District of New-Hampshire...to wit:

BE IT REMEMBERED, That on this Ninth day of December, in the Thirty first year of the Independence of the United States of America, HENRY RANLET and CHARLES NORRIS, of said District, Printers, have deposited in this Office, the title of a Book, whereof they claim to be Proprietors, in the following words...to wit: "The Instrumental receptor; comprising Instructions for the Clarionett, German Flute, Violin, Bafs-Viol and Bafflon; with a variety of Air, Minuet, Hornpipes, Marches, Duettos, Rondos, Trios, &c. &c....Original and Selected....By JOSEPH HERRICK." In conformity to an Act of Congreſs of the United States, entitled, "An Act for the Encouragement of Learning, by fecuring Copies of Maps, Charts, and other Books to the Authors and Proprietors therein mentioned," and alſo...."An Act for the Encouragement of Learning, by fecuring Copies of Maps, Charts and other Books to the Authors and Proprietors of ſuch Copies therein mentioned, and extending the benefits thereof to the Arts of Deſigning, Engraving and Etching Hiftorical and other Prints."

R. CUTTS SHANNON, Clerk of said District.

A true Copy of Record. Atteſt....R. CUTTS SHANNON, Clerk.

MUSICAL TERMS EXPLAINED.

ADAGIO, very flow.

ALLEGRO, brisk, lively.

ALLEGRETTO, a little brisk.

AL SEGNO, signifies to begin again at the repeat, and finisht at the double bar, or the paufe.

ANDANTE, diffinctly.

ANDANTINO, very diffinct.

BIS, twice over.

CADENZA, an extemporary Cadence.

CALANDO, ſoften the Tone.

CON BRIO, with force,

CRESCENDO, increafe the Tone gradually.

DA CAPO, (or D. C.) repeat the firſt strain.

DIMINUENDO, ſoften the Tone gradually.

DOLCE, ſoſt and ſweet.

DUO, or DUETTO, in two parts.

FINALE, a concluding Air.

FORTE (or F) loud.

FORTISSIMO, (or F F) very loud

GRAZIOSO, gracefully.

LARGO, flow.

LARGHETTO, rather flow.

LEGATO, ſmooth, flurred.

MAESTOSO, bold and grand.

MAGGIORE, or MAJORE, in a ſharp Key.

MEN ALLEGRO, leſt brisk than Allegro.

MEZZA FORTE, (or Mi) half as loud as Forte.

MINORE, or MINE TR, in a flat Key.

NON TROPPÓ PRESTO, not too quick.

OTTAVA, (or Sva) play Octaves, or Sths, above.

PIANO, (or P) ſoft.

PIANIŠSIMO, (or P P) very ſoft.

PRESTO, quick.

PRESTISSIMO, very quick

RONDEAU, or RONDO, in Air end ing with the firſt ſtrain.

SEMPRE PIANO, ſoft thro'out the movement.

SICILLIANO, a pathetic Air.

SOLO, for one principal Inſtrument.

SOLI, one to each part.

SYMPHONY, for Inſtruments only.

SYNCOPATION, fluring, applied to paſſages where a long note comes between two ſhort ones.

TACET, remain ſilent.

TEMPO MINUETTO, in Minuet Time.

TRIO, in three parts.

TUTTI, all the parts together.

VIVACE, with life and ſpirit.

5

To beat Common Time, let the toe fall at the beginning and rife
in the middle of each bar.

The figures signify the parts of the bars, and the letter f. and r.
the falling and rising of the toe.

### TRIPLE TIME.

Triple Time is known by the following marks,
The first contains a pointed femibreve, or its value
in other notes...the second contains a pointed
minim, or its value in other notes...the third contains a pointed
crotchet, or its value in other notes, in each bar.

In Triple Time the toe must fall at the first note, and rife at the
third; see the letters f and r.

### COMPOUND TIME

Is of two kinds, viz : Compound Common, & Compound Triple.

Compound Common Time is known by the marks
The first contains two pointed minims, or their value
in other notes in a bar. The second contains two
pointed crotchets, or their value in other notes in a bar. The
third contains four pointed minims, or their value in other notes in a bar.
The fourth contains four pointed crotchets, or their value in other
notes in a bar.

### COMPOUND TRIPLE TIME.

Compound Triple Time is known by these marks
The first contains three pointed minims, or their value
in other notes in a bar. The last contains three pointed
crotchets, or their value in other notes in a bar.

To keep time with exactness, it is necessary for the learner to act-
cently himself to count the time; that is, to count three equal
frokes in every bar of Triple Time; and either two or four in bars
of Common Time.

## Of the Graces.

One of the most important graces in music is the Swell = or
the increasing any found from soft to loud gradually. The Dimin-
ieth = is exactly the reverse; and very frequently both these up
long notes are united thus, = beginning soft and increasing
found to the middle, and then decreasing to the close.

The Slur ~ shews that the notes over which it is place
be played in one breath, sliding smoothly from one note to an

The Turn, marked thus ~ and the Beat thus ↕ at
plained in the following Example of Graces.

The Shake, or Trill, *tr*, is one of the most important, as well
the most difficult of the graces. To perform this, one finger, at
frequently two, must be Hook very quick; but in learning you
must begin flow at first, and increase gradually.

### Example of Graces.

Instructions for the Violin.

9

THE first thing to be learnt, is the Scale of the Gamut, as it is here fubjoined.

It will be necessary for the learner to get the names of the above notes by heart, that he may be able to know, and tell their proper names readily, whenever he shall see them in any place, tune, or lesson whatsoever.

Of Tuning the Violin.

The second string must be tuned A, and the other strings by fifths, as for Example.

Directions how to play the Notes in the Gamut.

Hold the Violin with your left hand, about half an inch from the bottom of its head, which is generally termed the Nut, and let it lie between the root of your thumb and fore finger, leaning the body of the instrument against the collar bone, with the elbow immediately underneath, that the fingers may more easily touch the strings.

The bow must be held between the thumb and fingers of the right hand, just above its nut, the hair being turned inward against the outside of the thumb, and the fingers placed at a little distance from each other upon the wood, so as to command the whole length of the bow.

There are four notes appertaining to the fourth, or biggest string, viz: G, A, B, and C; G is to be played open; A must be stopped with the fore finger of your left hand, almost at the distance of an inch from the nut; B with your second finger, about half an inch from the first, and C with your third finger, close to your second.

The third string hath in like manner four notes, which are as follows, viz: D, E, F, and G; D is a truck open; E is to be stopped with your fore finger, about an inch from the nut; F with your second finger, close to the first; and G with your third finger, three quarters of an inch from the second.

The second string hath also four notes, viz: A, B, C, and D; A must be struck open; B is to be stopped with your fore finger, about an inch from the nut; C with your second finger, close to the first; and D with your third finger, about three quarters of an inch from the second.

The first, or treble string, has five notes, which are as follows, viz: E, F, G, A, and B; strike E open; stop F with your fore finger very near the nut; G with your second finger, about three quarters of an inch from the first; A with your third finger at the same distance from the second; B with your little finger half an inch from the third.

It will be necessary likewise to take notice that all the notes on the first or treble string, excepting E, are termed in alt, for distinction fake; and that the first note on every string, must be drawn with a down bow.

Plain Scale for the Violin.

B

### Of Bowing.

In playing quick notes, the motion should proceed from the joints of the wrist only, but in playing long notes, where the bow is drawn from one end to the other, the joint of the shoulder may be employed a little.

The bow must be pressed upon the strings with the fore finger, and not with the weight of the hand. The best performers are least sparing of the bow, making use of the whole of it.

One of the chief beauties of the violin confits in swelling and diminishing the sound, which is effected by the preflure of the bow upon the string with the fore finger, more or less. This should be generally practiced upon long, or holding notes, that is, they should begin soft and gradually increase to the middle, then as gradually diminish to the end.

Particular care must be taken to draw the bow smoothly from one end to the other, without interruption, this being of considerable importance to the fineness of the tone.

## Instructions for the Bass Viol, or Violoncello.

THE Bass Viol, or Violoncello, was ever esteemed an excellent instrument not only in concert, but also for playing lessons.

The best position for holding the Bass Viol, is for the lower part of it to rest on the calves of the legs, the edge of the back to rest on the left leg, by which means it turns the strings of the baf's convenient for the bow hand, and places it in the most convenient position for playing.

First it will be necessary for the learner to get the names of the notes in the Gamut; also what line and space each note stands on described in the manner following.

### Gamut for the Bass Viol.

The cypher signifies that the strings must be played open; the figure 1, signifies the fore finger; 2 the second; 3 the third; and 4 the little finger.

If your Instrument is perfectly in tune, for it is supplied the learner is not able to tune it himself, you may try to play off the Natural Notes of the Gamut. You must observe that there are four notes belonging to each string. Thofe on the 4th or great ring, are C, D, E, and F. The lowest note, or C, is played open,

which is done by drawing the bow across the 4th string, about two inches from the bridge; D is stopped with the first finger, about three inches from the nut; E is stopped with the second finger, nearly the same distance from the first finger, or rather less; F is stopped with the 3d finger, about an inch and a quarter from the second. The reason why the distance of the last is stopped short, is because it is but a semitone, or half note.

Thofe on the 3d string, are G, A, B, and C; G is played open; A is stopped with the first finger; B with the second; and C with the third finger, at the same distance as on the 4th string.

Thofe on the 2d string, are D, E, F, and G; D is played open; E is stopped with the first finger, about three inches from the nut; F with the second finger, about an inch and a half from the first, F being but a semitone, or half note above E; G is stopped with the little finger, about two inches and a quarter from the second.

Thofe on the 1st string, are A, B, C, and D; A is played open; B with the first finger; C with the second; and D with the little finger, at the same distance as on the second string. By these directions, the learner may soon stop the notes in tune.

The learner must observe, that between the notes E and F, and B and C, are only semitones, or half notes, as they fall in the natural Gamut; but we will hereafter introduce a perfect Scale of Natural and Artificial Semitones, which we may compare to a Magazine, or store house of sounds; and to take and dispose of them occasionally, the Scale must be formed into Keys, and then the fingering will alter as the key changes.

All Music is known by the first seven letters of the Alphabet, and the eighth is the fame, such as from C to C, from D to D, from E to E, from F to F, from G to G, from A to A, from B to B, together with their semitones.