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CONTAINING
PROSRESSIVE EXERCISES, MARCHES, QUICK STEPS, WALTZES, POPULAR MELODIES,
JIGS, SOLOS, AND DUETS, WITH VARIATIONS.
MANY OF WHICH ARE COMPOSED EXPRESSLY FOR THIS WORK, AND OTHERS SELECTED FROM THEBEST EUROPEAN MASTERS. THIS BOOK IS BETTER CALCULATED FOR SELF-INSTRUCTION
THAN ANY EVER BEFORE PUBLISHED IN THIS COUNTRY.
BOSTON:PUBLISHED BY OLIVEE DITSON,
NO. 115 WASHINGTON STREET.
CHARLES C. CLAPP AND CO.,
presented to the
Aiy- l/d^.
/fify. . Ij^^3\^AAvr//^</ _ ..^J-e^
CONTAINING
PROGRESSIVE EXERCISES, MARCHES, QUICK STEPS, WALTZES, POPULAR MELODIES,
JIGS, SOLOS, AND DUETS, WITH VARIATIONS,
MANY OF WHICH ARE COMPOSED EXPRESSLY FOR THIS WORK, AND OTHERS SELECTED FROM *THEBEST EUROPEAN MASTERS. THIS BOOK IS BETTER CALCULATED FOR SELF-INSTRUCTION
THAN ANY EVER BEFORE PUBLISHED IN THIS COUNTRY.• '
SS’
• BOSTON :•
PUBLISHEDBYOLIVERDITSON,• NO. 115 WASHINGTON STREET.
C H A R L E S ‘ C . CL A P P AND CO.,CORNER ’OF COURT AND CORNHILL STREETS. *
ADVERTISEMENT.
The Clarinet has long been considered by the whole musical profession as the most beautiful of wind instruments. In Europe
it is very generally cultivated, and it is probable that in the course of a few years its merits will procure for it and equal degree of
attachment from American amateurs;for surely a tone that nearly rivals the finest human voice, and an extent of octaves that may
vie with the ample range of the violin, are excellences that must at no distant period share a considerable portion of popularity.
It has been the Pubhsher’s eiim to render this work a complete system of self-instruction. The lessons and exercises are here
laid down in a plain and easy manner, and adapted to the wants of those who have not the means of obtaining the instnictions of a
proffessor. The amateur will find in this collection an imusual variety of music, which cannot fail to please;much of it has been
selected from the best European composers, and many of our own countrymen, weU known in the musical community, have con-
tributed to enrich the pages of this work. 0 lir^TSb .38' • SOO c2* 0 /
1 o ^
,
The Publisher would here remark, that the Scales on pages 11, 12, and 13, are for the Eb, B, A and F Clarinets, as weU as the
C Clarinet; and all music is to be played as if written for the C Clarinet. For instance, if playing in concert a Violin plays in the
key of Bb, and a B Clarinet is used, the Clarinet part is written in the key of C, &c. •
In the selection of an instrument, the learner should be governed by the judgment of an experienced performer, that he may
(possess one correct in tone and pitch. The following makers are recommended to the consideration of those who are desirous of
purchasing good instruments :—Graves &; Co., Winchester, N. H.; Firth & Hall, E. Baack, Wm. Ronneherg, New York;C. Peloubet,
Bloomfield, N. J.; Walter Crosby, and James White, Boston; and R. C. Meacham, Albany.
Keith's Collection of Instrumental Music is recommended as an excellent companion to this worh, as it contains music of every descrip-
tion arranged in parts, for stringed and wind instruments, most of which is original and never before published. *
ENTERED ACCORDING TO ACT OF CONGRESS, IN THE YEAR 1845, BY
CHARLES H. KEITH,IN THE clerk’s OFFICE OF THE DISTRICT COURT OF THE DISTRICT OF MASSACHUSETTS.
CHARLKS T. YOUNG. MUSIC YRINTKR.
THE ELEMENTS OF MUSIC
Music is made intelligible by the use of characters called Notes, written upon a Staff, wliich is composed of five TAnes and their
Spaces, each Line and Space being named from one of the first seven letters of the alphabet : A, B, C, D, E, F. G.
EXAIVEPLE.rx > r. G- Space above. ^ 0
4th « 0 »1
.1
f p 3d 3d', 1 c 1
^ Or^
?d 2d J m 1 LI -B
^ 1st Space.Si 1 r
When the Notes go above or below the Staff, Lines are added, called
Leger Lines.
^he following Scale shows the position and names of the Notes, in the Treble or G Clef.
^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.
.^ODEFGABC ^ ib -f- r \
e :
0 0- t
* 9 W1
£9 — B E F G A BJ W L
I M a i
There are six principal kinds of notes. They are formed as follows, Avith their corresponding Rests. Each kind of note is nownamed according to its value, \iz. Whole Note, Half Note, &c. instead of Semibreve, Minim, Crotchet, &c.
£ 3:
WHOLE NOTE. HALF NOTE. qUARTEB. EIGHTH. SIXTEENTH. THIRTY-SECOND.
4t
1 Whole Note - -
2 Half Notes - -
^ 4 Quarter Notes
Eighth Notes - -
t
16 Sixteenth Notes
THE ELEMENTS OF MUSIC.
VALUE OF THE NOTES.
is equal in length of time to
which are equal to
32 Thirty-second Notes -
9
A Dot placed after a Note adds one half to its original length;a second Dot added to the fivst, is reckoned half as long as the first
Ifa longer duration of sound is required, Notes are connected with a Tie, as follows, and are performed in one continuous 'sound.DOT. DOUBLE DOT. TIE.
Rests may be dotted and double dotted, hire the notes which correspond to them.
»u passages of notes marked Legato, or thus, each note must be sustained its full length, and be connected with the oth-
m the smoothest manner possible.
In Staccato passages, marked > ’ » ’ or* * * * the notes are not sustained their full length, but are performed in a distinct
and unconnected manner.A Hold, thus, ^ placed above or below a Note or Rest, prolongs it at pleasure.
THE ELEMENTS OF MUSIC. 5
i|,:The Double Bar
jI marks the end of a strain, or conclusion of a piece.
The Dotted Barj
* denotes the repetition of the foregoing and following strain.
When marked thus,*
j j j j
• sirain on the side of tlie dots only is to be repeated. .
This Sign ,S* refers to a passage or strain, to which the performer must return.
.. (S? 0 0 9 0 G 0000000-Abbreviations, thus, ^ are played as
|
'[[ |
and as '—i '—
i
I—!
—
&c.
The Crescendo< is executed by commencing soft and increasing the tone. The DiminuendoThe Swell is the Crescendo and Diminuendo united.
is the reverse.
Single Bars, thus,
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 Triple
Time, which contains three equal parts.
Simple Cpmmon Time, marked thus, C (IJ >contains two Half, or four Quarter Notes in each measure. And that marked
^
tlius, ^ contains two Quarter, or four Eighth Notes in each measure.
Compound Common Time, marked ^ contains six Quarter, or two dotted Half Notes in each measure. That marked
contains’ six Eighth, or two dotted Quarter notes.
Simple Triple Time is marked 3 3 and 3 Compound Triple Time is marked ^ and ^C111V4. LLlJLCt. X XO XXXdXiX.C'XX CXXXU.
^ O ^ ^ ^ *
The figures &c. indicate fractional parts of a AVhole Note;the lower figure indicates the number of parts into which
it is divided, and ^he 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.
G • THE ELEMENTS OF MUSIC.
Beating or Marking Time with correctness arid precision, is of the utmost importance. In beating Common Time, the hanamust descend at the beginning of every measure (marked D), and rise at the middle (marked U)
EXAMPLES.COMMON TIME, FOUR QUARTER NOTES IN A MEASURE, OR THEIR EQUIVALENT IN OTHER NOTES OR RESTS.
V'i T-rP
V-i- >•!*
' a •
•T==f=-“W ^ “
==t=t=:1 2 3 4 1 2 3 4 1 2 3 4 1 ^ 34 1 2 3 4 1234 1234 12 34DUDUDUD U D U D U DU D U
TWO QUARTER NOTES IN A MEASURE. COMPOUND COMMON TIME, TWO DOTTED QUARTER NOTES IN A MEASURE
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.
EXAMPLESSIMPLE TRIPLE TIME, THREE QUARTER NOTES IN A MEASURE THREE EIGHTH NOTES IN A MEASURE.
-P a
-=f=^-r i I r^h-
1 I 1 1 1
0— ^ U.
•/ '
1 2 3 1 *2 3 12 3 1 2 3D UDUO UDU
TTTT-* W-- m P~ A/L O P 1
w a ^ ^ P *1 -
_T 1 P — W1 . -^ / C/
2 3 3 2 3 1 2 3D ITD CTD XT DU
COMPOUND TRIPLE TIME, NINE EIGHTH NOTES IN A MEASURE.
0 ^—i~#y 0 -f
When a figure 3 is placed over three notes, they are called Triplets^
notes of the same kind.
izrfTT-0—P—^
—
QThe ^ is seldom used.4
and are to be played in the time of two
When a figure 6 is placed over six notes, they are to be played in the time of four.
1
THEELEMENTSOFMUSIC. , 7
SHARP, FLAT AND NATURAL,* The Notes, as written upon the Staff in their original and simple state, (Key of C,) are called Natural. Any Note may have ts
pitch altered by means of a Sharp or Flat.
A Sharp(
sr)
elevates the pitch of a note before which it is placed a semitone, or half a degree.
A Flat( p )
depresses or lowers the note a semitone or half a degree. - '
: A Natural( ^ )
restores a note which has been altered by a Sharp or Flat, to its original tone.
A Double S/iarp(x
) raises the pitch of a note two semitones. A Double Flat(bb )
lowers a note two serrutones.
Sharps or Flats placed at the commencement of the Staff, affect every note throughout the piece, of the same name as the lines
or spaces upon wliich these characters stand. Those placed before any note in the course of the piece, are called Accidental; theyaffect all notes of the same name (letter) through that measure only, unless that measure ends, and the next one begins with that
note;in wliich case the accidental or
[,is continued into the next measure.
MAJOR AND MINOR MODES OR KEYS.
The fundamental note of every key is called the Tonic or Key Note.
Every piece of music is written in a particular Key. The principal keys in the Major Mode are the following, viz. ^ is the KeyofG; Key of D; Key of A; Key of E; b Key of F; [,b KeyofBb; \,b\, KeyofEb; Key of A b.
The difference between tlm Major and Minor Key, is a Minor Third, (three semitones.) The Major Third contains two wholetones, (four semitones.) ^
EXAMPLES. •
MAJOR THIRD. . SCALE IN THE KEY OF C, MAJOR MODE.
I -tSr-
i
The Third in the Minor Scale, contains one whole tone and a semitone.
MINOR THIRD. - SCALE IN THE KEY OF A, MINOR MODE.
Igil _£2--<S>-
The relative Minor of a Major Key has the same number of Sharps or Flats, and is found one Minor Third below the Key Note,
8 THE ELEMENTS OF MUSIC.
GRACES, OR EMBELLISHMENTS. •
The principal graces or embellishments in music, are the Tum^ the Shake, and the Appoggiatura, which are explained in the
following Examples
:
APPOGGIATURA. TURNS.
I I ^ ^f J 1 » >= * e
>AS WRITTEN
i
jj
I
lO .INSTRUCTIONS FOR THE C L A R I N i: T
The Clarinet should be held as nearas possible in a similar position to that
of the figure in the engraving, and care
should be taken not to hold the instru-
ment too tight. The thumb of the
right hand should be placed betweenthe first and second fingers
;and that
of the left hand should be placed be-
low the key marked 13. The first
finger of the left hand should cover
the hole nearly over the key marked13; the second finger should cover
the second hole, and also be prepared
to use the key marked 10;the third
finger should cover the next hole, andbe prepared to use the key marked 8 ;
and the fourth finger should cover the
key marked 7, and be prepared to act
upon the two long keys marked 1 and2. The first finger of the right handshould be placed over the fourth hole,
and be ready to act upon the two longside keys marked 9 and 12
;the second
finger should be placed over the fifth
hole, and be ready to act upon the keymarked 5 ;
the third finger should beplaced over the sixtJi hole, and be rea-
dy to act upon the key marked 4 ;and
the fourth finger should be placed over
the hole on the bell joint, and be pre-
pared to act upon the keys marked 3
and 6. The thumb of the riglit handbeing the cliief support of llie instru-
ment. carght to be moved as little as
possible.
The fingers should be a httle curved,
in order that the first joint ofeach mayfall perpendicularly,—producing the
effect of a hammer. The observance
ofthis will not only increase the vibra-
tion of the instrument, but will pro-
mote the system of expression, and,
confer rapidity of execution, provided-
thc fingers are not elevated at too
great a distance from the holes.
A good embouchure on the Clarinet
is an object ofthe greatest importance,
as it i.'.» the only source from whencea pure and flexible tone can be pro-
duced. To obtain this, it is.necessary
that the mouth-piece be placed about
'
half an incli between the bps, taking
particular care that the teeth do not
come in contact with the reed. At-
tention should Idvewise be paid to the
choice of reeds. Too soft a reed pro-
duces a thin tone, disagreeable to the
ear and void of efl’ect, and in fact de-
stroys the proper tone of the instru-
ment. On the other hand, too hard
a reed fatigues the chest, wounds the
lips, renders the sound unequal, andoccasions the wind to escape at both
sides of the mouth-piece, thus dimin-
ishing the column of air which should
enter the Clarinet.
INSTRUCTIONS FOR THE CLARINET 11
SCALE FOR A CLARINET WITH FIVE KEYS.
iI r
I I 7r>
'iZmI I
zczizzg:rnz^~^-4*_:
1st Key*
2d Key •r' r r r r r r
• pi I
p pI I I r r r r
r r r r• • • I*
i
pOpO 0000000000000000 0 0 0I
r ru 0
r r rThambi^ O 0 0 0 0 0 0 0 0 0 0 00<:Z><:^<^'^O0m000 r r r r r r r r r r r r r00000000C>0 0 0
1st Tin0 00000000 0 0 0 G> 0 CifZ>GfZ>0000000e00000OGGGO0
2d Fin 0 0 0 0 0 0 0 0 0 G 0 0 0 0 0 0 00000000000GG000 0 0 0
3d Fin 0 0 0 0 0 0 0 0 0 G G 0 GGGGGGG 0 0 0 0 0 0 0 0 0 GG0GG0G0 0 G
1st Fin0 0 0 0 0 0 G 0 GGGGGGGGG 0 0 0 0 0 0 0 GG0GGGG0G G G
2iT\ o o 0 0 0 0 GGGGGGGGGGGGG 0 0 0 0 0 0 G0GGGGGG0GGGG3dr;ui!» 0 0 0 0 G 0 G G O GGGGGGGGG 0 0 0 9 0G00G0GGGG0GGGGitli Fin0 0 0 GGGGGGGGGGGGGGGGO00GGGGGGGGGGGGGGGG
6th K?y Jo 0 0 0 0 0 0 0 0 0 0 0 00 0000 *00000000000003d Key J <
I
!, ,
4th Key*|
• 0 * •' •'
I I
• •
I
J 0 J <i 6 J J J
si si W
I I I I I II Issss *sl*il0
J J
J J J J J J J J J J J si 4I I
II ! I
SI * si S J j J J J J J J J J J J J J J J
J 0 J J J
Blow moderatel}" for the low notes, and as you ascend the gamut or scale, bloAV stronger and pinch the reed with the lips
gradually.
INSTRUCTIONS FOR THE CLARINET.' SCALE FOR A CLARINET WITH NINE KEYS.
-4^=1
m I-
-gW~44*
r I r r r r •r r r r r r r r r r r0 0 0 0 0 0 0 0 (4 0
•
0•
0•
0•
0•
0•
0 0
r r r r r r r r r r r r r r r r6 0
r r r r r r rr rr r r r r r r r r r r r r r
Ir0
r0
r0
r0
r0
r0
r0 i-
r0
r#
r#
r0 i i
0
0r
0r
0
01
0r0
r0 i
r0
r0
r r00 1^.1 i
r r00
r0
r0
r0 i
r0 i;
4
0 0 0 0 0 0 0 0 0\ 0 0 0 00 00 0 00 0 00 0 0 0 0 0 0 0
\0 0 0 0
*• ~P of •
-• • -w o-» “» “»
c. o0c.
0 0•_
0 0«_
0 0 0 0• • - • •_ •-O iu
0#• a.
0 0 0c
0 0 0•l
0
0 0 0 0 0 0 0 0 0 0 0 00 0 0 0 0 0 0 0
0 0^ 0 0 # # 0 0 0 0 0 0 0 0 0 0 0 0 0 00 0 00 0 0 0 .0 0 0 0p
1
P
1 r
•
1
r
1
0 0r f r r r r r r r r r r f r r r r r“ r° r rr r rr r r r
li
1 r r r.0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 (#0 #0 0 #0 0 00 0 0 0 0 0 0 0
f
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 00 00 0 00 0 00 0 0 0 0 0 0 0j J J 0 J J p J J
1
w J J J J J J J J J J1
4 J 0 J JJ JJ J JJ J JJ J J J J J J J
j 0 J J J J J J J J J J J J J J J J J J 0 J J J JJ JJ J JJ J JJ 'J' J J J J J J
•0 0 0 0 0 0 0 0 0 0 0 0' 0 0 0 0 0 0 J 0 0 0 0 0 00 00 0 00 0 00 0 0 J 0 J J J
The learner will observe that there are two ways of fingering the upper F, F#, G44, and A44. Also, that any note shaipe*is the same as the next note above, flatted; thus, A# is the same as Bb, as Db, and so on through the scale.
INSTRUCTIONS FOR THE C.LARINET.
SCALE FOR A CLARINET WITH THIRTEEN KEYS.m.
13
13th'
12th i
11th
10th•!‘r r
Thumb# #
r r
r r
r rar r
r r
r r
r r# #
r
r
r
r0
r
r
r
r
r
r
I
r0
r r r r r
r r r r r
r r r r r
r r r r r0 0 0 0 0
r
r
r
r#
p r r 0
f fn
5 0 5 0
000000(^(A)0(^0(^0006 OO'Or r r f r r rr rr r rr r r r r r r f r r r
r r r r r r rr rr rrr r rr r r r r r r r
r r r r r r r r r r r r r r r r r r r r rrr0 0 0 0 0 0 00 00 0 00 0 00 0 0 0 0 0 0 0
^00000000000^T r r r r r r r r r r r r f
2d Fin# # ## ## # # # 0 ##Q#
1st Find
9th Eeyii
8lh Kef-
3d Fin«
1st Find
• 0000 0 0 0 0 0 0 00 00 0 00 0 00 0 0 ^^ 00 #
0 r r r r r r r r r r rr rr r rr r rr r o r r rrr• •OOO 00^»00 00 0^0 00 0 0 0
Vthger. •.
-»0 -»-« « »
0000 0 000 0 . ####,#### ###0#00#00i»# 0 0^•. «_c> • •_*.
00000000000 0# lOOOOOO## #006th5th Key
2d Fin
'
0000000000004th Key'' "• -•“•-•-•O O
3d Fin ^
4th Fin#
3d Key J
ad EeyJl
Ut Kay
00000000000000 0 0 0 0 0
^O^^QOOOOOOOO^O 000--a-uO -aO -» - »- -* -w-m
0 #0 #0 0 #0 0 00 0 0 # # 0 0 0^ V V
• 0
j J
0 J
0 0
0 0
0 J
J J
0 0
0
J
0
J
J J
0 0
0
J
J
0
0
J
J
0
0 0 0 0
J i J J
J J J J
0 0 0 0
0
J
J
0
0 0 0 0
J J J J
J J j J
0 0 0 0'J
The 6th key is used with the little finger of the right hand, and produces the same notes as the 5th key.
0 0
J J
J J
J 0
0 0 0 00 00 0 00 0 00 0 0 0 0
J 0 i .J J J J J 0 i
i J J JJ Jj j iJ J jj i J J J
0 0 0 00 00 0 00 0 00 0 0 0 0
0 0 0J J ;
J J J
0 J J
14 INSTRUCTIONS FOR THE CLARINET.BEATING TIME
Li the performance of music, correct time is of the utmost importance, and the pupil must beat or mark time with the foot, shghtly
but promptly, in performing every piece. See examples on page 6, and the following.BEAT FOUR IN A MEASURE.
Tliere are three kinds of Articulation, viz. the Slur, marked thus Avhich connects two or more notes together; the Staccato,
marked thus i i i t t i, and the Legato, marked thus -tTTTT;- The method of Tongueing is as follows : stop the aperture between the
mouth-piece and reed, with the tongue;after which, draw back the tongue so as to allow the wind to pass into the instrument, at
the same time pronouncing the syllable “ Tu.”The Slur is executed by tongueing the first note. The lips must be contracted slightly, but not too much, as it will have a ten-
dency to smother the sound.
—
Exaynple. i
.j
The Staccato should be executed with the greatest exactitude in making the tongue and fingers act together; be careful to raise
tlie finger at the same time that the note is tongued. It is necessary to press the lips, and tongue each note with promptitude andvigor.
—
Example.
INSTRUCTIONS FOR THE CLARINET. 15
The Legato should be performed with less force, and the notes should he blown with a looser hp, than is used in the foregoing
example.
—
Example.
ILi playing the Clarinet, it is necessary to avoid blowing from the throat or tne chest, to supply the wind necessary for the articu-
lations. Those who blow from the throat, cannot execute rapid passages, because in that organ there is not sufficient rapidity of
Qiotion to agree ^vith the fingers. Those who play from the chest, fatigue themselves, and are never able to command the tone.
The tongue is the only organ that can, by its facifity of motion, give the proper articulation and expression to the Clarinet;those
who do not use it in playing, produce a cold, thin and monotonous sound, and will not improve much in execution.
INSTRUCTIONS FOR THE SHAKE.
The learner should commence by tonguemg the first note, letting the finger act as freely as possible, until a sufficient equality in
the fingers is obtained;and then progressively increase the rapidity until the Shake is sufficiently brilliant.
^ r r— --f—f- f f r^ m
1 1 1
1
r r r 1
A greater force should be given to the note on which the Shake is made that to any other, which gives it more nerve and equahty.
tr .a -r- _ __ tr ^ 0^ A 0 7 0 ro 0 ^
i I 0 r II
I
—
! I
I
i
The Shake employed in the following example is called a Close Shake.
16 INSTRUCTIONS FOR THU CLARINET.EXERCISES ON THE SCALES.
SCALE IN^-pt Ipt •
i"1""r 1 1“
C MAJOR, ft)-j J »- “
^ tal
—
• 4i f
g)-=P—LjJ—
^
V
SCALE IN y
• sKj
0
==F-TA MINOR,
j ^.[j "i-
^TTf-.-r—-rTT'
-
h^— \
"T
—
Li_:*
SCALE INr-^— 'I
—
S =-3
G MAJOR. ^
^=ff-rfn' ^ Ju
Jj—^
—
LUJ.-^I3j
9 ^-9 ir=^j
wem
18 INSTRUCTIONS FOR THE CLARINET.
SCALE IN
F MAJOR,
s=s S'~^ [ I Sit
VSCALE IN
D MINOR.
—;
r*1
—
- - ^ -T *-bp
i= EEE^S^E —J-J
—
^ *-0- •J-J-
—< j-^r.—^
—
:i-±i-^-z^^Ez==::=fT^
-r s J3-i-aJ3
SCALE IN
Bb majorJ mg g ;i=Psi
I
Vf-T *1— -ftl 0 a -JT- 1 Tf^ "g -“1
—
_j( -jTiUi-
»
E -4-4—t:9 0m 1
tt
SCALE IN
|,G MINOR,NOR. ^
-gE&-tigE:s. s ->*
JJ-^JJ1^" "
/
-#-• H —
INSTRUCTIONS FOR THE CLARINET. 19
SCALE IN
Eb MAJOR.I
d;I _uZ!^:
tzT —^-’-r A '
f Jr_
5SCALE IN
C MINOR.
')
_^c-
|
= fJJ-au ^
b 9IT WTr \ ~l—
I
—L~f—tZLZ*^b-h
pg^gf¥i?^iS^—# 5I
DICTIONARY OF MUSICAL TERMS.
A. All Italian preposition signifying at, &c.Accellcrando. Accelerating.
dldagio. Slow.Jiffettuoso. Tender and affecting.
Allegretto. Less quick than Allegro.Allegro. Quick.Allegro Moderato. Moderately quick.Allegro non troppo. Quick, but not too quick.Allegro Vivace. Very quick.
Amoroso. Affectionately, tenderly.
Andante. Gentle,fdistinct, and rather slow.Andantino. Somewhat quicker than Andante.drpeggio. N t together but in quick succes-
sion.
A tempo. Return to the time previously ob-served.
Bis. To be played or sung twice.Brio. Fervor, warmth, ardor.
Calandc. Soflcr and slower.
Cantahile. Graceful, singing style.
Coda. An end or finish.
ColV Area. With the bow.Con Espressione. With expression.
Con Spirito. With animation, spirited.
Crescendo. To increase the sound.Da Capo. Begin the strain again, or from
the sign.
Decrescendo. To diminish the sound.Duetto. For two instruments or voices.
Fine. The end.
Finger Board. That part of the Violin onwhich the fingers press down the strings.
Forte, orf. Loud.Fortissimo, orff. Very loud.
Forzando, fz or With sudden force.
Giusto. In just and steady time.
Grace. Very slow and solemn.Grazioso. Smoothly and gracefully.
Lamcntevole. Slow and plaintive
Larghetto. Not so slow as Largo.
Largo. Slow and solemn.Legato. Close, gliding, connected style.
Lento. Slow.Maestoso. With dignity, majesty.
Mezzo. Half.
Moderato. In moderate time.
Mon. Not.Pastorale. A graceful and easy movement
in 6-8 time.
Piano, or p. Soft.
Pianissimo, or pp. Very soft.
Pirn. More.Pizzicato. Snapping the strings.
Presto. Quick.Quartetto. For four instruments or voices.
Rallentnndo. Slower and softer by degrees.
Ritardando.'
Slackening the time.
Schcrzando. In pla- ful style.
Siciliano. A movement of a light and grace-
ful character.
Solo. For one instrument or voice.
Sostenuto. To sustain the soundSpiritoso. With -animation.
Tacet. Be silent;
Tail Board. The article to which the strings
of a Violin are attached, immediately be
hind the bridge.
Tasto Solo. Without chords.
Tempo. Time.Tempo Giusto. In exact time.
Tenuto. Hold on.
Trio. For three instruments or voices
Tutti. All the instruments or voices.
Vigoroso. In a bold and energetic style.
Vivace. Quick and cheerful.
Volli Subito. Turn over quickly.
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56 DUETTOS BY RAUTENKOLB.
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JAVA MARCH Variations by Joseph W> Tnrner. 59INTRODUOTION.
MARCH.
09.
35— b««i«—;
WALTZ FROM MASANIELLO. For Three clarinets.
JULIA TURNBULL’S POLKA. P. Dibbs.
DUETTO, BY WHIPPLE.1st.
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CONTENTS OF CLARINET INSTRUCTION BOOHElements of Music 3
Time, 5
Exercises in Beating Time ‘ 14
Major and Minor Scales 9
Instructions for the Clarinet 10Scale for five keyed Clarinet 11
” eight” ” 12
” thnteen ” 13
Articulation 14
Instructions for the Shake 15Exercises on the Scale in dif-
ferent keys 16
Dictionary of Terms 19
MARCHES.
Cleveland 43Der Freischutz 42Dunbar’s 46Handel’s ' 47March of Austria 44‘
QUICK.STEPS.
Aurora 62
Bayadere 20City Guards’ 22
Cracovienne 48
Galopade 51
Gibson’s 21
Henrietta 23
Otis’s 21Sutton’s 22
Trumpet 20
White Lady 24Yorktown 23
WALTZES.
Bailey’s 39
Cobourg 40
Hawkes’ 41
Military 3S
RoseSprague’s /Snuff Box 38
Swiss and Stantz 40
POPULAR MELODIES.
Angels’ Whisper 32
Auld lang syne 50
Billy Barlow A
Come brave the sea /Carnival of Venice 34
Home, fiire thee well 32
Home, sweet home 52
Hours there were 36
John Nott 34
Oft in the stilly night 50
On the lake 32
Pat was a darting boy 33
Portuguese Air 34
Rose tree in full bearing ^35Rostin Castle
Rousseau’s Dream 50
She wore a wreath of roses 35
Still so gently o’er me stealing 33
The Dream is past 36
’Tis aU but a dream 37
SCOTCH MELODIES.
Daintie Davie 26
Hopeless Lover 27
Logie o’ Buchan 25
Lothian Lassie 25
My lodging is on the cold 27
Open the Door • 36
Quaker’s Wife 27
Roy’s Wife 27
This is no my ain house 25
Wee wee man 27
What’s a’ the steer, kimmer 36
Yellow haired Laddie 26
ETHIOPIAN MELODIES.
Dar he goes—Old Dad 30Dinah Smash A
Gwine ’long down^
>31
Jolly Raftsman j
Ledder Breeches 30
Marty Inglehart Jig 28
Moze Haymar Jig 29Negro Jig 28
Nigger on the Woodpile 29
Old Joe 29
Pea Patch Jig 28
SOLOS, DUETTOS, &c.
Air, with variations 60
Alberti Galop 51
Chinese Quadrille 54
Duetto by Berbiguier 53
Duetto by Knight 50
Duetto by Kuft'ner 64
Duetto#by Whipple 63
Hillside Waltz 51
Java March, with variations 59
Kuffner’s March ' 55
Prince’Albert’s March 52
Romance by Walckiers 58
Three Duettosby Rautenkolb 56
Waltz from MasanieUo 61
Waltz by Hummel 62
LIST OF MUSICAL WORKSPUBLISHED BIT OLIVER OITSOIV, 113 WASHIVGTOiV STREET, BOSTOiV.
BERTINI’S METHOD FOR THE PIIANO-FORTE.HUNTEN’S INSTRUCTIO*N8 Do. Do.HUNTEN’S ABRIDGMENT Do. Do.CZERNY’S METHOD Do. Do.BOSTON PIANO-FORTE INSTRUCTOR. Extracted from Caemy.
Do- ABRIDGED.CZERNY’S ONE HUNDRED EASY FIVE-FINGERED EXER-
CISES.CZERNY’S ONE HUNDRED AND ONE PREPARATORY LES-
SONS FOR PIANO.CZERNY’S GRAND EXERCISES OF THE SCALE.LOGIER’S FIRST COMPANION AND SEQUEL.CHILD’S FIRST MUSIC BOOKy Or In^tructlonji for Piano.
HOWE’S piano FORTE INSTRUCTOR.CRAMER’S CELEBRATED STUDIES FOR PIANO-FORTE.LABLACHE’S COMPLETE METHOD OF SINGING.CRIVELLI’S INSTRUCTIONS IN THE ART OF SINGING.MASON’S VOCAL EXERCISES. By LoweU Mason.
ZEUNER’S ORGAN MUSIC, In Two Parte.
AN IMPROVED INSTRUCTION BOOK FOR THE ORGAN,BEAUTIES FOR THE ORGAN. By different Authors.
SHORT VOLUNTARIES FOR THE ORGAN,GREEN & WHITE’S INSTRUCTIONS FOR PLAYING THE
SERAPHINE AND MELODEON.HOWE’S Do. Do. Do.THE SERAPHINE, By E. L. Whiti.
JOUSSE’S CATECHISM OF MUSIC.BURROWE’S PIANO-FORTE PRIMER.BURROWE’S THOROUGH BASS PRIMER.BAKER’S THEORY OF HARMONY.CZERNY’S TREATISE ON THOROUGH BASS.CORFE’S PRINCIPLES OF HARMONY AND THOROUGH BASSWOODBURY’S ELEMENTS OF MUSICAL COMPOSITION.KUREK’S MILITARY MUSIC FOR FULL BAND.BOSTON COLLECTION OF INSTRUMENTAL MUSIC,MUSICIAN’S COMPANION, In Three Numbers. For Flute, YioUn, &c.
INSTRUMENTAL MUSICIAN, In Six Numbers.
HOWE’S PRECEPTOR FOR THE ACCORDEON.Do. SMALL PRECEPTOR FOR FRENCH ACCORDEON.Do. Do. Do. FOR GERMAN Do.Do. ACCORDEON WITHOUT A MASTER.Do. ETHIOPIAN ACCORDEON PRECEPTOR.
HOWE’S SCHOOL FOR THE VIOLIN.Do. VIOLIN WITHOUT A MASTER.Do. Do. ETHIOPIAN.
SELF INSTRUCTOR FOR ACCORDEON OR FLUTINA.CUNNABEL’S ACCORDEON PRECEPTOR.OLE BULL’S VIOLIN PRECEPTOR.THE VIOLIN COMPLETE,SPOHR’S VIOLIN SCHOOL.HOWE’S CLARIONET INSTRUCTION BOOK.KENDALL’S Do. Do. Do.HOWE’S SCHOOL FOR THE FLUTE.
Do. FLUTE WITHOUT A MASTER.Do. ETHIOPIAN FLUTE INSTRUCTOR.
BOSTON FLUTE INSTRUCTION BOOK.WRAGG’S FLUTE INSTRUCTOR.HOWE’S SCHOOL FOR THE FLAGEOLET.Do. Do. Do. FIFE.Do. COMPLETE PRECEPTOR FOR THE BANJODo. INSTRUCTOR FOR THE GUITAR.
CURTIS’S PRECEPTOR FOR THE GUITAR.HAMILTON’S PRECEPTOR FOR THE VIOLONCELLO.DISTIN’S TUTOR FOR SAX-HORN.BURDITT’S COMPLETE PRECEPTOR FOR THE SAX-HORN.
Do. Do. Do. POST HORN OR CORNET.Do. Do. Do. CORNOPEAN.Do. Do. Do. BUGLE.
THE OPERA OF SEMIRAMIDE,THE NATIONAL GLEE BOOK,THE ORPHEAN LYRE,THE GLEE SINGER’S POCKET COMPANION.THE BOSTON MUSIOAL LIBRARY, By E. L. Who.THE MUSICAL LIBRARY, By Masoir & Webb.
THE SEMINARY CLASS BOOK,THE SOUTHERN HARP, By Mm. Dasa.
THE BEAUTIES OF CALEDONIA,THE AMATEUR’S SONG BOOK,THE GEMS OF SONG,THE UNION TEMPERANCE SONG BOOK.THE TEMPERANCE MELODEON. By A. K. TBOWBEiDem.
THE BOSTON TEMPERANCE GLEE BOOK. By John S. AmW.COVERT & DODGE’S TEMPERANCE SONG BOOK.THE ETHIOPIAN GLEE BOOK. In Four Parts.
THE ORATORIO OF THE CREATION.A COLLECTION OF CHANTS By IIatteb.
THE ANTIQUARIAN,THE BOSTON SACRED HARMONY, By T. Bigszit-
BALL ROOM ETIQUETTE, Or, The Dancer’s Companion.
The usual discount to the trade. Dealers or PuhlLshers who may wish for an edition of at least five hundred copies of cither of the above books can hff
euppUed on liberal terms, with their imprints a.s nominal publisher. Either of the above can be sent to anyyart of the United States by mail.
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SHELF No
[May, 1881, 20,000]
BOSTON PUBLIC LIBBAKY.
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