NOVELLO , EW ER A N D 00 3 3 MU SIC PR IMER S .

ED IT E D BY DR . ST A IN ER .

MUS CAL D CTAT ON

A P R A C T I C AL GU I D E s m(n 1

H M
‘

l .

FO R M U S IC A L ST U D EN T S

F R ED ER I C LO U I S R I TT E R ,
MU S D oc. .
,

A U T H O R OF MU SIC IN AM E R I CA ,
”
M U S IC IN ENGLAN D " H I ST O R Y ,

OF M USIC , ” MAN U AL OF M U SICAL H ISTO RY " E T C , .

IN T W O PAR T S — PAR T I .

Pr i ce, i np aper Cov er 50 Cen t s

s s
.
,

pope! b oa r d , 7 5 Cent .

LON D ON N E W YOR K

N OVELLO , EW ER AN D CO .

r
Ente ed ng
a ccord i to Act of C o ng r ess i nth e yea r by N OVELLO , EWER
1 887 , Co
i r ri s i o
.
,

inthe Oflice of th e L b a a nof Cong re s , a t Wash ngt n .

5?
 N o v E LLo , EW ER AN D c o .
,

T YPOG PH
RA IC A L M U SIC AN D G EN E R AL p RI NT ER S,
-

I,B ER N E R S ST R EET , L N D O O N
 TA B L E O F C O N T EN T S .

INT R OD U CT ORY R EMA R K S

E X ER C I S E I .

A RR AN GEM ENT S OF N O T ES AN D R ES T S IN T O MEASU R ES T H E D OT

T H E T IE ; SIGNAT U R E OF T IME

E X E R C ISE I I .

T H E INT ER VAL OF TH E SEC ON D ; MOT IV E S ; METR E ; R H YT H M ;

A C C ENT

E XER C ISE III .

PH RA SEs ; T H E INT ER VA L OF T H E T H IR D

E X ER C I SE IV
B
.

PH RAS Es ; T H E INT ER VA L OF TH E F OU R T H ; TH E UP -
EAT ;
BEAT ING T I M E

E X ER C ISE V .

PH RAS Es ; T H E INT ER VA L OF T H E FI F T H ; SYN CO P AT ION

X ER C ISE
E VI .

PH R ASE s ; T H E INT E RVAL OF T H E SIX TH ; T R IP LET S

E X ER C IS E VII .

PH R ASEs ; T H E INT E RVAL OE T H E

r
SEV EN T H

E X ERC ISE V III .

PH RASE s ; T H E INT E R VAL OF TH E O C T A VE ; D IAT ON IC SC ALE ;

SIGNAT U R E OF KEY

E X ER C ISE IX .

PH RASEs ; C H R O MAT IC SIG N S OR A c c I D E N T A L s ; C H R O MAT IC SCAL E 53

E X E R C ISE X
P
.

H R AS ES I N MAJ OR AN D M IN O R KEYs ; MIN O R SC AL E

E XER C ISE X I .

SEC T ION S ; PER IOD s ; SE Q U E N C E

E X ER C ISE X II
P
.

PH R AS E S, SECT ION S, AN D E R IO D S E X T R A C TE D F R OM T H E W OR K S

O F C LAS SICAL AN D M OD E R N C O M P O S E R S ; M OT I ON ; T R AN SIT I ON 72

 M U S I C A L D I C TAT I O N .

I N T R O D U C T O R Y R EMA R KS .

EV ER Y musician who h a s had classes in h a rm o ny unde r hi s

c h a rg e h a s no d o ub t m ade the experience th a t st udents when
ev en endowed with only an av erage degree of ta lent and applica
, , ,

tion can be ta ught to h a rm o niz e with a go o d deal of correctne s s

,

either a given bass or a melody ; m a k ing at the right places us e , ,

of mod ulation s s us pension s passing note s etc N a y s ome

ev en will become able to master w ith a c ertain fac ilit y the
, , , .
,

d i fferent spe c ies of simple co unte rpoint in two th ree a nd fo ur ,

part s But in all these tasks they c a n hang on the lead ing
st ri ng s of c e rtain fi xed rules
.

The case becomes howe v e r q uite d i ffe rent when those l ead ing
.

, ,

St rings a re loosened and st ud ents th rown on thei r own reso urces

, ,

that is obliged to invent a melo d y with a s uitable harmony

A ltho ugh most O f them may h av e acq ui re d facility in worki ng
, .

o ut thei r examples in ha rmon y aw ay from the pianofo rte they

now in order to find a simple melodic moti v e become the sla v es

,

, ,

of the keyboard and it also causes them the g reatest tro uble to
write down correctly the melody they have picked o ut on the
keyboard B ut the trouble increa s e s when such a melod y has to
be provided with a suitable natural ha rmony A ll that they h a d
.

p re v io us ly lea rned abo ut ha rmony seems to dese rt them no w at

.

on c e : th ey find themsel v es utterly at sea

I hav e almost invariably found that even able pianoforte or
.

vocal students well grounded in the rudiments of m usic when

,
-

asked to write down from memory the melodic pas s age of the
fi rst b a r only of the S imple pie c e o r song they hav e j us t bee n
playing o r s inging fo r me co rrectly by hea rt c a n absolutely no t ,

do it : to fix the respective pitch of the d i fferent notes of the

melo d ic passage and e s pecially the division of t ime presents
, ,

un s urmo untable obstacles to them

H a v ing had ample oppo rtunity to make the closest ob s e rva
.

t ions regarding all those shortcomings on the part of m us ical

s t ud ents and being de s irou s to help in removing them I hav e
, ,

c oncl uded a fter p ractically testing it s usefulnes s to wo rk out

, ,

this method of m usi c al dictation I became convinced that in .

6 M U SIC AL D IC T AT ION .

o rder t o strengthen the musi c al memory in the right direction ,

an d teach students to th ink musically they ought to possess the ,

faculty of w riting down correctly all they are able to play or S i ng

co rre c tly by heart ; and this fac ulty ca n be acquire d by mean s
of m usical dictation ; in thi s way the musical sense becomes
sharpened the more deli c ate shades of time rhythm the cut of
t he melod ic motive and its expansion into phrases and peri ods
, , ,

will be impressed upon th e mind mo re vividly and more dist i nc tly .

The melody which now linge rs in the mind like an ind i sti nc t
,

shadow of d ivers sounds will by mean s of this method when , ,

well m astered take definite shape and at the desi re of the

, ,

m usical st udent can be fixed upon paper in visible characte rs .

I am convinced of the fact that this course of musical dictation ,

when closely and rationally connected with the general course of

m usical e d u cation will also help to form more intelligent more
, ,

appreciative listeners : a wealth O f characteristic beauties con ,

ta ined in a fine composition and which formerly escaped them

entirely will now be reveale d to them for they have ac quired th e
T
, ,

a rt of l is tening in the right manner his surely will be a g reat .

ga i n
I have worked out this method with a double purpose : F irstly
.

to teach musical students to become able to write down co rrectly ,

afte r hea ring o nce any melodi c phrase or p eriod of vocal or

,

instrumental music ; or if requi red the entire piece they are

, ,

able to play or sing by heart and especially to enable them to ,

fix thei r own melodic thoughts Seco nd ly to teach the general .

,

law s that lie at the foundation of all musical form s to show the ,

formation of motives and thei r expansion into periods a nd al s o ,

in thi s way to excite those espec ially gi fted w ith melodic talent
to s elf prod uction
-

A nyone w h o has h a d experience as an

.

inst ructor of harmony and compo s ition knows no d oubt how , ,

diffic ult it i s to initiate students into the complex melodic a nd

h armoni c forms Of instruction of a musical composition o r to ,

tea c h them h o w to analyse ri ghtly s uch forms

I believ e that by means of thi s method Of dictation not only
.

st ud ent s in composition but also pianoforte players to whom

, ,

the fo rmal c onstruction of pieces is on the whole a term incog

ni ta can be taught to gain the power of seeing into the p rin
,

ip l es that govern the const ruction of a musical work small or

parge
,

I have di v ided this cour s e into t wo P arts

.

the first consists of

monodic or single voiced exe rci s e s ; th e second of exe rc i s es
based on harmony E ach P art is calculated to occupy one s c hool
-
, ,

year s time
’

T h e fi rst Part m ay be taken up by _any instru mental o r vocal

.

st udent who is well acquainted with the v alue of the notes a nd

rests An yone who will dev ote to these dictati ons on ly ten
.

minutes of each of the regular two weekly l essons will soon ,

 MU SIC AL D IC T AT ION .
7

becom e aware of their advantages W hile on one hand this . , ,

course of study will serve as a welcome recapitulation of things

learned in former lessons makin g C lear that which th e O ften
,

slovenl y m anne r of committing to memory failed to do ; it will

’

on the other hand a fford students an interesting and intellectual

,

recreation .

I have written the greater n umber Of the e x ercises of this fi rst

part within a moderat e compass s uitable to an average voice if
required I endeavoured to proceed gradually from Simple forms
,

I h av e also limited the length of the

.
,

to more di ffi cult ones

exercises up to N O X I to phrases Of two bars I found that
.

. . .

it w ould tax th e receptive powe rs of students too m uch by pre

sentin g addition a l new matter in too extended example s
-

The necessary ex planatory directions and theoretical definitions

.

are given in connection with ea c h separate exe rcise on which

they bear I have endeavou re d as far as it lay in my power to
.

.
, ,

give Of eac h s ubject contained in this part as clear and concise a

theoretical de fi nition as possible Students when facing new .

thin gs are not yet prepared to take in with complete understanding

learned theoreti c al dissertations ; the matter m ust be presented
to them in a simple lucid manne r
A lthough I am aware of the fac t that a certain form of mus i cal
, , .

dictation is u sed in connection with vocal inst ruction in the

P aris C onservatoire and in s ome other in stitutions I am s ure ,

that the matter has never yet been worked o ut into such a
systematic c o urse of instruc tion as I have done he re ; and I
trust that in thi s form it will prove interesting and instructive to
those st ud ents who may seek en l ightenment on the subject Of
w hi ch this work treats .

VASSAR C O LL E GE , j
un e, 1 886 .

N OT E —Th is Work canbe ad v antageously used by tw o fel low stude nts

d icta tin
g n
a l ter a tely to ea ch oth er i nth e a b sence of a tea ch er .
 M U SICAL D IC T AT ION

PA R T I .

EX E RC I SE I .

A R R A N GEM EN T OF N OT ES A N D R EST S IN T O M EA S U R ES ; T HE
D OT ; T H E T IE OR B IN D .

! N O T E — In h t i W k h nt n m d ft th i v l u t h u ho le
v h lf n t (minim) q
t e
t u t nt ( t h t)
. s or o es a re a e a er er a e, s : w
no e (s mi b re e)
.

Th
p nd ng t imil l n m d !
et c .
e a o e a r er o e c ro c e e co r
- -
, , ,

res o i res s a re s ar y a e .

D I R E C T I O N — It is not
. necessary to w rite the d i fferent note s
and rests incl uded in a meas ure in exa c tly the same o rder as
gi v en he re ; othe r c ombinations being in many c a se s po s sible
Di v isio n of time p re s enting to st ud ents great di ffi c ulties mus t
.

, ,

be well m aste red These p reparatory exe rc ises do no t need to be

.

played they may be w ritten on any de gree of the s cale .

D E FI N IT IO N — T h e d o t s ignifies that the value of the note o r

.

rest p receding it is increased by its half ; the d o t afte r a dot

lengthens the fi rst dot half its v al ue The tie o r b i nd is a sign
that conne c ts two notes of the same pitch of whi c h the fi rst one
.

only is sounde d .

Those small s e c tions of a m us ical c omposition indi c ate d on ,

the staff by perpendi c ula r ba rs a re called mea sures o r b a rs The

met ri c al contents (see E xercise II ) of each b a r o r measu re is
.
,

indicated by the time s ig na ture plac ed at the beginning of the

staff righ t aft e r the clef
,

.
,

? D U P LE M EA SU R E — W r ite in one measure .

H O ne note .

N A dotted note a nd a rest .

J
U
Two rests and a qua rter note on the third beat -
.

F Tw o rest s and a half note on the second beat -

g A dotted note and two eighth notes

.
-

.
t

C
h T w o notes and a dotted re st .

Q Two notes O f two kinds one dotted and a rest on last beat .
, ,

W Three notes of three kinds a dot and a tie , , .

O Two rests a n d two notes close with a h alf note -

.
,
S
IO M U S IC AL D IC T AT IO N .

10 Two notes of two kinds and a rest on third beat

. .

I I Fo ur notes and two d ots .

A rest and two note s of eq ual v al ue

.

12 . .

13 Th ree notes of two kin d s two re s ts one of them dotted

.
, , ,

c lose with a q uarte r note -

.

14 Fo ur notes of two kinds two rests and two ties

.
, , .

1
5 Two rests of two kinds a nd two notes of two kinds close
.
,

with a q uarte r note -

.

16 Two notes of two kinds a nd three rests of two kinds

commence wi t h a rest
.
,

Two note s a nd two re s ts of equal v al ue

.

17 . .

18 Th ree notes of two kin d s and two rests commence and

.
,

clo s e with a rest .

1 9 Th ree notes of two kinds a tie a n

. d a re s t to begin with , ,
.

2 0 Fo ur notes of two kinds begin with an eighth rest and

.
,

close with anothe r re s t .

8 .
2
H O ne
note
Tw o no t es
.

N .

O
U
Th ree notes of two kind s .

P Two notes of two kinds and a d o t

-
.

U Th ree note s of two kin d s and a tie

t
’
.

fi
O Fou 1 note s of two kind s and tw o d ots
fl Two note s of two kin d s a nd an eighth I est at the beginning
.

. .

8 Two note s of two kin d s a nd two re s t s of two kin d s close

. ,

with a sixteenth note .

9 O ne note on the second beat a nd two rests of two kinds

. .

10 Two re st s a nd two notes of eq ual value

. .

1 1 Th ree note s of two kin d s a nd a rest

. .

12 Fo ur note s of t w o kin d s a nd two re sts begin and close

wi t h a re s t
.
,

13 Fo ur notes of two kinds a nd two d ot s

. .

14 Four notes of two kind s a nd two S ixteenth res ts

. .

1
5 Th ree note s of two kin d s a nd a re st on s econ d beat
Six note s of two ki n
. .

16 . ds .

17 Six notes of two kinds and two rests begin with an

.
,

eighth re st .

18 Two re s t s of two kinds a nd two note s

. .

1 9 Two rests of two kind s and th ree note s begin with quarter
.
,

re s t .

2 0 Two re s t s a nd one note to stan d on s e c ond beat

. .

O . T R I P LE M EA S U R E— C g
1 O ne dotte d n ote
Th ree notes of two k i n d s a tie and a dot
. .

2 .
, , .

3 Four notes of two kin ds

Four note s a nd two res t s
. .

4 . .
 M U SIC AL D IC TAT IO N . II

5 . Fi v e notes of two kinds and a dot .

6 .
Q uarter rest and two notes of two kind s
-
.

7 Three notes of three kinds and a rest

A re st four notes of two kinds and a dot commence with
. .

8 .
, , ,

a rest
A rest and two quarte
.

9 . notes r -
.

10 Three notes of tw o kind s and a rest on second beat

.
.

1 1 O ne note and two rests commence with a rest

F i v e notes of two ki nds tie the fi rst two notes and close
.
, .

12 .
,

with a rest .

13 F ive notes of th ree kinds and two rests commence with

.
,

a rest .

14 Six notes of two kinds a nd half rest

.
-
.

15 F o ur notes of two kinds a nd an eighth re s t at the b e

.

gi nn i ng .

16 Three notes with corresponding re sts c ommen c e with

.
,

a rest .
'

1
7 Fou r no tes o f tw o kinds a dot after the first note
.
, .

18 Six note s of two kinds a nd th ree dots

Se v en notes of three kinds tie the fi rst two n otes
. .

19 .
, .

2 0 Th ree notes of two kinds a dot and a rest on the second

.
, ,

beat .

D .
2
1 Two notes
. .

2 Two notes and a re st on the second beat

. .

3 Two notes of two kinds a rest and a dot

. , , .

4 Two note s of two kinds with corresponding rests close

.
,

with a rest .

5 A rest and two notes fo r the last beat

6 T h ree rests of two kind s an d two notes commence and
.
.
,

. ,

close with a rest .

7 Two .rest s and th ree notes of two kinds com mence with ,

a rest
8 T wo notes of two kind s with co rresponding re sts com
.

. ,

mence and close with a note .

9 Four notes and tw o re s ts

A rest three note s of two kinds and a tie
.
.

10 .
, ,
.

1 1 Three n otes O f two kinds and a dot

. .

12 Th ree notes of two kinds and an eighth rest on the second

.

beat .

13 Q uarter rest an eighth rest and three notes of two kinds

.
-

, ,
.

14 F ive notes Of three kind s and an e i ghth rest after second

.

beat .

15 F ive notes of three kinds a dot and a sixteenth rest at

. , ,

the beginnin g .

16 Three notes and two rests of two kinds

.
.

17 O ne rest and one note

. .
12 M U SIC AL D IC T AT ION .

Th ree notes of two kinds and a tie the shortest notes

1 8. ,
tQ
occ upy one beat
1 9 F our no t es of three kinds one n ote double dotted
.

-
. .
,

2 0 A double dotted rest and two notes of two kind s

.
-
.

T 3
! .
8 a

Two note s
r .

e Fou r notes a dot after the fi rst one

Two notes a nd a res t at the beginning
t .
,

s
o .

p A rest and fou r note s one O f them dotted

- , .

A re s t a nd a note on the last beat

n Two rests and a note forming pa rt of the last beat
g .

i
t , .

u Th ree n otes a nd a dot .

Th ree notes and a sixteenth rest

o
p

Fi v e notes
.

s
! .

IO Two note s a nd a s ixteenth rest on the first beat

. .

11 A dotted rest and three note s

. .

12 Two kin d s of rest s

. .

1
3 Two kind s of rests a dot a nd a thirt y second note at the
-
.
, ,

end
Three rest s of two kinds a nd two notes c omme nce wi t h
.

14 .
,

a rest
T h ree note s a nd a rest at the c lo s e
.

15
T h ree notes a nd two re st s Of two kinds commence with
. .

16 .
,

a note .

17 Six notes a nd three dots

Fi v e note s of two kin d s a nd two t ests close with a rest
. .

18

1 9 Two re s t s of two kind s th ree note s of t h ree kin d s a tie

. .
,

begin a nd close with a re s t

.
, , ,

Fi v e notes of two kin d s and a tie place fou r notes on th e

.

2 0
last bea t
.
,

“
? Q U AD R U P L E M EA S U R E— C 2
m O nenote .

a Th ree notes
w Th ree no t e s of two kin d s the fi rs t one dotte d
.

, .

s Two re st s a nd q uarter note on the third beat

-
-
.

n O ne re st
o T wo re s ts of two kin d s and two notes on the last beat
.

w
.
,

! O ne re st a nd two notes of two kin d s

I
.

Th ree note s of th ree kinds and an eighth rest at the

O
O ,

beginning .

9 Six note s of two kin d s

Fi v e note s of two kind s
. .

IO
I I Two rest s a nd th ree notes of two kinds
. .

. .

12 Th ree notes of t h ree kin d s one of them dotted

.
, .

13 Th ree note s of two kinds and two rests an eighth rest to

.
,

s tand on the seco n d beat .

 M U SIC AL D IC T ATION . 13

1 4. F ive
notes Of th ree k inds and two s ixteenth rests com ,

mence with an eighth n ote

T hree rests Of three kinds and three notes of two kinds
.

15 .
.

16 N ine notes Of three kinds close with quarter note

.
,
-
.

17 Six notes of two kinds th ree rests comm ence and close
.
, ,

with a rest .

18 F our notes of three kin d s tie the first two

1 9 T hree rests of two kind s two notes and a tie
.
, .

Two rests four notes a nd two ties Open with a rest

.
, , .

2 0 .
, , .

G .
g
1 . O ne
note .

2 . O ne
rest and two notes .

3 Two notes and two re sts

4 T hree notes and two rest s
. .

5 A dotted rest and two notes of two kin

. .

ds
6 T wo notes the fi rst one d ouble dotted
. .

7 T wo rests and two s i x teenth notes

-
.
, .

8 T hree notes of two kinds and two rests

. .

. .

9 Three notes of two ki nds one of them double dotted

.
,
-
.

IO O ne sixt eenth note a nd three rests

.
-
.

1 1 Two notes and th ree rest s

T hree notes of two kind s a dot and a tie
. .

12 .
, , .

13 O ne rest
. .

14 Two rests of two kinds and one note

5 T wo rests and three note s of two kinds open with an
. .

1 .
,

eighth rest .

16 F our notes and two re st s

. .

17 Six notes of two kin d s

. .

18 S ix notes and two rests one of these dotted open with

.
, ,

a thi rty second rest

-
.

19 F ive note s of two kinds two rests and a tie from the firs t
.
, ,

to th e second note .

2 0 F our notes of two kind s and a dotted rest on the secon d

.
,

beat .

H C O M P O U N D D U P LE M E A SU R E — 6
4
T wo notes with dots
.

1 . .

2 Four notes and a tie

3 T hree notes of two kinds and tw o rests a quart er rest on
. .

t he first beat
.
,

4 O ne rest and one note the note having the greatest val ue
. ,

of the two .

5 Four notes of three kinds a tie a dot and a quarter rest

-
. , , ,

at the beginning .

6 Fiv e notes of three kinds dot the first and tie it to the
.
, ,

second .

7 Three notes of th ree kinds dot the l ast and Op en with two
.
, ,

rests of two kinds .

I4 M U S IC AL D IC T T IO N A .

8 . A rest three notes of th ree kinds and a dot

, , .

9 . F our notes of th ree kind s one of them d ouble dotte d ,

-
.

10 . Two re s ts one of them dotte d and c lose with a quarter

, ,

n ote
Fi v e note s of two kinds a nd a rest
.

11 . .

12 Th ree notes of tw cfi t ind s and two rests

. .

I
3 Five notes one of them dotted and a rest at the beginning
.
, , .

14 A quarter note a dotted eighth note and th ree rests of

two kinds commen c e w ith a rest a nd C lose with a sixteenth note
-
.
, ,

.
,

1
5 Six notes of three kind s and an eighth rest at the begin
. ,

n i ng .

16 Six notes Of two kinds a dot and q uarter rest on the fo urth
.
, ,
-

beat
7 Two no t es of two k inds with corresponding rests com
.

1 .
,

men c e a nd close with a rest .

18 N ine note s of th ree kinds two dots a nd c lose with a quarter

.
, ,

rest
1 9 Fi v e re s ts of th ree kinds a n
.

. d two notes .

2 0 Two notes
. .

1 3
1 Th ree note s and a d o t
Three no t e s a nd two eighth rest s
. .

2 . .

3 . Th ree note s a dot a nd a tie , , .

4 . Th ree note s a d o t a nd an eighth rest at the beginning

, , .

5 . T w o eighth notes a nd th ree re st s begin a nd c lose with ,

a re st .

6 Th ree rests a nd an eighth at the c lose

. .

7 Fo ur note s of t h ree kin d s a d o t a nd an eighth re s t at

t he begin ning
. , ,

8 Fi v e note s of th ree kin d s a dot and an eighth rest on

.

t h e fi fth beat
. , ,

9 Fo ur notes of two kin d s a nd th ree re s t s begin with a re s t

.
, , .

10 Two rests one note and a d o t

E ight notes of two kin d s a d o t and a tie
.
.
, ,

1 1

Fo ur note s of th ree kind s a six t eenth re st and a n eighth

.
, , .

12 . , ,

rest at the c lo s e .

13 Four note s a d o t and a tie

.
, , .

14 Tw o notes a nd th ree re s t s of th ree kin d s c ommen c e with

.
, ,

a sixteenth re st .

15 A sixteenth note a qua rter note a nd th ree rests

.
,
-

, .

16 Six notes of two kind s a nd th ree re s t s of two kind s

.
, .

17 Fo ur notes Of th ree kinds a tie a nd two re s ts commence

with a res t
.
, , ,

18 Six note s of two kinds a nd two rest s

1 9 Five notes of th ree kinds t wo d ots
. .
,

an d a tie
Fou r no t es of two kin d s t wo rests and a dot begin with
.
, , .

2 0 . , , ,

a rest .
 M U SIC AL D IC T AT ION . 1 5

J . C O M P O U N D T R I P LE M EA SU R E— g
1 Four notes two dots and a tie
.
, , .

2 Fo ur notes a nd two eighth rests

3 T hree note s of tw o ki nd s a dot and an eighth rest at the
. .

.
, ,

beginning .

4 F ive notes of tw o kinds a dot and a quarter rest at the

-
.
, ,

beginning .

5 Th ree re sts of two kinds two notes of two kind s and a dot
6 A dotted re s t a nd three notes
. .
, ,

. .

7 Six notes of three kin d s a dot and a tie

.
, , .

8 Th ree notes of two kin d s fou r rests and a d o t

9 Fi v e notes a dot a tie a nd an eighth rest at the close
. .
, ,

. .
, , ,

10 Four notes of two kin d s a d o t and a tie

.
, , .

1 1 Fo ur notes of th ree kinds two eighth rests a nd a tie

.
, , ,

begin with a rest .

12 Six notes of th ree kinds and two dots

. .

13 Five note s four re s ts and a tie

.
, .

14 Tw o notes a d o t a nd fo ur rests of two kinds

.
, , .

15 Fo ur note s of th ree kinds a tie and four rests of two

.
, ,

kin d s comme nc e a nd close with a re st

, .

16 Seven notes a nd th ree re s t s begin and c lose with an

. ,

eighth rest
Fi v e notes of th ree kinds and fo ur re sts of th ree kind s
.

17 . .

18 Three d otte d note s and two tie s

.
“

1
9 Three rests of two kind s a dot a nd an eighth note on
. , ,

seventh beat .

2 0 Six notes and fo ur rests comme nce and close with a re st

. , .

— 12
K . C O M PO U N D Q U AD R U PL E M EA S U R E :
Th ree dotted notes and a tie
1 . .

2 Two notes of two kin d s th ree rests of two kinds and

. ,
'

two d ot s .

3 Fou r notes of three kin d s one rest and three dots

.
, .

4 Seven notes of three kinds three of them dotted

. , .

5 Six notes two eighth rest s a tie and a dot commence

.
, , ,

with a rest .

6 Four note s of two kinds a dot and two rests Of two kinds
. , , ,

close with a rest .

7 O ne re s t and one d o t
8 Five not es of th ree kinds a dot and fi v e rests
. .

.
.
,

9 F Our rests of two kinds fo ur notes of two kinds and a dot

. , .

10 Fo ur rest s of two kinds one dotte d note rests at t h e

. , ,

beginnin g and close .

1 1 N ine notes of three kinds a dot a tie and two rests of

t wo kinds
. , , ,

12 Fo ur notes of th ree ki nds a dot a tie a dotted rest and

.
, , , ,

an ei ghth rest at the beginnin g .

16 M U SIC AL D IC T A T IO N .

1
3 . E ight notes of two kind s two eighth rests a dot
, , , and
two t Ies
Fi v e note of th ee kinds two eighth rests and a tie
.

14 . s r , , .

1 5 Six note s of two kinds a d o t a nd fou r notes of two kinds

.
, , ,

c o mmen c e with an eighth note .

16 O ne d otte d note
. .

17 Six notes of th ree kinds a dot a tie a sixteenth rest after

the fi rst note a nd two eighth re sts at th e close
.
, , ,

, .

18 Six n otes of three kinds two d ots and a tie commence

.
, , ,

with dotted eighth rest

Se v en notes of th ree kinds a dot a tie and two rests
.

19

Fi v e notes of three kinds a tie and two dots

.
, , , .

2 0 .
, , .

EX E R C I S E S .

D U PLE M EA S U R E .
18 M U SIGAL D IC T AT IO N

Q UA D R U P L E M EA S U R E .
 M U SIC AL D ICT ATION .

P
COM O UND D U PLE M EAS U R E.
2 0 M U SIC AL D I C T AT ION .

C OM PO U N D T RI P L E M EA S U R E
.
 M U SIC AL D IC TAT ION . 2 1

P
C OM O U ND Q UA D R U P L E MEAS U RE
.
2 2 M U SIC AL D IC T AT ION .

EX ERC I SE II .

T H E IN T E RV AL OF T H E SEC O N D ; M O T IVES ; M ET R E ;
A C C EN T R H YT H M ; .

D E FIN IT I O N — A n I nterv a l i s the distance between any two

note s I hav e limited myself in the exercise s of this fi rst part of
.

d i c tation to the naming of the inte rv als a s fo und in their gene ral
.

fundamental alphabeti c al o rd e r within the s cale V iz : the se c ond

the third the fo urth the fifth the sixth the se v enth and the
, ,

octav e A mo re exa c t clas s i fi c ation of all the d i fferent measu re d

, , , , ,

interv als res ulting from alteration s of the above fundamental

.

inte rv al s will be gi v en in the second P art

,

.
,

M o ti v e ge rm of musi cal development is a g roup of notes

, ,

arranged ac c o rding to a ce rtain fixed rhythm ; it may occupy a

whole b a r o r part of a b a r
.

M etre in m usic signi fi es the peculiar arrangement of fixed

, ,

sound s into measu res d i stinguished by natural dynamic accents , ,

c alle d g ra mm a tical a ccen ts .

R hy th m is the motion of fixed so unds within t h e measure .

M etre is represented by the fi gures 1 2 ; 1 2 3 ; 1 2 3 4 ; , , , , , ,

1 ,2 3 4 5 6 etc indicating the kind of measure or time in

, , , , , .
,

each case .

R hy th m is rep resented by a n umbe r of notes regulated by met rical

accent V iz : D uple time

, . q uad ruple time ,
. ,
l
t riple time ,
o
p o o c ompound d uple t i me , a p
T
J I I ‘
“

.
. w
D 0

ompo und t rIp l e t Im e

l l r
' '

o
' ' '
o o o o o o
p
c
i l I J
‘

The metri c al a c cent in a gene ral s ense gove rns the meas ure
the rhythmi c al accent the moti v e
, ,

H a uptman n calls p ositi v e .

a ccent the fi rst beat down beat at the beginning of a pie c e , , ,

and neg a ti v e a ccent the one following the up beat -

( See Exercise IV) .

D i R E C T IO N s — Pl a y (d ictate ) these exercises rather slowly , and

v
.

ob se r e the nat ural met ri c al a c c e nt belonging to each kind of

mea s ure T h e e ffe c t of the d i fferent re sts must be st rictly
v
.

Ob s e r ed .

Write the exe rcise s in the treble c lef .

Di c tate ea c h example o nce a nd then let the st udent w rite it ,

down in the best ma nne r po s s ible ; afterw a rd s play the written

d own examples sl o w ly a nd d isti nctly a nd write after it the mo d el ,
 MU SIC AL D IC T ATION 2
.
3
example as dictated in order to give the st udent an O pportunity
to compare his or her own writing with the v ersion of the model
,

example and to co rrect possible mi s takes This p ractice while

, .
,

teaching st udents to examine their own work with c ritical atten

tion will also promote a sense of acc ura c y
, .

Instead of playing these dictations invariably on the pianofo rte ,

s ing them sometimes to the syllable l a
; or play them on the
v iolin o r on any other s uitable instrument that may be handy
, .

A l l such varietie s of tone p rod uction will help to foste r the

s t udent s fa c ulty of pe rcei v ing tones of diffe rent colo
’

ur
I have written the examples up to E xercise X I in the key O f
.

I t will be good p ractice to di c tate some of them t ran sposed

.

C .

into othe r keys in o rde r to test st ud e nt s s ense of pitch

'

Student s ought to make e fforts to memorize the e ffe c t O f t he

.

so un d s of the d i ffe rent inte rv al s as grad ually int rod uced he re in

ea c h suc c es s i v e exercise Pi c k them o ut on the keyboa rd a nd
.

lea rn to sing th em i n y o ur mind . S uc h p rivate prac tice will

help greatly to p romote u nde rstanding and p rogress regarding
o ur task .

I ndicat eat fi rst the time of each example to be di c tated .

EX E R C I S E S .
2 4 M U SIC AL D IC T AT ION .
2 6 M U S IC AL D IC T A T ION .

EX E RC I SE III .

AL OF T H E T H I R D
PH R A SEs ; T H E I N T ERV .

D EF IN IT IO N —T l l e P h ra se is a pa rt of a m usical sentence or
~ ~
‘

pe riod I t consists gene rally of two measu res and is formed

.

either of one moti v e repeated o r of two separate ones The

.
,

Lei tmo ti v e (lea d ing moti v e ) which occ upie s s uc h a conspicuous

.

place in W agne r s Mus ic Dram as has generally the form of a

’

ph rase A ph ra se m ay consist of t h ree and ev en fo ur mea s u res

,

. .

D I R E C T I ON — Let the st udent now a nd then indicate the class

of time to whi c h t he d ictated example belongs e g whether it is
.

, . .
,

in d uple o r t riple time ; select simple examples fo r that p urpose .

EX ER C IS ES .
M U SIC AL D IC T AT ION . 2 7
M U SIC AL D IC T AT IO N .
M U SIC AL D IC TAT ION 2
.
9
30 M U SIC AL D IC T AT ION .
 M U SICAL D IC T A T ION .
31

EX ERC I S E IV .

PH R A SES AL OF T H E F O U RTH ; T H E U P B EA T ;
; T H E IN T ER V -

B EA T IN G T IM E .

D E FIN IT IO N — T h e up b ea t is pa rt of a; measure th e unaccented

.
-

h ea t at the beginnin g Of a piece or part of a piece ; it belongs ,

to the opening motive I ts name i s derived from the mode rn

m anner of beating time the fi rst beat (T hesis ) being d istinguished
.

by the falling of the hand ; the se c ond or last beat as the case , ,

m ay be (A rsis) by the raising of the hand

, .

T he di fferent manners of beating time are

.

Tw o IN A BAR . T H R EE IN A BAR .

2
D ow n D ow n R i gh t

FO U R IN A BAR . SIx IN A BAR .

D IR E C T I O N — W it h
the i nt roduction of the fourth a nd aft er
every new inte rval it will be ad v i s able t o
.
,

ward s with that of

dictate in the following fo rm preparatory exercises on in t erv als
,
-

, ,

al ready int roduced in previous di c tations in order to test st udents ,

'

memory and to afford them a n opportunity to learn to meas ure

,

by ea r the distance of each one of the di fferent intervals Such

, .

p reliminary ex ercises do not need to be written d own ; it Will

s uffi ce to play them and ha v e st ud ents fix thei r n ames v iz
, , .
32 M U SIGAL D IC TAT ION .

EX ER C IS ES .
34 M U SIC AL D IC T AT IO N .
M U S IC AL D IC T A T ION .
35
36 M U SI C AL D IC T AT ION .

EXE RC I S E V .

P H R A SES ; T H E IN T ERV ALOF T H E F IF TH SYN C OP ATION

; .

D E F I N I T ION — Sy ncopa tio s

n igni fi es the union of up beat and-

down beat (A rsis and Thesis) o r an unacc ented part with an

.

accented one ; by this operation the acc ent is transferred from

the accented part to the una cc e

E X E R C I S ES .
M U SIC AL D IC T AT ION .
37
38 M U SIC AL D IC T A T I ON .
M U SIC AL D IC T ATI O N .
39
40 M U SICAL D IC TAT IO N .

EX ERC I S E VI .

P H RA S Es ; T H E IN T ER V AL OF T H E S IXT H ; T R IP L ETS
.

D EF IN IT IO N —T h e trip l et is a group Of three n o tes of equal

s

value played or s ung within the tim e occupied by two n ot es O f

the same kind , vi z‘

EX ER C ISES .
42 M U SI CAL D IC T A T IO N .
M U SIC AL A
D IC T T IO N .
43
44 M U SIC AL D IC T AT IO N .

EX E RC I S E VII .

P H RA S Es ; T H E IN T ER VAL O F T H E SEV EN T H
.

D I R E C T ION — I ntersperse this as well as E xercise VIII with

.
,
.
,

some of the previous dictations .Systematic repetition and

reviewing of fo rmer tasks will facilitate the understanding Of
new and more di ffic ult matter .

EX E R C IS E S .
M U SI C AL A
D IC T T ION .
45
46 M U SIC AL D IC T AT IO N .
M U SIC AL D IC T AT ION .
47
48 M U SIC AL D I CT AT I O N .

S E VI I I
EX E RC I .

P H R A SES T H E IN T ER V AL OF T H E O C T AVE D IA T ON IC
; ;
SC AL E S IG N A T U R E OF KEY .

D F — Th
E IN IT IO N t
. is in one sense the C lose of th u
e oc a v e e s c

cession of tones fo ming the diatonic scale and in another the

r
beginning of a new se ies simila in const uction to the first I t
, ,

r r r .

is also the repetition eight degrees higher o r lower as the case

‘

may be of any note

, .

The dia to ni c sca l e commencing with C and ascending on the

white key s of the pianofo rte to th e next C is the prototype of the
major keys o r modes I t is c ompo se d of fi ve tones an d two
.

semitones these latter occ urring between the thi rd and fo urth
and the seventh and eighth d egrees E ac h one of those twelve
,

keys comp rised between C a nd its octav e can be made the fun d a
.

mental note— the key note o r tonic— o f a major scale by taking a s ,

mod el the above c onstruction of the C major scale using in , ,

order to get the right su c c ession of tones and semitones s harps

or flats (s ee E xerc i s e
,

as the case may req ui re Tho s e

sharps or flats necessa ry for th e c on s t ruc tion of eac h respecti v e
.

scale a re place d at the beginning of the sta ff between the clef ,

an d the time signat ure and a re calle d the key s ig na ture Sharp s
, .
,

when used as s ignat ures a re placed in the fo l l ow ing o rd er

'

j
,

F rom Fii being the first des c end four degrees in alphabetical
order then ascend fi ve d e sc end again fo ur and ascend fiv e
, ,

, , , ,

etc ; when flats are used c ommence wi th EV a nd proceed in

.
, ,

the cont rary d i re c tion to that of the sharp s .

The di fferent degrees of the diatonic scale are also designated

by the following te rm s
I st degree Toni c .

2 n d S uper tonic -
.

3 rd M ediant .

4 th S ub d ominant -
.

5 th Domin ant .

6th S ub mediant -
.

7 th Leading note or s ub tonic ,

-
.

D IR E C T IO N — Fo r m majo r scales on the di fferent tone degrees

found within an octav e
.

.
50 A
M U SI C AL D IC T T IO N .
M U SIC AL D IC T AT IO N .
SI
M U SIC AL D IC T AT IO N .
 M U SICAL D IC TA T ION .
53

EX ERC I S E IX .

A
PH RASEs ; C H R OM TIC SIGN S OR A C CID ENT AL S ; C H RO M A T IC
SCAL E .

D EF IN I T I O N — A ccidenta ls a re the sharp th e double sharp x

the flat l) the doubl e flat W The itraises the
.
_
,

, ,
7 and the natura
note a semiton e ; th e x two s emitones ; the lowers it a semi
tone the b l? two semitones the it has two functions that of a
fla t if it takes away th e sharp a nd v ice v ersa if it destroys the
,

flat .

A ccidentals are c alled chromatic signs when they occ ur in the

course of a piec e altering tempo rarily th e pitch of a note without
,

changing its al phabetical name .

The ch romatic scale is a s uc c ession of semitones .

D IR E C TIO N — It is customary when writing the C hromatic scale

,

or Chromati c passages ascending to use sharps or naturals as

,

the case may require to raise the pit c h ; and when des c ending
flats or na t urals to lo wer the pit c h of chromatic notes
,

EX E R C I S ES .
54 M U SIC AL D IC TA T ION .
M U SI C AL A
D I CT T ION . 55
56 M U SIC AL D IC TAT I ON .
58 M U SI C AL D IC T AT ION .

EX E RC I SE X .

P H R A SES IN J
M A O R AN D M IN O R
KEYS ; MIN OR SC AL E .

D EFIN IT IO N — F r o m ea c h major scale a minor scale is form ed

.

by lowe ring the thi rd and the s ixth degrees of the major half a
tone each H owe v er cases occ ur when the sixth of the minor
scale ascending to the O c tav e of the keynote is similar to that of
.
,

the major scale .

T he semitone step from the s eventh the leading tone to , ,

the octave is essential both to the minor and major scal e

A passage is called d ia tonic when it is d erived from a diatonic
.
,

scale i e compos ed of tone s and s emitones ; ch roma tic when it

, . .
,

is composed of semitones .

R EMAR K— T h e above ma nne r of construction of the m inor

scal e will fully answe r our p re s ent purpo s e .

D I R E C TIO N — C h a nge m ajor s cale s as found in connection

with E xercise VIII into mino r s c ales notice the characteri stic
.
,

marks Of the mino r scale v iz : the th i rd the six th and the

.
,

, .
, ,

l ea di ng no te
-
.

EX E R C IS E S .
M U SIC AL A
D IC T T IO N .
59
OO M US I C AL D IC T AT IO N .
M U SICAL A
D I CT T ION . 61
62 M U SIC AL D IC T AT ION .

EX ERC I S E X I .

SEC T IO N S ; PERIOD S ; S EQ U EN C E .

D EFIN I T I O N — T h e p erio d
is a melodic form which by means
.
,

of a certain met rical and rhythmical arran gement of tones c dn

T he subject matter of
,

stit utes a complete musical s entence -

the pe riod is derived from moti v e s growing into phrase s ph rase s

.

expan d ing into sections ; a se c tion may include two or more

ph rases ; two section s gene rally fo rm a period T he C lose of a .

pe riod is marked by a return to the fundamental note of the key .

I have limited myself in these exe rcises to periods of fo ur and

eight bars ; more complicated on es will find a place in the Second
P art of t his work .

R E M AR x — There exists still a goo d deal of confusion regarding

‘
.

the form of construction of a pe riod Some writers d raw the .

limits of the period at eight bars a nd yet there exist distinctly ,

co ns t ructed periods consistin g of fo ur measures ; in su c h c as e s

two ph ra s es are contracted into a short period I f as is gene rally
admitted the C lose of a period is ma rked by a perfect cad en c e
.
,

then the following example t he open

, ,

i ng subject of the L a rg h etto

of M oza rt s beautiful Pianofo rte Q ua rtet in E flat m ust be
,
’

N o o t he r explanation is pos s ible regard

,

c lassed among periods .

ing thi s a nd a number of sim ila r c onstructions The A nd a nte

of B eethoven s fine Sonata in E flat O p 2 7 is base d on sho rt
.

’
.
, ,

period s of four bars each .

L a rg h etto . M O ZA R T .

D E FI N IT IO N — Th e q The repeti tion of a model moti v e

n se ue
q
. ce
.

o r ph ra s e on other degree
s O f the s c ale is called a se uence

The s eq
, , .

uen ce is called rea l when the repetition follows strictly

t he construction of the mod el i e when the progres sion of
is stri c t ly adhe red to ; tona l when the
.
, .
,

s imila r tone degrees -

repetition is merely the gene ral imitation of the rhyt hmi c al fo rm

of t h e model i e the step of a se c ond etc may be C hanged
i nto that of any other inte rv al
. .
, , , .
,

Real . T o nal .
M U SIGAL D IC T ATION 63

EX E R C I S E S .
64 M U SIC AL D IC T A T IO N .
66 M U S IGAL D IC T AT IO N
M U SIC AL D IC T AT IO N . 67
68 M U SIGAL D IC T AT IO N
 AL
M U SI G D IC T A T ION 69
70 M U S IC AL D IC T AT IO N .
M U SICAL D IC TAT ION .
71
72 M U S ICA L .
D IC T A T IO N .

EX E RC I SE XI I .

PH R A SES SEC T IO N S A N D P ER IO D S EXT R A C T ED F R O M T H E

W O R K S OF C LA SS IC AL C O M P O SER S ; M O T IO N ; T R A N SIT IO N
, ,

D EFIN IT IO N —M 0 ti0n go v e rn s time eve ry composition is

c ha ra c te rize d by a gene ral motion of time in d icati v e of a ce rtain
. .

state of emotional life and exp re s sio n All t he d i ffe rent shad e s .

of thi s in ne r emotional life a re th us in a gene ral way revealed

by so un d s regulated by motion hence a great v a riety of m otion
, ,

grad ations E a c h piec e o r part of a piec e is a c c o rdin g to its

emotional c haracte r go v e rne d by a c e rt ain c hief motion The se
.
,

d i ffe re nt g rad a t ion s of motion a re in d i c ate d by I talian wo rds

.
,

a c cepted in m us i c al pra c tice by long t rad itio n These words

hav e a d o uble meaning v iz : time a nd emotional exp ression
.

, . .

The c hief grad atio ns of motion a re '

La rg o V e ry s low .

A d a g io Slow.
L ento Slow linge ring , .

L a rg h etto R athe r s low .

A nd a nte M ode rately s low .

A nd a nti no Somewhat faste r ! .

M o d era to M o d erate
R athe r li v ely
.

A ll eg retto .

A ll eg ro Fas t cheerful
Li v ely
, .

Vi a ce
Ve ry q
v .

P res to ui c k .

P restiss imo A S fas t as pos s ible .

The re a re sub d i v isions Of all those separate grades of motion

t he s e a s well a s s pec ial s igns of exp re ss io n a nd ph rasing will .

find a place in the Secon d P a rt of this wo rk .

D IR E C T I O N s — I nd i c ate the key of eac h of the following ex

amples and the n let s tu d ent find the pi t c h Pay attention to
.

t he grad e of mot ion go ve rni ng each fra gment W hen thi s

.
,

s tation of the c o urs e of d i c tation is rea c hed it will be easy if , ,

d e s i rable to fi nd in the wo rk s of good c ompose rs a d ditional

example s v iz moti v e s ph ra ses a nd periods
,

, , .

S t ud e nt s will al s o find it no w v e ry inst ructive by endeav ouring

to p ic k o ut by them s elve s from c ompo s itio ns t h ey a re studying
di s t in c t pe riod s compo s e d of eight o r fo ur mea s ure s as the
, ,

d to point o ut moti v e s ph ra s e s s e c tion s and

,

c ase m a y be an , , ,

sequen c e s .

S o me w it t k th i l t j
h an A nd a nte, b ut ud g ng fro m th e c h a ra c i t
t nd B th n it i t t
r ers a e s s o w er er
fM A nd a ntino , l
i s d ec d ed y fas er h a nA nd a nte
’ ’
o oz a r s a ee ov e s .
74 M U SIC AL D IC T AT I O N .

18 P res tissimo .

nd a nte .

d era to .

2 5 A nd a nte .

3 0 A l leg ro .

3 1 A nda nte .

3 4 Sl o w .
M U S IC AL D ICT A T IO N .
75
76 M U SIC AL D IC T AT ION
M U SIC AL A
D IC T T ION .
77
78 AL
M U SI G D IC T A T ION .
 M U S IC A L D ICT A T ION 79

7 8 A nd a ntino .
80 M U S IGAL D IC T AT IO N

84 A nd a ntino .
82 M U SICAL A
D ICT T IO N .
M U SI GAL D IC T A T ION o
84 M U SICAL D IC T AT ION .
 M U SIGAL D IC T ATION
. 85

114 All ‘grO

O
86 M U SIC AL D IC T AT ION .
 M U SIC AL D ICT ATI o N . 87

LIS T OF W O R KS F R OM W H IC H T H E F R AGMEN T S

O F EI ERC ISE X II A R E T A KEN Z . .

!
? T IT LE OP W T IT LE OP W
t
OR x

t N
I O RR .

u S ona a, No . 15 S ona a, O. 1 2
NO N
T i Op
p . 13 o. 1
No 8
S n t Op
a
o . ro, . 1

Ro ndo
F nt i
e -
o a a, . 1 34

u N0 5
S nt N 4
r
a as a M -

Ro nd o
x
c o a a, O.
t Op
"

N 8 S o na a ,
S t i ng Q u t t in G
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o
r S o na a , Op 49
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ar e
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7 a a, o. . 2 , o .

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y
Sym h o ny, N o
S ubjt f Fugu
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t Op B th v n
14 . .
1,

15 . S o na a, .
49 ee o e .

16 . Op . a,
0p
Op
17 . . 2 ,

18
B t ll Op
. . 10

T i Op
19 . ag a e e, 33.

No 3
Th m Op 7
2 0 r o, 1,
Mnd lg h n
. . .

Li hn W t
2 1 . e a, . 1 e e so .

Op N 4 !
ed
i
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G gue
B
. 1 9, o.
0 3 N o urrée
Op 8 N
2 3 .
p . o, o I
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Op 5 i
2 4 . .
3 , O .
H

3, No T a m b o ur n Ra mea u
i
2 5 . . . .

6 01 8 , No R ga udo n
t
2
3
.
, .

Al b urnfur 11e 11 end M in

S o na a inC W é l fle
pi
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C a r ce IV M uller A E “

S n t Op
.
. , .

Steib el t
Op
o a a, .
41 .

No Web e
C p i V
r
. .
39 .

No M uller A E
S n t Eb M j
30 . . a r ce .
, . .

No 19 C mer
Op C lementi
a or ra
31 . . . . o a a, .

No 2 8
32
O tu P i B
. . . 2 2 .

a ra d se ac h , J Ch
P i
33 . v er re, . .

nd th e ”
Low e
Op
a er .

W a rum , Ba rgiel
L h ng i n B
34 . . 12 .

“ ra h ms
i ti
35 . o e r .

R ub ns e n
i k
.
’

M ei tersinger S Re nec e
P i l Ki l
37 .

"
.

8 f
B
e
F jt
3 , 39 a rs a . .

ugue sub ec fro m ra h ms.

40
p B
.

th e Tem ered W ll a ch .
v Op 3 5
e -

C a ich ord l S er gnade J d S bh n

jtd f Fugu M ndd l hhn
, . a as .

S ub e e e sso
Op 5 J
ec o a .

S n n
F nt i St k 0p
ere a e, .
3 a asso .

S n
H m ni P étiq
a as a -
ac , . 2 aro .

R l i gi u !
ar o u es o es
L SZt
‘ '

et e e ses
88 MU SIC AL D IC T AT ION .

T IT LE OF Wo x x . OP WO K
T ITLE C O M PO R . SE R

R o ndo M ss inE l at eil E

S h rt a nF E y
N
t M i nor
a ov o, .

S o na inC
S m rt H
M inuet Pi eces forth e Org n
a o c as
a , ‘

i Postlude
a
G gue
Ro ndo G vo tte S i nt S ens
A llegrett o grazi o To u B
a a a .

Landli ch er T an z
t
os rs , .

An h em Macfa rren
P
.

ggz
i ec es forth e g r
i
’’ ’’
G a de
T h e M ay Q ueen BC
hnett W S
.

t ki
, . . z
l
V o unary Cal n
t t
.

S o na a inD M jr S ch ub er
Op
a o .

Purcell H , . . 1 64
C h orus from
M essiah
th e
H a ndel .

IN D EX O F SU BJ ECT S T R EAT ED IN T H IS PA R T .

t
Acc en , gram m a ti l M ti n
ti l tiv
ca . o o .

me r c a M e.
n g tiv
. o

N m f hes O t e d egrees o f t h e S c al e
p iti v Otv
e a e. a .

P id
e.
h th mi l
os e. c a

A i d nt l Ph
r y ca . er o .

B Rh yth m
cc e a s. rase.

B ti ng T i m S ti n
a rs. .

C h m ti S l q
ea e . ec o .

S e uence
D i t ni S l
ro a c ca e. .

real
t
a o c ca e.
D onal .
i t
o t.
Int v l S gna ure of Key
It l i nT m i n d i ti ng m i i
er a s . .

ot o n o f T me
K nt p ti
a a er s ca . .

Synco a on
L d i ng n t i i t ki
ey o e . .

T me, d fferen nds o f

L itm tiv
ea -
o e.
e Ti
T ni
e o e.
M jr
.

T n it i n
a o . o c.
M e ures
M tre T ip l t
as . ra s o .

M in r Up b t
e . r e .

o .
-
ea .
 OR AT O R IO S, &C .
-
Continued .

ED W R D H ECH T A M EN D EL SSO H N
ER I C TH E D AN E H
E LIJ A ( SOD FA , I S Gd ) -

O C HO B
. .

0 MAY I J IN T H E IR INV ISI LE ST P AU L ( S O L P A, I S 4d )

Y OBG G
-
. . .

H M N O F P RAI S E ( L ESAN ) (SOL FA , I S ) -

P
.

GEO R GE H EN SC H EL A S T H E H AR T A N T S ( P SAL M 42 )
OU T or D ARR N R S S ( P SA LM 1 3 0 ) O G
or
C ME, LET U S S IN ( Ps ALu 95 )
H
W EN ISR AEL O U T EGYP T C AM E ( SO L P A , 9d )
H EN R Y H I ES L O O
-
.

.
N OT U N T US , 0 L R D ( P SALM I I 5 )
FAVR E PASTOR B L O O G
L R D , H o w L N WILT T HO U PO R GET M E
T H E C R U S AD E R S O
D IT T , SO L FA
F ER D IN AN D P OO HO
-

H EAR M Y R AYER ( S S L AN D C R )
HI LL ER O
D IT T , SO L FA
. .

Y
. -

N ALA AN D D A M A
A S N O G OP
VI C T OY
A NT I
R T H E FIR S T
j GH O
LAUD A S IG N P R AISE EH o VAH ) ( SO L EA , 9d
ALP U R G I S N I T ( S L~RA , I S )
'
-

F MAN N GH O
.

M ID sU M MER N I T 'S D R EAM ( FEMALE V IC ES )

H EI N RIC H H O H
-

.
A T A LIE ( SOL FA , I S )
GO O
-
.

FAI R M ELU SIN A ANT I N E ( MAL E V IC ES ) ( SOL R A, I s ) -

F O G
.

C I N D ER ELLA
G G Y or
MA N I s M RT AL ( EI H T V o I CEs)
S O G
N O F TH E N ORNs ( O EM ALE V IC ES) FEST E SA N ( H M N S P R AIS E)
’

H U M ME L
O
D IT T O
( MALE V I C ES)
FO I R ST MASS IN
O
B P
O
LA T
.
H
C R IST U S ( SO L EA, 6d )
H O
T R EE M T ET T S FO R F EMALE V IC ES O
-
.

C M M U N I N SE R V ICE, D I TT
O EP
P
S O N A N D ST R A N GER ( O ER ET TA )
S EC N D MAS S IN
O O
LA T
O Y
L R ELE ( SO L F A, 6d )
O
-
.
C MM U N I N S E R V IC E, D I T ro
O or
( E D IP U S AT C o LO No s ( MALE V I C ES)
‘

H
T IR D MAS S I N D
T o TH E S N S O
A R T MA LE V IC ES )
O O
C MM U N I N SERV I C E, D IT T O O
D IT T , S O L FA
A LM A V I R GO
( LA T IN A N D EN G H)
LI S
J G
UD E M E, 0 GO D (P SALM 43 ) ( SOL F A , 1 3d )
-

QU O D IN O R EE ( D ITT ) O G
W H Y R A E P IER C ELY T H E H EAT EN H
-

F IL I FF E MY G O D , WH Y , 0 M TV E AST T
M (P
HO U P O R SAIIEN

JOH
.

M
E ) SAL 2 2
S G LO
ST D IVINE
(P
N TH E
M 98)
B
.

J A C K SO N
IN T o TH E RD S AL

W SH: A HM NT C H
S F O R TH E
E AT ED R AL AT ERLIN
8 O G 4 P
.

T H E YEAR F OR V IC ES , A R RAN E D I N AR T S
M O
A J EN SEN
A VE (SAR IA S
A VI U R o p IN N ER S . 8 v-GIc s s
)

F OP O M EYER B EER
.

THE EAST AD N IS
N Y P M (L )
C W A R W IC K J OR D A N
INET H R ST SA L AT I N
O (E G H)
-

D
B .
IT T N LIS

P O
LOW Y E T H E T R U M ET I N ZI N B M OLIQ U E
. .

J KIN R O SS A B HM
RA A

O G Y O M O ZA R T
. .

S N S IN A VIN E AR D ( FEM A LE V I C ES ) .

D IrTo , S OL PA K G T H MO
IN A S
G H)
-

FI RS TM (L ASS AT IN A N D EN LI S

P G B Y (F M
H . LAH EE .

O
S HM
EV E N T B A S S IN P LAT
T H E S LEE IN EAU T E AL E V IC ES ) C O MM O S UNI B P N D E R V IC E I N LAT , I TT o
D IT T , O S OL- PA TW M
ELET II (L )-
ASS A T IN
E G H) (S
.

D (L 9d )
L EON A R D O LEO R Q M M
E U IE
ITT o A T I N AN D N LI S OL FA, -
.

O AS S
.

O E G
0 00

D I x IT D MIN U S D (L T
ITT H) A IN AN D N LIS

H LESL IE D O ITT D O SO ITT , L EA -

L V A ( E )
H MO
I T A N IA D E
. .
EN E R AEILI LT AR Is IN P LAT
T H E FI R ST C R I ST MAS RN L V S M O( B
F
IT A N IA D E E N ERA S IL I AC R A E N T IN

T H E LE G EN D or ST E LIx As ET H
.
. L ISZT .
SP
0 G
)
FLA T
LE N D EN T E T E
WH
OD , EN
D u
T HOO
F MO
D O
E s .

A P P EA R E S T .
IR ST T ET T
IT T

C H LL OYD H M
AV E Y 0 LO S O M O
ER C RD . EC ND T ET T
G O Y HO O TH MO
,

P
. . .

D R J O H N N AYLO R
L R N UR, R A ISE . IR D T ETT
ALC ES T IS ,

A N D R M ED AO
O J M H
.

H ER
TH E
L
AND
SO G N
T EE LO N GEEA R D S ' SA
OF B
E AN D ER
ALD E R
.

G (M V )
ERE IA

R EV SIR F R ED K O U SELEY .

Y O M OP S P O Y P
. .
A AL E o IC E s
T HE M AR T RD T. L C AR

R P P A IN E
W H L ON GH U R ST
G
. .

T H E V I LLA FAIR
P O G S
.
E
T HE R DI AL ON
A M AC FA R R EN LO
F
G G R EAT I s T H E RD

P AL EST RIN A
. .

O G O
.

S N S IN A C O RN P I ELD ( EMAL E V I C ES )
M AY D AY
MISSA A SSU M PT A EST MAR IA
G CY ( OP
T H E S o LD IER
BO
’

)
s LE A ER E T TA
MI S SA PAPIE M ARC E LLI
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A C M ACXEN ZIE
-

BM P AIR
C . H . H PAR R Y
OY SY
. .

SIR EN S
.
LEST OF
T H E ST
O
R OF A ID
AN A N D UL Y SS ES
AS
HE B
N

TH E R o ss OF S
R IDE ( SO L
H O
-
PA , 8d .
PROMET H E O S U N S
DR
O UND

J OSEP H P A R R Y
AR N ( SOL PA , 2 5 .
B
-
.

J U ILEE O D E N BBU C H AD NEZZA R ( SO L -

HA , I s . Gd ) .
 ORAT OR IO S, &c .
—Continued .

T H E AN C IEN T MA R I N ER
T . M . P A TTISON SUP P LICA T I N AN D O P RAIS E
R . SLOMAN
"
T H E LAY OF T H E L AST MI N STR EL
H EN R Y SM A R T
F
P ER GO L ES I
‘

K IN GR GH F
.

O
B EN E S D AU T E R ( EMALE V IC ES )
. '

STA B AT O
MATER ( EMALE V ICES ) ( SOL FA, 6d ) -
. I TH E RID E OF D UNR ERR ON ( SOLi FA, I S 6d ) .

J
.

F
C IR O PIN SU TI .
M SMIET O N
P H AN T O M S— AN TAS M I N ELL' MER A O . .

E P RO U T
A R IAD N E ( SO L - FA , 9d .
) 2

T H E R ED C R OS S NI T K GH
. .

AL IC E M A R Y SMIT H
T H E H U N D R ED T P SALM H THE R K G (M
ED VO )
IN EN S IC ES
'

F R E ED M O THE SO G N L B L
OR ( ) TH E I T T LE A T UNG D ITTo
NO HE W
F
H ER E W A RD OD E To TH E RT AST IN D
O
-

Q U EEN AI MEE ( EMALE OD E To TH EP A S SI N S

S P OH R
-

CE LL
j S O O VO C HO )
.

T E D E UM AN D UE ILAT E I N D MA S S (F D
J
IV E L IC ES AN D O U BLE IR
F H R EA D Y
H M N 1 0 ST C EC ILIA
O
. . . . .

H AR LD
BAR T I MEU S
C ALVA R II
FA LL OF A L N B BY O O
C A R A C T AC U S
T H E C O N S EC EAT ION
P S YC HE
OF T H E B AN NER
LAST U D G M EN T ( S W A, I S )
TH E
GO D , T
H R I ST I A N S P RA ER
U AR T
’

HO R EAT ( SO D FA, 6d ) G
Y
J O Y G
-
.

R O B ER T S H ow L V EL AR E T H Y D WELLIN S T ATE
V
j O O
. . .

E H OVAH , L RD O F H ST S

Ws R OC KSTRO J OH N ST A IN ER
OO H PH
. . .

TH E G D S E ER D T H E C R U C IEIx IO N
R O LA N D ROGERS S T MA R Y G
MA D ALEN ( SOD TA. I S ) -

GH j O
. .

P RAYER P RAI S E T H E D AU T E R O E AI R U S S W A, 9d )
C VI LL IER S ST A N F O R D
.
AN D "
R OM B ER G
.

B
. .

T H E LAY OP TH E ELL ( N EW ED IT I O N , T R AN S T H E R EV EN G (S gd )
E O L EA ,
H OP ( P
-
.

LAT ED H Y T H ER EV J T R OU TEEC II , D D ) G O D IS O U R M 46 ) E S AL
O J B
. . .

D IT T , SOL PA - C A R M EN B S (O
C U LA R B ) D E FO R T H E U ILEE
T H E T RA N SIEN T A ND T H E ET ER NAL ( SOL P A, 4d -
.
H w ST EW A R D SON .

ST AEAT MAT ER ( SOL

OSSIN I GID E O N
PA , I S )
J ST OR ER
O GYP
-
.
.
M
.
SE S I N E
S AINT O N D O BY
T o

L TH E T O U R N AMEN T 2

F
C
FLO R I M EL ( EMALE V ICES )
.

O
-
.

E C . . S UCH .

C MI A LL A A N AR C ISSU S AN D EC HO
THE H
E S IN T S EN S
— C IE LI
.
GO D I S O U R R EF U E ( P SALM 46) G
( P SALM I 9)
EAV EN S D EC LAR E EN AR R AN T
A RT H U R S U LLIVA N
SC H U B ER T
I
G O L D EN L G (S )
E EN D O L EA, zs.
CO O
-

E
‘

P
.
F OR T H E L I
L NI A AND N D IAN x H I EI
M AS S
O O
LATIN A
C M MU N I N S ER VIC E, D IT TO TI O N
FESTI VA L T E D EUH
MAS S I N E F LA T
O O TO W T A Y LOR
B
C M M U N I N S ER VIC E, D IT .

M ASS
C O MM
B
O '
IN F LAT
O
ST . JOH N TH E P
A T IST
SER VIC E
M C
AS S I N
UN I N D IT T
A . GO R IN G T H OM AS .

CO O
M M UN I N SER VIC E, D ITT O T H E SU N -
W O R SH IFEER S x

M
“

G
ASS I N
E H T H O RN E
CO M O O .

O
.
M U NI N SER VI CE, D IT T BE M ER CI FU L UNT HE
M F
A S S IN
CO O
M M U N I N S E R V IC E, D ITT O VAN B R EE
S O G OP M
.

N I R IA M ( S O D PA . 6d -
. ) S T C EC I LIA'S
.
D AV ( SOL PA , 9d ) - I
U M AN N
.

T H E M I N ST R E L' S C U R SE
H .
R H W ER ALK
T H E K I N S SON
'
G
I
I
J E R U SALE M

G O
M I N N 'S R BQ UIB“ n 1 WEBER
L G H)
o 00. .

P A R A D IS E AND TH E P ERI '

2 MAS S IN G ( AT IN AN D EN LIS
P IL G R I M AO E OF T H E R O SE I M AS S IN E FLA T ( D ITT ) O
M AN FR ED I O
C M M U N I N SERVICE IN E O FLAT
FA U S T 3 J B
U ILEE C AN T A TA
P R EC I O SA
E
”
AD V E N T H YM IN LOW LY
C
J I SB
g S
, I
IIEw YEAR ' S ON G ( SO L EA . G
H
-

SC H U T Z
I
S . WESL EY .

IN Ex I T U IS R AEL
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'

T H E P‘s sm OUR L0 ”
H ORT
D I x I T D MI N U S O
M S G
s s WESL EY
g? J
. .

M2 22 s
“
OL O RD , T HO U AR T MY G OD
SI LA S T H OM S A W IN GH A M .

MA S S IN C MA SS IN D
T E D EU M a nd DOMINE SA LVAM .

Mo s t of th e ab ov e Works m b e h ad inp ap e b o a d r rs at 6d each ex tra , o r h a nd s o mely

i
ay .

b ound inCl o th , w th red o r gilt edgel , a t I S , . 1 8. 6d , or 2 8 each ex tra

. . .
 ED ITED BY

DR S TA IN E R
”

. .

i T H E PIA NO OR T E
.
_ F E PAU ER . .

z T H E R U DI M E NT S OF MUSIC
.
‘
C U MM I N G S .

3 T H E O R GA N
‘

D r ST A I N E R . .

T H E H A R M0N IU M
_
.
. KIN G H ALL .

5 SIN G I NG
. A R AN D EGG ER . .

6 S P EE CH IN S O N G (S IN G E R S P R O N O U N C I N G
’

P R IM E R ) A J E LL IS , F R S . . H
‘

7 MU SICAL F OR M S
. E. PAU E R .

8 H A R MON Y
.
J

9 C O U N T ER PO IN T
. D r B R ID G E . .

I O. F UGUE J AM ES H IGG S
F
.

SC IEN T I I C BAS IS O F MU S IC
Q

D r ST O N E . .

D O U B LE C O UN T E R FO I N T D r, B R ID G E
"

j
.

I3 C H U RC H C H OIR T R A ININ G
. R ev . .T R O U T BE C K .

PLA IN SON G R ev . T _H EL M O R E
. .

I S IN ST RU M E N TAT IO N PR O UT
F UL
.

1 6 T H E E L E M E NT S O F T H E B EA UT I
. IN
MU SIC E PA U E R
. .

I
7 TH E V IO L IN BE R T H O L D T O U R S -

. .
.

T O N IC SO L F A -
‘

J .

I g LA N C ASH IR E S OL
.
-
FA .

J AM ES G R EEN WOOD .