" & %- I t.; 1 p 11 1,4, i.,, NE —Nmmhm OVLLT 171 q I i a A aoll I I I I PROGRESSiVE STUDIES 2 FOR THE PIANOFORTE ' LEDITED, ARRANGED IN GROUPS, AND THE FINGERING REVISED AND SUPPLEMENTED ~ FRANKLIN TAYLOR. j THIS Collection of Studies is intended to illustrate the various elements of a complete course of pianoforte technique, and to provide students with the means of attacking and overcoming the different special difficulties which have to be encountered. ' With this view, the Studies have been arranged in groups, those in each group being placed in progressive order, and having reference to some one particular difficulty. The greater part of the Studies themselves have been selected from the standard works of the most eminent Study-writers, and with these are included numerous others, which, though of equally great practical utility, have hitherto been less generally accessible. I. a. 3. 4. 5. 6. 7. 8. 9. 1O. II. 12. 13 -14. I5. I6. 17. 18, I9. 20. 21r. 22. 23. 24. 26. 27. FIVE-FINGER STUDIES.. Part i j!,, ~.~ l! 2 SCALES..........Part r,t....., 2 BROKEN CHORDS.. Part I ~ I ' * ' 1 2,, 3,.,,...,. 4 LEFT HAND...... Part I 21 IV ' '. '.. ~ -,,,.......... 4 ARPEGGIO.....Part i VELOCITY...... Part i ~~ ~~ ~ 3~ FIGURES IN SEQUENCE Part i,,.,, 9 BROKEN THIRDS, SIXTHS, AND OCTAVES.... Part BROKEN THIRDS, SIXTHS, AND OCTAVES.... Part 2 28. SHAKES.......Part r 29... 2 30.,... *... 3 31. DOUBLE NOTES.. Part I 32.,,,,...,, 2 33.,,,.... 1 3 34.,,.... 4 35. OCTAVES........... art 36. 2...... 2 37. CHORDS........ Part i 38,,.........,, 39. STACCATO 40. REPETITION...... Part I 41. REPETITION AND TREMOLO,, 2 42.,,,,,, 3 43. PART PLAYING.... Part 44., 2 -,.., 45. ORNAMNNIRSTS......Pat t 46.. 5......, 2 47- ACCOMPANIED MELODY.. P.irt r 4S.?. 2 4. EXTENSIONS AND SKIPS.. Part z 5o....., 2. RHYTHM....... Part I 52.,,.......,, 2 53. EXERCISES FOR THE WEAKER FINGETRS. By J. A. O'NEILL. FIFTY-THREE BOOKS, PRICE ONE SHILLING EACH. LONDON: NOVELLO AND COMPANY, LIMITED. 'JUST PUBLISHED. FIRST STEPS AT THE PIANOFORTE BY FRANCESCO BERGER. o. 45. Novello, Ewer and Co.'s Music Primers and EduCational Series. Edited by Sir JOHN STAINER and Dr. C. HUBERT H. PARRY.) PRICE TWO SHILLINGS AND SIXPENCE. In Paper Boards, Three Shillings. The Daily Telegraph, March 27, savs:-:" Mr. Francesco Berger has made a seful and therefore valuable contribution to Messrs. Novello's ' Music Primers nd Educational Series' in the shape of a manual entitled ' First Steps at the 'ianoforte.' Every point is conveyed in the simplest fashion, and every step.aken with due care and deliberation, so as to be sure of the ground gained before going another pace ahead. Moreover, typographical devices are employed to force essential facts upon the child's attention. I think this is, on the whole, a very admirable book, calculated to help not only the pupil, but the teacher also." The Sunday Times, October I3, says:-," It is more practical, more systematic, more simple for the beginner than any I have yet seen. The exercises and pieces specially prepared are excellent, and the explanation which accompanies every example is written in language that the youngest student may comprehend without further assistance from the teacher." The Musical Times, September, says:-" Mr. Berger's book is distinctly the best introduction to the pianoforte at present extant." yUST PUBLISHED. EIGHTEEN LITTLE PIECES FOR THE PIANOFORTE COMPOSED BY FRANCESCO BERGER. (These Pieces were expressly written to be used in connection with the Author's Primer, "FIRST STEPS AT THE PIANOFORTE." PRICE ONE SHILLING AND SIXPENCE NET. LONDON: NOVELLO AND COMPANY, LIMITED AND NOVELLO, EWER AND CO., NEW YORK. PROGRESSIVE STUDIES for the PIANOFU; BOOK 53. EDITED BY FRANKLIN TAYLOR. EXERCISES f FOR THE WEAKER FINGERS1 BY J. A. O'NEILL. PREFACE. IT is an acknowledged fact that the chief obstacles to good execution and equality of touch lie in the weakness of the fourth and fifth fingers, and in a want of dexterity in passing the fourth finger over the thumb. To overcome these difficulties the following Exercises have been specially designed. Their object is to place the weak fingers on a perfect equality with the others, thus entirely avoiding the defect of the general mechanical exercises, which, by allotting as much (or more) work to the naturally strong as to the naturally weak fingers, leave the relative inequality of strength and skill unaltered. Experience has shown that a more marked improvement in technique is obtained by fifteen minutes' daily practice of the following Exercises for the weak fingers than by an hour's daily practice of ordinary finger. exercises. This additional facility of execution is noticeable after a short trial of ten days. PART I. will be found quite suitable to students in the elementary stages, and whilst strengthening the weak fingers affords an excellent practice for transposition. PART II. will greatly assist the performance of all scale and arpeggio passages, and tend to overcome the executional difficulties generally met with in advanced works. PRICE ONE SHILLING. LONDON: NOVELLO AND COMPANY, LIMITED AND NOVE-..LO, EWER AND CO., NEW YOR IK. NOVELLO'S MUSIC PRIMERS AND EDUCATIONAL SERIES. THE CHOIRBOY'S ELEMENTS OF MUSIC, -. BY GEORGE JBENNETT Mus. Doc., CANTAB. (ORGANIST AND CHOIRMASTER, LINCOLN CATHEDRAL; FELLOW OF TIlE ROYAL, ACADEMY OF MUSIC; FELLOW OF THE ROYAL COLLEGE OF ORGANISTS, &C.). PRICE ONE SHILLING. In Paper Boards, Is. 6d. 65 LONDON: NOVELLO AND COMPANY, LIMITED AND NOVELLO, EWER AND CO., NEW YORK. Musfc MT 7.7 LONDON: 'JVELLO AND COMPANY, LIMITED PRINTERS. PREFACE. IT being the experience of the Author that there is need of a book on the Elements of Music, written specially for the use of Choirboys, it has been his aim to provide such a book, concise, yet sufficiently complete, and expressed in simple language. Whilst there are several excellent treatises on the art of teaching boys to sing (notably Sir George C. Martin's Primer in this Series), those treating of the Elements of Music for Choirboys are often inadequate and superficial, and, on the other hand, the books intended for general use invariably contain much that is unnecessary, and confusing to the youthful mind. The first part of this book (Chapters I.-XV.) contains, it is believed, practically everything that it is necessary that an ordinary Choirboy should know. Any superfluous matter is relegated to the Appendix, which may be used in exceptional cases by advanced pupils, or entirely omitted, as the Teacher considers advisable. The order of studying the book may also be varied at his discretion. The names of the Composers of the examples from Church music are indicated, but not the names of the works from which they are taken, as it will prove an interesting exercise for the boys to identify them, when they happen to form a part of the Choir's repertoire. The Questions at the end of the book, which correspond to each Chapter, may be answered verbally, or in writing, on the blackboard, or otherwise. Janulary, I904. CONTENTS. CHAPTER I. PAGo TREBLE STAFF................... 1 CHAPTER II. NAMES OF NOTES.................... 2 CHAPTER III. LENGTH OF NOTES..................... 3 CHAPTER IV. RESTS-DOTS..................... 4 CHAPTER V. SIMPLE TIME........................ 5 CHAPTER VI. COMPOUND TIME........................ 7 CHAPTER VII. MAJOR SCALE.................... CHAPTER VIII. MAJOR KEYS AND SCALES.................. 8 CHAPTER IX. INTERVALS.............................. 11 CHAPTER X. INVERSION OF INTERVALS.................. 1i CHAPTER XI. MINOR KEYS AND SCALES................. 14. CHAPTER XII. SLUR-STACCATO-ACCENT-SYNCOPATION......... 18; CHAPTER XIII. GRACE NOTES-CHORD-ARPEGGIO-DOUBLE DOT —PAUSE... 21 CHAPTER XIV. CHROMATIC SCALE................ 23 CHAPTER XV. VOCABULARY.................... 25 APPENDIX........................ 30 QUESTIONS ON CHAPTERS I.-XIV................ 44 QUESTIONS ON APPENDIX................. 51 INDEX.......................... 54 INDEX TO COMPOSERS OF EXAMPLES............... 56 THE CHOIRBOY'S ELEMENTS OF MUSIC. CHAPTER I. TREBLE STAFF. STAFF. Notes are written on a Staff, which consists of five Lines, with the four Spaces between them. Lines. Spaces. -4 A 4- - -3 _ ~ The bottom Line is called the 1st Line, the next above it is called the 2nd Line, and so on-up to the top, or 5th Line. The Spaces are counted upwards in the same way; from the bottom, or 1st Space, to the top, or 4th Space. TREBLE STAFF. The Treble Clef is placed at the beginning of the Staff, in order to fix the names of the Notes. This Staff is then called the Treble Staff. Each Line and Space bears the name of one of the first seven letters of the Alphabet:A B C D E F G For Questions on each Chapter, see pages 44. 2 THE CHOIRBOY'S ELEMENTS OF MUSIC. CHAPTER II. NAMES OF NOTES. LINES. 1st Line 2nd, 3rd, 4th,, 5th,, E G B D F E G D E G B D F The Pupil should learn the following sentence by heart, in order to help him to remember the names of the Lines:Every Good Boy Does Famously. SPA CES. 1st Space F 2nd,, A 3rd,, 4th,, E & C7 ~. 0./ F A C E The names of the four Spaces spell the word F A C E. LEGER LINES. The Staff can be extended upwards or downwards, by the addition of Lines (and the Spaces between them) called Leger Lines. G A B C A B -El -- C D A B C D THE CHOIRBOY'S ELEMENTS OF MUSIC. TREBLE STAFF, WITH LEGER LINES. G A B C l- os~ _Io - - - A B C D E F G A B C D E F CHAPTER III. LENGTH OF NOTES. Notes are written in different shapes, which length. The longest Note is the Breve, and the general use is the Demisemiquaver. indicate their shortest in Breve. Semibreve. Minim. Crotchet. Quaver. qume Dquaemi quaver. quaver. " - V J;. _ I - I I, t10 I l — I I l -0 I -a 1 1 1 1 1 1 Breve Semibreve Minim Crotchet Quaver Semiquaver 2 2 2 2 2 2 Semibreves. Minims. Crotchets. Quavers. Semiquavers. Demisemiquavers. 1 1 1 The Pupil should also learn the following by heart:Semibreve = 2 Minims = 4 Crotchets = 8 Quavers. Minim - 2 Crotchets = 4 Quavers. Crotchet = 2 Quavers = 4 Semiquavers. When several short Notes follow one another, the tails of the Notes are often joined together. Quavers. Semiquavers. Demisemiquavers. - to W I - M AFT - W a or OR I a i R IQ 1. i i I i I PM 0"NOMM-L! - - I I 4 THE CHOIRBOY'S ELEMENTS OF MUSIC. CHAPTER IV. RESTS-DOTS. RESTS. Each Note has a corresponding Rest. silence. A Rest indicates Breve. Semibreve. Minim. Crotchet. Quaver. Semi DemisuaemiThe Semibreve and Minim Rests are the same shape, but the Semibreve Rest is placed below the line, and the Minim Rest above the line. The Crotchet and Quaver Rests are also similar in shape, but the Crotchet Rest is turned to the right, and the Quaver Rest to the left. DOTS. A Dot placed after a Note or Rest lengthens it by one half. 1 1 1 dotted Semibreve = dotted Minim - dotted Crotchet -- 3 Minims = 6 Crotchets. 3 Crotchets = 6 Quavers. 3 Quavers = 6 Semiquavers..m t '' - ' I THE CHOIRBOY'S ELEMENTS OF MUSIC. 5 CHAPTER V. SIMPLE TIME. BARS. Music is divided into equal divisions, called Bars. These divisions are indicated by upright lines, called Bar Lines. DOUBLE BAR. A Double Bar, consisting of two Bar Lines together, is placed at the end of a movement, and sometimes at other places. BEATS. Each Bar contains a certain number of Beats, or Pulses. They occur at egular intervals of time, like the ticking of a watch, or the swing of a pendulum. "BEATING TIME." The singer can indicate these Beats by movement of his right hand. This is called " Beating Time." Time is Duple when there are 2 Beats, Triple when there are 3 Beats, and Quadruple when there are 4 Beats in a bar. Time is Simple when each Beat is a simple note, not dotted; and Compound when each Beat is a dotted note. TIME SIGNATURE. The Time Signature is a sign placed at the beginning of the music, consisting of two figures placed one above the other. 6 THE CHOIRBOY'S ELEMENTS OF MUSIC. SIMPLE TIME. In Simple Time the upper figure shows the number of Beats in a Bar, and the lower figure shows the value of each Beat. When the lower figure is 2 the value of each Beat is a Minim, when 4 it is a Crotchet, when 8 it is a Quaver. COMMON TIME. The Time most often used is 4 Crotchets in a Bar (4). It is called Common Time, and is often indicated by C, instead of 4 SIMPLE TIME SIGNATURES. i Beat 2 Crotchets in a Bar 3 I! 4,, 4,,,, or C 4 " or ( Beat 2 Minims in a Bar d,, 3,,,, d d 4 *,, 4,,,, J d d 8 Beat 3 Quavers in a Bar (In Slow Time it is sometimes convenient to double the number of Beats. For instance, in 2 time it may be better to beat 4 Quavers in a Bar, instead of 2 Crotchets.) * Some Composers use ( or even C as the Signature of 4 Minims in a Bar. THE CHOIRBOY S ELEMENTS OF MUSIC. 7 TRIPLET. A Triplet consists of 3 notes to be sung in the time of 2. It is indicated by the figure 3 over or under the notes. MENDELSSOHN. 0.. for the wings, for the wings of a dove I CHAPTER VI. COMPOUND TIME. When the upper figure of the Time Signature is 6, 9, or 12, the Time is Compound. In Compound Time the upper figure does not usually show the number of Beats. To find the number of Beats-divide the upper figure by 8. For instance, in 6 Time there are 6 Quavers (to d,,) in a Bar, but there are only 2 Beats. Each Beat is of the value of 3 Quavers (w do), or 1 dotted Crotchet (a.). COMPOUND TIME SIGNATURES. g Beat 2 dotted Crotchets in a Bar;. J. 9 Sp 3 4,,,.. 1,,, 4,,,,,,;. J.;.;. j Beat 2 dotted Minims in a Bar c. c. (In very slow Time it is sometimes convenient to increase the number of Beats. In that case, the upper figure of the Time Signature shows the number of Beats in a Bar.) 8 THE CHOIRBOY S ELEMENTS OF MUSIC. CHAPTER VII. MAJOR SCALE. An Interval is the distance between two Notes. The smallest Interval is a Semitone. The Pupil should have the following matters pointed out to him at a keyboard:Between E and F, and between B and C there is no black note. The Interval between these notes is a Semitone. Between C and D, D and E, F and G, G and A, A and B there is a black note. The Interval between these notes is 2 Semitones, or a Tone. A Scale is a succession of notes, gradually rising or falling. 1 2 3 4 5 6 7 8 8 7 6 5 4 3 21 *7 ~. ~ O The above is the Scale of C Major, and the first note, C, is called the Keynote. Between the 3rd and 4th Notes, and the 7th and 8th Notes there is the Interval of a Semitone; between each of the other Notes of the Scale there is the Interval of a Tone. CHAPTER VIII. MAJOR KEYS AND SCALES. A Sharp (*) raises a note one Semitone. A Flat (t) lowers a note one Semitone. A Natural (t) contradicts a previous Sharp or Flat. KEY SIGNATURE. Any Sharps or Flats grouped together at the beginning of a piece are called the Key Signature. They show what notes are to be sharpened or flattened throughout the piece, or until another Key Signature is introduced. THE CHOIRBOY'S ELEMENTS OF MUSIC. 9 Every key except C has at least one Sharp or Flat in the Signature. This is in order to make each Scale an exact imitation (as to the order of Tones and Semitones) of the Scale of C. MAJOR SCALES. (The Semitones are indicated by a line.) C. G. 1 Sharp. D. 2 Sharps. *t - - -- n. -- ----,#$ o no ~~'0 - A. 3 Sharps. s Z7 — 9> -t - 1- " 4 Sharps. - 5 Sharps. s 6 Sharps.,, '-~ C c#. 7 Sharps. _ I &..: r '" -C/ ~- " 10 THE CHOIRBOY'S ELEMENTS OF MUSIC. F. 1 Flat. BfI. 2 Flats. Et,. 3 Flats. Ati. 4 Flats. Dti. 5 Flats. GI'. 6 Flats. Co. 7 Flats. e -g -9- c7 ^ *.-, __, Id 1,,ft VI' - -V - c? c - ' ACCIDENTALS. An Accidental is a $, it, or ~ placed before a note in the course of a piece, not in the Signature. An Accidental remains in force until the end of the bar, unless contradicted by another #, 7, or t. THE CHOIRBOY'S ELEMENTS OF MUSIC. 11 CHAPTER IX. INTERVALS. An Interval is called a 2nd, 3rd, 4th and so on, according to the number of letters included in the Interval. For instance, A to C is a 3rd, because there are 3 letters,-A B, C-included in it. Every Interval has an additional name, according to the number of Semitones it contains. The following are the Intervals between the keynote and the other notes of the Major Scale. The number of Semitones which each Interval contains is given in brackets:Major 2nd. Major 3rd. Perfect 4th. (2) (4) (5) Unison _ - - - -- - Perfect 5th. Major 6th. Major 7th. (7) (9) (11) Octave. (12) -- - - - - - - _ Each of these Intervals can be made larger or smaller, as follows:Minor 2nd. Major 2nd. Augmented 2nd. (1) (2) (3) 2nds. o Diminished 3rd. Minor 3rd. Major 3rd. (2) (3) (4) 3rds., - V -- Diminished 4th. Perfect 4th. Augmented 4th.* (4) (5) (6) 4ths. * The Augmented 4th is also called a Tritone, because it contains 3 whole Tones. 12 THE CHOIRBOY'S ELEMENTS OF MUSIC. Diminished 5th. (6) Perfect 5th. Augmented 5th. (7) (8) 5ths. 6ths. 7ths. Be- -8 Minor 6th. Major 6th. Augmented 6th. (8) (9) (10) V -Q- -Q- -8 -- 1 Diminished 7th. Minor 7th. Major 7th. (9) (10) (11) -..I T,s The following Rules may be drawn up from of Intervals: the above Table (1) The 4th and 5th notes of the Major Scale are Perfect Intervals above the Keynote. (2) The other notes of the Major Scale are Major Intervals above the Keynote. One Semitone more than Perfect is Augmented.,,,, less,,,,, Diminished. (4) One Semitone more than,,,, less,,,,,, less,, Major is Augmented.,,,, Minor. Minor, Diminished. The following Rule is often helpful in finding the Interval between two notes: Take the lower note of the Interval, and think of the Major Scale of which it is the Keynote. If the upper note of the Interval is a note of that Scale, the Interval is either Major or Perfect. THE CHOIRBOY'S ELEMENTS OF MUSIC. 13 CHAPTER X. INVERSION OF INTERVALS. An Interval is inverted when the relative position of the notes is changed, or, in other words, when the Interval is turned upside down. This is done by lowering the upper note an octave, or by raising the lower note an octave. Interval. Inversion. An Interval and its Inversion added together make an octave. Therefore, the larger an Interval is, the smaller will be its Inversion, and vice versd. The following are Rules to find the Inversion of an Interval:(1) Subtract the number of the Interval from 9. (2) If Major, it becomes by Inversion Minor, and vice versa. (3) If Augmented, it becomes by Inversion Diminished, and vice versd. \ (4) If Perfect, it remains Perfect. To find the number of Semitones in the Inversion-subtract the number of Semitones which the Interval contains from 12. Major 3rd. (4 Semitones.) Augmented 4th. (6 Semitones.) Perfect 5th. (7 Semitones.) Interval. Ii -I — 4: If Minor 6th. (8 Semitones.) Diminished 5th. (6 Semitones.) Perfect 4th. (5 Semitones.) Inversion. G. J. Bennett-Choirboy's Elements.-Novello. 14 THE CHOIRBOY'S ELEMENTS OF MUSIC. CHAPTER XI. MINOR ItEYS AND SCALES. Every Major Scale has a Relative Minor Scale, with the same Key Signature. The Keynote of the Relative Minor Scale is a Minor 3rd below that of the Major Scale. There are two forms of the Minor Scale-the Harmonic, and the Melodic. (It is suggested that beginners study only one Form of the Minor Scale. Both Forms are included, so that the Teacher may choose which Form he thinks best. For the Melodic Form, see page 16.) HARMONIC MINOR SCALES. (1) The 3rd and 6th notes are Minor. (2) The 7th note is raised to Major by a C, or 1. (3) There is an Augmented 2nd between the 6th and 7th notes-not an easy Interval to sing. Aug. 2nd.,-., -"! A Minor. E Minor. 1 Sharp. B Minor. 2 Sharps. F# Minor. 3 Sharps. Aug. 2nd. Aug. 2nd. W79 c, o;) ErAug.2nd. Q 11,$ _?'" -'- '' THE CHOIRBOY'S ELEMENTS OF MUSIC. 15 C# Minor. 4 Sharps. G# Minor. 5 Sharps. D Minor. 1 Flat. G Minor. 2 Flats. C Minor. 3 Flats. F Minor. 4 Flats. BO Minor. 5 Flats. Aug. 2nd. ~ ~. io 1 Aug. 2nd. Aug. 2nd. Aug. 2nd. O o.~. - Aug. 2nd. Aug. 2nd. Aug. 2nd. -c O ~ ~ (Music in the Minor Key rarely Sharps or Flats in the Signature.) contains more than five * A Double Sharp (x) raises a note two Semitones. A Double Flat ()) lowers a note two Semitones. 16 THE CHOIRBOY'S ELEMENTS OF MUSIC. MELODIC MINOR SCALES. (1) The 8rd note of the Scale is Minor. (2) In ascending, the 6th and 7th notes are raised to Major by a $, or t. 1 (8) In descending, the 6th and 7th notes are Minor. A Minor. - 6r E Minor, 1 Sharp. B Minor, 2 Sharps. FP Minor, 3 Sharps. C# Minor, 4 Sharps. GO Minor, 5 Sharps. THE CHOIRBOY'S ELEMENTS OF MUSIC. 17 D Minor, 1 Flat. lot L. ~ —.~ t ~ —, G Minor, 2 Flats. C Minor, 3 Flats. tF Minor, 4 Flats. C Minor, 3 Flats. F Minor, 4 Flats. gmV+ It should be noted that the two Forms of the Minor Scale differ only as to the 6th and 7th notes. In the Harmonic Form there is an Augmented 2nd between these notes, but this Interval is avoided in the Melodic Form by raising the 6th note in ascending, and lowering the 7th note in descending. 18 THE CHOIRBOY'S ELEMENTS OF MUSIC. CHAPTER XII. SLUR-STACCATO-ACCENT-SYNCOPATION. SLUR. A curved line, called a Slur, is used in the following ways: (1) To tie together notes of the same sound, when the note is to be held, not repeated. (2) TALLIS. And shall.. from.. age. to age.. en - dure... (2) To connect any notes which are to be sung to one syllable. (3) GIBBONS.. I, J _ _! - World with - out... end. A - - - - 0: F.I I. 4I I I I IICA Iil -.men, A - men. (3) To indicate that certain notes are to be sung smoothly. This is called Legato, meaning bound. Slurs are sometimes used to indicate the division of the music into phrases. In such cases the notes connected by a Slur should be sung in one breath. (4) STAINER.:'- I.. J I '! I J So long Thy power hath blest me, sure.. it still Will lead me on,. will lead me.. on still Will lead me on,. will lead me.. on... THE CHOIRBOY S ELEMENTS OF MUSIC. 19 STACCATO. A Dot or Dash over or under a note indicates that the note is to be shortened, and detached from the next note. This is called Staccato (detached), and is the opposite to Legato. (5) BATTISHILL. tL I I 4-H - i I, 450 — wz IC-/ I I - -— I -- -1 -- I - I Think Thou on me, O Lord. STEGGALL. (6) I I I I. V - - - I ff a a ihEE i i I " j4 1 1 i I Hal- le - lu - jah, A - men. (7).. I I HAYDN. O. 4 And God said, Let there be light, and there was light. ACCENT. In reading aloud, certain words should be more strongly marked than others. Similarly, in singing, certain notes should be more strongly marked than others. There is naturally a strong accent on the first beat of the bar. This is sometimes called the Strong Beat, and the unaccented parts of the bar the Weak Beats. When counting 4 beats in a bar, there is also a lesser accent on the 3rd beat, or middle of the bar. These natural accents should not be exaggerated, but should be felt by the Singer. 20 THE CHOIRBOY'S ELEMENTS OF MUSIC. SYNCOPATION. Syncopation is displacement of accent:-when the strong accent is transferred to a weak part of the bar. Syncopation is generally caused by a note commencing on a weak beat, and being held over the next strong beat. (8) BYRD.,'r-x ~ I I ile Sing.. loud,. sing.. loud.. un - to the God of Ja - cob. (9) CROFT. ILh-I " " - I I - Heav'n and earth are full of the Ma-jes - ty of Thy Glo - ry. (10) GREENE. Sing.. prais - es un - to our King. (11) BOYCE. Ho - ly, Ho - ly, Ho - ly,Lord God of Sab - a-oth. (12) STAINER. Loose thy - self.. from the bands of thy neck, Loose thy - self. from the bands of thy neck. (13) BRAHMS. - -p pF i --. Ti h 1.Na Im i - ie I /!- m =W B L: —~_ _ —I" -,J- - WJI praise... Thy Name ev er - - more! THE CHOIRBOY'S ELEMENTS OF MUSIC. 21 CHAPTER XIII. GRACE NOTES-CHORD-ARPEGGIODOUBLE DOT-PAUSE. GRACE NOTES. When one or more notes are printed in small type, they are called Grace Notes, and their time is generally taken from the value of the large note before which they are placed. A single Grace Note is sometimes long, sometimes short. In Church music it is nearly always long. LONG GRACE NOTE. A Long Grace Note takes one half of the value of the principal note, or, if that note is a dotted note, it generally takes one third of its value. (14) GREENE.., - i it V A I | C " m 1" I i I!~v,1Z!- LIE~ ~ ~J Thou vis - it- est the earth. Sung as follows Sung as follows:-== --- - I I (15) t~ HAYES. Ir1 ) [II" ----- I -,Or % 0 lb i I wig And fill - eth thee with the flour of wheat. (16) ATTWOOD. Re - new a right spi - rit with - in.. me. (17) BOYCE. -A& II Sing usneo esongs Sing us one of the songs of rn-r i Si on. 22 THE CHOIRBOY'S ELEMENTS OF MUSIC. SHORT GRACE NOTE. A Short Grace Note is sometimes printed with a line through the stem, to distinguish it from a Long Grace Note. It should be sung quite shortly, and, as it were, pressed on to the principal note. (18),BACH. s I..... See (19) MENDELSSOHN. 0 come to the wa - ters, 0 come un - to Him. Two Grace Notes together should be sung rather quickly And smoothly. (20) HIMMEL. / I I - I e I O Lord, make haste to de - liv - er me. (21) BOYCE. —, -.. V -_ When Thou hadst o - ver - come the sharp - ness of death. CHORD. A Chord is a combination of notes sung together. Every Hymn Tune and Chant consists of a succession of Chords (except in passages for Voices in Unison, such as the commencement of the well known Hymn Tune-" Jesus lives! "). ARPEGGIO. When the notes of a Chord are sung one after the other by the same singer, it is called an Arpeggio, or Broken Chord. Chord. Arpeggio. THE CHOIRBOY'S ELEMENTS OF MUSIC. 23 DOUBLE DOT. Two Dots after a note lengthen it by three quarters. (22) SPOHR. 0'., ~ -- '" I e L 1 li v. Nor.. death, nor.. sor - row. (23) r - Goss. y --- —-- a-*L4"~', ', ~, 1.... m, J I is Praise the Lord, praise the Lord, praise the Lord, 0 my soul. (24) STANFORD. And to guide our feet. PA USE. A Pause (I) placed over or under a Note or Rest, indicates that it is to be prolonged indefinitely. - CHAPTER XIV. CHROMATIC SCALE. A Chromatic Scale consists entirely of Semitones. It can be formed by taking the Major Scale, and adding a note between those notes which are separated by a Tone. CHROMATIC SCALE IN KEY OF C MAJOR. * * * * * - IL!- I I I I I,, - I In Ov -!51- C.. to~_=~if~Fi~, I I -I The five added notes (indicated by a star) are called Chromatic Notes. They are often written as sharpened notes when rising, and as flattened notes when falling. 24 THE CHOIRBOY'S ELEMENTS OF MUSIC. EXAMPLES INCLUDING CHROMATIC NOTES. (The Chromatic Notes are indicated by a star.) * I... (25) rn Jr MOZART. Je - su, Word of God In - car -nate. (26) CROTCH. Mark'd ye where hov. 'ring o'er his ra-diant head. (27) WESLEY.! I *. See that ye love one an - o - ther. (28) SPOHR. Bless-ing and hon - our, glo - ry.. be un - to Him, be. un - to Him. (29) (KEY E Minor.) MENDELSSOHN. And heal your sor - - rows, and heal your t/ -nsor - - - rows. (30) ) WESLEY. And sor - row and sigh ing shall flee,shall flee a - way. (31) (KEY A Minor.) CROFT. Hi* -... His mer - cy is ev - er - last - ing. THE CHOIRBOY'S ELEMENTS OF MUSIC. 25 CHAPTER XV. VOCABULARY. TERMS RELATING TO LOUDNESS AND SOFTNESS. f (forte)............... f (fortissimo, or double forte)... mf (mezzo forte)........ p (piano)........ pp (pianissimo, or double piano)... mp (mezzo piano)............ cres. (crescendo), or -..... dim. (diminuendo), or -... sf (sforzando), or......... Loud. Very loud. Moderately loud. Soft. Very soft. Moderately soft. Gradually louder. Gradually softer. Accent. TERMS RELATING TO QUICKNESS AND SLOWNESS. Presto.................. Very quick. Allegro................... Quick. Animato.............. Animated. Vivace................ Lively. Allegretto...............Less quick than Allegro. Moderato.............. Moderately quick. Andante........... Largo I Larghetto............ Larghetto Adagio } Lento....... Grave Accel. (accelerando) l String. (stringendo) ) Rail. (rallentando) Rit. (ritenuto).... A tempo............ L'istesso tempo..... Tempo lmo (or Tempo primo)... Rather slowly.... In a broad manner.... Very slow.... Hasten the time.... Slacken the time.... In time.... The same time continues.... Return to the original time. 26 THE CHOIRBOY'S ELEMENTS OF MUSIC. Con spir Con mote Marcato Maestoso Espress. Dolce Sostenut A llargat Morendo Sotto vod Pii mos. Meno me Poco a p Molto Non trot Sempre Senza Ten. (tet V.S. (VI D.C. (Di Al Segn A ttacca Fine Verse Tutti Dec. (De Can. (Ca OTHER WORDS AND EXPRESSIONS. ito............... W ith spirit................ With motion.................... Marked. X.......With dignity. (con espressione)...... With expression.................. Sweetly. o............... Sustained, held. zdo............... Broaden out.................. Dying away. ce (under the voice)... Subdued in tone. so................ Quicker. )sso............... Slower. loco (little by little)... Gradually................... M uch. 5po............... Not too much......................... Always.................. Without. iuto)............... To be held its full value. olti Subito)......... Turn over quickly. a Capo)............ Go back to the Beginning. o X............... Go to the sign X Commence the next.......... movement at once. cani)... mtoris)............ The End............ To be sung by Solo voices............. Chorus............. The Dean's Side. -....... The Precentor's Side............. Both Sides. Full......... As already stated in the Preface, the Author believes that Chapters I.-XV. contain practically everything that it is necessary that an ordinary Choirboy should know. The Appendix is only intended for use in exceptional cases, at the discretion of the Teacher. I I I APPENDIX, FOR ADVANCED PUPILS. -- G. J. Bennett-Choirboy's Elements.-Novello. 0 BO THE CHOIRBOY'S ELEMENTS OF MUSIC. APPENDIX. ADDITIONS TO CHAPTERS I. AND IIo COMPLETE LIST OF CLEFS. TREBLE, OR G CLEF. The Treble Clef is also called the G Clef because it gives the name G to the 2nd line, which it encircles. The Treble Clef is now used for Treble, Alto and Tenor voices. When used for the Tenor voice, the notes are written an octave higher than they sound. E F G A B C D E F BASS, OR F CLEF. The Bass Clef is also called the F Clef because it gives the name F to the 4th line, which it encircles. The Bass Clef is used for the Bass voice. e^Q —Q- A — G A B. C D E F G A C CLEF. The C Clef gives the name C to whichever line it is placed upon. This C is the middle C of the Pianoforte. This Clef is found in old Cathedral music, but it has gone entirely out of use in Vocal music printed in England at the present time. For Questions on the Appendix, see page 51. THE CHOIRBOY'S ELEMENTS OF MUSIC. 31 The C Clef on the 1st line is called the Soprano Clef.,,,, 3rd,,,, Alto Clef.,,,, 4th,,,, Tenor Clef. Soprano. - ~j ~ Alto. Tenor.!I' C D E F G A B C D iI F G A B C D E F G D E F G A B C D E Each Staff can be extended by Leger Lines. The following notes sound exactly at the same Pitch, and are called Middle C: ADDITIONS TO CHAPTERS. V. AND VI. Each Simple Time has a Compound Form, which is obtained by adding a dot to each Beat. For instance, the Compound Form of 2 Crotchets in a Bar (2) is 2 dotted Crotchets (6). To find the Compound Form of any Simple Time Signature: Multiply the upper figure by 3, and the lower by 2. To find the Simple Form of any Compound Time Signature:Divide the upper figure by 3, and the lower by 2. 32 THE CHOIRBOY'S ELEMENTS OF MUSIC. ADDITIONS TO CHAPTER VII. The following are the Names given to the notes of the Major and Minor Scales: Keynote..... Tonic. 2nd note... Supertonic. 3rd,,...... Mediant. 4th,,...... Subdominant. 5th,,...... Dominant. 6th,,...... Submediant. 7th,,...... Leading note. The 7th note is called the Leading note because it has a natural tendency to rise to the Keynote. ADDITIONS TO CHAPTER VIII. Each Sharp that is added to the Signature raises the Keynote a Perfect 5th (or lowers it a Perfect 4th). Each Flat that is added to the Signature raises the Keynote a Perfect 4th (or lowers it a Perfect 5th). ADDITIONS TO CHAPTERS IX., X. AND XI. As Augmented and Diminished Intervals are not easy to sing, the Pupil should know between which degrees of the Scale they occur. The following is a list of the Augmented Intervals and their Inversions-Diminished Intervals-in the Major and Harmonic Minor Scales:MAJOR SCALE. (KEY C Major.) Aug. 4th between 4th and 7th notes. - ~ Dim. 5th,, 7th and 4th,, ),, 'C1 THE CHOIRBOY S ELEMENTS OF MUSIC. HARMONIC MINOR SCALE. 33 Aug. 4th between 4th and 7th notes. Aug. 4th,, 6th and 2nd,, Aug. 2nd,, 6th and 7th, Aug. 5th,, 3rd and 7th, Dim. 5th between 7th and 4th notes. Dim. 5th,, 2nd and 6th Dim. 7th,, 7th and 6th, Dim. 4th, 7th and 3rd (KEY A Minor.) (KEY A Minor.).-. I i- \ a -. l - V17ag U01 W ~_ EXAMPLES INTRODUCING AUGMENTED INTERVALS. A UGMENTED FOURTH. (32) r.JI PARRY. As it was in the be - gin - ning,is now,and ev - er shall be. (33) STAINER. And my spi - rit hath re - joic - ed. (34) MENDELSSOHN. i,i I * "" c" I I I i V J I J _u' () I - r. j I J i EL The en - e-my shout-eth, The godless come fast. (35) -MENDELSSOHN. ^ iAL e- - -.\ f -..., I ql, I -! - V ii A w r r r Fr' And dash in piec - es prin -ces and na - tions. (36) GARRETT. I -'. De - part in peace,. de - part in peace. 84 THE CHOIRBOY'S ELEMENTS OF MUSIC. AUGMENTED SECOND. (37) MARTIN. so$2f, o rl Pi oI r Pil I Ma - ker of Heaven and earth, and of all things (38) MENDELSSOHN. Jqt F ' r rJ I wait-ed for the Lord,He inclin-ed un-to me, He heard my com-plaint. (39) Goss. 0 Sa- viour of the world, save us and help us. (40) HOPKINS.,. I,- r r ' " I I I F i -'And in the shadow of death, and to guide our feet (41) WESLEY. A strength to the poor. A UGMENTED FIFTH. (42) BRAHMS. Shall flee from.. them. (43) ELVEY. Might - y from their seat, and hath ex - alt - ed THE CHOIRBOY'S ELEMENTS OF MUSIC. EXAMPLES INTRODUCING DIMINISHED INTERVALS. DIMINISHED FIFTH. 35 (44) ^,[1, ROGERS. And sit-teth on the right hand of the Fa - ther. (45) HOPKINS. A - bra- ham and. his. seed, for ev- er. (46) BRAHMS. How love - - ly, how love - ly (47) SULLIVAN. But they who seek the Lord. (48) GOUNOD. i_..-r J ~D,. Dark shades of ancient days, full of hate and op-pres-sion. (49) MARTIN. -I [,' Shall a - bideshall a- bide un-derthe shadow of the Al-might y (50) BRIDGE. How that the prom-isewhich was made - to the fa - thers.I t c w - up i - -.-l How that the prom-isewhich was maden - to the fa - thers. 86 THE CHOIRBOY'IS ELEMENTS OF MUSIC. DIMINISHED SE PVENTH. U-. (51) BACH. 17 1. - oeE. la 1 M_ _!_ F In- rU % —I F V I __ -Iftmoftil — 1 L_ 1W Lest e - vii tempt my.. steps (52) a - stray. HANDEL. And with His stripes we are heal- ed. (53) STERNDALE BENNETT. lowI Z-/ I I I I I I ~ I - I Ii That have. not seen, that have not seen. (54) monMENDELSSOHN. 0 God, so pant-eth my soul for Thee, 0 God. (55) SMART. ria 1 -.-1.L I I I..- i Ti..-tirzi As it was' in the be - ginning, is now, and ev - er shall be. (56)BRIDGE.. How dwell eth the love of God in him.? DIMINISHED FOURTH. (57) PURC-ELL.: yr K op For a- ny pains of death, to fall, to fall from Thee, (58) KING. -C 7 I fLvfiia For He hath re - gard ed the low - 1i - ness THE CHOIRBOY'S ELEMENTS OF MUSIC. 37 (59) WALMISLEY. _ - *,- -- I C i In life our guard-ian, and in death our friend. (60) MENDELSSOHN. "1 —.t t '1 F P' i "- I! 0 de - liv - er me from de- ceit - ful and un - just men. (61) SMART. -ITo be a light. to light - en the Gen - tiles. The Diminished 3rd (containing 2 Semitones), an Interval found only in the Chromatic Scale, is rarely used. The following are Examples of its use: (62) BACH. AI L '.. e N.,. This night of sad - ness all void of glad - ness. (63) SPOHR. 't..I/ [, J wrI. JIJ?!I* N I [ti I " All glo - ry to theLamb, ex - alt -ed now at God'sright hand. (64) SCHUBERT. He suf - fered, and was bu - ri - ed. 38 THE CHOIRBOY'S ELEMENTS OF MUSIC. KEY OF PIECE. The same Key Signature being used for a Major Key as for its Relative Minor, care is required to find which of these two keys a piece is in. The following Rules will be of use to the Pupil:(1) The last Bass note is nearly always the Keynote. (2) The first and (more especially) the last Treble notes are nearly always the 1st, 3rd or 5th note of the Scale. (8) If the key is Minor, the raised Leading note (indicated by a # or t) will generally be found near the beginning or end. It is not always in the Treble part. MODULATION. It is only in very short pieces, such as Single Chants, that the key often remains unchanged throughout. Double Chants and Hymn Tunes nearly always contain at least one change of key, which is called a Modulation. Accidentals, when not contradicted at once, generally cause Modulation, but these Accidentals are not always in the Treble part. In the first 100 Tunes to Hymns Ancient and Modern, omitting Plain-song Hymn Tunes, there are only about six that contain no Modulation. PICARDY THIRD. The last chord of a piece in a Minor Key often contains the Major 3rd, the 3rd of the key being raised by a # or t. This is especially the case in old music. It is called the Picardy Third. THE CHOIRBOY'S ELEMENTS OF MUSIC. 39 ADDITIONS TO CHAPTER XII. In old music, such as the following Example, when a note is to be held from one bar to the next, the bar line is run through the note, or a dot is placed after the bar line. (65) FARRANT...l * - % 1 j I '-' --- I ' I, IIZ All the earth doth wor - ship Thee, the Fa-ther ll I I~ I k~' I VP I= 0= LI - - E Lim P~ - IF- - ev - er - last ing. In modern editions this passage is printed as follows (the Soprano Clef is also changed to the Treble Clef, and the bars are halved): All.. the earth doth wor -ship Thee,..the Fa-ther, I i I — I I'. I I_, i - I i: ~,.1 I I _ 1~ If1 ~ _ / - I_ t,,i I IL I,1.l i.z/ '- t - I;;f _ lI jL qt"' ~ q/ ev - er - last - - ing. 40 THE CHOIRBOY'S ELEMENTS OF MUSIC. ADDITIONS TO CHAPTER XIII. GRACE NOTES. A Long Grace Note is called an Appoggiatura (leaning note). A Short Grace Note is called an Acciaccatura (crushed note). The following Embellishments are rarely used, except in Instrumental music, but they are included here for the sake of completeness: Shake. Turn. Mordent. tr performed (or quicker). N- performed. ii I I 1 W performed. __ _,! - y i o # The Shake and Mordent should be executed as rapidly as possible. When an Accidental is placed above or below either of the above signs, it indicates that the note above or below the principal note is to be altered by that Accidental. CHORDS. The Tonic Common Chord consists of the Tonic, its 3rd, 5th, and octave. C Major. C Minor. 'j.. II _ 11 The Dominant 7th consists of the Dominant, its 3rd, 5th, and 7th. O Q 1 THE CHOIRBOY'S ELEMENTS OF MUSIC. 41 These are the two most important Chords of a key, and they are also the Chords which are most frequently used in Arpeggio. EXAMPLES INCLUDING ARPEGGIOS OP COMMON CHORDS. (66) WESLEY. ^3Y v u i r I *- Z ' = l I M J But the word of the Lord en - dur - eth for ev er. (67) MENDELSSOHN,, — I! I i J ii -.- I Through darkness ri - seth light, light to the up - right. (68) HOPKINS. My soul.doth mag - ni - fy, my soul doth mag - ni-fy (69) WALMISLEY. For He that is might - y hath mag - ni - fed me. (70) STERNDALE BENNETT. f 1-.! -.I will call up -on the Lord. (71) GARRETT. I ' I T II I + To be a light. (72) STAINER..sa the Lo-si- n p o n | sth I | -f (69 WALMISLEY.\ |J * I saw the Lord, sit - ting up- on a throne. 42 THE CHOIRBOY'S ELEMENTS OF MUSIC. EXAMPLES INTRODUCING ARPEGGIOS OF THE DOMINANT 7TH. (73) HAYDN. I IThe hea- vens are tell - ing the glo - ry of God. (74) MENDELSSOHN. My heart is sore - ly pain'd with - in my breast. (75) MENDELSSOHN. music. The following passages include almost complete Examples of the Chromatic Scale, the first ascending, and the second descending. (76) STANFORD. And I be - lieve one Cath - o - lick and A - pos to - lick Churc, I ac-knowledge one Bap-tism for the remusic. the Chromatic Scale, the frst ascending, an d the seo nd v/ - is sion of sins,,And I look. THE CHOIRBOY'S ELEMENTS OF MUSIC. (77) (KEY E Minor.) A. -- -- -. 43 WESLEY..* '& I i I J I. I ' i % I /i As for the gods of the hea - - then, they ~ ~ 3. I/ are but i - - - - dols. ENHARMONIC. The term Enharmonic refers to notes such as By and A# which sound the same, although they bear different names. An Enharmonic Change is sometimes necessary when there is an extreme change of key. EXAMPLES OF ENHARMONIC CHANGE. (78) HOPKINS. And hath ex - alt - ed the hum - ble and meek. (79) STAINER. Bl - got-t IIf Iis 1 - Ib IA I IF Be - got - ten of His Fa - ther be - fore all worlds. 44 THE CHOIRBOY'S ELEMENTS OF MUSIC. QUESTIONS. CHAPTER I. 1.-On what are the Notes written? 2.-What does a Staff consist of? 3.-Which is the 1st Line, the top or the bottom? 4.-Which is the 4th Space, the top or the bottom? 5.-Why is the Treble Clef placed at the commencement of the Staff? 6.-How many letters are used in music for the names of the Notes? CHAPTER II. 7.-What are the names of the Lines on the Treble Staff? 8.-Can you repeat the sentence which is given in the book to help you to remember the names of the Lines? 9.-What are the names of the Spaces? 10.-What are Leger Lines? 11.-What is the name of the 1st Leger Line above the Staff, and of the 1st Leger Line below the Staff? CHAPTER III. 12.-Why are Notes written in different shapes? 13.-What is the name of the longest Note? 14.-What is the shortest Note in general use? 15.-How many Quavers are there in a Minim? 16.-How many Crotchets are there in a Semibreve? 17.-How many Quavers are there in a Semibreve? 18.-When several Quavers or shorter Notes follow one another, how are they sometimes connected? THE CHOIRBOY'S ELEMENTS OF MUSIC. CHAPTER IV. 19.-What is a Rest? 20.-What is the difference in appearance between a Semibreve and a Minim Rest? 21.-What is the difference in appearance between a Crotchet and a Quaver Rest? 22.-What is the difference in appearance between a Quaver and a Semiquaver Rest? 23.-What is the effect of a Dot placed after a Note? 24.-How many Crotchets are there in a dotted Minim? 25.-How many Quavers are there in a dotted Minim? 26.-How many Semiquavers are there in a dotted Crotchet? 27.-How many Quavers are there in a dotted Crotchet? CHAPTER V. 28.-What is a Bar Line? 29.-What is a Double Bar? 30.-What is meant by " Beating Time"? 31.-What is the Time Signature? 32.-What is the Time called when there are 2 Beats in a Bar? 33.-What is the Time called when there are 3 Beats in a Bar? 34.-What is the Time called when there are 4 Beats in a Bar? 35.-What is Simple Time? 36.-What is Compound Time? 37.-In Simple Time what does the upper figure of the Time Signature show? What does the lower figure show? 38.-When the lower figure is 2, what is the value of a Beat? 39.-When the lower figure is 4, what is the value of a Beat? 40.-When the lower figure is 8, what is the value of a Beat? 41.-What is Common Time? How is it indicated? 42.-What do you count in ( Time? In what other way can it be indicated? 43.-What do you count in 2 Time? What might you count instead, in Slow Time? 44.-What is a Triplet? G. J. Bennett-Choirboy'8 Elements.-NoveUlo. D 46 THE CHOIRBOY'S ELEMENTS OF MUSIC. CHAPTER VI. 45.-How can you tell from the Time Signature that the Time is Compound? 46.-In Compound Time how can you find the number of Beats in a bar? 47.-What do you count in a Bar in 6 Time? 48.-What do you count in a Bar in 1 Time? 49.-What do you count in a Bar in 1 Time? CHAPTER VII. 50.-What is an Interval? 51.-What is the smallest Interval? 52.-Between which white notes on the Pianoforte or Organ is there no black note? 53.-What is a Scale? 54.-What is the first note of jhe Scale called? 55.-Between which notes of the Major Scale is there a Semitone? CHAPTER VIII. 56.-What is the effect of a Sharp? 57.-What is the effect of a Flat? 58.-What is the effect of a Natural? 69.-What is a Key Signature? 60.-Why is it necessary to have a Key Signature? 61.-What are the Major Keys with no Sharps or Flats, 1 Sharp, 2 Sharps, 3 Sharps, 4 Sharps, and 5 Sharps in the Signature? 62.-What are the Major Keys with 1 Flat, 2 Flats, 3 Flats, 4 Flats, and 5 Flats in the Signature? 63.-What is an Accidental? How long does it remain in force? THE CHOIRBOY'S ELEMENTS OF MUSIC. 47 CHAPTER IX. 64.-How are Intervals counted as to numbers? 65.-Which Intervals are called Major, and which Perfect? 66.-What is one Semitone more than Major, and one Semitone less than Major? 67.-What is one Semitone more than Perfect, and one Semitone less than Perfect? 68.-What is two Semitones more than Minor? 69.-What is a Tritone? Why is it so called? 70.-How many Semitones are there in an Octave? 71.-State a Rule to help you to find the Interval between any two notes. 72.-Name the following Intervals, and state the number of Semitones in each case: (1) (2) (3) (4) (5) (6) (7) (8) (9) (10) (11) (12) (13) (14) (15) (16) Extol the t #9-rr iiI U r 1I [" - I 'I-.lJ. t" I I.- I I. ' I - ", 73.-Name the following Intervals, and state the number of Semitones in each case: (1) (2) (3) (4) (5) (6) (7) --! I ' L! 17I__,.-ZI be I74.-Name the following Intervals, and state the number of Semitones in each case: (1) (2) (3) (4) (5) (6) (7) (8) 1.. - V!' Ia 'l I I (911) ( (12) (13) (14) (15) (16) ( 3 ) V,57) 48 THE CHOIRBOY'S ELEMENTS OF MUSIC. 75.-Name the following Intervals above the note:- D (1) Major 2nd, (2) Minor 3rd, (3) Perfect 4th, (4) Dim. 5th, (5) Minor 6th, (6) Major 7th. 76.-Name the following Intervals above the note: (1) Aug. 2nd, (2) Major 3rd, (3) Aug. 4th, -,=(4) Perfect 5th, (5) Major 6th, (6) Aug. 6th, (7) Minor 7th. 77.-Name the following Intervals below the note:(1) Perfect 5th, (2) Major 3rd, (3) Minor 7th, (4) Major 2nd, (5) Aug. 4th, (6) Minor 6th. CHAPTER X. 78.-What is meant by the Inversion of an Interval? 79.-From what number is the Interval subtracted, to find the number of the Inversion? 80.-How are Major and Minor Intervals changed by Inversion? 81.-How are Augmented and Diminished Intervals changed by Inversion? 82.-What is a Perfect Interval by Inversion? 83.-How can you find the number of Semitones in the Inversion of an Interval? 84.-Name the Inversion of each of the Intervals in Question 72. 85.-Name the Inversion of each of the Intervals in Question 73. 86.-Name the Inversion of each of the Intervals in Question 74. State the number of Semitones in each case. THE CHOIRBOY'S ELEMENTS OF MUSIC. 49 CHAPTER XI. 87.-At what Interval below the Keynote of a Major Scale is the Keynote of its Relative Minor Scale? 88.-How many Forms of the Minor Scale are there? What are their names? 89.-In the Harmonic Minor Scale which notes are Minor intervals above the Keynote? 90.-In the Harmonic Minor Scale which note is always raised by a # or 1? 91.-In the Harmonic Minor Scale there is an Interval which is difficult to sing. What Interval is this, and between which notes is it found? 92.-What is the effect of a Double Sharp? 93.-What is the effect of a Double Flat? 94.-What are the Minor Keys with no Sharps or Flats, 1 Sharp, 2 Sharps, 3 Sharps, 4 Sharps, and 5 Sharps in the Signature? 95.-What are the Minor Keys with 1 Flat, 2 Flats, 3 Flats, 4 Flats, and 5 Flats in the Signature? 96.-In the Melodic Minor Scale which notes are different in ascending and descending? 97.-In the Melodic Minor Scale what Intervals above the Keynote are the 6th and 7th notes ascending? What Intervals are they descending? CHAPTER XII. 98.-What is the appearance of a Slur? 99.-In how many different ways is a Slur used? Explain them. 100.-What is the meaning of Legato? How is it indicated? 101.-What is the meaning of Staccato? How is it indicated? 102.-On which beat of the bar is there generally a Strong Accent? 103.-W-hen is there sometimes also a Lesser Accent? 104.-What is the meaning of Syncopation? 105.-How is it generally caused? 50 THE CHOIRBOY'S ELEMENTS OF MUSIC. CHAPTER XIII. 106.-What is a Grace Note? From what note does it generally take its time value? 107.-In Church music is a single Grace Note usually long or short? 108.-What is generally the value of a Long Grace Note? 109.-What is generally the value of a Long Grace Note when placed before a dotted note? 110.-How is a Short Grace Note sung? How is it sometimes indicated as a Short Grace Note? 111.-How should two Grace Notes be sung? 112.-What is a Chord? 118.-What is an Arpeggio? 114.-What is the effect of two Dots after a note? 115.-What is a Pause? CHAPTER XIV. 116.-What is a Chromatic Scale? 117.-WVhat is a Chromatic Note? 118.-How are Chromatic Notes often written when rising, and when falling?. - THE CHOIRBOY'S ELEMENTS OF MUSIC. 51 QUESTIONS ON THE APPENDIX. CHAPTERS I. AND II. 119.-By what other name is the Treble Clef called, and why? 120.-What Clef is used for the Bass voice? 121.-In music printed at the present time what Clef is used for the Alto and Tenor voices? 122.-In old music on what line is the C Clef placed, (1) for the Soprano voice, (2) for the Alto voice, (3) for the Tenor voice? 123.-Is the C Clef much used in Vocal music printed at the present time? 124.-What note is called Middle C? CHAPTERS V. AND VI. 125.-How do the Beats differ in value in 2 and 6 Time? 126.-How can you find the Compound Form of any Simple Time Signature? 127.-How can you find the Simple Form of any Compound Time Signature? CHAPTER VII. 128.-By what names are the notes of the Scale called? 129.-Why is the 7th note of the Scale called the Leading note? 52 THE CHOIRBOY'S ELEMENTS OF MUSIC. CHAPTER VIII. 130.-When a Sharp is added to the Signature, by what Interval is the Keynote changed? 131.-When a Flat is added to the Signature, by what Interval is the Keynote changed? CHAPTER IX., X. AND XI. 132.-Between which notes of the Major Scale is there an Augmented 4th? 133.-Between which notes of the Harmonic Minor Scale is there an Augmented 4th? 134.-Between which notes of the Harmonic Minor Scale is there an Augmented 2nd? 135.-Between which notes of the Harmonic Minor Scale is there a Diminished 4th? 136.-Between which notes of the Major Scale is there a Diminished 5th? a, 137.-Between which notes of the Harmonic Minor Scale is there a Diminished 5th? 138.-Name the following Intervals. To what Major Key dons each Interval belong?(1) (2) (3) (4) (5) (6) 139.-To what two Harmonic Major Scales do each of the above Intervals belong? 140.-Name the following Intervals. State to what Harmonic Minor Scales they belong:(1) (2) (3) (4) (5) (6) (7) (8) ( 9) (10) (11) (12) f I -- IE= I I II IL II THE CHOIRBOY'S ELEMENTS OF MUSIC. 53 141.-Give any Rules to help you to find the Key of a piece, whether it is in the Major, or the Relative Minor Key. 142.-What is a Modulation? 143.-In the Minor Key how is the Major 3rd of the Key sometimes used? When so used, what is it called? CHAPTER XII. 144.-How are Syncopations sometimes printed in old music? 145.-How is a Dot after a note sometimes printed in old music? CHAPTER XIII. 143'.-What is the name of a single Long Grace Note? I. —What is the name of a single Short Grace Note? 1' 3.-Explain any other Embellishments that you know. 1 A.-What are the two principal Chords in every Key? 1 0.-Name the Intervals in the two principal Chords of the Key? CHAPTER XIV. 151.-What is the meaning of Enharmonic? 152.-When is an Enharmonic change sometimes necessary? THE END. G. J. Bennett-Choirboy's Elements.-Novello. E 54 INDEX. A tempo......... Accelerando...... Accent............ Acciaccatura...... Accidental......... Adagio........... Al Segno......... Allargando......... Allegretto......... Allegro............ Alto Clef......... Andante............ Animato......... Appoggiatura...... Arpeggio......... Attacca............ Augmented Intervals Bar........ Bar Line......... Bass Clef......... Beats............ Beating Time...... Breve............ Cantoris......... C Clef............ Chord............ Chromatic Note...... Chromatic Scale...... Clef............ Common Chord...... Common Time...... Compound Time...... Con espressione...... Con moto......... Con spirito......... Crescendo......... Crotchet......... Da Capo......... Decani........... Demisemiquaver...... Diminuendo......... PAGE...... 25...... 25...... 19...... 40...... 10...... 25...... 26...... 26..... 25.......25...... 31...... 25...... 25...... 40... 22,41...... 26 11, 12, 32...... 5...... 30...... 5....... 5...... 26...... 30...... 22...... 23... 23,42 1,30...... 40...... 6... 5, 7, 31...., 26...... 26...... 26...... 25....... 3...... 26...... 26....... 3...... 25 PAGE 11, 12, 32 Diminished Intervals... Dolce...... Dominant... Dominant 7th Dots... Double Bar... Double Dot... Double Flat... Double forte Double piano Double Sharp Duple Time... Enharmonic... Espress.... F Clef...... Fine...... Flat...... Forte...... Fortissimo... Full...... G Clef...... Grace Notes... Grave.................. 26............ 32............ ~40............. 4............ 5............ 23............ 15............... 25............ 25.............15.................... 43............ 26............ 30..............26.......... 8............ 25............ 25...... 26............... 30......... 21, 40............ 25 Harmonic Minor Scale Intervals......... Inversion of Intervals Keynote......... Key of Piece... Key Signature... Larghetto...... Largo......... Leading note... Legato........ Leger Lines...... Length of Notes... Lento......... Lines......... L'istesso Tempo Long Grace Note *I.I 1411... 14, 33... 8,11...... 13....... 8...... 38...... 8...... 25...... 25...... 32...... 18...... 2....... 3...... 25...... 1.2...... 25... 21,40 INDEX. 55 Maestoso......... Major Intervals...... Major Scale......... Major Keys and Scales Marcato......... Mediant......... Melodic Minor Scale... Meno mosso...... Mezzo forte......... Mezzo piano...... Middle C......... Minim........... Minor Intervals...... Minor Keys and Scales Moderato......... Modulation......... Molto............ Mordent..... Morendo........ Names of Notes...... Natural........... Non troppo......... PAGE... 26 11, 12 8, 32... 8... 26... 32 14, 16... 26... 25... 25 30, 31. 3 11, 12... 14... 25... 38... 26... 40... 26 PAGE Sempre............. 26 Senza............ 26 Sforzando............. 25 Shake.................. 40 Sharp..................8 Short Grace Note...... 22, 40 Signature...............5, 8 Simple Time...... 5, 6, 31 Slur............ 18 Soprano Clef............ 31 Sostenuto............. 26 Sotto voce............... 26 Spaces................. 1, 2 Staccato............... 19 Staff.................. 1 Stringendo............... 25 Strong Beat............... 19 Subdominant............32 Submediant............. 32 Supertonic............. 32 Syncopation.............. 20 Tempo Imo............... 25 Tempo primo............25 Tenor Clef............... 31 Tenuto................. 26...... 2...... 8...... 26 Octave................. Pause......... Perfect Intervals... Piano......... Pianissimo..... Picardy Third... Piu mosso...... Poco a poco..... Presto......... ooo 11!......... *.-. *w~ *. Quadruple Time........... Quaver................. Rallentando.............. Relative Minor Scale......... Rests.................. Ritenuto........... Scale............... Semibreve............... Semiquaver............. Semitone............ 11 23 12 25 25 38 26 26 25 5 3 25 14 4 25 8 3 3 8 Time Time Signature...... Tone............ Tonic............ Tonic Common Chord Treble Clef......... Triple Time........ Triplet.......... Tritone............ Turn............ Tutti............... 5... 8... 32... 40...1,30... 5... 7... 11... 40... a6................. 5 Unison............... 11, 22 Verse...... Vivace...... Volti Subito............... 26............ 25............ 26 Weak Beat............... 19 56 INDEX TO COMPOSERS OF THE EXAMPLES, OF BIRTH AND DEATH. WITH DATE. ATTWOOD, T. (1765-1838)...... BACH, J. S. (1685-1750)...... BATTISHILL, J. (1738-1801). BENNETT, W. STERNDALE (1816-1875)... BOYCE, W. (1710-1779)... BRAHMS, J. (1833-1896)......... BRIDGE, J. F. (1844- )...... BYRD, W. (1538 —1623). CROFT, W. (1678-1727)...... CROTCH, W. (1775-1847)... ELVEY, STEPHEN (1805-1860) FARRANT, R. (about 1530-1580)...... GARRETT, G. M. (1834-1897).. GIBBONS, ORLANDO (1583-1625)... Goss, J. (1800-1880)...... GOUNOD (1818-1893)... GREENE, M. (1695-1755)..... HANDEL (168o-1759) HAYDN (1732-1809) HAYES, W. (1707-1777)..... HIMMEL, F. H. (1765-1814)... HOPKINS, E. J. (1818-1901)... KING, C. (1687-1748)...... MARTIN, G. C. (1844- ) MENDELSSOHN (1809-1847)... 7, 22, MOZART (1756-1791)... PARRY, C. H. H. (1848- )..... PURCELL, H. (1658-1695)......... ROGERS, B. (1614-1698).......... SCHUBERT (1797-1828)... SMART, H. (1813-1879)...... SPOHR (1784-1859)... STAINER, J. (1840-1901)...... STANFORD, C. V. (1852- )...... STEGGALL, C. (1826- )... SULLIVAN, A. S. (1842-1900) TALLIS (about 1520-1585) WALMISLEY, T. A. (1814-1856)...... WESLEY, S. S. (1810-1876)... PAGE....... 21... 22, 36, 37...... -.. 19... 36, 41..... 20, 21, 22... 20, 34, 35.........35, 36......... 20..... 20,24.. 24...... 34...... 39 33,41...... 23, 34......... 35......... 20, 21...... 36...... 19, 42... 21...... 22...34, 35, 41, 43... 36... 34, 35 24, 33, 34, 36, 37, 41, 42....... 24...... 33....... 36....... 35...,,, 37...... 36, 37..... 23, 24, 37.. 18, 20, 33, 41, 43..... 23,42... 19...... 35...... 18... 37,41.. 24, 34, 41, 43 Novello's Ori'iznal Octa'ao Edi'ions of ORATORIOS, CANTATAS, MASSES, ODES, &c. FRANZ ABT. s. d. MINSTER BELLS (FEMALE VOICES) SOL-FA, 6d. I 6 SPRINGTINME (DITTO) DITTO I 6 SUMMER (DITTO) DITTO I 6 THE FAYS' FROLIC (DITTO) DITTO I 6 THE GOLDEN CITY (DITTO) DITTO I 6 THE SILVER CLOUD (DITTO) DITTO I 6 THE WATER FAIRIES (DITTO) DIrTO I 6 THE WVISHING STONE (DITTO) DITTO I 6 J. H. ADAMS. A DAY IN SUMMER (FEMALE VOICES)...... I 6 DITTO (SOL-FA)........ 6 T. ADAMS. THE CROSS OF CHRIST (SOL-FA, 6d.)...... i o THe HOLY CHILD (SOL-FA, 6d.)......... I o THE RAINBOW OF PEACE........ I 0 B. AGUTTER. MISSA DE BEATA MARIA VIRGINE, IN C (ENGLISH) (FEMALE VOICES)...... 2 6 MISSA DE SANCTO ALBANO (ENGLISH)...... 3 0 THOMAS ANDERTON. THE NORMAN BARON...... IO WRECK OF THE HESPERUS (SOL-FA, 4d.)...I 0 YULE TIDE........ 6 J. H. ANGER. A SONG OF THANKSGIVING..... I 0 W. I. ARGENT. MASS IN B FLAT (ST. BENEDICT)...... 2 6 P. ARMES. HEZEKIAH........... 2 6 ST. BARNABAS............... 2 0 ST. JOHN THE EVANGELIST...... 2 6 A. D. ARNOTT. THE BALLAD OF CARMILHAN (SOL-FA, is. 6d.) 2 6 YOUNG LOCHINVAR (SOL-FA,6d.)........ 6 E. ASPA. ENDYMION (WITH RECITATION)...... 4 O THE GIPSIES.........I ASTORGA. STABAT MATER........ I 0 J. C. BACH. I WRESTLE AND PRAY (SOL-FA, 2d.)... 0 4 J. S. BACH. A STRONGHOLD SURE (CHORUSES ONLY, SOL-FA, 6d.)........ I 0 BE NOT AFRAID (SOL-FA, 4d.)......... o 6 BIDE WITH US.......... I 0 BLESSING, GLORY, AND WISDOM...... o 6 CHRISTMAS ORATORIO........ 2 0 DITTO (PARTS I & 2)...... I 0 DITTO (PARTS 3 & 4)......... I 0 DITTO (PARIS 5 & 6)...... I o GOD GOETH UP WITH SHOUTING...... I 0 GOD SO LOVED THE WORLD...... I 0 GOD'S TIME IS THE BEST (SOL-FA, 6d.)...... I 0 JESUS, NOW WILL WE PRAISE THEE..... I 0 JESU, PRICELESS TREASURE (SOL-FA, 6J.)... I o MAGNIFICAT IN D............... I 0 MASS IN B MI.OR.......... 2 6 MISSA BREVIS IN A.......... I 6 MY SPIRIT WAS IN HEAVINESS....... I 0 0 LIGHT EVERLASTING (SOL-FPA, 6d.)...... I0 SLEEPERS, WAKE (SOL-FA, 6d.)......... I 0 THP. LORD IS A SUN AND SHIELD...... I 0 THE PASSION (ST. JOHN)........ 2 0 THE PASSION (ST. MATTHEW).... 2 6 DITTO (ABRIDGED AS USED AT ST. PAUL'S) I 6 THOU GUIDE OF ISRAEL......... I 0 WHEN WILL GOD RECALL MY SPIRIT..... I 0 JESUS SLEEPS, WHAT HOPE REMAINETH...I 0 A. S BAKER. s. d. COI-MUNILN SERVICE IN E....... i 6 J. BARNBY. REBEKAH (SOL-FA, 9gd.) I........ THE LORD IS KING (PSALM 97) (SOL-FA, IS.)... I 6 KING ALL GLORIOUS (SOL FA, Iad )...... 6 LEONARD BARNES. THIE BRIDAL DAY........ 2 6 J. F. BARNETT. PARADISE AND THE PERI........... 4 0 THE ANCIENT MARINER (SOL-FA, 2S.)...... 3 6 THE RAISING OF LAZARUS........6 66 THE WISHING BELL (FEMALE VOICES)... 2 6 DITTO DITTO (SOL-FA)... I 0 MARMADUKE BARTON. MASS IN A MAJOR (FOR ADVENT AND LENT)... I 0 BEETHOVEN. A CALM SEA AND A PKOSPI-ROUS VOYAGE... 0 4 CHORAL FANTASIA (SOL-FA, 3d.)........ I o CHORAL SYMPHONY........ 2 6 DITTO (VOCAL PORTION)... i 6 DITTO (SOL-FA)...... 6 COMMUNION SERVICE IN C......... 6 ENGEDI; OR, DAVID IN THE WILDERNESS... I 0 MASS IN C................ I o MASS IN D................. 2 0 MEEK, AS THOU LIVEDST, HAST THOU DEPARTED 0 2 MOUNT OF OLIVES (CHORUSES, SOL-FA, 6d)... I o RUINS OF ATHENS (SOL-FA, 6d.)......... I 6 THE PRAISE OF MUSIC....... I 6 A. H. BEHREND. SINGERS FROM THE SEA (FENIALE VOICES)... I 6 DITTO (SOL-FA)...... 0 9 WILFRED BENDALL. A LEGEND OF BREGENZ (FEMNALE VOICES)... i 6 DITTO (SOL-FA)...... 0 8 THE LADY OF SHALOTT (FEMALE VOICES)... i 6 DITTO (SOL-FA)...... I 0 SONG DANCES (VOCAL SUITE) (FEMALE VOICES) 2 0 KAREL BENDL. WATER-SPRITE'S REVENGE (FEMALE VOICES) I 0 SIR JULIUS BENEDICT. PASSION MUSIC FROM ST. PETER......... I 6 ST. PETER......... 3 0 THE LEGEND OF ST. CECILIA (SOL-FA, IS. 6d.) 2 6 GEORGE J. BENNETT. EASTER HYMN.......... I 0 SIR W. STERNDALE BENNETT. INTERNATIONAL EXHIBITION ODE (1862)... I 0 THE MAY QUEEN (SOL-FA, 6d.)......... I o THE WOMAN OF SAMARIA (SOL-FA, IS.)... 4 o0 H. BERLIOZ. FAUST (CHORUSES AND WORDS OF SOLOS ONLY) (SOL-FA, IS.) 2 6 THE CHILDHOOD OF CHRIST (SOL-FA, 8d.).... 2 0 G. R. BETJEMANN. THE SONG OF THE WESTERN MEN... I 0 W. R. BEXFIELD. ISRAEL RESTORED............... 4 0 HUGH BLAIR. BLESSED ARE THEY WHO WATCH (ADVENT)... I 6 HARVEST-TIDE..........I 0 THE SONG OF DEBORAH AND BARAK....2 6 JOSIAH BOOTH. THE DAY OF REST (FEMALE VOICES)(SOL-FA, gd.) x 6 31/12/03. ORATORIOS, &c.-Continued. I KATE BOUNDY. s. THE RIVAL FLOWERS (OPERETTA) (SOL-PA, 6d.) i E. M. BOYCE. THE LAY OF THE BROWN ROSARY...... I THE SANDS OF CORRIEMIE (FEMALE VOICES) I DITTO (SOL-FA)... 0 YOUNG LOCHINVAR......... I J. BRADFORD. HARVEST CANTATA............ I W. F. BRADSHAW. GASPAR BECERRA........ I J. BRAHMS. A SONG OF DESTINY....... I CHARLES BRAUN. QUEEN MAB AND THE KOBOLI S (OPERETTA)... 2 DITTO DITTO (SOL-FA)... 0 SIGURD......... 5 THE COUNTRY MOUSE AND THE TOWN MOUSE (FOR CHILDREN) (SOL-FA, 4d.)...... I THE SNOW QUEEN (OPERETTA) (SOL-FA, 6d.)... I A. HERBERT BREWER. EMMAUS (SOL-FA, 9d.)............... I NINETY-EIGHTH PSALM.......... I o PRAISE 'HE LORD...... I J. C. BRIDGE. DANIEL......... 3 RESURGAM................ I RUDEL.......... 4 J. F. BRIDGE. BOADICEA......... 2 CALLIRHOIE (SOL-FA, IS. 6d.)......... 2 FORGING THE ANCHOR (SOL-FA, IS.).. I HYMN TO THE CREATOR......... I MOUNT MORIAH..... 3 NINEVEH... 2 ROCK OF AGES (LATIN AND ENGLISH) (SOL-FA, 4d.) I THE BALLAD OF THE CLAMPHERDOWN... I DITTO (SOL-FA) 0 THE CRADLE OF CHRIST (" STABAT MATER SPECIOSA ")......... I THE FLAG OF ENGLAND (SOL-FA, gd.)...... I THE FROGS AND THE OX (FOR CHILDREN)... I DITTO DITTO (SOL-FA)... 0 THE INCHCAPE ROCK.......... I THE LORD'S PRAYER (SOL-FA, 6d.)... I THE SPIDER AND THE FLY (FEMALE VOICES)... I DITTO DITTO (SOL-FA)...... 0 DUDLEY BUCK. THE LIGHT OF ASIA...... 3 EDWARD BUNNETT. OUT OF THE DEEP (PSALM I30)......... I T. A. BURTON. CAPTAIN REECE (BOYS' VOICES) (SOL-PA, 6d.) I THE TRAGEDY OF COCK ROBIN (SHORT ACTION PIECE) (SOL-FA, 3d.)...........o W. BYRD. MASS FOR FOUR VOICES........ 2 CARISSIMI. JEPHTHAH............. A. VON AHN CARSE. THE LAY OF THE BROWN ROSARY...... 2 GEORGE CARTER. SINFONIA CANTATA (PSALM 116)......... 2 WILLIAM CARTER. PLACIDA (CHORUSES ONLY, IS.)...... 2 CHERUBINI. FOURTH MASS IN C............... I FIRST REQUIEM MASS, C MINOR (LAT. AND ENG.) I SECOND MASS IN D MINOR............ 2 THIRD MASS (CORONATION)........ I E. T. CHIPP. JOB.........4 NAOMI................. 2 d. 6 6 6 6 6 6 6 0 0 9 O 0 0 6 6 0 6 6 O 6 6 6 0 0 6 O 0 8 6 6 o 6 o 0 0 6 HAMILTON CLARKE. s. d. DRUMS AND VOICES (OPERETTA) (SOL-FA, 9d.) 2 o HORNPIPE HARRY (OPERETTA) (SOL-PA, 9d.)... 2 6 PEPIN THE PIPPIN (OPERETTA) (SOL-FA, 9d.)... 2 6 THE DAISY CHAIN (OPERETTA) (SOL-FA, 9d.) 2 6 THE MISSING DUKE (OPERETTA) (SOL-FA, 9d-) 2 6 GERARD F. COBB. A SONG OF TRAFALGAR (MEN'S VOICES)... 2 0 S. COLERIDGE-TAYLOR. THE ATONEMENT......... 3 6 SCENES FROM THE SONG OF HIAWATHA...... 3 6 DITTO DITTO (SOL-FA) 2 0 HIAWATHA'S WEDDING-FEAST (SOL-FA, IS.)... I 6 DITTO DITTO (German words) marks 3 THE DEATH OF MINNEHAHA (SOL-FA, IS.)... I 6 HIAWATHA'S DEPARTURE (SOL-FA, IS.)... 2 0 THE BLIND GIRL OF CASTfL-CUILLI (SOL-FA, IS.) 2 6 MEG BLANE (SOL-FA, 9d.)............ 2 o FREDERICK CORDER. THE BRIDAL OF TRIERMAIN (SOL-FA, IS.),.. 2 6 SIR MICHAEL COSTA. THE DREAM..........0 H. COWARD. GARETH AND LINET (CHORUSES ONLY, SOL-FA, IS.)........ 2 6 THE STORY OF BETHANY (SOL-FA, IS. 6d.)... 2 6 F. H. COWEN. A DAUGHTER OF THE SEA (FEMALE VOICES)... 2 0 DITTO DITTO (SOL-FA) I 0 A SONG OF THANKSGIVING...... I 6 CHRISTMAS SCENES (FEMALE VOICES)...... 2 0 DITTO DITTO (SOL-FA)... 0 9 CORONATION ODE......... I 6 ODE TO THE PASSIONS (SOL-FA, IS.)...... 2 0 RUTH (SOL-FA, is. 6d.)............ 4 o ST. JOHN'S EVE (SOL-FA, is. 6d.)......... 2 6 SLEEPING BEAUTY (SOL-FA, IS. 6d.)...... 2 6 SUMMER ON THE RIVER (FEMALE VOICES)... 2 0 DITTO DITTO (SOL-FA)... 0 9 THE ROSE OF LIFE (FEMALE VV.) (SOL-FA, 9d.) 2 0 THE WATER LILY...... 2 6 VILLAGE SCENES (FEMALE Vv) (SOL-FA, 9d.)... I 6 J. MAUDE CRAMENT. I WILL MAGNIFY THEE, 0 GOD (PSALM 145)... 2 6 LITTLE RED RIDING-HOOD (FEMALE VOICES) 2 0 W. CRESER. EUDORA (A DRAMATIC IDYLL)......... 2 6 W. CROTCH. PALESTINE.............. 3 0 W. H. CUMMINGS. THE FAIRY RING........ 2 6 W. G. CUSINS. TE DEUM.......... 6 FELICIEN DAVID. THE DESERT (MALE VOICES)......... I 6 H. WALFORD DAVIES. HERV9 RIEL............ I 0 THE TEMPLE............... 4 0 THE THREE JOVIAL HUNTSMEN (FOLIO)... I 6 P. H. DIEMER. BETHANY.................. 4 0 M. E. DOORLY. LAZARUS......... 2 6 F. G. DOSSERT. COMMUNION SERVICE IN E MINOR...... 2 0 MASS IN E MINOR........ 5 0 LUCY K. DOWNING. A PARABLE IN SONG...... 2 0 T. F. DUNHILL. TUBAL CAIN.............. I 0 F. DUNKLEY. THE WRECK OF THE HESPERUS....... I 0 u 0 8 6 0 6 O 0 0 O 0 ORATORI ANTONIN DVORA.K. COMMUNION SERVICE IN D MASS IN D PATRIOTIC HYMN..... DITTO (GERMAN AND BOHEMIAN WORDS) REQUIEM MASS ST. LUDMILA....... DITTO (GERMAN AND BOHEMIAN WVORDS) STABAT MATER ISOL-FA, IS. 6d.)......... THE SPECTRE'S BRIDE (SOL-FA, is. 6d.) DITTO (GERMAN AND BOHEMIAN WORDS) A. E. DYER. ELECTRA OF SOPHOCLES...... SALVATOR MUNDI H. J. EDWARDS. PRAISE TO THE HOLIEST.... THE ASCENSION THE EPIPHANY EDWARD ELGAR. THE APOSTLES (Parts I., II.) (CHORUSES AND WORDS OF SOLOS ONLY, SOL-FA, 2S. 6d.)... CARACTACUS (CHORUSES ONLY, SOL-FA, IS. 6d.) KING OLAF (CHORUSES ONLY, SOL-FA, IS. 6d.) TE DEUM AND BENEDICTUS THE BANNER OF ST. GEORGE (SOL-FA, IS)... THE BLACK KNIGHT THE DREAM OF GERONTIUS (DITTO, GERMAN WORDS, 6 Marks) (DITTO, CHORUStS ONLY, SOL-FA) THE LIGHT OF LIFE (LUX CHRISTI)... ROSALIND F. ELLICOTT. ELYSIUM THE BIRTH OF SONG GUSTAV ERNEST. ALL THE YEAR ROUND (FEMALE VOICES) (SOL-FA, 9d.) A. J. EYRE. COMMUNION SERVICE IN E FLAT T. FACER. A MERRY CHRISTMAS (FEMALE VOICES) (SOL-FA, 6d.) SONS OF THE EMPIRE (FEMALE VOICES) (SOL-PA, 6d.) RED RIDING-HOOD'S RECEPTION (OPERETTA) DITTO DITTO (SOL-FA) EATON FANING. BUTTERCUPS AND DAISIES (FEMALE VOICES) (SOL-FA, 9d.) HENRY FARMER. MASS IN B FLAT (LATIN AND ENGLISH) (SOL-FA, IS.) PERCY E. FLETCHER. THE OLD YEAR'S VISION (OPERETTA)... DITTO DITTO SOL-FA THE TOY REVIEW (OPERETTA) (SOL-FA, 8d.)... THE ENCHANTED ISLAND (OPERETTA) DITTO DITTO (SOL-FA) J. C. FORRESTER. THA KALENDAR (FEMALE VOICES) (SOL FA, 9d.) MYLES B. FOSTER. SNOW FAIRIES (FEMALE VOICES) (SOL-FA, 6d.) THE ANGELS OF THE BELLS ( FEMALE VOICES) DITTO DITTO (SOL-FA) THE BONNIE FISHWIVES (FEMALE VOICES) DITTO DITTO (SOL-FA) THE COMING OF THE KING (FEMALE VOICES) DITTO DITTO (SOL-FA)... ROBERT FRANZ. PRAISE YE THE LORD (PSALM 117) NIELS WV. GADE. CHRISTMAS EVE (SOL-FA, 4d.) COMALA....... ERL-KING'S DAUGHTER (SOL-FA, gd.). PSYCHE (SOL-FA, IS. 6d.)... SPRING'S MESSAGE (SOL-FA, 3d.)... THE CRUSADERS (SOL-FA, IS.) ZION OS, &c.-Continued. 3 s. d. HENRY GADSBY s. d. 2 6 ALCESTIS (MALE VOICES)......... 4 O 2 6 COLUMBUS (DITTO)...... 2 6 I 6 LORD OF THE ISLES (SOL-FA, IS. Cd.)...... 2 6 3 o ODE (FOR S.S.A)....... I 0 5 o F. W. GALPIN. 5 o YE OLDE ENGLYSHE PASTYMES 8 O (FEMALE VOICES) I 6 2 6 G. GARRETT. O HARVEST CANTATA (SOL-FA, 6d.).......... I THE SHUNAMIITE........ 3 o ' THE Two ADVENTS.... I 6 2 6 R. MACHILL GARTH. 6 EZEKIEL........... 4 0 6 THE WILD HUNTSMIAN..... I 0 2 6j A. R. GAUL. 2 6 2 0 AROUND THE WINTER FIRE (FEMALE VOICES) 2 0 DITTO DITTO (SOL-FA)...... 0 9 A SONG OF LIFE (ODE TO MUSIC) (SOL-PA, 6d.) I o ISRAEL IN THE WILDERNESS (SOL-FA, IS.)...2 6 5 0 JOAN OF ARC (SOL-FA, IS)..... 2 6 3 6 PASSION SERVICE..... 2 6 3 O RUTH (SOL-FA, 9d.) (CHORUSES ONLY, IS.) 2 0 I 0 i THE ELFIN HILL (FEMALE VOICES)...2 0 I 6 THE HARE AND THE TORTOISE (FOR CHILDREN) I o 2 0 DITTO DITrO (SOL-FA) 0 6 3 6 THE HOLY CITY (SOL-FA, is.)...... 2 6 THE LEGEND OF THE WOOD (FEMALE VOICES) I 0 I 6 DITTO DITTO DITTO (SOL-FA) 0 8O 2 6 THE PRINCE OF PEACE (SOL-FA, IS.)... 2 6 THE TEN VIRGINS (SOL-FA, IS.)........ 2 6 I O TOILERS OF THE DEEP (FEMALE VOICES)... 2 0 I 6 UNA (SOL-FA, IS.).............. 2 6 UNION JACK (UNISON SONG WITH ACTIONS)... 0 6 FR. GERNSHEIM. I 6 SALAMIS. A TRIUMPH SONG (MALE VOICES) I 6 E. OUSELEY GILBERT. I 0 SANTA CLAUS AND HIS COMRADES (OPERETTA) 2 0 DITTO DITTO (SOL-FA) 0 8 F. E. GLADSTONE. I 0 PHILIFPI............. 2 6 GLUCK. i 6 ORPHEUS (CHORUSES, SOL-FA, IS.)... 3 6 2 6 DITTO (ACT II. ONLY)..... I 6 0 9 HERMANN GOETZ. BY THE WATERS OF BABYLON (PSALM 137)... I 0 NCENIA........ 0 I 6 THE WATER-LILY (MALE VOICES)...... I 6 A. M. GOODHART. ARETHUSA.............. I 0 2 0 EARL HALDAN'S DAUGHTER....... I 0 SIR ANDREW BARTON....... I 0 i 6 THE SPANISH ARMADA........... 6 o 6. FOUNDER'S DAY, ODE........... 6 o 6 CH. GOUNOD. 2 0 COMMUNION SERVICE (MESSE SOLENNELLE)... I 6 0 9 i DITTO (TROISIEME MESSE SOLENNELLE) 2 6 DAUGHTERS OF JERUSALEM.... I 0 20 DE PROFUNDIS (PSALM 130) (LATIN WORDS)... I 0 DITTO (OUT OF DARKNESS) I 0 I 6 GALI.IA (SOL-FA, 4d.)......... I o I 6 MESSE SOLENNELLE (ST. CECILIA)......I 0 o j MORS ET VITA (LATIN OR ENGLISH)...6 o 0 DITTO, SOL-FA (LATIN AND ENGLISH) 2 0 I 6 OUT OF DARKNESS..... I 0 o co9 E NEAR TO THE CROSS (STABAT;'MATER) 0 8 O 6 REQUIEM MASS (FROM " MORS ET VITA") 2 6 THE REDEMPTION (ENGLISH WORDS)..... 5 DITTO (SOL-FA)..... 2 0 1 o DITTO (FRENCH WORDS)... 8 4 DITTO (GERMAN WORDS)...... I0 I o THE SEVEN WORDS OF OUR SAVIOUR ON THE 2 0 CROSS (FILI.{ JERUSALEM)........I 0 I o TROISIEtME MIESSE SOLENNELLE...... 2 2 6; C. H. GRAUN. O 8 TE DEUM............ 2 0 2 o0 THE PASSION OF OUR LORD (DER TOD JESU) I o (CHORUSES ONLY, IS.).......... 2 0 ORATORIOS, &c.-Continued. ALAN GRAY. ARETHUSA............ A SONG OF REDEMPTION..... THE LEGEND OF THE ROCK-Buoy BELL... THE WIDOW OF ZAREPHATH...... J. 0. GRIMM. fTHE SOUL'S ASPIRATION..... G. HALFORD. THE PARACLETE......... E. V. HALL. Is IT NOTHING TO YOU (SOL-FA, 3d.)...... HANDEL. ACIS AND GALATEA........ DITTO, NEW EDITION, EDITED BYJ. BARNBY DITTO DITTO (SOL-PA)...... ALCESTE......... ALEXANDER BALUS....... ALEXANDER'S FEAST...... ATHALIAH....... BELSHAZZAR........ CHANDOS TE DEUM....... CORONATION AND FUNERAL ANTHEMS. Cloth Or, singly: LET THY HAND BE STRENGTHENED... MY HEART IS INDITING... THE KING SHALL REJOICE (SOL-FA, 3d)... THE WAYS OF ZION... ZADOK THE PRIEST (SOL-FA, Ijd.)... DEBORAH... DETTINGEN TE DEUM... DIXIT DOMINUS (fROM PSALM IO)... ESTHER......... HERCULES (CHORUSES ONLY, IS.)... ISRAEL IN EGYPT, EDITED BY MENDELSSOHN ISRAEL IN EGYPT, EDITED BY V. NOVELLO. POCKET EDITION (SOL-FA, IS.)...... EPHTHA............ OSHUA...... UDAS MACCABAEUS (SOL-FA, IS.)... UDAS MACCABIEUS. POCKET EDITION... DITTO (CHORUSES ONLY)... L'ALLEGRO (CHORUSES ONLY, IS.)...... NIsI DOMINUS 0 COME LET US SING UNTO THE LORD (FIFTH CHANDOS ANTHEM)............ ODE ON ST. CECILIA'S DAY......... 0 PRAISE THE LORD WITH ONE CONSENT (SIXTH CHANDOS ANTHEM)...... 0 PRAISE THE LORD, YE ANGELS (FOLIO)... SAMSON (SOL-FA, IS.)......... SAUL (CHORUSES ONLY, IS.)...... SEMELE............ SOLOMON......... SUSANNA............... THEODORA... THE MESSIAH, EDITED BY V. NOVELLO (SOL-FA, IS.)......... THE MESSIAH, DITTO. POCKET EDITION... THE MESSIAH, EDITED BY W. T. BEST... DITTO (SOL-FA)... DITTO (CHORUSES ONLY)... DITTO EDITED BY E. PROUT(SOL-FA, IS.) THE PASSION........ THE PASSION OF CHRIST (ABRIDGED). THE TRIUMPH OF TIME AND TRUTH... UTRECHT JUBILATE........ SYDNEY HARDCASTLE. SING A SONG OF SIXPENCE (OPERETTA)... BASIL HARWOOD. INCLINA, DOMINE (PSALM 86)... F. K. HATTERSLEY. KING ROBERT OF SICILY..... HAYDN. FIRST MASS IN B FLAT (LATIN)......... DITTO (LATIN AND ENGLISH)... INSANE ET VAN/E CUR.E (DITTO)...... SECOND MASS IN C (LATIN)......... SIXTEENTH MASS (LATIN)........ s. d. 6 6 20 o 2 0 o8 I o I 0 1 0 2 0 130 20 30 20 30 30 I0 50 o 6 o 8 o 6 1 o o 3 20 10 I 0O 3 o 3 o 2 0 1 0 20 2 0 2 0 10 o 8 20 I 0O I 0 I 0 I 0O 2 6 2 0 2 0 3 o 20 3 o 3 o 20 I 0 20 1 0 o 8 2 0 30 30 I 0 3 o I 0 o 6 HAYDN.-Ccontinued. s. TE DEUM (ENGLISH AND LATIN)...... I THE CREATION (SOL-FA, IS.)...... 2 THE CREATION. POCKET EDITION...... I THE PASSION; OR, SEVEN LAST WORDS OF OUR SAVIOUR ON THE CROSS...... 2 THE SEASONS............... 3 EACH SEASON, singly (SPRING, SOL-FA, 6d.) I THIRD MASS (IMPERIAL) (LATIN AND ENGLISH) I DITTO (LATIN)......... I BATTISON HAYNES. A SEA DREAM (FEMALE VOICES) (SOL-FA, 6d.) I THE FAIRIES' ISLE (FEMALE VOICES)..... I THE SEA FAIRIES (FEMALE VOICES) (SOL-FA,6d) I C. SWINNERTON HEAP. FAIR ROSAMOND (SOL-FA, 2S.) (CHORUSES ONLY, is. 6d.).................. 3 EDWARD HECHT. ERIC THE DANE............... 3 0 MAY I JOIN THE CHOIR INVISIBLE...... I GEORG HENSCHEL. OUT OF DARKNESS (PSALM 130)........ 2 STABAT MATER................ 2 TE DEUM LAUDAMUS IN C...... I HENRY HILES. THE CRUSADERS.............. 2 GOD IS OUR REFUGE.......... 0 WAR IN THE HOUSEHOLD.........4 FERDINAND HILLER; A SONG OF VICTORY (SoL-FA, 9d.)...... I NALA AND DAMAYANTI......... 4 ALL THEY THAT TRUST IN THEE... 0... H. E. HODSON. THE GOLDEN LEGEND...... 2 HEINRICH HOFMANN. CHAMPAGNERLIED (MALE VOICES)...... I CINDERELLA.........4......... MELUSINA.................. 2 SONG OF THE NORNS (FEMALE VOICES)...I C. HOLLAND. AFTER THE SKIRMISH...... I T. S. HOLLAND. KING GOLDEMAR (OPERETTA) (SOL-FA, gd.)... 2 GUSTAV VON HOLST. THE IDEA (OPERETTA) (SOL-FA, 6d.)...... HUMMEL. ALMA VIRGO (LATIN AND ENGLISH)...... 0 COMMUNION SERVICE IN B FLAT........ 2 DITTO IN E FLAT........ 2 DITTO IN D......... 2 FIRST MASS IN B FLAT............ I QUOD IN ORBE (LATIN AND ENGLISH)...... 0 SECOND MASS IN E FLAT........... I THIRD MASS IN D............... I W. H. HUNT. STABAT MATER............... 3 G. F. HUNTLEY. PUSS-IN-BOOTS (OPERETTA) (SOL-FA, 9d.)... 2 VICTORIA; OR, THE BARD'S PROPHECY (SOL-FA, IS.)...2...... 2 H. H. HUSS. AVE MARIA (FEMALE VOICES)......... I F. ILIFFE. SWEET ECHO........ I OLIVER IVE. LA BELLE DAME SANS MERCI......... I \W. JACKSON. THE YEAR.......2 G. JACOBI. CINDERELLA (OPLRETIA) (SOL-FA, IS.)...... 2, d. 0 0 0 0 0 0 0 0 6 6 6 6 0 0 6 6 6 6 6 o 0 0 8 0 6 0 0 0 0 0 0 4 0 0 0 0 4 0 0 0 0 0 0 0 0 0 0 3 2 I I 0 I I 0 6 o 0 4 o 6 ORATORIOS, &c. —Contiued. D. JENKINS. s. d. DAVID AND SAUL (SOL-FA, 2S.)......... 3 0 A. JEN SEN. THE FEAST OF ADONIS......... I 0 W. JOHNSON. ECCE H............... I 0 H. FESTING JONES. KING BULBOUS (OPERETTA) (SOL-FA, 8d.)... 2 o C. WAR\WICK JORDAN. BLOW YE THE TRUMPET IN ZION......... I 0 N. KILBURN. BY THE WATERS OF BABYLON......... I 0 THE LORD IS MY SHEPHERD (PSALM 23)... 8 THE SILVER STAR (FEMIAI.E VOICES)..... I ALFRED KING. THE EPIPHANY.......... 3 0 OLIVER KING. BY THE WATERS OF BABYLON (PSALM 137)... I THE NAIADS (FEMALE VOICES)...... I 6 THE ROMANCE OF THE ROSES..... 2 6 THE SANDS O' DEE (SOL-FA, 2d.)... I 0 J. KINROSS. SONGS IN A VINEYARD (FEMIAI.E VOICES)... I 6 DITTO (SOL-FA).... o 6 H. LAHEE. THE SLEEPING BEAUTY (FEMALE VOICES)... I 6 DITTO (SOL-FA)......... 6 G. F. LE JEUNE. COMMUNION SERVICE IN C......... 2 0 FIRST MASS IN C............... 2 0 ED.:VIN H. LEMARE. 'TIS THE SPRING OF SOULS TO-DAY... I 0 COMMUNION SERVICE IN F......... 2 6 LEONARDO LEO. DIXIT DOMINUS........ I F. LEONI. THE GATE OF LIFE (SOL-FA, IS.)......... 2 0 H. LESLIE. THE FIRST CHRISTMAS MORN...... 2 6 F. LISZT. THE LEGEND OF ST. ELIZABETH...... 3 0 THIRTEENTH PSALM......... 2 0 C. H. LLOYD. A HYMNS OF THANKSGIVING........2 0 ALCESTIS (MJALE VOICES).......... 6 ANDROMEDA................... 3 A SONG OF JUDGMIENT........... 2 6 HERO AND LEANDER.............. I 6 ROSSALL..........2 0 SIR OGIE AND THIE LADIE ELSIE...... I 6 THE GLEANERS' HARVEST (FEAI.E VOICES)... I 6 THE LONGBEARD'S SAGA (MALE VOICES)... I 6 TIE 'SONG OF BALDER......... I O THE RIGHTEOUS LIVE FOR EVERMORE... I 6 CLEMENT LOCKNANE. THE ELFIN QUEEN (FEMALE VOICES)..... I 6 HARVEY LOHR. THE QUEEN OF SHEBA (CHORUSES ONLY, IS.)... 5 O WV. H. LONGHURST. THE VILLAGE FAIR (FEMALE VOICES).... 2 O C. EGERTON LOWE. LITTLE BO-PEEP (OPERETTA) (SOL-FA, 4d.)... o HAMISH MACCUNN. LAY OF THE LAST MINSTREL (SOL-FA, IS. 6d.)... 2 6 LORD ULLIN'S DAUGHTER (SOL-FA, Sd.)..... I o G. A. MACFARREN. AJAX (GREEK PLAY).......... 3 MAY DAY (SOL-FA, 6d.)......... I o OUTWARD BOUND........ I O SONGS IN A CORNFIELD (FEMALE VOICES)... I 6 DITTO DITTO (SOL-FA)..... 9 ST. JOHN THE BAPTIST...... 3 0 DITTO CHORUSES ONLY (SOL-FA) I O C. A. MACFARREN.-Continued. s. d. THE LADY OF THE LAKE........ 0 DITTO CHORUSES ONLY (SOL-FA) I 6 THE SOLDIER'S LEGACY iOP-.RETTA)...... 6 0 A. C. MACKENZIE. BETHLEHEM................ 5 0 DITTO ACT II., SEPARATELY...... 2 6 JASON............... 2 6 JUBILEE ODE............ 6 THE BRIDE (SOL-FA, 8d.)....... I o THE COTTER'S SATURDAY NIGHT (SOL-FA, iS.) 2 o THE I)REAMI OF JUBAL... 2 6 DITTO CHORUSES ONLY (SOL-FA)... I 0 THE NEW COVENANT.......... I 6 THE ROSE OF -'HARO(N (SOL-FA, 2S.)..... 5 THE PROCESSION OF THE ARK (CHORAL SCENE) I 6 DITTO DITTO. (SOL-FA)... 9 THE STORY OF SAYII........ 3 0 VENI, CREATOR SPIRITUS............ 2 0 C. MACPHERSON. BY THE WATIERS OF BAIBYI.ON (PSALM 137)... 2 0 L. MIANCINELLI. ERO E LEANDRO (OPERA)...... 5 O F. V. M!ARKULL. ROLAND'S HORN (MALE VOICES)......... 2 6 F. E. MARSHALL. PRINCE SPRITE (FEMALE VOICES)...... 2 6 CHORAL DANCES FROM DITTO....... I 0 GEORGE C. MARTIN. COMMUNION SERVICE IN A........... I 0 DITTO IN C.......... I O FESTIVAL TE DEUMI IN A (SOL-FA, 2d.)... o 6 J. MASSENET. MANON (OPERA).............. 6 o J. T. MASSER. HARVEST CANTATA....... I 0 J. H. MAUNDER. PENITENCE, PARDON, AND PEACE (SOL-FA, IS.) I 6 J. H. MEE. DELPHI, A LEGEND OF HELLAS (MIALE VOICES) I O HORATIUS (MALE VOICES)........... I 0 MISSA SOLENNIS IN B FLAT........ 2 0 MIENDELSSOHN. ANTIGONE (MALE VOICES) ( SOL-FA, IS.)... 4 AS THE HART PANTS (PSALM 42) (SOL-FA, 6d.)... I o ATHALIE (SOL-FA, 8d.)............ I o AVE MARIA (SAVIOUR OF SINNERS) (DOUBLE CHOIR)............... I 0 CHRISTUS (SOL-FA, 6d.)............ COME, LET US SING (PSALM 95) (SOL-FA, 6d.)... I O ELIJAH (SOL-FA, IS.)......... 2 0 ELIJAH (POCKET EDITION)...... I 0 FESTGESANG (HYMNS OF PRAISE) (S.A T B... I O DITTO (SOL-FA)........... 2 DITTO (MALE VOICES)(.TT.B..)...I 0 HEAR MY PRAYER (S. SOLO AND CHORUS)... I 0 DITTO DITTO........ 0 4 DITTO (SOL-FA)...... 0 2 HYMN OF PRAISE (LOBGESANG) (SOL-FA, 6d.)... I O JUDGE ME, O GOD (PSALM 43) (SOL-FA, IAd.) o 4 LAUDA SION (PRAISE JEHOVAH) (SOL-FA, 9d.)... I 0 LoRD, HOW LONG WILT THOU (SOL-FA, 4d.)... I o LORELEY (SOL-PA, 6d.)............. I 0 MAN IS NMORTAL (EIGHT VOICES)...... I 0 MIDSUMMER NIGHT'S DREAM (FEMALE VOICES) I O DITTO DITTO SOL-FA)... 0 4 MY GOD, WHY, O WHY HAST THOU FORSAKEN ME (PSALM 22)......... 0 6 NOT UNTO US, O LORD (PSAL 115)...... I 0 CEDIPUS AT COLONOS (MALE VOICES)... 3 0 ST. PAUL (SOL-FA, IS.)....... 2 0 ST. PAUL (POCKET EDITION)........ I 0 SING TO THE LORD (PSALM 98)...... O 8 SIX ANTHEMS FOR THE CATHEDRAL AT BERLIN. FOR 8 VOICES, ARRANGED IN 4 PARTS... 0 8 6 ORATORIOS, &c.-Continued. MENDELSSOHN.- Continued. s. SON AND STRANGER (OPERETTA)...... 4 THE FIRST WALPURGIS NIGHT (SOL-FA, IS.)... I THREE MOTETS FOR FEMALE VOICES.... I (DITTO, SOL-FA, Ild., 2j., AND 2d. EACH.) To THE SONS OF ART (MALE VOICES)...... I DITTO (SOL-FA)......... 0 WHEN ISRAEL OUT OF EGYPT CAME (SOL FA, 9d.) I WHY RAGE FIERCELY THE HEATHEN...... 0 R. D. METCALFE AND A. KENNEDY. PRINCE FERDINAND (OPERETTA) (SOL-FA, gd.)... 2 MEYERBEER. NINETY-FIRST PSALM (LATIN)...... I DITTO (ENGLISH)... I A. MOFFAT. A CHRISTMAS DREAM (CANTATA FOR CHILDREN) I DITTO (SOL-FA)...... B. MOLIQUE. ABRAHAM.............. 3 J. A. MOONIE. A WOODLAND DREAM (FEMALE VOICES) (SOL-FA, 9d.).............. 2 KILLISCRANKIE (SOL-FA, sd.)......... I MOZART. COMMUNION SERVICE IN B FLAT (LATIN AND ENGLISH)........... I FIRST MASS (LATIN AND ENGLISH)...... I GLORY, HONOUR, PRAISE. THIRD MOTET... O HAVE MERCY, 0 LORD. SECOND MOTET... 0 KING THAMOS.......... I LITANIA DE VENERABILI ALTARIS (IN E FLAT) I LITANIA DE VENERABILI SACRAMENTO (IN B FLAT)......... I 0 GOD, WHEN THOU APPEAREST. FIRST MOTET 0 REQUIEM MASS............... I DITTO (LATIN AND ENGLISH)...... I DITTO DITTO (SOL-FA)... I SEVENTH MASS IN B FLAT........ I SPLENDENTE TE, DEUS. FIRST MOTET... O DITTO DITTO (SOL-FA) O TWELFTH MASS (LATIN).......... I DITTO (LATIN AND ENGLISH) (SOL-FA, 9d.) I E. MUNDELLA. VICTORY OF SONG (FEMALE VOICES)...... I DR. JOHN NAYLOR. JEREMIAH............. 3 J. NESVERA. DE PROFUNDIS........ 2 E. A. NUNN. MASS IN C................. 2 E. CUTHBERT NUNN. THE FAIRY SLIPPER (CHILDREN'S OPERA)... 2 DITTO DITTO (SOL-FA) 0 A. O'LEARY. MASS OF ST. JOHN............... I REV. SIR FREDK. OUSELEY. THE MARTYRDOM OF ST. POLYCARP... 2.. 2 R. P. PAINE. THE LORD REIGNETH (PSALM 93)...... I PALESTRINA. COMMUNION SERVICE (MISSA PAP/E MARCELLI) 2 COMMUNION SERVICE (ASSUMPTA EST MARIA) 2 MISSA ASSUMPTA EST MARIA....... 2 MISSA BREVIS........ 2 MISSA " 0 ADMIRABILE COMMERCIUM'... 2 MISSA PAPAE MARCELLI............. 2 STABAT MATER........ I H. W. PARKER. A WANDERER'S PSALM.,...... 2 HORA NOVISSIMA........... 3 LEGEND OF ST. CHRISTOPHER......... 5 THE KOBOLDS......... I d. S C. H. H. PARRY. s. d. o AGAMEMNON (GREEK PLAY)..... 3 0 A SONG OF DARKNESS AND LIGHT... 2 0 o BLEST PAIR OF SIRENS (SOL-FA, 8d.)...... I 0 DITTO (ENGLISH AND GERMAN WORDS) O Marks 2.50 3 DE PROFUNDIS (PSALM 130)...... 2 O O ETON..................... 2 0 6 INVOCATION TO MUSIC...... 2 6 JOB (CHORUSES, SOL-FA, IS.)........ 2 6 O JUDITH (CHORUSES, SOL-FA, 2s.).... 5 KING SAUL (CHORUSES, SOL-FA, IS. 6d.)... 5 o L'ALLEGRO (SOL-FA, IS. 6d.)......... 2 6 O MAGNIFICAT.................. I 6 o ODE TO MUSIC........ I 6 ODE ON ST CECILIA'S DAY (SOL-FA, IS.)... 2 0 PROMETHEUS UNBOUND........ 3 0 O TE DEUM LAUDAMUS.... 2 6 4 THE GLORIES OF OUR BLOOD AND STATE... I 0 THE LOTUS-EATERS (THE C HORIC SONG)... 2 0 0 WAR AND PEACE............ 3 0 DITTO CHORUSES AND WORDS OF SOLOS ONLY (SOL-FA)........ I 6 VOCES CLAMANTIUM (THE VOICES OF IHEM 0 THAT CRY)...... 2 0 6 B. PARSONS. THE CRUSADER............ 3 6 T. M. PATTISON. 6 MAY DAY........... I 0LONDON CRIES......... 2 0 3 THE ANCIENT MARINER (CHORUSES ONLY, IS.) 2 6 3 THE LAY OF THE LAST MINSTREL (CHORUSES 0 ONLY, IS,)......... 2 6 6 THE MIRACLES OF CHRIST (SOL-FA, 6d.)... I 6 A. L. PEACE. ST. JOHN THE BAPTIST (SOL-FA, IS.)..... 2 6 To PERGOLESI. o STABAT MATER (FEMALE VOICES) (SOL-FA, 6.) o O CIRO PINSUTI. O PHANTOMS-FANTASMI NELL' OMBRA......I PERCY PITT. 2 oHOHENLINDEN (MEN'S VOICES)..... 6 o V. W. POPHAM. EARLY SPRING....... I o J. B. POWELL. PANGE LINGUA (SING, MY TONGUE)...... I 6 o A. H. D. PRENDERGAST. THE SECOND ADVENT....... I 6 C, E. PRITCHARD. 6 KUNACEPA......... 4 0 E. PROUT. 0 DAMON AND PHINTIAS (MALE VOICES).... 2 6 FREEDOM........... I 0 HEREWARD......... 4 0 QUEEN AIMFE (FEMALE VOICES)... I 6 I THE HUNDREDTH PSALM (SOL-FA, 4d.)...... io THE RED CROSS KNIGHT (SOL-FA, 2S.)... 4 0 6 PURCELL. DIDO AND A/ENEAS....... 2 6 6ODE ON ST. CECILIA'S DAY....... 2 0 TE DEUM AND JUBILATE IN D....... I o DITTO (Edited by DR. BRIDGE) (SOL-FA, 6d.) I o 0 DITTO (LATIN ARRANGEMENT BY R. R. TERRY) I O KING ARTHUR........2 0 THE MASQUE IN " DIOCLESIAN"......... 2 0 6 LADY RAMSAY. 6 THE BLESSED DAMOZEL........ 2 6 6 G. RATHBONE. 6 VOGELWEID THE MINNESINGER (CHILDRLN'S O VOICES) (SOL-FA, 6d.)............ I 6 F. T. READ. THE SONG OF HANNAH........ I O' 6 J. F. H. READ. 6 BARTIMEUS........... 6 o CARACTACUS............. 2 6 6 HAROLD.................. 4 0 OA ORATORIOS, &c.-Continued. 7 J. F. H. READ.-Continued. s. IN THE FOREST (MALE VOICES)... I PSYCHE (CHORUSES ONLY, 2S.)........ 5 THE CONSECRATION OF THE BANNER... I THE DEATH OF YOUNG ROMILLY........ I THE HESPERUS (SOL-FA, 9d.)...... DOUGLAS REDMAN. COR UNAM, VIA UNA (FEMALE VOICES)... I C. T. REYNOLDS. CHILDHOOD OF SAMUEL (SOL-FA, IS.)... 2 ARTHUR RICHARDS. PUNCH AND JUDY (OPERETTA) (SOL-FA, 6d.)... I THE WAXWORK CARNIVAL (OPERETTA)... 2 DITTO DITTO (SOL-FA) 0 J. V. ROBERTS. JONAH.......... 2 THE PASSION.......... I W. S. ROCKSTRO. THE GOOD SHEPHERD....... 2 J. L. ROECKEL. LITTLE SNOW-WHITE (OPERETTA) (SOL-FA, 9d.) 2 THE HOURS (OPERETTA) (SOL-FA, 9d.)...... 2 THE SILVER PENNY (OPERETTA) (SOL-FA, 9d.) 2 EDMUND ROGERS. THE FOREST FLOWER (FEMALE VOICES)... I ROLAND ROGERS. FLORABEL (FEMALE VOICES) (SOL-FA, IS.)... I PRAYER AND PRAISE (OBLONG)......... 4 F. ROLLASON. STOOD THE MOURNFUL MOTHER WEEPING (STABAT MATER DOLOROSA)...... I ROMBERG. THE LAY OP THE BELL (NEW EDITION, TRANSLATED BY THE REV. J. TROUTBECK, D.D.) I DITTO (SOL-FA)...... O THE TRANSIENT AND THEETERNAL (SOL-FA, 4d.) I ROSSINI. MOSES IN EGYPT...... 6 STABAT MATER (SOL-FA, IS.)..... I CHARLES B. RUTENBER. DIVINE LOVE......... 2 ED. SACHS. KING-CUPS.......... I WATER LILIES......... I C. SAINTON-DOLBY. FLORIMEL (FEMALE VOICES)...... 2 CAMILLE SAINT-SAENS. THE HEAVENS DECLARE -CCELI ENARRANT (PSALM 19)..............I W. H. SANGSTER. ELYSIUM............ FRANK J. SAWYER. THE SOUL'S FORGIVENESS...... I THE STAR IN THE EAST....... 2 C. SCHAFER. OUR BEAUTIFUL WORLD (OPERETTA)...... 2 H. W. SCHARTAU. CHRISTMAS HOLIDAYS (FEMALE VOICES)... o SCHUBERT. COMMUNION SERVICE IN A FLAT...... 2 DITTO IN B FLAT...... 2 DITTO IN C...... 2 DITTO IN E FLAT 2 DITTO IN F...... 2 DITTO IN G...... 2 MASS IN A FLAT............. I Do. IN B FLAT............ I DO. IN C................. I Do. IN E FLAT.......2 Do. IN F (SOL-FA, 9d.)..... I Do. IN G............ SONG OF MIRIAM (SOL-FA, 6d.)........ d. 0 6 6 6 6 6 6 6 o 6 8 0 o 6 6 O 0 6 6 o 6 o 8 o 0 0 6 SCHUMANN. s. d. ADVENT HYMN, "IN LOWLY GUISE'"... I 0 FAUST.......... 3 0 MANFRED......... 0 MIGNON'S REQUIEM............... I 0 NEW YEAR'S SONG (SOL-FA, 6d.)..... o PARADISE AND THE PERI (SOL-FA, IS. 6d.)... 2 6 PILGRIMAGE OF THE ROSE...... I 0 REQUIEM............... 2 0 THE KING'S SON......... I 0 THE LUCK OF EDENHALL (MALE VOICES)... I 6 THE MINSTREL'S CURSE...... I 6 SONG OF THE NIGHT...... 0 9 H. SCHUTZ. THE PASSION OF OUR LORD....I 0 BERTRAM LUARD SELBY. CHORUSES AND INCIDENTAL MUSIC TO "HELENA IN TROAS"...... 3 6 SUMMER BY THE SEA (FEMALE VOICES)... I 6 THE WAITS OF BREMEN (FOR CHILDREN)... I 6 DITTO DITTO (SOL-FA) o 6 H. R. SHELLEY. VEXILLA REGIS (THE ROYAL BANNERS FORWARD GO).............26 E. SILAS. COMMUNION SERVICE IN C............ I 6 JOASH................. 4 0 MASS IN C............ I. 0 R. SLOMAN. CONSTANTIA.......... 2 6 SUPPLICATION AND PRAISE....... 2 6 HENRY SMART. KING REN6'S DAUGHTER (FEMALE VOICES).. 2 6 DITTO DITTO (SOL-FPA) I 0 THE BRICE OF DUNKERRON (SOL-FA, IS. 6d.) 2 0 J. M. SMIETON. ARIADNE (SOL-FA, 9d.)............ 2 CONNLA.......... 2 6 KING ARTHUR (SOL-FA, IS.)........ 2 6 ALICE MARY SMITH. ODE TO THE NORTH-EAST WIND...... I 0 ODE TO THE PASSIONS....... 2 0 THE RED KING (MEN'S VOICES)..... I 0 THE SONG OF THE LITTLE BALTUNG (DITTO) I 0 DITTO (SOL-FA)...... 0 8 E. M. SMYTH. MASS IN D.......... 2 6 A. SOMERVELL. ELEGY........... 6 KING THRUSHBEARD (OPERETTA)..... 20 DITTO (SOL-FA)......... 9 MASS IN C MINOR.......... 26 ODE TO THE SEA (SOL-FA, IS.)....... 2 0 PRINCESS ZARA (OPERETTA) (SOL-FA, 9d.)... 2 0 THECHARGEOFTHELIGHTBRIGADE(SoL-FA,4d.) O 9 THE ENCHANTED PALACE (OPERETTA) (SOL-FA, 8d.) 2 o THE FORSAKEN MERMAN....... 6 THE POWER OF SOUND (SOL-FA, IS.)..... 2 0 THE SEVEN LAST WORDS....... I 0 R. SOMERVILLE. THE 'PRENTICE PILLAR OPERA)....... 2 0 W. H. SPEER. THE JACKDAW OF RHEIMS......... 2 0 SPOHR. CALVARY................ 2 6 FALL OF BABYLON......... 3 0 GOD, THOU ART GREAT (SOL-FA, 6d)...... I0 HOW LOVELY ARE THY DWELLINGS FALR... 0 8 HYMN TO ST. CECILIA............ I 0 JEHOVAH, LORD OP HOSTS....... 0 4 LAST JUDGMENT (SOL-FA, IS.)......... I 0 MASS (FIVE SOLO VOICES AND DOUBLE CHOIR) 2 0 THE CHRISTIAN'S PRAYER......... I 0 0 0 6 6 0 0 6 6 6 O 0 0 0 0 0 0 0 0 0 0 0 0 ORATORIOS, &c.;-Continued. JOHN STAINER. s. d. ST. MARY MAGDALEN (SOL-FA, IS.)......2 0 THE CRUCIFIXION (SOL-FA, 9d.)... I 6 THE DAUGHTER OF JAIRUS (SOL-FA, 9d.)... i 6 C. VILLIERS STANFORD. CARMEN SECULARE............ I 6 COMMUNION SERVICE IN G.......... 2 6 EAST TO W EST............... I 6 E DEN..................... 5 0 GOD IS OUR HOPE (PSALM 46)...... 2 0 MASS IN G MAJOR................. 2 6 CEDIPUS REX (MALE VOICES)......... 3 o THE BATTLE OF THE BALTIC....... I 6 THE REVENGE (SOL-FA, 9d.)......... I 6 DITTO (GERMAN WORDS)... marks 2 THE VOYAGE OF MAELDUNE...... 2 6 F. R. STATHAM. VASOC DA GAMA..... 2.. 6 BRUCE STEANE. THE ASCENSION........2 6 H. W. STEWVARDSON. GIDEON...........4 o STEFAN STOCKER. SONG OF THE FATES...... I 0 J. STORER. MASS OF OUR LADY OF RANSOM...... 2 0 THE TOURNAMENT............... 2 0 E. C. SUCH. GOD IS OUR REFUGE (PSALM 46)........ 0 NARCISSUS AND ECHO (CHORUSES ONLY, IS.)... 3 0 ARTHUR SULLIVAN. FESTIVAL TE DEUM (SOL-FA, IS.)......... I 0 TE DEUM (THANKSGIVING FOR VICTORY)... I 0 DITTO DITTO (SOL-FA) 0 9 ODE FOR THE COLONIALAND INDIAN EXHIBITION I 0 THE GOLDEN LEGEND (SOL-FA, 2S.).. 3... 6 T. W. SURETTE. THE EVE OF ST. AGNES... 2 0 W. TAYLOR. ST. JOHN THE BAPTIST... Paper boards 4 o A. GORING THOMAS. THE SUN-WORSHIPPERS............ I 0 E. H. THORNE. BE MERCIFUL UNTO ME............ I 0 G. W. TORRANCE. THE REVELATION............... 5 0 BERTHOLD TOURS. A FESTIVAL ODE......... 0O THE HOME OF TITANIA (FEMALE VOICES)... I 6 DITTO DITTO (SOL-FA)... o 6 FERRIS TOZER. BALAAM AND BALAK........... 2 6 KING NEPTUNE'S DAUGHTER (FEMALE VOICES) I 6 DITTO DITTO (SOL-FA)... 0 6 P. TSCHAIKOWSKY. NATURE AND LOVE (FEMALE VOICES)...... I 0 DITTO (SOL-FA)..... 0 4 VAN BREE. ST. CECILIA'S DAY (SOL-FA, 9d.)......... I o CHARLES VINCENT. THE LITTLE MERMAID (FEMALE VOICES)... I 6 THE VILLAGE QUEEN (FEMALE VOICES) I 6 DITTO DITTO (SOL-FA)... 0 6 A. L. VINGOE. THE MAGICIAN (OPERETTA) (SOL-FA, 9d.)... 2 0 -W. S. VINNING. s. d. SONG OF THE PASSION (ST. JOHN)...... I 6 S. P. WADDINGTON.' JOHN GILPIN (SOL-FA, 8d.)........... 2 0 WHIMLAND (OPERETTA) (SOL-FA, 8d.)......2 0 R. WAGNER. HOLY SUPPER OF THE APOSTLES (MALE VOICES)............... 2 0 W. M. WAIT. GOD WITH US............... 2 0 ST. ANDREW......2 0 THE GOOD SAMARITAN.... 2 0 R. H. WALTHEW. THE PIED PIPER OF HAMELIN.........2 0 H. W. WAREING. PRINCESS SNOWFLAKE (OPERETTA) (SOL-FA, 6d.) i o THE COURT OF QUEEN SUMMERGOLD (OPERETTA) (SOL-FA, 6d.)......... I 0 THE WRECK OF THE HESPERUS...... I6 HENRY WATSON. IN PRAISE OF THE DIVINE (MASONIC ODE)... 2 0 A PSALM OF THANKSGIVING...... I 0 WEBER. COMMUNION SERVICE IN E FLAT...... I 6 IN CONSTANT ORDER (HYMN)...... I 6 JUBILEE CANTATA............... I 0 MASS IN E FLAT (LATIN AND ENGLISH)...... I 0 MASS IN G (DITTO)...... I 0 PRECIOSA.............. I 0 THREE SEASONS........I 0 T. WENDT. ODE................. i 6 S. WESLEY. DIXIT DOMINUS............ 0 EXULTATE DEO.........o... 6 IN EXITU ISRAEL........ 0 4 S. S. WESLEY. O LORD, THOU ART MY GOD...... I 0 FLORENCE E. WEST. A MIDSUMMER'S DAY (OPERETTA) (SOL-FA, 6d.) I 6 JOHN E. WEST. LORD, I HAVE LOVED THE HABITATION OF THY HOUSE.................. I 0 MAY-DAY REVELS (SOL-FA, 4d.) (FEMALE VOICES)............ i 6 SEED-TIME AND HARVEST (SOL-FA, IS.)... 2 0 THE STORY OF BETHLEHEM (SOL-FA, 9d)... i 6 C. LEE WILLIAMS. A HARVEST SONG OF PRAISE....... I 6 GETHSEMANE.................. 2 0 THE LAST NIGHT AT BETHANY (SOL-FA, IS.)... 2 0 A. E. WILSHIRE. GOD IS OUR HOPE (PSALM 46).........2 0 THOMAS WINGHAM. MASS IN D (REGINA CCELI)...... 3 0 TE DEUM (LATIN)............... i 6 CHAS. WOOD. ODE TO THE WEST WIND...... I O F. C. WOODS. A GREYPORT LEGEND (1797) (MALE VOICES)... I o DITTO DITTO (SOL-FA)...... o 6 KING HAROLD (SOL-FA, 9d.)......... I 6 OLD MAY-DAY (FEMALE VOICES) (SOL-FA, 6d.) I 6 E. M. WOOLLEY. THE CAPTIVE SOUL (SOPRANO, MEZZO, CONTRALTO, AND TENOR SOLI, AND CHORUS FOR FEMALE VOICES)........ I 6 D. YOUNG. THE BLESSED DAMOZEL............. i 6 Most of the above Works may be had in paper boards at 6d. each extra, or handsomely bound in cloth, with red or gilt edges, at is., is. 6d., or 2s. each extra. NOVELLO'S Music Primers and Educational Series. EDITED BY SIR JOHN STAINER AND SIR C. HUBERT H. PARRY. s. d. 1. THE PIANOFORTE................ E. PAER 2 2. THE RUDIMENTS OF UL'SIC.............. 'H. CUMMINGS I 0 3. THE ORGAN..................J. STAINER 2 0 4. THE HARSIONIUM.............. KING HALL 2 C, 5. SINGING.............. A. RANDEGGER 4 O 6. SPEECH IN SONG (Singer's Pronouicing PriIieri.)....A. J. ELLIS, F.R.S. 2 0 7. MUSICAL FORMS................. PAUER 2 8. HARMONY.......J. STAINER 2 0 9. COUNTERPOINT............... J.F. BRIDGE 2 0 0. FUGUE............... JAMES HIGGS 2 0 II. SCIENTIFIC BASIS OF MUSIC........... W.H. STONE I 0 12. DOUBLE COUNTERPOINT............ J. F. BRIDGE 2 0 13. CHURCH CHOIR TRAINING........... REV. J. TROUTEECK i 0 14. PLAIN SONG.......... REV. T. HELMORE 2 0 15. INSTRUMENTATION............... E. PROUT 2 0 16. THE ELEMENTS OF THL BEAUTIFUL IN MUSIC........ E. PAUER I 0 17. THE VIOLIN..B............BERTHOLD TOURS 2 0 I8. TONIC SOL-FA.................. J. CURWEN I 0 I9. LANCASHIRE SOL-FA............ JAMES GREENWOOD I 0 20. COMPOSITION................STAINER 2 0 21. MUSICAL TERMS........ STAINER AND BARRETT I 0 22. THE VIOLONCELLO.............. JULES DE SWERT 2 0 23. TWO-PART EXERCISES (396).......... JAMES GREENWOOD I 0 24. DOUBLE SCALES............. FRANKLIN TAYLOR I 0 25. MUSICAL EXPRESSION.......... MATHIS LUSSY 3 o 26. SOLFEGGI (Both Notations) (or in Three Parts, is. 6d. each).. FLORENCE MARSHALL 4 o 27. ORGAN ACCOMPANIMENT............ J. F. BRIDGE 2 0 28. THE CORNET.............. H. BRETT 2 0 29. MUSICAL DICTATION. PartI............. DR. RITTER I 0 30. Do. Do. Part II............. DR. RITTER 2 0 31. MODULATION............... JAMES HIGGS 2 0 32. DOUBLE BASS.............. A. C. WHITE 3 0 32A. APPENDIX TO DOUBLE BASS.. A. C. WHITE 3 0 33. EXTEMPORIZATION............... F.J. SAWYER 2 0 34. ANALYSIS OF FORM, AS DISPLAYED IN BEETHOVEN'S PIANOFORTE SONATAS H. A. HARDING 2 0 35. 500 FUGUE SUBJECTS AND ANSWERS..........A. W. MARCHANT 3 0 36. HAND GYMNASTICS........T. RIDLEY PRENTICE I 6 37. MUSICAL ORNAMENTATION, PartI......... E. DANNREUTHER 5 37A. Do. Do. Part II....... E. DANNREUTHER 5 O 38. TRANSPOSITION............ARRINER 2 0 39. THE ART OF TRAINING CHOIR BOYS...... GC. MARTIN 3 39A. Do. Do. (EXERCISES ONLY).. G.C. MARTIN I o 40. BIOGRAPHICAL DICTIONARY OF fMUSICIANS...... W.H. CUMMIINGS 2 O 41. EXAMPLES IN STRICT COUNTERPOINT. Part I..... GORDON SAUNDERS 3 O 4IA. Do. Do. Part II..... GORDON SAUND>ERS 3 o 42. SUMMARY OF MUSICAL HISTORY......... C. H. H. PARRY 2 o 43. MUSICAL GESTURES.............. F. BRIDGE 2 0 43A. RUDIMENTS IN RHYME... J. F. BRIDGE 0 9 44. BASSES AND MELODIES........... RALPH DUNSTAN 2 6 45. FIRST STEPS AT THE PIANOFORTE...... FRANCESCO BERGER 2 6 46. A DICTIONARY OF PIANISTS AND COMPOSERS FOR THE PIANOFORTE.. E. PAUER 2 0 47. ORGAN PEDAL TECHNIQUE. Part I........... B. W. HORNER 2 o 47A. Do. Do. Part II......... W. HORNER 2 0 48. TWELVE TRIOS BY ALBRECHTSBERGER..........A. W. MARCHANT I 6 49. FIFTY THREE-PART STUDIES (Both Notations)........ J. E. VERNHAIM I 6 50. CHORAL SOCIETY VOCALISATION........ J. STAINER 2 0 50A. Do. THE EXERCISES ADAPTED &ARRANGED FOR FEMALE VOICES A. W MARCHANT I 6 51. TWO-PART SOLFEGGI............. JAMES HIGGoS I 52. HISTORY OF THE PIANOFORTE.......... A. J. HPKN 2 6 53. SCALES AND ARPEGGIOS............ RANKLIN TAYLOi 2 0 54. SONATA FOR.............. W.H. HADOW 2 6 55. A DICTIONARY OP VIOLIN MAKERS. C. STAINER 2 6 56. ANALYSIS OF BACH'S 48 PRELUDES AND FUGUES (or in Four Parts, I each) F. ILIFFE 3 0 57. APPENDIX TO "ANALYSIS OF FORM"....... HA.LING o 6 58. HARMONIZATION OF MELODIES.. J. E. ERNHAM I o 59 " BRAILLE " MSIC-NOTATION (To enable sighted teachers to instr-ct the blind) E. WATSON 7 5 6o. FIVE-PART HARMONY.......... F. E. GLADSTONE2 (To be continued.) * Published in paper boards only. Any of the above may be had strongly bound in boards, price 6d. each extra, wit;, the except`;on o/ Nos. 5, 26, 37, 37A, and 56, which are Is. each extra; and Nos. 47A, 51, and 57, which are only published in paper covers. LONDON: NOVELLO AND COMPANY, LIMITED. ORATORIOS, CANTATAS, &c. PRICE ONE SHILLING EACH. Adams, T.-THE HOLY CHILD. Anderton, T.-THE NORMAN BARON. THE WRECK OF THE HESPERUS. Aspa, E.-THE GIPSIES. Astorga-STABAT MATER. Bach —GD SO LOVED THE WORLD. - GOD GOETH UP WITH SHOUTING. - GOD'S TIME IS THE BEST. --- 'Y SPIRIT WAS IN HEAVINESS. 0 LIGHT EVERLASTING. BIDE WITH US. A STRONGHOLD SURE. - MAGNIFICAT. - THOU GUIDE OF ISRAEL. - JESU, PRICELESS TREASURE. - JESUS, NOW WILL WE PRAISE THEE. WHEN WILL GOD RECALL MY SPIRIT. Barnby, J.-REBEKAH. Beethoven-THE CHORAL FANTASIA. T HE CHORAL SYMPHONY (the Vocal portion). ENGEDI. - MOUNT OF OLIVES. MASS, IN C (Latin Words). -- MASS, IN C. - RUINS OF ATHENS. Bendl, Karel.-WATER- SPRITE'S REVENGE (Female Voices). Bennett, G. J.-EASTER HYMN. Bennett, Sir W. S.-EXHIBITION ODE, I862. Betjemann, G. R.-THE SONG OF THE WESTERN MEN. Blair, Hugh.-HARVEST-TIDE. Brahms, J.-A SONG OF DESTINY. Bridge, J. F. —Rocx OF AGES. - THE INCHCAPE ROCK. - THE LORD'S PRAYER. Bunnett, E.-OUT OF THE DEEP (Ps. 130). Carissimi-J EPHT HAH. Cherubini —*RECQUIEM MASS, IN C MINOR. - THIRD MASS, IN A (Coronation). - FOURTH MASS, IN C. Costa, Sir M.-THE DREAM. Cowen, F. H.-A SONG OF TI-IA NSGoiv ING. Dayies, H. W.-HERV'E KIEL. Dunkley, F. - THE WRECK OF THE HESPERUS. Ellicott, Rosalind F.-ELYSIUM. Franz, Robert.-PRAISE YE THE LORD (II7th Psalm). Gade, Niels W.-ZIoN. - SPRING'S MESSAGE. 8d. - CHRISTMAS EVE. - THE ERL-KING'S DAUGHTER. Garrett, G.-HARVEST CANTATA. Garth, R. M.-THE WILD HUNTSMAN. Gaul, A. R.-A SONG OF LIFE. Goetz, Hermann.-BY THE WATERS OF BABYLON. - NCENIA. Goodhart, A. M. - EARL HALDAN'S DAUGHTER. - SIR ANDREW BARTON. Gounod, Ch.-DE PROFUNDIS (PS. 130). - DITTO (Out of Darkness). - MESSE SOLENNELLE (Latin Words). - THE SEVEN WORDS OF OUR SAVIOUR ON THE CROSS. - DAUGHTERS OF JERUSALEM. — *GAILIA, Gray, Alan.-THE LEGEND OF THE ROCKBUOY BELL. Grimm, J. O.-THE SOUL'S ASPIRATION. Hecht, E.-o MAY I JOIN THE CHOIR INVISIBLE. Handel.-CHANDOS TE DEUM. - ODE ON ST. CECILIA'S DAY. - THE WAYS OF ZION. -- MePSSIAH (Pocket Edition). - ISR.:A L IN EGYPT (Ditto). - JUDAS MACCABEUS (Ditto). - DETTINGEN TE DEUM. -- UTRECHT JUBILATE. - 0 PRAISE THE LORD. ACIS AND GALATEA. - ACIS AND GALATEA. Edited by J BARNEY. - 0 COME, LET US SING UNTO THE LORD. DIXIT D OMINUS. Haydn.-THE CREATION (Pocket Edition). SPRING. SUMMEIR. AUTUMN. WINTER. — 'FrRST MASS, IN B FLAT. - F] ST MASS, IN B FLAT (Latin). STECOND MASS, IN C (Latin). THIRD MASS (Imperial). (Latin). - THIRD M-ASS (Imperial). - I E DE LM. Hiller, Dr.-A SONG OF VICTORY Hofmann, H.-SONG OF THE NORNS (Female Voices.) Holland, C.-AFTER THE SIRNISi-R. LONDoN: NOVELLO AND COMPANY, LIMITED. ........,- -,...- 1 — - UN1N FRSSV OF VICt iGA i I tll ll tl!ii) I fi t tll lll -fil t I lttIII I [lit i i 3 9015 00959 4840 ORATORIOS, CANTATAS, &c.-continued. ~*Hummel.-FiRT T MASS, IN B1 FLAT, Prout, E.-FREEDOM. - SECOND MASS, IN E FLAT. - THE HUNDREDTH PSALM. - THRD MASS, IN D. PUrcell.-TE DEUM AND T; IS-. ATE, IN D. HUSs, H. H.-AVE MARIA (Female Voices.) - TE DEUM IN D. Edited by J. F. BioDSE. F Iliffe, F.-SWEET ECHO. Read, J. F. H.-IN THE FOieiST Male V.). Jensen, A.-THE FEAST OF ADONIS. Read, F. J.-SONG OF HANNAH. Kilburn, N.-THE LORD IS MY SHEPIIERD Romberg.-THE LAY OF THE BELL. (Sd.) -- TIlE TRANSIENT AND THE E-TERNAL. - BY THE WATERS OF BABYLON. ROSsiii.-.STABAT MATER. King, Oliver.-THE SANDS ' DIIE. Sach, Ed.-WATER LILIES. Leo, Leonardo.-DIxIT DOMINus. Sangster, W. H.-ELVSIUM. Lloyd, C. Harford. — THE SONG OF Sawyer, F. J.-THE SOUL'S FORGIVENESS. $;BALDER. Schubert.-SONo OF MIRIAM. 4; MacCunn, H.-LORD ULLN'S DAUGHTER. ASS N A FLAT. f Macfarren, G. A.- -OUTWARD BOUND. MIASS, IN B FLAT. --- MAY DAY. - MASS, IN C. Mackenzie, A. C.-THE BRIDE. - MASS, IN F. Masser, J, T.-HARVEST CANTATA. - MASS, IN G. Schumann.-TnE PILGRIMAGE OF THE Mee, J. H.-HORATIUS (Male Voices), Shum. - T P AGE OF HE - DELPHI (Male Voices). i- THE S SO. Mendelssohn.-ST. PA.UL Pocket Edition). - MICxoNsN REQUIEM. - ELIJAH (Pocket Edition). - ADVENT HYMN, "IN LOW-LY GUISE." s- LORELEY. - MANFRED. --- HI'MN OF PRAISE. - NEW YEAR'S SONG. --- A THE HART PANTS. Schutz, H —THE PASSION OF OU't I.ORD. - COME, LET US SING. - WIIEN ISRAEL OUT OF EGYPT CAME. Silas, E. —Mss, IN C. - NOT UNTO US. Smith, Alice Mary.-THE SONG O( THE -- LORD, HOW LONG. LITTLE BALTUNG (Men's V(dces). — j EAR MY PRAYER. -- ODE TO THE NORTH-EAST WIND. - THE FIRST WALPURGIS NIGHT. - THE RED KING (Men's Voices). - MIDSUMMER NIGHT'S DREAM. Spohr.-THE LAST JUDGMENT. --- AN IS MORTAL. - GOD, THOU ART GREAT. - FESTGESANG (Hymns of Praise). - THE CHRISTIAN'S PRAYER. -- FESTGESANG (Male Voices). - HYMN TO ST. CECILIA. -- CHRISTUS. A Such, E.C. —ODIS OURR REFUGE (Psalm 46). -- TO THE SONS OF ART. - AVE MIARIA (Saviour of Sinners). SulliVan, A.-EXHIBITIO ODE. —:THREE MOTETS (Female Voices). FESTIVAL TE DEUM. Meyerbeer.-q-ST PSALM (Latin War.1). Thomas, A. Goring.-THE SUN WOR- 91ST PSALM (English Words). SHIPPERS. Mozart.-KIsx THAMOS. Thorne, E. H.-BE MERCIFUL UNTO ME. -*1IRST IMASS. Tours, B.-A FESTIVAL ODE. - SEVET SS (Latin), TschaYkowsky, P.-NATURE.-ND LOVE. - TWELFTH MASS (Latin). -*TWELFTH MASS. Yan Bree.-ST. CECILIA'S DAY. - REQUIEM MASS (Latin). Waller, Hilda.-THE SINcERS (Female -- REQUIEM MASS. Voices). A Mundella, E.-VICTORY OF SONG (Female Weber, C. M. Yon.-PRECIOSA. V ioices. — IMASS, IN G. Paine, R. P.-THE LORD REIGNETH (PS. 93) -— *.SS, IN E FLAT. Parker, H. W.-THE KBOLDS. - BILE CTATA - THREE SEASONS. Parry, C. H. H.-BLEST PAIR OF SIRENS.;' W I Yesley, S.-DIsIT DOMINI S. i Hi GLORIES OF OUR BLOOD AND STATE. Wesley DoI.,- Pergolesi.-STABAT MATER (Female V.). Wesley, S. S.-O LORD, T.- ART l GOD. Pinsuti, C,-PHAsNTOMS. Wood, C.-ODE TO THE WEST VV'IND. * The Works marked * have Latin and English Words. L LONDON: NOVELLO AND COMPANY, LIMITED. L;I p~; - - - In,.2 -r NOVELLO'S Music Primers and Educational Series. EDITED BY SIR JOHN STAINER AND SIR C. HUBERT H. PARRY. I. THE PIANOFORTE............ E. PAUER 2. THE RUDIMENTS OF MUSIC..............W. H. CUMMINGS 3. THE ORGAN................J. STAINER 4. THE HARMONIUM.............. KING HALL 5. SINGING... A. RANDEOGER 6. SPEECH IN SONG (Sing'er's P;roIouncing Primer').. A. J. ELLIS, F.R.S. 7. MUSICAL FORMS............... E. PAUER 8. HARMONY................ J, STAINER 9. COUNTERPOINT............... J. F. BRIDGE o10. FueGUE.............. JAMES HIGGS II. SCIENTIFIC BASIS OF MUSIC........... H. STONE 12. DOUBLE COUNTERPOINT............ J. F. BRIDGE 13. CHURCH CHOIR TRAINING..........REV.. J. TROUTBECK 14. PLAIN SONG........ REV. T. HELMORE 15. INSTRUMENTATION............ E. PROUT 16. THE ELEMENTS OF THE BEAUTIFUL IN MUSIC.... E. PAUER 17, THE VIOLIN..............::BERTHOLD TOURS 18. TONIC SOL-FA.J. CURWEN 19. LANCASHIRE SOL-FA.....JAMES GREENWOOD 20. COMPOSITION................ STAINER 21. MUSICAL TERMS.......... STAINER AND BARRETT 22. THE VIOLONCELLO..............JULES DE SWERT 23, TWO-PART EXERCISES (396)........... JAMES GREENWOOD 24. DOUBLE SCALES............. FRANKLIN TAYLOR 25. MUSICAL EXPRESSION........... MATHIS LUSSY 26. SOLFEGGI (Both Notations) (or in Three Parts, I., 6d. each).. FLORENCE MARSHALL 27. ORGAN ACCOMPANIMENT...J. F. BRIDGE 28. THE CORNET.............. H. BRETT 29. MUSICAL DICTATION. Part I............. DR. RITTER 30. Do. Do. Part II............. DR. RITTER 31. MODULATION............. JAMES HIGGS 33. DOUBLE BASS........A. C. WHITE 32A. APPENDIX TO DOUBLE BASS........A. C. WHITE 33. EXTEMPORIZATION........ F. J. SAWYER 34. ANALYSIS OF FORM, AS DISPLAYED IN BEETHOVEN'S PIANOFORtTE SONATAS H. A. HARDING 3500 FUGUE SUBJECTS AND ANSWERS......... A. W. MARCHANT 36. HAND GYMNASTICS........ T. RIDLEY PRENTICE 37. MUSICAL ORNAMENTATION. Part I...........E. DANNREUTHER 37A. Do. Do. Part II........... E. DANNREUTHER 38. TRANSPOSITION.............. WARRINER 39. THE ART OF TRAINING CHOIR BOYS.... C. MARTIN 39A. Do. Do. (EXERCISES ONLY).. G. C. MARTIN 40. BIOGRAPHICAL DICTIONARY OF MUSICIANS.......W. H. CUMMINGS 41. EXAMPLES IN STRICT COUNTERPOINT. Part I.... GORDON SAUNDERS 4IA. Do Do. Part II..... GORDON SAUNDERS 43. SUMMARY OF MUSICAL HISTORY.C.... H. H. PARRY 43. MUSICAL GESTURES.............. F. BRIDGE 43A. RUDIMENTS IN RHYME............ J. F. BRIDGE 44. BASSES AND MELODIES...........RALPH DUNSTAN 45. FIRST STEPS AT THE PIANOFORTE..... FRANCESCO BEoGER 46. A DICTIONARY OF PIANISTS AND COMPOSERS POR THE PIANOFORTE.. E. PAUER 47. ORGAN PEDAL TECHNIQUE. Part J........... B. W. HORNER 47A. Do. Do. Part II... B........ B.W. HORNER 48. TWELVE TRIOS BY ALBRECHTSBERG......... A, W. MARCHANT 49. FIFTY THREE-FART STUDIES (Both Notations)..... J. E. VERNHAM 50. CHORAL SOCIETY VOCALISATION.... STAINER 5OA. Do. THE EXERCISES ADAPTED & ARRANGOID FOR FMALs VOICES A. W. MARCHANT 5wr TWO-PART SOLFEGGI........... JAMES HIGGOS 52. HISTORY OF THE PIANOFORTE...... A.J. HIPKINS 53. SCALES AND ARPEGGIOS.......... FRANKLIN TAYLOR 54. SONATA FORM............ W. H. HADOW 55. DICTIONARY OF VIOLIN MAKERS.. C. STAINER 56. ANALYSIS OF BACH'S 48 PRELUDES AND PUoUtS (or in Four Parts, Is, each) F. ILIFFE 57. APPENDIX TO " ANALYSIS OF FORM '......... H. A. HARDING 58. HARMONIZATION OF MELODIES J. E. VERNHAM '9. " BRAILLE " MUSIC-NOTATION (To eable sighted teachers to instruct the blind) E. WATSON 6o. FIVE-PART HARMONY,,..... F.. GLADSTONE 6z. THE VIOLA (Edited by ALFRED Grison).... B...T..BTOL TOURs 62. HARMONICS AND RESULTANTS............C. E. LOWE 63. BREATHING FOR VOICE PRODUCTION..... H. H. HULBERT s. d. 2 0 1 o0 2 0 2 o 4 0 2 0 2 0 2 o0 o0 2 o0 o0 2 0 I 0 2 0 2 o0 1 0 2. X o 40 I 0 2 o 4 (0 2 1 I 0 3 0 20 2 0 3 0 3 0 20 2 0 3 o 30 o 50 20 3 o0 0 2 0 3 o0 20 2 0 o g 26 20 2 6 2 6 1 6 2 0 6 0 o 6 2 6 3 o o 6 0 6 It. II iI ~1 32 I 21I 3 3 3 o (To be continued.) * Published in paper boards only. Any of the above mnay be had strongly bound in boards, price 6d. sach extra, ik th e excption of Nos. 5, 26, 37, 37A, and 56, which are is. each extra; and Nos. 43A, 47A, 51, and 5, which are only published in paper covers. LONDON: NOVELLO AND COMPANY, LIMITEb. Ij