Accordion Tutorial

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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 -

> 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» *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.

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

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D

D

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9

8

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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

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These last Iwo notes can be mode only on those Accordeono huving eight semitones.

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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

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7s

P

D

— — —

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NEW TEACHER

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FOR THE ACCORDEON.

Scale for the Double Ten-keyed Accordeon.

m 1

D

B

D

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10

P

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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-

'

—

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WINNER'S

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NEW TEACHER

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NEW TEACHER

WINNER'S

FOR THE ACCORDEON.

SCALES FOR TRANSPOSITION— Concluded. Key of

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SECRET LOVE;

26

IF

Or,

MY GLANCES HAVE BETRAYED [By permission of

ME.

Schubekth &

J.

Co.,

New

York.]

E.

MOLLENHAUER.

Allegro.

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[By permission op Dodworth & Soy,

New

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SONG.

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[By permission of Root & Cady, Chicago.]

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ROOT.

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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.

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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. ;

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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.

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BON TON POLACCA QUADRILLES. First time piny •in

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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 —

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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.

First time

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FIGURE FIFTH. — Introduction. ladies half around,

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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.

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