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FREDERICK SELCH

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RULES A ae Pe 27 LESSONS

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ees Teacher of the Violoncello. Br et = hess O devus Lhocht, et dapibus SUPTCINE i pee | |

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The Second Edition .

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where may be had by the same Author ——————— Meg ZO ? The Art of Playing the German Flute en New Principles Price 10.6

Alto The School for the Gaman Flute — Part J" Yorty Scotch Aivy wih fingering markd for the I telonectle

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INTRODUCTION.

The entire body of Examples in the former edition, remain as they stood before,with the addition of a few remarks, and some corrections made. These examples compose what is in this edition, called the Appendix. To the historical dissertation on the invention and im. provement of stringed instruments;and to the geometrical and other minute explanations of the system of fingering, which preceded these examples, is now substituted a more simple ‘mode of explanation, illustrated by such pemilige examples, as it is hoped, will, besides all

the advantages of an easy, pleasing and progressive Prats aretealy unfold the theory of the general system with sufficient perspecuity. :

The first practice of this instrument, more than that of icy acer, is rendered dry,. and unentertaining to the Learner, and his progress greatly retarded by the want of lessons properly adapted for his private study, which, while they might entertain him by their beauty, and give him fresh stimulus by their variety, might at the same time,by their simplicity and a ~ judicious arrangement,be the means of his getting over the chief difficulties of the instrument.

With this view, the Author Uae presumed that the Learner will have a better means of judging of, and correcting his performanc e, by the practice and study of well known and fa vorite Airs, than by that of lessons or Sonatas, the time, accents, and meanings whereof must be to a beginner, to say the least, comparatively more obscure. Nor is it meant that his practice with a master or friend, should be confined to this: With such opportunities, the practice of the best music that can be procured, in every varicty of stile,in twothree or more parts, will be his surest and shortest road to excellence, There is indeed a refinement of tone and expression necessary to an elegant performance of melody or air, which can only be attained by being long coversant with a variety and progression of melodies, and the different expression which mark their characters. This, while it is one of the greatest. difficulties, is certainly the most valuable and best suited to. the powers of the instrament, and will also lead tothe possession of its other great property of fine and expressive accompaniment; for whence can be derived a better idea of what the latter should be, than from the study of melody itself?

A knowledge too, of the fundament al principles of harmony, will not only. contribute to the easier attainment of both air and avdompaniment, but will also discover properties and effects in this instrument, which will be a new and inexhaustible source of enter- tainment, distinct from the performance of any written music. As the author of the present treatise knows of no publication that even professes to teach, or apply these principles to the violoncello, the favorable reception the former edition of this work has met with, has encouraged him to hazard a still more arduous undertaking,in or. der to supply that want in some degree: and he will venture,in a short time,to submit

his labours to the publick on the study of harmony, or principles of thorough bass

zi

avd modulation, adapted to the violoncello, and on the study of melody from princi-

pli Sy

a ) ples, and the practice of the best vocal and instrumental airs progressively arranged.+ In the course of this intended work, the Author will have occasion to refer to the best publications in illustration of the principles, but more particularly to a selection of Duetts by the best masters, for the violin and violoncello,which will appear at the same time, comprehending a gradation of practice, from the easiest, to what may be considered as sufficiently difficult, and illustrative of the finger board, and of the fundamental passages, the principles whereof will be found in the former work. In this selection the fingering and bowing will be particularly attend ed to, and refer to the rules in the present treatises; and notices will be occasionally |

given of the authors whose compositions these duetts will enable the Learner to per.

form, as he proceeds in their practice,

“

The rules given in this treatise for tHe management. of the bow from S60 to S65. originated in the authors observations on the different modes of bowing, practised by the most eminent performers, not only on the- violoncello, but on: the violin, and in his own experience,during a period of twenty years ane practice,in teaching this involved part of the art; and he hopes that his description of the positions and movements of the Joints c: will, by the help of the drawings referred to, be intel — ligible to the Learner. The best authorities have been also aan eaves but he appre.

hends these movementsand positions have either been imperfe ctly explained, or have

altogether escaped observation. a

: + The first book of this work will be published in a Few months under the the tile of The School of the Violoncello, or anIntroduction to the study of Harmony and melody, consisting of cipls and practice &c, ‘ s prin. t nn eet oe bowing to Madam Syrmen. Itol; & English (t reston 97 Strane ) s trea ‘ , +a? : , r > ; F Strane, Simp rors r ti on the Division Viol or Viol da Gamba Lat: 4 Eng ; 1636, Aas meek esl asit shanset thea : b : ‘ rt os ;

or or P : d ; o- Seb if the violins Gern in, 2S Edition, Augsburg 1769.

The THEORY and PRACTICE of fingering the VIOLONCELLO. ° Of the POSITION of the INSTRUMENT and of the FINGERS.

$1. The greatest difficulty in the practice, as well as in the teaching of the Violin, Tenor, and Violoncello, more especially the latter, from its larger size, unfor- tunately occurs at the first outset. So many positions and movements of the hand, of the joints, and of the fingers; ae. all new to the Learner, must, according to the geperet practice, be put in action at one and the same time. The attention being divided between such a variety of movements, it is no wonder that many of them are altogether overlooked, and the worst habits imperceptibly formed. -If we add to this, that the

real principles or causes producing sounds of the best quality, on these instruments,

are all, excepting those relating to pitch or tune, very imperfectly or altogether un. known; it will not appear surprizing that such a diversity of effects are produced from this class of instruments, from sounds the most shocking and grating to the ear, to those that are tolcrably pleasing, yet still far short of those enchanting sounds that these instruments are known to be capable ofgiving. | .

$2. The experience however of every day gives me fresh conviction not only that excellence is attainable,but that the time generally thought. necessary to arrive at it, may be surprizingly shortened, by introducing more method-and simplification in the mode of practice, and by a more accurate enquiry into principles,and inte the diffe. rent causes which concur in forming pure sounds, and occasion a facility in their execution.

$3. The ‘mode of holding the instrument is far from being indifferent, and we see several ways adopted, which are exceptionable, from the obstructions they op- pose to good tone and a facility of execution. The position which in these respects possesses the greatest advantages, isthe following. The player sitting as forward as he can on a chair or stool, rather low, is to extend his left leg nearly as far as he can, so as not to rest solely on the heel, but with the foot flat on the ground; this is done in order to depress the left knee, which would otherwise oppose the proper action of the bow. The right knee must be extended a little outwards, soi as exactly to receive the Violoncello between both legs, the toes of the right foot being turned quite outwards, so that the Calf of that leg which will be perpendicular to the ground,may be pressed ‘avainst the upper rim or edge of the instrument, while the opposite lower edge is pressed against the lower part of the left thigh a very little above the knee, the upper

ein will thus project beyond the knee, and the bridge will be on a line withthe right knee,

a it is necessary the bow should pass on the fourth string in the direction rir’ nah ; wb at fig: 11 of the annexed plate, about three inches above the bridge; for if the in. strument be held lower,the bow must be drawn on that string in the direction of the dotted line d...bThe finger board should incline to the body and towards the left shonl- der, as at fig: 17.

SA. This position should be repeated several times till the Learner under, stand it perfectly well, and can keep the instrument steady; he may then proceed to apply the fingers of the left hand to the strings, after having prepared them to extend to the proper distances in the following manner. Let the fingers be bent into an arch like form; the first joint from their points should be nearly perpendicular 5 the Strings, Pretcha fore each other about an inch, so that the distance from the fore finger to the furthest edge of the little finger shall be nearly. four inches; the thumb Peeting without pressure on the back of the finger board ‘and lying at right angles withit, and not far advanced; but so that all the fingers may procecd from one string to another very exactly inthe same direction; see fig: 16. where such movement of

the fingers is expressed by the dotted lines, and by the lines at fig: 11. which are all at, right, angles with the strings. +

BBs

semitorie from each » other, which are the distances _expressed by the contiguous dotted

In this position of the hand,the fingers will be at the distance of a

fea and two of these form the distance or interval of a tone. The position at fig: 16 is perfectly calculated to measure the distance of a tone and a semitone, which in the

system of music,is universally called the interval of a minor or flat third and there fore we shall call this the MINOR positionin contr

adistinction to the position at fig: 17. which includes two whole tones, the interval of a major or sharp third; and there. fore called the MAJOR position, The position at fig: 18. formerly much in use, and originating probably from the position of the hand on the Violin

, on which it is indeed the best practicable

, is given as a beacon to avoid; the fingers tending to an oblique direction,as expressed by the dotted lines,

long practice,

S6.

it the distance of about three inches from the nut, let the

cannot he corrected without ve ry

which will be entirely avoided by adopting the other positions,

In this form, let the hand move across to thx

‘ fourth and largest string, and

first finger be put down will not he inter

red from this, that the ase fing the

distances ought to he marked oy ear, thi

St effe

the finger boerd, : id would he the m i i tual bar to its Iimprowe ; ment. ww) t* 1 ercise ir fod ind t { ; be ‘a - FB a | y x oO ane co recting S0unds

Produced, and in con Paring them with eweh orher,

Linger bogrd

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9 and pressed against the string; then keeping the second and third fingers bent and stretched at their due distances, press down the third finger on the string, but not the second, tho it may lic on it, afterwards press down the little finger at its proper

distance; this being done, ex, *e whether all the fingers and the whole hand have

kept their position; Compacl tt f with fig: 16. and correct any inaccuracy ;. ‘then pro ceed to aaa off the little finger, but still preserving its form and distance, and af terwards in the same manner take off the third and first fingers successively, and without quitting the thumb, endeavour to keep the fingers bent and separated as when on the string, at a very litte distance above it, very steadily for a few seconds; by this means they will acquire,in a short time, the accuracy of compasses; and the Learner may rest assured that a few minutes occupied in this, will greatly facilitate his future progress, and that he will thereby strengthen, and acquire a more accurate command of his fingers,than by an injudicious practice of several Remes $7. He may now inspect the first column of letters, c, d,e, f; at fig: 16.

the Violoncello being supposed to be in tune* and striking the open fourth string with the first finger of the right hand,as.on the harp or guitar, it will give C, the lowest sound of the instrument; the hand being now in the proper position and the first finger pressed down; the string struck as before will give the note d, as marked op. posite to that finger in fig: 16. and in like manner the third and fourth fingers will give the sounds e, and f; then moving the hand to the next string, which being struck open, it will give the note g, the first of the second column, and by putting down the first, third and fourth fingers successively, the remaining three notes a b and c, op- posite to these fingers will be produced. And thus we have the natural or diatonic

scale of C, as represented in musical notes in the two first bars of the following example.

Seale of @ Scale of D.

Shale of C.

Ae ATTN ¢ Z. string. | mean e =) eal meecua UU == | Ex: | : O-1—34 pire | sch pizzic ito. $s. Precisely in the same manner, and withthe same extension of fingers, the

remaining two scales in the above example are performe ‘d; that of G. on the third and second strings, and that of D. onthe second and first strings; the letters by which the notes are named are purposely omitted under the notes, that the learner may sooncr

attain the knowledge of their names without such assistance. See i Hage ih in the

—o + It may at firet be tuned to the A, dD, G, and Cy, of a harpsichord thus DIST = =: OF «

\Q second and third column of fig: 16. viz: g-a—be; a~b—c#d. The distance of a tone is marked

d_e—fte. And that of D, in the third and fourth column, viz: d—e-f *g; above by a short line between the figures or letters;and the semitonic interval, by an | omission of the line, thus a—b—c fd means,that two tones and a.semitone are to be

taken, O-1—34. And in order to read all the inte¥vals with certainty let the fol.

‘lowing inversion of the above scales be played pizzicato.

pizzicato

$9. The above notes are at the distances or intervals of fifths descending; and

sixths ascending, the former are taken by moving the same finger only to the next string, or by placing the finger across both strings at the same time; but this way is not so ‘practicable for the third finger. The Learner may observe_at xx, that all notes in'the spaces are taken with the first, or fourth finger, while those on the lines are the open strings, or taken with the third finger. Such observations, snsoctatian the idea of the writ. ten characters with that of their places on the finger board, will prevent many mistakes, and tend to an early and perfect knowledge of the musical system, and of its execution on the instrament; there being in fact nothing throughout to be learnt, but intervals or distances, that is the situation of one note with respect to the foregoing,or follaowinghich are to be taken with the least possible change of position or unnecessary lifting up of the fingers, even in Passing from one string to another, for instance, in the share example# x y the first finger is to remain on the fourth string, whilst the third is strtchd from it one tone, and goes on the third string,and afterwards on the fourth; where it ié to remain whilst the little finger goes to the semitonic distance on the third, and so of the others, $10. The Learner after having understood in what manner he is to hold and manage the bow as particularly directed under its proper hea oe ceed to the following example of an easy french ae oe ae ee air, and above it,the same air is given in unison in the treble clef * a ee have it played on the violin, flute. or piano forte, while h ah, 25 sins 7 , , "he plays the bass to it, observing

. a g

accurately one, two; about the time of a moderate step in marching or w 1ki 1 ny aking. In

la'vd ey plaving the air by himself he may at first take the more simple and longer not d es, an

Pe

to obese Tve that the notes of T ‘ 1 sh rt rT than th ae rf the Tr ’ ‘ ’ the ba ‘ y a e to be i pla "ee ‘ 0 © oO ‘ 4. 4 ai \ 1 to 67 . 7

i

ll] order to separate them from each other by a sensible stop, and accenting each, not unlike the pizzicato abovementioned. This manner of playing notes is meant by the technical term, Staccato, The notes of the air, on the contrary are to be played full, and connected, in the manner of singing, without any separation or stop whatever, except at the double bars, or at the end of shorter musical phrases or newts g) such , as take place at the stars, where some short stop: is necessary; and expressed merely by shortning the last note of such periods, and stopping the remainder of its length,

as in the staccato of the bass, so thatthe first note of the following phrase may

begin exactly in time.

French A

Violin or Flute.

Violoncello.

Bass.

ae a ——— ere er et Tee te Fe a He Se a Be

ee tee i <a oe a tt BO SL, i, SS AY OR ae a Re A a Pa

OF ee ae OO ea OR ca

‘$11. It will have occurred to the learner that no use has hitherto been made of the second finger; the following scale will show, in the second octave, whichis merely a repetition of the intervals of the first, that the semitonic ititervals ef, and bc, which’ in the lower octave were taken with the fourth finger, must in the upper octave be ta-

ken with the second finger.

: 20-1-34 4-0-—-12—4-0 -12 434 On 1 = 7 k-a—be c-d—ef —g-a—bc c-d—e

Ex: 4. Extended Scale of C,

gd octave. ~

\2 |

$12. Thus the rule will always be in fingering the key of C, for the two lower strings the first third and fourth fingers 1-34, and for the two upper strings the first second and fourth fingers 12-4. The first of these positions will be hereafter occa sionally distinguished from the second by the name of the FIRST MINOR POSITION, and the second will be called the SECOND MINOR POSITION. The position of the hand

fig: 16. is equally well adapted for both these varieties of a minor third. The following

example may be taken as an exercise.

Saree BERS es set. — — 8 tt oo oo oo on == “ ea ee eg te Eee a a0 a

pm i | ie al &.

er ail Bt ws ac me es es fori i ry mame) ee. ee oa

i= >a +

| ii! Ble — a _— =

This may be played in any given quickness, but always so as to be erniseeeity, conducted

to the end in the time in which it is begun, and it may be gradually encreased as it becomes

easy by practice, to the quickness at x, and y.

$13. It may be observed of the three scales Ex: 1; that each octave consists

‘of two bars, which divide it into two similar Parts or tetrachords, of four notes each the intervals of which equally consisting of two tones and a semitones: and that the

fingering and intervals of the three scales of C, G,and D, there given, are exactly alike

notwithstand of the sharp (#) on F, at the clef or signature of the scale of G; and of the

two sharps #f and #c, at that of the scale of D. The reason of this being once clearly

understood by the Learner, he will see that all keys in the musical system, are in fact,on!

transposed or artificial scales, similar to, and consisting: of like intervals with the natura!

diatonic scale, whatever sharps (#) or flats (b)

what manner these flats and sharps arise

»y 14, That the second bar or tetrachord of the scale of C, Ex: 1 the same with the

may be at the clef of any given key. In

» may be known by considering,

- is pre cisely

first tetrachord of the next scale of G, as expressed’ by the dotted lines under the third bar of that example;

but that the second tetrachord of G, d_ e—#fg, is not the d_ef_g of the scale of C, nor can a semitone take place in that part of a second tetrachord of any scale:

with a view therefore to enlarge that semitonic interval to a

13

whole tonc, and of the last tone to'make a semitone, the f is brought forward or sharpened a semitone, d-c—gfg the f, thus taking the appellation of f sharp ¢s) which being marked | at the clef becomes the signature of the key of G. Now f being the fourth note from C; and.G, the new key being consequently its fifth acdiete ge this General inference may be drawn, that the fourth of a scale being made sharp or raised a semitone, makes a transition or modulation into a key which is the fifth ascending to the former key; as from C to G. and consequently the vo of the latter, being made g_a—b—#c will make a change or modulation of the scale of G,into that of D, its fifth ascending having this #c, with the former # f sharp at the clef, as at Ex: 1. Tit the same manner the keys of A,E, B, F#, and ce, will have respectively, three, four, five, six and seven sharps,as in the inverse order of these keys in the next example. $15. On the other hand,if we consider the scales, as those of Es; 1. in a re.

trograde orcer D, G,C, which is that of fifths descending, we shall find the difference of their signatures, or their transitions or mod tlaione by fifths descending to arise from the seventh interval of one key being flattened or lowered a semitone, from its natural place, as in the second tetrachord of D descending, dc#—b—a, being made d_cbh—a and this flattened seventh C, becomes a proper fourth to the next scale of G,as g-a_be; for its first tetrachord; the other tetrachord or first bar of D, d_e_#fg remaining as before, will constitute the second tetrachord of G. Now thigylatening of the seventh, which is well expressed, by the natural mark (4) or by an omission of the sharp character (4) when it has stood at the clef, must be differently expressed, erhiett there has been previously no such character, as at the scale of C, Ex: 1. The seventh of that scale, which stands in the second tetrachord b natural, oer een will be flat. tened by removing it a semitone nearer to the sixth, which is expressed by another character called a flat (b) and the b natural or the seventh of the scale,becomes b flat or the fourth of the next scale of F. rae fifth descending fromC, forming its first tetrachord f—eg—ab>, whilst its Faecond will be the c—d—ef, of the former scale,which seventh e, will be flattened to a for the next scale of B>. the a of which will in its turn be made a flat for the scale of Eb as at N° 6, 11, 4, &c, of the following example.

and thus the rule for flats as well as sharpsin keys descending by fifths, will be one flat

lk

more, or one sharp less than the foregoing key, as will be seen in the following sig~ natures of the twelve major and minor keys of the system.

Ex: 6.

$16. The numbers 1, 6, 11, &c. refer to the order of the semitones inthe octave

of the following Example, whereof the seven diatonic intervals are expressed in letters, and the places of the remaining five semitones are expressed by the figures 2,4, 7,9 and 11, placed about the middle of each of the tones, and these take their names according as the tone to the right is to be flattened, or that to the left sharpened: the interval 2 for instance of 4 <8 4 : if c is to be raised,it must be called c#,if d is to be depressed,it must be called db.

EX: 7

AGS 4 5 16:27 a9? 40 at AD Ag een Pee e's hi) Gide

§ 17, The key of C, Ex: 4 is the only one which has hitherto been extended beyond one oc.

tave. The keys of F, Bb &c, will for the present be postponed, and those of G and D, of which one octave

has already been:explained in Ex: 1, will be extended to a second octave, and several examples given for the practice of each. Extended Scale of G.

yee: oi or thus in the DOWER Shee Second octave. tenor clef 1 seg aes

6 we we pf} ’ i

g—a—bc—d-e_fg §—a—bc—d—e_fg | Bic Ones Z- ben LS 4 a ep S 18, The key or scale of G, compared with that of C, has its first tetrachord of each octave the same with the second tetrachord of C, Ex: 4. andin its second there is only one note different which is the #f or seventh of the above scale: Compared to the scale of D, its second tetrachord contains the same intervals with the first of D, de_#fg. And its second differs only from Nel the c being natural &—a—bc, while that of the scale of D is sharp, a_b_#ed,. é 9, In the second octave,the hand in its position, will not reach beyond d; and fur the remaining three notes the hand must be shifted, or brought down; resting on the rim Of the bas, which by fig: where #f is situated,and the next semitone

therefore extended a little beyond the rim form of the hand at N® 18 StInposed to

16 appears to be betwixt the dotted lines of G: the fourth finger must he and the other © P © n.

rere } mete rs will be nearly in thy be brought down to the vim af

15

© the bass. The last tetrachord d—e ~#fg is repeated in an additional bar in the tenor clef, tg accus.

7

tom the learner to read notes in that clef, whith is used to avoid the multiplicity of lines which the

continuance of the bass clef would occasion;

explained hereafter,

will be further

—#fg,

but the tenor clef and the shift e and in the mean time the following examples may be practised with or without

the accompaniment of a violin,

flute, or piano forte as mentioned above,

At x in this example,the upper note d, may be taken at first instead of the lower #f, for the taking

of which on the fourth string the fourth finger. must be extended a semitone from its usual

oloncello

Vi

§

ease and simplicity withthe above are

which will be more explained in the extended. scale of D

Many basses and melodies of equal

$20

to be found in our collections_of church music.® and in the basses of Glees, which may be

practised with very little further knowledge of fingering.

position on f natural

loncello.

Flute &c, °

Violin

Vi

NS

160 pealm and hymn tunes in four parts price 4.

Britioh poaimody of

tor WN? 97 Strand.

oid by Pere 7

te veticalarly tn Willismes

at first withthe open string and

the notes may be taken

16

eater refinement and expression,

At the places marked @.---

d afterwards with gr

the common fingering of the scale, an

HI¥FT.

hereafter under the head of the HALF §S

as Will be very particularly mentioned

De Zede.

R DE JULIE.

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Mikes 46. 606 ue: .e4.0e

ST * a SS TE Ew OT

= ae ee ~

i. OS rit am aes

PP Bi” 2 a Pom Wh tea ‘mere

esrefer to the manner of taking? them on the half shift and may be taken in the mean time without shifting the han

Ata..... the figures under the not

those aboveth

d.

e notes show how they

: T ' ai! ; ' ‘a e

oa

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pt es a we some

OHO, -. . @8 aa.

L fit

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T_T ho tr bet te il +H , . . . as RO Ee Ce bee ek .

— LS L/ ; =

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accato se @

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A A al SO ee

her Pat

SPS SS lt at SS a A PS a ee) \ ew BSR ee 8 eed Dee 6 Ae oe eee 2 ee ee 2 ee ee eee _

ele eee ee

+ SE se SY es SB Oc wa. oe ou ay en a oe WH Wt BA lar ~~ ~wea | | lea @TVli Ts A Fol meee 3 Ae SP see A ee

aA a a fr hah AS 1 me ees Pe er i mB Smt tite oe WW PE Se 2 ee oy ee ee ee ee ee oe Soe eet Re a ee ee ae ee rm eee = Se ee es es _.iT Bn TE bm... =e oT @ — tee

Lo og a et ia orn m CT 2 Eo" ba ae oe ae ee ee wep we

a) i

- rt k nl — ee: ae Me | lh CM, le a ee tt lel he ee —_" een — nae Og Oe

At x, the three notes e, may be taken with the fourth finger by advancing the hand the

distance of one tone at a.....the bc#—d# form a major third in the half shift on the

third string and at b..... the notes may be taken at first the Common way, and afterwards

on the whole shift, both which shifts will be afterwards fully explained.

. Of the MAJOR POSITION, or extension of the fingers

for a major third.

$21. This position has been mentioned above 55, but his not been hitherto required in practice. the major thirds c_d—e, of the fourth string; g—a—b, of the third; ditex#f of the second; and a—b—#c, of the first string being all taken by the open string, the first and third finger O—1—3; but in all other cases of two whole tones, not beginning with the open string, as die—ff of the fourth string; the first and second fingers must be separated to the distance of a little more than two inches; and the extension of the first from the fourth finger will be nearly five inches, divi ded by the second finger into two equal parts as at fig: 17.

$22. This position is there supposed to be taken on the major third beled; and will best explain the manner in which it may be compared with and derived from the minor position at fig: 16. The latter position may be supposed to be on the minor third foc d taken 124: which being enlarged to the major third bbc _d, the second and fourth fingers will remain the same distance in both positions,while the first finger is to be stretched in an oblique direction backwards, and will only enable the performer whose fingers are of a moderate length, to stop the string with the edge of the first finger that is next the thumb, as at the figure.

$ 23. In the following scale of D, the d—e—#f, of the fourth string, and a—b—#c of the third, require the major position, on both these strings,and. the minor position as before on the first and second string. and it will be right

to sgund the open string d, in order to ascertain the place of the first finger

at the beginning of the scale. Ex: 13. Extended scale of D.

NATE _ 1°. Octave. 1-2: @ ef y: Rae Et a — ery i

LC . (ores s Cat ait

back shift.

tl | Pi la Ch OONEEET SCE hia Fesioe a

tet Bo er i i ran

1 ee

Ww Deas as

§$ 24. . 2 which being a repetition of d_e—#f on the fourth string, must be taken with nearly the same exten.

42279 1.24

At b..... there is a further extension of the scale,

sion of fingers in a major position, the fourth finger being extended very near to

the rim of the instrument; this part of the finger board is called the whole shift, which

will be afterwards more fully explained with a variety of examples. At x. is shown h ’ m how

,» and taking d with the This part of the finger board

#c is taken on the fourth string, by shifting the hand backwards second finger, which will place the first finger on He

is generally called the back shift, it is occasionally used on all the strings and th ’ c

position is always minor 1 9a4, as $c de at y

19

S 25. In the second octave of the above, there is marked over both te. trachords 123, and below them the former fingering 134 of Ex: 1. both these methods are adopted in practice, and it is not easy to say how soon the Learner should begin to practice the former, as it “depends on the facility with which he can stretch his fingers, and circumstances may even make it unadvisable for him to do it at any time, since it cannot be denied that very good performers never use this mode | of fingering in the lower part of the instrument. It gives however many advantages in point of accuracy in crossing the strings, where octaves fourths and false fifths occur; tho it be granted that on one string 1-34, will take a minor third, in any

part of the instrument not beyond the rim, as well as 123.:

‘ a. ‘i ; ~ } = A yous \ on

oi

Of the HALF SHIFT. «

§ 26. When five following notes ascending, beginning with an open string, are to be taken on one string, the hand must quit its position after the first two notes, and advance one tone on the finger board, the three remaining notes will then be on the half shift. Thus a—b—#cd—e of the first string,is taken w—b-~in the ordinary position, and #cd_e ina second minor position on the half shift: d-e-—#fg—a

will have #fg_a on the same shift on the second string, and so of the third and fourth strings. £ us

1’ string. gt string. TEs 4!) string, a To : | ;

ee

Beecs Aeeee ‘ Weve s o-1-

‘

12—* Bets

Of the WHOLE SHIFT.

$ 27. When five notes gradually ascending and beginning, with the first finger, are to be taken onone string, the hand must quit its position after the first two notes, and advance one tone on the finger board, the three remaining notes will be on the whole shift. Thus d_e-#f g_a, the first five notes of Ex: 13. taken on the fourth string,will be d—e in the ordinary position, and #f g—a,in a second minor, on the whole shift. And as the first five notes of the scale of D, are thus taken on the fourth string; so will the first five notes of the key of A, be taken in the same manner on the third string; and —

of the keys of E,and B, on the second and first strings, as in the following example. And

20

in order to shew that all keys consist of the same intervals or distances, differing only in the key or note which begins their scales, there is subjoined the four keys of Db, Ad, Eb, and Bb, which must be taken in the same manner, the only real mechanical difference consisting in the latter keys being a semitone flatter or nearer the nut,in all their in-

tervals,than the former, yet the place of the last three notes, is called the whole shift in both.

ath string. dts 24 string, 7+

Ex?:16.

$28. The half and whole shifts {farm such ann essential part of the finger board, that very little can be done, without the ready use of them; they ought to be well characterized in themselves, and distinguished from ech other, before the Learner proceed to the practice of them in a varicty of Airs which will be immediately given. And First as to the half shift let the four open strings be the fundamental sound, Which is to es_ tablish the tune or pitch of two others, its third, and fifth, to be taken onthe same string in the half shift, with the first and fourth fingers: these being the most natural succéssion of sounds, and generally taken by the voice to ascertain andfix any giv eti key; to these three sounds may be added a fotirth which will be the )

octave of the first dr fundamental sound}

and will be\tikenwith the second finger on the next string, as g. é at, If the intervals

are taken in tune the octave will sound a sixth with the third of the key, that is the

and the octave ought also to be well in tune with the fundamental or open string, as in the following proof,

second finger and the first,

Intervals of the perfect chord of C. of G. of D, of A,

Proofin D.

014 2 41 4. oro

§ 29, At x, x

below may be used: In the

» X, instead of the open string the fourth finger on the stripe

. s same manner the fundamental sound being taken with the first finger, its third and fifth will be

on the same string in the whole shift, and

its octave will be taken with the second finger on the next

: string. and this equally in sharps, as before in Ex; 16, .

in flats as

Intervals of the of E. ; Perfect chord o! of D. of A. ana

Ex: 18.

$30. The appearance of two or more notes, if properly considered, will exhibit certain characteristic marks, by. which it may be easily seen whether they are to be taken on the half or whole shift. For instance, if we inspect the above examples — ~ we shall see that notes cut by the lines characterise the former, and motes trithe spaces or above the lines, characterise the latter: in other words the half shift taken separately on each string, will have the first and fourth finger on notes cut by the lines, and the second finger on that. dn the intermediate space; On the contrary the whole‘ shift has the first and fourth finger on notes in the spaces and the second finger on one cut by the intermdiate line. Notes placed from line to line, or from space to space equally express the interval of> a third, whether the third lies on the same string (1-4) or ascends or descends to the next | string : the next two thirds in succession will be fifths to the first two and consequently taken with the same fingers (si 4)" see $9, and- ‘Ex: 2. Y ‘This will appear more evidently’ by recapitulating the above examples, and comparing ‘their characters together. igh SHIFT. ig WHGLE' SHIFT. ing. river gt string. 24 string:

oS | 1

Ry é i here used to point out the half shift,and b....the whole shift. A little use will render these characteristicts familiar even in cases where a mul. tiplicity of notes make their limits less easily defined; in the mean time examine N°? 80 Appendix, at the letters a and b, and N26Q9 append: at g, and h, for the half shift, and i,k 1 m, for the whole shift, and in general in the following examples at a.... for the former and b.... for the latter. With these observations the Learner may proceed to the

practice first of the half shift, and afterwerds to that of the whole shift, in the following examples.

22

Violin or Flute.

Violonc:

— j = = Le eo ome panera nras ere er ee eee Ce ed a—- Al. x. aa —t - ee ee SV PC or eer ee | y.¢. (5. £11 Prt As Bau memes Oy = SE Lf ot con we one ee were ee EE aT ee ' ; = eR “Lae ES Et SETI ae BE rwerw mr OPS a me ere + : tp }-+— }—$—_}-—_+- — ee ee Ne OU ER b ’ p bm i i '

[a Sa eee Ame iow Ss x) mre a

=a

Ae Of oe ee ee oe ot Te a su oe ee 8 2 ee ee a ee

; -¢ S31. In the examples hitherto given of the h

alf shift, the position hasbeen a second key of D, on the first and second strings: —a on the latter. but in keys where the in.

minor 12—4 and this will remain a standing rule in the the intervals being #cod—e,on the former, and tf ¢

terval enlarges to a major third, as fo-d—e, or to a first minor as $c-ide the

become 1-2—4 or 134. which are all the varieties that will generally occur in the three contiguous thirds, as the diminished third tcdep

, to have been previously pl

fingering will intervals of (taken 123, or 234 as the fingers happen rs, and consists in fact, but of the in. of G. the half shift will be c—diie or a

or a second minor as before on the secand string.

ac ed) but very seldom occu terval of a whole tone, as Scu$d. In the key

major position on the first, but still $feoia,

Violin

-or Flute. a sail . 8 NS SS ES NS A ES NS GS 25 So on oe | . ere A AU A oe Le FEO Meee Se MO aS See! MS es J . LS PRR ne Pe By eee eee SiS Tee nasal Sf. 6° © S) € (Se 25 S28 2) Sh Be De ee ee eee oe m@ a a | Basso. (ree ee eee E

<e = . = =

Se pS 3 9. 3S So Sl Li AS ee ee ee 2 dl aa SA Ngan, - oe ey Sl. “TS Sn oe oe Pe ee a ee ee Seek Gy Berne Le ae ee i oe

5 LS; LAT ATT i a "fat Re Cas Sie Ea Wl ies Fon) Eee De Gem BORE Rg LS

ES as See AO COE Benes ees |

see © Aas <a hs 7s

Com apt! mf] Pl, | Pal... £als.__-a,| on om ons Hf FE i S| Peps Os, | ee oe eee ie ee et See) GS Be ae i oP “QE Ee eee) a a ee oe eee. —~ || ae | +t gt pt *

a [ih ea Tee Ral a nal MER 2” @ | pe) ETO §

$32. In the following examples of the whole shift, it forms a major position,

as in the extended scale of D. Ex.13. and it ought to be observed thatthis shift is always major,on the first and second strings, both on the keys of D and G. as above at bo... e, d—e_4#f, and g—a—b being both major thirds. In other keys it is a minor, as will

afterwards appear in the examples to be given on different keys, and in the following

the half shift will also frequently occur.

+ See the ady mntage of this Fing¢ ring §25 und Bx? 14.

Deine b*0 ioe

As’ down on Banna’s banks.

et ee |

Jo ee en __|

25.

EX

— 2.3 8-4 G

I Winteate & arate otk

Ee i]

q

i]

'

!

Ps 0 6/e:4..000

sfucc

and

pis no

~~ laa) | Filia eee ere eek Pere Pt re la 22 2 hm Lae” ee | 2 - Ceol eS le _ ne

a i a = 2

ur a

. ’

$33. ' The four bars inf the above example in the tenor clef are to be played on the half and whole shifts, like the similar four bars which begin the example, but on the first string instead of the second, the characteristic marks of lines ang spaces ap- plying equally to the tenor as to the bass clef, the former being in all positions of the hand a fifth that is one string higher than the latter, as will appear from the following comparison of the same notes written in both clefs.

Var: 2. Ex: 12.

Ex: 27. ScaleofD., q ca de An Pa, oe Sa ee Wathtan, Ware eiiel ier. eee eA Tenor. (44 — oe eH RS ro a Te oA a =e | awe | 5 eee | Tc A” ec SR RE, inf De, 1 Oe Le defg abcd 121240 1.2—4 G 1.34 1 421 Aeeveve Dis suas Aeevee : fr eat eo - of , ‘T Re. @ « $$» 0 ee ee Pept Settee et Bass. poy es it tt —+}—+ + ; a. : SS | cee aman anal a pt pp hp ' a a 1 J Ht QBeeeere ese2e@ | Aeeese $34. The next shift which it will be necessary to know and practice, is that

of G. which is the semitone next above #f on the whole shift: it has already been ex plained above $19. and Ex: 8. The two following examples in which it is a first minor position, will show that its situation on the finger board, by the hands resting onthe side of the instrument,is better defined than either of the preceding shifts, And it may be also observed that this position when it is a tone and semitone or first minor, may be also fingered 1-23 (S25) but in that case the hand must be placed a little mote to the left . so that the third finger may go from the rim in the direction of the dotted lines, to g, fig: 16,

but the other position is by much the easiest and most certain at first.

1r.

French A

28.

EX

Tes 2 elt wi ofth Hy: a it line Hike =| io TTT et * } ‘> an Ao = LPB ar Sh wing | aL, HH #0 “an i. rit i . He. its as a: Ht ole} TH Ls hf ici il 5 | i il aT iil i el aay ’ T| ll § yas eH aie A mH HT aa at ast a i TTT : et * He HH guidt : o ie at bai nea fy Rag A RA Sl : [: TT 2 LT 21 tt 9th eH 2 » | | fas ity: \'. HLL: fel S Ht Se a IST eu! WW? Bey Z TH ett | dtr tir Sale | + 4 len HO dll ‘ al 4 fed i i i ‘en aS Ht TSA WA VS SAL all iti | SSA rT Ty Stare il il H etttt HW SE / ° v = meee mie S TH Nae | =i Ht. eft} = i ° aT THE :¢ SE) = rl Wi o Rae ar? a 2 cat g 4 To Say & iat at a ma ie ( | |g ; sit ee are BES PR . ‘a8 “85. a al] : it wy EN | Bene a | — . : s t mit Ill ot uy ) ° ee eS 5 3 < ai (ait * - 5 - 188

— 21 < - $35. * The next position of the hand on the finger board is that of placing the third finger on a, by moving the hand still more to the left,on the side of the instrument:

so that the finger being at x, fig: 16 may pass in the direction of the dotted lines on a,

In the key of D, it forms with the #f and g,a second minor 123 as at A..... in is

following example, but at h, being unconnected in a position with other motes, it may be taken as an harmonic, that is, the finger laid lightly on the string Without trsentne- it down on the finger board, whilst es bow is drawn with its usual pressure.

EX: 31. French Air.. - Duett.

Violin or Flute.

Violonc: yee

Violonc:

ft ra eA 9-9-S ee ae Oe ee @ ee | ee 2) ol ol eS 2] ans Par Sate) (et SE a Sl ed ae en (RAS (el POE Ae ere Ry ERS OT i rae 5 EE eA, GeeeAeee aes Se ie Ri eae i REDE Riot i ic ts

ial 2 «2 | & | | og as 22 2) a) al ee eee | OC OS eee ae ae sr | Pe eee ee

a fom J

B.S) Ae 7 ae A Ee ee ees |

atl SS A Ce a a ee ol Qe See OS oe ee eed Bee oe es Le el ee Sa FS Fae oo eo TS SLC. i Se GETS, NERS A” cee wel |b

4 4 om. ee AS ar No ee ~

Gee ee

3 In the key of A, the Sasticn: is a first minor as will appear in the os 5

Ex: 32. Scale of A. Jet t it str

§ 36 . The tcd—e, of the second octave, forms a second minor on the half shift, if they are to be slurr’d as marked, but in any other case, the inconvenience of taking two following notes with the same finger, is avoided by the other and better mode of not shifting the hand till after c— then d—e on the whole shift. The last four bars contain the second octave on a thumb position, that is the thumb on the key, and its fifth note e, at x. x. which may be either placed originally,on these notes or after the ascending scale has been made on the first string in eithet of the two modes just mentioned; the manner of ascending on the second string, is afterwards shown at b A.. + where the second finger on a, whole shift, is followed by b— ¢cd,on the position A, then the thumb is to be placed one on the first string, followed by the 1—23 fingers on tf — tga, opposite to b—ted on the second string, The last two bars contain the de scend ing scale without quitting the position. The following example will show the advantage of taking the thumb position, and b—#ced onthe sbcondcsttings)

Violonc: yme Violonc

we

. eso

hig

-

. x

Pty a oh Som eRe -_ | - w ar) 7 Seapsg ° Ste tare 75 oO Sic BB ee rt MOS SG a Ae eh So owe he ERY B) oe avn” I] ge272E. MO x E ke @ % & of a } oF oO Big on * i ep es oe & be P || i on Ook nm — > ~ & Or 6 0 ¥ oe Sates . Hil ~ OO 0 = ai SO Ss eH ot BR Bo, 2? & | | | = ww we 3 | Se OSH OL YL] Seer ed ar il Oy 4 Fig Py Servs o sg p| | ee ose F SE A ae = Til] 223 83s 3 Mit eee weet ceie ow al q 8) Se 2 Ne a, Ce w CERS Eo a= a i a> le ) ae. Ge i] Sim Ev c ps ~~ + Soa ali Berm SB 3 & 0 OF » a) I Baw KA RD wi» 0.9.8) S's fl a3 hee a «O te iit S's © © F wo o S oO = <3 asegkas oe eee 2eoes es be 2a | ae EEO S _ a, ° >i * nog F Ze a HH]. Bu Me wt OO. & o © % © es _ LT asa ant Ake PE EPG bi ce ees le) seca e +

b.

jor ga

be ama

20. Duett.

>a |

Hheee J all —

Transposition of the French Air Ex:

34,

EX

29

tL. a it Hs ‘ s ™~. ‘ use “. “ath St Y Aa pi All vill? (Be Hil Ae: la HT: ga? Ht qi: wll Anaapady aan (SF © es aan ‘ att he: Ih Halles {Hf om? - /eln * eth - IO | a wle te nie - TPR ie aE F VI] ° an ta so 3 ITT an: 1H) pT — tbe LAE Cary sett ay! ° HI : te iT tT a : res ti. Ut |eo te TH RS. SHH (ai a lis (mil {it TT) ° ; IT lg ft +} Hl. es Ny LT (SITS - if HY UP: 2 Tu ua tt ° ey. He: gill: 2 A) Ge I tg) Ht ey a pata | i TH ih ag 2 8 pe , all ALL aay ain elie : TT +, Jif | et | : ) TG | oe 4 il THT . Nellb] = line soci ai : Vili (et a il =| il il ll a el 2 20 EOap 2 Mi | Ho tty Sm SN TUL: Gi A Tin nT eT ALI] Xf lore Hila. [al Urge TL 4 lil tHi= 2 eth il) TT 4° a | Tt 9 TT a tg ‘Tn + ° il tibiae) {Tie 99 HH le f sll ; n° Mahe: ot : aie Hts: Aa 1 OE die te a ae 1 te “| is ie Ae TT “Hil ain | : TT + Hh RN KE : it «o |W ! | || ° oe | il Wr. aT Se ear he HH) It Nts Sie | i : Cpa ae HI) — Peg Ne

‘ “

“ee $38. It will now be proper to introduce the most usual keys which have flats at the clef,in the order given at Ex: 6. And beginning with that of F, it will eatin’ hy $15, that the seventh of the preceding scale of C, Ex: 6 and 4 being flattened a semi r~ will become in the key of F, bb, and constitute the fourth of that key, andin like manner arise the eb and ab of the keys of B> and Eb, | .

“3 ‘ Extended toG. toA, and to BD. Ex: .36.° Scale of F.

a ae

Ex: 37. Scale of Bb.

124.1833 3.2 1 x: 8a 0o12- : bitee Bb... Bb.. . >

Ex: 38.

Scale of Eb. = ee , 24 string

@ [3] —— j 3 41-34 12122401 2a eee ; QAO 1 Ds eon Deere eeo-s Gr éxi teh $39. It is to be remarked of the first of the above three scales that of K .

that on the second and third strings the position is second minor, ef_g, and ab—c, and on the first string it is amajor, bb—c—d,. : Of the scale or key of Bb that on the third, and fourth:strings the position is second minor, abp—c, and deb -f,and on the first and second strings, it is major, bp_-c—d, and ebuf_g,: And lastly that . in the scale or key of Eb, the fourth string only is second minor, and the other three strings have a major position, bbc_d, eb_fig, and ap_b—c. -

Two examples follow in Bb, as the easiest, and nearest connected with, the other two keys,

Violin.

Violonc: ee

Violonc;:

‘ae F | | . eI EX: 40. God save the King. transposed a third higher from G to Bb.

Violin oes T= eae! Seanien . or Flute. : ———a = Violoncello

é Daf HBG Jha ap P__- 8 =.e fae | Si

a Ei DET BSS

rt) Itt) Smale | [ells Plrae | at

@ eT] OT, \Birlil tit i lak!

tom ll | ed ee Le oe ames

rT itt ‘tele

The positions in the above examples will receive further elucidation from the following Analysis,and subsequent examples. | S40. The key of E> in its second octave, precludes the use of the open first string, which is a semitone sharper than the ab sof that scale, and this ab, as it may be com. bined with the preceding or following notes, as fFogab, gab_b), ay— bb—c, render three shifts necessary on the second string. viz: two successive minor, and one major position; This leads to the analysis of a scale into all the, positions by thirds thatit can produce, which will give a general rule for fingering in all keys, distinguishing what

positions will be major or minor... Ex: 42. in E. a

mayor

Phe Oty Beal ay ud) d,s ID st“ of i major ay A st major * 1. minor #979" — : L.minor

7. anbtliaasr, peri TY F301 2a we ee as On ee Pe a a 0 OT eee eee Ll

2.minor

Ex: 41. in EbDE*':

t

Second string.

’

‘

First string.

Fourth string.

ba trax ehilt<s > «

§ A : And in like manner the twelve major keys of the system Ex:6. are resolvable into \ . . . ec . , seven positions of thirds,in the above and following order, 1 major, 2 first minor,3 second minor,Amajor, 5 major, 6 first minor, 7 second minor, of the octave that its 1,2,and 3¢ positions or thirds, have exactly opposite

and it is a remarkable propert ir ' enh: iesk alee 5 G6. and 7 positions, the positions of the next cota + "9

to each onthe next string similar thirds, for its «

32 ie are of the same nature and properties with those of a el as aehat Arote pple “Eamets were HaNidd Lethe otasel in N? 68 two octaves in the key o 7 SE diate tate h as great facility by means of this analysis as cura r ke Pa different keys compared with each other will further illustrate t how the application of the Analysis,and its utility in practice.

seven sharps, it may be taken wit The following example of three analogy between the bass and tenor clef, and s

EX: 45. God savethe King. in B), Eb, and BA ia . aT *. ecerneF 2

OS RR 5) Ra a we be " mene + Ee? ont & Se we] |) et eS OS AY mL ea SI = Rew .4) £4 AE + ee 0 ot ot tee | anes a1 TL TL Le | eed aes aes ree |e ae

Late

Cee. | 7 Balt "ta |e Pri rts a ay A le eg Oe ae ee, BOW 22s we

Ne

‘Me ‘ k D A 7 * a So vin Olt PEE SF ae a a t.4: ares tv E -* eae re, =F — o— sg 2 | ee | an wf Pee 2 eee

— Mate ga" 2s i, X- aa. athe me seedy Ae ® : bees. él A pean OLS nee P|

A a el eS oo 5 PR a ee 2 STS Se eS re 2 See ee ee ee ae Ss Pe Se

ee @ Da%

A: b S42: The only difference in the fingering of the three keys is irithe second and fifthbars in the key of E, in which the open string cannot be taken as in the two others where it forms the semitone wanted, and in the close or last bar but one, where the open string a,which cannotbe taken. in the key of E>, makes the former in that instance easier than the latter,tho it is a much more intricate and difficult key in its first octave, as will appear from the following analysis, and N°.°74 and 83 Appendix.

a8 string om

EX: 46, The position of the lower octave of E. minor oN o~

eo 8: 8° @ 6. ac'F €¢' ‘®

3d string

bh. | shift

§ 43. 18 The following examples will show the manner in which passages may be resolved into the above positions on the first string, and lead to a thumb position,-and may also serve to show that different keys have similar fingering, because the intervals are similar.

EX: 47, -In Bb. 1 Min: 2 Min: Maj}: Maj : Min:

rw 3.40 | ef eo et te Re = | Teo H SS — —— eee : " ‘ : Oe OF De LS Se — aes Ss Ses : { ; ‘ . . * ee . wo» & . * > . . . . . * ae . LN ra I n C ’ Sy - dad ; aie, ~~ —

at —3 re 520m 25.4 5.208 A0ee zene : + a lat +3 PP tt ot tot ee LE diventenalll : Saas < eed th tel totem fries f hiendiindlin ems << —_—_ so ==

. 33

S4Ak. The different shifts are distinguished, and tho’ they may appear different in each of the three examples,there isin reality but one general idea for the three keys viz: six positions in the order marked, and it must be observed that at cc the thumb is to be placed on the finger board at its proper distance of one tone behind the first finger, and in Ex: 49 it is to move on the finger board withthe other fingers, preserving its distance so as to be in its place in the beginning of the last bar but one.

Of the THUMB. POSITIONS.

S45. In the three last examples and Ex: 40. this position has been introduced in the keys of D,C, and Bb. and in Ex: 32 and 33 in that of A. In the scale of the latter key the mode of its introduction has been more particularly mentioned; and as in all the foregoing instances, so in every other,the fingering ascending,must terminate in the position 1— 23 when it is to form a scale of any key; for by affixing to that interval

the thumb, the last or first tetrachord of any major scale in the system,$15, Ex; 6, is formed x—123, and on the next-string will be, exactly opposite,the other tetrachord x—1-23. Thus in the two last bars of the aboye Ex: 46. the thumb will be on the first string at a, fig: 16 and lying across the finger board iii the direction of the dotted line a..... it will be at the same time on d on the second string, and the scale of D will be formed by the above intervals viz: d—e-#fg and a—b—#cd. The thumb in this position divides the strings into two equal parts as at E fig: 19 whére the two lines AB, and CD, represent strings tuned fifths fo each other ,-. as the first and second strings of a Violon. cello a, and d, and shew the geometrical parts of the length of a string which form the musical intervals, but which are still more exactly ascertained hy a cultivated human ear.

In the same manner the thumb, quitting the first and brought over to the second ©

\and third strings, will give on the latter,the tetrachord g—a—bc, ‘making with the d-e_#fg of the second string,the scale of G. and the thumb moved to the third and fourth string, will then form an octave of the scale of C; The three scales being fifths to each other and the octave to those in Ex: 1, as in the following

Ex: 50. : ge eae : . 3 Scale of D.. ef | Scale of G. | a

bey Ee a ey. 0 ey Ne Be

23 ne” taggin: \ first string ! actrees string vy fourth string Fh Necge nS iia as

S 46. The other scales of C, Bb, and A, are to be taken gradually lower at fe fy and e fig: 16. And it may be useful to the Learner in the first practice of taking these positions, to observe the relative position that his hand makes with the rim of the instrument; for instance, in the key of D, he will see behind his thumb a considerable Section of it betwixt his thumb and the rim; in C he will see that this section is reduced to little more than an inch, in Bb it will appear to his eye that he is nearly ona line with the rim, or very little within it, and at A, his thumb will be very considerably within it. A little practice renders these positions more certain, and easier to be taken than is generally imagined; and use will soon render the inspection of a passage a sufficient indication of the position or octave into which it is resolvable, There is however some embarassment to the Learner from the practice of different Composers in writing the same octave or passage in different clefs. A practice the more to be lamented, that the bass and treble clef, as in compositions for keyed instru - ments, are found to be fully sufficient to express any passage OF series of notes inthe compass of the instrument. To express for instance the above octave of D, the four following clefs are occasionally made use of. ;

ok

Scale of D in different Clefs.

The usual Treble TENOR - Ter C onthe fourth line.

COUNTER TENOR

-C on the third line. Ex? $f. ’ SOPRANO

C on the first line.

The true Treble.

S47.

| efgabed | The treble clef isin the last line,in its proper pitch, as it is to be understood in an ascending series,after any of the other clefs,as in N?18 Appendix; but otherwise the treble clef is taken on the Violoncello an octave lower; as in the foregoing French and Scotch Airs; and a very | little experience will show from the effect on the instrument,in which of these ways the treble clef must be rendered.

RECAPITULATION and GENERAL RULES. S48.

The key of C, Ex. 4, is the only only one in which the two first octaves can be played in the minor position of

the hand alone, The key of G requires a major position on the fourth string for the #f; the key of D, two for the #f and $c, and the keys of A,and Erequire major positions on three strings. The keys of F, Bb

. E> and Ab require one, two,and three major positions respectively. EX: 52. The Major positions in G, D, A, and E.

But the key of D has a back shift on'the fourth stri 7 aged’ bh, the key of E on the ath st and 2¢° excepting on the 4"! string in the key of 'E, which is a f

the 4th ang gd

ng; the key of A on

and they are all second minor, , irst minor, —

RULE for four notes, fraduall S50. es |

y ascending and descending.

This is to be understood as beginning with the first finger on the key or its fifth: There

are three modes in which they may be taken, s are slow, and connected two and

two, the hand must shift a whole tone after the first two thus 142, 12. Secondly when the

last three notes are to be taken together,the hand Shifts a tone after the first note, Thirdly ina Cker movement than the first case, after taking the first two notes, thy fingers being taken off» '

First when the note

{) =

J) evtended but the thumb not maved sthe third and fourth fingers will reach to the third & fourth notes . In the following example the difference consists’ in this »that in the first mode the two

last notes are on the whole shift,in the second, the three last notes are on the half shift ; and im the third , that the hand is rather extended than shifted.

7 ~—- oy 4. VO . Yipes a, <i

— A 4 f ie 4 4 ‘elt Res 2 DS Aree 62 ee ee ee ee aS WR ew 11S Doe a Mine [Fivi a 5 Ae ee a ees te tor tt eH a PP or a _ BE ! = SM: Le OT |

1-34 11-34 43-11 4

12-12 21-2-1 See Git eae cc 6 ae le a

3-1- -2-34 1-2-34. 432-1 4.3-2-

RULE for five notes in succession ascending and descending.

1. This cannot be different from the rule already given for the whole shift S 27 and Ex: 16, viz: 1_2 in the first pasition and 12_4 in the second, and descending 4-21, 2-1, being the most natural shifting of the hand in the lower part of the instrument, and even in the upper part if the third finger be taken instead of the fourth . On these two positions is founded the following

RULE for eight notes or scale of one octave in all keys.

52. To the above two positions for five notes beginning with the first of a scale, there is only to be added the first minor 1_23 or 1_34 to complete the octave, and the three posi- tions 1-2, 12-4 and 1-23 may be taken on one string, or on two or three different strings , with this observation, that to take an ‘immediate following note on another string in an as- cending series, the hand must shift one position further back, as in the following example, and in the secend octave of Ep Ex: 38; after g ab—bb on the whole shift, the next note C is on the half shift. See also N° 53 Appendix and references . 2 :

Ex:56.in Ep.(Tsering in Bb. | inc. in D. Astring ! , mt oa md om iniae. = a 2 ee ee | Le A OR FT Pe 8 OD | cht, Ve a a a |,” TD a | Zs i ee oe ee | a - os -2 1241-3 4 1-2-12-4 — 1-23 1g 1241-23 a2-4 12-3 1-23 Bb a or b12 A D

RULE for the first. six notes of a key.

53. These consist of two major thirds or positions , a semitone being the space or interval betwixt the two shifts, if taken on one string .

fo atsinc wera 1* string. 3° PER Ex: 57. * String. eet hig Px perine, ot om 2. String.

RULE for seven notes. $54. These are commonly taken from the fifth of the key, or only from the key when its seventh is made flat in order to modulate into.a fifth below, as will be more particularly no- ticed in a future work,under the head of modulation* This interval requires three positions

1-2, 12, and 1-23, unless the passage mark the thirds into which !t is subdivided. viz: a

major third, a second minor, and a first minor.

It 14.1]

pe & See thi 7 snnouneed i the Introduction and nyt

>) | ‘ RULE for two octaves. se $55. This interval,consisting of fifteen notes, is taken in five positions,

; ‘the one string, or on viz: two mafor, two second minors, and one first minor, alcasrtiticme den, *

. . oO 4 two, three, or four strings, see Appendix N. 4 and Jt. rs string Ex: 59 29 atving dae . .. . : “y

eee ee oo : a a

1-2- } b “eee é 1 2 + b * ; r ; ' ‘ 5f bock shift Aeree =_ eve . . § 56 . However singular the retrograde movement of the hand fn the last instance may

appcur, there is certainly,in such a case,no other regular way, and-were not the open stringy to lend their assistance,this mode of shifting must be always resorted to; Let the easy scale of C be com. pared-with the above of #C, and the first finger be laid on the nut, the remaining fingering and four subsequent shifts will naturally follow as above (sce also N°66 Appendix.) This will show that the four open strings are an cxception,and the only one,to general rules of fingering. The rule for taking one and two octaves, beginning with an open string is given N° SS and 56 Appendix.

; S 57. ~The ascending and descending scales in all the keys, major and minor,of the ~. system are given from N° 1 to. 52 of the Appendix, each series in the order of fifths descending as at Ex: 6, explained in $13, l4-and15. This order will always appear by the capital letter in the margin, and is attended with this remarkable adventage,that besides the conformity all the fingering has to the aboye general rules, it shows the learner in all progressions, what are the notes he is to quit his position at,to ascend to a given note,or to returntoit,in descending. The scale of By, so often given above, may be-taken as an instance: it is N23 of the Appendix ,and preceded by the keys Cand F N?1 and 2, thereby reminding. the learner that to arrive at B>, he must“first have taken €, then shifting take deb F, which will bring him to the last position g-aBb, Axain to arrive at the E> of the next scale N? 4 he must shift as betore, at C and F, and lastly after B>, which will tuke him to c_dEb, only observing to change the intervals of the preceding position of Bb, from a first minor to a sceond, which will render it gabubb, And in the same manner are all the following keys arranged,and lead to cach other, so that the learner will know in any part of the pro. gression of a scale what his position and notes are, and how they correspond with other keys.

CONCLUSION with respect to Fingering,

S 5S . Very little experience will, or at least ought, to convince the learner that the upper part of the instrument,or thumb positions is of casicr attainment than the loveer: and it is perhaps from this circumstanc e, tho’ not attended to by young’ performers, that they practite passa re of show and execution on these Positions to the negle« t of the lower and more useful part of the instrument whereby they are unable to do justice to an accompaniment,or to play the lower positions well in tune, which is to be accomplished by a different kind of practice,and a greater attention to fim

‘ v1 ‘ . ‘ r re * 7 > ¢ . s . > and chaste harmony, Tog ther with the practice of the more modern composers ,the basses of Corelli or Handel should be studied, and the sounds occasionally*checked and proved by each other The more usual aoe yeep. the ep ane betwixt the first and second fingers is too small; for instance that the h of the ist string’ 1s too sharp;this can easily be known and cor ring it wi o- | an @¢ rrected by proving -ope ; } ’ yp g it with the open string D,the b again

may be the means of ascertaining the g¢ of the second string as thirds which may again be proved by its octave ¢,Will tend to giveto thé hands the best position,

the open string. &c. This examinationand the following practic

°o b be ; “4. . aad AS 24 CSed a 2 2 ° 4 a EX: 6o. PERRIS! a’ . P~ Cams am ——— — ammniand

ane — <_v—_- a

_—_

EX: 62. God save the King. See Ex: 23. 7 1 ,

1

ve COR AR SD es eee a et ESSE alley APA teh

M8. orcas oe Mee oe Sane . § 59 » More of this practice-will be found in the Appendix N° 98 which is Handel’ march in Scipio in two parts, and N?.99 which is the French Air Ex: 20. The remaing part of that N° is a ' variation of the same air by Luja, onthe very highest part of the finger board, where the trick of octaves, and harmonics beyond the finger board, may be seen, But the following N°100 isa va. riation of the same air in arpeggio much more improving; and it may be further observed that the original air Ex; 20 may be played in the octaveon a thumb positionjn D, without moving the hand, and the e taken with the fourth finger, and the next air Ex: 21. may be taken in the same position, The ‘slow air N° 25 is also in the same position, and with respect to the ¢ and f# which are beyond the octave, which is there taken on the whole shift; the 2d and 39 fingers,in a thumb position,are to be ex. tended after the c of the preceding bar,to d— e_#f without moving the thumb, and at the next c resume their position in the octave. It only remains to subjoin the following in. stances of semitones. si . ; 3

“se . We,

EX: 62. i ate first string Fourth string : , ihc sting : second strin 3 | yh e, 7 , * eK TT | a ae ee Pe ae | i A Os 10s Ld dW SH ot Re EU EA Hh er ee ce eee SE ees a 2) eee bt Sn A a eed 0 2 ge Ca gaa m§2°34 011234 1234°0,1 21234 01212934 128 4 011 23* a oa . ment oe er igte se RP OSS Manige 2:8 Geese ur OF BOWING. § 60 2 > As every effect and quality of sound on this class of instruments, that of

tune alone excepted, depends immediately on the action of the bow,and not on the finger, as may be proved by an open string j ithe, Learner who is desirous of producing the best sounds of which the instrument is capable, and who wishes to play with facility, ought to be more than usually attentive to. Pre action and movements of his bow, and those of

the arm, the wrist,and fingers of his how hand... * © °

$9 7 ot, he "a ER, hey a ae 1. Of the position of the arm.

S61. Let the arm,from the cape of the shoulder to the elbow, he brought ie ‘ line with,or parallel to the right side, and then raised almost to an horizontal omy tg by “ ’ will be nearly perpendicular and parallel to'the thighina sitting posture; and ee: ‘ Joi 3 from the elbow to the fingers be parallel tothe breast, and from that position | ‘ cata oO the right, and theif back to its former position, the elbow being kept in the samc pla . This done withthe slowest movement is the manner in which the bow is gh in the ; slowest notes, and Proportionally smallcr parts of the line thus cagorsbed Ny} : gen “ge 4 quicker movement, for shorter notes. That part of the bow which is — wix ‘s pet fig: 1k. the two joints of the arin being atta greater angle than a riglit vine ee best position tor executing the quickust notes, at first; which may be afterwards don betwiat ¢ and ;

2. Of the different movements of the wrist.

S62. Let the bow arm be held steadily, for the sake of Pe fe by the left hand, in a horizontal position, and the wrist be moved to the right, and ee ‘to the left: the fingers will be in the direction of those at fig: 15. at the end of the he movement, and of those at fig: 14. at the end of the second, and ibd rics wf "es -minutest movement that can be given to the wrist. This serves to move the bow in eit wa : direction; and the movement of the arm $61 to extend it to the necessary length, * lg keeping the hand equally steady, let the fingers and wrist be moved wpwares : ans then downwards, till the knuckles of the second joint of thé fingers are qpite“out of ngs; oad last position or depression of the wrist, will give to the baw when onthe strings, a — on nearly perpendicular, or somewhat less than at right angles with them, the least elevation pos. sible of the wrist will raise the bow from any string to the next higher string,and an equally small depression- will; of course, bring it down to.a lower string; consequently, no ele. vation or depression of the arm can even be necessary to bow alternately on two con.

.)

tiguous strings. Pa eee” 5

3. Of the position of the fingers, and holding the bow. ee

S63. The bow is held betwixt the thumb on one side, and the middle finger, op.

posite to it, which is to touch the hair of the bow, the others lying gently on it without pres— sure,merely to keep it in a given direction, and the fore finger a little separated from the second. By way of experiment let the bow so held,be moved by the left hand from the point of the fore finger to the end of the second joint, and back again to its former place near the point of the finger, as at fig: 14, and 15; and let the bow or a small stick held in this manner be - moved across the back of the fingers of the left hand placed in the direction of the strings fig: 17, the principle will be easily discovered, by which the bow may at all times be moved on the strings at right angles with them, and avoid the direction a.. * +c at fig: 115 which improper direction, judging by that of the bow of almost every performer, would seem to be altogether unavoidable, and consequently it may be inferred,that any principle of counteracting thisten_ dancy of it,must be to them unknown; yet the great advantages of the former and disadvantages of the latter method in performance, are scarcely to bé conceived,

4. OF the pressure of the bow and causes of good tone

S6 ki, Let the arm be placed as at $61, the bow held as at S63 be placed on the second string, and pressed by the fore finger on the string till the hair, screwed to a moderate tension,come nearly in contact with the wood of the bow; this is a degree of pressure that can scarcely ever be wanted, and yet requires no great exertion or force of the finger. Inferior de. grees of pressure will give proportional degrees of vibration to the string, and produce sounds of equal or varied force or loudness, when the bow, with such equal or varied force, is put in motion. If the direction of the bow is kept as directed § 63 the impulse givento the string being thus regular, and always at right angles with it, the sound thence arising, must be as pure in

bh quality as that proceeding from those given to it by the point of the finger in pizzicato ¥7, which is unexceptionably so.

°

. 7,y p § 65, But effectually to command the vibrations of the first lbow must he brought still more forward than de scribed at S61, and make an angic in

nally with the right sia. » So that the path of thi bow, acting on this string, will be over * P ; as ‘ ? ’ s.f ; tw ly ta § -11

string, the arm and

) 3QJ

the right knee,and even still further from the breast; and for a similar reason it may be lower when acting on the fourth string, but so as to occasion the least movement of the

arm,in going from one string to another, The following examples will servé to illustrate these principles and show their utility.

S66. _ Suppose the bow divided into § equal parts as at fig: 14. Let it be pressed on the second string at b, and drawn a down bow to d, and return .an up bow with the same velocity and pressure to b;these two movements again repeated, will give four equal notes as in the first bar of the following example. Again let it be drawn to half the above distance _ with the same velocity; as from b to c, or c to d, it will give notes of half the former length, as in the second bar, and so proportionally shortened, will give the quicker movements of the third and fourth bars; and drawn from b to e it will give the minims of the fifth bar, and the whole length from ' atof with a diminished veloolty, Will give the semibreve of the last bar.

S67. + When a considerable’ seric ‘proceeds from a lower to an upper string, the up ow must begin, so as to have the: most convenient turn of: the wrist from left to right, for its elevation and depression s 62) and the Passage must continue on the same two strings. |

ey .

Ex: 65.

as ete Pete Pree ee re ee — eo =~] ll 86, eee em ET “i

Die eh pie wae Gea eee

die 04 Sse

§ 68. The same courses assisted by the separate movement of the bow in the hand $63, especially when tried for some time with the fore finger off the bow,untill the right _ motion is acquired,will cross two strings,with very little or no elevation or depression of the arm,

‘ud

upd ; :

§ 69. In repetitions of one note,when not extremely quick or too long con. tinued,the vibrations will be more pure, and the intended accent better expressed,by taking four or more notes with the bow in the same direction, disengaging the bow from the string after every note,in order to give a new impulse to the next. .

Ex: 67.

up down up : own

$70. The up bow being more adapted to the nature of this bowing’, it is often used after 4 smart down bow, which will give to the subsequent up bow,a greater spring and quickness.

. 7 / n preceded re- Q 71. Alternate bows,up and down, have more smoothness in them, when | ' - : ; Pit ariety, after the mono- gularly by two slurred notes, and this mixture produces a pleasing variety,

7 ee te ae eae asa separate bow. tony of a long succession of quick notes, where.each has a s P

Ex: 69 . stelefte) |

_- ——

SE, FG LM en Ee ll a ee IS

See a ee oe |e @ t ,oa3 es

tidu du dudu dud udu

D “iy dud ud

72. In combinations of notes which lie on. three different strings, as the three a of a chord, in one position of the hand, divided or sprinkled into what is called an rai the bowing Ex: 67 and 68, from its rebound or spring, is capable, after some practice, 0 the most distinct articulation; but as it is necessary that such passage be always refarrey > three strings, two following notes cannot be taken on one string, and when the open ahs. is one of the notes, care must be taken that neither of the others be taken on that hese such case ,or when a note is unison with the open string, the latter is generally a with its stem in an opposite direction to the others . After the following example is practiced,see N* 100 Appendix for a variation of the air Ex: 20. .

Ex:70. aie FR 17 a ts we

—_— Laer et SE ee

1202

me eek ae A scuit,.. Petts s-no8 ) aa

—_— —

1202 23032303

” bd omy ye 7

41,0luod ¢1LO1

oa?) ‘& a Wo)

a

8 73. The first of a bar, being always the accented note, is to have a down bow, and con- sequently the unaccented note or notes coming before it, must have an up bow. The num- ber and course of the bows in a bar may be ascertained, by couiting the notes under one arch or slur, as one bow, and every other note counted singly and alternately as to their courses.

See after the following example, N° 89 Appendix, at a and -b an up bow, and c a down bow, which is to be the rule afterwards; see also N°88.

" , \ TH, When a very short unaccented , comes before an accented note, and the like jis a

avain repeated, the latter is not only to follow the: former with the greatest quickness , but

they must always have different and alternate bows . Thus after the first two,up bow and

down bow, the next unaccented note must be taken after a short stop, with the remaining

part of the down bow, and the following accented note with an up bow

; the next two,up bow

Ss is slurred, the accented note is only marked by a stronger pressure of the bow and finger.

and down bow, &c: but when this succession of note

O és

\PPENDIYX.

1

xX

DI

N

‘ é

k , EF BbE

PP eries C |

j

3

First §

b, Ab, Db, May or.

Cc

o1

N

urrongement of keys S57,

son of this

advant gt and reo

See. the

I>. Major.

B.E.A.

cond Series, C#, F#,

e

S

Or.

Third Series, D,G,C, F Bb. Eb}. Maj

Db. Mator

b» Ab,

E

l’ourth Series,

+

F irft an C.F, Bb; Eb, Ab, Db. Minor.

me | (i ree ee foe ee ae ee oe ee ee Y ye wn or FPS ae a ay WO gS et

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back shift od oMi Major "1 Minor 29 Minor

: ~ tem. ono A

Any passage that excludes an open string will have in all keys and positions the same fingering. ~ tats , b

2 |

/ Sow asin or Sul Pe} } _———f A — H 4 — =e G = ee — —— | ! PRET, ar as

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BY

in gering, in Examples from the beft Authors .

The Practice o RELVUDIO.

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