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Five Finger Exercises and Dictionary of Musical ^erms.

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 CORRECT POSITION OF THE HANDS

POSITION AT THE PIANO OR ORGAN

 2
ILLUSTRATED POSITIONS OF THE HANDS.
Na L CORRECT POSITION OF THE RIGHT HAND AND ARM WHILE PLAYING.

No. II VIEW OF THE LEFT HAND FROM THE RIGHT SIDE.

No. Ill POSITION OF THE HAND WITH THE FINGER RAISED FROM THE KNUCKLES

NO. IV. POSITION OF THE HAND WITH THE THUMB RAISED BEFORE STRIKING
3 ILLUSTRATED POSITIONS OP THE HANDS.

No. V POSITION OF THE HAND RAISED TO PLAY FROM THE WRIST

To. VI POSITION OF THE HAND AND ARM RAISED FROM THE ELBOW

No. VII. POSITION OF THE FINGER RAISED TO STRIKE FROM THE SECOND JOINT.
 ILLUSTRATED POSITIONS OF THE HANDS 4

No VIII. POSITION OF THE FINGER AFTER THE KEY HAS BEEN STRUCK.

No. IX. COMBINED TOUCH FROM ELBOW AND WRIST. STRIKING FROM THE WRIST.
 — — .

5
RUDIMENTS
There are seven notes in music, which are called after the first letters of the Alphabet, A,B,C, D, E,
F, G, and repeated according to the compass of the instrument. The notes are placed on and between
five lines or spaces, called a Staff.

Lines | Spaces
STAFF EEr3 ==^==±===±:~~^. .

Pianoforte music is composed on two Staves,the upper staff is used for the Treble or G
l^f Clef, the

higher part, and generally played with the right hand . The lower staff is used for the Bass
is
§|§ or F
Clef, the lower part, is generally played with the left hand

'Preble',
Both staves are connected with a brace. Striking the note on the first line of

Bass

the treble, Ejsvithihe t s-‘ finger of the right hand and omitting one key, and each second key struck with the
,

next finger will give to the pupil the five notes on the five lines, while the four omitted keys, between, the
fingers, are the notes in the spaces.
Knowing, where the' note on the first line is, will easily guide the pupil to find the notes on the five lines,
and to use the four omitted keys for the four spaces.

Notes in the Spaces Notes on the Lines

For higher or lower notes, short lines are used above or below the staff, called ledger lines, equidistant

from the lines of the staff, omitting one key for the space.

Notes on the additionalXines.

The bass notes- are learned in the same manner as the treble The note on . the first line in the bass is called

G, striking this note with the fifth finger of the left hand, omitting one key for the space, the other fin-
gers successively will strike the notes on the five lines, while the four omitted key s , between the fingers, are-
the notes in the spaces. ,

a c e g g b d f a
I Notes on the Lines
Notes in the Spaces.
— •
5tl‘Fm.*t!, Fin. ait Fin. *dFin. ls.‘Fln.

AddilionaLor ledger lines are also used in the.bass clef, Omitting one key for the note in the space.

e » <
Notes in the Spaces d I
Notes on the Ledger Lines c B
* g D A c E g
-4^-
€ E G

•
B D V t
'
-j
L
$
ft
-
•

;
- r — b

-
-

'
—
F

d-
above r °i »
 6
Key- board of a Seven Octave Piano
COMMENCING ON C IN THE BASS AND ASCENDING TO C IN THE TREBLE

7 Ik Octave

Notes on the five lines Notes on the five lines

- in the Bass v- in the Treble

Time Table
OF THE VALUE OF THE NOTES
Semibreve

A Whole note o is equal to

3 Halves d d Minim

Or 4 Quarters J J J J Crotchet

Or 8 Eighths j j j j ri j> Quaver

Or 18 Sixteenths j j j j j j j j rm n .u Semi -quaver

Or 33 Thirty-seconds Demi- semi - quaver

Foreign Fingering
 . .

The Notes have their corresponding Signs of silence, called Rests.

A Dot placed after a note or its rest makes it one half as long again.

Dotted
Notes f -

PIS
I Three Three % Three^s i Three Vie lThree’4'. Rests

Every piece of music is divided by bars, thus, and the space and contents between two

bars is called a Measure, and the time contained in each measure is marked at the beginning of every piece.

The various degrees of time and value of the measure are as follows:

Common time Two-four Three-four Three-eight Six-eight Nine-eight Twelve-eight

The value is a
% note dotte i Ah*note dotteda 2 measures of?- 3 measures of ^
AAp 4 measures ^
!

Half note of
i
whole note 1 ;
;

L 1
,|

Repeat sign '

indicates that which comes before must he repeated.
-5J

A double bar pr indicates the end of a strain or musical idea

THE SHARP FLAT AND NATURAL #, h, 5

The sharp placed before a note, raises it halfatone, for which purpose the next key above the note
must be struck whether white or black, as each key respective to its next is a halftone.
, ,

The Flat placed before a note, lowers it half a note, for which purpose the next key below must be struck
whether white or black 'The double .lowers the note a whole tone
The double Sharp x raises the note a whole tone.
The Natural dissolves the influence of a sharp or flat and restores the note to its primitive state.
The position ofthe learner, atthe Piano, must be erect, sitting opposite to the middle of the Key-board,
and of such a heighth that the elbows are not lower than the Keys the wa ist is raised above the arm, and ;

the elbows must hang gracefully. The tip-ends ofthe fingers (but not the nails) are to strike the Keys; the
thumb must not hang carelessly below the keys.
Practice slow and count aloud as long as you use the Instruction Book and until the ear is accustomed
to conceive the right time without counting.

Foreign Fingering
 8
DIRECTIONS FOB WRITING MUSIC
In writing music, the head of the Note should be made first. Press on the pen and remove the
pressure when making the Stem of the Note. Do not crowd the Notes too closely together. In be-
ginning to write, it is advisable to use a soft pencil, and afterwards cover with ink.

A clef is a sign placed at the beginning of the staff, to establish the names of the notes.

There are two Clefs employed in Piano and Organ music, the G or Treble Clef

F or Bass Clef.

The Treble Clef is placed on the second line of the Staff, giving the name G to all notes on that

An octave is the distance from any letter to the same letter next above or below it.

EtoE
m
FtoF

LEDGER OR ADDED LINES IN TREBLE CLEF, BELOW AND ABOVE THE STAFF
There are notes above and below the staff, and to indicate these, short lines, called ledger nr Added Lines, are used.

Fojraign Fingering
 Copy the notes above the staff.

Write on the lines of the staff notes corresponding' with the following letters.

EBGDFDBGrEDFGBEF GfBDFBGF DE
Write in the spaces of the staff notes corresponding with the following letters.

i ACECAFECAFEACFEACECAF AC
F

THE BASS CLEF

The Bass or F Clef is placed on the fourth line of the staff, giving the name F to all notes on

thatline. :
*J> f
—
F Lines SPACES
The lines and spaces of the staff in Bass Clef are named thus: y 3
Foreign Fingering g b d f a a c e g
 spaee.
Study the following notes in Bass Clef, then add name number of line or
— —m — I _
'

—-HI 12?”—

LEDGER LINES IN BASS CLEF

LINES BELOW SPACES BELOW

-i
T T -

‘f-
4* hi
FACE GBDF CEO
LINES ABOVE
B
Spaces above
D P A '»

Study the following notes in Bass Clef, then add name, line or space.

Foreign Fingering
 11
Copy the notes above and below the staff in Bass Clef.

Write on the five lines, notes corresponding with the following letters.

CJB DF AFDBGDBFDAFGFDBGBDFA
Write in the four spaces, notes corresponding with the following letters.

ACEGFCAECQACGACAGECAGCAF
Write on lines and in epaees above the staff, notes corresponding with the following letters.

!•*-

CEGBDFAFDBGECEBGDFABDOEC
Write in spaces below the staff, notes corresponding with the following letters,

FDBGtBDFBDFGtDQFBFDBOBDFBG
Write on lines below the staff, notes corresponding with the following letters.

ecafacefcaefaecafcefcac E

Foreign Fingering
 iS
Play at once with both hands, minding the Finger marks and count with an equal breath Four quarters
in each measure in Common Time.

Count Three quarters in each measure of Three-four Tima.

Foreign Fingering
 — — -

13
Count three quarters in each measure, and observe that a dot after a half note increases its value- on»
half.

Count three quarters in each measure.

Lucy Long
Count four eighths in a measure of Two-four Time.

j-V-ra m * S f # f-i- r-3 MM s-p-a ~f

-2--

12 3 4 1 2 3 4
f s

* 5 us
1-J J- --
-l_ jiJ—±= a
-S~
—

fowl*a flaprlai
 . — —

Pleasure Train Polka 14

Fra Diavolo
Count four eighths in each measure

Sontag Polka
Count four eighths in each measure.

— Th—
4 8- » % — i
3 3 l 4
-
fe=i=2=t 9 3 r>
i ~
"P i
f i

-J 3-\

$ — 1 i -4 1
5 —
.7).

1
G. al Fine.

T •

D. G. (Da Capo) means repeat from beginning to Fine.,

Foreign Fingering
is RECREATION No.l
The
pupil must not forget that a good position of thebody, the arms, and the fingers, as v/ell as a good
touch and_stri'ct keeping of the time, are the basis of good playing
. — A
Legato Sign, to he played
.

smoothly and connected.

Moderate
 . . 4
5

Finger Gymnastics 16

N9 3.

RECREATION No.
Count Three in each measure

RECREATION No.
Raise the fingers high
Allegretto

Foreign Fingering
17
PRACTICE FOR BOTH HANDS
Count slow and even, four quarters in every measure. Do not lift the finger from one key until the next

To ascertain the correct Time of the sixteenth, the best plan is to count eight sixteenths in every meas-
ure at first, as the pupil is often inclined to play one sixteenth longer than another.

Carry Me Back To Old Virginia

Count six eighths in each measure.

PfsrfiJaa Ftegsffteg
 .

"Long, Long Ago is

Count four eighths

Few Days
Count four eighths.

Home (As a Waltz)

Count three eighths in a measure.

Fore!$a Ftagsrfng
5
19 STUDY OF THE BIND
 7

FINGEB GYMNASTICS (CONTINUED)

The unoccupied Fingers must be kept at an equal distant from the keys r and not be allowed to sink down
before striking them.

BECREATION No .

In striking, the Fingers must touch the key: exactly in the middle.
Poraign-FJngsjl nc
21
ETUDE IN § TIME
This sign across one or more measures means the sound is to be diminished.
- This sign across one ©r more measures indicates the sound is to be increased.
•
The small sign nnder-or-overa note indicates the note must be accented.

Count Threein each measure.

RECREATION
 - —

31
Allegretto

m
^
Dot, when placed aftera.Qo^rter

m m
STUDY OP THE DOT
note', is equal to an Eighth note.

The Half note with Dot should be held down through the measures
1e5
'
a
Allegretto . 4 § % 3
,
ii

for the
See Examples, pages 26 and 27

m
U

Dot makes it equal to three Quarter no-

J'
aa
|

32
#

r-V -& -4- — a ---4 -pit-.—..,, i s— —

j”"*
-
S £ 4
^ J
*)•’
——
- -p—
— — =F-e=e-«
‘

fa"-1 UuC-4,-
8 2

Finger Gymnastics
EXERCISE FOR THREE FINGERS
|§i5.

Each separate Exercise shouldbe often repeated, but not so often as4o
addMon.l
overwork the musdSSSLd
,™
and Ar P e; i„ VM
e
**
ETUDES FOR FOUR HANDS
TEACHER SECONDO
Andante

Andante

Foreign Fingering
 ETUDES FOR FOUR HANDS
PUPIL PRIMO 24

Neither too slow nor too quick.

Audante
 . . L

25
Bohemian Girl
Count six eighths in a measure.

Count four eighths in a measure

2 48 2 4 3 accidental Sharp 343 2 43 , 2 4 3,

4 4
&. 0
. at Fine means repeat, to the Fine or and

SCAIE in- c major

35: a
r—— Play slow and even time
" .
!

,^xzr=m~T~^r» ^
rt+i-^h-r-—t—r ™a1 '

?' * 3 1

Left hand ^ a
42 Both hands
^ |h 3|j
.
4'^gj' -j/r 3-i5
— j-

s~H 1
~
8 —n •
i Tt
^ ! rtH '
R-i-p-gd

Rustic Reel
 26

Lucrezia Borgia

Foreign Fingering
 — ——

27 Wearing Of The Green

a 5 4 ” 4
A 12 13
=F a
I 1 1 i l ft
i
i ‘ 3
j
=

# • J * • j * — r«l* 0 +mmd
1 1
1
3 2
2 2 1 m
— 0—
„ 0
—p —pfaB0— #- f
(t-
U— — p
—
l
..
r
/* ft y j 0 ~F tf :rP f g=d
L^J "sea -tad “-UJ -
Mind the Dot after the eighth, which makes it one sixteenth longer, and count for it.

Foreign Fingering
 Campbells are Coming as

D. O. ai Fine

Blue Bells of Scotland

rHr-Xi % i
Bg tea Jg
4
3 1
-4 —
3 v
-v. =r=w^
. . %
S3*
D. S. ai Fine.
1

p #y — »
jj,"" 0 ' —

Iforeiga Fingering
 29 Irish Washerwoman

College Hornpipe

Foreign. Fmg drag

 Pop Goes The Weasel 30

Foreign FingeriJte
 — 1

3i Soldier’s Joy

tr-G-& % —.
* a ——
a P~irrk S » 1
;

XiH^r Tr
% 8 i 1 fl
— -

-p— /* Pr

36 i «

IV - — rl g
*- r 4-*
-g s
‘ 3
i-J*:..--
3

— —r—*—
»
bWrtrd f
1 i zsprkzid -f* > -T-PH

Circassian Circle

Foreign Fingering
 Devil’s Dream 32

« 5 » 4 3 a « 5 5
« 5 5 .

r-S^-T-? -ii--l--i-a_T-3-1 , 3 5 t

ita*!
—r—0——T— —
sE t==i==i^==rr— rt=e=t T3=T=^-0—i ——
I

—
_1

qp~l g"'i ±3z3==^=^rd^=±===^=^=x==t==^=M—J -# 1

 Annie Laurie
33

Carnival of Venice

In the Key of B Flat. B and E Flat. See Seale, page 81

« 4 3 2
2 4 2
3 -‘^4 L 3 jg
r * l-i

44—

i 1

—
g 3 3 4 2
14

Foreign F!»p>rin$
 Old Folks at Home 34

Moderato A. H. ROSEWIG

i£=p,
— — rTTi 'j*
l -
5 *
. 1X-M-
S *, - — -*— 1 _ 2 __ ——
j
OTj
HJ . -J
m f
5
i
3 5
i
a 5 3 a,
1
2
Kl III ^z-iz:r-i0r~\
^e^==^===\ E^FP5

f#==P^
J J. 1
y
1
* s
as
1
1

-I
j —
"
&
rm
m‘ J. • «r
pi 1
!
“T—
K t 1
B 3 5, 2 s
•J* J " J ..
1
,

9 *T~ r
-4 i- ——4— \— —_ — |— z^rrrzjz^^d

Foi«lg1i Florins
35 My Old Kentucky Home

% l 3
4 2

UM il^S;

=£=£iii 1=*^ iH

—E£E=S=i=i=Ei§
U 4 2 t.
ft ,

p tpJ J
1
•
-).
u -«
1

Jr. P

Foreign Fingering
 Midnight - hour Waltz se

r-9-4
Vsy
tj
R-rA
1
t-rF

1
1 ,1 1 «~r”1
L.<
**"*'» 'Wj
— 4 3
1
'1
5 4
H p-,
1
3 3
3

4'V 4
5
i».
f f
r r
r.

0 f 2
i
p
f
r s
r i
” w .
.4* i -
P P
i*s i
If
pr
i®
#
r
* ^
-
- 1 L -- J
r. i
37 La Priere D’une Vierge
 38
La Marseillaise

ft 2 1 13 3 3 H
F?=£=Prff-.JU,
2,1 1 5 m 5 «
4 3 | 3 , -4—3 a—.
“1 Wm(3 ! -taiai 1L=f=—

M ?kd
«ea.
wm M'
‘SO?
J

M5 3 *

<1

Foreign Fingering
2
 —

39
Mary’s Pet Waltz
E. MACK
4
— A # 1
pN&r —
t a
-a— r 3 4- i O 3 4 -3 :
r

#P=f=- ^EEF=

m
-1

67

5 3 5 3 bn K 3

2 4 L

ii
4 .
5 -4U T0 —»- -5 -^ * Li r^S^A.
9J

B
A*
»
m 5' 3
5 3
i 5
M a

4 g 5 4 o 3 % 1

3 4 |
4 4 3 i 2
1

5 3

? J
» I
4 3 4 3 « ,
1

JL
D.C.al Fine

Foreign. Fingering
41
THE MERRY PEASANT
I Have Sighed To Rest Me 42 ,
43 Bridal Chorus (From “Lohengrin”)

.Foreign Fingering
 Twelve Major Scales «»

1 G, one Sharp, F
G or Natural Scale
1
5
2
[—y —
]

——| §
———
j 4 rr -r-O

n a
fw 2
--t^l irff-Tff fufTf ffrf
-i—*- j±=4=
5
A, three Sharps, F, 0 and G
D, two Sharp, F and 0

nl4f*4
it [~jy «-
i
Hr-f-a --4S— -1-2-f

—
•

fcfr
^-4- ^-j- -4—L- U |-f
-La.
g TH* 5
2-

Eflat, three Flats, B, E and A A flat, four Flats, B, E, A and D

sj* 2 -

D flat, five Flats, B, E, A. D and G G flat, six Flats, B, E, A, D, G and C

2 ,

Foreign Fingering
 43

Forslgn Fingering
MAJOR SCALES RELATIVE MINOR SCALES 46
 47 Five Finger Exercises

17. . IS
a 83 * -L* 8 a a a 3 1 p* 3 2 a a 3 « 434 2 a 83 « 4 34 2
* . ft

.1 813 1
* 3 ^ 1318)4 2

foreign Fingering
 ) . )) ) ) ) )) ) )) ) ; ) p .

OV ITALIAN, PBJEHCH. OEBHAN. ENGLISH ANB OTHEB MUSICAL

DICTIONARY
TXH3IS.
A, l /ltSim ) by, for (moist, . CON GRAZI \, (ft.) wish grace, pitch gccera.ijy ©ccsjw after
ACCELLE R ANOO,(ft.i aeceieratiag the rswe- &>N GUSTO. GUSTOSO, (ft.)' »f.l &fa bassa
; it
Jks uUa, SC f ZA!
0, SCHERZANTE, SCHER
AOCOMPANIMEN i', a pan added to a poaci- rVTAT TWbPTA i r. -. . . 1 G ^cS
ZOSO,o l^
SCtlERZ r//.> us a Sight, p-ayful
jwi one by way of®ah*RCiag the effect of tke 9‘ V?') W!Eij irnpetac-ily. Ma, (ft.) but ; as etfegre 'i non troppo, quick, and sportive
r
,

iofnssjfitated style, wiehapSrit. but nos too much so. manner.

rnw w tRll ,s,c!cna slono,„:5:. («.)•«.;
AOAffiO, (//.' wv &>•
degree of saeveawaS.
a CRESCENDO, or OREL,
‘ and spirit.
:'
'

(ft) with a gradually

MAESTOSO,
expression.
(ft.) wish thsjestsc arid
dignified ^
ADACISSiWO ill.) esfromelv a!uw„ mcrai^ng quantity of toae. MAIN, (Fr.) the hand; as, main droit e
AD LIBITUM, {Latin) at wsil. or diacretion. DA, if/) by.
This expression implies (h«t the time «f seme
particular passage is left to she pleasure of the
DA LAPO, or D. C., (ft.) from the beginning ; s.
gauche, or M.D., M.G-, the tight and trfthand lows ; a i,
la finale
m ueil core the chorus fciJcoa: segue
the finale new follows. It is also
,

performer ; or that he is at liberty to introduce

expressuiE which
moverae .t,
n often written at theecd of
to indtoatir t h.n 6 the perforaier or a si
“ d “>*“ ^ ,k Of, in similar or tike, nuenne
,
whatever embeliithmcists his fancy m*yM9g£ea£. return t>, and £aish with the first strain.
AFFEFTUOSO, MARZIALE, (ft.) in a martial style,
AGITATO, CO V AGITAZIONE (I/.)
taSion anxiously,
(It.) affectionate, tender?
with agi-
DAL,
— (ft)
mark of r
DECRESC
by ; as, dal segno, from the sign : a MELANGE, a composition founded
several favoun e airs ; a medley.
(Fr)
l "' 1 wi,h
;

A L, A l. L’, ALLA,' {/«.) to the sometimes, is the

(Style of. ^EME, (AV ) the sanae; as, nteme movement, SEMPRE, (It.) always as, aemp-e staccato, al-
; quantity of to.._ ways slacctio or detached; sem re forte,
;

A LLEGREMEN T S, (It.) wish quickness, DfcLICATEZZA, (ft.) delicacy ; a ME3TO, (ft.) mournfully, sadly, pathciieaiiy. a! ways
ALLEGRET I'O, (It.) somewhat cheerful, but ezta, with delicacy of expression, MESTOSO, (ft sadly, pensively. o £ iufor**, csnt!i,u«lly loc/easing ro
not so quick as allegro. DELICATO, (/f.jlldicaiely. METRONOME, m (Fr.) caDoae0-',^ in a se,iuUS style
SfeRPEGGlANDO, (ft.) gently and silently(fore*.
*

ALLEGRETTO-SCHBRZANDO, (li.\ moder- DIATONIC, (Greek), aaturaliy; that is, accord- for sndscaiiegtheexafetiissrof
a n^r.rica! psece-
ingeaiotss- instreruent
^rjepmg onward, quiesly advansinr'
ately playful and vivacious. icg to She degrees o? the major or nslaor scaie, by means
ALLEGREZZA, (It.)
. .

joy; as con allegretto, or bv tones and semitones only

of a pendulum, which raay'be short- SFORZATO.'SFORZANDO, or sf ift) i ra -
•
cried or lengibcaed at pleasure. 1 * pa,t*cu *ar note to be pi»y«f with
joyfully, animatedly. fly. D5LUEND0, iff) a gradual dying away of the MEZZO, a middling degree of manner ; as
(ft ) sr. emph'is?
is

ALLEGRISSIMO, (/l.) extremely quick and Jive- to « is arrives at extinction.

c ; i
mezso/orte rather loud; metec piano zmHci soil. SIC! LIANA (ft.) a tnovemeacof allow, soothing,
ALLKGRQ, (Zf.Jqusckly. lively. A teraa implvioj* DIMINUENDO, or DIM., (ft.) implies that the MEZZO CARAT FERE^ (ft imp^a ASte
,

pastoral Marketer, in 0 8 time, rcismbliag

e rapid and vivacious movement, bat which i. tCi! ® OTlsst gradually dinsiuished de ,ree OS expression and execution, (quii kncss
)
a
he Pe
frequently modiSed by the addition of othei DI MOLTO, (ft an expression wnich serves ti ^ODBRATO. (ft.) with a moderate degree of SI N FOV?A
&INFSJNIA, (ft.)
*

a
¥
aR,ry °t Sicily.
symphony or orchestral
words ; as, allegro agitato, quick, wish aoxirly augment therngnificaiionof the word to which MOLTO (ft very, exsrarr.ely
coas-
and agitation, <sc. ) malic allegro, ; as,
it itfadded; a«, allegro di motto.-very
quick, M0 *® adogia, ei sremely slow. SLEN f ANOO,(Zt ja gredoal diminution in the
AL SEGNO, ALSEG, or the character ."5/, signi- DIVERTIMENTO, (ft.) a short, lig'nt ccnposi- MORCEAU, .
(Fr.) a piece ofn ushil ccscposidon RI * ° r speed of the movement
tioa, written in a familiar and pleasing style. _.V Itone.
fies sh»t She performer must return to n similar
of any kina. a radual diminution as to
DOLCE, or DOL. (/f.) implic; a soft and sweet MORDENT E, Zn AVr'^ir V®’
|0AVE ^*'l K
character sa the course of the movement, and (ft.) a
or transient shake.
beat, (/M l? asoft, sweet and delicate atyie.
play front that place to the word fine, or
stvle. MORENDO, (ft gradually subaldirag in sogard
fxHr E T0 // *L,h « s “ ject or theme.
7 (
' -
a double bur
DOLCEZZA, or CON DOLCEZZA, (It.) with to toneand ume ; dying away. SOLI, plural oftiOLO, (It.)
.'

implies that two or

movement soc
sweetness and softness. (:tylc. MOSSO , (ft.) movement; as piifi masso, with more principal parts play or sing together.
-» often modified.
DOLCEMRNTE, (ft.) ia a sweet and graceiul more movement, q deker. ^ P*li
s» course nre never double,!
both as to time and style, by the addition 01
DOLOROSO, (ft.) indiiatcs a soft and pathetic MOTO, or CON MOTO, (//) with agitaUoa. SOLO, SOLA, (//.) alone a composition, or
style. MOVIMENTO, ;

other words.
A N DA NT1N0, (It.) somewhat slower than an-
( dante E. ED, the Italian conjunction, and ; as fluido e
(It.) time, movemens.
CAM at?*? /^ * v >ce or > n -truinem.
e, (0r
com P',s,t!on consisting of i y
ANIMATO, CON
ANISSA, AMIMOSO, (It)
violina. flute an<f violin; nobilememto ed Ulti- NOBILIMENTE, I
C/f-}with Bcbleucss, grandeur loNATp"
oONATE, (Fr
several movements, generally
) f
with eninaatioo. ~ spirit, NOTTURNO, (It.) acotupostiiott, vocal or instru-
mata. with grandeur and singiB principal instrument, with or with-
A PIACERE, A ELEGAMENTE, Tj4 mental, suitable for evening fccreatMn, from us 1 , ... . out accoQipanimeuts.
pleasure of the performer.
ELEGANTE, \
rfcgar.as.
elegance and lightness of cuaracter. SOSTENUTO, or SOST, SOS (// ) sustained, coo-
APPOGGIATURA, (ft.) n note of embellishment, ELbGANZA, (ft with elegance, gracefully. O, (It.) or zs,fiauio o violins, flute or violin tinuoiu in regard to tone.
’
5

generally written in a small character.

ENERGICO, CON F.NERGIA, ENERGlCA- OBLIGATO, or OBLIGATI, (ft.) a part or parts
APPOGGI ATO, ( It.) dweis, leaned upon. MENTE, (//.)«wiih eceretf. (wilhexpressiim. of a composition, indispensable to if« just per SPIRITOSO, (ft with gret spirit )

ARIA. ( It jan air or son;; ESPRESSIVO, or CON ESPRESSIONE, (ft forr.-.ancc, and which, therefore, cannot properly STACCATO, fa implies that "he notes arc to be ) j

ARIOSO, (It.) in the style ofaa air. ESTRAVAGANZA, (ft) extravagant and wild
as to compo-itioa and performance.
be omitted
xfiUrfSffi KSSS*
- f,““
ARPEGGIANDG, (ft.) Passages formed of the TACILITA,»(/f a ficiiltaticn, an easier sdapte- OTTAVA, or Sva, (It) kn octave. This word Is STILSSO,
I
(ffcii.
(ft the same.
ARPEGGIATG, f cotes of chords taken in EAN 1'AiSI E, (Fr) a species of composition generally joiar 4 with alia or bassa the first >
/
(ouickly. ;
)

ARPEGGIO, *
rapid succession, in imi- signifies that the passage to which it is applied
FANTASI A,
l ir.
(
< )

tation of the harp, are said to be in arpeggio.

(ft.)
f which the author gives free must be played an octave higher than it is * j ‘ • ’^* r ' a scries, a cullectioa; as, une suite
scope to his jaeas, without regard to those syste- written ; the second, that de pieces, a series of lessons.
ASSAI, (ft.) very, extremniy. Thisaoverb is it must be played aa
ways joined
snstic forest \* htch regulato ether eoiraporittons.
octave lower.
SYNCOPATE, (It.) ir a constrained and synco-
to some other word, of which it< FINALE, the last piece of Bay ast 'of an opera, pated style.
tends the signification ; as, adagio asssai, vs or of a coCcerf ; or the last movement of a sym- PASSIONATE, (If.) Se an tnspasssoaed lnajasscr. SYNCOP Al ION, the connecting the last
stow ; allegro asses, very quick, PATET1CO, (ft ) pathetically. note of
pho iy or ionata in the GeraUa style. - one bar to the first note of the next, sp as to I.kot
1
FINE, (ft) the end. PATrfETIQUE. pathetic. B ut oae note of a duration equal to boili. this di—
t TEM, *^' f (/A) in the regular liras. FORTE, or I OR, or simply/, (ft.) land PASTORALE, (ft.) in a soft and rarsd ciovement. ®ud fo<1 “ c a pe u'i*r eff«cr.
A TEH POG5USTO, (It in strict and equal time. ) FORTISSIMO, or (// ) very loud. PEDALE,(/f ja pedal. ovstalsonsry bass- laipuno i t ,(Lat .) implies thut during a movement or
.P «?
ATTACCA. ATTACCA SUBITO, (It) implie, FORZANDO, of FORZ., or»/*, implies th*t the music, this term implies that the performer roust pact cf » mcvemenr.sonie particular instrument is
that the performer ta«»S directly comiasacc the press down tlie pedal which lakes off the campers. to be silent; as (tauio facet, the flute is not 1<S play.
note is to be marked with a particular emphasis
following movement.
BALLAD, a short and familiar song.
BARCAROLLE sung by the
PUUCO, CON. (/f ) with in!*n*-e Bcijnetliwf.
PERDENUO, PERDENDOSS, or PER0EN.,
(It plies u gradual dsmiantiaa, both
quaas iy of tone and speed of roovement,
™st» »-~si sir,
" •' 1>°A ?'* w
(It<) airs Vesefissr FURIUSO, or CON FUR A, (ft with fee. I .“Sssr*
GA3EMENT (Fr) ia a cheerful awd liveiy style PEU, (Fr aiitile. )
ir boatmen. (aa Incomplete idea. a Pe,, *ou' manner
)

. one of the principal graces in music. PHRASE, a short musica! scutenee, containing TEMPO COMODO, (It.) int<:,n
GALLOPADE (Fr.) a galop; a quick, German PIACERE, a cuavcuitai degree
5

MEN. (ft.) well ; as, BEN MARCATO.(/f )

well d*ace-tune. (ft.) will, pI=*-iEire ss, a piastre, ml of movemeTSt. ;

Barked This expression indicates that the pas- the performer s pleasure in regard to time. TENDREMENT. (Fr.) affectionately, tenderly
sage must be executed in a dear, -distinct, and GALOP,
''*'
i ™(Ger.) \ a quick spoeies o PIANISSIMO, orpp. (It.) extreassly serf TENERAMENTE, TENERO.or CON TEN- t.
strongly accented manner. generally in %4 PIANO,
’
or
uiusi w,
til ji, (It ) soft, EREZZA,
(It.) tenderly.
BIS, (Zrrf.S twice. Agorot which indicate that., \ jc . ! in just and exact tisMS. PIU, (/ .} an adverb of augmentation as pin TENUTO, or TEN,
; (It jmplies that a note or
certain passage, distinguished by ft carve drawn G LISA N DO, (ft.). to slide. presto, quicker ;
pise piano, softer.
°J kept down the full
over or under it, must be performed twice. GRACES, occasional enibeitishraects, ^EEsSintet PLAN IT VO, (ft) expressively, plan-lively, -r ‘fi:
THEME, (Fr.) a subject. 1

indicated by the composer, sometitae* spontan- [time.

BRILL AN
TE,(/f Jartd (Er.)sE expression indica-
eously introduced by the performer. The most
PLUS, (Fr more ; as, plus eim'me, with greater TIMGROSQ, (//.) with timidity and awe.
ting a showy and sparky ag style of performance.
irnojrtaot of thi-s® sire the appoggiatum, the
TRANQU1LLO, TRAKQUILLAMENTE. or
BRIO, )
POCO, Hit!»j rather, somewhat; as, pace
(it.) a CON T-RANQUILLEZZA, (It.) tranquilly,
B RIOSO, {IS with briBiajscy and spirit.
turn, and the sAe&r. presto, raifcer quick ; pace pinna, socaswls .tsoft. composed y.
y )
CON BRIO I GRANBIOSO. (ft.) in a grand and elevated style. POCO A POCA, (It.) by degrees, gtadualiy es TREMENDO, (ft )with a tremendous expression.
BRISE. (Fr ) sprinkled, brokea into arpeggios. GRAN GUiiTO, (It) in an elevated, fSasdstyS*. poco a pace crescendo, loudqr and louder by degraes
;

CADEN E. a c,o»e iso melody or harmony aa G RAVAM ENTS, (It dignified and solemn. :o a poco dimuendo,
poco dimuendo.salUr
softer and softer by degree
degrees.' implie* iheVriteration ofa
(/f-)
;
GRAVE, .(ft.) the slowest degree of movement; ' - “ ' '
' '
1
orasmenea! and extemporaneous passage intro- POJ, th^u! sas , piano poi f’iiit; sofl: then lend.
)1, (It.) then: Bole or t-hord with great n-
duced at the dose of a song or piece of music. also, a deep, low pitch an the scale of sounds. POLACCA, (ft.)
rOLACCA, t£i.) allow,
a slow, irui
Polish dance,, in 8-4 _ TREMOLO J
f
ptdity, so a*x to produces
POLONAISE, (Fr)^ jr time, of a peculiar rhy-
j
CADENCE. (Fr.) a shakes also, a cadeece in har- ORA'/ ITA, (ft.) gravity ; aa, eon gravita. with f

mony ; ns cadence parf ait c, a perfect cadence ; POLONOISE, (Fr) j thmical consffnssioia, as TR1LLANDO. (It.) a
cadence ram One, as interrupted ca lence. GRUPPETTO, (It.) a group of notes; a turn. the roelodia! meusbem usoally tenninste on the different notes.
GRUPPO, (ft a turn, or grace.
CADENZA, (ft Bcadcncs, or dose, at the termi-
nation of a eoug or other movement, introducing
sosse faeciful and axtempcraae u*.s embe!hs>.- 1L, the. (/.'.) (erace, elegantly.
) third crochet of (ho bar.
GUSTO, GUSTOSO,or CON-GUSTO, (It.) wish PO M POSO, (It.) In a grand sx.il pompous caar.c®r.
PORTAMENTO, (It the roaaner of eustaining TRIO, (It.) a piece for throe voice* or isstni-
SIS®
meat, (and quickest**. 1MITAZIONE, (ft 3D iiyiitation. (ty. and conducting the voice a gliding from one
j iner.ts. This term also denotes o second rcovs- ;
si PETUOSO, (ft
CALANDO {/£.) gradually diminishing in tone
I with iDipetuosity.Iiripetuou note 1 ono.h
j >ment a walls, march' miaurt, Ac., which al- 1 r. its
CALORR, (It.) with much warmth and animation 1M PRO.viPTU, (Fr.) aa ertemporaaeous produc- PO,SSI BILE, (It) peasSbie; as piu forte.post&Oe, ways leads back to RAepeution of the first or
CANONE, (ft.) a cassoa. or catch for several tion, fporaaieously. as loud as po^ible. principal movement.
voices or instruments. IMPROVISARE, (It.) to compose or sing extern- POTPOURRI, (Fr a fantasia of favourite airs TRIPLET, agroupofBireo cotes, arising from
CANON, a species of KnSntefrnptsd Imitation. IN, (//.) in ; a,, in tempo, in time. PRECIPITATO, (It.) in a hurried manner. the division of a note into three equal parts of
N
VA T A 5 ! !,E,(/f.)sss a graceful and singiag style. INNOCENTS, IRNOCENTEMENTE, (ftf is PRECISIONS, (It with a precision, exaciEsude. the next inferior duration.
CANTANTE, (ft.) a part to be executed siy the an artless on d simple style. (meot, PRELUDIO. (It.) a prelude or introduction. T UTTA, FORZ A. (A with the inmost vehem- )
INTERLUDE, aa intermediate sham or move- PREMIERE, (fr.) fi.se ; as, premiere fins, first ence; as loud ns possible.
OA PEI.LA, ALLA, the chords stylo.
(It.) in INTRADA. {It a short, introductory ) )
TUTTI, (I/., plural) ail; a term used to point
C tPO, (// the he*d,
) or beginaing. INTRODUZIONE, / movement. PRESTISSIMO, the roost rapid degree of
(ft.) out thos; passages where all the voice* or in-
CAPRICCIO, (/f-ja facaluiaiid irregular species 1ST ESSO, (ft.) the ;aroe ; *.s, istesso tempo, the PRESTO, (It { very quick, (movement strumenlanr bath are to bo introduced,
of composition. (humorous character, PRIMO, (ft first; as, violinoprimo, first violin; UN, lit )
a: as, un poco, a little.
CATCH, a vocn! piece In several parts, of r. LARGHETTO, Indicates a tint® slow astd (ft.) tempo primo, in the first cr origin*! time.
CAVATINA, (It ) an Ktrof one movement or part movertient, bias less so than
cieasUTed in its QUADRILLE, (Fr) a F ench dance.
only, occasionally preceded by a recitative. LARGHISSIMO, (//.) extremely slow. (Large. QUASI. (//.) in the manner or style of; as, quasi VELOCE, orcON VEI.OCITA, (It.) in rapid
CH ANT, (Fr.) ia a song or melody; he vocal pare. i LARGO, (It.) n very slow aad solemn degree ul allegretto, like art allegretto.
OHR, (ft ) than os, poco piu che andante, raiber
j movement. QUlETO, (ft ) with calmness or reppse ; qalesly. VELOCISSIMO, (It.) with extreme rapidity
slower than rsndantc. LEGATU,(/f )‘r, asmoothnnd connocte-I aistnnev KAUDOLCENDO, (//.) with augmented soft- VI R NT E, (It.) « peculiar manner of touching
} 11

CHROMATIC, proceeding by semitones, or LEGATISSIMO, (It.) excoedicgiy smooth und RADDOLt.EN'TE. f reu. the keys of the piano
formtd by mean* cf semitones. connected. RALLENTANDOo (It implies a gradual dimi- VIG0R050, ViGOROSAMENTE, (It boldly,
) )
CODA (It ) a few bara^ added at She close of a LEGER EM ENT, (Fir.) with iightcess and gaycty. nution in the speed of tho movement, aod a vigorously.
"

composition, beyond its nature! termination. corresponding dscreaso lu the. quantity of die VtsTAMENTB, (//.)\
COLL A w,,l‘ q»“cknes»
PARTE,(7f.)ampl,CT!hst theaccompacsst CNTE, (It.) light!/, gently R API DO, (It {rapidly. (tone. VITE, (Fr) f
roust follow tho principal part in regard to time. LEGGIERO, ? CON LEGGIEREZZA, (ft.) REFRAIN, (Fr.) a burden, or tag-end to a song. VIVACE, V1VAMENTE, or CON VIVACITA.
OON, (A.) with; as, iron exprtssione, ' ‘ with lightne 1
. irlacili'yof RIN FORZANDO, RINFORZATO, or»«ri/,or (It.) with brisk ne-s an ai.ima'iibn. I

pression; con brio, with SiriGiancy and spirit LEGGSERISSIMO, (ft.) with the utmost light- rf Alt) wiih additional tone and emphasis. VI VACISSIMO. (It with extreme vivadty )
CONCENTO, (It.) concord, Bgreetnerst, .set. A j ass and facility. ROMANCE, (Fr I a short, lyric tate, set tosass- VIVACITA. [It vivacity )
lectioo cf pieces in sometimes so called. LENTAN DO. (ft with iacroMing alowrowa, , ROM ANZ A, (//.} ( sic; or a simple and elegant VIVO. CON VSVEZZA, (It.) animated, lively
OONCERTO, (ft.) s coropoeirion intended So dir. LENTF.MENTR, I ... . ..
(ft.) m slow . ...
time,
melody suitable l«S such wordr. VOCE, (//.) the voic
p!*v the powers cf some particular instrument, LENTO, | RONDEAU, {Fr) 1 a eompositioa of several VOLANTK, (It 1 in a light and rapid manner.
with orchestral accompaniments. LIAISON, (FV.)¥ss!»jihl>«* of connectioa ; also RONDO, (It) / strains or members, at ihs VOLTA, (//) tune of -playing a movement, *»,
CON DOLCEZZA, (ft.) with sweetness. a bind or tut. end of each of which the first part is repeated. prime oolta. the first time of playing Ac
OON DOLCE, (ft.) mournfnlSy, withpslhos. LOCO, (ft.) "This word Implie* that « passage is R1TENENTB, RITENUTO. (ft.) m keeping V&LTA SUBITO, WV. S.. (It.) turn over (ho
CON CRAVITA. (ft.) with gravity. to be played j art as it is writ too ia regard to decrease in the speed of the moTcmcnt
'
pago quickly.
 THE BO0K F®R EVERY HOME

The World’s Largest Song Folio

CONTENTS
A Story E*«r Sweet and True. . 23 In Time of Roses 107 Only a Roaeb&d 210
A Basket of Rose* 67 I Loved You Better than Yon O Canada 214
All that Words can Tell 13 Knew 12'" Old Black Joe 213
Alice, Where Art Thou 18 In the Shadow of the Pines 144 Only a Tear-stained Message... 232
A Picture No Artist Can Paint. 5 I Would Lie to Honeymoon With Old Oaken Bucket 217
luld Lang Syne 22 You 146 Old Folks at Home 237
Abide With Us 16 I Want a Nice Big Dolly 141
Annie Laurie 21 In Cellar Cool 108 Pictures from Lire's Other Side 224
A Life on the Ocean Wave 20 I'm Wearin’ Awa', Jean 140
Ave Marie (Gounod) 8 I Don't Want to Play in Your Rucked in the Cradle of the Deep 230
Angels Ever Bright and Fair... 3 Yard 118 Rule Britannia 226
Ah, I Havo Sighed to Best Me. . 10 I Told You I Loved You and
Do 114 I Red, White and Blue 229
In the Evening by the Moonlight 116 Robin Adair 228
Bonnie Dundee 26
I’ll Meet You When the Robgs
Blue Bella of Scotland 27 Sweet Genevieve 258
Bloom 112
Skidoo, Skidoo 254
Bon Bolt 35
33
If I Only Had a Home Sweet Sweethearts May Come and Go. 267
Bonnie Laddie Home 109
Bonnie Sweet Beesie 40 Star of the East 260
Is This the Train for Heaven.. 122
Bonnie Banks o’ Loch Lomond. 49 Bwanee River 218
I’ll Take Care of You, Grandma 125
Believe Me if All Those Endear- Scots Wha’ Hae 235
I Heard the Voice of Jesus Say 128
ing Young Charms 34 Silver Threads Among the Gold. 202
44
I’m Wearin’ My Heart Away for Soldiers’ Farewell 89
Beautiful Isle of Somewhere You 80
Because I Love You, Dear 43 Stars of the Summer’s Night... 174
I’se Gwine Back to Dixie 132
Bridge (The) 28 Sweet and Low 236
In the Vale of Yesterday 134
Blue Eyes 30 Sweet Bunch of Daisies 256
I Love You, the World is Thine. 137
Beside the Campfire 36 Song that Reached My Heart. 238 . .

Break the News 38 June, July and August 154 Salvation 232
Beyond the Gates 218 Juanita 152 Song I Heard in Heaven 244
Belle Mahone 42 Jock o' Hazeldean 153 Simply to Thy Cross I Cling 243
Casey Jones 864 Just Next Door 149 Sweet Molly O 'Reilly 251
Campbells Are Comin 68 Jesus, Lover of My Soul 92 School Days 264
Cornin’ Thro’ the Bye......... 22 JuBt a wearying for you SO
50 That Ragtime Melody 270
Come Back to Erin Jingle Bells 157
Then You’ll Remember Mo 273
Dear Littlo Shamrock 70 Killarney 158 Tell Me the Old, Old Story 241
Drink Me Only With Thine Eyes 66 Kathleen Mavourneen 160 Tramp, Tramp, the Boys Are
Drinking, Drinking, Drinking... 108 Marching 293
Darling Nellie Gray 88 Little Goldon Curls 163 Tell Mother I’ll be There 274
DixieLand 63 Last Rose of Summer 174 This Letter is for My Papa 278
Do You Ever Sit and Dream 54 Land o’ the Leal 140 Two Sweethearts of Mine 98
Down on the Farm 57 Lullaby 171
Darkies’ Home Sweet Home 60 Looking This Way 266 When the Kye Come Hams 279
Daisy Rose 64 Letter Edged in Black 168 When You and I Were YouDg,
Life ’a Dream is O ’er (duet) .... 178 Maggie 289
Flow Gently, Sweet Afton 72 Love is Like a Game of Cards. 175 . Within a Mile of Edinburgh
From Prison to Mother's Grave. 73 Town 280
Four Leaved Clover 76 My Old Kentucky Home 196 When the Candle Lights Are
My God and Father, Whilo I Gleaming 291
Good-bye, Sweet Day 83
Stray 198
Good Night, Ladies ........... 84 When You Gang Awa’, Jamie. . . 9?
My Old Now Hampshire Heme. 166 'Way Down Upon the Swanee
Gently Lord, Oh Gently Lead Us 85
Maple Leaf Forever 200 River 213
God Save the King 84 .

Guide and guard us forever more 82

My Task 182 Where the Sugar Maples Grow. 282
Marching Thro’ Georgia 183 Won’t You Come Out and Play. 286
Green Grow the Rushes, 0 79
Massa’s in the Cold Ground.... 184 Won’t You Come to My Tea
Harp that Once Thro’ Tara's My Bonny Lies Over the Ocean 185 Party 283
Halls 89 Mary of Argyle 186 Will I Find My Mamma There. . 284
Highland Laddie 33 My Doll’s Bigger than Your Doll 188 Would You if You Could 294
Home Sweet Home 231 My Heaven is in Your Eyes. ... 193 Watch on the Rhine 298
Huntingtower 97 My Little Bit of Honey 190
Hosanna 100 262
Banks and Braes 293
Nazareth You, None but You 300
Hello, Central 104
Heart Bowed Down 103 O Tha* We Two Wero Maying. . 204 You Can't Play is Our Yard 308
He Wipes the Tear from every eye-208

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