C containing ae 
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rset the Te Fda. nn Somds, SOmS “tonffes, Method of Tuning « Se. 


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4, FIFTEEN edhe fas MELODIES, PROGRESSIVELY ARRANGED “& FINGERED: 
“DICTIONARY. ie USICAL Te RMS. 


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| LONDON, 
DALMAINE &C° 20,SOHO SQUARE. 
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(2 Ree 
RUDIMENTS OF MUSIC 


I. NAMES OF THE NOTES. 


MUSICAL sounds are indicated by characters which are called Motes, and which are named 


after the first seven letters of the alphabet, A, B, C, D, E, E G. 
The notes are written on five parallel lines Capea a Stave, as also in the four spaces which 


are included between those lines 
Lines. Spaces. 


At the beginning of each stave there is placed a character called a Clef, which serves to deter _ 
mine the names of the notes, as also their pitch, and’, generally speaking, the hand with which they 


are to be played on the instrument. 
In the notation of music for the Harp, two clefs are made use of: the Treble Clef, written thus 4 


which is supposed to stand on the second line of the stave; and, secondly, the Bass Clef, written 
thus — which is supposed to stand on the fourth line of the stave. The treble clef is used 
for the notes given to the Right Hand, and the bass clef for those for the left. 

: 3 Il. NOTES IN THE TREBLE CLEF. : 


When the treble clef is placed at the commencement of the stave, the notes on the stave are named 
Notes on the lines. ‘ Notes in the spaces. 


as follows: 


_ Situations for other notes are obtained by drawing short additional lines above and below the 
stave, and placing the heads of the notes on, above, or under them; thus: 


On lines. . > Above’ lines. é 2 
ef == = 
e === = = Se 


On lines. Under liger. 


ape 
Notes below Notes above 
the stave. the stave. 
pres eee 5: 
?. D>, 
A Bg Ot 


Ae re ke Gus Dp FA C CE 


Tl. NOTES IN THE BASS CLEF. 
When the bass clef is placed at the commencement of the stave, the notes on the stave arenamed 


as follows: Notes on the lines. Notes in the spaces. 
ee ee a ae ae Steer See, 

2 Se 

ef SS 
G B D Bs A A Cc E G 


The notes formed by means of the additional or ledger lines, as they are sometimes termed, are: 
. On lines. oe Above lines. iar 3 


On lines. Under lines, | pie 
Notes below of ss. Notes above : = 2 
the stave. Sy the stave. 
oe ) =a , 


Herp T.: 


Yo render intelligible to the learner the whole series of notes corresponding to the strings of 


the Harp in gradual succession, we shall place before him the following diagram, which includes 
the compass of six octaves. 


Treble. 


| 


Bass. er 

5 (iw. iain NTCRTORA SEO: ROTA : 2 
S==S5ee* pg ABCDEFGABCDEFG Bie 
ser geek. | | | | 
E FG 


The Pupil must observe that all the ‘Cs fall on the red strings, and all the Fs on the blue 
strings, and that each string corresponds to a particular note. 

Some of the notes in the middle of the Harp,as shewn above, may be written i in either the 
treble or bass clef; as for example, all the following notes are met with both ways in modern 
harp music: 


IV; TIME, OR DURATION OF THE NOTES. 
The relative lengths or values of the notes depend on their form and colour, and have no: 
relation whatever to their alphabetical names, or to their positions on the stave. 
In modern music, six principal sorts of notes are met with: they are named as follows: 


Semibreve. Minim. Crotchet. Quaver. Semiquaver. -Demisemiquay, er, 


The semibreve is twice the length of the minim; the minim twice that of the crotchet; the crotchet i 
twice that of the quaver, and so on; as will be best explained in the following table: or 


TABLE OF THE: RELATIVE VALUES OF THE NOTES. 


A Semibreve 
is equal in value to 


rear eee 


Two Minims; 
or also to 
Four Crotchets;. 
or to 
Eight Quavers; 
or to 
Sriteen Semiquavers 


OT: to sete 


Thirty two Demsemijuaver: 


Harp T 


3 


€ 


VY. DOT AND DOUBLE DOT. 


A small dot, placed directly after a note, makes it one half as long again as it would otherwise be; 


thus 


Kept down asone 
~ note. 


Double dots increase the length. of a note by three fourths of its original value; thus. 
| And ; 


, aenes 


cr «4 (\ 2 f ( f 
— 7 a + — 
. In one note. In onenote. | 
The duration of a note is sometimes supposed to be subdivided into three equal parts, instead of two. 
When this takes place, the three notes are generally grouped together, and called a triplet. To pre- 
vent mistake, the figure 3 is often placed over such groups. Similarly, the duration of a note may be 
‘subdivided into six equal parts, instead of four; or sometimes, in modern music, even into 5,7, 9, &c 
parts, instead of 4,6,8, &c. In all such cases, figures are generally placed over the groups to shew the 
nature of the subdivision. hesgen st) , . : 
Peer tere h | VI. RESTS. 
_ Instead of the notes, rests, or short temporary cessations of sound, are often introduced. Each ~ 
species of note has its corresponding rest; which, like the notes for which they stand, may be dotted 
and double dotted. Their forms are as follows. : 


Semibreve, or BarRest. M’nim Rest. _ Crotchet Rest. 


Quaver Rest. Demisemiquaver Rest. 


Semiquaver Rest. 


Rests of several bars in length are usually expressed by figures indicating the number of bars; 
they may also be indicated as follows 
__ Two Bars Rest. __ Four Bars Rest. __ Eight Bars Rest. _ Eleven Bars Rest. 


VU. SHARB FLAT, AND NATURAL. 
The notes in their original state, are called natural. But any of the natural notes may have its 
pitch raised or depressed by a small degree called a semitone. For the former purpose, a char_ 
acter called a oy formed thus #, is placed before the note; for the latter, a character called a | 
a; 


lat, written thus 
pedals. coast : . 
_ A character called a natural, marked thus 4, is used to restore any note that has been thus el_ 
evated or depressed to its natural state. 
_ Notes may also be made double sharp, or two semitones higher, or double flat, or two semitones 
~ lower. The characters used for this purpose are x for the double sharp, and bb for double flat. 
_. When a sharp or flat is placed at the commencement of a piece, or of each stave, it affects all the 
notes of that name throughout the piece; but when an accidental mark of this sort merely occurs 1n _ 
- the course of a piece, its effect lasts for that bar only in which it is placed. . 
s fait Pied |. VII. SPECIES OF TIME. 
- Musical compositios are always divided into small, equal portions of duration, by thin lines drawn quite 
across the stave, which are called bar_lines; and the aggregate value of the notes contained between a- 
ny adjacent pair of these lines form what is called a bar; and this aggregate is always the same, 1 
the same piece, whatever the number of the’notes may be, whether many, or. few. Harp T. 9977 


is placed before it. On the Harp the Flats and Sharps are made by means of the . 


! 


There are two principal kinds of Time, Common and Triple. Common times contain 2 
or 4 equal parts in a bar, whether minims, crotchets, or quavers: triple times contain 3 e_ 
qual parts in a bar. Compound Common Times contain 6 or 12 quavers in a bar. Com _ 
pound Triple Times contain 9 crotchets or 9 quavers in each bar, 


TABLE OF THE DIFFERENT SPECIES OF TIME. 


_ SEMPLE COMMON TIMES. SIMPLE TRIPLE TIMES. . 


COMPOUND COMMON TIMES. 
| 
oo i 
i, Es Te Re el CS (| BY El pare rey 
DW AS (ee eee ee (I ee Ae De ee eS Oe 


To determine the degree of. movement or the absolute quickness with which a piece is to be 
performed, certain Italian words are placed at the begining of it. The principal of these, ar _ 
ranged in order from the slowest to the quickest, are __ Adagio, Largo, Larghetto, Andan_ 
tino, Andante, Moderato, Allegretto, Allegro, Vivace, Presto, and Prestissimo. See also the 
Dictionary at the end of this work, for the words usually indicative of the degree of move 
ment, expression, &c. or Jousses Pocket Dictionary of 3000 Terms, Price ly. published by 
Mess!$ D’ Almaine & Co. . 

3 IX. GRACES. 

Graces are.certain arbitrary embellishments which are added to a principal note to vary and 
enhance its effect. They are chiefly the shake, marked Ir or m; the turn, marked ~ or 2; and 
the appoggiatura, which is indicated by: a small sized note, not computed in the time ofthe 
bar, and which is placed directly before the note which it is intended to ornament. 


For the mode of performing these Graces, see the following table. 


TABLE OF GRACES. COMPOUND 


; APPOGGIAT URAS 
LONG APPOGGIATURAS. 3 ALWAYS QUICK. 


As plaved: 


Harp T | 9977 


- 


Marked thus: 


Played thus: 


Plain Turn. With a Sharp. Inverted Turn. With a Sharp After the Note. 
= : 


» 


X. DIFFERENT CHARACTERS USED IN MUSIC. 
(Not previously explained.) 


ss Single bars across the stave divide a piece of music into small quantities, ac - 
cording to the time marked at the beginning. : 7 “om 


—=— Double bars divide a piece into. several parts called Strains. When dotted 
2 both sides, both parts must be repeated. If only on one side, that part only 
is tobe repeated. ‘BL: aoe 

LO 


- A bind over two notes on the same line or space, indicates that_the first only 
Seen to be struck, and kept down the full time of the two. ; 


A repeat, &., means that we are to play over from the place where it is written to the 
double bar, or to the word. Fine. 


he Oe Abbreviations. . ; 


; Bo ees ot eso | «COA sésemibreve with a stroke under it ‘is played as eight quayers; 
——| ot 1 2 with two strokes, as sixteen semiquavers. A minim witha stroke 


through the stem is played as four quavers, with two strokes, as eight semiquavers; and sim_ 


‘ilarly with crochets, quavers, &c. | \ 


Segue or Simile. a ae : 
Segue or Simili means that we are to repeat the same passage, 


or group the notes in the same manner. Sometimes it is abbrevi_ 
ated thus — for quavers, or thus & for semiquavers. 

A’ pause, 7, written over or under a note or a rest, indicates that the note or rest must 
be dwelt upon, beyound its usual duration. Over a double bar, the pause indicates the end 
of the piece: the word Fine is also used for the same purpose. 

The ditlerent degrees of idud and soft are indicated as follows: PP. or pianissimo/(ex_ 
tremely soft); [9 or piano (soft); . mezzo piano, or mv. mezza voce (rather soft); mf. 


mexza forte (rather loud); f. or forte (loud); ff or fortissimo (very loud). 


Harp T. : 9977 


ae or See The Italian words oitava alta, generally abbreviated gra See) 

placed over a passage, signify that the notes are to be play_ 
ed an octave higher then they are written. The word loco which follows the foregoing terms, 
signifies that the notes are to be played in their usual place on the instrument. 


The words Da Capo labbreviaiaa D. ac placed at the end ‘a strain, ‘indi 


y When the figures 1 sat 2 are placed over a passage, it shews that a 
part of the piece is to be played twice over; and that in playing it the 


ee a ae 
second time, the performer must omit the bar marked 1, and play the bar marked 2 instead of it. 
This mark ~ under a note indicates that the note must be played with emphasis: -the words 
rinforzando, sforzato, have the same signification. \ or V is used for the same purpose over a single note. 
This mark .__—— _ under aseries of notes indicates that the sounds must be played gradually louder. 
This mark ———— indicates that the sounds are to be gradually diminished. 


This. mark —— —W—_ indicates the sounds should first be gradually swelled he then 


diminished. 


Curved lines drawn over several notes, indicate that they must be 
| ° ° 

played in a smooth and connected manner. This is called the legato 

stile of playing, and is that which is generally used. 


Dots...:, or dashes i111, or <.> placed over notes, shew that such notes must be played 
short Dy Neeenee or as if a oe intervened between each of the notes. This: Stile of wey 
ing is called the staccato, and is to be used only where it is expressly indicated. 


A eurved or waving line, as ( or ‘ placed before a chord, indicates that the chord is not 
to be struck plain, but that each of its notes must be played quickly one after the other, pro_ 
ceeding from the lowest note to the highest. This is called playing a chord in ih at 


- eee ON THE FOLLOWING LESSONS. 


The figures 1,2,3, indicate that, in playing the notes, we must employ the first, second, 
and third fingers wemuceen tly. The eee + is used to indicate the thumb. e 


_’ Of the two lines connected together by the Brace, the upper is for the right hand, and 
the lower for the left. aes | 


CONCLUSION. 


As a termination to this short introduction, 1 beg to reccommend to such pupils as shall 
_ .have mastered the subsequent exercises, scales, and airs, arranged and fingerd by Bochsa, the 
following progressive series of studies, . recreative pieces, &e. 


These most ‘useful and elegant compositions will spedily rake the pupil acquainted with all 
the resources, ingénuities dnd refinements of modern Harp playing. And if properly inter 
mixed with light and attractive pieces by Har pists of the present day, they will, in an in_ — 


credibly short time, render any pupil, of moderate sida: and talent, an accomplished per 
fornver, 
Harp T 9977 


t 


J] 


INSTRUCTIONS PECULIAR TO THE HARP. 


The Harp is so well cede and so highly SBpieetated: both as a Solo instrument and as | 
an accompaniment for the Voice, Flute, Violin, Clarionet, &c that it is not necessary to say 
any thing in this place, as to its peculiar merits. In the graceful elegance of its form, the 
rich and sonorous vibration of its tones, and the rapid execution which it will admit of, it is ~ 
not inferior to any other instrument whatever. eer = 

The Harp. in use at present is called the Double_action Harp; and this instrument, from 
its superior capabilities, has almost altogether superseded the ordinary or Single — Action 
Harp. The following rules and instructions, and the Exercises and lessons which follow them, 
are however so eontrived that they are equally suited to either kind of instrument. 

The compass of the Harp is generally six octaves from E to E.. It has Seven Pedals A 
corresponding to the Seven notes in Music, besides the pedal that regulates the Swell. ‘Four 
of these pedals are ‘Placed on the right side of the instrument, and three on the left side. The 
first or nearest pedal on the right ‘of the player is called the E pedal, the second, the F the 
third the G, and the fourth the 4 pedal, On the left side the first or nearest pedal corres _ 
ponds to B, the second to C, and the third to D. When any one of these pedals is press_ 
ed down by the player, all the Strings of the Harp of the same name as | the pedal so press_ 
ed down, are equally sharpened at the same moment. 

On the Double_Action Harp the effect of each Pedal is to raise successively the bate 
upon which it, acts two Semitones. For example the. note C béing flat, the C pedal will 
first raise it to Ch, and then to C#; and in like manner, all the other pedals will affect 
their respective strings. It must be observed that when the pedals: are not fixed, all the 
seven. notes are flat, the Harp being tuned in Cb, 

‘This sharpening of the note is produced by the pressure of the fore_part of the foot on 
the pedal. When the note is to be raised from flat to natural, the pedal is conducted to 
the first notch, which the pupil will observe in the aperture of the pedal; and when the 
note is to be raised from natural to sharp, the pedal must be conducted ‘from the first 

“notch, to the second or lower one. 

The Single_ Action Harp, which is comparatively a very imperfect instrument, is tunedin 
E>, The number of its pedals is the same as that of the pedals on the double_action Harp, 
and they correspond with the same notes, but they have only the power of raising the notes one 
Semitone. Hence some of the most useful Keys cannot be introduced on this species of 
Harp, as Ab major, B major &e. 


POSITION OF THE BODY, HANDS, ARMS, FINGERS §c IN PLAYING. 


The best position of the body in playing is clearly explained in the plate facing the Ti_ 
(le page, which represents a female figure in the act of, playing. , 


Harp f be st 9977 


We may in addition observe: 3 

18t That the elevation of the Music stool must be so suited to the height of the per_ 
formers figure, as. to bring the lower part of the face upon a level with the neck of the 
instrument; while the feet are so stationed on each side of the pedestal, as to give them 
an easy and graceful command of the pedals. 

-21Y Juvenile Praétitioners, whose feet will not reach the spaces without their being 
seated too low to command the ‘strings with ease, may place them lightly on the pedals as 


a resting place; but a miore proper convenience for young performers will bei that of using a 
smaller instrument. 


POSITION OF THE RIGHT HAND AND ARM. 


The es being seated as represented in the plate, the Teacher will direct his attention: to 

the position of the right hand, and place it exactly as represented in the same plate, that is 

_ with the 3 middle meets and the thumb, (the little finger being too PEO to be used on the 
{) 


Harp,) on the ae strings C, D,E, E Ata ; being at the same time careful 


to impress on the pupils mind the necessity of keeping the thumb erect, and the fingers. gently 
bent towards the palm of the hand with the knucles upwards, and all the joints rounded. . 

When the execution is in the midle of the instrument, the arm must not bear on the Sound. 
ing_board at the wrist joint, but a litle above it. Yet as the right hand ascends towards the high_ 
er strings, the bearing will naturally be gradually nearer to the wrist, and ultimately beneath it, so 
as to bring the bearing in the hand itself. In rapidly ascending passages, the whole of this peg 
must lie extremely light, lest the necessary freedom of the fingers should be impeded. 

The Pupil, while attendind to the fingering, will keep in mind that the thumb is designated by 
+, the first finger by the figure 1, the second by 2, and the third by 3. 

The Pupil cannot be too partic ular with regard to the proper position of the fanide, as that 
position is somewhat dificult on account of the contraction it requires, especially in the right h hand. 3 

In playing the four notes C, D,E,F, above given, with the three middle fingers and the thumb, 
the first note struck will be C played with the third finger, by slightly but elastically bending it; 
Care being taken not to withdraw the finger too far, nor to move either the wrist or arm; ipetenis: 
the whole action is to be confined to the motion of the finger joint. 


In africing the next note D with the ised finger, and E _, the third note, 


| with the first finger, the’ same rule must be Stapheal as was ee in w. 
¥ 


‘In striking F = with the thumb, which i is placed in a venient Position, it must be but 
very lightly bent, so iat the action may be solely that of the thumb joint, and not at all of the 
. wrist or the arm, a matter very difficult to effect. After the note is struck, care must be ta_ 
ken to instantaneously return the thumb to its vertical position. While the thumb is acting, 
and also afterwards, the fingers must be kept half bent, so that the third finger should be 
somewhat longer than the second, and the second somewhat longer than the first, while all are 
near the strings. Care must also be taken that the little finger does not assume any un— 


graceful stiffness or awkward contraction, 
Harp T 9977 


Exercise 1. : | 
Ss " and 
In performing this Exercise, the notes must be played very slowly, and with an equal force 
of tone, and a strong and clear vibration; after which the pupil will repeat the same four 
notes in the same.order, gradually increasing the time, and constantly taking ‘care while | 
one’ note is struck, to have the next finger placed on the succeeding string, in order to its 
being ready for immediate action; this latter is a universal Rule, to secure steadiness of - 


hand and freedom of execution, as well as to avoid repeated and superfluous motions of the hands. 


wt ao 


: POSITION OF THE LEFT HAND. 


The left hand ne placed as poponcaten in the Plate, in which the three aniddle fingers - 


- 


andthe thumb are on the four strings < while the wrist and the arm are 


5) 


held neither too high or i low, but in an ae? and graceful manner, the Pupil may play the 
four notes given above, rigidly observing for each note the rules laid down for the right hand. 


The left hand not having the same support on the- ‘sounding board, as the right, the pupil 
will of course find it dificult to prevent the motion of the wrist and the arm, especially in 
. striking the F' with the thumb. ie 


Before the pupil proceeds to the progressive Cieicesaaid Lessons; let him place the fingers 
on their respective strings and play over the following Exercise, first with the right hand a_ 


. lone, then with the left alone; and, iad with both hands together, attending to allthe rules above 


; given. 
Right Hand 
ee: 


Left Hand same fingers but an octave lower in the position of the notes. 


“HARMONIC SOUNDS. 


The Harmonics with the right Hand are produced by gently pressing the string exactly 
in the middle, with the first joint of the first finger in a bent position, while the thumb 
gives the note. In order to give the string its full vibration,-the finger must be removed 
from the string the moment after the note is heard. In performing the Harmonics with 
‘the right hand, care must be taken not to bend too much the second, third, and little fin_ 
gers, but to hold them so that they shall form an easy graceful curve 

When the harmonics are to be played, the notes have this sign over them ovo00 

When the Harmonics are performed with the left hand, the effect is produced by press _ 
ing gently the middle of the strings, with the fleshy edge of the palm of the hand, (not with 
with the ball of the thumb) which part of the palm is removed from the string instantiy af_ 
ier the thumb has struck the note. The above position of the left hand enables it to produce 


two, or even three harmonic sounds at once. , 


a NI 


eres 9477 


iQ ao 8% 


ROUSSE.AUS DRE AJ —— as an Evercise on the harmonics. 


sOoMs ETOUFFES OR DAMPED SOUNDS. 


The Sons etouffes or damped sounds are made by the left hand; for which ene the 

_ whole of that hand must be laid flat against the strings in a horizontal position,the fin_ 

. gers being held close together, and their extremities fixed on the strings. The noteswill 
then be struck with the thumb, instantaneously after which, the string must be strongly 
pressed with the ball of the thumb, in order to stifle. the vibration. The thumb must 
be kept erect and “unbent; its power to give the note with force will be derived from the 
pressure of the extremities of the fingers on the strings; and then by a little jirk or turn of 
the wrist, the thumb will again be prepared for striking the succeeding note. 


The Sons etouffes are generally indicated by the eS sign 0; bieeed over or un. 
der the notes. 


Example. 


The chords etouffes produced by the left hand ‘urotlade’ a striking effect ,espetially in Mar- 
tial Music. 


In playing them, the hand must be so held, that the palm may be near the string, in or - 
der to, facilitate its immediately damping or stiffling the sounds. The fingers must be less bent 


than usual, and the elbow be kept somewhat low. The Chords wines i ciate are always Arpeg 
 gioed. 


E xample, 


The Sons: etouffes cannot well be made by the right hand. 


ON TUNING THE HARP. 


“The natural ley of the double action Harp being C Flat, when it is to be played in in com, 
: pany with any other instrument, the C flat of that instrument must be the standard note 
. to which the Harp is tuned. ead re 


Hacp T. : 9977 


dl 


The process will commence with giving the proper pitch to the string answering to the 
C in the third space in the Treble stave. This being effected the C immediately beneath 
it must be tuned an octave lower. The next note G will be tuned a 5th higher than the 
lower C; after which, the three notes C, GC, being struck together, will prove whether 
they are in perfect Logcdnaiact or otherwise. The next step will,be to.make the first C 
the guide for tuning F in the first space, a fifth below that C, to which the C being add_ 
ed, and the whole struck together, it will be prea: whether these three notes are or are | 


not, in perfect concordance. 
This proces of tuning by fifths being persued till the three notes E, B, E, are arrived at, 
as shewn in the following example, and the ten strings from the lower C to E in the fourth 
space, consequently all tuned; the remaining strings above that E, and beneath that C,willbe. 
tuned in octaves, as exhibited below. ; 
To. render this Example more clear, the notes to be taken as guides for tuning the o_ 
thers, are all given in Minims. 


Notes Tuned 
by octaves. 


TUNING THE SINGLE ACTION HARP. 
In aie the single action Harp which is in E flat, ‘the process pointed out “ the. fol 
lowing example will be found sufficient. 


_ Proof Chords. 


Notes Tuned 
by octaves. 


The manner of putting on a string, and of determining the proper thickness by means of 
a Guage. will be best explained by the Master. 
Harp 4 9977 


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9977 


Harp T. 


Nel} Py df ‘ fie 
= ie ee it aT age EP 
d 4 no 0B). ee eee ee 
cae v 
see al 1s Sila ae 
yo (9G yAllieremt 
+ TOO ora - {8 YD + ad TET | 3 
fill Ne lil mH) ti, 
miillh Hee) th, 
ltiaeeee yl 
| . | co = 
ahi Bi (i rie TRIB 
sa lilhon UR: GH TRIE TAS bik 
“Hn tts int aR 
am lh fe || 6 , () 2 
+ fii p. a ni at] | oe 2 
4 My _ 
lllie “in? Tr die attics 
| Aldine 
= toga 5 || li iil 3 il 2 
SS [[P~ SIF] 2 ll f ' 
QR x + UT pil hl O2 Hl ooo 
Sues ~ vo YA) 00 I 
ie b= = § “ il beh. sil h il “| i a 
Se hia 


Harp T. 


rT rT 
a i wn 1 ee 
Aue (NEY ft 
la 
is ity sks ie 
an ; ~tib | 
Salil 18 Fete Seen 
Ae 18 een fh ati 
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= f ‘ > 
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$977 


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14 


Fingering of double notes Thirds, Sixths, and Octaves. 


ar) 


fork My 


ae 


+ ite 


F ingering of Six regularly consecutive notes. 
Eas ae ae 
Pree 
Sib, BE IOS 
lt 


Same fingers both hands. 


Same Lees 


f Arpeggios. 


ng o 


Fingeri 


9977 


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Glide. Glide. 


Glide. 
Exercises. on the Gliding of the fingers applied to Scale passages. 


Glide. 


‘Sequence of 5consecutive notes by gliding one of the fingers from one string to the next. 
E18, | 


inelie: 
will 


Glide, 


RQ ' 
q 


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aS 


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The fingering istthe same for both hands, 


Ha rp ] BA 


MELODIES. 


AIR. 


SWISS 


FIFTEEN FAVORITE 
Progressively arranged and fingered by Bochsa. 


id 


oie ts tt Mm, I 
. 14 
S lil , nN THT): = THOR 
= ite. TRI pee URL's ete 
» a J TTT RGHER a ee 
a it thn il : ite. 
S +® isl 8. rT | 
ce 119 SN) | oe 
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cyte Ut ae Ty = TSS 
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aU tm, alee HIP BaP 
& $ 
meet fees (Ne 4a ee ae 
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: a lik +l ye ett i , : HRI 
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accu: _ “Hs Ty ji||| as 
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2 it S38 TRA il Ne = TT % lg 
rhe Sad Lt ee ~ any BQ = _HHS 
SAT Se lb tele et ee ul be ae LE 
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= i 5 8g |. 
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UPB 


$977 


Mark well the dotted Crotchets. 


s 


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Harp T. 


HINDOSTAN MELODY 


18 


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ef ‘ ae ight SLE.” trae Gate 
mm WT alla] SUL Sem SRE 
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MAR CH. 


| a —————— 


Moderato.: 


GERMAN WALTZ 


Allegretto 


‘i 
PLL 


meee ee eee eee ee ee ee a ee ee ee ee en ee en nner nr ee ee ee eee ee 


PORTUGUESE HYMN. 


a eae a 
Ba Nef 
[Fa 
Seen ss 
Fememans iit a, 
Re NT 
ae | 
ye 
A : 
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sis [tt ee Et F 
“al nang +@ 2 Ped 
TLS IL War 
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HA Maite “th inl ral The fe 
Pee n 1 i acs nats . 
4 ditcaeallll Ait Ke Blok 
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S) : % 
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3 ss ah j was 8 
° S = | ow : Se . e 
v ba 3 | ; 
2. a TNS Hy e zy 8 || 
Q oaae Y — © 


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The notes very Short and Pointed. 


BOHEMIAN MELODY. 


Scherzando. + 


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sat? = 


—f pt 


Sy, de eee 8 


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ne melt i rH 
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the. Siete TIL Oe Hy 4 er] 
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= & ot Ml 
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ha, ( TE A sail +e till. 
iy Ce E ane? CLL ( ef aul vi 
pl sel . Lee AE 
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thas eos Tl = 
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sf efi. “Wh fll 
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(SS See (a 
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Harp T. 


3 


« 


ra 


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_ Arranged by Horn, 


— i 


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ae 

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at: 


GOD SAVE THE QUEEN. 


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Ge) GS az” Baa 
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Andante. 


Hl Ry ed 
: ga 3 


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i 
> oe fill ee att 
= tt Roel ni 
hy Tir | gar tn 
oo a 
= Ut gin ct Heh 
esp lel : =| 
ott a I Te, 
et el 
a aes 
3 ee : Jae i 
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=| oth HP + 
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5 Pet 
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fan i 
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fuk eng ona [Stay ote! 


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el Ot 
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Harp T. 


2 
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GAGS 


SS®ANDAAAYN 


ADDENDA TO 


THE 


HARP, AND HARP AND PIANO FORTE MUSIC, 


COMPOSED BY 


C..B 0 GH S & 


PUBL? SAFECO BY 


DALMAINE & C 20, SOHO SQUARE, LONDON. 


EFATIONS POUR LES HARPIS® 


RECR 
de toutes les Fortes. 

MY OWN BLUE BELL. 

THE BRIDAL RING. 

THE PRINCE OF WALES'S MARCH. 

MARCH IN THE OLD IRISH STYLE. | 

SOUVENIR A LECOSSAISE. 

THE WILD WHITE ROSE. 

RONDO A LA VILLAGEOISE. : 

LINVITATION A LA POLKA. E 

LE MOULINET. 


- WELCH POLKA. 


Price Two Shilling. s and Sixpence each. 
NOUVELLES REGREATIONS 


pour les Harpistes. 
PETIT SOUVENIR SICILIEN and NAPOLITAIN. 
FRENCH MARCH. 
MARCH OF THE COSSAQUES OF THE DON. 
LE MENESTREL ECOSSAIS. 
POLKA, DANCED by MAD‘t® TAGLIONI, 
Price Iwo Shillings and Sixpence each. 
IMPRESSIONS DE VOYAGE EN ALLEMAGNE. 
Morceau tres brillant. 
dans lequel sont Introduits 
TROIS MELODIES DE SCHUBERT, 
LA CLOCHETTE, LA SERENADE, & LE ROI DES AULNS. 
Price. Four Shillings. 
LA VALSE OU FEU 
Impromptu Fantastique. 
/ecrtt sur le Vesuve./ 
AVEC UNE INTRODUCTION SUR UNE PASTORALE, 
et FINALE BRILLANTE ALLA TARANTELLA. 
Price Four Shillings. 
A SCHERZO BRILLANTE, A ROMANZA, & RONDO GRAZIOSO. 
THREE EFFECTIVE MOVEMENTS FORMING A GRAND SONATA in 2 Books. 
Price Four Shillings each . 


| Nos, 


N21, 


[>= a 
Dix Moreeaux Courts et Brillants. 


DEUX CANTALINES de LUCREZ/A BORGIA. 
. THEME de BEATRICE. DIVINA AGNESE. 
, ROMANCE, LUCREZ/IA BORGIA. COME E BELLO. 


MELODIE e€ CORO. STRANIERA. MECO and VOGA piace 
MARCHE and PAS REDOUBLE. SAFFO 

THEME and CAVATINA, PARISINA, VOGA VOGA ae SOGNO TALOR. 
MAZURKA, CAVATINA de PACIN!I, VIEN. 

» UNE PENSEE de la PARISINA, AH TU SEI. 

ROMANGE and CAVATINA, L’'ELISIRE. QUANTO E BELLO. 
CAVATINA, TORQUATO TASSO, 10 LUDIO. 


Price Two Stalling s and Sixpence each. 


SLCANHAAAHN 


SIX SACRED AIRS. 
BENEDICTUS from THE REQUIEM, MOZART. 
2. FROM MIGHTY KINGS, HANDEL. 
3. MOSAIQUE on THE CREATION, HAYON. 
4. SOUND THE LOUD TIMBREL, AVISON. 
& CUJUS ANIMUM, PERGOLESI. 
6. HOLY, HOLY, HANOEL. 


Price Two Shillings and Stxpence each. 
IMPRESSIONS DE VOYAGE EN 
Morceau trés brillant. 
dans lequel sont Introduits 
CANTABILE ALLA DONIZETTI,MELODIE DELLA STRANIERA DE BELLINI, 

and TRIO & FINALE: DE LUCREZIA BORGIA DE DONIZETTI. 
Price Four Shillings. 


EIGHTEEN ENTIRELY NEW STUDIOS 
CALCULATED ti: GIVE STRENGTH AND Cap E PEN Oe 
TO THE FINGERS. FREEDOM TO BOTH HANDS, AND STEADINESS 
TO THE WRISTS, EQUALITY AND AGILITY IN PASSAGES OF 
EXECUTION, AND THE TRUE STYLE, AND MANNER OF 
RENDERING HARP PERFORMANCE EXPRESSIVE AND 
ELEGANT. EACH STUDIO 1LLUSTRATED WITH 
COPIOUS NOTES, AND EXPLANATIONS, AND THE 


ITALIE, 


4 


WHOLE CAREFULLY FINGERED. Completein 2 Books, Price. 6/-each. 


RP AND PLANO FORTE, | te 


WITH FLUTE & VIOLONCELLO ACCOMPANIMENTS,/AD L18/ 


SOUVENIRS DE VOYAGE, 
24 Favorite Operatic Airs, by the most Fopular Composers. 


AH GIUSTA PENA, SAFFO, PACINI. 
VOGA VOGA, & St QUEST ALMA, PARISINA, DON/ZETTI. 
AH VIENI, Introduced in IL BARBIERE. PACINI. 
MATTINA SALVE, & PLAUSO AL DUCA, ZA VESTALE, MERCADANTE. 
OBBLIA LE TUE PENE, L'ELISIRE DAMORE, DONIZETTI. 
NO MAL EDELTO, LA FIDANZATA CORSA. PACINI!. 
QUICK MARCH, & PRAYER, De po 

FRA | MONTI, & CIEL SEI TU. PARISINA, DONIZETTI. 
AL CRIN LE CINGETE, SAFFO, PACINI. 

AH TU SEl, PARISINA, DONIZETTI. 
POSATA ACCANTO, _ ANNA LA PRIE, BATTISTA. 
AH CON LUI, SAFFO, Zz PACINI. 

SE FINO AL CIELO, & E FIAVER. VESTALE, MERCADANTE. 
PERCHE NON TROVO. LA REGINA DI GOLCONDA, OONIZETTI. 
ODi IN OGNI, & BELLA ADORATA, 4L GIURAMENTO, MERCADANTE. 
$1 DEL CHIOSTRO, MARIA DI RUDENZ, DON/ZETTYI. 
DUET & “FINALE, ROBERTO DEVEREUX, bg 
MECO ALL ALTAR, NORMA, BELLIN/. 
AH COME TROVAR, LE CANTATRICE VILLANE. ROSS/N/. 

10 SONO RICCO, & VENTI SCUDI, LELIS/IRE DAMORE. DON/ZETTI. - 
OH COME LENTO, DANEO, PERS/ANI. 
V REINO 18), CATERINA CORNARO, DONIZETTYI. 
COME TU, 44 MODISTA, FIORAVANT/. 


INTROBDUOTION, PROPHECY. & FINALE, NABUCODONOSOR. VERDI. 


THE MOST FAVORITE AIRS, from DONIZETTI'S, POPULAR OPERA, LA FAVORITE. 


in 2 Books, Price 5/- cach. 
FAVORITE AIRS. from VERDI'S OPERA, NINO, tn 2 Becks. Pr3/-ea. 
THE REAL POLKAS, Composed by RICARDO LINTER. Pr.5/- 


THE REAL SCOTCH & IRISH POLKAS, Composed by RICARDO LINTER. Pre jl 
QUADRILLE, BARCAROLE, & CHORUS, from AUBERS OPERA, LE PHILTRE. /r:5/- 
QUICK MARCH, from. et ode LE PHILTRE. foe? 
CAVATINA & CHORUS ss fiom... D9 LE PHILTRE. Pr 

PASTORALE, INTRODUCTION, BALLAD & CHORUS, Composed by AUBER. Pr: rs 


BOCHSA'S PROGRESS! SIVE ELEMENTARY WORKS 


CATALOGUE a 


cee 


be 


