Scan 39
Musical instruments. Pt. II, English and Irish instruments, 1908
18 lines. Read by computer on 3 September 2026. Printed page 11. See the scan on archive.org.
1no more time be lost between the first and last notes, than between any two lying next each other. Each parcel of notes between the cross-bars in Example IV. may be considered as a distinct lesson and repeated as above.
3Example V.
56th String 5th String 4th String 3rd String 2nd String 1st String
7C D E F G A B C D E F G
9Each note of the above scale has the proper finger of the left hand marked above it and those of the right hand below. All that the learner has at present to observe is to play the notes as directed in the scale and plan of the finger-board, Example I., the one pointing out the proper finger and the other showing where to place it.
11For example. The first note C is the sixth string open, the second being D is the second finger on the same string, placed on the instrument as represented by the letter D in the plan, and so of all the other stopped notes.
13OF A SHAKE
15This seems to be the only deficiency of the instrument; for in every other respect it doubtless has the advantage of most others of its compass, as it is capable of adding the full harmony to any note the performer chooses, which, together with its melodiousness, renders it a most elegant accompaniment to the human voice.
17One method of a shake is by sounding the note above, and then moving the finger of that note as on the violin. Another method is by sliding the fingers over the string, beginning with the first finger striking two strings together; for instance, if you wanted a shake on D, draw your finger over the open notes E and D together, which, if done, will have a very good effect.
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