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AUGENER'S EDrT10N, No. 9183a.

COUNTERPOINT:STRICT AND FREE.

BY

EBENEZER PROUT,B.A. London. Hon, Mus. Doc. Trin. Coli. Dublin and Edinbun,lz,

and Professor of Music in the University oj Dublin.

AD> JNAL EXERCISES, MELODIES',AND t s: URED BASSES FOR HARiIJ,ONIZING.

SIXTH IMPRESSION

LONDON:

AUGENER LTD.[RNTERH.D AT ~TATIONERS' HALL.]

COFYltIGHT FOR ALL COUNTRl1tS.j [RIGHTS OF TRANSLATION RESERVED.


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CONTE NTS.

IJnrt I.-CANT! FERMI. FAGBSECTION I.-SHORT CANTI FERm FOR COUNTFRPOINT OF FROM

Two TO EIGHT PARTSSECTION I1.-SPECIAL CANTI FERMI FOR THE FOURTH SPECIES. 3SECTION IlL-FLORID CANTI FERMI FOR COMBINED COUNTER-

POINT 4SECTION IV.-LoNGER CANTI FER~II, INTRODUCING :\IODULATIONS 5SECTION V.-SUBJECTS FOR FREE COUNn:RPOINT. 7SECTION VI.-PATTERNS FOR hlITATIVE COUNTERPOINT 8

'ad XX.-~fELODIES TO BE HARMONIZED.SECTION I.-CHORALES . 10SECTION H.-NATIONAL AIRS 20SECTION III.-MEWIllES OF VARIOUS STYLES 30

13nrt XXX.-UNFIGURED BASSES TO BE HARMONIZED.SECTION I.-lInIN TUNES AND CHORALES 61SECTION n.-BASSES OF VARIOUS STYLES

SOURCES OF MELODIES 1;-,;PART II., SECTION III. . 72


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If

II


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PREFACE.THE present book was undertaken by the author at the request ofthe publishers, who wished for a collection of additional exercisesto Counterpoint similar to those which had been already preparedfor the Harmony. The work has, however, developed so farbeyond the author's original intention that a few words may beadvisable both as to its contents and as to the manner in which itshould be used by students and teachers.It will be seen that out of more than 300 exercises which thebook contains, only a small proportion-less than one-fourth-are

counterpoint exercises in the usual sense of the term. A very largenumber of the old-fashioned Canti Fermi in notes of equal lengthwould be superfluous, especially because it is far more beneficialto the student to work many different counterpoints upon thesame subject than to write two or three exercises each upon manydifferent subjects. But, inasmuch as with many of the subjectsusually given it is absolutely impossible to write good counterpointof the fourth species (especially in a lower part) without repeatedlybreaking the syncopation, a selection of subjects is given in thesecond section of Part I. to all of which it is possible to add astrict counterpoint of this species either above or below.The third section of the first part will, it is believed, be foundto present some novelty. In preparing this work it has been con-stantly borne in mind that counterpoint is simply the technicalintroduction to practical composition, in which it is comparativelyseldom that the notes of a melody are of uniform length. Aseries of subjects is therefore given in the florid style; these canbe accompanied in any number of parts, and in any species thatmay be desired. The fifth species will generally be found theeasiest and the most useful. It is hardly needful to add that thissection should not be attempted by students until they aresufficiently advanced to have acquired some facility in writingcombined counterpoint.Though it is advisable in working short exercises to confineone's self within the limits of one key, it will be also well to work


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VI PREFACE.

counterpoint in which modulation is introduced. Twelve subjects'ire therefore given for this purpose in the fourth section of Part I.In writing these the student must carefully bear in mind thegeneral principles of modulation given in Chapter I X . of .l.larmollY.The subjects for Free Counterpoint, in Section V., formanother new feature of the present book. The first six, in notesof uniform length, require no remark; the others are similar indesign to those given for Strict Counterpoint in Section IlL, andare, in fact, preliminary exercises in composition.

As many students find themselves at a loss in attempting towrite Imitative Counterpoint, some patterns for commencing are:given in Section VL, which concludes the first part. It must beunderstood that these are only examples; the student is by nomeans restricted to them. Almost any pattern could be set; andafter working a counterpoint with one of the patterns here given,the student should endeavour to find for himself others which willfit the same commencement of the subject.

There is no doubt that one of the most useful exercises fortolerably advanced students is the harmonizing of given melodies.The second, and by far the largest, part of this book is thereforedevoted to supplying a suitable number of exercises for thispurpose. In the first section, a selection of fifty of the finestGerman chorales, ancient and modern, is given. These shouldfor the most part be simply treated, with one chord to each noteof the melody excepting passing or auxiliary notes. After this hasbeen done, it will be well also to harmonize them with florid andimitative counterpoint. The" unit of measurement" (Counter-point, 527) is sometimes a crotchet and at others a minim; bothforms are given, as being both in frequent use. The choraleshould be placed in turn in the treble, alto, and tenor; in somecases it may also be put in the bass, but in general the melody willnot allow of good cadences above it. It is hardly to be expectedthat students will work all the chorales given; teachers will beable from the large number here provided to make the mostsuitable selection according to the requirements and abilities ofindividual pupils.The national airs given in the second section of Part II. areintended to serve a different purpose. These are chiefly melodicstudies, from which the student may learn how to distinguishbetween harmony notes and the auxiliary notes which in some ofthe melodies are very freely used, Irregular rhythms (e.g., phrases


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PREFACE. VB

of three and five bars) will be found in some of the airs; theposition of the cadences is not marked, in order that the studentmay learn from the structure of the melodies to find them forhimself. The subjects in this section are not intended to beplaced in any but the upper part. It will be found most im-proving to the student to harmonize them not merely for fourvoices, but for one voice with pianoforte accompaniment-abranch of composition which very often receives but scantattention from pupils and teachers. The result can be seen onthe counter of any music shop.

The third and last section of Part II., which is intendedchiefly for fairly advanced pupils, will probably be found the mostinteresting part of the present book. It consists of a selection ofone hundred melodies, by far the greater part of which are takenfrom the works of the great masters. The compilation of thissection has presented far greater difficulties than the authoranticipated. It was desirable, in the first place, to avoid allpieces with which the average student was likely to be acquainted,in order that in harmonizing them he might not be aided by hismemory. But besides this it was necessary that the melodiesshould be clear in form, and further, that they should besuggestive of appropriate harmony. A melody which contained(as many do) holding notes of three or four bars with variedharmonies below them was obviously inadmissible. These andsimilar considerations have greatly narrowed the author's choice;indeed, in Some cases hundreds of pages of music have been gonethrough without finding one theme which was quite suitable forthe purpose. It is hoped that the selection given will be foundvaried enough to meet the requirements of all classes of students.An attempt was made at first to arrange the pieces in progressiveorder of difficulty; but this was soon abandoned as impracticable,partly because of the large mass of material, but chiefly becauseexperience shows that what is difficult to one pupil may be corn-paratively easy to another. The pieces have therefore beenarranged according to their various composers ill approximatelychronological order, and it is left to the teacher to select fromthem such numbers as are best fitted for the special acquirementsof the pupils to whom they are given. The melody should in allcases be kept in the upper voice, and it will be seen that, as manyof the exercises (e.g., Nos. 7, 27,59, &c.) are taken from instru-mental works, the four parts of the harmony are not in all cases


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viii PREFACE.to be treated as voice parts. An examination of the melody willgenerally show the student whether it has been written for a voiceor an instrument, and it must be treated accordingly. A fewmelodies written for this work conclude this section.The third part of this book, containing unfigured basses to beharmonized, requires but few words. The first twelve exercises ofthe first section are the basses of hymn-tunes-mostly of veryfamiliar ones; the following exercises (with one exception, whichis from Mendelssohn) are taken from the chorales of Bach; thesewill be found considerably more difficult to work than the hytnn-tunes, though the melodies to which they are the basses are, inmany cases, tolerably well known. The concluding section of thebook, containing 20 basses taken from the works of the greatmasters, will afford ample scope for the ingenuity and inventivepower of the student. A few of these are taken from tolerablywell known works; but in the larger number of cases the authorhas preferred to select pieces which are not at all likely to befamiliar.

The author bopes that the material provided in this little bookmay be found useful, not only to those who use his text-books,but to all teachers who are in want of a plentiful supply ofmelodies for harmonizing. It will be self-evident that the greaterpart of the work is independent of any system of theory, and isavailable to all, whatever their musical creed.LONDON, Dramocr, 1890.


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ADDITIONAL EXERCISESTU

C0 U NTERPOI NT.PART I.-CANT I FERMI.

SECTIO~ I.-SHORT CANTI FERMI FOR COU~TERPOINT OFFRO:II Two TO EIGHT PARTS:

(I.)W c l G I S I $ I r; I t. I 5 I $ ~ I 8 I i v '( 11.)@ i s ; ~ 9 i = I @ I . . . i " . I 0 I t. I


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2 ADDITIONAL EXERCISES TO COUNTERPOINT.(IX.)flit d. I F e I J. I j. I Fe I [ J . I j. I J .J

(Xl.)~~ifgj =-1 9 I ?) I sib I c; l;;:tj~ IV(XIl.)

. e.I ' < ' 1 . I C 7 ' 1 e ' 1 > i . , e' l d = = = - = j 1 s H. . .(XIII.)~ I==V 1 5 I 0. 1 0 1 >. , '" 1 ~ g _ g g g u(XI~) _~ggq 0 I ? ) l e i 0 I ' 1 e 1 ~ I~ =t'+4(XV.)F~~'I '1 G . ] '-'10-19.1 1 e.1 s.]=.~(XVII.) -0- ~mol 9 ]9 1:-) 1 t_ I ISH - ' : ' ~ - - + Y I

.(X.IX.)~ C ' 1 0 l e i e 1 0 144J8 0 1 < > I 0 ~" (XX.)~~g e 1 ole I >, 1 0 ! e l e i < > I


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ADDITIONAL EXERCISES TO COUNTERPOINT. 3~III.)~tt4e5l ?J ? ... C O 2 I I; tSZb; .~ . ' I e I ' " . I Pi I e . I e . I g o . I ~ HAll the subjects given in this and the following Section which are written incommon time, can be used for counterpoint of three or six notes against one byadding dots to the notes of the subjects; and conversely, those that are written intriple time can be used for counterpoint of two or four notes against one by takingaway the dots.

SECTION lI.-SPECIAL CANTI FERMI, FOR THE FOURTH SPECIES.As the fourth species of counterpoint presents difficulties ofits own, especially when it is in the bass, a few canti fermi aregiven here, written expressly for working in this species. For noneof the subjects will it be necessary to break the syncopation.(I.)J~~==j=(II.)~ggl 0 I e E)

a lsat::;(IV.)tfi~0 C) t) 1$8 t 2

J W 1 , ) J_~ . J . I E ' I F ' I IT' I E ' I F I . $ J ~ ~

(VIII.)m~j. I ;j. I e J . I I T ' I f < " I !". I J. ~


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4 ADDITIONAL EXERCISES TO COUNTERPOIA'T.

SECTION IlL-FLORID CANT! FERMI, FOR COMBINEDCOUNTERPOJNT.

It will be useful for the student, after working the various formsof combined counterpoint on subjects of uniform length, also topractise making combinations with subjects which themselvesresemble counterpoints of the fifth species. For this purpose wegive some canti fermi of this description, some of which arefree variations of subjects which the student has already treated.With these florid subjects, two chords in a bar may be freely used,if found desirable.(I.)g ti j.. 0 1 r r EI~0 " ; . . i r r ~ljJj,J Q3(II.) (a)P-P-dD i r . U 1 [ " ' : J I J E f J j1 e 3 . : 0 1 s I I

(a) When the subject begins with a rest, one at least of tbe accompanying counterpointsshould enter at the commencement of the bar.


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ADDITIONAL EXERCISES TO COUNTERPOINT 5

--_._--_SECTION IV.-LONGER CANTI FERMI, INTRODUCING

MODULATIONS.In the following canti fermi the student may introduce modu-lations, not only where distinctly indicated by accidentals in thesubject itself, but where they appear to him desirable. In nocase, however, should he go beyond the nearly related keys.(1.)r u 0 I 0 I Q I 5> I 0 I 9 I # u I i2 I t. I " I(II.) -e-O O @ 0 1 1 9 I I ' " I ,< I 9 9 1 ' : 1 I '? I I 0 1

.. aifPSj" I 9 1 , 9 I 1 ' 2 I G I $ I '" I e I ( . I I(IlL)@ I j # ~ , I u I ' I " " I s I 0 I " I 9 I t. I t. 1df2l

,_Lgj~5 I " I . , . I 5> I 0) 1~5I 0 I s I , - i i i . , I > , I I(Iv.)~~ ~ . , . I 0 I . . I U I ' " I . " I t o I ' " I t_ I " . !

I ~ l l i b e::; I ~ . , . I I "" c:;E2(v.)

~ " " P 3 G t2 5>9 I 0 I " " I s I " , Bt J

'2 I'"


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-6 ADDITIONAL EXERCISES TO COUNTERPOINT.(VI.)@ f~ 2 . . I 0 I p i . . I t< I g o I . " I . " I OJ I ' +4=~

@ p l p . " I 0 I p I


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ADDITIONAL EXERCISES TO COUNTERPOINT.

t h u I e I ' . I ~ I '" ' I 0 I ' " ' I 0 I 0 I " I " ' " Irlth"'" I e , 1 " " '1 1 ' " '1 I t : ! l " ' IO I 9 ! U I ' " I I

SECTION V.-SUBJECTS FOR FREE COU~TERPOINTIn the following subjects the chromatic notes of the key are

introduced. Modulation may be employed where desirable, andtwo chords may be freely used on one note of a canto fermo.@(I.)9 ~ ! Q 1 0 I eo C d I ~

I " ' " 0 1 ' " Ed :; H(II.)~'~" ' " e; I I(III.)I~ I~.. . I ~ I " ' " ed boI E ; I'"

I M I '4 I ' " I . . . . a e O ) I I I I I I " ' "E2 . . . . ~ < 5 > t", E;~J :# I I ~. . . I . . , . I ~, I #~~ I 50 ~Ed . . . .'~ Ed


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R ADDITIONAL EXERCISES TO COUNTERPOINT.(VII.) ,-.._W i j.PI r jr~rI~hcr lrJ r r ! F ' C f ' l r " r r r IrJ c-If f lWBlI(IX.). -. .1 % 1 ' 1 EE l E ~ ;J I r . G a r I r rE I ~ r r r I- - -~!Il~b r rE I r ijr r r I~Err E lF ' E I >J II

~.),-.._ ~= : . .r F r IjJ r IF r~Et!ElF Ir a 1 [ ' ' I r E t r r I ~ IU H . /(XI.)@ jS~Frrlr'cE rlrrrlr 'rrrlt r rlr rtlrrrir EE1I(XII.) . , . J l , . o t .@ ? , t r F r r EItf I J . r IlL r r r r r " ~ I E .IE I

~, r tel r r IE ' r I r : . r I r r F I I:) I I(a) See note to Exercise 2, Section III.

SECTION VI.-PATTERNS FOR IMITATIVE COUNTERPOINT.(See 473-478.) In order to assist the student in his earlierattempts at writing imitative counterpoint, we give some patternswhich he can continue in the succeeding bars of the exercises.We have illustrated all the usual commencements of canti fermi,and the counterpoints, though only written for a major key, willbe equally suitable for the minor. It is not needful that theimitation be exact, if only it is near enough to be easily recognized.The last note is marked with a w, as its length will always dependon what follows.

{ OJ(II.) (111.) ..........


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ADDITIONAL EXERCISES TO COUNTERPOINT, 9

B


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10 ADDITIONAL EXERCISES TO COUNTERPOINT.

PART n.-MELODIES TOBEHARMON1ZED.SECTION I.-CHORALES.

These chorales can be placed in either the treble, alto, 01tenor, and accompanied either with simple chords, or with moreflorid counterpoint. In the more regular melodies, the place ofthe cadences is not indicated; but where the student is likelyto find difficulty in discovering their position, they are markedwith a pause (.--:"\).(I.) "Vom Himmel hoch da komm' ich her:'t $ W = f Z - f S t I I T F H i' I T 1 [J [. 1 : & M4#J_~~ J I[.ElrrtF [.i F [.II T tti2ill J ; : : E D J(II.) "Gatt des Himmel, uno der Erden."

@'--4=#~ r 1 J J J I 0 ; J J j I C' ~~j ? t # e r r c I r c : r 4 J J I J J ; . J -1~~1(111.) k 4 J J I F r 1 ?, II Nun sich der Tag geendet hat."1;\ ,...[ . 1 19 E 1 ; . : 1 C F G ~ c 8I

i l l] j I i l l

\v.)w a k l ~ ~ J J b 2 : 'v Cbristus, der lst mein Leben,"- . d e r J ;~r ;1 J ; J~~, ] ' " c l r c t r l c


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J . ADDITIONAL EXERCISES TO COUNTERPOINT. II(YI.) "


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I2 ADDITIONAL EXERCISES TO COUNTERPOINT. ,

(XIV.) UNun ruhen alle Walder.", W t r [J j e r r I I T r c r I r r - r$;jI J o J r r ~ /@ ~ j , ~J o J o r r I I T r e i r r @., : J ill J o j r rk6tllIII f

I "II

(XVI!.) ., Was Gatt thut, das ist wohlgethan."ft7)PO r r lE'Cr - I E r ;:oJ l.J ~ mE l: r J J g Ii J JQ~ "- )@ i o f r j o j I J j J J I j J E I r r J u1 . 3 . ~ \ b

(XIX.) HJesus, meine Zuversicht." /~=n r t t =FEF I tr r J J I j J j l;& :m ./


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ADDITI'ONAL EXERCISES TO COUNTERPOINT, 13

(XX.) fI Jesu, der du meine Seele,"~ ; J r J 1 j j 1 J j I , J , 1 1 F [ 2 t I T I T 1 [< E - 1 5 t i l~w F r! [ 'I r 1 1 j A l ; ; j j 1 [ - f' 1 j j 1 c J , J 1 : L Wpr J , 3 i j ; ; j 1 [< V 1 5 1 t - f - 1 j r J 1 r J : ; 1 n "

(XXI.) fI AIle Menschen mtlssen sterben.'~itr r F C IJn J : 1 tLWb l j~~~~~?tt r r I O J J r F l ; t J j 1 r ~ J 4 tQQJ I(XXIl.) "Allein Gott in der Hoh' sei Eh,."~Hf [ < I I T [ 2 1 J . 3 1 jj l ; ; j J ~ 1 [ < , J 1j r J i j jI + - B - / o-e:a:

~ F 1 J ,J 1j j1j J J 1 r - J - ! j , 3 I j j l j M # . .~@ ' rj M f A , J 1 r r:; I e ' [ - I j , J 1j j1 j J J 1V , J q i P f t ; ; H

(XXlll.) "0 Gatt, du Frommer Gott."jfb: t=#i; o J ji [ < , . r 1 J J j J 1 J Mr r j J It.-'

< J f . . . L f L~ ~ J 1 O J , J F r I r c o : r r I r F n r 1 [ < - r 1 .J@ $ r r r r lP;;:r I r r r r I [ < . . r I J n J 2 J l S H 1 l

(XXIV.) :__Warurn betrubst du d;ch,. mein Hejrz'"~ J " j j J O J r I o J J O J 10 1 J r F r I nP ;;d I d~- = dJ 1j.n I ; J jjI r r J r 1 J J J ;OJ ; O J J n / '


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14 ADDITIONAL EXERCISES TO COUNTERPOINT.(XXV,) .. Dir, dir, Jehova, wlll ich singen."

~j 1 [ ' j 1 e J > J 1 j , J 1 5 1 . ~ . C J 1 : J l I , J I ~ J j~ ~ '" '"~=F ' e d J I ; ; : J j I r 2 l r J - 3 1 j J I , . , . l : r - - ~ 4t:4i~j - 3 1 r [' I 6 ! , J I ] j 1 f " r 1 r " [ " 1 I T E ;:i;=~ '" -1 '"~ r" r " 1 r : F e 1 J > J 1 j e 1 C ; F I [ ' g

(XXVI.) H0 Ewigkeit, du Donnerwort."~ ;; r r 1 r r r . s 1 J ;o J r r 1 ;o J J J .; 1 J J J J 1 1 , - " ~ .) 1 1 " lv""" \ Jo, J 4 J f i t l J J ;o J ; o J 1 J J J r 1 r r r J 1 ~ fRL-.' ~

(XXVII.) "Wunderbaree Konig,"~ r . - . /Z-~T E ! I T I T 1 r ; F e 1 F r 1 F r 1 J l:gg=jjf J j 1 r " I T 1 0 I : m I T I T I : ; 1 F e E 1@~& D r I T 1 F I T 1 0 I ~ 1 E I T 1 r - I T ! t; 1q(XXVIII.) .. 0 Haupt, vall Blur und Wunden.'

~ P L l , g j 1 j j 1 C F e r r9 1 Q. j 1 > J 4 J 4 i J QCJ ~ j j 1 V r " ~ ~ 1 n ' F < i j j d "Jp F 2 5 HCI ~I

SU - J e J Is Fir r I T F r i >e j j1J j J~(XXIX.) " Nun danket all. Gctt."

~ I T I E I T 1 F < F e 1 9 1 - F 1 [< r 1 - J j 1 8if 5 Idfr f' 1 [ 4 t 19 r 1 [ ' r I , J JG]


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ADDITIONAL EXERCISES TO COUNTERPOINT. IS

(XXX!.) "Wer nur den lieben Gatt lasst walten."~ aJ I J o J r r I J ~,j I j F sj I O J J J~t9 I I O J J ~ I Ir It r r I r r r r I r r o J - - n I r J I~ .(XXXI!.) "Douce Sobn ist komrnen."

~' !~ = g = = g : p S J I Z < E I "" 1t ill&1 m~@&~h I; J ji) 51 1 '< 1 < o j r J 1 j J 1 ~@ b , 3 J A l d I C o L I u I r J j I , J j I J S J I ) I I(XXXII!.) "0 Ursprung des Lebens."~ t84LJ ,J 1 S J d r J 1 F c - L i ,_;;:J 1 : - , ( " E i

F = = r = = T r J ! j r J j I Q- J] L F F I f' J e 1iFFr J L ' I c < , J ; 0 I E [' L 1; F ,; ItitJg:l. _~'iI Q ; ; 1 I , j , J j 1 , 3 J L I r F r I 9 I


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16 ADDITIONAL EXERCISES TO COUNTERPOINT(XXXIV.) "Herr Jesu Christ, du hOchstes Gut," ;..1;

~ . t J I , 1 . ) I, .) j! r - r I , J , ] l;j J Ig;: ~.1 - w > "@ n I F J F I IT f J I FfhE=r I ,1 E ' l;j *l4 4 J t 4 : b J U , ) ttL:; ~+=11+ i "+F f9=I Iov

(XXXV.) "Ach wie ftUchtig, ach wie nichtig." .)k.o-;'~"\..

@ E f ? = r tttHtr I r r r r I J , : d I r r r q"fete e lee r r I ~ F r r " I r r : tff*4~~,

'"r r21~FF-=t

(XXXVII.) "0 Lamrn Gottes uuschuldig." ~..".~ ,~

~7#r IE r r f J W J o J I J : o J ; ;m = I J J @ ~ '~ r . . . . ~!';\ r.-.~-& + r r r i F ! r f " J r I rt J O J J I r J j I ,.)3(XXXVIII.) "Wenn mein StUndlein vorhanden ist."

~ J 4~ J ~ J lt" r J :f l; r :fe lL r r lC r j a S 1j r r ;-r lr r r r ir r r lr r r ir rJ J Ii P r r liJ~n .1 J . J ' r ct Ir r2i1Jfkl. . . ,

./

I I


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ADDITIONAL EXERCISES TO COUNTERPOINT. 17

(XL.) HNun lob', mein' Seel ', den Herren."j$H9+-; - I? j J 1J j1E - I '< r +P~4=J~1@ lII i / ! J I J o J ' I~ r i J J L; J i j ; J ! J l~3L 'i t4s4=l= id+==7- t ' J ; ; I r r ! ~ F f q u ~v ~ . ,

t d F~ i E .~ -3 ~!;j... 1 J : ! :L=1J;g_::~! I r 1 ; 9 rlt2e I j J ]" J J I : F-g I t-

(XLI!.) "Wac! et auf! TUftuns die Stimme."~%pL~rr-~~-=F;,i~~~v 'F t r q g i t p J J I J=tl:o 1- ~tj d J Ie I~~~tttr F ' I F e [ e I ~ r : I rg I F e r I H i E G J > 3 I s> I I


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(XLV.) II Komm Gott Sch(,)pfcr. heiligcr Geist."

(XLVI.) II 0 Merscht, bewein' deln' SUnde gross:'~ jjfi!d5l J I ~ jI~J*66$;-q#bEf$l~~4 ! ' = 1 1 FIF FIp I ' e 11 F e i f < F Ig1_~_ , . iii 'n. .r F . F . . 0 i . _ _,hE'1B1 (Cf-=p=ff i j=;;=j:F;&i J tit#tr~rd tw dryl c:; E I~ j 1 ' 2 ;;j-::fifl= = B J I(XLVI!.) "Herzlich lieb hah' ich dicb, 0 Herr."@ : t r lj J J J J I J . j r i A CjlJ J J j t f4Egg

i f r : F ] r I r r ttn I r r F [ " I r r t r PI r r r c a


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ADDITIONAL EXERCISES TO COUNTERPOINT. IQ

(XLVIII.) .. Ach wir armen SUmler."~rrrrlF' r I J J J J ! " , IUJ4 j " r . J IU E E r r I'" I r ~ r ' E I E r r I r r r HfIwtt? j J J IJ J IJ j; Jfe I~ifi F r r I J j Jd 1 9 I r F r O r I u I~(XLIX.) "Chri,t lag in Todcsbanden."'t#$J F I r I T C < I r 9 ; ; < r r I e , J ; ; ; j Jjtj~~is J ; ;gj4Q . J j j I E 'E f " ' r r l i F t + r = = @

W+fT~C : 9 J I j J J 4 A = J ~ t=gU


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20 ADDITIONAL EXERCISES ra COUNTERPOINT.

SEcrION n.-NATIONAL AIRS.The following selection of national melodies will for the mostpart require only very simple harmony; they will be foundespecially useful as studies for the proper treatment of auxiliaryand passing notes (Counterpoint, 544-549)' The student isadvised also to harmonize some of these exercises as solos withpianoforte accompaniment ( 554-559)'(I.) Andante.:---. - English. V ' 2 pij.o J J J I j O J nI O J mI o j J P I j

@ g l t r . tc r ! O J sd Iflr O J I j n I r .m I r r Gr I... EL f Ir r @ Ir ' r r : . : I o J , . ) I Dr J I j H(II.) Con'firilo. English.fat O J Ir c r J jI O J J J O J IJ J O J J I 5 i J J I~ E f J jII ! : : I I ; : : I : I ; ~ : : I :: : 1 : : : :(II!.) Moderato. English.~S-P.J~ i.;IJ:U.Zj nlr ur elF' J]]

~ , J


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ADDITIONAL EXERCISES TO COUNTERPOINT'. : z I(V.) A"le~. English.

t n IP Z O J ;1 r C r 0 IJ 3 3 o j .114.) II 3 :;4=i1( f u r s r 0 I J 3 : J o j , II 3 . . 3 , -1 r s r e i m 0 FEIu ~~ r 1 m s ir ' o J 113 1,4))1r s r olns; Illt.lill , L .(VI.) Andante. Welsh.

@ 9 ! L ~ J I o J r r I r J J I r r r i J O J O J I J e M,1,9 J O J I r l O J IJ r G . t Ir Jal

(VIII.) Andante. Welsh.@9 ! t l ~ j 11 P J)A IJ~ J J 1:lPn a t " I r J O J I J r ~~ 9 V r E f r I J E f 1] I d r I 3 c r E; l o J OJ];p I n##4j j \ b J O J r I J o J r I U El o n InJ 4~

/

@~ ! l i ' r ;ja I r r J I r r ~rI f " ' O J I J C r I r 3 J I@ ~ b ' F G t i5 1 O J J O J I o J C I J . 3 1 J J J ' O J J O J I p J H(VII.) Atlcgrq. Welsh.

@ s ft O J J J O J I J'! C I d I r Cl r J I r . e r e I@ I j # C G t C O ; Ig' c r r I 915 O J y ~ I r r ,J ~


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I .

20 ADDITIONAL EXERCISES ro COUNTERPOINT.

SEcrION n.-NATIONAL AIRs.The following selection of national melodies will for the mostpart require only very simple harmony; they will be foundespecially useful as studies for the proper treatment of auxiliaryand passing notes (Collnterpoint, 544-549)' The student isadvised also to harmonize some of these exercises as solos withpianoforte accompaniment ( 554-559)'(1.) AJldante, -. English.

~ :...EiJ ~ - = R j = BI~ ml~ J m j r . E f f 4 1 4 J l i5t@ 'J' &tt ...~ F " r @Fr' E . . E . . _ d F = r r : r 1 E ' E -11 o j > J 1 B r J 1 3 : 1

(II J.) illoderato. English.~W~;S-P.:~ ts I J ; J . i i W n I r 6ft r 1f?=Til~~ C;IJ!:J JI:J:Jj. j . 1 1(IV.) Andante,~.~~: l , J no. ..

~ C ~ b = - 1 I;:; JfiE ~ 1"'V

English.J loJJ :JJ JJ I~ : JJ J lj. j d'--'JI~JJJ JJIJjJ;J Jlj. J@


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ADDITIONAL EXERCISES TO COUNTERPOIN';". ZI(v.) Alle~. English.

@ ;1 S fiJ ;1 F : r k 141 :j, t I4JP+i !9 1pgJ" r c r 0 I J 7 S ' 3 js : 1 I J , . J e r i r e F c Ij k FE~ -t r J r c Ir ' j liS l d ID I r c r oll@ t;rr-qg=u(VI.) Andante. Welsh.~;;; rF lrSJ lrE r lJ jjlJ F@p o J_J ifl J J J 1 .3 J IJ r z : : IF Ja]~r c;J1IJj J I; cg~IJiii ;;; lidA

~~I~t> J C 1r o r &" I r r r IrS" tz I r F Fd@ J ; r . ~ Gf IR J I ; " r r I r < j1 jJ = f = r I r J Jql I T ; " G " i!I J ; ; jI'; ot 5 IJ J ; Ij J711} I ](VII.) Allq;ro. Welsh.~IltJ J J J I i.!Gf3 I L aC Sir ' C T "4

@ I / F G t r Jig G t r IDlS J W - ; Ir r J ~(VIII.) Andante. Webb.pt:JlIFnnIJ~JWISnnl,] Jt;.J~t ~ ) pr E f r IJ c r J] 1 , 3 r I W c r r; I; ; r o ; : ; g~ V

i ' ; p J J F I J oJ E I c : r E J ~ ~ - ~


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22 ADDITIONAL EXERCISES TO COUNTERP01}l?".(IX.) Allepo. W.lsh.' f i t U Ir tr~EEjI r J f :r;IJjJj O J O J IFf tiMf & r - .. ~ -~q r r r I r O J f 1 3 I a n J ij[~~ q q(X.) Mod,rato. Scotch.@ I / I 751~~ /11i J ~j J I J . J; J Eitl~f # = : i n J1 ! JIm Ia s ! ? j J a : I E J E J C Z f c:g=ji~ rCrrUtIEij nCJI~Jfi?H~(XL) Andante. Scotch.@~gnIJ. ;JIJ r a r i a Jnl; . ;;IJ ~

./t c r ! J *1 E@I O J J r 1Fr' : 1r J l S f t IOJ

(XlII.) Moderato. Scotch.*9i_IJ G1r GtBR25IJjH~


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ADDITIONAL EXERCISES TO COUNTERPUINT. 2)

@ ~ ~ Cil:" C i T r ~ r r ie l [ r it = t c r I r 'i C Ir:; [:or 1:0 J " " : e 1j. j J . j Ij 151_I J J] I@ P r QP {) I J j " J 7 9 ! J w IrQ I r ~(XIV.) AMan t. Irish.

'~ I ' ~ ~ b h t :IF s Ii : J ! r 5 r r 1 . iJ J I : ; ; Fir k E t Ag > ' h r r r r l r F r J l r F " r 1 r c r . . - - - : r I F r r l~ ) 9 ' b r F J O JI [ 2 F r I r . S r r I r r r F I J O JJ . ,/LlJ(Xv.) Andante. Irish.

@ ~Ir:..r fl: lr IF Grl[r r r I~R = 1 J I . .?r:t IEftf I r;-t r Irs M.J -g ; r :rr"fIC J "rr lC ":rrr!C YF IF ~ r~ rf I df r I F C O : ; i :tur I O J5Ci I r l l(XVI.) TcmjhJ tit Jfan.:i,~. Irish.f - G R J i,!J niL r e J ;:Ir k~~~.~1 d J n~"- j n I. C 4 4Wg~.= - = L i : L =' :~ __~i$'~{t ~7-:=niJnJ. llrJ J@- . _ ) . . . . .

- - " .-


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,q AiJDITIONAL EXERCISES TO COUNTERPOINT.(XVI!.) Andonte. Irish.

~1E$ I"~~sqa :filaW-~~J~ . . . . . . . . . . _~J:j E;;g 1 CZ @ f E : 8 " IEttJi2*;;J%~?l#~ W E C " 4 = 5 ) ~=&~CJ(XVII!.) l1Iodemlo. Irish.~Wi1t t t t - ftf F ': 1E Fr Ifjti1~Jj. J I I

(XIX.) A"da,lid. Italian.~~ ~ -~ ~ y ~~.-~=W~Cl r .Z i J ; IE:j~d E } 1j.Ed~1:LJ11Jlj 3-dl: ~rrrl~' LIt!E' ~~~A-EE!}lr ~EtJlr' d t JH~ -+ r= fm1j 1 g F ~ , _ _ IJ 1tflIJ 11__ 1 ; 1J~l; ~~

~-;;;;I j 4 t N :J :1r a r ; 1r = t1:j. . . ,~~gp=tJ=ll r : r e i r : W '"~n::;ggf~~)

(XXI.) Andantino, Italian._tEi1rt=1 i'Jrml1@rlfl3jltJ I


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r,I~I IGI(, "I~f : _.~"

I'J~'~ i

ADDITIONAL EXERCISES TO COUNTERPOIXT.

(XXI!.) Andante CO" mota. Italian.w SU! a = ; ~ : : : u ! ~ J !- s o !O J 1!J?J~~3~%Ed~~I1jJ)W'lr' ~~JUrr:lJffiI2 ~m~IJIJJ~~fJJJ tvIr ' Lt! I~ r-~IJ 1:g:FnJJjtpu. . . . : : : : 3 .(XXIII.) Andante con moto, Italian.iItit Ir' ; c U IO J t 4 C ! . { Ir' ~pi' If < ~

j93l]I.,] J G; IJ :r:Gt Ir f WIln~~jO J O J tillc o r c;lj glJ .;F?lr E b - = @F t I ""'1:1""'1l~ r act IF r Q F 1


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26 ADDITIONAL E.YEI?CISES TO COUNTERPOINT(XXIV.) Allegro. Old French

~-fff-F. J 'F -. t t r r O J r I j. IE r ! 1~lfEr l J . lr a~ J . If; W IJ ;' a s l F ' ; ' gI I T r' l 1 t 2 b S J i b J I(XXV.) Andante. French.ffir ~IJJJ Jlffir ;Ir; ~--- :~J

@ ! i J J J 1 1 A i J r ; I r ; tnlJ. J 1 1 E 1 1 : t 4B- t - : ! r ; c t r I 2 , ,~_)L : tU !lm I i < , ~ ; il~~ ~. - J L L 2 : ' : ; O J if.~~it#~:H;Pk' , r 0 r . Ir ;s--;--~(XXVI.) Jl1odocio. Russian.

@El-@E~ d ~ JJ i J : I J . 4 J J ' J ~P,r~ ,/j h t F r ~ - I "I ?$P~ ; 99 Ir . c t- , : FI"r";"'F$4#l- . . . . . . . . . . . . . . . . .(XX VII.) Aruinntr, Russian,jg t t e i l 'D i L F = C P J q JlJ, J I r ; I c t - , ir 1 : : & ' Clip E l l(XXVll!.) Andante. Polish.f E ? J 1 Jj, ~ J:! O J j : J , c : G F ' r a- '~ ~ ~ \_~ "-

@ ~ J -glJ3~lj~J'r om~l l l(XXIX.) Allegretto. Po!ish.f - - : r ~ a q + ! S aI Et m I o r : :-0 I J;f.~

~ ~ =U - ! = r . r : : ,Jj8mJS ,~rr r SA. . . . . ...._.~~- J, J IJ J I . r - s - r n tEttEr Ijr~rr:rl ~m


39/88

ADDITIONAL EXERCISES TO COUNTERPOINT.

(XXXI.) Andollie. S W C t J . is l t.- ~-- .~~i44 ;"#74 .. ~~J I >. I : ' : ~ ~@ uZ"n _1j J (3 I j I J ; 2 J J2#'Tl~$(XXXII!.) .Aruiante, Swedish.

~ ~ I [:::feEL}" I r ~ 0 I EM tB~~8g$51J ~=l r r r r " In :n IPq~~- -(XXxv.) Maeslc,o. Norwegian.f=-tt~ll) - 1 1 P I r r I E r ~Jb.~jj=fh=ttiuT p+=~ I ~ Etc? r ~ V lj E C l J r I G t r ~ tJ7fl; r I f 5 = : 5 7 f t ; c ~


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28 ADDiTIO"VAL EXERCiSES TO COUNTERPOINT.XXXV!.) Con rnato. Nonvegian.

~~r ~ J a d J ~E'=?~~ ~ ~ L ~ . r r e I J Jft#ot r Zl~jt=7"~ ~ ........~ f4 4 ~m @ w J]1J J . a i JQ j(XXXVI!.) Alleg ret to. Norwegian.~rttt1--5J J }S Ij ,;J.~;J1LC'31o.Jjk$f~tJ1QJ ~ :E+b9Yjj t1~.pW~=tin:t=f-: ~;3q_j~~

(XXXVIII.) .:"tlle.:;retto. Norweg-ian,=#l~.-_ ~ ~I~~J3~" " : ; i ~gr _ . Qt~f?1t~-r Igr , . ~Q'~j L = f u l ~ . %t$C_ nn~tf~-:&rF rig- r I G"r _ .e I :tC9fRggjfu I(XXXIX.) M'aestoso, Norwegian.~~=ntjtj J J J I O J ) O J J i tJ td J. tJ . U

@ J iJ ; W I J . ) J j i E - I r ' = ;mW;;;p;J@ J . ) J O J I , J F : r a l O J J J j I r e I r ' : r r lfr FwlrrF'rlr ri!IJ.1JJIE -I


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ADDITI021'AL EXERCIS1:;S TO CaUNTERP01NT, 29(XL) Jfoderato, Styrian.

@ 9 g J . J J I e ' 0 J 4 8 O J j I J . J J I J . JS8@ ~ O J 0 r I O J J . : " 1 J f < I J . lift&- c O J I O J J? E]@ R . : r I J ~ . ) I O J tt r I C O ; F O Jj;J 2 $ 1 1(XL!.) .lioderato. Styricn.

W i t I J1 j 1]I P iJ r tG: r JJu(XLI!.) Noderalo. Tyrolese.~ nI y; r . c I t o J . ) ' 1 4 ] O J. 1 1 4 J J . Jb jf s=F$l

@ ~ I ) C ; : g . t g J g iiPfF=etk: O J V ! ? rT~VtY?] iP IP~.: I : : : 2 . q l l= ; r 9 r ' C I c r E 1 ~ - u I J Z r . : I + 5 :ttfEr]5t#t ? 5 J ::ztjitid@ ~ ' ) t 3 ~ Gar: . r -I ~ r r I E I 1 t d :7g~...... - I ....j& - U W J - J ~d2 [ # 4 J f f l 5 ; , I. ~(XLII!.) Allegretlo. Hungarian.

~ l .i~ t:j ! I I ~ Q I& lJ I U f E f J::jt!! - . = . . - . : ~ r::;~f P i~O J I O J f I tr F fN tr ; I , ~ I b "#f"~;i s ! O J F l O " F i r ; Ic:r O J Ir In al! c::tH-S9=l


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30 ADD/T/OXAL EXERCISES TO COUNTERPOINT.(XLIV.) A!!q;r.. Hungarian.~ J J 4 q A j I j O J ~ J I J - = r I r " r2lf~


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ADDITIONAL EXERCISES 1'(/ COUNTERPOINT. 31

unison passages may be introduced where expedient. Where anasterisk (*) is prefixed to an exercise, it signifies that the melodymay be treated as a solo with pianoforte accompaniment.

(I.) J/oderato. Old German, 1693.~~*~1? r A-~ I= ;;~@ ~~W ~ 8 i44r-;;t;R~ t Ir r~r=F"M1, F e 4 4 4 C j EFA J :~E=~~~Vt r I t1 c : r nI J f r 1~=- -~W4hJ l

(11.) Alfegn>.,ttr riF: r@1~L- -g :gg F

Old German, 16~3.I Ir l r r r " r~~! aM=~~~=_~

~ + + 4 W~i'j;J.~j

@ 9 b F f r I r r r I r r 0 ; Ig : o J J J 4 = i l lf iH r 0' a - 1 r r r 1 r c o r }JiJ F#jiY J : 1 J .~ ; J 1- ~:=#@FTttt4T~ '3: _,;:: I r" C . ' " Yl777J!~. ro:;Ld#J _ ., t = ~ ~


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32 ADDITIONAL EXERCISES TO COUNTERPOiNT.

(IV.) AI/e.gro moderato. HANDEL.

i~"b ~ J J I @ Jt170 I r - . E t 1L) f@:{i i j f c r I J J J I - ; J - I t ' It t~ t5Bi!$U-prz- r I r ' titHdJ ~t#tt1Sgjt.J ~ f

(V.) Larghetto. HANDEL.4!H ::l _" =::==:I ..t y = k ; ~JW J I & J I J . I ; iT I q.-sJi~ j~ . I : : r12E2ffi2U~:" u~~J :~u::.~.N~ till I . , n I E . . . ~

_.-...@l- fff-=?# ~5? In 'I~ty.rEEl!

(VJI.) Andante. HANDEL.

_WE(@dJ w n is i'''' e lf '1J1t:t'SI%ijj]


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ADDITIONAl, EXERCISES TO COUNTEIlPOll\7, 33

(VII!.) Andante Larghetto; HANDEL.~g~J W I; ~ .:J ;12.1~~~~= ;i~2tg:r fr r r IE " I I : I ~ _ q-~4'~~~~= .~ ..... ~' : ' ~ II~F LK~rl: ~~:i: ~ ~ .. - =~:,._ .. ..__ ..@ ~F- - l: < i ; , ; F i I I ~ ~ - F . t : = Jff~ I - r r : 1-=~+g~fii$$4-E:3-=B

f & : t g : j ! _ J : J I ~ J ; I J . I r = = = t = t = f - ~~2 -~~k' tg r22fd a==ig]~R-~ ..._._____=. -- '-,-_51311(IX.) Largo, (a), f f l ~ .1 , r : .E - I - rgrgg~~

~~ -1 ..... _ ..w i t r 9)';. J I : J . iL; . I J 7 7 F r a; IL ;[fJ ;;J . = 1~ ~ o J J J 1 1 ' - :;;;;;J'~~ ..fjj~ . : . . = . . : : : := _ _ " -:

. ~~ I r : - r I ~ J J ; I j J2b=i1

HAKDEL.

~ J

f!. F .., : I O J(4) The rest should be filled with harmony connecting with the following phrase.


46/88


(XL) Andante, J. S. BACH.F3f~~-11-~--=I:1! ~-I:~t = ~ ~ -d ' ~ 0 c : ; : = ; : ; s I C ; ~pt -=-=7]~jj - I; i j; i r :t:: i2bgJr P C E J J'5 orP-l=1Ct r ; I?=:::-=8 ~=ft. ' ~El=~~(" r - C d : : ! I M4P4i 6E-]~iIlJ ..----:.- -6)-'(XU.) Larghetto; J. S. BACH.~ ~ 4 2 4 ?j.)1 J J"; J .l!:J r r I r r ~

~ = - - - t = m j g J J J J : : r ! r c o t Et 0 ; I F r J 00ptec f f : 1 t 1 t r r ~r Ire iJI31 J---iiB

(XIII.) Andante grasioso, GLUCK.J f : # # l @#I pc r I I T r I j r 1 [ < r I G ? f F ' # i B~ = % Af c r I E r I - I F c r I r =-:--I~~fS6Rgj Ulr tr i C r r lF ~Ir ~IE e tHj=ctr r ic e r l r riF' rIUr,~ 4 J I


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ADDITIONAL EXERCISES TO COU,VTERP01,VT. 3S

~~~~i~ r kIT~-~~~~-..~~TtH a I t o ~ I r IP ~!=?~~ = - - - 1 '~;;4 q)) A n I j?~~~ ~_]

(XV.) Aruiante, G!...t~CK.@ siS I r 5 1 J J I r : Im IJ7J I--::S:~J:;t, ~ -~@ J &1Ef.JlfHl~ r rlL.::-OIJ ~~v+: I J ; I r r r IG(TEtijg~~ : I (~r m-~=j~~~

(XVI.) Moderato. GLUCK.!fJ4C; I#--t:9l1 r s J fj: Ic~ '===- '---


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36 ADD/T!OSAL EXERC[SFS TO COUNTERPO/,VT.

"---- -r--: -----._ ~i$=~ t ~ ; J G t I b e t : . , :JI r . ": : L$:L~ '-:-~ rt& t@ r~ :?C ?-:r'1 ~-I WJtt:tI~ i ..... __ ~"-~3FCdfflf~-Lt I0-; ' 1 S I ~ J lJ3 I,J .. H~ ~(XIX.)* All.grdlo. Anon. (German, iSth Century.):t~; i ; I a J i j I O J O J , ; ! ( ) r I 6 7 ( f @t J i = . . . . . . . . . . . . , - ' - -'- '-~:;'~4JIJ f Jlj j jimd jljddlL' -:: ..__.- =- .._/


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ADDITIONA.L EXERCISE.> TO COUNTERPOINT, 37

(XX.) .Andant, HAYDU.@ '~ Jj o n I t j " J I@&I @n In n~p' . -../ ..

(XXII.) Adag ia. HAYDN.f!tyi J:. t1 r Pie :~ e lLj~~*~n___..- ~ if = ... =l8fj=__iMlb C F d E r r r iR~F 1 (7 ;@~!JjJ' --- cres, f P .... '- .~_j J j J IltrI6; ~- I r c - , j ;.~if=m

- sf P


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38 ADDITIOHAL EXERCISES TO COUNTERPOINT

(XXVl.) Ali(s'rello. HAYDN.~ g~=R:# t I t : i?Q I tZ h :it I oj. J > J~ = r~8~.~=?~nr ~ ~tr~t1 "' '!!"i r'JUt;;g" A a I t;';EijG 1 : : ; J ~0 ; f 1

@ k~'=L44"2h ! gg::3~~. =it~g. - _ . _ . " , - - . . ~


51/88

(XXX.) A !!egretto. GRfTRV.w r ~ l ~ I E ' J4- : r I [< ~ PJ JA f r = 1 = r r J~-ll1Et4 - ~I j ..;I , ] - J I ,j . BE"; P i ! ~. . . _ _ _ . , _ _ _ _ _ . . . rlj JIJ.ir . - 1 : ' rtFt ~~:::r=li' HIE' Ir J J IF r i - e - - Jgf f t E r I [< r I J J I F E I r r I d . , E R H


52/88

48 ADDITIONAL EXERCISES TO COUNTERPOINT(XXXI . ) Tempo di Jlitrcia, Andante, GRRTRV .

ftJi{M is;) ~I;11Jail" J . , uIJQ._, fiJ fP tJ '- ;It r r I r ' : ": u r . , : I fr t ; . : " * 6 2 f J * f R . , - : ~--=== r J 'if J . ~;rrFR~:~ :"Ij~~----


53/88


@tftrr--r it E I - r ; . I -I';r I o~P

' p i ! > E N- J l;' i J u n J i > J _ g ; t q ~ ~r?gOJ,UffjJ Q rIFJIJj%I~.I.1fenuetto D.C.


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42 ADD/TiOXAL EXERCISES TO COUNTERPOINT.

~.~.'"'... ~~~ ~r~lI'ttt=:gll'f?I:rF ~= riPH " J J, ~ J o j I r . i:-!k@ j; ~ - ggg :g~ $~--~d@~ I~-= r= . ; c : : ! ! T I "~?Stgg;;; Uillr EdOJ f

(XL.)* Tempo di Min uctto. Moz.vx-r.

i~lT: I (" 'F ~ FF f?77 i > ;1 - f2 E Egj 'ElfF EF ip @ fiIQ 2 ~~+qg

b ~g l s , ~ I E r I t r.; i fS j2 I ; e ,. I J;;t@. . . . . . . . -.. - - ~ . - - . . . . . - - . . . . .r E f S J - I [} r ~ Ic:: ~I : . F = ' W~';Cl

j 8+t2~ I J,,-J f I a ercUtE}pg


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A DDITIU.\'A L EXE.~CISES TO COllNT ERPOIXT. 43

(XLII!.) Larg/tello. CHERVBINI.#1--;r -V J @ I ~ - air : - = t J I m ~ . . . j4...1 ....... .._ ___........._ _..a ; ; 5{ @ i i I t?;~1 ~rl 4 : ; : 7 5 1 J~ -I ~v - _ ~~4] r - I r - ] " z :; Igl' : ; - - a ~ ' f -$4~~Cj ~ ... I

(XLIV.)* Andantino con rnoto, C1lERUB[NI.@h : J 1 2 n r r I ~ r ; " r i:r : 1 ~t2 ~ J r : =t 1! I l l tr ~)1: r [ tJ iC} I&J~&f f9F i&+H~~- - - - - - . _

r+>> 3 --....W 1 fr J jldln J - 11.. : o J ;1; 2 r rlp$;~'- - - - . . .~3 ------._ ~ F d ~ J 1 2 f ; o j I ; : r r i@rt:;ctffl~


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4-t ADDITIONAL EXERCISES TO COUNTERPOIN7.

(XLVJ.)* Adaeio, BEETHOVR".~~JJVJJIJ d - @J.IJ iJtJ ._., __,, - - - E d F J I @ J ..nji:dr e I r- ;g;Jg; i j~ ~ . . 8 1 r ' c r ' S ; I r r e J i;.J'J.;I j. IJ)j~~J~ffiJ r G '1 {Ir ' !J . IIJ r J 4 4 $ I t

(XLVlI.)* Andante conmota, BEETHO\'E;>.i.

w = ~ R f 1 P t:e 1 1 J 3 1 J 1 1 [ . 0 0 ; $ 1 r c r 5 1 c r rwj~rr klc trw lr o r o i r sClf lr7J5J=O(XLVII!.) Confuoca, non b'offo allegro. BEETHOVEN.

(XLIX.)* Adagio. B&&THOV"".~I; ; r : IJan:r r e i r , r " ' I r ; r ; J, 1 1 1 1 r ; r s I!r r r F f r tI r 0 r s I r-t4l@ i A l ~ : Irs ~r : Irs r sir k r 1 1 ; Ir C 7 E 7 J 4


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AIJDITIONAL EXERCISES TO COUNTERPOiNT. 45

(L.) R isoluto. BERTHOVEN.~J J 4 4 4 i j . @ J I j _]I J .. ;)I j. J h - j@ gg~J~ j. .LLg J J IF r IEF IE rk~~:ggj'0 F as I j j I j > 1 I J. J 1 r~~ft ~.Bd. elF(LI.)* Grazioso. B""THOVE~.~ J@J i ? a J W li J r r lr o ~2L~--M? .: gg I r r C :e I fJJ) J J~B(LIl.)* CO " mota. BEETHO"EN.~~ljJJ)Jjlj '1 mlj.J~~~-r, ] ' . c t : t t F t r r 9 c r I P c r 9 c : c r tT=;m~fEj I


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46 ADD!T!ONAL EXERCISES TO COl1NTE-RPOINT.

~C - g:g~Cd=4~~~~~:! I ~ ~~~ '~~=~~~~~7~1 ~ ~ = = =C ~ j~ ~ ~ ~ ~

itr1

WEBIR.

~~~~~I~i ~ I~~b ~~~-~~,?7~~_" ~~Zi-L?-I ~}@~~$b@j~1t~g-E44?d r _ I r ~B~

(LVlI.) AlIi.'.!Jr() niaestoso, \VEDER.p e ~.~_ ~tJlffct EElt4r r1r ! F F I'G'F J7l

(LVlI1.) La,.gkelto. WEBER.

~~g@3 r iI J Ir f 8 E i f t i F I E T c 1 f : c ~ ~


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ADDITIONAL EXERCISES TO COU.VTERPOINT. 47


60/88

'1 8 ADDITJO}lAL EXERCISES TO COUNTERPOINT.

(LXlIl.)* Andante con moto. ScHunERT.~~;~4R-.~EjlJ~$f@Wv r - - - ' - - - - f ------ .. errs,


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ADDITIONAL EXERCISES TO CoUNTERPOhVT. 49


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50 ADDITIOXAL EXERClSFS TO COUXTERPOr.Yr.

~~lf~;:Q~; r 1 (}SC~"-rr;~@fi~7f~g - I t l : t? -* ! fa~~g;~~~~- ]~ fz -~~p- = - r . . - ~ = ~ . = .~1~---"~=it ~1.j-"..~ ~==,_=H~=-~~--- . . ._'3~ dim. ~-.,;~-:,.=n

(LXX.) Larghetto con moto, SPONTINI.B~~= i ~ .~~.- ~_..~~~~-~~-=~-"=~-Fla .~r-- ~ ---...-... --. ==- __=il~ I - E S ~ r r r E - - t c ; . ~ L @ ~ = ~ g : = c 4~ = , -btlg~-gl~


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ADDITIONAL EXERC!SES TO COU.VTERPOlNT. 51

(LXXI.) A/fduoso anirnnto. Spo~rnNI.

~YfT=c---@E-=t=Eu=;..~t?~~~2':str c r 1 tJ2G!_:}JJ F~

~iifbj .. ~ ; 1'~?g~~fti~_3Il.l ,_. I f---'' ~ +==#4 tE ru I Jd(LXXII.)* Aruiante. MIt"IJELSSOIlN.~~~4EtEr 1 J J11 . I JjJ f&jft{:~-~~(LXXlIl.)* Andante. ~IE:-IDELs:;uH".~ . : : a : n IOLe I !- F c : Itr j l i J~1) --- - = = ::::=- fJ - - -==

@ 'i tIC!' ie- c ~IJ P j Ij3.LJm~-= = = = - - jJ

(a) The small notes here show the melody in the alto, while the treble hold, E ilat ; thepassage should be repeated in the next two bars.


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52 ADD1TIOXAL EXERCISES TO COUNTERPDINT.

(LXXV.)* Presto agitalo. lIlENbEL550HN.~~= - -=r-=-F~~='-. I "~58+~'~~-~ ~. ~~''--:-::'''~-'--HjJ~~y-&~J;;l :1 J ~ - -I o j :_A~:= lv -......_./ '-- '=. I __. . - . . . . . . - . . . . . . . . - . . . , ---..

~~~~~ii9"r~~~1 : ~ - - . . _ ,~r;::?3 ' I E : elli~jr~~~b ~~bF~ .r - f f t '1 j r . r -+f$t t2F4@~= >:> if , J~:!jg.ggggw. Jill, ~2, I r ' r ' i E 'j[ J~ #58u ~ f~#J .b:jgttki4il J ~ F

(LXXV 1.)* A llliantl' sostenuto,


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ADDITIONAL E.'tf,:RCfSRS TO C


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54 ADDITIONAL EXERCISES TO COUNTERPOJXJ'.

'~~fP:l; ; {JI C o r J . * 1 J O J -51~ : = . L _ ~ I O J ' - ; n i r.~ ~ : z rI , J j ' E J E l~:~-~._~tL.:; i D';; r~ j " iS?#*dv -=== =-=-- - = = = if- - - - -~~~ gR': EiJ loJ J : :3IJ~

::# e ' :JI ::oX J:JW :J! E i - ; - -,:pffl*Er ,j l ; i :'Jj c O J 1 # ; i i1--gj F ~ r r I [' r t} I J -1F r I r r igrrlJJr'clrr U

(LXXXII!.) Tm/po di Marcia. BOIELDlEU.

~$ ~=ti--pBI t r : I~r "L:; r gj".--- .. . .--. . ._,~ -=) , - ;; I r'4 r J r" 'r I r l - r?fl


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ADDiTION.IL EXERCISE> TO COUNTERPOiNT. 5 5

J I J

yfr : r mE'} r fuJE:=t:J~jIT-s;q F I r 1 i E & I = l r : r I r f r i_ c . . 1 J l j . ~(LXXXV.) AlIc);yo moderato. B01ELDlElJ.f'~!fiJ n W J J J I ~ ~J In! J fl~~;:;-$j~flm ji F r h r t9~t,--. -~v t~ ---- - ejdl ' "f5 6!i I r '~lJ n I J 4 .EP "--J ~

~ t~ -e-, 3"'"'-~"'=bn &c ' r I ~3r ' r I r U' ~~~~I/I j. F I J 5 Eitt I Fl:'bll WE G t W - H


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AJ)DITIO~VAL EXERCISES TO COUNTERPO//,-r

(LXXXV!.) Andante. A:JBEH.

1]lI

~Jl I~==5@ r r r i E m IEt r*r~~~~E3~J ~I" r 3 t I r ' F FT f t = . E F j r sr@~__, ~_j -----l _j ~ ==::::t==::b '~-==~Ei.=r+"~ S i jJ1 ; a ; 4 i i = i - - - - - = + 1

# , - - - . - - - - ,i9 '< 44 r r I I T ' r 1 : < > I T I 9 jR=J rftl_=@ft~~ F r :Fif41 r r p v % = r - - F r 9

(LXXXVIII.)* Allegretto. Au axre.~~-=aj J I J O J I J I r ' I t c ~ IAJ I : 3 n J : p : ; = J


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ADDITIONAL EXERCISES TO COUNTERPOINT. 5 7

.1--'1 :fl j Jd4J4JQj I? . I~r .,j~~p.q6!itI~" c 1 b r clJ llJ Jlr rtF 00_=ES9'fC ~a e ~I ~ g o I r e 11EC~t)

(LXXXIX.)* Andantino. AUBKR.

;1lH= r - C B = J J o n O J J i 4J#~?1~~t 7 t = a PH fl:t5tti=I=P r JJ J91~--A


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58 ADDITJOHAL EXERCISES T:J COUNTERPOiNT.(XC.)* AII'K>'O moderato,

(XCI.)* AN,p-" moderato, A"SER.~ ~- ,--.._~g,~ ~5 "I ,J C 9 F I ' tsr~ \3 tjf~# =l~ -.@ \7=F~dE ~I> J C ~ p Ite r ~ 4 E i & Ff!i~r=-~~I#J j r l r" ; ;g3$&1i~Q F FI {9$ 0 ~ C - I I , J JSi=Jlr - ctfl~CL t ! 15 I J . . }c 40 :I>J 0 ~59im 1 f 5 -m 8 i f 1 r ~ -IJ .. ~&iJ~ ~ : fll(QO 4 t 9 8 i f t @ = - ? I J(XCII.) A llrgr,Uo. ROSSIN I.

-t j J i Q j J 1 E D r r I c : o o : :Q o o J ~ 11 r jmw i C41c::g'u1 r - C I F r r r l r ).,j


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ADD1TlVNAL EXERCISES TO COUNTERPOINT. 59

(XCIV.) Andante. E. P.,g=2?tB?t ; o J IF 'c fr r Iie=Hr B : ! q F @ r Ie e F = I F = E E l I t : J J ~(XCV.) Allegro. E. P.< % - 1 1 O J I r ' = J J I J n O J J 1 ~ " ' = t Jl.) __ I IIt r E } J J I O J r J J ,j.O J , o j .1J O J , ~ O J . 1Ej'i r ' = o j J , J O J J J ' O J J O J Jag H(XCVI.) Larghett; E. P.t~kHc , r = I E E ! IW , r r r , E l r ' t Z E i I O J ;IJ 4jk@J Ill? ,t I E r ! Et i ,let IC !Q " , gy @J(XCVI!.) Con mota, E. P.I f f i t n,r ' E S & ' @ O J n I J . J j,!j.j~:1F a t I r ' JTI I O J J nI o J = o R ~


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60 ADDITIONAL EXERCISES TO COUNTERPOINr.

(XCVIII.) A"dm,le. E. P.

~ r e j m I J .~J J ; I j J+ftfl?1i=til#8 O J J G I rF IT ~ J J i sJB i3 J i b :@ g B(XCIX.) Andantino. E. P.i '@4j-G+t c a- l t E F E i ? 1 J ie T a I~. ~ ~ r-? r : 6 U l r c Uric t~ cgz~j4R :~E & k 6 4 t i f F I e o @Ja- F S g j~r : 6 U 1 r 0 F % i d E c . ! c J : s I E l f M(C.) Allegrello. E. P.~-1ihi!J lJ liJ. J . m n lr 84d'-" . . . . . _ . -.._/ . . . . _ _

r_j! ----- -I ~~~3 . J . " ' 2 & i r : r : #il+f4 I" ,~iJiSj._ , - - - - -j - ~ ~ 2 E 5 5 4 ; - r 0 I e n ~t 1 ? I r : r : ; p = t - 4~ k r ~ J ; 1 to; J J . , 1 J _ _ _ : S J e


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PART Ill.-UNFIGURED BASSES TO DE HARMONIZED.SECTION I.-HnfN TUNES AND CHORALES.

(To be harmonized in four parts throughout.)(I.)

~ - IS I s J O J I . ; o J I >j I T I:; ~ I ~>; o J I : r : ~ . J1?3~ h - t t t : t l # c J I V I T I I T F < i J I T I ,J o J I O J . J I n


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!, I

(jz A DDITIONAL EXERCISES TO COUNTERPOINT ADDITIONAL EXERCISES TO COUNTERPOINT.

(VI!.)~)=I~,J ~I.) ~ 1 5(Xl!.)~~r r I I T F e I j j I I j ;~jI d J -j d1~'- '. . . . . . . .

~~-A;;;;;J S J I; r I 9, ,,

I r lIt' r It' 1# r 1,;;LjjLf2L1(VIII.)

@j! (~ E er:r:n >~ j I F e F e I I T F I J j I F e FEB~=r=F I T I F e j I . J # F 1 E n E I r I T I t FEB~=r={$rr F I I T j! [ 2 F e If' F e I I T r I E J i ) I~ JI ~ j7hi?t=r I > J I B : J I F " I J p i I r I T I f " >e f % D

, I

~ - ~~ttjF: J I r U I [ " ' . : r F J I r r E l i E ' Q I d . n(XIV.)f lV! r I r r C J r I ;j . J I J J J J I ;j. oj ]

(IX.)~ 1 # 1 ' I~F I T I j j I > J jI d o J I / ' 3 E I r ; e I > J g",,::d J = -..,@ J p l h ~ F e 0ft d i N ' r I >~ j I ,J r r I I T > J I j J I I T ~

(XV.)~4lItr o j J In o j J r l;9oJflfllJffl J meIr-~~I C r t c r J )31J J.J J Ic r J J c : Ir cr t r ifll f P i J i k u

(X.)~--tI e [ " I T I '" r I E [ 2 I T I ~ I T I E G3@ W t = l f r I > 3 j ; J : 9 S F I f " [ 2 r I v iSf-lHi! j [' to ' I ~ r I e F 3 j I r : d j I F > 3 r -I 3 . m lolgBSIla trU c o r Ir.J J J 1r r t" r I r XFE jgggu

(XI.)~T I F r : ; I IT , J I r F " 1 . 3 J I j F e I r : 2 J 1 f 8~1t:-;r:It.3 I T I E F e I r' I 2 t ! & P i : ' I d J J - - $ * - B

(XVII.)ft! r r r I r . : r I r r J I r r I . J J I j.I r r 1 4 l i d I~ J I A J I f e r I > J . I r r r I F ' : r I r r C g~s t F I [ ' r I J J I o j J2ff4. lr I r r 8=gB


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1 5 4 ADDITIONAL EXERCISES TO COUNTERPOiNT.(XVII!.)

~ ~ d 4 4 a - r r q F lr rr("IJ O J ~ meig~~., ~, '--- I~~tt;4J n~I ~ : J = I J : r n r f F = z ~(XIX.)~ r y = t ~l-=f-=tr1H=r ' r O J r I % C i 1 n .~

. , . -~~~.~ r 0?rl-9- = - - O J JI{J ~~~ ~~fff9~ ~ a : : : t J C t e ~ 1 ;p==n-CI I c a r - G!~D(XX.)tgfi tr r r t f - 3 9 + f f t " r r r I p r J ctF~.JSj

f?L~@:JJcr r O J ; Ie-c r cr fi;Ij;DJ j?6E3

(XXI!.)i_;k=~; jIJ O J E I r G " r E f I ttf F ir OEt;gggg, ._./(XXIlI.)$9c r J r n;j I J r : i c: r I;l-;FFj2JI~; r r trgI r' : rfft@tt . P f J 5 @~-~~55fE~ r e r ic J J Jj1j# J W I : ; P#1~'- .


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ADDITIONAL EXERCISES TO COUNTERPOll,7. (i5(XXIV.)tht r 1 r r r tr I l ! ~ r ; ; JgJJ;J r ! E l % r ~:dI

fIb r I#J j tr ctP3 j J jj~~~~ j J r I'j c o t " c : t ;04 J j , J Id--tB(XXV.)

~Vf J r J I J J c r r I J r r r I J J % 9 Ij J ~b"e g l , b r 0 ; J 3 ; o J I J r r F I J j}I r c r J J b k 4 F = -@@Ji t j J j CfIF j onFI; j J J lj iJ ,J@gD

SECTION n.-BASSES OF VARIOl'S STYLES.The following exercises are intended for advanced students,by whom they will be found both interesting and profitable. Thebasses are selected from the works of the great masters. Thereis no occasion to harmonize them strictly in four parts throughout;they arc intended to be filled up in the free, not in the strictstyle. In some cases, where the bass notes are separated byrests, a mere harmonic outline is given, the filling up to be left tothe taste and discretion of the pupil.(I.) Allegro nmestoso, H.\NDEL.~I r ~ H=-==J ; --=t=f1gggt-tt-1~~~~~f . -

@fifNr-I i r J ; o J I I j.: j j : r ft1+"fj=aTJ? A' " 1 1 '

#I ~ .,..@tggC r F i r r r rlF r F :Ij r F - = f T IEFt : r J i t t - r r r ! F r F r r I [< F I J J E M~.ilJ r i41J r i+3 r J J JlJilI


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78/88

ADDITlO.VAL EXERCISES TO COUNTERPOINT. 07

(VI.) Tempo di Nmuei!o. Moz.ve r., . , . _ , . - , . - - - r r r , . _ , . . . . _ , - . .Me' eli r j" iF rr lr r r l. ' [I' rrlf '@ i iE 1 t q J - % iD l t t 4 r 1 r FE I~ii 1 r r : p 8 t - - 9@ t 1 ' rft1~ r r 1r r -I r i r IL~9:gg~

(VII!.) Menuelto.

fJ@~ r rElF--- rpkgLq r r r 1 r Czt ln fJth '! r 'r r I r r r 1 S f r 1 J ?&~__jiJJf

fjJ


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68 ADDITIONAL EXERCiSES TO COUNTERPOiNT.

[X.') Allegro. nEETHO\,E~.

~ ~ I r t 1 2 O J Q t 1 5 5 ? E J Df - if . . .~~$r ~S" ~. b OOt= = ' ~ : = g j

~ r r = : J f illr . . j;/J

~~lrf~9I;.,,:;I., . I r Ijf

(XII.) Allegretto. BEETHOVEN.


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ADDITIONAL EXERCISES TO COUNTERP01NT.

_ , ' = ' = " " " " ' l . -1_ . _ ~ _ J j

fi}JJ7] I J tr i r r 'C r l1]=rltF~j ~ 'lif r = j j I j ; o J O J . . I j .;; J I j ~ - - - - r - . . _ I ~ ~ . . ~

(XIV.) Adagio. SCHtJDERT.t?i$-- 1', ~- l'-I . . . . . , l'-J ~) - I - . . . ' ~;:aH:=: r , .~ ~ ~ , , _ ~ _ _ _ _ . . , - : ' : : 3 _ _ J


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7C ADDITIONAL EXERCISES TO COUNTERPOINT.(XV.) Andanle con mota, WEBER.

~ r I r r . 5 1 E Fir E I : J J 1 ~ J O il 1 r j Jh]8tti!L('rgpr i F r 1 r E I tt :;1 (J r 1 f W r 1 E r 1~ b ~ '" " '~I':;; J I : J J I I T r 1r E L i J I E F E ~ r r r I ~ @ r 1 r r r : ; ; ) . I I

(XV!.) Presto. WEBER.E g J [ e 1 i " " F r I > 3 [2 1 0 1 O i l r I T 1 F r r r 1ttlEtt 1 E ' '" 1 F 9E 1 t ;0 r i F e b E 1 r " F ib f ' . r I~ r r r l r ' r l r F ; o J J I J r r r i _ ] E l r tin I I(XVII.) Andante con moto. ,MR~DELSSOHl'f.

(XVIII.) Allegro moderato. 1IENDELSSOHN.

mf

e " 5 " 1 S " 1 1 ) '1 J " 1 l r F I ' " J I ; ; J 1 t - + 8p..____..... __.@iI, I ~ I ~1Jlj 1 : 1 J I J . " 1 I F J I J J I ~ " J I. . . _ _ _ . . . . . - - - - - - ___.. . . .m;;; J 1 J jJ 1 J ~J 1 J O il I F r 1 j j l O i l I J J I : " 1 r I..._.... eros, fm r r I r r 1 ; o J I S 1 J S i r r 1 r I r ;; 1 J " I I


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ADDITIONAL EXERCISES TO COUNTERPOINT. 7 1

(XIX.) Lento. SCHUMANN.

@Ii r I on J J I F r I&r . J I J 'r e I ~ . E ~ 0@ f Y S E r I9 J jI[ < r In J J 16JIIIIn r ; G @ r = c a~JffiIE r i G a IIIIe IIIJIBJ W i g g u(XX.) U1tpocoAd,'gio. SCHU:'L\'l'."N.

eyes... ~. -. ~.,._ ~ . _._. -- Ij:. ........f ! t T I Ii . . I r ~ 1+ I I I" Itft= l

@-r : Ire Ire I=r 0 I III II.III II J lMf.1dim.


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SOURCES OF THE MELODIES IN PART 11.,SECTIO~ III.

FOR the sake of those students who may wish to compare theirown harmonizing of the various melodies with the originals, wegive the sources from which all the exercises are taken. It ismore than probable that in many cases the student will not havethe originals to refer to; but even if he has, he is advised not tolook at them till he has completed his own work.1\'0.I. \VIXTERFELD. " Evangclisclie Kircbengcsange."2.3 ,~4. HANDEL.56.7 8.910.II.12.13q.IS16.

" ""

" "Trillmpll oj Time and Trut/t.Debora/t.Susanlla.Atlwlia.""" j;ereni(e.

" Alexander Balus.J . S. DACH. "K0111mt, Seelen, diescr Tag" (Sacred Song)." " Komm, susser Tod" (Sacred Song)." "Gieb dich zufricden " (Sacred Song).GLUCK. lj;!tig(llie ell A lilide.

I i IS. "19. ANON.20. HAYDN.21.22.232+25 26.2 7 28.2930.31.323334

"GRETRY."MOZART.

" "Akl!ste."" "" "

"""Ein Weib ist das herrlichstc Ding."Symphony in D (" La Chasse ").Overture to Armida.

Symphony in D, No. 43.Symphony in c, No. 60.Quartctt in F minor, Op, 20, No .. ~.Quartett in F, Op. 7 4, ~ O. 2.Quartett in G, Op. 33, NO.5.Quartett in F sharp minor, Op, 50, NO.4.Quartett in c, Op, 3, NO.2.Quartett in B fiat, Up. 9, NO.5 .Ric/lard Ceur de Lion.Les Afariages Samnites.Pianoforte Trio in G.Concert Aria, "Per pieta, non ricercate,"Serenade in F, NO.2.

"""""""

""


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No.MOZART.

73

Divertimen to in E fiat, NO9"" " "" Divertimento in F, No," It Re Pastore." D ie Za /lb erjlo /e." L a C!eJl/clZza di Tito .

HDI~lEL. FaJlc!zo t i .42 CI-IERum:\l. FalZiska.A nacreon.4344 " "" Lustig, traurig."Song, "Das Lierlchen von cler Ruhe" (Op.52, NO3)Ie{JJlore Prohaska.Chorus, "Germallia's 'Viedergeburt."

Sonatina for Mandolinc.CllOTlIS, "Es ist vollhracht."Song, " :1IIit einem gemalten Dande" (Op. 83,

NO3) Song, " Als die Gdieble sich trennen wolltc."Song, " Lied aus der Ferne."

" Song, " Sehns\lcht."'YEllER. Trio in G minor, Op. 63

OhnJil.Kalllp} lmd Sieg.

" F ree/o sa .SCHUBERT. Symphony in B fiat, NO.2." Sonata (Pf.) in Emajor." Sonata in A minor, Op. 137, NO.2." Operetta, Die Versc/lZC!orellell .

" Quartett in G, 01" 161." Sonata for Piano and Arpeggione.SPOHR. DonGle Quartett, Op. 87

" Faest.p jessouda." Symphony (No.2), in D minor, Op. 49" Sonata, Op, 125.

SrOXTINI. L a Vesta Ie." "72. J\IE~nELSSO!IN. Song," Gruss," Op. 19, X o. SSong, "rm Herbst," Op. 9, No5Song, " Minnelicd in Mai," Op. 8, No. J.

Song, "Reiselied," Op. 19, No.6.No.2 of" Seehs Kindcrstticke," Op. 72Song, "Friihlings Ankunft," Op. 79, No. 19Song, " Kindcrwacht," Op. 79, No. 21.Song, " Fruhllngsgruss," Op. 79, NO4

"45. BEETHOVEN.46. "4748.4950.S ! .

"""""

""" iiII -II

52.53 5455 56.57 58 .5 9 ()D.6[.o z .63( i 4 - .6S66.6768.(H).70.71.

"

"

"7 i. SCHDtANN./ o . "79 "F


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No.80. SCHD;lIANN. Song," Yom Schlaraftenland," Op. 79, 1'\0. S.81. " "Requiem."82. " Faust.83. BOlELDIEU. Jean de Paris.84. " Le Califi de .Bagdad.85. " Le .LVOUl'eau SeiPICIIJ" till Vi!!I7/;-f.86. AUDER. Les Chaperons Blaucs.8 7 - " " " "88. " Le Cheval de Bronze.89. " Le Domin 1Voir.90. " L'Ambassadrice.91. " Le Plziltre.92. ROSSI)!I. II Turco in Italz'a.93. " Afosi'ill E,,lllo.94 to 100. \\'rittcn for this work.

' .


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THEORETICAL \VORKS byEBEN EZER PROUT,B.A. Lond., Hon, Jlus.D. Trill. Coli. Dublin and Rdinbur,r;Jl, and

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