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No.

49

'

MT

Cornel

870.VS3

3 1924 021

787 118

Novellds Original Octavo Editions of

ORATORIOS, CANTATAS, MASSES, ODES,


&c.

The
Spri

s. A.

Sum]

The The The The


MlN!

fytmll WLnivmity ff itatg


BOUGHT WITH THE INCOME FROM THE

Miss

SAGE

ENDOWMENT FUND
THE GIFT OF
z

Yuli

The

Wbi

6
6

Henrij
Mas:
Hez:
St.

W. Sage
1S91
>
;

2
1
1

o
6

o
4

St.'

4
Gipsies

^*MDSK
"etaspa;
Ditto
St.

tsm&k
Sol-fa
,

The

Endymion

SIR JULIUS BENEDICT.

ASTORGA.
Stabat Mater

Peter
is. 6d.)

The Legend of

St. Cecilia (Sol-fa, Passion Music from St. Peter

2
1

o 6 6

BACH.
Mass
I

in B minor 2 6 The May Queen (Sol-fa; is.) Missa Brevis in A 1 6 The Woman of Samaria (Sol-fa, is.) he Passion (S. Matthew) 2 International Exhibition Ode (1862) Ditto (Abridged as used at St. Paul's) i 6 The Passion (S.John) 2 G. R. BETJEMANN. Christmas Oratorio 2 o The Song of the Western Men Magnificat 1 God goeth up with shouting 1 o W. R. BEXFIELD. God so loved the world 1 Israel Restored God's time is the best (Sol-fa, 6d.) 1 My Spirit was in heaviness 1 BLAIR. O light Everlasting 1 Bide with us 1 o Harvest-Tide A Stronghold sure 1 o Be not afraid (Sol-fa, 4d.) JOSIAH BOOTH. o 6 Blessing, Glorv, and Wisdom 6 The Day of Rest (Female Voices) (Sol fa, wrestle and fray (sol-fa, 2d.) i o 4 E. M. BOYCE. Thou Guide of Israel i o Jesu, Priceless Treasure i o The Lay of the Brown Rosary When will God recall my spirit i o YoUNO LOCHINVAR o i Jesus, now will we praise Thee

SIR W.

STERNDALE BENNETT.
3
... ...

4
1

o o

HUGH

is.)

1
I

6 6

J.

BARN BY.
i

J.

BRADFORD.
.'

Rebekah (Sol-fa, ed.) The Lord is King (Psalm


6/2/94-

97)

o 6

Harvest Cantata The Song of Jubilee Praise the Lord

ORATORIOS,
W.
Gaspar Becekra
F.

&c Continued.
W.
The Fairy Ring Te Deum
Gideon

BRADSHAW.
BRAHMS.
5

H.

CUMMINGS.
CUSINS.

s.

d.

A Song of Destiny

J.

W.

G.

CHARLES BRAUN.
Sigurd

FELICIEN DAVID.
The Desert (Male
P.

Daniel

J.
.
.

C.

BRIDGE.
3

Voices)

6.
o

Rudbl

4
J.

6 o

H.

DIEMER.
4

Bethany

F.

BRIDGE.
(Sol-fa, 4d.)
i

M. E. DOORLY.
3

RockofAgbs(LatinandEnglish) Mount Moriah


BOADICEA
Callirho'e (Sol-fa,
is. 6d.)
...

2
2

o o 6
6 6 o

Lazarus
F. G.

DOSSERT.
5

Nineveh

Mass

in

E minor
F.

2
i

The Inchcafe Rock The Lord's Prayer


The Light of Asia

DUNKLEY.
5

(Sol-fa, 6d.)

The Wreck of the Hesperus

DUDLEY BUCK.
3 o

ANTONIN DVORAK.
Ludmila Ditto (German and Bohemian Words) The Spectre's Bride Ditto (German and Bohemian Words) Stabat Mater
St.
8
3 6 2
1

EDWARD BUNNETT.
Out of the Deep (Psalm
Mass for Four Voices
Jephthah
F. D.
Supplication
130)
1

o o o
6 6

W. BYRD.
(in

F minor)

Patriotic
2 6

Hymn

CARISSIMI.
1

Ditto (German and Bohemian Words) Requiem Mass

Mass

in

3 5

o o

6
6 6

CARNELL.
5

A. E. Salvator Mundi Electra of Sophocles

DYER.
2
I

GEORGE CARTER.
Sinfonia Cantata (Psalm
116)

H. The Ascension The Epiphany

J.

EDWARDS.
2 6

WILLIAM CARTER.
Placida
2

2
I

Praise to the Holiest


o

O 6

EDWARD ELGAR.
The Black Knight
...

CHERUBINI.
Requiem Mass, C minor (Latin and English) Second Mass in D minor Third Mass (Coronation) Fourth Mass in C
E. T.
Job
i

o o

2
1

ROSALIND
Elysium

F.

ELLICOTT.
I

o
e

The Birth of Song


G. ERNEST. All the year round (Female Voices)

CHIPP.
4 2

Naomi

(Sol-fa, gd.)

FREDERICK CORDER.
The Bridal of Triermain
(Sol-fa,
is.)
...

EATON FANING.
2 6

Buttercups and Daisies (Female Voices)


(Sol-fa,
is.)

SIR
The Dream

MICHAEL COSTA.
1

HENRY FARMER.
Mass
in B flat (Sol-fa, is.)

H.
F.
St. John's

COWARD.
(Sol-fa,
is. 6d.)
...

(Latin

and

English)

The Story of Bethany

H.

COWEN.
is. 6d.)
is. 6d.)

MYLES
Ditto Ditto
ditto

B.

FOSTER.
(Sol-i-a;

Eve

(Sol-fa,

2
I

A Song of Thanksgiving
Sleeping Beauty (Sol-fa,
(Sol-fa, gd.)

Ruth (Sol-fa, is. 6d.) Summer on the River (Female

2 4

6 6 6 o

The Lady of the Isles The Angels of the Bells (Female VmciS'
ditto
(Sol-fa)
1

The Bonnie Fishwives (Female

Voices)

...

Voices)
2 2
1

Snow
6

Fairies (Female Voices)

9 6

The Water Lily Village Scenes (Female Voices)


J.
I

ROBERT FRANZ.
Praise ye the Lord (Psalm
117)

MAUDE CRAMENT.
O GOD
(PsALM
I45)
...

NIELS W. GADE.
2

WILL MAGNIFY THEE,

Psyche

(Sol-fa,

is. fid.)

W. CRESER.
Eudora (A Dramatic Idyl)
2

Spring's Message (Sol-fa,

3d.)

...

Erl-King's Daughter (Sol-fa, ZlON

gd.)

W. CROTCH.
Palfstine
3

The Ckusaders
Comala

(Sol-pa,

is.)

Christmas Eve (Sol-fa,

4d.)


ORATORIOS,
HENRY GADSBY.
Lord of the Isles (Sol-fa, Alcestis (Male Voices)
Columbus
(ditto)
is. 6d.)

&c Continued.
HANDEL
continued.
s.

s . d.

d.

2 4 2

o 6

G. GARRETT. Harvest Cantata {Sol-fa, 6d.) The Shunammite The Two Advents
R.

3
1

Alexander Balus Hercules Athaliah Esther Susanna o Theodora Belshazzar


6 6

3 3 3 3 3 3
3

o o o

o
o

The

Messiah,
is.)

edited

by

V.

Novello

MACHILL GARTH.
...

(Sol-fa,

Ezekiel

The Wild Huntsman


A. R. GAUL. A Song of Life (Ode to Music) (Sol-fa, Joan of Arc (Sol-fa, is.) Passion Service
6d.)

4
1

The Messiah, ditto. Pocket Edition The Messiah, edited by W. T. Best


Israel in Egypt, edited by Mendelssohn Israel in Egypt, edited by V. Novello.

2
2

Ruth (Sol-fa, gd.) The Holy City (Sol-fa, is.) Ten Virgins (Sol-fa, is.) Israel in the Wilderness (Sol-fa,

2
2

Pocket Edition Judas Maccabeus (Sol-fa, is.) Judas Maccabeus. Pocket Edition Samson (Sol-fa, is.)

2
is.)
...

Una

Solomon Jephtha Joshua

,.

(Sol-fa,

is.)

FR.
Salamis.
Philippi

GERNSHEIM.
i

Deborah Saul Chandos Te Deum


6

A Triumph Song (Male Voices)


F. E.

Dettingen Te Deum

GLADSTONE.
2
6

GLUCK.
Orpheus
3 6

HERMANN GOETZ.
By the Waters of Babylon (Psalm
Nojnia
137)
...

Utrecht Jubilate o come let us sing unto the lord (flfth Chandos Anthem) O praise the Lord with one consent (Sixth Chandos Anthem) Coronation and Funeral Anthems. Cloth
Or, singly

1 1 1

The King shall


6

rejoice

Zadok the Priest


heart is inditing Let thy hand be strengthened The ways of Zion Ode on St. Cecilia's Day L* Allegro

The Water-Lily (Male

Voices)

My

CH.

GOUNOD.
6 o

Mors et Vita (Latin or English)


Ditto, Sol-fa (Latin and English) Requiem Mass (from " Mors et Vita") ... The Redemption (English Words) Ditto,

2
2
5

o 6
o 4

HAYDN.
The Creation (Sol-fa, is.) The Creation. Pocket Edition The Seasons
Each Season, singly (Spring, Sol-fa, 6d.) First Mass in B flat (Latin) Ditto (Latin and English) Second Mass in C (Latin) Third Mass (Imperial) (Latin and English) Ditto (Latin) Sixteenth Mass (Latin) The Passion; or, Seven Last Words Te Deum (English and Latin) Insane et Van-e Cvkm (Ditto)

Sol-fa

2
8 10
1

Ditto (French Words) ... ... Ditto (German Words) Messe Solennelle (St. Cecilia) Out of Darkness Communion Service (Messe Solennelle)... Troisieme Messe Solennelle

o o
6 6

1
i

2
i i 1

De Profundis (Psalm
Ditto
Gallia (Sol-fa,
4d.)

130)

(Latin Words)... (Out of Darkness)

o o o

The Seven Words of Our Saviour


Daughters of Jerusalem
A. M. GOODHART. Earl Haldan's Daughter Arethusa
C. H. GRAUN. The Passion of Our Lord (Der Tod Te Deum
Jesu)

1 1

BATTISON HAYNES.
o
o o

The Fairies' Isle (Female Voices) A Sea Dream (Female Voices)

2
2

H.
Jubilee Ode

HEALE.
1

ALAN GRAY.
Arethusa The Legend of the Rock-Buoy Bell The Widow of Zarephath
...

16
1

C.

SWINNERTON HEAP.
2s.)

Fair Rosamond (Sol-fa,

o o

EDWARD HECHT.
Eric the Dane

The Soul's Aspiration G. HALFORD. The Paraclete E. V. HALL.


Is it

J.

O.

GRIMM.
1

o may

join

the choir invisible

3
1

O 6

GEORGE HENSCHEL.
2

Out of Darkness (Psalm

130)

nothing to you

HENRY
o
2
1 i

HILES.
6

HANDEL.
Alexander's Feast Acis and Galatea
o o o o o

Fayre Pastorel The Crusaders

6
6

2 4
gd.)
1

FERDINAND HILLER,
Nala and Damayanti A Song of Victory (Sol-fa,

Ditto, New Edition, edited by J. Barnby Ditto, ditto, Sol-fa

Alceste Semele

2
3
...
...

HEINRICH HOFMANN.
Fair Melusina Cinderella Song of the Norns (Female Voicbs)
"

The Passion The Triumph of Time and Truth

...

NOVELLO, EWER AND


Edited by Sir

CO.'S

MUSIC PRIMERS AND EDUCATIONAL SERIES.


JOHN STAINER
and Dr.
C.

HUBERT

H.

PARRY.

FIFTY

Three-Part Studies
WITHIN THE COMPASS OF AN OCTAVE
FOR

SIGHT-SINGING CLASSES
BY

J.

E.

YERNHAM,

Professor of Music in King's College, London, and Organist and Choirmaster of St. Paul's, Knightsbridge.

PRICE ONE SHILLING AND SIXPENCE.


In paper boards,

Two

Shillings.

85c
LONDON & NEW YORK

NOVELLO,

EWER AND
9

CO.

LONDON
NOVELLO, EWER AND
PRINTERS.
CO.,

PREFACE.
During my long experience
have constantly
felt

as a teacher of Sight-Singing I

the want of exercises far

than those usually placed before the student. moreover, a great

more interesting There is always,


" parts " for

difficulty in dividing voices into

complete harmony
the preponderance

in the
of, for

ordinary sight-singing class, owing to


instance, basses at one time

and tenors

at another, or the occasional absence of one entire part.

For

this reason, therefore,

it

is

some time
in

before the student

has the opportunity of taking his part

harmonised exercises,

and of holding

his

own

against other parts, a source of great

interest to each singer.

To meet

this want, the following exercises are all written in

complete harmony, each part within the compass of one octave,

to C,
;

and therefore within easy range of

all voices,

male and

female

and while care has been taken not to exceed the compass
the octave, thus giving the student, as far

of the octave, each part has been so arranged as to extend the

whole compass of

as

possible, the practice of extended intervals.

The Tonic

Sol-fa

notation

is

placed

under the ordinary

notation in order to increase the general utility of the book.

My

best thanks are due to Mr. Hamilton Robinson,

Mus. Bac,

F.R.C.O., for contributing the March at the end of the book, and to Mr. Edward Mills, Mus. Bac, of Battersea Training College,
for suggestions

concerning the Tonic Sol-fa notation.

J.E.
King's College, London.
July, 1895.

NOTE.
When
the separate parts have been learned and can

be combined with safety, a firm steady tone and an even


balance of parts should be maintained throughout, but no

attempt should be
until

made

to observe the expression

marks

this

has been accomplished, together with a well

defined rhythm.

FIFTY THREE-PART STUDIES.


/

Is

:f

|n

|d'

$
r

3=

:-|n :-|f :-

|d'

:-|- :

^
|t

:-|d' :-

|n

:}

^m
f

-ri-

:-|s :-ll

In

:-|f

:-|s :}

Ir

Id

-:-|r :-|d :-|-:-|f :-|-:-|n :- |- :-

P P -:-|f i
1

:-|-

-oid :

23Z

:-|t :-|d'

:-|t :-

Id

:-)-;-

In this and the following Exercises take care that the long notes are sustained well up to power with a slight crescendo on the tied notes. The second of the tied notes is generally the more important, forming as it frequently does, a suspension (see Primer, No. 8) or
discord.

FIFTY THREE-PART STUDIES

No.

2.

--

EE
Doh
!i
is

O.
Id'

:-|f :-|-

:-|-:-

\n

:}

IE
||n :-|s

*
:
|d

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In

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:1

i
Id

m ^ :-|- :-|-:-|fe
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r
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ftra-

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i P

-ri1

:-|s

fe
I

II

^
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:-|-:-|

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:-

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n :-|d'
I

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d'

: I :-

: | :-

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: |

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J
:|r

I
:
|

||d'

:-|s

11

|s

: | :

P
||

^S
s

-*|n

^
|f

1
|n

:-|n : |f :

|r

:-

Is

:f

:
||

In this Exercise and others where modulations occur, the accidentals, or notes chromatically altered must be taken firmly and

without hesitation.

FOR SIGHT-SINGING CLASSES.

No.

3.

*/-

/
C
Is
s :-

Doh
is
-/-

is

:-i-

I-:-}

i
n

: I :-|f
jnf

|n

|r
r

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de

:- |- :

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^
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:

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In

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:-}

i^
i
?~

2t
If

i^=
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II

II*

:-

1-:-

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:-|f

In

^
|fe

If

m
'If
11

:-|t :-|-:-|4' :-|-:-|

:-1-:-}

i
||d'

^r
:Id

|r

:-

|f

:n

|r

i
Id

^
11

:-|d

: I :

2Z
Id'

It

it

i\i

$
|

1
s

:the

In

:
|

:- | :
|

:-

|f

:|

:-

|-

For

practice

of

firmness

of

tone,

with

crescendo

and

diminuendo.

FIFTY THREE-PART STUDIES

No. 4.

iE
fe

J
C.
|d'

te^p
:-!-:- Id
1

Doh

is

:- I

:-|fa

:-}

fi-

?=
:- |-:-|d' :-

^
It

|d'

:-

:-|s :-

:-

|r

}.

f E^
||d'

m
|t

^
1

11

:-|s :-

:-

|n

:-|r

:-

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:}

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:
Id
1

:ta |1

|t

:
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:-

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$^n
n

|d

|f

i
j|s

a
:
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|f

^
:
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: I :

|'n

: |

:r
|

de

|n

: | :

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:1

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i
||r

sfe*
:
|d
:d'

I
Is

|t

:1

|f

: | :
j

:
II

m
i
{|1

m
:t

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|r

qc==p==S= l=i :
\n
:d'
I

I
Id
1

:-|t :

: |-:
II

- *?

s-

"cr-

I
Id

Id

If

|n

: | :

: | :

l } }

FOR SIGHT-SINGING CLASSES.

No.

5.

i S
|| s

*
is

=pa=

T7

JZF z
|t

Doh

C.
II

:-

:-|s :-|d' :
|

:1

|s

:-

|1

E
|

m
n

:-

If

:|

:-

|n

:|

:- | :|

:-

|de

:}

XT
||

_g

^^
: I :
|d

i
jn

|d

:-|s

:f

:-

|n

:-

32

3 IBp
:s

{|

1: It: jt

|fe:

fe

tiE : | : se:--|-:-|
|

: |d :

^
{|r: Ire: |n
:s
|1

-g

F-

feS
:t

:-| :

: |d'

|t :-|l

j.

i
1

-rj fej: f : |fe:

j=z=t

fd

\eJ
|

eJ

'.J.
|

:n |n

: jre :

: |r :

: |r

I 3=T
^"
-ef-

Z3Z

t :-|d'

^
:-|d':-|t :-|d':-|-:-|
|

||r:-|d:-|n :-|d':-|

$
I

J
ta:

!-

^
1

^
If

11

:-|

: In :
e>-

:-|s : d
|

:-|-:

m
||

-&
f

-ri

rt

:-|n:~

d :-|l
1

:-|s :-|f :-|f :-|n :-|-:-|

FIFTY THREE-PART STUDIES

Pfe
EE
Id

No.

6.

Doh

is

:-|- -|-:-|t,

:-|-

-\

m
$
fes EE
II

^
|1,

:-jf :-\-:-\
j&z

^
|s.

: n

I- :-|-:-|r :-

m
\}t,

IF

:~\h

se,

: | -(!,:-

|s,

fe,
|

1,

:-

J.

l=
pi

*
|

-{

:!-:-{

:|r

:- d :- |- :|

- :- |r
|

m
:d
}

m
:|d

:1

1,

:- 1- :|

:-

jt,

:|

1,

|fe,

:
}

I
{|

CP
s,

: | :

s,

|d

: 1 :

: | :

i
d
ii

It,

Id

|s,

:-

f,

Is,

:-|d

:-)-;-

EEfc
II

s'

-If

I-:-

In

:-|l, :-|t, : d
I

:-|-l-

FOR SIGHT-SINGING CLASSES.

m
\\

No.

7.

Andante.

mf

Doh

is

P,
:s

:f

:fe

m/,.

3F*
n
:r

:d

:t,

:r

II,

m
II

mfz

z
:t,

Id

:1,

^&
||

m
|f

:r_i:f

:n

|f

:-

:n

i
-t
||

=!=&
t.
: ta,

=i=^=
:r

Id

:ta,

1,

: :

s,

j.

5
s,

3^
4
:r
:ta,
1

-*-^r
1,

:s,

:-

II.

:d

|t,

:-

i t>=*
\Y

S
:s

-ri-

Id

:r

Id

:- :-

$
{I'

:e

2=t

:f

In

:r

In

{|d

:-

:t,

li

:ti

:s

*:f

:-

In this Exercise (Triple Time) let the notes between the accent, 2nd and 3rd beats, pass smoothly along, and in bar 5 make the note before the accent slightly staccato.
viz.,

FIFTY THREE-PART STUDIF.S

m
I
II

No.

8.

fe4
Doh
n
is

G.

fee
|f

:n

|-

:n

Id

: |

:r

j.

t^ EE
d

g=
:- |- :|d
:1,

|t,

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|d

:t,

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ffe
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Is,

*-

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if.

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[1,

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:r

:r

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II

3^1

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Id

1
:r

U
Id

J
:t,

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|t,

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:1,

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: |

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=t==t Q|n

T^
:
I

3=3=
:
|n

:-

II,

:r

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i
&
{|

m
n

a
:I

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It,
It,

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:d

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:1,

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:d

ii.

:li

I-

:-

In

I-

:-

=3=
II'

:*=*:
:1,

Is,

:- |-

:-

Id

:- |- :notes,

In bars 2 sind 3, make a slight crescendo carrying it well over the change of harmony.

upon the dotted


FOR SIGHT-SINGING CLASSES.

No.

st^ m &^ m m
Doh
I

9. Andante.

^-^-1^=^
Bl\

is

:- :-

^
Is,
:fe.

t| .1,

t,

Id

:t,

:1,

kfffe
{|
s,

^
:s,

:1,

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J.
:r,
|

*
n,

m
:1.

:d

'

*
:n,
I

-r,

ZZ

:
:f,
I

*
:d

i-*
I

n,

:f,

:f,

Si

n,

:r.d

fr^TT
s,.r,:s,

4=
:rii
I

s
f
,

1=

^=p
:t,
:1,

.n, :r,

:
=F=?

In,

:s,

:f,

Is,

i
$

zz
Si

m
:
:d.t,|l|

ss
,

:t|.l|l s

.d :r

^
:n,

:li

|t,

:s,

:f,
J.

^B
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ai-

$
p

p=r

:d
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:s,

If,

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t~*
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^
Id

: I

3=t
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TX~.
|r,
n,

n,

: :

Avoid hurrying the quavers, but take them as slowly as the regular beats will allow. It is a common fault to hurry quick notes.


10

FIFTY THREE-PART STUDIES

g^ s
Doh

No. 10.

is

E?.
r

Id

m.

7tp2= d

^
i be

Ife

:-

:-

II

:-

II

fe^ 2=ez
||n

:-

II

t.

2z:
It,

:-

|f

:-

i
re

pi

m
fe
ii

r7\

Is

Id

:-

^ ^ S

ti

Is

If

:-

Id

If
(I

In this Exercise the notes must not only be sustained their full value, but, the same power must be maintained throughout. The conductors beat must be carefully watched during the pause, the notes released exactly together, and all voices must attack the following chord firmly and simultaneously.

FOR SIGHT-SINGING CLASSES.

II

No.

11.

l3

/-U
-ri-

J *
is

i.

Doh
Is

D.
|1

:-

:s

If

: |

:s

In

-<3-

:r

S^ ^^
{|n

'

-d|t,

:-

Id

:-

|r

:d

Id

It,

JTF=P:m-^
{|

3
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:d

|r

:-

||

:fe

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V-

:-

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m
::n

:-

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I J
{|n
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[i

Id

:n

|1

:-

$S

*F4
^-i*--fe | :fe [f
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^
:
In

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^
:d

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|d

pi
||

i
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:t,

|d

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In :- |

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il
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'-J- '*
:t,

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:r In

m^
|n

|d

Id

It, :d

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:t.

(J Id

: | :

d=+=kd
r
pi
|

-rir

i
:s

| :

:n

:f

:r

In

: I

For

firmness of tone, with more frequent crescendo and diminuendo.

12

FIFTY THREE-PART STUDIES

No. 12.

2-<s>||
pi

^m
:
|f
:1 |t,

^H
:
3i:
:f

|d

:fe

E m===tt=$ 3=
KSl
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:f

&
Is
I

*
In
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^fFft=^\
:d
1

w
1,

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rj

m
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i *

^
s

^
:n
I

hP^
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> cj
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1

pi

:r

1,

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i
1

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1

:d

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1

rJ

*=*: J
<
-

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S^
r
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1,

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:r

1,

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H=t 32:
II

:r .n

:n

de

:r

rail.

fe66=J=l=3=f
s

-&
It,

s>:d

-e*

c>
:t,

:f

:d

im
j
I

ffez nte=

de

:r

II

:1a

$m

zee
In
:f

^^
If
:f

zc2:

If

:n

|r

:-

FOR SIGHT-SINGING CLASSES.

No. 13.

pas
Lah {|d
is

/
P. Doh
:t,
is

/[JT

(F

:-

|1,

:- :-

1|

:n

t,

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:1,

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^^^
!

||

:re

|n

:r

|d

'

:t,

:li

^
:sei

:
|

^
:

:de

:d

1.

:a,

If,

:-

%E W

-%&-.
fife,

: :

S
In,

zst

:-

|f,

:1,

:1

1,

:- :-

im

fer
t, :-

: :

Id

: :

$m is

%F^d=
:f,
I

3
: :
1

n,

1,

^
:1,
I

zt:
se,
1,

:- :-

The notes marked staccato must be as short as possible, and released by all voices together. The syncopations (see Primer, No. z) or altered accents, as in bars 4, 5, 6, and 7, must be firmly attacked, and held their full value. R
1

H
No. 14.
*
LaA
d
II
jj

FIFTY THREE-PART STUDIES

-D"^

^^E
=t=fc*
:1
|

C.

El'.
I

:r

:n

:s

:se

:n

:
\

J^ :st
1
II
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*:d

:t,

|r

:n

:f

:n

In

:d

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*|d
:1,

1 fl

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1,

:n

:r

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pF=t.
: :
Id

:fle

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:d

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:t,

i*
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+=F
: :
Id
:1

^
:
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=P="-
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t=t:
s

:se

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:f

in

: :

If

:n

|r

pp

I Be
|| 1i

m
:
:t,
|

1
:n
:r
|

:
ijfj

:t,

:r

:d

: :

H3E
:n

&
:
In
:b

W%

s
:
:1

II

: : II

: :

||

:r

jn

:re

|n

: : |r

:d

:t,

II,

For smoothness together with syncopation.

FOR SIGHT-SINGING CLASSES.

15

No. 15.

gff^
Doh
fid
is

At\
:t,

m
Id
:s,
:s,

^
if.
Z3=tL

&=% m^r

m ^
^
1'
I I

I ass
I!

Z*"
f
'

:n,

:s,

g^

-rir
se,
J

^S
1

lh

:t, .1,

1,

:se,

3
11.
:fi
n,

:m,

II

^
II

^^

rii

zi:
Id
:t,

F^

:r .d

m
w
:s.
I

fcfc

zz
1'
:t,

zz:
Id

II

:-

1m

t&F
*
||

*
,f,

w
;n,

Z2Z
|li
:s,

:d

\s,

|d

-,

For firmness and steadiness of tone in the

fianissimo.

i6

FIFTY THREE-PART STUDIES

kh t=t $ IeS
Doh
is

No. 16.

3=fc

A.

^
jr

++
is,

Id

:-

|d

1.

:-

|d

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:d
1

1,

:1,

:f,

j.

0m=a^^m
i
I

?=*Z
Ife,

s,

|1,

s,
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:f,

|n,

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:
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s,

:1,

|t,

:1,
J.

I &EEE35 |n,:
tit

-e
|s,

&
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?=Mz
:
1

|f,:

1,

:t,

|1,

|t,

:d

|r

j.

*i#= ii

ZEfc

t=t

{|n,:-|-

:-

f,

|f,

:-|f,

:l,

|d

:-|d :-

|t,

:-}

fefc
j|se.

Emmm
"
1,

m
fe*=

:t,

Ida

:-|r

:1,

|1,

:-(, :- |- :-}

S
:t,
1

^
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|

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1,

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rr
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s,

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ii
i

ii*=
|r

i^
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Id

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:

Id

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?
f,
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Is,

.4
n,
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zzq=:q:
|n, :-

||

:f,

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!*=

^^
It,

--*$*
8,
1

||1, :d

:1,

:-]-:-

li

:t,

II,

: .m,

FOR SIGHT-SINGING CLASSES.

17

No. 17.

3*=
Lah
Id
is

D. Doh
In

is

: :r

F.
:r

Id

:li

%t\

'.

:t|

:fe

^3 i s^
111

zdi
-:t,

Id

:-:r

:n

|d

fci^=
{|1.:-:

:n
1,

T3'
ti

rJ-

:-:d

:se,

1,

^
$
S
i|
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#=
-rt~

:t,

I :

:1,

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:t

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321

:n

3
:r r

:re

It,

: :

Id

:d
\

i^=&
wt,
:s
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A
: :
In

fe

: :

: :

tP
1,

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o1

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: :se,|l, : :

1,

ti

dr : :1| I :se, :

o~
1

1,

Z2I

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fax:
I

d : :t,
II

1,

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:f

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:r

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: :

-jet.

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731

|r

: : |r : :d|r : : |r : :d

1,
1

: :

1,

For smoothness, crescendo and diminuendo generally.


i8 FIFTY THREE-PART STUDIES

} I
I

No. 18.

$ m Doh
^.
In

-!=#=

is

F.

^^
[f

:- I-:-

Is

:- |-

^m
{|
:

3t
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-JC

^
It,

Id

mm
:ae

If

:-)

|r

:s,

|1,

:t,
}

j^E 2
|n

S
:-|-:|r

3:
:le,jt,

:-|-:t,

|1,

:-

|d

:r

^m $m
pi

3
:
*
:r
It,

:r

|d

|d

:t,

lie,:

|de

1,

^
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-a)

m
|r
:s
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-pc

^Lnkj_hA
ffe :n
|

{Id,

|d

re

:n

|f

:
{

j^-^m=
j|d

mm *^#
s
|

|n

:fe

:r

|pi

:r
|

de

|le,

: ft,

j:s,

|1,

=**

23:

I:

: |d :

-:t,

|d :n

|y_JJ
{| :n

r|

IJ^
f

|f :s

[n:f :fe: | :s |n:d

^
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: | :

: | :
1|

i
:t,|d: | :
Z2Z

| :t,

|1,

*=
1

1,

: I :

m*=
|

:1,

|la,:

s,

: |s : r : | :
|

: | :

For firmness

generally,

and the practice of strong crescendo.

FOR SIGHT-SINGING CLASSES.

'9 raU
.

No. 19. #=

3=
is

Doh
In

P.
I-

:-

I : |
s

:se,

|t,

#
||

-*
:n
|r

5 m
:d
|t,

:d

:1,

se,

:t,

|n

:r

^ ^ i
\\

E=E
It,

*
:
|se (

:d

:1,

:n

|r

:d

ti

s-^

a tempo.
II

I
II

=1=

1-4
|d

r*-=
li

:-l

:t,
|

:r

:t,

|1,

:
|

s,

:1,

:t
}

y:

i-

^Ud^^u-^i
:r

3t
:
1

|j^:d.t,|d

|n

:fe Is

:r

[d

|d

1,

:d

:r
}

ir

=*-

;
r

^S
t-r^r
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1=F
|f

{|1,

': |-:s, |d

It,

:r

|n :s

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|

:fe

:-}

*-ei i =F
{|t, :1,
I

pr

3tZ
1

se,

1,

:d

|d

^g
:
I

:t,Jf

In

: | :

;ez

^
I
rt,

^
If

j|r :d

|d

: I :

s
|

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P
{|n

ib

fr*

'

^sJ L
s,

-*
:|I, :t,

|r

|.d.

:1,

I :k

|d

:- |- :||

For the general study of firmness of repetition and syncopation, together with rallentando and pause.

20

FIFTY THREE-PART STUDIES

No. 20.

m
Doh
Id
S|

zz:
is

BP :-:-|d :- :-

- :-

:-

tj

:- :-

i fe^
-I**

3=t
1|

l~~

SSi

Ii

^
i
IF

-l

/"

-cr
I

^
f
:n,

-1ST

{(*: - :-

Lr,

C3

|f.:-:{

In,

ri

rei

: :

n,

y-^rr
{V
Id

: :

It,

*^^ t__

>

>

$
1.

:-

j|

IG|

S6| 5^~*

S^-

I
||fe,:-:-|f,

: :-|

f,

:-:-|f, : :-|f,

:-:-

rii

{|t,

: Id :-: Id

:-|t,

:-:-|d :-:-|d :-:-!

P{jl,

fr<5>-'

te
|

I
s,

:-:

:-:
|

la,

: : |k,: :

: :

s,

: :

FOR SIGHT-SINGING CLASSES.

No,

21.

fe ^
Lah
d
1

is

A.

-Do*

|t

^
1

21

-psz

:t

I E3E
|1 II

m
:se

m
:se

Id

:-

I-

:-

II

?^tz$trzt3 :n :se.b
|se

$ ^=^
{I

7*
|f

&
In
:

:n

:n

:re

:se

1l

i^fei^E
:
|n

In

:re

|n

:b

se

:s

|f

pi
Id'

:-

It

:-

i
||

|se

^
:b

In

:
P2=

|r

|se

:1

|t

S
:d'

:t

||

:1

:se

|1

The notes before the rest should be slightly shorter than their full value, thus giving the fullest value to the rest.

22
.NO-

FIFTY THREE-PART STUDIES

22
Doh

is

E.
in :f

pm
:*$
(I*

:r

Is

:1

|s

:f

In

:fe

rs
:r

~g~
In
:f
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-o

e*
II,

i
:-
fc

t,

~cr
Id

j;J
:|d
:r

a
|d

:- | :-

|t,

:
\

J:1

izc

*:

u &
||

{Js

I-

:-

fl,

t,

:se,

fl,

==
=-

-& :-

fPF
Jde

it,

|d

CS

<5

*"

:t,

Id

pJ3=
r
:te

Tl

g"|n

J3:
1

22
:s |f

2
:n

In

I-

:f

i tt
t,

rj
|r

Xfj
:re
I

32t
n
:f
|n

i ft
It,

:-

Id

:t,

|d

l& H
e>
:1

s-

^E

Is

For piano generally, with long sustained crescendo and diminuendo, which must be very gradual.

FOR SIGHT-SINGING CLASSES.

23

No. 23.

m m
$

^
hah
1
I

ZZSZ
is
1
I

3L=3tZ

E
I

A. Doh is C. d :- :- d :

:t

:1

:se

:-

:t

*r*-rt-

?3z

^^
:s Ife

II

:-U

If

:- :-

|#

^4hU
:n

&-
:n
I

If

re

: :

P~= r : :

^ g^%
I

*~

:r

*m
w*
:1

II

:b

se

: :

:s

i
:

^m
:d'

It

: :

: :

:- :

<i

P
{\n

T3

[?,

:re

In

:re

In

: :

:ta

II

$
f
II

=t

=P
:n |n

: :

:-- :f

: : |f : : | :

: :

$ (|r:-:-|n 3

"C^
:de

:*-:r |d

r-

i
a
ta

a
:
:1
I

-i~i*j~

ai
:1

3*

:s

If

HI

:-:-!

24

FIFTY THREE-PART STUDIES

No. 24

f sempre.

nr-*
:d.,d|r

&^j.
:t,

|d

In

:n .,n|f

;r .n}

pm
se
I

*bJ=j=s3^=i
:
=E3f
|1

-*=isMz
\n

: |

:s

|f

:f.,f|s

:f

:na
J.

Wm
f

4=

-J
|1

M=A^=tZ
:n .r |n

*
:

If

:s

In

:r

|d

m^^
I
:fe

-e
:1
It,

o
:
|d

|s

inp^p
r
:d
|t,

23Z
|

:d

i ^
||
t,

5
:r

-fq-i=
:n
.r

:n_;f |f

|n

For the practice of dotted notes, and accent generally.

FOR SIGHT-SINGING CLASSES.

25

No. 25.

:t,

I,

:s,

:f,

n,

.,n,:r,

I E5E5S
|
1

f
:1,

p:bi

m
:se,

:fe,

?
d
ll

r*-

Tf-

*'
:n,

:-

It,

PI
1
1

r
:1|
:fe,
I

a
:t|

s,

s.

.,tj

$r
{II,

fPp
:re,
|

H
:
:n,
|

1
pi,

r,

iivr.j

;t
||
f,

^3*d=K:
:
:fe,
J

=F=F
1,
|

se,

:s,

:
=Et
:t,

is^filn,

: :

{=*-

J^EEE^EJEEB
:d

:t,

:d
I

1'

: :

2.6

FIFTY THREE-PART STUDIES

No. 26.

feE
:n

=
:d
:se.
1,

:n

Z3Z

-ni-

m
:

q=
:n

*
:de :1.

li

I-

i fe
i w
|]t,

-rlr

Z&Z
:d

-o-

i
:

:t (

s,

:
zeiz

!d

fc
||
se,

3=
:
]

jk!

s,

:r

For firmness in the attack of each separate part.

FOR SIGHT-SINGING CLASSES.

27

No. 27.

=7

22=

DoA

is

1
:t,
J

Al?.

^
II

r :d

.,t,
1

1,

/-

q
:r
.,d

*=&
:t,

p-

-a-t-

.,1,

PSgS
:li

,s, |f,

ll<

&E
I-

^
:1,

5^=^
::se.

Pe

Se
il

y^

:f,

In,

:I

'

n
:re

22=

^
ip

i ffiS
1'

&

-e-

:li

:fj

in,

:"j

1
:li

Is,

iH
II
1'

=2=

:d

28

FIFTY THREE-PART STUDIES

No. 28.
*S
,,i Doh

is

AP.
Is,
:si

^5
ifl
|

w
rii

:r

:t,
J.

^S^
{|si

-rd:1,

^
It,

:d

1,

s,

Is,

|#^ w
/In,

*==*
:f
t

^
:ri|

r
In
:r

H
Id

^-K^i
:t,

Id

:s,

$&

fr
=**=
1,

:
3dz

Si

n,

fe gg

it

j^r

.se,:l, .t,
1,

fet

p"
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:
I

fe,

s,

.t,

:d

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:d.

i Eg=E
{|

iz*z

m
:t,.
|

^
1,

3E
|

.l,:t,.d|

:1,

s,

:s,
j

1,

:s,

s,

$S

E
I

3^^
fe.

I
:n,

:-

f.

|fi

If,

:f,

If,

:n

^^^^^g^^^^
||

.d:r.n|

:r.

fle
|

:r

1,

:d

|d

:t,

|d

For the practice of the fortissimo with special accents.

FOR SIGHT-SINGING CLASSES.

29

No. 29.
i

MN &
I

o
=t
is

P>-

Doh

E.
:1
I

n f:s

:f

:d

:-

fmf
i
pepe *ita
Id

-*~<B-

Id .,r:n

:-

:1,

--

73-

:^ffi *
:Id
:s
.f

:-

:n

.r

Tl
{P

P=t
^J
I

m* ^=t
d
.r

at:
:s

:n

.f

i i

*&=
(I

^
:t,

-<=i

*-
.b

3^
:se .n
I

:d

,t,

il

s
:1
ii

d
ti

#
:t,
.se,
1

-*1)
.t,

S
.r

:d

:n

**te p
4*1

:s

pmm
],
.t|

:d

.r

:n

.rid

^+d-^J=^
||

.r

:n

.f

:s

.f

|n

This must be taken smoothly, and care must be taken not to hurry the crotchets during the crescendo at the end. c


FIFTY THREE-PART STUDIES

No. 30.

jjife
Lah
Id
is

=F
s
I

E.
|r

-DoA

G.
:

S
|t, :1,
I
I

*=
se,

:n

:d

|t,

Id

|-

*f^ 3=5=
I

Z2T
n

^2=

3=3=
|n

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II'

|f

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:
IE2Z

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1

:d

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1,

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$=
ll

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1,

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1,

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In

;-

j.

pz=fc
I

x
s,

de

:
"

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fe.

Sl

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t,

fe=
si

rdr
It,

B^
:
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*J -4
|re

^M
:
|n

{|1,

If

:-|n :-

:-

|r

:j.

-^^~

FOR SIGHT-SINGING CLASSES.

31

**=
IZ=!z

|t

Id

|r

dmd$g
I

|t,

de

t*
zziz
||

:-

|t,

:-

|1,

:-|ta,:-|l, :-

|se,

:-|l, :- 1

i^t

t
{[m

: I-:

|f

I :

^m
: |
j

:n

|n

|-

For the practice of due contrast

in phrasing.

*m=jfcfe m
No. 31.
Doh
1

*=&
i

m=I

^
s.f:n
:1
}
I

is

D.

pi

:1

Is

:n

:r

.r

:n

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-*

'

"T^
I

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^
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^
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re

,,n:s

:f

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:n

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gs
I

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d
.,n:s
:t,
I

3=3=

s
n
.r

:d

ti

:s

:n
}

i ^
lt,

fc#=

z
Gi:d
s

qj
:
:d

T3^=^
:
I

|-.t,:d

r .t,:d

p^=i-n?xf*=ggm
:s

:f

In

.r

:d

:ta

1 .s :s

:1

fcr=?
f|;

i
s .f :n
II

^
It,

:n

If

:n

:f

.r :n

32

FIFTY THREE-PART STUDIES

No. 32.

*i*

&

ig
Lai
I

ret
is

^=*5
I
:t,
|

is
:

Dok Fit T
|d

A.
|r
:d
n,

ilfeA jrJjE
{|

S
*
:ta,

:-

|se,

:
\

3=i=m
1

:t,

|d

1,

|n,

|d

:r

|d

:t,

^^^=^^m
li

:se

Hi

:s,

:fe,

Ise,

1,

w
hi
:

i
3=
^
I

:t,

|1,

li

:s,

|se,

u p^
1,

"W=*
:b,
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:-*
1

^^
1,

'v

:s,

|f,

: |
fJ

:n,

|n,

:
J.

i#
J*fc
{
I

feg=
:re.

H^^
|r
:d

fe,

In,

:r

:de

:t,

= m ^=^=Au~#
s,

=21
|1,

:f,

|n,

If,

:n,

*t
|

rti

:li

|se t

:
|

li

:se,

II,

3^*
Ide

:r

:d

It,

FOR SIGHT-SINGING CLASSES.

33

No. 33.

P- *=$=**=^
||d.,r:n
:f
|

=5q=

=F==F
:1,

:f

.,r:d

:se,

^
|n.,r:d
:r
It,
:1,

3=fc

:f

In

^
i ^
1
1

mf_

^r^m
p
d.,t,:l,
:t,
se,
|

:1,

:r

t,

: :
J

JF :

.i ^r

ir*js
|

=t==t
d
j

*
zcfc:

1,

:s,

:d

:t,

:r

ld.,t,:l,

:t,

:1,

:se,

II,

:1a,

:s.

Id

:-

J|l,.,t,:d

:r

s,

:s.f:n.r|d

:-

:t,

|d

:-

34

FIFTY THkEE-PART STUDIES

No. 34.

4L
B-s;
S
.{|

is

pi

gj

zz
:f
:n

Do A

E.
:1 :s

In

:r

:d

itim
fife

e>:t,

^
:1,
}

"O"
t,

fe

P
t,

==3&
:*j-G>
::n
I

rJ
:r
>

.t,

:n

{
I

Me S*

=
r

^
:r
.1,

i::d
:t
I

:
4

sej

jICfc

,r

:s

:f

In

:r

t,

II

||

n.f :s

.1

:-

.s
|

:-.n :f

-.n :r

,d :r .f
|

: :

FOR SIGHT-SINGING CLASSES.

35

No. 35.

te^ r~m
Doh
||s
is

J=
D.
:d

:-|-

:t

Ir

rd^t,
}

Ie^s
in

mH*z
:r

^^@i
|
:1
I

in

Ir

Id

:n

|f

:n.r
}

IfcrEi *

lE#
||d

iBE
c^
:t,

3=
h- :
II
:se

|d

|-

In

:r

o
:d

In

:r

I":

|r

ir :de

|1

ft=F^
{]d
:ta

g=
I
:1
|

se

:s

| :f""|n

id :
|3e

lEiiS
1

3=C

:f

:n

In

:t,

| :

In

In

:-

%
||

5
:s |1

-rt-

1
:

fe

:r

|r

: | :
j

|r

:n

|f

:r

|n

Id

1-

I
d

:-

:-|t,

:-|-:-|d :~|-:-|

m
Ir

: | : J

: | :

Is

|s

:1

|-

: :

36

FIFTY THREE-PART STUDIES

% mv-.
{|d

No. 36.

is

j:
T3:d
I

Doh

A
si

:-:-|r

I"

f,

:-:-

^
|fe,:-:
|l>:-:-|.

M pig
||
s,

: : 11, : :

1,

: : |d ; :

1,

: :

fe ^
n,

3
: ; if.
|n,

iS
Ir

: :

: :d
}

**#-

$
|

8)

: : |::

f^
|

3=t

se,: : |t,

P^
***= za~
{|d
;

|t,

: :

* -G>-

In,

: |fi

^
:

: :

1,

: : 11,

1
I

:ri|

Id

:-:-}

-&-*
:

W^-

ZEt
J'

-|t, :-:-|t, :-:-

-II,:

fe
|r

::-!*,:: :_: |n,: :


I

-ot

:*3~

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^=t{j
1.

: :

|la,:

:
s

s,
|

: :*-|-

tt
if,

:-:
|r

2=t
Id

: :d

FOR SIGHT-SINGING CLASSES.

37

No. 37.

a=^zai
Doh {|n:
is
:

F.
|r
: :

|d:

|t,:

1,:

|s,:

|d:-:-

^g^nStg
Id:
:

ii

J7JT?5^
|r:n:r|d:
:

S
: : :
|

3=

*
J.

|r

Is

|r

|n:-:-|-:-:-

j-^r^^yi^i &m
||

JN
|r:
:

i
|
1

-j^ i j^T f^
1,:
:

d:

|t,:,:

|r:

|t,:

d :- :-|t,:- :-

[.

^=jrn^^^^-^^=^=^fr
||d:
:

|ti

|d

|s

I-:-:-}

^J

-W MS^ tf
:

-H^:

ki*i
:

v^

a
:

||f:

|n

:
j

|t,:d:t,|l,:

11,:

jg,:- :- 1- :-:-j.

r^Jpsj js-n J7j"[7g^--jrj==^p


HJ^:
:

Ise,:

1,:

|r:n:r|d:

|d

d :-:- |t,:-:-l

-&-

=2=353!!3H
fc
|ta,:
:

-i -^-k ^-^II,:.:
|i ,.
;

r3:5^EM:
s,.

|n:-:-jf

i
I

fr^'^f^
||

esS*; F^H
: :

=^ *Fj*5
:
:

f-

f =*fgE5g':
|d:
:

|n

|d:
:

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|t.

je==3=h

35SB;
:

ps

^Ti
:

gg
|.
: :
|

f|*:: Id::

|f:

In:

:|r:

g :- :- 1- :-

:1(

To be sung very lightly, but firmly, with a strong crescendo leading up to the strong beat of bars 5 and 9. Full value must be given to the rests throughout.

38

FIFTY THREE-PART STUDIES

m
||

No. 38. -^=


g.^
is

p~
=t
p.

=t
ZJ=C
In

F=Ft ?-

1-

DoA

lis:-:-!-:
8-

: : | : :

:n |f

: :n

frX-mJj-p-f =& 5t=* = xz=ei:


:

:n |r

:t,

|d

Id

: : I : :

^^
:

r
|t,
:
:

-r

i^_c

=e
:

-P*

<sr
: :
}

:d

:se,

|1,

:ta,|l,

$m
(i

r r J

r -F=P

]
|d

fm5
:
:

:d It,

:t,

s'S=
-It,

-g-

S
:n |r
I

-t^-P:s,

E^
II,

:-:-!

i
I

{|d

ifc
If

rj

rj~.

:-:-!-

: : I : :

:-:-|t,:-:-|d :-:-|3=&
-Is,:
s

^
{|1,:
:

: :|::l

1^1
Is
{|

:-!l

FOR SIGHT-SINGING CLASSES.

39

No. 39.
j.

f sempre.
=P=i=t

i EEE

Doh
Id

d
is

-e*
1,

G.
|-

:-

:t,.l,|t,

:i.

:-

|1,

:-

pH

==
:

-*-d
Id

SS
:}

m
r*r:
-

||

:-

|r

:-

|- :- |-

:d .t,|d

3
:- I:f
}

y
:r

-mtf-0

-ai"it,
1,

&S
||

I-

|-

:d .t,|d

:-

|f,

:-

5
:s,

:t,.l,|t,

\n

| :

f
|

:n

|r

:d

m
s,

^Be^
:-

3E
d~
it,
|

I-

:t,

:li.ii|li

Hi

rz3z

r
ll

:t.

Id

: I :
:

#=^T~

'

4o

FIFTY THREE-PART STUDIES

No. 40.

kMzFj3
Doh
II
is

f sempre.
F.
|n

=\^EE^=$^$
::r .n |f

=1-

:d

|^2^"

:n .r|d

:)

ilSEEE^
-zf
:d

|-

:t,

II,

:-

:s,

Is

I-

:f

j^^
w
I

m
:.
~*?

-JC tXL

1=F 35E5Q
I-

Id

:-

:d .t,|l,

:-

S
t,

:-|l,

:-

Tj
-Is,

g? ~

PgS
:
I

:-!

|d

|r

:f

:n

j.

fdsg
|j-.n:-.r| :d
|

s=s
:tl,lt,

=fc

|d

|ta,

:
|

: | :

g-it-j-jffl
||s, :t,.r|n

^^^p
(s

3=F=j^
-[

:fe

: |

:f

:d

|f

: |-:

^
[

|s

3*:
||

ig
: I
:r.d|t,

'

?
: |
:s.f|n

:-

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:r.n|f

: |

^
-er
||
i,

fe^S
:
|-:t,.l,|s,

!-

|1,

:t,,d|r

:d

|r

:
|

: | :


FOR SIGHT-SINGING CLASSES.
41

No. 41.

BE
Duh
j

ret
is

^ ES
:
|n
:fe

Eb.
|s
:-

Id

:n

:d

|f

Is

# EEE
II

te==
I

;^t
:n

^
]r
:d
|

:r

In

|-

$W== sm
Jf
I

ic
:d

rj

ir

It,

:1,

:t.

Id

:-

:t,

II

i^a^s
s ,fe :- .n |fe

!=PtEiS
:f.n|f
:s

Id

It,

:-

|1,

:t,

|d.r:n.f|f

:n.r}

I Se
-*

rot
Ir

xH

-J

-4-

!= ^g1=^ *
In
.f :s
.1 |1

|d

:r

:se

SE

j
1,

-n
-H

*-*r

^
1

_n

:n.r|d

:r .d

1,

:d.t,|l,

:t,

Id

S
d
II

^
-

-*-

E^r
:r

:s .f |n

:f

.n

:n ,r |d

Id

rpr
1
\\

-*

rJ:f

-* d

3^ o
:

:-

I-

:n .r |n

42

FIFTY THREE-PART STUDIES

No. 42

$
:f
|n
I

^
de

^
l.ta:l
.8

-*-*-
|.f

:s

$
||

#5
d
1

^fe
:se

*
.se|

ct .111

|n

$
II

#:r
|n

^
:
1

|d'.ta:l

:n

|1

:s .d'J

tt
:
I

1*-*n
|r

^=*

1 ,s :f .n |f

:n

z*=M.
.f I-

*3t
.l:s
.f
I

S
:s .f In
:-

:-

It

$
||

*
f

- =1

^
:n
.r

-j-*-j--jz
|- .f :n ,r

I I

qiz^
F=^

:n .rid

|l

For the practice of points of imitation.


FOR SIGHT-SINGING CLASSES.
43

No. 43.
p sempre.

-&
Lah
||
is 'D_

S^
:-

atxzst
:d
.,t,
).

Dohis F,
.,t,l 1,"

.,r:d

id

:-

.,r

SB
II

K_i

M
.,r

*i:d
:

*ra P
I.,t,:l,

In

t,| 1,

se,}

fi-

lin
(I

S^jr^ ff
.,f

i
:
j.

:n

.,r

|n

w
:1,

-*
|f

^
*
1,
1

:n

.,n:r

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|d

.,r

f
}

i^^
{|1i
.,d:r

^
.,n

=*Z=St tJ,.f:n

If

.,r|d
\

^ ^E
f

^
-,ta,
1

*-**.,d:t,
.,1,

.,l,:t,

d|r

se.

:d

.,r

P
**
{|ta,

:r

|n

m ^mm
.,d:r
1,

p:se,
1

1,

^
:
|d

^d:ta,

.,r

|r

:
||

For the practice of dotted notes. throughout.

The

notes must be evenly dotted

44

FIFTY THREE-PART STUDIES

te E=3
Doft
j
I

No. 44.
z*Ja
G.'
1

fet=
1,:- :|

is

s
si:- :-|sei:-:1

:- :- |- :i:n |- :r:d

1,:- :- ll.rfc.t-

|-

:-s>

hf&
-ft-*,'

*z
|

^S=3pg
s,:-:-|l,:t,:d |r:d:t,| l :-:s,|f 1 :t,:l,|se :-:-}
1 1

j|d:-:-

|-:-:t,|l,:-:-

111

* *

JIIjul^J*I

jaE
I

|d:-:ti|l|:-:S||f,:-:fei| Si:l,:t,|d:r:n|f :n:r

date:- |r:re:- |n:ti :r

^^B^gpg
m,:r
:d |r :-:|

gfc^gg iiEf
d:- :-|-:t,:l,|t,:d:r
I

-:d

:ta,

l,:r:d

|t,:se,:l, [s,:l,:t,|

P=^gr?^^^gj
{|l,:f :-l- :n:r |n:-:- |f :-:n|r:- :d
|

z*zri-_
re- :r|r:-:- I-:-:|

t,:d :r

i=

:$*=**
I

55^

'-*-#
f,:-:- |-:- :- If,:-:| |

g^^
-:fe,:-|s,:-:- |-:l,:t,}
- _^ **^

d:ta,:l,|ta,:-:- |-:l,:s,

l=^=^^^P^ f=^^^^*^
||n:-:-|-:f:-|-:n:r|d

Si 35^3!
:-:-|-:
:
I

^n= L* ^= ^L i -^-* ^;
L a

:t,:l,|,:l,:t,|s,:-:-|d

FE^E
fe,:

^g^-^uB
|t,:d:r|d

Jl

- :d:r |n:-:r |d:s,:f,j


; I

^^Jd--^ PPS 3=*f


||

^i
:n:f m :-:-!-:
|

- :l,:t,ld:-

;t,l l,:s,:l,|

:- :-

t,:d :r |-

This must be sung very smoothly throughout.

FOR SIGHT-SINGING CLASSES.

45

No

45.

Doh is F, )|n:r :d |r : :n

: : In

m^S^?=
:s

:fe:n

|fe

:-

||d:t,:l,|-:s

pH
||

f
:

J'J-J
:d|d:t,

T^
|n
:

-+--*-

m
:1,
}

: |d : :r

:r

|d

:-: |-:t,

^
||

353E
: : It,
:d
:ta,
1

4
1,

^ 4
:t, tl,
se,

s
: :
1

:*=3=*:
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I

1|

:d

: |

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t,

:d :de |r

:re :n

If

t : |

:n :r

Id

:1,

: |-

I*

1 I

:se,:l|

{|s,

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:r :d

|t,

: :

$
{|d

22

:-:-|-

:-:t, |d

I#
||

g
:1

{|la,: : |s.

-:-:-!- :-:-||
22

:f

:n |r

: :

|n

: : |-

4&

FIFTY THREE-PART STUDIES

No. 46.

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ORATORIOS,
HUMMEL.
First Mass in B flat Communion Service, ditto Second Mass in E flat Communion Service, ditto
s. d.

&c Continued.
G. A. MACFARREN. Songs in a Cornfield (Female Voices)
s. d.
...

2
1

May Day Sol-fa, 6d.) The Soldier's Legacy (Operetta) Outward Bound
(

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6
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Third Mass in D Communion Service, ditto Alma Virgo (Latin and English)

A. C.

MACKENZIE.
2 5

Quod in Orbs (ditto)

The Dream of Jubal The Story of Sayid


Jason

o
6

W. H. HUNT.
Stabat Mater

H. H.
F.

HUSS.

Ave Maria (Female Voices)

The Bride (Sol-fa, 8d.) The Rose of Sharon (Sol-pa, 2s.)Jubilee Ode The Cotter's Saturday Night (Sol-fa, The New Covenant
Veni, Creator Spiritus
J.

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26
2
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ILIFFE.

Sweet Echo

B.

McEWEN.
2 o 2 6

JOHN WILLIAM JACKSON.


I

The Vision of Jacob


F.

CRIED UNTO

God

W. MARKULL.

W, JACKSON.
The Year
D.
A.

Roland's Horn (Male Voices)


F. E. Prince Sprite (Female Voices)
J.

JENKINS.
2s.)

MARSHALL.
z 6

David and Saul (Sol-fa,

JENSEN.

H.

MEE.
1 i

The Feast of Adonis

W. JOHNSON.
Ecce Homo
C.

Horatius (Male Voices) Delphi, a Legend of Hellas (Male Voices)

MENDELSSOHN.
1

WARWICK JORDAN.
in

Blow ye the trumpet


N.

Zion

KILBURN.
I

The Silver Star (Female Voices) The Lord is my Shepherd (Psalm 23)

Elijah (Sol-fa, is.) Elijah (Pocket Edition) As the Hart pants (Psalm 42) Come, let us sing (Psalm 95) When Israel out of Egypt came (Sol Not unto us, O Lord (Psalm 115)
St. St.

2
1

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fa, $d.)

1 1

ALFRED KING.
The. Epiphany

Paul (Sol-fa, is.) Paul (Pocket Edition)


... ...

2
1
1 1

Hymn of Praise (Lobgesang) (Sol-fa, is.) Lord, how long wilt Thou forget me
Ditto,
137)
1

OLIVER KING.
By the waters of Babylon (Psalm
6
6

The Naiads (Female


J.

Voices)

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Sol-fa
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o
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Ditto,

H. LAHEE. The Sleeping Beauty (Female Voices)


Ditto, Dixit Dominus

Sol-fa

LEONARDO LEO.
H. LESLIE.
The First Christmas Morn
F.

LISZT.

The Legend of

St.

Elizabeth

Thirteenth Psalm
C. H.
Alcestis

LLOYD.

Andromeda Hero and Leander The Song of Balder

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o o

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3

4 6

6
8 8

The Longbeards' Saga (Male Voices) The Gleaners' Harvest (Female Voices)

MEYERBEER.
..

A Song of Judgment

Ninety-first Psalm (Latin) (English) Ditto

W. H. The Village Fair

LONGHURST.

A.

MOFFAT.
[

HAMISH MACCUNN.
Lay of the Last Minstrel (Sol-fa, is.6d.).. Lord Ullin's Daughter (Sol-fa, 8d.) ..

A Christmas Dream (Cantata for Children)


B.

MOLIQUE.

ORATORIOS,
MOZART.
King Thamos
First Mass (Latin and English)
...

&c Continued.
PURCELL.
Harold
Dido and JEneas Te Deum and Jubilate in D J. F. H. READ.

s
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...

d.

Seventh Mass in B flat Communion Service in B flat, Ditto ... Twelfth Mass (Latin) Ditto (Latin and English) (Sol-fa, gd.) Requiem Mass Ditto (Latin and English) Ditto Ditto, Sol-fa ... LlTANIA DE VENERABILI ALTARIS (IN E FLAT) Litania de Venerabili Sacramento (in B
,

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... ... ... ...

6
3 3 3 3

SPLENDENTE TE, DEUS. FlRST MOTET God, when Thou appearest. Ditto Have mercy, O Lord. Second Motet Glory, Honour, Praise. Third Motet

O o o o

Bartimeus Caractacus The Consecration of the Banner In the Forest (Male Voices) Psyche The Death of Young Romilly (Male Voices) J. V. ROBERTS. Jonah

W.
J.

S.

ROCKSTRO.

The Good Shepherd


L.

E.

MUNDELLA.
1

ROECKEL.
ROGERS.

Victory of Song (Female Voices)

o o

The Silver Penny

(Sol-fa, gd

DR.
Jeremiah

JOHN NAYLOR.
3 J.

EDMUND

The Forest Flower (Female Voices)

NESVERA.
2 6

ROLAND ROGERS.
Prayer and Praise Florabel (Female Voices)

De Profundis
Mass
in

E. A.

NUNN.
2

C
St.

ROMBERG.
o 6 o

The Lay of the Bell (New


lated by the Rev.
Ditto,
J.

Edition, trans-

REV. SIR FREDK. OUSELEY.


The Martyrdom of
Polycarp
93)

Troutbeck, D.D.)

2
1

Sol-fa

R. P.

PAINE.
2 2 2
...

The Transient and the Eternal (Sol-fa, 4x1.)

The Lord Reigneth (Psalm

ROSSINI.
Stabat Mater (Sol-fa,
is.)

PALESTRINA.
Missa Assumpta est Maria Missa Pap.e Marcelli Missa Bbevis Missa "O Admirabile Commercium"
2

Moses
6 o 6 6

in

Egypt
B.

CHARLES
Divine Love

RUTENBER.

ED. SACHS.
Water Lilies
C.

H. The Kobolds
Hora Novissima

W. PARKER.
1
,V

SAINTON-DOLBY.

Florimel (Female Voices)

C. H. H. PARRY. De Profundis (Psalm 130) Ode on St Cecilia's Day (Sol-fa, is.)

..;

3 2
1 1

The Heavens declare Cceli enarrant


(Psalm
ig)

CAMILLE SAINT-SAENS.
W. H. SANGSTER.

Blest Pair of Sirens (Sol-fa,


Judith L'Allegro (Sol-fa,

8d.)

The Glories of our Blood and State Prometheus Unbound


is. 6d.)

3
5

Elysium

Eton

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...

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6 o 6
6

in

the East

J.

SAWYER.

The Lotus-Eaters (The


Job

Choric Song)

2 2

H.

W. SCHARTAU.

Christmas Holidays

DR. JOSEPH PARRY.


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PARSONS.
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1
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The Crusader
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St.

2 2 2 2

o
6

6 6

A. L. John the Baptist

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..'.

'",

CIRO PINSUTI.
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','.[

Manfred
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1
1

Faust Advent Hymn, "In Lowly Guise"

""
...
'..'.

New

Year's Song (Sol-fa,

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o o 6

H.

SCHUTZ.
...

The Passion op our Lord

...

..

DATE DUE
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"'AN.

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3
I

H
Vexilla Regis (1
go)
...

JAS.
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Joash
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Supplication an

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H
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...

o 6

e Voices)

King Arthur (S< Ariadne (Sol-fa,

The Red King (I The Song of th


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ALIC

IT.
^
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CES)
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Ode to the Nor Ode to the Pass


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D
A.

-ON.

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in

C minor

CHAI
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o O

Hymn to

Calvary Fall of Babylon Last Judgment (i

The Christian's

... ...
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I
1 I I

God, Thou art g How LOVELY now lovely ARE are J ehovah, Lord ofJ,

o o
6

The Crucifixion (Sol-fa, gd.) St. Mary Magdalen (Sol-fa, is.) The Daughter of Jairus (Sol-fa,
...

JL

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In exitu Israel Dixit Dominus

S. S.

O Lord, Thou art my God


Seed-Time and Harvest C.
J.

WESLEY.
... I

E.

WEST.
...

*"

The Last Night at Bethany


Gethsemane
A. E.

LEE WILLIAMS.
(Sol-fa,
is.)

-20 ..2
2

WILSHIRE.
46)

W. STEWARDSON.
4 J.

God

is

our Hopb (Psalm

Gideon

...

STORER.
2

The Tournament Mass of our Lady of Ransom


E. C.

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THOMAS WINGHAM.
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SUCH.
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Ode to the West Wind


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God

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