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(15) LIST OF SUBSCRIBERS. CZERNY'S PIANOFORTE SCHOOL, PUBLISHED UNDER THE IMMEDIATE PATRONAGE OP. HER MOST GRACIOUS MAJESTY. QUEEN VICTORIA, AND. HER ROYAL HIGHNESS THE DUCHESS OF KENT. Beswick, Mr. C.. A.. Professor. of Music,. High. Street,. Bishop-. Wearmouth Aldridge, Mr. H. F. Professor of Music, Liverpool. Amott, Mr. Organist of the Cathedral, Gloucester to. Her Majesty. Binfield,. Mr.. Cheltenham. Binfield,. Mr.. Bilson,. Binfield,. Mr. William, Organist, Boston. Andrews, Mr. Organist, Bridgewater Angel, Mr. Alfred, Professor of Music, Wells, Somerset. Bond. Mr. H.. Plymouth. Birkhead, H. Esq. Bishop, Mr.. Bishop,. Atkins, Mr. R. A. Organist of the Cathedral, St.. Asaph. Atkinson, Mr. George, Professor of Music, Hull. W.. Reading. Street. Ashton, Mr. Professor of Music, Lincoln Ashworth, Mr. Thomas, Organist, Rochdale. Aylward, Mr.. Organist of St. Martin's Church, Salisbury. Kingston on Thames. Biden, Mr.. Anderson, Mrs. Pianiste and Instructress in ordinary. Artaria,. W. H.. Biddlecombe, Mr.. Shelbourne Hotel, Dublin. Allan, Captain. John. Cheltenham. H. R. Mus. Bac. Oxon,. W.. Blackburn, Mr.. H.. 4,. Albion Street,. Hyde Park. Bradford. Blackshaw, Mr. Edward, Professor of Music, 16, Calthorpe Street,. Gray's-Inn Road. P. Musicseller, Salisbury. Bland, Mr. John, Bazaar, Lancaster Bleaden, Mr. John, Musicseller, Ramsgate B.. Blockley, Mr.. Bagnall, Mr. G. Professor of Music, Newcastle. — Tyne. Blondell,. John. Mr. William, Professor of Music,. Baker, Mr. R. H. Professor of Music, Aberdeen. Blount, Mr. Organist of. Baker, Mr. G. Alfred, Musicseller, Perth. Bond, Mr. C. J.. New York. Wimbourne, Minster,. Dorset.. Brighton. Baker, Dr. George, Rudgley. Booth, Mr. Edward, Organist of Brunswick Chapel, Leeds. Baker, Mr. G. Professor of Music, Wakefield. Botcherby, Mr. George. Baldwyn, Mr. C. Organist of. St.. George's Chapel, Kidderminster. Bancks and Co. Messrs. Booksellers, Manchester Banks, Mr. Henry, Professor of Music,. 3t>,. Great George Street,. Bamett, Mr. George, Butcher Row, Deptford Barratt,. Mr. Organist, Stamford. Barre, Mr. L. Bates,. Swansea. Mr. F. Organist of Woodford and Leyton. Beach, William, Esq. Bell,. Oakley Hall, Hants. Mr. T. R. Professor of the Flute, Leamington. 1,. Clapton Square, Hackney. Bowen, Mr. William, Organist, Brecknock. W.. Bower, Mr. G.. Bowler, John, Esq.. Liverpool. M.. Bowcher, Mr. Musicseller, Shrewsbury. Brandau, Mr. F.. W.. Sheffield. Southwark Bridge Road Professor of Music and Singing, 103 Great. Portland Street. Brooks, Mr. William, 36, Dean Street, Soho Italian. Opera. Browne, Mrs. James, Wilson. Street,. Brown, Mr. T. of the. Belton, Miss Fanny, Church, Stretton. Browne, Mr. R. Organist, Lowestoft. Benedict, Mr. J. 8, Bruton Street. Browne, Mr.. Bennett, Mr. William Sterndale. Browne, Miss. Bennett, Mr. Cornelius, Organist, Shiffnal. Browne, Mr. Organist, Sleaford. Bennett, Mrs. Alfred, Oxford. Berger, Mr.. Bertie, the. Hon. B. C.. Southampton. Bridger, Mrs. Professor of the Harp,. Organist,. J.. W. Willis,. .. Bungay. Bath. Professor of. upon Thames. Glasgow. Music,. Coombe Wood, Kingston.

(16) I. Mr. E.. ii.">.. HSc. Itlltl'.KN.. Cox, Mr. Edward, Camberwell. Conduit Stroel. Buoher, Mr. T. 2, Stuarl Street, Edinburgh. Crathorn, Mr. William, Professor of Music,. Buck, Mr. Organist of the Cathedral, Norwich. Critchfield,. Buokton, Mr. Samuel,. Organist. of. the. Parish. Church,. Otley,. Yorkshire. Hums, Mr.. Organist. of. Hammersmith St.. Peter's,. Moncroft,. Norwich CroBsley, Mr. J. George, Organist, Darlington. 33, Hatton. J,. Mr. Samuel, jun.. Garden. Croiu-h, Mr. F. N. Music-seller,. Burford, Mr. F. P. Professor of Music,. 16,. Union Street, Plymouth. Burgess, Mr. John, Organist, Hythe. Crow, Mr. Henry. W.. Plymouth. Professor of Music, Banbury. Cuisset, Mr. F. F. 35, Kirby Street, Hatton. Burton, Mr. Organist of the Parish Church,. Dewsbury. Cummins, Mr.. Garden. Charles, Leeds. Basse, Mrs. 6, Egremout Place, Brighton. Dale, Mr. Joseph. Cameron, Mrs. Colonel, Dany Graig, near Swansea Campbell,. J.. Daniell,. Esq. Langside, Glasgow. Camidge, Dr.. Mr. Organist, Frome, Somersetshire. Daniell, Mr. William, Professor of Music,. York. Cantwell, Robert, Esq.. Wimpole. Davidson, Mr. J.. Street. Richmond, Virginia, U.S.. W.. Capcl, J. D. jun. Esq. Canal Iron Works, Limehouse. Davies, Mr. J. Organist of St. George's, Douglas, Isle of. (arto, Mr. R.. Gerrard Street, Soho. Dawson, Mr. George, Musicseller,. Great Titchlicld Street, Organist of Portman. Deacon, Mr. Samuel, Musicseller, Leicester. Carter,. Mr.. 13, l(i,. Delves,. Chapel, Baker Street Carroll,. Professor of Music, Rose Cottage, Alpington. Dix, Mr. Organist, Faversham. Dixon, Mr.. Exeter. M.. W.. Organist,. Grantham. Pianiste de S.A.R. le. Due de Lacques. Chambers, Mr. Professor of Music, Woolwich. Dohler,. Chapman, Mr. Gibsoue Square, Islington Chappell, Mr. 50, New Bond Street.. Donaldson, Mr. Musicseller, Dundee. Chardonnay, the Marquis de. Douce, Mr. John,. Doorne, Mr. Professor of Music, Dover. Christopherson, Mr. Printer and Bookseller, Henley. Mr. G. P. 33, Upper George. Clare, Mr. E. C. Professor of Music,. Clark, Mr.. Thomas, Montpelier,. Clark, Mrs. Ellenthorp Hall,. Street,. New. Bryanstone Square. Music,. 10,. Done, Mr. William, Professor of Music, Worcester Dubois, Miss Georgiana, Professor of Music, 10, Canterbury Place,. Duncan, Mr. James, Professor of Music, Perth. Van Dieman's Land Edge. Hill,. Liverpool. Dunstan, Mr. Chester Dyke, the Rev. William, Hay, South Wales. Millman Street E.. Clarke, Mr. C. Organist of the Cathedral, Worcester. Clemson, Miss Jane,. 7,. Grange Road, Bermondsey Eager, Mr. Professor of Music, Edinburgh. Clough, T. Esq. Solicitor, Blackburn Clough, Mr. Thurston, Professor of Music, Manchester. Earl, Mr. J. P. Professor of Music,. Cobham, Mr. W. H. 29, York Buildings, Baker Street Cobham, Mr. Maurice, 25, Edward Street, Hampstead Road. Early, William, jun. Esq. Witney. Edwards, Mr. George, Musicseller,. Clapham Bristol. Coham, Miss, Dunsland, Oakhampton, Devon. Edwards, Mr. Professor of Music, Barnestaple Edgar, Mr. Thomas, Professor of Music. Cooke, Mr. Jonathan, Musicseller, Preston. Egan, Mr. F. Kingston, Jamaica. Cooke, Mr. Edward, Musicseller, Leeds. Ellard and Son, Messrs. Musicsellers, Sydney. Cohan, Mr.. J. 27,. Coombe, Mr.. W.. Newman. F.. Cuton. Street. Hall, near Chelmsford. Ellis,. Corder, Mr. 16, Commercial Road,. Corfe,. Mr.. J.. Cockram, Mr.. W.. Lambeth. 2 copies. Lower Arcade,. Leamington. Elston, Mr. John, Professor of the Harp, Leamington. Elvey, Dr. Oxford. Salisbury. D. Organist of the Cathedral, Bristol G,. Bristol. Hamilton Row, Merrion Square, Dublin St. Patrick's Church, Manchester. Erith, Mr. F. N. Professor of the Pianoforte, Liverpool PI. Ernst, Mr. Professor of the Flute, 19, Norton St. Portland. Conran, Mr. Organist of. Esain, Mr. Clifton, Bristol Evans, Mr. Professor of Music, Cheltenham. Cove, Mr. L. H. 53, Brompton Row, Knightsbridge. Evans, Mr. Organist of. Corri,. Mr. Haydn,. 3,. three copies. Mr. Professor of Music, Plymouth. Elston, Mr. Charles,. Cooper, Mr. J. T. 117, Bishopsgate Street without. Corfe, Mr. C.. Gloucester Street,. Lambeth. London. Bristol. Clarke, Mr. William, Organist of St. Mary's, Clarke, Mr. J.. Professor of. Queen's Square. Child, Mr. Musicseller, Hereford. Cittadini,. 2 copies. Dennis, Mr. George, Musicseller, Colchester. Cawsey, Miss, Professor of Music, Sidmouth J. S.. Esq. 18, Avenue Road, Regent's Park. Dennett, Miss, Montague Place, Worthing. Mr. John, Professor of Music, Cork. Chadwick, Mr.. W.. Man. Sheffield. St.. Mary's, Lancaster.

(17) SUBSCRIBERS.. Hammond Faith, Mr.. Thomas, Stockton, Durham, Organist of. St.. Mary's. Church, Yarm, Yorks.. W.. Mr. Henry J.. Harris, \V. Snow, Esq. F.R.S. 32,. M.. Fisher, Mr. D.. Bath. Harris, Mr. S. Organist of the. Harrison, Mr.. Park. Plymouth. Street,. W.. Wesleyan Chapel,. Carlisle. Lancaster. Harrop, Mr. T. Organist, Middleton, near Manchester Street,. Grosvenor Square. Flood, Mr. Organist, Honiton Forbes, Mr. Henry,. Union. Harrison, Mr. Professor of Music, Deal. Leeds. Bungay. Fletcher, Mrs. 125,. Edmunds. Mus. Bac. Oxon. Emsworth. Harris, Mr. J.. Finlayson, Mrs. Musicseller, Cheltenham Fisher, Miss. St.. Edmund, Bath. Harris, Mr.. Chiswell Street. Fawcett, Mr. Thomas, Organist, Bolton Field,. Harrington, Mr. J. F. Organist, Bury. Harris, Mr. J. J. Professor of Music, Manchester. Farndell, Mr. Swansea Foster, Mr.. and Sons, Messrs. Professors of Music, Southampton. Harcourt, Mr. Professor of Music, Bethel Street, Norwich. Fagg, Mr. Professor of Music, Hull. Harvey, Mr. G. H. Professor of Music, Exeter. Hawker, Mr. Organist, Ottery,. London. St.. Hay, Mr. George E. Organist of. Forde, Mr. William. Mary, Devon. the Collegiate. and. Foster, Mr. R. \V. St. Mary's. Foster, Mr. J. F. Organist,. Tower, Ipswich. Haycraft, Mr. H. J.. Norwich. Hayward, Mr. H.. Fowler, Mr. Organist, Torrington. M.R.A.M.. Violinist,. Exeter. Hindmarsh, Mr. William, Glasgow Henshaw, Mr. John, Organist, Whitehaven. Fowler, Mr. Robert, Organist, Chard. Henshaw, Mr. Organist of the Cathedral, Durham. Franks, Mr. Professor of Music, Chester. Hervey, Mrs. D. Bath. French, Mr. Lay Clerk of Rochester Cathedral. Frith,. Baron. Hespell, Mr. T. G. Professor of Music,. Politechnic Institution. Mr. Organist of St. Paul's. & St.. Herbert, Mr. H. Bookseller,. George's Churches, Sheffield. Hewitt and Jacques,. Frobisher, Mr. J. H. Professor of Music, Halifax. Glasgow. Wimbourne, Minster. Hewett, Mr. John, Library, Leamington. Hewett, Mr. D. C. Store Street. Harcourt. Street,. Higham, Mr. John, Organist of the Catholic Chapel, Blackburn. New Road. Abbey and. Hiles, Mr. Organist of the. Trinity Church, Shrewsbury. Gardner, Mr. C. Professor of Music, Blackheath Road. Hill,. Mr. H. P. Professor of Music, Darlington. Gear, Mr. Handel, 16, Berners Street. Hill,. Mr. Joseph, Organist, Stockton. Gilliland,. Glover,. Mr.. Mr. J.. London M. Professor. Hill, F.. of Music, Carlow, Ireland. Godfrey, Miss. Hill,. Esq. Professor of Music, York. Mr. Organist, Norwich. Hillman,. Goodban, Mr. Professor of Music, Canterbury. Thomas, Esq.. Honorary Secretary. Hime, Mr. B.. Greatorex, Mr. T. Organist, Burton-upon-Trent. Hixon, Mr. Organist, Howick, Northumberland. Tamworth. Greene, Miss, Whitelands, Chelsea. George's Church,. Ann. Square, Manchester. Musicsellers, Bristol. Hodges, Mr. Edward, Mus. Doc. Cantab. Organist of. St.. James's. Church, Toronto, Upper Canada. Green, Mr. Isaac, Musicseller, Droitwich St.. Musicseller, 20, St.. Hodges, Messrs. F. and M.. Green, Mr. John, Professor of Music, Gravesend. Gregory, Mr. Organist of. Worthing. the. to. Choral and Harmonic Society.. Gover, Mr. E. VV. Professor of Music, Market Harborough Greaves, Mr. Organist,. United. Mowbray. Hickson, Mr. T. Melton. 1(5,. York,. 6 copies. Furnivall, Mr. C. Organist of St. Mary's, Overton. G.. New. Messrs. Musicsellers,. States. Frodsham, Mr. Organist, Whalley. Gale, Miss,. George's. Wolverhampton.. Fowler, Mr. Professor of Music, Maidstone. Friedel,. St.. Churches, Wolverhampton. Holbert, Ann, 7, Suffolk Street, Clerkenwell. Hulme. Greaves, Mr. Professor of Music, Bolton. Holford, Mr. John, Professor of Music, Manchester Hollins, Mr. G. Organist,. Birmingham Town. Hall,. Mr. George, Organist, South Lambeth Chapel Grindrod, Mr. Parish Clerk, Rochdale. Hollis, Mr.. Grosvenor, Mr. Organist and Professor of Music, Dudley. Honey, Mr. H. Musicseller, Plymouth. Goatly, Mr. Musicseller, Chipping Norton. Hopkins, Mr. Professor of Music, Nottingham. Graham, Mr. Thomas, Professor of Music, Manchester. Hopkinson, Mr. John,. Griffiths,. Gunton, Mr. Organist of the Collegiate Church, Southwell. and. St. Philip's. Chapel. G.. W.. A. Organist, Egharn. Organist of Trinity Church and Oxford. Place Chapel, Leeds. Horn, Mr. Thomas, Musicseller, Newcastle on Tyne. H. Hacking, Mr. Richard, Organist, Bury, Lancashire Halliday, Mr. Musicseller, Bishopsgate Street. Hamilton and Midler, Messrs. Musicsellers, Edinburgh. Horn, Mr. Organist of. St. Paul's. Church and Queen. Street Chapel,. Huddersfield. Howson, Mr. F. Teacher of Music and Terrace, Vauxhall. Singing,. 5,. Belmont.

(18) SUBSCRIBERS. 1. [oyland, Mr,. Organist,. (. Louth. Lincoln, Stroud, Esq.. Hudson, Miss, Gloucester Hughes, Mr. Robert, Professor of Music,. Wrexham. Durham. Liugwood, Miss, Professor of Music, Colchester. Hummel, Mr, Edward, London. Linter, Miss, Professor of Music, Stafford. 1.. Ions, Mr.. Alexander Square, Brampton. Lingard, Mr. Frederick,. Thomas, Organist of. St. Nicholas,. Newcastle. Linter, Mr. R.. Organist, Yeovil, Somerset. Lockwood, Mr.. .J.. —Tyne. R.A.M. York Bath. Loder, Mr. J. D.. Loder, Mr. Andrew Alleyne, Ashbourne, Derbyshire. Ingham, Mr. Richard, Organist of the Cathedral, Carlisle. Long, Mr. Professor of Music, Winchester. Ingram, Mr. William, Organist of the Chapel Royal, Brighton. Lord, Mr. John, 20, Paddingtou Green. Ingram, Mr. Professor. oi'. Music, Ely. Lucas, A. Esq. Mayor, Salisbury. Ironmonger, Mr. David, Professor of Music, 18, Whitfield Street,. Finshury (saacs,. Lyne, Mr. George T.. Chichester. Lynch, Mr. Professor of Music, Dublin. Miss R. Theatre Royal, Covent Garden. Isherwood, Mr. Professor of Music, Manchester. M.. Mc Calla, Mr. J. Organist of Mc Cullagh and Mc Cullagh,. J.. Brompton New Church Messrs. 108, Grafton Street, and 22,. Suffolk Street, Dublin .. lanes, Mr. R. Organist of the Cathedral,. W.. Jamson, Mr. Jarrete, Mr.. Ely. Macdouald, Mr. A. T. Professor of Music, Plymouth. Organist, North Shields. Army. Macdougall, Lieut. A. Bengal. H. 20, Guildford Place, Belvedere Road. Mc Ewen,. Jewson, Mr. Professor of Music, Stockton. Mr. Professor of Music, Hinckly. Macfadgen, Mr. Joseph, Wilson Street, Glasgow. Jay, Mr. John, 36, Sloane Street. Mackinlay, Mr. J.. 250, Tottenham Court Road. Jenner, William, Esq. 52, Upper Berkeley Street, Portman Square. Mawkes, Mr. T. Professor of Music, Belper. Jewson, Mr. Frederick Bowen, Royal Academy of Music, London Johnson, Mr. J. S. Professor of Music, Preston. Mayo, Mr. Alfred, Organist, Lydney, Gloucestershire. Jolmson, Mr. P. A.. Professor of Music,. 2,. York. Street,. Bridge, Manchester. Ducie. 2 copies. Jones, Mr. Organist of Carver Street Chapel, Sheffield. Mavius, Mr. Professor of Music, Leicester. Mc Kinnell,. Mr. J. Musicscller, Dumfries. Manwell, Mr. George,. Jones, Mr. Organist of the Cathedral, Canterbury. 2,. Jones, Mr. J. Organist, Westbury, Wilts.. Town Hummel and. Mallett, Miss, 42, Gloucester Place, Kentish late. Pupil of. J. B.. Cramer,. Albion Place, Hyde Park. Marsh, Mr. London. Jones, Mr. George, Organist, Wisbech. Marshall, Mr, George T. Marshall,. K.. Oxford. Mr. H. Professor of Music, Leamington, and Organist. of St. Nicholas Church,. Warwick. Martin, Mr. Professor of Music, East Dereham, Norfolk Kerr, Mr. William, Jun. Professor of Music, 179, Blackfriars'-Rd. Ketelle, Mr.. Samuel Walker, Newcastle-on-Tyne. Kirkman, Mrs.. J.. Martin, Mr. E. C.. Richmond. Marvin, Mrs. Professor of Music, Woolwich. Soho Square. Mason, Mr. Organist, Macclesfield. Kitchener, Mr. Charles, Professor of Music, Lewis. Mason, Mr. Professor of Music, Newcastle under Lyne. Elite,. Mr. Professor of Music, Southampton. Matthews, Mr. John J. Organist, Stoke upon Trent. Klitz,. Mr. Charles, Professor of Music, Lymington. Matthews, Miss, 38, Dowgate Hill, Walbrook. Klitz,. Mr.. W illiam, T. Professor of Music, Basingstoke. Medex, Mr. B. Professor of Music, Birmingham. Knowles, Mr. Professor of Music, Lincoln. Kollmann, Mr. George Augustus,. Menzies, Mr. 74, Charlotte Street, Fitzroy Square. Royal German Chapel,. James's.. Mercer, Mr. Jun. Organist, Bridlington Metzler and Co. Messrs.. L.. Lampen, Miss, Probas, Cornwall Langstaff, Mr. Organist of the Parish Church,. Lea, Mr. H. 14,. St.. Hanway. Street,. Andover. London. Leeming, Mr. William, Professor of Music, Bury, Lancashire Lees, Mr. Organist,. Oldham. Limpus, Mr. Organist, Isleworth Lee, Mr. Organist, Chesterfield. Wardour. Street. Miall,. Mr. Professor of Music, Portsea. Mills,. Mr. John Sebastian, Professor of Music, Cirencester. Mills,. Mr. Musicseller, Bond Street. Mills,. Mr. J.. Mills,. Mr. George J. 67, Dean. W.. Millsom, Mr. C. Miller,. Organist, Cirencester Street,. Soho Square. Bath. Mr. Professor of Music, Hull. Minister, Miss, Professor of Music, 8, Argyll Place Mitchell, Mr. tonville. W.. B.. Organist of Northampton Tabernacle, Pen-.

(19) SUBSCRIBERS. •. Mitchison, Mr. William, Musieseller, Glasgow. Palmer, Mr. John B. Musieseller, Liverpool. Molineux, Mr. T. Musieseller, 31, Oxford Street, Manchester. Palmer, Mr. Benjamin, Organist of. Molineux, Mr. Professor of Music, Liverpool. Palmer, Mr. S. L. Professor of the Harp, Canterbury. Monro and May, Messrs. No. 11, Holborn Bars Montgomery, John Charles, Esq. 50, Conduit Street. Patch, Mr. Organist, Dorchester. Moutrie, Mr. Musieseller, Bristol. Paterson and Roy, Messrs. Musicsellers, Edinburgh. Morfill,. Mr. Professor of Music, Maidstone. Richmond. Morris, Alfred, Esq. 28,. Moscheles, Mr.. I.. Chester Place, Regent's Park. James's, Clapham. Eye. Pashley, Mr. Professor of Music,. Bath. Patton, Mr.. Place, Brighton. St.. Pearce, Mr. Professor of Music, Bourne Pecket, Mr. Alexander, Professor of Music, Scarborough. Moses, Mr. Musieseller, Dublin. Pelzer, the Misses, Professors of. Moore, Mr. William, Rochdale. Perez, Mr. Sixto, 20, Great Marylebone Street, Portland Place. Moxhay, Mr.. Mudy, Mr.. Professor of Music, Exeter. Perkins, F. Esq. Chipstead Place,. Organist, Devizes. Mr. J. M. Organist of. St. Paul's. Episcopal Chapel, Edin-. Phillips,. Phillips,. Musieseller,. Newington Causeway. Pettman, Mr. Professor of Music, Ramsgate. burgh. Munden Mr.. Kent. Perring, Mr. James, 9, Devonshire Street,. Muff, Mr. J. Musieseller, Leeds Miiller,. Music. Birmingham. Philpot,. Munns, Mr. Organist, Gainsborough. Mr. Organist, Lutterworth Mr. Professor of Music, Wakefield. Mr.. S. Professor of Music,. Maidstone. Phipps, Mr. G. A. Dover. N.. Phipps, Mr.. W. H.. Phipps, Mr.. Osmond G.. Professor of Music,. Ramsgate. Professor of Music,. Ramsgate. Pickering, Mr. J. Musieseller, 16, St. Ann's Square, Manchester Nail, Mr. George,. Book and. Musieseller,. Neale, Miss, Professor of Music,. Needham, Mr.. Mr. S. J. Musieseller, Dublin. Pigott,. Pike, J. Esq. 34,. Golden Square. Pinney, Mr. Professor of Music, Buller Place, Exeter. J. Musieseller, Gloucester. W.. Niebour, Mr.. Leek. Lynn. H. 29, Dorset Gardens, Brighton. Pitcher, Mr. T. Professor of Music,. Ramsgate. Ludlow. Nelson, Mr. William, Organist at the Moravian Chapel, Fulneck. Price, Mr. R. S. Professor of Music,. Newman, Mr.. Pohlman, Mr. Henry, Musieseller, Halifax. Nichols, Mr.. J. F. Professor of. W. W.. 10,. Agar. Nicks, Mr. Professor of Music,. Music, Exeter. Street,. Pymar, Mr. Organist, Beccles. Strand. Pyne, Mrs.. Exmouth. Purday and Fendt, Messrs. Finch Lane, Cornhill, and Oxendon. Nicholson, Mr. John, Organist, Dorking. Street,. Nicholls, Mr. Professor of Music, Dunstable Nicholls, Mrs. Professor of Music, Nicholls, Mr. William, Graeff,. Putney. London. Mr. Charles G. Organist of. Platts,. St.. Paul's Chapel, Marylebone. Pranglev, Mr. Professor of Music, Salisbury. Cambridge. Organist, Newport, Monmouthshire. Noakes, Mrs. 103, Sloane Street, Knightsbridge. Price,. M. Thomas,. Noble, Mrs. Clifton, Bristol. Price,. Mr. G. Professor of Music, Jersey. Nottingham, Mr. R.. Noyes, Mr.. St.. W.. Professor of Music,. Peckham. James's Street, Nottingham. Nunn, Mr. Robert, Bury. St.. Nunn, Mr. John, Organist. Edmonds. of St. Peter's, Bedford. Pridham, Mr. Organist, Topsham Potter, Potts,. G.. W. K.. Esq.. Mr. Mark, Professor of Music, Hexham, Northumberland. Power, Mr. Royal Military College, Sandhurst Purday, Mr. C. H. Professor of Music, 45, Holborn Purdie, Mr. 83, Princes Street, Edinburgh. O. Orre, Mr. G. F. Organist of St. James's Church, Whitehaven. O'Brien, Miss Ellen Fanny, 30, Oriental Place, Brighton. Owen, Mr. Owen,. Q, Quelch, Mr. Musieseller, Marlborough. Pianoforte Saloon, Leamington. R.. Packer, Mr. Frederick A. Reading. Ramsden, Mr. R. Organist, Harrowgate Randle, Mr. W. Music Saloon, Bury Mary's, Aylesbury. Packer, Mr. George, Professor of Music, Northampton. Redhead, Mr. Organist,. Page, Master A. C. Lewes, Sussex. Ree, Mr. A. Organist, Ludlow. Paine, Mr. J. H.. Reeve, Mr. J.. Palmer, Mr. H. Professor of Music, Canterbury. Reeve, Mr. William, Library, Leamington. W.. St.. Professor of Music, Bury St.. Edmonds.

(20) SliUSCIUUKKS. Hice, Mr. Professor of Music, Little Southernhay, Exeter. Small, Bruce, and Co. Messrs. Musicsellers, Edinburgh. Richards, Mr. Organist, Carmarthen. Smart, Miss E. J. 3, Little Smith Street, Westminster. Ricketts,. Mr.. J. Musieseller,. Riddell, R. A.. Highworth. Esq 18 A, Margaret. Smith, Mr. Bookseller, Inverness. Cavendish Square. Street,. Ryder, Mr. N. Professor of Music, Chapel Street, Salford Ridley, Mr.. W.. Smith, Mr. Henry, Leeds. Professor of Music, Great Marlborough Street. Righton, Mr. Organist, Trowbridge and Bradford, Wilts.. Smythson, Mr. H. Catherine Solly,. Mr.. Street,. Strand. N. Professor of Music, London. J.. Robertson, Mr. A. 39, Princes Street, Edinburgh. Soltace, Mrs. G. Little Efford,. Robinson, Bussell, and Robinson, Messrs. Musicsellers, Dublin. Southgate, Mr. J. B. Organist of. Robinson, Mr. John, Organist of. Spark, Miss, Professor of Music, Exeter. Robinson, Mr. William,. St. Patrick's Cathedral,. Astey's. 1,. Row, Lower Road,. 2 copies. Smith, Mr. James, Musieseller, Liverpool. Dublin. Islington. Robison, Miss, 9, Atholl Crescent, Edinburgh. Mr. Ernest, jun. Professor of Music, London. New York. Stanton, Mr. Daniel,. Rogers, Jeremiah, Mr. Organist, Doncaster. Steers, Miss. Rose, Mrs. Banff. Stimpson, Mr. Organist of. London Derby. Mary's, Hornsey. St.. Speechly, Mr. Organist of the Cathedral, Peterborough Spellerberg,. 3 copies. Roche, Mr. Alexander D. Musieseller, Cork. Plymouth. Fanny St.. Andrews, Newcastle. —Tyne. Rothe, Miss, Professor of Music,. Stockham, Mr. Master of the Royal Marine Band, Plymouth. Rowbottom, Mr.. Stoker, Mr. John, of the Theatres Royal, Scarborough, Stockton,. Bookseller,. Rowe, Mr. Musieseller, Plymouth. North Shields and Sunderland. Rudall, Mr. George, Devonshire Street, Portland Place Russell,. Sloper, Mr. Lindsay, Professor of Music, 41, Porchester Terrace,. Mr. Professor of Music, Dorking. Bayswater Road. Russell, Mr. S. Professor of Music, Guildford. Sternberg, Mr. Strickland, Mr.. Northampton John J. Organist of. Sturmey, Mr. Organist of. St.. Mark, Organist. Sturley, Mr.. Mary-le-Bow, Cheapside. St.. James's, Poole to. the. Hon. and Rev. C. Bathurst,. Southam Thomas, Professor of Music, Manchester. Salkeld, Mr.. Santos, Mr. Duarte J.. Dos. Suett,. 6 copies. Sunderland, Mr. Organist and Musieseller, Keighley, Yorkshire. Scaresbrook, Mr. Thomas, Organist, Kendal. Mr. Selmebbellie,. Professor of Music, Brompton,. Mr. John, Professor of Music, Doncaster. Summerhayes, Mr. John, Crewkerne. Kent. Scott,. John, M. D. Bedford Square. Scott,. Miss A. P. 2, Albion Place, Hyde Park Terrace. Seale,. Mr. Professor of Music, Sheffield. W. W.. Sutton, Mr.. 2 copies. Professor of Music,. Dover. Sykes and Sons, Messrs. William, Leeds. Senneck, Mr. Henry, Professor of Music, 27, North Audley Street. Tanner, Mr.. Severn, Mr. T. H.. Sharman, Mr.. W.. Towns and. H. Organist, Birmingham. Sharp, Mr. Richard, Organist of the Parish Church, Halifax. Street,. A. H. Professor of Music, Kensington. Packer, Messrs.. Pianoforte Manufacturers, 20, Oxford. London. Shearman, Mr. Samuel Thomas, Professor of Music, Stamford. Taylor, Mr. Charles, Professor of Music, Sheffield. Sheppard, Mr. Professor of Music, Liverpool. Taylor, Edward, Esq. Gresham, Professor of Music. Sherrington, Mr. William,. Taylor, Mr. R. Musieseller, Aberdeen. London. Taylor, Mr. Biauchi, Bath. Shier, Miss Margaret, Banff. Shier, Miss. Jane. Terry, Mr. J. T. Organist, Hackney. Shier, Miss. Teulon, Mr. Thomas, Great Yarmouth. M. Esq. Somerset House, Gloucester Simms, Mr. H. Bath. Thalberg, Mr.. Simms, Mr. Organist, Coventry. Thorn, Mr. Alfred, Professor of Music, 57, Wells Street. Simms, Mr. H. Organist, Birmingham. Thomas, Mr. Musieseller, Gloucester. Shipton, J.. Thorn, Mr. Professor of Music, Glasgow. Simpson, Mr. John, Organist of the Parish Church, Bradford Skelton, Miss, Professor of Music, 44,. Horsley. Down. Lane,. Southwark. Thomas, Mr. John, Organist, Dartmouth Thomson, Mrs. John, Organist. Skelton, Mr. G. J. Organist, Hull. Thompson, Mr. C. H.. Slater, Miss, Bridge Street,. Thompson, Mr.. Bishop Stortford. Slyth, Miss, Brighton. Smart, Mr. Henry, Place,. of St. Paul's,. Aberdeen. Thomson, Mr. John, Professor of Music, Edinburgh. Organist of St. Phillip's Chapel, Waterloo. London. Stephens, Mr. J. B. Organist of the Cathedral, Cork. J.. Musieseller, 191,. London Road, Liverpool. No. 13, Well's Row, Islington. Thome, Mr. Professor of Music, Colchester Thurnham, Mr. Music Saloon, Carlisle Tivendell, Mr. Henry, Liverpool. Tomlinson, Mr. T. H. Musieseller, York.

(21) .. SUBSCRIBERS. Tonge, Miss Eliza, Professor of Music, Boston. Weekes, Mr. T. E. Professor of Music, Stonehouse, Plymouth. Toms, Mr. Professor of Music, Devonport Treakell, Mr. Professor of Music, Portsea. Wigley, Mr. Charles George. Tristram, Mr. Frederick,. Weiss, Mr. G.. 7,. Wigley, Miss L. Professor of Music, Shrewsbury. Bulstrode Street, Manchester Square. Troup, Mr. Professor of Music, Rochester Turner, Mr. Charles Moss, St.. Welsh,. Professor of Music, 29,. Bury. W.. Musicseller, Liverpool. Esq. Wells, Somerset. I.. Street,. Whinfield, Captain C. H.. 2 copies. White, Mr. Thomas, Musicseller,. James's. White, Mr. Professor of Music, Tewkesbury. Turner, Mr. James, Stockport. Durham. White Mr. Edward, Organist of the Parish Church, Wakefield Whitcombe, Mr. A. C. Professor of the Organ and Pianoforte,. Turner, Mr. J. P. Professor of Music, Exeter. Tincombe, Mr. H. D. Professor of Music, Plymouth Twiss, Mr. J. Professor of Music and Organist, Congleton Taylor, Miss, Organist, Brentwood Tyrrell,. W.. 5,. Bridgewater Square. Whitehead, Mr. Professor of Music, Gloucester. Mr. William, Professor of Music, Stonyhurst College. Whittle, Mr. Oliver, Organist, Stevenage, Herts.. Wilcock, Mr. Oliver, 36, Bush Lane, Cannon Street Wilkins, Mr. Professor of Music and Organist, Guildford. U. Upjohn, Mr. Organist, Trinity Church,. Williams, Miss, Organist of St. Ann's, Limehouse. Weymouth. Williams,. Vaughan, Mr. John, Organist, All. Vinnacombe, Mr. Viner, Mr.. W.. J. P.. Gandy. W.. J. Esq. 21,. Richmond Place, Brighton Her Majesty's Private Band, 5, Parham. Williams, Mr. J. Leader of. V. Saints',. Street,. Place, Chelsea. Worcester. Williams, Master Frederick Symes, Plymouth. Exeter. Williford, Mr. William,. L. Organist of St. Mary's, Penzance. Willis,. W.. Wine Merchant, Scarborough. Miss E. M. 19, Great Marlborough Street. Willmette, Mr. S. B. Organist of St. Augustin's, Tonbridge Wells. W.. Waddington, Mr. John, jun. Professor of Music, Manchester. Wilson, Mr.. Walker, Mr. F. C. Professor of Music, Kennington Oval. Wilson, Mr. Organist, Scarborough. Wall, Mr. Richard, Organist,. Professor. Bac. Jesus College, and. of Music at the University of Cambridge, and. Organist of Trinity and. St.. James's, Garlick Hill. Windsor, Mr. Bath. Peckham. Thomas Attwood, Mus.. Walmisley, Mr.. St.. Wilson, Mr. William, Organist of Mill Hill Chapel, Leeds. Monmouth. Wallis, Mr. Richard, Professor of Music,. Organist of. John's Colleges. Winter, Mr. Organist, Long Sutton.. Wolf and Co. Messrs. Pianoforte Manufacturers, Cornhill Wood, Miss C. Organist of St. Mary's, Cheshunt. Walton, Mr. E. Music Saloon, Leeds. Wood. Ward, Mr.. Wardle, Mr. Professor of Music, Newcastle-under-Lyne. Wood, Mr. George, Professor of Music, Cirencester Wood, Samuel, Esq. Clitheroe, Lancashire. Wastefield, Mr. A.. Woodward, Mr.. Musicseller,. Woolman, Mrs.. Professor of Music, Preston. Musicseller, Winchester. Watson, Mr.. W.. Professor of Music, Devizes. Professor of Music, Newcastle. —Tyne. Wrenshall and Sons, Messrs.. Watton, Mr. Joseph, Organist, Tamworth. Webb, Mr.. CI.. Webbe, Mr.. Cheltenham Liverpool. Wrenshall, Mr. C. L. Professor of Music, Liverpool. 142, Leadenhall Street. J. of the Italian Opera,. and Co. Messrs. Musicsellers, Edinburgh. 11, Grafton Street, East,. Fitzroy Square. Webber, Mr. T. H. Organist, Axminster Watt, Mr. J. H.. 1,. Lodge Place, Lodge Road,. St.. John's. Wood. Worgan, Mr. George, Organist of Camden Chapel. Yates, Mrs. Marian, Kingston, Jamaica Yates, Mr. C. J. Professor of Music, Preston. N.B. For a Catalogue of Mr. Czerny's Publications, and a. list of his Works of his Instruction Book, Vol. recommended by him, 1. see pages. 220 and 221.

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(23) CONTENTS OF VOLUME THE FIRST. Portrait.. Dedication to Her Most Graeious Majesty.. Fae simile of the Authors. -writing.. Preface. I. Preliminary Observations. l s.t LESSON. Continuation. j. _. Position of the Body, and of the. Hands. Names. of the First Lesson. ...:. 1. Keys. of the. 2. 4. Representation of the key board. LESSON.. 2.. Primary. Finger Exercises, and Further. striking the. 3^ LESSON. Names Continuation 4* n LESSON.. of the. Keys. rules on Touching or. -.. 6. ,. of the Notes. 9. Names. 3^ Lesson.. of the Treble Notes. j.. Continuation of the Finger Exereises and Practical Pieces. 5V LESSON. Names L. J9. of the Bass Notes. 22. Observations addressed to the Teacher. 6. .. LESSON.. Continuation .. 29. Notes which indicate the black keys, and the marks of Transposition, as. 7. the. 8,. On. b,. Lesson.. of the 6.. -LESSON.. passing the. over the. t|. -. ,. On. 29. Signatures. Thumb under. 35. the other Fingers, or those. Thumb. fingers. ,. 8^ LESSON. Practice of the Scales. ^LESSON.. Values of the Notes. in. all. of the. 9^. Lesson.. 46 >_... On. 81. Triplets. Continuation of the Rules on the. Subdivision of the Notes. On the Dot Continuation -ZZ*A. of the. LESSON.. 10V Lesson.. ll^. several. On. On. L. 88. 93. the Tie or Bind. 1. On Rests. Lesson.. 95. On Syncopation, and. on Passages. in. Parts. -. 96. the Distribution of Notes arising from unlike rhythmic. subdivisions. .:. Different Species of Time. Examples on. \. 83. Continuation of the Characters relating to the Subdivision. Continuation of the. LESSON.. j^.. 88. 1. of the Notes.. 12 t h. 76. 77. and their Subdivisions. Exercises on the Subdivisions of the Notes. lOty LESSON.. 42. ,.. the Major keys. Concluding Remarks on the Scale Exercises. Continuation. H. all. the Species of. 3192. 99 107. Time. in. use. Ill.

(24) 13. LESSON.. .. On. keopin^- exact. time. each bar, and on. in. preserving the. same degree of movement throughout a musical piece. Continuation. of the 13. On. Lesson.. .. the Accented and Unaccented. parts of. Time. the bar, and on beating. On. 118. 119. the Pause. '.. 122. Exercises on Time 14<. .. >. LESSON. On. 122. &c. the Characters which indicate Repetition, Abbreviation,. 135. On Arpeggios Continuation. Particular Rules on the distribution of. Lesson.. of the 14.. the Notes. On. 138. between the two Hands. crossing over and interweaving. Exercises on the 14. Remarks on. 16. LESSON.. .. On. the. .. 139. the. Hands. 142. —. Lesson. 145. the Nature of Intervals. 151. Movement. 156. Time or Degree. of. List of Italian words relating. thereto. 156. -. 158. Continuation of the Finger- Exercises. 76^ LESSON.. On Graces to. Continuation of the. or Notes of Embellishment, and the Signs employed. indicate 16 V1. 1"". them. Lesson. On Graces. .. Exercises on Graces and Embellishments. 17 l h LESSON.. On. .. Continuation. of the. 19^ LESSON.. 166. -. the Shake. m. -. 173. Shakes with both hands, and Double Shakes. 17V1 Lesson.. Practical Exercises on the Shake. 18V1 LESSON.. 163. expressed by particular characters. 178. -. On. Style and Expression, and the characters used to indicate them. 184. On. the Forte and Piano. 184. On. the Legato. On. retarding and accelerating the degree of movement. On. the. and Staccato. 24 Keys. Practical. --. 1. or Scales. -. JflJVD. -. -. 191. 202 -. OF VOL. J. .. 3192 A. 189. Exercises on the more difficult Keys. Concluding Remarks on the First Part. NW.. 186. -. lint. of-. Subscribers. is. (riven. in. the. Third Volume.. 216.

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(26) v></. FRIEDEL LITH. 252. TOTTENHAM COURT ROAD. a„ d. „. -r. He. PO LYTETC H N IC INST"309. RECENT STREET..

(27) .. PREFACE Every succeeding' year, Pianoforte rated in public. estimation.. improvements both as to. tone,. more highly. more widely cultivated and. playing- is. The instrument its. AUTHOR.. by the. itself is. constantly receiving-progressive. and to the manner of treating-. Melody,. it.. that. branch of the art, can now be expressed on it, in the fullest and richest most varied shades of expression; numerous composers and Virtuosi hourand tones, ly invite us to practice, by the invention of new passag-es, and effects, not before thoug-ht of; and every day serves more firmly to establish the conviction, that the noblest. can never be displaced, nor even thrown into the shade by any other instrument; as also, that it is the only one really adapted for the fair sex, while it is of all others, that of which the study is least likely to cause any injury to the. Pianoforte. health. ,. This. continual. advance in. its. g-eneral. utility,. demands of course a corresponding-. degree of perfection in the Elementary works written for the instrument; in order unite the more recent discoveries on the mechanism of fing-ering-, with what was previously known; and which have become necessary in consequence of the increased. to. refinement of our musical taste, which. is. due to the more modern class of composi-. the improvements made in the structure of the instrument itself; all of which causes necessarily exert considerable influence on the style of performance,. tions, and to. of the older and more simple productions.. even. Much. the greater. children of from. 8. number of those who 10 years. to. beg-in to. of ag*e; and. learn the Piano -forte consist of. in truth. we ought. to. commence. as ear-. to attain to any great degree of proficiency in playing-. necessary to explain the first rudiments, on which in fact every thing' depends, in a full, clear, and comprehensive manner; for here any thinglike laconic brevity is more particularly misplaced, since the mere untaught child is not capable of unravelling- nor comprehending- it, nor indeed are many Teachers them_. ly as possible, if. we wish. For. it. this. reason,. is. selves. In many Instruction Books, the rules. Pupil But rules by. are laid down so concisely, that the. in which they are expressed.. in a few minutes learn by heart the words requires months, nay even years, and innumerable repetitions of these the Teacher, before they cam accustom themselves to follow those precepts with prac-. may it. How These reflections every Teacher must have' often made. or ermisunderstood was what rectify many Pupils sacrifice years to discover and. tical. correctness.. roneous in their first instructions!. The FIRST PART case; and with the. of the present method. is. written. endeavour that beg-inners of every. according- to this view of the ag-e,. without any. manner not unpleasant, may grounded explanation of the elementary principles of music, and of. time, and in a. waste. obtain a clear, comprehensive,. 3192.. of. and well-. playing-. on the.

(28) Piano- forte; and open to their talent a correct and regular path towards a. hig-h. de-. gree of refinement in execution; and that Pupils, whose circumstances will not ad_ of their employing* an eminent master, may hy a frequent and attentive perusal i'fiit examples, find. of each chapter, and an industrious practice of the ensure a well- reg-ulated. quisite to. may. herein find a desirable. ing*. into. and to. errors,. The SECOND. PART. and, lastly, that. the means re_. many young- teachers. preserve their Pupils from fallprogress towards perfection.. g*uide, to. accelerate their. contains the doctrine of Fing-ering*, established on. principles, and illustrated ing*. progress;. and certain. all. simple. hy so many practical examples, that hy the mere play_. of them, the Pupil will acquire, tog-ether with a well -digested theoretical know,. ledg-e. of the subject,. all. the varied. mechanical facility of fing-er. desire, and without which mere theory. PART. The THIRD. been written with equal attention. has. and I have endeavoured, as far as was possible, to contained therein, and. difficulties. jects. and. By. as for. even. the most part. caprice. also. depend on the. as to completeness;. enumerate and explain. render clear and. to. which he can. and unprofitable.. fruitless. is. feeling's,. ear,. intelligible,. all. such. the. sub-. fancy, imitative powers,. of the player.. and patient elaboration of this Treatise, I have also endeavoured to satisfy a wish, expressed in many quarters, that I should form into a systematic and well- digested whole, the views and principles which I had collected during*. a. 30. careful. years. to youthful. practical. talent. ,. a well-grounded, and able,. widely- spread,. experience in teaching*:. with the wish that they may at. the same time,. and honourable. "As. easy,. art:. and I now dedicate this avail. themselves of. and rapid. it,. work. to ensure. acquirement of an agree-. for. the use, so will be the g*ain.". CHARLES 'CZERWW. S192..

(29) .. PRMJLJMINoAMT. .. For. OBSERVATIONS*. requisite that the Learner should receive one lesson every week-day, or at least four lessons in the week; and in addition to this, that he should daily practise one hour hy himself, as it is very necessary to the first three months, it is. hour's. abridge as much as possible the labour of acquireing- the first. the. principles of. art.. The. subjects to be of each. tents. in one. explained, are distributed into. LESSON may. hours. easily. LESSONS, such. be read throug-h and explained. at. that the. conPu-. leng*th to a. attendance; this calculation. will also include the time necessary for and to practise the rules laid down in each Lesson. It will naturally depend on the age, talent, and industry of the Pupil, as to how far the Teacher may find it necessary to lengthen or curtail the prescribed times. At the end of each month, a couple of days should be devoted to the recapitula _ tion of all what has been already learned, and the Pupil should be made to repeat. pil. him to. fix. in. his mind,. principal. the. The. by. rules. heart.. be frequently and diligently played over; and they should not be laid aside, till the Pupil by his progress is enabled to proceed to the study of longer and more difficult compositions. practical exercises must. 1 SJ. Position The movements of. the. H. of the Body,. t. g g o. and. n. .. of the. Hands.. body have so great an influence on. PlANO- FORTE. play-. that a. g-ood and graceful position must be the first thing- to which the Pupils attention should be drawn; and the rules on this head must be incessantly repeated, till the exact observance of them shall have grown into a settled habit. ing-,. In. unnecessary movements must be avoided, for every obliquity of posievery grimace, and every useless gesture, have a disadvantageous influence on the hands and fing*ers. Before any thing- else, the Pupil must be made acquainted with the followingplaying-, all. tion,. ruk. -i. The. must be placed exactly opposite to the middle of the keysuch a distance from it, that the elbows, when hang-ing* down freely, shall be about four inches nearer the keys than the shoulders; so that the movements of the arms and hands over the whole leng-th of the key -board may not be impeded in any way by the chest. §. 1.. seat of the player. board; and at. § 2. The heig-ht of the stool must be so exactly proportioned to the stature of the player, that the ends of the elbows may be about an inch hig-her than the upper. surface. of the keys; for a low seat impedes and fatig-ues the hands. §3.TVhile playing-, the stool must never be moved either backwards or forwards; nor must the player wrig-g-le to and fro' upon his seat. § 4. The position of the head and of the chest should be uprig-ht, dig-nified, and natural; a little inclining- towards the key -hoard, so that the back of the chair or seat may not touch the body. But we must avoid assuming* a bent and crooked position, as. any. that is at once unsig-htly leng-th. CzernVs. School.. of time, Part. I.. it. and injurious to the player; and,. may even become Sl9 cJ. prejudicial. to. if. the. persisted health.. in. for.

(30) .. Let. §5.. playing , avoid. the Pupil, while. movement of the head.. 1. IL is. only. accustoming' himself to nodding', or any other. when hoth hands. have to. play. in the. hig-hest. oc,. of the key-board, or in the lowest octave on the left, that the may follow them by a g*entle side -motion, but however without moving* on. on the. l;ne. hod} (he. rig-ht. seat.. on the gTound, near the PEDALS, hut without touching* their feet on a foot- stool adapted to their heig-ht. out§7. The arms oug-ht neither to be pressed ag-ainst the body, nor extended wards, away from it; but they should hang" freely down by their own natural weig'ht, avoiding* every perceptible and restless movement. §8. The surface of the fore -arm, from the elbow to the knuckles of the bended fing*ers, must form an absolutely straig'ht and horizontal line,- and the wrists must neither be bent downwards, nor upwards, so as to resemble a ball. The preserving" an exactly straig'ht line with the knuckles and the upper surface of the hands is one of the principal requisites towards acquiring- a fine style of playing-. §9. The fing-ers must be somewhat bent inwards. As the fing-ers are of unequal leng'ths, each fing-er (not including- the thumb) must take such a part in this species of curvature, that all their tips as well as the thumb in its natural outstretched. §6. The feet should them; children must. rest. place. may form one. straig'ht line, when placed close together. In this case the nearly the form of a semicircle. they § 10. In playing*, the fing*ers oug*ht never to be pressed ag*ainst one another; must be kept so far apart, that when the hand is at rest, each for itself may free_, upwards or downwards; for it is ly and independently make the necessary movement. position,. knuckles will. by. assume. motion that the keys are to be struck. oblique position of the hands and fing-ers, either inwards or outwards, is very injurious. In proportion to their leng-ths, the fing*ers must form a line with the leng*th of the keys, and it is only in extensions or skips that this rule may be deviated from, so far as it may become necessary. § 12. The four fing-ers of each hand are respectively indicated by the fig-ures 1^2, 3, 4.; the character + is used to indicate the thumb § 13. The percussion of the keys is effected by means of the fleshy tips of the four long*er fing*ers, and with the extreme side of the tip of the thumb, which for this purpose must be somewhat bent inwardly. "We must avoid bending* the other finfers inwardly, so much that the nails shall fall on the keys. The keys must not be struck near their edg*e, but at about half an inch from their end nearest the §. this. 11.. An. player. §. The player must keep. 14... nails so short, that they may never project beyond of the fing*ers, as otherwise the clicking* of them on will become disagreeably audible.. the. extremities of the tips. the. keys. his. Continuation of the First Lesson. Ojv § 15. use,. The. the. Names. of the. Keys. .. PlANO - FORTE of the most extensive compass in present than Older instruments contain from $ to 10 keys fewer. key- board of a. contains. 78. keys.. number. That portion of the key- board intended for the. that. i. -3192.. rig-tit. hand. is. called. the upper,.

(31) 3 TREBLE. part of the instrument. That portion intended for the left hand is called the lower, grave, or BASS part". When we ^strike several keys in a series proceeding" from the left to the rig-ht side of the key -hoard, we ascend or run up the instrument; and when we proceed in the same manner from rig-ht to left, we descend or run doicn the instrument; these expressions should not he confounded with one acute, or. another.. The greater numher of keys. consist of the longer, broader, and lower white keys, because they are g-enerally covered at the tops with ivory. The shorter and less numerous row of keys which lie above keys, as they are usually covered with eboblaclc the former, are called the ny; they are so related that b of the upper row are every where distributed between 7 of the lower row. § 17. At the first glance the Pupil will perceive, that the black keys are every where separated into two sorts of groups, one containing* two and the other three black keys. This unequal distribution of the black keys, is the means by § 16.. series,. called. the. which the player is enabled to g-ain a rapid oversight of all the keys, and to distinguish each one individually ,•_ this it would be much more difficult to do, if he were to depend solely on the white keys, which appear every where uniform and alike.. The White The 7 named. Keys.. 5 black keys are distributed, C, D, E, F, G, A, B, which are constantly repeated in the very same order, from left to rig-ht, that is in ascends ing from the Bass towards the Treble. two black keys, and it oc§ 19. The key called C lies on the left of the § J8.. are. white keys. after. the. 7. between. which. alphabetical. the. letters. black curs as often therefore, as the key -board contains groups of ,two keys. The Pupil must now try to find out and strike one after another all the Cs on the instrument, for which purpose the following- representation of the key- board will be found of assistance. After C follows (between the group of two black keys) the key D, which lies next to it on the rig-ht. After this comes E; next to this F (which Next comes G; then is placed close to the group of three black keys.) A, and lastly B. After this ag-ain comes a C, and then all the 7 keys are repeated ag*ain and ag-ain to the end of the key -board. § 20. The Pupil must now dilig-ently look out for all these keys, strike them, and name them aloud; at first all the Cs, that are to be found on the key- board, then all the D's, next all the Es, and so on: he must then learn to name readily while striking- them, all the white keys in their re_ descending, viz: C, g-ular order, first in ascending-, and afterwards also in. B,. A,G,. F, E,. D.. 319S?..

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(33) .. :. Distribution of the White Keys. All keys of the same. § 21.. name have. also. a great similarity in sound; and are only. distinguishable from. each other hy a difference of acuteness or gravity as to their These similarly named keys, form each one as compared with the one imme_ diately above or below it, what is termed an OCTAVE; they are thus eaUedJbecause in the space from one to the other inclusive, eight consecutive keys or notes are contained. Thus the interval from any one C to the C nearest to it, is called an Octave; the same takes place from one D to the next D, from one E to the next E, &c: &c: 5 22. To distinguish all these OCTAVES from one another, the octaves C, C, are the indicated by numbers, with the exception of the lowest octave, which is called DOUBLE OCTAVE. Next to this comes the First octave, then the second, then the 3^,4^, and bV1 octaves, from C to C, and lastly the notes of the 6 111 octave, so See the Representation of the Piano -forte Keyfar as the key hoard extends.. pitch.. .. board, pag-e. In. 4.. PIANO FORTES of. F, (six. notes. octaves). consist. the. less. compass,. DOUBLE OCTAVE. therefore. only. of 4. which extend only from. F. in the bass to. not complete, and the deepest white and 3 black keys. is. double. When the Pupil now tries to find the different keys hy way of practice; when they are touched by the Teacher in order that he may name them, he must be taught to know in what octave each note lies. § 23.. or. Names. Key s.. of the Black. §24. The b black keys comprised in each octave, have a two -fold name, which from the two contiguous white keys by which each is encircled. If the black key is named from the white key contiguous to it on the left, it re_ ceives in addition to the name of that key the epithet sharp. If it is named ac_ cording" to the contiguous white key on the right, it receives in addition to that name, the epithet flat. Hence the b black keys are named as follows they derive. The black key between C and. D F. G A. and and and. D is called E G —^ A. C. sharp. or. D. sharp. or. F. sharp. or. G A. sharp. or. D E G A. flat. flat.. flat. flat.. or B flat. The cause of this two - fold denomination, and the reason why sometimes the one and sometimes the other is applied, will be explained to the Pupil, when he learns the names. and. B. sharp. of the notes. The black keys have. Ex: must sharp to C sharp, F sharp to F sharp, B flat to B flat, &c- and the Pupil often practise striking' and naming* the keys aloud, both backwards and forwards throughout the entire key-board; thus: C, C sharp, D, D sharp, E, F, F sharp,G, G sharp, A, A sharp, B,C, &c- as also according' to the second denomination, C, D flat, D,E flat, E,F, G flat, G, &c. § 2b.. also their. OCTAVES,. C. 3192.. like the white. ones;. as. for.

(34) Relation of the Sounds of the Keys :. 5 26.. From. g-eneral, that. in. precedes,. -what. it. to. each other.. PlANO FORTE, and indeed in Music many Oc_. appears that on the. there exists hut 12 sounds; which by their repetition in so. tares, and by their higher or deeper pitch, form the whole rang*e of sounds of whieh modern music consists. §27. Each Key compared with that immediately contiguous to it forms a half- tone, that is in respect to its pitch it is distant from it a half- tone, or semitone. Thus: C to C sharp, D sharp to E, F to F sharp are half tones. Similarly the distance from E to F, or from B to C, is also a half tone, or semitone; since he _ tween these two white keys there occurs no black key. two keys are separated by one intermediate key, they form a § 28. When whole tone; for Ex: C to D, or E to F sharp, or B flat to C, or Aflat to B flat, are. whole tones. §29. It can. at. most require but a few days, to indelibly impress. Pupil this explanation the. of the keys;. helps here suggested,. and if. on the mind. of the. Teacher has the patience to employ all the Pupil himself bestows the proper degree of if the. attention.. H. 2V.d. t S. g. Tt. Primary Finger -Exercises, and further Rules %. l.. teach. As soon. Pupil. as the. him to play. by. the. on. Touching. or Striking the. Keys.. master must. acquainted with the keys, the. well. is. heart. .. exercises.. following*. First with the rig-ht hand alone.. 3. +. ,. .2. 3- 3. 4 4 4 4 4_4_4. 3. 2. 3. 1. 3. 3. 3. 3. 3. 3. 3. 4i. +. 1. 1. 2. 1. +. 12. 1. +121. 2. 3. 4^. 3. 2. 1. 4-1. 23. +. 4. 2. I. 3. 1. 2. 1. 2222 22221111 llll -e>-. Each example must be repeated from. 20. 10 to. times. without intermission.. §2. During- the practice of these exercises, the Teacher must gradually explain the Pupil the following- additional rules on the position of the fing-ers, and on striking- the keys; taking- care that he observes them practically. S3. If we hold the 5 fing-ers, properly bent, quite close over the 5 keys, C, D, E,F and G, we shall percieve that one fing-er only is g*iven to each key. v. to. The. five. fing-ers. must. therefore. be kept. so. 3192.. far. apart. from one. another, that.

(35) .. t. the may strike its own key exactly in middle; for this purpose the thumh must be extended in an exactly straight line, and the little finger be but a little bent. The end of the thumb must always reach to the middle of the fore or broad part of the white key, and never strike it near to its outer end. For the percussion on the white keys should always be made on the part; surface of the keys by all the fing-ers, and nearly in the middle of that they must never be struck near the extreme end, nor on the small narrow portions included between the black keys. § 4. This position of all the b fing-ers must always remain the same, when in the preceding* Exercises any fing-er strikes its proper key § b. As each fing-er, previous to its being- used, must be held very near to its key, (without however touching* it); so, after the stroke, it must ag-ain return to its. each fing-er, when the hand. previous. is. at. rest,. situation.. fing-er must be lifted up exactly at the same moment which the next fing-er strikes its key. This is the most important rule of all for beg-inners, and it cannot be too often repeated to them. § 7. In, the first Exercise, intended only for two fing-ers, the thumb must quit the C at the very same moment that the first fing*er strikes the D, which in its turn must be quitted, at the same moment that the thumb ag*ain strikes the C. § 8. The same thing* takes place in the 2? Exercise, with the 3 fing*ers; then with the 4, and lastly with all the b fing-ers; so that the weight of the hand always rests on the keys, but on one finger only, while all the rest are poised in the air. § 9. "What follows, will serve to explain to the Pupil the reasons of this princi§ 6.. PRINCIPAL RUI£. Each. in. pal. rule.. Two. or more immediately contiguous keys, when struck. disagreeable and. dis sonant. effect;. while. if. together, produce a very one after same keys are struck the. agreeably enoug*h. Now, as the string-s belong-ing* to any key continue to sound long* after it is struck; if the keys be kept down by holding* the contiguous keys too long*, a very unpleasant. another,. sound. they will. discordance. will. arise,. which may. be. avoided by. attending* to the foreg*oing* prin_. cipal rule. 1 11 S 10. The 5 Exercise has for its aim to accustom the beg*inner to a firm touch same and tone, as he must strike one key several times successively with the keys, fing-er. The hand must here be held as tranquilly as possible over the b so that the re-iterated percussion may be produced by the quiet movement of .. the. sing*le. fing-er.. In this Exercise the beg*inner must accustom himself to a moderately strongtouch, so as to press down the keys firmly; he will naturally practise it, at of first very slow, accelerating* the movement by degrees, as the flexibility nerves. upon the the fing-ers develops itself, and without any strain and § 12. As soon as the fing*ers of the rig-ht hand have had some practice the by tried must be examples same acquired some degree of independence, the §. 11.. left. hand. in. the following*. manner.. •'''_'..

(36) s First Exercises for the Left. ^. 1.. +. i. +. ]. 1. +. l. +. +. j. 1'. +. ]. +. hand. i. +. jd.. J+J. 2. 2. 1. +. 2. 1. +. I. *. 2. 1. +. J. aU MJW^H~ tUSUJJUMUsU'^ 12 +1 «4«. 4,3^1 43 8*+^ +1 r. 3.. 2. a. 4.. 4. 4.. a. 1. 4<. a. 3. 3. All the rules g-iven for the and, above all, the. the left;. +. J. 3. 3. 2^22. 3. rig-lit. 1. !. +. +. 1. I. .1. 1. hand must be applied with equal strictness to left hand must always keep pace. adroitness of the. with that of the rig-lit. § 13.^Vhen this is accomplished, the above both hands in the following manner. +. _g_J_n. 3. exercises. 1. 1. 2. should be practised. with. 1. »-*-. wg. z^-lu as. us. *•. ^^H. ^/mj^/^ 3. 3. 3. 3. rrrr rrr r 3192..

(37) _. 9 Here. §1-1.. exactly. tog-ether.. of the. the stroke its. that each note. the Pupil must chiefly ohserve. return. is. ther hand, is. This on the PlANO-FOUTK. hammer. ag-ainst. the wires. it. is. hands is struck is not easy to do; thoug-h for effected with extreme rapidity, in hot!. somewhat slower; and the smallest keeping- hack of the blow directly felt, and hy it the necessary equality is lost.. 7. in. eL. This equality in the touch can only he acquired, when both hands are kept perfectly still, and all the fing-ers held up equally hig-h; for those fing-ers which are removed farther from the keys than the rest, or which are held with stiff ness, naturally strike later, by which the perfect equality of the hlow is des_ § 15.. troyed. All these Exercises. must he practised. over, daily and patiently,. at least 3 each time for about half an hour, so that the Pupil may be able play them with tolerable quickness, while he proceeds to the following- sub_. § 16.. or. times;. 4.. to. jects. § 17. i. 1 11 .. The continuation and LESSOX.. of these Exercises will follow- in the. multiplication. 3i ILt Ojv the. ggon.. Names. of. the. Notes.. §1. All the different sounds and keys are expressed on paper by characters, called Notes, which consist of a round dot or head, to which is appended a thin stroke drawn upwards or downwards. The round dot or head is the note. The following* example will give a g-eneral view of the forms of. the. notes.. + + * The upper. -. ist SL 1 . bar.. .$. ;•'. 2?. line. for the right. hand. „ The lower. line. I CO. for the left hand.. 3192.. bar.. 3?. bar..

(38) .. 10. On. § 2.. examining*. example the Pupil must he made to observe what fol_. this. lows: a.. The notes are placed on two sets of. of which the upper one the b.. is. intended for the. five. lines. rig*ht. which are. hand,. called. Staves,. and the under one. for. left.. These two staves are tied tog-ether. called a. BRACE;. see. at their. commencement by. a. character. _(.. Immediately after the Brace, follows a character called a CLEF; (see ^ ) having" in the upper stave the form (fo; this is called the TREBLE CLEF; it im_ on plies that all the notes which are "placed on this stave are to be played is, on the acute or treble portion of the the rig*ht side of the key -board; that c.. s. The Clef. the bottom stave is formed thus (® ; it is called the BASS CLEF, and it indicates that the notes which are placed on this stave, are to be played on the left side of the key-board, that lis on the grave or instrument.. in. :. bass part of the instrument d. The character which occurs next in both staves (Q, ),is the Time-mark (i),it shews in what manner the notes are divided in respect of the time or mea_ sure, by the bar lines, which occur at every step;(see the first of them at $. .) e. The space between 2 such bar-lines, as also all the notes included therein, make ONE BAR, each of which must be of exactly equal duration throughout the whole movement or composition. The preceding* example, as will be seen, eon_ of 8. sists. Each. such bars.. consists of 5 parallel lines, and the notes are placed partly on and partly between them. See the 1?* and 2<? bars in the upper stave; they are also partly placed over the b lines by means of little additional lines cal/.. stave. these lines led. ledger. the b g*.. lines,. see. the. ^. and. 6**1. bars in the top. stave; partly. also. as in the 8?1 bar. upper stave. notes are sometimes white, as in the IV" 2 l\ and s4 bars, bottom. under. lines,. The. stave,. sometimes black, as in all the rest. h. Sometimes the white notes occur without any thin stroke or stem, see the first bar, lower stave. On the contrary, the black notes always have a thin stem attached to them; and in addition to this, they are also often connected together stems, in groups of two, three, or more notes by thick lines drawn across the as in the 3^ ^* h 6"-.h and 7 1 bars, upper stave. i. These numerous variations indicate the longer or shorter duration or velocity, with which the notes to be played are to follow one another. k. A white note without any stem is called a SEMIBREVE; this in modern mu_ sic is comparatively the long*est note, as it fills up the whole bar; and in consequence we must firmly hold down the key which it represents, as long* as the entire bar lasts. time I- White notes with a stem, called minims, last exactly one half the "-J. Semi breve Black notes, standing* alone, called crotchets, are, as to duration, worth only the half of the Minim. n. Black notes tied tog-ether by one line across their stems, are called Quavers,. of the. .. tt'... SI 92..

(39) .. 11 and they are. one half the duration of the crotchets.. only. And. thus, each additional cross -stroke increases the quickness of notes in the same proportion; hy this it occurs that one bar every- where lasts as long* as o.. there may be only a few. thoug-h in some. notes, while in others, on the great many. p. In the five last bars, several \characters occur besides the notes; they are caL led Rests, as r 1 ; these characters imply, that for a certain time we must not another,. contrary, there. may be. a. touch any key with our fing-ers, but that the hand must, as it were, hover in air just over the keys. according" to Rule each note must be held down till the foL q. Besides this, lowing' one is struck, because, with the exception of the rests where indicated, no chasm or interruption must take place in the melody which the notes in-. the. dicate. .. r. When. two or more notes in the stave stand over one another with only one stem to them all, as in the 4th bar, they are to be struck together, these several are called double- notes, when there are but two; and Chords, when. single. over one another in this way.. stand. comprehends and observes all these rules, he will and abridge, in a very great degree, the following- Elemen_. §3. "When the Pupil thoroughly. find. them. facilitate. .. tary Instructions. Continuation of the 34 Lesson. the Treble Notes.. JWuf.Es of §4. It. is. necessary that beginners. should first learn the Treble. notes. well,. they attempt the bass- notes. §5. The five lines of which each stave consists, are always reckoned upwards, so that the lowest line is called the first, and the highest the fifth.. before. The 4 empty. interstices, which. occur between. ._,. 3. lines, are called Spaces.. Spaces.. Lines. -. 1. the. +—*-\. -f. *. —I. 2. Treble clef is the E of the 3 d Octave, and therefore it is placed very nearly in the middle of the key-board. The note on the 2<l line is the G next above,- on the 3? line, the followingB; on the 4^ the following' D, of the 4th Octave; and on the 5 th the following F. As we ascend from the lower octave to the hig-her, the notes on the paper 5 6.. The note on. the. first. line. in the. ascend in like manner. J) —=.. F -*-. Treble Notes on the lines.. § 7.. The keys, which are passed over. in. playing- the. 3192.. five. notes,. namel.

(40) .. h. .. AYC,. .. are. B,. indicated by. notes. the. Notes. in. in. the intermediate. gs. Spaces.. the. spaces.. G lines include. Consequently the b in all, the 9. §8.. As. i. following* notes.. J. J. J). notes are not sufficient to indicate the whole of the acute or Treon the key- board; the deeper notes are placed below, and the more acute. these. ble notes. ones above the. stave,;. short. cross. thin. and the additional lines lines,. requisite for each note. ledger. which are called. the heads of the notes, or are. placed. Notes under the. over. under. or. D. stands under the. ing" to the. E. E. in the. are. indicated. by. and which either pass through. lines,. them.. lines.. » The. £. J. J. C. B. A. * G. * W. 3$ Octave, and then follow the notes descend-. 2^ octave. in the. 8V1L. Notes over the. lines... £. rr^^r^*^. GAB. D. G A B. F. ]). NB. As the hig-hest notes. require too many additional lines to be easily distin _ by the eye; it is usual to write them an Octave lower, and to place over them the characters 8™..-, which sig-nify that they must be played an octave g-uished. hig-her than the notes really appear. lasts till the word loco ap_ This 8™ pears §9. In this way, as we may percieve, all the treble keys from E in the 2** octave to the hig-hest F are clearly and conveniently indicated by notes: here follows the complete series of them. &v?_. All the Notes in the Treble Clef.. efgabcdefg bcdefG a. ip^w. *-+ 11. ,3. .. Oct:. A. m && 4^ Oct... F G. P B C £>. •. th. Oct:. F. t.. ;. th. F G. Oct:. 2?0ct: §. 10. The chief point is for the Learner,' as soon as possible to acquire the power of reading- the notes quickly and correctly, and of striking- them on their. proper keys. 3192..

(41) .. .. 13 Eye; the striking" of them correctly on the instrument, that of the Hands and Fingers. Both must how ever be impressed on the memory with equal exactness; and the Pupil must make himself master of this two-fold knowledge, so perfectly as never to mistake; for I'll.. Correct. reading' of the notes. the husiness. is. on these points mainly depends the whole §12.. To. of playing-. art. with quickness, the following. reading-. facilitate. of the. the Piano -forte. means will he found. of. service: a.. Make In a. b.. and. the paper, with. similar manner,. same. the. at. name the notes. the Pupil often. at hazard on. let. to them, taken. .. him look for the notes on the keys,. naming them. time. aloud, while you point. pen or pencil. a. striking-. them,. aloud. out hazard, and let the Pupil seek for and point the corresponding notes on the paper d. If the Pupil can use a pen, teach him to write the notes, and dictate various notes to him, by merely striking' them, causing him to write them down. which must hereafter be studied as practical §13. The following little pieces, Exercises, may in the mean time serve to practise reading the notes, by causing* c.. Strike several. the Pupil. keys. name the. to. at. notes, find them. on the keys,. and strike them. with each. hand separately.. The prescribed fingering must be observed as soon as practicable. By + the Thumb is indicated in both hands, and the other fingers successively l,. 2, 3,. 4,. standing for the. the last. little. finger.. Allegro moderato. +. n. +ii ,'. f f. I*. Ex.l.. «i. i. r. r. i. f. i. r. 4-. 3. 4. ". 3. 2. 2. r^r. m ^. 'i. •. -Tgr. -©-. 4.. p?. r f. \. +. +. r f. s. is. to. o. 3J. ^^. Italian words standing at the commencement of each piece iadicate how quick or how slow be played; this will be explained to the Pupil in the sequel.. The. RKMARK.. 3. ff.Fffrifrrn. 1. m. -J2.. the niece. 2. 3. JjUi. J J 4. 3. id. -©-. "^^'îV 11. ? i. 1333 21+2 111*. 2 -qr. 3. " m. 3. i. w~w. 4. '. 1,2. +. ,. r^. r. i. 3. o. 2. &}9?. -.

(42) 14. Allegretto moderato. * 4 2. %. s. 4. 4. 4. x. %. a. «:. Ex: 2.. U. J.. ^ 4.. 4,. 4. 2. SJ. 2. 4,. 4. 4,. 4.. +. +. +. +. r^r. •'. f. d. m. W—TT. 1. g. < ^. r. * +. 2 +. —. c. w. #. +. i I i i. 1. 3. 3. I. I. +. iF^. ?. f=?. *. 3. III. 4. e. ^^ ^3,1 ^ ^^ 3. ff. 1L-£. ####. fczft. mm +. 4 +. +. *=2=. +. "f 4<. ^. ^ +. 2. * +. rhTrJ. ta. ^ ,319;.'.. 'i. ^. V V. ^L.

(43) Allegretto.. +. 1. * \i. P&-". -. 3. 4. 1. 11. 1. 2. £. i. +. «. +.

(44) w. AllegYO won tn'oppo.. Ex:4.. a. PS. 2-84. 4. 4. 4. 2. g S. £ 2 1. 3. 3. 3. 1. 1. 1. 2. 8. ±. +. P. g g. 8. 2 +. g. g. 3 1. FFf. ^ 8 +. 2 +. 2 +. 3. 2. ^gr. I*. M. '. *— +. 4. +. J:. ^. *. f,;rff. PP. ». I. i. +. -©3. *. 1. -. #. *. i. i. 3. +. 1. o. ^=^. ^ al.9g.. Z. ill. L.. 0000 ^§r.

(45) *. Allegretto. 4 3 2. j+i*. 17 3. ^^ ——. ±3. -0. Ex: 6.. «e. <$«><*_. .Sl 9 <2.. #.

(46) 18. Allegro. Ex: 7. m. -j.. J— _. 4. J". ,-i. rm. >rri. PTT1. m. 3. 2. +. i. p. 3+1+. 4+^+. 3. sr. *. r. -j-. 4+2+4 +. _. +. r 4,. f. '. +. ^. 1 I. I. +4.+. I. +. +. *. c. l. r. i. —. 1. i. +. f. 3+1. 2+. 4 42 a. w. + l. i. :w. *. —. h. -w. Ex:8.. £$.3.4.. m. £ 2 £. '. m*. 44ii>i444. '. ###. i. jErffff. m^w. iffWff. P ^ ^ ^ ^^ i/«^ fMf ^ *PP a tni^m ^froW 4.. 4<. 4<. 4,. J. ;. ". ^. 4.. 1. irae:. lj. !. 4. 1. I. 8. '. "€1-. iff §. +. M. 3. .'*ir>2.. 3. +. tL.. 1. ,. ,. f. 2. 2. ^.

(47) :. .. 7,9. 4?. it. es. # o n.. THE FlKGER. CoJSTTIX-UATIOJs" OF. EXERCISES.. While the Pupil is making- the necessary progress in the knowiedg-e of the Treby way of daily Exercise, add the following- studies to those al_ ready g-iven in the 2^ Lesson. Si.. ble notes, he may,. 2+2. 3. 1. JJJJJJff. 13. 2. 4-24. 4.. it\. a *. X *. 1. 4.. i_3. i. ^^PVTFJfJffi. iaîLjai^g +. 3. 3. '. 3. 3. 4. 3. 2 + a. 4.. 3. 3. 1. 1-4-3 4. 4.. 4.. 1. I. ^^/^^^ + 24-2 134-3. gMT gj m B. ttfifj. tttff. '. TOg-E^f. S 2. These Exercises must also be first practised by each hand separately, and afterwards with both tog-ether. .. The same. tranquil position. of the hand. ". over. the b keys, and moderate move _. meats of the fing-ers individually, as well as all the other rules on touch which have been explained in the 2<* lesson, must likewise be strictly observed in these. new Exercises Experience has taug-ht me, that Pupils, even with very -feeble memories, are soon able to learn all these Exercises by heart; if we patiently teach them note by note for each hand separately, partly by first playing- them over ourselves, and partly by short verbal instructions, drawing- their attention at the same time S.3.. .. to the similarity as § 4.. The. first. well as to the differences in. all. these Exercises.. Elementary instructions may naturally be divided. into two parts, proceed tog-ether step by step. a. First. Intothe learning- of the Notes, the distribution of them, the time, &e b. Secondly. And into the earliest possible development of the free action of the Fing-ers, by practising- passag-es learned by heart, and properly contrived for the purpose of improvement. Neither of these divisions must be neglected; for if we wait till the Pupil has. which must. 3192.. ..

(48) i. 20 obtained flexibility of finger, by merely reading* and finding* the notes, much time will be lost, and a stumbling*- block be placed in the way of his future progress.. Continuation of the Practical Exercises. First, for learning* the Treble. Allegro molto.. notes, and afterwards intended to be. 4,. 1. ( ^^^-J. J. 1. practised.. 1. 1. L___. 1. —— f. *. +. F— H. f. 1. + 2. Ex.9.. 4.. \faS -*. ii5'. i/;' ^?=. j". J. i. i. I. -. J. J. J. 1. J. J. 1. -0-. I. '. -if^-Jr fi^ 1_|. ,i'i'. f. l-HB-3. ^ jTi i.'iiA'iis'jrjr* f N -. 1. ^ fir. f. f. 1. P. P 1. f. r. 1. 1. 1. 111 -0-. -0-. —. rl. r ;. :. '". +. I/. *\. '. t. '. 1*1. '. 1. 1. ff^-jr j>. jL. J. 1. jL. '. J J J J-i J J J J J i ^ i i i'i-gL i'i i i J. j. g. ji. a. jj. j. 1. i. J. 1. 1. 1. "jrjijq s. '. s 2. '. 11 if-r_r^3. 4.. j. jr'i. iJ. 3 1. 2 +. nr rrn. J J. *. Jin. jjij. I. a. hi. 1. "i. '. mi. g=ii. -#L. 4.. ^=J. imt 3=3. '. +. j. :. -#t. *. i. -#L. f. 1. =S=3 -0.-0-. -V. "*•. J. mm. soe. i i I i i=j [. 3192.. '.

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(50) 22. Allegro vivace. 8°«-. pVpV\FPpV. 4. i. „. 4. \. }. J. -*. 2. #. 2 lo<:o. £. ffff.fffM. ^. fh*. ". ^4£J djJ'iM lkJ oJ 1. §1.. The. the bass. learning- of the. oefares,. in. the Bass. of. Bass -notes. the. h. r. r. we. transfer to. Itôn.. 5? JVame.s. lXjj. following-. is. -. Notes.. not a matter of difficulty, if. manner, the knowledge. of the notes. already. acquired. §2. The note on the first line in the bass - clef is the G, of the first octave. (see the Representation of the key-board.) §3. The note on the 2? [ine is the foUoidng- B; that on the 3* the D; on the 4™ the F, and on the 5*h the A. .:. Bfiss. notes on the. lines.. 3\V CJ.. m. G. B. D. =. F. A.

(51) 2.3. The notes. 4.. in the spaces. Bass notes Consequently 2.d. these. all. g?. notes. G. range hetween. in the. D. m #^ i=j E. F. The. viz:. first. octave. C. F. I ^ i. #. ". bass. clef. notes written above the stave in the. Bass notes above the. The. 7.. following" is the. ^P^£ r. stave.. complete. cdefgabcdefg. C. s. B. ^. *. 1. '•.... *. f. FG. 5feE. ^-* tf. » E. C. A. ascend as hig-h as E. F. f. f. in. M G. series of bass -notes.. 1. lines.. i i 1. B. §. D. E. third octave.. the. in the. additional or ledger. G. A. B. A. and. ^^. J. J. J. J. are in like manner indicated by bottom notes as far as double C.. the. keys;. 32E. in the spaces. remaining* keys. §5.. § 6.. the intermediate. gabc defga. octave.. The Namely. indicate. G. F. £££ f*M A. -^--tf.^. ...••. ...••'. loco. §8. The Pupil will remark that a number of the latter notes in the last example, (from E, 2 d octave, to A, 3? octave) occur also in the Treble clef; and that there_ fore these. 11. notes. §9. Thus, for Ex:. may be written. in both. the following passages. may. also. clefs.. in the. Treble. be written. clef,. in the. fg ?. bass. V. clef,. I'J. J. ^. J. }. as follows:. In both cases they are to be played. on exactly the same keys. § 10.. ^Ve shall. now. give the general notation of. all. the notes in both clefs, which are. within modern music.. _ v. f^-^'Wf b c »% _. EF GA. BCDE FGABCD g F p^ f-^-rffffff-ff. CDKFGABCDF.FttAB ^-r*'. :. -.. .'. .-... f gA/ .. #n f.. IS* Oct. lifO. double Ortj. 819-'.. met. ./J1 Oct.. *""<? {. gUi. ..••'. 1.

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