f the wheel's revolution to correspond with the note values, and about the use of this rhythmical accentuation in the different types of pieces which are to be played on the hurdy-gurdy (see page 65); Bouin himself must have been a very good player, for he mentions several difficulties in playing which are not considered in the other methods. Thus he explains that notes of the same pitch which follow after one another and are connected by a tie are not to be articulated by a repeated movement of the finger, but by the wheel. In the case of four eighth notes of different pitches connected by a tie the notes are played with an entire revolution of the wheel without pause, and are only separated when they are to be played staccato [fn]. Pauses within a piece pose considerable difficulties, since on account of the harmonic impression the wheel cannot be turned further, and yet on account of the pause the starting position of the crank for the first note ensuing often is not correct. Therefore the last note before the pause has to be played so skillfully that the crank reaches again the correct starting point [fn]. If one wanted to increase the loudness of a sustained note, then the wheel could be turned slowly at first and then continually faster; the opposite procedure was used if the note was to be softened [fn].
These and other details which Bouin discusses prove that the most important thing to learn in playing the hurdy-gurdy was the so-called 'coup de poignet': that is, the division of the revolution of the wheel into different sections, whereby each section is introduced by a jerking motion of the hand, so that the 'trompette'
buzzes (see page 60). After these practical explanations follow various ornaments and their execution, and at the end Bouin discusses the use of cotton, rosin, and the care and preservation of the hurdy-gurdy. He advises that when the keys no longer fall back easily the player should put the hurdy-gurdy into his bed in the morning just after he has risen, and to cover it well, but never 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 