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<noscript class='static-content'> <style scope="icon-
hamburger-1">.icon-hamburger-1 svg.icon-hamburger {
display: block;
}
.icon-hamburger-1 .fill-color.icon-hamburger {
fill: #fff;
}</style><!-- Shady DOM styles for login-button --><style scope="login-
button-1">.login-button-1 .dropdown-toggle.login-button {
display: block;
height: 4rem;
font-size: 1.6rem;
text-transform: uppercase;
text-decoration: none;
color: #ccc;
cursor: pointer;
}
.login-button-1 .active.login-button {
border-radius: 1rem 1rem 0 0;
background: #333;
}
.login-button-1 span.login-button {
display: none;
font-size: 1.4rem;
text-transform: uppercase;
color: #999;
}
.login-button-1 .active.login-button {
background: transparent;
}
.login-button-1 .dropdown-toggle.login-button {
display: inline-block;
vertical-align: middle;
}
.login-button-1 span.login-button {
display: inline;
vertical-align: middle;
}
.nav-search-1 button.nav-search {
background: none;
color: inherit;
border: none;
font: inherit;
cursor: pointer;
}
.nav-search-1 button.nav-search:focus {
outline: none;
}
.nav-search-1 .search.nav-search {
padding-top: 0;
margin-right: .5rem;
}
.nav-search-1 .search-activated.nav-search {
display: -webkit-box;
display: -ms-flexbox;
display: flex;
position: absolute;
top: 0;
right: 5rem;
bottom: 0;
left: 5rem;
z-index: 3;
padding: 0.5rem 0.2rem;
border-radius: 1rem 1rem 0 0;
background: #333;
}
.nav-search-1 .search-inactive.nav-search {
display: none;
}
@keyframes fade-in-nav-search-1 {
0% {
opacity: 0;
}
100% {
opacity: 1;
}
.nav-search-1 .fade-in.nav-search {
animation: fade-in-nav-search-1 .2s forwards;
}
.media-button-1 .menu-item.media-button {
display: inline-flex;
width: 100%;
padding: 0;
font-size: 1.6rem;
text-align: left;
background: transparent;
-webkit-box-align: center;
-ms-flex-align: center;
align-items: center;
}
.media-button-1 .menu-item.media-button:focus {
outline: none;
}
.media-button-1 .label.media-button {
display: inline-block;
padding: 0;
font-weight: 400;
color: #fff;
text-align: left;
vertical-align: middle;
}
.media-button-1 .label.media-button {
display: none;
}
.media-button-1 .web.media-button:after {
display: none;
content: "web";
}
.media-button-1 .menu-item.selected.media-button {
background: #474747;
}
.media-menu-1 .media-menu.media-menu {
position: absolute;
z-index: -1;
top: -100vh;
width: 100%;
background-color: #222;
margin: 0;
overflow: hidden;
}
.media-menu-1 .media-menu.tx-slide.media-menu {
transition-property: top;
transition-duration: 0.2s;
transition-timing-function: ease;
}
.media-menu-1 .media-menu.tx-slide.open.media-menu {
top: 100%;
}
.media-menu-1 .media-menu.tx-slide.closed.media-menu {
top: -100vh;
}
.media-menu-1 .media-menu.tx-slide.closed.media-menu {
transition-duration: 0.2s;
}
.media-menu-1 .menu-group.media-menu {
position: relative;
line-height: normal;
}
.media-menu-1 .media-menu.tx-slide.media-menu {
transition-property: none;
}
.media-menu-1 .menu-group.media-menu {
font-size: 0;
}
}</style><!-- Shady DOM styles for primary-nav --><style scope="primary-nav-
1">.primary-nav-1 button.primary-nav:focus,.primary-nav-1 a.primary-
nav:focus,.primary-nav-1 input.primary-nav:focus {
outline: none;
}
.primary-nav-1 nav.primary-nav {
position: relative;
display: -ms-grid;
display: grid;
height: 4rem;
grid-template-areas: "hamburger empty search user";
-ms-grid-columns: 4rem minmax(1rem, 100%) 4.3rem 5rem;
grid-template-columns: 4rem auto 4.3rem 5rem;
-ms-grid-rows: 100%;
grid-template-rows: 100%;
background: #222;
border-bottom: 1px solid #333;
}
.primary-nav-1 button.primary-nav {
background: none;
color: inherit;
border: none;
font: inherit;
cursor: pointer;
}
.primary-nav-1 .link-home.primary-nav {
position: absolute;
top: 50%;
left: 50%;
z-index: 2;
text-decoration: none;
-webkit-transform: translate(-50%, -50%);
-ms-transform: translate(-50%, -50%);
transform: translate(-50%, -50%);
}
.primary-nav-1 media-menu.primary-nav {
grid-column-start: hamburger-start;
grid-column-end: user-end;
}
.primary-nav-1 .ia-logo.primary-nav {
display: block;
}
.primary-nav-1 .ia-wordmark.primary-nav {
display: none;
}
.primary-nav-1 .hamburger.primary-nav {
-ms-grid-row: 1;
-ms-grid-column: 1;
grid-area: hamburger;
padding: 0;
}
.primary-nav-1 .search-trigger.primary-nav {
-ms-grid-row: 1;
-ms-grid-column: 3;
grid-area: search;
position: relative;
padding: 0;
z-index: 1;
width: 100%;
text-align: right;
-webkit-box-align: center;
-ms-flex-align: center;
align-items: center;
}
.primary-nav-1 .search-activated.primary-nav {
position: relative;
z-index: 3;
}
.primary-nav-1 .upload.primary-nav {
display: none;
}
.primary-nav-1 .user-info.primary-nav {
-ms-grid-row: 1;
-ms-grid-column: 4;
grid-area: user;
-ms-grid-row-align: stretch;
align-self: stretch;
-ms-grid-column-align: end;
justify-self: end;
}
.primary-nav-1 .username.primary-nav {
display: none;
font-size: 1.3rem;
vertical-align: middle;
text-transform: uppercase;
}
.primary-nav-1 .user-menu.primary-nav {
height: 100%;
padding: .5rem 1rem;
color: #999;
}
.primary-nav-1 .user-menu.primary-nav:hover {
color: #fff;
}
.primary-nav-1 .user-menu.active.primary-nav {
border-radius: 1rem 1rem 0 0;
background: #333;
}
.primary-nav-1 nav.primary-nav {
display: block;
z-index: 2;
height: 5rem;
padding-right: 1.5rem;
}
.primary-nav-1 .link-home.primary-nav {
position: static;
float: left;
margin-top: 1rem;
padding: 0 10px 0 13px;
-webkit-transform: translate(0, 0);
-ms-transform: translate(0, 0);
transform: translate(0, 0);
}
.primary-nav-1 .ia-wordmark.primary-nav {
margin-left: 1rem;
}
.primary-nav-1 .user-info.primary-nav {
float: right;
padding-top: 1rem;
}
.primary-nav-1 .user-menu.primary-nav {
padding-top: 0;
}
.primary-nav-1 .user-menu.active.primary-nav {
background: transparent;
}
.primary-nav-1 .user-menu.primary-nav img.primary-nav {
display: inline-block;
vertical-align: middle;
}
.primary-nav-1 .upload.primary-nav {
display: block;
float: right;
margin-top: 1rem;
font-size: 1.4rem;
text-transform: uppercase;
text-decoration: none;
color: #999;
}
.primary-nav-1 nav-search.primary-nav {
float: right;
margin-left: 1rem;
}
.primary-nav-1 login-button.primary-nav {
display: block;
margin-right: 1rem;
}
}</style><!-- Shady DOM styles for user-menu --><!-- Shady DOM styles for
search-menu --><style scope="search-menu-1">.search-menu-1 {
;
}
.search-menu-1 button.search-menu:focus,.search-menu-1 input.search-
menu:focus {
outline-color: #428bca;
outline-width: 0.16rem;
outline-style: auto;
}
.search-menu-1 .search-menu.search-menu {
position: absolute;
top: -800px;
right: 0;
left: 0;
z-index: 1;
padding: 0 4.5rem;
font-size: 1.6rem;
background-color: #333;
}
.search-menu-1 .tx-slide.search-menu {
overflow: hidden;
transition-property: top;
transition-duration: 0.2s;
transition-timing-function: ease;
}
.search-menu-1 .closed.search-menu {
transition-duration: 0.2s;
}
.search-menu-1 .open.search-menu {
top: 4rem;
}
.search-menu-1 .advanced-search.search-menu {
text-decoration: none;
color: #428bca;
}
.search-menu-1 .search-menu.search-menu:after {
position: absolute;
right: 7px;
top: -7px;
width: 12px;
height: 7px;
box-sizing: border-box;
color: #fff;
content: "";
border-bottom: 7px solid currentColor;
border-left: 6px solid transparent;
border-right: 6px solid transparent;
}
.search-menu-1 .open.search-menu {
top: 5.1rem;
opacity: 1;
}
.search-menu-1 label.search-menu {
padding: 0;
}
.search-menu-1 a.search-menu {
padding: 1rem 0 0 0;
}
}</style><!-- Shady DOM styles for wayback-search --><!-- Shady DOM styles
for more-slider --><!-- Shady DOM styles for media-subnav --><style scope="media-
subnav-1">.media-subnav-1 a.media-subnav {
text-decoration: none;
color: #fff;
}
.media-subnav-1 img.media-subnav {
display: block;
width: 90px;
height: 90px;
margin: 0 auto 1rem auto;
border-radius: 45px;
}
.media-subnav-1 h3.media-subnav {
margin-top: 0;
font-size: 1.8rem;
}
.media-subnav-1 h4.media-subnav {
font-size: 1.6rem;
}
.media-subnav-1 ul.media-subnav {
padding: 0;
margin: 0;
list-style: none;
}
.media-subnav-1 .icon-links.media-subnav {
display: -webkit-box;
display: -ms-flexbox;
display: flex;
-webkit-box-pack: space-evenly;
-ms-flex-pack: space-evenly;
justify-content: space-evenly;
text-align: center;
}
.media-subnav-1 .wayback-search.media-subnav {
-ms-grid-column: 1;
-ms-grid-column-span: 3;
grid-column: 1 / 4;
}
.media-subnav-1 h3.media-subnav {
display: none;
}
.media-subnav-1 h4.media-subnav {
margin: 0 0 1rem 0;
font-weight: 100;
}
.media-subnav-1 ul.media-subnav {
font-size: 1.3rem;
}
.media-subnav-1 li.media-subnav {
padding-bottom: .5rem;
}
.media-subnav-1 .icon-links.media-subnav {
-ms-grid-column: 1;
}
.media-subnav-1 .links.media-subnav {
padding: 0 1.5rem;
}
.media-subnav-1 .featured.media-subnav {
-ms-grid-column: 2;
}
.media-subnav-1 .top.media-subnav {
-ms-grid-column: 3;
}
.media-slider-1 .information-menu.media-slider {
position: absolute;
top: 0;
right: 0;
left: 0;
padding: 0;
height: 368px;
overflow-x: hidden;
font-size: 1.4rem;
background: #333;
}
.media-slider-1 .open.media-slider {
display: block;
}
.media-slider-1 .info-box.media-slider {
padding: 1rem;
}
@media (min-width: 890px) {
.media-slider-1 .overflow-clip.media-slider {
display: block;
top: 0;
left: 0;
height: auto;
overflow-x: visible;
transform: translate(0, -100%);
transition: transform .2s ease;
}
.media-slider-1 .information-menu.media-slider {
left: 0;
z-index: 1;
height: auto;
min-height: 21rem;
background: #474747;
transform: translate(0, -100%);
transition: transform .2s ease;
}
.media-slider-1 .overflow-clip.open.media-slider {
transform: translate(0, 8rem);
}
.media-slider-1 .information-menu.open.media-slider {
transform: translate(0, 0);
}
.media-slider-1 .info-box.media-slider {
max-width: 1000px;
padding: 1.5rem 0;
margin: 0 auto;
}
.desktop-subnav-1 li.desktop-subnav {
display: inline-block;
padding: 0 15px;
}
.desktop-subnav-1 a.desktop-subnav {
text-decoration: none;
color: #aaa;
}
.signed-out-dropdown-1 nav.signed-out-dropdown {
position: absolute;
top: -1500px;
right: 0;
z-index: 1;
overflow: hidden;
font-size: 1.6rem;
background-color: #333;
transition-property: top;
transition-duration: 0.2s;
transition-timing-function: ease;
}
.signed-out-dropdown-1 .initial.signed-out-dropdown,.signed-out-dropdown-
1 .closed.signed-out-dropdown {
top: -1500px;
}
.signed-out-dropdown-1 .closed.signed-out-dropdown {
transition-duration: 0.5s;
}
.signed-out-dropdown-1 .open.signed-out-dropdown {
top: 4rem;
max-width: 100vw;
overflow: auto;
}
.signed-out-dropdown-1 h3.signed-out-dropdown {
padding: 0.6rem 2rem;
margin: 0;
font-size: inherit;
overflow: hidden;
text-overflow: ellipsis;
}
.signed-out-dropdown-1 ul.signed-out-dropdown {
padding: 0.4rem 0 0.7rem 0;
margin: 0;
list-style: none;
.signed-out-dropdown-1 .info-item.signed-out-dropdown {
font-size: .8em;
color: #999;
}
.signed-out-dropdown-1 nav.signed-out-dropdown:after {
position: absolute;
right: 7px;
top: -7px;
width: 12px;
height: 7px;
box-sizing: border-box;
color: #fff;
content: "";
border-bottom: 7px solid currentColor;
border-left: 6px solid transparent;
border-right: 6px solid transparent;
}
.signed-out-dropdown-1 h3.signed-out-dropdown {
display: none;
}
.signed-out-dropdown-1 ul.signed-out-dropdown {
max-height: calc(100vh - 8.5rem + 1px);
}
.signed-out-dropdown-1 .divider.signed-out-dropdown {
border-bottom-color: #666;
}
.signed-out-dropdown-1 a.signed-out-dropdown {
padding: .5rem 2rem;
color: #333;
transition: background .1s ease-out, color .1s ease-out;
}
.signed-out-dropdown-1 .info-item.signed-out-dropdown {
padding: .5rem 2rem;
font-size: .8em;
}
.signed-out-dropdown-1 a.signed-out-dropdown:hover,.signed-out-dropdown-1
a.signed-out-dropdown:active,.signed-out-dropdown-1 a.signed-out-dropdown:focus {
color: #fff;
background: #428bca;
}
.signed-out-dropdown-1 .initial.signed-out-dropdown,.signed-out-dropdown-
1 .closed.signed-out-dropdown {
opacity: 0;
transition-duration: .2s;
}
.signed-out-dropdown-1 .open.signed-out-dropdown {
top: 5.1rem;
opacity: 1;
overflow: visible;
}
.signed-out-dropdown-1 .search-hidden.initial.signed-out-dropdown,.signed-
out-dropdown-1 .search-hidden.closed.signed-out-dropdown,.signed-out-dropdown-
1 .search-hidden.open.signed-out-dropdown {
right: 18.3rem;
}
.signed-out-dropdown-1 .search-hidden.initial.signed-out-dropdown,.signed-
out-dropdown-1 .search-hidden.closed.signed-out-dropdown,.signed-out-dropdown-
1 .search-hidden.open.signed-out-dropdown {
right: 23.5rem;
}
.ia-topnav-1 #close-layer.ia-topnav {
display: none;
position: fixed;
top: 0;
right: 0;
bottom: 0;
left: 0;
z-index: 0;
}
.ia-topnav-1 #close-layer.visible.ia-topnav {
display: block;
}
.ia-topnav-1 .topnav.ia-topnav {
position: relative;
z-index: 3;
}
</button>
<nav-search class="style-scope primary-nav x-scope nav-search-1"><!----><div
class="search-activated fade-in search-inactive style-scope nav-search">
<form id="nav-search" class="highlight style-scope nav-search" method="get"
action="https://archive.org/search.php" data-event-submit-tracking="BetaTopNav|
NavSearchSubmit">
<input type="text" name="query" class="search-field style-scope nav-search"
placeholder="Search" autocomplete="off">
<input type="hidden" name="sin" class="style-scope nav-search" value="">
<button type="submit" class="search style-scope nav-search" data-event-
click-tracking="BetaTopNav|NavSearchClose">
</button>
</form>
</div><!----></nav-search>
</a>
<span class="style-scope login-button">
<a class="style-scope login-button"
href="https://archive.org/account/signup">Sign up</a>
|
<a class="style-scope login-button"
href="https://archive.org/account/login">Log in</a>
</span>
</div>
<!----></login-button>
</div>
<media-menu class="style-scope primary-nav x-scope media-menu-1"
tabindex="-1"><!---->
<nav class="media-menu tx-slide closed style-scope media-menu" aria-
hidden="true" aria-expanded="false">
<div class="menu-group style-scope media-menu">
<!---->
<media-button class="style-scope media-menu x-scope media-button-1" data-
mediatype="web"><!---->
<a class="menu-item web style-scope media-button"
href="https://archive.org/web/" data-event-click-tracking="BetaTopNav|NavMenuWeb">
</span>
<span class="label style-scope media-button"><!---->Wayback
Machine<!----></span>
</a>
<!----></media-button>
<!---->
<media-button class="style-scope media-menu x-scope media-button-1" data-
mediatype="texts"><!---->
<a class="menu-item texts style-scope media-button"
href="https://archive.org/details/texts" data-event-click-tracking="BetaTopNav|
NavMenuTexts">
</span>
<span class="label style-scope media-button"><!---->Books<!----></span>
</a>
<!----></media-button>
<!---->
<media-button class="style-scope media-menu x-scope media-button-1" data-
mediatype="video"><!---->
<a class="menu-item video style-scope media-button"
href="https://archive.org/details/movies" data-event-click-tracking="BetaTopNav|
NavMenuVideo">
</span>
<span class="label style-scope media-button"><!---->Video<!----></span>
</a>
<!----></media-button>
<!---->
<media-button class="style-scope media-menu x-scope media-button-1" data-
mediatype="audio"><!---->
<a class="menu-item audio style-scope media-button"
href="https://archive.org/details/audio" data-event-click-tracking="BetaTopNav|
NavMenuAudio">
<span class="icon style-scope media-button">
</span>
<span class="label style-scope media-button"><!---->Audio<!----></span>
</a>
<!----></media-button>
<!---->
<media-button class="style-scope media-menu x-scope media-button-1" data-
mediatype="software"><!---->
<a class="menu-item software style-scope media-button"
href="https://archive.org/details/software" data-event-click-tracking="BetaTopNav|
NavMenuSoftware">
</span>
<span class="label style-scope media-button"><!---->Software<!----></span>
</a>
<!----></media-button>
<!---->
<media-button class="style-scope media-menu x-scope media-button-1" data-
mediatype="images"><!---->
<a class="menu-item images style-scope media-button"
href="https://archive.org/details/image" data-event-click-tracking="BetaTopNav|
NavMenuImages">
</span>
<span class="label style-scope media-button"><!---->Images<!----></span>
</a>
<!----></media-button>
<!---->
<media-button class="style-scope media-menu x-scope media-button-1" data-
mediatype="donate"><!---->
<a class="menu-item donate style-scope media-button"
href="https://archive.org/donate/" data-event-click-tracking="BetaTopNav|
NavMenuDonate">
</span>
<span class="label style-scope media-button"><!---->Donate<!----></span>
</a>
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<pre>Music
3^
PERFORMED Kl
Tonic sol-fa.
A ROMANTIC LEGEND
FOR SOLI, CHORUS, AND ORCHESTRA
JOSEPH BENNETT
THE GIFT OF
1891
S.-.2.o.3._^5_
idM-ih
DAILY NEWS.
Mr. Cowen's orchestration is of infinitely more important and finished a
character than in " Sleeping Beauty," and the new Cantata contains some of his
happiest melodic inspirations.
MORNING POST.
There can be no question but that the composer has availed himself of his
opportunities, and " The Water Lily " is undoubtedly entitled to rank high in the
list of his compositions. . . . We do not think that his gifts have ever been
exemplified to a greater extent than in the present Cantata.
ATHEN^UM.
" The Water Lily " is not only the most ambitious, but, pn the' whole, the
most successful of Mr. Cowen's works of similar calibre. . . In brief, ' ' The
Water Lily" Is a remarkably clever and effective work, and well worthy the
attention of our best choral societies, from whom alone it could receive justice.
DISPATCH.
" The Water Lily " should certainly command attention wherever its merits,
which are very great, can find proper attention.
JOB
AN ORATORIO
BY
C. H. H. PARRY.
] Prwti-ttt t t^lt .
THE TIMES.
The whole monologue is an extraordinary exhibition of sustained power and
effect, such as very few composers of any period have surpassed. , . . The
impression produced by the work was very great, and it must be said deliberately
that recent years have not seen a composition more free from flaw or weak point
of any kind.
DAILY TELEGRAPH.
Having once more heard Dr. Parry's Oratorio, under the best possible con-
ditions, I accept it as a masterpiece without the smallest qualification. . . .
Nothing
more interesting than this work could have been given to the Festival public. . . .
" Job " is one of the greatest works of modern times, and does no little to lift
our
English art to the highest level.
STANDARD.
To describe the numberless changes of tinje, rhythm, and manner would be
impossible. . . . Mention, however, must be made of an exquisite melody in D
flat, given out by the violoncellos, and supported by the trombones pianissimo, at
the words " Man that is bom of woman." This is truly a bit of inspiration, such
as only comes at rare intervals even to a gifted composer. . . . That " Job " will
materially add to the composer's growing reputation may be said with con-
fidence.
MORNING POST,
His setting of the beautiful lines ' ' Man that is bom of a woman is of few days,"
to quote only one instance, is a marvel both of beauty and appropriateness. . . .
The general verdict will no doubt declare " Job " to be Dr. Parry's masterpiece.
DAILY CHRONICLE.
It literally teems with beautiful phrases — in fact, the possession by Dr. Parry
of the inestimable gift of melody has, I am inclined to think, never been so
evident as in the verses commencing " Why died I not ? " and " Man that is born
of woman." . . . From whatever point of view it may be criticised, "Job" is
thoroughly worthy the composer of the stupendous " De Profundis."
THE GUARDIAN.
As for the music, it is worthy at all points of the composer of the " De
Profundis."
THE ATHEN^UM.
That Dr. Parry has written nothing finer than " Job " is generally admitted,
and his boldness in dispensing with set airs, fugal choruses, and an elaborate
Finale is abundantly justified by results.
PROGRESSIVE STUDIES
FRANKLIN TAYLOR.
This Collection of Studies is intended to illustrate the various
elements of a complete course of pianoforte technique, and to pro-
vide students with the means of attacking and overcoming the
different special difficulties which have to be encountered. With
this view, the Studies have been arranged in groups, those in each
group being placed in progressive order, and having reference to
some one particular difficulty. The greater part of the Studies
themselves have been selected from the standard works of the
most eminent Study-writers, and with these are included numerous
others, which, though of equally great practical utility, have
hitherto been less generally accessible.
FIVE-FINGER STUDIES
SCALES ~ 7. 7. T,
BROKEN CHORDS.
22.
«3.
84.
25-
26.
ARPEGGIO
VELOCITY
Part 1*
,. «*
Part I*
Part i»
" K
.. 3*
» 4»
>i S
Part I*
., 8*
,1 3
■I 4
Part I*
., «♦
•• 3
Part I*
„ i*
» V
.1 4
» 5
» 6
1. 7
FIGURES IN SEQUENCE
AND OCTAVES ..
BROKEN THIRDS, SIXTHS,
AND OCTAVES ..
Parti
Parti*
28.
29.
30.
31-
32.
33.
34.
35-
36.
37.
38.
39. STACCATO
SHAKES Pirti*
;: : : :: :: :: :: :: t*
, ••
.. 3
•> •■ ,. 4
OCTAVES Parti*
, «•
CHORDS Parti
REPETITION Parti*
PART PLAYING
Parti*
„ «*
ORNAMENTS Parti
.. , t
ACCOMPANIED MELODY
Part 2*
* These Parts are already published.
ti »
RHYTHM
Fart I
■> 2
Part 1
•> 1
Part I*
„ a*
TWELFTH THOUSAND.
Tonic Sol-Fa
JOHN CURWEN.
w
LONDON &■ NEW YORK
LONDON :
PRINTERS.
PREFACE.
CONTENTS.
Chapter I.
FACa
Chapter il.
THE DIATONIC SCALE 4
Chapter HI.
TIME > 6
Chapter IV.
CHROMATIC TONES AND TRANSITION ... ; 11
Chapter V.
METHOD OF TEACHING 15
Chapter VI.
METHOD OF TEACHING HARMONY 22
Chapter VII.
METHOD OF TEACHING THE STAFF NOTATION ... 26
Chapter VIII.
THE MINOR MODE 28
Chapter IX.
THE MENTAL PROCESS IN SINGING 31
PRACTICAL EXERCISES 36
CHAPTER I.
fe^
^^3^i^^
m
^
iss:
.£2. ./a.
izr
::iiz:c
E^
=g=
TONIC SOL-FA.
^^^P^ \\^rlf^^¥^
m
'^^=jM
lA
J.
^^-
:«P=
The fact that to singers one key is the same as another is the
basis of the Tonic Sol-fa Notation. In this notation the above
chant in key F appears as follows :—
Key F.
n :—
d'
d'
1 :-
s :s.f
d :-
fe :-
s.f:n.r
d
t,
s :—
d' :-
d' :1
-.f
d :-
—
re :—
n :f
s.
n : —
d'
d'
1 :-
s :s.f
d :-
d
fe :-
8.f:n.r
t,
s :—
d' :-
d' :1
-s
-.f
n
—
d :-
re :—
n :f
s.
The only difference being that the words " key E " are placed at
the beginning, fof the singer's guidance, instead of " key F."*
" The reader is referred to the following chapters for an explanation of the
signs of the notation.
t Chapter IX., op " The Mental Process in Singing"' shows what are the
common habits of chorus-singers in this respect.
CHAPTER 11.
talian Names.
Written.
Noted
SI
te
la
lah
sol
soh
s
fa
fah-
mi
me
re
ray
do
doh
:^=^
^^
- sJ I I
-e^-
d 1
1 1
?=:
=]:
zsiz
■^-F^-
22
^Ea
^
±
(4)
^^
d r n f s
^_^
because in the first case the doh is within the standard octave ;
in the second it is above it. The tenor and bass parts are written
an octave higher than they.sourid. Thus the passage —
^
dE
=r
,^BP
d.
is written :-
KeyF.
s n
d.
d
n
d
d
n.
Si
Si
f,
s,
d,
d,
n,
f,
"i
not
CHAPTER III.
TIME.
In order to explain the Tonic Sol-fa Notation of Time it is
necessary to remind the reader of the nature of musical rhythm.
Music is divided by bars into measures. It is convenient, as the
French do, to use the word measure to indicate the distance from
one bar to the next, and to reserve the word bar for the vertical
line which separates measures. This line is used in the Tonic
Sol-fa' Notation to mark the commencement of every measure, but
it is not used at the end of scores as in the Staff Notation. The
double bar marks the conclusion of sections or movements : —
i^
^ ^
J J , J J , J
A AA
^^^^m
KeyD.
d n
I
I
d d
n s
PI
d'
d'
d'
d d
t,
1,
f,
In the above example the pulses (or beats) of the music follow
each other in the order of strong and weak, or accented and
unaccented. The second note has a weak accent, and the sign
(6)
:n
:d
:d
:d
d
:s
:n
d'
d'
d'
:d
t,
:d
I.
f.
d
d
StS:
5^
Mozart.
^M
d' :n'
^
dz
^^
Handel.
^^-^^^-
53E
J-J J-
i^
Sing,
sing,
sing.
O ye heav'ns.
Key C-
d'
n
n'
s
s
d
n'
d'
:—
s' :- :
:d':t
d'
s :— :
:s :f
n' :— :
:n' :r'
n'
d':-:
:d' :r'
d'
•8
TONIC SOL-FA.
, t i R. Redhead.
^
r r r f^ ^^
^Efc
I^P
Key Et'-
[s
Id
In
Id
:1
If
:n
:r
:d
a -
■Ir
:d
:t,
■.f
Is
:s
:s
:f,
It,
:d
S|
:f
I
Mendelssohn.
iifii
^ — ^-
i53E
qtD^
=fSl!s=
-pl-ip^-
How love - ly are the mes-sen-gers that preach us the gospel of peace.
Key G-
Mendelssohn.
i
-¥=
i^s:
Key A-
I :si I s, :n :d ti_
i&
m=ik
^
II
, Key C-
d' :- :r'
.:f' Is'
II' :-
s' :- :-
TIME.
MsE
^
Handel.
P=P=
3^
6^=g^
Key F. Lah is D.
1 :n .,n Id
.d :r .n ll.
^m
Rossini.
^
Key A\f-
{[ n :— I- ,ti ,d : r .t, .n [d
II,
p f f
'^Ttw
5=^
:i?=zt2
A - - men, A
KeyF.
.r ;- .n If .f :- .n r .r
men, A
jmen, A - • men, A
r .
men.
lO
TONIC SOL-FA.
s :— Is
.— :— s.s:s.s s :s
I-
The pulses are measured out, like the inches on a yard rtieasure,
and the eye rapidly values the length. An experienced Sol-faist
keeps time by judging the distance between the notes, only
stopping occasionally to look at the accent marks; and when
through bad printing the pulses are unequal, he is completely
put out.
CHAPTER IV.
IZ2C
=»=2=
-TC }t ^ . j <=> g ^-
rr
^ tf ^
de
re n
fe s se 1 le
izz:
33:
i-fez:
n na r ra d
J. Barney.
KeyC-
s :-
d :-
d':-
n :-
s Is
d If
d' It
na|r
-.l:s
-.f :f
-.t :ta
-.r :ra
d' :-
n :-
- 1-
- If
- n
-
- 1-
- 1-
- 1-
- 1-
ta:-
- 11
las
d :-
- 1-
- 1-
(11)
TONIC SOL-FA.
?3-
-X^
Key E-
n
.re:n
.fe:s
t :-.le:t
Ik
j-^— j-^h
-\—r
J- j-
j-^-
J. A
^A
^B
^^-^- F
KeyF-
d'
:n If
Is
:f
d
d
:d Id
de
It,
:t.
:s 11
fe
Is
:s
d
:ta, |1,
S|
f,
r.
Is,
:s,
Henry Smart.
^ffi
^
13
j JjJ J JitTiH
Cre-
P^
A^-J^-J
^ J J
^rfefr^rf^
Tf
t'M^^^
^
r— f— an^n*
J J nJ , J >^J ^
r r r r
LjT r
:t
KeyE-
|n ;r
Id :t,
|s :s
'Id :8,
n |1 :s
d |r :n
s It :d'
B.t.
n |""f :n
d |"1: •«,
a !•/ :s,
r :d.r \n
fi !ni.f||g|
l,.t,:d Id
f.E.
«s
- Id
n,t,
- Id
1.
*S
- Is
4.S,
- In,
f,
.d |r :s
:1, It,
:r
:s, I
f.A.
n, Id
:*s. Is,
:»r Id
:*s,.f||n.
:r
:f,
:t,
:s,
r
1,
f
f,
t,
S|.f,
d jr
n, is.
If :t.
E.t.
|"1 :s
s, |".M,:d
d h'd.r:n
n.r|n :r
d" Id :t,
s.lls :f
At the change to key B, the smaller and higher notes belong to the
old key, the larger ones to the new. The letter "t," after B, shows
that te is the new tone introduced by the transition ; the letter
■'f," later on, before "E," shows that /a/t is the new tone. This
is to guide the singer's ear. The change is always made at the
»4
TONIC SOL-FA.
CHAPTER V,
METHOD OF TEACHING.
The previous chapters have dealt with the Tonic Sol-fa Notation,
the mode of expressing music to the eye. We now come to the
Tonic Sol-fa method of teaching music, the educational arrange-
ment of facts and difficulties so as to facilitate the progress of
the learner. In the elaboration of this method I have occupied
the best part of my life. It is the result, gradually arrived at
and even now being added to, of my own experience and the
experience of many teachers of the system. Our aim has been
to make the beginning and progress of the pupil easy and
natural, to make his study and practice thorough and many-
sided ; and to give him clearness of thought by directing his
attention to the real nature of music.
=R=^
tJ
=^?^
cut
It :—
in
:d'
piec
Id' :-
Ye shall be
11 :s I— :f .n |t :— |— :d' Id' :— |f
(15)
i6
TONIC SOL-FA.
Key Gp.
i^
^=E
{1
Ye shall be cut
:s I- :f.n|d' :-
in
:d'
piec - as.
Id' .— Is
Key Gb-
\)0
»P— b»^
^±
{|
In the same way the characters of the other tones of the scale
are brought before the learner ; the boldness of the tones of the
tonic chord when heard in succession, the firmness of soh, the
calm and rest of me, the sadness of lah, the desolate sound of/ah,
and the rousing sound of ray.
The teacher endeavours less to tell the pupil the effect than to
make him listen for it, and feel it for himself. The object is to
fix the character of each tone in the learner's mind, so that it may
be kept there, and recalled. By this means the task of sounding
a given name, or naming a given sound, is made easy by the
recollection which the pupil has of the personnel of the scale
tones.
In teaching the scale a diagram called "The Modulator" is
used. It enables the singer to compare modes and keys, and
pass from one to another. The example opposite shows a key
with its dominant (on the right side) and subdominant (on the
left). A complete Modulator, embracing the whole range of keys,
is given on pp. 20, 21. A large part of the pupil's first exercises
are in singing voluntaries from this diagram, following with his
voice the pointer of the teacher.
It is often said by casual observers that Sol-fa notes are " all
on a dead level " and do not show the rise and fall of pitch as
does the staff. But by early training the pictorial Modulator is
fixed in the mind's eye of each pupil, and the notes start into
their places in the scale as he looks at them.
METHOD OF TEACHING.
17
THE MODULATOR.
(Copyright.) |
d'
n' 1
re' se
r' s
BO
Ae'
ba
DOH* f
lia
TE n
ta
le
T,AH r
la
se
SOH d
le t|
bah
d
FAH
t,
ME 1,
ma
re ae,
1.
RAY s,
86,
de
ba
Si
DOH f,
ba,
ti n.
f,
ta,
n,
1. r,
86,
ri
S| d|
ba. ««i ts
d,
f,
t2
n, Ig
playing or singing.
i8
TONIC SOL-FA.
i
s
Id
TAA
:d
TAA
TAA
s .n :s .n
TAA
|d,d.d,d:d .d
n .d :d
^ m^j M^^
:s .s
TAA TAI
tafaTAi tafaTAi
TAA*
?^^
:fe :s 11
■.t :d
:— :d'.r'|n'
* These are only a few of the simplest divisions of Time. For a complete
table of Galin's Time Names the reader is referred to the Tonic Sol-fa Time
Chart, or to the works of the Galin-Paris-Cheve School.
METHOD OF -TEACHING. 19
• See " The Teacher's Manual of the Tonic Sol-fa Method," and " Standard
Course of Lessens," by John Curwen. Tonic Sol-fa Agency, 8, Warwick
Lane, E.C>
20
TONIC SOL-FA.
u 1
u <.
=**!
o
P
EH
h:^
03
o
ca
« — — — - — e»
Ph « g P? ^ ft
-e. p^ H
«tH E Sh {, Ti -ta
•o *»
<4H E
CHAPTER VI.
(22)
23
C. E. HORSLEY,
s^
f=f?
-err
A.J^AA± s^J.AjJ.
^Nf^^^^rrrrlf-c.
KeyG-
; n
s>
d
n ;-.n |r :n
d :-.d|t, :d
s :-.s Is :s
f :-.f |n :n
l,:-.l, 11, :d
f :-.r Id :s
r :d Id :r
D D-.DSD R-.RL D S L F R S-
t, Id
s, Is,
r In
s, id,
S D
w-
r^r^rrrf f^^'r-r^rr
°^' rr fL ^-r^lw-rrf^
r rV rr ii rig^
r
1 :s|f :n
d.r:n |l|.t,:d
l^:d'|ri~:s
f :n |r :d
F :D6|R ;D R6
zp cp
— m
t. Id
s Is
s< )d
S |D
t
r
se
t.
d' :d' M
d.r:n |n
]~ :l II
l,.ti:d.r|n
SEb L \Lb\M
2p p W
:t
:n.r
:se
:n
:MM
-I-
24 TONIC SOL-FA.
We have already shown (p. 12) that brief entries into related
keys are expressed for convenience in the old key by help of
altered notes. But in analysing harmony by means of the chord
names the harmonic truth is always exactly given.
;*
-J- _ Jf,J-i-i_J-;
=pcq«:
-r-t
Key
:s
:1 Is
:f
:d.ta,
:s
1,
f
:d It,
:fe|s
:t,
:s
•."•
f,
:r, Is,
:s,
4-
j -, JJJJ , j.
^*^
^^^
d -.1 Is :f
-1-
1, :d Id :t,
-1-
r :r |pi :r
-1-
fei:fe,|S| -.s,
— I—
fe^rt^
Prr?
:n
jii/.
f :n|l :s
s :f jn
:d
d:d|d:d
l,:t,|d
:s
f :s|d:d
r:r|d
:d.ta,
l,:s,|f,:n
r,:S||l,^
CHAPTER VII.
(26)
CHAPTER VIII.
(28)
29
its relative major, with the additional words, " lah is C, G, Fjk"
&c., as the case may be. The following is an example : —
i
Dr. Crotch.
t^
tP^
C3
~r^!-
-Si-
Key F. Lah is D.
W!^ :— r :d t. : —
ba.se:l 1 :se 1
Key D.
;— f :n r :—
:- 1 .t :d' d' :t d'
dt
IE
rr^FTT^
r h-r ^
J-
^^^
:d'
1
:n
:d
:t,
t,
:n
:n
se
:1,
1.
:s,
f,
The only altered note here is the B, and this exactly corresponds
■*vith the Tonic Sol-fa Notation, in which the only altered note is
se. If, however, with some modern theorists we regard C major
and C minor as one and the same key, the minor scale being a
mere modification of the tonic major, we should have to write the
passage in both notations as follows : —
Key C Minor.
:na'
:na
d' :s
la
na :r
na
s :s
d'
d'
d :ta>
la,
la
:d
Here instead of one altered note there are eight. It has been
suggested by several critics that we should write minor music in
30 TONIC SOL-FA.
this way, treating the third, minor sixth, and minor seventh
as accidentals, and the sharp sixth and seventh as diatonic
notes. But, as a fact, no teachers have ever attempted to Sol-fa
the minor mode as if it were an alteration of the tonic major, and
the theorists who have urged us to do so are not themselves in
the habit of Sol-faing, and are not sensible of the difficulties it
would involve. It would in fact be easier to adopt the modern
Italian method of the fixed do, and easier still to give up Sol-faing
lltogether, than to adopt this proposal. The old English practice
(see Webbe's Solfeggios) was to call the key-note of the minor
mode lah, and this plan is pursued wherever in England and
America and France Sol-faing with the movable do is practised
from the Staff Notation.
CHAPTER IX.
d=
-f*— p! — ^
^^^
zr
J. -^ ^-
^^
J. N J.
-f^j g
^^^^
The C sharp in the bass, at the word " groans,'' which announces
the return to D, is approached by a wide leap, and a number of
the voices sing C natural. In the Tonic Sol-fa Notation atten-
tion is called to this new note by the change of key, and the sense
of " mental effect " which the singers possess would not allow
them to sing the piercing " te " as a " fah " : —
KeyQ.
s .n :s Id' .s :s .s
(31)
Dt.
n : •«£ If :-.f
d': ■"! |r':-.t
d : -i.r It :-.!
ground,
n
r'
ground.
se
32
TONIC SOL-FA.
p^^
IE
-- F
Bass.
w
--f^=^-
Y A- Lah is F.
: 1 :
: i
F- t.r
n.l.
r' :f
1 .f :f .S
Bass.
:l,.,l,|d :-.t,
se, :— 1
Ev'n
darkness
which might be
felt.
In the chorus " And with the blast " (Israel), the music (though
in the signature of D) has been for ten or more bars in G, and a
change to A involves a C sharp in the tenor, which is sung
natural : —
G ,. ^ A
^m
heap.
heap
^jjjvn,
^^
5^
s?
N=1«»:
^^==
zMui
In Tonic Sol-fa :—
Ke-s Of.
s :- I- :-
: .d It, .1, :ti.s,
: I : .8
d .,d
A't.m.
— |is :s
d .,d.:d .n
n :d .d
33
C Minor. F Major.
^ i' J r ^
5E
*==S:
t^
His ways are past our un-der - stand-ing, un-der-stand - ing.
7=F-
t=^
-!rr-
stand - ing.
fe:
P^^
fcz3z
Let Him de li - ver him.
»^F-
=?s=it
*a=it
»V-F-
^— y
II
him,
let Him de
^^
ligLt
=P=?C
in him.
y^^F^=??
S=F
^3
1 r ' ^
li
^^s
St
t)
*T li . veri
li - ver him.
^=
34
TONIC SOL-FA,
I Let
:n .r
Him de-
:sei
in
:t,
in
^'se .,ba :n
li -ver him,
iin ,% ;n .r
him, let Him de
>..n :
him.
.,t, :1.
ver him.
.n :1 .1
let Him de
light
:- .n
in
him,
1
him,
.1 :r' .d'
let Him de
.1
.,1 :s
• ver him.
se.,ba :n |
li - ver him.
: 1 .n
let
:1 .8
Him de-
f .,n :r
li - ver him.
These quotations are sufficient to prove the point that the majority
of singers, whatever theories they may hold as to the mental pro-
cess by which they produce their tones, do really as a fact depend
upon key-relationship, and that when this relationship is abruptly
disturbed or momentarily uncertain they betray their mental
habits by keeping to the old key.
J=t
Haydn. "Creation.'
l^
yju^
|:n
iAf-
1 :- I- :d'
fright - - - ed
n' :d II :n
d :-.t,|l, :-
black in throngs.
te=
-P-F-b-
E^
-F— P-
P5
Thou
=FF^
&
-F-P-
^^^^
t±
felt
^i^J^r^F
iz3=
f^
FF^
Key Gir.
: :ni
I With
In :— :d
[tak'st their
r.s d.f. Key Et^l?-
d :- :r
sud - den
f :-.n:r
breath away,
ti :-.ti:d .r
: :d
They
n I—
struck.
']
Thou'
|*n :— :sei
tak'st their
1, :-.t,:d
breath away,
: -."i S| :-.Si:t2.ts di : : ||
They va- nish in-to dust. !t
In these cases the complexity is not in the music itself. The
composer has not thought it worth while to change the signature,
and the passage becomes a puzzle to ordinary eyes through being
written in a distant key, which reqiiires a crowd of signs and
countersigns to adjust the staff relationship of the notes. In the
Tonic Sol-fa Notation the key is in all cases directly stated, and
the most remote transition becomes clear. Examples of this sort
might easily have been multiplied from standard works.
PRACTICAL EXERCISES.
CHAPTER II.
Key Eb-
German Choral.
s s d'
t:l sf nn rd
f r n n r s
s d' t
I s f n r r n
f n r r d ||
2.
KeyF-
d d r
ti ti d r n s f
r n d t, 1, 1
s, t, d
r n d f 8 lis
f n s d r d 1
, f, Hi s, Id di t2 di Ir, r, s, f, I
r d t, I li s, f| n, I r. s, di 11
(36)
Key A.
|d, d
t, d 1,
8, n,
f, 8,
PRACTICAL EXERCISES.
37
Translate into Staff Notation, in vocal score, a crotchet to
every note : —
Ke^y E.
H.J
. Gauntlett.
("
n f s d'
t 1 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
s t d' s
s 1 s n
1 s s
d r n d
s r n ti
d f, s, 1,
f, s, d
Tra
marks
5-
ic Sol-fa Notaf
ion, using no
ather accent
:d=p= ^f^
=?=:
it
^
22
±£
fe^^E^
=pz:
:^=P=
3^
6.
^
P=p:
t=r=i=
y-r-
at=i=
R. Redhead.
R. Redhead,
^^
i
^- -z:^
^^
f ^
CHAPTER III.
lO.
KeyG-
n :b
n : —
:t Id' :- !-||
38 TONIC SOL-FA.
13-
Key C- G- A. Macfarreu. " The Lady of the Lake."
14-
Key 0. Handel. " Samson."
I dji :s :s s : f .n :r .d [ ti.r :f :n
15-
Key G. Handel. " Samson."
16.
Key C. Mendelssohn. " Elijah."
I7'
KeyC'
r'.n':f
i8.
KeyF-
PRACTICAL EXERCISES. 39
(|r'.n':f'.s'll'.n':f'.r'|d'.r'.d':n'.f'.n'|d'.r'.d':n'.f'.Pi'|8' :■- i- :- ||
EE
t^
-^U^
Teschner.
i
1==
-■=2— (=-
ZSISZ
^ S ^
l^
-^■
Teschner.
i^
c? ^
leii
E. Prout.
=^q=pz:
T Fp^
:^=iz
23-
Mendelssohn.
^^
24.
Dr. Croft.
t ) 9.
Z2I
3= =2=
^
25.
Mozart.
3E
SF^
4°
TONIC SOL-FA.
26.
Kriessmann.
J F^^
I
^
SI ^
Clarke-Whitfelu.
^^
*• J rj
IF^=S
g^ iV'
J±
^^
g cJ
-7^>-
z8.
Haydn. "Creation.'
^^
fe
*««si-
29.
^^
:P
Z2r
i
=i=*2
SES
itzfef
Rossini.
r-f- i I r f^
31. n
!'-=»
^^^^^^
^^- ^ J- /.^i^-j:^j^j
1^
PRACTICAL EXERCISES.
41
CHAPTER IV.
Translate into Staff Notation, a crotchet to a pulse : —
32-
Key D-
d' It
n If
n' |r'
d Ir
:1
se :
:fe
n :
:d'
t :
■.re
n :
s Ife
- I-
ta 11
de |r
H
ENBY
Smart.
— 1 —
- It,
la
- If
n
:f
S|
- Is,
Rossini
£2
^^
t2==tC
L" I 10
34-
^
G. A. Macfarren. Chromatic Sentences.
4-
^^
E^
v r = ^
fc<
-3
^m
:t^
'"l/n
=5=?
?^
^
^
^3
^;:S^
^i^i-^^p^-i^
-r— T
35-
Key G.
B. Lamb.
36-
KEY G.
Dr. W. Crotch
:fe
8 :—
r :—
f :n
r :r
d :-
:r
t, :—
ta, :-
l,.t,:d
d :t.
d :—
42
TONIC SOL-FA.
Dr. W. Haves.
37-
38.
Joseph Pring.
cez:
:^
^ rJ
39-
J. Barnby.
Key E-
r.s.d.f. C.
B t.m.l.r.s.
d .1
:n
.8
dip,! .
- .n' :
r'
.,r'
d'
d'
I'd .d j
d .fe,
Si
nag :
- .8 :
.,f
n'
:«la,.laY
n .re
dip,! :
- .n' :
.,t
d'
d'
:"'£ .f r
i»d' :
- .d' :
..8
:'d .d )
t.
.t,
:t,
.t,
d
:—
Si
•s.
:si
.s,
s,
:—
.f
:f
.f
:—
r
.Si
:S|
.8,
: —
^
¥
1^^
-fn-
-TTT-
■d A
t!
ou
S3-
r=r
^
i
1^^
rJ -^- rj J.
-n-rr-
-S=
=S=
^?^
PRACTICAL EXERCISES. 43
CHAPTER V.
CHAPTER VI.
43. Copy the first four measures of the Easter Hymn, printed
at the beginning of Chapter III., and write under the bass the
Tonic Sol-fa Chord-names and positions.
CHAPTER VIII.
IS-
Key p. J. Kent.
47- ,
Key EP. lah is C- S. Reay.
44-
TONIC SOL-FA.
i
i
La Trode.
^3
Ja ^ ^
K^
Handel.
so. Hani
CHAPTER IX.
51-
Key Cb- G. A. Macfarren. "Joseph."
fE\>-
(I
t»f.,f :s : Ir :f :n .n 1 f :s :1 1 1
I I I
MUSIC PRIMERS
EDITED BY
A. J. Ellis, f.r.s.
26. Solfeggi {Price ^s. ; Paper boards, 5s.) ... Florence Marshall.
Ed. Dannreuther.
39. The Art of Training Choir Boys (Price 3s.) ... G. C. Martin.
39A. Do. (Exercises only) (P«ce IS.) ... G.C.Martin.
(to be continued.)
Aity of the above may be had strongly bound in boards, price 6d. each extra.
LONDON & NEW YORK: NOVELLO, EWER AND CO.
O Light everlasting.
A stronghold sure.
- — • Magnificat.
Barnby, J. — Rebekah.
portion).
- — Engedi,
—— Mount of Olives.
*Mass, in C.
Ruins of Athens.
Fourth Mass, in C.
(117th Psalm).
Christmas Eve.
NCEHIA.
Daughters of Jerusalem,
*Gallia,
Dettingeh Tb Deuu,
Utrecht Jubilate.
Barnby.
*Te Deuh.
Third Mass, in D.
Balder.
MaoCann,H. — Lord Ullin's Daughter.
LORELEY.
Hymn of Praise.
Hear my Prayer.
Man is Mortal.
Festgesanq (Hymns of Praise).
Christus.
*FiRaT Mass.
^♦Twelfth Mass.
^*Requiem Mass.
Pinsnti, C. — Phantoms.
Prout, E. — Freedom.
Mass, in B flat,
Mass, in C.
Mass, in F.
Mass, in G.
Mignon's Requiem.
Manfred.
*Mass, in E flat.
Jubilee Cantata.
Three Seasons.
MUSIC PRIMERS
EDITED BY
(to be continued.)
Any of the above may be had strongly bound in boards, price 6d. each extra.
LONDON & NEW YORK: NOVELLO, EWER AND CO.
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