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Digitized by the Internet Archive

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https://archive.org/details/winnerstunesofwoOOwinn_0
 CONTAINING THE MOST POPULAR MUSIC OF THB ALSO, THE BEST

ARMY AND NAVY, OPERA AIRS, SONG-TUNES, REELS,

JIGS, ETHIOPIAN AIRS, &c.
THE OPERA AND DANCE,
P \AII* COTILLIONS,
C0NSI9T1!3 Of -f WITH THE CALLS FOR DANCING,

THE UNITED STATES TATTOO, SCHOTTISCHE QUADRILLES,

THE REVEILLE, ARMY CALLS,

MA20URKAS, FANCY DANCES,
KEDOWAS, WALTZES, MAEOHES,
CAMP DUTIES, &c. SOHOTTISOHES, &c.

FLUf
ARRANGED WITH EASY INSTRUCTIONS FOR THE

IS*
By SEP. WINNEE.
MILADELPHIA: PUBLISHED BY LEE & WALKER,
'722 CHESTNUT STEEET.
 ARRANGED WITH EASY INSTRUCTIONS FOR THE

By SEP. WINNEK.
PHILADELPHIA: PUBLISHED BY LEE & WALKER,
722 CHESTNUT STREET.
 in or
er Dits#n J

Entered, according to Act of Congress, in the year 18G3, by

USE A WALKER,
In the Clerk's Office of the District Court of the United States for the Eastern District of Pennsylvania.

STEREOTYPED BY L. JOHNSON 1 CO., PHILADELPHIA.

 RUDIMENT S OF MUSIC.
A staff consists of five lines and four which are THE EESTS.

spaces,
named as follows :

B~ mm
? *
THE STAFF. 1 i
Fifth Line.. Whole rest. Half rest. Quarter rest. Eighth rest. Sixteenth rest.
Fourth Line._ Fonrth Space.
Third Line.- "Third Space.
Second Line.- Second Space.
Firat Liua- _First Space.
There are two clefs in common use, the Treble Clef
Music for all instruments is written upon the staff in charac-
and the Bass Clef which are always placed at the left end
ters called. notes. of the staff. When the staff bears the Treble Clef, the notes

Five different kinds of notes are in general

are named after the first seven letters of the alphabet, in the
use, which are
formed and named as follows :
following order: <

THE NOTES. ~-W-

3
==)-
1
:
I
* D E
i Whole
1
note. Half note. Quarter note. Eighth note. Sixteenth note.

Count four to the whole note. Each note But when the Bass Clef occurs, as follows:
is but one-half the
length of the preceding one.

Rests are marks of

notes.
silence corresponding with the different m *
F
#
G A
-0 F- 1
-0 W-

G
 The Treble Clef is used for all music arranged for the Violin, -The different modes of showing the time are ^iven in the
Flute, Accordeon, Guitar, Banjo, &c; also for the right hand following table :

m
in Piano or Melodeon music.
The Bass Clef is used for the Violoncello, and other deep-
toned instruments, and for the left hand in Piano Forte, Me-
zzzfc 4-33E5 fc_F2=3=l
lodeon, or Organ music. Common time. Ditto. Three-four. Three-eight. Six-eight. Two-four. Nine-eight.

Leger Lines are used to ex-

Two or more notes connected with a Tie
press notes
above or below the
that are

they are sometimes added to the

required
staff, and
4=
3
" are sustained as one note the time of all
combined, thus :
Count 3
1
fourths.

Notes of any duration can be made in this manner.

number of five or six lines :
A B

The sound of any note may be changed by the following A Dot following any note

FFft ^ -i
characters :
makes it half as long again, - c
thus :
Count 6 fourths. Count 3 fourths.

A sharp. A natural.
When placed over or under three notes, such
a figure 3 is

notes are called Triplets, and are to be played in the time of

A Sharp raises the note a half-tone. A Flat lowers it a half- two, the time of the middle note
tone. A Natural restores it to its original sound.
being taken from the other two
and a figure 6, or double triplet,
OF TIME. is to be played in the time of four.

All music is divided into measures, by Bars across the staff,

according to equal divisions of time.

When every bar contains the value of a whole note, it is
When the letters D. C. are placed over a double bar, the first

part of the piece must be repeated.

designated as common time, and must be divided by four beats,
or counts.
When the bars contain the value of three fourth notes, it is This character /rs signifies a Pause. When placed over a
called triple time, and must be counted with three beats. double bar, it signifies the end of the piece.

t
 WINNER'S TUNES OE THE WORLD,
FOR THE

ON UNITING THE PARTS OF THE FLUTE.

The aperture for the mouth is called the "Embouchure," signifying the mouth-hole, and should be placed in nearly a straight

line with the three holes of the second joint, inclining inward, so that the line running through the centre of these three holes

should pass the outer edge of the embouchure. The three holes on the third joint are also to be turned inward, but not quite
so much as the embouchure.
By the arrangement of the Sliding-tube and the cork, which is situated in the first joint, the pitch of the Flute may be

cbanged at the pleasure of the performer. If the cork is in its proper place, the following notes
being produced will be in perfect tune. By screwing down the cork, the pitch of the instrument

is sharpened, but the tone becomes somewhat impaired. By raising the cork, or by lengthening the sliding-tube, the pitch can
be lowered, but it is advisable to avoid it, as the tone of the instrument suffers accordingly ; for a practised and experienced
performer can obviate these imperfections by a skilful embouchure, after having acquired the advantages of a cultivated ear.

Nevertheless the slide is indispensable when wishing to perform in company with other instruments, as it enables us to tune
in unison with any instrument of a different pitch, without which its use would be greatly limited.

THE POSITION OF THE FLUTE.

It is of the utmost importance that a correct position be acquired, as an easy command of the instrument depends greatly
upon the manner in which it is held.
iii
iv

Of the Left Hand. Let the second joint of the Flute rest upon the third joint of the forefinger supported by the thumb,
which should be placed on the opposite side close to the B flat key, keeping the elbow about four or five inches from the body.

Of the Right Hand. The thumb of this hand should support the third joint of the Flute, by being placed beneath the fourth
hole, the little finger at the same time being placed just above the D sharp or E flat key, which is situated a little below the
sixth hole.
The right arm should be slightly raised, in*brder to prevent the head of the performer from being too far to the left, as a

natural position should be assumed as near as possible under all circumstances.

The elbow of arm should be kept from the body about the distance of seven or eight inches. The last joint of the
the right
Flute is to be held somewhat lower than the first, and, during performance, the fingers should not be raised more than half an
inch above the keys or holes, and should always be kept directly over them when not required for actual service.

OF TOKE.
In order to obtain a clear and brilliant tone, which is the principal object and beauty of execution, the corners of the mouth
should be drawn down and the lips be formed into a broad and somewhat smooth line, at the same time placing the instrument
steadily against the centre of the under lip, which should partially cover the embouchure, and blowing gently and steadily
downward into the Flute, though it may be necessary at first to turn the embouchure a little inward or outward until a proper
tone is produced and a correct position established.
In the first effort of playing the scale, the holes must be perfectly stopped, and the lips somewhat relaxed, and the instrument
held steady for the least movement of the embouchure will make the tone vary from acute to grave.
As soon as a good embouchure has been formed by which a tolerably good tone is acquired, the student may change the
position of his lips at times, when desiring to pass from the lower tones to the higher ones.
By somewhat advancing the under lip and slightly drawing back the upper one, the higher notes are obtained with more
facility, and vice versa when the lower ones are required.
If one tone should be too high in proportion to another, the instrument should be turned inward, by which the aperture for
the mouth is lessened and the tone becomes lower : in the opposite case, by enlarging the aperture the tone becomes sharper.
 V
The learner should gradually increase the force of blowing in order to produce a fuller tone, at the same time producing long
sounds and articulating the syllable Too or Ta into the instrument, which is called Tipping, thereby producing the most brilliant

articulation with a facility of executing many difficult passages which otherwise could not be given with any pleasing effect.

The learner may find a difficulty at first in attempting to produce the first note of the scale, which is : r Q ||
a

In order to perform the same, you should observe that the holes of the Flute Are perfectly close-stopped, VWvf
and by blowing softly, or rather breathing into the Flute at first, you will find after a little practice you will be able to produce
it without much difficulty.

The names of the notes should be carefully studied, and the gamut practised until the learner becomes perfectly fami-

liar with any note of the scale, before attempting to perform the following exercises and melodies, designed for practice and

amusement.
After having obtained a clear and correct tone on each note, the learner should endeavor to vary his expression, in order to
give effect to particular passages and avoid the monotony of a disgusting sameness of tone, which is even more desirable than
a rapid execution of the most difficult passages : though the latter may surprise the uninformed, the former is sure to please

even those who may be performers themselves. *

Although the German Flute with one key is capable of producing nearly all the semitones, yet, to render the instrument

more perfect, other keys have been added, termed additional keys. The numbers most in use are one, four, six, and eight, a

scale for which is given on page 7 ; but it must be remembered that the scale is precisely the same on an eight-keyed Flute
that it is upon a single-keyed instrument, the keys being intended for the accommodation of the performer in certain passages

which otherwise would be difficult to execute.

On the following page will be found the Natural Scale of the D Flute, with one key, with the most approved fingering,

though in several instances the notes night be made otherwise.

 NATURAL SCALE, OR GAMUT.

E F G A B D E F G B D E p G
- o o
o o o
- o o o o
o o o
o o
o o

jl n8 Key.
J J J J J J J

SCALE OF FLATS AND SHARPS, OR CHROMATIC SCALE.

1
I

Djj ^Djf Efc e# m Glj G# AJe Atf Biz Dfl" Ei2 E Fit

o o o
o o o
- o o o o o
-
o o o
o o o o
o o o

J.
D3 Key.
J J J J
'l'liu black hole 0 is iutendcd to designate tlrnt the hole is to bo closed. The white O to bo left opon.
 CHROMATIC SCALE. Concluded. vn

4#
_|=EE

F# Gi? Gi? G# Ajz A> A# Bj> B Et2

o o o
o
o
CtJ
o
o
o 3 5* 9 o o
Al2
o
o o
o
Bfe

o o o o o o o o o
o
o
o
D# Key. J J J J J J J J J J J J
COMPLETE CHROMATIC SCALE FOR THE EIGHT-KEYED ELUTE.

El) F# Gf2 mt on Ei)

0 9 o o o o 0
Key.
I

j J J J J J J 0 J J J J 0 J J
0 o o 0 0 0
Key. J J J J J
j J J 4 J J J J
o o o 0 o 0
Cij Key. J J J J J J J J J J J J
J J J
O o o o 9
O O o o o
I

Ft} Keys. J J J J J
J J 0 J J

jDftXey.J J J J
Key. J
J Ojt J J d J J
J CtJ Key. J J J J J
If you play upon a six-keyed Flute, reject the upper key and the long key, and, if a four-keyed Flute, reject tho lower c|j| or long key, and the cjj key.
4 CABBIE LEE* MORTON.
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10 CABPE HtT EB'S PUtg COTjlllONS,

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FORWARD TWO. >

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No. 2.

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 CAttfENTEH'S PLAIN COTILLIONS, (Continued.) 11

No. 3. fiptftt
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No. 4.
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12 CARPENTER'S PUffl COTtlUONS, {Omduded)

No. 5.
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Balance all. Ladles to the right. Hands around.

Right and left sides.

KtSStNG THROUGH THE BARS. JOS. WOOD, Jr.

Allegretto,
SHI f
 WHAT tS HOME WITHOUT A MOTHER? ALICE HAWTHORNE. 13

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CAPTAIN WITH Ht$ WHtSKEBS.

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BONAPARTE OVER THE RHINE.

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 GISELLE SCHOTTISCHE QUADRILLES* PORTER. 17

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18 GISELLE SCHOTTtSCHE QUADMLLES, (Continued.)

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 GISELLE SCHOTTtSCHE QUADRILLES, (Concluded.) 19

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 Commence wittl tap nf tlie snare-drum.
20 U. S. REVEILLE. Compiled by Wb. (J. STEVENSOS.

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 U. S. REVEILLE, (Continued.) 21
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22 U. S. REVEILLE, (Carwhded.)
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 Osmmence with three rolls of enare-drnm.
U. S. TATTOO. Compiled by Wm. G. SIBVENSON. 23
DOUBLINGS*

No. 1.
1
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QUICK TIME.
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No. 2.
TFf-r-wr- inzczi

DOUBLINGS*

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24
DOUBLINGS.
U. S. TATTOO, (Continued.)

No. 5.
m WIM.

jg~r~F~T If
No,
|

6.

doublings*

No. 7.
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t77
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 U. S. TATTOO, {Concluded) 25
DOUBLINGS.
r a
No. 9.
S3? 3
SINGLE DRAG.

No. 10.
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THE RETREAT.
far Jr.

No. 11.

2
ROGUE'S MARCH*
0 m-m- -0 0 0- *
No. 12.
26
THE GENERAL. ARMY CALLS.
PRESTO.

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TO THE COLOR*
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 COMMON TIME WAUL ARMY CALLS, {Continued.) 27

No. 4. |pi=^

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QUICK $TEP~~TR0T*

THE REVEILLE.
No. 6. T r i r

110 :

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THE RETR EAT,

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No. 7. '-8-

70 =^
28
THE TATTOO*
ARMY CALLS, {Continued.)

No. 8.

0 a
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BUGLER'S CALL.
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No. 10. i
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COME FOB OBDEBS.

No. 11.
a? 1st 8ergeants. Uorpoi
Corporals.
 ARMY CALLS, {Continued.) 29
DOUBLE QUtCK, MABCH*

No. 12.

THE MM*
9Tpr
No. 13.
m m # # 'm~w~wrw Mir
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FORWARD, MARCH* HALT.

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no. i4.
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No. 15.

160 =
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MARCH IS RETREAT*

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No. 16. -8- i i \ f i
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COMMENCE FIRING*
cease firing*
~9 1
. 2
30
MARCH BV THE RIGHT FLANK.
ARMY CALLS "

No. 19.
"
s w ff 0 0 4
160: J

MARCH BV THE LEFT FUNK.

No. 20. i
100.

RALLV ON THE RESERVE. BOOTS AND SADDLES.

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No. 21. flr= No. 22.
*
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RALLV ON THE BATTALION.

No. 23. r*rr"i H-- ,-"P"' i

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i i 'i r G t
90

TO HORSE-FALL
PRESTISSIMO
IN.
THE CHARGE.
VIVACE.

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No. 25.
1
STABLE CALL.
 MV COUNTRY, 'TIS OF THEE AMERICA* 31
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FIRST MAZOtlRKA QUADRILLES*

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40 JOVIAL COTILLONS. RAT-CATCHER'S DAUGHTER.
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ROOT, HOG, OR DIE!

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 JOVIAU COTtLtONS. (Concluded.) 41

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Forward four.

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Right hand across.

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RATAPLAN* (FANCY COTtttONJ

No. 4.

Clap hands three times.

B~B Stamp three times Cross over to places

Cross over. Play four times.

42 DANCER'S VAftSOYJANA* by iPERavnissiOKr of job. e. wiisiisrEm.

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Play theFlrst Eight Dancing
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No. 1.
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Gents balance, Ladles on the left. Hands round the same, finish to place.
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Leading couples cross over hand In hand ;
opposite couples do the same, passing outside. Repeat the same -with leading couples outside.
Play four times through, finish at <^>

LODOtSKA*

No. 2.

* All form in two lines and retire. Forward and turn partners j all finish to places.

First couple forward and retire. Advance, Lady in the centre, Gents retire.

m 0 D.C.

Flay four times.

* To form two lines the first and second time the
side couples separate from their partners and join each side of the leading couples, four on each
side. Third and fourth time the leading couples join the side couples.
48 tANCEH QUADMttES, (Continued.) LA NATIVE*

No. 3.
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Four ladles right hand across, half round, left hand, and to places. Gents lead round outside and back to places.

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First Lady and opposite Gent advance and retire.

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 CONTENTS.

PAGE
America 31 Flowing Waltz 44 Quick Scotch 22
Anvil Chorus 50 Folks that put on Airs 8 Quick Time 23
Army Calls 26 Gideon's Band 3 Rataplan 41
Assembly 26 Giselle Schottische Quadrilles 17 Rat-Catcher's Daugther 40
Austrian Air 20 Glory Hallelujah 5 Red, White, and Blue 33
Banner of the Sea 33 Green Fields of America 52 Retreat 25
Bonaparte over the Rhine 13 Hail Columbia 21 Reveille 20
Bonnie Blue Flag 9 Hessian Air - 34 Rochester Schottische 52
Bully for All 9 I'm leaving thee in Sorrow 38 Rock beside the Sea 15
Captain with his Whiskers 13 Independence Day 31 Rogue's March 25
Carpenter's Plain Cotillions 10 Jenny, Darling Jenny 16 Rondo Polka 8
Carrie Lee 4 Job Stole a Turkey 39 Root, Hog, or Die 40
Casta Diva 54 John Brown 5 San Francisco Schottische 53
Clara Polka... 38 Jovial Cotillions 40 Shadow Dance 6
Coleman's Universal Schottische 39 Kissing through the Bars 12 Single Drag 22
Columbia, the Gem of the Ocean 33 Lancer Quadrilles ^ 47 Slow Scotch 20
Common Time Walk 27 Leonora Polka T 55 Star-Spangled Banner 32
Congress Grand March 5 Let us Live with a Hope 7 Tattoo 23
Contraband Schottische 4 Listen to the Mocking-Bird 7 Throe Camps 20
Contraband's Jig 35 Lodiska 47 Tic-Tac Polka 19
Cosy Nook 9
Lombard! Air , 54 To the Color 26
Dancer's Varsovienne 42 March in Retreat 29 Traviata Waltz 51
Dawn Waltz 43 MarseillesHymn 32 Tune the Old Cow died on 45
Dearest Spot of Earth to me 53 Maryland, my Maryland 6 U. S. Reveille 20
Double Drag 21 Military Polka 40 U. S. Tattoo 23
Double Quick, March 29 My Country, 'tis of Thee 31 Vaillance Polka 46
Dutch Air 21 New Cauliflower Cotillion 11 Varsoviana 45
Ellsworth's Funeral March 14 No One Love
to 3 What is Home without a Mother? 13
Ever of Thee \ 15 One-Horse Hornpipe 44 Williamsport Schottische 16
Fancy Cotillion 41 Our Flag is There 31 Yankee Doodle 34
First Mazourka Quadrilles 35 Potomac Grand March 23

M
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