to lay it next to a fire to cure this problem [fn]. After advice concerning the purchase of a hurdy-gurdy he finds time to mention the playing of chords (see page 312) and finally presents a number of exercise and playing pieces for the hurdy-gurdy, graded according to their difficulty.
Bastiste Dupuit's introduction to "Principes pour toucher de la viele, avec six sonates pour cet instrument, qui conviennent aux violon, flûte, clavessin etc. Oeuvre Ier, Paris (1741)" is likewise very extensive and begins with the manner of holding the instrument. Next he discusses fingering, with which he deals in much greater detail than Bouin. Above all one peculiarity is to be noticed: he does not limit himself to the usual four fingers of the left hand but uses the thumb as well as a playing finger. Otherwise the thumb serves just to support the playing hand and rests on the keybox. The use of all five fingers as suggested by Dupuit makes playing considerably more difficult. The different length of the thumb compared to the other fingers causes the hand to be held diagonally, and this hinders a uniform execution of the notes. Besides this, the support of the thumb from the keybox is not something that can be done away with. The chapter concerning the wheel and its use is just as detailed as Bouin's. He also delves into ornamentation and articulation and finally advises the insecure player that it is better not to play a syncopated or dotted note at all than to play it incorrectly. Dupuit gives some very important information concerning the handling of the crank, the only method author to do so. The luthiers need to pay attention that the
circle described by the crank is smaller than that of the wheel, since this makes the articulation of the individual notes with the crank easier. If the S-shape of the crank is too long, it should be somewhat closed and rounded. Following this advice Dupuit indicates exactly how these theories can and should be used in his following six sonatas [fn]. The sonatas themselves were not intended for beginners, but have rather a considerable degree of difficulty.
The "Méthode" of Bordet does not contain such extensive information. Its complete title is: "Méthode raisonée pour apprendre la musique d'une façon plus claire et plus précise à laquelle on joint l'éntendue de la flute transvèriere, du violon, du pardessus de viole, de la vielle et de la musette; leur accord, quelques observations sur la touche desdits instruments et des leçons simples, mesurée et variées, suivies d'un recueil d'airs en duo façiles et connus pour la plus-part. Livre Ier, Paris (ca.1755)". [trans:] His remarks concerning the intended contents are followed by a short summary of musical basics: note values, intervals, clefs, etc. In connection with the tonal range of the hurdy-gurdy and of the musette Bordet makes several interesting remarks concerning the transposition for these instruments [fn]. The pieces which are to be played on this instrument should not be selected only according to their range, but attention should be given to seeing that they do not modulate, when in a major key, to anything other than than the dominant, or else if this cannot be avoided for only avery short time and just in passing into the sub-dominant. Somewhat greater freedom can be taken with pieces in a minor key, since modulation can occur not only onto the dominant and the sub-dominant, but even into the mediant and into the minor key of the sub-mediant, although again these modulations should only be very short: "car autrement il seroit dure a l'oreille, parce que les Cordes ou Bourdons, qui continuellement sonnent l'Accord de 5te. et Fondamental du premier Ton, deviendroient des Cordes étrangeres au nouveau Ton, et formeroient sans cesse des dissonances mal placées" [fn]. [trans]
If one wants to play pieces however which modulate into other keys, then the drone strings have to be removed from the wheel, " ce qui à la verité changeroit la nature de ces Instrumens, et leur ôteroit la plus grande partie de leur agrément" [fn]. [trans] After this advi