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CRISTOFARO'S
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MANDOLIN
F. DE CRISTOFAFkO
PAUL LOSING
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VOLUME I
MANDOLIN
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F. De CRISTOFARO « ft
Volume I.
Made in U. S. A.
http://archive.org/details/cristofarosmando01cris
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ADDITIONAL RECUSATIONS
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FIG. 6
FIG. 6
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(K String*
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The Clefs. (observe the curled part on th«s second line), it denotes that G is
to be placed thereon and hence the name and position of the
;
he name and pitch of the notes thereon. There are three different
To fix the notes and their positions on the staff firmly in the
memory, the pupil should write them on music-paper, placing also
oiefs, viz: the G cUfigC=j the F cfc/JIPj^ ; and the C cleffa —. the proper letter and syllable above each.
Music for the Mandolin requires only the G clef ; therefore we The Value or Duration of Notes.
will not here consider the others. The
characters used to represent musical sounds, and which we
call Notes, together with theii relative value or duration, are
As the G clef is placed on the second line of the staff
indicated in the following diagrams :
Whole note. Half note. Quarter note. Eighth. Sixteenth. Thirty-second. Sixty-fourth.
r r r-t b
1
The relative value of the notes is best shown by the fo llowing arrangement
1 Whole note -^
equals
3 Half notes
equal
r
4 Quarter note*
equal
r r r
8 Eighth notes
t
equal
16 Sixteenth notes
equal
t —
32 Thiuv second
equal
notes r rrrrrrrr vLu mm~
84 Sixty-fourth notes.
:
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8ixty-fouTta.
equal to
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r t $ S
It will be seen, in the above, that e?"h note has its correspond-
sigu g£ indicates the Key in which the music is to be played
ing rest.
Accidentals. Thus the Signatures by which we determine the Key of a piece of
music are as follows :
A Sharp (#), &H'lat (b), or a Natural
(fi), placed before a uote
afters the tone. In this capacity
such signs are called "Acci- Example of the S'gnatures of the Major
dentals," and there are five of them as follows : and Minor Keys.
The %, which raises the sound a half-tone. With neither Sharp nor Fiat it Is
The b, which lowers the sound a half-tone.
The \ which restores I he sound to its original pitch.
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The *, or double sharp, which raises the sound of a note a
whole tone.
The bb, or double fiat, which lowers the sound of a note a C Major or A Minor.
whole tone.
The Signature.
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A sharp or fiat, or a group of either, placed just after the clef
*
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Key of G
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Major or
i Key of T) Major or
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Key of A Major or
I E Major or
E Minor. B Minor. F# Minor. C 8 Minor.
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B Major
Five Sharps.
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F # Major
Six Sharps.
or
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D 5 Minor.
IJeven Sharps.
C J( Major or
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A$ Minor.
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One
or
Flat.
221
T) Minor.
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Two Flats.
—
Three Flats. Four Flats. Five Flats.
&
Six Flats. Seven Flats.
m m B b Major
G Minor.
or El?
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Major or
C Minor.
§BE A P Major or
F Minor.
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fH Db
Bb
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Major or
Minor.
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Gb
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Major or
Minor.
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Major or
7 Minor.
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When a sharp or flat additional, or not belonging to the signa- regular " beats." Thus, in Common Time, (simple or compound)
ture, placed before a uote iu any bar or measure of the piece of
is
we divide the bar or measure into four beats, each representing
music it affects only the note or similar notes in that measure
tloP€, according to modern usage. one quarter-note. This kind of Time is indicated by the figure,-
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One, two, three, four, one, two, etc.
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One. two, three, etc.
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Compound Triple Time.
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One, two, oue, two, one. two', etc.
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Dot and Double Dot.
A dot placed after a note increases its value ( duration ) one half its ow.n length.
Example.
Dotted Whole Note. Half. Quarter Eighth. Sixteenth. Thirty-second.
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t g : r —
B
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A second dot adds the value of one half of the first dot.
Example.
equals eouals
f" equals
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5 equals
equals
r r r c k • ^ H B" B* w P E n
i/
• B ^ B^ ^ b
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The dot or double dots placed after a rest has the same effect as when placed after a note.
The Triplet and the Sextolet. Position of the body.
A group of three notes is calle 1 a triplet, aud is to be played To
ensure a graceful position and facility of execntion, preserve
in the time of two notes of the same kind. an erect position with the head thrown slightly forward. Stand
or sit directly opposite the music, so as to be able to read it
Triplets.
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Tuning.
"The ma'ndolin is tuned in perfect fifths, thus
131
Example.
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13
D
— 131
ompass. These two notes show the extension which the modern mandolin reaches — B and C.
Tune the second pair of strinyra unisou with an
in inning-fork,A and perpendicularly upon them, between the hole and the bridge
-9- The teacher should himself assist the pupil in these first attempts
•
the A above middle C on the piano ffa—B— Then tune the third
at placing the plectrum.
Unite the fingers in a rounded or curved position on the plec-
strings to D which will lie an octave lower than the
trum. The little finger should rest lightly on the instrument ( See
same note made by pressing the A strings at the fifth fret. Tune Plectrum), so that the hand may move freely.
The upper part of the arm should not move. The fore-arm
the G %U ( fourth strings) an octave lower than the tone should rest upon the edge of the instrument.
When the pupil has thoroughly learned how to hold the plec-
made by pressing the D strings on the fifth fret. And lastly tune trum, he should commence the stroke-practice up and down— —
gradually increasing in rapidity until he has attained a very quick
the E's (First strings)^ in unison with the tone made by
movement. This is called the tremolo movement, and should be
pressing the A strings on the seventh fret. practiced on all four sets of strings.
The tremolo must always begin with a downward stroke of the
How to Place the Plectrum on the Strings. plectrum.
Place the plectrum on the fourth strings, (G), resting it lightly
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4th 3d 2d 1st 1st 2d 3d 4th
Lesson For Tremolo Practice. The ^, or hold, indicates that the note is to be held or contin-
ued at the discretion of the player. Usually the hold should not
In some lessons given for Mandolin practice, two signs are used, exceed, iu duration, the twofold value of the note or rest over
fiz : A, or the down stroke; and lj, or up stroke. which it is placed.
First Exercise.
The Pupil.
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The Teacher.
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The figures placed above or alongside the notes indicate wliat fingers are to be used.
Second Exercise.
Thv: Pupil.
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The Teacher.
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Lesson for Learning the Notes. UBed — viz : 1, first or index finger; 2, second finger; 3, third
finger; 4, the little finger.
la this exercise the pupil must not begin the use of a new The sign indicates an " open " string, or a string not pressed
string until he has well learned how
the preceding one.
to play by the finger.
The figures placed over the notes indicate the fingers to be The figures placed under the notes show what fret should be used.
4th strings. 3d strings.
frets
-
a 4
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open strings
-fingers—\
frets 2
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2d strings.
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1st strings
fingers 1
2
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After the pupil has repeated this exercise several times, he played in regular order by ascending and descending. The fol-
shonld play the same notes irregularly, that is to say, by — lowing illustrates the movement
skipping some of the intervals, which in the above exercise, were
1st strings.
4th strings. M strings. 2d strings. 2 5 2 3 »1
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The Scale.
and 4th, and the 7th and 8th degrees, ascending or descending.
A regular succession of t >nes and semitones is called a Scale. semitone semitone
Example. F -se.mto'n.
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Scale of C. F -&r jf ^v & 1221
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pupil should avoid any interruption of the movement of the plec- In playing the following scale, remember to count four to each
trum on the strings. Keep the fore-arm motionless on the edge of measure. The whole note equals four quarter notes. Beat the
the instrument and preserve the proper position of the right hand. time with the hand for a bar or two, before playing Thus, one :
The fingers of the left hand she ud be well curved over the down, one to the left, one to the right, and one up.
strings ; the wrist must b'„ kept rigid, and the action of the angers We choose the scale of G for the preliminary scale-practice
procood solely from the third joint or knuckles. Allow the hand because it is most favorable to the instrument.
Pupil
Teacher
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THE INTERVALS
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An Interval is the distance between one note or tone and another. There may be several degrees in the interval , which
we reckon as a second, third, Jburth, fifth, sixth, seventh and octave. Intervals are reckoned ascending or descending the scale.
Thus:
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In extending the scale, say for another octave, we reckon the ninth, tenth and eleventh:
Ninth .
Tenth Q. Eleventh. — etc.
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Inversions
"When we place a given note an octave higher or lower, we invert the intervals, thus;
The 9econd becomes a "7th below. The Third, a 6th. The Fourth, a 6th.
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any of these notes, the rule is to use the 4th finger in preference to the open string, thus:-
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4th Strings. 3Td Strings. 2™ Strings.
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(2/ When the same note is repeated without a tie^—^ the tremolo must cease after the first note and be resumed at the second.
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Exercise recapitulating all the Intervals.
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To play perfect fifths, you must at once place the finger flat on the two different strings. To play diminished fifths you
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must change the fret, although using the same finger. The diminished fifths are indicated by this sign •.
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EXAMPLE.
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Chromatic Scale descending with sharps.
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57429-4C
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13
SCALE IN C MAJOR.
No sharps or flats at the Signature.
goes
All the following scales of Major and Minor keys are written for the first position only. Their compass
as far as B natural above the staff, without exceeding the second octave.
During the study of the other positions, the scales will be extended.
Chords In C Major.
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All the Quarter notes, when not slurred, must be played tremolo, each succeeding note being accented.
The tremolo must cease an instant before passing to the following note.
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ON THE SLUR.
When two notes, or even a greater number are accompanied by this sign -—^ they must he played with_
out the least interruption of the Tremolo. After playing the first note the fingers of the left hand should
press the string, and slide up or down to the next note or notes included in the slur. This observation con-
cerns only notes played on the same string. In slurring on the open strings the plectrum is simply drawn from
one to the other.
Exercise for Slurring notes on the open strings.
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Lesson in Slurring Quarter-notes.
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THE TIE.
"When the sign -—> connects two notes of the same degree op letter, it is called a tie; and the string is
pressed down until the time-value of both notes is accomplished.
Andante.
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The quavers must be played tremolo.
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57429-86
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SCALE IN A MINOR.
Relative of C major.
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THE EXTENSION.
When the 4-W finger is made to reach a note above the first position, without displacing the hand, the move-
ment is called extension . The ^irst position finishes at B with the 4$ finger; but it is possible with the same
finger to reach to C and even to C# with the other fingers still on the strings, and the hand in place. This
extension is called upper or superior, because the 4w finger ascends one or two degrees.
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RECREATION H.
'LA PETITE GUITARE."
Time I. One Quarter- note or two Eighths for each beat or count
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57429-86
24
EXERCISES ON EIGHTH-NCTES.
Three notes slurred and one staccato.
Moderate
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67429-86
30
THE APPOGGIATURA.
The appoggiatura is a small note placed before another, and usually depriving that note of half its time -value.
It must be well accented and the principal note must be played Tremolo.
"When the appoggiatura is placed before x dotted note, it takes a third and sometimes two-thirds from the time-
value of that note according to the character of the melody.
When the appoggiatura is crossed by a little dash: t»t it must be played rapidly, the finger striking the string
sharply, then being withdrawn so as to allow a continuance of the tremolo on the principal note.
Larghetto
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fi7429-8(i
32
SYNCOPATION.
Syncopation is a suspension or alteration of accent— accented notes occuring in the unaccented part of a bar.
The emphasis is placed upon the syncopated note.
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Examples of different kinds of Syncopation.
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TRIPLETS.
A Triplet consists of three notes grouped together and played in the usual time of two of the same value,
In slow movements, triplets are generally performed tremolo, excepting those which have a particular accent.
Lesson on Triplets.
21. I
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The pupil must not mistake the group of three notes in f time for the triplets in f time.
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37
RECREATION V.
SERENADE
The triplets in slow or moderate time may also be staccato. It depends upon the character of the piece.
[See the following Recreation )
Schubert.
Moderate
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57428-86
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In order to know whether the notes must be played tremolo or staccato, we must take into account the
movement of the piece and the character of the passage.
The longer the notes, the more appropriate the tremolo; whilst, on the contrary, the shorter notes are bet-
ter played staccato.
It is necessary, to pay great attention to the accents placed over the notes, as they indicate the manner
of execution.
Andantino.
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Allegro giusto.
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EXAMPLES.
by four notes.
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43
Observation On playing the Quarter-note.
should always be played tremolo. But, as an
In a preceding chapter we have said that the Quarter-note
especially in Waltzes.
exception, the quarter may also be played staccato in allegro movements,
(See the following Recreation.)
RECREATION VI.
Tempo di Valse. WALTZ.
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RECREATION VII.
MAZURKA.
Tempo di Mazurka.
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EXAMPLE. GOOD.
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Allegro, s
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In passing from one string to another the Sixteenth-notes are played on the open strings when such
a course seems reasonable and convenient.
Allegro
EXAMPLE.
When there is no slur over or under the Sixteenth- notes, they must always be detached by a down-stroke
of the plectrum: however, in slow movements, the Sixteenths can be played tremolo or detached, according
T^ltrq^ji
Example of Sixteenth-notes Detached.
Moderate. h
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For the Examples of the above, see the following exercises and recreations.
W. Those who imagine that they can replace the Mandolin method with that oj the Violin are in error- for the technique of
the former instrument does not always adapt itself to that of the Violin.
)?429-Mi
47
Moderato EXERCISE
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CONTRE-DANSE.
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In order to maintain perfect smoothness in the performance of Sixteenth- notes, it is necessary to observe,
at the outset, that sometimes you must begin with the up-stroke of the plectrum, and sometimes with the
down-stroke. Whan there is an even number of notes, begin with a down-stroke.
A"A U A a
EXAMPLE.
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The isolated Sixteenth-note united to the Eighth by the rest f should be played with the down-stroke, be-
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also.
EXAMPLE.
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Exercises on Repeated Sixteenth notes.
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Exercise on the Eighth -notes.
"With different strokes of the Plectrum.
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Two Eighth-notes Slurred, and
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Staccato.
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Sound the first note with the down-stroke of the plectrum and vibrate the string with the same finger; give
a slight up-stroke of the plectrum for the second note without stopping the vibration of the string.
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DOTTED NOTES.
"We have indicated at page 27 (RECREATION III) the manner of playing dotted Eighth-notes. Here is another
way of playing them. To produce this novel effect we must give a down-stroke of the plectrum on the dotted
note, and an up-stroke for the short note; separating the two notes hy a rest.
Effect Produced.
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jnust be sounded with the down-stroke of the plectrum; the second note with an up-stroke; and the third note
with a down-stroke. (See the figns orer the notes in the following studies.)
In adopting this movement of the plectrum an irregular accent is avoided. Though the accents ^=- are in-
dicated, yet the movement of the plectrum is different.
(See the following studies in triplets ttith the carious strokes of the plectrum.)
STUDIES.
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RECREATION XIV.
"EARLY MORN."
Arr. by M.C.J.
Pietro Lanciani.
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THE PHILHARMONIC
ORCHESTRA FOLIO
CONTENTS
1. Gavotte celebre Padre G. Martini
2. Moment Musical No. 3 Franz Schubert
3. Capriccio in A Joseph Haydn
4. Hunting Song Gustave Lazarus
5. Gavotte and Musette Johann Sebastian Bach
6. Largo from Xerxes George Frideric Handel
7. Bourree in G minor Johann Sebastian Bach
8. Intermezzo (L'Arlesienne Suite) Georges Bizet
9. Turkish March Ludwig van Beethoven
10. Minuet from Symphony in E\> Wolfgang A. Mozart
11. Gavotte from Paris and Helen C. W. von Gluck
12. Hungarian Dance, No. 5 Johannes Brahms
13. Huniorescrae, Op. 10, No. 2 P. I. Tchaikovsky
14. Ballet Music from Rosamunde Franz Schubert
INSTRUMENTATION
1. 1st Violin 14. 1st Alto (or Melophone) inEb
2. 2nd Violin 15. 2nd Alto (or Melophone) inEb
3. 3rd Violin (substitute for Viola) 16. 1st Trumpet (or Cornet) in Bb
4. Viola 17. 2nd Trumpet (or Cornet) in Bb
5. Violoncello , 18. Trombone (Bass clef)
6. Double Bass 19. Trombone (or Baritone) (Treble clef)
7. Flute 20. EbTuba
8. Oboe 21. Eb Alto Saxophone
9. 1st Clarinet inBb 22. C Tenor (Melody) Saxophone
10. 2nd Clarinet in Bb 23. Bb Tenor Saxophone
11. Bassoon 24. Timpani
12. 1stHorn in F 25. Drums
13. 2nd Horn in F 26. Piano
PRICES
Instrument Book* each .SO
Piano Part 1.00
Full Score S.00
All the numbers in this collection may be purchased separately in Small or Full Sets. For
further information, complete list of Philharmonic Orchestra Series, prices and other details see inside
cover pages II, III, IV.
MADE INU.S.A.
Boston Public Library
Central Library, Copley Square
Division of
Reference and Research Services
Music Department
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