New and scientific self-instructing school for the violin

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77

ARPEGGIOS ON FOUR STRINGS, WITH TWELVE DIFFERENT KINDS OF BOWING.

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set to music. Ther same rule applies to the figures in Contra dances. For Example, the figures of a Contra dance; down the outside and bac, eight measures; down the middle and bac, eight measures; swing six hands round, eight measures; right and left, eight measures; require thirty-two measures, of four strains to make out the time. Therefore, any music having four strains, played though without repeating any of them, will make out the time of the figures; or any music of two strains with each one repeated.

Method of learning to call Cotillions.

In learning to call, the pupil should select a set of Cotillons having esay and simple music, as he will learn much more readily than if it was difficult. The figures should also be easy. The music and figures of each number should be committeed to memory, and both played and called aloud in a room alone; one number should be thoroughly learned before going to the next, being particular not to let the bow rest on the strings while calling. This seems to be a general fault with most callers, owing in a great measure to negligence in the begining, and that combined o carelessness, causes the player to call out of time with his music, which is very unpleasant to the dancers, as it keeps them all the while before or behind the time. The place for calling is generally about one meausre haead of the music where the figure is to commence. Some figures require the caller to speak twice, in such as, forward and back, back to back, half right and left, half promenade, & c., the first takes place at the commencement of the fourth measure, and the last as the eighth. Endeavor always to finish calling, both in the middle and end of a strain, by the time you commence the music where the figure is to begin; if you do not the dancers will be left one or two measures behind the time.

How music for Dancing should be played - What kind of music to select.

Hilarity, mirth, and cheerfulness, are characteristics of dancing; consequently, he music requires to be played in a bold and majestic manner, with a great deal of fire, life, and animation, with strong accentuations, square bowings, and in strict time. Easy music, that which is most pleasing to the ear, as a general thing, gives the best satisfaction for dancing. Hard and difficult music, if well executed, is not always appreciated; and then it is too laborious many times to preform, when a person has to play very steadily all though a night, which is frequently the case. It is an old saying, -- and I think, with upwards of twenty years' experience in the profession, a true one, -- that good music makes a company cheeful and livvely, and adds a charm to the beauty of both sexes; whereas poor music makes a company dull and unsociable.

How the sets are formed.

In forming the sets on the floor, the first and second couples stand opposit to each other, and the third and fourth couples opposite; the third couple stands on the right of the first couple, and the fourth couple on the left of the first couple. In the ete and all similar figures, the first 2 forward and back & c., means, first lady and second gentleman the next 2, second lady and first gentleman; the first 2 on the sides are the third lady and fourth gentleman and the next or last 2, the fourth lady and third genleman.

Obserations on calling figures.

Every caler should have a good variety of figures, well arranged, but easy; and never, unless on some particular occasion, or request, call wild, crooked and outlandish figures, that mix the company all up together, where they are left to get back to their places the best way they can. In large companies, if there seems to be a number who are not much acquainted with figures, or who do not dance often, which is generally the case at such times, let the fugres be simple and easy, and be particular to call teh same figures for side couples, that you do for the first four, or top couples; as those who are not much acquainted with figures, often take their places on the sides, to see how they are performed. In calling, let the oice be natural and easy, speaking just loud enough to be distintly heard throughout the room. When there are a number of instruments playing, and especially if the room is large, teh caller will hae to speak from the very top of his voice in order to be heard. He should take, at such times, the most prominent place in the orchestra; standing up is the best position; if sitting down, it should be on a high seat above the rest of the players.

Abbreviations necessary to be used in writing figures.

It is a good plan for dancing players to have their figures written in their books, undre the music, and to abbreiate the long words, on account of taking up less room. The following abbreiations will be used in writing the figures for this work. Rt. right; - Bal. balance;= Tn. turn; - Pt partner; - Pts. partners; - Ld. lady; -Lds. ladies; - Promd promenade - Hd. hand - Hds. hands - Ford. forward; - Bk. back; - Chas. chase; Gent. gentlemean - Gents. gentlemen; - Co couple; -Cos. couples; Op. opposite.

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