THE — Premier Method Saint Jacome, Marque, Bruni, Mollier, Gebauer, Martin, and Others. CARL WEBER. J. W. PEPPER, ighth and Locust Streets, PHILADELPHIA, PA.— CONTENTS. — {2 Picea Dretnge Seay, ‘Sealaraa | Renerehors as ! = ees art = Seale Chromatie Detar by Fat = ss | Eerie {uo i vat Madr ws Varton 38 SELECTED SOLOS AND DUETS. Attn a1 ra a ane ‘Misprtn Sov 1 (ae comm ‘cat Soe . . pee 2 | Prev errno row YioUaRUDIMENTS OF PUSIC. Before the student can commence to play on any instrument, it is necessary that he should be ‘The signs, which indicate the pitch and duration of musical sound, fguredtius: 2 2 6 fk FG ter seven letters of the alphabet: C,D, E, F,G, A, B, and are written on, J "Phe names of the notes are deter: acqua called Notes, and are ete, ‘They are named between, above or below five parallel lines called the Sé mined by Clfs, placed on different lines, the two most common are the Treble or G Clef, and the Bass or F Clef. ‘The music in this school will only be written in the Alto or C Clef Eis placed on the third line of the stave. ‘The names of the not on the five dines are on the four spaces between the lines : [75 . wh DF of the two notes above and below the lines: To indicate the full compass of sounds in use, Leger lines have therefore to be added, above and below the stave, = ow AL mat oH Duration of Notes and Rests. Seven characters determine the value of notes, seven the value of rests, Forms of Different Notes and Rests. Sixty fount Whole note Wat mote, | Quarter mate, | Eighth Sixteenth note. | ‘Thity second, < é 8 zZ 2 = i Whole rest ales. quaterrest. | righthrest. | sisteenth rest. | sand rest, ath rest, Premier Stthod fr VisComparative Table of the Relative Value of Notes. One Whole note is equal to 2 Half notes 4 Quarter notes 8 Eighth notes 16 Sixteenth notes 32 Thirty-second notes Bars. Notes are divide into Bars by single or double lines drawn across the stave. One line F is placed after each bar. Each bar contains the same number or value of notes, and must last precisely the same length of time, At the end of forming a double bar, ff If either two or four dots are found by t composition two Ii s are placed JF the whole section from the preceding double bar, or from the beginning of the piece, is to be Repeated. Dots. A Dot placed after any ote increases its vals one half, ‘Thus | is equal to =2=Sa=] or | to far or ==] to =a = i 1 Two Dots placed after a note increase its one half anda quarter or += fis equal Triplets, Doubie Tripiets and Groups. ‘Triplets are marked by a figure 3 placed over a group of three notes; double winlets are marked by 4 6 placed over a group of six notes. Three quarters marked thus layed in the same time as two quarters es] not so marked. Or six eights Segempm ae: Yi: play four cighths pyrex] uot so marked, ‘There are also groups of five and nine weer or more notes.Time. In order to denote how many quarters, eights, or sixteenths a bar contains, special figures are placed at the beginning of a movement, as under. Threefour Time. Taofour Tine oe eT iF —— Contes fone quarters ut te kame vag ‘Contains three quarers or the same tr sts or en] | ol Terr abr meno fea clue of longer Or shorter ster att a teh 2 have a Table of Times. Snele or Comox Tha, Compound Comme Toes. Single Tite Tier Conon Triple Times. When a line is drawn through the ¢ thus ¢ it is called Alla Breve, aud two (1, 2,) are counted in a bar. Scales. ‘The Indider—like suecession of eight sounds, starting from any note and ascending or descending by tones and semitones in regular order—is called a Scale and each note of a scale is called a Degree. Between these eight degrees there ure seven intervals or distances, five of which are fones and two semitones ‘There are two principal kinds of Seales, termed Major and Ainor, whose ascension or decension is diatonic ¢, ¢, in tones and semitones; and a third kind, whose ascension or descension is chromatic For the present only the major seale will be treated. in the major seale the semitoues ave situated between the third and fourth, and the seventh and eighth degrees of the scale. Example.8 Each diatonic scale derives its uame 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 called ax Suferea/, Two notes placed on the same degree do not produce any inter are said to be in Canton ‘The intervals are named: the Second, the Third, te Fourth, the Fifth, the Sixth, the Seventh, the Octave, ete. Table. Degreys Secoml, Thin Fourth, Fu, Sia, Seventh, Osave Table of Signatures. A scale may be formed on any note, but in order to produce semitones between the grd and qth and the 7th and Sth degrees in any other but the seale of C Major, characters called Aats (2) and sharps () are used. A fiat (b) when prefixed to a note depresses it half a tone, a sharp (2) prefixed to a note raises half a tone, Frars. Ee D sharp. Asta, sharp sharp, Flats or sharps placed at the commencement of cach staff are called the Signature, while any Which appear in the composition are ealled Acctdentals. Fiars, Name ow tue Kevs, we og ER? : The Natural:, In order to restore any note which has been raised by a sharp (2) or depressed by a flat (2,) to its, original pitch a Natural (2) is employed thus. ERI 7 | F raised by a sharp is restored by the 4 aatoral E i= Promise Methoa for Via, to its original sound F7; or F 40. ] B flat to BE | B naiural.Description of the Viola. ama t ms 003 erie ‘The Viola is derived from the Violin, being the same in ‘eoustruetio, bot larger in size, Tes provided with four strings, tho lowest of which sounds Ca fifth below the G of the Violin ‘The uotation for the Viola is written In the Alto elet— Con the third Tine ‘The etrings aro tuned in 5ths thas A table comparing the sounds of the Viola with those of ‘the Violin and Violoncello fs given elsewhero in this work ‘The four fingers of the left hand are employed to form the different sounds on each of the four strings. To ub. tain these sounds to advantage, the Sungersmust be rounded ‘and form s0 many Iittle hammers which showd strike wpou te strings, observing from one tone to another the distance of nearly two inches, and one ineh for asemitone, ‘The thamb must nevertonch the strings. ‘The frst finger will be shown by the figure 1, the second by 2, the third by 3, umd the litle finger by 4. Open strings will be shown by 0, Harmonie sounds by 1 (Harmonie sonods are very often shown by (0) of bY (Q), aud the exteusion of the litte Singer by x. EXAMPLE OP DISTANCES AND FINGERING IN THR FIRST POSITION, "The neck of the Viola should be held between the thumb | faud first finger of the loft hand, resting om the palm of the hard which should grasp it'slightly. The instrument shonld be plaged under the ehin, whieh must hold it by ‘the part to the left of the tail piece, and which must press oon it when the hand which hokils it is obliged to ran on tthe ueek of the Viola, ‘The elbow should be kept close to the boty The how shonbd be held jn the right-hand with the thun! ont dude af the stiek at a short distance from the mn Phe jest join: of the Ist Gnger should: press on the stick fs also th 2d, kd and Ath fuugers, but these latter ouly very lightly, as thes are intended ta give it sto-diness rather that fore: ‘Thewrist should then be nie the helage, eepiner sho lbw Low, Tait of the bow is ph ridge and the finzerhoard, the stick may be stig clined toward the neck of Le Viola ise: and placed ay when th | cel nerds the shines beeween the will be observed that in down bowing the wrist should bbe lowered and the elbow raised gradually and without stiffness, resuming by degrees its original position in the up bowing, the bow being kept always in ove straight line and not quitting the place assignet to it. This should be done by the ald of the wrist ars forearm only. Tt is not enough for the Viola and the 1 as we have shown: the attitude of the bod bo in necorvanes with this position aiat tend fo ma A constant habit must not be acquired of employ ng the down or up bow ata partieular note; this would valy serve ‘ev craip the movements and give a tov monotoxous regu: iarity tothe playing. Ic ig sulicient that eare be taken to use the down bow: when the phrase commences on te fist beat of the bar, faud generally after a est, ani the up bow sthen the phiras ‘commences on the unaecented note (aceon oF Fourth bet to be placed ean must Jn this position io! as well as for the shakus whieh terminate @ phruse,FIRST EXERCISES. OPEN NOTES. A 7 @ D cS © The object of the following is to oblige the left hand and fingers to stay in their right p Press the fingers on the strings thus: the finger on 1% String. the 204 finger on String. the 8% finger on String . the 4th fingeron 4th String | Keep your fingers in that position as long ax possible while drawing your bow acriss each string slowly and evenly . Exercise for the 1 fingers aM string... 2nd String. ... + @Exercise for the Ist and 2nd fingers. at! String. ar string 24 string... oa ae > 2 string a Exereise for the tst 2nd and 8rd fingers. at string. 8% string. EXERCISES including the 4th finger and change of strings. Ascending and Descending on each string. Caipe yey ieg atl stringySCALE ASCENDING AND DESCENDING. by Conjunct Degrees. it String a 8B nd Seri 4" string 3% string 2nd string a %-% (ous p ee pee ge iy, p pir @ ee a o 7S oe o 1 se oy FF “t stri ae 2nd suring am string at® string 283 8-3 A 6 y 2 p co wp «A @ Fr ep o ee =] [aS aL =o A 2 1 c veby Sevenths, Seale by Ninth and Tenth, 1 vig 233 33 Scale by Tenth and Eleventh, 3 3 4 o 12 123 238 C Major’ A Minor, @ Major E Minor,te D Mayor B Menor 4 Major| 2 Minor’ E Major (2 Minor R Major 62 Minor #2 Major} SS SESS 4 DE Minor = —— —— Ue 8 Major 42 MarMAJOR AND MINOR SCALES WITH FLATS, ts Major. D Minor, Bo Major, 4 Minor, F Major, A> Major] F Minor, D> Major: B> Minor, 6 Major. E> Minor. 2 Major, A> Minor}VARIOUS SKETCHES OF SCALES AND PERFECT CHORDS In The 1st Position To Learn The:Division Of Time. COMMON TIME. Four in the Bar The Pupil is required to beat the time with the foot in playing these Exercises.Fach note from the Nut to the tip of the Bow, (Pulling each.) 18 ¥ Mie Exercise is to be played ayain, Full bow for each note, Pull first, push the second.DIVISION OF THE TIME IN 3 TIMES OR 2 3 IN THE BAR,Beat the time carefully. Each note full. 12DIFFERENT BOWINGS. AT THE Ist. POSITION, Qt25 EASY AND MELODIGUS EXERCISES 25 In the Major and Minu- Keys most nse, Ast Lesson in © Major, Moderato, aS nd Lesson in © Major, Sitllegretio,26 Brd Lesson in A Mini Andante, 4th. Lesson in @ Ma Andante, = Tye, Stet tee, ROMANCIBi bessan in Major, Andante, E = 6th Lesson in B Minor, 8-_ Moderato.za Tih hegsan in D Major, Moderate Be, ott SS <_$ ftasp, 4 tas et 8th Lesson in D Major, Alleuro, Zz.9th Lesson in B Minor,BROMDLET 10h Lesson in A Major, Alleyretto. TRIO,Mth Lesson in A Major, aL _Alleyretty. — 4 ten * D.C. 12th Lesson in F# Minoi Andante, ——__ "9g -a 13th, Lesson in Bk Major, Altewro, tt MENUET Trio. ———3D.Cr 14th, Lesson in Ef Major, AMlegretto. * eSLith, Lesson in F Major, Moderato ———S161. Lesson in F Major, as Moderate $<ea 1th. Lesson in_D Minor, Mlegretto. > aDe 18th. Lesson, Sivitienne_in B> Mayor, Andante, an38 19th. Lesson in Bb Major. Allegretto > ~.. 20tn. Lesson in © Minor,WUst, Lesson in E> Mafor. Allegro . __ 44. Variation. Laryamento,40 nd, Lesson in Bb Major. Andante poco Allegretto “+23rd. Lesson in © Minor, Alleyry.24th Lesson in Av Major, Allegro, 25 th. Lesson in F Minor, Andante. —~. > [ia= 100 BOWINGS ON TWO SCALES, At The If Position. To be practised slowly at first and gradually quicker. 50 DIFFERENT BOWINGS TO THE ABOVE STUDY,39 40 4 Martel? with the top of the Bor 4g, Middle Row drawing and pushing. gy With the top of Bow.5O Different Bowings to the above Study. 1 227 28 3 =e SS eae sy Mater with i oF the Bn ; 32 33. 34 35.48 SCALES AND EXERCISES. To learn how to shift up and down the neck of the Instrument in different posi- -tions and fingerings. Shifting up by Ie. finger Tet Poet ard Pos: et Pots 2 wePoes , 29 2 2 2" ioe Lt Bose @ ea 7 sed Poss 2 Shitting up by 22. finger. nt Poet et Bors o = Te Paw he 7 se 8 a 2 2» 2 ES 2 ‘Shifling down Wy 2a. Finger 2 2 2 2 i Pa ‘rd Pow! wt Fos: a > 7 Sar Pow 7 Recapitulation. age stnetiring : eo ¥ T et, String, ote: + 2nd. String. 2nd. tring. = 40h, Steing. Last.jd Biri Voz Ss iecitsing 4 [7 ind Biriey gma tiring fath:Povition,50 Begin by practising slowly and gradually quicker, Some times the next open string is used to shift down the positions, 4th String, ( Major. 4thString € Minors Bid. String. GMajor.” 3rd. Stri G Minor 2dString. D Major, 2d.String. DMinor, axon. Ast. String. A Majors Ast String. AMinor,oT Introducing 2nd. and 4th. Position. 6 Major. 6 Minor, Ath, String. > Mayor, D Majo: D Minor, Br, String. D> Major: A Major, A Minor, nud, String. A> Major: E Major, E Minox: Ast. String. ‘MajorA Major, E Minor, J Ath. String. B Minor. vs Bb Maser. 8 ig ; a Fe Minor, "3 wh 12 C# Minor, Teast. ealuna Corda. 21z5422 athstring: ea Y, position ov Back 8hi Tad 2 oral BhAstring segue. aS = zz, Cast at Care must be taken not to touch the next String with any finger when it is not required. ao ita.) ath string. __— : 8" string. and string, suonued anes ow it String .For the extension of the 4t) finger, (Care must be taken in ascending-this scale not to quit the 1%! finger before the 4th is on its right place and in descending not to quitthe al! finger before the 18¢ is on its right place.) fezeesTal 2 Same by extensionof 38% qnd ath fingers. 4k dk a CHORDS. ‘ Inc. eee f ft £ ast) <= E28) Same Chonds must be practised. in C Minor with 3 flats, gs 5 ITast. Same Chords must be practised: and in 3p in D Minor, Ege] Db Majer =E Minor, Same Chordsmust be practised in + In F Minor, and in E Major nd in Re Major aur rl poe Tat) SE Jon Minor 1m, Pos: it 2nd. Pos: 12 ¢ 8rd. Pos: 13 7 4th, Pos: 5th, Poss 15 Jand in G>Majoi Sea in B Major: ese end in IE Majo: £ ond in peas | '¢ Majoct and in 1G) Major tb and in 3 2S Minor and in 1B Mino56 Arpeggio. TRILL 4 —_ Adagio. te te vitCOMPASS OF THE VIOLA uf in all its different Positions as compared with the Bass and the Vielin, Violin, = = jee gzve : iy First Position. eae . 12 pgegese Vio. [= E | y @ k Fo 2£t ¢ ££ Bass Ss 2 Violin. Viola, 29d position. 384 Pos: ath Pos, 5th Poss oth Pos: SCALE BY OCTAVE ON THE 6 POSITIONS. This Seale by Octave must be practised with the greatest attention on account of the positions, at Pos: 2d Pos: 84 Pos: 4th Pos: 1% Pos: 2nd Pos: 4 3 rl ‘ Ascending. znd Pos: Bt Pos: ath Pos: * 4 A o = t 12» & SE <: | 4 Pos: BT Pos: 18 Pos:38 CHROMATIC SCALE BY SHARPS, d String. a 2h dee, : = Descending. TWString, ; ‘Position. std string. —o eigtpls! CHROMATIC SCALE BY FLATS« wt Siving. Ascending, ath String. Sara pSaae as ze sgn peed td ou te String. Descending. 1} String. 8t¢ Position. 18 String, IF Position, bok pid pap a AE fi serine, zd String: 7 SCALE IN CHROMATIC OCTAVES BY SHARPS. Ascending. Ca at) and: it String oa atdandz 4 Strin, 5 Descending. aitand BY Strings, mit and 15 4b and ard Strings. ‘Strings - tava ailand 2ud Strings. SCALE IN CHROMATIC OCTAVES BY FLATS. amtand md Strings., Ascending, at) ana 3rd Strings., | wT i + te Ste, Descending, zidandi¥ Strings. Lee ie eg itn? Strings amand 294 Strings. aMandstd Strings.39 Scale at the 2nd. Position. rercise at the 2nd, Position, Seate at the 8rd. Position, feo oe ees vercise at the 8rd. Position,Scale in the Ath, Position, 1 2 4 bs Ite I~ I oe 12s _ & Exercise Ath, Position.Seale in the 5th, Position. Ie ug We ue 5 2 fs 2 Exercise 5th, Position. 4arize with the change of Clefs,EXERCISES FOR THO VIOLAS, 6 this slowly at first and gradually quicker until it ean be played at the proper speed. Allegro, «Very Light aud Detached «copa. pizn, pizz. LESSON FOR THE TREMOLO. St Javome's. And”? sostenuto quasi Aut? F dim. P From the middle of the bow, cause the bow to jerk rapidly, lightly and evenly upon the string taking care to keep it straight. Tremolo by Triplets. Same mot Peres poco a poco. CONDO ¥ dine SSTremolo in Sixteenths. 65 Same movement. P ‘pores Tempo 19. ‘poco uw poco co ¥ —=—_P Tremolo as written in Orchestra Music. Same movement, Quick and Light Bow. Pp eres poco a ‘poco mf e SCALES AND EXERCISES, in double strings or double notes. By Thirds, 12 By Sixths, 1 2 s & as e a? 3Imitation of Horns (Hunting «) 1} Memes a 2 This N¢ 6 is very good for practicing the pizzicato.HARMONIC SOUNDS . NATURAL SEMI -ARTIFICIAL AND ARTIFICIAL (or FICTIVE) Harmonie Sounds are produced by placing the finger lightly on the 8 ngs There are three kinds of harmonic notes; the Natural and Semi- artificial, whieh are made by slightly touching the string with one Finger at particular places, and the Artifieial (fictive) which are made by means of two fingers; one to press the String, and the other to touch slightly for the Harmonie effect. Harmonie notes are marked by (0) over the notes and also y (0) in the Artificial notes. Natural Harmonic sounds eannot be obtained if the String is not entirely free. Care must be taken in passing from one note to another to raise one finger at the same time that another is placed for the following note. Letter (X) is used for the Extension of the finger . HARMONIC SOUNDS at three different places of the finger-board giving the octave, fifth, and double 8% of the open string produced by slightly touching with the finger. EXAMPLES. ° : iit 2 String. 7 ath string, 2 = eet “2nd String. BM string. 4th String, ast String. High up the 2 ° % finger-boa: = E id a 3 2nt String. WP Poteet eine ce 3 String. AM String.68 One STRING. 31 Position onl srRING, 30 Position an srrine| 88 Position] ath srring] 3% Position] In The Semi-Artificial Harmonie Sounds, The Large Note Is The To Be Slightly Touched The Small One Shows The Harmonic Effect. EXAMPLE, a String. = = = ‘12 Position without extension S z 4 3 Same effect may be produced at the 2% position by using the 8°¢ finger. gnd lie 48t string. 18 Position » 3 3 Same effect may be produced at the 2%4 position by using the 2"4 finger, P Pr Doe Meee NATURAL AND SEMI-ARTIFICIAL HARMONIC SOUNDS, Ny Ip > hove. at the ootay 1 at the 121 tural effe tat the gy E t 2 7 3ARTIFICIAL HARMONICS, These are made by pressing down the 1t finger on the string and touching it but slightly with the 4! finger at a distance of a fourth from 1 finger, it will then produce theHarmonie effect 2 octaves above. SCALE IN G MAJOR IN HARMONIC SOUNDS. Semi- Artificial And Artificial (Or Fictive.) The large note is the one to be pressed (1%! FINGER.) isa The sign (0) for the littlefinger » + (4th » And the small note at the top shows the Harmonie effect, 4 Effect ath String. | | 3% string. Tr a | [st String. Every Seale, Major, Minor,or Chromatic may be executed in Harmonie Sounds by using the ardser: andsy same means, ath str, amdsers. I se Indifferent works sometimes the Sign (0) is used inthe reverse way, to show the effect and the small note for the little finger.7 ARPEGGIO ON 2,3 & 4 NOTES. WITH SUDDEN. CHANGE IN BASS CLEF, ABBREVIATIONS. Quacters Bighths Triples, 6 Sixteenths. Bighths Teiplete. APPOGGIATURES OR ACCACCIATURES. As written] As played.n SHORT TRILL WITHOUT PREPARATION (w) MORDANT, ae oo SS pens Aswritten| 2 As played] 3 Aswritten 4 As played| TRILL OR SHAKE. Tritt of one tones Trill of a semitone. eran tr The Shake or Trill must be commenced slowly,and as a habit is contracted of letting the finger fall always in the same places increase the speed. De Bos 6 Other Tritt. Double Tritt, oP 7 Pm Aswritten 8 AspTe 26 AIRS iN ALL THE KE Allegrette from Mozart. << # ,t fais st Rs Allegretto from Rasetti.Rondo from Mozart. \ — Letts ip Sekt o A E zy > rN * P + ¥ a a2 % oi a Gi me o_O + = Vicace from Haydn. 4 s 24 a 2 2 =% Ateyro from Mozart. Rustic Air, > Prussian Air,English Air, : a — = pete, te! n 5 8 Andante from Mozart. Siciliana from Mozart. a . : : o 10 Pizz. ¥76 Allegretto from Mozart, a Menuetto from Haydn. oe = = — = 127 Andantino from Rasetti fo + % 13 Andante from Haydn, -S78 Menuetto from Haydn, —~ =~ 15, Allegro from Haydn. — 16Cantabile from Haydn. ie — ——~ — —_ Allegro from Wraniizki. eeea0 Allegretto from Mozart, Andante from Mozart. 20at Andante from Mozart. Spanish Air. Allegretto, a A Se7 Cantabile from Morar bes 2 > ree big re ede 23 Andante from Haydn. eh 3,Menuetto from Mozart, Polonaise. 26a4 12 GRAND STUDIES. ARRANGED AS DUETTS, Moderato, INTRO: Adagio. dotee $b dolce 3—treaet: — Major, Bena aan a85 Miner —— 8 TN INTRO: animato,fayly.to Coda 88 Moderato. voee Ss eat oer aaye Moderato, Be Moderate nw | eee ——_ £0.88 1g 3 3 ZF $te3e,F 2nd String,90 Andante. a es ¥, Forition. se “SF aoe 3 —_ # = Andante. tlVieacg,Loures* Andante.95 Zee ttt Alleare. arco D.C.INTRO: animate. " dolce.oa VARIATIONS. Un poco animato. 2 L vAR: Lento. abo+ 60 to Tut) VAR: Itz100 L222ga221 L222 L222 1er Me yak: Go to Tutti. Ui end of th, War102 Tutti.