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FOR THE
Accoar>soj* PHILADELPHIA LEE & WALKER,
No. 922
W. H. BONER &
:
CHESTNUT STREET,
CO., No. 1102 Chestnut Street.
WUCsTIDTIEIEVS
TEACHER
9
FOR THE to r? -.'70
HE WITH
WHICH AMY PERSON
9
CAN LEARN THIS BEAUTIFUL INSTRUMENT WITHOUT THE
AID
OF
A MASTER.
couTAiuiiraII
t\t
||eto
anb mast
BY
Jlaslpanahle
ftlusic
of
%
flag.
WINNER.
JOS. E.
PHILADELPHIA
:
LEE & WALKER, No. 922 CHESTNUT STREET. V{M. H. BONER & CO., No. 1103 CHESTNUT STREET Rn'ertJ according
In thn
Act nf Congress, in the year 1868, by W. R.
SMITH, in
the Clerk's Office
of the District Court of the United States, in and for
0
the
Eastern District of Pennsylvania.
INDEX. TtUDIMENTS OF MUSIC.
.... .
OPERATIC AND POPULAR AIRS. BOHEMIAN GIRL BROKEN HEARTED MILKMAN CHAMPAGNE CHARLIE CHARMING YOUNG WIDOW I MET ON THE .
.
3
3
4 4 4 5
7 7 8 9
9
12
13 24
25 32 43
28 41
.
WARNING
34 36 66
GREEN ABOVE THE RED HEART BOW'D DOWN I CANNOT SING THE OLD SONGS .... IF MY GLANCES HAVE BETRAYED ME I'M HAPPY AS THE DAY IS LONG .... I'M SO TIRED AND SLEEPY I'VE A LETTER FROM THY SIRE, BABY MINE I'VE NO MOTHER, NOW I'M WEEPING .
.
JOLLY DOGS
48
33
GOOD-BYE, SWEETHEART
.
.
34 25 30
49
NERVE OH MANY A TIME I AM SAD AT HEART OLD LOG HUT PADDLE YOUR OWN CANOE
.
49 43
28 25
48 26 31
37 49
32 35
34 49 69
SECRET LOVE SLAP BANG HERE WE ARE AGAIN .... SOFTLY TREAD, MY NELLIE'S SLEEPING SONG IN THE BLACK CROOK SWEET EVELINA THAT'S WHAT'S THE MATTER WITH HANNAH .
......
THE THE THE THE THE THE THE THE THE THE THE THE THE THE
'26
35
26
33
....
30
MERRIEST GIRL THAT'S OUT
.
32 41
36 33
28 25
56
OLD LOG HUT ROCK BESIDE THE SEA SAILOR'S WIFE
36
WANDERING REFUGEE
TIM FINNIGAN'S WAKE YOU NAUGHTY, NAUGHTY
WANDERING REFUGEE WEARING OF THE GREEN WHEN YOU AND I WERE YOUNG, MAGGIE
37 40 37
39 37
40
GRANT'S GRAND MARCH VIOLET MAZOURKA
39
REELS, JIGS,
38
AND QUADRILLES.
34
49
.
54 70 64 61 67
48 58
70 50 61
AND FANCY DANCES.
MRS. MALLOY'S REEL SALLY COME UP
53 69
SHELTY'S PIPES
53
SUGAR IN THE GOURD
53
WALK AROUND
43
27
LANCERS.
41
MEN
42
.
35
NERVE
57
BON TON POLACCA QUADRILLES DODWORTH'S THIRD LANCERS DURANG SCHOTTISCHE QUADRILLES ... FIFTH AVENUE LANCERS PALERMO QUADRILLES PAREPA SET PLAIN COTILLIONS PRETTY MAZOURKA QUADRILLES .... SHARON SPRINGS LANCERS SWEET SIXTEEN POLKA QUADRILLES VICTORIA LANCERS
28
34
.
57
46
MARCHES, MAZOURKAS AND REDOWAS. BLUE BIRD POLKA REDOWA
COTILLIONS
35
BROKEN HEARTED MILKMAN .... COLONEL FROM CONSTANTINOPLE FUTURE'S BUT A DREAM GIPSY'S WARNING GREEN ABOVE THE RED HEART BOW'D DOWN JOLLY DOGS, OR SLAP. BANG .... LONE ROCK BY THE SEA
42
LEHIGH POLKA ROSEDALE SCHOTTISCHE SEA BREEZE SCHOTTISCHE SLUMBER POLKA
36
,
44
POLKAS AND SCHOTTISCHES. DROAVSY POLKA
56
.
27
29
.
30
REFUGEE ROCK BESIDE THE SEA SAILOR'S WIFE SALLY COME UP ...
EVANGELINE EVELINA
FUTURE'S BUT A DREAM
49
11
41
....
34
32
12
WALTZES AND GALOPS. HILDA WALTZES, COMPLETE I DON'T CARE GALOP JUST ONCE MORE GALOP MABEL WALTZES COMPLETE PALOMITA GALOP WILD FANG GALOP
27
POLLY PERKINS
36
FINNIGAN'S WAKE FIVE O'CLOCK IN THE MORNING FLEE AS A BIRD TO YOUR MOUNTAIN
.
11
TRAIN CONSTANTINOPLE
GIPSY'S
YOUR DARLING LONE ROCK BY THE SEA MAGGIE'S SECRET MAID OF ATHENS MARY AILEEN MELODY FROM BOHEMIAN GIRL MERRIEST GIRL THAT'S OUT MY HEART IS OVER THE SEA KISS ME, MOTHER, KISS
OF THE NOTES OF THE STAFF VALUE OF NOTES OF THE DOT AND DOUBLE DOT OF THE RESTS OF TIME AND ITS DIVISIONS OF TRIPLETS OF THE SCALE OR GAMUT OF INTERVALS AND INVERSIONS OF THE SHARPS, FLATS AND NATURALS OF THE MODES OF ARTICULATION OF GRACE NOTES OF THE TRILL OR SHAKE OF THE ACCENT OF THE SIGNS AND ABBREVIATIONS ... OF MUSICAL TERMS
26
DODWORTH'S THIRD
27
FIFTH AVENUE SHARON SPRINGS VICTORIA
31
29
I
70 61
7« CJ
#
Girt or The Oliver Dltton Nov, 28, 1900.
THE ELEMENTS OF MUSIC. Music
made
is
their Spaces,
by the use of characters called Notes, written upon a Staff", which is composed of five Lines and and Space being named from one of the first seven letters of the alphabet A, B, C, D, E, F, G. each Line intelligible
:
EXAMPLE. r
n
\J
*
MS
9 -mI
F
. ...
_
5th--—5B»«e
4tta
__~
.
I
1
—
When
the Notes go above or below the
The following
&caZe
called an Octave, as
from
A to A, B to B,
Ucgr.
0-
d 1
degr.
1 d«gr.
A
1 degr.
1 degr.
in the Treble or
F
^
A
B ^
-#-
-p
± ±1 1 I
1
1
i
1-2 deer. dQgr.
G
Clef, i/fe;
distance of notes from each other
B
C
«
-d
1-2 degr.
The
&c.
1
—* j * f r
Lines are added, called Leger Lines.
shows the position and names of the Notes,
«
1
Staff,
.
is
C
is
reckoned by Degrees and Half Degrees.
BE -
-F-
-j—
Each succession of eight notes
-j—
F
«
F
4— 4— 4—
4—
4—
-j—
•)—
A
B
-F
+-t— +4—
-
+44—
-0-
m
-F 4++4—
i
—
—
ELEMENTS OF MUSIC, THE DOT AND DOUBLE DOT.
THE VALUE OF NOTES, OE THE DOT, AKD THE EESTS. The shown hy the peculiar form of each relative duration
is
called the Value of the Notes,
and
note.
A dot, placed after a note, increases its value is
a dotted whole note
one-half
:
Thus,
equal to three half notes, a dotted half npte to three quarter notes, a dotted quarter note to three eighth is
notes, a dotted eighth note to three sixteenth notes, &c.
Comparative Table of
the Relative
One Whole note
is
Value of Notes.
Dotted
Whole
Dotted
Dotted
Note.
r Four Quarter
t I
-
notes, or
r * I
u
u
J—
the value
0000
0000
is
—
V-U/
added
H5 -
^
to the
W-
first,
— — 5—— ^ y.
following a whole
is
equal to half that of the
&c,
first.
r is:
r
I
<2I
r j£L
Sixteen Sixteenth notes, or
0000
Dotted 33d Note.
note, half note, quarter note, eighth note, or sixteenth note,
f L
±
"When a second dot
notes, or
Eight Eighth notes, or
u
Dotted
12:
equal to
& Two Half
Dotted
Hair Note. Quarter Note. 8th Note. 16th Note.
0
m
22
0000
ii
THE EESTS. Thirty-two Thirty-second notes.
00900000 00090000 00000000 00000000
Rests show that the music ceases to be performed during certain intervals of time.
and
player,
and aid
in
They
afford repose to the singer
producing musical
effects.
; :
ELEMENTS OF The
rests
have values corresponding
thus, the whole note rest
the half note quarter note
equal in duration to the whole note
is
the half note
rest to
the eighth note
;
to those of the notes
rest to
the quarter note
;
rest to
the
MUSrCJ,
5
The single and double dot, which were explained in the preceding section, are also placed after the rests, and augment their value in the same proportion.
the eighth note, &c.
EXAMPLE OF ONE OR MORE MEASURES 8
,
*f
i Whole
Half
Note Rest.
Note Rest.
REST.
*—
i
Quarter 8th 16th 32d Note Rest. Note Rest. Note Rest. Note Rest.
— —•H
1
¥-
I TIME,
I
II
AND
i" | i' f i'" f
u
f
ir
0
u^ll
1
ITS DIVISIONS,
divide music into portions of equal value, called Measures.
Single Bars, thus, 1
There are two principal kinds of Time ; Common Time, which contains two or four equal parts in each measure
;
and
Triple
Time, which contains three equal parts.
Simple thus
T
:
Common
Time, marked thus
contains six Eighth, or
Simple Triple Time
which In
or
contains two Half, or four Quarter Notes in each measure.
And
that
marked
contains two Quarter, or four Eighth Notes in each measure.
Compound Common Time, marked
The
g
:
figures it is
%
a-
J,
contains six Quarter, or two dotted Half Notes, in each measure.
That marked
two dotted Quarter Notes. is
marked
«{",
"§",
and
Compound
Triple
Time
is
marked
"9"
•* -a-
J, J, g,
divided,
»
&c, indicate fractional parts of a Whole Note
and the upper figure the number of parts taken
Common
Time, a measure has two accented Notes, sure has but one accented Note, viz. the first. :
viz.
:
the
to
first
fill
and
^
"8".
-8-
the lower figure indicates the
;
g,
number of
parts into
a measure.
and
third,
and two unaccented.
In Triple Time, a mea.
ELEMENTS OP MUSIC
6 Beating, or Marking Time, with correctness
must descend
at the
and
precision,
is
of the utmost importance.
beginning of every measure (marked D), and
rise at the
Common
In beating
middle (marked
Time, the hand
IT).
EXAMPLES. COMMON
TIME,
FOUR QUARTER NOTES IN A MEASURE, OR THEIR EQUIVALENT
W h^M M
DUD18 12
3 4
?T4
l
IN
OTHER NOTES OR RESTS.
1
34
1
18
U
D
D
TWO QUARTER NOTES
IN
COMPOUND COMMON TIME, TWO DOTTED QUARTER NOTES
A MEASURE.
9
i
IN
m 18
U
A MEASURE.
•
.
'
0 1
18 D U
The
18U
D
12 DU
three other kinds of
18 18 DUDU
DU 1
1
D
2
Compound Common Time
In beating Triple Time, the
hand or
P 8
2
1
U
D U
are seldom used.
foot descends at the
first,
and
rises at the third part of the
measure.
EXAMPLES. SIMPLE TRIPLE TIME, THREE QUARTER NOTES
m
IN
A MEASURE.
THREE EIGHTH NOTES
IN
is fx-
A MEASURE.
0
-I
h
1
1
1
1
D
D
D
COMPOUND TRIPLE
2
TIME, NINE EIGHTH NOTES IN
3
1
3
1
U
D
U
D
A MEASURE.
18
3
D
U
:
1
ELEMENTS OF MUSIC. 3
~2-r rj "When a figure 3 is placed over three notes, they are called Triplets, two notes of the same kind. "When a figure 6 is placed over six notes, they are to be played in the time of four.
—
I
We
might be led
amount of time
;
to
and
presume that
^ time were one and the same
and are
be played in the time of
to
thing, as the measures in each contain the
but observe particularly that the time expressed by the even numbers
9
4,
n 3E,
— —
same
&c, must be accented on
r-fl—7* the beginning and middle of each measure, thus
the accent occurs only on the
first
or
'
note of each measure
-
notes of each measure.
with an accent on the
;
first
when
note only.
;
but in ^f, 4'
w¥
^^D^ ^
iii
>
a regular succession of eighth notes occurs, thus:
and the accent always occurs on the
These notes would also express
' -ft-*-
infill ^ >
> In 4£ time the notes are always written in groups of three
' '
first
note of each three, or the
first
and fourth
"3"
4 time, but must be written thus
THE SCALE, OR GAMUT.
i T+ O
f r r * z A
These notes are named, according F, G), always repeating the
A
D
B
to their situation
after the G.
This
upon the
will,
staff,
by the
first
seven letters of the alphabet (A, B, C, D, E, but they are
of course, bring into requisition several As, Bs, Cs, &c.
;
—
:
:
ELEMENTS OF MUSIC.
8
always easily distinguished by their situation upon the
Remark
staff:
that the notes situated
upon
I
A the spaces of the staff spell the
word
FACE
;
thus
:
;
X
J^J —
acquainted with their names, to learn them more readily, and
^
r
|
who
This will enable those
facilitate their
are desirous of
becoming
progress in regard to the intervening notes.
INTERVALS. The
distance between any two notes, counting upward,
—
\-
tance
:
thus, the
"j
In order to designate an interval,
is
we
called an Interval
the smallest interval
are required to include the
first
and
last
;
is
that of a second
note in counting the dis-
G and A are required to constitute a second from G to B is a third, because B B being the distance of three notes from G, counting upward.
two notes
of the notes G, A, and
;
the interval
is
made up
;
INVERSION'S. These intervals when inverted present quite a different aspect thus, it is an interval of second from G to A, but from A to G find it to be a seventh, including A, B, C, D, E, F, G from G to B, being a third, when reversed becomes a sixth, including B, C, D, E, F, G. A second becomes a seventh a seventh becomes a second. :
we
;
;
A third A fourth Unison becomes an Octave.
Two -
sixth
"
fifth;
;
a sixth a fifth
notes are said to be in unison 3-
Unison:
"
"
third.
"
fourth.
when giving
the same sound
;
thus
—h-i which inverted becomes Octave
1B
It
:
:
ELEMENTS OF MUSIC. used to express the distance of any two notes from each other when they both bear the same name
The word Octave
is
;
9
Flats and Sharps are placed after the Clef in the following
order
fa
*
thus
I
THE SHARP, THE FLAT, AND THE NATURAL.
A Sharp A Flat
before a note raises
([?),
it
a semitone.
on the contrary, before a note, lowers
it
a semi-
A Flat
tone.
Double Sharp ([?[?)
lowers
it
Flats and sharps are either at the commencement of a piece after the clef, or accidentally before a note.
and a Double
THE MODES.
ACCIDENTAt FLAT.
ACCIDENTAL SHARP.
raises a note a tone,
(*)
a tone.
—
There are two Modes, the Major and Minor. In the major mode, there are two tones from the called the
When
these signs are at the
commencement
notes on the same line and space (and
all
tonic,
note,
MAJOR CHORD.
MAJOR THIRD. of a piece,
first
to the third.
all
is:
other notes bearing
the same name) are affected by them.
TONIC.
£
If they occur accidentally before a particular note, they affect
only
A
it,
and others of the same name, during a single measure.
Natural
a note to
its
serves to annul a sharp or
flat,
by restoring
In the minor mode, there are but one tone and one semitone,
from the
tonic to
the
third.
former position.
MINOR THIRD.
k—
fy*
TONIC. P<5>» *9-
MINOR CHORD.
I
-J5L -JSr
I
[
ELEMENTS OF MUSIC.
10
A minor
is
are expressed
said to be the relative of the major,
by the same number of sharps or
C MAJOR.
<.
MAJOR.
I>
MAJOR.
E FLAT MAJOR.
when both
R FLAT MAJOR.
F MAJOR.
&
flats.
A MAJOR. C MINOR.
CJ
» MINOR.
MINOR.
Each major and minor key bears the name of the its
tonic of
gamut.
The tonic of any major key, with sharps, is the note one semitone above the last sharp after the clef. O MAJOR. I> MAJOR. K MAJOR.
B MAJOR.
•
F SHARP MAJOR.
-*
The note above the F The
IS *
is
tonic of the relative
below the
G.
minor
is
D.
on the contrary, the note
is,
last sharp.
——
B MINOR.
m rrvs
V
The note below the F » FLAT MAJOR.
\
The note above the C
E MINOR.
6 FLAT MAJOR.
-
-
is
E.
*
r
1/
The note below
the
C
is
I
B.
A FLAT MAJOR.
The
tonic of any major key, with
above the
flats,
is
the fourth note
last flat.
B FLAT MAJOB.
F MAJOB.
&
r.
W
-f-
I The fourth note above
B is F. The fourth note above E is B
flat.
ELEMENTS OP MUSIC. The
tonic of the relative minor,
is
the fifth note below the
note below B
flat is
The keys which have
C
natural major, and
neither a sharp nor
its relative,
flat at
the
clef,
(-
takes the
name
of Syncopation
variety
is
An
Appoggiatura is a grace note placed above or below a "When below, it ought never to be at a greater principal note. distance than a semitone as any other interval belongs to the ;
the greatest charm of music, several different
used to assist in producing There are three styles of Articulation, the detached, The two first are technically the pointed, and the flowing. called Staccato, and the last, Slurred, or Legato. styles of articulating the notes are
A Staccato,
or pointed note,
(
) t
is
is
m
are
A minor.
—
it.
cise
slur
The fifth note below E flat is G.
D.
ARTICULATION. As
—
when connectplaced on an unaccented, and the other on an accented beat of the same measure, or of two consecutive measures. The
ing two similar notes, one of which
last flat.
The fifth
H
Portamento of vocal music.
A small note is generally half the value of the principal note; there are instances, however,
when
its
value
greater.
is
c~€—
•
r
played in a short and pre-
manner.
A Staccato, Btyle
An Acciaccatura or dotted note
(•), is
played in a
less
detached
than the former.
Slurring, or playing a passage legato, is to
flow in a connected manner.
by a curved
line.
The mark
make
of the slur
is
played with rapidity, without reference to it is usual to cross it with a
the value of the principal note small line.
;
the notes is
shown
A Double Appoggiatura
is
played in a light and connected
manner.
*C m
'L-
-
:
>
\
:
ELEMENT
12
A
Turn
is
;
and
THE ACCENTS.
composed of three grace notes placed before or
after a principal note.
written
OF MUSIC.
In the
first
instance, the small notes are
in the second, they are expressed
by the sign
.
Accents are shown by
The
signs, or t>y words, generally Italian.
—=r marks that the sound should
sign
be progressively
increased.
The
sign marks that the sound should be diminished same manner. The words used for the purpose of accentuation are very numerous the following list includes the principal ones, with in the
;
their signification
Piano, or simply the letter p ; sweet, soft. Pianissimo, or simply pp ; very sweet and soft.
T
If
Dolce, or dot; sweet. Forte, or
/; loud.
Fortissimo, or ff ; very loud. Mezzo Forte, or mf ; half loud.
Rinforzando, or
not suddenly. Sforzando, or
A
Trill is composed of two notes, struck alternately, and following each other regularly in the gamut. It has a principal note, which is expressed, and a secondary note, not always It is indicated written, but understood to be above the other.
by the two
sf,
rinf,
sfz ;
or rfz; rendering the sound loud, but
rendering the sound suddenly loud.
Crescendo, or ores ; increasing gradually in loudness. Decrescendo, or decres ; diminishing the loudness.
Smorzando, or smorz ; smothering the sound by degrees. Fspressivo Affetuoso
;
;
expressive.
affectionate, tender.
Maestoso; majestic.
letters tf.
; in a graceful, singing style. Con Espressivo ; with expression. Legato; slurred, flowing.
Cantabile
Leggier 0
a:
'
MM
;
light.
Con Anima ; with feeling. Con Sjririto ; with spirit. Con Grazia ; with grace. Con Gusto; with taste.
1
1
ELEMENTS OF MUSIC. Con Con Con Con Con
; with delicacy. Faoco ; with fire. Forza ; with force. Colore ; with heat. Brio, or brioso ; with brilliancy,
In order to avoid the multiplication of leger lines,
Dclicalezza
Agitato
;
;
it
is
customary to write very high passages an octave lower than over them, their actual pitch, with this mark, 8va showing that they must be played an octave above. ,
brilliant.
8m,
agitated.
Scherzando
13
playful.
Mosso ; animated. Sempre; always.
DIFFERENT SIGNS AND ABBREVIATIONS USED IN WRITING MUSIC. sign J£ shows that the player must return to a similar and continue to the word Fine. When the return extends
The sis-n.
commencement of the piece, it is usual to prefix the D. C, the abbreviation of the Italian words Da Capo, "from the beginning."
Abbreviations are employed titions of a single note or
The main Double Bar
divisions in a piece of
music are expressed by a
||.
When
Dots are added before the bar, thus, ;||, they show that the division previous to it is repeated when after, thus, that the division following is repeated. 1 ;
1
,
A Pause s?\ marks that a beat of the measure is suspended, and that a note, or rest, must be prolonged for a certain space of time.
A pause over a rest should be treated in 5£2
a similar manner.
;
music to avoid repe-
thus, in place of writing
four sixteenth notes ot do, a quarter note alone,
two
thick, short lines,
to the letters
in written
passage
Written.
is
used, &c.
marked with
WINNER'S UEW TEACHER
FOR THE ACC0RDE01T.
INSTRUCTION FOR PLAYING THE ACCORDEON. the key without looking for
Directions for Holding the Accordeon.
and move them from key No.
it,
1
to
5, 6, 1, etc.
The Accordeon and can be
easily
should be held nearly in a perpendicular position
managed, while the performer
is
the end of the instrument gently upon the knee.
seated,
by resting
The right hand
should grasp the key-frame in such a manner as to allow the fingers to
command
the keys.
under the brass or
The thumb of
the
right
steel rail, to raise the bellows
the other fingers at liberty to
manage
the keys,
hand should be
with ease and have
and have the
three placed directly over the second, third, and fourth keys.
the thumb, at any time in
some one of the
By
fingers
is
moving the bellows, needs
at liberty to aid and assist
first
If
assistance,
when needed.
placing your fingers thu3 over the keys, you will be able to find
With
the left hand, the instrument should be grasped at the bot-
tom of the
bellows, with the
convenient, in such a
lows
;
thumb and both
manner as
the forefingers, as
most
to assist in the action of the bel-
with the other two fingers you will manage the vahr e under-
neath.
The character of the performance the proper
management of the
will
bellows.
very much depend upon
The softness or loudness
of the tone will depend on the gentleness or rapidity with which the
bellows
is
drawn open or
closed.
Inattention to this will
greatly jeopardize the flexible folds of the bellows, which
propriety be termed the lungs of the instrument.
may with
WINNER'S The Management of the Key or The principal use of repeat any given
which
not required.
is
It
performer to
sound
should be recollected that, by raising the
when
the bellows
is
drawn open, and
another and a different tone will be given when the bellows pressed together, notwithstanding the finger
key during both motions of the bellows
is
but when the valve
;
that the bellows
may
be put
in
motion without producing
from the keys, except the motion be
The
first
highest,
violent,
is
kept upon the same
opened underneath, the ingress and egress of the wind
is
is
so free
anjr
sound
which ought not to
be.
four keys, by drawing, produce the lowest tones, and the
by pushing
;
and the other keys,
5, 6, 7, 8, etc.,
by drawing
produce the highest, and by pressing produce the lowest tones.
Draw
degree. the
on the instrument
but persons
;
accustom themselves
And,
if
only part that
who
to sing as they
are
and enable them
to
it
is
generally performed
learning to play should
perform upon the Accordeon.
would add greatly to the performance,
keep better time
push the same key and you have the second
you have the
the third key and
third degree
;
push
same key and you have the fourth degree; draw the fourth key
and you have the
fifth
seventh degree
draw the
;
degree
next short key
;
push the
fifth
Observe that you draw the below the same above.
;
first
The
fifth
key and you have the
and so
for the eighth degree,
key
for the fifth is
made by drawing
the
is
made by pushing
the
sixth degree
and the seventh degree
on.
degree an octave
same.
Nothing has been said about the accidental
flats
and sharps
in a
tune before the note, nor can there be attention paid to them on
an eight or ten-keyed instrument
;
but they must be treated like
piano forte without the black keys.
But those Accordeons them
their perfect
sounds in every tune where they are placed.
other persons are present and sing the other parts an ociave
lower than the Accordeon,
Draw
;
that have short keys for the semitones will give
REMARKS. air of the tune is the
the second long key of the Accordeon, and you have the
key-note of the scale
the
The
15
Directions about the Keys, Letters, etc.
tones, without producing another
keys, one tone will be given
FOR THE ACCORDEON.
Valve.
enable the
this valve is to
number of
NEW TEACHER
It
should be kept in mind that the second long key
key of the instrument, from which the regular scale wards.
The
first
is
Major
formed up-
long key, when drawn open, gives the true sound
of the dominant or the the
is the
fifth
of the key below
same key gives the seventh, or leading
its tonic.
note.
Pressing
For the sixth
degree (or relative Minor) draw the intermediate short key.
WINNER'S
16 It will be
found,
by practising a
NEW
TEACH] R FOR THE ACCORDEON.
time on the notes, with
little
and sound
The
the notes.
all
figures that denote the skort
on the side of the figures under the notes
figures set to them, that persons will find they can play the tune
have the letter
without being under the necessity of having the notes with figures
Is, 2s, 3s,
before their eyes to those tunes they have learned, but can dispense
pressed or drawn for accidentals in a tune.
with them.
If
any piece of new music
have to do, to find
its
merits,
is
is laid
before them,
all
they
The
on the Accordeon by Setting Figures according
to
If the Scales of the several signatures be observed
figures
and attended
below each of the notes to direct the .
performer which note to draw and which to press,
it
not only
benefit of those
of brass, (which file
too flat,
all
flats is
it is,
as for instance, take
and then turn to the Scale of three
placed below the
first
flats,
all
he
any tune of three
and
see
what
figure
note on either of the lines and spaces on
or experienced hand,
After having
fitted a
new
reed,
the best metal,) that has been well hamit
has become about the thickness of
come
flatter
octave.
draw.
if
from the end or point of the reed
file
(pages 22 and 23,) unlock
;
impossible
its
new key
the back of the
books of music
by a competent
it is
sound of an octave below the required tone, and
Scales for
tunes in
are so situated that
:
placing the figures as directed in the
has to do to accomplish
to be
neighboring key, and then tune in the following manner
proper pitch
all
is
the same until
unlocks the tunes in this book, which are figured, but he can, by Transpositions,
who
these instructions are introduced.
mered,
by placing the
is
and 3? under the notes signify draw and press.
to have a broken reed renewed
made
the following Scales.
to,
and they show which short key
Of Tuning or Repairing the Accordeon.
Prepare Music to be Performed
to
ID
6s,
thus,
;
to place figures under the notes,
For the
how
4s, 5s,
letters
and draw and press as directed.
Directions
s
keys
;
:
if,
in the
effort, it
reed, near
the
until
it
should become too sharp,
the rivet,
and
it
will
Take the is
gives the
from
file
immediately be-
proceed in this manner until the two keys give an
A large bass key draw must A large bass key press must be
The small bass
kej^s
draw (two on
be tuned to the 2d key
tuned to the 1st key draw.
a plate)
must be tuned
to the
the Scale, and place the corresponding figures to the notes on the
1st
same
small bass keys press must be tuned to the 1st key draw and the
line or spaces in the selected tune.
Accordeon s
tli.it
have short keys
will
perform
all
of the tunes
and 2d keys draw, or to the 2d and third keys draw.
2d key press, or to the 4th key draw and the 2d key press.
The
:
WINNER'S
NEW TEACHER
should occur between the last
Of the Single Eight-keyed Accordeon.
A
regular succession of notes ascending or descending
Scale, or
is
FOR THE ACCORDEON.
called a
17
A
and
C.
It is
keys are not sufficient to perform the complete
because the eight Scale,
and these
notes, not being required as frequently as the others, are conse-
Gamut.
The note Ah/V^
-
—
quently omitted.
•
which should follow the
,
G,
first
is
All music written for the single eight-keyed Accordeon
can be
performed upon the ten or twelve-keyed, single or double, by using omitted on this instrument
;
also the note
B
which
the
same keys.
Natural Scale for the Single Eight-keyed Accordeon.
G
F
D
E
9
r
G
p 8
%
D
D
1 1
P Before commencing the arrangement of music for the Accordeon, it is
necessary to refer to the
several names.
Scale,
It will then be
and study the notes by
their
G, C, and
A
E
by closing
are produced ;
by drawing the bellows, and B, D,
F,
and
thus,
very easy to recollect that the notes
DRAWING.
CLOSING. t:
a
G It
one
must is
also be
E
G
E
G
B
remembered that each key commands two notes
sounded by drawing, the other by pressing, the bellows.
On
referring to the
Scale, the student will find a figurative representa-
tion of the keys, and the notes they respectively sound.
— WINNER'S
18
Of the
Single Ten-Keyed Accordcon.
single Ten-key&d
— All
NEW TEACHER
FOR THE ACCORDEONsemitone draw instead of the
music written for the
Accordcon can be performed upon the double
Ten-keyed, by making the note
B
with the
— ninth
key press
and the note
;
-i—
±2
D
seventh
with the ninth key press instead of the tenth key
press.
Scale for the Single Ten-keyed Accordeon. F
B
t>
— -9- m
-\
-+
3
2
X
l
1
D
P
1-
L-
=4=
4
i
a
—*—
3
-
4
J?
V
—
—
r~
5
5
p
D
4—
—
1
1 i
1 1
r
h e
6
7
7
p
D
P
D
D
D
P
P
D
P
It
8
9
8
l
0
9
D
P
1
D
must be observed that any note made sharp
following note this
-9-
-#-
+4—
made
D
is
the same as the
flat.
EXAMPLE.
instrument produce the same notes as
those of the Accordeon without semitones, and therefore the scale of naturals will answer for both kinds in this publication
may
The small keys, as
:
consequently,
all
the music
§
be played on the Accordeon with semitones.
will
0
2
The Accordeon with Semitones. The larger keys of
m
X
be seen by the Scale, produce the
flats
and 10
sharps, which will enable the learner to perform that ma}' be met with, as the}' are written.
any accidentals
-
WINNER'S
NEW TEACHER
FOR THE ACCORDEON.
19
Scale for the Double Eight-keyed Accordeon.
B
D
*C
G
E
A
B
C
D
E
-»
G F
A
m
-0-
D
E
#
"F
These last Iwo notes can be mode only on those Accordeono huving eight semitones.
1
-h
I9"dr -0-
118D D
m 1
2
P
D
2
3
P
D
45566778 PDPPDPDPDPDD 3
7s
4
8
8s
8s
P
D
All the music written for the Single Eight-keyed Accordeon can be performed on this instrument as
In order to perform the airs written
which
is
made with
for
the
the ninth key press, must be
Scale for the Small
Single Ten-keyed Accordeon on
made with
this
instrument, the
it
marked
is
note
the seventh small key draw.
Keys for the Double Eight-keyed Accordeon.
6s 1 8
18
2s
D
P
P
—
H
3s
B
3s
4s
4s
5«
P
P
D
P
5s
6s
P
7s
7s
P
D
— — —
—
1
#
WINNER'S
20
i
—
1
NEW TEACHER
—
—
-
3
FOR THE ACCORDEON.
Scale for the Double Ten-keyed Accordeon.
m 1
D
B
D
— — — — — 4--
i
i
1
1
i
1
L_
--4- —J
—d
-
7 —
H —
D
P
]
—
i—m
—
i
i
G
— ——F— i
1
1
1
1
-
1
—
I
,
1
m -F-
A r—
1
-r
,
—
566778 3344 DPDP PDP DP PDP i
2
19
—
r-F— —
F
I!
D
C
i
-t
-
n—
E +_ i—
F
G #
-F" J_
"F"
_
+_
1
-I
i
5
7s
8
9
9
D
D
P
D
10
10
P
D
Airs for the Single Eight-keyed Accordeon can be performed upon this instrument as written.
In
order to
perform the airs written for the Single Ten-keyed Accordeon, the note
seventh semitone draw instead of the ninth key press
key
;
and the note
D
B
it-
must be made with the
with the ninth key press instead of the tenth
press.
Scale of the Small Keys for the Double Ten-keyed Accordeon.
WINNER'S This instrument (the Double Ten-keyed) preferable,
being
the easiest to
is
by
NEW TEACHER far the the
command, and having a
sufficient to perform any music whatever.
A
most scale
good instrument
FOR THE ACCORDEON.
21
of the French manufacture, with the centre,
and
the keys on both
upright or handle in the
sides, is the best that
is-made for
general use.
I
Scale for the Double Twelve-keyed Accordeon.
On some
twelve-keyed instruments, the scale runs thus
on these four notes, being the same as the double
the remaining notes being the same
on
ten-
all
twelve-keyed instruments
keyed.
Of the
The
DowMc
larger keys of these instruments produce the
Eight, Ten, or Twelve-keyed Accordeon.
same notes
as
for all the different varieties of the instrument.
and sharps, which
those of the Accordeon without semitones, with the few exceptions
produce the
already mentioned
form any accidentals that
;
and, therefore, the Natural Scale can be used
flats
may
occur.
The small
ke}'S
will enable the learner to per-
'
—
«
—
—
3
—
—
WINNER'S
—
—
4—
4— 4—
^
NEW TEACHER
-
FOR THE ACCORDEON,
SCALES FOR TRANSPOSITION. Key of
C,
or Natural Key. -0-
m 1
—4-
1—
!_
D
1
-0-
-018
i
#- — a—
i—
—h
wr
1— -A 1—
1— 1—
\-
—9—
9
—9— — — "I— —
—j— -t— =£= —1 — -i— — — I
1
*-
t
1
1
1
— —
-f— —
1
1
D
3
3
4
4
5
5
6
6
7
7
8
7
8
9
9
10
P
D
P
P
D
P
D
P
D
P
D
D
P
D
P
—
=1•
—*-
0,
-0-
4— # 4— 4— — — — 1= -X-
-0-
0
—
1
'
1
1
\-
1
1
0
D
#
— —
1
t
I"
2
2
3
3
4
4
5
5
6
6
7
7
8
7»
8
P
D
P
D
P
D
P
P
D
P
D
P
D
P
D
D
h
D, or
two Sharps. -0-
I
t
or one Sharp.
—*
Key of
n
1
4*
1
0
1
1
D
—
D
0-
—e —
1
4—
1
Key of
1
—
1
# 4—
2
D
D
—
i
1
-0-
4—
P
2
i
1—
0-
— 4— —0 —0 i— 1—
A
1— 1—
i
1—
4h-
—0— ~i-
•— — — — —
—m— — —
1
1
—
-j
0-
JL
—
-\— —
1
4—
-#-
4—
—
—
i
i
A.
—— — I
1
-#-
4— 1
1
i
f
-f
-4
i
-0-
-0i
D
i
D
i
p
2
2
3
3
4
4
5
5
6
6
7
7
8
7.
8
9
9
10
D
P
D
P
D
P
P
D
P
D
P
D
P
D
D
P
D
P
f
«
—
»
—
—
— —
*
NEW TEACHER
WINNER'S
FOR THE ACCORDEON.
SCALES FOR TRANSPOSITION— Concluded. Key of
A,
or three Sharps. 0-
0-
1—
—
1
— Irf—
0
1 »
D
P
h-
h
6
6
—
-1—
1
1
D
4
4
D
P
5
S
P
P
Key of
or one
F,
7
D
P
D
1
D
i
D
1
P
—*zz — •
Flat.
—9 —
# 4—
—
+r 4—
+*
i
1
1
F
™r
2
4
5
5
6
6
7
7
8
7s
8
9
D
P
D
P
D
P
P
D
P
D
P
D
P
D
D
P
1
#
-e-
D
—
h
i
4
—4V
1
-4—
4— 4—
3
—m— —
i
2
2
p
D
P
—
or two Flats.
Bt>,
1
i
-+
4—
3
-
—4-
1—
0-
2
—
-
Key of
——
8
D
D
P
13
t
0
e
1
7s
8
P
•0-
-0-
—p
i
1
3
P
—
0-
0
— —
s
2
2
1
D
i
#
J' —#
4— 4— 4—
t
4— 4—
—o
..
—0—
0
•
—
—
1
!-
—
JL 4—
4— 1
1 i
1 i
h
1
i
I
i
-0-
1
3
3
D
P
4
4
5
5
6
6
7
7
8
P
D
P
D
P
D
P
Key of EK or three
D
8
9
9
D
P
D
1
0
1
0
D
P
Flats.
0-
p
-#-
-0-
— 0— h-
_
2 1
D
1
D
p
D
-#-
—
—
1
-T-
0...
0- —0—
j2.
4— 4— 4-
4—
—4— 1
1
1
1
1
-t-
2
3
3
4
4
5
5
«
6
7
7
8
P
D
p
D
P
P
D
P
D
p
D
P
D
8
9
9
10
10
D
P
D
P
D
<
A DICTIONARY OF MUSICAL TERMS. A
;
an Italian preposition, moaning
to, in,
Da
Capo ; from the beginning. Decani; the priests, in contradistinction
by, at, &c.
Accelerando; accelerating the time, gradually faster and faster. Adagio, or Adasio; slow. Adagio Assai, or Motto; very slow.
Devozio/ie; devotional. Dilettante; a lover of the arts iu general, or a lover of music. Di Molto; much or very.
Divoto; devotedly, devoutly. Dolce ; soft, sweet, tender, delicate. Dolcetnente, Dolcessa, or Dolcissimo. See Dolce. Dolente, or Dolorosa; mournful. Dolorosa; in a plaintive, mournful style.
and. Elegante; elegance. Energico, or Con Energia ; with energy. Espressivo ; expressive.
Fine, Fin, or Finale
;
the end.
Forzando, forz, or fz ; sudden increase of power. — Fugue, or Fuga; a composition, which repeats or sustains, in its several parts, throughout, the subject with which it commences, and which is often led off by some one of its parts. Fugato; in the fugue style. Fughetto ; a short fugue.
a pointed and well-marked manner. «
Brillante; brilliant, gay, shining, sparkling.
Giusto ; in just and steady time. Grazioso; smoothly, gracefully.
closing strain ; also, a fanciful extemporaneous embellishment at the close of a song. Cadenza ; same as the second use of Cadence. See Cadence. Calando ; softer and slower. Cantabile; graceful singing style; a pleasing, flowing melody. Canto ; the treble part in a chorus. Choir ; a company or band of singers; also, that part of a church appropriated to the singers. Chorist, or Chorister ; a member of a choir of singers. Col, or Con ; with. Col Arco; with the bow. Comodo, or Commodo ; in an easy and unrestrained manner. Con Affrto ; with expression. Con Dolcessa ; with delicacy. Con Dolore. or Con Dunln ; with mournful expression. Conductor; one who superintends a musical performance; same as Music Director. Con Energico ; with energy. Con Espressione ; with expression. Con Fuoco ; with ardor, fire. <>m Gratia; with grace and elegance. Con Imptto; witli force, energy. C/nJusto; with chaste exactness.
Cadence
;
Grave; a slow and solemn movement. Jmpressario ; the conductor of a concert.
Legato; close, gliding, connected style. Lentando; gradually slower and softer. Lento, or Lentemcnte; slow.
Ma
;
but.
Con Moio; with emotion. Con Spirito; with spirit, animation. Coro; chorus.
Da
Nan;
;
for,
from,
Rallentando, Allentando, or Slentando; slower and softer by degrees. ReCitando ; a speaking manner of performance. Recitante; in the style of recitative. Recitative ; musical declamation. Rinfnrzandn, Rinf., or Rinforzo; suddenly increasing in power. Ritenulo; retained. Ritardundo ; slackening tho time.
-<
Semplice,
of.
not.
Nnntroppo; not too much.
;
Organo; the organ.
;
chaste, simple.
;
Sempre ; throughout, always as, Sempre Forte, loud throughout. Senza; without; as, Senza Organo, without the organ. Sforzando, or Sforzato; with strong force or emphasis, rapidly ;
diminishing. Siciliuna; a movement of light, graceful character.
Smorendo, Smorzando ; dying away. Soave, Soavement ; sweet, sweetly. Solfeggio; a vocal exercise. Solo ; for a single voice or instrument. Sostcnuto
Lacrimando, or Lacrimnso; mournful, pathetic. Lamentevole, Lamentando, Lamentabile ; mournfully. Larghissimo; extremely slow. Larghetto ; slow, but not so slow as Largo. Largo; slow.
Maestoso; majestic, majestically. Maestro di Capella ; chapel-master, or conductor of church music. Marcato; strong and marked style. Messa di Voce; moderate swell. Moderate, or Moderatamente ; moderately, in moderate time. Molto ; much or very. Malta Voce; with a full voice. Morendo ; gradually dying away. Mordente ; a beat, or transient shake. Mosso; emotion. Molo; motion. Andante con Moto ; quicker than Andaute.
Dittt for two voices or instruments. Diminuendo gradually diminishing tho sound. 24
; applied to graceful movements iu sextuple time. Perdendo, or Perdendosi ; same as Lentando. Fin; more. Fiu Mosso; with more motion, faster. 1'izzicalo ; snapping the violin-string with the fingers. Foco; a little. Foco Adagio; a little slow. Foco a Foco; by degrees, gradually. Portamento; the manner of sustaining and conducting the voice from one sound to another. Precentor ; conductor, leader of a choir. Presto; quick. Prestissimo ; very quick.
rastorale
E;
Andantino; somewhat quicker than Andante. Animo, or Can Ammo; with spirit, courage, and boldness. Antiphone; music sung in alternate parts. Ardito; with ardor and spirit. Arioso; in a light, airy, singing manner. A tempo; iu time. A tempo giusto; in strict and exact time. Bis; twice.
Orchestra; a company or band of instrumental performers; that part of a theatre occupied by the band.
choristers.
Decrescendo ; diminishing, decreasing.
libitum ; at pleasure. Affttwiso ; tender uud affecting. Agitato; with agitation. Alia Capella; in church style. Allegretto; less quick than Allegro. Allegro; quick. Allegro Assai; very quick. Allegro ma nan troppo; quick, but not too quick. Amabile; in a gentle and tender style. Amateur ; a lover but not a professor of music. Amen; so be it. Pronounced, in singing, Ah-men. Amoroso, or Con Amore; affectionately, tenderly. Andante; gentle, distinct, and rather slow, yet connected.
in
lay or ordinary
Declamundo ; in the style of declamation.
Ad
Ben marcato;
to the
;
"
sustained. Sotto Voce ; with subdued voice. with spirit and animation. ; short, detached, distinct.
Sotto ; under, below. Spiritosn, Con Spirito
Staccato
;
Subito; quick. Tace, or Tacet
;
silent, or
be silent.
Tarda
; slow. Tasto Solo ; without chords. Tempo; time. Tempo a piacere ; time at pleasure. Tempo di Marcia ; time of a march. Tempo Giusto ; in exact time. Ten, Tenuto; hold on. See Sostenuto. Tutti ; tho whole, full chorus.
Tin ;
Va
a;
as, TJn Poco,
a
little.
as, T*h Crescendo, continue to increase. ; go on Verse; same as Solo. Vxgoroso; bold, energetic Vivace; quick and cheerful. Virtuoso: a proficient in art. Voce di Petto ; the chest-voice. Vnee di Testa: the head-voice. Voce Solo ; voice alone. Volti Subito ; turn over quickly. ;
i
^
\
—
—
—
FOR THE
THE HEART BOW'B 1M)W\.
Bohemian
Girl.
M. W. BALFE.
I/arshetto -i
Cautabile.
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D D
SECRET LOVE;
26
IF
Or,
MY GLANCES HAVE BETRAYED [By permission of
ME.
Schubekth &
J.
Co.,
New
York.]
E.
MOLLENHAUER.
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(As sung in the "Black Crook.")
[By permission op Dodworth & Soy,
New
York.]
G.
BICKWELL.
SONG.
Moderate —
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[By permission of Root & Cady, Chicago.]
O. F.
ROOT.
Tenderly
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THE WANDERING REFUGEE.
[Br permission op Loois Tripp, Louisville, Ky.]
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S.
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27
— SWEET EYELEXA. Allegro. R
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—
— EVANGELINE.
[By permission op
WILL
Brainard & Sons, Cleveland, Ohio.]
S.
*-9-
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29
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;
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FLEE AS A BIRD TO YOUR MOUNTAIN.
34
[By PKKMidsioN of
Expresslvo.
q=npzpifTs=ppzz^-zzi:
— —P—&-
6
6
Co., Boston.]
7
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[By permission of Lee & Walker, Philadelphia.]
fi
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WE
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35
COPELANB.
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36
MET ON THE TRAIN.
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5 56 DPDPD 5
5
D.C.
44 +iL 4?.-2.i DP DPDPD D
»a33 PPDP r
4
1
4
1
D P D P
2121'14-3'S3444 DPDPD DPDDDDP
5
D
233 PPDP 5
Sill
A
1
4
1
D P D P
21822 DPDPD
—
'
GRAMS GRAND
MARCH.
PERMISSION OF LEE & WALKER, PllILADA.]
[IiT
E.
MACK.
Moderate R
4
91«8334.*S FPPDFDPPPDDPDDDD PDDP DDDD
PDDP DDDD
fi
4
2
5
fl
D D
D
«
5
3
4
4
4
6
fi
5
fi
5
4
4
1
3
2
2
4
4
5
4
p d p p;p
R5 412 DP PPDPDPPPDDPDD DD PDDP 65 4223 PPPP DPDP DDD DDDDD DD PDDP DDPD 4
- (rj)
4
4
4
4
0-0~9-m-\\-*
3
fi
fi
—
i-J
3
4
1 -
2
3
3
4
4
5
fi
3
5
4
4
4
fi
6
2
2
4
3
5
4
3
4
3
»
\-
i
2
2222 PDPDPP 44 5443 44 PPPPDDDD PPDPD 4123 PPPPDPDP 22384 DD fifi fi5 24 DDDD PDDPD PDDP DDDD 3
3
3
B
5
3
5
3
3
fi
3
3
3
5
3
2
4455 pdpd DPPD fi
fi
7
7
7
7
fi
D P
7
D
P
fi
D
D
3
3
PD DPDP fi
5
4
4
4
4
4
2
fi
D
D
-0.
fcfc
i
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8
4
P
D
P
^S-0>*
DDD 5
'5
5
5
fi
D
D
fi
5
P D
5
5
P D
±=2
DPP PP DPPP 5
5
4
4
5
5
5
4
5
5
D
5i
D
<;
D
fifi
D D -0-
DPDP 4
4
4
DPPD PDPD 4
4
5
5
R
6
7
7
fi
D
fi
D
fi
5
P D B.C.
VIOLET MAZURKA.
[By permission op
39
C. F. Ksciier, Philada.]
C. F.
ESCHER.
MoiHralo
5
D
5
D
7
6
6
5
5
4
P D P D P P
D
PDD 4
4
6
7
D
76 DD
DPP 7
7
6
766 44 PDPDPP PDD
4
5
D
5
4
6
7
7
D
PDD DP 4
4
SEA BREEZE
S(
H0TT1SCHE.
[By permission of
C. F.
2
3
Escher, Philada.]
6
4
5
D P P P P
4
4
D
D D P P D J.
M. C100DMAN.
Moderate.
432 4665 PDPDP 655 381 44 PD PPPPPPPD DP DDDDDDPD 3
3
3
5
4
2
3
2
3
5
PDDDD 4
4
3» 4
3
43234665 DDDDDDPD
BLUE BIRD POLRA REDOWA.
40
WEJNflARTKN.
[By PERMISSION OP C. W. A. Trumpler, Philada.]
9-
Moderate A
A DD 5
5
D D
4414
4
44 43 DDDDDPDPDD
3
5
<;
D P D P D D
0
4
.-,
6
4
7
5
4444
4
6
PDPDPDPP 7
3
D D P P D P D P D P
A
7
A
A
S
5
4
4
A
5
D D D D.C.
2d
7
A
4
5
5
o —&
time.
A
6
4
5
4
5
5
4
4
4
D
D D P D P P
D D
P P P P
H
D
3
4
4
DP
D
-
A
*5
4
3
D
3DDPPPDD
DDPDPP
PP4 DP
4
D
h
1
4
3
A
A
5
4
4
5
4
D
3b
4
1
2
3
2
8
1
2
3
1234 8123 82 PPPD DPDDPD
5
4
5
2
1
3
4
4
2
5
A
4
5
A
5
5
4
5
4
4
3
4
3
3
8
3
1 »
3
3s 8
8
4
5
3
4
4
2
3
5
4
Hi
8t
8i ji
3< S<
3
3
4
3
8
8
8
1
LEHIGH POLKA.
2
4
3
8
4
4
3
D D D D D D
12 PPPPP PDDDD DDDDDDDDPPDD PPDPPD
5
P
5
h
DPDDPD PPPDP PPPPP PDDDD DDPPDP PDPPDD PPDPPP 8
8
1
-A.
H 3
4
4
5
D. A.
D
DUKSIIER.
tr
Allegretto
4—
7777 87 PP DDDD PD 88
S
P
8
8
P P
#
5
8
P P
77A5 DDDD 7777 P87D DDDD
8
8
P P
5
P
8
5
P P
8
5
P P
D D D
DDDD 4
4
4
4
P D n.c.
-0-
D D D
CONSTANTINOPLE.
[By permission or 0. Ditson &
Co.,
Hoston.]
A. 1.1,0 YD.
Moderato
5
D
5
D
5
D
5
D
S
D
g
5
<".
P D
4
P P
FIMIGATS WARE. Allegretto.
CKLTIC.
A-
5
D
DP6 S
5
D
5
P
4
P
4
4
D D
5
5
D D
DDP DP PDD DDD DDP DPPDD PP PD 5
5
6
6
4
4
4
4
5
5
5
5
5
fi
5
5
4
4
4
4
4
4
4
WILD FANG;
42
DON'T CARE GALOP.
or, I
CARL FAUST.
rT^4
3« 4
4
P D D D
—~ 7
D
fi-
D
—
eg
1
**
7
D
5456 DDDD
f—
1
f
a 8
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P
i
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a
1
1-
j
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1
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7
fi s
D
7
4
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4
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4
D
4
5
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5
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D
D
D
4
3s
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4
5
F D D D
P
4
5
R' 7
fi
8
D D
P
a
DDDPDPPDPPDP 7
fi'
7
8
7
4
75
5
5
5'
5
6
0
fi
7
5
D
fi
P
P
5»
77DP77fiR P DP
5
5
D
7777778 DDDD DDPD PP P444444444 DD D D D DP FINE.
5
D
7
4
5
P
3-
7
fi
6
D P D D
TRIO
/TVLL
—
I
7
D
D
4
5
P
t=t=t=rt= D
7
D P D D
D
*=t=
\1
] !
7
7
7
D
D -
.4
D
P
—
f—
777fifi DP P DP
DON'T C\ CARE.
9
1
4
P P D
5
P '2d time.
1st time.
4
D
3«
D
1
p
1
p
DDPD 3
4
4
4
5
D
DDPD 3
3
3
"
3«
4
4
5
5
DP P D
5
D
5
P
5
1
»
2
3
PP P D
1
3
3
a
D P D
S
D
5
P
WALK
4b
AROUND.
T.
«74 7 6 PDD DPPDPD
PDPPDPPD PPDPDPPD4 DDD fi
5
5
5
5
fi
4
5 4
5
4
5
4
4 5
5
4
5
5
fi
ft
DDD DDD 7
5
4
7
5
4
5
CHAMPAGNE CHARLIE.
ALFRED LEE.
443 34434333 PDD DDPDDPPPPP
34B 544 23 44 DDPDPPPPPPPPD 5
4
3
3 3
3
3
8
4
3
D P DD DD PD D D
7777fi'7«8S PPP. PPP DDDDDDPPPD fi
fi
K
fi
5»
fi
5
5
4 4 3 3 5 5 4 4 5 DD D PD D D DD PADDLE YOUR OWN CANOE. 8
A'lJECKET, Ja.
fi»
5
D
5
5
PD
fi
P
DPP5 5
5
3»4 PPP PPPPD 5
4
5
4
PPPDDDPPDDPPD 3s
5
4
4
4
5
5
3
5
4
4
5
5
5
5
5
5
ft
6
5
3
4
4
4
3
ft
fi
5"
fi
7
7
7
7
«s
7
It
fi
ft
5
R
8
3
8
8
D
CLIFTON.
PPPPPP DDDDDD PDPDPP fi
3
DDDPDPDDDDDDPPD HARRY
ft
3»
4
7
D
8
—
—
HILDA WALTZES.
44
D.
3..
GODFRKY.
—i— —I— —I— — —h- ——\— -At— 0 bd. ~M~ 1»1 33 24 DDP 322 D D P D P P DPDPD P D h-
f-
rro.
#
t-
A-v
•
J
t-
Ll
J
-
J
1
;
1
3
3
DDP 3
2
P D P
3
1»
1
3
3
3
2
3
3
8
2
D P D
D
P
1
a
8
8
i
4332 24 44 5fi5 3M 322 14 44 DPDPD P P PDPDPDP DP PDDPDPDDP 3
3
P D P D P
2
3
1
5
5
5
2
2
4
P P
4
P
t
l
4
P D
P P
D.C. I
-9
322 44321 DPDPD PDDDD 3
3
1
4
P P
4
4
P D
3
4
3
3
2
P D P D P
2
4
D P
PD DPDPD DP 4
4
5
«
5
5
5
5
2
1
rime.
I
ti
time.
O 2
4
P P
4
1
P P
1
4
P D
i
D D
!
D
7
7"
P D
|
HILDA WALTZES.
No.
3.
fis
D
fi
fi
D D
5
fi
P D
Concluded.
45
— —
— 46
——
MABEL WALTZES,
GODFKHr.
Gh-
3XTo. X.
-1
a-
[— 4
5
D P
D
D
ft-*
—
4
3
—^_
H
+:
3<
5
D
p
No. 2-
P
? -a- - — -« -#-
3
3
D
—
f-
5
1
D D
4
D D
A
—
— [—
+
——
— ——
i
i
i
i
i
I
\=r3
D
D
D.C.
r<^-
tt*3"
4
D
—
i—
5
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— —
8
5
1*3
4
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1)
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1 «
9
P
3
&-E O
i
P
4
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3
D D P
-
iz::
!
-1
i
3
2
4
D
4
D
1
4
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*
1
MABEL WALTZES. 2NTo. 3.
As
47
Concluded.
—
-J
'
-_'
* :
DC
8
D
— •
»-
3NTo.
-3k. j
tE
—i—
* » *
•
'\-
—
2
5
5
4
4
5
5
5
S
S
5
S
0i
9
t=fc
11*1 83 44646 16 33444643633 111 DDPDDDDPDD PPPDDDDPPPD DDP DDDDPDD
PPDPPPPPPPP
r 0-0
0- ri
3
4
4
8
6
S
5S2fi433»4 PPPPPDDD
9
P D P
DDPDDPDDPD 5
9
9
3« 3
3
•*»
4
9
3
9
D
—
-
—
48 I
PAKEPA SETT. PLAIN COTILLONS. CANNOT SING THE OLD SONGS.
EASTBURN.
Play twice
£3t p
7
D
i>
FIRST FIGURE. — Right and
left
;
6
S
D
D
chassez to the
ladies chain, then galop across
fi
side,
6
fi
D
0 4 D
D
D
P
P
then back to place
—
3? n
D
7
7
D
P
7<
P
7s
D
SECOND FIGURE. — Forward
;
and back again to place.
left,
" 1-
H
a
fi
D
and back ;
;
D.C.
J"
p
or forward and back- again
tlirniiah.
DPD
4
P.
D
cross over
;
fi
5
5
D
chassez to right and
galop across.
FIVE O'CLOCK IN THE MORNING. i
x\j
n
-
u-j*~sy
o. 2fi
fi
fi
D D D
fifi PD DPD 7
R
7
fi
ID
.1
D
1
fi
4
P P
r>
fi
fi
P D P
fi
fi
D D
5'
r.
5'
P P P
fi
fi
P P
4
4
P P
DPD 4
5
5
fi
P D
5
D D.C.
I
IOTILL0AS.
vjiii'i'.— i'LAu\
MAGGIE'S SECRET; -
No.
3-
My
or,
Heart
is
loncSuded.
over the Sea
k
-
^3 D D
D
3
3
8
PDDPD
1
D D P D
P P P D P
1-11 PDDPD 8
1
D D D D P D
8
1 •
8
3
pV\ay four
•
i
i
D
tbrouah. D.C.
nit s
33382 DPDPPD 43333 DDDD 4343 PDPDDP 33445 PPDPDPDDPPPP 5 * 3 3 8 * 5 5 4 3 333383 PDPDDP 88 DDDDPD P D P D DP hand back keep hold of FOURTH FIGURE. — All swing corners. Forward and back, cross over, FIGURE. — Right hand across, then 3
THIRD
3
8
P P P D P
8
left
5
chassez to right and
WIFE
I've a Letter from thy Sire,
or,
;
1
8
and return to
left,
Galop across;
places.
all
chassez.
;
;
SAILOR'S
19
;
the hand of the opposite and form a square, giving your right hand to your partner then balance and half promenade. Forward and back forward again, and turn the opposite with both hands quite around. Forward and back, then cross over to your places.
THE
1
fi
Baby mine. -i
JNTo. 4.
[By permission op 0. Ditson k Co, Boston.]
——
#-(— r— h"
i
"
(—
1 I
3 ? 8 5 4 4 3 4 3 3 8 3 8 3 4 5 DFDDx'DPDPDDDPDPDPD DDPDPPDP DPPDP DDPDPDPD DDP DP DPD DDPPDPDP DDD
3
3
4
5
5
5 4
5
5
5
4
5
5
5 4
5
5
4
5
5
5
5
4
4
3
3
5
5
5
5
5
5
5
5
5
5
5
4
5
5
4
4
3883 381 3345 44 38 1*3 44 DPDDP DDPDDPDPDPDDPDDPDP DPDDPDDPDPPDPPDP DDPDPPDPDPDDP 2
i
8
1 «
3
3
8 ;
3
3
5
5
5
3
3
^Play fonr times throuah.D.C.
"r*
-0-r-i
3< 4
5«
4
4
"
»
3 "
DDt'DPPPP±'PPPDPPDDDPDPPDPDPP.;P 4
5
5
5
5
A.
4
4
fi
fi
5
5
4
4
5
5
5
5
4
3
3
•
5
5
D.-P
5
^\ DPD PPPP PPPPDPPD DPDPPDDP ;
4
1
3
1
4
6
5
»
fi
5
5
4
4
fi
5
5
"* 4
3
3
2
2
SWEET SIXTEEN POLKA QUADRILLES.
No.
[By permission op
W.
C.
WKINOAUTHN.
A. Trcmpler, Philaba.]
X.-
DDDDDDDDDPPPPPPDDDPDDDDDDDDDDDDPPPPPPDDPPDDD 4
4
7
7
R
«
4
5
S
5
5
5
S
S
7
5
7
4
7
8
8
5
4
7
7
4
6
8
4
5-
•
5
S
!t
ft
ft?
8
5
7
7
7
A
S
8
S
ESS 544 DP 58 DP DPD 0fi 44 PDP 44 PDP 747 PDP DDD DPD 5 8 747 PDP 7«« DDPD 5555 DPP DP DP DPD DPD 5
4
5
5
7
+
7
fi
4
5
fi
4
5
5
fi
fi
D.O
S3
FIRST FIGURE. — First and
opposite couples promenade round, round, balance, and waltz round. Side couples the same.
DD PDD PDPD P P P waltz SECOND FIGURE. — First couple 1
'
1
1 »
t
2
'
2
3
3
3
4
4
P
44 3 PDD
HH
938 DPP DDD 4
3
2
waltz to side couple, change of ladies, the same to bottom and side couples first and opposite couple waltz round to places. Repeat for the side on the right, then bottom and side couples, until all get partners. ;
SWEET SIXTEEN POLKA QUADRILLES.
51
Continued.
D.C.
7
7
6
fi
fi
R
5
5
5
5
5
x x a 3»
fi
D
4
4
6
fi»
7
fii
7
B
5
D
r,
D
4
B
D
D
make
;
4
fi
D
couples waltz round to the centre, the passes, then change of ladies and waltz to each lady's place. Repeat for side couples
and opposite couples waltz round outside, cross side side couple, then change ladies and waltz to places couples waltz round outside, cross hands with the leads, change ladies and waltz to places.
fi46 R6 fi7 87 DDD DDD DD DD DD PD
P
n.r.
FOURTH FIGURE. — First and opposite
THIRD FIGURE. — First hands with
3.
4
D
D
D
D
5
DDD DDD
D P D P D P
7
fi
D P D P
P
447 PDP 747 PD 76 PPDPP DDP 6
7
fi
7
8
7
S
4
5
fi
P D D D D
tr tr-
— fi
D
D.C.
W4
D
4 L>
6
D
DDD «
4
fi
fi
D
6
8
DP
7' «
P P
8
7
7
6
P D P D
fi
P-
8
P
5
j>
5
5
r n
5 3?
—
-
SWEET SIXTEEN POLKA QUADRILLES.
52
Concluded.
FIFTH FIGURE. — All
give right handsto corners, all turn a full circle round, then left hand to next until they get to partners opposite of their places, then all waltz to places ladies cross with right hands, the gentlemen with right hand with ladies' left hand; all promenade half round, then turn half round and return to places. Repeat as above, and with the same time as the old Polka Quadrilles. ;
No.
P-0-ri —
— i
S.
BR 78 4," I DPD DPP DDP DP
-i££4-3.4.i D D D D
DPD
4
-5.
6
7
7
D
4
4
7
6
6
D D P D P
4
4
7
1
1
—\-m-0-FI
'
1
6
6
4
5
W~ I
(587
5
D P D P D P
D D P D P
78 DP
7
D
First and third time.
t- a 0 -1
W^m
1
!
F-
1
1— I—
-I
77*! 54 04 DDP DD 56 666 PD DDP DP DPP PPP PDD DD DPD DPD PD DPP PDD 6
4
7
0
6
5
4
5
5
5
5
6
6
6
5
5
7
7
6
7
6
0
6
5
*4 44 PDD DD
5
5
114 DPPPDP DDD 9
4
1
*
r?
s
m
SUGAR
THE GOURD.
IRISH.
Allegro.
PDDDDDDD 4
4
D
4
3
3
3
4
5
4
4
3
4
3
8
1'
8
1
P D D D P D D
1 "
8
8
6
3
D D D P D
5
1)
PDDDDDDD
4
5
4
D D D
4
3
2
3
5
4
4
SHELTYS PIPES. Lively.
--
H
#
—
•-#
8
—
—H
3
3
P P
4
PPPPPDPDPPD
4
4
D D D D P
T> i
4
3
4
5
A
5
3
4
5
3
D D D D
V 9
1
D D D D
REEL
MRS. MALLOY'S
5
D
AA 38382 DD1»5D DPBPDDDDDD 543323 DPDPDDDDDD PPDDP A A
5
5
5
4
3
8
8
3
3
5
5
3
8
4
3
3
P P D D D
38 DDD
4
P
54432 DDDPDDDP DPDDP 4
5
5
4
4
A 6
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BOX TON POLACCA QUADRILLES.
•54
First time play three times.
FIGURE FIRST. — Introduction.
Grand round, all taking hands, four steps to the left, pass the ladies to outside of Quadrille, then four steps all waltz back to the right, which will take you half round, eight bars Figure Leads balance to centre, change ladies, and to places, 8 bars. walk across, eight bars; four ladies cross right hands, turn partners with left, eight bars all waltz to places, eight bars ; repeat four times. ;
—
KTo. 2.
:
—
;
FIGURE SECOND.— Introduction.
Gents to the right, ladies to the left, meeting partners in opposite places, eight bars all waltz round to places, eight bars. Figure Leads forward, change ladies, lead to sides, eight bars repeat four times, then all waltz around for finale.
—
:
;
—
;
BON TON POLACCA QUADRILLES. First time piny •in
5
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FIGURE THIRD. — Introduction.
All promenade half around and waltz bars Figure First couple lead up to second, cross hands around, eight bars then join left hands over the right (cage figure) and Polacca steps once around, change partners and waltz to eight bars execute the same with each couple repeat four times. next, to places,
— sixteen —
—
55
Continued.
times, afterwnrils only
FIGURE FOURTH.— Introduction.
Gents pass to the right, ladies to the sixteen bars all waltz back to in chain, till you meet partners, eight bars. Figure : Leads balance to centre, giving right places, hand to opposite lady and left to partners, eight bars turn with left hand and give right to sides balance and turn ladies on the right with eight bars leads waltz to places, eight right hand, meet partners, left,
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repeat four times.
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POMCCA (llAMULLES.
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FIGURE FIFTH. — Introduction. ladies half around,
Four
— eight bars;
ladies
Concluded.
grand chain,— sixteen bars.
return to places in same way,
Gents all balance to corners, take ladies in waltz position, and chase waltz around outside of Quadrille, sixteen bars. Repeat four times.
Figure
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all
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THE PRETTY MAZURKA QUADRILLES.
J. A.
RIST1NK.
Introduction.
3
—
all First Introduction hands round to the left, then to the right to places make a little tour round then a little waltz in place. FIRST FIGURE. First couple promenade round inside of Quadrille to place execute the square balance and little waltz. [Counterpart for the other couples.] ;
;
—
;
—
all in waltz position, then slide quarter round, with the pitching step, or jetes then waltz until all are half round repeat
Second Introduction
;
SECOND FIGURE. — First
couple forward to the right and four hands go to bottom couple, cross hands go to side couples, where two ladies go round each other, while gentlemen go round outside first couple go to place, and make a little waltz. Repeat for the other couples.] t waltz round. wa' Third Introduction
round
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to places.
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THE PRETTY MAZURKA QUADRILLES.
69
Continued.
—
THIRD
FIGURE. First couple forward to side couples, and take two ladies to centre of Quadrille three hands round to left, then to right leave your partner with side gentlemen do the same to bottom and side couples take the last lady to place, and execute the little waltz repeat until all get their partners. Third Introduction all waltz around. ;
;
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— THE PRETTY MAZURKA QUADRILLES.
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FIFTH FIGURE. — "Wait
1
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—
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all hands round to the left, then to the right tour and little waltz all face partners all promenade round to each quarter of Quadrille, and execute the little waltz, gentlemen to the right, ladies to the left, until all get partners. all
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VICTORIA;
FIFTH AYEXIE LANCERS.
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SECOND FIGURE. — First
FIRST FIGURE. — First
5
4
and opposite couples forward and hack forward again and leave the ladies in the centre, facing partners chasscz to ihe right and left and turn partners form lines of four, with sides forward all and back forward again and turn partners in places.
and opposite couples forward and back; forward again and dos-a-doz. First couple galop across, while the opposite All balance and turn couple execute the same as first couple.
;
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FIFTH AVENUE LANCERS.
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and opposite couples forward and back; forward and, bow and courtesy, to place. Ladies' chain.
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FIFTH AVENUE LANCERS.
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forward with Schottische step, and return to
—
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four bars; repeat, four bars; places with four jet te voltes (hops), four bars return to places in the same leads tiroir and waltz in place, eight bars leads slide four bars leads balance (Scotch step), •way, sides repeat. eight bars waltz,
—
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SECOND FIGURE. — Leads
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— SCHOTTMHE QUADRILLES.
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—
THIRD FIGURE. — Leads
FOURTH FIGURE.— First
balance and waltz to centre, four bars; cross hands once round,— tour bars; change ladies, balance and lead to left four bars change ladies with side couples, balance and side couples, waltz to places, four bars leads slide waltz. Repeat four times.
—
site couple,
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54*.
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Top and bottom couples forward and back cross over; chassez to the right and left, or forward and back again; top and bottom couples galop across. Repeat four times,
Top and bottom couples right and left top and bottom couples chassez to the side, and then chassez to place; Ladies chain; top and bottom couples galop across and back again. Repeated by the ;
;
sides.
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Continued.
5
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THIRD FIGURE.
Top and bottom couples right hand acrossv then left hand back, keep hold of the hand of the opposite, and form a square, giving your right hand to your partner; you then balance, and half promenade. Top and bottom couples forward and back forward again and turn the opposite with both hands quite around resume your place top and bottom forward and back, then cross over to your places. •
FOURTH FIGURE.
First and opposite couples forward and back; forward again and give the partner to leading gentleman; forward three and back, forward and bow, the gentleman opposite forward and turn each lady; then four hands half round, and half right and left to place, Repeat four times,
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Song and Dance.
left,
and return
to places.
Galop
DOD WORTH'S THIRD;
70
SHARON SPRINGS LANCERS,
or,
Bt permission op Dodwoetb
No.
Ic
H. B.
DODWORTII.
Sons, N. Y.
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T^iblislied
PIANO INSTRUCTORS.
.
BurgmUllers Walker's Juvenile.
1.50 1.00 1.00 2.50 2.00 2.00
Clifton's
Meineke's „ Hnntsn's Piano, unabridged " abridged if* Union Piano. Rasche Carr's Analytical Beokel's Everest's
*
. .'
Standbridge's Uttonr's Grobe's (board)
.'.
:
"
(cloth) Bertini (large) (small) Jarvls's
-
«.
.".
Herr's , The PianosForte Primer: containing the rudiments of music, calculated either for private tuition or teaching
Rohr
.26
By
J. F.
Burrows
Wragg's
German
Flute
-
Bateman'a
.
.'.
-
2.50 2.00 2.50 3.00 3.00 2.50 1.60 2.00
Carcassi's, abridged
60 80
,.. .'.
so 60
ncconipauiment 60 3.00 2.00 2.00
Culver's
Beckel's Melodeon or Organ Bellak'e Melodeon Young Organist. J. A. Getze
2.00 1.60 2.50
VIOLIN. 50
„
_
Ma*as'
2.00
Ttolln Preceptor, (new and complete) Modern School (board) " " (paper)
Winner's
»
50* 1.25.
,
80 60 60
;
Shuster's •.eland's
MISCELLANEOUS. A new and
Clarionet.
complete Method
Cornet, or Cornopean. C. E. Drum Preceptor Drum Preceptor. Winner Fife Preceptor Flageolet Preceptor Kent Bngle. A. Schniitz
*
Roy
'
.50
.60
50
40 40 50 50
Melodeon, Violin or Flute. P. Weiland. In. 14 Nos., each. " " "4 Bound, in 2 vol*., each.. or, Musical Pocket Companion; a Collection of Songs, Marches^ Waltzes, Ac, for Flute, Violin, or Flageolet, fn numbers, each The Gem; a Collection of the most Popular Songs, Mavcbes, Waltzes, Opera Airs, &c, carefully arranged tor two Flutes, or Flute and Violin. In numbers, each Winner's Violin Collection Flutist's Bijou, 2 vols., each Norma. Vocal Score. Complete. Bellini Winner's Cornet ELEMENTS OF THE PIANO-FORTE; An,Assistant
.30
1.60
.30
VOCAL. Da Costa in Vocal Mu-vic. Rossini's Solfeggi Singing Tablets. L. 0. Tombler
*
'
1.00 1.00
30
aifton7s
1.00 1.50
Everest's
Lee
db
By
D. A. Warden...
.60
and
selected. Harmonized for four voices, and provided wish an Organ or Piano-Forte accompaniment. By W. H. W. Darley, and J. C. B. Standbridge
1.00
NEW CHANT-BOOK. CHANTS OF THE CHURCH.
Just published. Selected, composed, adapted and arranged for four voices, and provided with an accompaniment for the Organ or Piano-Forte, by John C. B. Standbridge. Half bound Cloth
a choice collection of Hymn Tunes for Choirs, Prayer-Meetings, Congregations, and Family use, containing more than 270 tunes. Printed on line, white paper, with clear and beautiful music type, and yet is small enough to bo carried in a eoatpocket. By J. M. Armstrong. Half bound Cloth CONCORDIA. A new book and a good ono. A collection of Vocal Music for Seminaries, Institutes, Singing-Classes. &c. Including a complete course of elementary exercises. Hv Charles Grobe. Op. 1301. Price TARA'S HARP. A new collection of favorite Songs and Glees for Youth. Designed for the use of Schools, Seminaries, and the Social Circle; containing also a complete course of elementary instruction in vocal music. By J A. Getze. Price
TIP-TOP GLEE
30 80 2.00 4.00 .40
Bv W.
Geib, M.D RECREATIONS. A Collection of Popular Songs, Marches, Waltzes, Dances, 4c, for the Cornopean or Cornet a Piston; also for the - Valve-Trumpet, Kent Bugle, and Clarionet. In numbers, each PIANO-FORTE. A new and easy method of Tuning the Piano-Forte. By W. Geib, M.L for the Piano-Forte Scholar.
Lmsous
Organ or Piano,
1.00 1.26
THE VOICE OF MELODY,
'.
1.00
t
for
CHANTS OF THE EPISCOPAL CHURCH, original A
ORGAN AND MELODEON.
The Apollo:
Beckel'e Kaay Violin-Player
1-50
Sixth revised edition
CHANTS (Original) FOB THE PROTESTANT EPISCOPAL CHURCH) arranged for four voices, with au
GUITAR. American Guitarist
75 60
.-.
Winner's*.
Shunter's Leland'a
Winner's Method '* Accocdeou Songster
Oarcassi's
2.00 .10
&c
a collection of Psalm and Hymn Tunes, Chants, Sentences, and Anthems, &c. Harmonized for four voices, and provided with an Accompaniment for the Organ or PianoForte. By W. H. W. Darley, and J. C. B. Standbridge.
ACCORDEON.
150
40
GLEE, CHURCH, AND SEMINARY BOOKS, CANTUS ECCLESI-Ei or, The Sacred Chorister being i
2.00 2.00
flute. Preceptor for
60
First Lessons, by Ph.
75 60
Bellak
^
Challoner's
in classes.
Winner's
$2.50
Juvenile...., 4;
and For Sale by
JL*lEi1& cfc j&l, 3^ 3E3C 3S Oliestn-uLt Street, I3 liil^l3.ia,.
922
No, Lee
m
35
\\ J A 60
Almanac
sent free to
!
.35
-
-
Price.....
By B? F
any address on
leavens.
Bound
application.
lu cloth
80
60
BOOK. A new and
choice collection of copyrights, never before harmonized, and many of the Gems of modern German and Italian composers, arranged in a familiar style, and adapted to the use of Glee-Clubs, Singing-Classes, and the Family Circle. By C. Jarvis and J. A. Getze. Price ZION'S HARP. A new and choice selection of Sacred Music, comprising a numbet of the most favorite Hymn and Anniversary Tunes. Particularly adapted to the use of Sunday-Schools, Prayer-Meetings, and the Home Circle. By J. A. Getze, author of "Tara's Harp," * c -
SER V I JG OF SONG, A new collection of Church Music.
TUNING THE
Walker'a Musical
AND CHORUS
50 .7*
,
1.88
.M 8.50
