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Clementi
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Muzio Clementi's
Introduction to the
Art of Playing
on the
Piano Forte
Mutopia Project
Typeset using LilyPond 2014 by Javier Ruiz-Alma Mutopia-2014/02/18-1938 Creative Commons Attribution ShareAlike 4.0 International License free to distribute, modify, and perform
Acknowledgements for this edition
My gratitude to the LilyPond User Forum and the Mutopia Project, for making this project
possible; especially:
Nicolas Sceaux, Chris Sawer, Glen Larsen, Mats Bengtsson, Mike Solomon, Jakob Lund,
Janek Warcho, Keith OHara, Nick Payne, David Nalesnik, Reinhold Kainhofer,
David Kastrup, Shane Brandes, Xavier Scheuer, Eluze, Robin Bannister, Phil Holmes,
Thomas Morley, Federico Bruni, Felix Janda, Bas Wassink, and Edward Neeman.
Table of Contents
Music Notation
4Preliminaries
4Clefs
5The Scale, or Gamut
6Intervals
7Tenor, Counter-tenor, and Soprano clefs explained
8Figure, Length, and the relative Value of Notes and Rests
9Time and its Divisions
11Sharps, Flats, etc.
13Various other marks.
13Abbreviations
15Style, Graces, and marks of Expression, etc.
17Turns, Shakes, and Beats, explained
20Major and Minor Modes or Keys; vulgarly called Sharp and Flat Keys.
21Explanation of Various Terms
Fingering
23Preliminary Directions
23Scales in all the Major keys, with their relative Minors
28General Remarks on the foregoing Scales
29Extensions and Contractions etc.
30Examples of fingering for the right hand.
33The left hand.
Preludes and Lessons
Lesson I
34Prelude in C Major
34Away with melancholy: by Mozart
Lesson II
35Aria
Lesson III
35Air, in Atalanta, by Handel
Lesson IV
36Air, in Saul, by Handel
Lesson V
38Dead March, in Saul, by Handel
Lesson VI
40Allegro by Corelli
Lesson VII
43Prelude in A minor
43Gavotta by Corelli
Lesson VIII
44Prelude in F Major
44Air, in Judas Maccabeus, by Handel
Lesson IX
45March, in Judas Maccabeus, by Handel
Lesson X
47Sarabanda, by Corelli
Lesson XI
48Giga, by Corelli
Lesson XII
50Arietta, by Mozart
Lesson XIII
51Minuet and Trio, by Mozart
Lesson XIV
53Le Rveilmatin, by Couperin
Lesson XV
57Prelude in D minor
57Larghetto, by Scarlatti
Lesson XVI
59Allemanda, by Corelli
Lesson XVII
61Sarabanda, by Corelli
Lesson XVIII
62Prelude in G Major
62Ah vous dirai - je maman
Lesson XIX
63Triste Raison
Lesson XX
64Fal, lal, la. Air in the Cherokee.
Lesson XXI
65Larghetto, by Pleyel
Lesson XXII
66Arietta
Lesson XXIII
68German Hymn, with Variations by Pleyel
Lesson XXIV
71Andantino, by Dussek
Lesson XXV
73Allegro, by Handel
Lesson XXVI
75Minuet in Samson, by Handel
Lesson XXVII
77God Save the Emperor, composed by Dr. Haydn
Lesson XXVIII
78Rondo in the Gipsy stile, by Dr. Haydn
2Lesson XXIX
86Prelude in E minor
86Tambourin by Rameau
Lesson XXX
89Prelude in B flat, Major
89Minuetto by Scarlatti
Lesson XXXI
91Lindor - an Air
Lesson XXXII
92Minuet and Trio, By Mozart
Lesson XXXIII
94Gavotta in Otho, by Handel
Lesson XXXIV
96Andante with Variations, by Cramer
Lesson XXXV
100Prelude in G minor
100Allegro, by Scarlatti
Lesson XXXVI
104Prelude in D Major
104Gavotta, by Corelli
Lesson XXXVII
105Minuet in Ariadne, by Handel
Lesson XXXVIII
107March in the Occasional Oratorio, by Handel
Lesson XXXIX
109Waltz, by Beethoven
Lesson XL
111Allegro, by Corelli
Lesson XLI
115Prelude in B minor
115Giga, by Corelli
Lesson XLII
117Prelude in E Flat Major
117Rondo by C.P.E. Bach
Lesson XLIII
124Prelude in C minor
124Minuet, by Scarlatti
Lesson XLIV
126Prelude in A Major
126Andante Allegretto by Paradies.
Lesson XLV
129Prelude in F# minor
129Adagio by Corelli.
Lesson XLVI
131Prelude in A flat Major
131Slow March by Couperin.
Lesson XLVII
3133Prelude in F minor
133Allegretto by Couperin
Lesson XLVIII
135Prelude in E Major
135Polonoise and Minuet, by Sebastian Bach
Lesson XLIX
138Gavotta, by Corelli
Lesson L
139Prelude in C# minor
139Minuet, by Dr. Haydn
MUSIC NOTATION
PRELIMINARIES
All musical sounds are expressed by certain characters, called notes, which are named from the first sevenletters of the alphabet: A, B, C, D, E, F, G.
The Stave contains five lines, and four spaces: the lowest line is called the first.
The notes are placed on the lines, or spaces above, or under the stave and the additional, called LEDGER lines
are for the higher and lower notes.
CLEFS
In order to determine the PITCH of musical notes, certain signs, called CLEFS or CLIFFS have been invented,which are set at the beginning of the staves.
There are five in general use.
The Bass clef, on the 4th
line clefs The Tenor clef on the 4 th line clefs The Counter-tenor clef on the 3
dline clefs The Soprano clef on the 1 st line clefs
And the Treble clef on the 2nd
line clefs The Treble and Bass clefs are chiefly used for the Piano Forte.
5MUSIC NOTATION
THE SCALE, OR GAMUT
Shewing the position, and name of the notes.
noteheads
d
noteheadsd
noteheads
e
noteheads dnoteheads
g
noteheads
g
noteheads
f
c
noteheadsc
c
noteheadse
noteheadse
f
noteheadsg
noteheadsa
noteheadsd
noteheads
a
e fnoteheadsnoteheads
Bass
Treble
a
noteheadsgnoteheadsd
noteheadsca
noteheadsnoteheadsb
noteheadsb
noteheads
b
noteheadsf
noteheadsgnoteheads
g
e f
noteheadsnoteheads
noteheadsb noteheads
noteheadsc
noteheads
g
noteheadsdnoteheadsf
clefsc
noteheads
noteheadsnoteheads
a
noteheadsb
noteheadsnoteheadsnoteheads eclefs b
noteheadsf
noteheadsa
noteheads
Let the PUPIL now strike the notes on the instrument; taking notice, that the first LONG key, on the left hand,
serves for the first F; the second LONG key for G; the third for A; and so on: making no other use, at present, of theSHORT keys, than as GUIDES to direct the eye; by observing, that between B and C, and between E and F, there areno SHORT keys; which places in the scale are distinguished thus .
Remark on the foregoing Scale.The first EIGHT notes in the treble-stave from G to G, are the SAME as the corresponding EIGHT notes,
perpendicularly under them in the bass-stave, both in NAME and SOUND ; they are played, therefore, on the SAMEkeys.
As a help to memory; let the Pupil contemplate the notes, SEPARATELY, on the lines, and spaces; beginning bythe FIVE lines.
noteheadsTrebleclefs
CC noteheadsAnoteheadsBnoteheadsF
noteheadsnoteheadsF noteheadsEnoteheadsGnoteheads
AC
noteheadsG
noteheadsG
clefs noteheadsnoteheadsEnoteheadsB CnoteheadsAFnoteheads noteheads
EnoteheadsDABass noteheadsE noteheadsDnoteheads
noteheads
noteheadsnoteheads noteheadsB DnoteheadsnoteheadsBG
noteheadsF noteheadsD noteheadsFnoteheadsC E noteheadsEnoteheadsCnoteheadsA
TrebleBass
clefs noteheadsGB D noteheads noteheadsFnoteheads
D
noteheadsnoteheadsG
noteheadsB
noteheadsFnoteheadsAnoteheads
Gclefs
noteheadsnoteheadsnoteheadsnoteheadsnoteheads noteheads
noteheads noteheadsnoteheads
noteheadsnoteheadsnoteheadsnoteheadsnoteheads
noteheadsnoteheads noteheadsnoteheads noteheadsnoteheads
noteheads noteheads noteheads noteheadsnoteheadsnoteheads noteheadsnoteheadsnoteheads
clefs noteheadsnoteheads noteheadsnoteheads noteheads
noteheadsnoteheads noteheads
noteheadsnoteheadsnoteheads noteheads
Exercise for treble notes:noteheads noteheads
noteheadsnoteheads noteheadsnoteheadsnoteheadsnoteheads
noteheadsnoteheads noteheads
noteheadsnoteheads noteheadsnoteheads noteheadsnoteheads
noteheads noteheads noteheadsnoteheadsnoteheads noteheads noteheads noteheadsnoteheads noteheads
noteheadsnoteheads noteheadsnoteheads
noteheadsnoteheads noteheads
noteheadsnoteheadsnoteheadsnoteheads noteheads
noteheads noteheadsnoteheads noteheads
clefs noteheadsnoteheads noteheadsnoteheadsnoteheads noteheadsnoteheadsnoteheadsnoteheads
noteheadsnoteheads noteheadsExercise for bass notes:
noteheads noteheads noteheadsnoteheads
N.B. Let the Pupil FIRST be familiarized with the notes, by READILY naming them; and then find them out as
READILY on the instrument.
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE6
INTERVALS
An INTERVAL is the distance, or difference between two sounds in point of GAVITY or ACUTENESS.The least of our INTERVALS is called a semitone, or half-tone: it is the INTERVAL, in the NATURAL scale, between
E and F; and between B and C.
Ex:
C
noteheadsnoteheadsE
noteheadsF
noteheadsB
clefs
The REGULAR progression of the OTHER notes in the NATURAL, which is also called DIATONIC scale, is by anINTERVAL of two semitones or a whole note.
Example of the NATURAL or DIATONIC scale.
tonesemi-
noteheadstonewhole
noteheadsclefs noteheadssemi-
noteheadstone
tonewhole
noteheadstonewhole
noteheads wholenoteheadstonewhole
noteheadstone
The INTERVAL between C and D, between D and E, or between any two CONTIGUOUS notes, in the scale, is call aSECOND: the INTERVAL between C and E, or between D and F, etc: is called a THIRD; and so on.
Example of INTERVALS
noteheads 7
th
noteheadsnoteheads 6
th
noteheadsclefs noteheads 8
th
noteheadsnoteheadsnoteheads 2
dnoteheads noteheads
3d
noteheads 5
th
noteheadsnoteheads 4
th
noteheads
The INTERVAL of an 8th
is commonly called an OCTAVE.
N.B. The nature, and name of the INTERVALS remain the same, whether the single notes be playedSUCCESSIVELY, or whether two, or more, be struck TOGETHER: the former is properly called MELODY; and thelatter, HARMONY.
Example of the latter.- noteheadsclefs noteheadsnoteheads noteheadsnoteheadsnoteheads noteheadsnoteheadsnoteheadsnoteheads noteheadsnoteheadsnoteheads The notes thus taken TOGETHER are also called CHORDS; the succession of which, played from certain figures
set over a bass, according to a system of rules, is denominated THOROUGH-BASS.
7MUSIC NOTATION
TENOR, COUNTER-TENOR, AND SOPRANO CLEFS EXPLAINED
noteheadsdnoteheads
noteheadsg
noteheadsnoteheadsb
noteheadsnoteheadsnoteheadsgnoteheads
noteheadsfnoteheads
noteheadseclefs
clefsare played as if
written thus:
The notes
written thus:
noteheadsa
noteheadsnoteheadsc
noteheads
noteheadsb
noteheads
noteheadsf
noteheadsa
noteheads
noteheadsg
noteheadsnoteheadsBassnoteheadsc
Tenor
noteheadsnoteheadse
noteheads
noteheadsd noteheadse
noteheads
noteheadsdnoteheads
noteheadsfnoteheads
noteheadsb
noteheads
noteheads noteheadsc
noteheads
noteheadsdnoteheads
noteheadsfnoteheads
noteheadsdnoteheads
noteheadsb
noteheadsnoteheadsenoteheads
noteheads noteheadsc
noteheads
clefs
clefsare played thus:
when written thus:
noteheadsb
noteheadsnoteheadsc
noteheads
noteheadsg
noteheads
noteheadsf
noteheadsnoteheadsa
noteheads
noteheadsg
noteheadsdnoteheads
Bassnoteheadsc
Counter-tenor
noteheadsnoteheadse
noteheads
noteheads noteheadse
noteheadsg
noteheads
noteheadsfnoteheads
noteheadsb
noteheadsnoteheadsdnoteheads
noteheadsc
noteheads
noteheadsb
noteheads
noteheadsd
noteheads
noteheadsf
noteheads
noteheadsg
noteheadsnoteheadsanoteheads
noteheads noteheadsfnoteheads
clefsclefs
are played thus:
when written thus:
noteheadsd
noteheads
noteheadsc
noteheads
noteheadsbnoteheads
noteheadsf
noteheads
noteheadsa
noteheads
noteheadsg
noteheadsd
noteheadsTreble
noteheadsc
Soprano
noteheads
noteheadse
noteheads
noteheads noteheadse
noteheadsg
noteheads
noteheadsfnoteheads
noteheadsb
noteheads
noteheadsd
noteheads
noteheadsc
noteheads
By which it is evident, that the Tenor-notes must be played one fifth HIGHER than the Bass-notes: the
Counter-tenor notes, one seventh HIGHER than the Bass-notes: and the Soprano-notes, one third LOWER than theTreble-notes.
It is now proper to take notice, that the bass-clef is also called the F-Clef, as it indicates by its position where
the note F lies: clefs Fnoteheads the tenor, counter-tenor, and soprano-clefs are called C-clefs, because theydetermine the place of C:
clefsTenor:C
noteheads clefsCounter-t:
C
noteheads clefsSoprano:
Cnoteheads and the treble-clef is called the G-clef,
being placed on the line where G is found clefsTreble:
G
noteheads
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE8
FIGURE, LENGTH, AND THE RELATIVE VALUE OF NOTES AND RESTS
noteheadsdemi-semi-quaverrests
noteheadssemiquaver,rests
flagsNotesRests
flagsrestsminim,
noteheadsSemibreve,rests
noteheads noteheadsquaver,rests
flagsnoteheadscrotchet,rests
One Semibrevenoteheads
Is equal in length of time to
noteheads2 Minims noteheads
Which are equal to
noteheadsnoteheads4 Crotchets noteheads noteheads
Which are equal to
noteheadsnoteheads8 Quavers noteheadsnoteheadsflagsnoteheads noteheadsnoteheadsnoteheadsflags Which are equal to noteheads noteheads noteheadsnoteheads noteheads16 semi-quavers noteheads noteheadsflags noteheads noteheadsnoteheadsflags noteheads noteheads noteheads noteheadsnoteheads noteheads Which are equal to
noteheadsnoteheads noteheads noteheadsnoteheads noteheads noteheads noteheads noteheads noteheads noteheads noteheads32 demisemi- quavers
noteheads noteheads noteheads noteheadsnoteheads noteheads noteheads noteheadsnoteheadsflags
noteheads noteheadsnoteheadsflags
noteheads noteheads noteheads noteheadsnoteheads noteheadsnoteheadsnoteheads
A DOT after a note, or rest, makes the note or rest half as long again. Ex: noteheads dots is equal to a minim and a
crotchet; or to three crotchets, and so on: rests dots is equal to restsrests and so on: by which it is evident, that the DOT toa minim is equal to a crotchet; and the DOT to a crotchet is equal to a quaver; etc: When a second dot is added to
the first, the second dot is considered as the half of the first; therefore a double-dotted Crotchet thus noteheads dotsdots
is
equal to a crotchet, quaver, and semiquaver; or to seven semiquavers.
Let us farther illustrate this by the mark, called a TIE, made thus which, when placed between two
notes of the SAME pitch, binds the second to the first; so that only the first is struck, but the finger must be held
down the full length of both. It is therefore indifferent whether we write thus noteheads dots
or noteheadsnoteheads
or
noteheads noteheads noteheads
and noteheads dotsdots
is the same in effect as flagsnoteheadsnoteheadsnoteheads
9MUSIC NOTATION
TIME AND ITS DIVISIONS
The BAR, made thus divides a musical composition into EQUAL portions of time.
TIME is divided into two sorts; COMMON and TRIPLE; and of which is either SIMPLE or COMPOUND: and thecharacter or sign, which denotes it, is placed at the beginning of every composition, after the clef.
SIMPLE common time, when marked thus clefs timesig or timesig denotes, that each bar contains onesemibreve, or its equivalent.
noteheads noteheadsnoteheads noteheads noteheadsclefs timesigExample noteheads noteheadsnoteheadsor timesig noteheads dots noteheadsnoteheads noteheads
When marked thus 42clefs the bar contains one minim, or its equivalent. noteheads noteheads noteheadsnoteheads noteheadsclefs 42 noteheadsnoteheads noteheadsnoteheads noteheads flags noteheadsExample dots noteheads Four sorts of COMPOUND common time explained:
noteheads noteheadsnoteheadsflagsnoteheads1st sort 812clefs dotsnoteheadsdotsdotsnoteheads noteheadsdotsnoteheads noteheadsdotsnoteheadsdotsnoteheads containing 12 quavers in abar, or their equivalent dotsnoteheadsnoteheadsnoteheads
2d sort 86clefs dotsnoteheadsdotsnoteheads noteheadsflagsnoteheadsnoteheads six quavers in a bar, ortheir equivalent
dotsnoteheadsdotsnoteheadsnoteheads3
d sort 412clefs noteheadsdotsnoteheadsdotsnoteheads noteheadsnoteheadsnoteheads 12 crotchets in a bar, etc.
clefs noteheadsnoteheadsnoteheads noteheadsnoteheadsdots noteheads464th sort noteheads noteheads noteheads 6 crotchets in a bar, etc. The two last sorts are very seldom used in modern music. SIMPLE triple time explained.
23 noteheads noteheadsdots noteheadsnoteheadsclefs three minims in a bar,or their equivalent dotsnoteheadsnoteheads43clefs dotsnoteheads noteheadsflagsnoteheadsnoteheadsnoteheads noteheads three Crotchets ina bar, etc: dotsnoteheadsnoteheads83clefs flagsnoteheadsflagsnoteheadsnoteheads noteheadsnoteheadsnoteheads three quavers ina bar, etc:
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE10
COMPOUND triple time explained.
dotsnoteheadsdotsnoteheadsdots49clefs noteheadsnoteheadsnoteheadsnoteheadsnoteheads noteheadsnoteheadsnoteheadsnoteheads nine crotchets ina bar, etc: noteheadsflagsnoteheadsnoteheads89clefs dotsnoteheadsflagsnoteheadsnoteheadsdotsnoteheads dotsnoteheadsnoteheadsnoteheads nine quavers ina bar, etc: COMPOUND triple time is seldom used in modern music.N.B. The contents of every bar, in common time; whether SIMPLE, or COMPOUND, may be divided, (by beating or
counting) into four, or into two equal parts: and in triple time; whether simple, or COMPOUND, into three equalparts.
The figures, which mark the time, have a reference to the SEMIBREVE; the LOWER number, showing into howmany parts the SEMIBREVE is divided; and the UPPER number, how many of such parts are taken to fill up a bar.
For example 42 denotes, that the SEMIBREVE is divided into four parts, namely, four crotchets; and that two of
them are taken for each bar: likewise 83 indicates, that the SEMIBREVE is divided into eight parts, namely, eight
quavers; and that three of them are adopted to compleat a bar. The figure of 3 placed over three crotchets, quavers or semiquavers
noteheads noteheads noteheads3noteheads ornoteheads noteheads noteheads3 3 3noteheads noteheads noteheads noteheadsthus noteheadsnoteheadsnoteheads noteheads noteheadsor noteheadsnoteheads 33 (which are called triplets) denotes, that
the three crotchets must be performed within the time of two common crotchets, or of one minim; the threequavers within the time of two common quavers, or of one crotchet; and the three semiquavers within the time oftwo common semiquavers, or of one quaver.
N.B. The easiest way is to consider them all as three to one, and to beat or count the time accordingly; that is, tobeat the first of every 3. (N.B. SCARLATTI, and others have written three demisemiquavers to a quaver; and threesemiquavers to a crotchet in some of their pieces.) The figure of 6 over quavers or semiquavers, means that theyare to be performed within the time of four of the same kind; which is a similar case to the preceding one. Thefigures 5, 7, 9, 10 etc. follow the same rule.
11MUSIC NOTATION
SHARPS, FLATS, ETC. The SHARP accidentals placed before a note, raises it a semitone or half-tone. Let us now observe a scale of semitones,
called the CHROMATIC scale.
noteheadsaccidentals noteheadsnoteheadsaccidentals noteheadsEx: clefs noteheadsaccidentals noteheadsnoteheadsaccidentals noteheadsnoteheads noteheadsaccidentals noteheadsnoteheadsnoteheads The intervals of the contiguous notes are all semitones.N.B. The LONG keys of the Piano-Forte, or Harpsichord, are commonly called the NATURAL keys, tho'they
ocassionally serve for SHARPS and FLATS; and the SHORT keys, are called SHARPS and FLATS, being only used forSHARP and FLAT notes.
Now if a SHARP be placed before C, thus: clefs accidentals noteheads the note is called C SHARP; and it is found on theinstrument between C NATURAL, and D NATURAL; being one of the SHORT keys: D SHARP is the SHORT key betweenD, and E; but between E, and F, ther is no SHORT key; nor is it wanted: for the INTERVAL between E and F, is but asemitone; and therefore when we want E SHARP, we strike the key generally called F NATURAL. F SHARP will befound between F NATURAL, and G NATURAL: G SHARP between G and A NATURAL: A SHARP between A and BNATURAL: and B SHARP is under the same predicament as E SHARP; we therefore strike C NATURAL for it.
The flat accidentals placed before a note, lowers it a semitone or half-tone: and if the note is a B, to which the FLAT isprefixed, it is then called B FLAT; and it is found between B NATURAL, and A NATURAL, being one of the SHORTkeys.
=====General rule: every FLAT is found by going one semitone LOWER; that is, toward the left-hand: and everySHARP, contrariwise, by going one semitone HIGHER; that is, toward the right-hand.
The double SHARP accidentals raises the note TWO semitones; and therefore, if it be F double SHARP, we strike G NATURAL;etc.
The double FLAT accidentals lowers the note TWO semitones; and therefore, we go as much to the LEFT for a double FLAT,as we did to the RIGHT for a double SHARP.
The NATURAL accidentals takes away the effect of a SHARP, or a FLAT; whether single, or double. And accidentals accidentals , or accidentals accidentals , REINSTATESthe single sharp, or flat.
The Pupil must by this time have observed, that clefs accidentals noteheads is struck by the SAME key as clefs accidentals noteheads and clefs accidentals noteheads by the SAME key as clefs accidentals noteheads etc.
Now, the inconveniency of charging to memory with the VARIOUS uses of the SAME keys, is but small; when
compared with the impracticableness of performing on an instrument, furnished with keys, PERFECTLYcorresponding with every flat, and sharp, single or double, which composition may require: a method therefore,has been adopted in tuning, called TEMPERAMENT, which, by a small deviation from the truth of every interval,EXCEPT THE OCTAVE , renders the instrument capable of satisfying the ear in EVERY key.
When a SHARP is placed close to the clef thus
accidentalsclefs it affects every F throughout the piece; except wherethe sharp is contradicted by the natural.
N.B. The same rule holds, when there are two or more sharps at the clef; every one affecting its correspondingnote.
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE12
When a FLAT is placed by the clef accidentalsclefs it affects every B throughout the piece; except where the flat is
contradicted by the natural.N.B. The same rule holds, when there are two or more flats at the clef; every one affecting its corresponding
note.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 the SAME BAR : it is then called an ACCIDENTAL sharp, flat, or natural.
noteheads noteheadsaccidentals noteheadsnoteheadsclefs noteheads accidentalsclefs1 st Ex:noteheads noteheads noteheadsnoteheadsaccidentals noteheads noteheadsnoteheads noteheads noteheads noteheads noteheads
is played as if written thus
noteheads noteheads noteheadsaccidentalsnoteheadsclefs noteheadsaccidentalsclefs noteheads noteheadsaccidentals noteheadsnoteheadsaccidentals noteheads noteheads2 d Ex: noteheads noteheads noteheads as if written thusnoteheads noteheads
accidentals accidentalsnoteheadsas if written thus
noteheadsnoteheadsnoteheads noteheads accidentals noteheadsclefs accidentals3 d Ex: noteheadsaccidentals noteheads noteheadsnoteheadsnoteheadsclefs accidentals noteheadsnoteheadsnoteheadsnoteheadsnoteheadsnoteheads noteheadsnoteheads noteheadsnoteheads noteheadsnoteheads noteheadsnoteheads noteheads 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, and first of the next.
noteheadsnoteheads noteheadsaccidentals noteheadsclefs noteheads accidentals noteheads noteheads noteheadsclefsEx: noteheadsaccidentals noteheads noteheadsaccidentalsnoteheadsnoteheads noteheadsnoteheadsnoteheadsnoteheads noteheadsnoteheadsnoteheadsaccidentals as if written thus noteheadsnoteheadsnoteheads noteheadsnoteheadsnoteheads And the same with flats and naturals.
accidentalsaccidentalsThe order of SHARPS
at the clef.clefs accidentalsaccidentalsaccidentals accidentalsaccidentals descending by a 4thand ascending by a 5th
accidentalsaccidentalsThe order of FLATS at the clef.
clefs accidentalsaccidentalsaccidentals accidentalsaccidentals ascending by a 4thand descending by a 5th
13MUSIC NOTATION
VARIOUS OTHER MARKS.
The pause noteheadsscripts or noteheadsscripts
renders the NOTE longer AT PLEASURE ; and in certain cases, the composer
expects some EMBELLISHMENTS from the performer; but the pause on a rest rests scripts only lengthens, AT PLEASURE,the SILENCE.
The SIGN or REPEAT scripts is a reference to a passage, or strain, to which the performer is to return: the Italianwords, AL SEGNO or DAL SEGNO , denote such a return.
The double bar marks the end of a strain; or the conclusion of a piece.
The DOTTED bars dotsdotsdotsdots denote the repeat of the foregoing, and following strain. N.B. The second part of a piece, if VERY LONG, is seldom repeated; notwithstanding the DOTS.
When the bars are marked thus dotsdots or dotsdots then the strain, only on the side of the DOTS isto be repeated.
ABBREVIATIONS
noteheadsnoteheadsclefs noteheadsEx: noteheadsnoteheadsto be played thusnoteheads noteheads noteheadsclefs noteheads
noteheadsclefs noteheadsnoteheads noteheadsnoteheads noteheadsEx: noteheads clefs noteheadsnoteheads noteheadsnoteheads noteheads thus noteheads noteheads
clefs noteheadsnoteheads noteheadsnoteheads noteheadsEx: clefs noteheads noteheadsnoteheadsnoteheadsnoteheadsnoteheads thus noteheads
noteheads noteheads noteheadsnoteheads noteheadsclefsEx: noteheads noteheads noteheads thus noteheads3 noteheadsnoteheads noteheads noteheads noteheads 3noteheads 3clefs
noteheads noteheadsnoteheads noteheadsEx: noteheads noteheadsclefs noteheads noteheadsnoteheads noteheads noteheadsclefs noteheads thus noteheads 6noteheadsnoteheads noteheads noteheads noteheadsclefsEx: noteheads noteheads noteheads noteheadsnoteheads noteheads noteheadsnoteheads 6noteheads noteheads noteheads 6clefs noteheads thus
noteheads noteheads noteheadsnoteheads noteheads noteheads noteheadsclefsEx: noteheads noteheads noteheads played thusnoteheads noteheads noteheads noteheads noteheads noteheads noteheads noteheadsnoteheadsclefs noteheads
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE14
noteheads noteheads noteheadsnoteheads noteheads noteheadsclefsEx: noteheads noteheads noteheadsnoteheads thusnoteheads noteheads noteheads noteheads noteheads noteheads noteheadsnoteheadsnoteheadsclefs noteheads
The ITALIAN word, Segue; means, it continues, or follows:
noteheads noteheadsnoteheads noteheads noteheads noteheads noteheadsclefsEx: noteheads noteheads noteheads noteheadsnoteheadsnoteheadsnoteheads
segue
noteheadsnoteheadsnoteheadsnoteheads noteheads noteheads noteheads noteheadsclefs noteheadsnoteheads noteheads noteheads thus Tremando, or trembling:
noteheadsnoteheads noteheads noteheadsnoteheadsnoteheads noteheads noteheadsclefsEx: noteheads noteheads
noteheads noteheadsnoteheadsnoteheadsclefsnoteheadsnoteheadsnoteheads
thusnoteheadsnoteheads noteheads noteheadsnoteheads noteheadsnoteheads noteheadsnoteheads noteheads
15MUSIC NOTATION
STYLE, GRACES, AND MARKS OF EXPRESSION, ETC. The best general rule, is to keep down the keys of the instrument, the FULL LENGTH of very note; for when the
contrary is required, the notes are marked either thus: clefs noteheadsscripts noteheadsscripts noteheadsscripts called in ITALIAN, STACCATO; denotingDISTINCTNESS, and SHORTNESS of sound; which is produced by lifting the finger up, as soon as it has struck the
key: or they are marked thus clefs noteheadsscripts noteheadsscripts noteheadsscripts which, when composers are EXACT in their writing, means LESSstaccato than the preceding mark; the finger, therefore, is kept down somewhat longer: or thus clefs noteheadsscripts noteheadsscripts noteheadsscripts which means STILL LESS staccato: the nice degrees of MORE and LESS, however, depend on the CHARACTER, andPASSION of the piece; the STYLE of which must be WELL OBSERVED by the performer. The notes marked thus
clefs noteheads noteheads noteheads called LEGATO in Italian, must be played in a SMOOTH and CLOSE manner; which is done bykeeping down the first key, 'till the next is struck; by which means, the strings VIBRATE SWEETLY into oneanother.
N.B. When the composer leaves the LEGATO, and STACCATO to the performer's taste; the best rule is, to adhere
chiefly to the LEGATO; reserving the STACCATO to give SPIRIT occasionally to certain passages, and to set off theHIGHER BEAUTIES of the LEGATO.
This mark scriptsscriptsscriptsscripts prefixed to a chord clefs noteheadsnoteheadsnoteheadsnoteheadsscriptsscriptsscriptsscripts signifies, that the notes must be played SUCCESSIVELY, from the
lowest; with more or less velocity, as the sentiment may require; keeping each note DOWN 'till the time of thechord be filled up.
Chords marked thus clefs noteheadsnoteheadsnoteheads noteheadsnoteheadsnoteheadsnoteheads are played as the preceding chords, with the addition of a note WHEREthe oblique line is put, as if written thus noteheadsnoteheadsscriptsscriptsscriptsscriptsclefs noteheadsnoteheadsnoteheadsnoteheadsscriptsscriptsscripts noteheadsnoteheadsnoteheads but the additional note is not to be kept down.
Dolce or dol: means SWEET, with TASTE; now and then SWELLING some notes.Piano or Pia: or p, SOFT.Mezzo, or mez: or mezzo-piano, or poco p, or poc:P, RATHER SOFT.Pianissimo, or P mo or pp, VERY SOFT.Fortissimo, or F mo or ff, VERY LOUD.Forte, or For: or f , LOUD.Mezzo f , or Mez: f , RATHER LOUD.
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE16
Forzando, or sforzando fz, or sf , to FORCE, or give emphasis to, ONE note.Rinforzando, or rinf: to SWELL 2, 3, or 4 notes.
Crescendo, or cres: marked sometimes thus means GRADUALLY LOUDER.Decrescendo, or decres: GRADUALLY SOFTER; the same as the following; viz:
Diminuendo, or dim: thus GRADUALLY SOFTER. N.B. this last mark often denotes anEMPHASIS, where it is WIDEST, and then DIMINISHING.
This mark means to SWELL and DIMINISH. ARPEGGIO, or ARPEGGIATO, requires that the notes of a CHORD shall be played successively; which may be done
in various ways.
noteheadsclefs noteheads noteheadsnoteheadsnoteheadsnoteheadsnoteheadsnoteheadsnoteheads thus or noteheadsnoteheadsnoteheadsEx: clefs noteheadsnoteheadsnoteheads noteheadsnoteheadsnoteheadsnoteheadsthus noteheads noteheadsnoteheadsclefs noteheadsnoteheadsnoteheadsnoteheadsArp:
noteheadsnoteheadsnoteheads noteheadsnoteheadsnoteheadsnoteheadsnoteheadsnoteheads noteheadsnoteheadsnoteheadsnoteheads noteheadsnoteheadsnoteheadsnoteheadsnoteheadsnoteheads noteheadsnoteheadsnoteheads
thus
ornoteheads noteheadsnoteheads clefs noteheadsnoteheadsnoteheadsnoteheadsnoteheads noteheadsnoteheadsnoteheads noteheadsnoteheadsnoteheadsnoteheadsclefs noteheadsnoteheadsnoteheads noteheadsnoteheadsnoteheadsnoteheadsnoteheadsnoteheadsnoteheadsnoteheads noteheadsnoteheadsnoteheadsnoteheadsnoteheads noteheadsnoteheads noteheadsor noteheadsnoteheadsnoteheads noteheadsnoteheadsnoteheads noteheadsnoteheads noteheadsnoteheads ornoteheadsnoteheadsnoteheads clefs noteheads
OTTAVA, All'8va
, 8va
alta, set over a passage, means that the notes are to be played an octave higher: and LOCO,that the notes are to be played again as they are written.
The APPOGGIATURA is a GRACE prefixed to a note, which is always played LEGATO, and with more or less
EMPHASIS; being derived from the ITALIAN verb APPROGGIARE, to lean upon; and it is written in a SMALL note. ItsLENGTH is borrowed from the following LARGE note; and in GENERAL, it is half of its duration; MORE or LESS,however, according to the EXPRESSION of the passage.
APPOGGIATURAS, and other GRACES in small notes explained.
scriptsnoteheads noteheadsclefsscriptsnoteheadsnoteheadsnoteheads noteheadsnoteheads scriptsnoteheadsclefs noteheads
as taste best directs in the passage.
thusdotsnoteheads
or thusnoteheadsscripts
noteheadsnoteheadsnoteheadsflagsnoteheads noteheadsnoteheadsflagsnoteheads noteheadsnoteheadsnoteheadsflags scriptsnoteheadsnoteheads
with spirit
scriptsnoteheadsnoteheadsnoteheadsnoteheadsnoteheadsflagsnoteheads noteheadsthus
noteheadsflagsclefs noteheadsnoteheadsflagsnoteheadsnoteheadsscriptsnoteheadsnoteheads noteheads noteheadsscripts
noteheadsnoteheadsclefs thusflags scriptsnoteheadsnoteheadsscripts
noteheadsnoteheads noteheadsflagsnoteheads
scriptsnoteheads
thusnoteheads
ornoteheads
thusnoteheadsflagsnoteheads scriptsnoteheadsnoteheads noteheadsflagsclefs noteheads
noteheads noteheads played thusnoteheadsclefs noteheads or noteheadsclefs noteheads scriptsnoteheads noteheads to be play--ed thusnoteheads noteheads ornoteheads
scripts noteheads
17MUSIC NOTATION
clefs noteheadsflags noteheadsscripts restsnoteheads scripts
noteheads rests restsSometimes noteheadsflags noteheads scriptsplayed thus noteheadsnoteheads noteheads noteheadsscriptsnoteheads noteheadsscripts
flags
scriptsSometimes the little notes are added to give EMPHASIS:
noteheads dotsdots noteheadsnoteheads noteheads dotsdots noteheadsclefsExample noteheads dotsdots noteheads noteheads dotsdotsnoteheadsnoteheadsflags noteheads noteheadsnoteheads noteheadsflags noteheads flagsnoteheadsflags played thusN.B. the finger or thumb must be taken off immediately from the LOWER notes.
noteheadsnoteheadsnoteheadsthus
expressivelyrestsflagsclefs timessome-but noteheads restsflags
scriptsnoteheadsnoteheadsclefs noteheadsdotsnoteheadsnoteheadsnoteheads thusnoteheadsnoteheads noteheadsnoteheadsnoteheads dotsnoteheadsnoteheadsdotsnoteheadsnoteheadsnoteheads noteheads3noteheads
th:dotsdotsnoteheadsnoteheadsaccidentals flagsnoteheadsnoteheadsaccidentals noteheadsaccidentals flagsnoteheadsnoteheads dotsdotsnoteheadsaccidentalsEx: clefs noteheadsdotsdotsnoteheadsnoteheads noteheadsdotsdotsnoteheadsaccidentalsdotsdotsplayed noteheads
flagsthus
noteheadsnoteheads noteheadsscriptsnoteheads flagsclefs noteheads accidentalsflagsnoteheadsnoteheadsnoteheads noteheadsnoteheadsflags
clefs noteheads noteheadsnoteheadsnoteheadsaccidentalsnoteheadsnoteheads noteheads noteheads noteheads dotsclefs thus accidentals noteheadsnoteheadsnoteheads noteheadsflagsflags
Ex: in double notes
noteheadsnoteheads thusnoteheadsnoteheads noteheads noteheadsnoteheads thusnoteheads flagsclefs noteheads
TURNS, SHAKES, AND BEATS, EXPLAINED
noteheadsThe Turn
noteheads noteheads noteheadsclefs noteheads 3played thus noteheads dots It is sometimes writ- _ten in small notes noteheadsscripts noteheads noteheads
noteheads clefsnoteheadsnoteheadsnoteheads noteheadsnoteheads dotsnoteheadsaccidentals noteheadsclefsaccidentalsscriptsaccidentalsnoteheads noteheadsaccidentals 3noteheadsnoteheads dotsnoteheadsaccidentals noteheads
thus
scriptsaccidentalsnoteheads 3noteheads noteheads
thus
scriptsnoteheads thus clefs noteheads
noteheadsflagsnoteheads thusclefs dotsscriptsnoteheads noteheads noteheadsclefs noteheads dots noteheads noteheadsnoteheads3flags noteheadsscripts thusThe plain
note and turn
noteheadsscripts scripts noteheadsor
noteheads The dotted note turned
noteheadsnoteheads noteheads noteheadsnoteheads3
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE18
thusnoteheadsaccidentalsscripts
or noteheadsaccidentals scripts
dotsclefs Inverted turns noteheads3
accidentals noteheads noteheads noteheads3noteheads scripts
thus noteheads noteheads dotsnoteheads scripts noteheads clefsnoteheadsorN.B. The LOWEST note of EVERY sort of turn is MOSTLY a semitone:
noteheads 3clefs noteheads scripts
thusclefsEx: 1 st accidentals noteheads noteheads noteheads dotsnoteheads 3noteheadsnoteheadsscripts thus Ex: 2dnoteheadsaccidentals noteheads dots
noteheadsflagsflags
noteheads thusclefs noteheadsdotsdotsnoteheadsscriptsnoteheads noteheadsnoteheadsflagsnoteheads
noteheadsEx: in dou--ble notes
clefs3noteheadsdotsdotsnoteheadsnoteheads noteheadsnoteheadsnoteheadsaccidentals noteheadsnoteheads dotsnoteheadsthusnoteheads
scriptsaccidentalsnoteheads noteheads
3noteheads noteheads3
noteheads dotsnoteheadsnoteheadsnoteheadsscriptsnoteheadsclefs thus noteheadsnoteheadsnoteheads noteheads dots Some Authors
mark it thus
noteheads noteheads noteheads noteheads scriptsclefsShake. noteheadsnoteheads noteheads noteheads orplayedthus
noteheads noteheadsnoteheadsscripts scriptsnoteheads noteheads noteheads
noteheadsclefsShort shakebeginning by thenote itself.
noteheads noteheadsnoteheadsnoteheads noteheadsscripts scriptsnoteheadsscripts scripts noteheadsthus
noteheads dotsnoteheads noteheads noteheadsclefs played thus
noteheads noteheads noteheadsscriptsnoteheads noteheadsnoteheads clefsclefsTransientor passingshakes
noteheadsnoteheadsnoteheads noteheadsnoteheadsnoteheadsscripts scriptsnoteheads noteheadsnoteheads or thus noteheads noteheadsSometimes ex--pressed in smallnotes.
noteheadsscripts scriptsnoteheads noteheadsnoteheads noteheadsscriptsnoteheads noteheads
noteheadsnoteheadsnoteheadsnoteheadsturned thus
and sometimesnoteheadsclefs noteheadsaccidentalsTurnedShake.
noteheadsnoteheads noteheadsnoteheadsnoteheadsor or
scriptsscripts scriptsnoteheadsor
scriptsnoteheads scripts scriptsscriptsnoteheads noteheadsnoteheads noteheadsnoteheadsnoteheadsscriptsscriptsnoteheadsthus
played
scriptsthus
noteheads 6noteheadsnoteheadsPrepared shake
noteheads noteheadsnoteheadsclefs noteheadsnoteheadsnoteheadsclefs noteheadsnoteheadsnoteheadsnoteheads noteheads 6noteheadsnoteheadsnoteheadsnoteheads noteheadsnoteheadsnoteheadsnoteheadsnoteheadsscriptsscriptsscriptsscriptsscriptsscriptsscriptsscriptsscripts
Continued
shake.thus
noteheadsnoteheadsnoteheads accidentals noteheadsnoteheadsnoteheadsnoteheadsnoteheads noteheadsnoteheadsThe shake LEGATO with the preceding note, explained:
19MUSIC NOTATION
noteheadsnoteheads noteheadsnoteheads3noteheadsnoteheadsnoteheads noteheadsnoteheadsnoteheads noteheadsnoteheads 3noteheadsscriptsclefs noteheadsnoteheadsnoteheadsnoteheadsnoteheads noteheads noteheadsnoteheads noteheads noteheads noteheads noteheads noteheadsnoteheads clefs scriptsnoteheadsnoteheadsnoteheadsnoteheads noteheads thusnoteheadsnoteheadsnoteheadsthus
noteheadsor thus
noteheads noteheadsN.B. The GENERAL mark for the shake is this scripts and composers trust CHIEFLY to the taste and judgement of
the performer, whether it shall be long, short, transient, or turned.
noteheadsnoteheads noteheadsor
noteheadsnoteheadsordots noteheads noteheads noteheads dotsdotsclefsThe BEAT noteheads ordots noteheadsnoteheadsnoteheadsscripts scripts
scriptsor
noteheadsthus
noteheadsordots noteheadsnoteheads 3noteheads noteheadsnoteheads noteheads noteheads noteheads
The LENGTH of the BEAT is determined, like that of the other graces, by the circumstances of the passage.N.B. When the note preceding the beat is an interval of a SECOND, let the beat adopt it, whether it be a
semitone or a whole tone:
noteheadsnoteheads thusnoteheads dotsclefs noteheads noteheadsplayedthus
Ex: noteheadsnoteheadsclefsnoteheads noteheads dotsnoteheads noteheadsnoteheadsscriptsscripts
But when the beat, is on the FIRST note of a passage, or, when it follows a note, whose interval is GREATER thana SECOND, it should be made with a semitone; as the following examples will show.
thus noteheadsclefs noteheads noteheadsscripts noteheadsclefsExamples noteheads noteheadsaccidentals noteheads noteheadsnoteheads noteheadsaccidentals noteheadsnoteheadsscripts noteheads noteheads noteheadsnoteheads noteheadsnoteheads
thus
Lastly, let us remark, that the beat is seldom used in modern music.
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE20
MAJOR AND MINOR MODES OR KEYS; VULGARLY CALLED SHARP AND FLAT KEYS. The FUNDAMENTAL note, called the TONIC or KEY-NOTE, of a composition is either in the MAJOR, or MINOR mode.
An exposition of the scale in each MODE, will best explain their essential difference.
5noteheadsnoteheads noteheads
noteheads4noteheadsnoteheads
noteheadsnoteheads7
noteheadsnoteheads6
clefsclefs
Ascending and
descending scale
in the key of
C, MAJOR.
3 noteheadsnoteheads2 noteheadsKey-
note
noteheads1noteheads3noteheads noteheads
noteheads5noteheadsKey-
note
1noteheads noteheads4noteheadsnoteheads2
noteheads noteheadsnoteheads8
noteheadsnoteheads8
noteheadsnoteheads6
noteheadsnoteheads7
N.B. The intervals in THIS scale are in their SIMPLE state; but in the following, they are an octave higher, and
are called COMPOUND intervals; still retaining their names of 2d
, 3d
, 4th
, etc: as in their SIMPLE state. The figure1, stands for a note of the same pitch, called UNISON: this last remark is confined to the foregoing example.
noteheads5noteheadsnoteheads
noteheads4noteheadsnoteheads3noteheads7
accidentals noteheadsnoteheads6
accidentalsclefsclefs
Ascending and
descending scale
in the key of
A, MINOR.
noteheadsnoteheads2 noteheadsKey-
note
noteheads1noteheads3noteheads noteheads
noteheads5noteheadsKey-note1noteheads noteheads4
noteheadsnoteheads2
noteheads noteheads
noteheads8noteheads
noteheads8noteheadsnoteheads
noteheads6accidentals noteheads
noteheads7accidentals
The first DIFFERENCE, which strikes the eye, is, that in the MAJOR-KEY , the semitone lies between the 3d
and 4th
, and between the 7th
and 8th
both ascending, and descending: whereas in the MINOR-KEY , it lies between the 2d
and 3d
, and between the 7th
and 8th
ascending; but in descending, between the 2d
and 3d
and between the 5th
and
6th
. Authors vary, however, in regard to the 6th
and 7th
of the MINOR mode. The ESSENTIAL and IMMUTABLE difference, therefore, between the MAJOR and MINOR key, is the interval of the
3d
, which differs by a SEMITONE; for if we analyse the 3d
in the MAJOR-SCALE, it will be found to contain two wholetones; or four semitones:
noteheadsaccidentals semi-tonenoteheadssemi-tonenoteheadsaccidentalsEx: clefs3dnoteheadswholetonenoteheads
3d
wholetonenoteheads semi-tonenoteheadssemi-tonenoteheadsor
Whereas the 3d
in the MINOR -scale, will be found to contain one whole tone with a semitone; or threesemitones.
3dnoteheadssemi-tone
noteheadsaccidentals semi-tone
noteheads Example clefs noteheadssemitone
noteheads 3dwholetone
noteheads semi-tone
noteheadsor Now, the LAST, and if a chord, the LOWEST note of the bass, in every REGULAR composition, is the KEY-NOTE ; let
the contents then of the first FULL bar be examined, (treble and bass); where, if the 3d
be major, the piece is said
21MUSIC NOTATION
to be in SUCH a key major.
the LAST and LOWEST
note of the bass is F.dotsdotsclefs accidentalsclefs accidentals
noteheadsExample of a conclusion: noteheadsnoteheadsnoteheads noteheads
dots noteheadsnoteheadsnoteheads
dotsnoteheads noteheadsnoteheadsdots
noteheadsnoteheadsExample of the beginning
of the same piece:
noteheadsnoteheads
accidentalsclefs43clefs43
accidentalsrestsnoteheads
noteheadsnoteheads the 3d of F, which is A in the
first FULL bar, is MAJOR:
therefore the piece is in F
MAJOR
noteheadsA
noteheadsaccidentalsExample ofA MINORending. clefs
clefs noteheads noteheadsnoteheads
noteheadsnoteheads
dotsnoteheads
noteheads
noteheads
noteheadsnoteheads here the 3d of Ais MINOR, the
piece is there-
fore in A MINOR
noteheadsnoteheads
noteheads Example of the be- ginning 42clefs
42clefsnoteheadsnoteheadsnoteheads
restsnoteheads
accidentalsnoteheadsnoteheads noteheads
noteheads N.B. Sometimes a composition in the MINOR mode may have a MAJOR ending; for which reason, it is safer to
examine the beginning, in order to determine the MODE.
Let the Pupil remember, that the NATURAL major-key is C; and the NATURAL minor-key is A; which latter iscalled the RELATIVE MINOR to the former; and that every MAJOR-KEY has its RELATIVE MINOR in the sameproportion, namely one tone and semitone UNDER; as will be shown in the collection of scales.
EXPLANATION OF VARIOUS TERMS The DEGREE of velocity in every composition is ascertained by some ITALIAN word or words prefixed to it: as
ADAGIO, POCO ALLEGRO , etc. We shall annex a list of the terms mostly in use; beginning by the SLOWEST degree,which is ADAGIO; and gradually proceeding to the QUICKEST, which is PRESTISSIMO._______________________________________
1 ADAGIO2 GRAVE3 LARGO4 LENTO5 LARGHETTO
6 ANDANTINO 7 ANDANTE 8 ALLEGRETTO 9 MODERATO10 TEMPO GIUSTO
11 MAESTOSO12 CON COMMODO13 ALLEGRO14 VIVACE15 CON SPIRITO
16 SPIRITOSO17 CON BRIO18 CON FUOCO19 PRESTO20 PRESTISSIMO
Various other terms are sometimes added to the preceding, in order to MODIFY or extend their meaning, as:
NON TROPPO ALLEGRO , not too quick etc. We shall subjoin some of the most common, with their explanation.MOLTO, DI MOLTO , or ASSAI, very. NON TROPPO , not too much. UN POCO , a little. QUASI , almost. PI, more.
MENO, less. PI TOSTO, rather. SEMPRE, always. MA, but. CON, with. SENZA, without.MINUETTO A TEMPO DI BALLO, dancing-minuet time.
To determine more particularly the style of performing, some of the following terms are also used: MESTO, or
FLEBILE, in a melancholy style. CANTABILE, in a singing and graceful manner. AFFETTUOSO, in an affecting andtender manner. GRAZIOSO, in a graceful and elegant manner. CON MOTO, with a certain degree of vivacity. BRILLANTE, with brilliancy and spirit. AGGITATO, agitated; with passion and fire. CON ESPRESSIONE, orCON ANIMA, with expression; that is, with passionate feeling; where every note has its peculiar force and energy;and where even the severity of time may be relaxed for extraordinary effects. SCHERZANDO, in playful and light
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE22
manner. SOSTENUTO, to sustain, or hold on, the notes their full length. TENUTO, or abbreviated thus, TEN: tohold a note its full length. A TEMPO, in strict time. AD LIBITUM, at pleasure or discretion, with regard to time;introducing in certain cases an embelishment. TEMPO PRIMO, or PRIMO TEMPO, in the original time. RALLENTANDO or RITARDANDO, gradually slackening the time.
SMORZANDO, MORENDO or PERDENDOSI, extinguishing gradually the sound, 'till it be almost lost. CALANDO,
or MANCANDO, diminishing by degrees the sound, or slackening almost imperceptibly the time; or both. DA CAPO, abbreviated thus: D.C., to return to, and end with, the first strain. VOLTI SUBITO or V.S. turn overquickly. The LATIN word BIS, means TWICE; it is generally placed over a passage within a curve line, whichdenotes the extent of the repeat.
FINGERING
To produce the BEST EFFECT, by the EASIEST MEANS, is the great basis of the art of fingering. The EFFECT, being
of the highest importance, is FIRST consulted; the WAY to accomplish it is then devised; and THAT MODE offingering is PREFERRED which gives the BEST EFFECT, tho' not always the easiest to the performer. But thecombinations of notes being almost infinite, the art of fingering will best be taught by examples.
PRELIMINARY DIRECTIONS The hand and arm should be held in a horizontal position; neither depressing nor raising the wrist: the seat
should therefore be adjusted accordingly. The fingers and thumb should be placed over the keys, always ready tostrike; bending the fingers in, more or less in proportion to their length. All unnecessary motion must beavoided.
Let the pupil now begin to practise, SLOWLY at first, the following passage; observing to keep down the first key
'till the second has been struck, and so on. The 1 is for the thumb, and 2, 3, 4, 5, for the succeeding fingers. noteheads3 noteheads2noteheads4 noteheads5 noteheads4clefs 42RightHand noteheads
1
and so on, a great many times.noteheads4 noteheads5 noteheads4noteheads1 noteheads2 noteheads3 noteheads2 noteheads3noteheads3 noteheads2 noteheads1
5
etc.noteheads4noteheadsLeftHand
N.B. Let every note be played even, in
regard to time; and with equal strength.
2noteheads3noteheads4noteheadsnoteheads5 3noteheads42clefs2noteheads1noteheads
SCALES IN ALL THE MAJOR KEYS, WITH THEIR RELATIVE MINORS which ought to be practised daily.
noteheads3
noteheads3 2noteheads
4noteheads1noteheads
1noteheads3noteheads
3noteheads
2noteheads
1noteheads1noteheads
2noteheadsclefs5
noteheads
1
noteheads4
noteheads
2
noteheadsC majorRight Hand
timesigclefstimesig
1
noteheads
2noteheads3
noteheads
3noteheads3
noteheads
3
noteheads2
noteheads
1noteheads3
noteheads
3
noteheads1
noteheads
2
noteheads1noteheads
1noteheadsnoteheads4
noteheads
2
noteheads3
Left Hand5
noteheads
1
noteheads2
noteheads
1noteheads2
noteheads
4
noteheads
3
noteheads2noteheads
4noteheads
3noteheads
3noteheads2noteheads
4noteheads1noteheads
5noteheads
3noteheads
3noteheads4noteheads
2noteheads1noteheads
2noteheads
2noteheads
1noteheads4noteheads
2noteheads
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE24
noteheadsnoteheadsnoteheads
3noteheads
noteheads
4noteheads
1
noteheadsnoteheadsaccidentals
3noteheadsnoteheads
accidentalsaccidentals
noteheadsnoteheads
accidentalsclefstimesigclefs
5
noteheadsnoteheads
noteheadsA minor timesig
1
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3
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3
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2
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2
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accidentalsaccidentals
3noteheadsnoteheads
2noteheadsnoteheads
1noteheads
5noteheads
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1noteheadsnoteheads
4
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2noteheadsnoteheads
4
noteheads1noteheads
1
noteheadsnoteheads3noteheads
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1noteheads2noteheads
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2
noteheadsG major accidentalsclefs 1noteheads2
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3
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3
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4noteheadsnoteheads
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2
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3
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timesigaccidentalsclefstimesig noteheads 3noteheads
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3noteheads
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4noteheads1noteheadsnoteheadsaccidentals
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accidentalstimesigaccidentalsclefstimesigaccidentalsclefs
5
noteheadsnoteheadsE minor noteheads
1noteheadsnoteheads
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3noteheadsnoteheads
accidentals
3
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1noteheads
accidentalsaccidentals
5noteheads
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3noteheadsnoteheads accidentals
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1noteheadsaccidentals 1noteheadsnoteheads
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noteheadsD major timesigaccidentalsaccidentalsclefs timesig
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timesigaccidentalsaccidentalsclefstimesigaccidentalsaccidentalsclefs
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25FINGERING
noteheadsnoteheads
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4noteheads
1
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1noteheadsnoteheadsclefs
5
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noteheadsA major timesigaccidentalsaccidentalsaccidentalsclefs timesig
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1noteheads3noteheads
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4noteheads
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dotsdots
4
Faccidentals minor43accidentalsaccidentalsaccidentalsclefs43accidentalsaccidentals
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2
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3
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5
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CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE26
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27FINGERING
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CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE28
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right hand:noteheadsnoteheads
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and for the
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N.B. The semitones are to be fingered in the same way, ascending and descending.
GENERAL REMARKS ON THE FOREGOING SCALES
The right hand has the thumb on the KEY-NOTE or TONIC, and on the 4th
of the KEY-NOTE, in the following
MAJOR and MINOR keys: C, G, D, A, E, and B.In all MAJOR keys with one or more flats, the thumb is put on C, and F.
The left hand has the thumb on the KEY-NOTE, and on the 5th
of the KEY, in the following MAJOR and MINOR
keys: F, C, G, D, A, and E.
In the MAJOR keys of Baccidentals , Eaccidentals , Aaccidentals and Daccidentals , the thumb is put on the 3d and 7th of the key.
29FINGERING
EXTENSIONS AND CONTRACTIONS ETC.
1
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N.B. The 51 means that after striking C with the 5th finger, the thumb is shifted on the key without striking it.
In a similar manner the left hand thus: clefsnoteheads5 flags noteheads15 noteheads
1
flagsWhich mode of fingering should be much practised in various ways, the LEGATO-STYLE requiring it very
frequently.The shakes should be practised with every finger, not excluding the thumb; and upon the short as well as long
keys.
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE30
EXAMPLES OF FINGERING FOR THE RIGHT HAND.
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31FINGERING
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