Ff aL TUTORS tue BEST 2 a a ms ee Z 2 jap} = =< Q a) O & << co [zaWilliam Smaltwoods Pianoforte Tutor Musical sounds are explained by characters called notes, which are named-after the first seven letters of the alphabet, namely, A.B, 0. D. B.F.G, The notes are written upon what is termed the Stave. The Stave consists of five lines and four spaces which run parallel across tho book, thus:- LINES SPACES The lines and spaces are counted apwards, from the lowest to the highest. The names of the notes are determined by the Clef which is placed at the commencement of the stave, There are various Clefs, but only two are necessary for the Pianoforte: the Treble or @ Clef, which 1s placed on the second line of the stave: 3 and the Bass or F Clef, which is placed on the fourth line of the stave: z= @ i Two ataves are required, as a rule, for Pianoforte music; they are joined together by a Brace, thus:- Treble (right hand) BRACE Baas (left hand) NAMES OF. YHE TREBLE NOTES LINES | SPACES é F : f yD 8 Bis onthe4stline, Gis onthe 2nd line, Bis on the Srdline, D is on the 4th line, Fis on tho 5th line. F is in the 4st space, Ais inthe 2ndspac>, Oisinthe 8rd space, E isin the 4th space. The stave is enlarged by added lines, called Ledg«r lines, and two notes can be obtained by having one below the stave and another above it:- === Ledger lines below the stave =——=—=== q which ean be carried further if desired. . . ‘st 2nd ard G B A G F Cis upon the ist ledger line below the Treble stave, Bis below the 1st ledger line below the Treble stave, Ais upon the 2nd ledger line below the Treblestave, @ is below the 2nd ledger line below the Treble stave, Fis upon the 8rd ledger line below the Treble stave. Ledger lines above the Troble stave A BO D EE F @ A is upon the 1st ledger line above the Treble stave, Bis above the 1et ledger line above the Treble stave, © is upon the 2nd ledger line above the Treble stave, Dis above the 2nd ledger liae above the Treblu stave, B isupon the 8rd ledger line above the Treble stave, F is above the 3rd ledger line above the Treble stave, @ is upon the 4th ledgi-: line above the Treble stave. It fs better not to learn ths is¢ier lias: ruts’ the votes on the stave are conquered, Copyright by Francis, Day & Yunier, Led. F.a& D, Ltd. 1079- 8627As soon as the pupil has learned the following, so that they are known on the book at once, several of the little excercises cun be practised after learning the names of the Keys of the Pianoforte. Treble notes é = F GiosA KE F G4 C p & B OC D The pupil should learn the Treble notes before attempting the Bass. NAMES OF THE RASS NOTES G B é F OA A 0 E & G ison thedst line, Bison the 2ndline, Dison the rdline, Fis onthe4thline, A is on the 6th line. Ais in the 1st space, C is in the 2nd space, @ is inthe 8rdspace, Gis in the 4th space, B above the lines F below the laes Ledger lines below the Bass stave SSS ¢ § 2 B is upon the tet ledger line below the Bass stave, D is below the dut ledger line below the Bass stave, C iv upon the 2nd ledger line below the Bass stave, B is below the 2nd ledger ling below the Bass stave, Ais upon the 8rd ledger line below the Bass stave. Ledger lines above the Bass stava D E F C is upon the ist ledger line above the Bass stave, D-is above the ist ledger line above the Bass stave, Bis upon the 2nd ledger line above the Bass stave, F is above the 2nd ledger line above the Bags stave, G is upon the 8rd ledger lina above the Bass stave. ‘The remarks (see top of page) in regard to learning the Treble notes apply equally to the Bass, and the pupil is advised to master thoroughly the following as soon as possible. Bass notes E F G@ A B CGC D E F GG A B CG THE DIFFERENT KINDS OF Nt TFS, THEIR VALUE, &c., &c., In modern music there are six different kinds of not:s, viz: the Semibreve, Minim, Crotchet, Quaver, Semiquaver and the Demisemiquaver. The Semibreve iy a round open note ©, the Minim i: a round open note with a stem f. the Orotchet is a black note with a stem f, the Quaver is a black note with a stem and tail p. the Semiquaver is a black note witha stem and two tails p and the Demisemiqaavor is « black note with a stem and three tails p Each note has its corresponding rest ‘hich iv «yun! ia duration to the note it represents. FR DL td, 1079-8627Semibreve rest Minim rest Crotchet rest. Quaver rest Semiquaver rest © Demisemiquaver rest The Semibreve rest is placed under a line of the stave, the Minim rest on a line of the stave. There are two forms of the Orotchet rest, as shown abovo. The Quaver rest turns to the left, the Semiquaver rest with tvo hooks turns to the left and the Demisemiquaver rest with three hooks turns to the left. The proportion which theso notes bear to each other is as follows: One Semibreve is equal to two Minims, one Minim is equal to two Orotchets, one Crotchet is equal to two Quavers, one Quaver is equal to two Semiquavers and one Semiquaver is equal to two Demisemiquavers. The same prop:rtion also applies to the rests. One Semibreve is therefore equal to 2 minims or 4crotchets or 8 quavers or 16 semiquavers or 32 demisemiquavers. One Minim is equal to 2 crotchets or 4 quavers or 8 semiquavers or 16 demisemiquavers One Crotchet is equal to 2 quavers or 4 semiquavers or 8 demisemiquavers. One Quaver is equal to 2 semiquavers or 4 demisemiquavers. One Semiquaver is equal to 2 demisemiquavers. TABLE A Semibreve °. | om Deile en et. or 4 Crotchets tn 7 p p p p Faas) ‘ A, sis von \ fs /\ § 6 rE i he Denise r miguavete \ A PRR OOEE POOPPUOR PUR OS Coopeeer A dot after a note makes it half as long again: for instance, a dotted Semibreve is equal to 3 Minims, N G bp § [iihalpriedameill NAAA Y A AAA a dotted Minim to 3 Crotchets, and so on; see example below. a dotted a dotted a dotted a dotted a dotted Crotchet Semiquaver ee ———— —————— -— is equal to . equal to is equal to is equal to 3 Crotchets 3 Quavers 3 Semiquavers 3 Demisemiquivers a — 1 pp — —— —— is equal to 3 Minims = Se Sometimes Notes are double dotted, that is, have two dots after them; in this case the notes are increased three fourths of their original value. Thu above remarks apply exactly the same respecting rests; therefore, the dots increase the duration of the rests in the same proportion that they do ¢o notes, FL&- D, Ltd. 1079 - 8627ON TIME Bars are short upright lines drawn through the stave, which divide the music into equal portions of time. EES Double bars divide the music into strains or parts. The Semibreve is considered the Standard note by which the measure of the different species of timo is fixed. The time signatures are placed at the beginning of a piece. Simple Common Time stands for Common time with the value = indicates two fourths of a semibreve in ey semibreve in each bar. SE each bar— two Crotchets. Simplé Triple Time indicates three quarters of a semibreve <= indicates three eights of a semibreve in —= in each bar—three Crotchets. each bar— three Quavers. The above examples are Simple Time, In all cases where the upper figure is less than 6 it is Simple Time, but when the upper figure is 6 or more than 6 it is Compound Time. There are then in use the following different kinds of time, viz: Simple Common Time and Compound Common Time; Simple Triple Time and Compound Triple Time. Compound Common Time 5 indicates that there are 6 of the eight 1 de be quavers which make a semibreve in each bar twelve qaavers imla: bar, There is only one species of Compound Triple Time in genvral use and that is— = or nine quavers in a bar. To know whether a piece is in Common or Triple time, it will be necessary to observe that when the top figure is even, it is Common Time, if odd it is Triple Time; also, if the upper figure is less than 6 it is Simple Time, but if 6 or more it is Compound Time. PIANOFORTE KEYBOARD pe oe ABcbRRG QDEFGABCDEFG ABODE TOUSEN THEOL ARLES On examining the Key board of the Pianoforte it will be observed that there are White and Black Keys; the former represent the natural notes, and the latter the flats and sharps. The Black Keys are divided into alternate groups of two and three, and considering tuis,the names of the White Keys are readily known. To make this very easy to remember, D is between the two black keys; E is on the right of the two black keys; Fis on the left of the three black keys; , Gis above the lowest of the three black keys; Ais above the middle one of the three black keys; Bis on the right of the three black keys; Cis on the left of the two black keys. Fa D.Ltd, 1079-8627PREPARATORY LESSONS 1 stands forthe thumb — 2 for the first finger— 3 second finger— 4 third finger—6 fourth finger This page is in Common Time of 4 crotchets in each bar Slow and distinct RIGHT HAD ONLY p Semibrevew | a Count 1234 1233 123412341234 123412384 1234 1234 Minims ;cunt 1 2 8 4 #2 2 3 4 #%1F 2 8 4 4 2 8 4 12 3 4 Crotchets s+ Cont 14243444 14243444 1424 3448 Semiquavers eS 4tepe2R4 54 se 4244 543g — ey = —— ee a tt SS» SS ee ee ee re — em Pt ee oe =D oe oe SS Count 1 @ @ 4 3 & 4 & 1 & 2 & 3 & 4 & 123 4 Slow and distinct LEFT HAND ONLY Semibreves 2 1 Count 1 2 3 4 1 2 2 Quavers F Count 14243444 14243444 14283444 LE2EFZ RAH 123 4 Semiquavers past t 234 paaetery a2rirsy aazi2ag —— Count 1 & 2 & 3 a& 4 & 1 & 2 & 3 & 4 a 1234 Take care not to count the semibreve at the end of each exercise too quickly. F.& D.Ltd. 1079 - 8627. PREPARATORY LESSONS (continued) BOTH HANDS Slow and distinct Semibreves R. Hand, (Treble Clef) L. Hand (Bass Clef) Quavers 1284548 2 Semiquavers 12845 4 3 2 as — Sl ee oo a a A a Slow and even counting is essential. Endeavour to maintain strict time in all exercises. Correct fingering as shown must be used to ensure smooth playing. Begin these exercises slowly and gradually increase speed. on't memorise the sound,but read every note and play it as written with its correct time value.PREPARATORY LESSONS (continued) Common time — four quavers in a bar. 2 fs 23 WALTZ. Triple time — three crotchets in a bar. ea) *The dots at the double bar signify that the parts are to be repeated. These exercises must be carefully counted during practice, as they show the different kinds of time in common tse, F.& D.Ltd, 1979 - 8627PREPARATORY LESSONS (continued) Common Time— four crotchets in a bar Common Time— four quavers in abar Triple Time — three crotchets in a bar 5 F.a& D. Ltd. 1079-8627WALTZ. Triple time — three quavers in a bar. not too guick ers in a bar. — six quave Compound Common time bar. ime — nine quavers in a Compound Triple t not too guick 1234656789 a o nS o 2 ~~ Ct a i | ] 123456789 we F.4@ D.Ltd, 1979 -8627AD DAILY EXERCISES To be played slowly at first, with increase of time as the pupil improves, 345482 12845452 13243542 93043542 igri esse 35432432 3543 cane 212432 Double notes 4 4 5 8 —t — —" — PRELUDES, LESSONS, FAVOURITE AIRS, &c., in Familiar Keys PRELUDE, KEY OF c t Moderato . a *When the figure 3 is placed over a group of three notes, it indicates a Triplet; that is, three notes are played in the time of two of the same species. tVarions Italian Terms are used to signify the speed of the different pieces; refer to the list at the end of the book. J stands for Forte—loud; p for Piano—soft; pp for Pianissimo — very soft. Fa DTte tints. seari WIS ig two octaves should now be practised from the table of Scales at the end of The Seale of 0 runnin, the book (page 50). F.& D. Ltd, 1079 - 8627Allegretto HUNGARIAN MELODY ae a4 § Moderato WALTZ extend. *When a piece commences with only a portion of a bar (as in this instance), the last bar of the strain mast contain “ as much as is wanting to make it complete at the beginning. Du Capo, or D.C., means go back to the beginaing of the piece. Finish where the word Mine is placed.QUICK MARCH BEAMS OF MORNING SCALE IN CONTRARY MOTION | gua ignifies that they have to be played smoothly from one note to another. va signifies that the notes are to be played an octave higher than written. *The curve over the notes s tg (the semibreve The Scale in contrary motion should bo practised over and over again playing the last note only when fin hing. is 8627 Fa D. Ltd. 1079.It will now be necessary to notice the different characters termed Sharps, Flats and Naturals. On the Pianoforte each Black key has two names; for instance, the black key between C and D is Csharp and D flat; the black key between D and E is Dsharp and E flat; and so on. The sharp (}) raises the note before which it is placed a semitone, which is the next black key to the right. The flat (b) lowers the note a semitone, which is the next black key to the left, The natural (k) restores to its original state any note that has been altered by a sharp or flat. It will be observed that there is no black.key between E and K and between Band. When Ef is wanted it will of course, have to be played on the white key to the right, and Fb on the white key to the left. These latter, however, the student will not require for some time to come, as they only occur in extreme keys. When sharps or flats are placed immediately. after the clefs at the commencement of a piece they signify that all the notes of the same name are to be played sharp or flat throughout the piece, or so far as a change of key, which would be indicated. Accidental sharps, flats, or naturals which are inserted before notes in the course of a piece only effect those before which they are placed, or throughout the bar in which thev occur.KEY OF G The Key.of G requires one sharp: Fd PRELUDE Moderato UL DAYS F YOUTH! WHEN I REMEMBER The Crescendo ———————— signifies a gradual increase in the tone, and the Diminuendo ————— just the contrary. Fa D.Ltd. 1079 -862716 Andante Bs 1 Home, home, ? 2 Home, home, . i Dette Se SE —— ean for-|get though I may Practise now the Allegretto 3 5 art thou to there would I dear-ly loved quick-ly I Scale of G from the Table at the end of the book (page 50) WON’T YOU BUY MY PRETTY FLOWERS te ppp lit - tle fra - gile | girl, women hur - ry | by,I7 leed - less - they | round eed - less sad While the | hun-dreds pass - - the How her | lit - tle heart the |oold tear - ful flowers?” to her flowers?” pos pen fea weg | = a—— 9— A) oe ————— ———————— =KEY OF D The Key of D requires two sharps; Fy and Of PRELUDE Moderato Repeat the Treble 88 higher *The tie over two notes which are the same signifies that the second is not to be played but held down the length of the two,ni rt ————— SWISS GALOP J = 3S 2 = 3 ba’ “s = o By & the igher Treble 84h INTRARY MOTION SCALE IN CO! F&D,Ltd. 1079-862720 KEY OF A tne Key of A requires three sharps; Ff, CH and Gt PRELUDE Moderato #4 & 4a Practise the Scale of A at the end of the book (page 512) SCALE IN CONTRARY MOTION 5 re34,e53 21Key of & The Key of E requires rour sharps; F#, CH, G4 and Df PRELUDE Moderato Practise the Scale of E at the end of the book (page 51) SCALE IN CONTRARY MOTION *The dotted minimin the bass of each bar is struck as the first note, and then held down during the whole bar. Fé D.Ltd. 1079-8627KEY OF F The Key of F requires one flat; Bb 22 PRELUDE Moderato ng — tt CARNIVAL OF VENICE Practise the Scale of Fat the end of the book (page 52) MERRY CHRISTMAS MAZURKA Moderato Pp grasiosofiand the ble 8° higher eat Rapeat f and the Treble 8° higher Rep Tre AULD LANG SYNE SCALE IN CONTRARY MOTION Andante moderato Fa D.Ltd. 1079-8627COMPLIN CHIMES — ST. PETER’S, ROME 24 Hold the semibreves their full length Andante tranquillo f S GUILD MARCH ST. PATRICK’mp senmmmmsuice| ‘TRIO ‘np sempre stace ie “dd ghar bees ta oe? Fea D. Lad, 1079-86272 CLASSICAL MELODIES come ‘HAYDN Monto 3 bs Tha : ? | tnt eel eo ee Moderate NATIONAL ANTHEM ~ GOD SAVE THE QUEEN Fame oar [gre cote Quen] Lon ive ¢_[ ee = te gn [eda cus, |Longto reign |o-vor us, [dod aave the |guies, 4 ‘Tay choloest gitts in store, (On er be plossed ts pour, ong may se reign ‘detond our Ia give ue case with heart and voles the Quees. a Dita, 1079-8627Mahogany (HP207-MH)DUETTINO — SWEET SMILES 36 SECONDO Moderato- Count 3 Repeat f DUETTINO — FAIRY WALTZ SECONDO Moderato Repeat f Repeat f Repeat f F.@ D. Ltd, 1079 - 86273 DUETTINO — SWEET SMILES ' PRIMO Moderato PRIMO DUETTINO — FAIRY WALTZ F.d D. Ltd, 1079-862738 DUET — MARCH AROUND THE MAY POLE SECONDO a ae tt i ! Fa& D.Ltd, 1079-862739 DUET — MARCH AROUND THE MAY POLE PRIMO Moderato Sas F.& D,Ltd. 1079- 8627WOODLAND REVELS 40 GAVOTTE Allegretto TH Mh q uf ‘ it th F.d@ D. Ltd. 1079-862741 A 5 234 4s ‘ eo td F é@ D.Ltd. 1079-862742 TRIO -8627 1079 F.@ D. Ltd.NEW EDINBRO’ SCHOTTISCHE as Slower than the Polka oe Repeat fand the Treble 8% higher Repeat J and the Treble 8*¢ higher F.& D. Ltd; 1079-862745 CLASSICAL MELODIES ROMANZA Andatte STEIBELT These Classical Melodies may be given wit: any of the other lessons, at the discretion of the Teacher. They Will be found to be excellent practice. F.@ D. Ltd, 1079 - 8627EARLY DAWN 46 wm SMALLWOOD Valse moderato F.a@ D.Ltd. 1079 - 862747 CLASSICAL MELODIES RONDO HAYDN Arranged from BEETHOVEN Moderato This beautiful Melody may be sung to the popular missionary hymn, “From Greenland’ icy mountains”. F. a@ D. Ltd. 1079-8627a5 CLASSICAL MELODIES RONDO Moderato. yor’ it, my 5 S S. Send her vic - Hap-py and Long to reign God save the ' es — es re — — ———— a — 2 3 O Lord our God arise, Thy choicest gifts in store, Scatter her enemies, On her be pleased to pour, And make them fall. Long mayshe reign. Confound their politics, May she defend our laws, Frustrate their knavish tricks, And ‘ever give us cause On thee our hopes we fix, To sing with heart and voice, God save the Queen. God save the Queen. F.4 D. Ltd. 1079-8627GRACES OR NOTES OF EMBELLISHMENT ” The most important Graces in mnsic are the Appoggiatura, the Turn and the Shake. The Appoggiatura is expressed by a small-sized note, placed before the principal noto. It borrows one-half the value of the principal note, unless that note is dotted, in which case the appoggiatura borrows two-thirds of it H If the small note has a dash drawn through it thus: , 2 it is played H smartly, quickly. Written thus: , Played .thus: The Turn, (+, or 2) consists of a principal note and the notes above and below; it should be playrd with decision. Written thus: Turn upon the note. Inverted Turn. Turn witha sharp. Turn with a flat. Turn over a note Played thus: The (&) is a rapid alternate repetition of the principal note and the note above. It generally eads with a turn, + & Written thus: ———————— re Commencing with the principal note Commencing with the note above Played thus: The Transient or Short Shake Of the Tremando Written thus: Written thus: SSS Played thus: tT The Waved line, thus } or the Curved line, thus { when placed before a chord, signifies that the notes are to be played in the Arpeggio style, that is, to commence with the lowest note of the chord, and proceed ina quick and regular succession, keeping each note down when struck Played thus: F 4D, Ltd, 1079- 862754 CHROMATIC SCALE a's 4 A FEW QUESTIONS WITH THEIR ANSWERS ON THE THEORY OF MUSIC Q What is an octave? A An eighth. Q What are English terms for the notes which form an octave? A The key note is called tho Tonic; the 2nd above, the Supertonic; the 3rd above, the Mediant; the 4th above, the Subdominant; the 6th above, the Dominant; the 6th above, the Submediant; the _7th above, the Leading note; the 8th above, the Octave. Q What is Modulation? A A change of Key. Q What is the difference: between gradual and abrupt Modulation? A Gradual Modulation isa change into some Key which is the. nearest and most natural to the one in which the composition is written, while abrupt Modulation is a change into some distant Key. Q What is a partial Modulation? A Acchange of key which is no sooner made than it returns at once to the original. Q What is Transposition? A The art of removing a composition into a higher or lower key, so as to be better adapted to some particular voice or instrument. Q What is Melody? A A succession of single notes or sounds, Q What is Harmony? A Two or more sounds heard at the same time in proper order, Q What does a Oommon Chord consist of? A A bass note with its 3rd and 5th, the octave to the bass being generally added. Q What are the attendant Harmonies to the chord of the Tonie? A The Chords of the Subdominant and Dominant. Q Wow many sounds does the chord of the Dominant 7th consist of? A Pour, the chord of the Dominant and.its 7th added, the 7th being a whole tone below the octave. Q For what reason is it called the Dominant 7th? A Because it decides or governs the Tonie Harmony by containing those sounds which are not to be found in any other key or scale, Q What is meant by a Fundamental Bass? A Those notes are Fundamental which make the foundation of any certain chord, Q What is a derived Bass? A Thosé basses which derive their harmony from Fundamental notes. Q Which are Major and which are Minor semi- tones? “{ From C to C sharp is a Minor Semitone, and from C to D flat is a Major Semitone. Q Whetheris the Major or Minor Key the most perfect? A The Major Key is perfect, but the Minor is imperfect, insomuch as it always wants the assistance of a sharp, or natural, as the case may be, to form its leading note. Fa D. Ltt 1979-8627THEORY OF MUSIC EXAMPLES Common Chords Root Basses Roots Roots Derived Basses of the Common Chord Chord of Dominant 7th Chord of the 6th Chord of the § Roots Root 3rd below Root 5th below The Chord of the added 9th is.a combination of the Dominant and Subdominant Harmonies Root 3rd below. Root 5th below. Root 7th below. Dominant - Subdominant added 9th Harmony Harmony Tho Major Scale harmonized introducing the Chords explained above. F.& D.Ltd:1079 . 4627"58 DICTIONARY OF MUSICAL TERMS Accelerando — gradually increasing the pace. Adagio — very slow. Affetuoso — tenderly. Andante — rather slow. AbleBro — quick, cheerfully. Allegretto — not so quick as Allegro. Animato — with spirit. Ad libitum or Ad lib, — at pleasure. Brillante — in a brilliant, showy style. Calando — diminish the time and sound by dogrees. Con spirito — with quickness and spirit. Crescendo — increasing the sound gradually. Cantabile — in a graceful and singing style. Dolce — sweetly, softly. Diminuendo — diminishing the sound gradually. Da Capo or DC. — go back to the beginning. Deciso — with decision, boldly. Espressivo — with expression - Forte or f — load. Fortissimo or ff — very loud. Furioso — with fury. Forsando or fs —to mark well one or more notes. Grave — slow, solemn. Grasioso — in a flowing, graceful style. Largo — a very slow movement. Larghetto — not so slow as Largo. Lento — in slow time, Legato — in » smooth connected manner, F.& D.Lta. Zoco — play the notes in the position in which they are written, and follows either of the signs goa higher or gva bassa. Haestoso— majestic Hesso Forte or mf — rather loud. Hexso Piano or mp — rather soft. Moderato — moderately quick. Non troppo — not too much, Presto — yery quick, Prestissimo — as quick as possible. Piano, pia or p — soft. Pianissimo-or pp — very soft. Poco — a little. Poeo a poco — little by little. Pomposo — with dignity and grandeur. Rallentando or Rall — gradually becoming slower. Ritardando or Rit — retarding, delaying the __. tempo. Risoluto — firmly, degidéd. Schersando — in a playful, light style. Sforsando — see Forzando. Sostenuto — to sustain every note to its full length. Staccato — short and distinct. Tema — a theme, or subject; a melody. Tempo primo — timo as at first. Tenuto or ten — see Sostennto. Tremando — with a trembling effect. Vigoroso —. with strength and firmness. Vivace — brisk and animated, Volti Subito or KS. — tarn over quickly. 1079 - 8627 Halsuan & Co, Ltd., Amersham, Bucks., England