,

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

1

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.
<

1

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

A

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

6

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 ...

5

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

3

9

.

-

——
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

i

:

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

2

Cadences (Twenty-four), in
CsBcilie.

the keys

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

A

4

Guirlande musicale, Pantaisies motifs des Operas de Verdi
:

sur des

1. I

2. 3.
5.

due Foscari ... Ernanl Nabucodonosor

i!

6

6.

Macbetli

4. I

Lombardi

...

3 3 3

6
6

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

6
6

Giovanni d'Arco

3

10.

La

Trovatore Tiaviata

Harmoniestacke.
.

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

1

G

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

6

1
a.

6

3.

Die Stumnie von Eomanze a. Die weisse
u.

Meyerbeer, Andante religioso Komanze a Die Hugenottea
Frau.

1

6

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

1

6

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

6

6

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

6

.

.


.

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].
;

6

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 6

Eenst, H.
No.

W.

Elegy.

Op. 10,

arr.

by Lickl
:

1

6

s.

d.

Pbssy and Heez.
1.

Deux

duos concertants
3 3

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

7

6

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
^"

3

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

6

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

Eom€o

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

G

J. van Boom Ov. " Paniska,"

10
arr.

as Piano duet with
... ... ...

Harmonium, by Lickl
Chopin, F.

3

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

3

No,

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

with

all

3
6

6

5.
6.

Then

shall the righteous

come, every one

1

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
:

3

7

6

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

2
2 2 3

P

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

6

No.
2
G

1.

2. Busslied,

Die AUmacht, by Schubert by Beethoven

1

1

6

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

9

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

4

6

2

Ov.

Don

Giovanni.

Piano Duet and Har.

3

Helikon.

Collection of Classical Melo...
:

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

each

2

6

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

6

Norma
6
G

by F.

W.

Kirchner

2

6

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.

3

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...
...

G

2

and Beethoven

4
6

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

1

G

1

\

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
:

6

4
2
6

3

2. 3.

Cavatina Choral

3

5.

4

6

6.

Scherzo Finale

...
...

4 4

6
6

Schubert, F.
,

Two Movements from
Symphony
in

the

Un4

finished

B

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

6

6

3

6

byJ.W.
-.

Elliott

2

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

C. ... Trios and Violoncello parts transcribed for
.

4

6

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.

3

2 4
2

Harmonium

. . ;

each

2

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

5

Cello. 3 3 3 G and Harmonium 2.. Op. by J. 3 3 0- Marche Heroique. by H. 2 3 Piano. Op. for ditto Harp (or. An Chloe (Mozart) 6. from Trovatore. by Carl Kossmaly Meditation on the Twelfth Prelude. Bagatellen for Two Violins.. and ]^ano. 3. Meditation for Piano.. bini). Quartet. Harulonium and Violin Harmonium and Piute ditto. Op. Violin. Violin or Le Domino Violoncello. Violin. Violin. Nocturne for Violoncello. d. VioHn..C minor. Casta Diva. Alberti. from Sonata. G. each arr. with accompaniment of Organ or Har- monium. and . 8. . Ernani. . and Violin . E. arr. Lohengrin. by B. Organ. — — monium. arr. D. Violoncello. accomp. Op. Traum 2. s. R. Romance for Harmonium. Violin or PInte or Cello. and Cello each -. Har. d'A. J. 4. 6. or Horn and Piano or 2 Violin or Violoncello . Harp and Piano Dvorak. La Sonnambula. Beethoven. E. Har. F. Serenade for Violin. Gott erhalte Pranz den Kaiser. By Soyka: 1. 81.& Piano Adagio from Septet. arr.Har.Har. No. Cantique Religieuse de Stradella. for Violin. for Hymne k Sainte 06cile. Abendempfindung (Mozart) 5. arr. Har. 11. 58 . by Carl Kossmaly Bach. and Violin '- 3 1 1 6 G 3 3 La Charity. by Rossini. with accompaniment of Piano and Harmonium Handel. arr. for ditto arr. for ditto. S. for Piano. E. Melody for Violin. Violin. for Piano. for Harmonium and Violoncello Adagio. . with Piano & Har. I. Prayer from Der Preischutz. Nabucco. blanche. Brisson.. for Pianp. Priihlings Erwachen. for Piano. Sachs No. Piano. Martha. 2 G H. Lohengrin. Miserere. 11 GoDEFROiD. Lefebure->\'blt. Gruss an die Nacht. 14. and Har. for Piano. for Piano and Violin. Violoncello. .. 7. arr. Har. arr. Op. . . Fledermaus.. & Piano La Jeune Religieuse de Schubert. arr. Fatinitza. for . Harmonium Ditto. Piute and Har. for Vio. for Piano. 15. Violin or Violoncello. Violoncello or Violin. Claus Ov. for Violin. Donna Juanita.. 18. Stapi'. for Piano. No. a. I would that my love (Mendelssohn) 8. HARMONIUM MUSIC.. No. Theme with Variations. by H. Piiritani. 1 Harmonium. La Der Fliite Enohantde. Concert Praludium. 27. Aria from Suite in D. Adagio and Eondo LesAdieux. Ditto in C| minor. Har. GuiLMANT. Arr. .. Meditation on the Third Prelude. arr. and Cello. . Organ. for Cello or Violin Solo.. Meditation Prifere. for Violin. Schimak "Westbeook. H. Largo in D minor. Schlurumerlied for Two Violins and Harmonium. Don Juan. for Harmonium. Pieti\. Elegie for Violoncello. Meditation. arr. for Piano. La Dame Norma. ... La Noce de Figaro.. U^rban .and Violin or 'Cello Stradella's Air d'Eglise. and Harmonium Op 10. Eigoletto. for Piano. Violoncello. Piano. Harp. Har- Bach.. Cello. Preeiosa. arr.. Th. 18. Hymn from Medea (Cheru' . 6 G 6 Das Rheingold. Musikalische Unterlialtungen. 17. Eomance and Chorus from Noir. for Violin. and Harmonium or Piano. or Piano . by ditto Transcriptions.. Transcription for Violin. Violoncello. Violoncello. and Harmonium. arr. 19. 6. Har. for Piano. Harmonium. Arr. Piano. for Violin or Violoncello and Piano or Harmonium ditto. BoBHM. Prifete des Bardes. Oh. for Violin or Violoncello and Harmonium GorifOD. 26. 47 Ersfeld. for ditto. ^ 6 —— • — — Piano 2 Cantique de No6l. Th. 12.. P. . by Ch. . Violin or Violoncello . W. II Trovatore. 3: 2 Wagnee. and Harmonium. 1 Adelaide (Beethoven) 2. . J. Meditation Religieuse on an Ave Maria by Benoit. for Piano. Gounod S. Sonata in flat. Op. Trio. G6 Norma. for ditto. Funeral March for Harmonium and —— . transcr. 4 and Harmonium LtJTGEN. 9. for ditto CnoriN. and Harmonium . Violin or Cello . 10. J.. Bach. Harp.. Idyll for Harmonium. Op. from Guillaume Tell. and Piano LiszT. . for Piano Duet.. "W. Eomeo et Julie.. 73 Walther's Lied from Meistersinger. ThSme vari6 from Septet. . . Op. AJr. for Piano. Dubois. by Haubenfeld Benedictus from Mass in D. 55. Meditation Religieuse. Harmonium and Violoncello loncello. for ditto G 4 arr. A.. and Organ or 2 1 s. d. Lohengrin's Verweis 2 2 La Sonnambula. March in E ilat Martha.. Piano). or Piute or Violoncello. Piano. for Violin.. Signore. Piano. and Violin . and Har.. Freisohtttz. and Harmonium Quatuor de Eigoletto. No. 20. 3. 3 3 3 9 9 6 6 4 2 3 G MUSIC FOE HAEMONIUM WITH OTHEE INSTEUMENTS. with Harmonium and Piano Lebeau. Har. C. Ave Maria by Schubert... E. Op. H. A. Largo for Violin Solo. AuBER. Har. and Cello or Clarionet. 4. Bass. _ Luy. arr. Elsas Brautzug zum MUnster. Trios des Amateurs. with Har. 0. Eeminiscences. Har. Jean de Paris. for Violin. P.. p. and Ein Blumchen der Einsamkeit.. 16. for ditto Op. arr. arr. arr.. . 1. Harmonium. in . G. Oberon. Op. ad libitum Lehmann. for Violin. for Violoncello or Violin. P. arr. Adagio and Allegro for Violins. Kern WiSBEE. Elsa'3 Beethoven. and Cello each No. .— . CoEKLLi. Violoncello or Violin. A arr. and Harmonium. arr. 25 LiCKL.. by Haubenfeld Berens. by P. for Piano and Violin or Cello. arr. Piano. from Norma. and Piano Serenade for Piano.. for ditto .. Ob Bie meiner wohl gedenkt (Proch) 4. Jul. Adam. GoiTEEMANN. 13. Har. Ritter Cohen. Two Nocturnes (Field) Op.

E. Op. Adagio from the Fourth Symphony .Op. Andante from the Fifth Symphony . E flat 2 1 11. Andante from the Sonata in F Larghetto from the Clarinet Quintet . P. G SiDOROwiTCH. and Har. G-ems from the works of our celebrated masters. 97 Mozart. Violoncello. Harmonium. Viola.. Siegfried Idyll for 6. Harmonium. Idj'U . a. answer to the Meditation of Gounod. and Piano. Ditto. 1... 8.fy.. and Piano.. J. Oberon.andViolin. Violin. 14 No. for Piano. Beethoven. Schubert. Sarabande from the Fourth English Suite Beethoven. 2 Books.by Sivori & Seligmann Adagio religioso. with Cello and Har. arr. Harmonium. F. 6 Eode. . . Largo from the Sonata in TS.. 2 Variations from the Septet . . 0. 19 : 1 6 No. Op. EuNDNAGEL. La Gazza Ladra. for Piano. Ov. and Piano. 11. 2 Books each 8. Handel. 8. Op. Mendelssohn. Harmonium. l.... ViEuxTEMPs. Zauberflste. Ditto arr. M61odie Eeligieuse. . H. andPiano.Clarionet. Nocturne in A. — — . 1 Piano. Harmonium. E. Violoncello and Organ.. 11. 7. 3. s. 8. 2 | 2. Menuet from Samson Funeral March from ditto 2.. 10. 8 : 1. andPiano or Har. Saint-Saens. 9. 56 Andante from ditto. Adagio from the Symphony in A minor. Nava . and Harmonium 10 MiLDE. Soyka Violin. Piano. Andante religioso. Andante and Adagio from the Concertos. Three Andante serioso for Violin. Op. Violoncello. 15. Harmonium. Op. Kohler : the No. and Violin. Nos. Violin.. Ot. Tours. 14 Mendelssohn. . by Drtlffel Weber. 4. for Piano and Violon Solo. Book I Book II from 2 6 4 6 Schumann. 4. 56 8 monium. Euryanthe.. 10. Op. Scenes from Lohengrin. for Piano Duet.. 3 3 3 6 Trios des Amateurs. for Violoncello or Violin.. Melody and Piano . Ov. Selection of Pieces from the works of modern masters for Violoncello or Violin. 5. Op. MIJLIER. Two Pieces for Violin.. arr.. Handel. or Violin.. Mereaux. 2 Violins. Adagio rehgioso from Concerto No. arr. K..— —— . for Violin. for Violin.. Harmonium. Harmoniuni. B. Har... Op. U.or Cello. and Harmonium Schubert. 3. Adagio from the Choral Symphony . 9. Book 2. and Piano . arr. Violin.. Viola. Violin. a. Op. and Harmonium. H. Harp. 1. Aria from the Messiah (Comiort ye) Schubert. by Soyka . 4. Isolden's Liebes-Tod from Tristan and Isolde. Romance . 17. Hfirr Violin or Violoncello and 6 Eeinhaed. Harmonium. by Lux Ov. L. Ov. arr. Symphony Eroioa Largo from the Trio.. . Wagner. and Harmonium.. Sonnet and Zuleika Chopin. 8 —— 6 2 Eeinhaed. Funeral March Weber. arr.. E minor. Op. 67. for Piano. Chopin. or Violin and Harmonium. Celebrated Songs for Flute or Violin or Violoncello. 65. 1. 49 Op. and Piano... 2 ditto Andante from the Fifth Funeral March from 2 6 Songs arr. ad lib. lande Two Songs.. Cello. Op. d. Funeral March . Adagio from the First Concerto 2. Book 1 . Piano. by L. . No. : 3 4 2 6 Die Meistersinger von Niirnberg. p. 6. and Violoncello. . Sei 6. Op. Mauns.. 2. 2. QiThi:ee Songs without words. arr. by G. V. and by Soyka 3 7. Harmonium. Trios for Violin or Violoncello... and Piano. 4 Arioso for Violin and Harmonium. HAEMONIUM MUSIC.. Social Hours. and Harmonium : 1. Op. and Piano. Ov. G and E]? Andante from the Octet. 4. 3 1. Fantasia for Piano. 6. DubistdieRuh Morgengruss Des MllUers Blumen phony 12. Mozart. arranged for Harmonium. 108 12. 4 for 6 5. 7. for Flute. Moments Musicals. Eeinhai'd. arr. God in Emperor Andante from the Sympreserve the 10. 94. Ditto ditto Book 2 Ein Albumblatt for Violoncello or Violin.. Apparition and Entr'aot Manfred Menzel. Nos. Andante from the First 1 Eomance for Piano. 3. A. 7 3 6 Mira la bianea luna. Violin. by Soyka . Op. F. Violin. for Violin. for Violin. for Violin. 12. Cello & Har. Op 56.. Op. Scenes from the Opera Der Freischtttz. 99 Beethoven. for Piano. Har- Zech. 2 G Mozart. Adagio from Third Symphony. Andante from the Trio in BJ7. No. Op.. Eobert Grand Caprice sur le Diable. 7 4.. ditto Harmonium. 5. Op. Drei Paraphrasen for Piano. arr. each . for Violoncello or Violin and Harmonium EossiNi. Harmo2 3 1 G G G nium. Haydn. by Lux. by Der Hausfreund. .. Standchen Ave Maria 2 AmMeer Naoht und Trallme mir gegrlisst Der Neugierige Der Lindenbaum Lob der Thranen Des Madchens Klage fi. and Piano. for Op. and Quintet from Die Meistersinger. and Piano. 7. 2.. T. 2 6 2 6 Symphony 4... Har. 31b ^YAGNER. arr. I'opera for Cello or Violin. Op. Ditto for Violoncello and Harmonium Ditto for Flute and Harmonium . Larghetto from the Clarinet Quintet. arr. Hebrides. and Cello. Les Echos du Pass6. Bach..• for Violoncello. and Cello... 9. Books 1 and 3 each . for Piano. by A. Har. Op.. or Violin. in 4 4 4 2 2 2 3 8 6 6 Violin.. for Violin. by A. by Soyka . and Piano.. and Harraonium. Eondo from the Sonata. .. Eitter Scenes from Tannhauser. C. Elegie for Violin and Har. and Piano. d. Ditto.. for Piano. Op. C. 90 Andante from the Trio in D minor. Lex..

ndante. Like as the hart. Dr. The Lord hath commanded To God on high (St. Ch. in Two Volumes. RoECKEL. „ „ Adagio non troppo. BiJHLEn. 3. Andante con moto (First Symphony). goeth a. O give rae the comfort of Adagio. Chorale. Beethoven. J. Andante. „ „ Andante. S. B. „ Sing praises unto the Lord. O Lord most High. „ „ „ Chorale. Thus will I bless Bennett. Sir J. Paul). Gounod. EWER AND CO. Contents of Book Andre. Schubert. „ O great is the depth (St. O let . Sir Handel. V. Thou art to be praised. Blessed is the man. salutaris Hostia. Arise. ELLIOTT. Gluck. L. Paul). Andante tranquillo (Op. 2. Prelude. Dr. Dr. shine. „ Holy. „ „ „ „ „ „ „ „ For He. O for the wings of a dove. Romanza. „ Placido e il mar (Idomeneo). Arthur. Rejoice in His holy Name. a. j. Dr. Peter). „ Larghetto. O praise the Lord of Heaven. S. 4. Thanks be to God. J.. Mercy and truth are met together. Hervey.VOLUNTARIES ARRANGED FOR THE HARMONIUM BY J. 42). Praise the Lord. March. " If Andantino. Larghetto (Op. Andante. Weber. Sir W. (Op. F. Andantino. He remembering His mercy. „ Not every one. cloth. He maketh peace. G. Benedict. O worship the Lord. „ Stainer. J. Attwood. M. O my soul. Barnby. John.7). Himmel. But the Lord is mindful Choral (Op. „ „ „ „ Andante. Elvey. (St. L. „ Tours. (Elijah). J. Sterndalb. Pastorale. La Carita. Boyce. Niels W. „ If with all your hearts (Elijah). Adagio cantabile. Prelude. Dona nobis Naumann. March (Alceste). Volksliled (Op. Morning Hymn. Steggall. 5. C. In Memoriam. Krufft. „ Sullivan. Ch. Rink. Propter magnam. Glory be to Thee. Adagio espressivo. Paul). George F. Sarti. „ pacem (Third Mass). Andante. Sir F.warfare. J. Dr. Open the heavens (Elijah). Adagio. „ Elvey. Ave Verum. Amplius lava me. Solemn March. Patience. PRICE ONE SHILLING EACH. Blessed is he. traitor if you there descry (Athaliah). Stabat Mater. Thee (St. „ Gear. Comfort. Wesley. Stephens. Andante. Roberts. Adagio. BOOKS (EACH CONTAINING Books I. the Lord our God Hear my prayer. Goss. T. Stars that on your wondrous way. Sfohr. A. Handel. Gade. Allegretto moderate. F. Lead me. St. Chorale. Andante. Charles E. Lift up your heads. Gounod. E. GooDBAN. O J. „ „ Spohr. „ Harvest Carol. Rossini. Prelude. Contents of Book IL AuBER. „ „ Crotch. Paul). „ Sleepers wake (Choral. 45. dulcis memoria. 63).. O Lord. each. Dr. Cramer. . Jesu. Barnby. Paul). While we have time. Thee. Bow down Thine ear. „ March ^Scipio). Lord. These are they. Fergolesi. O Saviour. SIXTY).your songs be of Him. „ I. This is the day. „ The J. A. Mendelssohn. Hesse. Christmas Carol. „ See what love hath the Father (St. Pastorale. A. Wlio would not CoRELLi. My God I all nature Frever. holy (Last Judgment). 6. William. Sir John. Adagio. Beethoven. IN SIX W. Haydn. Sir George. Thorne. G. Agnus Dei. Teach me. „ „ „ „ I. NovELLO. A owns Thy sway. Air religieux. „ Sewell. Juvin. Andante con moto. Beethold. Gore. George. Hopkins. „ Macfarren. F. Funeral March (Samson). LONDON: NOVELLO. von. Benedict. Larghetto. Who Air. . holy. „ Stainer. Rev. „ OusELEY. March (Idomeneo). „ „ „ Andante cantabile. Hayes. „ „ Garrett. Adagio. all ye who labour. The welcome sun (The Crusaders). Lord. we pray Thee. „ Mozart. 79). Andante. fear Thy help. A. Mozart. Remember now thy Creator. The Lord is loving. One thing have I desired of the Lord. and 4. Dr. O Lord. Allegretto con moto. J. 65). J. Slow movement. „ Mendelssohn. H. Dr. Sir J. „ Organ Prelude. Come unto Him. Adorabunt Nationes. Prelude. Hear us. Humility.

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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.

.... elasticity of Back organ Baryton (No. Allegretto scherzando Allegro in Ef? .. Studies for . selection of suitable music for -iEolina . 2.. directions for Blowing. iEolophon . in F .. bass).INDEX.. Blowing... Bourdon (No. Andante Andante C . ^olodicon jEolomelodicon.. treble) 4.. bass) Capacity of harmonium Chair or stool Channels Cheng Chimneys . Bassoon (No. jEoIine .... PAGE Accentuation . 7... .... Accessory or Mechanical stops Adaptation. Andante con moto in C C Andante religioso in in Andantino C Ankle..^olsklavier Allegretto in C . Andante in Bi? in .... Beating reed Bellows action Bellows-board ...

. . compass of Key. description of Leather valves ..INDEX.... harmonium Preface Production of sound by tongue Prolonged continuous sounds.. Notturno in 6. construction of . Organo-violine Organ reed Orgue expressif Pallets Pan Percussion action Percussion.. Percussion. invention of Phys-harmonica Pitch Playing an octave higher than written Plunger . Mundharmonica Musette (No... Moderato in G ... Manipulation of the draw-stops Mechanical and Pneumatic Fortes Mechanical or Accessory stops Middle-board ... treble) . PAQB Iron roller Jew's harp Key action Key-board. Pneumatic and Mechanical Fortes Pneumatic lever Position of body Position of foot upon treadle Position of knees Position of reeds Practical study of . Moderate e con grazia .. 4. treble) F Oboe (No.....

{See " Rudiments of Music" Primer: W. as the presumed to have made himself familiar with them before commencing the study an^l' practice of the Harmonium.The Rudiments of Music are not given in Student is this work. Cummings. H.) .

of Smyrna). and was known as far back The cheng. cheng who died about 479 B. living at St. The modern instrument gives the pentatonic scale i^ f f E^i ^ -^ . But the free reed. and it is even asserted by the Chinese that in the time of Confucius. which is still in use. except when stopped by one of the fingers.— — . latter constructed two free reed instruments. ". in various forms. Each tube is provided with a air-chest. also called hiamho by the Greeks as the year 1619. notably in those of the Chinese organ and the Jew's harp.C. the was used in the religious rites is which were performed in his honor. and its original form has undergone (generally very slight modification. the instrument undoubtedly of high antiquity. claims precedence in point of age . and has a spout or mouthpiece attached to it. The Jew's harp (many years ago known by the name of crembalum. and has also an aperture which. foremost The production of sound by the vibration of an elastic tongue has many claimants to its invention among whom may be mentioned Kratzenstein. as it may. the revival of the free reed. or 24).. Petersburg in the reign of Catherine II. a German. metal tongue. •>*«- SKETCH OF THE FREE REED. 17. The cheng contains a number of tubes of bamboo reed The calabash serves the purpose of an 13. The former applied the free reed to certain organ stops the .. or Chinese organ. was in existence long before its application by Kratzenstein and Greni6. placed upright in af calabash. Be this. 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. 19. THE HARMONIUM. and Grenig. more properly speaking. effectually prevents the tube from sounding. which were sent to the Conservatoire des Arts. possibly earlier even than that. a Frenchman. is aa early form of the free reed. The harmonium is one of a large family of instruments owing their origin to the invention or. called by him Orgues expressives" in the year 1810.

1^2. 1828. Wheatstone (afterwards Sir Charles Wheatstone). 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. is that a small instrument. was introduced its into the organ. probably about same time that the free reed it. and under the name of "Molina. i." it was subsequently introduced to an English public at the Royal Institution. and the novelty and extreme simplicity of the instrument. / \ . The In an tongues were made to vibrate by means of the breath. combined with the pleasing character of its sound. i ^ i -s^:*2. by Mr. Each tongue was fixed at one end to the plate. improved form. The chords they yield are placed above the figures. and was so placed that other end could vibrate freely through the aperture." made its appearance at a fair in one of the minor towns of Germany. E =^ . It would be exceedingly interesting to know who was the author of this employment of the free reed. was far in advance of Kratzenstein.the who was an organ-builder..e.. The instrument consisted of a metal plate having oblong apertures in over which were placed metal springs or tongues. made it exceedingly popular. harmonium. called " Mundharmonica. The accompanying figures represent several forms of the instrument made by him. in May. independently of the tube. The the only information which it appears possible to obtain. and what suggested the idea. however.

^ ^-=F=^ Scale. which is notes— one by Expiration and another by still in use Inspiration. 6 represents another form of the as a toy-instrument. J r^ r ^'^ J± Inspiration. ?: ^ CJ (=> Scale. ^ - ^ Top view.— Fig. (] . Chords. as shown below : Chords. ^^=^ -J- J- £ Expiration. —g ^m^ Expiration. Each side gives two series of Mundharmonica (of foreign manufacture). i Inspiration.

the " ^olsklavier. d-^^ feg= U ^ 4-J^ d^ 4-^4 ^ ." of which It is the Concertina. which effectually obstructed the passage of the air. Left-hand side. was a modification. about 1825 and the "Colophon " of Day and Miinch. and tubes of various sizes and shapes were introduced to modify the sound. O o O o o o o o o W ^ J^ o o o o o o '^ "^ Right-hand side. with brass tubes over the reeds." by Brunner. ^^ the last-named instrument.j ''^ bo tjg ' J*'"'' b. or keys. showing positions of the little ivory keys and embouchure or mouthpiece. with aperture against which the mouth was placed. 7. were closed at the back by valves or pallets.sz: IZ2Z TTT" fe -p-3— c. These valves were opened by means of studs.£2= . c is a side view. the front of the wind-chest being. placed on both sides of the instrument. b is the front plate. gc? I ^ fe ^ ^^r^ . attempts were made to form of the reed. Florid passages in single notes could be played upon the symphonium with ease ." by Schortmann. which . was patented in alter the an interesting fact that on the same day the seolophon was patented. of Buttelstadt. also invented by him. over which the reeds were placed. removed. At a the reeds are shown. 1829. June 19. Fig. of course. and full chords like those in the following passage were practicable and effective : i^^ @= ^ ^^ °?-^g - A^ .— lO Then came the " ^olomelodicon. In the symphonium the apertures. of Warsaw. a patent was also taken out by Wheatstone for a most ingeniously constructed instrument called by him " Symphonium. London. c. m f=' .

but the oldest patent Storer. and Joseph Storer. His first patent was taken out and dated August 9. in fact. (so being a correct drawing of one of the smaller ones. patent however. and has. 1846. for perfection of mechanism and workmanship. a which will be found in another part of this Primer. the harmonium it has. Mustel's harmoniums. to a far greater state of perfection than any of his predecessors. The Seraphine is is dated July 20. Kaufmann. retained the construction originally given to by Debain. Bauer. unknown Daniel Chandler Hewit. 1840. without doubt. and the variety of timbres of the .. and for beauty of timbres of the registers individually. 1839. long ago The symphonium was. viz. Fig. A very high pitch of excellence. 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. however. In point of date. dated June 27. in principle. 7 (page 10) supposed to have been invented by Green. whose instruments are remarkable various registers.of Paris. 184a. however. Martin appears to claim precedence. The instrument was. and is. 1844 . of Paris. of course. has been attained by a clever and ingenious English manufacturer Gilbert L. whose patent . since 1840. for the simplicity of their mechanism. extremely fatiguing to the performer. made in various sizes and shapes. of Dresden. its The invention of the Expression in is present form. of late years is the " The most important addition which has been brief description of made Double Expression. though with slight diiferences of detail. attributed to the Alexandres. Martin." invented by Victor Mustel. unequalled. It is worthy of notice that. are. dated November usually accredited with the invention. date 9. is The Percussion action has several claimants. and without which no harmonium can be considered complete.II sunk into disuse. in consequence. for exquisite blowing.

Every harmonium has two feeders. The feeders with the v. what is called a horizontal bellows. The wind is here divided into separate columns. of the wind-chest. when required. whole length of the instrument. is a large rectangular opening communicating with the reservoir beneath. the chimneys. treadles ov foot-boards. There are which the also a number of small circular apertures. which is closed by number of rows of vibrators. of air from the outer atmosphere. is On the upper or under side of this opening a pallet. similar to those in the boards of the feeders. of the bottom boards. The reservoir is attached to through These apertures are covered above with movable strips of leather. The feeders are usually wedge-shaped in form. shuts off the reservoir from communication with the wind-chest. Fig. which allow entrance to the air but prevent fall its egress. 8.dnd-chest. 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. Each aperture is means of a spring. and serve to connect the In some instruments the chimneys are separated and placed at the ends . The pallet is closed by means of a spring. pallet. and the reservoir. or trunks. 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. which. and consequently to Springs are generally placed inside the feeders to accelerate the facilitate the filling of the feeders with air. It has folding sides. called the bellows-board or pallet-board.12 CONSTRUCTION OF THE HARMONIUM. has rectangular apertures cut the number of the apertures corresponding to the covered internally by a separate pallet. called ribs and expands downwards when wind is urged into it. called the expression . The bottom boards of the feeders are perforated with a number of circular apertures for the admission. the opposite which are connected with the The upper-board in it. the under-board of the wind-chest. for conducting the wind. These apertures are covered internally by flaps or valves of leather. called the middle board. and opened by means of a draw -stop. a column being required for each half-set of reeds. the wind-chest. The wind apparatus the whole forming consists of four parts : the feeders. The boards ends of of the feeders are attached to the ends of levers. chimneys are upright oblong channels. air enters from the chimneys. stretching horizontally across the and are attached on their upper part to a thick board. termed cross-bars or rockers.

at the far is attached. pulling out a draw-stop. one above. A harmonium with from four to seven rows of vibrators usually has only two sets of pallets. outwardly similar in form to the wind-chest. but internally divided into two distinct sets of compartments. and the motion of the plunger transmitted to the bellows-board pallet. in the direction of the length of the instrument. The lower compartments are large chambers exactly corresponding. by means of a pin. or color Here the wind is sub-divided into still smaller columns. into long shallow compartments. description is therefore necessarily omitted. (Sometimes a wooden sticker is substituted. the lower axis— and brings the lower arm arm slides upon and forces down the metal is from an oblique to a vertical position. Each lower compartment has its own series of channels above it. which appears immediately in front of the end of which performer. 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. required. we will now briefly trace the action of the various THE DRAW-STOP On its ACTION. . called stems. the expression pallet being closed by the pulling out of the draw-stop. rests a large box. the plate pushes the plunger. A mechanism This character intervenes. 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. the second being placed under the back part of the keys. The upper compartments are small transverse grooves or channels. one compartment for each pallet. and of tone. which is hinged to a little block Under the plate. to those on the surface of the bellows-board. is The back its pallets are generally hinged to the extreme ends of the keys themselves. turning on of a circle. The lower arm slides on a horizontal square metal plate. according to the timbre. On the surface of the ridges which The upper separate and entirely surround the compartments. and running through the pan. In thus describing the segment plate. varying in size. and immediately below the channels. communicating with the outer air. mechanism. having fulcrum differently placed according to the requirements of the is instrument.^3 surface of the bellows-board is partitioned off. which are generally placed under the front part of the keys. in those of larger usually placed at or near the center.) Occasionally the plunger is made to pin. construction In small harmoniums the fulcrum it is placed at the back end of the key . A key is an ordinary lever. except in point of height. reeds are placed at the top of the large chambers. . are opened is called the draw-stop action. of course. the opposite ends of which are acted upon by the keys. Having described the parts. an upright lever. is The action of the expression stop reversed. over which they are made to fit accurately. and another below. is fastened to a rod. and cover what called the hack organ. principal . the upper arm of the lever follows the rod —the lever. The mechanism by which the pallets of the bellows-board Each handle or knob. somewhat in shape. technically termed the pan. is an upright metal fixed on the upper surface of the pan. The keys. The front pallets are hinged with strips of leather to the ends of levers. These pallets cover what is called the front organ. opening into one of the large chambers. termed a plunger. Every channel has two openings. a separate column being necessary for eveiy reed. whose arms are unequal and placed at an obtuse angle.

p. placed upon one of the treadles. the wind rushes up to the reeds and through the upper openings of is the channels. c. As the feeder-board is raised. and the air from without the feeder. k. the treadle pulls pushes up the feeder-board. 8 and lo). . while key and pallet are in this position. down one arm of the rocker. r. p. p. is shut off is from communication with the windthen directly under the performer's The whole column . now. and into the wind-chest. p. of the stem. feeder-board descends. the latter rising while the feeder-board Now the feeder in its position of rest is always fully charged with air. st. T (see Figs. w. THE BELLOWS When the foot is ACTION. the bellows its exit are brought into action. the other end consequently rises and The reverse action takes place when pressure is removed from the treadle. the expression stop of air is drawn. flows into and refills Simultaneously the valves of the feeder-board are raised. of therefore necessary to pull out one or more of the draw-stops before the wind can is reach the reeds. the compression which ensues causes the leather valves to close tightly over the apertures. The moment the key is released the pallet falls and covers the channels. g. the reservoir. falls. stopped from proceeding upwards by the pallets. ACTION. f-b. p. and the wind prevented from escaping. Now when chest. the valve at the top of the chimney falls. If The openings above makes the channels corresponding to the particular key depressed are thus uncovered. But the air on reaching the wind-chest It is the bellows-board. the front part pushes it down one end the other end of which consequently rises and carries with the pallet. Fie. and the necessary amount of force exerted. The column As the of air is thus lifted and propelled upwards through the chimney. 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. and prevents the air in the wind-chest from returning to the feeder. r .14 THE KEY On depressing a key.

15 When the expression stop is pushed in. combined action of the The wind. a number of curved arms or prongs. From the roller project. 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. placed on the surface of the pan. the another force constantly at work. Fig. now proceeding from is the reservoir instead of directly from the feeder. is Independently of the pressure viz. at others actuated in three different ways : —sometimes by a draw-stop. is In a harmonium containing two or more sets of reeds. the extremity of From . This is generally effected by means of a horizontal iron roller. THE GRAND che performer to bring into action. with each other. lever slides upon and presses down the central plate is thereby partially turned round. and consequently unable to vary the strength of the sound. and the wind then rushes into and exerted by the performer's feet. single curved prong. there spiral springs. the upper prongs depressing their respective plates. at right angles to its axis. and thus causing the bellows-board pallets to This combination arrangement. independently of the respective draw-stops. by one JEU. several complete registers.. . wind-chest and reservoir are placed in direct communication inflates the reservoir. the extremities of which rest upon the metal plates before described. by a knee-lever. 10. and occasionally by a heel-lever placed between the treadles. Under these conditions the performer has no control whatever over the wind. there usually some mechanism which enables movement. called Grand Jeu. rushes up to the vibrators in one continuous and unvarying stream.

by means of suitable mechanism. is The set-off.i6 THE PERCUSSION ACTION. This consists of a series of hammers. II. be seen that when the plunger depressed by the key. pi the plunger. similar to those of the pianoforte. . viz. which. the lever catches against rise. I drops to its original position. throughout. and the hammer immediately No. The percussion acts upon one set of reeds onjy.. s the and h the hammer. where k the key. are made to strike the tongues of the reeds immediately the keys are depressed. is I the lever. mechanism is shown in the It will annexed drawing. Fig. and thus causes the far end to The lever then escapes. a projection at one end of the hammer.

When the levers are the blowing is precisely similar to that of . air to In the latter case each be forced up through a draw-stop opens a pallet in the wind-chest. and on being inflated causes the shutter to partially revolve. harmonium are usually covered by a kind of box which has the effect of subduing the sound very considerably. and another for the bass. therefore. The chief advantage. at others they are made to revolve like the shutters of an organ. and the utmost pressure exerted upon the On the. perfect form of swell hitherto introduced into the This harmonium. draw-stops alone are used. the shutters are moved either by draw-stops or reeds forming the back organ of the knee-levers.. and the power of the instrument appears as if it could be increased to an almost unlimited extent. undoubtedly the' most useful addition to the harmonium. The bellows is connected with the shutter or the most louvre. . expression is rendered impossible. treble. The top of the box is closed by movable shutters. any other harmonium but when released from their catches. of Paris. one for the closed.levers being pressed open to their treadles will produce nothing beyond a monotonous piano.17 THE MECHANICAL AND PNEUMATIC FORTES. The -^^hen the fortes act pneumatically. is the power. fullest extent by the knees. of obtaining expression from either half of the instrument independently of the other half. The is action of the shutter. expression is again brought into play. placed above the keys. THE DOUBLE EXPRESSION. and thus allows a column of suitable channel to a small bellows. entirely depends upon the pressure exerted upon the treadle." placed at the performer's command. was invented by Victor Mustel. and the other for the bass. called a pneumatic lever. When mechanical fortes are used. however. of the double is The mechanism under the control of two knee-levers. These shutters sometimes slide from over the openings. expression apparatus. This. There are always two draw-stops for the fortes —one for the treble.

and the " Forte " ^tops are placed at the two extremities of the row. toc*g the division The bass and treble portions of the instrument are internally taking place between e^ ^ and fi i =5221 The bass therefore extends from ^ - 8ve. 6s\\\\\\\\\^^^^\\\\\\^^^ #^ Fig. one particular arrangement of what may be called the These stops are eight in number four on the left. to 4. from CC ^z separated. Sounding and Mechanical or Accessory. therefore. the two stops " Grand Jeu " and " Expression " occupy a central position. The compass of the key-board or manual is five octaves. the knobs of which are usually numbered from from A harmonium which into play. and four — i on the right— and act upon the four principal the center towards either end of the row. to and the treble from i ^ '- to i s THE DRAW-STOPS.. Manufacturers generally adhere to foundation stops of the harmonium. in the direction there are two draw-stops. usually above. There are two kinds of draw-stops. 12. Usually. The draw-stops are ranged in a horizontal row in front of the performer. .i8 THE KEY-BOARD. however. 8ve. does not require draw-stops to bring the reeds Beyond one row. contains one row of vibrators only. The stops on the left-hand belong exclusively to the bass. but occasionally below the key-board. draw-stops become a necessity. sets of reeds. viz. those on the right-hand to the treble. To every complete register.

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) .19 The makers.

8 a 4 i6 8 . also the longitudinal instrument into Front and Back organs.20 Diagram showing division of the the Compass and Pitch of the registers. Pitch in feet. and their internal arrangement. and the transverse division into Bass and Treble.

and piercing. slightly out of tune with each other. ('5^ Thin. or (3). however. or (4). or both. for solo (2j in the treble . occasionally combined with (2j in the treble is useful by itself. in speech. but much heavier than Mj MJ. prompt in speech. for solo work. Bass. (® ®| 1® ©I Useful for serious or sacred music . but not . Two half-sets of vibrators. Round and of the organ . or both. somewhat resembling the stringed instruments of an orchestra. \1J \}^ useful for all ordinary purposes effectively adapted for slow or quick. eff'ective for legato music of a pastoral character. this combination is usually more effective wh6n the music is transposed an octave higher. \i/ viy| A most useful simple combination for all kinds of smooth playing. useful itself. Corresponding to the double diapason of the organ. be used with the full organ. and prompt . with accompaniment beneath. rather slow of speech . and combining with any of the other registers. reedy. Corresponding to the diapason staccato. but reedy . legato or music . and occasionally for (4) C^)] staccato. It should not. ' very useful as a accompanied in the bass with (ij. or combined with (2j work . ^7^ Reedy. but more solo stop.21 QUALITIES AND USES OF THE REGISTERS. in the bass for chords. . or botfi. (2J C2) Round and fluty. accompanied in the bass with Q. delicate than (4) (4)j and slower in speech . and (Sj in the treble. staccato or (4). accompanied similarly. slightly out of tune with each other. Essentially a solo stop. COMBINATIONS. chiefly of use for giving brilliancy to the full organ . enough by to be disagreeable usually of a more delicate quality than in the treble. CbJ ('J^ (3J /'^ Bright. Very effective when combined with (l). but much fuller than (6). and more sluggish in speech. moderately full. * r^j Thin and reedy. Thin and reedy . also very effective for soft chords. consisting of two half-sets. and sometimes for solo. fluty. Treble.

thus. or numbers. (© ©1 I© ®t A fancy combination for light. I j© i® (© ©1 A very effective simple combination for playing melodies in imitation of the "violoncello in the treble vs^ith . bright music. suitable. two agents are requisite. c. no doubt.. and in the bass accompanied with short chords. when the stops are to be drawn out. or frame." o b. STOPS. 3. ©I other beautiful combinations will. for serious or C^ C^\ sacred music. the pushing in being denoted by an oblique is through each circle.22 \Zy \ly\ A fancy combination. suitable for quick staccato arpeggios or scales in the treble. In the production of sound in the harmonium. dispensing with circles or squares. Sometimes the line Various methods are adopted to indicate the drawing out and pushing in of the stops. J. are enclosed in circles . © ©® Many A fancy combination. and in when they are to be pushed in or' in circles only. accompanied MJ. a current of air. viz. and very effective when used sparingly." which is fastened at one end to a — metal block having an aperture or slot corresponding in length and breadth to the tongue. and tongue together are termed a " reed " or "vibrator. G and the pushing in. or squares initial letters. ^. to indicate the drawing out. thus. or (2J. and a flexible elastic strip of metal technically termed a " tongue. . suggest themselves to the student as he becomes timbres oi the various registers. . )^. more familiar with the METHOD OF INDICATING THE names. The simplest method. THE REEDS. or both. The block. however. ^.

The acuteness or gravity of a sound is called its pitch. arranged Given the pitch of one sound. nor upon the number of one The of stops. . and compels off to return to its original air. In the production of sound a current of air out of its is driven against the tongue. A register or stop in the harmonium is in regular successive order. and cuts off another portion column of air. each of which separate draw-stop. and occasionally it is position. One therefore termed a free reed and the other a beating reed. at others downwards. it Its elasticity then comes into play. small and similciL- comparatively insignificant. A moment's inspection number of "sets" or "rows" names indicated on the draw-stop knobs will suffice to furnish us with this information. as at b. A series of " puffs " is the result. and even seven.rows of vibrators. . succeeding each other with great rapidity. of air is urged against the tongue. does not depend upon the size of the case. . as at c. Occasionally one meets with larger instruments but these are exceptional. To has its every key there must be a separate vibrator of vibrators. therefore. series will is evident that the pitch of every sound composing the entire to speak of the pitch of a register. effects. In the former the tongue but in the is latter. a harmonium must therefore contain at least one into complete row Every row. capacity of a harmonium The outward appearance harmonium may be large and imposing —of another. it is forced position of rest. as many as six. is usually divided two portions. It is. from the lowest it in composed of a series sound to the highest. and consequently beats against the frame.23 The is free end of the tongue is made thin for a high note and heavy for a low one. Sometimes the vibrating end even twisted into an oblique bent upwards. PITCH. treble and bass. resolve themselves into a musical sound. common it Registers are of various pitches. be known. position. This backward and forward motion —called vibration—continues as long as the current and these puffs. is therefore obvious that the pitch of the sound resulting from the depression of any particular key will entirely depend upon the register used. Yet both instruments of the may have the power of producing precisely The true capacity can only be determined by ascertaining the of vibrators. the intensity of which depends upon the degree of force exerted by the performer in pressing upon the treadles. are Harmoniums made with . which. Its elasticity then brings back to its position of rest. made larger than the aperture. but immediately passes on to an equal distance it on the opposite of the side. of reeds of similar quality. It is also bent in various directions according to the quality and strength of sound required. being flexible. it cannot rest here. where momentarily closes up the aperture and cuts a portion of the column of Having acquired a certain degree of momentum. 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.

is now universally adopted by musicians and instrument makers. and one whose C does not agree with this note is called accordingly a "2-feet." or a "32-feet" register. which would correspond. the low C of which corresponds in pitch (or . -g?" is ." If the pipe be half the length. were the register (as carried through) with the note written thus— ^ — be." = "ST" A register. and double the length." " i6-feet. it will produce the sound c —'. An open sound is pipe eight feet long will produce the sound CC.' on the Pianoforte)." "4-feet. hence this called the " 8-feet C. as the case may .24 Organ-builders have introduced a convenient method of speaking of its the registers. it will produce the sound CCC (g The former called the "4-feet C. from extreme simplicity. is called an "8-feet register". written thus ^ if . which." and the latter the " i6-feet C.

therefore. with the seat slightly inclined. and is evident that there must be an interval of silence during the time occupied by the treadle in returning to its original position. and the learner is imminently danger of sliding the seat. and the player has consequence no " purchase " upon the treadles. With say g^ the stops Nos. at the instrument is absolutely necessary. upon the toes. 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. the unoccupied foot being placed on the ground in front of the treadle. Now this alternation of the treadles great care. to acquire perfect control over which a good position When in seated in too elevated a position the legs. the result is being that the toes are inconveniently thrown up towards the knees. all unnecessary movement of the body being carefully avoided. the sound will cease. but should be kept perfectly free. should be the aim of the student. The same result takes place when the right foot used instead of the left. but is obliged to in the ankles push outwardly —almost horizontally. —the is for instance —and depress the it treadle to its fullest extent. but should adopt an upright position. and ball of each foot lightly upon the upper part of the treadles. In the study of blowing. otherwise the result will be a series of jerks instead of must must be accomplished with very a continuous sound. and to acquire possession of the most perfect control over the bellows. as were. invariably keep the Expression stop drawn. When it has reached lowest position. To overcome this spasmodic style of blowing. treble and bass. the feet have to be placed upon the treadles. POSITION AT The first. THE INSTRUMENT AND DIRECTIONS FOR BLOWING. flat On to exert the other hand. In this position the player powerless any downward force upon the treadles. The chair or stool should be of a suitable height. indeed. The knees should be about an inch from the knee-board. should place the secure a long leverage. To acquire this elasticity. it and. it is necessaiy at first to practise each foot separately. therefore. good performers almost stop is always to be used. pupil being firmly seated in front of the middle of the key-board (f#^ ^5= toes is The =J)^ usually the middle note). feet. put down any key Begin with one foot its in the middle of the left. 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. so as to The player must not bend over the keys. must be the constant effort of the learner. . The blowing in is then spasmodic and irregular.are poised. Before commencing to blow it is necessary to bear in mind the general rule that the Expression In fact. one treadle be depressed while the other is rising. It is evident. the supply off of wind insufficient. when seated too low.25 PRACTICAL STUDY. the chief difficulty experienced by the student rests in the blowing. key-board— & t> ^ -and commence blowing. i. except when uniform power is required. . in order to produce a prolonged continuous sound. that. drawn. The heels must never be allowed to touch the treadles.

The player will at first experience difficulty in accomplishing this simultaneous and opposite action of the two but as he learns to feel. —as —as . i S very softly. may proceed to practise the crescendo and diminuendo. The sound must be in practising perfectly These exercises are utmost importance. 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. thus producing a diminuendo. When the should be gradually relieved from pressure. CRESCENDO AND DIMINUENDO. When still. BLOWING WITH BOTH FEET. SOUNDS OF UNIFORM INTENSITY. . then piano. by slowly increasing and diminishing the pressure upon the treadle. commence blowing with a heaiiy pressure. and to measure in his mind. 1=2 'T^ -^S>- :4i^2= ZZ2Z -s>- ^ of the :&: -iz>~ Commence now and. restricting himself to the use of each foot separately. using different intensities of power. and the crescendo and diminuendo should be of equal length. latter. properly managed. the next step is to use them together. 1 first forte. then mezzo-forte. The combined action of the two treadles is may be represented thus : f^^^IZ~~ ' and when . Having practised the feet separately. with a heavy pressure with a light pressure onl}'. but without breaking contact with the student has mastered this exercise he and the foot. 25. of starting the diminuendo with the first treadle. the resistance offered by the wind. and to make one foot accurately compensate for the deficiency of the other. pass by imperceptible gradations from piano to forte and from forte to piano. (at the same rate) for mezzo-forte. the effect produced upon the ear a continuous sound of unvarying intensity. Adopting the position recommended on treadle is about half-way down. 26 BLOWING WITH ONE FOOT. however. '^'^^ i £ rzz: -HIT "g7~ -gy 321 ~!'^ ^E -j'^ -Si- iSi •^•^J" Count a slow four It is evident that in each bar ior forte. the second treadle must commence diminished. and the learner must persevere them if he would become even a moderately good performer. eight in playing piano. it At the moment vidth p.— . SOUNDS OF UNIFORM INTENSITY. he will soon be feet able to equalise the pressure. crescendo a light pressure. 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. Play the following chords. steady. and sixteen ior piano. in playing forte —the treadle will fall more rapidly than It is therefore impossible.

. each chord being sustained for a considerable time —say while counting sixteen slow beats. and every effort n to avoid the slightest unsteadiness. then piano. made Whether loud or soft.27 The following exercise is to be played first /oj'fe. the chords must be sustained at uniform strength. then mezzo-forte.

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 . the repetition rigidity in the to be rapid. that after each impulse the treadle is Accentuation. it This method. is scarcely so effective as when the shocks are imparted by one treadle only. three. knee. which is usually marked thus m ^J r ' \ ' ' ^ ^ is the result of a sudden but gentle push. and the other to impart the necessary impulses. tremolo. more or less rapid repetition of a note or chord. For a rapid. and the treadle should not be allowed to rise until has reached its lowest useful limit. The staccato. one to sustain a gentle or forcible pressure.28 OTHER KINDS OF BLOWING. or chord with the fingers. however. A. is such an effective embellishment to good harmonium-playing. 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.giving too sharp an impulse. and unaccented repetition. the feet being employed simply to keep up a uniform pressure of wind. may be performed either with the fingers or with the feet. the movement of the heel may be considerable and perceptible. staccato. or the repetition. and a certain amount of muscles of the leg ball of absolutely necessary. thus : really a quick. In this case. in which case the expression would be greatly exaggerated. like the ordinary repetition. similar. sharp impulse or jerk. in is down the note the heel . according to the strength of the sound required. having mastered the difficulties of blowing steadily. but with a more gentle recoil of the treadle. The is tremolo. In the practice of reiteration every bar of the music must be divided into sections containing groups of two. accentuation. to avoid . to that required by the staccato. Care must be exercised. is effected by sharp shocks imparted to the bellows. in fact. perhaps. In the production of repetitions the feet are usually employed simultaneously. is on the other hand. or sfz—15 produced by a much stronger impulse. which is difficult of execution. the pupil is recommended to practise them separately. vigorous. is infinitely better if executed with the feet. and well-marked repetition. though. the is movement of the heel must not be perceptible. and hip-joints must be perfectly free. however. . Repetition may be effected also by rapidly alternating the treadles. The sforzando also indicated by the signs V. or thus difference. however. The sforzando — indicated is thus : sf. the fingers should be used. A constant pressure must be kept up by the it the foot. delicate. four. If. In order. If the repetition is to be moderately slow. The student. should not be ignored by the student. which. and sforzando. A less detached and more delicate Reiteration. with this instantaneously allowed to recoil. to acquire independence of the feet. however. should next devote his attention to the study and practice of reiteration. the j^rs^ note in each group receiving a slightly stronger shock than the rest. or six notes. when not overdone. It is indicated -^~%/nv- or ^F . the ankle.

i I22Z ~ys- 321 o fj izz: -^ <=2- .£2. . on reference to the diagram on page 20. Mj in the bass and (^2^ in the treble be used. -^r 'T^ -£2- and this in order to avoid the break indicated by the thick line. a scale may be played from the lowest to the highest note of the key-board without any break occurring treble. 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. or in the progressive order of the sounds. On placed. abruptly broken off at the middle of the key-board. inasmuch as the continuation of the scale If. it will be necessary to play the scale in way : -& <=3- ^ m ~g7~ -Tzr or thus :- *r. middle portion of the scale will sound thus : 22r rj ^ '-^ £2- . and (j^ (4^. for instance. Now. on any pair of which. But with MJ in the bass and (^ in the of ^2) and fs).— — 29 GENERAL REMARKS. it will be seen that some of the stops are continuations of each other these are Mn Mj^ (2^ ^2).^jL. the. as here placed. sounds is. or ^3j and HL)> the case is different. ^3) Cs).

which can only be bridged over by playing the scale in one of the ways here shown : 8ve. and another of five octaves and a fifth in the right division. 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.^ T=r -s" Referring again to our diagram.. thus : — Left division. we find that in the left-hand division the lowest note is ^"z:r and the highest ^^ 8ve.-^"^ .— — so Again. m —=: and ' in the right-hand division the lowest note is ^""ZJ~ and the highest 3 -: . Mh = =-=^. there will be between the notes g£ -^>- and i w= 2 221 of the key-board a break of nearly two octaves. if ^3J in the bass and ^2) ^^ the treble are used. M As played.S-'e7 ^-o-«-^ V io Q t/ ^5 -e-Q. Now.- m 3 -yn- .x Effect. - _^-«»t =23 r^ _ ^q f?-g- IZZ Q "g' _ ^ <* -o o "CS" 1. IP "ZU" ~r:^ "7= ^ <y or thus : 8w.

. As played. A^g- The same passage o'm ^^ As played. they are often exceedingly effective : difficulty.t — 31 Right division As 7 played.-^^'= .. ^^^^^ p I ens. and when neatly As played.b-Q-- Passages of the following description alsp can be played without much executed.Q-sX _.^^e-e -e-jars^^= = E E a.- ?E^^ ^^:=^ ^ Effect.^-Q--e-E-" B 8»e. y£>- sX -eb-Q--^ -=S^=^ . ^^.^^^-^#?-t i. i33I sfeoj -TJ 1^^:^^ :^r2l ixc^ 5^^ C .^.^^-^-E^^.-©b-Ci-' _«3. ^^^ 2 Effect. u ^^ * — differently executed.

when 8-feet. however. or a master. and the hacks of the knuckles in pushing them in. From practice. so is little music written and arranged for the that the student compelled more or less to draw upon other sources. teaches him is too florid in style. On the contrary. In doing necessary in the selection of suitable music for adaptation. There is. . with a careful The tips of the fingers should be used in drawing out the stops. only avoiding that which experience. or in addition to other registers. This dexterity acquired. all unnecessary motion of the hand and arm being studiously avoided. the changing of the stops. then usually becomes advisable to transpose the music an octave higher. but can be accomphshed with as much facility as in the preceding : is not in any examples — As played. 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. it is necessary for the student to be played as written . his mind the harmonium secular is fitted only for the performance of sacred music. Effect. These actions must be accomplished by means of the fingers only. great judgment is dismiss from.32 In the following passage the notes are doubled in the octave above . comparatively speaking. or 8- and 4-feet registers are used the music may it but when a ' i6-feet register is used by itself. way affected thereby. prevalent but erroneous idea that the Let the learner harmonium at present. In playing music which bear in mind that is not properly arranged for the harmonium. this. however. let him try to adapt as much music as possible.

TREBLE STOPS.33 COMBINATION TABLES. . Table showing the effect' produced by various comiinations of the stops from i to 3. treble and bass.

56.2. in all. all of which are divisible. had two employed. 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. In (III. that the numbers of the combinations are divisible in every case by the half of the entire number of stops employed. therefore. 28 combinations of 6 notes. 28. making. making. without a remainder.2 in the bass. (III. the iide the figures 3. Required. it would have been increased to 225 squares. the number of stops employed is 8.— — 34 Example. for example. (II. then the following combinations will be produced (I. in all. and 8. not unworthy of the student's notice. 15 combinations of 4 notes.3. It is advisable. It is a curious arithmetical fact. and I combination of 8 notes. 9 combinations. 56 combinations of 5 notes.3 in the treble. and at to both — stops 1. 48 combinations of 3 notes. 8 combinations of 7 notes. 6 combinations of 5 notes.). 18 combinations of 3 notes. and I combination of 6 notes. 4 combinations of 3 notes. in all. 68 combinations of 4 notes. 48. and 3. 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 . . 225 combinations.) With 8 stops (4 in the bass. 68. making. 49 combinations. and 4 in the treble) there are 16 combinations of 2 notes. the half of which is 4. by 4. The numbers representing the com- binations are 16.) With 6 stops (3 in the bass. and I combination of 4 notes. and 2 in the treble) there are 4 combinations of 2 notes. the combination produced by the At the top of the table look for the figures 1. 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). tables. and 3 in the treble) there are- 9 combinations of 2 notes.) With 4 stops (2 in the bass.

Many useful exercises will also be found in the " Organ " Primer of this . however.' on which. 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. fingers. such as it quick scales. exemplify this method. 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 effect would be very : On different. The is fingering used for the pianoforte is applicable also' to the harmonium for ordinary passages. a smtaining instrument. for instance.—— — 35 THE FINGERING. and must therefore be A few exercises are appended to series. 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. harmonium. or arpeggios. This method of changing the fingers carefully studied. called —the ordinary pianoforte fingering will not always meet the requirements of the case. or even for slow passages which desired to play very smoothly indeed legato as it is lie easily under the When. however.note. pianoforte thus The following passage. might be played on the * is essentially J i- ^ . more than probable that he Would the harmonium. the nota glide. the change takes place being struck again.

^--^^ 1 >.3? EXERCISES ON FINGERING.'»—<' '«_<' 1 3 2 1 X. 3 ^ .^ r X » X r 2 » 2 12 . 2 V—-'.^X 1 2 ^^3 ^ 4 3 2 1 i ^ g -»«=F< ^W-yt i^ssft P ~g7~ S 3. . X ^^1 . 4 3 2 X « 1 .^2 3 4 3 2 >> 1 .' ^ 2 3 — Vc 4 . .

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These Studies are 1 Andante. m s -m No. 1. y-j r^ r"-?7 I ^^ g?- o I o s>- P p ' flg? \ iV t^ I f-^ ' I C 1=32 I SI- No.^S E^E .. "s?- '" I i' '. 3. P f r? jz.- — "J2. first to be practised with each foot separately. and afterwards with both feet.- 39 STUDIES FOR BLOWING. p (i ft ^»rfa»fc. I ^ ^N^ ^ rv 321 ^m -!«- -(=- 3?- ^^^ £^ -P-' if^ -:gr-«r a 9g > I :^=ff: 32Z2:S=i s I -P-^ '-' I ^ ^ LCI) tfv^ ''- ^ ni ^'j I I I ^ =^=?= I 32= Moderato. ^t / TTSr i^mff F^ =22= T" -^>-3 i 3 ^ ^T -g- -g- S*- =?^± =g= i P s cJ. i tr u ^ "Yy ^ ^ ¥ 1= =^ g^ :^^* m m 'fj- jl f^ '^ L—^ ' -r^ 'i * ^ -^L. ' ^j^s-- "-fsr^^ I L/ .fg -ZZ ^^ ~?^ ^ e =F^ f I 1 ^-- Andante. .. s ^ w=i No. 32= Na ^CZM 2.

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Andante cantabile. March. PRICE ONE SHILLING EACH. Abt. H." Lancaster. Dr. A. Andante. Windeyer." Andante appassionato. J. ti Andante non troppo. A. H. W. what is man ? " Gear. Andante. Barney. Crossley. ~ Adagio. Hummel. Ave Maria. Andante. J. Prelude. Cramer. Agnus Dei.VOLUNTARIES ARRANGED FOR THE HARMONIUM BY J. Lefebure-Wely. Fughetta. " Adoro Te. Dr. . " O give thanks. Elvey. J. " Judge me. Handel. "Adagio e sostenuto. " O send out Thy light. Andante. Theme." " Hope in the Lord. J." ? Street. Requiem." Garrett. E. Larghetto. Allegretto. Barney. Hesse. 6." Wesley. Adagio cantabile. Anf Christenmensch auf. Clarke. G. Prelude. Sullivan. Andante con moto. Tours. G. GuiLMANT. 4s. Stainer. Arioso. F. Calkin. Adagio patetico. Crotch. March. Dr. " Prelude. J. 3. Gear. Dyer. " His Name shall endured" Brown. It Elliott. " O love the Lord. „ Lauda Sion. W. KUHLAU. Andante. F. Rea. Adagio. Haydn." " is " Sydenham. J. J. O death. J. BOOKS (EACH CONTAINING and Contents of Book V. J. Cherubini. F." Deqenhardt." „ " My God. F. where is thy sting Allegretto. H. " As the mountains. " Rend your heart. why hast Thou forsaken me ? " „ „ Choral. Larghetto." Gounod. William. Haydn. Communion. Hills." Clark. S. O Lord. Theme. J. " For these and all Thy mercies. W. Prelude. Contents of Book VL " The eyes of all wait upon Thee. Hird. we trust alone in Thee. Henry. Mozart. 2. a. Postlude. B. Sir George. ELLIOTT. Edouard. Largo. F. Hamilton. E. T. Prelude. Andante non troppo. S. A. Sir G. Andante cantabile. " All Thy works praise Thee." Goss. W. Lord." Gadsby. Rink. " Enter not into judgment. Andantino. O God.. M Andante con moto. Sir John " All ye who weep. " Lord." Macfarren. Minuet. " Daughters of Jerusalem. with us." Handel. . Popkins. Adagio. . J. each. Prelude. Goss. „ Batiste. „ " Andantino. IN SIX Books I. Andantino. Gear. 4." Mendelssohn. Ch. George. FRAN901S. Andante. Boccherini." Elvey. Andante espressivo. novello. Berthold. G. Alex. Onslow. " I know that my Redeemer liveth. Sir John. J. v. " The Lord of hosts Turle. " They have taken away my Lord. A. Larghetto. cloth. Clementi." Spohr. Processional Hymn. Allegretto. Impromptu. Andante grazioso. " O come to me. Allegretto con espressione. SIXTY). Phillips. Leo Marche funebre. Andante con moto. E. H." A ptwood. Kerbusch. " Be peace on earth. 5." HiMMEL. Arthur E. Gloria in excelsis." Larghetto. Prelude. „ Couperin. in Two Volumes. Baptiste. G. Choral. F. Choral. DUSSEK. Andante larghetto.

Spohr. NoVELLO. S. Down among the dead men. from the 48 Preludes and Fugues. all Gipsies. Chevy Chase. — Blessed are the departed.) „ Novello.— Stay.— The merry peasant. and quartett.) Mendelssohn. 9. M.) Mendelssohn. Goss. n. A. 28. Dr. (Quartett.— There was Jamaica. — Chorus.) Lahee. Sunset.— Andante. Benedictus. Elizabeth. Lift thine eyes. PuRCELL. — Chorale. in Cloth. — Anthem. —Andante Cantabile. (Op. Sir John. SACRED.— Lullaby. S. (Elijah. Barney. Holy.) Novello. He remembering His mercy.Padre Nostro. ModeratoSmart. or in 51 Numbers.) DussEK. (Op.— Silent Night. Come unto these yellow sands. G. zi. (Elijah. Blessed are the pure HiMMEL. Incline ad me. H. — He.— Chorus of .) Schumann. No.— Overture. A drinldag song.— Sing of Judgment.) Novello. R.—Andante. H esse. T. and No.— Adagio. Auber. Since first I saw your face. Verdi. Sfohr.— Robin Hood and the Bishop of Hereford. LONDON NOVELLO. (Stabat Mater. (Op. Woe unto them. — Adagio from the Fantasia in C minor. F. voices. The National Air „ . Friar of orders gray.) Mozart. —O taste.) „ — (Pianoforte Sonata. —The Spanish lady's love. W. J. Macfarren. Gloria in excelsis. (Die 2auberflote.THE HARMONIUM TREASURY A SERIES OF SELECT PIECES ARRANGED BY J. (Athalie.— Allegro. (Sestett. Wm.— The Spring. is. Part-Song. «3. Dr. G. Alfred. in the Meadows. S.- —Blessed he.— Sancta Maria.— Solomon's Prayer. 68. Hummel. Ford.) He that shall endure. — Adagio. Largo Appassionata. — Mendelssohn.— March.— Oreo' dadi.) BiEREY. W. Elliott. Old Melody. Oscar. Agnes. Handel. — Andante Religioso. MozA]EiT. O Lord.— Fac ut portem. From the Introits. NovELLO.— All in the Downs. (II Trovatore. Handel. O Lord. — March. Fra Diavolo. thou monarch of the vine. Handel. L. The marvellous work. Soldiers' Chorus. Brinley. W. Henry. thou art gone before uc. Sir H. in the style of 25- 26. (Romance and Reality. a.— For the Lord is gracioug. Sir H. BoLCK. Mendelssohn.— Offertoire. — Offertoire.— Fuga. Eia Mater. 6d. each. thou glorious sun. each Volume .—As it fell upon a day.. SECULAR. —How excellent Thy name. Bull. Mendelssohn. (Die Zauberflote. Benedict. — Chorale. —Chorus. Stephen. — Andante. Then round about. Haydn.N Mendelssohn. . (Op. Book 8. „ toi. — W. — Drink to me only with thine Old Melody.1 Old Melody. Dr. Elliott. Randegger. J. Mendelssohn. Good night. que j'aime. watching over Israel.} / Hiller. is — Deliver me. (Op. (Last Judgment.—Arioso.— Andantino. Best. rude Boreas.— O lovely star of eve. Handel. New Wells.) Best. 83. (Saul. — Solo and Chorus. Sir John. S.) Schumann. Thee. (Elijah.) Haydn.) Elliott. Mendelssohn. — Felton's Gavot. Haydn. Calkin. Old Melody. — Forsake me not. Hauptmann. and see. Thou wilt keep him in perfect peace. Trio for Treble Mendelssohn. (Sextett Op. — — — — — Mendelssohn.) Barney.— Britons strike home. —Brother.) Adagio. Macfarren. Morninqton. (Stabat Mater. Sir John. Mendelssohn. (Roberto il Diavolo. Hatton. Sir Julius. Tenor solo.) J. (Mass inG. The Vicar of Bray. — — — — fee! that love Mozart. Andante and Chorale.) Mozart. —The Lord Wesley. Goss. Schumann. Meyerbeer. Mozart. J.— Praeludium.. (Pianoforte Sonata. Phillips.) Epohr. Macfarren. G. — Chorus. 102. a jolly miller. 15. Mozart. 33.— Porter's I. No.— Poesy Sublime. Old Melody. Handsomely bound VOL. (Double Number. 108. — Trio. prythee stay. Mendelssohn. Goss. — Dulce Domura. Goss. — O pruse the Lord. —^Solo and Chorus. Stand up and bless the Lord. Old Melody. (Nala and Damayanti. Serenade. —Andantino from a Pianoforte Fantasia. Lefebure-Wely. ELLIOTT.—Alia Breve. Andante. — — — Mendelssohn. (11 Trovatore. Beethoven. — — eyes. (Elijah. J. S.—a Wedding Hymn.) Kuhmstedt. Sir John.) is T. Fuga.) Goss. (Glee. — Blessed are the Men. J. Lefebure-Wely.) Thy mercy. Walter. no.— Andante con moto. (Creation. Winter. 82. Holy. (Samson. (Twelfth Mass. (Treble Solo. Old King Cole.) Weber.— Aubade. (Op. — Andante. —Andante. Zimmbrmann. (Intrnit. Sir John.) BoccHERiNi. G. Pretty Polly Oliver. T.) HandeL Heller. G. —One evening having lost my way. (Elijah. A.— O rest in the Lord. Hear. is — — Robert. Our native land.— Larghetto. (Saul.— Hearts Bach. W. Cambrian Plume.Trio and Chorus. — Quando Corpus. — Sweet WestbrooK) W. —Andante grazioso. (48 Preludes. 58. Hopkins.— O Saviour of the World. Wesley. Mendelssohn. Parthenia. Sir John.) — — — Bach. a. ids. Mendelssohn. — (Op. Bishop.— When evening's twilight.) — — — Corale. Henry. Cornelius March.— O Bone Jesu. Holy. W. J. Giro. — Quartette. The parting kiss. Rondo. —Tantum ergo. Wesley.) Elliott.—The Kings of earth. J. — Benedictus. in heart. R.) is i 2. O Lord. J.) Mozart. B.) Best.) Purcell. (Elijah.) Sudlow. Stainer. (Nursery Rhymes. The Lord God. Prayer. — Lamentation. —All go unto one place. Weber. King.) Rossini. Goss. (Concertstiicke.) Mozart. Cease. I followed a lass. — O most merciful. — Adagio Cantabile.— Come. — The Red Stirling. Andante (Reformation Symphony.) Old Melody.) my Shepherd. Bach. When Old Melody. W. Old Bogie. „ Light o' love. of Holland. H. (Messiah.— O Lord God. E. S. — Love our enemies. Z2. Old Melody. —Fairy Revel. Lord. 10. 17- 18. From the Pianoforte Duets.) Verdi. Macfarren. „ J. Adagio. Pinsuti. Garrett. Peg-a-Ramsey.— Chorale.—Allegretto. (Last Judgment. Old Melody. — As down „ Elliott.) Mozart.—Largo. Novello. Let the angels. — Richards. T. Reichardt. (Harmonised by). EWER AND : CO. Thou strength of my health.) Mozart. — When the west with evening glows. Mendelssohn. G. Dr. from the Pianoforte Duets. From an Overture Old Melody. W. T.— O Jesu mi. „ Volkslied.mafrapoco. Mendelssohn. — March. (Op.—Allegretto. (Lieder ohne worte. Gounod. To Thee.) Alfred. 16. VOL. Macfarren. 23- Mendelssohn.— The Poacher's song. W.— Moderato.— Red leaves. A. Dr. (Part-Song. Dr. Thomas. S.— Dead March.) Rossini.) Old Melody. J.— Sancta Maria. Grand Sipnor. — Cast thy burden. Old Melody. Beethoven. Bishop.

in paper cover.. 6s. and the other pieces with orchestral accompaniments. paper cover. $18 pp. the Mendelssohn collection now under notice is beautifully engraved and printed. cloth. to his latest worlcs. composed in 1825. especially for the purposes of ready reference." Illustrated — ' London Netes. paper cover. at any season of the year. Octavo. Folio. of the complete works of Mendelssohn These are for pianoforte solo. cloth. cloth. Op. "This is a new edition. everything Mendelssohn has written for the pianoforte. including several published after his death. full music size.' of Messrs. Octavo. Novello. gilt edges. . 518 neatly printed pages. AND PHILADELPHIA: DITSON AND . 8s. 2s. including the eight books of Lieder ohne Worte. 7s. 5. as in the case of the beautiful one-volume edition of Beethoven's Sonatas issued by the same publishers. gilt edges. comprised in one handsome volume. .. gilt edges. indeed. just issued by the eminent firm in Berners Street. cloth. One Volume. 6d. tike it. 7 " The volume before us is. NEW YORK. (518 pp." The Times..— . EWER AND : CO. in EDITION.) Cloth. from the Capriccio in F sharp minor. handsomely bound. including the two concertos. paper cover. 6d. 4s. BOSTON. cloth. at the age of 16. 12s. a model of cheapness combined with elegance and convenient arrangement. THE ONLY COMPLETE CONTAINING BOOKS It contains. The advantages isf having all these productions of the great master in a single volume are great. AN ENTIRELY NEW AND CAREFULLY REVISED EDITION OF MENDELSSOHN'S ORIGINAL COMPOSITIONS FOR THE PIANOFORTE INCLUDING THE "LIEDER OHNE WORTE. gilt edges. gilt edges. Ewer and Co. CO. LONDON NOVELLO. or. & 8. These comprise all the hitherto published pianoforte works of the composer of the class just speciSome of these and several other pieces are the copyrights fied. CHEAP EDITION. hence this is the only complete edition procurable in this country. gilt edges. folio. 6d. but to the more advanced amateur also they will be a source of purest enjoyment. far less bulky than might be expected from the comprehensiveness of its contents. . LIEDER OHNE WORTE Folio.. los. price 21s. We need not add that the stately volume before us is eminently adapted to serve as an elegant and valuable gift-book at this. THE ONLY COMPLETE EDITIONS. A student will find no end of interesting points in the works here collected. 6d. 5s. indeed. 4s." ALSO A NEW OCTAVO EDITION Price. and is altogether brought out in a style worthy of the contents and of the high reputation of the firm by which it is issued.

i F major. gilt edges. 15. No. Op. No. handsomely bound in cloth. No. E minor. Op. Op. Op. 7- D C C major. Op. Op.. 3. Op. Op.. 29. 57 F|.. In One Volume. Op. : No. 5 5 5 S 3 2 Bbmajor. 14A.. AND PHILADELPHIA: DITSON & CO. i.. 15. d. 16. 6d.. No. Op. 31. Op. Op. LONDON: NOVELLO. 27. F major . Op. No. 10. io6(Hammerclavier) 10 E C Ab major. 11. 90 A major. No. No. major C major 37. 10. 18. 3- C major. Folio size... PRICE ONE GUINEA. 14. 79 EJ7 major. 14. B:7 major 45- Ep major G major . D 3 2 I o 6 2 o MOZART'S SONATAS (NEW AND COMPLETE EDITION. CO. 2 D major. 2 (Quasi Fantasia) D major. 30. 1.) . Op. 109 . No. (NEW AND COMPLETE EDITION. 32. . 2. 28 G major. i A major. D minor. 2.. PRICE EIGHTEEN SHILLINGS. EDITED AND FINGERED BY AGNES ZIMMERMANN. 24. Octavo Edition. A major. No.. Op. 2 C major. 31. 18..C. QUEEN STREET (E. 78 G major. Ej2 major. YORK. 26 Ep major. major. 36. Octavo Edition. 81A. in cloth. 2. paper covers. G major 38.. Op. 49. 12. Folio size. 17. Op. In One Volume.. 27. 31. Op. Ill 4 6 5 34.) . major . Op. 26. 5. F major 35..). 13 (Path6tique) E major. Op. major. gilt edges. 20. Op. d. i G major.. i major. 8. 23. Op. Op. NEW BERNERS STREET (W. 10. Op. major. 27. handsomely bound 3s. 3 F 21. 2 C major. g. Op. 6. Op. 9- A minor. o o o o o o o o o o 12.. Or Singly: — O o o o o o o o o o o o No 19 20. 8. 2. AND So & 81. EWER & BOSTON. 22. minor. paper covers. 3 C minor. 4. 3 Ei? major.— BEETHOVEN'S SONATAS.. 22 An major. 6. to» II. No.. Eb major F minor O O O o o o o o o o o o o o o 6 5 S The Separate Sonatas sold at Half-price. 14. Op. 28. i (Quasi Fantasia) C|I minor. 13. 3 3 5 5. No. No.. 17. 10. 2. d.. 2. cloth gilt. 54 F minor. 14. 13.. no minor. I. Op. No. 2 Bb major. 19. Or Singly No... 33. Op. 25. 16. No. No. Op.... D major.. 7. 31.) EDITED AND FINGERED BY AGNES ZIMMERMANN. 53 F major. F major Bb major C C F C F minor (Fantasia) minor (Sonata) major major major Bb major D major Bb major d. Op. r. loi G G 3 3 6 4 6 .. No. o o o o o o o o o o o The Separate Sonatas sold at Half-price. 7s.. Op. minor. 7 C minor. 5s. 5s. cloth gilt.. 49.

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