Repeat each strain gwenty tines hese first Tessons should be played sory slowly, with an equal touch, avoiding, above all any stiff ns of the fingers. Great cave must be taken to raise the fingers when the time of each note has expired, (fur the sake of Aistinotness,) and to keep then dawn the ful ime of each note,so as to lend the sounds together as much as possible, Stiffness of performance isthe sSreatest and most unfortunate of beginners, ‘The best method to event ity nto play wry slowly, to finger eavetuly, and not tvattompt A quantity of ton inconsistent with the physical powers of'a young per son, Stiffness will Tead to & con traction of the cords, which will e in a dry and heavy style LESSON II. Knaing: af san bsLESSON TIT.man toOr Tue Measure. PRELIMINARY EXERCISES For Dividing the Measure by Quarters. Measure in Common Time. Count four quarters in a measure. Measure in Two-Four @ x 11 is very important to know how to divide and count (or beat) the time ‘The measure is beaten, or counted, in equal divisions. ‘Phere are accented and unaccented parts of a measure. canted. T Unaccanted, | | iietia li yas a Four Quarters, 3 Accented. Common Time. Meastere ir FE Accented. Measure in Three Quarters. Measure is the vision of times it stby the sand value There aratwo sorts of time ron Tine hie is divided ine to 2, andl Triple Tine, livid into 3, Common Pie, Shiv ths: ewe SHH « ‘Triple Time, slvided this PER] ‘The space whieh contains one oF more notes is ealted a Mesure. Mewsurekat aif (1) The mensions tine fs a dicated by this sign: — shoud be count It shouldbe eonate oa by to quarters. shenThe different characters which fill a measure are as follows:— wd yw] aan! quiver og] hh 7 | Sint og] Tyson i x wine ote, 6 | Hurtete,d | Qurter Rat} Right Rod maces) ron—annh ul al 4 8 6 ae 4 Bar. whole note. ‘ly -four are equal to The har fm per piouter ine, to Aenote the division ‘The different kinds of time are indicated hy two figures placed after of the measure the Jef, at the beginning of the piece. ol Gael Grr 6a & faa Gm bem Connt three quar- A figure 1 represents a Whole notey ° So | » a Half note, 4 oo 4% a Quarter note, ee oo 8 oan Bighth note, the fllowing signs >» Wy a Sixteenth note, ae = 5» 3 oy a Thirty-second note, ‘ ot » a Sixty-fourth note, And iss counted intwo divisious, Thus 7 represents two whole, and Btw quarter notes, &e. N.B._There are longer notes, called the Long and the Large, which are only employed in the ancient ecclesiastical music. arOF THE DOT. a Aut placed after a with increases its value one half. Whom two dots ane placed afte +0 5B, Tn eosmnuencing this ‘UESSON V lesson. divide the time by cconnting fonr quarters in EXERCISE IN RHYTHM. A measure, é 2 Slow. A dotted half note is = ‘qual to threw quarters BBY of 6. A dot placed after note ‘ads one half to its ¥ rvvrer, (Epa ] = 7 When a note is followed TEE EECE PEPE ELE PE Eyer hy two dots, the second is te eS = — wegtal in value to balf that [DE - of the first RAED. (2 =e] von LE] thas the same relative vale tw as though placed after a TEE AEEEEEE EE E]EE Ei Peampne. ; FXAMPLE. PRPECT. Wnore Nore, (One whole note is equal to two Balt notes. HALE NoTE, e One halt note is equal to to quarters, Dortep Haur Nore, One slotted half note is #- sya to thhee quarters, Adot placed after « half note is eqnal to ome quarter, One whole note is equal te four quarters © SAC Ray important tha the de ander of the AGRA Hn RIO ils se tty a © 0 eo © merettasnecneriey haetern arrengedin 5 mthatial manner inuaer te fhilarie te pag wth tno at re flaca nnmigh the darene he chLESSON VI. i 2 1 2 spe gte A Hace Nore is equal to two quae ters: — HWaur Reer. A alt rest is of ‘equal duration with the note Wroue Rese. Adwhole rest is of ‘equal duration eth the note The dotted half note is equal to three® LESSON VII. LESSON FOR SHOWING THE USE OF THE DOT (4) One dotted haa ote is = gal to three quarters. A dat placed after a note in- cereaees its vl vw one Ball @ Wuouk NOTE, npr oper One wt te is equal to eight eighth notes LESSON IN EIGHTH NOTES FOR THE LEFT HAND. de aiat a rs 2 Asad eighth, a Cond four gharters int mans 4) Thehaltucte fs equal to four sights. (8) The quanter note is equal to ‘ono eighth.Exercise on five notes, to give equal force to the fingers A Tie isa ourved Tine placed overtnn tes the sae degree, to signity that the seeond should mote struck, LESSON VIII Bxoveise showing the use of the tie and slur. A sine war Is enlled 9 Siar, when placed over ‘group of notes on difforentiegives, and signities that the sounds should he connected to gether by holding ne note il the eee next is strwek. Legato. An Halian word signifying smooth ness of gxeeutionExercise on the Tie, for Both Hands. 23 Count for quarters in» measnge. A Exercise on Five Notes. agupege axed sesuaxcalxciaxzialesigxes |e xas2xig Ppp rot tte ler a aed LESSON IX. This scale must be played very slowly. x x 12 xpse ~ 2 — ) 4 Carina rena + insfe eighths in « measure (8) Care shout be taken to strike Doth notes exaet = ly together, and avoid any mo = tion of the arm, or stitfiess of the hana. + for Five Fingers.e LESSON X. Exercise on Rhythm. Slow. ee wus of ‘The fivst sharp tx = ! ff aways placed on F = 4 Soauz 1G. Count tight eighihs in a measure. Rhythm. Rhythm is the division of a certain number of sounds, orent intervals, ‘The ehythm of an air may bbe expressed by the value of ‘he notes, without the melody. In the marching of a mil- ary eorps, the drum marks the step, by the effet ofthe vhythm alone. Slow. gree teats aeadiaeees ete () Sharp # ‘The Sharp before a noto raises it asemi = degree. CHisthe sqm as Doon the Key- Dearie A semi-degree is the smallest interval. raat ame8 LESSON XT. Key of D. Exereise on Rhythm. (1) The inst ‘wo sharpsare always a) fon F and C. os Count four quarters in a measure. Sign to repeat from the begin= ning. fe A quarter note, Rost, ¢ (3) Quarter reat, equl to \$ wid dene (Practise this passage very. ‘slowly, and eon swat ll the notes. a +, xe —— To ep eg eee. on Thirds. Pee at ies Fes arax S23renns axis Spilyersesaglesagessy9 Byereise on Syncopation. : syneopation for the right hand. x 2s wid x of é : 1) Those notes ane ealled syn copated whieh are accented be- tween the heats. Exawror, kx Preparatory Exercise for changing the fingers on the same key, =@=—=—2—, Allegro. Wee ixgeix s2txseie sarxgeix 3 @ { “Articulate dightly withthe wrist ee } Lento. ¢) ware nates are sane tne they ave ealled rhs, A chord of Vigo Hates. isiaiees eee nie a ee = A ehord of i Noles. + i = ‘Two heats in a measure. A Chord of 0 Salen. rat ine20 LESSON XII. xazixaey x 2) Measure fa (triple time is ths marked (3) The gua tor rest ual in value to the nots. { Rost, (4) Mark wf abbrevintion. epost the in the previ -Exercise on Rhythm, and to observe the Quarter Rest. M4e3 4 23421 x p23 4 39 294 x 294 2) Lento. : @, (i) Care should be #] taken to strike the dbx otes stmultane ty, (2) When 2] vo wings oh finger = i lower Infended to be used wen {he hand ts Incapable ot Exercise on Chords played Staccato. reaching the zg iG xa 3) Wighth rest. PEst ie x Raeatues ada Bighth note, ‘The eighth = restisequal 2) Bxoreiseon the eighth rest. 7 tT invalvoloan fe ae ti 33 @, \ : oe) bevenced 97 R23 mu $f te A staccato yO EE note inex sete by aiving it Soontauan. ter of ts valu and striking he fey with ae att ryee LESSON XTil. wo The fivst four sharps are always placed on Fy 6,6, and D. j o Key or F. WALTZ, Exercise in Notes Demi-Staceato and Legato alternately. ” Moderato. 2 — : Natural 3 When auite is atteted by sharps, Ah tural stores it to its original sound, . The des stacento notes are exeested ach about fone half its rere + a0Count igh ight im meas Lento. Tae Byereise on Rhythm, Lesson for changing the Fingers on the same Key without Tepeating the Note. igen eemgicd x xp eek x Tava. Exercise for Five Fingers. came (4) Change te finger without repeating the note, and keep the thumb on A (2) Glide trom, the black tothe white key, with: out quitting it hat isto say, from Dé to Ke (8) Tneline the right hand to, take GB, and ao not quit the Fe unt ite ea. time has ex - pired. (4) Change on D_B, with lett hand, without guitting the keys. errxce, = cee meen ja geygtte sated epee vata + aneLESSON XIV. op ‘Lesson in Detached (or demi-staccato) Notes for the Left Hand. ‘pest (2) Take care to. =< ic connect well the © @ melody. } i (3) Give the de. tached notes one Iulf their value, IC EXAMPLE, spy Andante. a Cte = . ene } fe, 2 Tet fsa wena ceoes GG a ing in executing. | Pee oho = ram + ae25 (Change fromthe Ba. fine gertothe 2a.with. out take ing off te ‘thumb. ‘thuonh,on the same keyg ithe outan fing it. SS SS S58 setetes,| —— rataLESSON XV. WEY 0f FB. The first six sharps are placed ©,6,D,A, Be | wd \$ #2 Double | wo fe sharp ‘The double shary ih sain as G natural con th keg heard, ‘When two notes are slurved tasgth- nthe first shunt bbe accented, and the seeond anne ented,(1) When x 5 pause is placed over a note, it may be pro - Tonged at pleas- vanes But, ws a general principle, the note should possess at Teast double its real value. The same e rule should be observed when A pause is placed T2587 2] over a rest. tense : 3 A Pause is placed oither over a note on rest, vat insLESSON XVI. ‘The first seven sharps are place! on F,C,G,D, A,B snd B. (The trip. let isa gvoupot tes, indicated by a figure placed over oF w= der the thrwe notes, EXAMPLE. an Signermast | SSS = to contradict the ) © nee doable sharpand restore the sin-f3 le sharp,(1) The trip letin eighths is equal in val to quarter note or 2 eights (2)T ex. 5 ab 3 brevintonot thellalian word Penn Simpy ing tha the note should be sustained its Full tine,a0 Inrropvcrion. Or tH Study of the Scales. The art of play- Ing the Piano well, Aepends almost ene tively on being per. fict inthe exeen tion of the Seales, j ing the Thumb under the second good svention He Byenoise for passing the Third Finger over the Thumb. huis constant study. Carefully avoid Any movement of the hody oF arms, | and also nny mo- = $458 7458 tion of the fore - arm while you pass the third finger « ver the thumb, witb pean slowly and dis / sara tansEvercise for passing the Third Finger over the Fourth, and the Fourth Finger under the Third ee + ete pacity tage ge feet ergs SESE Sages The Sextelet Is indicated by a figure 6 placnd ‘over oF unter the six notes: whieh com ist cites celts gS penne aneRecaPrru tation Or Tae Preceding ed Lessons. Andante. , Signs used in (ee ete (Ge SS SS CS Count prin s mms. || l © Common Tine. ——SE——— = = : Quarter Rest. oe nal ne ft ee * — + i © Whole Note. a 4 ——_S oo i Pte tetetets | _ 2 anton , (ERE EE sore ; 9 F o1et fae 2 Geom ay pe te 7 stare ( + ies ae See See ptt! ‘ ret 7a § Natural. 4 Slurs or Ties. Sec Notes slurred and staccato al- ternately. Tenvro, Several notes ‘ean be made with the thumb, while the hand is sup- ported hy the fourth finger. Legato. demi. staceato. -—~ Legato. 7 Kighth Rest.| changing Fingers nthe same key. * Dotted Notes. eee rey Dot Double Det. ° Tie over ‘wo notes on the same de- “e comet cout quitting ‘the key.Signa of Abbre- viation. Tittle slower, The pauses (or organ point ts double the value of the white note. Exercise up- on hy thm free oe aunty sed Prine paly here] thetoptietcy [ioe in ayrenpad| Dotted Notes. Count eight in — Dotted Notes & Sixteenth Notes alternately, g 2 = seta avsEyncoption forthe et hands w wo FA This sg sign oe = SSpasle ei fies tht the note, So ver which Hs ts laced, should he accented strong ly = eS 2 This sg Ani cates ta he frst =— wet should be & SS strongly accented, =. 3 diminishing ou the = ote vente falon 2 accented notes. 7, z se a Wir oe tes a £ seh sPe8 #28 NS . 2S = ee yer dtu36 MELODY FOR FOUR HANDS. ‘SECONDO. 4x x x 4 ‘ = # ae Sa a= Ze as ———s aan eeGs feo 2, # — # on a a= = a ae ae ee SSS = SS 5 = Fe FF = NOTE. __when possible, let thee litle Melodies be played by two punils,(counting the time aloud.) rea + msNO, MELODY FOR FOUR HANDS. So TSS TS eee eer ses masBR LESSON XVII. Seale of © Major. The Seale, ‘The seale is eon posed of five degrees and two semi-degrers Scale in © Natural. Major Mode, ‘The first note in the seale is ealled the tonics The second sper. tone seconds ‘The third, medi- snd third; ‘The fourth, sub - dorninantfowrths ‘The fifth, domi sunt fifth, The sixth,subme. diant ov superdom- inant_sixth, The seventh is called the leading: pteseventh. Theseventh de- gree is abways found ‘a semi-degree from ‘thekey noteor tonie, Key of C8, ‘ The leading note y the key of Cis B )) yatural i OU reing Nee. Boni Key of Bf The leading note to Eis DB top sling Noe To rea + ameEXERCISE ON RHYTHM. oo Exercise Toieee) the Sixteenth Rest Mlegro ' x pert Major Mode. Seat = The major modeis thot in hich the hi nate a the sede Fos ts aajor third withthe tue tenet veges (a Cae ajor Third ‘The sixteenth rest i equal in value to the note. Avwhole note ise = nal to sixteen six- =F tenths. Whole Note, 3k epee Sixteenth Notes. Flat. b A flat placed hefore a note lowers it one semi-degrne, E natural! E flat isthe same as Lento. Saryaxes btypeees D sharpenthekey-boand, oe SSeererpesy it Two notes slurred and theo sticeato. aan Sartexreyespeter gay y et Dap pee Epereet D sharp, ae = ee sane $19540 Study TI. | Practise thin study slowly, and in the legato style, acento the notes forming the melody, which are marked by this sign: ing a slight Xone cing et ote eons xis Sete BEES eat Kobe Mis xens Kins eh at ine