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University of Illinois at
Urbana-Champaign Library
Brittle Books Project, 2011.
COPYRIGHT NOTIFICATION
In Public Domain.
Published prior to 1923.
This digital copy was made from the printed version held
by the University of Illinois at Urbana-Champaign.
It was made in compliance with copyright law.
2011
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Win. S TAHL'S
RUDIMENTS OF MUSIC.
Musical sounds are expressed by characters, called notes. These note are seven in number,
and are named after the first seven letters of the Alphabet. viz.'"A, B, C, D, E, F, G', These notes
Staff.
are written on. between, above, and below five parallel lines called the Staff. When
Ledger Lines. -
notes are written above or below the staff, small lines are used called Ledger Lines.
Ledger Lines..-.
A sign called a Clef, is used to establish the names of the notes as distinguished by their posi-
tion on the staff. This sign is called the G., or Treble Clef, in which clef all Mandolin
Music is written.
Small perpendicular lines placed across the staff are called Bars. The space between two
Bar. Bar.
Bars is called a measure.
Double Bar.
ADouble Bar indicates the end of a strain. _____ When two or more dots are placed be -
Repeat. Repeat.
fore or after a double bar, it signifies that the strain included between them must be repeated
These Signs are called,the Sharp ( )- - - Flat )- --Natural( )---Double Sharp (X) and Double
Flat( ). When Sharps or Flats are placed at the beginning of a piece, immediately after the clef,
they are called the Signature, and designate in what key the piece is written. When so placed,
they effect all notes throughout the piece, bearing the same names as the lines or spaces on which
Sharps, Flats and Naturals, which occur in music and are not in the signature are called accidentals,
they are of temporary effect and not intended to last beyond the measure in which they are written.
F J MAJOR.
B Eb
MAJOR.MAJOR. A MAJOR. D' MAJOR. G MAJOR. C MAJOR.
Dal Segno (-) this sign when met with directs the performer back to the previous % from which
sign the music must be repeated ending at the word Fine or this sign (r) D. C. is an abbreviation
of Da Capo, and means to repeat from the beginning and end at the word Fine. This sign(f)when
placed over a note or rest is termed a hold. and signifies that the note or rest over which it is placed
may be prolonged at the will of the performer. Dots placed above or below any series of notes in-
dicat, what is termed Staccato, and signifies that the notes to which they are attached must be played
in a marked and detached manner.
When the Slur or Tie is placed over or under any combination of notes that are on different lines
and spaces it signifies that they must be performed in a smooth and connected manner, which is termed
Legato. 8va written over any number of notes implies that they are to be played eight notes
or an octave higher. A swell and dimuendo > are often united < the first is executed
by commencing the note soft and gradually increasing the tone, the second, by commencingloud and
gradually diminishing and when united, commence soft and by degrees increasing the tone until it ar-
rives at its full pitch, then diminishing it until it falls off to it first softness
THE TREMOLO.
The Tremolo is the only means by which a note can be sustained on the Mandolin. It is made by
striking the string very rapidly up and down with the pick. When music is written for two In -
struments it is called a Duet, and the staves are connected by a brace.
SYNCOPATION.
When the unaccented part of a measure is to have a particular emphasis, it is shown by the char-
acters, fz or or A and when the weaker part of a measure is made of more importance than the
strong, such deviation from the regular accent is called Syncopation.
.. I
I'V..1%&%%
______
______
__
____ 1 11 1 1 1 11 ell.P,
P--xa pi . 191 1- ) 'A*
NOTES. A9
Whole. Half. Quarter. Eighth. Sixteenth. Thirty Second.
Eighth, Sixteenth and Thirty-second notes may also be connected in the following manner.
Example
When the last two bars of a strain that is to be repeated are marked 1st Mo. and 2nd Mo.
list too. lf~nd to. I
Example . it implies when played the second time, the second Mo. is to be played
GA Bc D ED G A
D F A CE EG B DF
G AB
. . .M . 6 . ....... ......
AP d .. .. - Iw,
4t
. . . . . w! . . ...| ', . . . ..
Always strike the first note with a down stroke, all accented and double notes are played
the same way. Two or more noteg that occur on the same string, should be struck with the
alternating down and up stroke. Sixteenth and thirtysecond notes are played in the same
manner. The down .and up strokes are indicated by the letters D and U.
D D D D D D D D D D D D D D D D D D D D
APT If
D DD D D DD D D DD D D D DD D D D DD
Stahl's N A M. P I- 64.
THE SCALE.
When notes follow in regular succession they form what is called a scale. It will be observed that
notes of the same name will occur several times in a regular scale but allways in a different
position on the staff. The following scale should allways be studied first, as it is the easi
est key of the instrument. A sharp (0) placed on the fifth line, signifies that all the F's are
to be played sharp.
After playing the above scale with a single stroke of the plectrum to each note the same should
be repeated with 2, 4 and 8 strokes to each note. Practice assiduously and results will prove it a
valuable exercise for acquiring the tremolo. The plectrum should strike the strings midway between
the bridge and sound hole.
THE TREMOLO.
In playing the following exercise the pupil should begin slowly useing the down and up stroke and
gradually increasing the speed until the rapid movement of 8 strokes to each quarter note is attained.
This movement is called tremolo and its object is merely to sustain the tones.
TREMOLO EXERCISE.
Count four to each note. CHRIST FARO.
Pupil. I
Teacher.
OT oed ga$-E~~i~l~
Of may
v 7
1 1- 1 1 eercse -1
heup 1- b~i
9
2 2 3 0 3 2 0 2 3 2 3 5 32 53
Repeat 20 times.
2
S 23 5 3 2 3 5 32 23 57 5 3 2
2 5 3 j 7 5 3 23 3 2 2 7 3 2
Repeat 10 times.
0 2 2 2 01 32 0 82 22 02 33
. 2 3 5 3 2
,2 5 32 5 3 2 3 2 5 3 2 52
Repeat 20 times.
25 4 22 5 2 4 2 ' 4 L2 I 5I I " I
2 4 5
Stahl's N.AT.A, P I.-64.
10
TREMOLO EXERCISES WITH WHOLE AND HALF NOTES.
whole note.
0 | , a' n
When two or more notes on the same degree of the staff follow in succession, there must be a
short cessation of the tremolo between the two notes.
half notes
12 34 1 2 3 4
xx
THE TIE.
When two notes on the same degree of the staff are connected by a curved line thus: it is
called a tie and is executed by a continued tremolo, the full value of both notes.
WHEN h FINGER.
TO USE THE 4At
Sn A F
When we find the notes - preceded and followed by the next tone below, it is the rule
to employ the 4t h finger in preference to the open strings as in the following example.
3 4 3 3 4 3 Irv
----------
Example:.M
. 5j
I III
NQ t21i1.
xx
-4 x x(
V a
Q.) IIjI
Irlp
*!S"_ _ _ _ _ _ _ _ _ _
',\A
x~I~I -P' Am,
N2 4.' ii 1,111
111
I
I
7ij
D i h.
SZD
~XI v~-r~
D A-F .1 1 i I I I i i
Art- ifT-
iN 1.
if if
Arex olo
2. wiTo
XX
4 x t, rem 010.
xi 4 tremolo.
51(1/1/SN Al1.
Al P IT - 64.
13
LESSON FOR THE S,LUR WITH QUARTER NOTES.
CHRISTO FARO.
-PLento. x 4
Pupil.
, rzi- w
- w
Teac(her.~
C
x 4
\-%u -w-
I I 0
f)I~
w 4
11Andante .
Andr ant e. TI lo W wr T
- A 4L
I
1)
Fa:
LESSON WITH QUTATER NOTES.
All the quarter notes that are not slurred should hbe executed with the tremolo and with an accent on
each new note Arrest for an instant the tremolo behorepassing to the following note.
CHRISTO FARO..
AAndante.4-6J t L.y 4 1
4
~3g
P~T i - I i--F-
-1I Iw
A Scale having the semitones between the second and third Nnd-seventh and eighth degrees, is
called a minor scale.
Pla&y ]remol1o A; :
e9 U - 12 3 4
0 F 3
4 1i~T
TT VT TT T r-l
TT T " Tl A AI T XT d-A
(-J U 1JL) IN 111Th 1X>Y UP AAlI N U H(.
014
4
AV-)
It) I I
I'll I ~TTTTT~
qw
-) ~- w~~ww
Stakl/ N. M. M P 1:.64
i
LEOLA WALTZ.
Triple time = Three quarter notes in a measure, or their equivalent in other note,,; or rests.
~+7/
D
7T~~;rdlt
9 x
Q) w w w
~oI)
quater
__Thre
-c) ~st- --
D
mw 4 q
-'.
w U U- UAr -W -Tr
I D
Fin
@9
~tii=W7I7W7 U IK~1=i~i
-DD _D
1 "H
I X -
f Fl
I I I II
A S. al Fine.
II~I
*For explanation of the dotted note see Page 5.
#For explanation of' the 1st and 2nd endings see Page 6i.
Stahl's N.MAL MP. 1- 64
ETUDE. 1
D IT D D D 1 D D Sinlll
AN -1 MI I or I Ii
S TT IX
Y 4L x- ---
6 11xxI
An f#9AP A __x
xx
TremolTremolo
-Al- W
~ Tremolo
A, . . CHRISTO FARO.
, , w
I AiIrl
1 1
~
I) vw
Fine.
1 - x T
x x
V I
t)
-OL ,dpL- w
I I I T;O-
F (..*o,
~z1z~
V-)' -j i 7171 - i : w4 4 4 O 4q
S1(1/1/s N. M. M ,.- 64
20
LESSON wirrii O1'ARTLR AND EIGHTH NOT)"ES.
To know whether to tremolo or detach the notes it is necessary lo comprehend the movement o
the Piece and the character of the phrase. The gieat0er 'the e value ot the notes~the better subjects
they are for the tremolo. On the contrary the sm-aller their time 'value all the more should they he miiade
detached. In the following Duett which is marked' Andantino (meaning slow n-md ed(Ate) play the quiar
ter notes tremolo and detach'the eighth notes. Iii the Duett on the following pite wNhich is tmarked Alleg-
ro(-(meaning quick) the quarter notes are struck with the down stroke and the eighth t-otes wvith the a'lterniat
ing down and- up strokes
4NN I
99
. UU . U W . w j
_ I
4 4, x 4
9-) 4 w do i I I
x
la~ -W
4- O.I- L7 1 jU
I - -
-xpTc lF
Allegro.
J- D- D D U-D D D P D DUD D1 PDD D D J) U D
Pupil.
60
I -I w-14
0i 19 1
leach er.
±FI4~2I~ w
-4-
70
D DD D I D DD D DU )DDD uD D P B D IiI)
t w i , -- ]
fu
~ 1 DI1 D D D DC D D D D D [) D U 1) ID U
AM
@j
I~ WTIi T Wx4
w I TI qw 4F 4 W U
D~
D PD P D D D D D D D D DUD D D D D
-)r UVTi- I Tr
~TT- 77 ~ - 77 p W U -9 - TI w 0
I
I Ii TT m f
U 'W I I I-
w-a mw TI
posal
QW - TI
~J/sA. . .P.164
6)2
NIGHTIN'GA.LIFSONG.
im
8 Six eighth notes in a measure or their equivalent in ether notes or rests.
Tremolo all the notes.
Andante. ZELLER.
Co Lilit
.
pwmmwmw I
t) **II
IF, .,4P
I I
9-) I -- mommolo-
nit.
k-
'.-OW 7-OL*2
The first position ends at 'B but it is possible by extending the same finger to reach C(r
sharp without the other fingers changing their places on the strings,or the hand being moved. This I
called extension.
THE TRIPLET.
Three notes with a figure 8 placed over or under them is termed a triplet, and are played in the time
o f 2 notes of' the same value. Thus m Three quarter notes must be played in the time of two quarters ,three
eighths in the time of two eighths, etc. Triplets are exe-cuted according to the character of the. piece. In
movements neither fast or slow,. such as Moderato they are executed wvith the down strohe. See following
Sel ectioim
iV1 ade~1) D
ETUDE.
-D -D 1) -D simill
-D
1'l~77-7 4 &
NQ 6. !tl
U
dp-,
4 x xK4 0-
I
"ET +LeJ'HL:rt
x >( 4 B B B
AM
rr
_r
Am AM
f r,%
Ei?
r
Slahl N. M-YI, P I - 64
24
EXERCISE WITH EXPRESSION MARKS.
fp fpf
~czz Iz~ ~
ABBREVIATIONS.
Written thus.
ii
Performed thus.
Imi I
B is. (meansTwe)
~BT-rF
99j
1- ,1
9-)
THE INTERVALS.
An interval i the ditn h etwveen two tones. The names given to intervals reckoninig upwvard.-
from C are Primes, Seconds. Thirdsz Fourth,. Fifth. Sixth. Seventh and Octave. The intervals standc
the same ascending or descending. The pupil T-houild -lkenotice thai -in every major scale the interval.,-
betwNieen the 3 & 4 and 7 & 8 sound.s; of the scale (Are '-emii itone~i . anid between the other sounds theintervals
are whole tones. A semitone requiring in fingering the distance (f one fret and a whole tone two frets.
Sth .ll .P 6
EXERCISES,-*% ON THE INTERVALS. 25
SECONDS. Give two strokies of the piecti-ill to eich nii,,te.
6~ a 4ti
~L1 I w
,FIFTHS.
I I ,
dp -OL a
AS - I
I I _ i I w -S
ASIXTHS. 1 41 4m II R-P -- f -t
wO
FIIw
4 4'
%wII w 0
SEVENTS
o"a eAm JA
1- W-I-W
9OF
TwobeasWo echmeaue
F P% U W1W J4
r---4 I I
AS
.- - - -- 177 - 1- . - - dF
mill I
;F
PT
DP DL D D P D) P1P)P D) P u
a ,m
102O.
w r r r7
SU D U D U PPDPUP
- p 4
AW
Wr I
- wak-
- r r -ME r v r r vw
. 0 0P00 DUDU DU
PU Pu DU -o.A I *0 A
4
V-) Fine.
IDU DU ?DU 4
-j
V-)
-D. C. al Fle.
P)UPTUD DUT
P IUD
T
9v) qw qw 7 -1
IU PU 1)
NQ? 12.- go
PT
ko
Pr
60 r 60 IE
7ko !:I AO
40 m
IA)
-a-
MT P[pr' U-m
1 2 3 1 2 3 1 2 3 ~~ ?
164~z XA AL
,,In - 11 i I I I I 1 6 -1 1 1 1 1 - f- - & dm I
I I I w I I r wr
FPO%
ab I I -AGi wa
D U D D
2 3 2 3 3 2
-14 1 l Aft
-ofl
durp 1
k; I A8i Lim-
U
N9 14
Count. 4 3
J - - j[ t x 4
A"
or
Am
.Iff
,,NFL
TIM #f"w 110 Of ?W i w IW
I rw TI I p
1w I I x dO
kwom D D 4 x
DI
D D D D D D D D D D
1 2 3 1 j 3 4 1 2 3 4 1 2 3 4 1 2 3
too
-I.; IPTft 0 -,a 1, 1 1 A
OR A&
OF- Al I I q.T l IWF30- "'Imi
WF
-T --r-
0
IWNO
Ali
CHORDS OF E. MENTOR.
A# 410
I lim
Aaa I d-% a
V 9
it 11
fla M
1 Ami
f)l
.911 AWL I I I An AM Aml mi
A Ad
Idi- dO
I wl--
~S/a/0/ MrN.
IW l, PI f/64.
29
SIREN WALTZ.
. ORD
i-
I I I I I I
--A -4 -0 -I
ADI
I - I I I
a Uf : o -or -A -A
Q )J W WIF
z7~
Fine.
40
slakls, S NJJ.,VP.J1.-64
634)
'u D u D u IT P
L I
1? I I t I I I I I
4p
___f.#___-
Pl~y tremolo.
I'st p oS. .looss- 2 Th . 2 1 I-st Pos.
23
i-4 17-
MELODY.
Andante. 4
I I
--
-_±Lizz!z±±m -+f-f-'-F~---~' 7 zi
p p
2IT!
2 0
f p-
f
4
X
9)-P
SPay attention to the expression marks.
f p
HOW CAN I LEAVE THEE?
Andante. Dulett.
I
3,,2 3 43 2
6 X\2 3 x 3p>
2
- -fV-
r ia rd
PPl pp
I A1 .w
-
IF
I
xl.LiZ i - i i . I
f-)
U
I I I
Give two strokes of the plectrum to each note throughout the following exercise.
DUT DU 1 I
NQ 15.-
-TF---4- I w4w AO TI
- 4
4
Slahls' N.M. M, P 1. -
32
SCALE OF F MAJOR (Signature one flat.)
A flat ( ) placed on the third line signifies that all the Bs are to be played flat.
•0 2-22
ETUDE.
D D D simili x
x xxxPo
em-.
SCHUMANN.
Leinto.-
r.e
o*
-_I #7~ (~.
FL-
I'll w II'.
~I#~ I.
W ;#LIw
~- -
;20
/ 1 - .,W Ok i NMI 11,1001pillon - - I- odg!--
I
w -0.
-N,
- -, f
i
1 ! i i i i r-ii i I i
- #
f 14F ARL
3w 1-
ArL IW N
m v
ritard 1IJI ii
-(f temnpo ~2
tF)Wfr .j
t) w clo 711
TI
OP
O 3 0 1 4 3 2"0 0
MLt 031 I I I I
2So
. I I
iI -
L m I [t
I I A ILI
1T
as
WW
Oo
0
ETUDE NQ17.
Two strokes to each note throughout the following study.
simili
aDU DU DU DU ×
W7 W4 X W m' '
x 4 rmX
t..~~ = x
4 X4 x 4
xNax
Sa M . ? .- 6
35
EXCELSIOR -SCHOTTISCUE.
Trio.
9-) TT
IWI~fz
9-) 4 -W ,. 1
4T
li ir 1___
--zr 7 i "1.1
4 I I
TI
aw
AS. al Fine.
n ,
,W II II
Awl
Q)
EU ~
m"
Af A* A ,M
x. UD 44
.&aAA 9tD UU D D DD
a -p6-p-
9)
_om -N _om
N~2 19.
- A.0
EI
Q) EUvw
4-4
T) 17 D
S/IV, . M. AL P 1(64
SIMPLE AVEU.
THOME
Moderato.-
______ 4 fDDP
N
U
1
Pl5*tremolo
3 3 3y 3-y
-w- 0 -, - do
D
---------
#-- e Wo # p 0w -. a 0 . * vq ID-
'.attw ---
39
Coda.
(I n
3..,S3
3.. 3 37---
~ Wi-a- ov
DD
StaIl N. M.M,P-64
40 ETUDES AND RECREATIONS IN QUICK MOVEMENTS
With fixed strokes of the plectruim.
ETUDE.
UD D D DIJD) D D DU D D D DID D D
NQ20.
+h- ~+
D DDD
a
ETUDE. 4
DUD D D DD D
N 21.'
wswl K-rne
.Im do
N otes written thus:() do not indicate the tremolo, but mean that each quarter note so marlhed i
to be divided into four sixteenths notes.
CLJO POLKA.
pD ID BD
w w w w
Stahl'sNM.MJ.-4
41i
r7 a'
AN&-AM
r) .6
Iff
-- Mgmo
Ali Ali
U U
Wp --- a 61
1 7-7
a1-
DJ f --
- . i i in 411 1" -
~~72LZ4& zL-.
]).C. al Fine I
thenJTrio.
Sh Ik/i N. jM,
M. A P 1- (54
42
THE COULE (or slide) OF THE PLECTRTM ON THE STRINGS.
The Coule is the manner of executing groups of ;lurred notes in passing from one chord to anothe
wvithout the tremolo. in its execution it is necessary to ,--trihe the first note and then ,-;ide the plectrum
over the-following notes without further accent.
D D
t) +W I
e)-- -
-t - Ii
/
U
LESSON IN SYNCOPATION.
Detach the eighth notes and tremolo the quarter notes.
2d.JPosition 21343
s/mii
DU1 DU 'DIT tremolo
AS 0)7
MIE LU)Y.
Detdch the eighth note,.IAnd tremlolo all quarter and longer notes.
PUP
TT P)
-107 Am
I v I
T-
Irl 0
TT
-rr---
XIL-14
1 rTl -T I-V I I w
I- i i i , i K -- I
Quarter notes are not played tremolo when followed by a syncopation~unless tied with 'a tone of the
same pitch 'See example in following stud-v.)
Q)
9
A 0 4 AA
9-)
I I I I
~U~W ~
~iJs ~ AS * nI A&
-F-- -- T
tY I i
I I -4 - I
-T
MERRY MAIDENS
March and. Two Step.
Introduction. March.
DD D D DIDDD Dunn D D DD
21 121
I i -i - I I I I
t4) ~
U U U U
II II - I
(I -t
P-) w w w w w
This march is also published for Two Mandolins, Guitar and Piano.
S/alk/.A/ l M, PI.L- 64
4Y(6
1 i AO
'2 1UDD IT
U D D D- D DTPUD PTP P DPP
-IW T- I I
-7--7
-L-- - -L
Tin e if
*a
OIL
e) -OL "P,-
190L- -OL W 14 -- r.0
PIJ D ID
L-
t'iT
#9 or pli op,
A2..Intro.
I I I I I i al Fine.
a
AA , MAll.Lp I - (64.
47
SCALE OF D MAJOR.
3d Pos.
3 3Pos.
tst Position 9 A
ri 0
fret 7 fret 9 10 9 7 5
3d Pos.
3 xlip-1.
5 fret 9 5 10 5 9 5
TRIPLETS.
Triplets in fast movements are executed with a down stroke on the first and last note and an up
stroke on the middle note.
BII1IL~rSB 2
Allegro .4
Count
2 1 3 snil 1
D D D 1 -j I*jg .-rmw;[- I
Tremolo quarter and longer notes, and detach the eighth notes.
'7-A- 61---~t-
-- _baa------------e~
p /p
Stah. NMM. . I - 64
.4it8
MELODY IN F.
(RUBENSTEIN.)
Moderato.
4
w::::7- w w
A P
4F wr
x x >< ~
Play& tremolo
AM
_ z±A--l±i_
ad jj±_499ft-_
C~ vo wWf w w ww Lq wor 3
00
Am AM rl\
1) 1)
v
# *L . tI v
A -f M I
a
6I;
-nwm nlw
K K
Uv -- 41t /-
,-)D
-
RAMIDF=Bm- am2PN
Wivniiiii mm - %w6
ine.
W ~. W ~ fri
UNIVERSITY OF ILLINW
MUSIC LIBRARY
C"ONTRA DANCE.
I~II ~III
qw w IW I Uv
0- w -1
-ie.
A J1 Milo Almm
-6 4
lw W4.
Qmvx~ 4 T7 4W 4W
xF,
2 ~~JD. C.al~ine.
* * -04 I M!m
SCALE OF A MAJOR.
(Play ever F. C and G sharp,.)
Groups of three notes in time must not be confounded with triplets in 4 time.
CHRI STOFARO.
Moderato.
S/ah/ N . ill il P 6.
EL TROMPETERO
Mexican Dance.
CHARLES C. L3ERTHOLD.
DU DD DUD ID DU D D
1)
Q) wE-ii
1) w I
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4
D IT D
2 3 0 2~ :8 1 3 3 4
._
P-) 1 4
ETUDE.
PUPIT DE P
]) ITI)DTU PT
ml-3
x
x
MR MR
I
wrI
;j X MP
Adlk
x ID
x
Alft
D UDUDUD D UD U D U
Sixteenths notes tus Dotted eighth notes followed by a sixteenth thus
There are oftourse exceptions to the above rules. The rhythm sometimes demands a down strole on the
quarter note. The isolated sixteenth notes are also struck with the down stroke where a change of string
occurs. otherwise the up stroke is employed.
ESTELLA MAZURKA.
Stah/s N .. , P. L - (4.
57
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V-)
-dw Ale 0
I Ll 'm jw An 'm I
TI I I
mu f= MI-
) DDU~~ ii
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AM klk * I I
AM
DD D DU YDU
Am
60 .I .MMM
~ D DU
m Ll- M OAU
ZTT I
mow PENN
C) ~
B - - --L
10 IdIPL7 I
PT- I -
Pi- POT
;ot- ; 0- 10
or opo or _0 0
AM 0 -, o 0- doo- 000,
or I or f, a or- OT- Aft -10-
4M 11 --- B-NM 0-
Ami a w Tl-
io 00,
or" OT,
III. P I
59
SCALE OF B FLAT MAJOR.
(E cand B Flat.)
_r ff r 1r 1 U
ETUDIE.
si/nil1,
"(J 23.
--- wood
wmv--
I
I x -1
.t w
/JN
M/a Pl.I?/-(64,
4O% SCALE OF G MINOR RELATIVE TO B FLAT MAJOR.
E and 13 Flat..
E -4
_0p --vo A 0P
D D
D D 2
i Em in
I ___
_ .. "
--W-/
I~I DU DU1
The above study should also be played with two stroke's to each note(2
FLOWE R SON
lfG.
Tremolo all the not es
(LANG;E.)
,Lento espressivo.
q
I 1 !hls N If M. P IJ-64.
AM
poco ru.
Am, 1,41
;owl,
Ash F Am
MV
I
PWF I AM
AM I. IN F-1 I M'.101
AM
Opp-] AM
4p MftAs
1 1-7
do - I dp
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'41''pf) /1.I
6 .4
DI'TT FOR TWO MANDOLINS.
w
#9 mw -OL VAW -w
Fine.
-
-j 9w--
a .m1 4 m
-D-I -DIT 1) U D1)U 4 4
#9
~ ~ I ro 'Ifw
:j - 4PL 4
N Jhs
YAl.Al P1) . -o4-.
TRIPLETSI,'EN QUICK MOVEMENTS.
Izz~zI
ww w
aL.. 4
Am
Am Mb
ow-
mw
0-) mV wpa p W oW
fn the following e xercise the plectrumn must glide over all the slurred notes that occur in passing from
one string to another.
A
-DUD DUDDUD DUD mo D I) U D U D
:j1
C) W3 3 -4. .#
3
,~ Dk DU _.Owoo4
w ~ A 4
A 4 DDU
Ti
a 4
AM
Q-) io
D D U4
U4
C)T _ 'I
A 1. II
C-) Vr
The plectrum ruile for marches ill~ time is the same as in pollas-
r~ nunu~B rem.
IM6
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a Z IZ I --t
'1
,j'a
I
9
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ID IT
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t)
izzI
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OL
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R
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Sta,Is'A
N. Al, ft I.--64.
65
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(resc. 1A C. al Fine.
J!
The most comprehensive and practical Banjo method that has ever been compiled, and the only
one in which a thorough knowledge of the instrument can be acquired without recourse to other text-books
or studies. The elementary studies and preparatory exercises are progressively arranged, so that the
student will find in them a study of much pleasure. Also a careful treatise on right and left-hand
harmonics. (The former method of playing harmonics have never appeared in any previous publication.
B A perfect analysis of the Tremolo; the Major and M'inor Scales clearly defined; a thorough exposition of
A
N the modern right and left-hand fingering; Practical Chords and Etudes in the various positions, including
a number of original compositions especially composed for this work.
0
'A AkAkk
A A ,A lsk, L A, Apl0.1 A A A A, ALA&AL
I U[iE
T
A To all those who have not as yet seen a copy of the above work, we will say that if you wish to
get the best, the above is what you are looking for. Stahl's New Guitar Method opens to the student the
shortest and best possible road to proficiency. The exercises following each scale are original and melodi-
A ous, which not only obviates the drudgery of this essential feature of the work, but makes it an actual
pleasure to the pupil. Alternate fingering, so important to rapid execution, is marked. Also contains a
choice collection of beautiful solos and
and duets, wl
well wor
worth ten times the price asked for the coplete work.
N Secure a copy and be convinced.
D
~~AAO"AAAO
0 A progressive and complete method for this beautiful instrument. It teaches the elements of O
music thoroughly, the explanation given being the clearest and most comprehensive published. The
S scales, exercises, chords, etc., in all major and minor keys, are arranged systematically and are more care-
J fully graded than in other works. It contains a large collection of the very best music published, most
pieces being arranged for Ist and 2d mandolins with guitar accompaniment. This collection alone is
worth more than ten times the price of the book. Teachers by adopting this method can advance pupils
more rapidly and correctly in music than they can with any other method, as the material in the work
MU
E being arranged in all keys and positions, will enable them to teach thoroughly and systematically in the
JL'
T
shortest possible time.
T
H H
0 0
S
LF
The Best for Students.
This book is a preservation facsimile produced for
the University of Illinois, Urbana- Champaign.
It is made in compliance with copyright law
and produced on acid-free archival
60# book weight paper
which meets the requirements of
ANSI/NISO Z39.48- 1992 (permanence of paper).
Preservation facsimile printing and binding
by
Northern Micrographics
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2011