Presented to the

LIBRARIES of the

UNIVERSITY OF TORONTO
by

Susan Arbuckle

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 Digitized by the Internet Archive
in 2013

http://archive.org/details/compleattutorforOOchar
 NEW INSTRUCTIONS
For the

GERMAN FLUTE
and the

Method of DOUBLE TONGUEING with proper Examples

The firft*Thing to be learnt on this Inftrument, is to m;ike it found; Ohferve therefore your Lip<?
muft be clofe, except juft in the middle to give paffage to tbe Wind, and likewife contracted
fmooth and even, reft ing the Flute againft the under Lip; place underthe mouth Hole juft
the opening of your Lips, and blow gently down the Flute, turning it outward or inward 'till you
make it found, paying no regr.rd to putting any of your Fingers on tbe holes, 'till you can blow
with eafe, and readily bring out the Tone. Secondly, when you make the Flute fpeak,
can
n rd
put down the 1 } 2 . and 3 . Fingers of vour left hand, gradually after each other, upon the
three holes that are mouth hole, blowing three or four times to each finger you
neareft the
put down, to get the right Tone: Next alfo put down th»* three firft Fingers of your right
Hand, upon the three remaining Holts, the fourth or little Finger of the fame Hand bein^i
kept in readinefs to touch the Key, as occafion mav require.
 2
A Scale of all the Natural Notes.
D F G B D G B D G A
• 1 i
1 1
1
i

LkM
i i
Flute t
1 t
1

~4
i

=*
i 1

£ £
P o
j| Li-fi

Hi..'
O o
3 O o o
Ri^htl 1
O o o o o o o o o
H.iihI'2, O o o o o o o o o o
tb<- *< o o o o o o o o o o
9 4 o o o o o
I

Above of all the natural Notes, and under is reprefented the f Holts of the Flute.
is a fcale
flu * ing method, of flopping each Note; the black dots fignifying the holes that art-
the
t< hi ftopped, and the others the holes that are to he left open, as for inftance, to found the
firft D,all the holes muft be ftopt, as appears by the 7 Mack dots immediately under it,
•nhich being done blow gently, and, you'll Sound the firft and loweft Note.
To found E, the third finger of your right hand muft be unftopt,and fo gradually moving youi
fingtrs off and on, as the fcale directs, ohferving to blow pretty ftrong for the hi^h notes likewife
to place }our Lips clofer and move your Tongue nearer to your Lips for each Note*
All the Notes above G, are called in Alt, to diftinguifh them from thofe below, for you tnuft oh -
f.T\e, there is but {even Letters in Mufk, viz. D, E, F, G, A, B, C. , All the notes above C in Alt,
called double D, double E, double F, double G, and double A, I would advife the Learner not
 3
to attempt going beyond double D, tbe notes above being- too difficult for a Beginner.
When you have made yourfelf thoroughly acquainted "with the fcale of natural notes,
and like-wife got the names of the notes by heart, you are in the next place to have
recourse to the following Example.

Dodging Notes or Eig*ht afcending-

gi jriJ^Jf| ^
r
i
r^r^rf r
f r
|
fJirj i
r, ^ P
This Example isdefigned to make you perfect in blowing the Octaves, von nurft alfo give
attention whether you found them properly in Tune, for the German Flute is h ut an imperfect In =
rftrument, and very much fo if not guided by the Ear; therefore I would advife all Practi =
= tioners to pay a due regard to the rifing or falling of Octaves

Flats Sharps Naturals

B. E. A. D. G. F. C. G. U. A. F. C. G. U. A.

i
k * *.
*
A
l
$ it \
\

Hats, Sharps, and Naturals, are three Characters of great Ufe in Mafic* viz. a Flat being placed
before any Note, makes it half a Note lower than it is naturally A Sharp being placed before any
,

Note, makes it half a Note higher than it naturally is;an.d a natural reduces any Note that is
Flat or Sharp, to its primitive Sound or ftate; for if Flats or Sharps.be placed at the beginning of an\
tnne or Leffon,it effects every Note upon that line or fpace, through the tune, unlefs contradicted by a natui d
 A Scale of Flats and Sharps

*&

=g^-}\MI$£&* &r **
t
t? i*?£
mm i g^ $^$ ^,
o • o
liar
o o •
(1
;5 o • o o
P,K'l 1 • c o
Band *2 • O o o o o
3m C o o o o !
O
4-0 o o

Shake! to the Natura 15 Not es

— "

—J
\
—
1
-J
1
i

4J I
1
l i

EEfe r -
- pi
*
r i
m
— 1

=4=\
'
=m
Lett _,
• • • • jmr . * • • • • jmr o
2«
Hand,™
• • • jmr O • • • • • jmr O •
•? jmr jmf O • • • j* jmr o
Right 1 • jar • O o o JZr • jmr • o O -*
it <2m • O o o • • • c o O jmr
ih^ ii jar ' • o o • jmr • o o
' o 1

r-5
This mark ^ fignifles that your Finger muft he kept on the hole after you fhake,&.this yD to be kt 1" «
1
 Shakes to the Flats and Sharps

i* P tQE i£ M £S *
o
g^i

• o
^3 ##- to
1
• • •_• ; » |
• • C d
o> 00
6> • o d> o? • o! • o/;oo
1 • • o o
2 • O O • o o o 0/ OC 00 oo o OO! o
3^ o • o o o> o oo'oo 00| o 00 o
40 O o oo 00 o • o •• •
! •! O CO o

Common Time
A Semibreve as 2 or 4 or 8 or 16 or 32
is as long Minims Crotchets Quavers Semiquavers Demifemequ avers

$e
A
X3

dotted Minim
£ 2

Tripple
^P Time
£ £lizz$&£
ww^w
WVV ££ggfejg£fiE

3 Crotchets

K
is as long as or Quavers
6" or 12 Semiquavers.

Q ~ a=« -# =- — Ill
£ ±££
vvvv
$ i£=£ rfr

There, are two forts of Time, Common and Tripple; Common time, confifts of either 1 Semibreve
2 Minims, 4 Crotchets, 8 Quavers, 16 Semiquavers, or 32 Demifemiquavers, in a Bur, and is to b<- known
by tbe following marks, C
(f ^) or 4. The
firft of which denotes a flow Movement, the n« C I
 s
littlefalter, and the other two hrifk, airy. Movements. The firft three of thefe Characters contain
each to the Value of a Semihreve in a Bar, which nuift he held as long as you car moderately count
four; the lift never contains more than a minim, two Crotchets, Or four Quavers, Klc. in a Bar.
this is commonly Time. Tripple Time is known hy thefe Characters.? .§.
railed French J2
f. ?. g the .

firft tWO of thefe Characters is Minuet Time, one contains three Crotchets in a Bar, the other
three
Quavers, tho' ii reality they both anfwer one end, only * is generally play'd. fome what quicker. thr
.

three remaining Characters are always marked at the beginning of Jiggs,Sic. the firft £ contains
fix quavers in a Bar, the fecond contains fix Crotchets, and the laft twelve quavers, thefe
Characters in fact anfwer one and the fame end, as in the courfe of Practife the Learner will dif=
icover; an Explanation would only lead the mind into a greater Labyrinth. When a point or dot,
is added to the right fide of any Note, it fignifies that Note muft he held half as long again, as

for Example, a dotted Semihreve thus C. is as long as three Minims; a dotted Minim. Q is .

as long as three Crotchets, &c. The Tails of Notes may be turned up or down for the conveniency
of tying together, thofe above the middle line being turned down, and thofe below turned up

Of beating- Time
In Common Time where any marks are fet Cv (j/ rv|J or ^ the Foot muft go down at the
of thefe
Beginning of every Ear, and rife at the half or middle of the Bar, as in the following Example
where, the D fhews where it muft go down and the letter U, where it muft rife.

Example

w D. U.
f l).
Or

U. D.
^^uitrn^w^^s
u. D. U. I). U. D. U. D. U. D. U.
 7
In Tripple Time where any of thefe marks are fet f^, ^, the Foot muft go down with th<
firfr. and rife with the third.
Examples

in
< r'P
u.
r

U. D.
£
U. 1).
P^S m^
U. D. U. D. U. D.
p^=p=+

U. D.
1^^
U. D. U.

U. D. U. D. U. D. U. D. U. D. U. D. U.

The fame Rule ferves for g which fometimes occurs, for there the Foot muft keep down at the
firft fix, and rife at the three laft. where you fee thefe marks 4 , g, o, your Foot muft go down
at the Beginning, and rife in the middle, heing as Common Time, half up and half down.
it

In heating Time, the Heel of your Foot fhould he kept down, to avoid making a difagreeahle
noife, tht Toe heing fufficient and genteeleft for dividing the Time.

Example of Relets.
Semihreve Miniim Crotchet Quaver Semiquaver Demifemiquaver

*
xt J: £ £ A
Reft Reft Reft Reft Reft H. /t
 \\hen you fee thofe marks which are called Hefts, and irnderftood by the foregoing Example,
arc tf, ceafe playing the length or rime of thofe Notes over them, from which they take their
Nanus, A Paufe is marked thus /Cn and at fnch a Mark, all the Performers in a Concert ftop fhort
a Moment, in order to Join again with the greater effect, and is often fet over the Finifhing Note
of a Song, or Leffon.
Of Repeats
A Repeat is marked thus 'p. or thus,'.||: and fignifies that fuch a Part of a Song, or Leffon.
,

muft he piayed over fwice, from the places whereon they are fet, bars are Lines drawn acrofs the five Lines
thus, |
A Double Bar, thus, || or thus, :||: the firft of which fignifies, that the ftrain ends there;
|

the laft of fhefe having two dots on each fide, denotes that the Strain muft he pl;«ved twice

over. The Treble or G Miff, is marked thus, A Direct, is marked thus V" commonly r;t

the End of a ftave, to fliew the Place of the firft Note in the next Stave.

Of' Graces
The Ornament or Grace in Muf'u, is a Trill, commonly called a fhake,mark d thus A,
principal
,

over the Note, the Shake or Trill is made from the Note or half Note above the Note to be fhook,
fo that if you would Shake D, you muft Sound E. firft, which prepares for the Shake, and then (hake
th< Finger c(iiick ami evenly on the fixth Hole, concluding with it on.but the Preparation and fhalce
are to he done in the fame Breath; all othei Notes that are fhook, except this D, have a fingle
Hell li. commonly called a Double Rellifh,but 1 think Improperlv, which is performed by founding
.:

the Note .hove the fl ake, and concluding on the Note fhook.

tr* Ir*

EX
'fP
m
 9
If E is to be fhook where F is fharp.blow the F and in the fame Breath put down
theFingeron
the &\ Hole, and fhake with the Finder on the 4! Hole, touch the 6*. Hole, and conclude with the
.

Note fhook, aS in the Example; therefore you fee that the Notes immediately above and below the
Note to be fhook, muft be touch'd to compleat this fhake, otherwife it will be an imperfect one.
To make a fhake on E, where F is natural, firft blow F, and in the fame breath rife uti the Finder on the
6. Hole and fhake with the Finder on the 6. Hole concluding with it down. To fhakeF fhake with the
Finger on thfe 4. Hole, concluding with it down, To fhake G, fhake with the Finger on the 3^ Hole,
To fhake A, fhake with the Finger on the 2 nd Hole, To fhake B, fhake with Finger on the l^Hole.
concluding with the fingei down for each. To fhake C natural, blow the middle D„ and fhake with
the Finger on the 4. Hole, com; 1 rding with it off.
'
Shakf C Sharp, blow the middle D, and
"I

fhake with the Fingers or the 'J. and 3. Holes together., concluding with them off ,E,F, G, A, & B,
in Alt, are fhook the fame way as thofe below, only with a ftronger Breath to each Note. C natural
-.inAlt. the. fhake of it beir^ very difagreable and harfh to the Far, is for that reafon never fhooV
and to fhake C fharp in Ah. Sound and fhake with the Finger on the 4 t ,, Hole. concluding with it down.
.

All Notes that are fhook, require the Notes immediately above and below them to be touched, and
to conclude on the Note fhook, the loweft I) ev <pted, there being no Note lower than itfelf;
alfo not*-, that Shakes are always performed in the fame Breath.
There is anoth'er Grac< which I have not found any where treated
of, and deferves much to be no.
.tic'd and fet cle; r
( which if maybe
permitted the Liberty, might with propriety be called
I

a double Rellifh. arid i> a Trill or Shake. Performed thus. To Shake A m ith a Double Rellifh.

firft blow G, fhake with the Finger on the 2 "Hole, touch G again, and conclude
with the Note fhook,
and all in the fame Breath, as in the followi l.xample. .

bx jjXa j a
p-8=±=i
The above Example has a very agreeable and pleafing effect on the Far, where properly introduced.
10
Example of Shakes with a Sing-le and Double Rellifh

Single Rellifh, Double Rellifh.

'^rr^ i
'

iM i
'

ii' iJ i^Mi^j-
A Beat marked thus -^, and is performed by founding and inftantuneouflv touching
is

the Note below the Note founded.

A Slur is marked thus *"> and is placed over the Heads of fuch Notes as are to be play,
-ed in a Breath.
A Slide tipping with the Tongue, anticipated by one Note above that on which it is
is a

mad«' andnever practifed but in defcending a 3. thefe little Notes are never reckoned
is

in the Time, but are ufed to Grace, or fweeten the principal Note.

Example of Slides.

imii a £ ¥=3:
pa
A Tort de Voix. is a tipping with the Tongue, anticipated by one Note below or one Note above
thai on vhich it is made, and blown or held almoft as long as the Note to which it belongs.
 11

Port de Voix

Ex c r r c
J f
: -T3 cJ Jyj-j j|,i j
E j'-Mr i j i

j |t

Rules for Tranlpofing- Mufic.

Tunes for the Violin or Hautboy being fomet lines too low for the German Flute, an eafy Method
for putting them higher is very ufeful; remember then that there are but two .original Keys, a
fharp one, and a Flat one; a Key is not denominated Flat or Sharp from the Flats or Sharps mar.
.ked at the Beginning of a Tune,but as the laft Note cal led the Key Note requires a Flat or Sharp
third to it.

Example

^i Y^rffi r
n
,

[jir i r:

A,
*—P FTC
crcr i
rF"- £ 1
The two firft at the Beginning, and
of thefe are in a Flat Key. notwithstanding the Sharps
the other two Sharp Keys notwithstanding the two or three Flats, the laft Note Bin the
:.r<-

ffrft Example, called the Key Note, has D for its third, which is a Flat third.
 12
The third Example has likewife D for its 3? hut R being
* flatted i„ tn
" " in ft lUtr
fliff „» O,. Tl
the
'
Be^innin:
u,u
.

therehv mi.vHil vi .
, i.*. ,.
at !

Explanation of the four Examples

ft*

Fiat y Sharp 3, Flats'? SharpS

lh,s holds gopd for all the variety of Keys in the whole Syftem of Mufic.but note alfo, that
'" all Flat Keys, the *V,nd 7 .Wt be Flat, as weH as the 3* and in all Sharp Keys, the 3<?6 .h fc 7 *.h
f

"u.f, be Sharp, the

4^ remains Flat in all Keys, and confifts of fix half Notes.but this and alfo the 6*%*
are too often omitted in ,he
Cliff, through the Ignorance or Carelefsnefs
from hence
of afters and M Tranfcrihers
it ,s evident that in all Harmony there is really hut two Keys.one Shar r ,and the otherFlat.
if the M u f,c
you vant to tranfpofe is in a Sharp Key, the
firft following Table will fhew in how
hfferent Keys higher or lower you
may put it,wkh the proper Sharps and Flats at the Win,
ng,the frond Table being a pule in the
fame manner for Flat Kevs.
And although th, feven Notes i„
Mufic admit of greater variety, I fhall only make thofr Keys with
proper Signatures which are in general
Ufe, and moft practicable.
 13
The Tables of Tranfpofition
Firft
Table
** G# A# !?B# B# C# Djfc bE# E# F#

Second
TaHe f
**
J
Gb
I
J
Ab
11^ d
bnb
ft J
Bb
li
b
1

!,,
cb
||
. o^^fe
Db f>
^^
Fb #Fb

The Method of Double Tong-ueing-

The Double Tongueing of that importance to a Performer on the German Flute, that no one
is
can he a finifh'd Player without it.it gives fpirit and fire to the Allegros, a wakens the attention
of the Hearers in the Largos, and renders all difficult paffages in Mufic eafy, and is attend d
with fuch an amazing articulated execution, as furpaffes all Imagination; tfu Method to arrj\
this Point, is the Action and Reaction of the Tongue againft the Roof of the Month .pronouncing the
Words tootle, tootle, tootle, to yourfelf, which done foi a few Minutes try to do the fame with the top
Piece of your Flute, articulating the ahove tootle, tootle, tootle, feveral times running as faft a^
you can, not to loofe the Sound of your Embouchere, making the Reaction as diftinct and cle <r
as the Action, which when attained to, then add the other Pieces of your Flute, putting your

Fingers on the Holes, taking care that your Tongue and Fingers go together, which is the chief
difficulty. You are to obferve the firft Leffon for the Double Tongue, that the Word tooth rxpref*

two Notes, thus making the Tongue move as equal as poffible, obferving
tootle tootle tootle tootle
at the. fame time an exact and ftrid diftance from one Note to another, ftriking each Note as
diftinct as if they were ftruck with a Hammer, which i*. all that i> wanted m\m you are pertect in <\
 14
the articulation of the above Notes to enable you to piny any Allegro where the Notes run in even
numbers, as 2, 4, 8, 12, Kc. But leaft you fhould find yourfelf at a lofs in the expreffion of the
lift But one, in the faid Leffon, as it differs greatly from the reft, I thought porper to mention
it here, 'tho it is partly the purport of the fecond Leffon, you muft obferve three Notes before
you come to the Minim, in the above mentioned Bar, -which is to be expreffed by the Action, Be _

-action, and Action of the Tongue, thus • J J this paffage frequently occurs in Pieces of
tv/i t- * •%• rr
tootle too
IMulic, tlm different Notes, but muft be punctually obferved. The Method of articulating and ex -

-preffing the Notes in the fecond Leffon, where they run \n odd Numbers, and go by three and three
p
the Word too, muft be added, alfo to the Word tootle as above, thus f and though they
L-,
tootle
M j»
too
are all Wrote equal, yet you muft reft a little on every third Note,
where the Word too falls on as
the Example of the three Notes in the firft Leffon fhews, which Notes you will alfo find in the
firft Bar of the fecond Leffon; we have but one more obfervation to make, which we hope will

compleal the Fupil in the thorough Knowledge of the Double Tongue, which is that in the fecond
Bar of the fecond Leffon; you will fee fix Quavers and a Crotchet, which muft be expreffed in the

following manner, thus - • 4 J J J J 1J i-

The three Notes muft be ufed in all Jiggs,wherefoe
tootle too tootle too too
-ver they, are intended to be played in the Time of one, be they Crotchets, Quavers or Semiquavers;
.fome Authors have diftinguifhed thefe three Notes by a Figure of 3 over or under them, but as
this Method is much d if ufed at prefent. we muft direct our Pupils when at a lofs how .0 know

them viz. in counting the Meafure of fuch Bars, by which means, they will foon find out thofe
Notes th;it are to be plaved in the manner as above recited.
 Liefson the Fir ft

Lefson the Second

Allegro

j;
t
gp i D'fCf f
[If
i
JiiJ]iJJ i

t[fri
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i ^fg ^^
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J'irf r fnj i.i ff|i3] ii fljJiJfli f rrrfrfirrpJi]J i i n
J Lf
By the ohfervance of the forementiond Rules and Practifing thefc Lefsons there
is no douht hut you -will foon attain to it

An Air wherein the Douhle Tong-neing* is ufed.

SHUT
 v> God fave thr Kinj;., ^-^.^1 ,1' i^ -. *\ m-T -fl*»^>r

\J *"
Hope thou N in ft

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From the liiift
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the Morn.
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^S^apasg^g
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 Rov dotv dotv. Sun# by M^ Banniftrr in the Camp. 17
P' , _*_

tztf£(
*^ A ^(i1rltt>r IK tli«» T.nrl 'firir

£
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ttiP. Sun#
fMinir

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by Mifs Walpole

i
in the

m
Camp

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rr^irrr^jr^rrrcri^?rr?iri^
Nnncy of the Dalt SSun# by M. Webftcr in the Camp. _,
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T'
Dance
r qy-c
Sun^ by IVIifs Romanzini in Conn d** Lion
i

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 18 The Sailors Fare-well. Sun# by M . Vernon at Vauxhall.

^, i

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i
if cr r p i
rJJOTjtf i te^r^r^^Jirffr rrJ Clirilfri i

p^ rrn i rm ^ i
rrrJgTitiTf jrf l r r rijl r ff r r Uj/ gg i
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..V
He's mm
aye ^
a Vlrrino-
Kiffintj me
Tti*>. y Snntr by
Sung Y\-v M rS
7VT .
. Written
Wri(j-Vit*»n nt
at
£g
Vauxhall.

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f i i fanrr^i^jim^
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 of Glofters March
34 Duke
 S3
A DICTIONARY
Explaining fuch Grefek. Latin. Italian, and French Words. ftS generally occur in Mufic

very flow Senza, without, as Senza Vi -

Adagio, a flow Movement. Echo or Echus,in imita, Largo,
**
Largo
Larghetto,not fo flow as solini, without Violins.
Affettuofo,very tenderly. :tion of a natural Echo,
~

Allegretto, pretty quick. this word is fometimes Lento or Lentement,flow. Solo, alone as Traverfa
Andante, fignifies that all ufed inftead of Piano. M Solo, Ger. Flute alone

F Men. fignifies lefs. as Spirito,with Spirit.

the Notes muft he played
Stoccato, in a
equal and diftincly. Flan to Traverfa.Ger.Flute Men Allegro .Not fo quick Staccato, or
as Allegro plain and diftinct manner
Afsai, enough. F,For,or Forte, loud.
Allegro, life &. Vigour .
FF,or PiuForte,louder Mod:Moderato,moderateh; Suhito, quickly
B N Svmphony,or Sy, that which
Bene placito , at pleafure than Forte.
Non.not.as Non troppo is fet at the Beginning, or
C Fortifsimo, very loud.
Prefto.not too quick after, or fometimes in the
Canzonetta.aSongin gen.1 Fuga, or Fuge,is when
P middle of a Song.
Camera,Chamher,as Arie fome of the Parts hegin
certain Air, and the P,Pia,or Piano, foft. T
da Camera, Chamht r Airs. a

Con with, as Con Dolce, other Parts hegin fome Pianiffimo orPRveryfoft Tacet,letit he filent.
m ° firft Ger-Flute
fee Dolce. time after, imitating the Pin All°quicker than All? Traverfa,
Prefto,faft or quick. Trio. Mufic in 3 parts.
D firftand repeating the
all together.
1

D. Cor Da Capo,hegin the fame Air throughout Poco All? flower than All'. Tutti,all,or
again and end with the all the Parts. Preft iff imo, very quick. U •

G R Unifoni,all the parts alike.

firft ft rain.
Galliarda.Gay hrifk.Ktc. Recitativn or Reit° to Vivace,with lif e. & fpirit.
Dolce, foft, fweet. &.c.
Gratiofo.flow &.pleafing. exprefs a fort of fpeaks Volti, turn over.
Duetto,an Air in 2 parts
Volti Suhito.turn over qui r k
Divoto. grave ferious 8tc. Grave, a flow Movement. ring in finging.
$6 Index T
A Soldier is tht Lad for me. _17 i The Pantheon Cotillon 16
Awav to the - - - 19 Je penfe a vous
•
----- 22 Thf merry Dane; - - 1
_ - 1"
Allemand Swils .'.'.. 9 2€ If 'tis Jov ------ -24 The Sailors Farewell. - _ 18
Auld Robin Gray - - _ - -33 K The Madrigal - - - 18
B Kate of Aberdeen - - - -27 The Sun from the Eaft- 18
Belittle March - _ - - . .34 L The Dufky Night - - - - 1.9
C Let the Sultan Saladine _ - -19 Tho* Bacchus may boaft - _ '23
Conic Roufe Brother Sportfman 23 La Damoifelle - - - - - - 19 The female Captain - - - - 23
Cupids recruiting Srrjeant- - 2*5 Ladv Prifcilla Berties Minuet 31 The Hawthorn is fweetly inhloom2 7
Come hafte to theWrdding _ . 26 M The Soger Lafsie - - - _ -28
D Mariontts Cotillon _ - - - 19 The Fiifky - - - - 28
Dance in Richard Coeur de Lion -21 M r Blancs Minuet - - 20 The Secilian Peafant - - _ _28
Puke of Glofter's new March 26 Marqtiifs of Granby's March -23 The Bonny Sailor - - - - -29
Porfetfhire March - .33 Martinis Minuet -----
1& The Storm --------31
DuU- of Glofter's March _ _ - 34 Maggie Lawder with Var?- -30 The four Seafons - - - 31
F N Tarrv here with me 8* Love 32
Foot Minuet ----- 16 Nancy of the Dale - - - - -17 W
From the Eaft breaks the morn-16 New Lango Lee - - - - -21 When Wars alarms J - - - -17
G Now or Never ------27 Weidemans new Minuet-
-2*5 -
God fave the King _ - - _ _ 16 New Colftrean March- - -32 Water parted from the Sea - 26
Guardian Angels -----
_*J() Old England's my Toaft .2o Weidemans Minuet- - - -29
Oramachi e Molly - - - _ _ ll I On that lone bank. - - -24
Give round the Word - - - -3J On the green fedgy banks - 24
Granos Jigg ------- 33 P
H Paddy Whack - - - - - .29
Hope thou Ni fe _ - . _ _ -16 R
Hark the Hum man
i
- - - _ -16 Row dow don ----..17
He's e a Kifsing me . - - 18
Hein« s Minuet . . - _ _ -21 iaw you my Fathe'r- - - .21
Hark hark from the Woodlands - 22 Slingfhy's Alltmande - - - 22
Hark the Joy Infpiring - . .27 Sir you'r a Comical Fellow- 28
 to^Tl Wif0iw&. ok the (&cxmx%^A\U ',
^
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as bem^fmiiiliar^iseful fc entertaining; to all admirers of that Instrument J

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Aisuui's valuable Collection of Italian S oners lor ^ German Flutes .J. -

Hook's 6 favorite Solosibra GermanFlute .? . .

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MfJ.TACETs newinrented GERMAN FLUTE.

]Vtfb (////he additional » h eys, eafikwul, St

The Dots marked •T or O^ denotes they are Keys.

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 The foregoing is a Compleat Drawing and confife Scale of MT TACETS new invented German
Flutes, with Holes and Keys numbered 1 to 12. The Black Dots • on the Lines denote the Holts
or Keys which muft he ftopt, and the white © thofe which muft be open.
This Flute has five additional Keys more than the common fort viz: The firft Key on the middle
aoint N? 3 is BP and is made hy ftopping the firft and fecond Hole then prefs with your Thumb
the Key. the fecond Key N? A on the fame Joint is G# and is made by ftopping the firft three.
Holes and with the little Finger prefs the Key. the third N? 8 is Fb and is made by ftopping E
and with the third Finger of the Right Hand prefs the Key. if you prefs the D# Key at the fame
.ime you will find the Tone much ftronger. N? lo is D# the fame Key as to the common f >rt of
German Flutes N. 11 is lower C# and is made by ftopping all the Holes and with the little Finger
prefs the firft long Key N? 11 8c N° 12 is lower Cb. and is made by ftopping all the Holes and
prefsing both the large Keys together with the little Finger.
At the top of the Inftrument there is an Ivory fcrew fixed to the Cork on which are figures
N° 4 & 6 by turning this Ivory fcrew round is draws out the Cork and confequently flattens the
Tone but you muft not exceed the figure which is fuited to the proper middle Joint for there are
3 middle pieces or Joints Numbered 4 6 6 the Joint N? 6 is a fharp pitch N? A Concert pitch
and N? 4 a flat pitch fo that when you have taken the Joint you like you muft not forget to
put the Ivory fcrew which is on the top of the Flute to the fame figure as the middh- Joint
you .intend to plav with.

Shakes
To fhake middle and upper BP you muft fhake the 2*? Finger of your left Hand concluding with it down.
To fhake G# fhake with the 2 4 Finger of the left Hand if in a flat Key or the 3. Finger when
you Play in a Sharp Key but either way will do.
To fhake lower or upper Fb fhake the firft finger of your right Hand concluding with it down.
The other fhakes are the fame as on the common German Flutes.
.
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