Examples in Strict Counterpoint - Saunders, Gordon PDF

NOVELfLfO'S
No. 41.
PROGRESSIVE STUDIES
EBITE FACULTY Presented to the
TED
Faculty of Music Library
of MUSIC by
Elizabeth Templeton
THIS ( e vario us
elements ,
and to
provide s ercoming
the differ Duntered.
With thi; ps, those
in each
eacn
UNIVERSITY
reference
i
I O F TORONTO
to sumc uac
paim-mcn uuuûnj. jm,_ &i ^,acer part of
the Studies themselves have been selected from the standard
works of the most eminent Study-writers, and with these are
included numerous others, which, though of equally great practical
utility, have hitherto been less generally accessible.
I.
2.
3.
4-
6.
i!
9.
10.
II.
12.
13-
14-
!i:
17-
18.
19-
20.
31.
22.
23-
24-
25-
26.
27.
28.
29.
3-
3i-
32.
SELECTED PIANOFORTE STUDIES
PROGRESSIVELY ARRANGED
BY
FRANKLIN TAYLOR.
EDITOR'S PREFACE.
sent col ' ec tlon of Studies is designed to
rVrl ;
. , provide teachers with a short course of Pianoforte
^r^fj^^sasfafa^fSs^sSfSSS^
*" -Baiffsaa ts
z.s,'i;,ti'"i" S'.ssyflHsr
1 otMd"" que be
The Studies are grouped in two Sets, and are so
are contained maybe taken in consecutive arranged that the different Books in which thev
order, but pupils who are already further advalnced than
the elementary stage represented by Set I. commence at once with Set II* which will be found to
may
be complete in itself, and to illustrate all the essential elements
of technique
Wh ?
re studies are desired, or studies on certain which are not touched ucon
in *w
!
the larger collection, published under the title of" subjects
this series, Additional
Progressive Studies "(from which the
present examples have been selected), is of course available.
PRICE ONE SHILLING AND SIXPENCE EACH BOOK
I. SE T
OP. No. KEY.
CZERNY ... 599 18 C
... 599 33 C
LOESCHHORN 181 17 G
CZERNY ... 139 15 c
_ .. ... 39 42 D
DUVERNOY ... 61 4 A min.
FRANCESCO BERGER.
(No. 45. Novello and Company's Music Primers and Educational Series. Edited
by Sir JOHN STAINER and Dr. C. HUBERT H. PARRY.)
PRICE TWO SHILLINGS AND SIXPENCE.

In Paper Boards, Three Shillings.
" Mr. Francesco

The Daily Telegraph, March 27, says :
Berger has made a
useful and therefore valuable contribution to Messrs. Novello's Music Primers '
and Educational Series in the shape of a manual entitled First Steps at the
' '
Pianoforte.' Every point is conveyed in the simplest fashion, and every step
taken with due care and deliberation, so as to be sure of the ground gained before
going another pace ahead. Moreover, typographical devices are employed to
force essential facts upon the child's attention. I think this is, on the whole, a
very admirable book, calculated to help not only the pupil, but the teacher also."
The Sunday Times, October 13, says: "It is more practical, more systematic,
more simple for the beginner than any I have yet seen. The exercises and pieces
specially prepared are excellent, and the explanation which accompanies every
example is written in language that the youngest student may comprehend with-
out further assistance from the teacher."
The Musical " Mr. book

Times, September, says :
Berger's is distinctly the
best introduction to the pianoforte at present extant."
FOR THE PIANOFORTE

COMPOSED BY
FRANCESCO BERGER.
(These Pieces were expressly written to be used in connection with the Author's
"
Primer, FIRST STEPS AT THE PIANOFORTE."
PRICE ONE SHILLING AND SIXPENCE NET.
LONDON: NOVELLO AND COMPANY, LIMITED

AND
NOVELLO, EWER AND CO., NEW YORK.
EXAMPLES IN STRICT COUNTERPOINT
(OLD AND NEW).
NOVELLO'S
MUSIC PRIMERS AND EDUCATIONAL SERIES.
EDITED BT SIR JOHN STAINER AND SIR C. HUBERT H. PARRY.
EXAMPLES
IN
STRICT COUNTERPOINT
(OLD AND NEW)
BY
GORDON SAUNDERS
D.MUS. OXON.
IN TWO PARTS.
PART I. CONTAINING EXAMPLES IN FROM 2 4 PARTS.
PART II. CONTAINING EXAMPLES IN FROM 512 PARTS.
PART I.
PRICE THREE SHILLINGS. 1 ,50

In Paper Boards, Three Shillings and Sixpence.
LONDON : NOVELLO AND COMPANY, LIMITED

AND
NOVELLO, EWER AND CO., NEW YORK
LONDON :
JJOVELLO AND COMPANY, LIMITED

PRINTERS.
INDEX.
CHAPTER I. PAGE CHAPTER IX. PAGE
TWO-PART COUNTERPOINT. THE FOURTH SPECIES ...... 94
THE FIRST SPECIES ...... i
(3 notes to i) ...... 103
CHAPTER II.
CHAPTER X.
THE SECOND SPECIES 14

THE FIFTH SPECIES ...... 104
CHAPTER XI.
CHAPTER III.
VARIOUS COMBINATIONS ... 117
THE THIRD SPECIES
(3 notes to i) ...... 26
CHAPTER XII.
(4
-
i) ...... 29
FOUR-PART COUNTERPOINT.
(6
.
i) ...... 39
THE FIRST SPECIES ...... 139
(8 i) ...... 4
CHAPTER XIII.
CHAPTER IV.
THE SECOND SPECIES ...... 145
THE FOURTH SPECIES
(Duple Time) 43 CHAPTER XIV.
(Triple Time) 49 THE THIRD SPECIES
(3 notes to i) ... ... 152
CHAPTER V.
(4
"
i) ...... 154
THE FIFTH SPECIES
(6
"
i) ...... 161
(Duple Time) ..... 51
(Triple Time) ...... 57 CHAPTER XV.
THE FOURTH SPECIES
CHAPTER VI. (2 notes to i) ...... 163
THREE-PART COUNTERPOINT. (3
"
i) ...... 170
(4
"
i) ...... 172
THE FIRST SPECIES ...... 59
CHAPTER XVI.
CHAPTER VII. THE FIFTH SPECIES ... 172
THE SECOND SPECIES ... ... 66
CHAPTER XVII.
CHAPTER VIII. VARIOUS COMBINATIONS 178
THE THIRD SPECIES
(4 notes to i) ...... 78 APPENDIX 215
(6
" i) ...... 91 HARMONIC ANALYSIS OF A
(3
' i) ...... 92 FUGUE BY J. S. BACH ... 7.24
INTRODUCTORY.
THE object of this collection of examples is to supplement the

excellent Primer of Counterpoint,* for as it is principally from
models the art is learned they can hardly be too numerous or
too varied. of them, however, though intended for the
Many
and in his interest call for the
student's imitation, are faulty,
critical remarks offered. But if these defects be carefully
observed such examples would be among the most useful to
him. The recurrence of a blemish previously pointed out is
often purposely left to the student's own discovery.
There can be but little doubt that the rules of counterpoint
themselves are the result of a critical examination of early poly-
phonic specimens. Sir John Stainer, in reference to this point,
"
says :
Herbarth, who is quoted with commendation by
Hanslick, expresses his astonishment that musicians should still
'
cling to the belief that feelings can be the proximate cause

' '
of the rules of simple and double counterpoint. For these alone

form the groundwork of music.' Of course," continues Sir John
" the
Stainer, feelings of men first decided what was pleasur-
able in polyphony, and from the specimens of pleasurable poly-
phony were afterwards drawn the rules of counterpoint there- ;
fore it is perfectly true that feelings are the proximate cause

'
of the laws of counterpoint,' however shocking this may sound

tosome theorists. One would have thought it impossible that
any reasonable being could look upon a grammar as being the
cause of a language, instead of viewing it in its true light as
a result of a
language."^
Much to the same point Dr. Pole says " Since it is necessary
:
that learners should have some safe guide to enable them to

speak and write in accordance with the received forms, the plan
is adopted of
framing rules of grammar and syntax, which,
however, pretend to be no authority in themselves, being merely
a commentary on the examples found in the writings taken for
* "
Counterpoint," by Dr. Bridge.
" Music in its relation to the intellect and the emotions."
}
INTRODUCTORY.
models. Let then, by all means, similar rules for musical

composition be established and enforced but, at the same time,
;
let it be properly understood what they mean. Do not tell the

student that such and such combinations, such and such
progressions are dictated by an unquestionable origin in natural
necessity or natural laws, and that to violate them is a crime
against philosophy and science. Tell him, instead, that they
have been agreed to by the common consent of the best
composers, and that for him to ignore or refuse to follow them is
an offence of the same nature as it would be wilfully to write
incorrect English, or to do any other act at variance with the
ordinary practice of mankind."*
As free counterpoint is governed technically speaking by
the rules of harmony and part-writing, no examples are given ;
because the student is supposed to have

already studied
harmony, or is studying it concurrently with strict counterpoint,
and also because the best examples are to be found in the vocal
works of eminent composers with the words of the original
setting. The student having been trailed to make the best use
of limited means is the more likely to employ ample resources
with discretion. Yet, having mastered the rules, he should
beware of becoming their slave. Valuable, and practically
inexhaustible, would be found the exercise of omitting any one
or more parts even the canto fermo in any model, and
supplying in their places new parts, taking care to cover over
with a book or rule the parts to be omitted.
The compiler is much indebted to Dr. C. W. Pearce for
several examples and especially to Mr. James Higgs, B.Mus.,
;
Oxon., for much valuable time spent in examining the M.S., and
also for important suggestions which have been gladly adopted.
For the very many other original examples the author's apology
is that the necessary variety was not available from any other
source. But having freely criticized others, he, in his turn, does
not expect to get off scot free.
GREENCROFT GARDENS,
HAMPSTEAD, N.W.
"
Philosophy of Music."
NOTE TO SECOND EDITION.
THE few examples in five or more parts have been transferred

to the second part of " Examples in Strict Counterpoint," and
other, it is hoped useful, matter substituted. Also a number of
errors have been corrected.
A friendly critic* has pointed out that the term strict counter-
point should have been explained. That this omission had not
struck the writer is due, probably, to the fact that the book was
intended as a supplement to the primer, or text book. But the
writer thankfully adopts the suggestion, especially as it needs
but few words.
Firstly then counterpoint or polyphony is a combination of

:
two or more melodies, using this latter word in its widest

sense, generally, but not necessarily constructed on a given or
chosen melody, called the subject or canto fermo.
Two styles of counterpoint are recognized, namely, the

diatonic and the chromatic, or, as they are more frequently
called, strict and free. These latter terms are not quite free
from antilogy, as diatonic music is naturally freer than chro-
matic music.
By strict counterpoint is understood that which employs

:
but two diatonic harmonies, namely, a bass with its third and
fifth, or either and a bass with its third and sixth, or either ;
;
and in which all discords also are diatonic.
Scholastically there are five kinds of strict counterpoint

:
described and classed, as, the first species, second species, &c.,
&c. The first species, which have notes of equal value only in
all the parts, is the most ancient. The other four species are, in
a sense, an ornamentation, or embroidery of the first.
Strict counterpoint (like Euclid) is not studied for itself, but

for its invaluable aid in the attainment of an ultimate object.
* Mr. Cunningham Woods, M.A., Mus. B.

SIMPLE COUNTERPOINT.
CHAPTER I.
EXAMPLES OF TWO-PART COUNTERPOINT IN THE FIRST SPECJES.
"| . (Transposed from the Soprano clef.) J. J. Fux (1660 1741).
"jf
((b
-re
1
1
"
3.
o
Ci
C.F.
3. The same C.F. with a.

counterpoint in the modern minor
scale.
4.
C.F.
4. This and the following four examples have the arbitrary

(melodic) minor scale for the C.F. The harmonic form with
the augmented second is not permitted.
5. *
-c*^&
C. F. (a)
5. The implied harmony at a is a first inversion e.g., a sixth

not a fifth. The complete chord should be kept in mind.*
6. C.F.
:rizii
~a: -I .,.,.."
w-
7.
IZ2I
C.F.
8.
_U Q
jgjj8_[Jl^tq|
*
Dr. Bridge's " Counterpoint," p. 5.
FIRST SPECIES IN TWO PARTS.
C. F.
~
^.
9. This and the following three specimens exemplify the

usual way of treating subjects in the old modes. From a
modern point of view we should say that Ex. 12 begins in D
minor, modulates (a) to the relative major (F), and returns (6)
to D minor.
?-'
C. F.
12.
H C2
14.
C. F.
1 5. c. F.
rR^
17. The first twelve bars of the canto fermo being in sequence
four-bar pattern the counterpoint is also in sequence. This
is always desirable if not extended beyond two repetitions of
the pattern as in this case.
18.
C. F
-C2 <s
19. ALBRECHTSBERGER (1736 1809).
Itr^
20. ALBRECHTSBERGEK.
i^s
C. F
X* Q
22- C.F. *
24. C.F. CHERUBINI.

r.
321
& -g* rz
25. ALBRECHTSBERGER.
7T~*
26. On comparing the key signature with the final always

the tonic seen that this C.F. begins on the dominant,
it is
which accounts for the counterpoint beginning on the fifth below.
This would be wrong if the C.F. began with the keynote.
27.
s>-
C. F.
27. The C.F. having the leading note in the penultimate,

the counterpoint has, of course, the supertonic. In more than
two parts the leading note in the bass would not be good in the
final cadence, but it cannot always be avoided.
28.
1L
10 SIMPLE COUNTERPOINT.
29.
ifeiE
C. F.
.a.
^
30.
*t=
C.F.
3.
C.F.
FIRST SPECIES IN TWO PARTS. II
32.
-^
C. F.
SE?E
=^H
33.
IL
C. F.
35.
I
FIRST SPECIES IN TWO PARTS. '3
=H
^cr=3]
Mod. to
-o ^r
G.
40. F^TIS (1784 1871).

C.I?.
(a)
^=
40. The leap to the octave (b) is good ;
at a and c not good.
(Exs. 20-22.)
41. FT1S.
1
.
.0
SECOND SPECIES IN TWO PARTS.
45.
C. F.
i6 SIMPLE COUNTERPOINT.
49
c. F .
ft ^~
SECOND SPECIES IN TWO PARTS. 17
51 ALBRECHTSBEROER.
c. *
(*>
51. A larger leap than a fifth (a, b) is more graceful within

the bar. The effect is not bad here as the harmony is the same.
52. c . p.
dFfl=^=
52. This and the following four examples are made on ancient
canti fermi. An implied second inversion is seen in bar 2, but
it is well followed and again at bar 4.
;
53. *
C.F
/L rj
SECOND SPECIES IN TWO PARTS. '9
56.
s i
1Kb |
58. C.F. CHERUBIM.
EC o 1
,
ill J 1
61.
& FETIS (17841871).
m
C.F.
NV
FiTIS.
j^-^9
65. C. F.
~=^=^
Mi b
ff=rff^
I 4-
65. This and the five following examples are founded on the
harmonic minor scale.
66.
S 3
*
&E
C. F.
:&
67.IL
SECOND SPECIES IN TWO PARTS.
67. The octaves on the unaccented parts of the bar are

justified by the harmonic progression being in contrary
G
motion Although a concord the E at c is in effect a
E
E of.
passing note. This is worth some thought (see note 62).

Ancient canti fermi have occasionally the penultimate as well
as the final lengthened as at d.
68. BEETHOVEN (corrected by ALBRECHTSBERGER).

-& 5*"
. ,f P-
* 5 *
A.
f r*~
r [
'
IE
70.
f JN ,JU .J r
C.F.
^ ilst
CHAPTER III.
EXAMPLES OF THE THIRD SPECIES OF THREE NOTES TO ONE.*
THIRD SPECIES IN TWO PARTS.
71. The compass and pitch of both the C.F. and counter-
point show that the proper clefs are the tenor and alto
respectively. At a the passing note and the note to which
it passes are sounded together. This should rarely happen.
In this case it is difficult to see why this passing note was
not resolved upon F, which is so convenient and flowing. The
G A
harmonic progression at b, c is by similar motion |
G A
and the octaves are objectionable. The cadence is not
quite satisfactory (Exs. 61, 62).
3 G> f-
C.F.
f^jij
^ cJ _J rj
i ILUJ
^^ "
,/
gz
28
73. c.^
that as F (a) is not a part of an allowable chord in strict
counterpoint, it cannot, therefore, be an elemental note.
-i*^-Pri-
3o SIMPLE COUNTERPOINT.
77. Fux.
C. F.
c*
|U 1
78A. Fux.
(i),
E-^, =|
Ktf <s-
f 1
THIRD SPECIES IN TWO PARTS. 33
1tr~~
81.
C. F.
EE
81. This example is in the melodic form of the minor scale.
This ancient C.F. is very vague and difficult to work at all
satisfactorily.
82.
l^LUUJ
J^JJIJJJJ rt~ *:
C.F.
4^_J ^_
It*"
85.
r p ALBRECHTSBERGER.
-G- :Q:
;J J
r JEptolr r r rir
2 :
ffiF
89. FETIS.
C. F.
U 1
91. c
i Q \>'
93. As the diminished triad is not allowed in strict counter-

point the bar (a) must be regarded as a first inversion, and
figured | or 6.
ALBRECHTSBERGER.
THIRD SPECIES IN TWO PARTS. 4!
The first three bars of this model are in the key of F,

94.
brought about by the intrusion of Bt> in order to avoid the
asperity of a tritone in the melody, the repugnance to which is
shown even in vocal instruction books still in use; where, to
avoid a tritone in melody especially in passages founded on
the scale the seventh is frequently made minor. All teachers
of singing are well aware of the natural tendency of pupils to
make this modification unconsciously. It is more than likely
that if F (6) had not been taken by leap thus giving greater
prominence to it the B would have been left unaltered. (See
alternative notes.)
ALBRECHTSBERGER.
Saunders. Strict Counterpoint. Part I. Novello's Edition. D

42 ... SIMPLE COUNTERPOINT.
95. The rule is braved at a, where a leap of an octave is

followed by another leap in the same direction. This is
awkward and unvocal. The line over A, B (6) shows that the
former bears the harmony of the latter i.e., A is a passing note
and B an elemental note. This mode of figuring is now almost
obsolete. It is to be noted that a change of harmony is made
on the fourth beat in the bar, and that moreover a diminished
fifth is actually figured. This is allowed in free, but not in
strict counterpoint.
96.
C. F.
(a) (A)
96. There is but one chord in each bar in this example. The
student will see that the octaves (a, &), both essential notes, are
FOURTH SPECIES IN TWO PARTS. 43
separated by only one quaver, yet the progression being in

contrary motion the effect is not bad. But, as some examiners
are strict on this point, it would be better to avoid octaves or
fifths so near.
CHAPTER IV.
EXAMPLES OF TWO-PART COUNTERPOINT IN THE FOURTH SPECIES.
97. Fux.
E
C. F. Transposed from Tenor.
p-^ fH
44
99.
f J
fo &-
102A.
Vr r"j
W-
105. CHERUBINI.
C.F.
fh S
107.
EE
C. F.
f& -" <S>

IZ2I
M
log. This example being in the harmonic form of the minor

scale necessitated a break in the suspensions. Some ancient
church melodies, to mark the conclusion, have the last two
notes of longer duration possibly the germ of our modern
" Coda."
110.
C. F.
Igjlf
f3~
satisfactory. Some theorists refuse to accept this as a suitable

preparation. This mode of treatment is admitted in free
counterpoint. The exceptional cadence (d) is due to the
difficulty of finding any other.
112.
F*Hb=
Q *
1
2 1
114. This example, as well as the preceding, is founded on
the harmonic minor scale. The frequent repetition of the key
note in both counterpoints is somewhat irksome.
CHAPTER V.
EXAMPLES OF TWO-PART COUNTERPOINT IN THE FIFTH SPECIES.
115.
W=3\
Fine.
r* 1
FIFTH SPECIES IN TWO PARTS. 53
117. Tfhe counterpoint from a to c is contracted. At b the

resolution of the suspended discord is on the second and
unaccented note of the bar. But it is better when the resolu-
tion is on the third note or weak accent as is done at d. The
octaves on the weak parts of the bars i, 2 are not good in the
outer parts (Ex. 190).
11
1 '
p
Sv ALBRECHTSBERGER.
c.
C. f.
119. There is something bold, not to say "rugged," about

this specimen. The omission of the third in the bars (a, b)
produces a thinness. The octaves and fifths are strong in c, d,
and a noticeable point also is the absence of the usual
suspension at the cadence.
1
rg-f
m
121. By the irregular resolution of the suspension (a) upon a
discord, the canto fermo itself becomes the discordant note and
has to be resolved by falling (6). If instead of A
(c) a return to
C had been made, there would have been only one chord in the
bar and smoother counterpoint. If not vague, the tonality in
this example is unsettled.
12 2 F * TIS
c >.
-
12 3 FETIS.
c >.
-ftafc
-j- j
125.
C. F.,
H?
FIRST SPECIES IN THREE PARTS.
As F sharp is a passing note there is no modulation at

128.
a. This note is then a chromatic note. The preparation (6) is
not generally allowed (Ex. in). The suspension may be given
up and a minim, E, substituted for the first two crotchets.
CHAPTER VI.
EXAMPLES OF THREE-PART COUNTERPOINT IN THE FIRST SPECIES.
129. *
^ g?
!i=i
C. F.
129. The repetition or continuation of a note is not a fault in

more than two parts (Ex. 23). Formerly it was thought more
satisfactory or final to end with a mo/or third (tierce de Picardie)
(b).
130.
P
*?
*g- .
r>
ta
131.
C..F.
Fux.
(*)
132. The progression (a, b) is very harsh, and the student is

advised not to employ a common chord on the third degree of the
scale, unless both the preceding and, if possible, the succeeding
chords also have at least one note in common with it.
133. Fux.
SE
C.F.
134. Fux.
&
C.F.
134. The repetition (a, b) of the preceding two bars is bad.

For c, see No. 142.
135.,
62
138.
FIRST SPECIES IN THREE PARTS. 63
140. The doubling of the F sharp at a is not bad, but if it
had been doubled at, say, b, it would have been bad.

Because in the former case the key note is E, in the latter, for
the moment, G, in which key the F sharp is leading note.
The gap (c) between the bass and the middle part is too great.
The bass would be better an octave higher for this reason also ;
because with many voices such a low note is uncertain in

intonation. The opening bars do not define the key.
141. CHERUBINI.
'H~7
64
143.
FIRST SPECIES IN THREE PARTS.
146. FETIS.
f (c) (d)
C. J?.
m
The wide separation of the middle and upper parts
146.
(a, and the cadence (c, d) easily avoided are points not
6)
commended to the young musician for imitation.
147. *
() ()
a C. F.
fc
CHAPTER VII.
EXAMPLES OF THE SECOND SPECIES OF COUNTERPOINT IN

THREE PARTS.
ua. Fux .
IM ~n
SECOND SPECIES IN THREE PARTS.
F=
68
151.
Jf L
70
154.
f-rTnr
155.At a the A is cancelled and D substituted to avoid

similarmotion to an octave. This rule is no longer enforced
except between the outer parts. The counterpoint is better
as Beethoven had it.
C.F.
(a)
FF ^1
ALBRECHTSBERGER.
1^ 1
SECOND SPECIES IN THREE PARTS. 73
ste
158. The cawfo fermo is placed about a third too high, and
the second treble much too far away from it. The octaves and
fifths on the unaccented parts of the bar are bad (a, 6). Such
faults as these the student may easily avoid. Another error
probably a "slip" in omitting to take the minim rest into
account is, beginning with an inverted chord (Ex. 156). But
this is not uncommon.
CF.
Saunders. Strict Counterpoint. Part I. Novello's Edition.

74
160.
161.
v gz
This example is in the harmonic form of the minor scale.

162.
The leap (a) of an octave not being inside the bar is
awkward. The entry of this part might have been made in the
second bar, and thus have overcome the difficulty. The minor
seventh of the scale at b is a passing note.
163. FETIS.
C. F.
XJUU
<b
i ____^
-&r
(a)
164. The repetition a, 6 weakens the cadence.
165. FETIS.
166. FETH.
~~/L ^ '
THIRD SPECIES IN THREE PARTS.
iPil
167. The observations made on previous examples by Fux

apply also to the present example. The bass stands still (a, Z>),
and there is the same obscurity of key. For (c) the student is
referred to note y8A.
168. Fux.
"'* * *
Ill
169. Fux.
THIRD SPECIES IN THREE PARTS. Si
171 ,, ,.\ ALBRECHTSBERGEK.
J J-|
[j-r
|
82
172.
THIRD SPECIES IN THREE PARTS. 83
173. C.F. ALBRECHTSBERGER.
XL (I*
<"^>
1 74. ALBRECHTSBERGER.
/?* J J J T - ' '

:
' ' ' J -' ! ' '

175- ALBRECHTSBERGER.
ifh
176.
C. F.
178. CHERUBINI.
r i
r i
C. F.
r r . L r~rrtî~H
^^^bUt^^^B
i I
178. The third species is somewhat contracted in the bars

4-8, and the tonality is vague in the bars a, b.
179. CHERUBINI.
C.F.
i=^
(a)
^ ^
W
179. The chord is changed on the fourth crotchet (a). If

two chords are used the change should be made on the third
crotchet or on the weak accent when there are more than four
notes in the bar. The bass is stationary at b. As the subject
is not long, and of decided tonality, the modulation is un-
necessary. The octaves in bars 2, 3 are undesirable.
180. CHERUBINI.
/ ,
-mm-
Eff^gJ f J j I j j .UiJJjJ
181. The cadence is not good, the student is referred to

Exs. 61 and 62.
182. FETIS.
rrfrNrîrr
C. F.
m
Sannders. Strict Counterpoint. Part L Novello's Edition.
ft
THIRD SPECIES IN THREE PARTS. 9J
184.
rjp~f ^~1~T]
186.
O
II
Sat
221
J fJI"'
_LaJ^
*
g?
C.F.
-^r*-
THIRD SPECIES IN THREE PARTS. 93
The middle voice should have been written in alto or

187.
tenor The treble is sometimes so near the bass that there
clef.
is no room for the middle part to move freely the result is a
;
very contracted counterpoint. But there is room for a better

counterpoint than in the bars a, b, where the unisons are bad.
188. BEETHOVEN (corrected by ALBRECHTSBERGER).

C. F.
S
'
CT
{jfr-b
i_
CHAPTER IX.
EXAMPLES OF THE FOURTH SPECIES OF COUNTERPOINT IN

THREE PARTS.
189. Fux.
EG
FOURTH SPECIES IN THREE PARTS. 95
igo. Octaves by syncopation have been pronounced both

and cad respectively by different masters (bars 1-2). With
regard to consecutives resulting from suspensions (Ex. 191,
bars 9, 10), there seems to be no difference of opinion as to their
being bad. In the former, the second half being a syncopation,
is a harmony note and as such acts as a kind of "buffer"
between the consecutives. The latter, being a suspension (a
dissonant note), stands in place of the note on which it resolves.
C.F. (a)
p -jdr
m-
progression is rather solemn and impressive if somewhflt

severe. For example :
191 A.
*
II.
C. F.
c
t^
t r rO* r^
CHERUBINI.
195.
C. F.
^^F
-
p
196. The fifths in the bars a, b, c are nearly as unpleasant

as though the parts were not crossed. At a, b they are heard
between the extreme notes i.e., between the bass and treble,
and the alto and bass and in bars b, c between the treble and
;
alto.
197.
C. F.
198. The progression in bars 7, 8 is a crude one. Whether

the suspension sufficiently mollifies it is questionable.
199. Fux.
m v 1
1 r
w
C.F.
i==
m.
" A discord has

199. With regard to the bar a, Fux says :
been used instead of a concord on the unaccented part of the

bar, contrary to the common rule, which is not only allowable
in such a case, but is also looked upon as an elegance."
(English
Ed., 1791.) On a dominant pedal this discord is allowable at
the close, where it strengthens the cadence (Ex. 201).
200. Fux.
C.F.
U-J ,J I
J J
- o-
m a
200. With the object of beginning with key note and also with
syncopation, the entry of the bass is deferred till the second
bar. There is, however, no objection to beginning in the way
indicated by the small notes. The fifths, bars 5, 6, are bad.
(See remarks on Ex. 190.)
good.
^
3 ^.._ .
*P
202.
C. F.
-
j&
r s
6 5
204. BEETHOVEN (corrected by ALBRECHTSBERGER)

C.F.
-G--
^W
-f*
3E
^
205.
C. F.
$z
^F^
-& f
_Q_!
i^ 1
& 3
205. The octaves (a, 6) are undoubtedly better avoided ;
though, the harmony being the same, they are not very strong
here. The student is referred to Ex. 190.
CHAPTER X.
THE FIFTH SPECIES IN THREE PARTS.

206.
C. F.
207.
io6
208.
C.F.
4^
FIFTH SPECIES IN THREE PARTS. 107
209. As no example with the C.F. in the bass was given, it is

here added ; but treated in the harmonic form of the minor scale.
C. F.
g&f:
11
io8
211.
212.
a C.F.
Q I .
1
no
213.
JL
FIFTH SPECIES IN THREE PARTS. Ill
IL
-Q-
215. The ranfo fermo should have been placed in the tenor
clef. Unless to avoid similar motion to a perfect fifth between
the two upper parts (a) (a perfectly good progression here), it is
difficult to see why Albrechtsberger resorted to a "license."
216.
C. F.
FIFTH SPECIES IN THREE PARTS.
T s~~
&
"4 SIMPLE COUNTERPOINT.
218.
r<^H*U
C.F.
-jfctf* p '
FIFTH SPECIES IN THREE PARTS.
-p-J^-s^
r^~
VARIOUS COMBINATIONS IN THREE PARTS. 117
CHAPTER XL
THE SECOND SPECIES IN TWO OF THE PARTS.
222.
r^r
n8 SIMPLE COUNTERPOINT.
the dominant seventh viz., the seventh, the diminished fifth,

and its inversion, the augmented fourth. Sometimes a passing
note may be in concord with the note with which it is struck, yet
be very harsh against the prevailing harmony. Exs. 222a, 2226.
223. *
3
rprfr
VARIOUS COMBINATIONS IN THREE PARTS. 1 19
m
225. The two fourths by leap (a) in the same direction are
not allowed, and the change of harmony on the last crotchet is
a fault. The discord and resolution sounded together (b) and
the leap to a discord (d) are also objectionable. The two
chords (c) are not good. If the second crotchet had been G
there would have been only one chord, besides avoiding the
suspicion of a bad fifth with the previous bar.
ZZD. FETIS.
227. FETIS.
1=H 3
C.F.
()
Jj^z^LfU^J-f^^f
3
f
1 1
122
228.
m2Ei=n \
I2 4
231.
VARIOUS COMBINATIONS IN THREE PARTS. I2 5
233.
C. F.
3E
Imp. 6
4
"
(ft
t"r ^
INI II
3
234. The difficulty of finding a move is the reason for placing
a minim rest at a.
235.
C. F.
> r\r r
235. The second species is somewhat clumsy, owing (i) to the

imposed conditions of maintaining the harmonic form of the
minor scale and (2) keeping to one root in each bar.
VARIOUS COMBINATIONS IN THREE PARTS.
THE SECOND AND FIFTH SPECIES COMBINED.
236. CHERUBINI.
C. F.
'
1|C?
SL b '
rJ. JJ
y
(f)
TWO OF THE PARTS IN THE THlRD SPECIES.
239.
J-j j J J J J J r
i i
r r i
r~r^
C. JF.
fee
ff
y J~? J J
I3 SIMPLE COUNTERPOINT.
240.
i
*-r-*-=*=
J i ! i* T~r-rr
iz
C. F.
j j J j. J
THE THIRD AND FOURTH SPECIES COMBINED.
.- -^ ^-~
-G>
t-mn ^
rfi~
243. CHERUBIM.
C.F
{
245.
C.F.
p=
-P F F-
^
THE FOURTH SPECIES IN TWO OF THE PARTS.
246.
C. F.
HI
Q ^p
<gg
246. If the suspensions in bars 8-10 be removed there would

be similar motion between the outer parts to a perfect fifth.
JOL 33:
C. .F. 5 6
r/tt r^
r* i
THE FOURTH AND FIFTH SPECIES COMBINED.

249.
p -
TWO OF THE PARTS IN THE FIFTH SPECIES.

2
Ip^llll
M r3
I 38 SIMPLE COUNTERPOINT.
rt
^
C. F.
1
m
254. Excepting in the bars 9-12 this example is identical

with No. 253, but as an error occurred in copying the canto fermo
another example is given. It may interest the student to
examine the necessary alterations.
FIRST SPECIES IN FOUR PARTS.
CHAPTER XII.
THE FIRST SPECIES IN FOUR PARTS.

255. Fux.
C.F.
g?
255. The parts flow smoothly, and the chords are complete
except in the final, where the ancient practice of omitting the
third is followed but there is no sense of key till the cadence,
;
and even the usual B flat, which softens this old mode, is
absent.
256. Fux.
C.F.
(b) W CO () CO
256. As the key at a, 6 must be C, there is a common chord

on the second of the scale followed by one on the first to which
some theorists object (Ex. 191). This succession is certainly
archaic; but it is quite as good as a common chord on the fifth
of scale followed by one on the fourth, and this latter is not
I 4 SIMPLE COUNTERPOINT.
actually forbidden. The progression c, d is very bad indeed,

The similar motion to a fifth (e,f) is not bad, but it is forbidden
in strict counterpoint by some teachers, except in the final
cadence.
257. Fux.
^ <^
IIPII
c
(a)
257. student will note the introduction of the B flat in

The
this 255), and the stationary bass at the outset.
model (Ex.
For a, b see Ex. 256. Similar motion to an octave between the
outer parts (c, d) is not only allowed, but is the most satisfactory
cadence.
258. Fux.
[(D
(a) (b)
e
C. F.
MS
258. The f/zr* voices being stationary the effect is vapid
(a, 6). The doubling of the bass (6) is not forbidden, but it is
too strong. Both objections are removed by the alternative
notes.
FIRST SPECIES IN FOUR PARTS. 141
~
>C. r. ALBRBCHTSBERGER.
I42 SIMPLE COUNTERPOINT.
&-4
EH i
9
-<Q_
'
WE .^ f
C. F.
262.
w
=%
i
M
262. This is an example in the harmonic form of the minor
scale on the same subject. The progression from a diminished
to a perfect fifth (a, b), formerly inadmissible, is now allowed in
the inner parts. The leap downwards of the leading note is
quite allowable except in the cadence.
FIRST SPECIES IN FOUR PARTS. 143
CHERUBINI.
263. With a view of avoiding a further repetition of the tonic

chord (a), resort has been had to a modulation in preference to
a chord on the third of the scale, which would have led to a
stationary note (G) in the tenor for several bars, or to a 6-3 on
the dominant, which would have been harsh (Ex. 270). The
descent of the leading note in the cadence, formerly common, is
not allowed now. ;
264.
r-9- 3
144
265.
SECOND SPECIES IN FOUR PARTS. H5
CHAPTER XIII.
THE SECOND SPECIES IN FOUR PARTS.
268.
C. F.
ALBRECHTSEERGER.
C. F.
-G- ma
m
U ^
'I'fc^' j
\
rJ
1 1 J ,j
r^ i
I
j J
o
-T3-
269. The first chord is inverted frequent in Albrechtsberger's

examples. The first treble is maintained at a high pitch, and
limited to the compass of a fourth. In chorus voices this is
almost impracticable and if it were not the effect would be
;
very bad. The similar motion to an octave (a) is decidedly

bad. It is remarkable that such a bad progression should be
made by one who was very fastidious with pupils on this point
(see Ex. 267). True, the tenor is the lowest part here, and there-
fore the bass; but *.he style of writing for a tenor voice is
different from a bass voice, and the leaps of an octave (6) and
following bars are suited to a bass but not to a tenor voice.
SECOND SPECIES IN FOUR PARTS. 147
J J J |
i
(*)
C.F.
Licens-e.
270. The student advised to listen to the subject alone.

is
He key to be E minor yet it is forced
will doubtless feel the ;
to bear the harmonies of the relative major. A 6-3 on the

dominant, for the key is here G, is not usually recommended in
strict counterpoint, it being now regarded as a part of the
chord of the dominant thirteenth. Similar motion to a unison (/)
is considered to destroy the clearness of the part-writing but ;
so also would oblique motion, which is allowed (Ex. 2jia).

C. F.
Z^s
SECOND SPECIES IN FOUR PARTS. 149
!Q fi -P .Q
(d)
(<*>'
"
272. The bad relationship of the roots of the bars a, b was

referred to in Ex. 264. The bass is doubled in the first inversion
of a major triad (c') and the third omitted, which makes the
doubled bass all the more prominent. At d there are two
chords in the bar the effect of only one chord is broader.
;
273. CHERUBINI.
_^
!{ 3
C. F.
^t
m
-id <5>-
i
274. CHERUBINI.
C.F.
-gj
^
fS> -gj-
275. CHERUBINI.
w
SECOND SPECIES IN FOUR PARTS.
(*)
BE =
275. The bass E in the implied 6-4 (a) is well followed by F

(b). The tenor hasthe second species for one bar (c). This is,
as the learner knows, breaking the rule; but unless the bass
were altered, which might have been done, there was no option.
The doubling of the leading note in the cadence is a fault here
i.e., when both notes end the bar.
276. *
22:
(a) (b) (c)
C. F.
25
276. In the harmonic form of the minor scale the sequence

(a) to (/) can hardly be uniformly carried out that is to say,
preserved in all the parts. In the melodic form this can be done.
It might be said the bars b, c modulated to key of B flat. If the
third (F) is omitted (c) and the bass tripled the chord will then
assume a doubtful character.
CHAPTER XIV.
THE THIRD SPECIES IN FOUR PARTS.
C.F.
S
^
-*> P
r u. fc
îrrrirrri^rm^r
? '- f2-
^
^
3 ^
THIRD SPECIES IN FOUR PARTS. 153
278.
C. F.
-it
g3 > r^
-&^=
m
(a)
i
a r? iTJ . ~g
IB
278. The B (a) is overlapped by the tenor (6). This is

avoided by the small note but this spoils the now of the
;
melody as well as weakening the harmony in this bar. The

former is preferable. The similar motion to a unison and the ;
fifths by similar motion on the accented parts of the bar

though between tonic and dominant harmonies are held to be
faults by some writers. The latter fault is corrected by retain-
ing B in the tenor, but this is extremely harsh.
Saundera. Strict Counterpoint, run I. NoveUo's Edition. Ii
279.
C. F.
C.F.
(a)
-*-
-*
PPI
280. The leap to a discord (a) is irregular (Ex. j8a) and the
t
bars 6, c are very harsh. The student may revert to remarks,

Ex. 264.
(fcfc
C. F.
JCL.
rt
JL^
**
3& I
281. With the object of saving consecutive octaves, the second
species (6) is introduced. This brings about fifths on the-
accents (a, 6). The bar c shows an unallowable second inversion,
as the fifth of the chord (B) is the outside note in the broken
"
chord. There is also an irregularity in the " changing notes
d (see Ex. j8a).
Jf V F
C. F.
283. CHERUBIM.
(fa G>
*7
TfiIRD SPECIES IN FOUR PARTS. 159
I ^
284. The progression by similar motion from a second to a

unison isdecidedly bad (a, 6). The asperity of consecutive
fifths or other objectionable progressions are but very little
softened by crossing the parts.
285. CHERUBINI.
(a)
(6)
ra:
@ m
285. The weak points in this example are, the doubling of
the bass in the first inversion of a major triad (a), the wide
separation of the inner parts, the doubled leading note (6), and
the gap between the upper parts (c) so easily avoided.
i6o SIMPLE COUNTERPOINT.
286.
I Q
&' '
IM1
s
ALBRECHTSBERGEK.
w
h._i
"MTN*^
-<s>
n
Jh=
11.
f>
*
6
s
*^*-!**
288. The whole of the third species is instrumental rather

than vocal in character. At d a return is not made to a note
within the diminished fifth, although E would have been equally
as convenient as C sharp.
289.
rrrfrrriHr
1
1 ~t
1
1
^
C.F.
Q *
*'V
-O-S-
FOURTH SPECIES IN FOUR PARTS. i6 3
t rpr
I
f
r*
I
'
I
Ir 4
r-\
^
rr*
i
-
**1
CHAPTER XV.
THE FOURTH SPECIES IN FOUR PARTS.
290. FUX.
|-nO-
29 A'
]
_ , ,
_ ,
FOURTH SPECIES IN FOUR PARTS. i6 5
1
w
~*^ , QjrrJ* ,\ jvx /MtrJ* I IffTJ r~7"

_L
-vtjj
The sequence
^*y3î
the over-lapping a. The bars
excuses
_L
291.
6, c are 6ar0, and the voices are too wide. The doubled A (d)
is disagreeable, and the parts too dispersed (,/).
C F
' '
License.
\ \
^
(Q
Q X-J ,
3
I 1
i
( ~ Jl J III
<-^ rJ rJ I I
f
|
-<s>-
o
^
License.
fe)j
J , Jj I I
t-p i 1 1 i .
^'"' II
JL^ '[TrJ-^-iJ-
^ /^->
C. F. 6
5 4
W
**
2^3. In the bars 6, 7 a chromatic semitone occurs, which is

entirely wrong, and, in fact, a flagrant dereliction of the rule.
(Bar 5, see note 199.)
6
4 3
C. F.
FOURTH SPECIES IN FOUR PARTS.
i68
296.
FOURTH SPECIES IN FOUR PARTS. 169
:Z
m
297. The root of the chord at a is A, therefore a second
inversion of a suspended sixth and an implied 6-4, and rarely
used. It is intended as two chords, but this is not the feeling.
298.
C.F.
m *
i
2 s, C2
Ê&~\m H
5 6
i
298. This example is in the harmonic form of the minor scale.
The bass, being stationary in the first two bars, is weak.
Saimders. Strict Counterpoint. Part L Novelio's Edition. M
ALBRECHTSBERGER.
299. In the first three bars the same note is syncopated.

This gives a cramped effect. The suspension in bar a being
an inversion of a suspended fourth, and not a ninth is harsh
againstits resolution, or, rather, the octave of it, principally by
reason of its not being taken by step as well as by contrary
motion. The student will see that the alto C clef should have
been used for the voice next above the bass.
300.
m
*
gy
zrr
o '
FOURTH SPECIES IN FOUR PARTS. 171
,^ I, !
r^st
-<S
^=TwflU
- ^- - I
301. .
C. F.
$=*?
E
0=
m
û' 7
msz: P
fcf?
a iw
BE
^ <
3
301. The G (a) being the bass of a second inversion is an
unallowable suspension. The cancelled notes show the altera-
tions necessary to correct this oversight that is to say, if the
tied notes are maintained. In bars 6-8 the tenor after a leap of
a diminished fifth does not at once return to a note within the
leap as required by the rule.
172
302.
FIFTH SPECIES IN FOUR PARTS. 173
^
n-r-i
S
-a
303. The chief points for the student's notice here are the
bad octaves in the first four bars, the unallowable chromatic
note (a), the too great use of the third species, and the remark-
ably poor first treble in which the noteE is so prevalent.
^
C. F. w
304. The chief objection in this example is the restless tonality.

The tenor has a very dull, monotonous part in the last eight
bars. An interesting point is that where Cherubini used only
two quavers he placed them on the second crotchet, and that
Albrechtsberger, in the same circumstances, generally placed
them on the fourth (a). The progression of a seventh to an
octave is very bad (b, c).
FIFTH SPECIES IN FOUR PARTS. 175
M> &-
W
^ytr -m-
tt
I77O' 9iE
w
1
305. The aimless, rambling nature of the bass, its ascent

several times to the same note (a, b, c), and the high and
impracticable pitch of the first treble are the most noticeable
blemishes in this example.
306. BEETHOVEN (corrected by ALBRECHTSBERGER)

2 ^~f
^ ^
s
(c:,
C. F.
4M:
**
w IL-Jj
lETl
fei
307. CHERUBINI.
Not good.
-p^ r^
FIFTH SPECIES IN FOUR PARTS. I
77
3 |
g-
fe ^8
mi
307. The style of the fifth species is here more graceful ; but
from the bars a to b more variety is desirable.
308.
C. F. *
J
r N F.
=*=
W
s
308. In the bar a the root is above the ninth, but by contrary
motion and by degree this is allowable.
CHAPTER XVII.
THE SECOND AND THIRD SPECIES IN TWO OF THE PARTS.
309. CHERUBINI.
& 1
& m
C.F.
m
310.
w
5^
<^~
C.F.
-G>
:
-P> e- 3
COMBINATIONS IN FOUR PARTS.
r-& r
tt **
310. The alto is poor and the bass descends rather too low.
THE SECOND AND FOURTH SPECIES COMBINED.
311.
^s Sil
**
C. F. -<g^-
r-*
t>
^-e3
31 1. The alternative note would be in conformity with modern

views by giving but one chord in the bar.
l&O SIMPLE COUNTERPOINT.
THE SECOND AND FIFTH SPECIES COMBINED.
312.
C.F.
(a)
j ji
^^
^**^
I
i
f~J
r
c Pi*r .+* Q '
ffi? ^_L,TJ-IIMI
0)
s:
312. The diminished seventh in this model is twice taker, in

two steps (a, 6). This exception is often found in models.
VARIOUS COMBINATIONS IN FOUR PARTS. 181
THE THIRD AND FIFTH SPECIES COMBINED.

313.
St Ûdâ
C.F.
fr^-o-
^ ^
^
^
a
7 Q-
W:
INI
(a)
i^^=?
1 82 SIMPLE COUNTERPOINT.
313. The rule, which after the leap of an octave requires a

return by an interval not greater than a third, cannot be
observed in a full close.
THE FIFTH SPECIES IN TWO OF THE PARTS.
314. CHERUBINI.
f 1
VARIOUS COMBINATIONS IN FOUR PARTS. i8 3
THE SECOND, THIRD, AND FOURTH SPECIES COMBINED.

31 5. ALBRECHTSBERGER.
n C.F.
315. Here the faults are both glaring and numerous. At the
outset the tenor is too close to the bass, besides faults which
need no further reference. The leaps in the bars a to c are very
1
clumsy. The hidden octaves between the outer parts are such
that no musician now would tolerate. From c to h there are
two chords in each bar and at i a discord is taken by leap.
;
316.
f^r=
j&t
License. License.
2
(g)
ii ^ a
316. As the tied notes resolve on another root, they are not
really suspensions (a, b, c, d,f, g). There is an irregular leap in
the bass at /. The augmented fourth, bars 3, 4, is justified by
the sequence. The third species lacks grace and is not all vocal.
317. CHERUBINI.
3 3=
m
7 6
g
C. F.
$-rt j-
317. The worst form of the tritone is when a 5-3 on the third
of the scale is preceded by a chord of the 5-3 or 6-3 on the
fourth, as in bars 2, 3. The frequent octaves between the outer
parts, though unaccented, are not good.
318. FETIS.
l( ) !
1
318. The tenor descends too low, and the leaps in bars 6, 7
are awkward. The bars c, d, e are poor.
319. FETIS.
w
THE SECOND, THIRD, AND FIFTH SPECIES COMBINED.
320.
Q_
te,
,
^=^
J
rrri^ rirrrri^
C.F.
f ,r r ft
m
221
VARIOUS COMBINATIONS IN FOUR PARTS. l8<
321. *
5P g 1
I
I I ! Ill ^^'l
()
p
C. F. (HAYDN.)
322. This is the first of twenty-four examples of the same

combination on a canto fermo by Haydn. A minor subject was
chosen on account of the greater restrictions and difficulties,
especially in dealing with the upper half of the scale. As a
matter of principle only one chord in each bar is used. Many
oversights that occurred have "been pointed out, as the fact of
their being accidental " slips would probably increase the
utility of such examples. The second of the consecutive passing
notes (a) returns instead of continuing the same direction. But
this is impossible. On the score of discipline this is corrected,
though the cancelled notes are the better counterpoint musically.
It should be observed that the Janus-like note E is both the
root and a passing note, and the second passing note F, the
minor ninth of the root, which naturally resolves downwards to
the root. In such a case an exception to this rule should be
allowed. The octaves b, c cancelled notes show a careless
oversight.
323. *
"~
?
r
VARIOUS COMBINATIONS IN FOUR PARTS. '93
325. The overflight at a, b is the two major thirds on the leap

of a major third (called by some musicians "a cross
relation").
Tne student will see that the correction involved the alteration
of several notes.
326.
r'fJJ-_i^ r'
C.F.
\C)
i 94 SIMPLE COUNTERPOINT.
327.
3
m
3*^
C.F.
i i
m
U
328.
i g
C.F.
E
VARIOUS COMBINATIONS IN FOUR PARTS. '95
|(S
r M-
ig6
330.
r-9 )
I
j .
... O i
331. The fault that escaped notice at a was a return after

two consecutive passing notes.
332.
j-j^4J_ij^^S
C. F.
r ir J bJ^M=^
333.
()
S
3
m i
^^
/ ", ' 4s I
|*^
Tt: ^B
333. The passing note with its resolution (a) is intentional, as
the notes which are sounding together on the last crotchet are
those of the second inversion of the dominant seventh. Intent
on carrying out a sequential bass the octaves b, c crept in unseen.
334. *
g^ c.i
ifrp^
^^
^=^
-ff~i.
336.
rfH; j-
VARIOUS COMBINATIONS IN FOUR PARTS. 2OI
E
m m
f*z=
gfri
~
J
rP-*- -z3-s
r if
i
an
-^rit^M
1
m
337. As the bass had a dotted minim in three successive bars
the D (a) is cancelled and another counterpoint substituted.
338.
C. F.
fc
-o
S
7F^
2O2 SIMPLE COUNTERPOINT.
338. A return after two consecutive passing notes (a)

was
discovered after the example was finished. This is now
corrected.
339.
m s
C. F.
z? 1
.-
^ -w-
* * * *
* f- h*ii> T * J^ *I
H
y -<g-n
Hr j
I
r r
i I I I I
Hî'F-t i
t -^-^
' ' '
f ' '
i JB
340.
' '
J/
? > ^
C5
o*
-
m
340. A discord was struck against the harmony note a, the
latter moving by leap. The effect is not bad here. The
correction is harsh.
341.
& C. F,
i m*4p*
:<^:
BL.I J J J | j
jJJ^mr-rfi^^
ts^r^^r^^ffi^^^^PI
342.
-ft-C. F.-
^ & ?z S
TTrirrrriJ'JxUtj-fri^j
&
rrrririTT
Êp
348. *
d-C. F.-
^^
db
(or)
^
VARIOUS COMBINATIONS IN FOUR PARTS.
i
o
^ =n
344.
-C. F.
rr irrrnrriTir r jj r irr
(m: - r
3
" S
r*
I
1
J
r 4Ji
I
kUJ|
JJff*^ i
1
_J
1jJ
J J
I
I
j ig
*
i
JJM
g
344. The octaves (a) are too near. The mending of this
oversight necessitated alterations in the alto as well as the tenor.
2O6 SIMPLE COUNTERPOINT.
345.
c -
BTFTl^^fffW^
^fl
THE SECOND SPECIES IN THREE OF THE PARTS.

346.
CF.
(a)
^3 S
^
VARIOUS COMBINATIONS IN FOUR PARTS. 2O7
^m
3^
346. The rule which prohibits the striking of a passing

against a harmony note when the latter leaps is a good one.
But, like other rules, it has its exceptions as shown at a, where
the passing note makes with other moving notes a first inversion
of a diminished triad, and at b where it makes a passing seventh.
THE THIRD SPECIES IN THREE OF THE PARTS.
347.
.Q
&^ rrf r
aio SIMPLE COUNTERPOINT.
THE FOURTH SPECIES IN THREE OF THE PARTS.

849. *
IO -fca h
gffea-
^ Q r?,-*
g
a*
349. Unless some suspensions rise, under similar rules as in
harmony, this combination is hardly practicable.
350.
^
^ e zzzzz
1
-PHrncrrrr
C. F.
i
F
22:
i
VARIOUS COMBINATIONS IN FOUR PARTS, 211
351. CHERUBINI.
m w
E
3=F^
C. F.
E i
'7ir
r
r \v
-^
351. In bar 2 (a) the D

in the treble is in effect a passing
note doubled in the tenor by leap. Two chords in the bar are
intended, but this is not the feeling of this bar. It is the
danger of mixing up two different chords which forms the chief

objection to the suspended 5-6 and the suspended 6-5.
With
respect to b the student should revert to Ex. 314.
THE FIFTH SPECIES IN THREE OF THE FOUR PARIS.
352. C. W. PEARCE, Mus. Doc., Cantab.
feE^
f=^F
" THOMAS WRIGHT.)
C. F. (Second half of Hymn Tune Stockton," by
Ci
r r f|r r r fHLj r |f frr?
7JHr-J-j J-^j-
353. C. W. PEARCE, Mus. Doc., Cantab.
$ 1
2I 4 SIMPLE COUNTERPOINT.
THE FIFTH SPECIES IN ALL THE FOUR PARTS.
354.
nP i & \
APPENDIX.
As further illustrations of the remark made in Note 57, that

there is no essential difference between the first species of
counterpoint and harmony the subjoined quotations will doubt-
less prove interesting and instructive. The first (a) is a chant
FRANCO-
::] rj
by Franco* (of Cologne ?) who lived, probably, about the end

of the twelfth, or the beginning of the thirteenth century. It
is in the first species of counterpoint excepting in one instance
near the close, where the second species is disclosed. The pass-
ing note (E, doubtless) being a sixth is of a mild character. The
harmonies implied are of two kinds, namely, the | and the jj.
The next illustration (6) is from a remarkably good anthem
for the period, entitled " Rejoyce in the Lord," by John Redford,
who in the reign of Henry VIII. was Organist of St. Paul's
Cathedral. With the exception of the antepenultimate where
* Mensural Franco of Paris, who
song is said to have been invented by
lived at a rather earlier date than the Cologne Franco.
2l6 APPENDIX.
there is an instance of the fourth species this quotation is in

the first species, the harmonies consisting almost entirely oi
common chords.
The third illustration (c) a chant by Josquin Despres (circa
(c) i
, , JOSQUIN DESPRES.
j tj-.hjjj
frj-^JeUzg:
r r
98
^1
r i
'
1
A
EÊ
XZL_X,
~
*
\
-i P=
te-
TT IT if
1450) remarkable for the naturalness of its harmonies and its

smooth counterpoint, is alternately in the fifth and the first
species. It is entirely founded on common chords, yet there is
no crudity.
Of a much later date is the fourth illustration (J), a portion
,
( rf ) ll, PHILIPPUS DE MONTE.
, I^N
_T 7^"**^ ^^-> __
^S-
J. J. A J. j. J.
^ i
J cj
5 6 7 6
4- 544
APPENDIX. 217
of a madrigal by Philippus de Monte (1521). It contains
portions written in the first, the fifth, and the fourth species of
counterpoint. In the eighth bar is seen a very early use of a
chromatic chord. Also of a melodic diminished third. The
student will observe that the illustrations (c, d), have a har-
monic frame-work by no means hidden by ornamentation in the
way of passing-notes or suspensions even in the illustration
;
(e), though considerably elaborated,

he can easily trace the
218 APPENDIX.
However, we give in extracts (i) (2) (3) from some modern

organ music, which show some neglect in this respect :
gth
If"
Subjoined are some illustrations in support of the statement

made on Ex. 222, (/, g):
,/> CHERUBINI.
-fr 1
1 ii
APPENDIX.
But consecutive fourths with the bass is however, objected

to by most theorists and in harmony, two second inversions
:
by similar motion are bad. It is of course questionable whether

the D (h, i) is not a passing note, which would then somewhat
lessen the objection.
But Cherubini could not consistently have meant this D as a

passing note, as he would in that case be recognizing changing
notes in the upper part (i). How then does he excuse the leap
from a discord ?
Although he does not explain this, a leap from a discord is

in fact not uncommon with the old masters (j, k), and were
&c. &c.
named by them discords of anticipation, because they antici-

pated the following harmony.
The student will see in Ex. (<?), though written at such an

early date, that much care was taken in the use of passing
notes, being seldom struck against an elemental taken by leap.
A noticeable point is, that passing notes are occasionally placed
on the accent, as the A in the third bar. The leap from is G
also a noticeable feature, as also that at the cadence to a discord
by movement of a third.
In exemplication of the remarks made on Ex. 233, the following

example from Giovanni Bapte. Martini will not be without
interest to the student (Z).
MARTINI.
(0 _^7 6
t?
-&-
O O
22O APPENDIX.
II 1
APPENDIX. 221
Imp. 2
222 APPENDIX.
C.F. C.F.
r# " 1
APPENDIX. 223
The objection to the cadence (No. 4) is that it gives two

chords in the bar. Yet all theorists in a case of necessity
admit two chords in a bar. (See syncopated 5th in illustration c.)
MACFARREN.
""J J
Does not the cadential poverty of this species present a real

case of necessity ?
The leading note in the possible cadence (No. 16) is certainly

a very poor bass.
224 HARMONIC FOUNDATION OF THE FUGCE.
THE HARMONIC FOUNDATION OF THE FUGUE, NO. 24, FROM THE

'WOHLTEMPERIRTES KLAVIER," BACH. ANALYZED BY KIRNBERGER.
jp 8 9
7-7-65 ft4
6 7 !
2636.7
-t&'-$J 1
m=r-
HARMONIC FOUNDATION OF COUNTERPOINT 22 5
9
t!9 S 9 b9 -
7-7765 7
$6 7
,7
$5
3- 7 5
5-tj5# Q4 3
ft%fjL 1
226 KIRNBKRGER'S ANALYSIS.
5 t|9-
97 6564 t>9 8 7 fi6 5
77$ 436 4342 43t|7 4 $ ft
=
feE
7
977
64
5662 6
_
/ 3
6
5 |4
| 1|5 tj4 t|
!7 6
3 $ 3 6
7
76 56 $66
9
5 3
6957
/ 5 [74 t|
3
f
f=^
6 87 $9 6 6
6$6 7 7
3 7 i1 5 5 4 5 $ 4|-
i-
II
* l*!!_l\l H it T"
T *l~ I 11^*
7 8 | |
7
5
| 7
7
# 4f
777
Q9 8^9
4
8
-3 6 ##6
6
5 7
# 9-6
-^
-op
9 t)9 8 9
|9
|6 67657 657 7 7 #6 7
6 6 5 | 4 | * # 3
$#375 J |98
HARMONIC FOUNDATION OF COUNTERPOINT. 227
776
9
3
8
#4 -
* P'^^P
Novellas Original Octavo Editions of
ORATORIOS, CANTATAS, MASSES, ODES,

&c.
FRANZ ABT. s. d. A. S. BAKER. s. d.

MINSTER BELLS (FEMALE VOICES) SOL-FA, 6d. i 6 COMMUNION SERVICE IN E i 6
SPRINGTIME (DITTO) DITTO I 6
SUMMER (DITTO) DITTO I 6 J. BARNEY.
THE FAYS' FROLIC (DITTO) DITTO i 6 REBEKAH (SOL-FA, gd.) i o
THE GOLDEN CITY (DITTO) DITTO i 6 THE LORD is KING (PSALM 97) (SoL-FA, is.) ... i 6
THE SILVER CLOUD (DITTO) DITTO i 6 KING ALL GLORIOUS (SOL-FA, ijd.) o 6
THE WATER FAIRIES (DITTO) Di TTO i 6 LEONARD BARNES.
THE WISHING STONE (DITTO) DITTO i 6 THE BRIDAL DAY 2 6
H. ADAMS.
J. F. BARNETT.
J.
A DAY IN SUMMER (FEMALE VOICES) i 6
PARADISE AND THE PERI o
DITTO o 6 4
(SOL-FA) THE ANCIENT MARINER (SOL-FA, as.) 6
3
T. ADAMS. THE RAISING OF LAZARUS 6 6
THE CROSS OF CHRIST (SOL-FA, 6d.) THE WISHING BELL (FEMALE VOICES) ... 2 6
THE HOLY CHILD (SOL-FA, 6d.) DITTO DITTO (SOL-FA) ... i o
THE RAINBOW OF PEACE MARMADUKE BARTON.
B. AGUTTER. MASS IN A MAJOR (FOR ADVENT AND LENT) ... i o
MISSA DE BEATA MARIA VIRGINE, IN C
(ENGLISH) (FEMALE VOICES) 2 6 BEETHOVEN.
MISSA DE SANCTO ALBANO (ENGLISH) 3
A CALM SEA AND A PROSPEROUS VOYAGE ... o 4
THOMAS ANDERTON. CHORAL FANTASIA (SOL-FA, 3d.)
CHORAL SYMPHONY
i
2
o
6
THE NORMAN BARON DITTO 6
WRECK OF THE HESPERUS (SOL-FA, 4d.)
(VOCAL PORTION) ... i
DITTO (SOL-FA) o 6
YULE TIDE COMMUNION SERVICE IN C i 6
J. H. ANGER. ENGEDI; OR, DAVID IN THE WILDERNESS ... i o
A SONG OF THANKSGIVING MASS IN C ... ... i o
W. I. ARGENT. MASS IN D
MASS IN B FLAT (ST. BENEDICT) 2 6 MEEK, AS THOU LIVEDST, HAST THOU DEPARTED
P. ARMES. MOUNT OF OLIVES (CHORUSES, SOL-FA, 6d.) ...
HEZEKIAH 2 6
RUINS OF ATHENS (SOL-FA, 6d.)
ST. BARNABAS 2 O
THE PRAISE OF Music
ST. JOHN THE EVANGELIST A. H. BEHREND.
A. D. ARNOTT. SINGERS FROM THE SEA (FEMALE VOICES) ...
THE BALLAD OF CARMILHAN (SoL-FA, is. 6d.) 2 6 DITTO (SOL-FA)

YOUNG LOCHINVAR (SOL-FA, 6d.) 1 6 WILFRED BENDALL.
E. ASPA. A LEGEND OF BREGENZ (FEMALE VOICES) ...
ENDYMION (WITH RECITATION) 2 6 DITTO (SOL-FA)
THE GIPSIES THE LADY OF SHALOTT (FEMALE VOICES) ...
ASTORGA. DITTO (SOL-FA) i o

STABAT MATER I O SONG DANCES VOCAL SUITE) (FEMALE VOICES)
( 2 o
J. C. BACH. KAREL BENDL.

I WRESTLE AND PRAY (SOL-FA, 2d.) 4 WATER-SPRITE'S REVENGE (FEMALE VOICES) i o
J. S. BACH. SIR JULIUS BENEDICT.

A STRONGHOLD SURE (CHORUSES ONLY, PASSION Music FROM ST. PETER i 6
SOL-FA, 6dj 1 o ST.PETER o
3
BE NOT AFRAID (SOL-FA, 4d.) o 6 THE LEGEND OF ST. CECILIA (SOL-FA, is. 6d.) 2 6
BIDE WITH us o
BLESSING, GLORY, AND WISDOM 6 GEORGE J. BENNETT.
CHRISTMAS ORATORIO EASTER HYMN i o
DITTO (PARTS i & 2) SIR W. STERNDALE BENNETT.
DITTO (PARTS 3 & 4) INTERNATIONAL EXHIBITION ODE (1862) ... i o
DITTO (PARTS 5 & 6) THE MAY QUEEN (SOL-FA, 6d.) i o
GOD GOETH UP WITH SHOUTING THE WOMAN OF SAMARIA (SOL-FA, is.) ... 4 o
GOD SO LOVED THE WORLD HECTOR BERLIOZ.
GOD'S TIME IS THE BEST (SOL-FA, 6d.)
JESUS, NOW WILL WE PRAISE THEE
FAUST (CHORUSES AND WORDS OF SOLOS ONLY )
2 6
JESU, PRICELESS TREASURE (SOL-FA, 61.) (SOL-FA, IS.)
MAGNIFICAT IN D THE CHILDHOOD OF CHRIST 2 o
MASS IN B MINOR (CHORUSES ONLY, SOL-FA, as.) DITTO (CHORUSES AND
MISSA BREVIS IN A WORDS OF SOLOS ONLY, SOL-FA) o 8
MY SPIRIT WAS IN HEAVINESS G. R. BETJEMANN.
NOW SHALL THE GRACE (DOUBLE CHORUS)... THE SONG OF THE WESTERN MEN i o
DITTO (SOL-FA)
O LIGHT EVERLASTING (SOL-FA, 6d.) W. R. BEXFIELD.
SLEEPERS, WAKE (SOL-FA, 6d.) ISRAEL RESTORED 4 o
THE LORD is A SUN AND SHIELD HUGH BLAIR.
THE PASSION (ST. JOHN) BLESSED ARE THEY WHO WATCH (ADVENT) ... i 6
THE PASSION (ST. MATTHEW) HARVEST-TIDE i o
DITTO (ABRIDGED, AS USED AT ST. PAUL'S) THE SONG OF DEBORAH AND BARAK 2 6
THOU GUIDE OF ISRAEL
WHEN WILL GOD RECALL MY SPIRIT JOSIAH BOOTH.
JESUS SLEEPS, WHAT HOPE REMAINETH THE DAY OF REST (FEMALE VOICES) (SoL-FA,gd.) i 6
1/6/04.
ORATORIOS. &c. Continued.
KATE BOUNDY. s . d. HAMILTON CLARKE. s . d .
THE RIVAL FLOWERS (OPERETTA) (SoL-FA,6d.) i 6 DRUMS AND VOICES (OPERETTA) (SOL- FA, gd.) 2 O
E. M. BOYCE. HORNPIPE HARRY (OPERETTA) (SOL-FA, gd.) ... 2 6
THE LAY OF THE BROWN ROSARY i 6 PEPIN THB PIPPIN (OPERETTA) (SOL-FA, gd.) ... 2 6
THE SANDS OF CoRKih.siiE (FEMALE VOICES) i 6 THE DAISY' CHAIN (OPERETTA) (SOL-FA, gd.) 2 6
DITTO (SOL-FA) o 6 THE MISSING DUKE (OPERETTA (SOL-FA, gd.) 2 6
YOUNG LOCHINVAR i 6 GERARD F. COBB.
J. BRADFORD. A SONG OF TRAFALGAR (MEN'S VOICES ... 2 o
HARVEST CANTATA i 6
S. COLERIDGE-TAYLOR.
W. F. BRADSHAW. THE ATONEMENT 3 6
GASPAR BECERRA i 6 SCENES FROM THE SONG OF HIAWATHA 3 6
BRAHMS. DITTO DITTO (SOL-FA) 2 o
J. HIAWATHA'S WEDDING-FEAST (SOL-FA, is.) ... i 6
A SONG OF DESTINY i o
DITTO DITTO (German words.) marks 3
CHARLES BRAUN. THE DtATH OF MlNNEHAHA (SOL-FA, IS.) ... I 6
QUEEN MAB AND THE KOBOLLS (OPERETTA)... 2 o HIAWATHA'S DEPARTURE (SOL-FA, is.) 20
DITTO DITTO (SOL-FA) ... o 9 THE BLIND GIRL OF CAs>TEL-CuiLLE(ioL-FA, is.) 2 6
SIGURD 5 o MEG BLANE (SOL-FA, gd.) 2 o
THE COUNTRY MOUSF. AND THB TOWN MOUSE FREDERICK CORDER.
(FOR CHILDREN) (SoL-FA, 4d.) i o
THE SNOW QUEEN o THE BRIDAL OF TRIERMAIN (SOL-FA, is.) ... 2 6
(OPERETTA) (SOL-FA, 6d.) ... i
A. HERBERT BREWER. SIR MICHAEL COSTA.

THE DREAM i o
EMMAUS (SOL-FA, gd.) i 6
NINETY-EIGHTH PSALM i 6 H. COWARD.
O PRAISE THE LORD i o GARETH AND LINET (CHORUSES ONLY,
THE HOLY INNOCENTS (In the Press). SOL-FA, is.) a 6
BRIDGE. THE STORY OF BETHANY (SOL-FA, is. 6d.) ... 2 6
J. C.
DANIEL 3 6 F. H. COWEN.
RESURGAM i 6 A DAUGHTER OF THE SEA (FEMALE VOICES) ... 2 o
RUDEL 4 o DITTO DITTO (SOL-FA) i o
A SONG OF THANKSGIVING ... 6
J. F. BRIDGE.
i
CHRISTMAS SCENES (FEMALE VOICES) 2 o
BOADICEA 6
DITTO DITTO o
CALLIRHOE (SOL-FA, is. 6d.) 6 (SOL-FA) ... g
CORONATION ODE i 6
FORGING THE ANCHOR (SOL-FA, is.) 6
GILPIN 2 o
HYMN TO THE CREATOR JOHN (SOL-FA, is.)
MOUNT MORIAH ODE TO THE PASSIONS (SOL-FA, is.) 2
NINEVEH RUTH (SOL-FA, is. 6d.) 4 o
ST. JOHN'S EVE (SOL-FA, is. 6d.) 2 6
ROCK OF AGES (LATIN AND ENGLISH) (SOL-FA, 4d. )
SLEEPING BEAUTY (SOL-FA, is. 6d.) 2 6
THE BALLAD OF THE CLAMPHERDOWN SUMMER ON THE RIVER (FEMALE VOICES) ... 2 o
DITTO SOL-FA) (
DITTO DITTO o
THE CRADLE OF CHRIST (" STABAT MATER (SOL-FA) ... g
SPECIOSA 6 THE ROSE OF LIFE (FEMALE Vv.) (SOL-FA, gd.) 2 o
")
THB FLAG OF ENGLAND 6
THE WATER LILY 2 6
(SOL-FA, gd.) VILLAGE SCENES (FEMALE Vv (SOL-FA, gd.) ... i 6
THE FROGS AND THE Ox (FOR CHILDREN)
)
DITTO DITTO (SOL-FA) ...

J. MAUDE CRAMENT.
THE INCHCAPE ROCK I WILL MAGNIFY THEE, O GOD PSALM 145) ... ( 2 6
THE LORD'S PRAYER (SOL-FA, 6d.) LITTLE RED RIDING-HOOD (FEMALE VOICES) 2 o
THE SPIDER AND THE FLY (FtMALE VOICES) ...
W. CRESER.
DITTO DITTO (SOL-FA) O 6
EUDORA (A DRAMATIC IDYLL) 2 6
DUDLEY BUCK. W. CROTCH.
THE LIGHT OF ASIA 3 o
PALESTINE o
EDWARD BUNNETT. W. H. CUMMINGS.
3
OUT OF THE DEEP (PSALM 130) i o

THE FAIRY RING 2 6
T. A. BURTON. W. G. CUSINS.
CAPTAIN REECE (Bovs VOICES) (SOL-FA, 6d.)
1
i o
THE TRAGEDY OF COCK ROBIN (SHORT ACTION TE DEUM i 6
PIECE) (SOL-FA, 3d.) o 8 FELICIEN DAVID.
W. BYRD. THE DESERT (MALE VOICES) i 6
MASS FOR FOUR VOICES 2 6 H. WALFORD DAVIES.
CARISSIMI. HERVE RIEL ... i o
JEPHTHAH i o THE TEMPLE 4 o
THE THREE JOVIAL HUNTSMEN (FOLIO) 6
A. VON CARSE. AHN P. H. DIEMER.
... i
THE LAY OF THE BROWN ROSAKY 2 6

BETHANY o
GEORGE CARTER. M. E. DOORLY.
4
SINFONIA CANTATA (PSALM 116) 2 o

LAZARUS 2 6
WILLIAM CARTER. F. G. DOSSERT.
PLACIDA (CHORUSES ONLY, is.) 2 o
E MINOR
COMMUNION SERVICE IN 2 o
CHERUBINI. MASS IN E MINOR 3 o
FOURTH MASS IN C i o
LUCY K. DOWNING.
FIRST REQUIEM MASS, C MINOR (LAT. AND ENG. i o
SECOND MASS IN D MINOR
)
2 o
A PARABLE IN SONG 2 o
THIRD MASS (CORONATION) i o T. F. DUNHILL.
E. T. CHIPP. TUBAL CAIN i o
JOB 4 o F. DUNKT.EY.
NAOMI 2 o THE WRECK OF THE HESPERUS .10
ORATORIOS, &c. Continued.
ANTONIN DVORAK. s . a. NIELS W. GADE. 8. d.
COMMUNION SHRVICE IN D 2 6 CHRISTMAS EVE (Soi.-FA, 4d.)

MASS IN D 2 6 COMALA .
PATRIOTIC HYMN i 6 EKL-KING'S DAUGHTER (SOL-FA, gd.) i o

UlTTO (GERMAN AND BOHEMIAN WORDS) 3 O PSYCHE (SOL-FA, is. 6d.) 2 6
REQUIEM MASS 5 o SPRING'S MESSAGE (SoL-FA, 3d.) o 8
ST. LUDMILA 5 o THE CRUSADERS (SOL-FA, is.) 2 o
DITTO (GERMAN AND BOHEMIAN WORDS) 8 o ZION ... i o
STABAT MATER iSoi.-FA, is. 6d.)
DITTO ENGLISH WORDS) .(In the Press.)
2 6
HENRY GADSBY.
(
ALCESTIS (MALE VOICES) 4 o
THE SPECTRE'S BRIDE (SOL-FA, is. 6d.) ... 3 o
COLUMBUS (DITTO) 2 6
DITTO (GERMAN AND BOHEMIAN WORDS) 6 O
LORD OF THE ISLES SOL-FA, ( is. 6d.) 2 6
A. E. DYER. F. W. GALPIN.
ELECTRA OF SOPHOCLES i 6
YE OLDE ENGLYSHE PASTYMES
SALVATOR MUNDI 2 6
(FEMALE VOICES) i 6
JOHN B. DYKES. G. GARRETT.
THE LORD MY SHEPHERD
is i o
HARVEST CANTATA (SOL-FA, 6d.) i o
THESE ARE THEY (SOL-FA, zd.) o 6
THE SHUNAMMITE o
3
H. J. EDWARDS. THE Two ADVENTS i 6
PRAISE TO THE HOLIEST i 6
R. MACHILL GARTH.
THE ASCENSION 2 6
EZEKIEL
THE EPIPHANY 2 o
THE WILD HUNTSMAN
.4
i o
EDWARD ELGAR. A. R. GAUL.
THE APOSTLES (Parts I., II.) (CHORUSES AND
WORDS OF SOLOS ONLY, SOL-FA, 2s. 6d.) ... 5 o AROUND THE WINTER FIRE (FEMALE VOICES) z o
DITTO (GEKMAN WORDS) 8 Marks. DITTO DITTO (SOL-FA) o 9
CARACTACUS (CHORUSES ONLY, SOL-FA, is. 6d.) 3 6 A SONG OF LIFE (ODE TO Music) (SoL-FA, 6d.) i o
KING OLAF (CHORUSES ONLY, SOL-FA, is. 6d.) 3 o ISRAEL IN THE WILDERNESS (SoL-FA, is.) ... 2 6
TE DEUM AND BENEDICTUS, IN F i o JOAN OF Ac
(SoL-FA, is.) 2 6
THE BANNER OF ST. GEORGE (SoL-FA, is.) ... PASSION beRVlCE 2 6
THE BLACK KNIGHT RUTH SOL-FA, gd.) (CHORUSES ONLY, is.)
( ... 2 o
THE DREAM OF GERONTIUS THE ELFIN HILL (FEMALE VOICES) 2 o
(DITTO, GERMAN WORDS, 6 Marks) DITTO, (
THE HARE AND THE TORTOISE(FOR CHILDREN) i o
CHORUSts ONLY, SOL-FA) DITTO DITTO (SOL-FA) o 6
THE LIGHT OF LIFE (Lux CHRISTI) THE HOLY CITY (SOL-FA, is.) 2 6
THE LEGEND OF THE WOOD (FEMALE VOICES) i o
ROSALIND F. ELLICOTT. DITTO DITTO DITTO (SOL-FA) O 8
KLYSIUM THE PRINCE OF PEACE (SOL-FA, is.) 2 6
THE BIRTH OF SONG THE TEN VIRGINS (SOL-FA, is.) 2 6
GUSTAV ERNEST. TOILERS OF THE DEEP (FEMALE VOICES) ... 2 o
ALL THE YEAR ROUND (FEMALE VOICES) UNA (SoL-FA, is.) 2 6
(SOL-FA.gd.) UNION JACK (UNISON SONG WITH ACTIONS) ... o 6
HARRY EVANS. FR. GERNSHEIM.
THE VICTORY OF ST. GARMON (SOL-FA, gd.)... SALAMIS. A TRIUMPH SONG (MALE VOICES) i 6
A. J. EYRE. E. OUSkLEY GILBERT.
COMMUNION SERVICE IN E FLAT SANTA CLAUS AND His COMRADES (OPERETTA) 2 o
T. FACER. DITTO DITTO (SOL-FA) o 8
A MERRY CHRISTMAS (FEMALE VOICES) F. E. GLADSTONE.
(SOL-FA, 6d.) PHILIPPI 2 6
SONS OF THE EMPIRE (FEMALE VOICES)
(SOL-PA, 6d.) GLUCK.
RED RIDING-HOOD'S RECEPTION (OPERETTA) ORPHEUS (CHORUSES, SOL-FA, is.) 3 6
DITTO DITTO (SOL-FA) DITTO (ACT II. ONLY) i 6
EATON FANING. 'PERCY GODFREY.
BUTTERCUPS AND DAISIES (FEMALE VOICES) THE SONG OF THE AMAL i 6
(SOL-FA, gd.)
HENRY FARMER. HERMANN GOETZ.
BY THE WATERS OF BABYLON (PSALM 137) ... i o
MASS IN B FLAT (LATIN AND ENGLISH) NCENIA . ... I O
(SOL-FA, IS.) THE WATER-LILY (MALE VOICES) i 6
PERCY E. FLETCHER. A. M. GOODHART.
THE OLD YEAR'S VISION (OPERETTA) ARETHUSA i o
DITTO DITTO SOL-FA EARL HALDAN'S DAUGHTER i o
THE TOY KEVIEW (OPERI-.TTA) (SOL-FA, 8d.) ... SIR ANDREW BARTON i o
THE ENCHANTED ISLAND (OPERETTA) THE SPANISH ARMADA o 6
DITTO DITTO (SOL-FA) FOUNDER'S DAY, ODE i 6
J. C. FORRESTER. CH. GOUNOD.
THE KALENDAR (FEMALE VOICES) (SoL FA, gd.) COMMUNION SERVICE (MESSE SOLENNELLE)... i 6
MYLES B. FOSTER. DITTO (TROISIEME MESSE SOLENNELLE) 2 6
SNOW FAIRIES (FEMALE VOICES) (SoL-FA, 6d.) DAUGHTERS OF JERUSALEM i o
THE ANGELS OF THE BELLS FEMALE VOICES) DE PROFUNDIS (PSALM 130) (LATIN WORDS)... i o
(
DITTO (OuT OF DARKNESS) i o
DITTO DITTO (SOL-FA) GALLIA SOL-FA, 4d.) i o
THE BONNIK FISHWIVES (FEMALE VOICES) ...
(
MESSE SOLENNELLE (ST. CECILIA) i o

DITTO DITTO (SOL-FA) MORS ET VITA (LATIN OR ENGLISH) 6 o
THE COMING OF THE KING (FEMALE VOICES) DITTO, SOL-FA (LATIN AND ENGLISH) 2 o
DITTO DITTO (SOL-FA) OUT OF DARKNESS i o
ROBERT FRANZ. O COME NEAR TO THE CROSS (STABAT MATER) O 8
PRAISE YE THE LORD (PSALM 117) REQUIEM MASS (FROM
"
MORS ET VITA") ... 26
CH. GOUNOD. continued. s . d. BASIL HARWOOD. s. d.

THE REDEMPTION (ENGLISH WORDS) 5 o INCLINA,DOMINE (PSALM 86) 3 o
DITTO (SOL-FA) 2 o F. K. HATTERSLEY.
DITTO (FRENCH WORDS) 8 4
DITTO o KING ROBERT OF SICILY 2 6
(GERMAN WORDS) 10
THE SEVEN WORDS OP OUR SAVIOUR ON THE HAYDN.
CROSS (FiLiÊ JERUSALEM) i o FIRST MASS IN B FLAT (LATIN) i o
TROISIEME MESSE SOLENNELLB 2 6 DITTO (LATIN AND ENGLISH) i o
INSAN.-E ET VAN.E CUR* (DiTTO)
C. H. GRAUN. o 4
TE DEUM 2 o SECOND MASS IN C (LATIN) i o
THE PASSION OP OUR LORD (DER TOD SIXTEENTH MASS (LATIN) i 6
JESU) TE DEUM (ENGLISH AND LATIN) i o
(CHORUSES ONLY, is.) 2 o
THE CREATION (SOL-PA, is.) 2 o
ALAN GRAY. THE CREATION. POCKET EDITION i o
ARETHUSA i 6 THE PASSION; OR, SEVEN LAST WORDS OF OUR
A SONG OF REDEMPTION i 6 SAVIOUR ON THE CROSS ... 2 o
THE LEGEND OF THE ROCK-BUOY BELL ... i o THE SEASONS 3 o
THE WIDOW OF ZAREPHATH 2 o EACH SEASON, singly (SPRING, SOL-FA, 6d.) i o
THIRD MASS (IMPERIAL) (LATIN AND ENGLISH)
J. O. GRIMM.
i o
THE SOUL'S ASPIRATION i o DITTO (LATIN) i o
G. HALFORD. BATTISON HAYNES.

THE PARACLETE 2 o A SEA DREAM (FEMALE VOICES) (SOL-FA, 6d.) i 6
E. V. HALL.
THE FAIRIES' ISLE (FEMALE VOICES) ... .16
THE SEA FAIRIES (FEMALE VOICES) (SoL-FA,6d i 6 )
IS IT NOTHING TO YOU (SOL-FA, 3d.) O 8
HANDEL. C. SWINNERTON HEAP.
FAIR ROSAMOND (SOL-FA, 2s.) (CHORUSES ONLY,
Acis AND GALATEA i o is. 6d.) 3 6
DITTO, NEWEDITION, EDITED BYJ.BARNBY o
DITTO DITTO (SOL-FA) i
i
o EDWARD HECHT.
ALCESTB 2 o ERIC THE DANE 3 o
ALEXANDER BALUS 3 o O MAY I JOIN THE CHOIR INVISIBLE I O
ALEXANDER'S FEAST 2 o GEORG HENSCHEL.
ATHALIAH 3 o OUT OP DARKNESS (PSALM 130) 2 6
BELSHAZZAR 3 o STABAT MATER 2 6
CHANDOS TE DEUM i o TE DEUM LAUDAMUS IN C
'
... i 6
CORONATION AND FUNERAL ANTHEMS. Cloth o
Or, singly :
5
HENRY HILES.
LET THY HAND BE STRENGTHENED ... O 6 THE CRUSADERS 2 6
MY HEART IS INDITING O 8 GOD IS OUR REFUGE O 6
THE KING SHALL REJOICE (SOL-FA, 3d.) ... o 6 WAR IN THE HOUSEHOLD 2 o
THE WAYS OF ZION i o
FERDINAND HILLER.
ZADOK THE PRIEST (SOL-FA, ijd.) o 3
DEBORAH 2 o A SONG OF VICTORY (SOL-FA, gd.) i o
DETTINGEN TE DEUM i o NALA AND DAMAYANTI 4 o
DIXIT DOMINUS (FROM PSALM no) i o ALL THEY THAT TRUST IN THEE O 8
ESTHER , 3 o H. E. HODSON.
HERCULES (CHORUSES ONLY, is.) 3 o THE GOLDEN LEGEND 2 o
ISRAEL IN EGYPT, EDITED BY MENDELSSOHN 2 o
ISRAEL IN EGYPT, EDITED BY V. NOVELLO. HEINRICH HOFMANN.
POCKET EDITION (SOL-FA, is.) i o CHAMPAGNERLIED (MALE VOICES) i 6
TEPHTHA 2 o CINDERELLA 4 o
JOSHUA 2 o MELUSINA ... ..20
JUDAS MACCABEUS (SOL-FA, is.) 2 o SONG OF THE NORNS (FEMALE VOICES) ... I
JUDAS MACCABEUS. POCKET EDITION ... i o
C. HOLLAND.
DITTO (CHORUSES ONLY) o 8
L'ALLEGRO (CHORUSES ONLY, is.) 2 o AFTER THE SKIRMISH i
NISI DOMINUS i o T. S. HOLLAND.

O COME LET US SING UNTO THE LORD (FlFTH KING GOLDEMAR (OPERETTA) (SOL-FA, gd.) ... 2
CHANDOS ANTHEM) i o
ODE ON DAY
ST. CECILIA'S GUSTAV i o VON HOLST.
O PRAISE THE LORD WITH ONE CONSENT THE IDEA (OPERETTA) (SOL-FA, 6d.) i
(SIXTH CHANDOS ANTHEM)

O PRAISE THE LORD, YE ANGELS (FOLIO) ... 2
i o
6
HUMMEL.
ALMA VIRGO (LATIN AND ENGLISH) o
SAMSON (SOL-FA, is.) 2 o COMMUNION SERVICE IN B FLAT ... 2
SAUL (CHORUSES ONLY, is.) 2 o DITTO IN E FLAT 2
SEMELE 3 o DITTO IN D 2
SOLOMON 2 o FIRST MASS IN B FLAT i
SUSANNA 3 o
QUOD IN ORBE (LATIN AND ENGLISH) o
THEODORA 3 o SECOND MASS IN E FLAT i
THE MESSIAH, EDITED BY V. NOVELLO THIRD MASS IN D i
(SOL-FA, IS.) 2 O
THE MESSIAH, DITTO. POCKET EDITION ... i o W. H. HUNT.
THE MESSIAH, EDITED BY W. T. BEST ... 2 o STABAT MATER 3
DITTO
DITTO
(SOL-FA) i
o
o
8
G. F. HUNTLEY.
(CHORUSES ONLY) PUSS-IN-BOOTS (OPERETTA) (SoL-FA, gd.) ... 2
DITTO EDITED BY E.PROUT(SOL-FA, is.) 2 o
VICTORIA THE BARD'S PROPHECY
OR,
THE PASSION 3 o ;
2
(SOL-FA, IS.)
THE PASSION OF CHRIST (ABRIDGED) i o
THE TRIUMPH OF TIME AND TRUTH 3 o H. H. HUSS.
UTRECHT JUBILATE i o AVE MARIA (FEMALE VOICES) i
SYDNEY HARDCASTLE.
SING A SONG OF SIXPENCE (OPERETTA) ... o 6
^
SWEET ECHO ...
F. ILIFFE.
... i
W. JACKSON. s. d. G. A. MACFARREN. Continued. s. d.

THE YEAR 2 SONGS IN A CORNFIELD (FEMALE VOICES) ... i 6
G. JACOBI. DITTO DITTO (SOL-FA) g
2 o ST. JOHN THE BAPTIST 3 o
CINDERELLA (OPERETTA) (SOL-FA, is.) DITTO CHORUSES ONLY (SOL-FA) 1 o
D. JENKINS. THE LADY OF THE LAKE 3
DAVID AND SAUL (SOL-FA, as.) 3 o DITTO CHORUSES ONLY (SOL-FA) i 6
A. JENSEN. THE SOLDIER'S LEGACY (OPERETTA) 6 o
THE FEAST OF ADONIS i o A. C. MACKENZIE.
W. JOHNSON. BETHLEHEM 5 o
DITTO ACT SEPARATELY 2 6
ECCE HOMO i o II.,
JASON 2 6
H. TESTING JONES. JUBILEE ODE i 6
KINO BULBOUS (OPERETTA) (SOL-FA, 8d.) ... 2 o THE BRIDE (SOL-FA, 8d.) 1 o
C. WARWICK JORDAN. THE COTTER'S SATURDAY NIGHT (SOL-FA, is.) 2 O
BLOW YE THE TRUMPET IN ZlON ... I O THE DREAM OF JUBAL ... 2 6
DITTO CHORUSES ONLY o
N. KILBURN. THE NEW COVENANT
(SOL-FA)... i
i 6
By THE WATERS OF BABYLON i o THE ROSE OF SHARON SOL-FA, 2s.) ( 5 o
THE LORD is MY SHEPHERD (PSALM 23) ... o 8 THE PROCESSION OF THE ARK (CHORAL SCENE) 1 6
THE SILVER STAR (FEMALE VOICES) i 6 DITTO DITTO. (SOL-FA) 9
ALFRED KING. THE STORY OF SAYID 3 o
THE EPIPHANY 3 VENI, CREATOR SPIRITUS a o
OLIVER KING. C. MACPHERSON.
BY THE WATERS OF BABYLON (PSALM 137) ... i 6 BY THE WATERS OF BABYLON (PSALM 137) ... 2 o
THE NAIADS (FEMALE VOICES) i 6 L. MANCINELLI.
THE ROMANCE OF THE ROSES 2 6 ERO E LEANDRO (OPERA) 5 o
THE SANDS o' DEE (SOL-FA, 2d.) i o
KINROSS. F. W. MARKULL.
J. ROLAND'S HORN (MALE VOICES)
VINEYARD (FEMALE VOICES) 6 2 6
SONGS IN A ... i
DITTO (SOL-FA) o 6 F. E. MARSHALL.
H. LAHEE. PRINCE SPRITE (FEMALE VOICES) 3 6
THE SLEEPING BEAUTY (FEMALE VOICES) ... i 6 CHORAL DANCES FROM DITTO 1 O
DITTO (SOL-FA)
LE JEUNE.
o 6
GEORGEC. MARTIN.
G. F. COMMUNION SERVICE IN A I
COMMUNION SERVICE IN C 2 o DITTO IN C I O
FIRST MASS IN C 2 o FESTIVAL TE DEUM IN A (SOL-FA, 2d.) 6
EDWIN H. LEMARE. J. MASSENET.
"Tis THE SPRING OF SOULS TO-DAY i o MANON 6 o
(OPERA) ...
COMMUNION SERVICE IN F 2 6
T. MASSER.
LEONARDO LEO. HARVEST CANTATA
J.
1 o
DIXIT DOMINUS i o
F. LEONI. J. H. MAUNDER.
OLIVET TO CALVARY (SOL-FA, gd.) i 6
THE GATE OF LIFE (SoL- FA, is.) 2 o
PENITENCE, PARDON, AND PEACE (SOL-FA, I 6
is.)
H. LESLIE. H. MEE.
THE FIRST CHRISTMAS MORN 2 6 J.
DELPHI, A LEGEND OF HELLAS (MALE VOICES)
F. LISZT. HORATIUS (MALE VOICES)
THE LEGEND OF ST. ELIZABETH 3 o MlSSA SOLENNIS IN B FLAT
THIRTEENTH PSALM 2 o MENDELSSOHN.
C. H. LLOYD. ANTIGONE (MALE VOICES) (SOL-FA, is.)
A HYMN OF THANKSGIVING 2 o As THE HART PANTS (PSALM 42) (SOL-FA, 6d.)...
ALCESTIS (MAiE VOICES) i 6 ATHALIE (SOL-FA, 8d.)
ANDROMEDA 3 o AVE MARIA (SAVIOUR OF SINNERS) (DOUBLE
A SONG OF JUDGMENT 2 6 CHOIR)
HERO AND LEANDER i 6 CHRISTUS (SOL-FA, 6d.)
ROSSALL ... 2 o COME, LET US SING (PSALM 95) (SOL-FA, 6d.) ...
SIR OOIE AND THE LADIE ELSIE I 6 ELIJAH SOL-FA, is.)
(
THE GLEANERS' HARVEST (FEMALE VOICES) ... i 6 ELIJAH (POCKET EDITION)
THE LONGBEARD'S SAGA (MALE VOICES) ... i 6 FESTGESANG (HYMNS OF PRAISE) (S.A.T.B.)
THE SONG OF BALDER i o DITTO (SOL-FA)
THE RIGHTEOUS LIVE FOR EVERMORE ... i 6 DITTO (MALE VOICES) (T.T.B.B.)
CLEMENT LOCKNANE. HEAR MY PRAYER (s. SOLO AND CHORUS)
DITTO DITTO
THE ELFIN QUEEN (FEMALE VOICES) i 6
DITTO (SOL-FA)
HARVEY LOHR. HYMN OF PRAISE (LOBGESANG) iSoL-FA, 6d.) ...
THE QUEEN OF SHEBA (CHORUSES ONLY, is.) ... 5 o JUDGE ME, O GOD (PSALM 43) (SOL-FA, lid.) o 4
W. H. LONGHURST. LAUDA SIGN (PRAISE JEHOVAHI (SOL-FA, gd.) ...
THE VILLAGE FAIR (FEMALE VOICES) a o LORD, HOW LONG WILT THOU (SOL-FA, 4d.) ...
i
LORELEY ( SOL-FA, 6d.)

C. EGERTON LOWE. MAN is MORTAL (EIGHT VOICES)
LITTLE BO-PEEP (OPERETTA) (SOL-FA, 4d.) ... i o MIDSUMMER NIGHT'S DREAM (FEMALE VOICES) I O
HAMISH MAcCUNN. DITTO DITTO SOL-FA) o 4
LAY OF THE LAST MINSTREL SOL-FA, is. 6d.)... 6
MY GOD, WHY, O WHY HAST THOU FORSAKEN
2
(
ME (PSALM 22) o 6
LORD ULLIN'S DAUGHTER (SoL-FA,8d.) i o
NOT UNTO us, O LORD (PSALM 115)
G. A. MACFARREN. OiDIPUS AT COLONOS (MALE VOICES)
AJAX (GREEK PLAY) 3 o ST. PAUL (SOL-FA, is.)
MAY DAY SOL-FA,
( 6d.) i o ST.PAUL (POCKET EDITION)
OUTWARD BOUND ... ... i o SING TO THE LORD (PSALM 98)
ORATORIOS, &c.- Continued.
MENDELSÔH,\. Continued. s . d. C. 11. H. PARRY. B. d.

SixANTHEMS FOR THE CATHEDRAL AT BERLIN. AGAMEMNON (GREEK PLAY) 3 o
FOR 8 VOICES. ARRANGED IN 4 PARTS ... O 8 A SONG OP DARKNESS AND LIGHT 2 o
SON AND STRANGER (OPERETTA) 4 o BLEST PAIR OF SIRENS (SoL-FA, 8d.) i o
THE FIRST WALPURGIS NIGHT SOL-PA, is.) ... ( i o DITTO (ENGLISH AND GERMAN WORDS)
THREE MOTETS FOR FEMALE VOICES i o Marks 2.50
(DITTO, SOL-FA, ijd., 2d., AND 2d. EACH.) DE PROFUNDIS (PSALM 130) 2 o
To THE SONS OF ART (MALE VOICES) i o ETON a o
DITTO (SOL-FA) INVOCATION TO Music o 3 3 6
WHEN ISRAELOUT OF EGYPT CAME (SoL- FA, gd.) JOB (CHORUSES, SOL-FA, is.)
i o 2 6
WHY RAGE FIERCELY THE HEATHEN O 6 JUDITH (CHORUSES, SOL-FA, 2s.) 5 o
R. D. METCALFE AND A. KENNEDY. KING SAUL (CHORUSES, SOL-FA, is. 6d.) ... 5 o
PRINCE FERDINAND (OPERETTA) (SoL-FA.gd)... 2 o L'ALLEGRO (SOL-FA, IS. 6d.) 2 6
MAGNIFICAT (LATIN) i 6
MEYERBEER. ODE ro Music i 6
NINETY-FIRST PSALM (LATIN) i o ODE ON ST. CECILIA'S DAY (SOL-FA, is.) ... 2 o
DITTO (ENGLISH) i o PROMETHEUS UNBOUND ... 3 o
A. MOFFAT. TE DEUM LAUDAMUS (LATIN) 2 6
THE GLORIES OF OUR BLOOD AND STATE ... i o
A CHRISTMAS DREAM (CANTATA FOR CHILDREN) i o THE LOTUS-EATERS (THE CHORIC SONG) ... 2 o
DITTO (SOL-FA) o 4 WAR AND PEACE 3 o
DITIO CHORUSES AND WORDS OF
B. MOLIQUE. SOLOS ONLY (SOL-FA) ... I 6
ABRAHAM 3 o
VOCES CLAMANTIUM (THE VOICES OF THEM
J. A. MOONIE. THAT CRY) 2 o
A WOODLAND DREAM (FEMALE VOICES) B. PARSONS.
(SOL-FA, pd.) 2 o THE CRUSADER 6
3
KlLLIECRANKlE (SOL-FA, 8d.) I 6
T. M. PATTISON.
MOZART. MAY DAY i o
COMMUNION SERVICE IN B FLAT (LATIN AND LONDON CRIES ... 2 o
ENGLISH) i 6 THE ANCIENT MARINER (CHORUSES ONLY, is.) 2 6
FIRST MASS (LATIN AND ENGLISH) i o THE LAY OF THE LAST MINSTREL (CHORUSES
GLORY, HONOUR, PRAISE. THIRD MOTET ... o 3 ONLY, is.) 2 6
HAVE MERCY, O LORD. SECOND MOTET ... o 3 THE MIRACLES OF CHRIST (SOL-FA, 6d.) ... i o
KING THAMOS i o A. L. PEACE.
LITANIA DE VENERABILI ALTARIS (IN E FLAT) i 6
LITANIA DE VENERABILI SACRAMENTO (IN B
ST. JOHN THE BAPTIST (SOL-PA, is.) 2 6
FLAT) i 6 PERGOLESI.
O GOD, WHEN THOU APPRAREST. FlRST MoTET O 3 STABAT MATER (FEMALE VOICES) (SOL-FA, 6d.) i o
DITTO DITTO (SOL-FA) o 2 GIRO PINSUTI.
REQUIEM MASS i o PHANTOMS FANTASMI NELI.' OMBRA . .10
DITTO
DITTO
(LATIN AND
DITTO
ENGLISH) o PERCY PITT.
i
(SOL-FA) ... i o HOHENLINDEN (MEN'S VOICES)

SEVENTH MASS IN B FLAT i o
SPLENDENTE TE, DEUS. FIRST MOTET ... o 3 V. W. POPHAM.
TWELFTH MASS (LATIN) i o EARLY SPMING i
DITTO (LATIN AND ENGLISH) (SOL-FA, gd.) o J. B. POWELL.

i
PANGE LINGUA (SING, MY TONGUE)

E. MUNDELLA.
VICTORY OF SONG (FEMALE VOICES) i o A. H. D. PRENDERGAST.
THE SECOND ADVENT
DR. JOHN NAYLOR. F. W. PRIEST.
JEREMIAH 3
THE CENTURION'S SERVANT
J. NESVERA C. E. PRITCHARD.
DE PROFUNDIS 2 6 KUNACEPA
E. A. NUNN. E. PROUT.
MASSING 2 o DAMON AND PHINTIAS (MALE VOICES)
FREEDOM
E. CUTHBERT NUNN. HEREWARD
THE FAIRY SLIPPER (CHILDREN'S OPERA) ... 2 o
QUEEN AIMEE (FEMALE VOICES)
DITTO DITTO (SOL-FA) o THB HUNDREDTH PSALM (SoL-FA, 4d.)
A. O'LEARY. THE RED CROSS KNIGHT (SOL-FA, 2s.)
MASS OF ST. JOHN i 6 H. PURCELL.
REV. SIR FREDK. OUSELEY. DlDO AND AENEAS
THE MARTYRDOM OF ST. POLYCARP 2 6 ODE ON ST. CECILIA'S DAY
TE DEUM AND JUBILATE IN D
R. P. PAINE. DITTO (Edited by DR. BRIDGE) (SOL-FA, 6d.)
THE LORD REIGNETH (PSALM 93) i o DITTO LATIN ARRANGEMENT BY R. R. TERRY)
(
KING ARTHUR 2
PALESTRINA. THE MASQUE IN " DIOCLESIAN" 2
COMMUNION SERVICE (MISSA PAP* MARCELLI) 2 6
LADY RAMSAY.
COMMUNION SERVICE (ASSUMPTA EST MARIA) 2 6
THE BLESSED DAMOZEI 2
MISSA ASSUMPTA EST MARIA 2 6
MISSA BUEVIS 2 6 G. RATHBONE.
MISSA "O ADMIRABILE COMMERCIUM'' ... 2 C VOGELWEID THE MlNNESINGER (CHILDREN'S
MISSA PAP* MARCELLI ... 2 o VOICES) (SoL-FA, 6d.) i
STABAT MATER i 6 F. J. READ.

H. W. PARKER. THE SONG OP HANNAH i
A WANDERER'S PSALM 2 6 J. F. H. READ.

HORA NOVISSIMA 3 fi BARTIMEUS i
LEGEND OF ST. CHRISTOPHER 5 <> CARACTACUS 2
THB KOBOLDS i 6 HAROLD 4
J. F. H. READ. Continued. s . d.
" IN
SCHUMANN. s. d.
IN THE FOREST (MALE VOICES) i o ADVENT HYMN, LOWLY GUISK"
PSYCHE (CHORUSES ONLY, 2-.) 5 o FAUST
THE CONSECRATION OF THE BANNER i 6 MANFRED
THE DEATH OF YOUNG ROMILLY i 6 MIGNON'S REQUIHM
THE HESPERUS (SOL-FA, gd.) I 6 NEW YfcAR's fcONG (SOL-FA, 6d.)...
DOUGLAS REDMAN. PARADISE AND THE PERI (SOL-FA, is.6d.) 2 6
COR UNAM, VIA UNA (FEMALE VOICES) PILGRIMAGE OF THE ROSE
REQUIEM
C. T. REYNOLDS. THE KING'S SON
CHILDHOOD OF SAMUEL (SOL-FA, is.) THE LUCK OF EDENHALL (MALE VOICES) ...
ARTHUR RICHARDS. THE MINSTREL'S CURSE

SONG OF THE NIGHT
PUNCH AND JUDY (OPERETTA) (SOL-FA, 6d.) ... 1 6
THE WAXWORK CARNIVAL (OPERETTA) 2 O H. SCHUTZ.
DITTO DITTO ( SOL-FA) o 8 THE PASSION OF OUR LORD ...
J. V. ROBERTS. BERTRAM LUARD-SELBY.

JONAH 2 o CHORUSES AND INCIDENTAL Music TO
THE PASSION I 6 "HELENA IN TROAS" 3 6
SUMMER BY THE SEA (FEMALE VOICES) I 6
W. S. ROCKSTRO. THE DUNG SWAN
THE GOOD SHEPHERD 2 6 THE WAITS OF BREMEN (FoR CHILDREN) ...
DITTO DITTO
J. L. ROECKEL.
(SOL-FA)
LITTLE SNOW-WHITE (OPERETTA) (SOL-FA, gd.) H. R. SHELLEY.
THE HOURS (OPERETTA) (SoL-FA, gd.) VEXILLA REGIS (THE ROYAL BANNERS FORWARD
THE SILVER PENNY (OPERETTA) (SOL-FA, gd.) GO) 2 6
EDMUND ROGERS. E. SILAS.
THE FOREST FLOWER (FEMALE VOICES) i 6 COMMUNION SERVICE IN C i 6
ROLAND ROGERS. JOASH
MASS IN C
FLORABEL (FEMALE VOICES) (SOL-FA, i 6
PRAYER AND PRAISE (OBLONG)
is.)
R. SLOMAN.
CONSTANTIA 2 6
F. ROLLASON. SUPPLICATION AND PRAISE 2 6
STOOD THE MOURNFUL MOTHER WEEPING
(STABAT MATER DOLOROSA) HENRY SMART.
ROMBERG. KING RENE'S DAUGHTER (FEMALE VOICES) .. 2 6
THE LAY OF THE BELL (NEW DITTO DITTO (SOL-FA)
EDITION, TRANS- THE BRIDE OF DUNKERRON (SOL-FA, is. fid.)
LATED BY THE REV. J. TROUTBECK, D.D.)
DITTO SING TO THE LORD
(SOL-FA)
THE TRANSIENT AND THE ETERNAL (SoL-FA, 4d.) J. M. SMIETON.
TB DEUM .' ARIADNE (SOL-FA, gd.)
THE HARMONY OF THE SPHERES CONNLA.
ROSSINI. KING ARTHUR (SOL-FA, is.)
MOSES IN EGYPT 6 o ALICE MARY SMITH.

STABAT MATER SOL-FA, is.)
( i o ODE TO THE NORTH-EAST WIND
CHARLES B. RUTENBER. ODE TO THE PASSIONS
DIVINE LOVE 2 6
THE RED KING (MEN'S VOICES)
THE SONG OF THE LITTLE BALTUNG (MALE Vv.)
ED. SACHS. DITTO (SOL-FA)
KING-CUPS i o E. M. SMYTH.
WATER LILIES I O MASS IN D 2 6
C. SAINTON-DOLBY. ARTHUR SOMERVELL.
FLORIMEL (FEMALE VOICES) 2 6 ELEGY i 6
CAMILLE SAINT-SAENS. KING THRUSHBEARD (OPERETTA) ... 2 o
o
THE HEAVENS DECLARE CCELI EN-ARRANT DITTO (SOL-FA) ... g
(PSALM ig) i 6 MASS IN C MINOR ..26
W. H. SANGSTER. ODE TO THE SEA (SOL-FA, is.)
PRINCESS ZARA (OPERETTA) (SOL-FA, gd.)
ELYSIUM I O THE CHARGE OF THE LIGHT BRiGADE(SoL-FA,4d.) o g
FRANK J. SAWYER. THE ENCHANTED PALACE (OPERETTA)
THE SOUL'S FORGIVENESS 1 O (SOL-FA, 8d.)
THE STAR IN THE EAST 2 6 THE FORSAKEN MERMAN i 6
C. SCHAFER. THE POWER OF SOUND (SoL-FA, is.)
OUR BEAUTIFUL WORLD (OPERETTA) 2 6

THE SEVEN LAST WORDS
H. W. SCHARTAU. R. SOMERVILLE.
CHRISTMAS HOLIDAYS (FEMALE VOICES) o 6
THE TRENTICE PILLAR OPERA)
SCHUBERT. W. H. SPEER.
COMMUNION SERVICE IN A FLAT O
THE JACKDAW OF RHEIMS
2
DITTO IN B FLAT 2 O SPOHR.
DITTO IN C CALVARY 2 6
DITTO IN E FLAT FALL OF BABYLON 3 o
DITTO IN F FROM THE DEEP I CALLED o 6
DITTO IN G GOD is MY SHEPHERD 9
MASS IN A FLAT GOD, THOU ART GREAT (SoL-FA, 6d.) 1 o
DO. IN B FLAT HOW LOVELY ARE THY DWELLINGS FAIR o 8
Do. IN C HYMN TO ST. CECILIA
DO. IN K FLAT JEHOVAH, LORD OF HOSTS o 4
Do. IN F (SOL-FA, gd ) ... LAST JUDGMENT SOL-FA, is.)
(
Do. m G MASS (FivE SOLO VOICES AND DOUBLE CHOIR)

SONG OF MIRIAM (SoL-FA, 6d.) THE CHRISTIAN'S PRAYER
8 ORATORIOS, &c. Continued.
JOHN STAINER. .. W. S. VINNING. s. d.

Si. MARY MAGDALEN SOL-FA, is.) ( 2 SONG OF THE PASSION (ST. JOHN) i 6
THE CRUCIFIXION (SOL-FA, gd.) i 6
S. P. WADDINGTON.
THE DAUGHTER OF JAIRUS SOL-FA, gd.) ... i 6
(
JOHN GILPIN (SOL-FA, 8d.)
C. VILLIERS STANFORD. WHIMLAND (OPERETTA) (SOL-FA, 8d.)
CARMEN S^CULARE i 6 R. WAGNER.
COMMUNION SERVICE IN G 2 6 HOLY SUPPER OF THE APOSTLES (MALE
EAST TO WEST i 6 VOICES)
EDEN
G(jp IS OUR HOPE (PSALM 46)
5
2
W. M. WAIT.
MASS IN G MAJOR 2 GOD WITH us 2 o
CEDIPUS REX [MALE VOICES) ST. ANDREW 2 O
THE BATTLE OF THE BALTIC ... i 6 THE GOOD SAMARITAN 2 O
THE REVENGE (SOL-FA, gd.) ... i 6 R. H. WALTHEW.
DITTO (GERMAN WORDS) marks z THE PIED PIPER OF HAMELIN
THE VOYAGE OF MAELDUNE 2 6
...
H. W. WAREING.
F. R. STATHAM. PRINCESS SNOWFLAKE (OPERETTA) (SOL-FA, 6d.)
VASCO DA GAMA ..26 THE COURT OF QUEEN SUMMERGOLD
BRUCE STEANE. (OPERETTA) (SOL-FA,
THE WRECK OF THE HESPERUS
6d.)
THE ASCENSION 2
H. W. STEWARDSON. HENRY WATSON.
GIDEON IN PRAISE OF THE DlVINE (MASONIC ODE)
4 A PSALM OF THANKSGIVING
STEFAN STOCKER. WEBER.
SONG OF THE FATES i
COMMUNION SERVICE IN E FLAT
J. STORER. IN CONSTANT ORDER (HYMN)
MASS OF OUR LADY OF RANSOM 2 JUBILEE CANTATA
THE TOURNAMENT 2 MASS IN E FLAT (LATIN AND ENGLISH)
MASS IN G (DITTO)
E. C. SUCH. PRECIOSA I O
GOD OUR REFUGE (PSALM 46)
is i THREE SEASONS I O
NARCISSUS AND ECHO (CHORUSES ONLY,
ARTHUR SULLIVAN.
is.) ... 3
T. WENDT.
ODE i 6
FESTIVAL TE DEUM SOL-FA, i
(
TE DEUM (THANKSGIVING FOR VICTORY)

is.)
... i
S. WESLEY.
DITTO DITTO (SOL-FA) o DlXIT DOMINUS I O
ODE FOR THE COLONIAL AND INDIAN EXHIBITION i EXULTATE DEO o 6
THE GOLDEN LEGEND (SOL-FA, 2s.) IN EXITU ISRAEL o 4
3
THE INCIDENTAL Music TO THE DRAMA " KING DITTO XENGI.ISH WORDS) 4
ARTHUR" i S. S. WESLEY.
O LORD, THOU ART MY GOD
T. W. SURETTE.
THE EVE OF ST. AGNES 2
FLORENCE E. WEST.
A MIDSUMMER'S DAY (OPERETTA) (SOL-FA, 6d.) i 6
W. TAYLOR. JOHN E. WEST.
ST.JOHN THE BAPTIST ... Paper boards 4 LORD, I HAVE LOVED THE HABITATION OF THY
A. GORING THOMAS. HOUSE
THE SUN-WORSHIPPERS i
MAY-DAY REVELS (SOL-FA, 4d.) (FEMALE
VOICES) 1 6
E, H. THORNE. SEED-TIME AND HARVEST (SOL-FA, is.) 2 O
BE MERCIFUL UNTO MB I THE STORY OF BETHLEHEM (SOL-FA, gd.) i 6
G. W. TORRANCE. C. LEE WILLIAMS.
THE REVELATION 5
A HARVEST SONG OF PRAISE 1 6
GETHSEMANE t o
BERTHOLD TOURS. THE LAST NIGHT AT BETHANY (SOL-FA, is.) ... 2 O
A FESTIVAL ODE i
A. E. WILSHIRE.
THE HOME OF TITANIA (FEMALE VOICES) ... i
GOD is OUR HOPE (PSALM 46)
DITTO DITTO (SOL-FA) ... o
FERRIS TOZER. THOMAS WINGHAM.
BALAAM AND BALAK
MASS IN D (REGINA CCELI) 3 o
2
KING NEPTUNE'S DAUGHTER (FEMALE VOICES)
TE DEUM (LATIN) . X 6
i
DITTO DITTO (SOL-FA) ... o CHAS. WOOD.
P. TSCHAIKOWSKY. ODE TO THE WEST WIND
NATURE AND LOVE (FEMALE VOICES) i F. C. WOODS.
DITTO (SOL-FA) o A GREYPORT LEGEND (1797) (MALE VOICES) ...
DITTO DITTO
VAN BREE. KING HAROLD (SOL-FA, gd.)
(SOL-FA)
...
ST. CECILIA'S DAY (SOL-FA, gd.) i OLD MAY-DAY (FEMALE VOICES) (SOL-FA, 6d.)
CHARLES VINCENT. E. M. WOOLLEY.
THE LITTLE MERMAID (FEMALE VOICES) ... i THE CAPTIVE SOUL (SOPRANO, MEZZO, CON-
THE VILLAGE QUEEN (FEMALE VOICES) i
TRALTO, AND TENOR SOLI, AND CHORUS
DITTO DITTO (SOL-FA) ... o FOR FEMALE VOICES) i 6
A. L. VINGOE. D. YOUNG.
THE MAGICIAN (OPERETTA) (SOL-FA, gd.) ... 2 THE BLESSED DAMOZEL ... i 6
Most of the above Works may be had in paper boards at 6d. each extra, or handsomely
bound in cloth, with red or gilt edges, at is., is. 6d., or as. each extra.
NOVELLO'S
Music Primers and Educational Series.
EDITED BY SIR JOHN STAINER AND SIR C. HUBERT H. PARRY.
s. d.
1. THE PIANOFORTE E. PAUER 2 o
2. THE RUDIMENTS OF Music W. H. CUMMINQS i o
3. THE ORGAN J.STAINER 2 o
4. THE HARMONIUM KINO HALL a o
5. SINGING A. RANDEGGER 4 o
6. SPEECH IN SONG (Singer's Pronouncing Primer) A. J. ELLIS, F.R.S. a o
7. MUSICAL FORMS E. PAUER 2 o
8. HARMONY STAINER
J. 2 o
g. COUNTERPOINT J. F. BRIDGE a o
10. FUGUE JAMES HIGGS a o
11. SCIENTIFIC BASIS OF Music W. H. STONE i o
12. DOUBLE COUNTERPOINT J. F. BRIDGE a o
13. CHURCH CHOIR TRAINING REV. J. TROUTBECK i o
14. PLAIN SONG REV. T. HELMORE a o
15. INSTRUMENTATION PROUT E. a o
16. THE ELEMENTS OF THE BEAUTIFUL IN Music PAUER E. r o
17. THE VIOLIN BERTHOLD TOURS a o
18. TONIC SOL-FA CURWEN J. i o
ig. LANCASHIRE SOL-FA .. .. JAMES GREENWOOD i o
20. COMPOSITION J. STAINER a o
21. MUSICAL TERMS .. .. STAINER AND BARRETT i o
23. THE VIOLONCELLO JULES DE SWERT 2 o
23. TWO-PART EXERCISES (sg6) .. .. JAMES GREENWOOD i o
24. DOUBLE SCALES FRANKLIN TAYLOR i o
25. MUSICAL EXPRESSION .. .. .. .. .. MATHIS LUSSY 3 o
26. SOLFEGGI (Both Notations) (or in Three Parts, is. 6d. each).. FLORENCE MARSHALL 4 o
27. ORGAN ACCOMPANIMENT J. F. BRIDGE a o
28. THE CORNET H. BRETT 2 o
ag. MUSICAL DICTATION. Parti. DR. RITTER i o
30. Do. Do. Part II DR. RITTER 2 o
31. MODULATION JAMBS HIGGS 2 o
32. DOUBLE BASS A. C. WHITE 3 o
32A. APPENDIX TO DOUBLE BASS A. C. WHITE 3 o
33. EXTEMPORIZATION F. J. SAWYER 2 o
34. ANALYSIS OF FORM, AS DISPLAYED IN BEETHOVEN'S PIANOFORTE SONATAS
H. A. HARDING 2 o
35. 500 FUGUE SUBJECTS AND ANSWERS A. W. MARCHANT 3 o
36. HAND GYMNASTICS .. .. T. RIDLEY PRENTICE i 6
37. MUSICAL ORNAMENTATION. Parti. .. .. E. DANNREUTHER 5 o
37A. Do. Do. Part II E. DANNREUTHER 5 o
38. TRANSPOSITION J. WARRINER 2 o
3g. THE ART OF TRAINING CHOIR BOYS G.C.MARTIN 3 o
3gA. Do. Do. (EXERCISES ONLY) .. .. G.C.MARTIN i o
40. BIOGRAPHICAL DICTIONARY OF MUSICIANS W. H. CUMMINGS 2 o
41. EXAMPLES IN STRICT COUNTERPOINT. Parti. .. .. GORDON SAUNDERS 3 o
4iA. Do Do. Part II. .. .. GORDON SAUNDERS 3 o
4.2. SUMMARY OF MUSICAL HISTORY .. .... C. H. H. PARRY a o
43. MUSICAL GESTURES J. F. BRIDGE 2 o
43A. RUDIMENTS IN RHYME J. F. BRIDGE o g
4.4. BASSES AND MELODIES .. RALPH DUNSTAN 2 6
45. FIRST STEPS AT THE PIANOFORTE .. .. FRANCESCO BERGER 2 6
46. A DICTIONARY OF PIANISTS AND COMPOSERS FOR THE PIANOFORTE .. E. PAUER 2 o
(.7. ORGAN PEDAL TECHNIQUE. Parti. .. B. W. HORNER ,
a o
47A. Do. Do. Part II B. W. HORNER 2 o
48. TWELVE TRIOS BY ALBRECHTSBF.RGER A. W. MARCHANT i 6
4g. FIFTY THREE- PART STUDIES (Both Notations) J. E. VERNHAM i 6
50. CHORAL SOCIETY VOCALISATION I. STAINER 2 o
SOA. Do. THE EXERCISES ADAPTED & ARRANGED FOR FEMALE VOICES A. W. MARCHANT i 6
51. TWO-PART SOLFEGGI .. .. JAMES HIGGS i o
52. HISTORY OF THE PIANOFORTE A. J. HIPKINS 2 6
53. SCALES AND ARPEGGIOS FRANKLIN TAYLOR a o
54. SONATA FORM W. H. HADOW a 6
55. A DICTIONARY OF VIOLIN MAKERS C. STAINER . . a 6
56. ANALYSIS OF BACH'S 48 PRELUDES AND FUGUES {or in Four Parts, is. each) F. ILIFFE 3 o
57. APPENDIX TO "ANALYSIS OF FORM" .. .. H. A. HARDING o 6
58. HARMONIZATION OF MELODIES J.
E. VERNHAM i o
" BRAILLE "
*5g. MUSIC-NOTATION (To enable sighted teachers to instruct the blind)
E. WATSON 7 6
60. FIVE-PART HARMONY F. E. GLADSTONE a o
61. THE VIOLA (Edited by ALFRED GIBSON) BERTHOLD TOURS a o
6a. HARMONICS AND RESULTANTS C. E. LOWE i o
63. BREATHING FOR VOICE PRODUCTION .. H. H. HULBERT a o
(To be continued.)
* Published in
paper boards only.
Any of the above may be had strongly bound in boards, price 6d. each extra, with the exception of
Nos. 5, 26, 37, 37A, and 56, which are is. each extra; and A'os. 43A, 47A, 51, and 57,
which are only published in paper covers.
LONDON: NOVELLO AND COMPANY, LIMITED.

&c.
ORATORIOS^CANTATAS,
PRICE ONE SHILLING EACH.
-
Adams, T. THE HOLY CHILD.
- THE CROSS OF CHRIST.
THE RAINBOW OF PEACE.
Dykes, J. B.
SHfcPHEKD.
THESE ARE THEY.
THE
(6d.)
LORD is MY
Anderton, T. THE NORMAN BARON. Elgar, Edward TE DEUM AND BENE-

THE WRECK OF THE HESPERUS. D1CTUS IN F.
Aspa, E. THE GIPSIES. Ellicott, Rosalind F. ELYSIUM.
Astorga STABAT MATER. Franz, Robert. PRAISE YE THE LORD
- Bach A STRONGHOLD SURE.

BIDE WITH us.
(ii7th Psalm).
Gade, Niels W.
- CHRIST LAV IN DEATH'S DARK PRISON.
CHRISTMAS OKATOI>IO. PARTS i 2.
DITTO DITTO. PARTS 34.
SPRING'S MESSAGE. (8d.)
CHRISTMAS EVE.
ZION.
THE ERL-KING'S DAUGHTER.

-
-
DITTO DITTO. PARTS 5 6.
GOD GOETH UP WITH SHOUTING. Garrett, G. HARVEST CANTATA.
-
-
GOD SO LOVED THE WORLD.
GOD'S TIME IS THE BEST.
JESU, PRICELESS TREASURE.
Garth, R. M. THE WILD HUNTSMAN.
Gaul, A. R. A SONG OF LIFE.
-
--
- JESUS, NOW WILL WE PRAISE THEE.
JESUS SLEEPS, WHAT HOPE REMAINETH. Goetz, Hermann. BY THE WATERS OP
-
-
* MAGNIFICAT.
MY
NOW
SPIRIT WAS IN HEAVINESS.
SHALL THE GRACE (Double
BABYLON.
NOINIA.
Chorus), (sd
Goodhart, A. M. ARETHUSA.
-- O LIGHT
)
EVERLASTING. KARL HALUAN'S DAUGHTER.
- PRAISE OUR GOD WHO REIGNS IN SIR ANDREW BARTON.
-
-
HhAVtN.
PRAISE IHOU THE LORD, JERUSALEM.
Gounod, Ch.
DITTO
DE PROFUNDIS(PS. 130).
(Out of Darkness.)
-
-
SING YE TO THE LOKD (Double Chorus).
SLEEPERS, WAKE.
MESSE SOLENNELLE (Latin Words).
THE SEVEN WORDS OF OUR SAVIOUR ON
-
-
THE LORD is A SUN AND SHIELD.
THOU GUIDE OF ISRAEL.
WHEN WILL GOD RECALL MY SPIRIT.
THE CROSS.
DAUGHTERS OF JERUSALEM.
GALLIA.
Barnby, J. REBEKAH. Graun. THE PASSION OF OUR LORD
Barton, M. MASS IN A. (-horuses only).
-
Beethoven
- ENGEDI.
THE CHORAL FANTASIA. Gray, Alan. THE LEGEND OF THE ROCK-
BUOY BELL.
-
-
MOUNT OF OLIVES.
MASS, IN C (Latin Words).
MASS, IN C.
Grimm, J. 0. THE SOUL'S ASPIRATION.
Hall, E. Y. IS IT NOTHING TO YOU. (8dJ
Bendl, Katel. WATER -SPRITE'S RE- Handel. Acis AND GALATEA.
VENGE (Female Voices). Acis AND GALATEA. Edited by j.
BARNBY.
Bennett, G. J. EASTER HYMN. (On the CHANDOS TE DEUM.
morn of Easter Day.)
DETTINGEN TE DEUM.
-
Bennett, W.
THE MAY QUEEN.
S. EXHIBITION ODE, 1862. DIXIT DOMINUS.
ISRAEL IN EGYPT (Pocket Edition).
JUDAS MACCAB/KUS (Ditto).
Betjemann, G. R. THE SONG OF THE
MESSIAH (Ditto).
WESTERN MEN. NISI DOMINUS.
Blair, Hugh. HARVEST-TIDE. O COME, LET US SING UNTO THE LORD.
ODE ON ST. CECILIA'S DAY.
Brahms, J. A SONG OF DESTINY. O PRAISE THE LORD.
Brewer, A. H. -O PRAISE THE LORD. THE PASSION OF CHRIST (Abridged).
-THE WAYS OF ZION.
-
Bridge, J. F.
- THE INCHCAPE ROCK.
ROCK OF AGES. - UTRECHT JUBILATE.
-
-
-
THE LORD'S PRAYER.
THE BALLAD OF 'IHE CLAMPHERDOWN.
HYMN TO THE CREATOR.
Haydn.
SPRING.
THE CREATION (Pocket Edition).
SUMMER. AUTUMN. WINTER.
FlRST MASS, IN B FLAT.
OUT OF THE DEEP (Ps. 130). FIRST MASS, IN B FLAT (Latin).
Bunnett, .
SECOND MASS, IN C (Latin).
Carissimi *JEPHTHAH. THIRD MASS (Imperial). (Latin.)
-
Cherubini
-- THIRD
REQUIEM MASS, IN C MINOR.
MASS, IN A (Coronation).
FOURTH MASS, IN C.
"THIRD MASS (Imperial).
* E DEUM.
1
Hecht, E. O MAY I JOIN THE CHOIR IN-

-
Cobb, G. F. MY SOUL TRULY WAITETH. VISIBLE.
Hiller, Dr. A SONG OF VICTORY.
Costa, M. THE DREAM. ALL THEY THAT TRUST IN THE LORD.
Davies, H. Walford HERVE KIEL. (8d.)
Dunhill, T. F. TUBAL CAIN. Hofmann, H. SONG OF THE NORNS

F. THE WRECK OF THE (Female Voices).
Dunkley,
HESPERUS. Holland, C. AFTER THE SKIRMISH.

1/10/190-
ORATORIOS, CANTATAS, &c. continued.
Hummel. FIRST MASS, IN B FLAT. Purcell. TE DEUM AND IN D.

SECOND MASS, IN E FLAT. - TEDEUM.IND. EditedJUBILATE,
by J.F. BRIDGE.
THIRD MASS, IN D. Tt DEUM, IN D (Latin).
HUSS,H.H. *AVEMAKIA (Female Voices)- Read, F. J. SONG OF HANNAH.
Iliffe, F. SWEET ECHO Read, J. F. H. IN THE FOREST (Male V.).
Jensen, A. THE FEAST OF ADONIS. Romberg. TE DEUM.
THE HARMONY OF THE SPHERES.
Jordan, C. W. BLOW YE THE TRUMPET THE LAY OF THE BELL.
IN ZlON. THE TRANSIENT AND THE ETERNAL.
Rossini. * STAB AT
MATER.
Kilburil, N. THE LORD is MY SHEPHERD.
(8d.) Sachs, Ed. KING CUPS.
BY THE WATERS OF BABYLON. WATER LILIES.
King, Oliver. THE SANDS o' DEE. Sangster, W. H. ELYSIUM.

Sawyer, F. J. THE SOUL'S FORGIVENESS.
Lemare, E. H. 'Tis THE SPRING OF
SOULS TO-DAY. Schubert. SONG OF MIRIAM.
MASS, IN A FLAT.
Leo, Leonardo. DIXIT DOMINUS. MASS, IN B FLAT.
Lloyd, C. Harford. THE SONG OF MASS, IN C.
BALDER. MASS, IN F.
MASS, IN G.
HacCunn, H. LORD ULLIN'S DAUGHTER. Schumann. THE PILGRIMAGE OF THE
Macfarren, G. A. OUTWAKD BOUND. ROSE.
MAY DAY. THE KING'S SON.
MIGNON'S REQUIEM.
Mackenzie, A. C. THE BRIDE. ADVENT HYMN, "!N LOWLY GUISE."
MANFRED.
Masser, J. T. HARVEST CANTATA. NEW YEAR'S SONG.
Mee, J. H. HORATIUS (Male Voices). SONG OF THE NIGHT, (gd.)
DELPHI (Male Voices). Schutz, H. THE PASSION OF OUR LORD.
MendelSSOhn. As THE HART PANTS. Selby, B. Luard-. THE DYING SWAN.
ATHALIE. MAGNIFICAT IN D (Latin).
*AvE MARIA (Saviour Silas, E.
of Sinners).
CHRISTUS. MASS, IN C.
Smart, H. SING TO THE LORD.
COME, LET us SING.
ELIJAH (Pocket Edition).
FESTGESANG (Hymn of Praise).
Smith, Alice Mary. THE SONG OF THE
LITTLE BALTUNG (Men's Voices).
FESTGESANG (Male Voices). ODE TO THE NORTH-EAST WIND.
HEAR MY PRAYER. THE RED KING (Men's Voices).
HYMN OF PRAISE.
>LAUDA SIGN. Spohr. THE LAST JUDGMENT.
LORD, HOW LONG. GOD, THOU ART (JREAT.
LORELEY. THE CHRISTIAN'S PRAYER.
MAN is MORTAL. HYMN TO ST. CECILIA.
MIDSUMMER NIGHT'S DRLA.M. Stocker, S. SONG OF THE FATES.
"NOT UNTO US.
SING TO THE LORD (8d.) Such, E. C. GOD is OUR REFUGE (Psalm 46).
ST. PAUL (Pocket Edition). Sullivan, A. EXHIBITION ODE.
THE FIRST WALPURGIS NIGHT. FESTIVAL TE DEUM.
t
THREE MOTETS (Female Voices). TE DEUM (Thanksgiving).
To THE SONS OF ART. Thomas, A. Goring. THE SUN WOR-
WHEN ISRAEL OUT OF EGYPT CAME. SHIPPERS.
Meyerbeer. 91 ST PSALM (Latin Words). Thorne, E. H. BE MERCIFUL UNTO ME.
gisT PSALM (English Words).
Tours, B. A FESTIVAL ODE.
Mozart. KING THAMOS.
"FIRST MASS. Tscha'lkowsky, P. NATURE AND LOVE
(Female Voices).
SEVENTH MASS (Latin).
TWELFTH MASS (Latin). Yan Bree. ST. CECILIA'S DAY.
*TWELFTH MASS. Waller, Hilda. THE SINGERS (Female
REQUIEM MASS (Latin). Voices).
*REQUIEM MASS. Weber, C. M. von. PRECIOSA.
Mundella, E. VICTORY OF SONG (Female *MASS, IN G.
Voices). MASS, IN E FLAT.
JUBILEE CANTATA.
Paine, R. P. THELORDREIGNETH(PS.93). THREE SEASONS.
Parker, H. W. THE KOBOLDS. Wesley, S. DIXIT DOMINUS.
Parry, C. H. H. BLEST PAIR OF SIRENS. Wesley, S.S.O LORD, THOU ART MY GOD.
THE GLORIES OF OUR BLOOD AND STATE. West, John E. A SONG OFZION.
LORD, I HAVE LOVED THE HABITATION
Pattison, T. M. MAY-DAY. OF THY HOUSE.
THE MIRACLES OF CHRIST.
Williams, C. Lee. A FESTIVAL HYMN.
Pergolesi. STABAT MATER (Female V.).
Pinsuti, C. PHANTOMS. Wood, C. ODE TO THE WEST WIND.
PrOUt, E. FREEDOM. Woods, F. C.--A GKEVPORT LEGEND
THE HUNDREDTH PSALM. ( vi ale Voices).
The Works marked * have Latin and

English Words.

NOVELLO'S
Music Primers and Educational
1.
2.
THE
THE
EDITED BY SIR
PIANOFORTE.. ..
RUDIMENTS OP Mus:c
JOHN STAINER
..........
-
.. ..
- -
AND SIR C. HUBERT
..
H. PARRY.
PAUER
W. H. CUMMINGS
Series.
E.
s
2
i
. d.
o
o
THE ORGAN ........ STAINER

KlNQ HALL
i 2 o
HARMONIUM ........
3. 3 o
THE RANDBOCM
4.
5. SINGING .......... Pnmer) ........ .
A.
, tj. IIC ,-
4
,
6. SPEECH SONG
IN Pronouncing
(Singer's
" B.PaCBR
MUSICAL FORMS ..........
" .. a
HARMONY ..........
7. STAINER } 2
8. .
p BRIDGE
COUNTERPOINT ........ '^ H]GGS
2
9.
I-UGUE .. ..... ..
2
SCIENTIFIC BASIS OF Music ..........

.
10.
W.H. STONE i
11.
,2. DOUBLE COUNTERPOINT ...... BRIDQE a
CHURCH CHOIR TRA.N.NQ ........ 'EEV. TROUTBECK J.

i
,3.
PLAIN SONG .......... REV. HELMORE T. 2
14.
INSTRUMENTATION .......... E. PROUT
R p
2
15.
,6.
,7.
THE ELEMENTS OF THE BEAUTIFUL
THE VIOLIN ........
Mus.c ......
-LD ..
TOURS
CURWEN
IN
..
I.
.
18. TONIC SOL-FA .. ..
,9. LANCASHIRE SOL-FA ........ 'JAMES GREENWOOD

.. STAINER j.
S4 OUB .. .
.
.^ __ MATHIS LUSSY 3 o
US
each).. FLORENCE MARSHALL 4
So L KEGG. (Both Not'ations) (or'in Three Parts, is. 6d.
II'.
ORGAN ACCOMPANIMENT .............. J-

" R B RETT
- R
27.
28. THE CORNET ................
............. DR RITTER
^
i
Q
o
MUSICAL DICTATION. Part I
29.
MUSICAL DICTAT.ON. Part II ..........
^fWHITE SR SITTER a
2 o
30.
MODULATION ............ ;; , o
31.
DOUBLE BASS ............ A. C. 3 o
32.
APPEND.X TO DOUBLE BASS .............. F'J WHITE *
20
o
32A
33.
.
EXTEMPORIZATION ..........
BEETHOVEN PIANO.
*-J-^
SONATAS
w
SAWYER
s
34. ANALYSTS OF FORM, AS DISPLAYED IN
UARD ^ Q ^ Q
3, m FUGUE SU BJ ECTS AND ANSWERS ........ i^JSSS 5

NG Y S " ?
PVrt L" -D AN NREUTHER
t Mu S ICA L OrN AMENTAT,;;.
P^ II .........
". ." - -
J
^.MUSICAL ORNAMENTATION. " "^^^SSSHt
A OS
TH ETR T OFTRA;;,NG CHOIR-BOYS' !i !! -
(EXERCISES ONLY) .. Q.C.M*.T,j
G.C.MARTIN I
Do DO. ..
,Q.
4 ,' BIOGRAPHICAL D IC TIONARY OF MUSICIANS ....... W. H. CUMMINGS
EXAMPLES IN STRICT COUNTERPOINT ........ GO.DO,| SAUNDERS 3 o
4I .
SUMMARY OF MUS.CAL HISTORY .......... ..

42 .
MUSICAL GESTURES ............ C.1LH.P-JJ J J

43.
43 A. RUDIMENTS IN RHYME ............ y " RALPH DUNSTAN
BRIDGE J F. o
2
9
6
PIANISTS AND COMPOSERS FOR THE PIANOFORTE .. E, PA,

A DICTIONARY OF
46.
7. ORGAN PEDAL TECHN.OUE
RER A
..............
..........
TWELVE TRIOS BY ALBRECHTSBERGER
FIFTY THREE-PART STUDIES (Both Notations) ' ........ .tv
.S
49.
50. HORAL SOCIETY VOCALISATION
CHORAL .........
VOICES A.W.
.
" ***
MARCIANT
MALE
Do. THE EXERCISES ADAPTED & ARRANGED FOR FEMALE
SOA.
51. TWO-PART SOLFEGGI ................
...........
MARC|IANT
A^HIPWNS a 6
HISTORY OF THE PIANOFORTE
TAYLOR WAN^N
ja.
53.
54.
SCALES AND ARPEGGIOS
SONATA FORM ..........
1
.^ H
..C. STAINER
HADOW *
a
?
6
Four Parts, IS. each) F.lLIFFE 3
56. ANALYsirOF^BACH'S^ PRELUDES AND FUGUEs' (OF fa
had strongly bound inloards price 6d. tachrtn

with t
the t *c*ption o/
Any of the above may be
Nos. 6, 37, 37A, and 56, which
are is. each extra.
5,
LONDON : NOVELLO AND COMPANY, LIMITED.

Examples in Strict Counterpoint - Saunders, Gordon PDF

Uploaded by

Copyright:

Available Formats

Examples in Strict Counterpoint - Saunders, Gordon PDF

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Examples in Strict Counterpoint - Saunders, Gordon PDF

Uploaded by

Copyright:

Available Formats

What is the document about?

What is the document about?

What are Progressive Studies?

What are Progressive Studies?

NOVELfLfO'S

PRICE TWO SHILLINGS AND SIXPENCE.

" Mr. Francesco

The Musical " Mr. book

FOR THE PIANOFORTE

PRICE ONE SHILLING AND SIXPENCE NET.

LONDON: NOVELLO AND COMPANY, LIMITED

PRICE THREE SHILLINGS. 1 ,50

LONDON : NOVELLO AND COMPANY, LIMITED

JJOVELLO AND COMPANY, LIMITED

THE SECOND SPECIES 14

THE object of this collection of examples is to supplement the

cling to the belief that feelings can be the proximate cause

of the rules of simple and double counterpoint. For these alone

fore it is perfectly true that feelings are the proximate cause

of the laws of counterpoint,' however shocking this may sound

that learners should have some safe guide to enable them to

models. Let then, by all means, similar rules for musical

let it be properly understood what they mean. Do not tell the

because the student is supposed to have

THE few examples in five or more parts have been transferred

Firstly then counterpoint or polyphony is a combination of

two or more melodies, using this latter word in its widest

Two styles of counterpoint are recognized, namely, the

By strict counterpoint is understood that which employs

and in which all discords also are diatonic.

Scholastically there are five kinds of strict counterpoint

Strict counterpoint (like Euclid) is not studied for itself, but

* Mr. Cunningham Woods, M.A., Mus. B.

EXAMPLES OF TWO-PART COUNTERPOINT IN THE FIRST SPECJES.

"| . (Transposed from the Soprano clef.) J. J. Fux (1660 1741).

3. The same C.F. with a.

4. This and the following four examples have the arbitrary

5. The implied harmony at a is a first inversion e.g., a sixth

9. This and the following three specimens exemplify the

19. ALBRECHTSBERGER (1736 1809).

24. C.F. CHERUBINI.

26. On comparing the key signature with the final always

27. The C.F. having the leading note in the penultimate,

40. F^TIS (1784 1871).

51. A larger leap than a fifth (a, b) is more graceful within

58. C.F. CHERUBIM.

& FETIS (17841871).

SECOND SPECIES IN TWO PARTS. 23

67. The octaves on the unaccented parts of the bar are

passing note. This is worth some thought (see note 62).

68. BEETHOVEN (corrected by ALBRECHTSBERGER).

EXAMPLES OF THE THIRD SPECIES OF THREE NOTES TO ONE.*

that as F (a) is not a part of an allowable chord in strict

counterpoint, it cannot, therefore, be an elemental note.

93. As the diminished triad is not allowed in strict counter-

The first three bars of this model are in the key of F,

Saunders. Strict Counterpoint. Part I. Novello's Edition. D

95. The rule is braved at a, where a leap of an octave is

separated by only one quaver, yet the progression being in