PCTTMH

6-7 3

J -

CONTAINING A( CI' KATE SCALES

AlRS,.MA»CIlJBS, Auiim.

("tT^ ( <^2) aMfe* Concise C_Jl^L. '^3^

BOSTON, Published by G GKAUPNKR and Sold for him by

JOHN ASHTON N° 197 Washington S\

\j

INT RO DUCT ION

TO THE ART OF P

L

K Y f VG OV THE

GERMAN FLUTE.Preliminaries .

All musical Sounds are expressed % certain characters, called notes *hicb are na.s wlm-li arr

.tt VT.med from the first seven letters' of the Alphabet, A ,

B, C, D, E, F an

. . -j 4 6

A Stave contains^pg3

called the first, The notes are 'placed on the lines or in the_spagc s included m th

<iw === and the additional lines called ledger lines

er and lower notes.

Ill order to determine the pitch of musical notes, certain signs, called Clefs

have heen invented, they are seven in number of winch the G, or Tr eble Clef

is used for the .Flute.! and is placed on the second line of tfc> £tave thusjfW^l.

> pG A B CL P k( j

*-' G

from winch ihe notes ascend and descend as follows:

^ G F i gf^

NOTEJS OX THE LOSJ3S A>*D SPACES SEPARATELY

^-J E G * U -*D* A °

^ EXERCISE ,gfc --

MOTES. 1

Figure, Length, ami relative Value of Notes- with their respertire Rests.&Rests@^SemihreTe. Minim. Crotchet . QuaTer . Semkpiayer. Dein^njnK^.

There is a certain proportion assigHeA to the Notes and their respective Rests;

for the purpose of regulating the System of Time; which will he Letter elucidated

by the following Table, which shews their true Proportions.

535442

4<

It is indispensably necessary in order to arrive at a proficiency in Music , that 1 lie pupil pay.

minute ami particular attention to Time in its various divisions,as the ground work or foun-dation on which all his future excellence depeds; and without an intimate and thorough know.leiln-f of which, all the effect of a rapid and easy execution of the most difficult passages, .

will fall far short of const itut i tig- a good and correct Performer : nor wi 1 1 the Student , u n less .

well grounded in Time, ever he eualiled to play in Concert , or even add an accompaniment to aPiano Forte, i shall therefore endeavour to initiate the Pupil in the most familiar methodof acquireing it by fol lowing examples.

TIME TABLE shewing the respective proportion of each, note.'

1 Semi breve . . >©-.; <s equal in length of Time to

.'2 Minims Q"' '**"@ which are equal to

4 Crotchets f~~~ ~~"~f* 'P^^" ~~~f—~ ~ ,v' 1 'cn BLTe 'qnal to.

v*"* > "*.> ' * , ,*"*>».8 Quavers » *# p" "*p m" p p > which areequalto.

lb Semiquavers i m g p m p f » p p p • p •_"hic.n areequalto

There is ;• nother Note sometime* made 4ise of, called a Quadruple Quaver which is halftlie lenght of a Demisemiquaver ,but i*' seldom used. -« K

EXAMPLE OF RESTS. £A Bar Rett, 2 Bars, 3 Bars, 4Bar*, 5 Ban, 6 Bars, 7iJars, 8Bar>, 9 Bars, IQBars,

|

"|'

|'"

| II |II"

1I ' ' ||'£

A Dot after a Note, or Rest, makes the Note or Pest half as long again.Written.

ATieoi* Slur placed aver two Notes of the same pitch, hinds the second to the first,

so that only the first is sounded, hut the sound is continued tire length of hoth

Notes, or heing placed irvc-T Notes on different lines or spaces, shews that they

must he played in a smooth connected style, continuing each Note its full length.

This style of playing is termed in Italian Ecgato, written thus

The opposite style, »f playing, termed Staccato, denotes distinctness and shortness

of sound, written thus or written thus f f J»"<"" less Staccato,

and thus • }j

means still' less Staccato,,

written.- played

.

,», P

?

\ t *.*r

. . py ' w^t-—g p t y

. i

**

6Time and its Divisions.

The Bar, made thus —

-

:divi;les a musical Composition into Eqi U, Por_

tions of Time,

TlVtE is divided into two Sorts; COMMON and TFIPLE; each of which is

either simple or compound: and the Character or Sign, which denotes i(, is placed

at the Beginning of every Composition,..aftcr the Clef.

Simple common Time .

When marked thus ^X.* " E (, ilrimtps, that each Bar contains one Scnribreve,

or its Equivalent'. A^id is timed by Crotchets in Quick -movements, and by Quavers in slow

movements . _e ^_Example. || Q m - ^xEr

'I'li'T'.rr.CLcr'r^fl'Cfl'casr

"

When marked thus ^g the Ear contains two CiHdchets or tteir Equivalent

.

Example.•1SE\i

i

r ri

r g iu cr-imsrww^Counting in music should l>e like tlie pendulum of a clock even and exact, as the

notes must he timed by it .

Compound common Time Explained.

isduavcrs i.. > B''^^J7f-

c^f::5?Ef:5:

-rJTT TIT I' ll

or their Equivalentotted Crotchets jgpS '

I II

'1

I ^"LU I

-•'•"•SoRT - Oio i i

. -trCount 6 Quaver? ia a Bai^^g=£±f g j i" g 1 fTT g

'

II1>r theil' Eg™™!

or 2 dotted Crotchets ^' 91

"

|

1 W LU |

iYotchcts in a. IW,^p'"-"|Hrrrr

f"|"

II or their Equiyalent,;

].*.* NOKT.Comit 1

or 4 d

2"- 1 SoRt.ent .

.J • • S O K I .

Count YJ.

or 6 M4U1 sort'-*"• SORT.

Pff ,

o Count 6 OWehcts in a WJS5| gg g

:

fgf=

r g 5 gor 2 dotted Minims ./ ll

l HB IIII

I

The two last Sorts arc very seldom used

||or their Erv.ivalcnt .

in modern Music.

SIMPLE TRIPLE TIME EXPLAINED .

||: o v their Equivalent .Three. Minims in a Bar,^ '-' '

|

|

TJiree Crotchets in a ParA_X.

Three Quavers in a flar.^gg j ,|. --~>| g ±Ej||e

or their Equivalent .'

or their Equivalent .

8

Nine Crotchets in a

Compound triple Time Explained.

' B-^iTrrffff;, * i ,'.,' • TO. i ti Er, ilcnt .

lent .Nine Quavers in a Barjj|S '

| g fTf 1 Tj | I" T

'

IIor their Euuivalc

Compound triple Time is seldom used in modern Music.

The Figures, which mark the Time, hare a Reference to the Semibreve; the

lower Number, showing into how many' Parts the Semibreve is divided; and the

upper Numl>er, how many of such Parts are taken to fill up a Bar.

For Example ^ denotes, that the Semibreye is divided into four Parts, Namely,

four Crotclicts; and that two' of them are taken for each Bar.

Likewise | indicates, that the Semibreye is divided into eight parts, namelj', eight

Quavers', and that three of them are adopted to complete a Bar.

The Figure OF 3 placed over three Crotchets, Cuavers or Semiquavers thus

in ill m guT. «-'

Crotchets must be performed within the

led TRIPLETS, Denotes, that the three

Crotchets must^ be performed within the Time of two common Crotchets; the 3

Quavers within the Time of two common Quavers; and the three Semiquavers

Of

E X P L. A NJ A R f O US T E.R M S

ATI ON ]7

v / (

A Tempo, in strict Time. »-

Adagio, alow TimeAc! Libitum, at Pleasure*. ; v.,

Affetuoso, Tenderly.,

;

Agitate, Agitated.

t Allegro, «j itii-k Time.Allegretto, not so (jijiek as Allegro.Al Segnv, signifies to. begin again at the'-S-.

t»r Repeat, and finish al th,- double Bar,01" the Pause.

Hi." an Octave higher then written.Ana-rest), or Tenderment, nearly as Affetuoso

Andante, rather slow ami distinct.An, In ntinc, slower then Andante.Ar/esr, in the StyL of an Air.Ass,i^, to Augment

as Allegro assai.

assai "very sli.w .

tbj '/uickness or slowness

veiy brisk; Largo,

afs twice, OTer whichBis, play those

it is place.)!.

Brilliant, in a brilliant Stile.

Br/o, Spirt, as con Brio, with SpiritBene lHaato, at Pleasure.

Cttntith/le, in a vocal Stile..Cans.one-lia, a sort of common Air.rida, conclusion or Appendix,Con Commodo, with an easj Stile.Crescendo pot Culu ndC, or <3> a gradual

rise and fall of the Sound.Crescendo Runforv.a into, r>r< a gradual

rise of the Sound.Bn CipO, signifies to begin again, and

end with the first Part.Diminuendo Cahtndo, or>!i gradual fall

of the Sound.Direct (W) shews the place of the first

Note ill the next Stave .

Dolce or Vol: sweetly, tenderly. '

Di Mollo, verj, as Allegro 111 Molto, Veryfast; Largo Di Molto, very Slow.

Duett, Duetto or Duo, a piece for twoparts, either Vocal or Instrumental.

Finale, the last Movement of a musical Piece.tints, Fine, or Fin, denotes the end of

any Movement or Piece.F. or Forte, Loud.

18pp. or Fortissimo, very* Loud, Fallen l/indo, gradually sla.k.ni n'j; ill. I i

,

Ciiisto iust" Exact, as a /Leriip'o Giusto, Rondo, or Rondeau, a piece ol Miis*.' m wh

i» just and exact Time. the first Part is repeated once or Often

Graw Torj slow Time.,

i„ j ho com-se of the Sfovemeul;?na « .1

Gnnfao, in a graceful, plcasfcig Style. which ,t finally Ends._

C«*/ft E««* as <"*" C^ ,4ith Taste. Rmfvrva, or /?. F. to re mforro „.• 1.1,-n

'' ... . * - the strength of (ones or Sounds.

LaJl'ett .iol so slo„ as Largo. . Scb,„*w<fc, ift a playful MLentUnicnie, rather "Slow . ,$«#/*, to contunvc-, or lollow

ienlc, a little quicker than ' Lar.go. to »,/;//«•, with Simplicity.:

Afaerwo, Uu/est/c, in a hold Style. to»«u, Withowi.

f,/r<k Sf«r*/f*, a Military Air?* «/Y r*,i Wr;

particular stress „,. the Not,

M„, But. •• -(

s <> W«>'ted. «,

Mctio Less. S-ivilitinOj a Pastoral Mowment, in I om_\fest0, iii a

' Melancholy Style. V pound Common Time.

Mev.zo Forte, or /«. f.rather Loud. Smorv.atc, or Smorxanch', smoothing a»ay

;in mi'

.

IIWi

Mm,'P'eut , in (',

me.>nli. snioot Inn CT

the Soiim 1.

Spi, •it.

ifrnt ft<wift or wk. rather Soft. the Sound.

Mnferato, Moderately. ^" f '"'' (> . '," ",

*.tH

.

ln

Mo/to, very, see di Molto

.

Spintc, with Spirit.

Von not as Wot? Troppo Presto, not.too quick. Spiriiose, with mucli

7uvi 7V(W^ £« *£«'» not too Slow. 7>*r«Y, he Silent.

TYttfce, or P. Soft. 7*>//i/>r, Time, in respcet of measure and Bars.

F'' More Teniae, or Teniuo, to hold a Note as Sostenutn

7VrV little-'as Poco Piu, a little More. Thenm, the original Air or Srihjcet, upon which

ZW»«M», in a Grand Style. Variations are Made._

$V«£ very Quick. Variaricne, or F.ir™**?"" Variation, on an,

7V«,,.v.v7W, quicker then Presto. Air- or lime, keeping always the same

Prime, First. , .. „ _. v f™**™nU}B,SS ' nL(

Prime Tempo, according to the original lime. Vein Svbito, turn ever Quickly ./

<2«<*«, /'« «/'C manner of: As ^ww andtitut, Vivace, Lively.

in the manner of Andante. Vigprote, llTely and rirm.. _

OF TH E EMB () I C H I R B . , I- -

In order to acquire a knowledge uf the German Flute, ihc'Tirst thing to he

attended to, is, placing the Flute properh to the Lips, to do tliis, take tJie first

joint of tlic .Instrument only, 'and place the Emhouchure, or liole thereof, , to the

upper part of the under lip, drawing that, and the upper one even with each othclj

and eMending thcni av little towards each ear lcavmg, a small ; aperture for the

wind to piss frccrj into the Instrument . ,

j^rin Flute being placed and the lips formed as described, the next step is to

acquire th'' intonation or method . of sounding the' Flute, v hich is done )>J

inclining the limhouchure a little inwardly or outwardly and hlowing moderately

into thel rjutc till n clear and distiuM sound is produced, then put the remain

ing part of tic Flute together, and mark with a pencil on the upper and second

joints, where thej meet, with a line thus. [l^ one half of the line on the top joint

and the other half, on the second joint, to meet it; hy this method thej

will hcj sure of the hole thcA blow into, heing al,ways turned in the .same dit—

ircetioni iintl will find, that it will very much facilitate their pvogress towards

I

'

if they f >

obtainJhg a good embouchure, pay particular attention to the following rules

anil i serrations respecting the position of the Flute.

20POSITION KK HOLDING THE FLTTK.'

First, the Flute should rest nearly on' the middle of the third joint of "lie

first finger of the lef.t hstud,

placing, the thumb a little belov\ the first hole, on

tlie side of jirnr Inst rumeiit . ; . ;.-

Second, the tliumh of the right hand should he placed nearly under the fifth

hole with the little finger over the i) sharp Key, M hick ;y>l\\ cause the tips of

the other three fingers to lay over, the holes which, they are to stopl.

Third,: the Instrument hcing thus held, sustain it to the lips, as stlatliU is pos_

sihle, with every finger off, at a small distant* from the holes in a parallel

direction v\ it h t he • Instrument •'

This do ne endeavour to produce a free' tone,*' which and when SrVjuilrd you "ill

produce (' sharp; as the seventh Note of the Gamut, of 1) Major, llltni proceed

1)1 putting down the first finger of the left hand which is b natural Ant" so On

as in tlie Gamut of 1) Major,

,• Great tare should he taken to bring out the lowest note in as full (ami round

tone as possible, having all the holes stopped perfect, being careful not to force

the wind in too -strong, or contract the lips so muck as for the hlglcr

Notes . f.

THR GAMIT WITH T 11 E BEST FINGERING.

Or a SCALE of NOTES not affic tid l<y the Additional keys.

21

i)

»E* coo

O

m • •

g • • •

F* *±1 • • •

E

um

Or* r\

D

D

o c op

.

Xi±±HrOne Keyed Flute™ L'y

F=fe • •E p

• •

4m

oD

cft=£=... o • • • c

p

B =£= • o ceoD

•-

A • • c oD

•

G • • • ceoD

F# • • • • c c

*"£ The six Cyphers in the preceding Scale are intended to represent the six Holes of the flute,»nd the Square denotes the Key.The white Cyphers are for the Notes that arc to remain open, and the black ones those that

are f<> be stopped.

The Pupil must begin at the bottom of the Gamut and read the Notes upwards

EXFRCISES.

I would recomend the pupil to practice every note thus. ^?L to produce a good clear andpowerful tone on each Note.

/. BA". in Gamut.

L.-rrrr^ffrrrfrr Jrrr J J

i

£m VILEX.' in Seconds.

^$m&m^,»tp**f*»fa&<4M i

ll"" H I fffmrrrtissmmIimx: in Thirds.

^m^m frfrTr rErfcH JWih-H-F/.E.V.in Fourths.Fourths. ^. -*«#-f*- -*- •^rj rrrrrrfrWWr^ r

r rrri^ipfffP

K FXin Fifthsifpffffpf.

^rJrJrirrWrr^Wrrr rJrJrjffe^t

V TThTs is executed by performing a long Note, beginnine piano, gradually efcreasing

middle and diminishing it imperceptibly towards tthe end.creasing the tone to the

VI. EX: in Sixths

iririrrWFr*ig¥&m s^Fit. EX.' in Sevenths

flj

r i' iViW-riyirir| i

VI! I. EX: in Octaves/.Dw . in uctaves ^_ m. m

25

In the preceding Progressive Exercises, I have not extended the Scale beyond EJ

wishing the Pupil to apply himself particularly to acquiring a full Ton* on the low-

er "Notes first, as »11 others beyond E, require a peculiar formation of the Lips

to produce them clear and distinct, which will be found comparatively easy

to be done in proportion to the Pupil having familiarized himself with the

preceding Exercises.

24, CHROMATIC SCALE OF ALL THE TSOTFS

^ • • •

i

c c c D

• • • •

E#F*w • • •

4pd*e[>^^

Dl,

^

D

• •q

D

En^D:

1

. • , Sr o o o •••—F—i— > coo n.

' ' ''4 ooo

HO oood

.

miii ti»i?r---o

•••o1 1 •

fit]I h. •© ooo

Q

••°aA# Bb ESM- •©'•

A ^ F—fc-— • m n O00Q

1 j^r^rwK » • w

ii 1

•••aG^Afl 1 m. a ~

?ifFS • • •

One Keyed Flute.

The two Notes that of rur in the same line, are played the same, tho' of different sigmfira

tion.

25

k, • • o

G#Ab

^^"••°ml • • o

gc • • •

F#Gfcmm • • •

£#rt

-u. h »7• • •

E\

I • • •

pftfrffS • • O

^ fR- o ••

o o oD

• o •n

o op

ooon

o oD

• o •

• • o

• • •

• • •

.• o •

D

14)

• C#D

A*0 • • • 00

Q

u.,.L ' **°*n

*.o • •••

b!) • oooQ

rf-b^l ^ * •••n

ooon

Chromatic Scale continued

26

Afv1

• • o

-EftFqi1 o

*• • • o o

c • •

*-bt **a

iff >D#Eb S • • •

:— >"

o • •D

• • • •D

1»b l=S ° » * ooo D

A#Bfc>|

• •

1 c • • • • c

g#aI?

*0 • o • • a

^O C • OD

• •

• • • •

tm o • • o

?• 0,1 • •

•• • • 00

NATURAL GAMUT WITH THE BEST FINGERING.27

*=p • • • QD

r b£ • a aon

E '

1 *

—

an

DUt=

an

CN 1• 1

i|

I ,11\ \\ \ \

\ N

G • • •

E.>

D • •

o • o

K o o

I• • o

o o oa

• oa a

• • •

• • •a

ceoD

a

an

o

DO

DO

DD

DD

anJ .

I _ I

28mmmn

g_

D©*•

pDF

— • • ou

-[»-

•• a a£ • •

t

;

m_

Oa

a aD o • •

f • ••aaC

- 1 o • o

•

DD DK

| •0— '

f-• • OO ',

• Da aA

• 00

BEn • • o

a

ai-o • •

O •

•

D

L

G• O •

• •o

• •D

D

a a

d a

These Gamuts will likewise do for a Four Keyd Flute hy taking no notice ofthe two bottom Keys and beginning- at the second Note.

aa

o o o • • • 3

D

O.O

o o ono ••

3IffI

a

a d

a d

o O

• ••

ao o oa

3s

a a

• 90

o o o

1G

• • •

%

3|

da

D U• *0

O D

a a

o • •D

ICa

o««

#00

D D

H

o o •

•• o • Wf9

• o o 3-<\y\

• • o Iia

• o •

3D0* •n

\" \ ill',' ' i r ' f

\\ ,11 1 ! ff »

'•''' / r

\ \

\ \

D

! 11 1 t

'l I

• • •

D D

D

D• ••

I II if f

• • • fc

Dc me

a aD• • O

• • • m m

• •• a

d a

a a

o o o

o o o

eraaOOO:

• •• m<\J9

a• | • 3j£y

o«« ilf

DO O •

p a

a

DD

a• ••

• • •

SfOOQ r

Dc«#

p p • • o

• • o»

9 • •

(M •

3U

oMiHaoNi.a xsaa hhx rxiav xcimto xvij

an

an

.

DQ

a

cm

ao o o

ao o o

a m• • •

• c •

a• • o

D© © O

• • •

o • a

#9

m#v

o • om.

53

O O O ^#3

• • •""iri

#a

#3

a n

D D

an

d a

ao • o

ao • •

Do o o

c o

D Dm n I ^ *- ^ I ^ -

© © © n*«a• • •

**a#3

© • • u

H •

• • ©a P #9

hrti^v!

SHAKES TO THE NATURAL NOTES. SI

G

-K

tro • •

tr

m *o

tr

m i{

h-

m• •

T»

tr• • •

• • •

D • •

* • •

o-o-o

o o o

f

* •

• •

S "©-

bo

-aa

J!

so>u«

(6

S3

as

o

.2"

H o

,tr

' r$n ° • •c ——

|

it o

/r

B —1

7~0~ CTO"

'

pA^ *4°

tr

_o o

t^t-"-« 4 ° • .

* - AAA+ • = .-E L— ^ *'*-

••*', SHAKES.

.To. .hake middle and upper BPyou must shake the first fing-er of your left hand c « l>eluding^wlth it down.To shake G* shake the second finger of the left hand,if in a Minor'

S&Jflft? t-1 '? fmger(lf not found too difficult)when you playina Major Key,but eitherway will do.To shakelower and upperFhsliake the first fingvr ofyour rig-ht hand oonclud in-with it down.The othershakes are the same as on the common German Flute.

32ON DOUBLE TONGUEING

Double Tongueing is the effect produced by tlie action of the Tongue against the roofof the mouth, and is to be acquired by the Pupil endeavouring to articulate the wordstootle, tootle, tootle, very distinctly, at the same time accommodating such articulationwith the corresponding notes, as in the following Passages; the first of which, I wouldrecommend to be played very slow, and continued until the Pupil can with facilityarticulate each syllable distinctly.

Ex:l.

Ex

Ex:4

1 Ex:2

too tie too tie too tie too tie

tootle tootletootletootletootletootletootletootle

m^.e tootle too tie too tie

too tletootletootletootletootletootletootletootl

The following Example is a deviation from the ordinary mode of Double Tongue.ing, and will be found to produce a distinct expression in passages where thePupil may wish to substitute it for the usual articulation of the word tootle.

Ex:5.55

leete te tleteetetoo tie too tootle too tootle too tootle too

fj|

Jte t?te*£te *! te £-te jgte > g

Ex:7, ;*

^c£#-£ts ^^m,,7n

PS in:

whl,«* thp »ot« are dotted as in the last Example must be played byarticulating- the syl.aMe te, distinctly with each note as above;

*

ON BEATING TIME.In Beating- Common Time the foot should descend at the first note of every barand ascend at the expiration of half the bar; as in the following- examples.

II..- Letter D. sig-nifying- Down, and the C. Up.

Simple Common Time. CO u,nt four Crotchets in a Bar.

s,.i..|gig—mug M i -r r r iriirfete

Simple Common Time2 3 4 12 3 4 12 3 4

count two Crotchets in a Bar.

i It I 2D When Adagio it is best to count four Quavers in a Bar.

r

Ex

Ex,

Compound Common Time., count two dotted Crotchets in a Ba

•'I'Mir-j. i r-c rri 7, r|tfrcrnr •

FIg 'i 2 ' i -r

**4'

i '2 pn 2 ' i ^D V DUD U I) V I) I

In Triple Time the foot should descend it. the first note of every Ba r ami ascend at the

expiration of two thirds. as examples.

Kx.LjsaD D

m m r1F^ 1 2 <T

13 D U D

T 2 3

56

Simple Triple Time.

Ex

Ex.

count three Quavers in a BarLvers in a car. _ m

fi fj*nf M

1 i I i 2 h1

D 51 2 3T~2—3"

Compound Triple Time. count nine Quavers in a Bap.

I

4—4—P# r p i S p i* 1 »Fl#

r2345tJ7

PROGRESSIVE LESSONS .

KEY OF D. MAJOR.

rs~g"

Common Time

DLETTO.l.

AndanteP^f

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