http://www.free-scores.com

4L

Digitized by the Internet Archive

in 2014

https://archive.org/details/howesnewclarioneOOhowe

HOWE'S NEW

CONTAINING FULL AND COMPLETE RULES, EXERCISES AND INSTRUCTIONS, TO ENABLE THE LEARNER

TO PLAY UPON THIS FAVORITE INSTRUMENT

wnmovT A MASTER.WITH A LARGE COLLECTION OF POPULAR

POLKAS, SCHOTTISCHES, WALTZES, QUICKSTEPS,

MARCHES, QUADRILLES, &c.

COMPILED BY EL IAS HOWE. Price 60 eta. nett

BOSTON

:

OLIVER DITSON & COMPANY.New York: C. H. DITSON & CO. Chicago: LYON & HEALY. Phila. : J. E. DITSON & CO.

THEATRICAL AND TECHNICAL MUSIC BOOKS.

<f BOOES ON MUSICAL THEORY.*-

ALBRECHTBERGER'S HARMONY $4.00

BAKER'S THEORETICAL and PRACTICAL HARMONY 2.00

BERLIOZ'S INSTRUMENTATION Cloth 4.00

CHERUB'NI'S COUNTERPOINT and FUGUE 2.50

JOHNSON'S HARMONY. By A. N. Johnson 1.25

JOHNSON'S NEW METHOD OF HARMONY 1.00

JOHNSON'S NEW METHOD OF THOROUGH BASS 1.00

OLIVER'S THOROUGH BASS 07

RICHTER'S COUNTERPOINT. Translated by Franklin Taylor 2.00

RICHTER'S MANUAL OF HARMONY. Translated by J. C. D. Parker 2.00

RICHTER'S TREATISE ON FUGUE. Translated by Arthur W. Foote. 2.00

SARONI'S THEORY OF HARMONY 1.25

SOUTHARD'S THOROUGH BASS and HARMONY 50

WEBER'S MUSICAL COMPOSITION 2 vols, each 3.00

WOHLFAHRT'S MANUAL OF MODULATION 50

* TEXT BOOKS and MANUALS.*-

BOSTON ACADEMY'S MANUAL. By Dr. Lowell Mason $1.00

CALCOTT'S MUSICAL GRAMMAR 1.00

HOOD S MUSICAL MANUAL 40

HOW SHALL I TEACH? By Dr. Lowell Mason .38

Any book wilT be mailed,

MANX'S GENERAL MU&loAu iNdl'Kwwtiwitw *2.M

MATERIA MUSICA. By J. O. Enjjelbrecht 75

MUSICAL SCALE. By Ho 'oP. Biddle Cloth 1.50

OLIVER'S T€XT BOOK.... 67

OUTLINE OF MUSICAL FORM. By W. S. B. Mathews 60

PESTALOZZIAN MUSIC TEACHER. By M uson and Seward 2.M

PHRASING, as applied to Piano Playing. By A. W. Marchant .40

PIANO TEACHER. Translated by John S. Dwight 38

TUNER'S GUIDE. For the Piano-forte, Organ and Melodeon 60

DICTIONARIES, PRIMERS and CATECHISMS.*-

STAINER and BARRETT'S DICTIONARY OF MUSICAL TERMS 4.00

BUCK'S DICTIONARY OF MUSICAL TERMS $ .45

FIVE THOUSAND MUSICAL TERMS. By J. S. Adams 75

LUDDEN'S PRONOUNCING DICTIONARY OF MUSICAL TERMS 1.25

LENHART'S ELEMENTS OF MUSIC 5C

MUSIC EXPLAINED TO THE WORLD. By F. J. Fetis 1.5ft

CLARKE'S MUSICAL CATECHISM 38

PETERS' BURROWES' PIANO PRIMER 50

PETERS' ELEMENTS OF THOROUGH BASS 5C

PETERS' BURROWES' THOR. BASS PRIMER and COMPANION 7o

PIANO-FORTE PRIMER. By E. Pauer 1.0.

PUPIL'S FIRST PRIMER. By F. H. Brown 5t

post-paid, tor retail price.

«. II. Blu«> * Cm..Ml HroaUway, Nnr York.

^u^C OLIVER DITSON & CO., Boston.1IOI * MEALY, CklMfk m 1ZH Chestnut 8t., Philadelphia.

HOWE S NEW

CONTAINING FULL AND COMPLETE RULES, EXERCISES AND INSTRUCTIONS, TO ENABLE THE LEARNER

TO PLAY UPON THIS FAVORITE INSTRUMENT

WITH A LARGE COLLECTION OF POPULAR

POLKAS, SCHOTTISCHES, WALTZES, QUICKSTEPS,

MARCHES, QUADRILLES, &c.

COMPILED BY ELIAS HOWE.BOSTON

:

OLIVER DITSON & COMPANY.New York: C. H. DITSON & CO. Chicago: LYON & HEALY. Phi la. : J. E. DITSON & CO,

MUSICAL INSTRUCTIONS-ft- /

The Treble or G Olef, taus, 2g is used for the VIOLIN, FLUTE, and CLA.RIONETT, &o.

CHARACTERS OF THE NOTES AND THE PROPORTION THEY BEAR TO EACH OTHER.

Whole Sound

.

HalTPS.

Quarter!

Eighth*.

Sixteenths.

6Thlrtr-aaeoads.

9 9

1 Semlbr«r»ala equal t*

'2 minima.

4 Crotcheta

8 Qnarers.

1 0 SemiqntiTcro.

3 2 Dtmlserohoaiff*

FIGURE, LENGTH, AND RELATIVE VALUE OF NOTES, WITH THEIR RESPECTIVE RESTS.

Httea.

eata.

f*

SemibreTe. Minii Crotchet. Qanrer. Srmlqoarer. Demisemiqaarer.

E = _. ^2=:

A Bar Bent. J Bars.m 3 Burn.

EXAMPLE OF RESTS.4 Bars. 3 Bars. 6 Bars. 7 Ban. 8 Bars. 9 Bars. 10 Bars.

HEEHA £ki after a Note, or Rest, makes the Note or Rest half as long again.

, Written.

EXAMPLE.t-1

Played.

it

-i

H tz|— II

itstn Co.

MUSICAL RUCTION&. 3

A Tie or Slur - —> placed oTer two Notes of the same nitch, binds the seornd to the first, so that only the first is sounded, but the sound is continuedthe length of both Notes on different lines or spaces, shows tnat they must be pla /ed in a smooth connected style, continuing each Note its full length.

This style of playing is termed in Italian, Legato, written thus :

The opposite style of playing, termed Staccato, de- p ~j~ or thu) ;

notes distinctness and shortness of sound, written thus : Fj J

means less staccato, means stIU less

Staccato.

Written. Plajed. wt f

-R.

The Bar, made thus,

TIME AND ITS DIVISIONS.

divides a musical Composition into Equal Portions of Time.

Time is divided into two sorts, COMMON and TRIPLE, each of which is either Simple or Compund ; and the Character, or Sign, which denotes it, is

placed at the beginning of every Composition, after the Clef.

SIMPLE COMMON TIME.When marked thus, Q [ denotes, that each Bar contains one Semibreve, or its Equivalent And is timed by Crotchets in quick movement*,Wben marked tbus,

\f! d<

and by Quavers in /Pt\C ~"r { 5s!i

EXAMPLE.—^-^=4—j—-P1 - +=====:=

f=-A:t:

When marked thus,

EXAMPLE.

the Bar contains two Crotchets or their Equivalent.

Counting in music should be like the pendulum of a clock, even and exact, as the notes must be timed by it.

4 MUSICAL INSTRUCTIONS.

FIRST SORT.Count 12 Quavers hi a Bar, or 4 dotted Crotchets, or their equivalent

3

COMPOUND COMMON TIME EXPLAINED.SECOND SOW.

Count 6 Quavers in a Bar, or 2 dotted Crotchets, or their equl' »lwrt.

THIRD SORT.Count 12 Crotchets in a Bar, or 6 Minims, or their equivalent.

& BE p p p p zz za:

Tbe two last sorts are very seldom used in modern music.

I

FOURTH SORT.Count 6 Crotchets in a Bar, or 2 dotted Minims, or their equivalent.

-P "PP" P=*=*I

Three Minims in a Bar, or their equivalent.

SIMPLE TRIPLE TIME EXPLAINED.

Three Crotchets in a Bar, or their equivalent. Three Quavers in a Bar, or their equivalent.

Compound triple Time is seldom used in modern music.

The Figures, which mark the time, have a rcferenoe to the Semibreve ; tbe lower number, showing into bow many parts the Semibrevo is divided ; and tbe

opper number, how many of such parts are taken to fill up a Bar.

For example, ? denotes that the Semibreve is divided into four parts, namely, four Crotchets ; and that two of them are taken for each Bar.Likewise 2 indicates that tbe Semibreve is divided into eight parts, namely, eight Quavers ; and that three of them are adopted to complete a Bar

The Figure of 3, placed over three —3-

Crotcbets, Quavers or Semiquavers, thus,|

* P-j

P~4~~^ m |#

ca^e(* Triplets, denotes that tbe three Crotchets

I

~|~[_^]»»»» [

~^iii mm^ - must be performed within the time of two common

Crotchet* ; the three Quavers within the time of two common Quavers ; and tbe three Semiquavers within the tune of two common Semiouavers The Figurf

S denotw that six notei must be performed within tba time of four of tbe name kind.

MUSICAL INSTRUCTIONS.

ACCIDENTS.

Each Sound may be altered by adding any of the following Signs :

A Sharp # placed before a note, raises it a Semitone or Halftone.

A Flat b placed before a Note, lowers it a Semitone or Halftone ; and if the Note is a B, to which the Flat is prefixed, it is then called B FlatA Double or Chroma ic Sharp X raises the No;e two Semitones.

A Double Flat b|) lowers the Note two Semitones.

A Natural ^ takes away the effect of a Sharp, or Flat, whether single or double : and a ^# or £b reinstates the single Sharp or Flat.

When a Sharp is placed

elose by the Clef, thus,

When a Flat is placed

elose by the C lef, thus,|

; it affects every F throughout the piece; except where the Sharp is contradicted by the Natural,

it affects every B throughout the piece;except where contradicted by the Natural.

The same rule holds, when more Sharps or Flats are placed on the Clef.

When a Sharp, Flat or Natural is prefixed to a Note, in the course of a piece, it affects all the following Notes of the same name contained in theBar ; it is then called an Accidental Sharp, Flat, or Natural.

1st EXAMPLE. As Written.

ft

As Played. 2d EXAMPLE. As Written. As Played.

3d Example as if written thus,

Which Abbreviations are a Modern Improvement.

The foregoing Rule extends even to the first Note of the subsequent Bar, when the affected Note is the last of one Bar, and the first of the next

Example. as if written thus,

And the same with Flats and Naturals.

The order of Sharps at the Clef,

dwo'nding by a 4th and ascending by a 5th.

The order of Flats at the Clef,

ascending by a 4th and descending by a 5th.

6 MUSICAL INSTRUCTIONS.

TRANSPOSITIONS OP THE KEYS OR SCALE.When C is taken as one, as it has always been hitherto, the scale is said to be in its natural position ; but either of the other letters may be taken as one,

m which case the scale is said to be transposed.

As one is the basis of the scale, the foundation on which it rests, so th<} letter which is taken for this sound is called the key. Thus, if the scale be in its

satural position, it is said to be in the key of C ; if G be taken as one, the scale is in the key of G, &c. By the key of C, is meant that C is od« of the

Kale, or that the scale is based on 0;by the key of G. is meant that. G is one of the scale, &c.

In transposing the scale, the order of the intervals (tones and semitones) must be preserved. Thus the Interval must always be a tone from one to two,

»nd from two to three, a semitone from three to four, a tone from four to five, from five to six, and from 6ix to seven, and a semitone from seven to eight.

The interval from one letter to another is always the same, and cannot be changed : thus it is always a tone from C to D, and from D to E, a semitone from

£ to F, a tone from F to G, from G to A, and from A to B, ami a semitone from B to C. In the transposition of the scale, therefore, it becomes necessary to

introduce sharps and flats, or to substitute sharped or flatted letters for the natural letters, so as to preserve the proper order of the intervals.

First transposition by sharps; from C to G, a fifth higher, or a fourth lower.

JLEXAMPLE.

I

7 t

D E F#

EXAMPLE OF THE SCALE IN ALL THE KEYS, MAJOB AND MIXOR MODE.Key of C, Major Mode. Key of A, Minor Mode.

IKey of G, Major Mode. Key of E, Minor Mode.

MUSICAL INSTRUCTION&

Key of E, Major Mode. Ksj of C$, Minor Mode.t

Key of B, Major Mode. Key of G$, Minor Mode.f

Key of FjJ, Major Mode. Key of D£, Minor Modo.t

Key of D2, Major Mode. Key of B?, Minor Mode.t

Key of Ai?, Major Mode.t Key of P, Minor Mode.

Key of El?, Major Mode. Key of C, Minor Mode.

f (C?—« -3—&—&—s*- &—o

—

Key of Bfc, JMajor, Mode. Key of G, Minor Mode.

Key of P, Major Mode. Key of D, Minor Mode.

* Theao Ken Are but Mldom QMd • Doable Sharp

3 musical instructions

CHORDS AND DISCORDS.When two or more notes of the Soale are played together, it will produee what is termed a Chord. Those Chords which please and gratify tho ear, an

•ailed Consonant Chords, or Concords ; and those which are not pleasing, Dissonant Chords, or Discords. Those Concords which are the most pleasing, are

called Perfect Chords;they are one as a ground, or fundamental tone, and three, five, and eight in connection.

EXAMPLE.

Natural Key of C. Key of O. Key of D. Key of A. Key of F. Key of B. Key of E.

Those concords which are less pleasing, are called Imperfect Chords. They are six and four in connection with one.

EXAMPLE.

The discords are two, four, or seven, with one.

EXAMPLE

QUALITIES OP THE DIFFERENT KEYS.

C Major or the natural key, warlike, and well adapted to martial Music.

G$ " « « Gay and sprightly, and will admit of a greater range of subjects than any other Kej

Djij* « « « Grand, Solemn, Melancholy.

Aity" " u Plaintive, but Lively.

Ej^jjJ^ or t>J?b Same as A Major.

F> « « « Sober, thoughtful.

BW> « « « Same as Fj>, But more plaintive

MUSICAL INSTRUCTIONS.

LESSONS OP INTERNALS.

mmi

mmmmi

if

10 INSTRUCTIONS FOR THE CLARIONETT.

In holding the Clarionelt, care should be taken not to hold it too tight. The thumb of the right hand should be placed between

the first and second fingers ; and that of the left hand should be placed below the key marked 13. The first finger of the left

hand should cover the hole nearly over the key marked 13 ; the second finger should cover the second hole, and also be prepared

to use the key marked 10 ; the third finger should cover the next hole, and be prepared to use the key marked 8 ; and the fourth

finger should cover the key marked 7, and be prepared to act upon the two long keys marked l and 2. The first finger of the

right hand should be placed over the fourth hole, and be ready to act upon the two long side keys marked 9 and 12; the second

finger should be placed over the fifth hole, and be ready to act upon the key marked 5 ; the third finger should be placed over

the sixth hole, and be ready to act upon the key marked 4 ; and the fourth finger should be placed over the hole on the bell

joint, and be prepared to act upon the keys marked 3 and 6. The thumb of the right hand being the chief support of the instru-

ment, ought to be moved as little as possible.

The fingers should be a little curved, in order that the first joint of each may fall perpendicularly,—producing the effect of a

hammer. The observance of this will not only increase the vibration of the instrument, but#will promote the system of express-

ion, and confer rapidity of execution, provided that the fingers are not elevated at too great a distance from the holes.

A good embouchure on the Clarionett is an object ofthe greatest importance, as it is the only source from whence a pure andflex-

ible tone can be produced. To obtain this, it is necessary that the mouth-piece be placed about half an inch between the lips, i

taking particular care that the teeth do not come in contact with the reed. Attention shoul 1 likewise be paid to the choice of

reeds. Too soft a reed produces a thin tone, disagreeable to the ear and void of effect, and in fact destroys the proper tone of

the instrument. On the other hand, too hard a reed fatigues the chest, wounds the lips, renders the sound unequal, and occasions

the wind to escape at both sides of the mouth-piece, thus diminishing the column of air which should enter the Clarionett

INSTRUCTIONS FOR THE CLARIONETT. 119

SCALE FOR A CLARIONETT WITH FIVE KEYS.

3 i|i *# T.f? ::*:::::::::::::::::::::::::::::is»K.y r p p r * r pppppppp^oPooo oooooooooooo ooo ootucbyf • r r r r r r r r r r r r ? p o o p p p p p p p p p p p p p p p p r p p

Th»mb# 0 0 0 0 0 0 0000000 §^§§§00 00000 000000 0 0 Q # # #

win* » » # # » # ###### 0 # QO on## 00000 0 0 0 0 0 0 o 000 0 •

MH.0 • » » # # 0 0000^^00000000 00000 0000^^0 0 0 0 0 0

0000 00 ••00*0000000** *******00 # 0 0 *0* • 0

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 • 0 0 0 0

0 0 0 0 0 0 0 0 0 0 0 0 0 0 • 0 0 0 0 0 0 0 0 0 0 0

3d Fin # 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

4th Fin 0 • 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0M Key

j J J J 0 j J 0 J J 1 J J J J J J J J J J J J 0 ! J j • J • J J J J J J

MKejJ J 0 j• J J J j •

JJ J J J J J J J J J J 0 j j J j J J J J • J J j J • J .

c 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 J 0 0 0 0 0 0 0 0 0 0 0 0 0 J 0 • J

Blow moderately for the low notes, and as you ascend the gamut or scale, blow stronger and pinch the reed with the lips

gradually.

INSTRUCTIONS FOR THE CLARIONETT.

8CALE FOR, A CLARIONETT WITH NINE KEYS.

35

thKejr r *p r <• p r r r r r r r • r p : r o o o o o o o oo ooA A

9th Key P

8th Key P

7th Key f

Thumb*

OOO 0 0 0 0 00 00 0 00 0 00 0 0 0 0 0 0 0

r r

p p

r r

r p

• p

p r p p r p r o o r r• p p p r p o r r p p

* • • * 0 0 0 0 0 • *

p p p p pp pp r pp p pr p

p p p p rr pp p pp r pp p

p p p

p p p

# # # # # • # # » « i » o » 0 y q »# 0 0 0 0 0000 • «## ^ 000 o»2d Fin # # 0 0 0 0 0 0 0 0 0 0^0 0 0^^^0 0 0 0 0 0 00 00 0 00 0 0^^ 0 0 0 0 0 06th Key~» "» • • ~» -»-»-» 0 -•-»-»-»-»-»-»-»• -» '"• • "» -»"»-•-» -»-»-»-» o • ""• -»-»-» ~» ~»

8dFin# 0000 00 ###000000000** * #*##### #0*0 0* 0 0 • • # • Q

0 0 0 0 0 0 0 0 0 0 0 0 # # 0 0 0

0 0 0 0 0•1

0•1

0 0 0 0 0 0 rororrr>rrr 0 0 0 # 0 0r •

4th KeyP•1 p p

p •1 0 0 p p p r r r r r p p p r p f •

1

p p p p

0 0 0 0 0 0 0 0 0 0 0 0 0 0 # # # # # 0 *0 *0 0 *0 0 00 0 0 # # 0 0 0

4th Fin 0 • • 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 • 0 # 0 0 0 00 03 0 00 0 00 0 0 0 0 0 0 03d Key

J J J J 0 j J 0 J J • J J j J J J J J J J J J 0 J jj JJ J J J J J J J J J J • •

2d KeyJ J 0 j J J j j

1

• J 4 J J J J J J J J J J 0 j j J JJ J J J J J J jj J J i J1

• J .

1st Key J c 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 J 0 0 0 0 0 00 00 0 00 0 00 0 0 J 0 • J J

The learner will observe that there are two ways of fingering the upper F, Fjj, and Ag. Also, that any note sharped is,

the same as the next note above, flatted; thus, A*J is th'e same as B^, C§ as Dl?, and'so on through the scale.

INSTRUCTIONS FOR THE CLARIONETT.

SCALE FOR A CLARIONETT WITH THIRTEEN KEYS.

0 0 0 0

I..** 00 00 00 0 0 0 0 0 0 § 0 §§§ § 0 0 0 0 0 0 0000 0000 000 0 o a n o 0OthK.yP ff P P P P P * P P P P P 0 P P ' P P P P ' P OP PP P '

MFin# 0 0 0 0 0 0 00000^000^^^00 0 0 0 0 00 00 0 00 0 0^ ft0 0 0 0 0

8th Key ~* ~* ~9 * ~» "* ~~» q • -» t ~» —» » -»-»-» -» -« • -» » • -»-» -»-»-»-» q-«-» "» -» ~» ~»

3dF.n# 0000 00 • »»H 0 H * 0 0 000 00 0*0 07th Key«- •-*_«- •— « « - • o *- O q«_ •_•_»_ «_«_•_ •_ «_•.«. •_«__ «_•_ *_ «_q « « • «

0000 00 # HH HHH 0" # * * * ** 0* * *0 0 ON 0 0 #l • HBSsJ^*^ j-» «^» j-» o-» j-» j-» j-» «h» j-» j-» j-» j-» j-» j-» j-» j-» ^ j-» j-» j-» j-» j-» j-» «^-» j-» j-» .-•

MFin0000000 0 00 0 00000 0****** 0**0 0 00 0 00 0 0 »H 004th Key » ~» ~» ~"» ~» O O -»-»-•-» -•-»-•-»-• -•-•-»-»-• • • »o ~» "»"• ~» "" ~» -*-»-»»-8dFin##### 00 00 0000 00000 0* *** *0 *0 *0 0*0 0 00 0 0 »*000

4th Fin 0 • • 0 0 0 0 0 0 0 0 0 0 0 0 0 0 03d Key

J J Ji

V 0 4 j 4 • j J « • 4 4 J j

2d Key J J 0 J J J J J • • • • J J J J J J

Ut Key J c 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0

The 6tb kev is used with the little finger of the right hand,

*** 0 00 00 00 000000 0 0 0 00002 J .' 4 0 J jJ JJ j JJ J JJ J 4 0 J . i i

J J '0 J J J jJ JJ J JJ J jJ J J . J J J .

oo o ooo oo oo o oo o oo oo o oc 4

and produces the same notes as the Ota fcsy.

14 INSTRUCTIONS FOR THE CLARIONETTBEATING TIME.

In the performance of music, correct time is of the utmost importance, and the pupil must beat or mark time with the foot,

slightly but promptly, in performing every piece. See examples on page 6, and the following.BEAT FOUR IN A MEASURE.

ii, 12 3 4 12 34 2 34D.C.

BEAT TWO IN A MEASURE.

3»BEAT Tl/REE IN A MEASURE.123123123

Elites?-

2 12

3 123

ARTICULATION.There are three kinds of Articulation, viz. the Slur, marked thus which connects two or more notes together; the

Staccato, marked thus \ \ \ \ \ \ , and the Legato, marked thus -77777% • The method of Tongueing is as follows : stop the aper-

ture between the mouth-piece and reed, with the tongue ; after which, draw back the tongue so as to allow the wind to pass

into the instrument, at the same time pronouncing the syllable " Tu."

The Slur is executed by tongueing the first note. The lips must be contracted slightly, but not too much, as it will have a

tendency to smother the sound.— Example.

The Staccato should be executed with the greatest exactitude in making the tongue and fingers act together ; be careful to

raise the finger at the same time that the note is tongued. It is necessary to press the lips, and tongue each note with prompti-

tude and vigor.

—

Example.

INSTRUCTIONS FOR THE CLARIONETT. 15

The Legato should be performed with less force, and the notes should be blown with a looser Up, than is used in the foregoing

example.— Example.

W m • ' ~ < m M • •

In playing the Clarionett, it is necessary to avoid blowing from the throat or the chest, to supply the wind necessary for the

articulations. Those who blow from the throat, cannot execute rapid passages, because in that organ there is not sufficient rapidity

of motion to agree with the fingers. Those who play from the chest, fatigue themselves, and are never able to command the

tone. The tongue is the only organ that can, by its facility of motion, give the proper articulation and expression to the

Clarionett; those who do not use it in playing, produce a cold, thin and monotonous sound, and will not improve much in

execution.

insrsTRXJOTioisrs for the sh^ke.The learner should commence by tongueing the first note, letting the finger act as freely as possible, until a sufficient equal-

ity in the fingers is obtained ; and then progressively increase the rapidity until the Shake is sufficiently brilliant.

I £E3=±: :j -

i== 2

A greater force should be given to the note on which the Shake is made than to any other, which gives it more nerve andequality.

tr _#_ tr tr

IThe Shake employed in the following example is called a Close Shake

=fc X ^ tr tr tr tr trzfi Jt % tr tr tr tr tr tr ^tr^ tr ^

16 INSTRUCTIONS FOR THE CLARIONETT.

EXERCISES ON THE SCALES.

HEAR ME NORMA.

DUET OF LIBERTY.

ROOT, HOG, OR DIE.

18 MARCH. jo. gdng'l.

0-0-0-0-_ jj, - -tp- ^ ip- — i r*- u » .a w ~- -m—m—m—m- ey. • > -f— — ' —

*_ ZI _«_L_^_

jO. .(ffl. -fi?-^ ^. _-pe- -fi?- _ ^ *. _ 1st,

gjr|

1 T-F— |—t ^^4+— —izzzzr^t—-

—

TLJP^-—, *

g^piig^Bigiiiiii^iPOLKA MAZURKA.

ail.

— -«r- -i— -i— —— u.i

.

—F=5UE T'fe

( CALLY POLKA. * a. dodworth. 19

- ——

—

S- 2 S #- * 1 g m" 0-m .—* fanS-

ft.W'g-fcy: 1

m^_p_^_5_ii^p_5_ —j^JH^

m—mi

THE PEARL POLKA. * h. klebler.

- *

^ v ^ £t > S-

— 1

—

* Bv permission of Firti, Pond & Co. proprietors o.' Copyright.

20 THE RUBY POLKA.»

SB?^ -* *—- 7~ " p — ~ *—- / - - - - -

*~ " '—<s « » • • 1 w—v . — -4-4- « - -t»-0- m <i * ^

^—i— i

—

tk

CRYSTAL SCHOTTISCHE.* W. BVKRLY.

P-

-t-r

*/Ii-L= ':

T: :-':.f :.^S *l - •-; j^J_- *

j |

:

* Bv permission of Firth. Pond & Co. proprietors of Copyright.

EVER OF THEE. 23

-q_^_*zj-zzi: » 1

-i— '—i-^-

T=t=3^I'M LEAVING THEE IN SORROW, ANNIE.

.izzdzzz

THE MERRY MOUNTAIN MAID.

24 HAND ORGAN POLKA.k

» m "5* »- f j

-. r r #-t-f-t »-t-»-»—i- r-»-*-^r-f -Ir-F-F —

g

-T — a—i—

*

-P5

Rft=p

-*3-# ^ # F^#rpj^-i*-^--—j-r tP—0- 0 P' 0 M 0&01o.c.

43 r j ^ *in——i # 1 * ^-i—•

—

# 1

WILLIE MAZURKA.-F-#

,0 ,P~rT-s0rr-A±0

is

EVENING STAR VARSOVIENNE. 2"'

FINE.

fSz*z:ESS:: i I

—-ja

i

—— i—#i—i—

1

SHE SHINES BEFORE ME LIKE A STAR.

From the Opera of" TKAVIATA."WE'LL LAUGH AND SING ALL CARES AWAY.

i i T—1—

~

pdb=i- t—! r-^-l 1—

1

*—

-

I

•51

26 OVER THE RIVER THEY BECKON TO ME.

:*z-z*zp:

:^zz^zzjz^zz]zg^gz*zpz^|:^zz^z#*:^zzz^i;ifez^^

KATHLEEN MAVOURNEEN.

KITTY TYRRELL.

zz:&z*zf:*|Jttz:-i:zz:z:i:*fz£fczz^

fczJzb5zzrzTjzrFz^Tz^4r*-++E&jE^l4Jtf^ Fzz^zz£f^ *zfzz ^^4gzz^^kz^zzz^I'-^^rXjfe

LA COQUETTE SOHOTTISCHE.

. -4 T~I— +1*0-0 4* - T »-0& *0~£*^- 0~ ^&~*~-*

T-0~0~--0

w-

_ ^ ^ /-—. 0 Repeat t^^ri^straib.

,

0- . ••—V . I 1st. time. M~}> Sd. 1 > £>- • • • • • ^"v "

\*

,-n-H— I—I—I,*-* »-'-T0.mm ~ 1 « . 000 00,*0 # T —F4-4-T#h#-#T###-##T*»-# 1 h-^rr t-^4-T»T

RONZANI GALLOPADE.* m-^km'^-m -Fine.*-*- * * * - ,

JL -#- • D.C. L f A0- 0 -0- _ „ - I 1st. '| 8J. d!c]

1 Repeat 3d strain. D.C

THE EMPRESS VARSOVIENNE.

^ 3 3 " D.C. Fine.

28

u, Jfc- -00- m -0- _ Fine./^v

OREGON HORNPIPE.

STORM GALLOPADE.

tr -2—0- P 0 m

-*

—

Fine. ^ -#; -#- — -#- ^4 jr -n Ht-K K r i B »-rtf— t^~^—i^^-t^I-^^t^^^-^-t ^h1^* =p=#-

ML1—T— -

-0-

1

—

0- {—0D.C.

M—V—

:

1

3-S ^

LUMPACIUS SCHOTTISCHE. 53£tr.R?aArf.

tr'

29

tr • • tr

£zpzivto4:^z,z#:r::zi^:z;

trT-r-T-^-T-^—r-f»-*-T-0 •^x»-f-f-^-r-.-T—h—

-t~i T-r~»-*-T-»*—rf

j^^z^z|zzz^^^

F-

tfcl

TRIO.-zzn^ZTz^z^zz:

zjfcizziifzizi

przzfzztizl:^z^i^zz£Ei=fzzzfzzfzi^zzpzzzjzz

DEMOCRAT SCHOTTISCHE. SILBERMAN.

" ^h1* "fff * -— -*-> ~?~

|

—>-V 1—j—

30 BODENLAUBE SCHOTTISCHE. 81LBERMAN.

U • —t —

i

' " •mm ~ --M ..— * S#33-

•••• ;r -f- -f- v

BLUE BIRD SCHOTTISCHE.

» - _ -I 1 fi-1— —p— -| •-#- « -F*

i

:r:

> -• F- -4L-F- 1— ^ 0-

^E^t::_ez2z=-::i=

-I 1 F —I 1 -F-r-# » # r

Iritro.

>

0-0-0-0 1 -,-L- " *

-

#

?-0 m -0—#-

•t—1

D.Covo.

FLOWER SCHOTTISOHE 31

p Jr^" > > > p ' > > > p > > >p

?7-

PRINCE OF WALES POLKA.

P V If* -»Txm t -eT&m-^1 +ff\ ...-*«-Jt— |— — |

—

t-^h— —ir-w—h-T I r

—

^r—0 Tmr , , *»ir —ri— r1 T rr-i--""r

MINTZER'S FAVORITE.REEL. -

-» *—i T*-#-^ T~-?$t*~£~-0— — , T^-# * ht-> 1

. -r w

32 SPINNING-WHEEL RONDO. PROM K MARTHA."

CONCERTINI WALTZ.1st time. *d.

TELEGRAPH WALTZ.

:f:z:z^:r- -<s>-1st time.

»d time-

LANCERS* QUADRILLES. 33FINE.No. 1 " ^ ^ ^ ^ niF,

_ . qf- 0 0 _# _ P>c*

No, 2

Ig TODA.

No. 3.

34 LANCERS' QUADRILLES. (Concluded.)

No. 4.

'i s.

No. 5.

LEONORE POLKA.

No. I.

/

QUADRILLE. (RomanoffJ LIBITZI Y 35

m

—i*- 1, ^ 1

1

^~ — —^—^ —C5p~ —csa * ^ '

No. 2.

c.

i

D.C

No. 3.

36 QUADRILLE. Concluded.

No. 4

57>

^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^

D.C.

No. 5.

DC.*==«

-r

POLKA QUADRILLE. 41

No. 1.

No. I.

m/M1^,_> .

—

:— • ^——|— ——-

—

0-—•— —-

—

QUADRILLE. (Children of Haimon.) john straus. 43

• . • • -•- *— -\— • -0- x • . • * -#- . — • —

No, 2.

1=35 •I

- • *I_ -0- -0- m . ,"•^ -#1-1— • . tr_ -0—0- m . •

-Si-

ill

No. 3.

— 1—1— 1— 1

—

m-

D.C.-0-0-

46

P ,f-f--£-f:-0 0 0 0-

S rH 1—1 1

—

-0 P 0 0 \~0 0 • •

QUADRILLE. Concluded.

£££££No. 4.

> > > >

*—

#

#—

#

:tz=t:

No. 5.

1

:_..4/y,— i-tj rtrc;

33 . • A •

3 • • ^ F-#- M

3 •

1

A j rip-0. 0

-I F—I— I

—

H 1—+-t-

^ ».r.

FRED WILSON'S CLOG DANCE. 47

PAPAGENO POLKA.? r » r 3 FINE.

S ^- ~ -^-M-£-0 f 0,. f f ^ ^ I —N ^ ' ^ f 1st. Sd.

1 4 0 I s*-

few

—' -hh-r-** t »

5Z=

D.C.

2 INDEXBLUE BIRD SCHOTTCSCHE 30

BODRNLAUBE '. 30

OALLY POLKA 19

CHAMPAGNE GALOP 18

CHERUBIM QUADRILLE 37

CHILDREN OF HAIMON (QUADRILLE).... 43

CONCERTINA WALTZ 82

CRYSTAL SCHOTTISCHE 20

CUCKOO POLKA 22

DEMOCRAT SCHOTTISCHE 29

DUET OF LIBERTY 17

EMPRESS VARSOVIENNE 27

EVENING STAR 25

EVER OF THEE 23

FLOWER SCHOTTISCHE 31

FHED WILSON'S CLOG DANCE 47

GARLAND POLKA 21

nAND ORGAN POLKA 24

nEAR ME NORMA 17

I'M LEAVING THEE IN SORROW ANNIE 23

KATHLEEN MAVOURNEEN ' 26

KITTY" TYRREL 26

LA COQUETTE SCHOTTISCHE 27

LANCER'S QUADRILLES 33

LEONORA POLKA 84 I

LA REINE DE NAVARRE QUADRILLE 45

LUMPACIOUS SCHOTTISCHE 29

MARCH 18

MARTHA QUADRILLE 39

MERRY MOUNTAIN MAID 23

MINTZER'S FAVORITE 31

MUSIDORA POLKA MAZURKA 21

MY NORMANDY 22

OREGON HORNPIPE 28

OVER THE RIVER THEY BECKON TO ME 26

PAPAGENO POLKA 47

PEARL POLKA 19

POLKA MAZURKA 18

POLKA QUADRILLE 41

PRINCE OF WALES POLKA 31

ROMANOFF QUADRILLE 36

RONZANI GALLOPADE 27

ROOT HOG OR DIE 17

RUBY POLKA 20

SHE SHINES BEFORE ME LIKE A STAR 25

SPINNING WHEEL RONDA 32

STORM GALLOPADE 28

TELEGRAPH WALTZ 82

WE'LL LAUGH AND SING ALL CARES AWAY 25

WILLIE MAZURKA 24

tm&ftol ifitems for WmM CMte®.EmerSOn'S VOCal Method. By L. 0. Emerson. A prac-

tical system for the cultivation of the voice, thoroughly compact, andcontaining a complete course of vocal instruction. It has been very

favorably received, and is a great success. Price $1.50.

Bassini's New Method. By Carlo Bassini. A complete

course of instruction in vocalization, for soprano and mezzo-soprano

voices. Price $3.00.

Bassini's Method for Tenor Voice By carlo

Bassini. It contains all the essential features of the above method,

adapted to the tenor voice. Price $4.00.

Bassini's Art of Singing. By Carlo Bassini. An excellent

system of voice culture, extensively used by teachers, and highly

commended. Price $3.00 complete ; $2.50 abridged.

Chorus Choir Instruction Book. By A.N.Johnson.

An instruction book "for training choruses, choirs and singing classes.

It is a complete gnido for teachers, and can be used as a text book for

classes of all degrees of advancement. Price $1.38.

Concone's Lessons in Vocalization. Condensedfrom Concone's 50 lessons, Op. 9; 25 lessons, Op. 10; and lessons for

two female voices, Op. 13. Price 40 cents.

Garcia's School of Singing. By Manuel Garcia. A newtreatise on the art of singing, with exercises and examples for the

cultivation of the voice, by one of the most celebrated teachers of

Europe. New edition. Price $5.00.

Osgood's Art of Singing. By George L. Osgood. Aaexcellent method for vocal culture, based upon the traditions of

celebrated Italian masters and schools. Its treatment of the subject is

very full and comprehensive, and is the result of many years of persona.'

observation and experience in the best music schools of EuropePrice $4.00.

Seller's Exercises for Training the VoiceBy Mdme. E. Seiler. An excellent collection of exercises, of grea*

value for practice in the cultivation of the voice. For female voices

$1.25; for male voices, $1.25; for male and female voices, $2.00.

Sieber's Art Of Singing. By Pro/. Ferd. Sieber. Trans

lated by A. W. Dohn, for English readers. A compact treatise on thf

art of singing, which contains, in a condensed form, much practical

information as to the structure of the vocal organs, and how to use

them to the best advantage. Price 50 cents.

School for the Voice. By William Istdden. A populai

"school," highly commended, and adapted to the wants of American

voices. Price $3.50.

The Voice as a Musical Instrument. By cw«H. Stanley Davis, MB. A medical essay on the proper training and

uso of the voice. Price 40 cts.

Panseron's A B C of Music. By A. Panseron,

Admirably adapted to schools and classes. Baaed upon the Italia*

system of vocal culture. Price $1.00 (abridged).

Any book mentioned above mailed, post-free, for retail price.

C M BIIMI * CO.,MS Braadwar. New York.

S.TOBT * UIALV, < hlc <**<>.9. E. BITSOI *

1328 Chestnut St.. Philxlelphta

INSTRUMENTAL INSTRUCTION BOOKS.The following books are among the best of the very large number of instruction books published by Ditson A Co. The smaller and cheaper bookl

contain good introductory courses to the larger and higher priced ones, which nre thoroughly first-class methods.

Any book mailed, post-free, for retail price.

TOR THE PIANO-PORTE.Rlchardion'a Hew Method $3.26

If. E. Conservatory Method 3.28

Peter*' Eclectic Piano School 3.25

V-ebert and Stark's Piano School. Farts 1 and 2, each (3; PC 3, $4; Pt 4, 6.00

*laian and Hoadley's System for Beginners 3.26

<S robe's Mew and Progressive Method 2.50

Large and complete method!.

Dellak's Analytical Method Paper 75 cts.; Boards 1.00

Sydney Smith's Piano Method 1.60

Clarke's (W. II.) Dollar Instructor 1.00

Winner's Mew School for the Piano T6

For beginners and amateurs.

Mnseo's System of Technical Exercises 2.50

An excelient companion to any instruction book.

P0R PIPE, REED or CABINET ORGANClarke s (W. II.) Harmonic School for the Organ $3.00

Clarke's (W. H.) Mew Method for Reed Organ 2.50

Clarke's II. A.) Improved School for Parlor Organ 2.50

Emerson (The) Mew Method for Meed Organ 2.50

Oe tie's School for Parlor Organ 2.50

Kinkel's Mew Method for Reed Organ 2.50

Moot's School for Cablaet Organ 2.50

Joksios'n (A. M.) Parlor Organ In.traction Hook 1.60

First-class methods, w»*h thorough systems of instruction.

Mellak's Method for the Organ Paper 75 cts.; boards, $IMClarke's (W. II ) Heed Organ Companion 2.00

Johnson's Parlor Organ Instruction Book. (Abridged) 1.00

Mack's Hollar Analytical Method for Cabinet Organ 1.00

Stalner's Organ Primer 1.00

Winner's Mew School for Melodeon 79

Elementary instruction books for beginners.

FOR THE VIOLIN.stavid's Violin School Part 1, boards, S2.50; Part 2, paper, $3.00

Hill's Practical Violin Method 2.50

Eistemann's Method of Violin Playing- 3.00

Wlchsl's Young Violinist, (English, German and French text) 2.29

Eessenden's Modern School for Violin 2.50

Clarke's Dollar Instructor for Violin 1.00

J Winner's Mew School for the Violin 79

FOR THE VIOLONCELLO.Fries and Sack's Violoncello Instructor $3.29

Romberg's Violoncello School 3.00

Winner's Easy System for the Violoncello 79

FOR THE CORNET.Arbnckle'a Cornet Instructor $2-8*

Eaton's Ust Method for Cornet 1.9*

,

Winner's Mew School for Cornet .71

Puiliseid by OLIVER BITSOX? & ۩., Boston.C. H. DITSON & CO., LVON &. HEALY, CHICAGO. J- E- DITSON & CO,

843 Broadway. Mew *ork. t« 1228 Chestnut St.. Phil*.

http://www.free-scores.com