New England Cons Er 00 Tour

8/2/2019 New England Cons Er 00 Tour

http://slidepdf.com/reader/full/new-england-cons-er-00-tour 1/284









SUPERIOR INSTRUCTION BOOKSFOR

s-^ AIERS (IF THE REED

THE EMSHSON METHOD FOE BEED OBQAN.

By L. 0. EMERSON and W. S. B. MATHEWS.

experience and knowledge of skilled workmen has been used in the con-<if this new method for BeeU Organs. TUe authors have given muchtimer and tlieir best thought, totlie jireparation of a system of instruction

would fully meet the requirements of pupils— and they have succeededIt contains tlie Elements of Notation, easy and progressive lessons,

160 Exercises of graded difficulty, a treatise on Harmony, and specimenforming a complete course of study—and then devotes the last half

the boot to a very large number of musical recreations, selected and original,

great value to learners as a means of technical advancement; or, indeed, as acollection of excellent Reed Organ uusic. Price $2.aO.

KINZEL'S NEW METHOD FOR THE REED ORQA^

By CHARLES KINKEL.

his new book for Reed Organ instruction is very popular, and very tb ^.i

progressive in its work. It takes up but one topic at a time, and .. t t

it until itis made perfectly plain to all. The music is carefully fingered and

is thoroughly melodious, and forms a large and varied collection of goodOrgan music. There is a short treatise on Thorough Bass, and 110 "Amuse-from tbe works of the best composers. Price 4t2.SO.

THE ORGAN AT HOME.

flETZE'S SCHOOL FOR THE PARLOR OR&AN.

By J. A. GETZE.

** School " hag been exceedingly well patronized; the sale of more thancopies attests its popularity. It contains a full course of instructive

)>rogressive lessons and studies, combined with favorite melodies,waltzes, songs, hymn tunes, etc., forming a complete method for Heed

Price $2.aO.

CLARKE'S IMPROVED SCHOOL FOR PARLOR OR&AN.

By HUGH A. CLARKE.

This is an excellent graded system, practical in its treatment, and progressiveits arrangement. It is, in every respect, a first-class instruction book, and in a

compass, ioaparts sufficient information to make the learner not only

familiar with the instrument, but to gain a very correct knowledge ofprinciples of the art. Price $*^.&0.

BELLAZ'S METHOD FOR THE ORGAN.

By J. BELLAK.

his is a very attractive method for besinners, is one of the best books of its

la largely tilled with easy music, and has been very satisfactory in its

Price #1.00.

MACK'S DOLLAR ANALYTICAL METHOD

FOR THE CABINET ORGAN.

A simple and easy course of instruction for beginners, with a very nice collectionmelodies for practice and recreation. Price $1.00.

REED ORGAN OR MELODEON INSTRUCTOR.

By T. E. GURIMEY.

This Is a complete and progressive method, which introduces over two hundredstudies, besides a choice selection of the most admired songs, polkas,etc. It has had a very large sale. Price $l.tO.

he Organ at Home is a collection of music especially arranged and adaptedReed Organs. There are about 200 pieces, carefully selected, and in great

and forms a pleasing companion for Parlor Organ use. Price In^X.OO; In clotli, $3.ftO ; in full g-tlt, $3.00.

CLARKE'S NEW METHOD FOR REED ORGAN.

By WM. H. CLARKE.As a practical and successful teacher of the organ, and an organist of greal

ability, besides having a thorough knowledge of the construction of organs iotheir minutest details, Mr. Clarke is preeminently fitted to compile a methodwhich should easily take the lead, by reason not only of its progressive arrange,ment, comprehensive system of instruction, andsimple and concise explanations,but by a selection of pieces chosen from tire works of the most popular authors,and carefully graded, which relieve the tediousness of exercises, and turn thedrudgery of practice into a real pleasure. The New Method has great merit as ai>

instruction book, and its recreations have been judiciously selected, and form avery pleasing and admiratle collection of music, arranged expressly for ali kindsof Reed Organs, by all makers. In addition to a thorough system of study andrecreation, there are instructions fo' * and combinations of draw stops inReed and Pipe tjigap" It hsi '.t.- i opularity, its sales amounting t«more than 100.00i> IV"^., =

'...iihiw^ RLQiv Uil&AN INSTEUCTION BOOK.

By A. N. JOHNSON.An instruction book ^vhlch contains a very thorough coarse, in which the

explanations are c(M.''"ned in language at once simple and plain, and which'' practice that combine the playing oi churrh music inomental music of a lighter character. It comprises anpieces for recreation, and a treatise on the Elements of

furnishes examplesconjunction with i"

admirable selectior.

Thorough Bass. P

NATI..

This is a** School,*

of Notation is simplerapid advancement o"

ing, a valuable treati

explanation of thepopular and legitimi

^sJ, SCHOOL rOE EEED ORGAN..

By W. F. SUDDS.

V a popular composer for the piano-forte, where the system:d attractive, and the exercises are carefully graded for the-'".e beginner. There areava'iety of studies in ScorePJay-f>n Choir Accompaniment and Interludes, and a concise

' value of Thorough BaF;s, with numerous selections of- organ music. Price $X 50.

CLARKE'S HARMONIC SCHOOL FOR THE ORGAN.

By W. H. CLARKE.TMs is a work for every student ofthe Pipe or Reed Organ, who cares to become

a thorough organist. It inculcates the principles of harmony in connection with

an advanced and progressive system of Manual Practice, and forms a practicalguide to the art of composing in the true organ style. Price $3.00.

ROOT'S SCHOOL FOR THE CABINET ORGAN.

By GEO. F. ROOT.A very popular work, containing progressive studies and exercises, and a large

collection or recreative pieces for the parlor and choir. It has been endorsed bythe profession, and is one of the most thorough instruction books which havebeen published. Its sales have exceeded 100,000 copies. Price $3.&0.

CLARKE'S REED ORGAN COMPANION.

By W. H. CLARKE.

This is intended as a companion to " Clarke's New Method for Keed Organs,,-and with a simple course of elementary instruction, contains a large number ofrecreations, by popular authors, in great variety, and consisting of marches,waltxes, polkas, operatic gems, easy voluntaries, songs, ballads, duets, etc., withaccompaniments arranged expressly for the Cabinet Organ, Harmonium an^Melodeon. Price $S.OO.

WINNER'S NEW SCHOOL FOR CABINET ORGAN.

By SEP. WINNER.

An easy book for beginners, with elementary course, and more than 150 of Ux9

best pieces of popular authors, for reereation and study. Price 95 cent*^

CLARKE'S REED ORGAN MELODIES.

By W. H. CLARKE.

A book of 200 pages, sheet music size, which contains a choice collection^popular music, transcribed and arranged for Reed Organs. There are marcnes,waltzes, polkas, reveries, transcriptions, melodies, etc., in great variety, whichadmit of very efifective execution on the Keed Organ. Price in beards, $!S.OO|In cloth, $3.&0 ; in grilt, $3.00.

Q

PUBUSHED_BV OLIVER DITSON & CO., Boston.H. DITSON & CO..

S^3 Broadway, New Vork.

LYON &. HEALY. Chicago.«€

J E. DITSON & CO.i228 Chestnut St., Phiia.



BEST INSTRUCTION BOOKSFOS THE

Piano-Forte,

RICHARDSON'S NEW METHOD FOR THE PIANO-FORTE.

By NATHAN RICHARDSON.

Tbe plan adopted in the construction of this method, is at once, so simple andso practical, progressive and pleasing, that this boolc has been almost

adi>pted by teacliers and pupils everywhere. It is systematic in

avoiils all technicalities not essential to a correct understanding o(

art, and provides interesting pieces for practice, which take the place of dry

and easily and rapidly impart a thorough knowledge of the art of

the Pianoforte correctly, in the shortest time consistent with a con-

study and practice of the lessons and exercises. It is the work of one

was at all times painstaking, energetic and thorough in hiswork, who studied

the best and most eminent foreign and American teacher.s, and whose ownexperience and knowledge, gained in the course of many years of

and observation, was utilized in the construction of a method which has

introduced into almost every home throughout the United States andIt has been thoroughly revised, all the exercises are carefully fingered

graded, is handsomely printed, and has reached a sale which aggregates

of thousands of copies. Editions are published, with either foreign or

fingering; if no preference is indicated, tbe latter will be sent. By its

enlargement, there have been added Schumann's Rules forYoung Musicians,

Letters to his Young Lady Fupils; and valuable hints by celebrated

Including Bach, Mozart, Uhalberg and others. Trice 4>3»tS.

PETERS' ECLECTIC PIANO SCHOOL

Compiled by W. C. PETERS.

This la as the title indicates, an " eclectic school," made np from selections

the works of the best authors and composers upon the subjector subjects

which the particular master excelled, in this way giving in one book and one

the best parts of the best instruction book writers. Some of the masters

works have been drawn upon in the compilation of this valuable instruc-

are Bertini, Beyer, Cramer, Clementi, Bergmuller, Diabelli, Hunter, Schmidt,

and others of equally great repute. It i-i a flrst-class elementary instruc-

book, practical, reliable and easy, with melodious exercises and amusements,

has reached a sale which is reckoned by hundreds of thousands of copies.

$3.«3.

MASON AND HOADLEY'S SYSTEM FOR BEGINNERS.

This is a very attractive instruction book, foimded upon their improved and

system for the Piano-forte, and is the result of tlie very extended exper-

and practical work of the authors through a long term of professional

and service. It is a nicely graded book for beginners, with ea-iy and

lessons and exercises, and agreeable and popular recreations. Price

.

GROBE'S NEW METHOD.

The especial aim of the author in the construction of this method, has been to

an agreeable and systematic course of instructi<m which could be usedadvantage in the very first or pritnarv stages of the study of the Piano-forte,

and lessening, so far as possible, those difficulties which beset the path

the beginner at the very outset. It is an established favorite, practical, andof the highest commendation. Price $2.aO.

SYDNEY SMITH'S METHOD FOR THE PIANO-FORTE.

A method which comprises a very good course of Instruction in a small compass,

by original and selected piei'es of the highest merit, besides an

which contains quite a number of excellent recreations,from the works

the best knowu composers. Very popular in England, and in great demand in

its sales are yearly increasing in the United States, and highly appre-

Price $1.50.

BELLAK'S ANALYTICAL METHOD.

By JAMES BELLAK.

This is a method which is adapted to the requirements of the youngest pupils.

easr, simple and agreeable, with pleasing exercises and popular pieces for

which can be quickly comprehended and mastered by the youthiul

It is an excellent elementary or pi imary instructor, and is in high favor.

boardM, $1.00; paper, 95 cento.

LEBERT AND STARK'S PIANO SCHOOL.

Translated from the fifth German edition, by C. B. E. MilUer, A.M. This is a

which has received the warmest commendation of the most eminent profes-

of music, who endorse it in every i>articular, as an Instruction book which

once simplifies and advances the study of the piano, in accordance with tbe

approved methods of mudrrn writers. It is divided into four parts, is very

in its explanations and instructions, touches upon the technical as well

the practical part of the simly, and is a complete school for the piano, frombeginning of tlie study of luuîc to the highest perfection in Piano-forte

Price: Parts I. aud U.. each, «3.00; Part III., M-OV;>art KV.. $0.00.

N. E. CONSERVATORY METHOD FOR THE PIANO-FORTL

This method has been compiled to meet the wants of the teachers of the NewEngland Conservatory of Music, for a graded instruction book, adapted to the

course of study prescribed and taught there. It is published In p^rtf , comprisins:the first three grades of Instruction, and leavin<c the pupil at a point from whichho can continue on without the aid, and independeut, of an instruction Look.

It is progressive and practical, with graded lessons and exerciSfS, clearly ax-

Slained, and illustrated by recreative pieces selected Jrom the works of Iduzart,

[aydn, Beethoven, Weber, Schubert, Schumann, and other great masters.

Fart I. contains forty lessons, tbe first twenty of which are devoied tothoLegato Touch, wbile the remainder treat of the Wrist Action, the Staccato Touch,Slurs, Scales, Transposition and tbe Tremolo.

Part II. contains forty lessons, treating of Arpeggios in the various keys.

Broken Octaves, Free and Connected Sixths, Appogiaturas, etc., illustrated oy

classic compositions of celebrated composers.

Fabt III. includes the grand practice of the Scales in Octaves, Sixths andTenths, in all the keys. Major and Minor, Grand Arpeggios, etc., with pieces

illustrative of the same, including selections from the Sonatas of Haydn, Mozartand Beethoven.This work has been adopted by large numbers of teachprs and schools through,

out the country, and is, in every resjject, a thoroughly excelleot and attractive

instruction book. It has both American and German fingering. Price eackPart, $l.ftO ; complete, $3.2&.

CLARKE'S NEW METHOD FOR THE PIANO-FORTL

By HUGH A. CLARKE,

This valuable method embraces all the latest Improvements in the technics of

the instrument; an exhaustive analysisofthe scales and chords, and a carefully

selected series of studies from the greatest masters, chosen as the result of manyyears experience as a teacher, and including the greatest possible variety of

studies and recreative pieces irom which tbe greatest possible benefit may bederived. The system pursued is comprehensive and complete, an importantfeature of which is tbe simple and thorough exposition of tbe formation of

cbords. This book is admirably printed, is very popular, and is endoreed bymany teachers as one of the best instruction books published. Price ft3.2A*

CLARKE'S DOLLAR INSTRUCTOR.

By W. H. CLARKE.

A small book for self-instruction, or for nse by teachers, which serves an admlr-

al>le purpose for those who wish to gain a fair knowledge of the piano, and brexcellent exercises and attractive pieces for recreation, pives one a good idea of

what may be acquired by a thorough course of instruction and systematis

study aud practice. Price $1.00.

WINNER'S NEW SCHOOL FOR THE PIANO.

By SEP. WINNER.

A very easy instruction Look, with an explanatory treatise on the rudimentl of

music, easy exercises for practice and selected pieces for amusement, whioh

imparts a very good elementary knowledge of music. Price 75 cent..

By

MASON'S PIANO-FORTE TECHNICS.

WILLIAM MASON and W. S. B. MATHEWS.

This work can be nsed with any instruction book, and is invaluable for

beginners or advanced players. Its treatment of the technical part of

I'iano-forte playing is very exhaustive, and furnishes exercises for acquiring a

perfect finish of Much, which are of the greatest value to all students of tba

piano, iiesides very full treatises on everything in tbe remotest way contributins

to an artistic success as a skillful pianist. Price $2.50.

WILSON'S

MATERIALS FOR EARLY PIAMO INSTRUCTION.

By G. D. WILSON.

This is a splendid collection of pretty little airs, and the easiest of music, wblchare of great help to the youthful befiînner, and greatly relieve tbe tedious work of

the first few weeks of practice. Vliree numbers, eacli $l.ftO.

PIANO STUDIES.

In addition to tbe many flrst-class " methods " for tbe Flano-forte, Dltgon A Co.

publish over 150 6tndes or studies, which are of every degree of dlffica'ty.

They can be used to great advantage in conjunction with a regular course of

instruction, or iiidfuendentiy as a means t>i artistic advancement bePmid tbo

point, where the pupil discontinues the use of any particular instruction book. Acatalogue of these studies and exercises will be sent on application.

AHT or THE BOOKS WHICH DITSON 4 00. PUBLISH, WILL BE MAILED, POST-FREE, FOE EETAIL PEIOE.

s^hm:: OLIVER DITSON & GO., Boston.

H. DITSON &-C0.,843 Broadway, New YotU LYONk.

HEALY,CHICAGO. J. E.

DITSON & tOn'1) 1228 Chestnut St., Phil*.



'TTOTij TTTEI—

PIANO-FOETB.

Comprising the First Three Grades of Instruction,

AS TAUGHT AT THE^ 0/'^ ^4

10 A ^

H@w MmMlmii GeimmYîmj of Biil

OLIVEIl DITSON" & CO., Boston.îfta

CHARLES H. DITSON A CO., LYON i HEALY, HcCURRIE. WEBER, & CO, DOBMEYER & NEWHALL, J. E. DITSON & C0«

Ohuxnmors to J. L. Fetan), CMooffV. Ban Frandaco. Cineinnati, (Successors to Lee Sc Walker),

Ifne T»rh, Philadelphia.

Gnteced iwcorduig to Act of CongRse in the year 1870, by G. D. Robseu. A Company, in the Office of the Librarian of Congress, at Washfaiglon.



Î^w...

i^V

/'

/



PREFACE.

The exercises contained in the present work have been prepared for the use of the Conservatory with

a view of providing a thorough system of study for the Piano-Forte, beginning with the rudiments

and proceeding step by step, until an advanced point has been reached. Among the large number of

instruction books, methods, Etudes, &c., none were found to fully meet the requirements for such a

system of study as it was desired to establish m the Conservatory. Many of them, while possessing much

that is valuable, are still not sufficiently progressive, difficulties often being introduced which require greater

sMU in the pupil than the previous exercises are calculated to develop; others contain much useless matter,

while others are deficient in arrangement. It was therefore found necessary to compile a new work, which

should aim at securing aU the excellencies of those already in use, and yet be free from their defects. The

result is now before the public.

The technical exercises and studies are from Plaidy, Bertini, Czemy, Beyer, Duvemoy, Kohler, and

other standard composers.

The music presented in the Recreations in general illustrates some technical difficulty presented in the

lessons immediately preceding, and has been selected with special reference, first, to furnishing a progressive

course of study; second, to the education of the taste; third, to making the study of the Piano-Forte as

interesting and attractive as posable. Compositions have accordingly been introduced from Haydn, Mozart,

Beethoven, "Weber, Schubert, Schumann, Mendelssohn, Henselt, Heller, Mayer, Burgmuller, Auber, and other

celebrated composers.

It is confidently believed that the plan of study here presented will commend itself to every thorough

conscientious teacher, and that the work will supply a want long felt by teachers throughout the country.



PfeAV iEbigflandL Conservatoi~y 3Xetliocl.

DEFINITIONS, TECHNICAL TERMS. &c.

TheMusical Alphabet Consists of the seven letters a, J, c, d, e,

f, g. All musical sounds receive thename of one of these letters, or a name derived from them.

Staff ^^^ ^^^^ parallel lines with the intervening spaces, making nine degrees upon which notes are* zzzz written.

— — / This character is used to connect

Leger Lines == ^^^^ ^''^^^ written above or two or more staves, and to show*

_ _below the staff to extend it.

J>idi.e.

j^^^^ ^^^ ^^^^^ written upon them

~^ are to be performed simultaneously.

Bars. Perpendicular lines drawn across the staff to divide it into measures. The word bar is also used as

synonymous with measure.

Measures. Spaces between the bars used to represent equal portions of time.

Notes. Characters used to show the relative length of sounds and their difference in pitch, (high or low.)

Seven kinds are in use, viz: the whole ('S'), half ({^), quarter (f), eighth (Jv), sixteenth(J^ ), thirty-

second( J> ) J

sixty-fourth( B ) •

Whole Note ia equal to o

Notes, or



I\e>v lE^ng-laîid Conservator-y ]>Ietliod[.

9. Clef. A character used to determine the position of the letters on the staff. There are two m common

use, viz: the Treble or G clef ^, likewise called the Violin clef, wliich is placed on the second hne

and the Bass or F clef^ which is placed on the fourth line. The other letters follow in thei

regular order upward.

10. Interyal. Difference in pitch between two sounds. Intervals a*-e always reckoned from the lowes

note upward.

11. Sharp.( H )

Sign of elevation— placed before a note to show that the next key nn Q u i (jjjf

the Piano-Forte, above the one represented by the note, is to be played. -^^—j—Spzz (c Sharp.

? S^r5>

B>^ (B Flat.)

12. Flat.( ^ )

Sign of depression— placed before a note to show that the next key on

the Piano-Forte, below the one represented by the note, is to be played

13. Half Step or Semitone. The smallest interval used in music— the distance Jrom one key to the nextEx: C to Cjf; E to F; G to Al?, &c.

14. Step or Whole Tone. Two half steps or semitones, Ex: C to D: F to G; E to Ftt- Bi? to C•A> to Btr, &c.

^'

15. The Natural ( 1:} ) Is used to restore a note previously raised or depressed, to its original sound.

16. Rhythm. Measured movement. The various ways in which measures are divided, are as follows:

H. Double Time. The measure is d'vided into two equal parts. This is the simplest division of time, and

the different varieties are represented by the figuresJ, 2 °^ 8 placed on the staff at the beginning

of a piece, which indicate respectively that two half notes q ( J J )> or two quarter notes ^ ( J Jor two eighth notes ^ (

^N ^N), fill the measure.

18. Triple Time. The measure is divided into three equal parts. The varieties are indicated by the figure*

Q ând g. The denominator always shows the hind of notes into which the measure is

dividedand the numerator the number of tJiose notes contained in the measure.

19. Quadruple Time. The measure is divided into four equal parts. This kmd of tune is obtamed bvuniting two measures of double time into one measure.

Ex: Double:

Quadruple: 44

1

r



IVe^w iE^xig'la.iid Oonservatory 31Ietliocl.

Compound Quadruple Time. Four measures of simple triple time, or two measures of sextuple time

IS8uited in one. The "^^ is the only kind in general use.

The following example will show how the varieties of compound time are formed.123123123 123Simple Triple Time.

38

DouWe Time, other-

called Sextuple Time. 8f p f f p p p p p p p PI

r- f • \

Triple Time. 98P P P P f f P P P

f r* r*

Quadruple Time. IS8

4#

10 11 12

P P P P P P P P P P P P

r- r- r- r-Accent. Particular stress or force given to certain notes. This is of two kinds, natiu-al and artificial.

Natural Accent falls upon the first beat (or count) of the bar in double and triple time; and upon the

first and third counts in quadruple time; though that upon the first is more properly the primary,

and that upon the third, the secondary accent. In compound time, the accent falls on those parts of

the measure which correspond to the first parts of the simple measures from which the compound

time is derived, viz: the first, fourth, seventh and tenth. The primary accent in every case falls on

the first count.

Artificial Accent is indicated by means of the following marks: =- v a — — — by notes with

double stems,and

also

bythe

words sforzando, sforzato, &g. It should, however, be borne in mindthat accent is relative, not positive; not always literally loud, only louder than other notes of the

passage in which it occurs. For example : the accent mark {j^) occuring in a forte (loud) passage

would indicate a very great degree of force, while the same mark in a piano (soft) passage, would

indicate only a moderate degree of force.

Written. Played.

A Tie ^ * ^^"nites two notes into one:



ISe-yv DEng-land Oonservatory IWCetliod.

33. The Hold {^ placed over or under a note or rest, shows that it is to be prolonged at the pleasure of

the performer. The same sign over a double bar, shows it to be the close of the composition.

34. B.C. Da Capo— placed at the end of a movement, indicates a return to the beginning. In such cases,

the word Fine, or the hold (/tn) is employed to show the close of the composition.

35. D.S. Dal Segno— placed at the close of a movement, indicates a return to the sign. '^ The sign (^) is also

frequently placed at the end of a movement to indicate a repetition from the same sign preceding.

36. 8va. or 8„.^v^ written over a staff shows that the notes are to be played an octave higher than written.

8Ta. Bassa placed under the staff shows that the notes are to be played an octave lower.

37. Triplet. A group of three notes having the value of two. Ex: m ^ a Three quarter notes thus united,

are equal in value to a half note; f r P three eighth notes are equal to a quarter note, &c.

38. Legato. Bound together, smooth, well connected.

39. Accidentals, ft, I', ij— when placed before a note affect not only that particular note, but all others on

the same degree within the measure. There are two cases where the effect of the accidental extends

through more than one measure; viz : first, when the last note of a measure is affected by an accidental,

and tied to the first note of the next measure, the accidental affects both notes. Second, when a series

of notes on the same degree, and extending through several measures is to be affected by an accidental,

it is considered sufficient to place it before the first note only. In the latter case its effect is cancelled

whenever a note occurs on another degree.

The different degrees of time are indicated bjy the following Italian words,

Grave, Largo, Lento or Adagio— very slow.

Andante— slow. Andantino— not quite so slow as Andante.

Allegro— fast. Allegretto— not so fast as Allegro ; moderately fast.

Presto— very quick. Prestissimo— as quick as possible.

Moderato— moderate, neither quick nor slow. Allegro Moderato— moderately fast.

SostenutO— sustained.

ConimodO— leisurely, with ease, rather slow.

Ritard, Ritardando, Rjillentando, Ritenuto— keeping back, becoming slower.

Accelerando— to accelerate; gradually hastening the time.

A Tempo— used after the above terms, Ritard, &c., to indicate a return to the original time.

The different degrees offeree are indicated by the following signs and words,

p Piano— soft. j)p Pianissimo— as soft as possible.

/ Forte— loud, ff Fortissimo— as loud as possible.

r». or m. v. Mczza VocC— medium, neither loud nor soft.

mp Mezzo Piano— softer than MczzO. mf, louder than MezzO.

fp Forte Piano— the first note strongly accented and the following ones very slightly.

Crescendo, cresc. " increasing in force.

Diminuendo or Decrescendo _ — diminishing in force.

Swell —*==CI Iir==-— increasing and then diminishing.

sf. rf iz. ISforzando, Sforzato— /very strongly accented. The same thing v

'

\RinforzatO, ForzandO— \ is indicated by the marks v a T ji. /

Marcato— marked, clearly and forcibly expressed.

Espressivo or Con Espressione— with much expression or feeling.

Grazioso - gracefully.



Pfe>v !Eîig-la<iid Oonservatory HMetliod..

FIEST LESSON.

The Staflf.

I

Letters on the lines.

e g b d

-&--i5>-

-t©--&- i-

Line above.

aLetters in the spaces.

face-JSl

ZSZ--i:r

zgn

Space above.

OL.

CLine below.

dSpace below

i

The order in which the letters are placed upon the lines and spaces of the staff, should be committed to

by the pupil. The letters should also be written upon a sheet of music paper, under the staff, without

to their alphabetical order, and notes placed upon the degrees to which they belong.

fe ^ g ^"^ "' E&c. j^g^ |.j^-g exercise be varied by writing the notes first on the hues only, and

Eight white keys,

one octave.

7^^to:

e b g c d

on the spaces only; by uniting two staves with the brace, and placing notes upon the lines of

and within the spaces of the other; and also by writing the notes first, and then placing the letters under

This exercise should be continued until every degree can be instantly named.

\_l^ 2 4 6 7 6 8

The position of the letters on the Piano-Forte, with their particular

upon the staff, is shown in the following diagram, which represents

middle octave of the Piano-Forte. The figures show the order in

the keys should be learned. /"^

niê'c."

The pupil will observe that the black keys are divided into groups of twos and threes, and that G is at the

of the two black keys, E at their right, and D between them; that F is at the left of the tliree black keys,

at their right; and that G is at the right of F, while A is at the left of B. The G placed on the added

below the staff, is called the middle G, and is found very near the middle of the keyboard.

The following exercises may be played over a few times without reference to the position of the hand^

tb!

pupU can tell where each degree of the staff is situated on the Piano-Forte.

Mic

Mind.i

d e f ^ f d

3z:-&- izz:

-&- iS^ 221:^=32L -zz.

:s=^d f e g e f d

-G~ 22: s: -iS>- :^=S2=

i

Hand. Ie f g f e d c e d f ff f d e

G- -cr -G>- is: -G^<^ o i

t 5 3 4

-zn -G>--G>- -&- ZESl -G>-

•»I

The position of the letters, both upon the lines and spaces, together with the added lines and spa «»8 above

staff, is shown in the following scale:

c d e f g a b c d e ^ ^.â.-^tZ~— ZL'ZLZL-&-j2_

— ±£L .»^ f e d c b a g f e d c-&-

721

s-or'W^

-&-igr^zz:

s- £2. -&-121 "^-yy-

g-g•fi^-sr



IVevr lEngland. Oonservatory ]>j;etlio<i.

IToTE TO THE Teacher. Measures composed of one or more notes or rests may now be written, and the pupil required to write measures

the same value, with notes of diiFerent lengths. This exercise may be varied ii many ways, and will be found very useful to the pupil in

the division of the notes.

/



IVesAv lEiig-land. Conservatory ]W[etlio<l.

Plate No. 1. COREECT POSITION OF THE HMD, ARM AND FEVGEES.

Plate No. 2. CORRECT POSITION OF THE HAND AND FINGERS.

Plate No. 3. STRIKING FROM THE KNUCKLE.



IVeAv E2iig-laiife-w £2iig-la/iid Oonservatory 3J[etIiod.

POSITION AT THE PIANO.

The performer should sit opposite the middle of the key-board, at such a distance that the keys at either

end can be easily reached and at such a height that the fore-arm and hand will be on a level with the key-

board. Let the arms be kept near the body without touching it, and let the position of the whole body be

perfectly easy and natural.

RULES FOR ACaUIRING THE LEGATO TOUCH, PROPER ACCENTUATION, &c.

To acquire the legato touch, which alone is to be employed in the first twenty lessons, the pupil must

carefully observe the following points; viz:

1st. The position of the hand already explained is to be strictly maintained.

2d. The fingers are to be held over five successive white keys, so that each one will strike the middle of

its key. The thmnb must never be allowed to fall below the key-board.

3d. The keys are always to be struck, not pressed. The proper stroke can only be obtained by raising

the fingers well from the knuckles, and allowing them to fall suddenly upon the keys.

4th. Hold down one key until another is struck, but never allow two keys to be down at the same time.

The observance of this rule is of the utmost importance,

5th. Eaise only one finger at a time. The unemployed fingers should rest lightly upon the keys, but not

be allowed to press them down.

6th. Remember that the fingers only are to be used, and that all movements of the wrist and arm must be

carefully avoided.

7th. Carefully guard against*the prevalent fault of hurrying. Practice each exercise at first very slowly

and with both hands separately, and count the time aloud until it is thoroughly learned.

8th. Particular attention must be given to accentuation—without which, music is xinintelligible. Remember

to accent strongly the first and third counts in common time, the first in triple time, and the first and fourth in

eztuple time.



TVe^w lEng-land. Oonservatoiry IMethod. 13

Count four in each measure.

SECOND LESSON.

Hand.

Hand.

n^



14 We^v Eng-land Oonservatory 3£etliodL.

THIRD LESSON.

EXERCISES FOR TWO FINGERS.

-fi ^-l-f-^y-i-^^K-f-^l—f4-f-« if m f mI % I P ,\W m P m I l^ a Ti m T



Pfevr iEHng-land Oonservatory 31!etIiocl. 15

2 3

^^-»-#-=ff=^ f ^ F \ P F P f.ll.P r ?=R=F ^ fe^teEI

I I

^^ ^ -

î-^-i^ * ^'ll 'i J ^ Jl^ J : «=Si

f

#—«—f S

^4 J- '^ -J-3 4 6

RECREATION.The hands must be raised from the keys during the time of the rests. For explanation of various kinds

rests, see definition No. 7, page 4.

1

'W —F 0~ 7ZL F F- £Count four.

S?==*

:J. ^ V i' *—4—•— -&-

^pcnf: ^

^1-j-^ is:-(5^

4-r t

FIFTH LESSON.

Let the accent be strongly marked always on the first and third counts.

1 2 2 39 \ * W M 9-

f-^-H-y-f-?-Mh-r r r r i=p-f-f Mi - r=r=f=^Tr^=f=^î f m f

^H h H 1 1-

Jli-JUilL-i 3tJZ3t iLJ-> d • d •^S^S^^S 4.d4

-•-*—#

6 43 2 3 1

^#-f-

RECREATION.8 2

is^ P=F^: -#—^ 0——&- m P-a:H—1 ^

35

f » f

-gH *—#- tl*

2

6»- •

-#-^2_3 1

»-F—0^feE

:?c=iP

i

I± llH-»

r¥&-

•*• See definition No. 30, page 6.



INeTv E^ng-land. Oonservatory IMLetltod.

SIXTH LESSON.

i^r-r-rrf-?

t a ^ 3 I

f ^1^ ^=^gtr-fc^ I .^

_j__,__^_^ -« #3 1

^» M ^ -^ *— -^ 3 1

^ ^ ^ ^ »-r4 I

* •- -• #1 3

jltidante.5

RECREATION.

fef_3 g _| p

f-f-J1 2

ir-r~r-r3

5

(2_ Mm^ a 1

122:

i 1^ 'M • d •2

f-3S^ S " s

2 1

-i5?-3 1

i3 3

-» ^—» ^

5

:^î-Hi^ -^2_

?2=

13 2 1

6

<5>-h- &-

-JeZL

I*

1? ^ -tf ±=?=i •—•— ^ ' I # I

3 2 T •• - •4

13 24 6 3

2 1 2 1 3 1 •»6

SEVENTH LESSON.

f1 3 2 4

P ^ Pfrf^zzf

y-r pr

I•—d—• ^—j—" I'-IP-^ :i=j±tl=• m- -m m- ^ * ^' '

J. ' ^

«

1 3

1 3

P m P P ^ P

Iwr p

i1 1- -M- 3t±-• d -9-

±—*-* 3

^—*-^r-^™ Sfte definition No. 11, nage 5.



]Xe>v iE^ng^land. Conservatoiry AJCetliCM].. 17

Mbderato,

1 3

RECREATION

^^î-

1 3

;

P 22:-f-

-<s»-

t 1 •» •»• • 3

^ *r

*-r f r f -^-t-f-p f

'

r -p-'-F-f-r-'-F-r-^' ^ r ^ f r\\



]XeTV !E^]ig-la,iid Conservatory AXetlxod.

RECREATION.This exercise is in triple time; the pupil will remember therefore to accent strongly the first count, and

the second and third counts very lightly.

Atteffretto.



W©"vr E^ng^laind Oonservatory 3£et:liod. 19

S pa^3îib^j^jrii

v^jjj¥jjj

•

JJ^JJJ^J'lr j^^^J^^Vt^ ^

^^P m f r F

RECREATION#—

£ ?2:

i ?2:

-^^

Count two.

i

^^^^

î 1

tZ* atzt^ ^

1

f r ^ p\ f f 1^ p r^^^^-^^^^ -^^^^

*

I^^^

j i^'

J J#-r-

*-i^ ^

TENTH LESSON.

6 4

PT=P:pP= ^-rfrfrrfH i -rrrf»frrr»-"Tr^rrrrrr r'ii'rrr rrrrNFp»p^p 0^wrrrf-'

P mijj=i i =jjjjjjj3 2 12

-H—h-^-l——I—1—I-1—I—I——I—I—

** 34 * *jjj^-ir>j-^^^

î^^:^:^4 34

1 2

HH ^-H—K-- -Î I 1—l-H-'^ '

I

* !-=—I i

5 II I

\-^ = 1—)— 1 "I •1W See definition No. 8, page 4.



TVe-w £2iig>la>]id Oonservatory 3:fethod.

olllegreito.

3 3 1 i 3 ** 3 2*3 1ij; ^ j:-« ^ a a " "^ ^ "

RECREATION.* 2 3 8 1 3 ° .1*

^ P I

f |t-gL^-^L_i^__^ r"rrttir^ r # p

*

IEsh tz-=l ^^^

s Ml'

ii-» 14 9--&-t f-^ r^»i^3

4-f-0-f-^0-r- -f^-^^f- -i-#^*^-^ -^—^^ _• ^•_^* _ j?_^ ?_phl^t—rr-p-^

^



TfGw !EIiig-la,iid Conservatory IWCetliodl. 21

ife*3 2 14 3

6 42 ^ It- 3 2 16^ *S>- n r Af if ^

i5t-tS" —

i iJij i

-^j j-^j jjUgj i'lf^îû 4r*S

TWELFTH LESSON.3 1

AUegretto. 4

4=-

' 2^

/« i- -^

3 6 6 3

RECREATION.1

4

i^-ii-î

^fef^1 2

I-» *r f m

w -^^^^

s n:tzz«^^r-t 1 •*- 2 i-#-a 1

6 6 61 a

1« 3 „ 3

i. -^ J. -^ ^-^4^î1

#. -^ -^

l£A*•^^

T<^ I^ ^^

*- J --

^-^6

a 1 ' a 1 3 1

6

a 1 a 1

••#>-•# --1—h-h-H-l»-

1 'i.2 1

J H 1 h

-^T^r-«: #=P= ^=p:MM

6

:-

r—ri-r—tiH

^ a^' 3 3 4 a 3 16



]Ve>v lElxkglstn.3. Conservatory !MIetliod.

By removing the first line of the treble staff and using the added line above for the fifth line, we obtain

order of the letters upon the bass staff; viz: g, h, d,f, a, upon the lines, and a, c, e, g, withm the spaces.

Treble 8taff.mg b d i_t

Bass Staff. ^^

/ « e

g b d f a a c e g

The pupil will be greatly assisted in learning the position of the letters upon, above and below tlw two

by repeating them in the following order; first, however, committing to. memory the order only,

adding the letters:

Lines of the Treble Staff, e,g,l),d,f,

Lines of the Bass Staff, g,h,d,f,a,

Spaces above the Treble Staff, .g, h, d,f, a,

Spaces above the Bass Staff, J, d,f,

Spaces of the Treble Staff, f, a, c, e,

Spaces of the Bass Staff, a,c,e,g.

7th.

8th.

9th.

10th.

11th.

12th.

1st.

eg b d ^%

3d.

2d.

b _ jl5th.

fa c e

7th.^^^

Lines above the Treble Staff, a, c, e,g.

Lines above the Bass Staff, c,e,g,

Spaces below the Bass Staff, /, d, l,g,

Spaces below the Treble Staff, d;l,g,

Lines below the Bass Staff, e,c,a,f.

Lines below the Treble Staff, Cya,f,

f d b g e 10th. e c af 12th.

4th. d ^b^± 6th.

8th. ^ ll±— 9th,

d

111th. 'tf

ig b df a

cfb,Sanae key on the Piano.

ca ff f ff

^si-iS>-

_(2I

aJS-

e

4—

a c e g

d

f

f g f e d

ff e f

b a g f g a b c

-a \

is:-<5>-

-321 S- ~a- -&- -sr-s^- r> (S> -&-

-zz.-'^-zr-^

-32132I

One Octave lower.

^^z^-s:

tS"-^=&-'ZZ. 15^

221 ^-72- -S!r<^-ZSL

-&22 -tS^s: -nS?-'

22:jSl

1

icbagfedcb a g "^^-o- -g^ -ir

—— — •=. — — — -^ -^ -^ % „ a b c d e f g a b c

ff f ff

The pupil should now write exercises upon the bass staff, and also upon both staves sunilar to those alreadyfor the treble staff, viz:

Lines. ~.^ spaces. Lines.

g, a, d,f, b, de a, c, e, £c. d, g, b, dc.

Spaces.

:s: Ma, c, e.

\

These exercises should be continued through

several pages of music paper, and until the

d^ g, b, Sc.p^pQ £g thoroughly famiUar with the position

of the letters on, above and below both staves.z:

Lines. Spaces,

\





IVeTV lEntg-laiMi Oonservatory ]>J[etliodl.

FOURTEENTH LESSON.**

3 a 4

^m *—p- 2 13F # r. ii .

^^=^=^=p=^13*2

rTlTTTrTa * " 3

?=t^» . f r?=ff=#=''r f #^

5 3 2 4 4 2 13^=F=

1 3 4 a 3 4 5 3

^'TTT? M f rr^¥-F-

I =F=#= =P=^fc: -r-fc

^-FF I

6 2 1 4 2 6 6 a 4 1

MTfffff ^:^

RECREATION.4 364_ _1 2 3 1 5^ . 4313, 24

i.w !;—iT-rW^—fi--r ^—-f"—

r— r r J J—p—"^



!IVeTV !E2xig;>la>iid Oonservatory ]>Xetliod. 25

^^^^^^FIFTEENTH LESSON.

EXERCISES FOR FIVE FINGERS.

m

^te^^^^±fe^^^^.P m f p m ^ r?~w1

W ^^ ^ ^^^^ ^^ m1

»^^rFfffrf? ^^^^^StteS^sSa^^Brf^^â^BÊe^^s^s^te^^ ^ffl t

— ^1-^h=pcpc

p ^î-m^^^m^M'^t^^s'^^^

RECREATION. No. 1.

This little piece is in sextuple time; the pupil must therefore remember to accent well the first and fourth

always, however, making the first accent the heavier of the two.

1 ^ '1- / ^

iP • m9-r 9 m K ^ /

i#-^ -#-^

4-

Count six. :i:t

f^.^. ^?f Pfi .f__vjfi-_^^

^ \^ 1

1 >^=^

v: s- u



IVe-vr lEng-land Oonservatory IMetliod.

I^^ (

m •

m #-^ :p=i=p:

I«m

T. p T. .pT ^^fv^^^^^P^rW^ . pf , >f - pf, >f , pf-

I

Comntodo,13 6

RECREATION. No. 2.

2.J5 V.J 2.. f

Iei:S^ -^

/»/

IH*^ ^ [-#- z::^^ ^ '4 -i ^

a L-

=?H=

^1I

=Fli:

s g ?=t=^4ii

dim.

i—^——1—r*" 1-

£^ S-â ^

Ii=F=î^ ^ U I U :zt=r.

ii-^ -^- -P- :f#-^

3 3:

i^"

cresc.

P-0-

H; *^

SIXTEENTH LESSON.

EXERCISE IN TRIPLETS.*

Tn playing triplets the first note of the group should receive a strong accent, and the second and third

should be played very lightly.

^^ffeff^mrrfri^^Fffrfrfn^fr^^M frrfrm3^^^

J^ •f-t-M-rFFFFFf— PFP l

:

j i Ll ILL '

i i

'

.

tu-^ See definition No. 37, page 7.



lNe"vr E^ng-landL Conservatoi-y ]\Ietlxod. 27

^# - ^p^ - »p=pt e^-yfy>f-î %f f-afzar ^JLJ' ii f »T f <JL0 9 =i±^^^m»-W

\W 0-

^?EpE:

Êffl^sEÊ^fflEH

isssEefetf :?E4=^

1^ ta-

Commodo.

^

RECREATION.5 3

:^*-

6 3 1

*4^f:-r-^f ^f ^-f^ C^ fL^,_fL^».-t4^-^^^^^^^g^^^P^^P^^^p^-f-^^

i"f t- /

=F=P*î^

I:^*- i^ ^- ?z-

/,.i,-^ --^ --^ _-• fL-i>f^.\f—^f—^f ^-r, 0^ 0T >--r->^. t"P

IF-i Fh F-t-T—tf-F—•-f^—•-F—r-F-T

—^'î ^1 M ^-h-i—*-F—•- '—^F-^

gd -i#-

— # >f^ i, f- 0jt—e -f of- ,^

^, r-, i?yr p-f—^^^^^, .p-r. ^f >^f^• » r ' »-î ^'^——O-^-f—i-g ' O

'\ O

'' o ^

'- -sH

\—a-f—^—»H—i—a-»—I »-1—!—^-M—»-!—!—Iu^

,

>. ,^4^,^^^^^;^ 1^ ,^ Ir> r> r^^ rv 1 1^^^^-|^

* See definition No. 37, page 7.



]Ve"w !Eiig"laiidl Conservatory !>.retliod[.

SEVENTEENTH LESSON.

^d^jb^»LJ " Li i'

i' ' ' ' '

i I

#^=p-»-a-#-7nr^" TÊ^£TT~Wirw ^-frFfrf rrTTrr r ^ r-f-p

yry:p^1= I^B^^ I ^^^

RECREATION. No. 1.

Syncopation for (he Bight Hand.^

Ziento.3 m 1 3 6 1, 2 4

H K te13 6

^ M=^=F=

5:t i» h

Count two.5 3 1

JfE.

6 S 63 « 1 2, 1 5 2 4 1. « 1 2 3

5 ?

I 1 a ^ ^ 4 2 3 1 2

»=j:i ÎS^-i

^ See definition No. 30, page 6.



Pfe-v*^ lEng-land Conservatory ]>Ietliodl. 29

RECREATION. No. 2.

Syncopation for the L^ft Hand.

X,ento.^41634163416 4 S

jtr^ -_. ^ \—» p p --,1

^



ISg'w iEIng'la.iid Oonservatory 3dl.etliocl.

Commodo.

^3

RECREATION.8 3 1

SI

^=»=^^-»-•-5- g

«,/= Count three, i - i »

s: jiA--^^--^ ^

f^^^^

IS

» 2

*

iifza:iît*

-#— -«-S'

#-#-^^#-1

^ -^-•^-1—I—I*-

Bîk

ffi2 3

bpfe g^^^^ 2 3 1

tfce^g^^^mf

m jt*-#- 0-

2 1 2 1*

lt±±jtZ^=±±

:?L -0-^

2 I 4 2 1

-42- ^ g^NINETEENTH LESSON.

P F P . ^

^

-^^

^-pr-r ^ r F -i—

p g »-r

S^=t ^^^

P fi :p=i=P- » fP m T—P—P -fc:

:pe=f!=P= :f=P=-P-»

-^»-•- -P-P -0—P- -0-P-

=i=P=

H^=F»- =F=^ ÊS

E£ s -0-p- £s^ p^m5=P:

S dîria

ilEEEE-*—f ^ J » -# . F -f ^ —0-»-

-\—»-\ m r

—p=^

«=pc

3fi^S3 Eina ki

^ See definitions Nos. 11 and 15,.page 5.



]>fevr f^ng-land Ooiiservatory IVXetliotl. 31

Andantino.5

RECREATION.1. 6

^ J^ J^ Ji Jl J I

MI

rjzi^• • • • #--^-#-—(-#• —I-

#*^

a tempo

^

3 3

^—#::#=P— :^ -*— i— =#=^

rfo?.

:^

1 8

.^-^--fi-

4-*- ^•#- l-* * ^-••

#1 3

^^-•^Hi?C=jC

ri ^ n^ 'h

t The repeated notes in this case may be executed from the fingers without the action of the wrist. •!• See definition No. 39, page 7.



IVe-vr lE^ng-la/iid. Oomservatory JMlGtJoLodL.

TWENTIETH LESSON.VaJse.

K.

3 2 1 1 3

mt P-f^l ^0=W-

S :i^ :t=U aP semjpre legato.

5 1 3

m J r i-bd^¥=p:

5. 3

=i=pcfe^^ 5=^ atz:i2=ti

II ^--^

i /*

1 , 3

?f^&-^ #=:Ef

grazioso.

2 4 1 6 1 12 4

^^JE^Ê^^•m

fe^^ feE^ê £^-M^ -b^^

i3^ =#=F

#-^ f:»-^ *^* t

• • P

ise-i ^z-

^j^jr ^ If r~îr~r^ ^

\

i\ f rr\r =f= ^rr=F :p=i=

1^^f_-ff^_.. li>-f ^

ilt^\

r t r I f,t%4£^*^^j * - 2 3

312431 243 3124 2431 532431 243 2 4

^^S qc* 1^ 0~~rp J^^r.njr.rw ^^ nrrr^^

-p-» #-it1 2 3 1 3 •#-|*-

1^

_^^g-]-»-ft îIe^^^^!^ ^,.^^Ê\^ ^^ tit

1 4 5,

^^t=r=i^P.Fq.,i:i:j _4^^_^L4 T^:p=f

?Et^?^ J r i If r i

cresc.

2 4 1 5

I



]Ve-w- £îig>la;iid Oonservatory IMCetliod. 33

If the pupil has thoroughly learned the preceding lessons, he is now familiar with the different kinds

notes, the position of the letters on both clefs, the various kinds of time, and a number of technical

used in musical language; and he has also laid the foundation of future practice by having acquired

habit of holding the hands correctly, and giving the right stroke of the fingers, so that he is able to

the kgato touch.

He must, however, continue to practice daily some of the preceding ekmentary finger exercises, in

to gradually educate the muscles of the fingers and hands, so that the mind may not be diverted

the mastery of new difficulties, by having to contend with old ones not entirely overcome. Unless

full strength and flexibihty of the fingers are attained, all other knowledge will be of little avail; for

is impossible to play the Piano with weak, stiff and untractable fingers.

The finger exercises should be carefully reviewed from the beginning, in the following manner, viz:

each exercise several times without stoppuig— the first time very slowly, and with as much force

the fingers can command; the second time somewhat faster and with less force; the third time still

and so on until the greatest possible velocity is attained. The rules of accentuation, raising the

connecting the keys, etc., on page 12, must also be carefully regarded, for their observance will

more and more difficult as the tempo is increased. The importance of the complete mastery of

first steps cannot be too highly estimated.

It is no trifling matter to play the Piano well. One cannot acquire a thorough knowledge of this

in three or six months, as some pseudo artists and teachers have asserted, but it requires, in fact,

many years. No discoveries have yet been made to relieve the pupil from the necessity of constant

study, if he ever hopes to reach a high degree of excellence in his art. Let no pupU, therefore,

discouraged because the time is long and the toil laborious. Patience and perseverance will win the

Do not be anxious to hurry into new studies, but show rather a willing spirit, if the old lesson be

to you again. Defer ever to the wisdom of your instructor, and endeavor to learn every lesson

his entire satisfaction.

Ha^BBNESav^^MI



INe^vr JbCng-la/nd Consei*v»t:ory l^Xetliod.

FIRST GRADE. SECOND TERM.

FIRST LESSON.

DIRECTIONS FOR PLAYING CHORDS.

When three or more notes are in harmonic relation to each other, and are struck

they are called chords. Ex:i

-&-

m isi

^.Chords are executed by striking with the hand from the wrist or fore-arm.

In striTcing from the wrist, 1st. the hand is slightly raised from the wrist, and is then thrown with an easy

upon the key-board. 2d. The fingers must be kept perfectly still, having no independent movement

their own, but moving only with the rest of the hand in exact position. 3d. The arm must not take part in

movements. It will also be observed that the motion of the hand is less in soft chords than in strong ones.

In striking from the fore-arm, the wrist and fingers have no independent movement, the hand and fore-

being raised from the elbow, and thrown with force upon the keys. This manner of touching the keys

only to be used very sparingly, in a moderate movement, with full and powerful chords; otherwise it

to a hard and stiff manner of playing. See plates Nos. 4 and 5, page 11,

As a preparatory exercise, the pupil is recommended to place his arm and hand upon a table in the manner

on page 10, and slowly raise the hand as high as possible without moving the arm or changing the

of the fingers; then quickly bring it to its first position, taking care that the fingers be not bent under

hand so as to bring the nails in contact with the table. This exercise may be varied by, at one time,

one finger only to touch the table, and at another combining two or more fingers. A flexible wrist is

less important to the pianist than well trained fingers, and is indispensable to an easy and graceful style of

EXERCISES WITH THE WRIST.

jrf i

fi=

||:f T^fTf^ 1 fîlr^f ^^f l:|hf "f 'f f-Tl^

it

EXERCISES WITH THE FORE-ARM.

i^3{ff=ii I

^1—MHf4s^

it

jr

pîp4f-., ||, J i =pjcj i

± 4sf



!W[e>v X^ng-land Conservatory IMCetliodL. 35

STXJI>^r.Attegretto.

i^ ^ ^-

J

ir^. !#: 4r^ i-'t t tV

=PC ^c=p: £+£: l^^n^ i ii a: 4 4 lU- :3^f^TT^

«—•- «l 4 -^5>r

:i±i: ^;u;;!3 .|fi^ ^—#-4 4 4

i â1 3

rg I' ^fts-

* » -S-

i-fc: ^*-<s-^

^^, 4-&-. -<s>-.

i HJ2 3

*

^ fe=i=T#

71 a

«i^^3«i^ p-^^~ 2=»_3Ta:

i i

iSLf

rrr

^^

IJ^

4:1 .1zz:

î ^^rtt—# m—tf—jr

*

^ S Mi fete f=FF y~w~r a: -i§-i^

r r'

r r r ' r-

3 4 3 6 1

:i=*

a 4

£5=F=F ^ ^#-

Pcresc

«i»

I e ^^ ^^^fefl^rt I i\%'.

^ t^ These chords shoald be connected by striking from the fingers instead of the wiist in playing the second chord. See definition No. 29, p. 7

SECOND LESSON.Atlegro.

IY5ige aiS^

^^:î^ it&- ^

s:\^^ -•—#- • » > »^

I 1 w^ *

1 t

•»-^«

Jljj^^^t See definition No. 29, page 6.



36 INe-vr JEng-land Conservatory !M!etlio<i.

m iiy ^^zz:

#— 1-1^84-1

154 2 1234S^

«_^yffl^py

r-:rnrng:a^^^P=#: 5^

—

i ? M-J-^^--J^-îiH4#4^f f

gt1 a 2 135

< » ^ rrff i^-^-* ^ } \ ^ m p ^ p * ^-^-^-d^r

3 •=F 3ii*

j^d i Hi J J^ i ^

\

*==: ^f: 4

6,, ^ /g 6 3 1 3 5, 62î^:

1.234 5

#=? #=F^^^gP~'^^^

i -3©^ iitlfe^ \Jl \If f

Ld I r

I s

HJ^fg^^12 3 4 5

¥-9-¥=^

ll^j j

«3343 ^^,fTTr- f-^

F

^:ri:

?:^ ^

> J.i -|

f,llD^ i_r^l^ rf#fftFa^^Û:Mi



ISg-w iEng-land Oonservatory IMCethod. 37

8

RECREATION. ^-5^

i

9

22

g"!i-

' i jT^^yt

i 3tS»- 2^ :a_

f,^

'^ 2.r-^ f s'' H- /:?

i/r\

aj^ 3EJi^'s^? Hf^^-i^ -t^-

mf

ISL S fc -iSt

^^22 -Sis'-

THIRD LESSON.

STACCATO TOUCH.

Staccato is the opposite of legato,' and consists in removing the finger from a key before the fiill value of

note has been given. There are two kinds of staccato, viz : the Full staccato, indicated by a stroke, («) and ,

Half staccato, indicated by a dot. (•)

The Full staccato note usually receives about one fourth its value, and the Half staccato note one half

value.

Written. Flayed. Written. Played.

Ex: ûll Staccato. Half Staccato.

In executing staccato notes the hand is first raised from the wrist, and then brought to the keys in an

graceful manner, and immediately raised agaiu to its first position. In passages to be rapidly or softly

the motion of the hand is less than in the slow and strong ones. In such cases the staccato is often

by quickly drawing back the fingers after striking, without an especial movement of the hand.

EXERCISES IN FULL STACCATO.

r-ir-f

I 1 »

I:i=P=

:F=#=:p=i=

6 * See definition No. 28, page 6.



nVe-w lE^ng-landl Oonservatory IMIetliod.

if f

t

-0- -0-f t

mT^=^T^^ ^ ^=^^=^^^*• I » I » 1 f »

p 0- 1^îi

m0 p

m-^Hf-

ÊXERCISES IN HALF STACCATO.

Altegretto.

a=4r=i=|S=tr4^:^^ M i j

l

-^"^!I

i ^ '^ M ^Jt^^^*

? ? ? ? ? ?

3±

m$=?

2* ^ ' * ' *

• T 3 2 9 3

s^

-P ^ :P=P= §iF F

—I #- ^T

I t-i\

\

i-i

ir\

I_ÎIjI^^3Eij=:^ -j-i— =1=4*

IT

i: r r »- ^4^=^^ ^ g3^ 3=^7 >

t Nil/



IVe-vr E^ng-land Conservatory ]Metliod. 39

In slow waltz time.

m-»-+-

4 3 2• • •

RECREATION.-^ 2 1

7f

* . 4

P=^ i^ #-^-^ Frff ^^^^ S

^^T JMt

isa

mf

FF=ttF=ffl^^ P^*^

^^ S* t-rtTrnT . » » ' ' —•—•—^-ii £-^— F—3B !

^s/>

'^ J-

s^^-94^-tli-îzg

^ Lj-Ji-^ 7 *7

nr

FOUBTH LESSOIf.

THE SLUR.

The slur is a curved line —^ /-^"^ placed over or under two or more notes to indicate, 1st. that they are

he played legato, or bound together : 2d. that the first note is to receive an accent by a slight wrist movement:

3d. that the last note is to be unaccented, and slightly shortened by taking the hand up lightly. The

exception to this rule, is when the sliu* is applied to two notes, the second of which is longer than the first,

example i In this case the accent falls on the long note, the short one being played lightly,

a wrist movement. The slurs in this manner serve to mark the various phrases of a musical composition,

st as marks of punctuation are used in written language to divide it into sentences or parts of sentences.

WritttH.

* 1

EXAMPLES.

j^TTT-E^^F ft I

mPlayed.

^Tfr^fjTTfnfnL \ : ? I-r^^s^

S AVhen the slur is placed over two notes, the accent is more marked than when applied to a group of four or more notes ;in the lattei

il oftentimes serves merely as a legato mark, especially in accompaniments and running passages, and the accent is very slight.



PfeTV Xjng-laud Conservatory ]!êtIiod.

EXERCISES.

4-#—=F -p—•- ^^^m> : ^ ^ p- f p ^g—

~F f -f^ P~A-i11^^ ^^

i_, , c, RECREATION.J ^-f

^'/^ ^



]Ne"W lEng-lamd Ooiiservator*y IMIetliod. 41

i

FIFTH LESSOJf.

SLURS ON THE UNACCENTED PARTS OF THE MEASURE.

By means of the slur, accent is given to a part of the measure otherwise unaccented.

„ ""^^ """=S=F= P—#-

^^-^ i=i itit

:^_J * iT

ît f4— ||: jTTij^^lF^^ ->—^r

I^ ^f=i: *z=t

When slurs are used with staccato marks, the contrast between the accented note and the unaccented,

note, is greater.

i:^ ms fi- ?=^ w— -w—^^

^Hr^r-^

I ÎS4 .

<I

J-1-^ ^-^-«h =r^=^ ^

Andantino.

^RECREATION.

12 13 14 6_ r13 6 3 S

^

^

^

r~rr ri rff-^^^Pj:?crzi:

:^=ie:H h mti

« sempre. .

t| jfl |ij_j_]^l4

-^

a tempo.

I^SB""--^ 2 i^ ^ 3 4 V 2^-^^"^'^^ 3-^ ^ 3 ^4-^

/^/ cresc. ^^—

^- r " -/ i '

^

^r^

=^

3 6

4 ^^

v^ ^-v^-^^^N4=

raZZ.

*^

t

a 4 fi

^SE12 13 14 6, 1 3

P i^d-

-,J.,.ELa

i!-tffg-

-#-^-•-1 #+-

V-

?:5=#^?Ei=

1 3 « - f^^

^f->t=ii:

1 3 13 6 8 -^

ii

:p^ Ea

2*i

iSiig- Ê J^t^ #:/^

1



IVe-w lEng-landL Oonservatory IMCethod.

SIXTH LESSON.

INTRODUCTION TO THE STUDY OF THE SCALES.

The following exercise is a very important one, and should be carefully and thoroughly practised.

PRELIMINARY STUDY. CROSSING THE THUMBS.

32Z -#

rr^F-^-•—#- -0—#-

^^mnai '0—0- 0—0-

ten. ten.

EXPLANATION OF THE SCALES.

The Scale {Scala—ladder,) is a series of ascending or descending sounds, proceeding by regular steps or

There are two general kinds of scales, Diatonic and Ghromatic. The Diatonic Scale is either

or Minor. The Major Scale consists of eight sounds, and proceeds by whole tones and semitones, the

being found only between the third and fourth, and seventh and eighth.

Semitone. Semitone.

Ex:

i1 2

-&- ZSl-&- -gr -&- \S1

This Scale of eight sounds or steps, ranges within the compass of an octave, that is from C to C,

and is repeated in similar order throughout the entire range or compass of sound.

On the Seven Octave Piano-Forte as follows.

igg- ZSL -=^=^^

-^--&-

-&--^ Z2L -&-

---zs.rr-^ y7 » w •» sr -zr

TS •»75r»

Second or Great Octave.

Third or Small Octave. Fourth or One lined Octave.

Lowest Octave, called Counter Tones.

Fifth or Two lined Octave.

8va.

Sixth or Three lined Octave.

Seventh or Pour lined Octave.

^ ^ ± û^ £L ±. z: =. —

22::^=sz:

-iZ. s- a.

321z^~sc -&- JSi-

-» ^



IVe^v EJng-land Conservatory I^Xetliod. 43

These different octaves are represented by letters, in the following manner, viz: the Counter tones by

capital italics; the Great octave by capitals; the Small octave by small letters; the One lined octave by small

letters with a line underneath, &c., thus: C D E F Q AB CDEFGAB cdefgab cdefgab.

Counter Octave. Great Octave. Small Octave. "T^-",

-—

dj> i.jx> x. 3 c ^ \ One lined Octave__efgabcdefgabcdefgab.

Two lined Octave. Three lined Octave. Four lined Octave.

The Minor Scale is so called because the third and sixth are a semitone smaller, i. e, a semitone nearer the

key-note or starting point than in the Major scale.

iSemitone. Semitone. Semitone.

Ex: ^ '

|-,. g— W^ ^_3îs:

•» ^ J^ i 6 6 7 81 2 3 Tone and half.

Here the third E and the sixth A are lowered or brought a semitone nearer the key-note C, by means of

the flat placed before them. It will be observed that the order of the intervals is entirely changed from that

of the Major Scale, and that we have a semitone between the second and third, fifth and sixth, seventh and

eighth, and an interval of three semitones between the sixth and seventh. The other intervals are whole tones.

The Chromatic Scale proceeds entirely by semitones, and therefore includes every key of the Piano-Forte.

There are twelve different sounds in the Chromatic Scale, or thirteen if we include the octave of the first note.

'kZ. ./-T-z^ztt^-^^^^^^^^^"^-^^^-^^^ ^ ^^ ^^^ E—T-zlx:•^ »

if^^ ilf^ '^ 6^ 89 10 11 12 13orll2 U 10 9 8 7 6 f ^f ^ ^^ ^

RULES FOR PRACTISING THE SCALES.

The principal difficulty in playing scales, lies in passing the thumb and the third and fourth finger.

1. In order to facilitate this, the player should bend the right hand a little inwards; (but not too markedly,)

thus the thumb in a^c mding the scale, and the third and fourth finger in descending, have a shorter distance

to reach. The same rule should be observed with the left hand.

2. Tlie arm should be kept a Uttle from the body, but only a little, and moved forward in an even position

with the hand, without turning or twisting.

3. The thmnb in passing should be placed under the hand as soon as the second finger strikes the key, and

move on evenly with the other fingers, so as to be over its key at the right moment. In this manner, turning

and twisting the hand is avoided.

4. In practising scales, the thumb should be closely watched, until ,it can be passed in the correct way

with perfect ease.

5. With many players the second finger of the right hand, in ascending the scale, and of the left in

descending, has a tendency to rest upon the key. Careful players will avoid this mistake.

6. As the passing of the thumb under is more difficult than passing the third and fourth fingers over,the right hand should most frequently practise the ascending scale, and the left hand the descending one.

7. The scales of C, G, D, A and E; and also B with the right, and F with the left hand, are fingered

in the following manner, viz: The thumb of the right hand is placed upon the first and fourth, and the fourth

finger upon the seventh. The thumb of the left hand is placed upon the first and fifth, and the fourth finger

upon the second. The other scales require a different fingering to avoid bringing the thumbs on the black

keys. As the fourth finger is the only one used but once in each octave, it is only necessary in learning the

fingering, to remember upon which key it is placed.



]Ne"vr Eng-land. Conservatory ]Metliod.

SCALE OF C.

jzat±jiz

I Iz#*-W-.12 3 4 6 6 4 3 2 1

2 3 12 3 4 5

=i^

6 4 3 2 13 2

tI -^ f-^ ll:j rf ru^-^Mt

:5=p:^*^

fjiffrrffir:!!.;

,-r[rr|

ffrrff, HI

-^—#- ^fcJ^;:H :J C^-fg^^tt

^--^ =^=Fi-^»-•-

E S Itp:^

RECREATIONMbderato.

3 4 A * 3 2 1

1 2 3 2 -#-^ -t—^*- •_321 2123*321 21tt^?^

fffuÊEE^ f r p >

1 a "

2 12 3 i« ••

=5stit# ^

I

—I

\—p- :p=t

iid=?

fe2z: :^s: 1^2:xs: 122: lan

-1^^!^

^-142 13 2

g^^Pfff^=flJJ21 li=F-

-*<Jij;^:ii=t*i«

r'2 123231 41314131

r^ 3234 1234 62^ 23 3 234123jr

JftTTtpâ



JXe>v JSngrlandL Conseirvatory- ]>i:etlio<i. 45

a 1

SEVENTH LESSON.

SCALE OF C IN TENTHS AND SIXTHS.

ii^li:^ 3t*

fe^^F^^^^^fetâ

'g±;=)c nS-H*

£ ^ £ -P-»-

it=t ^S*»<-

iF

mi --••F

r-'^j

j7? i i

jirf^

-^ -f [—— F-m-^4 1

>n-TT1 2 4 ;;

S #-^ 12 3

5»=#-^^

4 3

^^^mRECREATION.Allegro Mbderato.

ITW^-^

3 4° 4^^1 2^^:^ Hî-,^

*

-F=F ^^SEirff^^ ^^« I-S^ a ^^^ =t &^P » . »Êf

B^^ -««-•«-%( is: ap

#—»—•-

8 .^S-1^-^ f-^=^^ a 1—a-

-P-i- :^:p^ TTiiT?

'^ *: : > I g • • If Tsg:*

i ^f^ta—I L^ < far

t

m3i5S3 4 5 4 3 2 1

2 3 4 3 2_1 3 2 ^ E ^ ^^-#^ -Bf-»-

fgt ^zz: ^^ 321



]Ve-vr X^ng'la.iid Conservatory IWCetliod.

EXPLANATION OF THE DIFFERENT KEYS.

Every Major and Minor Scale has a starting point, which is called the Tcey-note, (tonic,) from which all the

notes proceed, and after which the scale is named. Thus : C is the key-note or first note of the scale or

of C Major or Minor; D is the key-note, or first note of the scale or key of D Major or Minor, &c. There

as many keys (scales) as there are sounds in the Chromatic Scale, viz: twelve.

These keys are indicated by the accidentals jji and i', and as every piece of music must be written in some

the sharps or flats which belong to that key are placed on the staff at the opening of the piece, to serve

guide or Signature, as it is caUed. Ex:

^^"Whenever in the course of a piece, notes

found on the same degrees as the signature, they are to be invariably played jjl or ^, as the case may be.

There are seven Major and seven Minor sharp keys, and seven Major and seven Minor flat keys.

It is essential that the same succession of intervals found in the key of C Major, be preserved in all other

keys, viz: a semitone from three to four, and seven to eight, and a whole tone between each of the other

of the scale. This order of succession is found in the key of C only, without the use of sharps and flats.

The Scale requiring the least number of sharps begins on G, a fifth above, or a fomi;h below C.

SCALE OF O.

Semitone.

3 4

Semitone.

Ex:

1^

-isr

2

-(5t 22:-(5>- J21

-&- 221 -t5^- 32: fe

8

Semitone.

SC-AJLiE OE C

It will be seen from the above example that no sharp is required until we reach the seventh, (F,) which

too near to the sixth, ( E, ) and too far from the eighth, ( Gr, ) is changed to F||;, by whioh we obtain the

semitone from seven to eight, and a whole tone from six to seven, as in the key of C. G is therefore

key of one sharp, F being the letter sharped. This one sharp is placed on the degree F, at the beginning

staff as a signature.



TVe>v Jd^ng-land. Oonservatory iAXetliod. 47

To find the other sharp keys, the pupil will observe the following

To transpose the scale hy sharps, fake the fifth of the old scale for one of a new scale, and sharp the

of the new scale.

The pupil will observe that in each succeeding transposition, the sharps previously introduced in the

remain.

The seven sharp Major keys are G, D, A, E, B, Fji and Cji, as follows:

Key of G, One Sharp. Key of D, Two Sharps. ^ Key of A, Three Sharps.

t: 32:-O- Ag ttm

-&- -O-

-&- ZSL.-&- -G^-

-&- -ZT-i5>^

1SL -i9-

ZZZ.-&- rSL

-&- -JSZ.

\"Z7-

-T©=^Fifth above C.

%kKey of E, Four Sharps.

g ^ fH,

Key of B, Five Sharps.

P^^ JZ-. o- ^\ "gr- -o> g

igy- -&- ej g-Gh-

tt^

Key of F||, Six Sharps.

a '!' tta

Key of CJt Seven Sharps.â-

fj g -JSl -&- ^rj ^- ISL

-^- is:

The Scale requiring the least number of flats begins on F, a fourth above, or a fifth below C.

Semitone.

Ex:

^zsi s- jO- ^«^ lai

-^-

Semitone.

In the above example the fourth (B,) being a semitone from the fifth, ( C, ) and a whole tone from the

( A, ) is changed to Bi?, by which we obtain a semitone from three to four, and a whole tone from four to

as in the key of C. F is therefore the key of one flat, and B flat the signature. To find the remainiug

keys, observe the following

u,rjiLi:E.

To transpose the scale hy flats, taTce the fourth of the old scale for one of a new scale, and flat the fourth

the new scale.

The seven Major flat keys are F, BJ?, El?, A>, J)V, GV and Cl?, as follows:

Key of F, One Flat. Key of B^, Two Flats.

221 -iS>--<3-» ^ Key of EI2, Three Flats. Key of A^, Four^Flati.

mV-1^.

JSL•»

\^ IZ.

-6>- w^^ 1S^ -Z2. -&- ISl -CrîS^ -G-3:2Z

^^=2Z -&- 22! 22:=^=SL

Key of DJ2, Five Flats. Key of G]?, Six Flats.

ZS.-&-Wff^ ^- 32:

=:^=2Z= S Key of Ch Seven Flats.

VX.^ ^^r^^^-rS^-

lai



'SSg-w !Eiig"laii-

r^^=^=9-^

rrrmj

m5^3^

:s=P rI

ZE

titm -^-S^3^^^

-zsi

i%=f—r-w-i.a^ -<$^ ^^m -^—

:U=P=i^

:pcii=

gi *2z:

^^^H"#-P=

m-^9-^==^

E^!^ g:^ffiî^

g^jE^^^riîL^frrgg^^-^^ftrrTfT^^

STTJi>ir.

F-#-»-»-F-i

ffi-[If:r-h:^^^

32Zs^

;?

.ig:.

^^=^=^=^^^g :,rP=^-i*-#-^?=^ -g-^ ' # ITi^-M ! I I !-4-f-

#-^

XiSL

îpiS^

j^^rffffffî^



JSe-w lEng-land Conservatory ]Metliod. 49

0^^=&^M

um^ -^

^ ^

^f££ i-^^^7?^^ i

^ =^ m

RECREATION.

*AtidanHno

6 X^^> ^ rqi=p: s^ =^=F=#=F• d d

6 ^H"- h !•- ,-^ 5

E^

Î

1=

<N-f? I N i

'-I•2-> ^ Û

^ ^ P #-îtiit w-p p l ^4 « ;i* # Vi^ ^

ml

m i^*p

fe^rfrr fi rr ^rtI ^^^=m \ L^—y

< ,'V rV ^

Iff^# • ^ ^ #

! 7 "r

r/?s.

i?F=?= -# m- gîf ^ nJ i^=^g4^-^-H^p

P4^-^4^ -i*

#^?^-»^Tpq ^ X3:

I



]Xe>v JBng-land. Oonservatory ]MCetliodl.

Mbderato

NINTH LESSON.

STUDY OF THE WRIST MOVEMENT CONTINUED.

^mU^ff latat5#

/;•[ «| zf—W 4^0 €-*+TF W-

T rr ra#—#- [#-#-

-« -^ H«- # A 1^ .^1:^

^rr^îffpfi^f^^# It

i

^L-#- «y ^:e P P ^

6^—^-4#—#I

^P P P P

f^9^3^ a»-

i»-4# .t- 3ie==t =*:

ay I 4#—•-

pFnpfT rrrrîf^ r ^

i»-I I

f^Fff

^^1^ ^ ^ ^1^ #.^ #.!#. #.

lA^^V^•P- -P-

-40-3E ^t^ 1* yI^ :jEJ;gE

-•—#*£

i-^-^ly p , r

-5»-

I Ppf^'^TT^

RECREATION. No. 1.

Kemabe— Tn the followiBg piece and all others of similar character, the hands should be only slightly

from the wrist before striking the keys, and the least possible time should be taken from the notes for

purpose.

1 4 5. 6. 4 I a -^TNl. 1 1 2. 6 4? ^fc ^ iE 2i

-i5>- S> &

p

mfJ , J ?, J J ,J J , J J

2 113z: J:

r\24 4

24

I

rf\

i/C\ ? t ?! tl \ I

i^P^=â /c^

i=iIJ^-tS^

f=S

rI I

-f5^—«^

TyTT1^ . I

r s

?=Tr

^ :iJ JifJ ^

Ji

:J j

/^

^ <sÎ

fg^ ^s

g^ l(^

i I \ \



]N"e"W JE^ng-laiXid Oonservatory ]êtliod. 51

ii^LifEa

}| ! /?\ 3'

i41.

3? i /R 1

y:

41,

3-«TN

ff . i«g =.r5—, ,—_ m—r^ , r 3>i—i k> ^^ —_—• i^ fs »i—.

-£>€>1

g i iiS>-

Â/6 4 S^ Si/

RECREATION. No. 2.

Con spirito.

t-^ÂJ^ÂJ^^h^h^^^ Itt=^:&^ #=^

a^ r>^' 7]f £ *-^g^^ r r. it ^t^

1^-y-5- V 7 ^ 7 4^-7-

k^ ' 1/

^gi4J-A^ n f -Î

J-^ £-4^^^~^nfp ^t2^=t^

rr-*-^

9:jt n u -yll;^^ g' C 71

1^ 7 C 7 p 7 '^ 7Î

I

7

J7^r^

tS i i=^ 7^7 ^ ^ ^^=3i * #^ ^ ^

1^ 7 i^ 7I ^

^ # ^ i^=^• .^ •

7 [^ 7 5tst

^m J-^LJj t\ ^ 1^ t ^

^S#-#-

tstli^zz^ l^ 7 U 7=

7 L 7- •W-r^

:J^^^

QT^

3^

• ^^ ^^



jX©tv lE^ngfland Conservatory ilMCetliod.

TENTH LESSON.

SCALE OF D MAJOR. TWO SHARPS.

The first two sharps are always placed on F and 0, C being the 7th. note of the scale.

ftf=

*-xzi=fz

1

——L—-I

-^ - ^ r * i

1 4

*=^^! J d

Ji=t

-» rf:

^^^^-f-^^-i-

^ ^

* F '

p^'^'nji-rI

STXJI>Y^.

i^f ttjl /wi P^"^^

T^-*-*-^

^^"

•-#- ^^resc.

^'E/CCffl^rCj'iQf l ^'ti'UfflfftfaU

^ j-i-j ^ j ^ J Î;^*-JTh^ 3 j=^=j: j^^^^



IVeTv Eûg'la.xKl Oonservatory ]^retliod. 53

^m# 0-•—•-

RECREATION.

h ^ l ; ; »

£ £zzt ^

'—^^ r==^ ¥ftf ^^=s= :g=^

I I -kM^^

si

'î

3 2

1^# # f 9 m 9. Zt F^=P= y-| f f ' ^ #-*-•-

îb ^^

b^fe&^^^â t ^ tJL

T'^ * *

jtiM: zjtnjii^M=-W-

h ''^jH i

-^T— ? / ^

-»-*-

3t3t y- P

#-*-

1

-f- &

^^m£

H 1 h

^f pf ,,f=î-^^ i

-^ ELEVENTH LESSON.

EXERCISES WITH THE HAND UNMOVED.

These exercises serve especially to develop strength and independence of the fingers, while the preceding-

develop flexibility and velocity.

2_

^^^,Mm^^?MIJ7:^^3:i!Ilsm^5 4 4 3 3 2 2 1

P^g P P P P P P W^_H 1

1 1 h m^^^ >t^-h-t-

^ The whole notes are to be sustained without being struck agaia in repeating each single exercise.



!IVe-w iE^ng-laud Conservatory AJCethod.

RECREATION.Andante.

J* 3 2 1, 8



INe^^^ JEln^lanA Oonservatory BXetliod. 55

TWELFTH LESSON.

SCALE OF A MAJOR, THHEE SHARPS.

The first three sharps are placed on F, C and G, G, the new sharp, bemg the 7th, note of the scale.

1 _--^-- - 31 .^^^t^-^-0-t=i=HC

*—f^

± S-^-» qczs

^ s^gfe r^ =#=F i

1

-m-

zitifz-d—

t:3 1 .•—(^±

S 3 1

•^ += -F-

-F—/CS

=F=^

I?:

9# ¥=F-

3 2 3 1

=F=^=pE=:i:

^=?^^?N

it?^ S f fjtz± jSZ

6 3 3 &

Ijt < ..r r-m=g a=E

i^fcf^î—

3-<g-

9^^*^^

2^^g^ 4s«-

^

rm-Sfitp'l ^-y p-^ #î«;i

5(=t^

ti ti

^3f

W -fi^ Ifiiisz <::^

I

- *'I* r I r

^-P Ui^tf->-

I—

iIti i

i=i3t^ ^^^-^^r^

-• 4- I

^^frlxlj =^^?=^^^^5-*^^ i l-f2- ^^

I



!N"eTV !E]xig-la,xidL Oonservatoiry IMetliod.

UMtegreito.

?

RECREATION.1 >-

^r^'r^ I L#^ -^=^

V

m ^3a1^ 5

#-i-

^=t—

#-i—^»-

^sî— y^

w a . S :P==?ij^P-^ 7 7-»-f

g-l Lr r f i= ^ 1 fF&•ji'uiir L^ # ;

j^

rfJrp.irJlr^.irr^f

• ^^V I XJ r?^J I J ^ •

'-^JTTT ^ ^.^^ I J i^^<p"—•-

^^ r ^ . I f^'f^-r^.

.sW^lO^.

THIRTEENTH LESSON.EXERCISES WITH THE HAND UNA/IOVED.

^Mf2^^n^M..jF\^Tl.J^Mm I^w^^^ . e^'d'd'd'd.

^^^f ±M:iJA \>^'i^

'Sll'-\^--^'^£ê M^

"^-1.

5^ 71/771

||,j i i i i^=i:i^^^^ ljU-i i.|[.^/^=Jro^tzzzt

6 134

^^^m^ p t f t^%tll\-1—I—h- ±-j:



ISgw ICng-land Conservatory IMCetliod. 57

dttegro Commodo.STTJI>Y^.

4 32:^

T-

eij-ta:j^^;ijTtrr"^^^^SF=^-fS^

mf

-<2iL

2z:

'Jl^fJIi

r—T—

i«=

'rJTJr^Tl.'yJjl'r^Tl:^

ieiS--^ -iS^

î^ it^-

m•'ITl-'ITl jÎTl^Jn ^112,172

^t5> — r^ (5> r-pzr'——

r r

Ê

ZE

II .;. ;7;;,;7^,;>.7L->J73

,

;j. _j _ ,

j i is

?2= 1&- p p p 'P p ^ s^^ g # #~l»-#-^ iiS^

7 1 ! I 7 I -f 7 ! !—7-i—

4.- ^ 1-^

iif221

^

* ^ ^î^tt^Fti^-& s>- E-&-=^

^ T

\m

inn^jn -fUi^jn îtiîti -jJtiîti

^m i

^^^Ss^^^^^^^^ jT]-> rr] irrjifnfÊ^

X fS>\ ^^ i HhS'-

cresc.

m ~Sl. -k-^JTi-^jn îjnîn

z^ -1&- 5-4<3>- ^^^

=



TVeTV iEng-land Oonservatory IMCetliod.

^HH cresc. - J!

i^-^^

E5^=P

SiS^

eS

6 3

^Mbderato.

RECREATION.

^— #—# ^ »

p

# !• . P-

^^^^ ^^^j

,-. 12 1

?s^ ^ g::=r^4^^

#—(2-

rfr—i^"-p=êr-f-

i—fL 3

121 3

^C=¥=:?=f:

^ V f 2_6^ 3 I

i$i-

FÎ

iîWP'i^-^^^ ^ ^ * W- 4 *

^3::



TVeTV lEmg-land Oonservatory ]M!etliod. 59

FOURTEENTH LESSON.

SCALE OF F MAJOR, ONE FLAT.

The first flat is always puced on B, the fourth of the scale, the second on E, the third on A, the fourth

on D, the fifth on G, the sixth on C, and the seventh on F.

In playing the following scales be careful to avoid any movement of the hand, and do not raise the

fourth fingeruntil the thumb is ready to strike its note. Observe the same rale with regard to the thumb

when the fourth finger follows it.

mf

l' 234123 4 321432 1^1 ---T-# fL^_

i=fm -<4J

:^=^ ^cresc.

isE=»=Fg^ îf-

5 .-^3^'

x^

H*

i*¥-f-f P

\, f r-t

^^-H -t-

^m ;^.rf-^^£4ffr^

Alio. Moderato

3S

^^1- #-

cresc

5

-o-

<SC. 3 ^ .«. ^ 1



TVe^v DEng-land Oonservatory IMtetliod.

ffi

Andante.RECREATION.

ffrfif r-l-r« P^——^ p—X-—t- s

"^—^

P

^——L^ ^^^^^^^H ' ^ L-^6 13 1 6 3 2 6 3

i^^4u

6«»'

^"^ 4 6

^ jt»'I

I* B# ^

P=P= :^ F

;^

:rr^ yp ^t^

^-^^^^ Mfi 1 3 2 2 3, -^ T#. - ^ 3 4

4ia 31426Y

~. n 111* T I

II 1 I.

•-*..:

LI^l^

rrp jrffi

^2 1 ^ -^--iS- ' m

X-0— -# 5 1-

=?=F

-^ . P M ^ I ^:r~y?y

3EiS

-^ ^

A

^^

*^^Î

^

5

i

i



]Ve^w !E]iig-la,iid Oonseirvatory IMetliod. 6]

FIFTEENTH LESSON.

EXERCISES WITH THE MOVING HAND.

The hand must in these exercises proceed quietly forward upon the key-board, and not be moved while

(raising the fingers.

A true position of the unemployed fingers must here also be carefully observed.

-^-4-*-0-

3 3 13 2 1

nrtg-Cy :*:f±M±Mr^•^•it

g^rccftf^p ^m P-

^m^'^0-^-»-m-0-

-W'-P-Ô-^^^^^^^^_ 4 2 3 4 2 2 __ ^^ __ nn ^^^ 1 2 4 3 2 4 3 ^^

9>« O O. yf O O

^^-

2 4 3 2 4 3

4 2 3 4 2 3

•^•^

s^3 5 2 3 5 2

^^^4 2 6 4 2 6

-p-4—m-^

4 2 5 4 2 6 -•_ --â.« 2 3 5 2

I12 3 4 12 3

JT^^ J ^^^ i=it *—-f-

#=p= ^ m 9 W m-0—F—F—1 ^

4231 4231 ^ ^- ^••^•••^••i*-?-^

43214321



UNew JElrkglanid. Conservatory ]>lIetliod.

STTjr>^^.

4 3 2

T 2 a 12 3 123 123

^— ^— ^ -, S"''4324 3a ^^-Ci. r^ *-^$ ^t-^^-^^f:*^^!!rr rg ^ ^

i?

Î ^^^ ^ T

' Tf f f~»m t3 2 12 3 1

=P-#^

Ts i"^3 1^ ^<r> -^^^Tj?: /^t p t

T^ rU rgq

^ 1 ] ^

i5ya^

1 2 3 î

8va-

$-1.1 rTa J.3 a 4Tâ

, :Pg£ ggg iTa^ fi^ ^^' Ui^ Ui U* All ^K All f;^,

*, 2

/ i?Vne. /

jt-<s^

iI

J rj=j it fp^^ ^^J=^-=f

^9^ 4:



IVevF £]iig-l£i>]id Conservatoiry IMethod. 63

i

SIXTEENTH LESSON.

SCALE OF B FLAT, TWO FLATS,

rhe first flat is placed on B, the second is placed on E, the fourth of the scale.

—J 1—— —' K—s 1-

blU^r

^^^^-•—F-

£f

^ ^îir-:^- "feq

'»V^ ^2 1

-ft -_?c=i: ^^^

2

^Îf^=P=^^ t^

Attegro.

m ;i*=r

:Jr^H d- -^—

-t5»-

^ . , ^ F ra—•—r—h—!

i—

h.2

îa #—^ =F-^^—•- -tS^

4

£&#—*-^ ^=^ trC

-^ *-:p=f:

.^9

itatzi

K =?=»-:?czr: =t=t

^^^9 *

-ki

fif=P

TJ^r^-":i=?t:

#=F-J.^-j^t;

2

1^

2 1

T^ct

A—^—\—H Si=Pa ^ 1 ^ :i=F^ r ruj -

a . 1

t

1 i * -^ t/r\

:i: 122: t

\m^

2

^fe^:^ j=^=^

lento.

-3S1

j2_-<5^ -tS^ -iS?-

9



IVeTv JE^ng'laxid Conservatory ilMCetliod.

RECREATION. No. 1.

jlndante.

vr^ ^ ^-fjH-r^=j^

s/

PTt-i I r>nO^J^ I f » ; I: ; C'^ I f » : > Ffe:i=ff

r^Mv i i^f g"M'^M F lg^'^

pcresc. mf p —

^4^1^ f,

I 'fîÊ^m

• •P

2 2 2* i 4

feefe-f4'»b

±tm •

^

gjJMg f g££ M^g^

^tjt

Allegro Mbderato.RECREATION. No. 2.

„12 38.2 6«. i ^^ -«^

,„, ft:-fr |£|^^ f ^^ M f

^---'^ °tEf [

6 3 •# 3

^:i Jrfr J £*

6â

<" t-^ts^ —

&m 64

^^2 4-°-^ "-^

e m i *3 2

A-'^^J A^

gL£i/ ^tlfI

[^tif^[^tiji

|

^ r f r H-^-^î

--^"^^ 4 3 8 4--^-~^^ 3 3 fij

^ 1 3432, 2.*.-)—,

^j,^ j d^ ^gj^jf^^^^—^



Pfe^%v X^ng-land Conservatory JWtetliod. 65

=s=s=t=s=tI

^ f • m '#^^ 6

f=^^

cresc.,

6 3 ^^ 8^

-^

SEYENTEENTH LESSON.

BROKEN SIXTHS.

These figures must be executed by moving the fingers only, and by sliding the hand gently forwardwithout turning it.

i1 fi 1 6

P

m Pft. r I r I r I r-i'i'^ r H H

^m d o # (*-

6 6

\ % \ ffi

^6^6^

1

^ ^

q^P?4-^

I

•*

<L

^ • î ft_-^ -F - -^ ^^ 1

P<^T-t

J f

r VfTf^^^# !^

a1 ^ ^ i -^ -^ ^ . I

I I I

-0—\—0

^ 3 ê^ p . p -0 0-\ I r^^

4 J-



IVe>v dng'la.nd Conservatory IMCetliod.

Moderato.

^•^—^~ U P i-î^

STXJrHT.

frfr^îf^"- Pl P V

it iI Fi I

-^

i'-^

4^ t t^ -

:?z:

f^ y , f I

' ia _ 1 6 3 1 5 a:

P==P=_ »- -?2=

zz:

6 ^-^ 1 #• -F- . -F-

cresc.

f:

-+--^^^^ ^^ î^

5 4

cresc.

o fg^-(5>-

-<&-^

dimin.

221 ^ zz:

/^cresc.

-^--^ t^^t' -F-Â f---^ -^--^ f---^ f^^t- f^-0.t- f-^f- P-p-t- ^

.il^.^ *1-f- m-f- 1-^ m-^ l-«-2-#-l-#- #•



We-vr Elng'la.iid Oonservatory IWCetliod. 67

jpffj-TOjg^

&- 2 -O- -0- -#-

5va^

15 3 1 p 3 ^ 1 -H- ^ +- 1

^sempre

bcre«c. J

> # > #-fg'!

* ^ f _ I* ^ f

^

g ^fbl^-^^t-^ 'f Î* ^f * f

I f* ^ f>

* * ^1

a H^^^^33^^ÊIGHTEENTH LESSON.

SCALE OF E FLAT, THREE FLATS.

The fost three flats are placed on B, E and A, A being the fourth of the scale.

u^^4 C

, ^ f g^-ft 0-

1?=Hl :f=jt=gI

i! I

-H y 1—I-

3 4 6

:^-j-^

-^H h

^ ^ -t ± 1 ^4:1

K > |> 4

-f-^t=r=ici5--F ! ! 1—

i^^î ^ ^ -^ J: 1^j t g l^ jl: ji ^ ^ 4

sfcT^



I\e-w !E]]ig'la<]idL Conservatory IMCetliocl.

STXJI>ir.

k prîpqizr^??^ iff |C^ £r-c ^ -^Be±^5 iLfijiuJ

I

^ffp"^ h rrr*^ '""

'

I '^rff"^

jp

4-^-4rf i I r-t^^4=j=.r-i-r-i-t^=4 ^ 4:a =F?=P=

22:2z:

9 \r" \

»-» s-[; ^ pfp.^.^

63 1 « 3

^M; */

i 1 i

-ri f^

2:

m.-^-h^

^

/ r

m

if-Fffl ^^ti!:L-h^.^tj?L,t

-^H;-# I^ :±:iiim ^ »-

ji^Vrftr^?^pq^=*Ê^==s^

-i^

3

£a£^h^f-^-^ =¥=?

^tt Trrrri'^Sr^(2m.

2

42-4

221

2

42-

IfS*-

3s:_

P

t:i

1^^

1^[jjf^^h^ff^Q^ hrj^^-^LU hm -^[^

'i*Lt

aJ- m^

1? i> i

- *I

-=^ ^s: mL.

RECREATION.AndanHno,

-O-4--0- m 4r?-^-^-

3^

-^.I

Hi

i»=^^ ^ *

P

jj |

t|g *=*fcfce^[•>-•> r "I rtf^^ r



TVe-w Eng-landl Conservatoi'y IMetliod. 69

U-i i*J*i_ai_i.jLM ^^ •f\r • • •

i;2==p f=5-=2n4'

^5:5: H 1 1—1- ^ ^f LL=^B^f'lU^Ê^TT~r

i?

ttp:

** * *** ^LJl

I• J t. t P=i^f=i

4-

-f-0—^-^ ^h^ i-?—

;? m/ /

a? S^ ?-^T 7 f

tit-i-^

7 7 71 fS 7 7 7i 3=7^ -7-^

3 1.

fe^-TTT-rT

f^^f!^^^^

1=. _-^-(=-«-•-

i

-^——¥^ "=

^44t

-7 7 7^^

/ ^ -ft * * ?^^^^

NINETEENTH LESSON.

REPEATING NOTES. (TREMOLO.)

Repeating notes, called Tremolo, are executed by a quick change of the second, third and fourth fingers

upon one key. The fourth or third finger is placed upon the key, and after striking it, is quickly drawn

away and contracted. When the remaining fingers have struck the key in succession, the fourth or third

finger is placed again upon the next key and the same process is repeated.

321321 43214 3 2 1

m-p P P P » ^—^^^P P y p p p p p p p r~F~r~F p-^-^^-H— t=t

i f Af f f f f rrrr TT-^r^-bMBta 1



JS&-W EJngland Conservatory Bliethoa.

STXJI>Y^.

Andantino.

3 2 1 3 2 1

i-

3813 21331^2.^^ f:"- ''''^---•••^



êTV JBng'laiid Conservatory IMetliodl. 71

TWENTIETH LESSON.

PORTAMENTO TCUCH.

The Portamento is used when the notes are marked witn dots and a slur over them. The notes must

receive a little less than their full value. They are executed by a pressure of the fingers, which must

con-espondingly increase with the power of the tone to be produced, raising the fore-arm sUghtly.

Andante.

IMf^v*# — 9-

3

3$^ a m

m-

^b-9

3>'I I t

I^ ^ ^

fe

i * i i=$.f. * ,^ 'i. Jt U- mi

p»ti^

RECREATION. No. 1.

1 2.

:??=*:

3t=?:3a^^ :^ -i#-^-

-n—^

-* r—T-

mf1 Jf^ :J* PP

gj^j "?^

-r-#-i i i p r 1 i=#

r-f^

Iij^ P:. .gzii: 5.H -I^T- i—•^—T—

:!K=S: • hH 1-

^-^ Dtzt ^*-^- ^^^^ 3S3!

1 Jf.-•- t*^^

^

^ U-Û:^?2= izfc

r^=*

sa

t=:-<5H-

f^g^^^F

4 &

iis::?=*:

:i: iSJ-i

P'

sft-^-|5^

eJJjT i ijj i^=f^y=qfj=gj^^::=

ip^ ^



^^^^55S^SWf^^^^^^

IVeTV lEng-land. Conservatory HMCethodl.

mf—J- o—^

-ta

zt^fuL-#-» :^=t^ -jti^ 3 3

tyY.

=^^-^|^

^ *

—fii-i

jf-i-i

i r r n^psU:

-#— ji=^ ^— i -&-^

3. 4

^1^

S^-1^— 3±1—H-#

B M y . »

w

±=M: RMJ fi^ -<5^H£ fefe

'm i

RECREATION. No. 2.

3

f^r|r>f-Î f I

*'•<! 'l-r-N-lJ H—d H

itfzi::f?:y

rifcf: ^-^^•-»

i» !• -S iy F'

£

m-

^fnJ^

±jt±±lzM -&-

:?=|5: -f^-^f^-ê

!»/ =

N^N4hM^

i:

-+- -H

doZce.

£»-i

It-T l|g

=

t=t^-* :£:fefcP



NEW ENGLAND CONSERVATORY METHOD.

FJs.TiT II

>OZ'>'Z>^

SECOND GRADE. FIRST TERM.

FIRST LESSON.

INTRODUCTION TO THE STUDY OF BROKEN CHORDS OR ARPEGGIOS.Suies.

1. The position of the hand is to be somewhat extended, as the broader span requires.

2. In playing Arpeggios, the fingers must be moved along easily, and the groups evenly connected.

3. Correct fingering must be well observed.

Three models for the fingering of the common chords, broken and mibroken, are given, viz.

1. G major, for all which have three white and three black keys, viz.

G, I^, and 1^% major. A, ^, S), andU^ minor.

2. D major, for all which have one black key, {B^ major and B minor excepted.)

si and^ major; G, C, andFminor.

3. E^ major, for all which have two black keys, {B major and B^ minor excepted^

A^ and^ major; F%, C%, and G\ minor.

CHORD OF C MAJOR.

S 33i\ ° ^. •" " ^ ^ 1 24B42 1

^mSI^Z-«-# i-0-

1J=^^-•-^

t ^ *

^ 1^ ht3=tE d

1st. Position.

A 4 2 •#- 2 4 6

2d. Position.

2^26 4 4 6

•r-i Icli -^H-0-0—4-m fr-«- h^

^^

fi1 a 4 4 2 1

^tf=?C

3i^ iu

3d. Position.

6 3 2 12 3 5

3± =F==F=PF

h^ ^^^^^^^^^



TVe^w [Eng-land Oomservatory HMTetliodL.

STTTOIC^.

ji-' 4 •^* •# 3 •

^ ^

cres.

J as^ p:



IVe"W lEZii^land Oonservatory ]>Xetliod. 75

ft

m

Tempo di Menuetto.

RECREATION. No. 1.

MINUET BY BEETHOVEN.

1 2

-• e-'-F—g-5:pq=s

-F-*^

ii+

zSjiM: -i±. -Atl£.-m——o d\rJ ^*

P

^S•* Wt ^•^ m-^ -^ m-^ -<* ^*

ff-r-g-h,# H* -A •#«• #--#-X .X H»-X

Ik It

±^^ -^^^Jm -^^^

^^^ ^ 1 2 -X^ #-^'^^^33. se#-^»^

_i 1'

I I ±-mk.?^â^

I

1 23 .4 ^^

wS 2 I

•4* ***

'^^ +* EêS:•

9-id. € ^*f

fi:

.-! +- -t- 4-+- +- -F-^ -I !

! H -#—p^V-^ 7 k^

-i-'-^

« O ^ i^^l-:

=S-fs- S

'g4^^?^= /

•^ -F -^ --^ -^--^ -•-^ ^-• •^-•^ *1i^^^^^ -^dbâ ^^^

Mbderato.

RECREATION. No. 2.

LE DESIR WALTZ. SCHUBERT.

fSa

3 2 1 6-

1fa^^-r^ »-

-•—4

T=i-¥—

Ml

P dolce.

t-

J*iJ î—r^- <^r'!^^ 'î^.îi

tS"-^

4

3

^^Mt

- ^..f^_^f^l^-•^ I

3 4-

-P-^» #

^ l

>^^

^1^ -»—#->—•- P m m

Sf

-W-WE -

! !M—h-H-i— I—F4-h- hr-tr

^.^^^Wb wimm^

1

i



IVe-vr !Eiig"laii<i Oonservatovy ^Method.

SECOND LESSON.

ARPEGGIOS, CONTINUED.

V 4 2f5 ^f'

^^^^îS^ ?2=-1#-

<Z«m.

2

*#^ ^-f£ --^f -A^f „, dim.

i-F-+- --r-H— --^-t- •^t- 4 ••+- •-^- •••*— -#•(— A 4 -#-1— •#-+- #•!— #•*-

42

-*Sl5 1§-PfS^

3 i-^ --^3 2^2W? 2^

. 4 ^ +- - -I— m-f— m't% ^ T- ^ "I— 3 ~i— "P* *"^H— m"^"^— ^ •P-+— «"^"



nVevr £]:iig-la<iid. Oonservatory IMetlwxi.

RECREATION.

77

LEMOINB.

,3 i 3^

m

^. m :t:i—=t^=^ ¥=P:

:5=^f=P=^B^-

-^-^1—^^Ptr-^ ^S

¥P

?=^%

9^^ :gz:

i % *

i=2: i=5: :t=:£3

.8 1

p*izC$fa|H^2 1Ki i—f—i-- -^-^ li=W.

=h=t^

P=¥-a-^-=P=

i^

cresc.

-I—#- i^ :»=Sz

on I r^sz: -J—^—^ 22=

^ ^ i .N::trf: :trf: ic:^ irf

21-^^ r.-jl?#fT-fi#>^Tr#rl- f r f-ij'aatltf^^^dîtaH h ^:tE

ic-S:

dimin -----

^ ^J ^ ^\^rs*-^ T»- -!5>-r-

i-Ui--5;

:^

-a 1 D#2 1 » ^=PC

2 I?:*

i===-^^Mfzr£fir=zi-^^^^mÊ^— ?=¥

*rF^*= #^

t^-zS:#- r #ft^

i^zp: -K-

'^S^ ^ ^ %

cresc.• •

E=?2:-J i in=5 :^ i-^ izr^T

^ a 1 #-1 2

^#=p=~n» 7 -

-a 1 E=^ ^=i=

^ f=P=ii=p^H H i^ H #• H 1 1-

^^ -^^^

[

')' f npn 1-i ih-^^-^

:g:

^^-=t=^^



THIEB LESSON.

DOUBLE THIRDS.

In the practice 'vf thirds, the two fingers must be raised equally high, and strike their keys at the samewithout tin- slightest perceptible interval of time.

J-îî-îiRî^^f^J^

—rMr! !!l*r'

!rr ii r -rirg^^w

Allegretto.

STUr^^K-.

§ 4 3 5 4 3 i i.- 3 V 6 3 v. g

P^^

Sva."

U=E-4^f¥^^^ fl

i^J^^k-^-t

S==£ *—5- ^ "f " 1

f:^**5=& s^ g»p: a^ **

^î #: JE ^ i

cresc.^

6

^^-^ ^



IVes^v JE^ng'la/iid Oonservatory- ]Metliod. 79

ftjELftjtjEr^fLZT~\i^ 1

dim.P

d

—^ ^

—n- t=5: V-—

5--d •? '^^

—?-

î^ §

h^£gg^^^;q.a=fi^^^£s&^^^ :

^^ i=t ±=3: V—5-

E*^^ fj=SliîXJ=M **T£?3îig^TÎ ?'^TÂ^^ -(5^

pjE^MffiF^^9- i^ 'yi,

^- V 7 C—«?- V 7 h—7—

FOURTH LESSON.

RECREATION.

&iargketto.

&^

DUETT FROM LUCREZIA BORGIA3 , 6

3

n^ -g—7-

tizfc ^ iHil d d -^^—w-W

PEP^^BE»-?-!-

1?

» » 1 » » - -»—m—' m »- ^ -^ ^-#-

pmuxmcv g^^f

«f^

«i te^3£^-1?^?—?-^-»-»—»-•- ^SEI

I? # lEFQf^



IVe-w Eng-ls-nd Oonservatory ]M;etliod.

• • • * aM—0

"l—I— I—h—ta-•srt.^^ ?G^

•-S-«h^=g

-f-g— i^^^

tc=^cresc.

P-H»-

^ ^^ ,A^ ^f

îJfc^ €—I? ?-«-

^S

fXf Lfflljj ^

if: r tm^^-^

cresc.

r9=r»-»-

=P=*==azjt:i» ^ i

» i»y ^ _ w r—r- ^- r- ^ —;—jj-

H—:N=^:

FIFTH LESSON.

SCALE OF E MAJOR. FOUR SHARPS.

The first four sharps are placed on F, C, G, and D; the new sharp is the seventh note of the scale.

i-F—I

1—i-h

#• -#.^L-#- -#—

3 • ^^»—

:p=#l'=T liizp:

rff=g^



IVe-vr lEiig-landL C3oiiservat<>ry IWCetliodl. 81

\

tt3 1

d=J=J=J=rf:€=i^=i- Ui s^^

-rzzrz^zitJz

1^=F^PS=P=O—H'

1- it

^» nrr\

'î -r-rf-r i-(»-

-»-^ -t=-

-fa-Ju

3^

3

:ti:

î»- t=^_fLj^_:tti^ /^

S:p=f:

3z:

Attegretto.

RECREATION.

MERMAID'S SONG FROM OBERON.

4-

£-^ ^ #_± «- ^_5 ^.

^j^.lj:^-i .r3T^.=^^-

,

.^^-

,

a^

tfii^» 3=p: qcî:^=:ini

3CiS»—^ i^sti: ^ S ^

[m

s 5?: su^^mj m nuii3E izz

at?:

r p F^

-#-^—#-

^»j^^#3- 1-'-^

^^ i it S3Hi î^t

^<5>-T

fe #"^ ^»m -•-m-0-wr^t±± 1^*a-»-

#-^#-i- w -^^

^=P

^:-*-•-i=SL=.=TS.^-q=ffi

^:J=^ ^J^

-G^-



TNe^v IE]iig-la,iid Oonservatory JMetlioci.

-P |BL ^B-^ .«-o^4-0-j^-^_

IT\

4=-^ it^ -«-T- ^P*%i ^p-

ffiJi

f

3tf:n] j-

imj

p*t

-."^•a 2 -1^.

i|*t

-^-r

mSIXTH LESSON.

BROKEN OCTAVES.

figures must be executed by moving the fingers only, and by gently sliding the hand forwârd,

turning it.

1 '\j

S==Pi#• #.

=P=T=i=J*-4—PL

îfc^

5^_l__S_l

^^da

^^# ^=»=T=P=

-^« »

FF?^^^*^ ^ H H -!—h-r

^ :;?

^« -J-H^HtTH» *

p==i=^ -g ^ -M—•-

iti— H 1 h

"^1 H-

^^

£ if-'—^^ nrî F

AUegretto.

k X L *^ ill* ,t^*i^

1 ^-Xj^^r 1 i f : î: f r=pfc^r^rd^



!WeTv !E2ii^la>nd Oonservatory IldCetliod. 83

i-ft-

^ t t

£ ^^-[—

f-

^MkcrescemaoV

•<s^.

î^ ^ 2: ^ ^f- ^Jf-=J

i sz ^.-

Pi s——I

1 r-#-••• t . t 3= -^ t . t

P==?C ^0—\ m—A p-

I I \\ -tI 1 1-

P

3E *ti

P#- • f^ 9- -^ F -F ••

p p:il^ ^Ni

s=t

SEVENTH LESSON.

SCALE OF B MAJOR. FIVE SHARPS. •

The first five sharps are placed on F, C, G, D and A; the new sharp is the seventh note of the scale.

« 4 -# -^ #• - 4

p%^ri?f^t- itt ^ ii:

f-^:fp=r=f^ ¥^SipifZipipzpz?S -#-F

#=Î—

aj'll

j^^J^T^ggpp ^

i...^*A*A*J^.

•^ #>-

Nj%-^-^-^Êh- ^=p=r

=p=s^

3f i^:5=p:

-k*«U: P=#= -<f h J" ^ d



IVe-w £Iiig>la,iid Conservatory 3i;etliod.

li 4

1 _ « •^1-+- +-+-4^-^-0.

fel3 4 6 4 3

SS^r f .0 '-f.rF \0 F »

m^*^=i= :p=i ^c=i

I«-^ :i=P=

H 1-

: > f f rîii=?c:i= =F=^ =?E=^

I-#=F ^-P-#^ ^c:#= =?==#:E

¥--0-

iHBbi^

RECREATION

H

LOVE-SONG, BY HENSELT.Attegretto sostenuto ed amoroso,

molto cantabile. ^^ 5 -+—a-

^^^#

|P »- =?e=^ :p:;i=r=P=i

5 ^ Xf-SJ-1—IT -al-hi# ^ 1^ d

--f fIS' •-

^—9-

g .^cr&jc.

g^ 4 ^ i»

#^

1^

sI

8 m1..1 2^#.-î

#-:!»,1 3 4 dim.

Jt^HT-f"^.; iî=i?g

atsmpo.

P #• SL

-^0- :W =P^-w:

il:

cresc. assai f ^ s/ »-«??• P

. JTPiittif^;;fc

?EJS=p:

i*

^ff



Ne-w !E2ii^la.nd Conservatory llVCetliod. 85

i^ 1-ff-

rzt

5

w=r-

ê1 2 =î_

(S^—•- #-ri^gj

^1i

mfjnwj ^Wl^*

i-iS'-

fJLiE^|_^_ii f-rTiff^^n

Allegro Moderate,

^^

EIGHTH LESSON.

ARPEGGIOS, CONTINUED

Eî :m# ) fr^

P ^'-U

<n armomoso,

3 «3

cresc.

9:i<^-g;î—j-â?.^-i—i—,-knh>H—^^j^^s^î-^?^

sk J=>v

R-H" ^ J H-0-n-g.

3-^-rit :^=:=ff i -?zt

:#-*:

£ S^-#«^f-«-4-*-^"**^

^-^î.

9 .jJ-i—4—^

3

^^=t=y^îz=fc

mJ» BiSs

J^jÔ-^'—Ô-^^=^ ^Tresc. T?^

9%^^^'i f>^«i4

i i •> 1^1

^^^^^ ^^^^^^^^&m9l

4 3

-(2-

fi

.2 3.

msf



IVe-w- iEng-land Oonservatory ]M]etliod[.

=5==S3=*53# ^

' -JB-

-e-m t—ri±t t 3^^•==^ -^3 3

cresc.

^r-i=^^^f^^î^=

^J^^ I '^JJ^-^

i rp i

c ^ ^7 ^ ^— Stt ii^»iat

^-^l-#

P

^"I^^^^P^J^ ^ S:i=* j=^

SS -?-h

6 4 « 3a J ^ ^-49-

-P^-#.

^r^ffiE#S -#-Lt

:îit m:^cresc.

3

a^^:3

--^. ^-

I&-

)tz==^ s^ I l-î^

« -^-^-e- ^ 14 3i iiîll3

«-« 1 4 3 -^-1—^•"••^ 14 3 14 3

H H #-P^

^jw ZeTito.

» P a

/T^

lf=F^--<a-

,&idimin: ejpoco riten.

^

-B&- i

w

i-a<s^

-^-

NINTH LESSON.

SCALE OF A FLAT. FOUR FLATS.The first four flats are placed on B, E, A, and D; the new flat is the fourth note of the scale.

3tS^^



lVe-%v !E]iig-la.iid Oonservatory IMCetliod. 87

i^ ^ 4 •-i=jt=±

i 1t=p:-1— #=P= #-f- £:

:înt.

^=i=F

^[P

*=P1 a ^

i - •-+-

^^î^ :{^:f î-b^ ^-iJ ^—

=F=*

^?=i^ I

Andantino quasi Attegretto.

RECREATION.

BARCAROLLE.

£ 2^1- £ I'7

«-i- <g .

5.^-54^^.

cresc.sp=-pp^ y^. >;?.

cresc.

-3 *- #-v- -#-^

IE-ug^^^t^S p=#=r^^t^

sfctip

2-^ # ^1-3 3 3

5 4a tempo. v:^^

:p=#:

3 2

fciz=tipr^p:

M ' 1

-jl=±

n dolce. dimin : e riten cantabile.

V, -42-'

n cantabile.

i^ ^Si9 'uH I^?'

U£=i

t,

14 3 1 3 ^' V-gr =P-^

*-#-

^ ^ 3 _ SIS^Tf #

?»=#=

4 4* nf: « «« :ft * « :t :^ :^tk ^ * *|C i * *4 «*> Xh* #P



]Ve"w iE^ng-land Oonservatovy ]MCetliod.

perdendosi.

CHORD OF D MAJOR,

iff

TENTH LESSON.

ARPEGGIOS, CONTINUED.194542 1

^ i|\ if| f, 3| i| ^1

I

I I I ! I 1] j ]

^6

atzi: * ^

j:0 #

iJs^. Position. 2d. Position.

S 3 3 6



We"w E^ng-land Oonservatoi^ IMCetliocl. 89

1 a 4 i-*2 1 ^

-ff-—p-

Te:

-«— t==^t^^

3d. Position.

2

123——#—-3-

^^^RhcSH":6 6

6 3 JL ^3 5^ 2*-«-]2^4_ 4_^2i^4 2 i4„

-»-h-^ 5-1--i>-\—-I \

•I—r-^—!--• iT P 1

S^P^

^^-»—»-

#-1—•-

^^, 2 1 4 2-^

^241 2

1

^-\-i-0———-p-\ --• ;• —-b-l •—r-i #-"—5-j» ^ 4 , .3 ^ g 5 _ y n——» &-»—-—3 —-S i

i-J-^^H*^^ri* 6

STTJI>^!r.

.a-Y-j0^-g-\--^^—-\-a-4 a^^w-ZZL

&•-?^

hÊ^î-0-

-^ * >-^J^-

^=^-*^—

--^_

4&- f

l .a ^••2 ^^ •1 •



lVe>v DE^ng'la.nd Conservatory IMetliod.

^ S22:

X

it

Allegro.

^S r^ 1

RECREATION.THE HAPPY FARMER.

^ ^^-N-i h:V=t ^t=A

SCHUMANN.

^^ 3|=*7 ^ ^ ?-^g-g^:i=i

-7—^gl£ H 1-

-# #-

"/^ i^?: -«—

tf X

6. 3 •^ -t- -^ .# .

1 2

-l"L-#-

±t-9 i-

R-g^s^^^^-^hfj- -^^t^^fl^^t?=z=^:î=i=t•zt±

is--

^•^^.jr

.Af-

^t^^^t^ •?tisr'^Lr*

^-4-^»^---^#—-•-

d^ria

Jtcx: P^^=4

-5»-







IVeAv DE^ng-la^nd Oonservatory ]MCetliod. 93

=fc

-hj ^ 1 a - 31

-f^^ft

^^-r ggr

dolce.

V J

-»—p—

i ^fl-

i i i

5_4llegretto. . =-^ 431 1^ -F-*- •»,-

TWELFTH LESSON.

4 55*

-^-=-#-A -^*

3^3 2^ i=-

^^7^ rg=^^^^^^P=^g=^^^g^gg-tS»-

legg.

î^;^=p=

i-*-

ife I^F-^K

1 1^ 5 ^11—2

^^î^^^^f£=^

Sit * *

g i

*^ .—I .

*—Er-9 1 #-

?r J I r ?/ J r^ -*—ir-# ^ # ^ »2^'.

4-^3

M#-r^ -^"—#- g—

V

^ I



ISg-xv TdlnglanA Oonservatory ]Metliod.

•ji—»~

i It

^mt *

_£ x-^T 4 3^_. /"^T 4 S 3-#- i~*^' 9 1 4 6

—i'=t=f i *=* -(S^ -<s>-

/^ S^' -^>N X—* -*

II 1 * >^ ^^^-i7-(^

^^^^^:^^£^^=^^^FS4^

"?"j"y

ii^j=l^^=P^

11=1: * ^THIBTEENTH LESSON.

EMBELLISHMENTS. (GRACE NOTES; APPOGIATURA.)

Grace notes or Appogiatura are introduced into music to embellish or adorn the melody. There are two

long and short. The grace notes are written in smaller size than the notes before which they are

The long grace note borrows one half the value of the succeeding note.

WEITTEN.

PLATED.

±^ i-^.A

s^

w=f-M^-P-^

f »—j=

iif-fci^

Ss



INe-vr lEIxig'la.iid Conseirvatoi:^ !M!etliod. 95

The short grace note has an oblique line drawn through its stem, and is played quickly and lightly, wnthout

or accent.

WBrnEN.

PLATED.^S=rf>-HMf

sKtf jK# i

^^-'LJ-trF^P^The short grace notes often consist of two or more quick notes played before a note which is accented.

WBI^TEN.

tlJlTED.

i-^

=P »- ^f^-^ ^m

J^T^^Q^^^^^^^^^^^^«

Attegretto quasiAndanteSTXJi>ir.

^mJSi

2k, 3

3 fl. -i-g a-3r

"^f-^jf^^^^^^^^^^^ '^^ "^

i^J*^ i7-^-fj^lp"-^?^^~l7^??^=^-

:$^==::^y-i—x qyi^' '

i^ Mj

*^ ''

i^ '

l**^-^*^

^ll=g^ ,^ ^ 1/ 1 '^ 1 1 4 4-1 a-

I I I I I t I I*a ^

3 3 4 i I I

tt^ ^=^^j^^ T'^ 7

-5=^ #:

3^ a FINE.

A-^^J^

I^ j-'f*^ "^ ^g^^^^ 2±rf:±^ 50^:jzi2==p: y' >*-

3 1

ili^W^-^-1 -g,-^^^tj^ «7 g «? ? Tl"^rfl

—'h-f'-^^ -?-^-^ ^-^-?- t^j M-

S=±t2

MP

I

136

I t I

fc=^l==fq==l:fe=y»l! 7 i4-T <r 7 -J-:

I|=TiiTia3:^=p^ 7 rr^^ -^-^?-^ tft-t3^ =r^^~^

3 3.2 t,a

3.3 11 1

3^2 42 43 62 62 62

6 *

^#-ir-s7^ # ^ M-g- rt^P^^ >^ k^ ^$^ ' "^ bi

^-L^ T!>y—=.î<^



IVe-vr DErig-land Oonservatory IWtetliod..

41

41

!5==* it^41,

41.

^ h,

32

S41

42

-V56

"N-^ 7 H •? 7 J 7i=^=* 7 '^ 7 •i' ztaj--^ 3:J^

^-^—^^

^

4%#r^^r.^ 7^,

Jr ,

£

f^g=^#P^g=^

3 2 3 2.

^==1!5:-3H8-

If:kb=f^tzzzd5tn=iz "V g: V u ^âjr^^^Qv^Tn w^.RECREATION.

LULLABY.Allegretto2 A A A a^^3

KULLAK.

3 2

iM-f ' -yr :^=P= i^^ W^ -i#-# Dtat Dfciii5 -I U 11

3

X^ • • • • H<t #. ^ #.

g^ra £f:

! ' » 4643421 312121 21

6 4 6

a tempo.



IVe^v lE^ng-laiid Conservatory IMethod. 97

a tempo, j „ ^^ ^

f «=*3f ^ g--i0-0-O-

f^zzti

3 $rA4r

-^»—!- fl^

1 f f3 & A

4

f^pip : F=F lizi:

:g:

^^^3t T^Z

mf

M- »i* «/

pFtfi-^^t

fcp

-«-«• 4*14»-» -8-»—

e

s

4>

^2,

i

ra?Z. e dim.

^p\

jiUltjijt

--i^ i ?=^ it=^ i^ *L -' -_—»^

=:=s M-*- -P-4tI- m-I—3 12 12 16 4

FOURTEENTH LESSON.

SCALE IN G FLAT. SIX FLATS.

The six flats are placed on B, E, A, D, G, and Cj the new flat is the fourth of the scale.

i «-#--r--i-r-i-J-i-t--t--i-t--^-#^« i 3

Â^^^#^ iîîî^'^^^^-rr^xi^^

*JA*'* 'Uj

E^^^^<2jjin-fflg 4231 4231

STUI>ir.

-«^-'?-

fJL^_ML



]Ve"vr lE^ng-lsLXid Oonservatory IWCetliod.

?=5-r-i w-^^ ^ 9—^^^ ^

r^—1 •

1 I- \-

W^\I

-#I

liI I

L

^Wl> l I I I I I^lll I I I I

\^ ——-—-—' I

^'-i^

#-b-#-^#*3 5

^m-+— h

i- h- #- t-^|— i—^ -

4i4

^ -!! !

>- ^-^#--t—

f-

I

1 a 3 i^^5=^:p^-ff-r: ; ^.-#â=i=F H 1 1-

wlimi^mmmtim

P1 1 -Ml -t— ^ f . f f

^^f^ -îh -^^

i

4-4—)—(—+—(—(—(—I—1—1— 'H— H H h- +—f-'^-p-+—( F-#- f^—*—"^•- « Ui 3 2 3^3-4-— ^^^^

1^JL 5l_5-- t: t:^—#-

l^g=P— I tf ll^'-fftVÊjz=^

ell-•-^

^^^

RECREATION.

^jiddffio,

3 ^

SLUMBER-SONG, BY AUBER.

k -0 am »-#-r-(»-

:p=i=P=t^H^^-l^=f=^ ntzif:-I 1 H

iti^^Z^

€—e-:?= -fi S fi- B^^s^ i=fc=i

iS&SSÊÊf P . P

^-9—I •—I #- -#-H #—i—P-l P-

If^^^f-y

-ft-0-w^^s d i t a?^=i=^^^g£S^^

Qj I,I

,t~*^ % %—

^v\? ^> •n-f-t-rfrSptnj



ZVeAV EJng-land Oonservatory IMethiod. 99

I^^-i-^-

1=^=^-ft—^

fq=^.«_^«. 0-P-0-

E^

#

în—5 ?-^

^*-*U

#•.

# #• _-^ ^«-^

.^_^^_t-g-t^t^

-»—5i=t hâi—

crcse.

Tf-S-r»H 1 ^—

•fat-

hk^

1 "--4 1

a^^se^fc*

^ ^

ra??.

Sf^ :^=iE:

gCT terrvpo.

• 0-^m-

3 I 32.6 4

-#—•-d^p: irp: •=P=F-f

1 * *

0-F-\—^

Ht^^M 5?3:W=±i:-^-g-"-# 3

iSteE!

dim, -<Sl-

;^#-#• #.•« -^--^ -^.-^ ^^•V-#T^--t—Sh h-«-l—I

i—i-\ h—«H—I ni P "^

I^ h-#-=^ F^s ^F ^2

^^^^^mi^T .

=F=iâ=P:lizzt

9H>r>,i> r^ ^ J:•^ « -^

-ff-

fcj2=^

6 2•

:F=Sa—-a—r*—s-

^tit-«—

:l|P=i2p

1= —f—

-tS^--lS^

-25^-s^

-^

mi= t-tS»-

FIFTEENTH LESSON.


In playing the Major chords of EV, A>, and Di?, many use the thu-d finger, instead of the fourth, in

the first position of the left hand. In minor chords, the fourth only must be used.

CHORDS OF E^ MAJOR.

:?= i=M± 3 a 3

64 « 4 HEip: 3qe:

îrt EEfeUÎ*

Hb-P-

t

-» -.

1st. Position.

a 3Ei^l+

5c?. Position.

ji:^=iii

H-J-H-^^

i::fzi:• .

- -0—0- -a a # I »-+-* 1 *-±-*-0-42 2 4-#-

6 3



TVe^w^ lEng-laiMi Conservatory 3JCetliod.

^^5

4 ^4fi 3 #-

2 !#• 1 2-^1=+-* 2 , -^ 4

p^?=p=

m^p=

5(Z. Position.

Pii5»^râ.p:5=B=4=pP4

^^^ ^^^ 0^s'^¥%%Ml^^RECREATION.

Vivace. DIABELLI'S WALTZ.

o^-H- i r-r 1,7"^'^ y^ f- ^v^-f 5: -^

Î

0- - d !-p#I #

—r n— ^-r-

i=i=iTi tKj-^J-H-^ n~>I y g 31 j j ft—t—

*ilf rr-t-r-rrp

!jij |: i n i

cresc. P cresc.

p r>îtti: i=4=-^f^-T

]*-

f::pc

^*

^3=jLHijiii rJiAi

i^~T g? ^^^^^

5/

iitl-r—I—I—

* * # -^

•a

4-^-» h ^^

P P-

:?z:

^S5/ 5/ St

r^pT ^-i!5>-

h52_

-»- S6^ i

I? •

-<S»-

i-»-

i5



]Ne"w DEng-land. Conservatory IMCetliod. 101

SIXTEENTH LESSON.

FREE SIXTHS.

Free (or untied) Sixths are of the most frequent occurrence, and as such are played from the wrist. The

fingering is f ; but on the black keys the second finger is used instead of the thumb, and the

finger instead of the fifth.

6 5 5 5if 1 1 1 f.f 5 i

I

^3EE3:«-•-•-

11116 6 5 5

-0-0-

•0-0-0--0- 0-0-0-0- 0--f--»-f- •0-f--0-f-

I

41

g

CONNECTED SIXTHS.

41 f

i±

^ #MKiq-

\14

14W If"

41

4

J.4

4.

3^:itit Hdj*

1^ 3tH=t1K

1 24 5

Fî

I

4_

g ^- ^ ^-i 1

—-i 1

" —I—nr-f 1"—û-H—re— ^-*^*^ *#^*^ #*it^*^

^ ^:^ i^ V M^ ^ -^

AJtegro.

4.

^^ff {

RECREATION.ALLA CANZONETTA.

6 2

^^Semprt Legato.

J.

6 55 2

i i=#=P-

:i=t 3tf±it iztbti^z^tatii ;;^^

Un poco forte.^^

3!e iJ-(S>-



ISe^w EJng-land Oonservatoi^y lAJCetliod.

^ ^ ^ r fL^g--*-\—» f »-

I F-i—O-

4 2 56 3

^

H-H-

its

42424245 4 43

-!—»-•-H-#- 2±

"^T

^ ^62656263 6

cres cen - do - jpoco - a - poco

-&- -&

6 2 4

*^

6 4 6

TT46 3

2 5 4 5

^^^

1-1^

:*^±3tA^-Jt

&f--»—

^T-^T1

6

4 2 4

H—-H*-jiE£

PiTTd' • 42 3

I

I J J •«1 J J I I i J *

i

^ I I

I

I J JTT* ii14.

I I J

a tempo.

fenergico.

6 24 2 5 4 5 5

W=^^ H-4-

3-I—j-

itt m ^ -t—#-p=?=^ ^-T^-^ Mzti* *=fflt:iL_/^^/J^J^^ -#— .'^-#-

^ 4^^

crescendo.

'^=^



TVeTV lEng-land. Conservator^^ IMCetliod. 103

I

'^-*a-l^ ^?E=r=i=p: =F=t:

-»i

y h-4H ! H

H —L— —F—1 W— 1 F— 1 F > > - -t—

i I i |i-i=^diminuendo e ritenuto.

^^ ^ PP w

a ^^1±=± -wl

—fr

crescendo.

SEVENTEENTH LESSON.

IE£

J J4

J: db=J: i4^g^ -fi^

/?

a*E^^•• 3 -# 4 #+- •#-H

^^^^^^fli/

I^S^ :i ISC

-(5^

# 3 ^#- 4 -#-

^ i?14

J. J.-&- ^

Ifift

f ! S

^-«s»?- 4 tf

4(^-

f=f=t-



IVe^v lEng-land. Oonservatoi^ IkTethicKi.

1.J A I 12

A J

-^ *jtj-^ -i ^ I ^ —1-##L rp=r

Sa:: ^ -&-

^ li^

— / V 1-î

-<s^- itZim

3L--^^*.«

Allegro Vivace.

RECREATION.

THE CLOCK.

3

Kia,LAK.

-2 4

^ T T#- T T#- T 1^ ' "r . XT ' „j:„^ ^ ^ —1- .

miîis^

—1—*—

• sfz

'r-,(

3 2

s ^^ ?-r^=^J——— ii

=»- f _ 3 4 6 6 _

^fal'S'Zi -I— ' "'

'

-j^jg^^MMMM—I —Ô-l I- L-H—1 ' 1 2

13 2 ^ i 2 I h t 6-^6,.



IVe-vr Eng-land. CJonservatoiry I^Tetliodl. 105

m it'\=^-

-o-

1 8J.\ ^^^.p>

-I—I—5_5-

^\

— ^^ 1^ 1Î I MB^ H^ a^ MMHI^

5 2

^bjL'^k=!^^m I iii. g-i*(!! ^fe ilE^^^î Sss atitat

* * r5*|5?

£•

1 Q 1 f;« * ^ 1 ^'k4^^ s M "

*1

1 ^ n 1 i i fhrT



IVe^v DEng-land Oonservatory IWCetliodL.

^ -fe%|^^jgEP^|£|=!r^jj=b^±j=^



PfeTv !E2iig-la,xid Oonser-vatovy ]M[etlio<i. 107

^MmÊis

A A

iI:

-4 8-

*=#* ^ -^•^4-

1 3 1 2 1,

H r-l—t-i 1 1 —i 4-1 ^ 0-

NINETEENTH LESSON.

INTRODUCTORY STUDY OF THE TURN.

f

-5(5-

-#P

3^3^ ^

t

^^4 3 ^

3 -#-•-

4 3 ^-•—i^ -•—li—•-

t::



ilVevr lEng-land. Oonservatory IMetliod..

ig- ^

¥=MF\

—\

—I \j !

!

—H-l I »^ '^ ! ! I I !. I !

!—-f-i

tniTTatzfziit

i^

d:

* TZ*-

5tS

12^feFT-ZZt^

4r9

fg Rf ^1

El^-E fe:p=i:

=Se#-+t»-#-

:pc:^ ^?! !

!i NîP2P=^ :5-± ^^^BE -#--#-

STXJ1>^S'.AUeffretto.

4

l5^ FS—-^ S-*

^

Cfrazioso. dolce.

f!j^gj_?.;-l^^-ifaM^ aij: H 1-

Mif:r*^-

#: =Pi^

^#—==-*-

:^ Jh

I

-SjE

4 ±=2- -»— -?—'^-^— -» f-

^



IVeAv iEIlng-laîid Oonservatory n^tetliodl. 109

a 3 iÂ^. f:fe^^ 3

S 0-fi-i— I—h-'—#-i--|-^**iifcJ_ r g-a

4 3 2 1 J.3 2 1

2 4 2 1

-hM^^

4^l^_l^^^:^^^^

cresc.

^=i=zi: f

—P

—:?=

-I^—F^

:|EEEte

a tempo.

iHH Mil!! ! I -I S-Y-r^.—h-+fi— 1 S-^£^fi icendo molto. dimin. rail. dolce.

m*- -s^

1=-15^ 45^ ±=3- ' 7 !

-^

H—1-1—h-TIh—f ^ ^kî"

-•—*?- -»— ^ ^- +—7-

3 1,31

^^ ;^ « -I'll— #3 si *• al-^ *-^

-# ^rr 1-rf A ^^^ 1 1 ^-T—

'^^

cres-cen-do poco a - poco.

i ^^=4: i

IPE^^Î/? jO

s^ffii



lVe>v lEIiig-la.iid. Oonservatory IMCetliod.

TWENTIETH LESSON.

RECREATION.RONDO, FOR FOUR HANDS,

Allegretto. SECONr>0.

-?—^ *h P=^=i=± ^t f

•7 j^ 7 i */

^^?5

1^ •# g:>V;^* * * - ^< it* J:

^^^^-^P -* 7 ! 7 -<!—7-«H~ -M—7-

1^

r-17-;:a—

# *

:1^

|^^~^" 5=^S^^^-7—a—7-

* If'^

^-•—

rr ^^^^2^^^rT\

14*!-•^^^^

-^^

^-^ ?^-!•-*-

y—7-^—7- :¥=!=

£^=5:^ p^^^^



TVeAv EJng-laxidl Oonservatovy ]>J]etliod[. Ul

RECREATION.RONDO, FOR FOUR HANDS, A. SUBELU.

;Attegretto.

i»r.im:o.

mi.^:*: 1 if. . .^-I—

I

—I— +— i 1

—F-f— ff+- *ii*S.

-H 1\ -b—l-^t ^—P—^

S£•(— H -t— •P-+— fr-i— H— -I—

2-#-*

-b— -u«

-i 4—*-

V

^ l==t -f €--•—c—•

^-f-3: ^ ?==?^ T^ */

5ya.

f* y ^-

4=F ES#=#:

tt«=^=F-m—^^r-W'fc.p=S^

s«f-4'

S ^m/

i j^^ggai r^t 8g==xS——?— rS: S=lj:

?*=fci»^- ^=^r •?-

t^t::

Sva."

I

H«. . H^.-

i^r-^-r^f~i a * it*.

»=i;=flt« E^|tFf=^f^

Jr *«,ttr

x

-

F^ x

-

"-^—

-^TS—-v-i*—i^T-»—s^?—

—s-F^—s-^^

êl'-^-te^

^ T~*r 7~t ? •y^^'f

—7-'

8var4

} a i .;il ^ ^^1 m^L mf-

Sfc g^

fcy=teiibrfii=f.f-zfetfef=-fl^JV.zPn-==ii.^

ESS3:p=zp^(ir^fc ^SH 1 H

3 5 16 2 4^

i.ns

-•—-7--# -»# »»- -SI -

-©>-P=-==P-t=5 =7=1=

?oco. .

8oa.*

m

^#• ;= -F

-7 7 -7 7-

=7=^ i-— SSi -#-^-M: _g_71

-7-



]Ve'w lEnfflarMi Conservatoiry ]Metlio<l.

SECOISTDO.

•I- # 3 F/?N

J 7^ 7 ?=^ -^—T-

-<s»-

t?^=¥

m^

Î J ^ i

i^

ff-ff- ^î^t^-î^li:'jJiJ"j^-^

:P=lt ?=4=¥-y— zzpr-^ See

pâk.^1^^^1^^^^^^^—+-#—I-J # I ^ * I #

7~^ 7 P 14 7 *=3:?=3

^^^^^^^^P fe^^^^^•- -»•- -)-• -+• ^* -(-• •«• ,-t-l?v 2i"*" •• •* zi. zi ^:

•? J 7-

5^

'—H-

—

33g^

:^=

1 d 1^ft^Mr-^f^«*



TVe-^v E^ng-laELiicl. Conservatory JMCetliod. 113

i»iaiM:o.

? 43l^ . 4

+- -^ -*- V^ h

^k- if- -F- I t- ^ -^ •#-

^fc-( h £

* %e«ff4-r-^ -r— TT"

iifî#j:

£-l::

-? f- ^ ?- -«K-I

-1—*? f

^^^ f^^^lîr=i

d *1\

V -» 1 \ 7

-K -t—!

\

/0(

• -^^-P-

s ^ ?: #•

fî;^

V V -»?—

5/

# »5/

5

St

1-rr-w-

f 7 i ^>=F =^*=^pzzii

?cz=p:

g*?

I*y

:î»—^S^J i

l uXJ

^- t f: -F #. V_^_ -# -f^

•? *?

F "^

-? 7 7 7

cresc.

¥"^^—^ P—7- irri^« Ji::p=i=i^?y;:afci:

v?-i-îgS -i^ 7 J. 7

=^3EE?5;»

—I -ft'—.:f^ '-f->- ^ '^

il^

^^^.^^t—N--0—o P 3

1I,

^ i p^ ^- —^—rSi^

I 7 -7-^ T~~r^w-

-b—I- ^—«—#- ^ 1-

m It P—= 9- ? 7-ti#==5 7 7 : 7-i-f—7-

5va.

1 2 32

-h—h—H-I H fc

«- 0-#—#—

^+::=t^

-p—if—p-:i=p:

#—» •> # p

4-^1 ^

^?~7

i 7-|-^=7~P 7I

?^

itf=W?=&^^

l=rTg-:rf^^



Pfe"*v lEng-land. Conservatory ]MLetliod.

SECoivr>o.

^ jrr^ fTi^^î*t :i=i- |t ^ÂriJ=:^

-Jr-

^^1=^? 4 •/- -i< 7 • *h

? F

S ^f^^p*-î j^'-^=^T^^~7Jg i ^

i. v »%^ j. j. ^

s

4 SJ:

id^

S^ a 7 7 a •;

::ffr

^m /T^

3 ^-^^î^Trf^f^^fr^^^S*—i*nr ^*-^t-;i^ ^ ' _L #

/^'

^ -?- i-4 *=^ =7-i *?

i-B>-

I-7-^' f

r4S^ 5-

^t=2:-?-^—7-

:^zi4=^=it=d=4: :i(=^=*=it=4=4:

f 4 4 4-144 H h^:t-4-

H h

rallentando.

i* • -^rU-^^-^-^r -Or ••k-S- -S- -S- •#

^

H 1-

H 1 1 1 1 h=iF=£ ^ 3—^-d—'^—dî



]Ve>v !Eîig>la;iid Coxiservatory IMCetliocl. 115

8va.^DPRIMIO.

=^=F1?

2 jj;

-# t—f^

4^^ •-

f I ^"'"^r V"^ I ^ tli^h 1

^

3

Js r , If—-^

i ±d?

^va. 4 _6 2 3

*= -^^-^r-i( 1 - 2 4 /Ov #— 1 2

32 3 4 3

^1—p_'p_^_^ ^ =#=5=A--I—I-

t=tc-*—tf—

/r\

:8^3r t±^ ^ :r

5r;a.

1 3 11 4 « 1 2 ^

f-i^* *r^-f>T^. «^-

rtdUJJ^^^Û^ rrrrp=P=^=#=F-H 1 h

t=tz:

F 1 if==^ -9 It-

dol.

6

-» B »

^^f^£^- E

Sva."

f->-;^^.loCO.'t^ .0.'

H H

ipP «y F

=i=P= « a #-=P=¥=

rail:

:f=r=p^^ ^#—f f f-nrzEz--^ 1 f-F



]Ve>v EIiig'laxKi Conservatory IMCetliod.

SECOND GRADE. SECOND TERM.

FIRST LESSON.

INTRODUCTION TO THE STUDY OF THE CHROMATIC SCALE.

TheChromatic Scale proceeds entirely by semitones, and therefore includes both the black and white keys

the Piano-Forte. There are twelve different sounds in the Chromatic Scale, or thirteen, if we include the

of the first note. The rules for practicing the scales are given on the 45d. page.

Bight Hand. Exercise with the (so called) French Fingering.2 3 1 31 a 3 i. 3 J. 3J. ai3_13_l 3_a

f+i>t~^ tH ' ^

a 3 1 3 I ^-^ ^ ^ ' ^ ' 13 2 1 3 13 /T\

d\^d "J.

Left Hand.

2 3 13:P-i^P—#4i

a 1 3

^^fefaiîi-H H 9-99- ^^^^

^^^^^^^^^^

M^lM^^j^-^r^r^^h-:T~i? »—^#=4^1H

p^p^=ft'

2

v^

/Tn

^ S^2,3 1,3

•# - b- _ L- 1.3Ûz^

^^^^=^^ 5p:1 3 a 1 3 1 ,,3

al-j^^Mr,3 2

g^^?!g^^^tÊ^fa/

STTJI>Y. S£yiiii£*

1 8 13 12 3 1 3 1 3 1 31 312 313123 ^^sM-(S^

îbt± ^=f#-

*=;Se

4 81331 313132 1 4fT3 1^3 31 31^ 3 2 13^2



IVe^vr E^ng-lsLxid Oonservatovy H^Tetliod. 117

i¥^^yp

^^]=^=f

j

jj=J|J^4^ S4 4 5 4 3 2 1

:p=p: 3«=i:

^te^

î

ij

Ji

^f|gg M:Ji

/»/

Ê^^Sfete^-a^^ E^rSTO ê n

I I

- L i

m/-

#^^^-^^

H=^^ ^^

Jt^*^

fe:Jt

p=ibt:24

:^zz=^ LJi-i_i:4$.^*

^^^S

û-?-

:i=:^>5l=£ii=iSc:

^^"^

/^P^^-^^g^^^

^*4 ^^S wkf=i^pizpzi:

H—I—-«^«'

12 12 12 crescendo.

^^P^^^^^P=^^^^k^"'

r

u^^xi*; *-f^ 13 4:

J



"Ngw 'EnglsuckA Conservatory !AXetIiod.

SECOIfD LESSON.

THE SINGING STYLE

The Cantabile or singing style, so common in Piano playing, requires that the melody should be well

and accented, and that the slurs of phrasing should be strictly observed, while the accompaniment

be held entirely subordinate and subdued.

O^ÎVT^^^lBIILiEJ STUI>lg', ST. HELLEB.

Andanie.

^=^3=,^|it

6 4 2

SÊlMZ

^6 3 2

:i=P=r=f»=i= i=F=P=P=^

1 2 1

-•-^p-t- •-*-!—I— I—

F

99- atv: M M ± i=p:

4 3 2

=#=^=F= -•-^ #J^t-#-^^ ^titt^^

I

-^

i?:^H

iffl

^—t-H-

-^-^» 99-

P^^r=f=r?=r H 1 1-— ^VA:eeE

i;:^=^^^ fe^

-^*-

g



IVeAv lEng-larwi Ooiisei:*vatory HMetliodL. 119

iH h I^^P H 1- H h

:i=:=i=*: :?=*: ^ 3t*:p=-?• •_

>. J 'f

m^^^^^^-

H*-^

afe^

^^-

S

^^ 'It

y^^

îm

-* ^ g :p=i: ¥?~r pcta>5- ^^^^

4 6 4 --^ -

:p::i=P= :p=#=pi:

:^H^

H—F-t—:pii=p: iciip:

#-+-(*-

3± H \ h H F-H

^îMp

H 1— I-

& -« m- ^ ^

^: r F r i

m/

,6 1 4 • -I— •#

r/.

.--1^-5-1 1 ! 1 1 -J^

« 1 2

i.tttM 2 î^^?

P=i=^^

m-»—#-

-fa^^^

a*-T- <-^-3 i

H 1— I 1- tiat-^—!-d-To ' 3-2-, -4 * „

-0-^18 3 1

P

i frJ^ K^.-^^^^^ S^^ ii^

—i—^^g tSSmîS— #=

iH tH-

ftv- ztn

^P=¥T=^-^M-P-l—I— mp=^=*=i=

-*H—!—I—!—I-

3i=ti

-i-#-

U=:



IVe^^v £îig-la>]xd Oonservatory ilMCetliod.

THIRD LESSON.

MINORSCALES.There are two kinds of Minor Scales in use, the Harmonic and the Melodic.

The Harmonic Minor Scale has already been explained on the 43d. page ; it has the same order of

ascending and descending: namely, between the second and third, fifth and sixth, and seventh and

23 56788765 3 2

Bs: -G- :zsr jO-ie:

=^ -gr -&- %r -jsi-Tff-

The Melodic Minor Scale has semitones occuring between the second and third, seventh and eighth,

and between the sixth and fifth, and third and second, descending.

i-^~ 'JSH fy

l?g

% 32:zsi IS^L -G-

-^^-isr

'&--g-

"&- -g-

On the 46th. page it has already been stated that there are seven minor sharp keys, and seven minor flat

These keys are relative to the seven major sharp keys, and the seven major flat keys : In other words,



IVeTV !Eixg"laiid Oonsei-vatory I^Tetliocl. 121

they have the same number of sharps or flats in the signature, and follow the rules given on the 47th. page.

In order to find the key-note or starting point of every minor scale, count down a minor third from the key-

note of the major scale. For Example:

KEY OF C MAJOR.

S -Z7--JSE. is:

-&- ISZ.

iiI:

KEY OF G MAJOR.

-i9- -JSH

is: -i&--331

mKEY OF A MINOR, RELATIVE OF C.

~s>'-&- izz: m us\%

tKEY OF E MINOR, RELATIVE OF G.

ZST. -G- ZSL.-(S»-

1? îig:is:

i

In the Minor Scales it is necessary to introduce accidentals, in order to preserve the right order of intervals,

follows:— In the Harmonic Minor Scale, the seventh note is raised a semitone by means of an accidental.

the Melodic Minor Scale, the sixth and seventh notes are raised a semitone each, ascending, and lowered

descending. In the present work, the Melodic Minor Scale is given in similar motion, and the Harmonic

Scale in contrary motion.

Mepeat ten times.

SCALE OF A MINOR. RELATIVE OF 0.6_

s *t # mi—a-

B Iir-^ -rn2 TîT ^*-^

;i*-r—I

t:

9-

5

-w=m

e :tit

Contrary Motion.

Ailegretto con moto. GRACE NOTES, AND LEGATO STYLE __

. . A.

w 4 T



We"^v EJmgland. Ooxiservatory !Mêtliod.

4 1. 2 4

-•-^> :tz=^=^?=z±^

2 1

r/

3 3

4 ^—^3 4 "^—^3^fi 3

y i ! ,»

SB;-tr-#-

^^^^ncipi ?c:pcpz?Eg^ atti—J-#—I-

^;i="—#-

? fry^

^:- E^^

*!-

:^ :tt

i ,A

7 U I

*

i—A*=1i::

N'l N-l-H H

N'J Ni -JV

M^-î^^nJz5:5z:iMr îfZf^^^^^J

p p p r ^ #—^-

r/

-bH b-•V4-—»<-

# F-H •—I—^—I— 1 r-^—I— F-H tf-»-

at^-^H*^ 4/_^—;/- Vll L 7 7 f 7 7: ii-7-7

5 4. 4.2 i*.iie*A|4

S^ -ft* fc2 3 1 6 2 3^ 1

t=tS/?N

-k-f—i/- i:Ê =P=iJ^ H^^T-T- ^7-7- A7-^-r-7-7- Iw ? ^

it ^ i 7^7 7- -j-7-7>-T^

r

iL



TVeAV Elng-land Oonservatory IWCetliod. 123

FOURTH LESSON.

RECREATION.FOR ACQUIRING LIGHTNESS OF TOUCH.

- '^ n ^^ -J a a ^m iT ^^^

i^^^^^^mP

legguero.

«

mit*5

-bi-5 * -6 3-

p^^^#?:h*

-^î*-E^^H^P^^^^^^z^^^—*-^î-p^--^

A=iê :^^

3!

-b«i

-Î* h-

ht

^3^~^

-'f— ^^: :p=r p: ^_^ -P-#, \~

-W 1 H0-P-m-M

•-P-#-

'P

^^^-

-4#-Lb.^-»_j^=:=^fc=j^;j:^:^•--#--^-* #^ -H i

^*-^

fe=^--t;^g

#-^-#- -•-F-#

b<S—/-

^zrS^^b.irdr-1J^^^pg^^î^l.îifca

=^-f tr^=^

^r^p-w- zpznp: ^=P=f:p^î=g

^:£ i^ wîpfcÊEEEEEEl:





]Ve-w Sing-land Oonservatory uWCetliocl. 125

I«: ii -*«-

3lt3«

-i# 1#-

pe

2 2 2 3 ^---" "^

6 -Ik- 5 •# 6 -#-+t« 6 4 1

i»cresc.

4 536 1a 2 463612 4 6_

:p=P=P= :F=#=r=^

iJ-i4 2 6 13 8

-•- #- =#=P=r=P='^fE:f

I«:

! ?

:^ =l=gz£i=t=i:

"^ -—^-

,s>-m-9—B ^

:i=P=r=P=i:

P425^52 6361 6

^=3^

-F-iT:^=f—M—0-^

P-^—»--•-I—•-!—•H— £S fci:^

0-P » g-^-j—^-* ^ Î—tH F-T •—* —•

S:*zF

14 1 6 4 6 1 2 3 4,

:w=i=W—0—W—\ m-\—- F rp=^P=

dim. rail.

m f fT f t tL

1^4=^

!i > ^-

i^S^.-. ifr

a tempo.

# !j V-J 1^



!IVeTV lEng-land Conservatory- 3Hetliodl.

t:

42

n2 3 6 2 4 3 1

:p:=niS=

^^^- 5 3 1 2 13 1

^^^t ^^tfS^^^^ ^

f^-

I

S ^#i-iJ-ît-^5—jîP

rail perdendosi.

63 I 2 13 1

-^=w=f--w=r-f 1 I i I i£*3 *

3 2 13 3 1

SIXTH LESSON.

TREMOLO.

_^—^ ft——« m-

4^ ^ r^

\^c==P=F

-»—#—#- P W—P-H h-

-I 11—

-I I — '-bmabi

3 2 13 2 1

-!—-r-

-0^-m--ft—ft—n- -0—0 Ê^.

I-^^Hb E=?l:p=P= L-iz=i=i:

^ -i- 1 ^ ^-^

—/i._^ -? P—9z

1—n—P

—• i=T :p=P=P^

'^ ° \ -^

1\

1 ! i 1 _ -_ _- -0 0- ^—

w—

P=-#—• —n—p

f-

-\ h-I V-

43214321-0— —• 0- JP P ^—

.#.^.#..#.#--^-^#-4--(—-f-a h ±1 I

h—£S

I:p=p=pz:p=if=zfz=f-»-^=^=^=^^ t=i

i. ^ i i-I—I— -n—p—p—p- -0—0-

jp—P—P—p.

tif=f=f=f=p=p=:p=p:

e-•—•-

izifczM—ji'-lf

j

•^+-1— +--^-p--F--p--0--0--0--0--I—h- H h- -P—P—0—P. 0—• —0-

i^^ -Ib^ h F-—r- S^g-4 3 2 1 4

^-^-j-j-''rT^=F=p=p=F=f=g=r~Ê

:p=ff=P=P=-#—#—# —P—P—P—P—I

^

!

I

'

I

—I'^Mhi=!:.



IVe^vr iEng'laiwi Conservatoi^ IWCetliod- 127

USE OF THE PEDALS.

The Piano-Forte has two pedals ; viz. the Damper pedal, and the Soft pedal. "When the damper pedal

the right is used, the sign, Ped. indicates that the foot should press it down firmly; and the sign, ^ indicates

the foot is to be raised. Care must be taken to raise the foot completely. "Whenever the soft pedal

used, the sign, con sordino, (muted) or una corda, (one string) is employed. The pupil should refrain

using the pedals in these lessons, except where it is indicated. .

RECREATION.

LA TREMOLO AOAFTEO PBOM H. HOSELIlEK.

321321321321

F-^-^H—I—(-

Itt

F-^-^#"*-^#-^^:f*-^-^-^-**-#-*-#-^*-^-*-#^**! I ! 1

-i—I—i—I—t- H V—+-

ffl

tt^^ -I—I—t--OA#^ WPK --iMMi

M : !

I I

I!

I M I

fÎ I I I

^mm^

Ped.

Ei''

A ritenulo.

4E -K

a tempo.

.K-— -X- ^- Ped.

4d"=

*

îli ^ -^±=rr-

1^

Agitato.

-S-j—I j I TI

—I—h-f-



]Xe>v Eng-land Conservatory 3JCetlio<l.

:i=££££££££££±fT-rr f».i>Lp,f-r-f-ffffffrrri

su

-n—0-0-0-0-0jft^-f^

0-0-0-0-0-0-0-0-0-0-0-0-0--0-0-0-0-0-0-^ •

',ffftrrrfpnrrrr -fTA H H "^ft^r ;:^=piy ^t^0-0 p w^ ^^b i=:^ h^Bb^^Hta

îtaBta I I I

iiii'î^^B^â- -^1

rallent.

fc

*

« a tempo.

Fed. 5 *

a ]^ Pt€-^^ i

t-P y ^-^ P P -0-0-0-0-0 0-0-0-—^— I—I r I—I—^—F-H—I—h- :PT:P- -I—h- -P-^^ WWW^0-0-0-0-0~0-0-0-0-0-0-0

^^m^^^^^Î

liMliî ^^^ III s

PetZ. * Fed. w^

«i 1

t ,^p^

ritenuto. a tempo.

.0.^.0.-p.-0-0-0-p-0^-0-0-0-1t:^t:-P-P-^-0'^-0.'0-^-0-0^-0-0-0-0-0-t

£t-^-t- H—I— I—I V-i—I—ffi

ttTtt-t^f^f^0-0-0

rm -^^^ Ir*:

Fed.

t* Pe(Z. * 1 *

Perf.

J

*

f:^ 3^=^ ^=2:

^P^000,

Sf

^#-^

MBMte i^^

-!

—!

—I-

ffrrfffff. .-.^^f^p^w*:^^s mill FINE.

-^

-*^-sr-i^^^-5--

^H#—

P.c..^ :j:Pe(Z. < i*

JT jr^• *

^â^^4—



ISe-w DEng-land. Oonservatory BJCethod. 129

iS—i-

irS^SM^^

SEVENTH LESSON.

SCALE OF B MINOR. RELATIVE OF D.

-P=f -^"f=

I

' • Z 1

1=-«—

5Î

r=J #|g=r:A*

^ S3 J4 1

£=f*:jâj fc

4 1

Ii-ia

»: F^=?= -llMi ¥^ a*:^ 4 3ESt-ta»*- •—1^

ife^ ^^

1—*i—I\

—imp =*=F=

5

1 _ •it-*- "ît-*- « > 3

t=u 1^ iiî=t

4=fc:it-=

:t=:^:P ^=U

-•—#--•—#^

15^

^:i!:

4 I

^^=P—

f=f=?

-4 1-1 3

]=P=^

Hr+ -^-*^*:

^* *-*ît-

* ^^f^¥-u>

I«

Andante,

3

REC RE ATION.CANTAB ILE STYLE. ROMANCE. ED. WOLrF.

13y^—lS^ * r t t^^ -iS^

« legato.

'm * :!»

I^—^-

^&. *

iI :^

-# ^.'—(51 =#=P=i:

i^

a i *: ^ Sf-

i 5?«.e: * Fed. * P«d. *

II

&#-

6 ^

^^-a

^=:^=#^H 1- ?CT

ii:

'^=0

m^- ^ JflH»- # £__^ ft^^: :^

Ped. :j: Ped. ^ Perf. ;j; Pei. ;jj Perf. ^ Psc?. «



nVe^v Eiig-lancl Conservatory 3J[etliod.

-?^rS^M^

# jLf

t 9 ?— -4-l»-

Ped.

ii

*

^]

»1

1—"^-i" »—

:j:PecZ. * Fed. * PetZ. * Ped. * Ped. ^ Ped. *

Fed. ^ Fed. :}:

PeeZ. * Ped. *

^

Ped.

j^=riK =i=F=

^Ped.

=P=#—P-

i

* Ped. *

raUentando.

'-^-"-^ t-(5> (S^

^=P

'WI

-iS'-

i

i

EIGHTH LESSON.

EXERCISES WITH THE MOVING HAND.

13 8 4 l_i^^^^4

^ a

]=i:td=3f:-*—ai

3trizit=ii;=:f=tP—•=

:p=r=r=^

3±

X ' T '

12 1

:p=»=

3 13 1

-F—I1

-»—I-

-I h

3 13 1

i*

1»- . • « -f"

-I H

-I H

3^3E*EEg3^^3 1 a 1

I

g^^^^^z::£^z^:::p=£^=f=i^gggEpfE^f^ÊS^-4 3 1 3 13 1 =^



IXe-^^v Eng-land. Conservatory IMCethodL. 13]

3 13 1

m13 13 13a 4 13 2 4 ^^

d 1- gIt*a -*-#izt

4 3 3 1 3 13 1

w 1 11^^^p^ m ^s-

-4—a— ^—iz±: i*—ji- -a—4—9—4- ^'^^

2 '

3131313}4231423^2 3

-^-•-

1 31 3

\ 3

#-#-

^^fS 1^^-Pc:#-H H

4 2 4 2 mH h

4 2 4 3-a—4—s 4 a 4 a 4 S





lVe"ve Eng-laiwi Oonservatory IMIethod. 133

Allegretto.

-^h^vrr^— I—f~F~t~'t~ ! i r'F'h'l—M—|—P^

PREPARATORY STUDY OF THE TRILL

3-

ute

3

|-^-*-#^-i^-*-^-*-^-tf-^-*-^

#-3-^

2

ir&- -#--s^

-3-i-^

J=i==piîtp=tpz^*i^.^___-___^-

^fipitpijtpifipcjtpif

g^tf=^ :ij#:

ZE^135

p-rtpifipifzpifipfipzfjci

gS* pHS*-

-(g-

iS^- -«>-#^fS^- ^

**!:

± -^(&-

W-

^-^^"^ji^ iFÛ^-îî^-^^=^3=

^- /CN

-JZl i1

-(2_I

-<g-

-1

£3 S35

/^

i



IVe^v lE^ng-la-nd Oonservatory IMetlxocl.

Adagio.

stei

21

-^ *-tS? »-

4

e * €^> »-

RECREATION.THE EVENING HYMN.

ft ^^ - S_t.^ :p2=

ita

REINIjCKE.

HHh1? s

^^^fegEF#HESfeEfe^ a^=ft:€.i=jti

^—w-

3^©!-=- S"—»-

PecZ.

ip^

*

k-^-

Pe«2="r^-i-s)- al-

:j: Ped. -KiPed. :}:

* .£X^^^^4tf=4#s^^§^^^

S^ #•

/^

tS" # ^'18

^^=^ RJ^ fefes

te

§?S^=Szri-zn

=ifE•G^-

9<sh

^*lte(i.

*^-**'^'etZ. Ped. :{: PeeZ. *

m{

/Ov

ij^

-1^ i^J^:^[5ii^Êt^t-^^piM=3t ^^ i^-i^—1^- -f

:1^?-© »--b

r

:^=t -(©i- ?z=

[9i

I

Môderato, espressivo.

Ped. ^ Ped. :j: Ped. ;{: Ped. *

TENTH LESSON.STUDY OF THE TRIPLET.

# . -^ ^* - A - -^ # 4— i#--(— •*(— •#••(—#(— ••1— il— _ +-_t- _-t— _ 1— _+-

-\-A-^

E 1- li^M^:iz=i=:i=i«^z=t

:t;±il=d=«fTTVW-

:i—^— ^—> *i=zt.

#—1-#—l-#-H-J-4-J I-H-Ht—l-H—I—I—^-H-J^-|-Tj~l-H~i-T

--#—«—«—• m—» 9—4—m—«—-•—•- -

cresc. ptu crcsc.

^ ^ * 2

î^pglg^gPggz^



TVe-w Elng-land Conservatory IWCethodl. 135

p

5,6" 3

0-« -r- ^ -p- ^ -r-

«-r-

• -^ - -^ •+--#-i—-#-i—-•(—#-+-•I— 1 -I— _^ +-+-•<—+-#-H-^-h-^ -^-P-^-h^^-

j*=it=*=t=i: E -h-h-h

^*=PC

appassionato.

j=fi[g=f_^=ziîf^-p—^—p=p

7W0?to CJ'CSC.

3-i--#--#-- ««,3a - «4-^ -^ A*-^ -^ -^ • • .#^1—*-l—*+- ^-F-^ -^^-F- h^-^^'^'^"^*-*— •+- •••-#+--•-1—-#»—•-(— -•^•^-

i^^gi^-fjf-f^j-

=/ dim.

^K3-+•—#idaticl

pr^^t-^r-wT-ii'^#—•- #—tf—^ ' «i 1 ^—i^—i^—1^- -^—ai i^ ^—Hi—#-

-^*H» Â#.AX^4-#. #.-•-•

H—^^#-+•-

FFfq^=^=j=g:^=j^^=^^F^#:^^,r^^^=*=3^ J j-,M^^-

P tranquillo.

5-#. •#- > ^^^.^^.f. -F- ^ -F- ^ -F- •#(— •#)— -#•!— -#-1—#-)—-•-»— It-_ t"-"*" -'t~-t~-t~



HVe^v lEIng-land Conservatory 3dCetlxod.

t^H=H:^-]zlziJziî=iH:EpiiETE3^33d—l-d-

:fi±!t±*i±izdzi:i^

î^ d d d

- 3tziZ=t=t=itZt -• »- -0 0- -d—^-d—drni'-d

cresc. dim.

rf-^-^M-f- mf-^^^^m^mf-m^

Hepeat ten times.

1

F=P

ELEVENTH LESSON.

SCALE OF D MINOR. RELATIVE OF F.

•- -M 4, U,^—«_+,__. J Z—• m—J 1

'^-t^F-'-t,-*—d- ^ ^5î=^

:i=P=

:5=P: -p4^p

4

îtnztii :P=^

£f=Ef:^=at #—-^-251

1 1 H^»-n#- :P=i: ^#^^

i

;^— id— iiii:

-i—fr- i=t

^- -#-# >fe f fe ^r ^3=U^ H 1- #—#- /rs

^ F—-i h

H h-

-^ 0-zJ—I* ±^ f=>^ :±=i: -*—1<- ^

4L#i.#—•-:p=i:it

:1==^

^^§^4 q==l::i^

#-^S3EEEH-'hjr^-îF^'^-^-^

:t=Uii1—1-—

-J— -H i-1—I—md^



lVe>v lEng-land Oonservatory IWCetliodl. 137

THREE NOTES AOAINST TWO.

By dividing each group into six parts, the relative value of the notes can be ascertained, as follows:

I'a 3*4 5*6

1 2 S 4 B S

One note of the group of J^ is equal to one and a half of the group of f^' so that in playing .ho

together the second note of the J^ is struck after the second note of the f^, as follows:

^ ^^

P^^^

In order to execute such unequal groups of notes, the pupil should bear in mind the rhythm of each part,

strive to make the hands independent of each other. To facilitate this, he should accent well the first

Mbderato.

REC RE ATION.SERENADE, SOHUBEBT.

m i-0-f^- fML#-

* -b-H-

:i=*zt izz ii--•- -a—9-^

V

F^ -<—» g i>-g-

I

-f-» ^

^^^3

I I I I PP 2

-«—•—€-•-#a m-

0-m-m-9-m

I^TS*t

i* » •*» #* fSiî-

£p

l=!I^--*-^—^—W=^#»-

-#-T-

:P2^

ta:-i-h-|»-t 1 it Li * l«-^ I ^ l

»I

*-|—!>-i-

rwf-

-I I

I ;—I—|-^—H-l--ki^^

g<-iie-)-[—

^p=3=fI



1Sg-%v lEng-landl Conservator^^ ]MCetlio<i.

i^- i^H^ j=i=ifc

llF

-SH-

' es>

=/ decresc.

^^j^^^m^î^^^^^^m^m^^mmtEI I

sis

/TN

pa* P^-

'-^,,„ ^^ If^^ * ^

pEE

I^d. "25*-

•*

Andante sostenuto.

TWELFTH LESSON.RE CREATION.MORNING BELL. BUBaMTTLLEB.

a^^ 2^

/?

e^-fi—5. 7 •? ^^ »êspress.

mt- ^^fî S 1êd.

feg! 4=» fe§!

PecZ. * Ped.:^* «

^ s^-z??C=P=P

t t t^—•—r—r—^—f-

•—•-

I r r^r-f^-r}

iitfe SeS! i8 i-i! J^pt J I

i^ s ^v—5fetr—?- j^-?-

PecZ. *Ped.

* *<# PetZ.

ipftM==^ 7 N. ZMZ w-

-+s>-

!I I I I

I

jpoco riten.

-9—•—•—#-

T-t--»—•—•- itdzt

%1

w.7=E=f=l^=t=p=?'

rjLZI^rzf

-7-

-•—•—^J»^^#^ ^ -m- -^ ^

! I!

I

ÊEpiîÊEUÎPec?, Hi

J"pedrv*^ '^ ^ /



IVoTv lEng-land Oonsewatoiry l^tetliodL. 139

ll

ms^^-

-t5^-

dt^ *J i

Lti:

:-0 PI?•

E

3

4 —

Sf: cresc.

Peciy ^'^Tt -^ -& * Ped.-4-^-4- »^ -^ # 't^ V •»- •# -^ Ped^-4»-^-^ ** -^^ **

i

^3:rr==— ^^S ^^ '^ tempo.

^—h^^""^!

^—!——T~' ^— " ^^^ssi^-i—' --1—I- — ,1—,1

\

—|—

accelerando.—==^

gf ^possibile.

I I

iat? iF=F==^=t=

-.

^^d^Bb

PetZ.

*PetZ.

I

4 . 1

zr^Ê

i i î^ V • 1 1

sP--# W—#- liiTip:^:

dolce.

wrt^ -telMb

fli/

3^:îi

i»=i;F=^=g=f=idp-, ^=J-—^^—F— I—i 1—a—1 W—0

a tempo.

V dim. epoco riten.

r'-0-^.

ppstacc.

dimin. rallent.

8Wa^-

t i=^

a tempo.

yz:

^r^t—t—i:

m^V

Fed.

I I I

'

•? 4. •; 4 ^ ^ 7 4J ! ! ! I

•? T ^ # -^

^ >• y/

S iEii]

«I

A

=§!;

*

i^« Ped.

SE3Efei§

*P6d.



IVe^vr lEIng-lELiid Oonservatory 3J]etliod.

5/.

^=Z2^:p w—

W-

f—r—r-! I

-^ •-» • •

;»-?—''-I'-^T-f^'-^-i—f^ 1. 1* 7 f

^ ^^ dimin.

^ ^^^ ^^3 S^^L^ Îe9±;tk

JPed.

« *Perf. PeeZ.

dim. e rallent.

?b rJ '

1 ?• f^~^ -8- -S- *? < *y *r 7g-^ ^ ^ 4rr**f *

IS3^l^K >.y F

s 3^^ ±=t-# »-

Hi r— :p=p:-[—

* *I*ed. Fed. ?ed.

-^Hh*

Ped."^

THIRTEENTH LESSON.SCALE OF G MINOR. RELATIVE OF B FLAT.

Repeat ten times.,

rrTI J^l p*1 ,^3

r-

i^^ S^^=r-ri^=r^

i^zii:±=ji-.

itzt ^^m /i

rj-rj-^JT^ *-^^-iir

^ #—F—t~-i i—J-—W—

^— • H«^^»—•- -^

^?CI^

tj~»

^=i!=: :U;;J=f «p=i:

^-j^^-j::Â^8va.

-#=P^ 'fff~T I—li— ^^^=T- ^: *

I

/TN

:pc=#=

^1?^^^"^î^ :Ui:

iiiP— —^-

if:itF-^^J-^r^

.*t-#-:p=::i -I— -F—I F—d—r <

4-f^-F

e \-î- ^fizt E^p::?=3t atzfi :i-

H.a

RECREATION.THE REGRET.U. G. H. G.

CAKL MATES.M. G. U. G.



ê-w Eng-larwi Conservatoi^ IWCethodL.141

M.G,-M. G.

M.G. M.G.

^.Q.

W.O.



IVe-w Eng-lancl Conservatory IMetliod.

FOURTEENTH LESSON.

RECREATION.

Allegretto

2 3

SPINNING SONG.6

3 ••

ETTIjLAE.

^^s^^^.2^212 12 ^^îf^Jiml^ 2 1

-t*f-

:^^ :^

,_^g-f:|Kflf»-fVg--f>-f--P--r-

/ iO H* -^

g^-^-

• •

±=t ^^P^^ 5 4 6 6

i—•—P^-,-P

:f=5

.. tit ft U,

f, t ? iL ^^ ^.j ^^ i *

^ -^

-•—#-^

-^-4:N=^

:! :£

-«f-^

3

-P-H—h-P-r-H-

^-f- ^ 7-

^l^k—*^K &-&- -i-iîLf^.-.

^ S/2 /

±1:

i jg-^;j5gIÊgig5^^îtESÊHÊp=>r1 1- d-rH" H—

± 2>f3 ^^.

-1/—£.,'1 =^—-^"^-k-^k--?=»+-

ij^.^^^ ^^^fL-r-fL-fi--^-f^-#-^-#-#--I—J-

;?

i-n-l—H1

\ tH 1-n-l ^ 1 i-il-l —d1——d—il-^

2 '—2r

^^B-

P

-^-^

1^:Jr-*:



TVe-vr lEng-land. Oonservatovy ]WCetliod. 143

i

* 6 4 5 4a 1

4 31^1

a tempo.

2 3i^^ /-TN 2_3

9—0-^-0-0- -0-^-0-0-

Jzj: —T-#-=F=¥^F==?=

/?raK.

i?

s izr-1^ F=iS5^^^

-«?—•-

"î ,cv

it18 4 t

,fli«_

fp f ,

_;^p_f^^

p4 3 4 3 42 12 12

3 41 3_

? 4 34 2 1

» 4 6-F--#- -••

12^1 :23-^

ES!i=t:i=«ri:i«=l^=M=?=t

fl^

:S-5- S^-£^^

t= Kd—d- J54P

Piî; -^— -i^^•—•-

-i\0—^- -i-0—0• •

. i-* 6-^ « 4 5-

3 44 3 4 3 4 f 5A 2 12 12 ^mA

o 4 6 04^•^ -^ *•-•

j,>-y^5^pagjFa^-g^F^^giSâfe#ti-t-^-'tg^

IT=T #-H 1-

i^0 •-^-

/?

\tf--h-^ê -€—«-

I

I

^=*Sit

4 3-^ .

htU t-^-^-

-^-

0-^'f^-0- +-

-^

5/2

î

F=^^£Er

-i^—«—^- ^=5fPS -^ P—T» i— V—^-—-•—

1



IVe^v JElnglaaA Conservatory ]Metliod.

FIFTEENTH LESSON.

SCALE OF C MINOR. RELATIVE OF E FLAT.Reoeat ten times.

|5^^r1^%

^_^^ft«|i'_fif_

~| U-^&

—0--W 0-

^F-^-^ £

:*zitJ J.'

I

9fkSE ^T^î'=p*fc£i i-=! ^k-«

'^rj~n^^^ latziSt ^•^^--^-r ^

F=?= ^'^1—-,-

•

^^:d%^gESgî—p=

-i_^fifL,^f_fL^s3 4 3 /TN

• w- ^ w-•

RECREATION. MATER.

I

Xento.—SI—*—

f!

:2=i

4a

=^ ^s^ itS^¥^^=

/^.

5 3 AilMt

^ 4[•— W 4 2 13

ripi::

Efc^ -^B^_b ^Mh

I

3.^«r 5

3 d=ii

t:=i=-»r-»—f—tzztzzt-F 1

\ ^ h-

^1; g>g_ :::

^^=ip:

3 a #-5#—^- -iJi^fe

E^ iJF:f^ t±t

>»-:p=^

I ii

}i J^j^v:iirs

fcljEiÊ^Bi

42

I

4

^^t

^ 12 1

fei

.p. I,- •• -^ 4

=?L41#—^- lf->_fL^_, 1

l&^Wzk^^



IVe-w^ lEng-land. Conservatory IMetliod. 145

ifc=i

6, 42 2.

IJ -* i-

sy=* I i=f» I*:

iiJ:^^=|g=t

^^^^^^^^f^^

7^?^ h2<rIfzz^ .S_4-

fe^^ r

I

t_^-i —^—,^Vi^-

^"-^ ^(sz=i:

cresc.

i^^-^^dga^M7-r-ê=;

-•-+ta-.»-.Î

•I I

ba^îb

I

6

?142

^Ê Itc±=^: S "j-'m

poco piu n morendo rit. /?j»-s^-

i^ P:|i=P: =r^^^^

H 1 H H 1 h

i^ fc^J-jL/jLJrtjyjtijji

PM

Attegreito con amrna.2 3

SIXTEENTH LESSOX.

RECREATION.THE BUTTERFLY.

2 =r- • 2 =r- • 2

m^

MULDEE.

5-#- 32 1 t^ *

S^ # SfcS: + S:

i»cresc.

i> i

^^

« con leggerezsa.

^4^ # 1^3=^jtcs #

A * ^ iit4.-

^ litt • +- -^ • . 3 4. 21 ^-i- -^ #• +- -H- t- -•- 3^~^ 2 1 j- •*

« f ^*

It i



IVeTv X^Tig-la/iid Conservatory BXethod.

5 Ui^

1 2

dimT"6

sempre. f

[4-!»--3»-

-+-

Jt=1^ *-T-3-- ^-^^ 2 4

*âsf-^^jfr^^^ ^-iS"? i ÎTr^s^^^

-*—

*^t^^3^^?=?§=

dim. sempre. f

3=8: t^

tf:12 3 ^ 3

2=^^1*3i:t ^

4-f

6 A i^

:pzzpipi=:M:

•T-3--I ^F" o

-^j—f^^z:^^^sl^

fz^;^=fi^^^^gF=f^g^=pg^

#=J=H» •- ._?_.^— !_*;*

g

-tf-Î ;,! Ir—•^-^^>-^ 4r :1^

:?^

^ 2

î?^^g^^^=igS±i^^§S^Ê^yTTT~P=^

cresc. dim.

,^-

sempre. P

—i-^

2 ^

ra??.

:^ ; i ^ e 1 i 1 i 1*1* I

It



HVeTv X^ng-land Oonsei-vatory HWCetliod. 14

SEVENTEENTH LESSON.

SCALE OF F MINOR. RELATIVE OF A FLAT.MepecU ten times. -

' 4_

i

^ =i=r-lir^^-\* ^-r^^^-^^rf ^^-^=

^^Fw^r^"^^5 m • F-qt-

-^_-_

^ 42P=S

Q^

1 L—

i;-I—r—•

a? =t#— ti C=f:

4 6

-f=

3

-1 F—Ifp:

.^-i=-=t?^=iii«

-F—I 1-

3

r:l—!- 1

RECREATION.SIGHS AND TEARS.

jindanlino.CROISEZ.

I1

1; [> o » :|=

f

3

qiitp::i—p:

atiifijplaintivo.

tir=±

-W—m—m m r-*ta-^--»—•-

S *=P=>i: *^ =r=r

S^—•-

w-I

•p#- ^Î

-#-*-

a

8-4

-#-r-:P=i=

-1 3-

1 U= -*—iîpzii

cresc.

—^ ^ *r 1—S—8—8 8—rt-»—»—• • r-^—^—^ -f" 1— 1 1 h"

^^^ ^^^^^



ISg-w EJng-landL Conservatory l^dCetlxod.

6 6

K^-n-#_•- na—i—a- 2 3

-!—4! f—-^Bh

-»-^:-^: 1—I-

:J=itz»:p=?:

-^^

5/:

:^:^ it

JI I

t|»-H H te

S

^y=f=

-»-# *fTS

P ^-^^ H=1:/TN

i^ afcn: 2fc

rallent. smorzando.

tfc^=r= =^1—=1—=+- ^ 1=8 ft^rrs

^rnmi

: li L i— -»—•—ip-

jindanfe.

EIGHTEENTH LESSON.

PREPARATORY STUDY OF THE TRILL.

Count four in each measure.

^pifzizfmipipirJifipifiii:

-3-*-

zw=izw=mniZW=iJfEizwTr tfjtfztfatttlttttfjt?:-3-a-a-

P

=«=*

F=^^J= ^j-t-f^fLtKf-pf- i'rx-r-p^-

^1



ISgw Eng-land. Conservatory ]>Iet;lio<i. 149

iP ^

9—^--&-

$ % P ^cresc.

s -M Js^

dim.

mt=nt«ji±. i_^.ti=tiizjitiaizi:i=ii---•--#-»-•--•--•--•--•- i i

3^2 3^ 4

J^zMifzM:f=MiîMifzMi£zi:fzt itJztiiiziPtiitiiiiizi2 13 13 1

is i12^

ii--i---#---*---*-- •#-^-#- -Ul

-P#-

Ji

I



ilVe'w lElng-landL Oonseirvatory IWCetliod.

ffpfff^0f*^P^P^W^

3i3i3i5i

^'^' *

NINETEENTH LESSON.

THE TURN.

The Turn is a common embellishment in vocal and instrumental music, and consists of a group of three

notes, indicated by the sign 9c.

1. When the «%» is placed directly over or under a note, its effect is as follows:

I

WRITTEN. aw

PLAYED.

m^^^^2. "When it is written between two notes, its effect is as follows:

WRITTEN. iSW Or

i-ft ' J

} -^-r

iPLATED.

qrnt^fu^ -•^-t- iî^cT

i

3. When it is placed over the dot of a dotted note, it is executed on the last quarter of its value, in slow

time, as for Ex:

iWRITTEW. JW

PLAYED.

—I . I

-^^ II I

I

i



]Ve>v IEiig-lan<i Conservatory 3JCetlxodl. 151

4. When one of the assistant tones is to be raised or lowered, by means of accidentals, it is indicated by

writing the accidental(j|,

i? or t}) over the sign ass; when the higher assistant tone is to be altered, as follows:

WRITTEN. SNSb

\

PLATED.

^ ^F=#= -^-f

\

and under the sign, when the lower assistant tone is to be altered; for Ex:WEITTEN.«\S

5.

The Inverted Turn is now-a-daysgenerally written out in small notes, thus:

slndante.

RECREATION.SICILIANO. BEBTINI.

/ TURN. V

\ See 1 A 4 opp. /

dV9

Ii

Bee 2 uid 4 opp.

«S8

#¥-

.d 3 3

i3#^#— d' 9 #-

-3—Jr

fiit St -'-^

gf

i-#- •-24 $ 3 -#- ^ +t !-« #-^ 1-ft * * * * : -ri-^^

#= :t::

5^=^-^-S=

1=^-1 A^ i

6

fc

-4-#-

* *

^TN

-(5>-

^

msij^¥-r=g=>I

qi_L_#_ -#-^

^

1/TN

-#-^- tS"-!-

Sfc I^ZTZiC ^^#

=t=:f #-=

1^ -^:p=^

:e=5z:lS

(B-^—

? t 1 J

15,J— il-t—

^^

^—»?-^-

I]



IXevr DEng-landL Oonservator^ iMIetliod.

The fingering for this Duett has been omitted purposely, in order that the pupil may be required to

out for himself the proper fingering, under the guidance of his teacher.

Andantesostenuto.

TWENTIETH LESSON.

"THE SISTERS."-FOR FOUR HANDS.

SEOONDO.

îE£i::> ^^^^^3

p

-J—J— I

Î

*^—±^-9 1—1\ d \ d i ' *—I

1—^«—I

'—M-« 1 1 1-^sempre legato.

iN

*Effi -• •-

"^ ^ "^ "f: -91 •*• ^ -^ » *-\}m *• * * •!• ••

g=H^p! !

nH h- -I h H H

t. t:

^=?- ?- ^^

I*I

^

aiaîs^^^g^^>-^f fYii" -^-^^^^ ^ '- -9-V-9-

t:^h

^Kb g

;^ ^' ^ ^-SI-/ •> JJ^-? ^3E

,. I r——r——#

I I

•I a PP=P=F

-^ ^T ^] I

i-P-^-Zipzi^g:

-»—1—•-&P=i:

^^—f——"^-j

! J-

-• d •-

crcsc.

i* :^



Pfe-«v X:iigr]aii<l Conservatory ]VIetlio<i. 183

sM

Andante sostenuto.

RECREATION.'THE SISTERS."-FOR FOUR HANDS.

MENDELSSOHN.

fc^1

'^

S3If 5 »

$e?£

—ît-zt-i 1 =5=PTf

1,-t V^H 1 *-

s*- k-t -a- "T P=^ 1\—I-

i ^ -^î"

cantabile.

I

Ifciz:

P »-=

A E £• £yz:

-# #- :tz=zt==t ^1^ »

•^ "^ -^ -p—•—p-fL_f_J;i E__^

fcizziPz

^-=f=i:ep:

» *

-:^^^=^-

:^=E

Ife^ #-^—•-

P^—

fcJ2=i -* a<—

-# ^ *- bf- -^ ^ r ^ -^ ^

cresc.

^ * ^ tl^-f:

--W=iz

a f- t" 1- t- 4- ^ +:: +1 .

:^ •^ 0-H H

dim.

^^^^^SP

^»- -^ 1 ^ P 0-

^



ISg'w lEng-lancl Conservatory IMetliodl.

y f r ^^ . ^^

SECOISTDO

-P ^ » ^ P—m—^-e—P ^ ^*=r=?E -p——F—"S^^*—"J—

H h

I I

i:=tH 1 ^ »— (t-

-\ HH 1-

i?

i ^-

.^Ljr_pL_-_/t__#. H^ *^*

-P—. ^-

-I—h-

li^:-^^

^*#*^_-fr_^_ __g.i^ J:t=r

-^^

-I F 1 !-

tii::

cresc.p

Hr-^- -# #-

• #-

f

si-^^*-^^f y,-f»-P- —I— ?t . ^f: ^^V ^H* nt

-^^*^KM -^î^^-I h

J4--^z^j=j=j=^

cresc.

i!^=itif^=

-• •-# •-

T5 3**

Hr-# 1 0- -i 1 1-

3^

î^=lPed.

& ' ^^ -4- -J- -H-

m* 5

/^

i 1r-î

3 3?-« •-

t5

3 H ^ 1

/0>

^=P ^# ^^5t ^^ 1^ 5 ^ g: 'Îj:*'^ g: -i^ * ^ 3:

..I «y

I

ip -I «?I r 4:

rT\

m



!lVe-vr E^ng-land Oomservatory IMCetliodl. 155

FTtXTHLO.



ISg-w lExxglanA Oonservatovy IMIetliod.

THIRD GRADE. FIRST TERM.

FIRST LESSON.

GRAND PRACTICE OF THE SCALES.

Rules for practisiag the Scales are given on the 43d. page. As soon as the Scales can be played with a

and even touch, they should be practised with the effects of light and shade, especially with crescendo in

and decrescendo in descending passages ; this being a rule observed in playing with expression.

crescendo passages, the common error of hurrying must be avoided. The beats should be well accented.

MAJORSCALES.

In addition to these and all following Scales, the pupil is recommended to practise the Scales through the

of four octaves. The Scales should also be practised in Contrary Motion.

SCALE OF C MAJOR. SCALE OF G MAJOR.In Octaves.

^ p—^|^^

l<H^* 13 14 1 ^^«S

In Tenths.j^Jt^ CiJIÊ^ ^ i^^^^^

^ ^

In isixths. . Mî^Ma 1

aasa3 1

a—i-

i^îi 1 4



]Ve-vr jE^ng-la^nd Oonservatory ]Metlio<i. 157

M2egretto

8va.

BERTINI.

8va.'

^.t±î^ Ht,

-b--2- M-^- ^8r::=C5:

3 * STr 2 1

izizi

ten.

Ifew. fere.

Sf

^5/



Sva.s

llVe-vr HEng-laxid. Conservatory ll^Tetliod.

8va.

-^^t_,_^_^_- ^''

i ^

^-^î^5S: #-# r:J=fc5:

ic:^P^

8va.

^^ 2fc I:

-(S'-

?r-

8va.'

^-f tri^tfi^p^ 3 ^f H-^-#-»-#—

P=i=

U*^-'^m

ii^= :^^ i^ÛS'-

T-

:p

5?â.

5 *«. *

(a

y—¥=

1

4S/2

H 1-

^îiiP^H3E^ :r=*-# •-

ten.

CHORD OF C MAJOR.6 4

6 4^ 2^

SECOIND LESSON.

ARPEGGIOS." ^ -0- ^ -0- 5_1_2_4 •"

. •2 ••I— 1 •#-»— - 6 1_2_3 *^'^ M •— •

15 4 2 J^5 4^^

-Ji J—I—^j-« j-« 1—--F-I——"-I—h-Av—"'^•^ 1—I

\

—I—"——!-•

I

I

i

1 t^^ 2^4 6

t-

i-s f J—a—-fr-,—

Êr3E3E-ES-^—•-j-

§??^F=R^=^ ^—1îzr:

I—•- __^_^__..._^

This fingering is to be employed in Chords of BJ? Major, B Major, and Bj? Minor.



JNeTV DBxig-lan<i Oomservatovy IWCetliod. 159

CHORD OF D MAJOR,

This fingering ia to be employed in Chords of A and E Major, and G, C and F Minor. The fingering

Bl? Major and B Minor may also be modelled upon the above exercise, if the fingering of the Chords of

Major is not employed.

« 2^'^ 4

*T»

S^3 S'^ 4T y^ 3

2 -4 .

^^ •^-+•2 3 3 Trf- 2-^



TfG-w EJng-land Ooxiservatory IMetliod.

ifH^^^fci^^S

-a-^

:P=h^ttF»-!-^b

^^^^^^M^ 4 -^

3^-^* 1

THIRD LESSON.

MAJOR SCALES, CONTINUED.

SCALE OF D MAJOR1

SCALE OF A MAJOR.

In Octaves. , EZHS n,^ f^^^

:^ .i*

^ -i 1:

•-r-±

1 1

In Tenths.

'ft iilf

£^^ m

In Sixths. pMî^

m^ ^*irmî^^



IVe^w Eliig-laiMi Oonservatovy nyEetliod. 161

RECREATION.A LITTLE ROMANCE.

SCHUMANN.

Mbderato.3

ij^^Xh.-^^p 7 C^7 V y •? y

II

jAndante cantabite.

legato. ^

FOURTH LESSON.

RE CRE ATI ON. HELLBB.

aIeS^^feW^tr^"^ V

'

^jlU^9—•-

53^



TVe>v Eixig-land Conservatory ^Xethod.

^^^Bf^^^^^^SF:53

3-S-

%

^^^-yTryi^^^^

•-#—-^

pp^=r-^fuii-.^^^^VBtp^g^:^^^:fc^ *=T

«^ * A ^ P"^""^^^^^^^

:pifi=^?=^:

r/- '^ r^ fp^^"^^

—J' f=T

mj_ -a-s- :?=

a 3 a-P-#- i

At=a

-#-»=

Bas I I h-h I

' ' ' I ' i

I I

!!

I

1 !

M!

LL

sempre cantando.

PP ^

sempre.j^ c^S™

^ = ;F iS

Pri-



jNe^v^ DEng-landl Conservatory- IMetliodL. 163

i

pf- ^fefe:i

*f 3 4_34j Js_î-0-F-a i-e-fio—

siSi=J: d: t^

ift

-S^J 1 1^^ I' ' ' ^M -^^ * W~mr-W > 1 -F-# 1—F-#-l 1 ^ I I F-^ 1 1 1 1 F

-J— I—I

__ ^—a •*

-^ I F ^ 1

PecZ. ^S**

*

^^S a^3 3 S 3

is=p^^^:

--^^ #'—3—-,^^7-^ F^!;=a>^^

\^

1

t -.ftT

^^Perf. rfimin. ^ * ^^ ^^ ^^ ^ Mi^.:.-M

Ped. -#- J, -fi-espress.

^?1^

^^^* * #

g^^^^^^ g^^^^=:.^=^=3^ 3!=*:

P-4. _(. —^ —f. H- -± -±

513n_.rn

a tempo.

4- _

^^^^^^^riten. P

Fed.

^^3 3

^ ^=if^sostenuto.

S^gjSP^j^SffM^Ti

/?#- ^ ^ <-<s-

a-^ J*

Fed.

^^ 7~lr7" *?[! 7 p=^~iM~^

3t=*

T#- -1^



HXe-w IH^xig-lîid Conservatory IMtetliod..

SCALE OF E MAJOR.

In Octaves

FIFTH LESSON.


1

In Tenths. ^..--^S^ | J J. J R^^ ^^

-1 #—B _ —p.— I ^ h—— ^ m—a

rr , r^ Fr^gp ffli ^F=q^ -.^

SCALE OF B MAJOR.In Octaves.

-ffi'

' ^^^ 1 1—^—•—* a—#—a = m—^ 1 *



INeTV lEng-laxwi Conservatox-y ]>Xetlio<i. 165

pIn Sixths.

i—te- =^-^—0-

^fe?a 1 *

i=P=

m=i

msidagio non. troppo

RE CREATION.SONG, WITHOUT WORDS.

MBNBELS80HN.

^ ^

9S#i::

ares cen -

^ S

^-•-^•^

Jo. 5/ .1.

SEfi ^:

fi tf 3• -<5>-fittl

~22:- pl^*l

^^ fciS3 -•|-T-«-

4 34 3 46 ^w-

itzir^:75^

=1=^P P'P

-0-^

-ti<r

^ p' f-

iS>--»-T-



TVe^v EJnglandl Oonservatory IMCethod.

n tranquillo.\ ^^ ^ p

**•

/CN

s^^yi

Sfe^ÊS ^^N

iv5:

^CHORD OF C MAJOR.

SIXTH LESSON.


^ =t

CHOKU fJt ^ JVLrtJUK..6*4 1,11 ^3 3 .# 1 #• 2 t- 1 r -^

T" rM i i-j J \^ 1* ^ I ^ I

» I

ir-i Tr

fl 2 4 1 6

i

g 4 ^

jzitt

i&JL-L

^6 2 4

2 ^ ^ 4 6

b^ ' •> -+^ #•

I-i M r I

_, ^—_, -!•#

îi^ * ^

1 3 1 1^^^ 1 3 2 .s f:

XT 'I

I I'

I

#-#-+

5=f---r—^

^The fiBêring of the above Examples is applicable to the Major and Minor Chords of the other keys.

KOHLEB.



]Ne"vr Eng-land Conservator^^ ]M!etliod. 167

4 « 32 -I* 3

^ , J ^ g_f-^r-p:S:gT=fzp1— :Fli=g--^t=i:i:gTJSS=B^ Jtii ^Jfl^*- ••3

2 1

J-i—I a-\—i— ^' ' ^' ''''''' —s --^

SCALE OF G> MAJOR.

7n Octaves.

SEVENTH LESSON.

MAJOR SCALES, CONTINUm

SP

4 5

3 3_

J_^

Îe^^^^ ^^=?czE=:p=Î I

P -o-

I'' P 4#—F 1-— lii^^ ^

1 2 1 Ji -^

f=g;rP=f-i»^ft^=8:p=i?

r

msga

7„ rg^ .^^sa^^:îÂ-^J!^gâa^.,^^^^^ 12 1

^snH ii^~f^

-^—#^



JXeTV DEng-laiwi Conservatox^ BXetliod*

In Sixths

2 1

SCALE OF D> MAJOR.

In Octaves.,

_3 1

:^^±r7

/re Sixths.

1 2 1

re Sixths.J -.5^^ ^?j2 1:^-:^ jiT^J^ 'l^fc5-4

^^^Hi

-•—»i-

RE CREATION.Andanle Mâesloso. Sen marcato it canto.

A. A A AA-

-5+- A A-

BEKTINI.

A

as?.^siei^^ :^:

Religioso. ! ! ' ! ! I \ \ \rf-^H^^TTii-i

'll'l

Jp~.

^p

I I

! ! I !^ ?Tf

i^»—•—•- -#—#- -*—•-!•- i#—«—• 0—9—0-

+-—I- -P—êr" :?:?f=:fi-t=t:

*#—•-ip— %-i-i=tÂ

J I

1—I— I—t-

i:±l

4#--t—hr—

-I1 1 !-



TVe-vr E^ng-land. Conservatory 34!etliod. 169

2 3

Is ^z—-z—ii=:z^.-=.-=^X =:il-- ^=î^:

•=rin:-(S*-

Si -a#-

I I I

I

I r I I I uL f^'^

^•—#—•-+#-

gy^^_^_i_i.eSnp=pq

4

i^Î I I I I

-I

—^

—I

—I

—|-—-- EzE -I

—^1—h-

24

Tf-^-•l

lt=^W=K-

4^ n 6. S

i=*Lî3"s=^TS=i=:=itf*,3i«i:p=p=p5

'»!-•-:-e#«-•-

•a-#- Si^pzpJiprp:

-.&-

51

a#—•^^^ -#-r+-

3PIK

I I! <

ITHfI b

I I I

1-^-^

isteai^

#—»-&•—•^•—•- -I 1 1 1— 1 -H—I1 1 1 1—

t=|:=t 1-^-^-

5=g=^p

2 m m -^ •*- OM m^^ "^ *•*

±=t=t:::i;N=N:

5»—•—»—•-

•4

11.

•—it«•—•—P-3l|PC=P==?=l^

f^r-Tf-»•-«#-

r2 r IF p I

£îp

I I I

prw- :pi:^lzp[.-pîI I I I

-•^r-r-pr-^- p-V^-pTf - -

I I I tx

2 23 4

-S-8-«-i?:|*=ft:p5p_B:

I

5 42_ 3

-4r-

P«!-

6

-F- \J.t-

5 4 5 4 5 45 5 4 P^"f"*^"^"*^^

g^=l=^lr:?: 3i=2:

^fczt i<-g-i-5-*

3511

^

4#-a# 6—3-

-^^=FR=f H i

1 1 h H 1 h

atztttatzi:H 1 1-

jtzji-4-t-^t.H \

1 h H 1 1-

iz:ti«i3f=t3t±I I

S|^1 Tî 'X

4 a '^P-^_4 a 5 5

--^

^z2=s=2=JcS•—ji—9 #—#-

-H 1 1 1—r—I—I

1

\

1

\

*! 4

€—€- -«*-«—«;

3.jP

sr r r I n r r r r

> ^ * * i *p

I I I

±zyL-fc:p=p[=:p;

4-»-4-»-4-»—r«^—»—•—l»-#F—»-,4S' S»-

*I

I

I L_

'I'

-# 9—0- -9—•-

#—»—»—»-i 1

1 1- £S3 1 2 13 14 4 4 4 4 4

-9—9-

-I H

r

Zi=:i=W=w^.

Ef=Ey^

^^b; ^5f

•••#•#-•-#••-11 rr

$îdt^jrjg=î=i

^^-

lizx: -J^=t-<s-

!I

V k '?>-i»—•—•—•—5—•- -•-•—»—»—U—UH-»—»—1»—»—^^,^-1 I—I

P—r—\-—\-— -»—a—-—j-"~z±zx|^ > l>^-

!—!— !— ;— !— -i—^^—^-^-r-H-h-i—F—I—t^—u-+-b—b=zk=fe=zfezzfcd-zb:izlzEz=:s:giTigo=il^ r !! r^r I rill!! r^^- e-*- -fer-



TV^TV Eng-lancl Oonservatory IWCethod.

sillegretto.

EIGHTH LESSON.

RECREATION.SONATA.

I I » I\ »

i* 44- %* • '

wî»- -f-

-i-ftjTL,-»-^- Ut

k^££^

f f

MOZART.

6' ^

11:;*==^^

- 1

S=E^^b-?r:?i=^^-I— h-

:p-i=

^-Î f

^*4^5-fi^-t-P^

§£^Ê^-^3

t »

¥ tH »-

f ?

T^^

I f

5: '

1 »

^^ ?Ê-F M-#-FH rh *

'

IIIillH—H 1 1—

-^

cresc.

I I

S

f I

p-p=f *#-

f—

i—b

1—I I » l"-^-S-«?-^ :^=a:

1 -•-F-i—•-

b-T^^*:C

9^^^=tf

/? ' • , , ,/

-I—I—F-iSl

I I

f t

*iL_*?:L^^ S

It!^ fc^=*

7^1 »

i =?=i=4l'^ »-Vu H«- •#-

t*:^Bria t^

1H»-

I f 4

6-#- -#-11'

:b—?-:S^=i-

i ^BJiEi?=^ S^

iiajiEft-ji:i^^3=^

jr-'^=g=if—t-î- :$:=::

if-24



TVe^v*^ Elng-land Oonservator-y IWCethoii. 171

iP

^^r^^^ il £ ^^ ^ |tf^^^_f_f¥ £]>-_> = 1 ^#^

-^r- «?- ^fnrf:,t/ !^-

-UatE^fe^=g^^

:p=t=t=l

Pi'-^-

--^rfr

r=EEE2Ei:e!EE

•-« 0- • • —# 0-

5 4 3

seISe

# —£ES

m0- -I—tT-i—+- ^

=tt=r Ngf r

=i=2--^Mffii:

W-^-9-

t'-^îisîfc*

p1 1 .2

•^ 0-

^fiîiî^^^M^Nr4

^—^-•ipzpzi:

-^ 4 4

3 3 H«.h^ i^ ^ *^ 1. ^T~^ I

^^0Ut^^^^m^^^^f ^^S^^-^ ^?^

i ^=¥- 3^=4*^

ItS'-

#•--I h

«€ ^-4»

I I I f

^ * 5^ t f fP^ fz=LfLî!bipiyip^^£tj;ife-»^^-ij9- H*- -#

f f

3—:î

:f:

cresc.I t

i -i-i—+-

3t±:t

,^

:J=tfl_f_f- ^ -^ *

i?

-^^-^ s^*^ -^—

f f

1*;-U^=^^•-

ii

:?

'^-b-^

f f

i?^!!



IVeTv iEng-land Oomservatory ZWCetliocl.

i^rtS^^^^^l^î^^j^yp

3 1^ H— ••• -F- _ -

F—jB—P—I—#— # ^^^^^

t=l=P=

-^M^^:*iîtji«

ia^:?:

t-===t^=?:

PP^jm

-» 9-

E -^=H^r?^ :P=^

SCALE OF A> MAJOR.

NINTH LESSON.


1 _ 3

6 *



TVe>v £]iig-laix<i ConservatOT*y IMCetliod. 173

SCALE OF e1? major.

In Octaves. ^.^.^m ^5^""|

'

"J^ JL "^ JL ^ J |

H p*î i ,, 4_

ywMl ^^r TÂ—»— —-—•—F— I—I w—•—g— 4—^—H-—i-T- 1— f

*^ -0- wI

b- LS-—"'i 3 1 ^^"""^^ L r "f-

SigE^#—^—h^—•-

p=#=;lia' '' >

g=^s?^S

#—#-

1^3 1 ^^^3^^ I J-*--*- — — -a* — — •*••* W ' I

'".wiiij r I

P^8

Mbderato.

êgato.

ten.

ST1JI>^^.

31îm-;1(51-

4 3 13 1

i^^3^g^-•—p=

3—3—4--—# . -^—3—I

1—, 1 W—#'

A. SCHMITT.

ten.

-4iS!--

3 "» 3

Ii^^r^ttt

,64

1

4

2

ten

1^.-Sl.-&-

1-

-<5>-

2^.25-^-»-|—P-»-a-4 04364334 ^-•-h^#-M—

I—h- iI ! r-i-f-r-[-

2,23-3464^418 3 4



IVe'vr lE^ng-land Conservatory- IMethod.

ten.^ =1:

I-s>-

9W

5 3 _-a-

? 0-\—^-0-M—

I

—I

——\— 1^1 -

^"

^-J 1-^-»—+-J-*-^-^-#-y-»-H- -i-

r I ' it 1 ^^ f *—"^-j—I \-^^-J-'-i a-« a a-a-3-3-a-4-'-taI I I I 3 4 3 2 3 1 „-#-•# r^t**-

2 4 4 b.

'^8 4 T*

2 1 ^12-8434 a---,-a-&-g-»--

^ i5

if*=-s^. ::î P»-

21146 4, 31234

ga»i^^^^^^SL^3 2

He-4-

„ „ 1 4Li - 4 5 4L^1234 413 6|,i 3 2 i-L^, 4 12 3 2 4

i'^—*r

Hz iat

^

^î^=s=^r2 o 2 , 2 i 2

12 12 13 £l1 ^ 3 ^ ' - •• -lI 43i23643i3^3i23

-(S>-

323 4323 4

l"^—*—4-a-lr-fl-a:-3-aH:-l Ii

i I I' ' I

J-

Ifcr=P- :tlP=

^:tiz=^Pi»-

r-

i^: Hio

dim.

1 1^ I2 ^2

642-#-6, 33^542^542^ 6£-*-2-13464?-#-*45 3 45464 3 2412426

-l**S^'— i« I' iib^— I—l-î— I f-"l— I

i—III —I—h-P-^--^—-H—L^ _^Sh^ 1^0^^^ ' l-|__|__L_-J l__i_^ Lm'j 'la.^

'

CHORD OF C MAJOR,

2

142

TENTH LESSON.


6 ]| ^ \ i I^—^^—1^*^ 6 1 •# 2 - 6 13 2 ^"f—1— ^

-I— I— i

8va.

iHH6 2 3 16 2 4

9^H. d ! •

:i=i=t:=i^" 5

-I-

^ îg _pr7^



JNeTv DEng-land. Oonservatovj^ ]W[etlio<i. 175

i

8va.

4* 2

*

2 i.

51

1 5 2 3I

16 2 4

3 2

p^ :p=p:?=

^'s,,^-j—

5 14 2

''=^^=^Ê^

^1

^CHORD OF D MAJOR.5

1 4 1 2_ 2 -^ ^ ^^ 2^1* 16 23 -^+-1-^

. „ „ 1 4 15 23i4„1623 „^ J '^ 4 13 2 " -F- 4 ^ 3 2 6 1

CHORD OF E> MAJOR,4 6 2 4

q-M-

4—i—5—a-

1 6 •»- A -W

î 2 * 1 6 2 * 15 2 4^î -^2 3^^2 1 4 2

j !,' |

5 14 2 ==3, ^'•^36 6132

Con espressione.RECREATION.SHINING STAR. ADAPTED FBOM SPINDLER.

i%

6 4

iz3R!=t=^[i=ji=^=î

A .#.

-I H —t ! F—!

1 f-=T— 1!

^^-! h-+^=-^P—F— iizzzzrl

p

•jlililL

JL

sPerf. * PecZ.

m;#-

^î r :t:

:ii=^:H 1-

-W—n^^K

6

:^z=^c=p:^=::*-

Î 1 H

-*-

*=^: fÊifcfeEEJEES-» •-

* Fed. * i'ec?. *



IVe^v*^ DEng-lancl Conservatory HMethod.

ifc«=P:i :N=^=N=^=^:

c:^-rt:îf=t^= H 1 h

EEiI 1 1 H^B^^

P

f-1 ife=Ped;. * PecZ, * PecZ. *

+- +- -F- -#- i .#-4- •— 4- 4— -F- +- 1--• m—m—•—» »-i—



INe-VT lEng-land. Oonservatory IMEetliod. 177

SCALE OF Bi? MAJOR.

ELEVENTH LESSON.


In Octaves. , —i ^jS-t'H J J. ^ J. J** I |53 r-

b» LS—• 12 1

2n TemÂs.

2

pfa—1—I—-J—^—tf

— ——

-ji—0-

w—ft-

ii^.=>=f=g-^—prupzzf

in Sixths.

fc

-=:^— ?1 1

T=P -# y r i

P

—SCALE OF F MAJOR.

In Octaves.

s

i

/« TenÂa.

fe ^



TVe>v lEng-landl Oonservatoi^ IMethod.

In sixths. 111^-»

— , — 6—-l^^î--^ e *wi H 1

1^wan^..^

-q^Ê=-j —s —-—ff W—o—g— « o—^ A—

-j^^—^—a—' a—^—p—!—! —i~f~W~^

—^' ^^3 1

^^^PiîSTtrD^^.

sillegro.

A. LOESCHHOBN.

6r

r9—fr

•--•--h-F-î5i:pzfz^ztpz(:: SES/'

1 /

f3C^—fpifipzfip:^--,

1 "''"Îi^ ^""^ ^*^

=:izP4z:fE=t--rf:t:ffift=tt

/ e lusingando.

^=F saft=5=zd=l ^ ^-1^-^ »E5:^±:jz2: 3^-;

a •# t?r24

crescendo. ^— dZ

^—fe"-#-

5/'

g^g^g^^pj^^^g4fe



ISg^sv lEng-land Conservatoirp- HMCetliodL, 179

$ A

« &-s^=E=^-^::^-^j^Ti^-^-'-.jL^V^-J^'^ IP^^^"*^*^

:a:-Si——64g^-gg^

.^ ^ 4

^^=^ ÎÊiS

s/'

,__,^pj

ia^:

cresc.

-=^-p—*1

>»—•-F-»-F+—j—h-î——h-

-

I ! I Ml.'-:fft^•-^-Tflf^^T-^.

~l—

1

^L_ ~~^f^wf—M—1-4

-/—'--

s/

^^^^S^mm^^^^^^ ^^k£ftpMiti=x^^ V 7 i-:.LL| ¥-^-

.h'T^t^f^mfMihi^k^f^^.hf:-^^ÎlhhHiTTI^ s^^^^S^

»/

B ^ i-t^Sfc:i *

s/r'

sf

i

iSr

? 1I I I J li I i iî^ *=t

sf sf

m *^x



IVe^v EJng-land Coiiser^âtory 3JCetliod..

Andante espresstvo.

5 -—-^^———

TWELFTH LESSON.

RECREATIONWATER LILY.

J2 metodia ben marcato.

SPINDLER.

—o • • 1--»-\—•-H-itf-l 9-\—9-\~0-\~»-

V

F=

'G>-

I I I

:tzp=^-i=tip:^?irt=P=ffi?^âi

-h—-!—»-|—-!—-h-»-t—B-r—a 1—H-h-#-h-»-^—#-h-#-h-#-^ iflF—•-

pP"pP=^=P=[=P=Cip:

Ped. * PecZ

^ I II

I' 4 3

iSlE!

\^-m^^^^r^^—^m^m^^ ff^m^^-^-w^—^-m^Hr-^rî

trf'-Tf-^^f-j-rrf-rf-w-f^^T^r^r^^^p-^ #-t—»-

Î'ed. Fed.

dim.

I^ -3-& -•S'-

PS5'f-v*Tf¥f\TrTft't r jf Tt jf T\. tT^. r\ r" [r£r^fff^ffWr

BUB sm b£3 CmS

»-«-»---•- ]•-#-

p=r=p=i

:E-#(5?-

PecZ.

-#-i—•-

* 2

L_0^Z\1.,—I I I

I

—li li, I. I I il I ."-

'cresc:

:p^P=P= -9-^0--&-

=P=P=P= qi:=p=p:

Tl T! -Fl ¥i Tl ^1 T\ T LH-.* L£l'^*L^* L-tl-* I

?-| T\ T\ T\ T\ Fl ?1 T

5=p—p=p—p^p—:p=p—iq=:p=p—p^p=p=p=_p=

Ped.

P=P=P=p:=P=p:itF=^g=^=F^g-^P=F=g-

#-!--

3 2

* Fed. % Fed. Jp y



IVe^v JEng-land. Conservatory ]W[etlio<i. 181

Ii=it«>-

'P- .0 m1 !| ^^f^^^t :p-__|_^trp

:p=P^!-#-i. •#- -m-\ 0-\ 0-\ *{ -0-

mf

Fed.

a-i-0-3-0-

* Fed.

m—#—•- •^ -^ _ -^ -^ -^ #>#«•—I—#-i—^h-#-1

* ^^d

* Ped. *etZ. * Pe(Z. *

dim.

f-—f---— J_ ^ :^(S"-

-^—1«=^-

&T#:

-• o-

r#jj.=f:pf^f^-

^^fe^^M^^F:f^fe=*

Ped

-pa-

^Ped. *

cresc.

i-i—# -I 0~\—0-\—0- -I—^-1—» ^ (•-

-#-i—#- >^^-^^^^

5^-^Vf=p=tp-^

* Ped. a *6 6 6 :j:

~l-

r=?^w :pr=ip—p=—pzz:^—-•(S'-

F f fi fi Pi Pi P I rî P \ P \ Pi P \ P \ P \ P?F^=?=

-P-—•- -p^p--I P-H -Pl P

—p—p—p—H—p—p—p-

*



ISg^w lExig-land. Conservatory IMCethodl.

Ped.

—« — —zqr— —^—#——L-i-^—# ^ ^ ^^-^^-^ 0^^ ^ ^ ^ *

'^*Pedr

/!>

I»—-»_^#—-»__»0-1—0-\—•-:—#H 0-\~0-h-0-

IZt

t=,0—0—0

vm j>iu lento.

»-i—#-t—#-i #-f-#-,l^#J—»-H^#-""

M?

=^—f^—*^—*—^^-^^—'-jp-* J * ^ * i±=j-^—M-z^—H—# -r^*-2^3 •#

^-f-* •4-#• 4

Fed. ^^^THIRTEENTH LESSON.

MINOR SCALES.

Vjv •*•

SCALE OF A MINOR.

-^^^S^^—H—^ —B-fr ^ 4 * O—^ d^ p r ll -ff

-jâii.'—a

- »—"—I

— g^S^^

-•—#--I F-—P—#—-—n I

I

I

—I

—F 0-

r=p—•-

1^1SCALE OF E MINOR. i^-

, j 1^^*?^ 4

-^—^^1^SCALE OF B MINOR.

—If •—P !^' ;,B—^S—»-



INeTV !Eiig"laiid Oonserva-tovy IWCetliod. 183

The fingering for this piece has been omitted purposely, ui order that the pupil may be required to

study out for himself the proper fingering, under the guidance of his teacher.

RECREATION.

ISfjîi-TjEdi^zfcjjgjE^

THE OLD GOBLIN.A ___ I

A A_SCHtrMAOTr.

:siE©i.^s

A A

m

:iz*ziz±-^ \-^—

^-

///A A

^-^:p=p:

3—I—I—+-+—!—f—I- —l—f--fna:

^!i^-^y??.

îr:^*-^^-^-^ 5^^"?:,

A A A A

^.

jti: Sa-'

#-^-tf-ai-*-^-g-

:"*/A A

'l~ms^=^ G#-#-

A A A A^

F?E^Jz±:^zt^±

^^-.J. A A

!=i=iîfefe

tiii:=1=^,

^ •-

A^__ A

:££ IS///

3ttttfl* —y.-.-A-

j^:=p=Â Â A A A

:w=^

^^m

iîpzîpifzpzfrp: i=P=

:±ti:r[,

êSêB^•—^-i

^«r-#+^-p#-gSSi^^,L,u:-£B=?&a^gS

•-^n»^»

^g£|^F=,S,':pfp^^^g,|^&?f:Ppci

I—I—I—

iit'i'i':^*^'-*

#-p^^p» ^:j:ijjj^jti?^gi^ga î=i?it-0^0—0-0- -^'-0\r0

cresc.

A

f^-*—I-

5t. W :i:

i^z

y • pi

=^ ÎS•p*-*-

5t-P»- ip:

ip^



IVe^v DEng-lan^ Conservatox^ [MEetliod..

/T

-•—•-

qiX=p=C=P-T=p:

^^=

=t=P=t:^

I

I r^*te ^ A A A ^ A^ « A A

-F ! 1 F ,-•--I 1— ^F=,^P-

A A A

iA*^-^-a

'^r^^tzzk^ jtUiî: ^^^-

/i»

i=t

:J#:j;:-#-^-^^# ^j:•#

:a=^-•—€—«•

A

1—«—«

'-"**-#rT'f

MlI,iALi_iL,_,L^r;_»:sa*#f^^ H— 1-

^ :*=*: Hfei=*-J-H-#--•- i•-J-#A A A A

-i^—ii<-S s•—#- d—i-d-ii-d-jJ-d-

-^-•-^-* jtizi--•- ^* fr^RT^

A A A A_I I

'1 A A A '^_ Z * t!M , *

*/ "^ A^ -^/ / /

^^#1^



TVevr I^mg-lamd Oonservatoi:^ BXetliod.. 185

FOUKTEENTH LESSOS^.

BROKEN SIXTHS AND OCTAVES,

«1 _^_i^_f-_f:_^-.:^,r—V-if^—^-

H*"H â ^-'-^ H-H

^s^fi

^^^^^Sg^pEÊgz^z^^zg^l:M=zi:rr±^ AV

i

3!i

1 1fl

ir-i—t—h-#-

_^

^—^

^-:Jr^

-4 1—J ^ ^

, f , f-—f ^L_f^ g—^ , Av-,r

p—«—^-

^ bîhB^^H ^MblMhM ^_^^Ê3 ^^toM^î

ij^.- F^â^^^^r^^S^^^B-#—*—: 0-

kHiî^L

=p=r-P-ZW-—

6 4 5

45 4«—g-p— _p—p_-—

iii^

iSE-*-fr-

-P=^-fr- -4-*-

-P-^—^^-^^--zMz^^-"-

& ^'^5J:

"^ "^

p P

^-^rr-^£6 4 6 4 6



TVe^«v Eng-land Conservatory IWCetliod..

Allegretto.4 ^ 8va.

* 5 „ .-# 2-t- .5

BERTrsn.

q 51 2 •

fe-a-P—t-ff

^^-

til/' legatissimo.

_.U--^^Ji4-^f-^'r-~r-^T-~'-'-T--Hr'-^-w-t'^- rf-w

iiê3^

:iz=i; J=q=

™J 3 22^- 5

-^

:i—-^

4 _ 6

i||=^^Sj='=-=^^=f^=^^?=ffiiE^

t^-^--^!'T i^f-^^f ^^^^^îfr i'^f^^1

1 1 7213§5:

12^ -(S^- -(5>-

?2--• •-

-(S^

H—#--1-#—iip—litW-'—1-#—l-#-i-#- -

i 4 -^4^ »frf^6-^4y3^•^2 12 •^211

:^:75) <5^

5 6

6 6-^ 2 -^6 6 ij_^ l-*^3-#-L-t--*-^

-#-a-»-i-l—#-

:p:ppr_|Tt-S

'i!E^—m-2z: 5=4==:

5 66 6

6.66.6

5 6 SS6 5 -.-.S^S-#-2-#- H"-3-^ -•-2-#- .•^2;^,*2^

f 12 .2

,,.#3^.i_ppJt,_i.--t-^

E

l^F^-Lltlt

-i-i—FH—F-h44a-t-6-- -

-H-i—^ '

-iSI- -«-

-^5^ -5^ -iS^

i-i-iM-i«-

EÊMEEf :?=±'zi:i-d:^:#-!— I ^—&-#-5-:J-*-#-*-

::t*=4

dim.1 2

:it*=fi±:J1 2

-H l-H-

:*z±i:

:ir-«^

-•--1-#-:^>3J3J:

^^ ^^- ici :i=^^êîEl

aempre dim. /Ts

P

--iS)-

-^-i-V

-i^--!©':

S^Tri-l-:^

n-:^:3 fS*3f;J'zl:zz=fl-j ——i—^-#—i-»-^H—•>—-I m—

• • |-#-I6-#-5 #5 3 6-#-3 a 3

'^- -<5>-

I 1 ' rt\

ISl iia



IVe^v^ lEIng-lsLud Conservatory ]>Ietho<i. 187

Zeggiero,

RECREATIONGAZELLE. SPLNDLEK.

^: ^]

'>4F-^^^^^^?^^ft^^ f^r-|T

f I

^V—.» ^=1 :f=^=^:W

ft:[::

^1— +-, )— -t—,«*—+-+- +-, +- IT-t— +- 1-1—

, 9-0- +- t—

Ped.

m^

I'ed. :{:

^* * i=

J'ed. ** ^-p-

-Êii

Pe(Z.

-I F 1—

-Mw-

Wt-

VFed.

3± N:?•-

U-

I— +- 1-(— 4- 4- .#-*--(— "^4— -ît-#-+--4— 4—. 4— 4^ -4— 4— -^ 4—;+- *T4—

fitMEtztoz^piT:^ f:if^

feEpEpE^^^^ .^ ^f: te :f te

i±

^4..

9^ •-

ip=trtll :«f

1

-4- -• o- mjii=;:ti=ti=r1==ii==1=:^

SfEi^^fîEES



IVe^^v EJng-land Oonservatoi-y ]>Xetliodl.

fi^m

8va.

^ ?^ X5 4

4 " * • m-»-

PecZ.

31JLp_t^ ^ r

:c: 2A ?:

-&»- IS*:*— =1=1^ Fi?

6 1

H —0-—(-

I

—t-

-#-^#-

^ ^ A Alt _:^ i- iî 3 5S ^ ^* 1 -•^

i*:^

Ptecz. *i: i ^:5:

Pet?. :{:, ,

.gg- 5•—•-

3^zz^: 4»-

P^^ ^ ^ it'^ ^^^^ 1 1

.^_^_f_p_fL^: #

PetZ. *^

! I-

T



HXeTV lEng-larwi Oonservatory 3Ietliod. 189

FIFTEENTH LESSON.

MINOR SCALES, CONTINUED

SCALE OF F^J MINOR 1 3

. * '^^^ ! i .I^S

1—^—^—#-ifdii-I—I :P—•=

0—^-

W=V

SCALE OF Cj MINOR,_3 2

1

i.^3r

-fi-Brr+rJi ^ i.l^»^ F-—^—«—*-ff • ^ *—«—W 1— ", ^ p i

1 tt XT

^—*-

i^zr^:i^SCALE OF Git MINOR.

Tl ^^^^^^^^^^m^^^^^^^^^^^

Z^?"^^^^^«^ -

— ^S^S 1 1—^—#-5*-^ ^W^H* O— 1 1—^p^fi JJ^ ( "^^^-H—^ « * ^

-TTL-^ * • ^ H—-H 1

13 3 1

Allegro

STTJI^Y". LOESCHHOKN^.

3 4 5_

BJg^^;



HXe-vr iEng-land Oomservatovy 3J]etliodL.

fc*:m iz±iz:i=ii^=*^_._^_-_,_-_^

cres - - ccn

4-e-1-

3 1 4

:i^tÊ4

i4

-•-l~»— P-'r-»-

3 5 .44 2 3 1 4 2

gtijEg;FJ^^?J£g^J3Egg

(?0.

iii#lî^^

w:;c=p:

2 1 2 4

« i* tt g a 4 1*2 1,3 4 i 4 3 6 ^4 3

-^—I—I—I d—'—I-

jt^PûL_^ -0—1-^—I—^—I—.—I-

sil

-^ ^ ••

:r^^

^ #^ 5 1^J90C0 a poco.

*

^^F^^Ê^SS^

f

*M ^^3J,__4 2 3 14 2 3_J^ 3 5 2 6 3 6 2

cres - - - cen - - - - - - - do. * 'III:^

^N a 6

I ^tflPq

m^2 3

2 412 3 3 4 2

-^ {—id-

P

^ ^liziiz* i=i=«—iiii^--#

î •—^-•—^-

:fe=f:

2 3 2 4 16

tt 1421 23 21i3^S ^3*=^-*=F*»^^^**=*^"«i=*^^=^*=*Fi^

1 . I^^^^^N—^ân ores - - _ _ cere _ - - tZo. ^^^^^^^ J

"Î [II3IZZZZIZZ jl I I / ^—••

36

:5/ g-

F



JXe>v lEng^landL Conservatory IMetliod. 191

SIXTEENTH LESSON.

BROKEN CHORDS. (ARPEGGIOS.)

Besides the Arpeggios already given, (in which the Broken Chords are played as written) there is

fe5#orkind indicated in the following manner:

Chord upwards from the lowest to the highest

Chord is completed by the highest note, as for Example:

î

(_^zzi which is executed by breaking

—^ notes, sustaining each note until

WEITTEN. mi i.-&-

PLATED.

Lenta.

P is^

E«!X[JEH-CJ/IS!E^.

-A.|S.

121^

( £.|S2_ JL,2_

I

-£j2-

-30S1

\«-ig- -^•G-21^X^

-a-S'-

:i^

3e

^-(S^

I-(S>-

^fe^x^^2-lg-

-f-*- -3-©'- -I5>-

-i-(5^-L'

12:2:

:fi"i?~:I

EFFECT.

Lento.



]Vevr Eing-land Conservatory^êthod.

Adaffio assai.

con espressione.

RECREATION."THE LAST ROSE OF SUMMER."

-^3^-#—^»#—!*-«f-

ii i.P

t^f^--t-K

4 6

B^. ±r4-t<-

tTti ffTTt^ J—^

1 N Nt

1/ K 1/ I

Pec?, a chaque Harmonie

<, î N N N •< ^4. <J- ^ ^

S

feg ly^r-^

cresc

J^-

i-#-h

W^

5/»•*'•

/? ^

^ ^

^' --t

! < J I—

^-f^

4

iaES

^ <4 ji33t

<-#-

:^r|!:

4^^—<--«

...î-<-j

^^ ^* -fe4-

'•—<tj?

—^ f

I** I doZce. '' egress

<#•<« < *

J: ii^î-*—<-•—<-#

,

=t SiVA/

SEYENTEENTH LESSON.

MINOR SCALES,CONTINUED.

1. 4

SCALE OF El? MINOR



HVe^v^ Eng-landL Conservatory HMethod.. 193

^mi^^2

2 1

piSCALE OF F MINOR

^p=^=^^^^^^^^^= il^

_»_^-

-I H F •-

-_*:t=t i

ISt

STXJI>^r BEETINI.

iAiieffro :â

«3=p: -a- -—1-« 3-3-Tr IT-*ipipi^piîp:H 1 H

Ir I ii •-•• •#

i»

f—fi—r--r ,r .f fa

:t=

i

a 41

8 3 13=P=F-#-P: 4=.P==F

-.#-f-^-

^

^ Pâs^fe ^^^ ^^^^^^* :p=p:

S

/?

3,^;

tjzipiPZiZjE

-3 a-

1821 1o3-#- •• •#• •2=iLr=i^

»^^N^î^f

, t t f^K-r-^ ^ 3-« H^•-^flizt i^^ -^^=¥

fi»-4P#-

^ rr*



TVe-vr Eng-land. Conservatoi^ 3J[etlio<i.

2.341. *-^+-, 1 ?^-^-^

Ul ^2 ,S

;>=«=

,jr»1 « 3

I

^?stit

1 h"

et-^

*=^

» m- J5^->j- 4

I

* f , t-

& mzL.

3p=p: «•-

SiH ^^-^ #-

6# #-

jr

—Ir-t Pî—^^ M- | ^^M— ^M ^ • 9-r

qi I 1 I o I 1 . « ^

-I-

^—#

â-SlFl^fP^r#^- j-

1I I

itjitd*;1—

1 1

=^=IU^^^=styfciiEziS;

is: St=i=^?=i^^8»—r^

SiE#E±*#^tf^

p



!IVeTv £]iig-laiid Coiiservatory- IMCetlioii. 195

EIGHTEENTH LESSOJf.

REPEATING OCTAVES. (WRIST TOUCH.)In order to avoid a heavy touch, these exercises should first be played piano, and lightly from the wrist.

As they are fatiguing, they should not be practised long at a tune, but frequently, until strength and steadiness

are developed.

i^-i4z^zmt:4jiztj^.T z^zi|zîi^7î^=^=îîî^:^: -•-•-r-r-P-i-i~i—h-h-

)-

:t=t -»_^_-îtc?:

I

1 1 1 1Ll LH 1

!

tT

is-A—I—I—I—I—I—I—I—1—!—I—!-

:^zK=îîîiî^:îî^=î^liN=^:m-m-

-A-_L _i _1 I " _L !_L '

!—I—I—I—I—^-—I—I—I—I—I— H—I—I—i—I—I—h-L«-—I—I———I—h-j-j-

RECREATION.

0-0-ft-ff

a-u-

Z/ Cflr«/o sostenuto.



TVeTv E^ng-land Oonservatovy ]M[etlio<i.

NINETEENTH LESSON.

MINOR SCALES, CONCLUDEDSCALE OF C MINOR. ^-—4 ill ^32-i—i 4



]Ne"v»^ lEng-land. Conservatory- 3HetliodL. 197

STtJI>l^. BEBTINI.

Allegro.

Ben sostenuto il canto.

p-

:s2i d rmt. ^ ^=^3^: 3p:

f=G-'

T"l"

=?z=

P sempre legatissimo il Basso

P^^^* 1

*^ss =p=^

^'^

IBE^^ÊEl-EEEl-Ei^

-*<s^-6#-

^fcz::

l-(S^

cresc. r-*#-

gs^^S^^^^^yfappâ^Ê^tpt

45. ^ J

il^=^ 3i: :iJi^S^gE^:sil:

-fT*?-?-:i^

^^=r=i=^-^fSi- îp=^

T -<5>-

1 ± I

r?T"s* *

1 12 3

l^mfpf^=

-I I 1

-f--##-t-i 1—

i-î '

Ir

-I—F-l- '

|=Pvwtx--

-I ^

J?-_i_Agi: y.Hcip:

-*#- is^ -•—agj- -5#- -•—1^--C?2= -ifi^-

^^ 1^"r i-<s^ftit'm. '^T^ ^-f-

*=F_J_^_-i 2 1

r:p—i=P=i

"

Il I I I'23 1 ••• 2 1

4

I^2 ;g^li:

iISC

tj* „Y ij"^ 2*

t==^F=l#=F=l^ -.htiisi:

-SIS'-4B#-

^ '^J

w ffl 'I I

T-

SE^.33:

2 1

'^ It*fe^P^^

2 1 .î_?_îi^:^=P3=:^-•-h-*t=*=p:m



]Xe>v JEng-land Conservatory IMCetliod.

dUegro MoUo.

TWENTIETH LESSOIf.

MINUETT.-FOR FOUR HANDS.

SECOivr>o.

«—«--p ^

*=i==^ i=S^:£

j—1—kî-^ 1=4= 1 1 î=t

I

6 43 2.

4

? !

4=i• »-

te "^^-Ai—^^î^t^

rTT r

.-<s^.

j»

ii* it=t

-I© &—i- iS»—.- H 1 1-

1^

h JkS-^§J^^-Mtd=|g^^l

^f^»-

-^- -&--:4— —

-r-^-it:'«:

|:?ftF^t=^=îjâ^-# «-

-^ ^ ^- -j^^^

** T^ •* ^ r

J sw^

^îv j^Mj: S^ te

rS-

:i=:^^l=^^j:^=l^-t—rf-l-r^^



TVeTv E^ng-lcLnd Conservatory ZMethod. 199

RECREATION.

MINUETT.-FOR FOUR HANDS.

i»ihm:o.HATDK.

Allegro moUo.

%i

P-1^ #- -^

fc^ £ r>i-s -»—^ fe5s

ifeg-4=î=Fr• •-

fF=g=r-^=g^^g3 ii±=t-•- -1^ i-

I

iti #—-^#

:i^tiCl- -^ - ^

<&-

^

it

p

i3f—H-

^f=f=F^ « ^^^r^=» d 9"

%*

'A.9^r0± ^-

^^-0 P-

iI:

•« •#• tT+- 4— .)— .#.

:!sS::

l^^gfc—¥ ¥: ::îi=^

^

ifcsi

#• -F- '4— +- 1— •#.

:^îlE

=?8=;

:^^#

{I:

P

Ifcf:

^'4I—nr > im^-i \'f i i rî-4-i

t 1^

tt

*=i: ^:l2pf:

:!sij=1^

?0- ^-Xn

j?^—f/j:;Ii^:

?#5F

?=±^î5r=^^2*



IVeTv !E2iig-laiid Conservatory AJCethod.

SECONI>0.

i^ i=4^ ^-^ jz=zj-|-1^^g:

=i^^^ :i=^ :|=^ 1=1=——j—i

3 ?

^:4=1=^ 1-Î>-XJ^>-t-^n4*=*==i :^-r

-p

_S It itzi

P

9-^g=i=^ i=l=^=^=l==d=i=i :^=|:^-^-

^3^^fe^^* -i^- 2^ H» • #

*^g=g=S= -I—t-

-1^

/>

. i i

^T\ 4

t=i^

ii=«Z3!: î^_^__,. ^ • ^

:#=?:

^^^M. ^-ft—0- ^Î

I ii; fei

t

^^gi:-i^

Hl&^ =i^— î^^^«

Tft: m^m#—•- -•——•-

# #

-•—I—#•

yt -^ li- -^ !&



IVe"w Xllng-land Oonseirvatory HMCetliocl. 201

PRIMIO.

-^- fe.^-t'pr—i Igipi^^-

^ -»)—» i^ ^

fe^35 a^^?=^=^^|gs•# 0" :r

-#-f^ -i^-f--l^*-

ii:

l«—-^

t=l=-t—?— t 4=t

^ 1-^—1—J: E3^fe -#-f-

*fe—i—^fi—i— ^l=l * ^=t -ft :

11_t—t-

It:

/?N

:?=:5: -F-H-

:j=j: * *

':}t^^



]Ve"w lEng-land Conservatory ]Metliod.

TRIO.SECONDO.

"^ -^ -^ m(— -I— +- -^ • a.

^^^^^^ ^=^-3^ r^3-«-

-«-•;

^ J [ ¥—^-4--M^=^:p=:P:

f 9 f m #—F-*—i^ ^:^^

gî* ^^S,-T-

75^

'»rT> Utfijd^J-^-ift=

I =i=t-**

-^—•—^--%=^l- ^

cresc. — />

P=j—fe%=^ t=t *=*

t1=

t:|=l==i=i=

5^—_=lz:^ :|=i=

M t^^ ^slSiJ:

#—^.

4=^ :f=-P ' 41

^=^—f—i^-^'fe^

liiiz*; ^: f 3iB

F



]Ne"vr Eng-lanci Conservatory IWCetliod. 203

TRIO.i»iiim:o.

*I

.*m—0'^'=W-'

-W=i

-b- it:

^--t—F-W^—# :p_^ ^-fi—0- ^—0- i^:

-g—0-

-ipi

:i -•—#^

tt:^=t

JÎt—b—J-

i

t3^ Tl

'tP

*^^

-^-#-iprzil *^=E*

^ " -^ ji

-0—r^-»— —•-

*t S r 1'

'—cresc.

Ii:

P

ifcS:

-|iL#-

2^^^^?^=

:^3i:p-#- bfe&EJa=±Z=^

Ift:

r*-r:J: -+Min.I).0.

^' -



"^G-w Eng-lanci Conservatory IWCetliod-

utes:

THIRD GRADE. SECOND TERM.

FIRST LESSON.

GRAND ARP EGGIOS.

1. In playing Arpeggios the fingers should be moved along easily, and the groups evenly connected.

2. Correct fingering must be observed.

3. The arm must be kept free from tlê body, and moved forward evenly.

4. The thumbs should be watched closely, in passing under the hands, in order to avoid any twisting o

of the hand or elbow.

5. The connection of the tones in passing the fingers over and under is more difficult than in the scales, oi

ount of the greater stretch of the hand; and too much care cannot be given in the practice of this connection

6. Allowing the fingers to remain upon the keys must also be avoided in these exercises.

7. All exercises of the fifth group in common chords, as well as chords of the sixth, should be practiset

the time which is marked, the rhythmical accent falling each time on a different finger.

1 24142

^.J d ^

\

Slow.

^g^=i--i^F=fe lif^^ ^^^^Î

P=?• a—

-»—---0-+-

^îîm

-^ 0_(_ fa^Mî^.^

i

C MAJOR.

fSt. position. 23-8va

12-A 2 -0-^ „ A

^^^f: < ^ A 2d. position. ^ ±.

A ^-LU ^^• ' ' _ .0-+- -m-

^.8va.

e*

8va.

3d. position. .^ tt:^

4—+- ^ w^ I •• « ^>l A H H- 4-4—^— ^ -»

^^0^^^^mEemabk.—The arpeggios of the three positions of the Chords of G, F and ¥^ Major, and A, E and D

are fingered like the Chord of C major. r



!I>fe"vr JE^ng-land Conservatory IMetliod. 205

STXJI>^r.Vivace. DITVERNOT.

Et^g*fE|E|9 ft-?-^-

9-\i^-^-

_j—,*::)_^_4 —

P

2 , 2

-*- 5 *-#

ie=i:

% 4^^

^^ a1

A-^-

^T=N§Ltib3=*î 4e

—*-a-l— I—I—[—"-»-"1 2 1 2i

^_L!« 12 -»-

-f-=^-h+1-h-f-^-pt-^

A6-

—N--^—i— -^—•

n-

"fa 1^

cresc.

a ll»- A 2 p"^ ^ 2

f-f^-'^

#^4 2*23 ^^'^ ^^

:N-2- —I—

-3*-

-*?=iS—»?—^ *f-

-&•- i



IVe'vr lE^ng'la.iid Oonservatory 3JCetlio<i.

SECOND LESSON.

RECREATION.FINALE TO SONATA IN C, HAYDN.

Attegro.

sjdz^ftiîp:5=Sjl^|T^# p

,

^-#-#-

IQdi.

IlÊtirpK3 ^—w»

1=^

5t=^St=^ti»=^- ÊfeU^1 I

limbiiik

V # ^

iii^ :t4 3eIeIeeI^ aSs^ H5|f

pPi^^V^ .V 3 -«.

F^ ••î.* ii?.-#-^> _.-••

r#—^—^-U'' -#-4—« -< -P—P—^

^H^^ -II I

S ^^M t=i=4 ^^g^^^—« « a=^-J-^^jr^-

I?

P=?ef:iMP:F—F-t-

-^»-^ #^r ^CZîipE

««—jj ±1.

iP

^^^g^ ^y^J=ia$g=i=g=^Lf

<S>-x-

?

Stmfiz^ ^=i%^ Ê

« ^-^ S^^--#i-L-J,SrJ;gz,m^z4^^^**^.^-^

^

-4—-#-

* ;^^-*-^-Jr#dif- ^—^—^-

aiEJgEgÊ^^gig; :



JVevr E^ng-laind. Conservatory ]>Ietliodl. 207

JfUfSlfLilft

îh¥ J^

fa. I rTT-.t:g^-

f M ! i^

-ft—ft- -Ô-C-iff^^W^

f^s=t^

^mpP5=t

B

g_i_agîiiS tEfe^=SS^

s(SI—f-

r

^ ?^^5t :^^

liip:

i^—14^ zzicz r 1I

—1-4- 'I T

J

-f"

^^•^S;^•^=^=i: ^M& «-tJ±i=p=Jfc^

5!--*-»- ^^1^*^b^MilBi-d.

'^f*

-^î^

^^:lEfe|giElE^r^^gîg_^=•- -^^

::p=t=:

blB^^

S^-i- Sf^ "j^ ! ^m ^f^w=^r^T{^ 1^:tit=it:

-)—I—I— ±:

'^

1^ g? • te=ic-i=^+=p== '•-m-P^m-»-pipziip:

-P-#-

:p=tt:

^•»

I I r I

P

H ^ 1 1 1-

^^^^^ ,5l_i_

f"

—»-^-{4F^=#^ tfe?-v^^

-•-•-P-»r#-tifit^f: ^^'^ ,.

^5^?ÊE?^:^

:^* i-^ *

fe$^^^^^^^*- pgq"-r=p=r^



]>re"vr lE^ng-land Oonservatory ]Metlio<i.

/r\

^lg^%-g^feffe^Êggî^=gE|£^^^^

c^-V

^.^^^^s^^^ssG> •

r

iw=wfjfiirw=i

4 #• ^^^^^^-^

^ * #^

^^^©!3îN^?: 3^^ :B£^^ :Mc

THIRD LESSON.

CHROMATIC SCALE.

There are several methods of fingering the Chromatic Scale, the most useful and common of which are

so called French and English fingering.

1. The fingering marked (a) is called French fingering. It is the most usefiil, and best adapted to a

execution ; it is therefore recommended for study.

2. The fingering marked (&) is called the English. It is best suited to light and smooth passages, and

be used by advanced players.

CHROMATIC SCALE, IN SIMILAR MOTION.

FRENCH FINGERIl^G.^'^) 13 13 1 2 3

_2 33^-^ A

m-^ft*-^#j=3=*=«*=*=»

J, 3^H tH- ^^ ^^^ W^.^^

2 1 ,,3

^^^^^Î

3*.J. 3 13^ ± A \Â J. U j b^ i 'P^=i=S ''.I =? i

l 3 1,32 I 3 1 3

^m



TVeTv E^xig-land. Conservatory IMCetliodL. 209

ENGLISH FINGERING.(") 2 3 1 2 1 3 3. ^ 5 ^«»4-

iE^~^rEpfEa'^lEE?£f^=|E^^=*^=S?Lzt*

#=f43 2

^-T-^

4 a.

Y/ i.t— ! ^-^. ^—f=^f—^—

^Pi^ 2 1 3 3 2 13

3,41-I 1- :p=3p:

-a r9—^-

=P—i^—#—^#-1sh

CHROMATIC SCALE, IN CONTRARY MOTION.

1 il3

3 3 13 12 3 13 1; B ?__a.^^^^^^^S^^S: :Mf=iM=iy£^^£T

•^ m bm iUi li3 1 2 3 1

^ ' ' • ' ! ! ! ! : !

31312313^_^-J2^=^ H 1-

^^—^- ^ ^v i I;,

I: it'i iî. i_^ 2 2 13 1

1,3 1 3 SiTT^^^. •'*.

1 nil ? ! ^ 131 3

:p=2P=i=:j^-I 1 r- :*-^*^=i?i^=^=^^^=^PP

CHROMATIC SCALE, IN MAJOR THIRDS.

3

—V '« '

' -^ V

f%^^=ri=î=?ÊE?*

3

-gÊigrj:^Êgjfc=f-fe=fgt-r-^-T-rTi.bM^biîJ * bSShZSnSl —« i 3 1 3 1 a a *

mI 3



ISg-w EJng-land OonseiTâtory HMCethcxi.

1 3.

.iS ' •

'

I 1—-I -I—

i 3 3 i- B -.mj^z'-ft=WZ

1 2

g^j^gfeEsaE^pfeiS2 3 1

ii!

CHROMATIC SCALE, IN MINOR SIXTHS.

1. 2_2 a 1 a

^ 4—^-

H n.-^-

^fi—*-ir~'#t *t

" ' ^.

' ' " '

rjEEÊ^*|—f[*-V4»-!^

f —ii——«!—soi-

?^:t ^L-^

-^^ A—

h^'

12 3 1 II n| I ^1^ l^_J^-^_J

13 13

-*iy^

^*4M^J-^

4=h^

asH h

H h

STTJI>ir. DTTVBRNOY.



IVe^w DEng-land. Conservatorj^ 3Xetlxod.. 211

*f=

» m\>m Ll! 1,3

-I , L,—

1

1

h- -^r-

a^^î>?r

4^tTTT

—:—

V

3 1"3 2r'3 13 2

-^-i i-

I'

' '—^.^—I—I—F 0- -F-l-ffH--h-^lii..lii. il.i. 3#-F-f-- -I I ll

F-#--—

î-iTT^-

==g-Pfti=irr#â# -»•-

-^— -5I»- !g^^ i-

_ /

StiE^^^î-«-4

*-«Lj;3-^

2 3 1

f-t^

i,.3 111? i&»H^-0-

cresc.

^14 1 2 lu3 i;^-^^ , 4 , 2„3 1 2U3^--*-

f=tfiip=P=

1 5-^-f>. 1l?1*ffekr-i^2_L,Lit^

g

iêî Y

it-M=i-^,'•zutL

=^^=iH;«

4-» ^f:

;^1 3 i a 13 21 3

JPttfcfilzzizbJ

1 3

aI3—1—3-

H h

-1^^

TJ. ^' ^^^^T^=S^

Î I I

' !—^— —HI



IN'ew JTJxig'laiidL Conservatory- ]\j:etlio<i.

FOURTH LESSON.

GRAND ARPEGGIOS, CONTINUED.

Eemaek.—The arpeggios of the three positions of the Chords of A and E Major, are nngered hke the

of D Major.

D MAJOR. 8va.-^-^^*^-^s „ . .,. 8va."

/si. position. 1 i A ^^' Posttton.

:^

tosilton. ^.^ :p.«. s

3^ -â 3

ît^^^6

Remark.—The arpeggios of the three positions of the Chords of Ei?, Ai? and T>\> Major, and Fj, CjG| Minor, are fingered like the Chord of Bi? Major. The same fingering as C Major Chords can also

used.



TVe-w DEng-land. Ooiiserv»toi*y IMCetliod.. 213

Attegretio vivace

STXJI>^r. CZEENY.

V

-^=-^^-^=^^-#-

^^»H-^-

^^=?E6^

i#i:iPl^ =^=J= t I:

^•»-*i 2

I1

# #- __| ^-- p-l*-2 1^3 2

S

-|Mr#-

8 ' 8 S ^*^ '^^ 4 '^ 4

§41 * t M f-^

^, I 1

.«*

EE*

^ -3-—-•-#-t—•-

ir-»-^P

cresc.

M$m^

^^^^^^^

^ i^^S4^

itt^=^=ÎS

:îpitpL-

iifeEfi^

«5^'«•-;--#.

«^f:f;

^^^^

'S,'

3 4

-i——0-f-C- =i^h^-#T

^^*^

1 ?>fl 8--^ 2 1.. !•- 34.3

1= -'f—^— -

-©-



INe'w !E]]ig-la,iid Oomservatory IMIetlioct.

a . 2 l^X^

^^^^m.5^

^2--f- 21„*-#- 24,2- 2 3.2i---»

4^S3^^^pi

'Si?-*.

i i

5wa.

-b H

t^ •= 4b :p=F-/—b—?-

S

=J=^ s^^

•- 2 1

b—•—S—f-T-g N

4 2

I—#I

g—

^3 b4^'FIFTH LESSON.

4Â. SCHMITT.

,-•23 ^32-»-2-*-34 ^' ••-• -#•

/ 1 11:i:

SfE 221

-G>-

mJzM:

3 4 _ 3a—- 15 4

-&-4- I 1 -! 0-^0-mI ' ' — I— I—h—F- :f=t

:«;

2 1 a - ^

i±-<s-

2 •#• w 3 3 ^ ^"1 S 4 yi— 5 »iK^ 1—#-|—•-— »is: r

0-2 ^##•3 ^'#-

JSZ

:WT=W^

\—i-0-\-0-

:p=pir=t=5 ^»^^ 0^^—t-^-^—3b-»-^-j-*-^<-M-^-#—I w il-I^-

:fe^fe=#.

8 -• 4 3 4 #*



]Vevr lEng-lanci Conservatory 3Xetlaocl. 215

4 a 43 * 2 4 „ 4P-»_-_#_£_ "a ---9 4 3 4 3 4-

2 3 2

t=^^

4 11.4«r

S^ÊÊgÊ££#^|:r=^-^ ^^^

:^z

i

REC RE ATION.RECOLLECTIONS.

t

scHUMAirar.

Affettuoso.

^m^p^^^^^-^lg-«-

p-•r-

IJfcC

—

(»8

Peti:

J T1 1/

^=g a=

^•

*

^*

?;-4^j-T^t^

S=E^«

> T=t!«i

'Kt*^

^+S^^^=»T^ 1 m X » r=fc:l^

Ped. ^^^^:tH*;

* Ped.-<

*^^ it

*S3

m^S

Si

#H=F=^

^S^ -t^-^4^

i=

ls= * LVJ^

I^!

3=ibzS:T^S^=*-

S^—r-

Pcd.

-0 _:^-i

* Fed. *



IVe^v lEng-laixd Oomservatory IWCetliod.

ili: :^—»!•

:+t=a;:

-fijff^-f

]±=l5-:=2=^:*4ES=!=^=i;

=CS:#-—|-^-tf^

^--^—•

!:

_i »,.zzig?;

-^—P-

BiiJ

V • •

•-T-^ •-

§g^*Ej?=^r=^ri.E|^ t^^^S^ ^^^£ritard. a tempo. Fed. * ^:is^

^mFed. *

tf^ ,0, /TN

-N N-3:

îi^^^^_-_^ ^^ J— ^t^ a TC~'-fc-^:''===='^—-—jj ^-0g:'==^-«-

^r=g=F a

^ ^r "^

-^-7i ^=*t irit.

* PecZ. :^- *

SIXTH LESSON.

PREPARATORY STUDY OF THE TRILL.

jizt-iizrJizrJ^=rJizJ-^^^^^^

4 2 4 2 4 a

^^^1 i^_^^j _^™™^~ ^—— —rr £'—Bmmt±ipi:pi:^m:ii ff^jt^jiriiÎi^^-jiî:^

248424 ' * i 4 i 4-mr0-m-0-m-l

353585

* 5 1 5 1 13131313 24842434



JVe^vr !Eiig-laiiTr. KEAUSB.Mlegro.

'^-o-m-»-& m-^-m-Ta-e-T^ ^~d#^=i=^:

1 2 4 3

ll^yg ^»^ »-Y^0ââ a *^«^ «

'' ' 'r

t:::^

*-*?—«?- -^—

123452 3

*3tf_ ^«90-gO

4 6 4 5 4 5 4

1 L I^ I — z^JjUHjtfj^

I l-r

i^3t«;MA

Ptik il^-

^-^ -^—«?-

13

14

14

3 ji^«j^rjm »^'0-d-»—^

f^^

iizt• •f

*3l

^T"^

dt}t±Ji±jL #VVj- -»v»i^*^

4 3a-i-#-»-—a-i-

5 4 5 4 5 4

-I—F-H-F-H-F-

-^^^-t—F-H-F-H-F-

td:

:^

-«?—^- -»?-Ît-

Y? ll"V-ri-J

-23833 fI

brf^f:*a*-^ssES=f^^^

33ff

j-^—jfii

zz /

1 24 '2 ^ 2 ^ 3 ^3 ^ 2

iI— -^^-4 ^'

S 4 4 3I 2. 1

5 4 2 3 6 43 3 11 3 2

-jVn— :—I— — N- na- i 2 1 g

:f:1-^ 1. I

i»

0-|^»y g-i »g«ê^ iîfaifIt z*J^t3i±3tL •ixfjtlMlAx «< X

"

343434 343432 131212



]Xe"w- DE^ng-la^nd Conservatory IWEetliod..

^ ^ 12 1 8 12 3 3^ 3^ 3 2 1 ' - ' -

\%^Î :?-?-t

3

5/ /

m%^^^,^^^^^^sf sf-li-ni^

^h^ -^Hf--9 îf

1'

3 2

^p

Ife=*

-»-•-

s-# #

-4343*3

-t—h-Ht—h-#-##-##^

! !I r-H

* 3 2 1*

1

3 Z?wesc. ;;::r==— w

-b-'/-^ -'f-^ S^ziS:

5/

43*3 43,2^23.-.^

1 2 3 i^-^-m-^t: t.3---«-»-i-r+-

4 2 32 11

lii^îp;-^-^-

P

5-^ s=? lEE

-^t-K -^—a—a—-^?-^- ••«

p:rp:rp::| p:fpfC fpfpfpiifpfpf^:

I

i434343 1 _ 1 2

as a--#-»-#-F

1.^

»=F=i=

-^-^-1iznt

-0'm»-m0w-r^r-F-mBl^bî^^^^

-••-b

pifipifp: t:mtwt¥n^'^'*'t±l

•-•-•--#-iW^wrw^ If:p pipcrp: =r^«:|

did s

^S0-m-»-m-0-m-f—F-H-P-l—F- -pcfp^p: ^:f:p:f:p:

^^ ^Ê^F d=5-8-^=^r

^#I^M^

-'^^-tSi=i

Jii:lEi:

^ -»h-r

Jife

»3*3-

•-^

-#-»*--#-!^rwrw^-jrwrw'fir»m»*

'-I ! ! ! ! I

-^-1! ! ! !

-I I

' '

I

I

-

f»fii»p;if:p:f:Ff:ci?P?P?(

ibMial^

?PfP?!B



ISg^w !Eiig-laii<i Oonserviitory HWCetliodl. 219

hm. 0a0,:? r* pi ;?«?#?pi iffffffn

—aa-s-a-a-

z:/1/

^:

SfcSf p::

93 ^ a ^ 2

I

i\ *

i ii^=

i: ISIP

dim.PP

i5;;=î?at±.--1—1-4-+-

~^

itM^tLJat

^^^ —p^±ji±i±± -•-^-•-^-•-, #^#^#3t ±t^:^3tz*]A

- ill II-

— Mill-»~^*f-I

SEYENTH lESSON.

GRAND ARPEGGIOS, CONTINUED.

CHORD OF G MINOR.

I

/y/. position. 3^^^ — Ji^

S -a—

3: -•-f

SiE31 §.

2

-#—I-

4^1 r

-?<?. position. 2 i« ^ ^-^-"^

fe

-H-

6

-•\

-»-\-.

2fcJ

^=-»—±-

1^2

^^ 1 4

>J

3 - 3

,#.. ( 3d. position. jl t^^ ^ ^^

t-fi—^— I—^ 3 F a ri3 1* ^ *-|—r-i—h-^:i—t:-

m

_ '3

6

^^^^^^3 2

Remaek.—The arpeggios of the three positions of the Chords of C and F Minor, are fingered like the

Chord of G Minor.



TVeTV I^ng^lancl Conservatory ^letliod.

CHORD OF B MINOR. _ ^^ ,-

/St. position. 2d. posthon. Sd. posthon.

CHORD OF B MAJOR.fi,t. position.

ferfitpi

2d. position. 3d. position.3 1,

-3:

fi 3

CHORD OF Bf; MINOR.

Ut. position. 2d. position. 3d. position.

STTJI>^^. A. SCHMITT.

Allegro.

g3EÊ£ -i-*^

*—'i^SeI =-»=^ =iS^ SEElE^^SEJ^



HVe^v liJug-lancl Coiisoi'vatorj^ ]>Xetho<i. 22]

M Aileffro

RECREATION.5

i==^=i=^4

6 3

It% Irf» . f J<

A. 8CHMITT.

-O

:^=2:

*—1-

»^=-* ^

!

-42

4 5 1

—N~

J 3^^=ô-^ -0—-â|=^=S=±i

*—1~»t:

pSE55£ÊEE^^

-^ ^- -tr—te

-=^4=?^=

#r^

3 5#?.

^=2 « 2

3 A f: -^ ^

Lt=t=t:=C

#-=^î. 3

•— t—^ 1 •?-a—B-

1*=^:

' i=£z=3=±=i4;=8=7-

i

-#—3-

:P5=C=;:

s/

-b* 6-*-^ 2"

-^—n- iâ



TVe^v lEng-land Conservatory IMCetliod.

EIGHTH LESSON.

REPEATING NOTES. (TREMOLO.)

4 3 2 1 4 3

P=:p=p=p

•^ -ft-

t:--t--t

lizi tz:

I

. 4 3 -3—1—4—a-2 1

9fc^=rft-t

-••—•--#—•-

:p=^-^—^ Q—»—I— :pc=p: -n—P—0—»-a -^—P- -I—I— I—(--

4—

i4 3

2 I4 3

+=-#.(*<* 2 1

PH i

! h- -j1

1 P 1 ^ F—F- -0—0—ft—^-

îh :p=:p:

-#—#-

ii=L-0—0—^—W- :p=pir

I

11

4 3 J.iH 1 1 ^—F—I

1—0-

^^3^P=p:

-^— -#—•-

-fi—W--W=W^

-0— —y

0—0-

£:«=iP:

ipiz^zi

I

5 S^~^~p ®~* • ^



IVe>v EJng-land. Conservatory ^Xethod. 223

. ^ 1-ft^_ ti t

^- y ^^M^^^^^^ ^^h'^^h^^^^ I

II I I

^^™"^"?^^1 ^^^^^m^^m ^zt.il^zfrr^^zw=^_-î

g_f=f=^:T

j- p •-

--:$

dim.

M--^-fi^l^SÎip

^ -(t

^=^brÊ^'EE^S.ts^r-f-ti^:

_^Jf_-_^_^JE*jfLf-_r--f--, ^. if ir-

-^

WZft E^l^b#p:p=E:^^fg^g£gE^

i5S==EÊ5 -^

cresc.

t—i—•-

3 2 te

-I—I-+—(—+-1— -I— u* -F- -(—•*-#. .^ J— .^, ^ iz m 3~ ^

/ sempre.

2 1 1

2 1 1 2 1 2 1

-i!«-^_tja_« /i.

fEai

# Jt m jz-^ ^ -^

JEEÊEi

•H- -^

•^ ^ ^^ vMHnîw^'~~^^ W'—^-cresc.

EÎ^^^SS« ^H£ £^f f i± *,

*•—*:i^^

^l^*-'^

If-iizii: -0-e—^r0-^-g-



TVe^%v EJng-land Conservatoiry ]>i:etliod

NINTH LESSON.

ARPEGGIOS OF THE CHORDS OF THE SEVENTH.

6

-•1 9 *-5 12 4 6.

1—

-4—a-

tlt

-O—

^'^^^"l ff5^^^^^^ ^^^^^^^'^^t ^^^îrlM m



llVeTV E^ng-land. Oonseirvatory IMetliod.. 225

14 8 r2p4-

14 8

h-t—H^ 1 4 8 5-4-—»«F-I—^-H—I o__-^_^-|—|ai _1—I— j— I—f^j—©-!«-- »-s 1"","" '

!

—, '\ '| -,--

-if- TTT-T^ -f^^ ^-:J—l-^-d 1 ^-\ 1— 1 -^ -T ym^B^ hMmLJ 1 1 1 ^-«^H—M— i HI

1 ^ 4 ^l,23«6-^- ^ 1 5 8 315 - 1.2 , 3 25 +-••^5132 1

Andantino.

RECREATION.ANDANTINO FROM SONATA IN A.

lAP li-TI -•—

4;=^-^

---t-0~,-

0-T- 0-^-d 1 1 ^

^^^,^=T

SCHTTBERT.

^P

«?I3^^^ •V- -*-N-^jp

4«P^^4

1^"^

-•-r-*-#-—

2i: -00—0^*-0-

fP

:^=p|d^=p=±^J1^

5- -0- •

hm^ »

a1

%

tr- H 0-

:E-^jrtr v^^H^

itH—f-

^:M:rp:-^-NsT-

;t=P=

ii^'^-^

I,#- :i±M^-^'--li- 0-T

fi^ 1^ F

^-i^-i^ ^,_^.

/iP=^'

1

f

»-*-

SS=

/jO

f I

* 0-

^«î H 1-

I mP==»=^ 1^=4: -^^ :t^=t=zw. t==pr.::t4=P1-!—t: F 1-1-^— -!-^ F \-^-\— *^ "^ ^ ^ -^-N- ^^#

-p:^:

.4

--U

^^^

± ± ± A A J.

-0r tt*ipc=i=g^»

N- Eâs



I>feTV EJng-land Oonser-âtoyy 3i:ethod.

^^ft^; I n i ^ I- r; i

w=t^t=^

=^^-it5Jv=t:=Sd=i!Viki -^-N-

^ i#— ?^^?=

tgtf-i-

ILf -•-^ 2&ipczt: -I

ô—iU—-+

I1 1 1 P-

w

iiii^:'^ H tf-

-4:^1-^^^-^-z1=lsij:

-I

T-»-^

i

»^-^

TENTH LESSON.

GRAND ARPEGGIOS OF THE SEVENTH.

PRELIMIN-ART EXERCISES.

i-•-p-

44 4

=F

-0 p

eeeEEeEBetltiÎMJ

=FrI

1

i;;

34 1

:P=?

3 23 4

W-»4 3

2

_^44_4-3 2 1 2

:p=i-_îir

itzfij^zti^'-isi

-4;>F-i---#-F-

A 3 12 --F-

^^^^ £^

lis A

a^l4«^

/$/. position

-A-t^-^'—fl-a.

4 A 21'0-~'

A 3 ^4 --^

^2

^-M^=

, 8va.

:C

2

fi^5Sii^"^^---^-iitiiy^jifi

;u^3ES

3 A^ 1 1 2 3 4 1Ê-t—P-#^^^1^qâr 3-^:-

:g£•V:

• "Sg^^

5<?. posiiion1

^0

a. posiizv/i. 4

2 1 12 3 if-^ 2



IVe^vr E^ng-land. Oonseirvator^^ lÎethod. 227

8va. 8va

3 «-r- Îs

i2 3 1 2 ^^:p M. :^^ ^ 2

-ft-oF-»-

3d. position,j

2,

r*—»-

^^

6^ 4 3

- * pOî—h-^-g—I

^ g•-^ 3—g-^-i—h-r''^:r-h-^-g-:: I

^ o-^ n

^t/i. position.

fepgi^S^^î^g^^The pupil should practise all the chords of the dominant seventh. The preceding examples give the

for all others, observing this rule:

Commence with the second finger of the right hand in ascending, and the left hand in descending, if the

begin on a black key, the first finger being placed upon the next following white key, and the position

on the white key, determines the fingering for the rest of the passage.

AUecrro vivo.

STtjr>ir, XX^LXjfilb*

4

ml

O- 1 --^H--P-H 1

>—-

-—

' ^L- -r 3^ Tf 3

-JJg:!* ^7^

§iE3=l^::^=fe -\- -©^- m

p-•- +-^-F- -t- -#--(- -I— -F-(— -I—

ii*

Si ^^ :|=r4: ;^fe



228 T\e>v !Eiig-laii<i Conservatovy !M!etliodL.

Sva."

1

'^'ni4:7:i4v:i4:i-^-i:;=4V=^4:;—4Ve?ES?*-33Ef£fEEEEEf*^=trBEfa

molto cresc.

I3î!-i ^^fc

*%~:^Sir^* ^^.~

a=l=^^

pin. f p* ^^ -î^-^^ ^r ^^z

^^^^^^ t

i--(-#1— _ -•

-3-4-+-"-3-*-*- teES

fei—1^^ _i cresc.

^^^î -^-^3

—I— —r r * i=5=r=

a'44 6 ^~ -* 5^-»- 1 #•1—+- i -fh

î«fc 1 3 __

rfl— — r^ — 1^ r^-T'f^-i-m-^-V-r^^'-l-^^+^-^ •g-T-'S s t^F-^T-'J-T

3?1=^ r ^^:==qi^

^ ^^ ^ *

:=j=:pi: :^=r=t=:p=t:t==^t:

£ip!^5ua.

VM-a4^*-#-*iri^z'rpzi

FFFh-F-^=H=Fq-=P^^-.q-LXJ=F-P

i 3 6



IVe>v iEng-land Conservatory- ]M:etlio<i. 229

1 Sva'-^^-^^^1 .!_ <1 _l i.3 .^

. X T~i 12 2 '^••- -#-

^m / Pfc?./2 fZ

-&.-

*^-iS- :2t

:f^

-(St-

S)otce.

ELEYENTH LESSON.

RECREATION.THE CHIMES.

•-d-

iîS^H

8va.

^^

ABRANGED FEOM SPINDLER.

^6 2-1

3-1

-# •-

i^ ^ 1?=^•5 •

6 1*2-*

Ped.

2 !-#'

g^^^^=5=^

I ^^- m^.:^^^-^

J:

-•—•-^^^^m -1=1^.

i!Si=*-#—(-

;sî^4 5m.

~v- 3p:3^:

^P^d, rjcPeci

1 » i • H :f=i^

*Perf. *

j^ . ,^ ^^ N. 4i ^ >s . ^-^

«i *1 ^ 4^^ = ± ± 4i\

i3p^=^^=p =»=S±=q: -H h

i^^ i^^ ^^ V--

2-^^/?

PerfTl^:=i* Pe(Z.

6X 5^^

i. 4^? =>-_2^=

il^SiE^*^

.^J^

^^ ;^ f, ^1^ ^^ 4^ ^

:t==|:— •^^=t/

—--1 w S p- •

* Fed.



230 llNeîP^ DEiig-land Oonservatovy IMIetlxod..

1_4

5ss-2fl3 4-0- 7 •—»•— *y#—^ ^—f-p—e- —*i-#—#•

3Si^=3i^:iÊEJfEE^33fEE^!l(?ZE^£E]

^^1

decres.

i^

fS|i2^~t:

-^r^-:»r:p:

4—

-F •-I—ff-H pt:*:t=d*=:

-•—•-

-•-h-»-f

-=Ltf:|-I f:

-I ^-

-^-|1

S 1-0-

" Pec?.

:t::?=^:

g:g=Ê?,SF^£g-!--#-

^Ped. 5Z_%j*Pe(?.

^^^m^Ped. *

«N2. 4N =^-.^



JSgw lEng-laxid Conservatory n>JIetlio<i. 231

TWELFTH LESSON.

PREPARATORY TRILL, WITH HOLDING NOTES.

,-*! J- ^

A

1 2

^-

pzfipc|!!rp-gig=pzfrp:gzpi^^g?*^^^^^

Sizpzfzpztazfipzfzirfzpz^zpifzp

5 4

^•-^m-^-»-mô-^c^-o-^4-^-»-^ -9^»â^t^«^»^»ê~^^^-X--- ill ?l^

~ii(g~

-0-^ 0-ii-«~d-«-^-»-id-« iJ^^-Jtgjt^lti^^jîp^

I_jt0ji±m±jLfr'-^|fi- 21.

'-•-•--tf-r

aModerato.STXTI>^S' ILEjLIj^1\.*

r=6-^-»^V^z^-^z;.7r^-pr»?

---^> p ^ p jr»-*-T

izt

^ p"'^^'

-•-*^-i-*-*-^-*'-*-"#-*-^^

-?=^

—I-J—i—j--i—i—H^

1 4vi*-^

»-^-

9^tti=^-=Erpz

-*?—^-

z^jtiij^tt^-.^^-.



]Xe>v lEng-laiMi Conservatory IWCetliod.

H-H—I—l-H—l-H-H-gggg^*^*-^^^^

H">"' '

i

'

Mfji±Mrtjifji±w»_

z ^r^

3-4-

1

— T'''!' "l-q .", ' "T^

cresc.

Ê±A^»—•-

P-« #^

3 4 8 3 1 4 3 3 1 3

^=^;^ 3=^=

^=,^^.

mWi/^!^

;> !?"•*.:<= ^ . _ ;,

-(5^

I I . I I z?

-a-^0-

*-•-«-•-

^:5—5-^ -2=5=:f: f#=^#

^^t^:^:^

gFt^^-^'^^^^f^r^rf -«?—^—

fe

4 o 3 4—^.— '1'*^ 2 3

, ^fa ii -i

1'

ii-

i i i^^^-l-j'—i-J—j-j—l-W—i-J-H-J-^--j-J—i-J—i'-J-H^V*t^

»-3-a •-[-•i-

—H-F-)—I—I—

§Bp^^^=^«=8=*» » •--! h

-#-=- pzrit^t: -^-?- ^1=?î

^pir=îf=pig=p=f=p=?rpi|!L-j

ii ii 1

P-#-*--i—r-i— I— I—I— I—I—r-i—F-i—F-[ r-0—^ 1 —0-m-t-^—•-»-:=

\, \^—I^wm; - -

I-— Sb~—

"-hlj-h-"-*'

mf

i ±=ztw—g—i-

A

«-T-a-x

« € •-

i=t:-ri-^- 5^1^33!

-f^^'*-7^»ii-0-ai-0-îS P H—P •=

V—h-=B^* '

-0-^

f: M:rV:

Zegrgr;

_^ry~-^ ^0 ^ » •0^" 0- ' -0-'^

•0- -fc-*V •-f- -cr* • •

'pr T

^t2iiE?^:^

-^ f-

T.^'^'S V^

'

±=^=^=i*—^=it"J^—^—«—Bi Jr-^^-^ • • • ^F^

:i^:--t ^



IVeTV lEng-land. Oonserâtorj^ TMCethod. 233

fZj fz^ fz_i

_^ -^ ' ^~. • -^- ~-^-Z|-^ a--? Tfl— •—-

7 'v 7 ^ 1/ P?:5=;=5^ R=?^=?5 R=i^=i=

/Ts

-^-^ --^--

=g1

if:lt4:

1/ I

H=^"^^":^=i^

-^-•i^-q:

P?-5-?-5^ K5^^*5 R^-^™^™? /2 P.

i:

/C>

-MzzSzzSz -^^-i^y V >« 'P »f »r"

t^=2=t^ 2^:

fZ P^<i- r^ Fed. * PecZ. *si-

^

THIRTEENTH LESSON.

ARPEGGIOS OF THE CHORDS OF THE DIMINISHED SEVENTH.

Chord of DiminisJied Seventh upon JE^. Chord of 'Dim. Seventh upon A. Chord of Dim. Seventh upon S.

^t;f i?=

?=-F=

5 it'A-4_ff a—2--3#« J-«F--4-# h-

-^*-&t^€--4P^« *-•-2 •«• 2 -^

iJtfzzztzStzzIz^4-« 1-#-

-J- -*-«-

^_|_ 3_g i_a

^2-

*i^« 5-# 1

^"^^r

1-

:1a?:4-» &-• 1

f=E

3 4 2 3 lb. 1 , 2l'i''f.

^^ÊEEgfegE

S^^^pps^p^JiÊ^g^^li^

&s3EgfeMfe^^s»^gFjî^fe^feîi



]Ve-v^ lEng-land Oonservatory IMIetlxod.

^^s

RECREATIONAIR. BERTINI.

jt

sindante.

Sij: 3*::!r«

:si:

7?tTf I t I

?•5f=S

3i=5#i^=

i^: -a#-

J

legatissimo espress.

S=sb -h,^^__r

n \^ I ^ I

? r T r-r y

SEEi^ ^=p:--»:

P-iS>- 15 62

*4J:

:si;

TT T ! T I -F=F-

-1 0-

:5i:

t-*•-4#-

&•-

:r=s^=ip-2p:-*•-

3#- 'f-f

ifi

t^ =q^=it

I

»-^-

F '•

fîf—*?-

I-<5^ 15

sf

-&#-IS*: 4#- :l«iz=st 4#-^ ^"- -&g

.^j

"T?—f—p- :^=:i=i=i=p:

?»1 P

W=i=W-

îi^r:

;?E

T?—I F 5P-a#-

T r T I T I T r T

J=i^=qi^!!5^- -!!5'-

î3=qi^=^^^îffV16

i4

rtt»~F-H^ 53-i-4-.

calando.

H113^^: ti^::.

ifct iÊSsi4^

5/t} (S^



lVe"ve lEng'laridL Coiisei:*vatoi*y- ]WCetlio<i. 23

A tempo

iê^;

teI—s ^^ n I—

-I g—^1

g1

1

'-^ .bM^^M^M^'

=s*:-&•-

=5?^^#-«.dît

]

PS-—a^==%-i_^-E^--j^,

FOURTEENTH LESSON.

GRAND ARPEGGIOS OF THE DIMINISHED SEVENTH.

1 -^ -r- -i- t- t-'^—#

,£^/

1

3 *:1^pS

-!-t»#

8va

izp^ff

/*/. posiiion.

-i?l»-

^t^

-fL>/«-

k.^ 2d position. ,

^ 4 1^

.?<?. position.

-#•'^ '^4 -#-1

5^

i^-t, 4 _ -•-'^-1- -^-^ >r—0-

.

5ua.

i^^-f >-

a?

^/^. position.

,3 2

,^-n a_L3^*â|,3^^_-^jj-^ ^-^_-p_-^^^^^^^^ l—»^t±—i-»-r-

3 a 1^^ •^ #i3^*^,^^^-

/y/. position.

n^&3^

t:?• ""^ ^^m

t'



]Ne>v DEng-land. Oonservator*v JWCetliod.

8va

\

1 8va.

>r '•"^ ^-^•t=l^^.

-I—^_»—^^^-x---

!!^z=:^ ?W

^<f. position.

^<?. position

rdT»-d~

S-tk. pOS.3

jjr- '£^

stllegro Vivace. STtJI>^5r. xx£jLlj£ix{>

g^^^ a-îI— ijS, 1 a-a

pifzpr^^'ZjliZÎIt

Pec?.

3^Êi ±izs—^—P-

-^t-

*2.

^=iS^jl^^^

3EE^^

3 o 1 l.#.i.1



IXe^ve ]Eiig-laii<i Oonservatoi^ IWCetlioci. 237

t o-^-f*

S P

± ^ yii rL ^t

m -1-3- #:-h*- -I-&-

#= -V-

t

P ^^

mif:

cresc. Fed. -^ *

3^^

£==i=^:P=dil:|

= ==iP

i|-*':

f

8va.

i» ?i=i:

/2 ^t

==5^g^=P=^-^:

Pec?. cresc.

i11

!* (SÛg J JL

/2

-G>-3EEi iiz^t

qcpijc

-#—•- ^



IVeTv Elng-lami Conservatory !MIetliod.

FIFTEEJfTH LESSON.OCTAVES.

Light and staccato octaves are played with a flexible wrist, as described in connection with the repeating

(Third Grade, First Term, Lesson 18.)

The pupil should practise piano at first, with separate hands, and then together.

•^-S-'^ • ^ ^ -0^^ #-••#••• #••- •• •-• -#•

—(^—f--j- —!-••—1"#- -+•—!-* —i- -f —t- —t- -± -± -±-a-*' T^-m-*" :i:-#"*"

RECREATION.

ir -^-^j:i-4«-

:p^p=2|:i5:

-1 1 k-J--

VALSES NOBLES.

"S 8 p:

/2

^=i=.:tf^=;=MjJ?:

SCHUBERT,

a—*.8_|=iîi:=j|»—»—•-P

5 aIt:

Perf. * PecZ. *

mm"LT

K: «—»—1»-8—t—f—•-S- -S—S—U-hs_p::t=t^^lO:

:pi=^îLit

8va.

-•—»- 1*' ft

:£?:

4=:t3=rt*^pzq

tFIXE.

is^ * :^=i5

3EBJiQE ^•-#--I 1 1

-»—»—•-

-Pec?, :^ ^ Perf. ^Pedr *\:/

PecZ. *

M--^Sii4tr t3=t feflW=^

P

-Q»-»—#lit

-•-#—#-3*

M I gp ^ »• *-•-•-

r

iprp:

:|i=t:-0-0-

ajpjg^^^^ 3^=^ :^=^:t=:

::î=N—p:

:t=it::

:|

iiii^llPed. *Ped.

*Pe£?.:}: PecZ. * Fed. * Ped. * ^^^ *



TVe>v DEng-land. Coiisex*vatoi:*y ]>Ietlio<i. 239

tt

fi^^^

Pt^-i^^p->-4 4^ I I f^ ^ -W-tr-^ +- !—-»—-(—»-

+- -I— +- •^h--l—

:f-p:P:^z?q:^:B=aqrs:8:p=nz^p=:Bq:pF :tiî^to-_t

:E£

i-»-#-

itit • - 1—fer-

ffii:

P

fe-•-»-

i::^tc

fi-fi

is_»:_/f_i».

» -0--»—•-

:^=^: -•—»-•—•-

-^-^

:^=^: :S=^:

:3:

-W-W-

I

î

a=tifc^ 1^1

Ped. ^ Fed. * PecZ. * Fed. * PecZ. :{: Ped. ^ Fed. ^VA/

i-Am _!* *.— I1 1 1 1

— JZ.pp?

sewipre.

— I —, I

-l--»-©l--I—p gy-|»-H h-

-f-25l-

PP V0- -i^ -m- -<9- 0-

ifeteEFE^SÊ-• -(S^

§iEte

:^F^

P

i^z: i^:^

:^=PT^:t=t:

cresc.

?2:

-s>- -B'-

S±4 4

J:iS:

S£

it: :^

-iS^ ••

1^2=^:^=^:

t

-&-

:gz=pE1

jCt=g=y=s=^

=5^^

-p-z^

_^_-_«_

^^Z =;l=

jO

=r?=F=

-e-G>-

-z^-

-»-F-P -I—•-©! F-l

cresc. a ^ 1^^ cZ«m.

-F-l—j- 1 iS--|--B-»— le i-

f-fr—r-^-z^

i=g.^Pi^^trz:

;^

tpt^:

PT?2= :pci=^=zpqi?2=:^ -&-

i!;-^

-is>- -&-It

^^:t:

-S"-

rr-r-B"-

:t:

:^=zii:

r-is^ -iS'-

t==^ ^-^

i-(•r-4— •*—

:.=p:

|£

i!:^

P-5

:eEE

Id^=Îtt

Ts#^5-Bi-I 1

/?

:??:

^ i^

1=5:r^-i-p-t—

1-?^?« S:

deeresc.

:^=^^^'p'W-

-& 1

U>rfe=t

^

^-&- #•



IVe>v DEng-laxKl Conservatory IMCethod.

SIXTEENTH LESSON.SCALES OF DOUBLE THIRDS AND SIXTHS.

In playing the scales in double thirds and sixths, the right hand in ascending, and the left hand in

must be bent slightly outwards. Great care must be taken in crossing the fingers to preserve the

and evenness of the notes, and to avoid any break in the movement of the scale.

PRELIMINABY EXERCI8E8.|A 3 4 3

3 §36 34, A m-*-S-^l A

-^--^liii 'ill " îbHbiiUa.i_W-J --' -«-#-•-• ^^^ '

(IN THIRDS.) V^^^_ A

21221 312 3 1321 A « -•-fi--#- - A434143 53453543 ^. A ^ -#-•«••-*••• -S- -#

-^^^1— I—I F-\— 1

\—I—F-»-F-!— I — —\-^-»S-0-r-\—I--UJ—^"^ ^•€l-Z-0- • 2 1 k.^**•-•214322143 44 3

6 4 3

__ »3216 645464

-/ U—•-F-l 1 F-T- • -i~»-F-| 1 — I—F-i--

- -V—— J-«-5-»H*-l——h^l—^*^ L=ri- H-|—F-»-S-ff-J-4—1-4- -

xm-i—I— I—I— I—I1—I—I— I——I— I— ^._^_^_j_^_e_l—1__| ^^ ^—tb-i—I—F-#-5-#-^—^- -

-^--y-liii 'I Ir JJ

1 I I I mmlmJmmF-^^^^—^^-0-^ U»^^ ' ^W^ *<4>^ «• gH^

(IN THIRDS.) V^^ ' "^~-

21221 312 3 1321 A - •-fi--#- - A'

434143 53453543 ^. A m -^-W •*••*• "W"*- m ^ ^ A

•-•21432 •2143 44 3

6 4 3

,„ »3215 646464 63463643

^- "--^ (IN SIXTHS.)

••13435413 3453 • 542124 5312^2 133 2 3 6 3 5 ^^ 5 4 5^ 4 6 16 4

6 4 6A6 4--«--F--A ' ii 1 r~ A +- "^ •• • « A

'

'ii-" y» 2 ^ .p. ' 4612*-#- U-J

I

:S=p:-»-

.;.

^ * ^ ^2ztz:t=fU=t=^:

•^^ •

It:

fc=f=gzzg_p_^_,jj

vvf-r-t^ •-^••l* "•^--f-f aJI P

3 1 2 ^ • -^ III



IVeTv iEIng-land Oonservatot^ IWCelliod. 241

STTJI> Y-, DUVERNOT.





]NeTV lE^ng-land Oonservatovy 3J[etlio<i. 243

cres.

-M

& fi_45_

p*„:,J5

"it'f^-î

:i^ziii5d:

35

^^ ^

gS

3: ^-F

dimin.

P^=3t=ii"îTf

-4. 9

#-r- nîS^=irf

3tf:

^=^=^^=^1v'm Uj.

m3

2!?îl: :^

-#iS^ ^ ^s^ r

ift

cen

4

- do.

4 6 3 4 S3 P"^^ ^(^r-]^-

1 s.n* » d^:/ ^ ^

—-# lizz:*-

^P-^P

ba etasem .r ••i ^re.

W^T—^^^^^^cres -

m^=0=^0=^^=^

cen

>M»&- 3^ :i^^

^ ^ti^ >r-ts^ r

Itt i :V t:^ .^^^^^ JIZIJl^# •r

5p—p:«-^-h:»'

- do.#=r=F :PT=p: / l}P=f=p: >=tE

dimin.

»_^f^=!^mm

^~J-^

^*6 6_ 4 6

5fc^J=TJ3:=^->itP=i=f-

^-#—-#P:^p: ifF^P-

•-#-

^1*^ -#-—-#-:^r*rr^

di'P'îP

mt

7» ^ --Sf-^

nuen do.

^ Amw -P=5S -w=^-^^ ^--r T-

^=m]^=^ J==5-

ii=±3t^^

s^S^sEt^:iT^fi^-' iîî ;i:?:i^?^ PtTT hhS H^b4r i

=^ ^ ^—rf^-^—r^^f^

-

'#"-iija

'gii3S-

-i»-



244 TVe^w Eng-land Conservatory 3JCethod.

it M-

1-^-?^^ H JVjt

-g<-

f^=cres- r i r I

lir^^ji:^flMt -•—»-

=f

cen -

iJ3..

do. r-w^T sfFPF

i»

p4-:p:pi

S_s>_

T

S S3 4 3 4

3. ^ ff, ff.

s^^ -N-i<-

•-—-•- -•—•-

cres cen

:i=z=:5M^=r

£

-•— fcfrp=

#t6

It: :i

«=dfc::

'^^Se

*^Sp^ cresc

^p-0-p dimin. ITW^^

^ 7 g>j^^•-*-

-1^

i:' L l__

/T\

i-zatiip-s?-

Azt p^^^f dimin.P

Tfrr

9^

Try^ tTt

S:

*

II|=|:-3-

EIGHTEENTH LESSON.DOUBLE SCALES.

C MAJOR,

-S— 1 1 1 1 F •—ft

4 8 S .

2^1 3 4_

^^^ I

2 3 43436 23434323^-#- 12J24 4 4C123434

4

^



TVe^v E:iig-laii<i Oonservator-y l^Tetliod 245

a^^^6 4 a t U=i:5 ^îl^ftt±ll^*« 6454

- If 2 f ^ ^ ^—I

^ #-:^+-£:S:5ti:i=:n±Ai 2 4 3 § f § 1 s

Ri!i=P=:f==f=5:^lJz&:C=^

6 4 6^

Allegretto con motoSTXJOTT. xUCIjIjSR*

^343 4

?^^^=i^^^^



INe-^v !Eîig>la;iid Oonservatoi^ ]^tetliod.

8-9 0-0- s -0—0-0

^ -\^=4-^

0—0-0J0- *-*-ji

\ \ ^-a

ril&n. a tempo.

s:ri*T

V

'i;i^^SS3? ,=^JS

-. aT'-#-*-Jr#-J-L-«-f-J--i-'~l 1-^-«-

pzpiii ]—4- -0-d—I—I-

tjL-a-ali

#3

Wfe i-S •-^ l-b^ff-i—I——*- -I— I—I—#

IP—l-

iLzrtiBacfchib:

iaiyizujiT::p^:p

Ui:

i» i? mf

^K^'Sfe ift

lUrf:3:^t:5

V-#H ^P-

^-^0^.0

u w n at1^^:^

4=«:

II^M -0-0-0-^ ^ - 1

*-»

pJiî^fii^:

'§&t^

dimin. ' ''''

dolce.

.m \^ B ..?\--\—T^ |-Il=qÎ--:H4-^- N i—

$.p_L_p_

I'-W=W

-#-i-

I

p=^p=

«c 5-f- %i -^-*#—-

f r^^14 li

Ifc S

-!t

itî=^ ^^^fgz^^zzg-J±« N:#- V-^- ^tzt

*9t î

'ii • —I— iSlt

f-?Z=

^:

H

f/^

rl^-

rilen.

i*:^=Si



PfeTv lEng-land OoTisei-vatory ]>XetliodL. 247

NINETEENTH LESSON.

DOUBLE SCALES, CONTINUED.3

' 1 "

D MAJOR. ^3 i lii±i±i:±i I ^ t!4a

^2=_|_»^j_^^j^53= =^^^=^_j^_-_iiirj=ia:

** *^

km ^2 164 •^1236434346122 143 34 34 2

4

5 4 2 4 3 4 6 41^1164 1213631_2 4612--*--^-#-i|l6 —1 5 4 6 4

jL^y ^ —^—i—I—L —F—I—I

\—I—I—F —u—1—i F #—^ I Iaj—

^3 1 a 1

1

—^ — Lmf^^^^^—ES^Z^—

^—*—•——— — — I

^ 5:

^^^S-"^ 2164 »!-•• 164612'-*- 3464^ „ •J. 1C^ "^2 164 •2124 4612 2121 41164 1646 46 645$4 3 3

4 6 3 66 23231343 .-__

r.T^» 2 S I 'I

^ 3 4 3 4 « ^ ? ,it!?

lAJOR.^^4311 46?tllJ^llt36 t!4343^

3 2 3 2 ? 2 ^ ^ ^4 2 3 . _ 2 1 2 3

A MAJOR.

ii^^Ê^ n

f f » «

I

i^^ ±

6 32 1

646faii.-Âii!64,,î-

:p=J=

i:i=p:

'irir»=p:

-P—F—#-

•I E II ' I 11— 1-! ^ *

48 i S 1 3 1 ^ 1 1

! aJ " ^ba 2 l»-^-f—i-.J.-#-*2 1164646312*-#--^-i-1121 '2164-^-#-*21643 46127-#-3464 264 •2164 4612 616 4 4 6

3



IVe^v Eng-land Conservatory ^Method.

RE CREATION.FESTIVAL SONG. UATEB.

Allegro energico

m^=,g=itg

^' ^s_

P gioviale.

t=^ 3p: ^:

r^=«=zp=p::tii::

Fed. *staccato.



IVeTV X^ngflfuid Comservatory Bffetlwxl. 249

a.=i

, .^ I

*•*••••

?^zK

« •S/

i J *-P P- t=^-^ t-

sf

r^^1

sec.

ft AJ—ft1—

Ped.\-is?~ t:

* Ped: * s/

-6 4-

Ped.~ ^ ^

ôlce, non troppo tento.

TWENTIETH LESSON.

RECREATION.THE MILL. JENSEN".

—I i-J-«- M^Hi ::t=:l:

^»>•

-«

—•

—«

—f-

P P

-w=w=iiw=w- --W=zw=zwi=jfr. :^z=:p=pzzip:

m :pzzî=pz=p:

#-1—EES

:p=zp=zp:=p:

tipif:f~i—#-i—I—

»-\ \—\

ESSES t=p:

^^=«F* i^—P—J—J \--\-

N-*?- r=:5: H 1-

:g==î=î=:i=i3g_=^=i|=S:f 5£> r r tJt r r r

::^:

i—i-

V

isp=pzzp=:p: :ic=piiip^p:

-P#-i—i-l-»i

^1I I >-t—P-P-#

«—«—«—•-

I :£3: -1^-

'•jP • • • ^^

i

i

—-S—t-ii-i i

1 ^-

•0- • -^ '«- ^••#--*-t:

• • •

i»

26 12 1

sr==?zpifbpi±=pzf=p=p|ir:p=p=i=?Fz=p=p=zrp=p==p=p=ii==fcP^

i t=S=}:

.4 _-^—1^

^12 1 12 1

<^^—P-P-P—-pip-p :p=P^P :pzpzp=:pipiir :p=pipz=p=p=p:

Ped.



1Sg-%v lEng-laxid Oonservatory 3Xetliod..

.^— 11

—

J n I

I..

^.=BP W- :•—2=

Ped. :{: I'ed.:j:

P.ted. ^ Ped.

^

* i&*

7 ^ ^ ^ T ? M~ fI

M .M t-n^r

MEii-—p- -p—»-

Tmp—*=

1:

Pc<^. *rPedl * tes: * Fed. *

Ped. *

Ped.

7 7 ^-

.».?• lîf-m»^.îTg Jf-^ ilî?^t?JLAp-^tl 4i^;^^3r3=^

Ped. *Perf.



IVe-w Eng-land Oonseirvatory n>Xetlio<3. 25



!]Ve-^?r EJng-land. Oonsei-vatory IMCetliod.

^^

£ ^-^T* -^ ^- tz*: *

/? / =J

P=P=P==P—p_pj ft—^—W P—P—fI

,

^—^—y==--p_p—P-1-^^:b=P=P=p_p_p.^H 1-

* Ped.

V**

5#—

Ped. hiâ^Hbi

± 3. 4_

atz:5 4_

#: 3^zi: E-#-*-

r ifji/

:p ft—^: :p=zp=:p: :p=p:=p::p—P r-

=#?=

:p=p=p:

Iii=w=r-

.0—I—I- %*

^

êd. *"It--

—!-I

1^:-^-

:«*

t 1*-#-—•-

^r- «r

>—^— >-y >i| . ^ >> p^^j/nM—PH—=p_p_»^=F:p=iq==rp!=K:rFir-y-y-ytr-r-t—trjMi:

-# 1 h*^= =#P=

jRs: *' Pted: *'

:#t i|iz=g: N 7-

-»*-

ff

:|c=pizpz=zij=p=p:«—I—Pe^

^¥-

:jfnw=W=W=W=W=W

*i^_ta

PTP«=P=P=P=:p=P=»=P=F

kMBiita

Ped. *

TTvorendo.

1N n- -*,—^-

mh

-Z5^

• •

-# P f ^ :p=P—•—P- P—P—P=P: ^^z=t=t -^ b— :?—^b—3: :^-•—•-

I I

:?r

i^ * êd-% Fed. ^ Ped. * Pei. *



TVe-%^ f^ng-laiid Ooiiejer-vatory jMetliodl. 253

THIRD GRADE. THIRD TERM.

The following exercises in double scales, connected octaves, chromatic scales of double thirds, sixths andfourths, free octaves, chromatic octaves, passages with alternate hands, skips and trills, succeed each other i

direct order, without division into lessons or the accompaniment of suitable studies and recreations—which has

been the plan hitherto pursued in this method. It will he required henceforth of the teacher, to select the properstudies and recreations which ought to accompany the exercises during the term. The selections should be

made with the view of illustrating the particular exercise in hand; and nice judgment will be expected of the

teacher. 3 4 3^12 12 3, „ i 1 2 I 2 3 44S32 «-îiI236AJOR. 43t?!^lA**l?::^±Îj[|?43 43 5

-3 3 a • 5 • ^ 1— b-»i—^ - '^^•^^^mm "^^ ' F—•— • a ~^T\ PIE

E MAJOR.

In ^ S.

'

i. *;g^.L^_g__g_g_M * 3 a 1—8^3—a—t—a—3 i î—t—i—m—!:!^?^^îz±tz^l:

12l3»^^-f*21543434346321*-#- 23121

I * ^ ** T ^ I J * ' 4 3 2 14 6 3 4 3

6 4 a

—m— —I—I g— —* b«

^ 5t ^ -^ ^

46312135—r-—U—»—F—•

Ib—t— I F-

i:=:

^^

U* ^1 246 #-*216434212*^6346 «J

1246 2164 6461 1212]

36 64 4

464633

B MAJOR» i_i-i 1 i 'lliilli? » ^==.i_l 4 s » 4 I

"^ 2 12 1 3 2'^-#-* 1 2 3 6343641234 343234632121 234 4 434346 6461_234243 464

6 3 4 5 1 '_I

ii~] 11^116461213 6

Zi^^S^S—J—tf

—^1 1-

—Q—•—L—I

1

P—# J- II Mij

—11[I

m, 1 1—^ —r

^r I I

#—a1 1—^—•—^ '—-LI y-i*-

r I ' -I 1,1—•-'•2 164 ^212*^-#-.«--2.2121 ^^^^î*( Fb^^^^* 2164 164612*-#-6464 2 aJ I

I—-"*^ 1 64 4 4611 611212i3 34 3464.



lê^w- E:iig-laxi MAJOR ^JJ I !I l^JM-l4'^4->=ddJJ^^-^t^^

•^ 3 2 1 2 3 1 "; •ft434632l 2 1 24 3 4

1:^ rTi ^ * ' T I I i'

* ' 'i t i 8

f=f=pI

21 3 6 4 6 3 4 56 4

El, MAJOR. . ! ! ! t' ^ i I i J ! ! ' S S ! !

4 i I s J

^^rTT 1^^ ! 1 I J* ' '^ * " * ''^ * ' * i

I T a * ^ *

:; ^ "^"*

>^gliii1

41 1

3 4



IVe-vr Êngland. Conser-âtory IMIetliod. 255

4,

34 43234 343B> MAJOR.,

, ? t^l-^ 3 4 i ?l*4i:lii 4 '&|,J_t 3 5 4 3 4

^SesET-SeE1=2=^-^-^ iziSzii

1213ai*^-#-*2 16 43 4312*I ^

2 1

4 3

I

8=

642163136 6434 6 3 4 2 \ -n 21-^12464 2 116

-^—I—-I—w—« 9 ^^—r 1

I

- r— —a -A—i—^—«—^ h—^ # • • ^ ^ ^J *-

I

I

*41

I !:1 1

L —F I jaa'-^ bail "— -^1 \/ I I ^ 1 1—^— ^ ^^ f—» ^ 1 ^"- - ^

P 1.^1-^ b- "^1 243 •l21^-#--^:H-12I2 1^^^ fb- LS— 1246 2464ai'-#-46461 "iid

I

ba ""l 246 6 6421 42112135 63 6346

I

F MAJOR. 4 3 6 42 13 2

4 •• • 42

-* * «

bw-l g;—"I 1236 235321^-f-4632 ,7^?*S- I

b« *^1 2 34 4 4321 41212 33234 43 34346

16 3 13 6

li.-^Xlli454 464

2136 1364 6312^^4534 2



TVe^v England Conservatoi^ IMCetliod.

3

A MINOR- 3 4 |1 4 3 I J iwl «i*l llf' t ? *rij^t ? t 3,.

^Srî ri ' *^ T I ?* ^ ^ ^ ^ '

^ t « ^ ^ * tr?=i2143 1**^ a« 3434 3 3

1^2 r 1 ^

^^^r^2 is'** 3646 6463j î 2 11246 464644 6

E MINOR.

i

634?2i2343. ? . ! i : i«i s«* l»* i»* * li u ! J

6 43 2

^

S

a;» .••W-* 4 ^^^t^^ ^^^^H r it.

' r^l 3 * •* ^2^^ 4^^^^4 3 4 6 3 2J

ft»

343 6 43 43

ii

124^ 2164 346^ 4646^4



TVe^v !Eîig'la<iid Oonservatovy 3JCetliodl. 257

43 34143 434B MINOR. „ , 5 3 2 1 ,„46ia_«.S15i 2123

,, „ / 3 4 3 1III

—^* 4 3 2U3 -U-*- "ftl** «U3 2 3 p 15 4 3 4

-fi-SiT 1 I l*-«1'*^.--W a S—B-*f-» ^-^-> 1—tt-j ^lf-0 g ^ ^ I wd r "miI

I

kv ^2 12132*^-#-*123646121* 3431 a^41234 3432 .--.--3 4 4

3 4 3

I3 2 12 1

4 3 4 324

- , _ 451_246164 4358 4 6 3 1 2 ,_~] Tit 2 _«lta 1645 1124

3 4 a lit* ^ * ^==^^ ^ *- ^ *

§ife'^3: ?*rl J- ji-^—!—^—•—al— I

T^-* r—£—t-

,212 'U-*- -^ —1- 2 ] 2 1 ^^^^W1646ltf2*^-#- 6464 2 "d

r—1- i

FJf MESrOR,LJj ? t 1 S a 5 4

4 32 1

U 4 3 2 l,^«—-^ 12123643 4343 3

3 4

12#• *-

I ^

l^ ^^^ 1234 S''*" 234321*^-#- 3432 S I

Ij- ,^3^ 234 •3214 4323 41231 22154 211643 212 46 3463 4

\

- . , . 642? 46f§ « ti-^ -ît-^ _ii^6 *?, 646^

fT^t 1 ' •

Jt 1 I

*''»*'1 I • ' » M 1 I 4 {



IVe^v Elng-land Conservatory IMethod.

F MINOR. 212^ 46i§t,!*^? 6 a14323«3 234„,1 Syi9 f

!*-^-*-s

3 2 1 2*^n-0- •1l343,„,- il«J*4fiia <»**»*^'*34 i|36 lIJi ^^43 3*11

I 5 i ^ i ^

ELJZ ^——:^'.^ T^r 1 1*^ -J^-*-^ 1 1 2 111 ^ •^*- 2 112 '^^S^^ I

«*

<t ii ^

3 4 5*-,^

ij4'pg?=! Jttl;=H=t U=y-Ui4-

.A. I A A il A ^^^^» A

I

12 11^4 S 4 3



INe^v [Eng-land. Conservatory JMIetliod.. 259

I

G MINOR.

m^^

3 4^433 4 12^21-F 1

1I I

J r

4 32 1

^îEÊr^^

U> "^1 21236 •#-*2143534l„* 46341 ^T^323434 2143 321 321264 43 43 434

5 4 4 5 4 35

D MINOR. 4 3

4 6 16 4

Sb! ii.4 -Siii '.

Mlti li #»i ii I i i J 4-i

* S

I

6 4 S ?i-^ t i " ft-l^ :^#H* i- 1 1 i f 5 6 4 6 46 4 2 1 %-"*^S-^ • * -^ (—î— -t^-f- •t--F-.#._l243 2121 6

i

[p

^gÊiiî^

12 3 6 Tr#- • +f2143 63411127463434 |l43 341

r

I



TVe^v IEng-laii<i Consei-vatory HMethod.

CONNECTED OCTAVES,5454545464645464S

i -M^^^mgi^îjp

î

1 1fi 45

-:J^î ^3: i

145

146

] 1 1 1 • i- -^ -(• -+»• 111111111 '-•^-i.4 5* 5* 54

^^ »• -•-•116464546451, 7-#-116 4^4

4 1116 4 6

To execute scales in octaves rapidly, the player must connect them by a skilful gliding of the fingers

black to white keys, as well as by passing the third and fourth finger over the fifth, (right hand in

left in descending), and passing the fifth under the fourth and third, (right hand in descending, left

ascending.)

4 6 4 6 4 6

I 6 4 1 L J_l 15

4 6 41_1 1 3

1

SCALE OF Di? MAJOR. SCALET)F B MAJOR.

^^ J.^^ T~i 1 1 1 1 1 1 1 1 1 f* -i-^ J:5t-^TT i i J i J i i vf-^H^ :i^1145454 6454641^

T •^Tl^4''*^*''*MJlT ^6 1 ,6 !** **i

CHROMATIC SCALES OF DOUBLE THIRDS, SIXTHS AND FOURTHS.3 2

L4 6 3 2 T 2 T

4 6 3 4 1

131

CiSSÊSt__L_i__i ^==2=^=^

I

i ^ 1L I u i H J

tZZ^SSZIIS 12 133 212 L,LLff«3212343e5 4 3 4 „ .._ Ji- ,u- Utt-«-i;lJ-#- tf-S- 5 4 3 4

"—1 2 13 2 12 1343 54344

3 4 32 12 1 4 3 5 4 34 3512 1 4 3 5 4 34 35J

' ^1

'^

l

1•? =^1 ^ ^

^

?l 4 3 4 3

3 12 1 2 3 12 I I I

I!

I r Î

3 4 3 4 3 1 2 1 J , 6 3,4 1 2 1 2'6343 „h« b,.- ,,- L_ 3,4 3 1

i

a 3 1 2 , „ , „,4,6 34 1 2 1 2



iNevr Elng-laiKi Oonservatovy IWCetliocl. 26]

SIXTHS4 5 4 S1 ? 1 ?l

6 3 4 6 1 2 12 4

3 4 6 4 "^^^ H-UJ J f .i iP,,.^4*_f-gf_t^bs--jy_l!y__a__i—! »

ii ,_e^jt:_j_j_«.'-^—ftLJ»tt**

—^ ^-- mfcp-ij.-n-.-f-H-'-'-'!^V"r;

—==±=fcf

1121. 1213,1 54

3_J—LJ *^=^^2

124 Jut Ij+i i-^^H^,* 2 12

1

6 4 5 4 5 4 32 1 1 2 4 3 6 1 2 11 5 4 6 4^± ^ i^Ht i. ^ h:^ ;^t J ,. I

1

'' '^^^-^-^ ? a f a

^

"H>~if*'

i3Ê;-3^3^^g=g

T*

^ i14 I ' 1

»-

4646 1121 ^K^v^5. ^"^^^^v I1 2 1 _3 4 6 4 2

FOURTHS.

4 6 4 6.4

12 16 4 6 3 1 2 12

6 4 6

:felfetjj^LiAAJm^-^ÛÛMAIJa-

i

gfe^z;^^=p.»:^r=i^-r-r=ir=r-|#-!£fe!^îfe^^

OCTAVES.

'wr^^ r*r ^1

-^=^:=t=t:

-^T^-^-M-0-wr^0^^0^-I—^-1—•-^-^-•-

^--•ilctr

# ^-^w

^

—i—F-4—|—I—i-Jg-4—Av' F-t—•-! aFl »

W-hH'-L-l -#-1 f III biisU ^^

:^ * *

^ssm.-Rj

Ki-p-

*^*^ *



llVe-vf^ EJng-land Conservatory IMTetliod-

'b^LIj^ tT^ y

5 4,3

r f-r-¥=^=iî

f--^-^^-

I

'^1 P ^* -0-

4 6 3 4 taa^HîI^S6 4 6 3 6

4

^=t=^--I h

45 46 45 463

4

5 4 3 6

Eemaek.—There is no fixed rule for the use of the fourth finger upon the black keys in staccato octave

Those, whose hands have a wide reach, will prefer the fourth finger upon the black keys, while

whose hands are smaller, will only use this finger upon black keys, when most convenient. Intelligent

will in all cases decide what is best for each pupil.

ViEl'Sril',

^±^&4.

Efr



TVe>v EIxig-laii<i Conser-^âtory 3Xetliodl. 263

PASSAGES WITH ALTERNATE HANDS.Many passages occur in which the fingers of both hands are placed within one another to take the notes,

or in whicli the hands must cross one another.

In these passages we must not only attend to the way of fingering, but also to the placing and holding

of the hand, in order to alwaj's find that which is the most convenient.

In placing the hands one within the other, the left is generallyheld over the right, and so high above it

that one shall not touch nor impede the other. In the left hand, the use of the thumb must be avoided as

much a's possible. Example :—

V 2 22

^^^~H ~^ v^^—^————^—^—r^^Mi"1/224

4 4-

sE5.74a>=zgi|g=g=y—i—£—*—^—^— "^^

l

^—"H -—!-—I

~ f~*~P~*~g~S~k-a^^fl

66 6 2 6

4 4 4 2 a2^ 2^^^^ ^^^^ ^^^^ CSSIIS •

^^'—^^^^^^^ ^^^^^^^ ^5^5^?^ P^^^"^"^— ^^^^^^^ F"^""^^—ii a

^^•^ 2 2 2 2 5 5 2

p-—^^1 ^ ^ — -^

I ^ 1 »—•—•—•-3

t

IIn striking the keys with the two hands as above explained, we must observe, as in other cases, all the

rules relating to the equal lifting up of the finger, to the equality of tone, &c. ; as an inequality or imperfection

in the execution of these passages, destroys all their attraction. The thumb, when not employed, may,however, be held a little outwards. f



nVevr lEng-land Oomsei-vatory ]WCetlio<i.

Eight Hand.SKIPS. (LIGHT TOUCH.)

ttr- ^^m

Left Hand.

I^—*-

r

4'! it\t . t

•• ^ #-

-1 p • -

-E—\—#•

r e?8=

¥-ip= ^^^ E

^Bb

I* J* S: . -f-

? 1:? —1_

_p_^ 1^^p

^=fe

fM^B^

Practise this exercise also in contrary motion.

4 5 4#. -^

-^=i*^g ^--•—•—•—#—

igzigr-^ -m—•-

^~F

:p=p:Jt

-t—e--•—•-

-•—P:

=1= !p=I^:-»—•-

? P ?^ f

-8—«- i 8=8 3=!= :$=$

|]

IS

S[^^ =p—?-:pLip=-#-

-»—•-

-»-P^-H h

5 5>»^ ^ * 5 5

STUDY OF THE TRILL.

This imjiortant embellishment requires long, unremitting practice, in order to be executed with perfection.

An indispensable preliminary study is the careful practice of the slow trill, which precedes the rapid one.

The trill is commonly marked by the abbreviation, &•, and consists of two contiguous tones, namely, the

tone, (which is written out), and the next tone above.

The trill usually begins with the principal note.

flTBITTEN.

tr

^?2^

I

iPLATED.

-I I1

I

yB..h«MbiH ^^^£3

-•—p—#—p-=#-

I



IVeTV Elng-laTMi Consei-vatory ]>Iet:liocl. 265

The trill is either major or minor, according to the mode in which it occurs.

MAJOR TRILL OF A WHOLE TONE.

« P-^G-

\

MINORTRILL OF A SEMITONE.

The trill has various terminations, or closing notes, (ascending or descending) which are played as

rapidly and lightly as the other notes of the trill.

TRILL, WITH A SIMPLE TERMINATION.

f

tr.

i'p—^ 9 o—f-—#—f p—f—g—f o—P^g—g p

If: I

Ptr

^^^--i-*-

EXAMPLES OF TRILLS WITH VARIOUS TERMINATIONS,

zsn -«5h-i-4-

ti-i±- ZSL. -i-^-4- -isi:.-<5>-

\m-r-=^

i!E

Lento.

#I

-ig-

JS-

jCL

JZ--~:sr.

ZSL

^

I

I

The trill may sometimes be prepared by a grace note.

tr .. tr ^^^ -^

s^=^

=<5^

it a

4^^?-f-

IS?::

SS 122=#

-J—g-

;~22Z

-i-*-^- 11

11

I *i



ISg-w lEng-land CorxsGfât.oTy ]Metliod.

All the following trills are executed without any termination.

tr tr ^ t^

m Skips.feznj j

J ^—\\. Second, when the next note descends.

Third, descending chainn of trills. .^ ' :P=^ m&The trill should be practised with every shade offorte and piano. Though one should be able to make a

trill with any two fingers, especial attention should be given to the third and fourth, and second and

rd fingers of the right hand, and the first and second, and second and third fingers of the left hand.

-»3-

EXERCISE IN SUCCESSIVE TRILLS.

34

-i5>- * M—^^—^1 nt «9 ir

1 ±

Ê

ZSL.

tr

§3 -a^-

7—<Sr

tr tr

-G-^--i-4-

-^r-

tr

ZS£L iH=^-^-

tr tr

-i^-3z::

-G- ttr

JZ- Xr-^tr23

tr tr132323a.

132323

jO-tr

'JSr

'1

^1&- -i^-

^tr

312121

a

tr312121 &• tr tr 31

îs: -<&-

_cz:

PLATED. Jf.ff.

-3 4-a-4-

TRILLS WITH CHANGING FINGERS.

z^J^'^^^

2 4 8 4

pr^«^L«.^,^«p^^:p: :^qi:^^0-c-«###^0##^»#^ -»-W-m-^0f-m-f0Wi'^'0f-»-f

3-3-a-* ^-3-^r^-

4 2 4 2 3 2 3 2 3 13 1

WBITTEN

P

tr tr

-&-

tr tr

-s>-



IVe^v*^ lEng-laxid. Conservatoire ]ytetliod. 267

SlE

2^zosr

TRILLS FOR BOTH HANDS

-fl ~A—r-^— rr^'S' -J-J—i-^—^rr -^ R— '—r

tit <=2._H _^^—.^

Lento, tr ^3-5-

-aa-

tr

i ^tr -GL

1

:i=i;:=vsia:

-aa-

1^ iEiESi

^When the notes which stand over the trill are so distant that we cannot reach them, so as to strike them

along with the 'accessory note, they must be struck alone between the trill, instead of the accessory note, in

such a manner that the principal note shall immediately precede and follow each of them, and so that the whole

series of notes shall proceed without interruption, and in like rapidity with the trill.

-J-

1^-/- / -J-J-±-Z

^ Nh

3b5=t=5=!f=5 4- -«—«—*-^-*—^-

i-0-

-iS>- -I5>-

jST-

HBi- Itr

Played thus.

tr'

Played thus: 5 6 6

-.

P^g—a a^^^P a a—î-^^-a

~

—-

-W-i-W^-^m-^m-fi-

2 1

-^-^-•^-•-t—•-P-»-^--•-U-#-^-#-l»-#-t-#-!+-- !|-

»=i=»:

5

H~=#=P=# .^_»_E-»-^-#-^-»-:

!!r-t=: j^

l?ipifip=fzpit=pifzpifip:

tit

fzpifzpifipifipifipziIF

I

TRILLS WITH ACCOMPANYING MELODY.When a trill accompanies a melody, it should be divided into notes of real value:—Example.

tr tr 23

n-E^s—i^^^^-t*-i -i^-i^-^î^^^ ^-»î^^^^^^

353a:-*•- zcpzzzpz

-+•- zfpzSZZL

;fzz=^^»:-X^ —z==zz==^:pz±z^zz=zpz=pzz=i=—II III f

ISl

-&- \

"^s^m^.-t—t—I- •-n-^z=»=f=zpi: '

»-

?=^=N=? =£=£P=P=p: HiWhen double trills occur, in which, for the greater facility of execution, only the principal note is doubled,

the lower note must always be taken by the thumb.

•WBITTEN.

tr^

m3 3 314 14 1

3 412 3 2

I 1 -h:lz=z^

DOUBLE TRILL. tr 34tr 45 11 6

12 fi -"S- -Â -—

^1 „, 14141 123 2

ZZZ -p I- ~ f PLAYED.yp,;^|i—»-t--»-|--i-i—-»-|—p--h--!»--H-»-i—»-P-[- -F-5:--^-f

-§-±L ?=i=^-(5^-i^-

t:îtr tr

{Trill in Thirds.) {Trill in Sixths.)

Ssz ^j^life^ (ggÊEJlfeg^

fe

TRIPLE TRILL6

45 34 iia—iS-r—t

tr

12 ^

tr

45 34,12 d 3

bVi

EÊE :::t|r= S-i^ ^.z|z= ?lfi?- :tiHtr

tr 322.I A i

SL.

sr6

î a^fe:;

tr.

^ „ 1^ -â-ai:-

?!5'-

4:±?z±_q:m



]Ve"vr Êng-land. Ooxiservatory TWCethod.

CONCLUSION.It is hoped that the foregoing method of instruction for the Piano-Forte has guided the pupil

thoroughly, step by step to the point from whence he will be ready to pursue the study of the art

of an instruction book. Henceforward it may be left to the good taste and discrimination of

teacher to select such a course of etudes and pieces, in a progressive order and according to the talent

proficiency of the pupil, as will lead him steadily on towards the goal of his aspirations,-^ the mastery

the art of Piano-Forte playing. In order to facilitate such a future course of instruction, or at least to

before the eye of teacher and pupil the character of such a progressive plan of study, the following lists

studies have been prepared, not, however, with the intention of demanding strict conformity to their

but merely an approximation thereto. And to guard against narrowness of range, a parallel course has

laid out, so that a choice or substitution can be made if it be desirable.

LISTOFSTUDIES.299. Schoolof Velocity.—Bertini, op. 29. Loesclihom,op. 66.

op. 32.—Heller, op. 46. i

op. 45.'— Krause, op. 5.

op. 740.—Kohler, Velocity.

Preludes and Exercises.—Al. Schmitt, op. 16.

op. 337.—40 Daily Studies. Heller, op. 16.

op. 73.—Grund, op. 24.—Eschmann, op. 22.

Inventions.—Ch. Mayer, op. 200.—Jensen, op. 32.

Studies, 1st. and 2d. books.

Selections from the Gradus ad Parnassum. {Russell d: Go.)

Bach, Six Partitas, op. 1.

Bertini, op. 66. Characteristic Studies.

Bach, English Suites, l^—

Mayer, op. 119.

Moschelles, op. 70. /^

Chopin, op. 10.

Chopin, op. 25.

Moschelles, op. 95. Characteristic Studies.

Studies, by Henselt, Dohler, Thalbcrg, Schumann, Liszt.

Bach, Well Tempered Clavichord, etc.

DIRECTIONS FOR PRACTICE.

In practising a piece, two faults are often committed, against which one cannot be sufficiently warned.

first is, to practise rapid movements in quick tempo ; the second, to play over the easier parts of the piece

often as the difficult ones. This is wasting time, and leads to incorrect study. Many players have

the greatest difficulty in divesting themselves of these evil habits. It is absolutely necessary to

the following rules in practising :

1. The piece must be played through several times slowly, and as well as possible, in order to form a

idea of its character and difficult passages.

2. The latter are to be attacked without delay, after seeking the best adapted fingering, and practised

with a precise and firm touch, even if one has to force one's self on account of having fallen victim to

hasty and superficial method of study. To acquii-e a correct and flowing style of playing is only possible

practising very slowly.

3. If a certain passage ojffers peculiar difficulties, try while practising to count aloud, and accent sharply,

in counting and playing; thus rhythmic feeling is not only developed better, but also the counting aloud

a great and undeniable influence upon the even development of the force of the fingers. Yet this

aloud must not be carried to excess, as it tends to turn the study of Piano-Forte playing into

mechanism. It should therefore by no means be resorted to invariably. In compositions with no

marked, the player should resort to the experience he has acquired in Finger Exercises and Etudes.

case this does not suffice, he must seek a fingering himself. Upon thorough reflection, each one will find,

not always the best, yet certainly a good fingering.

4. The player should guard against the bad habit of hurrying, a fault into which he easily falls if he is

and which is more common than the equally bad habit of dragging.



]Xe>v Elng-laiidl Ooiiservatory IVtetliotl. 269

5. A player possessed of true musical feeling will strive more or less in studying these single parts to

render them with taste and due observance of the marks of expression, unless there are reasons, having

reference to the mechanism of playing, which force him to the contrary. For it is often necessary to practise

certain passages with a firm touch, before one is able to render them, as prescribed piano or pianissimo, with

clearness and evenness. Other passages, especially staccato double notes, must be studied piano in order to

attain that facility which even in ff must not be wanting. But if the i)layer's attention has been drawn too

much to the conquering of mechanical difficulties to be able to regard expression, it will then become necessary

that he play the piece several times with especial regard to all signs which refer to expression, feeling, and

character of the piece. The study of the right use of the pedal should also be observed.

6. A player who has not yet become accustomed to playing before others, must study the composition which

he intends for public performance with such thoroughness that technically, as well as with regard to style,

his fingers can find as it were, their own way and true expression, if he should be overcome with fear and

embarrassment, which is often the case at the commencement of the performance. An artistic rendering of

the piece, under such circumstances, is out of the question;yet it will guard the player against the misfortune

of ceasing altogether, while by degrees he will gain sufficient composure and deliberation to use his powers

with perfect freedom as he gets farther on in the piece.

7. In order to correct faulty execution, players should not choose too difficult studies and pieces, so that

they may devote their attention principally to the position of the hand. But if such is not the case, it will

be found more advantageous, for the quicker development of mechanical dexterity, to practise such studies as

are a little beyond the powers of the player,

8. Sometimes it is of advantage to study such works as will call forth all the powers of the player. His

execution will in this way improve most rapidly, and receive new impulse, even though he do not wholly

succeed in rendering the composition perfectly. Yet it is also necessary, at a later period, to practise anew

those pieces whose difficulties he could not fonnerly master completely.

READING OR PLAYINQ AT SIGHT.

1. The player can only devote his attention to the study of reading at sight, after he has gone wholly

beyond the rudiments and acquired a certain degree of execution.

2 He should choose such works as he can fully master, and which, with especial regard to mechanism,

present but few difficulties.

3. The principal rule in the study of reading at sight is to allow nothing to prevent playing one section

of a piece without stopping from beginning to end. Even if chords are struck wrong and passages played

imperfectly, or notes have to be omitted, yet all this must not induce the player to stop and correct himself,

but he should continue playing uninterruptedly, endeavoring to render, if but in the main points, a faithful

picture of the whole work.

4. He must choose a tempo which facilitates the execution, yet it should not deviate much from the one

prescribed. Difficult passages must be played through in the manner described until they are conquered.

Sometimes this is done after playing them over carefully twice or thrice, yet often a longer study is

required. But to play such passages fifty or even a hundred times without interruption must not be thought

necessary, for this would only tend to weaken the force of the fingers. A certain point, which must be fixed

by the player's judgment, ought not to be exceeded; then the practice of these passages should be discontinued

until the following day.

5. A piece should in this manner be played through once, at most, and then exchanged for another.

6. He will by degrees be able to form readily a conception of the piece, and learn to read even intricate

chords and passages in an instant. Knowledge of harmony is of special importance, if not absolutely

indispensable to this end.



IVe^v E^xig-land Conservatory IWCetliod.

7. Playing together with others, either works for Piano-Forte for four hands, or for Piano-Forte with

of one or more instruments, will also be found very useful.

CONCLUDING REMARKS.

There are two dangers which the player must shun in the coursfi of his study, viz. :— Despondency

want of perseverance, and overvaluing his own performance. The despondent player should never

that he who perseveres can overcome that which seems unconquerable, and if not wholly deficient in

he will, by continuous effort, be able to occupy a high position, and contribute his mite to the progress

art, even though he does not succeed in reaching the summit of perfection.

To the conceited we would say, that, however high he may be, he will always find his superior as soon as

slackens his exertions, and he will go backward as soon as he yields to a false belief in his own superiority.

Finally, he who is by nature gifted with talent or genius should by no means regard these gifts as his

desert, but as a sacred obligation to develop them to a degree which would enable him to perform that

may be duly expected from the greatness of his talent. For a man's merit consists only in the

and exertion he employs in the attainment of the goal he has marked out for himself. {Plaidy.)

VOCABULARY OF MUSICAL TERMS USED IN THE PRECEDING EXERCISES.

A chaqne harmonie. To each chord.

Assai. Very; as, Adagio Assai. Very slow.

Affettnoso. Affectionately, tenderly.

Andante Maestoso. Slow, with majesty.

Ben Sostennto il canto. The air well sustained.

Calando. A gradual decrease of power.

Cantando. In a singing style. v

GiOYiale. Jovial.

n melodia ben marcato. The melody well marked.

Legatissimo. Extremely legato.

Morendo. Dying away.

Non troppo. Not too much; as Non troppo Adafffo. Not too alow

Religioso. Keligiouslv.

ViTO. Lively.



IVevr lEng-laiMi Coiiservatoinp' ]>J!etliod.

VOCABULARY OF MUSICAL TERMS USED IN THE PREOEDINa LESSONS.

Agitato. Agitated.

Amoroso. Affectionately, tenderly.

Armoilioso. Harmoniously.

Oantalbile. In a singing style.

Con anima. With animation.

Con leggierezza. "With lightness.

Con spirito. With spirit.

Dolce. Sweetly and melodiously.

Euergico. With energy.

Larghetto. Diminutive of Largo, and less slow.

Leggiero. Lightly.

Lusingando. Soothingly, persuasively.

Ferdendosi. This term implies a gradual diminution in the power of tone and speed of movement.

Piu. An adverb of augmentation j as, Piu prestO, quicker^ or Pin piano, softer.

Plaintire. Plaintively.

POCO. A little.

POCO a poco. Little by little.

Possibile. Possible; as, Piu fortC possiblle. As loud as possible.

Quasi. In the manner ofj as Quasi Andante. In the manner of Andante.

Sempre. Always; as Sempre forte. Always loud.

Smorzando. A gradual diminution as to tone.

Tempo di Minuetto. In the time or movement of the Minuet.

Vivace. With vivacity or life.



. DICTIONARY OF MUSICAL TERMS.

'— "(«.) M«eler»Mng the moTenent.

a part added to a principal oa«

bj waj of enhancing tne effect of the oompoBition.

(It.) a Terj Blow degree of moTemtnt.

(It.) extremely alow.

LIBITUM, {Latin,) at will, or diBoretion. Th«•xpreision impliea that the time of aome particular

pauoge ia left to the pleasure of the performer;or

that he ia at liberty to introduee whatoTer embel-

liahmenta hia fancjr may auggeat.

(/*.) affectionate, tender.

CON AGITAZIONE, (/«.) with agltfc-

tion, anxioualT..

ALL'. ALLa, (/(.) to the ; tomeUme*, la the

(/(-) with quickneat.

(/(.) aomewbat cheerful, but netwiuiek aa allegro.

, ^ ,

LEGRETTO 8CHERZAN0O, (/*.) moderately

Elayful and yivaciona.

LEOREZZA, («.) joy; u, eon allegrma, joy-

fully, animatedly., ,. ,

{It.) extremely quick and liToly.

LLEGRO, (/(.) quick, liTely. A term implying a

rapid and vivaciouB movement, but which if fre-

quently modified by the addition of other worda;

%s, allegro agitato, quick, with anxiety and agiU-

tion, kc. •» . ..

L SEGNO, AL SEO., or the eharaoter ^h, aignifiea

that the performer muet return to a aimilar cha-

racter in the courae of the moTemeat, and play from

that place to the word^fne, or to the mark /7\ oTer

a double bar.

ANDANTE (It.) implies» moTementsomewhatalow

And aedate. Thia term ia often modified, both ai to

time and atyle, by the addition of other worda.

ANDANTINO, (/(.) somewhat slower than andante.

ANIMATO, CON ANIMA, ANIMOSO, (/(.) with

animation, in a spirited manner.

A PIACERE, A PIACIUENTO, (/«.) at the plea-

ure of the performer.

APPOGOI.ITURA, (/(.) anote of embelluhment,

generally written in a small character.

APPOaOIATO, (It.) dwelt, leaned upon.

ARIA, (/(.) an air or song.

ARIOSO, (it.) in the style of an air.

ABPEGGIANDO, )(/(Opaasageaformed ofthe notes

ARPBGUIATO, }- of chorda taken in rapid succes-

ARPEOQIO, } aion, in imitation of the harp,

nre said to be in arpeggio.

A38AI, (/(.) Tory, extremelT. This adrerb is always

joined to aome other wora, of which it extends the

ignififlation; as, adagio attai, Tery •low; atUgro

aaaai, Tery quick.

A ?iS!^' }<^'> '» ^^*"P'*" **"*••

TEMPO GIUSTO, (/(.) in strict and equal time.

ATTACCA, ATTACCA SUBITO, (/(.) implies that

the performer must directly oommenee the follow-

ing movement.BALLAD, a short and familiar song.

BARCAROLLE, (It.) airs sung by the Venetian gon-

doliers or boatmen.

BEAT, one of the principal graees in musia.

BEN, (It.) well; U. BEN MARCATO, (It.) well

marked. This expression indicates that the pass-

mge must be executed in ft eleart distinct, and

ttrongly-acoented manner.

BIS, (Lot.) twice. A term which indicates that a

certain passage, distinguished by a cnrTe drawn

oTer or under it, must ba performed twice.

BRILLANTE,(B. and Fr.) an expression indicating

a showy and sparkling style of per£»rmance.

BRIO. ) , . ..

BRtOSO. > (It) with brilliancy and apinl.

CON BRIO, i

BRI3E, (Fr.) sprinkled, broken into arpeggios.

CADENCE, a clese in melody or harmony ; an orna-

mental and extemporaneous passage introduced at

the close of a song or piece of muaio.

CADENCE, (Fr.) a shake; also, ft cadence in har-

mony; ai, eadrnii'ê p'ir/aite, a perfect oadenoe; ca-

dence rompue, an interrupted cadence.

CADENZA, (It.) a cadence, or oloae, at the termina-

tion of a song or other moreraent, introducing some

fknoiful and extemporaneous embelliahmeat.

CALANDO, (/(.) gradually diminishing in tone and

quickness.

CALORE, {/(.) with mnoh warmth and &nimation.

CANONE, (It.) a canon, or eatoh for fOTeral Toices

«r instruments.

CANON, a species of uninterrupted imitation.

CANTABILE, (ft.) in a graceful and singing style.

CANTANTE, (Tt.) a part to be executed by the Toice.

CAPELLA, ALLA, (ft.) in the ohureh styls.

CAPO, (ft.) tHe head, or beginning.

CAPRICCIO, (ft.) a fanciful and irregnlar speeiei

of composition.

CATCH, a Tocal piece in seTeral parts, of a humor-

ens character.

CAVATINA, (7(.) an air of one morement or part

only, occasionally preceded by & recitatire.

CHANT, (Fr.) a song or melody; the vocal part.

CHE. (ft.) than; as, poeo piu che andante, rather

lower tnan andante.

CHORD, a combination of sounds forming harmony.

CHROMATIC, proceeding by semitones, or formed

by means of aemitones.

CODA, (ft.) a few bars added at the close of » eom-

position, Dcyond its natural termination.

COLLA PARTE (ft.) implies that the acoompanist

muBt follow the principal part in regard to time.

CON, (It.) with; as, con eapreanone, with expres-

sion: ron hrio, with brilliancy and spirit.

CONCENTO, (ft.) concord, agreement. A selection

of pieces is aometimes so called.

CONCERTO, (ft.) a composition intended to display

the powers of some particular instrument.

CON DOLCEZZA, (ft.) with aweetness.

OON POLORE, (ft.) moornfully, with pathoi.

CON ORAVITA, (ft.) with graylty.

CON GRAZIA, (ft.) with grace.

CON GUSTO, GUSTOSO, (ft) with tattfli.

CON IMPETO, (ft.) with impetuosity.

CON MOTO, (ft.) in an agitated style, with spirit

CON SPIRITO, (ft.) with qoicknesa and spirit.

CRESCENDO, or CRES., (ft.) with ft graduftllj in-

creasing quantity of tone.

DA, (ft.) by.

DA CAPO, or D. C, (ft.) from the beginning ; an

expression which is often written at tne end of a

movement, to indicate that the performer must re-

turn to andfinish with the first strain.

DAL, (ft.) by ; as, dal segno, from the sign; ft markof repatition,

DECRESCENDO, (ft.) graduaUy decreasing in

quantity of tone.

DELICATEZZA. (ft) delicaoy; ai, eon delteattMBa,

with delicacy of expression.

DELICATO, (ft.) delicately.

DIATONIC, (Greek,) naturally; that li, aeeording

to the degrees of the major or minor seale, or by

tones and aemitones only.

DILUENDO, (ft.) a gradoal dying ftWfty of the tone

till it arrives at extinction.

DIMINUENDO, or DIM., (It.) Implies that the

quantity of tone must be gradually diminished.

DI MOLTO, (ft.) an expression which serves to aug-

ment the aignification of the word to which it is

added ; as, allegro di molto, very quick.

DIVERTIMENTO, (ft.) a short, light composition,

written in a familiar and pleasing atyle.

DOLCE, or DOL., (ft.) implies a soft and sweet style.

DOLCEZZA, or CON DOLCEZZA, (ft.) with sweet-

ness and softness.

DOLCEMENTE, (ft.) in a sweet and graceful style.

DOLOROSO (ft.) mdicatea a soft and pathetic style.

E, ED, the Italian conjunction and; M, Jiauto t

violino, fiute and violin; nobilimente ed animate,

with grandeur and spirit.

ELEQAMENTE.j

^J,^ ,,^1 ,l,g,Mfc

ELEOANZA,' (7(.)'with elepinoo, gneeftilly.

ERGICAMEN-

ELEGANTE,ELEOANZA, ._ ,

ENERQICO, CON ENERGIA, E-

TE, (ft.) with enertry.

ESPRESSIVO, or CON ESPRESSIONE, (ft.) with

expression.

ESTRAVAGANZA, (ft.) oxtraTagant and wild, as

to composition and performance.

FACILITA, (ft.) a faciliUtion.an easier adaptation.

FANTAISIE, (Fr.) \ ft species of composition in

FANTASIA, (ft.) / which the author gives free

scope to his ideas, without regard to those syatem-

fttio forms which regulate other compositions.

FINALE, the last piece of any act of an opera, or of

ft concert ; or the last movement of ft symphony or

sonata, or other piece.

FINE, (ft.) the end.

FORTE, or FOR., or simply/, (ft.) loao.

FORTISSIMO, or ff, (It.) very loud.

FORZANDO. or FORZ., or /r, Implies that the note

is to be marked with particular emphasis or force,

FUOCO, CON, (ft.) with intense animation.

FURIOSO, or CON FURIA, (ft.) with fire.

GAIEMENT, (*V.) in a cheerful and lively style.

GALLOPADE, (Fr.) ft gallop; ft quick Germandance-tune.

GALOP, (Ger.) \ ft oniek species of dance, gene-

GALOPPE, (Fr. j rally in 2-4 time.

GIUSTO, (ft.) in just and exact time.

GRACES, occasional embellishments, sometimes in-

dicated by the composer, sometimes spontaneously

introduced by the performer. The most important

of these are the appoggiatura, the turn, and the

shaJce.

GRANDIOSO, (ft.) in ft grand and eloTated style.

GRAN GUSTO, (ft.) in an elevated, grand style.

GRAVAMENTE, (It.) dignified and solemn.

GRAVE, (ft.) the slowest degree of movement; also,'

in the scale of sounds.

witha deep, low pitch in the scale of sounds.

ORAVITA, (/(.) gravity; as, eon gravita,

gravity.

GRUPETTO, (ft.) ft group of notes; ft turn-

GRUPPO, (ft.) a turn, or grace.

GUSTO, OUSTOSO, or CON GUSTO, (/(.) with

taste, elegantly.

IL, (ft.) the.

IMITAZIONE, (ft.) ftn Imitation.

IMPETU030, (ft.) with impetuosity, impetqoasly.

IMPROMPTU, (iV.) an extemporaneous production.

IMFROVISARE, (ft.) to compose or sing extem-

poraneously.

IN, (ft.) In ; as, in tempo, in time.

INNOCENTE, INNOCENTEMENTE, (ft.) In anartless and simple style.

INTERLUDE, an intermediate strain or movement.

INTRADA, \ (ft.) a short introductory

INTRODUZIONE, f movement.

ISTESSO, (ft.) the same ; as, i»tet»o ttmpo, the same

time.

LARGHETTO, (ft.) indicates a time slow aad mea-

sured in its movement, but less so than Lwgo.LAROHISSIMO, (ft.) extremely slow.

LARGO, (ft.) a very slow and solemn degree ofmovement.

LEGATO, (ft~) in a smooth and connected manner.

LEGATISSIMO, (ft.) exceedingly smooth and con-

nected.

LEOEREMENT. (Fr.) with lightness and gayety.

LEOGIARDO, (ft.) light, gentle.

LEGGIERAMENTE, (ft.) lightly, gently.

LEQGIERO, or CON LEGOIEREZZA, (ft.) with

lightness and facility of execution.

LEQOIERISSIMO, (ft.) with the utmost lightness

and facility.

LENTANDO, (ft.) with increasing slowness.

LENTEMENTE, 1 /« \ j„ .!«« t;™*LENTO, ;

<^'> ^^ "'**'' '*""•

LIAISON, (Fr.) smoothness of eonneetion; also, a

bind or tie.

LOCO, (Lai.) Thii word Inpllet that a pasM(« ii to

be played just as ft l a written in regard to piteh

it generally occurs after Sea alto, or 8va bosxa.

UA, (ft.) but; as, allegro ma non troppo, quick, but

not too much so.

MAESTOSO, (ft.) with mêetio and dignified ex-

pression.

MAIN, (Fr.) the hand ; as, main droite, main gauche,

or J/.D., M. G., the right or left hand in piano-music.

MANO, (ft.) the hand. JIano dritta, or deatra, the

right hand; mano aintatra, the left hand.

MARCATO, (ft.) in a marked and emphatic style.

MARCIA, (ft.) a march.

MARZIALE, (ft.) in a martial style.

MELANGE, (Fr.) a composition founded on seTeral

favorite airs ; a medley.

MEME, (Fr.) the same; as, mime mouvanent, in the

same tune.

MESTO, (It.) mournfully, sadly, pathetically.

MESTOSO, (ft.) sadly, pensively.

METRONOME, (Fr.) an ingenious Instrument for

indicating the exact time of a musical piece by

means of a pendulum, which may be shortened or

leogthened at pleasure.

MEZZO, (ft.) in a middling degree or manner; as,

mezzoforte, rather loud; m^sxo piano, rather sofL

MEZZO CARATTERE (ft.) implies ft moderate

degree of expression and execution.

MODERATO, (ft.) with a moderate degree of quick-

ness.

MOLTO, (ft.) Tery, extremely; as, tnoUo allegro,

very quick; molto adagio^ extremely slow.

MORCEAU, (Fr.) a piece or mosical composition of

any kind.

SIORDENTE, (It.) ft beat or transient shake.

MORENDO. (ft.) grnduaUy subsiding in regard to

tone and time ;dying away.

MOSSO, (ft.) movement; as, piu mosso, with mora

movement, quicker.

MOTO, or CON MOTO, (ft.) with agitation.

MOVIMENTO, (ft.) time, movement.

NOWLfMENTE. } <^'> ^'^^^ »«Meaes.. grandeur.

NOTTURNO, (ft.) a composition, Tocal or instru-

mental, suitable for evening recreation, ftom its

elegance and lightness of character.

O, (ft.) or, sA,fi(iuto o violino, flute or Tiolin.

OBLIGATO, or OBLIGATI. (ft) a part or parts of

a composition, indispensable to itsjust performance,

and which, therefore, cannot properly be omitted.

OTTAVA, or8va. (ft.) an octave. This word is gene-

rally joined with alta orbasna; the first signifies

that the passage to which it is applied must be

played an octave higher than it is written; tho

second, that it most be played an octave lower.

PASSIONATE, (ft.) in an impassioned manner.

PATETICO, (It.) pathetically.

PATIIETIQUE, (Fr.) pathetic.

PASTORALE, (ft.) a soft and rural movement.

PEDALE, (It.) a pedal or stationarybass. In piano-

music, this term implies that the performer must

press down the pedal which takes off the dampers.

PERDENDO, PERDENDOSI, or PERDEN., (ft.)

implies a gradual diminution, both in the quantity

of tone and speed of movement.

PEU, (Fr.) a little., ,

PHRASE, a short mnsieal cantence, eoBtaininff an

incomplete idea.

PIACERE, (ft.) will, pleasure; as, a piaeere, at tho

performer's pleasure in regard to time.

PIANISSIMO, or pp, (It.) extremely soft.

PIANO, orp, (It.) soft.

PIU, (ft.) an adverb of augmentation; tm,ptupr€ato,

quicker; jwuptano, softer.

PLANTIVO, (ft.) expressively, plaintively.PLUS, (Fr,) more ; as, plua anime, with greater ani-

mation.

POCO, (ft.) a little, rather, somewhat; as, poropre*'

to, rather quick; poco piano, somewhat soft.

POCO A POCO, (ft.) by degrees, gradually ; as. poeo

apoco crescmdo. louder and louder by degrees ;poeo

a poco dint-inttendo, softer and softer by degrees.

POI, (ft.) then; ^s,piano pot forte, soft, then loud.

POLACCA. (ft.) > a slow, Polish dance, in 3-4

POLONAISE, (Fr.) V time, of a peculiar rhythm-

POLONOISE, (Fr.) ) ical conatruction, as the me-

lodtal members usually terminate on the third

quarter of the measure.

POMPOSO, (ft.) in a grand and pompous manner.

PORTAMENTO, (ft.) the manner of sustaining and

conducting the voice; a gliding from one note to

another.

POSSIBILE.(ft.) possible; as,inu/ortojJo«#»6tl^•loud as possihlo.

POTPOURRL (i>-) a finUsift on fkvorite aizi.

PRECIPITATO. (IL) in a hurried manner.

PBECISIONE, (ft.) with precision, exactitude.

PIIELUDIO, (ft.) a prelude or introduction.

PREMIERE,(Fr.) first ; as, premirre/oin, first time.

PRESTISSIMO, (ft.) the most rapid degree of move-

ment.

PRESTO, (ft.) Tery quick.. «_._,„

PRIMO, (ft.) first; as. violtno pnmo, first Tiolin;

tempo prima, in the first or original time.

QUADRILLE, (Fr.) a French dance.QUASI, (ft.) in the manner or style of; as, quasi al-

legretto, like an allegretto.

QUIETO, (ft.) with calmness or repose;quietly.

lll??gSJ;giS?E:}W with .u^.n..d ,ortn....

RALLENTANDO (ft.) Implies a gradual dimina-

tion in the apeed of the movement.

RAPIDO, (ft.X rapidly.

RKFRAIN, ( Fr.) a burden, or tag-end to a song.

RINFORZANDO, RINFORZATO, or nn/., or r/.,

(ft.) with additional tone and emphasis.

RITENENTE, RITENTTTO. (A.) ft deereaM U th«

speed'nf the movement.8CH>/V'AND0, SCUERZATO, SCHERaOSO, of

&CH«P.Z., (ft.) in ft light, plftyful, ftnd sportivo

manner, znSEGNO, or O^, (It.) % sign; as, al aegno, retnm to

the sign ; dal segno, repeat from the sign.

6EGUE, SEOUITO, (ft.) now follows ; or, ai fol-

lows; Ma,aeg\t€ il coro, the chorus follows; aegu*

la finale, the/nale now follows. It ia also used in

the sense of, in aimilar, or like nannfr, to show

that a aubaequeut pasaage is to be played like that

which precedea it.

SEMPLICE, SEMPLICEMENTE, (ft.) with sim-plicity, artlessly.

SEMPRE, (ft.) always; as, nempre ataemto, alwayi

staccato or detached ; acmpre forte, always loud

aempre piuforte, continually increasing in force.

SERIOSO, (ft.) in a serious style.

R6maNCE, (/V.)\ a short lyric tale set to music;

ROMANZA, (ft) J or a simple and elegant melody

auitabie to auch words.

RONDEAU, (Fr.) \ a tompOBitton of seTeral strains

RONDO, (ft.) Jor members, at the end of each

of which Ibi ttfl part or subject ia repeated.

SERPEGGIANDO, (ft.) gently and silently creeping

onwards, qnietly aovancing.

SFORZATO, SFORZANDO. or n/.. (ft.) implies that

a partienlar note is to be played with emphasis.

SICILIANO, (ft.) a movement of a slow, soothinf^

pastoral character, in 6-8 time, resembling a dance

peculiar to the peasantry of Sicily.

SINFONIA, (ft.) a symphony or orchestral eompoil-

tiou in many parts.

SLENTANDO, (ft.) a gradual dimiantlon in tho

time or speed of the movemeat.

SMORZANDO, (ft.) a gradual diminntion as to tone.

SOAVE, (ft.) in a soft, sweet, and delicate style.

SOGGETTO, (ft.) the subject or theme.

SOLI, plural of SOLO, (ft.) implies that two er

more principal parts play or sing together. Snoh

parts, of course, are never doubled.

SOLO, SOLA, (ft.) alone.

SOLO, (ft.) a composition, or oven a paioago, ft>r

single voice or instrument.

SONATA, (ft.) ) a compositionconsisting of several

SONATE, (Fr.)} movemeuts, generally for a single

principal instrument, with or without accompani-

ments.

SOSTENUTO. or SOST., (It.) sustainod, eoatianouin regard to tone.

SPIRITO. CON SPIRITO, (ft.) with spirit.

SPIRITOSO, (ft.) with great spirit.

STACCATO (ft.) implies that the notes are to bo

played distinct, and detached from one another.

STESSO, (ft.) the same.

SUBITO. (ft-) quickly ; as, voUi aubito, turn quickly.

SUITE, (Ft.) a series, a collection; as, uhs auited4

piecen, a series of lessons.

SYNCOPATE, (ft.) in a constrained and syneopatod

atyle.

SYNCOPATION.—"When a tone begins on an ws-

aecented part of a measure, and is continued in tho

next part of the measure or on the first part of tho

succeeding measure.

TACET (L<*t.) implies that during a movement, off

part of a movement, some particular instrument ia

to be silent; as,jfauto (<i(-«(, the flute ia nut to plaj.

TANTO, NON, (ft.) not so much ; not too muflh.

TARDO, (ft.) slowly, in a dragging manner.

TEMA, (ft.) a subject or theme.

TEMPESTOSO, (ft.) in a tempeatuons manner.

TEMPO COMODO, (ft.) in a convenient degree ol

movement.TENDREMENT,(/V.) affectionately, tenderly.

TENERAMENTE, TENERO. or CON TENE-REZZA. (ft.) tenderly.

TENUTO, or TEN.,(ft.) implies that a note, ornowii

must be sustained or kept down the full time.

THEME, (Fr.) a subject.TIMOROSO, (ft.) with timidity and awe.

TRANQUILLO, TRANQUILLAMENTE, or CONTRANQUILI-EZZA, (ft.) tranquilly, composedly.

TREMENDO, (ft.) with a tremeudou expression,

TREMANDO, '\ (It.) implies the relterfttloa of ft

TREMOLATB, > note or chord with great rapidity.

TREMOLO, j soas to produce a tremulous kind

of motion.. ... .,«

TRILLANDO, (ft.) a neeeision ofuakoo on differ-

ent notes.

TRILLE, f^.)) ..hake a trilLTRILLO, (ft) /

'

. ., ,

TRIO, (ft.) a piece for three voicei or Inttnnnentt

This term also denotes a second movement to a

waits, march, minuet, Jbc. which always leads back

to a repetition of the first or principal movement.

TRIPLET, a group of three notes, arising from tho

division of a note into three eqaal parts of the aext

inferior duration.

TUTTA FGRZA, (ft.) with the utmost Tehenemoo,

as loud as possible.

TUTTI (It. plural, all;) a term used to point out

those paasages where all the Toieoi or lutroments,

or both, are to be introduced.

UN (ft.) a; as, «n jwco, a littlo.

VALCE, (ft.) \ '

itj,VALSE (Fr ) I

"iva.

VELOc'e, or CON VELOCTTA, (H.) In rapid tin*.

VELOCISSIMO,(It.) with extreme rapidity.

TIBRANTE, (It.) a peenliar manner of touching thO

keys of the piano., ,.,

VIGOP.OSO, VlOOROSAMENTE, (It.) boldly,Tir

orotisly.

VIVACE, VrVAMENTE, «r CON VTVAdTA.(//.) with briskness and .oimAtion.

VIVACISSIMO, (II.) with tltnB. tItmII^.

VIVACITA, (.It.) Tivacity.

VIVO, CON VIVEZZA, (/(.) »iuin»«.d, Unlj.

VOCE, (II.) tho T0ic«.

VOI-ANTE, {It.) in % light ana r»pia lD»BBeT.

VOLTA, (/(.) time of playing .moTemsnt; %»,rvottn, the first time of pitying. Ae.

VOI.TI SUBITO. or V. 9., (/I.) fin .« f-'

WALZEa, (S«-.) > W.IU.



THi:ORETI€AL. I TECHNICAL.

R TEIMS ID SCHOLARS

!Books on 3£ii.sioa<l Theory.ALBEEOHTBEEffER'S HARMONY AND COMPOSITION.For self-instruction. With many explanatory examples, a short

guide to Full Score playing, and a description of all instru-ments employed until the present time. It is, in every respect, com-plete and standard, and ismuch usedin Europe and America. $4.00.

BAKER'S THEORETICAL AND PRACTICAL HARMONY.By Ji. F. Baker. A well written treatise on Harmony, by anexperienced teacher. Price $2.00.

BERLIOZ'S INSTRUMENTATION. By Hector Berlioz. A verythorough treatise on the compass, mechanism and expression of

various instruments, with examples in score from the productionsof the great masters. It is an authority, and is recommended to

all who may wish to compose for orchestras. Price $4.00 in cloth.

CHBRUBINI'S COUNTERPOINT AND FUGUE. By L.cheruMni.Translated by Mrs. C'dwden Clarke, from the original French. This

in an admirable treatise on Counterpoint and Fugue, based uponthe author's experience as to what was necessary in the teaching

of counterpoint to bis pupils, for nearly a quarter of a century.

It is a standard work in England and America, and is adopted for

the instruction of classes by the most eminent professors in Londonand Paris. Price $2.50.

JOHNSON'S HARMONY. By a. ir. Johnson. A practical instruc-

tion book in Harmony, upon the Pestalozzian or inductive system,

immediately derived and adapted from the fellow teachers of the

school of the great Pestalozzi. It teaches musical compositionand the art of extemporizing. It is very thorough and repays acritical study. Price $1.25.

JOHNSON'S NEW METHOD OP HARMONY. Bya.n.Johnson.An easy method, a diligent study of which will impart a knowledgesufficient for the composition of easy music, and is more especially

designed for those who do not care to take a thorough and complete

course in Harmony. Price $1.00.

JOHNSON'S NEW METHOD OP THOROUGH BASS. ByA.N.Johnson. The third thorough bass book prepared by Mr. Johnson,and is exactly fitted to the present state of playing and writing of

music introducing chords. It explains in the simplest mannerpossible, the construction of chords, andhow to read and play them.

Price $1.00.

OLIVER'S THOROUGH BASS. By mward B. OUver. A thor-

oughly practical textbook on composition, with plain examples, byan accomplished teacher. Price 67 cents.

RICHTER'S MANUAL OP HARMONY. Translated from the

eighth German edition by J. C. D. Parker. Price $2.00.

RICHTER'S COUNTERPOINT. Translated from the German byFranklin Taylor. Price $2.00.

RICHTER'S TREATISE ON PUGUE. Translated from the third

German edition by Arthur W. Foots, A.M. Price $2.00.

A trio of hand-books on musical theory, by Ernst Friedrich

Richter, which give the fundamentalfeatures of the subjects treated

in a condensed form, and are universally recognized as standardworks throughout Germany.

SARONI'S THEORY OP HARMONY, ByB.J. Saroni. A prac-

tical work by a practical teacher. He explains his theory and its

application very clearly, and hisnew book is, in every sense, a workworthy of commendation, and should be used by all teachers of

Harmony. Price $1.25.

SOUTHARD'S THOROUGH BASS AND HARMONY. ByX. h.Southard. An elementary treatise, for schools and classes. Price

WEBER'S MUSICAL COMPOSITION. By Godfrey Weber. Aval-uable work of authority, which treats of the thejry of musicalcomposition. 2 vols. Each $3.00.

WOHLPAHRT'S MANUAL OP MODULATION. By HeinrichH ohlfahrt. A manual of modulation, common-sense, and thor-

oughly practical, with examples. Price: boards 50 cents; cloth

60 cents.

Text DBoolis a.nd 3JLa;iiua.ls.

BOSTON ACADEMY'S MAlfUAL. By Dr. Zoxcell Mason. A manualof instruction in the elements of vocal music, based upon theinductive method of teaching sinûg classes, known as the '"Lowell

Mason System." It is a valuable and interesting book. Price $1.00.

CALCOTT'S MUSICAL GRAMMAR. By Dr. Calcott. a standard,

reliable instruction book, which treats of Kotation, Melody, Har-

mony and Rhythm. Price $1.00.

HOOD'S MUSICAL MANUAL. By Rev. Geo. Hood. A text bookfor classes, or private pupils. Very useful as companion to anyPiano Instruction book. Price 40 cents.

HOW SHALL I TEACH? By Dr. Lowell Mason. Practical hints

to teachers, briefly explaining Dr. Mason's system of instruction

for singing classes. Price 38 cents.

MARX'S GENERAL MUSICAL INSTRUCTIONS. By Dr.

Adolph Bernard Marx. A very readable guide or companion, whichtreats, in a conversational way, of everything connected with the

science and study ofmusic. Price $2.50, in cloth.

MATERIA MUSICA ; or, Materials for tho Pianist. By j. c.

Emjelbrecht. A very interesting class-book, for schools for youngladies, or private tuition. Price 75 cents.

MUSICAL SCALE. By Horace P. Biddle. The scale scientifically

explained, with illustrative plates. Price $1.50 in cloth.

OLIVER'S TEXT -BOOK. By Edward B. Oliver. A practical,

common-sense text-book for the Piano-forte, by a thoroughly able

teacher. Price 67 cents in cloth.

OUTLINE OP MUSICAL PORM. By W. S. B. Mathews. Atreatise on the structure of the different characters of musical

composition. Price 60 cents.

PESTALOZZIAN MUSIC TEACHER. By Dr. Lowell Mason and

Theodore F. Seioard. A class instructor in elementary music, in

accordance with the analytic or inductive method. Price $2.00.

PHRASING ; as applied to Piano Playing. By a. w. Marchant.

Practical and usefuFhints to players. Price 40 cents.

PIANO TEACHER. By Zouls Plaidy. Translated by John S.

Dwir/ht. Valuable hints and instructions to teachers. Price: 38

cents, boards ; 30 cents, paper.

RULES POR YOUNG MUSICIANS. By Uobert Schumann. Val-

uable hints for young players. Price 20 cents.

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

with full and complete instructions. Price 60 cents.

!Bool£S of Uêferenoe.STAINER AND BARRETT'S DICTIONARY OP MUSICALTERMS. This dictionary not only contains all the musical terms

which are important and practical, but very complete and compre-

hensive treatises on all subjects of any consequence connected with

music. Price $4.00.

LUDDEN'S PRONOUNCING DICTIONARY OP MUSICAL

TERMS. By W. Ludden. This work gives the proper pronuncia^

tion of musical terms in the German, French, Italian, Russian,

Latin and other languages, indicated by phonetic spelling, with

rules for the correct pronunciation of all the modern languages.

Price $1.25.

PIVE THOUSAND MUSICAL TERMS. By J. S. Adams. A com-

plete and very popular dictionary, containing all the words, phrases,

abbreviations and signs to be found in the works of the most

eminent composers. Price 75 cents.

BUCK'S DICTIONARY OP MUSICAL TERMS. By Dudley Buck.

A hand book of musical words and phrases, very useful for refer-

ence.Price 45 cents.

MUSIC EXPLAINED TO THE WORLD. By Francis James Fetis.

A little work which tells you how to understand and enjoy musio.

Price $1.50.

Primers and. OatecLtisms.CCARKE'S WrsiCAli CATECHIISIW \\

eenta.

I.EKMAM1"* EtE.WEHfXW OJF inilTSBt: 60 '

PEXER8>' nURRUfVE-tt PIAJSO PRKSIER. • • 52 ..

•THOR. BASS PRIMER anil t'OMPAWMOar. 75 '

EI.E»«E*X* OF WHOROl;*;!!: BASS. . . CO '•

PIASfO-FORTE r»r!HER. & Pauer l-O* "

PKPJU.'* JFI.Ki»T PMKMER. F. U. £r<mn 50 •

The above Primers and Catechismscontaina simple and easy course

of instruction in elementary music, generally in the form of question

aud answer. They are very useful and instructive for beginners.

PUBLlSHEHJgV- OLIVER DITSON & CO., Boston.



^^H^ MA %F o :r

' The Standard Masses are well known and appreciated ;but conductors of music will do well to examine the many new

ones here mentioned. Not, perhaps, better than the old ones, they have the merit of freshness, and will secure a needed vari-

ety. For Musical Societies and for occasional practice of Choirs of all denominations, the Masses have a great value. Most

of them are provided with English words. Mozart's and Haydn's Masses contain many of the best musical thoughts of the

authors, and the same may be said, in general, of the large number of later compositions, recorded below.

Beethoven's Mass in C Cloth $1.00; Boards SOcts. ; PaperBordese's Mass in F Cloth $1.00; Paper

Borrlcse's Mass in G Minor 2 voices

Buhler's Mass, No 1 in E6 4 voices

Do No 2 in E6 • 3 voices

Do No 3 in F, 4 voices

Carl Greith's Choral Mass in F 4 voices

Carr's Easy Chant Mass in D 4 voices

Carr's Easy Mass in C Minor 3 voices

Colmau's First Mass in F 4 voices

Concone's Mass Solennelle in E6 ,

Concone's Mass in F 4 voices ; Cloth 1 00, Paper

Cross' (M n) Gi-and Mass in GCross' (M H) Missa Solemnis. For male voices

De Monti's Mass in B6 Cloth 1 00; Boards 80 cts. ; Paper

De Monti's Mass in C 2 S & Bass ad lib

Derleth's Mass No 1, in E6. 4 voices. Sop. Alto, Tenor andBass

Derleth's Mass, No 2. in F 4 votces

Drobisch's Mass, No 1 in C 4 voices

Do No 2 in F 4 voices

Est' s Mass Requiem Cloth 1 12 ; Boards 1 00 ; Paper

Farmer's Mass in B6 Cloth 1 12. Boards 1 00

Papet

Fuch' s Mass in C 3 voices

Generali's Mass in G ; 4 voices

Separate Voice Parts for Sop. Alto, Tenor and Bass Each

Gounod's Messe Solennelle Cloth 112;Paper

Guignard's Mass

Haydn's 1st Mass inB6. Latin and English words Cloth 1 00

Paper

Haydn's 1st Mass in lib. Latin words only. Boards 80 cts.

Haydn's 2d Mass in C. Latin and English words Cloth 1 12Paper

Haydn's 2d Mass in C. Latin words only....Boards 1 00: Paper

Haydn's 3d Mass in D. Latin words only. .Boards 80 cts. ; Paper

Haydn's 3d Mass in D. Latin and English words. .. Cloth 100;

Boards 80 cts. ; Paper

Haydn's 4th Mass in B6. Latin and English words Cloth 1 12

Paper

Haydn's 6th Mass in B6. Latin and English words.. . .Cloth 1 25

Paper

Haydn's 7th Mass in G. Latin words only Boards 80 cts.

Paper

Haydn's 8tli Mass in Bft. Latin and English words. . .Cloth 1 00

Paper

Haydn' 16th Mass in Bb, Latin words only Boards 1 12; Pa-

per

Haydn's 16 Mass'in B6. Latin and English words. . . .Cloth 1 25

Paper

Kempter's Mass in D 4 voices

Knilze's Mass Pastorale in G 4 voices

La Hache's Unison Mass in F

Do Do inG

Lambillotte's Mass Pascale in DLejeal's (Alois F. ) 2d Mass .... Cloth 1 25 ; Paper

Mercadante's Mass in B6. 3 voices Cloth 1 00; Paper

Mercadante's 3d Mass in G minor 4 voices

Paper

60

65

125

125

125

100

100

30

50

2 00

125

65

2 50

100

65

100

150

125

125

125

80

80

122

2 50

50

SO

100

6o

80

80

60

60

80

100

65

65

90

100

150

125

125

60

2 50

100

75

150

60

Minfe Mass Solennelle in Eft 3 or 4 voices 1 25

Mozart's 1stMass in C. Latin and English words. . .Paper 50 cts

Cloth

Mozart's 1st Mass in C. Latin words only. Boards 75 cts. ; Pa-

per

Mozart's 2d Mass in C. Latin and English words. Cloth 1 00

Paper

Mozart's 2d Mass in C. Latin words only. Boards 80 cts. ; Paper

Mozart's 7th Mass in B6. Cloth 1 00 ; Paper 05

Mozart's 9th Mass in G. Cloth 1 00; Paper 65

Mozart's 12th Mass in G. Latin and English words. . .Clotli 1 00

Boards 80 cts. ; Paper

Mozart's 12th Mass in G. Latin words only. Boards 80 cts. ; Pa-

per :

Mozart's 15th (Requiem ) Mass. Cloth 1 00 ; Paper

Niedermeyer's Mass in D. Cloth 1 50 ; Paper 1 23

Ohnewald's Requiem Mass. No 1, in F. 1 25 No 2, in B6 80Peters' Gregorian Mass for the Dead, in F. (1 voice), with Uni-

son Cho. ad lib

Peters' Jubilee Mass in G. 4 voices. Soprano, Alto, Tenor and

Bass.

Peters' Missa de Angelis, in C. 1 voice, with Unison Chorus.. .

Peters' Selected Mass in G 2 voices

Rosewig's Mass in G

75

50

65

65

60

60

60

60

2 00

80

80

50

Rossini's Messe Solennelle. Boards 2 00 ; Paper 1 00

Scheidermeyer's Mass in D 4 voices

Schmidt's Mass, No. 1, in C 3 voices

Do No. 2, in A ...3 voices

Do No. 3, in 3 voices

Do No. 4, in D 3 voices

Do No. 5, in Eb 3 voices

Do No. 6, in F 3 voices

Do No. 7,in

G3 voices

Schmidt's Mass inEb.

Schmidt's Mass in Eb. (Arranged by Spoth) 3 voices

150

125

100

100

100

100

100

100

50

150

Schwing's Missa Solemnis, in D Major 2 50

Salle's (Louis) Mass . . .3 voices 2 50

Southard's Mass in F 50

Do Short Mass inD 50

Stabat Mater. Bossini. Cloth 1 00 ; Boards 80 cts. ; Paper 60

Sxabat Mater. Fry 400

Steam's Mass in A Cloth 150

Spoth's Choral Mass, in Unison 65

Spoth's Mass, in Bb. (With Offertory. | 4 voices 1 50

Spoth's Mass in D. 4 voices

Stark's Easy Mass in C • • -3 voices

Stoecklin's Mass in Bb

Stoker's Mass in F 4 voices

Tauman's Mass in C 4 voices

Thayer's Mass, No 1

WayafEe's Mass in C S voices

Weber's Mass in G. 4 voices. Latin words only. Paper

Weber's Mass in G. Latin and English words. Cloth, 80 cts.

Boards, 65 cts ; Paper

Weber's Mass in Eb Cloth 80 cts. ; Paper 50

Werner's Mass in C '. 60

Witzka's Mass in G •» 4 voices 1 25

Zimmers' Mass Zimmers 2 00

Zwing's Mass in D ^^

125

80

50

150

150

2 00

125

50

60

OLIVER DITSON AND COMPANY, Boston.C. H. DITSON & CO., LYON & HEALY, J. E. DITSON & CO.,

NKW YOltK. CZ CHICAGO. ^'*^

^^^

PHILADELPUIA.







BOSTON PUBLIC LIBRARY

3 9999 05500 990 4

Documents

New England Cons Er 00 Tour