.
.:)
MUSIC
A 1,281,694
NOVELANOWBR
NEWBREGOS
MT
191
B85
1885
cop. 2
*
*
MUSIC PRIMERS
AND
*
EDUCATIONAL SERIES
c.
*
x
SKLOPNARE
BY
AHMENT
JUUUUUUUU
s
f
PU Brùng
A
***
PROGRESSIVE STUDIVO
FOR THE PIANOFORTE
EDITED, ARRANGED IN GROUPS, AND THE FINGERING REVISED AND SUPPLEMENTED
BY
FRANKLIN TAYLOR.
1817
MUMI
he variou
le, and to
vercomin
counterec
SCIENTIA
ARTES
VERITAS
5
UNIVERSITY OF MICHIGAN |
LIBRARY
OF THE
1
ilips, thos
منم
THIS CC
elements C
provide sti
the differer
With this
in each gi
reference t
the Studie
works of t
included ni
utility, hav
ihani
PLURDUSU
nd havin
ter part 1
: standar
these ai
it practic:
TIETOR
JURIS PEMIRSULAMAMONAN!
CIRCPY;ICE
1. FIVE-FIN
2.
Part:
:
::
UZLUANTO
und
WAS
:-
3. SCALES
Part:
1
.
5. BROKEN
6.
7.
8.
9
Part
MIHHOLA
.:
Part
نننننننتن
MAMAMITIRUL HURU
IHIIHIUTALIHUTITI
.
IO. LEFT H.
II.
I 2.
13
AUTHIYA
Armin
Part
Ëmoio
14. ARPEGG
15.
16.
..
..
3
Part
43. PART PLAYING
44.
1)
Part 1
45. ORNAMENTS
Pait
46.
17. VELOCITY
18.
19.
20.
21.
22.
23.
3
4
5
6
7
.
47.
ACCOMPANIED MELODY.. Part
48.
49. EXTENSIONS AND SKIPS Part
50.
2
1
2
Part
24. FIGURES IN SEQUENCE Part I
25.
26. BROKEN THIRDS, SIXTHS,
AND OCTAVES
Part I
27. BROKEN THIRDS, SIXTHS,
AND OCTAVES
Part 2
51. RHYTHM
52.
::
53. EXERCISES FOR THE WEAKE
FINGERS. By J. A. O'NEILL.
FIFTY-THREE BOOKS, PRICE ONE SHILLING EACH.
LONDON & NEW YORK: NOVELLO, EWER AND
PROGRESSIVE STUDIES for the PIANOFORTE.
BOOK 53:
EDITED BY FRANKLIN TAYLOR.
EXERCISES
FOR THE
WEAKER FINGERS
BY
J. A. O'NEILL.
PREFACE.
It is an acknowledged fact that the chief obstacles to good execution
and equality of touch lie in the weakness of the fourth and fifth fingers,
and in a want of dexterity in passing the fourth finger over the thumb.
To overcome these difficulties the following Exercises have been
specially designed. Their object is to place the weak fingers on a
perfect equality with the others, thus entirely avoiding the defect of
the general mechanical exercises, which, by allotting as much (or more)
work to the naturally strong as to the naturally weak fingers, leave the
relative inequality of strength and skill unaltered.
Experience has shown that a more marked improvement in technique
is obtained by fifteen minutes' daily practice of the following Exercises
for the weak fingers than by an hour's daily practice of ordinary finger-
exercises. This additional facility of execution is noticeable after a
short trial of ten days.
Part I. will be found quite suitable to students in the elementary
stages, and whilst strengthening the weak fingers affords an excellent
practice for transposition.
Part II. will greatly assist the performance of all scale and arpeggio
passages, and tend to overcome the executional difficulties generally met
with in advanced works.
PRICE ONE SHILLING.
LONDON & NEW YORK: NOVELLO, EWER AND CO.
ORGAN ACCOMPANIMENT
OF THE
CHORAL SERVICE.
MT
191
B85
1535
2
Cop.2
NINTH THOUSAND.
NOVELLO, EWER AND CO.'S
MUSIC PRIMERS AND EDUCATIONAL SERIES.
Edited by Sir JOHN STAINER AND Dr. C. HUBERT H. PARRY.
ORGAN ACCOMPANIMENT
OF THE
CHORAL SERVICE
PRACTICAL SUGGESTIONS TO ORGANISTS AS TO
THE SELECTION AND TREATMENT OF
CHURCH MUSIC
BY
FREDERICK BRIDGE
MUS. DOC., OXON.;
ORGANIST AND MASTER OF THE CHORISTERS OF WESTMINSTER ABBEY;
PROFESSOR OF HARMONY AND COUNTERPOINT AT THE ROYAL COLLEGE OF MUSIC;
EXAMINER IN MUSIC FOR THE UNIVERSITIES OF OXFORD, CAMBRIDGE, AND LONDON;
GREOHAM PROFESSOR OF MUSIC,
PRICE TWO SHILLINGS.
In paper boards, Two Shillings and Sixpence.
$1.00
LONDON & NEW YORK
NOVELLO, EWER AND CO.
.
Music
МТ
191
.885
1 885
cop, a
LONDON:
NOVELLO, EWER AND CO.,
PRINTEIS.
Kencial Library
Transfer to
از فرار
School
4-15-34
. . .
PREFACE.
To the skilful organist many of the observations contained in
the following pages will no doubt seem trite, if not superfluous.
A somewhat varied experience, however, from the Village
Church upwards, coupled with long practice as a teacher, has
shown me that many find a difficulty in ascertaining what is
the best and most effective method of rendering the various
portions of the Church Services which are accompanied by the
organ. I have, therefore, at the wish of my friend. Dr. Stainer,
undertaken to briefly indicate the best recognised way of dealing
with those questions, and the hope of supplying a widely ex:
pressed want is the immediate purpose of this little work.
j. FREDERICK BRIDGE.
THE CLOISTERS,
WESTMINSTER ABBRY,
December, 1885
INDEX.
.
PAGB
PAGE
26
27
I
stops of
.
Agnus Dei.
Elements, Music during admini-
Anglican Chants.
4 stration of
26
Anthem
17 Evening Service.
Apostles' Creed
15
Apostles' Creed, accompaniment
Ferial Responses
ot
. App. 48
Athanasian Creed
15
Gloria, treatment of, in Psalnıs .
9
Athanasian Creed, accompani-
Gloria in Excelsis
26
ment of
. App. 50
Gloria in Excelsis, settinz of. App. 67
Benedicite.
14
Gospel, Music before and after 25
Benedicite, accompaniment of Great Organ, combinations of
App: 44
28
Benedictus .
14 Gregorian Chants
13
Benedictus Qui venit
26 Gregorian Chants, method of
Burial Service
playing
27
. App. 34
Gregorian Psalters
. App. 37
Cantate
27
Canticles of Morning Service 4
Hymns, treatment of
18
Canticles of Evening Service 27
Hymns, Processional
23
Cathedral Psalter
4
Chants, method of playing
5
Jebb (on the Choral Service)
Chants, Anglican
4
Jubilate
14
Chants, Gregorian
13, 34
Chants, Unison, with varied ac-
companiments
Kyrie :
25
13, 42
Chant Services
14
Choir, support of .
Magnificat.
27
Choir, keeping in tune.
Marriage Service.
27
Miserere
Christ our Passover (Canticle) 5
27
Commination Service.
27
Cominunion Service
Nicene Creed
25
25
Confirmation Service
27
Nicene Cieed, accompaniment of
App. 63
Deus Misereatur.
27 i Nunc dimittis
27
.
10
I2
.
I2
2
viii
INDEX
i
PAGE
PAGL
20
1
14 | Sanctus
ΙΟ
Occasional Services
27
Rallentando, in hymns
Offertory Sentences
26 Recitation
Note,
Gregorian
O Lord, our Governour (hymn) 5
Chants
.. App. 36
Repetition Notes, treatment of
3
Responses, accompariment to
Parts, inversion of
6-7
Paragraph Psalter
26
Pedals, temporary disose of
į Services
14
Pedal Organ, combinations of
Sursum Corda
26
. App. 29
Swell Organ
29
Plain Song
35
Processional Hymns
23
Te Deum
14
Psalms.
9 Tones, Gregorian
34
Psalms, accompaniment when
Venite
4
sung by men only
. App. 42
Psalters
Voluntaries.
4
stops of
:7, 28
II
Words, due expression
Word Painting
Queen s Accession
5, 27
II, 19
ORGAN ACCOMPANIMENT
OF THE
CHORAL SERVICE.
CHAPTER I.
$. I. The principal object of this small work being that of
providing the organist with some practical guide for the per-
formance of his or her important part in the Church Service,
no reference will, as a rule, be made to any other portion of
the service than that which is accompanied by the organ.
The first point, therefore, which calls for consideration, putting
out of sight the use of the organ as an introduction to the
service (which will be briefly considered when we come to
speak generally of Voluntaries), is the accompaniment to the
Responses,” of which the first few occur at the conclusion
of the Lord's Prayer and lead up to the Venite.
§ 2. Before considering the part which the organ should play
in accompanying Responses, it should be at once stated that
its use here on ordinary occasions is highly undesirable. The
setting in general use at St. Paul's Cathedral, Westminster
Abbey, &c., known as the Ferial Setting, is so simple that there
is no choir worthy of the name incapable of singing it un-
accompanied. The range of the vocal parts being extremely
limited, there is little danger of any serious fall in pitch, and
they readily adapt themselves to any reasonable intoning
note taken by the officiating clergyman.* On festival occasions,
however, the well-known setting of Tallis is almost universally
used, and here the organ is necessary. The note given
to the priest should be the key note (usually C), and it
should be given out on the diapasons with marked and
sus ained emphasis. This is advisable, because not only is
the organ sometimes at a considerable distance from the in-
toner, but his ear may not always be able to distinguish correctly
a sound so far removed in pitch from the note upon
which he has been hitherto reciting. The first Response,
“ And our mouth,” &c., has no preparatory organ chord (as
is the case with some of those which follow), the voices entering
* An intoned service is here presupposed, and the importance of the priest
being able to intone in tune, and keep the pitch, if anything like a satisfactory
musical service is desired, cannot be overstated. The choir will then be able
to sing the ordinary responses without accompaniment, and, in doing so, will
acquire the habit of singing without depending upon the organ to pull them
through, or to cover up their deficiencies. Where the priest does not intone,
an organ accompaniment to each. Response will be necessary.
2
ORGAN ACCOMPANIMENT OF THE CHORAL SERVICE.
upon the beat. The organist should therefore, to ensure a
prompt and accurate entry of the choir, put down and hold
the first bass note for a moment before adding the rest of the
harmony, as nearly as possible in the following manner :-
CHOJR.
)
8
333
100
And
our
mouth shall shew forth Thy praise.
o
Id
-S-
e
d d d
구
​P
ORGAN.
S
00
&
2 g
did
-O-
This preparatɔry note should be of the shortest possible length,
being only intended to enable the different voices to take their
proper intervals and to enter with precision. The other
notes must be added exactly together, and on no account in
arpeggio. The upper note of the chord is sometimes given as
a preparatory note of this kind, but the foundation note (C) is
clearly the natural and proper note to be given.
The next Response, “ O Lord, make haste to help us,'
follows the same rule:
CHOIR.
8 응
​&
8
I
Lord, make haste to
d. d d
o
help
us.
1
ORGAN.
8
Hello
6
p
d d
or
_
Р p
ORGAN ACCOMPANIMENT OF THE CHORAI. SERVICE.
3
$ 3. The Response to the Gloria, “As it was in the beginning,"
&c., is preceded by a minim rest. Here the preparatory note
upon the organ should be held down during its full value of a
minim, and on no account should a distinct chord be struck;
for if so there will be danger lest inexperienced or inattentive
members of the choir enter before the proper time. The same *
rule applies to the minim rest which occurs in the middle of
this Response, before the words “ And ever shall be," &c.,
and also to the commencement of the following Response,
“ The Lord's name be praised.” These remarks will form a
guide to the treatment of the other Responses which follow the
Creed, and also to the playing of the Amen at the conclusion
of the prayers. Generally, as to the method of phrasing the
accompaniment to these Responses, it must be remarked that
the organist, while avoiding undue repetition of the chords,
should be careful, if he desires to keep his choir well together,
not to err in the opposite direction. The organ accompaniment
to the preceding examples indicates the general line which
should be taken. It will be seen that, as a rule, the organist
sustains the chord in cases where syllables are allotted to
crotchets. The following observations on this point are well
worth attention :
§ 4. “*An accompaniment which is to direct and sustain the
voices of a congregation should be marked and decided in
character without being disjointed or broken. This combination
of distinctness with continuity is greatly influenced by the
manner in which the repetition notes are treated. Repetition
notes appear with greater or less frequency in one or other of
the vocal parts of nearly all psalm tunes.
Those that
occur in the melody should not be combined; but, on the
contrary, should, generally speaking, be repeated with great
distinctness. As such notes present no melodic movement, but
only rhythmic progress, congregations have on that account
a tendency to wait to hear the step from a note to its iteration
announced before they proceed, so that if the repetition note
be not clearly defined, hesitation among the voices is apt to rise,
and the strict time is lost.
“A very little will suffice to steady and connect the organ
tone, a single note frequently being sufficient for the purpose,
and that even in an inner part.
A repetition note in
the bass part may freely be iterated on the pedal, particularly
if there should be a tendency among the voices to drag or
proceed with indecision.'
* Article on "Accompaniment," by Dr. E. J. Hopkins. Grove's Dictionary,
Vol. I., p. 25.
CHAPTER II.
§ 5. Our consideration must next be devoted to the accom-
paniment of the Venite and Psalms, which are sung either to
Anglican or Gregorian Chants. First, as regards Anglican
Chants. Here so many good collections exist that it may seem
invidious to select any one in particular for commendation.
At the same time, as this book is intended as a hand-book for
the inexperienced, we need not hesitate to say that those used
at St. Paul's, Westminster Abbey, and that published by
Messrs. Novello as specially adapted to the Cathedral Psalter,
are perfectly satisfactory and in every respect suitable for
general use. It is, however, most important that one printed
collection should be fixed upon and, so far as circumstances
allow, rigidly adhered to. We may also here mention
that, as regards pointed Psalters, the Cathedral Psalter* is by
far the best and most easy to chant from. There are, of course,
others which some might prefer, but it is so desirable to get
as much uniformity as possible in this department of the
Choral Service, that the author makes no further excuse for
naming one only, of the superior merits of which he is perfectly
convinced.
$ 6. For general purposes it is advisable that the chant
for the Venite be first played through by the organist. In
cathedrals it is frequently the custom to give out the 'first
phrase of the bass of the chant, a practice which has some
antiquity to recommend it, but which is none the less to
be deprecated for various reasons. Taking it for granted,
therefore, that the course will be followed of playing over
the chant, we come at once to the kind of chant to be selectedt
and the manner of announcing it.
A single chant should be selected for the Venite, the
number of verses being uneven, and not running in couplets
as is the case in many of the Psalms. For the Venite is
substituted, on Easter Day, the Canticle commencing “Christ
* Published by Novello & Co., under the editorship of Dr. Stainer, Mr.
James Turle, the Succentor of St. Paul's, the Precentor of Westminster
Abbey, and the Rev. Dr. Troutbeck.
† This, of course, is provided for if a printed collection be chosen.
ORGAN ACCOMPANIMENT OF THE CHORAL SERVICE.
5
our Passover.” This should be sung to a bright and jubilant
single chant. Similarly, on June 20, the day of the Queen's
Accession, the hymn O Lord our Governor is directed to
be sung. This is equally well adapted to either a single or a
double chant.
9)
The chant should be played over on a soft organ, and as far
as possible in the time to be afterwards adhered to in the
chanting. In playing over, however, the note known as the
reciting note should be given only the value of a semibreve,
and the melody should not be in any manner made more
prominent than the harmony.
§ 7. With regard to the method of playing a chant when
accompanying voices, it must be remembered that this as
printed is nothing more than the separate voice parts written
in “ short score, and that, therefore, the organist is not
expected to play merely the four notes he sees before him,
nor, and more especially in so far as the bass is concerned,
should these always be played in the position in which they
stand on the stave. To do this renders the accompaniment
weak and a poor support to the voices. An experienced organist
“ fills up" his chords—with moderation, of course—and often
plays the bass part upon the pedals an octave lower.* Much,
of course, depends here upon the chant chosen. Passages which
lie above “ tenor C".
can be played without alteration an octave lower on the pedals,
and the left hand may then also play the vocal bass part and
occasionally “ fill in"; the winner parts "-.2., tenor and alto
being divided between the two hands as occasion may require.
Basses, however, which lie below" tenor C," or which, starting
above this note, move downwards to a note or notes below,
should be played as they stand, and on no account should the
passage be distorted beyond recognition both in sight and sound
for the sake of an occasional low note or two.
important matter and should be carefully borne in mind by all
who desire to do their best for choir and organ. A little study
will soon enable a player to decide upon the most effective
This is a very
* In music properly arranged for the organ, no filling up or transposition of
the pedal or any other part should be practised.
6
ORGAN ACCOMPANIMENT OF THE CHORAL SERVICE.
method, so far as this point is concerned. The following
examples will illustrate the above observations:
CHANT ARRANGED FOR VOICES ONLY.
Dr. TURNER.
b 늠
​P
00
2
DO
Dolce
OH
월
​The bass part of the above chant can be played an octave
lower (on the pedals), with the exception, of course, of the last
note. The left hand would play the bass and tenor as they
stand in the vocal part above. The right hand, besides playing
the soprano and alto parts, could fill up one or two of the
thinner chords (see small notes) :
#
bro
boo
-8 3
2
d
%
P
The alto part can be played above the soprano, but in this
case care must be taken to fill up the chords somewhat, even
playing the alto both above and below the soprano, or the
harmony would be thin and ineffective. The pedals may be
silent, or may play the bass in the original (vocal) position,* the
left hand then being free to take the (vocal) tenor and alto
parts:-
8
200
0
-2
Da
Da
I
* This method of obtaining variety and also a relief from too much“ grave
tone should not be overlooked.
ORGAN ACCOMPANIMENT OF THE CHORAL SERVICE
7
The following chant admits of similar treatment:-
(1.) VOICE PART.
SAVAGE.
V
00.00
106. do
d d d d
8
10
-8 8
1
(2.) Bass Part AN OCTAVE LOWER.
Ee
2
ਸ
110
On
و نے
d
_a
8
8
go
1
P
-6
(3.) New Melody (taken from both alto and tenor) ABOVE
TIIE Soprano.
od
d
2 3
A
20
nd d
Q
a
3
In the following chant :
Dr. NARES.
1
d
a
a ㅎ
​2
_Q.
C
00
8 ठ
the first phrase may be taken on the lower octave of the pedals,
but, if continued in the second, the melodic character of the bass
would be changed almost beyond recognition. There would
8
ORGAN ACCOMPANIMENT OF THE CHORAL SERVICE.
also be too much “similar" in place of the present effective
contrary” motion between the extreme parts, e.g.:
E
0
DODO
o
d.
The bass of the following chant would suffer much by any
alteration of position :
Compare (1 ) with (2.)
(1.)
Dr. RIMBAULT.
o
.
do
SE
pie 7
d
8
&
(2.)
Ia
CU
U
a
To
1
CHAPTER 111.
§ 8. In dealing with the subject of the treatment of the Psalms
we must remark at the outset that there are two important
objects to be attained-(1) the due expression of the ever
varying sentiment of the words; (2) the needful support of the
choir. The organist inust be equally attentive to both
of these points if his accompaniment is to be a help and not a
hindrance to worship. As regards the expression of the words,
it is a mistake to suppose, as some have done, that a change of
chant will effect everything. No greater fault can be committed
than that of a frequent and erratic alteration in this respect; even
with the best choirs confusion often arises from such a cause,
while in an ordinary church the effect is to stop at once the
heartiness of congregational singing. There are but few days in
the month where the Psalms allotted to the service require more
than two or three chants for their due expression, and the
organist has ample power at his disposal, if ħe but use it with
judgment, to infuse both into the singing of his choir and into
his own accompaniment all the expression that can legitimately
be desired.
There is also another method of expression which obtains in
all probability the greatest result with the smallest effort. We
refer to the use of “changeable chants"-.e,, those which can be
used equally in either the major or minor modes. These will be
found useful where in one and the same Psalm there is a sudden
change of sentiment, as in Psalm vii. 18, or Psalm lxix. 31.
The question whether a similar change into the major at the
Gloria is to be desired is, at the least, debateable. The following
observations on this subject are well worth attention, and seem
to present a strong argument in favour of singing the Gloria
Patri to the same chant as the previous Psalm:
“God is to be glorified under every dispensation of His, and
whether He makes glad or makes sorrowful, whether He gives or
takes away, the name of the Lord is to be blessed.
therefore, be a matter of doubt whether in giving vocal
expression to this Hymn-i.e. Gloria Patri-there is a uniform
propriety in performing it in a major key, when the Psalm which
precedes it is in the minor. The moral lesson is less obviously
exhibited if the voice of sorrow and the sentiment of praise are
It may:
B
IO
ORGAN ACCOMPANIMENT OF THE CHORAL SERVICE.
1
thus dissociated, whereas they ought to be inseparable, if our
sorrow be really that which He who sends or permits it has
promised to turn into joy."*
$ 9. In accompanying the Psalms, while avoiding, on the one
hand, dulness and monotonous want of colour, the organist must
be careful, on the other, not to degenerate into mere noise and
frivolity. Organs differ so much in their resources, and in the
effect of their various parts, that minute directions on this point
cannot be given. It may, however, be broadly laid down that
the great organ—not, of course, all the great organ-is used to
accompany the full choir of voices, and the swell or choir organs
furnish the accompaniment for the verses which are sung
antiphonally. When the words are of a placid and quiet
character, the choir organ or the flue work of the swell will
supply all that is necessary, while verses of bright and jubilant
sentiment may be emphasized by the addition of the swell
reeds, &c. We have thus three alternatives, without going very
minutely into the matter.
There are, of course, other effects the value of which an experi-
enced organist cannot fail to discover. Verses may be left entirely
unaccompanied, with good effect both to the verses thus sung
and to those which succeed them, while the enunciation of one
part on a solo stop is a device often employed; but this can
hardly be brought under the head of expression of the
words, though it has its use as a support to the choir as
will be shown later on. Again, unison singing with varied
harmonies upon the organ may be resorted to with advantage
for special verses,+ but the reciting notes of chants selected for
such treatment must not be too high, or good chanting will be
impossible for the tenors and basses. Both sides also may unite
for one verse, or for two to emphasize a particular refrain, such
as that which occurs in Psalm 107. In the Gloria Patri this
is, as it clearly should be, the universal custom ; but as regards
the opening verses of the first Psalm which is sung, uses
differ. For many church choirs the start of the Psalms is
a critical moment, and under such circumstances it is better that
both sides should unite to sing the first verse if a single or the
first two if a double chant be used. If this be not a matter for
consideration, then the question should be decided by the
sentiment of the words. The opening of a joyous Psalm, like the
eighty-first, seems to call for å universal burst of praise, while
that of a penitential Psalm, such as the twenty-second, would
Jebb on the “Choral Service of the United Church of England and
Ireland," section 42, p. 315.
† See Sir Herbert Oakeley's setting for Psalm 78.
i
ORGAN ACCOMPANIMENT OF THE CHORAL SERVICE.
II
suffer rather than gain by the employment of all the voices.
This matter, however, having been duly considered by the
Editors of the Psalter before referred to, their suggestions on the
point should be followed.
$ 10. Another point too frequently overlooked by organists
is the temporary disuse of the pedal organ. Nothing is niore
distressing than to hear the 16-ft. tone of the pedal from
beginning to end of the Psalms, while nothing, again, is more
impressive than the re-entry of the pedals after a silence often
truly golden. The 16-ft. on the manuals should be rarely
used to accompany voices, particularly the great organ 16-ft.
If there be one on the swell it may be used with the full swell,
but not, as a rule, with few stops.* As regards the use of the
pedals, it may also be here mentioned that there exists an old
custom of playing the last verse of a Psalm immediately before
the Gloria with a loud pedal organ. It is difficult to justify
this, except where the last is an odd verse and sung to the
second part of a double chant. Then the forcible enunciation
of the pedal part calls the attention of possibly wandering
minds in the choir to the necessary repetition, but to effect this
tie organist must take care to anticipate by a moment, at this
point, the voices of his choir.
ŞI1. While dealing with the expression of the words in the
Psalms, a timely warning must be given against exaggeration
11 the direction of “word painting. No doubt many of those
who read this little book may have heard organists attempt
to portray “birds singing among the branches " (generally
depicted by means of the shrillest fute in the organ), and the
author has a vivid recollection of attempts to represent “the
Heavens dropping” and the "word running very swiftly," the
former by a startling staccato chord on the lowest octave of
the great organ, while the right hand sustained the harmony
on the swell, and the latter by a run up the keyboard of
surprising rapidity. Ideas such as
Ideas such as these would not, it is
believed, occur to any organist of refined taste. It is, of course,
impossible to deny that, within reasonable limits, an organist
must be allowed to introduce special treatment suggested by
the words he is accompanying (of which the best known and
most obvious instance is that often accorded to the verse
“ Praise Him with the sound of the trumpet"), seeing that with
all the resources of a large organ at his command, he is, as it
were, invited to orchestrate the music before him. Here, how-
ever, he must use great judgment, and display a cultivated taste.
1
* See Appendix B. Gregorian Chants.
12
ORGAN ACCOMPANIMENT OF THE CHORAL SERVICE.
$ 12. Having devoted some consideration to the various
modes of giving expression to the words, we pass on to consider
how best the organist can support his choir. He must always
ren mber that he acts as conductor as well as accompanist,
and has, therefore, three duties to perform at one and the same
time; namely, to regulate the pace, to keep together his forces,
which are usually divided into two portions, always some
distance apart, and sometimes at a considerable distance from
him, and last, but not the least difficult of the three, to keep
the voices well in tune with the organ. The first two of these
requirements will be gained or not according to the precision
with which the preliminary playing over of the chant is given,
and also in other portions of the service (the Responses,
Anthem, &c.), by his method of playing the beats or symphonies.
Much will depend also upon his phrasing, and the observations
quoted on p. 3 may here be recalled. Good results may also
be obtained, so far as accent is concerned, by a judicious use
of the swell pedal, but this must be done with great judgment
or the well-known pumping effect, so abhorrent to all good
players, will be the inevitable result. I't may be well here
to caution the young organist against the mistake of constantly
using the swell pedal. Not only is the musical effect produced
monotonous and bad, but the habit induced of pedalling with
one foot only is in every way objectionable. He must be
careful, also, never to lose touch of his choir by playing so
loud as to render them inaudible to himself if not to the
congregation.
§ 13. The more difficult task of keeping a choir in tune calls
for careful consideration. Choirs sing both sharp and flat, the
former being of the two the most terrible in its effect and the
most difficult to counteract. It is generally the result of singing
too loud and forcing the voice, and the best cure is certainly
not an increase of the organ tone. On the contrary, any means
which will induce a choir, in such a case, to sing more softly
will have a beneficial effect, and I have known a momentary
cessation of the organ altogether startle an enthusiastic body
of singers into a sense of their position. The use of 8 and
16-feet Alue work on the manuals for a short time is also often
attended with good results. More commonly, however, a choir
gets flat. An organist should always be on the watch for this,
and shows his skill much more in prevention than in cure.
The moment the slightest tendency to fall in pitch is detected
in any one part he should direct his efforts to counteract it,
and on no account delay remedial measures until others have
discovered the fault as well as himself. Of course, in this case
a simple increase of power to the organ will often do much,
ORGAN ACCOMPANIMENT OF THE CHORAL SERVICE.
I3
particularly by the use of the great organ foundation stops, or
of a 4-foot stop on the Choir. The swell, however loud, is of
little value in such an emergency. It should be remembered
that the members of a choir frequently hear little of the organ
accompaniment while they are singing, and the indications
which the organist has to give must, if possible, be interpolated
during the momentary cessation of the voices. For instance,
sustaining the organ accompaniment somewhat prominently
between the phrases of the chant or the verses of the Psalm,
instead of raising the hands as usual, will often call the attention
of the choir to the fault, and enable them to regain the pitch
from which they have unconsciously fallen. Again, the melody
may be played on another manual, or an inversion of the parts,
so as to play above the voices (not necessarily in a pronounced
and noisy manner), will frequently produce the desired result.
This latter course, doubtless, requires some little theoretical
knowledge, or grave grammatical errors will be committed, but
it is to be hoped that every organist will endeavour to acquire
the small knowledge of harmony which such a simple remedy
demands. In the Appendix, pp. 30-33, will be found two
Psalms with suggestions for their effective accompaniment.
§ 14. The advice already given as to the treatment of
the Psalms when sung to Anglican Chants will be equally
applicable when Gregorians are used. As the singing here is in
unison,
the accompaniment is usually more free than is possible in
Anglicans. This greater freedom carries with it greater respon-
sibilities, and an organist who has but a moderate theoretical
knowledge should not be tempted to indulge in extempore
accompaniments, but should adhere to the well considered
harmonies of such recognised authorities as those named in the
Appendix, p. 34.
It is too often the case that chords of the
most far-fetched and incongruous character are enployed to
produce that variety which simpler means would better
accomplish. For further remarks on this subject, see Appendix,
p. 34
The Psalms may be sung in unison to single Anglican Chants,
and this practice is very effective where there is a deficiency
of treble voices, or where, as is sometimes the case, the service
has to be rendered by men's voices only. An admirable collec-
tion of such chants, with an ample supply of varied accompani-
ments suitable for this method of rendering the Psalms, has
been prepared by Dr. E. J. Hopkins,* a specimen page of which
will be found in the Appendix.
* Published by Stanley Lucas, Weber & Co.
CHAPTER IV.
§ 15. The Te Deum is usually rendered in one of the tliree
following ways: (I) to chants; (2) to what are known as chant
services ; (3) to services properly so called. Where it is sung
to chants, two will generally suffice, and then the simplest
and most satisfactory point of change is at verse 14, - Thou art
the King of Glory," &c., returning to the original chant at verse
24, “ Day by day.” Should double chants be chosen, verse 13,
“Also the Holy Ghost," should be sung to the second half,
this being a preferable method for this canticle than the
postponement of the inevitable repetition to the last verse.
Chant services are, when carefully chosen, far more desirable
than simple chants, and reed present no greater difficulty to
organist or choir. Although many such arrangements exist,
there are, in our opinion, no more simple and yet effective
settings of the Te Deum in chant form to be found than those
of Mr. Frederick Helmore;* We need not here speak of the
" Service” proper, since such a wide field of choice exists that
no organist can experience any difficulty in selecting those best
suited to the capabilities of his choir and the resources of his
instrument. In the two latter of the three classes enumerated
above, the composer has himself, as a rule, already indicated
the marks of expression and general treatment which should
be followed. As to the class which remains, the methods of
giving expression already treated of when dealing with the
accompaniment of the Psalms should be followed in the Te
Deum.
§ 16. The Benedicite is generally sung to a selection of chants
of a special form, in character much resembling the chant forms
for the Te Deum mentioned in class 2 above. The division of
the words in this canticle which is recommended by Canon
Westcott, in the Paragraph Psalter,t seems to be beyond all
question the best. For a setting which follows this arrange-
ment of the verses, see Appendix, p. 44.
§ 17. The Benedictus and the Jubilate call for no special
remark, save that if the simple chant form be employed, the
* Published by Messrs. Masters.
+ A work which all organists should possess, since it sheds much light on
the construction of the Psalms, and is a most valuable guide to the proper
expression of the words. Published at the Cambridge University Press.
ORGAN ACCOMPANIMENT OF THE CHORAL SERVICE,
IS
former is best rendered by a single and the latter by a double
chant. Here, as well as in the Te Deum, we have the three
alternative methods mentioned above.
§ 18. When the Responses are not accompanied by the organ,
it is at least questionable whether the Apostles' Creed should be
so accompanied. Choirs, however, are so prone to fall in pitch
in reciting it that in this case it is often advisable to sacrifice
principle to practical utility, and avoid necessitating the dis-
agreeable incident of a sudden leap to a higher reciting note on
the part of the Priest at the words, “ The Lord be with you.
The accompaniment should be of a devotional character, and
the disposition too often shown by an organist to display his
knowledge of harmony, and the ease with which he can
moduiate or drag in far-fetched progressions, should not be
encouraged. The accompaniment here has for its main
object simply the prevention of a decline in pitch, and this need
not and should not lead to extravagance on the part of the
performer. The amount of organ used should depend on the
force of voices which is being accompanied, and when this is
large, as on festival occasions, inore of the power of the organ
may be displayed than is permissible at ordinary times. An
attempt to portray, as is unfortunately sometimes done, the
descent into hell, or the ascent into Heaven, by descending or
ascending progressions upon the keyboard, is indefensible on
any grounds. The author has ventured, in Appendix E, to
suggest a simple line of treatment which may be ordinarily
used.
0
$ 19. The Athanasian Creed, substituted for the Apostles'
Creed on certain appointed days, is, when chorally rendered
often found a serious difficulty. The chant to which at one
time it was almost exclusively sung ran as follows:-
ONI
AND
Whosoever
will be
saved,
Before,. . &c., Catholic
Faith.
CB
2
UD
Few choirs were found capable of sustaining in good tune a
treble part pitched so high, and from practical experience
16
ORGAN ACCOMPANIMENT OF THE CHORAL SERVICE.
the author has found that to sing it in unison, and to the
following form, gives a far more satisfactory result :-
Voices IN UNISON.
Hei!
Hell
TO
Hett
It should be observed that the third note, which immediately
follows the wavy line, is only sung when there are two syllables
to the word which comes last in the first half of every verse.
The two following examples will make this clear :-
VERSE 3:
And the Catholic Faith is
this :
that we worship . . , in
unity.
VERSE 4.
15!
nor dividing the
Neither confounding the
Per
sons,
substance.
This Creed admits of considerable variety in its accompani-
ment, as will be seen from the complete setting to be found in
Appendix F.
§ 20. After the Creed follow several Responses to be
accompanied in the manner suggested in Chapter I.
The Lord's Prayer, with Organ Accompaniment, will be
found in Appendix ), p. 71.
CHAPTER V.
an ex-
The Anthem comes next in the order of service. The
directions of the composer will ordinarily be a sufficient
indication of the accompaniment which is appropriate here,
and, therefore, of the Anthem proper we do not propose
to treat. But before this is reached there comes
ceedingly important point for consideration – namely, the
Voluntary, which is almost universally played as an introduc-
tion to it. The character of this prelude, however short
it may be, should be strictly in keeping with that of the
composition which is to follow, and at the same time should
serve as a clear indication to the choir of the time in which it
is to be sung. It should, as a rule, conclude upon the dominant
of the key, so as to appear almost an integral part of the
Anthem it precedes. Should it happen that the organist
has not sufficient confidence in his power to attempt an extem-
pore introduction, he should select some leading phrase from
the Anthem itself, and use this as a prelude rather than take
refuge in the striking of a single bald chord to rouse the
attention of his choir. The opening phrases of the Anthems
“ Lord, for Thy tender mercies' sake" (Farrant), and “O taste
and see" (Goss), which end upon the dominant, could be used
in this manner and will serve to illustrate this point :-
FARRANT.
“Lord, for Thy tender mercies' sake."
b=0
8
_
韓
​d
3
€
leil
#ott
a.
"O taste and sec."
Goss.
ftate
8 업
​pop
8
8 g
PPP
2
To
18
ORGAN ACCOMPANIMENT OF THE CHORAL SERVICE.
The more lengthy and elaborate the Anthem, the inore
legitimately may the organist use this prelude as an opportunity
for the exercise of his own talent, and for this reason may gladly
sacrifice the old “middle voluntary "-now, happily, almost
obsolete—if it should still be customary in the service at which
he officiates. In any case, however, the performance of a set
piece, which, however classical and well played, has no connec-
tion, either in style or sentiment, with the anthem which is
to follow, must be condemned as illegitimate and out of place.
§ 21. At this point in the service a Hymn is often substituted
for the Anthem, and this leads us to speak generally of the kind
of treatment which this most important part of Church Music
should receive. The tune, when first played, may, of course,
be treated in the same manner as that suggested in the case of
a chant-played on soft stops without any attempt at variety
in the way of solos, &c.—but its greater length calls for some
further attempt at expression, and the fact that in many cases
the tune has to be learnt by the congregation will justify the
enunciation of the melody upon a solo stop. In employing
this latter method the organist must use some care, for the
removal of one hand to a different manual will often make
it difficult, or even, perhaps, impossible, to play the other parts
as they are written. This practically entails a re-arrangement
of the harmonies, which cannot be essayed without some
theoretical knowledge, and if the player does not possess this
he must content himself with the more simple method of which
we have spoken. There are, however, many tunes which car
be easily played in the manner suggested-i.e., the bass by
the pedals, the tenor and alto by the left hand, and the
melody on a separate manual by the right. The following is
an example :-
ST. STEPHEN
Man. I. Solo stop.
FP
d 아
​2
P
2
MAN. II. Soft 8 ft.
Boto
-8
22
@
PEDAL. Soft 16 coup. to Man. II.
-eze
. E
puto
ORGAN ACCOMPANIMENT OF THE CHORAL SERVICE.
19
形 ​#
a
통
​ei
&
8:
2
pot
In the treatment of the hymns, the words of course guide the
expression, and in recent editions of hymn-books suggestions
are, as a rule, given as to the suitable method of playing.
"Word-painting” must be studiously avoided. Hymns should
usually be played at a moderate pace, but this will de-
pend very greatly upon the character of the hymn or tune,
and also upon the size of the congregation, for it is im-
possible to drag on a large number of untrained voices at
the pace at which a small number would sing. The choir
should lead the congregation, not run away from it. A very
important point is that of the length of the pause which should
be allowed between the verses. This must be uniform through-
out, and should not vary according to the time required by the
organist to readjust his stops, for nothing damps the ardour of
a congregation so much as a feeling of uncertainty when to
begin the coming verse. As a rule, a rest of one minim should
be allowed in the case of common metre tunes which begin on
the last beat of a bar, thus:-
#የን
De
Toe
10
Р
Р
d d
Z
this rei seing obtained by holding the last note for two beats
only instead of three.
Long metre tunes also begin as above, on the last beat of a
bar, but the duration of the last note is only that of a Minim,
* See Melcombe, p. 22.
20
ORGAN ACCOMPANIMENT OF THE CHORAL SERVICE.
and to preserve the rhythm it will be necessary to make a pause
of two beats instead of one.
A pause of two minims will also be necessary when the tune
commences on the first beat of the bar, as, for instance, in the
following example:-
PH
Р p
Р
P
e o
d
d
10
#
SA
&
-8 छा
In the case of a tune which is in triple time, a pause of three
minims might be made if the tune be taken at a quick pace.
This, however, would be too long if only a moderate speed be
adopted, and then it would seem advisable to shorten the last
note of the hymn by a beat-i.e., holding the last note as a
semibreve instead of a dotted semibreve, the beat being
observed as a rest between the verses.
These pauses will be quite sufficient, and give ample time to
the organist to change, when he deems it necessary to do so,
his keyboard or his stops.
§ 22. Except in special cases—as, for instance, at the words,
“Now above the sky He's King,” in the well-known Easter
hymn, “ Jesus Christ is risen to-day," where a moderate rallen-
tando is very effective-no rallentando should be made in
playing the verses of a hymn, other than that naturally called
for at the last verse, just before the “Amen." All the suggestions
as to the use of the organ in the accompaniment of chants which
have been given at page 10 will apply equally to the accom
paniment of the hymns, not forgetting even an occasional un-
accompanied verse, though of course this last-mentioned
effect must depend much upon the power of the choir to
preserve the true pitch without the help of the organ. In a
chant there is but little fear of a fall in pitch during one or
even two verses, but a hymn-tune being of greater length therc
will be greater danger of this fault arising. Still, where it is
possible, an unaccompanied verse may have a valuable and
iinpressive effect.
So, too, the remarks made on page 5 as to the playing of the
bass part of the chant an octave lower, or the taking of the alto
part above the soprano, apply equally to hymn-tunes, some
ORGAN ACCOMPANIMENT OF THE CHORAL SERVICE, .
21
well-known examples of which, as they may be played, are
appended:
ST. ANNE.
Vocal part.
1
- e 연
​P 연
​d.
dd
d
00
a doo
TE
o 역
​To
ol
QUOD
2
P
d
d d
d
8
00
The first, third, and fourth lines can be taken an octave
lower on the pedals, more especially as they do not go below
tenor C (see p. 5). The second line should be played as it
stands in the vocal part, so far as the bass is concerned, but we
may fill up some of the chords (see small notes) :-
Z
100
a
lo
户
​气 ​ap PP
åd ofad
ad
Do
WWD
e 흔
​PP
PP
Na
do
ま
​P
pop
dah
ka
peppă
8 일
​5
P
10
e
Р-
22
ORGAN ACCOMPANIMENT OF THE CHORAL SERVICE.
MELCOMBE.
Vocal part.
#
#
a
举
​da
TollO
Р P
etgo
dodao
1-00
d
1
@
Qa
#
dd
&
WE
Da
B
stop
polls
00
مع
20
GP
do de
요
​a
ado
doc
.
#
#
ou
ma
2
ह
并
​The alto part may here be played above the soprano. It may
perhaps be advisable to keep the real melody note at the top
for the first cliord, and begin the “inversion of the parts” at the
second chord :-
#
01
#
og 았
​e
pp
fdg and
mai
to be
o
Dai
并
​Da
#
4
#
#
并
​#
d
O
sp
3
op 약
​DO
dddd
id dood
#
sided.
=
1
In connection with this subject, the following valuable
remarks from the pen of Dr. Hopkins* may be quoted :-
“In accompanying English Psalm-tunes, it is usual to make
* Grove's “ Dictionary of Music and Musicians," Art. " Accompaniment."
ORGAN ACCOMPANIMENT OF THE CHORAL SERVICE.
23
use of somewhat fuller harmony than that which is represented
by the four written voice parts. The rules of musical com
position, as well as one's own musical instinct, frequently
require that certain notes, when combined with others in a
particular manner, should be followed by others in certain
fixed progressions; and these progressions, so natural and good
in themselves, occasionally lead to a succeeding chord or chords
being presented in “incomplete harmony" in the four vocal
parts. In such cases it is the custom for the accompanist to
supply the omitted elements of the harmony, a process known
by the term “ filling in.” Mendelssohn's Organ Sonatas, Nos. 5
and 6, each of which opens with a choral, afford good examples
of how the usual parts may be supplemented with advantage.
The incomplete harmonies are to be met with most frequently
in the last one or two chords of the clauses of a tune, the
omitted note being generally the interval of a fifth above the
bass note of the last chord, which harmony note, as essential to
its correct introduction, sometimes requires the octave to the
preceding bass note to be introduced, as at the end of the third
clause of the following example; or to be retained if already
present, as at the end of the fourth clause:-
OLD HUNDREDTH.
#
#
注
​TO
去
​To
TO
0 0
00
po
ca
NU
&
ete
tool
+!
非
​)
Da
*
to
PPPPP
ppet
8 없
​tog
बह
to
§ 23. The accompaniment of processional Hymns is often a
matter of considerable difficulty, owing both to the position of
the organ and the distance at which the procession starts, or to
which the recession retires. Where the organ cannot control it
should follow, and the organist, if he be wise, will always play so
24
ORGAN ACCOMPANIMENT OF THE CHORAL SERVICE.
as to keep with his choir. It is advisable to give out the first line
of the tune well marking the time, but this should not be fast.
Much depends upon the tune chosen, which should be of a broad
and sulid, not of a florid, character. For a processional hymn
in which the choir are advancing from a distant point towards
the organist, after giving out the first line ff, the organ should
be reduced, say to the Diapasons, and the power increased as
the choir get nearer. By this means the processional gains in
effect, and the organ gives the necessary help without being
obtrusive. The contrary method should be pursued when the
choir leave the organ and retire to a distant point-i.c., the organ
should commence forte and end piano, or even leave the choir
unaccompanied. All these points depend so largely upon the
building and the position of the organ that nothing very precise
can be asserted, but a good organist can render valuable aid and
much enhance the effect of processional hymns, while a bad
player generally makes the use of them if not impossible, at least
an infliction.
CHAPTER VÍ.
§ 24. The Communion Service coines next in order for our
consideration. Where it is possible, a complete setting of this
very important part of the Church Service should be selected.
If this be done the composer's own directions will guide the
organist with respect to the most important points. As regards
the Kyrie, it will be found useful to sing an alternate setting, or
often the same setting may be used in two ways, one response
being in harmony and in the next the same melody may be sung
in unison with a varied accompaniment. Of alternate settings,
those are preferable-especially when one of them is sung in
unison—which commence with a different chord for the organ.
In the author's service in G, for instance, the setting for the
first, third, fifth, seventh, and ninth responses begins on the
chord of G major, while that for the second, fourth, sixth, and
eighth commences on the chord of B minor. It is a good plan
to leave the ninth response unaccompanied, the tenth being
played upon a somewhat louder organ than the earlier
responses. These two facts help to remind the choir that they
have arrived at the last response, and may often save a mishap
at a point where mistakes are somewhat liable to occur. Finally,
it must be remarked that the accompaniment of the Kyrie
should be as a rule quiet and unobtrusive.
After the giving out of the Gospel, “Glory be to Thee, O
Lord,” and at the end of the Gospel, “ Thanks be to Thee, O
Lord,” are often sung, and the music is usually to be found
in complete settings of the office. In the absence of special
settings they may be taken to the following:
TALLIS.
1
Me
de
Ltd
o
to
I
Thanks be
iPT
to Thee, O Lord.
Lord.
Glo - ry be
be to Thee, O
1
@
ملح
2:8 음
​Oo
o
Het
§ 26. For the Nicene Creed modern composers have furnished
many beautiful settings of all shades of difficulty. It may, of
с
26
ORGAN ACCOMPANIMENT OF THE CHORAL SERVICE.
course, be sung simply to a monotone, the accompaniment
being varied, as in the Apostles' Creed, and a setting is
given in Appendix G. But it is far more effective and not
more difficult to sing it to a unison setting with occasional
inflections, such as Goss's well-known setting in D. The
Offertory Sentences are sometimes chorally rendered, each
one being first read by the priest and then sung by the choir. In
other cases they are simply read, the organist playing a short
voluntary between each. For the former practice several com-
plete settings of only moderate difficulty are available.
The Sursum Corda is the next part of the Service which
requires an organ accompaniment. These two sentences will
be found in all complete settings of this office, but it may be
well to remind the player here that the note must in all cases
be given to the priest.
The Sanctus is the second part of the clause which begins
** Therefore with Angels and Archangels," and should follow
the words “ Praising Thee and saying” as promptly as possible.
Although not in the Prayer Book it is now very usual to sing
the Agnus Dei (O Lamb of God), &c., and Benedictus qui
venit (Blessed is he that cometh), immediately after the con-
clusion of the Prayer of Consecration and the music for these
will be found in most modern settings of the Communion
Service. During the administration of the Elements, hymns
are sometimes sung, but it is more usual to play a soft
voluntary. It is best to select some quiet and appropriate
piece, as often a considerable time is occupied by this portion
of the Service, and even if the organist can extemporise fairly
well, he can hardly avoid tedious monotony, particularly as he
is confined to the use of soft stops only.
The Gloria in Excelsis is the most elaborate portion of the
Communion Service, and should be rendered with all possible
care. Settings of all shades of difficulty may be found, and
for a simpler kind, which would be in spirit with such creeds
as that of Goss mentioned above, see Appendix H.
* The Offertory Sentences, as used in Westminster Abbey, by J. F. Bridge.
Novello & Co.
CHAPTER VII.
$ 27. In the Evening Service we have only to consider the
Canticles, as the directions already given with respect to the
Morning Service apply equally to this one, identical in almost
all points with it. The Canticles of the Evening Service may
be rendered in any of the methods quoted for the Te Deum-i.l.,
either to chants, to chant services, as they are called, or again to
the more elaborate " services.” If sung to chants, a single chant
is best suited to the Magnificat, the number of verses being un-
even, and the new departure at the sixth verse seems to render a
double chant inappropriate, as it would have to be sung to the
second half; moreover, the verses which follow are not in couplets,
but are themselves divided into halves, having a kind of antiphonal
effect. A double chant may well be used for the Cantate, as the
number of verses is even, and, therefore, the fifth verse, which
repeats the sentiment of the first, is not rendered incongruous,
as it would be were it sung to a different half of the chant.
The Nunc Dimittis and Deus Misereatur are both well suited
to single chants, and the former to one of a more placid
character than the latter.
§ 28. We may briefly refer to such musical treatment as may
be needed in what are termed the occasional services ” of
the church- viz., the Confirmation and Commination Services,
the Marriage Service, and the Burial Service. After what has
been said previously it will not be necessary to treat in dletail of
the organist's duties here. It may, however, be useful to
state that simple music for the Responses, the Miserere, &c.,
in the Commination Service, edited by Dr. Stainer, may be
readily obtained,* as also the Responses for the Marriage
Service and for the Queen's Accession, the latter being found
in the small book of responses as used in Westminster Abbey.*
With regard to the Burial Service we may mention the setting
of Croft and Purcell, and a more modern and perhaps more
simple setting by Goss.
* Published by Messrs. Novello & Co.
1
CHAPTER VIII.
VOLUNTARIES.
§ 29. The question as to the choice of Voluntaries depends
mainly upon the amount of executive ability possessed by the
organist. There is an immense field for choice, and this point
in itself causes difficulty to those whose experience of organ
playing is in the main limited to their own efforts, and who
have to depend for their guidance upon the catalogues of music
publishers. One thing is, however, certain that it is unsafe for
the inexperienced organist to add to the difficulties wf perform-
ance by playing from mere pianoforte scores, which necessitate
his "arranging
as well as executing the piece before him.
Music of the simplest character, yet properly arranged for the
player, can readily be obtained, not only in the case of composi-
tions originally written for the organ, but also of those which
have been adapted to it, and this should be sought by all those
who desire to make effective use of their instrument in a
legitimate manner. The Voluntary selected on any particular
occasion will depend in great measure upon the time and
place where and when it is required. It is obvious that an
appropriate piece for Easter Day would not be suitable to
Ash Wednesday or Good Friday. The nature of the service
should not be lost sight of, and while not attempting too
much to point a moral or adorn a tale, the player should
take care that his incoming and outgoing voluntaries are not
at variance with the sentiment of the service with which they
are associated.
It may be useful to give some combinations of organ stops
which are ordinarily used in accompaniment.*
GREAT ORGAN.
1. Open and Stopped Diapasons.
42. Open and Stopped Diapason with Principal 4-ft. or Flute
4-ft.
3. The fifteenth, and perhaps occasionally an 8-ft. Reed.
4. The Full Great-only to be used with a large vocal force
and for special effects.
* For further information, see Dr. Stainer's Organ Primer.
† For ordinary purposes No. 2 (sometimes Coupler to Swell) will support the
Full Choir.
ORGAN ACCOMPANIMENT OF THE CHORAL SERVICE.
29
SWELL ORGAN.
I. Salcional or Gamba.
2. Open and Stopped Diapason or Hohl Flute.
3. Diapasons with Flute 4-ft. or Principal 4-ft.
4. Diapasons, Principal or Flute, and Oboe 8-ft.
5. Same as No. 4 with Cornopean or Trumpet.
6. The Full Swell.
CHOIR ORGAN.
1. Dulciana.
2. Dulciana, Lieblich Gedacht and Flute 4-ft.
3. Same as No. 2, with Open Diapason and Principal.
4. Same as No. 3, with Fifteenth or Piccolo.
In organs of two manuals only the Choir Organ must be
supplied by the Great, which then usually contains a Dulciana
or some similar soft 8-ft. stop. This, together with the Stopped
Diapason and Flute, should be looked upon as the “Choir Organ”
and this choir combination might be thrown out by a Composition
Pedal. The soft stops of the Swell, i.e., Salcional, Diapasons,
Flute, Principal, and Oboe, also combine well with the suggested
Choir, and if Coupled to these stops on the Great Manual will
be an excellent support to the voices.
PEDAL ORGAN.
1. Bourdon and soft 8-ft. (Flute).
2. Open Sixteen and Principal 8-ft.
3. Add Reed--but only when Full Great is used, except for
special effects.
APPENDIX A.
ANGLICAN CHANTS.
Organ Arrangement No. I.
SAVAGE.
d
TOR.
ONO
-
CD
deg
10
똬
​8
없
​ollb
p
Organ Arrangement No. 2.
2
8
0010
nd
e 원
​d
Q
7
0
Old
P
Ped. ad lib.
PSALM XXX.-Exaltabo te, Domine.
Gt. mf (Arr. I). I I will magnify thee O Lord * for thou hast |
set me I up; and not made my fóes to I triumph I
over 1 me.
Ch.mf (Arr. 1). 2 O Lord my God, I cried | unto I thee : and I
thou hast 1 healed | me.
3 Thou, Lord, hast brought my soul | out of 1
hell : thou hast kept my life from them that go I
down I to the l pit.
ORGAN ACCOMPANIMENT OF THE CHORAL SERVICE,
31
Sw.f (Arr. 2).
4 Sing praises unto the Lord Oye I saints of i
his : and give thanks unto him * fór a re- / -mem-
brance l of his I holiness.
Sw. mf with 5 For his wrath endureth but the twinkling of an
Cres. (Arr. I), eye * and in his I pleasure . is I life : heaviness may
endure for a night * but jóy | cometh 1 in the f.
morning.
Ch.f.
6 And in my prosperity I said * I shall never |
be re- | moved : thou, Lord, of thy goodness hast i
inade my l hill so I strong.
Unac. or Sw. p 7 Thou didst túrn thy I face from me : and I
(Arr. I I was | troubled.
without Ped.).
Sw. mf (Arr. I 8 Then cried I únto | thee 0 1 Lord : and gát
with Ped.). me I to my 1 Lord right I humbly.
Sw.p without 9 What profit is there l in my l blood : when I
Ped. (Arr. I). go | down to the pit ?
10 Shall the dust give thanks | unto 1 thee : ór
shall I it de- | -clare thy I truth?
Sw.p without II Hear, O Lord and have I mercy . up-| -on
Ped. (Arr. 2). me : Lord be I thou / my I helper.
Ch. f with Ped. 12 Thou hast turned my heaviness I into | joy :
(Arr. I). thou hast put off my sáckcloth and I girded | me
with i gladness.
F. Sw.(Arr. 2). 13 Therefore shall every good man sing of thy
praise with- 1 -out I ceasing : O my God, I will
give thanks | unto I thee for I ever.
Gt. to 15th
Glory be to the Father, &c.
LANr. 1).
;
32
ORGAN ACCOMPANIMENT OF THE CHORAL SERVICE.
Organ Arrangement No. I.
MORLEY.
E
J
8
10
3
-6
d
#d
00
2
A
With Ped.
28
lon
8 8
8 а
0
P
Organ Arrangement No. 2.
011
000
2
700
A
을
​OP
Ped. ad lib.
X 们
​000
DOL
2
.
O DI
0001
ta
no
fei
8 ร
Р
po
Or
Psalm iii.—Domine, quid multiplicati ?
Ch. p (Arr. I). I Lord how are they increased that I trouble
me : many are I they that I rise a- l-gainst me.
2 Many one there be that say 1 of my ' soul
There is no hélp | for him I in his I God.
ORGAN ACCOMPANIMENT OF THE CHORAL SERVICE.
33
Sw. mf (Arr. 2). 3 But thou, O Lord art | my de- / -fender : thou
art my worship * and the lífter I up of l my head.
4 I did call upon the Lord | with my l voice :
and he heard me! out of his 1 holy 1 hill.
Sw.without Ped. 5 I laid me down and slept * and rose | up a-1
(Arr. I). gain : fór the Lord sus- / -tained | me.
Sw. with Ped. 6 I will not be afraid for ten thousands l of the I
(Arr. 2). people : that have set themselves a- ! -gainst me |
round a- |-bout.
Gt. Diap. 7 Up, Lord, and help me 1O my! God : for thou
(Arr. I). smitest all mine enemies upon the cheek-bone *
thou hast broken the 1 teeth of the un- 1-godly.
F. Sw.f(Arr. 1). 8 Salvation belongeth unto , the Lord : and
thy blessing I is up- ! -on thy people.
Gt. to Prin.
Glory be to the Father, &c.
(191.a).
APPENDIX B.
GREGORIAN CHANTS.
(For these observations, and the example which follows, I am indebted
to Mr. W. S. Hoyte, Organist or All Saints', Margaret Street, W.)
The Gregorian Chant, now so much in use in the English
Church, at first found many organists quite unprepared for it;
consequently, some adopted a style utterly out of keeping with
the grandeur of the Plain Song, whilst others accompanied
the tones by sạch crude and ugly harmonies as to render
them almost repulsive to modern ears. The treatment of
the accompaniment of Gregorians is an all important topic, and
the remarks to be found in the preface to a manual of Gre-
gorian Chants,* published at Ratisbon and entitled “ Magister
Choralis,” are well worth careful attention. It is there said
that “ The organist should employ and vary the stops of his
instrument according to circumstances, and take special care
that the delivery of the chant may be enriched with all that
light and shade which the text demands, and a well-played
instrument can impart." And again, “ The playing of the
organ must be earnest and appropriate, so that it may not
by its agreeableness draw to itself and monopolise the whole
attention of the soul, but rather furnish motives and an oppor-
tunity for meditating on the words that are being sung, and
thereby promote feelings of true devotion."
The oft repeated charge of monotony brought against Gre-
gorians cannot be maintained if the organist varies his har-
monies in a judicious and musician-like manner; and if he is
unable to do this by his own unaided abilities he should use
a book in which various harmonies are given to each tone.
Of these, the best are Mr. Warwick Jordan's “One hundred and
fifty Harmonies for the Gregorian tones ”f and Mr. Brown's
Organ Harmonies for the Gregorian Psalm tones." I Care
must of course be taken that the harmonies are in keeping
with the varying character of the words, but in following the
* See Brown's Psalter, published by Bosworth & Co.
† Published by Novello, Ewer & Co.
| Published by Thos. Bosworth & Co., Great Russell Street, Bloomsbury.
ORGAN ACCOMPANIMENT OF THE CHORAL SERVICE.
35
sentiment of the verse all scale passages, arpeggios, &c., which
are utterly out of place, should be avoided. The temptation to
indulge in such displays should be repressed. With regard to
the accompaniment, the remarks made in the body of this
work* concerning Anglican Chants are equally applicable
to Gregorian tones, with the exception that in the latter their
unison character calls for a somewhat heavier accompaniment,
and a judicious use of the 16-foot double in the swell or.choir
together with the diapasons and a 4-foot stop is often very
effective.
There are five divisions in the Gregorian Chant-viz., (1) the
intonation; (2) the first reciting note; (3) the mediation; (4) the
second reciting note; (5) the ending :
Reciting
Intonation.
note.
Mediation.
Reciting
note.
lol!
Ending.
Hall
The intonation is sung to the first verse of the Psalm, and
in some churches also to the Gloria. In the Benedictus,
Magnificat, and Nunc Dimittis, on Sundays and festivals, the
intonation is used to each verse; on other days these are treated
in the same manner as the Psalms. In the eight tones, the first
four divisions of each chant are the same, variety being found
in the endings, of which, in some instances, some Psalters give
as many as thirty. In many cases the mediation is varied also,
but this variation is generally of modern growth and is a foreign
importation from France or Belgium, both of which countries
are remarkably clever in the adulteration of Plain Song. We,
however, need not here concern ourselves with the advisability
of this practice, but must make the best of existing Psalters as
they are.
Before the Psalm is commenced the organist should play
the intonation, first reciting note, and mediation in octaves with
his left hand and pedals, and then touch again the first note of
the intonation, thus:
Gt. 16, 8, & 4 ft. coup. to Sw.
fe
07
并
​44
##
Ped. 16 & 8 ft. coup. to (it.
P. 4:
36
ORGAN ACCOMPANIMENT OF THE CHORAL SERVICE.
One corresponding portion of the first verse is then sung
without the organ by all the men, a cantor, or the officiating
priest, the congregation and organ joining in at the second half
of the verse. If, however, there are no men in the choir, as
may often be the case in week day services, and the priest be
unable to sing, it will be well for the organist to play the
intonation and first reciting note with his left hand and pedals,
thus:
Gt. to Prin, with Fuii Sw.
ㅎ
​Ped. 16 & 8 ft. coup.
and for the trebles to commence with the organ, as shown by the
following example-
Sw. or Ch. Diaps. & 4 ft.
8
mf The Lord is my light and my salvation : whom then shall I fear.
La
ko 빛
​senza Ped.
and then for the organist to play the second half of the verse
on the great organ, the congregation joining then with the
choir.
After starting a Psalm or Canticle, and playing the first verse
on the great organ, it is better to change to another manual for
the second or at least the third verse; and it has often a good
effect, besides varying the harmonies, to play the alto or tenor
in the upper part, and so obtain variety by inversion. On this
point the remarks on the accompaniment of Anglican Chants
are very appropriate. Moreover, many of the tones will bear
harmonising on either a tonic or dominant bass.
When there is a long sentence to be recited, a good effect is
produced by giving to the recitation note a series of chords,
taking care, however, that that note should always form part
of each chord.
The recitation note should, as a general rule, be A, but for
Psalms of a penitential character F or G may be chosen, and
A or Bh for those of a jubilant spirit. In some cases the key
may be changed in a Psalm which, beginning in a penitential
form, suddenly changes its character, as, for instance, Psalm lxix,
ORGAN ACCOMPANIMENT OF THE CHORAL SERVICE.
37
whicii is usually sung to the third tone. This can be commenced
in G, and at verse 31 (" I will praise the name'), &c., the key
can be raised to Bb. Sometimes it is a good plan at the last
verse of the Gloria to play the melody on the full pedal organ,
using the manuals for a free accompaniment. Examples of this,
and of the various forms of treatment suggested in the above
remarks, will be found in the books of harmonies previously
mentioned.
Of the various Gregorian Psalters the best known are those
of Helmore, Brown, W. T. Best, Nottingham, Doran, Redhead,
and Gray. Helmore's Psalter* is the simplest, and is perhaps
in most general use. Where more variety is required (e.g., a
change of tone to each Psalm and the occasional introduction of
vocal harmony), Brown's Psaltert will be found a most excellent
hook in every way.
The following is an example of a Psalm accompanied
according to the above suggestions :-
PSALM XLIII.
Gt. to Prin. with Full Sw.
o
Ped. 16 & 8 ft.
MEN ALONE.
Hall
Give
{
sentence with me, O God, and defend
my cause against the un-
} god - ly peo - ple.
CHOIR. FULL.
O deliver me from the deceit
ful
and wick
ed man.
hat
8
28
Gt.
d
! Hg
Helt
OTO!
* Published by Novello, Ewer & Co.
+ Published by Bosworth & Co.
38
ORGAN ACCOMPANIMENT OF THE CHORAL SERVICE.
For Thou art the God of my strength, why hast Thou put me from Thee,
Hali
d 영
​Sw.
ஆ
dddd
SEE
은
​R P
and why go I so heavily, while the ene
my
op - press - eth
me?
Hell
TE
8
bell
d
Ho!
के
EE
me,
O send out Thy light and Thy truth, that they may lead
CHOIR (melody in the Tenor).
Ho
00
012
d
8
TY
418
#
Senza Ped.
ORGAN ACCOMPANIMENT OF THE CHORAL SERVICE.
39
and bring me unto Thy holy hill, and to
Thy
dwell
ing.
ge
8
ete
Het
لے لے
LA
b
fet
e da 희
​God of the } joy and glad-ness,
And that I may go unto the altar of God, even unto the
Full $w.
Hall
é
d
Ped.
tel
COD
and upon the harp will I give thanks unto Thee, O God, my
God.
*
OOOO
OTO
DOTO
0100
8
북
​Het
18
dog
gog
TO
al
p
护
​40
ORGAN ACCOMPANIMENT OF THE CHORAL SERVICE.
Het
Why art thou so heavy, o
my
soul,
and why art thou so disquieted
की
P р
Ch. or $7.
Ib!
ded
Hot!
Het
senza Ped.
HSH
with
in
me ?
O put thy trust
in
God.
8
p.
3 宮
​8 ड
DOCTO
ODO
* 开
​&
28
ی۔
Sw.f
el
효
​DO
2
-doba
00
1#
&
Ped.
म
E
nance, and
for I will yet give Him thanks, which
is the help of my counte
H10
my
God.
-2
be
No
2010
8
Flet
a bal
dog
10
Ped. in 8ves.
i
ORGAN ACCOMPANIMENT OF THE CHORAL SERVICE.
41
HEE
(be to the and to the Son,
Glo -ty
Father,
and
to the Holy Ghost;
Hot
Tot
Gt. Org. with Full Sw.
8=8
00D
TOO
Logo
#*
dd
leh
ddd
f
Ped. coup.
す
​As
it
was in the beginning, is now, and ev
er
shall be,
000
CODE
d
00
a
e d
0110
Add Ped. reed.
world without
end,
A
men.
.
Q103
0100
OWO
to
Q
do
8
go
3
o
A
D
APPENDIX c.
UNISON CHANT, WITH VARIED ACCOMPANI-
MENTS BY DR. E. J. HOPKINS.
I.
WILLIAM TURNER, M.D., 1652–1740.
8
2
10
Р
Q
2
Do
II.
并
​HE
P
PT
d
d
fe
8
二
​III.
8
dot
pe
d d
a 2
8
ORGAN ACCOMPANIMENT OF THE CHORAL SERVICE.
43
IV.
00
o
Logo
d
58
d
Tho -
d
d d
d
d
18 8 8
V. Relative minor.
#
8 छ
g
pa
i
dai
胜 ​#
VI.
8
d.
QUE
DO
& ग
00
VII.
o go
并
​W
R
马伊
​TO
d d
a.
8
d
8
2.
VIII.
#
3
#
APPENDIX D.
BENEDICITE, OMNIA OPERA.*
1
#
此
​a म
33
po
-2:
용​:
& 3
bless ye
the Lord :
bless ye
the Lord :
FULL.
O ALL ye Works of the
Lord,
DEC.
2 O ye Angels of the .
Lord,
Can.
3 Oye
Heavens,
4 O ye Waters that be above the Firmament,
5 O all ye Powers of the
Lord,
bless ye
bless ye
bless ye
the Lord :
the Lord :
the Lord :
a
83
d.
23
g
2
6 Oye Sun and
7
O
ye
Stars of
8 O ye Showers and
9 O ye Winds of
10 O ye Fire and
II O ye Winter and
12 O ye Dews and
13 O ye Frost and
ye
Ice and
15 O ye Nights and
16 O ye Light and
17 Oye Lightnings and
Moon,
Heaven,
Dew,
God,
Heat,
Summer,
Frosts,
Cold,
Snow,
Days,
Darkness,
Clouds,
bless ye
bless ye
bless ye
bless ye
bless ye
bless ye
bless ye
bless ye
bless ye
bless ye
bless ye
bless ye
the Lord :
the Lord :
the Lord:
the Lord :
the Lord:
the Lord :
the Lord :
the Lord :
the Lord :
the Lord :
the Lord :
the Lord :
.
14 O
FULL,
83
tor
8
28
18 O let the | Earth
it
ll bless
dd.
the Lord: ll yea, let
d d
a.
北​09
CON
May be had in a separate form of Messrs. Novello, Ewer & Co.
+
ORGAN ACCOMPANIMENT OF THE CHORAL SERVICE,
45
JAMES TURLE.
cho
名
​2
d
d
d
d
e
ub
并
​praise Hirn, and
mag
ni - fy
Him for
ev
er.
praise Him, and
mag
ni - fy
Him for
ev
er.
ev
.
er.
f
praise Him, and
praise Him, and
praise Him, and
mag
mag
mag
ni - fy
ni - fy
ni - fy
Him for
Him for
Him for
ev
ev
Tito
0
Р
po
P
dad
00
3 号
​.
praise Him,
praise Him,
praise Him,
praise Him,
praise Him,
praise Him,
praise Him,
praise Him,
praise Him,
praise Him,
praise Him,
praise Him,
and
and
and
and
and
and
and
and
and
and
and
and
mag
mag
mag
mag
mag
mag
mag
mag
mag
mag
mag
mag
ni - fy
ni - fy
ni-fy
ni - fy
ni - fy
ni - fy
ni - ſy
ni - ſy
ni - fy
ni - fy
ni - fy
ni - fy
Him for ev
Him for ev
Him for ev
Him for ev
Him for ev
Him for ev
Him for ev
Him for
ev
Him for ev
Him for ev
Him for ev
Him for ev
1
ठः
po
and
mag
praise Him,
d
d
d.
er.
er.
HAYES.
er.
er.
er.
er.
er.
er.
Er.
er.
er.
er.
er.
er.
J. F. Bridge.
Bi
1
ni - fy
er.
dhe
Him for ev
d
WY
į
46
ORGAN ACCOMPANIMENT OF THE CHORAL SERVICE.
2
83
NO
ein
dd.
bless ye
the Lord:
apo
21 Oye
19 O ye Mountains, and
Hills,
20 O all ye Green Things upon
the Earth,
Wells,
22 () ye Seas, and
Floods,
23 O ye Whales, and all that
move in the Waters,
24 O all ye Fowls of the
Air,
25 O all ye Beasts, and
Cattle,
bless ye
bless ye
bless je
the Lord :
the Lord :
the Lord :
bless ye
bless ye
bless ye
the Lord :
the Lord :
the Lord:
#F
3
3-
-3 3
e
#
bless ye
27 O let
bless
26 O ye Children of .
Men,
Israel,
28 O ye Priests of the
Lord,
29 Oye Servants of the
Lord,
30 Oye Spirits and Souls of the Righteous,
31 Oye holy and humble Men of heart,
32 0 Ananias, Azarias, and Misael,
bless ye
bless ye
bless ye
bless ye
bless ye
the Lord :
the Lord:
the Lord :
the Lord :
the Lord :
the Lord :
the Lord :
FULL.
书法
​BE
E
DO
TOO
P
to
the
Honly Ghost;
Glory be to the Father, and to the Son, and
d d
Z
-8 없
​& den
&
d
ORGAN ACCOMPANIMENT OF THE CHORAL SERVICE.
47
00
83
CON
d
d
do
de
-0-
praise Him,
and
mag
ni - fy
Him for
ev
er.
praise Him,
praise Him,
praise Him,
and
and
and
mag
mag
mag
ni - fy
ni - fy
ni - fy
Him for
Him for
Him for
ev
ev
ev
er.
er.
er.
ev
er.
praise Him,
praise Him,
praise Him,
and
and
and
mag
mag
mag
ni - fy
ni - fy
ni - fy
Him for
Him for
Him for
ev
er.
ev
er.
10
3
d
d
书中
​#
TIR.
100
an
.
er.
er.
er.
praise Him,
praise Him,
praise Him,
praise Him,
praise Him,
praise Him,
praise Him,
and
and
and
and
and
and
and
mag
mag
mag
mag
mag
mag
mag
ni - fy
ni - fy
ni - fy
ni - fy
ni - fy
ni - fy
ni - fy
Him for еү
Him for еу
Him for еу
Him for ev
Him for
ev
Him for ev
Him for ev
er.
er.
er.
-
er.
JAMES Turle.
후
​dd
T T
iel
As it was in the be -
ginning, is now, and
od
ap
Ba} ev
d 잃
​F
- er
A
men.
shall be ; world without end.
d
Q.
3 3
112
00
8
APPENDIX E.
APOSTLES' CREED.
J. F. BRIDGE.
I believe in God the Father Almighty, Maker of heaven and earth:
mf
OD
And in Jesus Christ His only
Son our Lord,
Who was conceived by the Holy Ghost,
000
bro
Born of the Virgin Mary, Suffered under Pontius Pilate, Was crucified,
to
02
@0b
P р
dim,
Zo
E
rall.
tempo.
# f
( The third day He rose
dead, and bur - ied, He descended into hell;again from the dead,
INIC
bo
000
100
rall.
tempo.
Có
a
ORGAN ACCOMPANIMENT OF THE CHORAL SERVICE.
49
f
He ascended into heaven, 1
And sitteth on the right hand of God
the Father Almighty ;
tea
2
feti
68
tor
bo
From thence He shall come to judge
the quick and the dead.
I believe in the Holy Ghost;
be
ho
The Holy Catholic
Church ;)
The Communion of Saints; The Forgiveness of sins;
ON
WD.
=8 8 8
8
rall.
The Resurrection of the body;
And the life everlasting.
A - men.
U TO
中
​00
di 00
vall.
8
APPENDIX F.
ATHANASIAN CREED.
Arranged by J. STAINER.
BASSES AND TENORS IN UNISON.
£o
Voice.
1
Whosoever will be
sav
ed :
AU
排
​1
ORGAN,
FGt. Diap. Sw. to Hautboy,
Ch. Diaps. and Fl.
I
##
ALL VOICES IN UNISON AND OCTAVES.
Emf.
before all things it is necessary that he hold the Cá - tho-lic Faith.
C
9.
180
200
mif
Gt. Holl
Ped.
#佐
​#
HEN
Which Faith except every one do keep whóle and un- de -
fil - ed :
五十
​8
Hol!
OLOL
ai
.
ORGAN ACCOMPANIMENT OF THE CHORAL SERVICE.
51
114
toh
without doubt he shall per-ish ev-er-last-ing ly.
Het
And the Catholic
Faith is
this:
thala
hoc
12
ta
1000
Sw.
O
=
tel
ko
senza Ped.
#
1914
That we worship one God in Trinity * and Trinity in
Unity;
I
2
900
2
d'
AFF
a म
Hall
Neither confounding the Per-sons,
nor
di - víd - ing the Sub-stance.
ま ​a
8 용
​2
2 읍
​8 ह
o
@#
HAF
#
-7GE
0
For there is one Person of the Son, And another of the Hó - ly Ghost.
}
Father, * another of the
#
e og
Ch.
EH
52
ORGAN ACCOMPANIMENT OF THE CHORAL SERVICE.
以往
​Heli
But the Godhead of the Father, of the Son, and hesthe }
one:
Ch.
000
Het
Sw.
HEH
識
​Qo.
#
the Glory equal, * the Majesty có-e - ter-nal. Such as the Father
is, * such is the
Son :
##
}
8 횽
​S.
tet
8
#
13
Ta
& bg
o
해
​Het
Hall
and such is the Holy Ghost. The Father uncreate, * the Són uncre-ate.
Sw.
Hell
多
​too
3-8
1010
Gt. Diap. Solo. L. H.
fo
Hai
Ped. 107
beli
The Father incomprehensible, * )hen - si-ble,
,
the Són incompre-
S2.
and the Holy Ghost uncreate.
B
13
000
모해
​Hoi
Po
Gt.
中
​म a
do
1
THE
a
P 연
​Pod.
ORGAN ACCOMPANIMENT OF THE CHORAL SERVICE. .
53
CO
Teli
and the Holy Ghost incomprehen - si-ble.
Hot
The Father eternal,*
the Són e-
je
ter - nal,
1
##
8
3
00
a
p
Ch. both hands.
dada
oh
i
senza Ped.
Tel
And yet they are not thrée e
Ch.
and the Holy Ghost e-ternal.
ter
nals,
书法
​mf I et
the
OLOS
Left hand to
(Gt. & Full Swv.)
##
Tot
ONTD
Ped. He
ਜ
Het
As also there are not three incom-
prehensibles * nor thrée uncre-
but
óne
e - ternal.
its
:}
a
ted :
'Gt.
1
#
0001
000
Ποο Λ ΟΣΟ
1700 000
cob 1 ogoló
Ch, both hands.
8 8
Emf Tat
#1
ő
e
م
senza Ped.
궁
​Hot
H2H
So likewise the Fa-
ther is Almighty,* mighty,
the Són Al-)
but one uncreated, and one incomprehensi-ble,
-5
10.
000
Full Sw.
cres.
Ch.
Hell
COM
并
​54
ORGAN ACCOMPANIMENT OF THE CHORAL SERVICE.
排
​Hog
and the Holy Ghost Al-migh-ty. And yet they are not thrée Al - migh-ties,
Ch. mf R.H.
AA
000
8
1力
​NOV
I!!1
09.00
12
Gt. ff L.H.
A
莲​一​到​E
OTTD
Ped.
批
​HE-
a
So the Father is God,* the Són is God,
but
óne Al-migh-ty.
***
00
QO
A OD
DIO
Gt.
Ch, buth hands.
6
E=8 8
000.0
#
senza Ped.
+
**
Loo
Hot
tel
and the Holy Ghost is God. And yet they are not three Gods, but órie God.
卫生
​8
-2
0 00
090
wo 1 bi
Ch.
Full Sw.>
a
##
혜
​Teh
Ho
So likewise the Father is Lord,'* the Són Lord, and the Holy Ghost Lurd.
ರಲ್ಲಿ
Het
& 원
​O 20
Ch.
ORGAN ACCOMPANIMENT OF THE CHORAL SERVICE.
55
茶
​A
For like as we are com-
Ch. R.H. mf
Sw. mf
a
N10
0010
CILIO
HO
And yet not thrée Lords, but one Lord. {
pelled by the Christian } veri -ty
珠 ​26
ta
Gt. f L.H.
Gt. f
]
8 용
​to
pl
00bл
Ch.
8 8
OOOO
Ped. fol.
so
ho"
to acknowledge every
Person
by himself to be
Gód and Lord;
by the Catholic ke.} li-gion
Ch.
а 10
1000
el
Sw.
tit
8 ह
ta
ODD
并
​El
to say, There be three Gods,* or thrée Lords. The Father is made of none,
#*
1
Fiets
8 8
Sw. both.
#
ब
18
BB क्ष
A
neither created, nor
be-gotten.
The Son is of the Father a
lone:
go
#
3
3
d୪
Sw. both.
ISA
Hot
agz
Hell
56
ORGAN ACCOMPANIMENT OF THE CHORAL SERVICE.
#AF
I tet
not made, nor created, * bút be-got-ten.
Hot
The Holy Ghost is of
the Father and of the
Son :
1
1070
年​一
​#
os
Hout
7.00
Ch. Manual.
##
senza Ped.
Hot 때
​ㅎ ​ö
D
*
neither made or Degree in
hoh
So there is one Father,
not three Fathers ; *, Sons ;
one Son, not thrée)
neither made, nor created,
nor begotten,*
B
Hat
bút pro-ceed-ing.
1
H
22
200
fGt.
et!
9
et
MV
Ped. Het
혜
​并
​one Holy Ghost, not thrée Ho-ly Ghosts.
And in this Trinity
none is afore, or after
0 - ther:
og
#att
at
Hell
8
Full Szu.
#H
88
000
8 용
​HE
00
&
Ped. Het
مم
senza Ped.
#
Pa
none is greater, or léss than a-no-ther; But the whole three
-{p
.
Persons are co-etérnal
to-ge-ther,
茶
​2
等
​Ch.
dhe
no
24
Hit
NO
并
​ORGAN ACCOMPANIMENT OF THE CHORAL SERVICE.
57
ánd
CO
e - qual.
So that in all things, ás is a
fore - said,
00
व
Иго-
og
000
et
Full Sw.
cres,
an
a
tat
E
ODI
HSH
the Unity in Trinity,* and the Trinity in Unity is
he
to be wor-shipped.
2h
OM
Z
12
0
G-
He therefore that will be
say
ed
must thus think of the Trinity.
134
900
00D
f Gt.
Hot
Ho!
Help
w
3
000 0
HAH
leh
p.
In
HH
Furthermore, it is necessary
to everlasting sal-
191
that he also believe rightly the
Incarnation of our Lord
va
tion
{th
HEA
000
#
ital 때
​Ch.
that
#r
senza Ped,
E
58
ORGAN ACCOMPANIMENT OF THE CHORAL SERVICE.
*
H
Holi
Je - sus Christ. For the right Faith is, that we be-lieve and con- fess :
000
00
po po
A
that our Lord Jesus Christ, the Son of God,* is
God and Man;
d ㅗ
​&
-2
#
00
N
Full Sw.
##
+
OP
HAI
God, of the Substance of the Father,* begotten before the
Sw. R.H.
worlds:
Gt. soft Op. L.H.
G
pel
Ped. to Sw. with soft 16th.
#0
o
and Man, of the Sub-) bórn in the world; Perfect God, and pér-fect
stance of his Mother,*
Man:
名
​bg
253
3
Hot
##
13
TEH
۔
o-
* May be played in octaves for the purpose of sustaining the voices.
ORGAN ACCOMPANIMENT OF THE CHORAL SERVICE.
59
16!
Het
of a reasonable soul
and human
flésh subsisting; {Equal to the Father,
Godhead:
boog
8
TODO
并
​28
CODE
a a
That
#it
3
Het
and inferior to the
引
​Father, as } touching His Manhood.
{ Who, ale ouer ad
be God and } Man,
#
0.00
010 DO
000
Full $w.
#
葬
​ell
het
P.
م
senza Ped.
bl
10
Bet
yet He is not two,* but óne Christ;{ One of the browserito } desh,
go
詩
​18 음
​TOTOLD
ob
cres,
Ch.
#
a 등
​Hei
ter
One altogether;*
but by taking of the Mánhood in-to God;{
Substance,
not by confusion of
*
2
CON
100
OTO 0
Hall
मकी
bo
ORGAN ACCOMPANIMENT OF THE CHORAL SERVICE.
(
폐
​HO!
but by ún- i-ty of Person. For as the reasonable soul and flesh is one man:
on
8 &
8
16
羊 ​#be
100
韓
​B
e-
Hot
并
​.
HE!
TEH
so God and Man is one Christ; Who suffered for our sal
va - tion,
DOD
Sw.p
B
000
Ped. Teri
p.
#t
descended into hell,
rose again the third
dáy from the dead.
Og
Full Sw. cres.
og
000 000
8
-6.
o
Heli
He ascended into heaven,* He sitteth on the right
hand of the Father, Gód Al-
} migh - ty,
排
​辛
​0001
O OD ,
Gt. mf
18
dió
FO
Teh
ORGAN ACCOMPANIMENT OF THE CHORAL SERVICE.
61
Hal
from whence He shall come to judge the
HH
quíck and the dead.
#
000
EI
dim.
8
ta
Peit
HAL
At whose coming all men shall rise again with their
bo
dies,
a d
#
1700
Het
Sw.mf
Hot
tas
Pet
top
P
Tot
and shall give
tot
And they that have done
good shall go into life ever-
last
ing,
1160
T100
2
000
ch
10th
8
10
senza Ped.
and they that have dvere } lást - ing fire. This is the Cátholic Faith :
R.H. Full Sw.
#it
ict
000
00010
Ch.
L.H. Gt.
@
Tet
senza Pech
Ped. I Hati
62
ORGAN ACCOMPANIMENT OF THE CHORAL SERVICE.
3.
La
ton
which except a man believe faithfully,* he cán-not be
Sw.
say - ed.
100
T1000
४ f
C
#o
Gt. HAH
e
102
#1
HI
O
tel
Glory be to the Fa-ther, and to the Son,
Hot ó .
and to the Hó - ly Ghost;
W
oo
24
000
Gt.f
COD
छ g 28
HA
HAH
P
#it
OT
As it was in the beginning,
is thew, and ener: shall be : world with-out end. A - men.
#1
DOUTO
000
a 20
B
COS
B.
多多
​g प
pg
000
b010)
.-
APPENDIX G.
THE NICENE CREED.
J. F. Bridge.
I believe in one God the Father Almighty, Maker of Heaven and earth,
mf
senza Ped.
Ped.
G
And of all things visible
and invisible;
And in one Lord Jesus Christ, (th
the only-begotten
Son of God,
el
Р
a
senza Ped.
EE
Begotten of His Father before all worlds, God of God, Light of Light,
00
Ped.
64
ORGAN ACCOMPANIMENT OF THE CHORAL SERVICE.
A
Very God of very God, Begotten, not made, (Being of el substance
3.
00
D
By whom all things were made, Who for us men, and for our salvation
came down from heaven,
To -
lid.
a
senza Ped.
dim.
And was incarnate by the Holy Ghost of the
Virgin Mary,
0.} And
And was made man,
AG
ODD
28
dim.
rall.
P 中
​And was crucified also for us under Pontius He suffered and was buried,
Pilate.
Ppo
TODD
包​#
&
P
rall.
ORGAN ACCOMPANIMENT OF THE CHORAL SERVICE.
65
a tempo.
#
And the third day He rose again according to! And ascended into heaven,
the Scriptures, s
120
fa tempo.
50
Ped.
建 ​#
And sitteth on the right hand of the And He shall come again with glory
Father.
HY
100
13
to judge both the quick and the dead : Whose kingdom shall have no end.
000
é
mf
And I believe in the Holy Ghost,
The Lord
I ]
and Giver of lifc,
{Whop
Who proceedeth from the
Father and the Son,
mf
66
ORGAN ACCOMPANIMENT OF THE CHORAL SERVICE.
Who spake by the Prophets.
Who with the Father and worshipped and
the Son together is
glorified,
8 8
2001
0001
G
And I believe Apestatic Church } I acknowledge remei Baptism ifs
bo
senza Ped.
Ped.
e-6-
And I look for the Resurrection
of the dead
And the life of the world to come.
A - men
200
0100
fe-
f
APPENDIX H.
GLORIA IN EXCELSIS. *
J. F. BRIDGE.
Allegro moderato. VoICES IN UNISON.
#
God
on high,
and in earth
Glo - ry be to
Allegro moderato.
-
000
8 ह-
f
a
o
O
do
dea
peace, good-will towards men. We praise Thee, we
bless Thee, we
开
​#
2
3
8
ब
wor-ship Thee, we glo-ri - fy Thee,
we
give thanks to Thee
职
​d
#
2.
ta
年
​From No. 10 of“ Short Settings of the Office for Holy Communion for Paro-
chial and General Use." Edited by G. C. Martin. Published by Novello & Co.
68
ORGAN ACCOMPANIMENT OF THE CHORAL SERVICE.
पीं
Net
for Thy great glo
ry,
O Lord God,
EE
co
bo
dad
进
​WL
heaven ly King,
,
God the
Fa - ther Al - migh
ty.
p
P
&
00
2
Not slow.
茶
​进
​O Lord, the
Not slow.
on-ly-be-gotten Son Je - su Christ; O
8
00
8
P р
d
d
#
cYes.
Lord God, Lamb of God, Son of
the Fa- ther, that tak - est
a
코
​to
fø
TO.
cres.
ORGAN ACCOMPANIMENT OF THE CHORAL SERVICE.
69
cres.
PP
he
8
EE
way the
sins of
the world, have mer - су
up -on
us, Thou that
487
館
​o
pp
cres.
0:
senza Ped.
pp
을
​He
tak - est
a
way
the sins of
the world, have mer - cy
up -
the
2
OTS
pp
Ines
并
​#
Ped.
senza Ped.
cres.
#
LPP
毒
​on
us. Thou that tak -est
a - way the sins of
the world, re-
连
​cres.
ego
pp
Q
3:
Ped.
senza Ped.
#
de
はっ
​d
JE
ceive our prayer. Thou that sit-test at the right hand of
God
the
1
.
#
.
o?
83
Ped.
70
ORGAN ACCOMPANIMENT OF THE CHORAL SERVICE.
rall.
pp
Allegro.
f
#
Fa-ther, have mer-cy up-on
us.
on - ly art
For Thou
Allegro.
le
no
de
82
PP
rall.
گی
d
f de
d-8
Le
#
senza Ped.
#
ho · ly;
ly; Thou on-ly art
the Lord;
Thou
on -ly, o
ta
8
p
2 2
o
并
​#
0
0
a
#
Christ, with the Ho
ly Ghost,
art
most high
in
the
8 8
8
120
000
10)
#
Š
84
5
glo - ry of
God
the
Fa
ther.
A -
men.
#
8
78
be
8
Di01
APPENDIX J.
THE LORD'S PRAYER.
WITH ORGAN ACCOMPANIMENT.
J. F. BRIDGE.
OUR Father,
which art in heaven,
Hallowed be Thy Name.
000
P р
senza Ped.
Thy kingdom come.
Thy will be done in earth; } Give us this day our daily bread.
And forgive us our trespasses, As we forgive them that trespass against us.
#
And lead us not into temptation; But deliver us from evil.
A - men.
क
A
men.
&
be
ONV
EWER
OVELLO
NOVELLO, EWER AND CO.'S
Music Primers and Educational Series.
EDITED BY SIR JOHN STAINER AND Dr. C. HUBERT H. PARRY.
I.
2.
0
::
.
IO.
.
.
II.
::
I2.
O
.
0
.
20.
21.
22.
0
C
THE PIANOFORTE (Price 25.)
E. PAUER.
THE Rudiments of Music (Price is.)
W. H. CUMMINGS.
3. THE ORGAN (Price 25.)
J. STAINER.
4.
THE HARMONIUM (Price 2s.)
KING HALL.
5. SINGING (Price 45.; Paper boards, 5s.)
..A. RANDEGGER.
6. SPEECH IN SONG (Price 25.)
A. J. ELLIS, F.R.S.
7. MUSICAL Forms Price 25.
E. Pauer.
8. HARMONY (Price 25.)
J. STAINER.
9. COUNTERPOINT (Price 2s.)..
J. F. BRIDGE.
FUGUE (Price 2s.) ..
JAMES HIGGS
SCIENTIFIC BASiś or Music (Price is.)
W. H. STONE
DOUBLE COUNTERPOINT (Price 2s.)
J. F. BRIDGE
13.
Church CHOIR TRAINING (Price is.)
Rev. J. TROUTBECK.
14. PLAIN SONG (Price 2s.)
Rev. T. HELMORE.
15. INSTRUMENTATION (Price 2s.)
E. PROUT.
15. THE ELEMENTS OF THE BEAUTIFUL IN Music (Price is.)
E. PAUER
17. THE VIOLIN (Price 25.)
BERTHOLD TOURS.
18. TONIC SOL-FA (Price Is.)
J. CURWEN.
19. LANCASHIRE SOL-FA (Price is.)
JAM
MES GREENWOOD.
COMPOSITION (Price 25.)
J. STAINER.
MUSICAL Terms (Price is.)
STAINER and BARRETT.
The VIOLONCELLO (Price 2s.)
JULES DE Swert.
23. TWO-PART EXERCISES (396) (Price Is.).
JAMES GREENWOOD.
24. DOUBLE SCALES (Price is.)
FRANKLIN TAYLOR.
25. MUSICAL EXPRESSION (Price 35.)
MATHIS LUSSY.
26. SOLFEGGI (Price 45.; Paper boards, 5s.)
FLORENCE MARSHALL.
27. ORGAN ACCOMPANIMENT (Price 2s.)
J. F. BRIDGE.
28. THE CORNET (Price 25.)
H. BRETT.
29. MUSICAL DICTATION, Part 1 (Price is.
DR. RITTER.
30. MUSICAL DICTATION, Part 2 (Price 2s.)
Dr. RITTER.
31. MODULATION (Price 25.)
JAMES HIGGS.
32. DOUBLE BASS (Price 3s.)
A. C. WHITE.
32A. APPENDIX TO DOUBLE BASS (Price 3s.)
A. C. WHITE.
33
EXTEMPORIZATION (Price 25.)
F. J. SAWYER.
34. ANALYSIS OF Form (Price 25.)
H. A. HARDING.
35. 500 FUGUE SUBJECTS AND ANSWERS (Price 35.)
A. W. MARCHANT.
36. HAND GYMNASTICS (Price is. 6d.)
..T. RIDLEY PRENTICE.
37. MUSICAL ORNAMENTATION, Part 1 (Price 55.; P. bds., 6s.) DANNREUTHER.
37A. MUSICAL ORNAMENTATION, Part 2 (Price 55.; P. bils., 6s.) DANNREUTHER.
38. TRANSPOSITION (Price 25.)..
J. WARRINER.
39. THE ART OF TRAINING Ćhoir Boys (Price 3s.)
G. C. MARTIN.
39A.
Do. (EXERCISES ONLY) (Price is.)
G. C. MARTIN.
BIOGRAPHICAL DICTIONARY OF MUSICIANS (Price 2s.).. W. H. CUMMINGS.
41. EXAMPLES IN Strict COUNTERPOINT (Price 35.)
GORDON SAUNDERS.
SUMMARY OF MUSICAL HISTORY (Price 2s.)
C. H. H. PARRY.
43
MUSICAL GESTURES (Price 2s.)
J. F. BRIDGE.
43A. RUDIMENTS IN RHYME (Price gd.)
J. F. BRIDGE.
44. BASSES AND MELODIES (Price 2s. 6d.)
RALPH DUNSTAN.
45. FIRST STEPS AT THE PIANOFORTE (Price 25. 6d.)
Francesco BERGER.
46. A Dictionary of PIANISTS AND COMPOSERS FOR THE PIANOFORTE
(Price 2s.) E. Paver.
47.
ORGAN PEDAL TECHNIQUE (Price 2s.)
B. W. HORNER.
48. TWELVE Trios by ALBRECHTsberger (Price Is. 62.) A. W. MARCHANT.
49. FIFTY THREE-PART VOCAL STUDIES (Price Is. 62.) J. E. VERNHAM.
50.
CHORAL Society VOCALISATION (Price 2s.)
J. STAINER.
51. TWO-PART SOLFEGGI (Price Is.).
JAMES HIGGS.
52. HISTORY OF THE PIANOFORTE (Price 25. 61.)
A. J. HIPKINS.
53. SCALES AND ARPEGGIOS (Price 2s.)
FRANKLIN TAYLOR.
54. SONATA FORM (Price 2s. 6d.)
W. H. HADOW.
55. A DICTIONARY OF VIOLIN MAKERS (Price 2s. 6d.)
C. STAINER.
56. Bach's 48 PRELUDES & FUGUES (Price 3s.); or, in Four Parts, each is. F. ILIFFE.
40.
42.
Any of the above mrlay be had strongly bound in boards, price 6d. each extra.
21/10/96.
ORATORIOS, CANTATAS, &c.
PRICE ONE SHILLING EACH.
Gade, Niels W.-210N.
SPRING'S MESSAGE, 8d.
CHRISTMAS EVE,
THE ERL-KING'S DAUGHTER.
Garrett, G.-HARVEST CANTATA.
Garth, R. M.—THE WILD HUNTSMAN.
Gaul, A. R.-A Song of Life.
Goetz, Hermann.-By The Waters of
BABYLON.
NENIA.
Goodhart, A. M. EARL HALDAN'S
DAUGHTER.
SIR'ANDREW BARTON,
Gounod, Ch.—De PROFUNDIS (Ps. 130).
DITTο (Out of Darkness).
Messe SOLENNELLE (Latin Words).
The Seven Words OF OUR SAVIOUR ON
THE CROSS.
DAUGHTERS OF JERUSALEM.
*GALLIA,
Gray, Alan.—The Legend OF THE Rock-
BUOY BELL.
Grimm, J. 0.—The Soul's ASPIRATION.
Hecht, E.-0 max I JOIN THE CHOIR IN-
VISIBLE.
Adams, T.-THE HOLY CHILD.
Anderton, T.-THE Norman BARON.
THE WRECK OF THE HESPERUS.
Aspa, E.-The GIPSIES.
Astorga--STABAT MATER.
Bach--GOD SO LOVED THE WORLD.
GOD GOETH UP WITH SHOUTING.
God'S TIME IS THE BEST.
MY SPIRIT WAS IN HEAVINESS.
O LIGHT EVERLASTING.
BIDE WITH US.
A STRONGHOLD SURE,
MAGNIFICAT.
THOU GUIDE OF ISRAEL.
JESU, PRICELESS TREASURE.
JESUS, NOW WILL WE PRAISE THEE,
WHEN WILL GOD RECALL MY SPIRIT.
Barnby, J.-REBEKAH.
Beethoven-The CHORAL FANTASIA.
THE CHORAL SYMPHONY (the Vocal
portion).
ENGEDI.
MOUNT OF OLIVES.
MASS, IN C (Latin Words).
*Mass, IN C.
RUINS OF ATHENS.
Bendl, Karel. WATER-SPRITE'S RE-
VENGE (Female Voices).
Bennett, G. J.-Easter Hymn.
Bennett, Sir W. S.--EXHIBITION ODE,
1862.
Betjemann, G. R.-.THE SONG OF THE
WESTERN Men,
Blair, Hugh.-HARVEST-TIDE,
Brahms, J.-A SONG OF DESTINY,
Bridge, J. F.-*Rock or Ages.
THE INCHCAPE ROCK.
THE LORD'S PRAYER.
Bunnett, E.---OUT OF THE DEEP (Ps. 130).
Carissimi- JEPHTHAH.
Cherubini--*REQUIEM MASS, IN C MINOR.
THIRD MASS, IN A (Coronation).
Fourth MASS, IN C.
Costa, Sir M.—THE Dream.
Cowen, F. H.--A SONG OF THANKSGIVING,
Davies, H. W.-Hervé Riel.
Dunkley, F. – THE WRECK
HESPERUS.
Ellicott, Rosalind F.-ELYSIUM.
Franz, Robert.--PRAISE YE THE LORD
(117th Psalm).
Handel.---CHANDOS Te Deum.
ODE ON ST. CECILIA'S DAY.
THE WAYS OF ZION.
MESSIAH (Pocket Edition).
ISRAEL IN EGYPT (Ditto).
JUDAS MACCABÆUS (Ditto).
DETTINGEN Te Deum.
UTRECHT JUBILATE,
O PRAISE THE LORD.
ACIS AND GALATEA.
Acis AND GALATEA, Edited by J.
BARNBY.
O COME, LET US SING UNTO THE LORD.
DIXIT DOMINUS.
Haydn.—THE CREATION (Pocket Edition).
SPRING SUMMER. AUTUMN. WINTER.
*FIRST MASS, IN B FLAT,
FIRST MASS, IN B FLAT (Latin).
SECOND MASS, IN C (Latin).
THIRD MASS (Imperial). (Latin).
*THIRD MAss (Imperial).
*Te Deum,
OF
THE
Hiller, Dr.-A SONG OF VICTORY.
Hofmann, H.-SONG OF THE NORNS
(Female Voices.)
Holland, C.-AFTER THE SKIRMISH,
LONDON & NEW YORK: NOVELLO, EWER AND CO.
UNIVERSITY OF MICHIGAN
3 9015 00961 7161
ORATORIOS, CANTATAD, &c.--curvoorveuw.
111
III
Hummel.-FIRST MASS, IN B FLAT.
Second MASS, IN E FLAT.
THIRD MASS, IN D.
Huss, H. H.-Aye MARIA (Female Voices).
Iliffe, F.-Sweet Echo.
Jensen, A.-The Feast of Adonis.
Kilburn, N. -THE LORD IS MY SHEPHERD.
(83.)
BY THE WATERS OF BABYLON.
King, Oliver.—THE SANDS O'Dee.
Leo, Leonardo.—Dixit DOMINUS.
Lloyd, C. Harford. THE SONG OF
BALDER.
MacCunn, H.-LORD ULLIN's Daudhter.
Macfarren, G. A. OUTWARD BOUND.
MAX DAY.
Mackenzie, A. C.-The Bride.
Masser, J. T.-Harvest CANTATA.
Mee, J. H.-HORATIUS (Male Voices).
DELPHI (Male Voices).
Mendelssohn.-ST.PAUL (Pocket Edition).
ELIJAH (Pocket Edition).
LORELEY,
HYMN OF PRAISE.
AS THE HART PANTS,
COME, LET US SING.
WHEN ISRAEL OUT OF EGYPT CAME.
NOT UNTO US.
LORD, HOW LONG.
HEAR MY PRAYER.
THE FIRST WALPURGIS NIGHT.
MIDSUMMER NIGHT'S DREAM.
MAN IS MORTAL.
FESTGESANG (Hymns of Praise).
FESTGESANG (Male Voices).
CHRISTUS.
TO THE Sons of ART.
*Ave MARIA (Saviour of Singers).
"Three Moters (Female Voices).
Meyerbeer.—91st Psalm (Latin Words).
SIST PSALM (English Words).
Mozart.-KING THÁMOS.
*FIRST Mass.
SEVENTH MASS (Latin).
TWELFTH MASS (Latin),
*TWELFTH MASS.
REQUIEM MASS (Latin).
-*REQUIEM Mass.
Mundella, E.-Victory of Song (Female
Voices).
Paine, R.P.-THE LORD REIGNETH (Ps.93)
Parker, H. W.-THE KOBOLDS.
Parry, C. H. H.-Blest PAIR OF SIREN
THE GLORIES OF OUR BLOOD AND ST
Pergolesi.-STABAT MATER (Fem'
Pinsuti, C.-PHANTOMS.
The Works
Prout, E.-FREEDOM.
THE HUNDREDTH PSALM.
Purcell.—TE DEUM AND JUBILATE, IN D.
TE DEUM IN D. Edited by J. F. BRIDGE.
Read, J. F. H.-IN THE FOREST (Male V.).
Read, F. J.-SONG OF HANNAH.
Romberg.-The LAY OF THE Bell.
THE TRANSIENT AND THE ETERNAL.
Rossini.-*STABAT MATER.
Sach, Ed.-Water 'Lilies.
Sangster, W. H.-ELYSIUM.
Sawyer, F.J.--The Soul's Forgiveness.
Schubert.--SONG OF MIRIAM.
MASS, IN A FLAT.
MASS, IN B FLAT.
MASS, IN C:
MASS, IN F.
MASS, INIG.
Schumann.THE PILGRIMAGE OF THE
Rose.
The King's Son.
MIGNON'S REQUIEM.
ADVENT HYMN, “IN LOWLY GUISE."
MANFRED.
NEW YEAR'S SONG.
Schutz, H.--THE PASSION OF Our Lord.
Silas, E.-Mass, in C.
Smith, Alice Mary.—THE SONG OF THE
LITTLE BALTUNG (Men's Voices).
ODE TO THE NORTH-EAST WIND.
THE RED KING (Men's Voices).
Spohr.—THE LAST JUDGMENT.
GOD, THOU ART GREAT.
THE CHRISTIAN'S PRAYER.
HYMN TO ST. CECILIA.
Such, E. C.-Godis our Refuge (Psalm 45
Sullivan, A.-EXHIBITION ODE.
FESTIVAL Te Deum.
Thomas, A. Goring.-THE
SHIPPERS.
Thorne, E. H.-Be Mer
Tours, B.-A Festiy
Tschaikowsky,
Yan Bree.
Waller, H
V.
Weber
1
S
LONDON
&
****
NOVELLO, EWER AND CO.'S
Music Primers and Educational Seri
EDITED BY SIR JOHN STAINER AND DR. C. HUBERT H. PARR
: :
...
... ...
...
::
: ;
...
...
...
..
:
...
...
J. ST
::
1. THE PIANOFORTE (Price 25.)
E. I
2. THE RUDIMENTS OF MUSIC (Prire is.)
W. H. CUM
3. THE ORGAN (Price 25.)
J. ST
4. THE HARMONIUM (Price 2s.)
KING
5. SINGING (Price 45.; Paper boari's, 5s.)
A. RANDI
6. SPEECH IN SONG (Price 2s.)
A. J. ELLIS,
7. MUSICAL Forms (Price 2s.)
E.
8. HARMONY (Price 25.)
J. ST
9. COUNTERPOINT (Price 2s.)
J. F. B
10. FUGUE (Price 2s.)
James
11. Scientiric Basis of Music (Price is.)
W. H.
12. DOUBLE COUNTERPOINT (Price 2s.)
J. F. B
13. CHURCH CHOIR TRAINING (Price is.)
Rev. J. Trou
14. Plain SONG (Price 2s.)
Rev. T. HE
15. INSTRUMENTATION (Price 25.)
E.
16. THE ELEMENTS or the BEAUTIFUL IN Music (Price is.) E.
17. THE VIOLIN (Price 25.)
BERTHOLD
18. TONIC SOL-FA (Price is.)
J. CU
19. LANCASHIRE SOL-FA (Price is.)
.. JAMES GREEN
20. COMPOSITION (Price 25.)
21. MUSICAL TERMS (Price is.)
CEAINER and Ba
22. The VIOLONCELLO (Price 25.)
JULES DE
23. Two-ParT EXERCISES (396) (Price is.)
.. JAMES GREEN
24. DOUBLE SCALES (Price is.)
FRANKLIN 1
25. MUSICAL EXPRESSION (Price 35.)
MATHIS
26. Solfeggi (Price 45.; Paper boards, 59.)
i LORENCE MAR
27. ORGAN ACCOMPANIMENT (Price 2s.)
J. F. B
28. THE CORNET (Price 2s.)
H.
29. MUSICAL DICTATION, Part 1 (Price is.)
DR.
30. MUSICAL DICTATION, Part 2 (Price 2s.)
DR. I
jf. MODULATION (Price 2s.)
JAMES
32. DOUBLE BASS (Price 35.)
A. C. V
.; 2A.APPENDIX to DOUBLE Bass (Price 3s.)
A. C. V
3. EXTEMPORIZATION (Prici 25.)...
F.J.S.
14. ANALYSIS OF FORM (Price 25.)
H. A. HA
25. 500 Fugue SUBJECTS AND Answers (Price 3s.) A. W. MAR
36. HAND GYMNASTICS (Price is. 6d.)
T. RIDLEY PRE
37. MUSICAL ORNAMENTATION, Part 1 (Price 55.; P.bds., 6s.) DANNRE
38. TRANSPOSITION (Price 2s.)
J. War
39. The Art of TRAINING Choir Boys (Price 3s.)
G. C. M
39A.
Do. (Exercises ONLY) (Price is.)
G. C. M
40. BIOGRAPHICAL DictioNARY OF MUSICIANS (Price 2s.) W. H. CUM
41. EXAMPLES IN Strict COUNTERPOINT (Price 35.) GORDON Sau
42. SUMMARY OF MUSICAL History (Price 25.)
C. H. H.
43. MUSICAL GESTURES (Price 25.)
J. F. B
44. Basses and Melodies (Price 25. 6d.)
RALPH Du
45. First STEPS AT THE Pianoforte (Price 2s. 6.1.) I'RANCESCO B
43.4. RUDIMENTS IN RHYME (Price gd.)
J. F. B
(TO BE CONTINUED.)
... ...
::
...
...
...
...
ny of the above may be had strongly bound in boards, price 6d. cache
LONDON & NEW YORK: NOVELLO, EWER AND CO.