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11 Pr eface. I need not expatate here on the^excellece of the Voln, that noble Instrument s unver= sally acknowledged to be the pllar of an orchestra,and more capable of perfect ntonaton, brl = lancy and effect, than any other that has ever been nvented. a masterly hand t has the power of expressng almost all that the best modulated human voce can produce, the artculaton of words excepted;and whether by soft tones t accompanes a Song, or by majestc ones mpresses the mnd wth grandeur n an Overture, or a Symphony, t equally delghts our ears, exctes our surprse, and commands our admraton How much then s t to be lamented that ths fne Instrument should be so neglected Iry Englsh gentlemen I s t owng to ndfference, or despar of ever attanng on t a certan degree of profcency? the latter s,i thnk, the real cause, whch may be partly attrbuted to the want of a proper book of Precepts for the Voln: for except Gemllal s Art of playr ngthe Voln, n whch the Instructons are very ncomplete, and the Exercses above the capa = cty of. learners, there s no compleat Tutor for the Voln publshed n ths country. The Treatse whch I now offer to the publc contans the precepts of the greatest Voln - masters Italan, French and German, vz; Mozart, Gema, labbe, Rodes, Ballot, Krentzer exc I have read attentvely what these Authors have wrtten on the subject, and from ther Ideas and my own, formed ths method. The Art of playng the Voln conssts n gvng that Instrument a tone that shall n a man: ner rval the most perfect voce, and n executng every pece wth precson, proprety, and de a lcacy of expresson: the prncples of ths Art I now offer to learners^ to attan to a great pro = fcency they need be drected by an ntellgent Master, who should read attentvely wth them ths treatse,to mpress early n them good habts, or to correct bad ones n such as have unfortunate ly contracted them. Medocrty n any Art s but too often the consequence of bad habts,and a breach of the prs cples: even those whom Nature has endowed wth abltes never devate from the rght track wth mpuntv. The ntellgent Master wll make hs pupl practse the varous Exercses nserted n ths work, n proporton to ther progress on the Instrument. Ths Treatse s dvded nto twp parts, to whch s prefxed an Introducton, Munch contans-, I.a short hstory of the orgn and progress of the Voln, from the earlest ages. II. a descrpton of the Voln and Bow. Ill.The prncpal requstes to form an Artst. IV. The Rudments of Musc, whch are nserted here to ther book on ths subject. save the Student the expence of anoa In the Impart whch s Theoretcal, are gven numerous precepts,and Examples towards acqurng a profcency on the Voln, and the true metho/l of Bowng. In the 2$ part whch s Practcal, are nserted Exercses on Intervals, on the Scales, on the double Stop, and on the Shfts, these Exercses for the utlty of the Student are arranged as Duetts,and should be practsed wth hs Master. I have not swelled ths work wth Ars, or Elementary peces,whch every Master may easly get for hs pupls'.but I hope that t wll be found to contan all the Instructons necessary to form a &ood Voln player..

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13 fbh ft Contents. INTRODUCTION. # Pag-e "CHAPTER I. An account of the Orgn of the Voln _X CHAPTER II. [A Short hstory of the progress of the Voln n Italy, France, Germany and England. CHAPTER HI. A descrpton of the Voln and Bow. XVI An account of the best Voln makers.-. XVIII CHAPTER IV. Of the necessary Requstes n an Artst, vz.. Genus,Taste & Applcaton.- - XIX CHAPTER V. On the Rudments of Musc _-_-\\l SECTION. Of the Notes and Stave.- m bd 2. Of the Clef.. _ - bd 3 On the Names of the Notes.-. _ - _ - _ bd 4. Of the dfferent Speces of Notes. _, XXII 6. Of the Dot..<. _..bd 6\ Of the Rests _- - - _ bd 7* Of the Scale XXIII 8. Of Sharps Flats and Naturals _ bd 9. Of the Keys and Modes. - XXIV 0. Of Tme and ts varous Speces.- '_, - XXV. Of Countng and beatng Tme. XXVI 2. Of the varous Characters used n Musc XXVII 3. A Dctonary of Italan words used n Musc. _ XXVIII Part I. (theoretcal.) CHAPTER I. Of holdng the Voln and Bow 3 ARTICLE. On the manner of Holdng the Voln. -_- - bd _?. On the manner of Holdng the Bow and Bovung Or Tunng the Vol h Of the poston of the Left Hand on the Fnger-Board. _. bd Chapter II. OntheScae. : - m e\ ARTICLE I. Of the Datonc Scale T -- - bd SECTION. Of the Datonc Scale n G major and ts fngerng. - -bd 2. Varous Exercses n the Datonc Scale bd APvTICLE II. On the Chromatc Scale ascendng and descendng. - _ - - II CHAPTER III. On Intervals and ther varous Speces. _ *

14 . II. I _. Contents Page CHAPTER IV. On the rght management of the Bow _ - - _ - _,4 ARTICLE I. Of the down and up-low. _ - * IS On the dfferent manners of Bowng a passage. _ _ -Iff Exercses on the varous ways of Bowng I/toI9 III. On the varous Styles n the mode of Bowng. - _ IV. On the dfferent Length to he gven to the Bows. j 2 Chapter V. On the varous shfts EXERCISE. On the manner of fndng all the Shfts On all the Shfts. -.24,25 3. On the varous ways of Shftng the hand.. _2f> General exercses n the dfferent Shfts to 29 Chapter VI. on the double stop - - so ARTICLE I. On the Smple Double Stop - bd EXERCISE I. On Intervals n the Double Stop H. On Consonant and Dssonant Intervals Resolved S2 A Greneral Exercse on the Smple Double Stop ARTICLE II. Of the Complex Double Stop. -34 ( Exercse on D.' bd CHAPTER VII. Of some partculartes n Pont of Fngerng. 35 ARTICLE I. Of the Borrowed -Fngerng. - _ bd H. Of the Extended- Fngerng _- bd TIT. Of the Cross-Fngerng bd CHAPTER. Ml. Oa the manner of playng the three sorts of Ffths ARTICLE I. How to playthe Perfect Ffth bd. II. How to play the False Ffth bd III. How to play the Superfluous Ffth 87 CHAPTER IX. On Arpeggos 38 SECTION. On Arpeggos on three Strngs. -bd t. "Varous Exercses on T> On Arpeggos on four Strngs CHAPTER X. Oa Muscal expresson and ts means ARTICLE I. On the modfcaton of the Sounds brd SECTION Of Sounds sustaned n a Loud manner. bd 2. Of Sounds sustaned n a Soft manner Of Swelled and Dmnshed Sounds. - --bd

15 Contents ARTICLE II. On Accents, Emphass and Syncopaton. -.. _ 43.. III.,. IV. x Page On the Movements commonly used n Musc. _ - ^. _ - 44 On the St} le proper to each Pece CHAPTER XI. On Muscal Graces ; _4fc? ARTICLE I. Of the Shake, 4<?to4S Of the Beat. _ Of the Turn _ - - \ Of the Appoggatura bd Of the Cadenza '. Of the Reprse. _ bd 7. Of Embelshments n the Melody. 62 CHAPTER XII. Of Harmonc Sounds. -_ - 63 AUTICLE. Of Harmonc Sounds produced wth one fnger , -v bd Of Harmonc Sounds produced by two fngers.- _ bd The Chromatc Scale n Harmonc Sounds. _«54 PART c 2. CONTAINING EXERCISES arranged as DUETTS. _ 66 EXERCISES on Intervals. ----_' _ 66 to 69 EXERCISES n the twenty four Scales or Keys. -60 to 6"^ EXERCISES n all the Orders, or Shfts. _ - - -! EXERCISE n the Natural poston, or I s. Order _ -70 to 72 EXERCISES on the 2 ( } Order, or half shft GENERAL EXERCISE on D n varous keys , 76 EXERCISES on the 3$ Order (whole shft) _ 76. A General Exercse on DV n varous keys EXERCISES on the 4 t.' Order (E shft) S A General Exercse on D? n varous keys _ , so EXERCISES on the 4 th Order (F shft) s A general Exercse on D? n varous keys EXERCISES on the ^Order (G shft ) H3 It A General Exercse on D? n varous keys _ - J 84, S6 EXERCISES on the 7 ḷh Order (A shft) h6 A General Exercse on D? n varous keys \ _ _8f>, 87 EXERCISE on the Chromatc n the prncpal orders --_ ,5 EXERCISES on the Double Stop ,94. A General Exercse on D? _ ,_ _ s 96

16 Introducton As I am treatng" of an Instrument the most unversally ntroduced, and whch on account utlty s cf ts played by the greatest part of Muscans, the Student should be acquanted wth whatever may gve hm an Idea of ts superorty,and nduce hm to hold t n that hgh estmaton whch t justly deserves. CHAPTER I. an Account of the orgn of the Voln. The Antquty of the Voln has long been a subject of dspute wth the learned:but as t s generally sup posed, and wth much reason, that no Instrument played wth the Bow was known to the Ancents:the Voln must be of much later nventon than some Authors assert. The Shape of the Voln bears a great resemblance to that of the Lyre, and nduces a belef that s nothng else but the Ancent Lyre brought to perfecton,by untng to rchness of Modulaton, the superor advantage of sustanng the sound, whch the Lyre had not. It s generally asserted that the Lyre was nvented by the Egyptan MerCTry,one of the most renowned personages of Antquty, who was srnamed TrsmegsttIS, and was Secretary to Osrs Kng of Egypt about the year of the world Accordng to the opnon of App olo do CTIS,wnch s the most probable,he owed that nventon to chance ;the Nle,says ths wrter, after havng overflowed the whole Country of Egyptj when t returned wthn ts natural bounds, left on Shore a great number of dead Anmals of varous knds, and among the rest a Tortose, the flesh of vhcf beng dred and wasted by the Sun, nothng was left wthn the Shell, but Nerves and Cartlages, and those beng braced and contracted bv desccaton, were rendered sonorous; Mercury, n walkngalong the Banks of the Nle, happenng strke hs foot aganst the Shell of ths Tortose, was so pleased wth the sound t produced,that t suggested to hm the frst Idea of a Lyre, whch he afterwards constructed n the form of a Tortose,and Strung t wth the dred snews of Anmals. Most of the wrters on Musc, among the Ancents, are of opnon that ths prmtve Lyre had but three Strngs, the sounds of whch answered the Notes E,F, G; and that Mercury ntended to represent by them the three Seasons of the Year, at that tme, vz; however Boetus says that t had 4- Strngs. to t Sprng, Summer and Wnter; The form and materals of the Lyre vared at dfferent perods, and wth varous performers j to gratfy the curo sty of my Readers I have gven a drawng of varous Lyres coped from Ancent statues: fgure I s.* page 2. represents the Lyre used n Abyssna, the belly s made of a Tortose Shell, and the sdes, of the Horns of an Anmal of the Goat have been the form of the prmtve Lyre. whch he s represented n several Ancent Statues,. knd,common n that country:ths seems to Fgure 2 s a drawng of the Lyre of Apollo, wth Fgure 3 represents an Etruscan Lyre wth / Strngs,wth respect to ths Instrument t s worthy of observaton, that though the vase upon whch t s represented s of ndsputable and remote An_ tquty,yet the Tal-pece,Brdge, Belly, and Sound holes have a modern appearance j the lower part of that Lyre resemblesa Bass Vlol,the Strngs le round as f ntended to be played on wth a t s not dffcult to dscover n that Instrument the Embryo ofywhole Voln famly. Bo>v; The Lyre was the favorte Instrument of the Ancents:the Greek poets when sngng "Verses n honour of ther Dvntes and He roes, were always accompaned on the Lyre. \mong the prncpal performers n Greece were; Mercary > Orphens, Apollo, Thamyrs,.us,Herrnles, \rrrphon,terpander, Tmotheus, &c. &c

17 The Lyre for several ages had only three,or four Strngs, but as the compass of tht Instru - meat n so mperfect a. state was found too lmted, several other Strng's were afterwards added by varous perfurmersjt appears by the Lyres found on the Ancent Statues of A^ollo,Or _ pheus,and others,that n ts mproved state t XI had Seven Strngs, the Lyre was played upon wth the fngers of the Rght hand, as the modern Guttar, t had no Neck, nor fnger-board j for father Molt- fau col, a celebrated Antquaran, says that n examnng the representatons of near JOO Ancent Lvres.he never met wth one n whch there was anv contrvance for shortenng the Strngs durng the performance, as by a Neck or a fnger-board$ Necks were probably n - vented after Strngs of varous szes had been so multpled on the Lyre, that more could not be added wthout confuson. Ths mprovement of producng several Notes on one Strng, by shortenng t wth the momenta - neo us pressure of the fngers was then ntroduced, and left lttle more to be done besdes the nventon of the Bow, towards brngng strnged Instruments to ther utmost perfecton. After the Inventon of Necks and fnger-boards, Several new Instruments furnshed wth them came nto fashon,and replaced the Lyre; among the prncpal were the Lute,and the Vol. The Lute conssted of a Table glued on a body formed of several sdes, a Neck wth Frets # & fve Rows of Strngs tuned by screws fxed n the head of the Instrument, t was played lke the Guttar wth the fngers of the Rght hand,whlst the sounds were regulated by the fngers of the Left hand. The Lute was the favorte chamber. Instrument of everv Naton n Europe durng the J\ n and Centures, and the offce of Lutelst was one of the prncpal offces at Court The Vol seems to have been the frst Instrument played on wth a Bow. As early as the begnnng of the 2^ Century the Troubadours, or Bards of l*rovence used to sng ther hstorcal Songs,accompaned on the Vol by muscans called Volars. There were several speces of Vols, vz; a Treble, Tenor, and Bass -Vol ; each had sx Strngs tuned.by 4$^ a fnger-board wth frets, and was played n the same order as the modern Voln, Tenor, and Voloncello. In the UtJ and If)*] Century,when Vols were n fashon, each consderable famly had a Chest of* Vols, consstng of sx,whch were generally two Basses, two Tenors, and two Trebles, they, were used to play fantasas n sx parts. To. the Lute and Vol succeeded at last the Voln, or Fddle** whch Instrument s lttle more than an mprovement of the old Tenor Vol, or Vol d B raca, (because twas placed on the arm) In. Chaucer's foem wrtten about the year I3J0, menton s made of the Voln under the Name of Rbble, *** what knd of Instrument ths Ancent Voln was, we are at a loss to dscover. What the Voln and bow were about the year 330, appears by a fgure of t n the Musurga of Otlomarus Luscnus, a learned benedctne Monk of Strasburg (see fg:4p;>e 2 ) c. Not wthstandng ths,t seems that towards the end of the 6** Century the Shape of the Voln was rather vague and undetermnedjfor at the Sale of the late Duke of Dorset's effects, a Voln was sold appearng by the date to have been made n the year IJ/S, whch though of a very sngular form, and ncumbered wth a profuson of carvng s» essentally the same Instrument wth the fo.ur strnged Voln,as appears by a representaton of t n Hawkn's Hstory of Musc Vol: TV. However t s certan that the modern Voln had assumed ts present form n lr>00,for many of the Cremona Volns were made at that perod. * Frets are peces of Cat-gut,or wre' fxed on the fnger.board" atdstances nearly e<raal,5t whch shew the places of the Semtones ^Fddle sa Saxon word of consderable Antquty the present German name for the voln s Ge<;e, n the legendary lfe of S* Chrstopher wrtten n 200, menton ***Rbb}e,, dmnutve of Reber, a Voln nth three Strngs s mad«of the Fcle

18 ' Tartn xn CHA *.T IjH II. a short hstory of the progress of the Voln. To treat ths subject v«th more clearness and precson,i,wll gve anvccount of the progress of the Voln a the prncpal countres of Europe, vz j Italy, France, Germany, & England. ARTICLE I. progress of the Voln n Italy. The Voln may he sad to be coeval wth the opera tself, vz; about the year ItfOO,when t began to he cultvated n Italy, from whence t passed nto France, and England. At frst t was used to accompany the voce, and confned to the theatre, but the good effects of t n gvng the Melody a force, and expresson whch was wantng n the Sound of the voce,and extendng the lmts of the Harmony n Chorusses, recommended t also to the church. Some emnent performers on the Voln at that early perod are re corded,vz ; Glam, \g-azzar, Farna, Angelo Ross, Bassan &c. &c. Baltazarn, But whatever abltes they had, they were soon ecclpsed by the superor talents of Corel,the frst great Master of Italy >. Corell (Arcangelo ) was born at Fusgnano n the terrtory of Bologna, n February L633. hs Master on the Voln was Bassan, a great performer,and Composer for that Instrument Havng fushedhs Studes, he vsted France,and Germany: after few years absence, he returned to Italyyand settled at Rome where he was apponted Leader of the Opera-band n L6H6. ths great Artst ded n January L7L8 aged 60 years. Hs prncpal works are hs Tros, dvded nto 4. books each contanng^i2 Sonatas,hs Solos, and hs Concertos, ther excellence s well known,and they need no commendaton. Corell was the founder of the Roman School whch produced the greatest performers, and Composers for the Voln whch Italy could boast of,durng the frst JO years of the S^Century: among hs pupls were Gemnan, Montanary, Carbonell, Castrucc &c. Durng the IS.' Century Italy was llustrated by a successon of emnent Volnsts,at the head of whom were Tartn, Gemnan, Veracn, Gardn (Guseppe ) was born of a noble famly at PralO, a Sea port n the Ventan terrs torv,n Aprl L692 he was ntended for the Law, but followng hs natural propensty, he cultvated Musc n preference to hs other Studes, and at last made t hs professon. Hs master on the Voln was an obscure xmuscan of the name of Terl,but gfted wth a great genus by a dlgent study, and careful practce he acqured suffcent abltes to be nvted n I72I to the place of frst Voln Master of the Band, n the celebrated Church of Anthony of Padua, whch stuaton he retaned tll hs death whch happened n H Tartlls performance was most hghly fnshed,hs Adago was truly dvne; by the year he had made many excellent Scholars,and formed a School or method of practce, for the Students on the Voln, that was celebrated all over Europe. Among hs best pupls are Bn, Alberg-h, Nardn,Carmnat, MT Pagn,and Sg-^^ Syrmen,the frst female player on the Voln n her tme. He publshed many excellent works for the Voln, among whch hs Solos,and Concertos are the best;though he had made Corell hs model for the purty of hs Harmony,and Smplcty of * hs modulaton, Ke greatly surpassedhm n the fertlty and orgnalty of hs nventon. Many more eu\nent performers on the Voln have flourshed n Italy durng the last Century, but ths work does not allow me to enter nto any partculars respectng- ther abltes, among the prncpal are the followng ; B n, Montanary, Nardn, Castrucc, Loll, Loca= tell,prg"an, Carbonell, Bar bella, Ferrar &c * Gemnan,Veracll,and Gard n, havng: spent part of ther lfe n England wll he recorded 'among./the Englsh Volnsts. (Art IV. yagextv} '

19 last ARTICLE EL Progress of the Voln n Germany. The Voln seems to have heen n general use,and more cultvated n Germany, durng- the two Centures, than n any other part of Europe;as appears by the number of performers who accordng to Walther, have excelled on that Instrument, and the numerous peces publshed for t, whch he has recorded n hs dctonary of Musc. The best Volnsts n Germany durng the I7*t* Century were I: Schop, N: Hasse, Stenekel, Becker, Walther, Fnger, Bber, &c.&c. ( of Balzar the Lubecker an account s gven n pagexev) n the lb*! Century the most emnent performers on, or Composers for the Voln were, Leopold Mozart, father of the great Mozart, Teleman,Grau,Benda, Nertda,Hoff ^ ma,schvmdl, Wagensel,Holtzbaur, I: Stantz, Fltz, Camabch,Toesch,Bach,&e. ther compostons were once n great favour, but they have been snce superseeded by the excellent musc of Haydn, Pleyel,VanhaU, Mozart, Beethoven,&c who have occasoned such a revoluton n Voln musc, and playng, by the fertlty,and boldness of ther nventon, that peces whch were generally thought full of fre sxty years ago, appear now totally tame, and nspdj and f ye except the compostons of San Martn of Mlan,and Boccherll, whch are stll performed wth effect, the others are consgned to oblvon. The best German Volnsts of the present day are Mess Kromer,RombeBgFranzl &Kreutzer. Artcle III. Progress of the Voln n France As early as the year 577 the Voln was brought nto favour at the Court of France by the arrval of Baltazarn, * an Italan, the frst famous Volnst on record, who at the head of a band Voln players, was sent from Pedmont by Marshall Blssac to Queen Catherne de Medc S, and apponted by that Prncess superntendant of her musc, from that perod the Voln began to be cultvated wth assduty n France, and the sprghtly sound of that Instrument beng suted to the. gay character of the French naton, t soon became a great favorte, and was ntroduced at every prvate, and publc festval. In 630 a muscan named Dnmanor,a good performer on the Voln,was created by Lews XIII, kng of the Volnsts, wth power to lcence performers on that Instrument n all the pro. vnces of Francebut nether he nor any of hs successors could ever rule ther restless and In ths mock soveregnty was supressed. sts In.6*52 of Subjects, Lews XIV. who was a great patron of fne Arts, n addton to the Band of 24 Voln who used to perform at court, apponted a new Band, whch n contra-dstncton to the other he called Les petts Volons, (the small band of Voln players) he placed at the head of them Lully a good Voln performer, and hs favorte muscanjunder hs drecton t the famous band of twenty four tll then the most celebrated n Europe. soon surpassed Among the prncpal Volnsts who have flourshed n France at varous perods are the follow= ng; Batste, Cambert, Lalande, Gulleman, Aubert, Rebel, Tarade, Labbe, Anvergne, Alexandre, Vachon,Gagnon,Pagn,Gavn6s, St Georges, P eltan, La motte, Jarno = vclc, Stc to enumerate here ther respectve abltes would exceed the lmts of ths work. Snce the establshment of a Conservatoro, or publc School of Musc n Pars,the Voln has been brought, n France, to a degree of perfecton unknown before, and many excellent Voln perr formers have appeared n the Captal of that Naton: at present Mess Gnerllot, F. Blasus, P. Blasus, Gtjenn, La Houssaje, Ballot,Rodes, and Krentzer, members of the Con = servatoro, are enrchng France wth ther compostons, and delghtng muscal Connosseurs wth ther exquste performance. \ # He s Letter known n France by the Quant-name of Beau joyeux, whch the kng gave hm on account of h* " auty n nventng Ballets and Fetes for the amusement of the Court.

20 A U T G h E fv; Progress of the Voln n England Before the vear 600 the Lute, and the Vol Mere the only Instruments n favour n England; the Voln was hardly known by the Englsh n Shape or Name'.but after the Restoraton, Vols began to be out of fashon; for Charles II who,durng the usurpaton, had spent a consderable tme on the Contnent,where he heard nothng but French musc, upon hs return to England, n mtaton of Lews XIV. Establshed a Band of Volns, Tenors,and Basses, nstead of the Vols, Lutes,and Cornets, of whch the court-band used to consstjhe placed at the head of them Thomas Baltzar,a Swede, who was then the fnest performer on the Voln of hs tmejtbs celebrated Artst was born at Lubeck n 626, he came over to England n 66H, and contnued n hs Offce of Leader of the Kngs Band tll hs death whch happened n 663. Upon the decease of Baltzar, Banster, the frst Englshman who seems to have dstngushed hmself oh the Voln, whch was now growng nto favour, succeeded hm as master of the Kng's Band: Charles II sent hm to France for mprovement on the Volnjbut soon after hs return he was dsmssed the Kng's servce, for sayng that the Englsh Volnsts were better than the French* Banster ded n 679. From ths perod the Voln rose n reputaton,&the successon of performers a^d compostons wth whch England was afterwards suppled from Italy and else where, stmulated the practce, and establshed the character of that noble Instrument,whch has ever snce been unversally acknowledged to be the Pllar of an Orchestra, and more capable of perfect nto naton,expresson, brllancy and effect, than any other that has ever been Invented. About the latter end of Charles II Regn,the Voln ncreased n favour by the arrval of N_ colas Mattes, he was accordng to the Hon: M r NorthjsMemors,an excellent Muscan, performed wonderfully on the Voln, he excelled all that had been heard n England before: hs manner of bowng, hs Shakes, dvsons, and hs whole Style of performance, was surprsng-jhe polshed & refned the ears of the Englsh,and made them eager for Italan musc, whch soon became very fashonable n England by he Arrval of the followng great Masters. Gemnan (Francesco) was born at LlXCCa, about the year 666,he receved hs frst Instructons on the Voln of Lonat of Mlan, commonly called II gobfoo, after ths he studed counterpont under V: Scarlatt at Rome, where he became also a dscple of Corell for the Volnjhavng fnshed hs studes, he went to Naples where he was appontedleader of the Orchestra, n 7I4> he arrved n England, where he remaned tll l7<50 when he took a Tour " to Pars, n 76 he went to Ireland to see hs Scholar Dufoourg, master of the Kng's Band n Dubln,here he ded h\ l76 ( 2 at the great age of 96..Gemnan was seldom heard n publc durng bs long resdence n Englandjhs compostons, Scholars,and the presentshe receved from the Noblty were hs chef support. Hs prncpal works are V$- Twelve Solos for the Voln,whch though and elaborate Style,they were publshed n 76. dffcult,are n a Masterly II..Corell'» Solos arranged nto Concertos, n composng addtonal parts to them, Gemnan mtated hs Master's style, and shewed the respect he had for the orgnal peces. III. In 732 Gemnan publshed Sx Concertos of hs own Composton (called Opera 2 a ) soon after Sx others (Opera 3 a ),these establshed hs reputaton, and placed hm at all the Masters then lvng for ths speces of Composton. and the head of ry. In 748 he publshed/ hs Art of -playng the Voln, whch was a very usefull work n ts day. We are greatly ndebted to Gemnan for the mproved state of the \Ioln n England, and for the advancement of Instrumental musc durng the frst 60 years of the last Century,he wth Veracn and Gardn confrmed by ther superor abltes, the soveregnty of the Voln over all other Instruments

21 Verachl.fjT. Mara/rrved n London about the year VflS, he was at that tme the greatest Vol/Mst n Europe, and hs abltes were not confned to hs performance, whch was excellent, but extended to hs compostons n whch he manfested great genus and Scence: but by hs ntolerable prde he made hmself many enemes, and lost several frends; he qutted England n the year 746'. Gardll (Felce) a natve of Pedmont, receved Instructons on the Voln of the famous Soms: under ths able master he soon became the greatest performer n Europe. He went to Rome early n hs lfe, and afterwards to Naples, where he obtaned a place n the orchestra of the Opera. He arrved n England n L7J0; hs frst. publc performance n London,was at the Lttle Theatre n the Haymarket, at a Beneft concert for old CtlZZOll, when he played a Solo, and a Concerto* the applause whch he receved was so loud, and so long as nothng but that bestowed.on Garrck had ea r er equalled. In 5.5 he was apponted leader of the Opera-band n w r hch he n^ troduced a new dscplne, and a new style of playng more congenal wth the poetry and musc of Italy than the langud manner of hs predecessors. The varous powers of Gardll were surprsng; hs tone, manner of bowng, executon, graceful carrage of hmself, and hs Instrument, hs faclty n embellshng passages, hs nventon n varyng extempore the most common Ars, were equally wonderful; after a long Resdence n England he retred to Italy: Gardll's Compostons deserves the greatest prase. Cramer (Wllam) ths celebrated Volnst was born at Manhem n he studed under. Camabcll.and J. Stamtz. about the year HIS he came to London, where he succeeded Gardll n hs muscal engagements ; he was apponted leader of the Opera-band, whch stuaton he retaned nearly 20 years; he was also leader at the Concert of Ancent musc, at Handel's commemoraton n 784, he led the band. As a performer hs abltes were of the very frst rank; hs executon was neat and rapd,, hs tones were full and even,and hs faclty n playng at sght very great: as a leader, he had not. hs equal ; Ths great artst ded n the year 99.. Among the natves who have at dfferent perods dstngushed themselves on the Voln are the followng, vz; W: Corbett, he was leader of the Opera-band n 70, he ded n M: Dllbourg, ths excellent performer had some nstructons of Gemnan, he w as master of the Kng^ band n Ireland. he ded n London n 76*7. J. Clegg, a pupl of Dllbourg, excelled early on the Voln, he succeeded Castrucc as leader of the Opera-band. Pllto ths great Volnst was born n England of Italan Pa rents, he was leader at the Opera-house, and afterwards at Drury-lane theatre; he marred the Celebrated MssBrent, and quttng England, setled n Ireland, where he ded a few years ago. Hs grand son G.F. Pnto nherted hs talents, but a premature death deprved the muscal world, about 6 years ago, of a great genus and a wonderful performer. Ths Country has produced several other emneuvolnsts as, Shuttle worth, Humphres,C lark, Festhg, Collet, Brown, Ha v, Avson, T: Lnley &c.&c. enterng' nto any partculars respectng ther talents. the lmts of ths work prevent me from Whle wrtng ths treatse, England lost n M r. Barthelemol, a Captal Voln Performer, and a good Composer, he was a Spanard by brth; after a long resdence n Pars, he came over to England $. where n f/ff-t he was apponted leader of the Opera-band, and set to musc Pelopda a drama of. great mert, hs hand was powerful, hs executon neat and rapd; n hs style of performng Corell's. Solos, especally the /Ydag'lOS, he was unrvalled. The prncpal Voln performers lvng at present n England are too uell known to requre any nformaton concernng ther respectve abltes; the patrons and lovers of musc have heard them, they \* ll judge for themselves, and nll assgn to each of them the rank whch hs talents deserve.

22 f CA PTE R IFF. A Descrpton of the VoIm,and Bow. The Voln (n Italan Volno,n French Volon ) s the frst n that class of Instruments from ' whch the sound s produced by the frcton of a Bow upon the Strng's, and the dfferent degree s. of tone wth respect to gravty and acuteness, formed by varous postons of the fngers upon the. Strngs.-Vc The varous modfcatons whch n a Masterly hand the tone of that superor Instrument s susceptble o beng equally capable of producng a soft or martal, a plantve or Lvely melody; ts extensve compass whch s more than throe octaves, the faclty wth whch t s put n tune, the advantage of beng played on n all the 24 keys or modes wthout any prevous alteraton, are a_ mong" the reasons why t has been long consdered as the frst,and most necessary Instrument- an orchestra. The form andmaterals of, the Voln are as follows.(a drawng of t s gven page 2 fg: J.) I. The Body of the Voln conssts of a belly (upper part,) and back (lower part) connected together by means of the sdes. II. The Belly Whch s the most mportant part of ths, and any Strng Instrument j because upon the goodness and streng-th of the wood of whch t s formed, ' - ^depends n a great degree the. beauty and perfect evenness of the Tone, s made of well seasoned Frwood, ##. and s more or of less Arched, accordng to varous patterns.. ( ITI.The Back made of seasond Maple tree s arched n a smlar manner to the belly, perfectly, equal n Sze,and unted to t by the sdes, whch consst of a thn slp of Mapple-tree about an. nch and hgh, whch correspondsto the form and contour of the back and belly, N5 The bendng nwards of the sdes of the Voln s to prevent the Bow from rubbng aganst the. belly n playng on the Hghest,and lowest Strngs. IV. In the Belly, and close to those parts hollowed n, are two small slts cut n the formofanltalc whch are called the sound-holes or ( S*s),they serve to connect the external Ar wth that contaned, wthn the Instrument. V. Mthn the Body of the Voln, and a lttle behnd that foot of the brdge over whch the frsrt Strng les, s placed the Sound-post, whch s a thn Stck of wood fxed up^.rght,t serves to gve, the belly a pressure n a contrary way to that of the two frst Strngs. VI. A small slp of wood s also glued aganst the nsde of the Belly whch runs nearly throughout ts whole length t s called the Bar, and s placed under that foot of the Brdge on whch the two last Strngs lay, and serves to counteract ther pressure, the greatest about that part j the Bar s thckest under the foot of the brdge, and tapers off at both ends : the Bar together wth the Sound' post have a great nfluence on the qualty, and evenness of the tone. VTI. On the upper part of the Body, and between the Belly and the Back s fastuned the Xeck, and. on that the fnger-board whch s made of Ebony, and extends over a part of the Belly wthn 8 nches of the brdge. ' VHI. Across the upper end of the Fnger-board s fxed a small pece of Ebony called the Xut,whch beng rased above the Fnger-board prevents the Strngs from touchng- the fnger-board, small notches. are cut at equal dstances nto the Nut for the Strngs to rest n * The other Instruments of that class are the Tenor-Voln, Huss-\oln,or Voloncello and the Double Bass. *# Frwooc[» beng- so soft n ts nature, and sonorous n ts effects, seems to have been preferred by the Ancents, as well as th,e Moderns, to every other knd,for the constructon of Muscal Instruments, partcularly the Belles, of thenj,upou hjuli ther Tone chefly depeuds? those of the Harp, Lute, Guttar, Pano-forte, Voln &.c". are constantly mad'.' > Frwood.

23 XVJ IX. The head of the Voln, whch begns at the upper end of the Fnger- hoard, s thrown a lttle backwards, and s hollowed n the form of a box, n whch turn the pegs to whch the Strngs are fas Unedj the pegs are, made of boxwood/ The upper part of the Head s Head, Staner made several Volns of that descrpton. ornamented wth a Volute, calld a Scroll, or sometmes wth a Lons X. The Strngs run over the Fnger-board, and that part of them from whch the sound s produced lays between the Nut, and the Brdge;they may he more or less shortened by the fngers of the Left hand stoppng them nearer the brdge, whch changesthe gravty, or acuteness of the sound. N5: The Strngs of the Voln are made of twsted Sheep guts,* and not of Cat-gut as t s generally magnedjthe best Strngs are mported from Rome, and Naples. XI. The Strngs are fastened to the Lower part of the Instrument by beng knotted^and passed through small holes bored n a thn,arched pece of Ebony, called the Tal-pece, whch s t self fxed to the Instrument by a loop of Cat-gut, or wre fastened to a peg calll y Tal-pll, whch s placed at the bottom of the Instrument, between the belly and the back; t passes through the sdes nto a small block glued wthn the body of the Voln. XII. The Strngs lay across the mddle of the Belly, and over a thn pece of carved -wood called the Brdge, whch stands uprght on two feet; the best brdges are made of Maple tree, or Sycamore. Observatons ol the Tone of the Voln. It mav be observed of most muscal Instruments that when thev are frst turned out of the. Ma _ ker's hands ther Tone s coarse, nflexble, and brought out wth some dffculty, so that, f one may be allowed the expresson, the faclty of yeldng a beautful and flexble tone must be engrafted nto an Instrument by contnual use; ths s the case wth the Voln n a greater degree than wth any other Instrument, the lfe of a Man s scarcely suffcent to gve ths Instrument ts full powers. The subtle resnous part of the wood whch s so prejudcal to the perfecton of ths,or any other Instrument cannot be dred up but after many years. Ths s the chef reason why old Volns are so much preferable to new ones, and are purchased at a hgher prce. Exteror marks of the goodness of a Voln cannot be gven wth any degree of certanty, yet one must observe n the purchase of new Instruments whether the Belly be not too thn, because n ths case nstead of mprovng by tme they generally get worse. Avod also purchasng Instruments n whch the Lnng * at the top and bottom of the sdes & wantng, or n whch n the place of the purflng #* a lne n mtaton of t s drawn wth nk. Those, and smlar marks, betray bad workmanshp; although now and then one may meet wth an Instrument of ths sort wth a tolerable tone, one must not hope that t wll ether last long or m«prove,as the workmanshp s of an nferor sort. < * \ slender slp of wood glue'd aganst the uuctou of the sdes, and belly or hack to strengthen them. ** V very bnall Strng- of hi,ck*ood nlad all round the Borders of the Back, and Belly.

24 a Descrpton of* the JBow. ( s ee fg.f. page^) Bow, n Italan ^\rco,js the name ghen to that utensl ly the frcton of whch the Strngs of the Voln,Tenor,and Voloncello, are set n vbraton, and the tone produced. It s certan that the Bow now n use was- unknown to.the Ancents, the Plectrum whch they used to touch the Lyre, was a small pece of wood furnshed at each extremty wth a tooth of a Dog-, or some other anmal.( see fg f ) The modern Bow conssts of a thr,and tapered pece of wood ('commonly brasl wood) the upper end of whch s formed nto a small head of about an nch n breadth whch projects out from the Stck n ths head s fastened one end of the Horse har wth whch the Bow s mounted,the other s fxed n a pece of Ivory or Ebonv called the Nut, whch serves to support,and drect the har. The Nt s fastened to the lower end of the Stck by a Screw,nsuch a manner as to admt of bengmoved up and down along the Stck, so as to gve more or less tenson to the Har. The Length of the Bow s now about 28 nches, to whch dmenson t has been gradually approach ng durng- the -last.90 years. In the year 720 a bow of 24 nches was, on account of ts extraor dnary length, called a Sonata-Bow, the common Bow was shorter. The mportance of a good Bow must be evdent to every one, snce upon the use of t depends, not only the qualty of the tone whch the Instrument yelds; but also those mnute modfcatons of tone 'whch gve expresson, and lfe to a performance to produce these t may be easly conceved. that every Bow has not the necessary requstes, nor can they ndeed be easly enumerated; because honng tself beng pretty much a matter of taste, everv performer must n a great measure chuse hs Bow so as to sut hs accustomed style of playng.! a Short account of the best Voln Makers. The most celebrated Voln Makers are the fol low ng-, vz ; I. Ajnatl, there were several persons of the name of Amat, natves of Cremona,and Voln. Makers, vz; Andreas, Jerome & Antony hs Sons, and Ncolas the Son of the latter. Andreas flourshed about the year 600. The Amat Volns are remarkable for the Beauty of ther Shape, and the pecular sweetness of ther tone. II. StradvarllS, there were two persons of that name at Cremona, both of them admrable workmen, the latter was lvng at the begunng of 700; hs sgnature was ths. Antonns Stradvarts Cremoenss facebat Anno.... A " S. Ill. Vlldreas Glarnerns, also of Cremona, a famous Voln Maker: hs sgnature was ths - Andreas Gnarnerll s, fect Cremona? ( Sub tttlo Sanctae Teresa?, L6H0. IV. Staler, the Volns of Cremona are equalled, f not surpassed, by those of Staner, a German and natve of Tyrol,whose Instruments are remarkable for a full»and percng- tone ; hs sgnature was ths - Jacobns Staner, n Absom prope oenpontran, 6^7 % Several of the Volns made by ths Artst have a Lons head nstead of a Scroll. V. Matnas Alban, a Tyrolese, bs sgnature was ths _ Mathas Albanns,fect n Tyrol Bulsan 6J4>. Several other Makers mght be mentoned here as Gallan, Rogerus &c. &c. but ther Volns do not come n pont of tone &x near those of the foregong Artsts. v.-oenfpons s the Latn name of Inspruck the chef Cty of Tyrol n Germany. f

25 CHAPTER IV. of the neccessary Requstes n an Artst. These are Geuus,Taste and Applcaton. Artcle I. of Genus. Genus, ths heavenly gft whch s nfused nto us at our Brth, s n every fne Art accompa. ned wth an exquste feelng,and a strong- ntellect by whch t s mpelled to force the bounds set to the generalty of Artsts: to express hs feelngs, to pant what he sees, a man of genus must use expressons unknown before, and adopt Language whch at frst s not understood, but whch soon becomesplan to every one, for ts elements are found n the human heart: he conceves nvents, opens anew road,he extends the lmts of the Art,gves a magc mpulse to hs cotempo_ rares, and wll serve as a model to posterty. ARTICLE II. of Taste by whch genus should be drected. In van a Man of genus nvents new expressons, f he does not keep wthn proper lmts he msses hs am: he must be restraned and guded by a sound taste; f there are n Musc many ponts connected wth the regnng manners, language and fashon, and whch gve a strong colour ng to the Ideas we form of Beauty; there are many more connected wth the human heart the character of whch s such as not to be altered by a lapse of tme nor fashon. The effects produced bv Musc are certanly not an lluson of our senses I the art whch produces such profound and lastng sensatons cannot be called frvolous : there are extant several, muscal peces, more than two Centures old, whch wll draw tears from the eyes of our progeny as they dd from our Ancestors. Taste conssts n an acute penetraton and sound judgement,whch gves every pece of Musc ts true character,and Style; ntroduces graces wth proprety, or refrans from them when more proper to do so; placesthe Pano, Crescendo, Forte, wth judgment; t s a gft of nature, but s mproved by experence, and matured by Reflecton'. To form hs Taste, the Artst gfted wth an orgnal genus, and lvely magnaton, must devote hs Lfe to seek after that deal perfecton, near whch t s so mertorous to approach. Adoptngfora Rule of real beauty what can move the heart and elevate the soul, he yelds to hs mpressons although dffdent of hs enthusasm. The muscal productons of varous countres,and n varous Styles, enlghten by degrees hsjudg ment,and convnce hm that to please -constantly, genus must be always guded by taste: despsng these mean jealouses whcharey Appendage of nferor Talents, he travels nto neghbourng* kng** doms to draw from a new fount the knowledge wth whch at hs return he wll enrch hs country, eager after novelty, fond of whatever can aggrandse hs Ideas, he welcomes foregn Artsts that cordalty whch the love of fne Arts nspre, and wth that eagerness nseparable from the desre of knowledge; too noble to be envous he looks upon a new talent as a conquest for the Art, and actuated by a noble ambton he makes hs rvals hs frends. Far from an Artst for ever, those despcable quarrels, n whch prejudce opposed the progress of knowledge L n whch Antagonsts were treated wth hatred n an Art formed to conclate every heart. Is there any thng common between those dsgraceful quarrels,and Melodv or Harmony whch exalt the soul. The Love of the fne Arts must be n an Artst above every consderaton; free from those ' prejudces whch would mslead hs judgment, he wll acqure the faculty of understandng, feelng, and comparng every thng: he wll mbbe that sentment of congrutes to whch we are dsposed by Nature, but whch reflecton and experence alone enable us to apply wth pro,, wth pretj

26 ... - XX ARTICLE IDT. of the Study necessary to an Artst. In van Nature has gfted an ndvdual wth an uncommon genus, and a great taste, f he be wantng* n Study and Applcaton, the beneft of those great gfts wll be lost Musc,lke other Arts and Scences,must be-acqured by a constant practce, wthout practce nothng can be effected} t s practce that brngs experence, and experence gves that knowledge whch mproves all Arts and Scences. The Student must acqure at frst a complete knowledge of the Voln, he must be so well grounded n the practcal part,as not to be oblged to cone to t agan, or even thnk of t afterwards * By a judcous practce accordng to the prncples gven n ths treatse, he wll not only overcome any dffculty, but wll be able to gve hs performance all the force, brllancy, and expresson whch t should have by attendng carefully. ' to hs atttude he wll acqure grace, and steadness n hs deportment, by payng- the greatest attenton to the movements of hs fngers, and of the Bovv, he wll obtan aglty and neatness- a constant prac _ tce of the Scales wll gve hm a just and true ntonaton, a qualty so scarce, yet so necessary, and wthout whch, playng on a Strnged Instrument ought to be gven over: let hm practce the exercces n the varous Shfts, to get perfect n the knowledge of the fnger-board; he must practse the Shake^ Turn, and other graces to acqure brllancy n hs performance, let hm partcularly Study the varous dvsons of the Bow, to effect wth proprety the three prncpal movements and Characters of Musc: let hm practce the varous manners of Bowng, to be able to ntroduce varety n hs executon. Lastly let hm Study to sustan long notes, to swell and dmnsh them, that he may be able to draw from the Voln a full and melodous sound,to dspose at hs wll of the Pano, Crescendo ^ Forte, and of all those shades whch consttute the frst Elements of Expresson. Those dffcultes once overcome, ns talent wll soar hgh, unfettered by bad habts,he wll reach a great degree of perfecton. ' What knd of Musc should be practsed by the Student. I am convuced that no practtoner can arrve to a gre^t profcency on the Voln, but by studyngwth unremtted attenton the works of those celebrated men who have drawn from that fne Instru. ment,all the rchness of sound of whch t s susceptble. I recommend above all the followng works, vz: I. The Solos of the mmortal Corell,as a classcal work for formng- the hand of a young practtoner on the Voln,t s the frst of the knd accordng to the opnon of the best Masters. II. Tartn's, Art of Bowng, so justly celebrated. Ill. The Duetts of le Clere, Stamtz,Vott, Rode, Romberg- &c. IV. The Sonatas of Corell,Fug-van,Vardn,Tartn,Gennarjr &c. V. The Studes of Forllo, and those of Kreutzer (just mported from Pars) Lastly the excellent Concertos of Vott, also those of Jarnovck. Whoever can play wth faclty and expresson the Compostons of these great Masters, and enter nto, ther varous Stjles, wll play wth ease any modern publcaton} for the Artsts who floursh at ths present tme n varous countres, have been formed on the works of those founders of the Art. Let the judcous Master regulate the practce of hs pupl and never suffer hm to attempt, peces above hs capacty ; as a tender mother selectsthe food for her chld, and avods gvng hm what bs weak, stomach could not bear.

27 . Observe CHAPTER V. Rudments of Musc.. Of* the Notes and Stave. Muscal Sounds are expressed by certan characters called Notes, whch are Seven n number, and denomnated n England by 7 Letters,vz, A,B,C,D,E,F, G. In Italy, France &c by 7 Syllables La, S,Do, Re, M, Fa, Sol. When a seres of Notes extend beyond Seven, the Letters are repeated over agan n the same order. The Notes are placed on the Stave, a word corrupted from Staff, whch name has been gven to the fve horzontal Lnes on whch Musc s wrote, because thev Support the Notes. - The head of the Notes must be placed ether on the Lnes or n the Spaces. Stave N5 : The Lnes & Spaces are counted upward-, Lu<J t- from the Lowest to the Hghest. 2.Of the Clef. The Clef, ( mproperly called Clff) s a mark affxed to the begnnng- of each Stave to be played,whether Treble, Tenor or Bass, also to ascertan the names and ptch of the to shew what part s Notes. The Clef n use for \loln Musc s called G Clef, or Treble Clef, as beng used for Treble -Instruments such as the Voln, Flute, Oboe 6lc t s set on the 'j4 lne of the Stave, ~ ~ to whch t gves the name of G, V G That lne or Note becomes the Standard from whch all other Notes are known by countng upwards, and followng the Seres of the 7 Letters, or downturn's and Namng the Letters Backwards. Notes bn. the Lnes 3. Names of the Notes. ^tl^ Lne Notes ffl FACE the Spaces CO; **Sp a rn m ~ H J that the Notes have the same name n descendng a^ n ascendng -, when n a Pece of Musc the Notes go Hgher or Lower than the Stave, addtonal Lnes are used called Ledger, or Short Lnes. The Notes above the Stave are called n Alt. Addtonal Lnes above and Below the Stave ^ c Addtonal Spacesmm J G B D C A Exercse to Learn the names of the Notes D B G The Student must be thoroughlv acquanted! wth the names of the notes before he attempts to play

28 , p «q y 4.Of the dfferent Speces of Notes and ther Proportons Sx sorts of Votes are made use of n Muscal Compos tons, vz : A Scnhreve» a Mnm. a Crotchet. a Quaver. a Semquaver. o a Demsemquaver. I % \ a6 ^32 The length of each Note and the proporton t bears to the next sort s as follows A Senhreve s as long as ^ * ^ C t. r r r A Mnm s f f A Crotchet A Quaver A Scn q r. I6 mmmm &2 mat SB f «N5; The stems of the Notes may he turned up or down, the Notes ted or detached, and vet ther value s the same Four Quavers may be abbrevated thus, ^four Semquavers thus, four Denusenuquavers thus, 6. Of the Dot A Dot placed after a note makes t half as long agan, tbus ; \ Semhreve dotted, s equal A Mnm dotted. ' ' A Crotchet dotted. r A Quaver dotted. A Semquaver dotted. to c q C r r r U I Nl» Two Dots after a Note are equal to three parts of that Note, thus ^ * " S equal 6. Of Rests. Momentary Slences called Rests are often used n Musc, ether to produce some partcular effect,or to mark the Perods & Sentences. Each Note has ts Rest,whch n pont of duraton s equal to the Note whch t Represents. Semhreve Rest a Mnm Ilest. Crotchet Rest. Quaver Rest Senquaver Rest. Demsemjuver Rest c K 3 Should a dot be placed after a Rest, ts duraton s half longer; therefore p s equal to H vvhen a Rest of several Bars happens, the number of Bars s generally expressed n Modern Musc bv a fgure placed over the Stave. In Ancent Musc t s expressed by Strokes across the Lnes, thus; 3 4 Bars - rests S..