GERM -FLUTE,

OR. PRINCI:PLE-S ~- PRAC.TICE -

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. '
 "<J~u\.1'.
MT. 1
l\ (v.

.
Dee;i>Iy imprefsed \\it~ a -proper fen.se of. the favourable reception my former
publicati~ns, the Theory and practice of fingering the Violoncello, and the Art or
playing. the Gcrtnan Flute~ have met with;, and: c~cQuraged by th-.~ approbati_on of'
men, for whose opit~ions I have the greatest esteem, as \Veil as by tl1e liberal a1,1d
candid criticisms of the Revie\vcrs
.
of literature{ I feel t.dditional and more forci-
'

ble motives to 'merit that favour, by .endeavouring to render these \Vorks nQre wor-
thy of the public attt~ntion.

The principal end I had in vie\\~, in my treatise on .the Gertnan flute,

was to fhow ho\v a fe\v fimple founds ~ight be gradually combined and connf'c_
ted with others.- fo as to lead to a gen,~ral cotnmand of the. instrument in all
keys, in the fh~rtest fpace of time pofsihle, by means of ~ comparatively findl
number of .examples of good taste

Y~t .I am ready to confefs that, ho\vever extensive tl1c command of

thP instrument, acquired by that procefs, might be, ftill there \voulcl rtmairt
many ideas for the Learner to be pofscf~ed of, before he could he a ,finisl1_
ed perfornter: because it would be impofsible for him, by fo fen f~x ampl(s,
to have Acquired a Knowledge of the peculiar character, accl'nts,exprefsion,
and even time, of the gre~t Variety of modern Compositions, that might
be fct before him, abounding i.n refinements and ideas, th.e Comprthcnsion
and just -performance of which, depend on fomething "'ery difft.rcnt from
mere mechanical extcution.

'*In the Critical Revie'v Octobf'r 1798. .;And in the Monthly Revie'v Novembt't' and
Deeembf:\r 17 98.

In
2

In \Vh~:tever .this compreh~.t:Jsiorr. of mind. or ta~ste~ nuiy consist, it is. eirident,

th~:t in t~S far as it is attainqble, it is more likely to be acquired by the ftudy and
. , -
practice of cotnpositions cif taste, and refinement, than of fuch as do not pofsefs
these qualitic s. A good taste is formed in .every hutnan art and ftudy, by present~
ing 1o the eye, the ear, and the mind, certain approved forms, founds, and ideas, ~: s
' .

tnodel~. to be ftutlied and hnitated; And indeed. the. t?Xistence of innate taste, may
' . .

as reasonably be disputed n.s that of innate ,ideas; unlef~ it mean that fens ibili ty

or delicacy of nerves, and of general perception, which makes us acquainted 'vith

the effects and properties 'of various. objects, in proportion to the degre.e of their '
hnprefsiun on. us.

It is meant, therefore, in this School for the German Flute, to form and
. cultivate taste and execution, by presenting to the tnind, the bes.t models ofrArt, '
. \ .

for its contemplation and exercise. }"'rom 'the Analyses of these compositions,

the principleS of their. construction 'vill be deduced, atHl their exprefs ion and
' ' . -------
. c)laracter ._ascertained, in .the progrefs of the Work, which may be corisid~red as

an extension of the plan of the ART of PLA YIN & the G l:RM:.A NFL UTE~ and
a Commentary on, and illustration of its principlls.

But in order to render this \\,..ork as contplea.t as pof.sible in. itself,

the necefsary dir~ctions to beginners will be given, .in this first part, dis-
incumbered. of every thing that_-'is. unnecefsary to the performance of what
it contains, and this fubject will be occasionally. resu1ned ~ as it becomes
necefsary, and applicable to the remaining p.arts of the Work
...
"

I proceed therefore to explain the mechanical principles by \Yhich an

,.

accurate performance on this instrument is efff'cted. and first

 Of.the Manner Of~olding the FLuTE and produ:ting its Sounds.'
I

~ Much depends on a -proper manner o"f)1olding the Flutei It is done by resting it a- ,

gainst the l~wer part o.f the third j()int o:f the "left hand, placing_the tltumb opposite to the .
first or uppenno~i of' the fix holes, then prefsing the Flute against the under lip and lo'\ver
t~et1~. it beh.lg f~pported at th~ other' end. ~y the thumb of the right hand placed under~ the . -
fourth hole: in this position the learner niust end~avour to keep the Flute quite fteady,,vith_
out touching it ,vi-th any of his fing~rs ~ This being a case that 'Will frequently happe1~ in
..practice, he ~irght, beFore lie attempt. any other thing, to fatisfy himself that he can keep.
it fteadily in this positio~.
He is then to try to produce Sound from the Flute, having previously made
the following .preparations; I. to place the. hole ,.of the top joint, int~ which he
. " . f..
is to blow, nearly on a: line 'vith the other fix h-ole's, but inclining a little to'\vards
his lips. 2;. to prefs his lips gently on each other, dr~wing them back in a dfrection
to\vards each ear, ,vhich 'viii extend the under lip along the lower ro'\v of teeth, and
Ulake its "furf"ace finooth. He will then fo~ce a little breath, out of a rinall opening bt't\vi:~t :~.
both lips, called the en1bouchure: '\Vhilst every other part of the lips are. k.ellt finn and fte~t~ :
dy, fo a.s to resist any force '\vith V\~hich the breath may be fent through tl1is apt;rture, or
emb-ouchure, without deranging it. The fmall column of Air pafs.ing through the lips if.
they be 'ke-Pt_ft~4dily in this position, will be in-a proper direction to enter into the hole
of the Flu;te, br'ought to the centre of ~the under _"lip; but care must be taken that the
lip fhall. advance as Ii~tle as -pofsihlei;Ofl the' ],ole, the greatest part of 'vhich must be
kept o-pen,that the whole of the column .of Air may ~nter into it. L'et the-se tri~ls bP
madeat fi~st '\l~"ith a fmall degr(e of force. with little breath, and without placing nnr
ofthe'fiD:gers 'on t~e holes: and 'vhen this fucceeds in producing sound, let it be en-
creased by.g.rac:tually augmenting the breat~ and force.
' ..
Afterwards placing the first fing~r of the le.ft hand on the first hole, try to
,mak~ the Flute found as before; and .if .that fucceeds,.place the fecond, an~l then the
t~ird, taking care to ftop the holes accurately, and observing to raise tJu first and
,fecorid f\nger .into the fQrm of an Arch. In this form. they must be also kept lvl1cn lifted
off .their holes, -and together with the third finger, kept at the fame ex-lte:r:tsion from each
other when off, ~s when ftopping the holes; they must, in that form, be held exactly above
thelr res-pective holes, and. never be'lif"ted up more- th~n half an in~h.So as they may fall
Q.n the holes with the greatet accuracy ,and with the least pofsible motion.

'\Vhcn the Learner can make the Flute fpeak with .the first fin.ger-do\:Y.n, which. :fonns.
the fixth NQte, called B. of the follo'\ving Scale or Gamut, he ought next to learn to give a
. ~istinct beginning or_Articulation t~ .his not~- by gently ftri~fng the tQngue against the
~:palate, as in pronouncing the lett~r t,. and then blo'\ving mto the Flute, not unlike the fyl- .~
1able too. having i_ts found .greatly prolonged.i. this articulation of the notes is called
Tonguing them. and must be appl~d to them all, except i~ the cases that '\\ill he after_
,,~a~ds' mentiorted' 'vhen. t'\vo or more notes arc connt~cted together, bv an arch dra,vn
' tl ! .

over them, v.,hich is called Slurrinl!, tht~ ~;ott> s,und then the' first only, is to be tongued~
":rh{H
4
\YJ~tn the feconp. finger is '(lUt do,vn in addition t<? the first, it gives th~ l1ot~-A _or
fifth of the Scale; andthe third, finger added to these "ill give the note G, or fourtlf ~~1he '
Scale; 'taking care to articulate each ROte. andto keep the first and fec()nd finger in an an:h-
ed -positi?n Then taking .off
these three fingers may be -practisd, observing to them Jceell
.at the fame exten1ions and forn1 \Vhen lifted up. '\Vhen the 'three fingers arc all off._ the
Flute then founded, \vill give .the note C, or feventh of the following Seal~.

Having pr~lctised the management of these three fingers, it '\vill then be necefsary to
use those of the right hand, which must be 'PUt do'\vn and lifted up on th~ fame principles;
but the -position of the first and fecond finger will not admit of being fo much arcl1c-cl as
those of the left hand, the third finger \vill be nearly ftraight, and the little finger ihould be
held exactly over the fmall key called the D iharp key; To form the note F; or third note of
the Scale the three fingers of the left hand are to be do,vn, together with the fiTst of the ri,Aht,
ancl the key prefsed oft' its_ hole by the little finger. But he_re it may be observcdtthat \'\ith-
o~t fon1c care the learner may not fu<;ct'ld in producing found from his Instrument .in, this
note, and the two follo,ving, 'vhich are to be tried by putting do,vn the fecond and third fingers
of the right hand; from either or both of the following causes; first, that his lips or etnbou_:.
chure may have been deranged, by advancing too far on the hole; and fecondly, that fome
fmall portion or crevice, of one or other of the holes, may be uncovered; for it is n~ces _
sary that they be all hermetically ftopped, fo that the least particle of air fhall not escape.
jThe precaution to be taken to remove the first of these obs~aclcs, is to make a rule of
dra\ving the lips more and more back,vards, as the fourth, fifth; and fi:xth holes of the
Flute are ftopped, fo as to leave the hole of the .Flute l>lown into, as .much uncovered as
pofsiblc, that the breath may pafs into the centre- of the tube of the Flute, \vithout 'vhich
the note D, the fir~t of the Scale, produced \\hen all the fix holes are ftopped, '\Viii not
found at all. This is the 1nost difficult of all-the notes -for a beginner, in his firsf attempts,
to found; \vhich is occasioned al~o by the inaccurate ftop-ping of the'holes, \Vhich a
little use is furc to rctncdy.

\Vhen the learnc~ is tolerably certain of founding the Flute \vith the wholeor any
number of .the fingers on the holes. he may then proceed to consider the notes or charat.-ters
of the follfnving

Sc A L E or, G A M u T of D

,
dd

r, r r- rr t
g a b c
D

J J J
E

1 I
F
i1
11 rr
B

0 2
d e.

r 11 r
I 1
f

1 1 1 2 2
II
1 2 2 k 8 2 "2 2 2 k 3 B
. -,_., ...?<c'
right 2 2 2
8 k
k
4 3 3 3 k 4 .k
harirl 8 3 k
3 k . [j 4 4 k
4 4
left 4 k 6 5 ~ v k
5
hanrl ~
Tl1c figures 1, 2,3, &c. and and the letter k under each note fhow what holes are to
be ftopped, and \Vhen the key is to l>e prefsed, to pr?duce fuch note; and to have a more
concise
 5
i,'
..
..

conci~t: view of the whole, it may be remarked that the a.scending<feries, of. not(~. D,.
E, F', G, A, B, C, d, are produced by ftopp~ng all the fix holes for the ffrst or D, then
taking off the fingers one by. one, you have the notes E, F, G,A, B,C, taking up the key
\Vith F, Jl nd keeping it fo \Vlth G, A, B, C, but to form the next note tl , the key must
, be quitte.d, and all the fin'g~rs, except, the first of the left h~ndput do,,n : here
there is a double bar marked in the Scale, and the learner fhould pau~e a little,
before he proceed
'
'0
.
the remaining feven, e, f, g, a, b, c, dd.

As far as b, they correspond exacty "ith tl1e first fiV(' E, F, G, A,B, as to th.-
fingers and key, but there is a remarkable difference in the modt of blo'\ving them~
the lips must be prefst>d closer, and the breath forced thro' this fmaller aperture
\vith greater ftnartnefs or veiocity, gra~ually encrtasing the force with the notes f,
g, a, b; the remaining t\VO c, dd, \viii found ~vith lef~ force than is required for b.
TlH tonguing of each note must not be forgot: and ind~ed it \viii at first facilitate
the founding of these upper notes. but car~ ..must he taken, that a l1abit be not fornlt~d
of ft~jking it too hard or thick, but as neat 'and clt>ar. as -p_o~sfble

. .Th(" Characttrs, finger}ng, and blo'\Ying of th~""Scal.c..~,bcing rendered familiar

to the learner, he ought next to ftudy a_nd practice the mt'rtns "of ~int)roving ton~,\vllich is
best accom-plisbtd by fteadily blo\Ying e\'ery note as long as his breath \vill admit of, he-
ginnin~ it with a vtry finall quanti~y of breath, \Vllich is to he encrtased gradually by add-
. ing- Jnorc, and l)y t:nlarg-ing the 'cmbou chure; this gradual encrta~ing tht found from foft
to loud, is called a ,.,,r.,~srJu/o, and cxprefsed in modern Music by this rna rk -====::
Aftet'\vards he i~ to dhn!ni~h thp fame found by tht fame g-tntle dcgrtTs;. this is n.lltd
a (lt;n/n/t.:'ll'ti~t?, and exprcfsed by iu\rerting the forn1t:r mark thus ::=:::- =-=- and tht \Vhole
rhades of the s,vell or ..i~~J'lNt::!o by the. mark ~ This practit'e nwy be reprcsent.:d
in very flu,v notes, as in the following exan1ple, where the different fizes of the S\Yt:lllnay
' "
give fotnt~ idea of the comparative p<nvcrs of the notes of the Flute.

, .i 0

<>
The learner,hy attending to \vh~t -pafses during this practi cc, 1nay discover- the
most itnportant t>arts "'of t.~e theory and rnechanfcal produ tit)n of Sounds from th~
German Flute, ,,..hence he may deduce the most useful rules for Tcgulating his prac-
tice. He '\Vill find that ta make any note uniformly of the fame,.xne or .Pitch, thcbrt\1th
or column of air enh~rin~ into the Flute, m.u~t be kept constantly in the fana~ direction
through out i becaust an)' l~ levation. of t~at ftream of
aiT, \Vhich \Vtll cause i.t to pafs J110Tt~
huriLontally, or rai~e it towards. the fide of the Flute o-pposite to his Upst \Vlll tnakt tht
pi tr:h
()

.pitch fharpet; as deprefsing the breath, or givihg it .a f:tin:ction nearer to the,.fi(le of the
J:'lute next the chin, "\Viii flatten the tJitch.

lie \.Vill also find that although a fmall quantity of breath tJroduce a weak foun_d ;
\vh1 ch \\iH become louder u; that quantity and the aperture through \Yhich it '\)afses are
L'Ilt:reastd, _yet there \Vi.ll be considerable difficulty in making fuch a varying found eqTially
Of the falliC phdt: because the encreasing l{uantity of breath is ~t.~nerafly accom-panied by

.
;~n encre(~sccl force itnpelling it, ,.Yhich has a tendancy (tlto" not
.
tHcefsary or
.
Una.voidahle)
to raise the column of air more horizontally, as a diminished quantity is attended \vith a
decreasing force "!hereby it drops into the oppo;itc direction, unlcfs 11revented ,~vith great
care.
Tl1c Flute player in p;roducing his tot~es, is pretty much in the fzme fituation
\\ith a llt:nJon -pouring a li<fUid . into a phial of a like or fmaller aperture- than the-hole of
the FL,te; the least unstcaclinefs of hi.') hand, or jerk given to. it frot'l any extt.mal cause,
'':ill change the direction of the fluid: and henf:c the most rigorous fttadinefs is nquisite
in ti_H' Flu!e player, hoth.in the tension an<l position of his lips, and 1n' holdingiheFlute;
I>Lit this is not all, for the lips and coluntn of air in going into the Flute, are. als9 liable
to be changt'd in thdr i.hape., force, and direction, by tnotions of the head, anns,or even
of the finger!S, if tuovcd \Vith. force or violence, which is fu.re to generate motion in fome
other_ "{>hTt of the hody, ancl n.1ay not only 4erange the. embouchure, but \Vill oft.en ftop tht
found altogether.

Yet there is _anothc~ more innntdiatc c.uuse of fine tone consisting irt the :llnoothnefs
of the fides of the avertureformcd by tht: Iivs. and "~hich gives the :ihape to the.colutnn of
air; but the lips of tl1e fame 11erson are very often in a different ftate in this res-pect,atdif_
ft!rent titnes. In uS far ho,rever as tone can l>c acquired, regulated, or hntlroved.--the prin-
ciphs on which the experitnents and practice for it n1ust"be c~nductcd, fel~tn e\idently. to
l>~ ~a tension and finoothing of the lips lJy drawing them l>aCk'\'vard.~ .. ~to preservt a ft~itttint'fs
~nd firm~1efs \Vhich will give th~ ftream of air one unifor)ll din.-cti<>Ih and resist the f(,rce
\Vith \Vhich it is fcnt throu,5h the IitJs.- to practice a command of variety from ihft to loud,
and from loucLto foft. I have only to add that in order to obtain the best cluality of tone,
it \\ill he necef:-)1-ry to try the effect of .comprtfsing the air as it pafses, tlrctty ftrontrJy"\\itll
th: lips; atJropl"r degree of this comprefdon,\vill
.
g-ive it compactn,~fs, mHl greater vibra-
.
tion, as relaxation \Vill give it tnore foftnefs, as opposed- to hardnefs.

[f the lcurner is desirous of feeing the natuTe of tl1e embouchure of'.tlle :Flutl',
an(\ tl1c d ifl'erent qualities of So~_nd, more fully inv-estigatt~d, I must refer .hitn td \\hat
I ha\e faid. on that fubject' in the first and fecond Chapters of the ART ofPLAYi1l.G
th( GERMAN FLUTE

lt "ill now be necPfsary for the Learner to give his attl~ntion t(, the Sr{hjcct.
' '

or T 1 1\r E ' "

The JUOst. gen~ral rule to he observed. in keeping time, is to make all notes of the
f.nne tltnomination or ,-alut~, ri~orously.~~nd precisely o:fthe fame duration, througltout
tla
 ....
'
the1 fame piece. ~r movement. This can only be dnn.c by a constant attl'ntion- of tht~ ear to the
lengtl~ of" every. note that is play~d, and tnore particularly at firsti for "'~hen a habit is early
formed, i~ thi~ respect, there is little fear afte.r\vards of its ever being br<:>kc through, as it
gradually becomes m-ore easy. natural and plea~ing in _the observance; and on the (;()ntrary,
. if fuch per:ft-ct regularity is not at first attended-to, the learner, becoming car~lefs and in_
:attentive by habit, i.s feldo~ ever after corrected.
Although this ecluality of time .is to be observed ftrictly in every de notnination of no~,.
it i;; mo.re particul~rly to be attended to, ~n that which divides the bar into a certain rium-
ber . of equal p .... rts: the~e are the ttt'~J-tt"etl parts of a bar, and are tho s c 1>arts. at the be-
. ginning of which .time might be beat with the hand or foot, and by which the ftep s in
dancing and marching are regulated. This is th~. comn1on tneasure, by \Vhich all the o-
ther denominations of notes in the movement are.-proportioned. Tl1e length of a Crotdut,
for i~stance, is that by which ~D the other dcr~otrt.~nations of notes arc measured in the
follo\ving

Time Table
1 Semibrcye
is equal to 2 Minhns 4 Crotchets 8 Q.uaver.s 16 Scrniquavers 82 Triple Quavers

o 1ffl. a 1r rn r rl cc u'lt~m~Fmrr$.1~m=mtifl
(t 1
2 3 4
I I ~ . . a. . . . I"' ., "' ., a 1~ "' ., If ""
1 2 3 4 2 4 1 .2 4 1 2 8.J.l 28 4

"\\'hich :fhc,v's all the characters of thnc no\v in use, and \Vhat proportions they bear
to each othcr1 As those,is in the fecondlinc, ..ihc\;v the rests oritlent measures oftimethat
corres-pond to the notes in the line above them. Thus in cou1mon time, of four crotchets in
I
a bar, the femibreve is to be measurc<l by counting ment~:lly 'one, two, three, four, .
on eacht
about the titnc of taking fo many ftlps, in moderate \Valking, V\rhile the found ofthe fenli-
breve is to continue t.~ntirc; as in the :following exam-ple of the asce~ding and descending- Scale.

5P,cr ~a ~: I ~- I
,.
1 ) 1 ) o o. I e- . -CL

(f*f~J uJ rl r rJ rl ru r9rl r r r JIJ d'J u1w r rFi J r r r1 ru w ffi

And in the faml~ manner mtntms are played in this titne, by counting t\YO on each;
,-\nd as to the manner of reducing quav~rs aHd fctniqua\ t.r s to the measure oftht crotd1et,
it i~ attended \Vith Vlry J1ttlC' diffh ulty l>Io,irling- cart bt taken, to fi'\. in tht 1nind th
ltn:..:,th
....
.J

length ofthi crptc~ets by cotrirting one, two. three, four1 a~ before ot~ tht_ ft.mihre\ e, and
-beating that. time. with the finger or by ~acing with the feet; the)\ endeavourinK to divide
that -length in two equal ~arts _by rep~ating the words one,~~o, quicker than bt-.fhre;pron~i
d~the word one, whilst the finger is beating, and ~~~~LS-in_~~fin~!~h-,
Clt'O 'vhilstit is-lifting
bar of the above time table: And femiquavers are made equal to a crotchet by l>cating,vith the
finger as before, and coun~ing _one, two, three, four, accenting the first and runnii\;r rapidly
over the other three words; or by list'ningto the pu18ations ~rbeats of.a 'vlitch counting:
them onc,t,vo, three, four, as they ftrike, al,vays marking the first by a :Pretty ftrong ac-
cent; tb.us you will have the -pro\)ortion of fcmiquavers to.~ crotchet, as in the fifth lHtr ~f
tl1e fame table aboYe.
The operations of keeping time in Music, consist therefore, in retaining""a.given mea_
sure or -portion ,. of time, distinctly
.
in remembrance... which
. .
divides the bar into a certain
. ~

numl1eT of eqtml parts t apd measuring all other denominations of'notes_, by retJtating it"
a certain number of .times for the longer, which are multiples of it; and lly fub{lividing
it' into two, three or four quicker notes, but fo as ntver to lose the rememl~rance ofthe
cotnmon measure itself.

Now. this Common measure being known, it makes very little difference ~n the
difficulty of executing Music, whether there be two~ three, four, fix, or- eight, o'f ~ese mea_
surcs in- a bar; The usual division of time i~to c~mmon, ~arkcd ,1. ;:,!~'and into
C
triple, marked ~, ~. ~, f, f, lj.
at the beginning of a Movem.ent, gives no infonnatiori
concerning the time but what may be fccn imml~diahly on ins-pecting any ol' the bars of-
fuch movemtnt; for common time, as before tnenti_oned, has four crotchets in a bar,---!,~o ~
crotchets,~ three crotchets in a bar; the denomiE.ator 4, referring to a crotchet. "-llich nmn:..
beT exprefses its -proportion to a fem:ibreve, as in the third bar of the time tahl c; and the
numerator 2 and 3, to the number of them in a bar. In like manner~-, ~'11 2, only g, 8
dt>note that there are three, fix~ nine,or t'velve Quavers,in each bar, the denominator 8.
rcfPrring to that character, 'vhich is the t>ighth part of a Semibreve, as. in the fourth bar
of the time table; and ~ means three minitns in a bar. But unlefs it .be this last, which is
f~ldom used in modern tnu:dc, ~, and fotnetimcs and i f,
not one of these nunierators
indicate the nutnber ofl\'Icasurcs or accented 11arts irito which a bar ought to he divided;
for , excepting in ~t fc,v quick movetnents, has four in a bar; Common titnc fometimes
eight in a bar (fee the Dead March in Saul N? 31) i
fometime~.- fix in a bar as in 'N~ 15,
g fometimes fix in a bar, as 'N? 13, 14, 2.2, 38, 45 and 46, but for the most part_ only
t'T~vo; g
has three in a har, and 1~ four.

But when has four ~ccented notes _in a bar, the quaver is the cotmnon mca~ure,and
tnu~t have the fa1n~ idea annexed to it, as to the crotch~t in common ti.me; ...;..,.;_' In like rna~ ..
ncr ~ cannot be tntnJred in any 'vay different from :l,,each having three measures in a
har: fo tlnt in the follo\ving ex;~mple, the two bars of! at b, _must be diyided., .accented, a~1 d.
fJ.i:i~, "'d lik~ tliG.;;t> in the lint aboYe at tt; .-tnd the four bars of~ at rf have the fam~;corres_
li"J,h' qce \:ith tho~c dt ,., and mu~t be ctu:ntt~d and llayed in the fame manner

Ll
 9
'

.
- - I
.

f1.JJ.;;:..
.... - -' '
t
' ~

1 2 1 2-1 2 56
tJ '-
Slo'v 1 2 3 1
r.......,
"' c.:

1 2' . . 2 1 2 1 2 1 2 4 1 2"--= 3 4

.At e..g Slo'y time, has fix ml'asures, that is . every note accented, in each bar: a,t; Slow g
timCt has also fix acct~ntell notes or measures; but "\Vith this difference, that at t?, the ttX pnn'Cd
by pairs, as :onc,hYo, -three, four, -five, fix, fo that the lntr mtghtbe divided into three equal
p:_lrtsi bq:~ at./~~~1t' bar can he .only divided i~to t\vo ~qual parts, thus, one, t\VO, three, _
four!.'five, fix, it bting the titnc dou~led. Ati, !'i1
quick thne, is only measured two in a
bar,.atiithas lburmeastrres.- and all this varitty<or tilne_ at,~ tl t~ .. t~c.b / arises merely from
a differenc,,e of accenting the 'notes, ~vhich in ~II these exatnples are the very fru:ne. But what
- - I
is more particularly qeserving the learners ~tt<:ntion, in t11ese examples, is the dot orpoint,
placed after the concluding notes at e d e._lg\ which is an abbreviation made use off6r. ad-
ding one half of the valu~ ~o any note: thus at (~and d, the princitlal note being counte<l nvo,
one Inqre.is added for the dot; at t! the minhn being counted four, two .more are added fbr the
tpoint; its va~.~ _at /,is the fame as at tl; but atg. it 'is necefsary to make up the measure of
one, \Yhich requires three- quaver::;. ,;
.
~s the:r;e is -perhaps nothing triore embarafsing to beginners, and fo little understood
by imperfect Timists, as the pointed notes, from their value being more concealed and obscure,
as \Vell as. rendered lefs i'trikin'g to tlre eye, 1l must caution the learner to endeavour, as ear_
iy as pofsiblc, to acquire a_just idea of their lengths, particularly \Vhen they are added to
_ quavers, counted as a oommon measure; as at. de ../ .. and g" o.f the following example, in
"\vhich the ahbrevia.tjons of the pointed notes ate exprefsed by corresponding notes \Vritten
under them at length in the fecond l~ne.
~t.
d

. \ 2 3
"
1 2 3 4
c

12 a 4 1 2 '8 4 1 2 8
4 -'
...-...
~ ~ ....-.-..

4 12 a 4 1 2 1 2 8
Thus
 10

Thus in th~ fecond and fourth bars of N<? li the first abd third bars of N<! 8, and fe_
cond bar of N? IO, of the following progrefsive Lefsons, the value of the po~nted. notes,
n:ay be thus ex plaincd.

~f! 1
. .C rilE~#~t E- CfJ~ Ii - cirEt p;
-<.<
~~~
C\# 2 -~
C rl
r2 1 2 L
and ,q and 1 2
,q and 3

.__t=#Jrg -~ r 6Er;tl~tllf
) ~~ i - riEC/rllf i - -- ~ - ~~ iGJ=.,
~ ~, I
In all the examples hitherto given, it is to be observed, that the point is added to
a note, \vhich is the common measure,. ~'d consequently what is added to it, belongs to
another measure or accented -part ~f the bar; the fhnrl note next after the point together
. with it, making up that measure; 'Jut it is done by the present practice in fuch a man_
ncr, as to give the dot by far the greates't part of that measure, and leaying the fmalJcst TC-
mainde.r pofsible for the fhort note following, which may b.e consi deYed as a. very fho-rt
conne~iv.e particle at the end of the f~cond measure, pronounced- as near as ~ofsible to
0

the third; as if in pronouncing one, t'vo, three, in exact time. \Ve \vere to flip in the con
nective and, the instant betore we are 'going to fay three; thus one, two, _::andt three, as
in the five .instances ~f the above eX-ample.
But \Vhen the dot is added to a- character which is lefs than a measure ofthe bar,
it must be included in the time of fuch measure, in fuch a manner as to give the point_
ed note almost the whole of it, and consequently the note ~ft~_r tlie. dot made as ihort as
pofsible.just fli-pt in befo_re the follo,ving note, "\vhich will. be an accented one; the effect
of this 'viii be that the dotted note will appear ftrongly accen:-ted, ancl :the frnali note fol- '
lo,ving quite unaccented, as is endeavoured to be exprefsed in the fecond line .of the fol.
lmving examples, ,~-hich are taken from N<? 3, 6, 9 and 12 of the ~efsons.
frotn_ N? 3 N? 6 .. N~ 9 -~ 12~ ~

J'~ 1 FL1 t11f~ i r r/ I Ci EJII~~~ i {! I}] ~~~~ t Cltlll

12 8 12 1 2 12 8 1 Q

&=f+ r:~2 115 2 r.; 1! tJ 115~' ig c - rt~ 111*

~~i f f ~# ~ ~ - -
.
~~ E- ~~
=c(CII . 0
>> .
Of the Progrefsive Lefsons in this first :Book
Having practised the notes of the Scale, and acquired fome idea of measuring notes
by comparing their lengths; the learner \viii find little difficulty in executing the first four
numbers of the f{>llo\ving Lefsons; at least he \Vill fee clearly ho,v they are to be done, and
a little -practice \Viii render them easy. It is immaterial with 'Vhich he begins; or rather,
he ou~ht to begin \Vith that, of which he most clearly comprehends th.e time; their being.
'veil kncnvn, -popular airs, \vill render thl'nl ftill more intelligible .
The
 lL ~

The ftar placed over a note' fervcs to mark the end of a unrsical phrase or period,and
. the Learner fhould bnly take breath at the end of the~e notcs,'\vhi~h are all tobemade :!hott-
er on that account; th~ time of ~aking breath, making up the remainder of thttir vahll.
He mu,st endeavour to play all the notes contained in a phrase (except \yhcrt. they ou14~1t
to beiepcrated. or ._IIa t'C~lto, as in N~ 11,) \Vi thout taking b r~ath or intt.~ruptirig the- :fhund
ir: tl1c -fniallt.~st degree; beginning the phrase \Vith foftnefs of found, increasing its 1oudrw('l
gradually to about the mi<ldlc of it, and then decreasing it to the end; fo 'vith every-phrase ..
in fuccefsion, and more particularly ":heie the marks of encrcasing the found ..-::::::::::. alld di-
tninishing it ::::::::===-i occur: proportioning the degree of foftnefs and loudncf.s to the t.xprcf-
fion and character' or the Air.
In order to .facilitate the taking of intervals different frotn the,;s~ o.f the Scale,letthc
follhving exatn:ple be t>ractised, until it can be done 1'\ith certainty of tone, and \Vith the ut-
most fteadinefs and eaSei observing not to tongue any or ~e notes under one. arch or flur,
but'the. first: and all practice ,vhatsoever ought ~o be con(~.ucted with. equal circumspection.

Y& ueo u1iJ uJ tJ vltJ9 aoI_Ofr aa1 a:er GUll

. ,I

Before any of the Airs after Nf! 4 .be,~ttem-p'ted, it \vill be necefsary to p_ractice t~e
follo\ving Scale, which differs from the former only in one note, namely in. C :lharp because
in the key of G-i in which the Airs from N<! 5 t~N'? 10 are fet, the C must be .natural in.both
octaves.,the
#being omitted in the fpace f~Z... C. at"'the Clef, in these Airs, and in the following

Scale of". G. . f ~
1
f'
ee ff

~ u J IJ r r r r rr f
~ li 4. 8
k ~
The las~ notes of this Scale ee, ff, gg, whi~l} require a greater force of blowing and
ftr~n~er compre~sion .of the lips, may be practised for thepurpose of giving them ftrength and
fir~nefs, but they will ,no~ be much wanted in the first ftages of playing. That the attention may be
entirely occupiedin'making this change ~fthe C, the ~ir .N?.S is <'asi er than any of the foregoing:
And \Vhen the t>ractice of i~ has become familiar, the learner may proceed to N~ 6. . ./
N?.7 and the four following are fnt~oduced,for the purpose of fho\ving the division .
of timt' in it's- other asp_ect, of meas~rement by Quavers, instead of Crotchets. It i.s great)
misconct~ived by beginners and imperfect ti.mist.s, from the preconctived Vll~ru:e notion,
that Semi quavers are always quick: This prejudice of the mind must be corrf'cted, by
reconsidering what has been faid above,Pkges 8&9onfime measured by Q..uavers, \Vith
the examples at 'b., d~and i: and by comparing the follo\ving explanations given in the.
_ fecond line, of the examples taken fr.om N? 7 N? B and 9. .
N .o7
. . . N.o 8 . . N.o 9

fJ,!
y. . C! Qpl C1 E) II gCWJI aJ lhl@l JJf3! I ce(QI?]
1 .2 3 I 2 8 4 I 2~ 8
l!lb
.1""' 1 2 3 . 1 2 8 1 2. l 2

(le: r--r Otfrl rmr1111 r?C?r10 fllil@t~ tJefr

1 2 d . .;. 1 2 3 4 a
ffr!:!~t
1 2 t~a 1 "" 3 I 2 1 2 :1 1 ~
1'2

After N? 10 the lefson.s are f~t either in the. keys of D, or G, until~ a ne"... key is
tntroducf'd at N~ 18 .. But there is one bar in. NC! IS which contains t\VO not(S riot in, '
either Scale; namf'ly g fharp, marke.d with the letter .k, meaning that. it is to b~.ta~en
hy prt-fsing up the key with the little finger of the ieft\hand, the three fing~s .of that
., \ . .-
hand bf'ing dolvn; and the note A fharp, marked .also with k,.that is, prefsing up the
key with the thumb, the first and fecond hole b~i~g;~overed. 'Bef_ore proceeding to
NC? IS it will bf' nf'cefsary to practise. t~e. f9llowing. Scale, d:ifferi.ng from that of
D, only in the G being fharp.
Scale of Av.. '"-...:..

'~J J J r
2
1j
f ~ ~ r rt t
k

2
1
2
.1
2'
8
5
2
8

tk
4
k ~
'k
4 6
1t
4
.6

Thcre-:will be no .other immediate adv~nt.age derived to the learner from pr~ctising the
last three notes of this Scale, than whllt has been. mentionec:l above respecting those otheSalle
of G. The figures under ~~ and g, fhew the method of fingering these notes. \Vithout the ad-
ditional key, and the k above thein denotes that, together With the three fingers and.eotiunonkey
used for G natural, the additional key is also to betaken up with the little finger ofthe left hand.
In N'? '18 D and d iharp occur, \vhich are l[layed by taking u-p ~e.key. with the little.
finger of the right hand in addition to D ..and d natural, and in N~ 21 B fharp. occur's which
is fingered like C natural.
This Clafs concludes 'vith the Ajr and Vari~tions N'! .26 'vhich may appear to the lear_
ner, diflicult ,beyond his powers o'f vanquishing; but if he has taken care to practi~e on the
principhs above laid ,down, with. fteadinefs, and with the least motion po~sible of_h~s head &c.
he \Villfindit no difficult matter to conquer any difficulty this -piece may contai:n. It is in the
easiest key, a1:}d.it~. pafsages _are little more than the ascending Seal~ of D. and.~either th~:~
lt.-ts of the fecond, nor triple quavers of the_last Variation ihould b~ ,conceived. as very qtiick.
There occurs the notes e iharp and f natural in_ the fonner ~ot:. thes~ . wh.ich are in :fatt the
fan1e- notes, .fingered 1 2 3 4 5 and the 6~ fi~ger prefsing the little key, or without the a4di-
tional key 1 2 8 4 6 The pafsage at a near the end is made easy by the following false ~P
gering, \vhich renders these notes, considered as 1hort appogfatu~as, or pafsing notes, of
which the harmony takes no notice, fufficiently. correct.

~{) ~ ~
~~ r = 1.0

k

s
~

m t ."ri t r ri ~r= r11
k
1 1 1
~
.

k k
Indeed this fingering ()fa# ~nd g# is the regular way, especially in quick pafs.ages,
\vithout t~e additi.>nal keys. But it.is.not meant that the Learner 1hould fpend much time~ on
this Lt-.fson, ,,hich he. tnay learn partially, or post:pon<", to the more advantageous Uses . he.
"j Jl hnrn of his ln strument,and its better tfTc:ct~. from the 11racti ce of
 1 t ,

The .Second Clafs of.Lefsotts

'Vhich, proceeding from the key of C as tJ:teir basis, '"ill, by the niost gentle
gradations, introduce the learner to th~ -practice.' the best keys of thi Flute, for of
beauty. of tone and effect; The Scale-of C':dtffe~s in no respect from th~t of G
given above, but in the F, "'~hich m~s~ be natural, and b.est take!l as already mentioned
by. the third finger oftht~ right ha~d on.t.he rinall key, the holes 12 8 45 beingftopp'd,
ant.;l the common D# key also taken.u? with the little finger of the right hand.
.. . Scale ofk C.
lJ
3
J Jl r r r rr
8
4 4
6 6
But. it \vi.U be o~en ne~efsaty to finger without the additional key as at a, and great
c;are ihould 'be taken i~ fi~gering the F 1 2 8 4 6, n~t to force the blo,ving or make it too fharp,
'\Vhich it is very apt to be. unlefs much attended to, and. es11ecially never to take up the .connnon
D# key when it is thus fingered. In the Lefsons, the fingering 'vithout the additional ke-y,~ is
denoted ,by an f over or under the note: and by a k 'vhen any of the additional keys ought to beused.
Great care has been taken to render the Airs in this key extremely easy, in order. that
. the "\Vhole attention might be given to the management of F natural: the last air in the key,indeed,
"ill require great attention paid. to the tilne; and there. is introdu:ced in it a b fl,at, bcs,t fingered
~:~.4 &.6 k. by anti9ipation.being the only note in which ~is Scale di~ers from that ofthe fullo,vi~g
1 . .
f f
: ' ;,_. c

, 1 . ,, Scale o F { . k k k k

~! a J t
[a
r r r r r: r fJ pt 4
to. A
4
1r fer Er f r 1
>.a .
tk ~
k
~
6
k ..
.
k ..
'- ,.
.

'
.

.. "' T~e 12 k ab?ve both B's 1how the mann~r of taking thetn 'vith the additional kcy,andthe
~gures under them the manner of fingering them without it. In pre:L.,ing the key up with the thumb,
care 1hould h~ tak-en to: disengage it fome little time fronl. its usual1)lace in holding the Flute, and
. bring. it exactly over th~ key_ and very ~ear it, fo as to lift it '"ith the least motion. In playing this
--Scale ascel\ding and descending~ it will be better to take the b of $e trpper OctaYe 1 2 .4 5 6 k.in p~
ierence to the key., it being fo fiDe a: note, and fo ea~y to pafs from it to C by taking up the fiTst fin-
ger only;'except in fuch transiti~ns as are marked at "where the key ,vill be much easier ~brlter.
InN'! 37 .at a and~ will be fbund very nice di~criminations .in the use .~f the keys for thi's note~
fo~the n.ote F.whi<?h will lead to ahett~r knowledge of the use of both these keys than . is generally
attaipedi the indiscr~minnte use. of them inakes the execution of pafsages n1ore difficult and dinn-
sier than if'~ey wer_e never ~mployed: T~ere will b~ only one rtote t~ alter in this Scale, ,il. the
E, from natural . to flat, 'v.h!ch is taken the fame as D#,~o-perfonn the follo,ving . . .
~. . , . ; ,- /

2 ' . a. 2 4 a a ~
. ~ '1. 4 a ~ l> ... 6.
~ 6 ~ '~ : "', . ~ ;:,; \ ..
The fame observa~ons in respect: to the B's of both Octaves appl~ equallv to this Scale as to
k -:.
that ofF; but h~ asrt"ndin~ and dt~srend in.~ this ScaJe,thP addition: 11 keyfc,rF c~notlw ;, s-d in dth.er fkta\,
~+

at lis 1!11 '\\ n tr<ll~siti ot~' whenin th B ~ h.t y may l>l" used, and tllso:riminati on s ";th respect to that ~or F.
Proceeding regularly from N'? 38 toN'? 48 inclu.siv.~;the learner \yill find an \easy grtullition,
atul,it is hoped~a variety of the most -pleasing melodies that will induce hint to -practice this beautiful
key, \vhich ,,ill introduce that ofihree flats .. differing only from it, in one note, namely the A ~de
flat, being no other than "'hat he had before -practiced as G tharp;but must no,v be termed by the for-
lncr natnt, froni its -place in the follo\ving
1 ~
"\ 2
3
Scale oE~

4
5
6k - ~~ !

In the ascending and descending Scale, Fmust be .imgered without the additional key;thost. of
Ab 1tnll Bb~ arc to he ustd ascending atul descending in the lo\'\"'"er Octave; but in the.up-per Octave only
that of A'b, and even that key cannot be used with neatnefs-! in a rapid fuccefsion a~ b~ and (; as.. at a of
'\vhcre thr fingering tnarked under these notes will be easier and better. Th(. Lcf.l\ons frotn N.>49 to
tht> end. contain also directions by the lltters k, and r, over or Wlder the notes, wllich \vith the forego-
ing Lefsons in tlu~ keys of c. ~. and B~ 'vill make the :Practice of this key very easy, .ancJ. explain
the proper u st- of the a{lditional keys in almo.st.~all pofsible cases. .. ' .
'
Having considerably excf'ed.Pd thf' proposed limits of this Inhoduction, I fhall only'fu"Qjoin atvresen!1
fuort dirretions fbr the Appogiatura, and the Shakes. neof'fsary to perfunn the follo\ving Lefc;ons.
The notes in a 1ina1ler character, not being included in the tirue, the duration gh"'E'n to then1 is taken
"ron1 that of the tf>UowJng note, by an equal division where the note can be divided into two equal path; but
when it is before a l)ointerl note, or one that has 1luee measures, it takes the greatest length, or tlte propor-
tion of two, leaving only that of' one, or the value of the point to the y1incipal note, a.~
.in ~11~ l_!J~!l- ~ ~ N<? fJ N! I. 8 N<! 25

~ ll ~ 2, 3 1 ll ~ 12 '.1
A shakf>,./r, is tnade on any note, as A in the tono,ving example by taking the next note. above it
of t11t: ~cale, ann by repe~:tting ll ABA, gradually encreasing their quic\ne(-;, but ending with the principal~
A, then ~uidinp; the tutn G L, all in one breath or Slu1': In th~ other notes the fingt-rs marked are to .be_. dQwn,
;.u.rl t1Ie iha\e perforniPrl l>y the quick motion of the f"mger or fingers to which a fl:ar is {>rtfi'.\c:od, ending
'"ith th:- principal note, and adding the turn as marked in the follo,ving example , .
Of Shakes

erescf'nda
~ 2 ~ ')t:;
~..,
4 ,..,> 3
. '1.:
4 5 ~

'
6
6 J
1 he fhllo,dng gt'aibtions of' tin1e, in which the collll1lon nteasure, about the length of a fecond af n, f'n-
l't t'ase.,. in qujcknPfs at b,t";tl and e '"here it is alJout.half a fecond; may ferve to ghe 1hnte idea of' tht'

lt.rtllS Adagio, Andante, Andantino, Moderato, Allegro. and nothing lllOre precise can be acquirt-il but
hy f'x ped tllCt an.i ollservati on.
~~17

:~ 4 1 ~ ~;1 ....,_

.s (; 7 ' J. . 1.
~~) ~~
..... ( J
n. .r;- 6 . ,
.1
-
("j
"'N? 2.. Dra~ns pour .bo.ire. or Foot~s Minuet.
~. . ~~ *

,.

a, b, c. ff'f' thPsf' pointed not"PS e:,phint>d. Fo:.tt 10

 . ~ ~ ' .

tr J., ( r-. "tlfr" &Tr rEl J _r-1

-~~1r 4~-I . J J . IJJJJ IJJ JJ IJJU.J I.
~

-. ~--- ~-r'- ~--~- ~ t

~\ E1 coq f=Uiet EC!I r 10u rr r ; r?J crr.;r1 r"1F= 1-,r" 1
* r-
1
. , /~- . . ,. .. fl . p . . .:f -

X? S Adi~u Cour moi. * . ~ . - . . 6-- _

J#i.f iJI_fi r lr 0 IU J IJ [rlfi rrl ~

Allegretto Gr~ztoso "*
J I J 4~

(~~ tl f , I f1 f "' I r u I D j I f1 p, Ifl c, I ~ I Ld I .

"#: JJJJI~JJJIJjJJI[J J It!_!
) ;. . -<:::
..
<::::: . .

cJ -~
IJ J IPJ=UE
- .-

~6 D'une maniere imparfaite or Howi~p~rfect is exprefsion. . . _ '. .

~#i Ei * * ~ it ~ ~ ~~ I r .&I Ek
rci@Ufrcllf(t"lrGIL[fJIB:;- -~ Ol

. ~(~r. :' Ql4!iiq~l ti&l.@::a:;.tltJtt r Ell ti I~ &1

(~ J.JI@JJin.,~~lrEtiJ u!d ~=J.ti[JJIJ ffl J~ a1~ 2 a 1~ f'o th f'Sf' d ot:.
a .... ' ' ' ' ') . _ J '::_.! l
 j
-
I
Claf\ I

Gresnich

I r:r flQI c: f%1

N'? 8 Duo du Cadi dupe' . . * _- . M.onsigny

Yfctifr IQjlt]] !D J I lit@] IS tHI triG ,y
1
Amoroso
8
. . ,
..

. l 2 3
Jif! 9 'Volgi o Car a~ . .. *. __ . ~ Millico.

Yfin If P31!1 cQ!g!l Q t!l ruil i

Andantino : .
r1 1i 41~: ;11:r r:rrn
1~
Clafs I
,ro
. . .~ . l)
l. \\"hen first I favv. . Pasqu~tli

~ j~I J J I @1-, t I r r I f7 f~l.r tSI rdl r@! r:ri5J ::J.

12 3 4 la2 3 4 ' '. . . :;::,: ::;:::.: 123.
"' ~ . ~r .. ~

..'"

/II J 818@, IJ 1J 155~1

. r -~~~1 r -~~I= . . :.
.

0

N . 11 The .Janizary"s March in the t\VO Misers.
b - a -~-. ~ *~ ~

- I--

rbfi CLrrkWIFprtltzrtjjlcEE CliJJSFCEclr tWicFF CL

~ 12 As now we're met. v In the haunted To'-'rer ~ -if . Pu1c~l .. *. .
~. * ~ ~~~ -* - ~ ~ ~
. 1 2 c . .-' . . .

4'1 clr1&JI rcJ tiUiEFFJ cff c!IB&rlttrcl rcr:rmEo~ &I

i i
I 1

~# t~ ~ ~ *~ ~ !E r *
=CE1;H:nrtlffFilllcfFCit$dliEF klr t1fr I -~.
! .~
~\ fi ftEEttA= zr O!fl c?J Jq=s r tlti! r oJ n.au1 J. ~ n
I .

~ - '-
\ '' . I ~ .,; ... I() i l ' ' ,l' '
 . '
.. . * 'i
---
fJ'p ,JI.fi r,lr, ,dl ftr kl r, pkl ttrtl EeJrl r~ ~nr:1 rfj
If . ~":"\ ~ ...... ... ~ .....

(ytQ?i!I.JijPJ1li.I-3JJJJIF r cl rfJ.tiJ.JO r clr~slr"tr-1

."
; ~ ~f! 16 Lusinghiero min~-A'

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