fifty three-part studies within the compass of an octave for sight-singing classes (1895)

No. 49

CornelMT 870.VS3

3 1924 021 787 118

Novellds Original Octavo Editions of

ORATORIOS, CANTATAS, MASSES, ODES,&c.

TheSpriSum]TheTheTheTheMlN!

Miss

YuliTheWbi

Mas:

Hez:St.St.'

fytmll WLnivmity ffitatg

SAGE

BOUGHT WITH THE INCOMEFROM THE

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ENDOWMENT FUNDTHE GIFT OF

Henrij W. Sage1S91

4 ^«*MDSK tsm&k>

;

s. A.

2 G

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61 o

4

The GipsiesEndymion

Stabat Mater

"etaspa;

ASTORGA.

BACH.Mass in B minor 2 6Missa Brevis in A 1 6I he Passion (S. Matthew) 2

Ditto (Abridged as used at St. Paul's) i 6The Passion (S.John) 2Christmas Oratorio 2 oMagnificat 1

God goeth up with shouting 1 oGod so loved the world 1

God's time is the best (Sol-fa, 6d.) 1

My Spirit was in heaviness 1

O light Everlasting 1

Bide with us 1 oA Stronghold sure 1 oBe not afraid (Sol-fa, 4d.) o 6Blessing, Glorv, and Wisdom 6i wrestle and fray (sol-fa, 2d.) o 4Thou Guide of Israel i oJesu, Priceless Treasure i oWhen will God recall my spirit i oJesus, now will we praise Thee i o

J. BARNBY.Rebekah (Sol-fa, ed.) i oThe Lord is King (Psalm 97) 1 6

6/2/94-

Ditto Sol-fa ,

SIR JULIUS BENEDICT.St. Peter 3 oThe Legend of St. Cecilia (Sol-fa, is. 6d.) 2 6Passion Music from St. Peter 1 6

SIR W. STERNDALE BENNETT.The May Queen (Sol-fa; is.) 3The Woman of Samaria (Sol-fa, is.) ... 4 oInternational Exhibition Ode (1862) ... 1 o

G. R. BETJEMANN.The Song of the Western Men 1

W. R. BEXFIELD.Israel Restored 4 o

HUGH BLAIR.Harvest-Tide 1

JOSIAH BOOTH.The Day of Rest (Female Voices) (Sol fa, is.) 2 6

E. M. BOYCE.The Lay of the Brown Rosary 1 6YoUNO LOCHINVAR I 6

J. BRADFORD.Harvest Cantata .'

The Song of JubileePraise the Lord

1 62 o2

ORATORIOS, &c—Continued.

W. F. BRADSHAW.Gaspar Becekra

J. BRAHMS.A Song of Destiny

CHARLES BRAUN.

J. C. BRIDGE.

Sigurd 5 °

Daniel .

Rudbl .

3 64 o

J. F. BRIDGE.RockofAgbs(LatinandEnglish) (Sol-fa, 4d.) i oMount Moriah 3 oBOADICEA 2 6Callirho'e (Sol-fa, is. 6d.) 2 6Nineveh 2 6The Inchcafe Rock ... i oThe Lord's Prayer (Sol-fa, 6d.) i o

DUDLEY BUCK.The Light of Asia 3 o

EDWARD BUNNETT.Out of the Deep (Psalm 130) 1

W. BYRD.Mass for Four Voices (in F minor) 2 6

CARISSIMI.Jephthah 1

F. D. CARNELL.Supplication 5

GEORGE CARTER.Sinfonia Cantata (Psalm 116) 2 o

WILLIAM CARTER.Placida 2 o

CHERUBINI.Requiem Mass, C minor (Latin and English) i oSecond Mass in D minor 2

Third Mass (Coronation) 1 oFourth Mass in C 1

E. T. CHIPP.Job 4Naomi 2 o

FREDERICK CORDER.The Bridal of Triermain (Sol-fa, is.) ... 2 6

SIR MICHAEL COSTA.The Dream 1 o

H. COWARD.The Story of Bethany (Sol-fa, is. 6d.) ... 2 6

F. H. COWEN.St. John's Eve (Sol-fa, is. 6d.) 2 6

A Song of Thanksgiving I 6Sleeping Beauty (Sol-fa, is. 6d.) 2 6

Ruth (Sol-fa, is. 6d.) 4 o

Summer on the River (Female Voices)(Sol-fa, gd.) 2

The Water Lily 2 6

Village Scenes (Female Voices) 1

J. MAUDE CRAMENT.I WILL MAGNIFY THEE, O GOD (PsALM I45) ... 2

W. CRESER.Eudora (A Dramatic Idyl) 2

W. CROTCH.Palfstine 3

W. H. CUMMINGS.The Fairy Ring

W. G. CUSINS.Te DeumGideon

FELICIEN DAVID.The Desert (Male Voices)

P. H. DIEMER.

M. E. DOORLY.Bethany

Lazarus

F. G. DOSSERT.Mass in E minor

F. DUNKLEY.The Wreck of the Hesperus

ANTONIN DVORAK.St. Ludmila

Ditto (German and Bohemian Words)The Spectre's Bride

Ditto (German and Bohemian Words)Stabat MaterPatriotic Hymn

Ditto (German and Bohemian Words)Requiem MassMass in D

A. E. DYER.Salvator MundiElectra of Sophocles

H. J. EDWARDS.The AscensionThe EpiphanyPraise to the Holiest

EDWARD ELGAR.The Black Knight ...

ROSALIND F. ELLICOTT.ElysiumThe Birth of Song

G. ERNEST.All the year round (Female Voices)

(Sol-fa, gd.)

EATON FANING.Buttercups and Daisies (Female Voices)

(Sol-fa, is.)

HENRY FARMER.Mass in B flat (Latin and English)

(Sol-fa, is.)

MYLES B. FOSTER.The Lady of the IslesThe Angels of the Bells (Female VmciS'

Ditto ditto (Sol-i-a;

The Bonnie Fishwives (Female Voices) ...

Ditto ditto (Sol-fa)Snow Fairies (Female Voices)

ROBERT FRANZ.Praise ye the Lord (Psalm 117)

NIELS W. GADE.Psyche (Sol-fa, is. fid.)

Spring's Message (Sol-fa, 3d.) ...

Erl-King's Daughter (Sol-fa, gd.) .

ZlONThe Ckusaders (Sol-pa, is.)

ComalaChristmas Eve (Sol-fa, 4d.)

s. d.

2 6

1 6

3 6

6.

4 o

2 6

5 °

5 o8 o

3 °6 o2 61 6

3 o

5 o2 6

2 6I 6

2 6

2 OI 6

I o1 e

2 6

91 6


HENRY GADSBY. s . d.

Lord of the Isles (Sol-fa, is. 6d.) 2 6Alcestis (Male Voices) 4 oColumbus (ditto) 2 6

G. GARRETT.Harvest Cantata {Sol-fa, 6d.) 1 oThe Shunammite 3The Two Advents 1 6

R. MACHILL GARTH.Ezekiel ... 4The Wild Huntsman 1

A. R. GAUL.A Song of Life (Ode to Music) (Sol-fa, 6d.) 1

Joan of Arc (Sol-fa, is.) 2Passion Service 2Ruth (Sol-fa, gd.) 2The Holy City (Sol-fa, is.) 2Ten Virgins (Sol-fa, is.) 2Israel in the Wilderness (Sol-fa, is.) ... 2Una (Sol-fa, is.) 2

FR. GERNSHEIM.Salamis. A Triumph Song (Male Voices) i 6

F. E. GLADSTONE.Philippi 2 6

GLUCK.Orpheus 3 6

HERMANN GOETZ.By the Waters of Babylon (Psalm 137) ... 1

Nojniar 1

The Water-Lily (Male Voices) 1 6

CH. GOUNOD.Mors et Vita (Latin or English) 6 o

Ditto, Sol-fa (Latin and English) 2 oRequiem Mass (from " Mors et Vita") ... 2 6The Redemption (English Words) 5

Ditto, Sol-fa 2 oDitto (French Words) ... ... 8 4Ditto (German Words) 10 o

Messe Solennelle (St. Cecilia) 1

Out of Darkness 1 oCommunion Service (Messe Solennelle)... i 6Troisieme Messe Solennelle 2 6De Profundis (Psalm 130) (Latin Words)... i

Ditto (Out of Darkness) i oThe Seven Words of Our Saviour 1

Daughters of Jerusalem 1 oGallia (Sol-fa, 4d.) 1 o

A. M. GOODHART.Earl Haldan's Daughter 1

Arethusa 2 o

C. H. GRAUN.The Passion of Our Lord (Der Tod Jesu) 2 oTe Deum 2 o

ALAN GRAY.Arethusa 16The Legend of the Rock-Buoy Bell ... 1

The Widow of Zarephath 2 o

J. O. GRIMM.The Soul's Aspiration 1 o

G. HALFORD.The Paraclete 2

E. V. HALL.Is it nothing to you o 8

HANDEL.Alexander's Feast 2Acis and Galatea 1 o

Ditto, New Edition, edited by J. Barnby i

Ditto, ditto, Sol-fa 1 oAlceste 2 oSemele 3 oThe Passion ... j oThe Triumph of Time and Truth ... ... 3

HANDEL

—

continued.Alexander BalusHerculesAthaliahEstherSusannaTheodoraBelshazzarThe Messiah, edited by V. Novello

(Sol-fa, is.)

The Messiah, ditto. Pocket EditionThe Messiah, edited by W. T. BestIsrael in Egypt, edited by MendelssohnIsrael in Egypt, edited by V. Novello.

Pocket EditionJudas Maccabeus (Sol-fa, is.)

Judas Maccabeus. Pocket EditionSamson (Sol-fa, is.)

SolomonJephthaJoshua ,.

DeborahSaulChandos Te DeumDettingen Te DeumUtrecht Jubilateo come let us sing unto the lord (flfth

Chandos Anthem)O praise the Lord with one consent

(Sixth Chandos Anthem)Coronation and Funeral Anthems. Cloth

Or, singly

:

The King shall rejoiceZadok the PriestMy heart is inditingLet thy hand be strengthenedThe ways of Zion

Ode on St. Cecilia's DayL*Allegro

HAYDN.The Creation (Sol-fa, is.)

The Creation. Pocket EditionThe Seasons

Each Season, singly (Spring, Sol-fa, 6d.)

First Mass in B flat (Latin)Ditto (Latin and English)

Second Mass in C (Latin)Third Mass (Imperial) (Latin and English)

Ditto (Latin)Sixteenth Mass (Latin)The Passion; or, Seven Last WordsTe Deum (English and Latin)Insane et Van-e Cvkm (Ditto)

BATTISON HAYNES.The Fairies' Isle (Female Voices)A Sea Dream (Female Voices)

H. HEALE.Jubilee Ode

C. SWINNERTON HEAP.Fair Rosamond (Sol-fa, 2s.)

EDWARD HECHT.Eric the Daneo may i join the choir invisible

GEORGE HENSCHEL.Out of Darkness (Psalm 130)

HENRY HILES.Fayre PastorelThe Crusaders

FERDINAND HILLER,Nala and DamayantiA Song of Victory (Sol-fa, gd.)

HEINRICH HOFMANN.Fair Melusina "

CinderellaSong of the Norns (Female Voicbs)

s. d.

3 o

3 o

3 o

33 o

3 o

3 o

1 6

3 6

3 O1 6

6 62 6

41

NOVELLO, EWER AND CO.'S

MUSIC PRIMERS AND EDUCATIONAL SERIES.Edited by Sir JOHN STAINER and Dr. C. HUBERT H. PARRY.

FIFTY

Three-Part StudiesWITHIN THE COMPASS OF AN OCTAVE

FOR

SIGHT-SINGING CLASSES

BY

J. E. YERNHAM,Professor of Music in King's College, London, and Organist and Choirmaster of

St. Paul's, Knightsbridge.

PRICE ONE SHILLING AND SIXPENCE.

In paper boards, Two Shillings.

85c

LONDON & NEW YORK

NOVELLO, EWER AND CO.

9

LONDON

:

NOVELLO, EWER AND CO.,

PRINTERS.

PREFACE.

During my long experience as a teacher of Sight-Singing I

have constantly felt the want of exercises far more interesting

than those usually placed before the student. There is always,

moreover, a great difficulty in dividing voices into " parts " for

complete harmony in the ordinary sight-singing class, owing to

the preponderance of, for instance, basses at one time and tenors

at another, or the occasional absence of one entire part.

For this reason, therefore, it is some time before the student

has the opportunity of taking his part in harmonised exercises,

and of holding his own against other parts, a source of great

interest to each singer.

To meet this want, the following exercises are all written in

complete harmony, each part within the compass of one octave,

C to C, and therefore within easy range of all voices, male and

female ; and while care has been taken not to exceed the compass

of the octave, each part has been so arranged as to extend the

whole compass of the octave, thus giving the student, as far as

possible, the practice of extended intervals.

The Tonic Sol-fa notation is placed under the ordinary

notation in order to increase the general utility of the book.

My best thanks are due to Mr. Hamilton Robinson, Mus. Bac,

F.R.C.O., for contributing the March at the end of the book, and

to Mr. Edward Mills, Mus. Bac, of Battersea Training College,

for suggestions concerning the Tonic Sol-fa notation.

J.E. VKing's College, London.

July, 1895.

NOTE.

When the separate parts have been learned and can

be combined with safety, a firm steady tone and an even

balance of parts should be maintained throughout, but no

attempt should be made to observe the expression marks

until this has been accomplished, together with a well

defined rhythm.

FIFTY THREE-PART STUDIES.

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notes. The second of the tied notes is generally the more important,forming as it frequently does, a suspension (see Primer, No. 8) ordiscord.

No. 2.

FIFTY THREE-PART STUDIES

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In this Exercise and others where modulations occur, the acci-dentals, or notes chromatically altered must be taken firmly andwithout hesitation.

FOR SIGHT-SINGING CLASSES.

No. 3.

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No. 4.

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In this Exercise (Triple Time) let the notes between the accent,

viz., 2nd and 3rd beats, pass smoothly along, and in bar 5 make the

note before the accent slightly staccato.

No. 8.

FIFTY THREE-PART STUDIF.S

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No. 9.Andante.

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10 FIFTY THREE-PART STUDIES

No. 10.

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In this Exercise the notes must not only be sustained their full

value, but, the same power must be maintained throughout. Theconductors beat must be carefully watched during the pause, thenotes released exactly together, and all voices must attack the follow-

ing chord firmly and simultaneously.

FOR SIGHT-SINGING CLASSES. II

No. 11.

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:1, Ise, 1, :- :-

The notes marked staccato must be as short as possible, and re-

leased by all voices together. The syncopations (see Primer, No. z)

or altered accents, as in bars 4, 5, 6, and 7, must be firmly attacked,

and held their full value. R 1

H FIFTY THREE-PART STUDIES

No. 14. ^^E* »- =t=fc*

II

LaA jj C. -D"^ « El'.d :r :n I f :s :1 | — :se :—

1

1 :n :—\

J^:st—*-

II1

':t, :d |r :n :f I

— :n :— In :d

fl1-"

-*—*-

:— |1, :- :-11, :n :r |d :1, :1 }

pF=t.

i*

:— :— Id :— :fle |r :d Id :— :t,

^ =P="-»+=F t=t:||t, :— :— Id :1 :— I

— :se :1 I s :f :—

:— :f in :— :— If :— :n |r

I mpp

1Be

|| 1i :— :t, | d :— :t, | n :r :d | f :n :r | d :— :—

$± & W-H3E ijfj % \s

:n :— In :b :— :1 II :— :— II :— :—

||d :— :r jn :— :re |n :— :— |r :d :t, II,

For smoothness together with syncopation.

FOR SIGHT-SINGING CLASSES. 15

No. 15.

gff^ m ^Doh is At\fid :t, Id :s, :s,

&£=% ^if.

m^r m Z3=tL

Iass ^ Z*"

I!3

I

1 '

I

f'

:n, :s, }

g^ -rir

lh

^SJ

se, :t, .1,11, :se, J

3II

1

P11. :fi n, :m, rii

^^ ^ :F^ -

zi:

II:r .d Id :t, }

¥ fcfc

mw

1t&Fm

zz

:s.I

1'

:t,

* * w

zz:

Id :-

Z2Z

|| r :d \s, ,f, ;n, |li :s, |d -,—

For firmness and steadiness of tone in the f»ianissimo.

II

i6 FIFTY THREE-PART STUDIES

No. 16.

$kh£t=t ^IeS 3=fc +—+

Doh is A.Id :- |d :—

1 1. :- |d jr :— |r :d11, :1, is, :f,

j.

0m=a^^m ?=*Z

i

I

s, :— |1, :—|

s, :f, |n, :-|f, :— Ife, :—|

s, :1, |t, :1,J.

Itit&EEE35 ?=Mz

-e— &|n,:— |f,:— |s, :— |s, :— 1 1, :t, |1, :— |t, :d |r :— j.

P*i#=ii ZEfc

t=t:-

if, :{|n,:-|- |f, :-|f, :l, |d :-|d :- |t, :-}

Ifefc "Emmm¥

j|se. 1, :t, Ida :-|r :1, |1, :-(, :- |- :-}

fe*=m j r S j—rr^—#**

:- |d :t,11, :- |1, :-

|

f, :- |fe, :-|

s, :- |- :-}

iiii*= i^|r :-!-: :-|d :— Id :- |— :— Id

i*.*=

i? .4—

J

1 : zzq=:q:*—

^

||f, :1, Is, :f,

|

n, :-|-:-|f, :s, |f, :-|f, :- |n, :-

!«*=^^||1, :d It, :1,

1

8, :-]-:-

1

--*$*

li :t, II, :I.m, »,


No. 17.

17

3*=Lah is D. Doh is F.Id :—:r In :— :r Id :li I %t\ '.— :t| n :fe

}

is^ zdi^3111 -:t, Id :-:r :n |d :—

fci^= ^ -rJ-

{|1.:-:— — :n 1, :-:d

T3'

ti :— :se, I 1,

^ #=

1.

-rt~:— :t, I— :— :1, Is, :— :— |l, :— :t ( 1

1

(:— :li }

$#= 3321

i|S '

:— :n I

— :— :re It, :— :— Id

A:r r :— :d

\

i^=&wt, :s I fe :— :— In :— :—

I f :— n :— :—

tP —|s^' o-

I]1, :— :se,|l, :—:— 1 1, :—

:

dr o~

— I ti :— :1| I— :se, :— 1 1,

Z2I3Et fax:

IId :— :t, 1 1, :—:d I s :f I n :— :.— I n :r Ide :—:—

I

$ 1-jet. ' 73-

|r :—:—|r :—:d|r :—:— |r :—:d11, :— :—

11,

For smoothness, crescendo and diminuendo generally.

i8 FIFTY THREE-PART STUDIES

No. 18.

$^.m ^^Doh is F.In -!- [f :- I-:- Is :- |- If :-)

^m =#= ^ mm3t|d:-| It, :— j

— :— Id :ae |r :s, |1, :t,}

j^E -JC2 S 3:

{|: |n :-|-:- |r :-|-:t, |1, :le,jt, :- |d :r }

^m ^3pi :r |d :— It, :— |d :t, lie,:— |de :— 1 1, :— |d :—

$m ^Lnkj_hAm -pc-a)

—

*

{•Id, :— |d :r |r :s |s :— ffe :n|re :n |f :—

{

j^-^m= mm *^# 1 j- qo—j|d :— |n :fe

|

s :r |pi :r|

de :— |le, :— ft, :s, |1, :—

}

=** 23:

I—:— | d :— |d :—| -:t, |d :n|s :—|—:— | s :—|—:—

1|

|y_JJr|IJ^

f^^ i{|—:n |f :s [n:f :fe:—|— :s |n:d |— :t, |1, :t,|d:—|—:—

I

i*=

*= m iZ2Z

{1 1, :—I—:— | d :1, |la,:— | s, :— |s :— | r :—|—:— | n :—|—:—

I

For firmness generally, and the practice of strong crescendo.

i


No. 19. raU.

'9

#= 3=

I— :— |— :se, |t, :— }

Doh is P.In :- I-

# £5 m-* s

||:n |r :d :d |t, :1,

|se, :t, |n :r I

i^£^ E=E

3 ¥*—:n |r :d I ti :— |se

(:— }

I

\\:d It, :1,

|

s-^ a tempo.

I- I J i1-4

=1=

r*-=

li :-lII

:t,|

a :r |— :t, |d :— |1, :—|

s, :1, |— :t}

§y: j i-Ûd^û-î 3t|j^:d.t,|d :r |n :fe Is :r [d :— |d :—

11, :d |— :r

}

i ^Sr »t-r^r 1=F—«=*-• ;

{|1, ':— |-:s, |d r— It, :r |n :s |- :fe|

s :fe |f :-}

i¥=F ^g3tZ*-ei pr{|t, :1, I

— : se,11, :d |d :—

I— :t,Jf :— In :— |— :—

I^£ ^;ez

j|r :d I— rt, |d :— If :— | s :— I— :—|

s :— |-

P ib fr* ' ^sJL-*—

*

{|n :— |r :— |.d. :1, I— :kt|

s, :- |I, :t, |d :- |- :-||

For the general study of firmness of repetition and syncopation,

together with rallentando and pause.

20No. 20.


*m zz:

Doh is BPId :-:-|d :- :-

I- :- :-

I tj :- :-I d

ife^ 3=t

S| I**--

• 1| l~~ SSi Ii • :-l

^ »»/"

^-cr

{(*:- :-If

.

:n, Lr, :—

-1ST

i IF

n, :

{|f.:-:-

C3

In, : ri : rei :— :—

y-^rr

{VId :— :— It, :— t«__ •

11 • > >*^^ • m • • \

$1. :- •—_ j| • j IG| ! I S6| 5^~* S^- L

Irii :—

:

||fe,:-:-|f, :—:-| f, :-:-|f, :—:-|f, :-:-

{|t, :— Id :-:— Id :-|t, :-:-|d :-:-|d :-:-!

P- Itefr<5>-'

{jl, :-:— |— :-:—

|

la, :—:—|k,:—:— | s, :—:— | s, :—:—

|


No, 21.

fe ^ -psz^

I

Lah is A. -Do* »* Cd 1 :— |t :—

E3E

1 :t Id1

t :- I- :- }

m mm ?^tz$trzt3II

|1 :se b :se II :— I — :se.b |se :n

$^=^ 7* &—{I :n |f :n n :— |— :re In :

—

:se

$ i „ l

1- i^fei^EIn :re |n :— |n :b

|se :s |f :— |

piId' :- It :- In :—

| n :— |r

i P2=^ S||

1 :— |se :— n :b |se :1 |t :d' |— :t }

||— :1 I— :se |1 :—

The notes before the rest should be slightly shorter than their full

value, thus giving the fullest value to the rest.


.NO- 22

:£*$

a

Doh is E.d :r in :f Is :1 |s :f In :— |— :fe

pm i-o rs ~g~ -o—e*

(I* I— :r In :f |r :— I d t, II, :-»

j;J a fc~crId :- |— :- |t, :- |d :r |d :—

\

J-izc

*:

t, :se, fl, :—J{Js :- I- 1 :- fl,

iu& =£= X

fPF —CS <5» *"

:t, Id :— i

-& =»-

it, :- |d

pJ3=Jde :—

J3: 22 2±Tl g"-

||r :te |n 1 :s |f :n In I- :f }

itt 32trj Xfj

t, |r :re I n :f |n :—

iftIt, :- Id :t, |d :—

il& e>—H—s»- ^E

:1 Is

For piano generally, with long sustained crescendo and dimin-uendo, which must be very gradual.


No. 23.

m^ ZZSZ 3L=3tZ E£hah is A. Doh is C.I d 1 :- :- I d1 :— :— I d 1

:t :1 I— :— :se 1 1 :- :t

m*r*- ^^-rt- ?3z

II:-U :s Ife If :- :-

I n

|#^4hU g^%¥&-• P~= ^—*~

:n If :— :n I re :— :— I r :— :— I d :— :r

$ *mw* :1 II :b

Ise :— t s :— :—

1 1 :— :s

i ^m<i

: :d' It :— :—1 1 :— :—

I n :- :—I f

P T3 . [?,«

:— :re In :— :re In :— :—I d1 :— :ta II{\n

$ 1=t =P

IIf :— :— I s :-- :f

In :—

$

:—|f :— :—|—:— :n |n :— :—

|

3 "C^

i

(|r:-:-|n :*-:r |d :de r-

a -i~i*j~ ai 3* 1a ta :— :1 I s :— 1 1 :— :s If :— :1 HI :-:-!

24No. 24


f sempre.

nr-*—^j.—&-

:d.,d|r :t, |d — In :n .,n|f ;r .n}

pm *bJ=j=s3^=i -*=isMz

WmI

se :— |1 :— |— :s |f :f.,f|s :f \n :naJ.

-J—=E3f

4= *M=A^=tZ

f :n .r |n :— If :s |1 :£ In :r |d

m^^I— :fe |s :1

-e£ oIt, :— |d :—

inp^p 23Z

ir :d |t, :d

|s

5^ -fq—-i= i

||t, :r |— :n_;f |f :n .r |n

For the practice of dotted notes, and accent generally.


No. 25.

:t, I I, :s, :f, I n, .,n,:r,

IE5E5S m•f—p-

|1 n

1:fe, :1, :bi :se, }

? r*-

Tf- *'

lld :- It,

PI:n,

J

r a . 3 -

11 s, :1| :fe, I s. :t| .,tj r : : I

$ 1r fPp ——H

{II, :— :re,|r, :— :n,

|f , :— iivr.j pi, :— :—

;t=F=F^3*d=K:

||f, :— :fe,

J

se, :— :s,|

1, :— is^filn, :— :—

{£=*- J^EEE^EJEEB M=Et

- :d — :t, :dI

1 ' :t, :— I d :— :—

2.6 FIFTY THREE-PART STUDIES

No. 26.

feE =£

:se.:n :d 1, :n

Z3Z -ni- *

m— :de

q=

li: :n I- :1.

ife i-rlrZ&Z

i

- :d - :t(:- I

ws,|]t,

-o-

:— !d

zeizfc 3=

||se, :— jk! :— ] s, :r j n

For firmness in the attack of each separate part.


No. 27. =7_

22=

27

1DoA is Al?.

^„r :d .,t,

1 1,

»/-

:t,J

q—p»--a-t-*=&

II

PSgS

:r .,d :t, .,1,

}

ll<:li ,s, |f,

I&E ^ 5^=^

PSe

I- :1, :- :se.

geil

:f, :— In, :-I

1'

y^—n± 22=

— :— :re

i&ffiS

ip^i

n 1 '

HII

1'

:li :fj

-e»-

in, :—

:li Is,

I— :d

I— :"j

=£2=

1


No. 28.

*S ,,„i wDoh is AP.d :r Is, :si ifl

^5

|

rii :t,J.

^S^ ^-rd-

{|si :1, It, :d 1 1, :— I s, :— Is,

|#^ r H ^-K^i*==*w ^/In, :f t )— :ri| In :r Id :t, Id :s, I

$fr&

=**=

1, :— I Si :— I n,

fegg it 3dz j^r £.se,:l, .t, 1,

i fet S3p"

{|m :—| fe, :—

Is, .t, :d .r :d.

}

iM mEg=E ^ £3E

iz*z

{|.l,:t,.d|— :t,.

|1, :1,

|s, :s,

j1, :s,

|s, :—

$£ES I3^^

Ife. :- f. |fi :n, If, :f, If, :n

,

^^^^^g^^^^||

.d:r.n|— :r.|

fle :r1 1, :d |d :t, |d :—

For the practice of the fortissimo with special accents.


No. 29.

29

i£MN& o P>-=t

Doh is E.I n „f:s :1 I s :— :f :d :- \

fmf. -*~<B»-

Id .,r:n r :- :1,

i*itapepe :^ffi*—

*

--©-Id :-

73-:- Id :s .f :n .r I

^=tP=t m* at®:Tl ^J

{P

i*&=

I

d .r :n .f :s

^ 3^-<=i *-»

ii«l

(I

s.b :se .n I n :d ,t,

}

S» d # -*—»-

:t, :- ti :t, .se, 1 1) .t, :d .r :n [

**tep€ii

1 :s :— I s :— :—

4*1pmm], .t| :d .r :n .rid :— r—

^+d-^J=^|| d .r :n .f :s .f |n :— :—

This must be taken smoothly, and care must be taken not to hurry

the crotchets during the crescendo at the end.c

3° FIFTY THREE-PART STUDIES

No. 30.

jjife =F S *=»

|t, :— Id :— |t, :1, I se, :— |-

Lah is E. -DoA »s G.Id :n |r :d I d :

t*f^ ^2= 3=3=3=5= Z2T

II'I n :— |- |f :— I— :— I

— :— |n :r}

EE& =1=1=TIE2Z

||:d |t, :l,|se,:-|- :- 1 1, :n |r :d|t, :-|-:-}

$=£P ri-

ll1, :-|l, :-|s, :— |d :-

11, :- |1, :-

11, :- In ;-

j.

pz=fc x

s, :— fe.I de :— |re • Sl • -T_ i t, •

—

fe= 3 *J ^MB^ -4si"

rdr

{|1, :— It, :— |t, :— If :-|n :- |re :— |n :- |r :-j.

-^^~


**=dmd$gIZ=!z

n :— |t :— Id :— |r :— I d :— |t, de

1t* mzziz

||d :- |t, :- |1, :-|ta,:-|l, :- |se, :-|l, :- 1—

:

ti^t ^m

{[m :— I-:— |f : I— :—j

— :— |— :n |n :— |-

For the practice of due contrast in phrasing.

No. 31.

*m=jfcfeim m=¥-^*=&Doh is D.

11 pi :— :1 Is :n :r I d .r :n :fe s.f:n :1:1

}

i ^ ^-* ' —"T—^ 1 1—*1 r

I d ,,n:s :f I n .,d:t| :s :n I re :n :d I

gs 3=3= s'-^^^I

d .,n:s :t, I n .r :d ti :s :n}

ifc#=

qj T3^=^z£^ Gi-

lt, :d s :— :d |-.t,:d :— I r .t,:d :—

p^=i-n?xf*=ggm:s :f In .r :d :ta 1 1 .s :s :1 I s

ifc£r=?f|;

^II

s .f :n :— It, :n If :n :f I f .r :n


„ No. 32.

I*i*& ig£ ret ^=*5

Lai is Fit Dok is A.I :

T|d :- |r :d I— :t,

|n, :— |se, :—

\

ilfeA S 3=i=m£jrJ—jE *

«A{|

d :t, |d :ta,11, :— |n, :— |d :r |d :t,

}

^^^=^ m wli :se

t Hi :s, I f(

:fe, Ise, :— 1, :— hi :—J

*£ £i3=£

^ •

up^I d :t, |1, :— I li :s, |se, :— I

^^"W=* 'v •«

iJ*fc

1, :b, |se, :-*11, :s, |f, :— |— :n, |n, :—

J.

feg= fJH^^¥#{ I fe, :re. In, :r

j d :— I— :de |r :d |— :t,}

«=m*t

^=^=A—u~# =21

s, :f, |n, :— If, :n, |1, :—

{| rti :li |se t

:—|

li :se, II, :—

3^*±Ide :r |— :d It, :—


P-

No. 33.

=5q=*=$=**=^ =F==F

^||d.,r:n :f

|s :- :f n .,r:d :1,

|

— :se, :—}

3=fc

|n.,r:d :r It, :1, :f In • •r I

^ mf_^r^mpI d.,t,:l, :t,

|

se, :1, :r j t, :— :—J

i*

JF =t==t:£ zcfc:.i—ir—*—j-—^ ^r

11 1, :— :s,

|s :d :t,

j

d :r :—|n

ld.,t,:l, :t, I— :1, :se, II, :1a, :s. Id :— :-

J|l,.,t,:d :r | s, :s.f:n.r|d :- :t, |d :-

34 FIFTY THkEE-PART STUDIES

No. 34.4L

mB-s;—pi gj.

DoA is E.

.{|S :1 :s — :f :n In :r :d }

itim ^zz «* e>-

:t, :1, }

fife "O"

t, fe

P ==3&:*—j-G> rJ

t, :- :n I- .t, :n :r >

S*Me=£^ i:-

{ I r :— :r .1, :d :tIsej :-

}« 4 j-

ICfc

t,II

,r :s :f In :— :r :~\

||n.f :s .1 :- .s

|

s :-.n :f | -.n :r ,d :r .f|

n :— :—


No. 35.

ter~m J=£Ir rd^t,

}:d |— :t

Doh is D.||s :-|- n :—

Ie^sm ^^@iH*zin :r |— :1 I f in Ir :— Id :n |f :n.r

}

IfcrEilE# BE 3£=—*—i—c^||d :t, |d h- :— II :se |-

i o •

irIn :r |— :d In :r I—":— |r :de |1

ft=F^ g=» id—{]d :ta I— :1

|se :s |— :f""|n :— |3e :—

}

lEiiS 3=C

1 :f |— :n In :t, |— :— In In :-}

% 15£ -rt-

||fe :s |1 :r |r :— |— :— |r :n |f :— |

— :r |n :—

|

I£ j 1-

Id :- d:-|t, :-|-:-|d :~|-:-|

mIr :— |— :—J« :— |— :— Is :— |s :1 I s :— |-


No. 36.

i%mv-.—j:

T3- ^:d I si

:

I"Doh is A

{|d :-:-|r :— | f, :-:- |fe,:-:—

}

Mpig||

s, :—:— 11, :—:— 1 1, :—:— |d ;—:—1 1, :—:—

fe 3

|l>:-:-|.

iS^if.n, :—;— |n,

:

:— | d :—:— Ir :— :d}

$**#-

f^ 3=t

{| 8) :—:— |—:—:—

|

se,:—:— |t, :—:— 1 1, :—:— 11,

P^ ^ 1* -G>-

|t, :—:— In,

:

—:— |fi:— :ri| I r :—

:

Id :-:-}

***=za~ -&-* ZEtW^-

;

{|d :-

:-|t, :-:-|t, :-:- -II,:—8—J'

fe-ot :*3~

|r :—:-!*,:—:— I —:_:—|n,:— :—

I

#**

^=t-

{j1. :—:— |la,:—:—

|

s, :—:*-|-

tt ° s 2=t

if, :-:— |r :— :d Id


No. 37.

37

a=^zaiDoh is F.{|n: : |r : : |d: : |t,: :

11,: : |s,: : |d:-:-

^g^nStg ii J7JT?5^S *3=£

Id: : |r : : Is |r:n:r|d: : |r : : |n:-:-|-:-:-J.

&mj-^r^^yiî JN i|-j^ i j^Tf^

||d: : |t,:,: |r: : |r: :

11,: : |t,: :

|

d :- :-|t,:- :-[.

^=jrn^^^^-^^=^=^fr||d: : |ti : : |d : : |s : :

|s : : I-:-:-}

-W^JMS^tf-H^- ki*i

ivâ S

||f: : |n : :jn : : |t,:d:t,|l,: : 11,: : jg,:- :- 1- :-:-j.

^r^Jpsj js-n J7j"[7g^--jrj==£^pHJ^:

: Ise,: : 1 1,: : |r:n:r|d: : |d : : I d :-:- |t,:-:-l

$-&- ££=2=353!!3H -i-^-k^-^- r3:5ÊM:fc

|ta,: : II,:.: |i ,. ; s,. |n:-:-jf

iesS*;fr^'^f^F^H1=^:*Fj*5f-

!»f =*fgE5±g':

||r : : |n : : |d: : |d : : |d: : |t.

I: ps

je=£=££3=h 35SB; ^Ti gg*f|*:: Id:: |f: : In: :|r: : |. : :

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To be sung very lightly, but firmly, with a strong crescendo leading

up to the strong beat of bars 5 and 9. Full value must be given to the

rests throughout.


No. 38.

m-£^==t d 1-

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No. 39.j. f sempre.

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4o FIFTY THREE-PART STUDIES

No. 40.f sempre.

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No. 41.

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No. 42

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For the practice of points of imitation.


i

No. 43.p sempre.

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For the practice of dotted notes. The notes must be evenly dotted

throughout.


No. 44.

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This must be sung very smoothly throughout.


No 45.45

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No. 47.f semfire.


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No. 50

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HUMMEL.First Mass in B flatCommunion Service, dittoSecond Mass in E flatCommunion Service, dittoThird Mass in DCommunion Service, dittoAlma Virgo (Latin and English)Quod in Orbs (ditto)

W. H. HUNT.Stabat Mater

H. H. HUSS.Ave Maria (Female Voices)

F. ILIFFE.Sweet Echo

JOHN WILLIAM JACKSON.I CRIED UNTO God

W, JACKSON.The Year

D. JENKINS.David and Saul (Sol-fa, 2s.)

A. JENSEN.The Feast of Adonis

W. JOHNSON.Ecce Homo

C. WARWICK JORDAN.Blow ye the trumpet in Zion

N. KILBURN.The Silver Star (Female Voices)The Lord is my Shepherd (Psalm 23)

ALFRED KING.The. Epiphany

OLIVER KING.By the waters of Babylon (Psalm 137)

The Naiads (Female Voices)

J. KINROSS.Songs in a Vineyard (Female Voices)

Ditto, Sol-fa

H. LAHEE.The Sleeping Beauty (Female Voices)

Ditto, Sol-fa

LEONARDO LEO.Dixit Dominus

H. LESLIE.The First Christmas Morn

F. LISZT.The Legend of St. ElizabethThirteenth Psalm

C. H. LLOYD.AlcestisAndromedaHero and LeanderThe Song of BalderThe Longbeards' Saga (Male Voices)The Gleaners' Harvest (Female Voices) ..

A Song of Judgment

W. H. LONGHURST.The Village Fair

HAMISH MACCUNN.Lay of the Last Minstrel (Sol-fa, is.6d.)..

Lord Ullin's Daughter (Sol-fa, 8d.) ..

s. d.

1 6

I 6

I

1 62 6

2 6

o 6

2 6o e

G. A. MACFARREN. s. d.

Songs in a Cornfield (Female Voices) ... 2May Day ( Sol-fa, 6d.) 1 o

The Soldier's Legacy (Operetta) 6Outward Bound 1 o

A. C. MACKENZIE.The Dream of Jubal 2 5

The Story of Sayid 3 oJason 2 6

The Bride (Sol-fa, 8d.) .10The Rose of Sharon (Sol-pa, 2s.)- 5 o

Jubilee Ode 26The Cotter's Saturday Night (Sol-fa, is.; 2 oThe New Covenant ... 1 6Veni, Creator Spiritus 2 o

J. B. McEWEN.The Vision of Jacob 2 o

F. W. MARKULL.Roland's Horn (Male Voices) 2 6

F. E. MARSHALL.Prince Sprite (Female Voices) z 6

J. H. MEE.Horatius (Male Voices) 1

Delphi, a Legend of Hellas (Male Voices) i o

MENDELSSOHN.Elijah (Sol-fa, is.) 2Elijah (Pocket Edition) 1 o

As the Hart pants (Psalm 42) 1 oCome, let us sing (Psalm 95) 1 oWhen Israel out of Egypt came (Sol fa, $d.) 1 o

Not unto us, O Lord (Psalm 115) 1 o

St. Paul (Sol-fa, is.) 2 o

St. Paul (Pocket Edition) 1 o

Hymn of Praise (Lobgesang) (Sol-fa, is.) ... 1

Lord, how long wilt Thou forget me ... 1

Ditto, Sol-fa o 4Hear my prayer (s. solo and chorus) ... 1

Ditto ditto o 4

Ditto, Sol-fa o 3Lauda Sion (Praise Jehovah) (Sol-fa, gd.) ... 2The First Walpurgis Night (Sol-pa, is.) ... 1

Midsummer Night's Dream (Female Voices) i o

Athalie (Sol-fa, is.) 2 o

Antigone (Male Voices) (Sol-fa, is.) ... 4Man is Mortal (Eight Voices) 1

Festgesang (Hymns of Praise) 1 o

Ditto (Male Voices) 1 o

Christus (Sol-fa, 6d.) 1 o

Three Motets for Female Voices 1 oSon and Stranger (Operetta) 4 o

Loreley (Sol-fa, 6d.) 1

CEdipus at Colonos (Male Voices) 3 o

To the Sons of Art (Ditto) 1 oDitto, Sol-fa o 3

Judge me, O God (Psalm 43) (Sll-fa, ijd.) o 4Why rage fiercely the Heathen 6

My God, why, O why hast Thou forsakenme (Psalm 22) 6

Sing to the Lord (Psalm g8) 8

Six Anthems for the Cathedral at Berlin.For 8 voices, arranged in 4 parts ... o 8

Ave Maria (Saviour of Sinners). 8 voices i o

MEYERBEER.Ninety-first Psalm (Latin) 1 °

Ditto (English) 1 o

A. MOFFAT.A Christmas Dream (Cantata for Children) [ 6

B. MOLIQUE.


MOZART. s . d.

King Thamos i oFirst Mass (Latin and English) ... ... i oSeventh Mass in B flat i oCommunion Service in B flat, Ditto ... i 6Twelfth Mass (Latin) i o

,Ditto (Latin and English) (Sol-fa, gd.) i o

Requiem Mass , i oDitto (Latin and English) .'

i oDitto Ditto, Sol-fa ... i o

LlTANIA DE VENERABILI ALTARIS (IN E FLAT) I 6Litania de Venerabili Sacramento (in B

FLAT) I 6SPLENDENTE TE, DEUS. FlRST MOTET ... O 3O God, when Thou appearest. Ditto ... o 3Have mercy, O Lord. Second Motet ... o 3Glory, Honour, Praise. Third Motet ... o 3

E. MUNDELLA.Victory of Song (Female Voices) 1 o

DR. JOHN NAYLOR.Jeremiah 3 o

J. NESVERA.De Profundis 2 6

E. A. NUNN.Mass in C 2 o

REV. SIR FREDK. OUSELEY.The Martyrdom of St. Polycarp 2 6

R. P. PAINE.The Lord Reigneth (Psalm 93) 1 o

PALESTRINA.Missa Assumpta est Maria 2 6Missa Pap.e Marcelli 2 oMissa Bbevis 2 6Missa "O Admirabile Commercium" ... 2 6

H. W. PARKER.The Kobolds 1

Hora Novissima ,V 3 6

C. H. H. PARRY.De Profundis (Psalm 130) 3Ode on St Cecilia's Day (Sol-fa, is.) ..; 2Blest Pair of Sirens (Sol-fa, 8d.) 1

The Glories of our Blood and State ,„ 1

Prometheus Unbound 3Judith 5L'Allegro (Sol-fa, is. 6d.) 2Eton 2The Lotus-Eaters (The Choric Song) ... 2Job 2 6

DR. JOSEPH PARRY.Nebuchadnezzar (Sol-fa, is. 6d.) 3 o

B. PARSONS.The Crusader 3 6

T. M. PATTISON.May Day (Sol-fa, 6d.) 1 6The Miracles of Christ (Sol-fa, gd.) ... 2 oThe Ancient Mariner 2 6The Lay of the Last Minstrel 2 6

A. L. PEACE.St. John the Baptist 2 6

PERGOLESI.Stabat Mater (Female Voices) (Sol-fa, 6d.) 1

CIRO PINSUTI.Phantoms— Fantasmi nell* ombra 1 o

A. H. D. PRENDERGAST.The Second Advent 1 6

E. PROUT.Damon and Phintias (Male Voices) 2 6The Red Cross Knight (Sol-fa, 2s.) ... 4The Hundredth Psalm 1

Freedom , 1 oHekeward 4 oQllen Aimle (Female Voices) 2 6

PURCELL.Dido and JEneasTe Deum and Jubilate in D

J. F. H. READ.HaroldBartimeusCaractacusThe Consecration of the BannerIn the Forest (Male Voices)PsycheThe Death ofYoung Romilly (Male Voices)

J. V. ROBERTS.Jonah

W. S. ROCKSTRO.The Good Shepherd

J. L. ROECKEL.The Silver Penny (Sol-fa, gd

EDMUND ROGERS.The Forest Flower (Female Voices)

ROLAND ROGERS.Prayer and PraiseFlorabel (Female Voices)

ROMBERG.The Lay of the Bell (New Edition, trans-

lated by the Rev. J. Troutbeck, D.D.)Ditto, Sol-fa

The Transient and the Eternal (Sol-fa, 4x1.)

ROSSINI.Stabat Mater (Sol-fa, is.)

Moses in EgyptCHARLES B. RUTENBER.

Divine Love

ED. SACHS.Water Lilies

C. SAINTON-DOLBY.Florimel (Female Voices)

CAMILLE SAINT-SAENS.The Heavens declare— Cceli enarrant

(Psalm ig)

W. H. SANGSTER.Elysium

FRANK J. SAWYER.The Star in the East

H. W. SCHARTAU.Christmas Holidays

SCHUBERT.Mass in A flatCommunion Service, dittoMass in E flatCommunion Service, dittoMass in B flat ...

Communion Service, dittoMass in CCommunion Service, dittoMass in GCommunion Service, dittoMass in FCommunion Service, dittoSong of Miriam (Sol-fa 6d.) ... ..'. '",

SCHUMANN.The Minstrel's CurseThe King's Son "Mignon's Requiem " "[

Paradise and the Peri (Sol-fa, is. 6d.) ','.[

Pilgrimage of the RoseManfred „Faust ""Advent Hymn, "In Lowly Guise" ...

'..'.

New Year's Song (Sol-fa, 6d.).«

H. SCHUTZ.The Passion op our Lord ... ... ..

BERTEChoruses and

"Helena in

Summer by thb

HVexilla Regis (1

go) ...

DATE DUE

JUL 2 11 199

Mass in CCommunion SeriJoash ...

Supplication an

HKing Rene's DaThe Bride op

King Arthur (S<Ariadne (Sol-fa,

ALICThe Red King (I

The Song of thDitto, £

Ode to the NorOde to the Pass

Mass in D

A.Mass in C minor

CHAIThe Day Dream

Mass (Five SoloHymn to St. CecCalvaryFall of BabylonLast Judgment (iThe Christian's i

God, Thou art gHow lovely arenow LOVELY ARE ,

J ehovah, Lord ofJ-

J°L GAYLORD

The Crucifixion (Sol-fa, gd.) ...

St. Mary Magdalen (Sol-fa, is.)The Daughter of Jairus (Sol-fa, gd.)

C. VILLIERS STANFORD.EdenThe Voyage of Maeldune "! "."

Carmen S^eculare ".*

The Revenge (Sol-fa, gd.)God is our Hope (Psalm 46)CEdipus Rex (Male Voices)TheEumenides ... ...

*"

The Battle of the BalticMass in G majorCommunion Service in GEast to West

H. W. STEWARDSON.Gideon ...

J. STORER.The TournamentMass of our Lady of Ransom

E. C. SUCH.Narcissus and EchoGod is our Refuge (Psalm 46) ...

4

2

2

"'AN.

—XH1BITION

S. d.

3I o

I o

iper boards

JAS.

-RS.

DICES) ...

e Voices)

1 o1 6

2 6

IT.^ Voices)

CES)2 62 6

-ON.

PRINTED IN U S.A

S. WESLEY.""THHEE-SWSSuTre"

In exitu IsraelDixit Dominus

S. S. WESLEY.O Lord, Thou art my God

J. E. WEST.Seed-Time and Harvest

C. LEE WILLIAMS.The Last Night at Bethany (Sol-fa, is.)Gethsemane

A. E. WILSHIRE.God is our Hopb (Psalm 46)

THOMAS WINGHAM.Mass in DTe Deum (Latin)

CHAS. WOOD.Ode to the West Wind

J. M. W. YOUNG.The Return of Israel to Palestine

2 o2 O

3

... I 6

... 1 o

... I o

... I 6

... 1 o

... 1 o

... I o

41 o

... I

... 2 O

-20..2

2 O

..30

..16

2 6

Most of the above Works may be had in paper boards at 6d. each extra, or handsomelybound in cloth, with red or gilt edges, at is., is. 6d„ or 2s. each extra.

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fifty three-part studies within the compass of an octave for sight-singing classes (1895)

Documents

ditto solfa

rebekah solfa

callirhoe solfa

cecilia solfa

fray solfa

i othe lord

english i osecond mass

spirit i ojesus