"Studies serve for delight, for ornament, and ability.

There is no stond or impediment in the wit, but may be

OF

wrough out by fit studies."-Lord Bacon.

Synopsis of the Contents

THE VARIOUS WORKS ALREADY PUBLISHED IN

LIBRARY

FOR THE
DIFFUSION OF

NOVELLO'S

MUSICAL KNOWLEDGE.

A collection of Standard Treatises on the Art of Music, written by the most esteemed English and Foreign Masters; reprinted at prices which will place these formerly expensive works within the means of every student. The Volumes already completed, are offered as a fair specimen of the future works intended to be comprised.

The convenient form adopted for "Hawkins's History of Music" has been found particularly well adapted for "Novello's LIBRARY for the diffusion of MUSICAL KNOWLEDGE," because the page presents so much at one view, as considerably to aid comparative study.

There are now ready,—

DR. MARX'S GENERAL MUSICAL INSTRUCTION (Allgemeine Musiklehre). An aid to teachers and learners in every branch of musical knowledge. Translated, from the original German, by GEORGE MACIRONE. [Former price, 15s.] Bound in whole cloth, 6s. 6d., or $1.63c.; post-free, 7s.

*** Of this work, five large editions have been printed in Germany, besides being reprinted in the United States and in England. It comprehends minute explanations of every musical matter, from the simplest rudiments, through the various elaborations of rhythm, doctrine of tones, instruments, elementary and artistic forms of composition, artistic performance, and musical education in general.

DEDICATION.-To Parents, conscientious Teachers, and others concerned in Education, by whom it is considered a matter of Duty to see that the Musical Education of Youth be real, refreshing to the heart and senses, and elevating to the mind; who are anxious and watchful that Art be not perverted and debased into a source of enervating dissipation and vanity, this book is dedicated, in faithful sympathy, by THE AUTHOR.

GENERAL TABLE OF CONTENTS.

INTRODUCTION. Review of the province of Music,
and of the object of General Musical Instruction.
FIRST DIVISION.-Of the Doctrine of Tones.
1st Section-The Tonal System. 2nd-The System
of Notation. 3rd-Auxiliary Forms and Signs in
Notation. 4th-Of Raising and Depressing.
Raising-Depressing-The sign Natural; Double
Raising and Depression.

5th Section-Measurement of Relation of Tones.
6th-Modes, Scales, and Keys. 7th-Major and
Minor Keys. 8th-Combination of all the Scales.
The Major Scales-The Minor Scales.
9th Section-Nearer view of the Scales.
The Signature-1, Major Scales; 2, Minor Scales.
Chief points of the Scale-Relationship of the Scales
-1, Relationship of the Major Scales; 2, Rela-
tionship of the Relative Keys; 3, Relationship of
the Minor Scales, with their Major, and among
themselves.

Appendix.-Of Ecclesiastical Modes.

SECOND DIVISION.-Of Rhythm.

1st Section-Of the value of Tones.
Value by division by two-Value by division by
three-Groups of mixed value-More numerous
groups.

2nd Section Of Rests. 3rd-Indefinite signs of
duration-1, Staccato; 2, Legato.

4th Section Of absolute time-1, Of the slowest
motion; 2, Moderately slow motion; 3, Mode-
rately quick motion; 4, Quick motion; 5, The
quickest motion.

Appendix. Of the Metronome and Chronometer.
5th Section-The nature and regulation of bars.
6th-The kinds of bars. 7th-The management
and division of bars. 8th-Exceptional forms—
1, Initial imperfect bars; 2, Irregular bars;
3, Mixed measures and values.
9th Section-Chromatic signs within the bar. 10th
-Of Accentuation-1, Accentuation of the parts
of a bar; 2, Accentuation of the members of a bar.
concluding Remarks.

DR. MARX'S MUSICAL INSTRUCTION. General Table of Contents (continued).

In addition to the foregoing general Table of Contents, there is a very copious Index to every subject, technical term, or sign used in music, by which is obtained the convenience of a COMPLETE DICTIONARY OF MUSICAL TERMS.

MOZART'S SUCCINCT THOROUGH-BASS SCHOOL.

SABILLA NOVELLO, from the original German.
Sewed, 10d., or 21 cents.

*** In these comparatively few pages are condensed all the essential points of Thorough-Bass; they appear as axioms, and any one who will commit the whole to memory would have a very competent knowledge of every chord in music.

CONTENTS.

I. Fundamental principles of Thorough-Bass. II. The Intervals.-Explanation of all the Intervals over C. III. The Ten Intervals: the Unison—the Second—the Third—the Fourth-the Fifth-the Sixth—the Seventh-the Octave-the Ninth-the Tenth. IV. On Movement direct-contrary-oblique. V. and VI. The Figuring explained. VII. The Six Hazardous Progressions.

Translated, by MARY COWDEN CLARKE, from the original French. [Former price, 31s. 6d.] Bound in whole cloth, 6s. 6d., or $1.63c.; post-free, 7s.

***This work is adopted for the instruction of the Classes at the Conservatoire, Paris, and of those at the Royal Academy of Music, London. There has been added a Memoir of Cherubini, chiefly compiled from Mons. Fétis. Speaking of this Treatise, he says-" The admirable Treatise on Counterpoint and Fugue is, in fact, the result of Cherubini's experience as to what was necessary for teaching counterpoint to the pupils of the Conservatoire for nearly a quarter of a century; and the examples are models of that perfection of style which distinguishes the productions of the ancient Italian masters.

First order-Note against note.

Two notes against one.

Upon various

Second order-
Third order-Four

crotchets against one semibreve. Fourth order

-On syncopation. terpoint.

Fifth order-Florid coun

Three-Part Counterpoint :

First order-Note against note. Second order-
Two minims against a semibreve. Third order
Four crotchets against one semibreve. Fourth
order-On syncopation.
Fifth order-Florid
counterpoint.

Four-Part Counterpoint :

First order-Note against note. Examples of first, second, and third order. Fourth order-On syncopation. Fifth order-Florid counterpoint. Counterpoint in Five, Six, Seven, and Eight Real Parts On Imitation :

Antecedent and consequent.

First section-By similar movement.

Second section-By contrary movement. On free or irregular imitation. On regular or restricted imitation. On several other sorts of imitation. Augmentation; diminution. Reversed accents; Interrupted; Convertible; Periodic; Canonic. Finite and Infinite Canonic.

Third section-Imitations in 3 and in 4 voices. Antecedent or Theme; consequent. Inverse contrary imitation.

On Double Counterpoint :

First section-Inversion in the octave. Inversion in the ninth. Inversion in the tenth. Inversion in the eleventh. Inversion in the twelfth. Inversion in the thirteenth. Inversion in the fourteenth.

Con

Second section-Triple and quadruple counter-
point. In the octave. In the tenth.
clusion.

On Fugue :

On

On

Definition of the term Fugue. On Subject. Response. On Counter-subject. On stretto. On Pedal. On Tonal Fugue. On Real Fugue. On Fugue of Imitation. On the Coda. Digression. On Modulation. On the entire composition of a Fugue. General remarks. Extended Examples analysed throughout:Real fugue in 2 parts. Tonal fugue in 2 parts. Real fugue in 3 parts (Instrumental character). Tonal Fugue in 3 parts, with one countersubject. (In gloria Dei Patris, from Grand Mass in F). Tonal fugue in 4 parts, with one counter-subject. Tonal fugue in 4 parts, with two counter-subjects. Chromatic fugue in 4 parts, with three counter-subjects, with preliminary remarks thereon. Concluding observations thereon. Authentic and plagal cadence. Tonal fugue of considerable development, in 8 parts and for two choirs (from Credo). M. Fétis's remarks thereon. Real fugue in 8 parts, for two choirs, by J. Sarti.

Appendix:

Given subjects of basses to serve for lessons in strict counterpoint. Basses for counterpoint in 8 parts and two choirs.

FETIS' TREATISE ON CHOIR AND CHORUS SINGING.

Translated,

by the REV. THOMAS HELMORE, M.A., from the original French, with the kind approval of the Author. [Former price, 15 francs.] Sewed, 1s. 6d., or 38 cents.

AUTHOR'S PREFACE.

"It is my design, in this little work, to teach a branch of the musical art which has been much neglected, I might even say ignored. There exist, doubtless, in Germany, some schools where the principles explained in this book are put in practice; but I do not know that any one has hitherto pointed out the principles of a rational method for teaching Choirs and Choruses. The work of M. Hæser, and all that have been written on this subject, are almost exclusively on practice, and include many notions of matters which do not belong to the special nature of Choir and Chorus Singing. Other important matters, which belong essentially to this subject, are not even mentioned. Upon the whole, these excellent works are only applicable to the schools for which they were intended.

"That which I propose, is to call the attention of Heads of Schools, Directors of Music, and Chapel Masters, to the necessity of perfecting the execution of music in vocal masses, and to point