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F.

HUNTER'S
CELEBRATED

S'FE&UG'X'IORirjEI
POR THB

PIANO FORTE

J.

121

W. RANDOLPH,

MAIN STREET, RICHMOND, VA.


1864.

LITHOGRAPHED BY

E.

CREHEN.

HUNT EN'S

F.

O E3

IE IO E*. .A. ^E" 3E3 ID

1_.

INSTRUCTION

FOR THE

PIANO FORTE.
RICHMOND, VA.

PUBLISHED BY

THE ELEMENTS OF
The

execution of music embraces two distinct heads:

rious sounds requisite for a musical composition

the expression which characterize

it

second,

first,

J.

W. RANDOLPH.

MUSIC.

the comprehension of the signs

indicating the va-

the degrees of loudness and softness, the ornaments, the style, and

the ability to perform

it

mechanically with the voice or upon an instru-

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
;

the diligent study of the solfegi.

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.

Do, Re, Mi, Fa,

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

LEDGER LINES ABOVE.

LEDGER LINES BELOW,

"

'

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

lines or spaces, either ascending or descending.

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

forms the Gamut.

-_*-

Z9ZZ0:

Piano music
lower

for that of

is

written on two staves connected by a Brace

Fa.

the upper stave serves for the clef of Sol,

and tta

SECTIOISr

II.

OF THE VALUE OF THE NOTES, OF THE DOT, AND THE TRIPLET.


It is readily perceived from hearing a piece of music, that it is not composed entirely from any particular combination of notes, for the mere combination would possess but little variety; but that the length of the notes, relatively
greater or less, is an essential part of it.
The relative duration is called the Value of the note, and is shown by the

Example

peculiar form of each note.

COMPARATIVE TABLE OF THE RELATIVE VALUE OF THE NOTES.


The Semibreve

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

'

mHiii iiinalla imln

'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

OF THE DOT AND DOUBLE DOT.


The

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

any of the other

notes, the

Dot

is

used to supply their place.

Thus

a dotted semibreve is equal to three minims, a dotted


dot placed after a note increases
quaver to three semiquavers, &c.
to three crotchets, a dotted crotchet to three quavers, a dotted

value one half.

its

Dotted Croohet.

Dotted Minim.

Dotted Semibreve.

m
-&i-

E:

Dotted Semiquaver.! Dol'd Demisemiquaverl

Dotted Quaver.
j.

Lzz-zxz:

zin

~Z

_i

When
value

is

a second dot

^
i^S^^E
added

is

equal to half that of the

to

the

first

eto., its

following a sernibreve, minim, crotchet, quaver, or semiquaver,

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

between phrases or members of phrases, and aid

in

producing mu-

sical effects.

The

Rests have values corresponding to those of the notes

Semibreve

the

Minim Rest

to the

Minim

P
r
\

Semibreve

is

"

equal in duration to the

Quaver Host.

Crochet Rest.

etc.

[--

*
*

Minim Rest.

Itest.

thus, the Semibreve Rest

the Crotchet Rest to the Crotchet; the Quaver Rest to the Quaver,

"

a>

Semiquaver

>
1

- ------=

Demi semiquaver Hemidemisemiquaver

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.

OF THE SIGNS OF THE MEASURE.


All the component parts of a piece of music are divided equally into portions called Measures.
placed between two lines called bars.

Each measure

is

J
=1
~1

The measure

is

also divided into fractional parts called Beats.

The measures containing

and those included under the head of three eight and six eight time are the most in use.

four, three

or

two h
'

Measure with four beats, Measure with two beats,


called common time.
called two four time.

Three Eight Time.

Measure with threebeats,


called Three Four Time.

^=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;

three quavers are played

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;

to place the figure 3

usual

n~"\7"*>~~*~i*~^~

"T

and

over the three notes taken for two, and the figure 6 over the six

notes taken for four.

SECTION

^r

OF THE INTERVALS.
The

distance from one note to another


,

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.

But from Mi to Fa is only a semitone, for no other key is between them.


The major gamut is composed of five tones and two semitones.
~
h*alf~t6na.
-^,

~0~

toae.

h;ilf

tone.

SECTION

VI.

OF THE SHARP, THE FLAT, AND THE NATURAL.


A

note

is

called a natural

when

it

preserves the

same

relation of interval with the one preceding

the order of the gamut, as shown in the preceding section.


tural,

and Mi natural

the note which

A Sharp before a note raises it a minor semitone


of the natural gamut, and are called therefore minor.

is

a tone from Re natural


Fa natural is but a semitone from Mi natural.
means of signs called accidents: they are the Sharp and the Flat.

is

ever, can be altered by

Thus Re natural

Flat, on the contrary, before a note, lowers

Flats and Sharps are either at the

G>-

it

that

__

These

Do

intervals,

na-

how-

clef,

or accidentally before a note.

fl^-JEg zJzz^

Accidental Sharp.

-r

a tone from

a semitone almost imperceptibly less than the semitones

of a piece after the

a
-0

is,

is

regularly in

a minor semitone.

commencement

~t*~

*_._;__?_

'

it

1ZJP-I
TT.

Accidental Flat.

mz-ttzzz.

-bo

"I

When

these signs are at the

commencement

of a piece, all notes on the

same

line

and space (and

all

other notes

bearing the same name) are affected by them.


If they occur accidentally before a particular note, they affect only

and others of the same name, during a single

it

measure.

natural serves to annul a Sharp or Flat by restoring a note to

pfc-

-g #g-

Flats and Sharps are jdaced after the clef

ZZZ3F-

Double Sharp

natural key.

$c \Y3-\><z)~-b,ci~

in the

following order.

mm

\izib-_hzczib~. kzrr zztcFTq

rzn i

=3fcBfc
X

its

l>-

raises a note a tone,

and a Double Flat lowers

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

section, there are

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.

two tones from the

first

Minor

is

when both

said to be the relative of the Major

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-

-&-

-&-

Each Major and Minor key bears the name

of the tonic of

The

the note one semitone above the last sharp after the

tonic of

any major key with sharps,

is

HI

Si=a==Ei
\

The Tonic

of the relative minor

is,

the

Fa

The

is Sol.

The

The

tonic of

any major key with

note above tho

on the contrary, the note below the


Mi Minor.

H*

The fourth

The

tonic of the relative

minor
Re

b
The

The

ke)

is

i%

The

Mi.

note below the

the fourth note above the last


Si

fifth

la Si.

flat.

b Major.

-b-

notG above Si

is

The

Fa.

the fifth note below the last

fourth note above

Mi

is Si.

flat.

Sol Minor.

-b-

;-

note belo-v the 8i

Do

r-ftb-T-T*-

-&r

Minor.

last sharp.

:g*===;&-

liH

note below the Fa

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

are expressed by the

is

The

Re.

which have neither a Sharp uor Flat at the

clef,

are

-S>-

fifth

Do

note below the

Mi

ie Sol.

Natural Major and

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

staccato or pointed note

""

'

played in a less detached style than the former.

is

The point

is

placed above or below

the note.

Slurring, or playing a passage legato,


shown by a curved line.

T"

is to

make

0-

:rrzznzir

rz
1

The Slur

-_

i*

T~

_X1J*_i

i0

,_

the notes flow in a connected manner.

^~:

The mark

:p=r=- =zrz:.

efe^^^e

| ri

name of Syncopation when connecting two similar notes, one of which


on an accented beat of the same measure or of two consecutive measures.

takes the

unaccented, and the

othetf

of a slur is

^SSg^|E^|j

L\^_

SECTION

is

placed on an

my

IX.

OF GRACE NOTES.
Trace notes, as their

name shows, though

also to prevent too great uniformity.

An

Appogiatura

is

small note

is

When below it ought never


Portamente of vocal music.

a grace note placed above or below a principal note.

greater distance than a semitone

not absolutely essential to melody, are employed as embellishments and


There are several kinds the small note or Appogiatura, the Trill, and the Turn.

as

any other interval belongs

to the

generally half the value of the principal note

there are instances however

when

to be at

value

is

its

greater.

3E3

^^
When
cio.'S it

-0^0^-

an Appogiatura

with a small line.

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

played in a light and connected manner.

J,

J5..=i

turn

In the

is

rf

b^ra

orcai

composed of three grace notes placed before or after a principal note.


instance the small notes are written, and in the second they are expressed by the sign

first

H=a

'"*"'

.-

IS
~

ee

"#^

:r~

ant

*3

ca

aaaea^ss
1

"~

"^

--r

'

r*

_0_

^*

#
r

rrrr#rr"r* ^'''rtt^Tr' T ~H"rr~r ft

~"|

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

improperly called a cadence,

is

has/i principal note which

larly in the gamut.

It

be above the other.

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.

Accents are shown by signs or by words generally Italian.

The sign

The 8im

-< marks that the sound should


=='

~^

be progressively increased.

marks that the sound should be diminished

in the

same manner.

-^^^^

expresses that a passage should be commenced softly, and


of the two signs
and then diminished in like manner to the end of it.
figure,
of
the
middle
to
the
gradually
creased

The union
The sign

'

placed over a single note shows that

The words used


with

for the

their signification.

it

the sound in-

should be accented in a particular manner.

purpose of accentuation are very numerous

the following

list

includes the principal ones

12
PIANO

.or simply the

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

Smothering the sound

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/

loud but not suddenly.

SFURZANDO

CANTABILE

soft.

Very sweet and

AGITATO

Agitated.

SCHERZANDO
MOSSO
SEMPRE

Playful.

SECTION

Animated.

Always.

XI.

OF DIFFERENT SIGNS USED IN WRITING MUSIC, AND OF ABBREVIATIONS.


The sign $. shows that the player must return to a similar sign and continue to the word Fine. When the
return extends to the commencement of the piece, it is usual to prefix the letters D. C. the abbreviation of the Italian
words Da Capo, from the beginning.
The main

When
thus

J J;

divisions in a piece of music are expressed by a Double Bar

dots are added before the bar thus

that the division following

g j.

they show that the division previous to


;JJ

it

repeated:

is

when

after,

repeated.

is

Pause <s marks that a beat of the measure

is

suspended, and that a note or

rest

must be prolonged

for

certain space of time.

G-

ffi^
In

order to avoid the

multiplication of ledger lines

than their actual pitch, with this mark

ft]?

~csaaa3B

T'tZC.

xEoc^nasa

Abbreviations are employed

p#^fZ(9_

iiiWinagnvi

in

it is customary to v. rite very high passages


an octave lower
over them, showing that tliey must he plaved an octave above.

8va

'saeBsaa

written

music

to

avoid repetitions of a single note or passage

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.

the grave to the prestissimo the time

GRAVE
LARGO

Fast and animated.


Rapid.
Rapid and impetuous.
Time of a march.

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

The slowest kind of time.


Large very slow and grave.
Slow.
Less slow and grave than largo

LENTO ;
LARGHETTO
ADAGIO

is

RITENUTO

quick.

ANDANTINO

Somewhat

dante.

ALLEGRETTO

With

peculiarly

graceful

and

player.

A TEMPO

moderate vivacity.

In the regular time.

GENERAL RULES FOR PLAYING THE


1st.

The player should have

He
and

should

sit

Retained.
Accelerating.
At the will or pleasure of the

ACCELERANDO
AD LIBITUM or A PIACERE

slow than An-

less

PIANO.

OF THE POSITION OF THE BODY AND HANDS.

a seat so elevated as to enable

opposite to the middle of

And

him

to

hold his arms horizontal with the keys.

key-board at a distance enabling him

tiie

to finger all the

keys with ease,

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

from bodily motion.

such motion

is

a great defect, which interferes equally witb a pure execution

graceful manner, and should be early guarded against by the pupil.

exactly on the keys.


2d.

OF THE FINGERS.

made aware of their mechanical powers, and that they should be


wrist.
By this exercise alone, grace, freedom, and an agreeable into-

Before exercising the fingers the pupil should be

arm and even

used independently of the

of the

nation are acquired.

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,

suited *>nly to the pianist

is

of playing should be simple

3d.

and but

who has acquired a

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

ten keys eacli finger

rapidly and without a fear of mistake.

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.

cated as to render a natural succession of fingering impossible.


But not by theories of this kind, more or less extended, can a pupil acquire a style of fingering adequate to all
In this matter good examples will avail more than general rules, which are often not well suited for
difficulties.

examples by writing carefully the fingering of all the exercises in


The teacher should also finger such other music as the pupil studies; and forbid the practice of all
this method.
pieces not originally composed for the piano, as the arrangements of symphonies, overtures, quartets, etc., often
application.

demand a

have endeavoured

to afford these

faulty style of fingering, injurious to the proper cultivation of the hand.

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

ON THE PROPER COURSE OF STUDY.


The pupil who wishes to make real progress on the Piano should devote at least three hours a day to its diligent
study.
These hours need not be consecutive on the contrary, they may be divided among different parts of the day,
at intervals sufficiently distant to afford rest to the hands, as well as to enable the player to withdraw_ his attention
wholly from his practice. Close application too long continued is sure to dishearten and disgust the pupil.
The first hour should be bestowed on the exercises for the five lingers and the scale., the other two may be given
to such pieces as the teacher deems suited to the capacity of the pupil
In attending to the studies the young pianist should never cease to observe faithfully the time, the importance ot
which has already been enforced. In older lo give each note its exact value it is necessary at first to count each beat
aloud and equally,
Pianists are sometimes disposed to hurry the time in slow niovemenls owing to the insufficiency
of the instrument in sustaining notes of a long value: but they should guard against a habit leading to the worst
consequences, by not quitting any key until the value of the note has expired, even though the sound has ceased
:

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?
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