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FOR THE

Accoar>soj*PHILADELPHIA :

LEE & WALKER, No. 922 CHESTNUT STREET,W. H. BONER & CO., No. 1102 Chestnut Street.

WUCsTIDTIEIEVS

TEACHER 9HE

FOR THE

to r? -.'709

WITH WHICH AMY PERSON CAN LEARN THIS BEAUTIFUL INSTRUMENT WITHOUT THE AID OF A MASTER.

couTAiuiira-

II t\t ||eto anb mast Jlaslpanahle ftlusic of % flag.BY JOS. E. WINNER.

PHILADELPHIA :LEE & WALKER, No. 922 CHESTNUT STREET.

V{M. H. BONER & CO., No. 1103 CHESTNUT STREETRn'ertJ according In thn Act nf Congress, in the year 1868, by W. R. SMITH, in the Clerk's Office of the District Court of the United States, in and for the Eastern District of Pennsylvania.

0

INDEX.TtUDIMENTS OF MUSIC.

OF THE NOTES 3OF THE STAFF 3VALUE OF NOTES 4OF THE DOT AND DOUBLE DOT 4OF THE RESTS 4OF TIME AND ITS DIVISIONS 5OF TRIPLETS 7OF THE SCALE OR GAMUT 7OF INTERVALS AND INVERSIONS .... 8OF THE SHARPS, FLATS AND NATURALS . 9OF THE MODES 9OF ARTICULATION 11OF GRACE NOTES 11OF THE TRILL OR SHAKE 12OF THE ACCENT 12OF THE SIGNS AND ABBREVIATIONS ... 13OF MUSICAL TERMS 24

OPERATIC AND POPULAR AIRS.BOHEMIAN GIRL . . 25BROKEN HEARTED MILKMAN 32CHAMPAGNE CHARLIE 43CHARMING YOUNG WIDOW I MET ON THETRAIN 36

CONSTANTINOPLE 41EVANGELINE 29EVELINA 28FINNIGAN'S WAKE 41FIVE O'CLOCK IN THE MORNING .... 48FLEE AS A BIRD TO YOUR MOUNTAIN . . 34FUTURE'S BUT A DREAM 36GIPSY'S WARNING 33GOOD-BYE, SWEETHEART 66GREEN ABOVE THE RED 28HEART BOW'D DOWN 25I CANNOT SING THE OLD SONGS .... 48IF MY GLANCES HAVE BETRAYED ME . . 26I'M HAPPY AS THE DAY IS LONG .... 31I'M SO TIRED AND SLEEPY 37I'VE A LETTER FROM THY SIRE, BABY MINE 49I'VE NO MOTHER, NOW I'M WEEPING

. . 32JOLLY DOGS 35

KISS ME, MOTHER, KISS YOUR DARLING . 27LONE ROCK BY THE SEA 34MAGGIE'S SECRET 49MAID OF ATHENS 30MARY AILEEN 34MELODY FROM BOHEMIAN GIRL 25MERRIEST GIRL THAT'S OUT 30MY HEART IS OVER THE SEA 49NERVE . 56OH MANY A TIME I AM SAD AT HEART . 49OLD LOG HUT 36PADDLE YOUR OWN CANOE 43POLLY PERKINS 32REFUGEE 27ROCK BESIDE THE SEA 34SAILOR'S WIFE 49SALLY COME UP ... , 69SECRET LOVE '26SLAP BANG HERE WE ARE AGAIN .... 35SOFTLY TREAD, MY NELLIE'S SLEEPING . 35SONG IN THE BLACK CROOK ...... 26SWEET EVELINA 28THAT'S WHAT'S THE MATTER WITH HANNAH 33THE BROKEN HEARTED MILKMAN .... 32THE COLONEL FROM CONSTANTINOPLE . . 41THE FUTURE'S BUT A DREAM 36THE GIPSY'S WARNING 33THE GREEN ABOVE THE RED 28THE HEART BOW'D DOWN 25THE JOLLY DOGS, OR SLAP. BANG .... 35THE LONE ROCK BY THE SEA 34THE MERRIEST GIRL THAT'S OUT .... 30THE NERVE 56THE OLD LOG HUT 36THE ROCK BESIDE THE SEA 34THE SAILOR'S WIFE 49THE WANDERING REFUGEE 27TIM FINNIGAN'S WAKE 41YOU NAUGHTY, NAUGHTY MEN 26WANDERING REFUGEE 27WEARING OF THE GREEN 31WHEN YOU AND I WERE YOUNG, MAGGIE 29 I

WALTZES AND GALOPS.HILDA WALTZES, COMPLETE 44I DON'T CARE GALOP 42JUST ONCE MORE GALOP 57MABEL WALTZES COMPLETE 46PALOMITA GALOP 57WILD FANG GALOP 42

POLKAS AND SCHOTTISCHES.DROAVSY POLKA 37LEHIGH POLKA 40ROSEDALE SCHOTTISCHE 37SEA BREEZE SCHOTTISCHE 39SLUMBER POLKA 37

MARCHES, MAZOURKAS AND REDOWAS.BLUE BIRD POLKA REDOWA 40GRANT'S GRAND MARCH 38VIOLET MAZOURKA 39

COTILLIONS AND QUADRILLES.BON TON POLACCA QUADRILLES 54DODWORTH'S THIRD LANCERS 70DURANG SCHOTTISCHE QUADRILLES ... 64FIFTH AVENUE LANCERS 61PALERMO QUADRILLES 67PAREPA SET PLAIN COTILLIONS 48PRETTY MAZOURKA QUADRILLES .... 58SHARON SPRINGS LANCERS 70SWEET SIXTEEN POLKA QUADRILLES . . 50VICTORIA LANCERS 61

REELS, JIGS, AND FANCY DANCES.MRS. MALLOY'S REEL 53SALLY COME UP 69SHELTY'S PIPES 53SUGAR IN THE GOURD 53WALK AROUND 43

LANCERS.DODWORTH'S THIRD 70FIFTH AVENUE 61SHARON SPRINGS 7VICTORIA CJ

Girt or

The Oliver Dltton

Nov, 28, 1900.

THE ELEMENTS OF MUSIC.

Music is made intelligible by the use of characters called Notes, written upon a Staff", which is composed of five Lines andtheir Spaces, each Line and Space being named from one of the first seven letters of the alphabet : A, B, C, D, E, F, G.

EXAMPLE.

r * F 9-m 5th--5Be _ __~ . .\J n MS I . ... 4tta I 1 1j * f r

#

*1

1

When the Notes go above or below the Staff, Lines are added, called Leger Lines. iThe following &caZe shows the position and names of the Notes, in the Treble or G Clef, i/fe; Each succession of eight notes is

called an Octave, as from A to A, B to B, &c. The distance of notes from each other is reckoned by Degrees and Half Degrees.

A B

-d C

d 0-1 Ucgr. 1 degr. 1-2 degr. 1 dgr. 1 degr. 1 degr. 1 1-2 dQgr.I 1-2 deer.

A B mF - -0--FBE - -F +- 4-

B C - F 4 +- -t +-A ^ -F- 4 4 4 4- +- +-

F ^ -#--p

-j-j -j )

4 4 4 4

1 i

ELEMENTS OF MUSIC,

THE VALUE OF NOTES, OE THE DOT, AKDTHE EESTS.

The relative duration is called the Value of the Notes, and isshown hy the peculiar form of each note.

Comparative Table of the Relative Value of Notes.

One Whole note is equal to

&

Two Half notes, or

r rFour Quarter notes, or

t * fI I L

Eight Eighth notes, or

u u uSixteen Sixteenth notes, or

0000 0000 0000 0000

r

r r

Thirty-two Thirty-second notes.

00900000 00090000 00000000 00000000

THE DOT AND DOUBLE DOT.

A dot, placed after a note, increases its value one-half : Thus,a dotted whole note is equal to three half notes, a dotted halfnpte to three quarter notes, a dotted quarter note to three eighthnotes, a dotted eighth note to three sixteenth notes, &c.

Dotted Dotted Dotted Dotted Dotted DottedWhole Note. Hair Note. Quarter Note. 8th Note. 16th Note. 33d Note.

12:

- J

H5 5-

ELEMENTS OF MUSrCJ, 5The rests have values corresponding to those of the notes

:

thus, the whole note rest is equal in duration to the whole note

;

the half note rest to the half note ; the quarter note rest to thequarter note ; the eighth note rest to the eighth note, &c.

iWhole

Note Rest.Half

Note Rest.Quarter 8th 16th 32d

Note Rest. Note Rest. Note Rest. Note Rest.

-

H I II

The single and double dot, which were explained in the pre-ceding section, are also placed after the rests, and augmenttheir value in the same proportion.

EXAMPLE OF ONE OR MORE MEASURES REST.8

,

*f*

I

i1 0

i" | i' f i'" f u f ir 1 u^ll

Single Bars, thus,1

TIME, AND ITS DIVISIONS,

divide music into portions of equal value, called Measures.

There are two principal kinds of Time ; Common Time, which contains two or four equal parts in each measure ; and TripleTime, which contains three equal parts.Simple Common Time, marked thus : g or contains two Half, or four Quarter Notes in each measure. And that marked

thus : contains two Quarter, or four Eighth Notes in each measure.T Compound Common Time, marked

J,contains six Quarter, or two dotted Half Notes, in each measure. That marked g,

contains six Eighth, or two dotted Quarter Notes.^

Simple Triple Time is marked {", "", and Compound Triple Time is marked "9" and "8".% a- -a- * -8-The figuresJ, J, g,

&c, indicate fractional parts of a Whole Note ; the lower figure indicates the number of parts intowhich it is divided, and the upper figure the number of parts taken to fill a measure.

In Common Time, a measure has two accented Notes, viz. : the first and third, and two unaccented. In Triple Time, a mea.sure has but one accented Note, viz. : the first.

6 ELEMENTS OP MUSIC

Beating, or Marking Time, with correctness and precision, is of the utmost importance. In beating Common Time, the handmust descend at the beginning of every measure (marked D), and rise at the middle (marked IT).

EXAMPLES.COMMON TIME, FOUR QUARTER NOTES IN A MEASURE, OR THEIR EQUIVALENT IN OTHER NOTES OR RESTS.

W h^M M l ?T4 1 m12 3 4 18 34 1DUD U D

TWO QUARTER NOTES IN A MEASURE.

18 18D U

COMPOUND COMMON TIME, TWO DOTTED QUARTER NOTES IN A MEASURE.

18 18 1D U D U D

12 1 2 18 18DU DU DUDU9 .

i ' 0

1

P2U

1 8D U

The three other kinds of Compound Common Time are seldom used.In beating Triple Time, the hand or foot descends at the first, and rises at the third part of the measure.

EXAMPLES.SIMPLE TRIPLE TIME, THREE QUARTER NOTES IN A MEASURE. THREE EIGHTH NOTES IN A MEASURE.

m -I h 1 is0 fx-1

D1

D1 2D

3 1U D

3 1U D

18 3D U

COMPOUND TRIPLE TIME, NINE EIGHTH NOTES IN A MEASURE.

ELEMENTS OF MUSIC.

2-r3

~

rj I and are to be played in the time of"When a figure 3 is placed over three notes, they are called Triplets,two notes of the same kind.

"When a figure 6 is placed over six notes, they are to be played in the time of four.

We might be led to presume that and ^ time were one and the same thing, as the measures in each contain the same4, 9 n

amount of time ; but observe particularly that the time expressed by the even numbers 3E, &c, must be accented on

the beginning and middle of each measure, thus orr-fl7*

1

'

''

'-ft-*- ; but in ^f,4' w

the accent occurs only on the first note of each measure

:

infill^^D^iii> ^ > ^ >In 4 time the notes are always written in groups of three when a regular succession of eighth notes occurs, thus:

-

; and the accent always occurs on the first note of each three, or the first and fourth

notes of each measure. These notes would also express "3" time, but must be written thuswith an accent on the first note only.

4

THE SCALE, OR GAMUT.

i + fr r

T * zO A

D B

These notes are named, according to their situation upon the staff, by the first seven letters of the alphabet (A, B, C, D, E,F, G), always repeating the A after the G. This will, of course, bring into requisition several As, Bs, Cs, &c. ; but they are

8 ELEMENTS OF MUSIC.

always easily distinguished by their situation upon the staff:IRemark that the notes situated upon

A

the spaces of the staff spell the word FACE ; thus : ;X J^J

^

r | This will enable those who are desirous of becoming

acquainted with their names, to learn them more readily, and facilitate their progress in regard to the intervening notes.

INTERVALS.

The distance between any two notes, counting upward, is called an Interval ; the smallest interval is that of a second

:

\- "j In order to designate an interval, we are required to include the first and last note in counting the dis-

tance : thus, the two notes G and A are required to constitute a second ; from G to B is a third, because the interval is made upof the notes G, A, and B ; B being the distance of three notes from G, counting upward.

INVERSION'S.

These intervals when inverted present quite a different aspect : thus, it is an interval of second from G to A, but from A to Gwe find it to be a seventh, including A, B, C, D, E, F, G ; from G to B, being a third, when reversed becomes a sixth, includingB, C, D, E, F, G.

A second becomes a seventh ; a seventh becomes a second.A third " sixth ; a sixth " third.A fourth " fifth; a fifth " fourth.

Unison becomes an Octave. Two notes are said to be in unison when giving the same sound ; thus

:

which inverted becomes OctaveUnison: -3-

h-i1-

BIt

ELEMENTS OF MUSIC. 9

The word Octave is used to express the distance of any twonotes from each other when they both bear the same name ;

fa

*I

thus

:

THE SHARP, THE FLAT, AND THE NATURAL.

A Sharp before a note raises it a semitone.A Flat ([?), on the contrary, before a note, lowers it a semi-

tone.

Flats and sharps are either at the commencement of a pieceafter the clef, or accidentally before a note.

Flats and Sharps are placed after the Clef in the followingorder

:

ACCIDENTAL SHARP. ACCIDENTAt FLAT.

When these signs are at the commencement of a piece, allnotes on the same line and space (and all other notes bearingthe same name) are affected by them.

If they occur accidentally before a particular note, they affectonly it, and others of the same name, during a single measure.

A Natural serves to annul a sharp or flat, by restoringa note to its former position.

kfy*

A Double Sharp (*) raises a note a tone, and a DoubleFlat ([?[?) lowers it a tone.

THE MODES.

There are two Modes,the Major and Minor.In the major mode, there are two tones from the first note,

called the tonic, to the third.

MAJOR THIRD. MAJOR CHORD.

is:

TONIC. In the minor mode, there are but one tone and one semitone,

from the tonic to the third.

MINOR THIRD. MINOR CHORD.

PTONIC. *9-I

-J5L-JSr I

10 ELEMENTS

A minor is said to be the relative of the major, when bothare expressed by the same number of sharps or flats.

C MAJOR. MAJOR. A MAJOR.

K MAJOR. B MAJOR. F SHARP MAJOR.

6 FLAT MAJOR. FLAT MAJOR. A FLAT MAJOR.

OF MUSIC.

E FLAT MAJOR. R FLAT MAJOR. F MAJOR.&

C MINOR. CJ MINOR. MINOR.

Each major and minor key bears the name of the tonic ofits gamut.The tonic of any major key, with sharps, is the note one

semitone above the last sharp after the clef.O MAJOR. I> MAJOR. -* *

The note above the F is G.IS -- \

The note above the C is D.

The tonic of the relative minor is, on the contrary, the notebelow the last sharp.

E MINOR. B MINOR.

The note below the F is E.

m*

[

rrvs rV 1/ I

The note below the C is B.

The tonic of any major key, with flats, is the fourth noteabove the last flat.

F MAJOB. B FLAT MAJOB. r.& W

-f-

IThe fourth note above B is F. The fourth note above E is B flat.

ELEMENTS

The tonic of the relative minor, is the fifth note below thelast flat.

The fifth note below B flat is D. The fifth note below E flat is G.

The keys which have neither a sharp nor flat at the clef, areC natural major, and its relative, A minor.

ARTICULATION.As variety is the greatest charm of music, several different

styles of articulating the notes are used to assist in producingit. There are three styles of Articulation,the detached,the pointed, and the flowing. The two first are technicallycalled Staccato, and the last, Slurred, or Legato.

A Staccato, or pointed note, (t) is played in a short and pre-

cise manner.

A Staccato, or dotted note (), is played in a less detachedBtyle than the former.

Slurring, or playing a passage legato, is to make the notesflow in a connected manner. The mark of the slur is shownby a curved line.

OP MUSIC. HThe slur (- takes the name of Syncopation when connect-

ing two similar notes, one of which is placed on an unaccented,and the other on an accented beat of the same measure, or oftwo consecutive measures.

mAn Appoggiatura is a grace note placed above or below a

principal note. "When below, it ought never to be at a greaterdistance than a semitone ; as any other interval belongs to thePortamento of vocal music.

A small note is generally half the value of the principal note;there are instances, however, when its value is greater.

c~ r

An Acciaccatura is played with rapidity, without reference tothe value of the principal note ; it is usual to cross it with asmall line.

A Double Appoggiatura is played in a light and connectedmanner.

*C 'L- :- > \m

12 ELEMENT

A Turn is composed of three grace notes placed before orafter a principal note. In the first instance, the small notes are

written ; and in the second, they are expressed by the sign .

If T

A Trill is composed of two notes, struck alternately, andfollowing each other regularly in the gamut. It has a princi-pal note, which is expressed, and a secondary note, not alwayswritten, but understood to be above the other. It is indicatedby the two letters tf.

a: ' MM

OF MUSIC.

THE ACCENTS.Accents are shown by signs, or t>y words, generally Italian.The sign =r marks that the sound should be progressively

increased.The sign marks that the sound should be diminished

in the same manner.The words used for the purpose of accentuation are very

numerous ; the following list includes the principal ones, withtheir signification

:

Piano, or simply the letter p ; sweet, soft.Pianissimo, or simply pp ; very sweet and soft.Dolce, or dot; sweet.

Forte, or /; loud.Fortissimo, or ff; very loud.Mezzo Forte, or mf; half loud.Rinforzando, or rinf, or rfz; rendering the sound loud, but

not suddenly.Sforzando, or sf, sfz ; rendering the sound suddenly loud.Crescendo, or ores ; increasing gradually in loudness.Decrescendo, or decres ; diminishing the loudness.Smorzando, or smorz ; smothering the sound by degrees.Fspressivo ; expressive.

Affetuoso ; affectionate, tender.Maestoso; majestic.Cantabile ; in a graceful, singing style.Con Espressivo ; with expression.Legato; slurred, flowing.Leggier0 ; light.

Con Anima ; with feeling. 1Con Sjririto ; with spirit.Con Grazia ; with grace.Con Gusto; with taste.

ELEMENTS

Con Dclicalezza ; with delicacy.Con Faoco ; with fire.Con Forza ; with force.Con Colore ; with heat.Con Brio, or brioso ; with brilliancy, brilliant.Agitato ; agitated.

Scherzando ; playful.

Mosso ; animated.Sempre; always.

DIFFERENT SIGNS AND ABBREVIATIONS USED INWRITING MUSIC.

The sign J shows that the player must return to a similarsis-n. and continue to the word Fine. When the return extendsto the commencement of the piece, it is usual to prefix theletters D. C, the abbreviation of the Italian words Da Capo,"from the beginning."

The main divisions in a piece of music are expressed by aDouble Bar ||.When Dots are added before the bar, thus, ;||, they show

that the division previous to it is repeated ; when after, thus,

1

1

1 , that the division following is repeated.

A Pause s?\ marks that a beat of the measure is suspended,and that a note, or rest, must be prolonged for a certain spaceof time.

A pause over a rest should be treated in a similar manner.

52

OF MUSIC. 13

In order to avoid the multiplication of leger lines, it iscustomary to write very high passages an octave lower thantheir actual pitch, with this mark, 8va

,over them,

showing that they must be played an octave above.

8m,

Abbreviations are employed in written music to avoid repe-titions of a single note or passage

;thus, in place of writing

four sixteenth notes ot do, a quarter note alone, marked withtwo thick, short lines, is used, &c.

Written.

WINNER'SUEW TEACHER FOR THE ACC0RDE01T.

INSTRUCTION FOR PLAYING THE ACCORDEON.

Directions for Holding the Accordeon.

The Accordeon should be held nearly in a perpendicular position

and can be easily managed, while the performer is seated, by resting

the end of the instrument gently upon the knee. The right hand

should grasp the key-frame in such a manner as to allow the fingers

to command the keys. The thumb of the right hand should be

under the brass or steel rail, to raise the bellows with ease and have

the other fingers at liberty to manage the keys, and have the first

three placed directly over the second, third, and fourth keys. If

the thumb, at any time in moving the bellows, needs assistance,

some one of the fingers is at liberty to aid and assist when needed.

By placing your fingers thu3 over the keys, you will be able to find

the key without looking for it, and move them from key No. 1 to

5, 6, 1, etc.

With the left hand, the instrument should be grasped at the bot-

tom of the bellows, with the thumb and both the forefingers, as most

convenient, in such a manner as to assist in the action of the bel-

lows ; with the other two fingers you will manage the vahre under-

neath.

The character of the performance will very much depend upon

the proper management of the bellows. The softness or loudness

of the tone will depend on the gentleness or rapidity with which

the bellows is drawn open or closed. Inattention to this will

greatly jeopardize the flexible folds of the bellows, which may with

propriety be termed the lungs of the instrument.

WINNER'S NEW TEACHER FOR THE ACCORDEON. 15

The Management of the Key or Valve.

The principal use of this valve is to enable the performer to

repeat any given number of tones, without producing another sound

which is not required. It should be recollected that, by raising the

keys, one tone will be given when the bellows is drawn open, and

another and a different tone will be given when the bellows is

pressed together, notwithstanding the finger is kept upon the same

key during both motions of the bellows ; but when the valve is

opened underneath, the ingress and egress of the wind is so free

that the bellows may be put in motion without producing anjr sound

from the keys, except the motion be violent, which ought not to be.

The first four keys, by drawing, produce the lowest tones, and the

highest, by pushing ; and the other keys, 5, 6, 7, 8, etc., by drawing

produce the highest, and by pressing produce the lowest tones.

REMARKS.The air of the tune is the only part that is generally performed

on the instrument ; but persons who are learning to play should

accustom themselves to sing as they perform upon the Accordeon.

And, if other persons are present and sing the other parts an ociave

lower than the Accordeon, it would add greatly to the performance,

and enable them to keep better time

Directions about the Keys, Letters, etc.

Draw the second long key of the Accordeon, and you have the

key-note of the scale;push the same key and you have the second

degree. Draw the third key and you have the third degree;push

the same key and you have the fourth degree; draw the fourth key

and you have the fifth degree;push the fifth key and you have the

seventh degree ; draw the fifth for the eighth degree, and so on.

Observe that you draw the first key for the fifth degree an octave

below the same above. The sixth degree is made by drawing the

next short key ; and the seventh degree is made by pushing the

same.

Nothing has been said about the accidental flats and sharps in a

tune before the note, nor can there be attention paid to them on

an eight or ten-keyed instrument ; but they must be treated like

the piano forte without the black keys. But those Accordeons

that have short keys for the semitones will give them their perfect

sounds in every tune where they are placed.

It should be kept in mind that the second long key is the Majorkey of the instrument, from which the regular scale is formed up-

wards. The first long key, when drawn open, gives the true sound

of the dominant or the fifth of the key below its tonic. Pressing

the same key gives the seventh, or leading note. For the sixth

degree (or relative Minor) draw the intermediate short key.

16 WINNER'S NEW TEACH]

It will be found, by practising a little time on the notes, with

figures set to them, that persons will find they can play the tune

without being under the necessity of having the notes with figures

before their eyes to those tunes they have learned, but can dispense

with them. If any piece of new music is laid before them, all they

have to do, to find its merits, is to place figures under the notes,

and draw and press as directed.

Directions how to Prepare Music to be Performed

on the Accordeon by Setting Figures according to

the following Scales.

If the Scales of the several signatures be observed and attended

to, by placing the figures below . each of the notes to direct the

performer which note to draw and which to press, it not only

unlocks the tunes in this book, which are figured, but he can, by

placing the figures as directed in the Scales for Transpositions,

(pages 22 and 23,) unlock all tunes in all books of music ; all he

has to do to accomplish it is, as for instance, take any tune of three

flats and then turn to the Scale of three flats, and see what figure

is placed below the first note on either of the lines and spaces on

the Scale, and place the corresponding figures to the notes on the

same line or spaces in the selected tune.

Accordeon s tli.it have short keys will perform all of the tunes

R FOR THE ACCORDEON.

and sound all the notes. The figures that denote the skort keys

have the letter s on the side of the figures under the notes;thus,

Is, 2s, 3s, 4s, 5s, 6s, and they show which short key is to be

pressed or drawn for accidentals in a tune.

The letters ID and 3? under the notes signify draw and press.

Of Tuning or Repairing the Accordeon.

For the benefit of those who are so situated that it is impossible

to have a broken reed renewed by a competent or experienced hand,

these instructions are introduced. After having fitted a new reed,

made of brass, (which is the best metal,) that has been well ham-

mered, file the same until it has become about the thickness of its

neighboring key, and then tune in the following manner : Take the

sound of an octave below the required tone, and if the new key is

too flat, file from the end or point of the reed until it gives the

proper pitch;

if, in the effort, it should become too sharp, file from

the back of the reed, near the rivet, and it will immediately be-

come flatter : proceed in this manner until the two keys give an

octave. A large bass key draw must be tuned to the 2d keydraw. A large bass key press must be tuned to the 1st key draw.The small bass kej^s draw (two on a plate) must be tuned to the

1st and 2d keys draw, or to the 2d and third keys draw. The

small bass keys press must be tuned to the 1st key draw and the

2d key press, or to the 4th key draw and the 2d key press.

WINNER'S NEW TEACHER FOR THE ACCORDEON. 17

Of the Single Eight-keyed Accordeon.

A regular succession of notes ascending or descending is called aScale, or Gamut.

The note Ah/V^- , which should follow the first G, is

omitted on this instrument ; also the note B which

should occur between the last A and C. It is because the eightkeys are not sufficient to perform the complete Scale, and these

notes, not being required as frequently as the others, are conse-

quently omitted.

All music written for the single eight-keyed Accordeon can be

performed upon the ten or twelve-keyed, single or double, by using

the same keys.

Natural Scale for the Single Eight-keyed Accordeon.G F

1

1

P

%D

D E G

9 r p

8

D

Before commencing the arrangement of music for the Accordeon,

it is necessary to refer to the Scale, and study the notes by their

several names. It will then be very easy to recollect that the notes

G, C, and E are produced by drawing the bellows, and B, D, F, andA by closing

;thus,

DRAWING.t:

G

a

E G E G B

CLOSING.

It must also be remembered that each key commands two notes

:

one is sounded by drawing, the other by pressing, the bellows. Onreferring to the Scale, the student will find a figurative representa-

tion of the keys, and the notes they respectively sound.

18 WINNER'S NEW TEACHER FOR THE ACCORDEON-

Of the Single Ten-Keyed Accordcon.All music written for thesingle Ten-key&d Accordcon can be performed upon the double

Ten-keyed, by making the note B with the seventh

semitone draw instead of the ninth key press ; and the note

D

-i

2with the ninth key press instead of the tenth key

press.

Scale for the Single Ten-keyed Accordeon.

t> B Vm

-9-

J?

1

4

FX

-#-+-

4

1- L-=4=

- i i

1

1

1

r

* a

r~ h

-+

1

D

X

-\

l

P2

D

-9-2

P

m

3

D

3

P

4

D

4

P

5

p

5

D

e

p

6

D

7

P

7

D

8 9 8

D

l 0

P

9

D

1 0

D

The Accordeon with Semitones.

The larger keys of this instrument produce the same notes as

those of the Accordeon without semitones, and therefore the scale

of naturals will answer for both kinds : consequently, all the music

in this publication may be played on the Accordeon with semitones.

The small keys, as will be seen by the Scale, produce the flats and

sharps, which will enable the learner to perform any accidentals

that ma}' be met with, as the}' are written.

It must be observed that any note made sharp is the same as thefollowing note made flat.

EXAMPLE.

10

WINNER'S NEW TEACHER FOR THE ACCORDEON. 19

I9-

Scale for the Double Eight-keyed Accordeon.

B *C D E G A B C D E

D EG A m -0- # "F

- F 1

These last Iwo notes can be mode onlyon those Accordeono huving eightsemitones.

-h

"dr-0- m 2 3 3 4

1 2118 PD D P D

D45566778 7s 8PDPPDPDPDPDD 8s 8sP D

All the music written for the Single Eight-keyed Accordeon can be performed on this instrument as it is marked

In order to perform the airs written for the Single Ten-keyed Accordeon on this instrument, the note B

which is made with the ninth key press, must be made with the seventh small key draw.

Scale for the Small Keys for the Double Eight-keyed Accordeon.

1 8

D18

P

H

-

2s

P3s 3s

P4s

P4s

D5

P5s 6s

P

6s 7s

P7s

D

20 WINNER'S NEW TEACHER FOR THE ACCORDEON.

Scale for the Double Ten-keyed Accordeon.

D I!

F GB C D E_ #

m -F" "F"F G A -F- +_ J_ +_

J -7 ] im

i

1

i

F

-

1

r 1,

-r i

-t -n

3

i 1 -Im

1

i

1

i

4--1

i

1

i

L_ , 1

--4-

d

#

r-FH

1

i

i

1

i

- 1

1

I

1 19D D P

2 3344 5 566778PDP DP PDP DPDP 7s 8 9 9 10 10D D P D P DAirs for the Single Eight-keyed Accordeon can be performed upon this instrument as written.

In order to perform the airs written for the Single Ten-keyed Accordeon, the note Bit-

must be made with the

seventh semitone draw instead of the ninth key press ; and the note D

key press.

with the ninth key press instead of the tenth

Scale of the Small Keys for the Double Ten-keyed Accordeon.

WINNER'S NEW TEACHER FOR THE ACCORDEON. 21

This instrument (the Double Ten-keyed) is by far the the most

preferable, being the easiest to command, and having a scale

sufficient to perform any music whatever. A good instrument

I

of the French manufacture, with the upright or handle in the

centre, and the keys on both sides, is the best that is-made for

general use.

Scale for the Double Twelve-keyed Accordeon.

On some twelve-keyed instruments, the scale runs thus

on these four notes, being the same as the double ten-

keyed.

the remaining notes being the

on all twelve-keyed instruments

same

Of the DowMc Eight, Ten, or Twelve-keyed Accordeon.

The larger keys of these instruments produce the same notes as

those of the Accordeon without semitones, with the few exceptions

already mentioned;and, therefore, the Natural Scale can be used

for all the different varieties of the instrument. The small ke}'S

produce the flats and sharps, which will enable the learner to per-

form any accidentals that may occur.

WINNER'S NEW TEACHER FOR THE ACCORDEON,

SCALES FOR TRANSPOSITION.Key of C, or Natural Key.

11 9 *- 0- 1

-0-4 4

1

-0-44

1

#44

4*

t1\- 1

j == 1 1 t 1 -f

1m 1 4- 11

-A1 1

9i

9 -t

I

-i

^

1

1 "I1

wri

D

!_h-0-18

Di

i

-0-

2

D

#-2

P

a3

D3

P4

D4

P5

P

1

5

D6

P6

D7

P7

D8

P7

D8

D9

P9

D10P

1 0

D

Key of 0, or one Sharp.

-0-

1

0- #4-0-44

#

1 =1 *01 1=

-X- 1 ' 1

0

3

*- 1

h t I"\-

1D

e

1

'

D1

P2

D2

P3

D3

P4

D4

P5

P5

D6

P6

D7

P7

D8

P7

D8

D

Key of D, or two Sharps.

n I 4- 1 0--\

JL

i

-#-4

i

-0-4

1

A.

I

-

-#-

4

1

A

i1

4-

i

11 h-0~i-

f

m

1

-f

-j

1

1

i

1

-0-i

Di

D

i

-0-

ip

02

D

02

P3

D3

P4

D4

P

-4

5

P5

D6

P6

D7

P7

D8

P7.

D8

D9

P9

D10P

WINNER'S NEW TEACHER FOR THE ACCORDEON.

SCALES FOR TRANSPOSITIONConcluded.Key of A, or three Sharps.

1J' 00-

h- h 1

0-44 t-1

1

0-444

i p 11

# s

*

#

1

0 Irf

i1

D1

P2D

2P

3D P

4D

4P

SP

5D

6P

6D

7P 13

8P

7sD

8D

Key of F, or one Flat.

9

0- 4

i

0-44

#4+* +r4

*zz -

-

-4 h i 1 1

-0-1

D

ei

D

F r t01

P2

D

2

P3

D3

P4

D4

P5

P5

D6

P6

D7

P7

D8

P7s

D8

D9

P

Key of Bt>, or two Flats.

0 -0- 1 4i

JL4

4- 1 .. 0 1 !- 1o 1i

1

i

A DICTIONARY OF MUSICAL TERMS.

A ; an Italian preposition, moaning to, in, by, at, &c.Accelerando; accelerating the time, gradually faster and faster.Adagio, or Adasio; slow.Adagio Assai, or Motto; very slow.Ad libitum ; at pleasure.Affttwiso ; tender uud affecting.Agitato; with agitation.Alia Capella; in church style.Allegretto; less quick than Allegro.Allegro; quick.Allegro Assai; very quick.Allegro ma nan troppo; quick, but not too quick.Amabile; in a gentle and tender style.Amateur ; a lover but not a professor of music.Amen; so be it. Pronounced, in singing, Ah-men.Amoroso, or Con Amore; affectionately, tenderly.Andante; gentle, distinct, and rather slow, yet connected.Andantino; somewhat quicker than Andante.Animo, or Can Ammo; with spirit, courage, and boldness.Antiphone; music sung in alternate parts.Ardito; with ardor and spirit.Arioso; in a light, airy, singing manner.A tempo; iu time.A tempo giusto; in strict and exact time.

Ben marcato; in a pointed and well-marked manner.Bis; twice. Brillante; brilliant, gay, shining, sparkling.

Cadence ; closing strain ; also, a fanciful extemporaneous embellish-ment at the close of a song.

Cadenza ; same as the second use of Cadence. See Cadence.Calando ; softer and slower.Cantabile; graceful singing style; a pleasing, flowing melody.Canto ; the treble part in a chorus.Choir ; a company or band of singers; also, that part of a church

appropriated to the singers.Chorist, or Chorister ; a member of a choir of singers.Col, or Con ; with.Col Arco; with the bow.Comodo, or Commodo ; in an easy and unrestrained manner.Con Affrto ; with expression.Con Dolcessa ; with delicacy.Con Dolore. or Con Dunln ; with mournful expression.Conductor; one who superintends a musical performance; same as

Music Director.Con Energico ; with energy.Con Espressione ; with expression.Con Fuoco ; with ardor, fire.m Gratia; with grace and elegance.Con Imptto; witli force, energy.C/nJusto; with chaste exactness.Con Moio; with emotion.Con Spirito; with spirit, animation.Coro; chorus.

Da ; for, from, of.Dittt ; for two voices or instruments.Diminuendo ; gradually diminishing tho sound.

24 i

Da Capo ; from the beginning.Decani; the priests, in contradistinction to the lay or ordinary

choristers.Declamundo ; in the style of declamation.Decrescendo ; diminishing, decreasing.Devozio/ie; devotional.Dilettante; a lover of the arts iu general, or a lover of music.Di Molto; much or very.Divoto; devotedly, devoutly.Dolce ; soft, sweet, tender, delicate.Dolcetnente, Dolcessa, or Dolcissimo. See Dolce.Dolente, or Dolorosa; mournful.Dolorosa; in a plaintive, mournful style.

E; and.Elegante; elegance.Energico, or Con Energia ; with energy.Espressivo ; expressive.

Fine, Fin, or Finale ; the end.Forzando, forz, or fz ; sudden increase of power.

-

7 fi fia 6 6 fiD D D DPP 5s fiD D fis7 7 5 6 6 5s 3s 5 4 4D D DPDPDDPP P D 4 fi fi fiD P P P 6 6 5 3 4 5 5 5P P D D D D P P 5 7 6D P D

r1

i

j- -i

9- 4c-

(25)E D

fi B 4 6D P D P

7D

7D

7D

7 6P P

5D

fi

D6 7D P

fi 78P P

5 6 6 6 7 6 5DP D P P D D

26 SECRET LOVE; Or, IF MY GLANCES HAVE BETRAYED ME.[By permission of J. Schubekth & Co., New York.] E. MOLLENHAUER.

Allegro.

4=t4~

5tD

G-BD

I \.|-| 1

D7 6D P

5 sD

SD

fi fi

D P7s 81) P

8 7 7P D D

rzi:fisD

8 7 fis 7 6P D D P D

-0-

.3.

-y9 -h

Moderate

fi 8D

fis

D7D

5 sD

0D

7s 8D P

7D 5D

YOU NAUGHTY, NAUGHTY MEN. (As sung in the "Black Crook.")[By permission op Dodworth & Soy, New York.] G. BICKWELL.

SONG.

44 3*444 3 3DDDDPDDP 14 3*4 4 434DDDDPDDD 5 5 5 fi fi fi 5 5DPDPDPDP 4 4 3 3 2P D P D P 3 3 3 3 5 4 3 3PDPDDPDD 3 3 3 3 5 4 4 4PDPDDPDD

5 5 5 fi fi fi 5 5 4 4 3 3 2 14 4 K I! 5 5 4 4 4 4 4 4 4 4 5 4 4 4 fi B 5 5 4 4 4 4 4 4 4 4 R kDPDPDPDP PDPDPDD DDPDPPPP PDPDDDDD DDPDPPPP PDPDDDD

KISS ME, MOTHER, KISS YOUR DARLING. [By permission of Root & Cady, Chicago.] O. F. ROOT. 27

Tenderly

4 4 4. 5 fiP D P P P

THE WANDERING REFUGEE. [Br permission op Loois Tripp, Louisville, Ky.]fV#-T.

WILL S. HAYS.

Moderate

D4 4D P

4P

4D

54483 8 4 3s 3PPDPD P D D P

Allegro.

SWEET EYELEXA.

R 7D P

[Bt permission or C. M. Tremaine, New York.

0 0 0 0 S

7 7D D

7 7D D

9 7D 7 7 D

7s 7 a 7 9D D

MR?. rARKIIUUST.

7D

7 5D D 7

& 0 -A =^ & ^ \ -J H -i

-1'

0--3 3=#5 9 0- 0- 0 0- 0 *= be 0 * * - t *D D D D D D D D D

-f>- 1>*"

St7D

8 7 7PDF

=t=l=M-jWtr*r\ 327 7D D

7D

7D

9D

7D

7D

-0^0 I7s 7 B 7 sD D D D

7D

7 8 7 =D P D

RD

HI ode rat o.

THE GREEK A60YE THE MED. EASTBURN.

Andantino.

EVANGELINE. [By permission op S. Brainard & Sons, Cleveland, Ohio.]*-9-

WILL S. HAYS. 29

9l-r

-ft-

i::*--'_-p~tI ill 1 i w

3 sD D

5 5 B 4 6P D P D P

7 fi fi 5 3 4P D P DDD 3 3D P 4D 3 4D D 5 C fi 4 3a 4DPP D D D 5 5P D

5 fi 4 fi 4 5 3 4D P D P D DDD 4 5D P 5 fi 5 6 fiaD P P P P 4 1P D 4 4D D 3 4D D

3s 4 3 3 4 3s 4 3 3 4 5 5 4 4 4 4 3D D DP D DD DP DDPPDPDD 3 3 4 3 4 5 5DP D D D DP

&

3s 4P P

4 4 4 4 5 5 5 5DDDDPPP.P 5D 4D 444 3 3334 4443 3 333aDDDPPPPD DD DD D D D P-I

3>P

3D

3D

4 4D P D

Moderate

WHEN YOU AM) I WERE YOUNG, MAGGIE. [By permission of J. A. Butterfield, Indianapolis, Ixd.] J. A. BUTTERFIELD.-a-0-

t

*f

4 4 3 2 3D D D P D P D D D2 2 3 44DDD D D

0'-9

D D3 2 2 2 2D P D P D

4 4 4 3s 5 4 4D D D D P P D

4 4D D3 2 2 2 2 2D P D P D D

91 1 2 3 4 2 3D D D D D P D

-H-# -f#

^* 0 *

1 9 is l 2 3 4 23 2DDD DDDDPDD

h% #- H 1

2D4 4 Y 3 4 4P P P P P P

4 aD D

4 3 3DDD 4 4 4 3 5 4D D D D P P 3 I 2 3 2DDD P D D

30

Allegro.

THE MERRIEST GIRL THAT'S OUT.

MEETCARLO MINASI.

5D

00-^0-0.0-5 5 5 5D D D D

5 5 5 5D D D D

-j * I

" " 0'-l ii- r -|-# (-_

8D

8 HD D

8D

8 7P P

7D

8 7p p

7D

7 (1D D

fi 5P D

5D

8 5 5 8D D D D

7sD

8P

MAID OF ATHENS.

rdtfiJtloderato.

4^-A. II. ROSIiWIG.

7D7 8 7 fi fiD P D P D

, III -11 VHf^~i d- > ? fit ^-S*-1-

0-(r*~l 0.^1'* 0r

"f 0 * 0 s^- 0 0' 3-* -1 1 i a, 4

*

-1 /* *

r *

l

D8 5 5 5 6 fiP D P D P D

fi 7 7 fi' 7 8 7D D D P D7 7

r r 1 * i** *

0-a r

-1 #H h-Fi

F-0F-j

j H-H krad h-H 1 k*- -| hii V -L/ I ^~l_ Bwrrr'ar is***

Moderate.

I'M HAPPY. AS THE DAY IS LONG. C. WHITE. 31

)

I

h

-* 0 W- ? 9

5 6 6 7 6 5 4DP DDDDP 5 8 fi 7 B 5 5 5 6DP DDDDP D P 5 5 4DP P 4 5 5 5 ti ti tiP P D P D P D B" 7 ti 5 4 5 4D D P P D P P

5 fi fi 7 fi 5 4DP DDDDP

Lively.

WEARING OF THE GREE\.

*3IRISH.

56 ti ti fi ti 7 7 fi ti fi fi fi fiDP DDDD DDDD DPPP P 7 8788876 5 (5 5 555D PPDPP DDDPDDDD 566 fi fi fi 7 7DPDDDDDDDD

fi fi fi fi fiDPPP P 7D 8 7 8 8 8 7 fi 5 6 5 5 5 5PPDP PDDD PDDD D 8 7s 8876 77 5 6 6Bfi7 tiDD PPDD DDDP DPDP D 7' 8 8 7 6D D PPDD

7 7 r fiDDDD P D P P

32 POLLY PERKINS;OR, THE BROKEN-HEARTED MILKMAN. II. CLIFTON.

Moderate ^4-4t-1 1

1

-ri **

i 1--

15 5D D

5D

5 5 5P D P

5 3 4D D D

3 3 2P D P aD

5 5P D

6 4 fiP D D

6 5 4 5 fiP P D P P 5 5 4DPP 4D 4 3D P

a 4D D

5 6D P D P

3 3P D

fi fi

D P5fi 6B 7fifi5DP DP PDPD D D

Moderate

I'VE NO MOTHER NOW, I'M WEEPING.H-r^ s *

_J i h

i

Dfli 4 4 4 5D D P D D

fi BP D

T. SMITH.

FS^-t* Ih-R5"-"s-F-l i^hhTb-tfr-i ! ! 1 m5s fi 7 fi 5P P P D D 4D 4

3i 4 4 4D D D P D

Impressive

THE GIPSY'S WARNING. [By permission of I). S. HoLMUS, TIroiklyn, N. Y.] A. l .ARD.

4 B 6 6 53 5 4 4 2 33D D DP D D P P D PPD

i 09-

i

5I)

5D

i

lively.

THAT'S WHAT'S THE MATTER WITH HANNAH. J. II. ROSS.

5 5 6 7 6D D PPD

fft 1 1 h 0^

m*r1

-1 I", i!

r

h

r * *

1

0m^ -i-Q-i 1-

1

-l 1 1

[z

jzr i F

-I 1 1 - 1

i

i

-\

6 66 7

34 FLEE AS A BIRD TO YOUR MOUNTAIN.[By PKKMidsioN of 0. Ditson & Co., Boston.]

Expresslvo. "*S:jpip p=?rp:

MRS. DANA.

q=npzpifTs=ppzz^-zzi:

i

P&- _p. 9-f Ip^^l

P^P-

4 6 6 fi 7 fi fi ft 5 5P D D D P D D PDP 4 5 5 6 fi 5iP D D P P D fi 5D P fi fi fi 7 fiD D D P D D fi 5 5PDP 4 5 5 5 fi BP D D P D D

_pi#

5fi 5 8777fifiDDPDPDDPDP Bfifi77fi5D"DDPDPD 4Bfi7fifi 65 5PDDDPDDPDP 4 5 5 5 fi fi 4P D D P D D P fi 5 4 3 5 5 4D D P D D P PTHE ROCK BESIDE THE SEA.

[By permission of Lee & Walker, Philadelphia.]C. C. CONVERSE.

fi fi 5 5 5 4 4D P D P D P D

I H PI #-}-i/h I[-[

gHf4-

5 5 4 4 7 5 5D P P P P P D

rI-

8 fi 5 5 5 fi BD P D P D P D

EEfi fi 7 7 8 7 7 7 fl fi 5 5 5 4D D P D PDPP D P D " D P fi fi fi fi 7 fiD P P P P D 5i fi 5 5 5 4 4D D P D P D P D c.D fi 7 8P P P 51)

MARY AILEEN.[By permission of J. R. Elodgett, Buffalo.]

.T. H. McNAUGHTON.

'

-lML#-!- :p. p_*_t} r p H-pr -i 1

~j 9H 11

L| , i_i-1

1 1

w--1

i

1

* =fc

D D D D PDD PPP D D D D D D PDD P P D P

-9-~-0-9-

--4-H

PPPD DPD PPPD-P-#

-#H hp-i 1 fL/_' I

5 5 5165 4 5 4PDP DDDD PDD 4 7 6 6 5P P D P D 5 6 6 4P P D D D 5 5 6PDP 5 4 6 5 4 5 4D D D D PDD 4 7 6 A 5P P D P D

THE JOLLY DOGS; or, SLAP, BANG, HERE WE ARE AGAIN. II. COPELANB. 35

Lively

5 fiD D D D

_i

p_|

04=

1 1

jd 1 1

a a ft 0 kD D D D D D D D P D D D DPDDD P D P P D DPDDD D D . 7 7 fi S fi fiDPDDD P D 7 7 7 C, 5D D P P D

SOFTLY TREAD, MY NELLY'S SLEEPING.

With feeling

36

Moderate

THE CHARMING YOUNG WIDOW I MET ON THE TRAIN. W. H. COVE.

4D

5 4 3 2D D D P

32 3 3D P D

'3 4 6 5 5 4P P P D P D

5P

r

t

-#i#-r -#-j-

5 4 3D D D

3P

4 4D P 4 5 5D D P 4D

5 4T)

ft 3=3 3=E3 2"D P

T 2P

6 5P D 4D

tit4 5P P D

4D

-

3D

9 *

4D

H* == -q-=^~r-# t 4 -P -M j-P- 3 ^* -i

1. L** 1

D 13 D P D P D P P

3D

'it2D 3D

4P

6 5P D

1^ ==Mt-|^f-5 5P P

4D

3D

4D

4D

1

Moderate

THE OLD LOG HUT; or, THE FUTURE'S BUT A DREAM. EASTBUKN.1

~| -f^- =1

r-^f9 rr^ e 1 ^1

fc31

-s- HS+!

Frhd

=

'

g1= * 1

DDPDD DP' DP PDPDPDP DD PPPPP D D DDD P PPDP

Allegrett

SLUMBER; or, DROWSY POLKA.

6 4 6 7 6 4 6 6 77f!77 7 6 6 5 fi 6 4 6 7 6 4 0 6 77 6 76 6 5 6 5DDDPPDPDPPDPDPDPDP DDDPPDPD DPDPDPDDD p pD.C. TRIO. I'm so Tired and Sleepy.0 0 ill -" m _

P P P D6s fi 6 6 5 5 5 5< 6 6 6 5 4 5 6 6 5 6 7D D D P D PDPPDP P D P P PPPD 6a 6 6 6 5 5 4 4 7 7D D D P D P D DDD 3 3 3 3 4 5 4445DDDP D D PPPD

4 3 6665 544 4443 322 3 3 3 3 4 5D D PPPD PPD DDDP DPD DDDP D D 444 5 4 3 6 66 5 5 4 4 4 331 222PPPD D D PPPD PPD DPPP DDD

9 -0-~\- 0- 0 h-?-0 D.C.

i -I 3 < 4 2DDD D D 2 4 3i 4 2P D D ID P 3 5 5 5 4D D P D D 1 ' 4 1 4 2 4 3i46DD PD DDD D DI

6 4 5 4P P P D

5 5 5D DP

ROSEMLE SCHOTTISGHE.

Modern to.

4 3 3 4 5 6 6 5 5 4 8 7 7 4 5 5 6 6 5 3 4 4 3 3 4 5 6 6 5 5 4 8 7 7 4 5 5 6 6 5 5 5 5DP DDDDPDPPP DPDPPD PDDDDP DDDDPD PPP DPDPPDP DDPDn.c.

-Hi-Hl-gL_H-i-H=h-:fI

77 666 5 55 4674 445 5 666 56777 6 6 65 5 5 4 6 74 44 5 5 666 5 5 56 5DP DDPDDi* PPPP DPPDPDP DDDDP DDPDDP PPPP DPPDPDP DPDPDD.C.

Sill4?.-2.i 44 +iL ra33 4 1 4 1 2121'14-3'S3444 5 5 233 A 1 4 1 21822DP DPDPD D PPDP D P D P DPDDDDP DPDPD D PPDP D P D P DPDPD

Moderate

GRAMS GRAND MARCH. [IiT PERMISSION OF LEE & WALKER, PllILADA.] E. MACK.

4D

R fi fl 5 2 4D D PDDP DDDD 918334.*S 5 3 4 4 4 6 fi fi 5 5 4 4 1 2 3FPPDFDPPPDDPDDDD PDDP DDDD 2 4 4 5 4p d p p;p

4 4 4 4 4 fi fi R5 3 4 412 3 2 1 - 2 3 3 4 4 5 fi 5 3 4 4 4 fi 6 65 2 4 4223DDDDD DD PDDP DDD DP PPDPDPPPDDPDD DD PDDP DDPD 2 3 5 4 4 3 3PPPP DPDP

- (rj) 0-0~9-m-\\-*i-J

i \-

2222 3 3 3 44 5 B 5 3 44 3 3 fi 3 3 3 5 3 22384 fifi fi5 24 4123 2 3 5443 3 2DDDD PDPDPP PDDPD PPPPDDDD PPDPD DD PDDP DDDD PPPPDPDP

fcfci4455 fi fi 7 7DPPD pdpd 7 7D P fiP D 7D fiD fi 5 4 4 4 4 4 fiPD DPDP D D

-0.

3 ^S-0>* =24 8 7

'

P P D5 '5 5 5DDD D fi fi 5D P D 5 5P D 5 5 4 4 5 5 5 4 5DPP PP DPPP 5 5iD D

VIOLET MAZURKA. [By permission op C. F. Ksciier, Philada.] C. F. ESCHER. 39

MoiHralo

5 5D D D

7 6 6 5 5 4 4 4 6 7 7 7 6P D P D P P PDD D DPP 76 4 766 5 5 4 44 6DD D PDPDPP PDD 7D 7 6 4 5D P P P P

4 4 2 3 4 4PDD DP D D D P P D

Moderate.

SEA BREEZE S( H0TT1SCHE. [By permission of C. F. Escher, Philada.] J. M. C100DMAN.

3 3 432 3 4665 655 5 4 2 3 381 2 3 5 44 4 4 3 4 3DP DDDDDDPD PDPDP PD PPPPPPPD PDDDD 43234665DDDDDDPD

40

Moderate

BLUE BIRD POLRA REDOWA. [By PERMISSION OP C. W. A. Trumpler, Philada.] WEJNflARTKN.

9-

A 5 A 5 4 4414 3

CONSTANTINOPLE. [By permission or 0. Ditson & Co., Hoston.] A. 1.1,0YD.

Moderato

5 5 5 5D D D D

S g 5

42 WILD FANG; or, I DON'T CARE GALOP. CARL FAUST.

rT^-

4 4 3 4 5456 7 fi s 7 SP D D D DDDD D DD P 4 4 3s 4 5 4 5 fiF D D D DDDD R' 7 8 7 7D D P D D 7 5 75 7 fi 7 6D P D D D P D D

1 eg f f 1** ~ a -

1 1 1-

.J aj ^ -

.9

S!

] \1a

*=t=

7 fi- 7 8D D D P

i

D D4 3i 4 5 4 5 BD D D D D D D

7 fi' 7 8 7 4 5 5 5' 6 fi 0DDDPDPPDPPDP 7 5 fi 5D P P P 5D 4 .4P Dt=t=t=rt= -

f

77 77fiR 5 5 5 5 4 444444444 7777778 7 7 777fifiD DP P DP D D P PP P DDDD DDPD DD D D D DP D D DP P DPFINE.

TRIOI DON'T CARE.3- /TVLL TRIOI DON'T C\

1 9 4P P D

5 5 5P D P

1st time. '2d time.

4D

3D

1 1

p p3 4 4 4DDPD 3 3 3 " 3DDPD 4 4 5 5D P P D 5 5D P 5 1 2 3PP P D

1 3 3 a SD P D D

WALK AROUND. 4bT. A'lJECKET, Ja.

fi 5 5 fi 5 5 4 5 5 4 4 5 4 4 5 4 5 4 5PDPPDPPD PPDPDPPD DDDCHAMPAGNE CHARLIE.

5 ft 7 6 fi 5 74DPPDPD PDD 7 4 7 5 4 5DDD DDDALFRED LEE.

34B 5 544 3 23 5 44DDPDPPPPPPPPD 34434333 5 5 443DDPDDPPPPP PDD 3s 4 5 5 5 3 5 4 4 3 3 8 8PPPDDDPPDDPPD

4 3 3 3D P DD D PD D D 4 4 4 3 3 4 5DD D PD D D3 8 8 3 4D PD D DPADDLE YOUR OWN CANOE.

5 5 5 5 5 fi 5 5 5DD D PD P DPP 5 4 4 34 5 4 4PPP PPPPD 5 5 5 5 5 ft 6 5 3 4 4 4 3 8 3 8DDDPDPDDDDDDPPD DHARRY CLIFTON.

fi fi K fi 5 fi 7777fi'78S fiPPP.PPP DDDDDDPPPD ft fi ft fi 5" fi 7 7 7 7 s 7 It fi ft 5 R 4PPPPPP DDDDDD PDPDPP 7D

44 HILDA WALTZES. D. GODFRKY.

rro. 3.. A-v

3 3 2P D P

3 3 2DDP

h-

h-It-

If-

\-At-

i

t-JLl J

bd. 0 -1

~M~

#

J

3 3 3 2 8 11P D D P D D D

1 a iP D P

1 ;

8 8 1 33 3 24 322 2P P D DPDPD DDP P

3 1 1 3 3P D P D P

3M 322 14 44 3 4332 24 44 5fi5 5 5 5 2DPDPD P P PDPDPDP DP PDDPDPDDP 2 4P P

-944321 3 3 322PDDDD DPDPD

4 lP P

t 4P DD.C.

I 1 rime. I ti time. |

1 4P P

4 4 3 4 3 3 2P D P D P D P

2 4D P

4 4 5 5 5 5 5 2PD DPDPD DP 2 4 4 1P P P P 1 4P DOi

D D !D

7 7"P D

HILDA WALTZES. Concluded. 45

No. 3.

fis fi fi 5 fiD D D P D

46

3XTo. X.

MABEL WALTZES, GODFKHr.

Gh--1

[3D

4D

4 5D P

ft-* a-^_:tt*-

H r

MABEL WALTZES. Concluded. 47

2NTo. 3. As

-J ' -_' : *

DC

8D

3NTo. -3k.

-

* *

i '\- 0- ri

1

r0-0 0ij tE t=fc

9

11*1 83 44646DDPDDDDPDD 33444643633PPPDDDDPPPD 111 2 3 4 16 4 6DDP DDDDPDD 8 S 9P D P 5S2fi4334PPPPPDDD

5 5 4 4 5 5 5 S S 5 SPPDPPPPPPPP 5 9 9 3 3 3 * 4 9 3DDPDDPDDPD 9D

48 PAKEPA SETT.PLAIN COTILLONS.I CANNOT SING THE OLD SONGS.

EASTBURN.

p i>

3t7 6D D

S fi fi 6D D P P D D

04 nD D

3? 1- "H J"Play twice tlirniiah. D.C.

7 7P D

7< 7sP D

ap

fi 4D D

P. fi 5DPD 5DFIRST FIGURE.Right and left ; chassez to the side, then back to place ; SECOND FIGURE.Forward and back ; cross over ; chassez to right and

ladies chain, then galop across and back again to place. left, or forward and back- again;galop across.

FIVE O'CLOCK IN THE MORNING.i

u-j*~syx\j o. 2-

- n 1

-

fi fi fi fifi 7 R 7 fi .1D D D PD DPD ID D fi 4 r> fi fiP P P D P fi fi 5' r. 5'D D P P P fi fi 4 4P P P P 4 5 5 D.C.

vjiii'i'.i'LAu\ IOTILL0AS. loncSuded.MAGGIE'S SECRET; or, My Heart is over the Sea

- k

^3 3 3 8 1D D D D D P D PDDPD P P P D P

No. 3- -

D D D D P D1 1-11 8PDDPD 8 1 8 3 8P P P D P 3D

pV\ay four i i nit s tbrouah. D.C.

88 333383 3 43333 4343 8 33382 33445 5 fi 5 * 3 3 8 * 5 5 4 3DP DDDDPD PDPDDP DDDD PDPDDP DPDPPD PPDPDPDDPPPP 1 19 1 8P D P DTHIRD FIGURE.Right hand across, then left hand back ; keep hold of FOURTH FIGURE.All swing corners. Forward and back, cross over,

the hand of the opposite and form a square, giving your right hand to chassez to right and left, and return to places. Galop across; all your partner ; then balance and half promenade. Forward and back ; chassez.

forward again, and turn the opposite with both hands quite around.Forward and back, then cross over to your places.

THE SAILOR'S WIFE ; or, I've a Letter from thy Sire, Baby mine. [By permission op 0. Ditson k Co, Boston.]

JNTo. 4.-ii

I

#-(rh" " I 1 (

3 3 4 5 5 5 4 5 5 5 4 5 5 5 4 5 5 5 4 5 5 5 5 4 4 3 3 ? 8 3 3 4 5 5 5 4 5 5 5 4 5 5 5 4 5 5 5 4 5 5 4 4 3 3 8 3 8 3DFDDx'DPDPDDDPDPDPD DDPDPPDP DPPDP DDPDPDPD DDP DP DPD DDPPDPDP DDD

i 2 8 1 3 3 ;DPDDP DDPDDPDPDPDDPDDPDP8 3 38 1*3 44 3 381 3345 5 5 5 44 3 3883 3DPDDPDDPDPPDPPDP DDPDPPDPDPDDP"r* ^Play fonr times throuah.D.C.

-0-r-i

4 5 5 5 5 4 4 3< 4 fi 5 fi 5 5 4 4 4 5 5 5 5 4 4 3 3 " 3 " 5 5 5 ; 4 1 3 1 4 6 5 fi 5 5 4 4 fi 5 5 "* 4 ^\ 3 3 2 2DDt'DPPPP'PPPDPPDDDPDPPDPDPP.;P D.-P PPPP PPPPDPPD DPDPPDDP DPDA.

SWEET SIXTEEN POLKA QUADRILLES. [By permission op C. W. A. Trcmpler, Philaba.] WKINOAUTHN.

No. X.-

4 7 7 4 R 4 5 S 5 5 5 S S 5 7 7 4 7 8 8 5 4 7 7 4 6 8 4 5- 5 S !t ft ft? 8 5 7 7 7 A S 8 SDDDDDDDDDPPPPPPDDDPDDDDDDDDDDDDPPPPPPDDPPDDD

ESS44 5 58 4 5 5 0fi 747 7 + 7 fi 4 fi 544 44 5 5 8 4 5 5 fi fi 747 7 5555DP PDP DP DPD DPP PDP DDD DPD DP PDP DP DPD DPD PDP DDPD

D.O

S3 1 ' 1 1 t 2 ' 2 3 3 3 4 4DD PDD PDPD P P P PHH

44 3 4 3 2 938PDD DPP DDDFIRST FIGURE.First and opposite couples promenade round, waltz SECOND FIGURE.First couple waltz to side couple, change of ladies,

round, balance, and waltz round. Side couples the same. the same to bottom and side couples ; first and opposite couple waltzround to places. Repeat for the side on the right, then bottom and sidecouples, until all get partners.

SWEET SIXTEEN POLKA QUADRILLES. Continued. 51

D.C.

7 7 6 fi fi R 5 5 5 5 5 5D P D P D P DDD DDD

D

x x a

fi

D3D

4D

4D

3.P

fi 5D D

n.r.

r,

DB 4D D

THIRD FIGURE.First and opposite couples waltz round outside, cross FOURTH FIGURE.First and opposite couples waltz round to the centre,lady's place.hands with side couple, then change ladies and waltz to places ; side

couples waltz round outside, cross hands with the leads, change ladiesand waltz to places.

make the passes, then change of ladies and waltz to eachRepeat for side couples

tr-

4 4 6 fi46 R6 fi7 fi 7 87DDD DDD DD DD DD PD fii 7 B fiD P D P

W-

7Ptr

447 747 76 6 7 fi 7 8DDP PDP PD PPDPP S 7 fi 5 4P D D D D

fi 4 4 6 4 fi fiD D L> D DDD D

D.C.

6 8 7' DP P P 8 7 7 6 fi 8P D P D P- P 5 5 5 5j> r n 3?

52 SWEET SIXTEEN POLKA QUADRILLES. Concluded.

FIFTH FIGURE.All give right handsto corners, all turn a full circle round, then left hand to next until they get to partners opposite of their places,then all waltz to places ; ladies cross with right hands, the gentlemen with right hand with ladies' left hand; all promenade half round, then turn halfround and return to places. Repeat as above, and with the same time as the old Polka Quadrilles.

No. S.

-

P-0-riI

i 1 1 \-m-0-F- I 1 ' W~

-i4-3.4.i BR -5. 4 4," I 6 7 78 7 4 4 7 6 6 4 4 7 6 6 4 5 5 (587 78 7D D DPD D D DPD DPP DDP DP D D D P D P D D P D P D P D P D P DP D

First and third time.

W^m 1t- a 0-1 1 ! F-

-I 1 I

77*! 6 4 7 0 6 5 4 5 5 5 5 6 6 6 5 5 54 7 7 6 04 7 6 0 56 666 6 5 5 5 *4 44DPD PD DDP DP DPP PPP PDD DD DPD PD DDP DD DPP PDD PDD DD

9 114 4 1 * r? sDPPPDP DDD

SUGAR m THE GOURD. IRISH.

Allegro.

4D

4 4 3 3 3 4 5 4PDDDDDDD 4 4 3 3 8 8 1'P D D D P D D 1 1 " 8 8 3D D D P D 6 5 5 41) D D D 4 4 3 2 3 4 5 4PDDDDDDD

SHELTYS PIPES.

Lively.-- H #-#H

8 3P P

3 4 4T>

iD D D D P

4 4 3 4 5 5 A 5 4 3 3PPPPPDPDPPD D D D DV

1 9D D D D

MRS. MALLOY'S REEL

5 A A 5 5 5 4 3 8 8 3 38382 3 15 AA 5 5 543323 3 8 4 3 3 38D DPDPDDDDDD PPDDP DD D DPBPDDDDDD P P D D D DDD 4 4 5 5 4 4 A 6 A 54432 2 1.4P DDDPDDDP DPDDP D D P

4 5 54 4 0f;(;54 i3 o 8??44 5 5 4 4 AAA 5 443831545544_56A6 5 44 3 9888PPTJPDDDPDPDDDDDDPDDDPDDDPDPDDPDDDDDDPDDPDPDPDDDDDD

54 BOX TON POLACCA QUADRILLES.First time play three times.

FIGURE FIRST.Introduction. Grand round, all taking hands, four FIGURE SECOND.Introduction. Gents to the right, ladies to the left,steps to the left, pass the ladies to outside of Quadrille, then four stepsto the right, which will take you half round, eight bars ; all waltz backto places, 8 bars. Figure : Leads balance to centre, change ladies, andwalk across,eight bars; four ladies cross right hands, turn partnerswith left,eight bars ; all waltz to places, eight bars ; repeat four times.

meeting partners in opposite places,eight bars ; all waltz round toplaces, eight bars. Figure : Leads forward, change ladies, lead to sides,eight bars

;repeat four times, then all waltz around for finale.

KTo. 2.

BON TON POLACCA QUADRILLES. Continued. 55First time piny

BEin times, afterwnrils only

5

FIGURE THIRD.Introduction. All promenade half around and waltzto places,sixteen bars

;Figure : First couple lead up to second, cross

hands around,eight bars ; then join left hands over the right (cagefigure) and Polacca steps once around, change partners and waltz tonext,eight bars ; execute the same with each couple

;repeat four times.

FIGURE FOURTH.Introduction. Gents pass to the right, ladies to theleft, in chain, till you meet partners,sixteen bars ; all waltz back toplaces,eight bars. Figure : Leads balance to centre, giving righthand to opposite lady and left to partners, eight bars ; turn with lefthand and give right to sides ; balance and turn ladies on the right withright hand, meet partners,eight bars ; leads waltz to places,eightbars

;repeat four times.

U First time

ft 7 7 fi fl 0 7 7s ftDDP DP DPDP 7 7 7 4 A 5P D P P P D 7 aD D D ft 7 BP P P

56 W\ TOx\ POMCCA (llAMULLES. Concluded.FIGURE FIFTH.Introduction. Four ladies grand chain,sixteen bars. Figure : Gents all balance to corners, take ladies in waltz position, and chase

ladies half around,eight bars; return to places in same way,eight bars; all waltz around outside of Quadrille,sixteen bars. Repeat four times.

JSTo. OFirst time three times; afterward only one*

3 3 "3 4 4 4 4 fi 5 5 4 3

JIST OME MORE; or, PALOMITA GALOP. [Bl PERMISSION OF Vf. A. PoXD & CO , \BW VoRK.] 11K1.11.SMLIJ-KR.

4 3 4 3 5 4 3 2DDDP P P P P

i i i i 5.356R 5 5 B 8 Va 4 B 5 R 44 R 4 I 3 63D P P D P D P D P DDDP PDPPD PPDP PPPPP 4 7 4 4DDDP 5 5P D 6 fi . BP D P D

rr R R 7 4 7 fi fiDP DDDDPD D fi 4 fi 5P P P D 5 4P P 4 7D P 7 7 fiD P P P 5D

THE PRETTY MAZURKA QUADRILLES.Introduction.

3

J. A. RIST1NK.

First Introductionhands round to the left, then to the right to places ; allmake a little tour round ; then a little waltz in place.

FIRST FIGURE.First couple promenade round inside of Quadrille toplace ; execute the square balance and little waltz.

[Counterpartfor the other couples.]Second Introductionall in waltz position, then slide quarter round, with

the pitching step, or jetes ; then waltz until all are half round;repeat

to places.

SECOND FIGURE.First couple forward to the right and four handsround

;go to bottom couple, cross hands

;go to side couples, where two

ladies go round each other, while gentlemen go round outside; first

couple go to place, and make a little waltz.

Third Introduction tRepeatfor the other couples.]wa'waltz round.

D.C.

=ffc= f'9 '^muP-^rp.

i w-+-td

-mm *-m -F-i ^

-t-J /t-

8 3 4D D D

5P P

3 4 3 2P P P P

5 4P P

4 4P D

. 4D D

3D D

1 1 _

D D D D D P D P D P D

THE PRETTY MAZURKA QUADRILLES. Continued.THIRD FIGURE.First couple forward to side couples, and take two ladies to centre of Quadrille ;

three hands round to left, then to right ; leave your partner with side gentlemen ; do the same tobottom and side couples ; take the last lady to place, and execute the little waltz ; repeat until allget their partners.

Third Introductionall waltz around.

69

3 --f^4--j--

-o-

2 p 4 fiD D fl 5 5 4D D D P P 4 4D P 3P

id Mi ^I-H H^--0;

=1= i4 4D P

4 3 3 3D P D P

4 6D D

fl 5D D

5 4D P

4D

4 4D P

4 4D P

4' 5P 1J

6 fiD P

CO

2\To_ -a.

THE PRETTY MAZURKA QUADRILLES. Concluded.

3 3 3 4 4DP D D P 5 5 5 s fi 6 GP D P P D P 8 7 4P D P 5 fi 7 5 5 5D D D P D D 3 3 3 3DPDD

9 3 9 3P D P D

LU_4f-_4aCE

8 9D D

3332 3332DPDD DPDD

+0D.C.

ii- *j--f^

1

I

3 13 4D P D P

4 3D P

2 3 9 3P D P D

4 3D P

2 3 9 3P D P P

3D

3332 3 3 323 3 3 44 33 3 3 3 4 3 238383DPDD DPDDDPDPD PPDPDD PPDPD DDFourth Introductionall promenade half round, then make a little tour ; FIFTH FIGURE.

"Wait ; all hands round to the left, then to the right

;

all repeat to places. all make the little tour and little waltz ; all face partners ; all promenadeFOURTH FIGURE.First and opposite couple coupee ; first and opposite round to each quarter of Quadrille, and execute the little waltz, gentle-

couple balance round with right hands, then with left hands. Repeat men to the right, ladies to the left, until all get partners.for sides.

** 4 4 4 3 :

No. X.

VICTORIA; or, FIFTH AYEXIE LANCERS.

-' 1- t:s

D8D

.15 4DPP

[-T PERMISSION OF C. W. A. Trumfler, Puilada.1 ViLlNOAJlTEN.

0 W

4 4 5 5 fi fiDPP D P D 7 4 5P P P hD SD\

3D

3 3 3i 4 4 5D P D DPP 5 5 4 4 3s 3 3 4 5DPP DDP DDD 3 4 RDPP 4 4 3a 4 4 5DDD DPP

FIRST FIGURE.First and opposite couples forward and back; forward SECOND FIGURE.First and opposite couples forward and hack ; forwardagain and dos-a-doz. First couple galop across, while the opposite again and leave the ladies in the centre, facing partners ; chasscz to ihecouple execute the same as first couple. All balance and turn right and left and turn partners ; form lines of four, with sides ; forwardpartners. all and back ; forward again and turn partners in places.

INTO. 28 fi 7 7 -8 7 7 7 7 fi fi fi fi 5 5 5 fi 7 8 *8DDPDPD DPPDDPPD DPPPPP

5 5 fi 7 8 5 588DPPPPP DDD 7 7 B " R fi 5 5 4 4 t 4DD D DPDPPPPP SiP t 7 5 fi 5 5 4 4 < t 4 I 4 5 5 fi R 7 R 7DPPDPDPP PDDDDPPDP DPDP DPlav four times through.

-A. _ 1>.0

1 1| 1 1 \-9\r-lm hi^^W I *

7 B 7 8 7 7 7D D D P D P D

7 fi R 5 5 5 5 5 4 1 4 tPDPDPDDD PPPP P 17 5 fi fi 5 - < 147" Q7

62

3NTo-

VICTORIA; or, FIFTH AVENUE LANCERS. Continued.

6 fi fi 5 S 5 4 4 "3' 4DDPD PDPDDD 5 4 6 5 7 6 8P D P P P P P (S 6 6 5 5 5 4 4 "3" 4 4 4 fi fiDDPD PDPDDD PDDP 6 5 s fi fi fi 7P P P P D P D 5 5D

fi 6 5. fi 7 6 8 fl 7 7 6" 7 8 7 7 7 6 6 6 5 4 477 6 6 6 5 5 5 4 4 3> 4 5 4 6 5 7687 6665DDDD PDPD DDDD PDD DDDPDP DDP DDPD PDPDDD PDPP PPPD DDPDPlay twice through.

5 5 4 4 3" 4PDPDDD 4 4 6 fiPDDP 5D 5D fi 6 5> liP P P P fi fi 7 $ fi 6 5 BDPDD DDDD 7 fi 8 fi'PDPD 7 7 6 7DDDD 7 fi'66 5 4477DDDPDPDDPTHIRD FIGURE.First and opposite couples forward and back; forward FOURTH FIGURE.First and opposite couples forward to side couples on

arain and, bow and courtesy, to place. right, bow and courtesy, then change to side couples on the left, bowDouble Ladies' chain. and courtesy ; all chassez and turn partners to places ; lii>t and oppo-

site couples right and left.

No. -a.

4-#-T

1

rrH- \

-

0

4P

4P

3D 3

2D D

3D

P'ny four times through.D.C

VICTORIA; or, FIFTH AVENUE LANCERS. Concluded. 03

FIFTH FIGURE.All grand chain round ; form in line with the leads ; all chassez ; march, filing right and left, up the centre ; fall back in columns;

forward all and back; forward and turn partners to places.

5 8 7788 .8 778 77 fi fi 5 fiP F D P D P P PDPD D P D P D D 5 nD D P D

C4 DURING SCHOTTISCHE QUADRILLES. fBT PERMISSION OF C. F. ESCHER, PlILAOA.] C. F. ESCHER. Jr.ir tr

3 5 4 5 5 5 5P P P P D D D

FIRST FIGURE.Leads forward with Schottische step, and return to SECOND FIGURE.Leads forward to centre, change ladies and waltzplaces with four jet te voltes (hops),four bars; repeat,four bars; across,four bars ; forward to centre, take your own partners and waltzleads tiroir and waltz in place, four bars ; return to places in the same to places,four bars ; four ladies grand chain,eight bars ; leads slideway,four bars ; leads balance (Scotch step),eight bars ; leads slide waltz,eight bars ; sides repeat,waltz,eight bars ; sides repeat.

No. 2.6777

DURAffG SCHOTTMHE QUADRILLES. Continued. Co

THIRD FIGURE.Leads balance and waltz to centre,four bars; cross FOURTH FIGURE.First couple balance, Scotch step and waltz to oppo-hands once round,tour bars; change ladies, balance and lead to left site couple,four bars; balance again and waltz in place, four bars;side couples,four bars ; change ladies with side couples, balance and give right hand to opposite couple, balance and promenade through,waltz to places,four bars ; leads slide waltz. Repeat four times. turning around,four bars ; return to places in the same way, giving

left hands,four bars ; first couple waltz around inside of Quadrille,

eight bars ;the other couples repeat.

fi 5 r> 4 4 4 4 3 4 3 2 T, 5 5 4 4 4 4 3 5 >\ 4 fi 5 5 4 4 4 4 3 4 3 2 5 5 5 4 5 4 B fl 5dddppddfdpppdpddpdddpJdddddppddpdpppdpd d d d p dm m !~ .C.

* LJt1

rf~/T=^rf~rfT*~

fis 7 4 7 6 7 7 4 6 fi fl 74RD D PDPDP DDDPD PDP 4D 5 4 B fi 5D D D P D

D.C.

n a 7D P D D

7 8D D D P7 7D P

7D P

7 flP D

7 6P D

DIRAXG SCHOTTISCHE QUADRILLES. Concluded.

FIFTH FIGURE.All waltz around,eight bars; two ladies half chain, four bars; balance with opposite gents and waltz in place,four bars; then twoladies forward to their partners, deceive them and return, followed by their partners. lour bars; waltz back to places,four bars; leads slide waltz,

.

eight bars ; then all waltz round again ; then sides repeat and all waltz for finale.

ft 7 7 ft ft 54*.1 5 5 5 ft B 5-67D D P P D D D P P DPDPD D D V 8 7 ft* 7 B77fi6 5 5 5 4 5 5ft 5ft ft 7 ft 4 4 5 5PDDP DDPPD DDPPPDP DPDPDDPP D

Andante.

GOOD-BYE, SWEETHEART.

0 02 2D D

3 4D D

4 5D D

-0~0-FZ3:

i

.1. h. IIATTON.

-0-0-

5 5D D

4 3 3HDD 2 8 9P D P 2 8 3 4 4D D D D D 5 ft ft 5 5 5 5 4D DPDD D PP

4 4D D

JXTo. X.

PANTALON

PALERMO QUADRILLES. 07CHARLES IVAI-BEKT

^--J^fl, 1^ t\ 1 rn,

i p . v\iF-

3 4 5 6*55 4 4 3 5 55 5 a ft 5 4 t 6 5 3 4 5 6 6 5 5 4 4 3 5 5 5 5i 6 5 4 4 5D D D D P D P P DDDPD P P P P D D D D D D D P D P P DDDPD PPPPD D

6 5 6 2 3 344P P PPD DDP 5 5 4 4P PPD

-J3s39 8 1 1 1 6 5

DDP DPD P D P P

W-9n.c.

* 9

6 8 3 3" 4 4PPD DDP9

5 4 4 3 3 8 8 1 1 1PPD DDP DPD D1

fe-rr

7 (!< 8 7 7 6> 8D D PDDPDD P 7 7 6 6 6 5" 6 7 5 6 5 5 7 6 < 8 7 6 7 6DPD DPPPPP P DDDD PDDPDD 7776 6 5 6 7 6 6 5DDPD PPPPDP D

FIRST FIGURE. Top and bottom couples right and left;top and bottom SECOND FIGURE. Top and bottom couples forward and back ; cross

couples chassez to the side, and then chassez to place; Ladies chain; over; chassez to the right and left, or forward and back again; toptop and bottom couples galop across and back again. Repeated by the and bottom couples galop across. Repeat four times,sides.

3XTo.

ETE

-j

| .i

i

9-

H 1 1TTT-

;

>

4D

l 4 4443*4 4 t 3 4 4 3 1 8 5DDPDP PPDDD DDPPP PPDPD PPPPP PPDDD PDDDPDDD D D

PALERMO QUDRILLES. Continued.

5 6 6 5P P D P D

THIRD FIGURE. Top and bottom couples right hand acrossv then left FOURTH FIGURE. First and opposite couples forward and back; for-hand back, keep hold of the hand of the opposite, and form a square, ward again and give the partner to leading gentleman; forward threegiving your right hand to your partner; you then balance, and half and back, forward and bow, the gentleman opposite forward and turnpromenade. Top and bottom couples forward and back ; forward again each lady; then four hands half round, and half right and left to place,and turn the opposite with both hands quite around ; resume your place ; Repeat four times,top and bottom forward and back, then cross over to your places.

No. 4,TRENISE.

-0- # #1 #

i- V 1 V t-L ^ *Z f =4tf 5=

-1 h0F~3* 5 flD D D

7 8D P

7 BD D

Dfl 4P P

5 4 R flD D D D

fwf ^Zzafc 1 1 ^

5D

I! 5 RP P

5 flP P ft

v4 flP P

4 4 4D D D*

D.C.

afczxzzp i5 81) P b ft & P 5I)

PALERMO QUADRILLES. Concluded. 69

N"o. 5.FINALE.

11

-flrv

70

No. X.

DODWORTH'S THIRD; or, SHARON SPRINGS LANCERS, H. B. DODWORTII.Bt permission op Dodwoetb Ic Sons, N. Y.

D4 3 3 3 S 2D P D D P D

-0- D.C.

SEE4 5D D D

7 (I ftD D P

7 7 (1 fi SD P D P D

I

T^iblislied and For Sale bym

JL*lEi1& cfc W j&l, 3^ 3E3C 3SNo, 922 Oliestn-uLt Street, I3liil^l3.ia,.

PIANO INSTRUCTORS..

BurgmUllers $2.50Juvenile...., 75Lee 4; Walker's Juvenile. Bellak 60Challoner's ^ 1.50Clifton's 1.00Meineke's 1.00Hnntsn's Piano, unabridged 2.50if* " abridged 2.00

Union Piano. Rasche 2.00Carr's Analytical 150Beokel's . * 2.00Everest's .' 2.00Standbridge's : .'. 2.50Uttonr's 2.00Grobe's (board) 2.50

" (cloth) - 3.00Bertini (large) 3.00

(small) 2.50Jarvls's . .". 1.60Herr's

,2.00

The PianosForte Primer: containing the rudiments ofmusic, calculated either for private tuition or teachingin classes. By J. F. Burrows 40

flute.Wragg's 2.00Preceptor for German Flute - . .10Bateman'a .-. 75Winner's*. .'. 60Shunter's - ,.. 60Leland'a .'. 80

VIOLIN.Beckel'e Kaay Violin-Player 50Ma*as' _ 2.00Ttolln Preceptor, (new and complete) 50*Modern School (board) , 1.25.

" " (paper) t 1.00Winner's ; 80Shuster's 60.eland's 60

VOCAL.Lmsous in Vocal Mu-vic. Da Costa 1.00Rossini's Solfeggi * 1.00Singing Tablets. ' L. 0. Tombler 30aifton7s 1.00Everest's 1.50

Winner's 60First Lessons, by Ph. Rohr

.26

ACCORDEON.Winner's Method so

'* Accocdeou Songster 60

GUITAR.American Guitarist 60Oarcassi's 3.00Culver's 2.00Carcassi's, abridged 2.00

ORGAN AND MELODEON.Beckel's Melodeon or Organ 2.00Bellak'e Melodeon 1.60Young Organist. J. A. Getze 2.50

MISCELLANEOUS.Clarionet. A new and complete Method *

.50Cornet, or Cornopean. C. E. Roy ' .60Drum Preceptor 50Drum Preceptor. Winner 40Fife Preceptor 40Flageolet Preceptor 50Kent Bngle. A. Schniitz 50Melodeon, Violin or Flute. P. Weiland. In. 14 Nos., each. .30

" "4 " Bound, in 2 vol*., each.. 1.60The Apollo: or, Musical Pocket Companion; a Collection

of Songs, Marches^ Waltzes, Ac, for Flute, Violin, orFlageolet, fn numbers, each .30

The Gem; a Collection of the most Popular Songs, Mavcbes,Waltzes, Opera Airs, &c, carefully arranged tor twoFlutes, or Flute and Violin. In numbers, each 30

Winner's Violin Collection '. 80Flutist's Bijou, 2 vols., each 2.00Norma. Vocal Score. Complete. Bellini 4.00Winner's Cornet .40ELEMENTS OF THE PIANO-FORTE; An,Assistant

for the Piano-Forte Scholar. Bv W. Geib, M.D 35RECREATIONS. A Collection of Popular Songs, Marches,Waltzes, Dances, 4c, for the Cornopean or Cornet a \\ JPiston; also for the- Valve-Trumpet, Kent Bugle, and AClarionet. In numbers, each 60

TUNING THE PIANO-FORTE. A new and easy me-thod of Tuning the Piano-Forte. By W. Geib, M.L ! .35

GLEE, CHURCH, AND SEMINARY BOOKS, &cCANTUS ECCLESI-Ei or, The Sacred Chorister i beinga collection of Psalm and Hymn Tunes, Chants, Sen-tences, and Anthems, &c. Harmonized for four voices, andprovided with an Accompaniment for the Organ or Piano-Forte. By W. H. W. Darley, and J. C. B. Standbridge.Sixth revised edition 1-50

CHANTS (Original) FOB THE PROTESTANT EPIS-COPAL CHURCH) arranged for four voices, with auncconipauiment for Organ or Piano, By D. A. Warden... .60

CHANTS OF THE EPISCOPAL CHURCH, original andselected. Harmonized for four voices, and provided wishan Organ or Piano-Forte accompaniment. By W. H. W.Darley, and J. C. B. Standbridge 1.00

A NEW CHANT-BOOK. CHANTS OF THE CHURCH.Just published. Selected, composed, adapted and ar-ranged for four voices, and provided with an accompani-ment for the Organ or Piano-Forte, by John C. B. Stand-bridge. Half bound 1.00Cloth 1.26

THE VOICE OF MELODY, a choice collection of HymnTunes for Choirs, Prayer-Meetings, Congregations, andFamily use, containing more than 270 tunes. Printedon line, white paper, with clear and beautiful musictype, and yet is small enough to bo carried in a eoat-pocket. By J. M. Armstrong. Half bound 50Cloth .7*

CONCORDIA. A new book and a good ono. A collectionof Vocal Music for Seminaries, Institutes, Singing-Classes.&c. Including a complete course of elementary exer-cises. Hv Charles Grobe. Op. 1301. Price 80

TARA'S HARP. A new collection of favorite Songs andGlees for Youth. Designed for the use of Schools, Semi-naries, and the Social Circle; containing also a completecourse of elementary instruction in vocal music. By J

.

A. Getze. Price 60TIP-TOP GLEE AND CHORUS BOOK. A new and

choice collection of copyrights, never before harmonized,and many of the Gems of modern German and Italiancomposers, arranged in a familiar style, and adapted tothe use of Glee-Clubs, Singing-Classes, and the FamilyCircle. By C. Jarvis and J. A. Getze. Price 1.88

ZION'S HARP. A new and choice selection of SacredMusic, comprising a numbet of the most favorite Hymnand Anniversary Tunes. Particularly adapted to theuse of Sunday-Schools, Prayer-Meetings, and the HomeCircle. By J. A. Getze, author of "Tara's Harp," *c-Price..... - - .M

SERV I JG OF SONG, A new collection of Church Music.By B? F leavens. Bound lu cloth , 8.50

Lee db Walker'a Musical Almanac sent free to any address on application.