BOUGHT WITH THE INCOME FROM THE SAGE ENDOWMENT FUND THE GIFT OF Henrg W. Sage 1S91 .3oQi fh' inal breathing must have an unhealthy tendency, breathing ^^^ ^^ ^j^^ abdominal muscles are constantly pushed un ea y. forward in a relaxed condition they become stretched and weak. An abdominal protuberance takes place, fat forms in and around the flabby muscles, and the troubles already described are sooner or later experienced by singers who adopt the abdominal system of breathing. Are not singers often remarkable for their protuberant abdomens? They appear as if they had allowed their chests to "slip moorings." It is not at all uncommon to hear the remark made that it is impossible to sing well unless you are fat. This is a great fallacy. Singers cannot expect to keep the vocal apparatus in good condition unless they pay the greatest attention to their health. It is quite possible that a singer possessing an unusually good voice may be able to achieve great results for a time, but this voice will not last so long as it will if the laws of nature are duly heeded. People with protuberant abdomens never enjoy good health, seldom live to a good old age, and their enjoyment of life is sadly interfered with by a troublesome liver, an imperfect digestion, or innumerable other affections. Standard medical works have been quoted from, because in attacking methods of teaching that have a firm hold upon the estimation of the public, it is advisable to use all the influence that is available. It will be well now to sum up the conclusions arrived at, even at the risk of repetition. SUMMARY. 29. The arched muscular floor of the thorax is formed Action of the ^^y ^j^g diaphragm, which becomes flattened when diaphragm, ^j. contracts, and so it increases the size of the thorax from above downwards. If the diaphragm is unresisted during contraction it depresses the contents of the abdomen and pushes SUMMARY. 15 forward its anterior wall ; if, on the other hand, it is resisted by the contracted abdominal muscles, the stomach and liver are iirmly fixed against the under part of the dome-shaped partition. So that when it contracts, the diaphragm raises the chest and expands the ribs transversely, and the force exerted by the stretched elastic tissue in the expanded chest is counterbalanced by the contraction of the abdominal muscles ; and thus the expiration is controlled by counterbalancing the elasticity of the lungs and chest wall which come into play, and eject the breath as soon as the muscles of inspiration cease to work. _„ , 30, Theprocessesbywhichthese forms of breathing h *'' th"* ^'■^ accomplished have a marvellous effect upon the voice. The air being the motor power of the voice, common sense teaches us that the more thoroughly the lungs are filled with air, and the more easily that air is controlled, the more effective and perfect will be the machine through which the artistic impulses of the singer are to find vent. How, then, do we gain the greatest expansion of lung, and how can we best control our breathing? 31. The Author submits that this is accomplished °'^. by fixing the diaphragm, through the action of •^ V. f ^"^ ABDOMINAL MUSCLES ; for, by this method, the IS best lower ribs are most efficiently raised, the action of "t^ fi • *^® intercostals is aided, and the lungs are every- f t""^ where filled with air and are kept filled until the ,. °, ^ abdominals are relaxed, which can be done quickly tap ragm. ^^ slowly according to the wish of the singer. u 1 i. f 32- This filling of the whole of the lungs with air Megiectoi must be the most healthy way of breathing, "th^'i^*^ ** ^°' '■^ °"^y ^^^ lower part of the lungs are filled and H."h f ^^^ upper part left unused, then, from degeneration, con 1 u ory ^^j^^ upper part becomes a suitable soil for the , . growth of the tubercle bacillus, the cause of con- consump 1 n. gumption. Those who practise the abdominal breathing — that is, the allowing the diaphragm in its descent to push the abdominal viscera before it — are likely to fail to use the upper parts of the lungs sufficiently. This result the author's repeated experience has confirmed. 33. It is not necessary again to dwell upon the >? Ii,- ^ abdominal troubles that are likely to arise, but it is breathing. ^^ ^^jj ^^ p^j^^^ ^^^ ^^^^ ^^^^.^ jg g^yj ^ ^^^^^ form of breathing, clavicular, or collar-bone breathing, which unfortunately is far from uncommon. This form of breathing is accomplished by the contraction of what are called the extraordinary muscles of respiration, wherewith, by moving the l6 BREATHING FOR VOICE PRODUCTION. shoulders, and even by making grimaces, a spurious form of extra expansion is obtained. This method is, of course, entirely wrong and unscientific, for it is an effort to move the highest ribs — which are almost inflexible. The result of bringing these extra muscles into play is to constrict the throat. _ .. . 34. It is just possible that a partial descent of the , , . diaphragm may be advantageous in the case of a ,, man, who naturally makes more use of his ,. , diaphragm in breathing than a woman ; but to push ^, ° ■ it to the extent of stretching and weakening the h th" tf f 3-bdominal muscles, as is so often taught, is, in the women Author's opinion, harmful. In the case of women, nature has ordained that she should make use of her intercostal muscles in breathing, so that she may not be embarrassed by the changes that take place in the organs peculiar to her sex ; and for her to violate this law by cultivating abdominal breathing is to defy nature. Lack of ^^' '^^^''^ '^ another point worthy of notice, . . and that is, that many teachers of the art of Kno °l°ds* breathing, from lack of anatomical knowledge, profess to teach one thing in theory, and luckily teach another in practice. One frequently comes across instances in singers who think they make use of the abdominal breathing, but who, on the contrary, ' use the lateral costal system, and hence the pernicious abdominal breathing gets credit for results which are not due to it. THE POSITION OR POSE OF THE BODY. 36. It is of the highest importance that great attention should be bestowed upon the position or pose of the different parts of the body before any breathing exercise — or, in fact, any physical exercise — is attempted. Common ^^' ^ chance glance sideways at people as they Deformities ^^'^ along the streets will be sufficient to prove to even the most casual observer that the majority carry themselves badly. One or more of the following defects will be noticed: the chin poked forward, the head improperly posed upon the neck, the abdomen protruded, the chest retracted, the knees more or less bent, the toes at a variety of angles — some too much turned out, others too much turned in — the arch of the foot dropped, the ankles over on the inside, the knees bowed or knock-kneed, the hips higher on one side than the other, the back curved either forward or to one side, one shoulder lower than the other, or the upper part of the spine rounded or bowed in shape. Some of these defects of carriage are no doubt the results of heredity, but manner of living and neglect of muscular THE PROPER POSE. I 7 exercise are the causes in most instances. We have only to remember how young soldiers under drill quickly acquire an erect figure to conclude that the defects described are not natural to the average man. Proper Pose ^^' ^^ exercises are performed while the position is indlspens- faulty, the defect in the figure is still further able. intensified. For correction it is absolutely necessary to insist upon a proper pose being assumed at the very outset. To the uninitiated it may seem unnecessary to dwell upon the carriage of the body ; but seeing that it is so exceptional for either men or women to possess a really good carriage naturally, and that it is so necessary for the health of the body that a good figure should be at all times maintained, it will not be out of place to state the laws that govern a good carriage. The Muscles 39- Special muscles exist for the purpose of keeping that make a ^^^ ^°^y erect, the chief, besides the leg muscles, Good Figure ^^'"& those situated at the back of the neck and at the back of the spine ; these, when properly developed, keep the head well balanced upon the shoulders, the shoulders drawn backwards and the chest raised so that it forms the most prominent part of the body. By physical neglect of these muscles the chin is poked forward, the shoulders are rounded, the chest becomes flattened and contracted, and the abdomen is protruded. If the body is held erect by the proper muscles, not only is the figure improved, but fatigue is not so quickly induced and even the height is increased. After walking a while with the shoulders and back rounded a tired feeling is experienced in the small of the back, which is relieved if the back is straightened and the shoulders are retracted. Other muscles that are of great value in keeping the figure in a good condition are those forming the walls of the abdomen, for they form a natural girdle and keep the contents of the abdomen in their proper position. 40. The important conclusions from these facts may be stated as follow : — AN ERECT POSTURE, AN EXPANDED CHEST, A RETRACTED ABDOMEN ARE INDISPENSABLE TO PERFECT HEALTH AND VOCAL CULTURE. 41. That the vocal apparatus may be placed under Other exer- jjjg best condition for work we must hot be content cises than ^q prescribe breathing exercises only, but also exer- those for cises that will ensure a good figure (an erect head, breathing ^j^ expanded chest, and a retracted abdomen). necessary. /pj^g abdominal muscles, besides forming a natural girdle whereby the body girth is kept within reasonable bounds HtUbert. — Breathing for Voice Production.— Novello. B l8 BREATHING FOR VOICE PRODUCTION. have also a power in keeping the chest raised, and so help to preserve the erect figure; and inasmuch as these muscles are unsupported by any kind of framework, such as exists in the chest, there is all the more reason for them to be kept in a good condition. Common sense makes it quite evident that the man or woman with an erect head, a full chest, and a well-shaped abdomen will be in a position to make the best use of the vocal apparatus, and will be likely to maintain good health. Rounded shoulders, contracted chests, protuberant abdomens, interfere with the activity of all parts of the body, both directly and indirectly ; the circulation suffers, for it is carried on more actively and easily when the body is carried erect. The blood itself, by which all the organs are nourished, is affected by imperfect breathing, for it is impossible for the partially- expanded lung to completely aerate the blood, hence there is a deficiency of oxygen — the vitaliser, as it were, of all the tissues of the body. The digestive organs, displaced by having slipped down into the protuberance formed by the laxity of the abdominal walls, are at a disadvantage, and cannot efficiently prepare the food for its assimilation by the blood, which accordingly becomes deficient in nourishment. The unexpanded lung loses much of its motor force for breathing purposes, and the lax abdominal muscles are wanting in power, and thus both the breathing power and the means of controlling that power are to a great extent lost; a loss that must hamper the acquisition of health and of strength of voice. 42. The rule cannot be too vigorously enforced of '^^^ the absolute necessity of the correct pose of the Golden Rule, body being assumed before any exercise is attempted. This rule is often overlooked by those who teach exercises, for in their keen endeavours to develop the showy muscles, the biceps, triceps, deltoids, and pectorals, or one particular part of the body, they are apt to disregard the welfare of the body as a whole. The acquisition of enormous muscular limbs can do little towards the furtherance of health, beauty of physique, or power of voice — in fact, an over-development has a strong TENDENCY TO USE UP THE VITAL FORCE THAT PROPERLY BELONGS TO THE VITAL ORGANS. All the movements of the body are effected by the contraction of its different muscles, so it becomes necessary to harmoniously develop them all. Stiff, clumsy, and slow movements result from an uneven or over-development ; grace, agility, and charm in movement are the outcome of the practice of a scientific knowledge of muscle culture. VARIOUS POSES. J 9 The correct ^^■' "^"^ Feet are firmly planted upon the ground Pose ^'*^ ^^^ ^^^'® together and the toes turned out- wards at right angles to one another. The Knees are straight and nearly touch one another. The Hips are well drawn back — thus the front of the pelvis is behind the front of the chest bone, and the abdomen is retracted behind the line of the chest, which becomes the most prominent part of the body. The Weight of the Body is equally distributed upon each leg and the centre of gravity is made to fall upon the middle of the joints of the leg with the spine in its normal position. The Chest is raised and made prominent. The Shoulders are drawn backwards and the weight of the arms transferred from the chest to the shoulder blades. The Chin is drawn slightly in, so that its point is behind the line of the chest. The Head is held erect and nicely balanced upon the neck without being stiff. The Arms hang straight down by the sides of the body, the fingers close together, and the thumbs pointing forwards. „ _ 44. By standing with the back against a wall and ^ p making the back of the head, the shoulders, the erect Foae. jg^gg^ p^rt of the back, and the heels touch the wall, the pose is produced which is described in books written for tailors on the science of measurement and cutting-out as the super-erect figure. This position will of necessity be stiff, except in very exceptional cases ; if there is absence of stiffness, then it is a correct pose. The rules that have been already given form a better guide than the wall test. _, -..«, 4'i- At first, until the muscles that ensure a good ' carriage are developed, the correct pose will be Pose. g^jg-_ /p^ overcome the stiffness by a judicious attention to the care ana well-being ot the proper muscles must be the first object to be attained, for until the correct pose is assumed easily and without any indication of stiffness, exercises will tend to do harm instead of good ; therefore pupils should work strenuously to strengthen those muscles that control the correct carriage. At first it is advisable to use gentle exercises so as to secure agility as well as strength, leaving the more severe movements for later work. 46. It is impossible to lay too great a stress upon The Evil j.jjg evils that may accrue from exercises done in a esu s o a ]y^^ position, for the bad position is only made * ****' worse, and if muscles are strengthened when badly placed it were much better that they were left neglected, for the 20 BREATHING FOR VOICE PRODUCTION. more strongly the muscles are developed under these dis- advantages, the greater the difficulty of subsequently overcoming the deformity thereby formed. g . .47. There are numberless systems of physical Phvsical culture named according to the fancy of the person Culture ^^° thinks fit to introduce a system slightly differing from the others — the name chosen may be that of a country, of the introducer, or descriptive of the object aimed at — but whatever the name may be, all systems are more or less based on the teachings of a Swede named Ling, who formu- lated exercises whereby work could be localised upon different groups of muscles. While leaving the votaries of the particular systems to fight out for themselves their little differences of opinion as to whether dumb-bells, bar-bells, chest expanders, health machines, gymnastic apparatus, machinery, or no apparatus at all should be used, we will not confine ourselves to any narrow limit, but will make good use of any legitimate means for the attainment of health, beauty, and perfectibility of figure and for the development of a sound vocal apparatus. EIGHT SPECIAL PHYSICAL EXERCISES. 21 PART II. PRACTICAL WORK. Eight Special Physical Exercises for the Attainment of a Correct Pose. The The following eight special exercises for the Daily attainment of a Correct Pose should form a daily Routine. routine at the beginning, in order that the best possible pose may be assumed. Success may safely be predicted for all who with care, intelligence, and perseverance follow out the instructions. I.— The Foot. To get the heels firmly fixed on the ground and the toes at right angles. Place the arms straight down at the sides of the body, the fingers close together, and the thumbs pointing forwards. Stand with the feet firmly planted upon the ground, the inner sides of the feet close together, the toes pointing straight forward. 1. Raise the body slightly upon the heels. 2. Direct the toes outwards until one foot forms a right angle with the other. 3. Lower the body upon the feet. 4. Raise the body upon the heels. 5. Return to the first position. 6. Lower the body upon the feet. Repeat the exercise from six to twelve times. Note. — Care must be taken that each foot is moved outwards and inwards at an equal pace, so that at the end of the outward movement each forms an angle of 45° with an imaginary straight line passing through the junction of the heels. The pupil must clearly understand what is meant by an angle of 90° and an angle of 45°- This exercise, besides teaching what is meant by the term foot pose, is also very useful as a means for learning to balance the body upon the feet — it will be found that the balance is more easily acquired by making the chest prominent, especially if a full breath is taken before the movement. To make the exercise still more complete give the following instructions : — Inspire through the nose — perform movements i, 2, 3 — Expire. Inspire — perform movements 4, 5, 6 — Expire. 22 BREATHING FOR VOICE PRODUCTION. II.— The Knee. To straighten the knee. Assume the foot pose and let the knees be rigidly straightened with the inner side of one joint almost in contact with the inner side of the other. 1. Bend each knee directly over the toes. 2. Return to the original position. Repeat the exercise from six to twelve times. ^ote. — In bending the knees they should be directed outwards as well as forwards, so that they may reach a point from which a plumb line being dropped will strike the centre of the front of the toe-cap of the boot. III.— The Hip. To get the hips retracted. Assume the foot and knee pose and draw back the hips as far as possible, keeping the knees and feet quite firm. 1. Push the hips forward as far as possible, allowing move- ment to take place at the hip joints only. 2. Return to the original position. Repeat the exercise from six to twelve times. J ^nti&i^fj^iC'^t^iS^^H?^ .y sHH ■ wBsb^^ ■ mM^^^J^K^^^ H 1 FOURTH EXKRCISE. FIG. 3. FIFTH EXERCISE. FIG. 4. SIXTH EXERCISE FIG. 5. SEVENTH EXERCISE. FIG. 6. EIGHTH EXERCISE. FIG. 7. NINTH EXERCISE. FIG. 8. TENTH EXERCISE. FIG. 9. ELEVENTH EXERCISE. FIG. 10. TWELFTH EXERCISE. FIG. 11, SEVENTEENTH EXERCISE. FIG. 12. NINETEENTH EXERCISE. FIG. 13. TWENTY-THIRD EXERCISE. FIG. 14. THIRTY-FOURTH EXERCISE. FIG. 15. THIRTY-FIFTH EXERCISE. FIG. 16. THIRTV-SIXTH EXERCISE FIG. 17. THIRTY-SEVENTH EXERCISE. \ I' Novellds Original Octavo Editions of ORATORIOS, CANTATAS, OPERAS, &a FRANZ ABT. Fays' Frolic (Female Voices) Sol-fa, 6d. ... JOLDEN City (ditto) (ditto) Minster Bells (ditto) (ditto) ... Silver Cloud (ditto) (ditto) ... Springtime (ditto) (ditto) ... Summer (ditto) (ditto) ... Water Fairies (ditto) (ditto) ... Wishing Stone (ditto) (ditto) ... J. H. ADAMS. Day in Summer (Female V.) (Sol-fa, 6d.) ... King Conor (Sol-fa, is.) THOMAS ADAMS. Cross of Christ (Sol-fa, 6d.) Golden Harvest (Sol-fa, 8d.) "'„ Holy Child (Christmas) (Sol-fa, 6d.) ..] Nativity, The (Christmas) (Sol-fa, 8d.) Rainbow of Peace (Harvest) Story of Calvary, The A. H. ALLEN. Newfoundland THOMAS ANDERTON. Norman Baron Wreck of the Hesperus (Sol-fa, 4d.) Yule Tide J. H. ANGER. Song of Thanksgiving P. ARMES. Hezekiah St. Barnabas St. John the Evangelist .„ ... ... A, D. ARNOTT. Ballad of Carmilhan (Sol-fa, is. 6d.) Young Lochinvar (Sol-fa, 6d.) E. ASPA. Endymion (With Recitation) Gipsies ASTORGA. Stabat Mater IVOR ATKINS. Hymn of Faith AUBER. Fra Diavolo (Opera) Masaniello (ditto) J. C. BACH. I wrestle and pray (Motet) (Sol-fa, 2d.) ... J. S. BACH. Be not afraid (New Edition) Bide with us (Sol-fa, 6d.) Blessing, Glory, and Wisdom Christ lay in death's dark prison Christmas Oratorio Ditto (Parts i & 2) (Sol-fa, fid.) Ditto (Parts 3 & 4) Ditto (Parts 5 & 6) Come, Tesu, come (Motet) Come, Redeemer of our race From depths of woe I call on Thee Give THE hungry MAN thy bread God goeth up with shouting God so loved the world God's time is the best (Sol-fa, 6d.) How brightly shines( Choruses, Sol-fa, 6d.) If thou but sufferest God to guide thee Jesu, priceless Treasure (Sol-fa, 6d,) Jesus, now will we praise Thee Jesus sleeps, what Hope remaineth Let Songs of rejoicing Lord IS a Sun AND Shield Lord is my Shepherd (Choruses only. Sol-fa, 2d.) Lord, REBUKE ME not Magnificat IN D Mass in B minor (Choruses onlv, Sol-fa, 2s.) MissA Brevis in a My Spirit was in heaviness (Sol-fa, 8d.) ... Now shall the grace (Sol-fa, 6d.) d. J. S. BACH.— Co»/«»«(!d. e O light Everlasting (Sol-fa, 6d.) 6 O praise the Lord for all His mercies ... 6 O teach me. Lord, my days to number ... 6 Passion (St. John) 6 Passion (St. Matthew) 6 Ditto (Abridged, as used at St. Paul's) 6 Ditto (Choruses onlv, Sol-fa) 6 Ditto (New Edition) (Sol-fa, is.) Phosbus and Pah J g Praise our God who reigns in heaven ... Praise thou the Lord, Jerusalem Sages of Sheba Sing ye to the Lord (Motet) (Sol-fa, is.) Sleepers, wake (Sol-fa, 6d.) Spirit ALSO helpeth us (Motet) Strike, thoo hour so long exppcted Stronghold sure (Chorusks, Sol-fa, 6d.) ... There is nought of soundness in all my body Thou Guide of Israel Wailing, Crying, Mourning Watch ye, PRAY ye When will God recall my spirit GRANVILLE BANTOCK. Fire-Worshippers J. BARNBY. Lord is King (Sol-fa, is.) Rebekah (Sol-fa, pd.) J. F. BARNETT. Ancient Mariner (Sol-fa, 2s.) Paradise and the Peri Wishing Bell (Female Voices) (Sol-fa, is.) marmaduke barton. Mass in A major (For Advent and Lent) ... ARNOLD BAX. Fatherland... BEETHOVEN. Choral Fantasia (Sol-fa, 3d.) Choral Symphony (Vocal Part) (Sol-fa, 6d.) Communion Service in C Engedi ; OR, David in the Wilderness ... FiDELio (Opera) Ditto (Choruses only) Ditto t Finale Act II.) Mass in C (Sol-fa, is.) Mass in D Mount of OLivEs(CHORUSES,6d.) (Sol-fa, 6d.) Praise of Musrc Ruins of Athens (Sol-fa, 6d.) A. H. BEHREND. Singers from the sea (Female V.) (Sol-fa, gd.) Through the year (Female V.) (Sol-fa, gd.) BELLINI. Norma (Opera) I PURITANI (ditto) Sonnambula (ditto) WILFRED BENDALL. Lady of Shalott (Female V.) (Sol-fa, 8d.)... Legend of Bregenz (Female Voices) Ditto (Sol-fa) Song Dances (Vocal Suite) (Female Voices) Ditto (Sol-fa) KAREL BENDL. Water-Sprite's Revenge (Female Voices) JULIUS BENEDICT. Legend of St. Cecilia {Sol-pa, is. 6d.) Passion Music from St. Peter, GEORGE J. BENNETT." Easter Hymn W. STERNDALE BENNETT. Exhibition Ode May Queen (Sol-fa, 6d.) (Choruses, 8d.) Woman OF Samaria (SoL-FA, gd.) HECTOR BERLIOZ. Childhood of Christ i Choruses, Sol-fa, 8d.) Faust (Choruses, Sol-fa. IS.) Te Deum Laudamus (Latin) (Sol-fa, is, 6d.) G. R. BETTKMANN. Song of the Western Mek o 4 2 6 6 s. d. I I o 2 6 I 6 3 o ORATORIOS, &c.— Continued. HUGH BLAIR. s. Blessed are they who watch i Harvest-Tide i Song OF Deborah AMD Barak 2 Trafalgar (Sol-fa, 8d.) i JOSIAH BOOTH. Day of Rest (Female Voices) (Sol-fa, gd.) ... i RUTLAND BOUGHTON. Invincible Armada i Midnight 2 Skeleton in Armour 2 KATE BOUNDY. Rival Flowers (Operetta) (Sol-fa, 6d.) ... 1 E. M. BOYCE. Lay of the Brown Rosary i Sands of Corriemie (Female V.)( Sol-fa, 6d.) i Young Lochinvar 1 J. BRAHMS. Requiem (Sol-pa, is.) i Song of Destiny i CHARLES BRAUN. Country Mouse and the Town Mouse (for Children) (Sol-fa, 4d.) i ■Queen Mab (Operetta) (Sol-fa, gd.) 2 Sigurd 5 Snow Queen (Operetta) (Sol-fa, 6d.) ... i A. HERBERT BREWER. Emmaus (Sol-fa, gd.) i Holy Innocents 2 O praise the Lord i O Sing unto the Lord i Sir Patrick Spens (Sol-fa, 8d.) i Song of Eden i Summer Sports i J. C. BRIDGE. Daniel 3 Resurgam I liUDEL 4 J. F. BRIDGE. Ballad of the Clampherdown (Sol-fa, 8d.) i Boadicea 2 Callirhoe (Sol-fa, is. 6d.) 2 Cradle of Christ ("Stabat Mater") ... i Flag OF England {Sol-fa, gd.) i Forging the Anchor (Sol-fa, is.) i Frogs and the Ox (Children) (Sol-fa, 6d.)... i Hymn to the Creator i Inchcape Rock (Sol-fa, 6d.) i Lobster's Garden Party (Boys') (Sol-fa, 4d.) i Lord's Prayer (Sol-fa, 6d.) 1 Mount Moriah 3 Nineveh 2 RocKOF Ages (Latin and English) (Sol-fa, 4d.) i Song of the English (Sol-fa, 6d.) r Spider and the Fly (Female V.) (Sol-fa, 6d.) i EDWARD BROOME. Hymn of Trust i DUDLEY BUCK. Light of Asia 3 EDWARD BUNNETT. Out of the Deep i T. A. BURTON. Captain Reece (Boys' Voices) (Sol-fa, 6d.) i Martinet (Humorous Naval Cantata for Boys) (Sol-fa, 6d.) i Tragedy of Cock Robin (Short Action Piece) (Sol-fa, 3d.) Yarn of the Nancy Bell (Boys' Voices) (Sol-fa, 6d.) i W. BYRD. Mass for Four Voices 2 CARISSIMI. Jbphthah I A. von AHN CARSE. Lay of the Brown Rosary 3 WILLIAM CARTER. Placida (Choruses ONLY, IS.) 2 cherubini. First Requiem Mass, C minor (Lat. and Eng.) i Second Mass in D minor 2 Third Mass IN A (Coronation) i Fourth Mass in C i E. T. CHIP?. "Naomi 2 1/3/ia HAMILTON CLARKE. Daisy Chain (Operetta) (Sol-fa, gd.) Drums and Voices (Operetta) (Sol-fa, gd.) Hornpipe Harry (Operetta) (Sol-fa, gd.) ... Missing Duke (Operetta) (Sol-fa, gd.) Pepin the Pippin (Operetta) (Sol-fa, gd.) ... FREDERIC CLIFFE. North-East Wind (Sol-fa, gd.) GERARD F. COBB. My soul truly waiteth Song of Trafalgar (Male Voices) S. COLERIDGE-TAYLOR. A Tale of Old Japan (Sol-fa, is. 6d.) Atonement (Sacred Cantata) Blind Girl of CAsT^L-CuiLLfe (Sol-fa, is.)... Bon-Bon Suite (Sol-fa, IS.) Death of Minnehaha (Sol-fa, is.) Endymion's Dream (Sol-fa, gd.) Hiawatha's Wedding-Feast (Sol-fa, is.) ... Ditto ditto (German words) Mark 3 Hiawatha's Departure (Sol-fa, is.) ... Meg Blane (Sol-fa, gd.) ScEiffes from the Song of Hiawatha Ditto ditto (Sol-fa) FREDERICK CORDER. Bridal of Triermain (Sol-fa, is.) MICHAEL COSTA. Dream (Serenata) H. COWARD. Gareth and Linet (Choruses, Sol-fa, is.) ... Story of Bethany (Sol-fa, is. 6d.) F. H. COWEN. Christmas Scenes (Female V.) (Sol-fa, gd.) Coronation Ode Daughter OF THE Sea (Female V.) (Sol-fa, is. He giveth His beloved sleep (Sol-fa, 6d.) John Gilpin (Sol-fa, is.) Ode to the Passions (Sol-fa, is.) Rose of Life (Female Vv.) (Sol-fa, gd.) Ruth (Oratorio) (Sol-fa, is. 6d.) Sleeping Beauty (Sol-fa, is. 6q,) Song of Thanksgiving St. John's Eve (Sol-fa, is.6d.) Summer on the River (Female V.) (Sol-fa, gd, Thorgrim (Opera) Veil (Poem) Village Scenes (Female Vv.) (Sol-fa, gd.)... Water Lily J. W. COWIE. Via Crucis (Sol-fa, is.) A. L. COWLEY. Harvest Covenant (Sol-fa, is.) J. MAUDE CRAMENT. I will magnify Thee, O God Little Red Riding-hood (Female Voices) s. d. 2 6 3 6 2 6 2 6 ) 2 4 2 I 2 .)3 5 3 Palestine Fairy Ring W. CROTCH. W. H.' CUMMINGS. W. G. CUSINS. Te Deum in B flat FELICIEN DAVID. Desert (Male Voices) (Sol-fa. 8d.) W. T. DAVID. Blind Man of Judah (Sol-fa, is.) H. WALFORD DAVIES. Everyman (Sol-fa, 2s.) HERvfe RiEL (Sol-fa, 8d.) HUMPTY DuMPTY (for CHILDREN) (SOL-FA, gd.) Lift up your h3arts Noble Numbers Ode on Time Temple (Oratorio) " Three Jovial Huntsmen (Folio) DONIZETTI. La Figlia del Reggimento (Opera) Lucia Di Lammermoor (Opera) LucREZiA Borgia (Opera) F. G. DOSSERT. Communion Service in E minor T. F. DUNHILL. Frolicsome Hours (SoL-FA,6d.) Tubal Cain (Sol-fa, 6d.) ' 2 6 2 O 3 2 6 I 6 1 6 2 o 3 o ORATORIOS, &c,— Continued. ANTONIN DVORXk. At the foot of the Cross (Sol-fa, is. 6d.) ... Communion Service in D Mass IN D Patriotic Hymn Ditto (German and Bohemian Words) Requiem Mass Spectre's Bride (Sol-fa, is. 6d.) Ditto (German and Bohemian Words) Stabat Mater(Sol-fa, is. 6d,) St. Ludmila Ditto (German and Bohemian Words) A. E. DYER. Elbctra of Sophocles (Male Voices) Salvator MUNDl H. J. EDWARDS. Ascension Epiphany Praise to the Holiest Risen Lord EDWARD ELGAR. Apostles (Oratorio) Ditto (Choruses) (Sol-fa) Ditto (German Words) Mark 8 Banner of St. George (Sol-fa, is.) Black Knight (Sol-fa, is.) Caractacus (Choruses only, Sol-fa, is. 6d.) Dream of Gerontius Ditto, (Choruses only. Sol-fa) Ditto, {German Words) Mark 6 Ditto, (French Words, Prix fr. 7.50 net.) Kingdom (Oratorio) Ditto (Choruses) (Sol-fa) Ditto (German words) Mark 5 King Olaf (Choruses only, Sol-fa, is. 6d.) Light of Life (Lux Christi) (Sol-fa, is.) ... Te Deuh and Benedictus, in F ROSALIND F. ELLICOTT. Birth of Song Elysium GUSTAV ERNEST. All the year round (Female Voices) (Sol-fa, gd.) HARRY EVANS. Victory of St. Garmon (Sol-fa, gd.) A. J. EYRE. Communion Service in £ flat T. FACER. Merry Christmas (School Cantata) (Female Voices) (Sol(fa, 6d.) Red Riding-Hood's Reception (Operetta) Ditto ditto (Sol-fa) SonsoftheEmpire(Femal£V.) (Sol-fa, 6d.) EATON FANING. Buttercups and Daisies (Female Voices) (Sol-fa, gd.) HENRY FARMER. Mass in B flat (Latin and English) (Sol-fa, is.) PERCY E. FLETCHER. Deacon's Masterpiece (Humorous) (Sol-fa, IS.) Enchanted Island (Operetta) (Sol-fa, gd.) Old Year's Vision (Operetta) (Sol-fa, 6d.) Toy Rbview (Operetta) ( Sol-fa, 8d.) Walrus and the Carpenter (Short Cantata FOR Schools) (Sol-fa, 4d.) FLOTOW. Martha (Opera) J. C. FORRESTER. Kalendar (Female Voices) (Sol-fa, gd.) ... MYLES B. FOSTER. AngelsoftheBells( Female V.) (Sol-fa, 8d.) Bonnie Fishwives (Female V.) (Sol-fa, gd.) Comingofthe King (Female V.)(SoL-FA,8d.) Merry Games for Children (an Action Cantata FOR Children) Snow Fairies (Female Voices) (Sol-fa, 6d.) ROBERT FRANZ. Praise ye the Lord (Psalm 117) A. M. FRIEDLANDER. Music Return to Zion 1/3/ 12. s. d. 2 6 I 6 I 6 1 6 3 o 5 o 3 6 2 6 2 6 2 6 1 o 2 6 g 1 6 I 6 1 6 2 o I 6 I 6 3 6 I 6 I 6 I 6 8 1 6 1 6 2 6 NIELS W. GADE. a. d. Christmas Eve (Sol-fa, 4d.) i o Comala 2 O' Crusaders (Sol-fa, is.) 2 o Erl-King's Daughter (Sol-fa, gd.) i o Psyche (SoL-FA, is. fid.) 2 6 Spring's Message (Sol-fa, 3d.) 8 Zion i o HENRY GADSBY. Alcestis (Male Voices) 4 0* Columbus (ditto) 26 Lord of the Isles ( Sol-fa, is. 6d.) 2 6 F. W. GALPIN. Ye Olde Englyshe Pastymes (Female V.) i 6 H. BALFOUR GARDINER. News from Whydah o 8. G. GARRETT. Harvest Cantata (Sol-fa, 6d.) i o Shunammite 3 Two Advents i 6 A. R. GAUL. Around the Winter Fire (Female Voices) 2 o Ditto (ditto) (Sol-fa) ... o g. Elfin Hill (Female Voices) 2 o Hare AND THE Tortoise(For Children) ... i o Ditto (ditto) (Sol-fa) o 6 Holy City (Sol-fa, IS.) 2 b- Israel IN THE Wilderness (Sol-fa, IS.) ... 2 6 Joan of Arc (Sol-fa, ts.).., 26 Legend of THE Wood (Female V.) (Sol-fa, 8d.) i o Passion Service 2 6 Prince of Peace (Sol-fa, is.) 2 6 Roth (Sol-fa, gd.) (Choruses only, IS.) ... 2 o Song OF Life (Sol-fa, 6d.) i o Ten Virgins (Sol-fa, is.) 2 6 Toilers of the deep (Female Voices) ... 2 o Una (Sol-fa, is.) 2 6 FR. GERNSHEIM. Salamis. a Triumph Song (Male Voices) i o- E. OUSELhY GILBERT. Santa Claus and His Comrades (Operetta) 2 o Ditto ditto (Sol-fa) o 8 F. E. GLADSTONE. Philippi 2 6 GLUCK. Iphigenia in Aulis (Opera) 3 6- Iphigenia IN Tauris (Opera) 3 6 Orpheus (Opera) (Choruses, Sol-fa, is.) ... 3 6 Ditto (Act II. only) i 6 Ditto (Act II. Choruses only) (Sol-fa) o g- PERCY GODFREY. Song op the Amal i 6- HERMANN GOETZ. By the Waters of Babylon i o^ NCENIA I O. Water-Lily (Male Voices) (Sol-fa, gd.) ... i 6- A. M. GOODHART. Arethusa I o- Earl Haldan's Daughter i Founder's Day, 1 6 Sir Andrew Barton i o Spanish Armada & CH. GOUNOD. Communion Service (Messe Solennelle)... i 6 Ditto (TRoisifeME Messe Solennelle) i 6 Daughters of Jerusalem (Latin, is.) ... i o De Profundis (Latin Words) i o Ditto (Out of Darkness) i o* Gallia (Sol-fa, 4d.) i o Faust (Opera) (Selection) (Sol-fa, gd.) ... i o Messe Solennelle (St. Cecilia) i o^ Messe Solennklle Troisi^me i Mors ET Vita (Latin or English) 2 6 Ditto Sol-fa (Latin and English)... i a Ditto Parts II. and III i 6 Ditto Ditto. (English)... i 6 Ditto (Requiem Mass) i 6 O come near to the Cross (Stabat Mater) 8 Out of Darkness i o Redemptimn (English Words) (Sol-fa, is.) ..26- Ditto Part I i 6- Ditto Part U i o Ditto Part III i o Ditto (French Words) 8 4 Ditto (German Words) 10 o- ORATORIOS, &c,— Continued, C. H. GRAUN. Passion of Our Lord (Choruses is.) Te Deum ALAN GRAY. Arethusa Legend of the Rock-Buoy Bell Song of Redemption The Widow of Zarephath J. O. GRIMM. Soul's Aspiration G. HALFORD. Paraclete E. V. HALL. Is IT NOTHING TO YOU (SOL-FA, 3d.) W. A. HALL. Presentation in the Temple HANDEL. Acis and Galatea Ditto, New Edition, edited by J. Barney Ditto ditto (Sol-fa) Alceste Alexander Balus Alexander's Fkast Athaliah Belshazzar ■Chandos Te Deum Coronation and Funeral Anthems. Cloth Or, singly : Let thy hand be strengthened My heart is inditing The King shall rejoice (Sol-fa, 3d,) ... The ways op Zion Zadok the Pkiest (Sol-fa, ijd.) Deborah Dettingen Te Deum Dixit Dominus (from Psalm 110) Esther Hercules (Choruses only, is.) Israel in Egypt, edited by Mendelssohn Israel in Egypt, edited by V. Novello. Pocket Edition (Sol-fa, is.) Jephtha Joshua (Choruses only, Sol-fa, 8d.) Judas Maccab-eus (Sol-fa, is.) Ditto Pocket Edition Ditto (Choruses only) Ditto Edited by John E. West King shall rejoice (Four-part) (Sol-fa, 3d.) L'Allegro (Choruses only, is.) Messiah, edited by V. Novello (Sol-fa, is.) Ditto, ditto. Pocket Edition Messiah, edited by W. T. Best Ditto (Sol-fa) Ditto (Choruses only) Messiah, edited by E. Prout (Sol-fa, is.) ... Nisi Dominus (Psalm 127! •0 come let us sing unto the Lord O praise the Lord with one consent (Sixth Chandos Anthem) (Sol-fa, 4d.)... O praise the Lord, ye Angels (Folio) ... Ode on St. Cecilia's Day Passion Ditto (Abridged Edition) Samson (Sol-fa, is.) Saul (Choruses only, is.) Semele Solomon (Choruses only, is. 6d,) Susanna Theodora Triumph of Time and Truth Utrecht Jubilate ALFRED HARBOROUGH. ■Crossing the Bar SYDNEY HARDCASTLE. Sing a Song of Sixpence (Operetta) HARDY, T. M. "Rip Van Winkle (Operetta) (Sol-fa, 6d.) ... JULIUS HARRISON. Harvest Cantata (Sol-fa, 8d.) Christmas Cantata C. A. E. HARRISS. Crowning of the King (Sol-fa, 4d.) Pan (A Choric Idyl) Sands of Dee BASIL HARWOOD. As by the streams of Babylon Jnclina, Domine (Psalm 86) Jesus! Thy boundless love to me 1/3/12. s. d. 2 2 I 6 I I 6 2 ' 2 8 I 6 I I 9 2 3 2 3 3 I 5 6 8 6 I 3 2 I I 3 3 2 I 2 2 2 I 8 2 6 2 2 I 2 I 8 2 I I I 2 6 I 3 I 2 2 3 2 3 3 3 I 2 6 6 I 6 I I 6 2 6 I I 6 3 J. W. G. HATHAWAY. How SWEET THE MOONLIGHT SLEEPS ... Jack Horner's Ride (Childken) (Sol-fa, 8d.) Legend of Bregenz F. K. HATTERSLEY. How THEY BROUGHT THE GOOD NEWS FROM GK2NT TO AlX King Robert of Sicily HAYDN. Creation (Sol-fa, is.) (Choruses, 8d.) Ditto Pocket Edition INSAN.E et VAN.E Cur« (Latin or English; Mass in B flat. No. I (Latin) Ditto (Latin and English) Mass in C, No. 2 (Latin) Mass (Imperial), No. 3 (Latin and English) Ditto (Latin) Mass, No. i6 (Latin) Passion; OR, Seven Last Words Seasons (Choruses, IS.) Each Season, singly (Spring, Sol-fa, 6d.) Te Deum (English AND Latin) BATTISON HAYNES. Fairies' Isle (Female Voices) Sea Dream (Female Voices) (Sol-fa, 6d.) ... Sea Fairies (Female Voices) (Sol-fa, 6d.) ... C. SWINNERTON HEAP. FairRosamond(Sol-fa,2s.)(Choruses, is.6d.) EDWARD HECHT. Eric the Dane O may I JOIN the Choir Invisible GEORG HENSCHEL. Out OF Darkness (Psalm 130) Stabat Mater Te Deum Laudamus in C H. M. HIGGS. Erl King HENRY HILES. Crusaders FERDINAND HILLER. All they that trust in Thee Nala and Damayanti Song OF Victory (Sol-fa, gd.) H. E. HODSON. Golden Legend HEINRICH HOFMANN. Champagnerlied (Male Voices) (Cinderella Melusina Song of THE NoRNs (Female Voices) SIDNEY R. HOGG. Norman Baron JOSEPH HOLBROOKE. Byron (Poem) C. HOLLAND. After the Skirmish T. S. HOLLAND. King Goldemar (Operetta) (Sol-fa, gd.) ... Pastoral Medley (Sketch) (Sol-fa, gd.) GUSTAV VON HOLST. Idea (Operetta) (Sol-fa, 6d.) King Estmere HUMMEL. Alma Virgo (Latin and English) Communion Service in B flat Ditto in D Ditto in E flat Mass in B flat, No. i Mass in E flat. No. 2 Mass in D, No. 3 Quod in Orbe (Latin and English) .. W. H. HUNT. Stabat Mater G. F. HUNTLEY. Puss-iN-BooTS (Operetta) (Sol-fa, gd.) Victoria (Sol-fa, is.) H. H. HUSS. Ave Maria (Female Voices) (Sol-fa, F. ILIFFE. Sweet Echo JOHN W. IVIMEY. Witch of the Wood (Operetta) (Sol-fa gd.) s. d. I 6 1 6 2 6 2 6 2 e I 6 1 2 6 1 6 2 6 2 I O I 6 I 6 1 2 O ■ ° 4 I o I o ORATORIOS, dcc—Continited. W. JACKSON. s. d. 2 O Year G. JACOBI. Babes in the Wood (Operetta) (Sol-fa, gd.) 2 Cinderella (Operetta) (Sol-fa, IS.) 2 o D. JENKINS. David AND Saul (Sol-fa, 2s.) 3 A. JENSEN. Feast of Adonis (Sol-fa, 6d.) i o W. JOHNSON. Ecce Homo i o H. FESTING JONES. King Bulbous (Operetta) (Sol-fa, 8d.) ... 2 o WARWICK JORDAN. Blow YE THE TRUMPET IN ZiON I o N. KILBURN. By the Waters of Babylon i o Lord IS MY Shepherd (Psalm 23) o 8 Silver Star (Female Voices) i 6 OLIVER KING. By the Waters of Babylon (Psalm 137) .,. 1 6 Naiads (Female Voices) i 6 Romance of the Roses 2 6 Sands o' Dee War and Peace (Choruses, Sol-fa, is. 6d.) 3 o T. M. PATTISON. Ancient Mariner (Choruses only, is.) ... 26 Lay of the Last Minstrel (Choruses, is,)... 2 6 London Cries 2 o May Day i o Miracles of Christ (Sol-fa, 6d.) i o A. L. PEACE. St. John the Baptist (Sol-fa, is.) 2 6 PERGOLESI. Stabat Mater (Female Voices) (Sol-fa, 6d,) i o GIRO PINSUTI. Phantoms— Fantasmi NELL* ombra i o PERCY PITT. HOHENLINDEN (MaLE VoICES) I 5 JOHN POINTER. Song of Harold Harfager (Male Voices) (Sol-fa, 6d.) ... i i> V. W. POPHAM. Early Spring i o J. B. POWELL. Pange Lingua (Sing, my Tongue) i 6 A. H. D. PRENDERGAST Second Advent i 6 F. W. PRIEST. Centurion's Servant o 8 C. E. PRITCHARD. Kunacepa 4 o E. PROUT. Damon AND Phintias (Male Voices) 2 6 Freedom i o Hereward 4 n Hundredth Psalm (Sol-fa, fd.) i o Queen AiMi&E (Female VOICES) i 6 Red Cross Knight (Sol-fa, 2-i.i ... 4 H. PURCELL. Dido AND jEneas 2 6 King Arthur 2 c Masque IN " Dioclesian" 2 Ode on St. Cecilia's Day (Choruses, Sol-fa, 8d.) 2 o Te Deum and Jubilate in D 1 Te Deum (Ed. by J. F. Bridge) (Sol-fa, 6d.) i o , Ditto (Latin arrangementbyR.R.Tekrs) i o G. RATHBONE. Orpheus (Power op Musicj (Female Voices) (Sol-fa, ftd.) i 6 Vogelweid the Minnesinger (Children's Voices) (Sol-pa, 6d.) .. ... i F. J. READ. Song of Hannah i o Ode ■ T fi ORATORIOS, Sec— Continued. J. F. H. READ. 8. d. Bartimeus I 6 Caractacus 2 6 Consecration op the banner i 6 Death OF Young RoMiLLY i 6 Harold 4 o Hbsperus (Sol-fa, gd.) i 6 In the Forbst (Male Voices) i o Psyche (Choruses only, 2s.) 5 o DOUGLAS REDMAN. Cor Unam, Via Una (Female Voices) ... i 6 C. T. REYNOLDS. Childhood of Samuel (Sol-fa, IS.) 2 o ARTHUR RICHARDS. Punch and Judy (Operetta) (Sol-fa, 6d.) ... i 6 Waxwork Carnival (Operetta) (Sol-fa, 8d.) a o J. V. ROBERTS. Jonah 2 o Passion i 6 R, WALKER ROBSON. Christus Triumphator 3 6 W. S. ROCKSTRO. Good Shepherd 2 6 J. L. ROECKEL. Hours (Operetta) (Soi^fa, gd.) 2 o Little Snow-White (Operetta) (Sol-fa, gd.) 2 o Silver Penny (Operetta) (Sol-fa, gd.) ... 2 o EDMUND ROGERS. Forest Flower (Female Voices) i 6 ROLAND ROGERS. Florabel (Female Voices) (Sol-fa, is.) ... i 6 Prayer and Praise 4 o F. ROLLASON. Stood the Mournful Mother Weeping ... i 6 ROMBERG. Harmony of the Spheres i o Lay OP THE Bell (Sol-pa, 8d.) i o Te Deum I o Transient AND THE Eternal (SoL-FA,4d.) ... i o C. B. ROOTHAM. Andromeda 2 6 ROSSINL