(ji I a. A stone. , r. t.

A treatise oi\ oL*r ict Liou*ntier-pornt

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 '- ;'
: ' . .
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. . .
 From the Bequest of

JOSEPH NICKERSON ASHTON

NOVELLO'S
MUSIC PRIMERS AND EDUCATIONAL SERIES.

A TREATISE ON

TRICT COUNTERPOINT

FRANCIS EDWARD GLADSTONE

MUS. DOC. CANTAB.

PART II.

COUNTERPOINT IN FOUR AND MORE PARTS.

Price One Shilling and Sixpence.

In Paper Boards, 2s. Od.

Boston University
College of Musie
Library Jun-\J$ %
London: NOVELLO AND COMPANY, Limited.
New York: THE H. W. GRAY CO., Sole Agents for the U.S.A.

MADE IN ENGLAND
 :

LONDON
NOVELLO AND COMPANY, LIMITED.
PRINTERS.
 CONTENTS.

CHAPTER I.
Page
The First Species of Strict Counterpoint in Four
Parts ... ... ... ... . . ... ... ... i

CHAPTER II.

The Second and Third Species of Strict Counterpoint

in Four Parts ... ... ... ... .. 9

CHAPTER III.

The Fourth and Fifth Species of Strict Counterpoint

in Four Parts ... , ... ... ... ... 17

CHAPTER IV.
The Combination of the Various Species of Strict
Counterpoint in Four Parts ... ... ... ... 25

CHAPTER V.

Three Voices in Florid Counterpoint ... ... ... 30

CHAPTER VI.

Five-Part Counterpoint ... ... ... ... ... 33

CHAPTER VII.

Six-Part Counterpoint ... ... ... ... ... 39

CHAPTER VIII.

Counterpoint in Seven and Eight Parts .., ... 41

CHAPTER IX.

Counterpoint for Two Choirs ... ... ... ... 45

APPENDIX.
Containing an Eight-Part Study in the Form of a
Fugue for Two Choirs ... ... ... ... 5

MADE IN ENGLAND
 Digitized by the Internet Archive
in 2010 with funding from
Boston Library Consortium Member Libraries

http://www.archive.org/details/treatiseonstrict02glad
 A TREATISE
ON

STRICT COUNTERPOINT.

CHAPTER I.

The First Species of Strict Counterpoint in Four Parts.

It has been already explained* that the Chords, which form
the harmonic basis of studies written in the Strict Style, are
Consonant Triads and Chords of the Sixth.
Each of these contains three sounds and no more. It
therefore follows that a Fourth Part can merely be employed
in strengthening one of those sounds.
The only degree of a Diatonic Scale which may not be sung
by Two Voices at the same moment is the Leading Note. With
this reservation, any Note contained in a Triad may be doubled.
Preference should be given to the Octave above the Bass.
When, however, considerations of Part-writing make the
doubling of the Bass either impossible or inexpedient, attention
should be directed to the Third above the Bass.
The doubled Fifth is rarely desirable in the First Species of
Counterpoint.
Similarly, any Note contained in a Chord of the Sixth (again
excepting the Leading Note) may be doubled ;but, generally
speaking, either the Third or the Sixth should be doubled
rather than the Bass, unless either the Supertonic or the
Subdominant of the Scale appears in that Part, when the
Octave above the Bass may often be used with advantage.
It may be well to give emphasis to the foregoing statement
that, in writing a Triad in Four Parts, the Third above the Bass
should be doubled more frequently than the Fifth ; because
some modern writers on Harmony have made assertions to the
opposite effect ;
and, if this notion of theirs were well founded,
it would bring the rules of Diatonic Harmony into direct and
absurd conflict with those of Counterpoint.

* Part I, Chapter IX.

 :

2 STRICT COUNTERPOINT.

The fact that the interval of a Third not only may but not
infrequently must be doubled is indisputable.
A considerable variety of instances might be given if modern
Harmonies were employed. These, however, would be out of
place here. But the following progressions might occur in a
piece of Strict Counterpoint in the key of A minor and in none ;

of them is there any possibility of introducing, without a breach

of rule, either the Octave or the doubled Fifth when the Triad
upon the Submediant is written :

E=22:
3fe

Hfax fe: =g=far-g

Every Triad or Chord of the Sixth should be written in its

complete form whenever this is possible and, when no other
;

way presents itself, a judicious crossing of the Parts will

generally produce the desired result.
Nevertheless, an incomplete Chord is often necessary in the
Last Bar and difficulties may occasionally arise elsewhere.
;

In such cases two of the sounds may be doubled or one of

them may be trebled but, whatever is omitted, the interval of
;

the Third should always be present.

Consecutive Fifths and Octaves.

Watchful care will now be necessary in order to guard against
the intrusion of Consecutive Fifths and Octaves. In regard to
these no relaxation of the rules can be permitted although, in ;

other respects, some liberty may be granted.

Hidden Fifths and Octaves.

It is conceded by the best authorities, who have written upon
Counterpoint, that the rules gradually become less stringent as
the number of Parts increases. Thus, the addition of a Fourth
Part to the Harmony is held to justify a certain amount of
freedom in respect of Hidden Fifths and Octaves.
Both of these may be permitted (in perplexing situations, even
between the Extreme Parts) when the Higher of the Two Voices
implicated moves conjunctly, e.g. :

ra:
-<s-

.Q. -2-
: Z -S =T1 2
:-z^cc::


STRICT COUNTERPOINT.

Even further liberty may be allowed in regard to Hidden

Fifths when one of the Inner Voices is concerned, or when
neither of the Extreme Parts is in question. Under such circum-
stances it is sufficient if either Voice moves conjunctly, e.g. :

-C2_
_Q
^zzztt

Again, Hidden Fifths cannot justly be condemned if Two

Parts proceed in Disjunct and Similar Motion without change of
Harmony, provided that there is Contrary Motion elsewhere,
thus :

t
-9-
"" T
o '

ffn <^-j
^K ri

G>-

W
i'ri)
I


&
?5
X-^- _ iO
<TJ CJ>

But the Four Voices must not all proceed together in Similar
Motion, e.g. :

-Q-
#"-
T1 TI
r->
/L
& rj
&
~-.

o
.

/~\ . ^. r^ C? ^D
Igh "-^ r-J cS-.^-S

Woi Goorf.

And yet again, it is always bad to write Hidden Fifths and

Hidden Octaves simultaneously, e.g. :

r$ rj Ti

w-
/L

IQ_ r>

arf.

* Here it should be explained that, when Two successive Chords are formed
by combining the same three sounds, they are practically the same Harmony
although one may be a Common Chord and the other a Chord of the Sixth.


STRICT COUNTERPOINT.
Supplementary Remarks upon Consecutive Fifths
and Octaves.
It was recently said that no infraction of the rules forbidding
Consecutive Fifths and Octaves could at present be permitted.
But it may be consoling to a scrupulous mind to be reassured
with regard to certain deceptive appearances of Octaves or
Fifths which sometimes arise where an exercise in Counterpoint
is taken to the key-board of a Pianoforte.
Let the following passages be examined :

Z2

m *:
22:

jaz

m-.
ZZZZ

If these successive Harmonies are played upon a Pianoforte,

the effect of Consecutive Octaves in one case and, in the other,
of both Consecutive Fifths and Octaves, is apparent. Never-
theless, if the true progressions were sung, the distinctive
qualities of tone of Alto, Tenor, and Bass Voices would make
themselves felt, and a very different result would ensue.
The fact is that the Pianoforte is a most untrustworthy guide
to those who desire to realize both the beauties and the blemishes
of Vocal Part-writing. The lack of sustaining power, in the
instrument referred to, hides many defects from the listener,
and the even quality of its tone causes false impressions to be
received when Parts cross one another.
Some idea of Vocal effects may, however, be derived from an
Organ of Two Manuals and Pedal. For instance, the foregoing
passages might be submitted to the following test :

Manual 1, 8 ft. Flute.

i^pgi
Manual
-<s>-
2, soft
^
Reed.
z&zzzzzzzzz^zzzzz
-&-

\i&
3 <
::^J>:
and

m
Pedal soft 16 ft. 8 ft.

>
Such an experiment ought to be convincing.
 .

strict counterpoint. 5

The False Relation of the Tritone.

The more glaring instances of False Relation must still be
avoided but the False Relation of the. Tritone is offensive only
;

in such instances as the following, in all of which the Leading

Note is in the Highest Part and the Subdominant is in the
Bass :

jQ.

n^ ^=rrZQ22 'J&- s s
Not good.

The Unison.
In the First and Last Bars any Two Voices may sing in
Unison but elsewhere this will be pardonable only when some
;

special difficulty is made manifest.

In such a case, if the employment of the Unison becomes the
less serious of two faults, it may be tolerated.
Let it be remembered, however, that Similar Motion to the
Unison is never good, e.g. :

i ' ,
T&DT

ggEJg^
Not good.

Monotony.
It is possible to observe all the rules of Strict Counterpoint,
and yet to produce an unsatisfactory result.
Attention should still be given to the movement of every Part,
and each should have, so far as may be possible, a fair share of
activity.
Let the subjoined exercise be carefully scrutinized :

:^?_

i -gl -^r
* *
m:
C.F.

The Harmonies are good there are no forbidden Progressions

; ;

but the Alto Part contains only two sounds, A, and G sharp.
The Part-writing is therefore imperfect.
 ^

STRICT COUNTERPOINT.

Observance of the following rule will generally enable the

student to avoid monotony : :

No Part should contain the same sound in more than Two
successive Bars.

Cadences.

In treating of Cadences in Three Parts it was said* that any

one of the Voices might proceed from the Leading Note to the
Tonic.
This statement does not apply with equal truth to Four-Part
work.
The Leading Note is essential to the proper formation of
that which is known as the Perfect (or Authentic) Cadence ;

but, when all the voices are written in the First Species
of Counterpoint, it should not appear in the Lowest of Four
Parts.
The Bass of the Penultimate Chord should now be either the
Supertonic or the Dominant of the Scale the former when ;

the Canto Fermo itself is in the Bass, the latter if it is placed

elsewhere.
The following illustrations show some of the possible
Cadences :

sh::
P
W C.F.
-JC21
:cz
C.F. C.F. C.F.
I2_

C.F. C.F.
vf CD
& rj p
O *
O
o s> L
&2J

C.F. C.F.
-s>-

> r^
o '

* Part I, Chapter X.
 1 1 -

STRICT COUNTERPOINT. 7

The student should now write exercises in the First Species of

Counterpoint in Four Parts.
In doing so he may use any of the Canti Fermi provided in
Part I of this work or he may compose his own.
; He should
be careful, however, to place the Canto Fermo in each Part in
turn, following the instructions already given.*

Examples.

lA" ^ & -^
1
1

<s>
5
^^_ n

-<s>- -0-
<r>
<S> rj

r> e> 1
<S>
rj O
4Rr <s>

C.F.

rj
**Q & *2 ,
<s>
rj >S>

tiE^~\
r.i rj <s> rj
n rz '

P)

4UO-~
$& -
-*- =^= -^ 1
e r-> e? 1 _Q_
jfe \

C.F.
P &> 1
& rj ^ <n

G> -1

rj
^^ <r>

O s>
rj

* Part I, page
 o I '
n

STRICT COUNTERPOINT.

?^~ i - <"-->
o
e> O
C.F.

^ =
f-J
s> 1
s>
<z
e

It4_"rt^

fk^^^- <n
= S = -^ n
^-j
o o

fn):
-M^
*> ^j
<s> rj o
<T> o <s>
.

C.F.
r-& S>

if
rr~
1

o
1

n
w~ <S> <s>

4U O -5^ =Z2=Tffe*-
1
-G>- o 4s *
rz

ft"
1
T

4IJ r
& Q O o
r
Q . <=3 , t
<s>
, r , , . C=3

t7

5@=*= G <s>
rj
n e <r>
<s>
1

STRICT COUNTERPOINT.

CHAPTER II.

The Second and Third Species of Strict Counterpoint in

Four Parts.
Following a course similar to that pursued in studying Three-
Part work,* the next steps will be to add to a given Canto Fermo
(a) Counterpoint in the Second Species, and (6) Counterpoint in
the Third Species in One Part, accompanied by Two other
Parts in the First Species.
In these Orders the Unison and the doubled Fifth may be
freely employed anywhere but upon the strong Beat indeed, a ;

flowing progression may justify their occasional appearance

even where the accent lies.
In other respects the rules already given will still operate ;

and particular attention should be directed to two important

matters.
The first relates to Consecutive Fifths and Octaves ; the
second to Hidden Fifths and Octaves.

Consecutive Fifths and Octaves.

Some authors have written tolerantly about Consecutive
Fifths in Contrary Motion when Four Parts are heard together.
The student is, nevertheless, urged not to introduce such
freedom into his work until at least Six Parts are contained
in his Score. In truth, it is not too much to require that neither
Consecutive Fifths nor Octaves, even by Contrary Motion,
should appear in fewer than Seven or Eight Parts.
Those who desire to gain a complete mastery over the
intricacies of Part-writing should obey the rules which have
been in force hitherto.f
Even such beginnings as the following cannot be approved :

5
V ~ r-
5|

1

m
r t~T
W
tk
tf
<n r"
*-m p ~4o
^8 1

1
8
-Q-
a.
iWi*
(W. rj
^s rJ rJ

The severity of this teaching is not unreasonable because, ;

although the Crotchet in each illustration does not make its

first
appearance upon either of the Beats, its position in the Melodic
Figure gives it prominence.

* Part I, Chapter XI.

t Part I, pages 18, 35, and 36.



IO STRICT COUNTERPOINT.

Hidden Fifths and Octaves.

In writing Passing Notes, Similar Motion to an Octave or to
a Fifth cannot be allowed, at all events when there is a change
of Harmony, e.g.:

None good.

The reason in each instance is that, if the Passing Note were

struck out, both of the Voices concerned would proceed by
Disjunct Movement; and this would be an infringement of rule.
If, however, a given combination of three sounds is repeated
in a new form, the same liberty as that granted in the preceding
chapter may again be claimed, e.g. :

Cadences.

Four-Part Cadences in the Second and Third Orders of

Counterpoint may be formed by a modification of one or another
of those prescribed for similar work in Three Parts.*
Here are some illustrations :

v, Z
ZZEZZ
s is ESE ^m
-Gt.
o

C.F.
mA C.F. C.F. C.F.
fed]

* Part I, Chapter XI


STRICT COUNTERPOINT. II

Or in difficult circumstances.
, C.F.

C.F.

S m ___

+$ ^o
C.F.

_Q_ I
J ,
I

^i:
~^ZL
W^W
C.F. C.F.

C.F.
-*> ~T3
# <" <n * aw
T
<s>
'

Tl

^ CF. 1 1 1
1

C.F.
-& -G- 1

J 1 J
1

1
L !
i &
rJ
J
&
<i

But such errors as those here exhibited must be avoided

5

C.F. C.F. C.F. C.F.

In writing exercises in the different Orders of Counterpoint,

the student must always remember to seek for varied experience
by placing not only the Canto Fermo, but also the special
Counterpoint in every Voice in its turn.
In the subjoined examples it should be noticed that the Canto
Fermo is placed (a) in the Bass, (b) in the Tenor, (c) in the Alto,
and (d) in the Treble also that the Second and Third Species
;

appear in reversed order, thus:

(a) in the Treble, (b) in the Alto, (c) in the Tenor, and (d) in
the Bass.
This method may be adopted with advantage.
 J

12 strict counterpoint.

Examples.

m U o- dfe
-49- I2I
^g r^

C.F.

S
n? 1
rj
^li n3 P3
i
,

/ ii
' '

*
IL
fm
VL' #rd
*> F
r^
1

rd U_J
4^ a*-*
rj
7 T 1
1

ff "

4
7
. c~> s>

u
.

Mr
.m- <u
r^
& rj

V
S
W
fraV
w^ ^
rj
r^
n

33:
:a:
I
2=ES=gqpca--rP- ^=p:
Il^H i^fe
C.F.
- re f-^

o 22:
 &

STRICT COUNTERPOINT. 13

m ZZ21

C.F.

W^
* 22;

Sa =t
2^1 ^ -P e-

^
^S 22:

-^Tj> <~j rj
1

rj
Tl
*~~
1

h<^
W-^-V- J4
if -
h ^~
\ iX
1
_t
^-j

\T^9-

II k 1

n [ 1
1 1

t
7 P b
"
'l

r-i
ri rD 1

rJJ
1

<^j
1
1

1 1 rJ rj

Mir|>- n
^4" **-> 1

C.F.
ZZZ-
1
W
_Q-
i g
.Q_ o r e>

@ 22:
R r> g>
ZZ
H^2=

F. E. Gladstone Strict Counterpoint, Part 2.Novello. B

 o 1

H STRICT COUNTERPOINT.

: *:
3#=g=F=^=M=^ - -

i
fcbEEE^E
t^
W-^K
B
C.F.

^y^fcE:
5^

^i:
w^
vu

*
t?

r
L
i
'
r f r~
1
-j

F-
I

1
T
i

! J J

1
d
1

d9
040 '
i 1
1~
<5>
-n
-

t7 1

" Iv
ILi ?
"

!->
G r^>
'
It-
4K-

J f rj
"? t l_
ft r^
* T

w
IW-i P
b^
rj
CJ> e

3^
1
-#-
--F-

ili-i
^fe SEE
C.F.
o o
<z>

-
fTTr-g-
\>r -^ ^
 "

S TRICT COUNTERPOINT. 15

n
w^ -iS> ..
9 r>
'
1

rj

if ;
-
1 *

Ml
\m P L_ J
1
r
rU_
111 i

' 1
tfT !
*
""i
r

1

1 L !
1 1

J L 1
4Hi ' ' '

tj
m <j
7,

^
(W
V_^

rj>
r^
rj r->

-FT~*>
1 1

/L ? ^ 1

rj
(0)
7 9 rj *-^

CF. ^.
+kfc -7*-r? -<S>
n
1

1
7L " '
^

r * ^ - -
r
,

* 4 *
*,->">
<*
7 p Z
L
f-
1
r ,*
1 r \
\
* r * *
1
|
|

III 1
1

'
i
1

I'llrP 1

@*.go
-^>-4-^ #"
tt/rs s> -0 1
h?-s
14c*

/k
"#T O rj
75 Tl
rti ^
1

%
TT^
uu

<o
rJ
p 1-1

1
7L

'
T
7
7
I

1
P P
1

1
\~

*
r
11
*
I'll-
#
1
m
1
i J
9
11J
m m
x
J
m r
1

J
1

r-aV
U*;.,
"n ^
r^
rj

i6 STRICT COUNTERPOINT.

\&%
j^ r*

C.F.
'
-]~ & \= tr>
-"
1=
_

ftrSl =ri J 1 E

E V, o ^ -o
ft= ~"~ "
=

m^-' r tirf. r r-l r J rtr-i=4:

Mr- <s>-

SzrzzE

STRICT COUNTERPOINT. 17

CHAPTER III.

The Fourth and Fifth Species of Strict Counterpoint

in Four Parts.

The somewhat difficult task of writing Syncopations in One

Part against Three other Parts in Semibreves comes next in
order.
Each Bar should contain complete Harmony. This will
usually appear upon the Second Beat, but it will be sufficient if
it is to be found upon either of the Beats.

Even in the First and Last Bars entire Harmony is sometimes

possible.
The doublingof the Fifth in a Triad will now be more
common and there need be little scruple in occasionally
;

allowing Two Voices to meet in Unison, even upon the First

Beat in a Bar.
It is still forbidden to sound a Discord formed by Suspension
together with the Octave above or below the Note of
Resolution* and, in order to guard against any breach of this
;

or some other rule, it is even permitted to introduce a Bar of the

Second Species into One of the Two Parts which are elsewhere
occupied by the First Species thus ;
:

- -. ^
yn rzi
! 1
1
1 1

CJ
1

fL
W- '
<S> & <Z> ..

if-

A 1

-J- A
<Wv
4gj
cJ
1

<o rj
Pt -&-

1

The second of these illustrations contains a Fifth together with

a Seventh ; but as this Fifth is consonant with every Part, and,
as it is removed when the Discord is resolved, the effect is
excellent.
This permission to introduce Two Minims where One Semi-
breve would usually be found must, however, not be abused;
and special care should be exercised in order to avoid any

* See Examples on page 99, Part I.

 :

STRICT COUNTERPOINT.

infringement of two rules which have not hitherto been

required, but which now need enunciation, These rules may be
formulated thus :

(i) forbidden to proceed by Similar Motion to the Octave

It is
above or below that Note upon which a Prepared Discord
is resolved, e.g. :

lot
zi:

AAJ.
m
(2) It is forbidden under any circumstances to prepare the
Discord of the Ninth by an Octave, e.g.

?=t

-P:

In this last illustration the Ninth does not actually resolve

upon an Octave and yet the critical listener will surely regard
;

the progression of the Bass as a mere prevarication.

These rules must be remembered, because they admit of no
exception even in Seven and Eight Parts.
The Suspensions employed in Three-Part Counterpoint* are
all available in Four Parts. Here is a complete list :

The Perfect Fourth above the Bass. This should be accom-

panied by a Perfect Fifth and an Octave although, in difficult
;

circumstances, the Unison may take the place of the latter:

The Seventh above the Bass. This should ordinarily be
accompanied by a doubled Third, or by a Third and an Octave:
The Ninth above the Bass. This should be accompanied
either by a Third and a Fifth, or by a Third and a Sixth :

The Second (or Ninth) below the Canto Fermo. This should
be accompanied either by a Fourth or a Fifth above the Discord,
with the Canto Fermo itself or the added Interval doubled :

* Part I, Chapter XII.



STRICT COUNTERPOINT. 19

The Fourth below the Canto Fermo. This should be accom-

panied by the Second or the Ninth above the Discord, with one
of those sounds or the Canto Fermo itself doubled :

The Fifth below the Canto Fermo. This should, like the
Fourth, be accompanied by the Second or Ninth above the
Suspension, with the Canto Fermo itself or the added interval
doubled.
The following Suspensions will exemplify these rules :

\' -J 4- T^ A 1/ -N
^ Q
1

V -o-A- "N 1

XQ
1

rj~ ~^~3~ -0- -

|

0H
, 1
T-^n
--&- O^f- -J
-&
^ ^
-

fftS _ r_j
vy <tj :

7
JZt.^
-<s>- -e-
frV 5>
rw. r>
\j^ O rj

/l
y
fm rj ?5 CJ
\sy
*J -&- C.l
c!f.
cf -

C.F. ^ >-

tfaY
(W
n f-> rj en rj eZT^ ^>_ CJ fJ C3
N^> ;
>.

*- ' \
1
1
*'\~
1
-
-
I !

1 1 1

vn
W
-fk ^ -H-
C.F. C.F. C.F.
c F.
>-

n
^W
/rsV
I
f^V
|

"- '
fJ
1
1

1
'
rj
1
1
c3
1

1
r"3

1
- *'l
rj
1
,-5

1
.
rj r-> e?

N.B. A Prepared Discord must never form the interval of a
Seventh with any Part above it, e.g. :

M: ^
Very bad.


20 STRICT COUNTERPOINT.

Examples.

nPrt^ r^2 T< ^^ h

/ k & Ahrf-T *T< Tl
1

(71
vu
i'
1

>
z
*-^
<o j
<TD
|

l"3l
)

y
1

1
i

1
1
i

1
LV
t
fJ
|
rj
i
Q
|
p* rJ
J
1
1 i

ii-uH^-r? rj
r e -&- -e ^>
-<9
-
7 P 2 1

te^ " tj
-O
2_^
'

46-!
r-> Us*
o -s -<s>

^U -<s>
1,
-
-<S>
o -s> <^>
-s>

s
it 351
221

fe 221
-s>- -e-

321

i=5:
i
feS
?=22:
221

O
&f
 STRICT COUNTERPOINT. 21

m
fo
2zl CZ2Z

C.F.

m 3fc m
Ss^es y=\
jai
,<=v-
-JPO^--

z.

Si^ i^Hi
C.F.

-S> ==

H 23: 22:

6 ZC21

m :ct
- &t-& =t
rj I
rt I

**
I

22 STRICT COUNTERPOINT.

The Fifth
Species of Counterpoint in Four Parts.
A
word of warning ought here to be given as to the increasing
danger of overlooking Consecutive Fifths and Octaves. When
notes of small Time-value are written the faults referred to may
easily escape notice.
Let the student beware of errors like the following :

8 8

22t 5&
i & 221

m
In both cases that which was intended to be an embellishment
has become a disfigurement.
No additional rules are required for the writing of Florid
Counterpoint in Four Parts.
All that is necessary is to make a careful analysis of the
subjoined examples, and to obey the precepts already inculcated.

Examples.

-# 2 r f r * 9 r g ^=V
"P F *~F m m m f I
^)-a-M 1
|
m F
-M f
1
h 1F h- L L. 1 1
1

*> <"J
*
_i
L if
^ '
7 ^

<* *> T3
^ ^
<-n
7L. *?

C.F.
O
Cr^\'
SQhit -Q <n -<s>
Z rj

gi ^2:
=
-*-FF j 1
I
1
F^1

o
 STRICT COUNTERPOINT. 23

I

IA

til 2- m P ~ts- -=t=p=f

H S =t i=t:

C.F.

s 2:

feE
33

1st
P Q^-^? Q
E # o
IP
til
^EE^^^^zEE t=t ^ 1

fii
:^_
|=:

i# 22:

B C.F.

TZ-
fe =t i
1
i
s
^=

S :#o:
 J

24 STRICT COUNTERPOINT.

Z2I
221

=-b m <S> m * hP:

top

C.F.

i
B '2 g- 32:

^=^
1es

s^ -s>
d=3=$
-G>-

IC2I

$
m
r

L^^ S^b^-'-d: i^^^^i



STRICT COUNTERPOINT. 25

CHAPTER IV.

The Combination of the Various Species of Strict

Counterpoint in Four Parts.

The possible comminglings of the different Orders of Counter-

pointnow become so numerous that the student must be content
with only a few illustrations. To any intelligent mind the
examples to be given presently will readily suggest other
distributions of the Species among the Voices.
The rules given in the First Part of this work* may be read
again with advantage but additional caution will be necessary
;

in their application.
The principles advocated, in Chapters II and III of the
present part of this book, with respect to Hidden Fifths and
Octaves, must also be kept constantly in memory.
But an important exception to the general rules for Con-
secutive Octaves now comes into use. When the Second
Species is placed in the Bass, its movements may cause a
Prepared Discord to resolve upon a new and unexpected
Harmony. For example, the familiar Suspension of the
Seventh

m
may, by the movements of the Bass and Alto, resolve into the
following unlooked for Consonance :

JGL-

W-

*Part I, Chapter XIII.



26 STRICT COUNTERPOINT.

Now, when so distinct a change of Harmony as this makes its

appearance upon the Second Beat of a Bar, Octaves upon the
First Beats of Two successive Bars lose their ill effect, e.g. :

irf: :Jz J- JJ-

tpofcbs

C.F.
:f&
P
_2_
IPC
@fcfc ^2=

In examining the foregoing illustration it should be observed

that Bars 3, 4, and 5 contain altogether Five Chords so that ;

the apparent Octaves between Tenor and Bass are not, in fact,
Octaves at all, since they occur not in successive Harmonies but
in Chords 1, 3, and 5.
further liberty now becomes lawful.
Still
The difficulty of combining the Second, Third, and Fourth
Species is so considerable that an occasional Rest upon the First
Beat of a Bar may be introduced without scruple.
Once more, the union of the Interval of a Fifth with the
Discord of the Seventh, either in the manner explained in
Part I* or in that shown in Chapter III of this Part will
sometimes be found useful.
And again, the union of the Intervals of the Sixth and Fifth
referred to on page 113 of Part I (examples d and /) may be
effectively accompanied by a Third, e.g.

I 3.
Z
F=F
J- _cl
m- g
while example b on page 113 may be completed by the addition
of a Sixth above the Bass, thus :

Tfc-=\ 1"
&
w- ^ -rJ-,,
r 'i -r-
Chapter XIII, page 117.
 1 | i

STRICT COUNTERPOINT. 27

These last illustrations show the Harmonies only in a simple

form. In practice no Two Parts would be written in the Second
Species at the same moment.*
Several Harmonies and Progressions, such as those explained
in this Chapter, will be found in the third and fourth of the
examples which follow :

An Example of the First, Second, and Third Species

Combined :

&JR5
S33E i I

r~ *=s=

-p- -P-
5S
S=S zt:

K
fetsfcN
a]
C.F..

SfeS
EjBfc
:zo:

/TH " hj-p-p- * f

y
hffr^-r-
> 1

r r
, J
-[
_| 1
fi
1
f-3

-f
n 1

s p
1=
_fs
H
1
:^
1

<S
fe^ '
'

<9
-
- ^^

<S
^^_o n L-<s> ___.

* See Part I, Chapter XIII, 2nd paragraph.

t The Second Species here enters with the C.F. in order to avoid a wide
space between the Tenor and the Treble.
28 STRICT COUNTERPOINT.

Two Examples of the Second, Third, and Fourth Species

Combined.

2S s* d J s --*-
i ~t.
- I

g==fc^
W^ ^
-
et 2t=|:

fc*-^-
~2= -I =-

is .C.F.

2z:

IgM=T
fe= J^ rJ -rt
ft
-2-
-=K
I*i
^fc
:rz^z

O 2 2 e i-O
^~^=E g=j-
p ^
,-<S> f i-f
:?2:

C.F.
nza:
R^4

S
S tdze*

* The Second Species here enters with the C.F. in order to avoid a wide
space between the Bass and the Treble.
 1

STRICT COUNTERPOINT. 29

An Example of the Fourth Species Combined with Two Parts

in Florid Counterpoint.

C.F.

^J#

=i=PE :^=P=F
EB

i^S fcfcg
m
M =

-p U rj

P
zrE
1 1
1 1

fr# :ezi =P

^^S^ ^, -fr-<si ^d 4-^

rn^M

F. E. Gladstone Strict Counterpoint, Part -2. - Novello. C

3 STRICT COUNTERPOINT.

CHAPTER V.
Three Voices in Florid Counterpoint.
The literal accuracy of the description of Florid Counterpoint
as a compound of the First Four Orders * will now become
manifest.
No greater mistake can be made by the student than that of
endeavouring to keep all the Voices in a state of perpetual
activity.
An occasional Semibreve in one Part, against more vigorous
movement in the others, tends to the production of welcome
contrast.
All that need be remembered is this: Semibreve must not be A
tied to a Note of smaller Time-value in the previous Bar, e.g. :-*

/X"\ fj <0
(W. <o
U '

Rhythmically Bad.

The important rule as to Passing and Auxiliary Notes given

on page 122 of the First Portion of this work should still be
strictly obeyed, not only in Four-Part writing, but also in Five
and more Parts.

Cadences.
In the exercises to be written, now and henceforth, the Bass
Part ought to contain in the Penultimate Bar either the
Dominant or the Supertonic of the Scale. The Leading Note
will not in future appear in the Lowest Part under any
circumstances.

Examples.
-<s>

=t=t=
spz
^i=g
Mft^t^EFrT -nfr^
C.F.

fc L' C r 1
* Part I, Chapter VII.
 '

STRICT COUNTERPOINT. 31

H EEEEB :=*

seI*
= 1^ .-

*=-=]=:
il 1=

s*
!=

iH^^ C.F.
^=*r*f*
# --

fcr2:
JP^fc
:q:
ft^i 3Efc -I L-
1-^| - i
h

S^
2:

"
=E
^=fi:
WFP ^S
1
? <S>---
i=B
-<s>-
pz:
:Q
::tz:
EEEEEt 3
C.F.

P*
^=& ^g^i P-T-e-

eg EggEE^ -#-r&

e 2zBt=yE!=
--F--S>
t=t
-Pr^
E^if^^l
^fc
fcz2: t ^;*:
 I

32 STRICT COUNTERPOINTo

=^1 :^:
:n^ii=E

Gt-Sfgl^i^Lm-^s.
-<S> W-m- 4 tf
3t?_

-^9-^1 p^a:
l^pci^p:
"-P=t T^

a=ii
^ -^ '-

IS ^^ 1 :E +- J 3i h
-r-^-

B^IeS zi=C ! I

C.F.

^i^2

-
P +-h-| -&r :
5 =g=P ==
FF =^

Ej^fljEEEffiEgE EEfefeSEE^Et
3=t
g^fF^
w-^
i rlTTTt?
p#
ee

l^H o :o

* Syncopation within the Bar is occasionally useful.

 ;

STRICT COUNTERPOINT. 33

CHAPTER VI.
Five-Part Counterpoint.
When more than Four Parts are to be written, it is obvious
that one of the ordinary groups of Voices must be divided into
Two Sections.
The best arrangement of a Five-Part Score is, generally
speaking, for Two Trebles, Alto, Tenor, and Bass.
Nevertheless considerations of Compass,* may sometimes
make it more convenient to write for Two Tenors. A separation
of either the Altos or the Basses into two divisions is not at
present advisable.
The most important relaxation of rule which may now be
allowed is in relation to Hidden Fifths and Octaves.
Any of the Inner Parts, or One Inner and One Outer Part,
may approach an Octave or a Fifth by a leap in the same
direction in either or both of the Voices.
It is still desirable, however, when Similar Motion to a
Perfect Concord occurs between the Two Extreme Parts, that
the leap should be in the Bass, the top Part at the same time
moving Conjunctly.
The appearance of the Unison will now be more frequent
but it should not be prolonged beyond One Bar at a time. Such
a passage as the following does not give the impression of Five-
Part Harmony, but rather of Four Parts with one unduly
strong :

^
The repetition of a given sound in Two Voices which are an
Octave apart is, however, in no way objectionable, e.g. :

-Q.

In this last example every Part asserts itself, and the effect is
that of Five distinct Voices.

* Part I, page 7.
 :

34 STRICT COUNTERPOINT.

Cadences.
The formation of the Cadence requires most careful attention
when the Canto Fermo is placed in the Bass. The Chord of the
Sixth, which will then appear in the Penultimate Bar, should be
written with both the Bass and the interval of the Third
doubled and caution will be necessary, not only in approaching
;

this Chord, but also in quitting it, for there is danger of letting
the Diminished Fifth upon the Leading Note be preceded or
followed by the Perfect Fifth upon the Tonic, neither of which
progressions can be tolerated in Five- Part work.
But, wherever the Canto Fermo is placed, the Final Chord
must always be complete; i.e., it must contain the Third, the
Fifth, and the Octave above the Bass and, in order to ensure
;

this when the Canto Fermo is in some other Part than the Bass,
the Penultimate Chord should be written with a doubled Octave,
or, if that is impossible, with Octave and Unison, e.g.

C.F.
%-
:oz2i
o C.F.
C.F.
C.F.
~rjr_ :effi2i
Q_

&
Examples of the First Species of Strict Counterpoint
in Five Parts.

o
I
tmm -Gt
~o

-Q-
O ,

w IS>

C.F.
m o_

=^ E^=t=l
* These Imitations should not escape notice. They both result from well-
considered crossings of the Parts.
 1

STRICT COUNTERPOINT. 35

C.F.

It?
p
-
~ T^^J -- -r?- -s- -rr-
v-& -

*
- -^s> C3 -rr-

-T -r,-jj

jU
r- o - r-& r-
p

-
- r~
4ft- '
- r? '
'
..

^o . .

. Ls L^ T

The writing of each of the various Orders in a single Part,

accompanied by others in the First Species, is no longer
desirable.
The combination of the Second, Third, Fourth, and Fifth
Species is not quite impracticable but, perfection of Part- ;

writing under such cramped conditions is almost unattainable.

More profit and pleasure will accrue when every Voice, but that
in which the Canto Fermo is contained, is engaged with Florid
Counterpoint.
What was said, in the Chapter immediately preceding this,
about the use of a Semibreve will apply here also.
More than this, a Note of the Time-value of an entire Bar
may appear even in Two Parts at once.
All that is necessary is that the momentary quiescence of One
or Two of the Parts should be in deliberate opposition to active
movement elsewhere.


36 strict counterpoint.

Examples.

*3E
'=i :o_

2. :t=
-s^-=-
^=il
s
2=& 2:
C.F.

H

a-o-

=p: ^2: ^-^-i 1

9-+-
J

^ 1=F T=P

=fc 32:

H^Te -s>

Sfc

i#*ifS
a 1

-1
**-
1
p
\
e=e=

etA=^=
M.. si; =F P 1 ^
C.F.

fc2
SA* ^
^33=3
:

o
i
:


STRICT COUNTERPOINT. 37

J*
8 ^^? -
3ee:
-p-

p^gf
iff ^ :ta:

ggpgp^pg: o
e3 jh-^-frH-^-fl

V ^iiru*
p
Blu*S*-&:
cr
s
^ :p- ^
M=^=^: -*=
ii: :t=
C.F.

m t=si

m =i"
E
S^E

=
:pz=ra -*=Ml r
~^- -P G- -JZT-

+*-
^tfP=

m
fe1 ^-l
H 1 ^~ 3=:

^-ziz:
PC
38 STRICT COUNTERPOINT.

iifi
-G> m -

335
H33=E&Es
,-<S>

fct

^- ^
khfcT
^^; gg^E E^
S
_o: =i" :pzz|=p: ^=p=r=t

^t^
s

^=o: :c2i

i
p=^:
is^E*=^==-^i
p
:^

e
*-:- ?

S^ [_
I

f.
-I F*G>
P \-&
h-fS
:pz:
H
ltd?
K^^ -I PC

'L?
h- y= -d:
i 3

* A repeated Note at the Cadence is sometimes necessary.



STRICT COUNTERPOINT.
39

CHAPTER VII.

Six-Part Counterpoint.

The objection to the doubled Leading Note is that it disturbs

the balance of tone.
This objection is removed when Four of the Voices are
engaged in strengthening other portions of the Harmony.
Consequently in Six and more Parts the Leading Note may
be doubled, without hesitation, either in the Unison or in the
Octave. It must not, however, be trebled.
Again, the appearance of one Note in more than Two
successive Bars cannot now be justly condemned.
And, further, when Florid Counterpoint is written, any Part
may rest for Half-a-Beat, One Beat, or even Two Beats in
succession.

Examples.

7^
W
s<
<"->
1
G>
<5>
6>
F^
1==l^l
EE==EiJ

rj
4f G> <z>
<o s> G>

M<^ 1
S>
(S> n ~& fl
i

CF.
rj & G> _^_
4^- J
G>
& r_j r>

r-^-A C2ZZ. . 2 . .
rj
<s* 1
e>
4-o STRICT COUNTERPOINT.

^9?
t=

:?=at

fiE
2cz EE

jgj^r^ 4==*
?-.

*-> =): ~n \~n-

A- ~<o ~^j
-f-frg=F

C.F.

S:
fr-3S-

S g=p_ fj -rr? m.jL

^m pc

tH^E^ESm
tfhzrn --m^*=T*T-0

-Q- -<s>-
-$&- mz-rw: m-t
=t

-r-ff /~s
-fe zz^zrnn
2 & ziz:

kfcd>
ES 3|*

v:
fcSzc: Z<D~


STRICT COUNTERPOINT. 4*

CHAPTER VIII.
Counterpoint in Seven and Eight Parts.
When Seven and Eight Parts are written the rules become
less rigorous.
It is then permissible to proceed from Octave to Unison, from
Unison to Octave, from Octave to Octave by Contrary Motion,
and from Fifth to Fifth by Contrary Motion.
Still, these things should not happen for more than One Bar
at a time, except between the Two Basses, which are allowed to
proceed from Octave to Unison and vice versa for several Bars
in succession, thus :

:q: m
3B2

It is also allowable (though rarely) to proceed by direct move-

ment from a Perfect Fifth above the Tonic to a Diminished
Fifth above the Leading Note. But the opposite progression is
not to be tolerated.
Another important concession is granted. In Seven and more
Parts a Voice which is ascending the Scale conjunctly may, in
its course, touch that Note upon which a Prepared Discord is
about to resovle, on condition that the clashing sound is a Ninth
(not a Second) below the Discord, and with the further reserva-
tion that the Time-value of the conflicting Note is not greater
than a Crotchet.
Finally, although Similar Motion to the Unison is still to be
avoided, Oblique and Conjunct Motion to the Unison may now
be sanctioned.
The following fragment illustrates both the points just
mentioned :

h

42 STRICT COUNTERPOINT.

Examples.

,
- Ptt- r-^r-
I
e>
-~- :fe O o

S- z <j ^0
L <0

-<>- -e>- O i s>

-si-
S Q ""
rj
ilr-
<TJ
rj <J rs e>
1

*r^- <S> ri
S> ra <0
}*- rj
1
"
" --

=t
-+G-
<s> <s>
<s> Cj V
o ,,
I
>

C.F.

^^ -s>
s> ^-<s> >& o s> -
G> <o <s> ::

^=2: -J pa: :3E_=

z2=SZ
E.
o
^ ^_
S
M=:2=E:
^^:
C.F.
1^1
:o: o

fcl-^

l ^ q^=*
"C--
sp


STRICT COUNTERPOINT. 43

3=^E

p- - n w-

zrzp: ^-*
m
ff=

*
fc ^zz=i:q ~^> pre

-re~
H1
o --<<5
o Q _o...
r^npre~Ti
-f-^- re ". re
m
y
=
: t

~re
"
re
re
re
re~ "
re h
^H f

-<s>
. Q r-S _ Q _Q_ p<S ._re_ r-S?
1M^ E-zz3
Id
p<S> r ^ _^_ -re-
1

re EzE= F=F=fl
"re I
re I
re I

G> re rO
re re f-re r-
[.
1

<0 re~
-t-_re_
c^
"
re r~re~
C F.
re- re r- re
re re ?3- re c n
_S^: Ci_

r=n
^_c^_ '
re
re
. re _re re~ re
re
-^4
44 STRICT COUNTERPOINT.

-:i_ --Z2Z

mm ^zzarjz*:

U~2
&2
3Zf-e
m^^ =p:
tM -I

m^ i
C.F.
9r O-

Mz-f
g^2l
Hg
K -

-pz=\=
i ^=zzzi=f:
-2_
-*- -*-

z==EE
"^ o
1=
_Q-
m i^H^^
ICT 1 Fi-h i F m-

2S Him^l
]" O

i^l^=E3^ ! I
:iza:
 l

STRICT COUNTERPOINT. 45
CHAPTER IX.
Counterpoint for Two Choirs.
A
fascinating and artistic form of Eight-Part writing is that in
which the Voices are arranged in Two Choirs, with Treble,
Alto, Tenor, and Bass in each.
A very large proportion of Counterpoint written in Eight
simultaneous Parts is neither necessary nor commendable. The
massive effect of Seven and Eight-Part Harmony is much
enhanced when the number of Parts has been temporarily reduced.
In the kind of work now under consideration, Responsive
effects should be sought for but the Basses must always ;

overlap, so that each Choir in turn may enter and re-enter before
the other Choir has finished its phrase and, towards the end, ;

all the voices should be employed together.

The points chiefly to be borne in mind are (a) that the liberties
permitted in Six, Seven, and Eight Parts must not be exercised
when there are, at the moment, fewer Parts than Six, Seven or
Eight (6) that each Choir should, as far as possible, make good
;

Harmony in itself, irrespective of the doings of the other Choir;

and, therefore, (c) that any of the pardonable licences tolerated
in many parts may only appear between Voices in different Choirs.
Two examples are given one in the First Species, the other
;

in the Fifth.
The student will find it an interesting task to compose similar
Basses or he may use the Basses of the Second Example for
;

treatment in the First Species, and those of the First Example

for work in Florid Counterpoint.
Examples.
( -/- -
tn
& rv n mm po~q ~r>

n n -4s <o <o jGl.

u
o
M Tr
-,
""
A n?
o <r> ^
ca 47 ~ <s> = 1
=
-G>
& G> iS>

w-
\J>
<"3
1

n
1 n o Q rs
E_lJ
rz
- ~ " O ~i

\\-
o ft
4
- = = = <s>
-v^ & =
C\I

,-~,\.
jAj_ ~ " n ^
I n C3
F. E Gladstone Strict Counterpoint, Part 2. Novello. D
46 STRICT COUNTERPOINT.

I^Si
w
~
jz> 2

Q
Pi
Q

i=!ii
JZL.

11
^
^=S=- lH
1^1
HH^l 221

^m^m^wm^mm
^=i.^=^-^^e
(te
p _Q_ JCk-
Q
*mm iii
._-Q__,__Q_

fcEM^l ^gj^ 1^1

S ^j^gEgj mm
->^r- T-G^

mi^m & &

za~.:

wmm^^imm^m
ft=-i H^HIH^ &
<S>

1~G> lE^^jzqz^ ^^^^

* l'art I, page ioo.

|
" '

STRICT COUNTERPOINT. 47

m
9
E3z*^ =F=B=

^ ^|-P=S=P=T-~PTS
6
- r-* i 1

^
mSS
iftc

^3
:
FF
ES
1P
iE3
feSl

15

rf ^
tt
T
J
1

=
J


r> "P
-F
'
f*^
u -

ay
V
17
_ ^
_p_p___i
r h-
c

*
IE -
=| d-f-H
^~ -r
-T^-rf- '
i

'
1

1
^
1
-

1^ _ rj
r*

/-#- :
^ e>-
^-m m *-- rj
t)
xy
-1 1

1
j
I
'

Lhq
7

iu

p r~r~
ry
?r
_i
_j r=q r

'

ft-J
-&-
i-T^r
^ n
IMP
It !
1
m m
-i
-f
m -= r k
* h-J
** 1
i- _
r

i^j-o -e> r
f"J t
v
 -

48 STRICT COUNTERPOINT

1 *~0- &L-?*
'-$*

fr??

b g
m -r-t
-

I
I
1
"I -+

- -p- ^=* ^=i=p: ppr

23-

I =FJ=^ :c: ^^^^i

te^
I-Q- -##

^3 m ^ P^
i
22:

S=^=^2 ?y~~

F-r
Si i 1

-is

;* ,: o
 STRICT COUNTERPOINT. 49

&_^.pa
=SESE5SEEcES2E? ^EEE3 3=i=J=Z2I
1
gS^
^2.
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* Part I, page ioo.

5 STRICT COUNTERPOINT.

APPENDIX.
Although Double Counterpoint and Fugue are beyond the
scope of this book, it has been thought that an example of
Eight-Part Fugue might give some assistance to those who
aspire to a Musical Degree at one of the Universities.
An Eight -Part Study in the form of a Fugue for Two Choirs
is therefore added.
In work of this kind the rules of Part-writing are still to be
obeyed but the Harmonies and Progressions may be either
;

Diatonic or Chromatic.

An Eight-part Study in the form of a Fugue

for Two Choirs.

{Exposition.)
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 &

STRICT COUNTERPOINT. 51

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52 STRICT COUNTERPOINT.

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STRICT COUNTERPOINT. 53
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STRICT COUNTERPOINT 55
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56 STRICT COUNTERPOINT.
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 . r

STRICT COUNTERPOINT. 57
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 E

NOVELLO'S
MUSIC FRIMERS AND EDUCATIONAL SERIES.
Edited by Sir JOHN STA1NER and Sir C. HUBERT H. PARRY.

PRICE TWO SHILLINGS.

HARMONY BY

D r. STAIN R.
CONTENTS.
Harmony Scales, Intervals,
Subjects included in the study of :

Chords, Progressions The different kinds of Scales Diatonic, :

Chromatic, Enharmonic Variety of forms of Minor Scale

Relation of Scales Diagram of Division of Scales Key
Relation of Keys Cycle of Keys Method of reckoning and
naming Intervals Major, Minor, and Diminished Intervals

Table of Diminished Sevenths Simple and Compound Intervals

Diagram of threefold Division of Intervals The Construction

of Chords
Common Chords Rules governing the Succession oj

Common Chords Examples and Exercises. Inversion of Chords
Figuring of Chords- -Distribution of Parts Treatment of
Leading-Note Examples and Exercises. Different kinds oj
Motion Rules governing filling in of Bass Parts Examples
the
and Exercises. Analysis of Simple Harmony Chorals to be
Analysed Chord of Dominant Seventh
the inversions Its
Their figuring and treatment False relation Examples and
Exercises. Suspensions Suspension of nincto eight Inversions
of nine eight Examples and Exercises. Chord of Dominant
to
Ninth inversions, treatment, and figuring Examples and
Its
Exercises. Suspension of four three toresolutions and
Its
inversions Dominant Eleventh inversions and resolutions
Its
Suspended Leading-Note resolutions and inversions Exam-
Its
ples and Exercises. Double Suspensions Triple Suspensions
Examples and Exercises. Different Triads Their nature and
treatment Chords of Augmented Sixth Suspension six-four
the
to five-three on Tonic Six
the five on Dominant Neapolitan
to
Sixth Passing-Notes, Diatonic and Chromatic Cadences
Attendant or Relative Keys Modulation Exercises.- Conclu-
sion,


NOVELLO'S
MUSIC PRIMERS AND EDUCATIONAL SERIES.
Edited by Sir JOHN STAINER and Sir C. HUBERT H. PARRY.

PRICE FOUR SHILLINGS.

SINGING
A. RANDEGGER
(professor of singing at the royal academy of music).

OPINIONS OF THE PRESS.

" We
have amongst us, fortunately, a good many more or less estimable
professors of vocalisation ; but if merit may be tested by results few occupy a
position so eminent as Signor Randegger. Among the younger generation of
English singers his pupils stand first in number and efficiency, and this fact alone
justifies the" choice which now brings him before the public in the capacity of an
author. The vast majority of people who are anxious to sing well desire to
. . .

do so only as amateurs, and cannot, owing to one reason or another, place them-
selves under a master. For all such this work is specially adapted by the
simplicity of its language, the limits imposed upon its contents, and the ample
material for study and practice which it supplies. It cannot, in the nature of
things, make a perfect vocal artist ; but it can lead the earnest student, with no
other aid than its pages afford, in the direction of all the qualities necessary to
satisfy an amateur's modest ambition. This is the great merit of the book, and, if
we rightly comprehend the author, it is also the main object sought to be achieved.
. Signor Randegger fully redeems the pledge given in his preface, namely,
.

to use concise and intelligible language,' and a plain and practical style.' "
' '

Daily Telegraph.

" Altogether the book is worthy of high praise, because, while unpretentious
in its object, it attains that object with ease and perspicuity." Sunday Times.
" Few, if any, teachers of singing are more fitted for the task of writing and
compiling a vocal instruction book than is Signor Randegger. Vocal students
cannot do better than peruse this clever volume, and having practised the lessons
according to the directions given, will find themselves, if not positively finished
vocalists, far advanced on the road to that state." Graphic.

" In a compact form, and at a reasonable price, the Primer now referred to
comprises a comprehensive instruction book on the various forms of study and the
management of the voice necessary to the formation of a cultivated singer. . . .

The work can scarcely fail to be in large request among singers, professional and
amateur." Illustrated London News.
" Signor Randegger's Treatise on Singing is indubitably one of the best
works ever issued on the subject.'' Academy.
" We
have no hesitation in characterising this as one of the best books ever
iesued on the subject, and worthy to be placed on an equality with the elaborate
and expensive works of Lablache, Rubini, Garcia, or Panseron." Weakly Dispatch.

London : NOVELLO AND COMPANY, Limited.

 Novello s Original Octavo Editions of

ORATORIOS, CANTATAS, OPERAS, &c.

FRANZ ABT. s. d. J. S. BACH. Continued. s. d.

Fays' Frolic (Female Voices) Sol-fa, 6d. ... i 6 O light Everlasting (Sol-fa, 6d.) i o
Golden City (ditto) (ditto) ... I 6 O PRAISE THE LORD FOR ALL HIS MERCIES ... I O
Minster Bells (ditto) (ditto) ... i 6 O TEACH ME, Lord, my days TO number ... I o
Silver Cloud (ditto) (ditto) ... i 6 Passion (St. John) 2
Springtime (ditto) (ditto) ... i 6 Passion (St. Matthew) 2 o
Summer (ditto) (ditto) ... i 6 Ditto (Abridged, as used at St. Paul's) i 6
Water Fairies (ditto) (ditto) ... I 6 Ditto (Choruses only, Sol-fa) 1

Wishing Stone (ditto) (ditto) ... i 6 Ditto (New Edition) (Sol-fa, is.) ... 2 6
H. ADAMS. Phcebus and Pan 1 6
J.
Day Summer (Female V.)
in (Sol-fa, 6J.) ... i 6 Praise our God who reigns in heaven ... 1

King Conor (Sol-fa, is.) 2 o Praise thou the Lord, Jerusalem... ... 1 o
Sages of Sheba 1 o
THOMAS ADAMS. Sing ye to the Lord (Motet) (Sol-fa, is.) i o
Cross of Christ (Sol-fa, 6d.) I o Sleepers, wake (Sol-fa, 6d.) 1 o
Golden Harvest (Sol-fa, 8d.) I o Spirit also helpeth us (Motet) 1 o
Holy Child (Christmas) (Sol-fa, 6d.) ... i o Strike, thou hour so long expfcted ... 1 o
Nativity, The (Christmas) (Sol-fa, 8d.) ... i o Stronghold sure (Choruses, Sol-fa, 6d.) ... 1 o
Rainbow of Peace (Harvest) I o There is noughtof soundness in all my body i o
Story of Calvary, The i 6 Thou Guide of Israel 1 o
A. H. ALLEN. Wailing, Crying, Mourning 1 o
Newfoundland i o Watch ye, pray ye 1 o
THOMAS ANDERTON. When will God recall my spirit 1 o
Norman Baron i o GRANVILLE BANTOCK.
Wreck of the Hesperus (Sol-fa, 4d.) ... i o Fire-Worshippers 2 6
Yule Tide i 6 J. BARNBY.
J. H. ANGER. Lord is King (Sol-fa, is.) 1 6
Song of Thanksgiving ... I o
Rebekah (Sol-fa, gd.) 1 o
J. F. BARNETT.
P. ARMES. Ancient Mariner (Sol-fa, 2s. j 3 6
Hezekiah 2 6 Paradise and the Peri o
4
St. Barnabas 2 O Wishing Bell (Female Voices) (Sol-fa, is.) 2 6
St. John the Evangelist 2 6 MARMADUKE BARTON.
A. D. ARNOTT. Mass in A major
(For Advent and Lent) ... 1
Ballad of Carmilhan (Sol-fa, is. 6d.) 2 6 ARNOLD BAX.
Young Lochinvar (Sol-fa, 6d.) 1 6 Fatherland... 1 o
E. ASPA. BEETHOVEN.
Endymion (With Recitation) 2 6 Choral Fantasia (Sol-fa, 3d.) 1 o
Gipsies I o Choral Symphony (Vocal Part) (Sol-fa, (3d.) 2 6
ASTORGA Communion Service in C 1 6
Stabat Mater I o Engedi or, David in the Wilderness ...
; 1

IVOR ATKINS. Fidelio (Opera) 3 6

Hymn of Faith 1 6
Ditto (Choruses only) 2
Ditto (Finale Act II.) 1 6
AUBER. Mass in C (Sol-fa, is.) 1 o
Fra Diavolo (Opera) 3 6 Mass in D 2
Masaniello (ditto) 3 6 Mount of Olives (Choruses, 6d.) (Sol-fa, 6d.) 1 o
J. C. BACH. Praise of Music 1 6
1 wrestle and pray (Motet) (Sol-fa, 2d.) ... o 4 Ruins of Athens (Sol-fa, 6d.) 1 6
BACH. A. H. BEHREND.
J. S.
Be not afraid (New Edition) 8 Singers from the sea (Female V.)(SoL-FA,gd.) 1 6
Bide with us (Sol-fa, 6d.) 1 o Through the year (Female V.) (Sol-fa, gd.) 2 o
Blessing, Glory, and Wisdom 6 BELLINI.
Christ lay in death's dark prison 1 o Norma (Opera) 3 6
Christmas Oratorio 2 i puritani (ditto) 3 6
Ditto (Parts 1 & 2) (Sol-fa, 6d.) ... 1 sonnambula (ditto) 3 6
Ditto (Parts 3 & 4) 1 WILFRED BENDALL.
Ditto (Parts 5 & 6) 1 o Lady of Shalott (Female V.) (Sol-fa, 8d.)... i 6
Come.Jesu, come (Motet) 1 Legend of Bregenz (Female Voices) ... i 6
Come, Redeemer of our race 1 o Ditto (Sol-fa) o 8
From depths of woe I call on Thee ... 1 Song Dances (Vocal Suite) (Female Voices) i o
Give the hungry man thy bread 1 Ditto (Sol-fa) o 6
God goeth up with shouting 1 o KAREL BENDL.
God so loved the world 1 o Water-Sprite's Revenge (Female Voices) i o
God's time is the best (Sol-fa, 6d.) 1 o JULIUS BENEDICT.
How BRIGHTLY SHINES(CHORUSES,S0L-FA,6d.) I O Legend of St. Cecilia (Sol-fa, is. 6d.) ... 2 6
If thou but sufferest God to guide thee i o Passion Music from St. Peter i 6
Jesu, priceless Treasure (Sol-fa, 6d.) ... 1 o St. Peter 3 o
Jesus, now will we praise Thee 1 o GEORGE J. BENNETT.
Jesus sleeps, what Hope remaineth ... 1 o Easter Hymn 1

Let Songs of rejoicing 1 W. STERNDALE BENNETT.

Lord is a Sun and Shield 1 o Exhibition Ode 1 o
Lord is my Shepherd (Choruses only, May Queen (Sol-fa, 6d.) (Choruses, 8d.) ... 1

Sol-fa, 2d.) 1 o Woman of Samaria (Sol-fa, gd.) 1

Lord, rebuke me not 1 HECTOR BERLIOZ.
Magnificat in D 1 o Childhood of Christ(Choruses, Sol-fa, i.)
Mass in B minor (Choruses only, Sol-fa, 2s.) 2 6 Faust (Choruses, Sol-fa. is.)
Missa Brevis in A 1 6 Te Deum Laudamus (Latin) (Sol-fa, is. 6d.
My Spirit was in heaviness (Sol-fa, 8d.) ... 1 o G. R. BETJhMANN.
NOW SHALL THE GRACE (SoL-FA, 6d.) O 6 Song of the Western Men
I/3/I2.
 '

ORATORIOS, &c Continued.

HUGH BLAIR. HAMILTON CLARKE. s. d.
Blessed are they who watch Daisy Chain (Operetta) (Sol-fa, gd.) 2 6
Harvest-Tide Drums and Voices (Operetta) (Sol-fa, gd.) 2 O
Song of Deborah and Barak 2 6 Hornpipe Harry (Operetta) (Sol-fa, gd.) ... 2 6
Trafalgar (Sol-fa, 8d.) 1 6 Missing Duke (Operetta) (Sol-fa, gd.) 2 6
JOSIAH BOOTH. Pepin the Pippin (Operetta) (Sol-fa, gd.) ... 2 6
Day of Rest (Female Voices) (Sol-fa, gd.) ... 1 6 FREDERIC CLIFFE.
RUTLAND BOUGHTON. North-East Wind (Sol-fa, gd.)
Invincible Armada 1 6
o
GERARD F. COBB.
Midnight 2
My soul truly waiteth
Skeleton in Armour 2 o
Song of Trafalgar (Male Voices)
KATE BOUNDY. S. COLERIDGE-TAYLOR.
Rival Flowers (Operetta) (Sol-fa, 6d.)
A Taleof Old Japan (Sol-fa, is. 6d.)
E. M. BOYCE. Atonement (Sacred Cantata)
Lay of the Brown Rosary Blind Girl of Castel-Cuille (Sol-fa, is.)...
Sands of Corriemie (Female V.)( Sol-fa, 6d.) Bon-Bon Suite (Sol-fa, is.)
Young Lochinvar Death of Minnehaha (Sol-fa, is.)
BRAHMS. Endymion's Dream (Sol-fa, gd.)
J.
Requiem (Sol-fa, is.) Hiawatha's Wedding-Feast (Sol-fa, is.) ...
Ditto ditto (German words) Mark 3
Song of Destiny
Hiawatha's Departure (Sol-fa, is.) ...
CHARLES BRAUN. Meg Blane (Sol-fa, gd.)
Country Mouse and the Town Mouse Scenes from the Song of Hiawatha 3 6
Ifor Children) (Sol-fa, 4d.) Ditto ditto (Sol-fa)
Queen Mab (Operetta) (Sol-fa, gd.) 2 o
Sigurd 5 o FREDERICK CORDER.
Snow Queen (Operetta) (Sol-fa, 6d.) Bridal of Triermain (Sol-fa, is.) 2 6
A. HERBERT BREWER. MICHAEL COSTA.
Emmaus (Sol-fa, gd.) Dream (Serenata) ...

Holy Innocents H. COWARD.

O praise the Lord Gareth and Linet (Choruses, Sol-fa, is.) ... 2 6
O Sing unto the Lord Story of Bethany (Sol-fa, is. 6d.) 2 6
Sir Patrick Spens (Sol-fa, 8d.)
Song of Eden F. H. COWEN.
Summer Sports Christmas Scenes (Female V.) (Sol-fa, gd.)
BRIDGE. Coronation Ode
J. C. Daughter of the Sea (Female V.) (Sol-fa, is.)
Daniel ... ... ...

Resurgam He giveth His beloved sleep (Sol-fa, 6d.)

Rudel John Gilpin (Sol-fa, is.)
Ode to the Passions (Sol-fa, is.)
J. F. BRIDGE. Rose of Life (Female Vv.) (Sol-fa, gd.)
Ballad of the Clampherdown (Sol-fa, Ci.) Ruth (Oratorio) (Sol-fa, is. 6d.)
Boadicea Sleeping Beauty (Sol-fa, is. 6d.)
Callirhoe (Sol-fa, is. 6d.) Song of Thanksgiving
Cradle of Christ (" Stabat Mater") St. John'sEve (Sol-fa, is. 6d.)
Flag of England (Sol-fa, gd.) Summer on the River (Female V.) (Sol-fa, gd.
Forging the Anchor (Sol-fa, is.) Thorgrim (Opera)
Frogs and the Ox (Children) (Sol-fa, Gd.)... Veil (Poem)
Hymn to the Creator Village Scenes (Female Vv.) (Sol-fa, gd.) ...
Inchcape Rock (Sol-fa, 6d.) Water Lily
Lobster's Garden Party (Boys') (Sol-fa, 4d.)
Lord's Prayer (Sol-fa, 6d.) J. W. COWIE.
Mount Moriah Via Crucis (Sol-fa, is.)

Nineveh A. L. COWLEY.
Rock of Ages (Latin and English) (Sol-fa, 4d )i o Harvest Covenant (Sol-fa, is.)
Song of the English (Sol-fa, 6d.)
Spider and the Fly (Female V.) (Sol-fa, 6d.) J. MAUDE CRAMENT.
Iwill magnify Thee, O God 2 6
EDWARD BROOME. Little Red Riding-hood (Female Voices) 2 o
Hymn of Trust
DUDLEY BUCK. W. CROTCH.
Palestine 3 o
Light of Asia
EDWARD BUNNETT. W. H.CUMMINGS.
Fairy Ring .. 2 6
Out of the Deep CUSINS.
W. G.
T. A. BURTON. Te Deum in B flat 1 6
Captain Reece (Boys' Voices) (Sol-FA, 6d.) I O
Martinet (Humorous Naval Cantata FELICIEN DAVID.
o Desert (Male Voices) (Sol-fa. 8d.) 1 6
for Boys) (Sol-fa, 6d.) I

I i . idy of Cock Robin (Short Action W. T. DAVID.

Piece) (Sol-fa, 3d.) 8 Blind Man of Judah (Sol-fa, is.) 2 o
Yarn of the Nancv Bei.l (Boys' Voices) 11. YVALFORD DAVIES.
(Sol-i a, CJ.) 1 O Everyman (Sol-fa, 2s.)
W, BYRD. Herve Riel (Sol-fa, 8d.)
1
on 1 "i ' Voices 2 G IlUMPTY DUMPTY (FOR CHILDREN) (SOL-FA,gd.)
CARISSIMI. Lift up your hearts
o Noble Numbers
Jephthah 1
Ode on Time
A. von A UN CARSE. 1 1
ipli (Oratorio)
I.-. , op 1 he i'i ow Rosary 2 G
Three Jo vi a) Huntsmen (Folio)
WILLIAM CARTER. DONIZETTI.
Placida (Chori t, it.) La Figlia del Rbogimen'to (Opera)
CHERUBINL Lucia di Lammi rm Opera) < I

First Ri M is,C minor (I. at. and Enq, bzia Borgia (Opera)
1

qi m m ( )

MASS N I' MINOR D I

F. G. DOSSERT.
Third Mass in A (Coronation) Communion Service in E minor
Fourth Mas>o in C T. F. DUNH1LL.
E. T. CIIII'1'. Frolicsome Hours (Sol-fa, Gd.)
Naomi Tubal Cain (Sol-fa, 6d.)
 )

ORATORIOS, &c Continued.

ANTONIN DVORAK. s. d. NIELS W. GADE.
of the Cross (Sol-fa,
At the foot is. 6d.) ... 2 6 Christmas Eve (Sol-fa, 4d.)

Communion Service in D 1 6 Comala

Mass in D 1 6 Crusaders (Sol-fa, is.)
Patriotic Hymn 1 6 Erl-King's Daughter (Sol-fa, gd.) ...

Psyche (Sol-fa, 2 6
Ditto (German and Bohemian Words) 3 o is. 6d.)

Requiem Mass 5 Spring's Message (Sol-fa, 3d.)

Spectre's Bride (Sol-fa, is. 6d.) ... 3 o Zion
Ditto (German and Bohemian Words) 6 o HENRY GADSBY.
Stabat Mater (Sol-fa, is. 6d.) 2 6 Alcestis (Male Voices)
St. Ludmila 5 Columbus (ditto)
Ditto (German and Bohemian Words) 8 o Lord of the Isles Sol-fa, ( is. 6d.)

DYER. F. W. GALPIN.
A. E.
Elbctra of Sophocles (Male Voices) ... 1 6 Ye Olde Englyshe Pastymes (Female V.)

Salvator Mundi 2 6 H. BALFOUR GARDINER.

H. J. EDWARDS. News from Whydah
Ascension 2 6 G. GARRETT.
Epiphany 2 o Harvest Cantata (Sol-fa, 6d.)
Praise to the Holiest 1 6 Shunammite
Risen Lord 2 6 Two Advents
EDWARD ELGAR. A. R. GAUL.
Apostles (Oratorio) 5 o Around the Winter Fire (Female Voices)
Ditto (ditto) (Sol-fa) ...
Ditto (Choruses) (Sol-fa) 2 6
Elfin Hill (Female Voices)
Ditto (German Words) Mark 8
Banner of St. George (Sol-fa, is.) 1 6
Hare and the Tortoise (For Children)
Ditto (ditto) (Sol-fa)
Black Knight (Sol-fa, is.) 2 o
Holy City (Sol-fa, is.)
Caractacus(Chorusbs only, Sol-fa, is. 6d.) 3 6
Israel in the Wilderness (Sol-fa, is.)
Dream of Gerontius 3 6
Joan of Arc (Sol-fa, is.)
Ditto, (Choruses only, Sol-fa) 1 6
Ditto, (German Words) Mark 6
Legend of the Wood (Female V.) (Sol-fa, 3d.)
Passion Service
Ditto, (French Words, Prix fr. 7.50 net Prince of Peace (Sol-fa, is.)
Kingdom (Oratorio) 5 o
Ruth (Sol-fa, gd.) (Choruses only, is.)
Ditto (Choruses) (Sol-fa) 2 6
Song of Life (Sol-fa, 6d.)
Ditto (German words) Mark 5 Ten Virgins (Sol-fa, is.)
King Olaf (Choruses only, Sol-fa, is. 6d.) 3 o
Toilers of the deep (Female Voices)
Light of Life (Lux Christi) (Sol-fa, is.) ... 2 6
Una (Sol-fa, is.)
Te Deum and Benedictus, in F 1 o
FR. GERNSHEIM.
ROSALIND F. ELLICOTT. Salamis. A Triumph Song (Male Voices)
Birth of Song 1 6
Elysium 1 E. OUSELEY GILBERT.
GUSTAV ERNEST. Santa Claus and His Comrades (Operetta) 2 o
Ditto ditto (Sol-fa) o 8
All the year round (Female Voices)
(Sol-fa, 9d.) 1 6 F. E. GLADSTONE.
Philippi
HARRY EVANS.
Victory of St. Garmon (Sol-fa, 9d.) ... 1 6 GLUCK.
Iphigenia in Aulis (Opera)
EYRE.
A. J.
Iphigenia in Tauris (Opeha)
Communion Service in E flat 1 o
Orpheus (Opera) (Choruses, Sol-fa, is.) ...
T. FACER. Ditto (Act II. only)
Merry Christmas (School Cantata) Ditto (Act II. Choruses only) (Sol-fa)
(Female Voices) (Sol(fa, 6d.) 1 o
Red Riding-Hood's Reception (Operetta) 2 6
PERCY GODFREY.
Ditto ditto (Sol-fa) ... o 9
Song of the Amal
Sonsofthe Empire(FemaleV.) (Sol-fa, 6d.) 1 6 HERMANN GOETZ.
EATON FANING. By the Waters of Babylon
Buttercups and Daisies (Female Voices) NOJNIA
(Sol-fa, gd.) 1 6 Water-Lily (Male Voices) (Sol-fa, gd.) ... 1 6

HENRY FARMER. A. M. GOODHART.

Mass in B flat (Latin and English) Arethusa
(Sol-fa, is.) 2 o Earl Haldan's Daughter
PERCY E. FLETCHER. Founder's Day,
Deacon's Masterpiece (Humorous) (Sol-fa, Sir Andrew Barton
is.) 6
Spanish Armada
I
Enchanted Island (Operetta) (Sol-fa, gd.) 2 o CH. GOUNOD.
Old Year's Vision (Operetta) (Sol-fa, 6d.) 1 6 Communion Service (Messe Solennelle)...
Toy Rrview (Operetta) (Sol-fa, 8d.) 1 6 Ditto (Troisieme Messe Solennelle)
Walrus and the Carpenter (Short Cantata Daughters of Jerusalem (Latin, is.)
for Schools) (Sol-fa, ^d.) 1
De Profundis (Latin Words)
FLOTOW. Ditto (Out of Darkness)
Martha (Opera) 3 6 Gallia Sol-fa, 4d.)
(

C. FORRESTER. Faust (Opera) (Selection) (Sol-fa, gd.)

J.
Kalendar (Female Voices) (Sol-fa, gd.) ... 2 o Messe Solennelle (St. Cecilia)
Messe Solennelle Troisieme
MYLES B. FOSTER. Mors et Vita (Latin or English)
AngelsoftheBells( Female V.)(SoL-FA,Sd.) 1 6 Ditto Sol-fa (Latin and English)...
Bonnie Fishwives (Female V.) (Sol-fa, gd.) 1 6 Ditto Parts II. and III.
Comingofthe King (Female V.)(Sol-fa, 8d.) 1 6 Ditto Ditto. (English)...
Merry Games for Children (an Action Ditto (Rtquiem Mass)
Cantata for Children) 8
o come near to the cross (stabat mater)
Snow Fairies (Female Voices) (Sol-fa, 6d.) 1 6 Out of Darkness
ROBERT FRANZ. Redemption (English Words) (Sol-fa, is.)...
Praise ye the Lord (Psalm 117) 1
Ditto Part I
Ditto Part II
A. M. FRIEDLANDER. Ditto Part III
Music 1 6 Ditto (French Words)
Return to Zion 2 6 Ditto (German Words)
1/3/ 12.
 ORATORIOS, &c Continued.
C. H. GRAUN. s. d. J. W. G. HATHAWAY. s. d.
Passion of Our Lord (Choruses is.) 2 o How sweet the moonlight sleeps 1 o
Te Deum 2 o Jack Horner's Ride (Children) (Sol-fa, 8d.) 2 o
ALAN GRAY. Legend of Bregenz 1 6
Arethusa 1 6 F. K. HATTERSLEY.
Legend of the Rock-Buoy Bell 1 o How they brought the good news from
Song of Redemption 1 6 Ghent to Aix 1 6
The Widow of Zarephath 2 o King Robert of Sicily 2 6
J. O. GRIMM. HAYDN.
Soul's Aspiration 1 o
Creation (Sol-fa, is.) (Choruses, 8d.) 2 o
G. HALFORD. Ditto Pocket Edition 1 o
Paraclete 2 o Insane et Van/e Cur (Latin or English) o 4
E. V. HALL. Mass in B flat, No. 1 (Latin) 1
IS IT NOTHING TO YOU (SOL-FA, 3d.) O 8 Ditto (Latin and English) 1

W. A. HALL. Mass in C, No. 2 (Latin) 1 o

Presentation in the Temple i 6 Mass (Imperial), No. 3 (Latin and English) i o
Ditto (Latin) 1 o
HANDEL. Mass, No. 16 (Latin) 1 6
Acis and Galatea I o Passion; or, Seven Last Words 2 o
Ditto, NewEdition, editedby J. Barnby i o Seasons (Choruses, is.) 3 r
Ditto ditto (Sol-fa) o 9 Each Season, singly (Spring, Sol-fa, 6d.) 1 t
Alceste 2 o
Te Deum (English and Latin) 1 ^
Alexander Balus 3 o
Alexander's Feast 2 BATTISON HAYNES.
Athaliah 3 P Fairies' Isle (Female Voices) 1 6
Belshazzar 3 o Sea Dream (Female Voices) (Sol-fa, 6d.) ... 1 6
Chandos Te Deum 1 o Sea Fairies (Female Voices) (Sol-fa, 6d.) ... 1 6
Coronation and Funeral Anthems. Cloth 5 o C. SWINNERTON HEAP.
Or, singly :
Fair Rosamond(Sol-fa,2s.)(Choruses, is.6d.) 3 6
Let thy hand be strengthened ... o 6
My heart is inditing o 8 EDWARD HECHT.
The King shall rejoice (Sol-fa, 3d.) ... 6 Eric the Dane 3
The ways of Zion 1 O may I join the Choir Invisible 1 o
Zadok the Priest (Sol-fa, ijd.) 03 GEORG HENSCHEL.
Deborah 2 o
Out of Darkness (Psalm 130) 2 6
Dettingen Te Deum 1 o Stabat Mater 2 6
Dixit Dominus (from Psalm iio) 1
Te Deum Laudamus in C 1 6
Esther ... ... ... 3
Hercules (Choruses only, is.) 3 o H. M. HIGGS.
Israel in Egypt, edited by Mendelssohn 2 o Erl King ... * o
Israel in Egypt, edited by V. Novello. HENRY HILES.
Pocket Edition (Sol-fa, is.) 1
Crusaders 2 6
Jephtha 2
Joshua (Choruses only, Sol-fa, 8d.) 2 FERDINAND HILLER.
Judas Maccab/EUS (Sol-fa, is.) 2 o All they that trust in Thee ... ... o 8
Ditto Pocket Edition 1 o Nala and Damayanti 4 o
Ditto (Choruses only) 8 Song of Victory (Sol-fa, o.d.) 1 o
Ditto Edited by John E. West ... 2 o H. E. HODSON.
King shall rejoice (Four-part) (Sol-fa, 3d.) 6 Golden Legend 2 O
L'Allegro (Choruses only, is.) 2
Messiah, edited by V. Novello (Sol-fa, is.) 2 o
HEINRICH HOFMANN.
Ditto. ditto. Pocket Edition 1 o Champagnerlied (Male Voices) 1 6
Cinderella 2 6
Messiah, edited by W. T. Best 2 o
o
Ditto (Sol-fa) ... 1 o Melusina 2
Ditto (Choruses only) 8 Song of the Norns (Female Voices) ... 1 o
Messiah, edited by E. Prout (Sol-fa, is.) ... 2 SIDNEY R. HOGG.
Nisi Dominus (Psalm 127) 1 o Norman Baron 1 6
O come let us sing unto the Lord ... 1 o JOSEPH HOLBROOKE.
O praise the Lord with onk consent Byron (Poem) 1 6
(Sixth Chandos Anthem) (Sol-fa, 4d.)... 1
C. HOLLAND.
O praise the Lord, ye angels (Folio) ... 2 6
After the Skirmish 1 o
Ode on St. Cecilia's Day 1 o
Passion 3 T. S. HOLLAND.
Ditto (Abridged Edition) 1 o King Goldemar (Operetta) (Sol-fa, gd.) ... 2 o
Samson (Sol-fa, is.) 2 o Pastoral Medley (Sketch) (Sol-fa, gd.) ... 2 o
Saul (Choruses only, is.) 2 o GUSTAV VON HOLST.
Semele 3 Idea (Operetta) (Sol-fa, 6d.) 1 o
Solomon (Choruses only, is. 6d.) 2 o King Estmere 2 o
Susanna 3 HUMMEL.
Theodora 3
Alma Virgo (Latin and English) o 4
Triumph of Time and Truth 3
Communion Service in B flat 2 o
Utrecht Jubilate 1 o
Ditto in D 2 o
ALFRED HARBOROUGH. Ditto in E flat 2 o
Crossing the Bar 2 6 Mass in B flat. No. i 1 o
SYDNEY HARDCASTLE. Mass in E flat, No. 2 1 o
Sing a Sonq of Sixpence (Operetta) ... o 6 Mass in D, No. 3 1 o
HARDY, T. M. Quod in Orbk (Latin and English) o 4

Rip Van Winkle (Operetta) (Sol-fa, 6d.) ... 1 W. II. HUNT.

Stabat Mater 1
JULIUS HARRISON.
Harvest Cantata (Sol-fa, bd.) 1 o G. F. HUNTLEY.
Puss-in-Boots (Operetta) (Sol-fa, gd.) ... 2 o
Christmas Cantata 1 o
Victoria (Sol-pa, is.) 2 o
C. A. E. HARRISS.
Crowning of tiik King (Sol-fa, 4d.) ft H. H. HUSS.
Pan (A Choric Idyl) 2 6 Ave Maria (Female Voices) (Sol-fa, ... 1 o
Sands of Dee 1 o
F. ILIFFE.
BASIL HARWOOD. Sweet Echo '
As BY THE STREAMS OF BaiiYLON 1 6
Inclina, Domink (Psalm 86) 3 o JOHN W. IVIMEY.
Witch of tin: Wood (Operetta)(Sol-pa od.) a O
 ORATORIOS, &c Continued.
W. JACKSON. G. A. MACFARREN. s. d.
Year Ajax (Greek Play) (Male Voices) o
3
G. JACOBI. Lady of the Lake (Choruses) (Sol-fa, is.)...
Babes in the Wood (Operetta) (Sol-fa, yd.) 2 o May Day (Choruses, 6d.) (Sol-fa, 6d.)
Cinderella (Operetta) (Sol-fa, is.) ... 2 o Outward Bound
St.John the Baptist(Choruses)(Sol-fa, is.)
D. JENKINS. Songs in a Cornfield (Female Voices)
David and Saul (Sol-fa, 2s.) Ditto (ditto) (Sol-fa)
A. JENSEN. A. C. MACKENZIE.
Feast of Adonis (Sol-fa, 6d.) Bethlehem
W. JOHNSON. Ditto Act II., separately
Ecce Homo Bride (Sol-fa, 8d.)
Colomba (Lyrical Drama)
H. FESTING JONES. Ditto (German Words)
King Bulbous (Operetta) (Sol-fa, 8d.) Cotter's Saturday Night (Sol-fa, is.)
WARWICK JORDAN. Dream of Jubal
Blow ye the trumpet in Zion Ditto (Choruses only, Sol-fa)
Jason 2 6
N. KILBURN. Jubilee Ode 1 6
By the Waters of Babylon I o New Covenant 1 6
Lord my Shepherd (Psalm 23)
is 8 Procession of the Ark (Choral Scene) 1 6
Silver Star (Female Voices) 1 6 Ditto (ditto) (Sol-fa) ... 9
OLIVER KING. Rose of Sharon (Sol-fa, 2s.) 2 6
By the Waters of Babylon (Psalm 137) 1 6 Story of Sayid 3 o
Naiads (Female Voices) 1 6 Troubadour (Lyrical Drama) 5 o
Romance of the Roses 2 6 Vent, Creator Spiritus 2 O
Sands o' Dee 'Sol-fa, 2d.) o 4
Witch's Daughter 3 5
Three Fishers (Sol-fa, 3d.) o 6 A. M. MACLEAN.
J. KINROSS. Annunciation 2 6
Songs in a Vineyard Female ( V.) (Sol-fa, 6d.) 1 6 C. MACPHERSON
H. LAHEE. By the Waters of Babylon (Psalm 137) ... 2 O
Sleeping Beauty (Female Vv.) (Sol-fa, 6d.) 1 6
L. MANCINELLI.
MAX LAISTNER. Ero e Leandro (Opera) 5 O
Friar's Mere (Male Voices) 1 6 F. W. MARKULL.
HENRY LA WES. Roland's Horn (Male Voices) 2 6
Masque of Comus MARSHALL.
F. E.
EDWIN H. LEMARE. Prince Sprite (Female Voices) 2 6
Communion Service in F 2 6 Choral Dances from Ditto 1 o
'Tis the Spring of Souls to-day 1 o GEORGE C. MARTIN
LEONARDO LEO. Communion Service in A I O
Dixit Dominus Ditto in C 1 o
Festival Te Deum in A (Sol-fa, 2d.) 6
F. LEONI. MASSENET.
Gate of Life (Sol-fa, is.) J.
Manon (Opera) 6 o
H. LESLIE.
First Christmas Morn J. T. MASSER.
Harvest Cantata
F. LISZT.
Legend of St. Elizabeth 3 o J. H. MAUNDER.
Thirteenth Psalm 2 o Bethlehem (Christmas) (Sol-fa, is.)
Olivet to Calvary (Sol-fa, gd.)
H. LLOYD. C Penitence, Pardon, and Peace (Sol-fa, is.)
Alcestis (Male Voices) 1 6 Song of Thanksgiving (Sol-fa, gd.)
Andromeda o
Gleaners' Harvest (Female Voices)
3
1 6
T. R. MAYOR.
Hero and Leander (Sol-fa, gd.) 1 6
Love of Christ
Hymn of Thanksgiving ... 2 o J. H. MEE.
Longbeard's Saga Male Voices) ( 1 6 Delphi, a Legend of Hellas (Male Voices)
O Give Thanks unto the Lord 1 o Horatius (Male Voices)
Righteous live for evermore 1 6 Missa Solennis in B flat
Rossall 2 o
Sir Ogie and the Ladie Elsie 1 6 MENDELSSOHN.
Song of Balder ... ... 1 o Antigone (Male Voices) (Sol-fa, is.)
Song of Judgment 2 6 As the Hart pants (Psalm 42) (Sol-fa, 6d.)...
Athalie (Sol-fa, 8d.)
CLEMENT LOCKNANE. Ave Maria (Saviour of Sinners)
Elfin Queen (Female Voices) 1 C
Christus (Sol-fa, 6d.)
HARVEY LOHR. Come, let us sing (Psalm 95) (Sol-fa, 6d.) ...
Queen of Sheba (Choruses only, is.) Elijah (Pocket Edition)
5
Ditto (Sol-fa, is.)
W. H. LONGHURST. Ditto (Choruses only)
Village Fair (Female Voices) 2 o Festgesang (s.a.t.b.) (Sol-fa, 2d.)
Ditto (Male Voices) (t.t.b.b.)
ELVA LORENCE and Hear my prayer(s. solo and Chorus)
G. KENNEDY CHRYSTIE. Ditto (ditto) (Sol-fa, 2d.) ...
Terra Flora (Operetta for Children) ... 2 Hymn of Praise (Lobgesang) (Sol-fa, 6d.) ...

C. EGERTON LOWE. Ditto (Choruses only)

Little Bo-Peep (Operetta) (Sol-fa, 4d.) 1 o Lauda Sion (Praise J ehovah) Sol-fa, ( gd.) ...

Lord, how long wilt Thou (Sol-fa, 4d.) ...

M. L. C. L.
Sports (Operetta) 2 O
Lorelev (Opera)( Sol-fa, 6d.)
Man Mortal (Eight Voices)
is
HAMISH MacCUNN. Midsummer Night's Dream (Female Voices)
Lay of the Last Minstrel Sol-fa, is.6d.)... ( 2 6 Ditto (ditto) (Sol-fa) ...
Lord Ullin's Daughter (Sol-fa, 8d.) I O My God, why, O why (Sol-fa, 4d.)
Wreck of the Hesperus (Sol-fa, 6d.) I o Not unto us, O Lord (Psalm 115)
1,' 3/ 1 2.
 "

ORATORIOS, &c Continued.

MENDELSSOHN Continued. s. d. C. H. H. PARRY. s. d.

CEdipus at Colonos (Male Voices) 3 o Agamemnon (Greek Play) (Male Voices) ... 3 o
St. Paul (Choruses, Sol-fa, is.) 2 o Beyond these Voices there is Peace 2 6
Ditto (Pocket Edition) 1 o Birds of Aristophanes (Greek Play) (Malb) 5 o
Sing to the Lord (Psalm 98) o 8 Blest Pair of Sirens (Sol-fa, 8d.) 1

Son and Stranger (Operetta) 4 Ditto (English and German Words)

Three Motets for Female Voices 1 o Mark 2.50
(Ditto, Sol-fa, ijd., 2d., and 2d. each.) De Profundis (Psalm 130) 2 o
To the Sons of Art (Male Voices) 1 o Eton 2 o
Ditto (Sol-fa) 3 Eton Memorial Ode 1 6
Walpurgis Night(Sol-fa, is.) 1 o Glories of our Blood and State 1 a
WhenIsraelout of Egypt cAME(SoL-FA,gd.) 1 o Invocation to Music 3 6
WHY RAGE FIERCELY (SOL-FA, 3d.) O 6 Job (Choruses only, Sol-fa, is.) 2 6
R. D. METCALFE and A. KENNEDY.
Judith (Choruses only, Sol-fa, 2s.) ... 5 o
King Saul (Choruses only, Sol-fa, is. 6d.) 5 o
Prince Ferdinand Operetta (Sol-fa, gd.)... 2 o
L'Allegro (Sol-fa, is. 6d.) 2 6
MEYERBEER. Lotos-Eaters (The Choric Song) 2
L'Etoile du Nord (Opera) 5 o Love that casteth out fear 2 6
Ninety-first Psalm (Latin) i o Magnificat (Latin) 1 6
Ditto (English) 1 o Ode on St. Cecilia's Day (Sol-fa, is.) ... 2 o
Ode to Music (Sol-fa, 6d.) 1 6
A. MOFFAT. Pied Piper of Hamelin (Sol-fa, is.) ... 2 &
Bee Queen (Operetta) (Sol-fa, 6d.) 1 o Prometheus Unbound 3 o
Christmas Dream (Children) (Sol-fa, 4d.) 1 o Song of Darkness and Light (Sol-fa, gd.) ... 2 o
Soul's Ransom (A Psalm of the Poor) ... 2 o-
B. MOLIQUE. Te Deum Laudamus (Latin) 2 6
Abraham 3
Ditto (Coronation) 1 o
J. A. MOONIE. Vision of Life (Sol-fa, is.) 2 6
KlLLIECRANKIE (SOL-FA, 8d.) I 6 Voces Clamantium (The Voices of them) 2 o
Woodland Dream (Female Voices) War and Peace (Choruses, Sol-fa, is. 6d.) 3
(Sol-fa, gd.) o
2 T. M. PATTISON.
HAROLD MOORE. Ancient Mariner (Choruses only, is.) ... 2 6
Darkest Hour (Sol-fa, 9d.) i 6 Lay of the Last Minstrel (Choruses, is.)... 2 6
MOZART. London Cries 2 o
Communion Service in B flat (No. 7) ... 1 6 May Day 1 o
Cosi Fan Tutte (Opera) 5 Miracles of Christ (Sol-fa, 6d.) 1 o
DieZauberflcete(ditto) 3 6 A. L. PEACE.
Don Giovanni (ditto) ... 3 6 St. John the Baptist (Sol-fa, is.) 2 5
Glory, Honour, Praise. Third Motet
(Sol-fa, 2d.) o 3
PERGOLESI.
Have mercy, C Lord. Second Motet ... o 3 Stabat Mater (Female Voices) (Sol-fa, 6d.) 1 o
II Seraglio (Opera) 3 6 CIRO PINSUTI.
King Thamos * Phantoms Fantasmi nlll* ombra 1 o
Le Nozze di Figaro (Opera) 3 6
PERCY PITT.
lltania de venerabili altaris (in e flat) i 6
Litaniade Venerabili Sacramento (in B flat) i 6 Hohenlinden (Male Voices) 1 6
Mass in C (No. i) (Latin and English) ... i o JOHN POINTER.
Mass in B flat (No. 7) 1 o
Song of Harold Harfager (Male Voices)
Mass in G (No. 12) (Latin) 1 o
(Sol-fa, 6d.) 1
Ditto (Latin and English) (Sol-fa, gd.) 1 o
Ditto (Choruses only) o 8 V. W. POPHAM.
Mass in D (No. 15) (Requiem) 1 o Early Spring 1 a
Ditto (Latin and English) 1 o
J. B. POWELL.
Ditto (ditto) (Sol-fa)... i o
Pange Lingua (Sing, my Tongue) 1 6
O God, when Thou appearest. First Motet o 3
Ditto ditto (Sol-fa) o 2 A. H. D. PRENDERGAST
Splendente te, Deus. First Motet ... o 3 Second Advent 1 6
E. MUNDELLA. F. w. priest.
Victory of Song (Female Voices) 1 o Centurion's Servant o 8>

JOHN NAYLOR. C. E. PRITCHARD.

Jeremiah 3
Kunacepa 4 o
J. NESVERA. E. PROUT.
De Profundis ... 2 6

STAFFORD NORTH. Damon and Phintias (Male Voices) 2 6

o Freedom 1
In the morning (Sol-fa, 8d.) 1
Hereward
4
E. A. NUNN. Hundredth Psalm (Sol-fa, .id ) 1 o
Mass in C 2 o Queen Aimee (Female Voices) 1 6

CUTHBERT NUNN. Red Cross Knight (Sol-pa, 2s.) 4 o

E.
FAIRYSLIPPKR(ClIILDREN'sOPEKA)(SOL-FA,8d.) 2 H. PURCELL.
Via Dolorosa i 6 Dido and jEnkas 2 6

FREDK. OUSELEY. Kino Arthur -

Masque in " DiocLESUN 2 o
Martyrdom of St. Polycakp 2 6
Ode on St. Cecilia's Day (Choruses,
PALESTRINA. Sol-fa, 8d.) 2 o
Communion Service (Assumpta est Maiua) 2 6 Te Deum and Jubilate in D 1 o
Te Deum (Ed. by J. F. Bridge) (Sol-pa, 6d.) 1 o
Communion Skkvich (Missa Pap-k Marcklli) 2 6
R. R.Terio
Missa Assumpta est Maria 2 6 Ditto (Latin arrangement by i i o
Missa Brevis
"
2 (>
G. RATHBONE.
Missa "O Admikabilk Commercium ... 2 6
Orpheus (Power of Music) (Female
Missa Pap/K MakcbllI 2 o
Voices) (Sol-fa, 6d.) .. 1 6
Stabat Matkr 1 (>
VOOELWKID THE MlNNKSINGKR (CHILDREN'S
H. W. PARKER. Voices) (Sol-fa, 6d.) 1 o
Hoka Novissima 3 fi
F. J. READ.
Kobolhs x *>

Legend op St. Christopher 5 Song of Hannah 1 t>

6 6
Wanderer's Psalm 2 Qui'. '

1/3/12.
 ORATORIOS, &c Continued.
J. F. H. READ. s. d. SCHUMANN. s. d.

Bartimeus 1 6 Advent Hymn, "In lowly guise"

Caractacus 2 6 Faust 3 o
Consecration of the banner 1 6 Genoveva (Opera) 3 6
Death of Young Romilly 1 6 King's Son 1 o
Harold 4 o Luck of Edenh all (Male Voices) (Sol-fa, is.) I 6
Hesperus (Sol-fa, gd.) 1 6 Manfred
In the Forest (Male Voices) Mignon's Requiem
Psyche (Choruses only, 2s.) Minstrel's Curse
DOUGLAS REDMAN. New Year's Song (Sol-fa, 6d.)
Paradise and the Peri (Sol-fa, is. 6d.)
Cor Unam, Via Una (Female Voices) Pilgrimage of the Rose
C. T. REYNOLDS. Requiem
Song of the Night
Childhood of Samuel (Sol-fa, is.)

ARTHUR RICHARDS. H. SCHUTZ.

Passion of our Lord
Punch and Judy (Operetta) (Sol-fa, 6d.) ...
Waxwork Carnival (Operetta) (Sol-fa, 8d.) BERTRAM LUARD-SELBY.
J. V. ROBERTS. Dying Swan
Jonah Fakenham Ghost 1 6
Passion Helena in Troas 3 6
Summer by the Sea (Female Vv.) (Sol-fa, 6d.) 1 6
R. WALKER ROBSON. Waits of Bremen (Children) (Sol-fa, 6d.)... 1 6
Christus Triumphator H. R. SHELLEY.
W. S. ROCKSTRO. Vexilla Regis (The Royal banners forward)
Good Shepherd E. SILAS.
J. L. ROECKEL. Communion Service in C
Hours (Operetta) (Sol-fa, gd.) Joash
Little Snow-White (Operetta) (Sol-fa, gd.) Mass in C
Silver Penny (Operetta) (Sol-fa, gd.)
HENRY SMART.
EDMUND ROGERS. Bride of Dunkerron (Sol-fa, is.)
Forest Flower (Female Voices) King Rene's Daughter (Female Voices) ..
ROLAND ROGERS. Ditto (ditto) (Sol-fa)
Florabel (Female Voices) (Sol-fa, is.) M. SMIETON.
J.
Prayer and Praise
Ariadne (Sol-fa, gd.)
F. ROLLASON. CONNLA
Stood the Mournful Mother Weeping .. King Arthur (Sol-fa, is.)

ROMBERG. ALICE MARY SMITH.

Harmony of the Spheres Ode to the North-East Wind
Lay of the Bell (Sol-fa, 8d.) Ode to the Passions
Te Deum Red King (Male Voices)
Transient and the Eternal (Sol-fa, 4d.) ... Song of the Little Baltung (Male Voices)
ROOTHAM. Ditto (Sol-fa)
C. B.
Andromeda E. M. SMYTH
ROSSINI. Mass in D 2 6
Guillaume Tell (Opera)
Il Barbiere (ditto) ARTHUR SOMERVELL.
Moses in Egypt Charge of the Light Brigade (Sol-fa, 4d.) 9
Stabat Mater (Sol-fa, is.) (Choruses, 6d.)...
Elegy 1 6
Enchanted Palace (Operetta) (Sol-fa, 8d.) 2 o
CHARLES B. RUTENBER. Forsaken Merman (Sol-fa, 8d.) 1 6
Divine Love King Thrushbeard (Operetta) (Sol-fa, gd.) 2 o
JOSEPH RYELANDT. Knave of Hearts (Operetta) (Sol-fa, 8d.) 2 o
De Komst des Heeren (Coming of the Lord) Mass in C minor 2 6
Ode on the Intimations of Immortality... 2 o
ED. SACHS. Ode to the Sea (Sol-fa, is.) 2
King-Cups Power of Sound (Sol-fa, is.) ... 2 o
Water Lilies Princess Zara (Operetta) (Sol-fa, gd.) ... 2 o
C. SAINTON-DOLBY. Seven Last Words 1 o
Florimel (Female Voices) R. SOMERVILLE.
CAMILLE SAINT-SAENS. 'Prentice Pillar (Opera)
Heavens declare Cozli enarrant 2 o
W. H. SPEER.
H. W. SCHARTAU. Jackdaw of Rheims ... 2
Christmas Holidays (Female Voices) Lay of St. Cuthbert 2
SCHUBERT. SPOHR.
Communion Service in A flat Calvary ... ... ... ... 2 6
Ditto IN B FLAT Christian's Prayer 1 o
Ditto IN C Fall of Babylon 3
Ditto IN E FLAT From the deep I called o g
Ditto IN F God is my Shepherd o g
Ditto IN G God, Thou art great (Sol-fa, 6d.) 1 o
Lazarus (Easter) How lovely are Thy dwellings fair ... o 8
Mass in A flat Hymn to St. Cecilia 1 o
Do. in B flat J ehovah, Lord of Hosts o 4
Do. in C Last Judgment Sol-fa, is.)
( 1 o
Do. in E flat Ditto (Choruses only) 6
Do. in F (Sol-fa, gd) Mass (Five Solo Voices and Double C hoir) 2 o
Do. in G
Song of Miriam (Sol-fa, 6d.) JOHN STAINER.
Ditto (Welsh Words) (Sol-fa) Crucifixion (Sol-fa, gd.)
Song of the spirits over the wati Daughter of Jairus Sol-fa, ( gd.)
(Male Voices) (Sol-fa, 6d.) St. Mary Magdalen (Sol-fa, is.)
i 3/12.
 ORATORIOS, &c Continued.
C. VILLIERS STANFORD. s. R. WAGNER. Continued.
Battle of the Baltic i Lohengrin (Opera)
Carmen S^eculare I Ditto Act 1.
Communion Service in G 2 Ditto Act LI
East to West i Ditto (Choruses only, Sol-fa)
Eden (Dramatic Oratorio) 5 Tannh/euser (Opera)
Eumenides (Male Voices) 3 Ditto Act II.
God is our Hope (Psalm 46) 2 Ditto Act III
Mass in G major 2 P T'T > ("HOEU ~>NLY, S0L-Fa) 1-

Revenge (Sol-fa, gd.) 1 3 <

Ditto (German Words) Mark 2

Voyage of Maeldune 2
D. STEPHEN.
Laird o'Cockpen (Sol-fa, 6d.) 1 >T. A.NDRE.V 2 (

STEFAN STOCKER. ERNEST WALKER.

Song of the Fates 1
Hymn to Dionysus 1 c

SIGISMOND STOJOWSKI. Ode to a Nightingale 1 c

Springtime 1
R. H. WALTHEW.
J. STORER. Pied Piper of Hamelin 2 t

Mass of our Lady of Ransom 1

H. W. WAREING.
Tournament 1
Queen Summergold (Operetta) (Sol-fa, 6d.) 1 c
E. C. SUCH. Ho-Ho, of the Golden Belt (Sol-fa, 6d.)... 1 c
God our Refuge (Psalm 46)
is 1
Princess Snowflake (Operetta) (Sol-fa, 6d.) 1 c
Narcissus and Echo (Choruses only, is.) ... 3 Wreck of the Hesperus 1 t
ARTHUR SULLIVAN.
Exhibition Ode 1 HENRY WATSON.
Golden Legend (Sol-fa, 2s.) 3
In praise of the Divine (Male Voices) .... 2 c

King Arthur (Incidental Music) 1 Psalm of Thanksgiving 1 c

Te Deum (Festival) (Sol-fa, is.) 1 WEBER.

Te Deum (Thanksgiving) (Sol-fa, gd.) ... 1 Communion Service in E flat 1 6
T. W. SURETTE. Dek Fkeischutz (Opera) 3 6
Eve of St. Agnes 2 Ditto (Choruses only, is Cd.)
W. TAYLOR. EURYANTHE (OPERA) 3 6

St. John the Baptist ... Paper boards In Constant Order i 6

4
Jubilee Cantata i o
A. GORING THOMAS. Mass in E flat (Latin and English) i o
Sun-Worshippers (Sol-fa, 9d.) 1
Mass in G (ditto) I o
D. THOMAS. Oberon (Opera) 3 t
Llyn y Fan (Van Lake) (Sol-fa, is. 6d.) ... 3 6 Preciosa (Opera) (Choruses only, 6d.) ... 1

E. H. THORNE. Three Seasons 1 o

Be merciful unto me 1
S. WESLEY.
G. W. TORRANCE. Dixit Dominus ... 1 c :

Revelation 5 Exultate Deo (Sing aloud with gladness) o 6

BERTHOLD TOURS. In exitu Israel (English or Latin Words) o 4
Festival Ode 1 S. S. WESLEY.
Home of Titania (Female VoiCEs)(SoL-FA,6d.) 1 O Lord, Thou art my God 1 c

FERRIS TOZER. FLORENCE E. WEST.

Balaam and Balak 2
Midsummer's Day (Operetta) (Sol-fa, 6d.)... 1 E
In the Desert & in the Garden (Sol-fa, is.) i
King Neptune's Daughter (Female Voices) i JOHN E. WEST.
Ditto (ditto) (Sol-fa) o Lord, I have loved the Habitation ... 1 c
May-Day Revels (Female V.) (Sol-fa, 4d.).. 1 t
P. TSCHAIKOWSKY. Seed-Time and Harvest (Sol-fa, is.) ... 2 c
Nature and Love (Female Voices) (Sol-fa, 4d.) 1 Song of Zion 1 c;
VAN BREE. Story of Bethlehem (Sol-fa, gd.) 1 t

St. Cecilia's Day (Sol-fa, gd.) 1 A. N. WIGHT.

VERDI. Minstrel's Curse 1 (

Ernani (Opera) 3 C LEE WILLIAMS.

Rigoletto (Ditto) 3 Festival Hymn (Sol-fa, 3d.) t
La Traviata (Ditto) 3 Gethsemane 2 c.
II Trovatore (Ditto) 3 Harvest Song of Praise 1 (

Ditto (Choruses only, Sol-fa) ... i

Last Night at Bethany (Sol-fa, is.) ... 2 c

CHARLES VINCENT. A. E. WILSHIRE.

Little Mermaid(Female Voices) 1 God is our Hope (Psalm 46) 2 c

Village Queen (Female Voices) ]

THOMAS WINGHAM.
Ditto (ditto) (Sol-fa) c
Mass in D (Regina CoiLi) 3 <

A. L. VINGOE. Te Deum (Latin) i i

Magician (Operetta) (Sol-fa, 9d.) 2 O

CHAS. WOOD.
W. S. VINNING. Ode to the West Wind
Song of the Passion (St. John) i
F. C. WOODS.
S. P. WADDINGTON. Greyport Legend (Male V.) (Sol-fa, Cd .)...
John Gilpin (Sol-fa, Bd.) King Harold (Sol-fa, gd.)
Whimland (Operetta) (Sol-fa, lid.) Old May-Day (Female Voices) (Sol-fa, 6d.j
R. WAGNER. E. M. WOOLLEY.
Flying Dutchman (Opera) Captive Soul (Female Voices and Te
Ditto (Choruses only) Solo)
Ditto Act III
Holy Supper op the Apostles (Male D. YOUNG.
Voices) Blessed Damozii

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.
I/3/I2-
 Manufactured by
GAYLORD BROS. Inc.
Syracuse, N.Y.
Stockton, Calif.

BOSTON UNIVERSITY

1 i?n Din? a^t,

Date Due

lETPBi

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55
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