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FOR

THE

OFORT
PRICE FIVE SHILLINGS

EDWIN
BOSTON, MASS.: 218, Tremont Street.

ASHDOWN
(LIMITED)

LONDON:
Hanover Square.

TORONTO: 144, Victoria Street.

SYDNEY SMITH'S METHOD
FOR THE

PIAN 0 FO RIE,
";,1.~

PRICE

FlY~"SHILLINGS. I ,c."·,, '\.' J
\ NtI "- ""- ...~. /

I~D'vVIN
BOSTON, MASS.: 218, Tremont Street.
Hanover

ASHDO\VN
(LIMITED.

LONDON:
Square.

TORONTO:
144, Victoria Street.

SYDNEY SMITH'S PIANOFOR1~E METHOD.
RUDIl\fENTS
MUSICAL

OF l\fUSICAL

NOTArrION.

sounds are represented by certain characters letters of the Alphabet. viz.. A, H, C, D, E, F, G.

called Notes, which are named after the first seven

These Notes are placed on and between Five parallel lines called a "Stave,"
~---------

EXAMPLE.

_

r'_~---,,"

..

-------_ " "
..

thus:-

II .. .. 7L==:! '_~~~d
Notes in the spaces.

Notes on the Lines.

j
Bass

In Pianoforte Clef"

Music two sIgns called"

Clefs"

are used, namely. the"

Treble Clef" awl the"

THE
The "Treble Clef" is formed thus: CLEF·NOT};;.

TREBLE
~
~

CLEF.

the second line of the staveN B -The

~ G lines are counted upwards, the lowest being the first line.

t·,--.~G

and gives the name of "G" to all notes placed on

From this Clef-note
CLEF-NOTE.

i-- t!

all the other higher or lower notes proceed alphabetically.'

EX.AMI'LE.

@

...~
G A

•"
B C

" --D

__._
Ii:

"•"
F

..
C

"
B

..
A

E

D

,•
G
F

,.,_gg
E
~-

NOTES ON THE "LINES.",

...
~
.

.
-

CLEF-NOTE.

B
on the 3rd Iine. D on the 4th line. _'--,.,------

_"--

E on the 1st lme.

G on the 2nd line.

F on the 5th line.

NOTES IN THE .. SPACES."
~"

...,.-. -.,_

'--::
C in the 3rd space. E in the 4th space.

~

F

10 the

1st space.

A in th.; 2nd space.

.. . • .. . .. .. .. ..
,.
EXERCISE

ON THE "LINES"
~

"

--------

Z

.. .. .. ..
"

AND .' SPACES."
II
II

.. ..

the Pupil will perceive that the 5U White Notes and 35 Black Notes. E in the 3rd space. A in the 151 space. @+~~ -_ . -eD • C 8 . " As there are only seven notes in music._-----_ F CLEf'·NOTE this Clef-note. c D E F G A B . B.. THE 'I'hs Bass CI[~f is formed thus -CLEF. - . A. B on the 2nd line. (§ ." c· • ~ III III . and gives tho name of "F" to all notes placed on the higher or lower notes @:==:====From 4t. VIZ. G in the 4 th spa.4 SYDNEY SMITH'S PIANOFORTE II'1ETHOD. It' J£. G.. F on the 4th line.." •• c ~. G on the 1. THE KEY-BOARD.. D.. NOTES IN THE "SPACES. C in the 2nd space... EXERCISE lJl ON THE "LINES" AND "'SP ACES.NOTE BASS CLEF.. A on the 5th line. which form the compass of a Modern Pianoforte.he stave.ce. @O:=-"-F all the other @ .. D on the 8rd line.h linn of t. E. F C-iI G A G .. • " The Treble and nass Staves are connected by a "Brace" Played by the Right Hand. __ III E B A G NOTES ON THE "LINES" CLEF· NOTE.. proceed al phabetically EXAMPLE.t line. • m this manner:- Played by the Left Hand. are merely repetitions of the followmg section of the Key-board v= SECTION OF KEY ·BOARD. _--. ~- .. F. "'_'" . C.

HI..i!~!IU I II! SPECIES OF NOTES..rmer. or Whole uote. Bars. half rest. Bearing this in mind there will be no difficulty in finding any note.lUema. called ." They divide X denotes the thumb. _----- • ... f-o~ ~." the erotehet . of the notes learnt." or HALF the NOTE. Two minims." or Half note is the next in order after ~ by addiug " stem or tail to the semibreve.SVDKEY SMITH'S PIANOFORTE :-mTIIOD. 1 x I~ .ve ~o the bottom of the bass \h. &'0. are equal to one EXAMPLE.he BH. The strokss which reach from the top of the treble sta. 'I'he other and lower notes will be explained as they DIAGRAM OF THE CD KEY -BOARD." tbe minim tt'll." • II whoJ& r'-""t.. or "-Tbole note: it is formed Minim. 2 the second finger.. 5 Observe that the White Note on the Left Hand side of every group of Two Black Keys is called C. DIFFERENT ~ are used in music. 1 the tirst tinger. sernibreve rei • . semibreve. THE The" "MINIM. 1. and 4 the little fiuger. music into equal portions.t a. is called the" Semibreve. 3 the third fillger. KzV! 0' THB . ij and BO on. 'I'hey represent the Sharps and Plats.. :ai f. The following he has already Diagram of the Key-board higher of Iii Pianoforte will show the Pupil the position are wanted." qnl>rter ---------------* In Germany and in the United StateR of America the Remibreve is termed ~ "whole note. and will be explained when occasion requires their use." SM page 6..· ~ 1 !II 3 x - ) 1 Iv 4 __ 3 ." hs minim t Dote. oorr esponding rnats BrA named in t. are called" Bar Lines.:. or Half uotes." the ssmiqnaver a H !IIlxteenth. -----------------------------------------------------------------. ~ " x ON THE "SEMIBREVE. estave _." &c ." or Whole PIANOFORTE THE Six specIes of Notes note. 'I'he Black Keys are in alternate groups of twos and threes..." ~ 4 or WHOLE NOTE._- __. Th . thns:semibreve.." thp qnaver Bon"~hrhth. the first of which It is formed thus:EXERCISE I No.a "balf note.

·. it will be seen that the Semi breve is the longest note.) 3 "MINIMS. No.. and four to one semibreve.. . .." (HALF NOTES.rter note.) S 1I I Count 4. or quarter note. ... or half note. No. 0 · · · · · i )C THE "CROTCHET.. or qua.) ~ to bach minim.... ·~ · ." When 8 bar contuins four crotchets.. 2 to each minim. . X 4 1 #--c_ " I ... · · . bar-2 EXEROISE J ON U SEMIBREVES" (WHOLE NOTES. · . · . or one quarter as long as the semibreve. I ." (WHOLE N01'ES.. · :I x . . 3 1I 1 3 t · . the Minim half as long as the semibreve. in eaoh bar-l to each crotchet..~ _~JI:r::. I • . or quarter it is formed and is only half the value of a minim. .ro.. ·. Count 4 in a. · · . · · X ·. . and the Crotchet half as long as the . : a 4 . or their equivalent in value (such as two mmims or one semibreve). ..G SYDNEY SMITH'S PIA:!fO... . X .r1." or QUARTER NOTE..) S 3 .. · '. . so that two crotchets. The" thus:~ Crotchet. a x ..r: 3-t!7-3 < I~ 1. notes. 2." or Quarter note. ... x t < r v fffE ----t--4 .t~ AND " MINIMS.) AND II "OROTCHETS:' (QUARTEll NOTES. EXEROISE I 2 ON 3 1 {I MINIMS" (HALF NOTES..) .lf note..minim.. " Iv I=-' I 3 -#-- .. I ·. or Half note. 4 • ~ 1 ~ 3 • . · · X .. · · ·. ·2 ...--. After practising these Exercises.) Count 4. · · .3.. . · 1 · . 2 to each minim.. or half note . 4 -#--- ·.· . .. A musical composition is divided into equal portions called "Bars. · . 4 S X .. ·· X 1 I T ..l!'OHTE METHOD.. :! 3 4 4 !-I~~ L I ~.. ." (HALF NOTES.·. ." Common Time is expressed by a C placed at the commencement of the stave thus:- 4!_~ : · There are several species of Time. . in each bar-l to each crotchet. ..· ·.·. the composition is said to be in "Common Time. · ·..·. .· ·.. always counting aloud... ·. J&-l 34 =r-s l' '" 3 4 · ·.. No 4 • X • EXEROISE 2 ON "SEMIBREVES. or ha. . whioh the Pupil will lsarn gradually..·.. AND "OROTCHETS.-. . must be played to one minim." (gUAR1'ER liOTEB. · · · X I ... . · · .. or half note. comes next in order after the minim.. or Whole note.

HOME.. I ~-f . . . . .----------: x ~ ~n S = . ..- 3 .. #- ..idM.-~ . · ..• ~ 3 I 1I . . 3 )( I 3 3 3 . ~ 1 _L .-Exercises. . .BBO'. x ..i:r muss be repeated.__ .. -_.- . . x )( . 4 :3 1 .3 2 X ---. '1 EXEROISES No.. ... " '-~ ..---------.Bar ~~~---~-end of the second part. .. . .. . 3 x I t _ ~::_!~ _ __L______. 4 4 I--.--- .SYDNEY ElMITH'R PIANOFORTE METHOD. < Ie) . thUB... dota are on both ._ . ! AND AIRS 3 IN "COMMON TIME. I X --l--- )( --.-Exercise Count 4 in each bllol'-2 to each urinirn.. ~ . :t=~ P ~ 4 )II I • x • B. G 3 j .." :e- x -- ~ . )( -3 -" - ~ 3 )( ~-.1 v.m d ~be u.' ._ ~ X ~ _. ---_ When marked 0 is sometime. a._--. * A Deuble with dcte.. 5. SWEET HOME. . r:~'' ~ '. No..f--- .. n.. 7..-_.- S 3 I . _ II .'--- I~- ._-:1 'l " X 3 ! x " . w911 a . . . 3 . .. . lC . I . "- . t the -=__~- if 'he the first part of the air muet . -_ .. -+----)( . 2 < .. '7 . . )( -- -- S t . ':=n:::= -I . 1I x !I I X .. . x ..--.. :'?' -f---+- .. I I a I .O~--_:: botb pH. .. if the dots are OB the other BideD: the Becon..~ . . . placed at the end of the first part of an air. X 2 4 .*!~ "P=----. be repeated. . ~... Iv 1:=' 4 ... 'a I."t' "j che <Lir must be repeated._Q " :I II T e ·. Repeat each Exercise many times. X .. ... ..

5TH OCTAVE. .JL. 7TH Oeu... ~ ~--t=LI t i i rj-J144~JJ/ THE POSITION AND NAMES ." any number of which may be used..JL. and those below the stave are counted downwards. . 6TH OCTAVE. NOTES LINES. C to 0. To avoid the use of too many ledger lines..•.._r~~.JL.n. BELOW THE STAVE. The first . 3 :r~ . ~ #= Et!±FF OF THE NOTES. .2 .~ ON LEDGER LINES IN THE BASS CLEF . . B II D . 2: signifying be played 1 3. 8va. LEDGER LINES IN THE TREBLE CLEF. and when placed under...... G -. . (the abbreviation of ottava) is placed over the notes. . LEDGER LINES. ABOVE THE B STAVE. A .JL.. ~m_ A NOTES LIlU:S.!o. 2ND OCTA.:1. B _ .8 SYDNEY SMITH'S PIANOFORTE YlETHOD. . NOTES ABOVE THE G STAVE. . 'r f ~l .. When other notes (higher or lower) are required besides those on the lines and in the spaces. LEDGER LINES IN THE BASS CLEF.JL..i~·~· ~~~_4f=~J~i~ .. J~~:i~ THE KEY-BOARD OF A PIANOFORTE SHOWING TREBLE CONTAINING SEVEN OCTAVES. &0. . the notes must an octave lower than written. E (fi f r firf f= f ~~J~J~~~IT~I~j~~~~J~T~·.! VE.. SUCKS. that they are to be pl~yed an octave higher than written.. is called an Octave... --. F~ --...VE. SUOBIi1. They are The distance from A to A.IL. . -~ D .eight notes in the Treble stave are placed over the last eight notes in the Bass stave... short additional lines are brought into use. B to E. The Ledger lines above the stave are counted upwards. BELOW I'HE STAVB. r . and played on the same keys. SPACBS. i i NOTES.JL. <:3 1ST OCT. :!!: .- EXERCISE ON LEDGER LINES IN THE TREBLE CLEF._ -. NOTES LINBB .f=:... the same lD name and sounu. - F 3' 4 . G -~ ~=J=~ Q I EXERCISE . . T .' D B -.. ~ Lr . ! 4 . 1. called" Ledger Lines. SUCHS. t -fL .JL.' D :a .

--:-r.:= )( . :~ x ~..~ . is called a Scale. :: • • 'I s I...)(-I n \I~~:. SCALE A IfU (''(. II :-. between each of the other notes the interval is a whole tone.. ----.8... '..~~~~~~~~~~~ ..L.. 2 4 3 f S • I OJ THE f :t VESPER X I ~.i. • .. A scale with these intervals is called a Major Scale... ~ 3 ~ 3 I ~ !I -4.~~~~~~~~~~~~-_ 11 . flit • )(._ X .. ... I -.J!I 1 __.. -1 !I l( . · .. ~~~ ... ..F--L.. )( ~ ----' .:.. 10.~. -----~ I 2 -6). - t~ .. · No. 3 4 3 x !I 3 I ~ I . t-- 3 4 !I I X I ·.-~ ':---l' ~ . . .': • . .+__ _-'-- --fIl- x !I I x .. No.-' ~- . 1 x . I No.."e1!l81 011 AND KEY OF C MAJOR.:. Ubserve that the 3rd and 4th. 2 x . key of C major has no Sharps or Flats.. . 1I J . 'I'll. )( · · · • t 1 )( x .. .!": . I x I ~ . -+----.. .- 1 .. .. :.--------..: :. SCALE OF C MAJOR.- )( \ f\ I 2 .. " THE BLUE BELLS OF SCOTLAND... & X' . but IS composed entirely of white or natural keys. 434 HYMN.. .SyuNEY SMITH'S PIA?iOFOIUE ~lETHUD.9.. . of eight notes.. .-. either ascending or descending. and the 7th and 8th notes of the scale are only semitones ...~ ------.. . :1 4 X II X 1 • 3 .. . ~ .. !I I )( ._ :: I~_~~.

on the fifth line (F). All the F's must be made Sharp..jj. .--g 8 2 6 6 7 THE SCALE OF G MAJOR._.. i The" Quaver . . No.3 rrrr . 4 Seruitone. I ~ x I ~ 3 x~ I I )( x x I II )( I 4 2 3 I 2 .he stave. between the 3rd and 4th notes and 7th and 8th notes of the scale. I • >( 2 2 X 1 !! :I )( 3 II I X \!~ 2 l ~ I ~ 1 -.I .. 4 3 I )( 2 ... of the key... or one key higher White Note. in every major scale.. I! '1 - __ .. THE QUAVER. 4 3 . KEY OF G (ONE SHARP F) (PI No."'_ ~ x -~ -..2 )( 1 .. I x 2!.:. 3 I ~ I I~+ ) I tJ ~ Repeat many times __. the semltonic intervals must appear. it IS necessary to raise F... X I a 4 :I • X 3 2 I ~':' ~ 2 j__1_ )( I 2 3 • x 3 . • ~ . Black Note on the right hand side of F THE KEY OF G MAJOR.3!.:. x 2 ~ . Semitooe. X - EXERCISE 2 3 ON I 1 ~ _~ !. and is called the" Signature . The formation of all major scales is exactly alike.- - 1"=• ~ and The Semibreve..0"'\ --"'"' '. . 11.. X equal to rr \! I 2 or Repeat many times 1 I . a 'r-: --. ~ )( or ttn lia ~ ) 8 Quavers. X 4 I 3 -t \! 4 1 . 4 :l I...~ ~ ""'""-J THE The Sharp 0.10 SYDNEY SMITH'S PIANOFORTE METHOD..:. . it is formed thus.~ ~ I x I x 1 2 3 2 3 .. This sharp is placed at the beginning of t. 2 \! --I x I 2 -:' 3 X I '~I 3 ~: . that is to say.. 12. To make the semitonic interval between the 7th and 8th notes of the scale 01 G. 4 3 4 3 ..' 1 ~_I . THE "QUAVER" __.. IS the species of note next in order after the crotchet is only half as long as the crotchet.... Iv I~. to show that all the 1"'8 must be made sharp. ..) raises a white 01' SHARP.... !9 l::2 . The Pupil has now learnt the following species of notes r-« '2 Minims. one key higher i it is then called F sharp. natural key a semi tone. 0 tJ • 3 --=0. X ~!. the 7th note._ ~ .-. 4 Crotchets.

X ~ 1 )( 1 ~ -- 1 ..!:.-r-- ~ . +~ot -. • 0 =p= • 0 ~~ .f!_-~----F-- -. • . .. =IL. -F--+-- . 13 ( n~ ROUSSEAU'S DREAM .. 11 . • • .J_ I -~-- • 3 _I I -(9- )( X x 2 --1-- X x I x X • No. ... o ~ I -. 'fill.. _...~~ -==-:.!-iII .~ Count 4.r. 1I 4 3 1I I )( . 4 4 3 I~E~~'- H~- -----:. I . ... t---~- I( x -- )( - • 4 3 - 3 !I 1 I 3 x I I I x )( • 4 -'.r-~--o . .- !I 3 -\ --1x _c....j-----" --- ----+ 1 lit lit I .. • . y L. 15. I . X 4~ X t • Repea. 4 x I .. ~~ tiuiea.No. I x I .. • 0' o 00 .. :143 Repeat each Exercise mllDy times. 14. r-------. .-----p-- . orotohets in each ba.. -r-==i= ~ I I II )( _1 I I X I . 4 I It I . I !( ~ x I~ 3~x .SYDNEY SMITH'S PIANOFORTE METHOD.t each Exercl~e llll< lll34 1J11H'V No.

I X 3 ::..· · · :I 2 . . I r-r1 >I ~J • J I III " x .-. THE DOT. =r=r -!.J c. !II 3 x 3 f !I . · . ..J_ I ~ I )( 3 x x x I __ :1 .. 4 . -' ~ -~_!__~~ b HUDN. xax n . 2 . c. · .. X I I X )( )( ~ 3 X X :. · X I X 1 :I 1 3 e:» X 3 I I X 1':'\ I + I + a 2 "JI.12 SYDNEY SMITH'S PIANOFORTE METHOD. .. r :I I{ x I . I2 3 4 2 I . THE SPANISH 3 II 3 3 CHANT. . . .-- 2 4 'n .. · .._ J 4 3 2 I 4 ~ 2 X I I 1 11 J( .. -. I 2 3 2 < I tJ ... · " :II ~ x ..2:. t 4 crotchets I I 4 3 X 2 . . 3 6>- . - III r. .... . A Dot placed after a note increases A Minim 18 the value of that note by one half A dotie4 Mimm IS For instance-> (.: 2 -I 2 X lie X I '" n .· .. . 3 I ~ 4 a 3 $I J ) }11l l .... ~ - )( 3 3 I b I ~ -h· 'I . equal 10 2 Crotchets. ~. .x .. r - C " . 4 I X . /~. 16. .. "iii'" -~_ _ 2 I X " 3 2 2 -- I-: 3 A dotted Crotchet is equal to S Quavers... .J . 4 . COUO -¥-J! " If GOD PRESERVE THE EMPEROR. . I I " 3 'I )( 4 3 !I 1 X 4 3 ) ) T 'l . No... 17..~X ... " 4 3 C ~ No. equal to ~~~-= . 3 Crotchets... r-.~.·.. rr 3 I .J .

.@§~Lj~U~"~Ve~r~l~tell~..'ll composition where the performer ceases to play for the tune represented by the rest.-#-JL-. I • x. : x ~ ·.. ~4)( __ -"...." Rests indicate those part.. 1 ~ x -t~ -fIL A..!I x 3 -te- x 3-fL--fIL x 4 -fIL-f'L 4 -IL-!.. _ . · . 4 x .. x . . · · ." . Hest. .". No.~ of a IIlUl'llC...__---rT . 18. . . it is said to be in "Triple Time.. ~ 1 i 1 )( l ~ -f'L ~ 1 ~ x 1 f -... 13 THE §. • e 4 :im~~~R~e~.... . and finish at " Fine. a r 1 3 I --4 I 4 .." · · ~ t . .. .. tC11loWH: ~==_.-- ~ 1 1 -==1I ..r. ./II- . such as three crotchets or three quavers.• :. When a musical compositron contains three equal parts in a bar...I to tht> left 4 No. ~ o.J..t~~~"-~~(~)r~otc~he~t~R~e~Bt~. · · · 4 4 :~_"" -'i fR-F-')(~ . ... EXERCISE ILLUSTRATING THE DIFFERENT KINDS OF "RESTS. -~x 4 ~ FINS. )( I ~ .~.C.::(Sj_ --0X . l ! Itime-Count 8 crotchets in ~~ r "I-I flo bar.. I ~ • . V-JO' _1-"--.. Rapea' ~he first pan of toh~ a. and B when there are three quavers..• an abbreviation of "Da Ca." ~ .. 4 < j 1 tJ I~"~: ~A~:- • . __ __ ~_J_...---- ~= TRIPLE TIME. 00 --.__ • D._-. ~ fI ~. end that of the quaver --~ 3 rest '._ I s- 1f:~ _.C. t~. ." RESTS. .... 3 __r_ . 3 3 f.. Thev 01.I ---I- 1 s .fIIt--~" ")( 4 D... .po" [Irom the beginning). • __I~-- . 3 ~ 3 II 3 ." Triple Time is expressed by the figures! when there are three crotchets ill a bar....:. t f•f I ~~__L_-" -p ' ..~)( I "~ f ~-r1 )( -.-- x . . t!ivel) note in music has a corresponding sIgn called a :... .~_~~~. . _ _. 4 x 3 X ..1'" funned.SYDNEY SMITH'S PJANOFORTF ~IETHOD.@ Observe that the head of the crotchet rest turns to the right. --.s: I S J _. 19. .. . ..Of . LIFE LET US CHERISH. CJ s .

.. 3_J. . I X 3 I I... ft time.. 4 _.X -fIL . a II I X I I X 1 1I )( 1 1I I X X I II I ...~..l'LE.. I .._ •• :. placed very smoothly.. · · . uext species thus:- of the quaver.. SYDNEY SMITH....... ~ I X 1 51 1I r..... Ilepeur sever .rp..... I 3 ~ I 3 II II 1 a ~ -f"T I "I 1 • a f--. r-r-'j iii •~ .ii: 1 "'l..~. t If 4- 3 II - .. < ~ ·..· • ~.. 3rd and 4th. intervals between the the semitonio Semiton •.. " is the REST. -x .J. x " :r 4X I . . 3 SIX t~~_~~~~~~~~~~~ S !'·fir 4 I x -fIL All the F'B and C's to be Sha. . 'fir . and 7th and =jEt a 1 3 4 :I s 2 iW " B 4 . -----2 3 3 4. · · ·. D..." shall and - -r:».-r • X f : ¥ ' -x -:.. "If 3 1~ ."'2'! 4. 3 I I ·f· FlU.-.W This mark --.~ 3 1 f 1 I x II II_ ..OF D MAJOR. · ·. is called finger must so that there - .. J Semiton •• No. I over or under To effect the notes..... 4 Crotcnete.----.. until the moment rule must be strictly the next note is played..J . the be pressed firmly the note which struck. THE The length +Semiquever S._!..... · ·· · .- tJ D ~ 6 i*2SJ 7 8 Repea~ serer . S quavers in a bar. I 2 "--- 1-"'3 • 1_/#= a "Slur.~ x . ItB corresponding As its name implies. observed in practising the scales. -. be no "break" in t.. :~ tl -: flj -- 1. ( . 20. 1 trm .. rest has two stems it is halt the or tails like the note - ~--"·. KEY This key requires two sharps to produoe 8th notes of the scale. OF D MAJOR....C..'BOD. .NOFORTE ME'l. . I < .x 4... r...he sound. I 3_J. .t: fL· N2· 21...-4. ~ 1 II X _ 1 X X_ 1 < All the F'B and C'a to be Sharp. .. -X 1 . and is formed ----==- of note after the quaver._ indicates OIl that t....~ " '* I I ~1'- -fL- ~E_~ -fIL 3 I · · 4 I 51 I X ~ '~_-fL.. ~-----. )('--'" 3 -I. LE JET D'EAU. -! 1': . I I :II X ~...~i~~ lliniIDli. ---i x I ..· ..BIDNEY SMITH'S P1A.he notes must has been Thir be played this. j ~ . II I ~ I !I UDle8... t\ SOALE ..-. · ·· ~ . 4.3 ~I 1I "--- ...EMI~UAVER SEMIQUAVER.. EXAH. "X . .-. ..--~ 1I 1 x I..

......... No. 3 -f!..t CHANT..SYDNEY SMITH'S PIANOFORTE METHOD. (rH. c.. .... . Repeat several times.. l~ " x I. 23. ~ !.:_ ~3 I .. !II I I No... ~ M"'T""!X141X141 .i~ . . 24.... l~ 2 crotchets in 12:1 a bar.. • --1.. 15 No ~2..I:I . -a- ~ c... L. -..~ . 3 1 1I .---...g I II CJ . . r-rM r-T""M ~ I2I (# r-rn ..J..._ . ... 3 1<........= ----=:.-.... 4'"1 LA DONNA I E MOBILE. ~.. PRELUDE.. !I 1 ~ . ..-.. 3 3 X v 1 .~ 4 • 2 !! I .J I I 1 ... I <) ~.3 ~ 1 II I 41112~ ~ 3 II I X II ) ~121 -71-... . I' I' I I I '-- _ 421~~ __...--... I ..... . x - • 4 • f"'.. l c./ . x --..... t .------.--!!!!!"!! X 3- !I 1 .... X II ~ \.L. t~ t X -E.. II 2 1 r .--1..J ~- ··O.... rnltl i time. c1~#'C. SWISS AIR.0..~ .!!I I x~ 1 j'"'F:I X I""'I""!'" I""M""\ _~ ...-/-T ..... 1 X )~ I I~· 1--.._.J I( -4-" @IJI£ ..--_..L ~ -6t-si- -~.. -._ ..= 1... ~ 4 II I 2 ~ I 3 1 43 1. .. . - +- ---if + C.i- \.~ ..J !I 3 X c.

Pianissimo very soft. .. ." I~~ I X . )C . -it 'If~ x ~~ ~ I f 3 P""'" I( _.~ x I ~ .. see end of Book. The tirst note 1 A group 01 three notes is called a" Triplet..i 4 Ie .""'''_~_I I- ~ 4 a . and Gtt. 'I I .1 ... 3 ~- ~ I 3 I l( ~ w..-.. rather loud. I Ft¥-H Ie) ~... very slow Andante. very loud KEY OF The key of A major requires F. or Forte.~ X 4 2 I 2• I ~ I" :'r~ I l~ .L L[lJ :i.. ~-----------------2-3~-f ~x ~ )( I I .. fast. 4 OJ I2 ~~ )("1' II . 4 f: I~ :"'iiI .' 2 4 2 ". 4 ~ . or Mezzo-Forte. or Piano.-F +-f'~)( 2..~: 2.. very faet....~ ~)C __... .16 SYDNEY SMITH'S PIANOFORTE METHOD.. I XI a " .. loud." of each triplet must be slightly accented..- '~4~. the proper Ie 6 Semitone E::2 fJ three sharps to produce Semitone (OJ 0 i ## 2 --. 343~ SCALE OF ~ A I )( 2 MAJOR.. ._ 1 )( I l( 3 ~ !I I -. )( I J( 2 42 ijll: x · · · II )( ".!.1t ~ Iv . ·~l x . are- Ada!lio..~ + 3 + 4)( 1!l- . Repeat several times. DEGREES OF LOUDNESS AND SOFTNESS .PP....... t X I 4 ! . It .. Cl!. I I)C ~~ X'- i 4 2 "... .....~ 2 I ~ ~~ ~~ ILl ( "'I x /' 3 4 34 3I CJ. 3 x -. Allegro...--.. .. quick... ' = . and must be played ia the same time as two notes of the Btl-me species. is to be performed. I 11v »: x 4 . For a complete List of other Masical terms...~ i-*..J 1 )( 23 rL.. ~ " 2 --r.1 'l I 2 __. The principal Italian words used to indicate the pace at which a composition slow.'T x ~~) 2 4 3 _1!l21 __ '(:-f:" -f"-.. x )( 3 2 1 ~~.. )( I .Piano.-.... " . '1 8 intervals in the scale-> viz. J 4 ~. soft.~. A MAJOR...--Ft x ~ I ) ~ I ~_.. + I .' "iI 2 • 2":. moderately Presto.. or Fortissimo..tt.. or Mezzo. l! 4 )C I 2 .. ~. ... rather soft mj._.' )C 2 1 J 3 1 X...rl II t ... ~~I x 2 4 32 I 2 1-. EXAMPLE..~ __ I x t I . 4 No 26. P. f)T mp. 7} X ..---.--"I JC . r-T""!""'! ~1 a 4 343I .... x -~. 11. Allegretto.. J..---. I 3 I~ " I !l ~ x .

- ''---I-I . X I . I 3 X '1' f 1 X I .-:-- -I}.l~ .. t Thilligu r. I ! . * This . ~ 4 . plaoed mu. . .t be held down longer than their origin&l value... .~ ALLEGRiTTO. that 'he seeoud note (E) ilnot '0 be atruck. :$~ ~ I t ~f·~ I. -ri.. I 1( FROM "NORMA." ~ 1 S BELLINI.-+---. ! . (EXERCISE ON CHORDS. No.) ." 'the no'es over which it I..- .. ~ 1---71 ~. ----t 1 . 9. x 3 _' . X "'=' 4 J i 1 1 X - .I CJ" ~ . I -l a J( ~ ~ 4 __ f. I X . .: I~. I-.." ~ t X )( 2 C-' t ~. 17 No. . I J( ~ )( x l' .~. co Tie.ign--placed between notes of the samll name is called a." a. "Fau. . )( THE OLD HUNDREDTH. ON YONDER (FRA ROCK RECLINING. but bald down.s -~ f':'. ADAGIO. ~. No.. note which hes been made sharp or fia. 29. . " x i )( X."\ ill called.. t J. 27._. 28. ! .(~ X 1 .- ... X ~ 3 MARCH 4 3 ! .) 1X 1 AUBER. t The natural (~) restores a. ----r -~ 3 .r- . 4 - ~ X ~ X -t<!J.z.t5}- -._~4 __ mj -u l(___.. C_. DIA VOLO.t to ita original position..SYDNEY SMITH'S PIANOFORTE METHOD.nd ..Ignttie.

-t-- ~ J_: 3 l~~A I < "._!. ~ )l~ n~~ • =I •. . e:) 6il • =--b. • ~~_ ALLEGRO.ck Note on the left ha. ~ I I _lLF lioooI -_N S. This kind o-f touch is called " The StIoOOlotO.~ 2 X 1 X «: ~'""'*-3 .'""'-t »: -I X II I X ~ 1 X I&-i It. ~~ . 31. ~T~_~ - ....nd Bide of B natural. called Ion "Acceui.!. Semitone. .. - ... 80. (ELISIRE D'AMORE..." t Thill lign ::> i. Hitherto the Pupil has been playing in keys requiring sharps for their signature now be turned to a few of the keys with flats.. White Note. - I- ~ FLOTOW...hl !lote is plloyed. the finger lea... . ~ . AIR FROM "MARTA.r ~ 2 I . 4 . -t~ X ... or one key lower. l~)( - I .-. I 10 SON RIOCO. The key of F requires one flat (B) to make the semitouic interval the scale.'.----t- ~ ~ -~ $1-- -t -- • _-f:.-X -#- . -~4 ' p! 4 V I. The Flat (17) lowers a natural note a semitone. Semitone.18 No. ~ t~ ~ I XX . . t." :I 3 THE D NATURAL._. Bla.! ...t fihe notsl must not be kept down but struck lightly. 'It !~~~ .J j the attention must DOU..ti--~~ ---- . oYer whioh i* it placed muat b. IItruClJ[ wiih force loud . KEYS WITH FLATS. -s- f No..vertl..fII--fll--IL ~ ~-. 3 .'rongly mlorked. Coun' 4.ving 'he key dlrllctly . ~ $I- ---. D FLAT.~~ -c. FLAT. qua. • .) DoI(JZE'M'I. 8 S • 'I - between the Srd and 4th of • 8 1 2 4 6 6 * Dots placed under or over notes signify th9../'." The note..".

. 2 3 _. MENDELSSOHN.------..--. .. 3 --fi. I II I -:_.-- -~- .-..~lX 13 2 --II ..) 4 Count 4 quavers in each bar. ~- .--~ 4 I • .4 !I I :$ X 1 -.--. :I SCALE OF F. .-:: -- I • :ii -~..S-. ANDANTE. -. 3 FfNE.." .. x 1 S " -""' )( 3 2 3 'l I ~ x '2 must be Flat. 4 1 X -. 2") I 4 TYROLIENNE. X 3 • -17.__-~-~ No..-- 1 ~ Count S crotchets in each bar.. ~4 1 ! .H___. 'l .. 'l - All the's B 3 .-··.. !2 I ~ ""--"4 Xl-#-! 1X I.SYDNEY SMITB'S PIANOFORTE ME'I'HOD 19 No.F 1 X r.L.__ --. OF PRAISE.2X 4 3~ 1 x _. < T_ tJ ..1=. .'_ II S x 3:~t I • 3 OJ I ~ X No..pelot till "Fine. 34. ~-!: ~4 Xl •• -'_- . 4 3 1X 2 I 1<...-1~ ~2 II --- I 2 I. I WAITED (HYMN FOR THE LORD. ~~ ~ ~~l I'" (-3"'C~ I 4~=C= .. ...-..1 II . 33. I r I " tJ X _ .1------. 32. -." and r.I~- :J: :C:: ---- ~.. x !! - 1 X 1 X I 'l 1--..- -~ --F----:- • Go back to the first sign :g'. • s I ~ X 3 ._ .~ ~$: := :s: ....= ..._. 4 . ALLEGRETT. -~- fl .. -~- -v·._I - --.- -. called "Dal Begno..

...r lD. _._/ :. _. ALLEGRETTO.....20 SYDNEY ----..... 35...ed voL"'..1 1 X .".[second ~da . ro b. 1'\ IttI" DU. ntr. ._• _ ._ X -._ X 1 ~ _. (rJ::-~: <: ) It} ." 3 2 <' I . II 3 2 ~ 4 ..--1!::_ .. DmiUlldwheu 'h. rep.--..~ X1 11 X I I X 11 __ .2 1 .-+-:t 1-- :c= $:: $ _t -. GALOP FROM "ORPHEE._. 3 ~ X :~.. _:I_3 /" ... . ~.. x-#- 1 ._ ~ ~ I ~- . X321 -. ".l1rl' par' DUh..~~ === _--'=-.. 2 2 It} rf:- ~_ -#... 2da volta.J _.I ~~~ J-....".J:~~ * The bar marked" lma voLta" (fiuHiIlle) time) too be played instea. -~ -II- J"'"1 ".a .. _.. air i... " t} . . X .. ~::r ._ --- t--. >1 ...._----. r.... 'J I~" I ..--.-"l I II r ... 31 ..~ · ..... )I~ ..__t= x_. ---.--~--- SMITH'S PIANOFORTE METHOD. ~ JIL ._ :_~ =::- . ~ ._. 2 ... • 2X . 1 Ji: _.--~--=-~..... ~-t -~- -.. "r~-I I I @k i:Ef':~gi-. ~~_#:~. >>- ~_~_ X ......J ~f1' ~ 1':\ X 32I •• . -~ ~ MARCH -3 • f-+· \. 2 X FINII.. No.. 37. >- ..-..--ca_ X 123X I ~ 1 - -X -_... _.d.... ~.. - no 2 3 2 I 1 ..~: • \..-------._ ~ ~ ~.. 36.l\rl{...tlld. No." OFFRNBAOB.. 4 3 -:- .-:-. 4 2 """""' I 3 1 . >- II ~ . . 2 3 ..~--" ~ I2X 3 S I 2 . No._~~ .~~ >- ~. __ BELLINI. ~ . GERMAN AIR... ~ _j: _ _.. 2 r _. loud 'hi bu... ..v -#- =it. LIEGST MIR 1M HERZEN. . FROM "NORMA... -:- - . . r-.---~-----.~ _i.. I • · · 1 3 X 3 'll ~~ ... .. • •• Ima votta....

" DONIZETTI.. to make the propel' intervals in the scale. sx 1I I I lC J )( .SYDNEY SMITH'S !'1. x x I I 3 )( 1 . ALLEGRETTO.@ ~o 1 a 2 8 x ---~ Semitono. AIR 2 ="--~ FROM Ie LUCIA DI LAMMERMOOR. tS1 tl. viz. J :J5_:l_'l I )( -. '? 6 "---tl". 39. ~1 No. Semiton8. :$2 KEY OF B FLAT. Band E. 38. )( I SCALE OF B FLAT. EXAl\[PLE.lNOFORTB MKTBOD. The key of BtJ requires two flats. 7 8 4 6 1 No.

_______ + + c-I' · · · -_ +L .l -- - I r " tJ i I 1 t + -#-T + i ~ ~ .ges founded on the same harmoniea a.. THE !I GIPSIES' !I 1- TENT. X 3 1 3 ~-. ANDANTE.._ I __ _(I/l_ tt/J- +_ _~_-"-f---- ~ #- -~- ~ ... VARIATION.. < .::::t _ _. l \ ±-:!:.l + 4 2 1 + ~ ~ -fI!-- ~ ~ ... 41. 1 I >II .."\ < ~ I • 1 + -----:--.22 SYDNEY SMITH'S PIANOFORTE METHOD. .lTIONAL ANTHEM.. ~ ~ _----L_ -A . 2 - + ~ .i + . II :f'l= ~-'- + • .l 4 3 . . GOD SAVE THE KING. r '- l> I~ : . I f ..& the II Air" which precedes ii... II BOHEMIAN Am. •A Variation" consists of passa.. I +/'Ito + _l 1 ". No.-+ i\ffi-'-oj Al.. spirito ~ti:i ... . . I ".EGROj 3 -+- I 1 :I .- ~ • 2 1 1 ".. +1 I 1 +.=~ "">I ... "" :I I ._---=:.---. N.Om.- No. . + "> > + + a >II :> 1 >+ >+ + >- . ~ r I -I' f I ~ ~ t ~+ l + + I + a i • I 1 2 + r.l._.._.C1. .____ .. . 40. --_ _--r .~ ~ -t • .~ • ~ -t -..

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-=~ _1'L F-+--ritard.! to rE 2 Minima... • ~ w- . -------_ ---. L~1!:_ 8r-""" SYDNEY SMITH.. -r-' _£. THE The" Demisemiquaver ..~ --I=- I~- -F- ) P --4 i== -== 1 :: . . Orotchetl.~ 11~ L n._ ..!~ ~ -~ . f I~ . ..... I )( _. ~ !---x t: 4 4 f!_--fL~.O.-F.. 47. :---..i DEMISEMIQUAVER.. I.---_ ~ I Ix ----------=-. and is formed thus:tails. ~ 1~ " . is the next species of note after the Semiquaver.. or 16 Semiqnanra. D. .. 8 Qua. GRAZIOSO. n MAZURKA. I )( .. _. No.. . ia equa.-- X _lt~~~ -.26 SYDNEY SMITH'S PIANOFORTE METHOD._ -~ ..~ 3 x ~-:--f'-~- -.. or ---... it is half Its corresponding rest has three stems..__".f .~.- . 32 Demisemiquavers.... (I-.verl.t -. :: ~ ::::::l ~-== 11~- -~- I 3 _.. lei ~ ~ . 01' - rrrr .__ ~ FINB... like the note r-> 1= * As its name implies.. the length of the Semiquaver. _.. ~- __ -= A Semibre1'8 .' == n " • ~ .

~- .---- -IlL :: ~ I .._ •• 4 3 II II 1 X 1 K I X 2 1 .: ::= L ~ \r:r ".: _. r- .: .-+--.... 1 X 2 1 a !l . t II 3 ... A Scale which a. .: J!:..: :J: • ~ 1!: ...:l.: .- ~-T- ~ -IlL ---- ---..-._-- :_________..---x-- - . I ~-- x ~ L ~ -. =¥h~ ----- t < '" Iv !---. -= Scale. ..: ._ '-- ~ ! ~~ •._..--. 1 __ .: • I 1=. 48.-__ ---_. • .--+-- < I l' . ~ " ." X':' -~... X I -. -__._- ~ ... No.. .. i.-. - ..--__ -c- X ~ SIll _... ~ oj . "1'-.&Candsor descends by Semisouea...SYDNEY SMITH'S PIANOFORTE METHOD. ~ i1 j MARZIALE.. -'- '~ _.. . 4 . called ... I ~~==t== ._2 X /""------. 1 .:.:f: AIR I FROM "NORMA.:: :c: ::: . ai Uti. 3 + ~ ... --. " Chromatic" .__. I r» X ..... 1 I I < ... .. one does._.--I - . .~ ::: ::= -...:::: -~ ...: ::: t: . 3 X ~. ___ t---- IJ:.. r- ~"'¥J J a J ~ BELLINI....

the chord or scale will be Major also j but if the "Third" is Minor. ARPltGOIO. AI.. Q 5 SCAl. .. that (in ascending) sernitones occur on the 2nd and 3rd notes of the scale. MINOR SCALES AND KEYS.. III THE KEy OF C 15 {) MiliOR. 5 Major ThU'd II . 7 8 But in de. IN 'fUE KEY or 0 MAJOR.. ? D THE MAJOR AND MINOR THIRD The Maj or Third of any key is 5 sounds from the key-note (both inclusive) The Minor Third is only 4 Bounds from the key-note (both inclusive) • $15 84.. Semitoue.r II @ t2 8 ba 7 MINOR ". CHOIID C. EXAMPLE..'. FJ 51 2 4 SCALB 5 ASCENDINII 6 2 MINOR 3 SCALl\: 4 Ii ASCENDUIQ.. Semito.jor. ·Z" 6 SCALE Semit<)De. the Minor scales III ascendinq differ from Major scales in one particular only. .. tbe Chord ill Minor. MAJOR AND MINOR CHORDS The "Third" of the key decides whether a chord or scale is Major or Minor.. the Chord ill Ma.NDIN~ DIISCENDING. I @? EXAM PLI!. Key Note.... II SemltaR'" .... and 5th notes of the scale.. 8 i~ II @ OF As E Flat i8 a Minor Third from C. C.28 SYDNEY S~nTn'B PIANOFORTE METHOD.:'. (A fi MAJOR ~ cw . CHORD 0' C MiNoa. instead of the 3rd and 4th. 8 7 Semitone. 5 4 b:----< • 8 2 DESCl!. as in the Major scale EXAMPLK Ssmitone.. If the "Third" is Malor.". The Common Chord of any key consists of the 1st. the chord or scale is consequently Minor. . OHORD OF ~ 51 G [) II ARPEGGIO. Semitone. Q . 3rd. EUlolPLE. E Natural is a Major Third fron.. viz..*:=:3 MAJOII II 7 8 :::: • =:J. 0 () Semitou.~ce11ding the Minor scale.E 4 3 2 .. 6 . founded on the chord of C :- . :: C MAJOR.. Minor Third. 7 iO 8 II POI II When the notes which form a chord are struck separately instead of altogether CUORD OF they are called Arpeggios C.' . the semitones occur on the 6th and 5th notes as well as the 3rd and 2nd. 2nd Position Srd Position. The following are all Arpeggios.

.. .-p... I J I I )(-£7- 1 . ... )( x PREL UDE IN A MINOR. ~ ~I ~ ..... _.-$ ~ . 4x ...SYDNEY SMITH'S PIANOFOR'l'E METHOD.II#__ x...J..~ I 11. Minor of the scale of C is A... MENDELSSOHN....~ A MINOR. .. )( )( 2 X 3 ~_~: -::::.' 3 . ~ ~ ?~ ~ * ~ I'll 3 ~ . ..." I ~ 2 X I 3 2 I 4--. ~ x I 2 . r. 4 W l(.. 48... 49.1 . ~. ANDANTE. . " SCALES AND THEIR C MAJOR.:1- . the relative The relative Minor of any scala begins a Minor third lower than the Major scale.p.'\ CJ ~ i--r7 If I:J~ IT II No. . -.)(.... +--~ e) ... ----41x'----__.. ~ ~2 )( ....... I r..--)( I )( .. 29 MAJOR No. d--- J" " l: h':l ~ -.... . RELATIVE MINORS. 'I'\_~ ~- ~ --.."\ x ---4f...~::_ .a ....~... X =:=-~ (\ )( +: - --~ +- . ~.. 3_ - """1" .."\ ---l...'\ ~ -IL 15lI ~ --I +2' I ~ f':'\ ...- a t -_g t"::=::J r.. )( -~ I ~ I II r-. 1:1 ll' T'i' ~ 4 X"--- .--=----3 .. i ___ "iii--- )( 3 ._ ~+ .... 'rhus. 3 ~ x . ~.. X !I • .... "":4 1Sl- '---- . ANDANTE IN A MINOR._ ___ --it1- . ~ -..::±-1 __ -.--.~ ~ I i .. - -#II ..j x 2 • . .---. l ~ J r. ~-~. l r ~ 1-' l : ~--.

i IX 'I x rx j x II"" .JL L l.-.3 it 1 ---IT~~-~ ~ . No.-.f WUU l -- -!fL -!fL -!fL -fL- ~ ~ ~ .fIL I~ I L-_ t:r l.:':'"1f""""'tt ~-:- . ~ .. -\IL-- I ~ X 1 x 1"".J . X ~--:f!: 4 I l( 3 I VARIATION it .. x-IL ~- ~x 4 I~_L~ I i ~ 3 _) 1 1 X 3 . -!fL :f!:_- ~ -IL-:f!: . I . I~1~'I!: __ 4~_ r x --._+- """-'==---- ~ -~- -# -t-t- -X I :~_1!.. -== .fIL ...-.---!fL~ . ~- ~ ~ -----~~~- ------~-~ ~ -- X 1 x -... 3 • -f-----J-- ~~ -:f!: --=~-.- f~~ f ) a • t 7. r~~ < ALLEGRE~ I it THE CARNIVAL OF VENICE (Air and Variation).Ix :II a .... ----~---~ ~--f*_- 1r-3 . 50. ~----. -f#-- -f*-t-r- --t -... ~ 'f'l -< r-_J 4 _.-_.J!-" ... ~ __:_ :. . II 3 f--. I l( ITALUN --= e .. AlII..30 SYDNEY SMITH'S PIANO]!'OIITE METHOD.- ~ :~_~ -!fL~ .

Major.-:-.-_* a. I I X I-J i. -_ i.rp the rll. If ...::± -f'T • The relali"e Minor h•• the •• me kel·. I -~ • X I I~ : ~I f . .-- .ft I ~oft' I f J L. I b.. 'II...b..#..1 " ~=! ott • ~ - 4 I _~_~____2 .-:-. I- No. 4 X :l < \I~r A'" X JII JII X . A" 11..-.*in Minor will have one .-4- 11~:j • " - • X !II X -!_~ -- ..--:r -3-'.~-=':r-..x )( 3 X ! x 3 3 PRELUDE JII IN E MINOR.J I I_ 1 IJ UU -fL ~ fL - 1 I· < r . i'li-ela'in . -~ ~ ""... l" - I-~-. - += 1 f I • I ._./ =i.. __. G MAJOR..j . l 4 __. # 11!" x ~ . 1)1.. 81 I~ ( '" . E MINOR.~ 4 x 1 ---- -E: -s-- -t- • I . J I x r1 -=--....SYDNEY SMITH'S PIANOFORTE METHOD.-:-...-il: ~..be Major key h•• ODe .j X I 1)( I II 4 j""!"""T" ..-I'--- '-1'--- fL --- __.___.illnatufl and 10 OD.:-t ~1i= .-. L I lI{ l J/l.

2 I'" =::1:::1 4 ~ ~ I < .... ~• ~ ~ -# r ...o-. I .- . . _____ ___ 3. .... ~ I Wit d%.. )( S-I· ~ .... "'-i.___ • 4 ~ )( f . .. Key of EO Major.... ... ... --4 ~~I - -.... El. .. ._-II I . 1: I- I " I • -.. . . ~. J r-i " I ~: < . • -t_ ) )( -f"... 3 ... l @I • ---3 ~ ~ . f J . 4 =~ .- ~ ~-- :~ --2--I~' . _...-Il. 4 r---- i~ '--- _.. -'~l ~':=i± :f!_-. 1 . . ..a 0 J 4 _ ..t- l x . 52.. "'-Jilt ~fl: -.fIL ~- _ 1- • i .SYDNEY SMITH'S PIANOFOR'rE METHOD. 3 2 ~ -. ~_: ~... )( .... -l+._!. .J . ~ FORS' ~ E LUI (" TRAVIATA "). '!! a ..j. f C01I mollo espre55.-----"'!! ----::i -~ _~ .._ ~+ -:bo. ANDANTE ~fl~ .--. -~. No.. . c" QZ.. $ . !Iond ~.- i® Ie) ~=1li ... • Ih!lorpiI.'-+-±.. I ~ . ~'ERDL 4 3 l~ 1&I~-f I~_' I l~ ~. .. ! ~ 3 . ~ ~ "' . 41· ... J( _... Ie) ~.. @-f._ ." -fi-". 1 . - 2 .. ... ~ ~ -.... r . - ...0 4 ~ <:»: I 4 . I .. f 3 l . p 3 ~-----• ...--.or-:I::J ~ '2 2 I .:... An.--112 .e....I :-fII~ ~-------. I ~ ..

......)( ~ 2 ..._I .--:::=1 ~tII... 3 ~I '~ I I 4 X - 2 3 .1:: ~-+- 2 .fL.>.J" ~. Sl'DNEY SMITH..-. _- +---- '* '* L---"'" I r. --1- l.:. l. I __ .--. ~ • AIR IN D MINOR..-.-. " )( --.J -!L. ... )( =---tt eJ X "~' )(. J~~ X I -----4 += .. '''' t- ~ J -.~.JII. I < r " ._ _.SYDNEY SMITH'S PIANOFORTE METHOD... . - " _IL 2 . " -.~t 2 ~._' '....-r...Il ~ ... 04. :1""--+: I x 3 ~~- . ...'---.. )( t II 3 J~4 I )( . I J ______ X 2 ~X~.~~ '~' x '.' • . ...-- 'ill X r.~ 4 I .~-~ I 2 2 1 ~ . 83 SCALE OF F MAJOR.- !-.._ )~- . ::. )( X 11 4 ~ --. .I 1 I-- . I II X ~ . _._.L . -._ ~ ~ . SCALE OF D MINOR...~"_o--. X __:_+= -.. -1-"'. ---- X .. I I ~ ..~_.fll- I ~... I ' l( -~ .. S 4 ~_.I 1 -- ..... I -~[jwg)j !fT~-'X I 2 4 2 I • ~~~ 11 I -I'-. 2 ~l . ......1-----. -F ~ 3 ~q"triII" PRELUDE IN D MINOR. -T1'l r.. J - - --f..._ j/I_ --. X -3 . I~=t::=t~ X ~ + . I ~ 1 No._ r t~Ctf=..t:-"'" ±:::...-. _c~_· )( 4 t i~·· '-----'- --.-___ ~ X ~. II I --- I 3 I ~~I ~ :.. f )( leJ .

_ --~- . D# MINOL ----~. • Five Sharps. Five Flats. Six Sharps.. G# Minor. I FOR THEIR E ..~"~. -- Two Fla.~ Three Sha. -.._ KEYS WITH FLATS FOR THEIR F M. t----:-~ )( I :=~ ~. G17 )fuOL Co MAJOL J ) I~ ~- One Flat. D MINOL G MINOll. ...._ -IlL ~ ~ I~: _~ (\ .• . ~ . 'l:hree Fla.. .. -Ill..t-~ -fL -IL ------.JL__ -IL -I'-- -- -I I - I _. OtJ MAJOR..ts..J lone I E Sbarp.. MuOR.-.. ... if -- --------- AMINO&' B MINOR.II SIGNA.._ g -'--rc I 1i-_ >- 2_ ~_.. _K__'j No Signature required.g~~ . tt B MAJOR. )( - -~: ~ . with their "signatures":- -~f}- NATURAL KEYS.-. Four Flats. D MAJOR. . " I B~ MAJOR... II ~ -- 4 )( ____ I -I- l--' i I I J t 4 ~I~< ) I t.. a Minor . ~ s I )( I < -iffR-t::: ~~ q r '-.--.$ MINOR.-~ )( --~ --'-- S .u-OL SIGNATURES.. Et) ~LuolL.s. .._ - -~~ ~ ___l 11-\ I -~ ._ .'- .. " MUiloll.-- "" - X1 ---- t~ : I ~ >-- j r..___~- I - _. Two Sharpe.. Four Sharps.-fit- .rpa. _.. Six Flat&. _ll F# ~ MAJOR.. I I E1 0# MniOR.v MAJOR.JL- ~'...~)( ritArd.----.-. A-.______.J'-~ .t A MAJOR. G I KEYS lI-UJOB. .34 I 4 x . It _.A!:J MAJOR. I !. Seven Fl&£a.__ • I )( r ~ .f- ~-- " ----_ -T=3-. WITH SHARPS -~-- o .I ~- -- JL .f--- ~~ I. ~F_:--t.. -" I . BI7 MDiOL Etl MINOR. . ~ I: I ~~-f1l-- -IfL-~-~ -~ ~___£:E ~ li_ . -~ At7 MINOL I 1 -. J • -' .:... F MINOR..JL__-IIL JL_ Sol J- . .II'-_ -#-I -.ts..TURES.: I -r - The following table shows the whole of the major and minor keys. 11 ". .

SYDNEY ~"fTTIl'S PIANOFORTE METHOD. for gtvmg independence to the fingers. 35 PART THE SECOND. II1I 11I I xxxx )()(XX 4· _". These Exercises are specially adapted The semibrevea muat be held down while the quavers are played. EXERCISES. 1)( .4- -x- Each bar to be repeated 8 times.

. 4 3 -_._~ I )( ..- __"__#-JfI_ .~.-----l--!. X I~~_'~f*-~ '---'- j------ 4 X 2 _.· · X --...- a --. ~ .._ : --.-: ~ 1l-~.. 3 -.iIJ-~ -4.eJ . .36 SYDNEY SMITH'S PIANOFORTE METHOD....J . . X .._-. · · ·· ~! ~ I ·· _. ----=-._ X ---- .. 3 !..- - :.4 ~ I 3 X !I ~ .-.. .-:... . .. --.q - -.· · • ___..:.::=I_ . 3 ~ 1X oIL ... : ..ret .._~ - . .. " . -. I . ...- I~i~-...~_ .-t )( . ·· · · in each bar. 4 ~ 1 X X I . -4 - . ~ • )1~3 ~._ 2 I 3 .... .' ---+ I.. .. ( n 4-'-Jt£- = ----f'L- -. .~~t: . .x.-.._. ..'21X I jl 3 4 ~ . 3 ..~.-. 1I I < I eJ · I " .. 3243 I . 3 - 3 ~p...... -- - · --.. . . 'f*t- :I x 1~ s 4 -I a 4 r.. - 1 :.. "~ Accen ~ the 6. note >-'11 3' - .11 ~ 2 2 .- 2 4 I ..... · 'II .... ----2 x _ ---<--#. .. .. ." I I... \~ r...0[ ·..- x I :... ·.. -#'-4-' 'l{ 2' • II :I ..I :I~- ~2 4 2 3 I . .· · ... )( :I . 1+-6 . .:. .. x 4 II I II 3 I • I 3 I II II 4 X ·· · ·· ·· )( I ... I . x -....~ I x 4 X ~~3 3 I X . :. .!" " eJ4-..2 ..

It.SYDNEY SMITI'I'S PI.NOFORTE METHOD. 37 ----_-=z=_ .J ===:t= I i .

.... I~ ~= . . . . ---- . ~--F. ....._~~ ..-1L#-. - · ·· ·· ·· . .... '~'-. ~ :~.. . fL-:.....----+-- --.. . --F .. . " Ie) . ~~. ...~. r. 1iiiiIiiiiiIiii'~ ~ ... Iii&iiiIiiiiI . ~ - . h .. .. . t . ~ . -.'" . ---.~. -- . I~~. f--IL....- -. .O.. ~- .....38 SYDNEY SMITH'S PIANOFORTE METHOD.--_ .. :- -_ • . • ?-- l <. ~~ . . . . # . • . "- I~- iiNiiiiiiiiI ~ 'F--:fL~ - p-- n W ~ - ... · ... " .. ~ ... - IP""'" . .h_ &iiiiiiiiiiiil ~ ~".

. __ 11'.SYDNEY SMITH'S PIANOFORTF.:~ __ _~~" 4:'-_- ~~~~~~~~=.. 39 \.~O'j:rfilO'f"j' i-: ·': : ~. :~:~Eiei~~~~~·~~··~~~~~~· OCTAVES. ~... ~@ B _~~~~..~~~.~~~. MF. REPETITION NOTES.~~~.32 ~343 1212 XIXI .. .~ _. _.~~j..~~~ .~~~~~~~ 3..THOD._ __.

_ and consists of the note over which it is placed. and the semitone below. tr_ SHAKE WITH TURN. THE Written.NOFOH'fE METHOD..40 SYDNEY SMITH'S PIA. THE TURN. SHORT OR PASSING SUAKII . . CHROMATIO SCALE. the note above. and consists of the note over which it is placed and the note above. according to the scale. The Turn is formed thus: . 111e Shake is written thus: tr (an abbreviation of the Italian word trilla). according to the scale of the key. Ir SHAKE.

.-. I )( B MINOR. ~ ~l - !I 3 x --'0 " 3 r ~~'-.-' I 2 - )( • -~-fL- ~ --l:::_ ~~ X I '] :1 3 I ----~ 1 --.".. mU8~ be played mAlly - 3 . _- .'lI. )( x _!f_'~ --r-- " -II--- 3 b. lltl _ .-"4 r x I !J ~ )( 3 1 'l ~~ II-.le... ._.h. 3 2 1 X 'l I -..._ ..-1 \! !I X I 2 3 x 1 X 'l 1 )( I I )( 3 'l ! I~ 1-6 11ftt.! )( I -.~ 2 I '1 3 ~ ~ - D MAJOR.-------- _-- I 'l 3 I :J_ \! 1 l( J. ... OYAr.-e--___... )( .... .SYDNEY SMITH'S PIANOFORTE METHOD. """-1-1 I )( 2 3 )( 1 3 'l x 'l _-iL _:'-AL~-:X I ' - )( 1 I 3 • . I < n .-"I -~ j( ~-~-.. C MAJOR. )( ~~ 'l •x )( '1 I X -+""'3 . . )( I '1 X ':' -1--'- · · - :J.--_r---+ -#__ 3 X s ...A$ note only be played a' the finl.. . --#- ~ times The I. I --~~ I X I ~ '( .J - ~ il x )If. ..• I --)( --"_ ~ -~ · ===+:4 . X I I 1 .--. !I The Sca.--. ---21 I ..". - .. x I < IV -X I-------f"-- -'''--. ~~~ I 'I G MAJOR. I .--. :1 X _ ___£ t-- -. n .1)( -.--t= ---. 41 THE MAJOR SCALES WITH THEIR RELATIVE MINORS.ooI ~ A MINOR. --: l( x 'l • I .._ )( I '---- 3 'l !I I --E MINOR.

-41--...... s 1 J .l x 3 X X ..- _ --.. 1 I LfJ wrJl+ A MAJOR.- -: 1-- <r"'__"~ x -- G# MINOR ... ~ '. '. _ _. ~ 3 B MAJOR.42 SYDNEY SMITH'S PIANOFOl\n~ METBOn...• X X x t F'O_'" tt -+~~:".u FI MINOR..-~-~ 3 1 II 3 X 1 a II x 1 II E MAJOR. II I~~ X II x . i II x x ..:..~ ". ~ -. _..d X ~X - ~ x X S . -IL -. a X 3 X I 2 X 1 g 3 ~ .:J: ~._X 3 --)( 2 I ~*-"t-X -. :I 01 MINOR.-4. . - ~ 3 X :£ X _L _ill X S :::.--- - ~ -...' : 3 -- -f-+- - X I X ---.- .... - --_ K ..--~X • 1t4t=-l> ~# Iv -.J"!!!oo 3 --#21 --------. x . ____ ." II X 3 ~ -..

_~-.BI =:f~ D MINOR.~--~-"~._- E~ MAJOR. JII_ --- ~ ! ~:r:~J( ~:---..-. I ~!ii_-~- ../fL~"'~"~§~£d§~~~3~J~".~ II _... x l!l ~ 3 . .~._~~:-.." ~ 2 X .-f. ~l! . fit> M...-1 - ~ X a ~~" "'--T_""*X2 _r-. 40 F MAJOR.AJOR._. "-4~ )C :::r._~' ~~~.= --+ -T x "§E' 3 ---~ .-.~P= )( )( 3 G MINOR )("-~ ~ X 2~ _k x ..r~~""":. _. .--~~-~-~~~~~~~~~~$f 3 X !I ~ )( )C • . II )( -1--- t :--=H=~ ~ __ j~~~ ~~. --T~. $I.._..~"~~.-~ }. ~:r~~t=~~t:~~~.SYDNEY SMITH's I'IANOFOHTE lIIEl'IlOD.. - ~..

_~~ 3 Et7 MINOR...• =r«.. G!7 MAJOR _)( X ~~~ '~+I 2 L I r 1\ :l3 I ~' x +- 1- JL-_" +r- _ X .. I 1=- -=1 -- n~1 J:id~.. -:--~fl' ~" I -.. + '2- I . 3 F MINOR )(~ ~...._ .'... )( --K~4 I X ---_-_ ~--~.NOPORTE METHOD.. ·.1 ~ g ... _ .--+ I- ."_ .. 3 .44 SIDNBY SMITH'S PU. - - x . .. .I )( .... ... I -# ~ --+ )( )( )( . '" ~ '._ 1 ~~ ... ._~ -{'-"...1l..--. ~.J1--. -. )( s 8 B" MINOR. ..._.~ ~. X ~ )( Dt7 MAJOR.... ~I~ X !I ~ --:-= < 3 . 11~ . .... ~~~~~ :)( b._ ~' ~ . ._ += !1~ t.. ---.----I X • + . ~ + ~ 3 . )C ".h_~~ . )( II ~_ X ..~~~._. .- 3 t ~ f - ---.. A'fJ MAJOR..._. ~ II ~ 3 ..-.- - - '.. x 2 < IJ I n Ie "1 ' )( .

.!I!'-I! . ._- DLUSH :1 ROSE WALTZ. ~ . _.....- t!:.. ....f _- -.L ~~=+~ .. r..r'!.._ ! 1st tlme·ll 2nd tlm~. -~. < 11~1 .. m... I~lt· ~j. • . (J 1. ~ .. )~-= ..-... ....... •.. . •. '---"..~ I _-L. )( . . . -r. X 1--.c . - '=~r ~ " I-L-~~~"'_- ... I-~ d$1 I M -. .-..C· ·····~~r·=t:~ .- ._. h .. ~ ._ ~ r r:= . 4 I~· S • •~ ..".- .. t 4 3 II 2 f'... I':..+- .. " 4f )~ . -+-__..-If-F ~.~ . ........fl. -+- 3 I ---l- -+ 2 4 X :I x === === . -IL- -~ if.".- •• I . ... -~ ...::j . .... _ ~. .... 3 (~. .. ". . ._...s~ f--..- ».L__._ )( ~ Ie' ~.-I 2 ...IL . 1--fSIK-..!j= 3 ..J1JL F -~ ~.J:J-r ~ j ~ ~ 3 I . . ~ -s FINB. X -I--t-J ~--.-- -- .L+-. -!}..~ 1 ---... -. ~~..- L L_..j..... 45 APPENDIX... 3 . ~==f---l .Il.-. . @...19 E~If" . ~ ...-----r-" ..... F-.iIL • -:-+--' .~ -. - I ./L -!L +. L X I 2 1 .• ~ . 4 .r:" -".+ I.J. x 2 ". ..:: ~ I'''' . ~... )( .. CHARLES GODFREY. -.. _~L •. ·s· . ... L!=E--==:E-. I·' . +r- -t-r- . ~_ .SYDNEY SMITS'S PIAlCOFORT1!l METSOD.::........

.i-c :.~ .#..Chn f-----+-~#---j----I . SING. SING.16 SYDNgy S:\llTU'S 1'1ANOFOlln'~ METHOD.-. W. •. BIRDIE. .

__ - ~ 2x [oj . .. I ... I r"l -I \ n "" 3 1 I 1\ o.... ..f~ ~ ~ ... BOYTQN SMl'fH . -it_._ .. ... . f :~ .. I 31 4-1 ~ I ~='=--...--iJ..... 47 JERUSALEM THE GOLDEN. ~ - . . -~. CJ .. ~-I!- . I . 1 I -B- . . rail....."_ ~ I-~~ .._ . ... ..... . .:j:. 1 I .MODEHATO ..'J ~ '" -(II.1 ..... . Xfj- ... 3 .. I 'J I ·__"-F--f-· "t"t ____...J I · · · ~. . t· -~ ~<'--____.. 1 ..... P - 2""'__ . . ~ r .- MERRY n BIRD. ~ 3 ) J Iv ~ I"... - ~: + -P-- .. . ~ . . ~ . ~. L-~ .~ ".~ ~ . r.- ..._ II- ~ If- ~ \ ~ I T . I..I • ~ 1 .. X ..SYDNEY SMITH'S PIANOFORTE METHOD. ~ I ~ IlL fL .~ -- ~ -. I I --r-· . I rj::~ < ~..."\ .... • • . GJ : .. .1It- x x~ £1 t::::"" 1 ~ . . x X i.. .... -!$I . I . '-... .... . If'_ :l 2' i/. 1 I I 1 r I r ...~ . ...... . 1"\ l -f~ .. . I Iv N5.~" )( 2 ..--iii./ . .iJ...-~ . -- I'" iIIf' 1 I --~4- f r :I 1 I < IV : .. j "....r .~_fU ."1 ~t It.. (~ 3 .. .. X '"------" I 2 4 3 ~ .. I J~ P- I I - . ~~ X .. . ~ - . ~ . -It- ..c:.--I..

_-- -~- c. -"...C.- .~ . .. rall.. • ....• Furl.f I DAMASK ROSE WALTZ. .--X -0 -~~ I "' < . . ~ '- l=i=::!: .~ -' -J =I=S= ~ ""I ~--.- "'" . -------. - a tempo .. 7L 3 . -:~ -~ J~f ~ '" .lMITH'S PIANOFORTE MErnOD. 3 fII-- ~-. -!fI.II- .. .J/L -I'-- -tot ~-~ -:~ _ .. -~~-- r:'" I Ie - Ie I tJ I~ 1 1' .. ..._ -I'-- ~'-I- ~ -'J:- _~.... ./1'- I 2 2 r -I'----~ J -... 1t-6I- ~-t ---~ .. -~ -_____!_______2_. or -d.::-:.S.3 .. ~- Iiii"" .~ _. --- :> 2 :> 4 ___ X I X ~ .------.- 2 . -S--S-~ ..- . - ..._ 1L__ .J X I' II ~ 4 -.( f~-~~-. 4 I I -_- ----.. .. ---~ '--. L .. . 1 :> I -~ .J/L -I'-- I'. -t ~ ..-== ~ -~ 11-- #-- .-._- __ C.. . -1'-- ...- ~-I'-- -~ 1---4 I s .1--._IIe _/ II!!: - t~: • 1~--tIf--- i~ .t...-T -9. .- ... I~- • -S--S-~ I .:.-.6Ir -~-~- ~~~t U :r -. ---.48 SYDNEY I._#- "'---". ._. "..= ~.:= f':::7 ]" -1'---1'T -.. RICHARD80Jl . . • ! f~ ----=-s- fII- - .. :iTT ."-fL . mf I .0:'\ .~ 2 " . r.. I .. I -1-. .J/L . • .

-~ )17 ( ~ . . t± .. 2 VIVACE.Lv I I - --~ ~s • " ~..~ .--------------------~ • x 1 P '_"" x ~ .. . I V " I . ---.- . I . . ~ · · t· :c: :c: #i:+.. ~ 1 . "1 .J ~ r-r--...... •• ~--..... ....__. J I · x -r=-» J X .. A _ j ( .. _.. ~ . I ... _'... ... j~ : .-I-"" ~ ........ x I .:--... r-r-..--.. .. .. r-r-. ~. -. · · 1:: 1 · · ..-"I I """"'-' I ~ I ... 49 THE NIGHTINGALE'S TRILL. I ... ~ .-' .. __.~ .. I I · · · • .-..-. - . X J I r. r 1- f ( < I · I ._. ~ .r-.--..-I~ 1 + 4 1 L. • j' -___.. l.. :J -. · ~~ 11'" ~ .· V · I --.J-' I._ . r-._ '-"'" "-"'" ~ .. 4 2 .. ....SYDNEY SMITH'S PIANOPORTE METHOD.. WILHELM )( GANz. ..J.. . ~ I " -~ ... >r :::- X :I « I X 3 11'" ...- " _..J ~ f" .J ..-..L. ? I P 'r' l( ... crIll.- . CJ. __. ..-._.~ r . . I 7~~ n . • 1Iv . _. ..

f: I l( I( \....: :J::J- -. ... WHEN '" It) WE WENT 4 A GLEANING..2:J.-...00"""" -. J!L -.. ~....~ < ... P X I 2 X x I X x 1 ~ I~' ~ x -~ ~ .. L-. '- -- ~:= ~ ====- e~ ~ S:: .. .. -~ • II IC l .".... )( II 3 s.. I 'J:-= = -. ..ooo .... f :> 1 .= _. ---t.. ~ 3 -.. ~~ ~ )( ~ . ... J:._ I """""'" ~ 4 tJ I- I + " --_ .50 SYDNEY SMl'l'U'S PIANOFORTE METHOD.t ~. a tempo " tJ l(_ . @--~ .---.. ~ .-_. . WILHELM G~NlI._ . " cru (.. ~.. -e'.. )( _ 2 .. -. _fi 1 2 1 )( I >< x . \. . ~ -~ ... " - ..""" X 4 I " It) 16t~ . ~ ~ --~S: .._ _ _ . 2 x ~ -- 1. .. <10 ~ .~ tJ j.._ ~ I ). J( I I -.* f .. ~ S-l:.00" x • . 2 x I I( I _..Jr_ tJ 11' .._ ..is lp!f.:-= j'~.: \..0-'"' - -_...i flo... Cllil " 3 I~ -- 2 I{(fr---](..

_ ..._ ._. k ~~ ~3 It.. x I 3 x ...! -"I' ....: ~ p .~x ::1111: . • e:c: :::: :t:::: . ....t!: I..--. ~ ~ ...t!:.. ~~--.~. ~:::cu .-3 t!- ee 2 . ~. :...• .. ~ ~ -.. t '" .. '\. ._-!'_- t eI- t ~ .. ......... . ~ tJ . 51 KELLOGG WALTZ. .SYDNEY BMrl'H'S PIANOFOR'l'E METHOD.._ ..--:---~ ~-.. ARDITI..~ ~ f- ~ .." ... -"-= ~ • e:= :e::e: .1 . ~ tiS: ---:F t: I '" . l1li #. A .- I . . . ef:: ~ I":: . .- I 3 __ • ._ ~ l- e._-. I " _ l " ~ ~ _t_ ~ 4 3~ ~b~ x ....- :: e I t -t ~~ ft )o I . . .... l( •• .:.. f . ~fl-_ .. .f a~. . . . ~~ ~ !. .. -.' f:: a_ ".- "~ IlLLEGE :> htJ I 1t(J7: -ft-- x -- . )( _1"!fiJ ~p .e: . . ~~ ~ f= ~ I-:: I 3 ~~~~ ?' L ~ ..J!.. 0 .I'_:--3 I II tJ X e~ .. .

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58 SYDNEY SMITH'S PIANOFORTE ME'I'HOD. AIR AND VARIATION. - r -v n.. 2 3 --~- _=-=:_~~1·1 -1=-1~ v - . .

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SYDNEY SMITIJ'S PIANOFORTE METHOD. -- - .. ...::-~-.~ K 4' ~==--====--=~= . 61 x ~~ X./I--fII.. .• . ~.:._- --~ - --"ii-.

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. • ~ - f---". =It: Ped: :e -.- '*' ed: 'It: Fed: ~ f: Fed. :fr • Fed: 'JIr Fed: ~~ I. .. &\) :tS.- . Ped: f :::::. Fed: • ~~ _.64 SYDNEY SMlTU'S PIANOFORTE METllOD.r.JI:= T . -< ":I' ~::"~~ 1b1~l~ · D ~ -~ \ . \. :: :t -~b..._.. 11 .... ~:= < I ._ • -.. .~~ .fi. ... ff dimirn: / t <.... . I pp .... m· 11 =If: L. ~~l i _ do.. --.. i dl--fI l - - .q=i I t _ .. ....-!· ~.. I----~ ~ -e' --" .-~-~ = __. • :S :: ~ . -~7 :! :t:t =i • fi~~ 4~ ~~ #~ .:____~~ . * .J! SECONDO..h.. t:\ - t~- p ': .. -~.t!~.. . 1-i~"T1:: =i• -~ a t empo. b~ . ~ #~ ~ p Ped. -.... .'-' 1l atlarg: -.. fed. ~ f.. ~ 1. ... Ped' -- I . 'a · _ ml _ _ en _ _ • poco ra II : . IL I. e crese s .> _ nU -. ~~:jl "I qb!e~: ~ t ~ p -.-a..... dim-m: 'I'ran qu 111O •• _'*'~ ~ "" ~ed: '* ~ Ped:~ = *' Pe~:_ .. r- = -....• ~_. :. -I ! !F:eri: .. a.. = . ... ~ !!- '*' ..~!t. -~ . ~ -~. *Ped: - . ... . · tL~ I f - marc: • ..r~ L' '-' .!! I 0- red: ~ * ..'_ = . t fI.___-~~-.: . ~~ r:::: ':j Ped: >- ~1-:: .___.

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. . / . ~ .oIL . ·...:n ~ ~ .. 8t~..y j7...s.. .•. . ...... . - > >- ~ '- 8V~ _.... .. .•.•• _•..•.._.•.. _ >- . . • -"..... __ >. - · · . .· '" _ . >. ..! _ ~ I . PRIHO.. _._---_. .ftJt f a tft I E6t (g E bf:II¥31 AHa Polacca. if - .. - · . ~ ..__.•._. --f--~_ - •..•••••."'_"''' _ ~"' .•.....·· P .. _..•••.. '"' ~ '-.. . ...••••••.. S.. I I .... r . ••• __•••••••••• _••••••••.> "'" -.. _ ~ ~- ...•.41 ~ 8~~_•..••.!'!I "' _ _ _ _ ._•. ........••.•••••. if 11_ ~ ..._----.- <. .. ·..• --_ . "' -l"''''' . .. ''''III> '''I' - .... .2._----------------------_ 2 ~: u t1~~--..•. if ... ~ . .---------------------_.. ~~'-' ... ~ .._ .• . ~ . .J ...• _•. No.· . _. . POLONAISB._•. ·.._----.. Jz .. .... ~ ~ ~ L ~~~---..... · . J.__ .•.. _••••• _•. .SYDNEY SMITH'S PIANOFORTE METl~S~ 67 TWO DUETS FOR MASTER AND PUPIL.· .... _. ..... _. Finger exercise.• __ . .... . ... _ ...._. __ _.... .•..--. ~~ .. • · . n r--. ~ _. u iJ ff · eantab ile. t < " o . " I':) • .••. I ~----- .. J A DA SSO f~lN.· . I - .. / · :.... . • ..__ __... . _...>- v -F-... if __••• ~ r=>: .. a :---: f . .

..· . ~~ h il I..- I Ped: Ped: . ....... .... .:: r . * . ~' .. • r Ped: Pe<l: l'ed: ~___. - bl[~:::::""1 .. ~ ~':::: ... .~ Ped.' ..11 f IW_ ~:'~:~ . '. V #: Ped ~. ~.• .... ~... ~~~ :~ ~ e "'-1"- ~ ·...~~~!~ ..'... . _ -...... t\ · · <: :: ~ : ::-:~ red: ~ . • :::::::=-- ~r • · · fb"t~ f'~ ~ l .. / t t '------ · · . l~: • ~ r- · · if :~~: ~!:~~ ~ ~: ~._. .j..68 SYDNEY SMITH'S PIANOFORTE MEn-IUD. ':' . " -i !!! -iI~"" ~ bi~~ ~: u' E'ed: • • .. . .. ~ · ....-- iii ._ f ' ... Fed: "~".) • -:e :t$.. -~>/#: ..'}' r : :=: ~ _.. SECONDO..j ~ .-!!!I _ = •. · =6 • Fed: ::e.. "" ... .. red: =If.. red: >if :i. . fed: :: -I--- • 9. f orese: piuf ~ ~) ~ if :JJ: Ped: · · -J. . -G .:. Ped: .. p _~ !~~ ~ • t • .. • '.! = _________ ~ -::::::::. · · ..

• __••••••• _•.... I' .. _.... • I" Q . if • • < ~ p- r:": ....... •....•. I ." ..----...••••..... - - __ ----.~ . .._. __ ... ..--...... .'\... _ a -.. . ~ -.-.- ~~~ 4L t -< "" espresso "" . ...•. f I I I orese. __.- ---...--... .... (. -.._. 69 .. _...•..-. If-t..... _Q • I -< . .../ r=>. 17\_- . .. _ . '-"--'" eantabil~..•. • - .' . • lr~~~ ....._.... ... 8~~ _ _...-•.-_ _ ~~~ 7' I ..•. -_••.... ...._ _ . • • ~~ '1-1-..--_ ... .. '- r:': ..- . ill..-_ ..__. -- """ a .. _. -- _M .-.I . .._.. ----- _ ------.. 8V~_.. - . _ _ .... _~ ... • ~ .•....• -. -.•• - ... sf __Q .-..... _ t =!i) It..• ~~ ---. r=>: . • • " '- • • ---. : -r- ::::::::... . .. _ "'...•..•~ _.•. ••••• _•••..-..SYDNEY SMITH'S PTANOFORfE METHOD... 8f!~.__ _.-- .._.. Q .. ~ I " ..-. - . f _~ _•....•..-. ~ ... I ~ ---.· JL - • . .. .- .._ _.•._- sf ~~ ~ n~ if ~~ --. ~ .. ....PRIMO..._.r:!._ ... .1!L.... __..-------.r - -.. _... B !. ~ r>: if ----. piu! I I I f I L: ..•... .•••.. .. ~ .•.••. ff . ~ .•......------_. ... ..••. -""" .... ... --......lit .•. lot _.._r-... _ _ ----------III ......-....

4 J -~ I -_ . •s 1X x 4 -~ r=t~ • I .. t x I l'E IX •I .f J - . oft }IV " ~ a X I 3 4 J X I 3 --t-._- ::> 1!!- . ::> ::> -If'.70 SYDNEY SMITH'S PIANOFORTE METHOD.f 'f:t.. P AESIELLO. 140[)[IlATO. -n-It-# . )(-fL- ::> --. AIR AND VARIATION.f'L ...s- IC.f I -- ~ . I'"_ n .

An expreeIlion indicating a ahowy and sparkling style of performance. __ Potocca. Doloroso (Italiau). Ben Marcato (Italian).i08." II Piaci""lIln(lt. A ••ai (Italian). &0. Appoggiatv (Italian). T". Bnrle .ufJo.ply f (Italian). An ornameutnl anti extemporaneoue pa&tage in trod aced at the close of a .). spcndingly .ign iii the course of the movement. f/urzando.he 8cILle of 8ounds. (Italian)..ion (wlth neeompaniments) iutewled to display the powers of SOllle partioular in8trum~1I t. with Bpiri~. that is.lian).".-dian).. Witb & eonvenient degree of q uick ness. Can Dolore.ted by the composer...n). (-lUIck. must follow the principal part in regM'd to time.. AI /II $'g. A few li!ill! added at tb.. .. High. light composition.. Affectionat. Apl'ogrri(!IIlm (ltal. from tho Bign.... Passages formed of the notes of chorda. hupli"". Gradually diminishing ill tone and q uickneaa .o (I talian ). Canta!'i/e (Italian).). In the hunting . Naturally. .ind8. . uto (Italian).j(i.irul . &8 CO" alleur.. Tbe end.l1an). ___ FU1·io.. A t>ery ~low a. T1w mos::' iml'orta. A performer h said to play with expression when he carefully observes the vari oua modificabions of forte and piano..B. by . ___ Comor/() (Jt.aing Telocity of movement.l. . __ Zappa.1lltgramente (Italian). Brf"r:..nlinn)... A note of embellishment. Decrescendo (1 talian].A DICTIONARY 0]' TERMS USED IN MUSIC.!L E •.. in strict or measured time."sl. In the Italian style..8 Allegro. Delicnu. With gradually incr. Cnvali14a (Halign). Abba. with fury. Emphasis. A trumpet tune. All. ~ he beg'ill nil\g. as to pitch.rnl At. In a singing manner. Well..).lo. __ E.lroftwl) mosnmcnte or p. Colla I'llrt.. I" the bunt. Dolnrr (Jtali. con j.he turn.h 'lUll._. Accompnniment..1... weB-marked.. C. Con A nims...1'o (Italian).yle . D._ lr~liana.".tematicandsymmctrical forms which regulate other compositions. quaurity of tone must be graduallj.v.<sai. flat. imo (Ita1. . .hat the performer must directly commence the following movement.. or meaaure-notes in & bar.b. or silj'.. boldly. "mark of repetition. With intensity of feeling. Quick. With brilliancy and spirit.iopaI mbelliRhmentA.i3te. A Tempo.th afIlictlOn. Abba. accordmg to the . Adagio Ca. Time. In the style of an air.. and naturalsplaced before notes iu COUl'Seof a piece.on O. tl'td... Con Afflizione(ItaL).lleyrello Scleerznndo (Italian)..1. __ R. D" Cap" or D.dnnt! eQ" (Italian). or lJ. dying away. A_t1r tl'umiaJRen Ie.. A quick species of COlUmon time. buth ~ tim. (Italian)... OCCB. Contretemp' (French).ssiml wbich is often 'Written at the end of a thoTelllent.' or force.'I. Slow._Vi"" Quick..o.4more (Italian). Implies a 80ft and sweet sty le of performance. Fla..-ir.<1 irregular species of eomposiuon. or or GiOC()30 (ltal. ella (Italj~n)... ill.) WI" ... Colore (Italian). Brillante (Italian o. Implies . or boa tmen.o (Itelian). BOldly. WIth brilliancy.·ly. Fantasia (Italiall). Polish dance. Cuntuwlu (HaHn-.mn move· meIlt. emotion. With animation.oot..r ~ "i!l'ni?e.. For the full orchestra. __ lnclese.. At the pleasure of the performer. I em COli With grace.li.. Catandc (Italian). (lnick.n style..tyla A Capriccio (ltalia:n). t. Aff~ttHOSIJ. Graces. light. (ltalian). A eourpoaitiou of a ligkt.. Acoustics. graceful aud ainging style.diminished. from. In strict and equal time. (Italian).1ln) "~it. \Vith mucb .U" (Italia. (It.. By. Airs BUng by the Vene tinn gondol iera. Allegro (Itali. A composition ill which the author givesfreescopetohia ideas. A B":'uta (Italian). Joy.. return to the original degree of moverueut. Uy decreaaing in q nant.Arp'9giQ (Italian). con (Italian). awl Lhe 31mkn GrandlOso (Ita.ying ft. familiar and pleasing style. . .. mod.d manner. B. energetically.vok (Italian). Loud.. Slow. Con A!I. empha. Ot"(l~iflJil. Placito (Italian). but which is frequently modified by the addition of other words: "".. ---NI}n Troppo. With fire Furore. . Aria.. Capella. (bt'llch). _~_ Cor. grand ELnd CICVfl. Ardito.ct ..acefully. Alia Caceta. Fort« or For... wit h self abandonment. With expression. Di".m. Somewhat cheerful.. SImilar -.ea.f. or Curl .n). Q'lick.tato. Grf12i" (It. Accelerating or hurrying the time. An expression which eer res to Augment! ths siguification of the word to which it i3 added. with expreBl1iou. term of I'eference. ExtremelyqlUckandhvely.hing . Or the...t.). B. Without labour.rt 01"". With sweetness and 130ftrll'sR Dolcissime (Italian).. animatedly. ___ A. Implies that the ~ COll1po. A Cl)u)po~it.I'a"du (Italian). The laRt movement.c(JmClll.nd ~·R. Acciaccatura (Italian).tyl e. A II in terval Or chord displeasing to the ear. with more than 1he usual degree of mOVP. ___ Con J)". AjI. Implie ./m" (French). AI Loco (ltaliltll). SloW &\i'hJ with.l. In time.1 nimo. Quid. Occasional aharps.allan). At will or discretion. seldom used in modern music.•eo (ltalhn). Withquickrlet<s and spirit.. Cma D11if1~"~ (ltali.dabik.ell of the noW8: tlley are of thl·ee k-. dll&Uy increasing quantlty of tone.a fardcal humour. a duet ill wbich eaeh part i. Becoming extinct. Monmfnll."al bril!kll~"s. or long.'l'aHTloia.l$o. .. than Anda:nte.. With extreme sweetness Dolente.{'tf~rs used to fietermine the namc nTul I. tot-al aimplieitj-. ill. denote that. Cap» (Ha. ([ t.._lug or piece of music. Moderately playful and vivacious. Indicates A soft and pathetic style. COrt G'. Forz.. &0.sliall). F". __ Turca.hout regard tothoBGsy. or Con Affetto.). ___ Con FUOCQ.ltvely.. In the church style. e BOTllCtimfl8 indica.. With T. Delicat ameme I (Itelian).i<I7IameTIto (Italian). e. All' Anticll. Brio (Italian). Two equal tim . very quick. In the church style. &1.>le~ tenor. An expre.). singing.. or sf. ith majesty.e oloi\e of a composition. An air. 1\. and suatainod. but not so quick 0. Quick. ~ allegro di molto. CrellC. charr.ddit' OIl elf oth ·. tJO heighten the effect.c:·.. Extravaganza (Italian).. Ai/rttta". --J[. Air (French).. In the Scotch style... Acut. With a flutelike tone. With exactitude as to time. A concert piece..yretl[) (ltllliall). the accented part of the bar..fit'd. (Italian). And. III :II hold and energetic uiauner Finale. agree&hly.. A note twice the length of 8 semibre-n. __ ..%ill ~1t. l're8.tyle. and pathetically. Slo ..).llYl'rf'ce. Allegre... In the Venetia.lian). To the. E So. An air or song. In the Enghsh . Fi"e (Ltaliau).. Allegro Al!Il&i. and play from that place to tbe word Fine.} (Italian). rapid and vi vacioue . taken in rapid auocession. with sportiveus8t!.rl. Graml Orcheslre (French). A~ ciuo coneerto. In 11 gliding ma. Expression.. A slight stre •• planed upon a note to mark. joyfully.m). AjI.zza. Accent.h diMretion. Witil elegance Euerqir».!=.. pleasiug style Dolce or Dol. also IL low pitch in t. A PiOCt.nte.alian). Humorously..za (ltalian). &nd atyl". (Ita. _. Attacca. !kating Time.."rlo or Crt. Braoura (HaIL'D). but K. With agitat ion. A term unI.cfwd. __ Scozzese.. Allegro Agitato.. Very quick. Syncopat. sometimes spontn-ueoubly intrGdllced by the per· former.Iegr" . Extravagant ami wild. Delicatoly. ~. --elm Alioto."o or CO~ E"l'rtSlion. led by areoitative. A deux Temps (Fren ch). Slow. El'gat".. The diminutive of Allegro.. The general theory of sound.tando (Italian). Yery loud.. ___ ViI''''''. (italian).. aitern8 . Cott Spirito (Ital..h fire.nist.. Very elow..utl" and . that the perfnrmermllst· etum to.tato. in the otyle or . Quiok. oyer It druhle bar.lian).c «. anxiously. With energy..uner. cOn brio.lfto~"o (Italian). in the Turkish style. With q uick nes a.. C'hmrnllhc. To BOllle orevioua place. A Cap.. a Scotch Air. wit. .A part added for one or more iustrument. da· . very quick. With" gr . Cha. . --l?ruziOlO.ion.. AndantinQ (Italinn). Divertissement (French). its place and relative importance in the b . or Fz. or tht'~ ll1!lrk I'r'.n). Capl'iceio (Italian) A fallc. In the style of the Sicilian shepherds' dance.. hurrying t. the performer mn. of the major or minor scale. in regard to time and tone. An a. with rapidity. Deoiso (Italiaa ). execution. At .. In IL constrained and limping style. Con (Italian).. Gradu . DimiTlfj.. ] tuplies that the nob iJo to be marked with particula... With fury. (Italian). IIU'grissimu (11. generally w)'itten in a small character.butnot too u. alld ""e. Quick. with ![riel D" (U"lilln). ___ MoUn... "PI. (Italian)..ali. Molto. MoW.rp"k). as Air ECOBsaiA. With jlltenM animatio Furiasu. Animato.-. (Italiall). (Italian).y"". and . formerly used in church music. . -Capella. This term i. In the church . in the style of. Bis (Latin).ing style. (It. with I'nxiety and agitation.. Adagio (Italian).\. Aria (Italian).st. An agr'tl!lHahl~ ("(mlhinn. Ad Lilliturn (Latin). AI.a.uoh so.rt$~occaai oIlH.st.. D"~ (h•. AI"omb (French). Con 8rlcJ'yia 01' Energi. A composition for two Ita· . COli (ltalian).he time. With decision.tvl e. A Maztl I:""f (Italian). In a su["lued tone. Alia Rr. A. Flebile (Italian).((t" (. This term Implies that . or ff (ltaliall). or (Ii. Marking the divisions of tbe bar by means of the foot or haud. Espr . ..ly f principal and suhordinate.ret38.lanll! Ajfi'. __ Ve". net.llient. r A.. A very Blow degree of movement.ziana.. ____ Frlo".. tendel'ly. The superlative of Adagio. wit. Acc.tion Bounda. In the Spanish etyle. A term used to A T~m.. Anda.etl·urnent8 01' YOice. Very. A c1_ in melody IX harmony.nu nee. (Italian). written in . Chll..). becoming softer and slower hy degff:~~'8 Calcanrlo (Italian). . Ben.ith p. Cad.. Adagi . with brilliancy aud spirit.•.m).~II Aiz requiriug great "Pirit and volubility 01.. Chord. . legato and staccato.7·lalltt (Italian). FOirlis"imo. In the old styl e.nd Bole. Clefs. __ Milita'''' In the military style. Tiero (Ital. --Pastorale. (1tallan)..ndo. Arietra (ltalian)_ A short air or melody. In a mournful style. 'With: 8S con eapressione. With comic and eVe. . At .ity of tone. Accidental s..1 ) In flo fiowini! . Cuncer·lo (it. FIa. and pathos. .~liall). gellerally indicated by >. From the h&giu!lillg. d. See Ad libitum. Alia (Italian). after lome shor-t reJaxntion in the time.(. leaned upon.". Di M ••/.. With tenderness and pathos. E8tinl.ing upon.. From: as Val SegIlO." Burnto (Italian). &"uewhat less elo.)_ In n..)."Vith tM~ Can }. AmM'el'ole.. I'roceeding by semitones. In the style of Ruesian m!l8ic __ Siciliarw. greeable to our fancy.d ~tyle Grave (Italian). Con. Amnn~ . A species of Arpeggio.s. sometimes.llt of :hebe are the appoggiatnra. Gf'nrinJl!m"T'I'r._ Barcarolle (Italian). CancP. Slow. t. Concerl-Stiicl (German). wit. Dwelt. In an agitated sty 10: . a movement 8('Imewhat ~l(). Diat?". A particular stress or marked accent on auy note.. Altac".co. AU. fot.r<1. to indicate that the performer must return to and finish with the first strain Dol (Italian). Batiuta (Italian).. Ai/reltal.ith spirit... A Tempo Oiu uo (It. Dolcezza or Con Dohzza (Italian). A short. or r.lnzione (Italian). Coda (It. very quick.. or Con IhuI~' (Italian) Sorrowfully.it. Dinertimentc (Ital. GioCMtlm~nt~ GU~JJr1tuj(J S. Eslinlo (Italian).nd 1I'renc"1.. . movement. A Due (Italian) t For two voices or instruA Deux (French) )' meute..~ (ltali"'. as to oomposition and performance.' aeity. W.. . but in a go. 1 Fa. easy. armth and animation. By. ___ Con ~'lJirito. Duo (Italian). alld bass.t. A com blnation of Beveral aoan la formil1g harmony. in a 'pirit.o .'\I. App« s"iQ>lulu.

A gradnal alackening of the time.. n).<I. Soothingly. the aooond time &0. Lugubre (Itahan). but uot too much 80. &II . The. \Vith slowuesa Lt1tl(l. A grailnal diminution in the movement. Sltntando (Italian). A complete musical sentence.ij pili 11l08RO. meno forte. p. rini or rf (Italian).zn "tlet' (I t. laveral Ths union sound •. (French). The mos. 1'1"..liall).. A mu-ical declamation. A subject or theme.) In a I(IMk cd emphatic 8tyle. All _mbl. Tanln (Italian) Not too much.~ of "Ter."gri". Prelutiio (Italian). musical piece. v\'ry 4. Solo (Italian). as to tone.. continuous in reg ard to ton e. In a serious style. Connecting the last note of one bar to the tlrst uote of the next.!/rJrzando. A gradual diminution of tone and movement..If. Subito (ltalian). A gradual decrea . P"'U1I.11 .1"'0 (Italian). &nanio. A short introductory lntroauzione movement. simo (I tali a n). Stxtuor. moderately quick. Taeet Ma .Iuluui. Acceleratiug the degree of movement. wlt.1t'B8 quick. persuasively. In (Italian). Wrench). SD..) A simple and elclTa. ljeilr . and detached from one another.simo (Jtalian). Impressive.72 Gwiu.1 favourite airs : a.. \I(lS8() (Italian)..h agi't. Exceedingly smooth and connected ugqieri. or COli Leyy-itrezza (Italian). Quickly: .. With the ntmost Iigln. (French].. An . The first sigb' Prima Voila (It"lian)..dTerb of n8fl1'tlon. in the R.i(iou of 8everal strains or U1cmbers.overuent to a minuet. ~ rally "".].nner.(}u.. Alone. lAttrVal. Helan9r (French}." little.. not too f . Presto (Italian). S"" Ruhato. slower.n>do (Italian). A capriccio or fantasia from favouriM airs. or rather: as poco presto. Tim. With feeling. lian). In an artle88 and simple . (Ttalian).If ." the same tima.ts usl!lb lN MUStO. Tema (1ta\ian). Smorza7ld" (Ita!. sadly.n.. Serioso (Italian). M<. A character w hich increasea the duration of . Ri. allegro rna nOD troppo. Ir\nUt> 11.. extremely Blow.080 (Italian).: pnma volta. In ... A portion of a musical sentence. An interval of eight notes. JUI. i\loicment: 8.1 . 1. very slow and solemn degree of movement. J1f111l'0 (Itali .\#elrU1wme (French).. Roul:ade (French). Me. (Italian)../i.). A gradual diminution in the time of the movement.~ltal. Sp. Larqhetto (Italian). A piece of Ulusical c{)mposition of any kUld. Premiere (French). The distance. ImpellJ03ila.e.alian).tinolll.. (lctave.. Indicates a time slow and measured in it. The art of representing musieal sounds and their various modifications by notes. piu Iento. In a pleasing style. &.. A short piece fur three instruments or voicea. In: es in tempo.oft than loud. Pathetic. (Italian). A . 1& RUIlIe. A soft and rural movement. meszo piano. Noneuo (Italian). An adverb of augmentation: lUI piu presto. (Italian).o (Italian). 'I'hie term implies thaI tb e DOtes are to be played distinct.afinn }.:liding from one note to another..th". But:. boisterous manner.. "" Pertlendo or Perdendosi (Italian)....1:i.d. (French). Muzo (It.t part or subject i. Roma. t. Trio (Italian).)..UU \1' I'Culm).</osv (It. no te in to three l'arbs of the next iuferior d uration. (Italian).S. Sequilo (Italiaa). or AI followa. In ai. or Can Tenereeea (Italian). &c. or Rondo/. &I "l'iatellllo tempo. "" nn poco. S". Pr •• ti".. nvec (French). . S[OTzalO.'l s tesso 1f1ltJl" (Italian).} I I ti Lento (Italian). Dtc'1'toluttY OF '1':kln. G1J. A composition for eight in8trumentL Notes foreign to the hannony. With bri.J I¥o~'''' . Bohlly... return to the oign i dal . t or original tune. Prima Vista (!talian). (Italian).. (Italian).he exact time of a. or pp. Sentimentn (It. Mnw. &.omplete in the aggregat-6. Imp ass ioned... A chamber. poco piano. In An under tone. first time. Tempo Comodo (Italian) In a convenient degree of movement . or ilhm (1 tal.). With ple .rno (Italian). or Co. . Pruuornle (Ital ). Phrase.JW (It..Tlando (II. A. Soft.dlU \I'ali. V.eUa (Ital. Expressively.. (Italian). or ~ (1ta1ian). Implies tbat 11 Dote must be euetaiued the f ull time. 7flj~r(l1ll.. Led~r Lines. Pathetique (French). Innocent». A composition for seven performer&.~tQ$O..conda talte. Air.. ligh' and oportlu s... repeat frolll the lign. Lentemt'1Ii (Fn!I1Ull).. notea A.struments. An old rustIC da. Nole Sensibl.UB8ta. Ran. 'I'he uietre of Ui. UleDO vivo.. Leading Note. With additional tone and empbaeis Ritardando (Italian). or that note of the scale which is situated a semitone below the key-note.tion. al ""gno. ( Un (Italian).wan).n.. In tho fir . A vocal or instrumental eomposition for six performers. ~ithout i sensa n-plic .IDee or Con Vdo~itil (ltaliau). Ril!/iJrzato. &c". Tf.premiere foil. Tho art of producing musical sounda. ionately. [.. Tenderly. Legal" (Italian). A8 tempo rllbato.. First: ." In a rapid time. note.·ito. With ~x.II.on. ate &mplic.mpfl. ac. sadly.. Segm.ntt. Notation. vlgorOl"ly. Very quick. A [i Hie.n) The pnnClp"l . ROlll/mo.mo (Italian). Legati . introducing Bev4lral aira.~d(j (Itaha. /I (Italian). l<. as loud as pOBRihle.. I'olla (It"li . q1llckt!r ~ Ul~1I0 mosso.kne •• and anima· "Ion. nH . Pietoso (Italian). movement. the flute is not to play.composition consisting of several movements. mitone below the key-note. " style of playinll. Ouetto (Italian).treme ral)idit1 I"guruso (Italian). uick.Jujulion. A Ron.at.n). loud.edom and di. Witn great spirit.s. The leading note of the scale. Piani •• imo.'11". In tbe same time. s. Siciliana (ItoJian)..utto (Italian). Thoae teruporury lines which are occasionally drawn above or below the stave. Pifero (Italian). .. A . . "~ith 1Iarmo"".~Ji.. quick. With simplicity. A compositicn for nine ir.'JN used to signify that a particular p'IB""ge ie to b$ played •• quiclly as po""ilde. Lorgo (It.ty Vulli SubilO.1y.L lesR spirit. Portamento (Italian)..-Nol.nt melody. of playing a mo... This term is Bumetimt. . A Septet or piece for ""Villi performer •.. With a. Staccato (Italian).half atone... (French). Poco (Jtal.Halin. lIlournfully. Pa. medley.1I. r . All. A composition for l!Iix performers.t. m&.lo Or cOlHpu.. QXIOUaJ. A composition fcunded on ~verH. A national Polish dance Polona sse (French). A prelude or introductory movement. Jforenri . T7let. } (Italian)."" (ItsJ. ment. with nlOr~ movemellt. 1'his term also denotes a second u.. It"IHtlly Recitnt. mo"~r~r . Sf. l'he ~ Pa ssing Notes A piece of music in the bunting style. i &fl1w.lIy.mmA.1H\D). r . &c.'Il0. An instrument for indi catiug t. ~'irs' tima Primo (Italian) ~'irst. pensively.. Septuor. and other. which may be shortenerl or Ieug chened at plea-ure. In a middling degr"" or manner: aa Dlt'ZZO forte. Ku"'. ~/etlwdE (Freuch) A tr~tl~~ or book of InBuuctions. of [I uick"""s..). Comp . LeKS: as menc mn".. wben at the distance of a .. (Ital. trada } (Italian). A word which implies that during a movement some particular instrument ie to be silent: as flauto tacet. or a tem(..tyle. q locker.. Sempre forte. (Italian). . La Cha •. No~inrn .I. Soaoe (I talian).. rather 80ft. Piaceoole (Italian). Without repetition. the fird time of playing.. volti subito.. The seventh note of a scale of any key.. Strepituso(ltal.o (Italian). eItreme)y: aM multo !l1lt'C"t"n..ociated whh troppo: &I non troppo presto. Slave. between two notes. or "'mJ mHto (itaJian) W~". (It"liau). or difference 01 pitch. leads back to 5. from its elegance and lightness of character. Half: 88 semitone. 1'1. Period. VewI. moderately: as allegro DOn tanto. or COA Pa •• ione (Italian)." (Italian). . f in : time. oompanil'li with singing. re uo (Italian). [.grandeur.h. In a martial style. Tenuto.. In tim I. It's8 Loud i Ult:HHJ iHalJO. A fife."~o. A note to which a seriea of other subordinate notes bears II diatiuct relation.. Them. rather quick. Temp" Rutoto (Italian). A chanjl" of key . Polacca (Italian]. or COli impelu08ila (Italian).. Mournfully.neea and facility. Non (I\alIan)..'.J La adagio.. . A . Not too mueh .OIl..pm.. Sonata (Italian). CO" '~fi"i/o (Italiall). or combination of r. i\fae~lmw (Italian).OlltAo are to be UttroJuceJ . repetitiou of the first movement. Non Ta1lto(Ital. With fr. ROlldw. Vivaci.xtrewely 110ft. rather soft. A movement of IL slo . n 8 ow une. Innoeentemente (Italian). repeat. Tum u'er qUlcltly ViUantll . Implies that a particular note is to be played with emphasis and force...tyle lIarca/o( I tal. ahort. soiaewhat softer.). Syncopatiofl. Rapid" (Italian). S. Inlonation. PI" (Italian). &mi(Latin).. ahorteher\.tl8 are held longe' than their vahle.. With majestic and dignifled e1prl"'R'. Potpourri (French). A term used to poin! out passages where all tue inatrlllO.ubs. Sustained.v» (Italian).'Ioderat" (Italian). . alway.. Witb spirit Spiritoso (Italian).. Poggiu. Tutla Forzu (haliRll).lM (Italian) \·ery. Piacere (Italian).e.. A composition suitable for evening recreation."). Vivace (!taL). Han'ia (I talian).. with greater anima. Ten.. .hon tied together. A part or parts of a composition Indispeusa ble to its just performance. String. Obligato.. (ItaL). With impetuosity.. Rite·"ente . A division (>r rapid flignt of 1I0te •. Tbe jj ve parallel lines 00 which the notes are placed. at the eud of eReb of which the lir. BO that the lan'e aLa. Impetuously.I/thm..) In a noisy.. hy meana of a pon. Tempo Primo (ltalum). slower. A.'i. to form "ut one note of a duration equal to both i a false or inverted accent. \Vitb morlt:ration aa to tone. Rw'f (French). (Italian).ure. uggl<ro. des Fac/". Patelieo (Italian). or V. Impreasively.) A decrease in the move . Pi"M or p. lJUJ't. Le11tt!U1". \Vith increasing elcwneea. More: as plus anima. turn over quickly. &mpre (Italian).. With ligbtn ess and facility of execution.pid degree Df movement. signs.. StpleltD (Italian). Now follows.ding in regard to ton~ aud time.o. Pause.. A piece for three perfonnen. "I"y". Gr . With the utmost vehemeu(·. LUJingalldo (I talian). The same . In a smooth and connected manner..ubj. Pathetically. In a mournful style. so ... Tutti (Italiall). Iu a melancholy .nort ROlldo. 11600nda volt . Solto Vue.'I" lltalian).~do (Italian). Jlez. See Tema. A march.n T. Notturno (Italian).ll he ~.-imo (]taliall)_ \\'itL ex. liradually . .i •• mountaiueere.. lmpeto (Italian). rather laud. but Ieas so than Largo.lian].riet time.H<lTziak (Italian). With fury.j by ~b~ 8.. .I Rullentosuio (Italian). Wilb fiobl. A group of three not-a arising from the division of a. character in • time.t of" m'lJ!Ilcal compositiun Moto.trellle VlV£U:. R"balo (Italian).. in which 80me UOt. (Latin). In a 80ft and delicate style. nl' (It&lilw). in time. or obligati (Italian).. 1It}le. which alway.~!.". in regard to time. Sensa . T~mjlo Giustu ( taliau}..sionala.