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CORDER.
ERL-KING'S DAUGHTER (SOL-FA, gd.) i o
FREDERICK ZION i o
...
ROSALIND F. ELLICOTT.
C. H. GRAUN.
ELYSIUM i o
6 THE PASSION OF OUR LORD (DER Tou Ji-.su) 2 o
THE BIRTH OF SONG ...
'
i
TE DEUM 2 o
G. ERNEST.
ALL THE YEAR ROUND (FEMALE VOICES) ALAN GRAY.
(SOL-FA,gd.) 2 O ARETHUSA i 6
THE WIDOW OF ZAREPHATH 2 o
EATON FANING.
BUTTERCUPS AND DAISIES (CHILDREN'S VOICES) J. O. GRIMM.
(SOL-FA, IS.) 2 6 THE SOUL'S ASPIRATION i o
SEMELE ..................... 3
ROBERT FRANZ. THE PASSION .................. 3
PRAISE YE THE LORD (PSALM 117) i o THE TRIUMPH OF TIME AND TRUTH ...... 3
DEDICATED TO FREDERIC H. CO WEN, ESQ.
COUNTERPOINT
BY
Copyright. '
Rights of
Ent. Sta. Hall. Translation Reserved.
AUTHOR'S PROPERTY.
JiVERSITYOF TORONTO
:ACULTY OF ^USIC
LIBRARY
0 (
LONDON :
PRINTERS,
UNIVERSITY OF TORONTO
Presented to the
by
George A. Smale
PREFACE.
that
may
have been acquired by means
of questions and answers
bearing on
the different details of the art.
no more
fail in his hands and in connection with this subject than it
should it ove
of the service which he thinks, himself justified in
p
subject, or
in conjunction with the larger treatises of Cherubini and
CHAP. PAGE
... ...
50
CHAPTER I.
PR^ElMINARY.
Q. What is counterpoint
A The art of adding/one or more parts above or below a given
.
framework of harmony.
Q. From what is the word counterpoint derived ?
species ?
A. Yes ; there are five orders or species of counterpoint.
Q. What is the canto fermo ?
A. The subject or theme given for contrapuntal treatment^
Q. In how parts may the counterpoint be written ?
many
A. In as many as eight parts, and even more.
A. Perfect
Imperfect
Concords,
Concords,
viz.:
viz.:
The
The
octave,
major
perfect fifth,
and minor
and
third,
unison
and the
J
major and minor sixth.
A. Yes, provided the next note returns within the limit of the
made.
Q. Is a skip allowable after a scale passage in a similar direction ?
A. Very seldom. But it depends on the form of the passage
the place of the accent. Each case may be tested by
effect produced, whether good or bad.
lower part.
Q. What permitted in the first species ?
intervals are
numerous.
Q. What is
sequential counterpoint ?
A. That in which a passage of melody or succession of harmony
is reproduced several times at higher or lower intervals.
When one part is melodically in sequence, it offers an
opportunity for harmonical sequence. Thus : "
objection.
Q. How should a two-part exercise commence and close in the
first species ?
If the counterpoint is above, it should commence with the
A. Not more than three thirds or three sixths, and even these
should be disposed so as to escape false relation of the
tritone.
What is false relation of the tritone ?
Q.
A. False relation occurs when two notes in different parts
produce a tritone in the same or in two contiguous bars.
This interval should be avoided in two-part counterpoint
of this order, whether as a skip in melody, an interval in
particularlywhen
more one part skips.
Should the skip of major sixth be used ?
Q. a
OTTAVA BATTUTA.
4=
^m
=B=r=f^
Some instances of the objectionable Ottava Battuta are given
below :
ALBRECHTSBERGER.
In First Species.
6 COUNTERPOINT.
Third Species.
6 6 #3 5 3 6 3 t(6 3
"
H' LEWIS"
Counterpoint.
Canto fermo.
Canto fermo.
J. H. LEWIS.
Canto fermo.
Fux.
Canto fermo.
CHAPTER III.
A
.
The first note in each bar should be consonant, the second
note (or notes if there be three) may be consonant or
counterpoint ?
is it contrary to rule ?
species?
A. Certainly.
Q. What final cadences are recommended in this species?
A .
Those given below. They apply to the concluding bars only ;
for tonic cadences should be avoided in the preceding bars
of an exercise.
C.T.
(Occasionally
used by good authorities,but C.F.
inadvisable because belonging to another
species).
C.F.
Canto fermo.
Counterpoint. J. H. LEWIS.
Canto fermo.
II
CHAPTER IV.
Q. What counterpoint
is of the third species ?
A. It is produced by adding a part having four, six, or eight
notes of equal value to each note of the canto fer mo.
belonging foreign to
to the chord).
or If dissonant, they
must be treated as passing notes, and taken and left by
degree or step. It is also more elegant to begin the
counterpoint of the first bar with a crotchet rest than to
commence on the first beat.
FINAL CADENCES.
C.F. Hrr
-
H' LEW[S'
Counterpoint.
J. H. LEWIS.
Canto fermo.
COUNTERPOINT.
3432 678365438
3=a=Jr
Minor, LEWIS.
J. H.
Counterpoint.
E=t
565 3983 3436 6765
Canto fermo.
ALBRECHTSBERGER.
Canto fermo.
1
868 3556 6865 /3 456 3856
Counterpoint.
IQ; u
6856 6786 6788 3543
COUNTERPOINT.
J. H. LEWIS.
Counterpoint.
Canto tcrmo.
Minor.
J. H. LEWIS.
Canto fermo.
l(D" 4--Q-
T i I i r"P l i
I 1
"
U
687676 387823 343543 8
* Changing notes.
CHAPTER V.
or discords ?
counterpoint is above ?
possible.
Q. What suspensions are employed when the counterpoint is
below the canto fermo P
the tenth are the best to use. The fourth suspending the
fifth is scarcely available when writing in two parts.
i6 COUNTERPOINT.
Minor.
Counteroint. CHERUBINI.
8 7656 535 6
7
Canto fermr".
COUNTERPOINT.
m
86764^5656 56
5653587676
8 23 65 6865 63
Counterpoint.
832356 35 65 65
=E
--
6568656323 8
Minor. J. H. LEWIS.
Counterpoint.
id
8 76 68 7658 36 7 t|6 8
IB
Canto fermo.
CHAPTER VI.
Contrapunctum Floridum.
force of style.
Q. How should the first bar be commenced ?
the third and fourth beats, but such liberties are best
" n
=^-
m
i Ornamental resolution.
Canto fermo.
Fux.
Canto fermo.
COUNTERPOINT. 21
Canto fcrmo.
tj 4 5 6 7 386 7 t|6 8
Minor.
J. H. LEWIS.
Canto fermo.
Counterpoint.
Triple Time.
J. H. LEWIS.
Counterpoint.
iifeE^uu^-r^n^
398 763987 5839
Canto fermo.
rrrr rnrff^pjpp^^i
767893 363 53676 7|6t]56 8
22
CHAPTER VII.
degree.
Q. What chords are preferable when the canto fermo is in the
lower part ?
A. Triads should be chosen as much as possible.
Q. When complete harmony is not possible, one note will be
found doubled "
of what notes should the chord in that
case consist ?
A .
The bass note, its octave, and either the fifth,or the sixth, or
the third.
part.
COUNTERPOINT. 23
permit.
Q. Are fourths allowed in this counterpoint ?
A. Not with the bass; but they may occur between the two
upper parts.
Q. Will all the rules set forth in two-part counterpoint remain in
force in
three-part counterpoint ?
A. In three-part counterpoint the rules are not so severe as in
C.F. C.F.
C.F.
COUNTERPOINT.
J. H. LEWIS.
122: :o:
Canto fermo.
J. H. LEWIS.
Canto fermo.
J. H. LEWIS.
Canto fermo, transposed.
H
0
MARPURG.
Canto fermo.
~cz:
COUNTERPOINT.
25
Fux.
in
\*- Q -"
i
Canto fermo.
ALBRECHTSBERGER.
"
.^-" -C-ri
i
Canto fermo.
:M
Fux.
Canto fermo.
* Hidden fifths between extreme parts, though here used by Fux, should not
be admitted into the exercises of students.
COUNTERPOINT.
27
A. If the canto fermo be in the lowest part the voice taking the
semibreve will sing a third in the last bar but one and a
CADENCES.
C.F.
C.F. C.F
Minor.
C.F.
-B-
C.F.
C.F. C.F.
* In accordance with ancient custom, when a third comes in the final chord
it may be made major, even in a minor key. This C may, therefore,be made
sharp. c
28 COUNTERPOINT.
ALBRECHTSBERGER.
Second Species.
CHERUBINI.
First Species.
40-
3
^m
ri
Minor.
ALBRECHTSBERGER.
Second Species.
:
~p
EZQZZ
CHAPTER IX.
Q. Will the rules which govern the third species in two parts
apply here ?
A. As far as possible they should be observed.
crotchet rest ?
A. Yes, that is
preferable.
Q. May syncopation be employed ?
A. No.
A. The more usual and acceptable forms are given below: "
Minor.
COUNTERPOINT.
CHERUBINI.
Canto fermo.
Transposed. ALBRECHTSBERGER.
Canto fermo.
^
COUNTERPOINT.
^- "
^
m m
IMI
3"E
33
CHAPTER X.
(SYNCOPATION.)
J. H. LEWIS.
Canto fermo.
J. H. LEWIS.
-"" ,"
"-
Canto fermo.
*--* M*-
36 COUNTERPOINT.
Canto fermo.
J. H. LEWIS.
-tiT-^
ALBRECHTSBERGER.
COUNTERPOINT. 37
ALBRECHTSBERGEK.
ALBRECHTSBERGER.
l 4f
""*
^ wt
CHAPTER XI.
0 \
"
"
\ ^
^r^r
C.F. C.F.
J. H. LEWIS.
1 Z22I
22:
Canto fermo.
pm
Canto fermo
J. H. LEWIS.
(transposed).
i
COUNTERPOINT.
J. H. LEWIS.
ALBRECHTSBERGER.
In the Minor.
"fc
:S=Q:
Canto fermo.
COUNTERPOINT.
3*fl
ALBRECHTSBERGER.
fee
ij^
43
CHAPTER XII.
NOTE.)
good effect.
Q. Should the first chord be complete and uninverted ?
A. It should, except in rare cases when it is impossible to
include all the essential intervals of the triad.
Q. Should the unison be employed ?
Af It should be avoided between any two parts, except in the
first and the last bars. It is rather less objectionable
between the two lower parts than between others.
D
COUNTERPOINT.
FINAL CADENCES.
1
C.F.
Canto fermo.
cr.
Canto fermo.
COUNTERPOINT. 45
Fux.
-"-
C.F.
CHERUBINI.
Canto fermo.
^1
Jl
46
CHAPTER XIII.
FINAL CADENCES.
P
Canto fermo.
Canto fermo.
COUNTERPOINT.
*
Canto fermo.
CHERUBINI.
i I l
m
Canto fermo.
m jpr. 22:
48 COUNTERPOINT.
ALBRECHTSBERGER.
*
"
Canto fermo.
49
CHAPTER XIV.
CHERUBINI.
tEEEEEE
3"
"Eft
Canto fermo.
-QL-^
"
fe=*
a^ffi^ a
COUNTERPOINT.
s
Inversion of the part.
-
rJ i
Inversion of the parts.
-chj. ^ Jry.
J J_fll_ ^
B.
52 COUNTERPOINT.
upon the octave, or upon the third, or upon the sixth ; and
COUNTERPOINT. 53
6*= 1
m
Canto fermo.
9-. "
"-
^8
..Q_
C.F. CHERUBINI.
;|
:^r
0_
^^
54 COUNTERPOINT.
CHERUBINI.
s-
CHERUBINI.
3"E^i
Canto fermo.
f^x ' r -J
(license.)
(license.)
-PL
*=t I
55
CHAPTER XVI.
required ?
A. No; a careful inspection of the example will, however, be
necessary.
Fux.
Canto fermo.
i
CHAPTER XVII.
CHERUBINI.
"(6: Q
I
Canto fermo.
COUNTERPOINT. 57
CHERUBINI.
Canto fermo.
^EE
SB
ice
*L^H^
"
I
I
^^"
I
COUNTERPOINT, 59
~^5
, .
CHERUBINI.
"
0
Fourth Species.
Canto fermo.
Second Species.
i i
*^* i T
jfe-rtJz^^
60 COUNTERPOINT.
Canto fermo.
COUNTERPOINT. 61
Fn-rrj
r t f
CHERUBINI (on the above Canto fermo by Fux),
J-JU"i
62 COUNTERPOINT.
"f^f=F
Canto fermo.
31
s
CHAPTER XIX.
A .
The same previously named, together with the use of octaves
CHERUBINI.
*=:
i
Canto fermo.
04 COUNTERPOINT.
prove this.
CHERUBINI.
Canto fermo.
i
(
1
" "
COUNTERPOINT.
EEEEEE
J. H. LEWIS.
Canto fermo.
COUNTERPOINT. 67
ElU
23 ^
^i
i
"Observation. "
The last bar but one of this Example presents
a method of employing the suspension to which the particular
is drawn. The *
attention of the pupil two parts marked with a
CANT1 FERMI.
1.
3.
4.
I i
7.
:Q: i r? i i i
.
T^Q - "
0 .
Q
"
p-T-^_
8.
m
COUNTERPOINT. 69
10.
K I 2iz:
1
"y
ll.
12.
13.
14.
15.
16.
17.
18.
m
19.
20.
77-\-.^nrs "
-VW'4f ^ ~g!3~
7o COUNTERPOINT.
21.
fcfe*
22.
23.
z^=H
24.
25.
I ~t"
26.
SOT* II
6 DITTO SOL-FA i o
THE WISHING STONE (DITTO)
FAIRIES (DITTO) 6 BENEDICT.
THE WATER
..26
SIR JULIUS
THE SILVER CLOUD (DITTO) ST. PETER 3 o
MINSTER BELLS (DITTO) ..26
THE LEGEND OF ST. CECILIA (SOL-FA, is. 6d.) 2 6
B. AGUTTER. PASSION Music FROM ST. PETER i 6
4/6/93-
ORATORIOS, "c." Continued.
J. MAUDE CRAMENT.
R. MACHILL GARTH.
I WILL MAGNIFY THEE, O GOD (PSALM 145) ...
2 6
THE WILD HUNTSMAN
W. CRESER.
EUDORA (A DRAMATIC IDYL)
W. CROTCH.
PALESTINE
W. H. CUMMINGS.
THE FAIRY RING
W. G. CUSINS.
TE DEUM
FELICIEN DAVID.
THE DESERT (MALE VOICES)
P. H. DIEMER.
BETHANY
M. E. DOORLY.
LAZARUS
F. G. DOSSERT.
MASS IN E MINOR
ANTONIN DVORAK.
ST. LUDMILA
DITTO (GERMAN AND BOHEMIAN WORDS)
THE SPECTRE'S BRIDE
DITTO (GERMAN AND BOHEMIAN WORDS)
STABAT MATER
PATRIOTIC HYMN
DITTO (GERMAN AND BOHEMIAN WoRUS)
REQUIEM MASS
MASS IN D ...
A. E. DYER.
SALVATOR MUNDI
ELBCTRA OF SOPHOCLES
H. J. EDWARDS.
THE ASCENSION
THE EPIPHANY
PRAISE TO THE HOLIEST
EDWARD ELGAR.
THE BLACK KNIGHT
ROSALIND F. ELLICOTT.
ELYSIUM
THE BIRTH OF SONG
G. ERNEST.
ALL THE YEAR ROUND (FEMALE VOICES)
(SOL-FA, gd.)
EATON FANING.
BUTTERCUPS AND DAISIES (CHILDREN'S VOICES) J. O. GRIMM.
(SOL-FA, IS.) ..26 THE SOUL'S ASPIRATION
3 o
ROBERT FRANZ. THE PASSION
THE TRIUMPH OF TIME AND TRUTH 3 o
PRAISE YE THE LORD (PSALM 117)
ORATORIOS, "c." Continued.
HERCULES HUSS.
H. H.
ATHALIAH
o
AVE MARIA (FEMALE VOICES) ......... i o
ESTHER 3
SUSANNA F. ILIFFE.
THEODORA 3 o DIVINE
ST. JOHN THE ............
i o
BELSHAZZAR ...
SOLOMON 2 0 W. JOHNSON.
JEPHTHA 2 O
ECCE HOMO ...........
.
......
2 o
JOSHUA 2 O
2 O
C. WARWICK JORDAN.
DEBORAH
SAUL 2 O BLOW YE THE TRUMPET IN ZlON .........
I 6
CHANDOS TE DEUM I O N. KILBURN.
DETTINGEN TE DEUM I O
6
THE SILVER STAR (FEMALE VOICES) ......
i
UTRECHT JUBILATE I O
THE LORD is MY SHEPHERD (PSALM 23) ...
i o
O COME LET US SING UNTO THE LORD (FlFTH
CHANDOS ANTHEM) ALFRED KING.
O PRAISE THE LORD WITH ONE CONSENT THE EPIPHANY ............... 3 o
(SIXTH CHANDOS ANTHEM)
ANTHEMS. Cloth OLIVER KING.
CORONATION AND FUNERAL
BY THE WATERS OF BABYLON (PSALM 137) I 6
Or, singly: ...
A SONG OF JUDGMENT 2 6
C. SWINNERTON HEAP.
FAIR ROSAMOND (SOL-FA, 2s.) 3 6 W. H. LONGHURST.
THE VILLAGE FAIR
EDWARD HECHT.
ERIC THE DANE 3 o HAMISH MACCUNN.
O MAY I JOIN THE CHOIR INVISIBLE I O LAY LAST MINSTREL (SOL-FA, is. 6d.)...2 6
OF THE
GEORGE HENSCHEL. LORD ULLIN'S DAUGHTER (SOL-FA, 8d.) 1 o
PRECIOSA
E. M. SMYTH. THREE SEASONS ,
MASS IN D ...
2 6 S. WESLEY.
A. SOMERVELL. IN EXITU ISRAEL ,
S. S. WESLEY.
CHARLTON T. SPEER.
O LORD, THOU ART MY GOD I o
THE DAY DREAM
J. E. WEST.
SPOHR.
SEED-TIME AND HARVEST 2 o
MASS (FIVE SOLO VOICES AND DOUBLE CHOIR)
HYMN TO ST. CECILIA C. LEE WILLIAMS.
CALVARY THE LAST NIGHT AT BETHANY (SOL-FA, is.) 2 o
...
Most of the above Works may be had in paper boards at 6d. each extra, or handsomely
bound in cloth, with red or giltedges, at is., is. 6d., or 2s. each extra.
VOCAL ALBUMS.
ARNE, THOMAS A."
Twenty Songs
BACH, J. S." Twenty Sacred Songs
BEETHOVEN" *
Twenty-six Songs
(Vol.I.)
*Seventeen Songs (Vol.II.)
-"Twenty-twoSongs (Vol.III.) . .
-
Eight Love Songs (English, Ger-
man,
and Bohemian Words),Op. 83
ELLIOTT, J. W." National Nursery
Songs and Rhymes. With sixty-
five Illustrations Cloth gilt
FRANZ, R."
Thirty Songs . .
*
These Songs have German and English Words,
PIANOFORTE ALBUMS
EDITED BY BERTHOLD TOURS.
No. 1. Bach.
"
Twenty Pieces from Petits Preludes. Nos. 27 and 28." Moscheles, J. Domestic Life,
Suites Anglaises. Partita Nos. i to 3, "c. Twelve Characteristic Duets, Two Books,
No. 2." Bach. Twenty Pieces from Suites Anglaises, each 2s.
Suites Francaises. Partita Nos. 4 and 5, "c. The Two Books, in One Vol.,cloth,43.
No. 3. Bach. "
No. 13." Wollenhaupt, J. Ten Pieces, including No. 44." Cul, Cesar. Thirteen Pieces. Op. 20, Nos.
"
Les Clochettes,""
Feu Follet,""c. 1 to 12 ; Op. 21, No. 3.
Nos. 13,14,and IS,in One Vol.,cloth,43. No. 43." Cui, Cesar. Eleven Pieces. Op. 21, No. 4;
Op. 22, Nos. i, 2, and 3 ; Op. 31, No. 2 ; Op. 39,
No. 16." Schweizer. Otto. Eight Scottish Airs Nos. i to 6.
(arrangedfor four hands). No. 46." Cut, Cesar. Seven
Pieces. Op. 22, No. 4 :
Op. 29, No. i ; Op. 30, No. i ; Op. 35, Nos. i and
No. 17." Spindler, Fritz. Nine Pieces, including 2 ; Op. 40, Nos. 2 and 4.
"
Murmuring Rivulet," The Pilgrims'Chorus Nos. 44,45, and 46,in One Vol.,cloth,48.
("Tannhauser"), "c.
No. 18." Spindler. Fritz. Nine Pieces, including No. 47." Schubert, Franz. Four Impromptus. Op. 90.
"L'Oisillon,''''Le Carillon,""The Evening No. 48." Schubert, Franz. Four Impromptus. Op. 142.
"
Star (" Tannhauser"), "c. No. 49." Schubert, Franz. Moments Musicales (Op.
No. 19." Spindler, Fritz. Ten Pieces, including 94),and Adagio and Rondo (Op. 145).
"
Jeu des Ondes," Valse Melodieuse, Spinning Nos. 47,48, and 49,in One Vol.,cloth,48.
Song (" Flying Dutchman"), "c.
Nos. 17,18,and 19, in One Vol.,cloth,4s. No. 80." Schubert, Franz. Three Sets of Variations
Andante, and Klavierstiick.
No. 20. "
Goetz, Hermann. Five Compositions. No. 81." Schubert, Franz. Adagio, Allegretto,and
No. 21." Goetz, Hermann. Four Compositions. March in E major, "c.
No. 22." No. 32. Schubert, Franz. Five Klavierstucke and
Goetz, Hermann. Six Compositions.
"
F. ABT. MENDELSSOHN. || ^
11 ii
TWENTY - FOUR DUETS THIRTEEN TWO -
PART
THIRTEEN TWO -
PART
(Sop. and Cont.). Book 2 . .
2/6 "
SONGS .. ..
Folio 2/6 "
MOORE.
F. H. COWEN.
IRISH MELODIES. Duets.. 1/0 "
GIRO PINSUTI.
E. C. FORD.
CARL REINECKE.
SIX TWO-PART SONGS 2/6
..
"
RUBINSTEIN.
SIX TWO-PART ANTHEMS 1/0 "
SCHUMANN.
OLIVER KING.
THIRTY -
FIVE VOCAL
SIX DUETS (Sop. and Cont.) 2/6 " DUETS (German and lish
Eng-
words) 2/6 "
JOHN KINROSS.
CHARLES WOOD.
SONGS OF THE FOREST.
SIX TWO-PART SONGS.
Six Two-part Songs . . . . 1/0 "
For Solo Voices (or Female
12/9/92.
ORATORIOS, "c." Continued.
3 o
HERCULES HUSS.
H. H.
3 o
ATHALIAH AVE MARIA (FEMALE VOICES) t o
3 o
ESTHER
SUSANNA 3 o F. ILIFFE.
3 o DIVINE
THEODORA ST. JOHN THE I O
3 o
BELSHAZZAR
THE MESSIAH, EDITED BY V. NOVELLO JOHN WILLIAM JACKSON.
2 O I CRIED UNTO GOD 1 6
(SOL-FA, IS.)
THE MESSIAH, DITTO. POCKET EDITION 1 O W. JACKSON.
THE MESSIAH, EDITED BY W. T. BEST 2 O
THE YEAR 2 O
ISRAEL IN EGYPT, EDITED BY MENDELSSOHN 2 O
V. NOVELLO. D. JENKINS.
ISRAEL IN EGYPT, EDITED BY
OUTWARD BOUND 1 O
FERDINAND KILLER.
NALA AND DAMAYANTI A. C. MACKENZIE.
A SONG OF VICTORY THE DREAM OF JUBAL 2 6
STORY SAYID 3 o
HEINRICH HOFMANN. THE OF
2 6
FAIR MELUSINA JASON
CINDERELLA
THE BRIDE (SOL-FA, 8d.) 1 O
J. B. McEWEN. s. d. H. W. PARKER. s. d.
THE VISION OF JACOB ............
2 o THE KOBOLDS i 0
H. MEE. HORA NOVISSIMA
J.
HORATIUS (MALE VOICES) C. H. H. PARRY.
............
i
ELIJAH (POCKET EDITION) FUNERAL ODE
HART
.........
(SHIRLEY) .., i
As THE PANTS (PSALM 42) .........
PROMETHEUS UNBOUND 3
COME, LET us SING (PSALM 95) .........
JUDITH
WHEN ISRAEL OUT EGYPT 5
OF CAME (SOL-FA, gci.) L'ALLEGRO (SOL-FA, is. 6d.) 2
NOT UNTO us, O LORD (PSALM 115) ......
ETON 2
ST. PAUL (SOL-FA, is.)
... .
............
THE LOTUS-EATERS (The Choric Song) 2
ST. PAUL (POCKET EDITION) ...
.........
JOB 2
HYMN OF PRAISE (LOBGESANG) (SOL-FA, is.) ...
ABRAHAM o CARACTACUS 2
.................. 3
THE CONSECRATION OF THE BANNER i
MOZART.
KING THAMOS o
IN THE FOREST (MALE VOICES) i
...............
PSYCHE 5
FIRST MASS (LATIN AND ENGLISH) ...... o
THE DEATH YOUNG ROMILLY i
OF
SEVENTH MASS IN B FLAT ......... o
DITTO, SOL-FA o 8
VICTORY OF SONG (FEMALE VOICES) ......
I o
THE TRANSIENT AND THE ETERNAL (SoL-FA,4d.) I o
DR. JOHN NAYLOR.
ROSSINI.
JEREMIAH .................. 3 o
STABAT MATER (SoL-FA, is.) i o
6 (PSALM ig) I 6
MISSA "O ADMIRABILE COMMERCIUM" ... 2
ORATORIOS, "c." Continued.
SONG OF MIRIAM (SOL-FA 6d.) GOD is OUR REFUGE (PSALM 46) ... i o
PRECIOSA i o
E. M. SMYTH. THREE SEASONS i o
MASS IN D 2 6 S. WESLEY.
A. SOMERVELL. IN EXITU ISRAEL 0 4
DIXIT DOMINUS 1 o
MASS IN C MINOR 2 6
S. S. WESLEY.
CHARLTON T. SPEER.
O LORD, THOU ART MY GOD i o
THE DAY DREAM
J. E. WEST.
SPOHR.
SEED-TIME AND HARVEST 2 o
MASS (FIVE SOLO VOICES AND DOUBLE CHOIR)
HYMN TO ST. CECILIA C. LEE WILLIAMS.
CALVARY
THE LAST NIGHT AT BETHANY (SOL-FA, is.) ... 2 o
FALL OF BABYLON
GETHSEMANE 2 o
LAST JUDGMENT (SOL-FA, is.) ...
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