Voicecultureforc00bateuoft PDF

WOVfiLfLrO'JS
FULL ORCHESTRAL SCORES

NOVELLO AND COMPANY,
PUBLISHED BY
BACH.
SONATA
E FLAT.
IN
(No.
...
076
GRANVILLE BANTOCK.
THE WITCH OF ATLAS
No.
(After Shelley) (Tone
Poem
5)
THE LORD
IS
KING
076
BARNEY.
J.
(PSALM
VARIATIONS ON AN
GRANIA AND DIARMID.
220
J.
BENNETT.
D
(from Suite in
minor)
026
...
W. STERNDALE BENNETT.
THE MAY QUEEN
HUGH
ADORAMUS, TE.
050
CLIFFE.
F.
S.
920o
MINOR
IN C
...
F.
050
040
036
33
i
...
5
5
...
10
each
Triangle)
PROSPERO.
COLERIDGE-TAYLOR.
ONAWAY, AWAKE, BELOVED

HIAWATHA'S VISION
SPRING HAD COME
SCENES from THE SONG OF HIAWATHA. Complete
HIAWATHA'S WEDDING-FEAST (from the above)
THE DEATH OF MINNEHAHA
HIAWATHA'S DEPARTURE
FOUR CHARACTERISTIC WALTZES
BALLADE IN A MINOR
FOUR NOVELLETTEN (for Strings, Tambourine and
(
o
o
O
050
076
036
MICHAEL COSTA.
036
GOD SAVE THE KING

THE DREAM
JOHN GILPIN
TWO PIECES
O 12
(I.
CHILDHOOD;
II.
GIRLHOOD)
16
o
o
6
3
5
RUTH
SLEEPING BEAUTY
WALTZ from Ditto
ORCHESTRAL INTERLUDE from Ditto
SYMPHONY, No. 4 (THE WELSH)
SYMPHONY IN F, No. 5
OVERTURE "THE BUTTERFLY'S BALL"
A SUITE OF OLD ENGLISH DANCES (Second Set)...
MINUET D'AMOUR (from the above). Small Orchestra...
F.
COWEN.
REVERIE (for Orchestra)

CORONATION MARCH
FOUR ENGLISH DANCES
o 10
3
3
o
o
3
5
5
015
3
o 10
i
H.
150
050
030
060
050
050
050
050
076
026
050
THE SNOW
050
FROISSART. Concert-Overture
076
arr. from the ConcertCANTO POPOLARE(In
Moonlight),
"
" In
the South
Overture,
030
i n
IN THE SOUTH (Alassio). Concert-Overture
6
INTRODUCTION AND ALLEGRO for Strings (Quartet
and Orchestra). Op. 47
o 12 o
SCENES from THE SAGA of KING OLAF
330
THE BANNER OF ST. GEORGE
1506
i 11
THE BLACK KNIGHT
CARACTACUS
3 3 O
SPANISH SERENADE (Stars of the Summer Night) ...050
060
TRIUMPHAL MARCH (Caractacus)
H. GADSBY.
THE FOREST OF ARDEN. Orchestral
076
Scene
EDWARD GERMAN.
THREE DANCES from Henry VIII
CORONATION MARCH
o 7
o 3
o 7
o 10
o 7
AS YOU LIKE
GIPSY SUITE
IT. Masque (Three Dances)

(Four Characteristic Dances)
GRACIEUSE (From Suite in D minor)
OVERTURE "RICHARD III."

ROMEO AND JULIET. Pavane
DITTO. Prelude
MUCH ADO ABOUT NOTHING.
WELSH RHAPSODY
BY BABYLON'S
MORS ET VITA
3
5
Bouree and Gigue
CH. GOUNOD.
MESSE SOLENNELLEfSte. Cecile)
TROISIEME MESSE SOLENNELLE
WAVE
...
o 7
o 15
3
3
o
o
o
3
JUDEX from Ditto

REQUIEM from Ditto
THK REDEMPTION
MARCH TO CALVARY from
o
2
3
Ditto
HANDEL.
6
I II
THE MESSIAH. Edited by E. Prout
THE MESSIAH, with Mozart's Accompaniments. Cloth,
i
o
gilt edges
ACIS AND GALATEA (English and German words) with
II 6
Mozart's Accompaniments
SAMSON, with E. Prout's Additional Accompaniments ...330
i
ISRAEL IN EGYPT.
Edited by Mendelssohn
DAVID.
WALFORD
CONTRASTS (The Gavotte, 1700 and 1900)

CONCERT-OVERTURE, "FROISSART"
GOD SAVE THE KING
THE DREAM OF GERONTIUS(EngIishand German words) 3 3 o
PRELUDE AND ANGEL'S FAREWELL (from ditto) ...060
SANCTUS FORTIS 'Transposed to A flat from ditto) ...036
IMPERIAL MARCH
036
CHANSON DE NUIT
026
CHANSON DE MATIN
026
THE CREATION.
(Strings)
330
10 o
10
HAYDN.
THE DESERT
PROSPICE
Small
MAZURKA
MEDITATION (The Light of Life)
SERENADE MAURESQUE
VALSE
CORDER.
Concert-Overture
F. H.
above).
Incidental Music and Funeral
FLY. SINGING BIRD
BLAIR.
Prelude
SYMPHONY IN C MINOR
BALLADE from SYMPHONY
the
Op. 36
March
33
CECILIA
G.
EVENTIDE MELODY
ORIGINAL THEME.
Miniature Full Score

INTERMEZZO (Dorabella) (from
Orchestra
400
330
..550
DITTO.
JULIUS BENEDICT.
ST.
**.
LUDMILA (English, German, and Bohemian words)

THE SPECTRE'S BRIDE. Op. 69. (English, Bohemian,
and German words)
A PATRIOTIC HYMN. Op. 30. (English, Bohemian, and
German words)
STABAT MATER
REQUIEM MASS
SYMPHONY (No. 4) IN G MAJOR
ST.
E. ELGAR.
THE KINGDOM
THE LIGHT OF LIFE (in tht Press)
THE APOSTLES
97)
J. FRANCIS BARNETT.
THE ANCIENT MARINER (English and German words)
ST. PETER
THE LEGEND OF
ANTONIN DVORAK.
s.d.
of the Organ Sonatas)
LIMITED.
Cloth, gilt edges
G.
DAVIES.
030
HENSCHEL.
THE MUSIC TO HAMLET

STABAT MATER. Op. 53
320
FULL ORCHESTRAL SCORES.

ARTHUR HERVEY.
TWO TONE PICTURES
(I.
ON THE HEIGHTS;
II.
THB MARCH)
YOUTH.
ON
Concert-Overture
o 10
o 10
o 15
ADOLF JENSEN.
THE FEAST OF ADONIS
(English and
German
words)...
OLIVER KING.
AMONG THE
PINES.
NIGHT. A Symphony
Concert-Overture.
in F.
0406
o
Op. 36
10
Op. 22
H.
HAMISH MAcCUNN.
SYMPHONY IN F, No. 3 (The Cambridge)

OVERTURE TO AN UNWRITTEN TRAGEDY
SYMPHONY IN C (The English) (in the Press).
A. C.
MACKENZIE.
33
1
Op. 32
TWELFTH NIGHT. Overture

BENEDICTUS. From Six Pieces for Violin.
THE STORY OF SAYID. Op. 34
Op. 37
26
...
STRING QUARTETT
in
12
0506
220
076O
040
o 10 6
076
050
050
2 12
INTERMEZZO from Ditto

THE BRIDE. Op. 25
PRELUDE to COLOMBA. Op. 28
BALLET MUSIC and RUSTIC MARCH (COLOMBA)
LA BELLE DAME SANS MERCI. Ballad for Orchestra.
RHAPSODIEECOSSAISE. Op. 21
SECOND SCOTCH RHAPSODY (" BURNS "). Op. 24
B.
Op. 74
McEWEN.
minor
(English words)
HYMN OF PRAISE. Op. 52. (English words)

The Symphony
ELIJAH. Op. 70. (English and German words)
ST. PAUL. Op. 36
HEAR MY PRAYER
020
076
OlSo
Ol8o
O6O
I
MOZART.
TWELFTH MASS
o 15
E.
VICTORY OF SONG
MARTYRDOM OF
050
(Female Voices)
ST.
MUNDELLA.
F. A. G.
LONDON
o 10
W. H. SPEER.
FESTIVAL OVERTURE
SPOHR.
THE LAST JUDGMENT (English and German words)
150
080
...
The Overture
The Second Overture
,,
GOD, THOU ART GREAT (English and German words)
CALVARY (English and German words)
,,
,,
C. V. STANFORD.
THE REVENGE. Op. 24...
IRISH SYMPHONY IN F MINOR. Op. 28
PRELUDE to the CEdipus Rex of Sophocles
SUITE for Violin Solo and Orchestra
SYMPHONY (No. 4. IN F. Op. 31)
TE DEUM (from Service in B flat)
THE OFFICE FOR THE HOLY COMMUNION.
MAGNIFICAT AND NUNC DIMITTIS. Ditto
and
BENEDICTUS.
,.
050
050
o 10 6
220
i
10
10
o
o
060
Ditto
Ditto
A. SULLIVAN.
SYMPHONY IN E (The Irish) (in the Press).
THREE DANCES (" The Tempest ")
OVERTURE DI BALLO
IN MEMORIAM. Overture
TE DEUM (Festival)
TE DEUM (Thanksgiving after Victory)
THE GOLDEN
LEGEND
MUSIC TO " THE TEMPEST "
040
060
050
040
070O
O 12
15
IO
o 15
150
076
2 12 6
1
TSCHAIKOWSKY.
PIANOFORTE CONCERTO
(NO.
3)
IN
MARCHE SOLENNELLE
MARCHE MILITAIRE (Military Band)
Ei>.
hauser's Pilgrimage (Original Version)
Op. 75
076
040
WAGNER.
TANNHXUSER. "PRELUDE " TO ACT

i
O
6
150
(for Orchestra)
R.
OUSELEY.
POLYCARP
SUITE VENITIENNE
JUBILATE
The Overture
Priests' March
o 10
056
070
MENDELSSOHN.
ATHALIE.
SAINT-SAENS.
THE HEAVENS DECLARE (Latin and English words)
(on Hire only).
J.
PITT.
C.
Cantata
ROSE OF SHARON. Op. 30

CONCERTO FOR THE VIOLIN.
JASON. Op.
MACFARREN.
JOHN THE BAPTIST
W. H. REED.
o 10
Concert-Overture
MAY-DAY. A
076
220
10 O
046
IO O
076
DE BALLET (for String Orchestra)

BALLADE (for Violin and Orchestra)
CORONATION MARCH
ORIENTAL RHAPSODY
E. PROUT.
SYMPHONY IN F (No. 3, Op. 22)
HARFORD LLOYD.
o 10
BLEST PAIR OF SIRENS

JOB
SYMPHONIC VARIATIONS
SUITE IN F (Lady Radnor's Suite)(String Orchestra)
THE LAND OF THE MOUNTAIN AND THE FLOOD.
ST.
220
AIR
HERO AND LEANDER
G. A.
**
H. W. PARKER.
HORA NOVISSIMA (English and Latin words)
ORGAN CONCERTO
C. H. H. PARRY.
PERCY
LAHEE.
RING OUT, WILD BELLS

C.
Continued.
LIMITED.
III.
Tann-
060
NOVELLO'S MUSIC PRIMERS AND EDUCATIONAL SERIES.
VOICE CULTURE FOR CHILDREN

A PRACTICAL PRIMER
i
ON THE
CULTIVATION AND PRESERVATION OF YOUNG VOICES,

WITH EXERCISES FOR THE USE OF SCHOOLS,
CHOIRS, SOLO-BOYS,
ETC.
JAMES
DIRECTOR AND FOUNDER OF THE LONDON COLLEGE FOR CHORISTERS.
PART I.-INSTRUCTIONS.
PRICE ONE SHILLING AND SIXPENCE.
Part
II.,
Part
PAPER BOARDS
Exercises, with accompaniment, price Is. 6d.
paper boards,
2s.
Appendix, Two-Part Studies, with accompaniment, price 8d.
III.,
Complete, price
LONDON:
NEW YORK
2s.
8s. 6d.,
paper boards,
4s. 6d.
THE
H.
W. GRAY
CO., SOLE
LIMITED.
AGENTS FOR THE U.S.A.
Copyright, 1907, by Novella and Co., Limited.
DEDICATED TO
THE ASSOCIATION OF
MUSICAL COMPETITION FESTIVALS.
"
Every child should
govern
its
its
hands;
voice discreetly
and not
to
more disgraceful than

write.
11
be taught
and
be
JOHN RUSKIN (Fors
its
youth
dexterously, as
able
not
from
to
to
be
it
to
does
sing should be
able
Clavigera).
to
read or
CONTENTS.
PART
I.
PAGE
INDEX TO PART
I.
....
....
....
....
....
....
....
PREFACE
CHAPTER
On
the Voice
its
On Vowels and
I.
Use and Preservation

CHAPTER
....
....
....
....
22
....
33
II.
Consonants, and their Treatment in Singing
CHAPTER
On
III.
Breathing (with Exercises and Diagrams)
....
....
CHAPTER IV.
On
41
Intelligent Singing
CHAPTER V.
On
Singing out of Tune
Causes and Cure
Its
44
CHAPTER VI.
On
the Breaking of the Voice
Signs and Treatment
Musical Terms and their Meaning
PART
52
....
II.
EXERCISES (with Pianoforte Accompaniment)

General Directions
...
...
49
...
...
....
....
...
...
....
...
53
58
Major Scales and Vowel Sounds
65
Flexibility
76
Attack
...
Minor and Chromatic Scales
98
Two-Part Exercises
95
105
Eesonance
Excerpts from Oratorios
(flexibility exercises) for
Choir Boys
...
106
110
Vocalizing Vowels
PART
APPENDIX.
90
TWO-PART STUDIES
III.
117
INDEX.
Where two or more references are
PAGE
"
" Adam's
apple
9
27, 15, 23
10, 9
Ah
vowel, practice on
Attitude in singing
"Bad ear"
..
Boot-button metronome
Boys, signs of breaking voice in
..
..46
37
. .
. .
49
20
compass of voice .
51
exercises for, during period of break . .
20
.
mature development of voice .
. .
. .
. .
49
Breaking of voice in boys
49
in girls
as
.
36
. .
Breath, use as little
possible
42
.
.
. .
. .
when to take
39, 40
Breathing, diagrams illustrating correct
34 36
. .
.
. .
exercises . .
"
..51
exercises during " break
..
.
. .
. .
. .
. .
. .
. .
. .
importance of correct
..
..
inspiration
. .
. .
. .
. .
through nostrils
" Chest
.
voice," evils of
non- expressive
. .
Choir boys, special directions for
. .
Colds, avoidance of
.
. .
. .
. .
. .
Compass
of voice
. .
. .
. .
. .
. .
. .
. .
.33
33,38
33
. .
"Ear," bad
Emphasis
. .
. .
. .
. .
. .
.
. .
.
importance of
" chest voice"
impossible with
.
Facial expression
"
"
Feeling in singing
Flat singing
causes of . .
. .
cure for
. .
. .
..
..
. .
. .
. .
. .
Girls, breaking of voice in

. .
compass of voice . .
mature development of voice
. .
. .
God
save the King," on vowels only

treatment of consonants in
. .
"
. .
..
..
25
46
42
43
..43
45
45, 46
. .
45
46
.
50
20
20
24
.
.
30
31,32
18
44, 16
downward
. .
. .
. .
. .
..
. .
7, 8,
'
. .
.
.
13
47,48
.
^49
47, 48
Signs of break
Singing alone, should be encouraged
and speaking, difference between
. .
a " pulling " not a " pushing " process
.
easy, importance of
causes of
cure for
. .
. .
. .
. .
. .
. .
. .
. .
sharp
soft
11
19
12
44
41
44
.
45
45
.
44
13,15
8,
'
81
Slurring
10, 8
. .
32
29
17
"Smudging"
Sol-fa system
and consonants
. .
. .
. .
12, 13, 14,
Sounding-board, Nature's
..
Strain very injurious ..
..
. .
19
Swelling on notes to test correctness
36
. .
. .
. .
Tempo, regulation of . .
8,9
Throat, loose
..13
"protectors"
Tone, amplification of
forced
quality rather than quantity
refined
. .
21
12
13, 19
18
. .
8
11
Under-parts, necessity for judicious use of 20, 21
9
Vocal cords
22
.
Vocalization for producing perfect voice
. .
22, 26
superiority of Northern
22
. .
.
. .
Vowels, bad vocalizing
. .
. .
27
.
best, for practising
. .
. .
27
.
consonants used as
difficult
25, 26
. .
.
23, 28
good singing
30
long, consonants short
..28
..
seven best..
.
.
23
27
ad
substitution of good for
8
. .
.
Voice, a sure way to spoil
49, 50
breaking of
Tongue,
effect of the,
on resonance
14,
. .
. .
Head
voice," advantages of
a cure for singing out of tune
. .
at period of break
cultivation of
. .
expiration
Intelligence in singing
Intonation, bad
Larynx, movements of
. .
pressure on
"
Lifting the voice
. .
Shyness in young singers
intelligent
out of tune
12,18
..
. .
. .
. .
. .
47
50
14
Huskiness frequently caused by excessive
"
. .
30
27
13
44,
. .
. .
. .
. .
flat
10, 8
. .
. .
. .
Shouting, injury done by
31
13, 19
sometimes due to low temperature
"
. .
. .
..
Resonance agencies
Resonant consonants
III.
. .
21
41
12
9, 10
. .
17
12, 13, 18
. .
Sharp singing
19
21, 38, 51
21
. .
. .
20
29 32
28
.
29
. .
. .
. .
. .
12, 13
.
1618
20,
. .
Phrasing
" Placed " voice
Posture in singing
Register, change of
expiration and inspiration, 89, 40
Expression, facial
14,
Scales, reason for singing
. .
. .
33,21
Diphthongs, substitution of good, for bad

.
. .
23
vocal vowels
.
. .
. .
Part-singing
Ditto
Palates, the
PAGE
Music should not interfere with sense of
42
words
.
. .
. .
. .
how to hold
31
43
meaning of, to be studied
Musical terms with their pronunciation and
52
meaning
..
Nostrils, breathing through ..
21,33
Northern vowels superior to Southern
22, 26
O (oak) vowel, practice on
28, 14, 15, 23
6 (on) vowel
28, 14, 23
OO (tooth) vowel
23, 28
Consonants, articulation of
avoidance of use in practising . .
. .
rarely tone-making
resonant
vowels
. .
short,
long
.
. .
. .
used as vowels
. .
Crying voice
Diagrams illustrating breathing exercises
Chapter
.
the first it the chief.
expiration
specified,
. .
. .
..
..
. .
. .
36
41,43
44
. .
. .
..
..
13,18
..
12, 14, 15
.
London pronunciation
22, 26
Metronome, use of, in breathing exercises 37, 38
46
.
.
. .
.
in monotoning
37
a cheap substitute for
..
..
..
9,11
Mirror, use of ..
45
. .
Monotoning, flat singing when
. .
33, 21
Mouth, breathing through
10
how far to open
17
to be well open at back
.
"chest"
compass of
. .
duration of child's
head"
Wh
"
(as in
. .
12,13
20
. .
8,
. .
12, 14, 18, 45,
preservation of
shouting . .
. .
. .
. .
. .
. .
. .
when ")
Words, sense
music
of, to
49
50
7
13
27
be considered before the
42, 43
PREFACE.
THE primary purpose
of this work is to supply a practical primer on
the subject of voice-production for boys and
girls.
few schools are

to voice-production and singing, however
able to
A boy's vocal
of
these
the
subjects may be realised.
importance
fully
career, too, is distressingly short, and it is absolutely necessary to
With
subjects pressing for attention,
so
many
devote much time
secure the best possible results in the shortest time. I am confident

that, so far from necessitating a further expenditure of precious hours,
teachers will find that these lessons and the accompanying exercises
will, in practice,
save time.
I have striven throughout to avoid technical and physiological

terms and to use only such clear and simple language as youthful
scholars can understand.
out in class almost word
Many
of the lessons might, in fact, be read

but where explanations are needed
for word,
the diagrams and illustrations will almost suffice. I have endeavoured

always to give the reasons why certain methods are recommended and
others deprecated, holding that
it
is
of the utmost importance in

intelligence, that a child should
where so much depends upon

the purpose of whatever he or she is asked to do.
understand
clearly
My task has been one of some little difficulty, for without going
deeply into questions which are better dealt with in more elaborate
singing,
treatises
it
is
by no means easy to explain the
underlying the production of that pure,

the singing of children, especially boys,
essential principles
refined tone to which
owes
its
transcendent
attractiveness.
Keference
is
more than once made
in these pages to the differing
vowel pronunciation in the North of England and the South. The

matter has a bearing on tone-production the importance of which can
hardly be exaggerated, and I am hopeful that the exercises here
offered will do something at least towards eliminating that unpleasant
"
"
enunciation which London children (as an example) both
throaty
in singing and in speaking, have a tendency to adopt.
My own experience entirely accords with the opinion expressed by
other trainers, that the generally inferior singing of Southerners is less
" Vocalisation for
a matter of voice than of vocalisation.
producing
"
of
these
as
the
described
be
voice
pages.
keynote
perfect
may
PREFACE.
The tendency
to
use " tone-cramping" vowels
of
school
is
The purer and more
to elementary school-children.
and
not confined
refined accent
of
pupils of high schools and

grammar schools, must not blind us to the fact that vocally there is
often great room for improvement, and I am strongly of opinion that a
public
boys,
course of exercises such as
is
here suggested will be found as beneficial

A fact which those responsible for the
in the one case as in the other.
musical training of children ought ever to bear in mind

child-voice
the mature
much
is
that the
important as it is is of infinitely less consequence than

voice.
The ultimate aim of all training ought to be not so
to secure
good results during the school period though these

from the judicious use of a proper system but
to inculcate such habits of voice-production as will lay the foundation of a beautiful adult voice.
In other words, the child's voice is a
sacred trust; a seed to be so carefully nurtured that, later, the
potentialities within it may have unimpeded development.
It is almost impossible to exaggerate the extreme delicacy of
the child-voice, yet how often have these frail instruments been
Let
irreparably ruined for want of a little knowledge or a little care
"
the teacher sternly discourage anything like " shouty
singing,
especially in class or choir, or misguided attempts to sing notes which
are too high or too low.
It may safely be said that soft singing
(of course within the compass of the voice) will never do harm, no
will inevitably follow
matter
how
disaster.
continuous,
but loud
singing
The teacher who
will
instils
inevitably lead to
the principles of
successfully
correct singing, and thereby renders possible the life-long use and
enjoyment of a pleasing voice, is conferring on his young charges a
boon of inestimable value.
This thought should
be his constant
encouragement in times of difficulty and lack of immediate success.

Both the matter and the exercises in this Primer represent the
cumulative experience of many years. Certain features will probably be
new even to experienced teachers. I would direct special attention to
the systems of voice-placing and vowel-substitution.
They may seem
at first to run counter to certain generally accepted ideas, but I am
that
they have
who may be
disposed to doubt their efficacy

produced, and will produce, uniformly successful
prepared to convince any

results.
JAMES BATES.
LONDON COLLEGE FOR CHORISTERS,

6 & 7, BLOMFIELD CRESCENT,
PADDINGTON,
LONDON,
W.
1907.
VOICE CULTURE FOR CHILDREN.

CHAPTER
I.
ON THE VOICE: ITS USE AND PRESERVATION.

IN the early stages of vocal training the teacher's first and constant
care must be to prevent the formation of bad habits.
Unless he be
exceptionally fortunate, a large proportion of his class, however young,
These should receive
will come to him with faults already developed.
immediate attention, not only because the longer a habit is allowed to

continue the more difficult is it to check, but because with young
singers a
"voice
"
wrong use
may
of the delicate apparatus producing what we call

frequently does result in lasting and even
easily result
life-long injury.
At the very outset, children should be impressed with the fact that
if they would sing well, or even sing at all, THE VOICE MUST BE USED
MOST CAEEFULLY.
The voice a
instrument
Many
children, particularly those
who
are easily dis-
an d those whose natural musical abilities are

below * ne average, are apt to form an idea that because
colira g e <j
their progress is not so rapid as that of others in the

class their voices are not worth troubling about ; that the care of the
voice is
all
very well for those
who may hope
to
become good
singers,
but the ordinary boy and girl, with no special musical ambition, can
misuse it with impunity. But just as every private's knapsack may
be said to hold within it a marshal's baton, so to the experienced
every young voice suggests incalculable possibilities, and
children should be taught to value their voices not only for what they
The very finest singers have
are but for what they may become.
trainer
frequently been produced from the most unpromising material.
another way of putting the matter to them.

rough and careless usage children may not only
There
Importance
cap easing
later
life,
By
is
p reven ^ their voices from ever improving but may

This means that when they become
entirely spoil them.
men and women

and pleasant both in singing
their voices, instead of being musical

and in speaking, will be gruff and harsh.
8
It
may be
makyth
realise
Winchester College motto has it, that " manners

but children should be taught early in life to
true, as the
man,"
that the
very best behaviour
will not
atone
a rough,
for
repellent voice.
Let it be pointed out that their present voices frail and delicate
can in any event be of but short duration, and will be succeeded
after about two years of transition by the permanent, life-long voice,
the importance of which to their future happiness and well-being it is
Just as it would be folly to expect
impossible to over-estimate.
a bruised and broken bulb to produce a perfect flower, so it is
impossible for a voice that has been badly used and treated ever to
regain in maturity the qualities lost in childhood.
There are many ways of spoiling the voice, but the

sure
way sure st
'
of all is constantly
children -- and adults, too
supposing themselves to
We
shall see directly

shouting.
effect of such misuse of the voice
how
to
sing
loudly.
Many
make the mistake of

be singing when they are only
this mistake arises, but if the
is bad for listeners, it is ten times

worse for the singers themselves, and a few minutes' shouting may
Children should be taught
easily do harm that can never be undone.
not to try at first to make their voices powerful, but to cultivate at the
outset a pure and pleasing tone.
They will thus be adopting the very
best
means
of preserving their voices for future use.
second point to impress upon children

ALWAYS SING EASILY.
easy singing
that they
should
a matter of great importance, because it concerns

Strange to say,
especially the boys and girls who try.
This
mportanc
is
is
^ e very children who are most anxious to please are the

most
liable to
go wrong.
Wishing
to do their
utmost to
earn approval from teacher or parents, they put themselves into stiff
and uncomfortable attitudes that quite prevent them from using their
boys and girls who can speak and recite

quite well, directly they are asked to sing straighten themselves up and
put on the most solemn and unnatural expressions imaginable. Some
will look as fierce as s&vages, others as careworn and worried as if all
the troubles of the world rested on their young shoulders.
This is not
voices to advantage.
Many
and for once, at least, it is the apparently careless

and
The child who
who
set
the best example to the class.
boys
girls
would sing well must learn on no account to stiffen his throat, chin,
at all as it should be,
neck, chest, or any part of the body. Many professors of singing find
a good plan to have in the class-room a long mirror and to get
their pupils to sing in front of it.
When children see for themselves
it
how
comical and
absurd are these constrained attitudes and rigid

This matter of posture will be
expressions they soon abandon them.
dealt with more fully at a later stage.
I refer to it now only because it is
so closely connected with a third important point
learn to SING WITH LOOSE, OPEN THROAT.
To enable them
to understand
direct their attention to the hard
what
this
that children
means,
it
will
must
be well to
lump, or ball, in front of the throat
In children it is very
which many people call " Adam's apple."
small some can scarcely feel it at all but in adults it is fairly large.
"
voice-box," and that
Explain that this lump is the larynx, or
stretched across it within are two thick strips of fleshy membrane
known as the " vocal cords," though they more nearly resemble lips
than cords.
Our voices
are produced by the vibration or flutterings of the edges

"
of these
cords," as air is expelled between them from the lungs.
The action is similar to that of the tongue of a musical reed
instrument when it is made to vibrate by the movement of compressed air.
the larynx be fixed, as is the case when children shout or stiffen their
necks in singing, it is impossible for the vocal apparatus to act freely
and naturally. That is one reason why it is so important when singing
'If
we should stand
quite easily, without the slightest stiffening or

of
of
the body. The tiny, weak muscles connected
straining
any part
with the larynx are ill-fitted to bear undue strain, and the sure penalty
that
of improper use of the organ of voice is the production of a nonresonant, unblending tone that is as different as possible from real
The children should be asked whether they have ever noticed

that as they sing the voice-box has a slight movement
Let them put a forefinger and thumb on
up
L and down.
music.
oi the
upper
Larynx.
-.
the lump, pressing very slightly, and then sing the

as if placing the voice against the top of the head.
The
larynx will then slip right out of the child's hold and rise in the throat.
Now direct them to sing the lower F, an octave below, trying to place
the tone against the back of the neck.
They will notice this time that
the larynx has a
tone we must do
movement
downward movement.
all
in our
power to
To produce pure
assist this natural
quality of
up-and-down
of the larynx, and carefully avoid any action or attitude that

will interfere with it.
This is what is meant by singing with " loose,
open throat."
10
Let us now return
to the question of posture for singing.
Not only children, but many grown-up people, experience

j.
n.
great difficulty in assuming an easy and becoming
posture in singing. At first it will be helpful to direct
"
stand at ease," with hands lightly placed on the hips.
the class to
Better still, perhaps, they can be told to sit, with hands held loosely
behind. It cannot be too often emphasised that there must not be the
slightest stiffening, but every muscle of the body should be loose and
When, after a short time, they have grown accustomed to the
easy.
Posture for
Singing
not at
acquire the really correct

This is to stand firmly but comfortably, with toes out so that
posture.
The shoulders should be slightly
the feet are nearly at right-angles.
idea of easy singing,
it is
all difficult to
drawn back to allow full expansion of the chest. The book, or copy, of
music from which the child is singing should be held about eighteen
inches from the chin and six inches from the chest, the arms being
almost at right-angles to the body. Neither the face nor any part of
the body should be hidden, but the copy should be so held that both
words and music can easily be read, the teacher or choirmaster seeing
In singing the upper notes it will assist in placing the

voice correctly if the head be slightly inclined and the chin drawn
It is a great mistake to raise the chin in singing, as thereby the
in.
It is important,
front of the throat is tightened and the larynx pressed.
only the edge.
guard against the slightest stiffening of the body, especially

above the hips, as this will inevitably hamper the breathing powers and
The illustration here given will perhaps
affect the resonance of the tone.
be more helpful than any description, but only by practice before a
mirror will a child be able to assume this posture easily and naturally.
too, to
fop I'll
ssion
While practising before the mirror the young vocalist

snou ^ t rv no * on ty * assume a good posture but to
Instead of the
cultivate a pleasing facial expression.
weird and agonized expression some girls and boys assume directly
they attempt to sing, they should try to look pleased and to make their
The mouth should
faces as well as their voices appeal to their hearers.
be opened easily, about wide enough for the thumb to be inserted

The upper teeth should be shown, and if possible the edge
sideways.
of the lower teeth. The corners of the mouth ought to be very slightly
No matter how much attention

as in the act of smiling.
time
is well spent, for to acquire a
this
the
is given
question,
pleasing facial expression in youth is to gain a passport that will
drawn in
to
take one almost anywhere.

Few people can resist the appeal of a
bright, pleasant voice and a bright, pleasant face, and it is wonderful
how much the one helps the other.
POSTURE FOR SINGING.
11
One other matter
requires mention here.

has been described on excellent authority as
The tongue
"an unrulyso
to
evil,"
proves
certainly
young singers. Indeed,
one of the commonest faults of children is so to raise the tongue that
and
often
it
obstructs the free emission of tone, and the sound is either forced
"
through the nose, giving bad, nasal quality, or is rendered
woolly"
it
and muffled, owing to the passage of the vibrating air from the larynx
to the bony, resonating hard palate being intercepted by the fleshy,
non-resonating tongue, and also to the fact that the cavity formed by
the mouth (which is the principal agent amplifying the volume of tone)
is lessened in capacity and effectiveness by being partly blocked by the
Children should be taught when singing to let the
raised tongue.
lie
tongue
perfectly flat in the mouth, the tip just touching the lower
teeth.
This is a matter of far greater importance than the majority of
When puzzled to account for faulty tone-production,

"
I would say
Look at the tongue." In quite a large number of cases
If a pupil or chorister
it will be found to be the cause of the trouble.
finds difficulty in keeping the tongue quite flat in singing, let him take
teachers realise.
a small
hand -mirror and
in such a
sit
with his back to the window or to the gas

Then get him
reflected into the mouth.
way that light is

to practise scales and exercises to all the vowel sounds, especially ah
o, o and aw (see page
23), taking care that by means of the
If the tongue be
reflected light the open throat can be clearly seen.
raised it will be impossible to see down the throat, and the tone
emitted cannot be other than bad, owing to the obstruction and the
consequent loss of resonance.
Much
The difference an(j
.
speaking and
singing.
that has so far been said applies equally to singing

speaking. But there is a great deal of difference
between the two forms of voice, or at least there should

^^ s difference is mainly due to the fact that in
be.
speaking the voice is pushed forward, while in singing,

This the
the tone be rightly produced, it seems to be pulled up.
Direct them to say rather
children can easily test for themselves.
if
" I should like to

sing
loudly such a sentence as
and they
Now
let
will notice that in speaking the
them
sing
tone
is
by pulling the tone against the
The
jfo~j^= nicely,'"
pushed forward.
palate, as
shown
thus "lifting" the voice

in the diagram on
against the palate is that we assist that up-and-down movement of the
larynx already referred to, and also a matter of equal importance"
"
with which Nature has
secure the aid of the
sounding-boards
page 14.
effect of
12
provided us. By itself, the sound produced by the vibration of the

vocal cords is poor and weak, but the mouth and the nasal cavities
intensify and increase the sound and also confer that peculiar quality,
or " timbre," which is so pleasant to listeners.
Only when the tone is allowed a perfectly free passage

the throat and when it is reinforced and beautified
from
p
by the resonating agencies of the nose and mouth, and
by being reflected from the hard palate, can it be really satisfactory.
The shape and bony formation of the hard palate render it, together
ar
with the air-space immediately above, a perfect instrument for the

It cannot be too clearly
it has to perform as a sounding-board.
"
understood that the lifting" or pulling process in singing is a means
adopted to loosen the throat, to assist the up-and-down movement of
work
the larynx, and to secure that musical quality which resonance and
The tone produced
reflection from the hard palate can alone confer.
"
"
by this lifting process is called
HEAD
VOICE,
or by some, " Placed Voice."

It is the refined tone generally
produced by cathedral choir-boys

"
the secret of their beautifully effective voices. "Head voice
has so many advantages that all young singers should cultivate it.
Amongst these advantages may be included the following
and
is
(1)
The tone
so produced is pure, melodious, resonant, refined
and blending.
(2)
" Head voice" can be

produced only by easy, effortless singing,
and there is consequently no strain upon the muscles of the
larynx.
(3)
School children and choir-boys who use head voice always sing
well in tune, and they can sing for quite a long time without
tiring their voices.
(4)
It
not only beautifies but preserves the voice.
Opposed
known
to
"Head Voice"
is
the bad style of tone-production
as
CHEST VOICE,
or " Forced Voice," which unfortunately is used by large numbers of
school children and choir-boys. When children in singing stiffen the
VOICE CULTURE FOE CHILDREN.
13
the larynx instead of allowing it to move freely,

"
is
forced instead
of
the tone
being
placed."
They are
"
"
"
"
shouting
speaking and
using what is really a combination of the
In "shouting" the throat is
voices instead of the singing voice.
throat,
and thus
fix
tightly compressed
we have
and the tone forced forward.
In speaking also, as
"Chest voice" is a
the tone
is pressed forward.
Children who use it deprive themselves of the
"
aid of their quality-making resonators, or
sounding-boards," and force
forward a hard, non-resonant tone as distasteful to listeners as it
is harmful to themselves.
When the throat is stiffened
The evils of an(j
Q larynx fixed, undue effort must be used in order
" Chest
*
"
P r d uce ^ ne tone, and there is consequently a great
seen,
mixture of the two.
Voice
and very injurious strain on the delicate muscles of the

"
Chest voice," besides being so harmful to young singers, is
throat.
It has
very penetrating, and will never blend with other voices.
a penetrating force very similar to that of a child's
it somewhat resembles in mode of production.
which
"crying" voice,
Such wrongly-
produced tone can no more be got to blend with others than harsh
cornets can be made to blend with a band of violins, violas and
And
violoncellos.
it is
quite impossible for a child
who
uses
it
to sing
such tone has no more power of expression than a
expressively;
mechanical instrument.
By means of the accompanying diagrams

found comparatively easy to teach children so
" head
voice," and head voice only,
they use
" chest voice." But before
raucous
harmful,
necessary to insist again on
and exercises
it
will be
to place their tone that
and entirely avoid the

using these
THE IMPORTANCE OF SOFT SINGING
it
will be
IN CLASS,
or the children will, quite unconsciously, get into the way of using bad
forced tone in practising the very exercises designed to avoid it. It is
not so
much
the exercises themselves that will benefit their voices
as the easy, effortless way in which they learn to sing them.

All vocal
exercises for children should at first be sung very softly, especially in
class or choir.
Because when singing softly there

or injuring the voice.
Firstly
is
no
risk of straining
Because when singing softly the greater number of

children also sing correctly, placing their voices properly,
especially on the high notes, even when they have not been
Secondly
taught to sing.
14
HOW TO CULTIVATE HEAD

It will help the class very
voice if
it is
much
VOICE.
in learning to use
impressed upon them
that
head
when
singing
they should feel the sensation of lifting the high notes
against the palates in the roof of the mouth. Of course, they are not really
doing anything of the kind ; it is a sensation only, the sound having to
th *v
be reflected from the hard palate and to issue from the mouth precisely
What they actually do is to place the voice so
as it does in speaking.
that the throat is open, the larynx allowed free action, and the tone
" resonance aid " afforded
by the mouth
given the full benefit of the
and the nasal
cavities.
"
class should first practise to the vowel-sound 6, as in
cm,"
or F, trying to place each tone
the descending scales of C, D,
as nearly as possible in the position shown in the following
The
diagram
////#
\\\l
The curves
/////
roughly the upper part of the

mouth, that to the right being the hard palate, which does not move,
The
that to the left the soft movable palate at the back of the mouth.
at the top represent
at the bottom indicates the larynx, or voice-box;

dotted lines represent notes being lifted up to the palates.
black dot
the
Let the children practise this scale to the vowels b and o until they
grow quite accustomed to the sensation of gently lifting the notes.
The immediate result will be that they will find these upper notes quite
surprisingly easy to sing, involving no more effort than ordinary
speaking. They will also produce them with a refined, fluty, mellow

The
15
be altogether different from the hard

"
chest voice," in using which the singer
tone produced by the forced
Once
finds that the higher the note the more difficult it is to produce.
tone.
result, in fact, will
vocalists have experienced the ease and delight of using

" head voice "
they will certainly never want to go back to the other.
young
These scales should be practised, always softly, for some time,

each note at first to one beat, then increasing to two, three, and
In practising to four beats it will be an
afterwards four beats.
advantage to "swell" slightly (see page 19) on the notes, beginning each
note pp, increasing the tone to mp, and then decreasing to pp. On no
account must this exercise be sung thoughtlessly. The children must
be made to remember
the time what they are doing, and should feel

the sensation of lifting each note up to the palates.
all
children, who have a special weakness for using throatand

tone-cramping vowels, should be directed to practise this
closing
London
exercise for several weeks.
After a while, the vowel ah, as in father,
should be used instead of o and o, but always softly, the greatest care
being taken that the throat is not stiffened and the tone forced
Then
forward.
Part
all
the exercises
on pages
given
II.)
should be practised in the same way.
The
children will
now
find, if the exercises
55
to
57
(see
have been carried out
as suggested, that their voices, however unmelodious before, have

become musical and pleasant. They will be especially beautiful
and resonant on the upper notes C
to
F ^jj^?"^
c/
1
apparently lifted
against the soft palate, but not so full and rich on the notes
flat
toF.
With the many
safe
easy
subjects pressing for attention, it is not

found possible in numbers of schools to devote a great
of
^ ea j O f ^ me ^ Q voice-production, and to such schools I
and
way
wou ^
recommend
this easily-taught system.

choirs
and
schools, and is a sure way
many
production.
of securing easy, effortless singing, perfectly in tune, and
with
blending
good contralto, alto, tenor and bass voices.
correct Voice-
I*
is
especially
use ^ by
Although this method produces such excellent results, there is,

however, an even better system which I will now proceed to describe.
Teachers who have used what we will call system No. 1 are well
aware it has one disadvantage, and that an important one. While the
notes so produced are beautiful in quality
infinitely superior to
any
16
that can be obtained by "chest-voice"

it must be admitted that the
lower notes are not so full and rich as the upper.
DIAGRAM B.
The second diagram
(B) is designed to illustrate a method

of securing pure, even quality of tone throughout the
better system,
^'_
Q
It is necessary
but one
compass of the voice, C to
*s
-G^"
requiring care.
to say, however, that the method is attended by some
An even
G 3
1
danger and requires careful and attentive study.

Any child
can use the system illustrated by diagram A without risk of using bad
tone or injuring the voice ; but the second method should at first be
little
practised only with a teacher and should certainly not be attempted

until the first has been thoroughly mastered, as in practising there is
a tendency to force the tone and cause the lower notes to be sharp.
be
When the diagram has been attentively studied, the children should
directed to sing the upper F lifting the tone to the position on the
1
17
and B. Then let them sing the

in both diagrams
lower F, an octave below, as if pulling the tone against the upper part
"
of the back of the neck (the
pulling" is, of course, a sensation only,
"
"
in diagram A, the tone having to
as was explained as regards
lifting
soft palate
shown
In singing the upper F as

be reflected from the hard palate).
suggested, children unconsciously raise the larynx and open the
When they sing the
throat, a pure, easy, resonant tone resulting.
lower
lower F and apparently pull it against the
part of the back of
the head, as shown in diagram B, they loell open the mouth at the back,
lower the larynx, and neutralise and release that forward pressure
" chest
upon the throat in singing the lower notes that users of
"
voice
are obliged to apply.
They also adopt the best means of
opening the throat more fully for the lower than for the upper
notes and of securing the resonant aids of the mouth and post-nasal
In singing the notes
cavities and also reflection from the hard palate.
to
flat
jflT
^j
=-F^-
the utmost care
must be
taken,
as
above
-^y
The tongue must

stated, that the mouth is well open at the back.
not be raised, but, as already explained, should lie quite flat, with
the edge just touching the lower teeth. If these notes are correctly
produced, the throat will be loose and well open, the tongue being
down and the soft palate well up, resulting in a round, mellow
quality of tone that gives the sensation of the whole
full of beautiful sound.
The children
will very likely ask
mouth being
why, in this second
voice-placing diagram, the note B is placed up on the

hard palate, and B flat against the back of the head. It
explained that this is owing to a peculiar change of production

that takes place at about this pitch, called by some instructors
"a change of register." But as this book is mainly intended to
may be
easy of comprehension the principles underlying correct

voice production, I have not thought it necessary to deal with the
question of registers, which so many students find difficulty in
render
understanding.
When
the pupils have mastered the second method of placing

the voice, they should practise also the descending and ascending
scales of C,
flat, D, E flat, E, F, F sharp, and G, the notes above B flat
flat and the notes below to o (oak), taking

to the vowel 6 (on) and
to
sing easily ; second, to sing with loose, open throat
great care, first,
;
and
third, to place each note up or back, as

according to its position on the treble stave.
shown in the diagrams,

But they must on no
18
account compress the throat or over-exert themselves, or sharp singing

will
Encourage them to strive always for pure quality

no matter how weak at first, and with time and careful
result.
of tone,
One great advantage they

once from thus learning to place their voices correctly
they will gain the power of expressing with the voice the feeling and
meaning of the words they sing. They will also find that by using
" head voice "
they produce a beautiful blending quality, sing well in
tune, and their voices do not tire.
consistent practice the quantity will follow.
will derive at
The advantages gained

summarised
1.
2.
as follows
this
system of
singing
may
The throat and the back of the mouth are well opened.
"
The " up-and-down movement of the larynx in the throat
allowed
3.
by
full
be
is
scope.
The pressure on the larynx
to
which children are so prone
is
"
"
neutralised, the attempt to
pull back
counteracting the
general tendency to force forward and exert undue pressure
on the larynx and front of the
throat.
4.
The voice
5.
which the singing voice owes its attractiveness.

The tone is assisted up on to the hard palate, which may be
"
and "reflector" of the
described as the " sounding-board
so produced as to secure the full benefit of the

resonating agencies of the mouth and post-nasal spaces, to
which agencies are mainly due the peculiar quality, or timbre,
is
to
voice.
SINGING SCALES DOWNWARD.

have been noticed that in all the exercises and
so far given, it has been suggested that the
be practised downward, instead of
scales should
This
as
is
still
customary in many classes.
downward, upward
children
is because it has been found that
experience
unless
note
in
on
a
they pull up the
high
great difficulty
beginning
"
head
the
voice."
use
tone, and so, knowingly or unknowingly,
They
are then almost certain to sing the upper notes correctly, and the
lower ones will probably follow. On the other hand, a bad start, with
forced tone, at the bottom of the scale only gets worse with each
It will
Reason for
exam pi eg
succeeding note.
Until a young singer is quite sure of his or her power of placing
the voice correctly, it is a safe rule to start at the top of the scale and
sing downward.
19
Teachers are sometimes puzzled to know whether notes

Swelling on
are being correctly produced.
no es o es
jj
en fae singing
same
production.
ti
me
As was
said
on page 13,
almost sure to be at the

but
when
correct,
expression requires the
is soft it is
tone to be somewhat louder, trouble begins.

As it
is
a
test
that
there
enables
us
to
the
correctness
happens,
simple
verify
of tone as surely as we can demonstrate a mathematical problem.
as
"
take jthe
known
swelling" on notes, and teachers will find it

very helpful. Direct the child to sing the notes of the scale of D very
"
"
the tone as recommended in the diagram on page 16.
gently,
pulling
This test
First let
is
him
ifcEtE and pull
it
gently against the middle
The result should be a soft, pure head note.

of the hard palate.
Increase the pull pull harder as it were and the tone will gradually
increase in loudness, or, as it is expressed in music, we shall get
or crescendo.
Now lessen the pull, gradually
a
of
the
or diminuendo.
tone, thus
decreasing
quantity
,
The crescendo and diminuendo together form the " swell " on the
Then let him sing Cjf, B, A, G, F$, E and D,
note, thus ^<~.
increasing the tone in the middle of each note to moderately loud, and
This should be practised to all
reducing it at the end to soft.
f\
the notes from
to the lower
^3
C i&EEEEE and
,
if
a louder, fuller tone
obtained in the middle of each note without altering the quality,

the instructor may be sure that the note is correctly produced. Many
" chest note " a sure
children will crescendo to a forced
sign
that the note is wrongly produced.
They should bear in mind
is
throughout this exercise that singing
is
a pulling, not
a pushing
process.
another test of correct tone-production, and a

,,
one.
very
Indeed, it is much more than a
J important
r
Voice is non* es *
l* ^ s a l mos t a nnal judgment.
It will be found that
expressive.
if forced tone is used the child cannot sing expressively.
" Chest "
There
is
who
up and back in
the manner indicated by the diagrams, has no sympathy or feeling in
the voice at all, and one might just as well listen to a mechanical
Once the not very difficult art of placing the voice
instrument.
has
been
mastered, the child will find that he has enormously
correctly
increased his power of expression, and his singing will consequently
give tenfold pleasure to his listeners and to himself.
boy or
girl
forces the tone instead of placing
it
20
THE COMPASS OF THE VOICE.

It is of the greatest importance that children should not strain
their voices to poor, thin quality by shrieking notes which are too high
them, and that they should not acquire a coarse, rough tone by
The average compass of the
attempting notes which are too low.
mezzo-soprano and the baritone voices is that best suited to children,
for
and
it
is
the notes in this compass only that they should cultivate,
namely, from C to
When
children grow up they will have one of three kinds

as a W0 man, soprano, mezzo-soprano, or
Compass of O f vo j ce
children's and
^
con ;ra u
'
adults' voices
voice
is
soprano to a baritone
m &n, tenor, baritone, or bass. A soprano

,
>
as a
.,
similar in production to a tenor ; a mezzoand a contralto to a bass. It is only reasonable
that as children they should be helped to cultivate that range of voice
which they will most use when they grow

The average compass of the different voices is shown below, the
up.
tenor, baritone and bass being eight notes, or an octave, below soprano,
mezzo-soprano, and contralto
(say about
a twelfth)
MEZZO-SOPRANO COMPASS
SOPRANO COMPASS.
also
CHILD'S COMPASS.
bJ.
CONTRALTO COMPASS.

thus amuses himself with at
21
home
play a very important part in his

seems to me that the constant taking of
musical development, it
second and third parts is the reverse of helpful. Indeed, it will rarely
be found that a child who is always given unmelodious under parts at
school sings at all for his own pleasure out of school.
Generally
speaking, teachers and choirmasters will find it best to teach their
pupils to sing only in two parts, and occasionally to interchange,
making those who have sung the upper take the lower, and the lower
the upper. Three- and four-part songs should be quite exceptional.

a rule, the lowest part is quite unmelodious, and frequently the
As
is below the child's compass, resulting inevitably in rough and

unmusical tone quality. When special reasons render it desirable to
take three- and four-part songs, the teacher should carefully guard
"
chest-voice," as with it a pure ensemble
against the use of the hard
is impossible, and the quality of the voice is permanently affected.
Before passing from the subject of the use and preservation of the
voice, it may be well to add a note concerning
pitch
CATCHING COLD.
Colds are a nuisance to everyone, but they are especially troublesome to singers. Boys and girls should be taught to be most careful,
especially immediately after singing.
s i n oi n
as i s
case wnen work of
The exertion
of
ê
any kind is done,
h ^h* 2
produces heat, and when the larynx and the throat are
thus heated children are more liable than at any other time to catch
'
cold in the throat.
When,
Choir-boys are great sufferers in this respect.

an evening practice, they pass out into the
after a service or
cold air with heated throats they should be most careful to breathe
Indeed, this rule applies to all who use the
through the nostrils.
voice, for, as we shall see in Chapter III., dealing with correct
breathing, the air in passing through the nostrils is warmed, and the
risk of catching cold is greatly lessened.
Experienced singers on
to close the lips and to
a
room
are
most
careful
concert
leaving
always
breathe through the nostrils. Many even make a rule not to speak for
until the heated vocal apparatus has had time to cool.
some minutes,
Only by adopting these precautions are they able to keep free from colds
in the throat and thus maintain their voices in first-class condition.
Another very frequent cause of sore throats is the wearing of
" throat
scarves or boas.
Boys and girls who wear these so-called
protectors" run twice as much risk as their unprotected
companions.
to the air
exposing the throat at all times

hardened and strengthened and children
By
it is
fully
render themselves far less liable to colds
22
CHAPTER
II.
ON VOWELS AND CONSONANTS AND THEIR TREATMENT

IN SINGING.
CHILDREN
have learnt from their grammars that the vowels in the

English language are five (a, e, i, o, and u), and that every syllable
must contain at least one of them. It should be explained that in
reality, however, there are more than five vowel sounds, because some,
such as a, are pronounced in several ways (as in "far," "fate," "fat,"
will
&c.). Now, it unfortunately happens that several of the vowels that are
most often used are very bad for singing purposes, and if sung as
most people speak them would be non-resonant and " tone-cramping."
This is the more unfortunate because vocal tone is of

The vowels of course
produced entirely on the vowels, and the
our grammars
consonants do more to hinder than to help. To secure
are not the
sindintf
vowels.
"
,,
.,
resonant tone, therefore, it is necessary to make

the fidlest possible use of the vowels that are good
for our purpose, or, as musicians sometimes say, the
P ur e
we can using the bad ones.

remark
much
how
People constantly
superior to that of Londoners
"round
vowels, and to avoid so far as
is the tone-production of people who live in Yorkshire

Northern and an(j oi ^ ei Northern and Midland counties.
This is
on 01
are
so
much
use
J.
largely
*
J because some of the vowels they
.
pronunciation.
better vocally than those used by people who live in the

South. To put the matter in a nutshell, the superiority is not so much
one of voice as of vocalisation. It is quite impossible to get good vocal
with such vowels as London children employ in words like

"
"
"
make," but," now," and my," and if the tone-production of the
South is ever to equal that of the North, it can only be by the use of
the best voice-placing vowels and the careful avoidance of those that
effect
"
Moreover, there can be but little doubt

that the great interest taken by Northern people in choral music
is largely due to the increased pleasure derived both by executants and
cramp and mar the tone.
listeners
from superior vocalisation.
23
THE SEVEN GOOD SINGING VOWELS.

The good tone-producing resonant vowels
1.
as in " egg."
3.
as in
i,
""
pin."
as in " tooth."
as in " oak."
oo,
5. o,
These the
" father."
ah, as in
2. e,
4.
are the following
6.
"
aw, as in
gnaw."
7.
o,
" on."
as in
class should learn thoroughly
and be accustomed
to use
on
every possible occasion.
be well, before proceeding farther, to make the

children clearly understand that the o, e, and i named
It will
^ Important
distinctions
m a " ove
,
o,
e,
-.
a8
vowel sounds
and
singing vowels are not the ordinary

included amongst the five speaking vowels
00(*
i
Indeed, of these five, as given in the

alphabet.
grammars, only the o is a good vowel for singing purposes. It should
be carefully noted that
of the English
but
as in " egg."
of night, but
as in " pin."
No. 2
is
not the
e of
No. 3
is
not the
No. 7
is
not the o of oak,
me,
but
o as in
" on."
But thinking boys and girls will at once ask, "What of the
hundreds of words which contain other vowels than the seven
named
in the table ?
"
-îs brings us to a very interesting part of the subject.

Nearly all
As
a matter of fact, it is possible to sing nearly all words
words can be
sung on the (say at least 90 per cent.) on the seven good vowels and
good tone-pro- combinations of them, and there is really no need at all
ducing vowels. ^ Q uge
e ^d,
vowel sounds.
tone-cramping
FIVE GOOD DIPHTHONGS.

Five non-resonant vowels which require special treatment are
music" ; ow, as in " now" ; oi, as in
These all tend to pull down and cramp
"
"
"
i, as in
night ; u, as in
"
" save."
"
joy ; and a, as in
the tone in the throat, but here, again, our seven good vowels, or rather
combinations of them, can easily be substituted. Let the list of good
24
singing vowels, numbered 1 to

follows
7,
on the previous page, be continued as
"night," should be sung as

former list), gliding together.
8. i, as in
9. u,
as in
ali-i
"music," should be sung as
(vowels 1 and 3 in
i-oo (vowels
3 and
4),
gliding together.
10. ow, as in "now," should be sung as ali-oo (vowels 1 and 4),
gliding together.
11. oy, as in "joy," should be
sung as aw-l (vowels 6 and
gliding together.
" save " or "
12. a, as in
make," should be sung as
and 3) gliding together.

would be of interest to the children, and
e-i
3),
(vowels 2
It
impress upon them the importance of

for bad ones, to get them to sing some
vowels and
diphthongs
only.
across a
at the
same time
substituting good vowels

familiar piece to the best
They will then realize, too, how

word that cannot be fitted to one or
exceptional it is to come
more of the seven vowels and five combinations.
better illustration
could hardly be chosen for the purpose than the first verse of
" God save the
King." Let them sing as follows, taking care that the
tongue lies quite flat in the mouth
:
God
6

Classes
the
for
first
time
confronted
with
25
such a rendering of
will be found in practice
familiar words will probably be puzzled, but it

that they soon grasp the idea and readily learn to substitute the good
But before any progress
singing vowels for the tone -cramping ones.
can be made, the seven vowels and the five diphthongs must be
thoroughly mastered and the children taught to rely almost entirely
upon them. Difficulties will, of course, occur, especially with junior
classes, and even the teacher will occasionally have to think twice
before deciding which vowels are best suited to particular words.
Experience will show, however, that the statement made on page 23 is

not the least exaggerated, and that quite 90 per cent, of the vowel
sounds of the English language can be accurately rendered by the
seven good tone-producing vowels and the five suggested diphthongs.
The
benefits to be derived from this system of substitution are so

and
so immediately apparent that every teacher who gives it a
great
fair trial will, I am convinced, be encouraged to persevere.
LIST OF VOCALISING VOWELS.

1.
2.
3.
" father."
ah, as in
"
e,
egg."
"
pin."
i,
4.
oo,
5.
o,
,,
6.
aw,
,,
gnaw."
" on."
7. o,
"
8.
i,
9.
u,
,,
11. oy,
alii
(1
,,
ioo
(3
and 3 gliding together).

and 4
,,
,,
).
,,
ahoo
(1
and 4
(6
and 3
(2
and 3
night," sung as
"music,"
"
10. oio,
now,"
awi
"joy,"
"
save,"
"
12. a,
much,"
13. u,
14.
"tooth."
" ocean."
"
"
e,
"
15. d,
earth,"
ei
,,
,,
).
).
).
,,
a modification of o
,,
(No.
7).
ah (No.
1).
bat,"
,,
(No. 2).
There still remains the question of the erring 10 per cent., and
these will be found on examination to consist of words containing u, as
"
" earth " and " ever "
and d, as used in "bat's
in " much
e, as in
;
back" (Arne's "Where the bee sucks").
If only
good vowels or
diphthongs could be substituted for these, without interfering with the

"
the " throaty
pronunciation, we should have a complete remedy for
tone so general in some parts of the country. This, unfortunately,
not possible, but much may still be done to minimise the trouble.
is
26
For the sake of easy reference, let us number these three vowels in
the same way as the others. We have already had 1 to 7 good vowels,
and 8 to 12 diphthongs. We now have
:
Substitute
as in " much."
13. u,
14.
as in "earth,"
e,
a modification of
,,
as in " bat's back."
No. 13
7).
ah (vowel No.
1).
(vowel No.
2).
and' the"
(before a consonant).
15. d,
No.
o (vowel
,,
,,
,,
People in the North, as a rule, both in speaking and

substitute
the round oo vowel for the u of " much." As the
singing,
word is commonly pronounced in London and the South, it is quite
:
impossible to produce singable tone, yet the full adoption of the

Northern oo is hardly likely to be received with favour. The best way
is to use a modification of the o vowel (No. 7), as in some of the Eastern
counties,
of
which
England
for fulness of tone is even superior to the North

Much " will thus become " rnoch," assisting to place
"
oo.
the voice up on the sounding-board and greatly improving the tone

without marring the pronunciation.
"
" the " before a word
No. 14
e, as in
early," "earth," and as in
beginning with a consonant. This is one of the most troublesome of the
:
bad vowels,
first
because
it is
of such frequent occurrence (probably
accounting for about half of our faulty 10 per cent.), and secondly
because the use of an approximate substitute requires great discretion.
The nearest approach to the sound that can be obtained without altering
a modified form of the ah vowel (No. 1).
The e
to the full ah, or the result will be
There must be just a tinge no
absurd, as ahth (earth), evah (ever).
more of the ah vowel, sufficient to direct the tone from the throat up
the pronunciation
is
must on no account be changed
hard palate, but not enough to alter the sound. The troublesome
and frequent "the" before a consonant should be rendered in much the
same way, as "God save thah King," but always taking care not to
to the
overdo the ah.
This is perhaps the most difficult

No. 15
as in " bat's back."
vowel of all to replace. Its impossibility as a singing vowel has long
been universally recognised, and most teachers have been accustomed
:
to substitute the pure ah vowel, rendering "ha/ipy" for "happy,"

" ahnd " for "
and," &c. But while it is advisable to use the ah vowel
much
words, such as the "bat's back,"

of Arne, "at," and others, for which it cannot be considered a
A modified form of the e vowel (No. 2) most
satisfactory substitute.
as
as possible, there are
many
nearly approaches the correct sound, but again there
must be only a
27
sufficient to place the tone up on the sounding-board

" bet's beck " and " et " are
for
palate,
quite inadmissible.
tinge
just
Such words
as "hear," "near," "fear," &c., should be sung as

"fir."
On no account should the children be allowed to
hir,"
nir,"
"
"
"
sing them as two-syllable words
he-ar,"
ne-ar,"
fe-ar," &c.
"
"
CONSONANTS USED AS VOWELS.

In singing, the consonants
vowels.
vowels!
vowel
>
and y are always treated as
When it begins a word y is sung as i (good

No 3 as in "yet" (sung as t~et), and "you"
-
(sung as i -oo) .
When y occurs at some other part of a word than the beginning,
as in " merry," it is sung as i (No. 3), and sometimes as ali-l (Nos. 1
"
and 3) as in " try (traJii).
Wis changed to oo (good vowel, No. 4), such words as " will " being
"
"
"
"
sung oo-ill, wit oo-it, and were ooere.
How to treat The sound

H /i
as in
"when."
wh
words like "when," "where,"

"which," is sung to the oo vowel (No. 4), preceded by
the aspirate " h," thus :" when " is
sung as liooen.
" where "
hooere.
,,
" which "
liooicli.
,,
of
" white "
as in
,,
Jbooahit.
THE BEST VOWELS FOR PRACTISING PURPOSES.

Of the seven good voice-producing vowels some are much
than others.
better
especially true as regards their use for practising

purposes. The best are ah (No. 1), o (No. 5), and o (No. 7), followed,
in the order named, by aw (No. 6) and oo (No. 4).
This
is
In cultivating bright, beautiful tone no vowel approaches

all.
There are dangers in its use, however, or rather in its
misuse, which have led many teachers to prefer to it the
much inferior oo and aw vowels. If only care be taken that the sound
and this is not really difficult more benefit will
is rightly produced
a
,
vowsl
6
accrue from practising on all than would be possible by any other

means. See that the children do not in practising stiffen the throat
and press the larynx, thus forcing forward the hard and strident
"chest voice." By using the upward, or apparent "pulling back"
method of tone-production recommended on page 16, there is no pressure
whatever on the front of the throat or the larynx, and the tone produced
28
mellow and resonant. Ah has so many advantages that teachers

cannot be too strongly recommended to keep to it. The oo vowel used
instead by some trainers and choir-masters, though it certainly secures
pure quality of tone and is a useful corrective to children accustomed
to produce the metallic and non-resonant " chest voice," tends in
sustained practice to cramp the voice and to make the tone thin, poor
and "
As a means to an end oo is all
but ah is
is
very well,
hooty."
by
scholars and choir-boys seem

to experience a little difficulty in getting the exact pronunciation, and
are inclined to sing aw instead.
This must be carefully guarded
as
it
is
most
the all should be absolutely
that
against,
important
far the better
correct.
vowel for practice.
The
best
way
illustration in
Many
practise with smiling mouth, as in the

letting the upper teeth be well shown and
is to
Chapter
upper edge of the lower teeth. So produced, ah
the richest and purest possible tone quality.
I.,
also the
be of
For opening the throat and the back of the mouth
The d and o
6
._
vowels.
and o (No.
will
(No. 7)
5)
is
is
the most serviceable vowel above
best for
flat
and notes below.
flat
jj^fcg-
These vowels
will
be found especially useful for beginners, and children who have got
into the way of pressing the throat and singing with hard, unblending
tone should be directed to practise them constantly. In practising
these vowels the mouth should be rounded and the lips placed well
forward,
away from the
teeth.
now be
excellent practice to sing

in
vowels separately,
the order named, oo,
also on combinations of them the scales of
It will
on each of our seven good

aw, o, o, ah, e, and i and
D, E, and F, descending
t
(See also Exercises at end of book.)
and ascending.
As the best vocal tone can only be produced on the singing vowels,
It is
the children must learn to make the fullest possible use of them.
the
this
reason
of
for
to
articulate
and
course,
clearly,
important,
consonants must not be overlooked but in voice training the use of
:
consonants sJiould be avoided, our object being to strengthen the vocal

muscles and to make the voice full, resonant, bright and beautiful.
Even when
in practising teachers think it advisable occasionally to use

consonants to precede vowels, as in " &oo," " te," &c., the consonant
should be rendered as lightly as possible, as it will tend to cramp the
tone and
make
it
poor in quality.
When
the Sol-fa syllables are used on the movable doh method or

in the Tonic Sol-fa notation, the greatest care should be taken not to
use the consonants too much.
Doh, Ray, Me, Fah,
Soli,
Lah, Te, Doh,

if
on Te, tend to force the tone and

To practise on the vowels, and the vowels only,
articulated too heavily, especially
make
is
29
non-resonant.
it
best for voice-cultivation.
be found very helpful to get the children now and again to

familiar
songs to the best tone-producing vowels and diphthongs
sing
It will
This will do more than anything

only, omitting all the consonants.
else to make them realise how all-important are those vowels for
producing beautiful tone.
(See page 24.)
Until the children have grown used to singing on the good vowels
only, they will sometimes be puzzled to know which vowels are the
best for a particular word, in order to secure the best vocal tone and
yet make themselves clearly understood. But with a little practice
and assistance they
To sum up
the class that
all
will
soon learn what to do.
that has been said about the vowels, impress
upon
(1)
Pure vocal tone can only be produced on the singing vowels.
(2)
The
(3)
With a
best tone-producing vowels are the seven named

page 23, and these should always be used in practising.
little
sung on
(see page
on
care and practice very nearly all words can be

the seven good vowels and the five diphthongs
24), without in the least interfering with clear
enunciation.
We
now
can
pass on to
THE CONSONANTS.
However musical
children's voices
may
be,
and however excellent
the tone acquired by carrying out the instructions already given and
practising the exercises at the end of the book, half the pleasure of
listening will be lost if auditors cannot make out what words are
being sung.
should be explained that the consonants are like
little shutters separating the vowels from each other and
consonants. .
..
...
?..
_
,.
,,7,
7
ei-i-tt i
When " o ei ahoo
labelling them with a meaning.
are sung the effect may be excellent as a performance, but the
It
The use of
and blood of the vowels must have the bond of the skeleton, that is,
" God save o.ur
the consonants, to convey the inspiration of
gracious
due
attention
but it
must
receive
The
;
consonants, therefore,
King."
flesh
is utterly
p, q, r,
impossible to
s, t,
v, x, or
z.
make musical tone out
of b,
c,
d,f, g, h,j, k,
30
The only way to secure both full vocal effect and clear
enunciation is to train the class to make the vowels as
consonants as j
on g ag p OSS ibi e an(j the consonants short but distinct.
Make the
you
distinct as
'
can>
^ ne fU w i n g diagram will serve to illustrate what is

meant. Take again " God save the King, "and represent
the vowels by little blocks, thus
:
God
our
save
gra
C10US
King.
Now
add the consonants. Of course, the time occupied in singing

must be exactly the same whether the vowels only are sung, or vowels
and consonants together. The consonants, therefore, will make the
vowel blocks of tone so much the smaller, cutting off pieces from each
end of most of them
ahoo
ve
ei
The children
will readily
iu
r gr
understand from this that the more time
they give to the consonants the less there is for the tone-producing
vowels ; and the more they give to the voice-making vowels the less
remains for the troublesome and unmusical consonants. The golden
remember
rule to
is
VOWELS LONG, CONSONANTS SHORT.

consonant of a word or syllable should always
^ e soun d e d instantly, so that the singer passes at once
Consonants in the middle
to the tone-producing vowel.
consonants.
,.
in
the
same way, hurrying on
of a word should be treated
But consonants at the end of words must, if
to the following vowel.
the meaning is to be clear to listeners, have just a little more time given
The
initial
and
na
Initial
.,
to
them and be sounded very

To ensure the
distinctly.
best tone quality and distinct articulation
necessary, therefore, to
it
is
and intermediate consonants very quickly.
(1)
Articulate the
(2)
Dwell on the vowels as long as possible.
(3) Articulate
first
the final consonants quickly but very distinctly.
31
Unless children are put on their guard, this
As the voice (No.

improves, the ^hey
n
will
3)
become
more
attention,
difficult
as
m p r0 ve
in singing.
This is because it is always
harder to articulate while singing one of the resonant
i
vowels than before doing so.

the first consonant than the
increasing
more
and
last point
That
last,
is, it is
easier to
although the
sound
last is so
much
the more important in conveying the word to

As their voices become more full and beautiful by singing
listeners.
on the vowels, children will find the final consonants increasingly

troublesome, and will need to give them constant care and attention if
people are to understand what they are singing. One often hears it
said of a singer who uses bad vocal tone, that, whatever his faults, his
words can be understood, while those of much better singers cannot.
This is certainly true in very many instances, but there is not the
With proper care, pupils can
slightest reason why it should be so.
not only sing musically and with full vocal effect, but can also sing
clearly
and be well understood.
When
When two
or
more consonants come together at

In fact, wherever two or more
a word.
when two
also
the en^
together.
the
at
"
flesh," they should be
beginning of a word, as in
sounded with a single, quick movement of the tongue.
So
COlliQ
two or more consonants come together
consonants
or
occur
they
together
should
always
be
While on this subject, it

articulated as nearly like one as possible.
that they should be as
children
be
well
to
the
may
impress upon
careful in pronunciation when singing with others in class or choir
when
boys and
when
asked to sing
a solo experience great difficulty simply because they have become
as
singing alone.
Many
girls
first
accustomed to slur their words and to articulate carelessly when

singing with others.
The following
The consonants most
frequently
are the consonants
which I have most
frequently noticed children sing indistinctly

g ag in re fu ge." This should be sung like ch.
:
sung
ag
almost like
indistinctly.
I,
Tne
head>
n, m and ng.
"
<<
should be very short,
t."
These consonants, which
differ
from
the other consonants in being slightly resonant, should be

articulated as follows :
Z,
"wall," should be sung with the tip of the tongue

against the palate, followed by a slight continuance of the
as
in
sound with the tongue in that position.
32
"
man," should be sung with the front of the tongue

against the palate, followed by a slight continuance of the
n, as in
m,
tone through the nostrils.

"
should be articulated
as in
by the pressing of the lips,

followed by a slight continuance of the tone through the
him,"
nostrils.
"
sing," should be sounded with a slight pressure of the
ng, as in
back of the tongue against the soft palate, followed by a
slight continuance of the tone through the nostrils.
Care should be taken to articulate the
initial
and
final
consonants
Thoughtless and inattentive children have

distinctly.
" Made
"
a provoking way of running them together, or
smudging."
"
"
"
"
as " woodlan dells,"
dells
will be sung as
to
may to," woodland
"
" with them " as
"
"
"
" aw
"
wo
was so as
as
separately and
all lands
lands,"
so,"
" flesh shall " as
" fiercest strife " as " fierces
" wi'
strife,"
them,"
" fle
Such slovenliness is highly objectionable, and
shall," and so on.
must on no account be allowed to develop into a habit.
CHAPTER
88
III.
ON BEEATHING.
Breathing comprises two distinct actions, namely, taking
Correct
in
and letting out breath, or

impossible for children to become good
breath, or inspiration,
breathing
the founda-
expiration.
tion of good
singers unless particular attention be paid to this matter;

"
for, as the late Sir Morell Mackenzie wrote,
proper
singing.
It is
of the breath is the foundation of good

however
beautiful
a' voice may be in itself, it can never
singing, and,
be used with artistic effect if the method of breathing is faulty."
management
It is
Inspiration
and
necessary for singing purposes to practise

taking in through the nose as
air as the lungs will hold.
(1) Inspiration
expiration.
(2)
Common
faults in
breathing.
Many
much
letting out air in just sufficient

quantities to secure the best vocal effects.
Expiration
children
make two mistakes
in
the
act
of
inspiration : (1) They breathe through the mouth

of through the nostrils ; (2) they take short snatches, or
instead
In
gasps, of breath only instead of deep inspirations.
the act of expiration the usual fault is to let out too much breath.
This is generally caused by raising and then lowering the shoulders,
were, pumping out the breath and forcing far too
through the vocal apparatus.
thus, as
it
much
utmost importance that children should learn

through the nose, and through the nose
of breathing
This is the best and the natural way. When we
only.
through the
breathe
through the nose the air is warmed and
nose only.
cleansed from impurities before reaching the lungs.
" Mouth-breathers "
frequently suffer from sore throat, bronchial
colds, adenoids and other ailments which rarely trouble children who
have learned to breathe correctly both by day and night. Those
It is of the
Importance
to take in air
84
who
crowded towns should especially avoid the
live in
habit
of
mouth-breathing.
children, as aiding chest
Correct
breathing
is
dangerous
important to all
really
and lung development and promoting general
health, but
it is especially important to singers.

Children should practise the following exercises daily at home or at
Even when walking along the road it is a great advantage to
school.
have an occasional " air-bath" by taking in the fullest possible breath
through the nose.
BREATHING EXERCISES.
(1) Standing position means feet at an angle of 90,
heels touching, knees almost touching, the weight of the
body being equally distributed upon each leg, but falling
trunk erect, the chest being the most

mainly upon the heels
prominent part head poised easily upon the shoulders so that the
eyes look straight ahead; the forearms and hands lightly touching
;
the sides.
In each exercise the front wall of the chest should be brought

well forward (but without stiffness), more especially when the lungs
are fully distended with air.
The abdomen should at the same time
(2)
be slightly flattened and the lower ribs should bulge out.

Many
children waste breath in singing at the ends of phrases by allowing the
breast-bone to collapse. Impress upon them that they should keep
the breast-bone well
up
(See diagrams D andE,
in breathing exercises and also in singing.
page 39.)
inspirations should be perfectly
(3)
always through the nose. At first, to ensure
The
and
silent, usually slow,
this,
it
will
be well to
close the lips.

(4)
Repeat each exercise
(5)
The shoulders must not
six times.
be raised.
EXERCISE
I.
Standing position as in direction No. 1.

side of the lower part of the chest, with
Place one hand on each

the fingers and
thumbs
pointing forwards.
(a) Inhale slowly through the nose, at the same time flattening
A distension of the lower ribs will be distinctly felt if
the abdomen.
the hands have been placed as directed. Care should be taken that
If the exercise is
there is no distension forward of the abdomen.
and there is bulging of the lower ribs, the

shoulders cannot be raised and the object of the exercise is thus
correctly
practised
attained.
(b]
(M.
Exhale by monotoning numbers

80).
1, 2,
3, 4, 5, 6, 7, 8, 9,
10
EXERCISE
I.
(See page 34.)
EXERCISE
II.
(See page 35.)
EXERCISE
II.
(See page 35.)
EXERCISE
EXERCISE Hi
111.
(See page 35.)
(See page 35.)
EXERCISE
IV.
(See page 35.)
EXERCISE
V.
(See page 35.)
EXERCISE
VI.
(See page 35.)
STANDING POSITION.
(See page 34.)

EXERCISE
85
II.
Standing position as in direction No. 1, but with hands lightly

clasped behind and finger-tips interlocked so that no strain is felt.
Take a deep breath through the nostrils, throwing the chest

well forward and flattening the abdomen.
The sensation should be as
if the breath is directed from the nose towards the hands at the back,
so that the lungs become fully inflated at the back as well as at the
(a)
sides.
(b)
(M. =
Exhale by monotoning numbers
1, 2, 3, 4,
5, 6, 7, 8, 9,
10
80).
EXERCISE
III.

(a) Raise arms and place the tips of the fingers just above the
back of the neck, keeping the elbows forward. Press the elbows slowly
back towards each other until they are in the same straight line, at the
same time taking a
breath through the nose.

(b) Bring elbows forward to original position, at the same time
monotoning numbers 1, 2, 3, 4, 5, 6 (M. =
full
EXERCISE IV.
(a) Inhale while slowly raising hands level with the shoulders,
palms downwards.
Exhale while lowering arms and hands

monotoning 1, 2, 3, 4, 5, 6, 7, 8 (M. = 80).
(b)
to original position
by
EXERCISE V.
Standing position as in direction No.
1,
but have hands level with
shoulders, palms upwards.

(a) Slowly raise the hands and arms until they are perpendicular
at the sides of the head, at the same time inhaling through the nose.
Slowly lower the hands until level with the shoulders, at the
same time monotoning 1, 2, 3, 4, 5, 6, 7, 8 (M. 80).
(b)
(c)
Drop hands
briskly to sides.
EXERCISE VI.
Standing position as in Direction No.
1.
Inhale slowly while drawing the arms back until the hands are
12 to 15 inches behind the body, and at the same time
(a)
from
gradually raise the

the chest.
heels, flatten
the
abdomen, and bring forward
36
Return to original position, and exhale by monotoning numbers

4, 5, 6, 7, 8, 9, 10 (M. = 80).
(b)
1, 2, 3,
Use as
little
.,
the rule
Having by these exercises accustomed themselves to take

fu jj inspirations, it is necessary that children should now
learn to store their breath, and to use as little as possible
in the production of singing tone.

Generally speaking,
" Use as little breath as
possible in producing a note if that
is
made pure and resonant." Children whose voices

husky and dull, or who sing sharp, are using too much breath. In
note
be
is to
are
the
case the excess of breath mixes with the tone in escaping, causing
huskiness
in the second, the excess of breath results in sharp
first
To show how little breath is exhaled by many

singing (see page 44)
of the greatest vocalists, the experiment has been tried of putting
a lighted candle close to their mouths, and their breath when singing
.
has not even caused the light to
flicker.
to exhale there is a simple exercise which is

but needs close attention and care in practice. It is as
To teach children
very effective,
follows
1. Direct the child to take a full breath through the nose,

Exercises
In doing
e ith e r standing or sitting, as in Exercise II.
or regu a ing
g
e
should be slightly drawn in and lowered,
^ ^^
while the tongue is kept

the tip just touching the lower teeth.
2.
flat at
the bottom of the mouth,
Tell the child to hold the breath in the lungs while mentally
counting
1, 2, 3, 4.
the child exhale by monotoning numbers. He should

on the first few notes,
try so to hold back the breath that little is used
and there is thus plenty in reserve for those that follow. As this is a
3.
Then
let
somewhat trying exercise, it will be well during the first lesson to sing
Later, the class can sing up to 21, 25, 29, and 33.
only up to 13 or 17.
It is best always to finish on the odd beat, after counting four in the
bar or measure.
This exercise should never be sung loudly;
it
is
intended only to assist in regulating the expenditure of breath.
which the numbers

One day a singer will monotone up to 21,
are counted, or the tempo.
while a week afterwards he finds himself easily able to reach 25. Yet
he may not really be holding his breath any longer he has simply
counted faster. To see whether real improvement has been effected
an instrument is necessary which will beat time and which can be
But much
of course depends
upon the rate
at
87
The
depended upon not to vary from day to day.
instrument generally used for this purpose is called a
M
Metronome. It may be roughly described as a pendulum
in
motion
kept
by clockwork. Just as in many clocks the rate can be
made slower or quicker by simply lengthening or shortening the
pendulum, so the pendulum of the metronome can be set in such a
AI1
The
way that
gives any desired number of oscillations or beats to the

If set to 100, it will give 100 beats to the minute, or
it
minute.
"Metronome 100,"
as it is called, and the teacher can thus tell with

the
whether
child's power of holding the breath is increasing
certainty
with each day's practice.
The majority of children are not likely to have such an instrument

metronome in their homes to help them when practising, but
as a
simp
fortunately an effective substitute

^yj ât j g necessar y
js
to take
J
is
easily
devised.
an
bootordinary
J
fasten it to a. piece of cotton 14 inches long,
the Metronome Button,
and let it swing freely from a stick or some other
substitute for
If the cotton is exactly of the

support, as in the diagram below.
stated
there
will
be
or
oscillations to the minute, and
100
beats
length
this
home-made metronome
as the
will be
most expensive instrument.
found to keep time quite as well
boot-button attached to a piece

of cotton 21 inches in length will oscillate 80 times in a minute
and if 39 inches in length will oscillate 60 times in a
80)
(M.
minute (M.
In addition to enabling the child to judge his
60).
progress from day to day, it will help him to sing the numbers at a
uniform pace and check the natural tendency to hurry as he gets short
of breath
\
b
88
No child should attempt to sing beyond about

many weeks' practice. At first he should be
37,
and then only
content with 17
then at the end of a week let him try to reach 21, then 25, and so on,
aiming to add 4 to the total each week up to 37 (M.
100).
after
Another excellent exercise
for regulating the breath is that of
singing sustained notes to the vowel ah, or
and 37 beats (M.
o, for 17,
21, 25, 29, 33,
100).
Choir-boys
good practice to sing to one breath
the runs in the oratorio excerpt exercises given in Part II. of this
work. Although these exercises may be trying and
impor
gomeât dull, children will certainlyJ be glad after a
ance of
while that they have persevered with them. Only by
will also find it
perseverance.
learning to regulate the breath so that it is expended to

the very best advantage can any singer hope to produce the purest and
most resonant, and therefore the most refined and beautiful tone.
*~
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(40)
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CHAPTER
41
IV.
ON INTELLIGENT SINGING.
All that has so far been said deals only with
"
ca u e( j ^he "machinery of voice production.
am
e
c^
are no *
young voices.
half so
machines
what may be
But children
;
they were, people would not derive
much pleasure from hearing them sing. It is
of
the
charm
of
part
young voices that there are living boys and girls
behind them, and when they sing not only correctly but intelligently
there is no music on earth to equal them.
To
sing intelligently
it
is
if
necessary,
first,
to phrase
correctly;
secondly, to sing with expression.
COERECT PHRASING.
This
Taking breath ^ ea^.
right places
is
means
very closely related to the subject of breathing,
^^
>
^Q
To phrase correctly
chapter.
to
take
breath
in the proper
roughly speaking,
The teacher should explain that in every
j
j agt
places.
are certain pauses between phrases and sentences
there
composition
that can be used for the purpose of taking breath, without in any way
But many children take

interfering with the sense of what is sung.
breath in a most careless and haphazard way, often, by so doing,
completely spoiling the meaning and reason of the words they convey.
set down some lines I have noticed choir-boys phrase
the places marked where breath ought to be taken.
with
wrongly,
" Blessed be the God and Father" should be
phrased
Wesley's
" But as He * which hath called
*
*
*
you is holy so be ye holy in
*
*
of your sojourning
all manner
of conversation.* Pass the time
Below are
here * in fear."
"
Attwood's " Turn Thy face :" Cast me not
* from
away
Thy presence * and take not * Thy
Holy
Spirit
* from me."
"
Newman's " Lead, kindly Light
" I do not ask * to see the
:
distant scene."
42
Hymn
165
("
Hymn
280
("
Ancient and Modern ")

"
*
They fly forgotten as a dream
*
Dies
at the opening day."
:
Ancient and Modern ") :" Thine for ever * Saviour
Us * Thy
Children
frail
keep
and wandering sheep."
who have
learned to analyse sentences will notice in all

these examples that the breath-marks * are placed between phrases
and sentences. This should always be the case. Point out to them
how absurd it is to be singing such a word as " disappointed," and to
* - stop in the middle and take breath, as disap
pointed." It is just
wrong as it would be for them to write the word with a comma in it,
thus " disap, pointed." To take breath in the middle of a phrase is
almost as bad, as for instance, "By Killarney's - - * lakes and fells,"
No intelligent child would
or " God save our - - * gracious King."
dream of writing these phrases with commas, thus " By Killarney's,
Yet many
lakes and fells," or " God save our, gracious King."
there.
commas
were
children thoughtlessly sing as though the
as
The teacher will do well to explain, for the benefit of

Never let the
younger children, that in poetry, or even in an ordinary
muslc
prose composition that has been written by a master of
interfere with .,
,
A
s tyl e there is a certain regular succession of sounds, or
.
>
the sense
Composers try, wherever they can, to make
of the words, rhythm.
their melodies correspond with the character of the words
which they are sung, so that pauses and emphases in the one are
accompanied by pauses and emphases in the other. But this is not
own
always possible, and singers have to a large extent to use their
the
judgment. It is a safe rule never to let the music interfere with
musical
and
more
the
sense of the words. The words are
important,
to
phrasing must,
if
necessary, be sacrificed to elocutional phrasing.
can be made to remember the two following simple

rarely have difficulty in phrasing correctly
If children
rules, they will
1.
Two easy
rules for
Take breath, should
it
be required, at any comma,
sem icolon, colon, or full stop
also
between phrases and
sentences.
phrasing,
2.
Do
not take breath immediately after a transitive
verb, preposition, adjective or article.
We
will
now
deal with the other essential to intelligent singing.
43
EXPRESSION.
a matter of the very greatest importance, because, no
perfectly his voice is trained, unless it has due attention a
"
child will never become a first-rate singer.
Singing with expression"
does not mean merely producing the various shades of tone required when
This
matter
is
how
marked "piano," "forte," "crescendo," "diminuendo," &c.,

important as they are. It means much more. It means that when a
child sings he must feel what he sings, and not only feel himself, but
make his hearers feel. Expression marks are helpful, but if
children would really excel they must do something
more than merely observe them. Children should be
encouraged to put themselves into their music for if they
what
they feel, those who listen will feel what they sing. If a
sing
child makes himself a mere vocal machine, and feels nothing at all, how
can he expect to arouse the sympathy, or even the interest, of his
hearers ? The Welsh people are excellent models in this respect, the
brilliant success attained by their leading singers and choirs being
largely due to the attention always given to expression.
music
is
When
new song
is put into a young singer's hands he

n t of reading it through very carefully,
and making quite sure that he understands it. Then he
should be led to think about the song is it glad, or sad, peaceful,
restful, comforting, warlike, demure, full of quick turns and surprises,
or designed from the first to lead up to a single climax ? Increase of
speed gives the sense of hope and joy; slowness betokens gravity and
So we can sing loudly and softly, sternly and tenderly, and
solemnity.
in many ways make our voices express the exact shade of meaning
intended to be conveyed by the words. The great singer, in fact, is a
great artist, and contrives by his song to paint a vocal picture that
is as clear to the ears of all who love music as a painting would be
y your
g jlou j (j
ma k e
a p
to their eyes.
Point out, on the other hand, how ridiculous such a song as

Handel's "Angels ever bright and fair" ("Theodora") must sound if
unaccompanied by the prayerful expression the words demand or
"
of
Mendelssohn's " I will
mercies
St. Paul
;
sing
Thy great
") sung
("
"
without the spirit of thankfulness. " Come unto Him
(Handel's
" Messiah
") is a gentle, pleading request which loses all charm and
meaning of the words is persuasively conveyed.

hundreds of musical instruments, many of great value ;
force unless the
There are
but not one approaches in beauty the voice of a child
who
really feels.
44
CHAPTER
ON SINGING OUT OF TUNE
V.
ITS CAUSES
AND CURE.
" bad
intonation," is
a frequent fault of young singers. It is very disagreeable, and should
by all means be avoided. When children sing rather above the note it
"
is known as
sharp singing," but a much more common fault is that
or " flat
below the
SINGING out of tune,
of singing
or, as it is generally called,
note,
singing."
(a)
This
is
often due to
SHARP SINGING.
Too much breath
of the shoulders and the upper
wrong breathing.
is
forced
ribs, the
"
"
breath
instead
of
with
a
of
air striking against the vocal cords
gust
"
a
The vibrations of the vocal cords are thus
gentle breeze."
increased beyond the proper pitch, and the tone is raised. A boy who
through the larynx by the aid
has a whistle which gives a shrill note C, can

force raise the pitch to C sharp.
?
R
This is exactly what happens

the shoulders and then lower
by blowing with extra
when young singers raise

them so that the pressure
and the compression of the upper ribs force the breath

too strongly through the larynx.
Another cause of sharp singing is squeezing the tone forward on
When this is done, the notes, especially
the closed vowels e and i.
those above E, are pinched and sharp. Boys whose voices are
breaking use undue effort to produce certain notes, and sing sharp in
consequence.
(b)
a very common fault of children and choir-boys.

caused mainly by the use of the bad, forced
"chest tone." The strain on the delicate vocal muscles
This
FLAT SINGING.
It
is
is
by the production of this unnatural tone is so great that it causes them

This flattening is more apparent
to relax, and thus lowers the tone.
when children are asked to monotone, or sing on one note. If the
45
vocal muscles are fixed in a certain position, they are affected just as
A child who
the muscles of any other part of the body would be.
holds out a reading-book at arm's length, at right-angles to the

shoulder, will very soon find that his arm becomes tired, and there will
be a tendency to lower the book.

So, if the vocal muscles are fixed as
"
chest voice," they will soon grow tired
in monotoning with heavy
with the result that the tone falls, and we get flat singing.
"
The sure consequences of straining the muscles by " chest voice will
and
relax,
be vocal fatigue and
flat
singing.
Other causes of singing out of tune are

j Singing in a bad atmosphere, as in a crowded
hall.
cannot
Qr badly-ventilated
The lungs
J
&
under such conditions inhale sumcient oxygen
:
Other causes
of singing
out of tune.
to keep the muscles of the body in good working order.

2. Singing when physically or mentally tired, as through over-
exertion in
3.
4.
games
or studies, or through
want of
sleep.
Singing when in ill-health.

Singing when the voice is breaking and cannot be
controlled.
(See Chapter VI.)
CUBE FOR SINGING OUT OF TUNE.
When
bad intonation is the result of one of the last four

little can be done to prevent it, but in the case of
^ sharp singing and flat singing the cure is to breathe
correctly, as explained in Chapter III., and to use the
in tune.
"
"
as described on page 16.
pull
gentle voice-placing
The slight trouble involved in cultivating the excellent "head-voice"
is well repaid by the power it gives of singing for a long time without
Users of
a " 01<
causes
and
same time singing
perfectly in tune.
It will, however, not infrequently be found that even children
"
accustomed to the use of the easily-produced " head- voice will sing flat
growing
tired,
at the
This generally arises simply from want of attention.

it an excellent plan under such circumstances to
when monotoning.
Choirmasters will find
monotone numbers from one to ten (M. = 60) on

Then let the note on which they began be
flat.
on organ, pianoforte, or pitch-pipe, and get them to
get their pupils to

E, F, G-, A, or B
played very softly
This will arouse interest,

notice whether they are still strictly in tune.
and the children will make a determined effort to maintain the pitch.
should be impressed upon them again that all through they should
"
the note, as in the
have the sensation of lifting, or " pulling back
shade
of
If
the
16.
on
flattening is perceptible,
slightest
diagram
page
It
VOICE CULTURE FOB CHILDREN.
46
let
the numbers be repeated, and continue the exercise until the
The numbers
absolutely correct pitch is maintained from first to last.
can then be increased to 15, again striking the note softly at the end
to verify the pitch. In subsequent practices the numbers can be further
increased to 25, 30, 35, 40, 45, 50, 55 and 60.
When a choir has
demonstrated its ability to maintain absolute correctness of pitch up to
60,
which
at
M. = 60 would be exactly one minute, the
rest assured that
he
will
instructor
may
not be further troubled by bad intonation.
hardly possible to over estimate the importance of

monotoning as a cure for flat singing, for a choir which has learnt to
monotone in tune will sing everything else in tune.
It
is
Choirmasters and organists
will frequently notice
on winter morn-
ings, when
the temperature of the church is low, that there is a tendency

on the part of the boys to sing flat. Even boys who are carefully trained
are apt to be troubled on such occasions.
This may be overcome by a
little
preliminary practice.
and get them
to practise
Take them
using the o (oak), 6
an adjoining room,
if
possible,
the scales of F, Ta
sharp, and G, and arpeggios
on the common chord.
to
The
g^FÊ^^^tpip
in the
same keys
exercises should be
(on), or
ah
(father)
sung pianissimo,
vowel sounds. Just as
athletes find a little preliminary exertion of the muscles to be used of

great advantage, so a loosening of the vocal muscles will enable choir-
boys to sing well in tune, no matter
how low
the temperature of the
building.
"BAD EAR."
have what
That is, they do not readily
distinguish between one musical sound and another, and are not able
easily to imitate a note the teacher may sing or strike on pianoforte or
violin
or if they do imitate the note they quite unknowingly sing
" out of tune." In such cases it is
" ear " that is at fault
rarely the
it is
simply the result of want of training. Boys and girls, like men
and women, of course differ very much in then* musical capacity and
in their fondness for music
but it can safely be said that quite
ninety-nine per cent, of our children can, with a little patience and
"
perseverance, cultivate a
good ear," and learn to sing with pleasing
voice and good intonation.
is
few children
called
far
"bad ear"
fewer than
for
is
music.
generally supposed

" Bad
&
been far more common

among upper-class children than among elementary
sc
children, because the latter have enjoyed the
has
ear"
hitherto
hl
ck of*
benefits
training,
is
But
47
of that compulsory training in singing which

upon by the educational authorities.
so wisely insisted
in recent years
much has been done by
the governing bodies
Harrow and Eton, and
in the high-grade boarding

schools and high-schools, to encourage a love of music, with the result
that few children at the present day entirely lack training.
of public schools like
The Fairyland
of Music
No
child should be allowed to

,.
pleasure which music
deny himself or herself the

..
,,
on the plea of "no voice,
,
-,
affords
The
or " bad ear," for both complaints are curable.
earnest teacher often finds a real delight in imparting to a child the
ability to distinguish the faintest variations of musical tone, and thus
opens to that young mind a fairyland of enjoyment that would
otherwise have been for ever sealed.
SINGING ALONE.
Much more might

"
good ear
"
in children.
be done by parents themselves to cultivate

The little ones should be encouraged to sing
home
snatches of songs and nursery rhymes, or anything that is

within the compass of their voices. Even when only three or four
at
years of age, it will be found that children pick up simple tunes quite
easily, and these are a great help to them later in training their
A great deal of the difficulty often experienced in

children
to
getting
sing when they have reached what may be called
the shy, self-conscious age (say from 8 to 13), arises less from
" bad ear" than from the fact
that, not being accustomed to sing alone,
"musical ear."
own voices. It is partly for this reason

that I hold, as already stated in dealing with part-singing (page 21),
that it is a mistake always to practise children collectively.
If they
they fear the sounil of their
were so taught to read and recite
would be hopeless to expect

correct articulation and intelligent phrasing.
Only by getting them to
recite individually is the teacher able to remove shyness, and to
encourage fluency and precision. I believe this method is even more
important in singing. Apart from the danger of permanent injury to
it
the voice by unconscious over-exertion in class, it is only by getting

children to sing individually, and letting them get used to the sound
of
their
own
voices,
that their
Every teacher of experience
is
natural shyness
can be overcome.
who have
familiar with cases of adults
life deprived of the power of singing to others

simply
because as children they were never taught to sing alone.
gone through
48
It hardly
needs to be pointed out that, as
many
children are at
first
extremely sensitive on this point, the greatest tact and patience must
be exercised. A single cross word or irritable look may increase the
child's nervousness a hundredfold, and make success almost impossible.
give the little singer an encouraging
smile or remark, and very soon all hesitation will disappear. In class,
it is a good plan to get each child to sing in turn a note of a scale, a
At
first,
whatever the result
may be,
Choirmasters will find the

part of an exercise, or a phrase of a song.
practice of letting each child sing individually a verse of a canticle or
psalm, or a phrase of hymn or anthem, a certain means of securing self-
ought to be possible, after a short period

of practice in this manner, to be able to call with confidence upon any
boy to take a verse or a solo part. Certainly the choirmaster will find
in an all-round improvement in the singing of his choristers an ample
reward for the trouble he has taken.
confidence and firmness.
It
CHAPTER
VI.
ON THE BREAKING OF THE VOICE

TREATMENT.
ALTHOUGH
book
SIGNS AND
intended primarily to furnish hints for the

training of young singers, it is necessary to say something about a
trouble which, sooner or later, all boys and girls have to face, and
this
is
which, for a time, quite prevents the former from singing at all.
The term "break" is more commonly used in connection with
boys' voices than with those of girls' because the change is so much
more apparent in the one than in the other. But the change occurs
in both sexes, usually between the ages of 14 and 15, but sometimes
"
as early as 13, or as late as 17.
The " break is apparently due to an
enlargement of the larynx. In boys it broadens, causing a deepening
of tone in singing to the extent of
an octave or more
in girls the
in pitch, so little
;
larynx lengthens, but the voice alters very little

indeed that it is frequently held that there is no break at all. A want
of control over the high notes will, however, be perceptible in the early
stages of the change, and with girls as with boys
exercise the very greatest care at this period.
attempts to force high notes or to produce low
necessary to
Loud singing, or
it
is
ones, will almost
permanent injury to the voice. It is frequently

and
teachers to know when the change is beginning.
parents
The following signs apply to boys
certainly result in
difficult for
(1)
if-
The
assumes an older expression, and there

a slight broadening of the bridge of the
face
is
nose.
(2)
(3)
The speaking voice becomes deeper.

The boy cannot be sure, even when placing
of singing in tune.
(4)
He
his voice correctly,

has to use unaccustomed effort to
produce a note, and the result is a tendency to sing sharp.

On certain notes the boy experiences difficulty in getting the
With
full tone he has hitherto produced without effort.
some boys the

far the greater
husky.
at
all.
In a
lower, with others the middle, but with
by
number the upper notes become weak and
week or two these notes cannot be produced
50
It is remarkable, too, that as the
time of break approaches, a boy's
becomes much more resonant and beautiful. This is so both

with boys who have been trained to use their voices correctly and
with those who have not. The trained boy's voice undoubtedly gets
richer and fuller, but the improvement in the untrained voice is due to
voice
the fact that the boy loses the power of using the forced " chest voice,"
and is thus compelled to employ the easy, resonant head voice," with
'
its
accompanying beautiful quality of tone.
Boys should
S1 "2
ir
period of
break.
Directly a boy shows any of the signs mentioned above

hi s singing should absolutely cease, and he should be
told to use even his talking voice as little and as gently
as P O88 ible.
That eminent voice-specialist, the late
Sir Morell Mackenzie, attached great importance to this
" should be
" The work of the
voice," he wrote,
point.
suspended in singing, and reduced in talking, during the period of

break."
Girls
and
practise with advantage exercises and scales between C

all the vowel sounds or solos within easy compass of the
may
on
voice, but it is essential that the singing should be quite effortless, and
free from strain.
It cannot be too emphatically stated that during the
period of break boys should not sing at
The necessity
for this great care arises of course
from the child's voice

its
possibilities.
all.
from the
fact that
evolve the mature, life-long voice with all

Until the period of break is over it is absolutely
is to
impossible, in the case of boys at least, to tell what the mature voice is
to be tenor, baritone or bass.
The same may safely be said of girls,
though teachers of great experience have told me that in possibly

one per cent, of their pupils they have been able to predict that the
mature voice would be contralto.
It not unfrequently happens that boys and girls who
have reached this age are engaged in school teaching or
speaking, the O t ner wor k
requiring much use of the voice. When this
* s îe case îe
^ 8nou ^ be mos t careful not to strain
used
Even
in
verv
sparingly,
their voices
by speaking too loudly or too long.
Wolfenden, in
his
excellent
translation
Dr.
of Dr. Joal's
book on " Respiration in Singing," says in the preface " I have seen
so many cases of voice failure through the effects of continuous
teaching speaking and singing which young teachers, male and
female, are called upon to exert, that the frequent occurrence cannot
:
be regarded as accidental."

The
51
speaking loudly may to some extent be lessened by

the
consonants
more distinctly.
pronouncing
effort of
Although, as I have urged, it is of the greatest possible advantage

to encourage children to sing individually, it is a mistake
a very
to ask a boy whose voice shows signs of breaking to
serious mistake
do
The teacher
so.
or parent has only to imagine himself in the place
how extremely painful and humiliating it must be

one who has enjoyed the use of a beautiful voice, responding readily
to every demand, to be asked to sing, and then to be able to produce
"
"
only
cracky notes, and to omit some altogether.
of the boy to realize
to
ow
The period during which a boy's

to
employ the
period of
vocal rest,
man's tenor, baritone, or

*
wo
vears
T
-
"
,
mav
bass,
'
be as ked
treble
changes to a
on
an average
occupies
&
,
...
'Is
a youth s musical
"
It
training to be entirely neglected during this period ?
is certainly a long while to be debarred from the
enjoyment
of singing, but it by no means follows that the time need be wasted. The
enforced vocal rest may, indeed, be turned to considerable advantage in
strengthening the constitution and in preparing for the use of the mature
voice by a systematic course of breathing exercises.
All physical
exercises are good for the general health, but comparatively few
lads
and
girls at
the critical age between 15 and 18 have unlimited
of
indulging in cricket,
gymnastics, and other games and sports.
opportunities
On
benefits of
l
"f
oXorClboa*
and
cycling,
swimming,
healthy exercises which may be

ma(j e equally beneficial can be practised by all, and
the trifling cost of a book on the subject need be the
the
other hand,
only expense incurred.

lads
tennis,
who wish
to
I would
recommend
that
all
make the most
girls
profitable use of the
important period of physical development between the ages of 15
and 18, should practise regularly the exercises given in Chapter III.,
but the numbers should be whispered, not counted audibly as
I can also recommend the following books

there suggested.
dealing
with the important subject of breathing as a means of physical develop"
ment and' as an aid to tone-production
Breathing for VoiceDr.
H. H. Hulbert, published by Novello & Co., Ltd.;
Production," by
and the breathing exercises contained in the " Syllabus of Physical
:
Exercises for use
Wyman &
in
Public
Elementary
Sons, Fetter Lane, London, E.G.
Schools,"
published
by
52
MUSICAL TEBkS, WITH THEIR PRONUNCIATION AND

MEANING.
Accelerando (at-tsel--ran-do). Getting faster.
Adagio (a-dah-jeo). Very slow and expressive ; M.
60, that is
about 60 beats to the minute. (See page 37.)
Rather quickly ; M.
Allegretto (al-le-gret-to).
100, or 100 beats to
the minute.
120.
Allegro (al-ay-gro). Rather faster than allegretto M.
Andante
Animato
(an-dan-tay).
Walking
pace, about
M.
= 80.
(an-e-mah-to).
Lively ; bright.
After a change of speed return to the original
time.
tempo (a-tempo).
Crescendo (cresh-en-do).
Sometimes expressed Cres.,or
getting louder.
Da
Capo, or D.C.
(Da Cah-po), from the beginning.

or
Decres.
Decrescendo,
(de-cresh-en-do).
Getting softer, sometimes
thus
r
expressed
Diminuendo, or Dim. (Dee-mee-noo-en-do). Getting softer.
Dolce
Fine
In sweet, soft
(dol-tsa).
style.
The end.
(fe-na).
Loud.
Forte, or f (for-tay).
Fortissimo, or ff (for-tee-si-mo).
Very loud.
Larghetto
Rather slow about M.

70.
(lar-get-to).
about
M.
50.
Largo (lar-go). Very slow;
In
a
smooth
manner (not scooping).
Legato (le-gah-to).
gliding,
Lento (lento). Very slow.
Metronome, or M. (met-ro-nome). -- A clockwork instrument for
measuring time in music, with an adjustable pendulum that
can be fixed to tick any number of beats per minute required.
"
to the minute.
M.
100 denotes 100 beats or " ticks
;
(See page 37.)
Moderately loud.
At a moderate pace.
Mezzo-forte (met-zo-for-tay).
Moderato (mo-dar-ah-to).
Molto (molto). Much.
As
Pianissimo, or pp. (pe-ah-ne-se-mo).
Poco
(po-ko).
soft as possible.
little.
rail, (ral-len-tan-do).
Gradually decreasing the pace.
ritard.
or
Ritardando,
Gradually decreasing the pace.
(re-tah-dando)
Sometimes denoted by a dot or dash over a
Staccato (stah-kah-to).
note means that the notes are to be short and detached.
Rallentando, or
Return to the original time.

pri-mo).
Full; all voices joining in together after a solo.
Tempo primo (tem-po

Tutti
(too-te).
NOVELLO'S ORIGINAL OCTAVO EDITIONS

OF
Oratorios, Cantatas, Odes, Masses, &c.

FRANZ ABT.
NOVELLO'S OCTAVO EDITION OF ORATORIOS,

z4
HECTOR BERLIOZ.
89
FAUST
Continued.
ti'Au
A. VON AHN CARSE.

THE LAY OF THE BROWN ROSARY
WILLIAM CARTER.
a/8
...
CHORUSES AND WORDS OF SOLOS ONLY,
(DITTO
SOL-FA,
1,0)
THE CHILDHOOD OF CHRIST
'
...
...
...
(DITTO
TE DEUM LAUDAMUS
(Latin)
2/0
BETJEMANN.
THE SONG OF THE WESTERN MEN
G. R.
W.
ISRAEL RESTORED
R.
40
BLAIR.
BLESSED ARE THEY WHO WATCH (AovBNT)

HARVEST-TIDE
THE SONG OK DEBORAH AND BARAK
TRAFALGAR (SOL-PA, 0/8)
1/6
1/0
2/6
1/6
JOSIAH BOOTH.
THE DAY OF REST (Female voices) (SoL-FA, 0/9)
1/8
1/6
...
KATE BOUNDY.
(Operetta) (SOL-FA,
/6)
E. M. BOYCE.
THE LAY OF THE BROWN ROSARY
THE SANDS OF CORRIEMIE (Female voices)
(DITTO, SOL-FA, 0/6)
YOUNG LOCHINVAR
J.
HARVEST CANTATA
A SONG OF DESTINY
...
...
1/8
THE COUNTRY MOUSE AND THE TOWN

MOUSE (Operetta) (SOL-PA, 0/4)
THE SNOW QUEEN (Operetta) (SOL-PA, 0/6)
SONG OF EDEN
O PRAISE THE LORD
THE HOLY INNOCENTS

RESURGAM
RUDEL
J.
F.
1/0)
...
1/6
1/6
1/0
I/O
1/0
1/0
1/0
daoth Psalm)
CAPTAIN REECE
voices) (SOL-PA, 0/6)
THE MARTINET. (Boys'
Humorous Naval Cantata for
Boys (SOL-PA, 0/6)
THE TRAGEDY OF COCK ROBIN (Short Action
Piece) (SoL-PA.0/8)
THE YARN OF THE NANCY BELL (Cantata or
0/6)
...
...
1/6
8/0
...
2/6
3,6
...
KUTH
SOL-PA,
1/0)
1/b)
..
THE WATER LILY

VILLAGE SCENES
3/0
- _ _
- -
(Female voices) (SOL-FA,

J.
VIA CRUCIS
0/9)
...
J.
...
0/8
1/0
W. BYRD.
2/8
CARISSIMI.
1/0
2/0
1/6
2/0
1/6
2/0
8/0
4/0
2/6
2/6
2/0
2/0
2/6
1/6
2/6
...
G.
FLAT
H.
2,,fi
3,8
5/0
2/6
WALFORD
1/6
1/6
2/0
3/0
40 50
6/0
DAVIES.
HERVE RIEL
THE TEMPLE
THE THREE JOVIAL HUNTSMEN (Folio)
LIFT UP YOUR HEARTS (Sacred Symphony)
P. H. DIEMER.
- - BETHANY
M. E. DOORLY.
- - LAZARUS
...
6/0
4/0
4/0
- -
CUSINS.
FELICIEN DAVID.
- THE DESERT (Male voices) (SoL-FA, 0/8)
- -
4/6
3/0
3/0
2/0
30
IN B
3/0
W. H. CUMMINGS.
W.
TE DEUM,
2/6
2/6
- -
1/6
THE FAIRY RING
6/0
MAUDE CRAMENT.
- WILL MAGNIFY THEE, O GOD(i 45 th Pa&lm)...

- - LITTLE RED RIDING-HOOD
(Female voices)
- W. CRESER.
- - EUDORA (A dramatic Idyll)
- W. CROTCH.
- -
4/0
W. COWIE.
(SoL-PA, 1/0)
5/0
3/0
COWEN.
ST. JOHN'S EVE (SoL-FA, 1/8)

SLEEPING BEAUTY (SOL-PA, 1/8)
SUMMER ON THE RIVER (Female w.) (SoL-FA, 0/9)
THE ROSE OF LIFE (Female voices) (SOL-FA, 0/9)
3/0
5/0
J/6
1/0
CHRISTMAS SCENES (Female voices) (SOL-PA, 0/9)

CORONATION ODE
JOHN GILPIN (SOL-PA, 1/0)
ODE TO THE PASSIONS (SOL-PA, 1/0)
4/0
1/6
2,0
F. H.
1/0
1/0
S/6
1/0)
H. COWARD.
- GARETH AND LINET (SoL-FA, Choruses only,
8/0
- - THE STORY OF BETHANY
(SoL-PA, 1/8)
-
2/6
2/0)
...
8/6
1/0
8/0
2/6
2/6
2/6
2/8
8/0
1/0
HIAWATHA'S WEDDING-FEAST (SOL-FA, 1/0)

HIAWATHA'S HOCHZBIT
3 mark
THE DEATH OF MINNEHAHA (SoL-PA, 1/0)
HIAWATHA'S DEPARTURE (SOL-FA, 1/0)
THE BLIND GIRL OF CASTEL-CUILLE
3/0
BURTON.
MASS FOR FOUR VOICES
(Men's voices)
MY SOUL TRULY WAITETH

S. COLERIDGE-TAYLOR.
SCENES FROM THE SONG OF HIAWATHA
PALESTINE
...
8/6
8/6
8/6
8/6
8/0
THE BRIDAL OF TR1ERMAIN (SoL-FA, 1/0)

SIR MICHAEL COSTA.
THE DREAM
8/6
2/6
1/6
1/0
3/0
2/6
1/0
1/0
1/6
1/6
8/6
1/6
COBB.
1/0
1/0
EDWARD BUNNETT.
JEPHTHAH
A SONG OF TRAFALGAR
F.
FREDERICK CORDER.
DUDLEY BUCK.
School Song) (Boys' voices) (SOL-PA,
..
(SOL-FA, 0/9)
8/0
6/0
BRIDGE.
THE LIGHT OF ASIA
..
..
ADAUGHTEROFTHESEA(Femalevv.)(SoL-FA,l/0)
A SONG OF THANKSGIVING
NINEVEH
ROCK OF AGES (Latin and English) (SOL-FA, 0/4)...
THE BALLAD OF THE CLAMPHERDOWN
(DITTO, SOL-PA, 0/8)
THE CRADLE OF CHRIST ("Stabat Mater Speciosa")
THE FLAG OF ENGLAND (SOL-PA, 0/9)
THE FROGS AND THE OX (Operetta) (SoL-FA, 0/6)
THE INCHCAPE ROCK
THE LOBSTER'S GARDEN PARTY (Female w.)
THE LORD'S PRAYER (SOL-PA, 0/6)
THE SPIDER AND THE FLY (Operetta) (SoL-FA, 0/6)
T. A.
THE NORTH-EAST WIND
BRIDGE.
BOADICEA
CALLIRHOE (SoL-PA, 1/6)
FORGING THE ANCHOR (SOL-FA,
HYMN TO THE CREATOR
MOUNT MORIAH
OUT OF THE DEEP
HAMILTON CLARKE.
DRUMS AND VOICES (Operetta) (SOL-PA, 0/9)
HORNPIPE HARRY (Operetta) (SoL-PA, 0/9)
PEPIN THE PIPPIN (Operetta) (SoL-PA, 0/9)
THE DAISY CHAIN (Operetta) (SOL-FA, 0/9)
THE MISSING DUKE (Operetta) (SoL-FA, 0/9)
MEG BLANE (SOL-PA, 0/9)

THE ATONEMENT
40
1/0
1/0
4/0
2/0
a/o
...
4/0
CHIPP.
E. T.
VO
3/6
1/6
2/6
8/0
1/0
(CORONATION)
GERARD
1/8
I/O
1/6
1/6
i/o
(SOL-FA, 0/9)
NINETY-EIGHTH PSALM
2/0
FREDERIC CLIFFE.
HERBERT BREWER.
C.
and Eng.)
JOB
(Operetta)
(SOL-FA, 0/0)
J.
(Lat.
(DITTO, SOL-FA,
SIGURD
DANIEL
THIRD MASS
BRAUN.
QUEEN MAB AND THE KOBOLDS
EMMAUS
FOURTH MASS, IN C
FIRST REQUIEM MASS, C MINOR
SECOND MASS, IN D MINOR
(DITTO. SOL-PA,
BRAHMS.
C.
A.
1/6
1/6
BRADFORD.
J.
1/0)
NAOMI
THE RIVAL FLOWERS
ONLY,
- -
CHERUBINI.
1/0
BEXFIELD.
HUGH
PLACIDA (CHORUSES
2/0
SOL-FA, 0/8)
&c.
1/0
1
26
4/0
2/6
- -
LUCY
(DITTO, SOL-PA,
ERL-KING'S
Fantasy)
...
PSYCHE
1/0
1/6
(German and Bohemian Words)

...
1/6)
(SOL-FA,
1/6)

A. E. DYER.
1/6
1/6
1/6
3/0
5/0
6/0
8/0
2/6
2/6
3/0
6/0
JOHN B. DYKES.
THE LORD IS MY SHEPHERD
THESE ARE THEY (SOL-FA, 0/2)
1/0
0/6
F.
6/0
6/0
7/6
7/6
3/0
4/0
3/0
3/6
4/0
5/0
..
KINGDOM
*/0
5/0
8/6
...
1/0)
(Lux Christi) (SoL-FA,
1/0)
..
ROSALIND
F.
...
...
'.'.'.
THE VICTORY OF
COMMUNION
(Female w.) (SOL-PA,
0/9)
GARMON
(SOL-FA, 0/9)
...
A. J. EYRE.
SERVICE IN E FLAT
T.
A MERRY CHRISTMAS
(DITTO, SOL-FA
MASS, IN B FLAT
7/6
...
F. E.
ORPHEUS (CHORUSES,
1/6
1/6
1/0
1/0
DITTO
2/0
...
2/6
2/6
2/6
2/0
II.
8/6
1/0
2/6
2/6
2^0
2/6
0/6
3/0
3/0
3/0
2/6
4/0
4/0
4/0
4/0
- - 4/0
-
3/0
8/0
3/0
4/0
4/0
- 4/0
3/0
1/6
(Operetta)
2/0
0/8)
GLADSTONE.
.
(ACT
2/0
1/0
- -
2/6
- -
GLUCK.
SOL-FA,
8/6
1/0)
ONLY)
1/6
- -
THE SONG OF THE AMAL
1/6
1/0
1/0
1/6
HERMANN GOETZ.
N02NIA
THE WATER-LILY (Male
2/6
A. M.
1/6
1/6
- _
Psalm)...
,.
voices)
GOODHART.
ARETHUSA
EARL HALDAN'S DAUGHTER
FOUNDER'S DAY (Ode)
SIR ANDREW BARTON
THE SPANISH ARMADA
...
1/0
1/0
1/6
1/0
0/6
0/9)
(Latin and English) (SoL-PA, 1/0)
E.
1/6
PERCY GODFREY.
CH. GOUNOD.
HENRY FARMER.
PERCY
1/0
3/0
1/6
OUSELEY GILBERT.
SANTA CLAUS AND HIS COMRADES

(DITTO, SOL-FA,
0/6)
E. FANING.
BUTTERCUPS AND DAISIES (Female voices)
(DITTO, SOL-PA,
E.
6/0
BY THE WATERS OF BABYLON (I37th
RED RIDING-HOOD'S
)'S R
RECEPTION (Operetta)...
SONS OF THE EMPIRE (School Cantata)
1/8
...
FR. GERNSHEIM.
A TRIUMPH SONG (Male voices)
PHILIPPI
FACER.
(School Cantata)
4/0
2/6
2/6
1/0
(Unison Song with Actions)
HARRY EVANS.
ST.
UNION JACK
1/0
1/6
GUSTAV ERNEST.
ALL THE YEAR ROUND
4/0
2/6
GAUL.
RUTH (SOL-FA, 0/9) (Choruses only, 1/0)

THE ELFIN HILL (Female voices)
THE HARE AND THE TORTOISE (for Juveniles)
(DITTO, SOL-FA, .0/6)
THE HOLY CITY SOL-FA, 1/0)
THE LEGEND OF THE WOOD (Female voices)...
THE PRINCE OF PEACE (SOL-FA, 1/0)
THE TEN VIRGINS (SoL-FA, 1/0)
TOILERS OF THE DEEP (Female voices)
UNA (SoL-PA, 1/0)
SALAMIS.
2/6)
ELLICOTT.
2/6
1/6
4/0
A. R.
2/6
5/0
ELYSIUM
7/6
1/6
2/0
(DITTO, Choruses and Words of Solos only, SOL-FA,

(DiTTO, German Words, 5 mark)
4/0
2/6
4/0
MACHILL GARTH.
...
5/0
5/0
THE BIRTH OF SONG
..
(Female voices)
(DiTTo, SOL-FA, 0/9)
2/0
2/6
(DITTO, Choruses and Words

(DITTO, German Words, 8 Mark)
BLACK KNIGHT
LIGHT OF LIFE
...
A SONG OF LIFE (Ode to Music) (SOL-FA, 0/6)

ISRAEL IN THE WILDERNESS (SoL-FA, 1/0)
JOAN OF ARC (SoL-PA, 1/0)
PASSION SERVICE
8/6 4/0
3/0
1/0
6/0 6/0
of Solos only, SOL-FA, 2/6)
GEORGE
HARVEST CANTATA (SOL-PA, 0/6)

THE SHUNAMMITE
THE TWO ADVENTS
THE DREAM OF GERONTIUS
1/6
2/6
1/6
3/0
GARRETT.
AROUND THE WINTER FIRE
CARACTACUS (SOL-FA, Choruses only, 1/6)

KING OLAF (SOL-FA, Choruses only, 1/6)
TE DEUM AND BENEDICTUS
THE APOSTLES
BANNER
W. GALPIN.
G.
- -
EDWARD ELGAR.
THE
THE
THE
THE
f:
gc
2/0
1/6
2/6
THE ASCENSION
THE EPIPHANY
THE RISEN LORD
..
YE OLDEENGLYSHEPASTYMES (Female voices)
R.
EDWARDS.
THE HOLIEST
(DITTO, SOL-FA, Choruses only, 1/6)

(DITTO, French Words, Prix fr. 7.60 net)
(DITTO, German Words, 6 Mark)
OF ST.
(SOL-FA
1/0
2/6
0/8
2/0
1/0
THE WILD HUNTSMAN

1/6
8/6
J.
(SOL-FA, 1/6)
EZEKIEL
ELECTRA OF SOPHOCLES
SALVATOR MUNDI
H.
If
1.0)
2/X)
1/0
0/9)
ALCESTIS
(English Words) (At the Foot of the
DITTO
...
DAUGHTER (SoL-FA,
HENRY GADSBY.
(Male voices)
COLUMBUS (Male voices)
LORD OF THE ISLES (SoL-FA, 1/6)
1/0
REQUIEM MASS
ST. LUDMILA
DITTO
STABAT MATER (SOL-PA, 1/6)
THE SPECTRE'S BRIDE
(SOL-PA, 0/4)
ZION
THE WRECK OF THE HESPERUS

ANTONIN DVORAK.
COMMUNION SERVICE, IN D
IN
D
MASS,
PATRIOTIC HYMN
Cross) (Sol-fa,
1/0
(ii7th Psalm)
SPRING'S MESSAGE (SoL-FA, 0/3)

THE CRUSADERS (SoL-FA, 1/0)
0/6.
DUNKLEY.
F.
PRAISE TO
COMALA
DUNHILL.
TUBAL CAIN (Ballad) (SOL-FA, 0/8)

THE FROLICSOME HOURS (Musical
DITTO
CHRISTMAS EVE
2/0
T. F.
o.v
NIELS W. GADE.
DOWNING.
A PARABLE IN SONG
DITTO
PRAISE YE THE LORD
2/0
5/0
..
K.
Continued.
ROBERT FRANZ.
DOSSERT.
COMMUNION SERVICE, IN E MINOR
MASS, IN E MINOR
F. G.
...
&c.
2/0
FLETCHER.
THE TOY REVIEW (Operetta) (SOL-FA,

THE ENCHANTED ISLAND (Operetta) 0/8)
THE OLD YEAR'S VISION (Operetta) (SOL-FA, 0/6)
J. C. FORRESTER.
THE KALENDAR (Operetta) (SoL-FA, 0/9)
MYLES B. FOSTER.
SNOW FAIRIES (Female voices) (SOL-PA, 0/6)
THE ANGELS OF THE BELLS (Female voices)...
THE BONNIE FISHWIVES (Female
VV.)(SOL-PA, 0/9)
THE COMING OF THE KING (Female
voices)...
1/6
2/0
1/6
2/0
1/6
1/6
1/6
1/6
2/6
3/6
COMMUNION SERVICE (Messe Solennelle)

DITTO
(Troisieme Messe Solennelle)
DAUGHTERS OF JERUSALEM
DE PROFUNDIS
DITTO
GALLIA
daoth Psalra) (Latin Words)

(Out of darkness)
...
1/6
2/6
1/0
...
1/0
1/0
1/0
...
(SOL-PA, 0/4)
- _ MESSE SOLENNELLE (ST. CBCIUA)
...
1/0
6/0
2/0
0/8
1/0
2/6
5/0
8/4
10/0
..
1/0
2/6
MORS ET VITA (Latin or English)

SOL-PA (Latin and English)
DITTO,
- - O COME
NEAR TO THE CROSS (Stabat Mater)
OUT OF DARKNESS
REQUIEM MASS, from "Morset Vita"
- _ THE
REDEMPTION (English Words) (SoL-PA.2/0)
- DITTO
(French Words)
DITTO
(German Words)...
- - THE SEVEN WORDS
OF OUR SAVIOUR ON
- THE CROSS (Filia: Jerusalem)
TROISIEME MESSE SOLENNELLE
2/0
3/0
1/6
6/6
2/6
7/6
3/0
6/0
7/6

GRAUN.
H.
C.
TE DEUM
THE PASSION OF OUR LORD
(DerTodJesu)
...
36
3/6
ALAN GRAY.
ARETHUSA
A SONG OF REDEMPTION
THE LEGEND OF THE ROCK-BUOY BELL
THE WIDOW OF ZAREPHATH
1/6
...
THE PARACLETE
NOTHING TO YOU
W.
THE PRESENTATION
ACIS
HALL.
DITTO,
ALCESTE
0/8
(SoL-FA, 0/3)
HALL.
THE TEMPLE
A.
IN
Edition, edited by J.
1/6
Barnby SOL-FA, 0/9)

(
ALEXANDER'S FEAST
ATHALIAH
BELSHAZZAR
CHANDOS TE DEUM
CORONATION AND FUNERAL ANTHEMS
LET THY HAND BE STRENGTHENED
MY HEART IS INDITING
THE KING SHALL REJOICE (SoL-FA, 0/3)
THE WAYS OF ZION
ZADOK THE PRIEST (SoL-FA, 0/1J)
DEBORAH
DETT1NGEN TE DEUM
DIXIT DOMINUS (from Psalm ex.)
ESTHER
HERCULES (CHORUSES ONLY, 1/0)
(CHORUSES ONLY)
(CHORUSES ONLY,
DOMINUS
O COME, LET US SING
...
ST. CECILIA'S
- -
- -
C.
SAMSON
(SOL-FA,
1/0
8/0
3/0
2/0
1/0
1/0
...
...
1/0)
DITTO
(CHORUSES ONLY)
SAUL (CHORUSES ONLY, 1/0)
SEMELE
SOLOMON (CHORUSES ONLY, 1/6)
SUSANNA
THEODORA
THE MESSIAH, edited by V.Novello(SoL-FA 1/0)...
THE MESSIAH, edited by E. Prout (SOL-PA, 1,0)
THE MESSIAH, edited by V. Novello, Pocket Edition
THE MESSIAH, edited by W. T. Best (SoL-FA, 1/0)
DITTO
(CHORUSES ONLY)
THE PASSION
DITTO
(Abridged Edition)
THE TRIUMPH OF TIME AND TRUTH...
UTRECHT JUBILATE
...
...
...
2/0
0/8
3/0
1/0
3/0
1/0
C. A. E.
(Operetta)
0/6
HARRISS.
(A Choric Idyl)
2/6
1/0
THE SANDS OF DEE
CHARLES HART-DAVIS.
(Musical
Sketch
for
1/6
BASIL HARWOCD
INCLINA, DOMINE (86th Psalm)
J. W. G. HATHAWAY.
HOW SWEET THE MOONLIGHT SLEEPS
UPON THIS BANK
A LEGEND OF BREGENZ
.
,.
3/6
4/0
6/0
1/0
1/0
1/6
1/6
1/6
2/8
2/6
4/0
5/0
3/0
1/0
2/6
2/6
16
1/0
8/6
3/6
2/6
2/6
1/6
2/6
1/2
3/6
1/0
4/0
1/6
6/0
2/6
4/0
08
26
2/0
1/0
SIDNEY R. HOGG.
THE NORMAN BARON ...............
1/6
(Female voices)
JOSEPH HOLBROOKE.
..................
C. HOLLAND.
1/6
- -
AFTER THB SKIRMISH ...............
1/0
BYRON
(Poem)
T. S.
KING GOLDEMAR
HOLLAND.
(Operetta) (SOL-FA, 0/9)
......
2/0
GUSTAV VON HOLST.

THE IDEA
(Humorous Operetta) ( SOL-FA,
0/6)
...
HUMMEL.
_ 6/0
_
.........
ALMA VIRGO (Latin and English)
3/6 6/0
- COMMUNION SERVICE, IN B FLAT ......
FIRST
- - QUOD
IN
IN
MASS, IN B FLAT
IN
ORBE
E FLAT
......
D
.........
............
.........
FLAT ............
(Latin and English)
SECOND MASS, IN E
THIRD MASS, IN D
...............
- W. H. HUNT.
STABAT MATER ..................
- -
- -
2/8
0/6
2/0
......
OF THE NORNS
4/0
4/0
6/0
4/0
6/0
6/0
4/0
4/0
2/0
4/0
3/0
1/6
1/6
1/6
1/6
H. H.
2/0
2/0
2/0
1/0
0/4
1/0
1/0
1/0
1/6
1/6
1/6
4/0
4/0
4/0
2/6
2/6
2/6
16
2/0
2/0
HUSS.
1/0
ILIFFE.
1/0
JOHN W. IVIMEY.
THE WITCH OF THE WOOD (Operetta)
(DITTO, SOL-FA,
THE YEAR
0/4
1/0)
SWEET ECHO
1/6
1/0
HUNTLEY.
PUSS-IN-BOOTS (Operetta) (SOL-PA, 0/9)

VICTORIA; OR. THE BARD'S PROPHECY
F.
26
2/8
2/0
HOW THEY BROUGHT THE GOOD NEWS
FROM GHENT TO AIX

KUIG ROBERT OF SICILY
2/0
3/0
1/0
3/6
1/6
AVE MARIA (Female voices)
HATTERSLEY.
4/0
2/0
............
8/0
1/6
2/6
1/8
1/2
HEINRICH HOFMANN.
CHAMPAGNERLIED (Male voices) .........
- 4/0
- CINDERELLA
..................
MELUSINA .....................
(DITTO, SOL-FA,
1/0
2/6
HODSON.
H. E.
THE GOLDEN LEGEND
G. F.
Junior
Classes) (SOL-FA, 0/6)
F. K.
(SoL-FA, 2/0)
DITTO,
DITTO,
SYDNEY HARDCASTLE.
SING A SONG OF SIXPENCE
4/0
2/6
1/2
2/6
3/6
2/6
1/0
...
OUT OF DARKNESS dsoth Psalm)

STABAT MATER
TE DEUM LAUDAMUS, IN C
H. M. HIGGS.
THE ERL KING
- - - THE CRUSADERS HENRY HILES.
2/6 4/0
GOD IS OUR REFUGE
1/6 2/6
- - WAR IN THE HOUSEHOLD
3/6
6/0
FERDINAND HILLER.
3/6 6/0
A SONG OF VICTORY (SoL-FA 0/9)
2/6 4/0
NALA AND DAMAYANTI
1/6 2/0
ALL THEY THAT TRUST IN THEE
2/6
2/0
0/8
2/0
3/0
2/0
2/0
2/0
1/6
2/0
GEORG HENSCHEL.
6/0
6/0
2/6
6,0
_ _ SONG
1/6 2/6
- -
3/0
2/8
2/6
EDWARD HECHT.
1/0
1/0
1/0
30
0/6)
6/0
4/0
4/0
2/0
1/6
1/6
SWINNERTON HEAP.
- -
2/6
2/6
2/6
1/6
1/3
2/6
*J
1/0
1/0
0/4
1/0
1/8
1/0
2/0
1/0
0/8
1/0
(CHORUSES ONLY)
3/6
3/6
1/6
2/0
2/0
2/0
1/0
0/8
2/0
Chandos Anthem)
ROSAMOND
DITTO
3/0
3/0
1/0
2/0
1/0
1/0)
DAY
A SEA DREAM (Female voices) (SOL-PA, 0/6)

THE FAIRIES' ISLE (Female voices)
THE SEA FAIRIES (Female voices) (SoL-FA
ERIC THE DANE

40 O MAY I JOIN THE CHOIR INVISIBLE
0/6
II
BATTISON HAYNES.
3/6
2,6
1/0)
O PRAISE THE LORD (6th Chandos Anthem)

O PRAISE THE LORD, YE ANGELS (Folio)
THE COURT CARD
...
2/0
3/0
2,0
I/O
0/8
UNTO THE LORD

(5th
ODE ON
PAN
(IMPERIAL) (Latin and English)

- THIRD MASS
DITTO
(Latin)
2/6
2/6
0/
NISI
...
1/6
1/6
0/6
JEPHTHA
JOSHUA
UDAS MACCABEUS (SoL-FA. 1/0)
JUDAS MACCABEUS. Pocket Edition
L'ALLEGRO
Sol-fa, 6d.)
1/0
1/0
...
ISRAEL IN EGYPT, edited by Mendelssohn

ISRAEL IN EG YPT, edited by V. Novello, Pocket Edit.
DITTO
Each Season, singly (SPRING, Tonic

DITTO
(CHORUSES ONLY)
FAIR
ALEXANDER BALUS
(DITTO, SOL-FA,
(Latin)
DITTO
...
(Latin and English)
VANvE
(Latin and English)...
MASS, IN C (Latin)
(Latin)
(English and Latin)
INSANE ET
CUR^
SECOND
SIXTEENTH MASS
- TE DEUM
THE CREATION (SoL-PA, 1/0)
THE CREATION, Pocket Edition
DITTO
(CHORUSES ONLY)
THE PASSION; OR, SEVEN LAST WORDS OF
OUR SAVIOUR ON THE CROSS
- THE SEASONS
HANDEL.
AND GALATEA
New
2/0
E. V.
FIRST MASS, IN B FLAT
..
1/0
HALFORD.
G.
4/0
4/0
...
8/0
THE SOUL'S ASPIRATION
IS IT
1/6
1/0
GRIMM.
O.
Continued.
HAYDN-.
2/0
3/0
(CHORUSES ONLY, 1/0)
J.
&c.
2/0
0/9)
W. JACKSON.
..................
2/

H
G.
*u
JACOBI.
CINDERELLA (Operetta) (Sot-FA, 1/0)

THE BABES IN THE WOOD (Operetta)
D.
DAVID AND SAUL
(SOL-FA, 0/9)
li
*"
MAY-DAY
3/0
1/6
1/0
1/6
SONGS
(CHORUSES ONLY)
(SOL-FA, 0/8)
IN A
CORNFIELD
(Female voices)
ST. JOHN THE BAPTIST

(DITTO, SOL-FA, Choruses only, 1/0)
THE LADY OF THE LAKE
(DITTO, Choruses only, SOL-FA, 1/0)
THE SOLDIER'S LEGACY (Operetta)
JENSEN.
W. JOHNSON.
ECCE HOMO
1/0
2/0
WARWICK JORDAN.
BLOW YE THE TRUMPET IN ZION

N. KILBURN.
BY THE WATERS OF BABYLON
THE LORD IS MY SHEPHERD (zsrd Psalm)
1/0
- - -
THE
THE
THE
THE
THE
3/0
J.
SONGS
IN A
VINEYARD
(n7th Psalm)...
NEW COVENANT
(DITTO. SOL-FA,
FIRST MASS IN C
IN C
EDWIN
,.
TIS THE SPRING OF SOULS TO-DAY

COMMUNION SERVICE IN F
DIXIT
DOMINUS
LEONARDO
THE GATE OF LIFE
(Male voices)
PRINCE SPRITE
(Female voices)
MANON
1/6
F.
LISZT.
...
J.
T.
3/0
2/0
...
3/6
5/0
,.
...
...
LEANDER
O GIVE THANKS UNTO THE LORD
ROSSALL
SIR OG1E AND THE LADIE ELSIE
THE GLEANERS' HARVEST (Female voices)
THE LONGBEAKDS SAGA (Male voices)
THE SONG OH BALDER
THE RIGHTEOUS LIVE FOR EVERMORE
1
...
..
.
2/0
1/6
3/0
2/8
1/6
H.
5/0
4/0
(SOL-FA, 0/9)
(SOL-FA,
(SoL-FA,
SONG OF THANKSGIVING
0/9)
T. R.
MAYOR.
1/0)
J. H. MEE.
DELPHI, A LEGEND OF HELLAS (Male
HORATIUS (Male voices)
voices)
..
...
LO'HR.
THE QUEEN OF SHEBA (CHORUSES ONLY, 1/0)

W. H. LONGHURST.
THE VILLAGE FAIR (Female Voices)
ELVA LORENCE AND
- -
1/0
- -
1/0
1/0
0/6
- -
6/0
8/0
1/0
- -
1/6
1/6
2/0
2/0
1/6
80
1/0
- -
1/0
1/0
2/0
4/0
1/0
1/0
1/0
1/0
1/6
2/6
2/0
4,0
1/0
Praise) (S.A.T.B.) (SOL-FA, 0/2) 1/0
DITTO
1/0
(Male voices) (T.T.B.B.)
(s. solo and chorus) (SoL-FA.0/2)
1/0
DITTO
DITTO
0/4
...
1/0
(Lobgesang) (SOL-FA, 0/6)
1/6
(POCKET EDITION)
(SOL-FA,
DITTO
20
1/0)
(CHORUSES ONLY)
FESTGESANG(Hymnof
2/0
2/6
HEAR MY PRAYER
(SoL-FA,
1/0
0/4)
...
...
...
LORELEY (SOL-FA, 0/6)

MAN IS MORTAL (8 voices)
MIDSUMMER NIGHT'S DREAM (Female voices)
4/0
SOL-FA, 0/4)
- MY GOD, WHY, O (DITTO,
WHY HAST
THOU FORSAKEN ME (aznd Psalm)
,.
HAMISH MAcCUNN.
LAY OF THE LAST MINSTREL (SoL-PA, 1/6)
LORD ULLIN'S DAUGHTER (SOL-FA, 0/8)...
2/6
1/0
ELIJAH
ELIJAH
5/0
G.
(SOL-FA, 0/4)
- -
4/0
'
(Operetta).
5/0
1/6
KENNEDY CHRYSTIE.
HYMN OF PRAISE
TERRA FLORA (or a Peep into Flower Land,
DITTO
(CHORUSES ONLY)
Operetta for Children)
2/0
JUDGE ME, O GOD (43rd Psalm) (SoL-FA,0/lJ)
LAUDA SIGN (Praise Jehovah) (SOL-FA, 0/9)
C. EGERTON LOWE.
LORD, HOW LONG WILT THOU
LITTLE BO-PEEP
5,t
1/0
1/0
1/0
...
HARVEY
3/6
4/0
MENDELSSOHN.
ANTIGONE (Male voices) SOL-FA, 1/0)
AS THE HART PANTS Und Psalm) (SOL-FA, 0/6)
COME, LET US SING (95th Psalm) (SOL-FA, 0/6)
NOT UNTO US, O LORD (usth Psalm)
WHEN ISRAEL OUT OF EGYPT CAME
- ATHALIE SOL-FA, 0/8)
AVE MARIA (Saviour of Sinners) (Double Choir)
CHRISTUS (SOL-FA, 0/6)
...
1/6
7/6
- -
MAUNDER.
MISSA SOLENNIS, IN B FLAT
1/0
2/0
1/6
1/6
1/6
1/0
1/6
CLEMENT LOCKNANE.
(Female voices)
3/6
3/0
6/0
5/0
MASSER.
THE LOVE OF CHRIST
HYMN OF THANKSGIVING
ALCESTIS (Male voices)
ANDROMEDA
A SONG OF JUDGMENT
HERO AND
A
THE ELFIN QUEEN
MASSENET.
PENITENCE, PARDON, AND PEACE

OLIVET TO CALVARY
2/6
THE LEGEND OF ST. ELIZABETH

THIRTEENTH PSALM ,
C. H. LLOYD.
(SOL-FA, 0/2)
J.
J.
...
4/0
- -
MARTIN.
HARVEST CANTATA
2/0
H. LESLIE.
THE FIRST CHRISTMAS MORN
C.
IN A
IN C
(Opera)
LEONI.
(SOL-FA, 1/0)
30
MARSHALL.
FESTIVAL TE DEUM IN A
LEO.
1/0
F.
ROLAND'S HORN
DITTO
1/0
2/6
4/0
- -
2/0
W. MARKULL.
COMMUNION SERVICE,
...
...
(Opera)
GEORGE
LEMARE.
H.
I3;th Psalm)
CHORAL DANCES from Ditto
2/0
2/0
- 7/6
-
3/0
0/9)
MANCINELLI.
F. E.
LE JEUNE.
G. F.
1/6
6/0
MACPHERSON.
C.
1/6
1/6
1/0
2/0
2/6
3/0
3/6
2/0
F.
LAHEE.
H.
4/0
- -
2/0)
Choral Scene)
(DITTO, SOL-FA
ERO E LEANDRO
60
1/0)
ROSE OF SHARON
1/6
4/0
1/6
5/0
PROCESSION OF THE ARK
L.
KINROSS.
(Female vv.)(SoL-FA, 0/6)
THE SLEEPING BEAUTY (Female vv.) (SOL-FA, 0/6)
COMMUNION SERVICE
1/6
1/6
2/6
(SOL-FA,1/0)
(DITTO, Choruses only, SOL-FA,
OLIVER KING.
THE NAIADS (Female voices)
THE ROMANCE OF THE ROSES
2/6
2/6
2/0
5/0
2/6
2/6
separately
II.,
STORY OF SAYID
WITCH'S DAUGHTER
VENI, CREATOR SPIRITUS
ALFRED KING.
THE EPIPHANY
Act
JASON
JUBILEE ODE
THE BRIDE (SoL-FA, 0/8)
THE COTTER'S SATURDAY NIGHT
THE DREAM OF JUBAL
...
1/0
0/8
1/6
..
THE SILVER STAR (Female voices)
DITTO.
3/0
1/6
1/0
MACKENZIE.
A. C.
BETHLEHEM
FESTING JONES.
H.
KING BULBOUS
3/0
1/0
0/6
1/0
1/6
(SoL-FA, 0/6)
DITTO
(SOL-FA, 2/0)
THE FEAST OF ADONIS
(Greek Play)
OUTWARD BOUND
JENKINS.
A.
ll
MACFARREN.
G. A.
AJAX
2/0
2/0
Continued.
&c.
,.
2/6
1/0
1/0
3/0
0/6
0/4
1/0
1/0
1/0
1/0
1,0
0/6
1/6
2/6
1/0
1/6
2/6

MENDELSSOHN
(continued).
(Male voices)
(EDIPUS AT COLONOS
ST. PAUL (SOL-FA, 1/0)

DITTO
(CHORUSES ONLY)
ST. PAUL, Pocket Edition
...
THE LORD (g8th Psalm)

SIX ANTHEMS for the Cathedral at Berlin. For
8 voices, arranged in 4 parts
SON AND STRANGER (Operetta)
THE FIRST WALPURGIS NIGHT (SoL-FA, 1/0)...
THREE MOTETS FOR FEMALE VOICES
(DITTO, SOL-PA, 0/1J, 0/2, and 0/2 each.)
TO THE SONS OF ART (Male voices) SOL-FA. 0/3)
WHY RAGE FIERCELY THE HEATHEN
SING TO
...
...
K
3/0
8/0
1/0
1,0
5s
2/6
4/0
1/6
1/6
2/0
0/8
0/8
4/0
1/0
1/0
Continued.
ii
PARRY.
H. H.
C.
AGAMEMNON
&c.
(Greek Play)
A SONG OF DARKNESS AND LIGHT

BLEST PAIR OF SIRENS (SOL-PA, 0/8)
...
..
3/0
2/0
8/0
8/0
8/8
2/6
6/0
5/0
2/6
1/6
1/6
2/0
3/0
8/6
1/0
2/0
1/0
(DiTTO, English and German Words, 2 mark 50)
DE PROFUNL>IS(i30th Psalm)
ETON
INVOCATION TO MUSIC
...
...
JOB (CHORUSES
1/6
2/6
ONLY, SOL-PA, 1/0)

JUDITH (CHORUSES ONLY, SOL-PA, 2/0)
KING SAUL (CHORUSES ONLY, SOL-FA,
1/6)
L'ALLEGRO
1/6)
- MAGNIFICAT(SoL-FA,
(Latin)
ODE TO MUSIC (SOL-FA, 0/6)
1/0
0/6
...
...
ODE ON ST. CECILIA'S DAY (SoL-FA, 1/0)

PROMETHEUS UNBOUND
TE DEUM LAUDAMUS (Latin)
THE GLORIES OF OUR BLOOD AND STATE
THE LOTUS-EATERS (The Choric
THE LOVE THAT CASTETH Song)
OUT FEAR
- THE(Sinfonia Sacra)
PIED PIPER OF HAMELIN (SoL-FA, 1/0)
THE SOUL'S RANSOM (A Psalm of the Poor)
VOCES CLAMANTIUM The voices of them that cry)
WAR AND PEACE (Ode)
...
R. D.
METCALFE
KENNEDY.
AND A.
...
..
..
PRINCE FERDINAND
(Operetta) (SoL-FA, 0/9)
...
8/0
MEYERBEER.
NINETY-FIRST PSALM
(Latin)
DITTO
1/0
1/0
(English)
...
...
A.
MOFFAT.
A CHRISTMAS DREAM (A Cantata for Children)

THE BEE QUEEN (Operetta) (SOL-PA, 0/6)
...
DITTO
1/0
Tome
SOL-FA
1/0
B.
THE CRUSADER
MOLIQUE.
3/0
A.
J.
3/6
6/0
MOONIE.
A WOODLAND DREAM (Female voices) (SoL-FA, 0/9)

KILLIECRANKIE (SOL-FA, 0/8)
2/0
1/6
MOZART.
COMMUNION SERVICE,
IN B
FLAT
10
GLORY,
0/S
HAVE MERCY, O LORD
Second Motet 0/3
KING THAMOS
10
L1TANIA DE VENERABILI ALTARIS(E5)
1/8
LITANIA DE VENERABILI SACRAMENTO (B9) 1/6
O GOD, WHEN THOU APl'EAREST. First Motet 0/3
A. L.
1/6
2/6
1/6
/O
3/0
2/0
30
(SOL-FA, 0.3)
REQUIEM MASS
DITTO
(Latin and English) (SOL-FA, 1/0)...
SEVENTH MASS, IN B FLAT
SPLENDENTE TE, DEUS
First Motet
TWELFTH MASS (Latin)
(Latin and English ) (SOL-FA, 09)
1/0
1/0
1/0
0/3
1/0
It)
(CHORUSES ONLY)
0/8
MUNDELLA.
VICTORY OF SONG (Female
voices)
...
...
1/0
1/6
1/8
2/6
1/6
1/6
86
ST.
..
JOHN
I/I
REV. SIR FREDK. OUSELEY.

THE MARTYRDOM OF ST. POLYCARP
Psalm)
H.
W. PARKER.
A WANDERER'S PSALM
HORA NOVISSIMA
LEGEND OF ST. CHRISTOPHER
8/8
voices) (SOL-FA, 0/6)
...
I/O
...
1/0
PERCY PITT.
THE SECOND
(Men's voices)
1/6
W. POPHAM.
I/I
J.
B.
(Sing,
my
POWELL.
tongue)
1/6
- -
1/8
- -
0/8
- -
4/0
- -
PRENDERGAST.
ADVENT...
F. W. PRIEST.
THE CENTURION'S SERVANT
C. E. PRITCHARD.
KUNACEPA
E. PROUT.
DAMON AND PHINTIAS (Male voices)
FREEDOM
HEREWARD^
QUEEN AIMEE (Female voices)
HUNDREDTH PSALM (SoL-FA, 0/4)
- - THE
THE RED CROSS KNIGHT (SoL-FA.2/0)
...
...
8/6
1/0
4/0
1/6
1/0
4/0
...
...
I/O
DIDO AND ..ENEAS

ODE ON ST. CECILIA'S DAY
TE DEUM AND JUBILATE, IN D
DITTO
DITTO
(Edited by Dr. Bridge) (SOL-FA, 0/6)

(Latin arrangement by R. R. Terry)
KING ARTHUR
THE MASQUE
...
2/8
8/6
..
8/6
8/6
2/6
20
...
...
4/6
6/0
PURCELL.
2/8
PAINE.
PALESTRINA.
COMMUNION SERVICE (Missa Papas Marcelli)
COMMUNION SERVICE (Assumpta est Maria)
MISSA ASSUMPTA EST MARIA
MISSA BREV1S
MISSA "O ADMIRABILE COMMERCIUM"
MISSA PAP^; MARCELLI
STABAT MATER
THE KOBOLDS
8/0
O'LEARY.
THE LORD REIGNETH (gsrd
PEACE.
(SoL-FA, 1/0)
8/9
CUTHBERT NUNN.
R. P.
i',8
GIRO PINSUTI.
PHANTOMS FANTASMI NELL' OMBRA
- - PANGE LINGUA
NUNN.
THE FAIRY SLIPPER (Children's Opera) (SoL-FA,0/8)

MASS OF
- -
2/6
1/0
2/6
1/0
1/0
EARLY SPRING
8,6
A.
STABAT MATER (Female
V.
JOSEF NESVERA.
E.
8/6
PERGOLESI.
HOHENLINDEN
8/9
E. A.
JOHN THE BAPTIST
- 2/8
-
JOHN NAYLOR.
MASS, IN C
ST.
A. H. D.
JEREMIAH
DE PROFUNDIS
8/8
T. M. PATTISON.
MAY DAY
LONDON CRIES
THE ANCIENT MARINER
DITTO
(CHORUSES ONLY)
THE LAY OF THE LAST MINSTREL
DITTO
(CHORUSES ONLY)
THE MIRACLES OF CHRIST (SOL-FA, 0/6)
1/6
(Latin and English)

HONOUR, PRAISE (SOL-FA, 02) Third Motet
E.
7/6
(Latin and
English)
FIRST MASS
DITTO
DITTO
7/6
1/6
PARSONS.
B.
ABRAHAM
8/8
8/0
8/0
2/0
3/0
6/0
6/0
"DIOCLESIAN"
2,0
LADY RAMSAY.
THE BLESSED DAMOZEL
G.
1/6
8/6
RATHBONE.
ORPHEUS (Power of Music) (Female voices)

VOGELWEID THE MINNESINGER (Operetta).
...
36 36 40
6/0
1/0
IN
2/6
2/0
1/0
1/0
1/0
2/0
(DITTO, SOL-FA,
F. J.
THE SONG OF HANNAH
- -
1/0
- - -
1/0
- -
1/6
0/6)
READ.

j. F.
II
H. READ.
CO
BARTIMEUS
CARACTACUS
HAROLD
IN THE FOREST (Male voices)
PSYCHE (CHORUSES ONLY, 2/0)
THE CONSECRATION OF THE BANNER
THE DEATH OF YOUNG ROMILLY
THE HESPERUS (SOL-FA, 0/9)
1/6
2/6
4/0
1/0
5/0
1/6
1/6
1/6
it
a,
1*
uo
- - ADVENT HYMN,
- - FAUST
6/0
7/0
- - -
DOUGLAS REDMAN.
COR UNUM VIA UNA
REYNOLDS.
CHILDHOOD OF SAMUEL (SoL-PA, 1/0)

ARTHUR RICHARDS.
PUNCH AND JUDY (Operetta) (SOL-FA, 0/6)...
THE WAXWORK CARNIVAL (Operetta)
...
V.
J.
2/0
- -
1/6
2/0
1/6
W. S. ROCKSTRO.
THE GOOD SHEPHERD
J. L. ROECKEL.
2/6
MANFRED
MIGNON'S REQUIEM
NEW YEAR'S SONG (SoL-FA, 0/6)
PARADISE AND THE PERI (SOL-PA,
PILGRIMAGE OF THE ROSE
REQUIEM
THE KING'S SON
THE LUCK OF EDENHALL
THE MINSTREL'S CURSE
SONG OF THE NIGHT
a/o
a/o
2/0

THE HOURS
THE SILVER PENNY
ROGERS.
THE FOREST FLOWER (Female voices)

ROLAND ROGERS.
...
2/0
ROLLASON.
STOOD THE MOURNFUL MOTHER WEEPING
ROMBERG.
TE DEUM
THE HARMONY OF THE SPHERES
THE LAY OF THE BELL (New Edition, translated
by the Rev. J. Troutbeck, D.D.) (SOL-PA, 0/8)
THE TRANSIENT AND THE ETERNAL
...
...
- -
1/6
4/0
- - -
(CHORUSES ONLY)
0/8
2/6
ARIADNE
SOL-FA,
KING ARTHUR
6/6
1/6
1/0
(SOL-FA,
ODE
ODE
THE
THE
ENARRANT
FRANK
J.
SAWYER.
,.
1/0
2/6
(Female voices)
0/
SCHUBERT.
COMMUNION SERVICE, IN A FLAT
DITTO,
DITTO,
DITTO,
DITTO,
DITTO,
MASS, IN A FLAT
Do., IN B FLAT
Do., IN C
Do.,
Do.,
Do.,
IN E FLAT
IN F (SoL-PA,
IN G
IN B
IN C
FLAT
IN E
IN F
IN G
FLAT
...
...
...
,.
0/9)
SONG OF MIRIAM (SOL-FA, 0/6)

(DirTo, Welsh Words, SOL-FA, 0/6)
SONG OF THE SPIRITS OVER THE WATERS
(Male voices) (SOL-FA,
0/6)
2/6
...
..
(ditto)
1/0
2/0
1/0
1/0
SMYTH.
2/6
R.
C.
CHRISTMAS HOLIDAYS
M.
SOMERVELL.
I/O
2/0
2/0
2/0
2/0
2/0
1/0
1/0
1/0
2/0
1/0
1/0
1/0
1/0
3/6
W. H. SPEER.
THE JACKDAW OF RHEIMS
SPOHR.
CALVARY
FALL OF BABYLON
FROM THE DEEP CALLED
GOD IS MY SHEPHERD
GOD, THOU ART GREAT (SoL-FA, 0/6)
HOW LOVELY ARE THY DWELLINGS
HYMN TO ST. CECILIA
JEHOVAH, LORD OF HOSTS
LAST JUDGMENT (SoL-FA, 1/0)
2/6
1/6
1/6
1/6
2/6
1/6
1/6
4/0
3/6
3/6
2/6
2/6
2/6
4/0
2/6
2/6
DITTO
MASS
2/0
2/6
3/0
3/0
8/6
0/8
0/9
I/O
FAIR.
(CHORUSES ONLY)
(for 5 solo voices
2/0
(Opera)
3/6
3/6
2/0
1/6
2/0
1/0
SOMERVILLE.
THE 'PRENTICE PILLAR
SCHAFER.
OUR BEAUTIFUL WORLD (Operetta)
H. W. SCHARTAU.
4/0
...
1/0
THE SOUL'S FORGIVENESS...

THE STAR IN THE EAST
2/6
2/0
2/6
KING THRUSHBEARD (Operetta) (SoL-FA.0/9)

MASS, IN C MINOR
ODE TO THE SEA (SoL-FA, 1/0)
PRINCESS ZARA (Operetta) (SoL-FA, 0/9)
HE LIGHT BRIGADE
THE CHARGE OF THE
THE
ENCHANTED
PALACE
(SOL-FA, 0/8)
- THE FORSAKEN MERMAN (Operetta)
(SoL-FA, 0/8)
THE POWER OF SOUND (SOL-FA, 1/0)
THE SEVEN LAST WORDS
SANGSTER.
H.
_ - -
ELEGY
1/6
W.
1/0
2/0
MASS, IN D
2/6
ELYSIUM
2/S
CAMILLE SAINT-SAENS.
CCELI
8/6
2/6
1/0)
TO THE NORTH-EAST WIND

TO THE PASSIONS
RED KING (Men's voices)
SONG OF THE LITTLE BALTUNG
A.
(igth Psalm)
...
...
ALICE MARY SMITH.

7/6
2/6
SAINTON-DOLBY.
THE HEAVENS DECLARE
SLOMAN.
...
0/9)
E.
(Female voices)
SILAS.
IN C
CONSTANTIA
SUPPLICATION AND PRAISE
- CONNLA
1/0
1/0
C.
FLORIMEL
0/6)
1/0
ED. SACHS.
LILIES
- -
1/6
4/0
2/6
KING-CUPS
4/0
2/6
M. SMIETON.
1/6
RUTENBER.
DIVINE LOVE
3/0
1/6
MASS, IN C
1/0
1/0
6/0
1/0
5/0
3/0
1/0
1/6
1/6
0/9
1/0
HENRY SMART.
(Female voices)
- KING RENEWS DAUGHTER
SING TO THE LORD
THE BRIDE OF DUNKERRON (SoL-FA, 1/6)
1/6
8/6
JOASH
ROSSINI.
(
,.
1*
E.
1/6
1/0
1/0
...
10
11
2/6
COMMUNION SERVICE,
0/4)
MOSES IN EGYPT
STABAT MATER SOL-FA, 1/0)
WATER
...
H. R. SHELLEY.
(The Royal Banners forward go)
F.
B.
1/6)
(Male voices)
(DITTO, SOL-FA,
R.
FLORABEL (Female voices) (Sol-fa, 1/0)

PRAYER AND PRAISE (Oblong)
CHARLES
1/0
1/0
1/0
2/6
SCHUTZ.
H.
VEXILLA REGIS
LITTLE SNOW-WHITE
DITTO
1/0
3/0
BERTRAM LUARD-SELBY.
ROBERTS
THE PASSION
(DITTO, SOL-FA,
LOWLY GUISE"
CHORUSES AND INCIDENTAL MUSIC TO

"HELENA IN TROAS"
SUMMER BY THE SEA (Female voices)
THE DYING SWAN
THE WAITS OF BREMEN (for Children)
0/8)
JONAH
EDMUND
II
3
SCHUMANN.
" In
2/0
...
(DITTO, SOL-FA,
Continued.
...
(Female voices)
C. T.
&c.
and double choir)
THE CHRISTIAN'S PRAYER
4/0
6/0
- -
08
1,0
- -
0/4
1,0
1/8
0/6
3'0
I/O
1/0
1/8
1/6
2/0
2/6
2/0
2/0
4/0
8/6
JOHN STAINER.
ST. MARY MAGDALEN (SoL-FA, 1/0)

THE CRUCIFIXION (SOL-FA, 0/9)
THE DAUGHTER OF JA1RUS (SoL-FA, 0/9J
1/6
1/6
&c.
Continued.
.
C.
I!
VILLIERS STANFORD.
CARMEN SÊCULARE
COMMUNION SERVICE, IN G
EAST TO WEST
EDEN
GOD IS OUR HOPE (46th Psalm)
MASS, IN G MAJOR
OIDIPUS REX Male voices)
THE BATTLE OF THE BALTIC
THE REVENGE (SoL-FA, 0/9)
(DITTO, German Words, 2 Mark.)
THE VOYAGE OF MAELDUNE
...
2/6
STATHAM.
F. R.
VASCO DA GAMA
1/6
2/6
1/6
5/0
2/0
2/6
3/0
1/6
1/6
^
BRUCE STEANE.
2/6
2/8
W. STEWARDSON.
GIDEON
WH1MLAND
6/0
4/0
SONG OF THE FATES
SIGISMOND STOJOWSKI.
1/0
STORER.
MASS OF OUR LADY OF RANSOM
THE TOURNAMENT
J.
1/6
1/0
HOLY SUPPER OF THE APOSTLES
3,0
4/0
- 3/0
4/0
- -
- -
GOD WITH US
ST. ANDREW
THE GOOD SAMARITAN
OUR REFUGE (46th
Psalm
1/0
...
DITTO
8/0
(CHORUSES ONLY)
1/0
- -
THE GOLDEN LEGEND
(SoL-FA. 2/0)
INCIDENTAL MUSIC, KING ARTHUR
THE EVE OF
ST.
T. W. SURETTE.
AGNES
8/0
JOHN THE BAPTIST

A.
1/0
3/6
1/6
...
W. TAYLOR.
ST.
GORING THOMAS.
1/0
W. WAREING.
PRINCESS SNOWFLAKE (Operetta) (SOL-FA, 0/6)
THE COURT OF QUEEN SUMMERGOLD
THORNE.
10
W. TORRANCE.
6/0
BERTHOLD TOURS.
1/0
1/6
(Female voices)
(DITTO, SOL-FA,
0/6)
FERRIS TOZER.
BALAAM AND BALAK
KING NEPTUNE'S DAUGHTER
SERVICE, IN E FLAT
CONSTANT ORDER
DAY
- -
E.
...
- -
0,4
- - -
1/0
- _
1/6
- -
WEST.
...
0/4)
1/0
- _
(Regina
1/0
CHARLES VINCENT.
THE LITTLE MERMAID (Female voices)
THE VILLAGE QUEEN (Female voices) (SOL-FA, 0/6)
A. L. VINGOE.
THE MAGICIAN (Operetta) (SoL-FA, 0/9)
W. S. VINNING.
SONG OF THE PASSION (according to St. John)...
1/6
0/8
1/6
2/0
2/0
CHAS. WOOD.
ODE TO THE WEST WIND
1/6
2/6
2/0
1/0
(1797) (Male voices)

...
1/0
...
1/G
1/6
(Soprano, Mezzo, Contralto,

and Tenor Soli, and Chorus for Female Voices) ...
1/6
KING HAROLD (SOL-FA, 0/9)

OLD MAY-DAY (Female voices) (SOL-FA, 0/6)
E.
M.
WOOLLEY.
THE CAPTIVE SOUL
D.
1/6
YOUNG.
THE BLESSED DAMOZEL
- -
WOODS.
A GREYPORT LEGEND
1/J
2/5
2/6
2/6
3/0
1/6
Cceli)
(Latin)
F. C.
(SoL-FA, 0/9)
1/0
1/6
2/0
1/6
- - _ _
- -
THOMAS WINGHAM.
MASS, IN D
1/0
2/6
2/6
1/6
WEST.
- -
- -
WESLEY.
FLORENCE
A MIDSUMMER'S DAY
- 1/6
1/6
1/6
1/0
1/0
0/6
Words)
S. S.
TE DEUM
(Female voices) (SOL-FA,
2/0
1/0
1/6
1/0
1/0
1/0
1/0
- - A SONG OF ZION JOHN

LORD, HAVE LOVED THE HABITATION OF
THY HOUSE
- - MAY-DAY REVELS (Female voices) (SoL-FA, 0/4)
SEED-TIME AND HARVEST (SoL-FA, 1/0)
THE STORY OF BETHLEHEM (SoL-FA, 0/9)
- C. LEE WILLIAMS.
A FESTIVAL HYMN
A HARVEST SONG
- _ GETHSEMANE
- - THE LAST NIGHT AT BETHANY SOL- PA, 1/0)
A. E. WILSHIRE.
GOD IS OUR HOPE (Psalm 4)
0/6)
LONDON
- - -
1/6
(Hymn)
O LORD, THOU ART MY GOD
VAN BREE.
ST. CECILIA'S
Ode)
JUBILEE CANTATA
MASS IN E FLAT (Latin and English)
Do., IN G (Latin and English)
PRECIOSA (Choruses only, 0/6)
THREE SEASONS
2/6
TSCHAIKOWSKY.
NATURE AND LOVE
1/0
1/6
WEBER.
(English
4/0
HENRY WATSON.
OF THE DIVINE (Masonic
A PSALM OF THANKSGIVING
IN PRAISE
- 2/6
- ODE
S. WESLEY.
- DIXIT DOMINUS
4/0 5/0
ATE DEO (Sing aloud with gladness)
- - EXULT
or Latin
IN EXITU ISRAEL
(Female voices)
(DITTO, SOL-FA,
P.
1/0
...
THE REVELATION
A FESTIVAL ODE
THE HOME OF TITANIA
2/0
BE MERCIFUL UNTO ME
G.
1/6
- -
- -
H.
E.
THE SUN-WORSHIPPERS
E. H.
1/0
THEOPHIL WENDT.
1/0
1/0
WALTHEW.
THE PIED PIPER OF HAMELIN
ARTHUR SULLIVAN.
FESTIVAL TE DEUM (Sot-FA, 1/0)
TE DEUM (A Thanksgiving for Victory) (SoL-FA,0/9)
ODE FOR THE COLONIAL AND INDIAN
EXHIBITION
2/0
2/0
2/0
HYMN TO DIONYSUS
- - _ COMMUNION
- - -
ERNEST WALKER.
A
IN
IS
2/0
W. M. WAIT.
sucii.
NARCISSUS AND ECHO
2/0
8/0
a/o
...
11
WAGNER.
R.
iit
1/0
SPRING-TIME
GOD
(SOL-FA, 0/8)
\l
JOHN GILPIN
STEFAN STOCKER.
E. c.
WADDINGTON.
S. P.
R. H.
THE ASCENSION
H.
II
...
LIMITED.
...
l/
ORATORIOS, CANTATAS, MASSES, &c.

PRICE
ONE SHILLING EACH.
THOMAS ADAMS.
G.
THE HOLY CHILD.

THE CROSS OF CHRIST.
THE KAINBOW OF PEACE.
EXHIBITION ODE,
THE MAY QUEEN.
HERMANN GOETZ.
NOZNIA.
A. M.
THE SONG OF THE WESTERN MEN.
ANGER.
HUGH
A SONG OF THANKSGIVING.
THE
GIPSIES.
A SONG OF DESTINY.
ASTORGA.
A. H.
STABAT MATER.
J.
CHRIST LAY
IN DEATH'S DARK
PRISON.
CHRISTMAS ORATORIO. PARTS 12.
DITTO
DITTO.
PARTS 3 4.
DITTO
DITTO.
PARTS 5 6.
COME, JESU, COME (MOTET).
COME, REDEEMER OF OUR RACE.
FROM DEPTHS OF WOE I CALL ON
THEE.
GOD GOETH UP WITH SHOUTING.
GOD SO LOVED THE WORLD.
GOD'S TIME IS THE BEST.
HOW BRIGHTLY SHINES YON STAR
OF MORN.
JESU, PRICELESS TREASURE
(MOTET).
JESUS, NOW WILL WE PRAISE THEE.
JESUS
WHAT
SLEEPS,
REMAINETH.
HOPE
MAGNIFICAT.
MY
WAS
SPIRIT
IN HEAVINESS.
(DOUBLE
NOW SHALL THE GRACE

8d.
CHORUS).
O LIGHT EVERLASTING.
PRAISE OUR GOD WHO REIGNS IN
HEAVEN.
PRAISE THOU THE LORD, JERUSALEM.

SING YE TO THE LORD (MOTET)
OUT OF THE DEEP

*
J.
BARNEY.
M.
BARTON.
MASS, IN
REVENGE
CHANDOS TE DEUM. J.
DETTINGEN TE DEUM.
T. F.
CAIN.
(FEMALE
VOICES).
ISRAEL IN EGYPT (POCKET EDITION).

JUDAS MACCABEUS (DITTO)
MESSIAH (DITTO).
*NISI DOMINUS.
O COME, LET US SING UNTO THE
LORD.
ODE ON ST. CECILIA'S DAY.
O PRAISE THE LORD.
THE PASSION OF CHRIST
(ABRIDGED).
THE WAYS OF ZION.
DUNHILL.
DUNKLEY.
THE WRECK OF THE HESPERUS.

J. B. DYKES.
THE LORD IS MY SHEPHERD.
THESE ARE THEY. 6d.
EDWARD ELGAR.
TE DEUM AND BENEDICTUS, IN F.
ROSALIND F. ELLICOTT.
UTRECHT JUBILATE.
HAYDN.
THE CREATION
SPRING.
WINTER.
AUTUMN.
THIRD MASS (IMPERIAL). (LATIN.)

THIRD MASS (IMPERIAL).
*TE DEUM.
EDWARD HECHT.
PSALM).
O MAY I JOIN THE CHOIR INVISIBLE.

DR. KILLER.
ALL THEY THAT TRUST IN THEE.
LORD. 8d.
A SONG OF VICTORY.
H.
GARRETT.
HOFMANN.
HARVEST CANTATA.
SONG OF THE NORNS (FEMALE
R. M. GARTH.
THE WILD HUNTSMAN.
AFTER THE SKIRMISH.
C.
LIMITED
AND
NOVELLO, EWER AND

2/10/05.
(POCKET EDITION).
SUMMER.
FIRST MASS, IN B FLAT.

FIRST MASS, IN B FLAT (LATIN)
SECOND MASS, IN C (LATIN).
The Works marked * have Latin and English Words.
LONDON:
BARNEY
DIXIT DOMINUS.
H. WALFORD DAVIES.
HERVfi RIEL.
TUBAL
GRIMM.
O.
ACIS AND GALATEA.

DITTO.
EDITED BY
FOURTH MASS, IN C.
COBB, G. F.
MY SOUL TRULY WAITETH.
M. COSTA.
THE DREAM.
G.
KAREL BENDL.
BELL.
HANDEL.
REQUIEM MASS, IN C MINOR.

THIRD MASS, IN A (CORONATION).
NIELS W. GADE.
MOUNT OF OLIVES.
MASS, IN C (LATIN WORDS).
MASS, IN C.
ALAN GRAY.
THE LEGEND OF THE ROCK-BUOY
CHERUBINI.
*
ZION.
SPRING'S MESSAGE. 8d.
CHRISTMAS EVE.
THE ERL-KING'S DAUGHTER.
ENGEDI.
(CHORUSES ONLY).
J.
ROBERT FRANZ.
THE CHORAL FANTASIA.
THE SOUL'S ASPIRATION.

E. V. HALL.
IS IT NOTHING TO YOU. 8d.
130).
PRAISE YE THE LORD (H7TH
A.
SPRITE'S
(PSALM
ELYSIUM.
BEETHOVEN.
WATER
GRAUN.
CARISSIMI.
JEPHTHAH.
F.
THOU HOUR SO LONG

THE LORD IS A SUN AND SHIELD.
THE LORD IS MY SHEPHERD.
THE SAGES OF SHEBA.
THE SPIRIT ALSO HELPETH US
(MOTET).
THOU GUIDE OF ISRAEL.
WHEN WILL GOD RECALL MY SPIRIT.
GALLIA.
BRIDGE.
BUNNETT.
E.
SLEEPERS, WAKE.
STRIKE,
F.
*ROCK OF AGES.
THE INCHCAPE ROCK.
THE LORD'S PRAYER.
THE BALLAD OF THE CLAMPHERDOWN.
HYMN TO THE CREATOR.
(DOUBLE CHORUS).
REBEKAH.
BREWER.
A SONG OF EDEN.
O PRAISE THE LORD.
BACH.
A STRONGHOLD SURE.
BIDE WITH US.
ANDREW BARTON.
CH. GOUNOD.
DE PROFUNDIS (ISOTH PSALM).
DITTO
(OUT OP DARKNMSS).
MESSE SOLENNELLE (LATIN
WORDS).
THE SEVEN WORDS
OF OUR
SAVIOUR ON THE CROSS.
DAUGHTERS OF JERUSALEM.
*
BRAHMS.
J.
GOODHART.
EARL HALDAN'S DAUGHTER.

SIR
ARETHUSA.
BLAIR.
HARVEST-TIDE.
ASPA.
E.
A SONG OF LIFE.
BY THE WATERS OF BABYLON.
1862.
BETJEMANN.
G. R.
GAUL.
A. R.
MORN OP EASTER
W. STERNDALE BENNETT.
THE NORMAN BARON.

H.
(ON THE
DAY).
THOMAS ANDERTON.
J.
BENNETT.
J.
EASTER HYMN
CO.,
NEW
YORK.
HOLLAND.
VOICES).
ORATORIOS, CANTATAS, MASSES,

HUMMEL.
MOZART.
H. H.
*AVE MARIA
FIRST MASS.
SEVENTH MASS (LATIN).

TWELFTH MASS (LATIN).
TWELFTH MASS.
REQUIEM MASS (LATIN).
REQUIEM MASS.
HUSS.
(FEMALE VOICES).
JENSEN.
THE FEAST OF ADONIS.

C. W. JORDAN.
BLOW YE THE TRUMPET IN
N.
THE LORD REIGNETH (gsRD

H. W. PARKER.
THE KOBOLDS.
C. H. H. PARRY.
ZION.
STATE.
DEE.
O'
E. H.
TIS
LEMARE.
THE SPRING OF SOULS TO-DAY
LEONARDO
T. M. PATTISON.
MAY DAY.
THE MIRACLES OF CHRIST.
PERGOLESI.
STABAT MATER (FEMALE VOICES).
C.
LEO.
PROUT.
THE HUNDREDTH PSALM.
PURCELL.
TE DEUM AND JUBILATE, IN
E.
THE SONG OF BALDER.
HAMISH MAcCUNN.
TE DEUM, IN D. EDITED BY
BRIDGE.
TE DEUM, IN D (LATIN).
J. F. H. READ.
IN THE FOREST (MALE VOICES).
LORD ULLIN'S DAUGHTER.

G. A. MACFARREN.
OUTWARD BOUND.
MAY DAY.
GOD
J.
A. C.
F.
J.
H.
MEE.
MENDELSSOHN.
AVE MARIA (SAVIOUR
CHRISTUS.
COME, LET US SING.
ELIJAH (POCKET
THE
HILDA WALLER.
THE SINGERS
SANGSTER.
SAWYER.
MASS, IN E FLAT.
JUBILEE CANTATA.
THREE SEASONS.
SCHUBERT.
MAN IS MORTAL.
MIDSUMMER NIGHT'S DREAM.
*NOT UNTO US.
SING TO THE LORD. 8d.
ST PAUL POCKET EDITION).
THE FIRST WALPURGIS NIGHT.
THREE MOTETS (FEMALE VOICES).
TO THE SONS OF ART.
WHEN ISRAEL OUT OF EGYPTCAME.
(
IN
IN
IN
IN
IN
A FLAT.
B FLAT,
C.
JOHN
G.
SCHUMANN.
LONDON:
C.
8d.
WOOD.
ODE TO THE WEST WIND.
gd.
F. C.
LIMITED
AND
NEW
WOODS.
A GREYPORT LEGEND (MALE

CO.,
WEST.
LEE WILLIAMS.
have Latin and English Words.
NOVELLO, EWER AND
E.
A FESTIVAL HYMN.
C.
YEAR'S SONG.
The Works marked
WESLEY.
A SONG OF ZION.
LORD, I HAVE LOVED THE HABITATION OF THY HOUSE.
MANFRED.
H. SCHUTZ.
THE PASSION OF OUR LORD.
(LATIN WORDS).
(ENGLISH WORDS).
S. S.
OLORD, THOU ART MY GOD.
THE PILGRIMAGE OF THE ROSE.

THE KING'S SON.
MIGNON'S REQUIEM.
ADVENT HYMN, " IN LOWLY GUISE."
NEW
WESLEY.
DIXIT DOMINUS.
F.
SONG OF THE NIGHT,
MEYERBEER,
G.
S.
SONG OF THE SPIRITS OVER THE

WATERS (MALE VOICES).
SONG OF MIRIAM.
MASS,
MASS,
MASS,
MASS,
MASS,
(FEMALE VOICES).
VON WEBER.
M.
PRECIOSA.
C.
SOUL'S FORGIVENESS.
EDITION).
LORD, HOW LONG.

LORELEY.
PSALM
PSALM
VAN BREE.
MASS, IN
F. J.
OP SINNERS).
TSCHAIKOWSKY.
P.
NATURE AND LOVE (FEMALE VOICES).

ST. CECILIA'S DAY.
ELYSIUM.
FESTGESANG (HYMN OF PRAISE).

FESTGESANG (MALE VOICES).
HEAR MY PRAYER.
HYMN OF PRAISE.
*LAUDA SION.
gisx
QIST
H.
TOURS.
B.
LILIES.
W.
AS THE HART PANTS.

ATHALIE.
THORNE.
A FESTIVAL ODE.
ED. SACHS.
KING CUPS.
WATER
(THANKSGIVING).
GORING THOMAS.
E. H.
ROSSINI.
STABAT MATER.
HORATIUS (MALE VOICES).

DELPHI (MALE VOICES).
TE DEUM
BE MERCIFUL UNTO ME.
TE DEUM.
THE HARMONY OF THE SPHERES.
THE LAY OF THE BELL.
THETRANSIENT AND THE ETERNAL.
J. T. MASSER.
HARVEST CANTATA.
46).
THE SUN WORSHIPPERS.
ROMBERG.
T. R. MAJOR.
THE LOVE OF CHRIST.
E. C. SUCH.
OUR REFUGE (PSALM
A. SULLIVAN.
A.
READ.
SONG OF HANNAH.
MACKENZIE.
IS
EXHIBITION ODE.
FESTIVAL TE DEUM.
D.
F. J.
THE BRIDE.
STOJOWSKI.
SPRINGTIME.
FREEDOM.
HARFORD LLOYD.
ALICE MARY SMITH.

THE SONG OF THE LITTLE BALTUNG
(MEN'S VOICES).
ODE TO THE NORTH-EAST WIND.
THE RED KING (MEN'S VOICES).
SPOHR.
THE LAST JUDGMENT.
GOD, THOU ART GREAT.
THE CHRISTIAN'S PRAYER.
HYMN TO ST. CECILIA.
S. STOCKER.
SONG OF THE FATES.
J. STORER.
THE TOURNAMENT.
S.
PINSUTI.
PHANTOMS.
DIXIT DOMINUS.
C.
PSALM).
THE GLORIES OF OUR BLOOD AND
OLIVER KING.
C.
H. SMART.
SING TO THE LORD.
BLEST PAIR OF SIRENS.
KILBURN.
THE LORD IS MY SHEPHERD. 8d.

BY THE WATERS OF BABYLON.
THE SANDS
MASS, IN
VICTORY OF SONG (FEMALE VOICES).

R. P. PAINE.
SWEET ECHO.
A.
E. SILAS.
MAGNIFICAT IN D (LATIN).
MUNDELLA.
E.
ILIFFE.
F.
Continued.
B. LUARD-SELBY.
THE DYING SWAN.
KING THAMOS.
FIRST MASS, IN B FLAT.

SECOND MASS, IN E FLAT.
THIRD MASS, IN D.
&c.
YORK.
VOICES).
NOVELLO'S
ORIGINAL OCTAVO EDITION OF OPERAS
EDITED BY
NATALIA MACFARREN and BERTHOLD TOURS.

The English
Translations by
NATALIA MACFARREN and the REV. J.TROUTBECK,

Piper
FRA DIAVOLO.
MASANIELLO.
French
French
BEETH(
FIDELIO.
Ditto.
Ger. and Eng.
Finale, Act II.
NORMA.
Ital.
PURITANI.
and Eng.
and En^
Ital.
SONNAMBULA.
Ital.
F. H.
THORGRIM
...
i
D01
FIGLIA DEL REGGI]
and Eng.
LUCIA DI LAMMEI
and Eng.
LUCREZIA BORGIA.
FI
MARTHA.
Ger. and
IPHIGENIA IN
G
AU
and Eng.
IPHIGENIA IN TAI
and Eng.
ORPHEUS.
Ditto.
Ditto.
WAR
Ital. and
Choruses onl
Act II.
Dr.
IN
THE HOU!
G. A.
THE SOLDIER'S
1\
LI
A. C.
COLOMBA
Ditto. German Woi
THE TROUBADOU1
L.
HERO AND LEAN:

Eng .......
MANON.
J.
English we
MEN
LORELEY (Sol-fa, 6d
THE SON AND STB
Cloth,
D.D., &c.
TWO-PART STUDIES
TREBLE VOICES
FOR
WITH PIANOFORTE ACCOMPANIMENT

BEING PART
OF
III.
VOICE CULTURE FOR CHILDREN

BY
JAMES BATES.
This Appendix to Primers No. 71 and 72 contains fourteen two-part studies in vocalisation. Seven of the
HUGH BLAIR. They are written in canonic form, and are not merely exercises, but are fnlly
interesting as music, and are practically songs without words.
studies are by Dr.
PRICE EIGHTPENCE.
Tonic Sol-fa edition (vocal parts
Price +d.
only).
SIGHT SINGING STUDIES.

W.
I'.Y
STAFF NOTATION
Books
N.B.
29, 42, 69.
G.
McNAUGHT.
TONIC SOL-FA.
(MOVABLE DOH).
Books
Priit 4^. each Book.
The Tonic Sol-fa books are not trans'
:'.ions
30, 43, 70.
Price
.}</
ca^lt
/>.
<A
of the Stafi Notation books, but independent exercises.
GRADUATED EXERCISES FOR SCHOOL CLASSES.

BY W. G.
STAFF NOTATION
McNAUGHT.
TONIC SOL-FA NOTATION.
(MOVABLE DOH).
Containing 232 Exercises.
Containing 267 Exercises.
Book
91.
B-iok 92.
Price 6d.
These Exercises are intended
for use in
Pri.
carefully selected to suit tin* capacity -m.1

not affect to furnish a complete course of Sight Sinking, hut ;ln;y
connection with Son^s.
<tc.,
They do
particular circumstances of a Class.
provide probably quite as much as most School Classes can find time to study.
INTKRVAL EXERCISES,
FIVE MINUTES' EXERCISES.

Two
By FLORENCE A. MARSHALL.
Book 53. Price 6d.
Staff Notation
In
(Movable Doh).
Staff Notation
Parts.
By FLORENCE
Book
82.
(Movable Doh).
A.
MARSHALL.
Price 6d.
SCHOOL SIGHT SINGING READERS.

BY W. G.
These New Courses are theoretical as well as
numerous songs.
STAFF NOTATION
ELEMENTARY.
(MOVABLE DOH).
Book
McNAUGHT.
practical.
carefully graded exercises and
STAFF NOTATION
(MOVABLE DOH).
INTERMEDIATE. Book 138. Price 6rf.
Price 6d.
137.
They provide
TONIC SOL-FA NOTATION.

ELEMENTARY
The Tonic
N.B.
Sol-fa
Tht
Reader ends
Exercises,
wii'n
etc., in the
LONDON:
Book
154
Prift 6d.
Exercises showing the application of the Sol-fa to the Staff Notation
other.
Staff Notation series and Tonic Sol-fa series arc independent vf each
LIMITED.

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WOVfiLfLrO'JS

FULL ORCHESTRAL SCORES

(After Shelley) (Tone

GRANIA AND DIARMID.

ONAWAY, AWAKE, BELOVED

GOD SAVE THE KING

REVERIE (for Orchestra)

IT. Masque (Three Dances)

OVERTURE "RICHARD III."

Bouree and Gigue

JUDEX from Ditto

CONTRASTS (The Gavotte, 1700 and 1900)

Incidental Music and Funeral

FLY. SINGING BIRD

Miniature Full Score

LUDMILA (English, German, and Bohemian words)

of the Organ Sonatas)

Cloth, gilt edges

THE MUSIC TO HAMLET

FULL ORCHESTRAL SCORES.

SYMPHONY IN F, No. 3 (The Cambridge)

TWELFTH NIGHT. Overture

INTERMEZZO from Ditto

HYMN OF PRAISE. Op. 52. (English words)

hauser's Pilgrimage (Original Version)

NOVELLO AND COMPANY,

TANNHXUSER. "PRELUDE " TO ACT

(on Hire only).

ROSE OF SHARON. Op. 30

JOHN THE BAPTIST

DE BALLET (for String Orchestra)

BLEST PAIR OF SIRENS

THE LAND OF THE MOUNTAIN AND THE FLOOD.

HERO AND LEANDER

RING OUT, WILD BELLS

NOVELLO'S MUSIC PRIMERS AND EDUCATIONAL SERIES.

VOICE CULTURE FOR CHILDREN

CULTIVATION AND PRESERVATION OF YOUNG VOICES,

Exercises, with accompaniment, price Is. 6d.

Appendix, Two-Part Studies, with accompaniment, price 8d.

NOVELLO AND COMPANY,

AGENTS FOR THE U.S.A.

Copyright, 1907, by Novella and Co., Limited.

Every child should

more disgraceful than

JOHN RUSKIN (Fors

Use and Preservation

Consonants, and their Treatment in Singing

Breathing (with Exercises and Diagrams)

Singing out of Tune

Causes and Cure

the Breaking of the Voice

Signs and Treatment

Musical Terms and their Meaning

EXERCISES (with Pianoforte Accompaniment)

Major Scales and Vowel Sounds

Minor and Chromatic Scales

(flexibility exercises) for

Girls, breaking of voice in

save the King," on vowels only

Shyness in young singers

Huskiness frequently caused by excessive

Shouting, injury done by