paBANs CERO WORLD RENOWNED Method for the Cornet, REVISED AND COMPILED ZO cCBYsD T. H. ROLLINSON. Published by J. W. PEPPER, Philadelphia, Pa, 8, HE. COR. NINTH AND FILBERT STREETS, BAND AND ORCHESTRA MUSIC DEPOT. sY J. W. PEPPER. Send Stamp for Complete © a, Spanien Oop of the “BAND, JOURKA" « Large Bight Page Monthy Panee 8 a eed onauestree, Drioe 6100 per your; with w Premium of $1.00 worth of Musio given to each Subscriber. c/s? GrPREFACE. {In Republishing this Splendid Work, Mr. Rollinson, who Is a Cornetist and thorough Musieien, and kaow- ng just the wants of Comet Players, bes erased some of the Surplus Hxercises whicl have been published ia ‘other editions in order to Stretch Out and make 240 or 250 Pages (such as the repetition of nearly the same Exercises, &e.), and has endeavored to give she Student just the matter that Arban bas written to make a ‘thorough Musician—(it is not quantity thet mskes s good Book, itis quality). ‘Thote who have parchased ‘other editions can vouch for the truth of this statement, and appreciate this New Edition, which will be sold at half the price of other editions, and warranted to give belter satisfaction. This is the only Engraved dition published in tho United States, and is gotten up on Bxtra Largo Plates, Pull Musi Size, Printed on Fi ‘Tinted Paper, end pronounced by the Prost and Public as being the most Legible Print out, In order to gi ‘the Young Cornetist a chance to nae the World-Renowned Method, we have put the price down neatly to oct. J. W. PEPPER, Publisher. Notes: Converted from the Library of Congress "American Memory" edition Steve Nathan, 2004 steve@bigbrowncow.comLE LANUYOOD FHL 40 SOINOWMVH SHL 40 31aVLPOSITION OF THE MOUTHFIECE ON THE LIP: ‘The movthpieon shoal be place in the mite ofthe Lips, —two-thinds on the ler Lip, and cnecthird onthe upper lip. At any rate, ‘he porion which E myrlf have dopo and which Leticre tobe the bets Homcplapesgrncrlly place theme weaned 68 pcr Hip, and chesdhind on he Tower, hich is preiely the evreco ef what I have just wecmmedid fr the ereve” But fem mot be {un at rat difrerce ext inthe formation of this Insurer, as ooll ae inthe tathod of Rolding its and that which may adcinbly sail {he Forms ended. wih verg bad rerults whom appli tothe corse” What, afte alls the greet desidcratare ar rgurds De ponion ot dhe cereat?” Why, chat it shuld be periily vinontl, Well then, ifthe mouthpiey mere placed as Uhh the perder were paving the hors, ‘he lnatoaeré would havo a filling portion, resembling that cf the clarivt. "The morthpice creeped, ime not be moved etherte aesnd erdecerd;f weed be impo er wer compelled to change the ptien ofthe mentpuce whenerer br wisbed to take, in napidracrerona low nets after a Righ one, Tnveder oer hive lest erssurg to pve the Instrument apace ips aa to produce an enunt cf tention groperionate sa sik eae pte ee tle at acd eans eon isco a Nr ‘ature. "Ta drcenaing, iby ok the contrary, nasa to apply the mouthpios more Highly, inorder to allow larger peeing forthe eseage fair ‘The vibrations then become slower. owing othe eelucatiunct the muscle and grave eounde are thie chtained i proportion to theertont to which lips are opened. ‘The lipe must never be proteuded, On the contrary, the eure sut the mouth mutt be dran downs by ‘eucod. "The performee should ceast to Play the moment Uhelips begla tofeel weak and fatigued fo exccuteceretn passage ifthe perform ean amore open sound ix pro— might eed toanaffvetionof theltp = METHOD oF STRIEIXG. OB COMMENCING THE TONE. Jeshatnrbe igh nae aprn COLE De hANOUE nsf tna lynn eres neg al Be Een cing la me ices el tend eee le ming sie There He Frit rth hee fsa way these month shen be efi eleae Aste tngae een temas st eA Hinearatan Lprciue lee etic mien ads ra ; ‘sie Popncaen st emit thd are uch edt th stg he end Thi ems | sport nN ten tear na Sl a eget METHOD OF TAKING THE BREATH, ‘The mouthpiec having been placed onthe lipsthe mouth should partly openat the side, andthe tongue retire, inorder to allow the ‘o penetrate into the lang, The stomach ught nt to well but ratherom the sonteary to vesede in peaponeenarthechesc eae ‘Thbreathing soph we be epalated bythe engeht te paseape tobe sxecuted® Inhortphtoots ftw wea bc to eeelytaken-cr fo often cepeated it produces a ruffocation resulting {rom the weichtot the colunncf air pressing to heavily onthe lunges Ths stunt, ‘should, therefore, at ex respiration, soas torench theendof along phrave without depriving imparting tot a the same time all pore er ag circumstances be Quffed out: the lips should male no nates tn the mouthp fothink cherwise. | The sound form itvelfs it should be well truck by aprope? ey and ut below fr diaptson for inthe later case a diaageeeubl and untaneful owed woul oF sYNcoPATED Passaors, Szncoration scours when theaocen falls nthe second intra U Fret ate of the pussage, The acented nate must be asta thei watietwoet the commencement th nate beng duly marked, bat the end hal eduaanol tenet thould neeenbedshendnaa A passages this kind should beexecuted thes SS and mot ees ah ew fe Oat fete me i STUDIES IN DOTTED QUAVERS FOLLOWED BY SEMI-QUAVER Inher tadicsdhedeted guver should be stand throughout is entre valet care must be talen never to substitte a ree. for adot. - % " ‘ fetal " Thmteme hander GEE atm wiogh inn win STS tmpaSTUDIES CONSISTING OF QUAVERS FOLLOWED BY SEMI-QUAVE! Inovdvs to impart lightness to these studies, the first quaver should beexyeuted more eurtly than ite veloc would seem to indi cate, Ieshould be executed like a semiquavers wrest Being intreduend betnrent and he tars semegnorere wheeh Tae ae nd should beexveuted thus Ses ‘The passage ie wetlten thus ‘The same remark applice when a quaven, instead of pre ling, fellows the remquavers, Weitun thue should be exec thussrbansAriansSYNCOPES. a Pi ar iyon the value of dotted eighth notes, followed by sixteenths, Studies to exereise the touy: 6. Tenyo di murelite SeiWilegro_ moderato. 8. E ple EyAllegro. 15, weak won Altegretion har 16. ratte ge PP rl temp. Allegrett # 17; a 18: a AANA AAAASTUDIES ON THE SLUR. 18 ‘This portion of roy method is crdenistty ono of the mest iteportant, The fingering indicated shoald be sempalouily followed, however unusual It may appear. I have desieuedly had recourse to the fingering in question, not because I wiehed to recommend ‘ abitual sauge, bat fn onder to inyvet this Kind OC exe feficaltien which mut abvclulely be overcome, Uy COMPELLING the LIPS to move without hes ‘The easiest interval to per ‘aceruin movement of the lips is necersarg in ender to baie it, “The interval of third the most difficult of all for iis often met with in situations when to the valves, to assict in carrying the sound from the lower note to the ‘higher mot T.therefor, reommcrd thediligess prsctio of this kind of exerci; it boomer the foundation of an etsy and brillinit exeection, |A great suppleners of the lips is thersby cUtained, erpecially when the execation of the shake le arrived at. only ghee these eres as STUDIES; and Tin no way advico paplle to adopt them in general practice, as is often the oate with cer. stain plasers who wish to apply to the cornet a syntem which har no fold foundation; the cornet being ove of the most complete and efit of insiranentt, rpadliting rather than reine al fiticas pete, the oftet of which will alveys appear datertable to ‘people of taste, tecond, The interval of major tecond is somewhat more difficult, fs becomee impossiue to have recosree 1 Arbanstr MAJOR SCALESMINOR SCALES. CHROMATIC SCALES.22age CHROMATIC TRIPLETS “~“ STUDIES ON GRACE NOTES. oN THE GnUPPETTO, 1s of the following division are eepecially destined to prepare the pupil for the sxeeuthiw of thy Grup-. wweeey a note with appuntatanys those etadiee sugnt: to. by The fires etna’ ia needlose te observe, consists In surrounding ae pettoy whieks i slowly practised, in ordee to accustom the Lips and fingers to actin perfect anteon. Tt inthercfore, wecrevary tu give as ruen their pivot. ‘value W the appugiatarey abure or below, ae te the ncte whch sewer ‘There are tws keinas of geuppetto, consisting of four notes the furet ts exprested in the following manners ‘Tho sign ts nere turned UPWAADS, who indicates that the First appugintura should be a ‘The lower appogiatura thoald always be atthe distance of hell's tone from the note which it acromparive, rmacked by an accidental, placed benwath the signe “As eeparde the higher appugiatura, it may Deeither major ve mines according v0 th tonality af the vos whichis bring exeeuted sin the following manner ‘The second grappetto iseapee ie will be acen that the sign fs now turned downwards, which denotes that the First aypogiaturs must br Bescuthy ‘Thisy a any rate, in the manner in which euch passages ought to be weiitens unfortunately, huwever, wrieeas ro -antase te uf tne Fertormer, cogteot thete details, and Leave them entively to the t ON THE GRUFPETTO CONSISTING OF THREE NOTES. But they should beexeoated in the Following {Te will be seen that this embellishaent must nut be taken from the nate i {i shoald be very Lightly executed care being token 7 uuter the fiest appogiatara clearly. OF THE DOUBLE APPOGGIATCRA, OR GRACE NCTE. ‘There are two kids of double ray be taken at the cfathind from Bxcupls-soone25 ‘The double sppogiatuca should aot take its value fromthe note which it sceompanies it should, on the eontrery; precede tas follows, Recap eieeiatig fees Erxample, deseending: ‘The sevond sort uf double appogiatura is composed of an upper and lower appogiatura. Brame: teas host be executed thus the bar preceding the note which they accompany. should take their value fe ‘These apport OF THE SIMPLE AFFOSGIATURA, OR GRACE NOTE, ‘The Simple Apporiatura isagrace not inno way constiviting a portionof aba, but which, nevertheless, is half the value of the note before when ite planed erect: eee . ‘The APPOGGIATURA may be placed shore or below ang notes When it le pleced above, it may be at the distance of a tone ‘or half tone: when its placed below it ought invariably to beat the distance of a hal? tone, Example: In the musio of the old marters are to be found numerous examples of appoggiaturs,irace note) iniended to take half the valoe of thoncte which they precedes but, at the present day, in onder to obtain a uniform execution, mute io writen precirly at i ie tne wed tobe excuted. ‘This i undeniably a far better plan, OF THE SHORT APPOGGIATURA, OR GRACE NOTE. ‘The grace note deducts its value from the note which it accompanies: it is gerevally employed in tomewhat animated movemonte, should bo laid upon it, 0 a8 to impart to itaJittle more force than the nete which precedes it. When its ahove, fe may be aitunted t when it iebeTow it ie invariably placed atthe dietance of « half tone, Stee tere oF halfa tone fom the note it accompa OF THE PORTAMENTO, fs, Im fact, merely the mpition ofa ncte which the performer desires to carry to another would be a proof of bed teste, When judictouly employed, it Turred without having recourse to the grace bites, ‘The PORTAMENTO ina Lisle note whi by slorsing. This kind of embellishment mutt not be used too freely, highly fective; but, for my own part; Ldesidly prefer that the tone shuld b OF THE SHAKE. Oninstraments with valves, the shako is the most diffieult of all embellishments, The only shake ~ {is really endurable, is that in half tones. Whele-tones shakes may, however be produced; but care aust be ta ‘valves down, to thet euch note may be perfectly distinct, Ich,om this tnetroment, to press the oF THR moRDaNT. ‘The MORDANTT is ncthing more than a precipitated shake, Te requires nei pnpansion nor svelution, =a ‘The MORDANT tonsstng of evra bese is airtime onthe corm. The peformer mur, therfore, restt. inal to omy and moran, vey greet Reivindicatd by the following sign: es eect nas Glows the mordant with one beat, which te much more eary of exe tte: ‘Tho MORDANT taker ite valve (TIME) from the note to which i belenge.26 PREPARATORY STUDIES ON THE GRUPETTO.27OF THE SIMPLE BP POGCLATURA. “ Andante con spirito, - pote a price, Ategracomggdenino, OF THE SHORT APPOGGIATURA, » awk 14, Y Allegro moderato, OF THE TRILL. eee; eee reTAndante - P : q 23.:OF THE MORDANT. ” Allegro moderat Allegretto, 2%: Allegro, 28:is ON INTERVALS. d.neare being taken nut to alter the pesition of the as Me, the per This kind of study should be ensidooasly peat tw nider to pase fom a lew note to # higher one, ce from a higher one to a To Former will acquire certainty in taking the note, and great facility of execution, oF TRIPLETS. ‘The vee of teiplete is always highly eff-ctive, In order to exe squatitg, ‘The student #houle proceed slowly at fiers, and nus attempt te Flay gol ot motion. STUDIES IX SEMI-QUAVERS. checrving ‘riples well, each note must be uttered with peut In order to arrive at perfection of exceution, these studies shoold be played with serupalors attention to time chythin, dae regard being had to the acsicalations thersia fediceted. The performer thecld begin slowly. and net inerea- civ hia apeed wetil he hes become femiliee with the exercise, Teo great w rapidity of execution does not always im = crart to the performance the brilliancy expected, revision eed galerity are the real fcordatien of an excellent executien, ON THE CHORD oF THE DOMINANT SEVENTH. ‘The chord of the deminart eeventh bring the sare in oth major and mlece key. it becomes here the complement of the preceding wiedien, ‘When practising it, the regulacity which K have aleedy enjolced, and which I cannot too strenuocaly. reccrmend, thould be carefully obseregd. ON THE CHORD OF THE DIMINISHED SEVENTH. ‘Tit chord plays a conspicuous part in modern musical comper °. Torsnorleting as it doot solely’ of mince thirds, it may be Interpreted inv fn which the mutinfan mes have recrurre to it. 1g te ite clasts nature, it ie of incalculable ‘ab different wayay and there a seerable ca oN THE PAUSE. ‘of peates in the fori .f preluder, in crder to accustom the pupil to terminate & solo eft ‘hese passes into al the different keys, Cate must be talien to breathe whenever ‘and in perfect tune; otherwite the effect will be complete Tadd to these studies « rely, Te would be advinable to. transpo rest ocourt #0 a1 to raach the end of the phrase with full pow aly destroyed, OF THE INTERVALS. +OF THE OCTAVES AND TENTHS. %° STUDIES IN SIXTEENTH NOTES. oe Sees eee Se eee Poe sa ON THE PERFECT MAJOR AND MINOR CHORD. enEranES SegssN THE PAUSE. ~~ a ——_— > vO0 STUDIES ON TONCUEING. TONGUEING IN TRIPLET sTaccaro, detaching, with regularity, « roreession of notes without allowing the. tongusing to be either to sbort F teo Tong, In under to arive at this degree of peefection, steer, which serve as basis, should be very slowly precteed, ‘The student should fire strive to pronounce vith perfect equality the epllsblers— ee eee Is onder to impart mere equality to the tongusing, itis necessary, whed beginning; to prolong each ayllsMe @ 2itle, o as to impart Drlefly emitied, in onder to ebtain the true STACCATO, Tn pronouncing the syllables TO, "TU, the tongue place i tlt agi the teath of the upper jaw, and in retiring prosocneee he frst ud then rentscend fo the roof of the mouth and obstruct. the theca, ~ dilating ieelt by the efit of ha pons Ginion ofthe srlable KU, which by allowing a celumn oFar te penetone into the routhpiee determin the third sound. In onder to tnvet this TO-AND-IRO motion with perftl roplerty, hat the tongs ike ton valve, may allow the seme quantity of air to etoape ab each. sllble AE this ejtem of eealaton be persevered in, no pecige whatewr will be {ound dttiult; the prodation of tons on the cornet wll tw avensy as that on the flute; but to stch thi end, the PRONUNCIATION must be parfiely pure. Bspertnse has proved tom that to obtain a raely terepronchable execution, it ie necessary to pronounce the aplable i,t, at, a, thas ft beam chown, ‘ad NOT thedu, du, guydu, du, gu, dt; thee later, tae, go Fir, bt donot effeerty detail the sound. ‘The tongueing should act be too ps » two ecunds, The tongue tata forthe auditor will then be no Longer able to TONGUEING IN DOUBLE sTAccATO, ‘This kind of STACCATO is of grat asistance in the execution of rule, or arpoggice, in the binary ehythm, Ta onder to execute tis eseecice with prection, it must be practiced slowly. regard Being had to the prineiplon set forth forthe loguclag in tiple STACCATO, ‘The student should, Fist of all, pronounce the syllables: tke tke keke te An in won, the tongue pecforme a to-and-tro morement,which it is very difficult to chain with pevfact equality; bot once esideratur has been arrived athe mest dificult pasagmmay be ceceuted with all descele speedenesty and BRIO, THE SLUR IN DOUBLE sTaccaro. 4 with the doble STACCATO, ther is « peculiar kind of pronunciation to employ, Tt would be monotonous to be almass performing STACCATOS without having cceustenal reference 10 the Obtained by pronconeing the Cotlowing eyllables In onder to comb ‘Thin articulation i Gini tke wa tlawe ola we uinae tle toe talmton take te ‘The syllaMe TA server to strike tho first note, and the syllable A, which comes aftermands, enables the performes, by prolonging sally one of the mort indiepentble, nasuish a it te to bo met:OF TONGUEING STACCATO TRIPLETS.+ ¥ OF THE SLUR IN DOUBLE STACCATO. Teateiats — tecialale a eee ea 55 ror ei ceee tHaaa rea Sees4 CHARACTERISTIC STUDIES. gitigrometemta | -4143 Mlegro moderato, a A Allegro,Altegro, Allegro miderato,ofileguto chromatique, ——_— 14; + Sat FineARBANS FOURTEEN SOLOS. WITH VARIATIONS, Fe ee = ». Sa} = 5 7 Sa 2 THEME & VARIATION,CAPRICE. * VOlS- TU LA NEIGE QUI BRILLE, Andante quasi allegr= gilicus CAVATINA WITH VARIATIONS. 6. =o = = o “! z # SS cs + eae an : Ts SS =eRad, Variation. ” Allegro. Vivace. Piu lento. ts* FANTAISIE BRILLANTE. _ se _afne tees See = 5 0 $B ee aE a es eS * Ds Rent # a Fe a Fo a SS Fine nd Variation, -¥- MARIATIONS SUR LA TYROLIENNE. Let Variation.51 2nd, Variation. aah tR VARIE SUR LE PETIT SUISSE. it. Variation,Allegra, pitenut, ape + FANTAISIE AND VARIATIONS. SUR UN THEME ALLEMAND. Variation. = ahaa?FINALE. VARIATIONS SUR UN THEME FAVORI. Andante non troppo. 13: Ast. Variation.143 CARNAVAL DE VENISE. Aitegretto. Se SSS ae Variation.THE ART OF PHRASING. * ONE HUNDRED CLASSIC AND POPULAR MELODIES. Wont You Tell Me Why Robin, Claribel. 1. 5 P 7h 2 =P rakgngly Am 1 No Longer. (Precinsa,) Weber P © Moment Enchanteur, (Krom Massiniello) Verdi, Allegrettos ~ P As When Morning Dews, (En Andante com molto, eaprees. olor lend. Adagrioncon express, «spree motto, =—P r cyst Ne Uy dois PoppersRouse The $ Marsan. shering Lion, (Krnani,) Verdi. With eufusivem’ Dal Fine. Is Jennie True To Me. Andiinte 61218 Pre a Moderato, D.l.alFine, ‘Not A Sparrow Falleth, “Abt. i animaryn granguillo, yi j——— di. Aria, (From Ernani} intima yoasis Cavatina. (Krnani.) Andantins, a 5 Oh de’verd’ Anni mier, (Brnani,) dntante conmotan MCE7 37 Nel Mirarti. Puritani. Rettini Hegro piu maestos, 2 ii, sf # ae Soffviva Nel Nel Piauto. (Lucia) bar Cavatine. (Lueia,) Moderato, P Qui del Padre Aaa Regpira. (dela Moderato, caggrett un post Aria. (Lueia.) Langhetto. 15. PFair Moon. (Pinafore. Moderuto, Sultican, 16. Sorry Her Lot. Pinafore.) ~ Andante Sultican, 17. P 22S wpe gina == When The Thorn Is White With Bléssom. * Miderato, Weber, Come Back Annie, Andante Fi Hatton, P ad Ub, a tomy > When The Swallows Homeward Fly, Andantino, . 21. = PMy Native Highland Home. Alles anuderato, P Andante, Beethoven, Pinsnti. 24. eon esprese, sotto vo PP Looking Back. Andante moderato, Suttican, Kala Robin Gray, o SES Angels Ever Bright And Fair. qlarghetto. ps nf = P60 There's Nothing Like A Fresh’ning Breeze Spirited Rundegger: nd cies The Rose Of The Alps. Linleu. Bonnie Jean. Moderato. 30. nf Killarney. Ra Modena. is 34 P o b rll PP " f Shadow Dance. (From Dinorah.) Allegretto.61 Deal With Me Kindly. A a 33. . 0 Luce, Linda. ~ Donizetti. 34. P Home So Blest. Andante, Abt. op = Romanee. (From I Kelair.) Herve. Andante gxpress, co,62 Questa O Quella Per Me Pari Sono,’ (Rigoletto.) Aitegretto, Die Schonsten Angen. Appussionaguina tempo. ratl. Stiyelti, = pF MIE — 7 => The Watch On The Rhine. 40. ; Say Theme From A March by yy Reviere. Marsiats, - avChant D'Amour. Andante mogerato, Souvenir Du Homer, Rollinson, foderato, 2 Sop ‘tempo, —~ temp, eegente i S Cetera. a F = pp La Mia Letizia. I Lombardi.) ~ i Andunte. Verdi. Old Folks At Home. Andante, Legato cn #1} en. — iS Sf - > Libiamo Ne'Lieti Calici. (Traviata) Attegretto, ‘Pas snoser Cielo Di Stelle Orbato. (Simon Boecanegra.) |, Andunte, Ve 48. “P, ‘a tempo. Ola Tubal Cain, . : , Allegro moderuto, 2 Russel. SP Pp == Ee eh Kathleen Mavourneen, (Irish Medley.) eth” Andante, mts ; 50. = P =me Des tot — Sutiean. sun poco fiw lento. PP Tppaesiolete. con feratin, > Market Day. F Vivien. Allegretto, en Rubinstejn. Hg Gr See Aton, 54. ioKaty Darling. Old Song. Katy Darling. ong, eee Gentle Annie. Old Song. Andantino. = 56. P ally, hedging Is On The Cold Ground, Old Song. Come Lasses And Lads, ‘Tune of “Charles I” Allegretto. With spirit. 58, SS Sa ae r— =F The Bells Whisper, nda Clarivet ‘P Five O'Clock In The Morning. Claribel. * 60. pip VE67 Kelvin Grove. (Seoteh Song.) Moderato, 61, we — =F Thema. Allegretto. De Beriot. Fo ~ Thema From Serenade, Andante. dolee, animating chapette. ae => , Frofugo Regetto. Flowtow. ‘The Minstrel Boy. (Old Irish Melody.) Risolute, a 65. at S Gesten, Maiblumen, Lento.68 Air From Luerezia Borgia Attegro muteraty, 67. yf Annie Laurie. Andante. com 68, = Po The Old Pink Thorn. Claribet, Moderato. null ao 69. a tiie, ——= F 2 ande,fou Remember, Claribel. 70. Pe Austrian Song. Allegra a, + SS = ’ Strangers Yet. # Andante ‘Rota Tat, Crariber. 72, “poee Pp = P SS S—69 Serta E La Luna, (Norma.) ‘Rellint,., e Penso ATe, Ballad.) a 20, Je, Pen Claribel. 74, > ea P Through Tho Jessamine. Clarinet. Modertss 75. Marion's _ Song. . Claribel. Allegretto. E Saltiam. — cinda. Donizetti,Meyerbeer, ARIA, When He Is Here, (Soreerer.) Sultican, Angel Faces. Moderate. Lawrence, ? Ll Balen Del Suo Sorriso. (11 ‘Trovatore.) _ ke lesen = fendi. espreaes eae! SaaSn Infelice! Etno Crede. Ernani, Andante, P A Chaplet OF Roses. Allegro moderato, Brillante, Puritani: 83, mf The Throw Of Dice Allures. (Ernani.) Allegro. con brio, >— Verai. 84. nf Fo0 Tu Che Lalma Adora ‘Evnani.) Allegri. eum big dd 3577 85. rade wv ‘lang gon grasa, "comp E f satin Da Queldi Che tho Veduta, (Ernani,) Anduntino. 86 P a ~ >> 2Cudenza. Vien Dilletto. Allegro moderato cPurifani.) Bellini, 87. E maf Sa Andante from Puritani, ein Andunte, Ban F 88. F Send Forth The Call Victorious. (Puritani.) Pou macatosa. = 89. fAir fron Varia Padilla Commude, Spa veinpe. Minnet, From the Sorcerer, Tempo di minnet. Sulliran, _ pe Credeasi, Misera. “Puritani.) Largo ma (Somnambulz. > Aliee Where Art Thou. Ascher: Andante con ex™” Caprice. Andike miestss, Rollinson, 96. “f Grandin. agi Through The Wood We Gaily Bounded. Andantino. Donizetti, 97. = + % Sf Waltz, : St, Jacome, Thema. St. Jacome. Andante. Fineo 99. P = rit, “f= == a The Maid 0° Dundee. Moderate. Filbert. 100. z 5 = F =SIXTY DUETTS. Home Sweet Home. Andante, Howard, Last Rose Of Summer, Adagio. >, = Irish Melody. The Wee Bird. Moderato, Linky. Copy engat 1809 17d, Poppers76 Si Of Spring. Song OF Spring . — Hitho, The Rose Of Allandale, Moderato. Nelson. Air From Lucia. Moderato. — Operatic Metody.7 Fly Forth 0 Gentle Dove, Andante grazioso. = = Pinsuti, com anima, La Rose, Anturtino. De Beriots Seventh Ain Moderato, = . & . De Berio.7 Meadow Dance. Allegro, Rollinson, vt spe. Alma Redemtoris, w _ Nointy Retitevt tt. p= | —— Juanita, Anduntins. com express. Horton, 12, p=79 What Are The Wild Waves Saying. Andante eon espress. 4 Glocer, Pivaximuto, Nancy Lee. Adams, Arbans80 In The Starlight. Allegretto. 15. fi 2 How Can I Leave Thee. Andunte exprestione, German Sony. 16. P (PP. — The Danube River. Tempo di Mazurki:. Aide. 17. [TO cepresi“ bial E Il Sol Dell Anima? Andantino. Rigolette. Rollinson. 19. — =, 4 Rolljnsgn, 20, P Tag, Moderato.%-, Rollinson,we : ; #! _frike The Lash. an, “P| That Are Brightest. woderato. f=—— « ‘, tet The Lone One By The Sea. Moderato, . P = . ste a You And I, Claribel.838 My Heart's With My Norah. Damarre. With The Angels By And Bye. Moderato. Merriman, 27. ro nf rit. Pp FS 5 a3 abet Me Norma, . Bellini, ArbaThe Heart Bowed Down. Larghetto cantabile. > Balpe, 29. P i Speak To Me. Softenuto assais Campane. ¥Blve Bells Of Scotland. Andinte moderato, Seoten Air 31. P PP he Harp That Onco Thro’ Tara's Halls, Irish ate 32. F Within A Mile Of Edinboro’ Town, Scotch Air | = a ooh 2 jose Evening Bells, . Bw F teh Sona. GH Arbane copyeige TM hy A Rappers86 Petite March. Maestowo, Rollinson, * waar ‘Then, You'll Remember Me : Moderato. Bohemian Girl. 37. P aes The Woodbirds Song. Moderato,Air From Traviata. | Maestoro. a7 Verdi. 39, P Can I Trust To My Heart Delighted. Puritana, Andantino. [araduatly lineecetnglehe tome ae ee Reverie, Andante Rollinson, Antone48 43, Duett From Lucia. Larghetto. Noeturne. Andante, ay P Artistic Galop. P Rollinson.89 _DStallew, Happy Swallow, ¥ Dolee Conforto Al Misero. Larghetto. ~ Mercadante, Pp, The Ingle Side. Andunte moderato, Old Scotch Air, J : park 0 Hazeldean, The Day Marziale, 5 Of My Vengeance. Dongsetti, t 49, a tempo. argheito, Robin Adair, Larghetto, Scoteh Sony. 50, Ft ArbaneWaltz From Preciosa, Weber, 91 The Stars In Their Gladness, ( Preciosa.) Allegro grazioso. . P Do You Remember. Andante, sostemuto. > : Campana, | vrteneuk Air From Puritena. Allegro moderato. ‘Bellini “When Twilight Shadows. Moderato assui. _ Donisett. Pees = 55.93 Come With Me. Andante mosso. Campana, 56. P94 Why Do Summer Roses Fade, : Moderato, Barker IL My Li In The M . 1 Love My Love In The jorning.. Alten. 59. > Z fl jad lib, ‘piu lento, SS Ss SF S| 7 Lindsay. Arbane