kendall's clarinet instruction book : a complete school for the clarinet … · 2017. 4....
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KENDALL’SA COMPLETE SCHOOL FOR THE CLA RUNET.
CONTAINING '.
'
'ROSRESSIVE EXERCISES, MARCHES, QUICK STEPS, WALTZES, POPULAR MELODIES
JIGS, SOLOS, AND DUETS, WITH VARIATIONS.
MAN\ OF WHICH ARE COMPOSED EXPRESSLY FOR THIS WORK, AND OTHERS SELECTED FROM 1 MB
BEST EUROPEAN MASTERS. THIS BOOK IS BETTER CALCULATED FOR SELF-INSTRUCTION
THAN ANY EVER BEFORE PUBLISHED IN THIS COUNTRY.
BOSTON:PUBLISHED BY OLIVER DITSON & CO., 277 WASHINGTON STREET.
NEW YORK: C. H. DITSON & CO.
Entered according to Act of Congress, in the year 1851, hv Oliyeh Ditson, in the Clerk’s Office
of the District Court of the District of .Massachusetts.
RICHARDSON’SNEW METHOD FOR THE PIANO -FORTE.
UNEXCELLED! UNEQUALLED! AHEAD OF ALL COMPETITORS!
BEING THE ONLY BOOK THE TEACHER REQUIRES, AND THE BOOK 'WHICH ATTRACTS EVERY PUPIL.
THE STANDARD BOOK OF INSTRUCTION,
Employed by the Best Teachers, the Best Schools, the Best Conservatories, and all individuals who desire to obtain a Thorough and PracticalKnowledge of Piano-Playing.
TTTTJITY THOUSAND COPIES ARE SOLD YEARLY; and it is no exaggeration to say, that nearly HALF A MILLION SCHOLARS have become accomplishedPianists by using this book. Its lessons are adapted to pupils of all ages, and its exercises attractive and useful in every stage of advancement. This book has, on account of its actual merit,become the standard work of Piauo instruction, and the only one which every well-informed teacher and scholar uses.
IPrice $3.75, for which, it will he mailed, post-paid.
PUBLISHED WITH BOTH THE AMERICAN AND FOREIGN FINGERING, IN SEPARATE EDITIONS.
CLARKE’SjsTsJW jn^YSof) Fof( of((AlA
A worthy companion of the above book, and bids fair to equal it in reputation, being already recognized as a standard, and by very many as
THE STANDARD INSTRUCTION BOOK FOR REED INSTRUMENTS.
The plan of the book, as it suggested itself to the author, happened to be a very good one,— one of those that do not need to be changed or improved. Forthe elaboration of this plan, Mr. C., who is unusually gifted as an organist, drew upon his excellent taste and skill. As a consequence, the completed work con-tains not only a useful and well-ordered course of instruction, but a large quantity of pleasing music, which will be played for pleasure long after it has served theneeds of the learner.
Price of Clarke’s New Method $2.50.
FOR WHICH IT WILL BE MAILED POST-PAID.
OLIVER DITSON Sc. COMPANY, 277 Washington Street, Boston.CHAS. H. DITSON & CO., N. Y. LYON & HEALY, Chicago.
A Catalogue, describing the above, and about 950 other Hooks published by Oliver Ditson & Co., will be sent free
,
vost-paid, on application.
Valuable Books foz» Pipe & Reed Organs.METHODS FOR PIPE ORGANS.
MODERN SCHOOL FOR THE ORGAN. By Johx Zunhel. In Thne Parts.Part I. History and Description of the Organ, Elementary Instruction, Lixeicises, and
Voluntaries in all styles of Organ-Playing (without pedals), ( loth, s'. .00. Pt. t II. PedalPlaying. Cloth, $2.00. Part III. Combination of Stops
;Voluntaries, and Pieces suited
to all Occasions. Cloth, $2.00. The three parts complete in one volume, boards, $4.00.
RINK'S ORGAN SCHOOL. Carefully revised, with the German Directions and Termstranslated into English, and the Pedal Part printed on a separate stall. The whole editedby W. T. Best.
“ This is a good edition of a standard work, perhaps we should say the best of all worksfor the formation of a correct style of Organ-Playing, and the mastery of the instrument hiall its varied resources. Rink’s Teacher was Kittel of Erfurt, a distinguished pupil of JohnSebastian Bach
;and, in this collection of preludes and exercises, we have an excellent reflec-
tion of the thorough method of which the great German master is the acknowledged repre-sentative.”— -V. Y. Tribune.
In Six Parts. Price of each Part, $1.50. Complete in one volume. Cloth, $0.00.
SCHNEIDER’S PRACTICAL ORGAN SCHOOL. Containing all necessary instruc-tions in Fingering, Management of Stops, Pedals, &e., with a great variety of Exercises,Interludes, Easy and Dirticult Voluntaries, &c., to which is added a Complete Treatise onHarmony and Thorough Bass. Boards, $3.50.
ORGAN MANUAL. Containing directions to persons desirous of purchasing an Organ,with a History of it, and a description of the Stops, Pipes, and general Interior Construc-tion. By Rev. Henry D. Nicholson, M. A. Cloth, 75 cts.
METHODS FOR REED ORGANS.CLARKE’S NEW METHOD FOR REED ORGANS. This method obtained at
once, on its issue, the greatest popularity. The compiler, an organist of distinguishedtalent and taste, was fortunate both in the plan and execution of his work. So that thebook is considered by very many to be before all others a Standard Work for BredOrqans. Contains, in addition to the instructive course, a choice collection of music.Price $2.50.
CLARKE’S SI.OO INSTRUCTOR FOR REED ORGANS. Designed for those who donot desire the thorough, complete course of Clarke’s larger book. It may be called “ afirst-class amateur’s instruction book.”
ZUNDEL’S MELODEON INSTRUCTOR. By John Zcndel. $2.50.
CARHART'S MELODEON INSTRUCTOR. An easy method, with Favorite Songs an'1
Pieces. Price $1.50.“
MELODEON WITHOUT A MASTER. By E. L. White. 75 cts.
WINNER’S PERFECT GUIDE FOR MELODEON. 75 cts.
“ “ “ CABINET ORGAN. 75 cts.
“ NEW SCHOOL FOR MELODEON. 75 cts.
“ “ “ CABINET ORGAN. 75 cts.
Winner’s little books are pretty, inartificial, pleasing affairs, sufficiently thorough for thewants of those who only desire “to go a little way,” and contain a number of pleasing, easvairs for practice. Being “ books for the million,” they sell largely.
Books containing Voluntaries and Organ Pieces.THE ORGAN AT HOME. This book, as at first published, had the experience of being
totally destroyed, plates and all, in the Chicago fire. It had already, however, proveditself “ a book for the times
;
” and the publishers, in re-issuing it, have revised and im-proved it as much as possible
; so that they confidently believe it to be one of the bestnrusicai Homo Books in existence. The music is not difficult nor classical (if classicalmeans drill), but is bright, cheerful, and enlivening; just that that is fitted to make anevening pass pleasantly. Price $2.50 in boards; $3.00, cloth.
CLARKE’S NEW REED ORGAN COMPANION. A companion to the “New Meth-od,” with entirely different contents. Adapted to the wants of all classes. Material forpractice in the shape of Popular Marches, Waltzes, Polkas, and Operatic Gems. Alsoeasy Voluntaries, Songs, Duets, &c., with Accompaniment for Reed Organs. $2.00.
CLARKE'S SHORT VOLUNTARIES. For Pipe or Reed Organs. A very melodiousset of brief Voluntaries, selected and arranged with much taste. Price $1.50.
ORGAN GEMS. A Collection of Offertoires, Communions, Fugues, &c., &c., by distin-guished composers. Edited by F. S. Davenpobt. Boards, $2.50; cloth, $3.00.
RECREATIONS FOR CABINET ORGAN, ETC. Cloth, $2.00; boards, $1.50.
ORGATflST'S PORTFOLIO. A series of Voluntaries, selected from the works of Ancientand Modern Composers. By E. F. Rijibault. 2 vols. Boards, $3.00 ;
cloth, $3.50, each.
FIFTY PIECES FOR THE ORGAN. Comprising Offertoires, Elevations, Communions,Entrees de Processions, Versets, Preludes, Sorties, not difficult, and carefully fingered.By E. Batiste. Complete. Boards, $3.50 ;
cloth, $4.00.
PRACTICAL ORGANIST. A Collection of Voluntaries by the best Composers. $1.00.
Over 50,000 copies of the above book have been sold.
ROOT’S CABINET ORGAN SCHOOL. A work of established reputation, with aninstructive course well arranged, and a fine collection of Vocal as well as Instrumental RINK’S PRELUDES AND INTERLUDES. For Organ, Harmonium, and Melodeon.Music. Price $2.50.
1
75 cts.
ALL THE ABOVE BOOKS SEXT BT MAIL, POST-PAID, OX BECEIPT OF BETAIL PRICE.
OLIVER DITSON & COMPANY, 277 Washington Street, Boston.C. H. DITSON & CO., New York. LYON & HEALY, Chicago.
A Descriptive Catalogue,containing the Titles and Brief Descriptions of 050 Books published by Oliver Ditson <& Co.,
will be mailed, x>ost-paid, on application.
A Selection of the most favorite Oratorio Choruses.
Reduced Price, G cts . single; GO cts . per doz.
MESSIAH.And the fclorr of the Lord.And He shull purify.All we, like sheep.For unto us a child is born.Glory to God.His yoke is easy,Oh, Thou that tellest. (Song and Choms.)Hallelujah.Lift up your heads.The Lord gave the word.Their sound is gone out.Worthy is the Lamb.
JUDAS MACCABiEUS.Mourn, ye afflicted children.O Father, whose Almighty power.We come in bright array.Disdainful of danger.Fallen is the foe.Hear me, O Lord.Tune your harps.Hail, Judza's happy land.We hear.We never will bow down.Hallelujah, Amen.
ELIJAH.Thanks be to Ood.He watching over IsraeLAngel trio. — Lift thine eyes.Yet doth the Lord 6ee it not.Blessed are the men, Ac.Baal, we cry to thee. (No 11.)
He that shall endtire to the end.Behold, God the Lord passed by.
SAMSON.Awake the trumpet’s lofty sound.Oh, first created beam.Then, round about the starry throne.Fixed in His everlasting seat.
To fame immortal go.Great Dagon has Bubdued our foe.
Let their celestial concerts, &c.
ST. PAUL.Stone him to death.Happy and blest are they.How lovely are the messengers.Sleepers, wake. >To God on high. SOh, great is the depth.Oh, be gracious.
MOUNT OF OLIVES.Hallelujah Chorus.
ISRAEL IN EGYPT.lie gave them hailstones for rain.
But, ns for his people.But the waters overwhelmed, Ac.Thy right hand, O Lord.Sing ye to the Lord. (The Horse and his Rider.)
CREATION.Awake the harp.Achieved is the glorious work.The marvellous work. (Song and Chorus.)The heavens are telling.
The Lord is great.
SEASONS.Come, gentle spring.
WOMAN OF SAMARIA.Therefore with joy, Ace.
Come. O Israel.
And blessed, blessed be the Lord.ELI.
Let the people praise Thee.No evil shall befall Thee.
£Angels* Chorus. (Female voices.) >
NAAMAN.The curse of the Lord.When famine over Israel.
With sheathed swords.God, who cannot be unjust,
JOSHUA.. t
See, the conquering hero comes.The great Jehovah.
HYMN OF PRAISE.Let all men praise the Lord.I waited for the Lord. ( Duet and Chorus.)All ye that cried unto the Lord.
PASSION MUSIC. (According to St. Matthew.)Three Chorals. (Nos. 3, 53, G3.)
Around thy tomb here sit we weeping.
MOZART’S TWELFTH MASS.Gloria.
MOSES IN EGYPT.Night’s shade no longer.Prayer (O Thou, whose power).
STABAT MATER.lnfiummutus. (Song and Chorus.)
AS THE HART PANTS.As the hart pants.
MISCELLANEOUS. (Three Chorals on one Sheet.)Russian National Hymn.Luther’s Judgment-Hymn.A strong castle is our Lord.
Jubilee Collection of Standard Glees & Choruses.
[Note.— The words and music of many of the pieces in this set are by American autnora,and, having been copyrighted, cannot be used without permission of the publishers.]
Alpine Echo Emerson. 6As it fell upon a Day Momington. 8Autumn Song Mendelssohn. 8Awake. jEolean Lyre Danby. 6Come, let us be Merry and Gay Young. 8Come, Fairest Nymph Momington. 6Curfew Auderton. 6Crabbed Age and Youth Stevens. €Daughter of Error Bishop. 6Ever be happy “ Enchantress.’’ 8Far away the Camp Fire “Guiramento." 6Fairest Daughter of the Year Danby. 6Farewell to the Forest Mendelssohn. 6Freedom, God, and Kight Bamby. 6Foresters Bishop. 6Great Apollo, strike the Lyre IVebbe. 6Gallant and Gayly Horsley. 6Gypsy Life Schumann.12Good Night, Beloved Pinsuti. 6Hail ! Smiling Morn Spofforth. 6Hail! Merry, Merry Christmas Young. 6Happy and'Light “ Bohemian Girl'." €Hark ! Apollo strikes the Lyre Bishop. 8Hark! each Spartan Hound Bishop. 6Hark ! the Lark Cooke. 6Here in Cool Grot Momington. 6Highlands “ La Dame Blanche." 6In the Forest Mendelssohn. 6May Song Mendelssohn. 8Mighty Jehovah '•/ Martin." 8Mountain Land Emerson. 8Mom unbars the Gates Hosmer. 6
Moore’s Celebrated Songs, for four voices.
The Last Rose of Summer, *Believe me, if all those Endearing Young Charms, > 3The Harp that once thro’ Tara's Hulls
, )
*«««*..•Now the Roll of the Drum .“ Fille du Begt." 8Old May Morning Novella. 6Once upon My Cheek C'alcott. 6One Gentle Heart "Matilda." 6On this Day of Joy “Sicilian Vespers.” 8Pilgrim Chorus “ Lombardi .”10Presageof Spring Primrose Mendelssohn. 6Raid, (The) Bishop. 6Rest, Spirit, Rest Hooke. 6Shady Groves for Love Van Bree. 7Song of the Lark Mendelssohn. 6Star of Descending Night Emerson. 8See the Chariot at hand Horsley. 6Soldier’s Chorus “Faust." 10Sweet and Low Barnby. 8Swiss People’s Song Kticken. 6To thee, O Country J. Eichberg.loTramp Chorus Bishop.18Tyrolese Song of Freedom Lippitt. 6Victoria, Victoria “Fra Diarolo." 6Where the Bee Sucks Arne and Jackson. 8With Hawk and Hound Bishop. 6What Phrase, Sad and Soft Bishop. 6When Wearied Wretches Bishop. 6Youthful Pleasure Biskgp. 6
BOOKS FOR MALE VOICES.AMPHION. Part Songs. 5 Books, $5.00; separate Vocal Parts, $4.00
;separate Vocal
Parts, each, $1.25. Piano-Forte Score, $2.00.
ARION. Part Songs. 6 Books, $4.00; separate Vocal Parts, each $1.00; separate VocalParts, four books, $3.50. Piano Score, $1.50.
GENTLEMAN’S GLEE BOOK. L. Mason. $1.50.
MENDELSSOHN’S 4-PART SONGS. Men’s voices, 75 cts. (Also for mixed volce«4
YOUNG MENS’ SINGING BOOK. L. Mason and G. F. Root. $2.00,
CARMINA COLLEGENSIA. (College Songs.) Cloth, $2.25.
CHAS. H.
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THE ORATORIOS.JlEAVTIFVL OCTAVO EDITIOX.
CREATION. Haydn S .80
MESSIAH. Handel 80
ISRAEL IN EGYPT. Handel 80
JUDAS MACCABEUS. Handel 80
SAMSON. Handel 80
ST. PAUL. Mendelssohn 80
ELIJAH. Mendelssohn 1.00
ATHALIA. Mendelssohn 80
STABAT MATER. Rossini 65
“WOMAN OF SAMARIA 1.00
DAVID 1.00
ELI 1.60
MOSES IN EGY^PT. Rossini 2.25
NAAMAN. Costa 1.60
PASSION MUSIC. Bach 1.25
PRAISE TO GOD. Bristow 2.25
ST. PETER. J. K. Paine 1.60
The same are furnished, with more expensive binding, at amoderate advance on the above rates.
CANTATAS.Well proved Classical Works, worthy of practice in any Mu-
sical Society.
AS THE HART PANTS. (Ps. xlii.) Mendelssohn $ .40
COME, LET US SING. (Ps. xcv.) Mendelssohn 40
HYMN OF PRAISE. Mendelssohn 60
NINETY-EIGHTH PSALM. Mendelssohn 60
SPRING. From Haydn’s Seasons 50
SONG OF THE BELL. Romberg 1.00
MORNING. Reiss 50
ST. CECILIA’S DAY. Van Bree 1.00
MAY QUEEN. Bennett 1.00
HEAR MY PRAYER. Mendelssohn 40
WALPURGIS NIGHT. Mendelssohn 80
TRANSIENT AND ETERNAL. Romberg 38
MIRIAM’S SONG. Schubert 50
BELSHAZZAR. J. A. Butterfield 1.00
PRODIGAL SON. Sullivan 1.00
PRAISE OF FRIENDSHIP. Mozart 38
FORTY-SIXTH PSALM. D. Buck 80
FESTIVAL CANTATA. E. Thayer 1.00
More expensive binding at a slight increase on the aboveprices.
EASY CANTATAS.Also fit for the use of Musical Societies, and especially suited
to those just commencing. Also excellent for the practice ofChoirs and Singing Classes.
BELSHAZZAR’S FEAST. G. F. Root $ .50
DANIEL. Root and Bradbury 50
ESTHER. Bradbury 50
PILGRIM FATHERS. Root 50
FLOWER QUEEN. Root 75
HAYMAKERS. Root 1.00
PICNIC. Thomas 1.00
QUARREL AMONG FLOWERS. SchoeUer 35
BURNING SHIP. B. F. Baker 1.00
SPRING HOLIDAY. Converse 75
WINTER EVENING’S ENTERTAINMENT. Cull 1.00
THE CULPRIT FAY. (For ladies’ voices.) Ensign 1.00
STORM KING. B. F. Baker 38
TWIN SISTERS. (For Soprano and Alto.) H. Saroni. . .50
FAIRY BRIDAL. Hewitt 50
MUSICAL ENTHUSIAST. Hewitt 50
BOOK OF CANTATAS. Root and Bradbury 1.50
FESTIVAL OF THE ROSE. J. C. Johnson 30
INDIAN SUMMER. “ « : 30
CHILDREN OF JERUSALEM. “ “ 30
FLOWER FESTIVAL ON THE BANKS OF THERHINE. J. C. Johnson 45
MASSES.All that are published. Have Latin and English words.
Also excellent practice for Societies and Choirs, and are grow-ing yearly in favor.
BEETHOVEN’S MASS IN C $ .65
BORDESE’S MASS IN F 65
C. H. DITS0N & CO., N. Y. OLIVER DITSON & CO., Boston.
CONCONE’S MASS IN F 65
FARMER’S MASS IN B FLAT 80
GOUNOD’S MESSE SOLENNELLE 80
GUIGNARD’S MASS 1.00
HAYDN’S 7th and 8th MASSES, each 65
HAYDN’S 1st, 2d, 3d, and 4th MASSES, each 80
HAYDN’S 6th and 16th MASSES, each 1.00
DE MONTI’S MASS '.
.65
MOZART’S 1st MASS 60
MOZART’S 12th MASS 80
MOZART’S 15th (REQUIEM) MASS 65
MOZART’S 2d, 7th, and 9th MASSES, each 65
MERCADANTE’S MASS (three voices) 75
NIEDERMAYER’S MASS IN D 1.25
ROSSINI’S MESSE SOLENNELLE 1.60
WEBER’S MASS IN E FLAT 65WEBER’S MASS IN G 60
SOUTHARD’S MASS IN F 38
SOUTHARD’S SHORT MASS IN D 38
STEARN’S MASS IN A 1.50
THAYER’S MASS, No. 1 2.00
LAMBILLOTTE’S MASS IN D 2.50
ZIMMER’S MASS 2.00
The above books vary in binding. The price of the edition
most used is given. More expensive binding will cause a slight
change in price.
CHORUS BOOKS.BOSTON ACADEMY COLLECTION OF CHORUSES. .$2.50
CHORUS WREATH (Sacred and Secular) 1.50
CONVENTION CHORUS BOOK .60
CHORALIST (in 23 Nos.) each 15
NATIONAL CHORUS BOOK 1.50
NEW ORATORIO CHORUS BOOK 1.38
PEACE JUBILEE CHORUS BOOK (1869) 50
SACRED CHORUS BOOK. White and Gould 2.50
WORLD’S PEACE JUBILEE CHORUS BOOK (1872) . .75
LYON & HEALY, Chicago.
A Catalogue, describing the above, and about 1,000 other Hooks published by Oliver Hitson <£• Co., will be sent free ,
post-jmid, on application-
K.ENDAA COMPLETE SCHOOL FOR THE CLARINET.
CONTAINING
PROGRESSIVE EXERCISES, MARCHES, QUICK STEPS, WALTZES, POPULAR MELODIES
JIGS, SOLOS, AND DUETS, WITH VARIATIONS.
MANY OF WHICH ARE COMPOSED EXPRESSLY FOR THIS WORK, AND OTHERS SELECTED FROM THEBEST EUROPEAN MASTERS. THIS BOOK IS BETTER CALCULATED FOR SELF-INSTRUCTION
THAN ANY EVER BEFORE PUBLISHED IN THIS COUNTRY.
rz..^ i °j
BOSTON:PUBLISHED BY OLIVER DITSON & CO., 277 WASHINGTON STREET.
NEW YORK: C. H. DITSON & CO.Entered according to Act of Congress, in the year 1851, by Oliver Ditson, in the Clerk’s Office
ot the District Court of the District of Massachusetts.
J
ADVERTISEMENT
The Clarinet has long been considered by the whole musical profession as the most beautiful of wind instruments. In Europe
it is very generally cultivated, and it is probable that in the course of a few years its merits will procure for it and equal degree of
attachment from American amateurs;for surely a tone that nearly rivals the finest human voice, and an extent of octaves that may
vie with the ample range of the violin, are excellences that must at no distant period share a considerable portion of popularity.
It has been the Publisher’s aim o render this work a complete system of self-instruction. The lessons and exercises are here
laid down in a plain and easy manner, and adapted to the wants of those who have not the means of obtaining the instructions of a• A ,
professor. The amateur will find in this collection an unusual variety of music, which cannot fail to please; much of it has been
selected from the best European composers, and many of eur own countrymen, well known in the musical community, have con-
tributed to enrich the pages of this work.
The Publisher would here remark, that the Scales on pages 11, 12, and 13, are for the Eb, B, A and F Clarinets, as well as the
C Clarinet; and all music is to be played as if written for the C Clarinet. For instance, if playing in concert a Violin plays in the
key of Bb, and a B Clarinet is used, the Clarinet part is written in the key of C, &c.
In the selection of an instrument, the learner should be governed by the judgment of an experienced performer, that he may
possess one correct in tone and pitch. The following makers are recommended to the consideration of those who are desirous of
purchasing good instruments:—Graves & Co., Winchester, N. H.; Firth & Hall, E. Baack, Wm. Ronneberg, New York; C. Peloubet,
Bloomfield, N. J.; Walter Crosby, and James White, Boston; and R. C. Meacham, Albany.
Keith's Collection of Instrumental Music is recommended as an excellent companion to this work,as it contains music of every descnp
tion arranged in parts, for stringed and wind instruments,most of which is original and never before published.
ENTERED ACCORDING TO ACT OF CONGRESS, IN THE YEAR 1845, BY
CHARLES H. KEITH,IN THE CLERK’S OFFICE OF THE DISTRICT COURT OF THE DISTRICT OF MASSACHUSETTS.
CHARLES T. YOUNG, MUSIC *rtI«TEh
THE ELEMENTS OF MUSIC.KoV. 28, 1 900.
Music is made intelligible by the use of characters called Notes,written upon a Staff, which is composed of five Lines and theii
Spaces,each Line and Space being named from one of the first seven letters of the alphabet : A, B, C, D, E, F, G.
EXAMPLE.5th—!
4th4th M *
T, C 3d ad ^ 0 l^ a A 2d 2d 0 Z Ir~ “r F—
°
1st Space. 0 •
JJ—
. Space below. Q
When the Notes go above or below the Staff, Lines are added, called
Lcger Lines.
The following Scale shows the position and names of the Notes, in the Treble or G Clef.
^Each succession of eight notes is
called an Octave,as from A to A, B to B, &c. The distance of notes from each other is reckoned by Degrees and Half Degrees.
1 £
ft -fr :
00- -W
-- -
11 degr. 1 degT. 1-2 degT. 1 degi. 1 degT. 1 dogr. 1-2 degr,
There are, six principal kinds of notes. They are formed as follows, with their corresponding Rests. Each kind of note is nownamed according to its value, viz. Whole Note
, Half Note, &c. instead of" Semibreve, Minim, Crotchet, &c.
I 1
** _Sjr 0 * •
r11-1i
_ -| 'i
^1
WHOLE MOTE. HALF NOTE. QUARTER. EIGHTH. SIXTEENTH. tuirtyIecpnd.
4 THE ELEMENTS OF MUSIC
1 Whole Note -
VALUE OF THE NOTES.
,is equal in length of time to
2 Half Notes which are equal to
4 Quarter Notes
Eighth Notes - 0 0r—f
—
e 0 0 0— 0—
—
0
16 Sixteenth Notes 0_0 0 0 0 0 0 0 0___0 0 0 000iii i i i i i i i ^ -—32 Thirty-second Notes
•j
A Dot placed after a Note adds one half to its original length;a second Dot added to the first, is reckoned half as long as the first
If a longer duration of sound is required, Notes are connected with a Tie,as follows, and are performed in one continuous sound.
DOT. DOUBLE DOT. TIE.
Rests may be dotted and double dotted, like the notes which correspond to them.
•n passages of notes marked Legato,or thus, ^ ^ each note must be sustamed its full length, and be connected with the oth
••*s ui the smoothest manner possible.
Jn Staccato passages, marked ’ ’ ’ ' or* * * * the notes are not sustained their full lengtli, but are performed in a distinct
•mu unconnected mannerA Hold. thus. ^ Dlaced above or below a Note > r UesL prolongs it at pleasure.
TO ELEMENTS OF MUSIC
The Double Bar| j
marks the end of a strain, or conclusion of a piece.
The Dotted Bar ‘|j
* denotes the repetition of the foregoing and following strain.
When marked thus,*
j j
orJ j
* the strain on the side of the dots only is to be repeated.
This Sign .S* refers to a passage or strain, to which the performer must return.<5> 0 0 0 0 _ 00000000
Abbreviations,thus, ! are played as and as &c.
The Crescendo
The Swell «=cis executed by commencing soft and increasing the tone. The Diminuendo z=~ is the r*
is the Crescendo and Diminuendo united.
Single Bars,thus,
TIME, AND ITS DIVISIONS,
divide music into portions of equal value, called Measures.
There are two principal kinds of Time ; Common Time, which contains two or four equal parts in each measure; and Triple
Time, which contains three equal parts.
Simple Common Time, marked thus, C or(fc >
contains two Half, or four Quarter Notes in each measure. And that marked
thus, ^ contains two Quarter, or four Eighth Notes hi each measure.
Compound Common Time, marked
ains six Eighth, or two dotted (
Simple Triple Time is marked
6 That marked
q qCompound Triple Time is marked ^ and ^
^ contains six Quarter, or two dotted Half Notes in each measure,
contains six Eighth, or two dotted Quarter notes.
3 3 an(j3
2, 4,dnd
8.q
The figures ^ &c. indicate fractional parts of a Whole Note;the lower figure indicates the number of parts mto which
it is divided, and the upper figure the number of parts taken to fill a measure.It Common Time, a measure has two accented Notes, viz. the first and third, and two unaccented. In Triple Time, a mea-
pure has but one accented Note, viz. the first
THE ELEMENTS OF MUSIC.t;
Beating or Ma. Ihiu. with correctness and precision, is of the utmost importance. In beating (Jonnuv. lie handmuM. descend at the beginning of every measure (marked D), and rise at the middle (marked U)
EXAMPLES.COMMON TIME, FOUR QUARTER NOTES IN A MEASURE, OR THEIR EQUIVALENT ,'N OTHER NOTES OR RESTS
1 2 3 4 1 2 3 4DU DUTWO QUARTER NOTES IN A MEASURE.
U DUDCOMPOUND COMMON TIME, TWO DOTTED QUARTER NOTES IN A MEASURE
ft8-
i
D2U
1
D
£ £-SZ.
1D
2U
1 3D U
The three other kinds of Compound Common Time are seldom used.
In beating Triple Time, the nand or foot descends at the first, and rises at the third part of the measure.
EXAMPLESSIMPLE TRIPLE TIME, THREE QUARTER NOTES IN A MEASURE THREE EIGHTH NOTES IN A MEASURE.
152
9sf 1
** M ‘ #
1 2 3D U
COMPOUND TRIPLE TIME, NINE EIGHTH NOTES IN A MEASURE.
9 ft W~0~M 0S f-0-g— =Ff-i m
Up 0 **
f
i
—
r-r~izri
—
a —(g z 0 * p • LL qThe is seldom used.
3U
notes
Q0 M 3
When a figure 3 is placed over three notes, they are called Triplets, f f J~—f~0— and are to be played in the time of two
3S of the same kind. L-*^vuv.^n a figure G is placed over six notes, they are to be played in the tune of four.
THE ELEMENTS OF MUSIC 7
SHARP, FLAT AND NATURAL
The Notes, as written upon the Staff in their original and simple state, (Key of C,) are called Natural. Any Note may have ts
pitch altered by means of a Sharp or Flat.
A Sharp( # )
elevates the pitch of a note before which it is placed a semitone, or half a degree.
A Flat(b )
depresses or lowers the note a semitone or half a degree.
A Natural( ^ )
restores a note which has been altered by a Sharp or Flat, to its original tone.
A Double Sharp(x
)raises the pitch of a note two semitones. A Double Flat
(bb )
lowers a note two semitones.
Sharps or Flats placed at the commencement of the Staff, affect every note throughout the piece, of the same name as tin* lines
or spaces upon which these characters stand. Those placed before any note in the course of the piece, are called Accidental
;
they
affect all notes of the same name (letter) through that measure only, unless that measure ends, and the next one begins with that
note;in which case the accidental # or
[,is continued into the next measure.
MAJOR AND MINOR MODES OR KEYS.
The fundamental note of every key is called the Tonic or Key Note.
Every piece of music is written in a particular Key. The principal keys in the Major Mode are the following, viz. $ is the Keyof G
; #£ Key of D; ### Key of A
; ###
#
Key of E
;
b Key of F
;
^ b Key of Bb
;
|,b
[,Key v f Eb
;b b b Key of Ab.
The difference between the Major and Minor Key, is a Minor Third, (three semitones.) The Major Third contains two wholetones, (four semitones.)
EXAMPLES.MAJOR THIRD. SCALE IN THE KEY OF C, MAJOR MODE.
9 _ A ilA *Mill
9 W 9 ~39 ^ IT
S3 © ^ ° © *21
_ _ ^ & G © ^ _r-
— s ^ ^
The Third in the Minor Scale, contains one whole tone and a semitone.
MINOR THIRD. . • SCALE IN THE KEY OF A, MINOR MODE.
-fj1 1
— gj- r-^°- ^ a—= ,i 1 i 9 rri m 9 ^ G & © tr)
K) f — 4 §*—
f
r — © &-
v1—— + 1 1. J
The relative Minor of a Major Key has the same number of Sharps or Flats, .and is found one Minor Third below the Key Note
8 / THE* ELEMENTS OF MUSIC.
GRACES, OR EMBELLISHMENTS.
The principal graces or embellishments in music, are the Turn,the Shake
,and the Appoggiatura, which are explained id the
following Examples:APPOGGIATURA. TURKS.
AS WRITTEN
Ii P ?=?=
idi
SYNCOPATION
Is when the unaccented part of the measure is tied to the following accented part.
AS WRITTEN& £ mTHE EFFECT.]$=sy3i 1Z*
£ s
MAJOR SCALES.
THE ELEMENTS OF MUSIC*RELATIVE MINOR SCALES.
IO MAJOR.
m m m A MINOR.
f= l
,. jj.Jf
E MAJOR.
rM 5 iMINOR.
3Pt
F MAJOR
a '
»— -
*'l*~ m _rrr^
alN0R.
-J - ^—1
mt ir
—1—
—
- • r ^ ^j- : -
•7 S 0 0.. * *-f=t—* 0 0- 0-
bH MAJOR.
ff:=C. _l
—
iG MINOR.
P=£
IO INSTRUCTIONS FOR THE CLARINETThe Clarinet should be held as near
as possible in a similar position to that
of the figure in the engraving, and care
should be taken not to hold the instru-
ment too tigh f The thumb of the
right hand should be placed betweenthe first and second fingers
;and that
of the left hand should be placed be-
low the key marked 13. The first
finger of the left hand should coverthe hole nearly over the key marked13 ;
the second finger should coverthe second hole, and also be preparedto use. the key marked 10; the third
finger should cover the next hole, andbe prepared to use the key marked S
;
and the fourth finger should cover the
key marked 7, and be prepared to act
upon the two long keys marked 1 and2. The first finger of the right handshould be placed over the fourth hole,
and be ready to act upon the two longside keys marked 9 and 12 ;
the secondfinger should be placed over the fifth
hole, and be ready to act upon the keymarked 5 ;
the third finger should beplaced over the sixth hole, and be rea-
dy to act upon the key marked 4 ;and
the fourth finger should be placed overthe hole on the bell joint, and be pre-
pared to act upon the keys marked 3
and 6. The thumb of the right handbeing the chief support of the instru-
ment. ought to be moved as little as
possible.
The fingers should be a little curved,
in order that the first joint ofeach mayfall perpendicularly,—producing the
effect of a hammer. The observanceof this will not only increase the vibra-
tion of the instrument, but will pro-
mote the system of expression, andconfer rapidity of execution, providedthe fingers are not elevated at too
great a distance from the holes.
A good embouchure on the Clarinet
is an object ofthe greatest importance,
as it is the only source from .whencea pure and flexible tone can be pro-
duced. To obtain this, it is necessary
that the mouth-piece be placed about
half an inch between the lips, taking
particular care that the teeth do not
come in contact with the reed. At-
tention should likewise be paid to the
choice of reeds. Too soft a reed pro-
duces a thin tone, disagreeable to the
ear and void of effect, and in fact de-
stroys the proper tone of the instru-
ment. On the other hand, too hard
a reed fatigues the chest, wounds the
lips, renders the sound unequal, andoccasions the wind to escape at both
sides of the mouth-piece, thus dimin-
ishing the column of air which should
enter the Clarinet
INSTRUCTIONS FOR THE CLARINET 11
SCALE FOR A CLARINET WITH FIVE KEYS. u -i . .. . ### r f- :
f¥ 3f fTy —
1—i
—
;—r— -P-TT-! -1—
i
1—
i
1 —1
—
•
6) —i—i—f—1—!
—
— - ?-H - T^Mr V"1
. T : : : : : : : :
-g# —0—f-gy — -7-1 f— 1 1 7-7 7- 1 — 7 T—7 7 7 ij— 1 7 p-
lit Eeypr r r f r r f
/•
1 r r r
'
r r r.- r0
P0 0 0. 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
3d Key •
rf1 r f r r r r r r r r r r r r
0 p •
r r r r r•
1 r r r r r rp
r p r1*
r PThumb# 0 0 22 22 22 22 22
22 0 22 22 22 22 22 22 o' 22 22 #
22 <2>
22 22- 0 22 22 22 22 22 22 <S> 0 0 0 0 0 0 0 0 0 22 22 0 22 22 • 22 # # 22
22 0 22 22 <S> 22 22 22 <2 22 22 22 O 0 <2- 22 22 22 # 22 * 22 <2
22 22 22 22 22 22 22 22 22 22 22 22 22 22 0 22 22 22 22 22 22 0 22 22 22 22
3d Fin 0 0 0 # 0 0 2? 22 # 22 22 22 22 22 22 22 22 0 0 0 0 0 22 # 0 <2! • 22 22 <5> 22 0 22 22 22 <2>
1th Fin# 0 0 * © o <22 22 22 22 22 22 22 22 2? 22 22 <2* 22 O 0 0 0 22 2? 22 22 22 22 <2 22 22 22 22 22 O <2> 22 22
3d Key J j j j 0 J J P J J1
d J J J1
• J J J•1
4 J ji
4 J 0 J J1
• J J J i1
d1
d1
d J J J J•
4th Keyd |
i
•i 0 j J J J J J J J J J J J J J J J J j 0 J 41
d J J1
J1
d J J J J•I
d J J J J
6th Key J 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 J 0 0 0 0 0 . 0 0 0 0 0 0 0 0 J 0 J J J
Blow moderately for the low notes, and as you ascend the gamut or scale, blow stronger and pinch the reed with the lips
gradually.
INSTRUCTIONS FOR THE CLARINET.SCALE FOR A CLARINET WITH NINE KEYS.
iihhW9th Kef
f r•i f r r f r r r r f r r r r r jr
0 0 0 0 0 0 0 & <& 6 <& o a •
0•
0•
0•
0•
0•
0•
0
8th Kefp r r r r r r r r r r r r r r r r
6 0r f r f r r r r rr r rr r r r r r r r r r
ft
7th Kef P
Thumb# ; n 1
1
r# i
r0 i i i
r0
r0 j i
0
0 H i iiniiimm u 1 1 1
1
in0 0 0 0 0 0 00 ## 0 00 0 ## # 0 0 0 0 0 #
6th Kef-, —
%
—
%
o —
*
0 0 0“"Ti
00 ## 0 00 0“ft “ft"ft “ft
*0O-e
0 0“ft
0“•
# #—ft
# #
5th Key^ •_ «L ft- ft. •- o0 0
«.
0•_
0ft-
0•-
0ft-
0ft-
0 0ft- • •- ft- • ft_ft_
##•.-it -
0 0# 0«_o ^
0#ft ft-
0ft-
0ft-
#«-
#«-
#ft
0ft
let Fin* 0 0 0 0 0 0 0 0 0 0 0 00 0# ##0 0 00 0 0 # # 0 0 0
0 0 0 0 0 0 0 0 0 0 0
•
0 0* •0 0 00 0 00 0 0 # 0 # 0 04th Kef*
ft
1 1 r
ft
1
p
1
0 0r r r r r r r r r r f r r r r r r r° r® r rr r rr r r r
ft
1
p
1
ft ft
1
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 #0 #0 0 #0 0 00 0 0 # # 0 0 0
4th Fin# # 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 # # 0 0 0 00 00 0 00 0 00 0 0 0 0 0 0 03d Kef J J
f
j J o J J 0 J J1
e J J J J J J J J J J J J o J JJ JJ J JJ J JJ J J J J J J J
2d Kef J 1 J 0 J J J J J J J J J J J J J J J J J J 0 J J J JJ JJ J JJ J JJ J J J J J J J
led Kef J 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 J 0 0 0 0 0 00 00 0 00 0 00 0 0 J 0 J J J
The learner will observe that there are two ways of fingering the upper F, F#, G#, and A#. Also, that any note sharpedis the same as the next note above, flatted; thus, A# is the same as Bb, C# as Db, and so on through the scale.
INSTRUCTIONS FOR THE CLARINET. 13
^ 7« -W\ n3th* j»
^» j» a
p p ftpi
. ^ p • • ft p p p Q
SCALE FOR A CLARINET WITH THIRTEEN KEYS.
fT f"T:' f ft
r r r r
r r r r
5th Key • rf“® n ^ r» w •
2d Fin • * * • ## #4th Key~» "» °
3d Fin *
4th Fin# #
Id Key
2d Key
l«t Key
J J J o J J J
0 J J J J J
0 0 0 0 0 0
r r r r r r r r r 0 0 0 0 0 0 0 A 0 fo 0•
0•
0•
0•
0•
0•
.
0•
0
r r r r r r r r C f r r r r r r rr rr r rr r r r ra
1 r r r r r
r r r rpi r r r r r T f r r r r r r r r r
<•
r r r r r r r r r
i ir0
r#
r# 0 5
0
0 5r
0
p
;r0 ; j
r#
r# u U iUi r
#r
0r0 i
r# i
a
#
0 0 0 0 0 00 00 0 00 0 00 # 0 0 0 0 0 #
r r r r f 0 r r r r r r r r r r rr, rr r rr r rr r 0 r r •r r r
0 0 0 # # # 0 # # ## ## 0 00 0 *0 0 0 # # # # #o a -a a a ~a ~a -• a • • ^a ~a "a “•"a ~a • ~~0 -W~9 O-i • ~a a -a a a
0 0 0 0 0 0 0 0 • 0# 0 0# 0 0 0 # # 0 0o a o a. o a. a • a • • •
.
• a_ • 0 • 1.0 • a. a a a a a a_
0 0 0 0 0 0 0 0 0 0 00 0 0 # 0 # 0 0
«h» rf-» J-
»
J-* J-4 «n» /» /» rf“» J • «r» j-* «r» *-•
0 0 0 0 0 0 0 0 0 0 O' *0 0 00 0 00 0 0 # 0 0 0 0~-a “a ~a "a Hi 'a • ~a "a • • • a a • »o a a-a - • a~a a a a a 'a ~9 a
0 0 0 0 0 0 0 0 0 0 # 0 # # • 0 #0 #0 0 #0 0 00 0 0 0 # 0 0 0
0 0 0 0 0 0 0 0 0 0 # 0 0 0 0 0 00 00 0 00 0 00' 0 0 0 0 0 0 0J
1
j J J J J J J J j jI
4 J o j jj .J J JJ J JJ J J 0 j J J
J J J J J J J J J J j j 0 j J J jj JJ J JJ J JJ J J J J J J J
J0 0 0 0 0 0 0 0 0 0 j 0 0 0 0 0 00 00 0 00 0 00 0 0 0 0 0 a4j
'
The 6th key is used with the little finger of the right hand, and produces the same notes as the 5th key.
i4 INSTRUCTIONS FOR THE CLARINET.BEATING TIME
In the performance of music, correct time is of the utmost importance, and the pupil must beat or mark time with the foot, slightly
but promptly, in performing every piece. See examples on page 6, and the following.BEAT FOUR IN A MEASURE.
There are three kinds of Articulation, viz. the Slur, marked thus which connects two or more notes together; the Staccato,
marked thus i i i i t », and the Legato, marked thus rTTTTv- The method of Tongueing is as follows: stop the aperture between the
mouth-piece and reed, with the tongue;
after which, draw back the tongue so as to allow the wind to pass into the instrument, at
the same time pronouncing the syllable “ Tu.”The Slur is executed by tongueing the first note. The lips must be contracted slightly, but not too much, as it will have a ten-
dency to smother the sound.
—
Example. i
The Staccato should be executed with the greatest exactitude in making the tongue and fingers act together; be careful to raise
the finger at the same time that the note is tongued. It is necessaiy to press the lips, and tongue each note with promptitude andvigor.—Exan ipie.
o T i1 »
‘ ‘
* » ’ -0- -0- ' '
•Jj 'VT5
INSTRUCTIONS FOR THE CLARINET. 15
The Legato should be performed with less force, and the notes should be blown with a looser lip, than is used in the foregoing
example.
—
Example.
In playing the Clarinet, it is necessary to avoid blowing from the throat or tne chest, to supply the wind necessary for the articu-
lations. Those who blow from the throat, cannot execute rapid passages, because in that organ there is not sufficient rapidity of
motion to agree with the fingers. Those who play from the chest, fatigue themselves, and are never able to command the tone.
The tongue is the only organ that can, by its facility of motion, give the proper articulation and expression to the Clarinet;those
who do not use it in playing, produce a cold, thin and monotonous sound, and will not improve much in execution.
i
INSTRUCTIONS FOR THE SHAKE.
The learner should commence by tongueing the first note, letting the finger act as freely as possible, until a sufficient equality in
the fingers is obtained and then progressively increase the rapidity until the Shake is sufficiently brilliant.
t=^-^=F=f=- -f—f- r 9 f 9 f~9 - *-• -* * * • * » * » * • 9 • 9 =PP-+- -1
VI
i r r >; j 1 -S^**0%t**lJM**M —
Lt
A greater force should be given to the note on which the Shake is made that to any other, which gives it more nerve and equality.
tr m 0 r tr 4% 0\ j o e 0 r 1 0 9jr O 0 9
i ;r r
' ^ a "" 9 "
fiPl 4 r 1
:i_r
—
!
—
The Shake employed in the following example is called a Close Shake.
16 INSTRUCTIONS FOR THE CLARINET.EXERCISES ON THE SCALES.
ftn A 7 /F T -fp~r rtf 1r T
-.—\——
1
Ii"~l
“ ^• F* 0 0 9 0—JN
/l p , # i P r _L—u—* —
—
1 1 A _ 0 ~ - 9 0 0 9 r _ tC MAJOF H Y^7 M J • *
l1 —
«
1 j j 0da 9 9 r r 11-ft; j 0 9 »—1
.. -r#_s irf 1 1 nr^rt- _ tA* AL-'
""•V (# k. 90 A
a 7 bii 0.
##„ vs, w X^_ ^~~*x*_
i i* ^ Ti* ^ ^ 0 7 1 1
^SL 0ft; l
—
°
m irSi —n* la#_~9~—0—r~; ___ _ ~n~—rz 9—
.
9 ~a “tTrV
SCALE I]
A MINOI
A
f\ ^—v. u.-## 1*" b#u^
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si y. r»fff T^ pATP * 1 1 LKiL —1 1
n Tu-J 0 r '•x r • k J, t^i r 9 9 9L ft; r j J&*#9 s*±L 1 ^t0 a n Ftr__J_
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1
If-
A
m * n + 0 tr 0 u.*9~0 ^ ~i r _iL
ft; m m 0) !;Af n1 ~ 0 - 50 - 0 1 1 1 1
1
V •
SCALE 1]
n \± r— « • (•'f # )•
3' 1 • ^m fcv,
nt y^... . . ._. 1' r r*r a a r
1
_pM5TrN A r> .
, j j 0 91 1
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G MAJOF
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1 r r ‘ « - • - iM rn ' *00 rL ft; rni Ti * » Lx2 9 9 9 9
1 n .
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.-3 ^ ^ ^ ^/ N
^
^
•J • • _JL i
Ti' iHi -’ a n H a HT1 m T 1 J ^ 11Tt^ 9T0 9 r T^ar ^ru i ^ 9 J _r~ . i . . 1 rT ^ir l>k * **
| 1 | ^ || W " w z w 9 # , ^ 1
1
a?: l™™™1 |
"1
1—L- —1
• # # jE_ ® 1
1
—^ # #0 0
SCALE I]
E MINOU
o u a
1 1 ) .. 0 0Z 1' A r* J&0*? ^*&0 a rn 1 J - 1
a—
0
fTl * • '
J “'—
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0 r f 0 £0 um 1 # p J
j r l t 1 -ff* g 5*~ _. . » 1^ J r - a
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r?
INSTRUCTIONS FOR THE CLARINET.^ a
IT
SCALE IN
B MINOR.
*rfif™-
rrhi—n*ra~
J=— !
2= *i—Pn -1. ifJ~
& ——* r 0
SCALE IN
A MAJOR.- .: 2&F 3 :qtro-I- ^ <J- . 1 Jj— tt±b=l
SCALE
F# MINOR.?
^ *— - £r&
—
Q-J- «^p5=- -s§=a--^- J^-Uf^———it L=^jj-u-— i
n%i - r *= «=3p= * - 0
^- ~L Jr^
6)—
^
aL-V W '?.'L #“
-
—-#-- F #-
18
SCALE IN
F MAJOR.li
INSTRUCTIONS FOR THE "CLARINET.
m&ius1
.
i w-t~rf r r 1
* N r"L .. * r m - r *wl 1 4 u- * J ^ ' 'P=^? —jS\—'
I "I 1J -fe* ' ‘
E
—^ ^ #
v' *' '*
-M -
.
INSTRUCTIONS FOR THE CLARINET. 19
SCALE IN
Eb MAJOR.I I
1 LJ i \- *
H*' f1 ^ f -£
5mt
3 3
sk~tr
DICTIONARY OF MUSICAL TERMS.
A. An Italian preposition signifying at, &c.Accellerando. Accelerating.
Adagio. Slow.Affettuoso. Tender and affecting.
Allegretto. Less quick than Allegro.Allegro. Quick.Allegro Moderato. Moderately quick.Allegro non troppo. Quick, but not too quick.Allegro Vivace. Very quick.Amoroso. Affectionately, tenderly.
Andante. Gentle, distinct, and rather slow.Andantino. Somewhat quicker than Andante.Arpeggio. N t together but in quick succes-
sion.
-1 tempo. Return to the time previously ob-served. ' •
Bis. To be played or sung twice.Brio. Fervor, warmth, ardor.
Caiandc. Softer and slower.
Cantabile. Graceful, singing style.
Coda. An end or finish.
Coll’ Arco. With the bow.Con Expressions. With expression.
Con Spirito. With animation, spirited.
Crescendo. To increase the sound.Da Capo. Begin the strain again, or from
the sign. ,
Decrescendo. To diminish the sound.Duetto. For two instruments or voices.
Fine. The end.
Finger Board. That part of the Violin onwhich the fingers press down the strings.
Forte, or /. Loud.Fortissimo, or ff. Very loud.
Forzando,fz or >. With sudden force.
Ciiusto. In just and steady time.
Grave. Very slow and solemn.Grazioso. Smoothly and gracefully.
Lamentevole. Slow and plaintive
Larghetto. Not so slow as Largo.
Largo. Slow and solemn.Legato. Close, gliding, connected style.
Lento. Slow.Maestoso. With dignity, majesty.
Mezzo. Half.
Moderato. In moderate time.
•Afon. Not.Pastorale. A graceful and easy movement
in 6-8 time.
Piano, or p. Soft-
Pianissimo, or pp. Very soft.
Piu. More.Pizzicato. Snapping the strings.
Presto. Quick.Quartetto. For four instruments or voices.
RaUentando. Slower and softer by degrees.
Ritardando. Slackening the time.
Scherzando. In playful style.
Siciliano. A movement of a light and grace-
ful character.
Solo. For one instrument or voice.
Sostenuto. To sustain the soundSpiritoso. With animation.
Tacet. Be silent.
Tail Board. The article to which the strings
of a Violin are attached, immediately be
hind the bridge.
Tasto Solo. Without chords.
Tempo. Time.Tempo Giusto. In exact time.
Tenuto. Hold on.
Trio. For three instruments or voices
Tutti. All the instruments or voices.
Vigoroso. In a bold and energetic style
l 'trace. Quick and cheerful.
Volti Sabito. Turn ever quickly.
22 CITY GUARDS’ DUICK-STEP.
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WALTZ FRO M MASANIELLO, For Three Clarinets.
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CONTENTS OF CLARINET INSTRUCTION BOOK.Elements of Music 3
Time 5
Exercises in Beating Time 14
Major and Minor Scales 9
Instructions for the Clarinet 10
Scale for five keyed Clarinet 1
1
” eight” ” 12
thirteen ” 13
Articulation 14
Instructions for the Shake 15Exercises on the Scale in dif-
ferent keys 16
Dictionary of Terms 19
MARCHES.
Cleveland 43Der Freischutz 42Dunbar’s 46Handel’s 47March of Austria 44
QUICKSTEPS.
Aurora 62
Bayadere 20
City Guards’ 22Cracovienne 43
GalopadeGibson’s
51
21
Henrietta 23
Otis’s 21
Sutton’s 22
Trumpet 20
White Lady 24Yorktown 23
WALTZES.
Bailey’s 39
CobourgHawkes’
4041
Military 38
Rose \Sprague’s /Snuff Box 38
Swiss and Stantz 40
POPULAR MELODIES.
Angels’ Whisper 32
Auld lang syne 50
Billy Barlow\*37
Come brave the sea /Carnival of Venice 34
Home, fare thee well 32
Home, sweet home 52
Hours there were 36
John Nott 34
Oft in the stilly night 50
On the lake 32
Pat was a darling boy 33
Portuguese Air 34
Rose tree in full bearing \35Roslin Castle
Rousseau’s Dream 50
She wore a wreath of roses 35
Still so gently o’er me stealing 33
The Dream is past 36
’Tis all but a dream 37
SCOTCH MELODIES.
Daintie Davie 26
Hopeless Lover 27
Logie o’ Buchan 25
Lothian Lassie 25
My lodging is on the cold 27
Open the Door 36
Quaker’s Wife 27
Roy’s Wife 27
This is no my ain house 25
Wee wee man 27
What’s a’ the steer, kimmer 36
YelJovv haired Laddie 26
ETHIOPIAN MELODIES.
Dar he goes— Old DadDinah Smash
30
l
Gwine ’long downJolly Raftsman
jb
Ledder Breeches 30'
Marty Inglehart Jig 28
Moze Haymar Jig 29Negro Jig 28
Nigger on the Woodpile 29Old Joe 29
Pea Patch Jig 28
SOLOS, DUETTOS, &c. <
Air. with variations 60
Alberti Galop 51
Chinese Quadrille 54
Duetto by Berbiguier 53
Duetto by Knight 50
Duetto by Kufiner 64
Duetto by Whipple 63
Hillside Waltz 5L
Java March, with variations 59
Kuffner’s March 55
Prince Albert’s March 52
Romance by Walckiers 58
Three Duettosby Rautenkolb 56
Waltz from Masaniello 61
Waltz by Hummel 62
'
A Page full of Excellent Books for Choirs, with a few that contain the Cream of the Operas
Church Music Books.It is a mistake to suppose that the demand for the more
successful Church-music books ceases, after the first great sale.
They continue to be called for, for many years. Indeed really
good music cannot wear out.
American Tune Book By 500 Editors. 1.50
At intervals of years, the “ most successful tunes ” havebeen transplanted into this book, which therefore contains avast amount of approved Church Music.
Ancient Lyre Chas. Zeuner. 1.50
Choral Tribute L. 0. Emerson. 1.50
Church Choir Muenscher. Bds. 1.60
Diapason G. F. Root. 1.50
Father Kemp s Old Folks’ Tunes 40
Grace Church Collection King. 2.25
Greatorex Collection Cloth, 1.75, Bds. 1.50
Harp of Judah ....... L. 0. Emerson. 1.50
Jubilee W. B. Bradbury. 1.50
Jubilate L.O. Emerson. 1.50
Key Note W.B. Bradbury. 1.50
King’s New Collection King. 2.25
Modern Harp White & Gould. 1.50
New Carmina Sacra L. Mason. 1.50
Offering L. H. Southard. 1.50
Oliver’s Collection of Church Music 1.50
Temple Choir Mason & Bradbury
.
1.50
Trinity Collection. Hodges & Tuckerman. Cl. 2.75, Bds. 2.50
Standard L. 0. Emerson & H. R. Palmer. 1.50
Of these sterling books, i/i comparison with many others, itmay be said, those have gone forth “ by thousands,’"’ but these“ bv tens of thousands.” Each author has his admirers, andall have a good record.
Collections of Anthems, Choruses, Mo- Faust Boards 2.00, Paper 1.23
tettes, 8cc.Fidelio Beethoven. “ 2 .00
,“ 1.25
Lucia di Lammermoor Donizetti. “ 2 .00,
“ 1.25
Baumbach’s Sacred Quartettes. .Cloth 2.75, Bds. 2.50 Lucrezia Borgia « “ 2 .00,
“ 1.25
Baumbach’s New Collection
—
Cloth 2.75, Bds. 2.50 Marriage of Figaro. .
.
“ 2 .00,
" 1.25
Boston Academy’s Collection of Choruses. ... 2.50 Martha “ 2 .00,
“ 1.25
Buck’s Motette Collection • Cloth 2.75, Bds. 2.50 Norma “ 2 .00,
“ 1.25
Buck’s Second Motette Coll Cloth 2.75, Bds. 2.50 Sonnambula “ 2 .00,
“ 1.25
Bradbury’s Anthem Book 2.0ft Traviata
Choralist. In 23 Nos. Each, Trovatore “ 2 .00,
“ 1.25
Chorus Wreath. Sacred & Secular Opera of Dinorah, or Pardon de Ploermel.Church and Home Cloth 2.75, Bds. 2.50
Constellation Collection of Anthems 1.50
Convention Chorus Book 60
Harmonia Sacra White & Gould. 1.50
National Chorus Book 1.50
New Oratorio Chorus Book 1.38
Peace Jubilee Choruses. (1869.) Sacred & Secular.
Paper 50 cts., Cloth 1.00, Bds ’.75
1.60
2.50
,75
Sabbath Guest Emerson & Morey.
Sacred Chorus Book White & Gould.
World’s Peace Jubilee Music. (1872)
Fine Edition of Standard Operas.[Complete Operas, with all the Recitatives, &c., and Foreign
and English Words.]
Don Giovanni Mozart. Boards 2.00, Paper 1.25
Ernani Verdi “ 2.00, “ 1.25
English and Italian Words Meyerbeer.
Preciosa. English & German Words Weber.
Doctor of Alcantara. English Words . ...Eichberg.
Two Cadis. English Words Eichberg.
4.00
.75
4.50
4.50
Choruses from the Operas.
Forty-five Opera Choruses Bruce. 3.00
Opera Chorus Book 2.50
Operatic Bouquet. Bruce.. .Cl. 2.25, Bds. 2 .00, Paper, 1.75
The Opera. 14 Choruses. Each 225
Drrsox & Co. also publish the Librettos of almost all knownoperas. These librettos have a high reputation, and containthe complete words of the operas, Foreign & English, and alsothe music of the principal airs. No better companions for
visits to the opena. unless one should take the complete operas,
music and all. Price, each, 30 cts.
MAILED, POST-PAID, OX RECEIPT OF RETAIL PRICE, g’fll*
OLIVER DITS0N & CO., Boston. C. H. DITS0N & CO., New York. LYON & HEALY, Chicago,
X Descriptive Catalogue, describing the above and about 900 other books published by Ditson & Co., will be mailed free, post-paid, on application.
POLISHED BY
OLIVER DITSON & CO., 277 WASHINGTON STREET, BOSTON.
CHAS. H. DITSON & CO., New York. LYON & HEALY, Chicago
THE EMERSON METHOD FOR REED ORGANS. By L. O.
Emerson of Boston, and W. S. B. Matthews of Chicago. These gentle-
men have given their best thoughts to the compilation of this method;and
a glance only at the contents will be needed to prove that their efforts have
been crowned with success; and that they have managed to make a good,
instructive course the vehicle in which to convey a very large load of
good and interesting music. The work commences with a few simple direc-
tions, followed by a short “statement” of the elements of notation, Ac. Atpage 13 we find No. 1 of the exercises, as simple as simple can be, and filling
the length of one staff. At page Cl we find No. 159 (the last) of the exer-
cises, filling a full page, and a vast way beyond No. 1 in difficulty, but still
not hard enough to frighten the average scholar. Between Nos. 1 and 159
the exercises mount in difficulty by easy gradations. As soon as the pupil
can play them, he arrives at exercises which are tunes. A few of the remain-
ing pages have a short treatise on Harmony, also a number of specimens of
Interludes. About half of all the book, however, is filled with beautiful
pieces, very well chosen, that will please all;indeed, the book may be con-
sidered a capital collection of Reed Organ Music. Either as an Instruction
Book or as a collection of Musical Recreations, it is a first-class book, and will
not disappoint the purchaser. Price $2.50. Mailed, post-paid, for this price.
CHEERFUL VOICES: MR. EMERSON’S NEW SCHOOLSONG-BOOK.. It is sufficient, perhaps, merely to announce the issue
of this most promising book for schools. Mr. L. O. Emerson’s first book,
The Golden Wreath, sold so extensively, that it seems to have been
introduced everywhere. His second book, Merry Chimes, was also a de-
cided success. And ail who used these books will be curious to examine
this, which is likely to be superior, if anything, to its predecessors in popu-
larity. Price 50 cts. Mailed, post-paid, for this price.
THE HOUR OF SINGING. By L. O. Emerson and W. S. Tildex.
This truly worthy book has had sufficient trial to demonstrate its great value.
It is now used in a large number of High Schools, whose teachers will all
agree that the music is excellent, and excellently prepared for the instruc-
tor's hand. So that it is a thorough book to learn from, and a most pleas-
ing collection to sing from. Music is arranged in 2, 3, and 4 Parts, and in
a progressive order. The Higher Classes of Grammar Schools also,
that have received a regular musical training, can with profit use the Hourof Singing. Price $1.00, for which price it will be mailed, post-paid, to
any address.
Mr. Emerson’s former Church Music Books, HARP OF JUDAH, $1.50, JUBILATE, $1.50, and CHORAL TRIBUTE, $1.50, have not lost
their popularity, but are still in constant demand. Many thousands have been sold.
A. Descriptive Catalogue, containing brief descriptions of about 950 Dooks published by O, DITS02T & CO,, will be
tent free by mail, 2>ost-paid, on application.
FOR CHOIRS, SABBATH AND DAY SCHOOLS, AND SINGING CLASSES.
THE STANDARD. A Collection of Music, Sacred and Secular, for Choirs,
Singing Schools, and Musical Conventions. By L. 0. Emerson of Boston,
and II. R. Palmer of Chicago. This distinguished work may be said to
have been “sold before it was printed,” so secure are the two compilers in
their reputation. The book can hardly fail to satisfy those who use it. It
has a short but sufficient treatise on the “rudiments,” followed by a large
collection of pretty and progressive Songs, Duets, Glees, i&c., and these by a
fine collection of Metrical Tunes. The Anthem Department is unusually
full and rich. Price $1.50.
EMERSON’S SINGING SCHOOL. An excellent new book sometimes
comes on a community at a time when they are not prepared to receive it. It
is often the case when a new singing class commences, and the inquiry is
started, “ What book shall we use?” that most of the company present are
already possessed of “ last year’s books ” which are not by any means “ sung
through.” The prudent teacher, while he recognizes the necessity of “ having
something new,” is still fearful of putting a heavy expense upon his pupils.
What mast he do? Why, send for Emerson’s Singing School! It is
not expensive. It will be new to the school. It “fits in nicely” with any
other book. It has in it all that is essential to the carrying on of a class, —good elements, well arranged exercises, pleasing tunes for practice, &c.
;and
other books on hand may be retained for a change and variety in the exer-
cises. Or Emerson’s Singing School is quite enough to keep up the
interest of a class without the aid of any other book. Price 75 cts.
CHEERFUL VOICES. A School Song-Book. By L. O. Emerson. Thecheerful, merry voices of a great multitude of children are sure to be heard
singing these “cheerful” songs. Those who have tried Mr. Emerson’s pre-
vious books, The Golden Wreath and The Merry Chimes, will need
no urging to use a new book by the same author. Price 50 cts.
HOUR OF SINGING. For High and High Grammar Schools, Acad-
emies, and Seminaries. By L. O. Emerson and W. S. Tilden. This is
truly a worthy, practical book. A large part of the labor of compilation wasperformed by Mr. Tilden, whose experience as a teacher in some of our best
High Schools has admirably fitted him to know the wants of such schools,
and the proper way of supplying them. The music is very well selected and
composed, and is arranged in two, three, and four parts, and is properly
graded. Although designed for High Schools, it is also used with perfect
success in the higher classes of Grammar Schools that are systematically
instructed in music. Price $1.00.
SPARKLING RUBIES. A Sabbath-School Song-Book. By Asa Hulland II. Sanders. The young singers in Sabbath Schools need to be treated
occasionally to a new set of Sengs; and those contained in SparklingRubies are well calculated to bring out the ringing chorus of children’s
voices. A glance along the index columns will be quite sufficient to con-
vince one that the authors are sabbath-scliool men, and know how to select
interesting subjects. The music in this little book is very bright. Price 35 cts.
ALL THE ABOVE BOOKS MAILED, POST-PAID, OX BECEIPT OF RETALL PRICE.
!. H. DITSON & CO., New York. OLIVER DITSON & CO., Boston. LYON k HEALY, Chicago.
ESP" A Descriptive Catalogue, containing the Titles and Brief Descriptions of 1,000 Boohs published by Oliver Ditson & Co.,
vill be mailed, post-paid, on application.
WINNER’S NEW MUSIC BOOKS.Mr. "Winner’s little books have attained a vast popularity, not excelled by those of far more pretence. They are emphatieall
Books for the Million. For those who go thoroughly and systematically into music maybe reckoned by thousands; while tliosi
who wish to learn a little—just enough to enjoy sweet sounds of their own creation— are far greatir in number. For this larger class thebooks mentioned below are intended. But, since good music, though simple, is pleasing, they also serve as collections of pretty, easy musiafor any hands.
WINNER’S NEW SCHOOL for the PIANO.tt tt tt tt
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Price of tlie above, 75 cts. each.
MELODEON.CABINET ORGAN.GUITAR.VIOLIN.FLUTE.ACCORDEON.GERMAN ACCORDEON.BANJO.FIFE.FLAGEOLET.CLARIONET.CORNET.
Winner’s “ New Schools” are easy Instruction Books, In addition to the “Elements ofMusic,” they have descriptions of the various instruments, simple directions as to their use,
and large numbers of well-selected and popular airs for practice.
STRAUSS’ DANCE MUSIC. For Violin and Piano. $1.00.
PARTY DANCES. For Violin and Piano. 75 cts.
DANCE MUSIC. For Flute and Piano. 75 cts. A fine collection of popularHound and Square Dances, with the Fancy Cotillons, Figures, &c., all ar-
ranged in a plain and easy manner for both instruments, designed for parloramusement.
FLUTE AND PIANO DUETS. 75 cts. Consisting of Choice OperaticAirs, Standard Melodies, and admired Dances, carefully selected for practice
and pastime.
WINNER’S BAND OF FOUR. Easy Quartets for Violin or Flute,Cornet or Clarionet, 2d Violin and Violoncello. $1.00.
WINNER’S PERFECT GUIDE for the PIANO.“ MELODEON.
Price of the above,
Winner’s “ Perfect Gi
75 cts. each.
CABINET ORGAN.VIOLIN.FLUTE.GUITAR.ACCORDEON.GERMAN CONCERTINA.FIFE.FLAGEOLET.CLARIONET.
aides ” sell largely, and are considered by many to be tlie best of th«•‘self-instructors.’’ They include in a small space a great deal of information, and bav»plenty of scales, exercises, and pleasing melodies for practice.
WINNER’S PIANO PRIMER, MELODEON PRIMER, an
ACCORDEON PRIMER, each 75 cts., answer the questions wineconstantly suggest themselves to learners, and are very convenient aids tc
teachers and scholars.
VIOLIN AND FLUTE DUETS. $1.00. A new and elegant selectioi
of the popular melodies of the day, along with some of the most admiredOperatic and Ballad Airs, arranged as duets for the Violin and Flute, in aneasy manner for amateurs.
EXCELSIOR COLLECTION. • For Violin, 75 cts.;for Flute, 75 cts.
for Accordeon, 75 cts. These books are similar in arrangement, and con
tain a fine collection of Waltzes, Polkas, Galops, Reels, Jigs, and othe
Dances, with Popular Song Tunes, and other pleasing Airs.
UNION COLLECTION. Fof Violin and Piano. 75 cts.
Any of the above-named books will be sent by mail, postfree, on receipt of retail price.
C. H. DITS0N & CO., New York. OLIVER DITSOU & CO., Boston. LYON & HEALY, Chicago.
Descriptive Catalogue, containing brief descriptions of about 1,000 Books published by O. DITSOlf & CO., ivill b,
tent free by mail, jiost-paid, on application.
a— ^
—..=—ov=>'-crwer-st^r
—*— -*— -—~-‘G4r=^e=^e<=^-:^==x*=5c<=^c=rvx=TS^^ —<. -rr^r-5C(r raes'-rr. c<— ^—r^—^y.—-^>-^-7
Valuable Music Books published by DITSON & CO., Boston and New York.»>€©:
SE1TT, ZPOSTIF-AJIID, OUST RECEIPT OF ZPrFClORL
For the Piano-forte. Violin, Piute, Violoncello, Double Sass Harmony, Thorough Bass, Ac.
Mason & Hoadly’s Method. American or ForeignFingering . .
Richardson's New Method. American or Foreign 1
geringBertini's Method. Complete, $3.50. Abridged. . .
Child’s (The) First Music-BookHunten’s Method. Complete. 83.50 Abridged. . .
Winner’s New School Cor the Piano-forte . . .
Winner’s Perfect Guide for the Piano-forte.Plaid y’s Technical Studies. Cloth
,$3.50; boards
Burrowes’s Piano Primer- Cloth, 45 Cts.;plain .
Chopin’s Mazurkas n»d WaltzesClarke's CatechismFive Thousand Musical Terms .
Home Circle. Cloth, $3.00; cloth, lull gilt, $1.0'*; boardsPianist’s Album. “ 3.00 “ “ “ 4.00 ”
Piano-forte Gems “ 3 00 “ “ “ 4.00 “
Opera Bnuffe. “ 3.00 “ “ “ 4 00 “
Standard Operas. EachThe Tuner’s Guide
rampagno’,i’s A’lolln Method. CompleteMsteuian’s .Method of Modern Violin Playing .
Modern School for the Violin. FksskSDES . . . .
Winner's Sew School for the ViolinBerbiguier’s Met hod for the FluteW inner’s New School for the FluteW inner’s Bailee Music for Flute and Piano . . .
Party Dance s for Violin and Piano. By WINNERFlute and Piano Duets. By Wixni-rViolin and Piano Duets. By Winner .
10 1 ) Beautiful Melodies for the Violin. ....100 Operatic Mrs for the FluteRomberg's Violoncello. Complete, $3 50. AbridgedFriedham’s Instructor for Double Bass ....
Boston Academy’s Manual. By L. Mason $ 75Burrowes’s Thorough- Buss Printer. <0 cents. Com-
panion in 1 ’i imer 75
Man’s General Musical Instructions . 2 00Moore’s F.ncs clopttdia of dusk 0 0-’
Oliver’s Thorough Bass. Cloih,fi7; botirds . ..... 60Southard’s Thorough Bass and Harmony. ... 67Weber’S Musical Composition. 2 vols . ....... 6 00
Vocal Methods.
Brass Instruments. Bands and Orchestras.
Organ, Cabinet-Organ, and Melodeon.Modern School for the Organ. By Zundel .
Rink’s Organ School. New Edition.’ Complete. . .
Organist’s Por' "alio. 2 vols. Each, boardsOrgan Gems. By F. S. DaVEXI'okt. BoardsFifty Pieces for" the Organ. BATISTE. Boards . .
2.10 Easy Voluntaries and Interludes. Zundel.Clarke’s New Method for Reed OrgansCarhart’s Melodeon InstructorRoot's School for the Cabinet OrjaaRecreations for the Cabinet Orgau. Oloth . . . .
Winner’s New School for t'.tc Cabinet l*:,an . .
Zandel’s Melodeon Instructor
Arbttckle's Cornet Instructor $3 i
Burditt’s Preceptor for Bugle, Cornopean, Post-Horn,and Sax-Horn. Each i
Ditsnn’s Brass Baud Music. For Full Bund. 64 differ-
ent Airs, on Cards. Each Numb; r . . liQuintet Orchestra. Complete, $0.00 Separate Parts. 1 J
National Orchestra. 30 Melodies, for 5 or 0 inst’ts. EachNew Germania for 4, f>, or 0 instruments. Burditt . . . 1 ;
Terpsichore. Dunce Music lor 6 inst’ts. 17 Nos. Each .
“ for 18 “ 17 Nos. ’*.11
Bassini’s Method. Complete, $4.00. Abridged, 83.00.Tenor Voice $i00
Garcia's School of Singing. New Edition 5 00Mason’s (Dr. Lowell) baege Mus'c Charts. 2 Scries.
(Cannot be sene by mail.) Eaeli 8 OOPan scroll’s \ II C. $4.00. Abridged 1 00Standard Singing-School. E. H. SOUTHARD . ... 3 00VVllhem’s Method. Adapted to Schoolroom. By Hullah 60
Accordeon, Concertina, Clarionet, Flageolet, Banjc
Fife, Drum, Sic.
Glee Books and Part-Songs.
2 50
Guitar and Harp.Carcassl’s Method for the Guitar. $3.00. Abridged $3 00Curtiss’s Method for the Gnitar 300Ha« ilea’s New and Improved Method for the
Guitar 3 00Winner’s New School for the Gnitar 75Bochsa’s Instruction for the Harp 3 50
Vocal Music.Carmlna Collegensia. (College Songs.) Cloth, gm, $3.00.
Cloth $2 25Gents ofGerman, Gems of *acred, Gems of Scotch
Song. Each ; clolli, gilt, $4.00; cloth, $3.00; boards. . 2 60Moore’s Irish Melodies. Cloth; gilt, $4.00; cloth, $3.00;
boards 2 50Wreath of Gems. New. Cloth, gilt, $4.00; cloth, $3.00;
boards 2 50©••era Bouffe. Cloth, gilt, $4.00; clolli, $3.00; boards . . 2 50
0 Comic, 100 Irish, and 100 Scotch Songs. Each 60Silver Chord, Duets. Shower of Pearls, Duets andOperatic Pearls. (Gems from the Opera.) Each; cloth,
lull gilt, $4.00; cloth, $3.00; boards 2 50
Amph'on. Part-Songs, for Male Voices, in separate boofcs,with Piano accompaniment $5 00
Arion. Part-Songs for Male Voices, in separate books, withPiano nccoinpauinient 4 00
Chorus Wreath. Sacred and Secular 1 50Festival Glee-Book. By Root & Bradbury 3 00Gentlemen’s Glee- Hook. By Dr. Lowell Mason. . 150Greeting. I,. O. Emerson 1 38Mendelssohn's Four- Part Songs, $2.00. (Male Voices) 1 50New-York Glee and Chorus Book. Braubury. . 2 00Young Men’s Singing-Book. Root & Mason. ... 1 50
Psalmody, Anthems, &c.
American Tune-Book. (Cream of Amer. Church Music)Choral Tribute. L. O. EmersonGreatorex Collection. Cloth, $1.75; BoardsHarp of Judah. E. O. EMERSONJubilee. Wjl. B. BRADBURYJubilate. L.O. EmersonKey Note. BRADBUKYModern Harp. White & Goui.dNew Carmiua Sacra. Lowell Mason ........Offering. L. H. SOUTHARDTemple Choir. By Bradbury, Seward, & L. Mason .
Sabbuth Guest. New Anthems. Emerson & Morey.
$1 501 501 501 501 501 501 601 501 501 501 501 £0
Winner’s New School for Accordeon, Clarionet, Flage-olet, uud Fife. Each
Winner’s Perfect Guide for German Concertina . . . .
Buckley's Banjo GuideDulcimer InstructorArmv Drum and Fife BookDraper's Fife Melodies
Oratorios, Cantatas, &c.
1 60
1 00
Creation, $1.00; David, $1.00; Eli, $2.00; Elijah, $1.60;Judas Maccabeus, $1 06; Israel in Egypt, $1.00;Messiah, $1.00; Moses in Egypt, $2.25; Naaman,$2.00; Passion Music (Bach), $2.50; Samson, $1.38;St. Paul
Choruses. Creation, 75 cts.; Israel in Egypt, 7c cte.,Eli,
$1.25; Elijah, $1.00; Messiah, 75 cts.; Sloses in Egypt,60 cts.; Naaman, $1.25; Peace Jubilee Music, 50 cts.; Ros-sini’s Me.-se Solenelle, $1.25; Passion Music, $1.00;Samson. 90 cts.; St. Paul, $1.00
Classical Cantatas. As the Hart pants, 50 cts. ; Comelet us Sing, 50 cts.; Hear my Prayer, 00 cts.; Hymn ofPraise, 75 els.; Lay of tin* Bell, 75 cts. ; May Queen, $1.25;St. Cecilia’s Day, $125; Transient and Eternal 38
Easy Cantatas. Belshazzar’s Feast, 50 cts. ; Burning Ship,85 cts.; Daniel, 50 cts.; Esther, 50 cts. ; Flower Queen,T5cts.; Haymakers, $1.00; Picnic, $1.00 . Pilgrim Fathers,50 cts. ; Spring Holiday, 75 cts.; Storm King, 38 cts. ;
Win-ter-Evemng Entertainment 1 25
For Schools. Song-Garden. Book I.50cts.; Book 11.80cts.; Book III. $100. Golden Robin, 50 cts.; GoldenWreath, 50 cts. ; Merry Chimes, 50 cts.; Nightingale . . . 50
Sabbath Schools. Glad Tidings, 35 cts.; Morning Stars,
35 cts. ;Apples of Gold in Pictures of Silver 35
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