melodic, as only its seventh degree is raised by an accidental,
whether ascending or descending.
105
^m
.11
in
w
Scale of
Scale of
fe
r'^jjxj^
-ra
A MINOR.
m m
fcgi
SSE
SCALE OF
D minor.
"
G minor.
^rr*r r
CCJI''CrcajNJ3
i
Scale of C minor
rffjf f
rjTxn?ri^frcu
i/j7Pi
r
SCALE OF
ss
^j^^ f
F, MINOR.
ULXJ
Scale of BkMiNOR.
&m m
rJ7Pircr c tfin
fr
[B fcg
Scale of Eb minor.
te
Wff
Scale of G# minor.
i&e
Ufc
Pi
3j
*~*
^m
^3
Scale of C# minor.
?
Scale of
ni'Vj
n g
|
Fjf
minor.
Scale of B minor.
%mr
"j-jjJJîrLT
fe
1832-100
^^
mm
Wf
#
^^
0;| j ^JTj:
Scale of E minor.
BB
-<5>
THE PORTAMENTO.
is
an expression denoting the slurring of one sound into another which is done by means of the
,
Increase the sound when from lower to higher notes, decrease
The Portamento should only be applied

on no account be overdone, otherwise
it
in parts specially
becomes
fi
i*
As played.
p~
'
ridiculous.
it
should
g^^p
m #=rf^
when from higher to lower notes.
it
adapted for this kind of phrasing, and
Example.
As written. i
lips.'
* :ie
t)
s*
m t*
Andantino.
^m
99
.^*
^p
p?
12:
^41
P^
p^
ir
i
CHROMATIC STUDIES.
/.
E J^Jjjj^j
<J!J^
"J
gg
ttJ
J a lt^j*
^^
î J73<J^^
Pî^nt^fj i^
1 Vr^r^m
tjj frj^
^îJ
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c xcg
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pi.JJi3 'i
<Ui
I
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ii
ii
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bf^
#
t?
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11.
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ft
J^
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fniiiiTii
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a
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i
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"
2044-100
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J J)
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^ MQ î rfe
i
û^jjj^ uuijjj 'jjj^j-^jt^
TOps* ^H
#g# #
TJJ hiJ
^ w^y
'
70
GRAND STUDIES.
N?l. Allegro agitato.
I^
^ ^^
k
i>
J r.h
W e
|
A.BELLOLI.
#-#
^1'*
g J J
Ljxrr
J
7 H
ferTc: leamE? P affl

-____^______J
earnr'TnLr
ere*.
^Pt
si
?^^
fltfâr
1
ife^
^
Slf
ri
ftz
f
/
J^J
^v
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a*i2
Eig^
ff
^^
?
/
;
fa
w
2=
ft
rrlr^pir
3a
zzz
2Z2I
-"pr
i>
p-t-f
kp=
tp
P&=?
Mg
irj^^
:wf
*3t
Cj[[f
F *
2>
rî
i p
2044-100
TEL
t>
m
tirTTft
risoluto.
y j>?ni tfe t
; >
prrrrîÊgF"
Jlff;
>
[^ffJ
l;
te
H^gH
^^
71
^Jîflir^
jjjJ
i
jî
4-+
ijfai&jr rfo ftiQjQ$S?}

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{&$){&>$}
HP
pif
flrî^JJ7to
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^
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sp
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cray.
m j^j
mm*mm w^
J&L
rr-f
#-#-#
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ZJE
kîi-
jiro^jp^
vtftttf
fe
Si
#1
2044-100
Vr
fifjfo
ar
j
i
tf
ijg
gg
FiFg
/
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A.BELLOLI.
N?2. Adagio nontanto.
i i
i!S^
jjgj
J
^pi^
| liC;ig ^ > Jl
i
te
F<# Pff
m/uf
tfrp^M
S eg
fcjyj
r
frr^
jjiaJff inefTif
^5 Pp
#
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2044-100
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pf
HI
tt
t'
r-,
|
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Si
|
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l^'-'^w^J
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f^
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flfo/ce.
igg
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eg
r^
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p i
i
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org P p
s s
gj rfY
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ig^Qiife
if
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ai
3fc
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Jia^lrTorrrJ^lJ
ihjj
i
jj
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irr i^gjjj
3=i
73
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1
fl
gu v,î
^
fg
ipf
pp
j/?
GALLAY.
t a^
/
tfi L tfcir
LgfLir
~0
N? 3. Andante.
^tf
tS
'ff r.r
row cspreess w//{\
s ^^ri Lf r>ir
si*
]irij
f>[
ir-J-u
cjr
f'f&
cow gratia
^J* g
r r
[J* L/ J,
S*
ttrrfr .ft.p
&
IBS
JJ
OT
3
l
m*-*
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gp i u
IE
iSI /n
Jfl
[J'P
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eves.
trc!r
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Jî
rv
.."*i
5
BB
#
mm [jprâno^Qniî~i
i>
2044-100
m
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ii* 5z
74
N9 4. Allegro moderato,
Jz
F?7=F
Hi
i>
fl flu j
'g
gL>J_.J
m
y
fcb=^
j^
,-y
* =agi
W^~
c[fiffl"'ctfartrf
^ * ps
2=tz
rr JTi
rj
rtfo/ctf
EE
ffi
W^^M^ ^
fc
mB
wm
*
d J
1F
\
* i J
t-^r p^jto;>^
/
d=ga
rjiajro
cresc.
^m
îJ_J^r i
î^
r^=^
in
ff
-^f
nn rm
w eg
gz2
2044-100
JJJJJJ?I
75
#m
WE
d.
BE
*:
-f
I
^^fp
S P$$
.
<->sS
m _
'
*^
i^frlîrâfi
p
i
-#*
gg~ttc7
N?5. Allegro grazioso
| hi
Q p^
jff
'
r m
rnii jr
LjtjigWgflir ir+fafe
N^p
1
|g r.
I r
#^3
=jS
lr
stringeiulo
Egggggggg
r~^y"7 rrr
S^
m
m
ad lib
e ^
t. '
r
-^
r.
^'w.
r#V.
*
r.
r..
5i
^W
^
2>
â
00i
'
Tj
igr
a
wm
a tempo
u I
TPc^Cf
leggiero
r^-^ LE^r^g
i
2044-100
76
A.BELLOLI.
N? 6. Allegro.
msrr.j
s^=p
i
#
S-P
fiS
*.;pt nx> itwp'r
i
*p
i&m
^^ ^^ S
[ffir?^r
W ~^+M
fBj^?
jji'
liiJ^^'P1
^PP S
ifp^f ^-pfpif
PCirc^'
s=
czr
^p
'
I
rr*
'ti
iftf/'tSr
mî^j^ m
I*-*-*-
1p>
fe
i!>
P3
^
r
sf
Sac
if
ttr,
^^
jfr^}
^-4^;
P EfflEfl fr Jlfrgg
l
l^
^
^LffiEarjpi^/?ffl]ipgaiif|
/
2044-100
^fePi #8
jg:
22
&
**&
77
#r^j m m
m*#
^rlr^Lrrr*#J
^
^d^T9^
JJbJHH^
I
I ifill
^*ir];ttrfrtlr;iiJr
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>
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ffJmPVif
HT
m^
ffr
ds 4 risfltiM
'tr-
&*.
gi
'
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cresc.
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^^4
p^? y
P~>j*rTB
i^l
r
r?ii*ii>rprf-.*irrf
\ ?0Ws~im
&
<v
1>(Q-
2044-100
tefett
^^jte
.-.frh^rr
B
#
>ljO*ffi Pte^s
cnri;
ipr
i>
r3
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;"rpi>.n
78
N?
fe
.Andantino,
fTirrfi
J.
te
JOU-lflO
j j
n Tj
i
i
i
,
Q^rn'j jJP p
JT
m.r.r-T'T^
E
r
I
ji
jfl-#
V.t
cf
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{^\&T<&m
Tm;
mm ^
fe
6-
w-r-w
mi poco pin lento
P?
fc*
nf
^^
?
2044-100
îP iLuU
v
=b
*$&
wwm
*
P^
^^m
'C-CpJin
i
Si
80
N? 8. Adagio,
^^
ft
w^z
fc
#'.]#F
4?
^t/'r^rjir^^}^?
V*
ir@f
^w
|/'
gj
Jlj> r
m=
r-:
gj||||
ggrr?Q'i
r'u
p j
cl/Uir
gjj
pjT^>
|
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ir'^g
f
^#^rl
NrV
<1
r =f
*4-J
îgMfg
s
g HI
=Ff
^f)
rU-; ^r
7
r"
^} 'r^
Allegro moderato.
U^ji JPrr
i
M^
2044-100
F^h
81
|^fJiJTOjiJgg
NrT nîifflWfjiJJiJJi .nJn^ ^
ii
cresc.
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H
**
s
J
E2 f
ffi
& I pa
^ ^yî.^.CT
**
^jrT U
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ff
SI
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JÎ rlfrroiJ
J
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mîiHii^"î
3?
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'
cccffWj jffigficfli
i
y=^
,f*i'
2O44-100
!__!
J.
qui
rpi
tf/l^^
82
N? 10. Allegro.
int^mfP
mm ^^
/
Pf
crj^p
rTTfi A
&-
^
~g
p*
32
l^rp^
#f^
Hf
f
gtite
ntf
^Sff
:.
^g
tr
"j-'
4r
t^n
^ e
<tfr
e^t
^JfrTT^f f
.
E
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*=+
PCJ
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f
i
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0-0-9-
Pii
^
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F=#
Pf3 %
cresc. _
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L2 m
=g
^ r^
ig? a r'f nfc^g
-^-*
<sf
Fm
bis
mf
2044-100
l*r Cp
i>
5^2
Itt'J-
|*r"7^f
l|*~f
zz:
f?
r7>frrrf
iW
"jr
f-
F~W
*
*P
irTTJI^3
i
P
HWgiB
i=g
S3
Nll- Allegro vivace.

2
2
^rr'r^îu^y^îAJ^
Sfee
ftF^*
/'
'
H
ll"
^^
L
32:
85
\>rT^
jr
y-.3
f^firrVrfr^J
yr " tt
PPpf
'^ ir
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&
P^jum*< nr#f^#g
f^mm^mp%
f
Ei
W=^
5
te
fc*
Bi
12
3
i: 3
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=y
?9#2
ffi^ v^w#-'l!w
pawl 4^4^4Uj
^H
5
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lj
TT
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"#
'
Wf
m hi^ m^^m ym ^m
p
ims M ff^ Trr i ymr iTJfn
r
p^f
-*
r"
1
2044-100
84 N? 12. Andante espressivo,
si
N^S
dolce
g^gp^^^ H
m SP
23K
#^
$r
<$r
.'^..n
_j*
a^S
y
<tr
r tLr
2044-100
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M'tt
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ra^>
dolce.
jag
s=y
P ^
***
EM
^^
1
pipp
^
83
TRANSPOSING.
The French Horn having crooks for almost any key, the music for
signature. In
it is
many compositions however Ihe player has not sufficient time
not allowing time enough fur doing so.

to transpose ,
i.
e.
It is
generally written without any
to
change the crook, the rests
therefore very important that the player should he able
by playing the notes on another crook, than the one marked by the composer wether
higher or lower.
The following examples will show, on which crook the various Transpositions are most easy to execute.
Horn
This passage
ge writ- /
ten for the
1<
low
B\>
in
<*J
crook must if
u trans-
Bk
PPP
be played a fifth lower!
EE
B=m
rJ
P
Transposed onECj
play a fifth lower.
Transposed on E\>
play a fifth lower.
iS
-&-
In AB (occurs seldom.)
In At? (occurs seldom.)
i'
^m
Horn inF,
posed on the F crook

j
6-
^ s^ w
-*&-
i7>^7T3
^^
^P
s
Robert the Devil.

LowBtj
On E play a fourth lower.
i=S
f
MEYERBEER.
.>
F=
I]
i
f
.?
t
I
2044-100
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f^
i^^
l^LS
f=^f
#
Si
n^7
J*
f
s
r
86
SYMPHONIE in C
InC.
J2
P
%^N m
P
On
#S
I#
F a fourth lower
On Fa major
9^ P#
p=
i/v^
J~b,
frmrrr
On
up
i^
^'^
F a minor third lower
^^
>
?044-
liX)
\?
&
^m
FLOTOW.
igg
+
Of^P
^^ fW ^S
m
_
Quintet.
d
On F a major second lower
-j^r^ 7
P
^
at*
i!n#
PPP
Andante cantabile,
InEk
i
*&*ip s
CDg PP i^p P *tfVQJ
ftgfg
>?
Hl"
isn^n
tpl
Stradella.
i''rt
InD.
--
BELLINI.
third lower
Ps
mm
3T
5S
*#
g^
zz:
zz:
SCHUBERT.
CO
CV.
&#g
F.
La Sonambula.
InDk
__i.
ps
g^
P-#-
a>
p
BEETHOVEN.
a p g gr
j
^
^
m
87
im
zp=
mm
kJ
g ^^
s^
Overture Martha.
FLOTOW.
InE.
?e
'
\
1m
major
uiajui bcuuuu
second lower
iuv
On F
wu
x a.
a mainrcprmiH
Cin
TT
r>
#
fari
PP
gg
In
^^
Si
iiJi
7 I
>
^P
^w.-
'
fe*
&cj
r if
^F*
p^
#
i
Overture Elizabeth.
F# very seldom.
InG.
Z2I
SEE
^ s^
sTc/iJrl J c/ f
E major second higher,
On
r^p
ill*
P^P
=*
PP
^S
XT.
m
ROSSINI.
On F a major second higher
H ;ffi^
F~rr
PfS
fefi
gn
In
*rx3,-
* f4
Ittr
On F a major third higher
Jn
"0*4-100
r>
b^
*^=
p-rr-rr
h*
-*-0-
#-=
I*
*
f
Al>.
# *rrf
pp
pp
toc
fip^
^
tez:
f
88
it
For the following passage it would be preferable

than on the F crook.
A Major
In A.
P^ P'
On
A major third
&&
\
F.
higher.
St
i=fe
hH
0Hr rv)
pp
Ei
^pp
FF11*
a fourth higher.
BE
?m
MM
Bb(high octave crook.)
OnF
|rrp
much easier on
follf^tr
> *
it is
m
In
at
bee^hoven.
PS
A crook,
Synphonie.
0-
p-^
SE
to use the original
=P
519-
<S>
THE ECHO.
a
A charming effect called the Echo"can be produced by a clever player on the French Horn ,by shutting
the Bell ?4 with the right hand and at the same time transposing the notes half atone lower. By shutting
the Bell
the sound is raised a half tone , this the transposition produces the original pitch.
With open
*'
Bell.
f m f
Each shutting the
Bell
P=3i!
2044-100
<9-
r r \ r
-&-
% and playing with the valves these notes.
ffpfi
si
#e^
fa *
^9
it
rrtrr
^^
rf|B p s= is
&
*=*
*rif
fj
<ii
Z2=
^
r
"j
89
VARIOUS PASSAGES FROM ORCHESTRAL PIECES.

Symphonie
in D.
Larghetto.
lit Horn in E.
#H
BEETHOVEN.
i>7
ei>
icf
/'
CJ*
frtfij\
.
/V
Eroica Symphonie.
cresc.
BEETHOVEN.
# r"rr
rn
>rv
tn
dolce.
inEk
zz:
fag
^\
P?
^Sk
sen/pre cresc.
H-
inF.
> 7TT
IfU
Iff!
tap
g -r~P
tS>
r(&
|;/
"^"T^
|;
m m
I*
j;
m m
\\rm
yzz
fe
P?
cresc.
-!-
m g
<2_J
f^
E
20') 'i-ioo
mm
l s_tHorninEk
221
h'g^fl
LI
&
in A.
^3
wiLr
/
^ ^^
m trw
-Q
^=^
P ^3E
|
i ^^
oresc.
i)0
SCHERZO.
Allegro vivace.
i^Horn
8 rd Horn\mE
i
E
1wm.
f
2 nd H orn
cresc.
^f
-fit-
P P
cresc.
**
s
S| f S
*
* S
f
S PS
rî'^jU ^
^P
cresc
FINALE.
Allegro motto.
l^t
Horn in
gk
% *9ELTI*
-&
cresc.
rh^rt
F^
$E5
'
H4
iTLfiLirTg
]
v2T
E *>'
"
tf
I
#'
S^
20*4-100
a rtt
Jf
z^
~P~~^
Presto.
ff
I 77
E
cresc.
2
g
s ^$^
1
0-
i/
91
Symphonie
in
B
BEETHOVEN.
Adagio.
l^H orn
J
(
onr
-&
$ t
cresc
sf
?J J ?3^'
?J
^0
*
/jgfpfpp^gpif
PP
cresc.
p^np
p
cresc.
BE
JRP
^^
'
^m
2>
UJ3
l i^
'*#
--
i>
f^f
ST
HnEM
>n_djj
cresc.
^^
'
pîMi
i>
jk
b^
^"CU
#
gbd
v
i
* P
^F
i^f^m
HE
JSr
^ 3=*
3r$
ff
Symphonie
in
c Minor.
BEETHOVEN.
Andante.
l^Horn
2n_dH
^
sf'f/im
P
^r
3
P^F
^g
P#
gp
&
HE
as p
sf
wwP
*/
P
jr
tl
3EI
/'
92
Allegro
l^Horn
t^
umson
2 d H orn.
wfir!
ff
in C.
>
PP s 51
g*
F *p >p
-O-
-O-
BV*J)V"'
'
e-
'
>
p T=^F
inF.
to
cresc. -
ma
2()V*-100
BEETHOVEN.
P^
P
m
non troppo
/'
^ P?
E^S*
-cv-
cj
rtfo/<?e
fe
H orn
-e-
_Q_
Allegro
2 n-d H orn,
IDC
dolce
Symphonie Pastorale
st
s ^p
Q' 4 4
^^
JO
* - * ..1 <r">
(-=-
<^-
*^
Si
^
PP
m$
p-
f^
-ii-
ii
pq>
93
SCHERZO.
Allegro.
l^HommFSolo.
F=*
cresc.
fm
dolce.
wn
w==l
dolce.
Pw
frt-tr^
&
j^_
cresc.
FINALE.
Solo in F.
Allegretto
:E
HS^
4?
cresc.
SYMPHONIE
Allegretto.
Im
l^Horn
"
in A.
#*#
21d H orn'
^ PS
P
PS
IN
3BE
A.
F
Tf^m
^=p
P P
if
^ FpE
p-
SS
^3t
BEETHOVEN.
:
^^
tcr
wHkm
-m
#g^
s W 1 JCT Xi iUXiÛ ^
^fFl
J
jJ
Allegretto.
2n?Horn in E
Solo.
1
P
/)/> vr
cresc.
fit/ii.
94
Scherzo.
Assai meno presto.
l^H orn
sc
p^dolcez
inD.
P^
I&
2d orn
^
^^
-*SM-
^-
gs
El
fe
2!d Horn
8 times.
#1
I I-
r-i
.-TNt
fcfc
A>'0<4>"i > iy
i c u M
$
m W
15!
2nd
unison.
-#
fc
I
inF.'
2.:lHorn'
2044-JOO
-#
n ^^
Symphonie
jl
*U i
f ^r
fp
IN F.
& pp p W B
BEETHOVEN.
S
cresc.
gb i
MENUETTO.
Tempo di Menuetto
11* Horn.
E5
^
cresc.
^^ Sm ^
^^P && S^ ms
Ifa
r$t
Egjgg
ai
si
Ir
yJbJ
jJW
TS
ffl.
^5
cresc.
i?
ni=fc
P
s S
m S ffl
jgr^-p
jsg *
S ^m
p?^
fe 3E
3E
cresc.
r/o/?e.
cresc.
st
JVi'lf^
J-
rrr
-X21
ppp
/?
cresc.
d:
dim.
ife gg t a
*
=--
#-#
Nocturne from A Summer nights dream.

Andante tranquillo.
^m
^,
p r
'
J? dolcc.
pi
MENDELSSOHN.
Err rr
k*
Symphonie
in
Ê^Fî
f=ff*T
^-^
A Minor.
Adagio cantabile
|t
_/?
Q,
N I'lJJ^JpjjpEg =!
espressivo.
^^^h^^
J:
2044-100
TSL
MENDELSSOHN.
pS
^ ^S
iJO
InF.
The Bird
in
the Forest.
Moderato.
F.
F=*=
f r
rr-iJ
ii
Pp.
LACHNER
^_
rctf
r^& $\n
'
^>2L-
fj
v^j^
$fir\&q&\f
9"
OVERTURE.
q
RAFF.
In F.
fe
^
-JwJ
vg rWJi
rr
|
ji
afa/ce espresstvo
*^
H? rr
i *==
r
ur'T
Jg?
^
^^
ttjyifprrrf
-^ r
r
i
f-^-y
p * -*-#
LC^'rr
J-
11
In A.
Overture "Marth a'
Larghetto.
# P*
<"
*JJI
jj
t^Vi*i1PPl
^
J
*
rtjjhj
ijiJJ-i
In
P.
tiyiff^J
Wjy'lj. Jj JJ
l
^tHv*
Symphonie
Allegro non troppo.
.Ji
iJÎ
-6*-=-
JJÔU.^
jÛJJtJj)I^J.^^1^
J.JJlJJJjlJj
rJ-
flotow.
in
tH ^J.)
-
P^jp IppEBpB $
D Major.
BRAHMS.
^S
>
*^T> g
stringendo.
2044-100
u Of
U7
'
Overture 'Mignon"
THOMAS.
ind.
^^^:4f^ yJ
tt
#-=
LLr I
IN
hJ"^r Tr
,-*
Ek
rrtfj'
'
pnîr
''CUT
Irf
Cf
j-
rpri
'
Ek
IN
bizet.
ff^^
jg
-irP
pp
jop
4?
Symphonie.
inbJ),-
BRAHMS
Adagio non troppo.
t*r
fa
2>
E^
Andante
Echo.
22
Carmen
WEBER.
^CrjNffn***
Overture "Ober on ."
-..
BEETHOVEN.
==
IND.
Adagio
Septett.
jam
rr
*^ ^p^
'
Adagio cantabile.
ii
r
i
gap
P-f-f^f-^f-
Hft-f-ipn-
fep^^fe
Pi
Symphonie "Forest."
^g
ji
jj^gj
a T
2044-100
#^F
CfiJ
1 jj:.
pTf
Eg
ji ^î^r
>i
^p**
>
^
-#-
^^
11
i*t=fc
VfMS^
if~f
<?
Nhff
Sp:
RAFF.
|lr
tefe
W=6
a TT
(g
fc=
'
%J).
b ir^r
cfaiE
ijlliil^
'
i*S
THEiiA WITH VARIATIONS.

Allegretto.
BELLOLI.
iJj-ij3J J Ki-|[3 J
"rCfr
'
ffl^
Hg^^
iJ iJJJiJ^rr^
/
Var.l.
'
^^^W
rxacr' jJ
PPS
^jfifcf
Mz: tmrr?
p^
tHtm-0
m
*
cri r-qj
r r
V >JJ^tf
==.ST
IH- '
ii
m^SB
*fe
'lOTJ^JTJlipff
igi^^tmifaWcttfîJ^cdifLj
^Jj
t^ r
Jj
jtf Li
l^
m^
rp^mrEur^ si
^^
.?
if'^ji ^r L ei
&
fcfL
ijyjjjj^jr^'ifrjj^jjrp
<?
frf.
@1
m r w^ww*iNI
3**
"-
p|
-0-0-
ife
ctj
Lento
LîMM;
'/
w.
..
jffi g s;
espressiro.
m
w
~2
.-V rri JT
n>j"
nf
2044-100
*
-#-#
.?
Var.4.
J^
Var.2.
var.3.
sr
^>ji
'
^^
TwM'r 'JJjrr
^
i
'
^^
iz
99
kj
fcE^f^TS
/Ok
+z
f
2044-100
^ggfc
jjcfrîj^frjl
With
to, in,
Accelerando
Adagio
Ad
......:
Agitato
or Alia
Alia Marcia
.
Al
Allegretto
Attacca
Barcarolle
Ben
Bis
Brillante
Brio, con
Dying away.
Not.
Piu
Piu
More.
tosto
.
Perdendosi
Pomposo .........
spirit.
[belishment.
introduced by way of em-
Col or con
Crescendo or cres
With.
Gradually louder.
Da or dal.
Da Capo or
From.
the beginning.
the sign.
or decresc. Decreasing in strength.
Diminuendo
or dim.
Dolce or dol.
Duetto or duo
H Fine
or
Fuoco, con
Furioso
.\
.....
."'
.
Harmony
Key note
Softly, sweetly.
Simile
A piece
Sino
for two performers.
With
Largo
Legato
Leggiero
Lento
.-
Always.
Without. Senza sordino, without mute.
The same.
As far as.
Diminishing the sound.
Smorzando
For one performer only. Soli, for all.

Mute. Con so rdino, with the mute.
Sustained.
Under. Sotto voce, in a subdued tone.
Solo
Sordino
Sostenutoi
Sotto
Spirito spiritoso.
Staccato
.Spirit, spirited.
Detached.
."
Stretto
Tacet.
fire.
TJwma
Tempo
_
Tenuto
An
.
:
.
.-.
increase of speed.
.Silent.
The subject of melody.

or ten. ...
Tranquilla
Quietly.
Very slow and solemn.
Tremolando)
Taste.
Tremolo
combination of musical sounds.

first degree of the Scale.
Slow, but not so slow as Largo.
Broad and slow.
Smoothly, the reverse of Staccato.
Trio
Lightly.
Unisono
Slow.
Una corda
A piece
Jroppo
Tutti
Un
.
Maestoso
Majestically.
Variatione.
Maggiore
Marcato
Major Key.
Marked.
Vblkslied.
Mancando
Dying away.
Tblti
Loco
ma non
troppo,
Ln unison.
On one string.
Quick.
Ma
Allegro,
quick> but not t00 quick

All, all the instruments.
A, one.
With
time, [octavo higher or lower.
_+
for three performers.
Too much.
Veloce
The same
.,
...
Trembling, rapid movement.
Vivace
Vivo
tempo
commencemei
In place. Play as written, no longer an

But. Ma non troppo, but not too much.
L'istesso
Time. Tempo primo,the same time as

Held for the full value.
Just, exact.
The
LargJietto
Senza
Furiously.
Graceful.
Joyously.
Gracioso
Giocoso
Giusto
.
similar to.
for five performers.
or rail. Gradually slower.
[peats.
or rit. .Slackening speed.
Repetition. Senza replica, without reif,
A piece
Sempre
Loud.
Very loud.
Accentuate the note.
Force of tone.
or J^f
Forzando orfz>
Forza
As
Rallentando
Ritardando
Replica
Rinjbrzando ..... .With emphasis.
Resolutely, bold.
Risoluto
Retarding the time.
Ritenuto
Playfully.
Scherzando
The second.
Secondo or 2<l
Seconda volta .... The second time..
Simply.
Semplice
Gradually softer.
With energy.
With expression.
The end.
Forte or J*
Fortissimo
Losing itself, dying away.

.Pompous, grand.
A.piece for four performers.
',
'..And.
Energico
Espressivo
Grave
Gusto
sition.
From
From
D.C.
Decrescendo
Fine
as possible.
Very quick.
The first.
Quartetto
Quintetto
Dal Segno
As quick
A passage
short song or air.

(A composition of irregular construction.
(
An Italian air.
A combination of two or more sounds.
supplement at the end-of a compo-
.'....-
Gay, rapid, brilliant.
Chord
Coda
Quicker.
Poco or un poco.
.A little.
Poco a poco ....... Gradually, by degrees.
Pol
Then, afterwards.
Canzonetta
Cavatina
stoppage.
Quasi
work.
To be played an octavo higher.
Gradually softer and slower.

In a singing style.
)
indispensable part.
The sign indicating

Dying away.
Perdendosi
Pesante
Heavily.
Pianissimo or pp .As soft as possible.
Piano or p. ...... Soft.
Cantabile
Capriccio
Caprice
An
With much
Cadenza
Calando
ly quick.
Moved. Piu mosso, quicker.

Motion. Con molo, with animation.
Prestissimo
Presto
Primo or 1
Brilliant execution.
Twice.
Bravoura
Much.
Morendo
MOSSO
Molo
Pause
[chord.
Separating or breaking the notes of a
Very.
In time.
[ movement.
Proceed at once to the following
A boating song.
Well. Ben marcato, well marked.
key.
Molto
or Op
Ottava or 8va
At pleasure.
Impassioned.
.'.
Minor
Moderately. Allegro moderate, moderate-
Opus
With animation-
Appassionato
Arpeggio
Assai
A tempo
Less.
.Half.
'.
Obligato.
.Affectionately.
Mezzo
Minore
Moderato
Nbn
Quick and lively.

In moderately slow time.
A little less slow than Andante.
Andante
Andantino
Amoroso.
Anima, con,
Animato
A piacere
Me no
or at; a tempo in time.
Gradually increasing the speed.

.Very slow.
[strict time.
As the performer pleases; not in
Restless with agitation.
To or in the style of a March.
In the style of a March.
Moderately quick.
libitum.
Allegro
their Abbreviations and Explanations.
vivacity.
Lively.
.
.\.
.-.
Voce
Subito or VS.
....
Variation of a mt
A national song.
The voice.
Turn over quickly
^?
att
Boston Public Library

Central Library, Copley Square
Division of
Reference and Research Services
Music Department
The Date Due Card
in the pocket indi-
cates the date on or before
book should be returned
which
this
to the Library.
Please do not remove cards from this

pocket.
'EftW
Ssi
m
\ww

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ton Public Library

;npyrigh:!8 J0by Car! Fischer.

;opyrighl!e30by Ca^' Fischer.

Different shades of Tone.

Triplets, double Triplets and Groups.... 8

The Harmonic Minor Scale.

The passing Shake.

Table of Signatures of Sharp Keys..... 5

Comparative Table of the relative

Table of Signatures of Flat Keys.

Horn with three Valves

Thema with Variations

Scales for shutting the Bell. _;.;.!..:

Various passages from

necessary that he should be ac-

quainted with the rudiments of notation.

They are named after seven

E,F,G,A,B, and are written on, between,

letters of the alphabet: C, D,

placed on different lines

Music for the French Horn

of the notes on the

five lines in the Treble clef are.

second line ^fc

These eleven notes being too limited in range to indicate

of the two notes above

Notes on the ledger lines JL T

clefs, placed on the

placed on the fourth. 2E

Notes on the ledger lines

the Treble Clef.

the Bass Clef.

form of each note.

Forms of different Notes.

Groups of the latter three kinds

may also be written

COMPARATIVE TABLE OF THE RELATIVE VALUE OF NOTES,

last precisely the

same length of time. At the end of a composition or section of a composition,

two lines are placed forming a double Bar.

two or four dots are found by the

from the preceeding double bar, or

the whole section

double bar, from the beginning of the piece,

be played again. This

Dot placed after any note increases

value one half. Thus:

placed after a note increases

value one half and a quarter or

equal to j^""r*~rn etc

TRIPLETS, DOUBLE TRIPLETS AND GROUPS.

are to be played in the same

marked There are

like four Eighth notes

second a bar contains, special

Two four Time.

Three four Time.

Contains tliree Quarter notes or the same

Contains two Quarter notes or the same

value of longer or shorter notes

value of longer or shorter notes

rests and four 1,2,3,4, have to

rests and three 1,3, #3, have to be