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Full text of "Klers' violin repository of dance music : comprising reels, strathspeys, hornpipes, country dances, quadrilles, waltzes &c."

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THE GLEN COLLECTION 
OF SCOTTISH MUSIC 
Presented by Lady Dorothea Ruggles- 
Brise to the National Library of Scotland, 
in memory of her brother. Major Lord 
George Stewart Murray, Black Watch, 
killed in action in France in 1914. 
28(/( Jantiarii 1927. 



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IBook First.] KOHLERS' 

VIOLIN REPOSITORY 



DANCE MUSIC, 



COMPRISING 



%ih, Strat^spegs, %m\x^\%t^, €%mi%i ganas, 



QUADRILLES, WALTZES, &g. 



EDITED BY 

A. PROFESSIONilL PLAYER. 



■ OF SCOTLAND "H 

EDINBURGH: ERNEST KOHLER & SON, MUSICSELLERS, 11 NORTH BRIDGE. 

MORISON BROTHERS, 99 BUCHANAN STREET, GLASGOW. 

MARTIN, ABERDEEN. MENZIES & CO., EDINBURGH. 

J. CUNNINGHAM, DUNDEE. J. M. MILLER, PERTH. WILLIAM DBAS, KIRKCALDY. 

JAMES HORSBURGH, 73 GEORGE STREET, DUNEDIN, NEW ZEALAND. 

LONDON: CATTY & DOBSON, 14 PILGRIM ST., LUDGATE HILL. 



Digitized by the Internet Arciiive 

in 2011 witii funding from 

National Library of Scotland 



http://www.archive.org/details/klersviolinrepos01edin 



CONTENTS. 



Adelphi Polka, , 

Agnes Sorel Quadrilles, 

Alston Hornpipe— Clog Dance, 

Annie Schottisclie, . 

Anybody's Hornpipe, 

Atiiol Brose Strathspey, 

Bab at the Bowster, . 

Banks of Allan Water, 

Beauties of the North— Strathspey, 

Bishop Auckland Flower Show, 

Blacksmith's Hornpipe, . 

Blaydon Flats' Hornpipe, 

Blue Bonnets— Centre Dance, 

Bob Chadduck's Jig, 

Bob Johnstone's Strathspey, 

Bob Johnston's Reel, 

Bottle Bank, 

Bridle March, . 

Bums' Hornpipe, 

Cage Hornpipe, 

Caledonian Quadrilles, 

Calton Valse, 

Cameronian Rant, . 

Captain Keeler's Reel, 

Chambers' Hornpipe, 

Clasper's Hornpipe, . 

Clog Hornpipe, . 
Clog Stop Dance, 

College Hornpipe, 

Colonel M'Bain's Reel, 

Countess of Sutherland's Reel, 

Craigellachie Bridge Strathspey, 

Craigellachie Lassies' Jig, 

Crazy Jane's Reel, . 

Dean Bridge, Edinbro', . 

Deil among the Tailors' Reel, 

Dram Shell Keel, 

Duchess of Atliole's Strathspey, 

Dunce Dings A'— Reel, 

Durham Rauger'a Hornpipe, 

Dutch Polka. . 

East Keuk of Fife, . 

East Nfuk of Fife, . 

Edinbro' North Bridge Hornpipe, 

Edinburgh Review WaltzeB, 

Eight Bells, . . 

Factory Smoke Hompipe, 

Fairy Dance, 

Fancy, The, 

Favourite Jig, . 

Fiddler's Cramp Hornpipe, 

Fife Strathspey, 

Flowers of Edinbro', 

Finch Bridge Hornpipe, . 

Fire-fly Hornpipe, . 

First of May Hompipe, . 

Francis Sitwell's Strathspey, 

Furioao Gallop, . 

Garb of Old Gaul, quick march, 

Geburstag's Yalse, . 

Gem Scbottische, 

General Garibaldi Reel, . 

General Garibaldi Strathspey, 

Gillie Galium Strathspey 

Gipsy's Hornpipe, . 

Gipsy's Hornpipe, 

Glen's Hornpipe, 

Great Eastern Strathspey, 

Great Eastern Reel, . 

Harvest Home, . 



Page. 

36 


No 

6 


39 




28 


4 


74 


9 


76 


10 


7 


1 


96 


12 


6 


I 


46 


6 


61 


8 


66 


7 


66 


9 


30 


4 


77 


10 


18 


3 


19 


3 


28 


4 


10 


2 


67 


9 


87 


11 


70 


9 


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91 


12 


47 


6 


80 


10 


46 


6 


86 


11 


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44 


6 


90 


12 


CO 


9 


78 


10 


79 


10 


62 


7 


69 


8 


66 


7 


86 


11 


08 


9 


47 


6 


45 


G 


89 


12 


64 


8 


65 


9 



Page. 

Haslam's Hornpipe, 63 

High Level Hornpipe 8 1 

Highland Whisky Strathspey, . . 40 G 

Higliland Fliug 54 7 

Highlands of Banffshire Strathspey, . fll 12 

Hop Bitters Hornpipe S i 

Hornpipe 14 2 

Hompipe 53 7 

Hornpipe 66 9 

I'll Kiss the Bonnie Lass— Reel, . . 59 s 

Inveraray Castle 84 11 

Irish Reel, 58 8 

JackyTar, 67 9 

Jas. Soutar of Plains' Jig, . . . 43 6 

Jenkin's Hornpipe, 66 fl 

Jenny's Bawbee Reel, .... 7 1 
Jenny's Bawbee Reel (New), . . . 73 10 
Jessie the Flower of Dunblane Hornpipe, 86 11 

Jig 61 7 

Jocky Dance, 46 6 

Johnny Cope Reel 23 3 

Johnny Millicent's Hompipe, . . 53 7 
Johnny Cope, variations, ... 57 8 
John Paterson's Mare goes Foremost, . S2 11 
Jubannu's Marcio Gallup, i. . . i;{ 2 

Keep it up Reel, 58 8 

Kemp's Hornpipe 52 7 

Keno Reel 7G 10 

Kinrara Strathspey 60 8 

Lady Cathcart's Strathspey. ... 6 1 

Lady Rothes' Reel 51 7 

Lady Mary Ramsay's Strathspey, . .55 7 
Lady Georgina Russell's Reel, . . CO 8 
Lady Wallace's Reel, . . . . 92 12 

Lancers' Quadrilles, 24 ^ 

Layhoura M'Donald's Reel, . . , 85 11 

Loch Turret Reel, 1748 11 2 

Lochty Bleachers, 19 3 

Lord Rothes' Strathspey, ... 61 7 

Lord M'Donald's Reel 72 9 

Love Valse 74 10 

Love Not March 15 2 

Major Graham Strathspey, ... 11 2 
Marcellia Hompipe, . . . . 04 12 
Marchioness of Huntley's Strathspey, . 69 8 
Marquis of Bowmont's Reel, ... GO 8 
Marquis of Huntly's Strathspey, . . 90 12 
Marquis of Lome Hornpipe, ... 9 2 

Masaniello Quadrilles 31 4 

Masaniello Quadrilles, .... 33 5 

Medi Valse 30 4 

M'Donald's Fancy Strathspey, . . 72 9 

Merry Masons' March 6 1 

Merry Elves Scbottische, . . . 27 4 
Miss Busbby Maitland's Reel, ..71 
Miss Dmmmond of Perth, . . . 96 12 

Miss Gayton's Dance 56 7 

Miss Grace Menzies' Strathspey, . . 79 10 
Miss Johnston's Reel, . . . . 9G 12 
Miss Jane M'Innes' Reel, . . . 78 10 
Miss Montgomerie's Reel, ...51 

Miss Pole's Reel 5 1 

Morpeth Rant 48 6 

Mrs. Charles Stewart's Reel, . . . 79 10 
Mrs. Donalson's Strathspey, ... 4 1 
Mrs. DufTs Recovery Strathspey, ..61 
BIrs. Gardin of Troup's Strathspey, . 91 12 

Mrs. Gibbs' Hornpipe 28 4 

JIi's. Moray of Abercairney's Strathspey, 09 9 
Mrs. M'Leod of Elanreoch's Strathspey, 7 l 



Page. 
Mrs. Soutar of Plains' Reel, ... 43 

Mrs. Taff or Bank's Hornpipe, . . 29 
Mrs. Thomas Jarvis' Reel, ... 88 
Napoleon's Coronation March, . . 50 
Navvie on the Line Hornpipe, . . 48 
Newcastle Scbottische, . ... 83 

Newmarket Horse Race 82 

Nicolson Street Hornpipe, . , . 62 
North Bridge Strathspey, ... 73 
Nothing will ye tak' Man Reel, . . 11 

Novelty Reel 46 

Nut— Contre Dance 63 

Old Ireland Reel, 68 

Old Towler 63 

Oor Auld Gudeman is noo awa, . 5 

Original Set of Mazurkas, ... 16 
Original Set of Mazurkas, ... 17 

O'Shea's Comical Reel 84 

Our Brigg Strathspey, .... 19 
Our Native Home March, ... 10 
P. Bail) ie's Strathspey, .... 83 

Pear Tree, . 52 

Petronella— Coulic Dance, ... 41 
Port A RhodichStiaLhspey, ... 22 

Pretty Dick Polka, 26 

Prince of Wales' Contre Dance, . . 35 
Prince Alfred's Hornpipe, ... 61 
Prince of Wales' Hompipe, . . . C2 
Prince Albert's Hompipe, ... 86 

Prize Jig, 9 

Rachel Rae's Reel 93 

KeelofTulloch 23 

Rights of Man Hompipe, ... 

Rink Hornpipe 87 

Rob Roy's Reel, 64 

Rose Polka, 75 

Royal Albert Contre Dance, ... 35 
Royal Recovery Strathspey, ... 84 

Ruby Hompipe, 94 : 

Salvanus Hompipe, SI : 

Sail in Boys' Hornpipe, .... 77 

Scituate Reel 70 

Shaw's Trip to London Hornpipe. . 60 
Sir Roger de Coverley Contre Dance, . 33 

Sleepy Maggie Reel, 73 

South of the Grampian's Strathspey, . 68 
Spanish Dollar Hornpipe, ... 48 

Speed the Plough 29 

Star Hornpipe 62 

Steamboat Hompipe 60 

Stephenson's Hornpipe, .... 06 
Stewart's Lassie Strathspey, ... 11 
Stirling Castle Strathspey, ... 37 

Strathspey 72 

Stumpie Strathspey, , ... 54 
St. Valentine's Galop, .... 38 

Sward House Jig, 93 

Sweetheart Scbottische, .... 89 

Timour the Tartar Reel 22 

Tom Handfind's Hornpipe, ... 14 

Trip to Dublin Jig, 85 

Triumph— Contre Dance, ... 37 

Trumpet Hornpipe 44 

Tullochgorum Strathspey, ... 23 
Underhand Hompipe, . . . . 94 

Victoria Valtje 42 

Whistle owcr the Lave o't, ... 88 

William Tell 34 

Wm. Young's Best Malt Strathspey, . 36 
Wind that Shakes the Barley Reel, . 69 



s 

As mucli of the spirit of Strathspey playing depends upon its peculiar bowing, a few examples 
are here given to illustrate and explain that style. Students requiring more minute 
explanations are referred to the work already alluded to, — The Violin : Eow to Master it. 
Chapter IX. 



EXAMPLE OF ORDINARY DOTTED NOTES. 

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The second note of each group in the above example is detached with a smart jerk of 
the wrist in the same direction, thus giving the sharpness implied by the dot under the slur. 



EXAMPLE OF DRIVEN NOTES. 

LADY MARY RAMSAY (2nd part). 

Sometimes played thus, with a bow to each note, when there is a danger of so expending 
tlie bow that it gets too near the heel. 



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NOTHING WILL YE TAK', MAN.-Reel. 



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MAJOR GRAHAM— Strathspey. 

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The Lines and rwo Dofe above (_: — i_) in the Strathspeys indicate two up or down Bowa, 
Kohleks' "Violin Repositoby," 11 North Bkidgb, Edinburgh. 



12 



GEBURSTAG'S VALSE. 



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The sign (_: i_) indicates two down or up Bows. 

KiiHLBKs' "Violin Ebpository," 11 North Bridge, Edinburgh. 



13 
JULIANNU'S MARCIO GALLOP. Arranged hyyr.B.-LkTBOvim. 






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The sign (_i — t—) indicates two down or up Boios. p] Down Bow, v Up Bow. 

KOhibks' "Violin Ebpository," 11 North Bridob, Edinboeoh. 



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14 
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THE FORTH BRIDGE.— Hornpipe. Composed by W. B. Latbourn. 



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KOhlees' "Violin Kepository," 11 North Bridge, Edinburgh, 



15 






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Introduction, Moderato. 
d _ 



iJa Capo. ^. 
LOVE NOT.— Quickstep. Arranged hy "W. B. Laybouen. 



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KOhlkrs' "Violin Kepositokx," 11 Noetb Bkidge, EDiNBUKaa 



Be 
Capo. 



16 



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ORIGINAL SET OP MAZURKAS. Arranged hy W. B. I^xybovrn. 



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{Jo be continued.)— No. 8, November 1. 
KOhlees' "Violin Repository," 11 North Bridge, Ecinbdkgh, 



lie Capo, 



'' [No. 3. 

3. MAZURKAS— Continued. Polka for Finales, -^rr. ly W. b. Latbouen. 



V 



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V Up Bow. — 1 i~ Two Up or Down Bows. 

KOhleks' "Violin Eepository," PoU Free, i^d. 



D.G. 



18 
1. THE GREAT E ASTERN.-Strathspey. 

Six Reels and Strathspeys composed by A. W. Doig. ^ . 







Segue Reel. 



2. 



GREAT EASTERN.— Reel. Arr<mged byW. B. Latbouen. 




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D.G. Fine. 



3. 



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BOB JOHNSTONE'S STRATHSPEY. 













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■""B— *^ — L-i — I- J — I 









V Up Bow. -s. — i_ Two Up or Down Bows. 
KBhlees' "Violin Eepositort," 11 North Bkidgb, Edinbukgh. 



Segue Heel. 



19 



4. BOB JOHNSTONE'S REEL. 




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ORR BRIGG.— Strathspey. 



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4 



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6. 



LOCHTY BLEACHERS. 




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Segue Reel, 






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■t^^-p=?E^:p£i-=PE:^pre^ 



^me. 



V Up Bow. _i :— Two Up or Down Bows. 

KOhlbes' ^'Violin Eepository," 11 Nobth Bkidoe, Edinbukgh. 



1. 



i 



EDINBURGH REVIEW WALTZES. Composedly v. mi:s^. 
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D.G. 



2. 



-T — r 



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22 



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lat. 



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fe=^= 




V Up Bow. 



. Two Up or Down Bows. n Down Bow. 



KOhleks' "Violin EBPOsiioBy," Post Free, ^id. 



31 



i 



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Arranged hy W. B. Laybourn. 




V Up Bow. n Down Bow. _i :_ Two Up or Down Bows. 

KoBLEBS' "Violin Refositobt," 11 Nobih BsiDaE, EpnrBiOipH. 



D.C. Fme. 



22 



s- 



PORT A RHODICH.-Strathspey. 



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Segue Reel. D.G. 

TIMOTJE, THE TARTAR.— Reel. Arrcmged by W. B. Latbourn. 



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V Up Bow. n Down Bow. 

K0HUBB3' "Violin Kepositoey," 11 North Beidgb, Edinbuegh. 



D.G. Fine. 



23 



■» 



IZ^jKZ 



TULLOCHGORUM -Strathspey. 



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JOHNNY COPE.— Reel. Composed hy W. B. Latbouen. 



S 



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D.a Fine. 
REEL OF TULLOCH. Arranged hy W. B. Latbouen. 



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V Up Bow. j-| Down Bow. 

KoHLEEs' "Violin Bepository," 11 Nokth Beidoe, Edinbukgh. 



u 



1. 


LAN 

• • • • 


CERS auA 


DRILLES. 


Arranged hy "V 

• 


^. B. Laybourn, 

• • • • 


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2. 



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{To be continued.) 

V Up Bow. _i •_ Two Up or Down Bows. 

KoHLKBs' "Violin Kepositobt," 11 North Beidqe, Edinbueoh, 



D.O. 



3. 



liTH 




V 



25 

LANCERS QUADEILLES-Continued. 



[No. 4. 



E^-t^^^^E^=* 



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KOhlees' "Violin Eepository," Post Free, i\d. 



26 



PRETTY DICK-Polka. 



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KOHLEEs' "Violin Eepositoky," 11 Noeth Bridge, Edinbtjegh. 



27 



By the Editor. 



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28 




MRS. GIBE'S HORNPIPE. Arranged by W. B. Laybourn. 



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THE BOTTLE BANE. Com^Msed by James Hill, Newcastle. 

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KOhlbes' "Violin Eepositoky," 11 Noeth BEroaE, Edinbuegh. 



29 



SPEED THE PLOUGH. 



By James Muirhead, 1800. 



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KShlbks' "Vioun- Repository," 11 North Bridge, Edinburgh. 



30 



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MEDI VALSE. 

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Arranged hy W. B. Laybourn. 

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KOhlees' "Violin Eepository," 11 North Beidge, Edinbuegh. 



31 



^ig: 



MASANIELLO ftUADRILLES. Arranged by W. B. Latbocrk, 

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Volti subito. D.O. 

Two Up or £>own Bows. 



KbHLEKs' "Violin Eepository," 11 Nokth Bridge, EDrNBUKGH. 



32 



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(To be continued.) °°^ V.Q. 



(To be continued.) 

\j Up Bow. p Down Bow. _: ^— Two Up or Dowu Bows. 

KciHLEEs' "Violin Eepositoey," 11 Noeth Beidge, Edinbubgh. 



KOHLERS' VIOLIN REPOSITORY. 



No 5.] 



Prick 4d. 



[Copyright. 



5. MASANIELLO ftUADRILLES— Continued. Arranged hy W. B. Laybouen. 



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. Two Up or Dowa Bows. 



V Up Bow. ri Down Bow. _;- 

KiiiiLEE.s' "Vioi.iK Eepositoky," 11 NoKTH Bkidge, Edinbckgh. 



34 



Arranged hy W. B. Laybourn. WILLIAM TELL— Rondo. 

Allegro. 



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\j Up Bow. n Down Bow. _? •— Two Up or Down Bows. 

KiiHLEEs' "Violin EEPOsiTOKy," 11 Noeth Bridge, Edinburgh. 



S5 



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ADELFHI POLKA. Arranged by W. B. Laybouen. 






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ROYAL ALBERT, OR PRINCE OF WALES CONTRE DANCE. 



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V Up Bow. n Down Bow. _! i_ Two Up or Do\\ii Bows. 

KoHLEES' "Violin Eepositorv," 11 Nokth Bkibge, Edihbuegh. 



36 



1. WM. YOUNG'S BEST MALT.-Strathspey. % Alek. Deas. 






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To finish. 



^:;i 



H'=H- 



i:5jsJ;s^- 



FAVOURITE JIG. 



U;fet:Ezp^fe?t=^t^±^«z^*^-zzuSE 



^y Alex. Deas. 



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12^2 -I* -»■ Slid time. 4 Z>.C. 



V Up Bow. |-| Down Bow. _; ?_ Two Up or Down Bows. 

KOnjLEEs' "Violin Kepositoby," 11 Noeth Bridge, Edisbbrgh. 



^E 



37 
STIRLING CASTLE— Strathspey. Arranged hj W. B. Laybouen. 

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HARVEST HOME. 



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TRIUMPH— Contre Dance. 



D.(7, J'ine. 



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V Up Bow. 
KoHLEBS' "VioLiM Eepositoky," U Xorth Beidge, Edinburgh. 



38 



ST. VALENTINE'S GALOP. Arranged by W. B. Laybouen. 
Introduction. Galop." ~ _ . . y 



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Piano part, 3d. 

V Up Bow. n Down Bow. _: :_ Two Up or Dowu Bows. 

KOnLEKS' "Violin Kepositoky," 11 NoExn Bkibge, Edinburgh. 



D.O. 



39 



AGNES SOBEL dXTADRILLES. ^/-ran^ecZ % w. B. Layboubk 




•^ Piano part, 3d, ^■**^^^ 

V Up Bow. n Down Bow. ;_ Two Up or Down Bowa. 

KOhlees' "Violin EEPOsiTORy," 11 Noeth Beidge, Edinbueoh. 



D.C. 



40 



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Piano part, 3d. (To be continued.) 

V Up Bow. ri Down Bow. —: !_ Two Up or Dowq Bows. 

KoHLERs' "Violin Eepositoev," 11 Nosth Bridoe, Edikburgh. 



B.G 



KOHLERS' VIOLIN REPOSITORY. 



No 6.] 



Prick 4d. 



[Copyright. 



5. AGNES SOREL aUADEILLES-Continued. , , ^ ^ , 

PI Arr. by W. B. Laybourn. 



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V Up Bow. n Down Bow. 



_•_ Two Up or Down Bowa, 



KoHLEEs' "Violin Eepositoky," 11 North Beidge, BDiNBUEaH. 



42 



1* V VICTORIA VALSE. Arranged by W. B. Latbourn. 

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B.G. Fine. 



V Up Bow. n Down Bow. 

KOHLEES' "Violin REPOsnoEy," 11 Noeth Bkidgs, Edinburgh. 



43 



FIFE STRATHSPEY. 



Composed hy Alex. Deas. 




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RO. Fine. 
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V Up Bow. n Down Bow. 



. Two Up or Down Bows. 



D.C. Fine. 



KOhlees' "Violin Kepositoby," 11 Noeth Beidge, Edinbuegh. 



ii 



THE 1st OF MAY.-Hornpipe. 



Arr. by W. B. Laybourn. 




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COLLEGE HORNPIPE, OR JACK'S THE LAD. ^rr. Jy W. B. Latbourn, 



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V Up Bow. n Down Bow. 

KoHLEEs' "Violin Kepositoky," 11 North Bridge, Edinburgh, 



46 



CLASPER'S HORNPIPE. 



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Arranged by W. B. Latbouen. 



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^ DURHAM RANGERS' HORNPIPE. ^,,««^^^y w. B. Laybourn, 

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THE JOCKEY DANCE. Arranged hy "W. B. Laybourn. 



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V Up Bow. 
KemEEs' "Violin Eeposiioey," H North BRiraB, Edinburgh. 



46 



THE BEAUTIES OF THE NORTH.— Strathspey. ^Feasek. 
Arranged by "W. B. Laybouen. _^. 









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Arranged by W. B. Laybouen. 



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V Up Bow. 



. Two Up or Down Bows; 



D.G. Segue Reel. 



KBhlees' "Violin EEPOsiTORy," 11 North Bridge, Edinbuegh. 



47 



I 



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THE DUNCE DINGS A'.-Reel. 



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FRANCIS SITWELL— Strathspey. Arranged by W. B. Latbouen. 



3ES-3: 



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CAPTAIN HEELER'S REEL. Arranged by W. B. Laybouhn. 



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V Up Bow. n Down Bow. _: 

KOhlbes' "Violin Repositoky," 11 North Bridoe, Edinburgh. 



. Two Up or Down Bows. 



48 



THE NAVVIE ON THE LINE— Hornpipe. %Jas. Hili. 

V -m^ j^ _ '^ pmmmm^m _ Arranged hy W. B. Layboxjrn. 



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SPANISH DOLLAR.— Hornpipe. Arranged hy W. B. Laybouen, 



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(To be continued.) 

V Up Bow. 
K6HLEE3' "Violin Eepositort," 11 Nokth Bridge, Edinburgh. 



KOHLERS' VIOLIN REPOSITORY. 



No 7.] 



Price 4d. 



[Copyright. 



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NAPOLEOX'S CORONATION MARCH, ^rmji^et^ 6y w. B. Laybourn. 



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V Up Bow. n Down Bow. -: :— Two Up or Down Bows. 

KOhleks' "Violin Bepositoky," 11 North Bridge, Edinbdrgh. 



YoUi Subito. 



50 



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. Two Up or Down Bows. 



CP" FinQ. 



V Up Bow. f-] Down Bow. _: 

KoHLEKs' "Violin Eepository," 11 North Bridge, Edinburgh, 



61 



LOUD ROTHES' STRATHSPEY. Composed hy Alex. Deas. 



E!EES 



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LADY ROTHES' REEL. 



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Segue Reel. 
Composed hy Alex. Deas. 

r h- 1 P4— I 




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Composed by Alex. Deas. 

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*,,* The above Strathspey and Keel are sometimes played in D. 

V Up Bow. n Dowm Bow. _! ;_ Two Up or Down Bows. 

KiiHLEBs' "Violin Eepositort," 11 North Beibge, Edinburgh. 

#.* '%- 



52 



V n 






i^ft^-^ip^t^z^ffipii:^^! 



EEMF'S HORNPIPE. Arranged hy W. B. Laybouen. 

— ^^*C^- -I i I -I— I— i— 



n? 



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THE PEAR TREE. % James Hill. 

_^^ .« .- Arranged hy W. B. Laybourn. 



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CRAZT JANE. — Re el. A rranged hy W. B. Laybourn. 

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V Up Bow. n Down Bow. 

KGhlers' "Violin Eepositoey," 11 North Bridge, Edinburgh. 



53 



JOHNNY MILLICENT'S HORNPIPE. Arr. by W. B. ■LA.YBovm. 

^H — ar-^ — X — r«»>iT— r^"r^ — -h--^r ^■^- 



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HORNPIPE. 



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Arranged hy W. B. Laybourk. 

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HASLAM'S HORNPIPE. ^rr. Jy W. B. Laybouen. 

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—2—4 -2 bj±— liar - rr^:*z^^^*i ' - ^ — '^ ■^ r .iil~'t~^F''^r ff''^ "i^ u~"! 



V Up Bow. n Down Bow, 

KoHLEEs' "Violin Kepositokt," 11 North Bkidob, Edinburgh. 



H 
HIGHLAND FLING. Arranged by W. B. Latbourn. 



I 



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Segue Reel. 
ROB ROY'S REEL. Arranged by W. B. Layboukn. 



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STUMP IE STRATHSPEY. Arranged by W. B. Laybourn. 




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V Up Bow. p-] Down Bow. 

KoHLEEs' "Violin Eepositobt," 11 North Bkidge, Edinbukgh. 



Segue Reel. 



55 



THE DEIL AMOHG THE TAILORS.-Heel. 

j^ ^ -«• ^-» -o- -"s Arranged by W. B. Laybourit. 



n 



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LADY MARY RAMSEY STRATHSPEY. 

Arranged ly W. B. Laybourn. 



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FAIRY DANCE. 



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(Se^ue Red. 

Arranged by W. B. Laybourn, 



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B.C. 



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V tip Bow. n Down Bow. 

KOhlees' "Violin Bepositokt," 11 North Bbidge, Edutbuboh. 



Fine. 



56 



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MISS GAYTON'S DANCE. Arran(,ed by W. B. Laybourn. 



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THE STEAMBOAT HORNPIPE. 
-^'^ _^_ ^rrang'ec^ Jy W. B. Laybourn. 



Y ^. Jirrangea oy w . n. ijAyisuu. 



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BLACKSMITH'S HORNPIPE. 



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Arranged hy W. B. Laybourn. 



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(To be continued.) 

V Up Bow. 

KtiHLEHs' "Violin Kepositoky," 11 North Bridge, Edinburgh. 



KOHLERS' VIOLIN REPOSITORY. 



No 8.] 



Price 4d. 



[Copyright. 



JOHNNY COPE— Variations. 'Arranged ly W. B. Laybottrn. 



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Fine. 




n Down Bow. 
KOHLEEs' "Violin Kepositoey," 11 North Beidub, Edinbuegh. 



n V 



58 
Selection of IRISH REELS. -^rr. hy W. B. Latbourn. 



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KEEP IT UP.-Reel. 



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IRISH REEL. 






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OLD IRELAND.— Reel. Composed by W. B. Layboukn, 1881 






^ F^-F5-B=^i — ^^F^ ■ L^^fF^F-F-F=F-^H 



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i^gi3=i^i§ii^^PSi^^ 



V Up Bow. n Down Bow. 

KoHLEEs' "Violin Eepositoky," 11 North Bkidge, EDmBCROH 



69< 



THE DEAN BRIDG-E, EDINBRO'. Gomi^sed ly the Rev. Me. Tough. 
Six Strathspeys and Reels arranged by W. B. LAYBOURN. 






;^-^tt^-*-^^-^J:^30 



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Be,gue, Reel. 



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I'LL KISS THE BONNIE LASS.-Reel. 



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THE MARCHIONESS OF HUNTLEY'S STRATHSPEY. % Marshall. 

>._j, Q 4— H^^ii^i:!,-, -ssa-^r 4—, 



— — ^ 1 — F-^ x==\ fe^si-i H 1 



=t=^±5:i=rz)=:iBiitstz=£st:zfets5^£ 



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V Up Bow. 



r- ^-" 
n Down Bow. 



;i^^^ 



D.O. Segue Reel. 



■ Two Up or Down Bows. 



KOhlees' "Violin Eepositoet," 11 Noeth Bridge, Edinbuegh, 



60 



LADY GEORGINA RUSSELL'S REEL. 



m 



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By Marshall. 



— [^ — I — I- 



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KINRARA STRATHSPEY. 






jD.C. Fine. 



:e=r 



§^ 



^2/ Marshall. 









■^■■' — ^''- 



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JSegueEeelD.O. 



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THE MARaUIS OF BOWMONT'S REEL. ^^ Marshall. 



:=f 



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D.a Fine. 




V Up Bow. n Down Bow. _• =_ Two Up or Down Bows. 

KOHLEEs' "Violin Eepositort," 11 North Bridge, Edinburgh, 



61 
PRINCE ALFRED'S HORNPIPE. Composed hy W. B. Lxt^ovzvi. 



-^ 



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EDINBRO' NORTH BRIDGE HORNPIPE. 

3 ■ • • ^-^^ Composed by W. B. Laybouen 



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BISHOP AUCKLAND FLOWER SHOW HORNPIPE. 

(-l Composed hy W. B. Laybourn, 1857. 










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£ 



— — 3 ^ ^^'^^1 ^^r ^ — u. 3 ~" — ^ 3 ■ "■*" 



i^^^^^^i^^lS^^ 



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3 ' 3 

V Tip Bow. n Down Bow. 

KOhlees' "Violin Eepository," U North Bridge, Edinbuboh 



PRINCE or WALES' HORNPIPE. Composed hy W. B. Latbouen. 



|^E^ggg ^;^ ^^=-p^g|^^^^ 



5"=E5^S2 



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NICOLSON STREET HORNPIPE. Composed hy W. B. Laybourn. 



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STAR HORNPIPE. 



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Composed hy W. B. Laybourn. 

=1^— 1-^—1— ^^^ 



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— I I ' i I I — [^ - — \ \~^"^T — — — ~~^ 






V U]> Bow. n Down Bow. 

KOhlees' "Violin EEPosiroRy," 11 North Bridge, Edinbfeoh. 



--It--: 



63 
Selection— OLD TOWLER. Arranged by W. B. Latboukn. 



r- 






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V Up Bow. n Down Bow. _• i_ Tn'o Up or Down Bowa, 

Kohlees' "Violin Kepositoey," 11 North Beidoe, Edinburgh, 



64 



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V Up Bow. n Down Bow. 

KShlees' "Violin Repository," 11 North Bridge, EDnreuBOH. 



KOHLERS' VIOLIN REPOSITORY. 



No 9.] 



Price 4d. 



[Copyright. 



EAST NEUK OF FIFE— Continued. Arranged hy W. B. Latbourn. 



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V Up Bow. 
KOhlees' "Violin Eepositorv," 11 North Bridge, Edinbueoh, 



66 



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BLAYDEN FLATS.— Hornpipe. Arranged ly "W. B. Latbourn. 



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V Up Bow. n Down Bow, 

KOhleks' "Violin Kepositoey," 11 North BBiraE, EDiNBUEaH, 



67 



THE FANCY. 



Composed hy W. B. Latbourh. 






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V Up Bow. n Down Bow. _• — ?_ Two Up or Down Bows. 

KoHLEEs' "Violin Eepositobt," 11 Noeth Bridge, Edinburgh. 



er 



1, THE SOUTH OF THE GRAMPIANS.-Strathspey. 

# v'S' >.Six Strathspeys and Reels arranged by W. B. LAYBOURN. 



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"^SegiieReel. 



Kohlees' "Violin Eepository," 11 North Bridge, Edinbukqh, 



69 



4. THE WIND THAT SHAKES THE BARLEY.-Reel. 

Arranged by W. B. Laybourn. 



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K6HLEKS' "Violin REPoanoKY," 11 Nokth Bridgb, Edinburgh. 



Fine. 



70 



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V Up Bow. n Down Bow. _; — :_ Two Up or Down Bows. 

KoHLERs' "Violin Kepository," 11 North Bridge, Edinbukgh. 



B.O. 



71 






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V Up Bow. n Down Bow. —J 

KoHLEKs' "Violin Eepository," 11 North Bridge, Edinburgh, 



. Two Up or Down Bows. 



72 



1.' 



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E^sisa; 



M'DONALD'S FAWCY-Strathspey. 

Six Strathspeysand Reels arranged by W. B. LAYBOURN, 



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(To be continued.) Segue Reel. B.C. 

V Up Bow. n Down Bow. _i :_ Two Up or Down Bows. 

KOHiBEs' "Violin Repository," U North Bridge, Edinbfkgh, 



KOHLERS' VIOLIN REPOSITORY. 



No 10.] 



Price 4d. 



[Copyright. 



4. 




JENNY'S BAWBEE-Reel. 

Fingered and Bow Marks by W. B. LAYBOURN. 



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V Up Bow. (-| Down Bow. 

KOhlbes' "Violin Repository," 11 North Bridge, Edinburgh. 



74 



By Wilcox. 



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THE "ANNIE" SCHOTTISCHE. 






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KOhlbes' "Violin Repository," 11 North Brisqb, Edinburgh. 



. Two Up or Down Bows. 



75 
FTJRIOSO GALLOP. 



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V Up Bow. n Down Bow. _! =_ Two Up or Down Bows, 

KoHLBBs' " Violin Eepositoey," 11 North Bkidgbj IIdikbukoh. 






76 



1. 



KENO REEL. 

Six American Reels and Hornpipes. 




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V Up Bow. in Down Bow. 

KOhlbes' "Violin Ebpository," 11 North Bridge, Edinbuboh, 



77 



4. 



EIGHT BELLS— Hornpipe. 



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EOhi/Bbs' "VioLnr Bepositoby," 11 Nobtb Bbisoe, Edimbuboe. 



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CRAIGELLACHIE BRID&E-Strathspey. 

Arranged hy W. B. Laybourn. 






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KOHLEEs' "Violin Repositort," 11 North Bridge, Edinburgh. 



Fine. 



79 
MISS GRACE MENZIES' STRATHSPEY. Marshall. 








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V Up Bow. n Down Bow. _! i_ Two Up or Down Bows. 

KOHLEKs' "Violin EEPosiroBy," 11 North Bridoe, Esinburob. 



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80 
CHAMBERS'S HORNPIPE. 



R. Stephenson. 



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SHAW'S TRIP TO LONDON-Hornpipe. 



T. Shaw. 



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(To be continued.) 

V Up Bow. 
KShxbes' "Violin Kbpositobt," 11 Noeth Bridge, Edinbuegh. 



KOHLERS' VIOLIN REPOSITORY. 



No 11.] 



Prick 4d. 



[Copyright. 



SYLVANUS HORNPIPE. 

Bowing and Fingering arranged by W. B. LAYBOURN. 



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FLOWERS OF EDINBRO'. 






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V Up Bow, 
KOHLEEs' "Violin Eepositoby," 11 North BRmai;, EDnrBUBOH. 



82 



mSWMAREET HORSE-RACE; OR, JOHN FATERSON'S 
MARE GOES FOREMOST. 

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V Up Bow. -s :_ Two Up or Down Bows. 

KtJBLIBB' "VlOUN BxrOSITOBT," 11 NOKTH BrIDOB, EdINBDBOH. 



83 



NEWCASTLE SCHOTTISCHE. 



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Kohlbbs' "Violin Rbpositoby," 11 Nokth Bbidob. Edinburgh. 



"^^ 



84 



THE ROYAL RECOVERY STRATHSPEY. 



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KOhleks' "Violin Eepositoky," U North Bbidgb, EniNBUKaH. 



85 



THE DRAM SHELL.-Reel. 



Fraber, 




Fine, 



LAYBOURN M'DONALD'S STRATHSPEY. Composed by J. aybovrn 






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Two Up or Down Bows. 



KOHLEKs' "Violin Eepository," 11 North BRisaE, Edinburgh, 



86 



JESSIE THE FLOW'R OF DUNBLANE-Hornpipe. C. Rook. 



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87 
THE CAGE HORNPIPE. 



James Hill. 



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ECbless' "Violin Eepository," U North Bridqe, Edinbukqh, 



Sim. GILLIE CALLUM STRATHSPEY-Sword Dance. 



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V tip Bow. n Down Bow. • " * Two Up or Down Bows, 

KOhlebs' "Violin Repository," 11 North Bridge, EDmBunaH, 



KOHLERS' VIOLIN REPOSITORY. 



No 12.] 



Price 4d. 



[Copyright. 



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GEM SGHOTTISGHE. 

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90 



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p. BAILLIE'S STRATHSPEY. 



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KShlees' "Violin Eepository," 11 North Bbldge, Edinbukgh. 



94 



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KOhlees' "Violin Repositobt," 11 Nokth Beujoe, Edinbuboh, 



&6 



THE HON. MISS DRUMMOND OF PERTH-Strathspey. 



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(To be continued.) 

V Up Bow. n Down Bow. _! :_ Two Up or Down Bowa. 

KoHLEEs' "Violin Eepositoey," 11 North Bridge, Edinburgh, 



MOSICAL TREASURY, 

Published by ERNEST KOHLER & SON, II North Bridge, Edinburgh. 

YEARLY, Post Free, 2s. dd. 

1885. 



OCTOBER.-NO. '7'7. 



SECTTLAIl. 



M01TTHL7, Trice 2&. 



INVENTIONS EXHIBITION, 

CENTRAL GALLERY, WEST-END STALL, No. 3,847. 
A Variety of Letter-Kote Puhlications and Appliances on View. 

IMPORTANT TO ALL TEACHERS OP SINGING!! 

The Simplest and Easiest Method of learning to Sing at Sight from the Staff, is by means of the LETTER-NOTE SYSTEM 
combining the advantages of the TONIC SOL-FA with the acknowledged Superiority of the OLD NOTATION. 

Key JE. Round for Jf voices. 



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EDDCATIOML WORKS FOR PRIVATE SCHOOLS, CHOIRS, AND EVENING CLASSES. 



ELEMENTAHY SINGING MASTER, by David Colville. A Complete 
Course of Instruction on the Method. 80 pp., cloth, is. (id.; paper, 
Is. In this course the notes are gradually withdrawn, training the 
pupils to dispense with their aid. 

ELEMENTARY SINGING SCHOOL. Being the Exercises in the above 
work, published separately, for use of pupils, in 'l parts. 3d. each, 
in wrapper. 

A GRADUATED COURSE of Elementary Instruction in Singinp, by 
David Colville and George Bentley, In this coui-se tlie Sol-fa 
initials are gradually withdrawn. In cloth, Is. Cd.: in wrapper, Is. 

THE PUPIL'S HANDBOOK, containing the Songs, Exercises, &c., in the 
above course, published separately. In 2 parts, Sd. each. 

In the following Courses the Notes are Lettered throughout:— 
LETTER-NOTE SINGING METHOD. A course of Elementary Instruc- 
tion in Singing arranged principally in Four-Part Harmony. Cloth, 
13. Gd. ; paper. Is. 
CHORAL GUIDE. Being the Exercises of the above wnrk. published 
separately in 2 parts, jirice 3d. each, in wrapjier. This is a systematic 
elementary coui-se, leading the Student by easy stages to a conversance 
with the art of siKht-singing, 
THE CHORAL PRIMER. A Course of Elementary Training, by David 
Colville. 48 pp. in wrapper, price Gd.: or in six 8-page Nos.. Id. 
each: contains a more thorough and complete course of training than 
any other work published at the price. 



SCHOOL MUSIC. Revised and enlarged edition. Part I., 32 pp.. stitched 
in paper cover, price 3d., containing a complete course for Junior 
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cheapest and most systematic educational work ever published. 

THE JUNIOR COURSE- A Course of Elementary Practice in Singing, 
by David Colville. Arranged for two trebles, with ad lib. bass. In 
G penny numbers. 

LETTER-NOTE VOCALIST. For Class and Home Singing, being a 
carefully chosen selection of favourite high class Melodies, arranged 
as Duets and Trios; 4 pages full music size; price, stitched in paper 
cover, 3d. each. Twelve Numbers already published. 
Jiist PublisJu^d. 

THE INTERMEDIATE SIGHT-SINGER, a thorough and systematic 
work of intermediate instruction in music, leading the student by easy 
stages to a thorough conversance with the art of sight-singing. The 
music is in four-part harmony and short score, forming an accompani- 
ment if required, but is so arranged that it can be sung in two parts by 
omitting tenor and bass. This arrangement in itself is of great 
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each, in wriipper. 

EASY CANTATAS. S.A.T.B.. with Solos, &c., printed in Letter-Note, 
Pilgrims of Ocean, 4d. ; Maypole, 3d. 



LIBERAL TERMS TO PROFESSION, CATALOGUES FREE ON APPLICATION. 



3For (Bovernment IRational, anb Boarb Scbools* 

IMPORTANT TO SCHOOLMASTERS AND OTHERS. 

The Letter-Note Method has obtained Government recognition, and Letter-Note pupils are entitled to have the Sol-fa Initials appended to tlie 
Bieht-singing test supplied by the School Inspector. 

THE CODE SINGER (Letter-Note) for the use of the different divisions in singing under the New Code. Staff Notation— 1st Division.— Code Singer, 
Nos. 1, 2 and 3, price Id. each. Of tliese the first two contain the exercises absolutely necessary for the Code requirements, the third being an 
amplification of the others. The three numbers bound togetlier in wrapper, with extra words for the tunes, price 3d. 

2nd Division, Standard I.— Code Singer, Nos. 4, 5, and 6, price la. each. Ol these Nos. 4 and 5 only are necessary for Code training where 
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Divisions I. and II., Teachers' Edition, including Code Singer, Nos 1 to 6, in all 64 pages, price Sd., now ready. 

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TBE MUSICAL TREASVR7. 



A LESSON IN LOVE. 

A TALE. 

" What is the matter, Kttle woman?" 

" Ouly tired, John." 

Lina Reynolds looked up as she spoke, to smile bravely 
into the face bending anxiously over her. 

"Tired, Liaa?" he said, lifting the little figure as he 
spoke, and taking his wife like a child upon his knee. 
" What have you been doing to tire you ? " 

"Only the day's work. Don't worry, John," for a 
shade passed over the kindly face. 

'' I don't worry; but I can't see what makes you com- 
plain so often of being tired. I am sure the housework 
ain't so much. Other women do it ! " 

There was just a little fretfulness in John's tone, though 
he did not mean to be unkind. 

" I know they do. Mrs. Harper has four children, and 
takes care of them in addition to housework, besides doing 
piles of sewing. Perhaps, John, it is because I have not 
had experience in country work, and don't manage well. 
I will learn better after awhile. Now, tell me what you 
did in town." 

" I did quite welL Sold the whole crop of wheat at a 
good price, and put another instalment in the bank for the 
Stanley farm. " 

" Yotir heart is set on that farm, John." 

" Indeed it is ! Let me once own that clear of debt, and 
I shall be a happy man. It is the best land in the country, 
and the house is twice as large as this ! " 

Lina thought of larger floors to scrub, more rooms to 
clean, and additional work of all kinds, and swallowed a 
little sigh that nearly escajDed her. 

"John," she said, rather timidly, "don't you think if 
you spent part of the money on this house we might be 
very Inappy here ? " 

"Spend money on this house!" cried the astonished 
John. " Why, what on earth ails this house ? " 

"I mean in things for it. Now, the parlour looks so 
stiflt, and is always shut up. I was thinldng if we had a 
pretty carpet and some curtains of white muslin or lace, 
and a set of nice furniture, and— and — a piano. Oh, John, 
if I could have a nice piano." 

John Reynolds looked at his wife as if she had proposed 
to him to buy up the crown jewels of Russia. 

" A piano ! Do you Ivuow wliat a piano costs ? " 

" No. Aunt Louise had one, you know, ever since I 
can remember. But I think if we had a pretty parlour to 
rest in, in the evening, I could play for you and sing. 
You never heard me play and sing, John?" 

" I have heard you sing, but not lately," said John, 
rather gloomily. 

"Oh! that was just humming around the house. I 
mean real singing. I have lots of music in my trunk." 

" But you are only a farmer's wife now, Lina. I thought 
you understood when we were married that you were not 
to have any city finery or pleasure." 

"So I did, John. I don't want any finery. I don't 
want any pleasure but your love, John. Don't scowl up 
you face so. I am siUy to think of these things at all. 
There, kiss me and forget it. I am nicely rested now, 
and I mil get your tea in ten minutes." 

John put her down with a very tender kiss, and straight- 
way fell into a reverie. 

Lina Rivers had been a district school teacher in Scottfield 
just four months, when John Reynolds offered her his hand 
»nd heart. She was an orphan from infancy, but her 
father's sister had adopted and educated her in a life of 



luxury, and died without altering a wiU made years before, 
leaving her entire fortune to a charity asylum. Lina, left 
alone, had thankfully accepted the position of county 
school teacher, procured for her by her friends, and waa 
thinking life a hard burden, when John came to brighten 
it. She gave her whole gentle little heart into his keeping 
at once, appreciating at their fuU value his honest, true 
heart, his frank nature, his sterling good quahties, and 
looking with the most profound acbniration upon his tall, 
strong frame and handsome face. 

It was a perfect love match, for John fairly worshipped 
the dainty, refined little beauty he had married. And, 
having married her, he took her to his home, and, in all 
ignorance, proceeded to kill her. 

There was no blame to be laid upon him. Living in the 
old farm-house where he had spent his entire life, the one 
ambition of his heart was to own land, stock, barns, and 
a model farm. 

He had seen his mother cook, churn, feed poultry, and 
drudge a,ll her Ufe ; all the women he knew did the same ; 
and if Lina made odd mistakes she put a w illin g heart into 
her work^ and soon conquered its difficulties. Surely, he 
thought, it was an easier life to be mistress of his home, 
with the Stanley, farm in i^rospect, than to toil over stupid 
children in a district school. He had never seen velvet 
carpets and lace curtains, grand pianos, dainty sUks, and 
other surroundings that were Lina's from babyhood. He 
had never heard the wonderful music the little white 
hands, all rough and scarred now, could draw from the 
ivory keys of an organ or piano, or the clear, pure voice in 
song. It was an unknown world to John where his wife's 
memory lingered as she scoured tins, strained milk, and 
cooked huge dishes of food for the farm hands. He would 
have thought it wicked waste, if not positive insanity, to 
draw from the bank his hard-earned savings to invest them 
in beautifying his plain, comfortable home. 

And Lina lashed her conscience sharply, telling herself 
she was ungrateful, repining, and wicked. Was not John 
tender, true, and loving ? Where among her city friends 
was there a heart hke iiis ? Had she not known he was 
only a farmer ? 

And so the loving little woman toiled and slaved, under- 
took tasks far beyond her strength, worked early and late, 
until, just one year after his wedding day, John Reynolds, 
coming home to his tea, found lying upon the kitchen floor 
a little, senseless figure, with a face like death, and hands 
that sent a chill to his very heart . 

Tlie doctor, hastily summoned, looked grave, and advised 
perfect quiet and rest. A girl was hired, and John ten- 
derly nursed the invahd, but, though she grew better, she 
was still pale and weak. 

"Take her away awhile," said the doctor. " Try change 
of air. She is overworked." 

"But," said honest, puzzled John, "she does nothing 
but the housework for us two. She has no child, and our 
semng is not much." 

The doctor looked into the troubled face. "You are a 
good man, .John Reynolds, and a strong one," he said ; 
■' will you let me tell you a few truths ? " 

"Yes. About Lina?" 

"About Liaa. You remember, do you not, the tiny 
antelope you admired so much in the menagerie we had 
here last summer ? " 

" Certainly," said John, looking more puzded than ever. 

" Suppose you had bought that little creature, and yoked 
it with one of your oxen to a cart to do the same work ? " 

"I'd been a fool," cried John, " that little thing couldn't 
work. It is just made pretty to look at and play with," 



THE MUSICAL TREASURY. 



"That's it, John. Now, I don't think God ever made I 
a woman to look pretty and play, but he made some for 
the rough work of the world and some for the dainty i^laces, 
some to cook and scrub, and some to draw men's sotds to 
heaven by gentle loveliness. Your wife is one of the 
latter. If you were a poor man I would have held my 
tongue, but you are a rich one. Give your mfe a servant, 
let her have books, music, pretty things around her. Let 
her rest from toil, and you may keep her by your side ; 
put her back in her old place and you may order her tomb- 
stone, for she will soon need it. Don't put your antelope 
beside your oxen, John." 

" I will not ! Thanlc you! I understand. Poor, loving, 
patient heart ! " 

" That's right. Take her now for a little pleasure trip, 
and get back her roses ." 

Lina clapped her hands when John asked her if she 
would like to spend a week in New York, and reaUy 
seemed to draw a new life from the very idea. 

It was deUcious fun to see John's wide-open eyes as they 
entered the parlour of the great city hotel and were shown 
into the bed-room, whose beauties were quite as bewil- 
dering. 

" The best room," he told the landlord, and Lina could 
not repress a cry of delight, at the vista of a cosy sitting- 
room with a piano standing invitingly open. 

"0, John ! " she said, "won't you go in there and shut 
the door for five minutes, please ? " 

John obeyed, of course. John, she thought gratefully, 
refused her nothing now. 

"How lucky I brought some of my old dresses ! " Lina 
thought. "I have not worn them since I was a school- 
marm. Fancy Mrs. Keynolds scrubbing the floor in this 
dress ! " 

John rubbed his eyes and pinched himself as a figure 
sailed in the sitting-room, made him a sweeping courtesy, 
and went to the piano. 

Was that the little woman who had worn prints and sun- 
bonnets so long ? The fair hair was fashionably dressed, 
and bands of blue velvet looped the golden curls. A dress 
of blue silk, with softest lace trimmings and ornaments of 
jjearls, had certainly made a fine lady of Lina. The piano 
was yielding its most bewitching tones to the sldlled httle 
fingers, and John's bewilderment was complete when a 
voice of exquisite sweetness, though not ijowerful, began 
to sing. 

Only one song, full of thrills and quavers, and then Lina 
rushed from the piano into John's arms. 

" John, dai'ling," she said, " hold me fast. Don't let me 
sBp from you ! " 

" 0, Lina ! " he groaned, " I was not fit to marry such 
a dainty bird! But I loved you, little one." 

"And I love you, John ; rough old John. Let me sing 
again. I am very happy to-day, my husband." 

But the wonderful thrills filled the little room now. In 
a clear, pure voice, full of expression, Lina sang — 

" I know that my Eedeemer liveth." 

Every word fell like hot tears on poor John's heart ; 
until, as the last chord trembled upon the air, Lina turned 
to him, stretching out her arms. 

" Take me in your arms, John I " 

He took her tenderly to the room she had quitted so 

gaily, and replaced her finery by a white wrapper whose 
ice trimmings looked like fairy work to his unaccustomed 
eyes. 

" Are you tired, love?" he asked, vpith a great spasm of 
terror at his heart, as he looked at the white, wasted face. 



"Yes, very, very tired, but happy, John!" and with a 
little sigh of entire content, Lina nestled down against the 
warm heart whose every throb she knew was all her o\vn. 
The white lids fell softly over the violet eyes, and she slept 
IjeacefuUy as a ohUd. 

Softly as she rested, the faint pink flush gathered on her 
fair cheek and a smile crept over her lips, while John, 
bending over her, lifted his heart in earnest prayer for the 
life that made his own so bright. 

Mrs. Keynolds was to experience her share of astonish- 
ment during her holiday, and it commenced by the appari- 
tion of John the next day in a suit of handsome clothes 
that well became his manly figure. There was no foppery, 
but he looked a gentleman!^ though he made more than one 
grimace before he got, as he said, " well shaken into store 
clothes." 

Can I describe that week ? What was new to John was 
old familiar ground to Lina. Central Park was not soon 
exhausted, and the little guide grew strongerand rosier 
every day in John's thoughtful care, that provided plenty 
of pleasant excitement, but guarded agaiust fatigue. 

It was early in the afternoon of a sunny day, when the 
train drew up at Scottfield station, and John handed his 
wondering wife into a neat little one-horse carriage waiting 
for them. 

"A new purchase, dear!" he explained. "We are to 
have a drive every afternoon. Dr. Greyson xirescribed it. " 

The house was where it had .always been, but Lina 
rubbed her eyes and wondered if she had been suddenly 
carried into fairy-land. 

The duU httle sitting-room had been papered, carpeted, 
curtained, and transformed into a cosy dining-room. _ The 
stiff parlour was a very bower of beauty, with a fine piano, 
the daintiest of furniture, soft rausUn curtains, and a 
carpet covered with boquets of exquisite flowers ; the bed- 
rooms were carpeted brightly, and rejoiced in cottage sets, 
and LQ the kitchen the most good-natured of stout German 
girls fairly shed tears when Lina addressed her in her own 
language. 

" But, John !" she cried, " the Stanley farm ? " 

" Is sold, dear. You were right ; we will make this 
home so lovely the Stanley farm will never cost me a sigh. 
Dr. Greyson and his wife took all the trouble here, and I 
have hired two new hands, so as to have a little more 
leisure." 

" But, John," the little wife said earnestly, "I do not 
want you to think me a fine lady — a doU to wear fine 
clothes and live in idleness. I want to be truly a helpmate 
to you. " 

" So you will be, Lina. God meant no one to be a drone 
in the busy hive of the world. You are not strong, but 
you wOl fmd plenty to keep you busy in superintending 
indoor arrangements and directing Gretchen. And in our 
drives, love, we will see if we cannot find some poorer than 
ourselves to comfort and aid. That will be my thank- 
offering for your Ufe, my little wife." 

The neighbours stared and wondered. Comments upon 
John's folly and improvidence fell from many lips, and old 
men, shaking their heads, prophesied ruin for the Keynolds 
farm. 

But John was as much astonished as any of them, when, 
after a few years, he found the farm yielding him a larger 
income than ever before. 

" I do believe, Lina," he said one day, to a matronly 
httle woman, who was dressing a crowing baby, " that 
your flower garden last year was worth a hundred pounds 
to me." 

"John!" 



tHB MUSICAL TMASriRY. 



~ "You see it was to get you the infoi-mation about 
flowers that we first began to subscribe to The Agricul- 
turist : there I found so many hints that I began to think 
I knew nothing about farming. One book after another 
crept into the house, and the time I thought would be 
wasted, taken from farm-work, was spent in reading. 
Now, look at the labour-saving machines I have bought ! 
See the new stock ! My orchard is going to be the best in 
the country, too." 

' ' And my poultry -yard, John 1 it was the papers and 
magazines that first gave me the idea of a model poultry- 
yard. What fun we had, John, getting it started ! " 

" Yes, indeed. That New York trip was the best in- 
vestment I ever made, Lina. I saw so many things there 
that I recognised as old friends when I met them again in 
print — the threshing machine, the rotary harrow, the 
improved plough." 

"And," said Mrs. Keynolds, mischievously, " the Milton 
watch, the sewing machine, the corals for Johnnie ! 

" Come, are you ready for your drive?" 

"As soon as I put on my hat and get the basket of 
things for Mrs. Goodwin." 

"It beats me, John," said his uncle, one bright day, 
*' where you find so much money for tomfoolery, new- 
fangled nonsense, and fallals for Lina, and yet give so 
much in charity. I thought you were crazy to buy the 
Stanley farm." 

' ' I was once, but I have something better now than the 
Stanley farm. I have learned how to manage my antelope. " 

"What?" But to this day John has never exjilained 
that riddle to his jjuzzled relative. 

PROMENADE CONCERTS. 
The indoor or outdoor promenade concert, which is grow- 
ing in favour with the populace, has cost a great many 
tears and some wrath to the "genuine musician." The 
whole-souled man who gets up at five to write a concerto, 
or to practise for a private quartette, and who sits up till 
twelve writing his impressions of the last masterpiece of 
the last musical phenomenon, is apt to be rather sarcastic 
when the promenade concert is mentioned. It has the 
dreadful taint of jjopularity about it, the "hoi poUoi" 
seem to enjoy it, and for that reason, if that alone, it is out 
of the category of music proper. To his mind there is 
somewhat of desecration in playing real music to_ pro- 
menaders. Auditors may sit, or they may stand. Sitting 
is best, for then the eyes can be more conveniently closed, 
all the muscles relaxed, and the bodily frame brc>ught into 
a highly receptive state, and become an unobstructed 
channel for the passage of the current from the musical 
batteries in the orchestra to the musical Swan-lights in the 
brain. Standing is allowable where a chair is not to be 
had, and is, indeed, more respectful in the case of certain 
classes of music. But to walk about is a kind of profana- 
tion, which causes him sore distress. Therefore it is that 
he has noted with dismay the increasing support given to 
" go-as-you-i>lease " concerts, for he does not exactly know 
where it will land the country. It is meet that we should 
look a little into this matter, and find out, if possible, the 
raison d'etre of the pi'omenade concert. There is a soul of 
good in most things evil, we are told, and perhaps we may 
discover even in this phenomenon a little utility. In the 
first place, we find that the promenade concert is at once 
an assertion and a recognition of the great English prin- 
ciple of the bberty of the subject. When you have had 
enough music you can go away, without making yourself 
an object of observation or disturbing anybody. At the 
promenade concert you can fish out the morceaux you 



would like to listen to, and you can lounge through the 
rest. We should not object to see the principle extended. 
It would be very nice if, at the theatre, we might walk out 
when the sorrowful heroine comes on, and have a bell rung 
in the adjoining smoking-room when it was time for the 
funny man, or vice versa, according to taste. Then, if we 
could skip the scientific lecturer's theoretical instruction, 
and just walk in to his experiments, his_ explosions, his 
making a wheel go round very fast, his throwing of 
coloured lights upon the ladies, and his magnifying a 
million times the ramifications of a toad's hind leg, it would 
be very agreeable indeed. We should be very thankful, 
too, for the same liberty at the pubUc meeting, so that we 
might hear the movers of resolutions, and cut the seconders 
and supporters, and leave at any moment when a man 
began to talk about his reluctance to appear on that 
occasion, or when we were threatened with " just one word 
"more," or the jjlate. Then the promenade concert, if it be 
a hindrance rather than a help to one art, has the merit of 
promoting another. This may be thought to be rather a 
negative virtue, but still we must extract what good we 
can from a thing, though it be not the particular good we 
seek. Promenade music thaws the frozen tongue. It in- 
spires ideas. It enables people really _ to enjoy one 
another's society. To this end, of course, it requires to be 
pretty loud— as much sound in the music, so much talk 
among the auditors. A roaring quadrille stirs up the most 
sluggish imagination, and a blast of a trumpet reminds 
the dullest of a good anecdote. Amateurs hate anything 
loud, of coui'se, but we really cannot see any reason in the 
nature of things why music should not be loud as well as 
low. The fact is, the more cultured people get, the softer 
and smaller they like everything : subdued colours in 
pictures, whispers in oral communication, mere hints in 
the conveyance of ideas, and (so they say) microscopic 
helpings of food, till there is a danger of everything being 
whittled away to nothing. Green grass and blue sky are 
too glaring, ordinary accents too grating, common language 
too redundant, and a slice of beef much too sensual, for a 
great many people already ; and it this process is to con- 
tinue without check, lite will become the shadow of a 
shade. So the piromenade concert comes to the rescue in 
its own province, and vindicates the merits of loudness, 
fulness, and depth as a correction to culture. There are 
some incidental advantages of the promenade concert which 
deserve a note. They benefit only select x^ortions of the 
community, it is true, but even these should not be 
slighted. Some people's receptivity is never fully de- 
veloped when they are sitting or even walking, but only 
when they are leaning against something. Those who 
have been brought closely into contact with the British 
workman, know that he is never so happy as when he is 
propping up a wall. All through the country you may 
see miles of him propping up the houses and the street 
walls, the garden fences and the village pumps. This is 
not due, as might at first sight appear, to the_ instinct of 
self-preservation and the fear that the walls might tumble 
down, but to the fact that this peculiar posture encourages 
a state of receptivity of the mind, and when in it the work- 
man can more readily imbibe the latest local and imperial 
intelligence. No doubt this is the case with many besides 
the British workman, so that when we see a gentleman at 
the promenade concert taking a chair up, and leaning with 
his arms on the back, or trying to screw his shoulder 
through the wood-woi-k of the orchestra, or leaning back 
over the balustrade till his face is out of sight, we m.iy con- 
clude that this is a physical condition of receptivity, and 
that the music only reaches him when it is fulfilled. 



THE MUSICAL TREASURY. 



CHURCH CHOIR TRAINING. 

By William de Manby Sergison. 
Bad music in large churcbes is a gi'eat national evil. I 
have visited some with a reputation for performing a fine 
musical service, and have f(jund organ and choir equally 
out of tune throughout, and endless mistakes ; in fact, 
\ery bad. Under such circumstances thousands of per- 
sons are being given " stones for bread " without knowing 
it, they are being accustomed to listen to, enjoy, and 
even praise, music that is not music, and to take bad for 
good. So, gradually, popular taste, and the national ear 
are being vitiated and debased instead of being cultivated 
and improved. I never hear such a service as this in a 
large church where there is a wealthy congregation with- 
out feeling inexpressibly indignant and grieved. 

Quietness and reverence should be the watchword. If 
it is possible to avoid it, the attention of the congregation 
should never be distracted. The waving of a hand is 
unnecessary, except sometimes in an unobtrusive manner 
for imaccompanied singing. Even with a full orchestral 
service in church, the beat of the conductor should be 
quiet with no superfluous flourish. 

The choir-trainer organist should have some one under 
him who can occasionally take the organ at rehearsal, so 
that he may hear the choir at a distance and personally 
correct individuals, winch can always be done quietly and 
unostentatiously, ■without giving pain. The choir should 
enter into the spiirit of every ijart of the service they have 
to sing, and should endeavour to feel, and bring out, the 
meaning of the words by appropriate delivery and hearty 
earnestness. All eccentricities should be studiously 
avoided and corrected at rehearsal (the organist indeed 
must watch himself closely in this respect). Sharpness 
of attack, crisp clearness should be attained by voices and 
organ. There should not be {to use Mr. Barnby's ex- 
pression) any " ragged edges " to be heard. 

The accompanist at the oi'gan in church is also the 
conductor. To be a good one he must have certain quali- 
fications — anticipation, .sharpness, idealism, heart, or what 
is called soul, the power of touching a responsive and 
sympathetic chord in the hearts of liis hearers through 
his medium, the organ. He must have a power of keeping 
X^eople together, which should be felt both in congi'e- 
gational and in chorus music, so that the hearers should 
not he in fear., when the music is intricate and difficult, 
that things must inevitably go to pieces. In this branch 
of the choirmaster organist's work, the old saying of A rs 
est cclurc artcm, holds good; and, if he is the "secret ^vil•e- 
puller behind the scenes," never unduly obtrudiug himself, 
but always ready to help and command, he will fill both 
choir and congregation with a sense of security and con- 
fidence. One very important quahty in an accompanist 
is the conductor's intuitive power of hitting the right 
time and rhythm of everything he attacks at once at first 
starting. No good efltects can be obtained unless the 
starts are firm, steady, and decided. 



THROAT DISEASES. 
Every one is familiar with the symptoms of sore throat. 
These are, the irritation and soreness, the feverish con- 
dition, hoarseness, difficulty of swallowing and speaking, 
&c. Some persons immediately upon entering a room or 
railway carriage fiUed with tobacco-smoke experience a 
tickling and irritation of the throat, producing an irre- 
pressible hacking and coughing, results whicli are apt to 
follow the smoking of tobacco ; and alcohol, especially 
when ardent spirits are indulsed m, 'svith many persons 



will produce a well-known and distressing soreness of 
throat. When predisposition to sore throat and cold 
Ijrevails, it is a good plan to bathe the surface of the body 
every morning upon rising. The shower-bath or regular 
ordinary immersion bath may be employed, or the body 
may be mopped with a wet towel or sponge, care being 
taken that the water is not too cold. 

Great care should be exercised with regard to under- 
clothing when persons are susceptible to the affection 
under discussion. The undershirt and drawers should be 
of flannel or of a mixed material in Avhich wool is con- 
tained, such as swan's-down, which is far less irritating to 
the skin. Some persons are extremely intolerant of flannel, 
which in them produces much irritation. If it can be 
afforded, silk is the best form of under garment. This 
article of dress should be of loose texture, and should 
admit of being easily washed and rendered clean. 

The climate of this country being so subject to variations 
of temperature, it may be advisable to have three kinds 
of weight of the underclothing— one of somewhat heavy 
texture for the winter and early spring, a second of medium 
texture for the spring and autumn, and a third, the 
lightest te.xture, to be obtained for the extreme heat of 
summer; but the heavy fabric should not he changed 
for the lighter until the change of season is positively 
present. All underclothing worn during the day should 
be removed at night, and turned inside out, so as to be 
thoroughly dried and ventilated before the following 
morning. The underclothing worn during the day should 
never be slept in, and that worn at night should never be 
worn in the day. 

It is well for individuals who are specially susceptible 
to cold to keep the mouth well closed whilst in the open 
air, and in many cases a respirator will be found useful. 
With respect to the remedies for sore throat, it may be 
stated Isriefly that it is difficult to lay down any hard and 
fast rules, as the medical attendant will be the best 
person to consult ; but it may be said that warmth is of 
the greatest importance, and, if it be possible, the sufferer 
should be kept in a warm room, at a temperature of 
70° Fah. 

Inhalation of steam is very valuable. This is most 
conveniently carried out by means of a proper steam 
inhaler ; but if this is not easily available, boiling water 
may be x^laced in a suitable vessel and the steam inhaled. 
Lozenges of tannin, chlorate of potash, tolu, ratany, and 
others are often used. Astringent gargles may also be 
employed, of which common alum is perhaps the best. 

The term sore throat, in a restricted sense, implies an 
affection which is limited to a small part of the throat, 
such as the pharynx, or merely the back of the throat 
and soft palate, and known by the name of pharyngitis ; 
or it may indicate far more extensive mischief, and 
embrace a far larger area, extending to the tonsils, and 
even to the larynx and vocal chords. 

Probably in the slightest ordinary cold there is always 
a certain amount of inflammation of the pharynx present, 
and this is comparatively of mild significance, but when 
the deeper structures are involved the case becomes of 
far more serious character. — Musical Standard. 



INSTRUMENTAL MUSIC IN CHURCH. 
By Hewjy Maskell, Brecon. 
There still remains in the opinion of many people a 
doubt as to whether instrmnental music should or should 
not be used in church ; and, though this is not always 
publicly expressed, yet, nevertheless, it is occupied in the 



c 



THE MUSICAL TREASURY. 



minds of many. Even that noble church instrument, the 
organ, comes in for a share of adverse criticism, it being 
sometimes looked upon as an intruder (some say an idol) 
in the house of God, and no allowance is made for the 
great amount of assistance which the singing receives 
from the instrument, or how lamentably poor the general 
effect (in most cases) would be -without it. It is, I thinlc, 
a very Httle plea (though perhaps laudable in itself) that 
the voice alone is sufficient in church, and that an instru- 
ment is not needed ; but let the holders of this idea 
consider whether this does not often proceed more from a 
want of taste for music rather than from any other cause. 
The voice is certainly of the first importance in the render- 
ing of any land of music, but in the majority of cases it is 
in want of a sustaining power — a foundation upon which 
it can rely. How often the singing would become flat, 
dry, and untniisical, were it not for the help it receives 
from the organ ; besides, bright, hearty, well-rendered 
music is a chief means of attracting good attendances ; and 
few will deny that our congregations in church might not 
be made larger. But while the organ is by many allowed 
to be a necessary and proper means of elevating and im- 
proving church music, the introduction of string and other 
instruments into the service would be looked upon as very 
objectionable, and probably cause a general exodus aroong 
the congregation. Let us see whether this would be right. 
In looking at the subject from its true point, we find in 
the Scriptures that many, and perhaps all the then known 
kinds of instruments were used in the old Jewish Cliurch. 
David, in the Psalms, urges us to praise God \^'ith all 
kinds of instruments — the sound of the trumpet, psaltery, 
harp, timbrel, and with the loud-sounding cymbals ; and, as 
these were to be used as a means of praise to God, where 
could a more fitting place be found for them to render 
such service than in His own house ? To say that when 
Christ came to the world the ancient law departed is 
certainly true, but this applies to the abolition of the 
types and shadows of our Saviour's first coming rather 
tifian to the alteration of the manner of praise in His 
temple. Since such is the case, why exclude the use of 
instrumental music from the church ?— why banish those 
things which in ages gone by were used as means of 
praise to God? To the reverent worshippers the sound of 
music, rather than diverting the soul from the service, 
materially adds to a devotional frame of mind. While on 
this subject we may notice the objections which some have 
to the performance of oratorios and other sacred works in 
church. In my opinion, the people who raise such objec- 
tions are influenced more by their own narrow-mindedness 
— not to say ignorance— rather than by a sincere desire to 
maintain the sacredness and perfect purity of the church. 
To argue that such works are given for the pleasure and 
vanity of man is hardly s\ifficient reason _ to justify the 
promoters of such performances in giving serious considera- 
tion to the views of the "unco guid," who are happily 
fast becoming an unimportant minority incapable of doing 
much harm. It is now universally admitted that the use 
of instrumental music in church is a right and orthodox 
medium for the praise of God ; but, while rejoicing that 
this is so, I would say, let us be careful that we neglect 
not to worship with our hearts as weE as with the feeling 
of devotion induced by the "heavenly sounds" of sacred 
melody. 

ANTONIN DVORAK. 
One of the most prominent of the coming men of music 
indisputably is Antonin Dvorak. Although not by birth 
one of our own countrymen, hia celebrity is almost entirely 



British. Until he won his first great success in this 
country, when about three years ago his " Stabat Mater " 
came in the hght of a revelation to EngUsh audiences, he 
was deemed merely one of the Dii minoresoi modem musical 
Germany. He was patronised by Brahms and championed 
by Joachim, but few beyond a certain circle were familiar 
even with his name. Antonin Dvontk is duly grateful for 
the position the good taste of British music lovers has 
enabled him to achieve. He has devoted himself as- 
siduously to the study of our manners and language. All 
the most important of his forthcoming compositions are 
written specially for England, and part of each year will 
henceforth be spent by him in this cotmtry. 

The career of Antonin Dvorak reads bke a volume of 
romance. His fame is far too recent to warrant the ad- 
mittance of his name to the pages of our stand.ard bio- 
graphical dictionaries. The composer is, however, himself 
by no means averse to referring to the humbleness of his 
origin. Antonin Dvorilk was bom in 1841 in the neigh- 
bourhood of Miilhausen, or, as it is called in the Bohemian 
dialect, Nelahozeves, a village with a few hundred in- 
habitants. His father combined the offices of village 
slaughterman and rural tavern-keeper. Young Dvorak 
himself in his early years served as pot-boy at the inn, 
and assisted his father to slaughter, skin, and dress cattle. 
By the laws, even the poorest lad in the meanest Bohemian 
village is compelled to learn music as a part of his primary 
education. DvoriUc was taught at the village school, and 
roughly learned the rudiments, and to sing and fiddle on 
the violin. When he could play a little he belonged to 
the village band, which was wont to strike up the dance 
for the lads and lasses of the neighbourhood after church 
was over on Sundays. The dancers contributed a few 
pience each to the expenses of the band, and these slender 
earnings were divided among the members. When Dvorak 
was thirteen he went to work for his uncle at the village 
of Zlonic, close by Schau. There the village schoolmaster 
was a somewhat superior musician. Dvoritk used to sing 
in the choir, and his master gave him a few lessons on 
the organ. Finding him an apt pupU the schoolmaster 
allowed him to copy music, and even to play old ecclesias- 
tical services from a figured bass, an art which the young 
musician taught himself. He also had a few piano lessons, 
and was initiated into the rudiments of counterpoint. 

When DvoriCk was sixteen he was sent to Prague to 
study at the College of Organists, then directed by Joseph 
Pitsoh. Antonin Dvorak only spoke the Bohemian dia- 
lect, and his first difficulty was to teach himself German. 
Then he was compelled to live upon the scanty allowance 
of a little over fifteen shillings per month. The struggles 
of a young man, even at Prague, to lodge, feed, and clothe 
himself on about £10 per annum can only be imagined. 
When Pitsch died he was succeeded by a far Idnder master, 
one Kreyci, and under his guidance young Dvorak first 
made the acquaintance of the music of Mozart, Mendel- 
ssohn, and Beethoven. He says the first real orchestral 
work he ever heard was when he stole into a rehearsal of 
Beethoven's choral symphony, under Spohr. In 1860, 
when Dvorak was nineteen, he became a violinist in a band 
which played at cafes and dancing haUs, and his wages 
were £25 per annum. He earned a Httle overtime by 
playing in a sextet in order to amuse the insane in a 
private lunatic asylum. In 1862 he obtained a post in the 
band of thirty-six at the new Bohemian Opera House at 
Prague, under Mayer, and it was about this time that his 
friend Bendl for the first time lent him the score of the 
Beethoven septet. In 1871 he left the theatre, in order to 
try and get a living of at least £50 per annum by teaching. 



THE MUSICAL TEEASURY. 



During this struggle Dvordk was not idle. To shortly 
after this period (in 1873) belonf;s the " Patriotic HjTnn," 
announced for the last Worcester Festival, but since given 
in London. He also wrote an opera, " Konig and Kohler," 
avowedly in the style of the " Meistersinger." It was 
tried by the orchestra, unanimously "protested," and 
withdrawn. 

Dvorak was shortly afterwards appointed organist at 
Adelbett Church, Prague. He sent in his opera and his 
symphony in P to the Minister in Vienna, and for these 
he obtained the enormous Government grant of £40. 
Flushed with success, Dvorak married, and has since lived 
a very happy wedded life. A year later he made a second 
attempt, sending in an opera entitled " Wanda" and his 
" Stabat Mater." ' Both were ignominiously rejected. 
The " Stabat Mater " — which established his fame among 
a more intelligent community, and has set the musicians 
of two hemispheres wondering whether we have or not 
discovered a second Beethoven — was not deemed worthy 
an encouraging grant of £40 by Austrian bureaucracy. 
He tried again, and got £.50. Eventually he sent in several 
works, and among them the pianoforte concerto in G- 
minor, first introduced in this country by Mr. Manns at 
the Crystal Palace in October, 1883. Brahms hajjpened 
to see it, and he and the renowned Viennese critic, Han- 
slick, exerted themselves sufficiently to obtain for Dvorak 
a grant of £60. Besides this. Bralims asked Simrock, of 
Berlin, to publish some of the Bohemian composer's works, 
and thus they were brought to the notice of Joachim. 
Mr. Manns had ah-eady introduced some of Dvorak's Slav 
music at the Crystal Palace. But his very name was 
almost unknown. Joachim's ^vill is, however, puissant at 
the popular concerts, and when he recommended the pro- 
duction of Dvorak's Sextet in A, Mr. Chappell at once 
accepted it. The work, first given Feb. 23, 1880, made a 
great impression, but it was not until 1883, when the 
" Stabat Mater " was produced here, that the name of the 
coraxjoser came prominently to the front. 

The evening of March 10, 1883, may hereafter be deemed 
historical. Very few of the small audience had the 
smallest knowledge of the work, the vocal score of which 
was placed in the hands of most of them as they entered 
St. James' Hall. Yet another " Stabat Mater," rejected 
by the Austri.an Minister, was not likely to interest those 
who attended as a business duty, expecting to chronicle 
yet another pretentious failure. But a very few minutes 
after Mr. Barnby had lifted his hiUoii served to stifle the 
small talk, and to concentrate the attention of the audience 
upon the music now heard. Rarely in our time has such 
a master work from a totally unexpected source been 
sprung upon a sceptical public. Dvorak leaped at a bound 
into fame. The Philharmonic Society, sorely in need of a 
lion, invited him to come to England. Messrs. Novello's 
firm, who had published his " Stabat Mater," warmly and 
generously, according to their wont, looked after his 
interests. Dvorak came here, conducted at the Philhar- 
monic, and directed a gala performance of his "Stabat 
Mater " at the Albert Hall. The senior partner of 
NoveUos gave a fHe in his honour at Norwood, and 
Dvorak declared he had never before seen such a congre- 
gation of beautiful ladies. But his tastes were not amid 
the garish lights of society. He was at home at Mr. 
Oscar Beringer's, and vastly preferred his laager beer, his 
pipe, and his chat with friends. Dvorak returned last 
autumn to direct his " Stabat Mater" at the Three Choirs 
Festival, and again this summer to conduct at the Phil- 
harmonic his new symphony in D minor, expressly com- 
posed for this country. 



Hitherto most of the music we have heard from the pel), 
of Dvorak has been that composed in his early years, 
when the young married man was struggling for an artist's 
stipend of £40. Now, however, for the first time he comes 
before us at the greatest of our festivals— that of Birming- 
ham — with a cantata specially written for this country. 
He has in hand an English oratorio on the subject of 
" Samson and Delilah," and other works. He thus, having 
cast in his lot with us, has a special title to be considered 
as a Coming Man. In the judgment of many, he is one of 
the sole surviving hopes of continuing the long line of 
great Continental composers. The star of Brahms is on 
the wane; Baff and Wagner are dead; Gounod is well 
stricken in years ; Verdi cannot, and Boito vn\i not, write 
■any more. The position of the younger generation of 
Fi-ench, German, and Italian writers is overshadowed, 
both here and abroad, by the advance of the composers of 
England, from Mackenzie, ViUiers Stanford, Goring 
Thomas, and Cowen downwards. It is to Dvordk that 
the eyes of Europe turn in expectation of hailing another 
of the race of really great Continental musicians. There 
are some who are nervous lest adulation and the process 
of " academising " should injure that which promises to be 
a great and original genius. On this point it would be the 
vei-iest nonsense to attempt prophecy. The result of the 
highly important essay at the Birmingham Festival will, 
to a certain extent, tend to indicate whether high hopes 
are justified or otherwise. 

The success of the Birmingham Festival was indisput- 
ably won by Herr Dvorak's cantata, " The Spectre's 
Bride. " Despite a ghoiUish libretto, and a puerile English 
version, distilled from the original Bohemian through a 
German translation, the swing of Dvorak's music carried 
all before it. Anything more exciting than the chain of 
choruses— led by Mr. Santley, descriptive of the_ terrible 
march of the spectre and his lady love, and relieved by 
the duets of the imfortunate couple — has rarely been 
heard. 'This work (the first choral composition ever 
written by Dvordk for an English festival) shows the 
Bohemian composer at his very strongest. The choral 
parts are somewhat diificult, biit it will doubtless be the 
privilege of many choral societies in the provinces to over- 
come them. — Figaro, 



A GREAT obstacle to any improvement in our English 
sacred music is the prejudice which many people still 
retain to what they caD a "performance" in Church — 
ignoring the fact that the clergyman always "performs" 
not only the sermon but a great deal of the service. They 
do not object to the vicarious offering of prayer by one 
m.an ; but they are shocked by the idea of a fairly repre- 
sentative number of people discharging, in the name of 
the congregatio:i, a duty for which the others have not 
taken the trouble to qualify themselves. And the very 
assistance they will not accept in Church, they delight to 
have in the concert-room. For, in England, there are 
thousands of people, destitute of general musical pro- 
clivities, who, at least annually, attend "performances" 
of the "Messiah;" and do so distinctly as a religious 
exercise, yielding their sympathies freely to the influence 
of its sublime strains, and consciously warmed and ele- 
vated in spirit by the increased pathos and power with 
which the music endows the words. How funnily moulded 
our "principles" are?— JOr. Hiles, in the "Quarterly 
Musical lieview." 



THE MUSICAL TREASURY. 



Musical XCreasur^^ 

EDINBURGH, OCTOBER 1, 1885. 

ADVERTISEMENTS. 

Advertisements will be received at the following rate : — 

One page, . . . .£100 

HaK page, . . . 11 

Quarter page, . . .060 

One-eighth page, . . 3 6 

Three lines, . . 10 

Advertisements must reach the Treasury Office not later 

♦han the 20th of each month. 



NOTICE. 

<i^ ■^'J^'^i'tisements appear in the " Musical Star " and 

Musical Treasury." 

As both journals have a larae and increasing circulation, 
advertisers can hardly fail 'to appreciate the advantages 
offered by the "Star" and "Treasury" as advertising 
mediums, only one charge being made. 

The "Musical Star" and "Musical Treasury" may he 
obtained through all Booksellers and Newsagents, or from 
the Office, 11 North Bridge, Edinburgh. 

BELLS. 
Abtemus Wakd, having upon one occasion stated a 
most abstruse and at the same time ridiculous pro- 
blem to^ a London cabman with the object of con- 
fusing him and enjoying his confusion, was met by the 
query, " Now, then, guv'nor, don't you think that's 
rather a dry subject ? There's a good deal to be said 
on both sides." The same may with much propriety 
be said of the subject of this article, at least in so far 
as the abundance of controversial material is concerned. 
Our literature abounds with references to bells, the 
poets naturally and as matter of course dealing with 
bells in their pleasantest connections. Is it of. the 
Sabbath bells they speak? — they are " sweetly calling 
unto prayer." Do they wish to convey to our minds 
the hilarity of a party?— then "all went merry as a 
marriage bell;" or to inspire us with thoughts of the 
exhilarating delights of sleighing? — then the sleigh- 
bells "tinkle, tinkle, tinkle in the icy air of niglit." 
We are not unmindful that the poets also keep in mind 
the more sombre and mournful occasions in which bells 
are brought into requisition, nor do we forget that the 
" wild tocsin" appears in effective verse, but probably 
the bells are referred to more frequently in their joyous 
than in their sorrowful associations. It is not our 
purpose in this short sketch to treat of bells either 
from the poetical point of view or from the point of 
view of those who regard bells of every size, colour, 
and tone as an unmitigated evil, but to endeavour to 
preserve an even balance in the matter. Church bells, 
being more particularly concerned with the public 
weal and the public woe, naturally demand our tirst 
consideration. From our childhood we have been 
accustomed to regard a bell as an almost indispensable 
portion of ecclesiastical equipment. Most of us can 
recall a youthful period at which we were disinclmed 
to admit the claim of a building to the name of church 



which did not possess a bell of some description. 
Probably many people will be of opinion that the 
present proportion of churches without bells is by no 
means too large. In country districts, church bells, 
rung at regular times, have for generations been of 
great usefulness. The ringer of the church bell is in 
some villages regarded, and justly regarded, as a public 
benefactor. Does he not leave his cosy bed at an early 
hour in all sorts of weather to annoimce to the working 
people of the district the approach of the hours of 
work, and is there not a sense of satisfaction when in 
the summer evenings the eight o'clock curfew intimates 
that there are still some hours of leisure in store for the 
villagers ? Apart from this utilitarian point of view, 
however, there is a solemn peacefulness about the 
church bell as its chime reaches us across the meadow 
on a summer morning, or as it calls the worshippers 
to service in the c[uiet evening hours. This indeed 
seems to us to be the most fitting mission of the church 
bell. Were it not that it is usually the only available 
alarm in the country, it would certainly be released 
from its incongruous duties of announcing indiscri- 
minately a fire or a meeting of heritors ! We in 
Scotland have hitherto been served principally, though 
not exclusively, by the single bell, while in England 
chimes are preferred, and consequently much more 
common. Here is a point in regard to which we may, 
like Artemus Ward's cabman, remark that there is a 
good deal to be said on both sides. The manipulation 
by skilled ringers of a really good peal of bells, say in 
a suburban district of London on a quiet evening, 
produces what we are inclined to regard as the perfec- 
tion of bell music. 

We have thus dealt in a general way with what may 
be called the more agreeable aspects of the subject. 
We cannot overlook the fact that there are other views 
which probably deserve as much attention as those we 
have stated. In towns we not infrequently meet with 
people who entertain out-and-out abolitionist views in 
regard to bells. If they had their will, bells of every 
description would be ruthlessly rooted out from the 
midst of the community. All of us feel at times the 
abolitionist spirit upon us, for is not .'^olomon's dictum 
that "there is a time for everything" often absolutely 
ignored? Many of those who have charge of bells 
have an unhappy knack of fixing upon the wrong time 
for their performances. AYe have in our mind a certain 
London street iu which an ardent campanologist per- 
sists in playing "Abide with me," and other suitable 
melodies for hours on end, and that in spite of emphatic 
neighbourly remonstrances. Again, it is all very well 
to ring in the New Year, but when your church is 
situated in a populous locality in which probably there 
are not a few sick people, it becomes a question whether 
the sentimental ought not to give way to the practical. 
It may be doubted whether a church situated among 
rows of houses is quite the place for musical bells, and 
yet do we not continually hear in such a situation the 
notes chasing each other up and down the scale, the 
reverberations caused by the proximity of the house 
rendering the sounds well-nigh insupportable. Some 
bells, too, which are meant to be- musical, are nothing 



THE MUSICAL TREASURY. 



9 



njore than a miserable jingle. In towns, the single bell 
is probably on the whole the more tolerable as bells go. 
At the same time it can scarcely be said that this is a 
comfort to the hater of bells. No one who has lived in 
Edinburgh can have failed to hear the frightfully un- 
musical effects produced by single bells at a little 
distance from one another. There is no doubt Ijut that 
in some districts they have constituted themselves a 
nuisance which ought to be got rid of. It has often 
struck us that the best way out of the difficulty would 
be to have a really good resounding bell for each 
district, which should serve all the chui-ches. The 
time of day is past which req^uired frequent daily bell- 
ringing. 

An amusiug episode occurred last month in the 
Glasgow Town-Council, the occasion being a recom- 
mendation that the salary of the bell-ringer in Black- 
friars church should be increased from the munificent 
yearly £10 to £12 in consideration of the fact that the 
artist also played the chimes in the church spire! One 
councillor described the music as " unpleasant, " and 
thought the young man should be dissuaded from 
attempting hymn-tunes on a chime of five bells ! A 
bailie suggested that the coixncillor's ear was deficient, 
wliereupon that gentleman vmdicated his musical 
character. Another bailie said they could not expect a 
fine tune for £l2. He thought the man was playing 
up to his wage. This latter idea was too much for the 
grave assembly, which consequently relieved itself with 
a hearty laugh ; but the whole discussion, which ended 
in the preservation of the status quo, only proved how 
true it was that a " good deal could be said on both 
sides," 



^bc XetteivBoy. 

A TONIC SOL-FA COLLEGE FOR SCOTLAND. 

Edinburgh, \5th Sept., 1885. 

Sir, — Seeing you have solicited an expression of opinion 
regarding the desu-abUity of establishing a Tonic Sol-fa 
College for Scotland, I venture to offer a few remarks 
thereanent. There cannot be the slightest doubt that but 
for the introduction of the tonic sol-fa system, the know- 
ledge of music would have been much less generally 
diffused in Scotland than it happily is at the present time. 
In numerous rural districts, up to quite a recent date, 
there was comparatively little interest shown in the study 
of music, in consequence of the difficulty experienced in 
mastering the technicalities of the old notation, added to 
the fact that few persons located in such districts had then 
the necessary knowledge combined with the faculty for 
lucidly explaining the principles of music to the average 
rustic mind. The new notation has quite revolutionised 
this state of affairs, beiug now eagerly studied by large 
numbers of our country cousins. 

It certainly seems absurd to think that, with such a good 
work going on in Scotland, we should still require to go 
across the Border for our certificates of merit ; and I trust 



the proposal you have now put forward \viU be taken up 
heartily and energetically imtil that anomaly ceases to 
exist, and we have our own Tonic Sol-fa College. 

Scotland — usually in the van — seems to be wofuUy be- 
hind in matters musical. Even although we have a 
Professor and a College of Music attached to oxir 
University, yet degrees cannot be conferred upon the 
students who attend until they also pass an examination 
in England or Ireland. Surely in sol-fa matters we could 
beat this sham coUege, at least in some respects ! 

I would suggest that, before any meeting is held or any 
action taken, the subject should be thoroughly weU ven- 
tilated, through the medium of your admirable paper, by 
the free expression of opinion. A great deal will be gained 
if correspondents will study moderation of language and 
avoid personaUties and recrimination, as these only prevent 
the great bulk of ordinary readers from perusing an other- 
wise useful discussion. 

It seems to me the chief obstacle in the way will be the 
rooting out of the prejudices and petty jealousies of the 
numerous sections into which those who might combine for 
such a useful purpose are divided — upon such matters as 
the scope of the college, and even as to its location. The 
former, of course, would be subject for debate at a meeting 
convened for that object ; and as to the latter, I cannot 
conclude without suggesting that Edinburgh would be a 
most suitaijle centre for the establishment of such a college. 
Most institutions nowadays require a paper or journal to 
convey to the general pubUc a record of the work engaged 
in and the results obtained ; and I am certain it would be 
most desirable and beneficial to incorporate such particulars 
mthin the Musical Treasury and Star, which have already 
such a wide-spread and well-deserved circulation. 

Do-Kat-Mb. 



Glasgow, Sept. 15, 1885._ 
Dear Sir, — I am very pleased to see such a lively dis- 
cussion in the Trea^Hury over the proposal to establish a Tonic 
Sol-fa CoUege north of the Border. I think the proposal 
is good, and the sooner it is given effect to the better for 
Scotland. Every such effort must tend to do good, and 
should be very cordially welcomed by every genuine sol- 
faist. 

Why "Musicus" should have been thro%vn into such a 
naughty fright over it one can only guess "Musicus" 
has long ago ceased to have any influence in musical 
circles here, and his clumsy and selfish efforts to pose as 
an authority in teaching music are rated by your corre- 
spondents at their true value. Do not let the cause of 
progress suffer because some fossilised stick-in-the-mud 
has become alarmed lest his craft should be endangered 
by this movement. 

Glasgow is not such a hot-bed of these gentry as your 
Galashiels correspondent seems to think. There are more 
men in Glasgow than "Musicus" — men who have quite as 
good a claim to be heard, and who know more about teach- 
ing and notation than he with all his sneers at the lessons 
in the Treasury. I do not wish to be held as sympathis- 
ing in the least with the views "Musicus" gave expression 
to, and beg to assure you that I, at least, shall be very 
pleased to see such a college established soon for the 
benefit of musical students and for the good of sol-fa. — I 
am, &c., A Glasgow Teacher. 

Edinbdrgh, lith Sept., 1885. 
Sir,— On page 8 of the Mu.tical Treasury for September, 
there appears an article advocating the establishment of a 
Tonic Sol-fa College for Scotland, Iij that article every 



10 



THE MUSICAL TEEASUR7. 



effort 13 made to convey the impression that the Tonic Sol- 
fa College, London, is an exclusively "English " institution. 
Nothing could be further from the truth. Like our Army, 
Navy, Postal Service, Parliament, &c., it is British, though 
its headquarters are in London ; hence the writer in the 
Treastirii betrays either great ignorance or an intention to 
wiUfuUy mislead his readers. It can hardly be ignorance, 
so, in the beUef that it is misrepresentation, I may remark 
that Tonic Sol-faists, as a class, are too intelligent to be 
hoodwinked so easily ; and it may be safely predicted that 
any attempt, by such questionable means, to establish a 
rival College to that in whose solid worth they have justly 
so much confidence will utterly fail. 

After a sentence, in which the ivriter gets considerably 
"mixed" in regard to "notation" and "music," not 
seeming to be aware that they are different things, he 
begins his second paragraph by saying— "As most of our 
readers know, our EngUsh neighbours are in advance of 
us in the matter of high-class tonic sol-fa education. " This 
may be met by the counter statement that, probably "most 
of our readers know " the veiy reverse to be the case — 
namely, that in proportion to the number of its inhabitants, 
Scotland possesses more highly-educated tonic sol-faists 
than England and Ireland taken together. 

That there is some inconvenience caused to Scottish 
tonic sol-fa students by their CoUege being in London, 
may be admitted ; but this could be obviated, and the 
whole question solved, by forming branches of the parent 
College wherever it might be practicable. 

To the late lamented John Gurwen there were neither 
English, Irish, nor Scotchmen ; there were only his fellow- 
men whom he wished to benefit. So it comes to-day that 
"The Tonic Sol-fa College for the People," the found- 
ing of which was the cro^^^ling achievement of his life, is 
open to all on equal terms, without distinction of race, 
couiitiy, colour, or creed. Therefore, to speak of the 
Tonic Sol-fa College as being " EngHsh," is as unjust as it is 
xmgenerous — at once an outrage upon truth and a libel on 
the memory of a truly philanthropic and noble-minded man . 

Trusting that these remarks may recall the true state of 
the case to the minds of such touic-sol-faists as may have 
forgotten it— if any such there be, — I am. Sir, &c., 

Thos. Young. 

Edinbtjkgh, Wth Sept., 1885. 
Sir, — The proposal now being ventilated through your 
columns to establish a Tonic Sol-fa CoUege in Scotland, 
■sviU never come to anything. I am positively certain of 
this. The reasons are not far to seek. Any proposal or 
suggestion— it matters not a jot how disinterestedly it is 
made — having reference to sol-fa matters, emanating from 
Edinburgh , will not be supported, or even countenanced, 
by the great men of Glasgow. On the other hand, they 
will strive with might and main to ignominiously crush any 
scheme that is set afoot ; and they will do this without 
giving the slightest considuratiou to the fact that such 
scheme might do a vast amount of good to promote the 
interests and welfare of the sol-fa movement. It is well 
enough known that there is no profession under the sun 
where more blind jealousy exists than in the musical pro- 
fession ; and while this applies to musicians of all types 
and classes, the evil is seen at its very worst amongst those 
who are connected with the tonic sol-fa. I state this fear- 
lessly and challenge contradiction. Any such proposal, 
therefore, I beUeve to be altogether out of the question, 
more particularly as it comes from the Metropolis. Glas- 
gow sol-faists have a very poor opinion of their brethren in 
Edinburgh ; and though they will cheerfully submit to be 



led by the nose by any other town or institution outside 
their own country, they would make any sacrifice rather 
than co-operate with their friends in the capital — no matter 
how great the benefit to them might be. 
_ You will no doiibt receive the support of a certain sec- 
tion of sol-faists who are wise enough to see that Scotland 
is ripe for something more substantial than a branch of an 
English college ; but as that section, I am afraid, will be 
small in number, it will not go for much. I would fain 
wish you success, but the case is too hopeless. — Yours, &c., 
Jaevis. 

Edinbukgh, 25ffi Sept., 1885. 
Sir, — I have read with interest your short articles, and 
the letters which they have called forth, in reference to the 
provision of a Tonic Sol-fa College for Scotland. I am 
always pleased to see anything which has for its end our 
improvement in matters musical, and I feel certain no one 
will regret the discussion in your columns. Perhaps you 
wUl allow me to say, however, that I think the present 
College in England meets all the requirements of the case. 
If there were anything distinctive in Scottish tonic sol-fa, 
as compared with English sol-fa, then there might be some 
reason for the founding of an institution which should bear 
testimony to our national characteristics ; but, seeing that 
sol-fa is sol-fa and nothing else, why should we bother about 
rearing an institution which would merely do what the 
English College is at present eflficiently doing, i.e., putting 
its students through a course of training, and then per- 
mitting them to affix four letters to their names. So far 
as the sending of cash across the Border is concerned, I 
think we need not vex ourselves much about it. Tonic 
sol-faists are certainly a very enthusiastic class of people, 
but I am iucUned to advise them to temper their zeal with 
discretion. If it were resolved to have a Tonic Sof-fa 
College for Scotland, sol-faists would require to be prepared 
to thrust their hands into their pockets to some purpose, 
unless they were content to merely rent a room in some of 
the less brilliant parts of the City in which to caiTy on col- 
legiate operations. To put the Quaker question — " Do the 
sol-faists sympathise £20 each or so?" — Yours, &c., 

Musious No. 2. 

6 T.VNNADICE St., Dundee, IQlh Sept., 1885. 

Dear Sir, — I was very sorry at reading the correspon- 
dence in this month's Treasury, anent the opening of an 
Edinburgh College for the propagation of tonic sol-fa, to 
find that Mr. J. C. Grieve had been very unwarrantably 
brought into the correspondence. But doubly sorry was I 
that men talented to write such letters would waste such an 
amount of paper, ink, and time — that most valuable 
adjunct of all — in running down such a no\ice as the one 
who styles himself "Musicus" must be. Let us Uve the 
like of him down. Eirst, as to Mr. J. C. Grieve ; he is a 
man I have had correspondence with, but never saw. He 
has done, me so much good, however, that, should I ever 
meet him, I shall at least shake him most warmly by the 
hand. I have written the tests which " Musicus " has 
taken upon himself to call confusion, and have found them 
very beneficial confusion indeed. 

But, Mr. Editor, we want proposals for the, working of 
our Scottish College, and not for the confounding of an 
ignoramus. I would not have the thing hurriedly gone 
into, but have aU points considered. Would it not be 
better to include staff notation as well? Would it not 
also be as well to have all sorts of instrumental music 
wrought up ? These, and many others, are points well 
worthy our attention, and will better repay us. — Truly 
yours, Bkimbokiam. 



THE MUSICAL TREASURY. 



11 



The foUoTving letters appeared in the Glasgow Blail : — 
TONIC SOL-FA COLLEGE FOR SCOTLAND. 

Sir, — In my last letter it appears I have most un- 
wittingly and unintentionally given offence to a gentleman 
in Edinburgh, whose name I did not even know. There 
is not a syllable personal to any one in my letter ; I merely 
offered, as requested, some suggestions in reference to au 
article in the Musical Trcasnrp, for which pubUcation I 
only knew the editor as responsible. Why this should have 
brought down upon me such a severe personal attack I 
reaDy cannot imagine. No exception is taken to my 
remarks upon the proposal contained in this article, and 
■all that I have said in reference to the " new notation " is 
admitted by Mr. Grieve, but he adds that what I complain 
of is " intentional.'' I highly approve of musical problems 
being submitted for solution, but I hold very strongly that 
all such should be set in a musical manner, so that they 
can be sung and resolved correctly. Neither of these 
requirements can be applied to those at page 1.5 of the 
Treasury. They are intended to embrace the niceties of the 
enharmonic scale, though these are frequently used in a 
very peculiar manner, but they can only be even apparently 
resolved by using all the imperfections of the tempered 
scale. This, I need hardly say, is no true musical solu- 
tion, but destroys the problem altogether. It is, further, 
very confusing to the student, leading to the idea that the 
enharmonic and tempered scales are convertible. If so, 
why trouble them with the enharmonic scale at all ? I am 
very pleased to see attention called to the niceties of 
musical notation. Nothing has so hindered the progress 
of vocal music as imperfect notation and illegitimate 
transition, the necessary and constant causes of the rough 
singing and falling in pitch so destructive to our choral 
music. — I am, &c., Musicus, 

Aug. 19. 

Sib, — " Musicus " in his second letter says I admitted 
in my last all that he said in his first letter. I scarcely 
think I did. However, I cannot admit all that he says in his 
later epistle. He asserts that the examples on page 15 of 
the Treasury are not set in a musical manner, as they can 
neither be sung nor resolved properly ; and he makes some 
remarks upon the niceties of the enharmonic scale in such 
a general way as may be taken to mean anything or 
nothing, just as one chooses. What, I would ask, has the 
enharmonic scale to do with the examples, as examples? 
They are written in tonic sol-fa notation (at least, they are 
supposed to be), and that notation — nor, indeed, any nota- 
tion under the sun — cannot depict properly the niceties of 
the enharmonic, nor yet of the chromatic— no, nor even of 
the diatonic scale correctly. Certain niceties of intonation 
are often implied in the tonic sol-fa, as well as in other 
notations, although they are not definitely expressed ; and 
I liold that the notation of the tests is as conformable to 
tonic sol-fa principles as to write 1 1 s in a cadence tran- 
sition when m r d are the actual sounds represented. As 
to the tests not being singable, that wUl depend on the 
singer. The exactness of the sounds produced by the 
singer does not depend upon whether the notes are named 
m fe or m ba,h, but upon the perception and appreciation 
of the vocahst concerning the interval he is required to 
produce, and his ability to produce it. " The imperfec- 
tions of the tempered scale," which " Musicus " says are 
necessary for the proper resolution of the tests, have 
really nothing to do in the matter. How these "imper- 
fections " are to be employed in the resolution is a kind of 
a puzzle, as the notation cannot represent them, and it is 



only by means of the notation that the resolution is to be 
arrived at. " The imperfections of the tempered scale " 
can only exist in the imagination, so to speak, of any one 
looking at a piece of tonic sol-fa music; and the nature of 
these "imperfections" will depend on the individual 
interpretation put upon the sol-fa syllables. I maintain 
that the tests are not only practical, but that they are 
scientifically correct. Had this been a musical journal I 
would have sent you a minute analysis of the tests com- 
plained of, shomng that no tempered intervals are neces- 
sary for their proper solution, but that every interval 
employed may be strictly in accordance witii just intona- 
tion. I thoroughly agree "with " Musicus " in his con- 
cluding sentence, that "imperfect notation and illegitimate 
transition " have seriously " hindered the cause of vocal 
music : " and I would only add it is for the very purpose 
of enabling students to understand those imperfections 
and illegitimacies that the Treasury test problems are partly 
designed.— I am, &c., John C. Grieve. 

8 Rankeillor Street, Edinburgh, Aug. 24. 



AN EVENING AT CHOPIN'S. 
It is about nine o'clock in the evening. Chopin is seated 
at the i^iano, the room is dimly lighted by a few wax- 
candles. Several men of l^rilliant renown are grouped in 
the luminous zone immediately around the "piano. 

Heine, the sad humorist, leans over his shoulder, and 
as the tapering fingers wander meditatively over the ivory 
keys, asks " if the trees at moonlight sang always so har- 
moniously ? " 

Meyerbeer is seated by his side ; his grave and thoughtful 
head moves at times with a tacit acquiescence and delight, 
and lie almost forgets the ring of his own Cyclopiean 
harmonies in listening to the dehcate Arabesque-woven 
mazourkas of his friend. 

Adolphe Nourrit, the noble and ascetic artist, stands 
apart. He has something of the grandeur of the Middle 
Ages about him. In his later years he refused to paint 
any subject which was wanting in true dignity. Like 
Chopin he served art with a severe exclusiveness and a 
passionate devotion. 

Eugene Delacroix leans against the piano, absorbed in 
meditation — developing, it may be, in his own mind, some 
form of beauty, or some splendid tint, suggested by the 
strange analogies which exist between sound and colour. 

Buried in a fauteuil, with her arms resting on a table, 
sat Madame Sand, curiously attentive, gracefully subdued. 
She is Ustening to the language of the emotions — fascinated 
by the subtle gradations of thought and feelings which she 
herseff deUghted to express. It is in memory of some such 
golden hours that she writes : — "There is no mightier art 
than this to awaken in man the sublime consciousness of 
his own humanity — to paint before his mind's eye the rich 
splendours of nature — the joy of meditation — the national 
character of a people — the passionate tumult of their hopes 
and fears — the languor and despondency of their sufferings. 
Remorse, violence, terror, control, despair, enthusiasm, 
faith, disquietude, glory, calm — these and a thousand other 
nameless emotions belong to music. Without stooping to 
a puerile imitation of noises and effects, she transports us 
in the spirit to strange and distant scenes. There we 
wander to and fro in the dim air, and, Hke .^Eneas in the 
Elysian fields, all we behold is greater than on earth — god- 
like, changed, idealised." 

One evening towards sunset, Chopin, who had lain in- 
aensible for many hours, suddenly rallied. He observed 



12 



THE MUSICAL TREASURY. 



the Countess drajjed in white standing at the foot of the 
bed. She was weeping bitterly. " Sing !" murmured the 
dying man. She had a lovely voice. It was a strange 
request, but so earnest a one that his friends wheeled the 
piano from the adjoining parlour to hi.s bedroom door, and 
there, as the twilight deepened, with the last rays of the 
setting sun streaming into the room, the Countess sang 
that famous canticle to the Virgin, which it is said once 
saved the life of Stradella. "How beautiful it is!" he 
exclaimed ; " My God, how beautiful ! Again, again ! " In 
another moment he swooned away.—H. B. HatixU. 



MECHANICAL STREET MtLSIC. 
It is commonly believed that street-organs, hurdy-gurdies, 
and kindred instruments are looked upon with particular 
dislike by all orthodox musicians. It appears, however, 
that the common belief is an inaccurate one. In 1861 the 
celebrated advocate, Adolphe Cr^mieux, was engaged to 
plead the cause of certain organ-grinders who were indicted 
in Paris as public nuisances ; and, in order to obtain mate- 
rials for the defence, he applied to three of the leading 
composers of the day for their opinions about .street-organs 
and hurdy-gurdies. Two of the replies have recently been 
discovered among a large collection of autographs that was 
left by the great lawyer, and the letters are printed in 
the current number of the Sertie Politique et Litteraire. 
J. F. Halevy ^^Tote : — " I do not believe that any composer 
will admit that his reputation suffers when a few of his 
melodies are reproduced on the street-organs and other 
musical boxes to which you allude ; I believe, on the con- 
trary, that airs which are thus made pfiblic not only do not 
lessen the reputation of the composer, but give it an 
additional popularity which is not unwelcome. Of course, 
the composer likes great singers — celebrated tenors and 
illustrious prima donnas — yet there is good in the rox 
popitli, and he is far from despising it." Kossini was next 
appealed to, but his reply is not given. It was evidently 
much to the same effect as Halfivy's, for Auber, who 
was the third composer to whom the question was referred, 
wrote: — "I entirely agree with Rossini and Halevy, and 
I beg to add my testimony to theirs. The success of the 
street is not the least flattering of all." Not one of these 
distinguished musicians went so far as to declare that the 
strains of a hand-organ were soothing to him, or that he 
had an active liking for the lugubrious outpourings of a 
hurdy-gxirdy ; and therefore it may not be sesthetically 
incumbent upon a mere every-day lover of music to go 
into raptures whenever Giovanni Giovanelli elects to 
chum out discordant fragments of opera within hearing. 
It may be added that the composers of the advanced 
school, writing with a sublime contempt for, or neglect of 
melody, are not likely to suffer from "grinding," or to 
gain popularity after this manner. 



APPOINTMENTS. 

Me. John M'Laken, leader of psalmody in St. Bryce- 
dale Pree Church, has been appointed teacher of music 
under Kinghorn School Board. 

Me. William G. Uunsmokf, (late of Holyrood P. C), 
has been elected precentor of Campbelto^vu V. P. Church. 
After hearing a leet, which were chosen out of the twenty- 
eight applications sent in, the precentor's Committee gave 
in their report at a meeting held for that purpose. Ex- 
Provost Greenlees moved, and Mr. A. Colville seconded, 
that Mr. W. G. Dunsmore, of Edinburgh, be elected pre- 
centor. The motion was put and carried unanimously. 



A Hint foe Pianists. — A foreign medical man counsels 
those who practise frequently on the piano, harp, and 
stringed instruments generally, to submit to a surgical 
operation, which consists in dividing the tendon of the 
annulary or ring-finger. Pianists are aware that, out of 
the five fingers composing the hand, the fourth one, as it 
is termed, is the most rebellious in action, being alike the 
weakest and least flexible of all the others. This feeble- 
ness proceeds from the lateral tendons that join the annu- 
lary to the other fingers, and in a measure paralyses its 
movements. It seems that the operation is not painful, 
the patient loses but little blood, and the fingers become as 
free as the others, and can work upon the key-board or 
music-strings with equal force and facility. 



Negro Festivities. — Negro festivities, as represented 
on the stage, are cheerful and jovial proceedings, replete 
with fun and good temper ; but in sober reality they are 
not unfrequently scenes of disputes and bloodshed. The 
negroes carry knives and razors, and use them on the 
slightest provocation, and "desiderate frays at negro 
gatherings" is a stock heading in Amei'ican journals. It 
is not often, however, that the cause of dispute is as slight 
as that which set the "sons and daughters of Moab" by 
the ears at a ijicnic near Richmond, Virginia. The trouble 
had its origin in a misunderstanding about which tune 
the brass band should play. Anthony and some of his 
fi-iends insisted it should be "Wait till the clouds roll 
by." Another faction demanded a livelier air, called 
"Dancing Jimmy." The two factions became greatly 
excited, and in the melee a dozen razors were flashed 
in the suidight. A coloured constable on the ground 
arrested the fighters. Anthony attempted to rescue his 
friends from the officers. The constable, after repeated 
warnings, drew an old, rusty, pepperbox revolver, and 
shot him. Several other men were severely wounded in 
the fray. The negro has always been fond of music, but 
it would hardly have been thought that whether "Wait 
till the clouds roll by" or "Dancing .Timmy" should be 
played first was a question of sufficient importance to 
cause ^ score of sober enthusiasts to go at each other's 
throats with deadly weapons. 



General Grant and Mosio. — Amongst other reminis- 
cences of the late General Grant is one concerning his 
singularly intense dislike for music. Many persons do 
not care for music; others only like certain kinds of music; 
but General Grant positively detested it in any and every 
form. The narrator who recalls this curious trait in his 
character remarks that, when Marshal MacMahon was 
President of the French Republic, he had frequently an 
opportunity of seeing the patient endurance of the Ameri- 
can hero put to a severe test. Being on a visit to the 
French capital, the Marshal used often to place the 
Presidential box at the Grand Opera at his disposal, and 
etiquette prevented him from declining the proffered 
courtesy. He could not stay away, but what he endured, 
we are told, in the cause of politeness on such occasions 
can best be understood by those who knew him intimately. 
He would sit passively enduring what to him was real 
suffering throughout an opera ; not a muscle of his face 
would change or betray him; but afterwards he would 
confess to a friend the reality of the sufferings he had 
undergone. His disHke for music also caused him real 
inconvenience when in society. Those who knew of it 
took care that if the General was at a "soiree" there 
should be neither singing nor piano-playing; but in many 



^EE MUSICAL TREASVrT. 



13 



ibstances his host and hostess were unacquainted %vith this 
peculiarity, and amateur vocalists and pianists would 
insist on i^erforming for his benefit. His answer to 
"What shall I sing, or what shall I play to you, General?" 
in such cases was the discouraging one, " Something 
short." 



IRew flDusic. 

J. WiGHTMAN" & Sou, 13 South Castle Street, Edinburgh. 
Mil Harp is upon the WiUow. Sacred Song. Words 
by Newton. Composed by W. P. Gale. Price 2s. 
Although sacred songs are not in great demand in the 
musical market, a composition of this class, with any 
claim to merit, rarely fails to secure a fair measure of 
success. Aly Harp is vpoii the Willow, the composer of 
which is known in Edinburgh as a clever orsanist and 
choirmaster, is distinguished by a melody and harmony 
that are at once simple and effective. Mr. Gale has been 
especially happy in the selection of his words, and displays 
excellent taste and unmistakable ability in their treatment. 
Key E flat ; compass B flat to E. 

T. H. Barnbtt, 40 Poland Street, London, W. 
The Finished Song. Words by R. Sydney. Composed 
by Orsino Salari. Price 2s. An admirable song with a 
pleasing melody and highly elaborate, if somewhat heavy, 
accomijaniment. The words are of more than average 
merit. Two keys — E flat and F. 

C. B. Tree, 132 Petherton Koad, Highbury, New Park, 
London. 
Our Darling. Song. Words by Hay Lotinga. Com- 
posed by Lindsay Proctor. Price 2s. There is a simple 
pathos in this pretty little ballad that should make it 
popular. Three keys — F, G, and B flat ; compass B 
flat to D. 

Orsborn & TocKWOOD, 64 Berners Street, London, W. 
The Vesper Voluntaries for Organ, Harmonium, or 
Ameriean Organ. Book Seven of this series is assuredly 
one of the best shilling's worth offered to the public in this 
age of cheap music. Young organists and harmoniumists 
will find in this numljer many beautifully harmonised 
themes that are really a pleasure to play. The book 
deserves a large sale. — Drucie : Dance for the Pianoforte. 
Price Is. 6d. By A. J. Carpenter. An easy and tuneful, 
if not very original piece. — The Freebooter. Song. Words 
by Lindsay Lennox. Composed by Morton Elliott. 
Price 2s. net. The composer has been successful in 
hitting off the rollicking joviality which is generally 
associated with members of the "freebooter" fraternity. 
It is a capital song for a baritone. Two keys — F and E 
flat; comp>ass C to F or D. — Danse Entransim/. Com- 
posed by E. Boggetti. A sprightly and pleasing piano 
sketch. It is not at all difficult, and being extremely 
" catchy," it is just the sort of piece to attract and interest 
young executants.— Pw(7 Polka. Price 2s. By the same 
composer, is somewhat unequal, but the trio move- 
ment is bright and pretty. The frontispiece is neatly 
illustrated.— Once in a While. Song. Words by G. 
Clifton Bingham. Composed by Arthur J. Greenish. 
Price 2s. The fashion set by the popularity of Same 
Day has induced many song-wiiters to imitate, with 
more or less success, this style of drawing-room ditty. 
Onee in a While is a charming example of this class, the 
melody being fresh, and the accompaniment uncommonly 
good. There is a violin ohbligato. Two keys— C and A ; 
compass G to F, 



George Elliott KESt, Askern, Doncaster. 
Britannia's Heroes of the Nile. Written and composed 
by George Elliott Kent. Price 2s. There is an appalling 
recklessness about the following lines (which are a fair 
specimen of the words of this patriotic song) that cannot 
fail to satisfy the most sanguinary jingo : — 
Let Hicks and Goidon be your cry ; 
Brave British heroes to Khartoum hie ; 
Tho' death and hell before you lay. 
There Br-itain's flag must float to-day, 
Tho' reek and blood All up iha way. 

The music is appropriately vigorous and spirited. Key A ; 
compass E to 1). 

Henry Klein, 3 Holborn Viaduct, London, E.G. 
Pauline Lueca Waltz. Price 2s. Botsehafter (Ambas- 
sador) Walts. Price 2s. By Henry Klein. These two 
sets of waltzes are excellent examples of this prolific com- 
poser's best workmanship. Both are admirable dance 
measures, and possess considerable musical interest. — 
the Last Muster. Song. Words by Juba Kennerley. 
Composed by Henry Pontet. Price 2s. There is genuine 
artistic beauty both in words and music of this song. The 
former belong to the best class of song poetry, and Mr. 
Pontet has dealt with them in a manner well worthy of 
his reputation as an accomplished and sldlful musician. 
There is an ad lid. harmonium accompaniment. Three 
keys— B flat, C and B flat ; compass, B flat to D. — 
Earth's Secret. Song. Words and Music by Oonagh. 
Price 2s. Simplicity and prettiness are the chief features 
in this petit ballad. Key B fl.at ; compass E to G. 



flDu0ical (5o66ip, 

New music, and matters of interest for notice in this column, shonld 
be addreBBed. Ediiok, Musical Treasury, 11 ^. Bridge, Edinbtu-gh. 

(J'H r iiday, tlie2Siu August, i no nicinbcis ul i\ oud- 
side Church Choir, Glasgow, met and presented Mr. .T.Clap- 
perton with a handsome epergne, as a token of the high 
esteem in which he was held Ijy them, and as a mark of their 
appreciation of his services in the capacity of organist and 
choirmaster of Woodside Clmrch. Mr. Wilson, inafeW' 
words, made the presentation. Mr. Clapperton replied in 
suitable terms, and thereafter a pleasant and harmonious 
evening Avas spent. Mr. Clapperton (who was recently ap- 
pointed organist of Sandyf ord Church) has also been elected 
to Belmont Estabhshed Church, the duties of which he will 
carry on in addition to those of Sandyford. 

The Glasgow St. Andrew's Musical Association, 
under its clever conductor, Mr. D. S. Allan, will shortly be 
in full swing, and is even now engaged in %veekly rehearsals. 
During the coming season, this Society will, judging from 
its scheme, not only sustain, but add to, the high reputa- 
tion won in past years. Strong in membership, with many 
first class voices, and led by the beat of so able a con- 
ductor as Mr. Allan, much good work may be anticipated. 

After the presentation in Dublin to Madame Marie 
Rose of a gold bracelet by Major Macfarlane and twenty- 
three ladies and gentlemen of the Irish capital, the crowd 
outside wished to draw the prima donna's carriage to the 
hotel, and in the struggle somebody purloined a silver 
cigarette case out of Colonel Henry Mapleson's side 
pocket. There is something hke a precedent for this, 
as it seems when the Dublin crowd wished to drag the 
late MdUe. Titiens home in triumph, the horses were 
never returned, and Lieut.-Colonel J. H. Mapleson and 
Titiens had subsequently to arrange the matter with the 
l^rosaic Uvery stable-keeper. 



14 



TEE MUSICAL TREASURY. 



Bonoutable /Mention Certificate. 

Test No. 5 (New Notation). 

a. Construct as many common chords, in various positions, as 
you can, using r in the key of as the bass note in every case. 

h. Harmonise the following bass, mal;ingf.ur-part harmony; no 
note shorter than one puUeioXiQ used in the added parts : — 

Key B flat. 



{ di :si d .ti,li:si/i.ni^i|di .ri,nii:fi,S|Xi,Wi} 


{ n .Hi ,fi :sr ,li .S| ,fi Hi .fi ,si : li ,ti .li ,si } 


{|fiAni/i:si .S2 |di :- |- : || 


c. Tell what keys the chorda in requirement a would be D, or L 
chords of. 
a. Key E. SoinTioN of Test No. 4. 


{.s |d .n :s .,fe s .,re;n .,t| d .r -.n .f } 


{|s .n^:s,li |s .l,t :dip:i.t |di :- .d' } 


{jf .1 :di .,t di .,se :1 .,I<1 |f .s :1 .ta } 


{ 1 di.l,ta: di,ri.ta di .,di : di,s.l,t di .t,l : s^ .Pipe | d : - .|| 






{d |d:Pl.f s :n |di:t |l || 1 3:tjil ri : t |s : PI |r | 


3. 4. 


{r |r :mi|n :b |f :n |r ||r n :f^|l ;f jn :r d | 



1. Cadence modulation. 

2. Transition to the dorninant of the first sharp key. 

3. Extended tra-isitional modulation. 

4. Passing transition to the sub-dominant of the original key. 
c. Kev E flat B flat. t. 



{1 


d : af s : n 1 d' 


t |1 ll>r|d 


:Pli|s :Pl d :li si |{ 


d. 


f. Aflat. LA/IisF. 


E flat, t. 


t. A flat. E flat. t. 


{..1 


i|li:M|ti:r |d 


ti |li ||i.r |n 


:«dj|'"l:f \n :r |d 1| 



guishiug tones appear in the melody, but tkey are neverthelesa 
implied, and woukl. of course, be introduced, if the melody were 
harmonised, in some of the parts. 



J. C. G. 



PASS LIST. 



Airdrie, Robert Houston. 

Barrow-in-Fiu-ness. J "W. Dudley. 
„ T. Wawdsley. 

Cambuslang, Andrew Archibald 
Carfin, Thomas M'Grady. 

Carnwath, William Prentice. 

Castle Douglas, John Welsh. 
Ediuburgb, James S. Monro. 
„ David Mltchley. 

John Strathie. 
Forfar, John Esplin. 



Glasgow, 



Leslie, 

London, 

Perth, 

Slamannan, 
Strathbuugo, 



Robert Gray. 
Alex. Stirling. 
Hugh Smith. 
William Tunibull. 
James Y.Piukerton. 
W. S. Stephenson. 
Chas. Iseard. 
George Archibald. 
James Storrar. 
Robert Wilson. 



The following is the explanation of a few points wherein some of 
tho test-papers were wrong: — 

In tho first lino of the test this passage occurs:— 
re I n .,ti : d .,sei 1 1| 
Divested of what wo may consider its embellishments, the passage 
would stand plainly thus: | PI : d I li. the-e being tho three 
notes of the minor chord. Each of ihe notes is approached in the test 
by a semitone from below. The notes of approach being quarier- 
^u?se iones, may be considered as non-essential; they are, in fact, 
incidental guiding notes, or nielo lic leading notes, directing the ear 
to the three principal notes already mentioned, Pl . d . 1|. In the 
major, the parallel passage to PI . d . 1| is s .PI . d ; and if we 
ornament this latter i^assage similar to the minor passage in the 
test, the result should be what we have given in the above solution at 
a. There is another point. The ta-'s given in our solution were, in 
most of the papers, set down as t's; this is wrong. The test is 
written in the "improper method." Had it bean put in the 
''better method," the key would have been changed at the last 

note of the second line, thus: ' i_| ^^'^; because if twenty 

notes are taken in succession, beginning at this poinf, they will be 
found to be the very same in effect, and in relation, as the first 
twenty notes ot tho test; showing that the first passage of twenty 
notes is repeated further on in another key. If the test were 
written in the "better methoJ," the fourth last measure, for 
example, would appear thus: |Pl.djr:n,f.r[Pl, and the 
major pariiilel would be this: | s .H ,f :s ,1 .f I S; in the im- 
proper method the above exti act appears in the test thus : 
|l,f,S:l,td.3| 1, and its mo^o/' parallel should appear in the 
solution as we have given it. 

Several of the candidates mentioned that they did not know 
exactly how to work the b requirement, being puzzled as to how 
to make the necessary changes of key without using accidentals. 
Seeing that it was only the melody of the paalm-tune toat was to be 
written, it need only be explained that th'.^ key may change with- 
out any of the distinguishing tones appearing in the melody. In the 
solution of this requirement, as given above, none of the distiu- 



Cotrespon&tng Class, 

For conditions, see ''Star" for October, 1884. 

First Course— HARMONY. 

Text-book— Novello's Music Primer, " Harmony," by Dr. Stainer. 

Lesson XIII. 

Chap. X., page 7G. Study pars. 116-118, with intervening examples. 

iYoi'e.— In par. IIG we are told that the suspension 4 to 3 is rarely 
fouud on the sub-dominant and leading note. It is much more 
frequently employed on the sub-dominant than on the leading note. 
Stainer says the reason it is rarely used on the sub-dominant is 
because the fourth from the sub-dominant is an augmented fourth; 
this, in my opinion, is no valid objection, as the fourth, being 
augmented, und also by reason of its incisive character as the 
leading note, only renders the discord more piquant. The per- 
cussion and the resolution of the suspended fourth on the sub- 
dominant produce a sti'ong and effective contrast of pungency and 
sweetness which cannot be so effectively and so simply obtained 
by any other means. Here is a common instance of the suspended 
fourth on the sub-dominant: — 

CI ^ ^ A 

E a F 

G C 

C, E F 

Tho suspended fourth on the leading note has less to recommend 
it, as the resolution must be effected on the chord of tho leading 
note, which is not a completely consonant chord. The contrast 
between the percussion and the resolution of the suspended fourth on 
the leading note is not so great as in the previous example, neither 
is the result so satisfactory as in most other suspensions; never- 
theless, it might be employed thus:— 



O 
C 



El 
F- 
F- 
B,- 



Dl 



The pupil is not advised to employ this, unless it be in a sequence. 

Exercise. — Instead of doing the exercise given after par. 118, write 
4 to 3 suspensions on every note of tho scale, in the key of D. 

Study par. 119. 

^o^e.__The student may here be a little perplexed. In par. 
116 he is told that the 4 to 3 suspension is found on every 
degree of the scale, and in this par. he is told that when it 
occurs on the 5th degree of the scale it is not a suspension. This 
is a trifle paradoxical. Clearly, if the 4 to 3 on the dominant is 
prepared, it is a suspension; because, having a proper preparation, 
percussion, and resolution, it follows the common rule of all 
suspensions. "When the 4 to 3 on the dominant has no preparation, 
then it may be considered as an individual chord of the dominant 
elevenllL The dominaiit eleventh is the dominant ninth with 
another third superposed. With its full complement of notes it 
appears thus:— 6— B— D— F— A— C. In four-part harmony it 
usually appears thus: — G — D— G— C, having its root doubled; or 
thus:— G— D— F— 0, having its seventh introduced; in both ways 
we find the chord employed in Ex. 112, but there the discord C 
(that is the 4th), being prepared, it must be considered as a properly 
treated suspension. 

Study pars. 1*20, 121, with intervening examples. 

A'ote, — From the former of these pars, it will easily be discerned 
that when the note of discord moves up to its resolution it is called 
a. 7'iiardation : this is in contradistinction to suspension, "which the 
device is called when the dissonant note moves down. 

Exercises. —Vaso 80, No. V.; page 119, Nos. 70, 82. 

Write a L.M, tune introducing 4 to 3 suspensions. J. 0. G, 



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THE LOYINa SHEPHERD. 

A Loving Shepherd is my Lord, 

My way of life he guideth ; 
No care have I, for in His word, 

My happy heart confideth. 
In pastures green He feedeth me, 

My noonday walks attending ; 
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My midnight hours defending. 
Words by Miles Sandeys. 

Music by Bernard White. 

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The Bella' Sweet Chimes are Pealing, , . 162 
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Carol, sweetly Carol. 
Hail, joyous Christmas Mom ! 
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Ho I Comrades, ye whose Fathers fought (Part 

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Blossoms (Part Song). David Baxter, M.A. 
Down by the River Side I Stray (Song). 

J. R. Thomas. 
Gathering Shells by the Shore (Song and 

Cliorus). W. Thompson. 
Day Softly Dying (Duet). ZiS(3arelli. 
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