| pe jrtine Ee) - Fon’ 'THE Gu ow. pes42 eye follows a ‘ing SCALE of Eb MAJOR pre- supposes the Pupil to be familiar with the preceding NS of the Work. [0% Ie Exercise Le oJ x* a oie z= —— == = x Qeoag : SSS SSE = 1d WI |JOS lo «For explanation of this Mark (#) See page 2, Book 4 This mode of fingering the Bb the Author strongly recommends in the keys with 3, 4 or 5 flats, as the Flute is ‘kept much steadier in the hand than by using the Thumb key when followed or preceded by CH: for Example, see Subject of Rondo_Page 48. This Mark (s) is explained in page 34, Book 5. -In descending from Ab,the middle & lower G has a beautiful effect when fingered as F4 with the Ab or G2 key up, thus: particularly in concluding passages, such,for instance, as the following, + When such fingering is intended, it will be denoted _ through this work by the following Mark(¢). If a Shake is marked over G, in keys with 3-or 4 flats, it is generally fingered thus; [*%*]000|.°*| this, however, is so difficult, that the Author recommends it thus; [*?#]44°].**| shaking Fy with the Ab, or G# key up. (NICHOLSON Preceptive Lessons N26.)43 SHAKES Notes .The Shake on lower and middle E>, whichever way it is fingered, is either extremely difficult or very imperfect. The Author has marked the most perfect fingering; which, however, he must observe, is so exceeding: ly difficult, that he despairs of ever hearing it executed with brilliancy. The following fingering is easier, but so defective that it cannot be blown strong in tune. If playing on a Flute with 8 keys, finger the Second note in the Shake with the long Fi key. .. For the Shake on upper Eb, the third finger and Thumb-key of the, Left-Hand must be shook alternately. The Pupil is recommended to practise the present N9 of Preceettve Lessoxs until he is perfectly master of all the Exercises, and can execute the Scale from the bottom to the. top of the Instrument, and back again, with eveness of Tone & rapidity of Execution;. as the Author is unequivocally of opinion that it is not only one ofthe sweetest keys for Slow and Pathetic Movements, of which the Flute is capable,but of equal brilliance in quick passages, when properly understood. A little careful practice will soon remove the difficulty which so many A. mateurs apprehend (for there is more in the apprehension than in the reality) from seeing more than two flats in the Signature of the key. When a Turn is marked over the upper Eb, it must be fingered thus: oe E or, by making the upper Fh thus: 3 (ICHOLSON. Poon Lions S48)Vary the Articulation to the above until every note is heard with a full, clear, and brilliant Tone. Ex; and let it be practised at first very slow xaye 4 v¥ v 5 vy ee The Author has written the above Ex: for the practice of some of the most use. ful Turns in the key of Eb major. The fingering marked to the first bar, must. he continued where the passage is repeated. When a Note is thus accented, it is intended to be struck as firmly as possible, and forced. > For the fingering of this Tom, see Note 5, this Book. This Exercise will be found highly useful for gaining the marked Note. power of forcing any Be very careful to play in Tune, which is only to be done (when Notes are so suddenly blown strong) by a strict observance of the principles inculcated in page ¥ of the L! Book. ‘ (NTCHOLSOS'. Porotive Less NEB)is strongly recommended as an excellent study for the acquire. ment of the“Author’s system of Fingering. CMTCHOLSON Preceptive Lessons N26.)This Ex? is intended to give a-command of the Ab and Bb keys, and must be Double-Tongued throughout. Ex: VIII. ANDANTE. Bae, ma > 7 lar eel fh Ff ——_ PP 4tadrtaasa. 2 le. NI f> f> fe f> This Ex! is well calculated for the improvement of Tone. Let the lower notes be brought out firm, and the upper notes clear and distinct. (NICHOLSON® Proceptive Lessons N20.)Ex: IX. BR ELLANTE £ an — a rar v ft Ff f v Let the full power of the Instrument be brought out in the practice of the above Ex! The passages, if properly executed, are extremely brilliant. «xt ents + xk ~ ats Salabes > (NICHOLSON Preceptive Lesuiny S60)Anpante ALLEGRO MopverartoNICHOLSON Peereptive, Lessons NEOs— wry fo Habel SO! “= a)~ Peiv, Sluté Music. L- hi L, le Smenll 5 26 Chappot. In addition ttc mr VERY BXCRNSTEE ON Lear nos eempasitios rir Me samelnsirament q Fr tie FLUTE ans Prano Forte. — SELECT AIRS fom MOZART) OPERAS, hunly strange fir the Piano Frte and Flute, ty J.P. BURROWES. In N° Pr. "This Selective Is mow compleced in 18 part contains the most favorite Airs frm the celta ted Operas of IL DON GIOVANNT}_-- LE NOZZE DI FIGARO}... ZAURERFLUTE, or IL FLAUTO MAGICO}... [DOMENEO; COST FAN TUTTE;...and LA CLEMEN. ZA DI TrTO, ‘OF the Works ofthe divine Mozart itinay jut ty be said, that te were melee to praseAevin fo blame them? thelr merits are now x0 well Dreciated by all the lovers of clatie excellence Derity of composition; nd se Tong have these O. peras in partcelar been the admiration of the World, that such an adaptation a the present, it is presumed, eannet ful to prove s most in teresting and desirable acquisition ttheLibrai oF all the favored wotaren af Apelia. ‘The subjects ae carefully arranged fom the Origh- tal Scores, and the character of each piece PithFlly preserved, TWELVE FAVORITE AIRS withVand, by C. NICHOLSON, Pr. 3? each. ‘These Verlations will be found to peste reat sweetness and brilaney, and thoogh ives fed of that extreme difficlty which characteriaes many ofthe compositions of the day, yet they r= ulTiciently so to be interesting tothe mort nd performer. The flowing are the enh. The It and 4!! of which have 40 free [Bll of Scotland... 2, Hengerian Walt, 3, Siellian Airy 4, Pertognese Airy. 5) ‘The Manly Hearts.--6, I 7, French Ale, “Lison dormait?. of Calersin,-. 0, Ont rme?.-- 10, French Airy. 12, Ged save the King, "8, Kisty Nancy, wilt thom page 1, Gramachree C.NICHOLSON: admired POT POURRI, Introdading “Lif lot ws cherish... “Acld Rev in Gray? Ac, at performed at all the Publie Concerts with enthusiastic applause. Pr. 6, A. Nov Series of TWELVE FANTASIAS, by ©. NICHOLSON, are now poblishing, the ‘hove frst of hich may algedy baba, Pr. 48 carh—- elas NO, with “Ln ch datem Ron. Ign Cattle, and Bollero; the Plane Forte by 2.C. CLIPTON:... N22; jtrodacing «f- ite Trish Melody; the P- Rite byNC BOCRSA: and NP 9, Totreduetion and Rondo; the Pete by 1.B-TAYLOR. 182 1 Pr Stesch, ‘The following are the subjects troduced, the Varb to 0h ane original ity. Concerts with mech success N21, “he Vosaxe eV Amour et da Tews! 2, German Ain 8, Robin Adair, 4, Wel Aic,"Ar hyd y 5, talian Air, by Palslele,..-O.Rule CATALANIANA, « Fantoria on severdof the favorite Aiss sung by Madame Catalan, WON WEISS, Bro! | FANTASIA on Rowiniselerated Ale, “Di toad prt by CN WEISS, Pi tot Itrodactlon & Carivl of Venies Adagio, “Yalow hsird Laddie’? and Rondo Allegro, “Zinei Ziti?” arranged a» » MELANGE, by T. LINDSAY,.- Pr. st Introduction & Airy ROUSSEAU: DREAM, with @ Var! by CM, SOLA... Pra? HM PERDONAY with Iotrodaction RVor? by GHARGREAVES,... Tos ' LINDOR, Fren-h Ait, with # Vavistins, | by G. HARGREAVES)... Pr. 9 t KOHLER’: Vor! oo" Di tntl"(PFou?) Past GRAND FANTASIA& VARIATIONS, Scent by TULOU, On egerorne | 1 llm a he Oreron a Pabe Concr Corng tis wat tothe Coon Pat Deets ta Two Firres.— EE BOUQUET.er THE FLOWERS OF MELODY, being Selection of torte Airy, | arringed by C: NICHOLSON, with Var and Embellihmments, at DUETS for teoFlutes int soythay with very few exapiony, the ayes tee sfaly intresting u SOLOS for + single Instrument. In Quarts NP? PrN? each “This roach admired werk i tow in comet plication, kcontaan srrangerect thereat Eorie pees of MODERN AUTHORS, te. sides NATIONAL AIRS, snd a variety of ‘hoice subjects fom MOZART. HAYDN, | HANDEL, ARNE, and other eminent com | overs of lem recent date, The whole wil Extend to 26 party to form teo handsome’, the fit of which i aredy completed. A Gove ral Index inten withthe 197 N?,whichny | be viewed ae fair criterion ofthe notare sod harster ofthe work. ‘The fvorite Pleces in Morarthelebated Overs sf the ZAUBERFLOTE, or TL FLAUTO | MAGICO, arranged ut Disteby BROMBERG. I 8 Books, Pro? each admired Var} oa“Sul marine (Ba favorite Thema, a1 Dusted i} | VAUDANO\ | A tivirite Set of SIX BRILLIANT AND FAMILIAR DUETS, compoued in 4 plea sing Sts by T. BERBIGUIER; Op. 7, Books 1&2. Pr. 6 each Book, ‘Two BRILLIANT DUETS, introducing “Di tant palpiti} with Varistcae A Sixteenth Edition of WRAGGi wall knoe FLUTE PRECEPTOR, with considerable of. Aiton de great improvements. Pr 6 64 TEN FAVORITE IRISH MELODIES arranged as Duets by J.B.LOGIER Pro! ARTA with 8 VAR! for 2 Flutes Concer tante, by TULOU; Op. 20. Pr. 6! SIX DUETS comps in an exsy the tillant styloby W.GABRIELSKY...0».52, BLEIAY Pr. gt each, | —Tauos or Taner Fires — FIFTEEN SCOTCH a5 TRISH AIRS, laced Atbermesined by J WILKINS. Pra? | AG POT POURRI, Concertante: intreda. | ing fovorite Ales of Moma, Haydn, and Pay by CN.WEISS. Pra? THREE GRAND TRIOS, Comp! ina brid lant syle for 8 Flates, cone by F: KONLAU: | Peet NPI, BF of N22, 435 and oF NOM, s'64 AGRAND TRIO Conactante, for # Flates, by W. GABRIELSKY, Op.34. Pr. 4! ‘Several other sets oF Ales &e. Harmonia for 8 Fate, are in preparation. —— S108 forthe Fuvre, — WEISS’ eelebrated STUDIESsia 7 Nombern, Pr. 2804 each; or in One Book, 18? ‘This work eutsias perhaps the grstet warty of pang tbe fend in any sila prod tins a proof ts merit nin cours of pen erie HUGOTS 28 Grand STUDIES or EXERCISES Op.19..-- la 9 Books, Pr. 68 each. A SERIES of PRECEPTIVE LESSONS , by CNICHOLSON, In 18 NO Prof NP 55 at of che rest 26% each, SIX THEMES with Brilifant. Variations, by W.GABRIELSKY, Op. 51, Pr.