Professional Documents
Culture Documents
HUNTER'S
CELEBRATED
S'FE&UG'X'IORirjEI
POR THB
PIANO FORTE
J.
121
W. RANDOLPH,
LITHOGRAPHED BY
E.
CREHEN.
HUNT EN'S
F.
O E3
1_.
INSTRUCTION
FOR THE
PIANO FORTE.
RICHMOND, VA.
PUBLISHED BY
THE ELEMENTS OF
The
it
second,
first,
J.
W. RANDOLPH.
MUSIC.
the degrees of loudness and softness, the ornaments, the style, and
it
ment.
The first part has for its object the cultivation of the ear and the judgment the second, that of the hand. The
former makes the musician the latter the player. It maybe readily perceived that the one is introductory to the
other, and is essential as a preparatory study.
To place a pupil before the piano, who is ignorant of the rudiments of
the art, is like teaching reading to a child who has not yet learned to speak. I must add my humble counsel to that
of many high authorities, in recommending those who desire to learn the piano, to devote themselves' beforehand to
;
However, as the advice of my predecessors has been but little observed, it is idle to suppose mine will possess much
weight; being under this belief, and aware that superficial and hasty instruction is preferable to its total neglect, I
will conform to usage by inserting before this Method, a short exposition of the elements of music.
SECTION
I.
OF THE NOTES, THE CLEFS, AND THE GAMUT.
All musical sounds which
by these seven words
the ear can embrace, have been determined, noted and classified.
Sol,
La,
They
are called
Si.
Each of these different sounds, as well as the character which represents it, bears the generic term of Note.
The notes are written on or between five right parallel lines which form a Stave. The intervals between the
are called Spaces.
"
-~
SPACES.
1
'4
4-
LINES.
-a
Ledger Lines are written above or below the stave when those of the stave are
"
'
insufficient.
lines
The
notes, without
establish their
Krample
names
1
form, are distinguished at to mere sound by their position on the stare.
stare.
each
of
also necessary that a sign called a Clef should be placed at the beginning
regard
it is
to tlieir
clef or
OR
SOL,
CLEF
TREBLE CLEF
OB*
PA,
OR
BASS CLEF.
^_;
7-JIZZZZZ
lines are ina Bingle glance at a piano, every key of which gives a different tone, it will be perceived that five
necessarily
sufficient to represent all the notes; and that even if supplementary lines were used, the number would be
at the
and
difficult
be
so great as to create confusion.
The clefs obviate this inconvenience in a manner that would
that
know
to
sAtne time useless to explain here, but which the pupil in playing will readily understand. It is sufficient
notes,
each clef gives its name to every note placed on the same line with the sign. This becomes the index to other
By
whether upon
Examples
of tho clefs of Sol and Fa, which are the only ones used in music. for the piano.
LA
SOL
DO
RE
ME
RE
0c
~jr
SI
P
PA
A
LA
O
SOL
MI
RE
SI
P
PA
V
A.
DO
1*1
p
PA
FA
ME
a
SOL
A
LA
JO
'0~
A
LA
SI
HI
BO>
RE
--
A
LA
SOL
SI
"ST
0F
PA
SOL
P
FA
SOL
:?z-rzz:
RE
Ml
The Hnion
DO
SI
0~
-0-
P
FA
MI
"(FT
RE
C
DO
of these seven notes in their regular order, with the repetition of the
first,
~0~
B
SI
0'
LA
#"
SOL
-0-
PA
-_*-
Z9ZZ0:
Piano music
lower
for that of
is
Fa.
and tta
SECTIOISr
II.
Example
equal to
is
2 Minims,
=p=========p=:
::
or 4 Crotchets,
EE:
ZHT-ZI
or 8 Quavers
^EEE^E(?5
zwr
:
:i
:F
or 16
Semiquavers. IZZZf
"1
or 32 DemiU<1
semi-quav
'
|-|
@~
i
9 #_#_
S_*
8>
r
~i
r
tttas^aaajaaaaaxsaiasraaa'^'aq
jaaa^a^ a^ssaa-Ha^es"*!
'
"i
'
'iKKsaai^^:a^H.^a:' aflaiBda^aa^'
HHiiiliiiiliiiiinil
'
~'SSiaETMTa2Baa|.^EK 2ia^jia^aa.*a
or 64
Hemidemisemiquavers.
0990990009999^0 000&&999000_0am&09990999_j&90090000990000_
^^^s^api^iqia^ jaa^a^a; ea^a^^d mpap a^ snap{ p^gBprnjaaagBMEi =ai3H323a*:|
anWrnpanaisiainaaaaiiaaaa
pi
different values of the note, according to the above table, are insufficient to express all
musical ideas.
note wanted mi-ht be of a length relatively less than the minim but greater than the crotchet; or, greater than the
minim but less than the semibreve and, as there are no notes of intermediate value between the semibreve and minim,
;
minim
A
minim
or crotchet, or between
notes, the
Dot
is
Thus
its
Dotted Croohet.
Dotted Minim.
Dotted Semibreve.
m
-&i-
E:
Dotted Quaver.
j.
Lzz-zxz:
zin
~Z
_i
When
value
is
a second dot
^
i^S^^E
added
is
to
the
first
eto., its
first.
^EE'
m
:~2ZTv
_m
I
#_.
'
eSeSee!
!=$,-
if~
<
SECTION
III.
OF THE RESTS.
The} afford
-
Rests in a composition show that the music ceases to he performed during certain intervals of time.
repose to the singer and player, prevent confusion
in
producing mu-
sical effects.
The
Semibreve
the
Minim Rest
to the
Minim
P
r
\
Semibreve
is
"
Quaver Host.
Crochet Rest.
etc.
[--
*
*
Minim Rest.
Itest.
the Crotchet Rest to the Crotchet; the Quaver Rest to the Quaver,
"
a>
Semiquaver
>
1
- ------=
Rest.
Rest.
Rest.
sv
wH
l"
X*i
"1
W)
The
augment
single and double Dot, which were explained in the preceding section, are also placed after the rests,
their value in the
and
same proportion.
i*
">
*t
"v
-*
SECTION
IV.
Each measure
is
J
=1
~1
The measure
is
and those included under the head of three eight and six eight time are the most in use.
four, three
or
two h
'
^=pzz=Ez -3-zrz^zzzzz:
In
common, two
of quavers
is
used.
four,
and three four time, the value of a crotchet establishes the beats
Example
P-&
When
ICirzr;
them
plain,
it is
in three eight
time that
1-&-
to render
in
the time of two, or six in the time of four, such groups are called Triplets;
usual
n~"\7"*>~~*~i*~^~
"T
and
over the three notes taken for two, and the figure 6 over the six
SECTION
^r
OF THE INTERVALS.
The
First.
Third.
Second
is
called an Interval.
r~
Sixth.
Seventh.
r
Eighth or octave.
~fzz
:c:
-0-
For example, the inpupil with a good ear will readily discover that the intervals of the gamut are various.
The
first
of
these
Mi
Fa.
intervals
from
to
that
is
than
called
a tone, and the second
tervals from Do to Re is greater
A Tone is said to exist between two keys when another key intervenes, as, from Do to Re or from Re to
a semitone.
Mi.
~0~
toae.
h;ilf
tone.
SECTION
VI.
note
is
called a natural
when
it
preserves the
same
and Mi natural
is
is
Thus Re natural
G>-
it
that
__
These
Do
intervals,
na-
how-
clef,
fl^-JEg zJzz^
Accidental Sharp.
-r
a tone from
a
-0
is,
is
regularly in
a minor semitone.
commencement
~t*~
*_._;__?_
'
it
1ZJP-I
TT.
Accidental Flat.
mz-ttzzz.
-bo
"I
When
commencement
same
line
all
other notes
it
measure.
pfc-
-g #g-
ZZZ3F-
Double Sharp
natural key.
$c \Y3-\><z)~-b,ci~
in the
following order.
mm
rzn i
=3fcBfc
X
its
l>-
SECTION
it
a tone.
VII.
OF THE MODES.
There are two Modes, the major and minor.
In the major mode, as shown by the Gamut of Do natural,
note called the Tonic to the Third.
Major Third.
in
the
fifth
Major Chord.
:s>:
-<9-G>Tonic.
In the minor mode there are but one tone, and one semitone from the Tonic to the Third.
Minor Third.
Minor Chord.
r:
'
-t>-
v.
<s>-
Tonic.
first
Minor
is
when both
Do
Re Major.
Sol Major.
Major.
Mi
La Major.
r fr
--
Mi Minor.
#-
Fa
Si Minor.
*dt
#^-
#:
Sol
\)
Mi
\)
kfc
La
Si
\>
Mi
Major.
Major.
\>
Si
^f
:zzt
Do Minor.
Fa Minor.
b Minor.
-b
b-
-&-
-&-
of the tonic of
The
the note one semitone above the last sharp after the
tonic of
is
HI
Si=a==Ei
\
The Tonic
is,
the
Fa
The
is Sol.
The
The
tonic of
H*
The fourth
The
minor
Re
b
The
The
ke)
is
i%
The
Mi.
fifth
la Si.
flat.
b Major.
-b-
notG above Si
is
The
Fa.
Mi
is Si.
flat.
Sol Minor.
-b-
;-
Do
r-ftb-T-T*-
-&r
Minor.
last sharp.
:g*===;&-
liH
Ru.
is
-#-
Fa Major.
-b
Do
Si Minor.
#=
flats, is
clef.
Re Major.
)-# -= =&
The note above
gamut.
its
Major
Sol
Re Minor.
Sol Minor.
-v-b-ar-
:zzb=s:
&-
-\>-
:bzEZZ-
D
k-bzE-^j
-b
Fa Major.
Major.
\)
-b
ZZZ7JS=Z^-
-b~
t-t==
r-^vy
#A s
--
:Sdfcn
'#-&
&-
-Jt
Minor.
Minor.
$=
--
Major.
\>
Re
Sol $ Minor.
Minor.
Re
Major.
ii
# -#:S:
:*fc
-S>-
Do
and Flats-
Major.
-&-
Minor.
of Sharps
tSfe :r~
fc^
Z&L
Fa
Si Major.
Major.
-&La Minor.
same number
is
The
Re.
clef,
are
-S>-
fifth
Do
Mi
ie Sol.
its
relative
La Minor.
10
SECTION
VIII.
OF ARTICULATION.
charm of music, several different styles of articulating the notes are used to assist in
producing it. Brilliancy, lightness and confidence in execution also depend greatly on articulation.
There are three styles of articulating, the detached, the pointed, and the flowing. The first two are technically
called staccato, and the last, slurred or legato.
A staccato or pointed note is played in a short and precise manner, the articulation heing expressed by this mark (';
As
variety
is
the greatest
~w" 7
"7
""
'
is
The point
is
the note.
T"
is to
make
0-
:rrzznzir
rz
1
The Slur
-_
i*
T~
_X1J*_i
i0
,_
^~:
The mark
:p=r=- =zrz:.
efe^^^e
| ri
takes the
othetf
of a slur is
^SSg^|E^|j
L\^_
SECTION
is
placed on an
my
IX.
OF GRACE NOTES.
Trace notes, as their
An
Appogiatura
is
small note
is
as
to the
when
to be at
value
is
its
greater.
3E3
^^
When
cio.'S it
-0^0^-
an Appogiatura
is
ZZT-P--.
Hii
S=M
soe
usi
feP^E
O
nzr
'i
^~
played with rapidity without reference to the value of the principal note
it is
usual to
XI
r~s
tca^L
hffiiir-^
double Appogiatura
is
r rr:
h~~
rz~r
s~~s~*
-rr-
$i-*
r-^-;
i
S^i
J,
J5..=i
turn
In the
is
rf
b^ra
orcai
first
H=a
'"*"'
.-
IS
~
ee
"#^
:r~
ant
*3
ca
aaaea^ss
1
"~
"^
--r
'
r*
_0_
^*
#
r
~"|
SSI'S
"
i
1
i.i.-.si'-maiij
p^ --
l^fMBmsB,-^-,-^!
*g" tf
rr
i'"l~
ft^
Trill,
composed of two notes struck alternately, and following each other reguis expressed, and a secondary note
not written, but understood to
indicated by the two letters 11
is
It
It is
'.
P3 tr
IZJ3I
"1
:sl
~rr rrrr^rn rr
TJjri
J& ~ ~P ~ -fi J J *.
-ir*[;i*r^T'"iri r" i*~ e"~
mKr^
l
ra=5
JTTTl"rrrTTT r
"""[".
rr
C3
it""
"I
SECTION
X.
OF THE ACCENTS.
Accents are employed to diversify music by establishing different degrees of loudness and softness, vigor and
These shades of expression elicit from each part of a composition its true and distinctgrace, in its performance.
ive character.
The sign
The 8im
~^
be progressively increased.
in the
same manner.
-^^^^
The union
The sign
'
for the
their signification.
it
the following
list
12
PIANO
PIANISSIMO
or simply
first
letter
Sweet,
two pp
I'OLCE
orDOL....
FORTE
Sweet.
or/
Loud.
FORTISSIMO
or ff
MEZZO FORTE.... or
MNFORZANlH .. .or
Ye it
Rinf
or rfi
suddenly loud.
or Ores
in loudness.
DECRESCKNDO.
.or Dee.es:
uess.
SMoRZANDO
or
CON ESPRESSIVO
LEGATO
LEGGIfr
loud.
With
...
RO
Smorz
With
With
With
With
With
With
With
With
With
Expressive.
AFFETUOSO
MAESTOSO
Affectionate, tender.
Majestic.
feeling.
spirit.
grace.
taste.
delicacy,
fare.
force.
heat.
brilliancy, bril-
liant.
by degrees.
ESPRESSIVO
expression.
Slurred, flowing.
Light.
Half loud.
or sf sfi
CRESCENDO
In a graceful singing
style.
soft.
CON ANIMA
Rendering the
lund CON SPIRITO
CON GRAZIA
Rendering the soundlCON GUSTO
CON DELICATEZZ A
Increasing gradually CON FUOCO
CON FORZ A
Diminishing the loud- CON CALORE
CON BRIO
'.or Brioso:
ro/
SFURZANDO
CANTABILE
soft.
AGITATO
Agitated.
SCHERZANDO
MOSSO
SEMPRE
Playful.
SECTION
Animated.
Always.
XI.
When
thus
J J;
g j.
it
repeated:
is
when
after,
repeated.
is
is
rest
must be prolonged
for
G-
ffi^
In
ft]?
~csaaa3B
T'tZC.
xEoc^nasa
p#^fZ(9_
iiiWinagnvi
in
8va
'saeBsaa
written
music
to
writing four semiquavers of Do, a crotchet alone, marked with two thick short hues,
is
used
thus, in place of
etc
Abbreviations.
io
.
iJb3c=fc=iE=
_&
_"tj
a^cn?i ,: '
.^ib,1
nr- Vi
, !!
:g
6"^-
9<0O
r
Tr r r
0~(~
&&_
9&3iii
-&$'
SJ
-_,_!
=_
-'"-' CI
r
L
"
i _ @\\
u"'T >
i
&__
!
0VJZ
~r~ r^y
i
i
IC
T
--,-
C3
J_ -2~
:*"
r"~
pppp -fipp a
ssssffl
Baaw
rrrr-m
SECTION
XII.
OF TIME.
To change the
the degree oi slowness or quickness requisite for the execution of any piece.
time as established by the composer, is to destroy the true character of the piece by the substitution of false and often
unmeaning effects. The pupil should make himself perfectly acquainted with the distinctive meaning of each of the
Time,
in music,
is
From
following terms.
GRAVE
LARGO
PRESTISSIMO
TEMPO di MARCIA
With movement.
CON MOTO
RITARDANDO or RALLENTANDO ... .Retarding the time.
Slowly.
Going neither too slow nor too
ANDANTE
progressively increased.
ALLEGRO
PRESTO
LENTO ;
LARGHETTO
ADAGIO
is
RITENUTO
quick.
ANDANTINO
Somewhat
dante.
ALLEGRETTO
With
peculiarly
graceful
and
player.
A TEMPO
moderate vivacity.
He
and
should
sit
Retained.
Accelerating.
At the will or pleasure of the
ACCELERANDO
AD LIBITUM or A PIACERE
less
PIANO.
And
him
to
tiie
and
Dining his studies, his body should be immovable without stiffness, and contortions of the face should never accompany any dfficulties of execution.
The hand, slightly curved, should be held in an easy natural position, and the fingers should be apart so as to rest
free
such motion
is
OF THE FINGERS.
of the
The pupil should carefully avoid playing with greater force than his fingers allow a contrary practice weakens
them, and deprives them of that vigor which they ultimately require, and renders the execution dull, heavy, and
;
convulsive.
his
hands
Effective playing, as
until then, the
it is
manner
called,
is
3d.
and but
certain
command
over
litte varied.
OF FINGERING.
would naturally have its own on which it could rest, able to strike
it is, the fingers having to strike a great number of keys, and their
position being constantly changed, it is necessary to use the hands promptly and freely in order to meet the requisite
It is easy to perceive that in proportion as the succession of fingers is natural and the movements
extent of distance.
On this principle are based all systems of
of the hand rare and gradual, the difficulties of playing are diminished.
fingering.
The best of those which, while they are true, facilitate to the utmost a passage and are agreeable to the
If the piano
had but
But
as
A well fingered passage is attractive to the pupil, and promotes a desire for its accomplishment.
There are some passages the fingering of which is subject to fixed rules, as the major and minor gamuts,
A vigorous passage demands
etc: but in most instances, the character of the piece must be taken into consideration.
the
preference
account
of
which
should
given
fingering
on
be
to
the stronger over the weaker
sometimes irregular
There is also severe music for three or four parts, and that abounding in modulations, which is so complifingers.
performer.
demand a
have endeavoured
to afford these
14
4th.
OF THE MEASURE.
charms,
metrical division afforded by the measure is the soul of music
without this advantage its highest
whether conferred by nature or derived from art, would be absolutely useless.
..,
This part of execution should be scrupulously observed, though most pianists are accused, and too often wit
reason, of being deficient in this particular.
A due attention to time sustains the pianist in difficult passages, strengthens the fingers in a remarkable degree,
and gives alone the assurance necessary for a successful execution.
The
altogether to be heard.
Above all, in music for several parts, where the same hand has at one time notes of different
values, it is essential to observe this rule.
In avoiding this defect, the pupil should not fall into the opposite extreme, and leave a finger on a key longer than
practice ot
is necessary, while the others are striking the notes following.
I recommend for this purpose a most careful
the first studies for the five ringers at the beginning of this Method.
In agitated passages and crescendos, towards the end of a scale, in a rapid group, and also generally at the end
of phrases, the pupil is apt to hurry the time.
This fault not only weakens the hands, but likewise gives rise to
numerous irregularities in the course of execution disagreeable to the hearer. The fingers should always be restrained
in such passages.
A piece new to the pupil should be studied in a moderate movement so that he can observe strictly the beats, and
the various accidental signs, and marks of articulation, as the staccato, legato, forte, piano, riiiforzando, diminuendo, etc.
In order to obtain perfect equality and unity in passages demanding the use of both hands, it is necessary to
exercise them often separately, the left hand especially, which is the weakest.
Young pianists imagine they increase their progress in choosing pieces h.-yond their ability, but they are grossly
deceived; for thus it is that in a short time good habits previously acquired are lost, the execution is rendered weak
L.-t them always choose pieces according to their
and uncertain, arid finally all idea of correct playing is lost.
abilities; mistrust fashionable music where difficulties are heaped together with puerile affectation, and believe
that excellence is alone attained by persevering and well directed study.
The pupil should not, however, practise timidly, and for the purpose of greater certainty, phrase by phrase. I
recommend freedom in study its well as in playing, and condemn practising a composition by piecemeal.
This last rule has nevertheless many exceptions which must he o'o.erved. For example, the easiest pieces often
present some particular difficulties either of fingering or time.
These passages the pupil should study with the
greatest care, and endeavour to fix Ihem in his memory, as it is not by playing over a few times what was easy at
first sight that he can make progress and preserve unity in the execution of a piece.
Before acquiring a certain degree ot' excellence on an instrument the pupil should not indulge in playin" from
memory, but eventually this may lie done with advantage.
To render a piece of music comprehensive to the hearers, the player must eompreheird it himself, seize upon its
character, feel the melodies of the author and give them adequate expression.
But the performer must not believe
as some do, that expression means passionate and languid playing, or that the eyes, the elbows, and the whole body'
for there is nothing more tiresome and ridiculous than this constant desire
should take a part in the execution
of
infusing sentiment into a piece.
To play with expression isto give to each passage its true character; and as this character can be by turns, lio-ht,
sombre, animated, tranquil,^ uniform, lively and pleasing, and sometimes even harsh and crude, the execution 'should
For the sake of contrast the composer in troducing a' sweet and tender air
reflect intelligibly these different shades.
may preface it with harsh cords and wild passages to heighten the effect of a brilliant idea he may enclose it in a
simple and naked framework; misconceptions on the part of the player in rendering such examples may destroy
J
the greatest beauties and render them entirely unintelligible.
-
'
IMPORTANT ADVICE.
Before commencing any piece of music whatever, a player should never fail to ask himself the three following
questions
going
to
play
that
is
to
I
say,
am
?
how many sharps or flats are there to the key?
1st. In what key
2nd. What is the time?
3rd. What is the movement?
:
THE MASTER
theme: varie pour
Ji'or
trois
mains
two hands
Temar=yj S~
-&-
r
j
'ccr
~Va
-&-
m
m& =z=r-
^7T.
~Va.v
d.
IS-
4 d
,4
pH
4 4 4 d
4 d\
c?
'
m
A 4 d A\
d*d d d\ d d 4
zz
? rr
'
d d
d\
>
4\
z&zzzzz^.
u
z~
a>
4 d
d d
22:
T^~
^I
WTfr
11
m4Hl j] UH3
r
i^ji.i
'f?
**'
4HUl
'
I,
^J l ti
',
,,
I,
T^"
'
4j4r
)
,
tS>-
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