Sp . C .

K
M T
30
C9 8

U P P L E M E NT E D

P r e s e nt e d b y t h e fa m il y of O s c ar A . Ki r k h a m

e the v ario u s

el em en s t of a com pl et e p i an o fo r t e techn
c o u r sei q u e a nof
d t o ,

p r ov id e s tu d en t s w i t h t h e m ean s o f att ac k i ng an d o v er c o m i ng

t h e di ffere n t sp ec i al di ffi c u l t i es w hi c h h ave t o be en c o u n t ered .

Wi t h t hi s v i ew the S t u di es h av e been ar rang ed in gro u p s t h o se

, ,

i n e ac h g ro u p bei ng p l ac ed in p ro gr ess i v e o r d er an d h av i n g ,

re fere n c e t o s o m e o n e p art i cu l ar di ffic u lt y T he g re ate r p ar t o f .

t h e S t u di e s t h em selv es h a v e been sel e c t ed fr o m t h e s t an d a r d

wor k s o f th e m o st em i n en t S t u d y w r i t er s and w i t h t h es e are -
,

i n c l u d e d n u m er o u s o t h ers w hi c h t h o u g h o f eq u al l y g r eat p r ac t i c al
, ,

ut i l i t y h av e h i t h ert o been l ess g en er al l y ac c essi bl e

,
.

x. F I VE F I N G E R
-
S T U D IE S P ar t I SHA KE S
0 0
H 2

D OU BL E N OT E S

”.
M
B R O KE N CHO RD S
F

OC TAVE S

CHO RD S

ST A CCA T O
R E P E T I TI O N P ar t :
R E P E TIT I O N AN D T RE M OL O 2
n 3
P AR T P L AYIN G P art I
0 0 2

47 . A C CO M P A N IE D M E L OD Y P ar t "
48 .
n H 2

24 . F I G U R E S I N S E Q U E N CE P ar t :
49 . E XTE N S ON SI AN D S KIP S P ar t I
50 .
2
25 2
°

51 R H YT H M
B R K T H I RD S S I X T HS
.

2 6. O E N 52
CT V
, ,
AN D O A E S P art 1
27 . B R K C T H I R S S I XT HS P
O E N D 53 E XE RCI S E S FO R T H E W E AKE R
T V FI N GE RS
, .

AN D O A E S ar t z . By J A 0 N’
. . E IL L

FI FT Y - T H R E E B O O K S , P R I CE ON E S H I L L I N G E A CH .

L ON D ON : N OVE LLO AN D CO M P A N Y , LIM I T E D .

P ROGRE SSIVE ST U D IE S for the P IAN OFORT E .

BO OK 5 3 .

E D ITE D B Y FR A N K L I N TA Y L O R .

E X E RCIS E S
FOR T HE

WE A K E R FI N G E R S
’

J . A . O N E IL L .

P R E FA C E .

IT is ackno w led ged fact that th chie f bstacle to good exec tio n
an e o s u

a nd equality f to ch lie in the w eakness f the fourth and fi ft h fin gers

o u o ,

an d in a w an t f dexterity in p assin g the fourth fin ger over the thu m b

o .

T overco m e these di ffi culties the follo win g E xercises have been

o

s p eci lly desi gned Their obj ect is to p lace the w e k fin ger on
a . a s a

perfect equality w ith the others thus entirely av oidin g the d e fe c t f , o

the general mechanical ex rci w hich by llotti g m uch ( m o e)

e ses , , a n as or r

w ork t th n aturally stron g

o e to th naturally w eak fin gers le av e th as e , e

l ti
re a inequality f stre n gt h n d s kil l u n altered
ve o a .

E x p erience h sho wn that a m ore m arked i m pro v m ent in t hniq u

as e ec e

i obtained by fiftee n m inutes d ily practice o f the follo w in g E xercises

’
s a

f
or the weak fin gers than by an hour s daily p ractice of ordinary fin g ’
er

exercis s T his addition l facility f executi n is no ticeable after

e . a o o a

sh ort trial f ten days o .

P R T I w ill be fou n d quite uitable to stud nts in the le m ent ry

A . s e e a

st ges and w hilst stren gtheni ng the weak fin gers ffords n excell en t
a , a a

p ractice f trans p osition or .

P R T I I w ill greatly assi t th p formance f l l scale n d w fi ggi

A . s e er o a a r e o

p ssa g and tend to ov rco m e the exec tio l di fficulti s generally m t

a es , e u na e e

w ith in a dvanced w orks .

P R I CE ON E SHI L L IN G .

L ON D ON : N OVE LL O AN D CO M P A N Y , LIM ITE D

AN D

N O VE L L O, E WE R AN D CO N E W YO RK .
 y usr P U B L I S HE D .

F R A N C E S CO B E R G E R .

(N o .
45 . N o vel l o ’
5 M u sic P r im ers E d u c at io n al S er ies
an d . E d it ed by S ir J O HN
S TA I N E R an d S ir H B E P A U RT
Y ) RR .

P R I CE T WO S HI L L I N GS A N D S I X P E N CE .

In P ap er B o ar ds , Th ree S h il l in gs .

T h e D aily T el eg r ap h M ar c h 2 7 say s : M r F ran c esc o B er ger h as m ad e a

, ,

u sefu l a n d th erefo r e v
a l u abl e c o n t r ib u tio n t o M es sr s N o el l o 3
‘
M u sic P rim ers . v ’

an d E d u c at io n al S er ies
’
in th e sh a e o f a m an u al en titl ed First S te s at th e p p “

P ian o fo r te
’
E er y
. v
o in t is p c v
o n ey ed in th e sim l es t fa shio n , an d e er y s te p v p
tak en w ith d u e c ar e an d d el ib er atio n so as t o be s u r e o f th e gr o u n d g ained b efo re
g o in g a n o t h er a c e a h ea pd M o r eo er t y o g . v
r a hic al d e ic es ar e em l o y ed t o, p p v p
p
fo r c e essen tial fac ts u o n th e c h il d s atten ti o n thin k this I s o n t h e w h o l e, a
’
. I ,

v er y ad m ir ab l e b o o k c al c u l ated t o h el, n o t o n l y th e p
u il , bu t t h e t eac h er al so
”
p p .

T h e S u n d ay T im es c to ber 1 3 s ay s : , O m o r e sy stem a tic ,

,
I t 1s m o r e p r ac t ic al ,

p
m o r e sim l e fo r th e b egin n er t h an an y h a e y et seen T h e ex er c i ses an d iec es I v . p
p
s ec ial l y p p
re ar ed a r e ex c el l en t an d th e ex l an atio n w h ic h ac c o m an ies e er y
, p p v
p
ex am l e 1 3 w r itt en in l an g u ag e t h at th e y ou n gest s tu d en t m ay c o m r eh en d with p
o u t fu r t h er assis t an c e fr o m t h e t eac h er .

T h e M u sica l T im es S ep tem b er say s M r B er ger bo o k d istin c tl y th e

’
, , . . s 15
best in tro d u c tio n t o th e p ian o fo r te at p r esen t ex tan t .

y usr P U B L I SHE D .

FO R T H E P IA N O FO R T E

CO M P OS E D BY

FR A N C E S CO B E R G E R .

(T h ese P iec es w er e ex p r essl y w r itten t o b e u sed in c o n n ec tio n w ith th e A u th o r ’

s
P r i m er , FI R S T STE P S AT T HE I
P A N OFO E
”
RT .

P R I CE ON E SHI L L I N G A N D S I X P E N CE N E T .

L ON D ON : N OV E L LO AN D CO M P A N Y , LIM ITE D
AN D

N O VE L L O , E WE R AN D CC .
, N E W Y OR K .
 FI F T E E N T H T H O U S A N D .

N OV E L L O ’
S

M U SIC P R IM E R S AN D E D U CA T I O N A L SE R IE S .

E D IT E D BY SI R J OHN S T IN R A E AN D SIR C . HU BE RT H . P A RR Y .

T N IC SO L —
FA

J OHN CU RW E N .

P R IC E ON E S H I L L IN G .

In P a
per B o a r d s , O n e S hil l ing a nd S ix p enc e .

LON D ON : N OV E L LO AN D CO M P A N Y , LIM ITE D

AN D

N OVE L L O , E WE R AN D CO , N E W YO R K .
 L O O
N D N

N O V LL
E O AN D C O L IT
M P A N Y. IM E D ,

P RI T RS
N E .
 P R E FA C E .

T H I S W ork i s not intended each those ignorant f musi c h o w

to t o

t o sin g but to explain th e T o nic S ol f

, N otation and m ethod f
-
a o

teaching to those who are already familiar with the est blished a

mode o f writin g music by m ean f the S ta ff A knowledge f

s o . o

that notation i s taken f granted d it will be m ai nly by com

or , an

paring the two n o tation s t ha t t ne various p oints o f the new

n otation will be made clea r .
 CO N T E N T S .

CH A P TE R I .

P AG E

R E L A T I ON S OF T H E T WO N OTA T I ON S

CH A P TE R I 1 .

T HE D I ATON I C S CA L E

CH A P TE R III .

T I NIE/

0 0 . 0 0 0 0 0 0 0 0 . 0 0 C 0 9 .

CH A P TE R IV .

C H RO M A T I C TON E S AN D T RAN S IT I O N 0 0-
3

CHAP TE R V .

M E T HOD OF TE A CH I N G

CH A P TE R VI .

M E T HOD OF TE ACH I N G

CH A P TE R VII .

M E T H OD OF TE ACH I N G T HE S T A FF N O T A T I O N

CH A P TE R VI I I .

T HE M IN OR

CHA P T E R IX .

T HE M E N TA L P R O CE S S I N SIN GIN G

P R A CT CA L I I
E X E RC S E S
 A T O N IC SO L -
FA P R IM ER .

CHAP TE R I .

RE L A T ION S OF T HE T WO N O TA T I O N S .

IT i s o ften forgotten that the S ta ff N otation is a n t t o n o f th e o a l

keyboard o f the pian o forte I n the early stages f its develop

. o

m ent when cle fs were placed on any lin e and the composer
, ,

used as many lin es from one to twelve as were necessary f

— — or

h is music it was more o f a notation o f relative than o f absolute

,

pitch B ut the improvement and wide di ffusion o f keyboard

.

i nstruments has caused the notation to settle down into a

pi ctorial representation f black and white digitals T he norm al

o .

ey i s assumed to be C and all other keys are represented as

,

departures from that .

A little re flection will show that although this arrangeme n t

represents a fact f the keyboa rd it has no counterpart in the
o ,

experience o f sin gers L et us suppose that an organist finds th e

.

followin g chant i n F too high f hi s choir or

2 TON IC SOL -
FA .

He thinks he would like to tran s p ose it a semitone low er W ith .

th emu ic in F be fore his eyes th e follo w i g re p esents t h

s , n r e

pr c s tha t g o s
o es i hi s mi d as he p lays i Ee on n n n

S ome perha p s m y object to thi s as a c ric ture d say that

, ,
a a a , an

o ly mech ical players t ra s p ose i this way while l l who

n an n n ,
a

h ve y ear f t h i er s p iri t O f music tra spose by mentally

a an or e nn n

reg rdi g e ch ote as th fir t f fth se v enth &

a n a n f the key e s , i , , c .
, o .

N o doubt this i s t ru B ut w now c side i g the S t a ff

e . e a re on r n

N ot tion merely as a picture

a f the k ybo rd d if p laye s o e a , an r

choose to see beyo d that picture i to key relatio shi p it is n n -

n

a other matter although doing so brin g s them very n ear to th e

,

n ,

T o i c S ol f system B y whatever mental process tra spositi n

n -
a . n o

at sight from the S ta ff N otati on i s accomplished it gi v es trouble ,

to the p layer B ut wh t is the case with the sin g er ? T o him

. a

a l l keys are alike T he key f C i s no more commo ly used

. o n

than F or D d m poi t f convenience it is

, an more natural or n o no

e sy tha B T h process which the ch ir undergo i the case

a n . e o n

w e have imagi ed is very di ff erent to that which the or g a i s t

n n

ex p riences When he low rs the cha t a semitone f w if any

e . e n , e

o f the singers will notice it ; they have no ltered relationshi p s a

o f fi n g erin g or p erpetual contradiction f si g ns an d they si g on o , n

as ea ily as be fore
s .

T he fact that to si g ers key is the sam e as an ther i s the

n one o

b sis f th e T oni c S ol f N ot tio

a o I n this not tion the above -
a a n . a

ch nt in key F appears follows

a as

K E Y F
.

'
s :d s :s . f m :r

d :m d :t s . f :mr .
I

s s d :l s ' —
. f
m :d r m :f s :s I

Whe tr sposed n an a ppears as follo w s :

K E Y E .

m s :s . f m '
r (1

s . f mr d t . d
d '
: 1 s —
. f m
n :f s : s. d
 RE L A T ION S OF T HE T WO N O TA T I O N S .
5
“

T he only di fference being that the words key E are pl ced at “

a

the be g innin g f the singer s g uidance in stead o f key

, or
’

I t i s asserted by some that sin g ers strike their notes by

measuring the di stance from one to the other second — a , a

sixth a dimi ished seventh an octave & without re g ard t o

,
n , ,
c .
,

the key T hi s bein g so they say that the S ta ff N otation i n

.
,

supplying thi in formation g ives the si ger all that he n eeds

s n .

T he sin g er they say hould not be per p lexed with the rel tion
, , S a

shi p f the tones which in modern musi c o ften chan ges ra p idly ;
o ,

all he has to do is to move along by remarkin g at a glance th e

number o f semitones from the note he i s on to the next I t m ay .

be true that here and there an exce p tio al singer possesses this n

power but it i s certainly not possessed by the generality f

, o

chorus singers T o k eep in mind the key relationship f t h

-
.
-
o e

tones i s not only the easiest method but it is the most ,

intelligent because I t is th e composer s n eth d t

,
’
r o x

T h e read er is refer red t o t he fo l l ow in g c h ap t er s fo r an ex p l a n at io n o f t h e

sig n s o f t h e n o t a t io n .

1 C h ap t er I X , o n .T h e M en t al P ro c es s in S in g in g , sh o w s w h at are t he
c o m m o n h abit s o f c h o ru s sin g er s in t h is resp ec t
-
.
 CH A P TE R II .

T HE D I ATO N I C S CAL E .

T HE T onic S ol f N otation con sists f the i nitial letters o f the

-
a o

S ol f a syllables d always representing the key note T he

-
, o -
.

initials f l and i being the s me i i s altered to ti Whe

o so s a , s . n

the names are written in full they are s p elled phonetically d ,

an

so l is invariably pronounced h tha t sound being more open so ,

.

I t al i
an N a m es . Wr it t en . N o t ed .

Si te t
1a l ab 1
sol so h

fa fa h f
mi me n
re r ay r
do doh d
T he application of the names will be evi d ent from th e f oll o wing
tune

m f s l s f m r s d
'
fi f r d
T he up p er octaves are represe n ted by fi gures above the scale
letters as d d ; the lower octaves by fi gures below d (12 I n
,
z '
, . .

sp ea k ing o f octa v es d is called one doh ; d is called doh

' ” “
-
, .

o ne so on I n the precedi g tu e there are two cases

an d . n n of

d '
. T he octave commencing on middle C

i s taken as a sta dard T he notes f that octave be r no mark

n . o a

above or below and every d h ch osen as a key note within that

,
o -

(4 )
 T HE D IATO N I C S CA L E .
5

octave is unmarked also T hus these p ssages so nearly alike

. a ,

in pitch will have di fferent octave marks

,

(1 e s m f
' '
s
'

becaus e i the fi rst c se the d h is within the standard octave ;

n a o

in the second it i s above it T he tenor and bass parts are writt n

. e

an octave h igher t han the sound T hus the passage y .

is written
KE Y F .

s m d l s s m d l s
d d d d d d d d d d
m s s f s m. s. s. f. s
d d P] f Fl d" dl ‘
ll . fl Pl .

It i s obvious that this saves a very large n mber f octave marks u o ,

while it causes no practical inconvenien ce to the singer .

T he sign s f expression such as

o f pp & ,
are , , c r es .
, c .
,

used in the T oni c S ol f as in the S ta ff N otation as well as

-
a ,

the I tali n or E nglish phrases which describe the style f

a o

per forman ce H orizontal lines f placed under the letters to

. a e

express l g t or to tie together several notes that are to be sun g

e a o,

to one syllable like s lurs in the S ta ff N otation

, .
 CHAP TE R III .

TIM E .

IN order to explain the T o n ic S ol f N ot tion f T im e it is -

a a o

ne cess ry to remi d the re d f t h nature f mu ic l rhythm

a n a er o e o s a .

M usic is di v ided by bars i to measures I t i s co ve ie t as the

n . n n n ,

F rench do to use the word measure to indicate the dist nce from
, a

one bar to the next d to reser v e the word bar f th e vertical

,
an or

line which sep rates m e sures T hi s li e i s used in the T o ic

a a . n n

S ol f N ot tio to ma k the m m n m t f every measure but

-
a a n r co e ce en o ,

it is not used at the end f scores as i the S ta ff N otatio

o Th e n n.

do ble bar marks the co clusi

u f sectio s or moveme ts
n on o n n

KE Y I) .

d m s d f l l s
d d r d d f f m
m s s m f d '
d ‘
d '

d d t . d 1. f, d d
In the bove exam p le the pulses (or b ats ) f the musi c follow
a e o

e ch ther i the rder f st o g d weak or c ted d

a o n o o r n an ,
ac en an

u ac t d T he second not h
n c en e . w eak acce t d th e si g n e as a n , an

( 6 )
 TIM E .
7

f this i s a colon
or T he passag eis there fore written as

follows
11 :m s : d f : l l :s

d :d d f f :m
‘

d '
r :
'
m : s s :m f :d
'
d '
:d

d :d t. :d l, : f. d :d

Intriple m easure wh ere the pulses are i n the order

,
of strong ,

weak weak the notation is as follows

, ,

M OZ ART .

d m :m
'
s t : t : t
' ‘
:s
'
t : t : t d '

It will be seen from th e foregoin g exam ples that in the T onic

S ol f N ot tion th e music i s cut up by t h accent marks i to
-
a a e n

p lses or bea t s
u d thus when it is d sired to prolong a note
, an e

beyo d one pul e we ha v e o ly to p lace dash through as m y

n s n a an

p lses as we wi sh to hold it S o lso when there i s a rest n o

u . a

Si g n is re q uired I t i s enou g h th t the space between the two

. a

accent marks i s empty

HAN D E L .

’
O y e h ea v ns .

KE Y C

T he measures we h ave described contain and three beats tw o .

I n the middle o f m easures which co t in four or six be ts there n a a

S
I a subordinate accent which is expressed in th e T oni c S ol f -
a
 TON IC SOL -
FA .

N ot tion by a sh rt upri g ht li e
a o n . It i s called a medium
acce t n
R RE D HE A
. D .

KE Y E D .

ls : l l :s f :m m : r

d :d d :d r :d d : t.
m : f f :m s :s s s

Id :fl d :d t :d s .
°
f
M E N D E L s sO H N .

H o w l o ve ly are t h e m es sen - g er s t hat p r eac h

-
us t h e g o s p el of p eac e .

KE Y G.

{ : sI d : s, f :m r I :d t. :d :r | s . : sl
easures
M named accordin g to the number f pulses they
a re o

co tain T hus tw pul se m asure three pulse measure &

'

n . : o- e ,
-
, c.

E xam p les f other me sures are given below

o a

M E N D E L S SO HN .

KE Y A .

s . ls . :m :d t. ll . : : 1. l l . :f :r t,

HAN D E L . P ast o r a l S y m p h o ny .

In
'

In th e S ta ff N otatio the same piece may be written in 2 gn , ,

o r eve 3 time at the fa cy f the composer I t i s clear that

n , n o .

no such v riation i p ossible in the T o ic S ol f T he pul se or

a s n -
a .
,

beat is the u it d the metro ome mark indicates su ffi ciently

, n ,
an n
IO TON IC SOL -
FA .

A v ery
important part f the not tio f T ime is that wh n
o a n o , e

p ro p erly pri t ed each pulse i the sa m e li e f m h i occu p ies

n , n n o s c
an
q e l l t ua l p
a era I the S ta ff
s N ot tion
a ce .thi s rule
n i s not a

observed

H ere the measures n d puls s occupy very di ffere t s p ace

a e n ,

accordin g to the number f notes they contain T he third o .

m asure i s se v er l times longer tha

e a the second I t is found a n .

gre t ad v
a nt g e in
a the Taonic S ol f N ota t ion t make the -
a o

measures n d p ul es e q u l
a s a

KE Y C
S SZS S S
. . :S S

T he pul s es are me a sured out like the i n ches on a yard me a sure

, ,

a n d the eye r a pidly values the le n g t h A n ex p eri en ced S ol fa ist -

.

k ee p s time by judging th e dist a n ce between the notes o n ly ,

sto pp i n g occasio n ally to look at the acce n t m a rks ; and w hen

th ou g h bad printing the pulses are unequal he is completel y
r ,

put out .
 CHA P TE R IV .

CH RO M AT I C TO N E S AN D T R AN S I T I O N .

T HEn ames f sharpen ed or and flattened notes e as follow s ar .

T he ordi ary S ol f namen -

a o f the note has its vowel chan ged to
e f sharps and to a
or , (pronounced aw f fl ts “
or a

d '
t ta 1 la s fe f m ma r ra

hromati c notes are always written in full to distingui sh them

C ,

from the corresponding diatoni c note E xample .

].B A RN E Y .

S l p ee ,
my p r et - ty o n e, s ee l p .

KE Y C
.

s s s -
l s d
d d i —
z f f m —
f ' —
m
d
'
:
-
:d
'
t -
t ta t -
l :
—
: la s

n ma r r re d
[2 T ON I C SOL -
FA .

KE Y E .

m . re: n . f e: s It . l e: t

the cases just quoted th e chromatic notes do not change

In ,

the key I t is unnecessary however to remind the reader that

.
, ,

modern musi c i s full f brie f entries into related keys F o . or

example

When th e change f key i s as sh ort as this the flattened

o ,

sharpened notes as in the S t fl N otation express it

, a
’

KE Y F .

d :m m
'
:s :n f l : 1 Is : f
d d :d (I : de r :d t. : t. d
m m s l :m f : fe ls :s s
d d : t a. 1. : s. f. : r. l s. : s. d
has bee objected by some that this i s forsakin g the toni c
It n

pri ci p le T he third and fourth no t es in the treble they say are

n .
, ,

te and doh in key E b ; the se v enth and eighth ray and doh a re

i n key C Y t they are written me f h d l b soh

. e p , a , an a , ,
res ec

ti ly O f course this i s true but it is f th e si ger s conve ience

’
ve .
,
or n n

that this i s do e When the ch nge f key is len g thened we

n . a o ,

take one note as a double or brid g e note throu g h which to p ss -

, a

into the new key T he practi cal use f these bridge notes will
. o -

be understood by re feren ce to the following hymn tu e -

n

HE N RY SM A RT .

A n - g el s h o l y, hi gh and l ow l y , S in g t h e p r a is -
es of the
 CH ROM AT I C TON E S AN D T RAN S I T I O N . I 3

K E Y E .
B . t .

f :m l :s f an N T :m r :d r . Im :r

Id :d ml :m
: t. t. r :n r :d I , ‘
s. f. , . f1 31 :f.

Is :s s :s t : d ‘
s :8 I /
‘
s. Id : t.
Id : s| r :d f :N t. Hi I‘m : m. Is . : s.

d :r t. . d Ir :s f “
t. Id :r

d : l . s. : s. Is, : I. t, a
: s, Is. zl l

8 : f f :m Ir :r r s
r Id : f
N . s , : 11 It . : s. , d m. :f.

t, :d Ir :s f : m I m l :s f 9

s. . f , : m. is. : sI s . : sl d : d d : t. 9
-
I

r :d If : t. r :d I d m :m
s i f 3
-
:m
d f l
It . d. : d. |
1

8. : 1. : sl ,
.
, 9

At the change to key B the smaller and hi g her notes belon g to the ,

ol d key the l rger o es to the new T he letter t a fter B shows “ ”

,
a n . , ,

that t i s the new ton e introduced by th e transition ; the letter

e
"f
, later o n b f
”
E shows that f h i s the new tone T hi s
, e o re
“
,
”
a .

is to guide the singer s ear T he change is always m ade at th e ’

.

B
14 TON I C SOL -
FA .

e siest place whether this correspo ds with th e ex ct harmon ic

a , n a

f cts or
a no t T hus at the t
.
, to k ey E th e c h a g e re lly
re u r n , n a

takes p lace at the middle ho d f the measure ; but the si g rs

C r o n e

glide i sensibly from the domi t s v e th f key B j ust be fore

n n an e n o

i to the new domi a t d he ce the ch n g e is writ t e cho d

n n n , an n a n a r

earlier I t will be seen th t the se q ue ce which occurs in thi s

. a n

tune between the third d fourth li es f the p oetry i s hown in

an n o S

it s true key relationship by mean s f the bridge tones

-
o -
.
 C HA P TE R V .

M E THOD OF TE ACH N G. I
T H E pr vious hapters h ave dealt with the T oni c S ol f N o ta ti n
e C -
a o ,

the mode f expressi g music to the eye We now come to the

o n .

T o i c S ol f m th d f t hing music the educ tional arra g e

n -
a e o o ea c ,
a n

m ent f facts n d di fficulties so as to facilitate the pro g r ss f

o a e o

the learner I n the el boration f this method I h ve occu p ied

. a o a

the best part f my li fe I t is the result gradu lly arrived t

o .
, a a

and eve now bei g added to f my own ex p erience and the

n n , o

ex p erience f ma y teachers f the system O aim h bee

o n o . ur as n

to make the be g i ni g and progress f the pupil easy andn n o

n atural to m ke hi s study and practice thorough and ma y

,
a n

s ided ; and to g him clearness o f t hou g ht by directing his

1v e

att tion to the r al n ature o f music

en e .

I n the fi rst p l ce we teach si g ing w ith t th

a h lp f n n ou e e o a

i t m nt
ns r u T his is in order to gi v e the le rner i ndependence
e . a .

I t i s obvious th t to be able to sin g by hearin g the notes p layed

a ,

or by touchi g them on the piano forte i s t reading music at

n ,
no

all ; it is mere p rrot like imitation T onic S ol f singers are

a -
.
-
a

trained to strike their notes by th e u aided j udgment f their n o

ears T hi s j udgme t i s formed upo the place whi ch each sound

. n n

holds i the key and not upo its bsolute pitch or the number
n ,
n a

o f semitones by which it is separated from the last note S i g ers . n

are t g ht t reco g nise a ch racteristi c e ffect in each f the tones

au
'

o a o

o f the sc le called its mental e ffect

a , F exam p le i the foll w . or , n o

i g p iece f u accom p anied recitative in P ro fesso r M f

’
n o n n e a c a rr e

y o se ph
KE Y GD .

Ye s ha l l be cu t in i
p ec
I f m t I
{I l [ :d d
' '

[I |
:s :
-
. s

there i s an i n cisive pierci g e ff ect produced by the seventh o f n

the scale whi ch no other t o n e would give us I t i s not that it i s .

16 TON I C SOL -
FA .

a l ap to a hi g h ote merely f if we l p hi g her the e ffect

e n ,
or ea is
tamer and if we le p lower it i tamer still
, a s

KE Y G9 .

s h al l be cut p iec es .

I :f md ' '

I d d Is
'

{ :s .

KE Y Gb .

sh al l be cut p iec es .

I f ml Is
I d d
'

I
'

{I
:
:s : .

Inthe same way the characters o f the other tones f the scal e o

a re brou g ht be fore the learner ; the bold ess f the to es f the n o n o

t nic chord whe heard i succes io the fi m e ss o f h the

o n n s n, r n so ,

c lm d res t f m the sadnes f l h the desol te sou d f f h

a an o e, s o a ,
a n o a ,

an d the rousi g sound f y n o ra .

T he te cher endea v ours less to t l l the pupil the e ff ect than to

a e

m ke him li s t e f it d feel it f himsel f T he obj ect i s to

a n or , an or .

fix the char cter f e ch tone in the le r er s mind so that it m ay

a o a a n
’

be ke p t there d rec lled B y this m ns the task f sou di g

, an a . ea o n n

a g i v e n me or n mi g a g ive sou d is made ea y by the

n a ,
a n n n , s

recollectio which the pupil h as f the p

n n l f the scale o er so n e o

tones .

I nteaching the scale di g am c lled T he M odul tor is a a r a

“
a

u ed I t e bles the si ger to comp re modes and keys and

s . na n a ,

p s from
as to nother T he ex m p le o p p osite shows a key
one a . a

w i t h its domi a t ( the ri g ht side ) and subdominant ( the

n n on on

le ft) A c m p lete M odulator embr cing the whol r n g e f keys

. o ,
a e a o ,

i s g iven on pp 2 2 A l rge p t f the pu p il s fi st exercises

. 0 , 1 . a ar o
’
r

are i sin g i g volu t ries from thi s diagram followin g with hi s

n n n a ,

voice the pointer o f the teacher .

I t i s o fte said by casual obse rvers th at S ol f

n otes are all -
a n

on a dead level and do not how the rise d f ll f p itch ”

S an a o as

does the t ff B ut by early trai in g the p ictori l M odul tor i s

s a . n a a

fixed in the mind s eye f each p u p il d the otes start into ’

o , an n

thei p laces in th e scale as he looks at them

r .
18 TO N I C SOL -
FA .

T he T im e
ames sli g htly modified in our system will be best
N , ,

seen from the followi g ex m p les n a

s . s : d ,s
'
.m '

T AA T AI t afa T AI t a fa T AI T A A*

T he pupil is taught to sing hi s early exercises on o n e tone to

the T ime N ames T hus he first l ea rn s the T ime a n d then the
.

t un e o f a p iece T his may be considered a n eedless h air s p littin g

.
-
,

but f begi ers it is t so I t i s fou d to g ive co fi d e ce d

or nn no . n n n an

steadiness T he pu p il b comes cert i f the rhythm f t h

. e as a n o o e

musi c as he is f th e sou d f the notes and enjoys slight

o n o ,

variation s f time such as these

o ,

s : te :s Il
T his is brie f outli e f the T o ic
a n o n S o l fa -
method Of teachin g .

I ts chie f fe ture i s th t it sep r t es m

a a a a u s ic f rom its ig n M usic
s s.

T h e se a re o n l y a few o f t h e s im p l est d i isio n s o f T im e v

F o r a c o m p l et e .

t abl e o f G al in s T im e N a m es t h e r ea d er is r eferred t o t h e T o n ic S o l fa T im e
’
-

C h ar t , o r t o t h e w o r k s o f t h e G
al in P aris C h e e S c h o o l
- -
v .
 M E T HO D OF T E A CH I N G . 19

consi sts o f sounds and neither crotchets and quavers nor T ic

, on

S ol f letters make any sound T h e T onic S ol f teacher

-
a .
-
a con

siders the ears and voices o f his p upils as the material upon
which he has to work H e be g ins without any sign s at l l d
. a , an

only i troduces them gradually as they are needed to m ake th e

n

p upil reco g nise n d recall what he knows T hi s i s the principle f

a . o

P estalozzi n d all the educationists who have followed him

a We .

m y sum u p in a f w words the T o ic S ol f m ethod

a e to let t h n -
a e

easy com e be fore the di fficult ; to introduce the re l d concrete a an

be fore the ide l or abstract ; to te ch the elemental be fore the

a a

compound and do one thi ng at a time ; to introduce both f

, or

expl nation and practice the common be fore the uncommon to

a

teach the thing be fore the sign n d when the thi g is a p prehended , a n ,

attach to it a distinct i g n to let each step as f as possible

S , ar ,

rise out f that which goes be fore and lead up to th a t which

o ,

c mes a fter ; and lastly to call i n the understanding to assi s t the

o ,

skill at every step .

*

S ee T h e T ear h er s M a n u al o f t h e
’
T o n ic S o l ta M et h o d an d S tan d ard
-
,
”

C o u rse o f L esso ns,

”
by o hn Gu rw an J . T o n ic S o l fa A gency 8 W arw ic k
-
, ,

L a n e, E C . .
20 TO N I C SOL -
FA

a
b

e
b

e
b

H 1
1
n A 0
L 8

e
b
T HE ST UD E N T M OD U L A TO R . 21

$4 1 .

e
b

e.
b

2? "
H

in:
Q
 CH A P TE R VI .

M E T HO D OF T E A CH IN G H A QM O N Y .

H AR M wheth r ex p ress d i the S ta ff N otation

ON Y ,
e not i e n or , s

m ni festly a matter f key r l ti s hi p I discussi g the mer it s

a o -
e a on . n n

o f any p ro g ression the p it h f t h n tes i s a mere accide t the c o e o n

ri g ht or wron g d p e ds their p lace in the key We may

e n on .

correct a f ult by s ying th F should desc d to E but the

a a
“
e en ,
”

remark has no value beyond the p articular ase to which it i s c

a p p lied it i s not: rule or a gene alisa t ion A d thou g h

a r . n

musician s commo ly talk f harmony i this w y it i im p o sible

n o n a , s s

t h t they s h ould th i k
a f it except in relation to key H e c the
n o . n e

fr q ue t use in te chi g f the term s subdomi a t leadi g ”

e n a n o n n , n

n ote ,
se v e th
”
mi or ni th &n l l f which express th t
,
” “
n n ,
”
c .
, a o a

relatio ship f to es which i s i depe de t f their p itch S o f

n o n n n n o . ar

we mu t h v the consent f very musicia

s a e I it t easy to o e n . s no

go a ste p f ther d p ercei v e that the T onic S ol f N otation

ar , an - a ,

w hich is a otation f key rel tionship d o ly by i f re ce a

n o -
a an n n e n

n otatio f p i t ch is s p ecially ad p ted f ex p ressi g harmo y ?

n o , a or n n

We will first ex p lai the T oni c S ol f otation f h rmony andn -

a n o a ,

then the method f teachin g the subject o .

M a y celebr ted teachers f harmony ha v e felt the shortcomin g s

n a o

o f the syst m f figured b sses in that the fi g ures do not how

e o a ,
S

the t f the chords

r oo s o p on which the l w s f pro g ression so ,
u a o

l r g ely de p end O or tw (es p ecially G ott f ied Weber and

a . ne o r

G ersbach ) have used f their p upils a system f chord names or o on

the s m e p ri ci p le as those which a fter s v eral years f i q uiry

a n , e o n

and ex p erime t I decided to adopt f T o ic S ol f i t T h e

n , or n -
a s s .

nomenclature is v ry imple We call each chord f the scale e s . o

by its S ol f initial letter p ri ted i ca p itals to disti guish it

-
a , n n n

from the note f the scale F exam p le

o . or
 M E T HO D OF TE A CH N G I HA RM ON Y . 23

C E . . HOR SL E Y.

KE Y G .

n m r :n f :
—
. f In an r :d Id :r t. —
. t. Id
s d t. :d l .:
—
. l . I1. : d t l . : l s .
—
. s, IsI
d s s :s f : —
. r d :s s zm f zf r . r m
d d -
. d s . :d r :
-
. r Il I :d 5 1 : ll If . . s. Id ,

D D — . D S D R -
. R L D S L F R S — . S D

C hords in the mi or mode ex p ressed by it lic ca p it ls T h e

n a re a a .

p sitio s f a chord in relation to the bass

o n o ex p ressed by the are

letters b & fter its

a, me T he direct form f t he chord
,
c, c .
, a na . o

is its a p sition (the i s in p ractice omitted ) the first i v ersion

o a ,
n

its 1 p ositio and so on A di ssona t p ssi g to e i s shown

9 n,
”
. n a n n

by the l t t p ; a consona t p ssi g tone by the letters p A

e er n a n o .

p assin g tone which does not p ass but retur s to the ote i “
, n n t

st rts from is known as a waving tone T he mi or domi t

a , . n n an

is k own as M
n T he additio f a fourth seventh or ni th to a
“
. n o , , n

chord i s shown by a fi g ure t the u p p er le ft ha d side f the chord a -

n o

na me R S & T hese rules will be best u derstood from the

:
7
,
4
, c . n

followi g example n
L u t h e r a n C h o r al .

d '
:d
'
t l :t . l :

d . r :m n :mr . d :

l : l 1 : se l :

:m l .:

i i IL
so

F : D bIR :D L : L e :M M :

2 ? 1 0 ?
1 ?
2 P
24 TON I C SOL —FA .

We have lready shown (p

a ) th t brie f e tri e i to rel ted . 12 a n s n a

keys are p d f ex con v e ienc in the old key by hel p f

r es s e
’

or n e o

altered otes B ut in nalysing h rmony by mea s f the chord

n . a a n o

n mes th e h rmo ic truth is lways ex c t ly gi v en

a a n a a .

I the T o ic S ol f system a cle r disti ctio is made b etween

n n -
a a n n

chromatic d tra sition l chords betwee fl ttened or shar p e ed

an n a ,
n a n

n otes which thr te to ch g e the key but d in

ea n ffi m in g it an en re- a r ,

an d those which m rk the p ssa g e into a n ew key a T his d i t i a . s nc

tio is dr wn by P ro f s or M f
n a i n his theoretical works
e s a c a rr en .

F orex m p l i n the followin g pas age w te ch that there are

a e, s e a

two tr sition s fi rst to B flat and then to C

an ,

K E Y F .

s d : l s : f B
J
d t a. l :d t : t. Q
I I

s f : fe s :s M

n. f. : r| s, : S. Q

On the other ha d we teach that wh en the s me melody i s

n a

h rmon ised below the fl t d natural s do n t e t blish a n ew

a as ,
a an o s a

key and are p urely chrom ti c

, a

K E Y F .

s d : l Is :f m :

d t a. l l
. :d Id : t. d
d r :r In :r d
m. : s. 1 d

T hi s di sti nctio n which i s carried out throu g h all the studies o f

,

our p upils le a ds them to t a ke a broad a n d con n ected view o f

,

music to re g ard it as a series o f p ro g ressio n s and not a s isola t ed

,

chords We h ve heard such a passage as this spoken

. a of as
e ndin g i n the relative mi or n

KE E b
f
Y .
i

f : m I1 s :f
'

n :s s

d d : d Id : d l .: tl s
a

s f :s Id : d r :r m
d t a.
. r . : s. l. .
 CHA P TE R VII .

M E THOD OF TE AC H N G I T HE S T A FF N O TAT I O N .

T HO S E have been trai ed upon th e E stablished N otation f

w ho n o

music w ill atur lly i q uire what are the rel tionships f th e
n a n a o

T onic S ol f to th e older N otation I the new N otation intended

-
a s

to supersede the old and what do T oni c S ol f ist do when they

,
-
a s

want to learn the S ta ff N ot tion a

T here is no ri v lry betwee the two systems P rej udice still

a n .

li gers here d there but musical men are fast comin g to see
n an ,

that music is a thi g which lies behi d all systems and otation s
n n n ,

and that thi s or that system is to be valued accordin g as it

teaches music thorou g hly d well We need not troubl an . e
ourselves with any idea f disestablishin g the S t ff N otation o a .

A part from its m erits its mere establi shment i s an ar g ume t

, n

for its preservation and sort f arg ume t whi ch has especi l
,
a o n a

wei g ht with E n gli shm en N T onic S ol f teacher i s ever so . o -

a

foolish as to try to p rej udice his p upils agai st the S ta ff N otation n .

We stro g ly dis pprove f ed c tional reasons of its bei g

n a , or u a , n

introduced until the learner h m stered the facts f music as a o

T ime T u e M odulation t h M i or M ode &

, n , from our N ota, e n , c .
,

tion but the best f

,
p upil s are al w ys e g er to p ass on to
o our a a

the S t ff N otation when t h p roper time arrives T he i t d

a e . n ro uc

tion f the S ta ff N otation i s p os t po ed merely that the pupil s

o n
’

p ro g ress may be the sou der in the end and t from y desire n , no an

to k p it from him L et us suppose a pu p il who is able to sin g

ee .

at si g ht from T oni c S ol f such music as a H andel chorus f -

a o
moderate di fficulty wa tin g to learn the S ta ff N ota t ion I t has
,
n .

o ften been asserted that our system leaves our p upil hi g h d s an

dry when they have learnt it and shuts them ff from the i , o un

v rs l la g u ge f the art B ut a pupil f this sort has very

e a n a o . o

little to learn H is voice obeys hi s ear his eye reports to hi s

.
,

m nd the n otes f the printed pa g e he k ows how to use hi s

i o , n

voice and to sin g in tun e What he h to learn are the ig . as s ns

o f the S ta ff N otation H e i s in th e positio f an arithmetician

. n o

who wants to learn the sign s f algebra or f n E n g lish veteran o , o a

who has passed into a foreign army and has to pick up the new
 M E T HO D OF TE A CH N G I T HE S T A FF N O TA T I ON . 27

word s f command A l l that he has learned is f u se ; what

o . o

h e has to do to ada p t him sel f to a new n o m n l t

1s nd e c a u re a

symbol sm i .

B ut th r is no need to con struct a supposed case f we

e e , or

can i n t h i s m tter appeal to experien ce E very year we are

a .

tur in g out eaders f the S ta ff N otation by th e th o usand and the

n r o ,

test imo y f choirm sters all over the country is that S ol f i t

n o a -
a s s

m a k e th b est readers T he intermediate S ol f certificate can

e .
-
a

be t ken with or without passing a test in sin g ing at sight from

a

the S t ff N tatio n B ut it is found that two thirds f the many

a o .
-
o

who have taken this certi fi cate h ave elected to attempt the S ta ff
N ot tion test and h ave passed it
a I n the hi g her certi fi cates th e
,
.

S ta ff N otation i s still option al but the proportion who pass in it ,

i s so great that it i s the exception to omit it When harmony .

and composition has been learn ed on our system it i s i n the same

way quite easy to ex p ress one s knowledge in the S ta ff N otation ’
.

N o one will sus p ect M H l l h examination in the T heory o f r . u a

’
s

M usic under the S ociety f A rts to be in

, y degree tainted o , an

with T onic S l f i m but close upon two thirds f those who

o v
a s ,
-
o

have passed it during the l st ten years have been T onic S ol a

f i ts
a s I n the still hi g her departme t s
. f knowled g e we m ay n o

re fer to those gentlem en who h v e recently proceeded M s B ac a u . .

at C a mbridge wh o are S ol f i t T hey think out their harmony

,
-
a s s .

i n the T on ic S ol f letters and m ake a rough C opy o f their e

-
a , ex r
cises i n the N ew N otation .

A s there fore it is only ig n that the practised S ol faist h

, , to s s -
as

le rn in passi g to the S ta ff N otation we teach him th e sig s

a n , n

by w iting T he best way to learn the ch aracters f a n w

r . o e

alphabet i s by writin g them and so we g ive him graduated ,

exerci ses in writing from T onic S ol f N otation i to S ta ff N ota -

a n

tion and i , i When he ha the sig s at command he

v ee- v ersc . s n

can p roceed to si g ht readin g from th S t ff N otation to hi s -

e a

he rt s content and when he has arrived at thi s point h e is con

a
’

s id d capable
er e f lookin g a fter himsel f I n practice th e T o i c
o . n

S ol f N otation i s concurrent with th e S ta ff N otation and hel p f l

-
a , u
to it not antagoni sti c
, .
 CHA P TE R V II I .

T HE M IN O R M O D E .

W E regard th e minor m ode as historically developed from the old

G reek and church mode on th e sixth f the maj or scale whose o t es o , n

a re the unaltered intervals o f the relative major We teach our .

pupils that the sharpened seventh has come i n with the growth f o

h rmo y in order to make a satis factory dominant chord I n its

a n , .

origi al unaltered form the atural seve th i s still used as a pass

n n n

i n g note and as the note f a chord when the bass mo v es down by

, o

ste p T he shar p e ed S ixth (which note we call b h) follows

. n a

naturally from the alteration f the leadin g note d was intended o , an

to avoid the augmented second in passing to or from the leadi g n

note B ut the sixth i s still used in its natural form producin g

.
, ,

when followed by the leading note a pathetic e ffect i melody , n ,

an d forming esse tial part o f the subdomi t chord in a full

an n n an

close We de y th t the minor mode has any title to be con

. n a

s id d a k y i the same way as the maj or fi rst because o f the

er e e n , ,

variable ess f it scale second because its hie f practical use in

n o s , C

c ommon music i s as an ap p endage to its relative m j or A com a .

position strictly i the mi or from be g innin g to end i s very

h n

rarely to be met with T here is a constant passin g to the relative .

m j or as the stron g er key

a .

T o a T oni c S ol faist there fore the minor mode i s the l h

-
, , a

m ode H has bee already tau g ht that th e sixth f the m j or

.
”
e n o a

s c le h a mental e ffect f sad ess and this fl t i hei g hte ed

a as o n , e
’

ec
'

s n

by its bei g li fted to t h importa ce f a to ic I t is explai ed

n e n o n . n

th t f p urpo es f h m y the seve th from l h is g ener lly

a or s o ar on n a a

s h r p e ed
a d f n pur p oses f m l dy the sixth from l h i s
, an or o e o a

sometimes sh arpen ed T hus the minor mode flows e sily out f . a o

the relative major A minor p ssage i s named from th e key f

. a o

( 28 )
 T HE M IN OR M OD E 29

its relative maj o r with th e additional words lah i s C

, , , G, P
II
,

& c as the case may be T he followi g i s an example :

.
,
. n

D r . CR O T CH

K E Y B .

f :n r
II
s
I l . t :d
'

I
d '
: t
I d '
: I
l\

T he S ta ff
ot tion itsel f an hi stori c l g rowth supports this
N a ,
a ,

V iew by givi g the same signature to a key and its relative minor
n .

H ere i s a pass ge f example whi ch i s strictly in th e key f C

a , or , o

m inor We give the T onic S ol f interpretation at the side

.
-
a

KE Y E 7 . L ab is C .

l :n f :r n

d it] d ir t.
n :n l : 1 se

I, : s. f. :f In

T he only altered note here is the B d this exactly corresponds , an

With the T oni c S ol f N otation in which the o ly altered note is

-
a , n
e.
s I f however with som e m odern theori sts we regard C maj or
, ,

and C minor as one and the same key th e min or scale bein g a ,

mere m odi fi cation o f the t n i major we should have to write the o c ,

passage i n both notation s as follows

KE Y CM in o r .

d
I ' '
na :s la : f m
na na : r na : f -
g
t

s :s d '
:d
' e
e

d : t a. l a. : la m

H ereinstead o f on e altered n ote th ere are eight I t has been .

suggested by several critics th at we should write m i nor music in

C
3 0 T ON I C SOL -
FA .

t his way tre ti g th e third m inor sixth and mi nor seve th

,
a n , , n

as ccident ls
a d th e shar p sixth and seventh as diato c
a , an ni

n tes B ut as a fact n o teachers have ever attem p ted to S ol f

o .
, ,
-
a

th e minor mode as if it were an alteration f the tonic m jor n d o a ,

a

the theorists who h ave urged us to d o so are t them elves in no s

th ehabit f S ol f ing and are t sensible f the d ffi culties it

o -
a ,
no o i

would in v ol v e I t would i n fact be easier to dopt the modern

. a

It la ian me t hod f the fi xed d and easier still to g i v e u p S ol fain g

o o, -

Il t g th
o tha to adopt thi s proposal T he old E n g li sh practice
e er , n .

se W bb S ol feg g ios ) was to call the key note f the mi or

e e s
’
-
o n

mode l h n d this plan is pursued where v er in E g land d

a , a n an

A m rica n d F rance S ol faing with the movable d i s practised

e a -
o

from the S t ff N otatio a n .

T he di ff re ce between u s and th e theorists we have re ferred

e n

to is however a sur face one T here i s no dis g reeme t about

, , . a n

the rules f harmo isin g minor pass g es no q ue tion to th e

o n a , s as

beauty f the mi or mode We cannot be char g ed with co fusi g

o n . n n

the m j or with the mi or f appe li g to results we fi d our

a n , or a n n

si gers more co fi dent in minor music and our harmony students

n n ,

as cor ect in their use f th e two scales and in their d i im i

r o scr

n tion between them as avera g e lear ers n the other system

a n o .

S ome writers g so f as to obj ect to the term relative minor

o ar
“ ”

altogether and speak f it as delusi v e d false Whatever

, o an .

l n g uage we use however we must all a g ree that i major mu sic

a , ,
n

the mi r key f the sixth i s entered at l ast three times as o ft n

no o e e

as the mi or key f the first a d conve sely in mi or music the

n o , n r n

m j or key f the third at least three times as o ften as th e maj or

a o

k y f the fi rst
e o Whethe r in v iew o f these h bits f music the
.
,
a o ,

w rd rel tive may be fairly a p plied to one scale more than the
o a

other we leave commo sen se to decide I the T o i c S ol f

, n- . n n -
a
method a di ti ction i s made between modulation and transition
s n .

M odulation i s used in its old sen s e o f change o f mode and ,

transition f change f key or o .

 CH AP TE R IX .

T HE M E N TAL P R O CE S S IN I
S N G N G. I
T HA T singers do not produce their notes by passi ng mech anically
from interval to interval but that their ears are constantly remem
,

berin g and expecti g the tonal relation shi p f the harmony is

n o ,

proved by the m i t k in cl ssi c al oratorios & whi ch may

s a es a , c .
,

commonly be heard i undertr ined choirs We g ive a f w cases

n a . e ,

all f whi ch we h ave ourselves heard and n oted in per forman ces
o

of more or les s celebrated choirs .

In th e chorus G lory to G o d from H andel s y h a the

“
,
’
os u ,

music though in the si g nature f D comes to a decided c l ose i n

,
o ,

G and then returns suddenly to D

T h u n de s ,r h e av
’
n t h u n d er s t em p est s r o ar , a n d g r o an s th e g r o u nd.

A h

T he C sharp in the bass at the word g roans wh ich announces

, ,

the return to D is approached by wid le p and a number f

,
a e a , o

the voices sing C natural I n the T onic S ol i N otation atten .

-
a

t ion i s called to thi s w note by the han ge f key and the se se

ne C o , n

o f“
mental e ffect which the singers possess would not a l low
”

them to sing the piercin g te as a f h a

KE Y G D . t .

s . n 8 Id
'
. s :s . s s 1
r
'
Ir
'
: -
. r
'
t
T h u n d er s , he av
’
n t hu d n er s , t em p e st s r o ar , a n d gr o a n s t h e g r o u n d .

n . d :d In . n :n .
,r n “i
f If -
. f n

d ‘
. s s Id
'
. d '
:d
'
t d ' “
I Ir
'
: —
. t r
'

T h u n d er s , h e av
’
n t h u n d e r s , t em p es t s r o ar , a n d g r o an s t h e g r o u n d .

11
(I d. :d Id d d I l
:n s : r
£ : se
° -
. . .
3 2 T ON IC SOL -
FA .

T he ollowin g p ss g e from H e se t a thick d rkness

f a a n a

(I sr a e l) is ex m ple f the co fusion f maj or and mi or

an a o n o n

TE N O R . F M in o r .

E v n
’
d ar k n es s w i h ch m igh t b e fel t .

BA S S .

o v er al l t h e l an d ,
T he first phrase i s in F minor and the tenors in t a ki n g up th e ,

second p hrase rem a in in F mi n or a n d si n g th e A that i s m arked

with a n a sterisk f l a t i nstead o f na t ur a l T he T oni c S ol fa i s t .
-

a s sociates syllable with i n ter v a l a n d would never sin g a whole ”

to n e betwee n f a h and m e a t thi s p lace

KE Y A . L ab is F .
F . t . m l
. .

I I :
se
t r
'
: f I . f :f . n d
BA S S . E v n
’
d ar k n e s s w h i h m igh t b
c e fel t
. t. se. I
o - v er a l l the l an d ,
In the chorus A n d with the blast (I l ) the music (thou g h
“
sr a e ,

inthe si g nature f D ) has been f ten or more bars I n G d a

o or ,
an

ch nge to A i volves a C sh arp i n the tenor whi ch is sun g

a n ,

natur l a

as an h p
ea

th e w a - t er s w er e g ath er ed , t h e w a t er s w er e g at h er ed , t h e

t h e d ep t h s w ere c o n g eal ed , t h e d ep t h s w er e c o n

T oni c S ol -
fa
KE G A t m.
'
) . . .

l
3 I s :s s

d t. l d d: d d: d
. . . . n . s.
i . n

. s n :d . d I l i
s. : s. . s n :d . d

H ere the ch n ge a of not tion calls atte ti

a n on to the n ew note .
34 TON I C SOL -
FA .

is q uite commo in amateur p er form ces f the oratori o to

It n an o

hear a co fusion f ton e at the p ints marked with an asterisk

n o o .

T his error i s not caused by chan g e o f key but apparently by the ,

f ilure f th e S ta ff N otation to force the si g ers to remember at

a o n

what part f the scale they are and where the semitones come
o , .

I T o ic S ol f N otation the use

n n -
f a name fo each scale tone
a o r -

helps the singers to fix its p lace

KE Y BI
) . L ah is G . f .
E D L . ah is C .

des
I n. . :n . r e .
, ba : n I
L et H 1m d e lI -
v er hI m ,
se1 l rn
. t. :n . r Id .
, t. : l ,
in him , l et H im d e li v er h im .

1i
t. n I n . : 1 . l
in h im , l et H im d e
n 12m
,
In h im ,

a
s "
x
Id l It
' ' '
. t :n
‘
. r .
, t I . :r . d '
:s
l et H im d e l i - v er h i m , l et H im d e li v er h im .

x
n . : 1 . s f .
, n :r
l et H im d e li- v er h im .

T hese quotation s are su ffi cient to prove the point that the maj orit y
o f singers what e ver th e ories they m ay hold as to the mental p ro
,

cess by which they produc their tones do really as a f ct depend e , a

upon key relatio shi p and that wh en this relationshi p i s abruptly

-
n ,

disturbed or mome tarily uncertain they betray their menta i n

habits by keepin g to the old key .

We gi v e two examples f remote changes f key during th e o o

course f a mo v ement wh ich a p pear fi t iti l y com p lex i th e

o , c ou s n

S ta ff N otation throu gh the crowd f necessary ccide tals T he o a n .

more imple T onic S l f version i s given under each

S o -
a

H AY D N . C rea t io n .

ed fl ed h ll e
’
s sp i- r it s bl c k a in t h r o n gs .

KE Y E b . L ah is C .

1 :d
'
n
'
:d II :n d I
ed fl ed h ll e
’
s sp i - r it in t h ro n gs .
 T HE M E N TAL P R O CE SS IN I
S N G N G I .
35

W it h su d -
d en t er ro r t h e
y ar e stru c k , T hou

tak
’
st t h e ir br ea t h a - w ay , T h ey v a- n s h i in t o d u s t, T hou

tak
’
st t h ir b
e reat h a w ay , T h ey v a - n is h in to d u st .

d t. t :d
—
n. r . . r n

W ith su d d en t er -
ro r t h ey a re str u c k ,

n d f -
. n: r d f d; S] )

t ak
’
s t th ir b e r eat h a wa y , Th e
y va -
n is h ih t o d u s t , T h o u I
-

r s
. d f KE
. . Y E bb . KE Y Gb .

d
n : se. d N
d SI S | 1t 2 . t2 (I; 2

tak
’
st t h eir br ea t h aw a y , T h ey va n is h in -t o d u st .

the se cases the com p lexity is n t i the m usi c itsel f T he

In o n .

com poser has not thou g ht it worth while to cha ge th e si g ture n na ,

an d the pass ge becomes a puzzle to ordi ary eyes thr u g h bei g

a n o n

writte in a distant key which re q uires a crowd f si g s d

n ,
o n an

countersig s to adj ust the st ff relationshi p f t h otes I n th e

n a o e n .

I onic S ol f N otation th e key i n all case dir ctly st ted d

’
an
‘

a IS s e a ,

the most remote transitio becomes clear E xamples f thi s so t n . o r

m ight easily have been multiplied from standard works .

 P R A CT I CA L E X E R CI S E S .

T pla which we ad pt f teaching th e S t fl N otation to

HE n o or a

T o ic S ol f i t will be here adopted f teachi g the T i

n -
a s s, or n on c

S ol f N otation to those familiar with the S ta ff n amely a serie s

-
a , ,

o f graded exercises in converti g music from one not tio i to n a n n

the oth er T he easier process f tra slati g from the u f mili r

. o n n n a a

into th e familiar (from T onic S ol f into S ta ff) i s placed first ; - a

then the Converse process f tran slatin g from S ta ff into T onic o

S ol f -
a .

CHAP TE R II .

T RAN SL A TE into S ta ff N otation treble cle f a crotchet to every

, ,

note :

I .

KE Y E b . G e m an r C h o ral .

f d f
I
s d '
t : l s n n r r n n r s

f f d
a
s d '
t l s r n n r r

2 .

KE Y F . R ev . S ir F A . . GO RE OU SE L E Y

d d r

s, t, d r n d f s l l s f n s d r d

T ran slate into S ta ff N otation bass cle f a minim to every

, ,

note

K SA Y B a ss o f Hym n -
ti m e N o r fo l k

d" d t "d 11 f| (1 d t z dI f|
I
SI
‘
SI ”I SI , l , r|

n r d t, r su d.
 P R A C T I CA L E XE R CI S E S .
37

T ranslat e i n to S ta ff N o t a t ion in ocal score a crotchet

, v , to
every o t e n

4
KE YE . H .
J GAUN T L E T T
. .

n f s d '
t l s s n f r d r r n

d d d n r f n r d d t. d d t. d
s f n s t d '
s s l s n l s s

d r n d s r n t. d f. s. l. f. s. d
T r a nsl a te i n to T on i c S ol fa N otation usi g no other acce t
°

-
,
n n

ma ks th n the bar
r a

B ass of Hym n -
tu n e by H E N RY SM ART .

R RE D HE AD
. .

R RE D H E AD
. .

B a ss o f G erm an C ho r al .

CHA P TE R III .

TR A N SL A TE into S ta ff N otation treble cle f a crotch et

, , to a
pulse
H AN D E D . S am so n .
"
'
t d
38 TON I C SOL -
FA .

T ra n s l ate i nto S ta ff N otatio n, treble cle f a minim to ,

L ‘
.

pulse
KE Y C . D r. GA U N T L E T T .

In :d s :n I1 : 1 s —
ln
'
:r
'
d '
: t II :d
'
d '
: Is

Is Id
' '
In :d
'
:f I1
' '
Id
'
:s l :n n —
: t d :s r :
—

T ra n slate into S t a ff N ot tion treble cle f a quaver to a

a , ,

pulse
G . A . M A CP A R R E N .
j o sep h .

Id d d If —
:m n : I
— —
n : :
-
: : s.

T ran sl a te into S t a ff N ot tion treble cle f a quaver

a ,
‘

,
to a
p ulse :

13 .

KE Y C . G . A . M A CP A R R E N .
“
T he L ad
y of th e L ak e

I
'
:d d
' ' ' ' '
d
'
s
°
f ‘
:n n :r : t : l s
—

I
'
:d d '
'
d n

T r a n sl a te into S ta ff N o t tio a n, treble cle f a quaver to a ,

puls e
HA N D E D . S am so n

s : f . n :r . d t. r . : f :n

T ran slate into S ta ff N ot tion treble cle f a crotchet to

a , ,
‘

a
pulse
I S O

KE Y G . HA N D E D . S a m so n .

. s :d . r d . r :n . f

:d Id
'
n . s . t . s, f : n . r , d s

M E N D E L S SOHN . E l ij ah .

. n Is , s r
'
Ir
'
. t : s . f ,f n :n
II
 P R A C T I CA L E XE R C I S E S .
39

HAY D N .
“
Cr eat io n
" .

s
'
I

I 8 .

KE Y F . H AY D N . C r eat io n .
’

n :f :r Id . n . s :
-
. t If

t. (1

T ran slate th e followin g passages into T oni c S ol -

fa N otation
BOY CE .

TE S CH N E R .

TE S CH N E R .

E . P RO UT .

M E N D E L S S OHN .

D r . C RO FT .

M OZ A RT .
4 0 TON I C SOL -
FA .

KR I E S SM AN N .

CL A R KE -
W H I T FE D D .

HAY D N . C r e a t io n .

M E N D E L SSOHN .
“
E l ij ah .

ROS S IN I .

HA N D E D . S a m so n .
4 2 TO N I C SOL -
FA .

T ranslate into T on i c S ol -
fa N otation by the use , of chromatic
notes
D r . W . H AY E S .

J OSE P H P RI N G.

T ra n slate i nto S ta ff N otation keeping the signature

, of E
throu g hout
39
KE Y E .

' ' '

d . l :s n :r .
,r d
d :f f n

n . re : n :t t d '

d :d :s . ,s 1

T ran slate into T oni c S ol -

fa N otation , sh o w m g the transition s
by the use of bridge notes
-
:

B . ST .
J B J OUD E
. . .
 P R A C T I CA L E XE RC SE S I .
43

CH AP TE R V .

4 .
1 W R I T E the T ime names f E xercis e 2 9 -
o .

42 . W rite the T ime names o f E xercise 3 1 -

.

CHAP TE R VI .

43 the
. fi rst f our
CO P measures
Y o f the E aster H ym n printed ,

a t the be g in i g f C h pter I I I an d write under the bass t h e

n n o a .
,

T o i c S ol f C hord nam es and positions

n -
a -
.

44 T ranslate
. i to T o ic S ol f N otation J oule
n s C h t n -
a ,
’
an .

E xercise 4 and write u der the bass the T o i c S ol f C ho d

0 ,
n n -
a r

names d p ositions m arking al so th e discords N ote th t the

an , . a

third i v ersion f a discord i s called th e d position

n o .

CHAP TE R VII I .

T RA N SL A TE into S ta ff N otation treble cle f a , ,

m inim to a
p u lse
J . KE N T .

t . :d r f . n :r . d d : t. d

46 .

KE Y Ab .
l ah is F .
J KE N T
. .

se : 1| t| tl l lg 1|
II
P] | : o l : S e|

T r a nslate i nto S t aff N otation treble cl ,

e f, a crotchet to a
p u l se :

YE b l
47
KE ,
ah is c . R E AY
l Id i ba se zl It d t I
'

I I I
— —
n
'

: n :r . : :r .

48 .

KE C l ah is A
Y HE N RY SM A RT
_
,
. .

: l se 1 : t Is b : se l In l l se It
'
I
I
d
I II
t
I
e a —
. . . : se : . se ,
: :n 3
1
44 T ON I C SOL -
FA .

T ran slate into T oni c S ol - fa N otation

L A T RO B E .

HA N D E D .

CHA P TE R IX .

T RA N SL A into S ta ff
TE N otation with the si gnature
,
of E fl at
(not C flat ) throughout .

G A . . M A C FA R R E N .
“
J o seph .

:t
'
1 '
. d d '
 ’

N ave /[0 s Or ig in a l Octa v e E d ition s of

ORAT ORIOS CAN T AT AS M ASSE S OD , , ,

F AN Z R A BT J S BA CH — co n tin u ed
I ST R B LLS (F L V OI S) GO TH W ITH SHOUTI G
. . . .

M N G OD
E M A
LO W ORL
E E U P
RI GTI ( ITTO ) (S
E E CE N
SP O L -P A 6 d) G OD V H T
G O S TI IS B ST (S
so E D
U R ( ITTO )
N M E D E D
’
S M D 6d ) T HE
J SUS w W ILL W R IS T H
M E
F S FROLI
M E D E OL -F A
, .

’
T HE ( ) E
J SU RI L SS T R SUR
N o
OL IT ( ITTO ) (S
AY C D IT T o E P A E E E
6d
,

T HE G C O D —FA , E
M G IFI T
P
S IL V R LOU ( ITTO )
D E N Y D .
, CE E E A E
T HE C
M SS I OR
A N CA
W T R F IRI S ( ITTO )
E D D
T HE B
M ISS BR V IS A
A IN M
W ISHI G S TO
A E A E D N
T HE (D IT T o )
S IRIT W H V I SS
N N E A E IN
M
0 LIGHT E V RL STI G
Y P AS IN E A N E

J H AD AM S
P SSIO (S JOH )
E A N

SU R (S
. . .

T HE
P SSIO (S TTH W )
A N T N
FA , 6 d )
'

A D AY I N M M E OL -
.
.

T HE M A N T
D ITTO ( A B RI G US UL S )
. A E

T
’
S P
T HOU G UI O F I SR L
D E D As E D AT T A
A D AM S .

ROSS O F C HRIST (S
. .

D E
W H W ILL G R LL S IRIT
AE
T HE C OL FA , 6d )
H OL C HIL (S
-
E N OD E CA M Y P
T HE FA , 6d )
R I BO W OF P
Y D OL -

T HE E A CE
BAKE R
A N
A S
O U IO RV I
. .

B A G U TT E R C M M N N SE CE IN E
ISS B T M RI
. .

M A V I R GIN C
GLISH ) (F L V OI S )
A D E E A A A E IN
B A RN BY
,

( E E M A CE
ISS S A LB O ( GLISH )
N E

R B K H
. .

M A D E A N CT O AN E N E E A (S O L 9d )
OR IS KI G (P S L
-P A, .

T HE L D N A M 9 7) (SO L -
P A,
THOM AS AN D E RT O N
T HEOR N B RO N
ON R D B A RN
W K OF H S RUS (S
M AN A
L E A E S
4d BRI L D
.

T HE E P E OL P A, )
Y UL T I
RE C -

T
.

HE D A AY
E D E

J H AN GE R J F BARN E TT
O G OF TH K SGI V I N G R IS RI
. . . . .

A S P A AD E AN D T HE P
I TM
N AN E
T HE AN C (S )
ISI G O F Z RUS
E N A RI N E R OL - FA as
W I A RG E T
.
,

N T HE RA L
W ISHI G B LL (F L VOI S )
N
SS FL T
. . . A A
M B T HE N E E M A
D ITTO ITTO
A IN A E CE

( ) D SO L -
FA
P A RM E S
Z KI H
. .

HE E
R BS
A
BE E T H OV E N
L OS R US VO G
.

ST BA A
JOH GE LIST
N A
A CA SE
E V
P
.

M A AN D
HOR L F T SI (
A R P E O YA E
ST N T HE AN
T HE C d ) SOL
.

HOR L S HO
A AN A A -
FA , 3 .

T HE C
A D A R N O TT ITTO ( V O L OR IOD
A YM P N Y

B LL O F C D ITTO
T HE P )
.
.
CA T
.
N
T HE A AD A RM I L HA N (S O L 6d ) ( SOL
Y OU G L O HI V R (
P A, 1 8
)
-

CO U IO VI
. . -P A
N C N A SOL -
P A, M M C N N SE R
GSS I OR D V I W IL R SS
CE IN
E N E D ; , A D IN T HE D E N E
E A SP A M C
SS
A IN

IO
. .

E M IN D
K T HOU TH U T
N D YM A

I SI S
N
T G M E E AS L IV E D ST HAST
OU T O F LI V S ( HORUS S
HE P E , , O D E P AR E D
M ) O C SOL 6d
R UI S O F A TH S
N E E -
P A,
A S T O RG A
, .

R IS USI
N E N

TBT TR
.

S A A M A E T HE P A E OP M C

J CL B A C H A H BE H RE N D
I WR STL R
.

I G RS F RO
. . .

E E AN D P AY (S O L -P A , 2 d. ) S N E M T HE SE A (S O L -
FA , 9d .
)

J 8 E ACH
TRO GHOL SUR
. .

HORUS S
.

WIL F RE D BE N D AL L
(C G O F BR G Z ( L
.

A S N D E E O N L Y,
A L FE M
E N D
) Vo
OF S (F L VOI S )
E E E N A E I CE S
S d C
F R I (S
O D -
FA , 1 n
T HE L HAL O T T
D ITTO
AD Y E M A E CE
B 4d
BI W ITH
E N OT A A D OD - FA , o
(S )
.

OD -P A
-

BL SSI G LOR
D E U S
I
. . v

E G
C H IST S O R TORIO
N Y, A N D O
,

KA RE L B E N D L
D ITTO ( RTS 8
M A
T RS RIT S R V G (F L VOI S )
R A N .

P A 3 : 4) H W A E -
P E
’
E E N E E M A E CE
 O RA T O R I O S , & c .
—
Co n tin u ed .

SIR J UL I US BE N E D I CT s WIL L IA M CA RT E R
SSIO USI RO L I
.

P A M C P M ST I P AC D A
TG R
N .

SI P E
C H E RU B I N I
3
T HE L
.

E
E
E N D OP ST . CE C ILI A (S O L -
P A, IS 6d .
) 2
FOURTH SS C M A
R QUI M SS C I OR (L TI GLISH )
IN

G E O RG E J BE N N E TT
O M SS
E
I OR
E M A M N A N AN D E N

ST R H
. . ,

S E C N D A IN D
T HIR M SS (C ORO TIO )
M N "
E A E YM N I .

SIR W STE R
D A N A N
N D AL E BE N N E TT
I T R TIO L XHI B ITIO O T CH P P I
.

E E . . .

QU IS )
N E N A N A N D E
T HE (S M P A,
WO RI (
AY E E N OL -
.

T S
HE M AN OP AM A A SOL P A,

G R BE T JE M AN N HA M I L T O N CL A R KE
RU S VOI S (O R TT ) (S
.

O G W ST R M
. .

D M AN D d)
H OR I H RR (S OL F
CE P E E A OL -
P A, 9
T S T HE
.

HE N OP E E N E N
N P P E A 9d )
I P I I (O R TT ) B OTH N OT
Y ~ A, .

W R BE X F I E L D P
TIO S
E P N T HE P P N P E E A , A

I SR L R STOR
. .

N
D ITTO ITTO
AE E E D
(S ) D
D IS C H I (O R TT ) (
OL -P A

H UG H B L A I R T HE A d ) A N SOL
M ISSI G D U K (O R TT ) (
Y P E E A -
P A, 9
BL SS TH W HO W T H ( V T )
.
.

A RE E Y A C AD E N
T HE d )
N E P E E A S OL -
P A, 9
H R V ST T I
E E D I
A E D E H
S C O L E R I D G E T A YL O R
-
-

H I W TH S VV F ST
.
.

J O S I A H B OO T H A A A
'
E D D I N G- E A

R ST (F L VOI S ) (S
.

T D ) E M A E
F R E D E R I C K C OR D E R
CE -
HE AY O P E OL P A , I s. 2

BRI L T
.

B O YCE T HE (S D A ) OP R IE R M AI N OL P A, I S
-

E M
.

BRO W R OS R S IR M I C H A E L C O STA
. . .

T L HE AY OP T HE N A Y H
S C (F L VOI S) D R
.

T S HE AN D OP O R RI E M IE E M A E CE T HE
Y OU G O HI V R
I E AM
L
H C O WA R D
N C N A H

S TOR B TH (S
. .

J B R A D F O R D T HE 6d )
H R V ST C TT
. . Y OP E AN Y OL -
P A, 13 . .

F H C O WE N
A E AN A A
O G JU B IL A D UGHT R (F L V )
T HE S N OP E E
. . .

A S E OP T H E E A E M A
D ITTO ITTO
E o I CE s
W F B RA D S H A W (S )
G S R B RR A SO G T H K SGI V I G
. .
D OL -
P A
P A N AN
C HRIST S S S (F L VOI S )
A E CE A OP N

J B RA H M S
M A CE N E
D ITTO ITTO
E M A E CE

A SO G D STI
(S )
D R IO
.
D OL -
P A
N OP E N Y E E AM
TO SSIO S
OP N D YM N

C H A R L E S B RA U N
O D E T HE P
R UTH (S
A N

S IGUR
) P A, I s 6d
JOH S
OL -
. .

O W Q U (O R TT ) (S
D M S
'
T E (S N P A, I s
SL I G B UT (S
. VE OL -

d )
.

T HE SN E E N P E E A OL -P A, 6 H
d ) 6
.
E E P N
SU R R I V R (F L VOI S )
E A Y OL -
P A, 1 3 . .

A H E RBE RT B RE WE R M M E T HE
D ITTO ITTO
ON E E M A E CE

N I T E IGHTH P S L
. .

(S )
R OS L I (F L VOI S)
D OL -
P A
N E Y- A M
T HE OP
D ITTO ITTO
E P E E M A E CE

J C B RI D GE (S )
W T R L IL
. . . D OL -
P A
T HE A
VILL G S S (F L VOI S)
E Y
A E CE N E E M A E
D ITTO ITTO
CE

(S ) D OL -
P A

J F B RI D GE J M A UD E C RA M E N T
BOLLIRHO
I I W ILL G IF TH O G ( S L
. .

P x 4 s)
IS d )
CE A M A N OD
L ITTL R R I I G HOO (F L
AD 2 Y E E , A M
CA (S 6 E N E M A V o I CE s)
CR TOR
E OL P A, . 2 E D D -
D E
H T HE
OU T ORI H
YM N T o E A I
M M W C RE S E R
I VH
N A 3
U O (A D R TI I LL )
.

N E
RO K I
N E E 2 D RA AM A C D Y
( AGE ) (S d L E N GL ISH
W C RO T C H
AN D
L HRIST ( S T B T M T R
C OP S AT IN OL P A 4
“
T C RAD C
P L STI
HE
IOS
E OP A A A E . .

S A E N E
FL G GL (SO d )
P E C A
T HE E
FROGS
N P A,
W H CUM M IN GS
-
A OP AN D L 9 .

T HE O (S ) 3d
F IR R I G
. .
T HE
RO K
AN D x OL P A, .

T HE IN C H CA P E T HE A Y N

OR S R R (S
C
6d)
’
L P
T HE D AYE OL P A,
W G USIN
-

C S
.

D U D L E Y B UCK U
. . .

T E D E M
L IGHT SI
.

T A
FE L C E N D A V D
HE OP A
I I I
E D WA R D B U N NE T T S RT L VOI S
.

. T HE D E E (M A E CE )
O D ( S L P
U T OP )T HE E E P A M 1 30
H WA L F O RD D AV E S I
W BYR D RV E R I L
. .

HE E

M SS FOUR V OI S
.

A P OR CE
P H D IE M E R
CA RI S S I M I B TH
. . .

J HTH H
. E AN Y
E P A
M E D OO RL Y
L Z RUS
. . .

J D C A R N E L L
SU LI TIO
. . .
A A
P P CA N
F G B O S S E RT
G E O RG E C A R T E R CO U IO S R V I I OR
. . .

E
TT (SL
N N
M SS I OR
.
M M E CE IN M N
S C
IN P O N IA AN A A P A M 2 E
A IN M N
 O R AT O R I O S , & c .
— Co n tin u ed .

L U CY K D OWN I N G HE N RY G A D S B Y
L STIS L VOI S )
»

R BL O G
. .
s

A P S A CE (M A E CE
OLU US ITTO )
A A E IN N o

M B
n

F D UN KL EY C
L OR
D OP T HE
SS
(D
I SL S ( E SOL P A, I s 6d)
WR K S RUS
. .

T HE E C OP T HE HE P E O D E (P O R A)

AL P I N
. . ”

F W G
TON IN V OR AK
. .

AN D YE OL E P
O U IO S R V I
C M N CE IN D a
D E N GL Y S HE AST YM E S

SS
M N E
M A IN D u G G A RR E TT
TRIOTI H R V ST C T T (S
. .

P A
I W HA
n
D ITTO (G R BOH E M
C YM N E AN A A O L -P A ,
E M AN AN D AN o R D s) w T S HU IT
R QUI M SS E M A u T
HE
T W O A V TS
N AM M E

U IL
E HE D E N
B LL D S S M ER I
.

m
BOH I WOR S )
ST L L
ITTO (G R
. D M A A E E AM E AN C
o
D M AN AN D E M AN D
ST B T M T R
E o

A E o R M AC HIL L G A RT H
TR S BRI
A A

Z KI L
t .

w
’
T HES P E C E D E (S O L -P A, 1 5 6d ) E E
D ITTO (G R BOH I W OR S ) E
W IL U TS M
. .

E M AN AN D E M AN D O T HE D H N AN

A E D YE R A R GA U L
L TR S O HO L S ROU W I T R FIR F L V
. . . . .

E A OP P A T HE ) ( EM A o I CE s
L V TOR M U I
E C C E E E
D ITTO ITTO (S )
N D N E
SA A N D D OL -
P A
A SO G L I N(O TO M USI ) (S 6d ) P E C OL -
P A,
I SR L W IL R SS (S
OP D E
H J E D WA R D S )
R IS OLI ST
. . . AE IN T HE D E N E OL -P A , I s.
P A E H
{ SSIO S R V I
T o T HE A (S )
S SIO
E O AN OP RC OL -
P A, I s
T HE A CE N )

IH
N A N CE
R UTH (S
E
T HE E P P AN Y d)
E L I H ILL
OL -P A, 9 .

HE P
H OL C IT (S
N
E D WA R D E L GA R T HE ) Y OL -P A, I s
L G W OO (F L VOI S )
Y
R T US
. .

CA T HE T HE E M A E CE
D ITTO ITTO ITTO (S )
AC AC E E N D OP D
K I G O L F (C HORUS E S S
N 6d )
A P A, D D OL -
P A
D U B I TUS VIRGI S (S
, OL -
Is
T M AN D T T HE E N ) OL -
P A, I s
B R G ORG T OIL RS (F L VOI S)
E E E N E D C N .

T HE (S OP ST T HE E M A E CE
BL K K IGHT
AN N E E E OL P A, E OP D E E P
IS )
-
.

T HE AC N U (S N A OL P A,
L IGHT L I C HRI STI )
-
.

T HE (L OP P E ux
FR GE RN S H E I M
S L IS A T RIU H S O G (M L V )
. .

RO S A L I N D F E L L I CO T T A AM M P N A E o I CE s

L SIU
.
. .

E Y
T HE BIRTH
M
S O G E OU SE L E Y G I L B E RT
OP
T
L US H C O R S (O R TT
.
N
.

SAN A C A AN D IS AD E P E ) A
D ITTO ITTO
M E

G U S TA V E RN E ST (S D OL -
P A)

R ROU F L V I S)
.

AL L T HE YE A N D ( E M A E O CE F E GL A D STO N E
P HILI I
. . .

(S O L -P A, 9d ) 2
P P

A J E YRE GL U C K
O U IO RVI
. .

O R H US (C H RUS S S IS )
.

C M M N N SE CE IN D P E O E OL -
P A,
D ITT (A II O L )
,

T
O CT N Y
FA C E R .

RR HRIST S
. .

A M E Y C M A (S O L P A , 6 d ) HE RM AN N GO E T Z
R TIO R TT T RS B B LO (P S L
.
.

R E D RI D IN G H OO D S
'

D ITTO ITTO
~
E CE P N (O P E E A ) BY T HE W A E OP A Y N A M 1 37 )
D (S O L -P A ) N cE N I A

E AT ON FA N N I G T HE W T R L IL (M L VOI S )
A E Y A E CE

BUTT R U S ISI S F L VOI S)

.

E C P AN D D A E ( EMA E CE A M G OO D H A RT
R THUS
.

(S O L ’
FA , I S ) 2 A E A
RL L S D UGHT R
. 0 0 0 c o. t o . 0 0 0

RY HA D AN ’
E A A
R B RTO
E
HE N FA RM E R SI R A N D E W
SSS LT TI GLISH ) A N
.

M A IN B P A (L A N AN D E N
( IS )
OL ’
FA ’ . 0 0 0 o o o
2 CH G OU N OD
M Y L E S B F O S TE R
t o 0 0 0

O U IO S R V I ( SS S OL LL )
. .

C M M N M E N N E
D ITTO (T ROISI E SS S OL LL )
N E CE E E E

O W F IRI S (F L V )
. .
M E N N E E
D UGHT RS J RUS L
M E E E
SN A E E M A E
A G LS B LLS (F L VOI S ) o I CE s
A E OP E A E M

(P S L ) (L TI W OR S )
T HE N E OP T HE E E M A E
D ITTO ITTO
CE
D P ROP U N D I S A A N D
D ITTO
E M I 3o
(S )
BO I FISH W I V S (F L VOI S ) D A
OL -P
(O D ) U T AR KN E s s
G LLI
OP
T HE N N E
D ITTO ITTO (S )
E E M A E CE
S d ) A A,
M SS S OL LL (S C ILI )
A OL -P
4 .
D
CO I G KI G (F L VOI S )
OL -
P A
E E N N E E T E C A
M ORS VIT (L TI OR E GLISH )
E
T HE
.

M N OP T HE N
D ITTO ITTO
E M A E CE
E T A A N
D ITTO (L TI GLISH )
N
(S ) D
I SL S
OL -P A
S E A
D RK SS
OL -P A N AN D N
T HE L AD Y OP T HE E
,

O U T OP A N E

RO B E R T RA N R QUI M SS ( RO M ORS VIT

E E M A M E T A
TIO ( GLISH W OR S
P
F Z
IS OR S L I I 7)
.
T R
HE E D E M P E
D ITTO
N N D )
P RA E YE T H E L D (P A M
(S ) -
P A
D ITTO (FR H W OR S )
OL 0 0 0 0 0 .

N IE L S W GA D E D ITTO (G R W OR S )
E N C D

HRIST S
. .
E M AN
W OR S S V IOUR
D I
C M A E V E (S O L -P A , 4 d ) S V
O L
C M A A
.
T HE
C ROSS (F
E
J RUS L )
E N D OP OU R A ON T HE

KI G S UGHT R T ROISI SS S OL LL
IL uE E A E M
. .

E RL
’
D A (S O L -P A , 9d )
S H
- N E .
M E M E E E E N N E E
P Y C E (S O L P A , 1 8 6d )
RI G S SS G
-
.

C H G RA U N
.

’
SP N M E A E (S O L - P A , 3 d )
T HE C RUS RS (S -P A I s
)
.

T D U
IO
AD E O L E E M
P SSIO L O R (D J SU )
, .
“

Z N T HE O A T N OP U R D E R OD E
 O R A T O R IO S , & c .
— Co n tin u ed .

AL AN G RAY HA YD N
T US FIRST M SS
.

A RE H A B
A SO N G OP R TIO ITTO ( TIUR ITTOGLISH )
D
A IN
L E
I
E D E M P N A N AN D N
T H E FO E B E H N D I N S A N zE E T V A N IE C (D
T HE L E E N D O P T HE G RO K BU O B LL O
SE C N D M A SS ( TI )C L A
B)

R H TH
C Y E

IXT TH SS ( TI )
IN N
T H E V ID O W O P Z A E
V
P A S E E N M A L A
U ( GLISH TI )
N
T E D E M E N AN D L A
CR TIO N
T HE S )
J O G RI M M CR
E A N ( O L -P A , I S
TIO O K T E ITIO
.

OUL S A S IR TIO T P C E
. . .
HE E A
SSIO OR L ST W OR S
N D N
S V
.

T HE S ’
P A N T HE P A
T SO S
HE S E A
N ; , E E N A D

H S SO i (S RI G S
N

G HA L FO R D E AC E A N , s n gl y d ) A, 6
T HIR SS RI L TI GLISH
P N OL -P

R LT (I
.
,

T HE P D M A ) ( L A ) E
D ITTO TI
A AC E E M P E A N AN D N

(L A N )
E V HAL L
YN
IS IT OTHI G BAT T ISO N HA E S
. . .

(S O L 3d ) R (F L VOI S) (S
.

N N T o YO U -
P A,
A SE 6d
.

A D E AM E M A OL P A, )
F IRI S I SL (F L
-
E CE .

'
T HE A ) E E E M A E Vo I CE s
HAN D E L
IS LT
.

AC GA A E A H HE AL E
ITTO ITIO IT ] B R B
AN D

D ITTO
D
ITTO (S )
, N E
W E D N ,
E D E D BY A N Y
JU B IL E E OD E

L ST
D OL P A

SW N N E RT O N
A
L X R LUS
CE E
C I HE AP
F IR R OS O
.
A BA
.

L X R S F ST
E AN D E
A AM N D (S O L P A -
2S )
A ’

TH LI H
E AN D E
.
E A ,

A
LSH ZZ R WA R D H E CHT
A A
BE E D
H OS T D U
A A
RI
.

C E C T HE D AN E
I J OI HOIR I N V ISI B L E
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JOHN S TA N E I R A L VIN G OE
R G L ( GI I R TT
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D T HE L BE (S O L )
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A AN Y -
P A, I s .
N O
A OD
HO O F T IT I (FE L V OI C E S )
E A E

T HE A E WI L SH I RE
D ITTO TTO
M E AN A M A E

IS OUR H O SL
.
. . .

( D I SOL P AI
GOD P E (P A M 4 6)

FE RR I S T O Z E R
T HO M AS W I N G HA M
B L
.

BA K SS R G
.

KI G TU S D UGHT R (F L V OI C E S )
AL AAM AN D A
M D ( O cE L I )
U TI
’ A IN E IN A
N
ITTO ITTO ( OL
N E P N E A E E M A E
S
T E D E M (L A N )
D D ~
P A )
T S C H A I K O WS KY W OO D
‘

P CHA S
TUR OV TO ST W I
. .

W
. .

N A E AN D L E (S O L -
P A, 4d ) . OD E T HE E N D

VAN B RE E F C W OO D S
ILI S G
. . . .

D A Y (S O L 9d ) ( 7 9 7 ) (S O L 6d )
’
ST CE A P A, A G RE L E N D P A,
KI G RL
. C -
. Y P O RT E I -
.

N HA O D (\ O L - FA ,
C HA RL E S VI N CE N T O M A Y- D AY (S O L -
P A 0 0 )
ITTL I F L V OI L D
.

M
T
T
HE L
V ILL G
E E RM A

Q (F L
U I—E N
D ( E M A E CE
V OI C E S ) E M WO O L L E Y
HE
D ITTO ITTO TI V S OUL
A E E M A E . .

D ( SOL -
FA ) T HE CA P E "

M o st o f t h e abo ve W o
m ay be h ad in p ap er bo ar d s rk s at 6d . e a c h ex t r a . o r h a n d so m el y
bo u n d in C l o th , w it h red o r g il t ed g es , at I s , I . s . 6d .
, or 2 S . e a c h e x t ra .
 N OV E L L O S
’

M usic a ers and E ducatl onal Serl es .

E D IT E D BY SI R J OHN S TA N E I R AN D SI R C H . U B E RT H . P A RRY .

? P

T P I O F ORT U R E P A E “ o
HE
U I GS
AN E .

T R U I TS M USI W H C M M N H o

J ST I R
HE D M E N OP C
T O RG A N E Q o
HE AN
KI G H L
.

T H R O IU HE A M N M N A L N o

S I GI G A R AN D E GGE R A o

A J E LLIS
N N .

S H S O G (S i g P
P E E C i g P im )
IN N
UR n er s
’
r on ou n c n r er , P . R S . N o

M USI L FOR S E P A E S o

eH R O
CA M
TI R
.

A M N Y JF SBRI G
. A N E N o

C OU T R OI T J D E N o
0 N E P N
J S H IGGS
. .

FUGU
&

H9 AM E Q o
W H S TO
E I

S I TI F I B SIS M USI C N E H o

J F BRI G
HH C E N C A OP . .

D OU B L C OU T R OI T D E N o

J T ROUT B K
NN E N E P N

C HUR H C HOIR T R I I G
. .

R A N N E V. E C H o

T H L OR
u C .

-
P L I SO G R E V E M E N o

E P ROUT
c
A N N .

I STRU T TIO
.
b

N o
E P U R
u N M E N A N
E L TS B UTI F L M USI
.

n T HE OP T HE E A U IN C A E H o

B RTHOL T OURS
E M E N

VIOLI
.

H T HE N E D N o

N TO I S N C OL P A JC W U R E N H o

J S G R W OO
-

SHIR S
.

u L A N CA E OL -
P A AM E E E N D M o

g CO OSITIO M P N J ST I R A N E N o

M USI LT R S ST I R B RR TT
.

u CA E M A N E AN D A E M o

n T VIOLO LLO HE N CE JUL S S W E D E E RT N o

n T w RT E X R IS S ( 96)
o P A J S G R W OO
E C E 3 AM E E E N D
I
- o

FR K LI T LOR
-

D OU B L S LS
u

n E CA E AN N AY H 0

n M USI L X R SSIO CA E P EM THIS L N A U S SY m0

2 6 S OL F GGI (B h N i E) ( i T h P 6 d h )
ot FLOR M RSH LL
o t at o n s or n ree art s, 1 3 eac E N CE A A A 0

O RG O I T F BRI G
. .

J
.

»v A AN CC M P AN M E N D E a 0

C OR T H BR TT
. .

n w T HE N E E N 0

M USI L D I T TIO P I R ITT R

s .

mM USI L D I T TIO P I I
no CA C A D N ar t R E H 0

R ITT R
. . .

w CA C A D N ar t R E N 0

m M O UL TIO J S H IGGS
.
.

e D A N AM E s 0

w D OU B L B SS
R E A A C W HIT E w 0

I X D OU B L B SS A C W HIT
. .

3 2AA P P E N D T o E A E w 0

E XT ORIZ TIO R
. . .

33 E M P A F J S WN A YE n 0

L SIS FOR IS L B THO V S P I O F ORT S O T AS H R I G

° . .

’
3 A
4 N A Y OP M , AS D P AYE D IN E E E N AN E N A A
H A D N N 0
500 FUGU S U BJ TS A S W RS A W M R H T
. .

3 5 E E C AN D N E A C AN w 0

STI S T RI L R TI
. .

H G AN D YM N A C D E Y P E N CE H 0
37 M USI L OR T TIO P ICA N AM E N E D R UTH R A N ar t AN N E E M 0

M USI L OR T TIO P I I R UTH R

. . .

37 A CA N AM E N E D A N ar t AN N E E
Q
0

J W RRI R
U
T R S OSITIO
. . .

AN P N A N E N 0
T R I I G C HOIR BO S G C M RTI
.

T A HE RT OP A N N Y A N W 0

(E X R IS S O L ) G C M RTI
. .

3 9 A D D o o E C E N Y A N H 0
BIOGR HI L D I TIO R M USI I S W H C U I GS
. . . .

AP CA C N A Y OP C AN M M N S 0
X L S S TRI T C OU T R OI T G OR O S U RS
. .

E AM P E IN C N E P N D N A N D E w O
SU R M USI
M M A L H ISTOR Y OP C H H P RR CA Y A Y N O
M USI L G STUR S J F BRI G
. . .

CA E E D E N O
R U I TS R H J F BRI G
. .

D M E N IN YM E D E O D
B SS S LO I S R L H D U ST
. .

MA E AN D E D E A P N AN Q Q
FIRST S T S P I O F ORT FR S O B RG R
I

E P AT T HE AN E AN CE C E E N Q
A D I TIO R I ISTS C CO OS RS
N A P I O F ORT
Y OP E P U R P AN AN D M P E P OR T HE AN E A E N O
O RG L T H IQU B W H OR R
.

P AN E D A E C N E N E N O
T W L V T RIOS A W M R H T
. .

E E BY AL B R E CH T S BE R GE R A C AN H Q
T HR RT S TU I S (B h N i ) E V R H
. .

F
C HOR L S O I T
IP T Y E E -
J
P A D E ot o t at o n s E N AM H O
VO LIS TIO ST I R
. .

D T
A
X R IS S A T & A RR G
C E
F L VOI S A W M R H T
E
Y J CA A N . A N E fi O
O HE E C E D AP E D AN E D P OR E M A E CE A C AN H O
T W O RT S J S H IGGS
. . .

-
P A O L P E GG I AM E H O
H ISTOR P I O F ORT Y OP T HE A J H I KI S AN E P N N Q
LS AR GGIOS FR K LI T LOR
. .

S CA E AN D P E AN N AY Q O

SO T FOR W H H OW
I

N A A M AD O Q
A D I TIO R VIOLI M K RS C ST I R
. l

C N A Y OP N A E A N E N O
L SIS B H S 8 P R LU S FUGU S ( i F
. .

A h) F I P W
’
N A Y OP AC 4 E D E AN D E or n ou r ar t s , 1 3 . eac . L IP P E O

(T o be co n t in u ed .
)
A ny of the a bove may be h ad str o ng ly bou nd m boar d s, przce 6 d ea ch ex tr a , with the ex . cept w n o ]
N os 5 , 26 , 3 7 , 37A , a nd 5 6 , w hic h ar e 1 3 ea ch ex tra . . .

LO N D ON : N OV E LLO AN D CO M P A N Y , L I M I TE D .
 P R IC E ON E S H IL L l N G E AC H .

A d am s, T T H E Ho w HIL
— C Grad e, N iel s W — Z I ON

RI G S M SS G 8d
. .

o D .

OR B RO
’
SP N E A E . .

C HRIST SE
An d er t o n , T —
I HE N
’ ‘

. M AN A N .

T WR K
HE H S RUS E C
T E
OP
K I G S D UGHT R
T HE E P E .

HE
M A

RL - N
VE
’
.

A E
G I SI S
.

H R V ST C
A p
s a, E T -
HE P E
G tt G
.
.
— AN T A T
ar r e A E

ST B T M T R
r
,
A t g
s or a— A
G th R M
A
T W IL H U TS
A E .
-
HE D N M AN

SO LO V W ORL
ar
.
. .
,
B h G —
_
D
A SO G L IF
ac OD E D T HE .

G GO TH W ITH SHOUTI G
OD E
G l A RU P N . au , . o N OF E .

G O S TI IS B ST
’
M E G t H m n
T HE B W T RSE oe z , er an —
y T HE A E op

B B LO
D .

M S IRIT W
Y P H V I SS AS I N E A N E .
A Y N

O L IGHT V RL STI G
.

E N E A N . cE N I A .

BI W ITH US G dh t A M E RL H L S '
D E A D AN
oo ar A

A STRO GHOL SUR D UGHT R

.
. .
,
N D E .
A E

M G IFI T R W B RTO
.

A N CA S A IR N D E A N

T HOU G UI I SR L
. .

OP AE
G n d Gb
D E —

J SU RI L SS T R SUR D P
.

ou o E ROP U N D I S

ITTO (O f D k )
.
,
E E A E
CE
.

E P
J SUS W W ILL W R IS T H
,

N O SS OL LL (L i W E
d ) P A E E E .
D ut o ar

at n
n e ss .

or s
W H W ILL G R LL S IRIT
E ,
M S E E E N N E E .

E N
T V WOD
OR S OUR S V IOUR
E CA M Y P .

HE SE E N D OP A ON

B ar nby J R B K H — EC ROSS E A T HE

D UGHT RS J RUS L
‘
.

F T SI
.
o
,

B th n T C HOR L — A AN A A A E OP E A E M .

G LLI
ov e
V HE
.

ee
T C HOR L
HE S HO ( h A YM P N Y t e o c al -* A A.

i ) p o rt on
G y
.
E l m G O RO K ra a — T HE L E E N D P T HE C

E G I BUO B LL ,
N E D Y E

M OU T O LI V S
.
.

S OUL S A S IR TIO
N OP E

SS
.

G imm J 0 — ’

M A C (L i W INd ) T
at n or s . r , . . HE P A N .

M SS OI HOIR
,

—* CA IN H h t E O Y I J C I ec
-
M A N T HE N

R UI S A TH E S V ISI B L
.
, .
,
N OP N E

T R RIT
.
.

B dl K l W S R
CH OS T D U P E
’
S E

V G (F m V i )
ar e E
en , H d l . A
an e — AN D E E M .

ILI S D
.

E N E e al e o c es .
’
O S C T E C A AY
ST R D E ON .

W S Z IO
.

G J E H
B nn tt Y
- E
e A
e .
T .
HE AY OP N
HI ITIO
,
W M SSI H (P
.

B nn tt S
e e i S E X B O rE k . E di i ) .
— N D ,
E A oc et t on .

I SR L E G T (D i )
,
8 1 62 AE IN YP t to
O G
. .

B t j em
e n G R an T S JU S M B US (D i ) — “
HE N OP T HE
D A A CCA E tt o .

W ST R M D TTI G D U
. o
,
E E N T E N .
E N E N E E M .

Bl i a r, H g h H R V uST TI — U TR HT JU B IL T A E - D E .
E C A E .

O P R IS L OR
.

B h
ra m s J A S O G ,
D STI .
-

A IS G L T
N OP E N Y. A E T HE D .

R O I" A G S C AN D A A E A.
B id g J F
r e, .
A IS —*
G L T CE d i d b OF
J
E .

— A E A. te y
RO K
.
AN D A
BRB C
.

I C
T HE N CH CA P E .
A N Y

L OR S P R R O US SI G U TO OR
.

T HE D O
’
B AY E L .
C M L E T N N T HE D .

O I US
,

t E D D E E P D
B n t
a ne O -
U T OP T HE Ix IT M N .
.
,

C i i m i J HTH H — H y d n
E P T C R TIO ( P A k E i i ) a
— HE E A N oc et d t on .

ar ss
RI G U R A UT I T R
. .

R QUI SS C I OR S S W P N M M E U M N . N E .

i M —
FIRST SS L T
.
M N
b in IN
.

Gh * E M A .

er u E ,

T HIR M SS A (C D
i ) A
FI ST
M
M SS B L T (L
IN oro n a t o n .
-* A ,
IN B P A .

FOURTH M SS C i
,
R A IN P A at n .

O SS
,
A IN .
,
C (L i ) at n
D R
S M E C N D A IN

T HIR M SS (I m i l ) (
.
,

C t
os a, Si M T r .
— HE
)
E AM .

L at in

O G H S I I G D A p er a .

T K V
.

(I w
o F
an, H A S N . . T HIR M SS (I m i )
— OP AN G N .

— * D A p er al .

D i
aY es, H W H é RI L o T D U o
— E RV E . — * E E M .

D nk l y
u F eT WR K Kil l D —
A SO G VI HETOR E C OP T HE
er , r. - C Y.
H S US ,
. N OP

l ind F
E

E L SIU
P E R
H f m n H
.

S O G N OR S o an
-
N OP T HE N
E l l i tt R F V — .
o sa Y M ,
co . .

, m i ) al e
P R IS L OR
o c es.
( e
ran
(
R b t
z,
lm ) I
o
I 7th P
H l l
er
d C sa
A T.
R —
S
.
K IR ISH A E YE T HE D
o an , .
— P E T HE M .

L ON D O N : N OVE L LO AN D CO M P A N Y , LI IT M E D .
 O RATO R I O S , CA N T A T A S , & c .
—
con tinu ed .

Hu m m el .
— FIRST M SS B L T A IN P A . P r ou t , E o
fi
FR E E D OM

O M SS E L T U R TH P L
o
,

S E C N D A IN P A T HE H N D E D SA M

T HIR M SS D
.
, .

D A , IN .
P ur ce ll T D U —
JU B IL T D E E M AN D A E IN
M RI (F m l V i
.

D U E di d b ] F BRI G
, .

H u ss, H H A . .
— VE A A e a e o c es ) T E D E M IN . te y . . D E .

I l ifl ’
F e, SW T E HO
.
— E E C . R ea d J F H, I . FOR ST (M l V ) . .
—
N T HE E a e .

J n n E
e se T , F ST A O IS .
— HE E A OP D N . Rea d F J , SO H . H —
N G OP AN N A .

Kil b N
u r n, T L OR SH HR — HE D Is M Y E P E D Ro m be g T Lr B LL
.
—
HE AY O P T HE E

T R SI T E T
. . .

(8 d ) T HE AN E N AN D T HE E R N AL
W T RS B B LO
.
.

B Y T HE OP Ross in i ST B T M T
A E A Y N . — * A A A E R.
SO D
.

King Oli W T R L ILI S

’
T S v er . — HE AN D E E
,
.
Sac , h E d —
A E E
D I X IT D O I US
. .

L eo , L o d e n ar o. — M N .
S angst er , W . H— . E w sw u

S O G OF
.

L l yd G H f d
o
BL R ,
( T . ar o r . HE N S awy er , F J . . OUL S F - T HE S
'
o RG I v E N E ss.

M C nn H
A

L OR U LLI S D UGHT R
D E .

S ch u b er t — S . O G M IRI N OP AM .

SS A L T
— ’
ac u , . D N A E .

M A P A
O UT W R BO
IN .

M SS B L
,
M f
a c ar r en , G A . o
—
A D U N D .
A IN P AT

M SS
.
,
M D AY AY .
C A IN

BRI M SS
.
,

M ac k n i A G Te z e, . .
—
HE D E F A IN

M SS
. .
,

M s a ser , J T H R V ST C TT — A E AN A A .
G A , IN .

P ILGRI G
. .

H OR TIUS (M l V i S h m
c u T ann . —
M J H HE M A E OR T HE
R OS
—
ee, . . ) A a e o c es .

D L HI (M l V i
E

KI G S S
.

E P ) a e o c es .
’
T HE N ON

M IG O S R QUI
.

M nd l
e hn
e sso S P (P E di i ) .
— T A U I. o ck et t on . ’

E LI J H (P
E M
.
N N E

TH I L O W L G UIS
.

k E di i )
A o c et t on A V
“
Y E
L OR L
.
D E N YM N , N .

E E Y.
M
P R IS
AN P RE D

R S SO G
.

H YM N OP A E N WY
’

H RT P TS
.
E E A N .

S h tz H P SSIO OUR L OR
A s T HE A AN

CO US S I G
.

c u T , .
-
HE A N OP D .

M SS
M E L E T N

W H I SR L OUT E G T
.
,

E N AE OP YP CA M E Sil E
a s, C o
— A , IN o

U TO US
.

N OT N Sm ith Al i M y T S ce ar -
HE ON G O F T H E

L OR HO W LO G L ITTL B V )
.
,
.
O

(M
’
D N E AL T U N G en s o i ces

N ORTH E ST W I
.

H R P R R
, .

E A M Y AY E O D E T o T HE - A N D .

FIRST W L U GI N IGHT K I G (M Vi )
.

'
T HE A P R S T R HE E D N en s o ces .

M I SU R N IGHT D R
.

Sp h L ST JU G T
’
D M M E S E AM o T r. -
HE A D M E N
M ORT L
. .

M AN Is A G T HO GR T U A RT E A
F STG S G (H m f P i ) OD
.

C HRISTI SPR
.
,
E E AN y ns o r a se ’
T HE A Y E R.
F STG S G (M l V i )
.
AN
E E AN a e o c es H S C ILI T E C A
C HRISTUS
.
YM N T o . .

T SO S A
.

S h E G G
uc ,
OUR R F UG (P l m
. .
— OD Is E E sa

E X HI B ITIO O
o T HE N OP RT

M RI (S i
.

—*A f Si ) S l l i an A
u v , r
— N D E .

— *
VE

T HR M OT T (F m l V i )
E E
A A
E
av o u r o

S e a e
nner s

o c es
.

.
F STI V L T D U
E A E E M .

M y b
e er g P S L
eer . (L i W d )
-
x sr A M at n Th m o A G i g Tm S
as, W OR or n — ; U N
HI RS
or s .

IST P S L (E l i h W d )
.

S P P E
Q A M ng s or s .
.

M z to ar K I G T H OS—
N AM T h or ne, E . H— o BE M E R CI P U L U N T o M E .

FIRST M SS
.

— * A
T our s, F STI V L O
B _A D E
TH M SS (L i ) E A
.

S V
0 .

N TUR L OV
E E N A at n

T W L F TH M SS (L i )
'

T s h l k w ky P
.
—
c a o s , . A E AN D E .

E A at n

SS C ILI S D
.

— TW
* M E L P T H A Y n B
a S r ee —
T . E C A
'
AY.

R QUI M SS (L i )
.

E E M A at n .
W ll a Hil der , T S I G RS (F m a. — HE N E e al e
— R QUI
* E M SS E M A . Vi ) o c es .

M nd l l
u E e VI TOR S O G (F m l
a, — C Y OP N e a e Wb 0 M
e er , n P R IOS . . Yo o
— E C A.

M SS
.

V i ) o ces . —* A G IN

M SS LT
.
,

P i a n e, R P T L OR R IG T (P )
— HE D E N E H S 93 — * E A IN P A

JU B IL C T T
. . .
, .

H W T AN A.
E E A
P ar k er , — HE Ko B O L
T H S SO S
~
. . D s.
E A N
P ar r y , C H H — BL ST P IR S IR S . . . E A OP E N
W l y S D D O I
RE E

—
.

G L RI S OUR BLOO ST T
.

es e
~
. I x xT M N U S.
T HE O E OP D AN D A E
,

W l y S S O L OR T HOU
.

P g l i S T B T M T R (F m l V
-
er o es .
—
A A A E e a e
es e , G . . D , ART M Y OD .

P in s ti C P H TO S
u , .
— AN M . W d C O
oo , W ST W I ol
— D E T o T HE E N D .

T he W o rk s m ar k ed h av e L atin a n d E n g l is h W ords .

L ON D O N N OV E L L O A N D CO M P A N Y , L I M IT E D
 Serie
E D IT E D BY SI R J O H N ST A N E R i AN D D R . C . HUBE RT H . P A R RY .

I . T HE P IA N O P O RT E (P r ic e E UE R . P A .
43
2 . T HE R UD IM E N T S O P M US IC
(P r ic e I s ) W H C . UM M IN G S .
4
.

O R G A N (P ic T A IN E R
J S
”

3 . T HE r e . . .

4 . T HE H A R M O N I U M (P r i ce K I N G H AL L .

I I
f

5 . S N G N G (P r ic e 4 5 P aper bo a r d s, . A R A N D E GG E R . .

A J E LL S P R s I
ii
6 . S P E E C H I N S O N G P r i ce . , . . .

7 . M U I
S CAL F O R M S P r ce E w P AU E R .

8 . H A R M O N Y (P rice J S A N E . T I R .

9 . U
C O N T E R P O N T (P r ice 2 5 I . I F B R I D GE . . .

IO . U U
F G E (P r ice A M E S H G GS
J I .

I I . S C E N T FIC B A S S O P M
I I I
S C (P r ic e 1 5 ) U I W H S ON E T . . .

12 . U
D O B L E C O N E P O N T (P r ice 2 5 )U T R I J . F B D GE RI .

13 . C H R C H C H O R T A N N G (P r ic e 1 5 )
U I R I I RE V T O BE CK .
J R U T . .

14. I
P L A N S O N G (P r ic e R E V T H E L M ORE . . .

15 . I U
N ST R M E N A ON (P r ice T TI
16 . T HE E L E M E N T S OP T HE B E A F L IN M S C (P r ice UTI U E P A E U I . U R .

17 . T H E V O L N (P r ic e I I
18 . T O N C S O L P A (P r ice
I C U RWE N I
J . .

J A M E S G E E N WO O D 4
,

I R
'

19 . L A N CA S H R E S O L P A (P r ice -
.

20 . I
C O M P O S T I O N (P r ic e S A N E R J T I . .

2x . M U I
S CAL T E M S (P r ice R S T A N E R angi B A R R E T I T .

22 . T H E V O L O N C E L L O (P r ice
I L E S D E S W E RT . JU .

23 . T WO P A RT R
E XE C I S E S (39 6 ) (P r i c e 1 5 J A M E S G E E N W O OD . R .
’

U F AN K L N T A Y L O R I R
'

24 . D O BL E S CA L E S (P rice .

25 . M U I
S CA L E X P R E S S O N (P ri ce I M A H S L U S SY T I .

26. S O L P E G G I (P r ice 4 5 P aper bo a r d s , . FL O E N C E M A S H A L L R R .

27 . OR GAN A CCO M P A N I M E cc 2 5 1) .
J F B R D GE . . I
H B RE TT
”

28 . T H E C O R N E T (P rice 2 . .

M U S I CA LI T TI
D C A ON , P
( c ri e 1 5 D R E R . RITT .

30
. . M U IS CA L I TI
D C T A O N P ar t 2 (P r ice 2 5 ,

31 . U TI
M O D L A O N (P r ice J A M E S H GG S I .

32 .
-
D O B L E B A S S (P r ice
U A C WH E . . IT .

3 2A . I U
A P P E N D X T O D O BL E A SS A C WH E . . IT .

33 . T R I TI
E X E M P O Z A O N (P r ice 2 5 . F J S A WY E R . . .

34 I R
A N A L Y S S O P FO M (P r ice 2 5 H A H AR D IN G P
‘

P
. . .

35 . U U U T
5 00 F G E S B J E C S A N D A N SW E R S ( r ice A W M AR C H A N . . T .

TI I
,

36 H A N D G Y M N A S C S (P r ice 1 5 6 d ) P RE N T C E
P bds ,
. . . . .

37 . M U I T TI
S CA L O N A M E N
R A O N , P ar t I (P rice D AN N E HE . . R UT R .

37 A . M U IS CA LOR TI
N AM E N T A O N . P ar t 2 (P rice P bd5 , 6 5 ) D AN N RE HE R : . UT
38 . T A N S P O S O N (P rice
R ITI WA R N E : J . RI R
39 . T HE A RT O P T A N N G C HO
R I I IR Y B O S (P r ice G C M A N . . RTI .

39 A . D o R I
(E X E C S E S O N L Y ) (P r ice
. G J C M AR N
'

. TI .

4O . I R I I TI R
B O G A P H CA L D C O N A Y O P M U I I S C A N S (P ri ce 2 5 W H CU M M N G S . . . I .

RI
E X A M P L E S I N ST U T
CT C O N I T E
R P O N (P r ice 3 5
) O D ON S A N D E S x
. G R U R .

'

42 . U R
S M M A Y OP M U I I T R
S CA L H S O Y (P r ice 2 5 C H H P A R RY . . .
’

43 . T
M E iSI CA L G E S U R E S (P r ice i F, B R D G E .
J . I
43 A . RU I T
D M E N R
S IN H Y M E (P r ic e 9 d ) J F .B R D GE . . I
44 . B A S S E S A N D M E L O D E S (P r ice 2 5 6 d
I AL P H D . N S AN
. R U T
45 : I I RT
F R S T S T E P S A T T H E P A N O FO E
(P r ice 2 5 6 d F A N CE S C O B E G E R . . R R
i
I I R I I
A D CT O N A Y O P P A N S T S A N D C O M P O S E R S F O R T H E P A N O F O T E v I R
(P r ice 2 5 E : P A E . U R
B W H ORN E
.

O RG A N P E D A L T E C HN Q E (P r ice 2 5 I U R
P
. . . .

T W E L V E T I O S BY A L B R E C H T S B E R G E R ( rice 1 5 6 d
R A W M ARCHAN T . .
‘

. .
.

F I P T Y T HR E E P A T V O C A L S T D E S (P ric e 1 5 6d
R U I
J E VE RN HA M . . .

50 . C H O RA L S O C I E T Y V O C A L I S A T I ON (P rice
‘

J ST A N E R . I
51 . R
T WO -P A T S O L F E G G (P r ice I JA M E S H G G S I .

52 . HIS O T RY
O P T HE P A N O FO E (P r ice 2 5 6d I RT A J H PK N S . . . I I .
‘

53 . S C A L E S A N D A P E G G O S (P r ice R I F A N KL N T A L O R I Y R .

54 . T
S O N A A F O M (P r ic e 2 5 6d ) R . . W H H AD OW . . . . .

55 . A D C O N A Y O P V O L N M A KE R S (P r i c e 2 5 6 d
I TI R I I C ST A IN E R . . .

50 B A C H s 48 P R E L D E S
’
U
F G E S (P r ice 3 5 U U
o r , in F o u r P ar ts ea c h 1 5 F L F FE .
, . . I I .

A ny f
o the a bove may be ha d str ong ly bou nd in boa rd s , r ice
p 6 61 . ea ch ex tr a .