,

HARMONIUM MUSIC
PUBLISHED BY

NOVELLO,
I,

EWER &
80

CO.,
(E.C.)

BERNERS STREET

(W.),

AND

&

81,

QUEEN STREET

s.

s.

Bach, J. S.

Gavotte in

D minor, arr. by FOrster

Becker, C. F.

by L. A. Zellner Ernste Lieder ohne Worte ... BiBL, E. Collection of pieces by eminent composers. Op. 27. 10 Books ... each Ditto, ditto. each Op. 29. 10 Books BocoHEKiNi. Menuet Beede, a. Twelve Melodious Pieces. Op. 3
Passacaglia, arr.
<

2 2
2
1 1 1

BrovTOjA. H. Twenty Original Voluntaries... Calonne, L. de. Five Easy Transcriptions of

Celebrated Pieces
Chopin.

by

Pergolesi,

Weber,

and Schubert. Op. 101.

minor. Valse in Arr. by J. Skiwa

2 Books each Op. 34, No. 2.

Funeral March, arr. by J. Leybach Claus, H. Feierstunden. Sechs Lieder ohne Worte. Op. 4. 2 Bodks ... each Trauermarsch. Op. 6 Triumphal March. Op. 7 CoBELii, A. Celebrated Adagio, arr. by

HeUmesberger ... DcEAHD. Eomance and Gavotte from Thomas's

Mignon
Elijott, J. W. Six Original Pieces ... Voluntaries, arranged for the Harmonium. Vols 1 & 2, cloth, gilt edges each Or in 6 Books, each containing 60 Volun. . .

4
1

taries

...

...

...

...

each

Harmonium Treasury.
Pieces,

A Series of Select
Two
each 10 each 1
...

Sacred and Secular. Volumes, bound in cloth Or 51 Numbers Engel, Louis. Twelve. Sacred Airs ...

Or singly
1. 2.

each
Stradella.
,

Air, 17th Century On mighty pens ( Creation)

Haydn.
,

3. 4.

6.
6. 7. 8. 9.

Agnus Dei (let Mass) Cujus animam (Stabat Mater) Dead March (Saul) Lord remember David Holy, Holy

Mozart.
Bossini.

...
,

Handel.

10. 11. 12.

Angels ever bright and fair Qui tollis (12th Mass] Eia Mater (Stabat Mater) He shall feed His flock (Messiah) Pastoral Symphony ...

Mozart.
Bossini.

Handel.

Six Melodies, by Schubert Orsingly 4. L' Adieu. No. 1. Ave Maria.

2. 3.

2
each

Hark, hark the

lark,

5.

Serenade.

The hunter, 6. Hark, the bell is tolling. Andante et b6lero ... 3 Fessv. Oavatine de Torquato Tasso. Caprice ... 3 Fantaisie sur le chceur du Domino Noir... 2 Reminiscence dn Stabat Mater de Rossini 2 Six morceaux sur des motifs de Rossini,

Auber

et Donizetti, in 2 Books...

each

HARMONIUM MUSIC.
6.

s.

a.

Lefebure-Wely, A. Pantaisie originale Douze Pens6es Musicales, in 2 Books, each Douze Petites Fantaisies,Bks. 1 & 2, each Pantaisie sur Guillaume Tell Fantaisie sur I'Elisire d'Amore Heures de Loisir. Morceaux de Salon I.Adam, Cantique deNoBl. Transcription 1
2. MaBsfi, Souvenirs,

3 3
6

LiCKL, C. G.

Fantaisies sur des Repertoire. Motifs favoris des Operas de Verdi

:

1.

3.

Komanoe. Ditto Venite adoremus. Chant de NoSl

...

1 1

Legons methodiques. Op. 19 Les Veilleurs de Nuit, Episode Musicale

Mazurka brillante Romance sans paroles.

Lemmens, J.

Op. 92

Six Original Voluntaries

Leybach, J. Balladine Canzonetta Napolitana ... Les Bateliers de Venise (Caprice BriUant) Meditation etPriere. 2 Morceaux religieux Pastorale et Idylls. 2 Morceaux caractSristiques

2
1
G

Prilre

du

Soir

Ronde

villageoise.

Pantaisie pastorale...
brill.

Tyrolienne et Valse
caract6ristiques
...

2 Morceaux
arr.
...

Funeral March hy Chopin,

LicKL,

C. G. Bouquet Musicale, Pieces de Salon, 9 Books ...each Is. 6d. to

all

Cadences (Twenty-four), in
CsBcilie.

the keys

Collection of Favourite Pieces in 39 Books, Nos. 1 to 39 each Is. 6d. to

Guirlande musicale, Pantaisies motifs des Operas de Verdi

:

sur des

1. I

2. 3.
5.

due Foscari ... Ernanl Nabucodonosor

i!

6.

Macbetli

4. I

Lombardi

...

3 3 3

6
6

7. Stiffelio...
8. Eigoletto 9. II

6
6

Giovanni d'Arco

10.

La

Trovatore Tiaviata

Harmoniestacke.
.

Op. 8G, 4 Books each Helikon CoUecti on of Classical Melodies

:

Book

1.

2.

Haydn, Chor. a Die Sohbpfung. Mozart, Abendempfindung. Beethoven, Busslied Schubert, Die Nebensonnen; Aufenthalt. Weber, Gloclilein im Thale. Spohr.
Chor. a. Faust Auber, Schlummerlied
Portioi.
Bo'ieldieu,

1
a.

3.

Die Stumnie von Eomanze a. Die weisse

u.

Meyerbeer, Andante religioso Komanze a Die Hugenottea

Frau.

Herbst Violen, Op. 81, Melodious Movements in 6 Books each

Hesperus,
Recollections
.

of the

most
each
1

favourite Opera Airs

1

Mozart, Die Zauberflote.

Haydn, Creation.
Seasons. Schubert, Schwanengesang.
Bellini,
13.

2.
3. 4.

Don Giovanni ,, Melodien einiger Deulsohen

5. Haslinger,
7. 8.

Kirchenlieder Die Glocke. 6. Auber, Masaniello.

14.
15. 16.

Norma. Weber. Buryanthe

ditto

1 1

6
fi

Beethoven, Fidelio.
Schubert, Winterreise.

Wagner, Lohengrin
Tannhauser...

1
1

KlangederAndacht. Eine Sammlung von Kirchenliedern u.Choralen,inlO Books ea. 1 Le Prolongement. Fantasia 2 Mai-Bliithen, Op. 87, Harmonische Satze. Books 1, 2, and 3 ... each 1 Sommer-Malven, Op. 88, Harmonische Satze, Books 1, 2, and 3 ... each 1

HARMONIUM MUSIC.
d.

PIANOFOETE AND HAEMONIUM ACCOMPANIMENTS.

obviate the difficulty experienced by such Country Choral Societies as are unable to procure the assistance of an orchestra for the performance of complete works, Messrs. Novello, EwEB & Co. are publishing arrangements of the Orchestral Accompaniments of many popular works for Pianoforte and Harmonium. The following are now ready
:

Elliott, J. W. The Crusaders (Gade) Engel, L. Six Duets

:

6
1

No.

1.

Marion

Eilge].
;

To

2.
3.

La Sonnambula

...

Bellini.

2
2
1
1 1

Adelaide Beethoven. Eossini. Egitto ... 5. Serenade and Ave Maria Schubert. Mendelssohn. 6. Lied ohne Worte
4. Mosfe in

6 6

Eenst, H.
No.

W.

Elegy.

Op. 10,

arr.

by Lickl
:

s.

d.

Pbssy and Heez.

1.

Deux

duos concertants
3 3

StekndAlb Bennett's "MayQueen" (J. Lemmens)

Cavatine de Vacoaj

Eossmi's " Stabat Mater " (J. Lemmens) 6 Stainer's "Daughter of Jairus" (W. Hodge) 5 Macfaeren's "May -Day" (Windeyer Clark) 5 Mendelssohn's " Elijah " (E. Prout) 10 Mozart's Twelfth Mass (Windeyer Clark) 7 Mendelssohn's "Lauda Sion" (Windeyer Clark) 5 Baenby's " Eebekah " (King Hall) 5 Gade's " The Crusaders " (J. W. Elliott) 7 Spohr's " God, Thou art great" (King Hall) ... 2
. .

2.

Thfeme de Beethoven

9 9
. .

6
6

Flotow. Ov. Martha, transcribed by Soyka Flugel, E. Four Original Duets. Op. 14 ... Feank, C. Prelude, Fugue, and Variations. Op. 18
Gade, N. W. Andante from fourth Symphony. Op. 20, arr. by Krebs Scherzo from ditto, ditto
^"

6 6

The Crusaders,
GoTjNOD, Ch.

arr.

by

J.

W.

Elliott

...

MUSIC FOE HAKMONIUM & PIANOFOETE.

Alberti, H.
1.

Bach's Meditation Hymne ei Sainte Cecile . Marche Solennelle Nazareth, arr. by Bertram

-Trios des

Amateurs.
11. 12. 13. 14. 15.

Op. 55,
I Puritani.

ea.

2.
3.

La Nozze di Figaro. La Dame Blanche. Don Juan.

Norma.

Serenade ... ... Guilmant, a. Pastorale.

Jean de

Paris.

Marche triomphale.
Scherzo-Capriccioso.
Elegie.

Fledermaus.
Fatiuitza.
II

Op. 26 Op. 34 Op. 36

4. 5.
6.

Op. 44

La Fltte

Enchantee,

Trovatore.

Ballet des Sylphes, from

"La Damnation
ditto, ditto

7.
9.

Der FreischUtz;. La Sonnambula.

16. Eigoletto. 17. Ernani. 18. Nabucoo. 19. Martha.

de Faust," by

H.

Berlioz

8. Preciosa.

Marche hongroise, from

Eomo

et Julie.

10. Oberon. 20. Donna Juanita. Bach, J. S. Meditation, arr. by Gounod Barney's " Rebekah " (King Hall) Beethoven. Adagio and Andante, from Violin Op. 9, arr. by Jos. Schsffl Trio. Adagio, from Sonata, C minor. Op. 10, No. 1, arr. by J. Leybacli Adagio, from the fourth Symphony, arr.

2 5
2 2

Handel. Largo HiLLER, F. Zur Guitarre. Op. 97, arr. by Soyka Grand Duo, arr. from the Septet. Hummel. Op. 74, by Neukomm ... each Kalliwoda, J. W. Two Adagios

Ketteebe,

E.,

and A. Miolan.

Guillaume Tell,
...

Fantaisie de Concert

by A. Trutschel Adagio molto e cantabile, ninth Symphony Andante con moto, from the fifth Sym. Andante, from Quintet. Op. 4
Andante, from Quintet.
Op. IG

6
6

Grande Sonate path6tique,0p. 13,by Lickl Bennett, S. The May Queen, arr. by Lemmens Blow gentle gales, arr. by Bishop, Sir H. R. J.W.Elliott BoccHEEiNi. Menuet, arr. Robert le Liable, grand duo BmssbN, P. caractSristique. Op. 69
k Mendelssohn. Three-Part Song, without words Requiem, C minor, arr. by Cherubini, L.
Caleiit, J.

6 6

G
1

B.

Hommage

J. van Boom Ov. " Paniska,"

10
arr.

as Piano duet with

... ... ...

Harmonium, by Lickl
Chopin, F.

6
6

Funeral March,

arr.

by R. de Vilbac

DEiNNBNBEEa, J. Souvenir de "Tannhauser"... Six Movements from MenElliott, J. W.

delssohn's

4 2
5

Elijah
1 1 1 1
1

No,

your hearts 2. It is enough 3. He watching over Israel 4. For the mountains

1. If

with

all

3
6

5.
6.

Then

shall the righteous

come, every one

3 3 8

HAEMONIUM MUSIC.
s.

d.

8.

d.

LicKL, C. G. Cypressen. In 3 Books

Slow

movements.
each
3
1 6

Mendelssohn.

Two Andante Movements, from

3

Quatuor from Rigoletto Eeminiscences de Martha Reminiscences de Prophets Den Manen, slow movements from works of Mozart, Beethoven, and Schuhert
:

Arr, by Soylca ditto. Introduction and Allegretto, from Hymn of Praise. Arr. by Landskron Nocturne from the Midsummer Night's
_

2
2 2 3

No.

1.

2. 3.

Mozart, Adagio (Quintet in E flat) Beethoven, Larghetto (second Symphony)

Allegretto (seventh

...

Symphony)

4. Sohubertj three 5.
6.

Songs

Mozart, ditto Beethoven, Marchefunfebre (third Symphony) 7. Mozart, Andante (G minor Symphony), and Air from Figaro 8. Beethoven, Allegretto (eighth Symphony),

arr. by G. Merkel Songs without words (Op. 30, No. 1 and Op. 38, No. 1) arr. by 0. Urban ... Op. 65. Six Sonatas for the Organ. each Arr. by R. Bibl Menzel, 0, Arrangements. Op. 3

Dream,

Two

No.
2
G

1.

2. Busslied,

Die AUmacht, by Schubert by Beethoven

MozABT.

and Adagio
10

(Septet)

Andantes from the Piano-Concertos. Arr. by Besozzi:

each
16 to 19

9. Schubert, three

Songs

1,3,6,7,9,20,21
2, 4, 5, 10, 12, 13, 14,

3
3

ditto

11. Beethoven, Andante from Trio. Op. 97 ... 12. Mozart, Larghetto and Terzetto from Don Giovanni and Introduo'tion to the Kequiem

8, 11,

15

Ov.

Don

Giovanni.

Piano Duet and Har.

Helikon.

Collection of Classical Melo...

:

dies. Three Books ... Wiener Salon Musik. Op. 51

'

each

No.

1.

2.

Six Songsby-Proch Two Potpourris from

MassNo.l2,inG.,arr.byWiudej'er01ark Sonata for Two Violins, Bass, and Organ, ... ... ... arr. by Waldersee Third Movement from Quintet in G minor,
arr.

7 2

Norma
6
G

by F.

W.

Kirchner

3. 4.
5. 6.

7. 8. 9.

Seven Songs by Schubert Two Potpourris from Sonnambula Ditto from I'Elisire d'Amore Potpourri from Puritani Two Potpourris from Lucia Songs by Lickl, Schubert, Lachner, Beethoven

Onslow,

M. G.

Andante from Quartet,. Op.

G

6
6

and
6 6 6
G

10. 11.

12. 13. 14. 15.

16. 17.
18.

Six Elegies ... Haydn's Passion Beethoven's Grand Septet Mozart's Kequiem Two Potpourris from Le Prophete Ditto from Lea Huguenots Ditto ditto Beethoven, three slow movements Mozart, four pieces Slow movements by. Haydn, Mozart, Scliubert,

2 Arr. by T. Scheffl 24. ... 1 Adagio. Prom ditto. Op. 25... .... 1 Cavatina, arr. by L. Kern ... Raff, J. Sacred Melody. Ravina, H. Adoremus. .. 2 Op. 72a Collection of Immortellen. Reinhaed, a. Classical and Modern Pieces. Op. 15 :^
No.
1.

6
6
6

2.
3.

Schubert, Adagio from Sonata in C minor ... Mozart, Aguus Dei and Tuba Mirum from the Requiem

2 2 3 2

Beethoven, Funeral March from the Heroica

6 6

4. 5.

Thiime with Variations from do.

phony

Symphony Hummel, LiContemplazione from Op.

177...
...

and Beethoven

4
6

6.

Beethoven, Allegretto from the Eighth

Sym-

19.

20. 21. 22. 23.

Ditto by Pergolesi, Haydn, and Mozart ... Ditto by various composers Ditto Ditto by Onslow Quartet from Eigoletto and Henselt, Lied

4 4
3 3

6
6

ohne Worte 24. Seven Songs by Schubert Pergolesi, 25. Stabat Mater
Winter, Eequiem 2 ?. Beethoven, Mass in 28. Selection from Eobert.
2(5.

4
7
8 8
6

2 Mendelssohn, Chorus from the 42nd Psalm, " As the hart pants " 1 8. Three Songs without words. Op. 53, No. 2 Op. 85, Nob. 1 & 4 2 Chorus from St. Paul, " How lovely are 9. the messengers " 10. Mozart, Adagio from the Clarinet Concerto 11. Marschner,Komance from the Trio in minor 12. Mendelssohn, AndantefromtheViolinConcerto
7.
;
I
1
'.

6
6

G G

29.

Ditto

ditto

Book Book

1.

II

4 5

0-

Rossini.

Liszt, T.
Nos. 1

Soirees Musicales de Rossini, arr.

hy V.

Micko :
3

2&4

&

each

,5&G Macfarren, .G. a. May -Day (Windeyer Clark) S Op. 210, Matee, Ch. Morceau Elegant. No. 4. Arr. by Soyka 1 Lieder ohne Worte. Arr. by Mendelssohn. Lickl. 8 Books ... ... eacla r^ Eight ditto, from the above. Arr. by Lickl 4: 10 El^h, arr. by E. Prout Lauda Sion, arr. by Windeyer Clark 5 War March- of th Priests, Athalie, an".

2 2 3

Stabat Mater. Arr. by Lemmens Ov.GuillaumeTell. Piano Duet with Har. Sachs, M. E. Three little Duos. Op. 8 ... Saint-Saens, C. Six Duos. Op. 8 1. Fantasia and Fugue 6 4. Capriccio... 4 6
:

4
2
6

2. 3.

Cavatina Choral

5.

6.

Scherzo Finale

...
...

4 4

6
6

Schubert, F.
,

Two Movements from

Symphony
in

the

Un4

finished

minor

Overtures and Entr'actes. Arr. by Zellner : No. 1. Overture Eosamunde 6

2.
3.

4.

Two Entr'actes from ditto Ov. Alphonso and EstreUa Ov. Fierrabras

...

...

3 2

byJ.W.
-.

Elliott

Ov. EuyBlas. Arr, by T. Krebs Two The VioUn Op. 49 and 66

C. ... Trios and Violoncello parts transcribed for

.

Schumann, R. Abendlied. Op, 85, No. 12. Arr. by Stade JCinderseenen. Op. 15. Arr. by Soyka Larghetto (Symphony in B flat. Op. 38.) Paradise and Peri. Arr. by Soyka.

2 4
2

Harmonium

. . ;

each

Books 1 and 2, 3s. ; Book 3 Spohr's " God, Thou art great " (King Hall)... Statner, Dr. J. Daughter of Jairus ( W. Hodge)

. . . ..

HARMONIUM MUSIC.
s.

d.

Stapi', E. Musikalische Unterlialtungen. No. 1 Adelaide (Beethoven) 2. I would that my love (Mendelssohn) 8. Ob Bie meiner wohl gedenkt (Proch) 4. Abendempfindung (Mozart) 5. An Chloe (Mozart) 6. Two Nocturnes (Field)

Op. 3:
2

Wagnee,

E... Elsas Brautzug zum MUnster. AJr. by H. Claus Ov. Lohengrin. Arr. by ditto Transcriptions, Lohengrin. By Soyka:
1. Elsa'3

Beethoven. ThSme vari6 from Septet, arr. for Piano, Har., Violin, and Cello, by Haubenfeld Berens, H. Gruss an die Nacht. Serenade for Violin, Piano, Cello, and Harmonium... BoBHM, Th. Theme with Variations, Gott erhalte Pranz den Kaiser, Piute and Har. Brisson, p. Casta Diva, from Norma, arr. for Harmonium, Piano, and Violin
'-

3
1 1

6
G

3
3

La

Charity,

by

Rossini, arr. for ditto

arr. for ditto
...

No.

Traum

2.

Lohengrin's Verweis

2 2

La Sonnambula,
6
G 6

Das Rheingold. Eeminiscences. Kern WiSBEE. Adagio and Eondo LesAdieux. Op. 81. Arr. by P. Schimak "Westbeook, "W. J. March in E ilat

Martha,

arr. for ditto,

Op. G6

Norma, arr. for ditto. Op. 58 ... Trio, from Guillaume Tell, arr. for ditto CnoriN. Funeral March for Harmonium and

3 3 3

9 9
6 6

4
2 3
G

MUSIC FOE HAEMONIUM WITH OTHEE INSTEUMENTS.

Alberti, H. Trios des Amateurs. Op. 55, arr. for Piano, Har., Violin, and Cello each -. arr. for Piano,- Har. and Violin ... each arr. for Piano, Har. and Cello each No. 1. La Noce de Figaro. No. 11. I. Piiritani.
. . .

Violin or Violoncello, by B. W. Ritter Cohen, Jul. Miserere, from Trovatore, arr. for Piano, Har., Violin or Cello ... Adagio and Allegro for Violins, CoEKLLi.
Violoncello, Bass, Harp,

and Organ or 2
1

s.

d.

Harmonium
Ditto, for Violin, Piano,

3 3 3

and Harmonium

2.
3.

La Dame
Norma.

blanche.

12.

Jean de Paris.

Don Juan.
La
Der
Fliite Enohantde. Freisohtttz.

4.
6. 6.

13. Fledermaus. 14. Fatinitza. 15. II Trovatore. 16. Eigoletto.

7.

La Sonnambula.

17. Ernani,
18. Nabucco. 19. Martha. 20. Donna Juanita.

8. Preeiosa.
9. Eomeo et Julie. 10. Oberon.

Dubois, Th. Meditation Prifere, for Violin, Organ, Harp and Piano Dvorak, A. Bagatellen for Two Violins, Violoncello, and Harmonium or Piano. Op. 47 Ersfeld, C. Schlurumerlied for Two Violins and Harmonium. Op. 11 GoDEFROiD, F. Prifete des Bardes. Meditation, for Piano, Har., Violin or Violoncello . GoiTEEMANN, G. Hymn from Medea (Cheru'

bini), for Violin, Cello,

Har. or Piano

...

AuBER, D. P. E.

Eomance and Chorus from

Noir, for Pianp, Violin or

Le Domino
Violoncello,

and Harmonium

...

3 3
0-

Marche Heroique, for Piano Duet, Violin, and Har. Op. 73 Walther's Lied from Meistersinger, for Violin or Violoncello and Harmonium
GorifOD, Oh.

Bach, J.

Meditation for Piano, Har., Violin or PInte or Cello, by Ch. Gounod

S.
. .

Harulonium and Violin Harmonium and Piute ditto, arr. for Harmonium and Violoncello Adagio, arr. for Violin, Piano, and Harmonium, by H. U^rban ... Aria from Suite in D, for Violin or Violoncello and Piano or Harmonium
ditto, arr. for
ditto, arr. for

Hymne k Sainte 06cile. Meditation Religieuse, for Violin, Har. & Piano La Jeune Religieuse de Schubert; Transcription for Violin, Violoncello, Har-

Bach, J. S. Meditation on the Third Prelude, for Piano and Violin, or Piute or Violoncello, with accompaniment of Organ or Har-

monium, and Piano Serenade for Piano, Har., and Violin ... GuiLMANT, A. Melody for Violin, with accompaniment of Piano and Harmonium Handel. Largo for Violin Solo, with Harmonium and Piano Lebeau, a. Meditation Religieuse on an Ave Maria by Benoit, for Piano, Organ, and
. .

monium, by Carl Kossmaly

Meditation on the Twelfth Prelude, for Violoncello or Violin, or Horn and Piano
or

Violin or Violoncello

...

Lefebure->\'blt.
1

Harmonium, by Carl Kossmaly Bach, E. Priihlings Erwachen, Romance for Harmonium, Violoncello or Violin, and
Ein Blumchen der Einsamkeit, Idyll for Harmonium, Violoncello or Violin,& Piano Adagio from Septet, for Piano, Beethoven. Har. and Cello or Clarionet, by Haubenfeld Benedictus from Mass in D, arr. for Piano, Violin, and Harmonium Op 10, Largo in D minor, from Sonata. No. 3, arr. for Piano, VioHn, Violoncello, and Harmonium, by J. Sachs No. 4, Op. 18, in ,C minor, Quartet.
^

Piano

Cantique de No6l, d'A. Adam, for Piano,Har.,and Violin or 'Cello Stradella's Air d'Eglise, for Piano and Violin or Cello, with Har. ad libitum Lehmann, R. Nocturne for Violoncello, Harmonium, and ]^ano. Op., 25 LiCKL, 0. G. Concert Praludium, for Violin,
.
.

2
3

Piano, and Harmonium Quatuor de Eigoletto, arr. for Violin, Violoncello, Harmonium, and Piano LiszT, P. Elegie for Violoncello, Piano, Harp,
. .

and Harmonium
LtJTGEN,

H. Pieti\, Signore. Cantique Religieuse de Stradella, transcr. for Cello or Violin Solo, with Piano & Har. accomp.
_

Luy, P.

Ave Maria by

Schubert, arr. for Vio...

arr. for ditto

Op. 26, Ditto in C| minor. Op. 27,

Sonata in
flat.

arr. for ditto

G 4

arr. for ditto

Harp (or. Piano), and Har. Prayer from Der Preischutz, arr. Piano. Harmonium and Violoncello
loncello,
,

for
. .

. .

HAEMONIUM MUSIC.
s.

d.

8.

d.

Lex, P.

Fantasia for Piano, Hfirr Violin or Violoncello

and
6

Eeinhaed, A.

Mauns, F.

Andante religioso, for Violin, Viola, and Harmonium. Op. 14 Mendelssohn. Adagio from Third Symphony, Op 56, arr. for Piano, Harp, and Harraonium... Ov., Hebrides, arranged for Harmonium, Piano, 2 Violins, Viola, and Cello, by

Der Hausfreund. Selection of Pieces from the works of modern masters for Violoncello or Violin, Harmonium,
and Piano.
Op. 19
:

No.

1.

2.
3.

4.

Soyka
Violin,

...

4
for

5. 6.

Ditto, arr.

Harmonium, Piano, and by Soyka

7.

Mendelssohn, Adagio from the Symphony in A minor. Op. 56 Andante from ditto. Op. 90 Andante from the Trio in D minor. Op. 49 Op. QiThi:ee Songs without words. No. l,Op. 67, Nos. lande Two Songs. Sonnet and Zuleika Chopin, Funeral March Weber, Scenes from the Opera Der Freischtttz.

3 3
3

Trios des Amateurs. Celebrated Songs for Flute or Violin or Violoncello, Harmonium, and Piano. 2 Books each

8.
9.

Ditto.

Book I Book II
from
2 6

Schumann, Apparition and Entr'aot Manfred

Menzel, 0. Social Hours. G-ems from the works of our celebrated masters, arr. for Flute, Violin, and Harmonium
:

1.

2.

Bach, Sarabande from the Fourth English Suite Beethoven, Andante from the First

Eomance for Piano, Violin, and Harmonium Schubert, F. Moments Musicals. Op. 94, Nos. 6, arr. for Violin, Harmonium, 2, 4, and Piano, by Soyka ...
Saint-Saens, C.

Symphony
4.

2
ditto

Andante from the Fifth Funeral March from

Songs arr. for Piano, Violoncello, or Violin and Harmonium, by L. Kohler

:

the

No.
3

1.

Symphony Eroioa
Largo from the Trio. Op. 1, No. 2 Variations from the Septet ...
Chopin, Funeral March ... Handel, Menuet from Samson Funeral March from ditto

2. 3. 4.

Standchen Ave Maria

AmMeer
Naoht und Trallme
mir gegrlisst Der Neugierige Der Lindenbaum Lob der Thranen Des Madchens Klage

fi.

5. Sei
6. 7.

7. H. U.

...

8. 9.

10. Haydn, 11. Mozart,

God
in

Emperor Andante from the Sympreserve the

10.

DubistdieRuh
Morgengruss Des MllUers Blumen

phony
12.

E flat

2
1

11.

Larghetto from the Clarinet Quintet. Op. 108

12. G

SiDOROwiTCH, C.

Mereaux, a. Eobert

Grand Caprice sur

le Diable,

I'opera

for Cello or Violin, Har.,

Les Echos du Pass6, Melody and Piano

. .

Op. 65,

for Piano,

Violin, and Harmonium 10 MiLDE, L. Two Pieces for Violin, Harmonium, and Piano. Op. 8
:

1.

Romance

...

2. Idj'U

...

Mozart.

Ot., Zauberflste, for Violin,

Harmo2
3 1 G G G

nium, and Piano, by Soyka ... MIJLIER. J. V. Three Andante serioso for Violin, Violoncello and Organ. Op. 4 Arioso for Violin and Harmonium. Op. 6 Eode, p. Nocturne in A, for Violoncello or Violin and Harmonium
EossiNi.

Tours, B. M61odie Eeligieuse, answer to the Meditation of Gounod, for Piano and Violon Solo, with Cello and Har. ad lib. ViEuxTEMPs, H. Adagio rehgioso from Concerto No. 4, arr. for Violin, Har., and Piano. Op. 31b ^YAGNER, E. Scenes from Lohengrin, arr.
. .

for Violoncello,

or Violin,

andPiano.
Ditto
arr. for

Op. 17.
ditto

Harmonium, Book 1 ... Book 2...

Ov. and Quintet from Die Meistersinger,

1

Piano, Violin, Cello

& Har., by Lux

Ov.,

Violin,

La Gazza Ladra, arr. for Piano, and Violoncello, by G. Nava

. .

7
3

Mira la bianea luna, arr. for Violin, Cello, andPiano or Har.,by Sivori & Seligmann Adagio religioso, for Piano, EuNDNAGEL, K.
Har.,andViolin,Clarionet,or Cello. Op. 8

Eeinhaed, a.

Trios for Violin or Violoncello, Harmonium, and Piano. Op. 14 No. 1. Beethoven, Adagio from the First Concerto 2. Adagio from the Choral Symphony ... 3. Largo from the Sonata in TS.fy. Op. 7 4. Andante from the Fifth Symphony ... 5. Adagio from the Fourth Symphony ...
:

4
2 6

Die Meistersinger von Niirnberg. Drei Paraphrasen for Piano, Violin, and Harmonium. Books 1 and 3 each ... Ditto ditto Book 2 Ein Albumblatt for Violoncello or Violin, Harmonium, and Piano ... Wagner, E. Isolden's Liebes-Tod from Tristan and Isolde, arr. for Piano, Harmonium, and Violin, by A. Eitter Scenes from Tannhauser, for Violoncello or Violin, Harmoniuni, and Piano, by A. Eeinhai'd. 2 Books, each ...
Siegfried Idyll
for

6.

7. 8. 9.

10.
11.

Eondo from the Sonata, E minor. Op. 97 Mozart, Andante from the Sonata in F Larghetto from the Clarinet Quintet ... Handel, Aria from the Messiah (Comiort ye) Schubert. Andante from the Trio in BJ7. Op. 99 Beethoven, Andante and Adagio from the
Concertos, in

4 4 4
2 2 2 3 8
6 6

Violin,

Violoncello,

Harmonium, and Piano, by Drtlffel Weber. Ov., Oberon, arr. for Piano Duet, and Har. or Violin, and Cello, by Lux.
.

Ov., Euryanthe,

arr.

for

Violin,

Har-

Zech, T.

12. Schubert,

G and E]? Andante from the

Octet.

Op. 56

monium, and Piano, by Soyka ... Elegie for Violin and Har. Op. 15... Ditto for Violoncello and Harmonium Ditto for Flute and Harmonium
. .

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BOOKS (EACH CONTAINING

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Andre, j. Allegretto moderate. Attwood, T. Teach me, O Lord. Barnby, J. Blessed is the man.

I.

Contents of Book IL
AuBER. Barnby,

O
J.

salutaris Hostia,

Beethoven.

O give rae the comfort of Adagio..

Andante.
Pastorale.
fear

Thy

help.

Chorale. Prelude.

While we have time.

Who
Air.

goeth a- warfare.

Not every one.

Andante.

Beethoven.
Thee
(St. Peter).

Benedict, Sir J. Wlio would not CoRELLi. Pastorale. Cramer, J. B. Adagio espressivo.

Crotch, Dr. Comfort, O Lord. Elvey, Sir George. Arise, shine.

Andante.

Andante cantabile, Andante con moto.

Larghetto.

Romanza.
Sir J.

Benedict,
Thee.

My God

all

nature

Frever. Gade, Niels W. The welcome sun (The Crusaders). Gluck. March (Alceste). Gounod, Ch. Ave Verum. Handel. March. Haydn. Slow movement. Hayes, Dr. William. He maketh peace, Hesse. Allegretto con moto.

Andante.

Thus

will I bless

Bennett, Sir W. Sterndalb, Boyce, Dr. Solemn March.

BiJHLEn.

owns Thy sway. Morning Hymn,

Andante. Andantino.
Prelude.

Jesu, dulcis memoria. George. O let .your songs be of Him. Rejoice in His holy Name. Garrett, Dr. He remembering His mercy, The Lord is loving. Gear, George F. Adagio cantabile. GooDBAN, J. F. Mercy and truth are met together. Goss, Sir John. Praise the Lord, O my soul. Gounod, Ch. Come unto Him, all ye who labour. Hear us, O Saviour. Sing praises unto the Lord,

Elvey,

Sir

Handel.
Himmel.
Juvin.

Funeral March (Samson).

Adorabunt Nationes.

March

^Scipio).

Air religieux. Krufft. Prelude.

The
J.

traitor if you there descry (Athaliah),

Mendelssohn.

Adagio non troppo, Andante tranquillo (Op. But the Lord is mindful
Choral (Op. 63).

65).
(St. Paul).

For He, the Lord our God Hear my prayer. O for the wings of a dove.

(Elijah),

Open the heavens (Elijah). The Lord hath commanded To God on high (St. Paul).
Volksliled (Op.
4.7).

(Op. 42).

Mozart.

Dona

nobis

Naumann, G. a. NovELLO. Chorale.

pacem (Third Mass). Agnus Dei.

Like as the hart. Stabat Mater. Fergolesi. Propter magnam. Rink. Adagio. Rossini. La Carita. Sfohr. Adagio. " If Andantino. Holy, holy, holy (Last Judgment). Larghetto. Organ Prelude. Stainer, J. These are they. Steggall, Dr. Remember now thy Creator. Stephens, Charles E. Andante. Weber, C. M. von. Larghetto (Op. 79). Wesley, Dr. S. S. Lead me, Lord. O worship the Lord, ,.

Harvest Carol. Glory be to Thee, O Lord most High, Lift up your heads. Macfarren, G. A. Blessed is he. One thing have I desired of the Lord, Mendelssohn. Andante. Andante con moto (First Symphony). If with all your hearts (Elijah). O great is the depth (St. Paul). See what love hath the Father (St. Paul). Sleepers wake (Choral, St. Paul), Mozart, Andante. March (Idomeneo). Placido e il mar (Idomeneo). OusELEY, Sir F. A. Gore. Chorale. Roberts, Dr. J. V. Lord, we pray Thee. RoECKEL, J. L. In Memoriam. Sarti. Amplius lava me. Schubert, F. Adagio. A.ndante. Sewell, John. Thanks be to God. This is the day. Spohr, Adagio. Prelude. Stainer, Dr. Christmas Carol. Stars that on your wondrous way. Sullivan, Arthur. Thou art to be praised. Thorne, E. H. Patience. Humility. Tours, Beethold. Bow down Thine ear.

Hervey, Rev.

F. A. J.

Hopkins,

L,

I,

praise the

Lord of Heaven.

LONDON: NOVELLO, EWER AND

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PREFACE.
Although
very
little

the harmonium

is

slowly growing in favor with the public,

It

its capabilities

are at present

known and

greatly under-estimated.
is

appears to be the idea generally that any one

who

can play the pianoforte or the organ

the harmonium.

therefore properly qualified, without special study or tuition, to play

fine violinist

But

it

might just as reasonably be said that a

must necessarily be a good

It

violoncello-player, or that a first-rate performer

is

on the oboe should be an equally good bassoon-player.

highly improbable, however, that the reader will be inclined to admit either of these propositions.

The harmonium,
it

like the organ, possesses the

power of sustaining the sounds;

but, unlike the organ,

can sustain them at varying degrees of intensity, according to the will of the performer, and without
It
is,

necessarily altering the combinations of the draw-stops. expression, and in this respect closely

in fact, capable of the

most refined
of similitude
of

resembles the

human

voice.

The

only points

between the organ and the harmonium are the key-board and the draw-stops.
fingering, too, is

The same method

common

to both.

In every other respect there

is

no resemblance whatever, the treatment

required by each instrument being totally different.

Constant practice of a sustaining keyed-instrument tends to induce a sluggish touch, to overcome

which

it

is

exceedingly desirable that a judicious course of pianoforte practice

which

will

be found to

strengthen the fingers, and render them supple and agile

should

precede,

or run

side

by side with
is

the study of the harmonium.

For

this*

purpose the

"Pianoforte" Primer of this series

strongly

recommended.

The harmonium
accompaniment
It is to

is

suitable for solo performances

or orchestral

purposes, and forms an admirable

for voice or instrument.

be regretted that so few musicians are acquainted with the capabilities of the harmonium
effects to

were

they aware of the variety of beautiful

be produced,

it is

not too

much

to say that they would,

where

possible, eagerly avail themselves of the resources

which the instrum^ent

is

offers.

To

the composer of instrumental music the

scarcely necessary to say that
it

harmonium

simply invaluable.

It is

will be greatly to the student's

advantage

if

his studies be

superintended by a competent teacher.

Figs. I, 2, 3, 4, 5, 6, 7, 8,
for

and lo have been drawn specially

his

for this

work by Mr. Edward R.

Barrett,

whose valuable assistance the Author here tenders

acknowledgments.

INDEX.
PAGE

Accentuation

...

Accessory or Mechanical stops

Adaptation, selection of suitable music for
-iEolina
...

jEoIine

...

^olodicon
jEolomelodicon...

iEolophon
.^olsklavier
Allegretto in

...

Allegretto scherzando

Allegro in Ef?

...

Andante

in Bi? in

...

Andante Andante

...

in

...

Andante con moto

in

C C

Andante

religioso in
in

Andantino

Ankle, elasticity of

Back organ
Baryton (No.
7, treble) 4, bass)...

Bassoon (No.
Beating reed
Bellows action
Bellows-board

...

...

Blowing, directions for

Blowing, Studies

for

...

Bourdon (No.

2,

bass)

Capacity of harmonium

Chair or stool

Channels

Cheng
Chimneys

INDEX.
PAQB

Iron roller

Jew's harp

Key

action

Key-board, compass of

Key, description of
Leather valves
...

Manipulation of the draw-stops

Mechanical and Pneumatic Fortes Mechanical or Accessory stops

Middle-board

...

Moderate e con grazia ...

Moderato

in

...

Mundharmonica
Musette (No.
Notturno in
6, treble)

Oboe (No.

4, treble)
...

Organo-violine

Organ reed
Orgue expressif
Pallets

Pan
Percussion action
Percussion, construction of
...

Percussion, invention of

Phys-harmonica
Pitch

Playing an octave higher than written

Plunger

...

Pneumatic and Mechanical Fortes

Pneumatic lever
Position of body Position of foot upon treadle Position of knees Position of reeds
Practical study of

...

harmonium

Preface

Production of sound by tongue

Prolonged continuous sounds...

The Rudiments of Music are not given in

Student
is

this

work, as

the

presumed

to

have made himself familiar with them before

commencing

the study an^l' practice of the

Harmonium.

{See " Rudiments of

Music" Primer:

W.

H. Cummings.)

THE HARMONIUM,
>*-

SKETCH OF THE FREE REED.

The harmonium
is

one of a large family of instruments owing their origin to the invention

or,

more

properly speaking, the revival of the free reed.

foremost

The production of sound by the vibration of an elastic tongue has many claimants to its invention among whom may be mentioned Kratzenstein, a German, living at St. Petersburg in the reign of Catherine II., and Grenig, a Frenchman. The former applied the free reed to certain organ stops the
;

latter constructed two free reed instruments, called by him Orgues expressives" in the year 1810, which were sent to the Conservatoire des Arts. But the free reed, in various forms, notably in those of the Chinese organ and the Jew's harp, was in existence long before its application by Kratzenstein and Greni6.
".

of Smyrna),

The Jew's harp (many years ago known by the name of crembalum, is aa early form of the free reed, and was known as far back The
cheng, or Chinese organ,

also called hiamho

by the Greeks

as the year 1619, possibly earlier

even than that.

which

is still in

use, claims precedence in point of age

and

it is

even

asserted by the Chinese that in the time of Confucius, cheng

who

died about 479 B.C., the

was used

in the religious rites

is

which were performed

in his honor.

Be

this. as

it

may, the instrument

undoubtedly of high antiquity, and

its original

form has undergone

(generally

very slight modification.

The

cheng contains a

number

of tubes of

bamboo reed

The calabash serves the purpose of an 13, 17, 19, or 24), placed upright in af calabash. Each tube is provided with a air-chest, and has a spout or mouthpiece attached to it.
metal tongue, and has also an aperture which, except when stopped by one of the
fingers, effectually prevents the tube

from sounding.

Formerly the cheng was tuned to

the following notes

iE
It will

^^ ?
:

iflat

be perceived that these notes yield the intervals of the chromatic scale.

The modern instrument

gives the pentatonic scale

i^

E^i

-^

the

who was an organ-builder, conceived the idea of applying free reed to the organs This has since led to many very beautiful registers in that king of instrjiments.* But the man who first thought of using the free reed in the form in which it is now employed in the
It

was on seeing the cheng

that Kratzenstein,

harmonium,

i.e.,

independently of the tube, was far in advance of Kratzenstein.

It

would be exceedingly

interesting to

know who was

the author of this employment of the free reed, and what suggested the idea.

The
the

only information which it appears possible to obtain, however, is that a small instrument, called " Mundharmonica," made its appearance at a fair in one of the minor towns of Germany, probably about

same time that the

free reed
it,

was introduced
its

into the organ.

The instrument

consisted of a metal plate

having oblong apertures in

over which were placed metal springs or tongues.

Each tongue was

fixed at

one end to the plate, and was so placed that

other end could vibrate freely through the aperture.

The
In an

tongues were made to vibrate by means of the breath; and the novelty and extreme simplicity of the
instrument, combined with the pleasing character of
its

sound,

made

it

exceedingly popular.

improved form, and under the name of "Molina,"

it

was subsequently introduced

to an English public at the

Royal Institution, in May, 1828, by Mr. Wheatstone (afterwards Sir Charles Wheatstone). The accompanying figures represent several forms of the instrument made by him. The chords they yield are placed
above the figures.
1^2.

i ^

-s^:*2;

=^

.,

Fig. 6 represents another form of the

as a toy-instrument.

Each

side gives

two

series of

Mundharmonica (of foreign manufacture), which is notes one by Expiration and another by

still

in use

Inspiration,

as shown below

Chords.

g ^m^
Expiration.
?:

^
CJ
(=>

Scale.

^ ^-=F=^
Scale.

r^

r ^'^

Inspiration.

Chords.

^
Top view.

^^=^

-J-

J-

Expiration.

Inspiration.

(]

lO

Then came the " ^olomelodicon," by Brunner, of Warsaw, with brass tubes over the reeds; the " ^olsklavier," by Schortmann, of Buttelstadt, about 1825 and the "Colophon " of Day and Miinch, which
;

London, June 19, 1829. ^^ the last-named instrument, attempts were made to form of the reed, and tubes of various sizes and shapes were introduced to modify the sound.

was patented

in

alter the

an interesting fact that on the same day the seolophon was patented, a patent was also taken out by Wheatstone for a most ingeniously constructed instrument called by him " Symphonium," of which
It is

the Concertina, also invented by him,

was a

modification.

In the symphonium the apertures, over which the reeds were placed, were closed at the back by valves
or pallets,

which

effectually obstructed the passage of the air.

These valves were opened by means

of

studs, or keys, placed

on both sides of the instrument.

Left-hand side. O o O o o o o o o

W
^

J^

o o o o o o
'^
"^

Right-hand

side.

m
f='

;2= ;sz:

IZ2Z TTT"

fe

-p-3 c; gc?

I ^
fe

^^r^

,j

''^

bo

tjg

'

J*'"''

b.

c.

Fig. 7.

At a the reeds are shown, the front of the wind-chest being, of course, removed, b is the front plate, with aperture against which the mouth was placed, c is a side view, showing positions of the little ivory keys and embouchure or mouthpiece.
Florid passages in single notes could be played upon the

symphonium with ease

and

full

chords like

those in the following passage were practicable and effective

i^^ @=
^

^^

?-^g -

A^

d-^^ feg=

4-J^ d^

4-^4

II

sunk into disuse.

The instrument was, however, extremely fatiguing to the performer, and has, in consequence, long ago The symphonium was, of course, made in various sizes and shapes. Fig. 7 (page 10)
supposed to have been invented by Green; but the oldest patent
Storer.
(so

being a correct drawing of one of the smaller ones.

The Seraphine

is

is

dated July 20, 1839,

and was taken out by Myers and

To
is

Alexandre Debain must be ascribed the credit of bringing the harmonium

named by him)
in Paris,

to

a far greater state of perfection than any of his predecessors.

His

first

patent

was taken out

and

dated August

9,

1840.
its

The

invention of the Expression in

is

present form, and without which no

harmonium can be

considered complete,

attributed to the Alexandres.

viz.,
is

The Percussion action has several claimants, unknown Daniel Chandler Hewit, whose patent
;

Martin, of Paris, 184a; Kaufmann, of Dresden, date

9,

dated June 27, 1846.

In point of date,

and Joseph Storer, patent however, Martin appears to claim precedence, and is, in fact,
1844
;

dated November

usually accredited with the invention.

It is

worthy of notice

that, since 1840, the

harmonium
it

has, in principle, though with slight diiferences

of detail, retained the construction originally given to

by Debain.
of late years is the "

The most important

addition which has been

brief description of

made

Double Expression," invented

by Victor Mustel,of Paris, a

which

will be

found in another part of this Primer.

Mustel's harmoniums, for exquisite blowing, for perfection of mechanism and workmanship, and for

beauty of timbres of the registers individually, are, without doubt, unequalled. A very high pitch of excellence, however, has been attained by a clever and ingenious English manufacturer Gilbert L. Bauer,

whose instruments are remarkable

various registers.

for the simplicity of their

mechanism, and the variety

of timbres of the

12

CONSTRUCTION OF THE HARMONIUM.

Fig.

8.

The wind apparatus

the whole forming

consists of four parts

the feeders, the chimneys, the wind-chest, and the reservoir,

what

is

called a horizontal bellows.

The

feeders are usually

wedge-shaped

in form,

called the middle board, stretching horizontally across the

and are attached on their upper part to a thick board, whole length of the instrument. The bottom

boards of the feeders are perforated with a number of circular apertures for the admission. of air from the outer atmosphere. These apertures are covered internally by flaps or valves of leather, which allow
entrance to the air but prevent
fall
its

egress.

of the

bottom boards, and consequently to

Springs are generally placed inside the feeders to accelerate the facilitate the filling of the feeders with air. Every harmonium

has two feeders.

The

feeders with the v.dnd-chest.

chimneys are upright oblong channels, or trunks, for conducting the wind, and serve to connect the In some instruments the chimneys are separated and placed at the ends ; in
wind-chest

others they are joined together and placed in fronti

The

is

In the center of the bottom board

a long and wide box extending across the instrument horizontally from end to end. is a large rectangular opening communicating with the reservoir beneath.
is

On

the upper or under side of this opening

a pallet, called the expression

,

pallet,

which,

when

required,

shuts off the reservoir from communication with the wind-chest.

The

pallet is closed

by means

of a spring.

There are which the

also a

number

of small circular apertures, similar to those in the boards of the feeders,

air enters

from the chimneys.

The

reservoir is attached to

through These apertures are covered above with movable strips of leather. the under-board of the wind-chest. It has folding sides, called ribs and

expands downwards when wind is urged into it. Strong spiral springs are placed underneath, their force being exerted upwards in such a way as to propel the air out of the reservoir into the wind-chest.

The boards
ends of

of the feeders are attached to the ends of levers,

treadles ov foot-boards.

termed

cross-bars or rockers, the opposite

which are connected with the

The upper-board
in
it,

of the wind-chest, called the bellows-board or pallet-board, has rectangular apertures cut

the

number

of the apertures corresponding to the

covered internally by a separate pallet,

which

is

closed by

number of rows of vibrators. Each aperture is means of a spring, and opened by means of a

draw -stop. The wind

is

here divided into separate columns, a column being required for each half-set of reeds.

^3
surface of the bellows-board is partitioned off, in the direction of the length of the instrument, into long shallow compartments, one compartment for each pallet. On the surface of the ridges which

The upper

separate and entirely surround the compartments, rests a large box, technically termed the pan, outwardly
similar in form to the wind-chest, but internally divided into

two distinct sets of compartments. The lower compartments are large chambers exactly corresponding, except in point of height, to those on the surface of the bellows-board, over which they are made to fit accurately. The upper compartments are small
transverse grooves or channels, varying in size, and
of tone, required.

somewhat in shape, according to the timbre, or color Here the wind is sub-divided into still smaller columns, a separate column being necessary for eveiy reed. Each lower compartment has its own series of channels above it. Every channel has two openings, one above, communicating with the outer air, and another below, opening into
one of the large chambers.

The
keys.

reeds are placed at the top of the large chambers, and immediately below the channels.

The upper openings of One pallet usually

the channels are covered outwardly by pallets placed in connection with the
covers
several

openings.

A harmonium

with from one to three

rows of
set

vibrators requires only one set of pallets, which are generally placed under the front part of the keys.

A harmonium

with from four to seven rows of vibrators usually has only two sets of

pallets, the

second

being placed under the back part of the keys.

The

front pallets are hinged with strips of leather to the

ends of levers, called stems, the opposite ends of which are acted upon by the keys.

These

pallets cover

what

is

called the front organ.

is

The back
its

pallets are generally hinged to the

extreme ends of the keys

themselves, and cover what

called the hack organ.

key

is

an ordinary

lever,

having

fulcrum differently placed according to the requirements of the

is

instrument.
construction

In small harmoniums the fulcrum

it is

placed at the back end of the key

in those of larger

usually placed at or near the center.

are opened is called the draw-stop action.

The mechanism by which the pallets of the bellows-board Each handle or knob, which appears immediately in front of the
end of which

performer,

is

fastened to a rod, at the far

is attached, by means of a pin, an upright lever, whose arms are unequal and placed at an obtuse angle. The lower arm slides on a horizontal square metal plate, which is hinged to a little block Under the plate, and running through the pan, is an upright metal fixed on the upper surface of the pan. (Sometimes a wooden sticker is substituted.) Occasionally the plunger is made to pin, termed a plunger. but more usually some mechanism of a more or less simple act directly upon the bellows-board pallet takes almost as many different forms as there are makers. A mechanism This character intervenes.
;

description

is

therefore necessarily omitted.

principal
.

Having described the

parts.

mechanism,

we

will

now

briefly trace the action of the various

THE DRAW-STOP
On
its

ACTION.

pulling out a draw-stop, the upper

arm

of the lever follows the rod

the

lever, of course,

turning on

of a circle, the lower

axis and brings the lower arm arm slides upon and forces down the metal
is

from an oblique to a vertical position.

In thus describing the segment

plate, the plate

pushes the plunger, and

the motion of the plunger

transmitted to the bellows-board pallet.

is

The

action of the expression stop

reversed, the expression pallet being closed

by the pulling out

of the

draw-stop.

14

THE KEY
On
depressing a key,
k,

ACTION.
of the stem,
st,

the front part pushes

it

down one end

the other end of which

consequently rises and carries with

the pallet, p.
If

The openings above

makes

the channels corresponding to the

particular key depressed are thus uncovered.

now, while key and

pallet are in this position, the bellows

its exit

are brought into action, the wind rushes up to the reeds and

through the upper openings of

is

the channels.

The moment

the key

is

released the pallet falls and covers the channels, and the wind

prevented from escaping.

Fie.

g.

THE BELLOWS
When
the foot
is

ACTION.

placed upon one of the treadles, T (see Figs, 8 and lo), and the necessary amount

of force exerted, the treadle pulls

pushes up the feeder-board, f-b.

down one arm of the rocker, r ; the other end consequently rises and The reverse action takes place when pressure is removed from the treadle,
falls.

the latter rising while the feeder-board

Now the

feeder in

its

position of rest

is

always fully charged with

air.

As the feeder-board

is raised,

the compression which ensues causes the leather valves to close tightly over the apertures. The column As the of air is thus lifted and propelled upwards through the chimney, c, and into the wind-chest, w. feeder-board descends, the valve at the top of the chimney falls, and prevents the air in the wind-chest from
returning to the feeder.
flows into and
refills

Simultaneously the valves of the feeder-board are raised, and the air from without

the feeder.

But the

air

on reaching the wind-chest

It is

the bellows-board.

stopped from proceeding upwards by the pallets, p, p, p, p, of therefore necessary to pull out one or more of the draw-stops before the wind can
is

reach the reeds.

Now when
chest.

the expression stop

of air

is

drawn, the reservoir, r,

is

shut

off
is

from communication with the windthen directly under the performer's

The whole column

;

between the feeder and the reeds

control

and the

slightest variation of pressure

upon

either treadle produces a corresponding variation in

the strength of the sound.

15

When

the expression stop

is

pushed

in,

wind-chest and reservoir are placed in direct communication

inflates the reservoir.

with each other, and the wind then rushes into and
exerted by the performer's feet, there
spiral springs.
is

Independently of the pressure

viz., the

another force constantly at work,

combined action of

the

The

wind,

now proceeding from

is

the reservoir instead of directly from the feeder, rushes up

to the vibrators in one continuous

and unvarying stream.

Under these conditions the performer has no

control whatever over the wind, and

consequently unable to vary the strength of the sound.

Fig. 10.

THE GRAND
che performer to bring into action, by one

JEU.
is

In a harmonium containing two or more sets of reeds, there

usually

some mechanism which enables

movement, several complete registers, independently of the respective draw-stops. This is generally effected by means of a horizontal iron roller, placed on the surface of the pan. From the roller project, at right angles to its axis, a number of curved arms or prongs, the
extremities of which rest upon the metal plates before described.
single curved prong, the extremity of

From
;

the middle of the roller projects a

it.

which

is

placed underneath a metal plate specially provided for the roller

is

The draw-stop
open.

lever slides

upon and presses down the central plate

is

thereby partially turned

round, the upper prongs depressing their respective plates, and thus causing the bellows-board pallets to

This combination arrangement, called Grand Jeu,

at others

actuated in three different ways

sometimes

by a draw-stop,

by a knee-lever, and occasionally by a heel-lever placed between the

treadles.

i6

THE PERCUSSION

ACTION.

Fig. II.

This consists of a series of hammers, similar to those of the pianoforte, which, by means of suitable

mechanism, are made to

strike the

tongues of the reeds immediately the keys are depressed.

is

The
set-off,

mechanism

is

shown

in the
It will

annexed drawing, where k

the key, pi the plunger,

is

the lever,

the

and h the hammer.

be seen that when the plunger

depressed by the key, the lever catches against

rise.

a projection at one end of the hammer, and thus causes the far end to

The

lever then escapes,

and

the

hammer immediately
No.
I

drops to

its original position.

The

percussion acts upon one set of reeds onjy,

viz.,

throughout.

17

THE MECHANICAL AND PNEUMATIC FORTES.

harmonium are usually covered by a kind of box which has the effect of subduing the sound very considerably. The top of the box is closed by movable shutters. These shutters sometimes slide from over the openings, at others they are made to revolve like the shutters of an organ. When mechanical fortes are used, the shutters are moved either by draw-stops or
reeds forming the back organ of the
knee-levers,

The

-^^hen the fortes act pneumatically, draw-stops alone are used.

air to

In the latter case each be forced up through a

draw-stop opens a pallet in the wind-chest, and thus allows a column of

suitable channel to a small bellows, called a pneumatic
lever,

placed above the keys.

The

bellows

is

connected with the shutter or

the most

louvre,

and on being

inflated causes the shutter to partially revolve.

The
is

action of the shutter, therefore, entirely depends upon the pressure exerted upon the treadle.
perfect form of swell hitherto introduced into the

This

harmonium.

There are always two draw-stops

for the fortes

one for the treble, and another for the bass.

THE DOUBLE EXPRESSION.

This, undoubtedly the' most useful addition to the harmonium,

was invented by Victor Mustel,

treble,

of Paris.

and the other for the bass. any other harmonium but when released from their catches, expression is rendered impossible, and the utmost pressure exerted upon the On the- levers being pressed open to their treadles will produce nothing beyond a monotonous piano. fullest extent by the knees, expression is again brought into play, and the power of the instrument appears as if it could be increased to an almost unlimited extent. The chief advantage, however, of the double
is

The mechanism

under the control of two knee-levers,, one for the

closed,

When

the levers are

the blowing

is

precisely similar to that of

expression apparatus,

is

the power," placed at the performer's

command,

of obtaining expression from either

half of the instrument independently of the other half.

i8

THE KEY-BOARD.
8ve.

The compass

of the key-board or

manual is five octaves,

viz.,

from

CC

^z
separated,

toc*g
the
division

The bass and

treble

portions of

the

instrument

are

internally

taking

place between e^

and

fi

=5221

The bass

therefore

extends from

8ve.

to

and the treble from

'-

to

i s

THE DRAW-STOPS.

6s\\\\\\\\\^^^^\\\\\\^^^

#^
Fig. 12.

The draw-stops

are ranged in a horizontal

row

in front of the performer, usually above, but occasionally

below the key-board.

There are two kinds

of draw-stops,

Sounding and Mechanical or Accessory.

The

stops on the left-hand belong exclusively to the bass, those on the right-hand to the treble.

Usually, the two stops " Grand Jeu " and " Expression " occupy a central position, and the " Forte "
^tops are placed at the two extremities of the row.

Manufacturers

generally

adhere

to

foundation stops of the harmonium.

one particular arrangement of what may be called the These stops are eight in number four on the left, and four

on the right and act upon the four principal

the center towards either end of the row.

sets of

reeds.

To

every complete register, therefore,

to 4, in the direction

there are two draw-stops, the knobs of which are usually

numbered from

from

A harmonium which
into play.

contains one row of vibrators only, does not require draw-stops to bring the reeds

Beyond one row, however, draw-stops become a necessity.

19

The
makers.

following examples

show the order in which the draw-stops are usually arranged by the best Instruments of four different sizes are here represented :

(I)

20

Diagram showing
division of the

the

Compass and Pitch of the registers, and their internal arrangement; also the longitudinal instrument into Front and Back organs, and the transverse division into Bass and Treble.

Pitch
in
feet.

i6

21

QUALITIES AND USES OF THE REGISTERS.

Bass.
Treble.

Round and
of the organ
;

fluty,

moderately

full,

and prompt
;

in speech.

Corresponding to the diapason

staccato,

\1J

\}^

useful for all ordinary purposes

effectively

adapted for slow or quick, legato or

music

and combining

with any of the other registers.

(2J

C2)

Round and

fluty,

but

much

heavier than

Mj

MJ,

and more sluggish

in

speech.

Corresponding to the double diapason of the organ.

occasionally combined with

(2j

in the treble is useful

by

itself,

and

(Sj

in the treble, for solo

work, accompanied in the bass with

Q, or (3), or both.
Two
half-sets of vibrators, slightly out of tune with each other, but not
;

enough by

to be

disagreeable

usually of a more delicate quality than

in the treble, for solo

(2j

in

the treble

useful

itself,

or

combined with (2j

work

also very effective for soft chords.

It

should

not, however, be used with the full organ.

('5^

Thin, reedy, and piercing; consisting of two half-sets, slightly out of tune with each
other.

Very

effective

when combined with (l),

staccato

or (4), or botfi, in the bass for chords,

and

sometimes

for solo,

with

accompaniment beneath.
prompt
in speech.

CbJ
('J^

(3J /'^

Bright, but reedy

chiefly of use for giving brilliancy to the full organ

Thin and reedy

rather slow of speech

eff'ective for legato

music of a pastoral character.

r^j

Thin and reedy, but more

solo stop,

delicate than

(4) (4)j and

slower in speech

;
'

very useful as a

accompanied

in the bass

with (ij, or (4), or both.

^7^

Reedy, but much

fuller

than (6); accompanied similarly.

Essentially a solo stop.

COMBINATIONS.
\i/
viy|

most useful simple combination

for all kinds of

smooth playing, and occasionally

for

(4)

C^)]

staccato; somewhat resembling the stringed instruments of an orchestra.

( | 1 I

Useful for serious or sacred music

this

combination

is

usually more effective

wh6n

the

music

is

transposed an octave higher.

22

\Zy

\ly\

fancy combination, suitable, and very effective

when used

sparingly, for serious or

C^ C^\

sacred music.

( 1 I t

fancy combination for light, bright music.

j i
( 1

very effective simple combination for playing melodies in imitation of the "violoncello
in the treble vs^ith

accompanied

MJ,

or

(2J,

or both.

Many

fancy combination, suitable for quick staccato arpeggios or scales in the treble, and
in the bass

accompanied

with short chords.

I
other beautiful combinations will, no doubt, suggest themselves to the student as he becomes
timbres oi the various registers.

more familiar with the

METHOD OF INDICATING THE

names, or
squares
initial letters,

STOPS.
Sometimes the
line

Various methods are adopted to indicate the drawing out and pushing in of the stops.
or numbers, are enclosed in circles
;

when

the stops are to be drawn out, and in

when they

are to be pushed in

or' in circles

only, the pushing in being denoted

by an oblique
is

through each

circle.

The

simplest method, however, dispensing with circles or squares,

;

to indicate the

drawing out, thus,

J, 3,

and the pushing

in,

thus, ^, ^, )^.

THE REEDS.
In the production of sound in the harmonium, two agents are requisite, viz., a current of air, and a flexible elastic strip of metal technically termed a " tongue," which is fastened at one end to a

metal block having an aperture or

slot

corresponding in length and breadth to the tongue.

The

block, or

frame, and tongue together are termed a " reed " or "vibrator."

b.

c.

23

The
is

free

end of the tongue

is

made

thin for a high note and heavy for a low one.

It is also

bent in

various directions according to the quality and strength of sound required.

Sometimes the vibrating end

even twisted into an oblique

bent upwards, as at

b, at others

downwards, as

at

c,

and occasionally

it is

position.

In the production of sound a current of air

out of
its

is

driven against the tongue, which, being flexible,

it

is

forced

position of rest.
it

Its elasticity

then comes into play, and compels

off

to return to its original

air.

position,

where

momentarily closes up the aperture and cuts

a portion of the column of

Having

acquired a certain degree of

momentum,

it

cannot rest here, but immediately passes on to an equal distance

it

on the opposite
of the

side.

Its elasticity

then brings

back to

its

position of rest,

and cuts

off

another portion

column

of air.

This backward and forward motion

called vibrationcontinues as long as the current

and these puffs, succeeding each other with great rapidity, resolve themselves into a musical sound, the intensity of which depends upon the degree of force exerted by the performer in pressing upon the treadles.
of air is urged against the tongue.

series of " puffs " is the result,

The
is

reed used in the

harmonium

differs

instrument the tongue moves freely to and

fro in

from that usually employed the aperture of the frame

in the organ.
;

In the former
the tongue

but in the
is

latter,

made

larger than the aperture, and consequently beats against the frame.

One

therefore termed a free

reed and the other a beating reed.

To
has
its

every key there must be a separate vibrator

of vibrators.

a harmonium must therefore contain at least one

into

complete row

Every row. is usually divided

two

portions, treble

and bass, each of which

separate draw-stop.
are

Harmoniums

made with
;

as

many

as six, and even seven- rows of vibrators.

Occasionally one

meets with larger instruments

but these are exceptional.

does not depend upon the size of the case, nor upon the number
of one

The
of stops.

capacity of a

harmonium The outward appearance

harmonium may be

large and imposing

of another, small and

similciL-

comparatively insignificant.
effects.

Yet both instruments

of the

may have

the power of producing precisely

The

true capacity can only be determined by ascertaining the

of vibrators.

moment's inspection

number of "sets" or "rows" names indicated on the draw-stop knobs will suffice to furnish

us with this information.

PITCH.
The acuteness
or gravity of a sound
is called its pitch.

register

or stop in the

harmonium

is

in regular successive order,

from the lowest

it

in

composed of a series sound to the highest.

of reeds of similar quality, arranged

Given the pitch of one sound,

series will

is

evident that the pitch of every sound composing the entire

to speak of the pitch of a register.

be known.

It is, therefore,

common
it

Registers are of various pitches;

is

therefore obvious that

the pitch of

the sound resulting

from the depression of any particular key

will entirely

depend upon the register used.

24
Organ-builders have introduced a convenient method of speaking of
its

the registers, which, from

extreme simplicity,

is

now

universally adopted by musicians

and instrument makers.

An open
sound
is

pipe eight feet long will produce

the sound CC, written thus

^
if

hence this

called the " 8-feet C."

If the pipe

be half the length,

it

will

produce the sound c

'.

-g?"
is

and

double the length,

it

will produce

the

sound

CCC (g

The former

called

the "4-feet

C," and the latter

the " i6-feet C."

=
"ST"

register, the

low C of which corresponds

in pitch (or
.

which would correspond, were the register

(as

carried through) with the note written

thus

^
be.'

on the Pianoforte),

is

called

an "8-feet

register";

and one whose C does not agree with

this note is called accordingly a "2-feet," "4-feet,"

"

i6-feet," or a "32-feet" register, as the case

may

25

PRACTICAL STUDY.
POSITION AT
The
first,

THE INSTRUMENT AND DIRECTIONS FOR BLOWING.

at the instrument is absolutely necessary.
it

and, indeed, the chief difficulty experienced by the student rests in the blowing, to acquire

perfect control over

which a good position

When
in

seated in too elevated a position the legs- are poised, as

were, upon the toes, and the player has

consequence no " purchase " upon the treadles.

The blowing
in

is

then spasmodic and irregular, the supply

off

of

wind

insufficient,

and the learner

is

imminently

danger of sliding

the seat.
flat

On
to exert

the other hand,

when

seated too low, the feet have to be placed

upon the

treadles, the result

is

being that the toes are inconveniently thrown up towards the knees.

In this position the player

powerless

any downward force upon the

treadles, but is obliged to

in the ankles

push outwardly

almost horizontally.
feet,

He
finds

then experiences an unpleasant sensation

his chair gradually sliding

from the unnatural contraction of the

in order to avoid

and

away from the instrument.

;

Now

both these positions are obviously bad

and

them

it

must be borne

in

mind that
is

elasticity of the ankle is as imperatively necessary in

blowing the harmonium as suppleness of the wrist

first

in playing

upon the

pianoforte.

To

acquire this elasticity, therefore, should be the

aim

of the

student.

The

chair or stool should be of a suitable height, with the seat slightly inclined. pupil being firmly seated in front of the middle of the key-board (f#^ ^5=
toes
is

The

=J)^

usually the

middle note), should place the

secure a long leverage.

and

ball of

each foot lightly upon the upper part of the treadles, so as to

The player must not bend over the keys, but should adopt an upright position, all unnecessary movement of the body being carefully avoided. The knees should be about an inch from the knee-board. The heels must never be allowed to touch the treadles, but should be kept perfectly free. Before commencing to blow it is necessary to bear in mind the general rule that the Expression In fact, good performers almost stop is always to be used, except when uniform power is required.
invariably keep the Expression stop drawn.

With
say g^

the stops Nos.

i,

treble

and bass, drawn, put down any key

Begin with one foot
its

in the middle of the

left,

key-board

&
t>

-and commence blowing.

the
is

for instance

and depress the

it

treadle to its fullest extent.

When

it

has reached

lowest position, the sound will cease; and

is

evident that there must be an interval of silence during the time occupied by the treadle in returning to its
original position.

The same

result takes place

when

the right foot

used instead of the

left.

It is evident, therefore, that, in order to produce a prolonged continuous sound, one treadle

be depressed while the other

is rising.

Now this

alternation of the treadles

great care, otherwise the result will be a series of jerks instead of

must must be accomplished with very a continuous sound. To overcome this

spasmodic style of blowing, and to acquire possession of the most perfect control over the bellows, must be
the constant effort of the learner.

In the study of blowing,

it

is

necessaiy at

first

to practise each foot separately, the unoccupied foot

being placed on the ground in front of the treadle.

26

BLOWING WITH ONE FOOT.

SOUNDS OF UNIFORM INTENSITY.
Play the following chords, using different intensities of power,
1
first forte,

then mezzo-forte, then piano.

'^'^^

rzz:

-HIT "g7~

-gy 321
~!'^

^E

-j'^

-Si-

iSi
^^J"

Count a slow four

It is evident that

in

each bar ior forte, eight

in playing piano.

(at

the same rate) for mezzo-forte, and sixteen ior piano.

with a heavy pressure

with a light pressure

onl}',

as

as
;

in playing forte

the

treadle will

fall

more rapidly than

It is therefore impossible,
latter.

when

practising with one treadle

to sustain the

sound as long in the former case as in the

Keep the
and
let

intensity of the

sound uniform

take the fingers off the keys on the last beat of each bar
it

the treadle rise quickly, but without breaking contact with the student has mastered this exercise he

and the

foot.

When
still,

may

proceed to practise the crescendo and diminuendo;

however, restricting himself to the use of each foot separately.

CRESCENDO AND DIMINUENDO.

S
very
softly,

1=2

'T^

-^S>-

:4i^2=

ZZ2Z -s>-

^
of the

:&:
-iz>~

Commence now

and, by slowly increasing and diminishing the pressure upon the treadle,

pass by imperceptible gradations from piano to forte and from forte to piano.
steady, and the crescendo and diminuendo should be of equal length.

The sound must be

in practising

perfectly

These exercises are

utmost importance, and the learner must persevere

them

if

he

would become even a moderately good performer.

BLOWING WITH BOTH FEET.

SOUNDS OF UNIFORM INTENSITY.
Having practised the
feet separately, the next step is to

use them together.

Adopting the position recommended on

treadle is about half-way down,
it

At the moment
vidth

p. 25, commence blowing with a heaiiy pressure. When the should be gradually relieved from pressure, thus producing a diminuendo. of starting the diminuendo with the first treadle, the second treadle must commence

diminished.
crescendo

a light pressure, which should be gradually augmented in proportion as the heavy pressure is The movement of the second treadle is therefore precisely the same as when producing' a

by

itself.

The combined

action of the

two

treadles
is

may

be represented thus

f^^^IZ~~

'

and

when
;

properly managed, the effect produced upon the ear

a continuous sound of unvarying intensity.

The

player will at first experience difficulty in accomplishing this

simultaneous and opposite action of the two but as he learns to feel, and to measure in his mind, the resistance offered by the wind, he will soon be feet able to equalise the pressure, and to make one foot accurately compensate for the deficiency of the other.

27

The

following exercise

is

to be played first

/oj'fe,

then mezzo-forte, then piano, each chord being sustained

for a considerable

time

say while counting sixteen slow beats.

made

Whether loud

or soft, the chords

must be

sustained at uniform strength, and every effort

n

to avoid the slightest unsteadiness.

28

OTHER KINDS OF BLOWING.

The
student, having mastered the difficulties of blowing steadily, should next devote his attention to

the study and practice of reiteration, tremolo, staccato, accentuation, and sforzando.

more or less rapid repetition of a note or chord, may be performed either with the fingers or with the feet. For a rapid, vigorous, and well-marked repetition, the fingers should be used, the feet being employed simply to keep up a uniform pressure of wind. A less detached and more delicate
Reiteration, or the

repetition, however, is infinitely better

if

executed with the

feet, in
is

down the note

the heel
;

or chord with the fingers.

This kind of repetition

which case it is only necessary to hold produced by quickly lowering and raising

this double

movement

resulting in 4 short, sharp impulse or jerk.

If the repetition is to

be moderately slow, the movement of the heel

may

be considerable and

perceptible.
If,

In this case, the ankle, knee, and hip-joints must be perfectly free.
is

on the other hand, the repetition

rigidity in the

to be rapid, the
is

movement

of the heel

must not be perceptible,

and a certain amount of

muscles of the leg

ball of

absolutely necessary.

constant pressure must be kept up by the

it

the foot, and the treadle should not be allowed to

rise until

has reached

its

lowest useful limit.

In the production of repetitions the feet are usually employed simultaneously, one to sustain a gentle
or forcible pressure, according to the strength of the sound required, and the other to impart the necessary

impulses.

In order, however, to acquire independence of the feet, the pupil

is

recommended

to practise

them

separately.

Repetition

may

be effected also by rapidly alternating the treadles.

it

This method, which

is difficult of

execution, should not be ignored by the student, though, perhaps,

is

scarcely so effective as

when

the

shocks are imparted by one treadle only.

In the practice of reiteration every bar of the music must be divided into sections containing groups of
two, three, four, or six notes, the j^rs^ note in each group receiving a slightly stronger shock than the rest.

The
is

tremolo, which,

when

not overdone,

is

such an

effective

embellishment to good harmonium-playing,

thus
:

really a quick, delicate,

and unaccented

repetition.

It is indicated

-^~%/nv-

or

^F

The

staccato, like

the ordinary repetition,

is effected

by sharp shocks imparted to the bellows, with this

instantaneously allowed to recoil.
or thus

difference,

however, that after each impulse the treadle

is

Accentuation,

which

is

usually

marked thus

m ^J

r
'

\
'

'

^ ^

is

the result of a

sudden but gentle push.

Care must be exercised, however,

to avoid .giving too sharp

an impulse, in which

case the expression would be greatly exaggerated.

The

sforzando

indicated
is

thus

sf,

or sfz15 produced

by a much stronger impulse,

similar, in fact, to

that required by the staccato, but with a more gentle recoil of the treadle.

The

sforzando

also indicated by the signs V, A.

Some

considerable

amount

these different shades of coloring

of practice is necessary to enable the student to discriminate nicely between but he will be amply repaid for any time devoted to the subject ;

29

GENERAL REMARKS.
On
placed.

the

harmonium each draw-stop

affects only that portion of the

key-board over or near which

if

it

is

The two

halves of the key-board are in fact as distinct from each other as

they belonged to

separate instruments.

Now, on

reference to the diagram on page 20,

;

it

will be seen that

some

of the stops

are continuations of each other

these are

Mn

Mj^ (2^

^2), ^3) Cs), and (j^ (4^, on any pair of

which, as here placed, a scale

may

be played from the lowest to the highest note of the key-board without

any break occurring

treble, or

in the progressive order of the sounds.

But with

MJ in

the bass and

(^ in

the
of

^2) and fs),

or

^3j and HL)>

the case

is different,

inasmuch as the continuation of the scale

If,

sounds

is,

abruptly broken off at the middle of the key-board.

for instance,

Mj in

the bass and (^2^ in

the treble be used, the. middle portion of the scale will sound thus

22r

rj

'-^

2-

.2.

-^r

'T^

-2-

and
this

in order to avoid the break indicated

by the thick

line, it will

be necessary to play the scale in

way

-&

<=3-

~g7~ -Tzr

or thus

:-

*r.^jL.

i
I22Z
~ys-

321

fj

izz:

-^

<=2-

so

Again,

if

^3J

in the bass

and ^2)

^^ the treble are used, there will be

between the notes

-^>-

and

i w=
2

221

of the key-board a break of nearly two octaves,

which can only be bridged over by playing

the scale in one of the ways here shown

8ve..

IP
"ZU" ~r:^
"7=

<y

or thus

8w.-

m
3

-yn-

.^

T=r

-s"

Referring again to our diagram,

we

find that in the left-hand division the lowest note is

^"z:r

and the highest ^^

8ve.

m =: and
'

in the

right-hand division the lowest note

is

^""ZJ~

and the

highest

-:

Now, by

skilful

management

of the draw-stops

it

is

possible to play a scale

of

five

octaves and a third in the

left division of

the key-board, and another of five octaves and a

fifth in

the

right division, thus :

Left division.

As

played.
-

_^-t
=23
r^

^q

f?-g-

IZZ

Q "g' _ ^ <* -o o

"CS"

1.x
Effect.

Mh
= =-=^.S-'e7 ^-o--^

V io Q
t/

^5
-e-Q.-^"^

31
Right division
As 7
played,
y>-

sX
-eb-Q--^
-=S^=^
,-b-Ci-'
_3.

^^..Q-sX _.^.^^e-e -e-jars^^= = E E a.-^^'= - ^-Q--e-E-"

B
8e.-

?E^^

^^:=^

Effect.

i33I

sfeoj

-TJ

1^^:^^ :^r2l

ixc^

5^^

,^^-^-E^^.^^^-^#?-t
i.b-Q--

Passages of the following description alsp can be played without much

executed, they are often exceedingly effective
:

difficulty;

and when neatly

As

played.

^^^
2
Effect.

As

played, u

^^

differently executed,

A^g-

The same passage

o'm

^^
As played.
^^^^^

ens.

32
In the following passage the notes are doubled in the octave above ; the changing of the stops, however, way affected thereby, but can be accomphshed with as much facility as in the preceding
:

is

not in any

examples

As

played.

Effect.

From
practice.

the examples here given

it

will be seen that

some considerable amount

is easily

of dexterity is requisite
little

in the manipulation of the draw-stops.

This dexterity

acquired, however, with a

careful

The tips of the fingers should be used in drawing out the stops, and the hacks of the knuckles in pushing them in. These actions must be accomplished by means of the fingers only, all unnecessary motion of the hand and arm being studiously avoided.
In playing music which
bear in mind that
is

not properly arranged for the harmonium,

it

is

necessary for the student to be played as written

;

when

8-feet, or 8-

and

4-feet registers are

used the music

may
it

but

when a
'

i6-feet register is used

by

itself,

or in addition to other registers, then

usually

becomes advisable to

transpose the music an octave higher.

There

is,

comparatively speaking, so
is

little

music written and arranged

for the

that the student

compelled more or less to draw upon other sources.

In doing

necessary in the selection of suitable music for adaptation.

prevalent but erroneous idea that the

Let the learner

harmonium at present, this, great judgment is dismiss from, his mind the

harmonium
secular

is fitted

only for the performance of sacred music.

On

the

contrary, let

him

try to adapt as

much

music as possible, only avoiding that which experience,

or a master, teaches

him

is

too florid in style.

33

COMBINATION TABLES.
Table showing
the
effect'

produced by various comiinations of the stops from i

to 3, treble

and

bass.

TREBLE STOPS.

34
Example. Required, the combination produced by the At the top of the table look for the figures 1.3, and at
to both

stops 1.3 in the treble,

the iide the figures 3.2.

and 3.2 in the bass. The square which

is

common

columns contains

the required

combination

-i
*J

-s^

The

student

is

advised to draw up for himself tables similar to the one here given, taking for this
i to 7.

purpose various combinations of the stops from

additional stops

The

one

in the bass

and one

in the treble

been

table above consists of 49 squares

had two

employed,

it

would have been increased to

225 squares.
tables.

It is advisable, therefore, to

Supposing two notes only to be used

employ only a small number of stops in the construction of these for the example chord (which should be placed at the left:

hand upper corner

of the table), then the following combinations will be produced

(I.)

With 4

stops (2 in the bass, and 2 in the treble) there are

4 combinations of 2 notes, 4 combinations of 3 notes, and I combination of 4 notes, making,

9 combinations.

in all.

(II.)

With 6

stops (3 in the bass, and 3 in the treble) there are-

9 combinations of 2 notes,
18 combinations of 3 notes,
15 combinations of 4 notes, 6 combinations of 5 notes, and
I

combination of 6 notes, making, in

all.

49 combinations.

(III.)

With

8 stops (4 in the bass, and 4 in the treble) there are

16 combinations of 2 notes,

48 combinations of 3 notes, 68 combinations of 4 notes, 56 combinations of 5 notes, 28 combinations of 6 notes,

8 combinations of 7 notes, and
I combination of 8 notes,

making, in

all,

225 combinations.

It is a curious arithmetical fact, not unworthy of the student's notice, that the numbers of the combinations are divisible in every case by the half of the entire number of stops employed. In (III.), for example, the number of stops employed is 8, the half of which is 4. The numbers representing the com-

binations are 16, 48, 68, 56, 28, and

8, all

of

which are

divisible, without

a remainder, by

4.

35

THE FINGERING.
The
is

fingering used for the pianoforte is applicable also' to the

harmonium

for ordinary passages,

fingers.

such as
it

quick scales, or arpeggios, or even for slow passages which

desired to play very smoothly indeed
legato as
it is

lie easily

under the

When, however,

called

the

ordinary pianoforte fingering will not

always meet the requirements of the case.

pianoforte thus

The

following passage, for instance, might be played on the

*
is essentially

i-

^
;

without injuring the feelings of the most fastidious listener

indeed

it is

be unable to detect the jumping of the fourth finger from note to.note.
a smtaining instrument, the effect would be very
:

On

different,

more than probable that he Would the harmonium, however, which and it would be necessary to finger

the passage thus

41

In this example

it

will

be seen that oae ftng^ is:

substituted: for another witttjut. the nota

glide,'

on which, the

change takes place being struck again.

applied to the

The

notes thus

into each other,

and there

is
is

consequently no
very extensively

perceptible break in the continuity of the sounds.

This method of changing the fingers

carefully studied.

harmonium, and must therefore be

few exercises are appended to

series.

exemplify this method.

Many

useful exercises will also be found in the " Organ " Primer of this

3?

EXERCISES ON FINGERING.

X ^^1 ,^2

2
>>

,^X

^^3

i ^

g
-=F<
^W-yt
i^ssft

~g7~

S
3.
,

^--^^
1

>,

.'

Vc 4

.'<'

'_<'
1

X.

V-'.

.^

12

'37
9.
4

~g?~

r(b<--:r>--r^.r^.
X
J

10.

S
t-t

2/27 X7X7 2727 X/X 1^

^^y J^r*']
' <

**

i-^

-^^^ 7 X

j-j-j-Jr-j-j-j"j7-j-j-^t^
22=
=22=
=22=

32=
=zz:

3
-?-?-

2
7

E
*

>--j

-i'^j"

"y^

12.
fefczr:

=22=

32=
2
7

=2=

=22=

Pw-fw-j^^^p j-^p^-n^.p^.p,,^
7

*
I

#
3

M-r-^f
3 2
3

=22= IS2=

13.

s i ^
14.

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^
I

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H^ ^

i^J
I

d-

fe
I

^^

^^
n

15.

=g=

P
43 2
7

S
43 2
1

P
27
I

^
4
2
7,

2 3
7

^
3 4
7

^^
);d

23
7

43 2
7

4
16.

i ji

JN

27
>i

1243
i

34 12

n.f

p
-iSi

=S=

--gr

^E
m.
z

^^
P
4 3
r

^#
-^
^-

^
y
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=&

^^^^^
2
4 3
7

^^H

^^

r^

38
17.

i
19.

w
^^
ris-

^
22=
:?=
I

18.

=P2

7"^

20.

i^
21.

s
22.

r g ^ g r
AA.

2ffi:

^^m

~r:f

12^

^
J
.j

T^r-

-:^r

34

34

23.

is i ^
24.

-J.

^
:i

J:
ipz-

JT^J
t^
-<&-

T="

^
25.
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r

:?-2=

-r
8w.

^
n
:^
-S-

i
~g7T

43

4 2

^ ^
3 4

26.

^^E

^^
2 4

=22=

39

STUDIES FOR BLOWING.

These Studies are
1
Andante.
first

to be practised with each foot separately,

and afterwards with both

feet.

m s -m
No.
1.

"s?-

'"

i'

'.
i

tr

^
"Yy

^
^

1=

=^
g^

:^^*

m
'fj-

jl

f^

'^

L^
'

-r^

'i

^
-^L.

(i

ft
^rfafc.

32=

Na

^CZM
2.

^ ^N^
^
rv

321

^m
-!-

-(=-

3?-

^^^

^ -P-'

if^ -:gr-r

9g

>

I
:^=ff:

32Z2:S=i

s
I
-P-^ '-'

^ ^
LCI)

tfv^

''-

ni
^'j
I
I I

^
=^=?=
I

32=

Moderato.
y-j

r^

r"-?7
I

^^

g?-

s>-

P
p

'

flg?

iV t^

f-^
'

1=32
I

SI-

No.

3.

f
r?

jz.-

"J2. '

^j^s--

"-fsr^^

L/ ..fg

-ZZ

^^

~?^

e =F^

f
I

1
^--

Andante.

s ^ w=i
No.

^t
/

TTSr

i^mff

F^

=22=

T"
-^>-3

^T

-g-

-g-

S*-

=?^

=g=

cJ..^S

E^E

40
1 Moderato.

S I ^
No.
5.

-T^r

^
2

f-

^
P

122=

#
zzr
J
r
-ie-

^P
Moderato.

r?

:i

^
^

S
No.
6.

i
-f=^

F<s*-^

^^^
%

:feit

S
-e;'

:fc w J J J h

-^.

miP-\^
Moderato.
(',

=i==

1^=^ =fl?=
:t=t

.8^

r r'l

^
f r
r]

%==
r

:?=

j>
No.
7.

rgij^j-iy^i

r"(;^JjJ-i
|

iijjM
T^r

^
1 Moderato.

^
i

y j'^^^j^ ^^S
*2=

a=^^^^^ ^ ^
No.
8.

^
n

:^

^f^l '^

s/

Allegretto:

No.

9,

* ** fj-r-ftri

rffifif tff f
I

*^ *f f

nn n

nn n n n

frdfc

g
r~i

nn n

nn n n n

F^=> f^ii^j-j-j-ij g^Jhg-g-pi^ ^r^pTfeij-i^

ffiffffif ff ffffif rJf fff n nnn'-nnn n nnn n n n n nnn n nnn nn n

i i

-^
i

Vi/

41

No. 10.
f(A Moderato

fH m^
/-

-i
|

cres.

-l^ r
I
I

:=
fi <2

=^

4^

r
1 1

r<Si-

^
dim.

^
izz:
1

"I

I \

1 1 1

J<b)

fe

^m
cres.
I 1 1 1
i

jj^

jf

-i

^^(

fj j
I

ij

m n iu n

i 3Z=

^s
n
I

"^1
I

^ifrr
"ZZ.

*
f';ii<'.'

^r

C
I
I

^^uucx

'

'ores'.

'

'

TZ^

'

"f"

^^
nnnnnn

dim.

;'V^.^^

^ ^ ^

^i^m aj'^
i

nnnnnnnn

i^ 'Ujjintnm
J
J

J u^

rx ^^^ff

s^
r ' ^

^
:;S=S=

^ ^ r

42
Alia marcia.
?
.

s
No.
11.

^-

.^

^f?-^
^-rr-g=g=^

G^
g^=<-.
I

^
i

fe^ n M rm n
r ^.r

* ^ *, r _j_j_
I

4^

^^
^

^^^
^p

fe= ^ == -r-r-r 1=t ^

ff

I*

r r r r

^
j
l

fL

eee^ F^^
I

f-r^ig-^^

rt g_^ S=iF
t

B^f^f^g-g-.

p-FT'-Fff

^/

P
p
1-

p -g^p^ff* /?1j
'

j"?

^f^iM
r-f
J

^^.'.^'Ir

c-cjrrir [rjr^ flJ,^

l

Moderato.

S
No. 12

^T"
I"

1 r

f1

'

!
(

'

fc

fju

'

1 ^

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-F-E=^=P^

43
Moderaio
e

ben marcato.

No. 13.

^"JTj l'-^^^^^^-(fr3 J ,|jTp12

J^^^
-P

<!_ *: ETC
ff

8i;

sag:.

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J
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PP

[-^

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ff:

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if

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44

THIRTEEN ORIGINAL PIECES.

No.
Andante.

1,

$>^ ^
^
J.^.^.d. -^

J -zy

^T
1

g'-

^
Ty

i
I?2I

^
^ ^ ^
:g=
^
^*

=P2=

*2=

^:
^

^=^
I

J^*
^^

^^^
b?

&i

g-l feg-te^
t
;

-&

-ij
1221

P^

^
>;

3i:

^ ^
zssi
:?2

"^^
"(^
fri

%&-

^^
:g:

A.

^^
-7^r

^-^.zz:

^^^^^i
-s>-

_C2_

7^=^

::^^

45

Andante.

^
P
w:.
^>

^
:^
=P22=

No.

2.

32=

-f

=^ -3^

r\
I

,J

^
f^

P'

?==?

^ s
-1=^ =2*:

^ r

^
J Q
1.

-P

=^=,^=t

i
'

1=^^
f

s
"ZP-

^
rJ
-i"^?"

-^

PbF

rif'^ ^
=2^

^^^
-i^
dim.

^n"=rf=

^s
1
f

vL ra
f
3^1

N/

# #

M
n^r

^
<

-r

^^
-rr-f
(g);f
iif^'
I
I

1ff~^_j5^
:^ ^^
I
.

if'

4-

ZZ2Z
-I'^r-

!3

fep

i
^#
'V'

i:

bsL

-.

S S

^P^ rj^i^r
r.^

3^
=^v.

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m
I

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:?==

-^,

^p-

dim.

S5

bJ

I?,

23

d
fs=''

tjd

bd

rJ

I7/-J

=2^

f-

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r*

^'

f"

r r

p~r

i-}r

F
1
p'

^
ores.

--^

'

=^-1

=F

^4f-^

46
-J-32=
(fim.

W=z =^
=:^

^
-j'^

;^J

2-tESE
-s>-

:s =

I g^P

^
-g"^

^
=r= =?=

r=^
id_

1^

^
^ f"
"p

=B-

3
:?==

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=^

E^

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^
^
f
I

f^-^-^

=^

r d s
I

:it=3t

i^r~i^
-i'^
=1
I

3
fcL^r

^^ r^r
i T=w
F"

u^
r
r

^ y r^V^r ^
t>

^^^:W222=

?^

^g--

snap

=1222=

^
p

^^

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VOLUNTARIES
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Contents of Book VL " The eyes of all wait upon Thee, O Lord."
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,,

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"

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H.
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Mozart, novello, v.
M

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Agnus

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Anf Christenmensch

auf."

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J.

"

They have taken away my Lord."

?

Street, J. E. Sullivan, A.

O death, where is thy sting Allegretto. " O love the Lord."

"
is

"

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with us."

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Dr. S. S. Gloria in excelsis.

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Bach.

Thee.
in heart.

Macfarren, G. A. Blessed are the pure HiMMEL. Incline ad me.

Hatton, J. L. When evening's twilight. Ford, Thomas. Since first I saw your face, Meyerbeer. Prayer. (Roberto il Diavolo.)

Corale.

Mendelssohn.
16.

Cast thy burden,

is

Robert, que j'aime. Old Melody. The Spanish lady's love.

toi,

Goss, Sir John.-

Blessed he. Spohr. Forsake me not.

Gounod.
Stainer, Dr.

O taste, and see.

(Last Judgment.)

Elliott, J. W. Lullaby. (Nursery Rhymes.) Barney, J. Silent Night.

Light

o' love.

Mendelssohn.
Bishop, Sir H.

Fairy Revel.

Hauptmann. Larghetto.
17-

18.

How excellent Thy name. (Saul.) Rossini. Quando Corpus. (Stabat Mater.) BiEREY. O Jesu mi. Goss, Sir John. O pruse the Lord. Novello. Tantum ergo. Mendelssohn. O rest in the Lord. (Elijah.) BoccHERiNi. Fac ut portem. Mendelssohn, He, watching over Israel. (Elijah.) He that shall endure. (Elijah.) Novello. Sancta Maria. (Treble Solo.) my Shepherd. BoLCK, Oscar. The Lord Wesley, Dr. S. S. All go unto one place. Handel. Dead March. (Saul.) Weber. Benedictus. (Mass inG.) Thy mercy. Barney, J. Sweet WestbrooK) W. Andante.
H esse.Allegretto.
Handel.
is

Deliver me, O Lord.

R. Stay, prythee stay. (Sestett.) Old Melody. One evening having lost my way. Bishop, Sir H. R. Come, thou monarch of the vine.
The National Air

,1

Old Melody. There was

Jamaica.

of Holland. a jolly miller.

The Vicar of Bray.

Macfarren, Walter. Winter. Part-Song. Morninqton, Lord.As it fell upon a day. (Glee.)
Best,

W. T.Alia Breve.

Mendelssohn.
Phillips,

Andante.

(Op. 102.)

Mozart. March. (Die 2auberflote.) Alfred. O lovely star of eve. Old Melody. The Poacher's song.

Old Melody.
The Red

Stirling, Elizabeth. Red leaves.

(Part-Song.)

is

T.

23-

Mendelssohn. Andante. (Op. 83.) Haydn.Largo. Wesley, Dr. S. S. Solomon's Prayer.

Hopkins, E. J. For the Lord is gracioug. Garrett, Dr. G. M. He remembering His mercy. Goss, Sir John. Hear, O Lord. Wesley, Dr. S. S. Andante and Chorale.

I followed a lass. Bull. Parthenia. Cease, rude Boreas. Chevy Chase. New Wells. Down among the dead men. Old Melody. All in the Downs. PuRCELL, H. Britons strike home.

Old King Cole.

When

Old Melody. As down

Elliott,

J.

W.

(Harmonised by). Moderato.

Serenade. in the Meadows. Pretty Polly Oliver.
in the style of

25-

26.

Mendelssohn. Blessed are the Men. Mendelssohn. Chorale. The Lord God. (Elijah.) Sudlow, Wm. O most merciful. Lefebure-Wely.Andante, No. and No. Sfohr. Blessed are the departed. (Last Judgment.)
is
i 2,

MozA]EiT.Allegretto. From an Overture Old Melody. Felton's Gavot. Weber. March, (Concertstiicke.)

HandeL

Heller, Stephen. Aubade. Reichardt, G. Our native land. Best, W. T. Andante con moto.

(Op. 33.}

Hiller, Dr.The Kings of earth. (Nala and Damayanti.) Elliott, J. W. Poesy Sublime. (Romance and Reality.) Schumann. Old Bogie. (Op. 68.)

Best,

W. T. Chorale.

Old Melody. Porter's

I,

Lamentation.
Soldiers' Chorus. (11 Trovatore.)

Epohr. Adagio. (Quartett. (Op. 58.) Mendelssohn.Arioso, Woe unto them.

Peg-a-Ramsey.

(Elijah.)

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