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A  TREATISE  ON  THE 


AINING  OF  BOY'S 
VOICES 


And  Chapters  on 

CHOIR   ORGANIZATION 

With  Examples  and  Exercises 

THESE  ISSUED   IN   A   SEPARATE   VOLUME  WITH   PF.    ACCOMPT.,    ENTITLED 
\DUATED   COURSE   OF  EXERCISES  FOR   BOY   CHORISTERS." 
VOICE  TART  ONLY  ALSO  ISSUED. 

COMPILED  FOR  THE  USE  OF  CHOIRMASTERS 


MT 
915 


BY 

GEORGE  T.    FLEMING 


SECOND  ISSUE 

1920 

c.l 

MUSIC 

REEVES       83  CHARING  CROSS  ROAD, 
_________  ~,R  LIMITED       -  LONDON,  W.C.2  - 


FACULTY 

of  MUSIC    Faculty°fMuslcLib™-y 


Presented  to  the 
Mu 
by 

John  Cozens 


UNIVERSITY 
OF  TORONTO 


THE   TRAINING  OF    BOY'S  VOICES 


A  TREATISE  ON   THE 

TRAINING  OF  BOY'S  VOICES 

AND    CHAPTERS    ON 

CHOIR  ORGANIZATION 

WITH    EXAMPLES    AND    EXERCISES 

TO   BE   FOUND    IN    THE   PART   2    ENTITLED 
"  GRADUATED   COURSE   OF   EXERCISES   FOR   HOT  CHORISTERS." 

COMPILED  FOR   THE  USE  OF  CHOIRMASTERS 
BY 

GEORGE  T.  FLEMING 

SECOND  EDITION 


WILLIAM  REEVES       83  CHARING  CROSS  ROAD, 
BOOKSELLER  LIMITED       LONDON,  W.C.2  


To 

F.  Cunningham  Woods,  Esq.,  M.A., 
Mus.  Bac.,  Oxon. 


PRINTED   BI   THB   NEW   TEMPLE   PIIESS,    NORBUHT   CRESCENT, 
LONDON,  6.W.16,  GBEAT  BRITAIN. 


PREFACE. 


IN  putting  forth  the  following  treatise,  the  author 
has  not  considered  it  necessary  to  conform  to  the 
apparently  prevailing  idea  that  no  work  can  fulfil 
its  object  unless  it  is  strikingly  original.  Neither 
does  he  pretend  to  have  introduced  any  new 
"methods,"  nor  to  have  disclosed  any  secrets  of 
voice-production — if  such  there  be — but  merely  to 
systematise  those  generally  accepted  rules  of  singing 
which  apply  to  that  branch  of  the  subject  of  which 
this  little  book  treats. 

The  conditions  under  which  the  training  of  boys 
in  schools  and  church  choirs  is  carried  on,  vary  con- 
siderably, and  the  writer,  whose  good  fortune  it  has 
been  to  have  met  with  exceptional  opportunities  of 
witnessing  the  practical  working  of  every  kind  of 
choir,  has  endeavoured  to  deal  with  his  subject  in 
a  form  suited  to  the  circumstances  by  which  the 
majority  of  choirs  are  governed.  He  has,  further, 
been  impelled  to  a  recognition  of  the  fact  that, 
speaking  generally,  choirmasters  are  called  upon  to 
carry  out  their  work  under  considerable — and  in 
only  too  many  instances,  unreasonable — limitations, 
and  he  has  therefore  restricted  himself  to  the  laying 
down  of  the  smallest  possible  number  of  rules,  and 
to  the  simplest  means  whereby  they  may  be  made 
to  achieve  their  object. 

That  the  quality  of  vocal  tone  in  the  singing  of 
our  average  English  boy  choirs  leaves  much  to  be 


PEEFACE. 


desired  is  a  fact  which,  in  recent  years  especially, 
has  become  universally  recognised,  and  the  defect 
has  been  attributed — and  rightly,  in  the  author's 
opinion — to  a  scarcity  of  competent  choir-trainers. 
If,  however,  we  go  to  the  root  of  the  matter,  we  shall 
find  that,  in  its  turn,  this  scarcity  is  caused  by  the 
insufficiency  of  opportunities  afforded  to  students, 
of  fitting  themselves  for  their  work  before  entering 
upon  their  career  as  choirmasters.  This  fact  has 
been  fully  recognised  by  many  leaders  of  the  pro- 
fession, as  is  proved  by  the  efforts  made  by  the 
authorities  of  the  Royal  College  of  Music  and 
other  recognised  teaching  bodies  towards  providing 
such  opportunities  for  the  study  of  choir-training  as 
circumstances  will  allow.  The  steps  taken,  however, 
do  not — if  the  writer  may  venture  an  opinion — carry 
one  sufficiently  far;  or  perhaps  it  would  be  more 
correct  to  say  that  they  start  at  a  point  too  near 
the  centre  of  the  course,  instead  of  at  the  very 
beginning.  What  our  students  of  choir-training 
require  is  not  simply  practice  in  the  teaching  of 
singing  in  a  general  way  to  a  class  of  boys,  or  at- 
tendance at  the  excellent  lectures  on  the  subject 
given  at  various  colleges  from  time  to  time,  but 
opportunities  of  following  with  undeviating  regu- 
larity the  systematic  training  of  boys,  pursued  by  a 
competent  teacher  from  the  very  outset  of  the  boys' 
career  as  choristers  up  to  that  point  at  which  they 
may  be  considered  reliable  members  of  their  choir. 
Such  opportunities  do  not,  of  course,  come  within 
the  immediate  sphere  of  action  in  our  teaching  in- 
stitutions, and  therefore  such  a  thorough  course  of 
training  does  not  find  a  place  in  their  curriculum. 
As  an  alternative  it  has  long  been  a  custom  for 
those  students  who  possess  the  means  of  doing  so, 
to  article  themselves  to  a  cathedral  or  church  or- 
ganist, and  to  pursue  their  choir-training  studies 
independently  of  their  college  work,  and  probably 


PREFACE.  vii 


the  success  of  a  very  large  majority  of  our  organists 
and    choirmasters    has    been    due    to    their    having 
adopted  this  course.     This  plan,  however,  involves 
the  student  in  considerable,  though  necessary,  ex- 
pense, which  must  debar  a  great  number  of  talented 
young  fellows  from  adopting  it.     We  believe  that 
the    opportunities    for   studying   the    art   of    choir- 
training   and   choir  organisation  would  be  greatly 
extended  if  the  authorities  of  our  leading  colleges 
of  music  could  see  their  way  to  placing  on  the  staff 
of   their   professors,   simply  as  choir -trainers,  such 
organists  as  are  in  a  position    to    give    pupils    a 
thorough  training  in  this  branch  of  their  studies,  and 
to  including  the  subject  of  Practical  Choir-training 
and  Organisation  on  these  lines  in  their  curriculum 
of  college  studies.     There  would  be  no  difficulty  in 
finding  cathedrals  and  churches  at  which  students 
might  attend,  and  the  fees  need  not  be  higher  than 
those  charged  for  other  separate  subjects.    It  would, 
of   course,  be   necessary   to  obtain   the  consent  of 
deans  and  vicars,  but,  in  view  of  the  improvement  in 
the  rendering  of  church  music  to  which  such  a  step 
would  tend,  it  is  hardly  likely  that  any  incumbent 
whose  co-operation  was  worth  having  would  place 
needless  obstacles  in  the  way. 

We  have  touched  upon  this  subject  of  the  training 
of  choirmasters  because  we  believe  that  the  cause  we 
have  mentioned  accounts  to  a  greater  extent  than 
any  other  for  the  acknowledged  inferiority  of  church 
choir  singing.  Almost  on  a  par  with  it,  however,  is 
another;  to  wit,  the  smallness  of  the  stipends  paid 
to  organists  and  choirmasters,  which  necessitates 
their  devoting  time  to  private  teaching  or  other 
means  of  making  an  income,  instead  of  to  the  train- 
ing of  their  choirs.  A  choir  of,  say,  twenty  boys 
drawn  from  what,  for  want  of  a  better  expression, 
may  be  called  the  upper  grade  working  classes  (and 
by  far  the  greater  number  of  choir-boys  belong  to 


viii  PREFACE. 


that  station  in  life),  together  with  a  probationers' 
class  of  twelve  boys  and  alto  and  solo-boys,  cannot 
be  trained  to  as  high  a  standard  as  that  reached 
nowadays  in  other  branches  of  music,  unless  a  couple 
of  hours  a  day  at  the  least  be  devoted  by  the  choir- 
master (or  his  deputy,  which  comes  to  the  same 
thing),  to  its  interests.  Such  an  expenditure  of  time 
on  a  poorly-paid  pursuit  becomes  an  impossibility  to 
men  who  have  to  make  an  income  by  other  means, 
however  great  may  be  their  zeal  and  ability  for  the 
work. 

The  author  has  carefully  borne  in  mind  these  and 
other  circumstances  in  compiling  this  treatise,  and  if 
he  needs  must  err,  he  has  endeavoured  to  direct  his 
faults  to  the  laying  down  of  too  few  rules  rather 
than  too  many,  while,  with  a  view  to  the  assistance 
of  those  teachers  who  have  not  the  benefit  of  experi- 
ence to  guide  them,  he  has  suggested  the  manner  in 
which  those  rules  may  be  explained  by  the  teacher 
to  his  pupils. 

As  this  treatise  deals  with  the  vocal  side  only  of 
the  boys'  training,  the  subject  of  reading  music  at 
sight  has  in  no  way  been  dealt  with.  Nevertheless, 
vocal  and  theoretical  training  should  go  hand  in 
hand,  as  the  ability  to  read  music  and  phrase  well 
at  sight  inspires  the  singer  with  a  confidence  which 
is  of  great  assistance  to  him  in  the  management  of 
his  voice. 

The  lads  should  be  made  acquainted  with  the 
melody  of  each  exercise  before  practising  it  for 
voice  production,  in  order  that  they  may  concen- 
trate their  whole  attention  on  the  special  point 
exemplified  in  each  exercise.  G.  T.  F. 


CONTENTS. 


CHAPTER  I. 

MANAGEMENT  OF  THE  BREATH. 

Standing  Position — Inspiration — Expiration — Exercises 
to  be  Practised — Additional  Exercise  in  Breath 
Management — Opening  the  Mouth — Method  of 
Practising 1 

CHAPTER  II. 

FIRST  STEIP  IN  VOICE  PRODUCTION. 

A  "Forward"  Tone— Flat  Singing— Causes  of  Flat 
Singing — Ascent  and  Descent  of  the  Larynx — Ex- 


ercises  to  be  Practised 


CHAPTER  III. 

THE   REGISTERS. 

Explanation  of  Subject  —  Chest  Register  —  Head  Regis- 
ter —  Method  of  Singing  in  Head  Register  —  An 
Important  Point  —  Exercises  in  Head  Register  ...  9 

CHAPTER  IV. 

THE  BLENDING   OF  THE  REGISTERS. 

Explanation  of  Subject  —  A  Troublesome  Habit  —  Train- 
ing the  Voice  Downwards  —  How  to  bring  the  Head 
Register  as  Low  as  Possible  —  Exercises  to  be  Prac- 
tised —  Rule  for  Discontinuing  Former  Exercises  ...  13 

CHAPTER   V. 

VOWEL    SOUNDS. 

Tone  Quality  affected  by  Vowel-sounds  —  Modification  of 

Vowels  —  Exercises  to  be  Practised     .........     17 

CHAPTER  VI. 

SOFT    SINGING. 

Explanation  of  Method  —  Exercises  to  be  Practised  — 
Uniformity  of  Tone  —  Concluding  Remarks  ...  19 


CONTENTS. 


CHOIR-ORGANISA  TION. 


CHAPTER   I. 

OBTAINING    VOICES. 

Choir-payments — Ways  and  Means  of  Obtaining  and 
Retaining  Voices — The  Transference  of  Boys  from 
one  Choir  to  Another 23 

CHAPTER   II. 

RETAINING    VOICES. 

Choir  Privileges  and  Remuneration — Their  Aim  and 
Object— Choir  Clubs— Cricket,  Football,  Hockey, 
Swimming,  Evening  Entertainments,  Excursions, 
Library  33 

CHAPTER   III. 

CHOIR   TRAINING. 

Reading  Music  at  Sight — The  Preparatory  Choir — Con- 
ditions of  Choir-membership — The  Training  of  the 
Preparatory  Choir — The  Practice- room,  Furniture 
and  Fittings — The  Librarian's  Department  ...  42 

CHAPTER  IV. 

CHOIR   VESTMENTS. 

Cassocks  and  Surplices,  Cost  and  Materials — Vestments 

Cupboards — Repairs  and  Refitting  of  Vestments    ...     59 

CHAPTER   V. 

CHOIR    DISCIPLINE. 

Regularity  in  Attendance  of  Members — The  Behaviour 
of  Choir-boys — Choir  Rules — Prayers  Before  and 
After  Service  63 

CHAPTER  VI. 

FINANCES. 

The  Choir-fund— Committee  of  Management — Organisa- 
tion and  Maintenance  of  Choir-fund — Tables  Show- 
ing Cost  of  Choir  Organisation  and  Maintenance  in 
every  Department 69 

CHAPTER  VII. 

CONCLUSION. 

General  Notes  on  Choir  Work  83 


A  TREATISE  ON  THE  ELEMENTARY 
TRAINING  OF  BOYS'  VOICES. 

CHAPTER   I. 

MANAGEMENT  OF  THE  BREATH. 

PROPER  management  of  the  breath  is  at 
the    foundation    of    good    singing.     A 
few  practices  should  therefore  be  de- 
voted to  the   following  exercises  before   the 
boys  are  allowed  to  sing. 

The  boys  should  stand  firmly  on 

both  feet>  one  foot  bein£  slightl> 
in  front  of  the  other.     The  hands 

should  be  placed  behind  the  back,  or,  better 
still,  may  be  placed  "  akimbo,"  with  the  tips 
of  the  fingers  towards  the  front.  In  either 
case  the  position  should  be  an  easy  one,  all 


A  TEE  ATI  SE  ON  THE 


stiffness  being  avoided.  The  head  should  at 
this  stage  of  the  training  be  thrown  slightly 
back.  Later,  when  singing  from  notes,  the 
boys  will  of  necessity  have  to  incline  the  head 

a  little. 

The  mouth  should  be  opened  as 
inspiration.  for  saying  ah*  While  the  choir- 
master counts  four  (at  the  metro- 
nomic rate  of  about  forty),  the  boys  should 
draw  in  the  breath  slowly,  silently,  and 
steadily,  filling  the  lowest  part  of  the  lungs, 
and  keeping  the  shoulders  motionless. 

The  breath  should  be  held  for 
Expiration.  about  two  seconds  (the  mouth  still 
being  open),  after  which,  while  the 
choirmaster  counts  six,  it  should  be  released 
slowly,  silently  and  steadily,  so  that  on  the 
choirmaster  arriving  at  six,  the  lungs  are  once 
more  in  a  state  of  rest.  Care  must  be  taken 
that  the  boys  do  not  hold  their  breath  until 

*  Although  breathing  through  the  mouth  is  advocated 
here,  it  is  very  desirable  that  the  boys  should,  so  far  as  is 
possible,  be  taught  to  inhale  through  the  nostrils.  In  teach- 
ing very  large  classes,  however,  it  is  not  easy  to  insist  on 
this  rule,  and  the  choirmaster  is  recommended,  especially 
during  the  early  stages  of  training,  to  allow  his  pupils  to 
take  breath  through  the  open  mouth  rather  than  distress 
them  with  instructions  which  they  find  a  difficulty  in 
carrying  out. 


TRAINING  OF  BOYS'  VOICES. 


the  last  beat  and  then  let  it  go  with  a  rush.  If 
the  exercise  be  properly  performed,  the  body 
will  be  motionless,  except  for  a  slight  disten- 
tion  of  the  stomach  during  the  act  of  "in- 
spiration," and  its  return  during  "expiration," 
as  taking  and  releasing  breath  are  technically 
termed. 

This  exercise  should  be  repeated 

Exercises  to  be     .  .    ,        .  ,  .. 

Practised.  S1X  or  eight  times  at  each  practice, 
the  number  of  beats  during  expira^ 
tion  being  gradually  increased  until  ten  are 
reached.  A  short  pause  for  rest  should  be 
allowed  after  every  second  or  third  repetition. 
Additional  «er.  After  three  or  four  practices  have 
cise  in  Breath  been  devoted  to  breathing  alone,  a 

Management.       r  i 

lew  easy  notes  may  be  sung — not 
as  an  exercise  in  singing,  but  as  an  exercise  in 
breathing.  First,  however,  the  boys  should  be 
taught  how  to  open  their  mouths. 

The  mouth  should  be  opened 
Mou"h"g  freely  and  without  distortion  of 

the  features.  The  throat  must  be 
kept  open  and  supple.  The  tongue  should  lie 
flat  and  naturally  in  the  mouth,  the  tip  gently 
touching  the  lower  front  teeth.  These  direc- 
tions will  be  sufficient  for  present  purposes. 


A  TREATISE  ON  THE 


The  first  note  to  be  sung  is  E  flat 

Method  of 

opened  their  mouths  and  taken 
breath,  this  note  should  be  clearly  sounded 
upon  the  piano  and  then  sung  (to  the  vowel- 
sound  ah),  while  the  choirmaster  counts  six, 
as  in  the  preceding  exercise.  After  the  E  flat 
has  been  repeated  three  or  four  times,  D,  the 
semitone  below,  may  be  sung  in  like  manner, 
followed  by  D  flat.  After  which,  starting 
again  with  E  flat,  the  two  notes  above  may  be 
sung,  viz.,  E  and  F.  As  in  the  previous  exer- 
cise, the  number  of  beats  may  be  gradually 
extended  to  ten. 

Two  or  three  practices  should  be  devoted 
to  this  exercise. 


TRAIXIXG  OF  BOYS'  VOICES. 


CHAPTER   II. 

FIRST  STEP  IN  VOICE-PRODUCTION. 

THUS  far  the  notes  have  been  sung  simply  as 
an  exercise  in  breath-management.  The  same 
notes  may  now  be  taken  as  an  exercise  in  sing- 
ing, and  the  boys'  attention  must  be  centred 
upon  the  actual  voice-production. 

The  choirmaster  must  at  this  stage  of  the 
training  be  prepared  to  exercise  a  consider- 
able amount  of  patience,  as  some  boys 
experience  much  difficulty  at  first  in  producing 
a  good  and  pure  tone.  The  tendency  should 
be  towards  soft,  rather  than  loud  singing. 

The  rules  already  given  for  open- 

A  "  Forward "    •         .,  ^    t  •  i 

Tone.  m£  tne  moutn>  keeping  the  tongue 

flat,  etc.,  must  be  carefully  ob- 
served, but  the  chief  point  for  the  boys  to 
bear  in  mind  is  the  production  of  what  is  called 


A  TREATISE  ON  THE 


a  "  forward  tone,"  that  is  to  say,  the  tone  must 
always,  in  loud  and  soft  singing  alike,  be  dir- 
ected quite  forward  beyond  the  teeth,  so  to 
speak.  As  regards  the  lowest  notes  of  the 
vocal  compass  the  boys  will  succeed  better  in 
producing  a  forward  tone,  if  they  are  taught 
to  protrude  the  lips  slightly — "shading"  the 
mouth,  as  it  is  called. 

It  should  also  be  noted  that  the  mouth  must 
not  be  opened  equally  wide  for  every  note 
sung.  The  lower  the  note,  the  wider  should 
the  mouth  be  opened,  and  vice  versa.  For 
E  flat  (first  line),  the  mouth  should  be  opened 
sufficiently  wide  to  admit  the  first  and  second 
fingers  edgeways  between  the  teeth. 

Though  a  tendency  to  flat  singing 
Fiat  Singing,  is  sure  to  assert  itself,  no  notice 

need  be  taken  of  it  at  the  outset, 
otherwise  the  boys'  attention  is  diverted  from 
the  main  points  which  they  have  to  bear  in 
mind.  After,  however,  they  have  become 
somewhat  habituated  to  the  methods  which  up 
to  this  point  they  have  been  practising,  their 
attention  may  be  concentrated  on  good  "in- 
tonation," i.e.,  singing  in  tune.  The  choir- 
master should  start  by  explaining  the  meaning 


TEAINING  OF  BOYS'  VOICES. 


of  the  term  "flat"  singing,  himself  giving  the 
boys  a  few  examples  of  it. 

Flat    singing    is    due    to    a    great 

Cause  of  Flat  »  •  .  i      .    •       .  i 

singing  variety  of  causes,  but  in  the  case 

of  beginners,  it  is  nearly  always 
caused  by  undue  depression  of  the  larynx. 
The  following  short  technical  explanation  will 
make  the  matter  clear. 


Ascent  and  De-  PrindPal  °rgan   °f 

scent  of  the  duction,  viz.,  the  "  larynx,"  is 
Larynx.  situated  in  the  throat.  It  is  the 

projection  known  as  "Adam's  apple,"  and  may 
be  easily  felt  from  outside.  The  larynx  is 
movable,  and  the  higher  the  note  sung,  the 
higher  should  the  larynx  ascend  in  the  throat. 
Now,  if  a  boy  depresses  his  larynx  (by  trying 
to  sing,  as  it  were,  too  low  down  in  his  throat 
or  chest),  the  result  is  not  only  that  the  note  is 
flat,  but  what  is  worse,  a  set  of  muscles  is  called 
into  play  to  an  extent  out  of  all  proportion  to 
their  legitimate  functions,  causing  an  un- 
healthy tone  (usually  "  throatiness  "),  fatigue, 
flat  singing,  and  subsequent  injury  to  the  voice. 
The  choirmaster  may,  without  any  fear  of  im- 
buing his  scholars  with  pedantic  ideas,  explain 

the  ascent  and  descent  of  the  larynx  to  them, 

2 


A  TEE  AT 1 SE  ON  THE 


and  should  teach  them  to  allow  their  "voices" 
(which  for  the  purpose  is  a  better  word  than 
"larynx")  to  move  freely  up  or  down,  as  the 
case  may  be,  and  if  the  mouth  and  throat  be 
opened  freely  and  naturally,  he  will  find  that 
as  the  voices  develop,  the  flat  singing  will,  so 
far  as  this  cause  of  it  is  concerned,  be 
overcome. 

About  three  or  four  practices 
Exercises  to  be  should  be  devoted  to  the  subject 

Practised.  r     n  .  r  r  J  t 

ot  this  chapter  betore  that  of  the 
next  is  entered  upon,  Exercises  i,  2,  3  and  4 
in  the  Elementary  Exercises,  being  used  for 
practice. 


TRAILING  OF  HOTS'  VOICES. 


CHAPTER   III. 

THE  REGISTERS. 

THE  vocal  compass  may  be  con- 
Expianation  of  sidered  as  divided  into  two  sec- 
tions called  "registers."  (There 
are  also  sub-sections,  but  they  need  not  be  con- 
sidered here.)  The  higher  notes  are,  or 
should  be,  sung  in  the  "head"  register,  the 
lower  notes  being  sung  in  the  "chest"  regis- 
ter. Speaking  generally — for  boys'  voices 
differ  greatly  in  this  respect — it  is  possible  for 
boys  to  sing  the  notes  from  C  sharp  (third 
space)  downwards,  in  the  chest  register,  and 
those  from  G  (second  line)  upwards,  in  the 
head  register.  It  will  be  observed  that  the 
notes  from  G  to  C  are  common  to  both  regis- 
ters. This  part  of  the  vocal  compass  is 
sometimes  called,  for  the  sake  of  convenience, 
the  "middle"  register. 


10  A  TEE  ATI  SE  ON  THE 

It  will  be  observed  that  the  notes 

chest  Register,  we  have  previously  treated  of  are 

those  confined   exclusively  to  the 

chest  register.     We  now  proceed  to  those  of 

the  head  register. 

The  method  of  singing  notes  in 
Head  Register,  the  head  register  is  somewhat  dif- 
ferent from  that  employed  for 
chest  notes,  though  the  rules  for  breath-man- 
agement remain  the  same  and  must  be  care- 
fully borne  in  mind.  We  can  adopt  the  same 
course  for  teaching  the  use  of  the  head  register 
as  for  the  chest  register,  i.e.,  by  exemplifying 
the  method  on  some  easy  note  and  then  add- 
ing other  notes  both  up  and  down.  For  this 
purpose,  D  (fourth  line)  may  be  chosen.  (For 
very  young  singers — those  of  about  eight  years 
of  age — C  sharp  will  be  the  better  note  to  start 
from.) 

Method  of         Breath     having     been     taken,     D 
singing  in        should   be   clearly  sounded   upon 

Head  Register.     .          .          r  .     .  r  . 

the  pianoforte  and  then  softly  sung 
by  the  boys  to  the  vowel-sound  ah,  the  tone 
being  made  to  ring  in  the  hard  roof  of  the 
mouth.  If  this  be  properly  done,  the  note  will 
have  a  pure,  fluty  quality  of  tone.  Should 


TRAINING  OF  HOYS'  VOICES.  11 

there  be  any  roughness  of  tone,  the  vowel- 
sound  oo  should  be  sung  instead  of  ah,  when 
the  difference  in  tone-quality  will  at  once 
become  apparent,  this  difference  being  caused 
by  the  note  being  sung  in  the  head  register, 
whereas  the  roughness  of  tone  in  singing  the 
syllable  ah  was  caused  by  the  boys'  endeavour 
to  sing  the  note  as  a  chest  note. 


An  important    7^3     difference     in     tone-quality 

Point. 

between  a  note  sung  as  a  chest- 
note  and  the  same  note  sung  as  a  head-note 
must  be  strongly  impressed  upon  the  boys,  the 
meaning  of  the  terms  "chest"  and  "head" 
register  being  at  the  same  time  explained  to 
them.  Further,  the  boys  should  be  made  to 
sing  a  few  notes  alternately  in  the  chest  and 
head  registers,  on  C  sharp  (third  line),  C  and 
B,  the  vowel-sound  ah  being  sung  when  the 
note  is  taken  as  a  chest  note,  and  oo  when  the 
same  note  is  sung  as  a  head  note,  after  which 
a  few  examples  may  be  tried  upon  ah  for  both 
chest  and  head  notes.  The  boys  will  easily 
feel  the  difference  of  sensation  between  the 
singing  of  a  note  as  a  chest-note,  and  that  of 
singing  the  same  note  as  a  head-note. 


12  A  TREATISE  ON  THE 

As  soon  as  the  method  has  been 
Exercises  in  understood  and  acquired  by  the 

Head  Register.       .     .  ,  .    .  r     , 

scholars,  the  training  of  the  notes 
of  the  head  register  both  up  and  down  may  be 
entered  upon.  A  start  may  be  made  with  D 
(fourth  line),  this  being  followed  by  D  flat  and 
C,  after  which,  starting  again  from  D,  the  two 
notes  above  may  be  sung,  viz.,  D  sharp  and  E, 
the  choirmaster  counting  six  beats  to  every 
note  precisely  as  in  practising  the  use  of  the 
chest  register.  These  notes  are  given  as  exer- 
cises in  No.  6  of  the  Elementary  Exercises. 
As  regards  opening  the  mouth,  the  principle 
to  be  adopted  is  similar  to  that  for  notes  of  the 
chest  register,  the  mouth  being  opened  widest 
for  the  lowest  notes  of  the  register.  In  sing- 
ing D  (the  note  started  from  in  teaching  the 
use  of  the  head  register),  the  mouth  should 
be  opened  sufficiently  wide  to  admit  the  thumb 
edgeways  between  the  front  teeth. 

Boys  are  very  quick  in  learning  to  employ 
the  head  register  provided  it  be  carefully  ex- 
plained to  them,  and  in  many  cases  a  single 
practice  is  sufficient  for  the  purpose.  The 
subject  of  the  following  chapter  may  therefore 
be  entered  upon  as  soon  as  they  understand 
what  has  here  been  exemplified. 


TEAINING  OF  SOYS'  VOICES.  13 


CHAPTER    IV. 

THE  BLENDING  OF  THE  REGISTERS. 

WE  have  seen  in  the  foregoing 
Explanation  of  chapter  that  a  boy  can,  generally 

Subject.  ,f     •  .       y 

speaking,  carry  his  chest  register 
up  to  C  (and  often  much  higher),  and  his  head 
register  down  to  G  (and  sometimes  lower). 
Thus  there  are  two  distinct  methods  of  pro- 
ducing the  notes  within  this  compass  to  which 

we  have  alluded  to  in  Chapter  III 


A  Troublesome  as  fte   "  Middle   Register/'     The 

Habit.  r 

tormer  is  the  wrong  method,  and 
not  only  so,  but  it  is  one  to  which  boys  are  very 
prone  to  become  habituated,  and  against  which 
the  choirmaster  should  always  be  on  the  look- 
out. Even  after  boys  have  acquired  control 
over  this  section  of  their  voices,  the  habit  of 
forcing  up  the  chest  register  is  apt  to  break  out 
at  unexpected  times.  This  should  be  ex- 


14  A  TREATISE  ON  THE 

plained  to  the  boys  in  order  that  they  may  be 
on  their  guard. 

Training  ^e  niles  for  singing  the  notes  of 

the  Voice          the  middle  register — or,   in  other 

Downwards.        wordSj    «  blending  »    the    head    and 

chest  registers — are  precisely  the  same  as  for 
singing  notes  in  the  head  register,  of  which 
this  is,  strictly  speaking,  simply  the  lowest  sec- 
tion. The  course  to  be  adopted  for  teaching 
is  therefore  the  same  except  that,  having 
selected  a  note  as  a  starting  point,  it  will  be 
necessary  to  add  note  by  note  downwards  only. 
The  same  note  (D)  should  be  chosen  to  start 
from,  this  being  an  easy  note  to  sing  in  the 
head  voice.  This  note  should  be  sung  pre- 
cisely as  directed  in  the  last  chapter,  six  beats 
being  counted,  then  the  semitone  below,  and  so 
on  note  by  note  down  the  scale,  every  note 
being  sung  in  the  head-register,  and  the  mouth 
being  opened  a  little  wider  for  each  successive 
note  and  shaded  for  the  lower  notes  of  the 
register. 
HOW  to  Bring  Many  boys  will  at  first  be  unable 

the  Head  Re-  ,  »*<*>,«-« 

gister  as  low  to  sm§"  l°wer  tnan  B  or  B  flat  (third 
as  Possible.  line),  in  the  head  register  to  the 
vocable  ah,  and  very  few  so  low  as  G  or  F.  In 


TRAINING  OF  BOYS'   VOICES.  15 

every  case,  so  soon  as  a  boy  finds  it  impossible 
to  continue  down  the  scale  in  the  head-register, 
he  must  substitute  oo  for  ah,  by  which  means 
he  will  be  able  to  bring  the  head  register  much 
lov/er.  Of  course  in  singing  oo,  the  mouth 
cannot  be  opened  so  wide  as  in  singing  ah,  at 
the  same  time  care  must  be  taken  that  the  boy 
does  not  pucker  up  his  lips  as  though  he  were 
going  to  whistle  a  tune.  During 
Exercises  to  be  thjs  stage  of  the  training,  the  prac- 

Practised.  _&  \ 

tice  of  notes  in  the  chest-register 
should  be  entirely  dropped.  At  least  half-a- 
dozen  practices  should  be  devoted  to  the  cul- 
tivation of  separate  notes  in  the  middle  register 
(giving  as  exercises  Nos.  7,  8  and  9  in  the 
Rudimentary  section),  before  any  further  exer- 
cises are  entered  upon.  These  latter  are 
specially  commended  for  the  cultivation  of  the 
middle  register  and  should  occupy  at  least  six 
or  eight  practices,  after  which  the  exercises  in 
Part  II  may  be  taken  up. 
Rule  for  Dis  From  this  stage  the  training  will 
continuing  for-  become  more  general,  extending 
mer  Exercises,  throughout  the  vocal  compass,  and 
the  rudimentary  exercises  which  up  to  this 


16  A  TREATISE  ON  THE 

point  have  been  practised,  may  be  one  by  one 
discontinued,  as  each  exercise  in  Part  II  is 
taken  into  practice. 


TEAINING  OF  BOYS'  VOICES.  17 


CHAPTER   V. 

VOWEL-SOUNDS. 

Tone  Quality  QUALITY  of  tone  in  singing  is  much 
Affected  by  affected  by  the  nature  of  the  vowel 
vowel-sounds.  sounds  sung>  Some  vowels  are 

less  favourable  than  others  to  the  production 
of  pure  tone,  and  therefore  require  modifying, 
especially  when  they  have  to  be  sung  in  cer- 
tain sections  of  the  voice.  Many  boys  who 
have  been  taught  to  produce  a  good  "  for- 
ward" tone  in  singing  will  intuitively  modify 
their  vowels  so  as  always  to  produce  a  good 
quality  of  tone;  others  must  be  taught  to 
modify  the  vowels. 

The  following  are  the  chief  vowel- 
Modification  11-1 

of  vowels.        sounds  which  must  receive   atten- 
tion.   Care  must  be  taken  that  they 
are  only  modified  to  such  an  extent  as  to  secure 
purity  of  tone  : 


18  A  TBEATISE  ON  THE 

ee  as  in  meet  should  slightly  resemble  i  as  in  lip 

*i  „  kite        „            „              „  oi      „  coil 

e  „  met        „            „              ,,  er      „  assert 

a  „  mat        „            „              „  a       „  father 

All  the  exercises  in  Part  II  should 

Kxerdses  to  be    be  frequently  sung  to  the  above- 
Practised.  °  ,      . 
named   vowel-sounds,    though   the 

vowel-sounds  ah  and  oo  must  chiefly  be  used 
as  directed  in  the  exercises.  Sentences  simi- 
lar to  the  following  should  also  be  frequently 
practised  on  various  notes  (e.g.,  see  Elemen- 
tary Ex.  No.  14). 

To  be  sung  slowly  and  smoothly  in  one 
breath : 

I  owe  you. 

All  are  in  your  light. 

Caught  in  your  own  hand. 

Sing  to  the  king. 

We  see  three  reels. 

O  come,  let  us  sing  unto  the  Lord. 


*  Another  method  of  singing  this  vowel-sound  is  to  pro- 
nounce it  as  two  distinct  vowels,  viz.,  aa  (as  in  baa)  and  y 
(as  in  freely),  thus  aa-y.  The  aa  is  held  steadily  so  long 
as  the  note  is  sung  and  the  i  quickly  shot  off  as  the  not©  is 
released.  The  method  is  more  useful  for  the  upper  than  for 
the  lower  notes,  but  great  care  must  be  taken  that  it  does 
not  become  exaggerated. 


TRAINING  OF  BOYS*  VOICES.  19 


CHAPTER  VI. 

SOFT  SINGING. 

THE  practice  of  very  soft  singing 
Explanation  js  most  essential  to  good  manage- 

of  Method.  p  '    __ 

ment  of  the  voice.  1  he  mouth 
should  be  opened  as  wide  for  soft  as  for  loud 
singing,  the  softness  of  tone  being  acquired  by 
giving  less  pressure  to  the  breath.  The  mind 
of  the  singer  must  be  concentrated  upon 
steadying  the  breath  and  maintaining  the 

pitch.     This  should  be  explained 


Exercises  to  be   to  fat  bovs>     Exercises  i.  2,  3  and 

Practised.  .       _      7  TT 

9  in  Part  II  are  the  best  adapted 
for  the  practice  of  soft  singing,  but  every  exer- 
cise in  Part  II  may,  after  the  boys  have  made 
fair  progress,  be  used  for  the  same  purpose, 
frequent  practices  being  devoted  to  this  subject. 


20  A  TEE  ATI  SE  ON  THE 


In  employing  the  chest-register 
Uniformity  soft  singing  must  be  the  rule,  par- 

of  Tone.  .      ,      ,&    .5 

ticularly  in  scale  passages,  more 
uniformity  in  the  quality  of  tone  being  thus 
imparted  throughout  the  compass  of  the  voice. 


CONCLUDING  REMARKS. 

THE  age  at  which  boys  may  first  be  taken 
into  vocal  training  is  from  six  to  eight  years. 

In  choosing  boys  for  a  choir,  preference 
should  be  given  to  intelligent  boys  and  to  those 
who  in  singing  an  ascending  scale,  chiefly,  if 
unconsciously,  employ  the  head-register,  rather 
than  to  boys  whose  chief  distinction  is  a  strong 
pair  of  lungs. 

Boys  often  experience  a  difficulty  in  taking 
breath  through  the  nose,  on  account  of  some 
little  chronic  defect  in  the  nostrils.  In  the 
majority  of  cases  the  cause  is  one  which  a 
surgeon  can  easily  remove,  and,  in  view  of  the 
important  functions  of  the  nasal  organs  in 
singing,  the  choirmaster  will  always  do  well  to 
have  such  matters  attended  to. 


TEAINIFG  OF  SOYS'  VOICES.  21 


When  practising  a  new  piece  or  exercise,  do 
not  stop  at  every  mistake.  Rather  do  one 
thing  at  a  time,  and  concentrate  your  pupils' 
attention  on  one  point  throughout  the  piece, 
then  go  back  to  the  beginning  and  take  another 
point  into  practice — and  so  on.  If  necessary 
to  correct  a  mistake,  stop  the  singing  and  give 
your  instructions  in  as  few  words  as  possible 
and  m  a  quiet  voice.  Then  practise  the  pas- 
sage until  the  error  has  been  so  far  overcome  as 
circumstances  will  permit. 

The  amount  and  nature  of  the  music  sung 
at  services  or  musical  performances,  should 
be  strictly  in  proportion  to  the  opportunities 
for  practice.  Greater  efficiency  is  ultimately 
acquired  by  foregoing  the  music  at  a  service, 
than  by  allowing  a  service  to  depose  a  neces- 
sary practice. 

Tired  or  sick  boys  should  not  be  called  upon 
to  sing. 

Ability  to  read  music  at  sight  assists  boys 
indirectly,  but  very  effectively,  in  a  proper  use 
of  their  voices.  There  are  numerous  and 
excellent  handbooks  on  the  subject. 

The  training  of  the  voice,  concurrently  with 
the  practice  of  reading  music  at  sight,  should 


22  TRAINING  OF  BOYS'  VOICES. 

form  the  ground-work  of  instruction  in  the  art 
cf  singing,  for  even  if  the  rendering  be  per- 
fect in  every  other  respect — which,  however,  is 
hardly  likely  to  be  the  case — no  singing  can 
be  beautiful  if  purity  of  tone  be  absent. 


CHOIR-ORGANISATION. 


CHAPTER   I. 

OBTAINING  VOICES. 

A    WELL  organised  choir  is  almost  auto- 
matic   in    its    working.      There    is    a 
definite  time  and  place  for  attending 
to  every  item,  and  some  responsible  person  to 
attend  to  it,  and,  provided  there  is  no  neglect 
of  duty  on  the  part  of  those  responsible,  the 
whole    system   works    quietly,    smoothly,    and 
with  a  minimum  expenditure  of  time,  labour 
and  money. 

In  the  following  notes  we  assume  the  choir 
to  be  an  ordinary  parish  church  choir  consist- 
ing of,  say,  sixteen  men  and  from  twenty  to 

23 

3 


24  A  TREATISE  OX  THE 

thirty  boys,  together  with  a  preparatory  choir 
of  boys,  the  boys  being  drawn  chiefly  from 
among  the  working  classes.  Arrangements 
have  to  be  made  for 

1.  Obtaining  the  boys. 

2.  Keeping  them. 

3.  Training  them. 

Under  the  first  two  of  these  headings  we 
propose  to  deal  with  such  matters  as  choir- 
boys' payments,  choir  privileges  and  attrac- 
tions, while  under  the  third  heading  we  shall 
consider  the  means  necessary  for  carrying  on 
the  training  systematically. 

In  most  parishes  there  is  some  school  in  con- 
nection with  the  church,  and  from  this  the 
majority  of  the  boys  will  probably  be  drawn. 
It  is  not,  however,  always  an  easy  matter  to 
induce  boys  to  join  a  church  choir,  partly 
because  they  nowadays  devote  much  of  their 
time  to  attending  evening  classes  and  suchlike 
institutions,  and  partly  because  they  do  not 
care  to  be  tied  down  to  practices  and  services 
unless  they  receive  proportionate  remuneration 
— not  necessarily  pecuniary.  Much  depends 
upon  the  inner  working  of  the  parish  itself.  In 
a  well  organised  and  well  visited  parish — one 


TRAINING  OF  SOYS'  VOICES.  25 


in  which  the  parishioners  regard  their  church 
as  the  centre  of  a  vitalising  religious  influence 
— in  such  a  parish  parents  will  usually  be  found 
willing  enough  to  encourage  their  children  to 
join  the  choir.  But  much  also  depends  upon 
the  reputation  which  the  choir  enjoys  amongst 
the  boys  of  the  parish.  We  do  not  for  a 
moment  counsel  slackness  of  discipline,  but  we 
do  say  that  undue  severity  and  unnecessary 
fault-finding  are  the  greatest  deterrents  to  the 
acquisition  of  candidates  for  the  choir.  The 
mere  privilege  of  being  a  member  of  the  choir 
counts  for  comparatively  little  in  the  eyes  of  a 
child;  how  should  it  be  otherwise?  Induce- 
ments must  be  offered  which  appeal  more  dir- 
ectly to  the  sympathies  of  the  boy-nature,  and 
once  having  got  your  boy,  you  can  train  him 
as  he  grows,  to  an  appreciation  of  the  higher 
objects  of  choir-membership.  What  form 
these  inducements — or  attractions  (if  the  word 
is  allowable  in  connection  with  such  a  subject) 
—should  take,  we  shall  consider  presently. 
We  may,  however,  refer  here  to  one  matter 
closely  allied  to  this  question,  viz.,  monetary 
payments. 

At  the  present  time  payment  for  boys'  ser- 


23  A  TREATISE  OS  THE 


vices  has  become  so  general,  that  really  good 
boy-singers  are  apt  to  be  attracted  away  from 
their  own  parish  to  other  choirs  unless  they 
are  paid  for  the  work  they  do.  This,  of  course, 
is  the  case  in  towns,  rather  than  country  par- 
ishes. But  the  principle  of  paying  boys 
simply  to  keep  them  within  their  own  parish  is 
unsound ;  the  boys  should  be  paid  on  the  prin- 
ciple that  they  are  expected  to  work  and  that 
they  should  therefore  receive  a  material 
reward. 

The  ways  and  means  of  obtaining  voices 
vary  with  the  special  circumstances  of  each 
parish.  In  country  parishes  there  is  not  often 
any  difficulty  in  making  it  known  when  voices 
are  required  for  the  choir,  though,  on  the  other 
hand,  there  is  not  always  the  same  large  field 
to  choose  from.  In  towns,  especially  in  Lon- 
don, it  is  necessary  at  times  to  cast  about  a 
little  in  order  eventually  to  alight  on  the  best 
voices.  If  the  parish  be  a  wealthy  one,  there 
need  not  be  the  slightst  difficulty  in  obtaining 
boys,  but  wealthy  parishes  are  the  exception, 
and  we  have  to  deal  here  with  ordinary  cases 
only.  Where  there  is  any  difficulty  in  obtain- 
ing boys  from  within  the  parish  itself  suitable 


AWtfiG  OF  BOYS'  VOICES.  27 


means  must  be  adopted  for  procuring  them 
from  elsewhere.  A  choir  prospectus  may  be 
printed,  setting  forth  the  duties  of  the  choris- 
ters together  with  their  rewards  and  the  various 
advantages  of  membership.  As  in  the  case  of 
every  detail  connected  with  the  material  side 
of  the  choir,  the  prospectus  must  be  looked 
upon  as  a  business  matter,  and  must  be  worded 
in  such  a  way  as  to  be  easily  understood  by 
the  classes  among  whom  it  is  to  circulate. 
Copies  of  the  choir-prospectus  should  be  easily 
obtainable,  and  should  be  freely  distributed 
among  such  of  the  boys  and  other  persons  as 
are  likely  to  make  good  use  of  them.  If  there 
be  any  technical  schools  in  the  neighbourhood 
or  other  institutions  attended  by  boys,  the  co- 
operation of  the  superintendent  may  be 
enlisted  with  a  view  to  making  the  choir  known. 
Advertising  may  be  resorted  to,  and  in  this 
case  care  should  be  taken  that  the  paper  chosen 
for  advertising  in  is  one  which  circulates 
among  the  classes  from  whom  candidates  are 
likely  to  be  forthcoming,  and  that  the  area  of 
its  circulation  is  not  situated  too  far  from  the 
parish,  unless  the  authorities  are  prepared  to 
pay  the  boys'  fares  to  and  fro. 


23  A  TREATISE  ON  THE 


We  have  known  exception  to  be  taken  to 
boys  being  drawn  from  one  parish  to  the  choir 
of  another,  and  there  is  much  to  be  said  in 
support  of  the  objection.  In  the  first  place, 
if  a  boy  belongs  to  the  choir  of  his  parish 
church,  it  is  to  be  assumed  that  he  is  more 
directly  under  the  care  of  those  responsible 
for  his  spiritual  and  temporal  welfare  than 
he  would  be  as  a  member  of  any  other  choir, 
and  it  would  hardly  be  fair  to  withdraw  the 
boy  without  their  consent. 

Again,  it  may  be  that  the  boy  possesses  more 
than  average  ability  as  a  chorister,  due  to  the 
trouble  bestowed  upon  his  training  by  the 
choirmaster.  Here,  again,  nothing  could  be 
more  unfair  than  to  allure  the  boy  away  by 
holding  out  advantages  which  his  own  parish 
may  not  be  in  a  position  to  offer.  True,  some 
people  might  contend  that  a  boy  is  worth  what 
he  can  earn,  on  the  principle  that  an  article  is 
worth  the  price  it  will  fetch,  and  that  therefore 
he  has,  or  his  parents  have,  the  right  of  choice 
in  this  matter;  a  moment's  reflection,  however, 
will  show  that  the  principle  does  not  apply. 
The  boy's  voice — or  natural  ability — is  of 
course  his  own,  but  the  training  by  which  he 


TRAINING  OF  BOYS'  VOICES.  29 

has  been  enabled  to  develop  that  ability  is  not 
his,  but  the  choirmaster's  (unless  the  boy  has 
paid  for  it,  which  would  make  the  case  an  ex- 
ceptional one),  and  it  would  be  as  wrong  for 
the  boy,  after  having  made  use  of  this  training, 
to  go  off  to  another  church — or  for  anybody 
to  induce  him  to  do  so — as  it  would  be  for  a 
workman  to  decamp  with  his  master's  tools. 
The  objections  urged  against  boys  leaving  one 
choir  in  order  to  join  another  are  therefore 
often  backed  by  what  appears  to  be  a  sound 
principle.  But  there  is  another  side  to  the 
question. 

In  all  these  matters  the  welfare  of  the  boy 
himself  has  to  be  considered  before  anything 
else.  It  is  hardly  necessary  to  take  into  con- 
sideration the  case  of  boys  being  drawn  from 
one  parish  to  another  who  are  not  already  mem- 
bers of  their  parish  church  choir,  if  they  do 
not  belong  to  it  either  as  members  or  proba- 
tioners, or  if  the  choirmaster  himself  or  the 
clergy  in  their  parochial  visits  do  not  think  it 
worth  while  to  unearth  talent  for  the  choir,  it 
is  to  be  assumed  that  those  boys  who  are  not 
members  of  the  choir  are  not  wanted  in  it. 

In   many  cases  it  will  be   found  that  the 


30  A  TREATISE  ON  THE 


seceders  are  the  most  promising  boys.  We 
have  dealt  with  the  case  of  those  choirs  in 
which  good  training  is  bestowed,  but  there  are 
numbers  of  churches  in  which,  for  one  reason 
or  another,  not  the  slightest  trouble  is  taken  to 
turn  to  account  the  potentialities  of  the 
material  at  hand.  How  many  hundreds — or 
even  thousands — of  boys  are  there  in  the  vari- 
ous choirs  of  this  country,  whose  gifts  are  lying 
hidden  and  stunted  owing  solely  to  lack  of 
training  !  Choirmasters  who  have  given  atten- 
tion to  the  subject  will  be  able  to  recall 
instances  by  the  score.  Now,  if  it  be  not 
within  the  means  of  a  parish  to  provide  good 
training  for  promising  boys,  it  is  selfish  to  the 
highest  degree — and  therefore  out  of  keeping 
with  the  spirit  of  parish  work — to  prevent  the 
boy  obtaining  it  elsewhere.  It  may  be  that  the 
parish  is  unable  to  afford  a  choir-trainer  of 
ability  and  experience.  That  may,  perhaps, 
be  regarded  as  a  misfortune,  but  it  should  not 
be  allowed  to  play  the  part  of  the  bushel  to 
the  light  of  the  candle,  or,  in  other  words,  pre- 
vent the  boy  joining  the  choir  in  which  his 
talents  would  be  cultivated  and  turned  to  such 
account  as  they  may  merit, 


TRAINING  OF  BOYS'  VOICES.  31 


In  many  cases  the  secession  of  boys  is 
caused  by  those  in  "  authority " ;  (we  use  the 
word  advisedly,  "  authority/'  in  many  instances 
doing  duty  for  "interference").  When  one 
witnesses  the  chaos  which  is  characteristic  of 
some  choirs,  and  the  bullying  and  pettifogging 
interference  by  which  the  work  of  the  choir- 
master is  hampered  at  every  turn,  causing 
unpleasantness  and  confusion  everywhere,  one 
wonders  that  boys  are  ever  to  be  found  who 
will  join  such  choirs.  Here,  again,  one  cannot 
blame  the  boys  who  go  off  to  other  choirs,  nor 
vicars  and  choirmasters  of  other  parishes,  who 
are  willing  to  take  them. 

While  we  have  dealt  with  some  of  the  more 
common  instances,  it  would  be  difficult,  in  this 
short  review  of  choirwork,  to  consider  all  the 
circumstances  under  which  boys  may  pass  from 
one  choir  to  the  detriment  of  another.  In  all 
such  questions,  however,  it  should  be  borne  in 
mind  that  everyone  engaged  in  parochial  work 
is  a  worker  in  the  special  mission  bequeathed 
to  the  Church  by  our  Lord  Himself,  and  that 
there  is  in  the  dealings  of  one  parish  with 
another,  an  exceptional  call  for  courtesy  and 
kindness.  But  in  all  such  dealings,  as  touch- 


32  A  TKEATISE  ON  THE 


ing  the  subject  in  hand,  the  first  and  foremost 
principle  to  be  maintained  is  that  of  studying 
the  welfare  of  the  boys  themselves. 


OF  SOTS'  VOICES.  33 


CHAPTER   II. 

KEEPING  BOYS  IN  THE  CHOIR. 

THE  arrangements  to  be  made  for  keeping 
boys  are  closely  allied  to,  and,  in  great  meas- 
ure, are  identical  with  those  for  obtaining 
them. 

We  have  mentioned  that  the  boys  should 
receive  special  advantages  as  part  of  the  re- 
muneration for  work  which  they  must  be  called 
upon  to  do  well.  Adequate  provision  should 
be  made  for  this,  everything  being  organised 
and  carried  on  systematically  and  in  a  business- 
like manner. 

There  is,  hov/ever,  a  higher  purpose  to  be 
served  in  this  matter  of  choir  privileges,  than 
that  of  mere  reward.  It  is,  we  believe,  a  mis- 
take to  allow  boys  to  think  too  much  about 
li  remuneration "  for  their  work  in  the  choir. 
We  are  far  from  asserting  that  it  is  possible 


31  A  TREATISE  ON  THE 


to  carry  on  the  work  of  the  choir  satisfactorily 
without  paying  the  boys  in  some  kind,  but  it 
is  desirable  that  they  shall  first  and  foremost 
remember  that  they  are  engaged  in  the  special 
service  of  Almighty  God.  As  far  as  those 
responsible  for  the  choir  are  concerned,  they 
should  consider  themselves  as  under  obligation 
to  pay  for  services  rendered;  but  this  point  of 
view  concerns  the  authorities,  and,  as  regards 
the  boys,  may  well  be  allowed  to  take  a 
secondary  place. 

But,  as  we  have  said,  these  advantages  of 
choir-membership  have  to  reach  beyond  the 
purpose  of  mere  reward,  and  this  is  particu- 
larly the  case  when  they  take  the  form  ot 
cricket  clubs,  football,  hockey,  swimming,  etc. 
Most  of  us  know  what  it  is  to  look  back  upon 
old  schooldays.  Nine  out  of  ten  of  us — even 
those  who  do  not  think  it  necessary  to  cram 
down  the  throats  of  the  rising  generation  the 
old  falsehood  that  "my  schooldays  were  the 
happiest  days  of  my  life  " — like  to  look  back 
upon  certain  phases  in  our  school  life — upon 
the  school's  success  in  sports,  upon  the 
honours  gained  by  our  chums  at  the  universi- 
ties or  in  various  examinations,  upon  the 


AiyiSG  OF  BOr.SC  VOICES.  35 


brilliant  success  and  rare  literary  merit  of  the 
<;  something-' ian/"  or,  among  the  more  blue- 
hosen  of  us,  some  quiet  nook  in  the  school 
grounds  where  we  primed  ourselves  success- 
fully against  the  onslaughts  of  examiners. 

As  it  is  in  school;  so  it  is — though  perhaps, 
to  a  lesser  extent — in  the  choir.  These  cricket 
clubs,  sports  and  pastimes  appeal  to  the  best 
instincts  of  our  English  nature;  they  foster  in 
us  an  esprit  de  corps  which  clings  to  us  through 
life;  and  therefore  the  choir  cricket-club,  the 
football  or  hockey-club,  or  whatever  else  it 
may  be,  should  become  not  only  a  part  of  the 
reward  which  the  boys  receive  for  their  ser- 
vices, but  also  a  strong  tie  between  themselves 
and  their  church  after  they  have  outgrown  their 
choristerships  and  when  they,  at  this  more  than 
at  any  other  time  of  their  lives,  need  to  keep 
in  touch  with  those  in  whose  power  it  lies  to 
guide  them  either  in  spiritual  or  temporal 
affairs. 

In  advancing  this  argument  in  favour  of 
choir-clubs,  we  do  not  assert  that  there  are  not 
other  and  more  substantial  means  for  culti- 
vating in  boys  and  young  men  an  affection  for, 
and  loyalty  to  their  church — that  would  be 


30  A  TREATISE  OX  THE 

absurd ;  but  where  subsidiary  means  to  this  end, 
as  here  suggested,  come  within  reach,  we  do 
assert  that  the  fullest  use  should  be  made  of 
them. 

Among  what  we  may  term  the  " material" 
privileges  attaching  to  choir-membership,  we 
may  mention  football,  cricket,  swimming  and 
hockey  clubs,  paper-chases,  evening  entertain- 
ments, teas,  indoor  amusements,  and  outings 
to  places  of  interest.  These  undertakings, 
however,  must  not  be  carried  out  spasmodi- 
cally or  irregularly.  In  estimating  the  choir 
income  and  expenditure  at  the  beginning  of 
every  year,  these  amusements  should  be  duly 
allowed  for  in  accordance  with  the  means 
available  for  providing  them,  and  there  will 
then  be  no  difficulty  in  arranging  them  with 
thoroughness  and  economy. 

It  is  quite  unnecessary  to  go  into  details  of 
cricket  or  football  club  organisations,  but  we 
may  mention  a  few  of  the  points  which  are 
sometimes  overlooked  by  those  who  have  not 
had  experience  in  organising  boys'  clubs. 

Singing  boys  should  be  taught  to  play 
quietly,  both  for  the  sake  of  their  voices  as 
well  as  of  the  game. 


TRAINING  OF  BOYS'  VOICES.  37 

In  cricket,  football  and  hockey,  the  boys 
should  have  some  voice  in  the  management  of 
affairs,  with  some  competent  person  to  guide 
them.  If  the  latter  be  a  member  of  the  con- 
gregation, so  much  the  better,  as  the  boys  are 
thus  able  to  see  that  their  work  is  appreciated 
and  for  this  reason,  to  say  nothing  of  higher 
motives,  is  worth  doing  well. 

It  answers  to  give  each  boy  some  particular 
office  to  fill  and  interest  himself  in.  For  ex- 
ample, in  the  cricket-club  one  boy  (a  neat 
writer),  may  assist  the  club  secretary,  another 
may  take  charge  of  the  stumps,  bails  and  other 
club  articles  except  the  bats.  The  bats  may  be 
in  the  special  care  of  some  boy  who  will  see 
that  they  are  properly  oiled.  Yet  another 
(who  should  have  an  assistant),  should  be  re- 
sponsible for  having  the  practice-nets  ready  at 
the  appointed  time,  and  so  on.  Each  of  these 
lads  should  be  instructed  to  hand  in  to  the 
secretary  any  article  that  gets  out  of  order,  in 
order  that  repairs  may  be  done  at  once  and  the 
expenses  of  new  tackle  kept  as  low  as  possible. 
If  cricket  matches  are  played,  the  full  score 
may  be  posted  up  in  the  choir  room  or  other 
suitable  place  and  also  published  in  the  parish 


38  A  TREATISE  ON  THE 

magazine  if  one  exists.  Batting  and  bowling 
averages  should  be  kept,  and  everything  pos- 
sible done  to  foster  a  spirit  of  keenness  for  the 
game.  The  management  of  the  football  club 
will  be  on  much  the  same  lines  as  that  of  the 
ciicket  club. 

As  regards  finances,  we  must  refer  the  reader 
to  Chapter  VI,  which  deals  specially  with  this 
subject. 

Bathing  is,  of  course,  very  popular  with 
boys,  as,  indeed,  with  nearly  everybody  else, 
and  the  lads  may  lark  about  and  enjoy  them- 
selves to  their  hearts'  content  when  indulging 
in  it.  Some  responsible  person  should,  of 
course,  be  in  charge,  and  at  a  given  signal 
every  boy  should  instantly  leave  the  water  and 
dress. 

Hockey  is  a  capital  winter  game,  but  in  nine 
cases  out  of  ten,  the  boys  will  be  found  to 
prefer  football.  If  a  hockey-club  be  formed 
care  should  be  taken  that  good  hockey-sticks 
are  provided.  It  is  a  mistake  to  suppose  that 
the  game  can  be  played,  even  by  boys,  with  any 
crooked  old  twig.  Each  boy  should  be  re- 
sponsible for  the  proper  keeping  of  his  hockey- 
stick,  which  should  be  given  up  to  the  club 


TRAINING  OF  BOYS'  VOICES.  39 


secretary  at  the  end  of  the  season.  All  the 
sticks  should  be  then  cleaned  and  dried  and 
tied  up  in  a  bundle  and  safely  put  away  ready 
for  the  next  season. 

In  all  these  games,  the  occasional  visit  of 
the  vicar,  the  organist,  a  churchwarden,  or,  it 
may  be,  of  one  or  two  members  of  the  congre- 
gation, has  a  beneficial  effect. 

Where  evening  entertainments  are  provided, 
they  should  not  involve  the  boys  in  extra  work, 
otherwise  the  entertainments  are  apt  to  become 
burdensome  and  have  the  opposite  effect  to 
that  intended.  In  many  parishes  the  boys  are 
called  upon  to  give  concerts  for  the  benefit  of 
the  choir-fund  out  of  which  they  are  paid. 
This  resource  is  not  to  be  commended  unless 
the  boys  are  given  to  understand  before  joining 
the  choir  that  participation  in  concerts  is  part 
of  their  duty.  It  must  be  remembered  that  the 
lads  are  already  called  upon  to  earn  their 
money  in  the  church  and  practice-room,  and 
that  therefore  it  is  hardly  just  that  they  should 
be  expected  to  work  for  it  a  second  time  in  the 
concert-room. 

A  quarterly  or  monthly  tea,  followed  by 
games,  is  an  institution  quite  dear  to  the  boy- 

4 


40  A  TEEATISE  OA7  THE 


mind,  and  has  the  merit  of  being  inexpensive. 
Here  is  the  cost  of  a  tea  for  eighteen  boys. 
The  account  is  an  exact  copy  from  the  books 
of  a  London  suburban  choir  : 

Cost  of  .Boys'  Tea  on  Dec.  7,  1895. 

s.  d. 

Tea,  |  Ib ...  1     H 

Butter,  \  Ib 8 

Cake,  5  Ib 2    6 

Sausage  rolls,  18 16 

Bread,  2  loaves      5 

Jain,  1  Ib.  apricot 6 

Also  1  pot  (about  2  Ib.)  given  by — 
Milk,  3  pints 6 

Also  \\  pints  given  by — 

Loaf  sugar,  1^  Ib >.         ...  3 

Oranges,  2  doz.      ...         ...         ...  16 

8  \\\ 


Occasional  outings  and  excursions  are  at- 
tractive to  boys,  but  are  sometimes  apt  to  be 
expensive.  In  estimating  the  choir  expenses 
for  the  year  it  is  well  to  settle  all  details  as  to 
places  to  be  visited,  and  to  allow  for  expenses 
accordingly.  In  this  way  it  can  be  seen  what 
excursions  can  be  afforded,  and  disappoint- 
ment consequent  upon  projected  excursions 
being  abandoned,  provided  against. 

If  there  be  any  library  connected  with  the 


TltAIXIXG  OF  J10Y&  VOICES.  41 


church,  the  choir  should  have  the  privilege  of 
using  it,  an  annual  subscription  on  behalf  of 
the  choir  being  paid  out  of  the  choir-fund. 


42  ,1  TREATISE  OX  THE 


CHAPTER    III. 

CHOIR-TRAINING. 

WE  now  come  to  a  consideration  of  the 
means  to  be  provided  for  carrying  on  the  musi- 
cal training  of  the  choir,  and  for  their  work  in 
the  sanctuary  itself. 

The  treatise  preceding  these  chapters  on 
choir-organisation  deals  exclusively  with  the 
training  of  the  voice,  but  voice-training  alone 
- — indispensable  as  it  is  to  good  singing,  especi- 
ally if  only  rough  material  be  forthcoming  for 
the  choir— will  not  of  itself  make  a  good 
singer.  Boys  should  be  taught  to  use  their 
brains  when  they  sing,  which  means  that  they 
must  have  some  knowledge  of  music  and  sing- 
ing at  sight.  The  process  of  cramming  boys 
with  music  by  ear  is  altogether  unsatisfactory. 
The  boy  who  can  read  at  sight  will  be  found 
to  sing  with  far  greater  attention  to  time,  ac- 


TRAINING  OF  BOYS'  VOICES.  43 


cent,  rhythm  and  phrasing,  than  one  who 
relies  entirely  for  his  knowledge  on  the  weekly 
choir-rehearsal.  We  therefore  counsel  the 
choirmaster  to  make  every  provision  for  teach- 
ing his  boys  to  sing  at  sight.  There  are 
numerous  handbooks  on  the  subject.  If  the 
choir-practices  be  held  regularly,  say,  three 
times  a  week  (i.e.,  two  practices  for  boys  alone 
and  one  for  the  full  choir),  half  an  hour's  in- 
struction a  week  in  singing  at  sight  will  be 
found  sufficient,  and  a  boy  should  in  the  course 
of  about  two  years,  be  able  to  read  fairly  well 
at  sight  any  ordinary  church  music,  such  as 
services  and  anthems  of  average  difficulty. 
The  instruction  in  this  subject  should  be  given 
before  the  other  work  of  the  practice  is  entered 
upon.  The  choirmaster  should  have  by  him  a 
plan  of  the  work  to  be  done  at  the  practice.  A 
practice  of  one  hour  and  a  quarter  may  be 
divided  into  three  portions,  viz.,  half  an  hour 
for  reading  at  sight,  from  fifteen  to  twenty 
minutes  for  vocal  exercises,  and  the  remainder 
for  practising  the  service  or  other  music.  When 
reading  at  sight  is  not  practised,  twenty  minutes 
may  be  devoted  to  vocal  exercises  and  the  re- 
mainder to  preparing  the  music  to  be  sung  at 


44  A  TEE  ATI  SE  ON  THE 

the  services,  or  some  music  in  the  nature  of 
part-songs,  care  being  taken  that  there  is 
always  some  piece  of  music  which  will  interest 
the  boys. 

The  preparatory  choir  should  be  as  carefully 
studied  as  the  senior  choir.  The  age  at  which 
boys  may  be  taken  into  training  is  from  eight 
to  ten  years.  Of  course,  boys  may  be  taken  at 
an  earlier  age,  but  this  involves  their  remaining 
in  the  preparatory  choir  for  three  years,  boys 
of  less  than  eleven  years  seldom  being  of  real 
use.  The  numerical  strength  of  the  prepara- 
tory choir  should,  roughly  speaking,  be  equal 
to  about  three-fourths  of  the  senior  choir  (ex- 
clusively of  the  men).  This  proportion  will 
not  be  found  inordinately  large  when  it  is  re- 
membered that  in  every  choir  there  are 
unavoidable  leakages  beyond  the  breaking  of 
voices,  all  of  which  cause  a  drain  upon  the 
choir,  to  say  nothing  of  leakages  from  the 
preparatory  choir  itself. 

If  the  boys  of  the  senior  choir  be  paid,  the 
same  course  should  be  followed  with  regard 
tc  the  preparatory  choir.  There  must,  how- 
ever, be  a  definite  understanding  at  the  outset 
as  to  the  conditions  of  membership,  both  of  the 


TRAINING  OF  BOYS'  VOICES.  45 

senior  and  preparatory  choirs.  The  payment 
of  the  preparatory  choir  need  not  entail  any 
great  expense,  provided  there  are  advantages 
attaching  to  membership  beside  the  payment, 
but  provision  must  be  made  against  boys  of  the 
preparatory  choir  drawing  payment — perhaps 
for  two  or  three  years — and  depriving  the 
church  of  their  services  by  leaving  the  choir 
just  when  they  are  beginning  to  be  of  use.  We 
know  of  no  more  efficient  safeguard  against  this 
practice  than  that  of  paying  each  boy  half  his 
salary,  the  remainder  being  placed  to  his 
credit,  to  be  paid  to  him  on  his  promotion  to 
the  senior  choir.  Of  course  this,  like  all  the 
other  conditions,  must  be  explained  to  the 
boy's  parents  before  he  is  accepted  as  a 
member  of  the  preparatory  choir.  This  in- 
formation may  also  be  included  in  the  choir- 
prospectus. 

The  general  conditions  of  choir-membership 
must  depend  to  a  great  extent  upon  local  cir- 
cumstances, both  as  regards  men  and  boys,  but 
in  any  case,  it  is  advisable  that  every  boy 
should,  before  joining  the  choir,  give  an  under- 
taking not  to  leave  the  choir  before  his  voice 
breaks  unless  good  cause  can  be  shown  for  ex- 


46  A  TREATISE  ON  THE 

emption  from  this  rule.  The  choirmaster 
must,  however,  set  himself  to  resist  any  tempta- 
tion to  arbitrarily  enforce  the  rule  to  the 
detriment  of  a  boy's  interests,  even  should  he, 
or  rather,  his  choir,  suffer  thereby.  Important 
as  the  interests  of  the  choir  are,  they  sink  into 
insignificance  beside  those  of  the  fresh  young- 
life  which  has  not  yet  encountered  the  rough- 
and-tumble  of  the  world,  which  has  not  yet 
been  called  upon  to  resist  the  garish  attractions 
to  be  found  within  it,  or  to  hold  its  own  against 
the  deceits  and  follies  which  sooner  or  later 
will  tempt  him — God  grant  it  may  not  be  with 
success — to  forsake  the  path  of  integrity,  of 
industry,  and  of  manliness.  Where  such  issues 
are  involved,  it  would  surely  be  a  criminal  act 
to  enforce  any  agreement  which  might  hinder 
a  boy  from  making  a  good  start  in  life,  or  from 
fitting  himself  as  early  as  possible  for  any  call 
which  may  eventually  be  made  upon  him. 

The  maintenance  of  a  preparatory  choir  is 
not  always  an  easy  matter,  since  it  imposes 
extra  v/ork  on  the  choirmaster  very  much  out 
of  proportion — at  the  average  rate  of  an  organ- 
ist's salary — to  the  remuneration  he  receives. 
And  yet  a  preparatory  choir  is  a  necessity,  par- 


TRAINING  OF  BOYS'  VOICES.  47 

ticularly  if  there  be  not  much  choice  of 
material.  The  practices  of  the  preparatory 
choir  should  be  held  apart  from  those  of  the 
senior  choir,  and  not  less  than  twice  a  week. 
The  first  few  months  of  the  boys'  training 
should  be  given  to  teaching  the  boys  how  to 
acquire  purity  of  tone  throughout  the  compass 
of  their  voices.  For  this  ample  provision  has 
been  made  in  the  foregoing  treatise  and  exer- 
cises. The  boys  should  also  at  once  enter 
upon  instruction  in  singing  at  sight.  An  oc- 
casional hymn-tune  within  easy  compass  may 
be  taken  as  an  exercise  in  voice-production, 
those  hymn-tunes  containing  passages  in  the 
lower  section  of  the  head -register  (e.g.,  284  and 
346  in  "Hymns,  Ancient  and  Modern")  being 
very  useful  for  this  purpose.  These  may  be 
followed  by  easy  part-songs  and  anthems,  and 
finally  chanting  may  be  taken  into  practice.  As 
regards  choice  of  chants,  preference  should  at 
the  very  outset  be  given  to  those  in  which  the 
reciting  notes  lie  well  within  the  compass  of 
either  head  or  chest  register,  and  after  the 
boys  have  become  accustomed  to  the  work, 
chants  containing  reciting  notes  in  the 
u  middle "  register  should  be  diligently  prac- 


48  A  TREATISE  ON  TEE 

tised  in  order  that  they  may  become  accus- 
tomed to  a  right  method  of  voice-production  in 
this,  the  most  difficult  region  of  their  compass. 
It  is  better  to  begin  with  the  Canticles  than 
with  the  Psalms,  in  order  that  the  boys  may 
concentrate  their  attention  on  the  special  points 
to  be  practised,  instead  of  having  their  atten- 
tion diverted  by  the  labour  of  reading  the 
words  of  the  Psalms. 

It  is  of  great  importance  that  the  practices 
should  be  held  regularly.  If  the  practices  are 
being  continually  postponed,  the  boys  learn  to 
regard  them  as  of  no  importance,  and  any  en- 
forcement of  punctuality  and  regularity  is 
rendered  difficult. 

Every  well-appointed  church  possesses  a 
choir-room  furnisheci  with  everything  needed 
for  carrying  on  the  work  of  the  choir.  The 
choir-room  need  not  be  of  very  large  dimen- 
sions. If  the  boys'  practices  only  are  held  in 
it  and  the  choir  is  not  an  unusually  large  one, 
a  room  measuring  thirty  feet  long  and  twenty 
feet  wide  is  large  enough.  A  larger  room  is 
of  course  desirable  if  it  is  to  be  used  for  prac- 
tices of  the  full  choir.  For  reasons  which  later 
on  in  this  chapter  will  become  apparent,  it  is 


TEAINING  OF  BOYS'  VOICES.  49 

advisable  that  the  room  should  not  form  part 
of  any  consecrated  building.  It  should  be 
easily  warmed  in  winter  and  well  lighted  in 
every  part,  and  the  gas-meter  should  be  inde- 
pendent from  that  of  the  church  (unless  elec- 
tricity be  used).  The  gas-brackets  should  be 
so  arranged  as  to  allow  of  the  use  of  a  black- 
board by  gas-light  without  the  necessity  of 
moving  the  choir  from  their  usual  places  in 
order  to  avoid  the  "  shine  "  which  prevents  the 
writing  on  the  blackboard  being  easily  read 
when  the  light  falls  upon  it  from  certain 
directions. 

The  importance  of  ventilation  cannot  be 
exaggerated. 

The  choir-room  should  have  an  entrance  in- 
dependently of  other  rooms  or  vestries,  and, 
if  anywhere  near  the  church,  the  walls  should 
be  sufficiently  thick  to  allow  of  the  practices 
being  carried  on  without  the  risk  of  disturbing 
any  services  which  may  be  going  on  in  the 
church. 

A  lavatory  should  be  attached  to  the  choir- 
room  with  a  good  supply  of  water. 

A  goodly  number  of  hat  and  coat  pegs 
should  be  provided  near  the  entrance. 


50  A  TEEATISE  ON  THE 


The  choir-room  should  contain  the  following 
articles  and  furniture :  a  pianoforte,  chairs, 
black-board,  easel,  box  of  chalk  for  use  with 
black-board,  four  dusters,  metronome,  music- 
rack  or  cupboard,  baton,  writing-table,  writing 
materials,  paper-knife,  waste-paper  basket,  and 
a  small  cupboard  for  the  use  of  the  ladies  in 
charge  of  the  cassocks  and  surplices  (see  p.  61). 

The  following  hints  regarding  these  articles 
may  be  of  use  to  those  who  have  not  had 
experience  in  fitting  up  a  choir-room. 

The  pianoforte  should  be  square  or  grand, 
if  possible,  in  order  that  the  choirmaster  may 
be  able  to  see  his  singers.  If  this  cannot  be 
afforded,  a  cottage  piano  must  be  made  to 
answer  the  purpose.  An  extremely  powerful 
instrument  is  by  no  means  a  necessity  provided 
the  tone  be  clear  and  good.  We  may  add  that 
a  pianoforte  is  much  to  be  preferred  to  any 
other  instrument  in  training  boys'  voices,  and 
that  the  quality  of  tone  produced  by  the  boys  is 
influenced  in  a  remarkable  degree  by  the  kind 
of  instrument  used  in  accompanying  them, 
while  precision  of  attack — such  an  important 
factor  in  good  singing — is  far  more  easily  im- 
parted if  a  pianoforte  be  used  than  is  the  case 


yiXG  OF  BOYS'  VOICES.  51 


with  any  wind  instrument.  Fancy  training  a 
boy's  ear  by  the  asthmatic  sound  of  an 
harmonium  ! 

The  blackboard  should  be  of  the  ordinary 
make,  and  ruled  with  lines  to  represent  the 
stave,  the  space  between  the  lines  measuring 
one  inch — a  little  more  if  the  pupils  are  seated 
any  distance  from  the  blackboard.  We  have 
found  white  lines  preferable  to  red,  though 
some  choirmasters  prefer  the  latter.  Three  or 
four  staves  may  be  ruled,  a  space  being  left 
blank  either  at  the  side  or  foot  of  the  black- 
board for  other  matter  than  music.  A  small 
hook  or  peg  on  the  left  hand  side  of  the  black- 
board will  be  found  convenient  for  hanging  the 
duster  on. 

Four  dusters  are  required,  two  for  use  with 
the  blackboard  and  two  for  dusting  the  books 
and  music.  They  should  all  be  marked  with 
the  name  of  the  choir. 

The  music  rack  should  be  divided  into  a 
large  number  of  partitions,  half  the  number  of 
partitions  being  one  and  a  half  inches,  and  the 
other  half  two  inches  wide,  and  about  twelve 
inches  in  length.  The  partitions  should  be 
made  to  slide  out  in  order  that  two  partitions 


A  Tit  EAT  I SE  ON  THE 


may  be  converted  into  one  if  necessary.  The 
partitions  should  be  slightly  cut  away  in  the 
centre  in  order  to  allow  of  the  music  being 
easily  grasped.  Horizontal  are  greatly  to  be 
preferred  to  perpendicular  partitions  as  they 
allow  the  music  to  lie  flat  and  save  the  wear 
and  tear  which  results  from  music  getting 
creased,  as  it  usually  does  when  perpendicular 
partitions  are  used.  The  partitions  should  be 
numbered  consecutively.  The  rack  should  also 
contain  one  or  two  shelves  and  three  or  four 
drawers,  one  at  least  of  which  should  have 
several  small  divisions  for  holding  paper 
binders,  pins  and  other  odds  and  ends  which 
all  require  keeping  tidy.  Sliding  doors  should 
only  be  used  where  there  is  but  little  room  for 
the  rack ;  ordinary  doors  on  hinges  are  much  to 
be  preferred. 

The  baton  should  have  a  loop  attached  by 
which  it  may  be  kept  hung  up  in  the  music  cup- 
board when  not  being  used. 

A  writing  table  is  very  useful  in  the  choir 
room.  A  knee  table  is  to  be  preferred  to  any 
other  on  account  of  the  large  number  of 
drawers  this  kind  of  table  contains  and  which 
may  be  allotted  to  the  organist,  choir  secretary 
and  the  librarian. 


T1U1SIXG-  OF  VOY&  VOICES.          ,        53 


The  room  should  also  be  furnished  with  a 
requisite  number  of  chairs  and  a  table  which 
can  easily  be  moved. 

The  lavatory  should  be  furnished  with  not 
less  than  two  washstands,  towels,  soap,  brushes 
and  looking  glasses.  The  brushes  and  towels 
should  each  have  a  loop  attached  in  order  that 
they  may  be  hung  up  when  not  required. 

The  choir  room  should  form  a  resort  for  the 
choir  boys  and  should  be  made  as  attractive 
and  comfortable  as  possible.  Here  the  boys 
may  assemble  for  games — draughts,  domi- 
noes, marbles  and  dumb-bell  exercise  before  or 
after  the  practices  and  services.  The  room  may 
also  be  used  for  meetings  of  the  cricket  club, 
glee  practices  and  so  on.  Here,  also,  should 
be  two  notice  boards,  one  for  notices  dealing 
exclusively  with  church  matters,  the  other  for 
notices  referring  to  secular  matters,  the  cricket 
club,  etc. 

The  room  should  be  in  charge  of  a  choir 
room  superintendent  (with  an  assistant),  who 
should  be  responsible  to  the  organist  for  keep- 
ing it  in  order  also  lighted  and  warmed  by  the 
appointed  times.  If  a  room  be  much  used  by 
the  boys,  two  or  three  persons  should  be  in- 


54  A  TEE  ATI  SE  OAT  THE 


vited  to  take  turns  in  being  present  to  maintain 
order  among  the  boys,  though  better  discipline 
will  be  secured  if  the  boys  can  be  taught  to 
behave  well  as  a  point  of  honour  and  without 
continual  supervision. 

It  should  be  part  of  the  duty  of  the  choir 
room  superintendent  to  see  that  the  lavatory  is 
kept  scrupulously  clean  and  tidy,  that  clean 
towels  are  supplied  regularly,  and  that  the 
brushes  and  combs  are  washed  at  stated 
intervals. 

The  books  and  music  should  be  in  charge  of 
a  librarian  (with  two  boys  to  help  him),  who  is 
responsible  to  the  organist.  New  music  is  usu- 
ally ordered  in  the  name  of  the  organist  as 
some  publishers  do  not  care  to  open  accounts 
in  the  names  of  churchwardens.  Immediately 
any  new  music  is  received  it  should  be  placed 
on  a  shelf  labelled  "new  music"  in  the  music 
rack  and  a  tally  attached  showing  the  name  of 
the  composer,  title  of  the  music  and  number  of 
copies.  The  librarian  who  then  takes  charge 
of  the  music,  marks  every  copy  with  the  num- 
ber of  the  partition  in  the  music  rack  in  which 
the  music  is  to  be  kept,  and  with  the  number  of 
copies ;  thus  he  will  be  able  to  tell  by  glancing 


TRAILING  OF  BOYS'  VOICES. 


at  any  one  copy  when  collecting  the  music  after 
use  by  the  choir,  how  many  copies  there  ought 
tc  be  and  to  which  division  in  the  rack  they 
belong.  The  same  particulars  should  be 
entered  in  a  catalogue  of  all  the  music  owned 
by  the  choir.  These  details  having  been  at- 
tended to,  the  new  music  is  placed  on  a  shelf 
labelled  "  binding."  The  binding  of  the  music 
is  best  left  to  some  lady  member  of  the  congre- 
gation who  may  choose  her  own  assistants.  All 
music  with  paper  covers  should  have  a  strip  of 
music  binding  gummed  along  the  back.  The 
adhesive  linen  music  slips  sold  at  many  music 
shops  is  well  adapted  for  this  purpose.  The 

binding  need  not  run  the  whole  length  of  the 
music,  it  will  be  quite  sufficient  if  strips,  say, 
two  inches  long  be  gummed  on  at  the  top  and 
at  the  bottom,  this  being  the  part  where  the 
music  is  likely  first  to  get  torn. 

No  music  should  be  taken  away  without  per- 
mission of  the  librarian  who  should  enter  in  a 
book  the  name  of  every  person  to  whom  music 
is  lent,  a  note  being  made  when  it  is  returned. 

It  is  important  that  all  damage  to  the  music, 
however  slight,  should  be  at  once  repaired. 
Two  drawers  or  shelves  in  the  music  rack  may 

5 


56  A  TREATISE  ON  THE 


be  set  apart,  one  for  music  to  be  repaired,  the 
other  for  music  returned  from  repairing.  The 
person  undertaking  the  repairs  should  pay  a 
visit  to  this  shelf  or  drawer  at  least  once  a  week 
(preferably  every  Monday  morning)  in  order  to 
take  away  any  music  which  may  require  bind- 
ing or  repairing. 

It  frequently  happens  that  a  leaf  in  a  book 
becomes  torn  and  escapes  the  attention  of  the 
librarian.  This  is  easily  provided  against  by 
supplying  every  book  with  a  marker  to  be 
placed  in  any  part  of  the  book  which  may 
become  damaged,  the  book  being  left  on  the 
seat — not  on  the  choir  desk.  Thus  the  librarian 
or  his  assistants  when  tidying  up  the  choir  stalls 
after  service  will  at  once  find  the  book  and 
place  it  on  the  shelf  set  aside  for  damaged 
books  and  music.  A  lew  extra  books  should  be 
kept  in  reserve  to  temporarily  replace  any  that 
may  be  under  repair. 

If  much  music  be  required,  the  organist 
should  at  the  beginning  of  every  week,  have  in 
some  stated  place  a  list  of  books  and  music 
required  for  every  service  and  practice  during 
the  week  as  well  as  for  the  following  Sunday. 
The  librarian  should  be  responsible  for  having 


TRAINING  OF  SOYS1  VOICES.  57 

the  music  ready  in  good  time  before  each  ser- 
vice and  practice. 

If  the  librarian  have  two  assistants,  he  will 
do  well  to  put  one  in  charge  of  decani  side  of 
the  choir,  and  the  other  in  charge  of  cantoris. 
The  men's  book  ((i.e.,  chant  book,  hymn  book, 
psalter  and  responses  book),  may  be  kept  in  a 
rubber  band,  each  member  having  his  own  set 
of  books,  and  every  book  being  labelled  out- 
side with  the  member's  name.  These  books 
may  be  kept  on  the  lower  rack  of  the  choir 
stalls,  the  bibles  and  prayer  books  being  kept 
on  the  upper  rack.  A  set  of  reserve  books  may 
be  kept  in  each  stall. 

After  every  service  and  practice  the 
librarian's  assistants  should  collect  such  music 
as  has  to  be  replaced  in  the  music  cupboard, 
gather  up  the  disused  service  lists  (which 
should  be  placed  in  one  of  the  writing  table 
drawers  for  use  as  "scribbling"  paper),  and 
see  that  the  choir  stalls  are  left  in  good  order, 
every  book  being  left  in  its  proper  place. 

There  is  a  minor  office  which  must  not  be 
overlooked  in  connection  with  the  librarian's 
department.  It  is  that  of  marking  the  lessons 
in  the  bibles  before  service.  Every  bible 


58  A  TEE ATI SE  ON  THE 

should  have  two  markers — one  for  each  of  the 
lessons,  and  it  should  be  the  special  function  of 
one  of  the  choir  boys  to  find  and  mark  the  les- 
sons before  service.  This  is  rendered  neces- 
sary by  the  difficulty  in  attending  when  the  les- 
son is  given  out,  the  choir  at  this  moment  being 
engaged  in  preparing  for  the  next  canticle, 
hymn  or  anthem,  the  finding  of  which  must  not 
be  left  to  the  last  moment. 


TEAINING  OF  BOYS'  VOICES.  59 


CHAPTER    IV. 

CHOIR  VESTMENTS. 

THE  robing  of  the  choir  should  be  as  system- 
atically attended  to  as  any  other  branch  of  the 
choir  work.  In  some  choirs  this  is  not  con- 
sidered part  of  the  choir  system,  but  for  the 
sake  of  completeness,  we  may  here  sketch  out 
the  lines  upon  which  this  department  may  be 
worked. 

The  cassocks  should  be  made  of  Russell 
cord  costing  from  fifteen  shillings  to  eighteen 
shillings  for  a  man's,  and  ten  shillings  and  six- 
pence to  thirteen  shillings  for  a  boy's  cassock 
of  medium  size  . 

It  is  bad  economy  to  entrust  the  making  of 
the  cassocks  to  any  but  an  experienced  tailor. 
Boys'  cassocks  have  to  pass  from  one  boy  to 
another  about  every  twelve  months,  and  as  it  is 
not  always  easy  under  such  circumstances  to  fit 
every  boy,  any  fault  in  the  tailoring  becomes 


60  A  TREATISE  ON  THE 

conspicuous,  besides  which  any  alterations 
which  may  be  necessary  are  rendered  difficult. 
All  boys'  cassocks  should  be  made  with  a  hem 
of  five  or  six  inches  at  the  foot  to  allow  of 
lengthening.  The  cassocks  should  be  made 
without  pockets,  but  there  should  be  a  side  slit 
through  which  the  wearer  can  pass  his  hand 
into  his  trousers  pocket.  This  plan  not  only 
obviates  the  bulging  out  of  cassock  and  sur- 
plice, which  is  often  caused  by  handkerchiefs 
and  other  articles  being  kept  in  the  cassock 
pocket,  but  is  also  a  safeguard  against  the 
stowing  away  of  sweets  which  spoil  the  cas- 
socks and  render  them  unpleasant  when  passed 
from  one  wearer  to  another. 

Surplices  made  of  linen,  the  usual  material, 
cost  about  nine  shillings  for  a  man  of  medium 
height,  or  five  shillings  for  a  boy.  Surplices  ot 
plain  shape  seem  to  be  generally  preferred  to 
those  which  are  "gathered,"  and  are  more 
easily  washed  and  ironed.  The  surplice  should 
come  within  about  two  inches  of  the  wearer's 
knees.  The  fantastic  little  smocks  in  which 
some  choirs  are  vested  are  in  execrably  bad 
taste.  Coloured  cassocks  are  often  only  a  fad, 
pure  and  simple,  though  they  have  a  practical 


TBAINING  OF  BOYS'  VOICES.  61 

use  in  dark  churches  where  they  lend  a  little 
welcome  colour.  Like  the  cassocks,  the  sur- 
plices should  be  made  only  by  persons  experi- 
enced in  the  work. 

Great  care  should  be  taken  that  the  cassocks 
and  surplices  should  be  kept  in  a  dry  place. 
Even  if  the  vestries  are  kept  warmed  in  the 
winter,  it  is  advisable,  unless  the  cassocks  are 
worn  every  day,  that  somebody  shall  be  respon- 
sible for  giving  them  a  weekly  airing. 

The  vestments  cupboards  should  be  fitted 
with  double  hooks,  a  hat  peg  being  fixed  above 
the  hooks.  If  the  cupboards  be  fitted  with  cur- 
tains instead  of  doors,  the  curtains  should  be 
so  arranged  as  to  be  easily  taken  off  the  curtain 
rod  and  well  brushed,  especially  at  the  top 
near  the  rings,  every  three  months.  Somebody 
should  be  responsible  for  closing  the  cup- 
boards after  service,  and  for  seeing  that  every- 
thing about  them  is  left  in  good  order. 

The  superintendence  of  the  surplices  and 
cassocks  is  best  left  to  some  lady  member  of 
the  congregation,  who  may  choose  her  own 
assistants.  She  should  visit  the  vestries  at 
least  once  a  week — on  Mondays  for  choice.  A 
special  peg  should  be  set  apart  in  every  cup- 


A  TEEATISE  ON  THE 


board,  on  which  members  may  leave  damaged 
cassocks  and  surplices. 

There  should  be  a  general  refitting  of  boys' 
cassocks  every  twelve  months. 

If  all  the  boys  wear  Eton  collars,  the  appear- 
ance of  the  choir  is  improved  by  collars  being 
worn  outside  the  cassocks. 


TEAMING  OF  BOYS'  VOICES.  63 


CHAPTER  V. 

CHOIR  DISCIPLINE. 

UNDER  the  head  of  "  Discipline  "  are  embraced 
strict  attention  to  duty,  from  the  organist  down 
tc  the  youngest  boy,  instant  obedience  to  in- 
structions, punctuality,  regularity  of  attend- 
ance, and  silence  during  the  practices.  These 
apply  as  directly  to  the  adult  members  as  to 
the  juniors. 

Regularity  of  attendance  should  be  as 
strenuously  insisted  upon  as  circumstances  will 
permit.  The  men  of  voluntary  choirs  are 
notoriously  irregular  in  attending  practices. 
Arbitrary  action  on  the  organist's  part  does  not, 
as  a  rule,  produce  the  right  effect.  A  better 
result  is  brought  about  by  dint  of  an  occasional 
reminder  that  an  engagement  is  ever  an  en- 
gagement, and  that  the  fact  of  the  person 
entering  into  it  receiving  no  payment,  does  not 
release  him  from  the  obligation  of  faithfully 


64  A  TEEATISE  ON  THE 

performing  his  share  of  it.  Choirmen  should 
be  asked  to  look  upon  the  regular  performance 
of  their  duties  as  a  point  of  honour.  The 
excuse  made  in  some  choirs  that  the  choir  prac- 
tices are  dull  is  somewhat  beside  the  mark.  It 
is  to  be  assumed,  if  only  as  a  matter  of  disci- 
pline, that  the  organist  knows  best  what  ought 
to  be  practised  in  order  to  train  his  choir  with 
the  best  result,  and  if  a  choirman  gives  his  ser- 
vices with  the  right  motive,  he  will  be  willing 
to  undergo  some  little  self  sacrifice  in  order  to 
achieve  the  desired  result,  and  to  subordinate 
his  opinion  to  that  of  the  choirmaster.  On  the 
other  hand,  the  choirmaster  will  do  well, 
whether  his  choir  be  voluntary  or  paid,  to  make 
the  practices  as  interesting  as  possible,  and  not, 
in  his  anxiety  to  achieve  a  high  standard  in  the 
rendering  of  any  piece  of  music,  to  try  the  pati- 
ence of  his  singers  by  too  constant  corrections. 
Further,  he  should  himself  set  an  example  of 
reverent  behaviour,  punctuality  and  attention 
to  duty,  and  above  all,  he  must  avoid  anything 
which  savours  of  fussiness. 

Choir  boys  generally  have  the  reputation  of 
being  worse  behaved  than  other  boys.  The 
charge  is  an  unreasonable  one.  The  fact  is 


TEAINING  OF  BOYS'  VOICES.  65 

that  the  boys  in  a  choir,  owing  to  the  position 
they  occupy  while  in  the  church  and  their 
naturally  being  more  together  when  out  of  it, 
are  altogether  more  in  evidence  than  most  boys. 
But  take  any  other  children  at  random,  put 
them  into  surplices,  seat  them  in  the  choir  stalls 
and  allow  them  to  fidget  and  swing  their  legs 
about  exactly  as  they  do  when  sitting  in  the 
congregation,  or  call  upon  them  to  keep  their 
youthful  spirits  pent  up  three  times  a  week 
during  the  choir  practices  when  other  children 
are  out  at  play,  and  then  observe  how  their 
behaviour  in  church  compares  with  that  of  the 
average  choir  boy,  or  to  what  lengths  the 
exuberance  of  their  spirits  will  not  carry  them 
when  they  are  released  from  that  control  which 
the  discipline  of  the  practice  room  necessitates. 
As  a  matter  of  fact,  a  really  badly  behaved 
choir  of  boys  often  becomes  so  through  mis- 
placed severity  and  unnecessary  fault  finding. 
A  better  way  of  getting  boys  to  behave  well, 
especially  in  the  choir  stalls,  is  by  allowing 
them  to  see  for  themselves  that  they  can 
behave  well  of  their  own  free  will,  and  not 
from  fear  of  punishment  only.  An  occasional 
hint,  too,  that  they  are  in  the  house  of  God 


66  A  TEE  ATI  SE  ON  THE 


should  have  the  right  effect,  and  often  a  word 
of  encouragement  will  do  more  good  than  any 
brow-beating  or  punishment.  Continual  over- 
looking will  not  of  itself  bring  about  really 
good  behaviour.  Boys  can  be  taught  to  behave 
well  without  the  necessity  of  being  continually 
watched,  and  will  rise  to  the  call  to  do  so  if  it 
be  made  upon  them. 

Much,  too,  depends  upon  comparatively 
small  matters,  for  it  is,  as  a  rule,  little  habits 
which  shape  the  course  of  a  boy's  conduct.  A 
few  simple  rules  such  as  the  following,  will 
bring  about  a  better  result  than  any  long  rig- 
marole and  list  of  fines  : 

CHOIR-RULES. 

Vestry  and  Practice  Eules. 

1.  Boys  must  come   to   the  services  and  practices   with 
clean  hands  and  face,  and  tidy  hair. 

2.  On  entering  the  vestry  every  boy  is  immediately  to 
put  on   his  cassock   and  sit  in  his   place   until   "  time  "    is 
called.     Talking  in  a  whisper   is  allowed  until  the   call  of 
time,  provided  the  speaker  is  sitting  in  his  place. 

3.  On  returning  to   the   vestry   after  service,    each   boy 
must  replace  his  cassock  and  surplice  and  at  once  quietly 
leave  the  vestry. 

4.  Talking,   laughing  and   inattention   are   forbidden   in 
the  practice-room  after  "time"  has  been  called. 


TRAINING  OF  BOYS'  VOICES.  67 

Service  Rules. 

1.  Every  boy  must  sit,  stand,  or  kneel  upright,  and  must 
try  to  keep  his  attention  on  the  service.     Elbows  are  not  to 
be  put  upon  the  choir-desks. 

2.  Whispering   and  looking   down   the  church   are   for- 
bidden. 

3.  The  lessons  must  be  followed  in  the  bibles. 

Every  boy  should  be  supplied  with  a  prayer 
book  in  his  choir  stall,  and  inside  the  cover 
should  be  gummed  short  prayers  to  be  said 
before  and  after  service.  The  following 
prayers  have  the  merit  of  being  simple,  and 
sufficiently  short  to  allow  the  boys  time  for 
finding  their  places  before  service  and  putting 
away  their  books  before  leaving  the  choir  stalls 
after  service.  The  cost  of  printing  a  few 
copies  of  a  size  to  fit  the  prayer  books  is 
trifling. 

PRAYER  BEFORE  SERVICE. 

O  Lord,  open  Thou  my  lips  that  I  may  bless  Thy  Holy 
Name.  Keep  my  thoughts  from  wandering,  and  grant  that 
my  praises  may  be  acceptable  to  Thee ;  through  Jesus  Christ 
our  Lord.  Amen. 

PRAYER  AFTER  SERVICE. 

0  God,  I  thank  Thee  for  this  opportunity  of  worshipping 
Thee.  Forgive  me  if  I  have  done  anything  which  is  wrong 
during  this  service,  and  accept  my  praises  for  Jesus  Christ's 
sake.  Amen. 


68  A  TEE  AT  I SE  ON  THE 


The  vestry  should  be  furnished  with  seats 
for  the  boys  while  waiting  to  enter  the  church. 
Every  boy  should  have  his  own  place,  and  any 
boy  found  standing  about  should  be  called  to 
order. 


TRAINING  OF  HOYS'  VOICES. 


CHAPTER  VI. 

FINANCIAL. 

IT  is,  of  course,  impossible  to  adopt  any  defin- 
ite system  of  choir  organisation,  unless  there 
be  a  choir  fund  as  distinguished  from  the 
ordinary  funds  of  the  church,  out  of  which  the 
expenses  may  be  defrayed.  The  work  of 
maintaining  the  income  of  the  choir  fund 
should  be  in  the  hands  of  some  properly  con- 
stituted committee  who  will  be  responsible 
either  to  the  vicar  only,  or  the  vicar  and 
churchwardens.  The  nomination  of  the  com- 
mittee may  be  entrusted  to  the  churchwardens, 
or  the  vicar  himself  may  appoint  the  members, 
or  they  may  be  chosen  at  a  general  meeting  of 
the  parishioners,  but  in  any  case,  the  sanction 
of  the  vicar  must  be  obtained  before  any 
appointments  can  finally  be  made. 

In  some  parishes  the  choir  fund  is  simply 


70  A  TREATISE  ON  THE 

part  and  parcel  of  the  ordinary  church  ex- 
penses and  is  therefore  liable  to  so  many 
fluctuations  that  no  continuous  system  of  choir 
administration  is  possible.  In  other  churches 
the  churchwardens  guarantee  a  certain  sum  for 
choir  expenses  and  instruct  the  organist  to 
make  the  most  of  it,  while  there  are  many 
churches  where  the  choir  fund  is  altogether 
independent  of  the  ordinary  church  finances 
except  for  an  annual  subsidy  from  the  church- 
wardens and  certain  offertories  for  the  choir 
fund.  The  first  of  these  methods  is  neither 
economical  nor  conducive  to  efficiency;  the 
second  may  be  adopted  if  the  ordinary  income 
of  the  church  be  large ;  the  third  is  to  be  recom- 
mended, not  only  because  the  liability  of  the 
churchwardens  on  account  of  the  choir  fund  is 
limited  to  a  certain  stated  sum,  but  also 
because  it  leaves  those  who  are  responsible  for 
the  maintenance  of  the  choir  fund  a  free  hand 
in  collecting  subscriptions  and  taking  whatever 
other  steps  they  may  consider  necessary  for 
keeping  it  up  to  a  certain  amount.  This  last 
point  is  one  of  some  importance.  People  will, 
in  most  cases,  be  found  willing  to  subscribe  to 
a  choir  fund  without  reducing  the  amount  they 


TRAINING  OF  SOYS1  VOICES.  71 

are  in  the  habit  of  giving  to  other  objects,  and 
not  only  so,  but  the  fact  of  their  having  sub- 
scribed will  result  in  their  taking  an  interest, 
and  even  a  pride,  in  the  choir,  especially  if  it 
attain  to  anything  more  than  ordinary 
efficiency.  Again ;  there  is  no  doubt  that  well- 
rendered  services  result  in  bringing  together 
larger  congregations  than  is  the  case  with  in- 
differently rendered  music.  We  do  not  insinu- 
ate that  this  should  be  the  end  and  aim  of 
church  music — we  simply  state  the  fact.  One 
result  is  that  the  ordinary  offertories  are 
increased  and  the  ordinary  church  finances 
benefited,  and  this  without  any  additional 
liability  on  account  of  the  choir-fund. 

:The  functions  of  the  committee — which 
should  be  a  small  one  if  good  work  is  to  be 
done — are  purely  financial  and  do  not  embrace 
any  control  over  the  rendering  of  the  music  for 
which  the  organist  alone  is  responsible  to  those 
by  whom  he  is  appointed. 

The  sources  of  income  in  most  parishes  are 
as  follows : — 

Subscriptions  of  a  guaranteed  annual 
amount. 

6 


72  A  TREATISE  ON  THE 

Donations. 

Subsidy  from  the  ordinary  church  funds. 

Special  offertories. 

Choir-fund  box  at  the  entrance  of  the 
church. 

All  annual  donations  and  as  many  subscrip- 
tions as  possible  should  be  called  in  at  a  stated 
period  of  each  year.  At  the  same  time  a  de- 
tailed estimate  of  expenditure  for  the  ensuing 
year  should  be  handed  in  to  the  committee  by 
the  head  of  each  department  (e.g.,  cassock 
superintendent,  secretary  of  cricket  club,  etc.), 
and  the  committee  will  then  draw  up  a  general 
estimate  of  income  and  expenditure  for  the  en- 
suing twelve  months,  apportioning  to  each 
department  such  a  sum  as  the  estimates  of  that 
department  call  for,  or  as  much  of  it  as  the 
means  will  allow.  Thus  the  head  of  each 
department  will  know  what  funds  he  has  at  his 
disposal,  and  can  administer  his  department 
accordingly. 

The  work  of  drawing  up  the  estimates  will 
be  greatly  facilitated  if  the  accounts  of  the 
preceding  year  have  been  carefully  kept  and 
can  be  presented  to  the  committee  in  tabulated 
form,  so  as  to  be  easily  available  for  reference. 


TRAINING  OF  BOYS'  VOICES.  73 

In  all  matters  affecting  each  department,  the 
committee  will,  of  course,  avail  themselves  of 
the  advice  of  the  head  of  that  department. 

At  a  stated  period  of  each  year  the  head  of 
each  department  will  hand  in  to  the  committee 
a  balance  sheet  duly  audited.  The  accounts 
will  then  be  summarised  and  a  general  balance 
sheet  drawn  up,  which,  having  been  passed  by 
the  committee,  may  be  published  for  the  in- 
formation of  donors  and  subscribers. 

Appended  is  a  list  of  estimated  expenses  in 
choir-organisation  and  maintenance.  For  the 
sake  of  completeness  we  have  included  every- 
thing which  is  necessary  for  carrying  on  the 
choir-work,  but  there  are  few  parishes  in  which 
it  will  not  be  found  possible  to  forego  a  great 
part  of  the  expenditure.  The  first  set  of 
tables  refers  to  the  first  expenses  in  starting  a 
choir;  the  second  set  includes  the  annual 
expenses  for  maintenance. 

The  estimates  assume  a  choir  of  forty  mem- 
bers (twenty-six  boys,  all  paid,  and  fourteen 
men,  voluntary),  together  with  a  preparatory 
choir  of  sixteen  boys  (all  paid). 


74  A  TEEATISE  ON  THE 

DEPARTMENTS. 

a.  Personal:     includes     boys'     payments, 
prizes,  prospectus  printing,  etc. 

b.  Books,  music  and  choir-room:  includes 
articles     used     at     the     practices,     repairing 
music,  etc. 

c.  Recreation:  includes   cricket  and  other 
clubs,  indoor  games,  etc. 

d.  Vestments  and   vestries:   includes   cas- 
socks, surplices  and  certain  vestry  furniture. 

\lt  should  be  understood  that  the  prices  quoted  in  the 
following  lists  are  pre-war  rates,  and  as  fluctuations  for  a 
considerable  time  are  only  natural,  the  list  has  been  left 
unaltered,  but  at  least  50  per  cent  increase  should  be 
reckoned  on.] 

FIRST  SET  OF  TABLES  (Organization). 

(a).    PERSONAL. 
CHORISTERS'  PAYMENTS. 

£    s.   d. 
2    boys   receiving   £500   yearly     £10    0    0 


?) 


400 
3  10  0 
300 
2  10  0 
200 
1  10  0 


800 

14  0    0 
12    0    0 

15  0    0 
800 

6    0    0    73    0    0 


Preparatory  Choir  :  16  boys  receiving  4/4  per  ann.  394 

Bonuses  and  Prizes 500 

Advertising        ',  1  10    0 

Prospectus  Printing 15    0 

Contingencies 2  10    0 

Total  Expenses  of  Personal  Department     86    4     4 


TRAINING  OF  BOYS'  VOICED.  75 


(bj.    BOOKS,  MUSIC,  AND  CHOIR-ROOM. 

BOOKS  AND  Music,  viz. 

4  doz.  Bibles  at  9d.  each     

£1  16 

0 

4  doz.  Prayer-books  at  8d.  each    ... 

1  12 

0 

4  doz.    Psalters 

2     8 

0 

4  doz.  Chant-books    

3  12 

0 

4  doz.  Response  and  Litany  Books 

12 

0 

4  doz.  Hymn-books 

2    8 

0 

30  Vocal  Exercise  Books  at  4d.  each 

10 

0 

30  Theoretical     Instruction     Books 

at  I/-  each          

1  10 

0 

4  doz.  Rubber  Bands  at  6/6  per  doz. 

1     6 

0 

50  yds.  Book-marker  Ribbon  at  If  d. 

per  vd 

7 

4 

Printing  Prayers  to  be  said  before 

and  after  Service         

4 

6 

Printing  Music-list  forms    

15 

0 

Contingencies 

3    0 

0    20    0  10 

PRACTICE  REQUISITES,  viz. 

Pianoforte 

£40    0 

0 

Music-rack 

8  10 

0 

Metronome 

15 

o 

Blackboard         .         ...) 

10 

6 

Easel      

4 

$ 

Chalk     

6 

2  Blackboard  Cloths  at  2f  each  ... 

5J 

Baton    

1 

0    50    1  ll£ 

CHOIR-ROOM  FURNITURE  AND  FITTINGS, 

viz. 

Writing-table 

£4    4 

0 

2  cork-faced  notice-bds.  at  7/6  each 

15 

0 

Drawing-pins              

6 

Trestle-table    

10 

6 

Cupboard          

10 

6 

Waste  paper  basket             

1 

0 

4   doz.   Chairs  at  £1   5s.  per  doz. 

5    0 

0 

Carried  forward     £11     1    6  £70    2 


76  A.  TEEATISE  ON  THE 


Brought  forward     £11 

1 

6  £70    2    9i 

Hat  and  Coat  Pegs  ..-        

7 

6 

Umbrella  Stand         

15 

0 

2  Scrapers  at  4/-  each       

8 

0 

2  Mats  at  2/-  each    

4 

0 

Fender              ... 

10 

6 

Fire-irons 

8 

6 

Coal-scuttle 

5 

6 

Hearth-brushes 

4 

0 

Hearth-brush  Box 

1 

0 

2  Brooms  at  2/-  each          

4 

0 

Dust-pan 

1 

o 

Dusting-brush             

2 

6 

4  Dusters  at  2^d.  each 

10 

Scrubbing-brushes,  Pail  and  Cloths 

2 

6 

Marking-ink 

6 

Lavatory    Fittings,    viz.,    2   Wash- 

stands  and  Basins  at  12  /  6  each          1 

5 

0 

6  Towels  at  4d.  each 

2 

0 

Pegs  for  Towels        ....        

2 

2  Hair  Brushes  at  1  '6  each 

3 

0 

2  Combs  at  6d.  each            

1 

0 

2  Filters  at  17/6     1 

15 

0 

4  Tumblers  at  2d.  each     

8 

2  Looking-glasses  at  1/6  each 

3 

0     18    6    8 

Total  of  Books  and  Choir-room  Department    88    9 

(c).    RECREATION. 
CRICKET  CLUB. 

Mowing  Machine     ...       £440 

Roller  660 

Machine  Oil  and  Cloths 9 

Crease-marking  Frame      36 


Carried  forward    £10  14    3 


TEA.INING  OF  BOYS'  VOICES.  77 


Brought  forward 

£10  14    3      £   s. 

d. 

Whiting,  Brush  and  small  Bucket 

2    0 

4  Match  Bats  at  12/6  each 

2  10    0 

4  Practice  Bats  at  8/-  each 

1  12    0 

6  Balls  at  4/3  each            

156 

2  Sets  Stumps  at  3/3        

6    6 

2  Sets  Bails  at  6d.  ...        

1    0 

3  pairs  Leg-guards  at  6/6 

19    6 

3  pairs  Batting-gloves  at  5/- 

15    0 

Wicket  Measure      

3    6 

Practice  Net  with  poles,  guy  ropes 

and  pegs 

1  10    0 

Telegraph  Board 

7    6 

Scoring  Book 

1    0 

Cricket-bag 

12    6 

Linseed-oil 

6 

Contingencies              ;. 

15    0    21  15 

0 

FOOTBALL  CLUB. 

4  Goal  Posts  at  2/6  each 

10    0 

4  Footballs  at  7/-    

180 

Inflator 

3    0 

Boundary  Marker               

17    6 

Whiting,  Brush  and  large  Bucket 

3    6 

Contingencies           

7639 

6 

HOCKEY  CLUB. 

4  Goal-posts  at  2/6  each    

10    0 

36  Clubs  at  3/6      

660 

Boundary    Marker               

17    0 

Whiting  and  Bucket 

3    6 

3  Balls  at  4/6  each           

13    6 

Contingencies            ...         

56      8  15 

6 

Carried  forward 

£34    0 

9 

78  A  TREATISE  OAT  THE 

£  s.  d.      £   s.  d. 

Brought  forward  34    0    9 

INDOOR  GAMES. 

4  sets  Dominoes  at  3/-  per  set      ...  12    0 

2  sets  Chess  at  5/- per  set 10    0 

6  sets  Draughts  at  2/-  per  set     ...  12    0 

1  pair  Fencing  Foils  46 

1  pair  Masks  ...         ...         ...  56 

1  pair  Indian   Clubs  76 

1  set  Boxing  Gloves 8    0 

Contingencies 12    6      3  12    0 

Total  Expenses  of  Recreation  Department      37  12    9 

(d).    VESTMENTS  AND  VESTRIES. 
VESTMENTS. 
18  Men's  Surplices  averaging  45  in. 

in  length  at  9/-  each    £820 

18  Men's  Cassocks  averaging  56  in. 

in  length  at  14/6  each  ...     13    1    0 

30  Boys'  Surplices  averaging  30  in. 

in  length  at  6/-  each     900 

30  Boys'  Cassocks  averaging  45  in. 

in  length  at  10/-  each             ...     15    0    0 
Marking-ink      6    45    3    6 

VESTRIES. 

Vestments  Cupboard  for  men        ...  800 

Vestments  Cupboard  for  boys        ...  10    0  0 

Benches  for  boys'  vestry     1  10  0 

Hat  and  Coat  Pegs    ....        7  6 

Umbrella  Stand           10  0 

Contingencies 2    0  0    22    7    6 

Total  Expenses  of  Vestments  Department    67  11    0 


TRAINING  OF  BOYS'  VOICES.  79 


SUMMARY. 

a.  Personal   £86    4    4 
b.  Books  and  Choir-room  ...           88    9    5£ 
^.  Recreation           37  12     9 
d.  Vestments            67  11    0 

Total    £279  17    <H 

SEOOND  SET  OF  TABLES  (Maintenance). 
(a).    PERSONAL. 

CHORISTERS'  PAYMENTS.                                                 £ 
2  boys  receiving  £500  per  annum  £10    0    0 
2,,                        400          „                800 
4     „                        3  10    0          „              14    0    0 
4    „                       300          „              12    0    0 
6     „                        2  10    0          „              15    0    0 
4     „                        200          „                800 
4     „                        1  10    0          „                600 
*   Back  payments  of  6   boys  raised 
from  Preparatory  Choir  to  Senior 
at  4/4  each  boy  160    74 

s.    d. 
6    0 

Preparatory  Choir:  16  boys  receiving  4/4  per 

9    4 

Bonuses  and   Prizes           ...         ...          ..                  5 

0    0 

Contingencies            ...         ...         ...         ...         ...       2 

0    0 

Total  Annual  Expenses  of  Personal  Dept.           £84 

(bj.    BOOKS,  MUSIC,  AND  CHOIR-ROOM. 
BOOKS  AND  Music,  viz. 
Repairing  Materials           15    0 
New  Music    ...           10    0    0 

15    4 

Postage           10    0 

Stationery      ......                                          50 

Pianoforte  Tuning             10    6 
2  Librarian's  assistants  receiving 
5/-  per  quarter  each            ...             2    0    0    14 

0    6 

Carried  forward                              14 

0    6 

*  See  page  45. 


80  A  TEEATISE  ON  THE 

£   s.  d.     £   s.  d. 

Brought  forward  14    0    6 

CHOIR-ROOM. 

Gas      1  15    0 

Water  9    6 

Coal  and  Wood        ...         200 

Soap     1    0 

Bath-brick      ...         6 

Chimney-sweeping    ...         ...         ...  50 

Washing  Hair-brushes,  Towels,  etc.  10    0 

Toilet  Rolls 2    6 

Blacklead        6 

Caretaker        500 

Contingencies  \        ...  1    0    0     11     4    0 

Total   Annual   Expenses   of   Books   and   Choir- 
room  Department        25    4    6 

(c).    RECREATION. 

CRICKET  CLUB. 

Repairs          ...         ...  15    0 

6  Cricket  Balls        1  16    0 

Machine-oil 6 

Linseed-oil      6 

Whitening      ...         6 

Postage           2    6 

Fares              1  10    0 

Contingencies            y  15    0      5    0    0 


FOOTBALL  CLUB. 

Repairs           10    0 

3  Footballs     110 

Whitening       1     6 

Fares                1  10     0 

Contingencies             11     6      3  13    0 


TEAINING  OF  SOYS'  VOICES. 


81 


£   s 

.    d. 

£  s.  d. 

Brought  forward 

8  13    0 

HOCKEY  CLUB. 

Repairs 

5 

o 

4  Balls            ...         .,  

6 

0 

Whitenin^ 

6 

Fares    ... 

15 

0 

Contingencies            

5 

0 

1  11    6 

INDOOR  GAMES. 

Repairs 

10 

6 

Contingencies 

10 

6 

1    1    0 

QUARTERLY  TEA  (42  BOYS). 

Tea,  21  Ibs.  at  1/8    

3 

8* 

Butter,  2  Ibs.  at  1/4          

2 

8 

Cake,  12  Ibs.  at  6d  

6 

0 

Sausage  rolls,  43  at  Id  

3 

7 

Bread,   4  loaves  at  5d  

1 

10 

Jam,  8  Ibs.  at  6d  

4 

0 

Milk,  8  pints  at  2d.            

1 

4 

Loaf  sugar,  5  Ibs.  at  2d  

10 

Oranges,  5  doz.   at  1/8     .'.. 

8 

4 

Hire  of  tables,  crockery,  etc. 

10 

6 

Contingencies            

5 

0 

Total  for  4  teas  per  annum      ...  2  7  9£  x  4  9  11     2 

Total  Annual  Expenses  of  Recreation  Dept.         20  16     8 


(d).    VESTMENTS. 
Repairs,  Buttons,  Marking-ink,  etc. 
Alterations  to  boys'   cassocks 

Washing   Surplices  

Contingencies 


7  6 

1  10  0 

2  10  0 
1  10  0 


Total  Annual  Expenses  of  Vestments  Department    5  17    6 


82  A  TREATISE  ON  THE 


SUMMARY. 

a.  Personal         £84  15  4 

b.  Books   and   Choir-room      ...  25    4  6 

c.  Recreation      20  16  8 

d.  Vestments  5  17  6 


Total  £136    14    0 


V  See  note  regarding  increase  of  prices  on  page  74- 


THAWING  OF  BOYS'  VOICES.  83 


CHAPTER   VII. 

CONCLUSION. 

IT  may  not  be  inopportune  to  mention  here 
that,  although  to  one  who  does  not  possess 
practical  experience  of  choir-work,  this  sketch 
of  choir  administration  may  appear  to  be  too 
elaborate  to  work  well,  there  is  little  suggested 
in  these  pages  which  has  not  been  put  to  the 
test  of  actual  experience  and  which  does  not 
form  part  of  the  routine  of  several  of  the  best 
managed  choirs  in  this  country.  The  ease  with 
which  the  work  of  a  well  appointed  and  well 
managed  choir  can  be  carried  on  is  remarkable. 

We  would,  however,  counsel  the  choirmaster 
and  those  whom,  as  head  of  the  choir  system 
he  may  appoint  to  be  his  assistants,  to  work 
quietly.  These  are  days  of  self-advertisement, 
of  show,  and  of  paragraphs  in  the  newspapers. 


84  A  TEE  AT  I SE  ON  THE 

All  that  must  be  avoided.  Especially  would 
we  advise  him  not  to  attempt  anything  in  the 
way  of  oratorios  or  musical  festivals,  at  the 
expense  of  the  ordinary  service  music — the 
vocal  and  theoretical  training,  the  chanting,  an- 
thems, and  so  on.  We  do  not  for  a  moment 
deprecate  the  rendering  of  oratorios  by  choirs 
competent  to  include  them  in  their  ordinary 
curriculum  of  training.  The  excellence  of  our 
best  London  and  provincial  choirs  is  simply  the 
outcome  of  training,  and  when  a  choir  has 
become  efficient  enough  to  include  in  its  reper- 
tory some  of  the  most  difficult  oratorios  and 
other  music,  the  advisability  of  giving  oratorio 
performances  (if  the  word  be  permissible  in 
such  a  connection),  may  then,  and  not  till  then, 
be  considered. 

We  hear  nowadays  a  great  number  of  very 
badly  rendered  services,  and  the  reason  seems 
to  be  that  choirs  are  so  often  called  upon  to 
render  the  music  before  they  have  learnt  to 
sing.  The  training  must  come  first,  and  the 
rendering  of  the  music  then  becomes  a  com- 
paratively easy  matter  and — what  is  of  no  little 
importance — it  will  be  uniformly  good,  and 
will  not  almost  entiirely  depend  upon  the 


TEAINING  OF  BOYS'  VOICES.  85 

weekly  rehearsal  or  any  such  hand-to-mouth 
method  of  procedure. 

The  training  must  be  regular,  and  the  num- 
ber and  nature  of  the  musical  services  kept 
within  the  capacities  of  the  choir  and  strictly 
limited  to  the  opportunities  for  practice. 
Should  the  question  arise  of  sacrificing  either 
a  practice  or  the  music  at  a  service,  the  one  to 
the  other,  better  results — from  a  strictly  musi- 
cal point  of  view,  will  be  attained  by  allowing 
the  service  to  give  way  to  the  practice,  and, 
after  all,  this  only  amounts  to  foregoing  the 
music  at  one  service  in  order  that  it  may  be 
the  better  rendered  at  another. 

Above  all,  let  the  choirmaster  ever  keep 
before  himself,  his  choir,  and  all  who  are  con- 
nected with  the  work  for  which  he  is  responsi- 
ble, the  one  great  object  in  doing  with  all  their 
might  whatever  their  hands  may  find  for  them 
to  do. 


PRINTED   BY   THE   NEW   TEMPLE   PUESS,    NORBUHT    CRESCENT, 
LONDON,  S.W.1G,  GREAT  BRITAIN. 


V  AH  previous  Catalogues  are  hereby  cancelled.    CATALOGUE    B 


REEVES' 

MUSICAL  LITERATURE 
—  LIST  — 

Announcements  of  Hew  Works, New  Editions  orRe-issues:  page2,etc, 


MUSIC  STORY  SERIES  (pp.  5  and  6). 


ESTHETICS 
BIOGRAPHY 

CRITICISM    .. 
ESSAYS      ...... 

HISTORY 


8    ORCHESTRAL     19 

12   ORGAN 21 

8    P1AXO     24 

8    TECHNICAL    AND 

15  I      THEORETICAL     ....  28 


VIOLIN,    etc 

VOCAL 

tt-AGNER    

MISCELLANEOUS 

TUTORS    (Various 

Instruments)     


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Chopin,  His  Life  and  Letters.  By  MOBITZ  KARA- 
sowsKi.  Translated  by  EMILY  HILL.  "  Third  Edition, 
with  Additional  Letters  in  Polish  with  English  Trans- 
lation, Chopin  to  Grzymala,  and  extra  Illustrations. 
14  Illustrations.  Crown  8vo,  cloth,  12s.  6d.  net. 

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Student's  Guide  to  the  Art  of  Teaching:  the 
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Masters.  By  CYRIL  R,  H.  HORHOCKS,  L.B.A.M., 
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The  Approach  to  Liszt  A  Course  of  Modern  Tonal 
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Intermediate  Studies  in  Sequential,  Wrist  and  Pre- 
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Advanced  Sequential  Studies  on  the  Black  Keys,  with 
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Speech,  Distinct  and  Pleasing-,  or  Why  not 
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Good  Speaking  *is  founded  and  grounded.  For  the 
Talker,  the  Orator  and  the  Singer.  By  FRANK  PHILIP, 
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Great  composers  come  in  pairs — Bach  and  Handel,  Haydn  and  Beet- 
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invented  a  new  phase  of  technique — one  that  in  each  case  hindered  their 
recognition  as  great  composers.  Wagner,  in  spite  of  great  opposition 
won  through  and,  similarly,  Liszt's  big  dramatic  style  is  bound  in  the 
•end  to  triumph.  It  is  necessary,  however,  in  his  case,  to  get  acquainted 
with  his  numerous  unknown  or  little  known  compositions  and  also  to 
acquire  the  method  of  his  technique. 

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HISTORICAL.    DESCRIPTIVE   AND 

ANALYTICAL  ACCOUNT  OF  THE 

ENTIRE    WORKS 

JOHANNES  BRAHMS 

BY 

EDWIN    EVANS 

(SENIOR) 

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ATHALIE    (Mendelssohn). 

BARBER    OF    BAGDAD    (Peter   Cor- 
nelius). 

BEATRICE     AND     BENEDICT     (Ber- 
lioz). 

BENVENUTO  CELLINI   i  Berlioz). 

BOHEMIAN    GIRL    (Dalfe). 

CALM      SEA      AND       PROSPEROUS 
VOYAGE    (Mendelssohn). 

CARNAVAL    ROMAIN    (Berlioz). 

CORSAIR    (Berlioz). 

CROWN    DIAMONDS   (Auber). 

EGMONT   (Beethoven). 

EURYANTHE   (Weber). 

FAUST   (Gounod). 

FAUST    (Wagner). 

FESTIVAL    OVERTURE    (Tsohaikow- 
sky). 

FIGARO    (Mozart). 

FINALE     (Rubinstein's    Sonata,    O> 
12). 

FLYING    DUTCHMAN    (Wagner). 

FRA    DIAVOLO   (Auber). 

FREISCHUTZ     (Weber).        A.    Whit 
ting-ham. 

ISABELLA    (Suppe). 
TALIANA    (Rossini). 

KING    LEAR    (Berlioz). 

KING    STEPHEN    (Beethoven).     P.  J. 
Mansfield. 

LA    CLEMENZA    01    TITO    (Mozart). 
P.    .7.    Mansfield. 

L'AFRICAINE   (Meyerbeer). 

LA    REINE    DE  SABA    (Gounod) 

LARGO    from    Beethoven's   Sonata    in 
E  flat.    W.  A.  C.  Cruikshnnk. 

LE     SONGE     DUNE     NUIT     D'ETE 
(.Thomas). 


LIFE   FOR  THE   CZAR   (Glinka). 

LIGHT    CAVALRY    (Suppe). 

LOHENGRIN  (Wagner). 

LURLINE   (Wallace). 

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MARITANA    (Wallace). 

MASANIELLO   (Auber). 

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MIDSUMMER    NIGHT'S    DREAM 
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MIGNON    (A.   Thomas). 

NAIADES,  THE   (Sterndale  Bennett) 

OBERON  (Weber).      A.  Whittingham 

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shank. 

1812   OVERTURE   (Tsehaikowsky). 

POET   AND    PEASANT    (SuppS). 

PARSIFAL   (Wagner). 

RAYMOND    (Thomas). 

RIENZI    (Wagner). 

ROSAMUNDE    (Schubert). 

RUY    BLAS    (Mendelssohn). 

SCI  PI  0   (Handel). 

SEMI  RAM!  DE   (Rossini). 

SI    J'ETAIS    ROI    (Adam). 

SI  RENE,    LA   (Auber). 

SON      AND      STRANGER      (Mendel* 
sohn).      W.    A.   C.   Cruikshank. 

STRADELLA    (Flotow). 

TANCREDI    (Rossini). 

TANNHAUSER   (Wagner). 

TRISTAN   AND  ISOLDA   (Wagner). 

WAVERLEY    (Berlioz). 

WILLIAM  TELL  (Rossini).  A.  Whit- 
tingham. 

ZAMPA   (ITerold). 


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BOHEMIAN    GIRL    (Balfe). 
*CALIPH    OF    BAGDAD    (Boieklieu). 

OROWN    DIAMONDS   (Auber). 

DER    FREYSCHUTZ    (Weber). 

DON    GIOVANNI    (Mozart). 

DONNA    DEL    LAGO    (Rossini). 

FRA  DIAVOLO   (Auber). 

GUY    MANNERING    (Sir  II.    R. 
Bishop). 

IDOMENEO    (Mozart). 

IL   BARBIERE  (Rossini). 
ML  TANCREDI   (Rossini). 

LIGHT   CAVALRY    (Suppe). 


MAGIC   FLUTE    (Zauberflote), 
(Mozart). 

MARITANA    (Wallace). 

MASANIELLO    (Auber). 
*MERRY    WIVES   OF    WINDSOR 
(Nicolai). 

MIGNON    OVERTURE    (A.    Thomag>. 

NOZZE    DE    FIGARO    (Mozart). 
*POET    AND    PEASANT   (Suppe). 

RAYMOND    (Thomas). 

SEMIRAMIDE    (Rossini). 

WILLIAM    TELL    (Rossini). 
'ZAMPA    (Ilorold). 


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ESTHETICS,    CRITICISMS,  ESSAYS 

FROM  MENDELSSOHN  TO  WAGNER.  Being  the  Memoirs 
of  J.  W.  Davison,  forty  years  Music  Critic  of 
"The  Times,"  compiled  by  his  son,  HENRY  DAVISON, 
from  Memoranda  and  Documents.  With  52  portraits 
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PHONIES, with  a  Few  Words  on  His  Trios  and 
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on  Music,  etc.).  195  pp.,  crown  8vo,  boards,  4s.  Gd.  net. 

SOME  FAMOUS  SYMPHONIES,  How  to  Understand 
Them.  With  their  Story  and  Simple  Analysis.  Refer- 
ences also  to  Gramophone  Records ;  numerous  Portraits. 
By  J.  F.  PORTE.  Dealing  with  Symphonies  of  Beet- 
hoven, Berlioz,  Borodin,  Brahms,  Chausson,  Dvorak, 
Elgar,  Cesar  Franck,  Haydn,  Mendelssohn,  Mozart, 
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For  the  general  reader  and  musician  alike. 

THE  DEATH  AND  RESURRECTION  OF  THE  MUSICAL 
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The  Decay  of  Triennials — The  Rise  of  Competitions — The  Reform  of  Com- 
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THE  FUTURE  OF  MUSIC,  Coming  Changes  Outlined  in 
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Mendelssohn,  Saint-Saens,  etc.  By  FELIX  WEINGART- 
NER.  Translated  by  A.  BLES.  "  Twelve  Portraits. 
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oloth,  7s.  6d.  net. 

CHOPIN'S  GREATER  WORKS  (Preludes,  Ballads,  Noc- 
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Understood.  By  J.  KLECZYNSKI.  Including  Chopin's 
Notes  for  a  "  Method  of  Methods."  Translated  with 
additions  by  N.  JANOTHA  and  ^Edited  by  SUTHKIW  AND 
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MEZZOTINTS  IN  MODERN  MUSIC.  Critical  Essays  on 
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10  ESTHETICS,  CRITICISMS,  ESSAYS. 


MUSIC  AND  MUSICIANS.  Essays  and  Criticisms,  by  ROBERT 
SCHUMANN.  Translated,  Edited  and  Annotated  by  F.  R. 
RITTER.  Portrait  of  Robert  Schumann,  photographed 
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Ditto.  Second  Series  Fourth  Edition,  with  a  Contents- 
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THE  DEEPER  SOURCES  OF  THE  BEAUTY  AND  EXPRES- 
SION OF  MUSIC.  By  JOSEPH  GODDARD.  With  many 
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CHOPIN      THE      COMPOSER      AND      HIS      MUSIC.       An 

Analytical  Critique  of  Famous  Traditions  and  Inter- 
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book." — MORITZ    ROSENTHAL. 

HOW  TO  PLAY  CHOPIN.  The  Works  of  Chopin.  Their 
proper  Interpretation.  By  J.  KLECZYNSKI.  Translated 
by  A  WHITTINGHAM.  Sixth  Edition.  Woodcut  and 
Music  Illustrations.  Crown  8vo,  cloth,  4s.  net. 

"  Contains  the  cream  of  Chopin's  instructions  to  his  own  pupils.  To 
admirers  of  Chopin  and  players  of  his  music  we  should  say  this  book  is 
indispensable." — Bazaar. 

MUSIC  AND  THE  HIGHER  EDUCATION.  Art  a  Neces- 
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BEETHOVEN'S  PIANOFORTE  SONATAS  Explained  for  the 
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BEETHOVEN'S  SYMPHONIES  in  their  Ideal  Significance, 
Explained  by  ERNST  YON  ELTERLEIN.  Translated  by 
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ing to  Beethoven's  Tenth  Symphony.  By  L.  NOHL. 
Second  Edition,  with  Portrait.  Crown  8vo,  cloth,  4s. 
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ESTHETICS,  CRITICISMS,  ESSAYS.  11 

BEETHOVEN'S  SYMPHONIES  Critically  Discussed  by 
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HOUSE.  Second  Edition.  Post  8vo,  cloth,  4s.  net. 

MOZART'S  DON  GIOVANNI.  A  Commentary  (Scene  by 
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IN  THE  SERVICE  OF  ART.  A  Plea  for  Simplicity  in 
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NECESSITY  OF  MUSIC  IN  THE  SCHOOL   CURRICULUM. 

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Schubert — the  most  poetical  musician  that  ever  was. — Liszt. 

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REEVES'  DICTIONARY  OF  MUSICAL  BIOGRAPHY  :  Note- 
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WITH  THE  GREAT  COMPOSERS.     By  GERALD  CUMBERLAND. 

See  ^Esthetics. 

SKETCHES  OF  GREAT  VIOLINISTS  AND  GREAT  PIAN- 
ISTS. Biographical  and  Anecdotal,  with  Account  of 
the  Violin  ana  Early  Violinists.  Viotti,  Spohr,  Paga- 
nini,  De  Beriot,  Ole  Bull,  dementi,  Moscheles,  Schu- 
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cloth,  3s.  net.  Edition  with  Portraits  to  each, 
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CHOPIN.      THE     MAN     AND     HIS     MUSIC.      By     JAMBS 

HUNEKER  (author  of  "Mezzotints  in  Modern  Music"). 
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"  Will   at  once   take   its  place  in   ths    front   rank  of   books   on    Chopin. 

the   masterly   chapter   of    seventy-four   pages   on    the    etudes   will 

«oon  be  found  indispensable  by  all  teachers  and  students  of  the  pianoforte." 
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most  important." — ASHTOX  JONSON  in  "  A  Handbook  to  Chopin's  Works." 

LIFE  OF  CHOPIN.  By  FRANZ  LISZT.  New  and  very  much 
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time  by  JOHN  BROADHOUSE.  Second  Edition,  Corrected. 
Crown~8vo,  cloth,  6s.  6d.  net. 

"  Franz  Liszt  has  written  a  charming  sketch  of  Chopin's  life  and  art." 
— Encyclopedia  Britatinica. 

"  Liszt's  criticisms  upon  his  separate  works  have  all  the  eloquent  mys- 
ticisms to  be  expected  from  him  ;  and  the  biography  is  a  book  musicians 
will  always  prize." — Sunday  Times. 

GEORGE  SAND  describes  it  as  "  un  peu  exubereut  en  style,  mais  rcmpli 
de  bonnes  choses  et  de  tres  belles  pages." 


BIOGRAPHICAL. 


BEETHOVEN.  By  RICHARD  WAGNER.  With  a  Supplement 
from  the  Philosophical  Works  of  Arthur  Schopenhauer. 
Translated  by  EDWARD  DANNREUTHER.  Third  Edition. 
Crown  8vo,  cloth,  6s.  6d.  net. 

"  It  is  a  plain  duty  to  be  familiar  and  even  intimate  with  the  opinion  of 
one  famous  man  about  another.  Gladly  therefore  we  welcome  Mr.  Dann- 
reuther's  translation  of  the  work  before  us.  Mr.  Dannrenther  has  achieved 
his  task  with  the  conscientiousness  of  his  nature  and  with  a  success  due  ta 
much  tact  and  patience." — Musical  Times. 

CHERUBINI,  LIFE  OF.  By  F.  J.  CROWEST.  Crown  Svo,. 
cloth,  2s.  6d.  net. 

CESAR  FRANCK.  Personal  Reminiscences.  By  J.  W.  HIN- 
TON,  M.A.,  Mus.D.  Crown  8vo,  limp  cloth,  2s.  net. 

CHOPIN,  HIS  LIFE  AND  LETTERS.  By  MORITZ  KAR\- 
sow  SKI.  Translated  by  EMILY  HILL.  Third  Edition, 
with  additional  Letters  in  Polish  with  English  transla- 
tion, Chopin  to  Grzymala,  and  extra  Illustrations. 
Fourteen  Illustrations.  Crown  8vo,  cloth,  12s.  6d.  net, 

MAKERS  OF  MUSIC.  Biographical  Sketches  of  the  Great 
Composers.  With  Chronological  Summaries  of  their 
Works  and  Facsimiles  from  Musical  MSS.  of  Bach, 
Handel,  Purcell,  Dr.  Arne,  Gluck,  Haydn,  Mozart, 
Beethoven,  Weber,  Schubert,  Berlioz,  Mendelssohn, 
Chopin,  Schumann,  Wagner,  Verdi,  Gounod,  Tchaikov- 
sky, Brahms  and  Grieg,  with  General  Chronologica) 
Table.  By  R.  FARQUHARSON  SHARP.  Numerous  Por- 
traits. Fourth  Edition,  Revised  and  Enlarged.  Crown. 
8vo,  cloth,  6s.  6d.  net. 

The  author's  endeavour  throughout  this  work  has  been  to  convey  an  im- 
pression of  the  personality  of  each  composer,  as  well  as  to  furnish  bio- 
graphical detail.  At  the  end  of  each  biography  is  a  tabulated  list  of  the- 
composer's  works  and  dates  of  production,  together  with  a  facsimile  fronr 
one  of  his  original  manuscripts.  A  useful  volume,  got  up  in  good  style  and1 
well  adapted  for  a  gift  or  prize.  Has  speedily  run  into  several  editions. 

CHOPIN:  AS  REVEALED  BY  EXTRACTS  FROM  HIS 
DIARY.  By  COUNT  TARNOWSKI.  Translated  from  th& 
Polish  by  N.  JANOTHA.  With  eight  Portraits.  Crown 
8vo,  cloth,  3s.  6d.  net  (or  paper  cover,  2s.  net). 

In  the  above  notes  Chopin  alludes  to  many  of  his  compositions  as  welf 
as  relating  the  conditions  under  which  they  were  written. 

PURCELL.     By  WILLIAM  H.  CUMMINGS,  Mus.Doc.     Crown- 

8vo,  cloth,  2s.  6d.  net. 

CHERUBINI.  Memorials  illustrative  of  his  Life.  By  E. 
BBLLASIS.  Thick  crown  8vo,  cloth,  6s.  6d.  net. 

Standard  biography  of  Cherubini. 

LIFE  OF  BEETHOVEN.  By  Louis  NOHL.  Translated  by 
JOHN  J.  LALOR.  Third  Edition.  With  Portraits  and 
Facsimile.  Crown  8vo,  cloth,  4s.  6d.  net. 


14  BIOGRAPHICAL 


BIOGRAPHICAL  DICTIONARY  OF  FIDDLERS.  Including 
Performers  on  the  Violoncello  and  Double  Bass,  Past 
and  Present.  Containing  a  Sketch  of  their  Artistic 
Career,  together  with  Notes  of  their  Compositions.  By 
A.  MASON  CLARKE.  Nine  Portraits.  Post  8vo,  cloth,  6s. 
net. 

"  We  may  here  take  the  opportunity  of  recommending  a  useful  book  to 
all  lovers  of  violins  and  violinists.  Fiddlers,  Ancient  and  Modern,  is  prac- 
tically a  little  Biographical  Dictionary,  well  arranged  -with  some  excellent 
portraits."— Northern  Whig. 

TEMPLETON  AND  MALIBRAN.  Reminiscences  of  these 
Renowned  Singers,  with  Original  Letters  and  Anec- 
dotes. Three  Authentic  Portraits  by  MAYALL.  8vo, 
cloth,  3s.  net. 

SKETCHES  OF  ENGLISH  GLEE  COMPOSERS.  Historical, 
Biographical  and  Critical.  From  about  1735-186G.  By 
D.  BAPTIE.  Post  8vo,  cloth,  5s.  6d.  net. 

LIFE  OF  WEBER.  With  List  of  his  Compositions.  By 
SIR  J.  BENEDICT.  Cr.  8vo,  cloth,  2s.  6d.  net. 

ENGLISH    GLEE   AND   MADRIGAL   WRITERS.     By  W.    A. 

BARRETT.    8vo,  cloth,  3s.  6d.  net. 

SOME    MUSICAL    RECOLLECTIONS    OF    FIFTY    YEARS. 

By  RICHARD  HOFFMAN.  With  Memoir  by  MRS.  HOFF- 
MAN. Illustrated  with  many  Plate  Portraits.  Crown 
8vc,  cloth,  6s.  6d.  net. 

MUSICAL  MEMORIES.  By  WILLIAM  SPARK,  Mus.Doc.  (late 
Organist  of  the  Town  Hall,  Leeds).  Revised  Popular 
Edition.  With  sixteen  Portraits.  Thick  crown  8vo, 
cloth,  4s.  6d.  net. 

BALFE:  HIS  LIFE  AND  WORK.  By  WM.  ALEXANDER 
BARRETT.  Over  300  pages.  Crown  8vo,  cloth,  3s.  6d. 

net. 

FRANZ  LISZT.  By  T.  CART.AW  MARTIN.  A  Sketch  of  his 
Life  and  Personality.  Post  8vo,  Is.  net. 


HISTORY  OF   MUSIC,  AND   OF  MUSICAL 
INSTRUMENTS. 

HISTORY  OF  THE  TRUMPET  of  Bach  and  Handel.  A 
New  Point  of  View  and  New  Instruments.  Forming  a 
History  of  the  Trumpet  and  its  Music,  from  its  earliest 
use  as  an  artistic  instrument  to  the  middle  of  the  18th 
century.  Special  reference  given  to  its  employment  by 
Bach  and  Handel,  and  the  correct  modern  performance 
of  old  parts  ;  including  a  description  of  the  new  instru- 
ment invented  by  the  author  for  this  purpose.  By 
WERNER  MENKE.  Englished  by  GERALD  ABRAHAM.  With 
5  plates  and  music  supplement.  English  and  German 
text.  223  pages,  crown  8vo,  cloth,  10s.  net  (or  paper, 
7s.  6d.  net). 

STUDIES  IN  THE  Music  OF  THE  MIDDLE  AGES. 
BOWED   HARP  (THE).     A  Study  showing  Fresh  Light  on 
the   History  of  Early   Musical   Instruments.     By   OTTO 
ANDERSSON,  Ph.D.,  President  of  the  Swedish  University 
at  Abo.     From  the  Original  Swedish  Edition,  revised  by 
the   Author.     The   Translation   Edited   with   additional 
footnotes   by   Kathleen    Schlesinger.     116   Illustrations, 
Bibliography  and  Index.     340  pp.,  8vo,  cloth,  21s.  net. 
"  A    valuable    contribution    to    the    literature    about    early    musical    in- 
struments."— The  Strad. 

MUSIC  IN  MEDIAEVAL  SCOTLAND.  By  DR.  HENRY  G. 
FARMER.  Introduction  by  Sir  Richard  R.  Terry, 
Mus.Doc.  8vo,  sewed,  3s.  6d.  net. 

MUSIC  OF  THE  MOST  ANCIENT  NATIONS,  Particularly 
of  the  Assyrians,  Egyptians  and  Hebrews  ;  with  special 
reference  to  Discoveries  in  Western  Asia  and  in  Egypt. 
By  CARL  ENGEL.  This  issue  has  large  size  reproduc- 
tions of  Harp  unearthed  at  Ur  (1928),  and  of  Silver 
Military  Trumpet  from  the  Tomb  of  Tut-Ankh-Amen 
in  the  Valley  of  the  Kings  (unearthed  1926).  The 
volume  has  about  100  Illustrations.  Thick  8vo,  cloth, 
18s.  net. 

STORY  OF  INDIAN  MUSIC  AND  ITS  INSTRUMENTS.      A 

Study  of  the  Present  and  a  Record  of  the  Past.  To- 
gether with  Sir  William  Jones'  celebrated  Treatise  in 
full.  WTith  19  Plates,  chiefly  of  Instruments,  7  Music 
Illustrations  and  a  Map.  By  ETHEL  ROSENTHAL, 
A.R.C.M.,  F.R.G.S.  Crown  8vo',  cloth,  7s.  6d.  net. 

OPERA    STORIES    OF   TO-DAY  AND   YESTERDAY,    Retold 

Act  by  Act  (including  Wagner's  5  "  The  Ring  "  Operas). 
By    EDMONDSTOUNE   DUNCAN.     Complete,    cloth,   4s.   6d. 
net,  or  in  2  vols.,  paper,  Is.  6d.  net  eack. 
A  racj  account  of  the  plots  and  histories  of  fifty  Famous  Operas,   from 
Purcell    Gluck    and    Mozart,   to   Richard    Strauss    and   Ethel    Smyth- 


16  H1STOET. 


ELIZABETHAN  VIRGINAL  MUSIC  and  Its  Composers. 
New  Issue,  embodying  recent  additional  Discoveries 
(1934)  in  the  Index  of  Virginal  Composers  and  their 
Works.  By  MARGARET  H.  GLYN.  With  seven  facsimile 
pages  from  MSS.  by  William  Byrd,  John  Bull,  Orlando 
Gibbons  and  Giles  Farnaby.  158  pages,  crown  8vo, 
cloth,  10s.  net. 

IRISH    MUSICAL    HISTORY,    Introductory    Sketch   of,    by 

W.  H.  GRATTAN  FLOOD.  A  compact  Record  of  the  Pro- 
gress of  Music  in  Ireland  during  1,000  Years.  Portraits. 
Crown  8vo,  cloth,  3s.  6d.  net,  paper,  2s.  net. 

THE  GIPSY  IN  MUSIC.  By  FRANZ  LISZT.  Englished  for  the 
first  time  by  EDWIN  EVANS,  Senior,  and  preceded  by  an 
Essay  on  Liszt  and  his  Work. 

Gipsy  and  Jew,  Two  Wandering  Races. 

Gipsy  Life  in  Relation  to  Art. 

Gipsy  Music  and  Musicians. 

The  result  of  the  Author's  long  Experience  and  Investi- 
gations of  the  Gipsies  and  their  Music.  With  Portraits 
of  the  Author,  etc.  In  two  handsome  volumes,  octavo, 
cloth,  16s.  6d.  net. 

HANDEL'S  "MESSIAH."  The  Oratorio  and  its  History. 
A  Handbook  of  Hints  and  Aids  to  its  Public  Perform- 
ance, with  useful  Notes  on  each  Movement,  as  well  as 
Numerous  References  and  much  Original  Information. 
By  J.  ALLANSON  BENSON.  Cloth,  3s.  6d.  net,  paper, 
2s.  net. 

ARABIC  MUSICAL  MANUSCRIPTS  IN  THE  BODLEIAN 
LIBRARY.  Plate  of  two  Musical  Instruments  from  early 
Arabic  Manuscripts.  By  H.  G.  FARMER,  M.A.,  Ph.D. 
(Author  of  "  The  Rise  and  Development  of  Military 
Music,"  and  Editor  of  the  English  Translation  of  Salva- 
dor-Daniel's "  Music  and  Musical  Instruments  of  the 
Arab."  8vot  sewed,  3s.  net. 

HISTORY  OF  RUSSIAN  MUSIC.     By  M.  MONTAGU-NATHAN. 

Being  an  Account  of  the  Rise  and  Progress  of  the  Rus- 
sian School  of  Composers.  With  a  Survey  of  their  Lives 
and  a  Description  of  their  Works.  Frontispiece.  Sec- 
ond Edition,  Revised.  Thick  crown  8vo,  cloth,  8s.  6d.  net. 

"  Mr.  Mont.igu-Nathan's  book  breaks  new  ground;  it  introduces  the  Eng- 
lish reader  to  a  number  of  composers  many  of  whom  until  recently  were 
nothing  more  than  names.  Mr.  Montagu-Nathan  presents  a  vast  amount  of 

new  material  to  the  music-loving  public  of  this  country his  book 

should  find  many  eager  readers." — Manchester  Courier. 

"  .  .  .  .  We  want  a  book  packed  full  of  hard  stuff.  This  we  get  at  its 
best  in  ....  Mr.  Montagu-Nnthan's  '  History.'  "—Saturday  Review. 

POLISH  MUSIC  AND  ITS  COMPOSERS.  A  Historical  Ac- 
count from  995  to  the  Present  Time,  including  Chopin 
and  his  Works.  By  E.  RAYSON.  Four  Portraits. 
Square  8vo,  cloth,  3s.  net,  paper,  2s.  net. 


HISTORY.  17 

MUSIC    AND    MUSICAL    INSTRUMENTS    OF    THE    ARAB, 

with  Introduction  on  How  to  Appreciate  Arab  Music 
by  FRANCESCO  SALVADOR-DANIEL  (Director,  Paris  Con- 
servatoire of  Music,  1871).  Edited  with  Notes,  Mem- 
oir, Bibliography  and  thirty  Examples  and  Illustrations, 
by  DR.  H.  G.  FARMER.  Cr.  8vo,  cloth,  6s.  net. 

THE  STUDENT'S  HISTORY  OF  MUSIC.  History  of  Music, 
from  the  Christian  Era  to  the  Present  Time.  By  DR. 
F.  L.  RITTBE.  Third  Edition.  478  pages  of  Letterpress 
and  72  Plates  of  Musical  Illustrations.  Thick  crown  8vo, 
cloth,  5s.  6d.  net. 

OLD  ENGLISH  PSALMODY.  By  W.  T.  BROOKE.  First 
Series  :  From  the  Accession  of  Edward  VI  to  the  Re- 
storation of  Charles  II,  1547-1660.  Second  Series: 
Psalmists  from  1660-1800.  Crown  8vo,  paper  covers, 
Is.  6d.  net  each  series. 

RISE  AND  DEVELOPMENT  OF  OPERA.  Embracing 
a  Comparative  View  of  the  Art  in  Italy,  Germany, 
France  and  England.  By  JOSEPH  GODDARD.  Showing 
the  Cause  of  the  Falling  Back  of  the  English  School  in 
the  Modern  Period,  and  the  Compensation  which  that 
Involved.  Numerous  Musical  Examples,  Portraits  and 
Facsimiles.  Crown  8vo,  cloth,  5s.  6d.  net. 

RISE      AND      DEVELOPMENT      OF     MILITARY      MUSIC. 

By  DR.  H.  G.  FARMER.  With  Illustrations  of  Early  In- 
struments and  Musical  Examples,  and  Short  Biographi- 
cal Notices  of  all  the  Staff  Bandmasters.  Preface  by 
LIEUT.  A.  WILLIAMS,  M.V.O.,  Mus.Doc.,  Bandmaster  of 
Grenadier  Guards.  Cr.  8vo,  cloth,  5s.  6d.  net. 

NATIONAL  MUSIC  OF  THE  WORLD.  By  H.  F.  CHORLEY. 
Edited  by  H.  G.  HEWLETT.  Many  Music  Examples. 
New  Issue,  with  Index  added.  Crown  8vo,  cloth,  6s.  6d. 
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Treats  of  the  national  tunes,  folk-songs  and  airs  of  various  races  of 
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the  critic's  acumen,  attesting1  the  wide  range  of  Chorley's  learning. 

CHRONOMETRICAL     CHART     OF     MUSICAL     HISTORY. 

Presenting  a  Bird's  Eye  View  from  the  Pre-Christian 
Era  to  the  XXth  Century.  By  C.  A.  HARRIS,  A.B.C.O., 
etc.  On  linen,  folded  in  case,  3s.  6d.  net  (on  special 
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aeems  to  be  very  accurate  and  thorough." — DR.  RALPH  DCNSTAN. 

CATECHISM    OF   MUSICAL  HISTORY   AND   BIOGRAPHY. 

By  F.  J.  CROWEST.  Revised  and  Enlarged  Edition. 
Tenth  Thousand.  187  pages.  Post  8vo,  cloth,  2s.  6d. 
net  (paper,  Is.  6d.  net). 

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it  contains  un  immense  amount  of  information — historical,  biographical 
and  critical — in  a  very  small  cempass." 


18  HISTOEY. 


HISTORICAL  FACTS  FOR  THE  ARABIAN  MUSICAL  IN- 
FLUENCE. By  HENRY  GEORGE  FARMER,  M.A..  Ph.D., 

author  of  "Arabic  Musical  MSS.  in  the  Bodleian  Lib- 
rary," "Organ  of  the  Ancients  from  Eastern  Sources 
(Hebrew,  Syriac  and  Arabic),"  etc.  Thick  crown  8vo, 
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Dr.  Farmer's  researches  into  the  Music  OF  THE  ABABS  OF  THE  MIDDLE 
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recognition.  He  now  throws  a  flood  of  fresh  light  on  many  obscure 
corners  in  the  History  of  Mediaeval  Music. 

The  present  work  undoubtedly  breaks  fresh  ground  in  history,  and  is 
from  the  hands  of  a  scholar. 

THE  PAST  AND  THE  FUTURE.  An  Inaugural  Lecture  at 
Gresham  College.  By  SIR  F.  BRIDGE,  Mus.Voc.  Crown 
8vo,  sewed,  9d.  net. 

THE  TROUBADOUR  AS  MUSICIAN,  Past  and  Present. 
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THE  WORLD'S  EARLIEST  MUSIC.  Traced  to  its  Begin- 
nings in  Ancient  Lands.  By  collected  Evidences  of 
Relics,  Records,  History  and  Musical  Instruments,  from 
Greece,  Etruria,  Egypt,  China,  through  Assyria  and 
Babylonia  to  the  Primitive  Home,  the  Land  of  Akkad 
and  Sumer.  By  HERMANN  SMITH.  With  sixty-five  full 
page  Illustrations  and  Cuts,  nearly  400  pages.  Crown 
8vo,  cloth,  10s.  net. 

THE      GROWTH      AND      DEVELOPMENT      OF      MUSIC. 

Chapters  on  the  Study  of  Musical  History.  By  EDWARD 
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GENERAL  HISTORY  OF  MUSIC  from  the  Infancy  of  the 
Greek  Drama  to  the  Present.  By  W.  S.  ROCKSTRO. 
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HISTORY  OF  THE  HARP.  From  the  Earliest  Period.  By 
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ORATORIO,  The  Story  of.  By  A.  W.  PATTERSON,  B.A., 
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TREATISE  ON  BYZANTINE  MUSIC.     By  S.  G.  HATHERLEY, 

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(Ecumenical  Throne  of  Constantinople.  208  music  ex- 
amples. 162  pages,  4to,  cloth,  10s.  net. 


ORCHESTRAL, 

THE  CHAMBER  AND  ORCHESTRAL  WORKS  OF 
JOHANNES  BRAHMS.  FIRST  SERIES  TO1  OP.  67.  His- 
torical, Descriptive  and  Analytical  Account  of  each 
Work  treated  in  the  order  of  the  Opus  number,  and 
preceded  by  a  Didactic  Section.  With  Exhaustive 
Structural,  Thematic  and  Rhythmical  Analyses,  and  a 
complete  Rhythmical  Chart  of  each  Movement.  By 
EDWIN  EVANS,  Senior  With  435  music  examples  and 
tables.  Svo,  cloth,  16s.  fvd.  net. 

THE  CHAMBER  AND  ORCHESTRAL  WORKS  OF 
JOHANNES  BRAHMS.  SECOND  SERIES,  OP.  68  TO 
THE  END.  By  EDWIN  EVANS,  Senior.  Uniform  with 
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cloth,  20s.  net. 
The  above  two  volumes  are  a  complete  technical  account  of  the  chamber 

and    orchestral    music,    with   the    exception   of    the    two    piano    concertos. 

They  form  a  part  of  the  Historical,   Descriptive  and  Analytical    iccount 

of  the  Entire  Works  of  Brahms  advertised  on  page  4. 

ORCHESTRAL  AND  BAND  INSTRUMENTS.  A  Short 
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in  Brass  and  Military  Bands.  By  G.  F.  BROADHEAD, 
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Music  Examples.  Svo,  cloth,  3s.  net  ;  paper,  2s.  net. 

CONCISE    METHOD    OF    INSTRUMENTATION.       How    to 

Write  for  the  Orchestra  and  Arrange  an  Orchestral 
or  Band  Score.  Illustrated  with  Musical  Examples  and 
various  large  folding  charts  and  Index.  By  EDWIN 
EVANS,  SENR.,  author  of  "  Beethoven's  Nine  Symp- 
phonies  Fully  Described  and  Analysed,"  etc.  Svo,  cloth. 
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to  Write  for  Wood.  Brass  and  Drums,  and  Arrange  a 
Band  Score.  With  large  folding  charts. 

INSTRUMENTS  AND  ART  OF  THE  ORCHESTRA.  An  In- 
troductory Study.  With  Table  showing  Range  of  each 
Instrument.  By  P.  W.  DE  COURCY-SMALE,  Mus.Bac. 
Cloth,  3s.  6d.  net;  paper,  2s.  net. 

PRACTICAL  GUIDE  FOR  THE  CONDUCTOR  and  Useful 
Notes  for  the  Orchestra.  By  F.  W.  DE  MASSI-HARDMAN. 

With  Music  Examples  and  Diagrams.     2s.  net. 

ORCHESTRAL  WIND  INSTRUMENTS,  Ancient  and  Modern. 
Being  an  Account  of  the  Origin  and  Evolution  of  Wind 
Instruments  from  the  Earliest  to  the  most  Recent 
Times.  Illustrated  with  Plntes  specially  prepared  for 
this  Work,  giving  sixty-one  Examples  of  instruments  (or 
parts)  described.  By  ULRIC  DAUBENY.  Important  ori- 
ginal work,  fully  illustrated  with  beautiful  Reproduc- 
tions taken  from  Fine  Photographs  of  the  Actual  In- 
struments. Svo,  cloth,  12s.  6d.  net. 


20  ORCHESTRAL. 


ART  OF  THE  CONDUCTOR.  A  Suggestive  Guide  to  the 
Theory  and  Practice  With  41  Diagrams  and  Exam- 
ples. By  HECTOR  BERLIOZ.  Translated  by  J.  BROAD- 
HOUSE.  Cloth,  3s.  net ;  paper,  Is.  6d.  net. 

A  MUSICAL  ZOO.  Twenty-four  Illustrations  displaying  the 
Ornamental  Application  of  Animal  Forms  to  Musical 
Instruments  (Violins,  Viol  da  Gambas.  Guitars,  Poch- 
ette. Serpent,  etc.).  Drawn  from  the  Carved  Examples 
by  HENRY  SATNT-GEORGE.  Cloth,  5s.  net  (paper,  3s.  net). 

THE  FUTURE  OF  MUSIC.  Coming  Changes  Outlined  in 
Regard  to  Composer,  Conductor  and  Orchestra.  By 
Louis  LALOY.  Translated  by  MRS.  FRANZ  LIEBICH.  8vo, 
cloth,  2s.  6d.  net;  paper,  Is.  6d.  net. 

HOW  TO  PLAY  FROM  SCORE.  Treatise  on  Accompani- 
ment from  Score  on  the  Organ  or  Piano.  By  F. 
FETIS.  Translated  by  A.  WHITTINGHAM.  With  forty 
pages  of  Examples.  Crown  Svo,  cloth,  4s.  6d.  net. 

This  popular  and  useful  book  might  have  been  entitled  "  The  Art  of 
Making  Arrangements  for  the  Organ  or  Piano  from  Full  Orchestral  and 
Other  Scores."  It  contains  all  that  is  necessary  to  know  upon  this 
subject. 

ON  CONDUCTING.  By  RICHARD  WAGNER.  Translated  by 
E.  DANNREUTHER.  Third  Edition.  Crown  Svo,  cloth, 
5s.  6d.  net. 

WEINGARTNER,  speaking  of  this  celebrated  work,  says  : — "  Wagner's  book 
laid  the  foundation  for  a  new  understanding  of  the  function  of  the  con- 
ductor, in  whom  we  now  recognise,  not  only  the  eternal  factor  that  holds 
together  an  orchestral,  choral  or  operatic  performance,  but  above  all  the 
spiritualising  internal  factor  that  gives  the  performance  its  very  soul." 

Grove's  Dictionary  says  :  "  One  of  the  finest  of  his  minor  publications, 
and  to  a  professional  musician  perhaps  the  most  instructive.  A  Treatise 
on  Style,  giving  his  views  as  to  the  true  way  of  rendering  classical  music, 
with  minute  directions  how  to  do  it  and  how  not  to  do  it,  together  with 
many  examples  in  musical  type  from  the  instrumental  works  of  Beethoven, 
Weber,  Mozart,  etc." 

NOTES  ON  CONDUCTING  AND  CONDUCTORS.     By  T.  R. 

CROGER,  F.1LG.S.,  F.Z.S.,  also  the  Organising  and  Con- 
ducting of  Amateur  Orchestras,  with  three  full  page 
Illustrations  of  the  various  "  Beats  "  and  Plan  of  the 
Orchestra.  Fifth  Impression,  Revised  and  Enlarged. 
Crown  Svo,  cloth,  3s.  net  (paper,  Is.  6d.  net). 

"  A    mine   of  good  things." — Musical   Opinion. 

"  One  of  the  best  guides  to  conducting."— Music   Trades   Review, 


ORGAN. 

TECHNICS  OF  THE  ORGAN.  An  Illuminative  Treatise  on 
many  Points  and  Difficulties  connected  therewith. 
Special  Treatment  of  Rhythm,  Minimisation  of  the  Use 
of  Accessories,  Extemporisation,  Expressive  Regulation 
of  Organ  Tone  and  Accompaniment.  By  EDWIN  EVANS, 
Senior,  F.lt.C.O.  With  over  100  Music  Examples.  4to, 
cloth,  7s.  6d.  net. 

A  valuable  Book  to  help  a  Moderate  Player  to  become  a  Master. 

NEW  ORGAN  PRINCIPLES  AND  THEIR  INTERPRETA- 
TION. A  Guide  to  and  Suggestions  on  Phrasing  and 
Registration  with  a  view  to  improved  Organ  Playing. 
By  TERENCE  WHITE.  With  54  music  examples.  Octavo, 
cloth,  4s.  net  (paper  covers,  2s.  6d.  net\ 

ORGAN  OF  THE  ANCIENTS  FROM  EASTERN  SOURCES 
(Hebrew,  Syriac  and  Arabic).  By  HENRY  GEORGE 
FARMER,  M.A.,  Ph.D.,  Carnegie  Research  Fellow. 
Foreword  by  CANON  F.  W.  GALPIN.  With  numerous 
Illustrations.  Square  8vo,  cloth,  15s.  6d.  net. 
"  An  authoritative  treatment  of  the  subject." — Grove's  Dictionary. 

TECHNICS  OF  ORGAN  TEACHING.  A  Handbook  which 
treats  of  Special  Points  in  Organ  Teaching  Examina- 
tions, together  with  Test  Questions.  By  R.  A.  JEVONS. 
8vo,  cloth,  4s.  net ;  paper,  2s.  6d.  net . 

ART  OF  ORGAN  ACCOMPANIMENT  IN  THE  CHURCH 
SERVICES.  What  to  Do  and  what  to  Avoid:  being 
a  Guide  to  the  Organist  in  the  effective  rendering  of 
the  Music.  By  WALTER  L.  TWINNING,  F.R.C.O.,  author 
of  "Examination  Test  Questions,"  etc.  Cloth,  3s.  6d. 
net  •  paper  covers,  2s.  4d.  net . 

MODERN  ORGAN  BUILDING.  Being  a  Practical  Explan- 
ation  and  Description  of  the  Whole  Art  of  Organ  Con- 
struction, with  Especial  Regard  to  Pneumatic  Action. 
Together  with  Chapters  on  Tuning,  Voicing,  etc.  By 
WALTER  and  THOMAS  LEWIS  (Organ  Builders}.  With 
seventy-six  Illustrations  drawn  to  Scale  and  Reproduced 
from  Actual  Working  Drawings,  together  with  Dia- 
grams, Tables,  etc.  Second  Edition,  enlarged  both  as 
to  Text  and  Illustrations.  4to,  extra  gilt,  cloth,  17s.  6d. 
net,  or  cloth,  15s.  6d.  net. 

THE  ORGAN  AS  VIEWED  FROM  WITHIN.  A  Practical 
Handbook  on  the  Mechanism  of  the  Organ.  By  JOHN 
BHOADHOUSE.  With  over  fifty  Illustrations.  Second 
Impression.  Cr.  8vo,  cloth,  4s.  6d.  net  •  paper,  3s.  net. 

THE  PEDAL  ORGAN.  Its  History,  Design  and  Control. 
By  THOMAS  CASSON.  With  folding  Diagram.  Second 
Impression.  8vo,  cloth,  3s.  net ;  paper,  Is.  6d.  net. 

ADVICE  TO  YOUNG  ORGANISTS.  By  J.  T.  FIELD. 
3d.  net. 


OEGAti. 


THE  EARLY  ENGLISH  ORGAN  BUILDERS  and  their 
Works,  from  the  Fifteenth  Century  to  the  Period  of  the 
Great  Rebellion.  An  Unwritten  Chapter  on  the  His- 
tory of  the  Organ.  By  DR.  E.  F.  RIMBAUI.T.  Well 
printed,  with  Woodcuts.  Post  8vo,  cloth,  4s.  6d.  net ; 
paper,  3s.  6d.  net. 

THE  ORGAN  :  A  Comprehensive  Treatise  on  its  Structure, 
Capabilities,  History  and  Bibliography.  With  Criti- 
cisms and  Depositories,  preceded  by  an  Analytical  Con- 
sideration of  general  Bibliographical  and  Catalogual 
Construction.  By  J.  W.  WARMAN,  late  Organist  of  the 
Anglican  Cathedral,  Quebec.  Four  parts  [A  to  Nou. 
(the  rest  unprinted)].  10s.  net. 

The  parts  advertised  above  are  all  that  have  been  published,  as  the  un- 
timely death  of  Mr.  Warman  prevented  the  completion  of  the  work.  The 
book  is  a  mine  of  wealth  for  those  interested  in  organ  subjects.  The 
author  devoted  the  best  part  of  his  life  in  compiling  the  work  and  collect- 
ing material  for  his  subject.  The  MS.  concluding  the  above  is  for  sale. 

THE  ORGAN  FIFTY  YEARS  HENCE.  A  Study  of  its 
Development  in  the  Light  of  its  Past  History  and  Pre- 
sent Tendencies.  By  FRANCIS  BURGESS,  F.S.A.,  Scot. 
8vo.  Is  6d.  nel. 

SOME  CONTINENTAL  ORGANS  (Ancient  and  Modern)  and 
their  Makers.  With  Specifications  of  many  of  the  fine 
Examples  in  Germany  and  Switzerland.  By  JAMES  I. 
WEDGE  WOOD.  Post  8vo,  cloth,  3s.  net. 

Contains  specification  and  a  brief  critique  of  some  of  the  famous  old 
Continental  organs.  Describes  also  several  up-to-date  Continental  organs. 
Amongst  others  particulars  are  given  of  those  at  Haarlem,  Cologne, 
Aix-la-Chapelle,  Frankfort,  Heidelberg,  Ulm,  Stuttgart,  Einsiedeln,  Strass- 
burg  and  Antwerp.  This  work  forms  a  valuable  supplement  to  Hopkins's 
and  Rimbault's  great  treatise. 

MODERN  ORGAN  TUNING,  The  How  and  Why,  Clearly 
Explaining  the  Nature  of  the  Organ  Pipe  and  the 
System  of  Equal  Temperament,  together  with  an  His- 
toric Record  of  the  Evolution  of  the  Diatonic  Scale 
from  the  Greek  Tetrachord.  By  HERMANN  SMITH. 
Crown  8vo,  cloth,  5s.  net. 

"  The  greatest  authority  on  acoustical  matters  connected  with  organ 
pipes  who  has  ever  lived,"  says  Mr.  G.  A.  Audslcy  of  Hermann  Smith 
in  his  "  Art  of  Organ  Building." 

ANALYSIS     OF    MENDELSSOHN'S     ORGAN     WORKS.     A 

Study  of  their  Structural  Features.  For  the  Use  of 
Students.  By  JOSEPH  W.  G.  HATHAWAY,  Mus.'B.  Oxon. 
127  Musical  Examples.  Portrait  and  Facsimiles.  Crown 
8vo,  cloth,  5s.  6d.  net. 

THE  TEMPLE  EDITION  OF  ORGAN  OVERTURES  AND 
ARRANGEMENTS,  all  with  Fed.  Obb.  3s.  net  each. 

See  page  7  for  list  of  about  60  works  in  this  series,  including  works 
by  Wagner,  Tchaikovsky,  Beethoven,  Mozart,  Handel,  Berlioz,  Glinka, 
Schubert,  Gounod,  Herold,  Mendelssohn,  Meyerbeer,  Balfe,  Auber,  Ros- 
sini, \Veber,  Wallace,  Suppe,  Adam,  Thomas,  Nicolai,  Sterndale-Bennett, 
Cornelius  and  Flotow,  chiefly  arranged  by  Edwin  Evans. 


ORGAN.  23 


ORGANIST'S  REPERTOIRE  GUIDE.  An  International 
Repertoire  Guide  (Historical,  Educational  and  Descrip- 
tive) to  Foreign,  British  and  American  Works.  By 
HERBERT  WESTERBY,  B.B.C.  Organ  Recitalist  (author  of 
"Liszt,  Composer,  and  his  Piano  Works'*).  4to,  cloth, 
6s.  6d.  net ;  paper  covers,  4s.  6d.  net . 
Describes  the  best  Organ  Music  of  foreign  countries  as  well  as  of 

Britain  and  America. 
A    large    and   beautifully    presented    quarto    work,    fully    illustrated    by 

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Bach  and  Handel. 

RINK'S  PRACTICAL  ORGAN  SCHOOL:  Edition  Care- 
fully Revised.  The  Pedal  Part  printed  on  a  Separ- 
ate Staff,  and  the  Original  Preface,  Remarks  and  Tech- 
nical Terms  in  English.  Edited  and  arranged  by  JOHN 
HILES.  The  Six  Books  Complete,  bound  in  red  cloth, 
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The  best  edition  ever  published  of  this  Grand  Classical  Work,  well  en- 
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that  the  bar  lines  are  bold,  and  that  they  are  drawn  right  through  the 
score,  instead  of  through  each  staff,  as  was  the  custom  in  days  gone  by. 

THE  ORGAN  PARTS  OF  MENDELSSOHN'S  ORATORIOS 
AND  OTHER  CHORAL  WORKS.  Analytically  Con- 
sidered. By  ORLANDO  A.  MANSFIELD.  Mus.Doc.,  F.R.C.O. 
Numerous  Musical  Examples.  Crown  8vo,  cloth,  5s.  6d. 
net. 

HENRY    SMART'S   ORGAN    COMPOSITIONS    ANALYSED. 

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THE    INFLUENCE    OF    THE    ORGAN    IN    HISTORY.     By 

DUDLEY  BUCK      Fresh  issue  with  Illustrations.     Crown 
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REFORM  IN  ORGAN  BUILDING.  By  THOMAS  CASSON. 
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TUTOR  FOR  THE  AMERICAN  ORGAN  AND  HARMONIUM. 

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THE  ORGAN.  Its  History  told  in  Nine  Chapters.  By 
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ORGAN  MUSIC.  Its  History  told  in  Fifteen  Chapters.  By 
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THE  BYRD  ORGAN  BOOK,  for  Piano  or  Organ.  A  Collec- 
tion of  21  Pieces  (Pavans,  Galliards,  etc.),  by  William 
Byrd,  1543-1623,  edited  from  the  Virginal  MSS.,  and 
now  first  published  in  Modern  Notation.  By  M.  H. 
GLYN,  in  two  books,  3s.  net  each. 

"  A  charming  collection."— West  Sussex   Gazette. 


PIANOFOKTE. 

THE  PIANOFORTE  AND  ORGAN  WORKS  OF  JOHANNES 
BRAHMS.  Comprising  the  Complete  Solo  Works; 
Works  for  Piano  and  Orchestra, ;  also  Works  for  Piano 
Duet,  and  Organ  \Vorks  as  applicable  to  Pianoforte 
Solo.  By  EDWIN  EVANS,  Senior.  Historical,  Descrip- 
tive and  Analytical  Account  of  each  Work  treated  in 
the  Order  of  the  Opus  number,  and  preceded  by  a 
Didactic  Section.  Over  100  music  examples  and  tables. 
8vo,  cloth,  18s.  net. 

The  above  volume  is  a  complete  technical  account  of  the  piano  works. 
It  forms  a  part  of  the  Historical,  Descriptive  and  Analytical  Account  of 
the  Entire  Works  of  Brahms  advertised  on  page  4. 

NATURAL  TECHNICS  IN  PIANO  MASTERY  :  ^Esthetic 
Evolution  from  Student  to  Artist.  All  Vital  Points 
Discussed  and  Made  Clear.  Many  Diagrams  of  Hand 
and  Finger  Technique  and  some  Music  Examples.  By 
JACOB  EISENBERG.  Crown  8vo,  cloth,  7s.  6d.  net. 

REEVES'  POPULAR  PIANOFORTE  TUTOR.  Rudiments 
of  Music,  Exercises  with  Popular  Airs,  Major  and 
Minor  Scales.  With  Illustration  of  Fingerboard.  Folio, 
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21  COMPOSITIONS  BY  THREE  FAMOUS  SIXTEENTH 
AND  SEVENTEENTH  CENTURY  MASTERS,  William 
Byrd,  Dr.  John  Bull  and  Orlando  Gibbons,  being  Par- 
thenia,  or  the  First  Musick  ever  printed  for  the  Vir- 
ginals. Arranged  for  the  Piano  and  freed  from  the 
errors  of  Dr.  Rimbault's  edition  by  accurate  compari- 
son with  the  original  text  by  MARGARET  H.  GLYN 
(author  of  "  Elizabethan  Virginal  Music  and  Com- 
posers"). Folio,  12s.  6d.  net ;  boards,  cloth  back, 
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This  edition  of  "  Parthenia  "  has  been  entirely  re-engraved.  The  work 
contains  eight  compositions  by  Byrd,  seven  by  Bull,  and  six  by  Gibbons. 

NOTES  ON  THE  INTERPRETATION  OF  24  FAMOUS  PIANO 
SONATAS  OF  BEETHOVEN.  By  J.  ALFRED  J9HN- 
STONE  (author  of  "  The  Art  of  Teaching  Piano 
Playing,"  "  Piano  Touch,  Phrasing  and  Interpretation," 
etc.).  Portrait,  crown  8vo,  cloth,  6s.  net. 

ESSENTIALS  IN  PIANO-PLAYING,  and  other  Musical 
Studies.  By  J.  ALFRED  JOHNSTONE,  Hon.  L.Mus., 
T.C.L.  Portrait,  243  pages.  Crown  8vo,  cloth,  5s.  6d. 
net. 

HOW  TO  ACCOMPANY  AT  THE  PIANO.    By  EDWIN  EVANS. 

(Plain  Accompaniment,  Figurated  Accompaniment, 
Practical  Harmony  for  Accompanists).  172  Music  Ex- 
amples which  are  made  Clear  by  the  Explanatory  Text. 
Cr.  8vo,  cloth,  5s.  net. 

EXTEMPORISING  AT  THE  PIANO  MADE  EASY.  A  Manual 
for  Beginners  in  Musical  Composition.  Hints  and  Aids 
for  the  "  From  Brain  to  Keyboard  "  Composer.  By 
REV.  E.  H.  MELLING,  F.E.C.O.  8vo,  limp  cloth, 
2s.  8d.  net,  paper,  Is.  6d.  net. 


THE    STUDENT'S    GUIDE    TO  THE    ART  OF    TEACHING 
THE    PIANOFORTE.      By    CYRIL    R.    H.     HORROCKS 
L.E.A.M.,L.T.C.L.,A.B.C.M.    With  an  Extensive  and 
Carefully    Graded    List   of    Studies   and    Course   of   the 
Great   Masters.     Second   Edition,    Revised.     Numerous 
Music  Examples.     Crown  8vo,   cloth,  6s.  net. 
Until  quit*  recently  it  was  thought  impossible  to  give  practical  insxruc- 
lions  on  the  art  of  teaching,   but  the  error  of  this   idea  has   been   proved 
by  the  great  success  of  the  teachers'   clasc  at  the  various   musical   insti- 
tutions.    The  author's  aim  is  to  supply  a  guide-book  expressly   for  begin- 
ners and  those  with  limited  experience  in  the  art. 

INDIVIDUALITY  IN  PIANO  TOUCH.  By  ALGERNON  H. 
LINDO  and  J.  ALFRED  JOHNSTONS.  Cr.  8vo,  Is.  6d.  net. 

MOZART  AND  THE  SONATA  FORM:  A  Companion  Book 
to  any  Volume  of  the  Sonatas  for  Piano,  including  an 
Analysis  of  the  Form  of  each  Movement,  with  Notes 
upon  Treatment  and  Tonality,  by  J.  R.  TOBIN,  Mus.B. 
Cr.  8vo,  cloth,  5s.  net. 

HOW  TO  INTERPRET  MENDELSSOHN'S  "SONGS  WITH- 
OUT WORDS"  (the  celebrated  "  Lieder  ohne  Worte  "). 
A  Readable  and  Useful  Guide  for  All.  Gives  the  Piano 
Student  helpful  Insight  into  the  first  Principles  of 
Form  in  Music.  By  CHARLES  W.  WILKINSON.  With 
portrait  and  facsimile  of  MS.  Crown  8vo,  cloth,  4s. 
net  (paper,  2s.  6d.  net). 

These  notes  on  each  of  the  "  Lieder  "  will  help  the  student  in  playing 
these  homely  and  easily  intelligible  compositions. 

THE    ART    OF    TEACHING    PIANOFORTE    PLAYING.     A 

Systematised  Selection  of  Practical  Suggestions  for 
Young  Teachers  and  Students.  By  J.  ALFRED  JOHN- 
STONE  (author  of  "  Piano  Touch,  Phrasing  and  Inter- 
pretation," etc.).  Second  edition.  Thick  crown  8vo, 
cloth,  6s.  net. 

THE  ARTIST  AT  THE  PIANO.  Essays  on  the  Art  of  Musi- 
cal Interpretation.  By  GEORGE  WOODHOUSE.  New  and 
Revised  Edition.  Portrait  of  Paderewski.  8vo,  cloth, 
3s.  6d.  net  (paper,  2s.  net). 

The  celebrated  pianist,  Paderewski,  after  reading  the  manuscript  of  this 
•timulating  volume,  wrote  :  "  The  booklet  is  quite  a  remarkable  work  and 
a  really  valuable  contribution  to  the  philosophy  of  pianistio  art." 

PIANOFORTE  TEACHER'S  GUIDE.  By  L.  PLAIDT.  Trans- 
lated by  FANNY  RAYMOND  RITTER.  Crown  8vo,  boards, 
Is.  6d.  net  (paper,  Is.  net). 

"  Some  of  the  finest  pianists  of  the  day  owe  much  of  their  technical 
facility  to  Plaidy's  excellent  method."— Bazaar. 

CANDIDATE'S    SCALE    AND    ARPEGGIO     TESTS     for    the 

Piano.  In  the  Primary,  Elementary  and  Junior  Grades 
of  all  Local  Examinations  in  Music,  and  the  Higher 
and  Lower  Divisions  of  the  Associated  Board  of  the 
R.A.M.  and  R.C.M.  By  WILSON  MANHIRE.  9d.  net. 


PlANOFOfiTE. 


HOW  TO  STUDY  THE  PIANOFORTE  WORKS  OF  THE 
GREAT  COMPOSERS.  By  HERBERT  WESTERBY, 
Mus.liuc.  Handel,  Bach,  Haydn,  Scarlatti,  Mozart, 
Clementi,  0.  P.  E.  Bach.  With  Portraits  and  Musical 
Examples  throughout.  Crown  8vo,  cloth,  6s.  6d.  net. 

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HANDEL,  9d. ;  D.  SCARLATTI,  9d. ;  J.  S.  BACH,  Is. ;  C.  P.  E. 
BACH  AND  HAYDN,  9d. ;  CLEMENTI,  9d.  ;  MOZART,  Is. 

THE  ART  OF  TUNING  THE  PIANOFORTE.  A  New 
Comprehensive  Treatise  to  enable  the  Musician  to  Tune 
his  Piano  upon  the  System  founded  on  the  Theory 
of  Equal  Temperament.  By  HERMANN  SMITH.  New 
Edition,  thoroughly  Revised.  Cr.  8vo,  limp  cloth,  3s. 
net. 

TECHNICAL  STUDY  IN  THE  ART  OF  PIANOFORTE 
PLAYING  (Deppe's  Principles).  By  C.  A.  EHREN- 
FECHTER.  With  numerous  Illustrations.  Fourth  Edi- 
tion. Crown  8vo,  cloth,  3s.  6d.  net. 

CONTENTS;     Position— Arm— Wrist— Fingers;     Touch     (Tone    Production); 
LegatOj    EquaHty   of  Tone ;   Tension    and    Contraction  ;    Five    Finger    Eser- 

llaisii 


cises  ;  Skips;  The  Scale;  Arpeggio  Chorda;  Firm  Chords;  High  liaising  of 
the  Arm;  Melody  and  its  Accompaniment;  Connection  of  Firm  Chords; 
The  Tremolo;  The  Shake  (Trill);  The  Pedal;  Fingering. 

HOW  TO  PLAY  110  FAVOURITE  PIANO  SOLOS.  Being 
the  4  Series  complete  in  1  vol.  of  "  Weil-Known  Piano 
Solos :  How  to  Play  them  with  Understanding,  Ex- 
pression and  Effect."  By  CHARLES  WT.  WILKINSON. 
Crown  8vo,  cloth,  6s.  6d.  net. 

WELL-KNOWN    PIANO   SOLOS.     How   to   Play   them    with 
Understanding,     Expression     and     Effect.     By     C.     W. 
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Blacksmith.     RUBINSTEIN,      Melody     in     F.     SCHARWENKA,      Polish     Dance. 
SCHUMANN,     Nachtstiicke.    GODARD,      Mazurka.     DELIBES,      Pizzicati      from 
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PADEREWSKI,   Melodic.     RAFF,    La    Fileuse.     TCHAIKOVSKY,    Troika.    GODARD, 
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LACK,   Valse    Arabesque.     SCHUMANN,    Arabeske.     CHOPIN,    Etude   in   G    flat. 
DURAND,    First   Valse. 

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P1ANOFO&T&.  27 


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TECHNICAL  AND  THEORETICAL.  29 


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30  TECHNICAL  AND  THEOltETlCAL. 

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TECHNICAL  AND  THEORETICAL.  31 


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CONTENTS  :  1.  The  Staff  and  its  Clefs.  2.  Notes  and  their  Rests.  3.  Bars 
and  Time.  4.  Accidentals,  o.  Keys  and  Scales.  6.  Intervals.  7.  Musical 
Pitch.  8.  Accent.  9.  Secondary  Signs.  10.  Ornaments  and  Groups  of 
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EXERCISES     ON     GENERAL     ELEMENTARY     MUSIC.     A 

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32  TECHNICAL  A  AT)  THEORETICAL. 


BACH.  A  DIGEST  OF  THE  ANALYSES  OF  J.  S.  BACH'S 
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explained 


TECHNICAL  AND  THEORETICAL.  33 

HOW  TO  WRITE  MUSIC  IN  SHORTHAND.  For  Com- 
posers, Students  of  Harmony,  Counterpoint,  etc.  Eas- 
ily Acquired,  can  be  Written  very  Rapidly  and  is  more 
Legible  than  printed  Music,  with  Specimens  from  Bach, 
Handel,  Chopin,  Wagner,  Mendelssohn,  Spohr,  Mozart, 
etc.  By  FRANCIS  TAYLOR.  14  pages.  Post  8vo,  sewed, 
9d.  net. 

COUNTERPOINT  :  A  Simple  and  Intelligible  Treatise.  Con- 
taining the  most  Important  Rules  of  all  Text  Books,  in 
Catechetical  Form  (terming  an  Answer  to  the  Question 
"What  is  Counterpoint?").  Intended  for  Beginners. 
By  A.  LIVINGSTONE  HIRST.  Crown  8vo,  sewed,  Is.  net. 

THE  SONATA  :  Its  Form  and  Meaning,  as  Exemplified  in 
the  Piano  Sonatas  by  Mozart.  A  Descriptive  Analysis, 
with  Musical  Examples.  By  F.  H.  MARKS.  Sq.  8vo 
well  printed  on  good  paper,  cloth,  10s.  Gel.  net,  paper 
8s.  6a.  net;  or  in  two  volumes  (Nos.  1  to  9  and  10  to  20), 
paper,  each  4s.  6d.  net. 

QUESTIONS  ON  MOZART'S  SONATAS,  both  Educational 
and  Suggestive.  By  F.  HELENA  MARKS.  Aid  and  Com- 
panion to  the  Study  of  the  Author's  work  "The  Son- 
ata :  Its  Form  and  Meaning  as  Exemplified  in  the 
Piano  Sonatas  by  Mozart."  For  Teachers  and  Stu- 
dents, Is.  6d.  net. 

TRANSPOSITION  AT  SIGHT.  For  Studente  of  the  Organ 
And  Pianoforte.  By  H.  E.  NICHOL.  Fourth  Edition, 
with  numerous  Musical  Exercises.  Crown  8vo,  cloth! 
2e.  6d.  net,  paper,  Is.  6d.  net. 

The  practice  of  transposing  upon  the  lines  here  laid  down  deve'ops  the 
"  mental  ear,"  quickens  the  musical  perception  and  gives  ease  in  eight 
reading ;  as  it  is  evident  that,  if  the  student  can  transpose  at  sight,  he 
will  not  have  much  difficulty  in  merelv  playing  at  sight.  Free  use  i« 
made  of  the  tonio  sol-fa  as  well  as  the  standard  notation  in  many  musical 
examples. 

SCHUMANN'S  RULES  AND  MAXIMS  FOR  YOUNG  MUSI- 
CIANS. Sewed,  3d. 

THE  STUDENT'S  HELMHOLTZ.     Musical  Acoustics,  or  the 
Phenomena    of    Sound   as   Connected    with    Music.     By 
JOHN  BROADHOUSE.     With  more  than  100  Illustrations. 
Fifth  Impression.     Crown  8vo,  cloth,  8s.  6d.  net;  also 
in  2  vols.,  paper  covers,  each  vol.  3s.  6d.  net. 
"  In  his  Preface  the  author  says  :  '  The  object  of  the  present  book  is  to 
give,  in  one  volanie,  a  good  general  view  of  the  subject  to  those  who  can 
neither  spare  time  to  read,  nor  money  to  buy  a  number  of  large  and  ex- 
pensive works."    A  perusal  of  the  book  justifies  us  in  asserting  that  this 
design  is  most   satisfactorily   carried  out ;   and  it  is  not  too  much  to  say 
that   although  the  plan  of  the  work  excludes  the  possibility  of  minutely 
dissecting  every   subject  treated  upon,  any  careful   reader  may   obtain   BO 
clear  an  insight  into  the  principle  of  acoustics,  as  to  enable  him  not  only  to 
pass  an  examination  but  to  §tore  up  a  large  amount  of  general  knowledge 
upon  the  phenomena  of  sound." — Musical  Times. 


VIOLIN   AND   STKINGED  INSTRUMENTS. 

VIOLINIST'S  MANUAL.  A  Treatise  on  Construction, 
Choice,  Care.  Adjustment,  Study  and  Technique  of  the 
Violin.  Full  of  Useful  and  Practical  Advice  regarding 
the  Violin  and  Bow.  By  H.  F.  GOSLING.  Numerous 
Illustrations  and  an  Index.  Cr.  8vo,  cloth,  7s.  6d.  net 
(or  paper,  5s.  6d.  net). 

VIOLIN  TECHNICS,  or  How  to  Become  a  Violinist.  Exact 
Instructions,  Step  by  Step,  for  its  Accomplishment  with 
or  without  a  Teacher.  By  "  FIRST  VIOLIN."  2s.  net. 

PLAYING  AT  SIGHT  FOR  VIOLINISTS  and  Others  in  an 
Orchestra.  Valuable  Hints  and  Aids  for  its  Mastery. 
By  SYDNEY  TWINN.  Post  8vo,  2s.  net. 

ADVANCED  MODERN  VIOLIN  TECHNICS. 

TONAL  SCALES  AND  ARPEGGIOS  FOR  VIOLIN.  Intro- 
ductory to  the  Unusual  Intonation  and  Finger-group- 
ing of  Advanced  Modern  Music.  By  SYDNEY  TWINN. 
4to,  3s.  net. 

"  These  scales  will  be  useful  to  advanced  players  who  find  difficulties  in 
the  unusual  intonation  and  technique  of  modern  music." — Strud. 

THE  VIOLIN.  Its  Story  told  in  Forty-four  Chapters.  By 
PAUL  STOEVING.  Frontispiece  and  42  Illustrations  of 
Instruments,  Musical  Autographs  and  Portraits.  With 
Appendix.  5s.  6d.  net. 

SCALES  AND  ARPEGGIOS.  Indispensable  Studies  for  the 
Violin.  Edited  by  ALBERT  GRAFF.  Is.  6d.  net. 

ARPEGGIOS  FOR  THE  VIOLIN.  By  BASIL  ALTHAUS.  Folio. 
3s.  net. 

VIOLINIST'S  ENCYCLOPAEDIC  DICTIONARY.  Containing 
the  Explanation  of  about  4,000  Words.  Phrases,  Signs, 
References,  etc.,  Foreign,  as  well  &&  English,  used  in 
the  Study  of  the  Violin,  and  also  by  String  Players  gener- 
ally, by  F.  B.  EMERY,  M.A.  New  and  enlarged  edition, 
doubled  in  size.  246  pp.,  crown  8vo.  Cloth,  7s.  6d.  net, 
paper,  5s.  6d.  net,  or  on  India  paper  and  bound 
in  red  pegamoid  rounded  corners,  6s.  6d.  net,  suitable 
for  student  or  travel. 

OLD  VIOLINS  AND  VIOLIN  LORE,  Famous  Makers  of  Cre- 
mona and  Brescia,  and  of  England,  France  and  Ger- 
many (with  Biographical  Dictionary),  Famous  Players, 
and  Chapters  on  Varnish,  Strings  and  Bows,  with  13 
full-page  plates.  By  H.  R.  HAWEIS.  Thick  crown  8vo, 
cloth,  7s.  6d.  net. 

BOW  INSTRUMENTS,  their  Form  and  Construction.  Prac- 
tical and  Detailed  Investigation  and  Experiments  re- 
garding Vibration,  Sound  Results,  and  Construction. 
By  J.  W.  GiLTAY.  Issued  into  English  by  the  Author  in 
Co-operation  with  E.  VAN  DER  STRAETEN.  Numerous 
Diagrams.  8vo,  cloth,  8s.  6d.  net  (paper,  7s.  net). 
"  A  valuable  treatise."— The  Strad. 


VIOLIN  AND  STRINGED  INSTRUMENTS.         35 


YOUNG   VIOLINIST'S  SCALE   AND    ARPEGGIO   MANUAL. 

By  WILSON  MANHIRE,  L.R.A.M.,  etc.     2s.  net. 

70  PREPARATORY  VIOLIN  EXERCISES  for  Beginners  in 
the  First  Position,  carefully  Graduated,  Supplementary 
to  the  First  Instruction  Book.  By  WILSON  MANHIRE, 
L.R.A.M.,  A.R.C.M..  etc.  2s.  net. 

FACTS  ABOUT   FIDDLES.     Violins  Old  and  New.     By  J. 

BROADHOUSE.    Fourth  Edition.    Or.  8vo,  paper,  9d.  net. 

NOTABLE  VIOLIN  SOLOS:  How  to  Play  Them.  Three 
Series  (consisting  of  43  descriptive  Articles  in  all).  By 
E.  VAN  DER  STRAETEN.  Is.  6d.  net  each  series.  Also 
complete  in  cloth,  with  Portraits,  6s.  6d.  net. 

VIOLIN  MANUFACTURE  IN  ITALY  and  its  German  Origin. 
By  DR.  E.  SCHEBEK.  Translated  by  W.  E.  LAWBON. 

Second  Edition.    Square  12mo,  cloth,  2s.  6d.  net . 

CHATS  WITH  VIOLINISTS.  By  WALLACE  RITCHIE.  With 
four  Photographic  Illustrations.  Crown  8vo,  cloth, 
4s.  net. 

CHAPTERS  :  On  the  Importance  of  being-  Accurate  ;  On  Various  Details ;  On 
the  Violin  and  its  Fittings ;  on  Reading  from  Sight  and  Playing  from 
Memory  ;  A  Few  Violin  Secrets ;  Some  valuable  Technical  Exercises ;  Hand 
Development  for  Violinists,  including  Eighteen  Excellent  Finger  Gym- 
nastics ;  Sundry  Useful  Hints. 

I  here  lay  before  the  public  that  information  and  advice  which  I  have 
hitherto  b»en  content  to  reserve  for  the  sole  use  of  my  own  pupils. 
During  a  considerable  experience,  both  as  a  student  and.  as  a 
teacher  of  the  violin,  I  have  naturally  pieced  together  quite  a  variety  of 
small  hints  and  items  of  information  which,  though  modest  enough  indi- 
vidually, have  been  found  on  the  whole  to  be  of  no  inconsiderable  value, 
not  only  with  regard  to  my  own  playing,  but  also— and  which  is  of  far 
more  importance — in  enabling  me  to  impart  a  knowledge  of  the  art  to 
others. 

ADVICE  TO  VIOLIN  STUDENTS.  Containing  Informa- 
tion of  the  Utmost  Value  to  every  Violinist.  By 
WALLACE  RITCHIE.  Crown  8vo,  cloth,  4s.  net  (paper, 
2s.  6d.  net). 

CONTENTS  :  Selecting  and  Adjusting — Choice  of  a  Teacher — Course  of 
Study— The  Sevcik  Method— Practising— Style— Tone  Production— Pronun- 
ciation of  Terms,  Names,  etc. — Graded  List  of  Studies,  Pieces,  etc.  To- 
gether with  Hints  on  Common  Faults — Shifting — Heading  Music — Stopping 
—Harmonics — Vibrato — Tempo — Intonation,  Pitch,  etc. 

THE  VALUE  OF  OLD  VIOLINS.     By  E.  POLONASKI.     Being 

a  List  of  the  Principal  Violin  Makers,  British,  Italian, 
French  and  German.  With  Approximate  Valuations  of 
their  Instruments  and  Occasional  Notes  on  their  Var- 
nish. Facsimiles  of  Labels  and  Violins.  Crown  8vo, 
cloth,  4s.  6d.  net. 

HOW  TO  REPAIR  VIOLINS  and  other  Musical  Instruments. 
By  ALFRED  F.  COMMON-  With  Diagrams.  Crown  8vo, 
cloth,  3s.  net  (paper,  Is.  6d.,  net). 


VIOLIN  AND  STEIN  GED  INSTRUMENTS. 


INFORMATION  FOR  PLAYERS,  Owners,  Dealers  and 
Makers  of  Bow  Instruments,  also  for  String  Manufac- 
turers. Taken  from  Personal  Experiences,  Studies  and 
Observations.  By  WILLIAM  HEPWORTH.  With  Illus- 
trations of  Stainer  and  Guarnerius  Violins  and  Gauge 
of  Millimetres  and  Centimetres,  etc.  Crown  8vo,  cloth, 
4s.  net. 

CONTENTS  :  The  Pegs— Neck— Finger-board— Bridge— Tail-Piece— Saddle- 
Violin  Holder — Tail-pin — Bar — Sound-post — On  the  Stringing  of  Bow  Instru- 
ments in  General  Use — Strings — Rosin — Cleaning  of  the  Instrument  and  the 
Bridge — Bow— Violin  Case — Repairs — Preservation — Conclusion. 

SKETCHES  OF  GREAT  VIOLINISTS  AND  GREAT  PIAN- 
ISTS. Biographical  and  Anecdotal,  with  Account  of 
the  Violin  and  Early  Violinists.  Viotti,  Spohr,  Paga- 
nini,  De  Beriot,  Ole  Bull,  dementi,  Moscnelee,  Schu- 
mann (Robert  and  Clara),  Chopin,  Thalberg,  Gottschalk, 
Liszt.  By  G.  T.  FERRIS.  Third  Edition.  Crown  8vo, 
cloth,  3s.  net.  (Edition  with  portrait  to  each,  4s.  6d. 
net.) 

NOTICE  OF  ANTHONY  STRADIVARI.  The  Celebrated 
Violin  Maker  known  by  the  name  of  Stradivarius,  pre- 
ceded by  Historical  and  Critical  Researches  on  the 
Origin  and  Transformations  of  Bow  Instruments,  and 
followed  by  a  Theoretical  Analysis  of  the  Bow  and  Re- 
marks on  Francis  Tourte.  By  F.  J.  FETIS.  Translated 
by  J.  BISHOP.  Facsimile  of  a  Letter  of  Stradivarius. 
8vo,  cloth,  6s.  6d.  net 

TREATISE  ON  THE  STRUCTURE  AND  PRESERVATION 
OF  THE  VIOLIN  and  all  other  Bow  Instruments.  To- 
gether with  an  Account  of  the  most  Celebrated  Makers 
and  of  the  Genuine  Characteristics  of  their  Instruments. 
By  J.  A.  OTTO,  with  Additions  by  J.  BISHOP.  With 
Diagrams  and  Plates.  Fourth  Edition,  further  En- 
larged. Crown  8vo,  cloth,  4s.  6d.  net, 
Contains  instructions  for  the  repair,  preservation  and  bringing  out  the 

tone  of   instruments ;   tracing   model   for   violin,    mutes  and   fiddle   holders ; 

list  of   classical  works  for  stringed   instruments.     This   work   is  especially 

valuable  for  makers  of  violins. 

HOW  TO  PLAY  THE  FIDDLE.  For  Beginners  on  the 
Violin.  By  H.  W.  and  G.  GRESSWELL.  Eighth  Edi- 
tion. Crown  8vo,  cloth,  3s.  net,  or  in  2  vols.,  paper,  2s. 
net  (or  separately,  Is.  net  each). 

JOACHIM  says :  "  Contains  many  useful  hints  about  violin  playing." 
BIOGRAPHICAL  DICTIONARY  OF  FIDDLERS.  Including 
Performers  on  the  Violoncello  and  Double  Bass,  Past 
and  Present.  Containing  a  Sketch  of  their  Artistic 
Career,  together  with  Notes  of  their  Compositions.  By 
A.  MASON  CLARKE.  9  Portraits.  PostSvo,  cloth,  6s.  net. 

'  We  may  here  take  the  opportunity  of  recommending  a  useful  book  to 
all  lovers  of  violins  and  violinists.  Fiddlers,  Ancient  and  Modern,  is 
practically  a  little  Biographical  Dictionary,  well  arranged  with  some  excel- 
lent portraits."— Northern  Whig. 


VIOLIN  AND  STRINGED  INSTRUMENTS.         37 

ART  OF  HOLDING  THE  VIOLIN  AND  BOW  AS  EXEM- 
PLIFIED BY  OLE  BULL.  His  Pose  and  Method 
proved  to  be  based  on  true  Anatomical  Principles.  By 
A.  B.  CROSBY,  M.D.,  Professor  of  Anatomy.  Portrait, 
Diagrams  and  Illustrations.  8vo,  cloth,  3s.  net  (paper, 
Is.  6d.  net). 

Included  in  the  above  are  some  interesting  recollections  and  anecdotei 
of  Ole  Bull. 

THE  VIOLIN  AND  OLD  VIOLIN  MAKERS.  Being  a  His- 
torical and  Biographical  Account  of  the  Violin.  By 
A.  MASON  CLARKE.  With  Facsimiles  of  Labels  used  by 
Old  Masters  and  illustrations  of  a  copy  of  a  Gasparo  da 
Salo.  Crown  8vo,  cloth,  3e.  net  (paper,  Is.  6d.  net). 

THE  VIOLIN,  ITS  HISTORY  AND  CONSTRUCTION.  Il- 
lustrated and  Described  from  many  Sources.  Together 
with  a  List  of  Italian  and  Tyrolese  Makers.  With  28 
Illustrations  and  Folding  Examples  of  the  First  Music 
issued  for  the  Lute,  Fiddle  and  Voice.  From  the  Ger- 
man of  ABELE  and  NIEDERHEITMANN.  By  J.  BROAD- 
HOUSE.  Fresh  issue  printed  in  larger  size.  Crown  8vo, 
cloth,  4s.  6d.  net,  paper  covers,  3s.  net. 

"  The  learned  and  instructive  treatise  of  Abele,  skilfully  rendered  by 
J.  Broadhouse  and  supplemented  by  a  version  of  Niederheitmann's  list  of 
Italian  and  Tyrolese  violin  makers,  a  compilation  invaluable  to  collectors 
and  connoisseurs  of  rare  fiddles  ....  a  work  which  forms  a  noteworthy 
addition  to  the  small  number  of  English  books  upon  this  interesting  sub- 
leot." — Scotsman. 

HOW  TO  MAKE  A  VIOLIN,  Practically  Treated.  By  J. 
BROADHOUSE.  New  and  Revised  Edition.  With  47  Il- 
lustrations and  Folding  Plates  and  many  Diagrams, 
Figures,  etc.  Crown  8vo,  cloth,  5s.  6d.  net  (paper,  4s. 
net). 

CONTENTS  :  Introduction— The  Parts  of  the  Violin— On  the  Selection  of 
Wood— The  Tools  required— The  Models— The  Mould—  The  Side-pieces  and 
Side  Linings— The  Back— Of  the  Belly— The  Thickness  of  the  Back  and 
Belly— The  Bass  Bar— The  Purfling— The  Neck— The  Finger-board— The 
Nut  and  String  Guard — Varnishing  and  Polishing — Varnishes  and  Colour- 
ing Matter — The  Varnish — A  Mathematical  Method  of  Constructing  the 
Outline — The  Remaining  Accessories  of  the  Violin. 

This  new  edition  had  the  advantage  of  being  revised  throughout  by 
a  celebrated  violin  maker. 

A  MUSICAL  ZOO.  Twenty-four  Illustrations  displaying  the 
Ornamental  Application  of  Animal  Forms  to  Musical 
Instruments  (violins,  Viol  da  Gambas,  Guitars, 
Pochette,  Serpent,  etc.).  Drawn  from  the  Carved  Ex- 
amples by  HENRY  SAINT-GEORGE.  Cloth,  5s.  net  (paper, 
3s.  net). 

THE  HISTORY  OF  THE  VIOLIN  and  other  Instruments 
Played  on  with  the  Bow  from  the  Remotest  Times  to  the 
Present.  Also  an  Account  of  the  Principal  Makers. 
Coloured  Frontispiece  and  numerous  Illustrations  and 
Cute.  By  W.  SANDYS,  F.S.A.,  and  S.  A.  FORSTER. 
Thick  8vo,  cloth,  10s.  6d.  net  (published  at  14s.  net). 


38          VIOLIN  AND  STEINGED  INSTEUMENTS. 

THE  VIOLIN  AND  BOW.     A  Treatise  (in  Three  Languages, 
English,    French   and   German),    with   numerous   Copies 
of    Photographs    taken    from    Life,    supplemented     by 
Various  Examples  and    Original  Studies  by  I.  B.   Poz 
NANSKI.     4s.  net. 

ROYSTON'S  PROGRESSIVE  VIOLIN  TUTOR  (with  Illus- 
trations giving  Correct  Position  for  Hand,  Wrist  and 
Fingers).  Folio,  3s.  net. 

TECHNICS  OF  VIOLIN  PLAYING.  By  KARL  COURVOISIER. 
With  Illustrations.  Eleventh  Edition.  Cloth,  3s.  net 
(paper,  Is.  6d.  net). 

"  It  is  my  opinion  that  this  book  will  offer  material  aid  to  all  Violin 
players."— JOACHIM. 

"  As  far  as  words,  aided  by  diagrams,  can  make  clear  so  practical  a 
subject  as  the  playing  of  a  musical  instrument,  this  little  book  leaves 
nothing  to  be  desired.  The  author,  who  was  a  pupil  of  Joachim,  has 
treated  the  subject  in  a  most  thorough  manner,  and  we  can  highly  recom- 
mend his  little  book." — Educational  Times. 

AN  IMPORTANT  LESSON  TO  PERFORMERS  ON  THE 
VIOLIN.  By  the  Celebrated  TARTINI.  Portrait. 
Being  the  Translation  by  DR.  BURNEY,  issued  origin- 
ally in  1779,  together  with  the  original  Italian.  8vo, 
cloth,  3s.  net  (paper,  Is.  6d  net). 

STORY  OF  THE  HARP.  Told  in  Twenty-two  Chapters.  By 
W.  H.  G.  FLOOD,  Mus.Doc.  Frontispiece  and  32  Illus- 
trations of  Instruments,  etc.  Appendix  containing  the 
^Eolian  Harp ;  Epochs  in  Harp  Making  and  Biblio- 
graphy. 5s.  6d.  net. 

VIOLONCELLO    EXERCISES,    SCALES   AND    ARPEGGIOS. 

By  E.  GILLET.  Complete  in  one  vol.,  4s.  net  •  or  Part 
I,  Exercises,  Is.  6d.  net,  Part  II,  Scales,  Is.  6d.  net, 
and  Part  III,  Arpeggios,  Is.  6d.  net. 

ART  OF  VIOLONCELLO  PLAYING.  Tutor  in  Three 
Books.  By  E.  VAN  DER  STRAETEN.  Text  in  English 
and  French.  4to.  Book  I,  as.  6d.  net;  Bock  II,  4s. 
net 

WELL-KNOWN  VIOLONCELLO  SOLOS.  How  to  Play 
Them.  Three  Series.  By  E.  VAN  DER  STRAETEN.  Is.  6d. 
net,  each  series.  Also  complete  in  cloth,  with  Portraits, 
6s.  6d.  net. 


VOCAL. 

THE  VOCAL  WORKS  OF  JOHANNES  BRAHMS.  Histori- 
cal, Descriptive  and  Analytical  Account  of  each  Work 
treated  in  the  Order  of  the  Opus  number,  preceded  by 
a  Didactic  Section  and  followed  by  copious  Tables  of 
Reference.  Original  English  Translations  supplied  to 
many  numbers.  Specially  designed  for  the  use  of  Con- 
cert-goers, Pianists,  Singers  and  Students.  By  EDWIN 
EVANS,  Senior.  Thick  8vo,  cloth,  15s.  net. 

The  above  volume  is  a  complete  technical  account  of  the  vocal  works. 
It  forms  a  part  of  th?  Historical,  Descriptive  and  Analytical  Account  of 
the  Entire  Works  of  Brahms  advertised  on  page  4. 

VOCAL  TRAINING  AND  PREPARATION  FOR  SONG  IN- 
TERPRETATION. With  a  Section  showing  how  to 
Determine  Accurately  by  Pitch  and  Curve  Graphs  the 
special  Suitability  of  Songs  selected  for  particular 
Vocal  Requirements.  Music  Illustrations  and  Descrip- 
tive Diagrams.  By  FRANK  PHILIP.  8vo,  cloth,  8s.  6d. 
net. 

THE  AMATEUR  VOCALIST.  A  Guide  to  Singing.  \Vith 
Useful  Hints  on  Voice  Production,  Song  Preparation, 
etc.  By  WALTER  L.  TWINNING,  F.R.C.O.  Post  8vo, 
limp  cloth,  Is.  6d.  net. 

HOW  TO  TEACH  CLASS  SINGING,  and  a  Course  of  Outline 
Lessons  which  illustrate  the  psychological  principles 
upon  which  successful  tuition  is  based.  By  GRANVILIE 
HUMPHREYS,  Professor  of  the  Art  of  Teaching,  Voice 
Production,  etc.,  at  the  T.S.-F.C.  ;  late  Lecturer  in 
Class  Singing  at  the  Tiaining  School  for  Music  Teach- 
ers. Numerous  Music  Illustrations.  Crown  8vo,  paper, 
4s.  net,  cloth,  5s.  9d.  net. 

Teacher's  will  find  this  very  striking  book  of  great  value.  The  pub- 
lishers have  no  hesitation  in  strongly  recommending  it. 

VOCAL  SUCCESS,  or  Thinking  and  Feeling  in  Speech  and 
Song,  including  a  Chapter  on  Ideal  Breathing  for 
Health.  By  the  REV.  CHAS.  GIB  (author  of  "The  Art 
of  Vocal  Expression"  and  "  Vocal  Science  and  Art"). 
With  a  unique  series  of  X-ray  plates  especially  taken 
for  this  work.  Crown  8vo,  cloth,  5s.  net,  or  paper 
covers,  3s.  6d.  net. 
The  known  facts  of  science  in  connection  with  both  the  structure  and 

functions    of  the   vocal    organs   are   stated;   and  have  been    supplemented 

by  impressions    formed   in   the  course  of   long  experience  and  experiment 

in  the  training  of   voices. 

THE  VOICE  AND  SINGING.      Practically  Explained,  Con- 
densed   but   Comprehensive    Treatise,    designed    princi- 
§ally  for  Students  and   Amateurs,   by  an   Experienced 
inger  and  Teacher  (C.  W.  PALMER).     Cloth,  3s.  net; 
paper,  Is.  6d.  net. 

"  I  have  studied  the  subject  as  an  enthusiast  both  theoretically  and 
practically,  both  as  student  and  teacher,  for  over  thirty  years." — Extract 
from  the  Preface. 


40  VOCAL. 


VOICE  PRODUCTION   AND  VOWEL   ENUNCIATION.     By 

F.  F.  MEWBURN  LEVIEN.  Diagrams  by  ARTHUR  C. 
BEHREND.  Post  8vo,  sewed,  6d.  net. 

VOCAL  SCIENCE  AND  ART.  Hints  on  Production  of 
Musical  Tone.  By  REV.  CHAS.  GIB.  The  Boy's  Voice, 
Muscular  Relaxation,  Art  of  Deep  Breathing,  Elocu- 
tion for  Ordination  Candidates.  With  Numerous  Illus- 
trations, and  Introduction,  Notes  and  Diagrams,  by 
J.  F.  HALLS  DALLY,  M.A.,  M.D.,  etc.  Dedicated  to  the 
Bishop  of  London.  Crown  8vo,  cloth,  4s.  net. 

RUDIMENTS  OF  VOCAL  MUSIC.  With  42  Preparatory 
Exercises,  Rounds  and  Songs  in  the  Treble  Clef.  By 
T.  MEE  PATTISON.  Second  Edition.  Crown  8vo,  paper, 
3d.  net. 

PHYSICAL  DEVELOPMENT  IN  RELATION  TO  PERFECT 
VOICE  PRODUCTION.  By  H.  TRAVERS  ADAMS,  B.A. 
8vo,  paper,  2s.  6d.  net. 

Intended  for  students.  Treats  of  Vibration,  Breaks  and  Registers,  The 
Speaking  Voice,  Attack,  Practical  Application,  Breathing,  Exercise  in 
Inspiration,  Expiration,  and  so  on. 

SIMPLICITY  AND  NATURALNESS  IN  VOICE  PRODUC- 
TION. A  Plea  and  an  Argument.  By  EDWIN  WARE- 
HAM.  Crown  8vo,  cloth,  3s.  net. 

OBSERVATIONS  ON  THE  FLORID  SONG.  Or  Sentiments 
on  the  Ancient  and  Modern  Singers.  By  P.  F.  Tosi. 
Translated  by  Mr.  Galliard.  With  folding  Musical  Ex- 
amples. 184  pages.  A  Reprint  of  this  Celebrated  Book, 
first  published  in  1743.  Crown.  8vo,  boards,  with  vel- 
lum-like back.  6s.  6d.  net. 

Recommended  to  all  students  of  the  Italian  method  of  singing  by  th<> 
late  Charles  Lunn. 

"  It  stands  for  all  that  is  sound  and  final  in  the  philosophy  of  singing 
and  shows  that  the  aesthetics  and  morals  of  the  art  are  changeless.  Re- 
presents the  best  thought  and  practice  o*  the  old  Italian  singers  and 
singing  masters."— The  Etude. 

"  The  aged  teacher  embodies  his  own  experience  and  that  of  his  con- 
temporaries at  a  time  when  Ihe  art  was  probably  more  thoroughly 
taught  than  it  has  ever  been  since." — Grove's  Dictionary  of  Music  and 
Musicians. 

ELEMENTARY  LESSONS  ON  SIGHT  SINGING.  Combining 
the  Staff  and  Tonic  Sol-fa  Notations.  With  Music 
Examples  throughout.  By  J.  W.  ROSSINGTON,  L.B.A.M. 
Cloth,  2s.  6d.  net  (paper,  Is.  6d.  net). 

For  many  singers  there  is  only  one  method  of  becoming  good  sight- 
readers,  viz.,  combining  the  Ionic  sol-fa  with  the  staff  notation.  It  is 
hoped  that  a  perusal  of  these  elementary  lessons  will  show  the  principles 
on  which  this  combination  is  effected  and  simplify  the  somewhat  difficult 
task  of  sight-reading. 

THE  ART  OF  VOCAL  EXPRESSION.  A  Popular  Handbook 
for  Speakers,  Singers,  Teachers  and  Elocutionists.  By 
the  REV.  CHAS.  GIB.  Crown  8vo,  cloth.  3s.  net  (paper, 
Is.  64.  net, 


VOCAL.  41 


THE  THROAT  IN  ITS  RELATION  TO  SINGING.  A  Series 
of  Popular  Papers.  By  WHITFIELD  WARD,  A.M.,  M.I). 

Illustrations.     Second  Edition.     Cr.  8vo,  cloth,  3s.  net, 

paper,  Is.  6d.  net. 

CONTENTS  :  Anatomical  Structure  of  the  Throat ;  What  we  See  with  the 
Laryngoscope  ;  How  we  Sing  ;  How  we  Breathe ;  How  to  take  Care  of  the 
Voice;  Hints  to  Voice  Builders;  How  the  Voice  is  Destroyed;  Common 
Throat  Affections  of  Singers,  together  with  their  Treatment,  etc. 

HOW  TO  ATTAIN  THE  SINGING  VOICE,  or  Singing  Shorn 
of  its  Mysteries.  A  Popular  Handbook  for  those  desir- 
ous of  winning  Success  as  Singers.  By  A.  RICHARDS 
BROAD.  Crown  8vo,  cloth,  3s.  6d.  net  (paper,  2s.  net}. 

Thia  is  the  Book  which  fitted  Eva  Turner  to  achieve  her  wonderful 
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as  in  her  own  country).  It  should  help  you  to  achieve  great  things  too. 

"  An  immensely  interesting  book  that  has  every  right  to  be  classed 
amonir  those  that  %re  genuinely  useful,  and  it  should  be  prized  by  all 
vocalists  from  the  highest  to  the  lowest.*'  -The  Musical  Observer. 

TWELVE  LESSONS  ON  BREATHING  AND  BREATH  CON- 
TROL. For  Singers,  Speakers  and  Teachers.  Bv 
G.  E.  THORP.  Crown  8vo,  limp  cloth,  Is.  6d.  net . 

TWENTY    LESSONS    ON    THE    DEVELOPMENT    OF    THE 
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G.  E.  THORP.     Fourth  Edition.     Crown  8vo,  limp  cloth 
Is.  6d.  net. 
Mr.  Thorp's   two  books    have  from   time   to  time  been    recommended  by 

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training,    care   t,nd   development   of    the    \oice.    They    are   fret    from    any 

biased   "'system,"   or     'discovery." 

TREATISE  ON  THE  TRAINING  OF  BOYS'  VOICES.  With 
Examples  and  Exercises  and  Chapters  on  Choir-Or- 
ganization. Compiled  for  the  Use  of  Choirmasters.  By 
GEORGE  T.  FLEMING.  Second  Edition.  Crown  Svo, 
cloth,  3s.  net ;  paper,  Is.  6d.  net. 

GRADUATED  COURSE  OF  EXERCISES  FOR  BOY  CHOR- 
ISTERS. With  Piano  Accompaniment.  For  Use  in 
Conjunction  with  Above.  By  G.  T.  FLEMING.  4to 
album,  paper,  Is.  6d.  net. 

-  Ditto,  Boy's  Voice  Part  only,  9d.  net. 

SIX  SPIRITUAL  SONGS  FOR  UNACCOMPANIED  CHORUS, 

with     Piano    Accomp.     (for    Practice).      By     RUTLAND 
BOUGHTON.     In  one  vol.     Roy.  Svo.  2s.  6d.  net. 

The  songs  are  also  issued  separately. 

VOCAL    EXERCISES   FOR    CHOIRS   AND    SCHOOLS.      By 

DR.  WESTBROOK.     Post  Svo,  paper,  2d.  net. 

THE  CENTRAL  POINT  IN  BEAUTIFUL  VOICE  PRODUC- 
TION. By  H.  TRAVERS  ADAMS,  M.A.  Cloth,  2s.  net ; 
paper,  Is.  net. 


WAGNER. 

WAGNER'S  TEACHINGS  BY  ANALOGY.  His  Views  on 
Absolute  Music  and  of  the  Relations  of  Articulate  and 
Tonal  Speech,  with  Special  Reference  to  "  Opera  and 
Drama."  A  Series  of  Papers  for  the  Student.  By 
EDWTN  EVANS,  Senior,  F.E.C.O.  Crown  8vo,  cloth, 
3s.  6d.  net  (paper,  2s.  net). 

The  above   forms   an  introduction   to   Wagner's    Prose   Writings. 

OPERA  AND  DRAMA.  By  RICHARD  WAGNER.  Translated 
by  EDWIN  EVANS,  Senior,  F.E.C.O.  Vol.  I.  :  Part 

I.  Opera    and    the    Esence   of    Music.     Part   II.     The 
Stage-Play  and  Dramatical  Poetic  Art  in  the  Abstract. 
Vol.   II.  :   Part  III.     Poetry  and  Music  in  the  Drama 
of  the  Future.     The  Three  Parts  in  2  vols.     Portrait. 
Crown  8vo,  cloth,   12s.   6d.   net  (or  separately,  Vol.    I, 
7s.  6d.  net,  Vol.  II,  6s.  6d.  net). 

The  value  of  the  study  of  Wagner's  prose  writing  as  an  education  to 
the  musical  student  cannot  be  over-estimated,  and  amongst  these  prose 
writings  "  Opera  and  Drama  "  may  be  considered  his  principal  critical 
and  theoretical  production.  Without  a  study  of  its  contents  no  true  and 
lasting  understanding  of  opera  can  be  arrived  at.  Wagner's  somewhat 
heavy  and  Teutonic  style  in  the  original  has  b«»en  admirably  Englished 
by  Edwin  Evans,  and  Wagner  students  will  feel  they  owe  him  a  full  debt 
of  gratitude  for  so  clear  and  expository  a  translation  which  has  now  been 
placed  within  their  reach  1  This  pleasure  is  added  to  by  the  setting  of 
the  text  which  has  been  arranged  in  numbered  paragraphs,  each  with  a 
sub-heading  denoting  the  subject  dealt  with.  A  copious  index  makes 
possible  an  easy  and  quick  reference  to  any  of  these  paragraphs,  and  the 
whole  thus  gains  in  attractiveness  and  loses  the  heavy  and  discouraging 
appearance  of  the  original. 

Wagner  writing  to  his   friend  Uhlig  said  : 

"  Here  you  "have  my  testament:  I  may  as  well  die  now — anything  fur- 
ther that  I  could  do  seems  to  me  a  useless  piece  of  luxury." 

EBNF.ST  NEWMAN  in  "  A  Study  of  Wagner,"  writes :  "  Although  there 
appears  here  and  there  in  his  prose-work  something  of  the  vast  synthetic 
power  of  his  musical  imagination — such  a  work  as  '  Opera  and  Drama," 
for  instance,  finally  compelling  our  admiration  for  its  tenacity  of  pur- 
pose and  the  breadth  of  vision  that  sweeps  so  far  before  and  after." 

BEETHOVEN.  By  RICHARD  WAGNER.  With  a  Supplement 
from  the  Philosophical  Works  of  Schopenhauer.  Trans- 
lated by  EDWARD  D\NNREUTHER.  Third  Edition.  Crown 
8vo,  cloth,  6s.  6d.  net. 

"  This  work  contains  his  contributions  towards  the  metaphysics  of 
music,  if,  indeed,  such  can  be  said  to  exist.  Apart,  however,  from  meta- 
physics, the  work  is  an  exposition  of  Wagner's  thoughts  on  the  signifi- 
cance of  Beethoven's  music." — Grove's  Dictionary. 

WAGNER'S  PROSE  WORKS.     Translated  by  WM.   ASHTON 

ELLIS.     Vol.  I,  The  Art-Work  of  the  Future,  etc.  ;  Vol. 

II,  Opera  and  Drama ;  Vol.  Ill,  The  Theatre ;  Vol.  IV, 
Art  and  Politics.     Thick  octavo,  cloth.     The  4  volumes, 
£2  10s. ;  or  separate  volumes,  15s.  each. 

LIFE  OF  RICHARD  WAGNER.  Being  an  Authorised  Eng, 
lish  Version  by  WM.  ASHTON  ELLIS  of  C.  F.  GLABENAPP'B 
"Das  Leben  Richard  Wagner's."  6  vols.,  8vo  cloth,  15s. 
net  per  vol. 


WAGNER.  43 


JUDAISM  IN  MUSIC.  Being  the  Original  Essay  together 
with  the  Later  Supplement.  By  RICHARD  WAGNER. 
Translated  from  the  German  (Das  Judenthum  in  der 
Mueik)  and  Furnished  with  Explanatory  Notes  and  In- 
troduction. By  E.  EVANS,  Snr.  Cr.  8vo,  cloth,  4s.  net. 

"  It  at  last  becomes  possible  calmly  to  seek  to  draw  from  this  essay 
those  valuable  lessons  relating  to  art-culture  which  are  therein  contained, 
not  in  that  aspect  of  the  main  subject  by  which  Wagner  was  most  ex- 
cited or  his  adversaries  most  offended,  but  in  those  subsidiary  references 
and  explanations  by  means  of  which  he  then  thought  merely  to  support 
his  case  but  to  which  time  has  given  a  greater  value  than  to  the  case 
itself.  The  noise  and  disturbance  created  by  the  publication  of  the  above 
work  drew  public  attention  for  the  first  time  to  Wagner's  prose  writings 
and  created  a  demand  which  has  continued  ever  since." 

"  This  '  human  document  '  shows  Wagner  in  a  peculiarly  personal  light, 
and  as  such  it  will  be  read  with  interest  by  those  who  believe  that  the 
composer  of  the  '  Ring  '  never  wrote  anything  which  is  not  worth  reading." 
—The  Scotsman. 

HOW  TO  UNDERSTAND  WAGNER'S  "  RING  OF  THE 
NIBELUNG."  Being  the  Story  and  a  Descriptive  Ana- 
lysis of  the  "Rheingold,"  the  "Valkyr,"  "Siegfried" 
and  the  "  Dusk  of  the  Gods."  With  Musical  Examples 
of  the  Leading  Motives  of  each  Drama.  By  GUSTAVE 
KOBBE.  Together  with  a  Sketch  of  Wagner's  Life.  By 
N.  KILBURN,  Mus.Bac.  Cantab.  Seventh  Edition,  with 
Additions,  a  Portrait  and  Facsimile.  Post  8vo,  cloth, 
4s.  6d.  net. 

To  be  appreciated  in  the  smallest  way,  Wagner  must  be  studied  in 
advance. 

"  Description  and  analysis  go  hand  in  hand  with  the  narration  of  the 
etory.  Musical  examples  are  given  as  aids  to  tha  identification  of  the 
leading  motives  and  an  index  makes  it  easy  for  any  reader  to  turn  up 
any  particular  motive  instantly." — Yorkshire  Obtefver. 

"  Such  a  compact  handbook  is  almost  indispensable  to  a  real  under- 
standing of  the  mythology  and  the  musical  motives  which  have  been 
blended  into  so  superb  a  creation  by  Wagner." — Halifax  Guardian. 

MY     RECOLLECTIONS     OF     RICHARD     WAGNER.       By 

AUGUST  LESIMPLE.     Post  8vo,  paper  covers,  Is.  net. 

WAGNER.  A  Sketch  of  his  Life  and  Works.  By  N.  KILBURN, 
Mus.Bac.  Cantab.  Paper,  9d.  net. 

ON  CONDUCTING.  By  RICHARD  WAGNER.  Translated  by 
EDWARD  DANNREUTHER.  Third  Edition.  Crown  8vo, 
cloth,  5s.  6d.  net. 

"  One  of  the  finest  of  his  minor  publications,  and  to  the  professional 
musician,  perhaps  the  most  instructive,  giving  his  views  as  to  the  true 
way  of  rendering  classical  music,  with  numerous  directions  how  to  do  it, 
and  how  not  to  do  it,  together  with  many  examples  in  musical  type  from 
the  instrumental  works  of  Beethoven,  Weber,  Mozart,  etc." — Grove's  Dic- 
tionary. 

WAGNER.  "Ring  of  the  Nibelungen."  Being  the  Story 
concisely  told  of  "  Das  Rheingold,"  "Die  Walldire," 
"  Siegfried  "  and  "  Gotterdammerung."  By  N.  KIL- 
BURN,  Mus.Bac.  Cantab.  Crown  8vo,  paper,  Is.  net 


44  WAGNEB. 


WAGNER'S  "  PARSIFAL."  And  the  Bayreuth  Fest-Spiel- 
haus.  By  N.  KILBTTRN,  Mus.Bac.  Cantab.  Crown  8vo. 
paper,  9d.  net. 

WAGNER  SKETCHES,  1849.     A  Vindication.     By  WILLIAM 

ASHTON  ELLIS.    Cloth,  2s.  6d.  net;  paper,  Is.  net. 

THREE  IMPRESSIONS  OF  BAYREUTH.  The  1908  and 
Previous  Wagner  Festivals.  Bv  ROSE  KOENIO.  With 
Two  Facsimile  Programmes.  Crown  8vo,  cloth,  2«  6d. 
net  (paper,  Is.  6d.  net). 

"  Entertaining-  and  agreeable  reading,  as  recording  the  impressions  of  a 
musical  and  susceptible  hearer."— Yorkshire  Post. 

DIARY  OF  A  PILGRIM  IN  THE  NETHERLANDS.  The  Holy 
Grail  in  Bruges  and  Other  Impressions  of  Travel. 
Bruges,  Courtrai,  Tournai,  Amsterdam,  the  Hague,  Ant- 
werp. By  ROSE  KOENIG.  Crown  8vo,  cloth,  2s.  6d.  net 
(paper  covers,  Is.  6d.  net). 


MISCELLANEOUS. 

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JOHN  GAY'S  »  BEGGAR'S  OPERA."  Piano  Selection  ar- 
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MASONIC  MUSICAL  SERVICE  BOOK  FOR  THE  THREE 
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TRIO  FOR  PF.,  VN.  AND  'CELLO.— Beethoven's  Cele- 
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46  MISCELLANEOUS. 

RATIONAL  ACCOMPANIMENT  TO   THE  PSALMS.     By  F. 

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PARTHENIA.  21  Compositions  by  Three  Famous  Sixteenth 
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the  First  Musick  ever  printed  for  the  Virginals.  Ar- 
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50  MUSICAL  HINTS  TO  CLERGYMEN.  Management  of 
Breath,  Classification  of  Male  Voices,  Management  of 
the  Voice,  The  Service.  With  Twenty  specially  written 
Exercises.  By  GEO.  F.  GROVER.  Cr.  8vo,  paper,  Is.  net. 

HOW  TO  MANAGE  A  CHORAL  SOCIETY.  By  N.  KILBURN, 
Mus.Bac.  Third  Edition,  Revised.  Cr.  8vo,  paper,  9d. 

A  CHAT  WITH  CHORAL  SINGERS.  By  H.  W.  SPARROW, 
A.R.C.O.  8vo,  paper  cover,  6d.  net. 

CONSENTS  :  Reading  Music— Tone  Production— Breathing— Phrasing— Ex- 
pression— Enunciation — Blend  of  Voices — Tone,  Attack,  Release — Care  of 
the  Voice — Suggestions. 

HOW    TO    SING    AN    ENGLISH    BALLAD.      By    E.    PHILP. 

Seventh  Edition.     Crown  8vo,  paper,  9d.  net. 
"It    would    be   difficult  to  find   a   casket   of   brighter   gems    than    those 
which  lie  within  the  coTer  of  this  little  work." — Illustrated  London  News. 

NATIONAL  NURSERY  RHYMES.  Arranged  as  a  School 
Chorus  for  Boys  and  Girls.  By  N.  B.  WOODD  SMITH. 
With  Pianoforte  Accompaniment.  8vo,  Is.  net. 


TUTORS  AND  EXERCISE  BOOKS. 

PIANO,    ORGAN,    HARMONIUM,    VIOLIN, 
VIOLONCELLO,    MANDOLINE    AND    GUITAR. 

THE  POPULAR  PIANO  TUTOR,  folio,  2e.  net.  (For  de- 
scription see  Pianoforte  Section  of  Catalogue.) 

DEPPE  FINGER  EXERCISES.  By  AMY  FAT.  (See  Piano- 
forte Section  of  this  Catalogue.) 

REEVES'  VAMPING  TUTOR.  By  FRANCIS  TAYLOR.  (See 
Pianoforte  Section  of  this  Catalogue.) 

CZERNY'S  101  EXERCISES  for  the  Pianoforte.     Complete, 

4s.  net;  or  in  2  books,  2s.  net  each. 

GRADUATED     SCALE     AND     ARPEGGIO     MANUAL.     By 

HENRY  SAINT-GEORGE.  (See  Pianoforte  Sectien  of  this 
Catalogue.) 

ROYSTON'S  PROGRESSIVE  VIOLIN  TUTOR  (with  Illus- 
trations giving  Correct  Position  for  Hand,  Wrist  and 
Fingers).  Folio,  3».  net 

VIOLONCELLO    EXERCISES,    SCALES   AND    ARPEGGIOS. 

By  E.  GILLET.  Complete  in  one  vol.,  4s.  net ;  or  Part 
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and  Part  III,  Arpeggios,  Is.  6d.  net. 

ART  OF  VIOLONCELLO  PLAYING,   TUTOR.     By  E.  VAN 

DER  STRAETEN.  Text  in  French  and  English.'  Part  I, 
3s.  6d.  net.  Part  II,  4s.  net. 

TUTOR  FOR  THE  AMERICAN  ORGAN  AND  HARMONIUM. 

By  W.  F.  TAYLOR.     4to,  2s.  net. 

ifOUNG   VIOLINIST'S   SCALE  AND  ARPEGGIO   MANUAL, 

with  Directions.  By  WILSON  MANHIRE.  Text  and 
Music.  Folio,  2s.  net. 

70  PREPARATORY  VIOLIN  EXERCISES  for  Beginners  in 
the  First  Position.  Carefully  Graduated.  Supplemen- 
tary to  the  First  Instruction  Book.  By  WILSON  MAN- 
HIRE.  2e.  net. 

HENRY  FARMER'S  VIOLIN  TUTOR.     Folio. 

SINCLAIR'S  VIOLIN  TUTOR.  With  Ample  Instructions  and 
a  Variety  of  Popular  Melodies,  and  Plate  designating 
the  Notes  on  the  Fingerboard  Roy.  8vo,  Is.  net. 

SCALES  AND  ARPEGGIOS.  Indispensable  Studies  for  the 
Violin.  Edited  by  ALBERT  GRAFF.  Is.  6d.  net. 


48  REEVES' fl   TUTORS. 


ARPEGGIOS  FOR  THE  VIOLIN.  By  BASIL  ALTHAUS.  Folio, 
3s.  net. 

ADVANCED  MODERN  VIOLIN  TECHNICS. 

TONAL  SCALES  AND  ARPEGGIOS  FOR  VIOLIN.  Intro- 
ductory  to  the  Unusual  Intonation  and  Finger-group- 
ing of  Advanced  Modern  Music.  By  SYDNEY  TWINN. 
4to,  3s.  net. 

MANDOLINE  TUTOR.  By  H.  ^URNET.  A  Simple  and 
Easy  Method  to  Attain  Proficiency  Rapidly  without  a 
Master.  Folio,  2s.  6d.  net. 

Also   DIAGRAM     OF    THE  MANDOLINE    FINGER-BOARD, 

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ORGAN  SCHOOL  by  C.  RINK.  (See  Organ  section  of  this 
Catalogue.) 

GUITAR  TUTOR.  By  H.  JOURNET.  A  Simple  and  Easy 
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ter. Folio,  2s.  6d.  net. 

Also  GUITAR  SCALE.  By  H.  JOURNET.  Two-page  music 
size,  Is.  net. 

THE  VIOLIN  AND  BOW.  A  Treatise  (in  English,  French 
and  German),  with  numerous  Photographic  Illustra- 
tions, supplemented  by  various  Examples  and  Original 
Studies,  by  I.  B.  POZNANSKI.  4s.  net. 


REEVES'  CATALOGUE  OF  MUSIC  AND  MUSICAL  LITER- 
ATURE. Ancient  and  Modern,  Second-Hand  and  New, 
containing  the  Contents  of  Libraries  recently  pur- 
chased, often  with  a  large  quantity  of  Curious,  Scarce 
and  Useful  Music,  such  as  Full  Scores,  Organ  Music, 
Duets,  Trios,  Quartets,  Quintets,  etc.  ;  Tutors,  Histori- 
cal, Theoretical  and  Biographical  Works  in  various 
languages  ;  including  rare  and  out-of-print  works.  This 
Catalogue  sent  post  free  on  request. 


3    38     22 


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IMPORTANT   MUSICAL    WORKS. 

The  Gipsy  in  Music.  By  FRANZ  LISZT.  Englished  for  the  first 
time  by  EDWIN  EVANS,  SENIOR,  and  preceded  by  an  Essay  on  Liszt 
and  his  Work. 

Gipsy  and  Jew,  Two  Wandering  Races. 
Gipsy  Life  in  Relation  to  Art. 
Gipsy  Music  and   Musicians. 

The  result  of  the'  Author's  Life-long  Experiences  and  Investigations 
of  the  Gipsies  and  their  Music.  With  portraits  of  the  Author,  etc., 
2  vols.,  8vo,  bevelled  cloth,  gilt  top,  15 /-  net. 

Reeves'  Dictionary  of  Musical  Biography:  Noteworthy 
Men  and  Women  of  the  Past  and  the  Present.  Edited  by  EDMOND- 
STOUNE  DUNCAN  and  Others.  Crown  8vo,  cloth,  4s.  6d.  net;  paper, 
3s.  6d.  net. 

Musical  Instruments  in  Pictures.  Collection  of  168  full 
page  plates  of  famous  pictures  in  European  Galleries  by  eminent 
masters,  in  which  musical  instruments  figure  (titles  in  English, 
French,  German  and  Italian),  foreword  in  German.  4to,  cloth, 
16s.  6d.  net. 

"THE  IMMORTAL  NINE." 

Beethoven's  Nine  Symphonies  Fully  Described  and  Ana- 
lysed. A  Series  of  Chapters  giving  a  complete  Account  of  Thematic 
Material  and  Auxiliary  Motives  :  an  Analytical  Chart  of  «ach 
Movement;  full  Technical  Descriptions  of  Developments;  Particu- 
lars of  Formal  and  Rhythmic  Features ;  Epitomical  Tables,  -  etc. 
Illustrated  by  637  Musical  Examples.  By  EDWIN  EVANS,  SENIOR, 
author  of  "  Handbook  to  the  Vocal  Works  of  Brahms,"  etc.  Cloth, 
Vol.  I  (Nos.  1  to  5),  10s.  6d.  net;  Vol.  II  (Nos.  6  to  9),  10s.  6d.  net. 

The  ByrcS  Organ  Book,  for  Piano  or  Organ.  A  Collection  of  21 
Pieces  (Pavans,  Galliards,  etc.),  by  William  Byrd,  1543-1623,  edited 
from  the  Virginal  MSS.  and  now  first  published  in  Modern  Nota- 
tion. By  M.  H.  GLYN.  In  two  books,  3s.  net  each,  or  complete,  5s. 
net. 

About  Elizabethan  Virginal  Music  and  its  Com- 
posers. With  Facsimiles  of  William  Byrd,  John  Bull,  Orlando 
Gibbons  and  Giles  Farnaby.  By  MARGARET  H.  GLYN.  Crown  8vo, 
cloth,  7s.  6d.  net. 

The   Birth  off  Arthur   (Uther  and  Igraine),  Choral  Drama.     The 
Libretto  by  R.  R.  BUCKLEY  and  RUTLAND  BOUGHTON.     Is.  6d.  net. 
This  u'ork  was  performed  at  Glastonbury  in  August,  1925,  to  the 

music  of  Rutland  Boughton. 

Easy  Trios,  arranged  from  Classical  Composers,  by  S.  0.  GOLD- 
SMITH. For  Piano,  Violin  and  Violoncello.  Score  and  Parts.  Two 
books,  each  3s.  net. 


3. 

Book 

Scherzino  ( Schumann J;  9.  Song' without  Words,  No.  3  (Mendelssohn'). 

The  Arabic  Musical  Manuscripts  in  the  Bodleian 
Library.  By  H.  G.  FARMER,  M.A.,  author  of  "The  Rise  and 
Development  of  Military  Music,"  and  Editor  of  the  English  Trans- 
lation of  Salvador-Daniel's  "  Music  and  Musical  Instruments  of  the 
Arab."  Other  works  also  stand  to  his  credit.  Plate  of  two  early 
musical  instruments  reproduced  from  early  MSS.  8vo,  sewed,  3s.  net. 

WILLIAM  REEVES        83  CHARING  CROSS  ROAD, 
BOOKSELLER  LIMITED       LONDON,  W.C.2  


IMPORTANT  MUSICAL    WORKS. 


Violinist's  Encyclopaedic  Dictionary,  containing  the  Ex- 
planation of  about  4,000  Words,  Phrases,  Signs,  References,  etc., 
Foreign,  as  well  as  English,  used  in  the  Study  of  the  Violin,  and 
also  by  String  Players  generally.  By  F.  B.  EMERY,  M.A.  New  and 
enlarged  edition,  doubled  in  size.  246  pp.,  crown  8vo,  cloth,  6s. 
net ;  paper  covers,  4s.  6d.  net ;  (or  on  India  paper  and  bound  in  red 
pegamoid,  roundea  edges,  6s.  6d.  net,  suitable  for  student  or  travel). 

Concise  Method  of  Instrumentation.  How  to  Write  for 
the  Orchestra  and  Arrange  an  Orchestral  or  Band  Score.  Illus- 
trated with  Musical  Examples  and  various  large  folding  Charts, 
with  Index.  By  EDWIN  EA^ANS,  SENIOR,  author  of  "  Beethoven's 
Nine  Symphonies  Fully  Described  and  Analysed,"  etc.  8vo,  cloth. 
Vol.  I/7s.  6d.  net:  Vol.  II  (?  ).  Vol.  I.  How  to  Write  for  Strings. 
Arrangement  of  Scoring  and  Preparation  of  Parts.  With  charts! 
Vol.  II.  How  to  Write  for  Wood,  Brass  and  Drums,  and  Arrange  a 
Band  Score.  With  charts. 

Theory  of   Music  for  Young:  Musicians.     With  Answers 

given  to  all  the  Questions,  and  a  Dictionary  of  necessary  Musical 

Terms.    By  MARY  SHARP.    Limp  cloth,  Is.  6d.  net;  paper  covers,  Is. 

net. 
1O2    Test    Questions   on   the   General    Rudiments   of 

Music.     In  Groups  of  Six  for  each  Lesson,  for  Written  or  Oral 

Use.     By  WILSON   MANHIRB,    F.T.C.L.,   L.R.A.M.,   A.R.C.M.    and 

L.G.S.M.     4d.  net. 
Trio  for  Pf.,  Vn.  and  'Cello.    Beethoven's  Celebrated  Minuet  in 

G,  No.  2,  Score  and  Part.     Folio,  2s.  net.     Also  arranged  for  Vn. 

and  Pf.,  2s.  net;  and  Pf.  Solo,  Is.  6d.  net. 
Examination   Test    Questions.     Containing  Spaces  for  the 

Pupils'  Written  Answers.    By  WALTER  L.  TWINNING,  F.R.C.O.    No. 

1.  Musical  Notation  and  Time,  7d.  net.      No.    2.    Formation    of 

Scales,  6d.  net.     Other  numbers  to  follow. 

With  the  Great  Composers.  A  Series  of  Pen  Pictures  exhibit- 
ing in  the  form  of  Interviews  the  Personal  Characteristics  as  Artists 
of  the  World's  great  Tone  Poets :  Beethoven,  Berlioz,  Borodin. 
Cherubim,  Chopin,  Handel,  Haydn,  Liszt,  Mendelssohn,  Mozart, 
Paganini,  Rossini,  Schubert,  Schumann,  Sullivan,  Tchaikovsky, 
Wagner,  Wolf.  By  GERALD  CUMBERLAND.  Portraits  to  each.  Crown 
8vo,  cloth,  7s.  6d.  net. 

Art  of  Violoncello  Playing1.  Complete  Tutor.  By  E.  VAN  DER 
STRAETEN.  Text  in  French  and  English.  4to.  Part  I,  3s.  6d.  net : 
Part  II,  4s.  net. 

The  Artist  at  the  Piano.     Essays  on  the  Art  of  Musical  Inter- 
pretation.     By   GEORGE   WOODHOUSE.      New  and    revised    edition. 
With  Portraits  of  Paderewski  and  the  Author.     8vo,  cloth,  3s.  6d. 
net;  or  paper  covers,  2s.  net. 
Paderewski,    after   reading    the   manuscript    of    this    stimulating 

volume,  wrote:  "The  booklet  is  quite  a  remarkable  work  and  a  really 

valuable  contribution  to  the  philosophy  of  pianistic  art." 

Opera  Stories  of  To-day  and  Yesterday  Retold  Act  by 
Act  (including  Wagner's  "The  Ring"  Operas).    By  EDMONDSTOUNE 
DUNCAN.     Complete,  cloth,  4s.  6d.  net;  or  in  2  vols.,  paper,  Is.  6d. 
net  each. 
A   racy  account  of  the  plots  and.  histories  of  fifty  famous  operas, 

from  Purcell,  Gluck  and  Mozart  to  Richard  Strauss  and  Ethel  Smyth. 

WILLIAM  REEVES       83  CHARING  CROSS  ROAD, 
BOOKSELLER  LIMITED       LONDON,  W.C.2