NEW STUDENTS’ EDITION . .

ENLARGED AND REVISED

Continuing \f
if MELODY OE LOVE v-'-'"
i/MOON WINKS i--
POLKA DE LA RHINE \/
LOVE SONG by Kevin /
FI PTH NOCTURNE .

SPRING SONG
l^flEAUTI FLIL STAR OF HEAVEN,
l.'STAR OF THE SEA s - r
And many other very popular and favc
numbers by well-known composers.
[ENGLISH AND FRENCH TEXT
iFrench Translation by F. RAYNAUD
(Copyright)

WHALEY. ROYCE 4 CO. LIMITED

TORONTO, Canada
 .

_ DICTIONNAIRE
DES TERMES DE MUS!QUE LES PLUS USITES.
Acceierandc—De plus en plus vite. Forza—Avec force.
Accidents— Dieses, bemols ou becarres. Forzando, Fz—En augmentant la fore® da son.
Accompagnement— Partie ajoutee nu chant pour complet. Fuoco— Feu ou passion.
l’harmonie. Fuocoso— Plein de feu.
Adagio Lent. — Furioso—Avec beaucoup d ’animation-.
Qlissando— En glissant.
Adagio Assai—Trfes lent.
Ad libitum— A volonte, sans observer la mesure. Grandiose— Majestueusement.
Affettuosc Tendre. — Grazioso— Gvacieusement.
—
Agilita —Agilite. Gusto Avec gout.
Larghetto— Un peu lent.
—
Agitato Agile; avec feu.
—
Largo Le mouvement le plus lent.
Alla breve— Corame a 2 temps 2/2.
Allegretto— Un peu vite. Largo di Molt© Tres lent. —
—
Allegro Vite et joyeux. —
Legato Lie.
Allegro assai— Tres vite. Leggeranza, }

Allegro con Fuoco Vite et animd. — Leggermente,

Leggiero, etc.
j- Leger.
Allegro Furioso— Vite et vehement. j

Allegro Vivace—Vite, a la course. —

Lentando En allant de plus en plus lent.
A Segno—Recommence?, au signe :Ss. —
Lento Lent sans contrainte.
I

Alta ou 8va—Jouez a l’octave. —

Loco Tel qu’ecrit.
Alto—La voix basse de la femme. M—A demi.
—
Amoroso Tendrement, amoureusement. Ma—Mais.
—
Andante Un peu lent. M aestoso—Majestueusement.
Andantino— Un peu plus lent qu’ Andante. Marcato—Marque.
Animate— Anime. — Martele.
Martellato
A piacere —A volonte, sans observer la mesure. —
Meiodioso Chantant.
A poco piu lento—Un peu plus lent. —
Men© Moins.
A poco piu mosso— Un peu plus vite. Metronome — Instrument servant a fixer le mouvement des
Afpogsatura— Appogiature, note d’agrement. compositions musicales.
Aria— Air, melodie. Mode— Majeur ou mineur selon que la tierce de la gamma
—
Arman lose Harmonieusement. est majeure ou mineure.
—
Moderate Moderement.
Arpeggio—Arpege.
Attaca —Attaquez de suite. —
Modulation Changement d’une gamine a une .autre.
A Tempo—Revenez au mouvement. M olto—Beaucoup.
Barcarolle— Chant des gondoliers venitiens. —
Morendo En mourant.
daryton— Voix d’homme entre tenor et basso. Mosso—Anime.
—
Basse La voix d’homme la plus profonde. —
Notation L’art d’ecrire la musique.
Ben marcato— Bien marque. —
Note Figure qui represents les sons.
Bis—Deux fois. Obligato— Oblige.
Octave— Serie de huit tons.
Briilant— Brillant.
Brio — Avec vie. Ottava Aita— Un octave plus eleve.
Cadence— Improvisation sur un repos. —
Pastorale Chant a six-huit, d’une allure gracieuse.
Calendo— Laissez les sons se perdre. Red— Pedale.
Cantab ite—Chant gracieux. Perdsndo, 1
Perdcndo S !./- En J ' curant
-r,
-

Capriccie— Avec caprice.

Chant— Une melodie. —
Piano Doux.
Coda—La fin d’un morceau. Piu— Plus.
Con Anima — Avec ame. Poco — Un peu.
Col, col a, con— Avec.
I
Portamento— Port de voix d’une note a la suivants.
Commode— Commodement. Pr e ude — Courte ntroduction
I i

Concert— Soiree musicale. Presto, Prestissimo— Vite. Tres vite.

Concerto— Composition xnusicale pour un instrument, avec Primo —Premiere fois.
accompagnement. Primo Tempo—-Le premier mouvement.
Con DeSScatezza — Avec delicatesse. Quartette— Composition a quatre parties.
Con Disperazione Avec ddsespoir. — —
Quintette Composition a cinq parties.
Con Doiore— Avec douleur. —
Ral lentando En ralentissant.
Con Eleganza— Avec elegance. .... Recitatif—Parle.
Can Energico— Avec energie. —
Religiose Religieusement
Con Espressione— Avec expression. R hythme— -Mouvement.
Con Fuoco — Avec ardeur. Rigore—Rigueur.
—
Con Funa Avec fureur. Rinrorzando— En reforgant.
Con Qrazia — Avec grace. R isoluto—Resolument.
—
Con mpetSo Avec impetuosite.
i —
Ritardando En retardant.
—
Con Just® Avec exactitude. Seherzando— En badinant.
Con Lentezza— Lentement. Scherzo— Br din.
Con Motes— En pressant. Semplict— Simplement.
—
Con Precision® Avec precision. Sentimento— Avec sentiment
—
Con Spirit© Avec intelligence. Serio, Serioso— Serieusement.
—
Crescendo En augmentant de force. Storzando —En renfor?ant le son sur une note.
Da Capo, or D. C.—Recommence?, le morceau.
ilAcrescendc— Diminuez le son. imorzando.) En mourant ’

Soave— Suave.
delicatesse. Solfege— L’art de chanter en noraraant les notes.
Diminuendo Diminuez — le son. Solo—Seul.
Di Moltc— Beaucoup. Soprano —Voix de dessus chess la femme.
Di vote—Avec devotion. Sestenuto — Soutenu.
Dolce—Doux. Sotto Voce— En retenant la voix.
Dolce con Gusto —Doux et avec gout. Staccato— Ddtache.
Dolcezza— Doux, Sub ito—Vite.
}“Avr
—
Tac t Silence.
oMrose douleur -
—
Tempo Temps.
Dominante- quinte de I’echelle musieale. Tempo di Marcia—Temps de marche.
Dritta —Main droite. Tempo Gusto — Bien dans le mouvement.
D.S.- — Au signe. Tenor— Voix d’homme la plus elevee.
Duet, duetto, duo— Composition pour deux voix ou deux Tremend© — En tremblant.
E —Et. [instruments. Triile —
Repetition prolong4e d’une note et de la
sup6rieure.
Eleganza, con>- ^ance. Trio— Composition a trois parties.
Energies— Avec energie. Troppo—Trop.
Tutti—Tons.
Expressftme, con }-*«« —
expression.
Veioce Rapidement.
—
Etude Exercice, etude sur le piano. Vigoroso—Avec vigueur.
Forte—Fort. Vivace— A la course.
Fortissimo— Ttes Volti Subtto— Toumez vita.
1

fort.
 m
fAl

New Nouvelle

“STUDENTS’ EDITION” “EDITION DES ELEVES”

Enlarged and Revised Augments et Revisee

NEW
A UNE NOUVELLE
METHOD METHODE
FOR THE POUR LE

PIANOFORTE PIANO
BT PAR

JAMES BELLAK JAMES BELLAK

Doigter a la franchise
Foreign Fingering

m Copyright, Canada, MCMXVII b, WhAtEY, BOYCE & CO„ Umlled

ILLUSTRATED POSITIONS OF THE HANDS
LES POSITIONS DES MAINS ILLUSTREES

CORRECT POSITION FOR BODY AND ARM.

POSITION DU CORPS ET DU BRAS.
 I. Stroke of the First Finger.
II. Stroke of the Wrist.
Attaque du premier doigt.
Attaque du poignet.

III. Stroke of the Wrist and Forearm combined.

Attaque du poignet et de l’avant bras simult&nement.

IV. Position of the First Finger for Staccato Stroke. V. Position after the Stroke*

Position du premier cdoigt pour 1’attaque du staccato Position apres l’attaque.

4
Rudiments of Music Les Elements de Musique
There are seven notes in music, which are called after the II y a sept notes en musique, qui s’appellent d’apres les

first seven letters of the Alphabet:- A, B, C, D, E, F, G, and sept premieres lettres de 1’alphabet:- C, D, E, F, G, A, B,ou
repeated according to the Compass of the Instrument. The Do, Re, Mi, Fa, Sol, La, Si, et on les repete selon Ie clavier
notes are placed on and between five lines or spaces, called de l’instrument. On met les notes sur cinq lignes, et dans
a Staff or Stave. les quatre interlignes entre ces lignes, qui s’appellent portee.

Staff (Portee) (Lines (Lignes) Spaces (Interlignes)

Piano or Organ music is composed on two Staves, the La musique pour le piano ou l’orgue est ecrite sur deux
upper staff is used for the Treble or G- clef, the higher part, portees; on utilise la portee superieure pour la clef de sol,et
and is generally played with the right hand. The lower generaiement l’on joue avec la main droite. On utilise la
staff is used for the Bass or Fclef, the lower part, and is portee inferieure pour la clef de fa, et Ton joue avec la
generally played with the left hand. main gauche.

Both staves are connected with a Brace. Treble or Gclef (Clef de Sol) On joint lesdeux portees par une pa-
Striking the note on the first line of the rnnthese. Touchant la note* sur la pre-
Treble, E, with the first, finger of the right miere ligne de la clef de sol, Mi, avec le
hand, omitting one key, and each second l
premier doigt de la main droite, omettant
key struck with the next finger will give *
Bass or Fclef (Clef de Fa) une touche, et touchant chaque deuxieme
to the pupil the five noteson the lines, touche avec le doigt suivant, cela donnera
while the four omitted keys, between the a 1 eleve les cinq notes sur les lignes, et les
fingers, are the notes in the spaces. quatre touches omises entre les doigts se-
Knowing, where the note on the first line is, will easily ront les notes dans les interlignes.
guide the pupil to find the notes on the five lines, and Sachant ou est la note sur la premiere ligne, cela guidera
to use the four omitted keys for the four spaces. l’eleve a trouver notes sur les cinq lignes, et a employer
les
les quatre touches omises pour les quatre interlignes.

G B F A °
Notes on the 5 lines
a
Notes in the 4 spaces *
Notes sur les 5 lignes Notes dans les 4 interlignes =~=
Mi Sol Si Re Fa Fa La Do Mi
Leger Lines
For higher or lower notes, short lines are Pour lea notes elevees ou les notes plus has,
used above and below the staff, called leger on utilise les petites lignes au-dessus et au-
lines, equidistant from the lines of the staff,
t-^- 1
dessous de la portee, appelees lignes supple-
omitting one key for the space.
= = mentaires, a la meme distance des lignes de la
portee, omettant une touche pour l’interligne.
Lignes supplementaires

G (Sol)

Notes above and below the staff Notes au-dessus et au-dessous de la portee

D (Re)

Notes on the leger lines, above and below the staff

Notes sur les lignes supplementaires, au-dessus et au-dessous de la portee

Notes above the leger lines

Notes au-dessus des lignes supplementaires

Above and below the staff

Au-dessus et au-dessous de la portee

Notes under the leger lines

Notes au-dessous des lignes supplementaires

The Bass notes are learned in the same manner as the Les notes de la clef de fa sont apprises de
treble.The note on the first line in the Bass is called G, la meme ma-
niere que dans la clef de sol. La note
sur la premiere
striking this note with the fifth finger of the left hand ligne dans la clef de fa sappellent Sol, touchant cette note
and omitting one key for the space, the other fingers success- avec le cinquierne doigt de la main gauche, et laissant,
une
ively will strike the notes on the five lines, while the four
touche pour I’intervalle, les autres doigts successivement
omitted keys, between the fingers, are the notes in the toucheront les notes sur les cinq lignes, et les quatre touches
spaces. (misede cote) entre les doigts, sont les notes dans les inter-
Additional or lcger lines are also used in the Bass clef, lignes.
omitting one key for the note in the space. Lignes additionelles ou supplementaires sontufilisees aussi
pour la clef de fa, laissant une touche pour la note chins l’inter-
ligne.

Intervals Intervalle
Second Third Fourth Fifth Sixth Seventh Octave
Seeonde Tierce Quarte Quinte Sixieme Septieme Octave

Keyboard of Seven and One-Tliird Octaves Clavier de Sept Octaves un tiers

Commencing on A in the Bass and ascending to C in the Com'mencant par la note La dans la clef de fa, et mon-
Treble. tant, jusquau Do dans la clef de sol.
The white keys represent the natural notes in their al- Les touches blanches representent les notes naturelles
phabetical order, proceeding from left to right, as shown in dans leur ordre regulier, allant de gauche a droite cormne
the following diagram. Every black key is the sharp of the le diagramme suivant. Chaque touche noire est le diese
white key below, and the flat of the white key above it. de touche blanche au-dessous, et la bemol de la touche
la
blanche, au-dessus.

the Bass the Treble

Notes sur les 5 lignes dans Notes sur les 5 lignes dans
la clef de Fa la clef de Sol

Left Hand Main

( gauche) Right Hand (Main droite )
6
Value and Form of the Notes and Rests |
Valeur et Forme des Notes et Silences

Whole-note
Rohde

2 Ho If -no tea
2 Blanches

4 Quarter- notes
4 No ires

8 Eighth-notes
8 Croches

IB Sixteenth-notes
IB Double- Croches

22 Thirtysecond-notes
22 Triple Croches

B4 Sixtyfourth-notes
B4 Quadruple Croches

The notes have their corresponding Signs of Silence, I Les notes ont des signes qui ont la memeduree et qu’on
called Rests. |
appelle Silences.

Whole-note Half-note Quarter-note Eighth-note Sixteenth-note Thirtysecond-note Sixtyfourth-note

Pause Demi-Pause Soupir Demi-Soupir Quart de Soupir Huitieme de Soupir Seizieme de Soupir

A dot placed after a note or its rest makes it one half Un point place apres la note ou le silence est equivalent
as long again. a la moitie de la note ou du silence.
Two dots placed after a note or its rest add three-quar- Deux points places apres la note ou Ie silence valent trois-
ters to its length. quarts de la valeur de la note ou du silence.

Every piece of music is divided by bar- I Chaque moreeau de musique est divise
j j

lines,and the space and contents between 1 par des barres de mesure, 'et l’espnee -L » 1

two barlines is called a measure. contenu entre deux barres de mesure est appele une mesure.
A double barline indicates the end of a
||
strain or musi- Une double-barre indique la fin du moreeau ou de
]j
cal idea, and a repeat sign indicates that which comes 1 idee harmonieuse, et un signe de repetition tjj
:|| indique
before must be repeated. que la partie du moreeau depuis le signe doit etre repete.
 The various degrees of time and value of the measure are l Les degres varies de temps et la valeur de la mesure sont
as follows:- |
les suivants.--

Common time Half Common Triple time Triple time Compound Common Compound Triple Compound Quadruple
Quatre temps Deux temps Trois temps Mesure atroishuit Six huit Neuf huit Douze huit

Equal to
Two-four Three-four Three-eight Six-eight Nine-eight Twelve-eight
Egal a

When a line is drawn through the C, thus which is I Quand une ligne est tiree au traversde C, exemple (£, qui
called Alla Breve, two are counted in a bar. j
s’appelle C-barre, c’est une mesure a deux temps.

Accidentals Signes d’Alterations

A sharp ($) placed before a note, raises it half a tone, Le diese ($) place devant une note eleve la note d’undemi-
for which, purpose the next key above the note must be ton, et la touche suivant la note doit etre jouee, nod re on
struck, whether white or black, as each key respective to blanche, chaque touche ayant la valeur d’un demi-ton.
its next, is a half tone. Le bemol (b) place devant une note baisse la note d’un
A flat (b) placed before a note, lowers it half a tone, demi-ton, et la touche d'avant doit etre jouee, noire ou
for which purpose the next key below must be struck, blanche.
whether white or black. Un double-diese (x) eleve la note d'un ton.

A double sharp (x) raises' the note a whole tone. Un double-bemol (\h) baisse la note d'un ton.
A double flat (bb) lowers the note a whole tone. Le becarre (fcj) detruit l’effet du diese ou du bemol et re-
A natural (tp dissolves the influence of a sharp or flat met la note dans son ton naturel.
and restores the note to its primitive state.

Names of the notes with sharps (Jf).

Names of the notes with flats (b).

a Noms des Notes avec dieses ($). Noms des Notes avec bemols (b)-

=b« V*

ctt D# Eft Of
Dojj Re# Mi# Sol#

The sharps and flats placed at the beginning of a com- Les dieses et les bemols places au commencement d’un
position are called the “Signature ”
and rule the whole piece. morceau s’appellent “Signes de Transposition’ou l’armature
et donnent la tonalite du morceau de musique.

Table of Major Keys (# and b) Les Gammes tonique Majeures (# et b)

F# c#

A#
Copy the notes above the staff. Copies les notes au-dessus de la portee.
La#
i=4'-
8
Position at the Piano Position au Piano
The position of the learner, at the piano, must be position de 1’eleve au piano, doit etre droite, a l’aise
La
erect, easy and graceful, sitting opposite to the middle et gracieuse, assis en face du centre du clavier; et de telle
of the keyboard, and of such a heighth that the elbows fa^on que les coudes ne soient pas plus bas que les touches,-
le poignet est eleve plus haut que le bras
et le cou.de doit
are not lower than the keys,- the wrist is raised above
the arm, and the elbow must hang gracefully. tomber gracieusement.
The tip-ends of the fingers (but not the nails) are to Les extremites des doigts (mais pas les ongles) doivent
strike the keys; the thumb must not hang carelessly be- frapper les touches-, le pouce ne doit pas pendre negligem-
low the keys. ment au-dessous des touches.
Practice slowly, and count aloud as long as you use the Pratiquez lentement et comptez a haute voix aussi long-
Instruction Book and until the ear is accustomed to con- temps que vous utilisez la methode et jusqu’ace que loreille
ceive the right time without counting. soit accoutumee a definir le temps qu’il faut sans compter.

Direction for Writing Music Maniere d’eerire la Musique

In writing music, the head of the note should be made Enecrivant la musique, la tete de la note doit etre faite
first. Press on the pen and remove the pressure wheh d’abord. Appuyez la pointe de la plume pour la tete de la
making the stem of the note. Do not crowd the notes too note et diminuez graduellement la pression pour la queue.
closely together. In beginning to write, it is advisable to N’assemblez pas les notes trop serrees. En comme^ant a
use a soft pencil, and afterwards Cover with ink. ecrire il est preferable de se servir d’un crayon doux et en-

A clef is a sign placed at the beginning of the staff, to suite de couvrir avec de Pencre.
establish the names of the notes. La clef est un signe place au commencement de la portee,
There are two clefs employed in Piano or Organ music, pour etablir les noms des notes.
the G or Treble clef and the F or Bass clef. II y a deux clefs employees en musique pour le piano ou
The Treble or Gclef is placed on the second l’orgue, la clef de sol et la clef de fa. .

line of the staff, giving the name G to all notes La clef de sol est places sur la deuxieme ligne —Jf —
on that line. de la portee, donnant le nGin de Sol a toutes • —
An octave is the distance from any letter to the same’ les notes sur cette ligne. Sol
letter next above or below it. Une octave est la distance de nimporte quelle note a la
EE F F meme note au-dessus ou au-dessous.
Mi Mi Fa Fa
A

Study the following notes in the Treble clef, then Etudiez les notes suivantes dans la clef de sol, puis ajoutez
name, number of line or space. le nom, le numero de la ligne ou de Tinterligne.
E G

^ "
/
I
P V S rn rn'S~| f- £ JfTm mS
H r m m r d 4- \ f m rr> -f rd 1
s

Copy the notes on lines and spaces in Treble clef.' Always I Copiez les notes sur les lignes etles interlignes dans la clef
place the Treble clef on second line. |
de sol. Places toujours la clef de sol sur la deuxieme ligne.
E G

Mi Sol j

Every piece of music is divided by bar- Chaque morceau de musique est divise
—
I t
i j

lines, and the space and contents between - JL_=: :

’
par des barres de mesure, et respace ~L i

two barlines is called a measure. contenu entre deux barres de mesure est appele une mesure.
A double barline indicates the end of a strain or musi-
||
Une double-barre
||
indique la fin du morceau ou de
cal idea, end a repeat sign
:||
indicates that which comes 1 idee harmonieuse, et un signe de repetition indique
before must be repeated. que la partie du morceau depuis le signe doit etre repete.
 Leger Lines in Treble Clef Lignes supplementaires dans la Clef de Sol
Above and Below the Staff Au-dessus et au-dessous la portee
There are notes above and below the staff, and to indicate II y a des notes au-dessus et au-dessous de la portee, et pour
these, short lines, called Leger or Added Lines, are used. les indiquer, on utilise des petites lignes, appelees lignes supple-
mentaires.

Spaces below
Interlignes au-dessous

Study the following notes, then add name, number of line Etudiez les notes suivant, puis ajoutez le nom, le numero de
or space. l a ijg no 0 u de l’interligne.
C A

Copy the notes above tho staff. I Copies les cotes au-dessus de la portee.
10
Write on the lines of the staff notes corresponding with the I Ecrivez sur les lignes de la portee les notes correspondant
following letters. |
aux mots de la gamme suivante.

Mi Si Sol Re Fa
D
Re
B
Si
GEDFGBEFGBDFBGFDE
Sol Mi Re Fa Sol Si Mi Fa Sol Si Re Fa Si Sol Fa Re Mi

Write in the spaces of the staff notes corresponding with 1 Ecrivez dans les interlignes de la portee les notes corres-
the following letters. I
pondant aux mots de la gamme suivante.

Fa La Do Mi Do La Fa Mi Do La Fa Mi La Do Fa Mi La Do Mi Do La Fa La Do

The Bass or Fclef is placed on the fourth line La clef de fa est placee sur la quatrieme ligne ;

of the staff, giving the name F to all notes on de la portee, donnant le nom de Fa a toutes les -

Fa
that line. notes sur cette ligne.

The lines and spaces of the staff in Bass clef are named Les lignes et interlignes de la portee en la clef de fa sont

thus: — appellees comme il suit: —

Lines (Lignes) Spaces (Interlignes)

A C E G
La Do Mi Sol

Study the following notes in Bass clef, then add name, Efudiez les notes suivantes dans la clef de fa, puis ajou-
number of line or space. tez le nom, le numero de la ligne ou de l’interligne.

G B P * P c £ £5 o
Sol Si

ft i'' •
G> ^ i- l -
9

Copy the notes on lines and spaces in Bass clef. Always I Copiez les notes sur les lignes et les interlignes dans la

place the Bass clef on fourth line. |

clef de fa. Placez tou jours la clef defasur la quatrieme ligne.
G B

1 # —
Sol Si
 11
Leger Lines in Bass Clef Lignes supplementaires dans la Clef de Fa
Above and Below the Staff Au-dessus et au-dessous la portee

Sol B L-a
Mi Fa '
Lines below Spaces below
Si 3
_ 2 Lignes au-dessous Interlignes au-dessous

Lines above Spaces above

Lignes au-de E *0 34 3
Interlignes au-dessus
M ‘
Do A 4 -< k He
B
G
La „f s
Sl
Fa Sol

Study the following notes, then add name, number of Etudiez notes suivant, puis a.joutez
line les le nom lenumerode
or space.
j
la ligne ou de l’interligne.
E C
 —

13
Write on the five lines of the staff notes corresponding I Eerivez sur les cinq lignes de la portee les notes corres-
with the following letters. I
pondant aux mots de la gamme suivante.

GBDFAFDBGDBFDAF'GF DBG
Sol Si Re Fa r La Fa Re Si Sol Re Si Fa Re La Fa Sol Fa Re Si Sol
B
Si
D
Re
'F
Fa
A
La

Write in the four spaces of the staff notes corresponding I Eerivez dans les quatre interlignes de la portee les notes
with the following letters. J
correspondant aux mots de la gamme suivante.

— —
A
La
C
Do
E
Mi
G
Sol
^
Fa
C
Do
AEG GACGAC
La Mi Do Sol La Do Sol
42

La
;

Do La
AGECAGCAF
Sol Mi Do La Sol Do La Fa

Write on lines and in spaces above the staff notes cor- Ecrivez sur les lignes et dans les interlignes au-dessus
responding with the following letters. de la portee les notes correspondant aux mots de la gamme
suivante.

CEGBDF
Do Mi Sol Si Re Fa
AF
La Fa Re
DBGECEBGDFAB DGEO
Si Sol .
Mi Do Mi Si Sol Re Fa Si Re Sol Mi Do

Write in spaces below the staff notes corresponding with I Eerivez dans les interlignes au-dessous de la portee les
the following letters. |
notes correspondant aux mots de la gamme suivante.

r J
~
1 J l» . .J p i i m i i J 1* _/ i J
” r» f
- h
‘

"T® 1 1 i l
'
-
*

FDBGBD FBDFG DGF BFD BGB DFB

Fa Re Si Sol Si Re Fa Si Re Fa Sol Re Sol Fa Si Fa Re Si Sol Si Re Fa Si
G
Sol

Write on lines below the staff notes corresponding with Eerivez sur les lignes au-dessous de la portee les notes
the following letters. |
correspondant aux mots de la gamme suivante.

EC
Mi Do
A
La
F
Fa
AC EFC AE
La Do Mi Fa Do La Mi
FAECAF CEF CAC
Fa La Mi Do La Fa Do Mi Fa Do La Do
E
Mi

Explanation of Abbreviations Explication des Abreviations |

J\ Forte ~ Loud — Fort. mf, Mezzo-Forte— Moderately loud— Demi-Fort. sf, sjz — Sforzando— Vide forzando.
rf, rfz, rinf. - Rinforzando- Vide forzando. Jz, Forzando (=*- M — To be played with force and emphasis - en renfor-
Jp, Forte-Piano— The first note loud, the second note soft— La premiere note avec force, la seconds avec douceur. (?ant.

^ifp, Mezzo-forte Piano— Moderately loud, then soft— Demi-Fort, ensuite doux. J‘f, Fortissimo —Very loud— Tres fort-
p, Piano - Soft - Doux. pp, Pianissimo - Very soft- 'I’res doux. mp, Mezzo - Pia?io - Rather soft- Deux doux.
PPP, Pianissimo possible — As possible— La plus doux possible.
soft as Staccato, (t •)— Detached— Detache.
Crescendo, tone— En augmentant de force.
Increasing in Tenuto, (— Held on — Tenu. )

Decrescendo, Diminishing in tone - Diminuez le ton. (En diminuant.) Legato, ^ — Slurred — Lie.
Fermata, {tTO— Pause- Point de repos. Pedal, (*£&.)— Pedal— Pedale. ^ Sign for raising the Pedal — Signe
(d’arret.
Note:— A complete list of the principal words used in modern music, Note:— Laliste complete des mots principaux, utilises en musique
with their abbreviations and explanations will be found on the inside moderne, avec les abreviations, et des explications sera, trouvee sur
of the cover of this book. l’interieur de la couverture de ce livre.
 13

Exercises and Studies

(Des Exereices et des Etudes)
Play at once with both hands, minding the Finger
marks Joue avee les deux mains en regardant les numerosetcomp-
and count with an equal breath Four quarters in each
meas- tant egaleraent quatre temps dans chaque mesure.
ure in Common Time.

4 2 l 2 x 4 t 2 :i 4 t 2 :i 4 l 2 :i i 12 8* 1 2 2* 1*34

5 .

Count Three quarters in each measure of Three-four Time. j'Comptez trois temps dans chaque i
14

£
 — — —

15
Pleasure Train Polka
(Le Train de Plaisir)
unt Four eighths in each measure
I Comptez quatre croches dans chaque mesure.
Andantino
O'. _

Fine signifies the End of the piece

Fine signifie la fin du morceau

Count Four eighths

V in each measure.
Fra Diavolo
j
Comptez quatre croches dans chaque mesure.
Moderato •

m
:i

2 4

mm ^
i a r-i i _4_ 4 1, 5 4 3 "" 1
4 4 4 :j

10 P* P
1

This piece begins with the fourth eighth of the measure and Ce morceau commence avec la quatrieme croche de la mes-
the last measure contains only three eighths, if the piece is ure et la derniere mesure ne contient que trois croches, si le
repeated it will be complete. morceau est repete il sera complet.

Happy Thoughts Polka

(Les Pensees Heu reuses)
Count Four eighths in ep oh measure. Comptez quatre croches dans chaque mesure.
j

Allegretto
,r~U A --
’’
— t
' ~ 1. -<5 10 1 * i

11 / l * -i 4
^ r
Fine

lyU-J- =,=}^
'
S a i 5 5 1 5

F^f4=|
2 8 .4
a i
_
3—
i*
3
Jl
|

.
S
*“»
4 1

#=y=f= 4A-^-

r-M
4
i #=M 4
i
4
i r
4
r L

Da Capo means repeat from beginning to Fyie

Veut dire repeter du commencement jusqu’a la fin
 3

16
RECREATION No. 1
The pupil must not forget that a good position of the body, L’eleve ne doit pas oublier qu’une bonne position du corps,
the arms, and the fingers, as well as a good touch and strict des bras et des doigts, aussi bien que la manierede toucher,
keeping of the time, are the basis of good playing. et letemps sontla base de son succes.
—
A Legato Sign - - played smoothly and connected. —
Le signe Legato - - veut dire doucement et lie.

Moderate

Allegretto RECREATION No.

 Finger Gymnastics 17
(Gymnastique des Doigts)

Count Three in each measure. Comptez trois dans chaque mesure.

J

RECREATION No. 5

Raise the fingers high. Elevez bien les doigts.

 18

Practice for Both Hands Exerciee pour les Deux Mains

Count blow and even, four quarters in every measure. Do Comptez lentementet egalement quatre temps dans chaque
not lift the finger from one key until the next is struck. mesure. Ne levez pas le doigt d’une touche jusqu’a ce que
l’autre soit frappee.
1 2 * 1 < 2 1 2 3 j » t 3 2 1 2 * 1 m i 3 2

18
m 5 % I
3“*3m 5 4 3 3
U-Lf
1
3 '
4

To ascertain the correct Time of the sixteenth, the best plan Pour obtenir le temps exact du seizieme le meilleur plan est
is tocount eight sixteenths in every measure at first, as the de compter pour commencer huit seiziemes dans chaque mesure,
pupil is often inclined to play one sixteenth longer than an- comme l’eleve est souvent porte a jouer un seizieme plus long
other. fqu’un autre.

Air from Linda

Allegretto (Air de Linda)
a 3 3 13 3 s

19 ’"I'll ^ 4 .W 1 2 :l 4 56 78 U * 4 56 78 12 A 4 56 78

.
1
Carry Me Back To Old Virginia
(Ramenez-moi a la Virginie Aneienne)
Count Six eighths in each measure. Comptez six croches dans chaque mesure.
j

Moderato Tie or Bind

454 4 454
<

“4s4 a4 454

20 <

,M for
held its full
,ha*‘.he SCCOnd n0t e
value of time.
'
is n0t struck ’
bu *
I
Une Li4 —
mais tenue pour toute
Bignifie que la seconde note n’est pas frappee

1
la valeur.
4 ~
~ •»
Al 2 . . #< t »><,.> 2 3 2

3
S3 1
S3 1
 19

Few Days
Andantino (Peu de Jours)

Home (As a Waltz)

(Chez-moi) Comme uneValse

*
Moderate

mm
Count Three eighths in each measure. Comptez trots creches dans chaque mesure.
|

^ '*
— 4 4 3 H :{ 1 3 3 1
3
|
a . ijl.'li * la ,j 3 1

23

m fTr l
-TJl |
JT3 |
JTT
ao
STUDY OF THE BIND ETUDE DU LIE
The second note must not be struck, but the finger must be On ne doit pas frapper la seconde note mais plutfittenir
held down the full time of both. premiere pour la valeur des deux.

RECREATION No. 6
ABC Melody (La Si Do Melodie)
 21
Finger Gymnastics
(Gymnastique des Doigts)
The unoccupied Fingers must be kept at an equal distance
Les doigts libres doivent etre tenus egalement eloignes des
from the keys, and not be allowed to sink downbefore strik- touches, on ne doit pas les laisser baisser avant
de frapper les
ing them.
touches.

Legato
ETUDE

RECREATION No. 7
22
Bohemian Girl
Allegretto (La Bohemienne)
Count Six eighths in each measure. Comptez six croches dans chaque mesure
3 f-1 a 4 S 4 a 4 n
3 0 4 :i tt i 2, 4

29 v,f^

1
S3
Grand Russian March
Tempo di Marcia (La Grande Marche de Russie)
Count Four eighths in each measure. Comptez quatre croches dans chaque mesure.
|

30' mf\ l 2 3
Fine, or end,

f- Accidental Sharp
243 243 Diese accidentel 2 43 2 4 3

l 2 A
z? C.nl Fine

4 t

D. C. al Fine means repeat to the Fine or End

Play slow and even time. (Jouer lentement et a mesure egale.) “ " veut dire repeter jusqu'a la fin
SCALE in C major (Gamme de Domajeur) page 81
1 9 G 2 4 5 4 'I. 2. 1

31 Left hand {Main gauoke) Both hands {Les deux Mains,

’ 1
5 ~ 3 2 1 ~
]

i 3
'3 1 3 1 '2
3^0
' '

5 I

g 1 3 't
2 5

Hours There Were

 1 -

25
ETUDES FOR FOUR HANDS |
ETUDES POUR LES QUATRE MAINS
PUPIL (Eleve) PRIMO
Neither too slow nor too quick. Ni trop lentement ni trop vite.
j

Andante

--! .L--
^
— t-H- 1- i
— =f=:
Fine
37
' Sis
• 'P. -
J
1> *; C 4 r
3
1 f- f f f f f . f f £ %

*j
; Prt/ 86 nl Fine
-
) Jti
•; C C
^ » | r .

4=H=f 4=4 vJ
r 5
•
8 4l 1

Count aloud Three each measure.

in Name the notes in Comptez trois a haute voix dans chaque mesure. Nommez
this new position before playing them. les notes dans cette nouvelle position avant. de les jouer.
 i

36
Rosa Lee
Grazioso

+ Fsharp
(Fadiese)

Cornin’ Thro’ The Rye

(Venant a travers la Rye)
Moderate
m
m
:i 4
* 1 3

40
m ’if
'

u^
1
3
"o
Mind the Dot after the eighth, which makes it
~
one six- I
1
2
" 1
'
r-J*
L>J* :

6^
Attention au point apres la croche lequel en augmente la
teenth longer, and count for it. valeur d’un seizieme, et comptez le.
|

I
 27
’Tis Midnight Hour
(C’est l’heure de Minuit)

SCALE in F (Mind Bflat) page 81

Gamme de Fa (Attention a Si bemol)

Pestal
Andantino
y y 5 4 y 5 4 2
3 H % y 12 y 2 y
.
l 212 :i 2 y
1 2 12
(-JL-t-a -== l

** *
Bflat B flat Bflat
/ mp Si bemol Sibemo Si bemol Fine

a . * f -ff-|
EE - -M-
y
 '

38 ETUDE IN TIME ETUDE A o

TEMPS
H ^- This sign across one or more measures means the Ce signe au-dessus d’une ou plusieursmesure veut
sound
-=
is to

—
be diminished.
This sign across one or more measures indicates -=r
—
dire que le son doit etre diminue.
Ce signe au-dessus d’une ou plusieurs mesure veut
the sound is to be increased dire que le son doit etre augmente.
> The small sign under or over a note indicates the > Le petite signe au-dessous et au-dessus d’une note

note must be accented. veut dire que la note doit etre accentuee.

Count Three in each measure. Comptez trois dans chaque mesure.

 Gymnastique des Doigts (exehcices pour trois doiots)
Each separate Exercise should be often repeated, but not so Repetez souvent chaque exercice mais pas trop souvent afin
often as to overwork the muscles, which would only impair deviter de fatiguer les muscles et ainsi en diminuer la force.
their strength.
N?14 N915
4 a4 „

For additional Exercises, Scales, Chords and Arpeggios, Pour des exercices additionnels, des gammes, des accords
see pages 81 to 85. et arpeggios, voir pages 81 a 85.
30
Shells of Ocean
(Coquilles d’Ocean)
Tempo di Valse
_ J li 2 3 8 4 a :i 2 2 3 2 1| 2 3 a

SP £
49

4
m m •>
mm
£

5 4
m zMS 1 ’'1

4 8
-
:j 2

¥ HI SS m
8 3

=gB

3 •->
2 °
-+-
2
m i=l
3
i
2
5
# if a— This means, play eight keys or one octave higher, as far as the small dots go.
to
gva— y eut dire jouer une octave plus haute pour 1’et endue des points.
8m '
B
2 1 2 3
""""Mi
i a | a a a . i a i a a- 3 8 4 a.
LCiL£g
s s 1 t
pIH I
Dearest Spot on Earth is Home
Moderate
pl ace l' a plus ehere sur la terre est son chez-soi)

Un signe d'nlteration a la fin d'une bnrre double indique que la clef se change dans le mesures qui suivent.
 31
Over the Water to Charlie

Evergreen Polka
(Polka Vert)
The small note an Appoggiatura.
in this piece is called La petite note dans ce morceau est appeleeun Appogiatura.
When a small line is drawn across the Appoggiatura $> it Quand un petit troit est tire a travel’s I’Appogiutura il doit
shcud be executed with rapidity and struck with the first note execute avec rapidite et frappe avec la premiere note de Pac-
of the accompaniment. compagnfement.
Moderato

A Natural at the end of a double Bar indicates that the key is changed in the next strain.
Un becarre a la fin d’une barre double indique que la clef se change dans les mesures qui suivent.
 Prima Donna Waltz
Valse

+ Le becarre detruit 3e bernol dans cette partie

4 ,
(L’Orcue de Barbarie)
Allegretto
 Ladies’ Triumph

SCALE in D (F$ and Cft) — Gamme de Re (Fa# et Do#) page 81

&I t -a^- u a. a 4 2. 4 )t a
l
«i
‘i
1—
r- p a t a a
-4-a- d, t
‘i
|
a-. a.i
- a-£-« •*
|
4 i
-i
a
i-
|
1
-t-
|
a i
, yi-

56 Right hand ( Mam droite) Left hand (Mzin gauche) Both hands (les deux Mains )

I, '4 * a U^ 1

Daughter Of The Regiment

34
Annie Laurie
Andante

In the Key Of A. (F$, Cit and G8)— Dans la clef de La (Faft, Do| et Solti) page 81

(Gam me Chromatique)
 Old Folks at Home

-iij 2—1

«r

Mr
— — — — —
—H— i .

•*
y* J. i J - w «f= -M-t— H* J * t
5 5 'A '
A i l

HF —
o
i- :
» 1 i

G 9
r-r i

m m
n
i , .
m
-»— 1-4
— i

—— .
>—
*
tT
1
*
t~9 9

*_ K m —m W £

—
1 1
1

—
i

* 1^=1 !
*- i b==t=^- h*—t -«- _=j 1
 —

36
My Old Kentucky Home
(Mon vieux chez-moi a Kentucky) a.H. ROSEWIG

r r [ #

i4tA|fM= \fm= =Mi i

 37
Carnival of Venice
Grazioso (Le Carnaval de Yenise)
In the Key Of B Flat (Bl and El>)— Dana la clef de Sit> (Sit et Mi 1’ ) page 81

K
 39
Soldier’s Joy
Moderate
(La Joie du Soldat)

66

Circassian Circle
40
Martha

i
The Lancers
42
N9 3

# 4 1
3
e
4
Ss>.
i
*
mm
i
 T<
i\ » 5 43
Alla Marcia
3 * n
'

% >
i
i

i.
:<
, S i -

~
1
1 1 1 1 - !i rn - 2 2 1

f
m
•8a.

3 3 *3
•
,

1 3
.
3 a a , a i 4 4a 2 a 4 a »i.
3 ) 3 4 5 3 3 4 ., 1 , 1

Fine

4 2 5 i 3 2 s~
*
2
m ,
0 3 4 1&
p-jQ 3 ^3 li«-3n | 8 fgjg|*f 1

pF^ ^r»^g=
3
: =
? 4 o
.raiirfel.i.
[

g>:
f ~r fr f f
mJ *
3

,V""
4 4 a g a
4 2 ~ 3 2 2 2 4 4 a.-j 4 2 u
0 3 a a_j a 3 a 2 1 1
t
2 :5 :i

J^—rnrrmqm mrf.

SPIPPPI mmWi
S 1 '"-

t. 3. 1| 3 . L 1| 1A. 3

“fe>. * 5 3
‘S&.

tfra..
1 3 1 3 1 .
*1 2 y %

-fta. * * *ScB. * 3
“&a.
fea. *
 (La Pelote d’Epingles) J.
SPINDLER
Tempo di Polka
•> 3 3 1 3 f 3 > 3 3 1 3 ft
Ss
,
2 1 1 i

70 '

4 1
* *
‘&0 ~ .
‘Sas.

2 4 2 1
F
* a
lj r#nP”i if
,
a i 1
# -#-|
—
y dlf w
mf

4 a. *
ind
‘fe>. *
li
“Sas.
#

8 3 t 3
i i

“Sa. ‘S&. *
8 vn -
2*2 2 t 3JL

Fine

* *$&. # 5 .
3

_
I

1 3 VH 4 , 3 t JL
;

== , , 3 4 3
a t 2
:

-ss

D.S.a l Fine
I

‘fca.
‘Sa*.
‘fca. *
 45
Sultan’s Polka
(La Polka du Sultan)
Moderate
 Vaillance Polka

8 ""
 Skipping Redowa
(Sciut Corde)
<i l*i
g MACK
Grazioso

ymmm LJ#= VTrr

p

m
Delicioso Polka
 Campbells are Coming
(L’Arrivee des Campbells)
Allegretto
—g-JLJL_g — i O s
*=
—M 4^ „
® —;
3
4 -3
^
jHspBj 1=3^=^
t

ipd mt *-# H£#=

L-# 4

(Les Cloches Bleues d’Ecosse)

Andante
52
Sea Shell Redowa

Moderate (Polka de Charle)

“Sa. *
 53

m_ a mm A Z a _ 4_L
£
D.C.

I ^ f=sf= g=g^i feint

Pretty Little Island

L m J 3 S >> ^^ l
-3 L.2 8 mP 2 * 2 1 , -~j-
1|

b=*=
/
-
E§=3i=—
-
-4H
*
' d-l
g#f== n^ ^ t^p-
^yj
54
The Daisy Polka
 T li 7 l

t~nni W
3 *> 2 0 2 3 2 2
5 5
 4

Beautiful Venice Waltz

(Splendeur de Venise)
Tempo di Valse

3 4 4 5 4 3 3 4 3 2 3,

(# r r t= =!
"TO

H
»—
^==N M. .Hi
%j§

1
= 44=Umn 3 9.
1
= 44= ipifctf=4M
 57
Angels’ Serenade
(Serenade des Anpres)
Andante A.H.ROSEWIG
 « ^

58
Bohemian Girl (in key of g)
(La Bohemienne)
,^ e
Tempo

IT"
di Valse
o . 2 i
,
.1
r
-
m
,r
2
g
L
r
i
:

f
'7
L
17
2
J
12«2 1 2

i «« t* #
4 j_ L u ^ LJ—J UJ—
 Drinking Song 59
(Chanson de Table) "LA TRAVIATA”

mm
? » a 3

m
8

I i %6 i *
./i
!

,/i
Z>. rt/

3-
/Ya>6'
La Marseillaise 61
 C

63
O Canada! Our Fathers’ Land of Old
(O Canada! Terre de nos aieux!)
Chant National

Music fay C. Lavallee

Moderate maestoso •

tJ 1 1
ip
gjs
P
J- f-bf
£**
r -r f_Ls 1— ^ ft
. f =
3 4

- *
— arf -y—
j — 4 3* y
J
&1 - 1
r
poco
>>>
7it. piu f
-4-’
f egL il f- g-
J p y p r- D-J ftp -i- [ 1 K pr~

4-
— Z?
i i
-I- j #jr~g — J.

M
cresc.
marc.

Milmm
 63

The Merry Peasant

(L@- Paysan joyeux)

5
64
Monastery Bells
Andante (Les Cloches du Monastere)
s

96 mp

*<*81 * <J£&.
<*&. *
m
o cS'"
1
. .mm 2
,.. #

o i
*<*ai <*a.
<*

ef &b h» i *

$. n 3 “a ° 3 =>
3
5 3
*
<&&. *

l--a 1 1 * 2 1 8 i 8 2 i
r-P-ft # 0 1- -
j}^-. # £ 1 £ fU-
rit.

c
&a. <&&.

S"«
m 1 3 2 1 5 4
V gil 2-1 -^ +
5_4 _ 3
1
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lF

lllNiP
i r s rr
:

> 13 8, 5j„,, :

«*ni 54

l). C. a 7 Fine

%
 Tempo
HARVEST MARCH (La Moisson)
65

giusto
—lI Pierre Latour
i-Ji-2
“
JL 4«.

a
2
.
I
2JJ-1 5-5^ 43 a 4 -
k
4 a „

97 r
e 3 535353 53 5 3
 r — r — L — —

Jolly Brothers Galop

(Les Freres joyeux)
BUDIK

98

0 !
3 2 2 L -p- - 3 2 2 1 m
1 „ 1 £ -
— j~j
5 4 4 3 2i

* • 1
* 1 i
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5 2 5
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4
67
68
Thousand And One Nights Waltz
,
(Mille et une Nuits) STRAUSS
Tempo ai Valse
S 3 ^ 3,

99 T^r
m m mmm
9 3 4

*Pj 1 3 1
tel
*
t=t 4T-F-N ^M n.r.:1=mm

*
=4

w
:

fi«M. -

r#J

mm 5 3
m it m
1 1 ~ 5 B
* ,
•
*• f #=fH=t rt%#Nr
•
i

*
*
UJ

mp

— *1
* A
- J"4 =NM
 Witches Dream
{Reve des Soreieres)
Allegretto 3 . . ,
3 » i-S-J-,r-3 5 5
r, u 5 5 5
—0- j-0-i
, 5
r -
•->
„ . -f > .
•

JJJ
"if
— —r J ^
—
j

t r
L-41 -
4 —
S • —C— L J J L-
70
Serenade
SCHUBERT
Andante sostenuto
 —

73
Her Bright Smile
(Son Sourire joyeux)

O 5 .
45
'

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5 3 5 2 5 3
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(Faites avancer la Charrue plus vite)
Con Allegrezza

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Moderate
(Portant la couleur verte) J. BELLAK
 79
Blue Danube Waltz
(Le Danube bleu) STRAUSS
 1 h

80
The Last Rose of Summer
(La derniere Bose de l’Ete)

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Octaves
„ „ (Grammes sur Deux
MAJOR BOALES .
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RELATIVE MINOR SCALES

(LES GAMMES MAJEURES) | (LES GAMMES RELATIVES EN MINEUH ES)

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 MAJOR SCALES I RELATIVE MINOR SCALES
(LES GAMMES MAJEURES) (LES GAMMES RELATIVES EN MINEURER)
84
Five Finger Exercises
(Exercice pour les Cinq Doigts)
Etudiez chaque morceau plusieurs fois et avec la conduitedun
Each Number be practised many times and with the
is to I

guide of a teacher, throughout the different keys. |

maitre, dans les clefs differentes.
1 2 . 3 .
.

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V
 Maiden’s Prayer 87
(La Priere Dune Vierge)

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*> The Rl 'ht H ind is In the Bnss Clef and crosses dans la clef de Sol.
est
Left Hand, which Is lathe Treble Clef,
88
Di Provenza (Traviata)
J. BELLAK
Moderato

116
 89
Slumber Polka
 (L’Heure de Minuit) B elLAK
j

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Daughter of the Regiment m
93
Over the Summer Sea
Allegretto (Au dela de la Mer d’ete) J. BELLAK
 — —

93
EVENING IN THE VILLAGE
, . ,
(La Soiree dans le Village)
Andante H. Engolmama, Op. aio. n?b
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 —

94
L’ Amusement
La suits est une Etude doni le but est. d’utiliser la gam me
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The following isa Study, intended to bring the Scale ofCiil- de ma-
to enable the pupil Do dune !|Lgi± pratique avec les nuances d ’expression,
to practical use, with marks of expression,
niera a rendre l’eleve capable de se
former au gout musical.
to form a musical taste. Particular attention should
be given
attention specials doit etre donnee au temps,
aux silences
to the Time, Rests, and expression marks. Play this
piece Une
lentement,
in the slowest time, striking each note strong, lifting thehand etaux nuances depression. Jouez ce inorceautres
touchant chaque note fermement, levant la main au-dessus
du
from the key-board at all resting places, and separating well
doigts. Lti
the fingers. The time may be increased after having learned clavier a tous les silences, et separant bien les
a
to play it slowly. Count aloud four in each measure. temps pourrait-etre accelere apres que l’eleve a appris
jouer le moreeau lentemest. Comptez a haute voix quatre
Melody temps a chaque mesure.
Allegro vivace Melodie
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 95
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Melodie
 96
Merry Christmas March
(Le Joyeux Noel)
Tempo di Marcia 5 4
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124

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 97

Maggiore
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Massaniello Quickstep
{Marche Acceleree) J. BELLAK

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 99
Dead March in Saul
(Marche Funebre de Saul) HANDEL
Ah! I Have Sighed To Rest Me (n Trovatore) 101

(Ah! j ’ai desire mourir pour me reposer)

103
Bridal Chorus (From “Lohengrin”)
(Le Choeur Nuptial) Arr by
- WS
‘ ' MILTON
 '

103
Silver Threads Among The Gold
(Cheveux Blonds et Cheveux Blancs)
Andante cantab ile^
' H. P. DANKS

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104

Fifth Noctame
(Cinquieme Nocturne)

Allegretto Maybach

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Queen’s Polka
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106
Star of the Sea
(Etoile de la Mer)
108

MOON WINKS
(Les Clins de la Lune)

Tempo di Mazurka George Stevens

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TWILIGHT CAPRICE
(Caprice au petit jouer)
Moderato M.M. J= 88 H.Engelmann,Op.7O0.

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115
 116

LOVE SONG
(Chant d’Arnour)

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MELODY OF LOVE
(Melodic d ’Amour)
H. Eiigelmann, Op. 600
Moderato e con espress. m. m. J=7«
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 ^ .

DICTIONARY OF MUSICAL TERMS

'

ifLunV, hr for
(meat-iCON QRAZ1A, (ID with grace. pitch; it generally occurs after 8va ulta, or SCHERZANBO, SCHERZANTE, SCHERZ080,
move- CON
&D^Atf6o. (It.) accelerating the prlnd-jCON QUSTO.GUSTOSG, (ft.) with taste. fiva bsssa. or SCHERZ, (It.) in a light, playful and sport
BfSmT
i

a part added to a IMPETO, (It.) with impetuosity. Ms, (It.) but; as, aiiegro ins non treppo, quick, ive manner.
M0T8. (It.) in an agitated style, with but not too much so. iSEQNO, or :§:, (It.) a sign; as, ai segno, return
PBl war of enhancing0 the effect of theleSN
hr WBy
spirit.
spirit. MAESTOSO, (It.) with majestic and dignified
P%f£ CON SPJRITO, (It), with quickness and to the sign; dai segno, repeat from the sign.
movement. CRESCENDO, ’or CUES., (It.) with expression. SEGUE, SEGUITO, (It.) now follows; or, as fol-
fflUHi tG. (It.) a very alow degree of
increasing quantity of tone. MA1N, (Fr.) the hand; as, main droits, main lows; a6, segus II core, the chorus follows ssgu*
io'SiSISSSWOj (It) extremely slow.
;

discretion. A, (It.) by. gaiiehe, or 86,0., M.Q., the right and left hund la finals, the finale now follows. It is ulso
D LIBITUM, (Latin) at will, ortune of some BA €&PO, or 0.S., (It.) from the beginning; an in piano music. used in the sense of, in similar or tike manner,
that the
This expression implies expression which is often written at the end of a MARC-AYO, (It.) in a marked and emphatic style. to show that a subsequent passage is to be
,, articular
passage is left to the pleasure of the
or that he is at liberty to introduce movement, to indicate that the performer must MARCIA, (It.) a march.
'ffirmer; may suggest. return to, and finish with the first strain. MARZIALE, (It.) in a martial stylo.
whatever embellishments his fancy
1
FFETTU0S®, (It.) affectionate, tender. BAL, (It.) by; as, da! S&gr.i, from the sign; a MELANGE, (Fr.) a composition founded on sev-
with agi- mark of repetition. eral favourite airs; a medley. :MPRE, (It.) alwnys; as, sampre s
1ITAT0, COM AG8TAZI0NE, (It.) (style of. DE8RESCEND0, (It,) gradually decreasing in MEMi, (Fr.) the same; as, mema movement, ways staccato or detached sampra forts, always
;
1

tat'en anxiously.
in the same time. loud; sempre piu forte, continually increasing
’•

4L ALL’, ALLA, (It.) to the; sometimes, in the quantity of

tone. „ .
with quickness. DELICATEZZA, (It.) delicacy; as esn dellcat- WESTS, (It.) mournfully, sadly, pathetically. SiRIQSO, (It.) in a serious style. (in force.
MBEGREMENTE, (It.) delicacy of expression. MEST0SS, (It.) sadly, pensively. SERPEGGIAND0, (It.) gently and silently
K'SeEGRETTO, (It.) somewhat cheerful, but not S2SS, with METRONOME, (Fr.) an ingenious instrument for creeping onward, quietly advancing.
BiLSCAT©, (It.) delicately.
moderately DIATONIC, naturally; that accord- indicating the exact time of a musical piece SF0RZATO, SFORZAN DO, or si., (It.) implies
* PL EG RlETTO -8 C*H EH Z A N 0,
D (It.) (Greek) is,

ing to the degrees of the major or minor scale, by means of a pendulum, which may be short- that a particular note is to be played with
jo yful and vivaoious.
ened or lengthened at pleasure. emphasis.
kOLEGREZZA, (it.) joy; as esn adagrezza, joy- or by tones and asemitones
only.
y DSLUENB®, (It.)
" gradual dying away of the MEZZO, (It.) in a middling degree of manner: SiCiLIANA, (It.) a movement of a slow, sooth-
\§ animatedly.
mill® fart®, rather loud mesas plane, rather soft. ing, pastoral character, in 6-8 time, resembling
I .
at extinction.
lLLEGRISSiMS, (It.) extreme® quick and live- tone till it arrivesB8M, that the MEZZ© CAR&TTERE,
;

implies a moderate de- a dance peculiar to the peasantry of Sicily.

imply- DIMINUENDO,; or (It.) implies (It.)
tflLEGRO, (It.) quickly, lively. A term gree of expression and execution. (quickness. S! NFON! A, (It.) a symphony or orchestral com-
a rapid and vivacious movement,
but quantity of tone must be gradually diminished.
rfikhicli is frequently modified by
the addition ©1 M0LTO, (It.) an expression which serves to M0DERAT0, (It.) with a moderutc degree of position in many parts.
words; us, allsgre agitate, quick, augment the signification of the word to which M0LT8, (It) very, extremely; as, molt® ailegre, SLINTANB0, (It.) a gradual diminution in the
of other
it is added ; as, a!!a0P8 dS stsoite,
very quick. very quick; malt# adagio, extremely slow. time or speed of the movement- (tone.
friin anxiety and agitation, &e.
signi- DIVERTIMENTO, (It.) a short, light composi- MORCEAU, (Pr.) a piece of musical composi- SM0RZANDO, (It.) a gradual diminution as to
. .

AL SEGNO, ALSEG, or the character SOAVE, (It.) in a soft, sweet and delicate style.
fies that the performer
must return to u similar tion, written in a familiar and pleasing style, tion of any kind.
course of the movement, and ©OLSE, or £S0L., (It.) implies a soft and sweat MORDENTS, (It) a beat or transient 6hake. SOSGETT©, (It) the subject or theme.
HfUarncter in the
Kl word fine.- or to the MSREfJB®, (It) gradually subsiding in regard SOLI, plural of SOLO, (It.) implies that two or
liy from that place to the
uffiizZS, or COS Bffl.eEZZa, at) with to tona and time; dying away. more principal parts play or sing together.
murk - over a double bar.
(style. MOSS©, (It) movement; as, p5a m®SSC, with Such parts, of course are never doubled.
ANDANTE, (It.) implies a movement somewhat sweetness and softness. a sweet and graceful moro movement, quicker. SOLO, SOLA, (It.) alone; a composition, or even
lowand sedate. This term is often modified, D0LCEMENTE, (It.) in
addition of DOLGROSO, (It.) indicates a soft and pathetic MSTG, or C@N MOTS, (It.) with agitation. a passage, for a single, voice or instrument
both as to time and style, by the M0V8B5ENTO, time, movement SONATA, (It.) )a composition consisting of
Kit her words. ..
^
an
a
4 ®" S
Saute 8
(It)
S0NATE, (Fr.) f several movements, generally
Italian conjunction, and; as
ANUANTINO, (It.) somewhat slower than an- ED%he PM ”
i

E, th nobleness, grandeur.
nsbiisnieis ee aril' SoaluilENTE. for a single principal instrument, with or
AN MATO, SON ANIMA, &&JM0SO, (It.) with violins, flute and violin; .3 }
1
NOTTUR'KO, (It) composition, vocal or in- without accompaniments.
animation, in a spirited manner. mats, with grandeur and spirit. a
contin-
TE strumental, suitable for evening recreation, SOSTiNUTO, or SGST, (It.) sustained,
A PSASEKE, A PLACHMENT0, (It.) at the
1

}<’>) -“h
Ipleasure of the performer. lhiM« ’
from its elegance and lightness of character. uous in regard to tone.
(It) or; as, fiauta e vlallRS, flute or violin. SPIRSTO, CON SPSRIT0, (It.) with
spirit.
MPPOGGIATUKA, (It.) a note of embellishment, ELIfiANia'. (It.) ejSSffi
ENERG3CA'
ENERGrf
.

OBLIGATI, a part or parts SPIRET0S0, (It) with great spirit.

generally written in a small character. ENEHGS60, CON LNERSIA, OBLIGATO, or (It)
ssslon. of a composition,
indispensable to its just per- STACCATO, (It.) implies that the notes are to bo
*ESTE,(B.)
APPOGGI’ATG, (It.) dwelt, leaned upon.
ARIA, (It) an air or song.
ARIOSO, (It.) in the style of an air.
ESPRESSIV®, or Gets ESPRESSIONE,
ESTRAVAGANZA, (It) extravagant and_ (tion. perly bs omitted.
ARPEGGi ANDO,) (It.) Passages formed n, the as to composition and performance.
S formance, and which, therefore, cannot pro-

0TTAVA, or 8va, (It) an octave. Tins word is STESS®, (It.) the same.
played distinct, and detached from one an-
STRETTA, (It.) hurried. ,
(quickly.
veltl sublto, turn
earner adapts-
ahapta- joioed with slid or bassa; the Arab SUBiT©, (It.) quickly; as,
AlRPEGGIATO, V notes of chords taken in FACIUT*. (It.) . (aoilitotioh.ofoncomposition in generally that the passage to which it is ap- "KITE, (Fr.) a series, a collection; as,
uns
succession, in imita- FAS*TA|SI_E ,(?r.) a species signifies
ARPEGGIO, J rapid higher than suite tie pieces, a series of lessons.
plied must bs played an octave
9
the author gives free
•‘ion of the harp, are said tc be in arpegga®. FANTASIA, "(It.) / which regard 4© taose syste- the second, that it must be SYNCOPATE, (It.) in a constrained and
synco-
extremely. This adverb is al- scope tc bis ideas, without it is written",
fcSSAi, (It.) very,
ways joined to some other word, of which is matic forms which regulate other
oomposihonp: pated style. .... note ol,
any act o! an °pe*a, an impassioned manner. SYNCOPATION, the connecting the last
extends the signification; as, fifegl® asssi, FINALE, the last piece of one bar to the first note of the next, so as
to form
or of a concert; or the last
movement of a sym- PAT ETIC’oV (It) pathetically.
very slow; allegro a$885; very quick.
the German style. PATHETEQUE, (Pr.) pathetic. but one note of a duration equal to both, this
dis-
phony or sonata in places the accent, and produces a
peculiar eifect.
FINE, (It.) the end. 'PAST6RALE, (It.) in a soft and rural movement.
baes. ,a piasic TACET,(L:it.) implies that during a movement
or
FORTE, or. FOR, - - pimply ?, (It.) loud. FEDALE,(It.)a pedal, or stationary
—
particular instruments
loud music, this term implies that the performer must part of u
oi a uikv™™.,.
movement.
ATTACCAr ATT ACiA 8UB1TO, (It.) implies FORTISSIMO,' or R, fit.) very
'

*“ a' press do wn the pedal which takesoff

the dampers^ to be silent; as Haute facet, the
flute is not to play.
Ijthat the performer must directly commense FORZ a N dO, of FORE, or
fc,
PERDfchiBOSts or PSRRENp (K.) TANTO, NON, (It.) not so much; not too much.
the following movement note is to be marked with a
partivUl FERSENBS,
both in the TARD©, (It.) slowly, in a dragging manner
BALLAD, a short and familiar song. phasis or force. implies a gradual diminution,
. | „ quantity of tone and speed of
movement, TEMA, (It.) a subject or theme.
BARCAROLLE, (It.) airs sung by the Venetian, ?m&j< (an inconiphtc idea. TFMPESTOS0. (It.) in a tempestuous
!
manner.
FUR 8®S@, or 'CON FURS A, (It.)andwith PEU, (Fr.) a little.
fire.
doliers or boatmen.
lively style. PHRASE, a short musical sentence, containing TEMP© COMO0©, (It.) in ft convenient degree
’BEAT, one of the principal graces in music. GAIEMFNT, (Fr.) in a cheerful Gonaaa Pi ACER I, (It.) will, pleasure; as, WUM'f* at of movement.
BEN, (It.) well; as, BEN MARCAT0, (It.) well IsSSbE, (M.) . galop; .
the performer’s pleasure jn
regard to time. TENMEMENT, (Fr.) affectionately,
,
tenderly.
,

TEN iR AMENTE, TENERO, or CON

Bnnrked. This expression indicates that the 1 < extremely soft.
TENF.R-
Brassage must be executed in a clear, distinct, esLo°ft l?
manner.
Wo \ *
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F IANS SSI MS, ov pp. (It.)
8
pin
EZZA, (It.) tenderly. ,
that
t
a note . .
or
|nd strongly accented
Piuf atT an” adverb of augmentation;
as, TENUTO, or TEN, (It.) implies
BIS, (I, at.) twice. A term which indicates that a Eot t notes must be sustained or kept
down the nil
Krtain passage, distinguished by a curve drawn p?es4», quicker; p5<i ^.
1 . ,
THEME, (Fr.) a subject. (t,mc -

fiver or under it, must be performed

bHsLLANTE, (It.) and (Ft.) an expression indi-
twice.

perfor-
5tus7J??5 Si;X5“«&Sf^S«*er TIM0ROS0, (It) with timidity
TRANOUSLL0, TRANQU ILL AMENTE, compos-
and nwe.
or CON
fflSiting a showy and sparkling style of somewhat; ns,JJ6C« TRSRQUILLEZZA, (It.) tranquilly,
(monce. » ppprea" OeoT^It.)* a little, rather,
important of *-hPse are quick;. soTOiat soft
“resto.Ti.ther expression,
»|o, ^ 3 . .. and the shake. BKTf»ra A P0CA. (ID by degrees,
gradually, a. TREM ’REM EN DO, at ) with ft tremendous
BRIOS0, (It.) with brilliancy and spirit. 111 <i [JltoUU ......
} elevated, grand style-
COR SR 10, j n'i&H GUST©, (It.) in an and solemn. TRIMANDO, ) at) implies the with reiteration of a
great ra-
BRiSE, (Fr.) sprinkled, broken into arpeggios. !r5?f'VAME?^TE, (It.) dignified TR EMULATE, i bote or chord
f pidity, so as to produco
a
CADENCE, a close in melody or harmony; an TREMGL0,
^Eiamental and extemporaneous passage mcro- eara gravixu, tremulons kind of motion. u-v oa (n
shakes m
Seed at the close of a song or piece of music. GRAVSTA, (It.) gravity; as, TRILL AN DO, (It.) a succession of ,

DENSE, (Fr.) a shake; also, a cadence h a mr-

motion -
as eadafis# parlsSte, a perfect cadence; 6RUPPSTT0, (It.) a group of
Sjny;
notes; a turn. PoHoiil'flr) 1 thmical const different notes.
TR1LLE, (Fr.) 1 . .

KSance rampue, an interrupted cadence. SRUPP0, ^„5iarn CON 0 g a a shaK3‘

V
ftENZA, (Tt.)n cadence, or cioso, at the termi- GUSTO, GUSTOS®,
‘
m of a song or other movement, introducing
'
or

fanciful and extemporaneous embellish- iMiTAZiONE, (It.) an imitation.

GU^TO, (It) with
» M TuiT©.
anllJ. g
SrJSi»*
PORTAMENTO, (If-) the manner
^
rrKso” of t
pompous
of eustai.ntng
voice; a gliding from
one
TR5LL0, (It)
TRIO,
ments.
(It.)
F
a piece for three voices or
This term also deno
ment in a waltz, march, minuet
‘f “Z
000
&c - w
.
instru-

" hioh
.

“ ,c " r.l-
.

(and quickness. IMPETU0S®, (It) with impetuosity, impetuous-j and Conducting the repetition of the first
ways leads back to a
atop.R.g j *;
>

diminishing in tone
(It.) gradually IMPROMPTU. (Fr.) nn '»'*• c,5Si or principal movement.
-

CALOR E, (It.) with much warmth and animation. pSSsi«“ig°aS TRIPLET, a group
.
of three notes, arising
from ,

CANONS. (It.) a canon, or catch for several IIIPROVISARE, (It.) to ooppops or three equal parts
Hflfices or instruments. P »oK.jsr‘SfSfe
manner.
the division oi a note into
next inferior duration.
PRSCIPeTAT®. (It), in n burned of the
vehem-
CANON, a species of uninterrupted imitation.
(ment TUXTA, F8RZA, (It-) w it!l th9 utmost
CANtTABILE, (It.) in a graceful and singing style. artless and simple style. ence; as loud as possible.
CANfrANTE, (It.) a part to bo executed by the >>>vw strain r move-
INTERLUDE, an intermediate introductory TUTTI, (It., plnral) all; a term used to point
'voice.
1NTRASA, \dt) ""shor'c, out those passages whore
all tho voices or In-
CAPELLA, ALLA, (It.) in tho church style. 8NTR0BUZ!©NE, l movement. struments or both are to be
introduced.
CAPO, (It.) the head, or beginning.
CAPR8CCIO, (It) a fanciful and irregular species ISTESSO, at)
ofpomposition. (humorous character.
the same; as, Isfsssa

(It) indicates a tima

LARGHETTO, rfow sad
c
«6fKpe» the
,#”£sSr,.3SS; ™!r||'Sl*A
UN, (It) a; as, urt peso, a little.
}.mn*
CATCH, a vocal piece in several parts, c! a less sc 3”“' VEL0C1TS, (,E) in ropU
CAVfeTtNA, (It.) an air of one movement or part measured in its movement, bat UUSBRILUE, :n.y a French o. stylo oi, as, VELOCk, or CON
LARGH1SS5M®, at) extremely bww* t™*®* «(IAS5. (it.) in the raannei
onffi, occasionally preceded by a recitative.
LARGO, (It.) a very slow and
CHANT, (Fr.) in n song or melody ; the vocal part
solemn degree
alfsgretto, like an
alisgrstfs. . VEL00SSS8M0, (Ft., with estr.roe mpiaity.
'

-ymij* s»SL"JSSSiTt&V8BRANTE, (It) a peculiar manner of touch-

manner. @! !ETO,
s

CHE, (it.) than; ns, peso pin sin® anda^S®, rather

slower than andanta.
LEGAT0ait)in a smooth and connected lAMOLCENDOa (It) with augmented soft- ing the keysVIGOROSAMENTE, of tho piano.
(It.) boldly,
CHROMATIS, proceeding by semitones, LEGAT1SS8 M®, (It) exceedingly smooth aad
'
““ '
VS60R6S0,
BO, (K.) implies a P rafinat , 1

former: by means ol semitones. connected. „ B ALLENTAN vigorously.

COCA, (It.) a few bars added at. tho close of LEGEREMEKT, (Fr.) with lightness and gayatj. A T ‘’' (Ifc ) with quickness.
VfTF (FD }
eompnsi! iim, beyond its natural termination.LSGG1AR0O, at) light, gentle. or COM VIVACITA, 'WaMENTE,
QMMptt with; as, e®n sxprssslane, with
LEGGIER AMENTE, (Itl liRhUv centiy^ with
COLL, A PARTE, (It.) implies that tho accompanist
LEGGIER®, or ®SN LEGG3EREZZA, (It;
nitsj}; follow tho principal part in regard to time.
—
lightness, or facility of execution.
1

RSNF0RZAND®, RINFORZATO,
ssssis'"s-™1 ™*?
VIVACE,
(It ) with brisknesa and
rW animation.
or rln!., or Tt., VSVACSSSIMO, (It.) with extreme vivacity.
and emphasis. VIVACITA, (It.) vivnoity-
preMion can hr!®, with brilliancy and spirit.LE8GIERISSIK0, (It.) with the utmost light- (It) with additional tonelyric talc, set to mi VIVEZZA, (It ) animated, lively-
;

CONCENTO, (It.) concord, agreement, A se- ness and facility. R0MANSE, (Fr.) 1 a short, V!V0, CON
simple and e«c- VSCE, (It) the voice.
lection of pieces somectmes so called. LE^TAND©, at.) with increasing slowness. ROMANZA,ah) > sic; or a words.
gnnt melody suitable to suoli VOLANTS, (It.) in a light and rapid manner.
CONCERTS, (Ifc) n composition intended to dis- !!,TE of several
VOLTA, (It.) time of playing a movement, as,
' }<«•>'»
lillr RONDEAU, (Fr.) a composition members, nt the
1

play the powers of some particular instrument also HONDO, (ID strains or prims volta, the first time of playing. &c.
L3A8S©’fi, (Fr.) smoothness of connection;
‘

with orchestral noeompnniments. which part is repeated.

the
VOLTA SUB5T0, or V. S. e at-) turn over the
flr-t
end of each of
B06XEZZA, (It.) with sweetness. a bind or tie. R1TENUT0, (It.) ft keeping back
passage RITENENTE, page quiokly.
1©M B0LCE, (It.) mourrsfuUy, with pathos. LSGSo (It) This word implies that a speed ol tho movement.
50N GRAVfTA, (It.) with gravity. written in regard to or decrease in tho
to be played just as It is
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