Ex)

a)

hs

S

Comlainine allihe Various Seales. | fa Fi

A ~ et 0 eCreverses _

| FAVORITE Ad B34 Se es pe

( Arvanged by

~ —

acgneeegpenae se ae

Oustav von) Rlevser. Pont. Sta Hall, ——————— tr: ge

London. Subliehed Av T.E€- PUR DAY 37S’ Sik Church Yin Sees of the business) to co.taro’ Co.aRo (lite Cement! and 4 es

: > . > a >

Ss la Tae ene ao + ae oe ae sa SP, Ter te eae os a a ae es - eee =. Edis oe he ; oe x == ae = - i Ls eee oe Tae i ar ol . ox =~ 7 rp) ~ 2 sek »

be!

Poon tha

Dheten

. ae OD PG Pe rEMenC8EE RE

Istructious f Le

C : ‘ of / op Y 7, 7 He — LMC he is Snaps) M

fer c A€

7 oe EZ ae

“i

— a Vor

Li oe — rT — Containing all ithe Yarious Scales ,

| ge a oe beams

a yp, ees Ye Gey SH, 2 Yeh pa

( FAVORITE AIRS, | Saat? 3 a

. | ( sganien e |

ae Gustav von) Rlevser.

Ent-Sta Hill. ~ Be 0. One

London. Tublished by T.E.PUR DAY ,40.S/auls Chueh Yard. SUCCESSOR/IN this branch of the business) lo coctarn’ coutaRoflate Clement and (~

‘ae

é|

Most me lif luoug notes that can be obtained from ar The performer may play on it, Single notes, chords, or even melody and

Her ompeaniment, and, Simply by Opening the two keys which are placed,

one on each side of the row of keys, May have the acconipaniment of

‘he 'Ponic or Dominant harmony to every note that is dingly as the one or the other is the “Compa niment may be obtained with What is requisite for the melody, A ©onCentration of Powers so various,

Played, accor — more appropriate; hence a rich out any more execution than

and so numerous, in one In strument, Seems of necessity ‘to involve largenc ss of bulk, and complexity

in its management; but the Accordion is SO small, and so light, that a child may carry it under the arm, and its execution so easy, that any

Person may learn to Play tunes on it in a few hours , Thesw Singular advantages at once account for its being so very

fashionable; and, with the Present reduction in pri cescannot fail of establishing it as “ Permanent musica] instrument » than which, none can be bette; devised, to di ‘elop and direct the musical feelings of the berinner, to communicate to him the meaning of the Various ex- pressions belonging to music, and to display all the delicate discrimi. nation, refinement, and impassioned energy, of the most vigorous and eecomip lished ‘performer,

Its acoustical Principle is in every respect the same as that of the Aolina, or Mouth~ Harmonica ; for its sounds result from. the Vibration of metallic Springs, which are set in action by means of the bellows, These springs are arranged under the row of keys, in such a Manner, that every key commands two, of which, one sounds when the bellows is drawn Out, and the other, when the bellows is - Pressed in; Every Accordion, there fore, has twice as many notes as keys. The end keys command a chord each; so that when they are o-

pened, one ‘or the other of these chords accompanies every note that js Played,

“OF THE MANNER OF HOLDING THE ACCORDION.

Those Accordions, in which the course of the sounds from grave to actte

roceeds from left to right, are of French manufacture, and should be held

in the right hand. The others are made in Germany, and should be held in

the left hand. The French Accordion 1s held by placing the thumb under

the brass rail, and pressing it upwards, while the extremity of the hand, near

the fourth finger, is pressing downwards on the top of the key-rail. This

means accomplishes the desirable object of holding the Instrument without

the agency of the fingers: which, therefore, are left perfectly free for their

legitimate operations upon the keys. The German Accordion is held in

a similar manner, except that the thumb is inserted in a loop Which takes

the place of the brass rail of the French Instrument.

On either Instrument the four fingers should command four keys next to each other; the key that produces the gravest,note of these four keys, being always allotted to the first finger. ‘

The performer may either stand or sit. In sitting, the end of the Accordion should rest on the knee, which ought to be elevated by the

foot being placed on an ottoman. Of course care must be taken not to

allow the dress, or any thing else, to obstruct the action of the bellows «

OF THE BELLOWS.

The bellows is grasped by the thumb on one side, and by all the fingers on the other, except the first finger. This finger is appropriated to the key which is placed in the middle of the bellows, on Gh terenen Accordion, an to the valve which is placed instead of it, on the Accordions that are made inGermany. Both the valve, and the key are called ‘the discharger.”

All expression, and even, to a certain degree, the quality of the tone de

pends upon the management of the bellows; the effects of which are very closely analogous to those of the bow on Instruments of the Violin kind; too much attention, therefore, cannot be giyen to this part of our subject. The desideratum is, to be able to keep the bellows in constant motion,~

that motion being of the very slowest sort that is capable of eliciting the musical sounds. A strong motion, such as is commonly given to the bellows by beginners, throws a greater weight of air against the springs than their construction can bear, and thereby spoils the quality of their sound, in the first instance, and may destroy the perfec ion of their in- tonation, if it unfortunately should become a habit. |

The loudness of the sound, is according to the velocity of the action : of the bellows. Thus, if two notes of the same pitch,are to last a minute each, and the bellows be moved six inchés for the first note, and only thee inches for the last, the first note will be twice as loud as the other.

Therefore, loud and soft, are respectively obtained by strong, and week, er, in other words, by quick, and slow actions of the bellows; — the — crescendo, and diminuendo, by a gradually increased ,and a gradually diminished velocity of,the bellows; and the sforzata, by its velocity being momentarilv and suddenly increased. Notes are also accentuated by this means, which is then, however. employed in a much less degree.

The legato is obtained by a continuous action of the bellows, and the staccatto, by its being suddenly stopped, in adectded manner, before the expiration of the time ofthe note.

a7

S'S: = nh

4,

When the bellows is expanded to the 1 drawn out, or when it js compressed to ed in, the performer ‘ust open the dischar

ufmost, and is nevert}

Ber, which by S€TVINE as a vent to

the air, will allow of the necessary re~action of the ello im out ifs Producing any sound. The rea, tion must, however, be Carefully ma-

haged when the enc Or side keys which ¢ ;

this object will not be accomplished , The bellows can never be set in action with Hiless some key, or the discharger he open, 'n the following: Lessons, the bellows is to he dra

cept this mark, A, is met with; in Which Case, it j This mark, 3€ 5 si¢nifies that the dix¢ harger is

OF TH & SC 4 I} The greater mumber of Accord} ns Us, for the sake of grenera] Convenience, to adc uiversal key; although Accordions are to be of DP, Hb, G, A, and Ab. Treating them all, then, as if they rule, relative to the action of the and a corresponding rule—for the it is presume dy extrem: ly

being in

were in ¢]} bellows, for German Accc useful ,

RULE FOR THE FREN( MAG C No matter Whatever the number of ke ‘S may be, al] the bellows to be drawn out, and hation of drawing, and Pressing’, for all not

WS taking place With d the chords are open, or safety to the Instrument,

WN out for every note, ex_ s to be Pressed in, to be Opened.

7 Ss

the key of C, inclines »pt it as If it were the met with, jn the keys

16 key of C, the following the “Fren, h Accordion, rdion, will be found

ORDIO.N,

the cs Ky andGs quire all the other notes require it to

be pressed In, * According ly the action of the bellows is an alter es that proceed tl phabeti-

cally, except A, & B; both of which require the bellows to be Pressed in, RULE FOR THRE GERMAN ACCORDION. No matter Whatever the number of keys the bellows to he Pressed in, and aif out, Accordingly the action of the ] and drawing, for all notes that Proceed alp} 0th of which, require the bellows to be drawn REMARKS, addressed to those who desire to

Without learning the musical characters : The figures over the notes si nify what keys are to N@ lya Ways signifying the k t next, and so on,

ellows is an alternation of Pressing labetically »€xcept A, & BH

Play the Accordion

be pressed down: ey that prodtices the gravest sound; N° 2. the us mark, —, signifies that the note over which it is Placed, is to be obtained from the key that was last Pressed down, 2ellows the reverse of the Previous action , This mark, A, signifies that the bellows is to be

When no*mark is employed, the bello, | This mark, XX, signifies that the discharger is As the guide to the Proper duration of sounds to thos dress, is the ear, We Strong ly recommend them to follo the seales, by that of tunes wi} ich they know, in pref do not know, ¥ To this n ley Ih We although very rirely, met Which tithe + \erpoens, requires Qe Bi Powe y

With exceptions, They o IS door yy d by the harmony Of the tonic.

ut by an action of the pressed in, 4S IS to drawn out.

neem the A, of the ond octave, ews to he rown « Ut, and accordinely, if used with the end chonis;

Fditor.

|

10 he tise

SCALE of the GERMA™ ACCORDION with 6, 8,&

yellows is to be Drawn out, The letter D, signifies the }

and P, that it is to be Pressed in.

Real pitch,an octave lower. ik

A A

P. D. P. Db. D.- P. D. . ; b. P. D. Dd. Pp. Db. Pp.

rs keys, and the last for 10 keys «

Remark — The first double baris for 6 heys, the next fo

SCALE of the FRENCH AccoRDION with 6 KEYS -

A A K 3

e

Db ° P. b . ¢ 1 2

D. oe us Hie Dave Ps Di; . aetna Pp.

D. P. D. P. D. P. D. P .D.PD. PD. BD. PD. Pe De Pe D.

THE MEAPOLITAN BARCAROLE,

for the 6 keyed German Accordion.

(Ub SAME, forthe O KEYED FRENCH ACCORDION. Figs or oe A A A ; ZS is oe “Obras 4 5 aot it Ss

SUL MARGINE.

Rather

Slow.

/ ; \ A \ \ 5 , / 5 1 rR SS TG ee 9 ons EN 4 in the above, and four following dirs, the French fingering is at the top, and the German underneath .

KALKBRENNER’S ALLEMANDE. AAA AA A A AA M2 8. 4 $3. 4 Sie Sig eit tall Sa..'9. eae a ®

t

acer art 1 fag CTE Sa

a Dit Tt R* ROBIN

HOUSSARD-. GEN TAL

‘8 1

NN

tto- | Allegre

MARINER'S

: :

g Zz

5

te

.

A

3S

Be :

o 5S

~

o 9

2 4

wat

3 a

3 >

>

iS

my

x %

he

= %

Q <

5 S

Q

=

.

2S =

= =

3 oe

~

<

5

~

: =

~

hy

:

;

<

é n

2

x

a ~

~A

&

s

>

Z

5 =

S 5

DW

« v

a 3

2 3

, —]

= S |

2 =

‘ a

= x

= 4

= :

~ ad aN ONS Jt dt RY POOR

ma A SEE

2

i THE SAVE GOD

5 Ne 10.

~indante.

nm

x >} S Sy

bi

|

—e

§ i |

° &

j

» S

t

‘

I ‘

» <

5

, 3

i ace

s <n

:

—

SS

2

| ese

= a

‘i

3

:

x

aes

8

5

©

-_

~

:

‘ of

=

:

-

S Lew

©

Se

jo

s

<

uso

= 2

2

- oy

8 :

Ae

S

:

3

<4

28

v ~

oe

2

32

=

= 3s

‘

Be

ce nda

ae -

Sy Sl

sd x

as

=

2 rc

7

=

2s

x S

,

ae]

u

:

:

:

s

=

i’

<toe

b %

:

= S

es

ms

a

:

:

2

~

ee

7

Roa

°

ie

6

se

‘ :

|

~

=

:

~ ae

:

:

joe]

=

»&

|

:

:

7

oo

pee

5 ~—

=

~

3

~

s

<1

<i

a ~

*.

x

-

:

<J

oil

+

~

™

Qe

a

.

=

“ Ne

:

wy

=

SS

:

7

-

5 <i

¢ ce

st

| :

:

. wv

SS

<4

:

,

-

Ses

Soy

:

4

S

:

3

; =

% =

s

fe

~ &

is 53

n~

|

&

" :

&

io

ne c *

erman Air. G . NION U T HE

ATR: NCH FRE FAVORITE

eo = “a

fre

EXERCISES ON THE MANAGEMENT OF THE BELLOWS.

% These Exercises are to be played without the accompaniment of the end chords; and all the notes within each dotted line are to be played with one motion of the bellows .

SOMO H eRe teen eurseseseneeeeesasssa se sseeeeetts, gees ee eteeteeeeee eee ta tees * Allegro. > —_ a = : -”

<: ee jw g sis oe o_o —e- ete rei

pat pO eS falectateleetteeeetd Ppl p=

e_oe— re Sete} a re wt Po ee a et tt ES eet ate a 9 @-o — 6-66 e+e @ 6 F

OO Be A A)

tndantino go tens seversceseees, . ee ee oe poe e see eee, ee

Con Motos ¢ ‘ f answdel

EXERCISE ON THE SHAKE.

( ; '

l¢ \ Z ) \ .