w jirithoivi wales author author having brought the avoided to use avoiding any improper motion. a#, which should bad. bad fingering bb and btf successively on the same bb, he must play bb instead bb major be able to transpose b, e, and a, be carried to the because after because the constant becomes necessary be explanv before the invasion begin the following,either being be nearly be painted be placed on the pedals. be played be played, be sharp (e) be slackened. best be treated on b[f, because bionclina. b nch bnt which of them body borrowed "both both harps being bridge would do brillant* brilliant execution. ()bs, sometimes the b's the c's bti, but as david, while he played upon but each but every experienced harp player, but not before he bxercisel by a semi-circle by a tuning fork. by means of the pedals, an- by passing over by passing the by. the .by the vibration of ' c8 major calando _ camp can be can be done with eas,- can be exf-e.^d on the patent can be played cannot be properly plajed c# * db,or aft fc b'p ceding from centre or first rest certain* the c #, every note of the scale being sharp: cft. changed. changed,so that borrowed changes chap. chapel chapter chapter vi chapter v. on intervals. chapter x chapter xiii chord chord may he played either chords chords. chords played in arpeggio chromatic, in cipal note, [cj'lcj-d:rl^ clear of consecutive , ths c '- 'llam^t close to each other. close to the sounding board cnfixblj c.o, e ,vex p reld bv the fignre coloured red, and all the come commonharp common harp common harp, common harp. common harp he common harp must common harps common harp when comparative view of compass extends to complete harmony; but completely developed, compo.,om th composer wishes compositions compositions for the conclusion, con espressione confined owing to consequently, he must never consider consists pf three notes constantly applied to them. constitute execution, construction of the contents, conversant to play wel . correspond to the could be raised two successive course of this crescendo crossing the crossing the hands explained. cruel invader. -csh ^^ctwglf a cty, and when cvbserve, when .cxer da capo _ damp damped sounds danced and sung d descending. dearer--but decending. derived ft descendinrr descends descends, or the descends, or under, if the describe a circle. desideratum, the change of destroys the two principal diagrams pago 3h diatenically. difference (in point of length) difference in the difficult difficulties difficult in the difficult to get at, difficulty difficulty arising difficulty in dim: diminishing gradually the sound. diminuendodolce- * forte _ _ _ dis- distinct branches distort their shape. ditto, descending. d, must recede from the dol: donb.e movement a done by fixing the pedal of dots, all the double appoggiatura occurs double harp, with two strings double movement, double movement. double movement--2d, the double shake with the right hand double sharp or double downwards. drawn with the d, the duced by pressing each octave. eacli other diatonically, viz. eacn hand separately. eac'tl e, and so on. ease as on the piano-forte ease in that respect easily easily explained easily, to easy-the performer being always in a eb, a fifth above ed here.' the passage effect produced by the effect this effect this, the ^egffie^ egypt 1485, before christ either at .thetop or either diatonically either of these a either written on elegant and good." elevated, to have (elp emcut,on emphasis on enabl enables the performer to see e necessary to be enough entirely ep major. e ; pnhl'if" or equal as possible. equality, the fingering equal notes with the left. equal notes with the right especially if essential, and consequ essentral (etjoff) (ettoff)(tixdb8) c' every day, from the very evidently vicious, for ew maj or. j5e: (ex:3.)fig:3 example, example. example 1 example 2?"> example) must be tuned examples examples. examples and exercises example, should the fingering marked execution execution by great rapidity, exer: 2. return exer:6. *4 -a exercise on appog;iattiras. exercise on octaves exercises for the left hand exercises for the right hand. exercises, he must play over again (twice a exercises on arpeggio. exercises on fourths exercises on octaves. exercises on seconds exercises on sixths exercises on the pedals exercises on the pedals. exercises on the scales exercises on the shake exercises on thirds exercises on turns ex: on the exorcises on fourths explanation of signs and terms expressed thus facility fair ;f a p assage can f|ats or sharps; f a, f at the astensk .. could no fault in point of execution. favorite ^-fck fcsi fect of each pedal fejp4ufct= ffixbl;) f.gures fifteen major and twelve fifth above fig: fig.. bj ihe fi<%ij' /t(to jtrfw filth. find, that in fine execution. finger finger^ finger, fingered fingered thus, finger having played the second d, fingering. fingering of the ^.fingering peculiar fingering, which finger must not fingers fingers of the left fingers, which are kept finger, then the 2d and .st, finger, which is the only way finger would become useless finserinw. f# instead fin-,tm to firmly, they are apt first first , first, first. first joint of the first place the first the fit ixzlxz five five notes five notes following each other (fixc^) fixcj(. fixed in the fixed into the second fixejt. (fixgh) (fixgtt) (fixj^o fixl)j{. fji^ ^fjn '(fk'fjt&dtt.e' flared flat flat, even flat occurs (which is very flats, as flats at the signature flats _fl|',bb,eb,ab,db,gb,cb fluently. f major, fmger fmprotoements* f must be followed by the second, follow immediately, follows immediately fjt, and food the art of disposing for, for." for according to natural philosophy, for by carrying forcb, forced to substitute foregoing example for flats forg\7,f.&c: for instance), for instance, in playing form formed by formed by uniting the minor former on the forms a tone , c.dp.u.anotiiet for several hours. fort.- does for that for the for the left for this is evident fortissimo _ forzando ) found that these four fingers in fourth. fourth and fifth rules. fov: fpgl%pipf^wiil^al fpllowing disposition was made freely it vibrates. french air) frequently in playing from from a different string, from a natural note from c8 to from the difference from the harp, but so as f 's blue. ftp^ ft. score, of the *. ft umh &-- f-un^y seaja, ^ ^==g-- effect generally inserted generally tuned in ^-gitt i given of given towards producing them give scope to their genius, gliding; g minor. gmlty good harp performer good position of the body, arms, good quality of sound, as when struck graces gradual rise of the sounds greater, the performer would greatest expression. had been degenerating had only ten strings hams hand hand. hand and hand and downwards hand ascends, -- hand be handle hand must hand must be hand must begin i s hand on the middle of two hand on the upper hands hands explained hands nrns, praise fte. hand while the other hapter harmon)'. harmonic a excepted. harmonic sounds harmonic sounds. harmonic sounds which, harmonic sounds with the harmony harn harp harp, harp; harp. harp and harp and on harp as well harp being the central harp capable harpe," (the ditty, or harp is harp music harp passed harp remained harps harp should be proportioned harp, to understand the new harp was harp was known long harp with harp with the double has, however, after has time have been struck to form the chord have heen omitted in having struck the having tuned haydn, head of his exercises. he may resume the modulation . --he must always begin hence this general rule henry he object of the he played here, as in (he speed of the time he taken hfe^ higher than written highest finger, when the him put hindrance to history of the harp, his triplet hitherto been but hnrp horwll , not hotter had e studied however introduce long passage, however, they must be prac- h \rp with the double action^ h strings but hvrmonic sounds icbj idea from ^idfea. ifou if the igs- i gtftfif^ p ihe -harmonic sounds being :iif*lf -- +i>_jbh u*: iji=^=fr ilhn ilmu l^^j i^mnp implies that both improved improvements in a brilliant in a graceful in a letter from mr. bruce, in a quick in a quick, in a soft in a vertical position .inch md. ca.e tho mother incline the harp towards himself: but inconvenience exists in descending, in d major in e major, in england, the in f major in fte ascending in fte first place the in general, by keeping the ingexami>ws in glulint ing the passage can be found it ing to the sib rule, are fingered inhabitants of finland have in hakmokxc sounds in his hands, in ireland in others, in palestine inserted in this in size, that it instance, in playing the following instmction boohs, in instrnmental perform a great instruction of a instrument," instrument, in which composers instruments, and the instrument: this in succession, in succession are interval, are expressed by figures interval of 3ilx*x vj\vr>h3il~ *jrrr made mais, must major & major major, major. major 6 major key is major keys major keys. major keys with flats atthe signature. make them make use mancando .._ manner, to perform any many many ages march mark marked under materially differ. mature maybe may be may become may be likewise, played may be on each may be performed on may be used may e p.ed may he played by means means, modulation, which on the mechanism mechanism, and melody, -or whether'they he struck ment ment, one ment would become merit of a dramac merits of music. mer olfs examples azvn exeb( ises, j metal strings ; method method any method eoual.y adap.^ method of tuning mez: mezzo forte middle fingers. however the palm might be more mind minor minor, minor. minor into all the minor keys minor keys. minor keys with sharps a,e,b,fft,c8 mipgfefr^^ m n0 difficulty mnst be so (f) moclerato mocswni'sm too complicated. mode moderate + modern harp-lute. modern harps modes modulation from modulation from c into mon harp, mon harp must be more more confined than more intimately related with more resources than any, and more uniformity, most favorable most -p'. ;' moved movement movement chords movement find time movement is movement, or in playing chords movement which they mozart mozart, dussek, &c. m plf mqrendo mst be played with the m tins mto otonous & tiresomexastly the much much sound much time mugt be music. music, which music written expressly must must be must be always struck with must be combmed, must be diminished both must be fingered thus; must be fixed after being must be generally prepared must be here given to the pupil. must be m ,k with must be placed must be played must be played with the three must be pre- must be pressed must be tuned must endeavour must glide from the first to must have a round form, the must he played one must serve ^ mx^r.n u kmu^ name and positio, natural sound, a semitone higher. nb. owing nb single n b-the nb. the n. b. the octaves must be as .(near the necessary. necessity of striking the nerally used to produce the \nimato_ _ \nimv _ not be kept distant notch notch, it notch, the harp not distinct note note above, note can be notes notes. notes are to be played notesbab notes but when two or notes finger* notes in harmonic sounds are notes of the not given here, nothing useless o, .not plaved but produced x not too quick not vary at every chord n the patent nugent), who number ofmouons nut plaved obs: obs-1 obs-2 men obs-.2.when obs:3. two observations on a observations on the strings. observe, observe, in the foregoing example, observe, should the obs:l. in obs*l. when obs: the inconvenience obtain a brilliant occurs in music, occurs which, might puzzle the octa\e, octave. octaves, octaves. o each hand separately o-erin. the ofachord of anv of attaining of borrowed notes, of c, the natural of degrees conb of equal length of et>, being the offend the ear fo, the scale (off) is of hands of instruction of instruction: of ireland consist of a of making children play of music. of one, each of performing the trill of producing a of producing a fine tone, often introduce this shake, which oftentimes of that instrument; of the of the accompanied shake of the appoggiatura of the bass of the celebrated ossian of the chord of the danes. of the execution and that of the hands. of the harp, and of the notes of the performer: of the second group, and the of the sounds. of the third group &c: cannot be of the turn of the violin of, this of those comprise a of tuning both of tuning both harps of various of which are tones old iffimdxon --on borrowed notes once once. once form a chord on distant notes one. one hand, whilst the other one may one may observe, ones, being one stave, thus: on fifths on intervals of fifths on intervals played. in succession onlv, viz. only to the on octaves on purpose in on seconds on sevenths on sixths on the on the chromatic on the harp with the on thirds on two works instead open string or 5welling th. or changes of the or d,e, is expressed by or from the same original pitch note. origin of this orm an or mino, or musicians, or this or three successive posi- or vice versa, although they or with the o the other (other. other- others others. --others say by gaifre. -out their assistance over :/' over any other over the other, this ow.l -when the palm part part in the parts passaae whatever, passage must he passing the fibers under pass under the thumb p-dnls vronld pecnhar to the instrumen peculiar to harp music. pedal pedal being pedals pedals being to pegs percl: perdendosipiano _ _ _ perfect^ perfect as possible perfect unison with that performed perfo rmed in one performers upon the --performers who wish performer will performer will be performing /pff~=~~l=b^ t77j"~, j ' ^slow slow. slow movement slow movement, small size smnrzl -- smorzando^ #sni so clearly soft. some some composers make some important some measure the some performers some time sometimes four semiquavers sometimes the change sometimes when some years sons etouffes sons etouffe's sons harmonium's sostenuto so that each so that the feet sound sound. sound bb, and sound becomes more sound board) when sound of several notes. sounds whe sound very spi as %wta g staccato _ standing; stant practice of state for several centu- state of perfection to stop, strain. strictls followed, to strictly strictly the other rules. string, string. string, and here the string a second time strings, all the strings being very short, it strings, but they are difficult of ex- strings, whilst they string", to play the following note string, (which is seldom the case) struck abruptly struck at once. (accords plaques.) student must direct stu dy for the pupil style. style of succession occur, they must succession on the successive, on thp sufficiently strong to superiority superncauy support the sound. sustained notes which occur swag symphonies table of the harp, and tacitus says, that tai .ed in the interval, taken for taken from tamerlane, with variations. tbree notes follow terms and signs peculiar than than upon the that by the foregoing that of another. . that the pupil has -the .the + the the/ the}- the 10 the apoggiatura the appoggiatura the author the author has the author has not theban harp, an instrument the body, arms, the changes should the chord must be the compass the consecutive fingering the continent, the the double the double action the double act,on the double octave the ^example the favorite the figure 2 a third the figure 8 thefin- the fingering the fingers of both the fingers required for the first note the first principle rs the five notes, and the four the fleshy part of the the fmgermg the follow the following the following are the following fingering the following g. this would the foregoing positions the general principles of the general stud, the harp the harp. the harp), and praises the harp with the inten- their their bards, their harps. their military exploits. their priests, their respective notes. their second re . the~^jgg the joints of the thre^ the keys an advantage the keys and the keys that can the last note must be played the least the length -the le-s the lyre. them them. the major key. the major keys with the major semitone is found the manner the manner just described, the the mates . the mini* in the minor the most extensive passat them separately. them something romantic, them with the notes the' notes (the notes of the chord the notes which the notes which form the nrst consists of a then the performer the octave below. the only the ordinary the ordinary compass given to this the other the palm of the [the passage the pedals the pedals are the pedals are fix'dthe the pedals are up the pedals being unfixed*. the pi the plan of this the poems the position the principal the principal note the principal qualities the pupil has a there are on both there, as --the reason therefore, each string, the same as calando. the same as crescendo. the same as decrescendo. the same as slentando. the scale the scale ascends the scales the second the second ot these notes, accord- the seventh being the shake the sixth the sons etouffes the stave, as e,f: the string. the strings the strings with ease. --the student must not the subject of a the term harmonic the third finger, the three pedals the thumb the thumb being (the time. the time the tone the turn the two notes the welsh have they they contain the year 1757, by mr. --they may even perform they must rest thin strings third third. third action third and fifth, or thirds thirds should be too sharp. this this advice. this can be done but two ways this day, the this description this end this ex-ample forms this excep- this instru- this instrument this instrument was this last, the this mark_ this method may appear this mode of playing produces this renders the bb, this rule this scale this second rule is this skip of the hand being more those those already tuned, thus three harmonic sounds three middle three or four intervals played three others three several kinds of throwing aside thumb thumb. thumb above thumb and thumb must thumb on the two thumb when thus thus: thus. tial ticed also with the right tie descending tin- words tion occurs, tion of the tios are required. tise \tmo_ <*>tm/ o//u'fjim t:/i;^_ to a good execution, the to battle at the sound of to be natural .(b) to be struck, to each to extendi narrow to fix the pedals of to fix the three pedals of together to gratify the ear to harp tohim), hemns. to increase the tone tone. ton e^p: -- tones, give to offer too philosophic;)! to play to practise his to resume to run to strike the to the size of the pupil. touch them with ease) to various to vibrate against the tra^po* ft--* treated of in a light triplets, triplets explained triplets with the left true position ttf! ^-k^-i tuned in cb, --tune eb, tunes and vulgar tuning fork. ture long passages in turn turned upwards for the right two consecutive notes, the two extremities two notes are played two notes ,thus: two outside rows two successive semitones. two, three, tyie tyj. ufe^ understood under the under the thumb unfix unfixat). unfixe^ unfix(c)!] unfixdt| united in one university of north carolina at unolod m! upon upon, upon the patent harp upwards used in music* and may used, that use in a neigh- use of a use of; the .u'tyrf. uypsgj variations. various various exercises on the scale v assage wi very very difficult very difficult to do vibrate freely. vii.-- on vi.-- on chords viz. the volage. volnmmous ^v^t lefetrrfir^s --w12++, 2looo"t_j wales play on wanted was discovered. was found was obliged was proclaimed king of was tuned way of passing the f.ngers wben two well, the student --we may suppose a were long celebrated when when a sharp when octaves are to be played quick when they whereas, whereas on whether the tonic which are of which for want of a bass .become, which has been struck which many harp which reason, which recall to the which requires which the patent and which they had brought which woiild take place who can whoever understands the one, whole of whom who reigned who were musicians and w* htf whuh must will be that will display to will unite wind instruments in haydn's fine wire: with with, with a harp with animation. with both hands with both, which with expression and feeling. with flats with flats. with melody, with sharps with sharps. with spirit and fire. with the with the double with the double action with the double movement. with the first finger, thus ^_^.*' with the left hand wiuch the piano wluir wmen work, work. would be as absurd would roiidcv wretched effect; writte'n written. written thus. wrucw b^> (wtfjl^ b w^wutm p^^pg xcrcises on fourths. ^xer./j^ x' $f/)rtt',{(". xiii.-- explanation xii on the xi on the sons etouffes, x. -- on harmonic sounds xvi. yet, zgr^' />