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CRISTOFARO'S

MANDOLINF. DE CRISTOFAFkO

TRANSLATED AND KEVISED BY

. -JRfik *

PAUL LOSING

VOLUME I

1 A

OLIVER DITSON COMPANYTHEODORE PRESSER CO, DISTRIBUTORS, 1712 CHESTNUT ST., PHILADELPHIA

^Madt in U. S. A.

c^\STOFA^ ^

MANDOLIN"©

F. De CRISTOFARO« ft

TRANSLATED AND REVISED BV

PAUL LOR1NG

Volume I.

OLIVER DITSON COMPANYTheodore Presser Co., Distributors q c

i

1712 Chestnut Street Philadelphia

Made in U. S. A.

Copyright MDCCCXUV, by Oliver Dltson Company

Public Pot'o 1 T\»nr§ Permitted.

Digitized by the Internet Archive

in 2013

http://archive.org/details/cristofarosmando01cris

\Mk.

Rudiments of Music 3

Of the Mandolin 6

Of the Compass of the Mandolin 6

Rule tor Tuning the Mandolin 6

To Learn how to place the Plectrum (Plume), on the

Strings 7

To Learn how to Execute the Tremolo 7

To Learn the Notes on the Mandolin 8

Of the Scale 8

The Intervals io

Of the Chromatic Scale 12

Scale and Lessons in C major 13

Lessons with Quarter Notes 16

Lessons with Whole, Half and Quarter Notes 16

Of the Slur and Tie 17

rst Recreation. Norma 18

Scale of A minor 20

Lesson with 1 Half and 2 Quarter Notes „...20

Of the Extension 21

2d Recreation. La Petite Guitare 22

Scale of G major 2%

Lesson with 2 Quarter Notes Slurred, and 2 Quar-

ter Notes Detached 24

Exercise on Eighth Notes 24

Scale of E minor in 3-4 time 25

Lesson on Dotted Notes 27

3d Recreation. Last Rose of Summer 29

The Appoggiatura or Grace Note 30

Syncopation and Scale of D major 32

Triplets 33

Scale of A major 34

Exercise in 6-8 time 34

Scale of G minor 35

4th Recreation. Septuor d' Ernani 35

5th Recreation. Schubert's Serenade 37

Lesson in Quarter Notes and Eighth Notes 39

Lesson in Detached Eighth Notes " 40

Of the Gliding of the Plectrum on the Springs 41

6th Recreation. Valse 43

7th Recreation. Mazurka 44

Sixteenth Notes Slurred and Detached 46

8th Recreation. Polka 47

9th Recreation. Mazurka 49

10th Recreation. Minuet 50

Scale of B minor 5

1

nth Recreation. Contra Dance 52

1 2th Recreation. Contra Dance 53

Lesson on the Sixteenth Notes 53

Remarks on the Sixteenth Note 57

Exercises on Repeated Sixteenth Notes 59

Scale of F sharp minor 61

Exercise for the Different Strokes of the Plectrum 62

Of the Dotted Notes 63

Study of Triplets in Quicker Movements 65

Study of Triplets with Different Strokes of the Plec-

trum 67

Scale of E major 68

1 3th Recreation. Valse 68

ADDITIONAL RECUSATIONS

"Early Morn"

"Berceuse" (Solo)

"Merry Princess March".

"Mazurka"

"Light Cavalry March"

"Dance Eccossais"

"La Modesta"

"Hermione Mazurka"

"Medley"

"Mazurka"

Pietro Lanciani

Reber

Launce Knight

Meyer Helmund

Walter Free/and, "Op 159"

Fred. T. Baker

C. Caramano

J. C. Macy

E. Meyer Helmund

72

n74

76

77

79

81

82

84

86

FfG Z F/o. I

Position when seated

F/gJ

Position when standing

ric. f-

HoM.ng the Mandolin

FIG. 6

Pos.tion of the fingers on the four strings.

FIG. 6

folding the Plectrum.

FIG 7

Position of the Hand

or loud tones. The

strings to be struck

Mth the Plectrum over

the lower edge of the

6ound hole

Position of the Hand,

for soft tones. The strings

to be struck with the

Plectrum over the upper

edge of the sound hole.

K

m

(K String*

THE RUDIMENTS OF MUSIC.in the representation of musical sounds— i.e., written music, or

notation— we use the characters known as Notes, Clefs, Rests,

and " accidentals " ( or Sharps and Flats ).

These signs and characters are placed upon a Staff consisting

of five lines and four spaces.

If these five lines and the spaces are not sufficient lor

the extension of the music— i.e., higher or lower tones— wetheu add more lines to the staff; and these are called ledgerlines.

ledger line* above.

The Staff(with ledger tinea added).

-6th line Ai. mmtmM. Him €r/£ff? -

-MHm-»dUme--let line

_3d*pao*2d spacettteioaee

The Notes.

The Notes represent the sounds of the scale, according to their

position on the Staff.

Seven principal tones or notes constitute the musical scale.

i

Ledger lines below.

These are represented by the letters C D E F G A B ; or by the

syllables do re mi fa sol la si.

The position of the n>tes, as represented by the letters, syllables,

and characters, aire d mentioned, is as follows

:

DODM

-*" -gr -&- SL A JSL-&- 22: -<£>- J2- J«l —B

—

*

The Clefs.

placed at the beginning of the staff determinesThe Clef

he name and pitch of the notes thereon. There are three different

oiefs, viz: the G cUfigC=j the F cfc/JIPj^ ; and the C cleffa—.

Music for the Mandolin requires only the G clef ; therefore wewill not here consider the others.

As the G clef is placed on the second line of the staff

(observe the curled part on th«s second line), it denotes that G is

to be placed thereon ; and hence the name and position of the

other notes are determined. ( See preceding representation of notes

on the staff.)

To fix the notes and their positions on the staff firmly in the

memory, the pupil should write them on music-paper, placing also

the proper letter and syllable above each.

The Value or Duration of Notes.

The characters used to represent musical sounds, and which wecall Notes, together with theii relative value or duration, are

indicated in the following diagrams :

Whole note. Half note. Quarter note. Eighth. Sixteenth. Thirty-second. Sixty-fourth.

r r r-t b 1

The relative value of the notes is best shown by the fo llowing arrangement

:

1 Whole note -^

equals

3 Half notes

equal

4 Quarter note*

equal

8 Eighth notes

equal

16 Sixteenth notes

equal

32 Thiuv second notes

equal

84 Sixty-fourth notes.

rrt

t—

f

r r

rrrrrrrrrvLu mm~

I he KestS. is interrupted for a certain length 01 time, as indicated by uie

Rests are introduced to deuote periods of silence. The music signs called rests, as follows :

*Tiole rest.

equal to

F«lf rest. Quarter.

-t-

r

Eighth.

H-

t

Sixteenth.—1—Thirty-second. 8ixty-fouTta.

It will be seen, in the above, that e?"h note has its correspond-

ing rest.

Accidentals.

A Sharp (#), &H'lat (b), or a Natural (fi), placed before a uote

afters the tone. In this capacity such signs are called "Acci-

dentals," and there are five of them as follows :

The %, which raises the sound a half-tone.

The b, which lowers the sound a half-tone.

The \ which restores I he sound to its original pitch.

The *, or double sharp, which raises the sound of a note a

whole tone.

The bb, or double fiat, which lowers the sound of a note a

whole tone.

The Signature.

A sharp or fiat, or a group of either, placed just after the clef

$ S

sigu g£ indicates the Key in which the music is to be played

Thus the Signatures by which we determine the Key of a piece of

music are as follows :

Example of the S'gnatures of the Majorand Minor Keys.

With neither Sharp nor Fiat it Is

zsi

C Major or A Minor.

~zr

One Sharp.

i

Two Sharps.

*&-

slit

Three Sharps.

Iy

Four Sharps.

-<*9- 1221

Key of G Major orE Minor.

-6h i1

Key of T) Major orB Minor.

I -&- MKey of A Major or

F# Minor.

m 22: 1*

E Major orC 8 Minor.

-JSL

Five Sharps.

-&-

wmSix Sharps.

* paIJeven Sharps.

ZZ2I

$One Flat.

221JSC

B Major or G# Minor.

I

F # Major or D 5 Minor.

wM * —C

J(Major or A$ Minor. F Major or T) Minor.

1 fiB ZZ2I i -&-

mTwo Flats.

B b Major orG Minor.

y

mThree Flats.

zzz—

El? Major orC Minor.

im-73-

§Four Flats. Five Flats.

BE22:

S

A P Major orF Minor.

~Z21

fH-&-

D b Major or

B b Minor.

mm-.

-&-

%&

Six Flats. Seven Flats.

fcfc

G b Major or

E b Minor.

P&

SBEpzp "221

Cb Major or

7 Minor.

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When a sharp or flat additional, or not belonging to the signa- regular " beats." Thus, in Common Time, (simple or compound)

ture, is placed before a uote iu any bar or measure of the piece of

music it affects only the note or similar notes in that measuretloP€, according to modern usage.

Time, or Tempo.•Ve measure the movements of a piece of music by t-xent or

we divide the bar or measure into four beats, each representing

one quarter-note. This kind of Time is indicated by the figure,-

j| or the sign g at the commencement

:

Simple Common Time.

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+W=+

One, two, three, four, one, two, etc.

Compound Common Time.

*4 W¥¥¥¥¥¥W¥¥FF¥?F¥¥¥¥*-

One, two. three, four, etc.

In Triple Time we count or beat three to every measure Thus;

Simnle Triple Time.

3=^:£3

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±=: \— i— I—i—

h

at=a=tea i i i b=One. two, three, etc.

Compound Triple Time.

HEW4= +H .

! 1

-! ! . ! I I

-! I ! I

-

!

One. two three, etc

Simple (short) or Even Time.

93-I- t: -t—

?=> ?—* P- * * I*-

1:

i i!

i t- IOne, two, oue, two, one. two', etc.

Compound Even Time.

£8z=t H i- 3=

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1 i- 1 T I i --! lit H-1?!

Simple Triple Time, Short

IF&=iz £ iz I

Compound Triple Time, Short.

^.Hi

*--+-;— -I i i i i i ;

t: IDot and Double Dot.

A dot placed after a note increases its value ( duration ) one half its ow.n length.

Example.Dotted Whole Note. Half. Quarter Eighth. Sixteenth. Thirty-second.&-*

Equal to 3 Half notes.

T T

—

Equal to

3 Sixty-fourths.

-• 0-

y> y y>

$ A BV P V

TEqual to 3 quarters.

rr

t

Equal to 3 eighths.

g : rEqual to

3 sixteenths.

— 0;

Equal to

3 Thirty-seconds.

B K ^i/

1

i/ k1

•—»—•-

^ B" BR B R

A second dot adds the value of one half of the first dot.

equals equals

r r r c

Example.

eouals

i/ k •

f"equals

^ H B" B*• B ^ B^

-0-L-

5equals

w P E n^ b

The dot or double dots placed after a rest has the same effect as when placed after a note.* i

The Triplet and the Sextolet.

A group of three notes is calle 1 a triplet, aud is to be playedin the time of two notes of the same kind.

Triplets. t±fThe sextolet or group of six notes is to be played in the time of

fonr ;otes of the same kind.

Sextolets. trThe figure 8 or e placed above the groups indicate the division,

or inanuer in which they should be played— as described above.

Signs and Marks of Expression.Dal Segno, or $•', signifies from the Sign.

Da Capo, or D. C, means from the beginning.

The Pause, or *, indicates that the note is to be kept down atpleasure.

The Slur (^n) unites several notes with the same stroke of thePlectrum.

Piano, or p, softly. Pianissimo, or pp, very softly.

Mezzo-forte, or mf moderately loud.

Porte, or f, loud. Fortissimo, or fft very loud.

Crescendo, (-=rr) to increase the sound.

Diminuendo, (; —) to decrease the sound.

Trem,olo {*,+—+— ) in a tremulous manner.The other less important signs, and also the abbreviations,

terms of expression, and the different movements, will be learnedas the study of the Method progresses.

The Mandolin.

Position of the body.To ensure a graceful position and facility of execntion, preserve

an erect position with the head thrown slightly forward. Standor sit directly opposite the music, so as to be able to read it

readily.

Manner of Holding the Mandolin.The neck or handle of the instrument should rest in the palm of

the leit hand and be supported by the first finger, which should beplaced between the first and second frets. ( The frets are thesmall strips which cross the neck.) The thumb is used to steadythe handle, and should easily slide up or down, allowing freedomto the fingers. The inner side of the hand should be a little dis-

tance from the handle, so that the fingers may fall perpendicularlyon the strings. ( Fig. 4.)

The Plectrum and Right Hand.Hold the plectrum between the thumb and first finger of the

right hand. (Fig. 5.) The hand should be so curved that a partof it is held over the strings. The fingers should be pressedtogether and kept beneath the thumb and first finger, the little

finger resting on the top of the instrument between the sound-holeand the bridge. ( Fig. 6.) Shake or agitate the hand slightly,

as the movement may require. In order to give freedom andflexibility to the wrist, the fore-arm must rest on the edge of theinstrument in such a manner as will allow ease of motion. ( Fig. 6.)

In order to produce forte souuds, or loudness of tone, hold theplectrum firmly ; to produce softer tones (piano ) hold the plec-

trum lightly, letting it touch the strings above the hole. ( Fig 7.)

Movement of the Fingers of the Left Hand.The Mandolin is tuned by perfect fifths, in the same manner as

the violin. The violin, however, has but four strings, while theMandolin has eight. These eight strings are placed by twos, orin pairs, the two strings being tuned in unison. The Mandolin is

played by picking the strings with a small piece of bone, wood, aquill, or a bit of ivory. This is called a plectrum. ( See Fig. 1.)

The plectrum should be half an inch wide at the upper or larger

end, and should diminish to a flexible point at the other.

Position.The performer may sit or stand while playing the Mandolin-

If sitting, he must place the instrument on the right thigh andagainst the abdomen. ( Fig. 2.) If standing, ht should press it

against the lower part of the chest. (Fig. 3.)

Compass of the Mandolin.The following scale shows the compass of each pair of strings.

The fingers of the left hand should be separated and curved so

that they may fall with grace and facility upon the strings, andwith equal ease and promptness spring up from them. The fingers

used somewhat after the manner of small hammers, ( as in piano-

forte playing,) should move from the knuckle or third joint, and beindependent of the palm of the hand as well as of the wrist. Thefingers must rise and fall with ease and equality. The pressure of

these fingers upon the strings must be firm and even. ( Fig 8.)

A good position of the fingers is of the greatest importance.

The examples and illustrations already given shonld be sufficient,

for the guidance of the pupil in acquiring correct position. Yetthe teacher should use the utmost care in this important rudiment,

and not allow the pupil to acquire habits that might seriously

affect the development of a naturally good talent.

i-e~ •&-

•0--BL

-gr

4th pair.

T>K>-*&-TP-^ •gr

3d pair. 2d pair. 1st pair.

"The ma'ndolin is tuned in perfect fifths, thus

Tuning.

Example. Piio

4th pair.

13—

D

Sd pair.

131

3d pair.

131

1st pair.

ompass. These two notes show the extension which the modern mandolin reaches — B and C.

Tune the second pair of strinyra in unisou with an A inning-fork,-9-

• the A above middle C on the piano ffa—B— Then tune the third

strings to D which will lie an octave lower than the

same note made by pressing the A strings at the fifth fret. Tune

the G %U ( fourth strings) an octave lower than the tone

made by pressing the D strings on the fifth fret. And lastly tune

the E's (First strings)^ in unison with the tone made by

pressing the A strings on the seventh fret.

How to Place the Plectrum on the Strings.

Place the plectrum on the fourth strings, (G), resting it lightly

and perpendicularly upon them, between the hole and the bridge

The teacher should himself assist the pupil in these first attempts

at placing the plectrum.

Unite the fingers in a rounded or curved position on the plec-

trum. The little finger should rest lightly on the instrument ( See

Plectrum), so that the hand may move freely.

The upper part of the arm should not move. The fore-arm

should rest upon the edge of the instrument.

When the pupil has thoroughly learned how to hold the plec-

trum, he should commence the stroke-practice— up and down —gradually increasing in rapidity until he has attained a very quick

movement. This is called the tremolo movement, and should be

practiced on all four sets of strings.

The tremolo must always begin with a downward stroke of the

plectrum.

rz: i V ej

fr?> &i")) O%f

72"4th 3d 2d 1st 1st 2d 3d

72*4th

Lesson For Tremolo Practice. The ^, or hold, indicates that the note is to be held or contin-

ued at the discretion of the player. Usually the hold should not

In some lessons given for Mandolin practice, two signs are used, exceed, iu duration, the twofold value of the note or rest over

fiz : A, or the down stroke; and lj, or up stroke. which it is placed.

First Exercise.

The Pupil.

The Teacher.

mmm-7!7

79 IZT79- -zr

Htetci=±i*4=t

79"

3 -^7"

The figures placed above or alongside the notes indicate wliat fingers are to be used.

Second Exercise.

72:Thv: Pupil.

The Teacher.

pm 721I3ZI 791 791 72:

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fe 11 il^f 3: *-&—*t+-^—

Lesson for Learning the Notes.

la this exercise the pupil must not begin the use of a newstring until he has well learned how to play the preceding one.

The figures placed over the notes indicate the fingers to be4th strings.

Z&

~g"

3g|. .J—

is:

^3=^=^> #

~Z?~

11:22

i

i

UBed— viz : 1, first or index finger; 2, second finger; 3, third

finger; 4, the little finger.

The sign indicates an " open " string, or a string not pressed

by the finger.

The figures placed under the notes show whatfret should be used.

3d strings.

Angers -

-fingers—\>.

Open strings -_-

2d strings.frets a

-flngers-i-

^_9im?irlngs_Jg_fre7i! r

4

- open strings

r

1st strings

-?p*Q-?ti|ng*

!

fingers 1

frets 2

2 * A-0- -freti

After the pupil has repeated this exercise several times, he played in regular order by ascending and descending. The fol-

shonld play the same notes irregularly, — that is to say, by lowing illustrates the movement

:

skipping some of the intervals, which in the above exercise, were1st strings.

4th strings. M strings. 2d strings.

mo—a—o—»—a—o -=--o—a—o—»-~ TT — •+ -2r±r2r!L0—»—-—<> 1 —#—o--m —m •

1

a 3-8 3 3-0---0-#---0-#-t-#-<»-»—i m

—-*—

*

>-

2 5 2 3 1o m o -#- m n -**- l »

The Scale.A regular succession of t >nes and semitones is called a Scale.

Example. F -se.mto'n.

Scale of C. F jf v &

Observe that tae semitones (half-tones) occur between the 3d

and 4th, and the 7th and 8th degrees, ascending or descending.semitone semitone

1221-&- 22: 22:

-&rJ2L -&-

Scale in Whole Notes.In passing from one note to another, of the following scale, the

pupil should avoid any interruption of the movement of the plec-

trum on the strings. Keep the fore-arm motionless on the edge of

the instrument and preserve the proper position of the right hand.

The fingers of the left hand she ud be well curved over the

strings ; the wrist must b'„ kept rigid, and the action of the angers

procood solely from the third joint or knuckles. Allow the hand

Exercise in the Scale of G Major.Observe the F $ in the Signature.

Pupil

Teacher

"Z?-

suflficieut freedom to enable the fingers to rise and fall promptly.

In playing the following scale, remember to count four to each

measure. The whole note equals four quarter notes. Beat the

time with the hand for a bar or two, before playing : Thus, one

down, one to the left, one to the right, and one up.

We choose the scale of G for the preliminary scale-practice

because it is most favorable to the instrument.

9

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THE INTERVALSAn Interval is the distance between one note or tone and another. There may be several degrees in the interval ,which

we reckon as a second, third, Jburth, fifth, sixth, seventh and octave. Intervals are reckoned ascending ordescending the scale.

Thus:

Second. Second- Third- Fourth. Fifth

.

XE XE --*>- O-TXE XE -O- O ^=3C » m O-©- O-

8ixth-XI HI

Seventh.,»i°

l

° •Octave.

S=at 'o—

o

^o—

o

In extending the scale, say for another octave, we reckon the ninth, tenth and eleventh:

$Ninth .

Tenth

.

Q. Eleventh. — etc.

-©-

Inversions

"When we place a given note an octave higher or lower, we invert the intervals, thus;

The Third, a 6th.The 9econd becomes a "7th below.

x* xttttr

The Fourth, a 6th.

-*th- Sttr-w-

~r-Tttr -M- XE XE^-XE XE 6ti,

7th 6th-

$The Fifth, a 4th

*th-

The Sixth, a 3d.Q8d

EEThe Seventh, a 2d

p2dThe Octave, a nnison.

7thO O- XE f» r>BtliO -fltft

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4th *-»-O-

3d -O-XE O O

10

EXERCISES ON THE INTERVALS.

BySeconds.ife

4w Strings.

V T XFs'ii'.'Xi'-'iJ

illSt^ Strings.

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2*4 Strings

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i?£ Strings

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2«?Strings.3 4^^ 33: w # 3X

ST4strings

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*4#£ Strings.

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ByThirds.

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(.// ^PZtfrt Me note* DAE are found in any passage whatever, and the passage does not exceed Open Strings.

any of these notes, the rule is to use the 4th finger in preference to the open string, thus:-

4th Strings. 3Td Strings. 2™ Strings.s * a

TTO

The 4th finger on the open strings (ft)|

I| ||

—^ rJ J—fl

(2/ When the same note is repeated without a tie^—^ the tremolo must cease after the first note and be resumed at the second.

57428-86

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By P^P 27.Octaves. -&

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-• 3 — . 4

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Exercise recapitulating all the Intervals.

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(l) To play perfect fifths, you must at once place the finger flat on the two different strings. To play diminished fifths youmust change the fret, although using the same finger. The diminished fifths are indicated by this sign •.

5742G-86

12

ON THE CHROMATIC SCALE.

lVhen the Scale is composed of Semitones only, whether ascending or descending, it is called a Chromatic Scale.To play a Chromatic Scale, we generally us* the sharps in ascending and the flats in descending, as is her*

shown below.

Every series of semitones is called a ehr .matic succession. There are two kinds of semitones: the Chrom-atic and the Diatonic.

The Chromatic Semitone exists between two notes of the same name:

EXAMPLE.

I m i^j i

'

i ii

EXAMPLE.

The Diatonic Semitone is placed between two different notes

^ 1 1 ['I j i '

Chromatic Scale ascending with sharps.

-8—9-1 1

2 2 3 ,3 1 .,1

2 .,23 3 4

pr*=j ti ;»:*»«Q 1—

1

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fjy|5:r*|k4#£ Strings.

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3T& Strings.

' *-•

2V4 Strings.

1

i?/ Strings.

-J

Chromatic Scale descending: with flats.

W-^L-l 3.

3

I • ai « 2 .

if ;* O . 4—8 9-™fc E• r;* ^^-#-?r*-w *—=—3—8 3—1 1

l?t Strings. 2*d Strings. 3r? Strings. 4th Strings

33E

4 3 .3 o

Chromatic Scale descending with sharps.

i,

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•H-fr^i, 4. 3 . 3 2 . 2

^ ^tf*^»

;

-4 9 9-

l?t Strings. 2?4> Strings.

W*-—2-4 1-

^7^ Strings.

4 9 9-

4th Strings.

JL.

(l) We have shown the Chromatic Scale descending by flats as well as sharps because the fingering is not the same in both cases.

57429-4C

13

SCALE IN C MAJOR.

No sharps or flats at the Signature.

All the following scales of Major and Minor keys are written for the first position only. Their compass goes

as far as B natural above the staff, without exceeding the second octave.

During the study of the other positions, the scales will be extended.

Chords In C Major.

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—

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ob:& l "0- OJJ olJ *V

MLento.

Sp 3= iiiiirirfirrifnii^j i jjuj i ^ i

Lessons In C major, With Whole and Half-notes.

Andante.

THE TEACHER.

Andante.

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A7420-M

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Lesson with Quarter-notes,

All the Quarter notes, when not slurred, must be played tremolo, each succeeding note being accented.

The tremolo must cease an instant before passing to the following note.

iAndante. 4 m - P m ~!

1 i iE P £P £7. WP ^^^^ PPi Pr-^r^r r—r

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Lesson with Whole-notes, Half- notes and Quarter-notes.

Andante.

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i i i&£ £PE»-

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47420-66

17

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— mm #^-»

—

3 i i

ON THE SLUR.

When two notes, or even a greater number are accompanied by this sign -—^ they must he played with_

out the least interruption of the Tremolo. After playing the first note the fingers of the left hand should

press the string, and slide up or down to the next note or notes included in the slur. This observation con-

cerns only notes played on the same string. In slurring on the open strings the plectrum is simply drawn from

one to the other.

Exercise for Slurring notes on the open strings.

§ w m i f".i 3w mi

Lento.Lesson in Slurring Quarter-notes.

£ m iE IPI m m *9.

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$ s5E=E H ^ W3ZtfTT

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i^P iffff P ^=f fg M

^jfV The passage from one string to another must be effected without mooing1 the wrist (if the right hand in making the plectrum

fall on the following string; Thus avoiding the wrong accent.

>742&-e«

18

THE TIE.

"When the sign -—> connects two notes of the same degree op letter, it is called a tie; and the string is

pressed down until the time-value of both notes is accomplished.

Lesson in Slurring Quarter-notes and Eighth-notes

miAndante.

SPn . mm£m i

10.The quavers must be played tremolo.

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RECREATION I.

Andante sostenuto Prom Norma.

6742Q-86

19

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57429-86

20SCALE IN A MINOR.

Relative of C major.

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a:=*=9i9 1 9 ^

£ Mjij, i

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Lesson with one Half-note and two Quarter-notes Slurred.

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11.

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57429-88

21

Lesson with Two Quarter-notes Slurred.

12.

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J aJ J

^ ?¥ ^rt

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# m m 1»T m mim #--?:*

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in f—

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s£ S io

P piF^ i P^Ps »•-f-

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1^5 CTf 1 w& ^ #1 *#*y

THE EXTENSION.

When the 4-W finger is made to reach a note above the first position, without displacing the hand, the move-

ment is called extension . The ^irst position finishes at B with the 4$ finger; but it is possible with the same

finger to reach to C and even to C# with the other fingers still on the strings, and the hand in place. This

extension is called upper or superior, because the 4w finger ascends one or two degrees.

fe«r*

-&-&

Example of the Extension.

4.(1) V A

Ji rr i

ii i

fri

rfi

ffi

rrirr

i n ^ iiju jijj

(l) See, for the extension of the 4th finger, tie 28th bar of the fotlovcing Recreation. "La petite jnitare."

r>7l2»-8«

22

m

RECREATION H.

'LA PETITE GUITARE."

Time I. One Quarter-note or two Eighths for each beat or count

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K*^r^/j ^// ^p Eighth notes which are not slurred or tied must be played staccato.

[Z) Upper Extension.

574*»-8«

23

SCALE IN G MAJOR,

F# at the Signature.

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Lesson with two Quarter-notes slurred and two Quarter-notes detached or staccato.

Allegro giusto.

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1 * *13.

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/W ^%e« Mere & a dot over the note, it must be staccato and played with a doan stroke of the plectrum and without makithe tremolo.

57429-86

\ng

24

EXERCISES ON EIGHTH-NCTES.

Three notes slurred and one staccato.

The slurred notes to be tremolo. .The staccato note detached.

Moderate

14.

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Two notes slurred and two detached.

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57180-88

25

psi

SCALE IN E MINOR.

Relative of G major.

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277 2 "5" *~&

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SIMPLE TRIPLE TIME.

A dotted Half-note, or three Quarter-notes.

(A dot after a note increases its value one half.)

Moderate.

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17.

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_: -' =:

fi/ i/a£e M« Eighth-notes staccato.

(2) Slurred Eighth-notes' tremolo.

87429-86

28

P^mpoco a

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SQ w57489-gfl

LESSON IN DOTTED NOTES.

27

Andante.mm (i) Amm mm im18.

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.57420-80

ZH

£ 5P^P P&=? f P=^=

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RECREATION ffl.

(LAST ROSE OF SUMMER.)

Allegro grazioso.mmm

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From "Martha'.'

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^/ 7%# dotted note to he flayed Tremolo, The Sixteenth note .-.laccato.

67429-86

30

THE APPOGGIATURA.

The appoggiatura is a small note placed before another, and usually depriving that note of half its time -value.

It must be well accented and the principal note must be played Tremolo.

"When the appoggiatura is placed before x dotted note, it takes a third and sometimes two-thirds from the time-

value of that note according to the character of the melody.

When the appoggiatura is crossed by a little dash: t»tit must be played rapidly, the finger striking the string

sharply, then being withdrawn so as to allow a continuance of the tremolo on the principal note.

19.

Lesson On the Appoggiatura.

#Larghetto

mHi J «J ^J

mi

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57429-80

31

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(/) TAe Eighth-notes staccato.

fi7429-8(i

32

SYNCOPATION.Syncopation is a suspension or alteration of accent— accented notes occuring in the unaccented part of a bar.

The emphasis is placed upon the syncopated note.

Examples of different kinds of Syncopation.

^iir,jr rirrrirrJi"ia

rrP i prNrf

r,irir

Tf rrpiPrrrp^SCALE IN D MAJOR.

F# and C# at the Signature.

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1" Ofi

-00

3E3

325

a-6—Tn-*-«

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4j jJ i JJrr i rrrrj rr i^jjij i

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Lesson In Syncopation

20.

% fe=£ k £ m19- T TZL

P Ijij^j Ij^jiJ I jjy;Jj' 1 l^j^W#ffe^

* A

£ # .

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I^P ^ IA , A Mp—\—p- m# p

i i J J J ME M ^Pf P^ »g=F» « rif w ' * 1*1 f

#) Make the Quarter-note* staccato, andplay the Half-notes tremolo..*.74-20-Kfl

89

TRIPLETS.

A Triplet consists of three notes grouped together and played in the usual time of two of the same value,

In slow movements, triplets are generally performed tremolo, excepting those which have a particular accent.

Lesson on Triplets.

21. Iu Lento.m A W *

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w ^^ i* 3

mm ife # #'; F^ pfe£^p

§ Jj5US S 4 4 4J* J- fi* pv^PT^

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fij Jrcent the notes whiltt playing tremolo. 57429-80

n

mu

SCALE IN A MAJOR.

F# C# G# at the Signature-

3-f9-4-£ 3&&

4-9- 3:5ZI

312i£t-9-

±9—1-9

*•&

1HA* £#=1& PfP £ ©^-#

Time(j r

—

' r r ' -n-rT-rrThe pupil must not mistake the group of three notes in f time for the triplets in f time.

Moderato

p firB ^s g^a s4

1SS#-s #2.2.

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1

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ft¥JTj ,rpl I J .jij jl jjJlJ^ilj 1 ^^ ' .rpl^j ij j

^ v/ff M* notes 'to be played t *"*m &/&574-29-86

35

y b s ng^g in*ii*«_ s^ 7 $ 7#-*-

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ffl"Ttt^ P£=v msip se » pl^

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—

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SCALE IN G MINOR.

Relative of B!? major, Bl? and E!» at the Signature.

S 2^d 3i9- 2/^

3ZS

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#Wfl_2£

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6 o 5B:0?T

IS

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It

Adagio.

RECREATION IV.

Septet from "ERNANI

1

Verdi.

A

QE Pp • p^S

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JJTJ^Jjf^

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A7440-MH

36

pW J r r-4 pMZ O- wm

A A

r j '*£cr* 9

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mill: +-+-0-4 + -T*

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a#-#—(p-^# L H ff g EEI ^4XF^ r cjr^rixrffii2

3 3. 3 3

I ^B £* mmmm «?«?.?«? a a a a

•j^p mp pppl§#^F"* ::: v

'•V TTfe notes io be veil marked and played tremolo. 57429-86

37

RECREATION V.

SERENADE

.

The triplets in slow or moderate time may also be staccato. It depends upon the character of the piece.

[See the following Recreation )

Schubert.Moderate

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m i M WW m3*** #—

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ft).- .-.

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m m * *i « -w .*« :

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1^as 2 f

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rallent.S 9 m,m i«-«

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(1) Staccato the triplet notes.

(Z) The dotted notes to be played Tremolo.

[3) The slurred notes to be played Tremolo.

r r > '

4

r>/42»-8«

38

> b fW g *^« *=i-t=^4*—•—

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57428-86

39

Lesson In Quarter-notes and Eighth-notes.

In order to know whether the notes must be played tremolo or staccato, we must take into account the

movement of the piece and the character of the passage.

The longer the notes, the more appropriate the tremolo; whilst, on the contrary, the shorter notes are bet-

ter played staccato.

It is necessary, to pay great attention to the accents placed over the notes, as they indicate the manner

of execution.

££Andantino.

(!)A A

s A AA *

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(l) The Eighth -notes to be staccato, with a downward stroke of the plectrum during the lesson.57429-tftf

40

Lesson In detached Eighth-notes.

mmAllegro giusto.

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/V7429-88

4f

The Slide of the Plectrum on the Strings.

Th9 SlidaV indicates that the slurred notes over which it is placed are to be played very smoothly. This is

done by striking the first note and then allowing the plectrum to glide gently over the strings without re-

striking them. It is possible to glide over two, three or four notes.

EXAMPLES.by four notes.

by two notes.AAAi> ^> *y

Exercise for the Slide on two notes.

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(!) The Sotted note to he plsyed tremolo, and the short note an up stroke of the plectrum.

iQbterro the si^n - for the momnent of the plectrum on the note.)

'2) Slide the plectrum orer the three notes.

574 *»->»»

43Observation On playing the Quarter-note.

In a preceding chapter we have said that the Quarter-note should always be played tremolo. But, as an

exception, the quarter may also be played staccato in allegro movements, especially in Waltzes.

(See the following Recreation.)

RECREATION VI.

Tempo di Valse. WALTZ.d) #

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(t) Mike all the quarter notes staccato.*7429-8fl

%%

MANNER OF PLAYING THE MAZURKA.

In the rhythm of the Mazurka, the Quarter-notes are played tremolo; this rhythm not being so lively as

that of the Waltz. The Quarter-notes should be staccato.

Tempo di Mazurka.

ft

RECREATION VII.

MAZURKA.

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46

SLURRED SIXTEENTH- NOTES.

In rapid passages, the first of the slurred Sixteenth-notes is always played with a down-stroke of the plec-

trum, and the second with the up-stroke.

In order to play these rapidly and smoothly, either ascending or descending, in passing from one string to

another, do not make three successive down strokes of the plectrum. It is better to make use of the Vb

finger than to use the open strings.

ascending. BAD.

^^^a^TTA A A 1

descending.

AmN aJLa a a a

EXAMPLE. GOOD.^^- -"

*Allegro, s A^l •#T^Au^\

iAuAu _«Fl» f l TPffPm Zr^

In passing from one string to another the Sixteenth-notes are played on the open strings when such

a course seems reasonable and convenient.

Allegro

EXAMPLE.

Detached Sixteenth- notes.

When there is no slur over or under the Sixteenth- notes, they must always be detached by a down-stroke

of the plectrum: however, in slow movements, the Sixteenths can be played tremolo or detached, according

to the style of the passage.

Example of Sixteenth-notes Tremolo.

Largo

T^ltrq^ji

Moderate.Example of Sixteenth-notes Detached.

J'-'

fflir utf^cridfrJflVBtfiggii

h

frFor the Examples of the above, see the following exercises and recreations.

W. Those who imagine that they can replace the Mandolin method with that oj the Violin are in error- for the technique of

the former instrument does not always adapt itself to that of the Violin.

)?429-Mi

47

Exercises and Recreations on Sixteenth-notes.

With Obligatory strokes of the Plectrum.

Moderato

A u A A A

EXERCISEA A AQ A A u A A A

|

a A A

A u A

£jiritfcx-u

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EXERCISE:

Tempo di Polka.

a n? aua; ^j ^3

RECREATION VIE.

POLKA.

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?««_W 6¥»tf a doxtn-atroke of the plectrum to play the small note, and pick t/te string1 with the same finger to gire effect to the picipal note.

(2) Slide the plectrum over the two slurred Sixteenth-notes.

• 742»-8«

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Tempo di Mazurka.

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RECREATION IX.

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574 '29-88

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Tempo di MinuettoA A

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( i) Tremolo the eighth-note.5742B-88

51

SCALE IN B MINOR.

Relative of the key of D major.

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RECREATION XLCONTRE-DANSE.

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53

Allegro.

RECREATION XII.

CONTRE-DANSE.

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Lesson on the Sixteenth-notes.

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574 29-8»

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51

Observation on the Sixteenth-notes.

In order to maintain perfect smoothness in the performance of Sixteenth- notes, it is necessary to observe,

at the outset, that sometimes you must begin with the up-stroke of the plectrum, and sometimes with the

down-stroke. Whan there is an even number of notes, begin with a down-stroke.

A"A U A a

EXAMPLE. ^fl&r i rtfjfrua

When there is an uneven number of notes, begin with the up-stroke.

EXAMPLE.m uU A0-^r i ?[rfrif-*i

The isolated Sixteenth-note united to the Eighth by the rest f should be played with the down-stroke, be-

cause it is an isolated note. The note of the second beat in the measure should be played with the down-stroke

also.

EXAMPLE.

Lesson on the Preceding- Observations.

Moderato.

30.

IIP^g wSI

5742 y-60

67490-80

59

Exercises on Repeated Sixteenth notes.

With different strokes of the Plectrum.

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afl

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lV/ ; iJ|H^^%i fWtr ifl4#^^p(/; .ft tt'«i(W 3? ire// to s^waty Mi* anrf the following Exercise in different key?,

57428-86

60

mAllegro.4 A u

Lesson on Repeated notes.

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5 i-i-in- ^(i

62

Exercise on the Eighth-notes.

"With different strokes of the Plectrum.

All the notes staccato.

fc\ rm i

JTTj m m g m4 9 * ^+

^ HP i [hi !B r r i : ; nS ! #^Two Eighth-notes Slurred, and Two Staccato.

Sound the first note with the down-stroke of the plectrum and vibrate the string with the same finger; give

a slight up-stroke of the plectrum for the second note without stopping the vibration of the string.

? A A

5f W J * ' W

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^rj^r i ^tf i tri^Tfftrirjj i c^fcir i jcf i Jii

DOTTED NOTES.

"We have indicated at page 27 (RECREATION III) the manner of playing dotted Eighth-notes. Here is another

way of playing them. To produce this novel effect we must give a down-stroke of the plectrum on the dotted

note, and an up-stroke for the short note; separating the two notes hy a rest.

AA-

Effect Produced. f 3 f jr^^^ g • i *L- J

Allegretto.

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65

TRIPLETS IN LIVELY MOVEMENTS.

To overcome the difficulty of this rhythm, which is contrary to the nature of the plectrum-stroke, it is

necessary, when there is no accent on the notes and when there is no occasion to pass from one string to

another, that the movement of the plectrum should be always the same; that is to say, that the first note

jnust be sounded with the down-stroke of the plectrum; the second note with an up-stroke; and the third note

with a down-stroke. (See the figns orer the notes in the following studies.)

In adopting this movement of the plectrum an irregular accent is avoided. Though the accents ^=- are in-

dicated, yet the movement of the plectrum is different.

(See the following studies in triplets ttith the carious strokes of the plectrum.)

STUDIES.

MModerate,. $imUe

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57429 *•

THE PHILHARMONICORCHESTRA FOLIO

CONTENTS1. Gavotte celebre Padre G. Martini

2. Moment Musical No. 3 Franz Schubert

3. Capriccio in A Joseph Haydn4. Hunting Song Gustave Lazarus

5. Gavotte and Musette Johann Sebastian Bach

6. Largo from Xerxes George Frideric Handel

7. Bourree in G minor Johann Sebastian Bach

8. Intermezzo (L'Arlesienne Suite) Georges Bizet

9. Turkish March Ludwig van Beethoven

10. Minuet from Symphony in E\> Wolfgang A. Mozart

11. Gavotte from Paris and Helen C. W. von Gluck

12. Hungarian Dance, No. 5 Johannes Brahms

13. Huniorescrae, Op. 10, No. 2 P. I. Tchaikovsky

14. Ballet Music from Rosamunde Franz Schubert

1. 1st Violin

2. 2nd Violin

3. 3rd Violin (substitute for Viola)

4. Viola

5. Violoncello,

6. Double Bass

7. Flute

8. Oboe

9. 1st Clarinet in Bb

10. 2nd Clarinet in Bb

11. Bassoon

12. 1st Horn in F13. 2nd Horn in F

INSTRUMENTATION14. 1st Alto (or Melophone) inEb

15. 2nd Alto (or Melophone) inEb

16. 1st Trumpet (or Cornet) in Bb

17. 2nd Trumpet (or Cornet) in Bb

18. Trombone (Bass clef)

19. Trombone (or Baritone) (Treble clef)

20. EbTuba21. Eb Alto Saxophone

22. C Tenor (Melody) Saxophone

23. Bb Tenor Saxophone

24. Timpani

25. Drums26. Piano

PRICESInstrument Book*Piano Part

Full Score

each .SO

1.00

S.00

All the numbers in this collection may be purchased separately in Small or Full Sets. Forfurther information, complete list of Philharmonic Orchestra Series, prices and other details see inside

cover pages II, III, IV.

OLIVER DITSON COMPANYTHEODORE PRESSER CO., DISTRIBUTORS

1712 CHESTNUT STREET PHILADELPHIACopyright MCMXXXV

MADE INU.S.A.

Boston Public Library

Central Library, Copley Square

Division of

Reference and Research Services

Music Department

The Date Due Card in the pocket indi-

cates the date on or before which this

book should be returned to the Library.

Please do not remove cards from this

pocket.

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