No. 49 
 
Cornel 
 MT 870.VS3 
 
 3 1924 021 787 118 
 
 Novellds Original Octavo Editions of 
 
 ORATORIOS, CANTATAS, MASSES, ODES, 
 
 &c. 
 
 The 
 Spri 
 Sum] 
 The 
 The 
 The 
 The 
 
 MlN! 
 
 Miss 
 
 Yuli 
 The 
 
 Wbi 
 
 Mas: 
 
 Hez: 
 
 St. 
 
 St.' 
 
 fytmll WLnivmity ff itatg 
 
 SAGE 
 
 BOUGHT WITH THE INCOME 
 FROM THE ' 
 
 ENDOWMENT FUND 
 
 THE GIFT OF 
 
 Henrij W. Sage 
 
 1S91 
 
 4 ^«*MDSK 
 
 tsm&k 
 
 > ; 
 
 s. A. 
 2 G 
 
 z 6 
 
 2 
 
 1 6 
 
 1 o 
 
 6 
 
 1 o 
 4 
 
 The Gipsies 
 
 Endymion 
 
 Stabat Mater 
 
 "etaspa; 
 
 ASTORGA. 
 
 BACH. 
 
 Mass in B minor 2 6 
 
 Missa Brevis in A 1 6 
 
 I he Passion (S. Matthew) 2 
 
 Ditto (Abridged as used at St. Paul's) i 6 
 
 The Passion (S.John) 2 
 
 Christmas Oratorio 2 o 
 
 Magnificat 1 
 
 God goeth up with shouting 1 o 
 
 God so loved the world 1 
 
 God's time is the best (Sol-fa, 6d.) 1 
 
 My Spirit was in heaviness 1 
 
 O light Everlasting 1 
 
 Bide with us 1 o 
 
 A Stronghold sure 1 o 
 
 Be not afraid (Sol-fa, 4d.) o 6 
 
 Blessing, Glorv, and Wisdom 6 
 
 i wrestle and fray (sol-fa, 2d.) o 4 
 
 Thou Guide of Israel i o 
 
 Jesu, Priceless Treasure i o 
 
 When will God recall my spirit i o 
 
 Jesus, now will we praise Thee i o 
 
 J. BARN BY. 
 
 Rebekah (Sol-fa, ed.) i o 
 
 The Lord is King (Psalm 97) 1 6 
 
 6/2/94- 
 
 Ditto 
 
 Sol-fa , 
 
 SIR JULIUS BENEDICT. 
 
 St. Peter 3 o 
 
 The Legend of St. Cecilia (Sol-fa, is. 6d.) 2 6 
 
 Passion Music from St. Peter 1 6 
 
 SIR W. STERNDALE BENNETT. 
 
 The May Queen (Sol-fa; is.) 3 
 
 The Woman of Samaria (Sol-fa, is.) ... 4 o 
 
 International Exhibition Ode (1862) ... 1 o 
 
 G. R. BETJEMANN. 
 The Song of the Western Men 1 
 
 W. R. BEXFIELD. 
 Israel Restored 4 o 
 
 HUGH BLAIR. 
 Harvest-Tide 1 
 
 JOSIAH BOOTH. 
 The Day of Rest (Female Voices) (Sol fa, is.) 2 6 
 
 E. M. BOYCE. 
 The Lay of the Brown Rosary 1 6 
 
 YoUNO LOCHINVAR I 6 
 
 J. BRADFORD. 
 
 Harvest Cantata .' 
 
 The Song of Jubilee 
 
 Praise the Lord 
 
 1 6 
 
 2 o 
 
 2 
 
ORATORIOS, &c— Continued. 
 
 W. F. BRADSHAW. 
 
 Gaspar Becekra 
 
 J. BRAHMS. 
 A Song of Destiny 
 
 CHARLES BRAUN. 
 J. C. BRIDGE. 
 
 Sigurd 
 
 5 ° 
 
 Daniel . 
 Rudbl . 
 
 3 6 
 
 4 o 
 
 J. F. BRIDGE. 
 RockofAgbs(LatinandEnglish) (Sol-fa, 4d.) i o 
 Mount Moriah 3 o 
 
 BOADICEA 2 6 
 
 Callirho'e (Sol-fa, is. 6d.) 2 6 
 
 Nineveh 2 6 
 
 The Inchcafe Rock ... i o 
 
 The Lord's Prayer (Sol-fa, 6d.) i o 
 
 DUDLEY BUCK. 
 
 The Light of Asia 3 o 
 
 EDWARD BUNNETT. 
 Out of the Deep (Psalm 130) 1 
 
 W. BYRD. 
 Mass for Four Voices (in F minor) 2 6 
 
 CARISSIMI. 
 Jephthah 1 
 
 F. D. CARNELL. 
 Supplication 5 
 
 GEORGE CARTER. 
 Sinfonia Cantata (Psalm 116) 2 o 
 
 WILLIAM CARTER. 
 Placida 2 o 
 
 CHERUBINI. 
 
 Requiem Mass, C minor (Latin and English) i o 
 
 Second Mass in D minor 2 
 
 Third Mass (Coronation) 1 o 
 
 Fourth Mass in C 1 
 
 E. T. CHIPP. 
 
 Job 4 
 
 Naomi 2 o 
 
 FREDERICK CORDER. 
 The Bridal of Triermain (Sol-fa, is.) ... 2 6 
 
 SIR MICHAEL COSTA. 
 The Dream 1 o 
 
 H. COWARD. 
 The Story of Bethany (Sol-fa, is. 6d.) ... 2 6 
 
 F. H. COWEN. 
 
 St. John's Eve (Sol-fa, is. 6d.) 2 6 
 
 A Song of Thanksgiving I 6 
 
 Sleeping Beauty (Sol-fa, is. 6d.) 2 6 
 
 Ruth (Sol-fa, is. 6d.) 4 o 
 
 Summer on the River (Female Voices) 
 
 (Sol-fa, gd.) 2 
 
 The Water Lily 2 6 
 
 Village Scenes (Female Voices) 1 
 
 J. MAUDE CRAMENT. 
 
 I WILL MAGNIFY THEE, O GOD (PsALM I45) ... 2 
 
 W. CRESER. 
 Eudora (A Dramatic Idyl) 2 
 
 W. CROTCH. 
 Palfstine 3 
 
 W. H. CUMMINGS. 
 The Fairy Ring 
 
 W. G. CUSINS. 
 
 Te Deum 
 
 Gideon 
 
 FELICIEN DAVID. 
 The Desert (Male Voices) 
 
 P. H. DIEMER. 
 M. E. DOORLY. 
 
 Bethany 
 
 Lazarus 
 
 F. G. DOSSERT. 
 Mass in E minor 
 
 F. DUNKLEY. 
 The Wreck of the Hesperus 
 
 ANTONIN DVORAK. 
 St. Ludmila 
 
 Ditto (German and Bohemian Words) 
 The Spectre's Bride 
 
 Ditto (German and Bohemian Words) 
 
 Stabat Mater 
 
 Patriotic Hymn 
 
 Ditto (German and Bohemian Words) 
 
 Requiem Mass 
 
 Mass in D 
 
 A. E. DYER. 
 
 Salvator Mundi 
 
 Electra of Sophocles 
 
 H. J. EDWARDS. 
 
 The Ascension 
 
 The Epiphany 
 
 Praise to the Holiest 
 
 EDWARD ELGAR. 
 The Black Knight ... 
 
 ROSALIND F. ELLICOTT. 
 
 Elysium 
 
 The Birth of Song 
 
 G. ERNEST. 
 All the year round (Female Voices) 
 (Sol-fa, gd.) 
 
 EATON FANING. 
 Buttercups and Daisies (Female Voices) 
 (Sol-fa, is.) 
 
 HENRY FARMER. 
 
 Mass in B flat (Latin and English) 
 (Sol-fa, is.) 
 
 MYLES B. FOSTER. 
 
 The Lady of the Isles 
 
 The Angels of the Bells (Female VmciS' 
 
 Ditto ditto (Sol-i-a; 
 
 The Bonnie Fishwives (Female Voices) ... 
 
 Ditto ditto (Sol-fa) 
 
 Snow Fairies (Female Voices) 
 
 ROBERT FRANZ. 
 Praise ye the Lord (Psalm 117) 
 
 NIELS W. GADE. 
 
 Psyche (Sol-fa, is. fid.) 
 
 Spring's Message (Sol-fa, 3d.) ... 
 Erl-King's Daughter (Sol-fa, gd.) . 
 
 ZlON 
 
 The Ckusaders (Sol-pa, is.) 
 
 Comala 
 
 Christmas Eve (Sol-fa, 4d.) 
 
 s. d. 
 2 6 
 
 1 6 
 
 3 6 
 
 ■ 6. 
 
 4 o 
 
 2 6 
 
 5 ° 
 
 5 o 
 8 o 
 3 ° 
 
 6 o 
 
 2 6 
 
 1 6 
 
 3 o 
 5 o 
 
 2 6 
 
 2 6 
 
 I 6 
 
 2 6 
 2 O 
 I 6 
 
 I o 
 
 1 e 
 
 2 6 
 
 9 
 
 1 6 
 
ORATORIOS, &c— Continued. 
 
 HENRY GADSBY. s . d. 
 
 Lord of the Isles (Sol-fa, is. 6d.) 2 6 
 
 Alcestis (Male Voices) 4 o 
 
 Columbus (ditto) 2 6 
 
 G. GARRETT. 
 
 Harvest Cantata {Sol-fa, 6d.) 1 o 
 
 The Shunammite 3 
 
 The Two Advents 1 6 
 
 R. MACHILL GARTH. 
 
 Ezekiel ... 4 
 
 The Wild Huntsman 1 
 
 A. R. GAUL. 
 
 A Song of Life (Ode to Music) (Sol-fa, 6d.) 1 
 
 Joan of Arc (Sol-fa, is.) 2 
 
 Passion Service 2 
 
 Ruth (Sol-fa, gd.) 2 
 
 The Holy City (Sol-fa, is.) 2 
 
 Ten Virgins (Sol-fa, is.) 2 
 
 Israel in the Wilderness (Sol-fa, is.) ... 2 
 
 Una (Sol-fa, is.) 2 
 
 FR. GERNSHEIM. 
 
 Salamis. A Triumph Song (Male Voices) i 6 
 
 F. E. GLADSTONE. 
 
 Philippi 2 6 
 
 GLUCK. 
 
 Orpheus 3 6 
 
 HERMANN GOETZ. 
 
 By the Waters of Babylon (Psalm 137) ... 1 
 
 Nojnia r 1 
 
 The Water-Lily (Male Voices) 1 6 
 
 CH. GOUNOD. 
 
 Mors et Vita (Latin or English) 6 o 
 
 Ditto, Sol-fa (Latin and English) 2 o 
 
 Requiem Mass (from " Mors et Vita") ... 2 6 
 
 The Redemption (English Words) 5 
 
 Ditto, Sol-fa 2 o 
 
 Ditto (French Words) ... ... 8 4 
 
 Ditto (German Words) 10 o 
 
 Messe Solennelle (St. Cecilia) 1 
 
 Out of Darkness 1 o 
 
 Communion Service (Messe Solennelle)... i 6 
 
 Troisieme Messe Solennelle 2 6 
 
 De Profundis (Psalm 130) (Latin Words)... i 
 
 Ditto (Out of Darkness) i o 
 
 The Seven Words of Our Saviour 1 
 
 Daughters of Jerusalem 1 o 
 
 Gallia (Sol-fa, 4d.) 1 o 
 
 A. M. GOODHART. 
 
 Earl Haldan's Daughter 1 
 
 Arethusa 2 o 
 
 C. H. GRAUN. 
 
 The Passion of Our Lord (Der Tod Jesu) 2 o 
 
 Te Deum 2 o 
 
 ALAN GRAY. 
 
 Arethusa 16 
 
 The Legend of the Rock-Buoy Bell ... 1 
 
 The Widow of Zarephath 2 o 
 
 J. O. GRIMM. 
 
 The Soul's Aspiration 1 o 
 
 G. HALFORD. 
 
 The Paraclete 2 
 
 E. V. HALL. 
 
 Is it nothing to you o 8 
 
 HANDEL. 
 
 Alexander's Feast 2 
 
 Acis and Galatea 1 o 
 
 Ditto, New Edition, edited by J. Barnby i 
 
 Ditto, ditto, Sol-fa 1 o 
 
 Alceste 2 o 
 
 Semele 3 o 
 
 The Passion ... j o 
 
 The Triumph of Time and Truth ... ... 3 
 
 HANDEL — continued. 
 
 Alexander Balus 
 
 Hercules 
 
 Athaliah 
 
 Esther 
 
 Susanna 
 
 Theodora 
 
 Belshazzar 
 
 The Messiah, edited by V. Novello 
 
 (Sol-fa, is.) 
 
 The Messiah, ditto. Pocket Edition 
 The Messiah, edited by W. T. Best 
 Israel in Egypt, edited by Mendelssohn 
 Israel in Egypt, edited by V. Novello. 
 
 Pocket Edition 
 
 Judas Maccabeus (Sol-fa, is.) 
 
 Judas Maccabeus. Pocket Edition 
 
 Samson (Sol-fa, is.) 
 
 Solomon 
 
 Jephtha 
 
 Joshua ,. 
 
 Deborah 
 
 Saul 
 
 Chandos Te Deum 
 
 Dettingen Te Deum 
 
 Utrecht Jubilate 
 
 o come let us sing unto the lord (flfth 
 
 Chandos Anthem) 
 
 O praise the Lord with one consent 
 
 (Sixth Chandos Anthem) 
 
 Coronation and Funeral Anthems. Cloth 
 Or, singly : 
 
 The King shall rejoice 
 
 Zadok the Priest 
 
 My heart is inditing 
 
 Let thy hand be strengthened 
 
 The ways of Zion 
 
 Ode on St. Cecilia's Day 
 
 L* Allegro 
 
 HAYDN. 
 
 The Creation (Sol-fa, is.) 
 
 The Creation. Pocket Edition 
 
 The Seasons 
 
 Each Season, singly (Spring, Sol-fa, 6d.) 
 First Mass in B flat (Latin) 
 
 Ditto (Latin and English) 
 
 Second Mass in C (Latin) 
 
 Third Mass (Imperial) (Latin and English) 
 
 Ditto (Latin) 
 
 Sixteenth Mass (Latin) 
 
 The Passion; or, Seven Last Words 
 
 Te Deum (English and Latin) 
 
 Insane et Van-e Cvkm (Ditto) 
 
 BATTISON HAYNES. 
 
 The Fairies' Isle (Female Voices) 
 
 A Sea Dream (Female Voices) 
 
 H. HEALE. 
 Jubilee Ode 
 
 C. SWINNERTON HEAP. 
 Fair Rosamond (Sol-fa, 2s.) 
 
 EDWARD HECHT. 
 
 Eric the Dane 
 
 o may i join the choir invisible 
 
 GEORGE HENSCHEL. 
 Out of Darkness (Psalm 130) 
 
 HENRY HILES. 
 
 Fayre Pastorel 
 
 The Crusaders 
 
 FERDINAND HILLER, 
 
 Nala and Damayanti 
 
 A Song of Victory (Sol-fa, gd.) 
 
 HEINRICH HOFMANN. 
 
 Fair Melusina " 
 
 Cinderella 
 
 Song of the Norns (Female Voicbs) 
 
 s. d. 
 
 3 o 
 
 3 o 
 
 3 o 
 
 3 
 
 3 o 
 
 3 o 
 
 3 o 
 
 1 6 
 
 3 6 
 
 3 O 
 1 6 
 
 6 6 
 2 6 
 
 4 
 1 
 
NOVELLO, EWER AND CO.'S 
 MUSIC PRIMERS AND EDUCATIONAL SERIES. 
 
 Edited by Sir JOHN STAINER and Dr. C. HUBERT H. PARRY. 
 
 FIFTY 
 
 Three-Part Studies 
 
 WITHIN THE COMPASS OF AN OCTAVE 
 
 FOR 
 
 SIGHT-SINGING CLASSES 
 
 BY 
 
 J. E. YERNHAM, 
 
 Professor of Music in King's College, London, and Organist and Choirmaster of 
 St. Paul's, Knightsbridge. 
 
 PRICE ONE SHILLING AND SIXPENCE. 
 In paper boards, Two Shillings. 
 
 85c 
 
 LONDON &■ NEW YORK 
 
 NOVELLO, EWER AND CO. 
 9 
 
LONDON : 
 
 NOVELLO, EWER AND CO., 
 
 PRINTERS. 
 
PREFACE. 
 
 During my long experience as a teacher of Sight-Singing I 
 have constantly felt the want of exercises far more interesting 
 than those usually placed before the student. There is always, 
 moreover, a great difficulty in dividing voices into " parts " for 
 complete harmony in the ordinary sight-singing class, owing to 
 the preponderance of, for instance, basses at one time and tenors 
 at another, or the occasional absence of one entire part. 
 
 For this reason, therefore, it is some time before the student 
 has the opportunity of taking his part in harmonised exercises, 
 and of holding his own against other parts, a source of great 
 interest to each singer. 
 
 To meet this want, the following exercises are all written in 
 complete harmony, each part within the compass of one octave, 
 C to C, and therefore within easy range of all voices, male and 
 female ; and while care has been taken not to exceed the compass 
 of the octave, each part has been so arranged as to extend the 
 whole compass of the octave, thus giving the student, as far as 
 possible, the practice of extended intervals. 
 
 The Tonic Sol-fa notation is placed under the ordinary 
 notation in order to increase the general utility of the book. 
 
 My best thanks are due to Mr. Hamilton Robinson, Mus. Bac, 
 F.R.C.O., for contributing the March at the end of the book, and 
 to Mr. Edward Mills, Mus. Bac, of Battersea Training College, 
 for suggestions concerning the Tonic Sol-fa notation. 
 
 J.E. V 
 
 King's College, London. 
 
 July, 1895. 
 
NOTE. 
 
 When the separate parts have been learned and can 
 be combined with safety, a firm steady tone and an even 
 balance of parts should be maintained throughout, but no 
 attempt should be made to observe the expression marks 
 until this has been accomplished, together with a well 
 defined rhythm. 
 
FIFTY THREE-PART STUDIES. 
 
 / 
 
 $ 
 
 f :— Is :f |n :— |d' :— 
 
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 ■3=£ 
 
 r :-|n :-|f :- |d' :-|- :— |t :-|d' :- |n :- } 
 
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 P 
 
 P 
 
 r :-|- 
 
 -:-|f 
 
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 id : 
 
 i 
 
 23Z 
 
 1 :-|t :-|d' 
 
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 In this and the following Exercises take care that the long notes 
 are sustained well up to power with a slight crescendo on the tied 
 notes. The second of the tied notes is generally the more important, 
 forming as it frequently does, a suspension (see Primer, No. 8) or 
 discord. 
 
No. 2. 
 
 FIFTY THREE-PART STUDIES 
 
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 In this Exercise and others where modulations occur, the acci- 
 dentals, or notes chromatically altered must be taken firmly and 
 without hesitation. 
 
FOR SIGHT-SINGING CLASSES. 
 
 No. 3. 
 
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 $ 
 
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 For the practice of firmness of tone, with crescendo and 
 diminuendo. 
 
No. 4. 
 
 i 
 
 FIFTY THREE-PART STUDIES 
 — J 
 
 te^p 
 
 E 
 
 fe 
 
 Doh is C. 
 
 fi- 
 
 |d' :-!-:- Id 1 :- I— : 
 
 :-|fa :-} 
 
 ?= 
 
 ^ 
 
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 |d' :- |-:-|d' :- It :- 1 1 :-|s :- j f :- |r :— }. 
 
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FOR SIGHT-SINGING CLASSES. 
 
 No. 5. 
 
 i 
 
 £S 
 
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 T 7 JZF z 
 
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No. 6. 
 
 FIFTY THREE-PART STUDIES 
 
 P 
 
 fe 
 
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 Doh is G 
 
 Id :-|- 
 
 -|-:-|t, 
 
 d :-|- 
 
 ••-\ 
 
 m 
 
 ^ 
 
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m 
 
 No. 7. 
 
 Andante. 
 
 FOR SIGHT-SINGING CLASSES. 
 
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 Doh is P, 
 
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 :fe 
 
 3F* 
 
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 :t, :r II, 
 
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 :- II. 
 
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 In this Exercise (Triple Time) let the notes between the accent, 
 viz., 2nd and 3rd beats, pass smoothly along, and in bar 5 make the 
 note before the accent slightly staccato. 
 
No. 8. 
 
 FIFTY THREE-PART STUDIF.S 
 
 fe4 
 
 m 
 
 fee 
 
 Doh is G. 
 
 n :— |f :n I r : 
 
 - |- :n Id :— |— :r j. 
 
 I 
 
 t^ 
 
 g=£ 
 
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 d :- |- :- |d :1, |t, :- |d :t, |1, :- \ 
 
 ffe£ 
 
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 Id :r Id :t, |t, :1, Is, :— |— 
 
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 $ 
 
 a 
 
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 i 
 
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 =3= 
 
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 In bars 2 sind 3, make a slight crescendo upon the dotted notes, 
 carrying it well over the change of harmony. 
 
FOR SIGHT-SINGING CLASSES. 
 
 No. 9. 
 
 Andante. 
 
 m 
 
 ^- ^-1 ^=^ ^ 
 
 st^ 
 
 — : t| .1, : t, Id :t, :1, Is, :fe. 
 
 Doh is Bl\ 
 I d :- :- 
 
 kfffe 
 
 m 
 
 ^ — m 
 
 &^ 
 
 J. * 
 
 {| s, :1, :s, |f, :— :r, | n, :d 
 
 :1. 
 
 m 
 
 — i — * — i-* 
 
 ZZ 
 
 ' * * -©- 
 
 n, :f, :n, I r, 
 
 :— :f, I Si :— :f, I n, :d :r.d I 
 
 i 
 
 ^=p 
 
 fr^TT 
 
 1= 
 
 4= 
 
 s 
 
 i 
 
 s,.r,:s, :rii I f , .n, :r, :— ■ In, :s, :f, Is, :t, :1, 
 
 m 
 
 =F=? 
 
 ss 
 
 zz 
 
 Si :— :d.t,|l| 
 
 :t|.l|l s , . 1 1 : t , .d :r 
 
 $ 
 
 ^ 
 
 
 :n, :li 
 
 |t, :s, :f, J. 
 
 ^B 
 
 * ai- 
 
 :1, :s, If, :— :— 
 
 $ 
 
 p=r — t~* 
 
 =P=F=t 
 
 ^ 
 
 — :d :— I— :t,.l,:t, Id :— 
 
 m 
 
 p 
 
 3=t 
 
 -W — * *- 
 
 n, :f, :n, |r, 
 
 TX~. 
 
 n, :— :— 
 
 Avoid hurrying the quavers, but take them as slowly as the 
 regular beats will allow. It is a common fault to hurry quick notes. 
 
10 
 
 FIFTY THREE-PART STUDIES 
 
 No. 10. 
 
 g^ 
 
 s 
 
 Doh is E?. 
 
 r :— 
 
 :— Id 
 
 m. 
 
 7£- 
 
 tp2= 
 
 II 
 
 d :— 
 
 Ife :- 
 
 :- II :- 
 
 ^ 
 
 fe^ 
 
 2=ez 
 
 ||n 
 
 :- II 
 
 t. 
 
 :— n 
 
 i 
 
 be 
 
 2z: 
 
 It, 
 
 i 
 
 
 :- |f :- 
 
 :— U 
 
 re :— 
 
 pi 
 
 r7\ 
 
 :— r 
 
 n :— 
 
 m 
 
 ii 
 
 fe :— 
 
 i— Is :— 
 
 :— Id :- 
 
 ^ 
 
 ^ 
 
 S 
 
 (I 
 
 ti 
 
 If :- 
 
 :— r 
 
 If :— 
 
 :— Is : — 
 
 :— Id :— 
 
 In this Exercise the notes must not only be sustained their full 
 value, but, the same power must be maintained throughout. The 
 conductors beat must be carefully watched during the pause, the 
 notes released exactly together, and all voices must attack the follow- 
 ing chord firmly and simultaneously. 
 
FOR SIGHT-SINGING CLASSES. 
 
 II 
 
 No. 11. 
 
 l3£ 
 
 » /-U J 4— i — i. 
 
 -ri- 
 
 * d 
 
 Doh is D. 
 
 Is :- |1 :s If 
 
 :— |— :s In 
 
 - :r 
 
 J S ^ 
 
 ^^£ 
 
 ' -d- 
 
 {|n :- Id :- |r :d |t, 
 
 :— Id 
 
 -<3- 
 It, 
 
 P 
 
 JT F=P :m -^ 
 
 3£ 
 
 {| :d |f :n |r :- |- 
 
 | n :fe |s :— I 
 
 m 
 
 -&- 
 
 V- CJv 
 
 **" 
 
 |)d :- |- :t, |d :- |- 
 
 :- Is 
 
 i 
 
 ^ 
 
 I J 1 ! : 
 
 {|n :r [i 
 
 Id :n |1 :- 
 
 :n 
 
 I- :fji_J. 
 
 $ 
 
 *F4 
 
 ^ 
 
 S 
 
 ^-i*--fe 
 
 ^ 
 
 ~?d~ 
 
 |— :fe [f :— In :— |f :s.f In :d |d 
 
 pi 
 
 i 
 
 s s 
 
 || — :— |s :— I — :t, |d :— I r :s |— :-.f In :- |— :- 
 
 P 
 
 - '-J- '* 
 
 ■^Sr-*—* _± (J 
 
 il 
 
 |d :t, Id :r In :— It, :d |r :t. Id :— |— :— 
 
 m 
 
 ^ 
 
 i 
 
 -rir 
 
 d=+=kd 
 
 i|t,:f |n r | pi :s |— :— I — :n :f :r In :— I— : — I 
 For firmness of tone, with more frequent crescendo and diminuendo. 
 
12 
 
 FIFTY THREE-PART STUDIES 
 
 i 
 
 No. 12. 
 
 2 -<s>- 
 
 ^ 
 
 m 
 
 ^H 
 
 || pi :— |f :1 |t, :— |d 
 
 :— n 
 
 :fe 
 
 m===tt=$ E & 
 
 KSl 
 
 3= 
 
 * 
 
 3i: 
 
 |d :f Is :f In :d |d :— } 
 
 ^fFft=^\ 
 
 w 
 
 gj I rj 
 
 m 
 
 :d 1 1, :d 
 
 |d :r } 
 
 i 
 
 ^ 
 
 *£ 
 
 ^ 
 
 hP^ 
 
 <j \ > cj 
 
 s :n I pi :r It, 
 
 :ta, 1 1, :— 1 1 :se } 
 
 i 
 
 3^3 
 
 *=*: 
 
 rJ < - J Mr* 
 
 -e< »- 
 
 1 1 1, :d .s 1 8 :fe 
 
 r :r 
 
 |r :de 1 1, :t, } 
 
 ^ 
 
 H=t 
 
 S 
 
 32: 
 
 II 
 
 r :s II :— 
 
 s :r .n I f :n | de :r I 
 
 j fe66=J=l=3=f 
 
 rail. 
 
 -& s>- 
 
 s :f I r :d It, :d 
 
 -e* c> 
 
 d :t, 
 
 i 
 $ 
 
 m 
 
 n — ffez 
 
 te= 
 
 j I de 
 
 :r II :1a 
 
 :— s :— 
 
 m 
 
 zee 
 
 ^^ 
 
 zc2: 
 
 In :f If :f If :n |r :- 
 
 n :— 
 
FOR SIGHT-SINGING CLASSES. 
 
 ^ No. 13. 
 
 l 3 
 
 pas 
 
 Lah is P. Doh is /[JT 
 
 {|d :- :t, |1, :- :- 
 
 (F 
 
 / 
 
 — :— 1 1| :n :— 
 
 t, |d :1, :s, I 
 
 || — :re :— |n :— :r |d ' : :de I r :— :d i 
 
 ^^^ 
 
 ^ 
 
 
 ^ 
 
 ! - :t, 
 
 :li |— :sei :— | 
 
 1. : :a, If, :- 
 
 %E 
 
 W 
 
 S 
 
 zst 
 
 -%&-. 
 
 fife, :— :— In, 
 
 :- |f, :1, :- 1 1, :- :- } 
 
 i 
 
 fer 
 
 m 
 
 t, :- 
 
 :— :— Id :— :— 
 
 $ 
 
 %F^- 
 
 m 
 
 d= 
 
 3 
 
 :f, I n, :— :— 1 1, :— 
 
 i 
 
 ^ 
 
 s 
 
 zt: 
 
 :1, I se, 
 
 1, :- :- 
 
 The notes marked staccato must be as short as possible, and re- 
 leased by all voices together. The syncopations (see Primer, No. z) 
 or altered accents, as in bars 4, 5, 6, and 7, must be firmly attacked, 
 and held their full value. R 1 
 
H 
 
 FIFTY THREE-PART STUDIES 
 
 No. 14. 
 
 
 ^^E 
 
 * »- 
 
 =t=fc* 
 
 II 
 
 LaA jj C. -D"^ « El'. 
 
 d :r :n I f :s :1 | — :se : 
 
 — 1 1 :n :— \ 
 
 J^ 
 
 
 :st— *- 
 
 II 1 ' 
 
 :t, :d |r :n :f I — :n :— In :d 
 
 fl 1 -" 
 
 -* — *- 
 
 :— |1, :- :- 1 1, :n :r |d :1, :1 } 
 
 pF=t. 
 
 i* 
 
 :— :— Id :— :fle |r 
 
 :d Id :— :t, 
 
 ^ 
 
 =P="-» 
 
 +=F 
 
 t=t: 
 
 ||t, 
 
 :— :— Id :1 :— I — :se :1 I s :f :— 
 
 :— :f in :— :— If :— :n |r 
 
 I 
 
 m 
 
 pp 
 
 1 
 
 Be 
 
 || 1i :— :t, | d :— :t, | n :r :d | f :n :r | d :— :— 
 
 $ 
 
 ± 
 
 & 
 
 W- 
 
 H3E 
 
 ij fj % 
 
 \ 
 
 s 
 
 :n :— In :b 
 
 :— :1 II :— :— II :— :— 
 
 || d :— :r jn :— :re |n :— :— |r :d :t, II, 
 For smoothness together with syncopation. 
 
FOR SIGHT-SINGING CLASSES. 
 
 15 
 
 No. 15. 
 
 gff^ 
 
 m 
 
 ^ 
 
 Doh is At\ 
 
 fid :t, Id 
 
 :s, 
 
 :s, 
 
 &£=% 
 
 ^ 
 
 if. 
 
 m^r 
 
 m 
 
 Z3=tL 
 
 I 
 
 
 ass 
 
 ^ 
 
 Z*" 
 
 I! 3 
 
 I 1 ' 
 
 I f ' 
 
 :n, 
 
 :s, } 
 
 g^ 
 
 -rir 
 
 lh 
 
 ^S 
 
 J se, :t, .1, 1 1, :se, J 
 
 3 
 
 II 1 
 
 ^ 
 
 P 
 
 11. 
 
 :fi 
 
 n, 
 
 :m, 
 
 rii 
 
 ^^ 
 
 ^ 
 
 : F^ - 
 
 zi: 
 
 II 
 
 :r .d Id 
 
 :t, } 
 
 ¥ 
 
 fcfc 
 
 m 
 
 w 
 
 1 
 
 t&F 
 
 m 
 
 zz 
 
 
 :s. 
 
 I 1 ' 
 
 :t, 
 
 * * 
 
 w 
 
 zz: 
 
 Id :- 
 
 Z2Z 
 
 || r :d \s, ,f, ;n, |li :s, |d -,— 
 For firmness and steadiness of tone in the f»ianissimo. 
 
 II 
 
i6 
 
 FIFTY THREE-PART STUDIES 
 
 No. 16. 
 
 $ 
 
 kh£ 
 
 t=t 
 
 ^ 
 
 IeS 
 
 3=fc 
 
 +—+ 
 
 Doh is A. 
 
 Id :- |d :— 1 1. :- |d 
 
 jr :— |r :d 1 1, :1, is, :f, j. 
 
 0m=a^^m 
 
 ?=*Z 
 
 i I s, :— |1, :— | s, :f, |n, :-|f, :— Ife, :— | s, :1, |t, :1, J. 
 
 I 
 
 tit 
 
 & 
 
 EEE35 
 
 ?=Mz 
 
 -e— & 
 
 |n,:— |f,:— |s, :— |s, :— 1 1, :t, |1, :— |t, :d |r :— j. 
 
 P 
 
 *i#= 
 
 ii 
 
 ZEfc 
 
 ■t=t 
 :- i f, : 
 
 {|n,:-|- 
 
 |f, :-|f, :l, |d :-|d :- |t, :-} 
 
 I 
 
 fefc 
 
 " Emmm 
 
 ¥ 
 
 j|se. 
 
 1, :t, Ida :-|r :1, |1, :-(■, :- |- :-} 
 
 fe*= 
 
 m 
 
 j r 
 
 S 
 
 j — rr 
 
 ■^ — #** 
 
 :- |d :t, 1 1, :- |1, :- | f, :- |fe, :- | s, :- |- :-} 
 
 ii 
 
 ii*= 
 
 i^ 
 
 |r :-!-: 
 
 :-|d :— Id :- |— :— Id 
 
 i 
 
 *.*= 
 
 i 
 
 ? 
 
 .4— J 1 : zzq=:q: 
 
 *— ^ 
 
 || f, :1, Is, :f, | n, :-|-:-|f, :s, |f, :-|f, :- |n, :- 
 
 !«*= 
 
 ^^ 
 
 ||1, :d It, :1, 1 8, :-]-:- 1 
 
 --*$* 
 
 li :t, II, : 
 
 I .m, », 
 
FOR SIGHT-SINGING CLASSES. 
 
 No. 17. 
 
 17 
 
 3*= 
 
 Lah is D. Doh is F. 
 
 Id :— :r In :— :r Id 
 
 :li I %t\ '. — :t| n 
 
 :fe } 
 
 i 
 
 s^ 
 
 zdi 
 
 
 ^3 
 
 111 
 
 -:t, Id :-:r 
 
 :n |d :— 
 
 fci^= 
 
 ^ 
 
 - rJ- 
 
 {|1.:-: 
 
 — — :n 
 
 1, :-:d 
 
 T3' 
 
 ti :— :se, I 1, 
 
 ^ 
 
 #= 
 
 1. 
 
 -rt~ 
 
 :— :t, I— :— :1, Is, :— :— |l, :— :t ( 1 1 ( :— :li } 
 
 $ 
 
 #= 
 
 3 
 
 321 
 
 i| S ' 
 
 :— :n I — :— :re It, :— :— Id 
 
 A 
 
 :r r 
 
 :— :d \ 
 
 i^=& 
 
 wt, 
 
 :s I fe :— :— In :— :— I f 
 
 :— n :— :— 
 
 tP 
 
 — |s^' o- 
 I] 1, :— :se,|l, :— :— 1 1, :— : 
 
 dr 
 
 o~ 
 
 — I ti :— :1| I— :se, :— 1 1, 
 
 Z2I 
 
 3Et 
 
 fax: 
 
 II 
 
 d :— :t, 1 1, :— :d I s 
 
 :f I n :— :.— I n 
 
 :r Ide :— :— I 
 
 $ 
 
 1 
 
 -jet. 
 
 ' 
 
 73- 
 
 |r :— :— |r :— :d|r :— :— |r :— :d 1 1, :— :— 1 1, 
 For smoothness, crescendo and diminuendo generally. 
 
i8 
 
 FIFTY THREE-PART STUDIES 
 
 No. 18. 
 
 $ 
 
 ^. 
 
 m 
 
 ^^ 
 
 Doh is F. 
 
 In ■-!- 
 
 [f :- I-:- Is :- |- 
 
 If :-) 
 
 ^m 
 
 =#= 
 
 ^ 
 
 mm 
 
 3t 
 
 |d:-| 
 
 It, :— j — :— Id :ae |r :s, |1, :t, } 
 
 j^E 
 
 -JC 
 
 2 
 
 S 
 
 3: 
 
 {| : |n :-|-:- |r :-|-:t, |1, :le,jt, :- |d :r } 
 
 ^m 
 
 ^ 
 
 3 
 
 pi :r |d :— It, :— |d :t, lie,:— |de :— 1 1, :— |d :— 
 
 $m 
 
 ^Lnkj_hA 
 
 m 
 
 -pc 
 
 -a) — * 
 
 {•Id, :— |d :r |r :s |s 
 
 :— ffe :n | re :n |f :— { 
 
 j^-^m= 
 
 mm 
 
 *^# 
 
 1 j- q o — 
 
 j|d :— |n :fe | s :r |pi :r | de :— |le, :— ft, :s, |1, :— } 
 
 =** 
 
 23: 
 
 I—:— | d :— |d :— | -:t, |d :n | s :— |— :— | s :— |— :— 1| 
 
 |y_JJ r| IJ^ f ^ ^ 
 
 i 
 
 {|— :n |f :s [n:f :fe:— |— :s |n:d |— :t, |1, :t,|d:— |— :— I 
 
 i 
 
 *= 
 
 *= 
 
 m 
 
 i 
 
 
 Z2Z 
 
 { 1 1, :— I— :— | d :1, |la,:— | s, :— |s :— | r :— |— :— | n :— |— :— I 
 For firmness generally, and the practice of strong crescendo. 
 
i 
 
 FOR SIGHT-SINGING CLASSES. 
 
 No. 19. raU . 
 
 '9 
 
 #= 
 
 3= 
 
 
 I— :— |— :se, |t, :— } 
 
 Doh is P. 
 
 In :- I- 
 
 # 
 
 
 £5 
 
 m 
 
 - * s 
 
 || :n |r :d :d |t, :1, | se, :t, |n :r I 
 
 i 
 
 ^ 
 
 £^ 
 
 E=E 
 
 3 ¥*— 
 
 :n |r :d I ti :— |se ( :— } 
 
 I 
 
 \\ :d It, :1, | 
 
 s-^ a tempo. 
 
 I- I J i 1-4 
 
 =1= 
 
 r*-= 
 
 li :-l 
 
 II 
 
 :t, | a :r |— :t, |d :— |1, :— | s, :1, |— :t } 
 
 §y: j i- ^Ud^^u-^i 
 
 3t 
 
 |j^:d.t,|d :r |n :fe Is :r [d :— |d :— 1 1, :d |— :r } 
 
 i 
 
 ^S 
 
 r 
 
 » 
 
 t-r^r 
 
 1=F 
 
 — «=*-• ; 
 
 {|1, ':— |-:s, |d r — It, :r |n :s |- :fe | s :fe |f :-} 
 
 i 
 
 ¥=F 
 
 ^g 
 
 3tZ 
 
 *-ei pr 
 
 {|t, :1, I — : se, 1 1, :d |d 
 
 :— I — :t,Jf :— In :— |— :— 
 
 I 
 
 ^ 
 
 £ 
 
 ^ 
 
 ;ez 
 
 j|r :d I— rt, |d :— If :— | s :— I— :— | s :— |- 
 
 P 
 
 ib fr* ' ^sJ L -*— * 
 
 {|n :— |r :— |.d. :1, I— :k t | s, :- |I, :t, |d :- |- :- || 
 
 For the general study of firmness of repetition and syncopation, 
 together with rallentando and pause. 
 
20 
 
 No. 20. 
 
 FIFTY THREE-PART STUDIES 
 
 * 
 
 m 
 
 zz: 
 
 Doh is BP 
 Id :-:-|d 
 
 :- :- I - :- :- I tj :- :- I d 
 
 i 
 
 fe^ 
 
 3=t 
 
 S| I** -- • 1| l~ ~ SSi Ii • ■ 
 
 : -l 
 
 ^ 
 
 »»/" 
 
 ^ 
 
 -cr 
 
 {(*: 
 
 - :- I f . 
 
 :n, Lr, :— 
 
 -1ST 
 
 i 
 
 IF 
 
 n, : 
 
 { |f.:-:- 
 
 C3 
 
 In, : 
 
 ri : 
 
 rei :— :— 
 
 y-^rr 
 
 {V 
 
 Id :— :— It, :— 
 
 t«__ • 1 1 • > > 
 ■ *^^ • m • • \ 
 
 $ 
 
 1. :- 
 
 •— _ j| • j IG| ! I S6| 5^~* S^ - L 
 
 I 
 
 rii :— : 
 
 ||fe,:-:-|f, :— :-| f, :-:-|f, :— :-|f, :-:- 
 
 {|t, 
 
 :— Id :-:— Id 
 
 :-|t, :-:-|d :-:-|d :-:-! 
 
 P- 
 
 I 
 
 te 
 
 fr<5>-' 
 
 {jl, :-:— | — :-:— | la, :— :— |k,:— :— | s, :— :— | s, :— :— | 
 
FOR SIGHT-SINGING CLASSES. 
 
 21 
 
 No, 21. 
 
 fe 
 
 ^ 
 
 -psz 
 
 ^ 
 
 I 
 
 Lah is A. -Do* »* C 
 
 d 1 :— |t :— 
 
 E3E 
 
 1 :t Id 1 
 
 t :- I- :- } 
 
 m 
 
 m 
 
 m 
 
 ?^tz $tr zt3 
 
 II 
 
 |1 :se 
 
 b :se II :— I — :se.b |se :n 
 
 $ 
 
 ^=^ 
 
 7* 
 
 &— 
 
 {I :n |f :n 
 
 n :— |— :re In : — 
 
 :se 
 
 $ 
 
 i „ l 1- 
 
 i^fei^E 
 
 In :re |n :— 
 
 |n :b | se :s |f :— | 
 
 pi 
 
 Id' :- It :- 
 
 In :— | n :— |r 
 
 i 
 
 P2= 
 
 ^ 
 
 S 
 
 || 1 :— |se :— 
 
 n :b 
 
 |se :1 |t :d' |— :t } 
 
 ||— :1 I— :se |1 :— 
 
 The notes before the rest should be slightly shorter than their full 
 value, thus giving the fullest value to the rest. 
 
22 
 
 FIFTY THREE-PART STUDIES 
 
 .NO- 22 
 
 :£*$ 
 
 a 
 
 Doh is E. 
 
 d :r in 
 
 :f Is :1 |s :f In :— |— :fe 
 
 pm 
 
 i 
 
 - o rs 
 
 ~g~ 
 
 -o — e* 
 
 (I* 
 
 I— :r In :f |r :— I d 
 
 t, II, 
 
 :-» 
 
 j;J a fc 
 
 ~cr 
 
 Id :- |— :- |t, :- |d :r |d :— \ 
 
 J- 
 
 izc 
 
 *: 
 
 t, :se, fl, :— J 
 
 {Js :- I- 
 
 1 :- fl, 
 
 i 
 
 u 
 
 & 
 
 =£= 
 
 X 
 
 fPF 
 
 — CS <5» *" 
 
 :t, Id :— i 
 
 -& =»- 
 
 it, :- |d 
 
 pJ3= 
 
 Jde :— 
 
 J3: 
 
 22 
 
 2± 
 
 Tl g"- 
 
 || r :te |n 
 
 1 :s |f :n In 
 
 I- :f } 
 
 i 
 
 tt 
 
 32t 
 
 rj Xfj 
 
 t, 
 
 |r :re I n :f |n :— 
 
 i 
 
 ft 
 
 It, :- Id :t, |d :— 
 
 i 
 
 l& 
 
 e> — H — s»- 
 
 ^E 
 
 :1 Is 
 
 For piano generally, with long sustained crescendo and dimin- 
 uendo, which must be very gradual. 
 
FOR SIGHT-SINGING CLASSES. 
 
 2 3 
 
 No. 23. 
 
 m 
 
 ^ 
 
 ZZSZ 
 
 3L=3tZ 
 
 E£ 
 
 hah is A. Doh is C. 
 
 I d 1 :- :- I d 1 :— :— I d 1 :t :1 I — :— :se 1 1 :- :t 
 
 m 
 
 *r*- 
 
 ^^ 
 
 -rt- 
 
 ?3z 
 
 II 
 
 :-U 
 
 :s Ife 
 
 If :- :- I n 
 
 |# ^ 4hU 
 
 g^% 
 
 ¥&-• P~= ^ — *~ 
 
 :n If :— :n I re :— :— I r :— :— I d :— :r 
 
 $ 
 
 *m 
 
 w* 
 
 :1 II 
 
 :b I se 
 
 :— t s :— :— 1 1 :— :s 
 
 i 
 
 ^m 
 
 <i : 
 
 :d' It :— :— 1 1 :— :— I n :- :— I f 
 
 P 
 
 T3 . [?, « 
 
 :— :re In :— :re In :— :— I d 1 :— :ta II 
 
 {\n 
 
 $ 
 
 1 
 
 =t 
 
 =P 
 
 II 
 
 f :— :— I s :-- :f I n :— 
 
 $ 
 
 :— |f :— :— |— :— :n |n :— :— | 
 
 3 
 
 "C^ 
 
 i 
 
 (|r:-:-|n 
 
 :*-:r |d 
 
 :de r- 
 
 a 
 
 -i~i*j~ 
 
 ai 
 
 3* 
 
 1 
 
 a 
 
 ta :— :1 I s 
 
 :— 1 1 :— :s If :— :1 
 
 HI :-:-! 
 
24 
 
 No. 24 
 
 FIFTY THREE-PART STUDIES 
 
 
 
 f sempre. 
 
 nr-* — ^j. — &- 
 :d.,d|r :t, |d 
 
 — In :n .,n|f ;r .n} 
 
 pm 
 
 *bJ=j=s3^=i 
 
 -*=isMz 
 
 Wm 
 
 I se :— |1 :— |— :s |f :f.,f|s :f \n :na J. 
 
 -J— 
 
 =E3f 
 
 4= 
 
 * 
 
 M=A^=tZ 
 
 f :n .r |n :— If :s |1 :£ In :r |d 
 
 m^^ 
 
 I— :fe |s :1 
 
 -e£ o 
 
 It, :— |d :— 
 
 inp^p 
 
 23Z 
 
 i 
 
 r :d |t, :d | s 
 
 5 
 
 
 ^ 
 
 -fq— -i= i 
 
 || t, :r |— :n_;f |f :n .r |n 
 For the practice of dotted notes, and accent generally. 
 
FOR SIGHT-SINGING CLASSES. 
 
 25 
 
 No. 25. 
 
 :t, I I, :s, :f, I n, .,n,:r, 
 
 I 
 
 E5E5S 
 
 m 
 
 •f — p- 
 
 | 1 n 1 :fe, :1, 
 
 :bi :se, } 
 
 ? r*- 
 
 Tf- *' 
 
 ll d 
 
 :- It, 
 
 PI 
 
 :n, J 
 
 r a . 3 - 
 
 1 1 s, :1| :fe, I s. 
 
 :t| .,tj r : : I 
 
 $ 
 
 1 
 
 r 
 
 fPp 
 
 — — H 
 
 {II, :— :re, | r, :— :n, | f , :— iivr.j pi, :— :— 
 
 ;t 
 
 =F=F 
 
 ^3*d=K: 
 
 || f, :— :fe, J se, :— :s, | 1, :— is^filn, :— :— 
 
 {£=*- 
 
 J^EEE ^EJEEB 
 
 M 
 
 =Et 
 
 - :d 
 
 — :t, :d 
 
 I 1 ' 
 
 :t, :— I d :— :— 
 
2.6 
 
 FIFTY THREE-PART STUDIES 
 
 No. 26. 
 
 feE 
 
 =£ 
 
 :se. 
 
 
 :n 
 
 :d 
 
 1, :n 
 
 Z3Z 
 
 -ni- 
 
 * 
 
 m 
 
 — :de 
 
 q= 
 
 li : 
 
 :n 
 
 I- :1. 
 
 i 
 
 fe 
 
 i 
 
 -rlr 
 
 Z&Z 
 
 i 
 
 
 - :d 
 
 - :t ( 
 
 : - I 
 
 w 
 
 s, 
 
 |]t, 
 
 -o- 
 
 :— !d 
 
 zeiz 
 
 fc 
 
 3= 
 
 || se, :— jk! :— ] s, :r j n 
 
 For firmness in the attack of each separate part. 
 
FOR SIGHT-SINGING CLASSES. 
 
 No. 27. =7 _ 
 
 22= 
 
 27 
 
 1 
 
 DoA is Al?. 
 
 ^ 
 
 „r :d .,t, 1 1, 
 
 »/- 
 
 :t, J 
 
 q — p»- -a-t- 
 
 *=& 
 
 II 
 
 PSgS 
 
 :r .,d :t, .,1, } 
 
 ll< 
 
 :li ,s, |f, 
 
 I 
 
 &E 
 
 ^ 
 
 5^=^ 
 
 P 
 
 Se 
 
 I- :1, :- 
 
 :se. 
 
 g 
 
 e 
 
 il 
 
 :f, :— In, :- 
 
 I 1 ' 
 
 y^ — n± 
 
 22= 
 
 — :— :re 
 
 i 
 
 & 
 
 ffiS 
 
 ip 
 
 ^ 
 
 i 
 
 n 1 ' 
 
 H 
 
 II 1 ' 
 
 :li :fj 
 
 
 -e»- 
 in, :— 
 
 :li Is, 
 
 I— :d 
 
 I— :"j 
 
 =£2= 
 
 1 
 
28 
 
 FIFTY THREE-PART STUDIES 
 
 No. 28. 
 
 *S ,,„i 
 
 w 
 
 Doh is AP. 
 
 d :r Is, :si 
 
 ifl 
 
 ^5 
 
 | rii :t, J. 
 
 ^S^ 
 
 ^ 
 
 -rd- 
 
 {|si :1, It, :d 1 1, :— I s, :— Is, 
 
 |#^ 
 
 r H ^-K^ i 
 
 *==* 
 
 w 
 
 ^ 
 
 /In, :f t )— :ri| In :r Id :t, Id :s, I 
 
 $ 
 
 fr 
 
 & 
 
 =**= 
 
 1, :— I Si :— I n, 
 
 fe 
 
 gg 
 
 it 
 
 3dz 
 
 j^r 
 
 £ 
 
 .se,:l, .t, 1, 
 
 i 
 
 fet 
 
 S3 
 
 p" 
 
 {|m 
 
 :— | fe, :— I s, 
 
 .t, :d .r 
 
 :d. } 
 
 i 
 
 M 
 
 m 
 
 Eg=E 
 
 ^ 
 
 £3E 
 
 iz*z 
 
 {| .l,:t,.d|— :t,. | 1, :1, | s, :s, j 1, :s, | s, :— 
 
 $ 
 
 £E 
 
 S 
 
 I 
 
 3^^ 
 
 I fe. :- 
 
 f. |fi :n, If, :f, If, :n , 
 
 ^^^^^g^^^^ 
 
 || .d:r.n|— :r. | fle :r 1 1, :d |d :t, |d :— 
 For the practice of the fortissimo with special accents. 
 
FOR SIGHT-SINGING CLASSES. 
 
 No. 29. 
 
 29 
 
 i £MN & 
 
 o P>- 
 
 =t 
 
 Doh is E. 
 
 I n „f:s :1 I s 
 
 :— :f 
 
 :d :- \ 
 
 fmf . 
 
 -*~<B»- 
 
 Id .,r:n 
 
 r :- 
 
 :1, 
 
 i 
 
 *ita 
 
 pepe 
 
 :^ffi 
 
 *— * - 
 
 -©- 
 
 Id :- 
 
 ■73- 
 
 :- Id 
 
 :s .f :n .r I 
 
 
 
 ^=t 
 
 P=t 
 
 m* 
 
 at®: 
 
 Tl ^J 
 
 {P 
 
 i 
 
 *&= 
 
 I d .r :n .f :s 
 
 ^ 
 
 3^ 
 
 -<=i *-»■ 
 
 i 
 
 i«l 
 
 (I 
 
 s 
 
 .b :se .n I n 
 
 :d ,t, } 
 
 S 
 
 ■» d # 
 
 -*— »- 
 
 :t, :- 
 
 ti :t, .se, 1 1) .t, :d .r :n [ 
 
 **te 
 
 p€ 
 
 ii 
 
 1 :s :— I s :— :— 
 
 4*1 
 
 pmm 
 
 ], .t| :d .r :n .rid :— r— 
 
 ^+d-^J=^ 
 
 || d .r :n .f :s .f |n :— :— 
 
 This must be taken smoothly, and care must be taken not to hurry 
 the crotchets during the crescendo at the end. c 
 
3° 
 
 FIFTY THREE-PART STUDIES 
 
 No. 30. 
 
 jjife 
 
 =F 
 
 S 
 
 *=» 
 
 |t, :— Id :— |t, :1, I se, :— |- 
 
 Lah is E. -DoA »s G. 
 
 Id :n |r :d I d : 
 
 t 
 
 *f^ 
 
 ^2= 
 
 3=3= 
 
 3=5= 
 
 Z2T 
 
 II' 
 
 I n :— |- 
 
 |f :— I— :— I — :— |n :r } 
 
 EE& 
 
 =1=1=T 
 
 IE2Z 
 
 || :d |t, :l,|se,:-|- :- 1 1, :n |r :d|t, :-|-:-} 
 
 $=£ 
 
 P 
 
 ■ri- 
 
 ll 1, :-|l, :-|s, :— |d :- 1 1, :- |1, :- 1 1, :- In ;- j. 
 
 pz=fc 
 
 x 
 
 s, :— fe. 
 
 I de :— |re 
 
 • Sl • -T_ i t, • — 
 
 ■fe= 
 
 3 *J ^M 
 
 B^ 
 
 -4 
 
 si " r dr 
 
 {|1, :— It, :— |t, :— If :-|n :- |re :— |n :- |r :- j. 
 
 -^^~ 
 
 <j 
 
 
 T> J— J 1— 
 
 1 - 
 
 w — 
 
 || pi" : 
 
 -|-:-|f :- 
 
 IT -- ! 
 
 |_ ._ 
 
 -f *_« J 
 
 — :— In :r Id :- 
 
 -J : 
 
 -It, :-} 
 
 ||d : 
 
 - It, :1, 1 1, :- 
 
 __| 
 
 o 
 
 ■Is, :- 
 
 — 1 
 
 f,:- 
 
 fe£ o — 
 fe, :— | s, :- 
 
 -I-:-} 
 F 
 
 w — 
 
 « 9 G* 
 
 — rt 
 
 Le> 
 
 CJ 
 
 -L 
 
 ||n :-|r :d [ — r — |*. s-jl, :-]- : -| Sl s _ |_ »_ j. 
 
FOR SIGHT-SINGING CLASSES. 
 
 31 
 
 **= 
 
 dmd$g 
 
 IZ=!z 
 
 n :— |t :— Id :— |r : — I d :— |t, 
 
 de 
 
 1 
 
 t* 
 
 m 
 
 zziz 
 
 || d :- |t, :- |1, :-|ta,:-|l, :- |se, :-|l, :- 1— : 
 
 t 
 
 i^t 
 
 ^m 
 
 {[m :— I-:— |f : I— :— j — :— |— :n |n :— |- 
 For the practice of due contrast in phrasing. 
 
 No. 31. 
 
 *m=jfcfe i 
 
 m 
 
 m=¥ - ^ 
 
 *=& 
 
 Doh is D. 
 
 1 1 pi :— :1 Is :n :r I d .r :n :fe 
 
 s.f:n :1 
 
 :1 } 
 
 i 
 
 ^ 
 
 ^ 
 
 -* ' — "T— ^ 1 1 — *1 r 
 
 I d ,,n:s :f I n .,d:t| :s 
 
 :n I re :n :d I 
 
 gs 
 
 3=3= 
 
 s 
 
 '-^^^ 
 
 I d .,n:s :t, I n .r :d 
 
 ti :s 
 
 :n } 
 
 i 
 
 fc#= 
 
 qj T3^=^ 
 
 z£ 
 
 ■^ Gi- 
 lt, :d 
 
 s :— :d |-.t,:d :— I r .t,:d :— 
 
 p ^=i-n?x f *=ggm 
 
 :s :f In .r :d :ta 1 1 .s :s :1 I s 
 
 i 
 
 fc£ 
 
 r=? 
 
 f|; 
 
 ^ 
 
 II s .f :n 
 
 :— It, :n 
 
 If :n :f I f .r :n 
 
32 FIFTY THREE-PART STUDIES 
 
 „ No. 32. 
 
 I 
 
 *i* 
 
 & 
 
 ig£ 
 
 ret 
 
 ^=*5 
 
 Lai is Fit Dok is A. 
 
 I : T |d :- |r :d 
 
 I— :t, | n, :— |se, :— \ 
 
 ilfeA 
 
 S 
 
 3=i=m 
 
 £ jrJ— j E 
 
 * 
 
 «A 
 
 {| d :t, |d :ta, 1 1, :— |n, :— |d :r |d :t, } 
 
 ^^^=^ ^m 
 
 w 
 
 li :se t Hi :s, I f ( :fe, Ise, :— 1, :— hi : — J 
 
 *£ 
 
 £i 
 
 3=£ 
 
 ^ • 
 
 u 
 
 p^ 
 
 I d :t, |1, :— I li :s, |se, :— I 
 
 ^^ 
 
 "W=* 
 
 'v •« 
 
 i 
 
 J*fc 
 
 1, :b, |se, :-* 1 1, :s, |f, :— |— :n, |n, :— J. 
 
 fe g= fJ H^^ 
 
 ¥ 
 
 # 
 
 { I fe, :re. In, :r j d : 
 
 — I— :de |r :d |— :t, } 
 
 «= 
 
 m 
 
 *t 
 
 ^ =^=A — u~# 
 
 =21 
 
 s, :f, |n, :— If, :n, |1, :— 
 
 { | rti :li |se t :— | li :se, II, :— 
 
 3^*± 
 
 Ide :r |— :d It, :— 
 
FOR SIGHT-SINGING CLASSES. 
 
 33 
 
 P- 
 
 No. 33. 
 
 =5q= 
 
 *=$=**=^ 
 
 =F==F 
 
 ^ 
 
 ||d.,r:n :f | s : 
 
 - :f 
 
 n .,r:d :1, | — :se, :— } 
 
 3=fc 
 
 |n.,r:d :r It, :1, :f In 
 
 • • 
 
 r I 
 
 ^ 
 
 mf_ 
 
 ^r^m 
 
 p 
 
 I d.,t,:l, :t, | se, :1, :r j t, :— :— J 
 
 i 
 
 * 
 
 JF 
 
 =t==t 
 
 :£ 
 
 zcfc: 
 
 .i— ir— *— j- 
 
 — ^ ^r 
 
 1 1 1, :— :s, | s :d :t, j d :r :— | n 
 
 ld.,t,:l, :t, I— :1, :se, II, :1a, :s. Id :— :- 
 
 J|l,.,t,:d :r | s, :s.f:n.r|d :- :t, |d :- 
 
34 
 
 FIFTY THkEE-PART STUDIES 
 
 No. 34. 
 4L 
 
 m 
 
 B-s; — pi gj . 
 
 Do A is E. 
 
 .{| S :1 :s 
 
 — :f :n In :r :d } 
 
 itim 
 
 ^ 
 
 zz 
 
 «* e>- 
 
 :t, :1, } 
 
 f ife 
 
 "O" 
 
 t, 
 
 fe 
 
 P 
 
 ==3& 
 
 :*— j- G> rJ 
 
 t, :- 
 
 :n I - .t, :n :r > 
 
 S* 
 
 Me 
 
 =£ 
 
 ^ 
 
 i:- 
 
 { I r :— :r 
 
 .1, :d :t 
 
 I sej 
 
 : - } 
 
 « 
 
 4 j- 
 
 ICfc 
 
 t, 
 
 II 
 
 ,r :s :f In :— :r 
 
 : ~ \ 
 
 || n.f :s .1 :- .s | s :-.n :f | -.n :r ,d :r .f | n :— :— 
 
FOR SIGHT-SINGING CLASSES. 
 
 35 
 
 No. 35. 
 
 te^ 
 
 r~m 
 
 J=£ 
 
 Ir rd^t, } 
 
 :d |— :t 
 
 Doh is D. 
 
 ||s :-|- 
 
 n :— 
 
 Ie^s 
 
 m 
 
 ^^@i 
 
 H*z 
 
 in :r |— :1 I f in Ir :— 
 
 Id :n |f :n.r } 
 
 IfcrEi 
 
 lE# 
 
 BE 
 
 3£= 
 
 — * — i — c^ 
 ||d :t, |d 
 
 h- :— II :se |- 
 
 i 
 
 o • 
 
 ir 
 
 In :r | — :d In :r I—":— |r :de |1 
 
 ft=F^ 
 
 g=» 
 
 id— 
 
 {]d :ta I— :1 | se :s |— :f""|n :— |3e :— } 
 
 lEiiS 
 
 3=C 
 
 1 :f |— :n In :t, |— :— In 
 
 In :- } 
 
 % 
 
 1 
 
 5 
 
 £ 
 
 -rt- 
 
 || fe :s |1 :r |r :— |— :— |r :n |f :— | — :r |n :— | 
 
 I 
 
 £ 
 
 j 1- 
 
 Id :- 
 
 d 
 
 :-|t, 
 
 :-|-:-|d :~|-:-| 
 
 m 
 
 Ir :— |— :— J« :— |— :— Is :— |s :1 I s :— |- 
 
36 
 
 FIFTY THREE-PART STUDIES 
 
 No. 36. 
 
 i 
 
 % 
 
 mv-. — j : 
 
 T3- ^ 
 
 :d I si : 
 
 I" 
 
 Doh is A 
 {|d :-:-|r 
 
 :— | f, :-:- |fe,:-:— } 
 
 M 
 
 pig 
 
 || s, :— :— 11, :— :— 1 1, :— :— |d ;— :— 1 1, :— :— 
 
 fe 
 
 3 
 
 |l>:-:-|. 
 
 iS 
 
 ^ 
 
 if. 
 
 n, :— ;— 
 
 ■|n, : 
 
 :— | d :— :— Ir :— :d } 
 
 $ 
 
 **#- 
 
 f^ 
 
 3=t 
 
 { | 8) :— :— |—:—:— | se,:— :— |t, :— :— 1 1, :— :— 11, 
 
 P^ 
 
 ^ 
 
 1 
 
 * -G>- 
 
 |t, :— :— In, : 
 
 — :— |fi : — :ri| I r :— : 
 
 Id :-:-} 
 
 ***= 
 
 za~ 
 
 -&-*■ 
 
 ZEt 
 
 W^- 
 
 ; {|d : - : -|t, :-:-|t, :-:- 
 
 -II,:— 8— J' 
 
 fe 
 
 -ot 
 
 :*3~ 
 
 |r :—:-!*,:—:— I —:_:— |n,:— :— I 
 
 # 
 
 ** 
 
 ^=t- 
 
 {j 1. :— :— |la,: — :— | s, :— :*-|- 
 
 tt 
 
 ° s 
 
 2=t 
 
 if, :-:— |r :— :d Id 
 
FOR SIGHT-SINGING CLASSES. 
 
 No. 37. 
 
 37 
 
 a=^zai 
 
 Doh is F. 
 
 {|n: : |r : : |d: : |t,: : 1 1,: : |s,: : |d:-:- 
 
 ^g^ n Stg ii J7JT?5^ S 
 
 * 
 
 3=£ 
 
 Id: : |r : : Is 
 
 |r:n:r|d: : |r : : |n:-:-|-:-:- J. 
 
 &m 
 
 j-^r^^yi^i JN i | -j^ i j^T f^ 
 
 || d: : |t,:,: |r: : |r: : 1 1,: : |t,: : | d :- :-|t,:- :- [. 
 
 ^= jrn^^^^- ^ ^=^=^fr 
 
 ||d: : |ti : : |d : : |s : : | s : : 
 
 I-:-:-} 
 
 -W 
 
 ^J MS^ tf 
 
 -H^- 
 
 ki*i i v^ a 
 
 S 
 
 ||f: : |n : : j n : : |t,:d:t,|l,: : 11,: : jg,:- :- 1- :-:-j. 
 
 ^ r^Jpsj js-n J7j"[7 g^--jrj ==£^p 
 
 HJ^: : Ise,: : 1 1,: : |r:n:r|d: : |d : : I d :-:- |t,:-:-l 
 
 $ 
 
 -&- 
 
 £ 
 
 £=2=353!!3H 
 
 -i -^-k ^-^- 
 
 r3:5^EM: 
 
 fc 
 
 |ta,: : II,:.: |i 
 
 ,. ; s,. 
 
 |n:-:-jf 
 
 i 
 
 esS*; 
 
 fr^'^f^ F^H 1 =^ : *Fj* 5 f- ! » f =*fgE5±g': 
 
 || r : : |n : : |d: : |d : : |d: : |t. 
 
 I 
 
 : ps 
 
 je=£=££3=h 
 
 35SB; 
 
 ^Ti ■ gg 
 
 * 
 
 f|*:: Id:: |f: : In: :|r: : |. : : | g :- :- 1- :- :- 1( 
 
 To be sung very lightly, but firmly, with a strong crescendo leading 
 up to the strong beat of bars 5 and 9. Full value must be given to the 
 rests throughout. 
 
38 FIFTY THREE-PART STUDIES 
 
 No. 38. 
 
 m 
 
 -£^= 
 
 =t 
 
 d 1- 
 
 £ 
 
 g.^ p~ 
 
 =t 
 
 ZJ=C 
 
 ■F=Ft ?- 
 
 DoA is p. 
 
 lis:-:-!-: 
 
 In :— :— |— :— :— I 
 
 :n |f :— :n } 
 
 frX-mJ —j-p-f 8 - 
 
 £=& 
 
 £=£ 
 
 5t=* 
 
 x±z=ei: 
 
 || : :n |r 
 
 :t, |d : : Id :— :— I— :— :— } 
 
 ^^ 
 
 r -r , i^_c =e 
 
 :se, |1, 
 
 -P* — <sr 
 
 : :d |t, : : 
 
 : :ta,|l, :— :— } 
 
 $m 
 
 r r J ■ 1 r r -F= P 1 ] — fm 5 
 
 (i 
 
 s 
 
 :d It, 
 
 :t, |d : : } 
 
 S 
 
 'S= 
 
 E^ 
 
 £-g- 
 
 -t^-P- 
 
 -It, :-:-! 
 
 i 
 
 :n |r 
 
 :s, II, 
 
 ifc 
 
 rj • rj~. 
 
 If :-:-!- 
 
 I n :— :— I— :— :— } 
 
 I 
 
 £ 
 
 {|d :-:-|t,:-:-|d :-:-|- 
 
 i 
 
 ^ 
 
 {|1,: 
 
 {| : 
 
 -Is,: 
 
 Is 
 
 3=& 
 
 s :— :—|—:—:—l 
 
 1^1 
 
 :-!l 
 
FOR SIGHT-SINGING CLASSES. 
 
 39 
 
 i 
 
 No. 39. 
 
 j. f sempre. 
 
 EEE 
 
 =P=i=t 
 
 d — L -e* 
 
 Doh is G. 
 
 Id :- |- 
 
 |— :t,.l,|t, :i. 1 1, :- |1, :- } 
 
 pH 
 
 =£= 
 
 S 
 
 -*-d S 
 
 || : Id :- |r :- |- :- |- :d .t,|d :- } 
 
 m 
 
 3£ 
 
 :- I- :f } 
 
 r*r: 
 
 - y J 
 
 -m—tf-0 — -ai- 
 
 w 
 
 I- :r |- :d .t,|d "it, 1 1, :- |f, :- } 
 
 &S 
 
 5 
 
 || — :t,.l,|t, :s, \n :— |— :— | f :n |r :d } 
 
 m 
 
 ^Be^ 
 
 3E 
 
 * d~ 
 
 s, :- I- :t, |— :li.ii|li it, | f , :— Hi :— } 
 
 rz3z 
 
 ll r 
 
 n :— — 
 
 :t. Id :— I— :— 
 
 #£=^T~ i ' i : 
 
 p5^=3 ^ H 
 
 ||— :1a, Is, :— |d 
 
4 o 
 
 FIFTY THREE-PART STUDIES 
 
 No. 40. 
 
 f sempre. 
 
 kMzF— j— 3 =\^EE^= $^£$ 
 
 =1- 
 
 II 
 
 Doh is F. 
 
 :d |n :- 
 
 :r .n |f 
 
 |- :n .r|d :- ) 
 
 ilSEEE^ 
 
 ^2^" 
 
 -zf 
 
 :d |- :t, II, :- 
 
 :s, Is 
 
 I- :f } 
 
 j^^ 
 
 1=F 
 
 m 
 
 35E5Q 
 
 -JC tXL 
 
 w 
 
 I :■. Id :- I- 
 
 :d .t,|l, :- } 
 
 PgS 
 
 S 
 
 ~*? — -©- 
 t, :-|l, :- Is, :-! 
 
 Tj g? ~ 
 
 :— |d :— |r :— I — :f |— :n j. 
 
 fdsg 
 
 s=s 
 
 =fc 
 
 |j-.n:-.r|— :d | — :t„l,lt, :— |d :— |ta, :— | — :— |— :— [ 
 
 g-it-j-jffl ^^^p 
 
 3=F=j^ 
 
 ^ 
 
 ||s, :t,.r|n :fe (s :— |— :f -[ n :d |f :— |-:— |s :— } 
 
 i 
 
 ?» 
 
 ig 
 
 3*: 
 
 d «' 
 
 || d :— I— :r.d|t, :- |d :r.n|f :— |— :s.f|n :— |— : 
 
 H — i — !- 
 
 ^ 
 
 fe^S 
 
 -er 
 
 || i, :— |-:t,.l,|s, :— |1, :t,,d|r :d |r :— | d :— |— :— 
 
FOR SIGHT-SINGING CLASSES. 
 
 41 
 
 No. 41. 
 
 BE 
 
 ES 
 
 ret 
 
 ^ 
 
 Duh is Eb. 
 
 j Id :n |s :- 
 
 :d |f :— |n :fe Is :— } 
 
 # 
 
 te== 
 
 EEE 
 
 ;«^t 
 
 ^ 
 
 II 
 
 I :n ]r :d | :r In :— |- 
 
 V $W== J f sm i c 
 
 rj I ir 
 
 :t, 
 
 II 
 
 I :d It, :1, | :t. Id :- 
 
 i 
 
 ^a^s 
 
 / 
 
 !=Pt 
 
 EiS 
 
 s ,fe :- .n |fe 
 
 :f.n|f :s Id 
 
 It, :- 
 
 — |1, :t, |d.r:n.f|f :n.r} 
 
 I 
 
 Se 
 
 « 
 
 -J — -4- 
 
 ^g 
 
 !■=» 
 
 * 
 
 rot 
 
 ■xH 
 
 1=^ 
 
 Ir 
 
 |d :r In .f :s .1 |1 :se I 
 
 -*£ 
 
 SE 
 
 -n i r 
 
 ^ 1 _n 1 
 
 j — *-*r 
 
 1, :n.r|d :r .d 1 1, :d.t,|l, :t, Id :— |— :— 
 
 S 
 
 -H 1 r ^ 
 
 E^r 
 
 - * — »-*- 
 
 II 
 
 d :s .f |n :f .n I r :n ,r |d :r Id :— 
 
 3^ 
 
 rpr 
 
 -* rJ- 
 
 -* d o 
 
 \\ 
 
 1 :- I- 
 
 — :f |— : — I — :n .r |n :— 
 
42 
 
 FIFTY THREE-PART STUDIES 
 
 No. 42 
 
 $ 
 
 ^ 
 
 ^ 
 
 -*-*-• 
 
 I de 
 
 $ 
 
 :f |n 
 
 l.ta:l .8 |- .f :s } 
 
 #5 
 
 
 ^fe 
 
 *• 
 
 || d 1 ct .111 :se |n :— |d'.ta:l .se| s :n |1 :s .d'J 
 
 £ 
 
 ^ 
 
 ^=* 
 
 t±£t 
 
 -» #- 
 
 1*-*- 
 
 :r |n 
 
 1 ,s :f .n |f :— - I n 
 
 |r :n } 
 
 $ 
 
 z*=M. 
 
 *±3t 
 
 S 
 
 II 
 
 .f I- .l:s .f I 
 
 1 :- It 
 
 $ 
 
 * 
 
 - =1— — I — I — I 1 F=^ 
 
 ^ -j-* -j --j z qiz^ 
 
 :s .f In :- 
 
 || f :n .r |- .f :n ,r | — :n .rid :— |l 
 
 For the practice of points of imitation. 
 
FOR SIGHT-SINGING CLASSES. 
 
 i 
 
 No. 43. 
 
 p sempre. 
 
 43 
 
 S^ 
 
 -& 
 
 atxzst 
 
 Lah is 'D_ Dohis F, 
 
 || n .,r:d .,t,l 1," :- 
 
 id :- 
 
 .,r :d .,t, ). 
 
 SB 
 
 K_i M * i- r 
 
 *ra 
 
 P 
 
 I- .,t,:l, „se,} 
 
 II 
 
 lin 
 
 In .,r :d „t,| 1, 
 : — fi- 
 
 S^jr^ ff 
 
 i 
 
 (I 
 
 s .,f :n .,r |n :— j. 
 
 w 
 
 ^ 
 
 -•— *■ 
 
 * ■ •- 
 
 i^^ 
 
 :1, |f .,n:r .,d 1 1, :— |d .,r :n „f } 
 
 ^ 
 
 =*Z=St 
 
 tJ- 
 
 {|1i .,d:r .,n If 
 
 ,.f:n .,r|d 
 
 ^ 
 
 ^E 
 
 ^ 
 
 *-*—*- 
 
 f .,l,:t, „d|r .,d:t, .,1, se. 
 
 \ 
 
 :d .,r 
 
 P 
 
 :r |n 
 
 ** 
 
 m 
 
 p- 
 
 {|ta, .,d:r -,ta, 1 1, :se, 1 1, :— I 
 
 ^mm 
 
 * 
 
 ^ 
 
 J | r ^d:ta, .,r |r :— |d :— 1 : || 
 
 For the practice of dotted notes. The notes must be evenly dotted 
 throughout. 
 
44 FIFTY THREE-PART STUDIES 
 
 No. 44. 
 
 te 
 
 fe 
 
 E=3 
 
 t=£ 
 
 
 £z*Ja£ 
 
 s 
 
 Doft is G.' 
 
 j I n :- :- |- :i:n |- :r:d 1 1,:- :- | si:- :-|sei:-:- 1 1,:- 
 
 :- ll.rfc.t- |- :-s> 
 
 hf& 
 
 -ft-*,' ■* *z 
 
 ^S§=3pg 
 
 j|d:-:- |-:-:t,|l,:-:- | s,:-:-|l,:t,:d |r:d:t,| l 1 :-:s,|f 1 :t,:l,|se 1 :-:-} 
 
 $ 
 
 111 — * * JIIjul^ J*- 
 
 s jaE 
 
 |d:-:ti|l|:-:S||f,:-:fei| Si:l,:t,|d:r:n|f :n:r I date:- |r:re:- |n:ti :r I 
 
 ^^B^g pg gfc^gg iiEf 
 
 m,:r :d |r :-:- | -:d :ta, I l,:r:d |t,:se,:l, [s,:l,:t,| d:- :-|-:t,:l,|t,:d:r I 
 
 P= ^gr?^^^g j 
 
 z*zri-_ 
 
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FOR SIGHT-SINGING CLASSES. 
 
 No 45. 
 
 45 
 
 
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4& FIFTY THREE-PART STUDIES 
 
 No. 46. 
 
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i 
 
 No. 47. 
 
 f semfire. 
 
 FOR SIGHT-SINGING CLASSES. 
 
 47 
 
 ffl =^ 
 
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4 8 
 
 FIFTY THREE-PART STUDIES 
 
 NO. 48. 
 
 i 
 
 i- 
 
 - m f-r~ 
 
 t r r J J n J 1-r r r rj* 
 
 f T j »" 
 
 :ft 
 
 LaA is E. -Do A " G. 
 
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FOR SIGHT-SINGING CLASSES. 
 
 49 
 
 No. 49. 
 
 T-& 
 
 333t4 
 52=3 
 
 j ! I 
 
 Doh is O."*" 
 
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 g^ 
 
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5° 
 
 FIFTY THREE-PART STUDIES 
 
 No. 50 
 
 {I' 
 
 ' * l j -# 
 
 :-.t,l,| - .ti :d :se, I li 
 
 .1, :t, } 
 
 ^^ 
 
 r 
 
 ^ 
 
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 l,.t„l,:se, :1, j 
 
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 f*^5 
 
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m 
 
 'March. 
 
 FOR SIGHT-SINGING CLASSES. 5 1 
 
 Hamilton Robinson. 
 
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 f- 1 s : _ i— : f.s 1 1 :— |1 :-.! | 1 :— |r :re | n :- Ire :-.b J. 
 
52 
 
 FIFTY THREE-PART STUDIES 
 
 K^ 
 
 -C-^-l fr ! 
 
 -rt fir 
 
 m 
 
 G.t. 
 
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FOR SIGHT-SINGING CLASSES. 
 
 S3 
 
 Trio. 
 
 S 
 
 Z2Z 
 
 ^ 
 
 i 
 
 f.F. 
 
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 % 
 
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54 
 
 FIFTY THREE-PART STUDIES 
 
 il^S 
 
 Tjrr- 
 
 +M 
 
 II. 
 
 |r :d.t,iUi :Ia, [ &■ :— J 
 
 - Js, :- Id 
 
 is=£i 
 
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 March. 
 
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FOR SIGHT-SINGING CLASSES. 
 
 55 
 
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56 
 
 FIFTY THREE-PART STUDIES. 
 
 $ 
 
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ORATORIOS, &c— Continued. 
 
 HUMMEL. 
 
 First Mass in B flat 
 
 Communion Service, ditto 
 
 Second Mass in E flat 
 
 Communion Service, ditto 
 
 Third Mass in D 
 
 Communion Service, ditto 
 
 Alma Virgo (Latin and English) 
 
 Quod in Orbs (ditto) 
 
 W. H. HUNT. 
 
 Stabat Mater 
 
 H. H. HUSS. 
 Ave Maria (Female Voices) 
 
 F. ILIFFE. 
 
 Sweet Echo 
 
 JOHN WILLIAM JACKSON. 
 I CRIED UNTO God 
 
 W, JACKSON. 
 The Year 
 
 D. JENKINS. 
 David and Saul (Sol-fa, 2s.) 
 
 A. JENSEN. 
 The Feast of Adonis 
 
 W. JOHNSON. 
 Ecce Homo 
 
 C. WARWICK JORDAN. 
 Blow ye the trumpet in Zion 
 
 N. KILBURN. 
 
 The Silver Star (Female Voices) 
 
 The Lord is my Shepherd (Psalm 23) 
 
 ALFRED KING. 
 The. Epiphany 
 
 OLIVER KING. 
 By the waters of Babylon (Psalm 137) 
 The Naiads (Female Voices) 
 
 J. KINROSS. 
 Songs in a Vineyard (Female Voices) 
 
 Ditto, Sol-fa 
 
 H. LAHEE. 
 The Sleeping Beauty (Female Voices) 
 
 Ditto, ■ Sol-fa 
 
 LEONARDO LEO. 
 Dixit Dominus 
 
 H. LESLIE. 
 The First Christmas Morn 
 
 F. LISZT. 
 
 The Legend of St. Elizabeth 
 
 Thirteenth Psalm 
 
 C. H. LLOYD. 
 
 Alcestis 
 
 Andromeda 
 
 Hero and Leander 
 
 The Song of Balder 
 
 The Longbeards' Saga (Male Voices) 
 The Gleaners' Harvest (Female Voices) .. 
 A Song of Judgment 
 
 W. H. LONGHURST. 
 The Village Fair 
 
 HAMISH MACCUNN. 
 Lay of the Last Minstrel (Sol-fa, is.6d.).. 
 Lord Ullin's Daughter (Sol-fa, 8d.) .. 
 
 s. d. 
 
 1 6 
 
 I 6 
 I 
 
 1 6 
 
 2 6 
 
 2 6 
 o 6 
 
 2 6 
 
 o e 
 
 G. A. MACFARREN. s. d. 
 
 Songs in a Cornfield (Female Voices) ... 2 
 
 May Day ( Sol-fa, 6d.) 1 o 
 
 The Soldier's Legacy (Operetta) 6 
 
 Outward Bound 1 o 
 
 A. C. MACKENZIE. 
 
 The Dream of Jubal 2 5 
 
 The Story of Sayid 3 o 
 
 Jason 2 6 
 
 The Bride (Sol-fa, 8d.) .10 
 
 The Rose of Sharon (Sol-pa, 2s.)- 5 o 
 
 Jubilee Ode 26 
 
 The Cotter's Saturday Night (Sol-fa, is.; 2 o 
 
 The New Covenant ... 1 6 
 
 Veni, Creator Spiritus 2 o 
 
 J. B. McEWEN. 
 The Vision of Jacob 2 o 
 
 F. W. MARKULL. 
 
 Roland's Horn (Male Voices) 2 6 
 
 F. E. MARSHALL. 
 Prince Sprite (Female Voices) z 6 
 
 J. H. MEE. 
 
 Horatius (Male Voices) 1 
 
 Delphi, a Legend of Hellas (Male Voices) i o 
 
 MENDELSSOHN. 
 
 Elijah (Sol-fa, is.) 2 
 
 Elijah (Pocket Edition) 1 o 
 
 As the Hart pants (Psalm 42) 1 o 
 
 Come, let us sing (Psalm 95) 1 o 
 
 When Israel out of Egypt came (Sol fa, $d.) 1 o 
 
 Not unto us, O Lord (Psalm 115) 1 o 
 
 St. Paul (Sol-fa, is.) 2 o 
 
 St. Paul (Pocket Edition) 1 o 
 
 Hymn of Praise (Lobgesang) (Sol-fa, is.) ... 1 
 
 Lord, how long wilt Thou forget me ... 1 
 
 Ditto, Sol-fa o 4 
 
 Hear my prayer (s. solo and chorus) ... 1 
 
 Ditto ditto o 4 
 
 Ditto, Sol-fa o 3 
 
 Lauda Sion (Praise Jehovah) (Sol-fa, gd.) ... 2 
 
 The First Walpurgis Night (Sol-pa, is.) ... 1 
 
 Midsummer Night's Dream (Female Voices) i o 
 
 Athalie (Sol-fa, is.) 2 o 
 
 Antigone (Male Voices) (Sol-fa, is.) ... 4 
 
 Man is Mortal (Eight Voices) 1 
 
 Festgesang (Hymns of Praise) 1 o 
 
 Ditto (Male Voices) 1 o 
 
 Christus (Sol-fa, 6d.) 1 o 
 
 Three Motets for Female Voices 1 o 
 
 Son and Stranger (Operetta) 4 o 
 
 Loreley (Sol-fa, 6d.) 1 
 
 CEdipus at Colonos (Male Voices) 3 o 
 
 To the Sons of Art (Ditto) 1 o 
 
 Ditto, Sol-fa o 3 
 
 Judge me, O God (Psalm 43) (Sll-fa, ijd.) o 4 
 
 Why rage fiercely the Heathen 6 
 
 My God, why, O why hast Thou forsaken 
 
 me (Psalm 22) 6 
 
 Sing to the Lord (Psalm g8) 8 
 
 Six Anthems for the Cathedral at Berlin. 
 
 For 8 voices, arranged in 4 parts ... o 8 
 
 Ave Maria (Saviour of Sinners). 8 voices i o 
 
 MEYERBEER. 
 
 Ninety-first Psalm (Latin) 1 ° 
 
 Ditto (English) 1 o 
 
 A. MOFFAT. 
 
 A Christmas Dream (Cantata for Children) [ 6 
 
 B. MOLIQUE. 
 
ORATORIOS, &c— Continued. 
 
 MOZART. s . d. 
 
 King Thamos i o 
 
 First Mass (Latin and English) ... ... i o 
 
 Seventh Mass in B flat i o 
 
 Communion Service in B flat, Ditto ... i 6 
 
 Twelfth Mass (Latin) i o 
 
 , Ditto (Latin and English) (Sol-fa, gd.) i o 
 
 Requiem Mass , i o 
 
 Ditto (Latin and English) .' i o 
 
 Ditto Ditto, Sol-fa ... i o 
 
 LlTANIA DE VENERABILI ALTARIS (IN E FLAT) I 6 
 
 Litania de Venerabili Sacramento (in B 
 
 FLAT) I 6 
 
 SPLENDENTE TE, DEUS. FlRST MOTET ... O 3 
 
 O God, when Thou appearest. Ditto ... o 3 
 
 Have mercy, O Lord. Second Motet ... o 3 
 
 Glory, Honour, Praise. Third Motet ... o 3 
 
 E. MUNDELLA. 
 
 Victory of Song (Female Voices) 1 o 
 
 DR. JOHN NAYLOR. 
 
 Jeremiah 3 o 
 
 J. NESVERA. 
 
 De Profundis 2 6 
 
 E. A. NUNN. 
 
 Mass in C 2 o 
 
 REV. SIR FREDK. OUSELEY. 
 
 The Martyrdom of St. Polycarp 2 6 
 
 R. P. PAINE. 
 
 The Lord Reigneth (Psalm 93) 1 o 
 
 PALESTRINA. 
 
 Missa Assumpta est Maria 2 6 
 
 Missa Pap.e Marcelli 2 o 
 
 Missa Bbevis 2 6 
 
 Missa "O Admirabile Commercium" ... 2 6 
 
 H. W. PARKER. 
 
 The Kobolds 1 
 
 Hora Novissima ,V 3 6 
 
 C. H. H. PARRY. 
 
 De Profundis (Psalm 130) 3 
 
 Ode on St Cecilia's Day (Sol-fa, is.) ..; 2 
 
 Blest Pair of Sirens (Sol-fa, 8d.) 1 
 
 The Glories of our Blood and State ,„ 1 
 
 Prometheus Unbound 3 
 
 Judith 5 
 
 L'Allegro (Sol-fa, is. 6d.) 2 
 
 Eton 2 
 
 The Lotus-Eaters (The Choric Song) ... 2 
 
 Job 2 6 
 
 DR. JOSEPH PARRY. 
 
 Nebuchadnezzar (Sol-fa, is. 6d.) 3 o 
 
 B. PARSONS. 
 
 The Crusader 3 6 
 
 T. M. PATTISON. 
 
 May Day (Sol-fa, 6d.) 1 6 
 
 The Miracles of Christ (Sol-fa, gd.) ... 2 o 
 
 The Ancient Mariner 2 6 
 
 The Lay of the Last Minstrel 2 6 
 
 A. L. PEACE. 
 
 St. John the Baptist 2 6 
 
 PERGOLESI. 
 
 Stabat Mater (Female Voices) (Sol-fa, 6d.) 1 
 
 CIRO PINSUTI. 
 
 Phantoms— Fantasmi nell* ombra 1 o 
 
 A. H. D. PRENDERGAST. 
 
 The Second Advent 1 6 
 
 E. PROUT. 
 
 Damon and Phintias (Male Voices) 2 6 
 
 The Red Cross Knight (Sol-fa, 2s.) ... 4 
 
 The Hundredth Psalm 1 
 
 Freedom , 1 o 
 
 Hekeward 4 o 
 
 Qllen Aimle (Female Voices) 2 6 
 
 PURCELL. 
 
 Dido and JEneas 
 
 Te Deum and Jubilate in D 
 
 J. F. H. READ. 
 
 Harold 
 
 Bartimeus 
 
 Caractacus 
 
 The Consecration of the Banner 
 
 In the Forest (Male Voices) 
 
 Psyche 
 
 The Death of Young Romilly (Male Voices) 
 
 J. V. ROBERTS. 
 
 Jonah 
 
 W. S. ROCKSTRO. 
 
 The Good Shepherd 
 
 J. L. ROECKEL. 
 
 The Silver Penny (Sol-fa, gd 
 
 EDMUND ROGERS. 
 The Forest Flower (Female Voices) 
 
 ROLAND ROGERS. 
 
 Prayer and Praise 
 
 Florabel (Female Voices) 
 
 ROMBERG. 
 The Lay of the Bell (New Edition, trans- 
 lated by the Rev. J. Troutbeck, D.D.) 
 
 Ditto, Sol-fa 
 
 The Transient and the Eternal (Sol-fa, 4x1.) 
 
 ROSSINI. 
 
 Stabat Mater (Sol-fa, is.) 
 
 Moses in Egypt 
 
 CHARLES B. RUTENBER. 
 Divine Love 
 
 ED. SACHS. 
 
 Water Lilies 
 
 C. SAINTON-DOLBY. 
 Florimel (Female Voices) 
 
 CAMILLE SAINT-SAENS. 
 The Heavens declare — Cceli enarrant 
 (Psalm ig) 
 
 W. H. SANGSTER. 
 
 Elysium 
 
 FRANK J. SAWYER. 
 The Star in the East 
 
 H. W. SCHARTAU. 
 
 Christmas Holidays 
 
 SCHUBERT. 
 
 Mass in A flat 
 
 Communion Service, ditto 
 
 Mass in E flat 
 
 Communion Service, ditto 
 
 Mass in B flat ... 
 
 Communion Service, ditto 
 
 Mass in C 
 
 Communion Service, ditto 
 
 Mass in G 
 
 Communion Service, ditto 
 
 Mass in F 
 
 Communion Service, ditto 
 
 Song of Miriam (Sol-fa 6d.) ... ..'. '", 
 
 SCHUMANN. 
 
 The Minstrel's Curse 
 
 The King's Son " 
 
 Mignon's Requiem " "[ 
 
 Paradise and the Peri (Sol-fa, is. 6d.) ','.[ 
 
 Pilgrimage of the Rose 
 
 Manfred „ 
 
 Faust "" 
 
 Advent Hymn, "In Lowly Guise" ... '..'. 
 New Year's Song (Sol-fa, 6d.).« 
 
 H. SCHUTZ. 
 The Passion op our Lord ... ... .. 
 
BERTE 
 
 Choruses and 
 
 "Helena in 
 
 Summer by thb 
 
 H 
 
 Vexilla Regis (1 
 go) ... 
 
 DATE DUE 
 
 JUL 2 11 199 
 
 Mass in C 
 Communion Seri 
 Joash ... 
 
 Supplication an 
 
 H 
 King Rene's Da 
 The Bride op 
 
 King Arthur (S< 
 Ariadne (Sol-fa, 
 
 ALIC 
 The Red King (I 
 The Song of th 
 Ditto, £ 
 
 Ode to the Nor 
 Ode to the Pass 
 
 Mass in D 
 
 A. 
 Mass in C minor 
 
 CHAI 
 The Day Dream 
 
 Mass (Five Solo 
 Hymn to St. Cec 
 Calvary 
 
 Fall of Babylon 
 Last Judgment (i 
 The Christian's i 
 God, Thou art g 
 How lovely are 
 
 now LOVELY ARE , 
 
 J ehovah, Lord ofJ- 
 
 J°L 
 
 GAYLORD 
 
 The Crucifixion (Sol-fa, gd.) ... 
 St. Mary Magdalen (Sol-fa, is.) 
 The Daughter of Jairus (Sol-fa, gd.) 
 
 C. VILLIERS STANFORD. 
 
 Eden 
 
 The Voyage of Maeldune "! "." 
 
 Carmen S^eculare ".* 
 
 The Revenge (Sol-fa, gd.) 
 
 God is our Hope (Psalm 46) 
 
 CEdipus Rex (Male Voices) 
 
 TheEumenides ... ... *" 
 
 The Battle of the Baltic 
 
 Mass in G major 
 
 Communion Service in G 
 
 East to West 
 
 H. W. STEWARDSON. 
 
 Gideon ... 
 
 J. STORER. 
 
 The Tournament 
 
 Mass of our Lady of Ransom 
 
 E. C. SUCH. 
 
 Narcissus and Echo 
 
 God is our Refuge (Psalm 46) ... 
 
 4 
 
 2 
 2 
 
 "'AN. 
 
 — XH1BITION 
 
 S. d. 
 
 3 
 
 I o 
 
 I o 
 
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 JAS. 
 
 -RS. 
 
 DICES) ... 
 
 e Voices) 
 
 1 o 
 1 6 
 
 2 6 
 
 IT. 
 
 ^ Voices) 
 
 CES) 
 
 2 6 
 2 6 
 
 -ON. 
 
 PRINTED IN U S.A 
 
 S. WESLEY. 
 
 ""THHEE-SWSSuTre" 
 
 In exitu Israel 
 
 Dixit Dominus 
 
 S. S. WESLEY. 
 O Lord, Thou art my God 
 
 J. E. WEST. 
 Seed-Time and Harvest 
 
 C. LEE WILLIAMS. 
 The Last Night at Bethany (Sol-fa, is.) 
 
 Gethsemane 
 
 A. E. WILSHIRE. 
 God is our Hopb (Psalm 46) 
 
 THOMAS WINGHAM. 
 
 Mass in D 
 
 Te Deum (Latin) 
 
 CHAS. WOOD. 
 Ode to the West Wind 
 
 J. M. W. YOUNG. 
 
 The Return of Israel to Palestine 
 
 2 o 
 
 2 O 
 
 3 
 
 ... I 6 
 
 ... 1 o 
 
 ... I o 
 
 ... I 6 
 
 ... 1 o 
 
 ... 1 o 
 
 ... I o 
 
 4 
 
 1 o 
 
 ... I 
 
 ... 2 O 
 
 -20 
 ..2 
 
 2 O 
 
 ..30 
 ..16 
 
 2 6 
 
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 bound in cloth, with red or gilt edges, at is., is. 6d„ or 2s. each extra. 
 
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