‘The Y) yp. May al Iachiv JS ot hearine the iN v 1OLONCEWVLO NO & imtaining ~~ RULES & PROGRESSIVE LESSONS: fo heining Hc Kuevlely ip Command y of Ue Whole wnfupiy Ue > ER ul» o oh AH "Gann (Teacher of the he to * Prag’i Garbe.w INTRODUCTION ‘The entice body of Examples in the former edition remain as they stood beforewith the ‘Maition of a few remarks, and some corrections made, ‘These examples compose what iva ‘hisedition, called the Appendix. Ta the historical digertution on the vention and im. Provement of strinked instrumentwand to the geometrical and other minute explanations of the system of Fingevi, which preceded these examples, fs now sutatiteed a more simple mode of explanation, illustrated by such familiar extmpler, ax i hoped will, besides alt the advantages of an easy, pleasing ahd progressive practice, gradually unfold the theory of the general aystem with wufficient perspeesity. ‘The first practice of this instrament, more than that of any other,ts rendered dry, and unentertaining to the Learner, and his progress greatly retarded by thewant of lesions properly adapted for his private study, which, while they might entertzin himby thet beauty, sive him fresh stimulus by thelr variety, might atthe seme time,by thelr simplicity a Jjudicious arrangement be the means of his geting over the chief difficultles of the Instrument. ‘With this viewythe Author has pressimed thatthe Learner wiMl have a better means of Judsing of, and correcting his performance, by the practice and study of well known and f ‘orite Airs, than by dat of estone oF Sonatas the timeyeccents,and meanings whereof mut be to. beginner, to say the len¢;comparatvely more obscure. Nor fs it meant that his practice with 4 mister or fend, shotld be confined to this: With such epportunities;the practice of the best smusle that cin be procured im every vetiny of atileyin twothres oF more parts-will be his surest and shortest road to exrccnce, There Is indeed & refinement of tone and expression neeesrary to an elngant performance of melody oF air,which ean only be attained by being long cavervant with a variety and progression of mulodies,and the different exreaionshidh srk their chaructors« This, while it fr one of the greatest difficulties, fecertainly the mo ‘valuable and best sulted to the powers of the Instrument, nd will slzo Lead rethe poswsion ofits other great property of fine and exprezsive accompaniment; for whenctcan be derived better idea of what the later should beythan from the study of melody ItselFT A knowledge too, of the fundamental principles of harmony, will not ony conte ome easier attainment of both alr and aegompaniment, but will also discorer properties and effects in this instrument, which WII] va now and tnextaustible source of enter. ‘ainment, distinct from the performance of any written music, Ax the author of the Present treatise knows of no public 1» that even profestes to teach, oF apply these principles to the violancello, the lavorable reception the former edition of this work ‘has! met with, has encouraged him to htvard a still more arduous undertaking der to supply that wantin some degree: and he will venture {2 6 short timeo submit his Tahours to the publick on the study of harmony oF principles of thorough bass tnd_modulation,adapted to the vfofoxeelia, and on the study of melody from princ tetes, and th practice of the best vocal and instrumental airs progremvely arvanged.t. In the course of this jurded' war the Autor wl Nove occasion 0 tfer ts he dere pubitentons tn teaton ofthe pincples, bat ware gurtcearly to W steeion at Duets bythe beat master, for the vlolin and vlolanellehich wan typrar athe same tine, comprehening tr tion of practice, from the easlest, to what may be considered as sufficlently difficelt, ind Mustrative of the finger board, and of she fundamental pas fea, the prineiples whereof will be found in the former work, Jn this selection the Fingerlag and bowing will he particularly attend ed to, tnd refer to the rules in the preseat treatises and notices with We oerastonally iven of the authors whore compositions these duetts will enable the Learner to per. form, as he proceeds im thelr practlee, ‘The. tules given inthis treatise for the management of the bow from $6Dt0.S65, originated in th suthor® observations on the different modes of bowing. practised by. the most eminent performers, not only on the violoncello, but on the » nis own exporience,during a period of twenty years unremitting practicg,in teaching. fed part of the art and he hopes that kis description of the positions and. smovewente of the Joints Ger willy by the help of the drawings referred to, be ‘atel - ligtble to the Learner. ‘The bet authoritler have Beem a 9 consutted, but he appre. hhenda these movementsand positions have elther been impestectly explained, or have altogether exctged observation: T Fhe ne bon oat School of the Viniomecloy sy = nit Be pb fy the wadve ne este of The 4 Porn ee chong eon rene ed nage (re OF Ad).‘The THEORY und PRACTICE of fingering the VinLONcELLO. Of the POSITION of the INSTRUMENT and of the FINGERS. SL. the greatest aifticutty im the practice, ax well sin the teaching of Viotin, Tenor, nd Violoncello, more eapeefally the latter. from ts larger size, unfor tunately occurs at the first outiet. Bo many positions and movements ofthe hand, of the joints, and of the fingers; probably all new to the Learner, must, aecordini io the tion Wing ube general practice, be put In action at one and the same time. The # between ich a variety of movements, it is no wonder that many of themare aly overlooked, and che worst habits imperceptibly formed. -If we add ta this, thet she real principles oF causes producing sounds of the best quality, on shese astruments, sre all, excepting those relating to pitch oF tune, very Jmperfectly oF altogether un. lknvwn; Ht Will not spear surprizing that auch # diversity of effects are produced fram this class of instruments, from sounds the moit shocking and grating tothe to those thay are tolreuhly pleasing yet still far short of those encharing sounds that thew Instfuments ate hnowa to be capable of giving $2. the experience huwever off every day gives me fresh conveton monly shat excellence is atttinabl but that the tine generally thought necessary to artive st Atamay be surpsizingly shortened by Introducing more method and simplification ia the wiode of practice, and bye. more Accurate enquiry Sato principles end into the ite rent causes which concur ia forming Pure sounds, and aceasion a facility tn theie scration G3. The mode of holding the instrument ts far from being indifferent, and we see several way adopted, Which are execptlanablé, from the abstractions they op. pose to good tone anil a facility of execution. The position which in these respects poten the greatest advantages, tthe following. The player siting as forward ashe ‘an on & chalr of stool, rather tow, 1s to extend hi Left lew nearly a1 far ax he can, 0 at mat to test solely om the heel, but with the foot flat on the ground; this i don Im order to dvpress the left knve, which would otherwise oppose the proner wtlon of the Low. Thi right knee must be extended » litt outwards a7 ax exactly te recive the Violoneelty between hoth legs, the tars of the right foot bein turned quite outerds, so that the Calf of that tex which will be perpendicular to the ground.may be pressed sins she upper rim ur edge of the dnstrument, while the opposite lower edie fs Jooosed againt the lower part of the left thigh a very Mitte above the knee,the OpRer fv ul thus brofeot Megund the kneoafds hrldgewill be on a oe widkehe right kM,6 soi fs neeewry the bow should pass on the fourth string in the dirertion afi WA: tL at figs Il of the annexed plate, about three inches above the bridges far HF the fn strament be heli taveerythe how mast be deawn on that string Im the direction of the Aofted line duabithe Ginger board shea Uline to The bo fy ana cowards the Lett shut, ders as at Figs 17 G4. This position should he repeated several times WIL the Lesrner under. wand: 6 perfectly well, and cam keep the imssrusecat atendy the snag’ them praceed t0 upply the fingers of dhe left hand to the strings, after having prepared them to ‘extend to the proper distances im the following manner. Let he fingers he bene ino 0 arch, like form; the fleet joint from their polnts should be meas's perpendicutes to the Strings, stretekit from each other about an Lach, x0 «hit the diane feo the fore finger to the furthest edge af the Hietle finger shall be nearts sir inch xg the thumb resting without pressure on the back wf the Anger bard and Iyine a sity with it, and not far advanced; but s that all the Singers ay proceed Numune ateing ‘to another very exactly in the same direetion: are figr 16. where s the Fingers ts expressed by the dotted Ine and by the Ines at figs He which are 2 “at right amglea with the stringed $5. tn this position of the hand. the fingers WII be at the distance of & remitone from cick other, which are the distances expressed by the contiguous dotted 16 ance of « ton ata s acyaltone, which in the ince, and two of shese form the distance oF interval of a tone, ‘The position at fs perfeetly «aleulated to meastre the di system of mustovts wnfocrsally Ealted the interval of « minor or 1 irdyand there. fore we shall call this the MINOR posionin contradiatinetion to the position at fg: 17, which includes tu whole tones, the interval of « major or sharp thirds snd there. fore called the MAJOR poiition, The position at figs 18, former much in aes and orixinating probably from the position of the hand on the Violin, om which It fe andes the eat practicable, ls given a4 a beacon to avoids the flngers tending to blique directo 1 expressed by the dotted lines, cannot he eorretted without very long practices which will he enthrely avoided hy adopting the other positions. $6. tn ahs tar, jet the hand move across to the fourth and largest string, andl ot the distance of hous threr inchey Sem the aut tot the First Finger be pateand pressed sainst the string; then Keeping the second and third fingers beat and stretched at thelr due distances, press down the third finger on the sttlng, but not the recond, tho ft may He afterwards press down the Tittle finger at its proper Alstance; this being done, examine whether all the flngees and the whole hand have kept thefr positions Compare it with figs 16. and correct any inaccuracy; then pro ceed to take off the little Cinger, but #15 presoretag Hs form and distance, and af terwards fm the seme manner take off the thied and first Fingers successively, and without quitting the thambyendeavour to keep the fngers bent tnd separated ay whee fon the string, very litte distance shove it, very steudily for 4 Few seconds: by this means they will acqulttyin a short thne,the accuracy of compasicas and the Learner ay rest ansered that 4 fow minutes occupted fn this, will greatly fuetitte his future progress,and that he will thereby strengthen,and acquire a more accursty command of his fingwrsthan hy an injaiclous practice of several months. SZ. He may now inspect the first column of Letters, o, dye, fat fig: 16. the Wiolonestte bein supposed 10 be in tunch and striking the opm arth sei wich ‘the fies Finger Wf the right hend, as on the harp or guitar, 1¢ will give C, the lowest sound of the instrament, the hand being now th the proper position and she first string struck as before will Rive the note a, #8 marked op. n Figs 18. _xive Dos sounds e, and Fj then moving the hand to the next string, which being stuck ‘porite to that finger ind tn Me manner the third and fourth fingers WIND open it Will give the mote gy the flest of the second column and by putting dwn the inet third and fou ah fingers successively, hy remaining three notes 8 and 6on~ [posite ty these (lagers will be produced, And thus we have the matural or dfs scale of G, a8 represented in musical notes thet Gist bars ofthe fapowng example Seale of Co Seale of @ Seale of De Tonge ex] 2 oanse toe onar SB. Prectwty fa the same manner, and wih the se extension of Finger3the remaining two seaies ts the abuse example are performed: that of G on the third sl second stringy, and that af D-on the second aad First stringse the letters by whieh the rows are meses axe putninely omitted Under the hots, thot the Learner may sone ee a cece tate Goad Cy ate hepaSond and shied cotuma of fx Aeon, Wd thet at Dy én the 16. vies eas ‘The digtanee a0 3 tune 4 marked rd and fourth column, vias doeftg: ( -boctd shove by a short line between the figures or letters fonisslan of the Hine, thus AahoeH means,that two tones and « semitone wee t0 be tekem, Ont, And sa order to read all the éatervaly with certainty Jet the fol. lowing inyeesion of the above scales be played gizzicato. Bx: 2. ase ae eT fieae SO. The above notes are at the distances oF intervals of HEhy esrendlaygzand Joving the same finger only to the next stringy sivths ancending, the former are taken by or by placing the finger derone both string at the same times but this way it mot 40 “prseticable for the third finger. ‘The Learner may observe at 4x, thet all motes in the spoees are taken with the frst or fourth finger, while those on the lines ate the oper stelogsyor taken with she third Fingers Such oberetions assotating hy ile af the wat son chatacters with that of their places on the Songer hosed, will prevent many miehes, sul tend £0 a0 early and perfeet knowledge of the musteal syste and of fey eveeusiom 40 be Tezent,but Intervals or fon the instrument; there being in fact nothing throughs stances, thet fx the situation of ane ante with respect to te flregeingy ir Fallonng hich are to be taken with the-Tetst possible change of position or unneressary lifting up of the nce, In the shove example gt Fingers mem In patting fom one atrlng to another, for in Xy the first finger isto remain on the fourth string, whilet the third ig atrte}21 from» it [pve tone, and goes on the third stringyand afterwards on the fourth;where it isto remain tance on he thied, and #9 of the others. ‘whilst the tittle Ginger gors to the semitonie di NO, The Learner after having understood in what manner he fs to hold ow manage th bow as prtletany directed under ts proper heed hereafter? may now prox sbjotned tthe ceed to the following example of an easy french aie. There is «bs sir, and above it;the same air fy glven in anizon i the treble clef, tht the learner may have it plyed on the violhy flute, OF plano fortewhile he plays the bass tof, obverslng 10 divide every bar into tho equal parts or measures, which my be done by counting accurately’ one, two; about the Ome of « moderate step ix marching oF walking. In aging the air by himscl? he may at first take the more simple and longer motes, and satierwards the equirslent shorter noter written ina smaller character Ie alan 996 tus olerve that the notes of the base are to We played shorter than shove of the a hia + Sete 67order to separne them ftom cach other by a seqable stop, and aceenting each, nt valle the plzzicato abovementioned , This manner af playing notes tn meant by the technical term, Staeentos The notes of the airy the contrary are to be played fu, and contected, In the manncr of slaging, without any separation of stop whatevers except at the double bara, of at the end af shorter musteal phrases or periods, such sy take place at the stars, where some short stop Ls necessary; and pxpresied merely by shortaing the Iast note nf such periods, and stopping the remainder af ts Length, as tm the staccato of the hare, 40 thatthe first mote of the following phrave tay bean exactly im the French Air, EX! 9 Violin oF an = SUL re win nave occurred ta the tearmer Chet mo eae his Ritherto Geen made oF the second finger; the following scale will show,in the second octave, which is merely 4 repetition of the intervals of the fjest, that the temitonic intervals ef, and lke, whieh 4 the lower active were taken with the fourth Finger,must fn the upper octsie be 1 een with the gecond Finge BX: 4. Extended Scale of C. Seonis Fi0ce FinOt Fonte codnefog-t beS12. hos the cute wit always be tn fingering the key of C, for he two lower slags the feat third and fourth fings 123, and for the two upper strings the First second und fourth fingers 124, The first of these positions will be hereafter ocet tally distinguished fram the sccond by the name of the FIRST MINOR POSYETON, snd the second will be called the SECOND MINOR POSITION. The position of dhehand figs 16. fs equally we I adapted for both Dhese varieties OF a minor thie The f lowing cuample may be taken as an exereltes apie tas rv: 5, SS Ee See nea a ae ‘This may be played m any given quickness, bat always f0 ax £0 be unifimaly conducted otha end ashe tne fy whlch ft Us begun, and £€ may: be grads 17 eneremied at becomes ceay by practice, tothe quickness at x, and ys SI. te may be observed of the three seaey Bey that each octave consis of two bars, which divide Ht into two similar party or tctrachords of four motes each, the intervats of which equally consisting of two tonc# and 4 semitone+ and thet the Fingering and {ntervals of the three sealer of ©, Gand B,there xiven, ere exactly alk, orwithstand of the sharp (Bom Fy at the elef o¥ signature of the seale of G; and of the sharps #F ana 24 at that of the seate of B, ‘The reason of ths being once clearly tundcrstood by the Learner, he Will ave that all Keys in the musleal system arein ict ny tramponed or Sttict weaken, similar to, and consisting of Ike Intervals withthe mtorat Aiatonte seateg whatever sharps (@ oF fats (f) may be at the elef of any ven Bey. Ta ‘lust manacr these flats and sharps arisey may De known by considering, STA. that the second bur of tetrachord of the scale of C, Ey: Le is precisely, the same with the rot tetrachord of the next scale of Gay expressed by the dotted ince conde the third bar of that example; but that che sccond tetrachor@ of Gy Ae Bx, ts ot the defo of thie 9 OF €, nor ean # semitone take place in tht part of nun tetrathiord of any scale: with a view Ouretaee to enbarge shat somicante Engerval ttOe hole tone, and of the lst tone to make # remitone, the £4 brought forward or sharp d svomitone, doe=ffie the f thes taking the appetaton of sharp (i) whichts inc marie a8 the lef becomes the signe of the hey of G, New £ bln the fourth nose rom Cs Leaps and G, the new key being consequently ite futh EcR3ECS ‘his General inforesie may be drawn, thatthe fourth of « seale being made sharp or rained asemitongymbes ateaslion lor modulation into « hey which isthe fith ascending to the former key; as from € to G. AEECEE of the later, being: made gabe wll make a change and consequently the f=! oF modulation of the scsle af Ginto thet of Dts fifth ascending having thls 4c, with the former # £ sharp at the clef, a4 at Ext te the same manner the keys of A,E/B, and Cf, will have respectively three, four flee, six and seven sharps in the daverse order of these keys In the next example, SIS. om he other handsAt we consider the ceader, us these of Parte ie rs. rd the dietirence trogmade order B,G,C, which t+ that of fifths descending, we shall Sr chetr signatures, or their transitions oF modulations by ifthe descending te aiy- fm he wsenth Sntervat of one key beng Mattened oF Iowercd « gemitong, from fs uatural place, a in the second tetrachord of D descending, dct —baa, heing mage d—chas Juened seventh €, becomes « proper fourth fo the next srsbe af Gas gabe: for Wy first tetrachard the of ve tetrachord or first bar of D, de atte rmsining ts before, will conatitute the second tetrachord of G. Now this attening of thr seer, which is well expressed, by the natural mari (@) or by an omission of the sharp character (B) when ft has stood at the clef, mut be differently expressed, vhen then has been previously no such character, ar at the seale of ©, Ext 1s The seventh of that sea, Which stands 1n the second tetrachord b natural, Eo G—T# will be fae. tencd by removing It a semitone nearer to the sixth, which fe expressed by anther character cated « Mat (8) and the b natural oF the seventh of the seloermest fo oF the foarth of the next seale of P. the Fifth descending frome, forming Hts first feteachord fgoabh, whilst Ht second will be the €= def of the fam tae;hleh seventh €j Will be flattened to eb for the next scale of BD. the & oF which wit Fults turn be made 4 fat for the sale of HS a8 at N2 6, 11,4, Ae of the folloning example And thus the rule fur Fats as well as sharpsi kaye desr ending by fifths Be one fatik more, oF one sharp teas than the foregoing key, ax will be seem in the following Hg. natures of the twelve major and minor Keys of the system. wee FB SIG. The numbers 1,6, 1, ke. refer to the order of the amones inthe octave of the following Example, whereo! the seven distonfe intervals ar6 exprested inettersand the places of the remaining five eamioncs are expressed hy the gues 2, 4,7, 9and 11, placed yout the mlddle of cach of the tot, aid these take thelr mas scronding athe tone to the , right fs tobe fattened oy that to the Left sharpen the interval 2 for instance of 2 Whe Beto he rated must be called cf, ff ds to be dopreseed,fe must he called dhe Bx 7. 1egesetaswnw,, eee ted a Ag S17. they ore, fx:4 he the ony ane wish hs Wher boonetnded Mju one He. fuses The key of F, Bb wil for the prvent be postponed and thowe FG and Dy oF Wren se has already teen explined in Ex: 1, will be extended to a second octaveand wser exam: 48M prarire of sachs aps petty Tet grave done amet rons a Sis scicet Ex’. $18. the key or ele of G compared with thet of Cha its frst temachard of e4ch octave the ame wih the second tetrachord of Bx. aedin tt cond there only one note sittrent whichicthe Ef or eveath ofthe shove scales Compare tothe sexe Dy ity #eCond ‘etrachord contunsthe ume intreas with the first of D, dee-#fg. Anditesecond differ only uth e being natural gabe, while that of the scale of D is sharp, a-b-fede S19. “tn the scond octavythe hand ints positon wil not reach beyond dy nd forth remaining three motes the had mst be shifted or brought downs resting onthe rim ofthe sy Sichby Hgrt apis tote bi tnt he dotted ins where At ttuatedand the eat eto Gah fourth tine cibeariee fh rit he Sherefoee extended #Ntle beyond the eh Sarre the hand st W21M sipped tbe Boushe damn tthe= ay ‘hebass, Thelast tetrachord deft ia repeated in m additonal bar in the tesor cleft aceus ‘tom the learuer ta read notes in that ele, which is used to aold the multiplicity of Tinctwhics ontinennce of the bese clef wow occustony et he tor ct deat he gE egy Wi be Fut explained hereafterand In the mean time the following examples may be practised with or Without ‘he sccompaniment of vial, fute, oF plano forte as mentioned above, EX: 3 104 PSALM TUNE. Handel. vinencate HES 7x nhs mpl the uper nate maybe taken at tinea af he lower for the kine ‘of which on the fourth string the fourth figer mrt de extended « rite Prom ler eee! postion oo f naturale which wil be mote explained in the extended sale of D. $20. stany basses and melodies of egal cate sud stimplicity withthe above are tose found tn our collections af charch msec and Inthe bases of Gees, whieh may be precited with very ite further Lnowledy of flagering. FRENCH ATR. Bx: 10 Youn Fite de. ‘Vielonertlo. sTesy of $60 pute wd yas lop poeis At the places marked the common fingering: of the scale, and efterwards with greater refinement and expression, ‘as wil bevery particularly mentioned hereafter under the head of the HALF SHIFT. EX:t. _, ,AIR DE JULIE, De ede. the notes may he taken ot first with the open string: and the Murer under the notes refer tothe manner of tule hem an the half ehiFe and ‘those shovethe notes show how they may be taken fa the mean tHe without shifting the hand x: 12, PLEYELS GERMAN BYMN, —_Quirtettos 09:20.ros > At, the ghree motes e, may be taken withthe fourth finger By advancing the hand che distence of one tone at av.s..the boch—a# form a major third fm the halfafe on the third string and at b ... the notes may be taken at firet the Common wayand afterwards ‘on the whole shift, both which shifts will be afterwards fully explained.18 OF the MAJOR POSITION, or extension of the fingers for a major third. $21. This position hasbeen mentioned above $5, but has not been hitherto: required in practice. the major thirds code, of the fourth strings Kab, of the third; daes#f of the teconds and a_b—#e; of the flest string being all taken by the open string, the first and third fingcr 0-135 but {n all other ctsex of two Whole tones; not beginning with the open string, as duenff of the fourth string; de fret and second fingers must be separated £0 the distance Of # Httle more than two ind; and the extension of the first from the fourth finger will be nearly five inches divi. lea by the second finger into two equal parts ax at fig 17. $Q2_ this position is there supposed to be taken on the major third bbc, od wil best explain the manner in “hich it may be compared with and derived from the minor position at fig: 16, The letter position may be supposed to be on. ‘she minor third bed taken 12 4 which being enlarged to themsjor third bhoe-d, the second ana fourth fingers will remain the same distance in both positions while the Firat finger isto be stretched in an oblique direction backward and wil only ensile the performer whose fingers are of 4 moderate length, to stop the string with the edge of the firat finger that fs next the thumb, a4 at the figure. S23. m the following seale of D. the doe-#f, of the fourth string, He of the third, require the major position, on both these strings,and the minor position as before on the first and cecond string. and it will be right and. ‘to sound the open strlng @, in ofder to ascertain the place of the first finger ‘at the beginning of the seale. Ex: 13. Extended scale of D. 2 aah Voass = err FP Spat circa am Saas al aaote TE S24. are. repetition of deff on the fourth string, must be taken with nearly the same exten. there is a further extension of the scale, which’ being « ston of fingers in a major position, the fourth lager being extended very near to the rim of the instrament; Uhis port of the finger hosrd fs called thewhole shift which will be afterwards more fully explained with a variety of examples. At x, 11 thown how ets taken on the fourth string, by shifting the hand backwards, and takiug d with the cond finger, which will place the first finger on fe. This part of the Finger board _xenerally called the back shify, {¢I6 occasionally weed on all the string? and the position is always minor 12-4, a8 fede at ys19 $25. tm the avcond octave of the shoves there tx marked over both te. trachords 12%, and below thin the former fingering 134 of Ex: 1. both these methods are adopted in practice, and ft fs mot easy to xy how soon the Learser should begin to practice the former, as it depends on the facility with which he can stretch his fingers, and elecumstances may even make it unadvisable for hm to do It At any time, since it cannot he dented that very Rood performers never ure this mode oof fingering in the Tower srt of the instrument. It gives however many advantages in point of accuracy in crossing the strings, where octaves fourths and false ‘ths occurs thé 4 be granted'that on one string 1-4, will take a minor third, in any prt of the instrument not beyond the rim, as well as 123. Bx: 14, 2 ae OF the HALE SHIFT. ~ $26. when tive following notes ascending, bestnning with an open rng, sreto be tiken on one string, the hand must quit ts postion aftr the fet toro, tnd advanar one tone on the Finger bosrd, the three remaining notes will then be on the half shift, ‘Thus e—bofed—e of the first string, ts takeWwb fn the ordinary position, snd fed € Im 4 second minor position on the half shifts deaf gaa will have ign on the same shift on the second stringy and so of the third and four sing. [Beng Baie’ Base Brae OF the WHOLE SHIFT. S27. When tive notes gradually ascending and bextnning withthe fet ges siete besten on one string, the hand mast quit {ts potion aftr the frst two notes and advanes one tot fon the finger board, the three remaining notes Will be onthe whale shif, Thus deaf gaa, the first five notes of Ex: 13, taken om the fourth string ill bbe de tn the ordinary position, and #f g—4,in 4 second minor, on the whale shite. And as the first five notes of the scale of D, are thus taken on the Fourth stings will the fist fle notes af the key of Abe taken in the same manner on the third string. and fof the keys of Ey Mt B, om the second snd Fleet strings a in the following exomye. And20 in order to shew that al! keys consist of the same intervals oF distances,ditferig only Jn the key or note which beging their setlea, there ts subjotned the four Keys of Db, Ab, hand Bb, which must be taken in the same manner, the ony real mechanieal diffrence consisting fa the latter keys being « semitone flatter or nearer the mutyin ll their in ‘ervalsythan the former yet the place of the lat three notes called thewhoe shit tn othe [Basie Tass ns quick ams ensenttal part ofthe finger S28. The half and whole shies bourd, that very Ietle cam be done, without the ready use of them they ought to bewell characterized fo ghemaclves, and distingulshed from ef: other, before the Leaner proce tothe practice of ghem in a varlety of Airs wlitch will be Immediately given,.tnd First ss to the half shift let the four open stringy be the fundamental sound, Which isto es Lali the tune or pitch of two others, its third, and fifthyto be taken onthesmme sting fn the half MR, with the first and fourth fingers! these being the most natural succession wothese three of rounds, and generally taken by the voice to ascertainanificany ive keys sounds may be added « fourth which Will be the octave ofthe first fundamental sounds and will bseikenwith the second finger on the mext stringy as 4.2, Hftheintats are taken In tune the octave will sound a riath with the third of the Keysthat isthe second finger and the flrst, and the actave ought also to be well in tune with the fundamental oF oen string, as in the following proof. Intervals of the perfect chord of € Oiezais $29. At x, x, x, instead of thy open string the fourth Finger on the string: sound being taken with the hate, an bbetow may be useds In the same manner the fundoment first finger, Hts third and fh will be on the same atting in the whol My etave Will be taken with the weond Finger on the next stying. and thi ele We Hats as on shores as before tn Bae 18,atervaly_ of the niet chord of D, Frits Tieatie Wray $30. The appearance of two or more notes, it properly considered will ‘exhibit certain characterletle marks, by which It may be easily seen whether they are to be taken on the half or whole shift, For instance if we inspect the shove examples ‘we shall see that notes cut by the lines characterise the former, and motesinthe specs lor above the Unes, characterise the Intters In other words the half shift ken sepantely fon exch string, will have the first a Fourth finger on motes cut by the Iinesand the second finger on that. tm the intermedi 1¢ pace; On the contrary the whole shift has the first and fourth finger on notes ln che spaces and the tecond finger om one cut ly the intermdiate line. Note,» ‘rd, whether the third Hes on the same string (14) or aren ced from Line to Tine, or from space to «pace equally: cexprers the Interval of or descends 0 the next sfrfogs the mext two thirds Im succession will be fhe to the frat two and consequently taken with the sume fingers (I=) see $9, and Ex: 2. This will appear more evidently by recapitulating the above examplesand comparing hele characters together. ALY SHIFT. WHoLe: SHIFT. AP cring, Sting Paring. eral 7 7 —t ex:19 J) 2 to ia Bt a0 ctehere wid to point out the half shiPand 3... the whote shift. A Little use wil render these chavacterigticts familiar even tn eases where « mul. Aiplicity of aoter make thelr limits less eastly defineds in the mean time examine Nf8O Appendix, at the letters a and-b, and NOGO append: et g,and h, for the half shift, and 4,11 mi, for the whole shift, end in general in the following examples at a. for the former and b..sfor the later, With these obvervations the Learner may proce tthe practice first of the half shift ud afterwards to that of the whole sin the following expe.22 Violin or Flute, SBL. tn the examples hitherto given of the half shift, the position hasbeen @ vecond minor 124 and this wil romain a standing rule inthe key of D, on the First and scond sting the intereas beng fed-—e,om the former, and #°g—4 on the latier. but in keys where the Ine terval enlarges to a major third, arfe—d—e, or to first miner arfe—fde the fingring will become 1-2-4 oF Lt. which are all the varetes that will enemlly occur in the intervals of thre contiguous thirds, as the diminished thivd dead, (ken 123, oF 294 athe firger high to have been previously placed) but very seldom occurs, and consists tn fuetybut oF the fn. terval ef a whole toneyas fe-84, In the Key of G- the half shift will be cade or @ major position on the frst, but still 8¢g—ay oF a sccond minor st befury on the sandEx: 22. Myma. Violin Viotone: Basso. EX: 28. God save the King. $32. tw the following examples of the whole shit forms a major positon, as tn the extended scale of Dy Hai. and ought to be observed that be hit fave mnajor.on th itt and second strings, both gn the keys of Dand @, a8 shove #1 b Goecit, ant peas being both major thirds Tn other keys fe fe nominoy, a8 SI afterwards appear in the examples to be given om different keys, and in the fulluw the half shift will also frequently occur. prag $25 wa Fo te sheng ofBx: 25. ¥ Slow 1. masitdon,BD Ex: 26. Easter Hymn. DE Worgin. SBS. the sour bars at the above example inthe tenor clef are to be played on the half and whole shifts, Ike the similar four bars wbich begin the examples but on the first string Instead ofthe second, the cheracteritle marks of Hines ang. specs ap plying equally t0 the tenor esto the have lef, the former being {nal postions of the and a fifth that ts one string higher than the latter, ae will appear from the fllowing comparison of the same notes written in both clef, vo (arena ane et - ns aet ote, olla SBA. the next sft which wil Ye necersary to Know and practice, Is that of G. which i the semitone next above fom the whole shits Ht han already been ex plained shove 519, and Ex: 8. ‘The two following examples in whlch I 4 a frst minor position, will show that its situation on the flger board, hy the han ” ‘of the instrument, te Detter defined than either of the preveding shifts, And it may be alto observed that this position when Ht de stone and semitone or first minor, may be sgvved 1.-29° ($25) but in that case the hard mast be placed a little mote to the tft, so that the third Finger may go from the rim fa the direction of the dotted nyo #0, esting on hut the other position fs by much the easiest and most certain at fret.26 Viotone: Basso2 © $85. the next postion ofthe hand on the Fnge# hoard that of png he thiea ner om. by moving the hana stil more to the lettyon the se ofthe nnn Sothar the fnget blag tty fe 10 may pune in the diyeetion athe dated Hines Inthe try of Dilttorns with te t andr second minor 12 eat Asse tw the fellow example, but at hy being anconnceted tna poston with athee noes it may he fisen ttn harmontey att, the finger Ita Tightly op the stag wlthow pein own Sh the finger bon. whiht the bow fr drawn with eqn presen EX: 31, French Air vioin or Flate. Ti the key of Ay the position Iva flat minor as will apprer fm the Following EX: 32. Seale of A. Bs oe ET S36. the tod—e, of the second octave, formya second minor on the half hifts If they are to be slury'd’ ax marked, but in aay other cave, the inconvenience of taking two following notes with the same finger, is avoided by the other and beter mode not shifting the baod lft after e— then de on the whole shift. The Inst four burs ontaln the second octave on a thumb position, that fe the thumb on the Key, and its Fifth note ey at x, x. which may be either placed originally on these noter or after the ancending seule has been made on the first string #n eliher of the two modes just mentioned; the manner of ascending on the second string. ty afterwards shownat A. where the fecond finger om x, whale shift, ty followed by be gedom the poslsion A, then ‘he thumb js 1 be placed on e on the first string, followed hy the 1=29-Fingers on = tea, opposite to b= zed on the second string. The last two bars eontaln the drscend fag scale without quitting the position. The fallowing exanple will stow the sdvantaRe sos king thy thumb position, and bated on the arcond strinsas EX: 33. How sweet in the Woodlands, Dvet!. DE Horrineton, S37. “The west position of the hand in ascending the flager bourd s that of ‘semitone higher thin thea of the above example, but ax that will be more. naturally practised withthe scales of F, BD, and Eb which will next follow, two exatnples wit be first given of bz as more Immediately connected with the faruaing. keys inne two snd three shurps. ‘To reach this note with the third Finger the hand must be browt to'¥. figs 1G which will draw the thumb to the very edge of the finger board, In firet example the position will be second minor tat, snd fn the second Kewl EX: 4, Transposition of the French Air Ex: 20, Due So GENEX: 95, Scotch Air. in Rosina ie moter it ene pratt tinet te$38. re will now bepenper to oteuduce thy ost want Whieh have Flats a the clefyim the order given at Ex: 6. And brgiaaing that of Fy it wil appear by 315, shat the seventh of the preceding scrle of C, EX: © and 1 being Hatened a eniinns, will become im the Key OF Fy ho, and constitute the fourth of that keyyand in like manne? Teise the eb and ab of the keys of BS and Eb. Ex: 36. Seale of F. see EX; 37. Scale of BY. FAIL ROT EX: 38. Seale of Eb. $39. re tatode remarked of the fh st of the above three scales that of F that on the second and third strings she position fs second minor, ef—R, and ah--ey n the frst sting i fv amajor, bowed. OF the sce key oF Mo thet om at fourth strings the postion ty sceond tion, thie, and. dehy and O€ id second ring, it te major, booed, and 15— ogy And lastly that |e the scale or Key oF Eby the fourth string only He necond minoryand th other three soings havea major position, Dhoe=ds the fg, tnd abo. “Foo cumples flow fa Bhat the easiest, and neareet connected withthe ar two keys. EX: 39. The French i) Rut 31._tramposed « thi fower from Beto Bb, Violin. Yiotone: me Viotone: aeViolin orFlute, Violoncetio| ‘The positions inthe ahove examples Will recefve Further elucidation from the following Analysisrane subsequent examples SAO. the key of #9 in its second octave, precodes the use ofthe open fest string, which ia aaemitone sharper then the of that scale, sed heh, ane may be co preceding or following notes, 47 fags, p=, ba'tbaey render is aeeeveatY on the second Mrtng vies. two dugcesvive minor, and one major “hls Teads to the analysts of feale into ait the psitons by dhtnde tare can Prodvcey which will give a general Tale for Flogering fo HI Keys, Slthngulsig what Pslons wilt be major oF miner? : " Ex; 42. in B. Et ekh Ts 1913 1 2 Second string, First string: EX: 43, ia D. EX: 44, in Db. ‘Fourth string Pes Pet ; e SAA. andin tke manner he twelve major keys ofthesystem Ex:6. are resale ft seven positions of thirds inthe above and following order 1 major, 2 fit minan Jacnd mines, " nn ra athe Saige, @ftninrFacondh, “dite « remarkable property of the octave that It 1,2,and sf panebas or oposite coltrlvonthe next stag sila thes, forts sand posdionsy the pastions sty. xt ete PIRRO32 are ofthe same nature and properties with those ofthe frstas in N° 67 of the Appendixhere bw ‘nctaes OF Es ave given, and in N28 two octaves Inthe key of Cf show that notwithanding fs ‘Siven charpy ft may be taken with ac rest fullity by meat of thir natysis any ober bes “The fuilowing extmple of three aiffereet eys compared with each other wil farthe? karate he ‘nau between tebate snd tenor clefyand show he mppieation of te AnahysinanditwityIngrctices EX: 45. God savetheKing. im Bi, Eb, md Ey per ntae Gn theShatrag The ing ‘The only difference inthe fingering of the three keys thseennd od are the kay of Fy In which the open string cannot be taken as inthe two others where It forme the mnitone wasted andin the elose or last bar but one, where the open stiag. aybichemmot be taken Inthe key of BS,nkesthe former in hat lestanceeurer than the ter ho ti amoxh morta ad ial key tn ts First oetaeyan wl appear from the following analysand NTA and BS Appeals er 6s “The pontion of the lower octave of St test et eE S43. the ttowingecuamptcs wil show the manner in which pases may beTevoIved into ‘hesbove potions onthe fir ‘hat dleFevent Keys hate si BX tn Bb. tiny 2 MingfT — | 3s S41. The ditverent shits are distinguish’ and the they may eppear diferent in’ cach of the three examopley thers fein peality hn oe general ia for thy three keys ste forilons in the order marked and Ht mant br observed that ate the thumb fe to he paced on the finger board at fee proper distance of ane tone behind the fist finger, and in Ex? 1 His fo move om the finger board with the other flagers,presery ia ft distance 4099 to be ‘in Hs place im the Beginning of the Tast bar but one. Of£,the THUMB POSITIONS. S45, tm the three last examples and Ex: 40, this position has ban introduced in the keys of DyCyand Bb, and fa Bx: 82 and 3s im that of Av 1A the seale ofthe Iatior key the mode of fs introduction kas been more particularly mentioned, and: as In all the foregoing imstinces, 29 in every other, the Fingering ascendingymust terminate in ‘the position 1-25 when tts fo form a seale of any key for by affixing to that eral the thumbythelast ar fit tetvachord of any major seale in the aystemsig, Ex: 6. 2 Formed. ¥2-t-23, and on the next string will be; exactly opposiethe other tetrachord n1-22, Thus in the two last bars of the shove Ex: 46, the thm willheon the first fring at ay figt 16 and lying across the Finger board is the dreetion ofthe dotted ne #. +++ twill be at the sume time om d on the second string, nd the acale of D will be formed by the shove intervals vist d—e-ffx and a—b—ted. The thumb in thls poston dvides the strings into vo eqil parts ar at E figs 19 where the two Hines AB, and CD, represent strings tuned fifths fo each ovher,at the fist wad second strings of « Violon - fello a, and d, and shew the geometrical parte of the length of a string whieh form: the musical intervals, Wut which are still more exactly ascertained By a cultivated human ear. Tn the tame manscr the thumb, quitting the frst and brought over to the second and third strings, will give on the later the tetrachord gabe, making with the doe te Of the second stringithe scale af G. and the thu moved go. the third and fourth string, ‘will then form en octave of the acale of Cr ‘The three sedles being fHAhe to each other ind the Gctave to those In EX? 1, at in the following Bx: 30, [Bact Dgp\ Sanat > San to xaaa et xoInae SAG,“ For thin seten of Gi, and Ar oe to bUTALEH preamp Tower sh sth and igs't6s Ana may be nel toe Leroy tn thee provlet of oR cet pont, to observe the reatiee poston sat hi, hand mates sith he ni of sonirumene far ttre the heya Dee wil se beng hom unre Scion of bette ttn and the insta © he wil ser hn th seis rced fsitie mere hun tn Inche bit nil spose to ise th hee nesely on oth SSersimor very ithe within ean st Ar thumb will berry cows with ee Ate preci renders hese postions sore eersimyand certo been thos general ironed tase wl som reer the nnpectiow af puoge aston Inston of the ttlon ov ope ntoshichitirsewhbieeunelahater ome sabeament tothe Lerner Eom the pte of fren Comporcn tctng Berane ect aang in erent ee ‘gone th woreto belnmente tat he uot andere ces incmpeons ose at shen tuttohc ty satitettoespres any usa sete eterna compas imme fra for nstanee teehee of the fur towie e e. Seale of D 3H in different Clefs. TENOR © onthe FourthTine. ‘The wat Trem COUNTER TENOR sett Peg q : aoe © on the thiea Tine he true Treble Sec eeal S47. The treble clot isin the lat Line.in its proper pitch.as it in to be understood Jn an atcending sereajafter any of the other clefyar in NSIS Appenstix; bit otherwise dhe treble let ln taken onthe Violoncello an oct lower, atin he forego Pench an Sotch Ae nds very Tite experience wil show fromthe ston ec lstramentn ichof Sse ws thetrdlece mastered. RECAPITULATION and GENERAL RULES. $48. the key oF 0, Busy ie the omy only ne in which the two first teres cn be played in tht mlncy postion the hand sone They of © reales vag gositon om ‘Skeneuthstving tw dey We hry of, two fore eftndscandheleyoath Beale major posilonson the sting. The cf FB and ab ese ong and three major positions respect). “EA! 62, The Mader positions in 6, D, Avan B ae ae = paee - a oF YS WEY a * ee Nat EX: 53. ‘The Maior positions In ¥, Ws, Ed, and Ab, S49, mut the key of D has a back shift on the fourth strings the key of A on. ‘the 4 and 9 stringy; the Key of Eom the ah 3 and 2 and they are all second minor, excepting on the 4M atring in the key of By which fs © First minor, ) 4. ‘The back Shift in D, Avand B. ay FS Ee RULE for four notes, gradually ascending and descending. $50. °° "thiststo de anaertood as bestaning with the fast fnger on the key OF Mths There sve three modes in which thy may be takens Pivot whe the notes are slay and connected 0 and fouthe hand most shift swhole tone ate? the fiat two thas La, 12. Secondly when the ‘ar three moter are to he takontogether,the hand shifts tone after he fins motes Thirdly iva {hlcker movement an the fr cateafer aking the ft eo teste Fingers tng eeeI cexterdod fut thedhumy not moved the din end fourth foes will reach to the itdut th snotess Ta the fotiowing example the difeveans costes tm thie that inthe nse wad ot fotes are om the whole shifty inthe second, the thrse Tavt ables ate‘om the halt shivtcard in the thind, that the hand rather extend Toa vaaieg3 RUEE Far five notes in succession ascending and descending. SDL... tis cannot be ditfereat trom the rule aveady given for the whote hint 27 ed viz: 19 inthe fini postion and 12-4 inthe secondand descending 4=21, 2-R0ringdy ant stu sbiing of de and fn th fower part ofthe fnstrument, and even Inthe wpa part he thied finger be taken ested uf the fourth «On these two potions 18 founded the Foon RULE for eigght wotes or scale of one ovtave inall keys. § 52. rhe ayowe se postions for five nots anni wih te fist oF ee ris only adie in itor 3-38 ort to cole shearers fos fn, bet und 1 may be en on ane stags on voor tvee fre ting ee chscretonint fo take a inet eowing mote on anther sring in an werng sie, Innate poston fete bukyein he fallow emg and nthe cond ota > E138 er Monte mbes ehe extnote Cibo lsh. SeaboN” Ag 98 RULE for the first six notes of a key. S$5B. “these const of two major third ar poritlons,« watcan Betne the spice oF {merval betwiat the two shifts I taken On one HFIag " Bx s7, at Tat RULE for seven notes. $54. These are commonly taken from the fifth of the key, or only from the key" when ity seventh te made fat tn oPker to Mogulate nko a fifh below, a wlll be More Particularly’ noticed ta's future work unds® the head af puedlatione thie dageral regains Bjree positions 1=2, 12 and 1-23, usless the passaxe mark the thivds ato whieh Hs ddiviged vive a major third a second minor, and = first miu Be cust Hap — Ex: 58, gsRULE for two octaves. G55. Vis intervateeonsisting of Fifteen moteysin taken 8 Ae gasitlonay vii two maja toa stand minorseamd one flest tinor, either all/on whe sini oF on Twos divers fauy strings, see Appendiy NP dead Ste $56. teweser srs mug toremen fhe hat inthe tte may Santali themes nrgeand te atone be aigon the me veosining resin snd Rare stayequent sit wil aetaralty Fallows above (ie alsoN°OG Appendix) This will show Cosi tout npr siting area + ceptonand dhe only One se xevera mle o€ Ceuretog. The rale for eking ann feo tavegle inning with #9 open string ts given NPGS and 6 Appendis. ‘SST. he wvnuing and descending seals inall the keygmajor aad minor of the ys 0 wre ison roam NUL co ot phe Appel, carb series abe ember the dese Ng Shon basthssplaloea! S13, Land 13e Thy order will aveays appear by Sheeapital eter fi the Irewwliestvnd sith this remarkable vantagiabat besides the eonforaiy all the hing Ths too one gen f euies i dney Oe Hee ll geaeresions, what are the notes hes to sss pant anya sored to 8 gh-oh mote or to rettento tin deseending. The cae of BD, 0 ohn geen aber EPininstaneer i ts NOW ofthe Appendix and preceded by the SUS nd NEE 2 eo soy vamer that fo arrive at Boye mat fist have thine. tn shit ing hiv tats Lint pinion y—aBee Ags 0 reveal the Be of the ext nals NEF bemnst hfe befor at Cond Fad lastly wer Bey hich MIPSC him endBventy obser: neta change the fmtervas ofthe preceding Position “ok BD, Sion a fies aniaue tom wcood, which wil renters gatas. dee sae wanmer ol he firing heysarnsng dg Jet ach other, 0 the te learn Tow i a Part of epee pet ining ale wit his ps ttion and otes yea Pow they earrespod wieh other Keys _. CONCLUSION with respect to Fingering. $5S.___ very tins esperenee wir at stout conve the Termer ha the soper pat of the inrunt hrme Poane tof rane sitoment shay the Tower: end 1opitps fm ly cay se eo young pets ay cc Page celhunrand ewretios sh cn poatgn she negate hetoget su aoe weft par he Karimentiyy rane toda fae compan iy thle post, wal ane ont prtild by waitena oust yee egret attenon tn find chastehurny. Ta ther nits practice othe mune abadern componerythe bases Of COFeM ahd ‘inde hut be eat daar" wanes Ihsan proved sh nthe Thea Utes tn utente genial eimtaeelia te oe feta tad Sed pra te age rag De mosbetie mr ‘Sn daha mg alm proved ye arte Topearing Ac. 1'p."somietionand he ll ote wad oye oberonPloyel’s German Hyma. See Ex: 12 See Bx: 28. bigs ge God save the King. 2 gddos G59. More of this praeice wit he found i the Append N2 98>shich Handa ms Thawo parts ind N29 whlch the yesh Air EX: 20. The retmaing pure of that NE fs 2 Met smn ai by Liason thevery highest par of the fg board sere se trick of ‘Setvess and harmonicn band the Hee board maybe Been, ut the Following NP20G isa va ‘laslon‘ot the sume air focurpeyela meh sanreHosprou tiny an It may de Further served that th brig ae EX: 2O maybe played tn eve actaveona sham positon 1), without mang te be dy Sid the etven with th fourth Ongipand the next ate Bee 2L- maybe taken In the sume potion TPs uw nie 7.28 noo he eam ptt and wath respect to the Fund fg which ate beyond te svitus haere tdken on the whole gifts the 22 and Fingers a thug postion Are Sine afr the gf the preceding bae,to €e=f without moving the thumb and Brat enue thely position inthe octaves’ Ieonly remains ta rubain the following in ne Sa otiase fade bt Sr Of nowING. S60. Asevery etvect and quality of sound on this lass of instruments, that of tune atone exerpted, depends impnediately on the action af the bow,and not on the fingers tsmay be proved ay an open string’ the Learner who fs desiraus of producing the best Sounds or which the instfament ie capable, and who wishes to play with facility 5 ought och more shan usually atentive to the tovion and movements of Me bows and these of the ariny the wistyand finger of Bis bow hand 1, Of the position of the arm. fxpe of the shoulder tothe elbow be broughe aa Me aiged almost to-am horSsréat positing ‘he'thigh ima siege postures and tet! Garallel fo the right sie a8 rariy perpendjesar'end paral tsi then tothe ftagers ve poraliel tothe hresaty and from that position Hhetighss ana then arkete ies suemer position, she elbow bein kept inthe same piace iat GN With the slowest moverment fe the manner tn whieh the bow ts drawn the rand froportnnalty smalive parts of be inpe thus deueribed y ti arya : ‘inend ie shurtet hotter THar park of the how weich ty netwhe das Re LEM waelngs ol the vem belog ate greater angle them a right angle isthe pes intition for'xceating the qulekeet woverg se fiaty whieh may’ be atrards done2. OF the different movements of the wrist. $62, “Lee she bow atm Be held steady, forthe mabe of experiment, bythe left hand, in & harlaoatal psitton,and the wriet be moved tothe righteand afters) tthe lets the Fingers will be fn he direct of thove at fg: Ls at the end of the ist ent, and of those at Figs Psat the end wf the ees and propeetionlly forthe Ininutest ovement that cane given 1 the wrist. This serves to. move the bow in alher direction; andthe movement of the arm S61. to extend It tothe neectery Tenth Asin, eeplog the hand equally steady, let the Fingers and welt be moved spwards ané hem tovnveards ell the Knuckles ofthe second Jotat of the Fingers are quite out oF the tant pinion ov depteatan af the wrlat, wll give to the how then onthe seg pottln early perpericalas,or somewhat lets then at right anges with tim, the least eet pox {hicof che wrist wil rate the ow from any string tothe next Maher sringand x equally ‘atl depression wll, of course, Dring te own 4W a Lower usiog camequetly mo cle tation or depression of the arm can ever be necessary ta bew alternately ontwo con 3. OF the position of the fingers, and holding the bow. $63, theow ihe Berwin Hie uns on ane vibes and she mikate Comer OP roslteto It heh sto toueh the hair of the bow the others Ty ently an i witout pres Mircameecty to xeet Jn agiven dircetion, andthe fore finger a little separéte@ from the second, By Way of experiment Tet the bow to heldjbe mowed by dhe left hand Trot th fore Finger tthe end of the second joints and ack agin to its former place nar the oti ofthe Bogen, 3698 Ss Ley Cy ad Tet the bow OF a amall sic, beled i this snc be tmovew across he buck oF he fingers of the left hand placed in the divecttonot the string at, the psefptew She poi hic easly discovered, hy which the how may at all tines be moved on the strings at vig angler wi0tthemy and avoid the dineeslon + ve at Ege Ry which enproper dging by that of the how af almost every performer, would scem to be altnsether snavoldaiies and consequently i may be inferted,that aay priaeiple of exmteracting thisten ancy oF fymmust be to thom unkown yet the great advantages of the Former sna diseases ‘of the Liter method in performance, are scarcely to be eanceived. 41. OF the pressure of the bow and causes of good tone SG. vetthe arm he placed ar at SGI, the Dow held ar at S63 he places on the Mt string, and pressed by the forefinger on the string #1 the hai, serewe toa mnderate tenslunycomr early in coatnet with the wood of the hows this i degree of pressure dt can searealy exer beware and yet requizes Qe greet euartion oF force of the Finger Inferior de agrees of presnve will ive proportional degrees of vibration tothe strini, and produce sounds fof equal or varied force oF loudness, when the bow,with such equal or varied farce, fx put motion. Ithedivection atthe bow ls kept ax ainected $63 the impor Rice the tli hing ‘thus regularyand always a right angles with ithe sound thenoe aPisiny must be ay pure in ity wmnllty us that proceeding from thore given to i by the pofst ofthe fnger in plzzicato $F, whist wneaceptionably 90, S65, tue ectectnty t0 command the wiheattons of the (frst string the arm and ion use ena AL more forward thee deveeited gt S61, and meke an anes fn Hy swish tls vith sldey sa that the path af the now acting on this atfing, ws be ower cot af 9 cnt ptrvrms pose tee39 the right knee,and even gti further from the breasty thd for a similar reaton 1 may be Lowey when acting on the Fourth string, but 90 ar 10 ooceston the Ieest movement F the srm.tn going from one string to another The following examples will servéto Hlgrtrate these princtptes and show thelr weltiey, SEG, suppose the bow divided into S equal parts ax nt fis Mh. Let it he pressed ‘on the second string at b, and drawn a down how to dy and Teturn.an op bow with the xine velocity and pressure to bshese two movements again repeated, will give four sal mates sin the first har ofthe Following example Again let It be drawn to half the sboveditince with the ssime seloehiyras from b to 6 or €10 dy Ht wil give noter of half the former Yeigth, sn tn the second bur, and so proportionally shortesed, will give the quicker movements of the ‘ied end Fourth bares and draws from b 10 € {wilt Rive the minis of the Akay and the “whole leng’h from a tof with a dimintshed velocity, wil give the semibreve ofthe lst bar Ex: 64. 7 aia $67. when a considerable seriea proceeds from a lower to an upper string, the Up how must begin, s0 as ta have the most conventent turn of the wrist from lef to right, for its elevation and Arpression (G62) and the passage mur continue on dame yg strings. eich oan api ee eeys $68. hesame courses anited by the separate ovement of he hewn trhind 563, «specially when tvied fr some ime withthe Fre finger off th bat che Fat notlonssquneol cose two stingttn oy ae ov no lca es erpocnen te a a Ate ey $69. tasepriniine atone not when not extremly auiek or tos tne cos tinwea,the vation wil be more prey andthe intended aecem Weiter exprenetiy acing four of mare nates withthe ow In the stme divetion dacaragingdnebowrae ag Mic every notin onder togiees ew impulse to the mest S70. theup how being more udepted to the nature of this bowing it Is oftensrdaiter ienessto S71. Alternate bowsup and down,have more smoothness In thei,when preceded re = ularly by to slurred notes, and this mixture produces » pleasing vartety,after the mo hnotony oF along succession of ick potes,where each Ws m veparate bow. S72. 1mcomivinations of notes which ly on three dléferent strings asthe thse notes of ¢ chord, in one position of the Band,divided or sprinkled into what i eaTled an arpeestin: the bowing Ex: 67, sind OW, from its rebound or sPring, ts expabloafter some practi ‘laginetarticulationgbtt a9 it neceemry hat ch passage be Alwaya vetted so three vingy twofollowing notes cannot be taken on one string, and wien the open string Isene ot ve notes, fare must bean that nedeher of the others he tke on that atria g in stich ease, or whee ‘note is unison With the open string, thr later 1s generally written with {ts stem in an oP poulte direction t the others. After the fi 6 i practiced, sec N2100 Armen fora variation of the ait Rx! 20. S73. thesiea otabarybcingabvay the accented gote,istohave wove Dow: tnd contequenty the unacernted note er nove coming before ity mat have sh up bow, he man ‘erand curve ofthe ows nator may be sneertatncd, by count te nites under ne oh Arsluyasane bows and tery ether note counted sing and alterately nto thle ousete Scotter he tottowing example 289 Append shih into be the rule afterward Ex: 71 st &_and ban up bor, and e a down bin, see also N2S8. =e Tee fata wade S74. when avery short umaccevtedjcomes Core an accented hate guthe ie i sia repeated, the later ts not only to follow the forties wide the greateitqoiknes they rst aorys have different aed alternate bows Thur after the fest two,ep bowand down Sows the next unsecented note must be taken alter «short stoPswith the remaining part of the dong and the flowing accented note withan up bow; the next two, bow and down bos, lntwhenthiesronsonof notes in slarnedthe accented note i only marked by x sronger res of the bow and finger. Ex: 72. Y qd dda Gaueddue da = Engraved by Joseph Cau ield- ee APPENDAPPENDIX. " First Series C, F Hb, Eb, Ah, Db, Major. GD. a 2a 21382 2788 14 2% Sno ahs anagont og e AAe Second Series, C#.F#.B.E.A,D. Major. * >#3 Third Series, D.G.C.F, Bs.Eb. Major.Fifth Series.E.A.D.G.C . Major.Firft Series. C.F, Bp, Eb, Ar.Db- Minor. Tiron S4.F. ior eerie aE ay 55.1, Dig eee = Tatars Taresies seisiie, 1ossiote—oeeeeeeeeeeeeeSsewsTw—s=“ _ _SS 46 Third Series. D.G,C.F, Bb, Er. Minor. ae Le oe ieee aoe fP ele air | Fourth Series. Eb.Ap.Dh, Fifth Series. E,A,D.G.C. Minor, 48.EGeneral Rules ptt ae a Myeret 2 onrt fts . 65,28 aren‘The Practice of Fingering. in Examples from the belt Aniior 1 at somata of Corel fovond Opera 70. Adagio-ot zo °!* Ore !O4! STO s101 oszotloe Fo sonT O12 boiri 2uorgiat 2 gs28 So1sosro siolszio sereeg 1 F Allvgreg gore 01 2109 #802 Tboreg 1a90 % tra! 9123 s25010 Atlegzo Corrente. Gavorta, 75, ‘Allegro eae#» 10 Sonsts of Corres #2 Avera Preludios 4.3 ae Es veel pad! reel eett FT es TTf Peat ee 48 T Paeriest vigse test TPE pole ore te PTrores wizian gyei et Sarahanda,” ae Ungotad ie fot ¢ t+ eee Pies tae & “hid #t ¢2 ¢4 4% 8 3-3 4 4 Anegeg. Corrente. 77.al a a tia tate as teat pt tat en ogee sopecetagiziet: Taig } ter eseslV SFM ei ostaeser tet © cree gaits a 79. ie t 2 zee} Adspio’ * | Allegro aE Adagio “ee28 ssa cqncerta,of Core! 80. 2 Corenthine. Potts ® Tate VF141* togogs 10110 Stats ‘oer: DeLee tine, toseae s840TS see Elieet dostto iviat? tweet? tevi? See) Pie es at = pers) 3 se gieve gs evens Gerais tortor rete pte, pie ei trie, terete iveti® oivier tvtele terete taeaie tates etteresttt sl rextass ie Fao easels oF ee eae e 9? Solo of Core Aitegoo EF fia, tenes SSA ET eg SE Te OTE ue eteeces > ee ony | SHES oe gee SSSES SE A vero in reivear ms IGT Seer a8sl ieee e89! Loly tay 11° olehought deena aaa . wal ay pee a . & SS enna The u%" Concerto of Corelli, peas pexrrerts wrer eresgvel eet gee! Poieasel ot soretetsed Priefts» Handel: Pe, Allerrosist so i4 opy,l0' Bigioati loseisel ati oreo wosetye siatiser TE¥i tat Po leve fhsperes 2123 cielacai teebage Merereo oe SSS Tseie sees Adagio ‘The 129 Solg of Corelli. 94.35 Sigh pt a oy te asate Sp TOrsee Menuetto. 86.2 Tee deieel Piast ive letess of 1a Ductt.of Borhi ae 90.8s Sifepee sittectite site, + Sa arrs Allegretto 5 4 ot tela ae Pal -waviexe? KIDKI® 1% ESF vOET EMIT bo be be sop pitteas'te chtocste ite cigenp-tietetctat 2 ae ieoS, 92. 1 Duettof Reinagle see ie seit Fee Te egg See Fee TOES Sy fneeelel . ae Soe = Tie ttt tn st Ducthof Reinagle , : MenuettoJo ooo Melee iKiSS Se OPI Sehieet 18 Se te TTS? goer rest fosetoni !#*! Heyl iseitesl Sseatvori0y 1 i Allegretto sity ee cegye® teat gente s SSSGuie vgigisese1s a10bseTe Ts T ras