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FIRST LESSONS FOR THE HARP

COMPRISING A SERIES OF GRADEDTECHNICAL EXERCISES AND MELODIOUS STUDIES

ACCORDING TO THE FAMOUS

HASSELMANS METHOD

"Love took up the harp of Lite,

And smote on all the chords with might."

BY

GERTRUDE INA ROBINSON

PRICE $2.50"FT B-C

CARL FISCHER ?§S£S£ NEWYORK»0$TOn 36O BOY14TON IT. <MCAOO LBriMRHlCO.

EI IS

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Digitized by the Internet Archive

in 2011 with funding from

Brigham Young University

http://www.archive.org/details/firstlessonforhaOOrobi

GERTRUDE IN A ROBINSONsolo harpist

Madison Square Presbyterian Church

new york city

Teacher of the famous method of the late

ALPHONSE HASSELMANS

at the

Conservatory of Pans

France

HAROLD B. LEE LIBRARYBRIGHAM YOUNG UNIVERSITY

PROVO, UTAH

Preface.

The author, in her experience as a teacher, has felt the need of a concise and

attractive book for beginners on the double action harp. Much of merit has been

given to the harp world for the more advanced student; but to the novice at the

instrument, there is very little that is not tedious and severe.

The plan of this work is to give a variety to each lesson, and in so far as

possible to make it melodious and interesting, while giving the principles of the

technique in their essential forms.

This method for the double action harp is .also applicable to the small harp

taught in the key of C flat. There are a few places that the text runs an octave too

high for the small harp, but in these cases it can always be played an octave low-

er and within the range of the small harp. The author is very favorable to the use

of these harps in the kindergarten, as preparatory for the concert harp later.

Attention is called to the fact, that the correct position at the harp is most

natural. For one of medium height, a chair nineteen inches high should be used.

The harp should recline very lightly between the knees, and without resting on

the shoulder, or feeling any weight of the instrument; which is so constucted as

to balance at the angle at which it is played. Tipped slightly toward the play-

er, it is easily controlled by the slightest touch of the knee. Reach out for the

strings as you would for a book that was handed to you, with the elbows in a

straight line with the hand.

Place the fingers on the strings with the thumb pointing up, and the second

third and fourth fingers each on a string, and pointing toward the sounding board;

then play the fingers, bringing each into the hand as you play, as if you were clos-

ing the hand. This gives a firm grasp on the strings and will develope a positive

and smooth touch.

Having given sufficient cuts to illustrate this method, and with each exercise

carefully fingered, it is hoped that to the earnest pupil, it will become in a large

sense a self- teacher, and aid the novice to acquire the fundamental principles of

this most fascinating instrument.

The Author.

15877-58

3

MUSICAL NOTATION.

Musical sounds are represented upon paper by signs called notes which are written upon five

lines and the spaces between them. These lines and spaces are called the staff or stave:

lines spaces With notes or

Staff or Stave:-*-

-o- ITr»

1ir

When notes are written above or below the staff, leger or added lines are used:

Line above _ ~ ~m +. Jt ^

Stuff:

Lines below ~ — ^ With notes. ~*~ t ~+~

The notes are named from the letters of the alphabet: a,b,c,d, js, f,G. A sign called aclef is placed at the beginning of the staff and determines the name and position ofthe notes. Two clefs are in general use; the treble or G clef, and the bass or F clef. _*The G clef is placed on the second line of the staff:- - thus: 3C=

and fixes the names of all the notes above andbelow it:

-o-

O

$m •

-o- ete.

gabcdefgagfe deb

The Fclef is placed upon the fourth line ofthe staff,

thus:-o-

fgabcdfe d c b a g fSCALES.

The diatonic major scale consists of seven tones, or degrees, and the eighth or octave fromthe first degree. These succeed each other by steps and half steps as follows:

Degrees.12345678% -»-

~Cf~

o «j -"step step o s * eP step step step step

Steps.

FORM AND VALUE OF NOTES AND RESTS.

The value, or duration, of notes and rests is. expressed by their different forms. The fol

lowing table shows the comparative value of the notes.

1 Whole note.

2 Half notes.

i Quarters.

8 Eighths.

16 Sixteenths.

f r

r r r r

r r r r r r r r

„ Tkirty second, @WEIW£9WSWEach note has a corresponding rest as follows:

HTiole note Half note Quarter. Eighth,

rest rest

^E -: J

=*

Sixteenth. Thirty -second. Sixty -fourth.

« i 9^=t

A dot after a note increases the value of

the note by one half, thus:

A dotted whole note *»

A dotted half note

A dotted Quarter

A dotted Eighth

is equal to

is equal to

is equal to

is equal to

T»~

P*

A second dot following a noteincreases the val-

ue of the note by one half the value of the first

dot, thus:

3Eis equal to 3E

etc.

15877-58Dots after rests follow the same rule as those

after notes.

CHROMATIC ALTERATIONS BY SHARPS, FLATS AND NATURALS.

The H (sharp) placed before a note raises it

a chromatic half-step, as C to C sharp:

f.Csharp

The ^(natural) restores a note which has beenchanged by the flat or sharp to its original pos-

ition. The x (double sharp) raises a note which is

already sharp another half-step:

C sharp G dou ble sharp-TTM

The I? (flat) placed before a note lowers it a

chromatic half-step, as C to C flat:

C Cflat

TheW? (double flat) lowers a flatted note an -

other half-step:

„ Cflat C double flat

4^ "-wThe!]# and \\\> restore the note which has been raised by the x or lowered by the \>\> back to the orig-

inal sharp or flat note. Sharps or flats placed at the begining( Signature) of a piece affect all thenotes upon which they are placed during the piece, unless they are contradicted by accidental flats

,

sharps, or naturals, and these only have effect in the measure where they occur.

DIFFERENT ORDERS OF TIME.Time may be either common or triple, and is indicated at the begining.The time signature shows

how many notes of a certain kind there are in a measure. Commonior duple) time is indicated as

follows lUb* 8 r»\ 4 a

etc. Triple time is indicated by: mi etc.

The lower figure shows the kind of note, and the upper one the number of that kind in a measure;

8 signifies that there are three eighth notes in a measure. Compound triple time is a contraction of

two or more simple-triple measures into one, as, | instead of?; § instead of 3, etc.

When a strain is played twice, two or more dots are placed by the side of the double-bar:

=jf=Double bar. EE Single bar

E Double bar with repetition of the follow-" ing strain.

Sometimes the word "bis" is written over the measures to be repeated.

VARIOUS OTHER SIGNS.

ziJE Double bar with repetition of the preceed-

ing strain.

Double bar with repetition of both strains.

*->. A bind or tie connects two or more notes of

the same name.

C\ A pause, which lengthens at will the duration

of a note or rest.

-=A crescendo, or gradual increase of tone.

^"A decrescendo, or gradual decrease of tone.

SIGNATURES OF MAJOR SCALES.

oA swell an increase and then a decrease of tone.

> * > - Indicate that a marked accent is to be given

to the note or chord over which it is placed.

The abbreviations vf, sf,fz, s/z,/p, r/z etc. are

also used for the same purpose.

% Dal segno (the sign), means to return to a simi-

lar sign.

MAJOR KEYS IN SHARPS.Key of C G D

*A

&*B n

ife*c#

Ite-?.'' i §§£ 3§g mMAJOR KEYSKey of C F

IN FLATS.Bb Eb

kA\> Dl> G\>

k^$= * s a S£ m fife

15377-58

Plate showing the names of the strings and the relation of the letters to the treble and bass clefs.

HOW TO TUNE THE HARP.

To tune the harp make sure that all pedals are in the upper notch, because when the pedals are all up

the strings are open, and this gives the natural key of the harp, seven flats, or Ck

Then tune # string to of the piano, and proceed to tune in thirds, fourths and fifths

as follows; being careful to strike first the note with the stem down, and tuning the note with the stem

up to it in perfect intervals. teasTTr

J i ri J J

»-mfollowing chords;

ffi^l, | j^j

-rrTest the tuning by playing the

and proceed in octaves up and down the scale, being

careful to play first the note in the octave already tuned.

15877-58

Copyright MGMXII by Carl Fischer, N. Y.

International Copyright secured.

First Lessons for the Harp.

Position of the Hands.

Position of right hand. Position of left hand.

The fingering is marked according to the German method, the thumb being marked 1 and the other fin

gers in their order, 2-3"4, to the little finger, which is never used on the harp.

The natural key of the double action harp is Ck All pedals must be in upper notch.

Lento, (very slowly)

t* 4 4 4—4~3 3 3 ~3

3 2 3 2 11112m.- tW:4-0^3

Place all fingers on strin rs.

m u e -EP^

Hold all fingers in position on strings while playing each in turn.

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15877-58Copyright MGMXIT b// Carl Fischer, N. Y.

International Copyright secured.

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Leave each finger off after playing note but prepare next note.

This mark means prepare fingers. Play each hand separately, then together.

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15877-58

8Study of Scale in two Octaves.

Andante. (Slowly.)

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THEME . It is understood that all chords in whole, half and quarter notes are rolled, as indicated by

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Play these two exercises like the above theme, breaking each chord into sixteenth notes

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15S77-58

10

Three Finger Study.

Andantino

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(A little quicker than andante.;

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Play each of these like number one, ascending and descending the scale.

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15877-58

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Fingering of different intervals.

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THEME. With varied forms of breaking chords.12

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VARIATIONS. Carry each of these exercises through the above theme.

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15877-58

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15S77-58

Arpeggio Study.13

Position of the right arm. Position of the left arm.

The elbow must be at right angle with the strings, The elbow must be at right angle with the

and the wrist slightly toward the strings. strings, and the wrist straight.

Hold all fingers in position on the strings except the one being used.

Moderat 0. (moderately.j

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15877-68

14

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15877-58

15

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15877-58

16 Four Finger Study.Allegro. (Lively.

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Play each of these like number one, ascending and descending the scale.

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4 8 4 ^ 3;j

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Play the three following exercises descending the scale also.

Skipping a string between first and second fingers.

1 ,,

4 3 al 4 3 a L

Skipping a string between second and third fingers

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Skipping a string between third and fourth fingers.

4 3 3 1 3 2 J.

15877-58

17

SB

Arpeggios, four octaves.

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18

Placing hands one above the other.

L aTgO . (Slow and distinct .

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Glissando Study.LEGATO (Sliding of the fingers smoothly.)1 1 This mark means to slide the thumb from one note to the next.

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£After practising each hand separately, play them together.

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15877-58

194 4

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15877-58

Study of Glissando 21

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15877-58

22

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Lay 2-3-4 fingers flat on strings

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Exercise in connected fifth and sixth.

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15877-58

24Octave Study.

Keep second and third fingers well in the hand.

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26 Accord Study.

Fingering of intervals of third with octave.

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15877-58

Rapid Scale Study.37

Continue these exercises one octave ascending and descending.

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15877-68

38

Pedal Study.(MODULATION OF KEYS.)

Position of Pedals.

Left Ridht

Upper position.

First notch.

Second notch

When the pedal is up, the string is open and the tone is flat.

When the pedal is in the first notch the tone is natural.

When the pedal is in the second notch the tone is sharp.

Modulation from the key of Cl> through the flat keys to the key of C

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15877-58

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15877-58

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15877-58

31

Study of Pres de la Table.

In the following studies there will be an exercise in each of the major keys with a theme in which thisspecial form of technique, demonstrated in the exercise, is used in its practical application.

Pres de la Table means to play the note at the end of the string nearest the sounding board, with theend of the second finger where single notes are used, and with the second and third fingers where two notesare used together.

The tension of the string is greater here, and considerable strength should be used.

Position of right hand. Position of left hand.

Key of C major

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Etouffe Study.

Etouffe position.

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Staccato sign • means dainty short tone and often played En table (at the sounding board) Chordsmarked thus <$> are struck with the flat hand after being played.

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33

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15877-58

34 Study in Legato Touch and Crossing Hands.

Play in the middle of the strings and move the hand directly from one chord to the next,

Key of F major.

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15877-58

Harmonic Study 35

Harmonic position of right hand.

O Harmonic sign over or under the note.

The harmonic in the R. H. is made by closing the hand and placing the string between the first andsecond joints of the second finger, pressing it firmly while the thumb plays the note.

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Key of G major.

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Harmonic position of left hand.

The harmonic in the L. H. is made by pressing the string firmly with the side of the hand, while

playing the string, and turning the hand from you as you play the note.

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15877-58

86 The Bells of Shandon.

Rev. FRANCIS MAHONY.

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Study of Arpeggios and SynonymsIn playing arpeggios be careful to place the fingers from one note to the next, having the following note

prepared before the first is played.

When the same tone is produced on different strings it is called a synonym.-Where notes are repeated, as in the following exercise, for instance, Bl> is played twice in succession, set the

A| pedal, and play the second Bt> on the A string. _^_ Sva -

Key of B\> major.

15877-68

37

THLME . with Arpeggio accompaniment and the synonyms used.

Legato

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15877-58

38Trill Study.

To play the trill,point the fingers well down and the thumb up, and be careful to replace the fourth finger

as far down on the string as possible.

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pen hand flat over the strings and well above the middle of the strings.

This will give a positive tone without striking the next string and

making a disagreeable buzzing sound on it.

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39

Exercise in trills and grace notes.i>acilisc in inns aiiu giaw; nuica

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15877-58

40 Study of Arpeggios as Embellishments for Themes.Key of El> major.

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THOMAS MOORE.Andante SOStenutO. i a 3 4rr. by Gertrude Ina Robinson.

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15877-58

44Study of Technique in Thumb and Second Finger.

Keep the thumb well up, and bend the first knuckle slightly as you play, placing the second finger as far as

possible from the thumb and pointing toward the sounding board.

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Key of A major.

1.-S77-58

45

THEME illustrating this form of technique

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15877-58

46

Pedal Study.

Place the pedals in each notch as indicated , keeping the heel firmly on the floor, and use the pedals positively

and quietly.

Key of Al> major.

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Study of Arpeggio Accompaniment in Left Hand.

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15877-58

48

MELODY with arpeggio accompaniment in left hand.

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15877-58

Study of Varied Forms of Technique.49

Key of D? major.

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15877-58

Violets.

Theme showing practical use of these forms.

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15877-58

51

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53

Study of Broken Octaves.

Keep the wrist well toward the strings and connect the notes closely.

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Key of B major.1 1

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Exercise With Melody Played by Fourth Finger. 55

Cantabile.Key of Gl> major. ^\ 4J^^|

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15877-58

56

Study of Keys Practically Little Used.

Exercise in the key of F| to show the possibilities of the key, which is seldom used because the enharmonic

key of G\> is prefered, being in the open strings and with less complicated pedaling.

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57

Exercise in tl : .owing possibilities of the key ra used because the enharmonic key

D? is prefered. . in the open strings and with less complicated pedaling.

Moderate.

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Pansies.

H.E. PARKHURST

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Exercise with melody played by the thumb.

Key of C\> major.

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L.H.

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BRIGHAM YOUNG UNIVERSITY

3 1197 21351 5866