DuetDuetDuetDuet[Listen: {2m 5s} ]
Santuzza.No, no. Tu-rid-du, re-main with me yet, and for-ev-er!Love me a-gain!How canst thou for-sake me!No, no, Tu-rid-du!In-to thine arms ... lov-ing a-gain,Say thou wilt take ... me!No, no, Tu-rid-du!Re-main with me yet and for ev-er!No Tu-rid-du, Tu-rid-du re-main with me ev-er!
Turiddu.Why dost thou fol-low me?Why dost thou watch me?Why dost thou spy e-ven at the church-door?Why dost thou fol-low,Why watch me ev-er?
Santuzza.No, no, Tu-rid-du, ri-ma-ni, ri-ma-ni an-co-raab-ban-do-nar-mi dun-que tu vuo-i?No, no, Tu-rid-du! ri-ma-(ni an)-co-ra,dun-que tu vuo-i ab-ban-do-nar-mi?No, no, Tu-rid-du, ri-ma-ni, ri-ma-ni an-co-ra,no, Tu-rid-du, Tu-rid-du ri-ma-ni an-co-ra.
Turiddu.Per-chè se-guir-mi, per-chè spi-ar-mi sul-li-mi-ta-refin del-la chie-sa?Per-chè se-guir-mi per-chè spi-ar-mi?
Santuzza.Lo! here thy San-tuz-za now doth im-plore ... thee; ...Ah! canst thou leave me weep-ing be-fore thee!Love thy San-tuz-za!No, Tu-rid-du! Stay, I im-plore thee!Oh! Tu-rid-du! No, Tu-rid-du, re-main, re-main!No! Tu-rid-du! Ah! ... No, Tu-rid-du,
Turiddu.Go! I re-peat it! Go! thou dost weary me!Vain were all re-pent-ance for such of-fend-ing!Thou shalt leave me!Go! Go! Go! Go! ... I ... re-peat-it;
Santuzza.La! tu-a San-tuz-za pian (ge e) t'im-plo-ra ...co-me cac-ciar-la co-sì tu puo-i, la tua San-tuz-za! no,Tu-rid-du! ri-ma-(ni an) co-ra!Oh! Tu-rid-du! no, Tu-rid-du, ri-ma-(ni an)-cor. no!Tu-rid-du! Ah! ... no,
Turiddu.va ti ri-pe-to, va non te-diar-mi, pen-tir-(si è)va-no do-po l'of-fe-sa.non te-diar-miva! va! va! va ... ti ...
Santuzza.re-main, re-main, I im-plore thee, a-gain!
Turiddu.Go, I tell thee; vain were re-pent-ing, vain were re-pent-ing,for all thy of-fend-ing, all thy of-fend-ing!Go! go! go!
Santuzza.No, no, no! See, thy San-tuz-zaNow doth im-plore thee,Ah! canst thou leave me, thus weep-ing be-fore thee!Lo! thy San-tuz-za now doth im-plore thee!Ah! canst thou leave me?Ah! canst thou leave me?
Turiddu.Go! I re-peat it! Go!Vain were re-pen-tance for such of-fend-ing.Go! Go!
Santuzza.Tu-rid-du, ri-ma-ni, ri-ma-(ni an)-co-ra, an-cor.no! no! no! la tua San-tuz-za va-no, do-po - l'of-fe-sa.pian(ge e) t'im-plo-ra, co-me cac-ciar-la,co-me cac-ciar-la tu puo-i?La tua San-tuz-za piange (e e) t'im-plo-raco-me cac-ciar-la? co-sì tu puo-i
Turiddu.ri-pe-to non te-diar-mi, pen-tir-(si è) va-no,do-po l'of-fe-sa pen-tir-si è va-no do-po l'of-fe-sa.va! va! va! va, ti ri-pe-to, va, va! va!
Santuzza.Wilt thou leave me thus? Ah! ...Then dost thou leave me,Then dost thou leave ... me?Ah! No! Tu-rid-du!Re-main with me yet and for-ev-er!I im-plore thee, do not for-sake me, Tu-rid-du!
Turiddu.I re-peat it, Go! Ah! ...Go! I re-peat it,Go! I re-peat ... it! Go! ... Go!Vain were re-pent-ance for thine of-fend-ing!Once more do I tell thee, go!And, for-ev-er!
Santuzza.tu puo-i co-sì Ah! ... dun-que tu vuo-i ab-ban-do-nar-mi?ah! no! Tu-rid-du! ri-ma-ni, ri-ma-ni an-co-ra,dun-que vuo-i ab-ban-do-nar-mi. Tu-rid-du!
Turiddu.ti ri-pe-to va! ah! ... va ti ri-pe-to, va, non te-diar-mi va! ...Pen-tir-si è va-no do-po l'of-fe-sa, pen-tir-si è va-no do-po l'of-fe-sa.
Duet, Santuzza and Alfio.
(Enter, Alfio.)Santuzza.(Calming herself.)Oh! doth the Saviour send thee, neighbor Alfio?
Alfio.At what point is the service?
Santuzza.'T is now at closing.But I tell thee Lola has gone with Turiddu!
Alfio.(Surprised.)What are you saying?
Santuzza.While thou dost labor to earn an honest living,Lola unfaithfully her love is giving.
Alfio.Ah! in the name of heaven, Santuzza, what sayest thou?
Santuzza.The truth!Turiddu forsakes me—and he hath betrayed me!'T was your wife who enticed him away from me!
Alfio.(Threateningly.)And if thou art lyingI'll have thy heart's blood!
Santuzza.Lies, as yet, my lips have never uttered.Prone to be truthful am I.
Alfio.(After a pause.)Santuzza, I am thankful that you have spoken.
Santuzza.But ah! what shame!And I have told it thee!
Alfio.(Suddenly, in fury.)T'is they who are shameful!Revenge I'll have upon them!This day and hour my wrathShall fall upon them!
(Sorte Alfio e s'incontra con Santuzza.)
Santuzza.(Ad Alfio rianimandosi.)Oh! Il Signore vi manda, compar Alfio.
Alfio.(Tranquillo.)A che punto è la messa?
Santuzza.È tardi ormai, ma per voi(Con intenzione.)Lola è andata con Turiddu!
Alfio.(Sorpreso.)Che avete detto?
Santuzza.Che mentre correteAll'acqua e al vento a guadagnarvi il pane,Lola v'adorna il tetto in malo modo!
Alfio.Ah! nel nome di Dio, Santa che dite?
Santuzza.Il ver. Turiddu mi tolse, mi tolse l'onore,E vostra moglie lui rapiva a me!
Alfio.(Minaccioso.)Se voi mentite, vo' schiantarvi il core.
Santuzza.Uso a mentire il labbro mio, il labbro mio non è!Per la vergogna mia, pel mio doloreLa trista verità—vi dissi, ahimè!
Alfio.(Dopo un poco di pausa.)Comare Santa, allor grato vi sono.
Santuzza.Infame io son che vi partai così!
Alfio.Infami loro, ad essi non perdonoVendetta avrò pria che tramonti il dì!Io sangue voglio, all'ira m'abbandono,In odio tutto l'amor mio finì!
(Escono.)
Intermezzo
IntermezzoIntermezzo[Listen: {2min 31sec} ]
Chorus and Brindisi.
(The people enter from the church. Lucia crosses and enters the inn.)
Chorus of men.(sotto voce.)Now homeward, now homeward ye neighbors,Good cheer is awaiting there;And wives our joy will share,Now Easter day shall be for all a time of rest,Without sorrow or care.
Chorus of women.(Lola and Turiddu come from the church.)
Turiddu.My pretty Lola! Have you not a greeting,When honest people we are meeting?
Lola.I must leave thee.I must go and welcome Alfio!
Turiddu.Here he will seek thee.Do not hasten!(To the people.)Meanwhile, good friends, come hither.(All come forward.)We'll try the merry wine!(All take cups from the bar of the inn.)
Chorus.Welcome!
Turiddu.(To Lola.)To those who love you!(Drinks.)
Chorus.Drink it!
Lola.(To Turiddu.)May fortune give you favor!(Drinks.)
Chorus.Drink it!
Turiddu.We will!
Chorus.Welcome! and drink!(All drink.)Come, let us drink another!
All.Come, drink; yes, let us drink another!Hail! the ruby wine now flowing, etc.
Turiddu.Hail! the ru-by wine now flow-ing, Bright-ly in the cup now show-ing,Mer-ry spell up-on you throw-ing, Like a smile from hap-py loveHail! the ru-by wine now flow-ing, Bright-ly in the cup now show-ing,
(Tutti escono di chiesa. Lucia attraversa la scena ed entra in casa. A gruppi sotto voce fra loro.)
Coro.(Uomini.)A casa, a casa, amici, ove ci aspettanoLe nostre donne, andiam,Or che letizia rasserena gli animi.
Coro.(Donne.)A casa, a casa, amiche, ecc.[Lola e Turiddu escono dalla chiesa.]
Turiddu.Comare Lola, ve ne andante viaSenza nemmeno salutare?
Lola.Vado a casa; Non ho visto compar Alfio!
Turiddu.Non ci pensate, verrà in piazza.(Rivolgendosi al Coro che s'avvia.)Intanto, amici, qua,Beviamone un bicchiere.(Tutti si avvicinano alla tavola dell' osteria e prendono in mano i bicchieri.)
Coro.Viva, beviam! Rinnovisi la giostra!
Turiddu.(A Lola.)Ai vostri amori!(Beve.)
Lola.(A Turiddu.)Alla fortuna vostra!(Beve.)
Turiddu.Beviam!
Lola, Turiddu e Coro.Beviam, beviam! rinnovisi la giostra!
TurridduTurriddu[Listen: {1m 2s} ]
Turiddu.Vi-(va il) vi-no spu-meg-gian-te, nel bic-chie-re scin-til-lan-teCome il ri-so dell' A-man-te; mi-(te in)-fon-(de il) giu-bi-lo.vi-va il vi-no spu-meg-gian-te, nel bic-chie-re -scin-til-lan-te
Turiddu.Mer-ry spell around you throw-ing,Like the smile of hap-py love!Hail! ah, wine so rich-ly gleam-ing!In thy crim-son joy is beam-ing!All thy com-fort lend us,With thy cheer at-tend us—Hope and love! ...Hail! ah, wine so rich-ly gleam-ing!In thy crim-son joy is beam-ing!All thy com-fort lend us,With thy cheer at-tend us—Hope and love!
co(me-il) ri-so dell' a-man-te, mi-(te in)-fon-(de il) giu-bi-lo!Vi-(va il) vi-no ch'è sin-ce-ro che (ci al)-lie-ta o-gni pen-sie-ro,e (che af) fo-ga l'u-mor ne-ro nell' eb-brez-za ten-e-ra....Vi(va il) vi-no ch'è sin-ce-ro che (ci al)-lie-ta o-gni pen-sie-ro,e (che af) fo-ga l'u-mor ne-ro nell' eb-brez-za ten-e-ra.
Alfio.Unto all of you, greeting!
Chorus.Neighbor Alfio, greeting!
Turiddu.(To Alfio.)Hearty welcome!Now join with us in revel.(Fills a glass for him.)Look you! drink you this measure!
Alfio.Thank you! but I must refuse the offer!A cup of deadly poison perhaps you proffer!
Turiddu.Then suit your pleasure!(Throws away the wine.)
Lola.Ah me! what now befalls!(Some of the women consult together, and then approach Lola, saying:)Neighbor Lola, come, haste away from here!(Exit, all the women, withLola.)
Turiddu.(To Alfio.)Perhaps you have something to tell me!
Alfio.I? nothing!
Turiddu.Then hear me!You will find me at your service!
Alfio.This moment?
Turiddu.This moment!(They embrace, Turiddu bites Alfio's ear, viciously.)
Alfio.Neighbor Turiddu, you give a ready challenge!And I accept it! you understand me!
Turiddu.Neighbor Alfio!I own thou shouldst have vengeance,And I admit, in the name that is holy,That I should be dealt with as a dog, by thee!But, shouldst thou kill me—if I perishBy thine arm—yes, if I perish,—Unhappy Santa, she whom I have cherished—Lone, unhappy Santa, my daggerWill embed within thy heart!
Alfio.Good neighbor, act upon it as may suit you!You will find me yonder in the orchard.(Exit.)
Turiddu.(Calling.)My mother!(EnterLucia.)Mother! the wine-cup too freely passes!Exciting, crazing!Too many cups I have been drinking!——I must leave you, good mother!
But first let me ask for a kindly blessing,As on that day when I became a soldier.And, mother, hear me—and heed it:If I return not, thou unto my SantaMust be a kindly mother!Santa, whom I promised I would lead to the altar!—If I return—
Lucia.Why say you this to me?What is it? tell me!
Turiddu.Ha—nothing!'Tis wine—that I have drunk so freely.—For me oh! pray to heaven,That I may be forgiven!One kiss, one kiss, my mother!And yet—and yet another!Farewell!
(Rushes off, desperately.)
Lucia.Turiddu! Ah!(Retires to back of stage, crying.)(Enter, Santuzza.)Santuzza!
Santuzza.Ah! good mother!(Throws her arms around Lucia's neck.)(People crowd upon the stage.)(Excitement and agitation.)(Enter a woman in the distance crying, "Neighbor Turiddu is murdered.")
(Several women hastily enter, terrified. One of them shrieks—)"Neighbor Turiddu is murdered."(All rush upon the stage.)
All.Ah!
(Santuzza falls; swooning. Lucia faints, and is supported by some of the women.)
THE CURTAIN FALLS RAPIDLY.
(Entra Alfio.)
Alfio.A voi tutti salute.
Coro.Compar Alfio, salute.
Turiddu.Benvenuto! con noi dovete bere,(Empie un bicchiere.)Ecco pieno è il bicchiere.(Troncando.)
Alfio.Grazie, ma il vostro vino io non l'accetto,Diverrebbe veleno entro il mio petto!
Turiddu.(Parlato.)A piacer vostro.(Getto il vino.)
Lola.Ahimè che mai sarà?
(Alcune donne nel Coro si consigliano fra loro poi si av vicinano a Lola dicendole sotto voce.)
Coro.Comare Lola, andiamo via di qua.(Tutte le donne escono conducendo Lola.)
Turiddu.Avete altro a dirmi?
Alfio.Io nulla.
Turiddu.Allota sono agli ordini vostri—
Alfio.Or ora?
Turiddu.Or ora!(Si abbracciano. Turiddu morde l'orecchio destro di Alfio.)
Alfio.Compar Turiddu, a vete morso, a buono!(Con intenzione.)Cintenderemo bene a quel che pare!
Turiddu.Compar Alfio.Lo so che il torto è mio;E ve lo giuro nel nome di DioChe al par d'un cane mi farei sgozzar—Ma s'io non vivo,(Dolorosamente.)Resta abbandonata povera Santa!Lei che mi s'è data!(Con impeto.)Vi saprò in core il ferro mio piantar!
Alfio.(Freddamente.)Compare fate come più vi piace,Io v'aspetto qui fuori dietro l'orto.(Esce.)
Turiddu.(Chiamando.)Mamma—(Entra Lucia.)Mamma—quel vino è generoso,E certo oggi troppi bicchierNe ho traccannati—Vado fuori all' aperto—Ma prima voglio che mi benedite—Come quel giorno che partii soldato:E poi mamma,Sentite, s'io non tornassi—Voi dovrete fare da madre a Santa,Ch'io le avea giurato di condurla all' altare.
Lucia.Perchè parli cosi, figliolo mio?
Turiddu.(Con disinvoltura.)Oh! nulla, è il vino che m'ha suggerito!M'ha suggerito il vino—Per me pregate Iddio,Un bacio mamma! un altro bacioAddio!(Fugge disperatamente.)
Lucia.Turiddu! che vuoi dire!(Va in fondo alla scena a disperatamente chiama.)Turiddu! Turiddu! ah!(Entra Santuzza.)Santuzza.
Santuzza.Oh! madre mia!
(Le getta le braccia al colla. La scena si popolo. L'agitazione si scorge sul volto di tutti. Che scambievolmente s'interrogano con terrore. Si ode un mormorio confuso da lontano. Una donna sola, assai lontano, gridando.)
Hanno ammazzato compare Turiddu!
(Si sentono delle voci confuse più vicine. Alcune donne entrano atterrite correndo, ed una di esse grida disperatamente.)
Hanno ammazzato compare Turiddu!(Tutti si precipitano sulla scena.)Santuzza, Lucia e Coro.(Gridando.)Ah!
(Santuzza cade priva di sensi, Lucia sviene ed è sorretta dalle donne del Coro. Tutti restano atterriti.)
CALA RAPIDAMENTE LA TELA.
THE A CAPPELLA CHORUS BOOKEdited byDR. F. MELIUS CHRISTIANSEN and NOBLE CAINFor Mixed VoicesPrice, in Boards, $1.00Outstanding choral compositions of Bach, Brahms, Gibbons, Kopolyoff, Lassus, Morley, Palestrina, Pearsall, Praetorius, Purcell, Rachmaninoff, Rimsky-Korsakoff, Sibelius, Tchaikovsky, Vittoria, Wilbye, and Zolotarieff; a few folk melodies, and a negro spiritual.This notable collection of twenty-seven choruses, one hundred and twenty-eight music pages, contains sixteen secular numbers and eleven sacred. The names of the distinguished editors are a guarantee of the high quality of the book. Care has been taken to avoid music of more than average difficulty, or of extreme vocal range.Every number was chosen because of its intrinsic beauty as well as singableness. The interestingForewordby the managing editor records the development ofa cappellamusic in this country.Unparalleled in both quality and price.Each number is also issued separatelyTHE JUNIOR A CAPPELLA CHORUS BOOKEdited byOLAF C. CHRISTIANSEN and CAROL M. PITTSFor Mixed VoicesPrice, in Boards, $1.00Contains one hundred and twenty-eight pages of music, an elaborate and helpful Foreword, andHints for the Singersby Dr. Hollis Dann.Of the fifty-one musical numbers, forty-two are secular and nine are sacred. More than half are made available ina cappellaform for the first time.As the best possible preparation for acquiring independent movement of voices accustomed only to part-songs that move solidly together, the book opens with fifteen canons, rounds, and catches by Byrd, Hayes, Haydn, Hilton, Purcell, and others. These are followed by two canzonets of Morley (two-part) and three-part (S. A. B.) choruses by Shield and Ford and arrangements of folksongs. The body of the book consists of four-part madrigals, folksongs, two Negro spirituals, and other choruses. Several five-part songs are included. Morley, Weelkes, Pilkington, Bennet, Gevaert, Lully, Praetorius, Mozart, Bortniansky, Archangelsky, Sibelius, and others are represented.While the musical standard of the editors is high, pains have been taken to selectmusic that not only is suitable in range and text for junior choruses, but is hearty, joyous, and singable.This truly significant volume will fill a great need, and be the happiest possible introduction to the art of unaccompanied chorus singing.Each number is also issued separately
Edited by
DR. F. MELIUS CHRISTIANSEN and NOBLE CAIN
For Mixed VoicesPrice, in Boards, $1.00
Outstanding choral compositions of Bach, Brahms, Gibbons, Kopolyoff, Lassus, Morley, Palestrina, Pearsall, Praetorius, Purcell, Rachmaninoff, Rimsky-Korsakoff, Sibelius, Tchaikovsky, Vittoria, Wilbye, and Zolotarieff; a few folk melodies, and a negro spiritual.This notable collection of twenty-seven choruses, one hundred and twenty-eight music pages, contains sixteen secular numbers and eleven sacred. The names of the distinguished editors are a guarantee of the high quality of the book. Care has been taken to avoid music of more than average difficulty, or of extreme vocal range.Every number was chosen because of its intrinsic beauty as well as singableness. The interestingForewordby the managing editor records the development ofa cappellamusic in this country.Unparalleled in both quality and price.Each number is also issued separately
Outstanding choral compositions of Bach, Brahms, Gibbons, Kopolyoff, Lassus, Morley, Palestrina, Pearsall, Praetorius, Purcell, Rachmaninoff, Rimsky-Korsakoff, Sibelius, Tchaikovsky, Vittoria, Wilbye, and Zolotarieff; a few folk melodies, and a negro spiritual.
This notable collection of twenty-seven choruses, one hundred and twenty-eight music pages, contains sixteen secular numbers and eleven sacred. The names of the distinguished editors are a guarantee of the high quality of the book. Care has been taken to avoid music of more than average difficulty, or of extreme vocal range.
Every number was chosen because of its intrinsic beauty as well as singableness. The interestingForewordby the managing editor records the development ofa cappellamusic in this country.
Unparalleled in both quality and price.
Each number is also issued separately
Edited by
OLAF C. CHRISTIANSEN and CAROL M. PITTS
For Mixed VoicesPrice, in Boards, $1.00
Contains one hundred and twenty-eight pages of music, an elaborate and helpful Foreword, andHints for the Singersby Dr. Hollis Dann.Of the fifty-one musical numbers, forty-two are secular and nine are sacred. More than half are made available ina cappellaform for the first time.As the best possible preparation for acquiring independent movement of voices accustomed only to part-songs that move solidly together, the book opens with fifteen canons, rounds, and catches by Byrd, Hayes, Haydn, Hilton, Purcell, and others. These are followed by two canzonets of Morley (two-part) and three-part (S. A. B.) choruses by Shield and Ford and arrangements of folksongs. The body of the book consists of four-part madrigals, folksongs, two Negro spirituals, and other choruses. Several five-part songs are included. Morley, Weelkes, Pilkington, Bennet, Gevaert, Lully, Praetorius, Mozart, Bortniansky, Archangelsky, Sibelius, and others are represented.While the musical standard of the editors is high, pains have been taken to selectmusic that not only is suitable in range and text for junior choruses, but is hearty, joyous, and singable.This truly significant volume will fill a great need, and be the happiest possible introduction to the art of unaccompanied chorus singing.Each number is also issued separately
Contains one hundred and twenty-eight pages of music, an elaborate and helpful Foreword, andHints for the Singersby Dr. Hollis Dann.
Of the fifty-one musical numbers, forty-two are secular and nine are sacred. More than half are made available ina cappellaform for the first time.
As the best possible preparation for acquiring independent movement of voices accustomed only to part-songs that move solidly together, the book opens with fifteen canons, rounds, and catches by Byrd, Hayes, Haydn, Hilton, Purcell, and others. These are followed by two canzonets of Morley (two-part) and three-part (S. A. B.) choruses by Shield and Ford and arrangements of folksongs. The body of the book consists of four-part madrigals, folksongs, two Negro spirituals, and other choruses. Several five-part songs are included. Morley, Weelkes, Pilkington, Bennet, Gevaert, Lully, Praetorius, Mozart, Bortniansky, Archangelsky, Sibelius, and others are represented.
While the musical standard of the editors is high, pains have been taken to selectmusic that not only is suitable in range and text for junior choruses, but is hearty, joyous, and singable.
This truly significant volume will fill a great need, and be the happiest possible introduction to the art of unaccompanied chorus singing.
Each number is also issued separately
NEW CHORAL WORKSWRITTEN FORSCHOOLSBIZET, GEORGESChoral Fantasia from Carmen(Arranged by N. Clifford Page).50No opera has more numbers that are known and loved for their piquant rhythms and exquisite melodies than Bizet's masterpiece. It teems with color and life. The editor has introduced all the best of these and in the logical order in which they appear in the score. Solos, trios and choruses are all present in an easy choral arrangement, which closes brilliantly with the famous Toreador March.GOUNOD, CHARLESChoral Fantasia from Faust(Arranged by N. Clifford Page).50The arranger has cleverly contrived that all the best known solos, concerted numbers and chorus are included in this fantasia, in the order in which they appear in the opera. All are treated chorally, and difficulties are so treated that high schools and popular choruses may perform the work.COERNE, LOUIS ADOLPHESkipper Ireson's Ride(Cantata for Mixed Voices).30To Whittier's stirring ballad, based on a quaint incident in an old New England past, the composer has made attractive and ingenious music, especially adapted for performance by schools and amateur societies.HOSMER, E. S.Columbus(Cantata for Mixed Voices) (Also issued for Men's Voices).40A short and easy work, the music melodious though not without dramatic touches. It calls for a solo baritone. The part writing makes large use of unisons, and awkward progressions have been avoided.(Also issued for men's voices)Send for Descriptive Circular "P"—Cantatas, Oratorios, etc.The Ditson Novelty List is well worth while.Ask to have your name added to our mailing list.BOSTON: OLIVER DITSON COMPANYNEW YORK: CHAS. H. DITSON & CO. CHICAGO: LYON & HEALYORDER OF YOUR LOCAL DEALER
WRITTEN FOR
SCHOOLS
BIZET, GEORGESChoral Fantasia from Carmen(Arranged by N. Clifford Page).50No opera has more numbers that are known and loved for their piquant rhythms and exquisite melodies than Bizet's masterpiece. It teems with color and life. The editor has introduced all the best of these and in the logical order in which they appear in the score. Solos, trios and choruses are all present in an easy choral arrangement, which closes brilliantly with the famous Toreador March.GOUNOD, CHARLESChoral Fantasia from Faust(Arranged by N. Clifford Page).50The arranger has cleverly contrived that all the best known solos, concerted numbers and chorus are included in this fantasia, in the order in which they appear in the opera. All are treated chorally, and difficulties are so treated that high schools and popular choruses may perform the work.COERNE, LOUIS ADOLPHESkipper Ireson's Ride(Cantata for Mixed Voices).30To Whittier's stirring ballad, based on a quaint incident in an old New England past, the composer has made attractive and ingenious music, especially adapted for performance by schools and amateur societies.HOSMER, E. S.Columbus(Cantata for Mixed Voices) (Also issued for Men's Voices).40A short and easy work, the music melodious though not without dramatic touches. It calls for a solo baritone. The part writing makes large use of unisons, and awkward progressions have been avoided.(Also issued for men's voices)
BIZET, GEORGESChoral Fantasia from Carmen(Arranged by N. Clifford Page).50
No opera has more numbers that are known and loved for their piquant rhythms and exquisite melodies than Bizet's masterpiece. It teems with color and life. The editor has introduced all the best of these and in the logical order in which they appear in the score. Solos, trios and choruses are all present in an easy choral arrangement, which closes brilliantly with the famous Toreador March.
GOUNOD, CHARLESChoral Fantasia from Faust(Arranged by N. Clifford Page).50
The arranger has cleverly contrived that all the best known solos, concerted numbers and chorus are included in this fantasia, in the order in which they appear in the opera. All are treated chorally, and difficulties are so treated that high schools and popular choruses may perform the work.
COERNE, LOUIS ADOLPHESkipper Ireson's Ride(Cantata for Mixed Voices).30
To Whittier's stirring ballad, based on a quaint incident in an old New England past, the composer has made attractive and ingenious music, especially adapted for performance by schools and amateur societies.
HOSMER, E. S.Columbus(Cantata for Mixed Voices) (Also issued for Men's Voices).40
A short and easy work, the music melodious though not without dramatic touches. It calls for a solo baritone. The part writing makes large use of unisons, and awkward progressions have been avoided.
(Also issued for men's voices)
Send for Descriptive Circular "P"—Cantatas, Oratorios, etc.
The Ditson Novelty List is well worth while.Ask to have your name added to our mailing list.
BOSTON: OLIVER DITSON COMPANY
NEW YORK: CHAS. H. DITSON & CO. CHICAGO: LYON & HEALY
ORDER OF YOUR LOCAL DEALER
The Clippinger Class-Method ofVoice CulturebyD. A. CLIPPINGERAn altogether sane, balanced and practical text book by one of America's eminent authorities on the voice. It contains 132 pages of instructive text, technical exercises, melodic studies, and carefully chosen songs and duets.The author's deep study of the voice together with his long experience in solving difficult vocal problems in the studio has enabled him to rid the subject of vagary, mystery, and uncertainty, and state the principles of voice-training so clearly and simply that they may be understood by anyone.A FEW BASIC PRINCIPLESA tone issomething to hear. Therefore, to be right it must satisfy the trained ear.A good tone iseasily produced. It is the bad tone that is difficult.A considerable part of voice-training must be devoted togetting rid of resistance, that is, effort at the wrong point.Good voice-production is based on theright ideaof tone and right conditions of the instrument.The study of singing should bean invigorating and inspiring formof exercise.To singwellis an accomplishmentwellworth the time and effort involved.AIM OF THE BOOKAn adequate treatment of breath-control, vowel-formation, vowel-color, tone-quality, resonance, consonants, phonetic spelling, diction, the head voice.Ample exercises for flexibility.An illuminating discussion of interpretation, and how to study a song.An outline of the principles of interpretation as a basis of criticism.Purchase of outside material unnecessary.The book is COMPLETE in itself, with ample text, nearly 150 exercises and studies, 25 songs and 7 duets.PRICE, $1.25For Additional Teaching MaterialArt Songs for School and Studio(FIRST YEAR)EDITED BY MABELLE GLENN and ALFRED SPOUSEIssued in Two Editions—Medium High—Medium Low—$1.00 eachArt Songs for School and Studio(SECOND YEAR)Edited byMABELLE GLENN and ALFRED SPOUSEIssued in two editions—Medium High—Medium Low—$1.00eachBecause of the success of theFirst Yearbook and the demand for a second book, a step in advance, this collection has been issued. It contains twenty-three second-year songs, including two duets, from the works of Brahms, Densmore, Franz, Fisher, Grieg, Henschel, Jensen, Manney, Schubert, Schumann, Sinding, Strickland, Tchaikovsky and Watts.The editors have added helpful notes to each of the songs and the volume includes hints on Teaching Procedure, Diction, and the Principles of Singing.
byD. A. CLIPPINGER
An altogether sane, balanced and practical text book by one of America's eminent authorities on the voice. It contains 132 pages of instructive text, technical exercises, melodic studies, and carefully chosen songs and duets.The author's deep study of the voice together with his long experience in solving difficult vocal problems in the studio has enabled him to rid the subject of vagary, mystery, and uncertainty, and state the principles of voice-training so clearly and simply that they may be understood by anyone.A FEW BASIC PRINCIPLESA tone issomething to hear. Therefore, to be right it must satisfy the trained ear.A good tone iseasily produced. It is the bad tone that is difficult.A considerable part of voice-training must be devoted togetting rid of resistance, that is, effort at the wrong point.Good voice-production is based on theright ideaof tone and right conditions of the instrument.The study of singing should bean invigorating and inspiring formof exercise.To singwellis an accomplishmentwellworth the time and effort involved.AIM OF THE BOOKAn adequate treatment of breath-control, vowel-formation, vowel-color, tone-quality, resonance, consonants, phonetic spelling, diction, the head voice.Ample exercises for flexibility.An illuminating discussion of interpretation, and how to study a song.An outline of the principles of interpretation as a basis of criticism.Purchase of outside material unnecessary.The book is COMPLETE in itself, with ample text, nearly 150 exercises and studies, 25 songs and 7 duets.PRICE, $1.25For Additional Teaching MaterialArt Songs for School and Studio(FIRST YEAR)EDITED BY MABELLE GLENN and ALFRED SPOUSEIssued in Two Editions—Medium High—Medium Low—$1.00 eachArt Songs for School and Studio(SECOND YEAR)Edited byMABELLE GLENN and ALFRED SPOUSEIssued in two editions—Medium High—Medium Low—$1.00eachBecause of the success of theFirst Yearbook and the demand for a second book, a step in advance, this collection has been issued. It contains twenty-three second-year songs, including two duets, from the works of Brahms, Densmore, Franz, Fisher, Grieg, Henschel, Jensen, Manney, Schubert, Schumann, Sinding, Strickland, Tchaikovsky and Watts.The editors have added helpful notes to each of the songs and the volume includes hints on Teaching Procedure, Diction, and the Principles of Singing.
An altogether sane, balanced and practical text book by one of America's eminent authorities on the voice. It contains 132 pages of instructive text, technical exercises, melodic studies, and carefully chosen songs and duets.
The author's deep study of the voice together with his long experience in solving difficult vocal problems in the studio has enabled him to rid the subject of vagary, mystery, and uncertainty, and state the principles of voice-training so clearly and simply that they may be understood by anyone.
A FEW BASIC PRINCIPLES
A tone issomething to hear. Therefore, to be right it must satisfy the trained ear.
A good tone iseasily produced. It is the bad tone that is difficult.
A considerable part of voice-training must be devoted togetting rid of resistance, that is, effort at the wrong point.
Good voice-production is based on theright ideaof tone and right conditions of the instrument.
The study of singing should bean invigorating and inspiring formof exercise.
To singwellis an accomplishmentwellworth the time and effort involved.
AIM OF THE BOOK
An adequate treatment of breath-control, vowel-formation, vowel-color, tone-quality, resonance, consonants, phonetic spelling, diction, the head voice.
Ample exercises for flexibility.
An illuminating discussion of interpretation, and how to study a song.
An outline of the principles of interpretation as a basis of criticism.
Purchase of outside material unnecessary.
The book is COMPLETE in itself, with ample text, nearly 150 exercises and studies, 25 songs and 7 duets.
PRICE, $1.25
For Additional Teaching Material
Art Songs for School and Studio(FIRST YEAR)
EDITED BY MABELLE GLENN and ALFRED SPOUSE
Issued in Two Editions—Medium High—Medium Low—$1.00 each
Art Songs for School and Studio(SECOND YEAR)
Edited byMABELLE GLENN and ALFRED SPOUSE
Issued in two editions—Medium High—Medium Low—$1.00each
Because of the success of theFirst Yearbook and the demand for a second book, a step in advance, this collection has been issued. It contains twenty-three second-year songs, including two duets, from the works of Brahms, Densmore, Franz, Fisher, Grieg, Henschel, Jensen, Manney, Schubert, Schumann, Sinding, Strickland, Tchaikovsky and Watts.
The editors have added helpful notes to each of the songs and the volume includes hints on Teaching Procedure, Diction, and the Principles of Singing.
MUSIC APPRECIATIONBased on Methods of Literary CriticismBy CLARENCE G. HAMILTON, A. M.Music Students Library, with 263 illustrations, diagrams and music cuts. 396 pages, cloth Price, $2.50The illustrative examples of piano pieces and songs that appear in this book are issued in a separate volume entitled:TYPICAL PIANO PIECES AND SONGSSize, 9½ × 12½; 144 pages; paper Price, $1.50A thorough and unique textbook for individual use, music clubs, classes, and educational institutions. Invaluable for those who wish to listen to music with quickened hearing and real understanding. With twenty-four portraits, twenty-eight diagrams and over two hundred music cuts.What Educators have said regarding Professor Hamilton'sMUSIC APPRECIATIONSumner Salter,Director of Music, Williams College:"I am convinced of the skill and thoroughness of treatment and of the far reaching practical value of the work."Walter H. Aiken,Director of Music, Cincinnati, Ohio:"One of the best, in my opinion, of anything thus far in print leading to music appreciation through music analysis: telling the pupil what to study and how."Arthur Foote, Boston, Mass."The scheme is a new one and seems to me of much practical value. The analyses are lucid and just the thing to teach the pupil how to think and work out such matters for himself."H. D. Sleeper,Professor of Music, Smith College:"Capitally planned and carried out to meet a very definite need—the awakening of intelligence regarding good music in the minds of young people of high school and college age."Joseph N. Ashton,Director of Music, Abbott Academy, Andover, Mass., formerly Professor of Music, Brown University:"An admirable book. The music selected as a basis of study is such as the student would be expected to be acquainted with. The scheme avoids on the one side mechanical dryness and on the other vague and valueless rhapsody. With this book sterile study is well-nigh impossible."Mrs. Frank A. Seiberling,PresidentNational Federation of Music Clubs:"The book will be invaluable to use in music clubs as a means of getting a fundamental understanding of the history of music and the various forms of compositions. When our next pamphlet goes out to the clubs of our national federation I shall list the book for use as a reference manual for the entire season for club study."Dr. Percy Goetschius, Institute of Musical Art, New York City:"I amthoroughly delightedwith the book. It is an original, very sensible and practical method of approaching this important subject; it is admirably planned and its comprehensive contents admirably systematized; and it is written with a delightful mixture of simplicity and erudition that makes it both easy to use and appealing to the student."A List of Victor Record Illustrations to accompany Music Appreciation, by Clarence C. Hamilton, A. M., Professor of Music at Wellesley College, has been prepared by the Educational Department of the Victor Talking Machine Company, and will be sent free to any address, on request, by Oliver Ditson Company.BOSTON: OLIVER DITSON COMPANYNEW YORK: CHAS. H. DITSON & CO. CHICAGO: LYON & HEALYMADE IN U. S. A.
Based on Methods of Literary Criticism
By CLARENCE G. HAMILTON, A. M.
Music Students Library, with 263 illustrations, diagrams and music cuts. 396 pages, cloth Price, $2.50
The illustrative examples of piano pieces and songs that appear in this book are issued in a separate volume entitled:
TYPICAL PIANO PIECES AND SONGS
Size, 9½ × 12½; 144 pages; paper Price, $1.50
A thorough and unique textbook for individual use, music clubs, classes, and educational institutions. Invaluable for those who wish to listen to music with quickened hearing and real understanding. With twenty-four portraits, twenty-eight diagrams and over two hundred music cuts.What Educators have said regarding Professor Hamilton'sMUSIC APPRECIATIONSumner Salter,Director of Music, Williams College:"I am convinced of the skill and thoroughness of treatment and of the far reaching practical value of the work."Walter H. Aiken,Director of Music, Cincinnati, Ohio:"One of the best, in my opinion, of anything thus far in print leading to music appreciation through music analysis: telling the pupil what to study and how."Arthur Foote, Boston, Mass."The scheme is a new one and seems to me of much practical value. The analyses are lucid and just the thing to teach the pupil how to think and work out such matters for himself."H. D. Sleeper,Professor of Music, Smith College:"Capitally planned and carried out to meet a very definite need—the awakening of intelligence regarding good music in the minds of young people of high school and college age."Joseph N. Ashton,Director of Music, Abbott Academy, Andover, Mass., formerly Professor of Music, Brown University:"An admirable book. The music selected as a basis of study is such as the student would be expected to be acquainted with. The scheme avoids on the one side mechanical dryness and on the other vague and valueless rhapsody. With this book sterile study is well-nigh impossible."Mrs. Frank A. Seiberling,PresidentNational Federation of Music Clubs:"The book will be invaluable to use in music clubs as a means of getting a fundamental understanding of the history of music and the various forms of compositions. When our next pamphlet goes out to the clubs of our national federation I shall list the book for use as a reference manual for the entire season for club study."Dr. Percy Goetschius, Institute of Musical Art, New York City:"I amthoroughly delightedwith the book. It is an original, very sensible and practical method of approaching this important subject; it is admirably planned and its comprehensive contents admirably systematized; and it is written with a delightful mixture of simplicity and erudition that makes it both easy to use and appealing to the student."A List of Victor Record Illustrations to accompany Music Appreciation, by Clarence C. Hamilton, A. M., Professor of Music at Wellesley College, has been prepared by the Educational Department of the Victor Talking Machine Company, and will be sent free to any address, on request, by Oliver Ditson Company.
A thorough and unique textbook for individual use, music clubs, classes, and educational institutions. Invaluable for those who wish to listen to music with quickened hearing and real understanding. With twenty-four portraits, twenty-eight diagrams and over two hundred music cuts.
What Educators have said regarding Professor Hamilton's
MUSIC APPRECIATION
Sumner Salter,Director of Music, Williams College:"I am convinced of the skill and thoroughness of treatment and of the far reaching practical value of the work."
Walter H. Aiken,Director of Music, Cincinnati, Ohio:"One of the best, in my opinion, of anything thus far in print leading to music appreciation through music analysis: telling the pupil what to study and how."
Arthur Foote, Boston, Mass."The scheme is a new one and seems to me of much practical value. The analyses are lucid and just the thing to teach the pupil how to think and work out such matters for himself."
H. D. Sleeper,Professor of Music, Smith College:"Capitally planned and carried out to meet a very definite need—the awakening of intelligence regarding good music in the minds of young people of high school and college age."
Joseph N. Ashton,Director of Music, Abbott Academy, Andover, Mass., formerly Professor of Music, Brown University:"An admirable book. The music selected as a basis of study is such as the student would be expected to be acquainted with. The scheme avoids on the one side mechanical dryness and on the other vague and valueless rhapsody. With this book sterile study is well-nigh impossible."
Mrs. Frank A. Seiberling,PresidentNational Federation of Music Clubs:"The book will be invaluable to use in music clubs as a means of getting a fundamental understanding of the history of music and the various forms of compositions. When our next pamphlet goes out to the clubs of our national federation I shall list the book for use as a reference manual for the entire season for club study."
Dr. Percy Goetschius, Institute of Musical Art, New York City:"I amthoroughly delightedwith the book. It is an original, very sensible and practical method of approaching this important subject; it is admirably planned and its comprehensive contents admirably systematized; and it is written with a delightful mixture of simplicity and erudition that makes it both easy to use and appealing to the student."
A List of Victor Record Illustrations to accompany Music Appreciation, by Clarence C. Hamilton, A. M., Professor of Music at Wellesley College, has been prepared by the Educational Department of the Victor Talking Machine Company, and will be sent free to any address, on request, by Oliver Ditson Company.
BOSTON: OLIVER DITSON COMPANY
NEW YORK: CHAS. H. DITSON & CO. CHICAGO: LYON & HEALY
MADE IN U. S. A.
William ShakespeareThe Art of SingingNEW AND REVISED EDITION, COMPLETE IN ONE BOOKTHE TEXT HAS BEEN ENTIRELY REWRITTENPrice, $2.25Postage extra, except in first and second zones from Boston and New York¶ This work is based upon the principles of the Old Italian Singing-masters, and deals with Breath Control, Production of Voice, and Register. The Management of the Breath, the Vocal Organ, the Jaw, Soft Palate, Lips and Face, Eyes, Attack and Legato Tone, the Three Registers of the Voice, Force, Intensity, and Expression are illustrated by many cuts and exercises.COMMENTS OF THE PRESS¶ We find a logical, clear, precise, and well ordered system in the work which must commend it to all who study it.—Musical Courier.¶ This book will be made one of the useful "tools of the trade" by many intelligent and progressive teachers.—Philadelphia Public Ledger.¶ A careful examination of contents will tend to give any earnest student an even higher estimate of the worth of Shakespeare and his famous method.—Music News.¶ Mr. Shakespeare has for so long been regarded as one of the most capable singing teachers in England that his latest work is entitled to respect.—New Music Review.¶ William Shakespeare has long been one of the most distinguished English teachers of singing; and this book in which he has embodied his method of teaching is highly regarded by singers.—New York Times.¶ It is based on the principles of the old Italian singing-masters and deals with breath control and production of the voice together with exercise. A fine book for vocalists.—The Advance.¶ In the midst of so much mystic and cryptic writing about the voice it is pleasant to come upon a book like this, which treats the topic from the practical teacher's standpoint.—Louis C. Elson in theBoston Daily Advertiser.¶ Text-book on the vocal art by a well-known teacher of the old Italian method. Breath control, voice production, and other technical matters are lucidly set forth. This is the entirely rewritten edition of a popular manual.—St. Louis Globe-Democrat.¶ The work in its present form has been entirely rewritten and is a clear and complete statement of the subject, from both the theoretical and the practical standpoint.—New Orleans Daily Picayune.¶ The author's aim to make an intelligible and useful record of the old truths and conditions concerning his art has been ably carried out and the book will be of great assistance to singers.—Chicago Daily News.The Ditson Novelty List is well worth while.Ask to have your name added to our mailing list.BOSTON: OLIVER DITSON COMPANYORDER OF YOUR LOCAL DEALER
NEW AND REVISED EDITION, COMPLETE IN ONE BOOK
THE TEXT HAS BEEN ENTIRELY REWRITTEN
Price, $2.25
Postage extra, except in first and second zones from Boston and New York
¶ This work is based upon the principles of the Old Italian Singing-masters, and deals with Breath Control, Production of Voice, and Register. The Management of the Breath, the Vocal Organ, the Jaw, Soft Palate, Lips and Face, Eyes, Attack and Legato Tone, the Three Registers of the Voice, Force, Intensity, and Expression are illustrated by many cuts and exercises.COMMENTS OF THE PRESS¶ We find a logical, clear, precise, and well ordered system in the work which must commend it to all who study it.—Musical Courier.¶ This book will be made one of the useful "tools of the trade" by many intelligent and progressive teachers.—Philadelphia Public Ledger.¶ A careful examination of contents will tend to give any earnest student an even higher estimate of the worth of Shakespeare and his famous method.—Music News.¶ Mr. Shakespeare has for so long been regarded as one of the most capable singing teachers in England that his latest work is entitled to respect.—New Music Review.¶ William Shakespeare has long been one of the most distinguished English teachers of singing; and this book in which he has embodied his method of teaching is highly regarded by singers.—New York Times.¶ It is based on the principles of the old Italian singing-masters and deals with breath control and production of the voice together with exercise. A fine book for vocalists.—The Advance.¶ In the midst of so much mystic and cryptic writing about the voice it is pleasant to come upon a book like this, which treats the topic from the practical teacher's standpoint.—Louis C. Elson in theBoston Daily Advertiser.¶ Text-book on the vocal art by a well-known teacher of the old Italian method. Breath control, voice production, and other technical matters are lucidly set forth. This is the entirely rewritten edition of a popular manual.—St. Louis Globe-Democrat.¶ The work in its present form has been entirely rewritten and is a clear and complete statement of the subject, from both the theoretical and the practical standpoint.—New Orleans Daily Picayune.¶ The author's aim to make an intelligible and useful record of the old truths and conditions concerning his art has been ably carried out and the book will be of great assistance to singers.—Chicago Daily News.
¶ This work is based upon the principles of the Old Italian Singing-masters, and deals with Breath Control, Production of Voice, and Register. The Management of the Breath, the Vocal Organ, the Jaw, Soft Palate, Lips and Face, Eyes, Attack and Legato Tone, the Three Registers of the Voice, Force, Intensity, and Expression are illustrated by many cuts and exercises.
COMMENTS OF THE PRESS
¶ We find a logical, clear, precise, and well ordered system in the work which must commend it to all who study it.—Musical Courier.
¶ This book will be made one of the useful "tools of the trade" by many intelligent and progressive teachers.—Philadelphia Public Ledger.
¶ A careful examination of contents will tend to give any earnest student an even higher estimate of the worth of Shakespeare and his famous method.—Music News.
¶ Mr. Shakespeare has for so long been regarded as one of the most capable singing teachers in England that his latest work is entitled to respect.—New Music Review.
¶ William Shakespeare has long been one of the most distinguished English teachers of singing; and this book in which he has embodied his method of teaching is highly regarded by singers.—New York Times.
¶ It is based on the principles of the old Italian singing-masters and deals with breath control and production of the voice together with exercise. A fine book for vocalists.—The Advance.
¶ In the midst of so much mystic and cryptic writing about the voice it is pleasant to come upon a book like this, which treats the topic from the practical teacher's standpoint.—Louis C. Elson in theBoston Daily Advertiser.
¶ Text-book on the vocal art by a well-known teacher of the old Italian method. Breath control, voice production, and other technical matters are lucidly set forth. This is the entirely rewritten edition of a popular manual.—St. Louis Globe-Democrat.
¶ The work in its present form has been entirely rewritten and is a clear and complete statement of the subject, from both the theoretical and the practical standpoint.—New Orleans Daily Picayune.
¶ The author's aim to make an intelligible and useful record of the old truths and conditions concerning his art has been ably carried out and the book will be of great assistance to singers.—Chicago Daily News.
The Ditson Novelty List is well worth while.Ask to have your name added to our mailing list.
BOSTON: OLIVER DITSON COMPANY
ORDER OF YOUR LOCAL DEALER
THE ART OF A CAPPELLA SINGINGByJOHN SMALLMANANDE. H. WILCOXVALUABLE FEATURES1.Advice for organizingand conducting groups.2.Instruction for the singers, to promote an artistic ensemble.3.Sixteen representative worksby Bach, Bortniansky, Byrd, Farmer, Ford, Gascongne, Gibbons, Jannequin, Lassus, Morley, Palestrina, Praetorius, Purcell, and Tchaikovsky.4.Vocal phonetics of the textprinted with the regular text in the music. With the right vocal effect in the mind's eye, good voice production comes naturally, and an artistic choral effect results.5.No extremes in vocal rangeare demanded of any voice, careful provision being made for average young voices.6.A special chapter on each of the chorusesfor analysis, technique, interpretation, and appreciation.7.A complete year's coursein group-singing, plus a repertoire of outstanding works.8.For mixed choruses and classroom usein school, college, or university; or mixed vocal ensembles and choral societies, amateur and professional.Price, in cloth, $2.00OLIVER DITSON COMPANY, INC.
By
JOHN SMALLMAN
AND
E. H. WILCOX
VALUABLE FEATURES
1.Advice for organizingand conducting groups.2.Instruction for the singers, to promote an artistic ensemble.3.Sixteen representative worksby Bach, Bortniansky, Byrd, Farmer, Ford, Gascongne, Gibbons, Jannequin, Lassus, Morley, Palestrina, Praetorius, Purcell, and Tchaikovsky.4.Vocal phonetics of the textprinted with the regular text in the music. With the right vocal effect in the mind's eye, good voice production comes naturally, and an artistic choral effect results.5.No extremes in vocal rangeare demanded of any voice, careful provision being made for average young voices.6.A special chapter on each of the chorusesfor analysis, technique, interpretation, and appreciation.7.A complete year's coursein group-singing, plus a repertoire of outstanding works.8.For mixed choruses and classroom usein school, college, or university; or mixed vocal ensembles and choral societies, amateur and professional.
1.Advice for organizingand conducting groups.
2.Instruction for the singers, to promote an artistic ensemble.
3.Sixteen representative worksby Bach, Bortniansky, Byrd, Farmer, Ford, Gascongne, Gibbons, Jannequin, Lassus, Morley, Palestrina, Praetorius, Purcell, and Tchaikovsky.
4.Vocal phonetics of the textprinted with the regular text in the music. With the right vocal effect in the mind's eye, good voice production comes naturally, and an artistic choral effect results.
5.No extremes in vocal rangeare demanded of any voice, careful provision being made for average young voices.
6.A special chapter on each of the chorusesfor analysis, technique, interpretation, and appreciation.
7.A complete year's coursein group-singing, plus a repertoire of outstanding works.
8.For mixed choruses and classroom usein school, college, or university; or mixed vocal ensembles and choral societies, amateur and professional.
Price, in cloth, $2.00
OLIVER DITSON COMPANY, INC.
All librettos have English text. Additional texts are indicated by Italic letters, as follows:I, Italian;G, German;F, French. Those marked with (*) contain no music. All the others have the music of the principal airs.
PRICE, 30 CENTS EACH, NET.
Boston: OLIVER DITSON COMPANY: New York
Chicago: LYON & HEALY, Inc. London: WINTHROP ROGERS, Ltd.
Order of your local dealer
Made In U. S. A.