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Full text of "Tutor for the flute or fife [microform] : with fifty-two popular airs ..."

CIHM 
Microfiche 
Series 
(Monographs) 



ICI\AH 

Collection de 
microfiches 
(monographies) 




Canadian Institute for Historical Microreproductions / Institut Canadian de microreproductions historiques 





Technical and Bibliographic Notes / Notes techniques et bibliographiques 



The Institute has attempted to obtain the best original 
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tho images in the reproduction, or which may 
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checked below. 



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Reli6 avec d'autres documents 

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Blank leaves added during restorations may appear 
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blanches ajout^es lors d'une restauration 
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possible, ces pages n'ont pas ete film§es. 

Additional comments / 
Commentaires suppldmentaires: 



D 
D 
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n 



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et6 possible de se procurer. Les details de cet exem- 
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ou qui peuvent exiger une modification dans la m6th )- 
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12x 



16x 



20x 



24x 



28x 



32x 






ic.-*...i|.., ij, 






Th« copy filmtd h«r« hat b««n r»produc«d thank* 
to tha ganaroaity of: 

National Library of Canada 



Tha imagaa appaaring hara ara tha »>•« <>"•'. «> 
poasibia conaidaring tha condition and lagibility 
of tha original copy "nd in kaaping with tha 
filming contract apacif icationa. 

Original copias in printad papar eovara ara fllmad 
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or illuatratad imprassion. 



Tha laat racordad frama on aach ""C'^'lfi?* 
shall contain tha symbol -^ ''"••"'"8-52..; 
TINUED"). or tha symbol V (maaning END ». 
whichavar applias. 

Maps, pl«tas, charts, ate, may ba filmad at 
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baginning in tha uppar laft hand cornar. laft to 
right and top to bottom, as "'■"V .[■'"•• ■*. 
raquirad. Tha following diagrams illustrata tha 

mathod: 



Laxamplaira filmi fut reproduit grica A ta 
ginArositi da: 

Bibliotheque nationale du Canada 



Las imagas suivantas ont At* raproduitas avac la 
plus grand soin, compta tanu da la condition at 
da la nattat* da raxamplaira film*, at an 
conformity avac laa conditions du contrat da 
filmaga. 

Laa axamplairaa originaux dont la couwartura an 
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par la pramiar plat at an tarminant soit par la 
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originaux sont filmAs an commandant par la 
pramiAra paga qui comporta una amprainta 
d'impraasion ou d'illustration at an tarminant par 
la darniira pa«a qui comporta una talla 
amprainta. 

Un daa symbolaa suivants spparaitra sur la 
darni*ra imaga da ch«qua microfiche salon la 
cas: If symbols -♦ signifie A SUIVRE . le 
symbols V signifie "FIN". 

Las cartaa. planches, tableaux, etc., peuvent etre 
fiimis i des taux da r*duction diff*renis. 
Lorsque le document est trop grand pour etre 
reproduit en un seul clichi, il est film* * partir 
de I'angle sup*rieur gauche, de gauche * droite. 
at de haut en bas. en prenant la nombra 
d'images n*cessaire. Les diagrammes suivants 
illustrent la m*thode. 





1 



6 



MT 3: 
fol. 



T U T O R 



-^ 



.^^~ 



FOR the: 



Fl ute OP Fife 



w 



,TH Fifty-Two Popular Airs.viz: 



GOD SAVE TH E KINO 

ADE5TE FIDELE 5 

HOME SWEET HOME 

MINSTREL BOY 

BLUE BELLS OF SCOTLAND 

SEE THE CONQUERING HERO 

MEN OF HARLECH 

BRITISH GRENADIERS 

RULE BRITAN N I A 

HEARTS OF OAK 

ROB I N ADAIR 

AULD ROBl N GRAY 

CALLER HERRI N' 

JENNY JONES 

TH E WOOD BUNCH 

LAST ROSE OF SUMMER 

TH E ASH GROVE 

MY PRETTY JAN E 

RICH i RARE WERE THE GtMS SHE WORE 

WATCH ON THE RHINE 

AMERICAN NATIONAL HYMN 

MARCH OFTHE MEN OF GLAMORGAN 

MARCH IN SCIPIO 

AUSTRIAN HYMN 

DANl 5H H YM N 

RU5SI AN HYMN 



M ARSEI LLAISE 

PI LGR I M OF LOVE 

MARCH FROM NORMA 

^ HE SOLDI ER5 RETURN 

THE SWEET M E LODY OF NORTH WALES 

WHEN THE ROSY MORN APPEARING 

AIR FROM RIGOLETTO 

TYROL! EN AIR 

SCHUBERT'S SERENADE 

CEN ERENTQLA 

SAINT PATRICK WAS A GENTLEMAN 

G : LD E R O Y 

OF NOBLE RACE WAS SHENKtN 

THE HONEYED Kl SS 

CHARLIE IS MY DARLING 

PO LK A 

VA LS E 

5CH OTTI SCH E 

MARCH FROM WILLIAM TELL 

SAILOR S HORNPIPE 

DEVIL AMONG THETAILORS 

JACK'S ALIVE 

LIVERPOOL HORNPIPE 

QUADR I LLE 

HIGHLAND SCHOTT15CHE 

WHITE COCKADE 



SH^L. 



Copyright 



Selected.ArrangedSjComposed by 

.Wi nton. 

'7\^^ • Nett Pric£?/^ 




1 TORONTO i 



H \\^ KES S: SON 

' LONDON" ) 



PARIS 






-^ 



Tutor 



"^ 



.^ 



FO R TH E 



Flute OP Fife 



^ 



WITH Fifty-Two Popular Airs, VIZ: 



GOD SAVE TH E KING 

ADE5TE FIDELE S 

HOME SWEET HOME 

MINSTR E L BOY 

BLUE BEUL5 OF SCOTLAND 

SEE THE CONQUERING HERO 

M EN OF HARLECH 

BRITISH GRENADIERS 

RULE BRITAN N I A 

HEARTS OF OAK 

ROBI N ADAIR 

AULD ROBIN GRAY 

CALLER H ERR I N' 

JENMY JONES 

THE WOOD BUNCH 

LAST ROSE OF SUMMER 

THE ASH GROVE 

MY PRETTY JANE 

RICH Si RARE WERE THE GEMS SHE WORE 

WATCH ON THE RHINE 

AMERICAN NATIONAL HYMN 

MARCHOFTHE MEN OF GLAMORGAN 

MARCH IN SCI PIO 

AUSTRIAN HYMN 

DAN I S H HYMN 

RUSSIAN HYMN 



MARSEI LLAISE 

PI LGR I M OF LOVE 

MARCH FROM NORMA 

THE SOLDIERS RETURN 

THE SWEET MELODYOF NORTH WALES 

WHEN THE ROSY MORN APPEARING 

AIR FROM RIGOLETTO 

TYROLIEN Al R 

SCHUBERT'S SERENADE 

CEN ERENTOLA 

SAINT PATRICK WAS A GENTLEMAN 

Gl LDEROY 

OF NOBLE RACE WAS SHENK IN 

THE HONEYED Kl SS 

CHARLIE IS MY DARLING 

PO LK A 

VA USE 

5CH OTTI 5CH E 

MARCH FROM WILLIAM TELL 

SAILORS HORNPIPE 

DEVIL AMONG THE TAILORS 

JACK'S ALIVE 

LIVERPOOL HORNPIPE 

Q UA DRI LLE 

HIGHLAND SCHOTTI5CHE 

WHITE COCK AD E 



_C1 



Selected. Arranged Si Composed by 




.Wi nton. 



Copyright 



(jORONTOj 






Nett Price 2/ 



HAWKES fif SON 

J LONDON 



;_ P A R_l s 



ppp 



'A 



sA-asaiD^Cii 



RUDIMENTS OF MUSK. 



nifdr* t^e «tlirti'|it (full roiiimnirr fo piny nn Kliy lllotnimKnt !t U nfCf.».i|-y IIimI li.' -llMiilil hi' 
■niunllitcd wild tin- rldiipiit^ nf niii»lr. 

Tllf Mlioirnl niuii- Hliil'tl iilr ll>i-il In illiliriilr llii- |iilr|i :i|lil iliil':<rn>l< of i lilll^ilMl 'Oilillil ;iri- mllmt 

, . s ^ ■ 

ijiil<>- I'l^'uri-rl timo o >i 4' 0^ 4 ftr. 

The iiiil.-« M|p li.iiniMl Hflcr llic firsl >i'\»'ii liller-> of tin- Ml|ili;ih.l viz ./ /< I /> A.' A' * f.' 
(uhirli .iri' ifiifiUfil in ilji' --iiiik- lucUr wlicii cxli'iiiljiiir bivimrt x s^rif^ «if •■fn-ii ) Hnd .ire wrillni 
III), brtni'fii, .ihinf nr hrlmv five |iiinillfl liiic- ^^ • rnllrd the -t'lvf. 

TliH iclnfivi' |>(i«itiiiii> iif llii- null* Mil llir «t:ivf nrr ti\ni by o-rlHlii rlinrnrtrr" IithihiI < 1' 1». hiil 
US (inly (iiic i" ipiiliciihlc lo the iii>truiiii'nt liiTfiii Iri-ntrd, il will huffirt- lo mrnlinn llml »|oiic \i/.: 

Trrhlc HI- (; ( Icf -'-^zzUz wliidi is jd.ircd on the 2"' liuf thiit "flf — jfivlinr the tiHTiii; '' In ;ill 
IKilc* id.'icid (111 llinl line . 



Til.' iijiiiif> (if llic iidirs (1)1 III,, five liiirt. Br«" 
i( llip fiiir sn^iri". 

F A r E 



m( iIjp f.iir sn^iri". a -T--t- - 

tifUVfcii Ihi- liiic'* y^ , i r ::rir-rr:.^ j j- ^ — ^ r- ,^f ,|,^ j,,^, 



A. a 3 D F 

iihovp Niid below llie lines 



/) a 



Tlie eleven note* »hii\e -liovi ii heiiiK- loo limited mid in order lo sij^iiify liiylier smiiicN, ledf-'ej 
ltne> li.'iie to be added nhove tlie >tiive niid i<re ii.imed llius 



4MMIML 



Full talile of the aliovp notes. 



K y '1 



.'' /' i r ♦ # 5t i 

^ -r- -t- 



A. fL. H _F Ji 4 n r /> A- ^" ;:♦«♦* g g £ H 



DURATION OF NOTES. 

Notes niny be of lonu^ or short duration which is shown by tlie perulinr Coriu of f»rh note, as I'ol 



^ ^.■^-^,..^ r^rr= ^====p r 



Sciiiihii've. AUnini. (roicht 1. yu.Mvcr, Semi -quaver. Deini-Senii- (jiiavcr. 
Several of the latter three s|i,.ciineiis may he written 



thus 



^ 



^=^ 



Unavers. Sijiii-quavers. nenii-Scnii-iiiiavers. 4 Quavers. H Seiui-qu.ivers. If? Demi- senii- 

11 Y. «. I. (imwers 

Ilawket h Son. ' ,, 



»j«2«a"E2:i% 



('oiiil'iiriilivi' Tii'ilf "f (lif reliitivf m/Mf of notef. 



\ "x'ljiitii • »i 



N •■ijuii !■. V Mi-iijii- 



111 SITtl>(>ll 

••■II, i l|'i:l\»T 



«■■ 



t - 



-- t--— : 







DOTS. 

A [till |i|.ircil .ifdr Miy iinlf iiiciH.ise^ ii« v.iliic nrif half thij* 



.•(jll,ll '• 



^ =■ 



_B^--^ - rz rJi:Xl 



i» fiiii-il I 



1» ••i|iiiil til 



;=P 



i- "•((ii.'l Im 



s=?;=?^=3ip:=p=gpi 



1" niiiiil til. I 



RESTS. 

A ii-t ilpimt.''- ttfii|ii.r;iry sili-iicf. K.cli imtf li.i-. \t> f (|iiiv:ilHiit ri—l fi|iial in ilMrntiuii nf timf 

li. it-flf. TIlc r^sl, air ;.^ fi.llnVls, 

SfiiiihifVH rt'-t Minim • r. Irhfts (Jn.mr Sfiiii-iiii;ivir Ilcnii-'-i ihi-iiii.nrr. 



A ilnl I'laccil .iltir .1 ff-l ihiTfH-fs it, \,iliif huh half, tlic •.■Mhf m> h (liillpci niitr. 



BARS. 



\11 iiiii~li!il I .iiiijHwIiii.ns .iTH ilividcil iiitn f(|ii,il p.irt- hy lun-^ rtr»«n hcions tin- vt.ivc. Faili divi- 
^im; ~n (. iriiiil i^ <;i||ii) ;< h.ir. At llie rinl nf :> p.irt of .1 r'iiniji()>ili(iii twii lincK .ir*- |iliirfd wliich 
i> ii-iii.'-il ,1 il.'iihli- i,;,r. 



TIMK 



Th« lim«> In whirh any pipptt ii to hf pUyt'il ii di-nntcn hy the lign (7 or fiKun^x pUc 
th« finmmi'&eninent indicttinK th« Duabtir of minimi, erutehi'ta. quaxT- --rt u«eh bar runtain«. 



I I'liimiiti Mmr . 



"■I".'* tnltir in I'n-'T ■ r »hor 
I*- f\(t\rn or f»».t ■ ^rt'l fo'ir 
(I ■.•. 1. I' >,D\r 1(1 l,» . ,,uri 
\'<\ in a I'lir. 



I hiHf fi.iir I 



4 « -^m^^^t:^] 4 \ 



f "•fitBtriH 


1 I rt 


ii'hft^ 


If 


Oir •■tnif* 


\«lnr 


in 


..r 


' r 


or «*h»rtrr 


nntf^ 


nr 


rf-^i 




rtllil thf^ 


M V 


1) 


1 in 


r 


td t^r 1 t'lin 


trj tn 


1 


F.iir 





ItKl full I II till' 



r tji*- inni'' viil!i»* in 
liih^'fr "!■ •■I ■■•It r.^i 
It t .-r r^-i"* «(i I m ■■ 
(» ») linxi- 111 ii>- ■ m 
I' .< in A Itnr. 



ThIiIp of Timt's. 



Himplc Coiiiiiiiiti Tiiiirn. i'iiiii|ii<iiiiil I'liiiiniKii 'liini'i. Simple TrlpN' Tliiii"<. i'iiiii|iounil Triiil** Tlmo. 



^^- J i=iE^-^«3 ..**«WMWM 



§T^-.^^ 



H* .^ 





Ulifii n line i» iIt;'\\ii llirciii:;li II, i- ('-tlui«-^ it !•< ciIIimI \11;i IlirM-, 'iiil tun mily ^in- rnunti'd in tin' ''■n . 



TRIPLETS, DOUBLE TRIPLETS AM) (iROlPS. 



Triplrts arf marked by a 3 placed i.m-i .i mi. mi ni' ilii'i' ii..ii-- li.uiil,. I'lii.liis ..n- mnrkiil 
by a H plai!fd over a group of nix nutes. Tlirfr riiitrlii't> ni.irkiMl It.n- « • • iim^t b<>|>l<vi'il 
In till- -;iii,i- liiiif I- Iwii rri.lrlipf* • Tini ^n iii.irkrd, "V »i\ ijiiimr- 000000 in lln' tii t 



fi'iir qiinM"!* » m ml ^n i,.;iikrd. Tlrrf .m- .il-n frrcmii* i>f fn 



:<iid nine noic^ ••#•••••• which are similary treated. 



SHARPS. FLATS AND NATURAL. 



\ '^hmp Iliii- S, pliced hrfiiff a imlr i,ii-i- il liMlf ;i tmn-. V Kl;it tlui^ .-», i)l:i(t-il hffiiri- 1 ii'ti- 
InwtT-i it hrtlf ;i ..lie. A N.itiir.il thus 8. pliriil bffnri' any Udtf tli;'t hii- hi'eii ni:i(le iit)i.-r ^liiuii H' 
fliit, hriii;,'-> it to its mi;.'iii:>l positinii. S Dmihli' sli.nii thii^ x . which is soim^times used raise- 
thi- iiiite hi'fdii- whirh it i^ jil-iri-d ,1 wholf tutu-. A rimiblf Klat thii- i»?, i^ .'l-i> uccasionally u»i'il 

«hirll lontT"^ ;i Iintf » whnlf tnllr. 



mm^^^^-^-^i^^i^^i^M:^^: 



^^iM^^ms^yM^KM:^^^.^^ 



SCALES. 

A Soul." Is n succesxlon of sounds rnim'ed one »b..i.- flie nllier in :, cerf.iiii order. 
Sr«Ie» ,re of f«o kindsviz Chrnmatlc «iid Dialoni,.; tl,.- former «srendinff «liullv bv .emifones.HuH 
thf latter b,v tones Knd semitones. 



The f'hromatic Scale. 




mMmBL 



Diatonic Scale. 

The r)i,..,o«io s.nle i> sub-divid-d int., .«» ..J.sse>. viz Major and Minor. Both consist of eiRht 
s..u«d> Martinjr frnm a„y n.te. nnd enrl, „...h „f ,),. s,-,].. i> ..ali.-d .. de^^rer. Between these ei^rbt L 
tfree> tJieie are seven intervals »r distances five of whirl. «re Mhole tones Hnd t«o semitones. 

Major Scale. 

In the Major Seal,- the semitones are simat. .1 between the ri'." and 't'." and the 7? and K? de^-rees .,f 
the Scale. 

E.xamjile. 



T'ire 



T,.nf 






I-.' PciTff 




^E^ 



.■•■f.' iK-L-rrp 



mm 



Ffi.h Dinto. ic Scale derives its n.ime from the name of the note on the fir-t de(.'ree-or the keyn.ite; 
consequently the above ex.nmple is the scale of C, «hi.h is aKo called the Natural Scale. 

When the scale is formed on any <,ther note it i^ nece^sary to empl.,y Sharjis oi Flats, sons I., .aii-e- 
the tones .-.nd semitones to fall in their proper, places. The number of sharps or flat- so employed de- 
pends upon v«hich note tlie scale is founded. 

The Sharps succeed each other in the follovtini,' order: 




A" Sharp. <■ Sharp. « Sharp. /) sli;,rp. ..^sLaip. f Sharp. /? Sharp. 
Thus ii will be seen that if on.- Sharp is enipl">ed it niu-t he prefixed to F, consequently all Frm 
that piece must be raised half a tone. When two sharj.s are employed all /■"'• and C mu-t he raised, 
and when three sharps all f"', < '• and G'' etc. etc. 

The Flats >UKeed each othw in the following' (prder: 

^ ^'- — -^l- ^ ' - .__^ « __ L 



a,^^^ 



/fFlat. A- Flat .-f Plat. P Plat <- Flat. r Plat /• Plat. 

The Sharps or Flats employed are placed on the stave following tne Clef, this is called 

the Key Signature, while any others occuring in the course of a composition are termed acci- 

-dintil.^. 



i^y:^!^. 






^^^^^^^^^^m^m 



^s^^ 



THE MINOR SCALE. 

Kvery Major k.y h«s i,. r.lMtive Minor, th. Wy not. of the Utter in fonmi on tl,. sixth He;;r.. 
of ,l,e M.yor Sole. Bo,!, Sr,,Ies be., ,|,. .,,„,e si,„,.„„re. There ,„e .«o forms of Minor s^l.s viz' 
Harmonic mid M.lodic. 

The «M.en.lin.^ of ,he Melodio Minor ScMe differ, from the ,leMe„ding, the former having it. sixth 
and seventh decrees r.-.ised hv «reident,-,l> no, es...,.,!,.! ,„ ,h.. k, v. In as.ending, the semitoL.s are 
situated between the 2-"- and 3'" and between ,he 7"- and 8- degrees: and in descending between 
the 6'" and 5"- and between the 3"* and 2"^ degrees. 



Examplf. 
Scale of ./ Minor- without si^natun-ielative to ^' Major 




The H;.r„iunir Minor Sr.le differs fro„, ,|,.. Melodie, ..s only the 7'.'' de^-ree i. r.ise.l hv ,.n .rridenf,! 
whn-h rem,,i„. whether «>eendin^ or descending. Modifications of the Minor Scale are always ex- 
-pressed by accidentals. ' 

TABLE OF M.UOR AND MINOR KEYS 
with thoir sijcnatures shewin^r relationship. 

r.Vnj,,,: n M„j„r. J .\fajor. F Major. R Major. Ff Major. C % Major. 



Miijor Keys .i — ^-f 

with Siiiirps. lS-rr^:«»; 



Minor Keys l 
"itii Sharps ' j 



(nlntivp to .ihrae). • 




MnioeKv V'"'"'- ^^J^-^-V^i'"-. .4^ Major. D^Maj.r. <;•, Maior. >',Maf>.r. 

Minor Ke,s ) ^/'"'■''- I '', ■"'"'"■■ '\ •*'"""• ';■ •'^""' 

«ith n,-,t'~ f j^ ''--z-- ~i,fe i ^_-:: ,:,;- - ^/^Tora^^---: 



I rel.itiveto .ihoie). • 



ir. P^ Minor. F\> Minor 



^W i — c>- 



.4^ Minor. 



Sharps or Flats indicated in the Key Signature affect all the notes of similar name wherever 
they occur throughout the piece, unless eontradicted by aocidentils. \n a<-rid nta! Oic-urri.-i- in 
any part of a composition affects only the notes of the" bar in which it appears. " *" 



rr 



ISI^M 



:^...: 



SIGNS AND INDICATIONS. 



Hi prat. Wli.-n t%v„ dot- :,.•-• l"un(l by tl.r >i.lp ..f .« .luuhl.- bi.r ihu-, ::_^ fti.' whole pitrf from 
llir pi-.c filing' double b.ir, or if llirr.- i> ii<i r.irlirr doiihlt- b.ir tlicii from tlif b.-f;itiiiiii^- of ilie inccc, 
i> to 111- \\\-\\<-A w^MU. rill- i- fnllrd :i Rfpt-nt. 

■ll,i~ .iKirk S i- :>ii ahhrevi^itioM of tin- word Sei^iw. ll i, plMred over a double bar to indirnte 
\],- ti.uiiiMii- or triniiiiMtioii of a rvi.ral, thu>, .41 Sfsrri" % means repeat to the siffii; Miid DnI »- 
.r /J a. % from the sign. 

(1,1 Cnpo, or III: iiidi.ate- th.^i.-rformer is to repeal the piece over apain from the beniiiiiiii^ 
V. :i double bar marked thus, - j or to the nurd Fine. 

Paiixr. Thi- -ii;" O i- called a I'aii-e. When it is placed over a note, the same is sii>taiiied to 
an ii.d.tinile len^'th, at the performer- plea-ure, the couMlin« beinfr interrupted. 

Whin ilie si:;,, O is placed over a double bar it indicate- that the piece is to finish there. 

S(l/r. Tills niark ' — n, drawn under or over any nnmber of notes, sifrnifies the sound is to be con 
tii.iie.l from o,ie note to another in a -mooth and connected style. A Bind, or Tie, ^ s placed over 
two lioie- of t|,e -nine nanie, indicate- the fir-t note only i- to be played, but to be -ounded the exact 
dui:':i ,1 of time .i.. both. 

Jiallentando.Rall, Ritardando. Rit, denotes a gradual slackening of time. 

CnKir/ldo. M;iik. .1 il.ii- — - - - or li,s. imlieate- thai the note- under which it i- placed are to 
be I'l yed gradually loiidiT. 

Dicregrendo, Decresc, Diminuendo, Dim. Thus . to be played gradually soficr. 

Rinforsnndo or S/mzatn. thn- -, indicate- Ihat the note over or under which the mark is pla- 
ced i- to be pl.-.yed With e,„pha-i-. Tlie followi,,;; mark-, f. /:, ^. are al-o used to denote any parti- 
cnlai- -tie-- or eiiiplia-is. 

Stncrato _ The followin;.' iriaih' piqued over ii<4e- _ 



^-Hor^^^q 



thu- ':^^ 



iiifv the note- over which they occur should he played with 



ta^e :.,id spirit. The fir-1 example -hows that the -ound- must occupy only about a rjiiarter of the time 
of thi- note. 1, avi.iir Uie re,::ain.ler of the lin.ea- le-l. The -ecoii.l example denotes that the time 
-hould be divided e.,i;.ll> hetueeii ll:. note- and rests. The Third example indicates that the notes 
-hoiil<l be held three .,u,.rter- of tl.eir lei,:;lh. leavin:; the remainder a- re-t . 

Seiftif. The word ^■'•sne pl.iced over a pas>aiL;e means that the snnie isi to be repeated, 

SfZue 
thus 



Ei: The -troke- alone placed after a p.a — af;e are more often used, but h.ave the same 

one -troke thus, •, denoting quavers, and two sUokes thus ^^ denoting semiquavers. 

(Irare A'')^/'.? -These are printed in smaller characters and do not form an essential part of the Time value of 
a bar but appear as a- surplus; their actual value is taken either from the previous or following notes. 

TERMS USED IN MODERN MUSIC. 

f'urte.f, Luud. Moderato .{M»do.)->^<iifxt.\-\f. Larfro Bro.d .nd ilow 

M' zzo/ort.: tm/) . Kail.rr 1 -,,,1. .S\mpre Alw.y.. Larghetto . slow, but not ,n .l..w ». Largo. 

DouhU: Forttin \ ■ Very ln„1. Ptii molSO . . . Jlor^ quirkly. ^ttagio Slowly, lel.ufly. 

J'lano ip). ■ . ■ Sufily. /( (tmpo In nm.. And.mte M.i«inir ..»ily. 

VuuAliTmno ' m) . .Wry «oflly. M-riOmoSHO . . LeBS quo kly. AnduntinO. . Slower th.n And.nlf. 

L-trnto ■ In » kIiJoir siyl.-. I'ur.o a Poco Little by litll.^. Allegretto. . .Quirker lh»n And.ntr. 

Hot,,: l/j„ll . Sw,-.-iiy. ^Avctlerando Accel, Stringvndo. Vivacv or Yxvo . . Quicker tb.n Allegro. 

4s>i,n - V.-ry. '!i,ire.!.ing the Time. Prtstu QuirkW r.pidly. 

/'rtjs Together. Lentu . Slow. Lingtriiig. PriHtiiStmo At the ulmoit Kpaed. 

Hiiltu . Murh. 



.:M!^; 



!^;Lk)c;^%j^ 



SHAKH. 

The Rhakt^ ur trill, marked thus, i/' ur -w, cuii»i>t.-, uf the alternate repetition of th>: nute so 
marked with the note in the next degree above it. 

Kxiilliplt'fi. 



As written 




THE APPOGIATTRA. 

Tlii-> nmr.H i* :rivrii td .-i -zvwvf rmti' pl.'icfd .ihovc (ir hi'lnw .-i princip:il iiotf. WhcTi it i~ iil,4(vil a- 
hiiM- it i- ;il\v:iy- -It 111' i'lt.TVMl of filliiT .1 tunc or i -Hinitom-. Wlicn it is plMoul b<'li>» the pi incipnl 
nntf it -Imiild hIw.^v- hi> .11 tlir iiitfiv.il of ••fiiiitonf. WIhmi tin- «pi)oi;i;itiir!i is wrilti-n 



Jr^ *r — I ttif valiif of it is h.'ilf of till- fnllowiny note. 



\VliHn crossed bv .1 siiimII li-.e 



thu- 



its vahiH is hut one fourth of thf iiolr thot follows it 



As writt.u. 



Examples. 



f-^w--r . r-T: 



^=^gi^^^ 




- ^^ : r - .f jp ^, 



-^ — -^ < — I- — 



«s — iJ— -fca- 



DOUBLE APPOGIATURA. 



This is (ouipo'-ed of tun i;r;,("i' notes phicid :i- follows; the first, one decree bel.iw,and the se- 
-cond, one degree above the principal note. 



As written. 



Examples. 



^ 



:4t 



i'J * Ir - — ]— 



rj3Sf==^ 



As phiy ed. 




^?^^^ ^Q :=:^ ^e^^^ ^^ 



THE GRUPPETTO OR TURN, 



i* c.iiiiposi'd of fhrrf mm !■ iidtt-s pUred hi-fuffii or ifler .1 priiiripnl iiotn. The turn 1» marked thlI^i 
^:. V "infill "li^rp iiiidrr sninc uf the -^i^-iis tluis |f indicate! tliat tlie lowest nf the three ^TRpe 
i;oif» i~ to hi- made uharpWhen the Hharp is pliieed iibove llie siy-n thus: sc the up), ■ priioe iiotp 
rnii^l he iiiiole >.h;irp. in <m-i- of ,1 >.(,■, ip Hbo\e iiiid below the sijrii thus; ^^ both the. upper Hnd low 

cr _'r;ire iiute^ mii~t hi- iiriilr -.h.-irp. The same rule applies to flats, only thni the noles must be niade 
flat in-' il of shall) ill the re>peefive in--talires. 



Examples. 



\~ writtrii. 




ABBREVIATIONS. 

Ill oi-iler to i»voiil writing' so m»ny notes several abbreviations are used, the following are the 

mn^I often fiitllld. 

A- wriiteii. 




\~ wrilicM. 




1 \^ JilaVid. 



^ 



gr ^P-f-* 



7rr:r- >r ^ =^ 



m:.^m.^A::.^iimmm^B^u. 



METHOD OF HOLDING AND BLOWING THE FIFE. 



Th*- student in earnestly recommended to pay particular attention to tlu' mnnuer of iKildiufr tlie In- 
Btrumeut and placing' it properly to the lips, as it will (greatly accelerati' his prdKre^s. 

Place the upper part of the lower joint on the bottom part of tlie third jcjint of the first fiiiyer of 
the left hand, at tjie same time bracing' it with llie thumb, tlie first second .uui tliird liolf- Iroiii the 
top beinp covered by the tips of the first serond and third finders resiir<ih.ly. Then place the lips 
of the first, second and third fiiijfers of tin- riyht hanii over tlje IoWit lioles. the fhiiiiit) snjiiuHtiiit; 
tlie instrument just beneath the hole for the first finger. I'lif pn-iiion of the l'iii;;trs i- i ciir- 
Ted one. The little finders of tlie left and ii«hl hands slioiild he plac.d ahm.. tlie '» i umI /> S Keys 
respectively, so »s to readily act upon tlie keys when required. Flue thr einboochiire lo th.. upper pjit 
of the under lip, drawing' both lips eTcnly together, the lower lip about IimU (•o\eriiif; the emtiourh- 
ure. Do nof force too much wind into the instrument, but blow modir:<tely into the emhoucljiire with a 
stroke of the tongue withdnwn from the palate. When playing the higher note* the lips must be mure contract- 
ed, so as to allow the breath to pass with more velocity into the instrument .Avoid raising the fingers too high. 

The fingerings should now be carefully studied and eommltted to memory, n rapid passages the 
fingerings which necessitate the least change in passing too and fro should be adopted. 






PRELIMINARY EXERCISES. 
B C B A 6 J 



B 



C 



Ti~ 



m^ 



rrr 



"^Count 1.8.3.4. 1.2.3.4. 1.2.8.4. 1.8.3.4. 1.8.3.4. 1.8.3.4. 1.8.8.4. 1.8.8.4. 1.8.3.4. l.S.3.4. 
Mentally 




G 



Count 1.2.3.4. 1.8.3.4. 



EDEFGABC 



C D 



E F 



F E D G D E D 




■^Count 1.8J.4. 1.8.3.4 




G B GDEFdE^^EDGB 



Count IJZ.3.4. 1.8.3.4. 



31 



10 



N°3 



N?2. 



C HHOMATIC SCALK OI- I-IXGKRIXC; 

for thf Flute or Fife with 4 iiiut B Keys. 



US 







• :!i 



o o 

o 

1 1 





"" ja _ 


(.8,.r.\l> 


AH 


• • 


• • 


• • 


• • 


• • 


o o 


:i :t 


:< 


O O 


o o 


o o 


o o 


•i 




o o 


o o 


t 1 


1 1 



N?5. 



Till' sif^M # iiiiliiMtis luili- rl(»i'(l. 

Tlic si^ii O iiulicMti'-. Imii- ojn'ri. 
Fi'^uri"^ iiiilicatr kivs opt-n. 



N?6 



N°l 



s*»^. 



'Al ZiX 't* 



<;: 


(.J, 


r A'- 


A 




AS'.r 


;^ 


i;:' ri ■. 


hS-rcq 


__ 





Ctf-r li!> 


ii: 


• • 


• 


• 


• 


• 


• • 


• 


• • • 


• O • 


o o o 


o o o 


• • 


• 


• 


• 


• 


• • 
4 


• 


(.) O • 

4 4 


o • • o 


• • o 


• • • 


• • 


• 


• 


'-' 




O : • 
O • 


c 


o o o 


c • o • 


• • • 


• • • 


o o 




o 


o 


o 


• 


o o • 


o • • • 


• • • 


o o o 


o o 


r; 





o 


o 


O • 


• 


o c • 


c • • • 


o o o 


o c, m 


aurK 
















2. r« 




■J..r« 


O O 


o 


• 


o 


o 


o • 


• 


o & o 


o o o o 


• o 


G O • 


1 1 


1 




1 


1 


1 1 


1 


1 1 1 


1111 


1 1 1 


1 1 



HAWKKSA SON. D.'iimim Street, Piiciidilly Circus. LONDON.W 
N. U. This Sralf i-an be liatl siparatfly. Prict; 8ii Not. 



''>t;^'^w>m' >-y»r 



■'it" ■'^'C •tr^<':,^/ 



u 



-^ — nr 
A)t(irl!!> 


L M..-. Ww--j 


— -t55 — b*^ — 


-IT 1-« 


ra-] 


Ff^"^'^""i 


u:?«ri«»zz| 


t._|lt*.^::n 


r-|» g" 1 


Hi) or .'■.!» 


BforCll 




1'^ 


l)«orKl> 


Ktnr K'k 


K«..rFb 


t- -nr 1 

KSorGi. 


• • 


• • 


• O O O 

5 


o o o 

5 


o 


O • 






• • 


• • 


O O 


• • • 


o o o 










• • 


4 4 


4 
















o o 


o o 


o • o 


o o o 


^ 








• • 


o o 


o o 


o • o o 


o o • 




^ ^ 






• • 


o o 


o o 


o • o o 


o o • 








•i'jrti 


o o 


o o 


o o 


o • o o 


o o • 






l"'; 


o 


o c;- 


1 1 


1 1 


1111 


1 1 1 




1 1 


1 


1 


t 1 



jj^ •»*• ?s ^f^ s^ ^^ *^ = 



=r-_:-_:~-". -_:/■ 




: 


:".:'"-:--.-- r^rr"; 





". '~--.i _„ _: 


IT ~ TT. 


r._:":. 


_.:-^ 


r^ A M r\ 


Ki!<.rF!. 

AAA 


Eior Fl! 

AAA 


F8or(i'7 

A A A A 


A A A A 


(ijor At> 
O O O 

O • 


O 

• • 


At 

o 
• 


o 

• 


• • • • 


• • • 


• • • 


o o • • 


o o o o 


• • • • 

:« :» :» 


O O O 


4 4 

o o o 

3 


4 4 

A A f^ A 


A A ^ A 


4 

A ^ ^ 


A A 


o 


o 






;i A 


:t 


o o • o 


O • O 


o • • 


• • • 


O O G O 


o o o 


• • 


• 





o • • • 


• • • 


• • o 


o o o o 


O O O • 


o o 


• • 


• 


• 






aorS 


2..r5 


•2 Tr. 




Vi. rT 


•i-rr. 


'i"r'i 


o • • • 


• o • 


• O O 


• o o • 


• O • 


• G • 


o o 


O 


o 


1111 


1 1 1 


1 1 1 


1 


1 1 


1 1 1 






1 












13 



tHFU)MATlC" SCALK OF FINCKRINC. 

for fliL' Flute or FifV with t Kt-y. 



N 
N 



N 





Win '^' 


^i" 


w«> 


B« 5n 


H^ ^XMrr2 


-*^"-w-''- 


r-^i^ !*►" -' 'te^^ - 


t- IT — i 








■ 






1'!! 


\>S' 


rKi. 


KSi.r K(> 


E«..rKa 


K)|..rti!» 


Fx..r<;!? 


CJorA* 


A^ 












• 


• 


• 


• 


• 












• 


• 


• 


• 


• 


-( 










• 


• 


• 


o 


o 


^ 










• 


• 


o 


• 


o 


= 










o 


O 


o 


• 


o 


i 


. 






o 


• 


o 


o 


• 


o 






1 


X 


X 




X 


X 


X 


X 



# till- mark » 
O - llii'^ mark ^ 
X tlii^ mark > 



;^Mifii-^ Imli' I'lo^i'd. 
fjiiififs liiilf Dpi'ii. 

j^llifii'^ krv Djlrll. 



u 


t*» ''**■ 


♦•- 


8*t: 


''AJ. 


:^ ''St 








'--■""- 


.~--. : 


" — 


(.3 


(ii.irA-. 


a: 


AS. 


rl'.i> 


I'.BorCl. 


• 


• 


• 


• 


• 


• 


• 


• 


• 


O 


• 


o 


• 


o 


o 


• 


o 


o 


O 


• 


o 


o 


• 


o 


o 


o 


o 


o 


• 


o 


o 


o 


o 


o 


• 


o 


X 


X 


X 


X 


X 


X 

1 



^ . i' 



V.i'n( 


!i 


ri 


(.rl)!» 


O C: 


O 


O 


O O 


• • 


• 


• 


• O 


• O 


o 


• 


• • 


• • 


• 


• 


• • 


• • 


• 


o 


o o 


G O 


• 


o 


• o 


X X 


X 


X 


X X 



HAWKES & SON. Denmiui Street, PiccHdilly Circus. LONDON. W. 
N. B. This Scale can h« han v.parately. Prii-e Set Kct. 



mtTt^^'^ <i-yk:j:^MM}jiim:^.'^m. 



iX:iL^^^: 



13 



=Ki-te^ - 


^Ts^iT^:^ 


pp^q.-.- J 


4^ 


w=] 


r— o- 


-l»^^:- 


qll i^gj ^ 


i'tTlJr^rr::^ 


, jo ^o , 


A|.,rK!» 


nSorC* 


ij..rcl; 


(■«., 


tlA 


nii 


|)»..rKl» 


KllnrKi. 


KSurFS 


KJ r(ii. 


• 


• 


o o o 


o 


o 


o 


o • 




• 


• 


O 


O 


• • • 


o 


o 








• 


• 


• 


o 


o • o 


o 


o 








• 


• 


• 


o 


• o • 


o 


• 








• 


• 


• 


G 


• • 


o 


• 






# 





o 


o 


O 


• o o 


o 


• 






o 


• 


o 


X 


X 


XXX 


X 


X 




X X 


X 




X 



AX 


Xsi 


i'"i 


^^ 


^^ 


'= "= 


8»x 


w 




<» 




8s 


1.1, 


&1. 


DS 


D«. 


rK!. 


Kio 


rK!» 


KSurKi! 


FHo 


rG!. 




r.i 




CS. 


r.\!, 


•\i 1 


c o 


o 


• 


• 


• 


• 


• 


• 


• 


• 


• 


o 


o 


o 


• • 


• 


• 


• 


• . 


• 


o 


• 


o 


O 


o 


o 


o 


• 


• • 


• 


• 





o 


o 


• 


o 


• 


• 


• 


• 


• 


• 


o o 


o 


o 


o 


• 


• 


• 


• 


o 


o 


o 


o 


o 


• 


o • 


• 


• 


• 


• 


o 


o 


o 


o 


• 


o 


o 


o 


• 


o • 


• 


• 


• 


O 


o 


• 


o 


• 


• 


o 


o 


• 


o 


X 


X 


X 


X 


X 


X 






X 


X 






X 





1 



14 



THE SCALE OF D.MAJOR. 



Th«' Iciwtht sound proRiiritble hy ihf Kifo in fact by »ny desAription of Flute ur Pieeulu with 
not iiiiiri^ than Hix key> in known as U «hieh ia obtained by eloiiing the »ii finger hul««: then, 
by raising one finger after another uuromuncing from thit right hand, in produeed the 8eale of I). Ma- 
-Jiir; this may ho termed the model, or !egi(im*te, Heale of the inatrument. 

l.owtT ()i lav Sfmihirvr*. 

Common Time. 



'*^-i=:zi=S^ +n \ m 3 



o 

Couot 1.2.34. iZa.A 

UppT Uctave Mininik. 



*J Count I 2 a 4 1 2 a A. 



t^f--A-.ihSE3iE,S^^E^ 



^^^^m^^m 



Count 1 a 3. 4. 1. i a. 4 

SECONDS 



INTERVALS OF THE SCALE. * * * f 




^^^^^^^ 



THIRDS. 



p^fHi^H^^pei^li^^l^ 



Count 1. ».». 4. 1.2.8 4. 






iiP f£t£^ lj£g} i£.^# £p^f^ 4t C f -rT i^nrr^i (^TiBa 



4f -^smm ^midi^^ffi^^^mjifT^msm ^ 



FOURTHS 



Count i a 3. 4 1.8 3 4. 

4 ^^:^ .if^^^^^^li^^^i^P^?:^^ 



^iil^^^^^^^^te^^^t^^g^Hij 




^^^^^^mm 



^JsmMJ^^;^^^Z± 



■,^- 



If 



FIFTHS. 



1^ t? ; iri'Rj^F^j ji-i^rj fifi^f .frifMir.f f If is 



( Kunt t s a. 4 1. 3 a. 4 








fi»., 



!iir_'_si3lirr!_s£^i^?gG^^ 



Ite^fei'f^iL ^a'.^i;jfi r:iti >ij. 1 ;i.jFri^j.,:jT ji^ 



SIXTHS. 



Count 1.8.3.4. 1.8.3. 4 

^ — H 



Various 



Two-four Tirm-, 



l^m i- 1 J^^" t; i^*^^1pip^=^F^^ 



^^^ 



fount 1. 8. 1.8 



T=-^ 






t« 




^r^ 1 £E}7F|yrf?-"?if-^'M^^- 







ThrL-i^-fuurTime. 



-,.m 



Coui.t 1 i. H 1 :4 3. 



J , . « «.^g i;- gg; ;>» P ^» « 



; :::-p-p r. -pr:£:|f^£i: 



T" 



^•^Mr'^|'>*f^*^^lvyiUi^f;jVf,j'f1''^l^'^- 



Lower Octave THE SCALE OF C. MAJOR. 

Three eiphtTinii- 

^ 1 a. 3 1 2.3. 

Upper O. tave ^. ^. A' ft' ^- #• g.. 



#1- 



Count 12? 4.6.6. 



:^>' 




<'rtitihcl»4 Qu(ivrr» 



• r,.„ni t f^A 19 M UJ 



Wl.hS. 



mn,ii. '. t Th 



('... ;t 1 & it it 







5^ 



I •», 



*( mill 1 a A a. A 4 A 1.i84 "^ 



ArtLf-rf 



mm^m^^^^^ 



• (,„aiit 1. A2r f. AS/r T A2. 4 





Twelve-eipht Time 




^^ y^^^^^^m^^^^^^ 



*f I y 



Count 1 A -4. A 3. A 4. A 1. A 2- A 8. A 4. A 1. A 2. A 8. A 4. A 

* C-uuiiM. 8.3.4. 5. 6.7. 8. 9.10.1112. L^ ^^^ ^ 



or 1 2. 3 4. 



18 



PHRASING AND ARTICULATION. 



Phrasing is the art of proper'y rendering melodies by bringing into duu prominence thi- gruiip- 
-ing of sounds into phraseb, sentences and figures, and this is alone possible, on a wind instru- 
-ment, by a correct method of articulation. 

SINGLE TONGUEING. 

Place the tip of the tongue againttt the palate, then free the tongue by pronouncing the syll- 
-able "Too" while forcing the breath into the instrument. The following Excercises should be 
first pract'CLii slowly and the pace increased but only when firmness and clearness of tone are assured. 



E^^t^i-^^l. 



t^^^^^^^^^S^^i? 



Too Too TooTokTooTou TooToO rtC TmiTiK) ••tl-. 

This style is usually intended when no special articulation is indicated. 

VARIOUS FORMS OF ARTICULATION. 

No. 1. (Slurred in twus) No. 2. (Two slurr»*d,lwo tonguedl No. 3. (Two slurred two tont;ufd) 




:^^S^^!^^ 



3 • 



DOUBLE TONGUEING. 

In rapid passages Di.uble Tongueing is an advantage to ease the action of the tongue, this is 
accomplished by pronouncing"Too-tle, Too-tle,'' thus:— 




Tou-i:.T..,-ll« Tui.-tle Tou-tlr .1. 



Ti'>jll^Ti.>-t> 



TRIPLE TONGUEING. 

With Triplet's, or Groups of three, the pronunciation should be "Too-tle-too. thus.'— 



^^l 




SCALES FOR THE FIFE. 



18 



The fnllowinp iS.-Hles should be plii.Ted throuKh repeatedly slowly ;it first und then (r'udufllly qnirk- 
er, which will enshle thf pfrfornier ti) !^t■<^llire a flcxihilitv iiiid fveiiness of toiif. Tlii- is thi' very 
b»'st ni;\teri.il fur priuticf :iiid thrrelurf tlic Studfnl is ndvisfd tn pciseveif with same and he will 
sonn find his etifr^ics well rewHrded und acquire a uumplete mastery of the iiistiiiiiieiit. 

r M.ijnr (\;\tnr:il kfV ). ,. „ . /, ^.. \ m ■» m 



U4mU^ 



D M,MJiii('v» Sharps.) 



^ ^J^-^^^^^^^gfffff^^i^^J^^ 



^ M;,i..,(.T Sharps) ♦^g 



^^ 



-f f f+Xa- 



E Majiir^l Sharps.) m.'&.M. j". y ■...■ c-y 



A" t Majorat) Sliarps) 



M 



«fe 



icft 



f^ pif ^ 



It Maj„r(-, Sl.arps) 
Ca Major(7 Sharps) 



^^^^^^^^^ 



t. ^ " Lf f 



■* 



F Major (t Flat) 



^-.-r^ 



* 



H'y Major(:< Flats) 



S 



^^^^^ 



^^^ 



ff l>Majnr(-i Flats.) 



tfc 



^S 



^ 



f.>Major(:< Flats.; ,^^ge^. 



.4!. Major (* Flat.) .^.ffff.g. 



^^ 



S 



^ 






n -y Major (-. Flats.) 
(■ \> M.ajor(7 Flats.) 

Harmonio Minor Scalfs. 

4 Miii.ir 

(r.'lativi- of C Maj..rl. -fifftit*. 



Melodic Minor Scales. 



H Minor 

(relative of (i Major). 




ifitt'i 



^gg^S 



n Minor 
(rilativfof n Major). 



-^ 



^»Miii..r 
( 



'^"^^««^ (r-l;.tive of .-/Major). ^S4C«*6#:.^ 



^ 



/) Minor 



(r Minor 



„ ,. ., > (ri'lativH of Aff Major). ,_2«»"«L.^ 

<r..la..ve of/ Major). ^-SgfJJ*- '•#:«-*='*''♦«•- 



^ 



.^teiis-i!:^ 



i:£2fvJifi2£tt 



20 



DAILY EXERCISES. 

ThefoUowing .erie. of Exerci.e. should form a prehmin.ry practice on all occasion, even when 
the atudent has attained the highest a»te of efficiency. "Neven wjien 








r ^- 




y5.ivJvf ^ f^.-^^«i?>J 



1^ r^^N^^^S^^'^^^^i^^^i^ 




A' * Thn^,. in.:rk,M*,houldbrr.,,.at.d .,n n,i,>VH hi4,h,T, 



W^^Fm^,^^:j^.'. ■ -.mm^m:^' 



.^•^•^i.^%'i*i»^uk 



AiMlanlc. 



GOD SAVE THE KING. 



21 



-• — •- 






• / 



ADESTE FI DELES. 
HOME SWEET HOME 



i 




Lrnto. 






Jtad,,-.,,,. MINSTBELBOY. 

'^ -^ ^ ti-*— J, ^ ^ cresc, ^ 



^5^- 



-- — '---^ — >«^ < 1 1 ^— fJ ~ r — 4v_ 




l_2" fr --^ 0- • 



y'^ 



BLUE BELLS OF S( OTLAM) 



Mm0^T^ 



^^^::^rlQ::,'^ 




ji:i:i_j^::^£E^- 



■•« ,i -;, " --iT. 



.. ^9. ^.^..^^^.^ ^^^ 






22 



SEE THE COXQUERIXG HERO. 



.'>fa('st(iso. 



^^^^J£S^^J^¥.M^^^^^^^^^ 



44^L^^^li^ȣS^^iS^^^^^g 



#-- :^M^^sBl/i^^pil^i^eii3:ip^ 



+--«=--- 



.Miidt'ialit. 



MEN OF HARLECH. 







Tempo <ii Maroia. 



^ BRITISH GRENADIERS. 




Mai/ialp. 



RULE BRITANNIA. 



^^^Q .\|f f- J^.- M'^**":^T^^^^ 



r 







1 •= _^ * i:i*^r -/f- t^??MtCi^^^i£?Mi^^ 



.Macsioso. 



HEARTS OF OAK. 









:^. #^?^Tf^^^*:^^^J 






i&jL2smtm:'c^^.^^ii^*^<3. 



Andante Moderato 



ROniN ADAIR. 



28 



'^it^^Fnf^^l:^;*^^^ 



■ff :■- 



:t:-^;;r* 



m'^^ny^:m;Mm 



^^^^Mm^^^Mim^^^^s^M^^: 



Andante con pxpressione. 



Al'I.D ROBIN CRAY. 



^?^i^p^^ig^?^'p^^«i:it;7rT 75;^^ 




Moderato. 



CALLER HERRIN: 



^rp^^p^^^p^^ii; m^Lj^I^^:^ 




;ir> 



m^^m^ 



't^i=i 



^^^s^s^^msm^M 



•~\r-'- 



■m^ 



^s^i^^^sss~^mi*^M^jMM: 



L^;7. 




AlJe^retto. 



JENNY JONES, 



^iiiH 



=**±^ 



g^ 



, > jri ^ 



tteei?^ 



rrfsc. 



:mr^m^L^^^^ 



^|li^?i:gi,^£f^s?^ifi^tg|aiZ'jf: 



Allejiro. 



THE WOOD RUN( H. 






rnf 



'^^1__ 



p;ilK5(j^^#^-*-'%.f.-',r: ,xr% ■ IW^^^^ 




24 



LAST ROSE OF SUMMER, 



ViHla'it iiiii. 



f^ntrifi I Lit "* "rf 



-8 



MN'iii-t'llo. 



'■«/'• y» a tempo 

THi: ASII (iROVE. 



j^v^^ 1. . . I'liJlf^vM^S^pli^^ig 



a.^ 



(<'=_. (•>•' |'_j'-Urf;!''f 'i*:i::;j;, 



• •r.-f *■ . 



^Vj. • [• : n-.. • l^Uij^*^S5;.J^^;^ 



^', 



<'oii niolto «'xpi(tssi(ine 



MY PRETTY JANE. 






^SH 



^^^piMig^^ 






• 

y 



"^loift'iati 



RK H AM» RARE. 



itiH 



•^ aim. 

^' ^ ^i\ : : } : 7 <i* • },. •'' \»- ',* \ : '. \- T T • ■ -F- OT" 






JJ5-. 



t/m. 



lmS'!^mk'MMSm2t 



yn^^y^^A^miiz 



mm'mj-j^*:^^%^^ 



Allefiru ed enrrf^iro. 



WATCH ON THE HHIXE. 
♦ « * ♦ 



25 






'-.£_^_^-t 



' --*1I2L/-:r:if .1 1- - ^r^i/xitoi 






* ± i 



■5^ «. 



Aii..«ro,.o„brio. AMFRIfAN NATIONAL HYMN. 



-^"<-:^|i^te^^" 



^^^^^^^^Mtf^-'^'^QM^^^ 







^^i^~^ 






Maestoso. 



MARCH OF THE MEN OF GLAMORGAN. 




f 

^ Aiidaiilc maostoso 



MAIKII IN SCIPIO. 

III/" „, -^ m-a-' '— ^-♦^^.♦•-•^^ 



't--. 



■i^ 



ff 



#***1* #^ jr ♦ *•**♦* 



t^^ :r-|-^>^ 






mmm 



p_ ^'^m'^t-4mw^^^!^^r^^^- 



26 



AihLiiitf iiia«*.stu!so. 



AT'STRIAN HYMN. 









, »*♦ 



• * "J if.. -^- 1^, fm^0^m-'^-'^sm 



f 






MIcjiro mafsttisd. 



DANISH HYMN. 



9j f • ^f 



f 




#'= ^^^i^ ^ • V 't/f.rjrm? .1?:^ i^'i.t£:cij 



iA_ ; t ?^U-J-l \-J-'h^M.:.3^M.^lALi 



Mollii inaostosn. 



RUSSIAN HYMN. 



^ "if ^ 



imm^m^^^Ms^mw^mmsm^MMM.A 



IVmpK di Mai'f'ia. Maestoso, 



MARSEILI.AISK. 






, a » 



f^ 'M!i4 4.V^V ^'lj\* 









r' *L\.-_. 4-^~-»*#-#-« 



-h5 — 












r»::*±::^ 



=tt:i 



lfJliliSiii»l^l»^iu 



i > f ■ ■; %..•■ ■■■ ' 



Andante inod«*ralo 



PILCiRIM OF LOVE. 



27 








^^^hw^ -^'- 



ri 



^^^^^ 



Allffiro. 



MARCH FROM NORMA. 



S^^B 



I^Mii^^^^ 





Andante. 



THE soldier's RETURN. 











THE SWEET MEi.ODY OF NORTH WALES. 

Lento non troppu. 




-h^^^^ 



iE£ 



^^^^^^^^^ ^ ^^"^ f^ 



:f=az 



mm^^-if^^i-= W :m ^mm 






in 



l.fiilo asNiii. 



WHEN THE ROSY MORN APPEARING. 



f-'\n-"' lO'"' ^^jovj^ imB^^ 



*^** 



i\ .J* ^^\' r:. > i^^^IiU^ni-j_[ttMm 






* P 



(AU.MVAL DK VKNK E, 



r :_ 



r ■ 



« * 



i'L-'df ? \^AL l^:J \^m^f±!M^. 



4 %a.uu LIT r ? • ' tfm 1-:^ k.; nm 



— A«f^. ■^'^ 



s 






^ AIR FROM RKJOLETTO. 






\l^:\^.mSMmi 



D. C. %. 

1^ 



«.v««.«. a. «. 






Xiidantiiio 



TYROLIENNE AIR, 



E^- 



4 'i{;-i:is&i-M^i^>}^?^ji?etSs^.?ipsi 






'■■>': 



M 



r-f"' 



■f'Y 



m^ 




^^^^^t^^m^Kmrn^^^mMm-^^m^ 



MW^vvtU). 



TENKREXTOLA, 



-t 



iLt 



*=T« 



tfF! 



r- i 



IL • 



*±**. 



r^ 



• • • 



* ♦ 



^r^-r 



••^ 



^*-»-*n?-^ir/;E 



v%A±** 







--fcL 



# ♦ ♦ i ./ 



Iflllf)!! 



Kltit 



^^r 



1* 



*//: 



^3 



;ei 



# ♦ 



j^ 



g 



iy 



A A 



fi:^ 



*♦' 



tit. 



iiaz^S 



no 

'• niiiiiir 

\llfur«-ll. 



SAINT F'ATHK K 'AAS A OKNTIJ-MAN. 






}> s'**\' • 



♦ *-♦ 



A' miiuo 



^ JIAiUJK IS MY DAHMXU. 



« •• « 






K:V^ ' 'MhuL'-Icj^Is^^^J 



.-^ rnirlf/r 

\ll<l.•^llt(^ 



<iii,ni:ri(PY. 



,. . , , .. OF NOIU.E PA( i; WAS SMKNKIN. 



// ,„n,.,r ^ f. M. ± J^ j.^ t t ^ M 



i'^.^v 



■ r 



• • • 









i'' 



* ±*j;*iT* M . ^ .-, t» ^ «♦ * * ♦ i* * 









TlIK H()\KYKI> KISS. 



Aiidantino cs] >r<'ssi \o. 



^>\i 1^ f r^ ^ |g ' ; f f . r if_JLlXrj" 2':lL:iIl!J 



,"/' 






P(5I,KA. 



ti 



«« «« A «<*«♦ 






P 



if.c. W. 



VALSK. 



% ;f«rf. /"liwe? ^»'a. kigkfr. 

,^'ffF'U-f-4fa>?^:tl?- If ^ l.r If r^Trt^^T^. I 

j^'f I e^y._^UJ.. '!'>>!, .U^rk-lrvfU Jl 



D. V. -^ 



scHoTTiscni:. 



• *^ n.r. 

MAR( II Fn<»M WILLIAM TKLL. 




*»^ #-#- ^.# . -#.-?- 






32 



SAILOHS HORNPIPE. 







DKVIL AMONG THE TAILORS. 



> M » ■" J «:-!'; g-: ' :: f< 






^±zr_tz^ 



*♦ 



• • 



i'J 




LIVERPOOL HORNPIPE. 



> »»g « ■•a r -^^» , .•-: -^ , - ' _^ i . .\W nun n 




-fc-». 



(<"'^? j^j ; *-^^g^ 



i'^T •tf-^fT]t' ? r :f r-*. 



^g-^ 



^ 



'^ • 



•. • 



••?T 



» - • 



» ■ • • 



• .r- » 



1 im » * 



'!• 



«t-iw^I^rl' ^^: 



^^' 



*# 



»# 



vi* • ^ 



9 isiLi- -B^i^' t^l^ rf^->|^ ;• ^t; 



QUADRILLE. 



33 




I ? ^ > . 



r ' ^- ■•- ^^f- ■■■■■ BM^BS— — b^ • 1 — -t — 4^ - — ^^^^^^ iriaJ--- 






-^-f — t ^ — i^» 



Fiiir . p' 




HIGHLAND S( HOTTISCHE. 



y n.r.al Fiii>: 




wM^ 






IE 



m^^M 







AlUf-i'ctlo. 



WHITE COCKADE. 






^yLi^Mf lulflti^^&i^^Ss^^^^ 




THE "HAWKES" PICCOLOS. 

'In Oi or Et for Military Band; in O for Orchestras. 

' rhi- naming of ['inok« ins always t)»in nuorreil. I 7 and F being usrd inmraii of D7 ami I i tor Military Band initrumrnlt, and I) 
licing used iiisiedd ul C for Orchestrj. In future, our drsiiipiion will i^e D7 Piccolo for the old Eb ; E.h Piccolo for the 
old F ; an I C Piccolo for the old D. 1 lie same terms will he u^ed in connection with all Flutes to which lhe> equally apply. 



Hawkes & Son's Solo Piccolo, fine seasoned cocus. with b keys, screw cork tuning shde, and head lined with metal tube ; one of 

the hest Solo Piccolos made, very brilliant in tone and perfect in lure. 

The same, second grade. These qu.ilities are of wonderful value, very strongly made, perfectly in tune. 

Solo Piccolo, G. L. Roe System, with all extra shake keys, cocus wood and German silver keys (a diagram and icale by Mr. 
Roe, shox.ing the fingeiin^ and shakes, post free 2s. I. 






The ' Hawkes" Boehm System, laig' horr, perfected model wiih open or clojed GS key, in cccu8 wood or ebonite, with nickel 

silver or jterliny ^ilvtr keys. 

PRICES ON APPLICATION. 



FLUTE AND PICCOLO CASES, 

FITTINGS AND APPURTENANCES KEPT IN STOCK. 

Full P.irii. uliirs -it.d Piirf? on ApplKation 



REPAIRS. 



H.AWKI.S & SON UNDFRT.AKF TO RfP.AIR AN\ M.AkK OF INSIRLMFM 
.SHIl' ,\\V) RUO\1l'T DFI.IVFR^ GUAR AN TKKI). 



FINEST WORKMAN 



MF3SRS, HAWKE.S & SO.NI HAVE THE LARGEST AND MOST UP-TO-DATE PLANT FOR UNDER- 
TAKING THIS WORK ANT) 7HTREFORE ARE ABLE TO ( Ot^E WITH THE MOST INTRICATE 
MECHANISM AND DELICWT! INSTRUMENTS AT MODERATE COST, 



HAWKES cr SON. DENMAN ST, PICCADILLY CIRCLIS, LONDON, W.l 



FIFES. 

THE CROWN A.Z 



ASPUPPLIKD TO THK BRIGADK OF GUARDS \ND 
LEADING CONTKSllNG Fl UTE BANDS Ol IMH.ASD 

NONE ARE GENUINE UNLESS STAMPED 




HAWKES & SON 
Makers , London 




Made of the finest seasoned black African C.ocus (ur Fbonile), with six forned nickri silvrr krys. slronifly made an. I nioinilrd en yilU 
with broad finger plate on D3 key. tuning slide head lined with mclal, p« rftcled lario- bore and tingrr holes 



These Models are made in B7. P, and E? for drum and life band use. 



PRICES ON aPPIICMK N 



THE LONDON FLUT»:. w.th Key. on B ock. 




iVladc of fine reasoned Cocus Wood, with 1 , 4. 5 or 6 nickfl silver krv:*, rnounted on wooden blocks. In B^, F. and H^. 

PRICES ON APPLICATION. 



GOOD QUALITY FIFES. 

THE LONDON FLUTE. 

Eb or F Piccolo, fitted with slide head, and all key*; on pillais, superior quality, 

Bt> Flute, „ . - - 

F Flute, ., ., „ - 

PRICES ON APPLICATION. 



, Made with 1.4, 3. and 6 keys 



THE NEW LONDON MODEL FLUTE. 



Eb or F Piccolo, plain head, with all keys mounted on pillars, 

Bb Flute, 

F or Eb Flute, 



J 



Made with I. 4, 5, and 6 keys 



PRICES ON APPLICATION. 



THE " HAWKES " MODEL FLUTE. With all finger holes covered, and ebonite tuning slide 




PRICES ON APPLICATION. 



HAWKES 6? SON, DENMAN ST., PICCADILLY CIRCUS. LONDON, W.l 



^ 










3 3286 0. 


B N C 

6<>3335 9 








THE " 


HAWKES " 


FLUTES. 






I'hr numitig 


i( KlulM and 


\ro: ., 


haj .ilwivs bfin 


iiuniri-cl, I*.^ and F ijrin^ 


u«rd inilpad r( P-> ^nd 1" i> for Mil 




>i'd initnmirntl. 


and 1) b 


rinu uscii msl 


■,ui ,.l ( 


(or Orchrstri. 


III (uiurr, iiiir dr»rriplioi. 


imII hf D- F'ute for the old £-• 


E^ 


Flute for the 


oldF; 


,nH C Flute 


for Ih 


Po'dD. Ihr 


i,iini- Irtms v II l.,- ii>rd cii 


i.niu 1 iio.i uitli all Klutps to which ihfv • 


(jiiallv apoK. 


fv' i^^^^m^^^i^^^H 


IHI 


■ 


KgUH 


Kpas^ 


^em 


>SJ 


Slppi 






FHE 


•HAWKES 


" MODEL BOEHM SYSTEM FLUTE. 








M de 


111 hfSl 


seasoned < ocus 


v^ood Of 'Imnite, with 


uckfl silver or sieiling silver kry» 








THE "HAWKES- MODEL CYLINDER BORE FLUTE, SIMPLE SYSTEM. 

\\ lii );l hoies oiMi(N) anil imiiiuvcd foni |<>iiit iii c.xij- v.,.om ir el)onii' . uitli nirkri nr sImU^- siUcr keys 



(^^^LJ^: . . 



M 



SICCAMA MODEL FLUTE. 

W'liii iri-[MO\cd tool loinl vrn |)<-itfrl, made in kkus i*o(<i oi (I.Miilr wilti iiiikfl ^Ivrr (i s riliPi! jilvrr kfy' 




SIMPLE SYSTEM FLUTE. 

V( lib S k(\» niuuntrd mi pillai! an<i improved loot ii.ml. nuui.- in < imi* v\oi> h el oniir. «illi iickrl silver oi sterlint! silvfi keys. 

PRICES ON APPLICATION. 



HAWKES if SON. DENMAX ST.. PICCADILLY CIRCUS, LONDON, W.l