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THE LIBRARY OF THE UNIVERSITY OF NORTH CAROLINA AT CHAPEL HILL

DIALECTIC

ENDOWED BY THE AND PHILANTHROPIC

SOCIETIES
LTT?TV'

MUSIC

""

This book must not

be taken from the

Library building.

Digitized by the Internet Archive

in

2012 with funding from

University of North Carolina at

Chapel

Hill

http://archive.org/details/entirenewcompleaOOgemi

'"v

UTOSTC LIBRARY .UNC-CHAPEL HILL

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V
r

NEW INSTRUCTIONS
FO

VIOLIN
The
firft

R THE

thing to be learned

is the

Scale of the
J

Gamut

as

it is

here fubjoined.

The 4^ or biggeft String

The3^String

The2.'v

StTing

P^
The names
i

m
,

The l? r or Treble String

r
1

O
G,

of the Notes

1 2 3 4 O 1 2 3 4 O 1 2 3 4 A,B, C D, D,E,F, G A, A, B,C, D E,

4 = 1 whole Shift 3 4
i
IT

i=

E, F, G, A, B C, D,

be requifite for the Learner to get the names of thefe Notes by heart, that able to know and tell their proper names readily, whenever he fhallfeethei in any pJ ace, tune or lefson whatfoever. The next thing to be learned is the method of tuneing the Violin, which muft be by filths in the following manner, the fourth or biggeft String open willbe G, commonly called lower G, becaufe it is the loweft note on the Violin the third String open will b< D.the fecond String open willbe A* and the firft String open will be E as
it

Next

will

he

may be

ith

for Example

gg

555668

But if you cannot put your Violin in tune l>y the former directions, do it thus: Meafure out the feventh line from the Nut which is drawn acrofs the Strings in the enfuing Example, and draw with a little Ink a line acrofs the finger-board at the fame diftance from the Nut as that line, having done thus,fcrew up the Trehle String to as high a pitch as it can moderately hear, then put youT little finger on the beforementioned mark on the fecond ftring, and caufe that to make the fame found as the Trehle String doth when it is open; afterwards put your little finger on the fame mark on third ftring and caufe that to have the fame found as the Second String when open laftly, ohferve the fame' method with the fourth ftring.
,

Directions how to play of the feveral Notes marked in the Gamut.

the Violin with your left hand about half an inch from the bottom of its head which is generally termed the Nut, and let it lie between the root of your thumb and that of your fore-finger, then you may proceed to the playing of all the notes in the fcale of the Gamut, to which purpofe it ought to be obferved that there are five notes appertaining to the fourth or biggeft String, Viz: G, A, B C , and D. muft be ftopt with the fore-finger of your left hand now G is to be played open, almoft at the diftance of an inch from the Nut, B with your fecond finger abouthalf an inch from the firft, C with your third finger clofe to your fecond, andDwith your little finger about half an inch from the third. The third ftring hath in like manner five notes, Viz: D, E,F, G, and A. (oh the 4. of which the Cliff is commonly placed) D is played open, E is to be ftopt with your

Hold

NB.
t

The Notes marked

I),

upon the 4. String, A. upon

t'liffpn

the

3. and K.npon

the

2.

hi

the <-umut,are to he played with the littli

is

or fourth Finger? which makes a

in

to tht opt

ri

Note upon the next String, and in fome uafsuges

found to be more equal in

to

the other

Hotfs

than-

playing

tin

open Siring.

Nt.C with /o HT .ofe\o the &ft, inch from the fecond, and E with the littfe n2er bo.? .f'^ three ' narte f The iirlt or Treble String hath " lnCh from *^ *ircf five " notes uf. a TO P*rf thereto Vi, F, G, A, and B, play E W' f open ffp F wYth : E U r fore !&,, your fecond fi n er about three +he Nut B ** cxuarte/s of an g rm finger at the fanfe diftance flrft A -ith your third * fro m^e&oon 3 HTH er half an inch from the third: B **** *<* little fin**? more which require the whole but h " "'"^ ^ not * s Ihift to mal with the firft finger inftead t* lf * y" r hanrf ancf Aop'A of the *ir f B with r Cwith the third fjofe to the ih from the firlr, f m the tMr<f Jt vil1 h * "ecefsary likewife to take notice / that 1 E are termed in Alt for dift^cHon S 1Tlt note of every String be drawn with, down mutt
c
,

fecond finder

*ger abou^ The fecondrtring hath alf five notes, Vizopen, B is to he ftopt with your fore

l^e

fSft

A B C n , f* * * *" A muft he P^yed * Inrfffw &*"* " '" ch *** the

-

Bow.

/^r 'too^^S^***?******** allinf SS^aStfjJSStS "

,
''

i^^^/^

?EJ

S? 7S5 T" * "^ 2

"

'

'

^(W.

(S)

^S^JS?A&
thLe

Of

Flats and Sharps.

tGS

SfeS sW^lh' 7

" the GamUt " e

rfi

is

-hereof are marked thus

^*

.f notes com the other thlTs ft)

-herein

all

thefe

^H^e^^
i

thatfuch a note e thxrd, and ** fecond, the figure 3, is the and^e note a under you find a figure placed

**

^T^^nSl^X ^ f-

the
.

little

^
F

finger :but wherelbever Ae next it denotes

.

^
fi

befoie .

aicend lats and Sharps, as they with alLthe natural Notes, Third String.
Fourth String.

A A

B B C

Second StTing.

Firft String.

B B C

,C

3^
O

1122
and is
to

34

O
*,^r.

imp

-recourfe to the enfu -

frets,

he done

as follows.

An
backwarder
as OCCi

explanation of ihe Finger Board.

either with Ink or bits o^ paper tance as in the Example, pxactxce learn how to ftop in tune

J on

/us^ou^

Xfe^?; paW
on ft eafilv tlxT
i

^ ffJ^gSfSJ^
J**"

Bri lirtIe *>rward er /ompafie. * out the lines * Vi lin ** the f

'

**

^ SI
* littIe

Of Time.

V^
>

There are two forts n Ti.^ r< one Semibreve.two thirty-two Demiiemiquavers in a Bar
;

^^frTx^C
a rf i^

^^ ^T
V
fi

^vers

'

C n fts * either flxten Semiquavers,, or

llttle
'

b J airy movements the f fi ffiWe value of a Semibreve in a Bar, which muA be heM ? four- the laft never contains more Mini

i^Bar.-

this is

commonly

g *a
D r8

tafter an Mother * offtT** haract rs Cont " **<* to the f y U C *" morfer count
<*
'

called

French^W

Cr ^"

tClietS
'

W^y W*

toi.

A
a Semibreve, ^ A
2

SCale f **

r4

N tes in C <on

Time .

I-SIt

Tripple Time.

ra^lS:;^
is

i Minuet Time, one contains three Crotchets

^f

CWCtCr i

t I *l** *rft two

of theft Cha 1 in a Bar, the other three Quavers ,

generally played fomewhat quicker; though in reallity they l>oth anfwer one end only 8 is marked at the beginning of Jiggs ice: the the three remaining Characters are always Quavers; the fecond fix Crotchets, and the laft twelve firft Icontains fixQuavers in a Bar, will difcolearner the practice of in the courfe theie Characters in fact anfwer one end, as . labyrinth agreater into mind vsr; a farther explanation would only lead the
,

A do teed Minim
is as

Scale o Notes in

T ripple Time.
or
12

long as

3 Crotchets,

or 6 Quavers,

Semiquavers kc:

added to the right Tide of any note, as for Example, a dotted three Minims; and a Semihreve thus O fignilies that the Note muft be held as long as .v _ dotted Minim thus C\ -as long as three Crotchets. in Mufic, Viz. a lat ufe great of Characters three are Naturals, and Flats, Sharps than is -""""j' a lower Note thus b ieing placed before any Mote, makes it half a a Natural thus^ reand tone, natural Sharp thus makes it half a Note higher than its lor if Flats * S1? d S ftate; or found duces any note that is Flat or Sharp to its primitive affects every Note upon that line are placed at the beginning of any Tune or Lefson it contradictedby a Natural. , or fpace throughout the whole Tune unlefs Leffignifies that fuch a part of a Song or and AKep eat is marked thus "S. or thus overwhicjhjfaeg ijg. fon muft be played twice over from the places five Bars arc line, drawn acrofs the on o ends there, the laft of thefe having t* the firft of which fignifies that the Strain bex>layed twice^ over ^lhews the each fide, denotes, that the Strain muft Direct at the end ol a Stave thus The Treble or G Cliff is marked thus

Wben

a Point or

Dot

is

ft

1^'*^^^^^^^ ^
,

^A

C iTft N G *! nex! Stave A Pa <^ i niaxkecf thus ^ and at fuch a mark aU Vjf ? a ? nCert OTt a moment, in order to join again with the greater tnZ? a J? JP H eftect, and is often fet over the finilhing Note o a Song or Lefson the

'

AVben you fee thefe marks r 1 =) which are called Refts , and explained by the following Example; you are to ceafe playing the length of time of thofe Notes over them from -which they take their names.

Example of Refts
Semibreve,Minim,Crotchet,Ouaver,SemicrF

Reft

Reft

Reft

Reft

Reft

Of Beating Time.
All movements either of the body or head are bad habits which muft be avoided.andl wilh you would not make any motion with your foot, as I am certain a Perfon mav pla v very well time Without beating, for which purpofe you fhouldbe perfectly acquainted with divilxons of^eaftres andhave all the di ffere nt times in your head. Ho^eTr as the attitude oi beating time, when well executed, is graceful, and

likewife fome people Ihave(in order to render this work *e more accept. Sfffl?'?/ ^ \*mP les andfirft of Common Time, where any otM.efe marks , re fot, 0t niuft orfow atthe beginning of every b^andrife at the T half ^'^ IZtn r.r- of middle or the i bar, as in the following Example
6 ac

uainteftAvith
f

i*'

SWif^I

Note, the letter d,lhews where

it

muftgo down and the

,

letter

u.where

it

muft rife.

Example

mm

3 3 In Tripjple Time.wheTe any of thefe maTks axe fet, Viz: 4 and 8 the foot muft go down -with the firft Note and rife with the third

Examples

gMSfffBTO^ggftfr
The fame rule ferves for % (which fometimes occurs) for there the foot muft keep down at the firft fix Ouavers, and rife at the three laft: where you fee thefe marks ,Viz: your foot muft go down at the beginning, and fife at the middle of the Bar. it 4% I", being as Common Time, half up and half down: obferve in beating time the heel of your foot muft be kept down, to avoid making a difagreable noife;the toe being fufficient

and genteelelt foT dividing the time

On Bowing.
The tone of the Violin principally depends on the right management of the Bow. The Bow is to be held afmall diftance from the Nut, between, the thumb and fiugeTS the hair being turned inward againft the back or outfide of the thumb, in which pofition it is to be held free and eafy and not ftiff: the motion is to proceed from the joint of the wrift, and elbow in playing quick notes, and very little or none from the joint of the other, the Ihoulder.- but in playing long notes where the bow is drawn from one end to
,

the joint

of the ihoulder

is alio a litile

employed:the bow muft alwaysbe drawn par;:' Ic

Can n0t d ne lf lf iS hGld fA > anrf **"*** Pre^duyon the firing with With th. the fore-finger only, and not with the whole weight of the hand, the heft Jrt g
ri
e

^T

*?r
or

^ the
'

ft mofe ^ lf y M r n^ Jo "^ notes AefounrfihouWhe hegan foft,andgradualI v fwell Ju e a,Hl *r* ? thenCe ^dually foft'nerf to the end: And Impart icu ol n ^fV /r mthe care muft he ta ken to draw how fmooth and even from one end to the othe^wlthout n n thi P-ipal. ** V * and ** kee^hehow y Zav" x>arX, W X^ V% brirfge,

S"Sl

leT

al heties of the Violin the fwelling or increafing andfoft'nin* J\inci 5 PrefSi U " ^ * n the *4* ~i* the fol finger
is
rf
J

'

S?S?|. v^

it only with the fore-iWer upof the P ftrmgs with difcretion depends the fine tone of 8 the Inftrument
,

andprefsing

^^

Of Graces

Graces are notes added to thofe fet in the tune, in order to make the melody r P erI be c "*<* ** ornament o* *$** P y drlfs as'the mS* S.ft v *** without them: " the chief of which is the Shake LtlTsl Z I?* m de fr thC " te r haJ n te ^ove, o m ft however " ^ V , f^eclTJnr ! C tn t leD Gra9e f +he th f * e " ote ii isaMinim to continue the * ^ on a rt JrVnrr Grace according to its proportion, if Crotchet, half the length of a Minim, and hut very little on a Quaver, it heing hut half the length of a Crofchet; hut as i wcu id n t0 a **" finitio of all the Graces which can he per Ported n^Th formed v f on theMolin.we have annexed a Tahle of the ornaments of Exprefsjon

"

^^
^

'

JO
nocefsary to the playing in good tafte, ancf are as follows
1,
.

Viz.-

A plain Shake.
l

2,a tur ned

Shake

3,aSuperiorApogihrra.4 anlnferiorApogitura.
'

^I egf^lir
5, Holding" the Note

A.

a j

u Egjggggfcgkfcn ifferff

^^l
11,

J
i

"~"
i

r
6,

rn
i

r*

...

>J

k^*
J

-n
J

-n-.

>

Staccato.
!

/.Swelling. 8, Diminishing.

41

'

9, Piano.

lO, Forite.

Anticipation.

12*

Separation on.

<

13iij.

a Beat. neat.

__

w,a 14, a

clofe anaKe* cioie Shake*

The clofe Shake cannot pofsibly he defcribed by notes as in the former Examples, perform it you mutt prefs the finger hard upon the StTing, and move the wrift in and out equally, fuelling the found by degrees drawing the Bow nearer to the Bridge
to
,

Of Keys
By

a Key is meant the fundamental Note of any Air Scc.and on which the Tune alwaj s ends, especially the Bafs: Flats and Sharps which have been already explain'd when fet at the beginning of a Tune or Lefson, affect every Note on that Line or Space throughout ihe whole unlefs contradicted by a Natural

Keys with
GP
Al

a Flat

Third

JJ

*>

(,TL

-L

Keys with

Db Sharp Third.

*l

#F{,

w G#

^he

lowing Examples.
Firft

apply o play any piece of mu fic,

SX^^^^S^^ W
^
r* *
th

FF
D#
l>E# PE#

E#
'

^^m
*#
,

ever foSffi! n as will he fuIIy difficult; explainerfby fhefol.

TO*

* *"*>i* InlWtions he may g f - hand f thati>e yk.ble

Order or half

Shift.

Second Order or whole Shift.

Third Order.
th

4i284i ~nrr
,st

^^^^g

4. Str;

a*

Fourth Order or douhle Shift.

2?

m^\

11?

of all the ctifferent Positions A Complete Scale o t t* S t T T-

-

of the Fingers upon the Strings

Us

IV
2

st

s
o ;p

r> Iggj g h '

i
3

S^

3
1

<?i i
m
4
S
J

r
<?

r
-

T
i

iff
0!

'

-Lo

~i

flTT^l

m
3

'2

jj

2
<?rX

_8.,4

3""4 S
,

4
S

T T

String

~i>

i s" s

i
.a.

t_ T
1

i "

T
Tt

tyW
'tfW.ig ttX~^2
'

ST ox

.a

.4
S

T 1
2

11
T T
4
J'

2 _^3-

4
1

3
I

4
S
1

2
1

S
T
1

T T
T
_J_
*

Zd
4^

T
'2

^
3
S

T^T
4
S

TT

g.ff* TJ *J>2 3
th String

^^ ^^2 3 "<r^o
.

T~-"a 3 2

"2^-3 "S 3 4

'3 2-"2 3
,l

T T

T T

"2~"3 2^3 4 S T

NJ. T,S~md

Notrs urftn he ftopt wrth. for Tone, and S, for Semitone, and the Figures under, which Finger thefe

13

Gorf fave the

King

m
fM M' iir
The blue
Tink
r

'rig

=faf^ f p

ii

T?^~i

Bell

ofScotlam

^p^^^iiajinqigyifrJ^Bip
a tink

^I^^P^

^^m

14

The Rufsian Dance

j"iii
i

r T iriri|iiiiil
i

4' niLr rr
ii

i
'

r
'

,a#f3F
I

ti,7ii..w.i.. The Bugle ii

Horn

a"

gippl
.-^^fl

^.J Little jiniejan Fannys nys love l ove

^^^^

Frnrspnr
i*

&

TgE%
1

^tom^m^

l^iUILLxjk^f

Life

let

us cheriih

^^The ATchers Dance

'

'

Hayrf n's Fancy

4^

lil

~~ -^ f

liiill y

^aia

^^p^^^^^i a
~,r* tea

Pleyels Rondo

^
f

'Twas Twas -within

mile i

i^^^
I&

ff^l^P

Royal quick Step

'

flHl/llH

r
l

ml
'Hi'u ir[|ll
l i

V |F*HTT^[T

f LJCl.l The
|

iffM ||||||i|irw-iccrrcritt illl'ii nn 'lilf. Rage, or Aftley g flag

l

H Tjf"T~Z
'

._

r
, !

||

niiuiii iji

rr
.

n
iu.ii

||
i

u'Lii

Tf

n-

^ynrjf

if^

Prince Erfwarrfs fancy

^^^
5r
r

^fHJ
Illilllll|p

M^^^^^ ^^^^^^^^^^^
f f

PleyelsHymn

jfcrjfc:

-^-

IM

r-f-

18

Away -with Melancholly

*-. ^'<O%0y*-i

f^[j\^f^^rjUiii\[l^tfr\^r\QlIUU^MV
yrfiJjjJH.JrJirffr^rjifffripcrri^^JiJJj-ifi^

rr

r'rrrrr^s Cupid's Bo\r

m m m

r,rriJ^J3JijJjr

tcicf^ri^cj4tfafj[rcjCTicf^uig
gftf f 1 r is J*
1
I

The Spaniih Guitar

fX

^S^tr^^l

#at^^^p^^^p ^fe
3

21

Harlequin Amulet

Go to

the Devil and ihake

y ouTfelf

m^MM

22

Morpeth Rant

^l^^^^^^Hi
"'.-
UJ

iiiigftiiiiilptelgi _
Sweet Richarrf

"^

UJJ

BS^1^^==

^^
g|lp
1 frfiyffife

RicheT's

Hornpipe

^^^^S^^P^^ I^^^^M^
PTinceW.m o Gloster sAValtz

5=3

"

Dochefs o Devonfhires Reel

^m

ESg*^ fe^SS

i^
M TS Gardner of Troops Reel
-=*&

$m^^mm^mmiimm ^s^
Opera Reel

-*_

HiJJigiburgh's Strathiply thiVe V

^"^

New drops j^v arnps

of ot

Brandy