Canon and Multiple Counterpoint

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SIXTH THOUSAND.

NOVELLO, EWER AND CO.'S MUSIC PRIMERS.

Edited by Sir JOHN STAINER.

Double CounterpointAND

CANONBY

J. FREDERICK BRIDGEHUS. DOC, OXOM,;

ORGANIST AND MASTER OF THE CHORISTERS OF WESTMINSTER ABBEY;PROFESSOR OF HARMONY AND THE ORGAN AT THE NATIONAL TRAINING SCHOOL FOR MUSIC,

KENSINGTON, AND AT THE CRYSTAL PALACE SCHOOL OF ART; LATE ORGANIST OF THECATHEDRAL, AND LECTURER ON HARMONY AND MUSICAL COMPOSITION AT

THE OWENS COLLEGE, MANCHESTER;EXAMINER IN MUSIC TO THE UNIVERSITIES OF OXFORD AND CAMBRIDGE (x888).

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INTRODUCTION.

Those who propose to study Double Counterpoint and Canon

should already have acquired the art of writing the various species

of Simple Counterpoint in four or five parts, together with a

good knowledge of harmony. There seems no reason why the

student who has been through this preliminary work, should be

debarred the use of the resources of modern harmony when

writing his examples. If he has diligently worked at Simple

Counterpoint, with its restricted progressions of melody and har-

mony, he will not fail to feel its good influence, and to apply, as

far as is consistent with the greater ireedom he now enjoys, its

many valuable precepts.

The application of Double Counterpoint and Canon to fugal

writing will, in all probability, be the direction in which the

student will make the first use of his knowledge of this branch of

the art. With this in view the Author has thought it well to

choose many of his examples from works of a fugal character.

Although it is in this style of composition that Double Counter-

point is most used and most necessary, yet it has often been

employed in music not of a fugal character, examples of and

references to which are g^ven in the course of this work, and

many opportunities for its happy introduction will be found by

those who take the pains to master a subject so necessary and

so useful to the true musician.

iv INTRODUCTION.

An effort has been made to avoid all useless and pedantic

rules; but at the same time, for the student, rules are absolutely

necessary, until he -has acquired the knowledge which will

justify him in departing from the strict letter while he is observing

the spirit.

The Author's best thanks are due to Miss Smart, for kindly

allowing him to insert the interesting canon by Mendelssohn,

hitherto unpublished (No. ip of Appendix) ; to F. Locker, Esq., for

bringing to his notice and permitting him to copy from the ori-

ginal MS., the canon by J. S. Bach (No. 9 of Appendix) ; to

Dr. Gladstone for Example 128, together with many valuable

suggestions ; and to James Higgs, Esq., Mus. Bac, for kind

assistance and most useful advice which his well-known acquire-

ments and special studies in this branch of the musical art hav;

rendered invaluable.

The Cuoistees, Westmifstbf Aensr.

Septemoer, ibSi.

CONTENTS.

CHAPTER I. PAOB

Definition of Double Counterpoint—General rules—Double Counter-point in the octave—Examples—Double Counterpoint in thefifteenth—Examples—Subjects to which Double Counterpointsmay be added—Examples of models derived from simple phrase . i—15

CHAPTER II.

Double Counterpoint in the tenth—Examples , - . • • . l6~a4

CHAPTER III.

Double Counterpoint in the twelfth—Examples 25—^33

CHAPTER IV.

Added thirds—Examples 34—3S

CHAPTF" "

Counterpoints invertible in various intervals—Examples . . 39—^45

CHAPTER VI.

Triple and quadruple counterpoints—Examples—Quintuple counter-

point—Example 46—5a

CHAPTER VII.

Imitation—Strict and free—Examples 53—57

CHAPTER VIII.

Imitation by contrary movement — Free — Examples— Strict —Examples— Imitation by augmentation— By diminution— Byaugmentation and contrary motion—By diminution and con-

trary motion—With reversed accents—Examples . . . 58—63

CHAPTER IX.

Partial imitation—Examples—Chorales on vifhich are constructed

imitations 64—75

CHAPTER X.

Canonicalimitation—Origin of term—Examples .... 76—79

VI CONTENTS.

CHAPTER XI. PAOE

Canons : Finite—Infinite—Finite by augmentation—Infinite by aug-

mentation—By diminution— Retrograde—Circular—Examples . 80—gi

CHAPTER XII.

Polymorphous canon—Examples—Sequential canon—Example . 92—96

CHAPTER XIII.

Methods of exhibiting canons—Open—Close—Canon four in two

—

Round 97—100

CHAPTER XIV.

Hints to the Student—To compose a canon—Modulation in canon . loi—102

APPENDIX.

Examplef) of Double Counterpoint io'>—12a

INDEX.

Paraoraph. EXAMPLB.

Added free parts to model for Double Coun-

)

terpoint in tenth . . . . |

Added thirds to models for Double Counter- \point . . . . . j

Addition of accidentals in inversion of modelAddition of accidentals in inversion in the]

- tvirelfth JAntecedentCanon

35-

59, a, b, c; 60, 61,

62, 63, 6429. 30

43 •

80 .

„ circular (per tonos) , .

„ close

„ by diminution . . . •

„ enigmatical ....,, finite

„ finite by augmentation . .

„ infinite by augmentation . .

„ infinite or perpetual .

„ ' „ „ with coda

.

„ open

„ polymorphous ....„ ' retrograde ....„ sequential . . .

CanoniChromatic notes

„ progressions . . .

Clefs prefixed to a close canon .

Contracted parts.....,, subjects ....

Contrary and oblique motion generally 1

employed f

Contrary in Double Counterpoint at the)

tenth ....J

,, motionCounterpoints invertible. in various intervals

ConsequentCrossing of parts

Double Counterpoint . . . •

Double Counterpoints most used .

91

(g6 (note

108

117 to

102

109

96, 97

124

100lOI

13

99.117no to I

103 to 105

"593-29.

,106,

118, 124

3 (notes to !

3 (Sec. 3)

3 (Sec. 3)

34 •

3 (Sec. 3)65 to 7181

3 (Sec. 2)1 .

2 .

107,

Sec. i)

42; 51,6

68 to 74 •

39. c; 40, e

136, 14a

137'33

124, 125129

130. 131126, 127128

137 to 143,

133 to 135..

H3

75 to 81

VI 11 INDEX.

Paragraph. Example.

Double Counterpoint in the octave

„ „ „ iifteenth .

„ „ „ octave displayed 1

at the doubleSve J

„ „ „ octave invertedI

at the fifteenthJ

II 11 1, tenth

.1 I. II twelfth- .

„ „ „ tenth combinedwith thatintheSve

„ „ „ tenth,modeland'inversion at the

same time.

,, „ I, eleventh, thir-

teenth, and fourteenth ...Example of simple model elaborated .

Expansion of parts

Fourth, augmentedFifth, dimmished or minor ....Figures denoting the interval in which a)

canon is made .... J

Fugue in epidiapason . . . .

Fuga ligata

General rules

Hints to attain clearness in canonic writing

How to avoid modulation in a canon .

Imitation

„ by augmentation ....„ „ and diminution,!

combined with contrary motion J

„ by diminution ....„ canonical . . > . .

„ on a chorale ....,. by contrary motion . .

„ free or irregular ....„ in two parts, with independent)

accompaniment . .J

„ partial or periodical .

„ retrograde {per rede ei retro}

or cancrissans ... J

„ reversed accents (per arsin ei tkesin)

,, reverse retrograde

,, strict or regular ....„ on a theme or canto fermo .

Methods of exhibiting canons when writtenModelModifications of terminations in Double)

Copnterpoint in tenth and twelfth JOctave on gccented beat ....Qniission ofaccidentals in inversion ofmodel

)

for Pe»ble ConjiteFpoipt in tenth . /

7 (note), 21

19.

3 (notes to Sec. i),]

25

3 (notes to Sec.i),]

( 41 .

59-

40.

58.

3 (note to Sec

8, 10, 34 (Sec.

8, 10, 34 (Sec.

119

93>94

i2g (Sec126 (Sec,

76.83-

85,

84.88,9190.81 .

79 •

88, 8g, g

87.

86.87.77.7889.117

3 (Sec. i)

29 (note)

14.

29.

I, 2

4),

3.4)127

15 to 2425 to 30

461050; 76,4

62 to 69, 78, 79

37, u, b, c, d, t

41

144, u, b

122, b

III

"3. "4112

iig to 121

105 to no96 to 99

100 to 104

"5

90 to 95116 to iiS

39. 6

INDEX. !x

Origin of the term " canon " . .

Partial or periodic imitation.

Preparation and resolution of seventh in

Double Counterpoint at the twelfth

Progressions by similar motion in DoubleCounterpoint at the tenth

PiOposition .....Quadruple CounterpointQuintuple CounterpointReversed clef and time signatureRiddle Canon ....RoundRule for discovering the inversion of any|

interval (Sir J. Goss) .

Seventh diminishedSimple model from which others are derivedSixth augmentedSixths in Double Counterpoint at the tenth

» I. >, ,> twelfth

Solution

Stretto

Subjects to which counterpoints may be addedSuspension of the second .

,, „ fourth

„ „ seventh .

,, ,, ninth

Table of inversions in the octave

„ „ tenth .

,, „ twelfth

Third, diminishedThirds in Double Counterpoint at the tenth

Triple Counterpoint .

To compose a canon .

Two ways of inverting in the tenth

Unessential note.....Unprepared discords ....Use of three staves in inverting exercises

Usual method of describing canons .

Paragraph.

93

51,52 .

34 (Sec. I, 2, 3)

80 .

72 to 7475103log

126

16 .

i2> 13.34 (Sec,

24.11,34 (Sec. 2,

31 to 33

47. 48, 51log116

1.3

3). 50

36.36. 37.

37

53.54

38,5416.27 .

43.44

31 to 3372 to 74126

28,30

7 •

422 .

9a.

Example.

58,59

41

88

8g133

4137, a, b, c, d,

»

41. 57

32 to 36

4344, 60, 61

44. 47. 4945,61

81 to 87

(38, a,b,c;

\ 40, a. 6, c

DOUBLE COUNTERPOINT & CANON.

i^se;^-!

CHAPTER I.

I. A TWO-PART phrase is said to be in double counterpointwhen both subject's admit of double employment, i.e., when either

may act as upper or lower part ; in other words, when theywill invert :

—

Ex. I.

F*^=r=

DOUBLE COUNTERPOINT AND CANON.

General Rules.

(i.) The two phrases intended for inversion, which together

constitute the model—a convenient term which will be used

henceforth in this work—must never be separated by a greater

interval than that into which fhey are to invert.

In Ex. I the phrases are never more than an octave apart, because they are

designed for double counterpoint in the octave. If this interval were exceededthe parts would not invert. In Ex. 3, a, the interval of an octave is exceeded,

and at b is given what should be the inversion of the same.

i

Ex. 3.

a=PI

<;r n ^SiP^-:J**- 10 II 13

^ SP^ ^3 mIt will be seen that at Ex. 3, i, * * * no inversion takes place ; the parts are

merely contracted, and the effect of both passages, so far as the last two chordsare concerned, is essentially the same (Ex. 4, a, b).

Ex.4.

m-

IZ3Z ma

m10 II ' 13 3 4

Ex. 5, a, is a model for double counterpoint in the tenth (see page 16), in

which at T * this interval (a tenth) is exceeded. An inversion of the model is

given at b. It will be seen that the faults in the model result in the parts beingmerely contracted, not inverted, at the places marked * •.

Ex. 3.

N a Model for d.c. in tenth

Hi\

\- rj*-#

II la -•-

m m ^

GENERAL RULES.

b Inversion.

m -^2

Lower part of model a tenth higher.

>!-- '^J I JjJJN^^ij.jjLaFor a corrected form of the above example see page i8.

Ex. 6, a, is a model for double counterpoint in the twelfth (see page 25) witKsimilar faults. At b it is inverted with the same results.

Ex.6.

M a Model for d.c. in twelfth.

J=¥=f* ' Q

• y--. ^. ^. 13 14

^m^=^^:$=&::t=E

6 Inversion.

ipr^r

:$: It ^P-»-f^

Lower part of model a twelfth higher.&c.^ -.° <-J

-^ ' o

(2.) The parts should not cross in the model.

It will be seen- in Ex. 7, a, b, that the effect of the -intervals marked * * • is

rpractically the same. In this case the intervals marked * * ' in the model a

are expanded, not inverted, at b.

Ex. 7.

gS n rs*—»!-

mg^=^ a^T^"jyr ^^B* I I^Si

4 DOUBLE COUNTERPOINT AND CANON.

(3.) The two subjects forming the model should be well con-

trasted both as to length of notes and melodic progression,

contrary motion being always preferable to similar motion ; the

two parts will thus possess individuality and be easily dis-

tinguished from one another. It is well that they should not

begin together, but that one should enter after a short rest (see

preceding examples).

4. It will, of course, be understood from the Introduction

to this work that the student is not confined to the progressions

and chords used in simple counterpoint in the strict style.

While, however, chromatic progressions and unprepared dis-

cords are available, it must be remembered that the model will

probably be heard alone {i.e., without accompanying parts), andtherefore a somewhat strict rather than free use of such discords

is advisable.

DOUBLE COUNTERPOINT IN THE OCTAVE.

5. The intervals of the fifth and fourth are those which will

most require the student's care when constructing the model.

6. The perfect (or major) fifth, although consonant in the

model, becomes by inversion a discord, viz., a fourth. Thiscondition must therefore be provided for, and as a fourth will

seldom appear upon the accented beat without preparation, the

fifth must conform to this usage (Ex. 8, a, b). Upon the unac-cented beat fifths and fourths are of course often taken withoutpreparation, especially when they occur as passing notes

(Ex. 8, c), or by conjunct movement in at least one of the parts

(Ex. 8, d).

iEx.8.a

3±L uaz=g=^C2= =pzz

=r T=^The bar marked d is not very good in two-part writing.

7. Even upon the accented beat cases may occur where theseintervals maybe used without preparation, particularly when oneof the notes forming the interval is an unessential note. At Ex. 9.a, is an unprepared fourth upon the accented beat, the E inthe upper of the two parts being clearly an unessential- note,—an appoggiatura.

INVERSION IN THE OCTAVE.

^^^1 ^Ex. g.

The above is double counterpoint in the fifteenth or double octave (seepar. 2i).

8. The augmented fourth (Ex. lo, a, b,c) and its inversion, thediminished (or minor) fifth (Ex. lo, d, e, /), may be freely usedon either accented or unaccented beats.

Inversion.

g. The avoidance of consecutive major fifths is of coursenecessary, and the student will understand that consecutivemajor fourths are equally objectionable.

lo. Some authors allow a major fourth, followed by an aug-mented fourth (Ex. II, a), resulting, when inverted, in a majorfifth, followed by a minor (or diminished) fifth (Ex. ii, b); butthese fourths should be avoided unless the model is accompaniedby another part, which renders such harmony unobjectionable

(Ex. II, c).

Ex. II.

gfF^; ll f_tf-H=^ -ljl l;'-<^;

ll

If the first note of the lower part at Ex. ii,b, were dotted, all objection wouldbe removed, as the G would then be a passing note (Ex. ii, d).

II. The augmented sixth (Ex. 12, a) cannot be used because

its inversion, a diminished third (Ex. 12, 6), must be avoided in

two-part writing. •

a h

Ex. 12.

"^-P" jlBSl

6 DOUBI-E COUNTEJlPOmX AND C^NON.

12. The diminished seventh may be used if care be taken in

its resolution, as, for example, if one of the notes forming the

interval be resolved before the other (Ex. 13, a b), or if, resolving

on a fifth, such resolution falls on the unaccented beat ; butthis is not recommended (Ex. 13, c).

Ex. 13.

i A=[Â H iri-

'I r^rW^fZ Ii

"p^^^~p"

13. The diminished seventh should not be resolved upon afifth on the accent (Ex. 14, a), because in its inversion a fourth

results (Ex. 14, b).

•'$ -W=Êx.

14. The octave becomes by inversion an unison, and in this

species of double counterpoint should be .used sparingly, exceptat the beginning and end of the model, or perhaps occasionallyas an unaccented note. It should not be taken by a skip onthe accented beat, especially by similar motion.

15. With the exception of the fourth and fifth, to which specialattention has been called, those intervals which are discords inthe model (the seconds and sevenths) are discords in the inver-sion (becoming sevenths and seconds respectively), and theconcords in the model (the thirds, sixths, and octaves) are con-cords in the inversion, becoming sixths, thirds, and unisonsrespectively.

16. The following table ..shows the result of inversion in theoctave -.

—

Model ...

Inversion

It may perhaps be useful to mention the rule given by Sir J.Goss in his " Rudiments of Harmony," for discovering the inver-sion of any interval [in the octave] by referring to the number g," since each interval when added to its inversion will make up thatnumber." This rjile may, of course, be expanded to apply toinversion in other intervals, the principle being to add one to thenumber of the interval in which the inversion is to be made.Thus, for inversion in the tenth (see par. 27)- each interjâl addedto its inversion will make 11, and for inversion in the twelfth

INVERSION IN THE OCTAVE.

(see pars. 43 and 44) each interval added to its inversion will

make 13 ; the addition of one is necessary, because the central

note on which the inversion turns is counted twice, thus :

—

i f3 + 6 = g.

17. Examples of double counterpoint in the octave are give»'below. Some of the inversions do not appear in the compositionsfrom which they are extracted, in the keys here given. Theinversions of the first few examples which follow are, however,given in the same keys as their respective models, in order that

each counterpoint and its inversion may be more readily seen bythe student. It is not thought necessary to adhere to this plan

'

throughout the work.

i

Ex. 15.

a Model.Handel,

r=^

Oboe Concerto,

^'--L^r

i ^ms^ • d *

$b Inversion. ÎÊ

#-»-tr^ Ê^ t=^ p=s=

Ex. 16.

a Model.

$mHandel. Te Deum in B|?.

âtlî^p^zîzhziT3-

iPH* i Pe^ ?3=

6 Inversion.

T^Tm

gjj?-2_g=

sî

^ izi:

^

Ex. 17.

a Model.lit:


GusTAV Merkel. Organ Fugue.

3^ <s^ * •I*

"rrrcriTis ^ =t=^^lit .JTJPrl^^J^i^

i« 6 Inversion. -a <>•

1:!?::?^:=PP

:e 3z^

iM

&^pgEx. 18.

a Model.Leo. Kyrie.

fe^ ^m fTf

^ -^•r,-r- =^^ P i f frn* f-> • #

.WIl <i* p 1=4^S ^^4

ii Inversion.

^^^^^ !"> ~7rr n r^. * ?t^*

& ^ r? oi^±

Ex ig.

a Model. Haydn. Creation, i

^^kmxTjVj =^

6 Inversion.-\i

:—^,-r-n-

JNVERSIDN IN THE OCTAVE •jg

s m^^

m^ f=w^35ES ^^^ SI

i8. The inversions of the models which follow are given asthey stand in the compositions from which they are extracted.

Ex. 20.

a Model. KiRNBERGER.

h Inversion.

:t-i»The skip of a third at * * is necessary for " tonal " reasons. See Primer on

" Fugue," par. 34.The C at is replaced by B in the movement from which this is taken, for

contextual reasons.

ig. The following model is also double counterpoint in the

octave, although it is, so to speak, accidentally displayed at the

double octave, but that it is not truly in the .fifteenth: is evident

from the fact that the upper part maybe brought down an octave;

or vice versd, without involving any crossing of the parts. In

practical composition it frequently happens that double counter^

point, essentially in the octave, is exhibited both in the modeland its invfersion at the distance of two or even -three octaves.

The difference between this and double counterpoint in the

fifteenth will be seen further on.


Ex. 21.

a Model. From PoRPORA.

pig rjcsz r \\ u ^

•

\f^i±^

#r-=^^^rcr^nr''M " H '1

6 Inversion

^^ r? iR^ feS

aii f7t:frrir-G^f-|fii

20. Still more often, when the model is within the octave, the

inversion is exhibited at the double octave (fifteenth), the upperpart being transposed two octaves lower, or the lower part twooctaves higher, or both parts an octave in opposite directions.

The following (Ex. 22 to 24) are inverted on the latter plan.

Ex. 22.

, a Model, From an Organ Fugue by Albrechtsberger.

|iS ^:t-P—P—^-F^

^ r fif j^r,^ i m

%b Inversion.M^ ;C_i: f I r r-^^F"

INVERSION IN THE FIFTEENTH. II

I

Ex. 23.

a Model. Bach. Art of Fugue.

^^ ^^M^ Ti 6»

i ^rrmrr-n^m:ii>^^E

6 Inversion.

^^m^^Jf¥=^

^ aW^^Si^^Ex. Z4.

a Model.GusTAv Merkel. Organ Fugue in A minor.

b Inversion. ^m i^• I*. f S^^-<' - -ti I i-^g^ =B:

Ftyi r

DOUBLE COUNTERPOINT IN THE FIFTEENTH.

21. Double counterpoint in the fifteenth (double octave) is

essentially the same as double counterpoint in the octave, except

that the wider interval (two octaves instead of one) allows

greater scope for the two parts forming the model. Although, as

was said in par. 20, double counterpoint in the octave is often

inverted at the double octave (fifteenth), the upper part of the

model being transposed two Octaves lower, or the lower part two

octaves higher, or both parts an octave in opposite directions, it

fz DOUBLE COUNTERPOINT. ANt> CANiON.

should be observed that a model for double countei point in the

fifteenth cannot be contracted so as to invert in the octave^

Some examples of double counterpoint in the fifteenth are given

below :

—

i

Ex 25.

a Model.Beethoven. Et vitam, Mass in D.000 ^ o \ir} -rj-

te^ :Phe: \' Arv ffSE ^

mb Inversion.

3E^ Mr f f f f

m-^W^r I r 1^^

F4=4=±

ifi fi f-i^# ^^

I

Ex. 26.

a Model.JOMELLi. Requiem.

J; ^i> -J-h f=r=miM

¥=F^^

iJ Inversion.

:k ^F=F=*: =t=F^^ ^^ ^ °v_^* ' g>-

ssfefc^ 32= =pz;

Ex. 27.a Model. Marthji.

INVERSION IN THE FIFTEENTH I3k

i6 Inversion.

I J . ipn^^t--^ m1 •! * -•i.

:ft

Pi^^ 'r Ti

* -ftr ^t=i=t ^&c.

^rrrl^"-^s =t=t==F+=Ft=&âThe rest at • takes the place of the note D in the model, Martini evidently

regarding the figure given in the inversion as the real counter-subject. The Dappears in another part when the model is inverted.^

• Ex. 28.

, a Model. Handel.

$ ^^r^rif-Hg^&c.

b y> - r-*

42-

im pcs :^ ^6 Inversion.

i=k :?2Z:Ê ^:?2-

&ci

r r- r 'hÛm^^feÊx. 2g.

io Model.-f3- n^^rf

Haydn.^ ^^"X^

fr^^^j:^ r-rr(

J Inversion.

^b''(M,rjj-^feff^^^

Hrufc ^ :^ 3^^^^ ^£^

H DOUBLE COUNTERPOINT AND CANON.

Ex. 30.

a Model.

, n -^- ^^ ...rjjMartini.

a iI i Bâ

^fe1^b Inversion. ^^^^ffil

r""£r^-'^'

ê ^l^gAt * a slight alteration of the counter-subject leads to a contraction of the

paits, the lower being brought an octave nearer the upper than its properposition by inversion in the fifteenth. The possibility of this arises from the

fact that the model was at this point within the limit of an octave.

22. The Student should now construct models of doublecounterpoint in the octave and fifteenth by the aid of the

precepts and examples already given. It will be found advisable

to use three staves in the way indicated in Ex. 31, as we are

thus enabled to see readily what the intervals in the modelbecome when inverted. The two uppier staves of Ex. 31 containthe model ; the two lower its inversion in the octave :

—

Model.

Inversion.

i EE ^Întervals ]

in the Model. 3 4

i =F7=P Întervalsinverted.

^S7

Subjects to which Double Counterpoints may be added.

23. For those who at first find it difficult to construct , 6o<Asubjects forming the model, a few subjects are appended, to

which double counterpoints may be added.Ex. 32. _ J. F. B.

Ex. 33-

SUBJECTS, AND VARIED MODEL. 15

Albrechtsbeeger.

Ex. 34. Telemann.

iîÊx. 35.

S -Âlbrechtsberger.

Ex. 36. Handel.

Û^rrHc^r u T ^' ^f p f=t

24. When first constructing original models the student needonly venture upon simple phrases, to be afterwards ornamentedand elaborated in various ways. Ex. 37, a, is a very simple modelfor double counterpoint in the octave. Ex. 37, h, c, d, e, are model*in all essential particulars derived from Ex. 37, aa

Ex. 37.a J. F. B.

i 3!-77-

T ^P^=f=

iu-^-^^ teÊ

Tf r tfT^'ûirrir^ r-T^-

i- rS

f-^ tf

=E±f i=t^ Î- r 7^-p—

p

_P

—

r r r

iaj^ <>•

The varied model at b is formed chiefly by the aid of passing and auxiliary

notes ; at <: by adopting a sequential form in the upper part, and introducing

a chromatic note in the lower part; at d and e by exceeding the limits of

the original model, and in the latter case also by modulating to the sub-

^bminant at bar 2. The models at b and c axe for inversion in the octave,

those at d and e for inversion in the fifteenth.

CHAPTER II,

DOUBLE COUNTERPOINT IN THE TENTH.

25. Although taken next in order, this counterpoint by itself

is by no means next in value, inversion in the twefth being used

far more frequently. There is, however, an incidental variety of

double counterpoint in the tenth, combined with that in the

octave, of considerable value and interest, which will be fully,

treated of further on. (See par. 59.)26. The general ruleson pages2,3,and4 must be borne in mind.

27. When the subjects are inverted in the tenth above orbelow, the consonances in the model change into other con-

sonances, thus :

—

Model 10 8 6 5 3 I

Inversion i 3 5 6 8 10

and the dissonances into other dissonances, thus :

—

Model g 7 4 2Inversion 2 4 7 g

28. By the use of three staves as suggested in par. 22, the

student will easily discover the inversions which the intervals in

the model involve (see also par. 16). This method, however,will show only one inversion, whereas there are two ways of

inverting a model for double counterpoint in the tenth, the twoinversions differing considerably in their effect. This will be

best seen from an example.Ex. 38, a, is a model ; b shows the inversion of the upper

part a tenth below, c the inversion of the lower part a tenth

above, both inversions being rendered in accordance with the

signature of the model.

Ex. 38.

M a Model. Albrechtsberger.

t sr dLi^ ) I* ^ 3 t

i;

b Inversion.

i iEUpp^ paTt a*ten^ bllow^ i1

INVERSION IN THE TENTH. J7

i14;=^ ^

Lower part a tenth above.

i =e=q^- =p=i= ^Eii;;^

29. Such inversions will often be satisfactory enough, but if

the model contains chromatic notes, or notes inducing modu-lation, the result in the inversions will generally be that somemodification of one or other of the parts will be necessary. Insome cases this may be by the omission of an accidental employed

'

in the model, in others by the addition of an accidental.

Ex. 39, a, is a model commencing in C major and modulating to,

G by the F sharp marked * ; 6 is one of the inversions, the acci-

dental being omitted at *; c is another inversion containing an

additional accidental at *.

Ex. 39.a Model.

^^

i8 DOUBLE COUNTERPOINT AND CANON.

30. At par. 28 it was said there were two ways of inverting a

model for double counterpoint in the tenth, the higher part being

.put down a tenth lower, or the lower part a tenth higher. Butthese inversions may be arrived at by other processes, somesubjects inverting more agreeably in one way than in another.

Ex. 40, a, is a model for inversion in the tenth :

—

Ex. 40.

P«-r i3=P ' ^Jlj^» s » -*-»-

^g ^-i-r-r

At h the model (a) is inverted by taking the lower part an octave

higher and the upper part a third lower :

—

h

fs s» »Lower part an octave higker.

Upper part a third lower.

t-^-^^^ £= d * ^^At t the same model is inverted by taking the lower part athird higher and the upper part an octave lower :

—

K ^^ ^Lower part a third higher.

Upper part an octave lower,

fe¥ s F=^ W^m ^Notice the numerous accidentals necessary to render the inversion satis-

factory. The usefulness of this method of inversion for the purposes ofmodulation in fiigal writing is obvious.

31. As thirds become octaves when inverted, they must notbe used consecutively. Sixths become fifths and follow thesame rule, but in some cases (see par. 34 (3), and Ex. 41, A,

t, f) consecutive sixths are possible.

INVERSION IN THE TENTH. '9

32. Even single thirds and sixths must be used with judgment,remembering that in the inversion they become octaves andfifths respectively, and, however taken, they of necessity render

the harmony somewhat bare. A reference to Ex. 40 will showthis.

33. We should not approach these intervals by similar motionin two parts, if by inversion objectionable hidden octaves andfifths are produced.

34. It is apparent from par. 31 that contrary and oblique motionmust be generally employed. A few progressions, however, wherethe parts niave by similar motion may be used, viz.

—

(i) AwwyB i fourth, followed by an augmented fourth (Ex. 41,a), becoming in the inversion, by the aid of accidentals (see

par. 29), a minor seventh, followed by a diminished seventh (Ex.

41, b, c).

(2) A perfect «)Mttfi^r fifth, followed by a diminished owiminorfifth (Ex. 41, d), becoming in the inversion a major sixth, fol-

lowed by an augmented sixth (Ex. 41, e), or a minor sixth,

followed by a major sixth (Ex. 41,/) :

—

Ex. 41.

Lower part atenth above.

Model.

Upper part atenth below.

^- U '^ ^

^m^-l^lMs^jpl

r T f-

Observe the different effect produced by the two inversions (see par. 28).

(3) It is obvious that a minor seventh, followed by a diminishedseventh (Ex. 41, b and c), producing the fourths at a, and thesixths at e and/, producing the fifths at d, are equally allowable.

35. In a two-part phrase these progressions, particularly thefourths, should be avoided. If, however, other parts are pro-ceeding at the same moment with the counterpoint, they mayniore readily be admitted, their imperfections being at leasthidden if not made good. The questionable progressions inEx. 41 are given in Ex. 42 with an added free part.


Ex. 42Fourths with lower

free part.

Fifths with lowerfree part.

Sevenths with inner

free part

36. The suspensions of the second and fourth occur only in

the lower part, i.e., the note causing either discord must be

prepared and resolved in the lowest part. The second must not

be prepared by a third as at Ex. 43, a, or hidden octaves \yill be

produced when the passage is inverted (b). The second may be

prepared by the unison (c), fifth (rf), or sixth {e). The hidden

octaves produced by the inversion of d and e could be softened

in effect by suitable accompanying harmonies. (See small

notes.)

Ex. 43.

Inversion.

Model.

m m^mi ^ <^

1

i 3E ^ ^37. As has been seen in Ex. 41 certain fourths and sevenths

are admissible without preparation, particularly the dominant

and diminished sevenths, with their inversions the major and

augmented fourths. But a suspension of the fourth takes place

only in the lower part (as was said in par. 36), and is generally

resolved into a fifth or sixth (Ex. 44, a, b, c). The suspension of

the seventh will occur in the upper part, and will resolve into

a sixth or fifth (Ex. 44, d, e,f):—

,6, . ... -^Q-ljT^ujm^j^ 1f^rn^rj^rr4 5

76 73 754 & 4 &

38. The progressions contained in the two upper staves of

Ex. 43, c, d, e, show the preparation and resolution of the

suspended ninth. It should be added that when the ninth falls

to its note of resolution, the lower part may rise a third {i.e., to

INVERSION IN THE TENTH. 21

the first inversion of the chord on which the ninth would resolve,

Ex. 45, a), or a fourth {i.e., to another chord—a triad on the

fourth above—Ex. 45, b):—Ex. 45.

±

T r r9

zpz^-b

39. The following are examples of double counterpoint in

the tenth :

—

Ex. 46.

Model.

Schneider.

W'T'~=rf^~w~i \ T T \ ^ T ^ r~r

—


Ex. 48.

a Model.A. F. C. KoLLMAtW.

îI [O -e-

&c.

^^ :^^^^^ S TT5T1ai^TK;^ *

i6 Inversion.

Hb-

—

sI

I=1=

-i -*- ^Lower part a tenth higher.^ ::^czKc:Sja^,St^L <!' P =g

I^^c Inversion,

Upper part a third lower.

Ex. 49.u. Model..

^^ Â. F. C. KOLLMANN.

-p^îr^trrr,

r=^^'f I <oE

r*^^ r i r>>:^^=F ^^ T<* • P

-

=t=t:

i6 Inversion. ^ -TT

i=FFF= BS m ' »

Lower part a tenth higher.

L In Ex. 49, a, the suspended seventh at • is resolved (ornamentally) into afifth (see par. 37).

\ ii

INVERSION IN THE TENTH. 83

Ex. 50.

a Model, Albrechtsberoer.^ ^=P2=»

I

-0—0-4--m—J—I

^-m^iF=F :4=r:±3z ^ •

b Inversion.

i q?=«:b' (', r ^F=r rf-P^-d:=1=1=

=tii zs:t:

-m—0-m^^ ±S.2?-=!=iiB

; The parts move in thirds here (Ex. 50, a, * *) which necessitates a slight

alteration when the parts are inverted, to avoid consecutive octaves (seepar. 31). I

40. In double counterpoint at the tenth it is often possible to

use an inversion of one of the subjects at the same time with the

model, thus giving a three-part phrase. Here follow someexamples :

—

Ex. 51. Schneider. '

MODEI..

Inversion.

t=t=

&%wrrH-\m =r^:pa=1=1=

Ex. 52.

Model.

Inversion.

a ^:f^-0-^

Ii

I

Reicha.

^mJ * p" ZC2Z


g^g^ =P=P^ I1

I

$ n=t:

II I^ =P=I?:=l=t

The following inversion is obtained by taking the lower part a third higher^

and the upper part an octave lower. An added part, such as is suggested in

small notes at * would remove all objection to the inversion :

—

b

Inversion.

^ ^1^1; (: - r^H^^ 4=t

T3~

=P-

» I ^m -p-

% rip=t:

I

Another important example of this counterpoint will be found in Ex. 76, c.

CHAPTER III.

DOUBLE CpUNTERPOINT IN THE TWELFTH.

41. Double counterpoint in the twelfth is, in point of useful-ness, next to double counterpoint in the octave.

42. The rules on pages 2, 3, and 4 must be remembered.'

43. When the subjects are inverted in the twelfth above orbelow, all the dissonances change into other dissonances exceptthe seventh, which becomes a sixth.

Model

Inversion

4

9Concord

6

9

4

44. All the consonances change into other consonances exceptthe sixth which becomes a seventh.

Model


46. As the third becomes a tenth, and vice versa, these in-

tervals can be readily used, and may be taken by similar motion.

For the other intervals contrary and oblique motion will be found

generally necessary.

47. The sixth when inverted becomes a seventh, and will often

require preparation. The preparation and resolution must bein the lower part, as this becomes the dissonance when inverted

(Ex. 54, a,b).

Ex. 54, ' a b

Model, -

Inversion.

znt: m

^ 32 ~r?~IZSZ

^ ^7 6

4:

, When, however, the sixth inverts into a dominant or diminishedseventh, preparation is not necessary. It may also be used as a

yassing note.

48. Two sixths (Ex. 55, a) which by inversion produce a

minor -seventh followed by a diminished seventh (Ex. 55, b) maybe used.

From Marpurq, ed. by Choron.b

Ex. 5S.

^^=i=

INVERSION IN THE TWELFTH. 27

- 50. The augmented sixth producing by inversion; a dimit)ished

seventh needs no preparation (Ex. 57).

Ex. 57. „ ^Inversion.

Model.

e

$ S ^mz =t=

51. The sixth does- not usually (see, however, next paragraph)prepare a seventh in the upper pari, as it is itself a discord wheninverted. The seventh maybe prepared by any concord exceptthe sixth {i.e., by the third, fifth, octave, or tenth), and the noteto which the seventh falls generally rises a second (Ex. 58, a) orfourth (Ex. 58, 6), i.e., it takes the usual progression of the bass ofchord of the seventh, which it becomes when inverted.

Ex. 58.

Inversion..

- . (

Model.

It -rr-

S m zz i7

zz:

7

32:

7 6

-e»

—

2z:

52. The following example (from Kirnberger) shows that asixth may occasionally prepare a seventh. In this case, the

latter being resolved ornamentally, does not follow the progression

suggested in par. 51,

Ex. 59.

Model.

Inversion.

Kirnberger.^mi -^

^'J 1.J- w

^ p

as DOUBLE COUNTERPOINT AND CAKON.

S3. The suspended fourth (in the upper part), when inverted,

;

becomes a suspended second.

Ex. 60.

Model.

Inversion. -

$m-

^ .g- -^ ^i

-cr-

54. The suspended ninth (also in the upper part) becomes by

inversion a suspended fourth, falling to a iifth (Ex. 61, a). This

harmony is so bare that the suspension is best avoided in the

model unless there are accompanying parts. If this be the case,

the ninth may sometimes be taken without preparation. (Ex. 61,

b.c.)

Ex. 61.

INVERSION.

Model.

,^1 -«t- J JRiCHTER. H

s ^9 8

55. Some examples of double counterpoint in the twelfth are

given below.

Ex. 62.

a Model. KiRNBERGER.^ m qtqt=S=p:

^S I I I I N»J- !^^


b Inversion.^ m^^ =PC5: f ,

pr^^=p \ \ \

Ex. 63.

Inversion.

Model.

Reicha.

i^^^f^^

Lower part a twelfth higher.^f:*—I- â

5.V ^'tvSJ-^ J 2- i y

1=t± rt i: SIT=p:

There is also this inversion, which Reicha has omitted togive :—

c Inversion. _

—

m fJTr. r F n:p=f= ^S*=t:

'^V, r r r rrr

=*^ rH^lf:rir rip^ ^Êx. 64.

itâa Model. No. 47 of Bach's 48 Preludes and Fugues.

f^Taap ?=e:P h

•M.^mb Inversion. ^3Z

Upper part a fifth lower.'^Lower part an octave higher.

^fttt


Ex. 63.a Model.

liAm-0 HS '—

Handel.

=^* ^^£B

P=e=p^

The sequential sevenths at* * become sixths in the inversion (see par. 49).

b Inversion.

t\U'. .^"^"Ti^^ -^=w^!

'I

Ex. 66.

a Model. •

ii J r-1

Handel.

'is m^£-^ Ui'iLBt-TV?@f3^

b Inversion.

i^ i=i:

The two sixths in the model (Ex. 66, a, * *) would produce consecutive',sevenths in the inversion. Handel, however, departs from the strict inversionof the model at this point (Ex. 66, 6, * *).

56. Ex. 67 is an interesting specimen of the use of this

"counterpoint. The model and its inversion are shown in lai^etype.

INVERSION IN THE TWELFTH. 5.1

Ex.67. From " The White Delightsome Swan,"

Madrigal by Orazio Vecchi (1589).'

S ^ -W • m-

and har mo-ny divine,

IISE 3:

\ ^ ' \\ X

» j-

and har - mo-ny di-vine, and har - mo-ny di

te ;te£W^

vme. and har • mo - ny di-vine,

^^ =t:

har - mo-ny di-vine, blest

vine,

i md d

vine, and har -mo-ny di-vine blest thoughts in - spi

I1= ^^r^3

vine, and har -mo-ny di-vine blest thoughts in - spi

life

i-rr--J31

thoughts ppi

mf

and.

32

i


ring, blest

iMf

w ^=^=^

- ring.

i ^and har - mo -ny di - vine, di

^and har - mo - ny di-vine, di - vine, and har - mo^ ;fe¥^

nng. and har - mo-ny di - vine and

^ ^-p-^r-i<=^

har - mo-ny di - vine. and har - mo - ny di

i-rr

thoughts spi

I=^ ^=X

iand har - mo - ny di - vine

Efe^ :t

ny di-vine and har - mony di - vine

i =p=^ ^=har - mo-ny di-vine - and har - mo - ny di^^ ^vine and har - mo-ny divine blest thoughtg


Pring spi nng.m ^ ^ gi

I

«-

blest thoughts in - spi ring.

gblest thoughts in spi ring.

i ^^blest thoughts in spi nng.

spi - ring

57. Ex. 78 (from Mozart's " Requiem") also shows an ad-

mirable use of this counterpoint. See also Ex. 79 (Albrechts-

berger).

58. Double counterpoint in the remaining intervals, viz.,

ninth, eleventh, thirteenth, and fourteenth, being of little or no

use, is not treated of here ; but the student can of course work out

such exercises if he so desires. If the plan of using three staves

(par. 22) be followed, he will readily perceive what is possible

in a model designed for inversion.

CHAPTER IV.

ADDED THIRDS.

eq Before proceeding to triple and quadruple counterpoint,

consisting respectively of three or four different subjects capable

of inversion, a method of supplementing the parts of a model

for double coUntetpoirit must be coifsidered. This consists of a

duplication of one or both subjects in the third above, or m some

cases below. In order that the model shall allow of the addition

of thirds, the following precautions will be necessary in its

original construction, in addition to the rules already given :— .

(fl.) Use only oblique or contrary motion.

(6.) Dissonances can only occur as passing notes, not as

essential notes.

(c.^ The same kind of interval must not occur upon successive ac-

cented notes ; thirds, sixths (also fifths for inversion in the tenth

and twelfth), and octaves being taken, as far as possible, alternately.

60. In double counterpoint in the octave, thirds above or sixths

below, either subject may. be used. According to. Albrechts-

berger, thirds helow are also available ; but the effect is not very

good, qn account of the uncertain tonality induced.

Ex. 68, a, b, c, d, e, f, is, a model for inversion in the octave,

thus treated. Of course sixths below, instead of thirds above,

might be written, and the student may so arrange it.

^^- ^8- Albrbchtsbergeh.Model.

i=P2= T^S -•^•4=

^S:^:^

W3=C

^fFF S

i6 Inversion. ^ :P=T!=P- S * sV *

=p=i ;

o=Ui:

Thirds added to the upper part :

—

c

i ^ 1 Bz «=g-4-"pl-i-^W—I—i

—

1

—

:g=EE ^ IS

S=P: £^t

:^i?EV, r f f ^

ADDED THIRDS. 35

' Thirds added to the lower part. (For an explanation of the

altered position of the lower part, see par. 64.)d

i^cgzs rj I 3=±:

The following shows tlie previous example in another andperhaps more effective position :

—

i ^ê^ It=p=i=i=t

m»

\ f m ^ ^TÊÊE ^ ^

i

Thirds added to both parts '.—^

f'

=Pi= i^ tfe=eEEE w

¥=^ -m^ U^^M^^—^tn^^rn

p,

-p-^ ?£: ^-I—

r

61. In double counterpoint in the tenth and twelfth, thirds

below the upper part or above the lower may be freely used.

62. In double counterpoint in the tenth, thirds added accordingto par. 61 are simply the^ inversion of the original parts in thetenth put back an octave.

63. We have seen that in double counterpoint in the tenth andtSveifth both the fifth' and sixth may be used as essential notes

;

but if thirds are to be added below the upper part or above the

lower, to he subsequently inverted with the model, the fifth should


be used in preference to the sixth. Ex. 69, shows a sixth

(with its added third) inverted in the tenth, which produces a

seventh.*

Ex. 69.

Model.

Inversionin the tenth.

P ^ Inversionin the tenth.

i 1 Model.

-A^ a

I

7

^^1r6

Ex. 70, shows a sixth (with its added third) inverted in the

twelfth producing a ninth.

Ex. 70.

Model

Inversionin the twelfth,

irJz

4

Inversionin the twelfth.

f^^f^ Model.

^ I'9

7

|^P=B^1T

G

The crotchets in the above examples show the added thirds.

64. It will be gathered from what has been already said, that

the addition of thirds to the subjects combined in double counter-

point may be effected in a variety of ways. The precepts given

by different authors are exceedingly diverse and perplexing,

although possibly applicable under various conditions. If to the

three important rules for the addition of thirds already given (see

par. 59, a, h, c) we add a fourth, viz., " the general use of conjunct

movement in the model," we shall find ourselves free to make the

addition in question in almost any position, since every discord will

be approached and quitted by step of a second. The positions

of the various subjects and their duplications will depend uponthe particular voices or instruments employed, some positions

being more effective than others. All possible superpositions of

the parts will scarcely be required in the actual composition for-

which the model is intended, and therefore those inversions;

which are least effective, or which entail objectionable points,

may be avoided. The author does not think it necessary to go,

* It is obvious that the addition of a third above the upper or below thelower part of any model containing a fifth also at once produces a sevenths

ADDED THIRDS. 37

into this matter at greater length, since after all only incidental

use is made of this method of adding parts. It is also somewhatopposed to the spirit of good counterpoint, which delights in

contrast. Nevertheless, as will be seen from a few examplesappended, occasions may offer for the effective use of the subjects

(or portions of the subjects) in thirds, particularly when thethirds are added to parts inverting in the octave.

Ex. 71.Model,

No. zo of Bach's 48 Preludes and Fugues.

Inversion of the above in the fifteenth with thirds added belowthe (original) upper part and above the (original) lower part.

In the following example the lower part is the imitation of the

upper by contrary movement. The upper part has added sixths

below it (the inversion of thirds above) for the first two bars,

then thirds below. The lower part has added thirds abpve :

—

iEx. 72.

l^a

-^ r=

r

—

-J u

-^^J. S. Bach.

m O

—

'

=1 J- ^

38' DOUBLE COUNTERPOINT AND CANON'.

Ex. 73, a, is a model for inversion in the octave ; at 6 it is

expanded in the fifteenth, and thirds added to the lower part.

Ex. 73.. From an Anthem by Dr. Greene.

fe =f2= hF

—

W o—A-^

^^$-<. ^4M m—* ^ J I Ii?3

t=t

^ 1, 1

m-teB J—L-^v*^-A-.—

J

-?-rnr < p ^ *^S^=?«=~T

frfe<l- . .TT^g '-J • ^

Ex. 74.

li*^t^Mozart. Variations in A.

I ^f

—

?gii^^ f—^=

^I^h^^^^trf-raj;j»**'*^-frri-s

#i y> ^ —I**** pTi Ll

Tl| III'

kS ^^ :g- -^ -1* ^^

CHAPTER V.

COUNTERPOINTS INVERTIBLE IN VARIOUS INTERVALS.

65. Bv the addition of thirds to a model for double counterpoint in the octave (see par. 60) such model becomes available

for inversion, either in the octave or the tenth. It is possible

also to construct models which will invert in the octave andtwelfth, and even in the octave, tenth, and twelfth.

66. If a model is to invert in both octave (or fifteenth)

and tenth, the rules in par. 59 (for the addition of thirds) will

apply. We may, however, depart slightly from the strict rule

against using similar motion. For instance, a third may befollowed by a sixth, entailing a hidden fifth when the subjects

are inverted in the tenth. (Ex. 75, a, b, * *,)

Ex. 75.a

Model. .

Inversionin the

octave.

^^


izzfci^"pc


67. But anything objectionable in this point can be easily

mitigated by the accompanying parts, and one of the two subjects

may be placed in an inner part, where hidden fifths are of little

or no consequence. (Ex. 75, c.)

Free Part.


wPT^-r i*Sfc

^fcm =p=

B8. See also tlie following example, which inverts in the

fifteenth and tenth. The sixth at the beginning of bar 2 is

practically approached by-similar motion from a third, the E in the

lower part in the previous bar being a passing note, (Ex. 76,

«. * *•)

Ex. 76.a Model.

i£ i^ J .

rrr}rj^l^^Bach.

4BB =t: 5ts* afp—i w^"—

r

6 Inversion in the fifteenth.

F H

iB g =0• <j

I

zzafeiS^ *

±^ T1 *:• ?«^©=(:rjj! p * s '—

Ir

i« Inversion in the (double) tenth.

S =t33= ^- rv

I =f -^^^ =i^5t-#-s-»

^'

b<' r

I

J

^ nr»- f^ ai=^ *±^ -I*-©-

The effect ofthe hidden fifth at Ex. 76, c, • *, is much softened by the interposed'

Test at the beginning of the second bar. When also the inversion is accom-

INVERSION IN VARIOUS INTERVALS. 41

panied by free parts every objection to the progression is removed. See thefollowing example of the use of the above double counterpoint in Bach's!' Art of Fugue":—

Ex. 77. Bach.

i^=5=S^^ fe:^-^^EEBI I "i

|Q_

^! J !

.rrJ ^ J \ M -I

—

-±-^r^

^^ffli^B^S 3=4=1: -H'4=

it -f-M-

<y

m Ea-•-P-^

Observe the accidental (not to be found in the model) before the first note in

the tenor.

69. In a model for inversion in the octave (or fifteenth) and

Welfth, consecutive thirds and tenths may be used. Here is a

fine example from Mozart's " Requiem " (Ex. 78, a.)

42 DOUBLE COUNTERPOINT A«D CANON.

Mozart.

i ^^ :^==4-

3=^1 N:

MS ^^ ii=t^

tfnr J. J-

J

-^ N-

r-

^^ gSit=n^ ^^ -I H^h

i /J ; ;; > j >^=p^ ::P=:J^-•—*-

r r r r r iT ^u c/ * ^u, p r~r^^

tI^^^t^


The whole passage is, however, inverted in the twelfth in thekey of the relative major. (See d.)

d

$n^=F-=fM ^±

s SF^SF^^^rz3z*

P=i^i^!^^-i^:^ .

^^ Itat g^^^The student should observe the sixth (*) in the model, resulting in an

unprepared (dominant) seventh when inverted in the twelfth (Ex. 78, d, ')t-

Notice'also the accidentals introduced in the inversion given m Ex. 78, c.

70. The following is a good example of a model for inversion

in the fifteenth and twelfth :

—

Ex. 79.

MbfimAlbrechtsberger.

i mIfeEr~rr

f-r^r r^fCr\jr^rn^i

mInversion in the fifteenth.

i££: ^J 4 ^J4^B^^^^ f I p> ^[ I

p. ^pInversion in the twelfth.


71. Models for inversion in the octave (or fifteenth), tenth,

and twelfth, must consist exclusively of contrary or oblique

motion. The effect of the inversions in the three intervals maynot be equally good, but as we should probably only use those in

the tenth and twelfth when accompanying parts are present,

objectionable points may be softened, if not entirely hidden.

Few subjects are capable of such manifold inversion without free

use of accidentals. Subjects which move conjunctly will be the

best for these various inversions. In any case both parts of the

,

model should not move by skip at the same moment, even in

opposite directions. Here are some examples of models which

invert in the octave (or fifteenth), tenth, and twelfth. (Ex. 80,.

a, b, c, d, and Ex. 81, a, b, c, d.)

Ex. 80.

a Model.

ieS f?f' .

-n~n ALobe.

JTt-j:s

=^=T^r

i Inversion in the fifteenth

J-- > '). ^^-TT^

'txrr

e Inversion in the tenth,

jaiTn

i

d Inversion in the twelfth.

-i- J^. istisr s^f^SzJ T' ^^


Ex, 8 1.

Inversion .

In the octave.

Model.

I1^

KOLLMANN;

^ :ft

m^ t=zz: -m—

,

iJT-^ .'.iTTta

^^^^rrrr rjif i

2tl33:EE ~=~F~g^^^feff^^ :

Inversion.

in the tenth.

. Inversion.in the tvrelfth.

^'-Jj;i

J^-Ji^rrj.' 'iri

CHAPTER VL

TRIPLE AND QUADRUPLE COUNTERPOINTS.

72. Triple" and quadruple counterpoints in their mo'st effective

forms result from the combination of three or four distinct

subjects, each standing to each in the relation of a double

counterpoint in the octave, and therefore ekch available as an

upper, inner, or lower part. The combined subjects forming the

model may appear altogether, but the most effective plan is to

introduce the various subjects singly from time to time in the

course of the composition, fresh interest being imparted with

every new subject, and the hearer being familiarised with each

preparatory to their ultimate employment in combination andinversion.

73. To construct a model such as this, the rules already given

for double counterpoint in the octave must be observed, especial

care being taken to

—

(a.) Contrast the subjects as much as possible, letting thementer one after another.

(6.) Generally we should avoid the fifth from the root of a

tfiad or chord of the seventh, because when in turn it appears in

the lowest part, the resulting | or ^ is likely to be embarrassing.

If the fifth be used it must progress in a manner proper to the

bass of a second inversion {i.e., a | or |), which it mayultimately become.

The above rule also applies to the third in a chord of the sixth, which is, of

course, the fifth from the root.

(c.) The rule (page 3) against crossing the parts may be dis-

regarded for the sake of a good vigorous subject.

74. Three subjects designed for inversion in the octave will

allow six different combinations of the parts. Four subjects will

give twenty-four different combinations. All may not be equally

effective, but all will scarcely be required. The best method of

testing such models is to place each subject in turn in the bass.

This most readily discloses taults.

Some examples are appended.

TRIPLE AND QUADRUPLE COUNTES.POINT. 47

Ex. 82, a, b, c, d, e,/, shows the subjects, and all the possible inversions, ofBach's fugue in C|: minor, No. 4 of the 48. In the original the various inver-sions are not always in the positions and keys here given, but this form will,

perhaps, make the matter clearer to the student.

Ex. 82.

i111

No. 4 of Bach's 48 Preludes and' Fugues.

lis I^Jp f~l-f=l^ i

st*#-nr rjj l\ HT. II lXIirXj^^TSi

ps I^^^

I«BE iS

4—

^

* ^

^rimLm &c.

^r &c.

¥^mî s f » mW'r-dîi:

ilifriÎS H

iM^ll&c. &c.

^^- nrrrrrrr'n^221

fct/r rij J,

.T^^.JJJ1Is i

^Sr &c.^

4a DOUBLE COUNTERPOINT AND CANON.

It is not thought necessary to give all the possible inversions of the following

examples ; indeed, as vifas suggested in par. 74, all have not been used by the

several composers in the compositions from which these extracts are taken,.

The student may with advantage work out those inversions not given.

Ex. 83. Handel. Chorus firom Anthem, " The Lord is my light.'

i±î p p ^^\^-^/^

And speak prais

[t,.>,.rf.|^tr,-frrr.r|7rr. l

rfr ,.^^Ând speak prais

i^s rt

Un to the Lord, un to the Lord.

i

^r[rfiÎ a^gâ

I

i ?^r^ :ft=pj

^£^^£^^ d=b

r-rr-r.B l£=e:

^ ^ ^* In the original there is a slight variation from the strict inversion at

this point.

i

Ex. 84. ^

i>=^^ mTRIPLE COUNTERPOINT. 4.9

Bach. Organ Fugue in G mloWk

J M ^

—

m-m~m—

'

'—'—^-S ' #î> :3i=Kxr.221

^^==t %-^^^?:f-:r ^-

:t:- -rfrf-f î^s II I I I-i=t

¥=^^¥^*i ^=ii^r ^^

£j'[-y'i "r^r-

^j mTiuim^^=^êtfc

i ^^^^^^^^^^r^^ ' f# f . f -U—

n

3tz:4z

^S-lj:^ C£ifrL^r ^>

:?2Z ^^^HF^

frVf^rJ^^TT^J-t>'^ -1 i r

Ê ^^ r—'

-r f^^ T=¥=

5° DOUBLE COUNTERPOINT AND CANON.

i

Ex. 8s.a

J. F. Bridge.

^^^T^=^ijj /:3i''- 'J

dSi r i

i-ir ^ J-

i ^T Fm r '^

-» s43:

i^=^z:

i^

TRIPLE COUNTERPOINT. 51

-Pi.-

=?2=

' ^ •--.^—I r1 =4 PP^:t=t-*—

#

V:^

'^^m

in-J J:T r~g^^

i^ ^ *I ^ f » M

Ex. 86. No. 3 of Bach's 48 Preludes and Fugues.

gasii


Ex. 87. Cherubini.

i$^ -^

f men»

Ex. 88. Quadruple.

CHAPTER VIL

IMITATION.

76. The interest imparted to music by imitation, and thefrequent and happy use of it by all good composers, will not haveescaped the notice of the student. The ancient contrapuntistsdevoted much study to this branch of their art, and have left

many excellent examples, though some of them may be lookedupon as specimens of intricate and clever wforkmanship ratherthan as satisfactory and interesting musical compositions. Thatall these properties may exist in one and the same composition will

be apparent from the study of some of the canons appended.

Imitation is an essential of all Fugal Counterpoint and thatmost important part of a Fugue, the Stretto, affords an oppor-tunity for the introduction of devices drawn from the subject andanswer by the use of imitation more or less intricate. This is sofully treated of in the Primer on Fugue * that it would be super-

fluous to give any great consideration to it, or examples of it,

here. An explanation of the terms applied to the different

varieties of imitation, with short examples of each, is all that

will be necessary, particularly as specimens of most, if not all,

of them will be found among the canons which follow.

77. The same melodic figure may be imitated, Le., repeated, in

-the unison, or in any other interval, above or below, by anotherpart, or by any number of parts. When the steps of the melodyare unchanged, the imitation is called Strict, or Regular. Imita-tion in the unison, or octave, is of this character:

—

Ex. go. J. F. B.

i ^ s-+i^

^m rfftr r 1- St Ete =ts

78. Imitation in the fourth or fifth (above or below) is easily

unade strict, the scales differing but in one note.

See Primer on Fugue, by James Higgs.


Ex. gi.

For imitation in the fourth or

eleventh above.

For imitation in the fifth or

twfelfth below^.

=^-»—*-

iFor imitation in the fifth or

twelfth above. . ^—For imitation in the fourth or

eleventh below.

=*:=«=

-*-- *

zMzSat

Ex. g2 to 95 show strict imitation in the above intervals.

Ex. 92. In the fifth above. J. F. B.

HflF

IMITATION. 55

Ex. 94. In the fourth above. J. F. B.

FfF"

56 DOUBLE COUKTERPOINT AND CANON.

Ex. .97. In the third above. J. F. B.

E =t==1= .^J ^ • o~

Ss p J » ?2=^Ex. g8. In the sixth above. J. F. B.

m 53:I

II

i I-i '

I

Ex. gg. In the seventh above.

I=Pl=t±

. J. F. B.

rEitt

^^^^=1=-^-•-

:t3Cj3t ?2=

i*3* -#-T»

=?3=

.t'^pftrffitr^n^ ^*-r«-^r-^The following examples of imitation in various intervals between two parts,

while a third has an independent accompaniment, cannot fail to interest the

student.

Ex. 100.

Imitation in the octave below.From Bach's 30 Variations.

am J' J ."r±Vlr JV 'iU zSz

^^ r• r

L-f

—

rM ^^rtijr-

1

-^ r2v

J .^i?,-'^ Jir=W^j &C,

r -1 r

IMITATION. 57

Ex. roi.

In the second above.

i1—«^

-a:

fcrrCi-H-;fflg ±:^^Sl^

Ex. 102.

In the third below.

iq=ZTi _-i:^rj3j_-•—

a

^-

?^^ I?-

Ife =^g^

lazfjE

,^^&c.

^ 4-=r-.- -f-I

p—

I

g-

Ex. 103.

In the sixth above.

.JT":^ b.L&^ :?^-Lpi

:i£fc_ H*- ^&c.

^r?=&^

Ex. {04.

In the seventh above.

&s^

^W^==p ? ^ ^i:r

CHAPTER VIII.

IMITATION (continued).

80. Imitation does not merely include the reproduction of the

antecedent or proposition—the term applied to the whole part

sung by the leading voice*—on the same or dif5ferent notes of

the scale, in notes of the same value, moving by similar degrees,

and in the same direction ; though this is the most simple,

common, and useful kind of imitation, and is that, as a rule,

implied when we speak of Imitation by similar motion.

Modiiication of one or more of the features characteristic of a

melody enumerated above, viz., its rhythmical contents [i.e.,

the time value of the notes), the steps by which it progresses

(seconds, thirds, or larger intervals), and the direction it takes

(whether up or down) will introduce various forms of imitation

which will now be explained.

imitation by contrary movement.

81. Every movement of the antecedent is here reversed. Whereit ascends the imitative part (or consequent, as it is termed)

descends, or vice versa. There are two methods of effecting

this imitation.

(i.) It may be free, beginning at any interval, and simply

moving by similar degrees of the stave in contrary motion to the

antecedent.

In Ex, 105, the imitation is by contrary motion at the octave below.

Ex. 105. J. F. B.

i=p=f-"—

r- =g ^IE ^ =t= '4m ^ r

P nr^'J

P*^

IMITATION BY CONTRARY MOVEMENT. 59

In Ex. 106, the imitation is by contrary motion at the fourth below.

From Bach's 30 Variations.Ex. 106.

m PR^ ^^^feSEt) f »^^WmM- ^n^]^

{2.) It may be strrct^-semitone answering to semitone, andtone to tone. In the following scales, the semitones coincide;

and whichever note of either scale begins the antecedent the

companion note in the other scale will begin the consequent.

i PI

i^T=t^

Or an octave lower.

The following is an example of strict imitation according to the abovescheme :

—

Ex. 107. J. F. B.

i=t=t= iM-i-rTHI?z

t==^ it4=t:

^PPZ!±

6o DOUBLE COUKTERPOINT AND CANON.

Ex. io8 is another example of imitation according to the. above scheme.

Being in A major it is of course founded upon the scales given above, trans>

posed to that key, thus :

—

¥=P * J

—

j !

I

^^

i:!**=

^ J- J- >1 I

lit—

t

Or an octave lower.

Cherubini remarks that " each time there is a change of key these given

scales must be taken in the key in which the imitation is made, both for majorand minor modes."

Ex. io8. Clementi. Gradus ad Parnassum.

^^m ^cst

^^^y e sempre legato.

m^^^ ^^^^^g

,IMITATION BY CONTRARY MOVEMENT. 6i

82. Imitation by contrary motion in minor keys cannotgenerally be strict, but is best effected by the aid of the followingscales :

—

I

Ex. log.

a

=t

L-i-j_J-l--^aJB j=J^=4^t^B

It will be seen that the semitones do not exactly coincide in

the above scales. In the descending scale the first semitone is

found between the third and fourth notes, in the ascending scalebetween the second and third. Whenever, therefore, the third

note of either scale is used, the imitation ceases to be strict.

The following is an example of imitation founded upon the scale givenabove (Ex. log, i), transposed to G minor, thus :

—

i ^ ?=^«t:

m^ j_ J Jr1^^From Bach's 30 Variations,


IMITATION BY AUGMENTATION.

83. Here the consequent is in notes of augmented value.

Minims for crotchets, semibreves for minims, &c., or sometimesminims for quavers, &c.

Ex. in. J. F. B.

IMITATION BY DIMINUTION.

84. Here the consequent is in notes of diminished value.

Minims for semibreves, crotchets for minims, &c.

Ex. 112. Lobe.

Jf it—rs—

IMITATION BY DIMINUTION, ETC. 63

IMITATION BY DIMINUTION AND CONTRARY MOTION.

Ex. 114. J. /SJ^,

-^ -î^^r

^7:mz P o-

1^

IMITATION WITH REVERSED ACCENTS.

86. Here the consequent enters upon a different beat from that

on which the antecedent began, i.e., unaccented for accented,

or vice versa. This is said to be per arsin et thesin.*

Ex. 115. Handel. Amen in the Messiah.

?=1=t5t=^ ^

&c.

§lp -•-F-ê ^*^^ "' "i^-

87. There is also retrograde imitation, in which the conser

quent takes the antecedent backwards, i.e., from end to begin-

ning, termed per recte et retro, or cancrizaris (crab-like), andreverse retrograde—a combination of retrograde and contrary

motion ; but little practical use can be made of these forms.

* Canons which answer by inversion («'.«., the consequent ascending wherethe antecedent descends, or vice versd) are also said to be êr arsin et thesiitt,

(See Appendix.)

CHAPTER IX.

PARTIAL IMITATION.

88. These various methods may be used to effect Luth partial

(also called periodical) and canonical imitation. Partial imitation

is when only a certain strain or period of a preceding melody is

imitated. Canonical imitation is, strictly speaking, when the

whole preceding melody is imitated throughout. Partial or

periodic imitation is intermittent ; canonical imitation is con-

tinuous.

8g. Partial imitation is now used far more frequently than cano-

nical, the introduction of short points of imitation often addinginterest to a composition which might otherwise be insipid or

dull. In vocal music much use is made of it in choruses, which,

without being strictly fugal, are by this means made more con-

trapujital in character. The various kinds of imitation already

explained may be combined, one or more of the parts imitating

by contrary motion even when the others have answered bysimilar motion ; or some may enter by augmentation or diminu-

tion. If it is not possible for every part to imitate the completephrase, yet all may often enter with the first few notes, and thus

preserve a semblance of imitation. Frequently also, though the

general form of the phrase is preserved, the intervals are muchaltered, thirds answering seconds, fifths answering sevenths, &c.

;

these variations from the exact repetition of the phrase of course

rendering the introduction of so-called points of imitation more easy.

The student should practise the working out of various imita^

tions in two parts, afterwards passing on to three and four parts.

A good method of practising imitation is by working on a themeor canto fermo. Ex. ii6, 117, 118, are quoted from Cherubini's

Treatise on Counterpoint and Fugue. The student should endea-

vour to construct other imitations on these two subjects.

Ex. 116. Cherubini.»•:>

=?i=i=^^ SP »it=z|=

i t^-

Imitation in tlie unison.

=^=-^ *| J f^ = -»-*-

^^ *3S= ^ *#: BiE

[

|d3EÎMITATION ON CANTI FERMI. 65

t^-jzr p—'g-

eE^

i?-ri*~ j-j-|î.a^^^

^ i|=*; dist =H!=tt:|1°ft:

Ex. 117. Free part. Cherubini.

£: ^^^9-» m o

iMr =i=F=o •

m II

I

J^=2lJ- -Hsfr^

i -•-F- ?2Z4=t:

Imitation in the second above.

s -!S S^- T''• »:

Z2Z

W: IM I

:tl=tt Ê


*fr -g3 • Ft=t^

iF ' m F ICZiL *it

I

i

I

! I

ri~~rrrrrrr^ g^ flgfF

i 41*:^4^ dM^ ^Mi^ =P=S:

i -HeH- ^ ^ P rj 1 ! |eff

©3= **: *=tt=4Pit =P[f

Ex. Ii8.

^mCherubini.

ferrrrr^Imitation in the fifth below.

±i^

T^

Imitation in the seventh below.

m^ =pa=

m'

I NI ^Ty

=fHt

tf^^

IMITATION ON CHORALES. 67

i ^^ iwt- r-^ -^—f=^^•-*=-

jj^^tfrrj; Mhi IZ2I i±

^ •-P- ^-^

tHt liMz =H=*:^ **go. Chorales are very suitable as themes on which to construct

imitations. The chorale may be placed in any part, and theimitations may be founded on some part of tho subject, or on anoriginal theme. The chorale may enter at the beginning of themovement, or after a bar or two. A break may be made betweenthe phrases of the chorale, the imitation being thus at these pointsbrought into greater prominence. The point to be imitated neednot be of great length ; indeed it will be found that a phrase ofa short distinctive character will more readily lend itself to thekind of work proposed for the student. Ex. 119 is a specimen ofthis method of imitation, the point

1=S^

appearing frequently both above and below the canto fermo, some-times also by inversion,

i^S ^

and even being introduced between the phrases of the cantofermo. See Ex. 119, a, b, c, d.

Ex. iig. Rink.

pm^m-T\''^[^-

"

Cc^Canto fermo. tr

m^^}=^

5^ ^^^I*


I . • :t:^g =F=^

^^'^"T-F=^^Frf=^=f[^=q=F^^^^^ ^'^J^J,J

Ij^ * j-^*= •

^ 1 r^^1—p-

^M^TT^^r r > 1 r^

i ffi* J *

2

^ 3t ^ r

^—P^-F^ =1 I *f7

FTTf I f If»i^rip ^^


Seltefe: i"^ i p ,—r^ige: ^ni!5

m^

•!•

-f^-^- ^^^^ 'r^=r

i^sz *-"-»I I

@i?1^ 1 r-

^i ^^^^^^=^^^^^^^

* =t=t*z

Ex. 120 is a good specimen of Bach's treatment of a chorale

with imitations. Each phrase of the canto fermo (in the soprano)

is taken as a " point " for imitation by the other parts, the

method pursued being that referred to in the early part of par. 90.


Ex. 120. Canto fermo.Bach.

=P2=arFjFfF

Im ^1" ^ i^ ?=i^^ * \ r —^-^^^55

M'^^r^^r r

-m _f ^H-ft^I !

^^ fi^^^rsismzf^

^ ?3Z-?2=

i^ E^^g^F^^ r 1 ^-

l-r^Mrf^]^B i> • f^ 3=1=3==t=t: he:*:

-i—!—I-

fc^^:j:4]=^^b'j, uij^^^

izar& ^

iBE rPfTPf ^ ::?sp

^JJJT^^TO i35tatitat =it:it

ifcufe fTW I I , r-p=g^ffr^ H,'-rT-t^=^

^^p^.^^^il>^^g^-rrg^^^^*


i w-

nJ-' bJ j-

*=?3tjtii^^i^iSt

=H:

fcufe H*-!*-q*=P=

T=t:r-j-r-

S ^ f -^J^=feEJE -Pei=t

ifcfc

iT ' :

N!^ it*:=t ' ^*'^

3Ci3t: ^feufeP^^gr'^rf nL^rarTL' I r r r'i,'=r=^^

^^J^^

i^:ri:r i"hJ ^' [Tj-

gs

if;f=f=

^^^^^^^^^^^^g-r ^^

ZSZM.

I

'

, 1

^ r 1 lS' i uP.K< f >

^ » "•I—I—

—

\u=t ^5^

72 DOUBLE COUNTERPOINT AND ÂNON.

^p'Ki}.^. j:P\FTh ji ] I

i

M=^fttVj n; i ^ i> 11 ^rt^ ^^î^

?^^T^ :^^3 1^ 1 r - -t^^^g:^:^

i^ =f2=

sb ," r ^^ =f=»=

1 '—H- a^6¥ ^5:! I

^^ '^-^4-^3^

I&

i^ I—i I ^*l* #J *CJ^ ^ pi^

gfcE 5î> r u ^^~^^=^\n ^ ^


rt T?~

-8>1 l-J^ ^;^i=q= ^^=F

d—r-i£at:

i*=^ =1=3= Sitii*-d •

I ^ 1^ ^P » P

« :t=tFtS^ =fc=fi»^ *-

Ex. 121 is a portion of another chorale (too long for quotation

in its entirety), accompanied by many interesting points of imi-

tation.

Ex. 121.

Soprano.Bach.

PAlto.

t=^i J J I J-- ^J

feTenor.

=?^-pc 3i:

Bass.

E&-f^-T^

Basso Continuo.^•S

H

i


Canto fermo.

^i =#»^=t ^=ttf—^>-

Fr=?=/'-a^ ^^^1-•—!«- ^=r=t

@= 4=t

^^ S 3=F -^—»-^ »

iq=^3±:° .

--J-

^^F -i^—*-EEE

^^1^i=»=p=4=t:

^ f r> tr-t f

e^=n=i

ii -7-j- -P-iM-

^^^


$T^ f^=t=t:

^^ ^iiS -J-r-td-^-f3-

i -^ » „ I WI

gj-a^ ^^

1^=FF ^^f > P =I

I

I*

^^^^ f a PF=rT^^ ' • <j

^ T7- -p-

—

It—

^2:1: ^ I J ^-^^ I Q rJ

H J^r i r "ritatit: -* ^ Q —JT^

Sa:^^ S^c ;5=^:?2Z

^^ ^^-I

. I &c.

The student should endeavour to construct imitations in the

style of Ex. iig, 120, 121, on some suitable chorales.

CHAPTER X.

CANONICAL IMITATION.

- 91. In paragraph 88, it was said, "Canonical imitation is,

strictly speaking, when the whole preceding melody is imitated

throughout.* Partial or periodic imitation is intermittent ; canoni-

cal imitation is continuous." In a canon the imitation may enter

at any point, may be in any interval, and in any number of parts.

All the various methods of imitation before explained may beapplied to canon, and the different parts of the same canon may3be written in imitation of various kinds. If desired, only someof the parts may -be in canon, the others being free, completingthe harmony. There may also be more than one antecedent or

subject and frequently two, three, and sometimes four are used,

each being imitated by one or more parts in various intervals.

92. It is usual to describe canons by giving the number of the

parts and subjects (or antecedents). Thus, canon 2 in i meansa canon for two voices or instruments, in which one subject is

used; 3 in 1 having three parts and one subject

; 4 in 2 havingFour parts and two subjects (sometimes termed a double canon),the number of parts being shown by the first figure, the numberof subjects by the second.

93. Of the origin of the term Canon, two explanations are given>—one, deriving it from the Greek word xaviiv, which signifies rule,

the leading phrase, as it were, ruling what shall be performedby those which follow ; the other, from the Canoni, as they aretermed, signs which were used in canons not written in score,

mdicating where the" various following parts entered. (See par.

117). If we consider, however, the form in which this class ofcomposition was at one time exhibited, a better explanation ofthe origin of the term Canon seems possible. What we now call

a canon was termed Fuga Ligata {a fetteredfugue). The variousparts were seldom written in full, only one being given, andall explanations as to the number of parts and the places ofentry, &c., were to be found, not usually in the music (althoughsometimes given there also) ; but in a preceding sentence called"the canon" {i.e., rule by which the composition was to beunravelled).

• It is obvious that the whole antecedent cannot well be imitated in canonily augmentation, and even in finite canons generally.

CANONICAL IMlTAtlON. '

yy

.94. The following remarks and examples are quoted from anold work,* in which Fuga Ligata is explained :—" Sometimesthey write only the Principal, and prefix a Title, declaring boththe distance of the Reply and the time when it comes in (addingafterwards in his due place the mark of his close) which Title theMusicians call Canon, as in this example of Calvisius."

Ex. 122, a. " The Canon is :—Fuga in Epidiapjison, seuoctava superiore, post duo Tempora (Brevia non-seroifcrevia).'*

Ex. 122.

fJ |o ez3tS~r3~

-7?~fc=^== —

I

m ^i ^ 33r22Z =?=a: =S=F: ¥=^g=^=^

i ^ I I Ifc:^ o •

iiV^—d- /•J o -yd- i?*

Ex. 122, 6 (explanation): The Canon is:—A Fugue in Epi-diapason, or higher octave, after two times, or bars (breves, notsemibreves);

Ex. 122.

b

ir-o c^

6 ^-t-o o a \ c^- d'


$ ^ -I—«.-

i^gt=Z2=r> tJz

=PJ=

i*=t: Eg=?=:P2= aCstat

^=^:i^ -^ I ^ « '>

:t:t:

P *4: ^ 3^^fc=^ :?2= =P=^=fe^ Zt :«=*:

:t

Ex. 123, a. "The Canon is:—Fuga 5 vocum, in Tertia

superiore, post Tempus."Ex. 1 23.

It

1^II H

'"-^ ' ^' Ht=&: =pz:

3i: ^ -^ _ s>- I&—p*-:&c.

Ex. 123, b (explanation) : The Canon is :—A Fugue of five

voices, in the higher third, after a time, or bar.

Ex. 123.

bmims 4E

^i

=p=

if^-H-el--?2=

3d:

-Q

CANONICAL IMITATION. 79

-^Ziziz

-G> r -> g3=

ri

-^ r-* —s>- -e>—f2_ ^o ^J-

-s^ -f^^ ,^

tf..

95. From these remarks and examples it is clear that the

term "Canon" is derived from the fact that a canon or rule of per-

formance always preceded a " Fuga Ligata." The latter term has

fallen out of. use, and the word Canon been substituted.

CHAPTER XL

FINITE CANON.

96. Canons are divided into Finite and Infinite or perpetual.*

97. A Finite canon generally concludes with a coda, the canon-ical imitation being discontinued (see Ex. 124), or the parts mayconclude one by one in the order in which they began (see Ex.

Ex. 124. Mozart. Quintet for Wind Instruments.^ '-»^ ^ £Ez£p p

^^ :?2= ^^^i^^ -f ffTfr^^^^r^

fcfc: 5^ =ti=t:

^S ^» f r ^y * pc»

ft

f>'!. fTf^n

Coda.^ H^^

^^^ ^Eff^ I I IT^

* By some authors called " circular," but this term seems more suited to thecanons which induce modulation and make the circuit of the keys. (See Ex, 136.)

FINITE CANON.

Ex. 125.

a 81:

Beethoven.

m 'rj-

§S ^

idtn^ r f i hJ i:^^=st

rT~in^ =15=

^ -!^ -f-

f=t=h^^

Both the above examples have accompanjring parts which, hovirever, it is notthought necessary to give here. Other examples will be found in the Appendix.

g8. An Infinite or perpetual canon does not come to animmediate and regular conclusion, but on the termination of the

antecedent a repetition is made by this part to the beginning, or

to a sign (X) the other following parts completing their points'

of imitation, and in turn repeating. The terminating chord is

indicated by a pause, or the word " fine." See the following

well-known canon 3 in i :

—

Ex. 126.

K Byrde.

e Ig:P2-\i rJT

fcufe

Non no - bis, Do -mi - ne, non

1 /^N

i^ T3~ ^^^

w^Non no - bis, Do - mi - ne, non

Non

^no - bis,


m=?2-

I I

bis sed no - mi - ni

-*—0-

o da

=t=t:-PC

- bis sed no-mi-nt^ tn

Do - mi - ne, non bis sed

S i:

I

glo ri - am, sed no -mi- ni tu -

ii==t-ts-

m.\> r r-

da glo ri

^&-fc

sed nomi-ni

:P2: t==t^^±:i

no - mi - ni tu o da glo - ri - am.

y=b r> .o F=;;X;

I^^ o r->

o da glo - ri - am. Non no- bis, Do - mi'

e =t=3=32Z

o da glo - ri - am. Non no - bis,

^£fc3^' I M

sed no-mi - ni o da glo - ri - am.

- The following is a good example. There is no indicationof the terminating chord in the priginal, but it might occurat bars four and five,* "as here giveii :

—

,

* " The pause willsometimes be found over notes which are not placed undereach other. When that happens those notes which first have the pause are'severallj to be held on till the others copv* in."—Horsley.

Ex. 127.

INFINITE CANON. 83^

Simon Ives (died 1662).

11= =fv=Ps=

Lift up . your hearts . , and re-joice,

l-M-4- -N—>-m -.»—

^

=P5= tZtLift up , . your hearts . . and re'-joice, Praise the

Stfc^ -.©-=- Ît

Lift up your hearts. and re-joice, Praise

=1=^ S=Ê^:?= ^ Î

Praise the Lord with cheer - ful voice. Christ our

fIfB

CF=5==F=»;tÊ

Lord with cheer - ful voice, Christ our Cap - tain and our

m^ =t= E^ * p'•'•[>'

. . the Lord with cheer - ful voice. Christ our Cap - tain

Captain and our head, He is ris - en from the dead, Lift up ,

i -p-d- ^ -» s If:

-Jizzmz:r—^ i

mhead, He is ris - en from the dead. Lift up

—^-f—=FEe= £=^ =£ y^~iri=3t

. your hearts

Q- -

and our head, He is ris - en from the dead, Lift up your


gg. Sometimes when there is no convenient resting place a

coda is added to an infinite canon, as in Ex. 128 :

—

Ex. 128. X F. E. Gladstone, Mus. Doc.

i ^ ^ ~i* »- m1^ x=t

^m iS 5=t

w T" r tTj^LTf^ 1=ita=

-r rf-' tf\f^»r-^

'K Coda.

^m:&?E5:pc^

m^^^- rf Q -77~

. For other examples of infinite canons see Appendix.

100. A finite canon by augmentation cannot, of necessity, beof any great length, as the consequent being in notes of at least

double the length of those in the antecedent, is soon left so far

behind as to be devoid of imitative eifect. The consequent oftenstarts at the same 'time as the antecedent or after a very shortrest. It is obvious that the latter part of the consequent must ofnecessity be free, i.e., not intended. for imitation.

FINITE AND INFINITE CANON BY AUGMENTATION. 85

Ex. 129 is part of an organ movement too long to quote in its entirety, butwhich the student will do well to examine. The canon (by augmentation) is

between the first and third parts.

Ex. 129. J. S. Bach (Vol. V. of Organ Works.)

Manual.

Sirm

Pedal.

EEE

101. An infinite canon by augmentation is more difficult to

construct, and an important point in its working must be noticed.

As with finite (see par. 100), so here, the consequent often starts

at the same moment as the antecedent,* or after a very short

rest, and the end of the antecedent is reached, when the conse-

quent (having notes of double the length) has done but one half.

From this point there are two methods of continuing the part

which has the antecedent :

—

(i) It may be repeated in its entirety. To effect this it will be

necessary that from the first every note of the antecedent shall be

• The whole antecedent may of course be taken first, with advantage, as

then the imitation would be more perceptible to the ear. The first two bars of

Ex. 130 might thus be heard alone.


designed to combine with the consequent at two different points

(see Ex. 130).

Ex. 130.

i m Lobe..

m-T^^=i=3=g ^&^^j_jj ^ . ^ I [

-g^riEr^ ^s!=Sfc: =^

^ê +*

i ^5^=?=^ * d • * • ^^—i

^

âcfî^ ^^J

^ :a3f3B=P=f=

=t=t

(2) The antecedent instead of repeating itself may be con-tinued by a free part. Many examples of this more easy methodof imitation by augmentation may be met with, but it is evident

that the essentially canonic character of the composition is some-what interfered with by the interruption of the imitation when thefree part enters (see Ex. 131, bar 6, last note of uppej part).

Ex. 131.* Cooke.

^^ mM O oI S^r-*-

men, A

^ **

(p)\ii^- J:m ^men, A

. * For other examples see Appendix, and also Bach's " Musikalische Opfer,"No. 7.

INFINITE CANON BY AUGMENTATION. 87

^^:k^m^^-A,jp,:. J'-'1.J.4

men, A

i ^men,

m a P- ^4=tmen,

i p=^ ^^^^^^?=^3P^men, A -men, A - men, A

i w^ *3tt=

men,

?^ rrrr r f^ p r^m^men.

i p==?= f=^H^ ^^ »

men, A

^E i6

® or-* ^ 1?^

102. A canon by diminution cannot be of any great length, as

the consequent soon overtakes the antecedent (being in notes cf


only one-half the length), and thus ceases to imitate. The follow-

ing quotation from Emanuel Bach will show this ; the canon is

at first in notes of equal length, and then by diminution :

—

Ex. 132. Emanuel Bach.

li? 'A -1 r r

1

CANON, RECTE ET RETRO. 89

104. The construction of this canon appears extremely simple.Write a counterpoint to the whole of the antecedent, then instead

of letting it stand below in its propei place, add it reversed {i.e.

last note first) to the end of the antecedent and the compositionis complete. But (and here comes the diificulty) the student will

find on trial that passing-notes and discords, effective and inno-

cent enough when standing below as a counterpoint, and sungfrom left to right, will all be displaced and fall on the wrong part

of the bar when sung from right to left in a retrograde canon.

Simpson, in his " Compendium " (London, 1732) on this point, gives a caution

against dotted notes, saying, " In the Retro they if.e. the dots) will stand onthe wrong side of the notes." " Also," he goes on to say, " you must be waryhow you use discords therein, lest in the Revert, or Retro, they hit upon thebeginning instead of the latter part of the note."

105. The following simple example and remarks (also fromSimpson's " Compendium ") will perhaps make the above explana-

tion plainer :

—

Ex. 134. Canon, Recte and Retro.^ I'^=H^ ^FS; i=^r^=3=t^ 23t

Reverted thus-

g H^^ -rJ-!'F \ R-

-ry- -r± tti*

" Either of these alone is a canon of two parts—one part singingforward, the other beginning at the wrong end and singing thenotes backward—the composition whereof is no more than this

which follows " :

—

Ex. 135.

i^ *=t=

i -rrr- -rir ^

-r-i-

3=ti

" Only the end of one part is joined to the end of the other in

a retrograde form."

106. A circular canon (^per tonos) is usually one that modulatesto the key of the note above, the antecedent recommencingevery time a note higher, and, by making the circuit of the keys,

returning to the original key in which it started. The conclusion

go DOUBLE COUNTERPOINT AND CANON.

of the antecedent must lead naturally to the repetition in the newkey, this being the chief difficulty. Sometimes the repetition is

made in some other interval than the note above.

Ex. 136 is a circular canon, each repetition beginning a note

liigher.

Ex. 136. Agostini (1593-1629).

tN^

ENIGMATICAL CANON. gi

time it appears {i.e., at its sixth repetition) it will have reached

the octave of the original model. A circular canon passing

through all the keys can only result when the repetition takes

place at a fourth or fifth higher or lower, or when it proceeds bysemitones.

io8. Ex. 142 is a circular canon of this kind, each repetition

beginning a fourth lower. Sometimes it is necessary to transpose

one or more of the parts an octave higher or lower (see Ex. 142, 6).

109. An enigmatical canon is, as itg name implies, one, the

subject of which gives no qlue to the kind of imitation, or thenumber of parts in which it will work. Old authors were veryfond of setting this " riddle " canon, and for its solution '' it is

frequently necessary to have recourse to inversion, to contrary

motion, to retrograde and inverted retrograde motion, and to

transposition of the clefs ; lastly, it is necessary again to try

semibreve, minim, crotchet, quaver, and other rests, augmen-tation and diminution, etc., and ajl the means that we havepreviously indicated as proper for varying a subject."* Some-times a motto preiceded the canon contiadning a hint as to theproper resolution, or the solution was indicated by a cross, a hand,or other device, with an enigmatical Latin inscription. The dayof such things is now past, and the student is not .advised to

give much time to the elaboration of such useless problems.Bach has, however, left some interesting specimens of the enig»

matical canon in his " Musikalische Opfer," from which Ex. 133is taken, the workifig out of wtiich cannpt fa^l to interest andimprove the student.

* Albrechtsberger.

CHAPTER XII.

POLYMORPHOUS CANON.

1 10. A POLYMORPHOUS canon has an antecedent capable ofmanyforms, all of which will work in canon. As will be seen fromEx. 139, the imitation is sometimes made on a point derived

from the middle of the antecedent, or by some re-arrangement

of the position of the various phrases of which it is composed.Passing notes which were not in the original are sometimesinserted when it appears in an altered form. All the various

antecedents however, should be founded upon the origfinal as

regards harmonic structure. Stolzel has left a celebrated speci-

men of the polymorphous canon, which is worth quoting.

Ex. 137. A Close Canon (see par. 117).

I ^a; 231 FN^5 8 12

The sign § shows the entrance of the various parts. The figures indicate

the distances below the first note of the antecedent (see par. iig) at whicheach part enters.

III. The following is Ex. 137 resolved, i.e., written out at

length :

—

Canon 4 in i.

i 3 =1= ^ J.* r> =^

-p-r. ^F5=

Kin=EE

a6i'

^3S

^?3--^ irrr^-^-^ A. 1

f W o-l

"P"=-^

f-

POLYMORPHOUS CANON. 93

Ex. 138. Antecedent by contrary motion.

Canon 4 in i.

§5 _ §8, § iz

:^=±^.fE32ILBE:?2-

zi: ^The above resolved-

SE

^^ =^ =5=U,^e^^P—r?-

=!=*

4 I--rj-

P:im

i—t-

:p& ^T3~It az

112. In Ex. 139 the antecedent is formed by beginning at barfour of Ex. 138 and introducing passing notes (* * *).

Ex. 139, a. Canon 4 in i,

* * * *

^EB•—«-

* ESP=t

=P2=Mh ^=t

The above resolved

—

i -•—p-

—^«0-KJJ:-A Mgm=isw=i=ii--

Mf=l?^ =S=P-

-U4- 2dziit=*: -G>-^- ^^ rt*

*=?»=

^^-0 ' m—•—

'

itf^^ctzizqe

=P=

^^^ &c.


i

Ex. 139, b. The same by contrary motion,

g Canon 4 ii« i. ^^=P=g=F F==r=^2=ttzzt =£3=

P=d=^=^ ^The above resolved

—

i E^ ^^BE I^Z^.I rr r 'F

^

113. The above are the chief canons to be obtained from this

Jjoly-morphouB subject. But there aie many other possible

changes ; for instance, (i) the accents may be changed, the

above four antecedents beginning at the "second part of the

bar, ifistead of the first (Ex. 140., a, b, c, d) -.-^

i

Ex. 140.

a

i^^E3E <*)] /» r-> J=gg=

m '-yrsr^

$^ P fi

(2) The antecedent may begin on any of the (essential) notesof the originalinstead of the-first (Ex. 141, a, 6, c) :

—

POLYMORPHOUS CANON.Ex. 141.

a

95

t^z:^3E

?3=: ^.l=t

v-f^^^F^;^ 3i:

fi'l'P 3r-ig-Z2 ^ rzi:

114. It can also appear as a four-part circular canon in twoways (Ex. 142, 143). In Ex. 142 the key changes at each return

of the antecedent, the latter beginning every time a fourth lower

(a) or a fifth higher (6). The parts are transposed an octave

in the latter case (see par. 108).

Ex. 142.

iJ. iE -o ^

^^"^ ^+2^

T"

E -J-^ ^J-^^J.

^ ii

lfc^=^


115. In Ex. 143 the antecedent begins every time a note higher,

still remaining in the original key. A sequential canon seems anappropriate term for this species, differing as it does from anordinary circular canon, which continually modulates.

IEx. 143. ^ 3 ^ ÊE Z33Z

=cii=:

"F"-^^—

r

ê

:^=g=

-Âw mUl -A- J- J I ,

=P2= qt=P= s:i=F:

CHAPTER XIII.

CLOSE CANONS.

117. Formerly there were many methods of writing canons,or rather of exhibiting them when written. When a canon wasgiven complete in open score, the term "open canon" wasapplied. It was, however, very usual to write only the principalpart, stating the number of parts for which it was composed, andindicating the various entries by the sign § (see par. 117). Thiswas called a " close canon."

This term must not be taken to indicate a canon in which the consequentfollows very closely upon the antecedent, though this is the sense in which theterm is used in Fugue (see Primer, p. g).

118. Sometimes also all the clefs belonging to the parts com-posing the canon were prefixed thus :

—

'^^=ft-r=#

119. In unravelling canons so written, the student mustremember that the system on which the clefs are prefixed varies

very much. According to Albrechtsberger :

—

" When it is desired that the answer to a canon shall not bemade in the unison, but in the fifth, or octave above or below,*it is usual to place before the time signature all the clefs in

retrograde order.f" It is also usual to indicate the place of

entry by the sign §. Sometimes figures are used to denote the

interval in which the canon is made, and these are placed aboveor below those notes on which the succeeding parts enter."

* And also in other intervals. (See Ex. 123.)

t The clef for the part which entered last was written Jtrst, at the beginningof the stave, the last but one next, and so on, the leading part having its clef

immediately before the first note, and being in no way affected by those whichpreceded it. (See Ex. 123.)


Ex. 144,

a

^-Canon 4 in i.

5 ^m

m =^ ^=g^^ ipz:

1

i^ ^ Si fc^ ^IStej •

" Canons in which the entries are indicated iDy figures may bewritten in one clef. The figures placed above the staff indicatethe intervals above, and those beneath the staff the intervalsbelow. The same observation applies to the sign §.

" The intervals indicated by the figures are always reckonedfrom the first note of the first part (antecedent), and not fromthat note above or below which the figure is placed.* Thus, in

Ex. 144, a, the tenor takes <5 at the figure 5 a fifth above the first

bass note, and the alto enters with C in the octave above at thefigure 8, the treble entering with G at the figure 12. In Ex.144, b, the alto enters with A a fifth below, at the figure 5 ; thetenor with E in the octave below at the figure 8 ; and the basswith A a twelfth below, at the figure 12,"

120. Another method was to give, in addition to the clefs, therequisite rests which every part had to observe before entering-This plan would enable the canon (or rule), and also the mark§ showing the places of entry, to be dispensed with. For aspecimen of this method see Ex. 123.

121. Placing the clefs from right to left, i.e. in retrograde order,seems undoubtedly the oldest systemf, but later writers depart

* Even this has been departed from.

t Morley in his " Plaine and Easie Introduction to PracticaB Musicke

"

(London, 1597), says :—" But the F/rench men and Italians, iiave used a waiethat tho^h there were foure or five partes in one, yet might it be perceived andsung at the first, and the manner thereof is this. Of how manie parts thecanon is, so manie cliefes do they set at the beginning of the verse, stil causingthat which standeth neerest unto the musick, serve for the leading part, thenext towards the left hand, for the next fdlowiog parte, and so consequentU?to the last. But if betweene anie two cliefes you find rests, those belong tothat part, which the cliefe standing next unto them on the left side signifieth-

CLOSE CANONS. 99

from this. Kollman, in his " Essay on Practical Composition "

(London, 1799), arranged the clefs from left to right, in the orderin which each voice entered, thus :

—

Ex. 143. 4 IN I, PER TONOS BX FIFTHS.

*fe ^

rz2^The clefs here given precede a circular canon.

122. The following shows the entry of all the voices in thecanon given above (Ex. 145). It will be seen that the partsenter in the order of the clefs, from left to right.

Ex 146.^^ ^miF$P

1^ ^^ 33t ^^^ =rt *^ -r±- ^^_123. Lobe, in his " Lehrbuch der Musikalischen Komposi-

tion " (Leipzig, i860), and even Albrechtsberger, whose rule wehave quoted (see par. 119), follow the old system of placing theclef of the part which begins immediately before the first note,but the other clefs are placed from left to right, and not in retro-

grade order.

Ex. 147 is a canon by Albrechtsberger, sent by him to Haydn,in which the clefs stand as mentioned above.

Ex. 147.

Canone Perpetuo a 4 Voci, in Hypodiapente, ED Hypodiapason.

mmft

E =P2=^m E

r-^ I*

!

» ^ m


124. The following shows the entry of all the voices in the

above canon :

—

Ex. 148.

iTi—r-f f fi 1- . i-r JT! 1

1 • • r

CHAPTER XIV.

HINTS TO THE STUDENT.

127. To compose a canon we proceed ihus :

—

(i) Write the antecedent up to the point of the entry ofthe consequent.

(2) Transfer this in the proper interval to the part whichhas the consequent.

(3) Continue the antecedent as a counterpoint to theconsequent.

(4) Add this new progression to the consequent, and soon to the end of the movement.

128. If the canon be at the octave or unison there will be little

difficulty, but if the answer is to be strictly at the fourth or fifth,

an accidental will be necessary to make the semitones fall in the

right places. The scales already given (on page 54, will showwhat accidentals are necessary. If we wish to escape modula-tion, we must avoid that particular note in the antecedent, whichrequires the accidental in the consequent.

129. One of the most frequent modulations is to the domi-nant. This employed in a canon and answered at the fifth abovewould lead us to the key of the second dominant, the return fromwhich would prove embarrassing. If however instead of the

harmony of the second dominant we use the minor chord onthe supertonic of the original key, we preserve the key relationship

and materially help the return (see Ex. 128, bar 4).

No difficulty will arise in a canon answered in the fifth above (or

fourth below), if the antecedent modulates towards the subdomi-nant, as the modulation in the consequent leads us back to the

original key (see Ex. 126) ; neither will any difficulty arise if

the antecedent does modulate to the dominant if the consequent

be at the fourth above or fifth below (see Ex. 127, bar 6).

130. To be really effective a canon must be perceptible to the

ear, and not merely to the eye. In a canon 2 in i this is not

difficult to ensure, and the student may easily find many excel-

lent examples to which he may refer.

I02 DOUBLE COUNTERPOINT AND CANON.

131. The following hints may be of assistance to the student

in his efforts to attain desirable clearness in canonic writing :

—

(i) Let the consequent follow the antecedent at a

moderate distance and before its effect on the ear

is weakened. Too long a lead renders the construc-

tion comparatively easy, but detracts from its value

as a canon. On the other hand the closer the canon

the easier is it to make it infinite, and vice versa.

If the canon be in more than two parts it is generally

necessary to let the consequents enter at unequal

distances.

(2) The continuation of the antecedent above or below

the consequent should, if possible, differ from it

rhythmically, for the sake of contrast.

(3)Occasional rests, letting the consequent be heard

between the phrases of the antecedent, will be an

easy and ready means of making the canonic

character of a movement apparent.

(4) In a canon formed on two or more subjects, endea-

vour by all means to contrast these subjects. This

is too often overlooked.

132. Double counterpoint, imitation, and canon, are of uni-

versal value and importance to the musician, not only in fugal

writing—of which they are the very essence—but in every kind

of musical composition.

The Appendix includes examples taken from orchestral and

pianoforte works, and the student will be well rewarded whosearches for and discovers other examples which abound in the

instrumental and vocal works of the great masters. Writingthese artificial combinations will, with diligence and well-

directed practice, become easy, and the young composer whoregards them as a means to an end and not the end itself, will

realise how vastly these studies have expanded his powers.

APPENDIX.

EXAMPLES OF DOUBLE COUNTERPOINT.No. 1.

Meno mosso.

Langsamer. R. Schumann. Kreisleriana.

^mP=Pf'E1tt=fc

'

Lj'

i ^f f^?ff#m

f f Zj- r

1^5^^S?=t a Ss^B^g?2^ 4-3^ t^t-- "r^"—

r

it r

• Preceding Bass inverted in the fifteenth.

104

No. 2.

Coriii in D.

APPENDIX.

Spohr. Overture to " Last Judgment."

i=sViolino I

Viola.

m^ :Sfc J . H'+fCello. Inversion of ist

m^=^-rr-

minto.

M-ITS-

^E

^^ m=^-zrInversion of Cello part.m -irr-

Violin part,

^rj J J J =;1==F$J J J_

\ ^-y-in'

-d Io

No. 3.

Violino I.

Mozart. Overture to " Die Zauberflote.'

APPENDIX. 105

«L^

No. 4. Beethoven. Pianoforte Sonata, Op. 28.

^TrYrM-^^£gf^ ^^J J J.1 ;&c.

S»/-^

U I f ^^

io6 APPENDIX.

No. 3. Violino i. Havdn. From Symphony In D.

m J J3^^^:E3_ ^^^=^

ifeES

Viohno 2.

1^^^m

I f\T'f •--t—t-

F=E

Viola.

P^

iIli=M^^F=*M-^ f=r^^^^PF^

:#*:«: 4r r \f

^-• F-

iJCIi- ^str

J I M

m q^i ES •=p3

'Js=T-rrn =P5:^Sir^-

Cello. ^

XPPEKDIX 107

$

No. 6—ÊXAMPLE OF QUADRUPLE COUNTERPOINT.

J. S. Bach.

fe:

is EEE

m ^ZgZZMZ ^=T: :^=A-

^Ê?E^51

Sfe^^^gl^:^^^?^^^^^•|i:?^?^|i^

IEî^ft«=5î s^^^^sr^

^fÊEt^^!ses:

M^ :=i: :±t^«

¥P^'WM^^^^ '^&

-=^ ^ =tr^P=V^^

-F=*

^ EE^1^=^ ^=Ê^

-* ^ sm^ w=^~-^=1--

The above may be looked upon as a Round, and when all fotir

voices are taking part in it, quadruple counterpoint results.

io8 APPENDIX,

No. 7.—IMITATION AT THE SEVENTH BELOW, AND BY.INVER.SION AT THE SECOND ABOVE.

Mozart, From Symphony in D .

Violino I.

Viola.

jteE ^Cello e Basso,

^%-rT-p^^ ivt- ^SE^

APPENDIX. 109

No. 8.—CANON 4 IN X.

^m Francesco Turini.

^ ^ y » TH=t =t=F

Chris - te e

i P ofcrp:: :^^ ^ frf^ti:^

-n::/^ :i^- le - i-son, lei - son .

% ^rtr-ktJ fo \

fZ

le - i - son.

—J L,

**:^itte- le I - son, e I9 - i - son, e le

The above canon (from Burney's " History,") shows a little variation in themethod of exhibiting a close canon. The clefs here are placed as explained in

;par. 123, but the notes on which the various consequents enter are indicated bya direct (w) instead of figures (see par. iig). Burney says:—"The tenor leads

oil the subject and is answered at the second bar by the soprano in the octave.

At the third bar the bass begins a fifth below the tenor, and is answered at the

fourth bar by the counter-tenor an octave above the bass."

tio APPENDIX.

No. 9.—CANON 4 IN i.

as^^J. S. Bach.

yTT-ry^^ ^ rrE U-^-=-id=

^ 5^^H S«* * #tt=E!t* *-

^^^^SS -^*-

^ 43^K

--^^Û "I

!

^=ib^'-r^ ^ f r ^ *

T M"^^. fLT LîU:

i r J II

I

îq=f; S . m =*z?zi::#*^ * J * *-i^

îSS #-: ^^^r?=r &=^^

^^^ ^^^^=z^^=^

^ Pi*t=?^:^4r I

^' II u

I r f *.^ ^=tT=?r7^ *=rH«5r

^m% il\l::t^-m—0^PPE^^^S ^tis^

^ -•-^R»*-r

^^ Ê^^PÊfe

APPENDIX. Ill

i -i-d^=t2=t± -1^—*.-

u •• f ^

£@^

-f^-im "^T TJ-^1 ^UJ ^

:^'^ ^^^^^ K

1-* a^»-

I r-^—fl:

H

i^ IbV -•-

^ =^ ^^^K^m Em=tf^

^=^j=j=^ qfi ^^^ ji

±i:

The following canon and letter were sent by Mendelssohn to

Sir G. Smart, in fulfilment of a jocular promise to write a Viola

duet for their mutual performance :

—

"The idea of 'the Tenor Duett' presented itself to my coft*

Science, and I felt myself guilty. I would have written it downand sent it to you immediately, but as I do not exactly know in

what style youwould like -it, I think it better to send you first a

specimen, here, in Order to ask' you whether I shall continue it in

¥h€ someway." - .

112 APPENDIX.

No. 10—CANON 2 IN i.

Viola I. (Sir G. Smart.)

We^m =?2= rirrrrrMendelssohn.

it4:

mfViola 2. (F. M. B.) K ^

Z2Z -w—w-~w^ w^=^=^s-r>—y r- ^B '• -1 i

II EztzEzzE

p ^p r ^5^ '/î iI

IT^ îy=^ ^fe :^ PPC

r u L r r ^fffc^^ "^

^î* -F—t^ î:

nr rrHrrrrT=g: ^W^ id—V- -rtt

3E^fr^b-^ L/rrr-f4^'' j

^ n^^^gg :t^r?:1=4=^

iJUe^;u^tT,> , r-f; , iv.-r ^r ."^^fffffitt«=± -I 1

1

^

E^.

/E^¥^^

APPENDIX,

" You see in this mamner it goes to eternity, and perhaps youwould like to have the duett somewhat shorter."

This Letter was received by Sir George Smart, fuly ii, 183 1.

No. II.—CANON, PER ARSIN ET THESIN AND AUGMENTATION.

yt J, S. Smith.

I i^^^m^^SE n> m ^ mW-t^=^=tl

Al-le-lu-jah, Al

X

'^Al

5?z= -ri-

Xle - lu jah, Al le

=1=1=^ A rJ

For the Lord God

P ^ S*3:

i!=F--»-

lu jah, Al le - lu - jah, Al • le lu - jah,

^^ =s=

Om

iK

-•^MK-=t=l=± =t=-w I w

le - lu -jah.

X

6 =pm

Al - ie - lu - jah, Al

^dJ= 32Z

po tent

le - lu

reign

jah.

^meth.

114

im

APPENDIX.

No. la—CANON 4 IN i BY INVERSION.*

H. tuRCELL. From Service in 'B\f.

*ze:t:

^=^ rp:zei; =t:

SHfcitGJo fy be to the Fa ther, and

y * :?=: let

M=^-Glo ry ,be to the Fa -

q=^^ P y lizzac =FiR-^s- 4=t:

Glo - ry be to the Fa ther, and to . . the

^P=* =Pt^rftsfe^sz ^ -*—«L_6L. -i^i UGlo ry be to the Fa - ther, and to

i fc=fc I* Q- :pc^

to the Son, and to the Ho ly Ghost, and

¥=^ ^ :t=t: Xi

P=Fm S d ZEti^M-=^

ther, and to . the Son, and to the Ho^ ^-=P==t=t

Son, and to the Ho - ly Ghost, and to the

=t:^ X m S

the Son, and to the Ho - ly Ghost, and to

ufc=?3=r-* t5>-

the Ho ly Ghost

;

As it

MEE^ZX:.

Ghost, and to the Ho ly Ghost;

i:Ho ly Ghost

;

As it was in the be

the Ho ly Ghost; As it was in

^ * This may be looked upon also as a specimen of 4 in 2, as there are tw6antecedents, although that in the Bass i^ derived from the Tenof by inversion.

APPENDIX.

=t-nEE

VZix:t=t

X-3±: -P—*-

was in the be - gin-ning, is now, and ev - er shall

feE 4—1

—

V»:^^T=rT-»^l=:t utzt=e=t

M=±As it was in the be - gin-ning, is and ev - er

:?3Z

gin-ning, is now, and ev - er shall be. world

q=F^^F £ â 3^Zitzt:

the be - gin-ning, is now, and ev - er shall be,

i i^^»^—ai r r -

^-%*=^ Âbe, world with-out end, men,^ «U F=I^=F=F -f^ ±shall be, world without end.

U tit =pi:

^Îti?.

with-out end, . . men, world with

M-:. r=r^^fciFif^ mmi^=£i -t ±=^world without end. men, world

with-out end, A men, A -

Ii6 APPENDIX.

No. 13.—CANON BY AUGMENTATION AND IN CONTRARY.MOTION.

KiRNBERGER.

^ r f r '^73 1J.i isg^i^s

»^^??^—rr?^ If iu i'^^i J J J .rr

r J ^ J i

No. 14.—CANON BY DIMINUTION AND CONTRARY MOTION.

^^^ ^^ J L

^ -^^ P"^

Ih-

J J ^ *=^^^^3=

K

APPENDIX. 117

Soprano.

Tbnor.

No. 15.—CANON 4 IN 2.*

J. F. Bridge, From ** Mount Moriah," an Oratorio.

Andante con jnoto. »!= 80.

-3^

slaugh - ter, is brought as a lamb to the slaugh - ter, brought

*^ brought as a lamb to the slaugh -ter, is brought as a

iamb to the slaiigh - ter,

lamb to the slaugh - ttr, lamb to the slaugh - ter,

IXJ^ fr rI Hm^^^ c r I J r

'^Iamb to the slaugh -ter, a lamb to the slaugh - ter,

* ThU Canon has an independent orchestral accompaniment.

ii8 APPENDIX.

sheep be - fore her shear - ers is dumb, . , is . . dumb, be

and as a sheep be-fore her shear - ers is

not. H» month, . HtB mouth, He D - pen- efh

'

APPENDIX.

lamb, He IS brought as

i^ ^^as a lamb,

He is brought as a lamb to the slaugh - ter,

tamb, a lamb,

120 APPENDIX.

lamb to the slaugh-ter, is brought as a lamb to the

brought as lamb to the slaugh - ter,

mlamb, He is brought as a

brottgtit, aa n lamb, ' ai

APPENDIX. 121

No. i6.—CANON ^ IN i.'

ON A GROUND BASS.Henry Purcell.

jj-f^-TTr-^£=g=pr^-g^

^^ :^^^- ^s^^^M^ ^^iS^

* From a Manuscript in possession of. C. Taphouse, Esq., by whose kind permission it ,—is now iSEinted. it is believed, for the fir«4 time.

122 APPENDIX.

APPENDIX. 123

124- APPENDIX.

|=^U^|Eg^:^,

f^j . r r\

r r jta=r=rf&i:^-^^#-,^r-

Novello, Ewer & Co.'s Music PrifnersEdited by Dr. Stainer.

PRICE TWO SHILLINGS.

HARMONYBY

D r. staine r.

CONTENTS.Subjects included in the study of Harmony ; Scales, Intervals,

Chords, Progressions—The different kinds of Scales : Diatonic,

Chromatic, Enharmonic— Variety of forms of Minor Scale—Relation of Scales—Diagram of Division of Scales—Key—Relation of Keys—Cycle of Keys—Method of reckoning andnaming Intervals—Major, Minor, and Diminished Intervals—Table of Diminished Sevenths— Simple and Compound Intervals

—Diagram of threefold Division of Intervals—The Construction

of Chords—Common Chords—Rules governing the Succession of

Common Chords—Examples and Exercises,—Inversion of Chords—Figuring of Chords—Distribution of Parts—Treatment ofLeading-Note—Examples and Exercises.—Different kinds ofMotion—Rules governing the filling in of Bass Parts—Examples

and Exercises.—Analysis of Simple Harmony^Chorals to be

Analysed—Chord of the Dominant Seventh—Its inversions—Their figuring and treatment—False relation—Examples andExercises.—Suspensions—Suspension of nine to eight—Inversions

of nine to eight—Examples and Exercises.—Chord of DominantNinth—Its inversions, treatment, and figuring—Examples andExercises.—Suspension of four to three—Its resolutions andinversions—Dominant Eleventh—Its inversions and resolutions—Suspended Leading-Note—Its resolutions and inversions—Exam-ples and Exercises.—Double Suspensions—Triple Suspensions—Examples and Exercises.—Different Triads—Their nature and

treatment—Chords of the Augmented Sixth—Suspension six-four

to five-three on the Tonic—Six to five on Dominant—Neapolitan

Sixth— Passing-Notes, Diatonic and Chromatic— Cadences—

•

Attendant or Relative Keys—Modulation—Exercises.—Conclu-

sion.

NOVELLO. EWER AND CO.'S MUblC PRIMERS.Edited by Dr. STAINER.

A DICTIONARYOF

MUSICAL TERMS,BY

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The Musical Times.

LONDON & NEW YORK: NOVELLO. EWER & CO.

Novellas Original Octavo Rditions of

ORATORIOS, CANTATAS, MASSES,&c.

FRANZ ABT.The Fays' Frolic (Female Voices)SpringtimeSummerThe Golden CityThe Wishing StoneThe Water Fairies

The Silver CloudMinster Bells

(ditto) (Sol-fa,(ditto)(ditto) (Sol-fa,(ditto)(ditto)(ditto)(ditto) ..,

6d.)

6d!)

B. AGUTTER.MissA de Sancto Albano (English) ...

THOMAS ANDERTON.Yule TideThe Norman BaronWreck of the Hesperus (Sol-fa, 4d.)

W. I. ARGENT.Mass, in B flat

P. ARMES.HezekiahSt. John the EvangelistSt. Barnabas

s. d. I

66666666

I 6I oI

The GipsiesEndymion

Stabat Mater

E. ASPA.

ASTORGA.

BACH.Mass in B minorMissa Brevis in aThe Passion (S. Matthew)

Ditto (Abridged as used at St. Pau:The Passion (S.John)Christmas OratorioMagnificatGod goeth up with shoutingGod so loved the worldGod's time is the best (Sol-fa, ed.) ...

My Spirit was in heavinessLIGHT Everlasting

Bide with usA Stronghold sureBe not afraid (Sol-fa, 4d.)

Blessing, Glory, and Wisdom1 wrestle and pray (Sol-fa, 2d.)

Thou Guide of IsraelJbsu, Priceless TreasureWhen will God recall my spiritJesus, now will we praise Thee

J. BARN BY.RsBEKAH (Sol-fa, gd.)

The Lord is King (Psalm 97)

LEONARD BARNES.The Bridal Day

J. F. BARNETT.The Ancient Mariner (Sol-fa, 2s.) ...

The Raising of LazarusParadise and the Peri

BEETHOVEN.The Praise of MusicRuins of Athens ... •••

No. 363. i2;9,/92-

1 6: 6s o

l's) I 6

I oI 6

3 66 6

4 o

I 6

BEETHOVEN—coM^mw^rf. s. d.

Engedi; or, David in the Wilderness ... i oMount of Olives i oMass in C i oCommunion Service in C i 6Mass in D 2The Choral Symphony 2 6

Ditto (the Vocal Portion) i oDitto Sol-fa o 6

The Choral Fantasia (Sol-fa, 3d.) i oA Calm Sea and a Prosperous Voyage ... o 4Meek, as Thou livedst, hast Thou departed o 2

KAREL BENDL.Water-Sprite's Revenge (Female Voices) i o

WILFRED BENDALL.The Lady of Shalott (Female Voices) ... 2 6

Ditto Sol-fa i o

SIR JULIUS BENEDICT.St. Peter 3 *>

The Legend of St. Cecilia (Sol-fa, is. 6d.) z 6Passion Music from St. Peter i fi

SIR W. STERNDALE BENNETT.The May Queen (Sol-fa, is.) 3 6The Woman of Samaria (Sol-fa, js.) ... 4 o

International Exhibition Ode (1862) ... i o

G. R. BETJEMANN.The Song of the Western Men 1 o

W. R. BEXFIELD.Israel Restored 4

JOSIAH BOOTH.The Day of Rest (Female Voices) 2 6

E. M. BOYCE.The Lay of the Bkown Rosary i 6Young Lochinvar i 6

J. BRADFORD.Harvest Cantata i 6

The Song of Jubilee 2 o

Praise the Lord 2

W. F. BRADSHAW.Gaspar Becerra I 6

J. BRAHMS.A Song of Destiny 1 u

CHARLES BRAUN.Sigurd .

Daniel .

RUDEL ,

J. C. BRIDGE.

J. F. BRIDGE.rockofages(latinandenglish)(s0l-fa.4d.) i oMount Moriah 3Boadicea 2 6Callirhoe (Sol-fa, IS. 6d.) 2 6

Nineveh 2 6

The Inchcape Rock i oThe Lord's Prayer i o

DUDLEY BUCK.The Light of Asia 3 o

EDWARD BUNNETT.Out of the Deep (Psalm 130) i o

W. BYRD.Mass for Four Voices (in F minor) 2 ^

CARISSIMLJephthah I o

ORATORIOS, &c.—Continued.

F. D. CARNELL.Supplication

GEORGE CARTER.SiHPONiA Cantata (Psalh iiS)

WILLIAM CARTER.Placida

CHERUBINLRequiem Mass, C minor (Latin and English)Second Mass in D minorThird Mass (Coronation)Fourth Mass in C

E. T. CHIPP.

FREDERICK CORDER.The Bridal of Triermain (Sol-fa, is.)

SIR MICHAEL COSTA.The Dreah

H. COWARD.The Story of Bethany (Sol-fa, is. 6d.)

F. H. COWEN.St. John's Eve (Sol-fa, is. 6d.)A Song of ThanksgivingSleeping Beauty (Sol-fa, is. 6d.)RuTh (Sol-fa, is. 6d.)

J. MAUDE CRAMENT.I WILL MAGNIFY ThEE, O GoD (FsALU I45)

W. CRESER.Budora (A Dramatic Idyl) '.

W. CROTCH.Palestine

W. H. CUMMINGS.The Fairy Ring

W. G. CUSINS.TsDeum

FIELICIEN DAVID.The Desert (Male Voices)

P. H. DIEMER.Bethany

M. E. DOORLY.Lazarus

F. G. DOSSERT.Mass in E minor

ANTONfN DVORAK.St. Ludhila

Ditto (German and Bohemian Words)The Spectre's Bride

Ditto (German and Bohemian Words)Stabat MaterPatriotic Hymn

Ditto (German and Bohemian Words)Requiem Mass

A. E. DYER.Salvator MundiElectra of Sophocles

H. J. EDWARDS.The AscensionThe EpiphanyPraise to the Holiest

ROSALIND F. ELLICOTT.ElysiumThe Birth of Song

HENRY FARMER.Mass in B flat (Latin and English)

MYLES B. FOSTER.The Lady of the IslesThe Angels of the Bells (Female Voices)

Ditto ditto Sol-faThe Bonnie Fishwives (ditto)

s. d.

5

J

21

z

4 o2 O

2 6

1

2 6

2 61 62 6

4 o

2 e

2 6

3 o

2 6

I 6

1 6

4 o

2 6

5

58 o3 o6 o2 61 6

35 o

2 61 6

2 62I 6

I oI 6

I 61 6o 8

2 6

ROBERT FRANZ. ,. i.

Praise ye the Lord (Psalm 117) i

NIELS W. GADE.Psyche (Sol-fa, is. 6d.) 2 6Spring's Message (Sol-fa, 3d.) o 8Erl-Kihg's Daughter (Sol-fa, gd.) i oZiON I oThe Crusaders (Sol-fa, is.) 2 oCOMALA 2 oChristmas Eve (Sol-fa, 4d.) i

HENRY GADSBY.Lord OF THE Isles (Sol-fa, is. 6d.) 2 6Alcestis (Male Voices) 4 aColumbus (ditto) 2 G

G. GARRETT.Harvest Cantata (Sol-fa, 6d.) 1The Shunammite 3 oThe Two Advents i s

R. MACHILL GARTH.The Wild Huntsman i

A. R. GAUL.Joan op Arc (Sol-pa, is.) 2 6Passion Service 2 6Ruth (Sol-fa, gd.) 2The Holy City (Sol-pa, IS.) 2 6Ten Virgins (Sol-fa, is.) 2 6Israel in the Wilderness (Sol-fa, is.) ... 2 6

FR. GERNSHEIM.Salamis. a Triumph Song (Male Voices) i G

F. E. GLADSTONE.Philippi 2 6

GLUCK.Orpheus 3 G

HERMANN GOETZ.By THE Waters OF Babylon (Psalm 137) ... i

NffiNIA I

The Water-Lily (Male Voices) i 6

CH. GOUNOD.Mors et Vita (Latin or English) 6

Ditto, Sol-fa (Latin and English) 2 oThe Redemption (English Words) 5 o

Ditto, Sol-fa 2Ditto (French Words) 8 4Ditto (German Words) 10

Mbsse Solennelle (St. Cecilia) i

Out of Darkness i

Communion Service (Messe Solennelle)... i 6Troisi&me Messe Solennelle 2 6De Profundis (Psalm 130) (Latin Words)... i

Ditto (Out of Darkness) i

The Seven Words of Our Saviour i oDaughters of Jerusalem i

Gallia {Sol-fa, 4d.) i

A. M. GOODHART.Earl Haldan's Daughter „. i oArethusa 3

C. H. GRAUN.The Passion of Our Lord (Der Tod Jesu) 2 oTe Deum 2 o

J. O. GRIMM.The Soul's Aspiration i o

G. HALFORD.The Paraclete 2

HANDEL.Alexander's Feast 2Acis AND Galatea i o

Ditto, New Edition, edited BY J. Barney i

Ditto, ditto. Sol-fa i

Alceste - 2 oSemele

3The Passion3 o

The Triumph of Time and Truth 3 o

ORATORIOS, &c,—Continued,

HANDEL

—

continued. s. d.

Alexander Balus 3 oHercules 3 oAthaliah 3 oEsther 3 oSusanna '.

3 oTheodora 3 oBelshazzar 3 oThe Messiah, edited by V. Novello

(Sol-fa, is.) 2 oThe Messiah, ditto. Pocket Edition ... i oThe Messiah, edited by W. T Best ... 2 o

Israel in Egypt, edited by Mendelssohn 2 oIsrael in Egypt, edited by V. Novello.

Pocket Edition i o

Judas MACCABiEUS (Sol-fa, IS.) 2 o

Judas MACCABiEus. Pocket Edition ... i o

Samson (Sol-fa, is.) a oSolomon 2

Jephtha 2 o

Joshua 2

Deborah 2 o

Saul 2

Chandos Te Deum I o

Dettingen Te Deum i

Utrecht Jubilate 1 o

O praise the Lor"d with one consent(Sixth Chandos Anthem) 1

Coronation and Funeral Anthems. Cloth 5Or, singly

:

The King shall rejoice o 8

Zadok the Priest o 3

My heart is inditing 8

Let thy hand be strengthened ... o 6

The ways of Zion 1 o

Ode on St. Cecilia's Day i

L'Allegro 2 o

HAYDN.The Creation (Sol-fa, is.) 2 o

The Creation. Pocket Edition i o

The Seasons (Each Season, singly, is.) ... 3 o

First Mass in B flat (Latin) i

Ditto (Latin and English) i oSecond Mass in C (Latin) i o

Third Mass (Imperial) (Latin and English) i o

Ditto (Latin) i o

Sixteenth Mass (Latin) 1 6

The Passion ; or, Seven Last Words ... 2

Te Deum (English and Latin) i o

Insane et Van^ Cur^ (Ditto) o 4

BATTISON HAYNES.The Fairies' Isle (Female Voices) 2 6

H. HEALE,Jubilee Ode x 6

C. SWINNERTON HEAP.Fair Rosamond {Sol-fa, as.) 3 6

EDWARD HECHT.Eric the Dane 3 °

O MAY I join the Choir Invisible i o

GEORGE HENSCHEL.Out of Darkness (Psalm 130) 2 6

HENRY HILES.Fayre Pastoeel ^

^The Crusaders ^ °

FERDINAND HILLER.Nala and Damavanti 4 °

A Song of Victory ' °

HEINRICH HOFMANN.Fair Melusima * °

Cinderella • 4 °

Song of the Norns (Female Voices) ... i

HUMMEL.First Mass in B flatCommunion Service, dittoSecond Mass in E flatCommunion Service, dittoThird Mass in DCommunion Service, dittoAlma Virgo (Latin and English)Quod in Orbe (ditto)

W. H. HUNT.Stabat Mater

H. H. HUSS.Ave Maria (Female Voices)

F. ILIFFE.St. John the Divine

JOHN WILLIAM JACKSON.I cried unto God

W. JACKSON.The Year

D. JENKINS.David and Saul (Sol-pa, 2s.)

A. JENSEN.The Feast op Adonis

W. JOHNSON.EccE Homo

C. WARWICK JORDAN.Blow ye the trumpet in Zion

N. KILBURN.The Silver Star (Female Voices)

ALFRED KING.The Epiphany

OLIVER KING.By the waters op Babylon (Psalm 137)The Naiads (Female Voices)

J. KINROSS.Songs in a Vineyard (Female Voices)

Ditto, Sol-fa

H. LAHEE.The Sleeping Beauty (Female Voices)

Ditto, Sol-pa

LEONARDO LEO.Dixit Dominus

H. LESLIE.The First Christmas Morn

F. LISZT.The Legend op St. ElizabethThirteenth Psalm

C. H. LLOYD.AlcestisAndromedaHero and LeanderThe Song of BalderThe Lonobeards' Saga (Male Voices)The Gleaners.' Harvest (Female Voices) ..

A Song op Judgment

W. H. LONGHURST.The Village Fair

HAMISH MACCUNN.Lay of the Last Minstrel (Sol-pa, is.6d.)..

Lord Ullin's Daughter (Sol-fa, 8d.)

G. A. MACFARREN.SoNos in a Cornfield (Female Voices) ..

May Day (Sol-fa, 6d.)

The Soldier's Legacy (Operetta)Outward Bound

ORATORIOS, &c.~Conhnued.

A. C. MACKENZIE. s. d.

Thb Dream op Jubal a 6The Story op Sayid 3 oJason 2 6The Bride (Sol-pa, 8d,) z

The Rose OP Sharon (Sol-fa, 2S.) ... ... 5 oJubilee Ode 2 6The Cotter's Saturday Night ,.. 2 oThe New Covenant i 6Veni, Creator Spiritus 2 o

F. W. MARKULL.Roland's Horn 2 6

F. E. MARSHALL.Prince Sprite (Female Voices) 3 6

J. B. McEWEN.The Vision OF Jacob 2 o

J. H. MEE.Horatius (Male Voices) x

MENDELSSOHN.Elijah (Sol-pa, is.) 2Elijah (Pocket Edition) i oAs the Hart pants (Psalm 42) i oCome, LET us SING (Psalm 95) i oWhbnIsraelout op Egypt cAMB(SoL-PA,gd.) i oNot unto us, O Lord (Psalm 115) i oSt. Paul {Sol-pa, is.) aSt. Paul (Pocket Edition) i

Hymn op Praise (Lobgesang) (Sol-fa, is.) ... z oLord, how long wilt Thou forget me ... i o

Ditto, Sol-fa o 4Hear my prayer (s. solo and chorus) ... i o

Ditto ditto o 4Ditto, Sol-fa o 3

Lauda Sign (Praise Jehovah) (Sol-fa, gd.) ... 2The First Walpurgis Night (Sol-pa, is.) ... i oMidsummer Night's Dream (Female Voices) i

Athalie (Sol-pa, is.) 2Antigone (Male Voices) (Sol-fa, IS.) ... 4 oMan is Mortal (Eight Voices) x oFestoesanq (Hymns OP Praise) i o

Ditto (MAle Voices) i

Christus (Sol-fa, 6d.) 1 oThree Motets for Female Voices i

Son and Stranger (Operetta) 4 oLoRELEY (Sol-fa; 6d.) i oCEdipus at Colonos (Male Voices) 3 oTo THE Sons op Art (Ditto) i o

Ditto, Sol-pa 3Judge me, O God (Psalm 43) (S .l-pa, ijd.) o 4Why rage fiercely the Heathen ... ... o 6My God, why, O why hast Thou forsaken

me (Psalm 22) o 6Sing to the Lord (Psalm 98) 8Six Anthems for the Cathedral at Berlin.

For 8 voices, arranged in 4 farts ... o 8Ave Maria (Saviour of Sinners). 8 voices i o

MEYERBEER.Ninety-first Psalm (Latin) x

Ditto (English) i o

B. MOLIQUE.Abraham 3 o

MOZART.King Thamos i oFirst Mass (Latin and English) i

Seventh Mass in B flat x oCommunion Service in B flat, Ditto ... i 6Twelfth Mass (Latin) x o

Ditto (Latin and English) (Sol-fa, gd.) x oRequiem Mass x o

Ditto (Latin and English) i oDitto Ditto, Sol-fa ... i

Litania de Venerabili Altaris (in E plat) I 6Litania de Venerabili Sacramento (in B

flat) I 6Splendente te, Deus. First Motet ... o 3O God, when Thou appearest. Ditto ... o 3Have mercy, O Lord. Second Motet ... 3Glory, Honour, Praise. Third Motet ... 3

E. MUNDELLA.Victory of Song (Female Voices)

DR. JOHN NAYLOR.Jeremiah ...

J. NESVERA.De Profundis

HERBERT OAKELEY.Selection prom a Jubilee Lyric

REV. SIR FREDK. OUSELEY.The Martyrdom of St. Polycarp

R. P. PAINE.The Lord Reigneth (Psalm 93)The Prodigal SonGreat is the Lord

PALESTRINA.Missa Assumpta est MariaMiSSA PAPiB MaRCELLIMiSSA BrevisMissa "O Admirabile Commercium" ...

H. W. PARKER.The Kobolds

C. H. H. PARRY.De Profundis (Psalm 130)Ode on St. Cecilia's Day (Sol-fa, is.)

Blest Pair of Sirens (Sol-fa, 8d.)

Funeral Ode (Shirley) ...

Prometheus Unbound ,

JudithL'Allegro (Sol-fa, is. 6d.)

EtonThe Lotus-Eaters (The Choric Song)Job

DR. JOSEPH PARRY.Nebuchadnezzar (Sol-fa, is. 6d.)

B. PARSONS.The Crusader

T. M. PATTISON.May Day (Sol-fa, 6d.)

The Miracles of Christ (Sol-fa, gd.)

The Ancient MarinerThe Lay of the Last Minstrel

A. L. PEACE.St. John THE Baptist

PERGOLESI.Stabat Mater (Female Voices) (Sol-fa, 6d.)

GIRO PINSUTLPhantoms—Famtasmi hell' ombra

A. H. D. PRENDERGAST.The Second Advent

E. PROUT.Damon and Phintias (Male Voices)The Red Cross Knight (Sol-pa, 2s.)

The Hundredth PsalmFreedomHerewardQueen Aim^e (Female Voices)

PURCELL.Dido and ^neasTb Dbum and Jubilate in D

J. F. H. READ.HaroldBartiheusCaractacusThe Consecration of the BannerIn the Forest (Male Voices)Psyche

J. V. ROBERTS.Jonah

W. S. ROCKSTRO.The Good Shepherd

ROLAND ROGERS.Prayer and Praise

ORATORIOS, Sec—Continued,

ROMBERG.The Lay of the Bell (New Edition, trans-

lated BY THE Rev. J. Troutbeck, D.D.)Ditto, Sol-fa

The Transient AND the Eternal (Sol-fa, 4d.)

ROSSINI.Stabat Mater (Sol-fa, is.)

^ Moses in EgyptCHARLES B. RUTENBER."

Divine LoveC. SAINTON-DOLBY.

Florimel (Female Voices)

CAMILLE SAINT-SAENS.The Heavens declare— Cceli enarrant

(Psalm ig)

FRANK J. SAWYER,The Star in the East

SCHUBERT.Mass in A plat

. Communion Service, dittoMass in E flat ^Communion Service^ dittoMass in B flatCommunion Service, dittoMass in CCommunion Service, dittoMass in GCommunion Service, dittoMass in FCommunion Service, dittoSong op Miriam (Sol-fa 6d.}

SCHUMANN.The Minstrel's CurseThe King's SonMignon's RequiemParadise and the Peri (Sol-fa, is. 6d.)

Pilgrimage of the RoseManfredFaustAdvent Hymn, "In Lowly Guise"New Year's Song (Sol-fa, 6d.).„

H. SCHUTZ.The Passion op our Lord

BERTRAM LUARD SELBY.Choruses and Incidental Music to

"Helena in Troas"

J. SHORT.Mass (S. George)Mass (S. Joseph)

E. SILAS.Mass in CCommunion Service in CTOASH

R. SLOMAN.Supplication and Praise

HENRY SMART.Kino Rent's Daughter (Female Voices) ..

The Bride of Dunkerron (Sol-fa, is. 6d.)

J. M. SMIETON.King Arthur (Soi^fa, is.)

Ariadne (Sol-fa, gd.)

ALICE MARY SMITH.The Red Kino (Men's Voices)The Song of the Little Baltunq (ditto)

Ditto, Soi^faOde to the North-East WindOde to the Passions

A. SOMERVELL.Mass in C minor •

CHARLTON T. SPEER.The Day Dream

SPOHR.Mass (Five Solo Voices and Double Choir)Hymn to St. Cecilia •

X o6 o

2 6

2 6

1 6

2 6

1

2

2 6

3 6

3 62

I

I 6

4

2 62

2 62

I O1 Oo 8X

2 O

2 6

2I O

SVOHR.—continued.CalvaryFall of BabylonLast Judgment (Sol-fa, is.)

The Christian's PrayerGod, Thou art great (Sol-fa, 6d.)How lovely are Thy dwellings fairJehovah, Lord of Hosts

JOHN STAINER.The Crucifixion (Sol-fa, gd.)St. Mary Magdalen (Sol-fa, is. )

The Daughter of Jairus { Sol-fa, gd.)

C. VILLIERS STANFORD.Eden *The Voyage of MaelduneCarmen S^culareThe Revenge (Sol-fa, gd.)God is our Hope (Psalm 46)CEdipus Rex (Male Voices)The Battle of the Baltic

H. V\r. STEWARDSON.Gideon

J. STORER.The Tournament

k C. SUCH.Narcissus and EchoGod IS OUR Refuge (Psalm 46)

ARTHUR SULLIVAN.The Golden Legend (Sol-fa, as.)

Ode FOR the Colonialand Indian ExhibitionFestival Te Deum

W. TAYLOR.St. John the Baptist

A. GORING THOMAS.The Sun-Worshippers

E. H. THORNE.Be merciful unto me

FERRIS TOZER.King Neptune's Daughter (Female Voices)

VAN BREE.St. Cecilia's Day (Sol-fa, gd.)

CHARLES VINCENT.The Village Queen (Female Voices)The Little Mermaid (ditto)

W. M. WAIT.The Good Samaritan

R. H. WALKER.Jerusalem

WEBER.In Constant Order (Hymn)Mass in G (Latin and English)Mass in E flat (ditto)Communion Service IN E FLATJubilee CantatapreciosaThree Seasons

S. WESLEY.In exitu IsraelDixit DoMiNus

S- S. WESLEY.O Lord, Thou art my God

C. LEE WILLIAMS.The Last Night at Bethany (Sol-fa, is.) ...

GethsemaneTHOMAS WINGHAM.

Mass in DTe Deum (Latin)

CHAS. WOOD.Ode to the West Wind

J. M. W. YOUNG.The Return of Israel to Palestine

Most of the above Works may be had in paper boards at 6d. each extra, or handsomely

bound in cloth, with red or gilt edges, at is., is. 6d., or 2s. each extra.

VOCAL ALBUMS.ARNE, THOMAS A.—Twenty Songs i

BACH, J, S.—Twenty Sacred Songs i

BEETHOVEN—* Twenty-six Songs(Vol. I.) I

'Seventeen Songs (Vol. II.) .. i

*Twenty-two Songs (Vol. III.) . . i

BENDL, KAREL—'Gipsy Songs.First Series . . * .

.

. . 2

Ditto. Second Series. (Englishand Bohemian) .

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. . , . 2. Twelve Songs (" Loving Hearts ") 2

BENNETT, STERNDALE—'TwelveSongs .

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. . .

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. . I

'Ditto .. .. Cloth gilt 2

BENNETT, GEO. J,—Ten Songs(Robert Burns) .

.

;

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. . 2

Twelve Songs (Shelley &Rosetti) 2

BERLIOZ—Summer Nights (English

and French)

BISHOP, SIR HENRY R.—TwentySongs

BRAHMS, J.—Twenty-two Songs .

.

Selected Songs (English, French,and German Words). For highor low voice. Six Books each

BRIGHT, DORA—Twelve Songs .

.

DANNREUTHER, E.—Six Songs(D. G. Rosetti) .

.

Five Songs (W. Morris)

DIBDIN, CHARLES— Twenty-oneSongs ..

DVORXk, ANTONIN — *Sixteen

Songs (Op. 2, 5, 17, and 31) ..

Eight Love Songs (English, Ger-man, and BohemianWords), Op. 83

ELLIOTT, J. W.—National NurserySongs and Rhymes. With sixty-

five Illustrations Cloth gilt

FRANZ, R.—Thirty Songs ..

Fourteen Songs (Robert Burns)

GOETZ, HERMANN — 'EighteenSongs (Op. 4, 12, ig) . •

HANDEL—Twelve Songs for SopranoTwelve Songs for Contralto .

.

Twelve Songs for TenorTwelveSongsforBaritoneorBass

HAYNES, BATTISON—ElizabethanLyrics . . . . . . . . 2

HAYDN—Ten Canzonets . . . . I

HILL, LADY ARTHUR—HolidaySongs .

.

.

.

.

.

. . 2

HOOK, JAMES—Twenty Songs .. i

KING, OLIVER—Six Songs (Baritone) 2

LISZT—Twenty Songs . . . . i

' These Songs have

I 6

2 6

LODER, E. J.—Twenty-one Songs.

.

2

MACCDNN, H.—Cycle of six LoveL}nics . . . . . . .

.

2

MACKENZIE, A. C. — EighteenSongs. Three Books. . . each 2

Eighteen Songs. One Vol.

Cloth gilt 7Spring Songs . . . . .

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MARIANI—Twenty-two Songs (Ital.) 2

MENDELSSOHN — Songs. (WithPortrait.) Folio. Cloth gilt 21

'Songs . . . . . . • 4'Ditto . . . . Cloth gilt 6'Songs. (Deep Voice) .. ..6'Ditto ditto Cloth gilt 8

Solo music in "Elijah," Soprano,Contralto, and Tenor . . each i

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.

2

MOORE—Irish Melodies . . .

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2

Irish Melodies . . Cloth gilt 4Irish Melodies. Folio. Cloth gilt 21

PURCELL, HENRY—Twelve Songs 2

RANDEGGER— Sacred Songs for

Little Singers. (Illustrated) .

.

2

Ditto . . . . Cloth gilt 5

RUBINSTEIN, A. — Twenty-fiveSongs . . . . . . .

.

I

SCHUBERT—Twenty Songs (Mezzo-Sop.) I

Twenty Songs (Contralto) .

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i

Twenty Songs (Sop. or Tenor) .

.

i

'Schwanengesang (Swan Songs) i

"Die Schone Miillerin (The FairMaid of the Mill) . . .

.

i

'Winterreise (The Winter Jour-ney), Op. 89 .. .

.

..ISCHUMANN—'Songs. Folio.

Cloth gilt 10'Myrthen (Twenty-six Songs),Op. 25 I

* Liederkreis (Twelve Songs), Op. 39 i

'Vocal Album . . . . .

.

2

'Ditto .. .. Cloth gilt 4'Woman's Love and Life (Eight

Songs), dp. 42 . . . . .

.

I

'Twelve Songs (Op. 35) . . .

.

i

Dichterliebe (A Poet's Love).Sixteen Songs (Op. 48) .

.

i

SELBY, B, LUARD—Six Love Songs 2

VARIOUS COMPOSERS-English Folk-Songs . . .

,

2

Old Ireland (Irish Melodies) .

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2The Sunlight of Song. Forty-six

Illustrations . . Cloth gilt 5•Volkslieder Album (Forty Songs) 2

•Ditto . . . . Cloth gilt 4

German and English Words.

LONDON & NEW YORK: NOVELLO, EWER AND CO.

22/9/92

NOVELLO'S

PIANOFORTE ALBUMSEdited by BERTHOLD TOURS.

In Numbers, each One Shilling; or^ Cloth Volumes, each Four Shillings.

Ro. 1.

—

Bach. Twenty Pieces from Petits Preludes.Suites Anglaises. Partita Nos. i to 3, &c.

No. 2.—Bach. Twenty Pieces from Suites Anglaises,Suites Fran?aises. Partita Nos. 4 and 5, &c,

No. 3.—Bach. Twenty Pieces from Petits Preludes,Concertos, Suites Anglaises, &c.

Nos. 1, 2, and 3, in One Vol., cloth, 48.

Ho.

Ho.

Ho.

$.—Handel. Twenty-four Pieces from Suites i

to 7, Sonatas, " Harmonious Blacksmith," &c.9.—Handel. Twenty-four Pieces from Suites 8to 12, Gavottes, &c.6.—Handel. Twenty-four Pieces from Suites 13to 16, Water Music, &c.Nob. if S, and 6, in One Vol., cloth, 4s.

No. 7.—Marches. Fifteen Pieces, including Mendels-sohn's " Hero's March," Rakoczy's March,Bridal March, '* Lohengrin," &c.

Ho. 8.—Marches. Fifteen Pieces, including Meyer-beer's Coronation March, Cornelius M arch,Pilgrim's March, &c.

Ho. 9.—Marches. FifteenPieces, including Mendels-sohn's Wedding March, March " Tannhauser,"&c.

Nos. 7, 8, and 9, in One Vol., cloth, 4s.

Ho. 10.—Gavottes, Minuets, &c. Sixteen Pieces,including Rameau's Gavotte, Zimmermann'sGavotte, Calkin's Minuet, Silas's Bourree, &c.

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Ho. 12.—Gavottes, Minuets, &c. Sixteen Pieces,including W. Macfarren's 2nd Gavotte, Sir J.Benedict's Gavotte, Mozart's Minuet, &c.


Ho. 13.—WoUenhaupt, J. Ten Pieces, includingMarche Hongroise, Scherzo Brilliant, &c.

No. 19.—WoUenhaupt, J. Ten Pieces, including"La Gazelle," " Mazeppa Galop," &c.

No. 13.—WoUenhaupt, J. Ten Pieces, including" Les Clochettes," '* Feu FoUet," &c.

Nos. 13, U, and 13, in One Vol., cloth, 4s.

Ho. 16.—Schweizer, Otto. Eight Scottish Airs(arranged for four hands).

Ho. 17.—Splndler, Fritz. Nine Pieces, including"Murmuring Rivulet," The Pilgrims' Chorus("Tannhauser"), &c.

Ho. 18.—Splndler. Fritz. Nine Pieces, including"L'Oisillon, *'Le Carillon," "The EveningStar " (" Tannhauser "), &c.

Ho. Id.—Spindler, Fritz. Ten Pieces, including

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Ho. 20.—Goetz, Hermann. Five Compositions.

No. 21.—Goetz, Hermann. Four Compositions.

Ho. 22.—Goetz, Hermann. Six Compositions.Nos. 20, 21, and 22, in One Vol., cloth, 4s.

Ho. 23.—Rheinberger, Josef. Seven Compositions.

Ho. 24.-Rheinberger, Josef. Eleven Compositions.

Ro. 25,—Rheinberger, Josef. Seveti Compositions.


Ho. 26.—Tours, Berthold. Juvenile Album.Characteristic Pieces (Duets), 2S.

Eight

Nos. 27 and 28.—Moscheles, J. Domestic Life,Twelve Characteristic Duets, Two Books,each 2s.

The Two Books, in One Vol., cloth, 4s.

No. 29.-KJerulf, Halfdan. Nine Pieces. Op. 4,Nos. I to 3 ; Op. 13, Nos. i to 6.

No. 30.—Kjerulf, Halfdan. Ten Pieces, Op. 24,Nos. I to 4 ; Op. 27, Nos. i and 2 ; Op. 28, Nos.I to 4.

No. 31.—Kjerulf, Halfdan. Op. 28, Nos. 5 and 6

;

Op. 29; and Twenty Songs arranged for thePianoforte by the Composer.


Nos. 32, 33, and 34. The National Dance Music ofScotland. Arranged for the Pianoforte byAlexander Mackenzie; with additions by hisson, Dr. A. C. Mackenzie.


Op. 13.

Op. 20,

No. 3S.—Mackenzie, Dr. A.. G. Eight Pieces.Nos. I to 5 ; Op. 15, Nos. i to 3.

No. 36.—Mackenzie, X)r. A. G. Nine Pieces.Nos. I to 6 ; Op. 23, Nos. i to 3.

No. 37.—Mackenzie, Dr. A. G. Six Songs. Tran-scribed for the Pianoforte by GuiseppeBuonamici.


No. 38.—Altschul, Rudolf. Fifty Hungarian NationalSon^s.

No. 41.— LiadofT, Anatole. Twenty-one Pieces.Op. 2, Nos. I to 14; Op. 3, Nos, I, 3, 4, and 6;Op. 6 ; Op. 15, Nos. I and 2.

No. 42.—Liadoff, Anatole. Seven Pieces. Op. 4,Nos. I to 4; Op. 7, Nos. I and 2; Op. 11.

No. 43.—Liadoff, Anatole. Ten Pieces. Op. 8;Op. 9, Nos. I and a ; Op. 10, Nos. i, 2, and 3 ;

Op. 13, Nos. I to 4.


No. 44.—Gui, Clsar. Thirteen Pieces. Op. 20, Nos.1 to 12 ; Op. 21, No. 3,

No. 4S.

—

Gui, G^sar. Eleven Pieces. Op. 21, No. 4;Op. 22, Nos. 1, 2, and 3 ; Op. 31, No. 2 : Op. 39,Nos. I to 6.

No. 46.—Gui, G^sar. Seven Pieces. Op. 22, No. 4

;

Op. 29, No. I ; Op. 30, No. I ; Op. 35, Nos. i and2 ; Op. 40, Nos. 2 and 4.


No. 47.

—

Schubert, Franz. Four Impromptus. Op. 90.

No. 48.

—

Schubert, Franz. Four Impromptus. Op. 142.

No. 49.

—

Schubert, Franz. Moments Musicales (Op.

94), and Adagio and Rondo (Op. 145).Nos. 47, 48, and 49, in One Vol., cloth, 4s.

No. 30.—Schubert, Franz. Three Sets of Variations,

Andante, and Klavierstiick.

No. 51.—Schubert, Franz. Adagio, Allegretto, andMarch in E major, &c.

No. 52.—Schubert, Franz. Five Klavierstucke andTwo Scherzi.


No. 63.—Hofmann, H. " The Trumpeter of Sak-kingen " (Op. 52) and Two Valses Caprices

(Op. 2).

No. 54,—Hoftnann, H. Italian Love Tale (Op. 19)

and five other pieces.

No. 55.—Hoftnann, H. Fourteen Pieces.

Nos. 53, 54, and ^5, in One Vol., cloth, 4s.


22/9/93.

VOCAL DUETS.

F. ABT.II |.

TWENTY - FOUR DUETS(Sop. and Cont.). Book i . . 2/6 —

TWENTY - FOUR DUETS(Sop and Cont.). Book 2 .. 2/6 —

STERNDALE BENNETT.FOUR SACRED DUETS . . 1/0 —

F. H. COWEN.SIX DUETS (Sop. and Cont.^ 2/6 —

E. DANNREUTHER.FIVE TWO-PART SONGS.. 2/6 —

E. C. FORD.SIX TWO-PART SONGS .. 2/6 —

MYLES B. FOSTER.SIX TWO-PART SONGS .. 1/0 —SIX TWO-PART ANTHEMS 1/0 —

Singly, Threepence each.

BATTISON HAYNES.SIX DUETS (Sop. and Cont.) 2/6 —SIX TWO-PART SONGS .. 2/6 —

OLIVER KING.SIX DUETS (Sop. and Cont.) 2/6 —

JOHN KINROSS.SONGS OF THE FOREST.

Six Two-part Songs . . . . 1/0 —Singly, Threepence each.

MENDELSSOHN. ||ho

THIRTEEN TWO - PARTSONGS 1/0

Tonic Sol-fa . . . . 0/8

THIRTEEN TWO - PARTSONGS .. .. Folio 2/6

THIRTEEN TWO - PARTSONGS (German and English) 2/0

MOORE.IRISH MELODIES. Duets.. 1/0

GIRO PINSUTI.SIX TWO-PART SONGS .. 2/6

SIX TWO - PART SONGS.Second Set 2/6

CARL REINECKE.TWELVE CANONS (for Two-

part Female Chorus or TwoSolo Voices) 1/6

RUBINSTEIN.EIGHTEEN TWO - PARTSONGS 2/6

H. SMART.NINE SACRED DUETS (Sop.

and Cont.) 2/6

SCHUMANN.THIRTY FIVE VOCALDUETS (German and Eng-

lish words) 2/6

CHARLES WOOD.SIX TWO-PART SONGS.For Solo Voices (or Female

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S3

2/0

4/0

4/6


I2/9/9S.


HANDEL

—

continued. s. d.

Alexander Balus 3Hbkcules 3 oAthaliah ' 3Esther 3 °

Susanna '.

3 °Theodora 3 o

Bblshazzar 3 o

The Messiah, edited by V. Novellof (Sol-fa, is.) 2The Messiah, DITTO. Pocket Edition ... i o

The Messiah, edited by W. T Best ... 2 o

Israel in Egypt, edited by Mendelssohn 2 oIsrael in Egypt, edited by V. Novello.

Pocket Edition i o

IDDAS MACCABiEUS (SOL-FA, IS.) 2 O

Judas Maccab;eus. Pocket Edition ... i o

SAMSON (Sol-fa, is.) 2 oSolomon 2 o

Jephtha 2 oJoshua 2Deborah 2 o

Saul a o

Chandos Te Deum 1 oDettingen Te Deum ... .; i oUtrecht Jubilate i o

PRAISE THE Lord with one consent(Sixth Chandos Anthem) 1 o

Coronation and Funeral Anthems. ClothOr, singly

:

The King shall rejoice2adok the PriestMy heart is inditingLet thy hand be strengthened

^ The ways of Zion .,.

^de on St. Cecilia's Day>L'Allegro

HAYDN.The Creation (Sol-fa, is.)

The Creation. Pocket EditionThe Seasons (Each Season, singly, is.)

First Mass in B flat (Latin) i oDitto (Latin and English) i o

Second Mass in C (Latin) i oThird Mass (Imperial) (Latin and English) i o

Ditto (Latin) i o

Sixteenth Mass (Latin) i 6^HE Passion ; or. Seven Last Words ... 2 oTe Deum (English and Latin) i o

Ihsan^ et Van-e Cur^ (Ditto) o 4

BATTISON HAYNES.The Fairies' Isle (Female Voices) ... ... a 6

H. HEALE.Jubilee Ode i 6

C. SWINNERTON HEAP.Fair Rosamond (Sol-fa, 2s.) 3 G

EDWARD HECHT.Eric the Dane ... ... 3 oMAY I join the Choir Invisible x o

GEORGE HENSCHEL.Out of Darkness (Psalm 130) 2 6

HENRY HILES.Fayre Pastorel 6 6The Crusaders 2 6

FERDINAND HILLER.Nala and Damayanti • 4 °A Song of Victory ... i o

HEINRICH HOFMANN.Fair Melusina ^ oCinderella 4 o

Song of the Norns {Female Voxcbs) ... i

5 o

o 8o 3o 8

o 6

• 3

HUMMEL.First Mass in B flatCommunion Service, dittoSecond Mass in E flatCommunion Service, dittoThird Mass in DCommunion Service, dittoAlma Virgo (Latin and English)Quod IN Orbe (ditto)

W. H. HUNT.Stabat Mater

H. H. HUSS.Ave Maria (Female Voices)

F. ILIFFE.St. John the Divine

JOHN WILLIAM JACKSON.I cried unto Qod

W. JACKSON.The Year

D. JENKINS.David AND S'aul (Sol-fa, 2s.)

A. JENSEN.The Feast of Adonis

,

W. JOHNSON.EccE Homo

C. WARWICK JORDAN.Blow ye the trumpet in Zion

N. KILBURN.The Silver Star (Female Voices) ...

ALFRED KING.The Epiphany

,

OLIVER KING.By the waters of Babylon (Psalm 137)The Naiads (Female Voices) ,

J. KINROSS.Songs in a Vineyard (Female Voices)

Ditto, Sol-fa

H. LAHEE.The Sleeping Beauty (Female Voices)

Ditto, Sol-fa

LEONARDO LEO.Dixit Dominus -

H. LESLIE.The First Christmas Morn

F. LIS2T.The Legend of St. Elizabeth

,

Thirteenth Psalm

C. H. LLOYD.AlcestisAndromedaHero and Leander ,^..

The Song of BalderThe Longbeards' Saga (Male Voices).The Gleaners' Harvest (Female Voices) ...

A Song of Judgment

W. H. LONGHURST.The Village Fair

HAMISH MACCUNN.Lay of the Last Minstrel (Sol-fa, ia.6d.)...

Lord Ullin's Daughter (Sol-fa, 8d.)

G. A. MACFARREN.Songs in a Cornfield (Female Voices) ...

May Day (Sol-fa, 6d.)

The Soldier's Legacy (Operetta)Outward Bound

2 61 o

2 6I o6 oI o


A. C. MACKENZIE. b. d.

The Dream OF JuBAL 2 6TH5,ST055f OF Sayid 3JasoK ... 2 6THE Bkide (Sol-fa, 8d.) i oThe Rosb of Sharon ( Sol-fa, 2b.) 5 o

JuBiLBB Ode ...' 2 6

The Cottei^*s Saturday Night 2 oThe IfBW Covenant i 6

Veni, Crsatcir Spiritus z o

F. \y. MARKULL.RoXiAND's Horn 2 6

F. E. MARSHALL.Prince Sprite (Female Voices) 2 6

J. H. MEE.HoRATius (Male Voices) i o

MENDELSSOHN. •

Elijah (,Sol-fa, is.) 2 oElijah (Pocket Edition) i oAs THE Hart PANTS (Psalm 42} ... i oCome, let us sing (Psalm 95) i oWhen Israel OUT OF Egypt CAME (Sol-fa, gd.> i oNot unto us, O Lord (Psalm 115} i oSt. Paul (Sol-ja, IS.) ' 2 oSt. Pa,ul (Pscket Edition) i oHymn op Praise (Lobgesano) (Sol-fa, is.) ... i oLord, how long wilt Thou forget me ... i o

Ditto, Sol-fa 4Hear Uy prayer (s. solo and chorus) ... i -0

DXTTo ditto ... „ o 4Ditto, Sol-fa o 3

Lauda S'ion (Praise Jehovah) ( Sol-fa, gd.) ... 2 oThe First Walpurgis Night (Sol-fa, is.) ... i oMidsummer Night's Dream (Female Voices) i oAthalie (Sol-fa, is.) - ... z oAntigone (Male Voices) (Sol-pa, IS.) ... 4 oMan is Mortal (Eight Voices) i oFestgesang (Hymns OF Praise) i o

Ditto (Male Voices)' ,. i oGhristus (Soc-FA, 6d.) idThree Motets for Female Voices i

Son and Stranger (Operetta) 4 oLORELEV (SoL-FA, Gd.) I OCEdipus at Colonos (Male Voices 3 oTo the Sons of Art (Ditto) i

Ditto, Sol-fa o 3

Judge me, O God (Psalm 43) (Sol-fa, i^d.) o 4WHY rage fiercely THE HeATHEH O 6My God, why, O why hast Thou forsaken

me (Psalm 22) 6Sing to the Lord (Psalm 98) o 8Six Anthems for the Cathedral at Berlin.

For S voices, arranged in 4 farts ... o 8Ave Maria (Saviour of Sinners). 8 voices z o

MEYERBEER,Ninety-first Psalm (Latin) i o

Ditto (English) i o

B. MOLIQUE.Abraham 3 o

MOZART.King TitAMos x

First Mass (Latin and English) i oSeventh Mass in B flat .1 oCommunion Service in B flat. Ditto ... i 6Twelfth Mass (Latin) i

Ditto (Latin and English) (Sol-pa, gd.) i

Requiem Mass i oDitto (Latin and English) i oDitto Ditto, Sol-fa ... i

Litania de Venerabili Altaris (in B flat) I 6LiTANiA DE Venerabili Sacramento (in B

FLAT) I 6SPLENDENTE TE DeuS. FirST MoTET ... O 3O God, when Thou apfearest. Ditto ... o 3Have mercy, O Lord. Second Motet ... o 3Glory,'Honour, Praise, Third Motet ... 3

E. MUNDELLA.Victory op Song (Female Voices)

DR. JOHN NAYLOR.Jeremiah >/

J. NESVERA.De Profundis

HERBERT OAKELEY.Selection from a Jubilee Lyric

REV. SIR FREDK. OUSELEY.The Martyrdom of St. Polycarp ... , ...

R. P. PAINE.The Lord Reigneth (Psalm 93)The Prodigal SonGreat is the Lord

PALESTRINA.MissA Assuupta est MariaMissA^APA MarcelliMissA Brevis

H. W. PARKER.The Kobolds ,

C. H. H. PARRY.De Profundis (Psalm X30}Ode on St. Cecilia's Day (Sol-fa, is.)

Blest Pair of Sirens (So£-fa, 8d.)

Ajax and Ulysses „Prometheus UnboundJudithL'AllegroEton

DR. JOSEPH PARRY.Nebuchadnezzar (Sol-^fa, is. 6d.)

B; PARSONS.The Crusader

T. M. PATTISON.May Day (Sol-fa, 6d.)

The Miracles of Christ (Sol-fa, gd.)

The Ancient MarinerThe Lay of the Last Minstrel

A. L. PEACE.St. John THE Baptist

PERGOLESI.Stabat Mater (Female Voices) (Sol-pa, 6d.)

GIRO PINSUTI.Phantoms—Fantasmi nell' ombra

A. H. D. PRENDERGAST.The Second Advent

E. PROUT.Damon and Phintias (Male Voices)The Red Cross Knight (Sol-fa, 2s,)

The Hundredth PsalmFreedomHerewardQueen Aim^e (Female Voices)

PURCELL.Dido and MveasTb Deum and Jubilate in D

J, F. H. READ.HaroldBai^timeusCaractacusThe Consecration of the Banner ...

In the Forest (Male Voices)Psyche

J. V. ROBERTS.Jonah

W. S. ROCKSTRO.The Good Shepherd

ROLAND ROGERS.Prayer and Praise

1^ Asw/h;

Canon and Multiple Counterpoint

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Transcript of Canon and Multiple Counterpoint