l^S'^Novellds Original Octavo Editions of ORATORIOS, CANTATAS, MASSES, &c. FRANZ ABT. The Fays' Frolic (Female Voices) Sfsihgtime Summer TiiE Golden City The Wishing Stone The Water Fairies The Silver Cloud Minster ] V Mass in F Yule Tidi The Nora Wreck of (ditto) (ditto) (ditto) (ditto) (DITTO) (ditto) WILFRED BENDALLi The Lady of Shalott (Female Voices) SIR JULIUS BENEDICT. St. Peter The Legend or St. Cecilia (Sol-fa, is. 6d!) SIR W. STERNDALE_BJNNEIT, s. d. 2 6 (S0meII UttitiOTitg § ilrtMg BOUGHT WITH THE INCOME | FROM THE SAGE ENDOWMENT FUND THE GIFT OF itenrQ iaU« Sage X891 A..?.^..3.aA..fflUSIC /o/3/r(> Hbzekiah St. John ' The Gipsi Endymioh Stabat M. Mass in E MissA Bri The Passi The Passi Christmas Magnipica God goeti God so lo God's timi My Spirit*^ .. _ . O LIGHT Everlasting Bide with us A Stronghold sure Be NOT afraid (Sol-fa, 4d.) Blessing, Glory, and Wisdom... i wrestle and pray (sol-fa, 2(5.) Thou Guide of Israel Jesu, Priceless Treasure When will God recall my spirit J. BARNBY. Rebeeah (Sol-fa, gd.) The Lord is King (Psalm 97) ... J. F. HARNETT. The Ancient Mariner (Soi^fa, 2s.) The Raising of Lazarus BEETHOVEN. The Praise of Music Ruins of Athens Engedi; or, David in the Wilderness ... MtftiNT of Olives Mass in C Communion Service in C Mass in D .- The Choral Symphony Ditto (the Vocal Portion) The Choral Fantasia ... ' ... A Calm Sea and a Prosperous Voyage ... Meek, as Thou livedst, hast Thou Departed 3 6 e 6 F. D. CARNELL. Supplication GEORGE CARTER. Sinfonia Cantata (Psalm ii6) WILLIAM CARTER. Placida , CHERUBINI. Requiem Mass, C minor (Latin and English) Second Mass in D minor Third Mass (Coronation) Fourth Mass in C E. T. CHIPP. Job Naomx FREDERICK CORDER. The Bridal of Triermain (Sol-fa, is.) SIR MICHAEL COSTA. The Dream F. H. COWEN. Ruth Sleeping Beauty (Sol-fa, is. 6d.) ... W. CRESER. EuDORA (A Dramatic Idyl) 2 6 4 2 6 ORATOI Ml W. CROTCH. - Palestine W. H. CUMMINGS. The Fairy Ring W. G. CUSINS. Te Deuu ... 3 ... 2 6 ... I 6 FELICIEN DAVID. The Desert (Male Voices) P. H. DIEMER. Bethany Lazarus M. E. DOORLY. Philippi F. E. GLADSTONE. GLUCK. Orpheus (Act II.) ' HERMANN GOETZ. By the Waters of Babylon (Psalm 137) Ncehia The Watee-Lily (Male Voices) MT 35 R|^'"»"""'""'«y Library V.I ""teLfcS?l9.njH.,Practical,,Qulde for /./ ANTONfN DVOrAk. St. LUDHILA Ditto (German and Bohemian Words) The Spectre's Bride Ditto (German and Bohemian Words) Stabat Mater Patriotic Hymn Ditto (German and Bohemian Words) A. E. DYER. Salvator Mundi HENRY FARMER. Mass in B plat (Latin and English) MYLES B. FOSTER. The Angels of the Bells (Female Voices) The Bonnie Fishwives (ditto) The Lady of the Isles NIELS W. GADE. Psyche (Soi^fa, is. 6d,) Spring's Message (Sol-fa, 3d.) Erl-King's Daughter (Sol-fa, 9d.) ZiON The Crusaders (Sol-fa, is.) Comala "*■''..; Christmas Eve (Sol-fa, 4d.) HENRY GADSBY. Lord of the Isles ( Sol-pa, is. 6d.) Alcestis (Male Voices) Columbus (Male Voices) G. GARRETT. The Shunammite A. R. GAUL. Joan of Arc (Sol-fa, is.) Passion Service Ruth (Sol-fa, gd.), The Holy City (Sol-fa, IS.) FR. GERNSHEIM. Salamis, a Triumph Song (Male Voices) 1 6 4 o 2 6 2 e 4 o 4 o 2 6 2 6 2 6 2 O 2 6 1 e 2 e I I o I I 6 1924 022 423 184 RS fiT~ VI T A tI- NEW YORK NOVELLO, EWER AND CO. Entered according to Act of Congress in the year 1887, by Novello, Ewer & Co., in the Office of the Librarian of Congress, at Washington. <9 NOVELLO, EWER AND CO., TYPOGRAPHICAL MUSIC AND GENERAL PRINTERS, 1, BERNERS STREET, LONDON (w.) TABLE OF CONTENTS. Page Intkoductorv Remarks 5 EXERCISE I. Arrangements of Notes and Rests into Measures ; The Dot ; The Tie; Signature of Time g EXERCISE II. The Interval of the Second ; Motives ;' Metre ; Rhythm ; Accent 23 EXERCISE III. Phrases; The Interval of the Third 36 EXERCISE IV. Phrases ; The Interval of the Fourth ; The Up-beat ; Beating Time 31 EXERCISE V. Phrases; The Interval of the Fifth; Syncopation 36 EXERCISE VI. Phrases ; The Interval of the Sixth ; Triplets 40 .EXERCISE vn. Phrases; The Interval op' the Seventh 44 EXERCISE VIII. Phrases ; The Interval of the Octane ; Diatonic Scale ; Signature of Key 48 EXERCISE IX. Phrases ; Chromatic Signs or Accidentals ; Chromatic Scale 53 EXERCISE X. Phrases in Major and Minor Keys ; Minor Scale - 58 EXERCISE XI. Sections; Periods; Sequence 62 EXERCISE XII. Phrases, Sections, and Periods extracted from the Works OF Classical AND Modern Composers ; Motion; Transition 72 MUSICAL DICTATION. INTRODUCTORY REMARKS. Every musician who has had classes in harmony under his charge has, no doubt, made the experience that students, when even endowed with only an average degree of talent and applica- tion, can be taught to harmonize with a good deal of correctness either a given bass or a melody ; making, at the right places, use of modulations, suspensions, passing notes, etc. Nay, some even will become able to master with a certain facility the different species of simple counterpoint in two, three and four parts. But in all these tasks they can hang on the leading strings of certain fixed rules. The case becomes, however, quite different when those leading strings are loosened, and students thrown on their own resources, that is, obliged to invent a melody with a suitable harmony. Although most of them may have acquired facility in working out their examples in harmony away from the pianoforte, they now, in order to find a simple melodic motive, become the slaves of the keyboard ; and it also causes them the greatest trouble to write down correctly the melody they have picked out on the keyboard. But the trouble increases when such a melody has to be provided with a suitable natural harmony. All that they had previously learned about harmony seems to desert them now at once : they find themselves utterly at sea. I have almost invariably found that even able pianoforte or vocal students, well-grounded in the rudiments of music, when asked to write down from memory the melodic passage of the first bar only of the simple piece or song they have just been playing or singing for me correctly by heart, can absolutely not do it : to fix the respective pitch of the different notes of the melodic passage, and especially the division of time, presents unsurmountable obstacles to them. Having had ample opportunity to make the closest observa- tions regarding all those shortcomings on the part of musical students, and being desirous to help in removing them, I have concluded, after practically testing its usefulness, to work out this method of musical dictation. I became convinced that in O MUSICAL DICTATION. order to strengthen the musical memory in the right direction, and teach students to think musically, they ought to possess the faculty of writing down correctly all they are able to play or sing correctly by heart ; and this faculty can be acquired by means of musical dictation ; in this way the musical sense becomes sharpened, the more delicate shades of time, rhythm, the cut of the melodic motive and its expansion into phrases and periods will be impressed upon the mind more vividly and more distinctly. The melody, which now lingers in the mind like an indistinct shadow of divers sounds, will by means of this method, when well mastered, take definite shape, and at the desire of the musical student can be fixed upon paper in visible characters. I am convinced of the fact that this course of musical dictation, when closely and rationally connected with the general course of musical education, will also help to form more intelligent, more appreciative listeners : a wealth of characteristic beauties, con- tained in a fine composition and which formerly escaped them entirely, will now be revealed to them, for they have acquired the art of listening in the right manner. This surely will be a great gain. I have worked out this method with a double purpose : Firstly, to teach musical students to become able to write down correctly, after hearing once, any melodic phrase or period of vocal or instrumental music ; or, if required, the entire piece they are able to play or sing by heart, and especially to enable them to fix their own melodic thoughts. Secondly, to teach the general laws that lie at the foundation of all musical forms, to show the formation of motives and their expansion into periods, and also in this way to excite those especially gifted with melodic talent to self-production. Anyone who has had experience as an instructor of harmony and composition knows, no doubt, how difficult it is to initiate students into the complex melodic and harmonic forms of instruction of a musical composition, or to teach them how to analyse rightly such forms. I believe that by means of this method of dictation, not only students in composition, but also pianoforte players, to whom the formal construction of pieces is on the whole a terra incog- nita, can be taught to gain the power of seeing into the prin- ciples that govern the construction of a musical work, small or large. I have divided this course into two Parts : the first consists of monodic, or single-voiced exercises ; the second, of exercises based on harmony. Each Part is calculated to occupy one school- year's time. The first Part may be taken up by .any instrumental or vocal student who is well acquainted with the value of the notes and rests. Anyone who will devote to these dictatidns only ten minutes of each of the regular two weekly lessons, will soon MUSICAL DICTATION. 7 become aware of their advantages. While, on one hand, this course of study will serve as a welcome recapitulation of things learned in former lessons, making clear that which the often slovenly manner of committing to memory failed to do ; it will, on the other hand, afford students an interesting and intellectual recreation. I have written the greater number of the exercises of this first part within a moderate compass, suitable to an average voice if required. I endeavoured to proceed gradually, from simple forms to more diificult ones. I have also limited the length of the exercises up to No. XI. to phrases of two bars. I found that it would tax the receptive powers of students too much by pre- senting additional new matter in too extended examples. The necessary explanatory directions and theoretical definitions are given in connection with each separate exercise on which they bear. I have endeavoured, as far as it lay in my power, to give of each subject contained in this part as clear and concise a theoretical definition as possible. Students when facing new things are not yet prepared to take in with complete understanding learned theoretical dissertations ; the matter must be presented to them in a simple, lucid, manner. . Although I am aware of the fact that a certain form of musical dictation is used in connection with vocal instruction in the Paris Conservatoire and in some other institutions, I am sure that the matter has never yet been worked out into such a systematic course of instruction as I have done here ; and I trust that in this form it will prove interesting and instructive to those students who may seek enlightenment on the subject of which this work treats. Vassar Colleqb, June, 1886. Note. — This Work can he advanlageously used by two fellow students dictating alternately to each other in the absence of a teacher. MUSICAL DICTATION. PART I. EXERCISE I. ARRANGEMENT OF NOTES AND RESTS INTO MEASURES; THE DOT ; THE TIE OR BIND. [Note. — In this Work the notes are named after their value, thus : whole note (semibreve), half-note (minim), quarter-note (crotchet), etc. The cor- responding rests are similarly named.] Direction. — It is not necessary to write the different notes and rests included in a measure in exactly the same order as given here ; other combinations being in many cases possible. Division of time, presenting to students great difficulties, must be well mastered. These preparatory exercises do not need to be played ; they may be written on any degree of the scale. Definition. — The dot signifies that the value of the note or rest preceding it is increased by its half; the dot after a dot lengthens the first dot half its value. The tie or bind is a sign that connects two notes of the same pitch, of which the first one only is sounded. Those small sections of a musical composition, indicated on the staff by perpendicular bars, are called measures or bars. The metrical contents (see Exercise II.) of each bar or measure is indicated by the time signature, placed at the beginning of the staff, right after the clef, A. Duple Measure. — Write in one measure — (|) 2 -^ 1. One note. 2. A dotted note and a rest. 3. Two rests and a quarter-note on the third beat. 4. Two rests and a half-note on the second beat. 5. A dotted note and two eighth notes. 6. Two notes and a dotted rest. 7. Two notes of two kinds, one dotted, and a rest on last beat. 8. Three notes of three kinds, a dot, and a tie. Q. Two rests and two notes, close with a half-note. lO MUSICAL DICTATION. 10. Two notes of two kinds and a rest on third beat. 1 1 . Four notes and two dots.- 12. A rest and two notes of equal value. 13. Three notes of two kinds, two rests, one of them dotted, close with a quarter-note. 14. Four notes of two kinds, two rests, and two ties. 15. Two rests of two kinds and two notes of two kinds, close with a quarter-note. 16. Two notes of two kinds and three rests of two kinds, commence with a rest. 17. Two notes and two rests of equal value. 18. Three notes of two kinds and two rests, commence and close with a rest. ig. Three notes of two kinds, a tie, and a rest to begin with. 20. Four notes of two kinds, begin with an eighth rest and close with another rest. R 2 . b. 4 . — 1. One note. 2. Two notes. 3. Three notes of two kinds. 4. Two notes of two kinds and a dot. 5. Three notes of two kinds and a tie. 6. Four notes of two kinds and two dots. 7. Two notes of two kinds and an eighth rest at the beginning. 8. Two notes of two kinds and two rests of two kinds, close with a sixteenth note. g. One note on the second beat and two rests of two kinds. 10. Two rests and two notes of equal value. 11. Three notes of two kinds and a rest. 12. Four notes of two kinds and two rests, begin and close with a rest. 13. Four notes of two kinds and two dots. 14. Four notes of two kinds and two sixteenth rests. 15. Three notes of two kinds and a rest on second beat. 16. Six notes of two kinds. 17. Six notes of two kinds and two rests, begin with an eighth rest. 18. Two rests of two kinds and two notes. ig. Two rests of two kinds and three notes, begin with quarter- rest. 20. Two rests and one note to stand on second beat. 0. Triple Measure — C i : — 1. One dotted note. 2. Three notes of two kinds, a tie, and a dot. 3. Four notes of two kinds. 4. Four notes and two rests. MUSICAL DICTATION. II 5. Five notes of two kinds and a dot. 6. Quarter-rest and two notes of two kinds. 7. Three notes of three kinds and a rest. 8. A rest, four notes of two kinds, and a dot, commence with a rest. 9. A rest and two quarter-notes. 10. Three notes of two kinds and a rest on second beat. 11. One note and two rests, commence with a rest. 12. Five notes of two kinds, tie the first two notes and close with a rest. 13. Five notes of three kinds and two rests, commence with a rest. 14. Six notes of two kinds and half-rest. 15. Four notes of two kinds and an eighth rest at the be- ginning. 16. Three notes with corresponding rests, commence with a rest. 17. Four notes of two kinds, a dot after the first note. 18. Six notes of two kinds and three dots. ig. Seven notes of three kinds, tie the first two notes. 20. Three notes of two kinds, a dot, and a rest on the second beat. n 3 . 1. Two notes. 2. Two notes and a rest on the second beat. 3. Two notes of two kinds, a rest, and a dot. 4. Two notes of two kinds with corresponding rests, close with a rest. 5. A rest, and two notes for the last beat. 6. Three rests of two kinds and two notes, commence and close with a rest. 7. Two rests and three notes of two kinds, commence with a rest. 8. Two notes of two kinds with corresponding rests, com- mence and close with a note. g. Four notes and fwo rests. 10. A rest, three notes of two kinds, and a tie. 11. Three notes of two kinds and a dot. 12. Three notes of two kinds and an isighth rest on the second beat. 13. Quarter-rest, an eighth rest, and three notes of two kinds. 14. Five notes of three kinds and an eighth rest after second beat. 15. Five notes of three kinds, a dot, and a sixteenth rest at the beginning. 16. Three notes and two rests of two kinds. 17. One rest and one note. 12 MUSICAL DICTATION. i8. Three notes of two kinds and a tie, the shortest notes to occupy one beat. 19. Four notes of three kinds, one note double-dotted. 20. A double-dotted rest and two notes of two kinds. p 3 . 1. Two notes. 2. Four notes, a dot after the first one. 3. Two notes and a rest at the beginning, 4. A rest and four notes, one of them dotted. 5. A rest and a note on the last beat. 6. Two rests, and a note forming part of the last beat. 7. Three notes and a dot. 8. Three notes and a sixteenth rest. 9. Five notes. 10. Two notes and a sixteenth rest on the first beat. 11. A dotted rest and three notes. 12. Two kinds of rests. 13. Two kinds of rests, a dot, and a thirty-second note at the end. 14. Three rests of two kinds and two notes, commence with a rest. 15. Three notes and a rest at the close. 16. Three notes and two rests of two kinds, commence with a note. 17. Six notes and three dots. 18. Five notes of two kinds and two rests, close with a rest, ig. Two rests of two kinds, three notes of three kinds, a tie, begin and close with a rest. 20. Five notes of two kinds and a tie, place four notes on the last beat. F. Quadruple Measure — C 4 ■ — 1. One note. 2. Three notes. 3. Three notes of two kinds, the first one dotted. 4. Two rests and quarter-note on the third beat. 5. One rest. 6. Two rests of two kinds, and two notes on the last beat. 7. One rest and two notes of two kinds. 8. Three notes of three kinds, and an eighth rest at the beginning. 9. Six notes of two kinds. 10. Five notes of two kinds. 11. Two rests and three notes of two kinds. 12. Three notes of three kinds, one of them dotted, 13. Three notes of two kinds and two rests, an eighth rest to stand on the second beat. MUSICAL DICTATION. I3 14. Five notes of three kinds and two sixteenth rests, com- mence with an eighth note. 15. Three rests of three kinds and three notes of two kinds. 16. Nine notes of three kinds, close with quarter-note. 17. Six notes of two kinds, three rests, commence and close with a rest. * 18. Four notes of three kinds, tie the first two. 19. Three rests of two kinds, two notes, and a tie. 20. Two rests, four notes and two ties, open with a rest. G. t:- 1. One note. 2. One rest and two notes. 3. Two notes and two rests. 4. Three notes and two rests. 5. A dotted rest and two notes of two kinds. 6. Two notes, the first one double-dotted. 7. Two rests and two sixteenth notes, 8. Three notes of two kinds and two rests. 9. Three notes of two kinds, one of them double-dotted. 10. One-sixteenth note and three rests. 11. Two notes and three rests. 12. Three notes of two kinds, a dot, and a tie. 13. One rest. 14. Two rests of two kinds and one note. 15. Two rests and three notes of two kinds, open with an eighth rest. 16. Four notes and two rests. 17. Six notes of two kinds. 18. Six notes and two rests, one of these dotted, open with a thirty-second rest. 19. Five notes of two kinds, two rests, and a tie from the first to the second note. 20. Four notes of two kinds, and a dotted rest on the second beat. H. Compound Duple Measure — | : — 1. Two notes with dots. 2. Four notes and a tie. 3. Three notes of two kinds and two rests, a quarter-rest on the first beat. 4. One rest and one note, the note having the greatest value of the two. 5. Four notes of three kinds, a tie, a dot, and a quarter-rest at the beginning. 6. Five notes of three kinds, dot the first, and tie it to the second. 7. Three notes of three kinds, dot the last, and open with two rests of two kinds. 14 MUSICAL DICTATION. 8. A rest, three notes of three kinds, and a dot. g. Four notes of three kinds, one of them double-dotted. 10. Two rests, one of them dotted, and close with a quarter- note. 11. Five notes of two kinds and a rest. 12. Three notes of twcflkinds and two rests. 13. Five notes, one of them dotted, and a rest at the beginning. 14. A quarter-note, a dotted eighth note, and three rests of two kinds, commence with a rest and close with a sixteenth note. 15. Six notes of three kinds, and an eighth rest at the begin- ning. 16. Six notes of two kinds, a dot, and quarter-rest on the fourth beat. 17. Two notes of two kinds with corresponding rests, com- mence and close with a rest. 18. Nine notes of three kinds, two dots, and close with a quarter- rest. ig. Five rests of three kinds and two notes. 20. Two notes. 1 6 . '• 8 • 1. Three notes and a dot. 2. Three notes and two eighth rests. 3. Three notes, a dot, and a tie. 4. Three notes, a dot, and an eighth rest at the beginning. 5. Two eighth notes and three rests, begin and close with a rest. 6. Three rests and an eighth at the close. 7. Four notes of three kinds, a dot, and an eighth rest at the beginning. 8. Five notes of three kinds, a dot, and an eighth rest on the fifth beat. 9. Four notes of two kinds, and three rests, begin with a rest. 10. Two rests, one note, and a dot. 11. Eight notes of two kinds, a dot, and a tie. 12. Four notes of three kinds, a sixteenth rest, and an eighth rest at the close. 13. Four notes, a dot, and a tie. 14. Two notes, and three rests of three kinds, commence with a sixteenth rest. 15. A sixteenth note, a quarter-note, and three rests. 16. Six notes of two kinds, and three rests of two kinds. 17. Four notes of three kinds, a tie, and two rests, commence with a rest. 18. Six notes of two kinds, and two rests. 19. Five notes of three kinds, two dots, and a tie. 20. Four notes of two kinds, two rests, and a dot, begin with a rest. MUSICAL DICTATION. 15 J. Compound Triple Measure — § ■ — 1. Four notes, two dots, and a tie. 2. Four notes and two eighth rests. 3. Three notes of two kinds, a dot, and an eighth rest at the beginning. 4. Five notes of two kinds, a dot, and a quarter-rest at the beginning. 5. Three rests of two kinds, two notes of two kinds, and a dot. 6. A dotted rest and three notes. 7. Six notes of three kinds, a dot, and a tie. 8. Three notes of two kinds, four rests, and a dot. 9. Five notes, a dot, a tie, and an eighth rest at the close. 10. Four notes of two kinds, a dot, and a tie. 11. Four notes of three kinds, two eighth rests, and a tie, begin with a rest. 12. Six notes of three kinds and two dots. 13. Five notes, four rests and a tie. • 14. Two notes, a dot, and four rests of two kinds. 15. Four notes of three kinds, a tie, and four rests of two kinds, commence and close with a rest. 16. Seven notes and three rests, begin and close with an eighth rest. 17. Five notes of three kinds and four rests of three kinds. 18. Three dotted notes and two ties. ig. Three rests of two kinds, a dot, and an eighth note on seventh beat. 20. Six notes and four rests, commence and close with a rest. K. Compound Quadruple Measure — ^q '■ — 1. Three dotted notes and a tie. 2. Two notes of two kinds, three rests- of two kinds and two dots. 3. Four notes of three kinds, one rest and three dots. 4. Seven notes of three kinds, three of them dotted. 5. Six notes, two eighth rests, a tie and a dot, commence with a rest. 6. Four notes of two kinds, a dot, and two rests of two kinds, close with a rest. 7. One rest and one dot. 8. Five notes of three kinds, a dot and five rests. 9. Four rests of two kinds, four notes of two kinds and a dot. 10. Four rests of two kinds, one dotted note, rests at the beginning and close. 11. Nine notes of three kinds, a dot, a tie, and two rests of two kinds. 12. Four notes of three kinds, a dot, a tie, a dotted rest, and an eighth rest at the beginning. i6 MUSICAL DICTATION. 13. Eight notes of two kinds, two eighth rests, a dot, and two ties. 14. Five notes of three kinds, two eighth rests, and a tie. 15. Six notes of two kinds, a dot, and four notes of two kinds, commence with an eighth note. 16. One dotted note. 17. Six notes of three kinds, a dot, a tie, a sixteenth rest after the first note, and two eighth rests at the close. 18. Six notes of three kinds, two dots, and a tie, commence with dotted eighth rest. ig. Seven notes of three kinds, a dot, a tie, and two rests. 20. Five notes of three kinds, a tie, and two dots. A. . EXERCISES. UUPLE MEASURE. 2 3 4 m e=:=E ^:5 ^ » :*■ 11 12 r J II J . J^J^ I » II—* ^ a m 15 16 P^ - ^ J^J II r ,^1 r 20 B. m m $ "l~q^ll 12 r Ti - ^W^^ N ^ N IJJ Jlr I I q J- ^/t 13 MUSICAL DICTATION. 14 15 16 17 ^JiJ^JIIr ij^llr :i /B-[|_Li_Jl:i =| TRIPLE MEASURE. J- J J J i lt- J ^^unjM 10 11 12 ^ T\\ r ^ — c_|J-J^_^.U_ [ | 13 14 15 16 17 18 ^=?^-^^1 l ^^=?3 J I I J- J^J- ^^ 19 20 - J J J J J I a {) r /-I ,^1 n -1 j^^^^^/'i r J iixrrr-1-T^ tf ^J 1 /'J I h^tjJ- ;1f^^-^ ^ 17 18 19 20 j- j^rjHr-.f^a g*. > * l i8 E. 1 MUSICAL DICTATION. 2 3 4 |^^=fl^^3a-« r ^-F^=^^ 14 15 16 17 18 19 20 QUADRUPLE MEASURE. 2 3 4 mm f^^ s :i=i -S"-: * tf — r n\i^-^ J I h j"J-^Ui-JjJJ>r71 |i 11 12 13 ti^=J-i-^OTJ^^aK:i-J^rr1 1 14 15 16 MUSICAL DICTATION. 10 11 12 19 13 m 15 16 17 i^' ^ 111 ;-rJt[| j^ 1 1 JUtJdJ:^ 18 19 20 fWt^v,^li;:^^^^wM |:,faz:;^ H. i COMPOUND DUPLE MEASURE. 2 3 J j J |[J1-^J r J 4- o • c i • i l Ci i r J JJ J-^ J J J J -t-J- ~ J <■ -e»— 8 9 10 11 I ^J J-r i lJ-^.F^^ | - - Jimi ^a 12 13 14 15 16 17 18 19 20 (^ JJJJ J-JJ-jJ i-l l - r- j'ti- j-i|U J =l fr fl 7 ** S ^^ 20 MUSICAL DICTATION. 10 11 15 16 17 ^ r q j^rTEJ J J L' J J 'I -^ iF^fe^^^ba i COMPOUND TRIPLE MEASURE. 2 3 E i^^ e effect of the different rests must be strictly observed. Write the exercises in the treble clef. Dictate each example once, and then let the student write it down in the best manner possible ; afterwards play the written- down examples slowly and distinctly, and write after it the model MUSICAL DICTATION. 23 example as dictated, in order to give the student an opportunity to compare his or her own writing with the version of the model example, and to correct possible mistakes. This practice, while teaching students to examine their own work with critical atten- tion, will also promote a sense of accuracy. Instead of playing these dictations invariably on the pianoforte, sing them sometimes to the syllable la ; or play them on the violin, or on any other suitable instrument that may be handy. All such varieties of tone production will help to foster the student's faculty of perceiving tones of different colour. I have written the examples up to Exercise XI. in the key of C. It will be good practice to dictate some of them transposed into other keys in order to test student's sense of pitch. Students ought to make efforts to memorize the effect of the sounds of the different intervals as gradually introduced here in each successive exercise. Pick them out on the keyboard and learn to sing them in your mind. Such private practice will help greatly to promote understanding and progress regarding our task. Indicate at first the time of each example to be dictated. i EXERCISES. 2 3 E ^^ ^^ U'U' ii"^ ^5t^-* w rrj-i ' U J-^ ? -J- ^ ,• -^ -M- $ 10 11 12 "1 N 1 i r3"j-3^b^j.qaj J"-J''J 13 14 15^ 16 ^Seat 18 19 20 W^r^ttT Ji II J jr^hS ^=^. J J^J II 21 22 23 24 ijjJi"JT^r i w^^ 24 MUSICAL DICTATION. 25 26 27 28 29 30 31 H ^'^ ^ h-^^^rf P i. J. Jl^"J'\Jg 5 32 33 jfin.T^i^ i i" 34 .1 N^ -^.4^-J J-- ^ d -^ 45 46 47 48 A j-i^ I r nllTT^ ^^ 2fc ^ ^ 49 50 51 ^^^jih'jtj ^^i 52 53 ^^^rtf "Z^ 54 55 56 57 58 59 60 • .. , ^^ 62 63 64 65 66 MUSICAL DICTATION. 67 68 25 69 ^I^-jllP^jfTXii l li' i"-j2^M 79 80 81 26 MUSICAL DICTATION. EXERCISE III. PHRASES ; THE INTERVAL OF THE THIRD. Definition.— The Phrase is a part of a musical sentence or period. It consists generally of two measures, and is formed either of one motive repeated or of two separate ones. The Leitmotive (leading motive), which occupies such a conspicuous place in Wagner's Music Dramas, has generally the form of a phrase. A phrase may consist of three and even four measures. Direction. — Let the student now and then indicate the class of time to which the dictated example belongs, e.g., whether it is in duple or triple time ; select simple examples for that purpose. i EXERCISES. 2^ a m s 1 w. ^-j- ' '^ — /„ 4 i ii it ^ S :& ^ ^ *)' *^*^zii yn E m £ -^ — Q ' g> 1^ / 10 i :3= P3^ E «7 :»: .^.^^--m- • -•- rft: 16 17 ]"jt^ J J '- II Ii ^^yr^^::^ S 18 MUSICAL DICTATION. 19 27 F^g^j^ m ^»^*^^ s s s 20 21 ^fFF ^^^^ i 22 23 $ ii.JJ^iJlJTO^ ^^ S ' Q c^ ^ 26 27 s J-J J ll lijiJ^g^ S^ i 28 29 ^ E ^^ ^ ra"~Fi N A 30 hn^m K ^ ■ ^ S ' cJ — ^ ' S ' S < ^ 41 MUSICAL DICTATION. 42 # v i { ji . > ;il7 ^^i i ji ^; ^ 3 ^a^ fegg =^ i 43 I ^ ^^^^ -i — —* 44 *—- ir W 45 5^ =^^ * S 46 47 ^ d * ^ "^ J r 49 ?• 0- 48 JJ I r r ¥=^ * 50 -d- <^ — ^ 51 i ^ ^ ?=^ ' * ' *J -9- 52 53 ifc ^^^■' i'^^jT ^ o ' ^ i 54 55 it S ^ f^— P- I 1 - S^ ^ ^^^Jr 56 57 62 MUSICAL DICTATION. 63 29 "^^ 77 iL Ij 1 — -- t -^^-n-j- 1 1 1 1 si # "^ ^ J-. -^ ' ^^- -,- J- '^_jmJv^' '^^^-^v " ^^^ 83 30 84 MUSICAL DICTATION. 85 m ^&3^ £ w w 03* 86 87 K- (; r-1 1 r 1 r^ 1 r ll 'j -1 • S 1 -*f-K ,-t] ^ -J-JJ, *l ^ f^L-^ kJLj;y^ L-#-l ^=^=^r^^^ 95 [Bz - 1 i 1 I ^ ^ ~ * d d S 97 1^ as?d=^ V ^ V- i 98 99 100 5 ^ ■ ' ** < J. ' ^ ^ ^^ MUSICAL DICTATION. 31 EXERCISE IV. PHRASES ; THE INTERVAL OF THE FOURTH ; THE UP-BEAT ; BEATING TIME. Definition. — The up-beat is part of a| measure, the unaccented beat at the beginning of a piece, or part of a piece ; it belongs to the opening motive. Its name is derived from the modern manner of beating time, the first beat (Thesis) being distinguished by the falling of the hand ; the second, or last beat, as the case may be (Arsis), by the raising of the hand. The different manners of beating time are : — Two IN A Bar. Three in a Bar. .3 up Down * 2 Right Four in a Bar. 4 up Six in a Bar. 2 Left 3 Right I Down UiRECTiON.— With the introduction of the fourth, and after- wards with that of every new interval, it will be advisable to dictate, in the following form, -preparatory exercises on intervals already introduced in previous dictations, in order to test students' memory, and to afford them an opportunity to learn to measure by ear, the distance of each one of the different intervals. Such preliminary exercises do not need to be written down ; it will suffice to play them, and have students fix their names, viz. : — J J i n J R I ^ IF^=?T^p ^ 33 i MUSICAL DICTATION. EXERCISES. 2 I nz ^n ^^rm ^ir^ i 13 14 B^±E ^^ ffig ^^ 15 15 16 f^i^irP- »** 17 18 MUSICAL DICTATION. 33 32 33 34 35 4 'J'il"''^'J r->- ■* 36 37 s ? ^= 122 d^ ' ' ~ \ d d * d J_ d J r- r- 39 Bsa — 1 l^fc^ ^ ^^ J^^- J hs S-^-S^ " :tt-i ^ = ^ ^ i 40 41 ^ ^hi J-J' ^ ' ^'J. ^ 42 43 ^g^a^'^.jr^^ i ^1-> F B=N 44 1 • ** d.dd^.:^ : ^-j^ ^ 46 ^'J J. i ^^3=^^'i^j J 34 49 MUSICAL DICTATION. 50 m ^^S^EE=^ i ' ^- ^U 51 52 ^ ^S=t MUSICAL DICTATION. 35 71 72 - 73 ^ t/r-^_^ - * • * 74 -^^^^^ 75 w ? i ^^ ^— s-1 h -P- 4^^-^- ^^ ^ •*-«JLV -*-»-^ 77 78 ^^ ?^^ lirtntat ■*-■-*- 79 ^--ax^ ^^ 8-0 *V' ^V 36 MUSICAL DICTATION. EXERCISE V. PHRASES; THE INTERVAL OF THE FIFTH; SYNCOPATION. Definition. — Syncopation signifies the union of up-beat and down-beat (Arsis and Thesis), or an unaccented part with an accented one ; by this operation the accent is transferred from the accented part to the unaccented one p r i^-ti^-:i=^^ J II J J, l U J 11 ^ ^ ^ EXERCISES. 2 1 m ^ f^^t ^ Rn ^^ s it ^ 3^ TT l Tm i^ y ' ^ ^ ^ m ^m ? F^ J-. "*UJJ-J ^-:±w- $ 11 12 \ M 11 1 W=N ^3 &z ^ ^ i 13 14 raT'i q_^ i j -^ii<'j, /: J ij-i^ 15 MUSICAL DICTATION. 16 37 fsnrl^ ii j.. ^J""i J^i ^g^i i 17 18 I l li^jjjj/IJ-^^-P ^i-h I r r ? I r i r ^ai i 19 20 (^ I N ^ ttf^f^ t ^ ts3b tr *-!-* 25 26 27 28 31 32 (jj i| j.'' i '. ii ^- i ;j irq •lib ' 4' » d**^ 33 34 ( j U .rJ l J^JjqJ l J q .U;j3l l !i; | J"^j; I J-^ 35 36 __^ 38 MUSICAL DICTATION. i 39 ^ B s I r - ^ + • J. ^ * V- — * 41 i s F^= ^1 =^ 5 *"=-# 42 43 ^^^J^^ ^^ "'^•J-J-J- 46 1^3 IJ^ JTjrr^ i jn Jj;a^-i ^. 1' 47 48 ^ I i 49 50 i ^W S r r -- r r I r *3#i=^ i^^ 52 -^ — # it: LJ-J J ^ 57 58 . INJN^ I SM J viir^ -p^-l MUSICAL DICTATION. 59 39 62 63 64 65 t) il fg 1 j"!^ J g^L^J 1 1lk >^l 1 H J Jj 1 .-jt ;/ " V-^ * r' ^ d» "" — ',J.JJ d *^ ^ dd 1 66 ,__,^ 67 68 ViU.J-^:^j l j.J-U^lg^^^g?l 69 70 I'l l " il iri-J l TrTrH iJj/J I ^Jjn i "j if 71 72 ?, ej- -#-" * ' J ro — ^ g'. I » — -d- <^ 40 MUSICAL DICTATION. EXERCISE VI. PHRASES; THE INTERVAL OF THE SIXTH; TRIPLETS. Definition. — The triplet is a group of three notes of equal value played or sung within the time occupied by two notes of the same kind^ viz. : — ^^-^|-^^4^ j Il J j^ l l I . III i=^Ud l =J Egi jPTirTTB jjgjgj EXERCISES. 2 MUSICAL DICTATION. 41 ^-^ 23 24 31^ 32 i 33 ^ — 3- m w^^ $ 34 35 ^ ^^ — t gtET^S^jgr^^ i^= jfi i h ij.iiiihijjii UJjJi i jJjJj 42 MUSICAL DICTATION. 38 39 i 40 --trr^fyj=7^ ^ 3d= j^^= H ^ ^ 41 42 J - Jl ' JJJJ.J II f ^^ i^ 43 44 4^=^ 45 n 46 n TRiTJ 3 -S>- 47 IE ^5d^g -3 ^• 48 49 50 51 ^ ^^r^-TK^- js J^^. l J?^ 55 56 s ^ 57 58 * ^^ ^S qlJri3 | >& =K^ ifc MUSICAL DICTATION. 60 43 59 60 _ ^^ $ 61 ^ j^i Jin ^n 62 fc ^ J J I ^ J JJ s ^ 63 if J:^j:] I IVi''^^ydJjJ^JJ:rij.ll 64 65 ^^ *P 3"^ 4 • 4 66 67 E ^ r V 4 r I r ^ m- 68 69 i 70 71 Sqzqs^rs: 3_j^i I N^n^ BB =E£=z=E 72 J J pr I r i^ l r J J j T? — H H' J |-i II') rw 1 — — 1 _ 1 r-i n -ftj =— f- iWJ Ht~ "tF f^ — 1 |— -j-> ^T^ — -H w 11" 3 " • •# -^ ' 4 4 44 MUSICAL DICTATION. EXERCISE VII. PHRASES ; THE INTERVAL OF THE SEVENTH. Direction. — Intersperse this, as well as Exercise VIII., with some of the previous dictations. Systematic repetition and reviewing of former tasks will facilitate the understanding of new and more difficult matter. n , J || J i l l^jJI^:^ ^ ^3^ P3^ tf=^ | J^l l j J I IJ J l N^ I IJj I F^ EXERCISES. i m =^ " J J rj^ u _j_ j \ ■ j_ fr-rf -^iJf J II I; I ^ J. J. J j:^ ii^_ ;pi I ^ nj{ j>.u s^^-nr? - ^m m <', I r r i t _ * L-ll. ^p 10 s ft: -i l-j- ^a 11 E^ FfJ I -H-J I I ' 12 ^ 13 14 =f ^^=ig= N1 J-1 1 ^ ^ MUSICAL DICTATION. 16 45 „ 15 , 16 21 22 j! rj.:t;^ , M Jtl JV^j 1 11! jj ; iiJJj . iJj ^ p i 23 24 i F^ ^^ -^-P- ^i ^ J -1 - ^^ 1 1 rtll 26 -\ — 1 — i=-1-iV-i^ I J ^| h- 1 ktH 4-^3^ — 1 ■#*- J J r- U=^ •' 1 J ' 1 ,^1 */ v? ^ ^3 -•-• 27 ^_^^ 28 jftj ^ S^^^]lj_r J J r J l J r J j a i 29 ^ 30 .^ 33 34 5^ ^.■ujjMiia'iJj 36 ^ 37 ^ 46 MUSICAL DICTATION. 39 40 41 ^^ fr.- m. ^EEffi ^^ 42 43 St ^ ^^^ ^ X ^ ^ 44 45 / iT^iJiUJi^ 4'^ ^gjl -:i:* 48 40 ^^ -i- ; ;S^^ g ^^ ^^:ij^^ S^ p^ 50 l!i.?J I ;-^ /jTJ j si .T-JUi J.g :^ '^^ ,^ .^ 54 is ^^pi ^m ^- '— 56 ^j-Bj^j-.]-^ ^ I 57 58 S S tel jjj^no- ^ 59 S JJ|JJ | iJJJiil 60 ?ff^^jU''^ i -^ 61 -ds — * B> MUSICAL DICTATION. 62 ^H — =rt F?=1 47 — T-i ^t=fc^ ^±t^ ^=it b? -^^^d ^^ — «_*_ -*LJ « ^ 65 66 ^ B-=— 70 m i^ 76 . 77 3 ^^ 78 79 .HMHih tW- r '^ ^e ^ 80 * ^ ltl±K j^U- ■^^J-^'^-"^^^ ^ 48 MUSICAL DICTATION. EXERCISE VIII. PHRASES; THE INTERVAL OF THE OCTAVE; DIATONIC SCALE SIGNATURE OF KEY. Definition. — The octave is in one sense the close of the suc- cession of tones forming the diatonic scale, and in another, the beginning of a new series similar in construction to the first. It is also the repetition eight degrees higher or lower, as the case may be, of any note. The diatonic scale commencing with C and ascending on the white keys of the pianoforte to the next C is the prototype of the major keys or modes. It is composed of five tones and two semitones, these latter occurring between the third and fourth and the seventh and eighth degrees. Each one of those twelve keys comprised between C and its octave can be made the funda- mental note — the keynote or tonic — of a major scale, by taking as model the above construction of the C major scale, using, in order to get the right succession of tones and semitones, sharps or flats (see Exercise IX.), as the case may require. Those sharps or flats necessary for the construction of each respective scale are placed at the beginning of the staff, between the clef and the time signature, and are called the hey signature. Sharps, when used as signatures, are placed in the following 'order: — From F|!, being the first, descend four degrees in alphabetical order, then ascend five, descend again four, and ascend five, etc. ; when flats are used, commence with B!^, and proceed in the contrary direction to that of the sharps. The different degrees of the diatonic scale are also designated by the following terms : — ist degree .... Tonic. 2nd Super-tonic. 3rd „ .... Mediant. 4th ,, .... Sub-dominant. 5th ,, .... Dominant. 6th ,, .... Sub-mediant. 7th ,, .... Leading note, or sub-tonic. Direction. — Form major scales on the different tone degrees found within an octave. (f J ji i ^Ji i ^r i irj i i^J i j^iuji i i^ ^ I I J r I I J J II ^ I I JTihr'irrjii MUSICAL DICTATION. EXERCISES. "2^ 49 jl^ r I ;; J M l ''.t^r^f^i^d Edl i |{^ 7^.J- i ^j g j I *.v^ ^^ 4: I ii jj ] J I j^ i i4^ -•L-pu B i 11 12 ^=^ ^ ^ ^ -^ 13 14 i miQ^rj^ l JT^ ?=^ 3^J=itt: J ^ * ' -^ ^i^'^-^^rrf ^ r^B j..j a| J.. B EE)] ^F^TJ^rpig^^ i 19 20 ^ ^K njTj.;7J^'^" J J:^ .fe a ^ *^ ^i^Jjjirirj-nK ^pj 50 26 Wfm MUSICAL DICTATION. 26 ^ ■JJJWlJ l Jr ^ff=r ?«=s: ^^ ^ A ^ I jj.'i J J ' a ^g inn3 i J7j c :'iJJ^^ -^1 ^ ^ 32 niTy M j^ ^ S 3=^ ^ ifii & 33 P ^ • 1 — St 34 .. ^^ . ^3/36 ST*/ 38 ^ ^^^^^Ej^ffi^^^ i 39 ^^ Ssa :^i3t^^ g^ft ^N-_^.^"^d.^-J/'^^-|l'A J J J I 43 ^ ^^** ^^ ^=^ MUSICAL DICTATION. 45 51 44 45 3 _ _ __ _46 _49 p ^ 50 3 ^ H J/1 JW1W | ^**1 | | |H : § (^^^^^ \ h'J ^ ^ w^^J]l^^ \ H 54 m l==p: ^5p^ 56 59 60 61 ^^ 62 „^ 52 MUSICAL DICTATION. $ 71 72 » i^ m ^ft g= ^ «=S „ 73 3^ 74 75 S atatit; 76 ^Jjj I mi l ' J I i i c ^im^ / i i ^ 80 78 ^-__B f » • y f£^r J.-_.^H 0^0 —r i -c^ J J J J J l [- ^ J J J o W MUSICAL DICTATION. 53 EXERCISE IX. PHRASES; CHROMATIC SIGNS OR ACCIDENTALS; CHROMATIC SCALE. Definition. — Accidentals are the sharp 4, the double sharp x, the flat b, the double flat bt?, and the natural tl. The ^ raises the note a semitone ; the x two semitones ; the b lowers it a semi- tone ; the bl7 two semitones ; the tf has two functions : that of a flat if it takes away the sharp, and vice versd if it destroys the flat. Accidentals are called chromatic signs when they occur in the course of a piece, altering temporarily the pitch of a note without changing its alphabetical name. The chromatic scale is a succession of semitones. Direction — It is customary, when writing the chromatic scale or thromatic passages ascending, to use sharps or naturals as the case may require to raise the pitch ; and when descending, flats or naturals to lower the pitch of chromatic notes. EXERCISES. 2 _ $ m m m s ^ &^ j-J iii:j ii ifr-y -'u^V^ fvrj-:jJ^^^-l^ J?^^\i^3pii^^i m ¥^ ^ ^ ^ 9 10 11 12 ^^ 54 MUSICAL DICTATION. 14 15 ^H"-f-H^^=5~J11(^j JfiKH-j ^ J ^ pi-D 30 31 32 33 ^^_^^>. ,-.88" MUSICAL DICTATION. 39 55 ^ ^1 J^ .^ 1 ^ ^ ^ ' ^ ^^^^^==^n 40 >♦ ET- ti^H ^ Mii^aS ^ ^ 1F^^*^i 47 48 49 .^^ 50 51 51 52 I I I 53 54 J I J ***3t# ^ 56 MUSICAL DICTATION. ^ 61 3=3 f - * Q =P=:=F: -I h tet i 62 '> I I y 63 ^_^ ^^ tt*^^it!*V sJ- |j l ii,j J 41 m ^ i ^m 10 Ji^J J l|(^ ■=^ ^ ^ MUSICAL DICTATION. 59 jJJjJU 27 j^ 28 ^^^Jt^^^ 33 , 34 35 36 ^S^^^ =&=r ^ ^ U^ P 6o MUSICAL DICTATION. 38 r 37 ^ I Hi 39 m 40 , ^ , i£ 4j 42 43 44 =ft=p^ i 45 46 Y ]^ ~7^^ ^m m ^ at=at E=S 47 48 i 49 S ^^^3E^^^ 50 .^m m ^1 ^^ig ^jVLJ *: 51 52 * s iLM:=iaM- 53 54 #4 M^ Jj fxtrti?i i-^"hHr=g ^ i 55 ^ 56 _^^ ^ r r^p ii }{^^TJ^rjiriJ^.m4] „ 57 58 . §1 i , i j J i ^fj J ii ar- i J^^UJa ^ 5 9 ni ,, 60 MUSICAL DICTATION. 61 i ^ 65 'm m s fepfe ^ ^ ^ 7 3 ^JV #^ ^ 77 _ 78 --_ , r-i 79 80 62 MUSICAL DICTATION. EXERCISE XL SECTIONS; PERIODS ; SEQUENCE. Definition. — The period is a melodic form which, by means of a certain metrical and rhythmical arrangement of tones, con- stitutes a complete musical sentence. The subject-matter of the period is derived from motives growing into phrases, phrases expanding into sections ; a section may include two or more phrases ; two sections generally form a period. The close of a period is marked by a return to the fundamental note of the key. I have limited myself in these exercises to periods of four and eight bars ; more complicated ones will find a place in the Second Part of this work. Remark. — There exists still' a good deal of confusion regarding the form of construction of a period. Some writers draw the limits of the period at eight bars, and yet there exist distinctly constructed periods consisting of four measures ; in such cases two phrases are contracted into a short period. If, as is generally admitted, the close of a period is marked by a perfect cadence, then the following example, the opening subject of the Larghetto of Mozart's beautiful Pianoforte Quartet in E flat, must be classed among periods. No other explanation is possible regard- ing this and a number of similar constructions. The Andante of Beethoven's fine Sonata in E flat. Op. 27, is based on short periods of four bars each. Larghetto. Mozart. ^ f^S^ m ^^ M u ^H fe* ^ -^1— ^ 1 ^ DEFiNiTiON.^The sequence. The repetition of a model motive or phrase, on other degrees of the scale, is called a sequence. The sequence is called real when the repetition follows strictly the construction of the model, i.e., when the progression of similar tone-degrees is strictly adhered to ; tonal, when the repetition is irifcrely the general imitation of the rhythmical form of the model, i.e., the step of a second, etc., may be changed into that of any other interval. Real. Tonal. *^ -4- d* - j.i-ii^ SI S3 a •^ -^-*- ii MUSICAL DICTATION. 63 EXERCISES. A l I n J I . J J I J^ ^ a^ W^ .. , 2 ^^^ ^^ y * ^ r_r; I -J- I JJ^N^^-^^ , / pr^ \ ^ yi ^ ^r^^sHi^r ^'^ \ ^ Vi ^^ ^ NJ I ^^ :^^a J ^ ^ 2dz S j f^iljjJ l r i ^ ^s ^F=^ ' I i fTi m rn^^^ I r_x; r_Q \ itim ^ p v =piig=g: hf N ^ ^ ^ 10 i JUrJ^ iJ s ^ ^^ ^^=^ 12 ^ ^;g^l=F ^ 1^^^ ^^fiir^-rJ[£jLf-l ^l^"^l-^l- l 64 MUSICAL DICTATION. 13 /^m ^ m: :t=t2 s^ ^^ f=^ 14 fni' r f °' I r J J I f--^ ^ i r r j I r f=p=| ^ ^V-f^ =f ^ aJir > ^^^ ^ t^=^=t ^^^ ii i 16 i li__Ui ^ ; ^ ' * f J r ^ ^ ^ =F=? ^ qic==: i g 7Tr ; r C- i 18 ^~i:T^iffls ^ ^ ^^(ffuj i J J r'IH| ^N^tlLt ^ MUSICAL DICTATION. 65 20 :> -m ^m — ^^ — 1 ^ 'M H — H^^ 'f^. ^ -J-. 3-^ i~3- J ^ =S:^-i==3z -0- > » - ^ ^ 3^P1 ^ T=N ='»=1^ ^ ^ < < ' < : ^ - i ^ ^3E 23 ^^^^^^^^ g:W jJ-^H^^^^^ ^^| ^ i 24 ^ Pt=^=^"^ ^ g?=^ i Sehe ^ ^TTi I 3=r--t=t m ^ 25 ^ ^^ — ' S * cj i ^ prj:;^ ^J-JV.^^U- tint -srf-» i :x=ts i ^ f> fi * After No. 21, periods are fonned from former phrases. e 66 MUSICAL DICTATION. i 27 5 ^ ^^^ at^zt ^ (| ^ r ? ^ Ji| /^^ g liVj:f3 jl .aJ. J ^ 7p77llTTp77^-J I iT^.-.'"^^ f^-^i i n^rfTirF^rr- i 32 ^^EE^g^^FS^^^fga m f''' •'^•'^iii-^^^-j ji'^'-ij j^^^-^ |~^-Jjj Jij" ???^^ff=^ MUSICAL DICTATION. 34 6,7 mi:j\P?PP ^ :^ i i« f -W -\ f I* -f-ir f" ^m W^ ?E=F 1 m s sPt* J fF^ I N ^^ :i=^ 36 i=g3 ^ -"S*: 37 i N ^ N ^ N^ N 1 ,T 1 3=;^ ^^ ^ -^ ^^1 ^ 1 J!^ 1 1 ^ ^ [ ^ ^ J I r^ g "T^T^ _J rpJ^^rmWW^^^7g=j: ^^9 -^^m ^ ^ i i- • ! ■' i. ' 1 -^- ^. ' 68 40 MUSICAL DICTATION. r^n i fL^^ ^ itJ I J^j^^f l r^JJ J | JrJ-ji^ j ^^ s ^iiF=F ^ r-frj-^^w- ^se^ 1^ ^3 E ii ^^ IN 44 ^ '''1 ' J i^J T ^j^U' t c rnnrgr ? ^ i 46 a iJJiJ fei ^ prScz: ^ 4BP |^ ;i^^ ^ ^ ^^T^ff[r^frffe ii MUSICAL DICTATION. 69 _, 47 . ^F5 ^^m^^^^m i 48 ^^=f= =r |JJ J <• ' ' J4 J '' ■ ^ ' ^ ^d—t -^ ^ <^ !• r If J fJ 1 >*. I * J j^ ' ' -» * ^? 49 jfrVj^ft ff frrr^ ^# 2Z ^i> r rit-M-xTrV r i r-^ ^ §2" s gj J l Ju^r J ^^^ ^ j M>_j ;j Jr i J g^f ^^ g^^^rj r'^^ P 53 p 70 55 MUSICAL DICTATION. *=« S S^ (f r-prU- l l ^ fi??= ^Ese s^ f^^^^j J j , J |J74^.^hM^ I 3=?e: ,,#r a^^Uji^i^jjiJ- j-j==j ^- J J-^^LJ 1 :a=5: ^ S P =^ t ^ I ' ^ b^ * l^»^H^r-Hf=^'n i ^^^^^/tItJ 59 r^. p • f ^ =t=t ^ 60 i ^ s ^ r #• ^ ^ . ^jj±^ ^ 1 ^?«^=F 62 / ^ J- J Ji ^^ J"JTT7^II *~y MUSICAL DICTATION. 71 63 "j^jrrr i |iLrJ±fe^jXLciiJ4J.Jj| ^ ^rd — sn — ^ d — ^7. , J >-i h H*^^ #=^<-^"^— ^-^tr"^-^^— H ^ J- ^ — • — — •— a — ^ - ■ ■ ^ — > • «- ^ ^^ t^ 66 g=| ^-H -; ^|i L ^^rf :S ^ 7 • ^ p ggW^f^^ ^^g ^E 69 X "m ^ ^r#=^ tvP — H=-^ P^ ff^f^ 122 I 1/ ^ fe^fe^ ^ ^ ^ ^LU^i- ^^^^- 72 MUSICAL DICTATION. EXERCISE XII. PHRASES, SECTIONS, AND PERIODS EXTRACTED FROM THE WORKS OF CLASSICAL COMPOSERS; MOTION; TRANSITION. Definition. — Motion governs time; every, composition is characterized by a general motion of time indicative of a certain state of emotional life and expression. All the different shades of this inner emotional life are thus, in a general way, revealed by sounds regulated by motion ; hence a great variety of motion- gradations. Each piece or part of a piece is, according to its emotional character, governed by a certain chief motion. These different gradations of motion are indicated by Italian words accepted in musical practice by long tradition. These words have a double meaning, viz. : time and emotional expression. The chief gradations of 'motion are: — Largo Very slow. Adagio Slow. Lento Slow, lingering. Larghetto Rather slow. Andante Moderately slow. Andantino Somewhat faster.* Moderato Moderate. Allegretto Rather lively. Allegro Fast, cheerful. Vivace Lively. Presto Very quick. Prestissimo As fast as possible. There are subdivisions of all those separate grades of motion : these as well as special signs of expression and phrasing will find a place in the Second Part of this work. Directions. — Indicate the key of each of the following ex- amples, and then let student find the pitch. Pay attention to the grade of motion governing each fragment. When this station of the course of dictation is reached, it will be easy, if desirable, to find in the works of good composers additional examples, viz. : motives, phrases and periods. Students will also find it now very instructive by endeavouring to pitk out by themselves, from compositions they are studying, distinct periods composed of eight or four measures, as the case may be, and to point out motives, phrases, sections and sequences. * Some writers take this slower than Andante, but judging from the character of Mozart's and Beethoven's Andantino, it is decidedly faster than Andante. MUSICAL DICTATION. 11 Remark. — A passage leading from one period to another is called transition. Students will now be prepared to form periods with some previously dictated simple phrases. Sure progress and real understanding will be promoted by the continual exercise of your own ingenuity governed by rational rules deduced from acknow- ledged classical compositions. EXERCISES. 2 Allegro. ^ 1 Allegr ^. 2 Allegro. 3 Allegro. 4 Allegro. j^f' jir-t^7 P^ riir,Tij,j ?i= S=g m 5 Adagio. 6 Allegretto. |^./;:t[^7^ ■ r> fir r J r4i 7 Allegro. (f>'lMi,T;[rr^ M 9 Presto. .^, 10 Allegretto. tf%iTJPirr ii fii;rjU'j 7 ^m 12 Allegro. 5 1^^ ^^ ^ 13 Allegro. * * n # ^^ Allegro. 14 Andante. 15 Andante. |l^giiL5Il^fe p I >'' I j^^ J | Z2I 16 Allegro. f"i:p] i i- ii ^ ^f?^Tn ^-caii]i 74 MUSICAL DICTATION. 17 Adagio. jg prestissimo. „ u, iii»£__» lo fresttssi :t: 19 ^«'i>v-rW i r-jt ^ n ji 26 Allegretto. 27 28 Not fast. ^ ^^ ^ =P=f: =t=t 29 Scherzando. ^ ^^ 30 Allegro. ^ FI=F 31 v4Mda«i9 si^^^ 40 §>v r r r r ii ^I'^v^r ^r i a 41 F ^ r I I i 43 ^ ;f,>''nirr. i| jj i 44 ^'iii"rrrJJj'7J^j | ^^ zz p i 47 ^ iJ^lrrrrr a 5^ E=^5 e^ J. ji 48 1^ S ^ lez i "Tsr 49 Andante. Wr^ rn id— id ^ ^ ^rr ui^rTffT^ f • d ^ 76 MUSICAL DICTATION. 50 Presto. $ m ^ ^ ^^_-fc^ ^^ j_.U_^_^, ss lySS Allegro. P f f ^ -^ ^ ' I i rif[i-M'-i^f=FF^ ^^ =^ r~gTTriTir^ ^ ^ ^ '^Allegro. s f^rl r^r-rf i^ ^ ^ I E ^J TTT' ^ 55 Andante. BS 56 Menuetto. i^ r47"^ Pi ^=p= EEfl MUSICAL DICTATION. n V m 57 Largo. ^' i r ti. ^ - Uy £ i ^jiL^ i _j a^fSji^- J J, 1 77 ^^ y^S Andante i u-^ Allegro. ^i^ J J J i j itrt ^^^=g i i^r* J. ^ I i 60 ^^f=f-r^^^ 'W= ^r=f=^ " I . I i e^^s =3 i ife 62 1>M'. r ^ 3^i; # 3 63 Allegretto. S ^ ^ ^ 78 MUSICAL DICTATION. ji. 64 Andante. ^m r r r f- 'W^^S- ffi=ffffa §£j-l-I-^ 65 r-T-r-i i fe n Jv J ^i I ^^-^ 3:2 ^» ' " o ' g>.^.^ i 66 ■'-y"^* ^PfS B t p i r ' -^ sqpEj* S 1^ ^ Allegretto. t-rr-f. i °i i »?,i i JJ.-'" i .t^i-i^ 1^^' , i ir r- nr r- pi^ J-xj^ a 68 6 9 ___»_, 70 i^ jiJtJrij r rif -^ija ^a ssfe ;|>"jrr i rf: i i ^^^ 72 ?ip ^^^ MUSICAL DICTATION. 79 73 _^ §74 Vivace. ^^ J I J J ^ffl'^ffr^ ia i ^ ^^ SI ^ •i irf 75 Allegro. ^ Mi ii:^ j^. ^^^^3^ J J tf3^^ *1* ^ J /^ J ^ I r r ^^ f=Fp— ^^ * I eJ ^ ^g ^ ^^ r-* • r-* ^ 1/77 Allegro tnolto p'l^ i •^ i r-"T!j i r- '^'JTi=?i=?^ $ UMr ffr i J ^ ^^ 78 Andantino. 79 Andante. a fi.ar7 i^- r ^ ^^'it H^ nJ-|-i:f--|-F-J I c ' /r i-^"i i J-i-j 8o 80 Allegro maestoso MUSICAL DICTATION. f^TTifn-^TL^ 1=1= m • m m 81 Allegretto. ^ IZ -l«— * Y i r ±==c 3^ ^^ ^ fe ^ =P=K= £ ^B __^ ^ =P=?=F^ 84 Andantino. ^^4^^-;? g m^.f^Liiz;^t:a S S: 'gi' l L d \ 'S \ f ^^ S^q!^=P-=-»-!*- =^2f ^ ^^C #t7-^^--^^F^^"^^^F^^ /^85 ^H dante. fKl.}}\s: ^^£33 a=*=3t ^ ^,86 ^=0^ ^ S ^ ^ MUSICAL DICTATION. 8l 87 F=j^T^^=|=^^g ::U3a= I J J ^-3 1 J— H ^1 ¥ ^ =^ 88 Allegro. P^ 4 ^^JJ^^P^^^^P^ i b I h N I M kU ''^ r- ^ J^J ^IJ- J. ^—^ 89 Andante. pvi J r^5^ r I ^~"^ J~^i j j ,f¥t J. J'J i j. J' J I f g r i ^- i y^jt 41: 91 S 92 Le»to. -ft-^~ y Nrrrrrr i dJ ^ m 82 MUSICAL DICTATION. i ig 93 m m ^m \y^4t Allegro. ^m ^a 95 Larghetto. Ji_ .^- i fe ^ ?^ ;^:j:j i-rzzi^ i 97 Andante. "m^ l r JQ m I^J-r-Ai^ ^ ! r r I I ^ Tri UCJ - rr i 99 " La Manon." S p:^ ^=^ i§ tsa^ S MUSICAL DICTATION. i M 104 -Allegretto. nnWJli l . T^nr^ =^=F y * w > « i :^t i h^-T-^ 1^^ =F= s s ^ ^ ^ r =5=S f*tj^^J?>te=33^JL^ ^ ^ p-ry-f ^pf^i^f^^^^^ ^pltSTuSfj^^ ^ fJ^jYTT^^ ^^ ^^^^ -lis-— MUSICAL DICTATION. i 107 ^a ffl_^frr; i rr J-' l Jjf^^H J^ i ^ 1 r]r J3 ■•-» — •■ g^ JjJLlJjn.PH^^rTTTfrrrfn fe^ ^ F^n^ l JJ f ^^S=^ m^ $ sl08 Andante. ^4-tV^^^ m f $ r f f— ri r -g=E^^ 109 Vivace #tiij;iJ J'rgir^#^i^-^^4^ 110 p ^ r> I * (f^r- ^r * 111. )< ^ ^3^ 15i=R i 112 t ^^^ t ' # *• 3t=fc ^ 113 r-(rr p "1 MUSICAL DICTATION. ' . * 85 \m 1 T ^ \i \ — — ^■ ' ' 1 i-Jsa- ^4 -T — t^ ^^iiz^ b 114 Allegro, m ^ ^ ?z: fo — I— p — =F ^E IT^^ fe ^ ^#^ 115 < * — ^ i -^-j-j^ & ^ m 116 Adagio. ■ Cf/rNQ '=FH^ fe: P r r r r I r.LSi£=b=^^i=£^^ 117 Moderato- I ^ mi m 86 MUSICAL DICTATION. 119 Allegretto. •?< 120 pm e==E^i ^y^r-j^ £^ =d^^ iE==E izz 121 - mfw p-n:^T TTf p^^-^.-p 122 Larghetto p* Vi ^ij. J-J.k i-l-f-Hr iT' r iSrrr-^^ f^f^^^ ' r r ^ lA 123 f ^ I I 1 a «^ I f J ^E£ ^ *fc ^^^^i^p^^ 124 Allegretto. tf i (^ Kl =^=J=[i:J=i^&H-^^-^-»^E^^ l«t fe^ ^^^^^ ^^ > . 125 ]i MUSICAL DlCTAlIOl^. 87 LIST OF WORKS FROM WHICH THE FRAGMENTS OF EXERCISE XII. ARE TAKEN. Ex. I. 2. 3- 4- 5- 6. 7- 8. 9- 10. II. 12. 13- 14. IS- 16. J7- 18. 19. 20. 21. 22. 23. 24. 25- 26. 27. 28. 29. 30. 31- 32. 33- 34- 35- 36- 37- 38, 40. 41 42 43 44 45 46. 47 48 Title op Work. Composer. Sonata, No. 15 ... Mozart. „ No. 13 ... „ „ No. 8 Rondo „ Fantasia „ Sonata, No. 4 ... „ „ No. 18 ... „ String Quartet in G ... „ Sonata, No. 7 ... Haydn. „ No. 10 ... „ „ No. I ... „ Symphony, No. 2 ... „ „ No. 5 ... „ No. 6 ... Sonata, Op, 49 ...Beethoven. „ Op. 2, No. I... ,, „ Op. 2, No. 3 „ Op. 10 ... „ Bagatelle, Op. 33 ... „ Trio, Op. I, No. 3 ... „ Thema, Op. 17 Mendelssohn. Lied ohne Worte, 1 Op. 19, No. 4 J " „ Op.30, No. I... „ „ Op. 38, No. 2... „ Op. S3, No. I... „ „ Op. 85, No. S". „ Albumfi^rdiejugend J Schumann. N0.3... „ No. II... „ „ No. 10... „ „ No. 19- » ,, No. 28... „ Overture, " Paradise 1 and the Peri " j " Warum, Op. 12 ... „ "Lohengrin" ... Wagner. " Meistersinger " 39. "Parsifal" Fugue subject from") the Well-Tempered [■ Clavichord ... J Bach. 49. SO. SI- S2- 53- 54- 5S- 56- 57- 58. 59- 60. £1. 62. 63- 64. 65- 66. 67. 68. 69. 70. 71- 72. 73- 74- 7S- 76. 77- 78- 79- 80. 81. 82. 83- 84. 8s. 86. 87. 88. 89. 90. 91. 92. 93- 94. 9S- 96. 97- 98. 99- TiTLE OF Work Sonata, No. 12 „ No. I Trio, Op. I Sonata, Op. 134 „ No. 5 Rondo Sonata, Op. 37 Sonata, Op. 49 „ Op. 2, No. 2.. Septet, Op. 20 Ninth Synaphony Gavotte Subject of a Fugue .. Child's Song ..'.' "Oberon" "Faust" "Tannhauser" Impromptu Valse ... Minuet ,, ... .. Gigue Bourr^e Echo Tambourin Rigaudon Sonata in C Minor Caprice IV. ... Sonata, Op. 41 .. Op- 39 Caprice V. Sonata, EJ? Major „ Op. 22 Andante Gipsy Sonata Suite, Op. 31 ... Sonata, Op. s -- „ Op. 41 Jagdiied, Op. 77 Tema, Op. 17... Walzer, Op. 39 COICOSEK, Mozart. Haydn. Beethoven. . Schubert. Haydn. . Clementi. .Beethoven, Handel. Mozart. Weber. Gounod. Wagner. Schubert. Bach. ... Rameau. .'.'.' Wdlfle. Miiller, A. E." ... Steibelt. Weber. Miiller, A. E. Cramer. ... Clementi. Bach, J. Ch. Lowe. Bargiel. Brahms. ...Rubinstein. ... Reinecke. Kiel. Brahms. Serenade, Op. 35 ...Jadassohn. Subject of a Fugue Mendelssohn. Serenade, Op. 35 ...Jadassohn. Fantasie-Stiick, Op. 2 Saron. Harmonies Po^tiquesl Liszt et Religieuses) Fanfare La Manon Couperin MUSICAL DICTATION. Ex. 100. lOI. I02. 103. 104. los. io5. 107. 108. log. no. III. 112. "3- 114. Title of Work. Composer. Rondo ... Bach, Ph. E. Sonata in C Minor „ Minuet ... „ Gigue Rondo Beethoven. Landlicher Tanz " The May Queen" Bennett.W. S. Lilliburlero Rigadoon Gavot... Sonata .Purcell, H. . Dr. Blow. . Scarlatti. Ex. Title of Work. 115. Mass in E Flat 116. Short and Easy Pieces for the Organ 117. Postlude 118. Gavotte iig. Allegretto grazioso . 120. Anthem 121. Pieces for the Organ Op. 22 122. Voluntary 123. Sonata in D Major . 124. „ Op. 164 125. Chorus from the " Messiah " Composer ..Noveilo, E. I Smart, H. „ Saint Saens. .. Tours, B. .. Macfarren. I Gade. Calkin. .. Schubert. \ Handel. INDEX OF SUBJECTS TREATED IN THIS PART. Accent, grammatical. „ metrical. „ negative. „ positive. .„ rhythmical. Accidentals. Bars. Beating Time. Chromatic Scale. Diatonic Scale. Dot. Intervals. Italian Terms indicating motion, feynote. Leading-note. Leitmotive, Major. Measures. Metre. Minor. Motion. Motive. Names of the degrees of the Scale. Octave. Period. Phrase. Rhythm. Section. Sequence. „ real ,, tonal. Signature of Key. „ of Time. Syncopation. Time, different kinds of Tie. Tonic. Transition. Triplet. Up-beat. ORATORIOS, Sic— Continued. EDWARD HECHT. Eric the Dane O MAY I JOIN THE ChOIR INVISIBLE GEORGE HENSCHEL. Out op Darkness (Psalm 130) HENRY HILES. Fayre Pastorel The Crusaders FERDINAND HILLER. Nala and Damayanti A Song of Victory HEINRICH HOFMANN. Fair Melusiha Cinderella SoNQ of the Norns (Female Voices) 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 Oebe (ditto) F. ILIFFE. St. John the Divine W. JACKSON. The Year «■■ A. JENSEN. The Feast of Adonis C. WARWICK JORDAN. Blow ye the trumpet in Zion 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 C. H. LLOYD. Alcestis Andromeda Hero and Leander The Song of Balder ... The Lomgbeards' Saga (Male Voices) W. H. LGNGHURST. The Village Fair G. A. MACFARREN. Songs in a Cornfield (Female Voices) May Day .; The Soldier's Legacy (Operetta) ... Outward Bound A. C. MACKENZIE. The Story of Sayid Jason The Bride (Sol-fa, 8d.) The Rose of Sharon (Sol-fa, 2a.) Jubilee Ode s. d. 2 6 1 o 2 o I o I 6 2 6 o 6 2 6 6 1 2 6 3 o 3 3 o I 6 I o 1 C 2 O 2 6 1 O 6 o X o 3 2 6 1 o 5 o 2 fi MENDELSSOHN. s. d. Elijah (Sol-fa, IS. 6d.) 4 St. Paul (Sol-fa, IS. 4d.) ... ... ... ... 2 o Hymn of Praise (Lobqesang) (Sol-fa, is.) ... i o As the Hart PANTS (Psalm 42) i ° Come, let us sing (Psalm 95) ... i o WhenIseaelout OF Egypt cAME(SoL-FA,9d.) i o Not unto us, O Lord (Psalm 115) i Lord, how long wilt Thou forget me ... i Ditto, Sol-fa o 4 Hear my prayer (s. solo and ohor.) i o. Ditto, Sol-fa " 3 Lauda SioN (Praise Jehovah) (Sol-fa, gd)... 2 o The First Walpukgis Night (Sol-fa, is.) ... i Midsummer Night's Dream (Female Voices) i o Athalie (Sol-fa, is.) , .... i. 2 o Antigone (Male Voices) (Sol-fa, is.) ... 4 o Man is Mortal (Eight Voices) i o Festgesang (Hymns OF Praise) . i o Ditto (Male Voices) > o Christus (Sol-fa, 6d.) i o Three Motetts for Female Voices ... i o Son and Stranger (Operetta) ... , ... 4 LoRELEY (Sol-fa, 6d.) i CEdipus at Colonos (Male Voices) 3 o To THE Sons of Art (Male Voices) i o Ditto, - Sol-fa o 3 Judge me, O God (Psalm 43) (Sol-fa, i{d.) 4 Why rage fiercely the Heathen ... » ... o 6 My God, why, O why hast Thou forsaken me (Psalm 22) ° f Sing to the Lord (Psalm 98) 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 MEYERBEER. Ninety-first Psalm (Latin) ... 1 Ditto (English) i B. MOLIQUE. Abraham 3 o MOZART. King Thamos 1 o First Mass (Latin and English) i 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 x o Ditto (Latin and English) i o Ditto Ditto, Sol-fa ... i o Litania de Venerabili Altaris (in E flat) I 6 Litania de Venerabili Sacramento (in B FLAT) I 6. Splendente te Deus. First Motett ... 3 O God, when Thou appearest. Ditto ... o 3 Have mercy, O Lord. Second Motett ... o 3 Glory, Honour, Praise. Third Motett ... o 3 DR. JOHN NAYLOR. Jeremiah 3 o REV. SIR FREDK. OUSELEY. The Martyrdom of St. Polycarp 2 6 R. P. PAINE. The Prodigal Son 2 6 Great is the Lord 1 o PALEST RIN A. Missa Assumpta est Maria 2 6 Missa FAP./E Marcelli 2 o C. H. H. PARRY. Blest Pair of Sirens ... , z AjAX AND Ulysses X Prometheus Unbound 3 o DR. JOSEPH PARRY. Nebuchadnezzar (SuL-FA, IS. Gd.) 3 ORATORIOS, &.C.— Continued. T. M. PATTISON. The Anpient Mariner The Lay OF THE Last Minstrel PERGOLESI. Stabat Mater (Female Voices) (Sol-fa, 6d.) GIRO PINSUTI. Phantoms— Fantasmi nell* ombra E. PROUT. The Red Cross Khioht The Hundredth Psalm Freedom Hbreward Queen Aiu£e (Female Voices) PURCELL. Te Deum and Jubilate in D J. F. H. READ. Harold Bartimeus Caractacus The Consecration of the Banner Psyche ... J. V. ROBERTS. Jonah W. S. ROCKSTRO. The Good Shepherd ROLAND ROGERS. Prayer and Praise 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, 4d.) ROSSINI. Stabat Mater (Sol-fa, is.) Moses in Egypt C. SAINTON-DOLBY. • Florihel (Female Voices) CAMILLE SAINT-SAENS. The Heavens declare — Cceli enarrant (Psalm 19) SCHUBERT. Mass in A flat Communion Service, ditto Mass in E flat Communion Service, ditto Mass in B flat CoMi^UNiON 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, fid.) SCHUMANN. The Minstrel's Curse The King's Son Mighon's Requiem Paradise and the Peri- Pilgrimage of the Rose Manfred Faust Advent Hymn, "In Lowly Guise" , New Year's Song (Sol-^a, 6d.) H. SCHUT2. The Passion of our Lord J. SHORT. Mass (St.. George) , Mass (St. Joseph) E. SILAS. Mass in C JOASH , s. d. 2 6 2 6 4 4 2 6 4 o I 6 2 6 4 o 2 6 3 6 2 o R. SLOMAN. Supplication and Praise HENRY SMART. King Rent's Daughter (Female Voices) .. 2 The Bride of Dunkerron (Sol-pa, is. 6d.) 2 J. M. SMIETON. Ariadne (Sol-fa, gd.) 2 ALICE MARY SMITH. The Red King (Men's Voices) 1 The Song op the Little Baltung (ditto) i Ode to the North-East Wind «i Ode to the Passions 2 SPOHR. Mass (Five Solo Voices and Double Choir) 2 Hymn to St. Cecilia Calvary Fall op Babylon Last Judgment (Sol-pa, IS.) ... The Christian's Prayer God, Thou art great (Sol-fa, 6d.) How lovely are Thy dwellings fair Jehovah, Lord of Hosts JOHN STAINER. The .Crucifixion St. Mary Magdalen (Sol-fa, is.) The Daughter op Jairus (Sol-pa, ^d.) C. VILLIERS STANFORD. The Revenge (Sol-fa, gd.) God is our Hope ( Psalm 46) Carmen Seculars (Ode for the Jubilee) ... H. W. STEWARDSON. Gideon J. STORER. The Tournament ■ E. C. SUCH. Narcissus and Echo God IS OUR Refuge (Psalm 46) ARTHUR SULLIVAN. The Golden Legend (Sol-pa, 2s.) Ode for the Colonial and Indian Exhibi- tion Festival Te Deum W. TAYLOR. St. John the Baptist •> A. GORING THOMAS. The Suh-Worshippers E. H. THORNE. Be merciful unto me ... VAN BREE. St. Cecilia's Day (Sol-fa, gd.) R. H. WALKER. Jerusalem WEBER, Mass in G (Latin and English) Mass IN E plat (ditto) Communion Service in E flat Jubilee Cantata prbciosa S. WESLEY. In exitu Israel Dixit Dominus S. S. WESLEY. O Lord, Thou art my God ,;, THOMAS WINGHAM. 3^ Mass in D ^^ Te Deum and Domine salvam ... 5 o •2 6 I 6 4 3 6 4 o ^;^ I 6 Most of the above Works may be had in paper boards at 6d. each extra, or handsomely bound in cloth, with red or gilt edges, at is., is, 6d., or 2&. each extra. I. 2. 3- 4- 5- 6. 7- 8. 9- 10. II. 12. 13- 14. 15- 16. 17- 18. 19. 20. 21. 22. 23- 24. 25- 26. 27. 28. 29. NOVELLO, EWER & CO.'S MUSIC PRIMERS EDITED BY DR. STAINER. The Pianoforte ----- - E. Pauer. The Rudiments of Music - - W. H. Cummings. The Organ Dr. Stainer. The Harmonium - - - - Singing A Speech in Song (Singer's Pronouncing Primer) A. J Musical Forms - Harmony .... Counterpoint Fugue - - - Scientific Basis of Music Double Counterpoint Church Choir Trainikg - Plain Song - - - . Instrumentation The Elements of the Beautiful in Music - E. Pauer The Violin - ... - Berthold Tours Tonic Sol-fa J. Curwen Lancashire Sol-fa - - - James Greenwood Composition Dr. Stainer Musical Terms - - . - Stainer and Barrett King Hall. Randegger. . Ellis, f.r.s. - E. Pauer. Dr. Stainer. Dr. Bridge. James Higgs. - Dr. Stone. Dr. Bridge. Rev. J. Troutbeck. Rev. T. Helmore. - -E. Prout. The Violoncello Two-part Exercises (396) - Double Scales - - - - Musical Expression - Solfeggi Or in Three Parts. Organ Accompaniment The Cornet Musical Dictation Dr. Ritter. (to be continued.) Jules de Swert. James Greenwood. Franklin Taylor. - Mathis Lussy. - F. A. Marshall. Dr. Bridge. - H. Brett. London & new york: novello, ewer & co.