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CRISTOFARO'S
MANDOLINF. DE CRISTOFAFkO
TRANSLATED AND KEVISED BY
. -JRfik *
PAUL LOSING
VOLUME I
1 A
OLIVER DITSON COMPANYTHEODORE PRESSER CO, DISTRIBUTORS, 1712 CHESTNUT ST., PHILADELPHIA
^Madt in U. S. A.
c^\STOFA^ ^
MANDOLIN"©
F. De CRISTOFARO« ft
TRANSLATED AND REVISED BV
PAUL LOR1NG
Volume I.
OLIVER DITSON COMPANYTheodore Presser Co., Distributors q c
i
1712 Chestnut Street Philadelphia
Made in U. S. A.
Copyright MDCCCXUV, by Oliver Dltson Company
Public Pot'o 1 T\»nr§ Permitted.
Digitized by the Internet Archive
in 2013
http://archive.org/details/cristofarosmando01cris
\Mk.
Rudiments of Music 3
Of the Mandolin 6
Of the Compass of the Mandolin 6
Rule tor Tuning the Mandolin 6
To Learn how to place the Plectrum (Plume), on the
Strings 7
To Learn how to Execute the Tremolo 7
To Learn the Notes on the Mandolin 8
Of the Scale 8
The Intervals io
Of the Chromatic Scale 12
Scale and Lessons in C major 13
Lessons with Quarter Notes 16
Lessons with Whole, Half and Quarter Notes 16
Of the Slur and Tie 17
rst Recreation. Norma 18
Scale of A minor 20
Lesson with 1 Half and 2 Quarter Notes „...20
Of the Extension 21
2d Recreation. La Petite Guitare 22
Scale of G major 2%
Lesson with 2 Quarter Notes Slurred, and 2 Quar-
ter Notes Detached 24
Exercise on Eighth Notes 24
Scale of E minor in 3-4 time 25
Lesson on Dotted Notes 27
3d Recreation. Last Rose of Summer 29
The Appoggiatura or Grace Note 30
Syncopation and Scale of D major 32
Triplets 33
Scale of A major 34
Exercise in 6-8 time 34
Scale of G minor 35
4th Recreation. Septuor d' Ernani 35
5th Recreation. Schubert's Serenade 37
Lesson in Quarter Notes and Eighth Notes 39
Lesson in Detached Eighth Notes " 40
Of the Gliding of the Plectrum on the Springs 41
6th Recreation. Valse 43
7th Recreation. Mazurka 44
Sixteenth Notes Slurred and Detached 46
8th Recreation. Polka 47
9th Recreation. Mazurka 49
10th Recreation. Minuet 50
Scale of B minor 5
1
nth Recreation. Contra Dance 52
1 2th Recreation. Contra Dance 53
Lesson on the Sixteenth Notes 53
Remarks on the Sixteenth Note 57
Exercises on Repeated Sixteenth Notes 59
Scale of F sharp minor 61
Exercise for the Different Strokes of the Plectrum 62
Of the Dotted Notes 63
Study of Triplets in Quicker Movements 65
Study of Triplets with Different Strokes of the Plec-
trum 67
Scale of E major 68
1 3th Recreation. Valse 68
ADDITIONAL RECUSATIONS
"Early Morn"
"Berceuse" (Solo)
"Merry Princess March".
"Mazurka"
"Light Cavalry March"
"Dance Eccossais"
"La Modesta"
"Hermione Mazurka"
"Medley"
"Mazurka"
Pietro Lanciani
Reber
Launce Knight
Meyer Helmund
Walter Free/and, "Op 159"
Fred. T. Baker
C. Caramano
J. C. Macy
E. Meyer Helmund
72
n74
76
77
79
81
82
84
86
FfG Z F/o. I
Position when seated
F/gJ
Position when standing
ric. f-
HoM.ng the Mandolin
FIG. 6
Pos.tion of the fingers on the four strings.
FIG. 6
folding the Plectrum.
FIG 7
Position of the Hand
or loud tones. The
strings to be struck
Mth the Plectrum over
the lower edge of the
6ound hole
Position of the Hand,
for soft tones. The strings
to be struck with the
Plectrum over the upper
edge of the sound hole.
K
m
(K String*
THE RUDIMENTS OF MUSIC.in the representation of musical sounds— i.e., written music, or
notation— we use the characters known as Notes, Clefs, Rests,
and " accidentals " ( or Sharps and Flats ).
These signs and characters are placed upon a Staff consisting
of five lines and four spaces.
If these five lines and the spaces are not sufficient lor
the extension of the music— i.e., higher or lower tones— wetheu add more lines to the staff; and these are called ledgerlines.
ledger line* above.
The Staff(with ledger tinea added).
-6th line Ai. mmtmM. Him €r/£ff? -
-MHm-»dUme--let line
_3d*pao*2d spacettteioaee
The Notes.
The Notes represent the sounds of the scale, according to their
position on the Staff.
Seven principal tones or notes constitute the musical scale.
i
Ledger lines below.
These are represented by the letters C D E F G A B ; or by the
syllables do re mi fa sol la si.
The position of the n>tes, as represented by the letters, syllables,
and characters, aire d mentioned, is as follows
:
DODM
-*" -gr -&- SL A JSL-&- 22: -<£>- J2- J«l —B
—
*
The Clefs.
placed at the beginning of the staff determinesThe Clef
he name and pitch of the notes thereon. There are three different
oiefs, viz: the G cUfigC=j the F cfc/JIPj^ ; and the C cleffa—.
Music for the Mandolin requires only the G clef ; therefore wewill not here consider the others.
As the G clef is placed on the second line of the staff
(observe the curled part on th«s second line), it denotes that G is
to be placed thereon ; and hence the name and position of the
other notes are determined. ( See preceding representation of notes
on the staff.)
To fix the notes and their positions on the staff firmly in the
memory, the pupil should write them on music-paper, placing also
the proper letter and syllable above each.
The Value or Duration of Notes.
The characters used to represent musical sounds, and which wecall Notes, together with theii relative value or duration, are
indicated in the following diagrams :
Whole note. Half note. Quarter note. Eighth. Sixteenth. Thirty-second. Sixty-fourth.
r r r-t b 1
The relative value of the notes is best shown by the fo llowing arrangement
:
1 Whole note -^
equals
3 Half notes
equal
4 Quarter note*
equal
8 Eighth notes
equal
16 Sixteenth notes
equal
32 Thiuv second notes
equal
84 Sixty-fourth notes.
rrt
t—
f
r r
rrrrrrrrrvLu mm~
I he KestS. is interrupted for a certain length 01 time, as indicated by uie
Rests are introduced to deuote periods of silence. The music signs called rests, as follows :
*Tiole rest.
equal to
F«lf rest. Quarter.
-t-
r
Eighth.
H-
t
Sixteenth.—1—Thirty-second. 8ixty-fouTta.
It will be seen, in the above, that e?"h note has its correspond-
ing rest.
Accidentals.
A Sharp (#), &H'lat (b), or a Natural (fi), placed before a uote
afters the tone. In this capacity such signs are called "Acci-
dentals," and there are five of them as follows :
The %, which raises the sound a half-tone.
The b, which lowers the sound a half-tone.
The \ which restores I he sound to its original pitch.
The *, or double sharp, which raises the sound of a note a
whole tone.
The bb, or double fiat, which lowers the sound of a note a
whole tone.
The Signature.
A sharp or fiat, or a group of either, placed just after the clef
$ S
sigu g£ indicates the Key in which the music is to be played
Thus the Signatures by which we determine the Key of a piece of
music are as follows :
Example of the S'gnatures of the Majorand Minor Keys.
With neither Sharp nor Fiat it Is
zsi
C Major or A Minor.
~zr
One Sharp.
i
Two Sharps.
*&-
slit
Three Sharps.
Iy
Four Sharps.
-<*9- 1221
Key of G Major orE Minor.
-6h i1
Key of T) Major orB Minor.
I -&- MKey of A Major or
F# Minor.
m 22: 1*
E Major orC 8 Minor.
-JSL
Five Sharps.
-&-
wmSix Sharps.
* paIJeven Sharps.
ZZ2I
$One Flat.
221JSC
B Major or G# Minor.
I
F # Major or D 5 Minor.
wM * —C
J(Major or A$ Minor. F Major or T) Minor.
1 fiB ZZ2I i -&-
mTwo Flats.
B b Major orG Minor.
y
mThree Flats.
zzz—
El? Major orC Minor.
im-73-
§Four Flats. Five Flats.
BE22:
S
A P Major orF Minor.
~Z21
fH-&-
D b Major or
B b Minor.
mm-.
-&-
%&
Six Flats. Seven Flats.
fcfc
G b Major or
E b Minor.
P&
SBEpzp "221
Cb Major or
7 Minor.
I
-<S>-
§feWm 1ZL
When a sharp or flat additional, or not belonging to the signa- regular " beats." Thus, in Common Time, (simple or compound)
ture, is placed before a uote iu any bar or measure of the piece of
music it affects only the note or similar notes in that measuretloP€, according to modern usage.
Time, or Tempo.•Ve measure the movements of a piece of music by t-xent or
we divide the bar or measure into four beats, each representing
one quarter-note. This kind of Time is indicated by the figure,-
j| or the sign g at the commencement
:
Simple Common Time.
^ -J2Z
+W=+
One, two, three, four, one, two, etc.
Compound Common Time.
*4 W¥¥¥¥¥¥W¥¥FF¥?F¥¥¥¥*-
One, two. three, four, etc.
In Triple Time we count or beat three to every measure Thus;
Simnle Triple Time.
3=^:£3
~&-
±=: \— i— I—i—
h
at=a=tea i i i b=One. two, three, etc.
Compound Triple Time.
HEW4= +H .
! 1
-! ! . ! I I
-! I ! I
-
!
One. two three, etc
Simple (short) or Even Time.
93-I- t: -t—
?=> ?—* P- * * I*-
1:
i i!
i t- IOne, two, oue, two, one. two', etc.
Compound Even Time.
£8z=t H i- 3=
-* 5 * ^=pZI^=ji_^_A_^__^_^__^__^_ftJ|
1 i- 1 T I i --! lit H-1?!
Simple Triple Time, Short
IF&=iz £ iz I
Compound Triple Time, Short.
^.Hi
*--+-;— -I i i i i i ;
t: IDot and Double Dot.
A dot placed after a note increases its value ( duration ) one half its ow.n length.
Example.Dotted Whole Note. Half. Quarter Eighth. Sixteenth. Thirty-second.&-*
Equal to 3 Half notes.
T T
—
Equal to
3 Sixty-fourths.
-• 0-
y> y y>
$ A BV P V
TEqual to 3 quarters.
rr
t
Equal to 3 eighths.
g : rEqual to
3 sixteenths.
— 0;
Equal to
3 Thirty-seconds.
B K ^i/
1
i/ k1
•—»—•-
^ B" BR B R
A second dot adds the value of one half of the first dot.
equals equals
r r r c
Example.
eouals
i/ k •
f"equals
^ H B" B*• B ^ B^
-0-L-
5equals
w P E n^ b
The dot or double dots placed after a rest has the same effect as when placed after a note.* i
The Triplet and the Sextolet.
A group of three notes is calle 1 a triplet, aud is to be playedin the time of two notes of the same kind.
Triplets. t±fThe sextolet or group of six notes is to be played in the time of
fonr ;otes of the same kind.
Sextolets. trThe figure 8 or e placed above the groups indicate the division,
or inanuer in which they should be played— as described above.
Signs and Marks of Expression.Dal Segno, or $•', signifies from the Sign.
Da Capo, or D. C, means from the beginning.
The Pause, or *, indicates that the note is to be kept down atpleasure.
The Slur (^n) unites several notes with the same stroke of thePlectrum.
Piano, or p, softly. Pianissimo, or pp, very softly.
Mezzo-forte, or mf moderately loud.
Porte, or f, loud. Fortissimo, or fft very loud.
Crescendo, (-=rr) to increase the sound.
Diminuendo, (; —) to decrease the sound.
Trem,olo {*,+—+— ) in a tremulous manner.The other less important signs, and also the abbreviations,
terms of expression, and the different movements, will be learnedas the study of the Method progresses.
The Mandolin.
Position of the body.To ensure a graceful position and facility of execntion, preserve
an erect position with the head thrown slightly forward. Standor sit directly opposite the music, so as to be able to read it
readily.
Manner of Holding the Mandolin.The neck or handle of the instrument should rest in the palm of
the leit hand and be supported by the first finger, which should beplaced between the first and second frets. ( The frets are thesmall strips which cross the neck.) The thumb is used to steadythe handle, and should easily slide up or down, allowing freedomto the fingers. The inner side of the hand should be a little dis-
tance from the handle, so that the fingers may fall perpendicularlyon the strings. ( Fig. 4.)
The Plectrum and Right Hand.Hold the plectrum between the thumb and first finger of the
right hand. (Fig. 5.) The hand should be so curved that a partof it is held over the strings. The fingers should be pressedtogether and kept beneath the thumb and first finger, the little
finger resting on the top of the instrument between the sound-holeand the bridge. ( Fig. 6.) Shake or agitate the hand slightly,
as the movement may require. In order to give freedom andflexibility to the wrist, the fore-arm must rest on the edge of theinstrument in such a manner as will allow ease of motion. ( Fig. 6.)
In order to produce forte souuds, or loudness of tone, hold theplectrum firmly ; to produce softer tones (piano ) hold the plec-
trum lightly, letting it touch the strings above the hole. ( Fig 7.)
Movement of the Fingers of the Left Hand.The Mandolin is tuned by perfect fifths, in the same manner as
the violin. The violin, however, has but four strings, while theMandolin has eight. These eight strings are placed by twos, orin pairs, the two strings being tuned in unison. The Mandolin is
played by picking the strings with a small piece of bone, wood, aquill, or a bit of ivory. This is called a plectrum. ( See Fig. 1.)
The plectrum should be half an inch wide at the upper or larger
end, and should diminish to a flexible point at the other.
Position.The performer may sit or stand while playing the Mandolin-
If sitting, he must place the instrument on the right thigh andagainst the abdomen. ( Fig. 2.) If standing, ht should press it
against the lower part of the chest. (Fig. 3.)
Compass of the Mandolin.The following scale shows the compass of each pair of strings.
The fingers of the left hand should be separated and curved so
that they may fall with grace and facility upon the strings, andwith equal ease and promptness spring up from them. The fingers
used somewhat after the manner of small hammers, ( as in piano-
forte playing,) should move from the knuckle or third joint, and beindependent of the palm of the hand as well as of the wrist. Thefingers must rise and fall with ease and equality. The pressure of
these fingers upon the strings must be firm and even. ( Fig 8.)
A good position of the fingers is of the greatest importance.
The examples and illustrations already given shonld be sufficient,
for the guidance of the pupil in acquiring correct position. Yetthe teacher should use the utmost care in this important rudiment,
and not allow the pupil to acquire habits that might seriously
affect the development of a naturally good talent.
i-e~ •&-
•0--BL
-gr
4th pair.
T>K>-*&-TP-^ •gr
3d pair. 2d pair. 1st pair.
"The ma'ndolin is tuned in perfect fifths, thus
Tuning.
Example. Piio
4th pair.
13—
D
Sd pair.
131
3d pair.
131
1st pair.
ompass. These two notes show the extension which the modern mandolin reaches — B and C.
Tune the second pair of strinyra in unisou with an A inning-fork,-9-
• the A above middle C on the piano ffa—B— Then tune the third
strings to D which will lie an octave lower than the
same note made by pressing the A strings at the fifth fret. Tune
the G %U ( fourth strings) an octave lower than the tone
made by pressing the D strings on the fifth fret. And lastly tune
the E's (First strings)^ in unison with the tone made by
pressing the A strings on the seventh fret.
How to Place the Plectrum on the Strings.
Place the plectrum on the fourth strings, (G), resting it lightly
and perpendicularly upon them, between the hole and the bridge
The teacher should himself assist the pupil in these first attempts
at placing the plectrum.
Unite the fingers in a rounded or curved position on the plec-
trum. The little finger should rest lightly on the instrument ( See
Plectrum), so that the hand may move freely.
The upper part of the arm should not move. The fore-arm
should rest upon the edge of the instrument.
When the pupil has thoroughly learned how to hold the plec-
trum, he should commence the stroke-practice— up and down —gradually increasing in rapidity until he has attained a very quick
movement. This is called the tremolo movement, and should be
practiced on all four sets of strings.
The tremolo must always begin with a downward stroke of the
plectrum.
rz: i V ej
fr?> &i")) O%f
72"4th 3d 2d 1st 1st 2d 3d
72*4th
Lesson For Tremolo Practice. The ^, or hold, indicates that the note is to be held or contin-
ued at the discretion of the player. Usually the hold should not
In some lessons given for Mandolin practice, two signs are used, exceed, iu duration, the twofold value of the note or rest over
fiz : A, or the down stroke; and lj, or up stroke. which it is placed.
First Exercise.
The Pupil.
The Teacher.
mmm-7!7
79 IZT79- -zr
Htetci=±i*4=t
79"
3 -^7"
The figures placed above or alongside the notes indicate wliat fingers are to be used.
Second Exercise.
72:Thv: Pupil.
The Teacher.
pm 721I3ZI 791 791 72:
S7\
i5!Nl§M2%p
-gr
~3SL -JR. ZJSL -J21
HehSSS•1= St-iTo
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f-
'ist-fat F*^g-%r'l
/Cv
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-jzr
-&-
3r#»-
is: 22: 22:is: 22:
fe 11 il^f 3: *-&—*t+-^—
Lesson for Learning the Notes.
la this exercise the pupil must not begin the use of a newstring until he has well learned how to play the preceding one.
The figures placed over the notes indicate the fingers to be4th strings.
Z&
~g"
3g|. .J—
is:
^3=^=^> #
~Z?~
11:22
i
i
UBed— viz : 1, first or index finger; 2, second finger; 3, third
finger; 4, the little finger.
The sign indicates an " open " string, or a string not pressed
by the finger.
The figures placed under the notes show whatfret should be used.
3d strings.
Angers -
-fingers—\>.
Open strings -_-
2d strings.frets a
-flngers-i-
^_9im?irlngs_Jg_fre7i! r
4
- open strings
r
1st strings
-?p*Q-?ti|ng*
!
fingers 1
frets 2
2 * A-0- -freti
After the pupil has repeated this exercise several times, he played in regular order by ascending and descending. The fol-
shonld play the same notes irregularly, — that is to say, by lowing illustrates the movement
:
skipping some of the intervals, which in the above exercise, were1st strings.
4th strings. M strings. 2d strings.
mo—a—o—»—a—o -=--o—a—o—»-~ TT — •+ -2r±r2r!L0—»—-—<> 1 —#—o--m —m •
1
a 3-8 3 3-0---0-#---0-#-t-#-<»-»—i m
—-*—
*
>-
2 5 2 3 1o m o -#- m n -**- l »
The Scale.A regular succession of t >nes and semitones is called a Scale.
Example. F -se.mto'n.
Scale of C. F jf v &
Observe that tae semitones (half-tones) occur between the 3d
and 4th, and the 7th and 8th degrees, ascending or descending.semitone semitone
1221-&- 22: 22:
-&rJ2L -&-
Scale in Whole Notes.In passing from one note to another, of the following scale, the
pupil should avoid any interruption of the movement of the plec-
trum on the strings. Keep the fore-arm motionless on the edge of
the instrument and preserve the proper position of the right hand.
The fingers of the left hand she ud be well curved over the
strings ; the wrist must b'„ kept rigid, and the action of the angers
procood solely from the third joint or knuckles. Allow the hand
Exercise in the Scale of G Major.Observe the F $ in the Signature.
Pupil
Teacher
"Z?-
suflficieut freedom to enable the fingers to rise and fall promptly.
In playing the following scale, remember to count four to each
measure. The whole note equals four quarter notes. Beat the
time with the hand for a bar or two, before playing : Thus, one
down, one to the left, one to the right, and one up.
We choose the scale of G for the preliminary scale-practice
because it is most favorable to the instrument.
9
I
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#*=IP« £ IP* I =*? xr XT
THE INTERVALSAn Interval is the distance between one note or tone and another. There may be several degrees in the interval ,which
we reckon as a second, third, Jburth, fifth, sixth, seventh and octave. Intervals are reckoned ascending ordescending the scale.
Thus:
Second. Second- Third- Fourth. Fifth
.
XE XE --*>- O-TXE XE -O- O ^=3C » m O-©- O-
8ixth-XI HI
Seventh.,»i°
l
° •Octave.
S=at 'o—
o
^o—
o
In extending the scale, say for another octave, we reckon the ninth, tenth and eleventh:
$Ninth .
Tenth
.
Q. Eleventh. — etc.
-©-
Inversions
"When we place a given note an octave higher or lower, we invert the intervals, thus;
The Third, a 6th.The 9econd becomes a "7th below.
x* xttttr
The Fourth, a 6th.
-*th- Sttr-w-
~r-Tttr -M- XE XE^-XE XE 6ti,
7th 6th-
$The Fifth, a 4th
*th-
The Sixth, a 3d.Q8d
EEThe Seventh, a 2d
p2dThe Octave, a nnison.
7thO O- XE f» r>BtliO -fltft
EC
1-&-
4th *-»-O-
3d -O-XE O O
10
EXERCISES ON THE INTERVALS.
BySeconds.ife
4w Strings.
V T XFs'ii'.'Xi'-'iJ
illSt^ Strings.
^ -e-=«
W
XE g rJ -©-
2 3
2*4 Strings
-e- o 3 xr
#* -«-
i?£ Strings
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2
XE (g^ —6 =P 331
3"*
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3 4
i £f=£=# ^ JQ_ -o 1
*fa2Z2ZZ& XE
2«?Strings.3 4^^ 33: w # 3X
ST4strings
1—
r
-o-
*4#£ Strings.
12Z 33: iJU ' ii ' jjJEpio ' al f ' o
#tI i J J i .1
ByThirds.
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E jiUi-uu ' i ?J0t 22i9 ~£7
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1 ^ (2)
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* ^^ ^Pi 2Z IE r»
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By fc J1 J J
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J M J1^Fourths.^? 2Z —
T
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_: o& 4
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*Ife ^1r 11 r a p ;
j I' *f ' ^ ^ ff3 »
(.// ^PZtfrt Me note* DAE are found in any passage whatever, and the passage does not exceed Open Strings.
any of these notes, the rule is to use the 4th finger in preference to the open string, thus:-
4th Strings. 3Td Strings. 2™ Strings.s * a
TTO
The 4th finger on the open strings (ft)|
I| ||
—^ rJ J—fl
(2/ When the same note is repeated without a tie^—^ the tremolo must cease after the first note and be resumed at the second.
57428-86
11
$i=m^m
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22 f -6>i
BySixths
5te Jf^FfJ
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1
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BySevenths.b iP
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« 3 ° 2
:t
, ffi
r firj
^2 22 -© JfipTiff
^ -OB 1
o <f -9- TT TT
22
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By P^P 27.Octaves. -&
±i
-• 3 — . 4
f
i ^zz:
f 22: i^i ' -'i'^ '
i22
4 — 3
Exercise recapitulating all the Intervals.
%fe
t22 22
z:r2? z:Zf 3 #" o zr
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39-1
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77
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J J I J J I J j I J 11 J 1 U Thf
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(l) To play perfect fifths, you must at once place the finger flat on the two different strings. To play diminished fifths youmust change the fret, although using the same finger. The diminished fifths are indicated by this sign •.
5742G-86
12
ON THE CHROMATIC SCALE.
lVhen the Scale is composed of Semitones only, whether ascending or descending, it is called a Chromatic Scale.To play a Chromatic Scale, we generally us* the sharps in ascending and the flats in descending, as is her*
shown below.
Every series of semitones is called a ehr .matic succession. There are two kinds of semitones: the Chrom-atic and the Diatonic.
The Chromatic Semitone exists between two notes of the same name:
EXAMPLE.
I m i^j i
'
i ii
EXAMPLE.
The Diatonic Semitone is placed between two different notes
^ 1 1 ['I j i '
Chromatic Scale ascending with sharps.
-8—9-1 1
2 2 3 ,3 1 .,1
2 .,23 3 4
pr*=j ti ;»:*»«Q 1—
1
*—
»
-9 8-
fjy|5:r*|k4#£ Strings.
-a—i—1—9—a-
,fr»'
ll* '!<
3T& Strings.
' *-•
2V4 Strings.
1
i?/ Strings.
-J
Chromatic Scale descending: with flats.
W-^L-l 3.
3
I • ai « 2 .
if ;* O . 4—8 9-™fc E• r;* ^^-#-?r*-w *—=—3—8 3—1 1
l?t Strings. 2*d Strings. 3r? Strings. 4th Strings
33E
4 3 .3 o
Chromatic Scale descending with sharps.
i,
i
•H-fr^i, 4. 3 . 3 2 . 2
^ ^tf*^»
;
-4 9 9-
l?t Strings. 2?4> Strings.
W*-—2-4 1-
^7^ Strings.
4 9 9-
4th Strings.
JL.
(l) We have shown the Chromatic Scale descending by flats as well as sharps because the fingering is not the same in both cases.
57429-4C
13
SCALE IN C MAJOR.
No sharps or flats at the Signature.
All the following scales of Major and Minor keys are written for the first position only. Their compass goes
as far as B natural above the staff, without exceeding the second octave.
During the study of the other positions, the scales will be extended.
Chords In C Major.
^3Z 3Z3+6-*-« -*•«2:— _:
—
^*~z:—
ob:& l "0- OJJ olJ *V
MLento.
Sp 3= iiiiirirfirrifnii^j i jjuj i ^ i
Lessons In C major, With Whole and Half-notes.
Andante.
THE TEACHER.
Andante.
B 1
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2.#£
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A7420-M
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Lesson with Quarter-notes,
All the Quarter notes, when not slurred, must be played tremolo, each succeeding note being accented.
The tremolo must cease an instant before passing to the following note.
iAndante. 4 m - P m ~!
1 i iE P £P £7. WP ^^^^ PPi Pr-^r^r r—r
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Lesson with Whole-notes, Half- notes and Quarter-notes.
Andante.
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i i i&£ £PE»-
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47420-66
17
I i/CN
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pi^PP I£ £ ^^ mg rm.n.n sum J*WJj^; H en sM o
— mm #^-»
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3 i i
ON THE SLUR.
When two notes, or even a greater number are accompanied by this sign -—^ they must he played with_
out the least interruption of the Tremolo. After playing the first note the fingers of the left hand should
press the string, and slide up or down to the next note or notes included in the slur. This observation con-
cerns only notes played on the same string. In slurring on the open strings the plectrum is simply drawn from
one to the other.
Exercise for Slurring notes on the open strings.
§ w m i f".i 3w mi
Lento.Lesson in Slurring Quarter-notes.
£ m iE IPI m m *9.
•fev. i J ^mm ftp m ww+—*
t& m m i ^ n ££i si¥ p f p
$ s5E=E H ^ W3ZtfTT
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i^P iffff P ^=f fg M
^jfV The passage from one string to another must be effected without mooing1 the wrist (if the right hand in making the plectrum
fall on the following string; Thus avoiding the wrong accent.
>742&-e«
18
THE TIE.
"When the sign -—> connects two notes of the same degree op letter, it is called a tie; and the string is
pressed down until the time-value of both notes is accomplished.
Lesson in Slurring Quarter-notes and Eighth-notes
miAndante.
SPn . mm£m i
10.The quavers must be played tremolo.
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RECREATION I.
Andante sostenuto Prom Norma.
6742Q-86
19
$ r r? m ^m s
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57429-86
20SCALE IN A MINOR.
Relative of C major.
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a:=*=9i9 1 9 ^
£ Mjij, i
lii. 'i ^i iii
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iii|iii,ij4 i_i
Lesson with one Half-note and two Quarter-notes Slurred.
Moderato.422: £=i i£ ^ $
11.
$w t{7^jjjI jJ J JjjJj *-#
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57429-88
21
Lesson with Two Quarter-notes Slurred.
12.
£ m^
J J J ESB I ^
J aJ J
^ ?¥ ^rt
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# m m 1»T m mim #--?:*
s
in f—
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1 ^ i^ iteiiP=^ P £ Pm€tt* s i?=# ^ CTf?** o z:
s£ S io
P piF^ i P^Ps »•-f-
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1^5 CTf 1 w& ^ #1 *#*y
THE EXTENSION.
When the 4-W finger is made to reach a note above the first position, without displacing the hand, the move-
ment is called extension . The ^irst position finishes at B with the 4$ finger; but it is possible with the same
finger to reach to C and even to C# with the other fingers still on the strings, and the hand in place. This
extension is called upper or superior, because the 4w finger ascends one or two degrees.
fe«r*
-&-&
Example of the Extension.
4.(1) V A
Ji rr i
ii i
fri
rfi
ffi
rrirr
i n ^ iiju jijj
(l) See, for the extension of the 4th finger, tie 28th bar of the fotlovcing Recreation. "La petite jnitare."
r>7l2»-8«
22
m
RECREATION H.
'LA PETITE GUITARE."
Time I. One Quarter-note or two Eighths for each beat or count
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Iff n He fe* ^y ^\ s^?
$ Idii 1 ^ s om&g jjg 1 i- ' 3 "* * * * ^
K*^r^/j ^// ^p Eighth notes which are not slurred or tied must be played staccato.
[Z) Upper Extension.
574*»-8«
23
SCALE IN G MAJOR,
F# at the Signature.
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E 10=^°T523:
0^-*-6>
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+«3EZ2
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=*= 3 *=£ 42-
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Lesson with two Quarter-notes slurred and two Quarter-notes detached or staccato.
Allegro giusto.
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1 * *13.
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^^Jjijijii3j]ij^j^j^ £### £###r?# r w w WWW WW^ ^ ^ if ^
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/W ^%e« Mere & a dot over the note, it must be staccato and played with a doan stroke of the plectrum and without makithe tremolo.
57429-86
\ng
24
EXERCISES ON EIGHTH-NCTES.
Three notes slurred and one staccato.
The slurred notes to be tremolo. .The staccato note detached.
Moderate
14.
ggti ^ i P i^*
ofpw i^rrs rrri-r * :wrz:
£Is ggSl J?JlbJJJ3 IP&mm ^ml did*
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Two notes slurred and two detached.
16. ^f
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^fff
1
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57180-88
25
psi
SCALE IN E MINOR.
Relative of G major.
^—4r6M SXa %#&e3=E
277 2 "5" *~&
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n mm j UJJ
i fH'ir iVffNJJiiii
SIMPLE TRIPLE TIME.
A dotted Half-note, or three Quarter-notes.
(A dot after a note increases its value one half.)
Moderate.
ij'jTn p=s ^ i i i if r
17.
§ i 8 f J» * ^ f^fg 1
* iEfei iP p?#f9-* # 2 #
(ft
r
j =JE ^^ Fl 1 < J 1 J < i i f i
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#-*-^9
i J- j j 1 j § 1 j- jJ^ i ^j j j j ji j j i j 1p j* * j * u
_: -' =:
fi/ i/a£e M« Eighth-notes staccato.
(2) Slurred Eighth-notes' tremolo.
87429-86
28
P^mpoco a
£jtwco ores
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Tempo.
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riten.
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r>
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cr^s. // dim. Pr>
^^ p*w ^^ ^^a I i<7\
SQ w57489-gfl
LESSON IN DOTTED NOTES.
27
Andante.mm (i) Amm mm im18.
p3 ppppipp^t i^iH^i^^^ *—
^
$* i ^^
£=P iP^ £
p T J J ' I J i'Sl J «Wi l JW? * # ** # #
m mi £mm mmIZZ
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5P to* J i —aL—FS
i wi^tfV 1 ^Pp P
5* i ^£ S -#— !^^?
i jtj J"3 •*i ^Pipi B F^w I
if
f/j ^faie tKe"BightT^noii) staccato.
.57420-80
ZH
£ 5P^P P&=? f P=^=
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i s I Ji J jjjyjj j jj *
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RECREATION ffl.
(LAST ROSE OF SUMMER.)
Allegro grazioso.mmm
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From "Martha'.'
Him
ppi^ ^=mr Ls J -
p^pi*
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$ m f ^s
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^/ 7%# dotted note to he flayed Tremolo, The Sixteenth note .-.laccato.
67429-86
30
THE APPOGGIATURA.
The appoggiatura is a small note placed before another, and usually depriving that note of half its time -value.
It must be well accented and the principal note must be played Tremolo.
"When the appoggiatura is placed before x dotted note, it takes a third and sometimes two-thirds from the time-
value of that note according to the character of the melody.
When the appoggiatura is crossed by a little dash: t»tit must be played rapidly, the finger striking the string
sharply, then being withdrawn so as to allow a continuance of the tremolo on the principal note.
19.
Lesson On the Appoggiatura.
#Larghetto
mHi J «J ^J
mi
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7 wi^^3 I JlT
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57429-80
31
if*'11
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(/) TAe Eighth-notes staccato.
fi7429-8(i
32
SYNCOPATION.Syncopation is a suspension or alteration of accent— accented notes occuring in the unaccented part of a bar.
The emphasis is placed upon the syncopated note.
Examples of different kinds of Syncopation.
^iir,jr rirrrirrJi"ia
rrP i prNrf
r,irir
Tf rrpiPrrrp^SCALE IN D MAJOR.
F# and C# at the Signature.
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1" Ofi
-00
3E3
325
a-6—Tn-*-«
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2Z mi-eh i-eh 1&-
4j jJ i JJrr i rrrrj rr i^jjij i
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Lesson In Syncopation
20.
% fe=£ k £ m19- T TZL
P Ijij^j Ij^jiJ I jjy;Jj' 1 l^j^W#ffe^
* A
£ # .
£I PW £ P £F£ ^ S ^ I=S f f*f Pf5f f
I^P ^ IA , A Mp—\—p- m# p
i i J J J ME M ^Pf P^ »g=F» « rif w ' * 1*1 f
#) Make the Quarter-note* staccato, andplay the Half-notes tremolo..*.74-20-Kfl
89
TRIPLETS.
A Triplet consists of three notes grouped together and played in the usual time of two of the same value,
In slow movements, triplets are generally performed tremolo, excepting those which have a particular accent.
Lesson on Triplets.
21. Iu Lento.m A W *
||L
w ^^ i* 3
mm ife # #'; F^ pfe£^p
§ Jj5US S 4 4 4J* J- fi* pv^PT^
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fij Jrcent the notes whiltt playing tremolo. 57429-80
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mu
SCALE IN A MAJOR.
F# C# G# at the Signature-
3-f9-4-£ 3&&
4-9- 3:5ZI
312i£t-9-
±9—1-9
*•&
1HA* £#=1& PfP £ ©^-#
Time(j r
—
' r r ' -n-rT-rrThe pupil must not mistake the group of three notes in f time for the triplets in f time.
Moderato
p firB ^s g^a s4
1SS#-s #2.2.
«Af^a 1 t yWr ^TlW
m wwmm Tl! plig ^^it1 ex; j I p^^i ^ 5 I r
fc=Ji EE^EE gpS=l^ ^ p£P?g I rip J?? £ 7
1
7
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g^gg t rfrW^ig £ P SipP P
ft¥JTj ,rpl I J .jij jl jjJlJ^ilj 1 ^^ ' .rpl^j ij j
^ v/ff M* notes 'to be played t *"*m &/&574-29-86
35
y b s ng^g in*ii*«_ s^ 7 $ 7#-*-
**=
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±-§\r ip \W^if"W*
ffl"Ttt^ P£=v msip se » pl^
** g^n a ssrt i P^F~?
—
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SCALE IN G MINOR.
Relative of B!? major, Bl? and E!» at the Signature.
S 2^d 3i9- 2/^
3ZS
-1-0J-fi—ff
#Wfl_2£
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6 o 5B:0?T
IS
i s^ii.tri f te¥
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It
Adagio.
RECREATION IV.
Septet from "ERNANI
1
Verdi.
A
QE Pp • p^S
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JJTJ^Jjf^
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A7440-MH
36
pW J r r-4 pMZ O- wm
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r j '*£cr* 9
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" j.j.#—rti—*4JJ 'Jjr
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j'1
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mill: +-+-0-4 + -T*
* A(i)a-—
r
a#-#—(p-^# L H ff g EEI ^4XF^ r cjr^rixrffii2
3 3. 3 3
I ^B £* mmmm «?«?.?«? a a a a
•j^p mp pppl§#^F"* ::: v
'•V TTfe notes io be veil marked and played tremolo. 57429-86
37
RECREATION V.
SERENADE
.
The triplets in slow or moderate time may also be staccato. It depends upon the character of the piece.
[See the following Recreation )
Schubert.Moderate
#is
m i M WW m3*** #—
=
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ft).- .-.
* 31^ r pcq* f
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Mff# $=t F m \ (P
Wf W£
Ih" JT7T7] Im m
m m * *i « -w .*« :
£ E ICZM(3)
1^as 2 f
4I
rallent.S 9 m,m i«-«
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(1) Staccato the triplet notes.
(Z) The dotted notes to be played Tremolo.
[3) The slurred notes to be played Tremolo.
r r > '
4
r>/42»-8«
38
> b fW g *^« *=i-t=^4*—•—
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57428-86
39
Lesson In Quarter-notes and Eighth-notes.
In order to know whether the notes must be played tremolo or staccato, we must take into account the
movement of the piece and the character of the passage.
The longer the notes, the more appropriate the tremolo; whilst, on the contrary, the shorter notes are bet-
ter played staccato.
It is necessary, to pay great attention to the accents placed over the notes, as they indicate the manner
of execution.
££Andantino.
(!)A A
s A AA *
^ i im i ^ p^p23. ^^ P W ~»j ^i3*J
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(l) The Eighth -notes to be staccato, with a downward stroke of the plectrum during the lesson.57429-tftf
40
Lesson In detached Eighth-notes.
mmAllegro giusto.
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/V7429-88
4f
The Slide of the Plectrum on the Strings.
Th9 SlidaV indicates that the slurred notes over which it is placed are to be played very smoothly. This is
done by striking the first note and then allowing the plectrum to glide gently over the strings without re-
striking them. It is possible to glide over two, three or four notes.
EXAMPLES.by four notes.
by two notes.AAAi> ^> *y
Exercise for the Slide on two notes.
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(!) The Sotted note to he plsyed tremolo, and the short note an up stroke of the plectrum.
iQbterro the si^n - for the momnent of the plectrum on the note.)
'2) Slide the plectrum orer the three notes.
574 *»->»»
43Observation On playing the Quarter-note.
In a preceding chapter we have said that the Quarter-note should always be played tremolo. But, as an
exception, the quarter may also be played staccato in allegro movements, especially in Waltzes.
(See the following Recreation.)
RECREATION VI.
Tempo di Valse. WALTZ.d) #
pij^
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^f#j^^^ff=^jj 1i fg fii # 33E
(t) Mike all the quarter notes staccato.*7429-8fl
%%
MANNER OF PLAYING THE MAZURKA.
In the rhythm of the Mazurka, the Quarter-notes are played tremolo; this rhythm not being so lively as
that of the Waltz. The Quarter-notes should be staccato.
Tempo di Mazurka.
ft
RECREATION VII.
MAZURKA.
^N^ ^sl fe5£Tempo.
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(?) gf-uarmr itofei tten>o^>- Eighth »otn$ staccato.
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noTi-ZU-Ht
46
SLURRED SIXTEENTH- NOTES.
In rapid passages, the first of the slurred Sixteenth-notes is always played with a down-stroke of the plec-
trum, and the second with the up-stroke.
In order to play these rapidly and smoothly, either ascending or descending, in passing from one string to
another, do not make three successive down strokes of the plectrum. It is better to make use of the Vb
finger than to use the open strings.
ascending. BAD.
^^^a^TTA A A 1
descending.
AmN aJLa a a a
EXAMPLE. GOOD.^^- -"
*Allegro, s A^l •#T^Au^\
iAuAu _«Fl» f l TPffPm Zr^
In passing from one string to another the Sixteenth-notes are played on the open strings when such
a course seems reasonable and convenient.
Allegro
EXAMPLE.
Detached Sixteenth- notes.
When there is no slur over or under the Sixteenth- notes, they must always be detached by a down-stroke
of the plectrum: however, in slow movements, the Sixteenths can be played tremolo or detached, according
to the style of the passage.
Example of Sixteenth-notes Tremolo.
Largo
T^ltrq^ji
Moderate.Example of Sixteenth-notes Detached.
J'-'
fflir utf^cridfrJflVBtfiggii
h
frFor the Examples of the above, see the following exercises and recreations.
W. Those who imagine that they can replace the Mandolin method with that oj the Violin are in error- for the technique of
the former instrument does not always adapt itself to that of the Violin.
)?429-Mi
47
Exercises and Recreations on Sixteenth-notes.
With Obligatory strokes of the Plectrum.
Moderato
A u A A A
EXERCISEA A AQ A A u A A A
|
a A A
A u A
£jiritfcx-u
Moderato
# A u A A A
EXERCISE:
Tempo di Polka.
a n? aua; ^j ^3
RECREATION VIE.
POLKA.
A u A
(2)m kh LBls
ffi* SF* W « ^1 ^«==««
7. * _nr
$* ^ i. m Fine.
1^ w m m #-# P Ba^ s^ tn
?««_W 6¥»tf a doxtn-atroke of the plectrum to play the small note, and pick t/te string1 with the same finger to gire effect to the picipal note.
(2) Slide the plectrum over the two slurred Sixteenth-notes.
• 742»-8«
48
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Moderato. A
ff AuAuAuAu ML M-' h
EXERCISE.
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j i, ^ ^jiLr
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S74i»-8fl
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Tempo di Mazurka.
±% A u A a ^ A A
RECREATION IX.
MENUET.
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574 '29-88
50
Tempo di MinuettoA A
A
RECREATION X.
MINUET.
ddbI
Tempo.
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( i) Tremolo the eighth-note.5742B-88
51
SCALE IN B MINOR.
Relative of the key of D major.
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574 2W-8 6
52
Allegro non troppo.
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EXERCISE.
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Moderate.
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f**
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Allegro giusto.
RECREATION XLCONTRE-DANSE.
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53
Allegro.
RECREATION XII.
CONTRE-DANSE.
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mm = ^ illlxzara-#-=P
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mmmmm3=^=3=t3P* IB= iH
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p^: i
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9B.C.
w * * v$* * T*
Lesson on the Sixteenth-notes.
^i"n Jlifu 1 1 I j li^T
iim m t
22
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54
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P^Tempo.
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riten.
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574 29-8»
55
mwf^pj i
§fe ^i t
! • »3 /
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• • • •
p^=F f
^^ ^^ ^ 4L *5t s^ ^ pi^—*-
2™* finger to be kept down. l?t finger to be kept down.
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51
Observation on the Sixteenth-notes.
In order to maintain perfect smoothness in the performance of Sixteenth- notes, it is necessary to observe,
at the outset, that sometimes you must begin with the up-stroke of the plectrum, and sometimes with the
down-stroke. Whan there is an even number of notes, begin with a down-stroke.
A"A U A a
EXAMPLE. ^fl&r i rtfjfrua
When there is an uneven number of notes, begin with the up-stroke.
EXAMPLE.m uU A0-^r i ?[rfrif-*i
The isolated Sixteenth-note united to the Eighth by the rest f should be played with the down-stroke, be-
cause it is an isolated note. The note of the second beat in the measure should be played with the down-stroke
also.
EXAMPLE.
Lesson on the Preceding- Observations.
Moderato.
30.
IIP^g wSI
5742 y-60
67490-80
59
Exercises on Repeated Sixteenth notes.
With different strokes of the Plectrum.
ij A u ^ ^ simile \ k^ lL
afl
-iggtff irftT^tff!M
,
i£fHrto i
Ufe
fflyitt iayJmi^ l^-l^ l^ l^ l^Pi^aI
A LiA u A 5^^
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^meira:f i cjtiintffgfmrtfi [f^4fftricift!i
i
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4%^cgr i c/ Mffi% i tfkTifo ' frfr | t3'd i
wi GH l^'il CHji rtf li^l^l^niHriirjji
pi iijtfrcr imrL-
1% i f 11P iia tf ij iftt-i-wi Cfn'tftr'tf^gg iiftji^Ij ^ i ^i^iri
i
ff^m^sm i f pfI j J
ffira^t«jjpp
lV/ ; iJ|H^^%i fWtr ifl4#^^p(/; .ft tt'«i(W 3? ire// to s^waty Mi* anrf the following Exercise in different key?,
57428-86
60
mAllegro.4 A u
Lesson on Repeated notes.
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5?429-&a
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d)A
Lesson In Syncopation.
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¥ 1W f(l) Vluy the short notes staccato n»td the lonjr lioftn titi^olo.
5 i-i-in- ^(i
62
Exercise on the Eighth-notes.
"With different strokes of the Plectrum.
All the notes staccato.
fc\ rm i
JTTj m m g m4 9 * ^+
^ HP i [hi !B r r i : ; nS ! #^Two Eighth-notes Slurred, and Two Staccato.
Sound the first note with the down-stroke of the plectrum and vibrate the string with the same finger; give
a slight up-stroke of the plectrum for the second note without stopping the vibration of the string.
? A A
5f W J * ' W
A
J*
j^ii'irfrfi^LiinrfirTi
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574J9-8W
63
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W—ZZM =*=*
gs^m^mmamgmsm —s-m
^rj^r i ^tf i tri^Tfftrirjj i c^fcir i jcf i Jii
DOTTED NOTES.
"We have indicated at page 27 (RECREATION III) the manner of playing dotted Eighth-notes. Here is another
way of playing them. To produce this novel effect we must give a down-stroke of the plectrum on the dotted
note, and an up-stroke for the short note; separating the two notes hy a rest.
AA-
Effect Produced. f 3 f jr^^^ g • i *L- J
Allegretto.
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574'29-M
61
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o?42^--it
65
TRIPLETS IN LIVELY MOVEMENTS.
To overcome the difficulty of this rhythm, which is contrary to the nature of the plectrum-stroke, it is
necessary, when there is no accent on the notes and when there is no occasion to pass from one string to
another, that the movement of the plectrum should be always the same; that is to say, that the first note
jnust be sounded with the down-stroke of the plectrum; the second note with an up-stroke; and the third note
with a down-stroke. (See the figns orer the notes in the following studies.)
In adopting this movement of the plectrum an irregular accent is avoided. Though the accents ^=- are in-
dicated, yet the movement of the plectrum is different.
(See the following studies in triplets ttith the carious strokes of the plectrum.)
STUDIES.
MModerate,. $imUe
ft
A - A L^A #,9 .?
iiPPi i pa SmmLJJ\^ J LL'UsUp
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"EARLY MORN."
Arr. by M.C.J.
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BERCEUSE.(Solo.*
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MERRY PRINCESS MARCH.
(For two Mandolins.)
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LIGHT CAVALRY MARCH.
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DANSE ECCOSSAIS.
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HERMIONE MAZURKA.
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THE PHILHARMONICORCHESTRA FOLIO
CONTENTS1. Gavotte celebre Padre G. Martini
2. Moment Musical No. 3 Franz Schubert
3. Capriccio in A Joseph Haydn4. Hunting Song Gustave Lazarus
5. Gavotte and Musette Johann Sebastian Bach
6. Largo from Xerxes George Frideric Handel
7. Bourree in G minor Johann Sebastian Bach
8. Intermezzo (L'Arlesienne Suite) Georges Bizet
9. Turkish March Ludwig van Beethoven
10. Minuet from Symphony in E\> Wolfgang A. Mozart
11. Gavotte from Paris and Helen C. W. von Gluck
12. Hungarian Dance, No. 5 Johannes Brahms
13. Huniorescrae, Op. 10, No. 2 P. I. Tchaikovsky
14. Ballet Music from Rosamunde Franz Schubert
1. 1st Violin
2. 2nd Violin
3. 3rd Violin (substitute for Viola)
4. Viola
5. Violoncello,
6. Double Bass
7. Flute
8. Oboe
9. 1st Clarinet in Bb
10. 2nd Clarinet in Bb
11. Bassoon
12. 1st Horn in F13. 2nd Horn in F
INSTRUMENTATION14. 1st Alto (or Melophone) inEb
15. 2nd Alto (or Melophone) inEb
16. 1st Trumpet (or Cornet) in Bb
17. 2nd Trumpet (or Cornet) in Bb
18. Trombone (Bass clef)
19. Trombone (or Baritone) (Treble clef)
20. EbTuba21. Eb Alto Saxophone
22. C Tenor (Melody) Saxophone
23. Bb Tenor Saxophone
24. Timpani
25. Drums26. Piano
PRICESInstrument Book*Piano Part
Full Score
each .SO
1.00
S.00
All the numbers in this collection may be purchased separately in Small or Full Sets. Forfurther information, complete list of Philharmonic Orchestra Series, prices and other details see inside
cover pages II, III, IV.
OLIVER DITSON COMPANYTHEODORE PRESSER CO., DISTRIBUTORS
1712 CHESTNUT STREET PHILADELPHIACopyright MCMXXXV
MADE INU.S.A.
Boston Public Library
Central Library, Copley Square
Division of
Reference and Research Services
Music Department
The Date Due Card in the pocket indi-
cates the date on or before which this
book should be returned to the Library.
Please do not remove cards from this
pocket.
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