i ‘ B a a ‘i ED William Smaliwood's Pianoforte Tutor Musical sounds are explained by characters called notes, which are named after the first seven letters of the alphabet, namely, A. B. 0. D. B. FG. The notes are written upun what is termed the Stave. 7 ‘The Stave consists of five lines and four spaces which run parallel aeross the book, thas:— % LINES SPACES : = ——t —— 7 == ——S SS The lines and spaces are counted upwards, from the lowest to the highest The names of the notes are determined by tho Clef which is placed at the-2o:mnmneement of the stave. ‘There are various Clefs, but only two are necessary for the Pianoforte: thr Trvble or G Clef, which is placed on the sccond line of the stave and the Lass or F Clef, which is placed on the fourth line of tho stave: SEP—= a 2 d, asa rule, for Pianoforte music, they arr joined together by a Brace, thus:~ Two atayes are requi cble (right hand) _ _ BRACE NAMES OF THE TREBLE NOTES. 3 LINES a ‘SPACES SS Bee op Derr FA Bis onthe tstline, Gis onthe 2nd line, Bis onthe 3rdline, D is onthe Athlinc, P is on the Bth line. F ia in the {st space, Ais inthe 2nd space, Gis inthe 3rd space, B isin the 4th space. The stave in enlarged by added lines, called Ledger linos, and two notes can be obtained by having-aie shasfs Ledger lines below the stave D G d further if desired. 7.2 2s O°. BY A 8 PF ypon the dat ledger line below the Treble stave, Bis below the Ast ledger line below the Treble stave, Alo-upon tho 2nd ledger line below the Treble stave, G is below the 2nd ledger line below the Treble st wm F is upon tho 3rd ledger line below the Treble stave slow tha etave and another above it: an br cari Ledger lines above the Treble stave Ais upon the Ast ledger line above the Treble stave, Bis above the ist ledger line above the Treble stave, © is upon the 2nd ledger Line above the Treble stave, Dis above the 2nd ledger line above the Preble stave, B ismpon the 3rd ledger line above the Treble stave, Fis above the 3rd ledger liny shove the Treble stave, G is apon the 4th ledger line above the T staue. = It is better not to loarn the ledicer linea antil the notes on the stave are conquered, ‘Copyright by Francis, Day & Hunter, EU. Fa D ted 1099. @627As soon as the pupii nas learned the following, so that they aso known on the book at 0: the little exeareisey can be practised after learning tne names of tho Keys of the Pianoforte. 4 Treble notes several of 4 he k ‘The pupil should learn the Treble notes before attempting the Bass. NAMES OF THE BASS NOTES 1 Bs i ——— 4 e 8 FA AO o Gison thofstlinc, Bison tho 2udline, Dison the 3rdline, Pis onthe 4thlin, A is on the Bth line, Ain in tho 7st space, 0 is in the 2nd space, Bis inthe 8rd space, G ia in the 4th space. Babove the lines oe P below tho lines Ledger lines below the Bass stave —S = G is upon the 2nd ledger lino below the Bass stave, _B is below the 2nd ledger line below tho Bass stave, A io upon the 8rd ledger Line below the Bai Ledger lines abovo the Bass stave 2 = _£ € - —_—- = G isupon the Ast ledger line above the Bass stave, D is above the {st ledger lino above the Baus stave, |! Bis upon the 2nd ledger line above the Bass stave, F ia above the 2nd ledger line above th Bays stave, G is upon the Srd ledger line above the Bass stave. = - z > bc Bin upon the Sst ledger line below the Base atavo, D is below the Aut ledger line below the Basa stave, ~ The remarks o0e top of page) in rmgerd to learning the Treble notes apply equally to the Bass, and they papilis advised to mastor thoroughly the following as soon as possible. Bass notes y @ THE DIFFERENT KINDS OF NOTES. THEIR VALUF In modera mosic there «re six different kinds of notes, viz: the Semibreve, Minim, Crotehet,\ Quaver, Semiquaver and the Demisemiquaver. ‘The Semibreve is a round open note ©, the Minim is a round open notewith a stem ?, the Crotchet is a black note with a stem”, the Quayer is a black note with a ster and tail). the Semiquaver is a black note witha stem and two taila snd the Demisemiquavor is a black notowith a stem and threo tails J “Bach note has its corresponding rest, which is equal in duration to the note it Can ' 5 ¥.& D.Ltd, 1079-8627mibreve rest Minimrest Crotchet rest Quaver rest Semiquaver “rest Demisemiqnaver rest The Semibreve rest is placed under a line of the stave, the Minim rest on a line of the stave. ‘There are two forms of the Crotchet rest, as shown above. The Quaver rest tarns to the left, the Semiquaver rest i ith two hooks turns to the left and the Demisemiquayer rest with three hooks turns to the left, jg--=~ The proportion which these notes bear to each other is as fullows ;_ One Semibreve is equal to two Minims, one Minim is equal to two Crotchets, one Crotchet is equal to two i ravers, one Quaver is equal to two Semiquavers and one Semiquaver is equal to two Demivemiquayers, ‘Tho same proportion also applies to the rests. j One Semibreve is therefore equal to 2 minims or 4 orotchets or 8 quavers or 16 semiquavers or-~32 emisemiquavers. One Minim is equal to 2 crotchets or 4 quavers or 8 semiquavers or 16 demisomiquavers. ‘ne Crotchet is equal to 2 quavers or 4 semiquavers or 8 demisemiquavers. One Quaver is equal to 2 miquavers or 4 demisemiquavers. One Semiquaver is equal to 2 demisemiquavers, TABLE, A Semibreve in _ q : ial to 2 vin f or 4 Crotchets ee eee — K A A Ve pas f a ARE Pitahvereeea ebro erent ciety ft t. Adot after a note makes it half as long again: for instance, a dotted Semibreve is equal to 3 Minims, ‘wdottéd Minim to 3 Crotehets, and so on; see example below >a, ‘\ i A dotted a dotted a dotted a dotted a dotted __Semibreve Minim Crotchet Quaver Semiquaver i ——- = = + SSSS- 43 equal to is equal to is equal to is equal ta —- +~ is equal to~ } cat inims 3 Crotchets 3 Quavers 3 Semiqaavers 3 Demisemjgaavers = = ae = = {= ea = ee g Sometimes Notes are double dotted, that is, have two dots after them; in this case the notes are increased -e fourths of their original value. w Thefabove remarks pi exactly the same respecting rests; therefore, the dots increase the duration re the rests in the same proportion that they do ¢o notes. Fa D. Ltd. 1079-8627 4 aeON TIME | Bars are short upright lines drawn through the stave which divide the mesic into egual portioas tie SS] onto bars divide the aus into strains "The Semibreve is considered the Standard note by waich the measure of the different species of time is fi The time signatures are placed at the beginning of & piece. - Simple Common Time * stands for Common timo with the value indicates two fourths of a semibr of a semibreve in each bai 3 each bar— t200 Crotchets _cxe-Simple Triple Time ae dicates thee quarters of a semibreve indicates three eights of a semibi = in each bar—three Crolehets, each bar— ¢hrea Quavers. 1 ‘The above examples are Simple Time. In all cases where the upper figure is less than 6 it is Sim Time, bat when the upper figure is 6 or more than it is Compound Time, There are then in following different kinds of time, vis; Simple Common Time and Compound Common Time; Simple Triple Time and Compound Triple Tim Compound Common Time 5 indicates that there are 6 of the eight = | twelve quavers in @ bar. ‘neat aap ges gr Se +285 eS quavera which make a semibreve in each bar There is only one species of Compound Triple Time in genvral use and that is— _ or nine quavers in a bar. figure is even, it is Common Time, if odd it ix Triple Time; also, if the upper figure is less than. | Simple Time, but if 6 or more it is Compound Time. F | g ae & PIANOFORTE KEY BOARD ;| ‘To know whether a piece is in Common or Triple time, it will be necessary to observe that when iL | " ‘ elalalalcfole| rlalalelcfolelrialal al ole |r olalniclole| “On examining the Key board of the Pianoforte it will be observed that there are White and Black Keys former represent the natural notes, and the latter the flats and sharps. The Black Keys are divi alternate groups of two and throe, and considering this,the names of the White Keys are readily known." make this very easy to remember, Dis between the two black keys). B is on the right of the two black keys; Fis on the loft of the three black keys Gis above the lowest of the three black keys; Ais above the middle one of the three black aj Bison the right of the three black keys; Cis onthe left of the two black keys, J Fa BLU, 1079-8827PREPARATORY LESSONS ~ “sastands for the thm — 4 for the fret finger— 2 nceond finger—4 third firger—6 fourth finger ges TL Ferd Meenerre engine : 2 jBlowand distinct” HUGHT HAND ONLY” | Semibreves. ‘ : Count 12 ,, Crotchets a e sont 1 2 3 4 avers k Q 18 Count 1a2aaasa Tavadaia Bemiquavers Dimas oa 8S 8 8 wae Bont oa cee Pa sa Toa ea Fa te a4 bos ae ‘Slow and distinct LEFT HAND ONLY emibreves. 2 1 i yount 1234 1 Minums gait (2 Rak ea es Ore Crotchets 4 ‘oun 1B Quavers s2ttea gasztere A cere eee pout 1 A244 3444 1H8243 444 veri 1az&3aae 1234 Ff D.Ltd, 1079-8127 =ee SN SS Roker wan yor \WAPERennensen ) Stow and distinct —— Quavers : tessseae 43e44]1g24 ase zie g2ieg Count 142434441 a2atede sete zeiza Semiquavers (f= SS 3 bees e223 24542 ad arise afra ca tae a hae aby Siow and svex gounting iy essential. Endvavear te Waiahala Uxink Uma in. wh wrunianee. 1 Vorrect fingering as chowa mast be used to ensure emooth playing Begin these exareises slowly and gradually increase speed. Lon't memorise tbr sound,but read every note aud play it as written with its correct time value. Fa D. Ltd. 1079-6627PREPARATORY LESSONS (continued) ae zh a2 a Common time — four quavers in a bar. aoa 2.3 232 Count 1 2 3 4 12ad]i2a4 i i | i 1 1 2 eee 1294 sft fi | WALTZ. Triple time — chree crotchets in a bar The dots at the donble bar signify that the parts are to be repeated hese wxercises must be carefully counted daring practice. as they show the different kinds of time i comtnon B.A D.Ltd, 1079. 9527PREPARATORY LESSONS (continued) ___. Common Time—‘four crotehets in a bar Gout 1 234 12a4a;1234 1234 44 1234 za 1234 ates pasta tse za Common Time — four quavers in a bar =} Cunt 1a valiag 3 a4 are dna La2elie2 Laz cr 1 tere Triple 1 Count Pa D.Ltd. 1079-8627Count 1 2 3 4 2 © Compound Friple time — nine quavers ina bar. area = not too quick Sg: { 244323 9. eerie eitar Goount123456789/123456789/123466789/123466 780 4 1 1 ‘ 1 2 ae — cc LL —— Fa D. Ltd, 1079-8627- DAILY EXERCISES aa ‘To be played slowly at first, with increase of time as the pupil improves, ae | Saas 46. 394356 tees 2433 35932432 3593 cane 47% as8 aie aste,| yiegt zalsttssta fetes 2 2 3434 C4 54azan 15453525 15455535 teszieae sesziese 1S4tsael Double notes pit 3 * triplets i Peg bos 16 40-08 aay zetse za45s pea z cL eV GET “se [eye Srey FT ee es a Be ipl se a j =n Poe m Sate ts oe \ PRELUDES, LESSONS, FAVOURITE AIRS, &c., in Familiar Keys ' PRELUDE, KEY OF C | t Moderato 23 2 2 “When the figure s is placed over a group of threo notes, it indicates a Triplet; that is, threo notes arq layed in the time of two of the same sj t Various Italian Terms aro used to signify the speed of the different pieces; refer to the list at the) ad of the Seok. S stames for Forte—loud; p for Piano. soft; pp- for Ptanissimo — very soft. ¥,4 D.Lté, 1079-8627fale of C ennning two octaves shoald now be practised from the table of Scales at the end of Hook (page 50), mre °o F@ pitts, 1079-8627Allexretto HUNGARIAN MELODY : ; $ $ a4. Moderato extend, y 3 piece commences with only a portion of a bar (as in this instance), the last bar of thu strai ist eontain oaly as much as is wanting to make it complete at the begining. Lu Capo, of B.C., weans go back to the begining of the piece. Finish where the word Fine is place - Ea D.Ltd, 1079-8627Moderato , QUICK MARCH 4 ‘The curve over the notes signifies that they have to be played smoothly from one note to another. va signifies that the notes are to bs played an octave higher than written ‘The Seale in contrary motion should bo practised over and over again playing the last note (the semibreve) y when finishing. Fa D.ttd. 1079-8627n It will now be necessary.to notice the different characters term Sharps, Flats and Naturals ae \ On the Pianoforte each Black key has two names; for instance the black key between C and D is C sharp and D flat; the black k between D and E is D sharp and E flat, and so on The sharp (#) raises the note before which it is placed a semitone, — which is the next black key to the right The flat (b) lowers the note a semitone, which is the next black key: to the lefi. altered by a sharp or flat It will be observed that there is no black key between E and F, and between Band C. When E # is wanted it will of course, have to be © played on the white key to the right, and Fb on the white key to the left. These latter, however, the student will not require for some time come, as they only occur in extreme keys. When sharps or flats are placed immediately after the clef at the commencement of a piece they signify that all the notes of the same name are to be played sharp of flat throughout the piece, or so far as a change of key, whicir would be indicated Accidental sharps, flats, or naturals which are inserted before notes in the course ofa piece only effect those before which they are placed, or throughout the bar s-which they occur. F&D Lid 107% 882% ae weeny wanes) sae iyKEY OF G = The Key of @ requires one sharp: Pf PRELUDE Moderato Andante 4 me Pe _—— “The Crescendo ———=——=—— signifies a gradual inerease in the ‘one. Diminuendo —————— jst the eantzary. Fa D.Lte, 1079-8097 1 aHOME Andante 2 i 1 Home, _| nome. home, jean I fors| get no, home, stilt I re-|gret [there wotld I - | be, quick-ly 1 }eome home, home, thee? ry did 1 Hteave thee? thee, once more..re-|ceive me, Dear, Dear, Far, Soon, Dear, f Dear, dear - ly Itriends, do loved not em mourns though 1 1 will dear, dear, art thou to dear-ly loved THE BLUE BELLS OF SCOTLAND. Moderaio Ss a TS 4 Practise nowthe seale of G from the Table at the end of the book ( WON'T YOU BUY MY PRETTY FLOWERS 4 2 cD any Ategre eee cog et Sz Sas fear tights [gtitter, [stands a | ut- er [go ing, [xen and | women aft Radi 1078. sea7feet ai Heed - tess | of ” uhe-|night winds |bit-ter | Av they Heed - tess | of the |tear- drops [gleaming | Inher fer cuing’ ye |eold and un-|need-ing | in is |sigh-ing } in Itrea - sioot q SS =e | Quint ano [erice with [tear - tor [ptead-ing [Wort you [osy may [prer-ty | flowers" On - ly |lis - ten | to ner |ory-ing |"Won't you |buy = my_/pret-ty flowe3?" | fs and |wea-ry, | In Cry -,ing ev - ‘ry |night 80 Jarea-ry, "Won't you |duy my SCALE IN CONTRARY MOTION i ae ee oo za ae, 12be = 735 F aD.Ltd. 1079-8627sie a KEY OF D i Tho Key of D requires two sharps; Fy and C} a PRELUDE Mederato Andante 8 2 z 3 BOHEMIAN MELODY i J 4, Repeat the Treble || 82S higher Repeat the Treble 8 higher T Practise the Scale of D at the end of the book (page 50) ql Allegro - FAIRY DANCE . i —3 21 8—s7T OS a1 is S93 + ba et z *The tie over two notes which are the same signifies that the second is not to be played but held dv f the length of the two. Fa D.Lid. 1079-8627 % seaaiinnmmenginisirt ng) *Allegro Repeat f and the Treble 8° higher Repeat fand the Treble 8°@ higher ==" F.&D.Ltd, 1079-8627KEY OF A The Key of A requires three sharps; Pj, Cf and G} =) PRELUDE .? Moderato gi Repeat the Treble 84 hisne AIR — IN LUCIA DI LAMMERMOOR ef i Andante DONIZ faarer assy 4 ie 1 count 4 |123 4/1423 4 2 Practise the Scale of A at the end of the book (page 51) SCALE IN CONTRARY MOTION Fa D.Lta, 1079-9627PRELUDi Moderato 1 ais KEY OF E at j Whe Moy of M requires fous aharge; PH, Of, OF and Di and then held down durin *Tho' dotted minimin the bass of each bar is struck a# the first note, the whole bar. i Fa D.Ltd. 1079-6627 nfPl KEY OF F % 5 The Key of F requires one flat; By PRELUDE Moderato i a : P = 45 Fe i CARNIVAL OF VENICE 5 4 Practise-the Scale of Fat the end of the book (page 52) \ MERRY CHRISTMAS MAZURKA i Moderato =a sosRepeat f and the Tebte y00 higher Repeat f and the Treble 8° higher AULD LANG SYNE a D.Ltd, 1079. 9627Andante tranquillo Ssss js? tetee 29% 7 : z \PPcrimmes * ye 2 1, | orese Hold the semibreves their full length oT leat ¢ ST. PATRICK'S GUILD MARCH ot ag meee : 4KEY OF B FLAT a The Rey of B flat requires two flats; Bb and Bb PRELUDE Moderato DUBLIN ~ (Valset iepeat Yi and the Treble 8¥4 higher Repeat |f and the | Treble 8° higher Practise the Scale of Bb at the end of the book (poge 52 SCALE IN CONTRARY MOTION a3 poate zt ae: Pettey ott: 737 Fa Dita, 1079. 8627 ee a a aKEY OF E FLAT r ‘The Koy of B flat requires three flats; Bb, Bb and Ab oe PRELUDE ‘ Moderato spite Le, ae = : = Practise the Scale of Eb at the end of the book (page 52) jl AIR from LA SONNAMBULA, ' Andante : ; BELLINKEY OF A FLAT aa ho Mey of A fiat requiran four fate, Bh, by Ab and Db PRELUDE ae Moderato ‘ _ 2 er some ot28 ‘ Compored by H.P. DANI Arr, by WM SMALLWO SILVER THREADS AMONG THE GOLD Andante cantabile2 THE DIATONIC SCALE OR SCALE OF NATURE ‘The Diatonie Scale consists of five whole tones and two semitones; tho semitones occur in the Major mode: (In ascending between the 3rd and Ath and between In aescending between the 8th and.7th, and the the 7th and Sth degrees of the Scale thus:~ 4th and 3rd thas:~ Key of © Major 7th 8th 8th 7th ee Semitone Semitene Semitone Semitone oe Rey of @ Major — Semitone Semitone Semitone Semitone THE MINOR SCALE = be " i — - “tthe Minor Seale differs from the Major in the position of the semitones, also the descending minor scale is different from the ascending. The semitones occur in ascending between the 2nd and 3rd, and between the 7th and Sth degrees of tho scale,-and the 6th is raised a semitone also, In descending, he-Yth and 6th are flattened a semitone, and the semitones occur between the 6th-and Sth, andthe 8rd and. 2nd; 3 > || Tho Minor, Scales and Keys have the same signatures as the relative Majors; the Minor Key being a minor third, below the Major Key. Key of A Minor i: { T Semitone fesiiose coe Semitone Minor third below 0 Major | Key of B Minor Semitone Pomutene Semitone Semitone Minor third below Major ‘The:-relative- minor of-0.Majonie A Minor 2 iB Minor B*Mitor © bf A “Major! in FH Minor, of E Major is C# Minor F.& D. Ltd. 1079-862730 © SABBATH MELODIES TO CELEBRATE THY FRAISE, 0 LORD To {eel - o-|brate Thy praise, © Lora, 1 [wilt gel my |heart pro-/-pare, ht of [them shail | to my |soul Ex-Jalt.- ed [plea - sure| bring, { alt the fist ~ ning Jwortd -tThyz:|works, Thy [won - drow |worke } tocegBpyg name, 2 | Thou moathilttign, Tetum - phant [praise \ — SWN OF MY SOUL, THOU SAVIOUR DEAR. 24 teeth a 3 4 fi Andante aaa tT seul, Thou |Sa - night . 4 viour | dear, is’ not id ii ols soe oe earth-born fetoud a - Oh, may no ser - vant To hide Thee [from Thy eyes, OFT IN SORROW, OFT IN WOE, 3 2 5 eft in woe, On - ward, oft in on - ware oS cgeal Te Chris-tian, “yt Saas =r | vie the Jeter main inn the | ert, Psicnct-ont fin tho fleas | J td ial jd salipn | == SS E The complete words of the tymns may be found in any of the popular hymn books. Fd D.Ltd, 1079-8827_.... SABBATH MELODIES THROUGH ALL THE CHANGING SCENES OF LIFE ~ as 32S wae ye ae the Joharg ing fecenes of tite, In {trou - ble gorge Sweet is " i ‘lez daft. To show Thy PARISIAN MELODY — CU!LDREN OF 1i!E HEAVENLY KING =F Sing your praise, io-rious Jin Kir 2 ©. oe 2 ——— = Fa D.Lta, 1079-8627SABBATH MELODIES INDIAN MELODY — THERE IS A HAPPY LAND a5 5 Inap-py land [Par tar a-lway, Wherosainta in | gto- ry stand [Bright,brightas | day.) Kept by a | Father'shand| Love can-not| die. ‘There is a Bright in that|hap-py land [Beams ev.’ry | eye; ©, how they|aweetly sing, Wor-thy is our|Sa. viourKing,|Loud tet His |prais-es ring, Praise praise for aye, On,then, to | glo- ry ran, | Be a crownand|King-dom won, |And bright a-|bove thesun,|Reign, reign for aye. + FAVOURITE CHANTS SINGLE CHANT TALLIS SINGLE CHANT 2 FARRANT 5 48 aad pee DE. = eo ldd| | [oi ldcle SINGLRB CHANT W, RIDLEY SINGLE CHANT PURCELL oy + e NF a SINGLE CHANT : A.T. TURNER SINGLE CHANT PURCELL 2 249 9 (Cr Battaraty 8 ; PrP = Efe: GRAND CHANT PELHAM HUMPHREYS SINGLE CHANT wm SMALLWOOD ‘ fu AS ong ba, 2 dd\d 4 e Fa D Ltd 1079-627FAVOURITE CHANTS . DOUBLE CHANT De CROTCH voy sos DOUBLE CHANT Ww RIDLEY “DOUBLE CHANT win SMALLWOOD Le [43 DOUBLE CHANT Earl of MORNINGTON rir RaD.Lta. 1079- 8627SABBATH MELODIES 3 ‘THY WILL BE DONE Moderato My |oed, my [7a- ther, [white 1 {stray Far from my |home, on |tifes rough |way i alate teach me [from my Ineart to | say, Thy wilt be [done, Thy ROSSINI ‘Moderato —— b ne x Fat D Ltd, 1679- 827SABBATH MELODIES ee ONWARD, CHRISTIAN SOLDIERS Moderato Andant) Py dbb DUETTINO — SWEET SMILES SECONDO Moderato ‘a 5 5 5 SECUNDO Moderato pastas yt P| Count 3 Repeat f | pian tenn res Fa D-Ltd, 1079 -8027.-~oom memary russ gRERBREM Nt —— BU ETTING — SWEET SMILES PRIMO - Moderato aye" Repeat f Repeat f DUETTINO ~ FAIRY WALTZ te eee ee ee ee 14a2aaa oe Repeat. Fait eam > emas DUET — MARCH AROUND THE MAY POLE SECONDO Mode! Fb D.Ltd, 1079 8u27DUET ~ MARCH AROUND THE MAY POLE PRIMO Ls : . = L : i a If , Fa D.Ltd, 1079-8827WOODLAND REVELS ay? GAVOTTE Allegretto _ aa asp es aap et 1) tea Os A Fd D.Ltd. 1079-8627 \ ) i oe ‘ 8 malities? meats, ‘meal ‘mah wm) ‘wm ‘umd edRepeat fand the Treble SYA higher NEW KILLARNEY POLKA Tempo di Polka —_ my se a SceTET Le ee i we a, PGs ee Soe. ? Repeat fand the Treble 84 higher | °F Repeat f and the | le 8% higher4 INTRODUCTIONS, OR CADENCES, IN VARIOUS KEYS MAJOR AND MINOR Key of 0 Major Key of A Minor Key of @ Major Key of E Minor ‘ Key of D Major Key of B Minor Key of A Major Key of PF} Minor =S= = Key of F Major Key of D Minor Key of Bb Major Key of @ Minor f Sma Key of F Minor Key in Key of Bb Major Key of © Minor Key of A> Major a “ue Ft D, Ltd. 1079-8627ie CLASSICAL MELODIES = fae ROMANZA f Andante on ceil STZIBELT te * a ” se MOZART. These Classical Melodice may be given with any of the other lessons, at the diseration of thy Tesch They Will be found to be excellent practic E@ D. Ltd, 1079-827Valse modorat~ —— Ze sa hey seston Tp tt Deal FineCLASSICAL MELODIES “ RONDO Moderato, ' i ZAYDN : Moderato Arranged from BEETHOVEN ‘This beantifal Melody may be sung to the popalar missionary hymn, A Fa D. Ltd. 1079-8627ss CLASSICAL MELODIES RONDO Meloni Wks ot ht , P Sako sl coll cee NATIONAL ANTHEM ~ GOD SAVE THE QUEEN Moderato rane 8 fiw Sat 2 1 God’ savy ur” [ert elem Queen, Long tive aur vie queen, {ud sove the Ques v , = “Tf ae Se SS to-ri- ow, Hap-py and 2 4 Q Lord our God acise, ‘Thy choicest gifts in store, Meatter her enemicss On her Ue pleased to pour, ‘And make them fall Long may she reign. Goafound their polities, Mayahe defend our Laws, Prostrate their keavisn tricks, Ant ever give us cause Om thee cur hopes ve fix To sing with heart and voier, God save the (ure God save the Queen. Pid D.Ltd, 1079-8627 o_o a os ep ot as ep we — woe me tee ‘ee ee een eeGRACES OR NOTES OF EMBELLISHMENT . The most important Graces in music are the Appoggiatara, the Turn and the Shake, the Appoggiatura is expressed by a small-sized note, placed before the principal noto. It borrows le-half the value of the principal note, unless that note is dotted, in which case the appoggiatura, rows two-thirds of it fritten thus: If the small note has a dash drawn through it thus: JY it is played smartly, quickly. layed thus: The Turn, (%, or 2) consists of a principal note and the notes above and bvlow, it should be played with decisinn Written thus: = Turn upon the note. Inverted Turn, Tura witha sharp, Turn with Aint. Tarn over a nate fine == =p =I The (t) is a rapid alternate repetition of the principal note and the note above, It generally ead: with fa turn, & * Written thas: a = = ee == Y ptayes thas Commencing with the principal Commencing with the note above Played thus } ‘The Transient or Short Shake OF the Tromando Written thus: Written thas: tr ca * ca — SS a Played thu: “The Waved lino, thas} or the Ourved line, thas ( wha placed before a chord, signifies thst the notes are to be played in the Arpeggio atyle, that fs, to comeence with the lowest aoto of the chord, ard proceed ina quick and regular sncees to dcwa when strack Played thas: P.AD,Lt4 1079. 8427at SCALES Scales must bo practived slowly at first, then more quickly by degrees as the pupil inpiore We The handy may yo practised separately at the commencement The ewreful practice of the Seales is of the greatest possible importance. Cc MAJOR B trate t Trump) vo GE pet Se peg. Bol ay Pe eS a —— =e MINOR aie tote the bes Thumb (i) on A & D 2 Thum (G MAJOR ‘Thumb (1) on G & C E m1 Trumb(i) on B& A ist Thum. D MAJOR Thumb(i) on D&G Tum (i) on Thumb (1) Be particulay to observe where tho thumb is to be pl Pa D.Ltd, 1079-9027A mason Thomb(i) on ASD E mason B MAJOR FA D.Ltd. 1079-9087basil 1079-8427 Rapid NOR F MAJOR G MINOR Eb Mason Dm By MAJORAb MAJOR 3 F MINOR sana e Bb bao eyzita oi 2 D> MAJOR G> MAJOR —_ Fa D, Ltd. 1079-8627 oaCHROMATIC SCALE rarir A FEW QUESTIONS WITH THEIR ANSWERS ON THE THEORY OF MUSIC Q What does a Common Chord consist of? A A bans note with its 8rd and Sth, the octave to the bass being. gonerally added. Q What are the attendant Harmonies to the chord of the Tonio? Q What is an octave? A Anceighth. = Q What aro English terms for the notes which form an octave? A The key note is called tho Tonic; the 2nd above, the Supertonic; the 3rd above, the Mediants the 4th above, the Subdominant; the &h above, the Dominant; the 6th above, the Submediant the 7th above, the Leading note; the 8th above, the Octave, Q What is Moddlation? AA change of Key. Q What is the differonce between gradual and abrupt Modulation? A Gradual Modulation is a change into some Key which is the nearest and most natural to the one in which the composition is written, while abrupt Modulation is a change into some distant Key. Q What is a partial “Modulation? ‘A _Acchange of key which is no sooner made than it returns at once to the original Q What is Transposition? ‘A The art of removing a composition into a higher or lower Key, 80 a8 to be betteradapted to some Ys 80 as to P psvticalar voice or instrument. Q What is Melody? AA succession of single notes or sounds. Q What is Harmony? (A Two or moro sounds heard at the same time in proper order. Fa D. Lee. A The Chords of the Subdominant and Dominant. Q How many sounds does the chord of the Dominant 7th consist of? A Four, the chord of the Dominant and its 7th added, the 7th being a whole tone below the octave, Q For what reason iy it called the Dominant 7th? A Because it decides or governs the Tonic Harmony by containing those sounds which are not to be found in any other key or scale, Q What is meant by a Pundamental Bass? A Those notes are Fundamental which make tho foundation of any certain chord, Q What is a derived Bass? A_Those basses which derive their harmony from Fundamental notes Q Which are Major and which aro Minor semi- tones? A Prom C to sharp is a Minor Semitone, from 0 to D flat is « Major Semitone. Q Whether is the Major or Minor Key the most perfect? and A The Major Key is perfect, but the Minor is imperfect, insomuch as it always wants the assistance of a sharp, or natural, as the case may be, to form its leading note. |. 1079-8627 aCommon Chorde Tonic in 8 positions Subdominant in 8 positions |! Dominant in 9 positions- Root Basses Roots Roote Derived Bassva of the Common Chord Chord of Dominant 7th Chord of tho 6th Chord of the '} —— = ——— Dominant 7th in 4 positions Roots Root 3rd below Root Sth below Derived Basses of tho Dominant 7th = ‘The Chord of the added 9th is a combination of the Dominant and Subdominant Harmonies SS SS SS “Root 3rd below. Root Sth below. Root 7th ' Dominant Subdominant. added 9th Harmony Harmony ‘Tho Major Scale harmonized introducing the Chords explained above This line shows the [Roots of the Chords P.& D.Lt4,1079. 8627decelerando — graduclly inereasing the"pace: {dagio — very slow {7fetuoso — tenderly {ndanle — rather slow Megro — quiek, cheertully. (Llegretto — not 60 quick xdlegro. (aimato — with spirit (d libitum or Ad ib, — at pleasure jrillante — in a brilliant, showy style. alando — diminish the time and sound by dogrees. ‘on spirito. — with quickness and spirit. rescendy — increasing the sound gradually. anfabile — in a graceful and singing style. Jolce — sweetly, softly Diminuendo.— diminishing the sound gradually. Ja Capo or D.C. — go back to the beginning. Jeciso ~ with decisiou; boldly. i bspressivo — with expression. vorte or f — loud. fortissimo or ff — very loud. urioso — with fury. Porsando or fs — to mark well one or more notes. jrave — slow, solemn jrasioso — in a flowing, graceful styl: Large — a very slow movement Larghetto — not so slow as Largo Lento — in slow time Legato — in a smouth conneoted-manner, F @ D.Ltd. 1079-8627 tb Loco — play the notes in the position’ in whic! they are written and follows either of the ¢ avd higher or gva bassa Maesteso— majestic Messo Furle or mf — rather loud. g Messo Pianoor mp — rather soft. & Moderato — moderately quick i Non troppo — not too much Presto ~~ very quick. 8 Prestissimo — as quick as possible f Piano, pia or p — soft. Pianissimo or pp — very soft. | Poco — « little. & Poco a poco — little by little. Pomposo — with dignity and grandeur. | Rallentando or Rall — gradually becomin, slower. e i \ { Ritardando or Rit ~ retarding, delaying the | tempo. Risoluto — firmly, decided. u Schersando — ina playful, light style. # Sforsando — sce Forxando : k Sostenuto — to sustain every aote to its full | length, Staccato — short and distinet 2 Tema — a theme, or subject; a melody Tempo primo ~ tims as at fiest 4 Tenuto or tea Sustenuto Tremando — with a trembling effect Vigoroso — with strength and firmness Vivace — brisk and animated - Polti Subito or KS. — tarn over quickly.