( k

/Lp( ^ THE GLEN COLLECTION OF SCOTTISH MUSIC

Presented by Lady Dorothea Ruggles- Scotland, Brise to the National Library of Major Lord in memory of her brother. George Stewart Murray, Black Watch, 0^^ in France in 1914. killed in action 5!>\

28(/( Jantiarii 1927. %^^.

IBook First.] KOHLERS' VIOLIN REPOSITORY

DANCE MUSIC,

COMPRISING

%ih, Strat^spegs, %m\x^\%t^, €%mi%i ganas,

QUADRILLES, WALTZES, &g.

EDITED BY

A. PROFESSIONilL PLAYER.

OF SCOTLAND "H

EDINBURGH: ERNEST KOHLER & SON, MUSICSELLERS, 11 NORTH BRIDGE. MORISON BROTHERS, 99 BUCHANAN STREET, GLASGOW.

MARTIN, ABERDEEN. MENZIES & CO., EDINBURGH.

J. CUNNINGHAM, DUNDEE. J. M. MILLER, PERTH. WILLIAM DBAS, KIRKCALDY.

JAMES HORSBURGH, 73 GEORGE STREET, DUNEDIN, NEW ZEALAND.

LONDON: CATTY & DOBSON, 14 PILGRIM ST., LUDGATE HILL. Digitized by the Internet Arciiive

in 2011 witii funding from National Library of Scotland

http://www.archive.org/details/klersviolinrepos01edin CONTENTS.

Page. No Page. Page. 6 Haslam's Adelphi Polka, , 36 Hornpipe, 63 Mrs. Soutar of Plains' Reel, ... 43 Agnes Sorel Quadrilles, 39 High Level Hornpipe 8 1 Mrs. Taff or Bank's Hornpipe, . . 29

Alston 4 . 40 G Mrs. Hornpipe—Clog Dance, 28 Highland Whisky Strathspey, . Thomas Jarvis' Reel, ... 88

Annie Schottisclie, . 74 9 Higliland 54 7 Fliug Napoleon's Coronation March, . . 50

Anybody's Hornpipe, 76 10 Highlands of . fll 12 Navvie Banffshire Strathspey, on the Line Hornpipe, . . 48 Atiiol Brose Strathspey, 7 1 Bitters Hornpipe S i Newcastle Scbottische, Hop . ... 83

Bab at the Bowster, . 96 12 Hornpipe 14 2 Newmarket Horse Race 82 I 53 7 Nicolson Banks of Allan Water, 6 Hompipe Street Hornpipe, . , . 62 Beauties of the North—Strathspey, 46 6 Hornpipe 66 9 North Bridge Strathspey, ... 73 Bishop 61 8 I'll Kiss the Bonnie Lass—Reel, . . 59 s Auckland Flower Show, Nothing will ye tak' Man Reel, . . 11 Inveraray 84 11 Blacksmith's Hornpipe, . 66 7 Castle Novelty Reel 46 Blaydon Flats' Hornpipe, 66 9 Irish Reel, 58 8 Nut—Contre Dance 63 Blue Bonnets—Centre Dance, 30 4 JackyTar, 67 9 Old Ireland Reel, 68

Bob Chadduck's Jig, 77 10 Jas. Soutar of Plains' Jig, . . . 43 6 Old Towler 63

Bob Johnstone's Strathspey, 18 3 Jenkin's Hornpipe, 66 fl Oor Auld Gudeman is noo awa, . 5 Bob Johnston's Reel, 19 3 Jenny's Bawbee Reel, .... 7 1 Original Set of Mazurkas, ... 16

Bottle Bank, 28 4 . 10 Original Jenny's Bawbee Reel (New), . . 73 Set of Mazurkas, ... 17

Bridle March, . 10 2 Jessie the Flower of Dunblane Hornpipe, 86 11 O'Shea's Comical Reel 84 Bums' Hornpipe, 67 9 Jig 61 7 Our Brigg Strathspey, .... 19 Cage Hornpipe, 87 11 Jocky Dance, 46 6 Our Native Home March, ... 10 Caledonian Quadrilles, 70 9 Johnny Cope Reel 23 3 P. Bail) ie's Strathspey, .... 83

Calton Valse, S3 11 Johnny Millicent's Hompipe, . . 53 7 Pear Tree, . 52 8 Cameronian Rant, . 91 12 Johnny Cope, variations, ... 57 Petronella—Coulic Dance, ... 41 Captain Keeler's Reel, 47 6 John Paterson's Mare goes Foremost, . S2 11 Port A RhodichStiaLhspey, ... 22

Chambers' Hornpipe, 80 10 Jubannu's Marcio Gallup, i. . . i;{ 2 Pretty Dick Polka, 26

Clasper's Hornpipe, . it 58 46 6 Keep up Reel, 8 Prince of Wales' Contre Dance, . . 35

Clog Hornpipe, . 86 11 Kemp's Hornpipe 52 7 Prince Alfred's Hornpipe, ... 61 Stop Clog Dance, ro 9 Keno Reel 7G 10 Prince of Wales' Hompipe, . . . C2 College Hornpipe, 44 6 Kinrara Strathspey 60 8 Prince Albert's Hompipe, ... 86 Colonel M'Bain's Reel, 90 12 Lady Cathcart's Strathspey. ... 6 1 Prize Jig, 9 Countess of Sutherland's Reel, CO 9 Lady Rothes' Reel 51 7 Rachel Rae's Reel 93

Craigellachie Bridge Strathspey, 78 10 Lady Mary Ramsay's Strathspey, . .55 7 KeelofTulloch 23 Craigellachie Lassies' Jig, 79 10 Lady Georgina Russell's Reel, . . CO 8 Rights of Man Hompipe, ... Crazy Jane's Reel, . 62 7 Lady Wallace's Reel, . . . . 92 12 Rink Hornpipe 87 Dean Bridge, Edinbro', . 69 8 Lancers' Quadrilles, 24 ^ Rob Roy's Reel, 64 Deil the Tailors' Reel, 66 among 7 Layhoura M'Donald's Reel, . . , 85 11 Rose Polka, 75 Dram Shell Keel, 86 11 Loch Turret Reel, 1748 11 2 Royal Albert Contre Dance, ... 35 Duchess of Atliole's Strathspey, 08 9 Lochty Bleachers, 19 3 Royal Recovery Strathspey, ... 84

Dunce Dings A'—Reel, 47 6 Lord Rothes' Strathspey, ... 61 7 Ruby Hompipe, 94 : G Durham Rauger'a Hornpipe, 45 Lord M'Donald's Reel 72 9 Salvanus Hompipe, SI :

Dutch Polka. . 89 12 Love Valse 74 10 Sail in Boys' Hornpipe, .... 77 East Keuk of Fife, . 64 8 Love Not March 15 2 Scituate Reel 70

East Nfuk of Fife, . 65 9 Major Graham Strathspey, ... 11 2 Shaw's Trip to London Hornpipe. . 60 Edinbro' North Bridge Hornpipe, Marcellia Hompipe, . . . . 04 12 Sir Roger de Coverley Contre Dance, . 33

Edinburgh Review WaltzeB, Marchioness of Huntley's Strathspey, . 69 8 Sleepy Maggie Reel, 73

Eight Bells, . . of 8 Marquis Bowmont's Reel, ... GO South of the Grampian's Strathspey, . 68 Hompipe, Spanish Dollar Hornpipe, Factory Smoke Marquis of Huntly's Strathspey, . . 90 12 ... 48 Fairy Dance, Marquis of Lome Hornpipe, ... 9 2 Speed the Plough 29 Fancy, The, Masaniello Quadrilles 31 4 Star Hornpipe 62

Favourite Jig, . Masaniello Quadrilles, .... 33 5 Steamboat Hompipe 60 Fiddler's Cramp Hornpipe, Medi Valse 30 4 Stephenson's Hornpipe, .... 06 Fife Strathspey, M'Donald's Fancy Strathspey, . . 72 9 Stewart's Lassie Strathspey, ... 11 Flowers of Edinbro', Merry Masons' March 6 1 Stirling Castle Strathspey, ... 37

Finch Bridge Hornpipe, . Merry Elves Scbottische, . . . 27 4 Strathspey 72 Hornpipe, 54 Fire-fly . Miss Busbby Maitland's Reel, ..71 Stumpie Strathspey, , ...

First of May Hompipe, . Miss Dmmmond of Perth, . . . 96 12 St. Valentine's Galop, .... 38 Francis Sitwell's Strathspey, Miss Gayton's Dance 56 7 Sward House Jig, 93 89 Furioao Gallop, . Miss Grace Menzies' Strathspey, . . 79 10 Sweetheart Scbottische, ....

Garb of Old Gaul, quick march, Miss Johnston's Reel, . . . . 9G 12 Timour the Tartar Reel 22

Geburstag's Yalse, . Miss Jane M'Innes' Reel, . . . 78 10 Tom Handfind's Hornpipe, ... 14 Gem Scbottische, Miss Montgomerie's Reel, ...51 Trip to Dublin Jig, 85

General Garibaldi Reel, . Miss Pole's Reel 5 1 Triumph—Contre Dance, ... 37 General Garibaldi Strathspey, Morpeth Rant 48 6 Trumpet Hornpipe 44

Gillie Galium Strathspey Mrs. Charles Stewart's Reel, . . . 79 10 Tullochgorum Strathspey, ... 23

Gipsy's Hornpipe, . Mrs. Donalson's Strathspey, ... 4 1 Underhand Hompipe, . . . . 94 Gipsy's Hornpipe, Mrs. DufTs Recovery Strathspey, ..61 Victoria Valtje 42 Glen's Hornpipe, BIrs. Gardin of Troup's Strathspey, . 91 12 Whistle owcr the Lave o't, ... 88 Great Eastern Strathspey, Mrs. Gibbs' Hornpipe 28 4 William Tell 34

Great Eastern Reel, . JIi's. Moray of Abercairney's Strathspey, 09 9 Wm. Young's Best Malt Strathspey, . 36

l that Shakes the Barley Reel, . 69 Harvest Home, . Mrs. M'Leod of Elanreoch's Strathspey, 7 Wind

— —— — I

s

As mucli of the spirit of Strathspey playing depends upon its peculiar bowing, a few examples are here given to illustrate and explain that style. Students requiring more minute explanations are referred to the work already alluded to, The Violin : Eow to Master it. Chapter IX.

EXAMPLE OF ORDINARY DOTTED NOTES.

As they are written.

t=i-St -t= —^1 F=e= F^E ^±^ \^ :e^ As they are played.

Down. Up. Up. Down. , Dovm^Down^ Up. Down. Up. Down.

•y The second note of each group in the above example is detached with a smart jerk of the wrist in the same direction, thus giving the sharpness implied by the dot under the slur.

EXAMPLE OF DRIVEN NOTES. LADY MARY RAMSAY (2nd part). Sometimes played thus, with a bow to each note, when there is a danger of so expending tlie bow that it gets too near the heel.

fc e-m- ~^- ^SP-S,- r=es;s ^r It i^^ -\-r^- ^ ^ —a_i_if _">!— t/ But generally played thus by good players Down. Up. Down. Up. Down. Up. Down. Up. Down. LI «: -t^= ^1 —^'S=- »: •i^^r: 1^ -L.-J i— ^^- Jt^

EXAMPLES OF THE DRIVEN NOTE FOLLOWED BY THREE NOTES LINKED ON TO ONE BOW.

Down. Up. TULLOCHGORUM. -4 z^-Wr- ?^:i^i3ES3E£|E.^f-:^3^1E^=^EpE^E£ ^*: m

Doion. Up. MONYMUSK

S: :|=^i^: -^—m -s-^-^- ^ t:^Ji SeI

EXAMPLE OF THE LINKING OF DOTTED NOTES TO A CROTCHET.

! ' •—«•-* ill z^ r—f^-^'Ti r^. —Pi — psEf^m^^^^^Y^i^^mm^^ — I h ^ .

THE "GARB OF OLD GAUL," or 42nd Highlanders' ttuick Step. ^3^ ^^: ;es f^r^ tit e=p=r=^ :tt :^=ij=* £ :Ua=; I -t=r- -m

:-p=:^T^ijezz^z?E: --^^ leifC *=aM: ^^E^ -t-^ -p— — :*i*3i!:

1^ 1—-1 I^H- *-*-^ ^prp:r=^=P=P^ ?E=^=^e=P=^ ^s -i -^^-1 H S

:fc:r=^rfS=rzfrf^1 1 ^y i— :P:P^; -^-» 1 h- H—I r i

JIG. -Slower. Lively. =r=^^ ir=^ziz^=a E^ -^ ^^> ^ I iS=i: ^ it

±=; i^=g: :=zi: ^ E^i^

L^H—I !- atr^zji* *=i^=*-^ ^^^^

^^- ppi^^iiEi^iE -h ^ ifzzt MRS. DONALDSON'S STRATHSPEY. rri*t^__J55 ifeES:^33^??S I 1 —^-^th—h"--n— 1—i-^F-H—— *i:Lijt ^•'*- Slowly. r^^p: Si y- -*^^— -I 1 ~ I I— F-H -^W H-«— 1 ~-h- i2=-*h-i—r-H—— -' — I !-«l I 1 -^— ! ^ ^ »l -h^ h-J-

:wte^-r=, :^:f.-p:^^ n;P:^^ %^ ^:^^-^i^:« f:m-i :^S?eS nf^^ ::f::r: -I—"—I—^- q:: ii•*t^j-t—h-t

Kt^HLBBS' "Violin Bbfository," 11 North Bbidqb, Edinbcboh. MISS MONTGOMERIE'S REEL. Iraa: -F^ :f=z=rz^=^ :f:ii^^ET^lT :P=:f:i:^: P ! r I -I- t=Pz±! :et^ it^rr^^zf: :f==r: H 1»* EiS^=Uii:E=:^=:s:^*z3tEr:S=:tiEt£-£t:t

OOR AULD GITDEMAN IS NOO AWA' (Strathspey). 1^^. ^5—^_f^!.

s-^s-^"^ LADY CATHCART'S STRATHSPEY. ^E^fgf^

JKff^=^ :si -J-U ^E 1^ MISS POLE'S REEL. 0-^-0- ^^

—^^H—bJ-J L-l |g,J 1 ! !

r- F I H 1- f^ _t=^ 'm KtiHLEBs' "Violin Kgpositoby," 11 North BsisaE, Edinbuboh. —

6

THE HEBBT HASONS' MABCH (2nd Set). •=F m-^- -t-. ^ ;f^^e P ^ -V :g^;feg &iEF^^ m-

tfc£ :?= g; :E=£ !i=l

Lively. THE BANKS OF ALLAN WATER. T =^ s^S^Eii^SEgg;^^ azi=*sf: :^=^ t/ £

/- &^= z^zi-i=i^ :ii:i=^ g^^i^ESiE^

%=£=F.^^f^ -tt:i=t2 i^l=?^f^P? P^^i

Slowly if not darned. MRS. DUFF'S RECOVERY STRATHSPEY. Ll :?5=F= ^=^ HE3#s: :*=^ i-^ 3r P

I , |. !Jtz:^=^i;= I i^m^^ ^^n^^^^^^-^i ,-> :| «=e- ig ^^£:^Efe^s^^±?^

KOhleks' "Violin Bepository," 11 North Bridge, Edinburgh. — — ^

MISS BTTSHBY MAITLAND'S REEL. 1st. !f f=w. ^i^^W--W-- trJ^ -^- Irjiii ^P:P=T HmaL t^. Mz^lM. -w- :^t=_-i:;^- -k^^ :^

^f^^ fc^ p^^prt ^^ tEKS ^:t= t Sis^^^ MRS. M'LEOD OF ELANREOCH'S STRATHSPEY. pfi;:r:^_iEr:=^£ s^ :E£b=i 3t=*-^^I l^ri ^^ ^'9^9^' l^li^ ;^rff,=^^

=^^-H-H= sr-ti-

ATHOL BROSE.-Strathspey. is«. 1^—^*- i—1*-;*^- Is F^i^ziR^iq'\-i -^-^^-^-. «^-*#»Mz*-*f

l I i ^'^"^ 1 -n ^ —£TPip:^:rr^ i?i5^^ hi

JENNY'S BAWBEE.-Reel.

I I I I —7^ -I :p:r:r-^I—— w-m- ^*T- ———^i*;; '-^W ~ f-* ^^p:r: "1

I:^eI 1 li III 1 I :p:pn :t±zt=ii&

I— h-1—! r I -^-f— E

r=P^ ^E^ £^E^gg^:&t i=: P^^= g KtiHLEEs' "Violin Repository," 11 Nokth Bridge, BDiNBuncn. —

8 THE HIGH LEVEL. .«=

-•*i=i- mm^m^^. ffe*it S^B: ^ sg-^s:' ^

^^^^iS^sm^gi^^g^e^

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*>' DaDo Capo.Conn. E.A'.

FACTORY ^SMOKE.

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THE HOP BITTERS. Arranged hy W. B. Latbourn. ^^^^^^^^^^d (ftV^^ ..rv w^^^^^mi£f3. ^^^^^

,ez-Efc^Ei:i I TPI-I^- -^, ±^. :^Ep:p--^^|jj^j.^gH^r|^^^^^,g-iMg^E^ -^

KOhlkrs' "Violin Rbpositoby," 11 North Bridoe, Edinbukgh. —

[No. 2. Up. MARaUIS OF LORNE-Hornpipe.

:fc^ ^.^-pf^ ± jiz^. jzS^ZfSgg tj '^'^m i--f^ LI: :££& :*xe:

1=^=?=^ t: feSife^ efe^?3J=-^J: fi i^-t Izii^fei ^^^Eg^ggjr^^^g^^

RIGHTS OF MAN HORNPIPE. W-^^Xi

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put r^fl*^ «:^«:^Fe-££ -1 I —m-m-—1^ *-^^^- ^g-: ^^ £0^ ^ ^b g-^^ite pa ^- *-

PRIZE JIG. Arranged hy W. B. Latbourn. ^^^^^^m. r—-^- 3!=at

tW 10 :|C=»=ff: :*=3l^^ii ?>i =^

ly Mj iy ty to fo 10 ^-^ H H :^E=e :^=^ ;^: ;sg^^£g ^- i

H 1 V) TO :^^ :=r" ?^5e^e^e:^£-^r KoHLERS' "Violin Kepositokt," Pott Free, iid. —I — '

10

With brilliance. THE SRIDAL MAEGH. Up. tl ^B^:^^&^^^:e=^izUzt^

m^sf^ /rs bfcr^fzkrr^z;^ 1 :tzz:i H f=P^ -e=m H 1- r-^- t=^i

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CoBNET Solo. 3 3 -xrp- 3_^i=- :?=::: :^q? S :P2 :ci.^:^VJ^^ zi; ^I^^3S :c± -=»'4- :^EE^E^a^

t7p.. |?iz^^«, ^-^ f-z!;3E^££g jiz^wi^i^: -^ '— I—^'— V ^-1^- ^tt— tg=P=^e=q^:?^3^ :^i^i :3ti-*5*-?:^i :«|i=^ ^^^^^t^r^ t^zrizi-.

Da Capo.

— ' l-^^^l^—— 4 4- 1 I 1 1 1 1 ' — H 1' ! 'I- E3.fz?.=.^-^,^^^E5ES^-wE;3ii3=i^^ ^:

^Mtc^ March. OUR NATIVE HOME. D. KiPPEN. :fi^ :e=^=rrr: ei* t^L^i t=^ :^^

— 3- S5=ti£P: -^i ®t :rL— r=PE-r: «:«:S3S^ :tifl=5i: -^•^

:e=etr^=^ ^-<^^;^:^zrrp—pr:^ I ^- i 1^^; -J— ag^gEESfet^^ :^^!g!^^ : i3

?cnP: ^^lei—^-f^^:^J^-^ ^-T-^ i^:f:f—f- ^i^-:m 5=^ i

The 2rtn€« and Two Dots above (_: !_) in 3farch and Quici March indicate two up or down Bows. KOhlees' "Violin Eepository," 11 North Bkidge, Edinbueqh. I

11

STEWART'S LASSIE.-Strathspey. FT^'^^ ii :^:;S- :J^--^-.. i ^ ^t PE^gg i—-(—l-H§ Up.

Up. CTp. r^i^t. ir^ax^z^i r±t-^=.t*=r: -h-H-

t/p.

f^z^-^f:-:^- -y-- s^^i=i^ ztr- Up. :^1^ :^ii.^J_ ±p-rtt £-^ ^^M .r:iE ^: NOTHING WILL YE TAK', MAN.-Reel.

:p=r: -P-— I I ^—1— :r=^ ——— ^J— i=:

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MAJOR GRAHAM—Strathspey. Up. .^ -»—1^ \- -^-* ^VS^ 1 =i' -ad-rW -z '^^ Up. ^^«jr^^j^ •;^i ^^^ ^-^ -^ it:: i-ri^, !i-E gil^

:f:^ i^W; :P=1- Si7W=^ z^zmzEzir-

LOCH TURRET—Reel (1748). Arranged hy W. B. Laybourn. ^ :p:i^^: -A :^zp=tr:r: Izzt g^fS.^ it-J fit:*;

fcs^^ I- t. d^^ =s^ H— ^^E :^^^-t^t£^r gg^gs LVii^Jif:, ty The Lines and rwo Dofe above (_: — i_) in the Strathspeys indicate two up or down Bowa, Kohleks' "Violin Repositoby," 11 North Bkidgb, Edinburgh. 12 GEBURSTAG'S VALSE. Vp. r- *— ^:: E3: £g^ P2; ^_^_._^. :^: 1^=:=^: JEEE3: :fl^ -+ +-

:p: :q-—-V ^^^ 'fl^^: ^=z=^ :i=3: =+bl^2r=l^=3t I^EE^E^

-^^- %^-^-^—m- f^-^'- i^ -=i—^i t=t if^g^^pg =SiJz:

LS^ztzzz: J=^= --X *=^ a^=^—^—t-j^^zni^-:^: lii:^^=;ii zM—fd^^ E=:3ziin=:

_ Snd time. -^- S^Ee^ *=*: -=H :i_^i

pzir; ^fc=t :*=^: at^ * -^ • ^ ^- 1

ir^.

;p2: i5=3: ri: IeIS -4—J-S* S^Sai-^:

Pp.

ti: :^: S^3: ;^i 5=P^^=

The sign (_: i_) indicates two down or up Bows. KiiHLBKs' "Violin Ebpository," 11 North Bridge, Edinburgh. — ^ —

13

JULIANNU'S MARCIO GALLOP. Arranged hyyr.B.-LkTBOvim. :=F -F pS~W=W- ^ ^^

— ^- ~f^^ ]—=rn — 1 ^3^:^-^3 :r^-;^-=1= —M 1_ -1 1_| im *—«-« *—«- —« 1 1— L—ii~^53— ^- *-i-* —

n V n_ V y?W-# 1—=^ -^.^r^ h- «=^5ss£ 53^=3 w ^^ -3zi ^-•M- 3^=3= n V n V ^-<*-^ ^SEEjE^ H

n V n ^-^- :ft-^=^-± i^^^:

i«— ^^E^^ S ^^SEiEi

1 :P=?e: I F )S=qt ^^ ••^-^ orcj^i ^

:psz=^ :^=«=«=^ ^S i^zzti^ ^SE^S ^r -.^e-Jft ^^^^^^^^g ^^=^f=r=feEg;^gSaigg^ The sign (_i t—) indicates two down or up Boios. p] Down Bow, v Up Bow. KOhibks' "Violin Ebpository," 11 North Bridob, Edinboeoh. — H —;

14 HORNPIPE. bfc=f ^. ip^ ^,^0!^- ht P3^Wr--:^- frm 0^ i-j ^I^^ :i^=± ^^^3^

_*f ^— I ^ :^« :P=ti^^ ;^ its^^pi:P=i-^ ^

TOM HANDFORD'S HORNPIPE. r^

H h :^ir=^ipi -I 1 IT-J I 1 ^ I 1 C-^ I ^W^^W 3=a w==^r mI I »h -h—-I—I—— :i=g^ :j=r3

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^i?:

3

•F--^^-»-ai— 3 **»>s=-r-=iai,.-'l,-g-,^-,l -'^— :rf: ^^^__^ :^=£Uit= 1:^=?-—

THE FORTH BRIDGE.—Hornpipe. Composed by W. B. Latbourn.

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-^-=^^^- :=P -I—p--^-l— I—* •' t^^^^ -I 1 H- -tzt :i=d:

I I

^ 1- H \ i z*—^-^ 1— \—jid 9£?S

KOhlees' "Violin Kepository," 11 North Bridge, Edinburgh, ^ —h —

15

^ :i=dziz5-it

zn^r^rtiti

0—It F^=^—I —1^—I — g^^§^:*=f :=l^^ »

I ^- \I I .-^ fcd^ —1. — :ti^ ^grfz^zr :^^: :^-==* :^3*EB t: iJa Capo. ^.

Quickstep. Arranged hy "W. B. Laybouen. Introduction, Moderato. LOVE NOT.— d _ n^i '^^ t=^:e=zz*: gE^f^-^^ i ^t^ ^-i^

«='(? ?0 d W

1.1^- ?^-—IM* I :i=^ j=^s^qsdz=!s^qs;i:3-nc5 ^~t*=^ I ^—J—J— *^^ir* r^

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^-'m .(^^^^ i^- ^r=tf .^ 1 r^^ :p2!2:=^p: _^: &=E §: :p=^:f: :&^ rt.t:

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16

ORIGINAL SET OP MAZURKAS. Arranged hy W. B. I^xybovrn. fe S ±ZZM1 ^^^^^^:E=^ l Up. ^^=^^^3^ ^ :^=e: 3: -r-i -^. :U^

0-f^ i=^=e=ffi =iirrr-Tf=p=4« A^-P '> i I ^^ e ^H Up. :t=^: ^-^ =^=^=1 ' § -I jg^h !z^£gffig^g

--^::P^ r:=^ii= iff^ff: i ^E^^. ^^ :t: 3rT7^.^ S iff: ^

:pi ^iifc i-*^l. :P^- £^ -I—=1- L?=*l ?=^S^^=S

:fc=:^: :Pr:=:^ ^=^ ;&-=f —* ^ 1-^ »!—-F -^--J^ :e*

2. :S= :S=e: :«=*: 4=*E3=±^=s:g^J^

S=fS: ^^^3=f: ^ue: ^ :«=;: --i si =^^ S ^ g^^i #^ ;^- S3: ?4s ISe^I^^^^

1st. 2nd. :g: | .^Tzij: zm::^ T- ^^^^ -i^^-^-ii lie Capo, {Jo be continued.)—No. 8, November 1. KOhlees' "Violin Repository," 11 North Bridge, Ecinbdkgh, 1 ^ :

'' [No. 3. 3. MAZURKAS—Continued. Polka for Finales, -^rr. ly W. b. Latbouen. V

3EE3E :^=:t«-&i=P :^, i Ei

1 1 pi \ h -S=A ;fc=e=^: ?^Eg

-^ -)*- V ^Ie^he^ j^isawi^

^—^^s 1— -1^—I — i ^P^: '-^=

D.a. ^.

^ii^^^p :i=p r--*:

le^ :^=i: T-;S= Jtziz^W

' V ' '« -^ -I*

--W—-W-- :f^-p: beIeeI 1^— -I h

T

Sit I 3 ^7^2 ^_^ .^^~^m. K

2 a 4^-^-^3 . , 2^ t. ,- -I* ' -^ -^ -^ -J.^.£=L=t^3 2t=- -t I D.G. V Up Bow. — i~ Two Up or Down Bows. KOhleks' "Violin Eepository," PoU Free, i^d. — I — I

18

1. THE GREAT E ASTERN.-Strathspey.

Six Reels and Strathspeys composed by A. W. Doig. ^ .

Segue Reel. 2. GREAT EASTERN.—Reel. Arr

-V A e^;^=^"& :ew ^^

^ - I i- I I ! 1 — i P -»«*.^ —— ——

-tiT-^^h-tiili^-'U

-U^^-tii D.G. Fine. 3. BOB JOHNSTONE'S STRATHSPEY. tf

^^^-- ^+ StiT *^ ti^^ ""B— — L-i—I- J—

Segue Heel. V Up Bow. -s.—i_ Two Up or Down Bows. KBhlees' "Violin Eepositort," 11 North Bkidgb, Edinbukgh. ^

19

4. BOB JOHNSTONE'S REEL.

^^p^^^i:^^jg^gg5 4 4

j=i=i-^—I—I—i-F' jEatariiziizt* :*ji: :^^^£5t ;^ :U=:^ ^^^^^ :^^e ^S ::pfr:^ ^-^=-,-^^-r-.-g^gE^I^:g^B| D.G. Fine.

5. ORR BRIGG.—Strathspey. 4

-I I 1- — I -"v-^- l^as: ^=E ;^*-t*:*x^^:J;^^. :?i:;i tS?g^ td-

P r^'- — »-^Tr-'— -F=i" f f' -^— iVr :;iii*: 1- 3:d3i— "*^ — —-^—^-1—U- '-i—.j—I— —

'^ -^ ^p: r-l :e^5;5e :?tf^ fe£g^ ;^:r=«;^=p-i ^•^ ;^ -)—^—I—^-

Li; tf=F ^^^ ^^^^^ ^^ Segue Reel,

6. LOCHTY BLEACHERS. ^=^ 3=^- i-i-*-h-!—t— ?^ :;S:i:;i:«^^*^^ -^-^:*:C;t;;a ^:^; /= t-S —^^ i!53

I I- ji^t • 1 H —— HLg- I I 1 1 tt ti^^itE^:: Sii=&^^ ^ '-^i^ :i.^-^ ^^^= ^^^^^^^^n tfe^^^^tz:^:

t^^-p=?E^:p£i-=PE:^pre^ ^me. V Up Bow. _i :— Two Up or Down Bows. KOhlbes' ^'Violin Eepository," 11 Nobth Bkidoe, Edinbukgh. r ^

1. EDINBURGH REVIEW WALTZES. Composedly v. mi:s^. n n ^"? 4=4 ^—^ jvrq: - :s::izxzt2i • i ' gj t/* ^ ^^ -^ /9 "CiLZ*^ > V n

r^-- -c^ ^J- bgEEsi '^—1 -^ c^- ^ 4 _ fczrre -1—r-4- ^r^^- :^: S=wi 3 EEEE

"~\ 4 4 4 t— -4 I— ^r=^: S^ EE S

fc=P: E iE^ :e=e: f=!:fE^-:-3^ 5:

V/-~ -^—^- -^—e—^— :g=E^^ J==:

S zp=x:

^^=:e=^r=:V/- iGE=E :f :ee^ i^

isi!. r=Pfe=^=z=^=e: =^ ^P-ctzzzzzk^^zt:_? i -y^ZL^Z D.G.

2. -T— § 22

lat. Z2: ;e^ ^=e: fe=^= f=^| g^i s

V Up Bow. . Two Up or Down Bows. n Down Bow.

KOhleks' "Violin EBPOsiioBy," Post Free, ^id. 31

- ~s—-d—-d =^ i 2i: n /^ >-t:^:. ;s=?=^ it?3:

^=P2= i^ r=t 3 -•t g: --r=::^ :P^^ h- ;s=t ^^El^^EE^_S :e;

Arranged hy W. B. Laybourn.

D.C. Fme. V Up Bow. n Down Bow. _i :_ Two Up or Down Bows. KoBLEBS' "Violin Refositobt," 11 Nobih BsiDaE, EpnrBiOipH. — — -

22 PORT A RHODICH.-Strathspey. s- » -FT^ "^^^^^ — ^^IbIps^^p^Js^^ I ^'-^-i—tatzf^iJ^l

n tii* e=m :^ r^ ::^-*:l ^—i^>i—1—^-C- ^:e:?=l^ r:^=^ H U-l- ^ =fi5^r^:

:^=;ii£z^^pr| iiSg|g£c^^ ^- -I—k«- ^^^^5E^^£

*tt 0- ^SZI^ff!^ ^ z^a^i ^f=f -^sif- li^z^f•r>tt^c> r^0-. f^A e-^:^rN ^S=fe -?E^S5t=t e ifie ^y »i'--w- I ^es^^-JjEt: 1- I J :^jr ^ s^ it=t- bj- ^r » I 1 3?: ^- -h^— tr» ^—-\ ^-f--| 0-rx i^=^ ^^=C= bir Segue Reel. D.G.

TIMOTJE, THE TARTAR.—Reel. Arrcmged by W. B. Latbourn. n tfc#: ^^^^ ii=;: fl^R -r-^F- ^=t* --^-t:^ ^£^£^StSS-33£3^

hg.1 ^EE^E& :^ fe^^^-ue^^f^-^

S-^- =^^ -^-m- ^^ sJ^td^"^ it=t^. :a!z£:gyryW-» tm :^jz^a:;gzz^-^^ ^—•*-

F 1 *+f— ar-3 ^ /S. :e^ :^- IjffJIZE 1^^•'yiy"-F-:g :g^ -t- ^E^^iS: f D.G. Fine. V Up Bow. n Down Bow. K0HUBB3' "Violin Kepositoey," 11 North Beidgb, Edinbuegh. 23 » TULLOCHGORUM -Strathspey. IZ^jKZ :^^^-tzat ±fa*5 ^^^^m^^

1st. Snd. -^^^ ^

m ^'?^iSEfe : ^3i^?2-^^^EpE^i^ESE^z^Eipt^ _^ZI^. ^^^^^^^^ffr^pfe: E^^^E^:^^-i^f=£^P=--=1:

S^ JOHNNY COPE.—Reel. Composed hy W. B. Latbouen.

:=!= ;=^^=* :P=* q-T S :i=*=^?=a ~'-» ziziti I *Si=^*=^* Sfe^ :*Bi^* I

^'"^^- --=v- ^t=pr=»—=erp :r=^ h-r--f-^^r=p: ^- !5S55W^- ^-^wh ^ -^—^^- J^^^^ES^^^ &: S^iE^^s? v^

-I—I —I- H 1- yr-^ :?jze ^tz* ^ "^^^ is»^

:i=J:&i^: ^•?3=rz^ ifzir: p=^- :a^z--^ii^^ 4|i: D.a Fine. REEL OF TULLOCH. Arranged hy W. B. Latbouen. n bl W^-W- lE^ -1—4 m n ^=;i= 3E :^=?E=^ :e=&-i g

H 1- 3 ?E_^ h ^^

V Up Bow. j-| Down Bow. KoHLEEs' "Violin Bepository," 11 Nokth Beidoe, Edinbukgh. 1 u

1. LANCERS auADRILLES. Arranged hy "V^. B. Laybourn, • • • • • • • • ~^ T ^ p 1 1 r ^ • 'f'T^r 1^— b- * ' -1 k- -1 ^C 1—— ^ -f- ^ ^ Z- -Jt^—mzP-9- — 1/.. w w —k-P— h- w-^^ w jz 'c. 1 ^- A-— r i—W- — —— ! 1 1 I^Pf--?- i— — t/

LZ^I :t: :^=^=P -^t=^^=F^ t: uffi tm --^^- IeE^EeM^^ L^^S =1-- m ^-^^-g:*^^. V ^=e: :ff=tn^: :atf:i: ^^^@^^ lii^*: t—ti^ P tzifc 3 4 r-fe^=«: ^•^=9 tf^-p-f: g^ ^^ ^E^3t=i^

z^-m—m: ^^-w -f=f; -^-e:-tm=^tfr. attat!S -J^±t i D.O.

2. iBE^:^=^: ^y^Ef^E^^:

=E^ " ^^^g^g^ii ^=llfgS-S^g

±r=:S3:-f J^EE^S^^S^

:^rzf=e: ^^^ ^z^z-^zfez^ 7^=^: -jJoaL -.wLiMt ^^rr

{To be continued.) D.O. V Up Bow. _i •_ Two Up or Down Bows. KoHLKBs' "Violin Kepositobt," 11 North Beidqe, Edinbueoh, hh

25 [No. 4. 3. LANCERS QUADEILLES-Continued. V liTH ^dV —I — Es;=^: E^-t^^^^E^=* :*z* ^ii^^:

:^=i^ itst&^^&^ atah

^; ^E2^ ^ "^C:

--e-< g^E^^I^ ^ -I— EEi^il^ f- .'^ ?^=S Mziz-^z *t^^ £ -^=^ ^^^^

ei=^r: "it '^

Lgil: :w^^W'- ^sn*: iWS :Pz^-+:izW:* ^i^^tijtfe g^ ^ -**•'= m 1

M £^"g^^-Tf-^r=^--:^ -^::f:^: «==:^ :^=z^ I^ZjvT^I -^•=at !^at 5^ES i).C. 5.

atazir ^^S-|-g=r-fff^ ^t:^

^^gs^a^aa=Si^ gsii^s^gi^i^

•^-.^ ^^-^i Lfc^it^: ^-^ :f?z^E=e=^=i?i=^ ffT f- -N—il—-»• -la—)»Bt- •oala S

£e=^:^-_f=^£f--^-f=tp=

B.C. Fine. V Up Bow. _? ^_ Two Up or Down Bows. KOhlees' "Violin Eepository," Post Free, i\d. 26

PRETTY DICK-Polka. By the Editor. ^=^= ^-^ E|=^_EEiE^^^3 -)^rrzLz ~^^^

f-^^ v^^EEtEEf: :^^I"^^^^^S

:MC?^ li.—e=tt=ii=.

w-^ j^iizu^ e--w- H -3—=-4- ' $ \ ^^ .^\ :^e=r e-^c=^: \- ;*:i:azz:*=±B ^s I ^-=i=^- i^.C.

Trio. 3EEE^; f=^f^-- :§: ^1=S 3td=i^: .BSSESSS9 *^ 13 13

^^=^^ 0-. /^^ ^^ 1 ^3 3.-^V^-fV1^ iEES S I— i :^ :P-^ -k^y 2_4 1 _3 -b-^ g=£ irziiep: PJ

1 _3 :fci=^ ier=ier: -^-r ^ tz=i± m 4-*-/^-»4^4 3 2 4 3 2 _ _ __ , 3 V- :^ftf :e-^ 5|-

B.G.

KOHLEEs' "Violin Eepositoky," 11 Noeth Bridge, Edinbtjegh. — 1

27

By the Editor. MERRY ELVES.-Schottische. w B 1 » tzt: :p=pr:?E^i :P=^: r^3 £^ gb^;^ :|^^IS

3rS2 4 , 3' fc :pzffzr^zfH?^£=3^:i£.*£fe,=.q?

I 1st time. I ^S^"!^ efnA flint)

2 1 2 1 i^- ?1

^^rgig :^ii= 3-^2 -^^-3- :g^ .PH iz: I Trio ''' £fi;

Legato. 4/-V

-tz- :t:i f«^:^ §g^#£ls^f^

3 /•"-^ ^ r» ^-^ 3 2

-2-1—4-1-

2 0-»^4^ 3 1 -^-r-!*- »L -4 :r^-i*. ^•^-^--^T^te^^^r^f;^^^ft^pT-^ -" %^^A ti tzt £ ^ _J>4-^^- J. 1

-=s*i— >" —LI .^^_L^—1-^ 1 2'

D.a KoHLEKs' "Violin Eepositoby," 11 North Bkidge, Edinburgh. 28

MRS. GIBE'S HORNPIPE. Arranged by W. B. Laybourn.

I ——I I I I F=^E^:^:5 w-*=t^^

4 £2fS :^=^=:^: ii^l^ S^^ :i=i=

iE^iC^: g^^gggg-^^^i^

=n-.nT]- W=^1tzw H n :r-^:e: ^i ^^^S?S£Egg n—^l Se^ :i=iJ=U THE ALSTON HORNPIPE.—For Clog Dance. An: hy W. B. Laybouen. i^ P=% St g^e;S =P2=^ V ^^; :=)- 3. ^ES ^z^EE^i^iPli^^^^iii: BiES^: V. ^^i-i^F :(»3 5a *'^^=ii^- gg^ag's^t^^^s^

^=£^ 55=^S,^i=^sgiaii THE BOTTLE BANE. Com^Msed by James Hill, Newcastle. X Arranged by W. B. Laybourn. pm :e^ ^^^i^ggs^ pii^fe-fe^p^s Pi^S^i^S^^S I 3 l*>M^—

H M -*-»!-

V Up Bow. KOhlbes' "Violin Eepositoky," 11 Noeth BEroaE, Edinbuegh. — h — — ^

29

SPEED THE PLOUGH. By James Muirhead, 1800.

I I I I F- I———*H——— S i=p^pi .tE ^^"^_^

an-aJ ' U 1 1-«_3 1 1 ^_I

3 I I 1»-'=^— » \' 1 3 1 — — l-fi-fl—P=N:-^=v— \ ^-— i —as: — -o- -:^-\ ;:^=i_r^; -«^[.

ii?: gfe^= zj: ^ie: :^:P:p:* -£L£: ]^:^: ~i— it gg r ESi^&rif^L? it. -3 */ p^A_ :pi^.^| ^^ 3 4 2 3 2 V :r^: :p^:^2^_t:_ byzzf--^:: rt- -0- qei::^& ::^:t:^ fe==?i^^ ^-t M 3 M 3 4^_4^_ 3 3 ^-i

I - 1 0-1 1 1 1 1 S=tii;'—I— I— \- — — mM--^.t |K_] |ft :E^~\ _] ^ :^ :WX=WX=-W- D.O.

MRS. TAFF, OR BANK'S HORNPIPE, ^w Jy W. B. Laybourn. l^^^ailii^p^M^^?^ (S>— n n

^^-i^T—1^ R^h^^- fe=e^ ^ r.^^ •?! S —jj ^=Jlat ^^^^m ^s:^^*\t^f^^^ -(«- ffr£gga^^£E gSffiP^S^^^

|feg^^||^||^g zjrdif*-=i±ri:aiS^^^SSS^:W:^: «;-/ ^"^ D.C. S333333; ^^ -+—I —I—I- 3=S':il=3 i=W:4i:

V Up Bow. n Down Bow. KShlbks' "Vioun- Repository," 11 North Bridge, Edinburgh. h

30

MEDI VALSE. Arranged hy W. B. Laybourn. V V V V bd2; -0-- |g^^ «- i inf -m— -^-^: i^-i V ;^^ :ajr»_i^_*_i*: 35^ •n 3^?eS S^ -tztzt g

:=]- f=^- P .^ L.-_j, 1 V 2 3 1 _2 ^!fz=3^zji^z»!=e-pc:je :^=: i -1— ilizata^irana!: :«=Ei iE^EE' ^EB «y

1 2 8 12 3 h- .^izpfcti=t%= :^; ::^ ^iit t:

/^- . S-: V ^ .^.^.^ _^ H* if > :p:p ^n -I H

•y g.J.jJL.^^^g=^?---^|-p|=_^=£=t_j^=M I i A 4 3 -^4 i=T£=f: ?^t: gJ^zigg^zg^^e^ZTfe i ;t: il BLUE BONNETS—Centre Dance. n n. f s :?E=* ::q=r:^—^ n n. :|i=i: p=r=^ # ::S t: afzji —/-—I ^-r ^5*.^^^: l^i^i^i^^ -1?^

wzl^-pz .^^s :t=: i

V Up Bow. n Down Bow. _• r_ Two Up or Down Bows.

KOhlees' "Violin Eepository," 11 North Beidge, Edinbuegh. — ^

31

MASANIELLO ftUADRILLES. Arranged by W. B. Latbocrk, 4 e-m- zr=f--W^:. ^ig: i^tiziitat jttEfc: n ^ ^^-F ip:p:H

-P-^-*-^^ ^-^^-^ ifi^t^i^^ i tf ffe^^g^1^£SfeEgE^iiiig=l^

Lii ^_^_^^ J— f ,^ SE^S JEgSgjg r-l 1—

T-H -^-^ ^^ :p:d^i&t^ !^^=^t p|f:&^±Ptf^:[^»fpr: itZ |ii^ ^^-^:bt: ^ -t=f

Ss=--^, pri^-p p&- ^tf«: :t;:U: :H :5^: £^ rj^z gii^i;^^^ D.C.

: fL— fe|^ag:g^#l^i&g-gs >-b«-» =Efet: gi Fine. 4 4 3 .^ 3 2 ,* 3_ .1*4-^ L

4 i-l:^:>i ,'^ ^«^ 3 e_jrj^-p-^5^^. .^ V tijz^zt? ^. s- :£j=iS iS^

:tc 6£B^:rS^"^E^::^^^i^iS^g^ ^^a

:i|:

Volti subito. D.O. V Up Bow. n Down Bow, Two Up or £>own Bows. KbHLEKs' "Violin Eepository," 11 Nokth Bridge, EDrNBUKGH. F

32 4—2 3 1- 2~ ^ -^.^iT f: 3_;h:^; ggj^^i^fe^^i^ It :PE-P

-fe I f^^p "2 :e -^. £=^: -^—Wr- -iiiiH M^ t=-r--w=-^ :t S -^d— ^ n 2 n 3 2 3 4 2 3 4 -^ 1 1 - -i jg Pj— :^=^::^ $ ^ t=tc 3 2,2 n -.T- - ?

3

—-*«_.i te'^ " '

:ii

°°^ (To be continued.) V.Q. \j Up Bow. p Down Bow. _: ^— Two Up or Dowu Bows. KciHLEEs' "Violin Eepositoey," 11 Noeth Beidge, Edinbubgh. —

KOHLERS' VIOLIN REPOSITORY.

No 5.] Prick 4d. [Copyright.

5. MASANIELLO ftUADRILLES—Continued. Arranged hy W. B. Laybouen. V -• »4 n B2 -^ 4^^ ' n*- " 2'^ -^ ^ 2^ .* _* .* ip: -^ 1 V £g=£.rjzpt=-g=P=-g: :S:

:^zz:tR^^£^rpE=rEzzrts=ct=^-^=t^ =^r; :t==: :^^ t=^ :t=:

n 2.2— .-*^3^2 I l=p: pie :^^- * Jfi-.--^- ;t=r±-. t^ ^.r, lt-!»- '^^1 ^^^^ :t=: EfeS^ :t=at

*:e t^ ^ f:M- 1 1 :e=i=e=e=3»= riz=e: .f___^_j___^ tt: -h tt=i:t:

1 1 4-^ . 4-^3^4-»^3^ 2 2 1 „ 4''^4 2 q

^^f^-i t- it: i V ^ 2 2 ^ ~— ^- 4 4 R :5_' ' h-i:p=^tz: e'^^I !'(«(. D.C. SIR ROGER DE COVERLY.-Centre Dance. n 4 4—-1 I- :=] — ^=S^ szz^zr-^it*^ :iza=J=^z=tz:

n

,ezz*-Tze-^T;;j^j-fl-bsEd—Sbd—t^^*+;ii—g-g^-=^-^-g-

7«<. ^^^Ei^ i^^iizi: D.C.

V Up Bow. ri Down Bow. _;- . Two Up or Dowa Bows.

KiiiiLEE.s' "Vioi.iK Eepositoky," 11 NoKTH Bkidge, Edinbckgh. i ( I h ^

34

Arranged hy W. B. Laybourn. WILLIAM TELL—Rondo. Rossini. Allegro.

V n -^^^ & ^ ^&^f^:r_* :itqtp m miJ m^^3^ n V 1 4-»- \ 4-*- ]

«|g=*=^ -I— ^ 1- i=t. ^i 1= m 1 1 4-fi l:ej^_j|._. ^IeefJ^

=y _g^_ 3^. n V ^— tsl H h ^5: £gfe:-:£E£:^b5 =^ ^T-^r:

/^^ bSj P^E ^=g^fe£g:g=gg^i^^E^^

^:^\- "-^h s=p= \^- ^^A BS--

-^-^

1—I—-— i— . ! —I— £;^;i^fc:;i -«:»= 1^^^

-•—.*- ,iEE=gs ^: ^=«- iLz:^z=;J=i^: i=at

^=Lgsfa^=b=feae^ag£s;bzzfa 1^1]^ i

Fine.

\j Up Bow. n Down Bow. _? •— Two Up or Down Bows. KiiHLEEs' "Violin EEPOsiTOKy," 11 Noeth Bridge, Edinburgh. — ^ —

S5

ADELFHI POLKA. Arranged by W. B. Laybouen.

^ir Vt-

2 3-—N2 n E jrr- , , , 1 :£==?: e=^=^ £it^^ L±z,aE-t= ^*/ ^ ^SSf m i;Fi:=£z.^«iizpE=rr^^

la-at :=i: tiizizns: "^M^^^m^^ =w^-' V .p_^_^_^ - h- :*zj =P3:gze=|g: I ii-g^=^ 3 2 iz=^ r^^_^_^iv^i«_^_^_^"^L_j_£^_"C_^(?:_(«_^_i«— ^aiis ^til ^EftE^E^ ^ti E^h=z :t=f:

n bi—"^ e^g=l^^^? :a^.-i:i=i: :i-S=i=^;

:^=f: |^§=^il^'m-'-0-^0—^- SEz3Et_-j£i^^tz^

—^- rf-f-f-f- ^=^iJ^=|,e=^, iizir^ z^nz^zzHz S^i^EP^ ^'««*d «y

It:=t=4-^-H ^SP^g^-w^ -.-^-i^^z D.G. V Up Bow. n Down Bow. _! i_ Two Up or Do\\ii Bows. KoHLEES' "Violin Eepositorv," 11 Nokth Bkibge, Edihbuegh. — —

36

1. WM. YOUNG'S BEST MALT.-Strathspey. % Alek. Deas.

.-^ ^—.-^ bg.»= '^4--' I— L :i^:i^:^T^-* V--'— r—t-*-F- P— gJ **

r^-a. 3- -Fh= 5;:=j==f^ :t:^; - ^-a^ .^lifi^^^:^*!^:^:?s:r gis^^isl^^i^

tSil—p'^^^ii&^ipr^: ^-^-e^:^ lEgEgg^E^E£,EJ^-aEgggj;^EgEgEEE^gi^

^-^ =S *--P- ^-ar^ 7^*4-: p=^: =.-^-==j,-e:::.EE ±z.-t- :e=*-P: 3^1=* -ll*»' :*z^ai. a Segue Reel. 2.

^a ^^:^ :*^^: «-*-:..^^^^^ ^ri:^^^t: H—- 1—I—H

e 6

I 1 I I I I 1 ^— -^-1 I— I— r-# —^-^1— 1— — h-l— ——— *-*-!—1-*^-^ »—»-H-+^-i— I—— ^-^1 ™m.»^_ I i_-_| 1_| I I } b:d^;±^j~"|- ^i__j_j__'—|__j_-j_-^.|_^_^,p,^.g_^}_..|. i—— — ——

#- -^ To finish. F' f^ r^r. :t=:th- 1 1—H-!—

I I I ' -i-i I— I — I—— I I I I "-I———

FAVOURITE JIG. ^y Alex. Deas. ^:;i H'=H- i:5jsJ;s^- U;fet:Ezp^fe?t=^t^±^«z^*^-zzuSE

.*:f:; ^f. '=r^ • 'i— I— 1- *^*- 3 2 -» Slid time. Z>.C. 12^2I 2^2.-1*-I* 4 -T**^- -j—h^- r^\zfr^^z 1—«-i—-I i--^-*- tni —

V Up Bow. |-| Down Bow. _; ?_ Two Up or Down Bows. KOnjLEEs' "Violin Kepositoby," 11 Noeth Bridge, Edisbbrgh. — h —

37

STIRLING CASTLE—Strathspey. Arranged hj W. B. Laybouen. ^ ^' --^ -r ^« 1-^1—3 »:^-^- -r — ^E 5*1 :=S: *^*-T"-*TT*-'-* ii^rtJ^- q"^:zi^ teS^^eE^ q:i^i !^=r-:<*±i^^^^^*^'-«^:«t: ^11^^^©*'

-3—

-Sj*— 1 '-X pI^-^-_-H -f-F^-ifti^d^hw-f^k-^-Wr^i —F^^-(»-l

;t=: ^egfwe Reel. HARVEST HOME.

e-^-:^

V — ,,j# « ,-i 3 «=.»=e -^-^-jf.-^-.ww^.*§ t^-ULi

•

^ - (-- 1 I ^ - i_j H- b.1 1— :p=:fcrii;t:i;^LU=t-*fi— — —— -•—b— — ^-P--|— ^^^f D.(7, J'ine. TRIUMPH—Contre Dance.

LS-S :-zt:ztit=: -I— --fBzm:~-e:. lE$E^ I— I— I mr^-^--f=i

--1- ^}_ :^F3zP=^; :^^^:^f^a^: t :rati h--!-±-td=t: pE^^i :S=t=i: It;

^g_Jt ^_=, *zr_ :^=^^ ii: i=: £^r^r^ Isl time. 2Ht? time. D.C.\ I V Up Bow. KoHLEBS' "VioLiM Eepositoky," U Xorth Beidge, Edinburgh. . V r — —

38

Arranged by W. B. Laybouen. ST. VALENTINE'S~ GALOP. Introduction. Galop." _ . y r>.- ^t= ^==5it:=^ -^-g-^-^^ ?_1_j^^:^ :^=3: —V—V—* 2

-2-3 n V itl^L^-:e=#^ I^ i -1-2- -I h /«<

^nd lime. " n ^v^ ^->-^^ 4^ H h :^=P i^r: -t>^ £E5E ^E^E^EE : m 1 ^E^^ :W=ff:r: ;^t=d 3 -,1 «^ 4 ^ 2 2 1 1 te

.^ «l .% 4*S :^: e=v^^r=^: 3^=E i^P^: la^: :^r m^^^. -t»^ ^- -^fe»i^

Fine. Trio. 8i'a.

-T -V—V —V—V —rrn--lnI V—V- -=fn-^f

V n V -^--^ l^^q: :*z=^ —r-^— at;^ zizaEi p^n 4==: -^^ ^'=^: ^- :p=ie: d— =Pq :pE-r :^=^: fzit i?=ggg?I^gg^ 'SZl fstat; -V— ?«(;. T=t: -ff V— V- -EB- ji^i:;^: fE? ^m ±e: :W;ati: V y • • * *

:I^E5eS .-»sj—I I^it m 4 3 1 -^ ^: p— =^rS— :^i^: ~ -*'^ 1— 1 h L.|H — i^--3 :tz:

Piano part, 3d. D.O. V Up Bow. n Down Bow. _: :_ Two Up or Dowu Bows. KOnLEKS' "Violin Kepositoky," 11 NoExn Bkibge, Edinburgh. 39

AGNES SOBEL dXTADRILLES. ^/-ran^ecZ % w. B. Layboubk

•^ Piano part, 3d, ^**^^^ D.C. V Up Bow. n Down Bow. ;_ Two Up or Down Bowa. KOhlees' "Violin EEPOsiTORy," 11 Noeth Beidge, Edinbueoh. — ^

40 3.

I I -^—«- I -^-m- :q=t:: pEE^=EE^if?E5i^^E5^ -IT- :E: ^^ ^*zi=iziz«: -1^^^^^ -^'^ 2^ 4 3 4 3 F— I I I ! -1 I I I J I I -W- V ^- N ^- N 4— , — —— p^-=^;;^zzf; -4-3—

i ^ ! I I I I vf !-| I I 1— ———— ——————i-l 1^:5 rrV" :*z*ziz*z*:h»z*z*ziz*z*zbii.— 2 4 4 4 -4— 1.—»-ll»-rF---F ^-r^- - :^=e -4—3- ^— i £: -^=E=^ K.C. :rzzzpE=z;^;z: 3z:g=d=HH=|^>|^^zg^ :EzzztE=ri^ ;S3E?= i ^^-^ p— n ^=^^1 e^= f- *=^ izlE? r^zr:^: :p=:^ ^ :tz.-z^z:±:r-ztz * D.C.

!tfSEfe:F2zz=-J^^^!^tzFtzz:zU^^^EzF:^=^??i^ zJzz*: -_=,_ e;s:z±

n n F^:=r=.,-_pf==tez,+p_^p^_.^^ If: |fe_^^^ zz^=pz.T^: -n- ^1^ tizzz

^ff_-g_zgzg_q»_zg_Je-zgL^-zr-^-j^^g-^-rg- r -r-:g—e--g - I I h "tf=t izzzii izziiH -bz=i i

— - - _^« -r f r g—-^--g-T-g—g—P—g ^f«_._^_,_

n " 3 2 >:fc=ie:rpzpz^^3:pzpz^^===—z^Eirfzft^-l^irzp: z^z^ r—^- iz5zz^.-T-^zHti«^-iii& itz^z^z^Sz: J==tZZZf?:F^--^-^-^-

V 1 , -^ -^ 4» I 4 V n I 1 >-==j5 I——T—F-^-^-rl n -%—r-- -=l-i^—^- It: -0— ttz; Piano part, 3d. (To be continued.) B.G

V Up Bow. ri Down Bow. —: !_ Two Up or Dowq Bows. KoHLERs' "Violin Eepositoev," 11 Nosth Bridoe, Edikburgh. « — ^

KOHLERS' VIOLIN REPOSITORY.

No 6.] Prick 4d. [Copyright.

5. AGNES SOREL aUADEILLES-Continued. , , , Arr. by ^ B.^ Laybourn. PI W. ss*=^^^^= 135= ^nzai S

^-=J--^. s

I I E^ Wrw~W-W~ •I—— iS32EEEEE^£3E ^

^eS^^ i|=S=^iEq ^^S^^^ 'EE^^E5: itt^itfet :tcz±r^ •J

V V -i—=-n_^7*^ n ^ #— -^ 1— r^" ^ :^=*: -f*-1*^ p=r: :?E=^ "P^ :f=tte: :^i5 f* •tst ;fc :li5h .1-f- ha I —L.«^ ist ^^ n n V :rip: d=sl- -?-t3— K: tit |g -1—rii ^' m D.O. Fine.

PETRONELLA—Centre Dance.

I i I- ^^ • - fcrzBi ^ ^ ^ ^=^= :i=i=

H 1- ;£3=s^ f :*=»—*z.-=zpr :e_^_p^_^^P=^^— f=3= E^^ t=^p: -1—i- :^i.^=:^^-*=i==f: iSi: 'M—l ^- S S^^E2 i^^^^^^ ^ ia V Up Bow. n Down Bow. _•_ Two Up or Down Bowa, KoHLEEs' "Violin Eepositoky," 11 North Beidge, BDiNBUEaH. — I I —

42

1* VICTORIA VALSE. V Arranged by W. B. Latbourn.

-+ e7 *4* -H-*4* •H-*4* -J- -0-9- -^-m--m- -h- •-•-

^* d: 2^4 3 =3E=i=P^ ^==^==F -C^- tS^-3 rtrr^rzlz: d: ^E -W=-W=W- :i:i H H-l-H -3 ' ZnHJL ZUHJL:*:i:p:;r-^: -rr-rrn "CP ^ '•^,

f :=?: irripiff^ «=^ H h :ij:s: ^=i: — A h iJ==t S 4 X ^ -^t D.C PfiK fei i=i= I— I—p-i—P:^"^:p^-r ^ > ^z^ '-^ ^=©

Pi00. Pi20. Pi00. n Pizz. Tizz. Fizz. 3^^ ) f- .1 ^ I I 1|-li 1- —1— -I \—— -I ' iz± ' ' ' ' t ^A-^—<^nr—nrA —H —I- H- —t- wi- -^ 1^- -^ Tizz. n Pizz. Pizz. Pizz. n 4

:^->l^ H 1- -I H :ffi*: t^r^rr- I a^^- Hi' S- 2 _3 2 Pi05;. 2 2 1 ^= P2Z=^ P==]=q: ^^P^, :^z:^ :|»^: :^i +—P=-P4 -h i :£ii: 2^.2jQ'^p hr^i 2 1 0^ #-T^ .«_i_r_i 1_ -^ I ?2Z — — ::P2=^ :^^f^ p- ez^ H I--I—H»i- I— ^^y ::tz=:t B.G. Fine. V Up Bow. n Down Bow. KOHLEES' "Violin REPOsnoEy," 11 Noeth Bkidgs, Edinburgh. h — h "

43 FIFE STRATHSPEY. Composed hy Alex. Deas. #^^ :S^5

Mt=w^:w: -I— ^^ *^- I D.C. SequeEeeySfe^we Reel. OF MRS. SOUTAR PLAINS REEL. By Alex. Deas. |$EHJ^^^3^|^gg^^^eiip^ggj

—y- n^"l- -^5 ^^ -hB^l—h-h-H r— s^e. b=H-Fi—hr -I— I—I— it

^^-.^ I—"f^=^=^HI—» -M- ^~^i RO. Fine.

JAS. SOUTAR OF PLAINS JIG. By Alex. Deas. V -S'z -^q^ :P=r:; :iT=S: r=P:d=1:n^ H5-^-lV4 ^^ HhaP^h-P^ 1E3 itzifcrat :^itg:i^^t^fclW* tz^^ig: ii- §^ :^i=i:*:

•-^ F- 1-+3- ^ *+('—b-l— -^» r^^ ^r^ eSfr: :-S=.^^t tJ— -Ui«<«^— It: eIeI^^

:p:rp: :t=t D.C. Fine.

V Up Bow. n Down Bow. . Two Up or Down Bows. KOhlees' "Violin Kepositoby," 11 Noeth Beidge, Edinbuegh. 1 — I —

ii

THE 1st OF MAY.-Hornpipe. Arr. by W. B. Laybourn.

H—^rJipz:^1=1 t^ S ^^^^^^ jttiit: m

1 1-3- ^=piitf=p ^m ^=i; :LaLLsb& :ttp: 3!=zat THE TRUMPET HORNPIPE. n ^,,. j^ ^. g. l^^,„^,^

s^-fcS —I—I— F=Fh—J- 3iS^ T^ - tlt^=^=t I- J-JJ -J-J-J J. —I \—\—\ 1 I- J — I _

1st time.

COLLEGE HORNPIPE, OR JACK'S THE LAD. ^rr. Jy W. B. Latbourn, ±1 ;^aES"* li- :pq: -^ rt ZMl^ ^-h ^-W #3E ! SSg^^ -F-!— r -«^^- 3 3 =^ 4=^ 2 2 4 4. 4. 4 h- ^—« 1-«1 ^- (— —*T^-i—-J-m— m \-m—i-^-r^ ^- R 1 I— — ^H I^H ^ I ^-\— -I r — H—I- H 1»-| 1— :iz^ - :rzfc lrt rr-Fr *^- a^- W:^: -^ ^t-*- — ft ia r-1- -^ 1 —p^^"^ I- i ^ =1— -^-0—ms— i(*-»*| W—\— —i « «- —\. -I— 1 9,—.^ — :£= .H-3,[—,h-3|— -^—s- V Up Bow. n Down Bow. KoHLEEs' "Violin Kepositoky," 11 North Bridge, Edinburgh, — ^ h ^ ^ "

46

CLASPER'S HORNPIPE. Arranged by W. B. Latbouen. gF^-f-r ifc^ ^ --T=Kfz, at:* s t.i M m V :=^?^!r33=rH«=^=p: SEESag -i I t- -^ —— I I -Mzjit-^-j. g

/^ p=^=p^ :r^-p=f E^g^ggS ±r fffe^i^S bitztztzt: :i=*

j= r ^ r : ^ fefc^SsS ^ T fv =1-: t=Ui±i: S: -I— ^,^H^^«-^-^e=*=^

^ DURHAM RANGERS' HORNPIPE. ^,,««^^^y w. B. Laybourn,

fr ^^-r-1 I 1 !-H—7^»T-^^ giS^S3Sg ii^at S' * ^ ^i:^*: V 1— --F -^wrJIt. :Pzi=^.z* -^-^-

/^, *~--e: ^:^tf^-Cift^ riTw t^JL^^^^^ --W--W. I- I SI I \— rl^ 3tf^3

I^E^r^ze: #— l-~i- zmzTzm: 4 1 h- :^P: ^E^ES ' L« ;^ ^—

THE JOCKEY DANCE. Arranged hy "W. B. Laybourn. ife^E^tS fS*^^-. ^^ I ^^=^ -1—— -I— P^ dzi i^^Hi

-*-!«-*- ?fle:^4^ % I 1 ^H- :S=^ ic=P: 1 :^ri=: 4 1 1 1 ^H i SF^ :&. h V Up Bow. KemEEs' "Violin Eeposiioey," H North BRiraB, Edinburgh. ^

46

THE BEAUTIES OF THE NORTH.—Strathspey. ^Feasek. Arranged by "W. B. Laybouen. _^.

^ ^

* :fc=^ — >-^-^-"f-^ .-P- i^ ^^^

i^^i fcitt^-^f-^ I :&= egue Reel. THE NOVELTY REEL, vS- Arranged by W. B. Laybouen. By Fkaser. ^:

^t^3^ 1- H 3^ W=^=^-:4 ^-3 I «^ 3: *>-

P=ie: ^^^=pp^g =P=P^ i:=: ste "^ r^^ ^—f^-fL » ¥H—^i :t==Lit: ^^^^^^^^m B^^^^l^^^^HIGHLAND WHISKY.-Strathspey. ^m J^/ W. B. Latbouen!

p^i:^ ?WW7J^ :ti' :k=:| ii :E^ ,^-^1*5—"ifi—•"S- :r^=t:

Li-1 «=e=^ e=^: :s=p=*: ^^IS^ ^=^ rts:^ ££

I- —1—»- 1—"1 1— -iT^ p!^ «!: ^S :«=r tsrzss ^:P?g=:^i=ti.t:5-t D.G. Segue Reel.

V Up Bow. . Two Up or Down Bows; KBhlees' "Violin EEPOsiTORy," 11 North Bridge, Edinbuegh. 47

THE DUNCE DINGS A'.-Reel. n J«-H*- If ~-W-l^\ %. 'W-W\ :S53 g^t^E=^t=P^Lifc::^g|^:F ^: IE§gS •i^t-- ^

FRANCIS SITWELL—Strathspey. Arranged by W. B. Latbouen. n 5=^ •«-v--j- <*— 1- :fc*: i^ii:^: -*3ES-3:—I— -I P e=« V isi iJTOe. Snd time.

:=i: ^ :p:e: i -^^ m^^^^ *r±v__Cr :p:z^ p ;:r-^ fer^

-m:^=m- i^n: =^e^ .t: ^^ -b»- § 3: :w-i. /SeflfMe i^eeZ. i).(7. CAPTAIN HEELER'S REEL. Arranged by W. B. Laybouhn. n ^^^ I =^:;=--e: -*=^^ 1 —-^— s -P=^^ — e^ f I I i=^ is< iime. ^«(i fe'wie. i :i=i-it g *-^ m n tfe: :4^ 3E^ :=P

;*=—I- =^-^- :2E3 :i=i: m

^-f- 3ES3^ D.C. ^we.

V Up Bow. n Down Bow. _: . Two Up or Down Bows. KOhlbes' "Violin Repositoky," 11 North Bridoe, Edinburgh. — h h n

48

THE NAVVIE ON THE LINE—Hornpipe. %Jas. Hili. '^ pmmmm^m Arranged hy W. B. Layboxjrn. V -m^ j^ _ _ B ^^^^^^m :^ il ;r^-- t=w=w.-^ ^ ^ ii*: I tst p^^

I— ' !v 1— -1 -Js^r-r r»-^ -I — r I r J—t—

MORPETH RANT.

i^' -I I I I— :n=H^=^: ^^^^3=^^^ i '-^^t^^^ ^=E:^

-^- H— f:^=^ 0^ latrj:*; td :e:p: g I ^ •'^i^ biz:^: fe 3tJ: H y *=J: *z*: ^E^^^^^

-i-?^==»^ :e=^ i s 3t:i: =f^=^ ^=«- I :|»=jc e:^ t^

SPANISH DOLLAR.—Hornpipe. Arranged hy W. B. Laybouen,

^^ =r :n=: -I—I— ^'^=F=^ W^^- ^^^gi

V ^^r-^^:p- ^^ :r=.ft ^S= ^=:;i=i: e--i=r^ -I 1 H ^t* I :iii: g

^s-r-,^-r -'^- -^:P ^*-^(e- eip^ :f£f:^ 3^^? ±:

(To be continued.) V Up Bow. K6HLEE3' "Violin Eepositort," 11 Nokth Bridge, Edinburgh. r h

KOHLERS' VIOLIN REPOSITORY.

No 7.] Price 4d. [Copyright.

NAPOLEOX'S CORONATION MARCH, ^rmji^et^ 6y w. B. Laybourn. n. ftf=ft=^ B. ^ li_^: :f=^ m 1^ ti^^ >-* V --q-— rs" =s^

S^^E=^iE^t£S^^^ii-^^^

p: -«- -ft — ^-p =f^^^=^ g=g=^ :^=^J: It^=&- -« l»v»-»- ?=?:i*^^-l« i^etzd -3r-r^ -Lst-

-ft-^^^ :Ss.-ii'S5=^^: If^^-ttpr fw-^:F^= ts>- :i;^;S: :t^=±^33i^r^*^ ^ :^ii: i

=e2=p=^.-^:^ ^^^:r4^-*=W: g^^gE^^9Ej|E^^E^E3^

-^ :r=^; -" I I F^- :M^"StE^:E^ -I :?«*: •P- t^i F— — — -l^iL^-l;;^^^^ t: — — — f^

V V 4 isi time. ;??irf time. -"f-*-*:!*-^-^-^. •F m-\ -iS-^- :^: r^-f^- ^-=^^r X ! 1 1 I ^i :?—yti^ ^F f YoUi Subito. V Up Bow. n Down Bow. -: :— Two Up or Down Bows. KOhleks' "Violin Bepositoky," 11 North Bridge, Edinbdrgh. ^ —^ — —

50

n.

* 0-^-«—» d> ® -m—»-m~9— m—9—m—*— — -m- n

1 1 S^S^^fet^S -I i -V ^ * —0 1 — '^

.jpLrpei*. ^s=^ -^ —» 5-T-£^ iftf^c^. :^ P :^^zt i^- :^st

V V ^C\ -^ 4=^=1- :=!= :q: —^—^—e—0—0— :^: -3-- ;^: n rt=f CP" FinQ.

_: . or Down Bows. V Up Bow. f-] Down Bow. Two Up KoHLEKs' "Violin Eepository," 11 North Bridge, Edinburgh, 1 — —— I — — 1h

61

LOUD ROTHES' STRATHSPEY. Composed hy Alex. Deas.

-/=« .^-r-F^ E!EES 3t^ £gS ^ ^:^^i^£ qs -9 ^ ~ffi"^- 9 ^--H 1— r«^f i^ *=it S S;£P=5* ^ P5|—teas;— sm^^i -^^^g(g--g -, F- V-^ » ^ =1 1 ^- -•— 1 U«:U> aJ 1 ^— =b£=b.^z^z=^J..:^ T '^*^ ^ ^' -I-—' -1 ^t^^ ls=;| ^ •i ^-

•• • • -<^- ^ ~^^' ^s 1 — 0-^^-\— -1 ^r^ "b-t--^tz: 2 4-5^- 1— ti^ -^^^_Ust CJ-- tst£F=E^=.tJ- ^^^

Segue Reel. LADY ROTHES' REEL. * * Composed hy Alex. Deas. * n

ist^re r h- P4— I i! ^ -"*ij- Sff \- i -I ft/ .U-'

— 1>««| r =-—P—^-« H 1 — • I I ^ --I 1—p-h— —— :a^zd--d: -^ p--^ "--I I F— I I

^-r-^^-m- -« m. H i- r^F-- ~^-r^rr. -I 1— f=:\p^=:^fi .1.1 H -U^^J^ -to***- ^i^^E^^ Fine. -^^^-rf^- -I—h-^t^ tifzzpz^p:

I I :iziz^=;^=;S I——k»iW.k.«i ^>....h»i—F^i I -h -to* it i

JIG. Composed by Alex. Deas. ^5

-••04^

-f*-«- (ft "-I- :«:fl-f5E: ^ tzUsiz' «.__^ I 1 I 1_^ L S-si-X. «-*- -t^Sci^ — —— t:-W -^-^s-

*,,* The above Strathspey and Keel are sometimes played in D. V Up Bow. n Dowm Bow. _! ;_ Two Up or Down Bows. KiiHLEBs' "Violin Eepositort," 11 North Beibge, Edinburgh. #.* '%- —

52

EEMF'S HORNPIPE. Arranged hy W. B. Laybouen. V n "^*-"^ n? 'S^:^^?^ i^ft^-^ip^t^z^ffipii:^^! fx^-i^iP — i— ^^*C^- -I i I -I—I— 3 3

:^3?E :^=]^^f ^^ ---X i|^::^z—*i ;£i::^: =p:rp, ^i;i:p^ z^—^i --I—1- /^3 a-^x :rn_^ii-^=^ *5iM—^- --rx^(*- tz3l: :rl--|- :t±^ B :f:^z^=^rprf:z^1^-1 1^- t=t;1-fct—+-t5-P-^-| P :rr^^ ^^ '^ r^^-rp ^^ I j ^—^-= |9- :^^ ——— =P:^ :?t^: gg^ :t:

THE PEAR TREE. % James Hill. _^^ .« .- Arranged hy W. B. Laybourn. .tt:* T=e kiiUEz^t -I- ^=q==l=: £:te;EE?E^e:^ :J:*:

! 1- :fL^,^_-*_,_^_-p. -i ;i_:jzz|:pq__j__j_ '^--^-^^ t:: ^ffiZ^t :^: :*z^: ^- 3^=^=

I - F- — 1 H--r-as-F- H 1 -W=it: F*Se=^z^:iaq : — ~^-^— 1 ^ t— r-py t; I I I- -I—I—F-i- -I— —— &

:^S^- i»^ ezizzfagzrz—gL-g^ e :*zfc^£^=f=p[:F^=£=r: — I I I F h- -I i— ———— 1 1 1 -I 1 1 i :^zz^t=:^: - h I I I

CRAZT JANE.—Re el. A rranged hy W. B. Laybourn.

:J=;i-i ^^-ai-l im-\ »-F--«--1 im :i:J; ^^^E^^ «y *iiz^

iffzrzzis:

I :^=t=^z:bz H 1 izz

:^^' T==^- g -( i^z^: --W--W--- H

D.G.

V Up Bow. n Down Bow. KGhlers' "Violin Eepositoey," 11 North Bridge, Edinburgh. I I H i I — I — w

53

JOHNNY MILLICENT'S HORNPIPE. Arr. by W. B. LA.YBovm.

^H—ar-^ ^:=p5:X—r«»>iT—r^"r^ -h--^r ^^- :ti: :Wk ]^-i^^^.^Xi= :ti: i**^ ^^^^^^i :tt:

^%r^"^'* :"d:F ^£^^^ ig^Bg^ :gglg: V ^ ^ ^ 4 4 4

- --S I I I I -l-^-l: ^^**! pa£^w-r. -*,—.—-Wa^"teJ— I ^^ ggg -_iW.J—

-3-

zl—I—I— - — -*! ^^^^Lggggg^ agp^is^Eg^f I ^-r-- g^ HORNPIPE. Arranged hy W. B. Laybourk.

c-^ite^— I—F^'^'ot— LSI I— i'*3^^- *f^ •*=«4^^w;fS^SEL£E~^^d /^ i^^if^^-f: ii^zts: ^^^*;»—j»1—I—h'--b±s *=^'-»T- -'--1—

-^ -^ _^ _,• .^^^^ -^Qw* :;«Pt: H-*—h-l—gl— fei^^F^^^]^=^SU:± -tv«i H^

HASLAM'S HORNPIPE. ^rr. Jy W. B. Laybouen. 3. 4 ^ - - - 3 ..

• -2-4-2 !-- I wi

-^^-a- -^-.-^

' I i I !— "- 1 4— " — — 1* -—In^-— 1-^—-j- -i--i--t—i--i--t————P- i—P-^-iP-^-*-a[--H 1—Hi— -*-^— -2 ' — —2—4 - - bj±—liar ^ '^ ^r.iil~'t~^F''^r "i^ rr^:*z^^^*i ff''^ u~"!

V Up Bow. n Down Bow, KoHLEEs' "Violin Kepositokt," 11 North Bkidob, Edinburgh. t F — H

HIGHLAND FLING. Arranged by W. B. Latbourn. IS I *ffi ^^ ^^^^ =^ ^^^^^^(»— -^^

:t.i^ :f=l*: :f=r

Segue Reel. ROB ROY'S REEL. Arranged by W. B. Layboukn. n_ 'm i^zxz^; EEiES: I^Z *=: ^=a'=:*-=iz: =*i&^^zz; zSsi liz:^—^z: U;=*^' n ^ :^3^: :is=^ :£^i it -F—-biaW"*'

=sg=^

STUMPIE STRATHSPEY. Arranged by W. B. Laybourn. n if t:wi n5—^—y^PE ^ L— I fcii- n

la's: =&=g^:^ -4-0-

^^^^^^^^^^^mSegue Reel. V Up Bow. p-] Down Bow. KoHLEEs' "Violin Eepositobt," 11 North Bkidge, Edinbukgh. —

55 THE DEIL AMOHG THE TAILORS.-Heel. n by j^ ^ -«• ^-» -o- -"s Arranged W. B. Laybourit.

.'-N u V d^ -m^ ^^ :tsti±=ti: gg^£=^^^fe;p^i

^ ^=—=?cz=^c=:?E=^ f r-^-f — £ — £ -i I f-

-1^^, f^~ tlf- :=]= j-m^E^Eg=ES=^=^^ ^ ti-w. liLt :^=^ H 1- =^ :^ LADY MARY RAMSEY STRATHSPEY. n Arranged ly W. B. Laybourn. 5-^*H- ji i \—a- ^ ^zi-^; ^i^ m jilM. ^: Vim-- SSi^ 4 4 ^:?i.

>S ~P' ^tFl^ra: ^=fi^:q=:i&2: *-3t: -aiv^iS: -•J—to- -t:r 4 4 4 it-.

-^ * ^a.: e ;SSiS^^^^ '--^r=^ 3r7

^-»8. a^- =^ 3- iSIL-tf!: ^^-3S-0^^.^-^^:P:[_^^_.g_ 1 -w -3—t;feB^-i*^-*^-a (Se^ue Red.

FAIRY DANCE. Arranged by W. B. Laybourn, s :?Eze:

B.C. ^f^^^^^f^r^^^.:^^ y^=f: V tip Bow. n Down Bow. Fine. KOhlees' "Violin Bepositokt," 11 North Bbidge, Edutbuboh. — ^

56

MISS GAYTON'S DANCE. Arran(,ed by W. B. Laybourn. V_^ ^^ ^ ti- ^^ e:^ ^^-«»+fi^Ss: :^:tt=, izi^-td: ^^--L^'-

/^ f^H* -«— i^:f^ :Pr^ :e3 :p^t^¥^ESeES:^S^ V -m^ft. U^'S^^ tiSt :^ ^t>5^f=r £S se^^&^s^s^^ ;*^;^:3^3

:3Si?c^_f>^?^:^=fa5?£:^=*; itte: Btzt=;^t:^zt^-tssiUaM^,^#f?^g^g^Eg|

THE STEAMBOAT HORNPIPE.

Jyoy . B.n. Laybourn.ijAyisuu. Y -^'^^. _^_ Jirrangea^rrang'ec^ W.w

J=i?^f: ^' I— « -(• -PElfl — 1—"*a— :^:/ ^ggg^JEjg] f^*H

^_^:>.

• " =fifz£z|^=^Ui I- I r-i

:t: —^'—r ;=^: :t: If—tZff: -^- :iS :^-iJ: ^^-1 \r ^- Zit-^ I BLACKSMITH'S HORNPIPE. Arranged hy W. B. Laybourn. >-r^ %-: g=^^£^^lfei^p^L^; :^*:iWi

:^^^i:?:ie:^?s=--p=?: ::(? esr^=f r^znii iife =^i£iP: it

=p=st:^^ :e=e=;^=e=P ^^= -I *-| iB-t— t^=;iz J i=± i=: ii

(To be continued.) V Up Bow. KtiHLEHs' "Violin Kepositoky," 11 North Bridge, Edinburgh. KOHLERS' VIOLIN REPOSITORY.

No 8.] Price 4d. [Copyright.

JOHNNY COPE—Variations. 'Arranged ly W. B. Laybottrn. s

n 7B=(?: P=l? p:r^ i^izi: ^^^^ii^^*^ -=tr %=g^

:n?E :^ eip^: m^^^m^^^^^ -=r n iiblMP^^^gZ^*=e=?: ^=5= ^^^ s^ ^ n i^^

^^: g ^:p:Sl= :SS^ -=!--

n

-ss^ J- *:» 5 ^ \ ^

^ !» \ t 1 t I ^: .i^_«_i,-2 ^ y ;^SS.?ESE-T= h-'r-M-

^ :^=e =^'=^P *=?t«=rzi- r=r=?=^=i»*=• ^g^S^^^ -::r n -^-T^^-1^ r^r^r^^ I- -^^ -1— eS It: w Fine.

n Down Bow. KOHLEEs' "Violin Kepositoey," 11 North Beidub, Edinbuegh. I — h h h

58

Selection of IRISH REELS. -^rr. hy W. B. Latbourn. n V /^, i:r^ ^m^ -I—t—i—4- -Wf: mE& :c:je:^ '^'W'W'W -WWW^' I \—+- m ist -1— n V /^-

I 1—1 I— -I—— —I r I— =^=Ui: -Ix"*— ^ KEEP IT UP.-Reel. m ^yjL. S ^3H3s3i3 z^E= s m LLLr-c*-*- g^p^ip^:|g--^f^p:^i^qg=gi^|»:rpa=fz:g=^ p^r y~ry = t: ^V^ D.C ^Q-ff :^-*-^-^- *=p:?: :^ir:r^

I I I I I I—- =t=:iI -I ———————it: es^t: —

IRISH REEL. n

i I r -W=W- :t=: :^: J^-W ^r^Jt :eir=^=*=P=! e^p: i-i I 1- I - -I —— I——H-_[ — ^^- —^-^^ F-TR-g-F=Fh-^-F-F-E:^.^E^' :^=P^ — H h 3rp^: 1^1 _feg=p=g^^£g^^^g|g^^gg^^

D.C. e-^ :-^-e4t^. :t=t :^=f :t: E^

OLD IRELAND.—Reel. Composed by W. B. Layboukn, 1881

^ F^-F5-B=^i—^^F^ L^^fF^F-F-F=F-^H

'-^^'- i: i^gi3=i^i§ii^^PSi^^ V Up Bow. n Down Bow. KoHLEEs' "Violin Eepositoky," 11 North Bkidge, EDmBCROH h — h

69<

THE DEAN BRIDG-E, EDINBRO'. Gomi^sed ly the Rev. Me. Tough. Six Strathspeys and Reels arranged by W. B. LAYBOURN.

;^-^tt^-*-^^-^J:^30

ati :=!' ^- P^^P^^ ii^i^aii):: V. p^f^^-STf-p -I— eif2 itst; '^^^^--

^-^ 'WSIf--, ^^^ z^a :W:*:W: i-zi-:J-*~d -w-i :i:i; ^:i.-H:3=^: *q^ji:T:ij).a!: — ^.i ^-^ ^ Be,gue, Reel. *^ I # I^liZ^I 't?^:

I'LL KISS THE BONNIE LASS.-Reel. f*-^ :^ |^iiiiigS^;^l§i3.^gjS=£^

e-^- i^—m-fL :P=^: :^r=^: :fc=&-^-^^-^ :FH-^=f :P--^t: r=^: H 1- -ttt it ^=*

THE MARCHIONESS OF HUNTLEY'S STRATHSPEY. % Marshall. — ^ H^^ii^i:!,-, >._j, Q 1 F-^ —4— x==\ -ssa-^rfe^si-i 4—,H 1

I I I =t=^±5:i=rz)=:iBiitstz=£st:zfets5^£ tm '^^^^^^^^^m D.O. Segue Reel. ;i^^^ r- ^-" V Up Bow. n Down Bow. Two Up or Down Bows. KOhlees' "Violin Eepositoet," 11 Noeth Bridge, Edinbuegh, — h h f

60

LADY GEORGINA RUSSELL'S REEL. By Marshall. n fl 4^ —[^—I —I- ^-m n-^ iStz];: m :i=^ ^^^ n =g=q: — -^. --W--Wlf--W-Z 1 1- -I -tF ^^ iz: «=£=«:

i h 1- J-LzfLJ^-t. -I -t: it: ^^ -I h- jD.C. Fine.

i

^'—^''-

^ I i *i^ F—F— ^=\— 0—^-r-0-m— -^&= ^ae. J— ^. XJS^.

:q=^qJ=f^^:p=r: £tfSES= ;S: JSegueEeelD.O. ^35^--; ^^^^^i^-» /=N THE MARaUIS OF BOWMONT'S REEL. ^^ Marshall.

:=f ;^' riz^izdz^mzi: ^?E>=^ :i=^=^^-*— ^ m :i=^^ :*=^ SlT^:

S r^ e=ess ^=l=i e:F=^= ^tt2E.^^E^£2 ^^ izJ^izTzi: w)--^ :q_. ^e^ =f=i :i-J= ^^- E^E^E£E£ E£^Eb ^- ^- D.a Fine. it-.-r= -ff--^

V Up Bow. n Down Bow. _• =_ Two Up or Down Bows. KOHLEEs' "Violin Eepositort," 11 North Bridge, Edinburgh, 61

ALFRED'S Composed hy W. B. Lxt^ovzvi. PRINCE-^ HORNPIPE. Sr^f:^k

^ft f-r0^ :f-f::^ E£ :«*: 3- -3 m m 1) EDINBRO' NORTH BRIDGE HORNPIPE. 3 • V V• ^-^^ Composed by W. B. Laybouen til :=z5E?.-i::s.-^^Ui^E[z=:i^;t g^^E^E^g^gaS^J

V V -1} n =^^P.^| ^ii=t

_^_^_ -^ ^gJl^PE^ P=P :r=f ^g^ --^=^ g^g^=^; :Ei =^^ ^> fj-Tr . r m- tizU: -^i^zjii^^i£g::^_L-L-i--g=La= if-

«.i-j . 1 1 — :< H ' 3^» 'A h 3 BISHOP AUCKLAND FLOWER SHOW HORNPIPE. Composed hy B. 1857. (-l W. Laybourn,

'^'-£

—— 3 ^^r —u. 3 ~" —^ 3 "*" ^ ^^'^^1 ^

k^ ' i^^^^^^i^^lS^^3 3 3 V Tip Bow. n Down Bow. KOhlees' "Violin Eepository," U North Bridge, Edinbuboh — — — I

PRINCE or WALES' HORNPIPE. Composed hy W. B. Latbouen. |^E^ggg^;^^^=-p^g|^^^^

5"=E5^S2 £Eff^E:e!»^-f2te

n :^E=q'^^^ :r^EE£^g&=;: -I—I* t: -1-^——^s— i--F^h '-^stisd- -# -# -^—#- -w=-w-- g ^g5 -+- 3 3~ is^s^^ NICOLSON STREET HORNPIPE. Composed hy W. B. Laybourn. z^:^^z^H—-I- iidz*

ipEZZfcp ^;i; ^w^V^ :t^ fi^:P ^7^ ^p^rl±zz^3t-tM: m^m^:

'^^ :f=^ t- EE^tEE^: £E3 ^zirt^;^ -I—

STAR HORNPIPE. Composed hy W. B. Laybourn. V =1^—1-^—1—^^^ '^^"^' ^t^?K ^z;i* _*zi: E£Sii=«t^e?^ •^Ti :^i^-:^ :r:^3 rr^- :^--zijtt; :^I>-|ii^ ^^ J—1--I—tr»j— ^—r-'--*—l&l g:E3E^=^d :hd V 3 5^*: - ^ •^-1—f- —i-w— ^ :^^:e=it^_-*: ^^J^

- — I I ' I —— ~~^ [^ i I \ \~^"^T —

--It--:

V U]> Bow. n Down Bow. KOhlees' "Violin EEPosiroRy," 11 North Bridge, Edinbfeoh. h h h

63

Selection—OLD TOWLER. Arranged by W. B. Latboukn. r=r^^^=1^ ttzit ttz^ lifi r- ^7\ V P=e: :i^=^=^i?r — - 3tz:i*zi :i==i: »! -a* r^jiS: F^g^EB

r^ :^ #_P_^ *=^=?^ ^^-^1^^ g^ S h-j— n A :pz3rrz==SE CTrq==i- .M--rz3L ^SE^ 3^=3t :^^3EE^e: :t: s :^td n V P=^=^: :p=p: :=t=^-: fe-vEE^fl^^

11 « TM-ft: f^^ft-f^: r^gEg^tgEg^ :t=*:^=*: ;t= :^:rjE=i=*:

V z^-*- :Pi^ -T-*^" :F=^- ;g^: :3=Eiz:i^E£I -^^EE3=E=i: r^*=p:

-= — j! D.C. ^&?E^5^i^^;--^-. :P_^_^^ sgs^ :t^ ;^=ii^_-

THE NUT—Centre Dance. :S^ K5 3=£ :|S=Pq»=r: :g£=f=ili^iS^J^^i

*-^- n ^pEfE5-:5Efef£ti=^ it^ip: :^z:e3e=e: -tiU«^-

^*- :ff;zf=«=«: :e=^:

I -I ,1 ! . 1 ——— I hi- *-id- 33E^

:^=^=^=ps=E=£=Etp:=P=^=*= I- -I— -I—

V Up Bow. n Down Bow. _• i_ Tn'o Up or Down Bowa, Kohlees' "Violin Kepositoey," 11 North Beidoe, Edinburgh, — — —

64 THE EAST NEUK OF FIFE-Variations.

riziz^z ^ f ^E^^E^^^^ -^t± ^ V m. ^-^^ ^.y'r"»"y qziqi r:^ 3 r:^ liz* fE^ rs

^==p:^: ;-^-^ Bzw. wr- -^^^ JitlMiZ :*=*: s tii: ;e^ V =l: S3 ^^=i= e:p: *«i:a- ^^ I I ^2=^£^i^

:*=i=*=^ -^-W :e=p:: 3E^ I- ^z^=i=*:i --e=w- -I -I I — T! -i- s

WZftZi-W-- :P:p^ :f^ :r:^:f?zi^zs ?^^-^ :U: -=1:

:?E=s:^ H 1 H

'^ ^g - ^ 1 E^^^^ — - ^

lEltizp :p=e fc^3 :i=i: :t^l^q= -tst*" ^^&S: -ai-^. ^-^3fi^--^T^^gr3r^"

/^ -^->H«- M-Z=:(tifKz W=:e.-^-wz^-^^-jfL-I—.^-h- :=P =E=h— S i^^ -=l: Ig-tt^g ^ .— -1 I 1— — t^-^P=P=|E: :t: h- ii I I -I— — \—

-<^^ *iff-J« f: :E^=P mi 1 h- ::^: t^e^ ^=p^ I-r^i^ .^—^- -I— £££^ (To be continued.) V Up Bow. n Down Bow. KShlees' "Violin Repository," 11 North Bridge, EDnreuBOH. | » t —

KOHLERS' VIOLIN REPOSITORY.

No 9.] Price 4d. [Copyright.

EAST NEUK OF FIFE—Continued. Arranged hy W. B. Latbourn. a:

H—(-

--fw e^^^^f: i-^- :r^t^: r^zffs;: ^ ^-1 0- -! ••-I •^l .=-! pzpz^p-^^-1 F-^- ^ -t—_-^-ne=p:?q=:?EF~l— ^§ ^-^ -^^-^-l ^-t—P-i-^^-

-^'^-^

2nd time, Sva. Srd position. f^i- 35:

Ip:r:r£=r:r--?E:plii *- 3*- ^-Ty>- ^\^j0' ^-^^^0- ^- s.-*>

F^ t:; ::^.-^*=t:^— pt—fEip:^—ff: ^-E-h

±:&it -1—1-4 ! I I I ^^^TtEg^^E^g -I—————

."s

ff*e-:f.Tf.- 1 I 1— :a ——T— '^^.mimmi h—P-«-P- -«-P-l-— 1—F— * -^ J J--^ +--F-l—k-H-P-

I- I— I- jg- :L££ES*EtI— -I—I— P^— -U-^b

:^: :=^: I—I—f- tit*: ^-?» i^iP^: tl^_^^-. :^? a^s >-hH—P-l—I— I—F— I

Fine, ?±Sf :22 E^ '^M^T^^^^^ V Up Bow. KOhlees' "Violin Eepositorv," 11 North Bridge, Edinbueoh, 1 —— I — —

66

BLAYDEN FLATS.—Hornpipe. Arranged ly "W. B. Latbourn.

f^* :(*= I^- I- i ilrSzzI>^»^^H— :*z;i: izj :*;iiii^=4:*d=*

,__j^ -i—1- -f^- tr-W '^=e=?^i4=:? ''B^-^rjt. it -WJ ^«-^^aMzi;

:^r ^1^=1: :^£p.^-^ 'W:i~mL :^£f :i=d=3t e=t=^: i—t--^'

-1**- =x :P=^: ^P :J^-^ .^il3

JENKINS' HORNPIPE. Arranged ly W. B. Latbouen.

-7^ ' ^'v:- :^:^:i=iz;i=1=a 3^: -a:^::

:^rf: ^—-e- itczt ^z^fzp^r^r^ 1- -I— S^^

n

I i I— I—— F--f^~m- :^*=^4=:^z*=f 1 -r-»i^—L| 1 1 ^^_W. 1

-Jt-ft- >"?=? =ii?=z|=izzl=;iz^;i: tzz^^zw-JTr. :r^ EEi: -b-i—I- ^K^t^ESE^E^

HORNPIPE. Arranged hy W. B. Latbourn. -1^- ^-e ^- -ft^

' jES;^: F—i 1 tl^^^&^ -3 H b=i

>^-f^ —H—I — 1- F^*^ t£=Zt

V ^ 1* P 1* ^ ^ ^ -P-i ^—h—-P-i ^-1 V- 1— 1 1 — -1——i*-i———F-i — -^-1 »-| *-| •»-! 5-^: i 1 1 1 1 1 1 1 ^ 1 - H 1 -1 i——————— -|— —P-l ] P- — F—\———F—I -J

V Up Bow. n Down Bow, KOhleks' "Violin Kepositoey," 11 North BBiraE, EDiNBUEaH, — — r ——I *

67

THE FANCY. Composed hy W. B. Latbourh. 1^^^==^-— :^T^it -i—w-y-w\ •ttf- 3=!!fe3fe^S^-^St:rf=?=r^x^r:f^£?=f:

#-^ V H h :^^E^±^=ts:^Estz: :r=^ izpzr ^^ -^tSSB -^i^^ Or-v V ifzptrfi^; ::i ^ (S> n^ii :t=: -*i-"l- —

-^^—'^-^-J^^^^d^zf^-^ .^p. 5=S^=r: :t:.ii 3 ~ 3 BURNS'S HORNPIPE. Arranged ly W. B. Latbourn. V :e?E :4: :q= -f*"- r-^=1q :a:a l^-l— I—np:F—F~^* i:^ :i;izi: a ^1—1—l-H :i=W=^ *iii:

^*= I - -I I |— '^ -I I I b—^.^ - • -^-t—w— - --^ — ^' — —— \ I —— — —— :^^F4«=^^^^Ftz^=^ I '—'-i-^ t: -tih -I—

JACKY TAR. Arranged hy W. B. Latbouhn. .W=-W.—W.-ft:!^W- ^Si^xilt :$^ -I K tEfE^liEeS -I 1— <- -^—s-f -

V =F=F:e=r=f^ H^*- 'r=--^- —I— ^5- :t;t:t=iit r^ :^i=gi;J: :^=^ iW^t

I ^ ———^—^—I —1—i-+-^—I —i —I- :i=*zjz^=;i ati^zTZ^^S

H-l 1 1*-

H I pzizi^-t^izzizgz^:=^e=;S=i-:: —^^— — r=^—\—^- q=q: I h- :i=^:

V Up Bow. n Down Bow. _•—?_ Two Up or Down Bows. KoHLEEs' "Violin Eepositobt," 11 Noeth Bridge, Edinburgh. — 1 —3 — — —n I ^ - h :

er

1, THE SOUTH OF THE GRAMPIANS.-Strathspey. >.Six Strathspeys and Reels arranged by W. B. LAYBOURN. # v'S' :^« ^=piJ. M^- -1--^^—*i^^H*1- i-^j*-^J:* i^«^. V-' V-' ^•^^

K^ I ^^-i—

3 Mfi SEi^^ftt^yz:^fi :WiL -^5?; ^E*t. :^ir:r=^ '-W^ -W-v- h-i^^-»-=-f^-p-i- ^tr^.-^f:r?!55 ::c::

^si^Ldr an ^

:«^ -h-H—F-ff I—- ggglg^P^^^^ p-h^i^— r:^

• i I '-- ' —-i- LI 1 I ^i^^^i.^ Ld >—- — t— I I -I ^Lwwi

:?: ft-^^—.^f— n , g^r--g- ^a: —I— t=5:fE^^!^K= iTEis: ::r:^

-^ -e^9 zw=^^^zm=;-ft f:-M.rf: -I—^b h— p=^ :it:p[ri:*;--^ ±: I h- P=p: -I— ss I I — —L.i I- I—— ^K Fine. a. THE DUCHESS OF ATHOLE'S STRATHSPEY. n fl;^e Y-0- -ttj ^A— I—h—I h- -1-3-4-3- 1 — 1 • u —-^h-^ 1— 1 t-^ V-m J— I 0^ ^— -^ -i—-'^^

! 0- l— I 4- S-^ 35t \—— S£g:s^E«Kga -2—1-4—3-4- :^i=feiE -3-2-1- T^3-4— 1-3-1-2-

f— I I I ^ III 4—2-4-—"^— —— ^\— 1 1— J _.Q_i 1— i_l-_ 1 _;j_i -L^—f__^Q_/i — L_ 1 2 !& ::ff:£=^f££:ff3r^"'' •^SSc/l4—1—3—4—31 M A — 1—3— 4—2-4-' istze -3- 3—4-3—1- iiii 1 2 "^SegiieReel.

V Up Bow. [-] Down Bow. . Two Up or Down Bowa. Kohlees' "Violin Eepository," 11 North Bridge, Edinbukqh, — h I I

69

4. THE WIND THAT SHAKES THE BARLEY.-Reel. Arranged by W. B. Laybourn. Ho^^- life :J=W: :=j: r^^3ESitg^Mt ^i£^ :af=*-i

n *i^ I^^^E^a it: r"^-*;!: ^1

>=^: :^=4: :t: t h >=t-- i^atizi^i^^f:!:

-^> ^2^ _^ j^^ ^i^e. P=^:

5. MR. MORAY OF ABERCARNEY'S STRATHSPEY ^ An-mcjed by W. B. Laybourn. IZSEH pip^^^^ li^Z*-^ .^_«_^ ^Si^E^^d

V -^ • /^-^ '^m c^ z^zwr. ±r^«-'v ^W=^ — ii-«"i——U— u—I—+-F-^ Ui— *—*—»—*—

^f-y^^lft.. -»*-^^- f^ -^F -ta*"l- :*it=: ut i=t; ifest :EEg^ea

Segue Reel. 6. THE COUNTESS OF SUTHERLAND'S REEL. 5y Gen. Jenkins. T rr :^^ :J==lzi: ^ i=t :Efc£ list IgSgjJEE ititz:

:p=^ £^ :P=p: ^E^^E^ii^TS^ it: F=«=^I I :P=?E=^— S-m t=p:=^ iz—t -I I itilzl —— =r=g^ H 53-f^ :trf: :r=*: t: iii=f:f^=pz' 22^: Fine. V Up Bow. n Down Bow. K6HLEKS' "Violin REPoanoKY," 11 Nokth Bridgb, Edinburgh. ^

70

1. CALEDONIAN ftUADRILLES. y_ ^,,^„^,^ 5^/ W. B. Latbouek. «:fc^=i ^r3# :^i: ^S -P-P V :rf:r^P=rz^:rp: f=ettef^ IflK i^ :g^=:£^:^::=U! =^^e=*=e: -*—

;^g^ge-^^^5 ifer: B.C. 2.

:e*:

n ^ nI—I V\/ -••^.^ .^

:?Fr>:r^-^-F^== E?^^ :L=U=z=r^-EL£j:'^m D.C.

V ^^

ifc^fe^-^j5S»l i^.— ;^liPiiE^^^

E?ij =^^z^-rz^-g=z!=t=^Ft=^?^'=F

F=Fn~=q=n=F^--^=r=^=^F^=^=t==^F^=^

tfi^ :&-e:^^=z=r^f»=fz^z*zrr=^=E=^-zb^=t=Ezcf:^zp=^ez-^r^E=^7ez| :!Ui^Ezt= :!z=t=;i5t=t: ^t^i^zzHzzzriz B.O. V Up Bow. n Down Bow. _;—:_ Two Up or Down Bows. KoHLERs' "Violin Kepository," 11 North Bridge, Edinbukgh. r I

71

.-3^f.=

V 3^ -^-F t--=^ :ti;t: :.=g^ r=^'- :t: -J??!!^-:t=i:fet= .t=S^tz: -1—4- -^1 S I hJ -3—2-

_iZ^..^, I I 1 pH*- ft-er

1 1 1 -^^iT I it=t F- iSS: SS=:

r^ -^^^ ^ff-t^zf:. —^i^'St=:^££:f=^^: t- i—^—3^2-

5. ^-1 Ii=g|^^^^ 5^: :t= ;p=£f£EiSE^ 3: :a=*z:iz*; /^ .(ft |ft_-e_^-^-f_«_^_,_^_^_ — :f=«=r: :P=*z:i: f=tz=Uit: :t: :=^=ir: izi: e-[ t: :E=eE!

^-1 ^—^- ~\=:£m: e=p: -.Mzz-M--^zii: itZI :Ee:ee -^^L ii -^^'- -_/- /^ -m ^lfi-r^^--f--j;^-^-^1^-^-_ -L if=* -I i— :eEE£ ^^^ ^iwe. I».a THE CLOG STOP DANCE. - - 3 —-_ 3_— 1— 3,—r-r 3 P^^=3: :grp^gzgzg=-gzgzp=ggg.(;gzgzg=|gzg=gg:jzg=^

3- --1=^: w-w=m-w=-^- --w=^-w--w.-w^ :^=P=P=^=^=9 :*:zi:i:at] it: I— H 1- — I— n ::^-e 3= 1*=^: :E=r: J^^^ —^'^•"a I—J I— L=^Ld- — — -t- g^_^_^ ^3*:^^p=r=t= *F=^^ >-[— :t: SP— mi 1 -I B.C.

V Up Bow. n Down Bow. —J . Two Up or Down Bows. KoHLEKs' "Violin Eepository," 11 North Bridge, Edinburgh, — —

72

1.' M'DONALD'S FAWCY-Strathspey. Six Strathspeysand Reels arranged by W. B. LAYBOURN, n :W^=^ -^—^ :^r3E- ff-K ^^- E^sisa; :t2^^-ji^i^ ^*jiipi?:^£^^^^it:

'JfJM'^ »- -I— m=^^^^^s^m^

,'~S -e=w- ^lEe^J^t -ft^w- F--^-l 1»- \-'^— -I—-I kuW 1—J h-™l ^^ -^JE:

' J-— I I -^' I-J i^ 1--— °P--I L I U— -^'^—I—m^-^- ^*« ^, -[— I-l

0^z|^^_^^.,^z^_^_.^:e D.G. -F—*-P-^ :^-^zP=?e: Ifei" -i 1- :^*: ^«: :t:zi-t== 3- izj; -3- it ^zzi: 3 3 Segue Reel. 2 LORD M'DONALD'S REEL. n 4 ^i--z^ ^z^^^_^.^^- ^g=^ggzE:g;F-r-F-gzr:^-zg=:ggES^fep=t=

:=r =zt;Sz.^iziz;Jzyi3:H=5=t.-i=*:i:^: ^z^z.^izizizfz^; -^^- i-^^-

,^^ ;^^fzpzr!ze:«:

. I : I I I— •! -j— I .1 III hP— ———— H -P: ^^£g^ Fine. 3. STRATHSPEY. n n T^d—•t^'** |*^-T—I 1 *z^; ,-:i:=r^: - •^ I 1-*-^- ! -wr-m--^- n '-W-W-W- :^*==zsz^zpe: :r:i:e: iff^eip^^tat^: :^z:: ,r=^ ^r^

•--:^-e -^-P :^z:pzpzf ^# :ez^zp-e^*=Pz zf: -•*a 1—trh-t: ^^^^^^±^

=^=^=^^^^^Tg£^:^itel:^^te^ =1= =t: '' f-gzzzz^:r_ ?&^zUifeEI5^gz^:fcggg:^zg: (To be continued.) Segue Reel. B.C. V Up Bow. n Down Bow. _i :_ Two Up or Down Bows. KOHiBEs' "Violin Repository," U North Bridge, Edinbfkgh, h —

KOHLERS' VIOLIN REPOSITORY.

No 10.] Price 4d. [Copyright.

4. JENNY'S BAWBEE-Reel. Fingered and Bow Marks by W. B. LAYBOURN.

+- -i—I— ^^m^^^^^^ r#---^ ^^^ -y-^ P^=F^^g^Eg^^^^

r^t » — . P W=!^- rpE^e: -t--f: :r=f: ti: i- g t-b=l Issd

D.C. =p=^ I^IZ^ ±:=. :^e=r=a=^z=^: i -1-— Fine.

S. THE NORTH BRIDGE-Strathspey. ^ -1- ^ tri^i ^:rtf* tj SS^^«g£ti^3;||P

:^E££-£^:^:^ii^F:^z^=*iffz^z* ff?

J I i-i— — ?^j||^^5g:St^t!

Segue Reel. P=^:ffcrfa.5^^^ Sfc-I—H-l ^ 1 I i I— u 1^ ——— LI— —(—-I 1 f^J itih

6. SLEEPY MAGGIE-Reel. ^S-^glii^|feSi is^i^^a^^i^^E^

Fine. *fc-£ =e=^r=t:e: ?p^ -^H= I I i -I 1—L-

V Up Bow. (-| Down Bow. KOhlbes' "Violin Repository," 11 North Bridge, Edinburgh. — 74 "ANNIE" SCHOTTISCHE. ^m THE By Wilcox.

q*=i= Esfe^ -J^=z:ft=m ^^=j^ -L I- u -^»_h- g:^ -b=i=b ^F-> (• »- ;=!£ ES ^ ii=i~ £ ^^

tltizm ff=fc«: Hg -^- g«^ B.C. V = =lt,* r^^ ^^^. SEf: E^te :t=: ^ =fEEE^ ^s^ ^ :^?E

» •^ :^ -^ , &E=t-tr|S==^?lE^£ S^ D.a LOVE VALSE. n V ?= ::c3!: s^i r± P :i=* «^ n V :e=p: :=5=t=t :i±z*zut g gt^ ¥^^ rfczt^

^ ^^psgE^^=i :^^ :^ liEat^zii: I

^-l -.^=i=ftz=ft:

I-.. )- m -I— I —

V Up Bow. n Down Bow. -i- . Two Up or Down Bows. KOhlbes' "Violin Repository," 11 North Brisqb, Edinburgh. —— — — 1 —

75 FTJRIOSO GALLOP.

I I ^: ^z ^c^ ^- i :t=; t :*zzd^it :^g=^=^j

• • t LJL_i^: -J— I ^ i=£J^-- tt

t^ ^^

"^ * t • ^P r«~ -it-r"t=- r— 1 IT -^= -4 F^ 1— _i. _!!_,_ -1— —1— — 1 1 --—1— 1 ^-1— — -4 ^1— ^^1 1-3 1

-! *Z^ d -3a- a3 Q- ^i^Mtfa II I ^ i^^ I B.Q. THE HOSE FOLEA. Composed by W. B. Latboukn.

r—jr ^ 1 "*w>»» — — 1 I —I P^ ^ — r I— —-^—,--p^-"——•--L^^-^-^—-._^_p_ F-i» ^3:=-^^:==!^^-^:^^^— 1 r g_f-=—r--!vH— U:^u-£=^^ n 3

^ ,— m-m~f^ :fcfb=t

V Up Bow. n Down Bow. _! =_ Two Up or Down Bows, KoHLBBs' " Violin Eepositoey," 11 North Bkidgbj IIdikbukoh. ^ h ^ ' 76

1. KENO REEL. Six American Reels and Hornpipes.

=E^^ =^=P=^ -I— :Pi^: :P=p=S^ I—-P-i^-i—I— D.G. 2. V ANYBODY'S HORNPIPE. LiJ: ^^e,==^- Ei^& :Pi^ atzri tfi^T^ ?S? e:^'^m ^^ ^ii -H^-^

:^2ice^.^rP^ 4 -I ! -I- ^~ ^^» ^ I ' ' ' ' —H w I !— —a u-««a— I ; I I ^ —

^^^3^^^ =:=iS2t-J

3

SCITUATE REEL.

-(^, -* •1-1 = 7^ »~^- ^f^^-pzf:^ I 1-— 1^—^=^ P—t— — 1—i=—I— 3= -^f- f=F^

r^ ^^ft^-m- :^^ ^ :f?r^=e ata: 5EF=z*3

-^-P— ^-t^ i=g^^!T£%g^%^Fre: -Fq^r es g^g

*-^-0~P^ J- i«=fitp: ! 1 —I js 1-— wr^E^^ -I 1 P-H I 1- n

V Up Bow. in Down Bow. KOhlbes' "Violin Ebpository," 11 North Bridge, Edinbuboh, —— — r

77

4. EIGHT BELLS—Hornpipe.

^^_J_J taMUHlMj baLH^Ml ^ '

4 4 V ^^^ ^^^ _4 _^ ^ ^ _

=^^ I I I t^f^m: -f^—!-1- ZfLl^^lfL ^^ n^-ff-^ :*:^: ±z± y- J I t±

^r- -^-#- ^^ if^: t=t=r :rtf*ztrz:Plf^-

I I I I :r=^ --e=-w^s •I—— —^1 1- I- —— -I— 1— £^ 5. SAIL IN, BOYS-Hornpipe.

V S!!iHx=.^.p?: g^ :rg:gzgj:a :M ^ q?^

:S= m—iw- etK"^:»F^tt^=^S-t?'^ i==|e '^^^ff=^- ^ ±L tz in ^ 3 D.G. 6. BOB CHADDIJCK'S JIG. ^P^l^fel^^l^^n n

n n V n n V V n n' n V V ' n rTT"! fn-ii wXi^x^i E^ £?^? -4— J- t^^- lai-ltz n n n n n n ef^=e:««:S eS: *^^ --h4: :f3Ei: 3^^:^ W^-. 3=^f^ i^ ^:i- n n SeiEE^iE2iE ::^==^

V f^p Bow, n Down Bow. EOhi/Bbs' "VioLnr Bepositoby," 11 Nobtb Bbisoe, Edimbuboe. *

t8 CRAIGELLACHIE BRID&E-Strathspey. Arranged hy W. B. Laybourn. -=^ :f=W^ f mES: iN=i^*s^eac

^^^^l^i^^S^^¥ -^ _^:e^r.*4? :^^ -*e-^ a^ ft ft: *:^^ ^^ ^ -UJg- t=p t3^& :£P^^ h-^- 1-3-1—1-1-4-2-^

-^_*J^(*-, =^"^^^^ ^ '—"-'^ Li— 1 — 3—1— — —^— g^^^gfg^-i^

1 1 —3 * i^-3 ^-P^^s

^=e -^-1* f^ ti^ =r=^=ff=t=eie^i £^=EBm £^^ i -1—3—1 — 1—1—2—1- •1—1—3—1-

D.C. -¥=^ -e:t=w=e--- ^-F^SS^-E^^^g^ +--^-+-^ ?3 a!=zi '—k-**- :i^:=*^ ~ Segue Reel. MISS JANE M'lXNES'S EEEL. Marshall. P eieift* /-^ ^^ e ?E^^=t -ft:r=^=r: e ^ -I H I I i ^^*l *

i).C. F=F=S^ :f=?E=e: ^ g^ -l-^-f- m Se=ff: ^^ Fine. V Up Bow. n Down Bow. _: —=_ Two Up or Down Bows. KOHLEEs' "Violin Repositort," 11 North Bridge, Edinburgh. h ^ h

79

MISS GRACE MENZIES' STRATHSPEY. Marshall.

D.C. fr^-'^^ H—^- ^-r=^-^ ^-*=p: PT^ ^=ff r^^ izit^ :p^ ^^ -I— ^t :t^t' ^t^^E^^EE^H Segue Red. MRS. CHARLES STEWART'S REEL. Marshall. V.

^gi .M—I LjB!. 3^ :i:=*=z*_-]ittri^atrl 35St:^^ ^ -I— 53E?;t3ii=i'-^-^ ^ ^_pj(» pi e—=fz—e=e;=(?=e ^ :(!t=ie pzp^ H">*l- S H—^- -1—I- ati*:

^f^=^P^ :p^l-^=P=p: -I H Fine. THE CRAIGELLACHIE LASSES-Jig. Marshall.

It

D.C. :Jz^iJ=^«zir-::d==lz ipqt ^^=iis *=^=f=* -I— s p=p :^^=*£r: g^ V Up Bow. n Down Bow. _! i_ Two Up or Down Bows. KOHLEKs' "Violin EEPosiroBy," 11 North Bridoe, Esinburob. 1

80

CHAMBERS'S HORNPIPE. R. Stephenson. ^?^ I— -I I r h-§P-ti-'— I i*^^^^^" ;*3^^(^* es3^^ '^^ :La=^^^ i^^^tJi^iUi: ^&F^

THE FIDDLER'S CRAMP-Hornpipe. .^=^:^££^e^sfef *? I itj ggglig&^^^g^ 1^ =»^ 5iCp ^P^B^^g^^^

V 3 "^ 1 3-» 1 :i^=i= ^Si,—1^1^ ^1^— \i-m -l*-^-»-3 H-— h 1 latji* ^J=*:

*"1 I 3 3_«_^_3 ««| Ll^yi^ ^- 0- m ^3 -p^ 3

SHAW'S TRIP TO LONDON-Hornpipe. T. Shaw.

4=^—I—^- c=l=i -+—)- l^^^^pt.- ^ :f-i f— I— r^3L -I— «H- 33 1 3 1.^^ I ^"H- -3. P^*:P Piizpzrrp] :^t=t ^P:^: t^li W:^- _i__^ =?c=^ ;^gsg-^^gg^^^^^^g^^

(To be continued.) V Up Bow. KShxbes' "Violin Kbpositobt," 11 Noeth Bridge, Edinbuegh. KOHLERS' VIOLIN REPOSITORY.

No 11.] Prick 4d. [Copyright. SYLVANUS HORNPIPE. Bowing and Fingering arranged by W. B. LAYBOURN. te^g^gggg^g^ii^p -\-r-j—\-m •2—3-1- -1—3-2— 3- L.^^

zifi^-fL i.^^ :=-"* ^P^ -n^ ~^-^^-rF^^ r— I rr -\- *3?-- SrcZ Position..^ /-^-•- -f-=-*- /^-«- ^^^ F^;^^*-^ -^-1—C^_j—l—j ——^ 2—^^S^-h-t'^-^.rf— -4—3-1—3- -1-4 — 3-' :t^^l=i •2—3-1—3- -2—4-3—2- ^ 2 3 1 2 3 3 13 14 „ . T 4 3 3 4 1 r-.

-4—3—1-3- -1-4-3- -2—3-1—3-J-2—3-1—3" -2—4-3—2 gj^gg^^P14 3 1 —-—-^ 2 3 4 3 FLOWERS OF EDINBRO'. -».>. '=^:=^ =^-H^-- 1 —i^-^ni~i,'~~i~n ^£5^3 It^^lt^^^t ^VZM^Z^*

^ T=\^

H—i-H- fP,r^ij-;^* I —=L_Li ^_l I I L|_^i_j III .1 il FIREFLY HORNPIPE.

1 I "1

I--!- 1 1- [^:pr: --!— H--H i iE!^: it*: i--^-^—H—1 I— — Mi^zm. ^7 -.J— !—

-^-•—^—-H 1^ P^H ^^=>\ r-M—^^-TB-. ^—-j-H —Pn H=^^^z^: —I 1-^

H* -P ^^t^:^T

=^7e; 1 ^-,.P--^- :i-f?: -I P-l — ^^^^ ^E£ iK^ latzztz^^

-^ -P •-(•-^-^ m-0-^ H 1*19,- zr^: l/-r-fc~-A!-«- ^-.p. PL: |_L| ^E3 H-* ^-"xS^-i-^P-r \—*^'^-0-a7'—^—I— ^ 0-0- ^atiizi? H h V Up Bow, KOHLEEs' "Violin Eepositoby," 11 North BRmai;, EDnrBUBOH. — J =

82 mSWMAREET HORSE-RACE; OR, JOHN FATERSON'S MARE GOES FOREMOST. Hit :=IT^ nn:e- ^tie :=? :i^d:*±=£ :»3*:t^e*^:^ -^'-H"^

"'^ri arffsts ai^J3==: :id:*t :i^d:*j ^^5^ 35;S3^iESii^^^«^ -"^jfI- s -S—- Fine, v ' n~ry 4-l-a'— 1^—- ^ ^ -I :!?st:j^i3i SE i±s!=*;

i4 l^iti^zJiji^ztMii:*: H-J -*w'- 3^z=^-—*zt=^—*zz^.zz*:

F1 -1ii- =9. -^;fft?^ ^^b: ^^^^gg^^gg^

:ij=H-zj5i i^r ^-r -t ^iS^ill

' - 4- 1 -+- 1- »- S - I -I I ^^ 'w 1— ^ I" [

._!

I h- ^^^f^^e'*^^-I—— :e=t=r-?E: ibbibstzbs^te Sj^fe^Egl

I I I—— r*:^ f^im&t^^^^^^ a r^^ :*::to|?:t'

:^i^; ^1^

.^f*, ffi efCi '^-^^f^^^~— :S :4=:| ^J-^^F-^^-F it: D.O. V Up Bow. -s :_ Two Up or Down Bows. KtJBLIBB' "VlOUN BxrOSITOBT," 11 NOKTH BrIDOB, EdINBDBOH. H —

83 NEWCASTLE SCHOTTISCHE. V r^^ V^ ^-ftiW-

— - — :^=t=^ ^4 I I I I T-t^—HH ^^^ i l^.^ i^—^— -t.-fcsd- ..^?__^P_v=^ ^^^wird^^-.W^"^ ^e: WA =S -h

— -I—J t-TiP +- If _l I ! _l -V—^. - I :r=Pi^^ I I —4- -3 i — 3- 4 Q- =2 -4—3—3—2- LI ) -I 1 1 -3—3—2—3-

' I— I I I 1 1— — T ' --4-

CALTON VALSE. 5y J. Hamilton. n. 3^ fS- =i: ri: Z±I © 5^ :eEE-=E ^^c^z:^

:^-: :ci=^ :Gtg5t2:^3:::p:fl:*:t;*: zi: :^ :^- :t i^^ z:± n -P2r7~>e :f: ^« ±:=t: gzzi: :P2= ^- -2 -3 — 2- I :^^*= :i-£

-f^- '^pi^i^ " itz:±:- -1 l^i=li -1—

"^=2. "-^2. --t- -^'- T^~- -3—2— -2 3—2- :ti

:^: ^ .ps: t: :(»=?r :^: :t: itz; :t: :p=:e 3Z 1

V V V r 1-1 p«-p=z,z. F1--^ —1—1=—:si- — M ^" " * -^ , r: . F*^-^ :t—^^., ^_Elt: _«_E_^_ 3-^=^-^ rt^=t= H= t p :

isi iinze. 2nrf

'^ jjf r -^^=^-r-: -^—r-f^—_-

4—^- ^=^=3-^:*r ^»:^2^?^- ^

I 1 n-»-='< 1 1—=1—l-"H-»^=>^ —i-n i-^-m-M ^^r— —la-—I— s"^— ^5) D.G. -^ H—1--1- -Pq. —I—"! —^-«- 1—1- izlritS-^ :iii-?b:«: \j^:^ew=^We^ =id-^:^=^=1:4

1— I 1-\-

^^ ^— I III 1 1 — — _ ^v^-^-_Segue-^V— 1 Red./?. O'SHEA'S COMICAL REEL.

bifc3 lOfW-'-W5^r=8 -.w-ww-'-w'C^f^ -^^r -c^fH=^= -t=ti.t± -I— f*^i SeS 4 I—^

^:S7E_7EMfif^^ :^=:*: f=^: -f=.w.-\==w r^ itzLizzt ^=*: £^^3»

?^=I^=?e: :p=f=^: :ie=f=^ ^=«: ^^'^J -i— e=«: *=«: :£?zt: -I— cffipi^: :e=e=^ -I H i?=e;

Fine, INVERARAY CASTLE. n Frasee. -)—^^——h-^—I—^—)-^' :*iV±J: 4 V

—^l^Ht*

«=^ S5^g^

/Sfegfue i2ee?. D.C. ei---4 Ei-=f^^F^«^^" i=^ *::i ^^^^^

V Up Bow. n Down Bow. - Two Up or Down Bows. KOhleks' "Violin Eepositoky," U North Bbidgb, EniNBUKaH. — —

85 THE DRAM SHELL.-Reel. Fraber,

Fine, LAYBOURN M'DONALD'S STRATHSPEY. Composed by J. aybovrn ^S^ ::feU=: 11

M s ^ —I—*-=^—*-i— ^ bat' n /Segfue Reel. LAYBOURN M'DONALD'S REEL. Comj^osec^ 6y W. B. Latbourn- n '.^ -^ .^ ^ ^ ^ ^1^.. -^^ n^ ^"^ -^^i— I— I—h- S^ ^#fci t^^ H H Eti^z:^ ;£S^^X*! h n ^^> ^"r,e =±1: :£t^EEE :^=^: eSS^ES Fine. TRIP TO DUBLIN-Jig.

ijEze: --I—I I- - ^ — :?BE# 1 ^ I :e=^ ^3: :i=^ ~n P tts^F^s:^

±^d^ --1—I- :q: ! ^- I— I mi —I 1 F--F^---| rF-^-»~ ;33 .-i=;i: :?=^-y^;

^L^^ i— P -I I 1^=^: F- J — —P—»-P-i—PP— t =r^=q= ^^ =«: :i=;i=^ I V Up Bow. n Down Bow. Two Up or Down Bows. KOHLEKs' "Violin Eepository," 11 North BRisaE, Edinburgh, I —

86

JESSIE THE FLOW'R OF DUNBLANE-Hornpipe. C. Rook. i?^5 ^^g^g^^^g^j^gj^ -1-^ d=^^ ^ggggg^^E^^L^Jig=^P^ :P5|' S^^ ^-i i^iii:^O >^ :r^ t=±:::gI^_^A_g? :ii^^ --fLZWlf^ZW- >=^^ *z?zi: ~r^ - I id J J I —I J I tz-i-^ 1

leir^^pE :^S^-:pzp:f! rip-^^^e e:ifz* ^^: :t=;^-t; -F^-^J I—J— :?c^ *==^—H——a- ^- -^e||— :J=£ CLOG HORNPIPE. s fet^^^^^a

&!!. -J^ r^-f-^r^ij: ;^i^3^^^^ -*—*^

-TN m^fL^^t—^ft

^^S^r « ^^ F^h^F^^T^^ES^^ :^^i^^^^i PRINCE ALBERT'S HORNPIPE. J. Hill.

^^^^&=P^^ E^Fpi^r^^^ r^:

1-^ ^-1^-^

-+-*^ I— -: _i L 1 I --— l--^-F--»i -I—I— J I --J 1---1 h — — —i-i at:

1 i-itfT-i 1 -I — ^^ ai= t5b :^| ^:^g 5 V Up Bow. Et^HiiiBs' "Violin Ebpositoky," U North BitiiiaB, Edinbuboh. — ^ —

87

THE CAGE HORNPIPE. James Hill. 5*?^^S3p^Ei5S^?SS:^3?3^P ^^^^^p^^^pi^i zS-^=zit:

f^iW^t=zm--

— ' — - I '~v 1 i' 1^^ I — r-~-a^HH^^^iB r""~Wii^i^HiBMBi ^ ^ :*=*:

THE RINE HORXFIFE. Composed by W. B. Laybourn.

I—• ^i^ iSJizzi: ^^^^^^^^

I— ^— 1 1 1 3: ?=*: J ; r-^ gEg^^^^tg^StEE«^r ^^ ^-;^^- #-^-^- -5^- -fe. ^^^^^^^^Ig^^J^Sgg ett=pi

GIPSY'S HORNPIPE. P

Jt=*

F=l= W=^

^jp:^^_i« ^^^-.^^ 0.^M I ^-, P-^ I—-1- I— — — — —1— — —

V Up Bow. n Down Bow. ECbless' "Violin Eepository," U North Bridqe, Edinbukqh, ^ —

Sim. GILLIE CALLUM STRATHSPEY-Sword Dance. ^^^^m s-^s- g^^^g^^ ^^^.Z\ ^^^^^^^^ JtZHZ tis:

:«!*- WittEi^=^=g^g=pzz:^i^i^g^ :t=:

D.C. -ti^^-^^ ^tz^=e: :*z«zi: :feS=.-U; Segue Reel MR. THOS. JARVIS'S REEL. V J^-«. .il I 1- :i1= -H— B^ :p=r :«=P: I «J£ s^z^iz»!z:*z=d=iz:p^-f^.i=t=r^ :i-«zar*r*: V :f=e: am*:£= iezf^ =e: -t -^^i=: g H i=£F^ ^h^tst iitzt :r-ff:

»=»-.&*: -?CI«=t=f=^=p[ P=^ :eE5^ :E^^t?E?Ei-=i^ it: =^3 -I h :^U-t

Fine. ^^^i3^Et ^^ it: :e=r: J=:=±is :ti^=^-r=:^=p:

WHISTLE OWRE THE LAVE O'T. z^3=;^^^—^^. ^—=j^^^i:=j=pz;^-zp=P=ffe—p^ —fi-zrrs^^^Trr^.

'^-- wzed^ftzm- H-^±-^ ^ ^-j^i^I^j^—-^. :*=;i= ^ it: :ui^ •TV 15^= &* :titzi£it=:fe;^= L^z::i.-p^»:«=3: ys^^: :*=i: r^itS: (To be continued.) V tip Bow. n Down Bow. • " * Two Up or Down Bows, KOhlebs' "Violin Repository," 11 North Bridge, EDmBunaH, 3 t '

KOHLERS' VIOLIN REPOSITORY.

No 12.] Price 4d. [Copyright. GEM SGHOTTISGHE. Bowing and Fingering arranged by W. B. LAYBOURN. V

=ii^^ ^-tfe C— ^1——H-^^—US—Uli——=1—

.2^ :^ttP Jm.-^ V :«Ez^=^ 4*5: ^ :^

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Published by ERNEST KOHLER & SON, II North Bridge, Edinburgh. YEARLY, Post Free, 2s. dd. 1885.

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work, published separately, for use of pupils, in 'l parts. 3d. each, THE JUNIOR COURSE- A Course of Elementary Practice in Singing, in wrapper. by David Colville. Arranged for two trebles, with ad lib. bass. In A GRADUATED COURSE of Elementary Instruction in Singinp, by G penny numbers. David Colville and George Bentley, In this coui-se tlie Sol-fa LETTER-NOTE VOCALIST. For Class and Home Singing, being a initials are gradually withdrawn. In cloth, Is. Cd.: in wrapper, Is. carefully chosen selection of favourite high class Melodies, arranged THE PUPIL'S HANDBOOK, containing the Songs, Exercises, &c., in the as Duets and Trios; 4 pages full music size; price, stitched in paper above course, published separately. In 2 parts, Sd. each. cover, 3d. each. Twelve Numbers already published. In the following Courses the Notes are Lettered throughout:— Jiist PublisJu^d. LETTER-NOTE SINGING METHOD. A course of Elementary Instruc- THE INTERMEDIATE SIGHT-SINGER, a thorough and systematic tion in Singing arranged principally in Four-Part Harmony. Cloth, work of intermediate instruction in music, leading the student by easy

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TBE MUSICAL TREASVR7.

A LESSON IN LOVE. luxury, and died without altering a wiU made years before, leaving her entire fortune A TALE. to a charity asylum. Lina, left alone, had thankfully accepted the position of county " What is the matter, Kttle woman?" school teacher, procured for her by her friends, and waa " Ouly tired, John." thinking life a hard burden, when John came to brighten Lina Reynolds looked up as she spoke, to smile bravely it. She gave her whole gentle little heart into his keeping into the face bending anxiously over her. at once, appreciating at their fuU value his honest, true "Tired, Liaa?" he said, lifting the little figure as he heart, his frank nature, his sterling good quahties, and spoke, and taking his wife like a child upon his knee. looking with the most profound acbniration upon his tall, " What have you been doing to tire you ? strong frame and handsome face. "Only the day's work. Don't worry, John," for a It was a perfect love match, for John fairly worshipped shade passed over the kindly face. the dainty, refined little beauty he had married. And, '' I don't worry; but I can't see what makes you com- having married her, he took her to his home, and, in all plain so often of being tired. I am sure the housework ignorance, proceeded to kill her. " ain't so much. Other women do it ! There was no blame to be laid upon him. Living in the There was just a little fretfulness in John's tone, though old farm-house where he had spent his entire life, the one he did not mean to be unkind. ambition of his heart was to own land, stock, barns, and " I know they do. Mrs. Harper has four children, and a model farm. takes care of them in addition to housework, besides doing He had seen his mother cook, churn, feed poultry, and piles of sewing. Perhaps, John, it is because I have not drudge a,ll her Ufe ; all the women he knew did the same had experience in country work, and don't manage well. and if Lina made odd mistakes she put a willin g heart into I will learn better after awhile. Now, tell me what you her work^ and soon conquered its difficulties. Surely, he did in town." thought, it was an easier life to be mistress of his home, " I did quite welL Sold the whole crop of wheat at a with the Stanley, farm in i^rospect, than to toil over stupid good price, and put another instalment in the bank for the children in a district school. He had never seen velvet Stanley farm. carpets and lace curtains, grand pianos, dainty sUks, and " Yotir heart is set on that farm, John." other surroundings that were Lina's from babyhood. He " Indeed it is ! Let me once own that clear of debt, and had never heard the wonderful music the little white I shall be a happy man. It is the best land in the country, hands, all rough and scarred now, could draw from the and the house is twice as large as this ! ivory keys of an organ or piano, or the clear, pure voice in Lina thought of larger floors to scrub, more rooms to song. It was an unknown world to John where his wife's clean, and additional work of all kinds, and swallowed a memory lingered as she scoured tins, strained milk, and little sigh that nearly escajDed her. cooked huge dishes of food for the farm hands. He would "John," she said, rather timidly, "don't you think if have thought it wicked waste, if not positive insanity, to you spent part of the money on this house we might be draw from the bank his hard-earned savings to invest them " very Inappy here ? in beautifying his plain, comfortable home. "Spend money on this house!" cried the astonished And Lina lashed her conscience sharply, telling herself " John. " Why, what on earth ails this house ? she was ungrateful, repining, and wicked. Was not John "I mean in things for it. Now, the parlour looks so tender, true, and loving ? Where among her city friends stiflt, and is always shut up. I was thinldng if we had a was there a heart hke iiis ? Had she not known he was pretty carpet and some curtains of white muslin or lace, only a farmer ? and a set of nice furniture, and—and—a piano. Oh, John, And so the loving little woman toiled and slaved, under- if I could have a nice piano." took tasks far beyond her strength, worked early and late, John Reynolds looked at his wife as if she had proposed until, just one year after his wedding day, John Reynolds, to him to buy up the crown jewels of Russia. coming home to his tea, found lying upon the kitchen floor " ? A piano ! Do you Ivuow wliat a piano costs a little, senseless figure, with a face like death, and hands " No. Aunt Louise had one, you know, ever since I that sent a chill to his very heart can remember. But I think if we had a pretty parlour to Tlie doctor, hastily summoned, looked grave, and advised rest in, in the evening, I could play for you and sing. perfect quiet and rest. A girl was hired, and John ten- You never heard me play and sing, John?" derly nursed the invahd, but, though she grew better, she " I have heard you sing, but not lately," said John, was still pale and weak. rather gloomily. "Take her away awhile," said the doctor. " Try change "Oh! that was just humming around the house. I of air. She is overworked." mean real singing. I have lots of music in my trunk." "But," said honest, puzzled John, "she does nothing " But you are only a farmer's wife now, Lina. I thought but the housework for us two. She has no child, and our you understood when we were married that you were not semng is not much." to have any city finery or pleasure." The doctor looked into the troubled face. "You are a "So I did, John. I don't want any finery. I don't good man, .John Reynolds, and a strong one," he said ' ? want any pleasure but your love, John. Don't scowl up will you let me tell you a few truths you face so. I am siUy to think of these things at all. "Yes. About Lina?" There, kiss me and forget it. I am nicely rested now, "About Liaa. You remember, do you not, the tiny and I mil get your tea in ten minutes." antelope you admired so much in the menagerie we had John put her down with a very tender kiss, and straight- here last summer ? way fell into a reverie. " Certainly," said John, looking more puzded than ever. Lina Rivers had been a district school teacher in Scottfield " Suppose you had bought that little creature, and yoked just four months, when John Reynolds offered her his hand it with one of your oxen to a cart to do the same work ? »nd heart. She was an orphan from infancy, but her "I'd been a fool," cried John, " that little thing couldn't father's sister had adopted and educated her in a life of work. It is just made pretty to look at and play with," " " " " — ; ; " " "

THE MUSICAL TREASURY.

and with a "That's it, John. Now, I don't think God ever made I "Yes, very, very tired, but happy, John!" a woman to look pretty and play, but he made some for little sigh of entire content, Lina nestled down against the the rough work of the world and some for the dainty i^laces, warm heart whose every throb she knew was all her o\vn. some to cook and scrub, and some to draw men's sotds to The white lids fell softly over the violet eyes, and she slept heaven by gentle loveliness. Your wife is one of the IjeacefuUy as a ohUd. latter. If you were a poor man I would have held my Softly as she rested, the faint pink flush gathered on her tongue, but you are a rich one. Give your mfe a servant, fair cheek and a smile crept over her lips, while John, let her have books, music, pretty things around her. Let bending over her, lifted his heart in earnest prayer for the her rest from toil, and you may keep her by your side life that made his own so bright. put her back in her old place and you may order her tomb- Mrs. Keynolds was to experience her share of astonish- stone, for she will soon need it. Don't put your antelope ment during her holiday, and it commenced by the appari- beside your oxen, John." tion of John the next day in a suit of handsome clothes " I will not ! Thanlc you! I understand. Poor, loving, that well became his manly figure. There was no foppery, patient heart ! but he looked a gentleman!^ though he made more than one " That's right. Take her now for a little pleasure trip, grimace before he got, as he said, " well shaken into store and get back her roses ." clothes." Lina clapped her hands when John asked her if she Can I describe that week ? What was new to John was would like to spend a week in New York, and reaUy old familiar ground to Lina. Central Park was not soon seemed to draw a new life from the very idea. exhausted, and the little guide grew strongerand rosier It was deUcious fun to see John's wide-open eyes as they every day in John's thoughtful care, that provided plenty entered the parlour of the great city hotel and were shown of pleasant excitement, but guarded agaiust fatigue. into the bed-room, whose beauties were quite as bewil- It was early in the afternoon of a sunny day, when the dering. train drew up at Scottfield station, and John handed his " The best room," he told the landlord, and Lina could wondering wife into a neat little one-horse carriage waiting not repress a cry of delight, at the vista of a cosy sitting- for them. room with a piano standing invitingly open. "A new purchase, dear!" he explained. "We are to " it. "0, John ! she said, "won't you go in there and shut have a drive every afternoon. Dr. Greyson xirescribed the door for five minutes, please ? The house was where it had .always been, but Lina John obeyed, of course. John, she thought gratefully, rubbed her eyes and wondered if she had been suddenly refused her nothing now. carried into fairy-land. "How lucky I brought some of my old dresses ! " Lina The duU httle sitting-room had been papered, carpeted, dining-room. The thought. "I have not worn them since I was a school- curtained, and transformed into a cosy _ marm. Fancy Mrs. Keynolds scrubbing the floor in this stiff parlour was a very bower of beauty, with a fine piano, dress ! the daintiest of furniture, soft rausUn curtains, and a

John rubbed his eyes and pinched himself as a figure carpet covered with boquets of exquisite flowers ; the bed- sailed in the sitting-room, made him a sweeping courtesy, rooms were carpeted brightly, and rejoiced in cottage sets, and went to the piano. and LQ the kitchen the most good-natured of stout German Was that the little woman who had worn prints and sun- girls fairly shed tears when Lina addressed her in her own bonnets so long ? The fair hair was fashionably dressed, language. and bands of blue velvet looped the golden curls. A dress " But, John !" she cried, " the Stanley farm ? " of blue silk, with softest lace trimmings and ornaments of Is sold, dear. You were right ; we will make this jjearls, had certainly made a fine lady of Lina. The piano home so lovely the Stanley farm will never cost me a sigh. was yielding its most bewitching tones to the sldlled httle Dr. Greyson and his wife took all the trouble here, and I fingers, and John's bewilderment was complete when a have hired two new hands, so as to have a little more voice of exquisite sweetness, though not ijowerful, began leisure." to sing. " But, John," the little wife said earnestly, "I do not Only one song, full of thrills and quavers, and then Lina want you to think me a fine lady—a doU to wear fine rushed from the piano into John's arms. clothes and live in idleness. I want to be truly a helpmate " John, dai'ling," she said, " hold me fast. Don't let me to you. " " sBp from you ! So you will be, Lina. God meant no one to be a drone " 0, Lina ! " he groaned, " I was not fit to marry such in the busy hive of the world. You are not strong, but a dainty bird! But I loved you, little one." you wOl fmd plenty to keep you busy in superintending

"And I love you, John ; rough old John. Let me sing indoor arrangements and directing Gretchen. And in our again. I am very happy to-day, my husband." drives, love, we will see if we cannot find some poorer than But the wonderful thrills filled the little room now. In ourselves to comfort and aid. That will be my thank- a clear, pure voice, full of expression, Lina sang offering for your Ufe, my little wife." The neighbours stared and wondered. Comments upon " I know that my Eedeemer liveth." John's folly and improvidence fell from many lips, and old Every word fell like hot tears on poor John's heart men, shaking their heads, prophesied ruin for the Keynolds until, as the last chord trembled upon the air, Lina turned farm. to him, stretching out her arms. But John was as much astonished as any of them, when, " Take me in your arms, John I after a few years, he found the farm yielding him a larger He took her tenderly to the room she had quitted so income than ever before. gaily, and replaced her finery by a white wrapper whose " I do believe, Lina," he said one day, to a matronly ice trimmings looked like fairy work to his unaccustomed httle woman, who was dressing a crowing baby, " that eyes. your flower garden last year was worth a hundred pounds " Are you tired, love?" he asked, vpith a great spasm of to me." terror at his heart, as he looked at the white, wasted face. "John!" " "!

tHB MUSICAL TMASriRY.

~ "You see it was to get you the infoi-mation about would like to listen to, and you can lounge through the flowers that we first began to subscribe to The Agricul- rest. We should not object to see the principle extended. turist : there I found so many hints that I began to think It would be very nice if, at the theatre, we might walk out I knew nothing about farming. One book after another when the sorrowful heroine comes on, and have a bell rung crept into the house, and the time I thought would be in the adjoining smoking-room when it was time for the wasted, taken from farm-work, was spent in reading. funny man, or vice versa, according to taste. Then, if we Now, look at the labour-saving machines I have bought could skip the scientific lecturer's theoretical instruction, to his experiments, his_ explosions, his See the new stock ! My orchard is going to be the best in and just walk in the country, too." making a wheel go round very fast, his throwing of ' ladies, his magnifying a ' And my poultry-yard, John 1 it was the papers and coloured lights upon the and magazines that first gave me the idea of a model poultry- million times the ramifications of a toad's hind leg, it would yard. What fun we had, John, getting it started ! be very agreeable indeed. We should be very thankful, " Yes, indeed. That New York trip was the best in- too, for the same liberty at the pubUc meeting, so that we vestment I ever made, Lina. I saw so many things there might hear the movers of resolutions, and cut the seconders that I recognised as old friends when I met them again in and supporters, and leave at any moment when a man print—the threshing machine, the rotary harrow, the began to talk about his reluctance to appear on that improved plough." occasion, or when we were threatened with " just one word "And," said Mrs. Keynolds, mischievously, " the Milton "more," or the jjlate. Then the promenade concert, if it be to art, has the merit of watch, the sewing machine, the corals for Johnnie ! a hindrance rather than a help one " Come, are you ready for your drive?" promoting another. This may be thought to be rather a "As soon as I put on my hat and get the basket of negative virtue, but still we must extract what good we things for Mrs. Goodwin." can from a thing, though it be not the particular good we "It beats me, John," said his uncle, one bright day, seek. Promenade music thaws the frozen tongue. It in- enables people really to enjoy one *' where you find so much money for tomfoolery, new- spires ideas. It _ fangled nonsense, and fallals for Lina, and yet give so another's society. To this end, of course, it requires to be much in charity. I thought you were crazy to buy the pretty loud— as much sound in the music, so much talk Stanley farm." among the auditors. A roaring quadrille stirs up the most ' a blast of a trumpet reminds ' I was once, but I have something better now than the sluggish imagination, and Stanley farm. I have learned how to manage my antelope. the dullest of a good anecdote. Amateurs hate anything "What?" But to this day John has never exjilained loud, of coui'se, but we really cannot see any reason in the that riddle to his jjuzzled relative. nature of things why music should not be loud as well as low. The fact is, the more cultured people get, the softer PROMENADE CONCERTS. and smaller they like everything : subdued colours in The indoor or outdoor promenade concert, which is grow- pictures, whispers in oral communication, mere hints in ing in favour with the populace, has cost a great many the conveyance of ideas, and (so they say) microscopic tears and some wrath to the "genuine musician." The helpings of food, till there is a danger of everything being whole-souled man who gets up at five to write a concerto, whittled away to nothing. Green grass and blue sky are or to practise for a private quartette, and who sits up till too glaring, ordinary accents too grating, common language twelve writing his impressions of the last masterpiece of too redundant, and a slice of beef much too sensual, for a it this process is to con- the last musical phenomenon, is apt to be rather sarcastic great many people already ; and when the promenade concert is mentioned. It has the tinue without check, lite will become the shadow of a to in dreadful taint of jjopularity about it, the "hoi poUoi" shade. So the piromenade concert comes the rescue the merits of loudness, seem to enjoy it, and for that reason, if that alone, it is out its own province, and vindicates of the category of music proper. To his mind there is fulness, and depth as a correction to culture. There are somewhat of desecration in playing real music to_ pro- some incidental advantages of the promenade concert which select of menaders. Auditors may sit, or they may stand. Sitting deserve a note. They benefit only x^ortions the is best, for then the eyes can be more conveniently closed, community, it is true, but even these should not be all the muscles relaxed, and the bodily frame brc>ught into slighted. Some people's receptivity is never fully de- a highly receptive state, and become an unobstructed veloped when they are sitting or even walking, but only channel for the passage of the current from the musical when they are leaning against something. Those who batteries in the orchestra to the musical Swan-lights in the have been brought closely into contact with the British brain. Standing is allowable where a chair is not to be workman, know that he is never so happy as when he is country you had, and is, indeed, more respectful in the case of certain propping up a wall. All through the may classes of music. But to walk about is a kind of profana- see miles of him propping up the houses and the street tion, which causes him sore distress. Therefore it is that walls, the garden fences and the village pumps. This is he has noted with dismay the increasing support given to not due, as might at first sight appear, to the_ instinct of " go-as-you-i>lease " concerts, for he does not exactly know self-preservation and the fear that the walls might tumble where it will land the country. It is meet that we should down, but to the fact that this peculiar posture encourages look a little into this matter, and find out, if possible, the a state of receptivity of the mind, and when in it the work- raison d'etre of the pi'omenade concert. There is a soul of man can more readily imbibe the latest local and imperial good in most things evil, we are told, and perhaps we may intelligence. No doubt this is the case with many besides discover even in this phenomenon a little utility. In the the British workman, so that when we see a gentleman at with first place, we find that the promenade concert is at once the promenade concert taking a chair up, and leaning an assertion and a recognition of the great English prin- his arms on the back, or trying to screw his shoulder ciple of the bberty of the subject. When you have had through the wood-woi-k of the orchestra, or leaning back enough music you can go away, without making yourself over the balustrade till his face is out of sight, we m.iy con- an object of observation or disturbing anybody. At the clude that this is a physical condition of receptivity, and promenade concert you can fish out the morceaux you that the music only reaches him when it is fulfilled. — ;

THE MUSICAL TREASURY.

CHURCH CHOIR TRAINING. will produce a well-known and distressing soreness of throat and cold By William de Manby Sergison. throat. When predisposition to sore Ijrevails, it is a good plan to bathe the surface of the body Bad music in large churcbes is a gi'eat national evil. I every morning upon rising. The shower-bath or regular have visited some with a reputation for performing a fine ordinary immersion bath may be employed, or the body musical service, and have f(jund organ and choir equally may be mopped with a wet towel or sponge, care being of tune throughout, endless mistakes ; in fact, out and taken that the water is not too cold. \ery bad. Under such circumstances thousands of per- Great care should be exercised with regard to under- " " sons are being given stones for bread without knowing clothing when persons are susceptible to the affection it, they are being accustomed to listen to, enjoy, and under discussion. The undershirt and drawers should be even praise, music that is not music, and to take bad for of flannel or of a mixed material in Avhich wool is con- So, gradually, popular taste, the national ear good. and tained, such as swan's-down, which is far less irritating to are being vitiated and debased instead of being cultivated the skin. Some persons are extremely intolerant of flannel, improved. never hear such a service this in and I as a which in them produces much irritation. If it can be where there is wealthy congregation with- large church a afforded, silk is the best form of under garment. This out feeling inexpressibly indignant and grieved. article of dress should be of loose texture, and should Quietness and reverence should be the watchword. If admit of being easily washed and rendered clean. possible to it, of it is avoid the attention the congregation The climate of this country being so subject to variations never distracted. of a is should be The waving hand of temperature, it may be advisable to have three kinds except in unnecessary, sometimes an unobtrusive manner of weight of the underclothing— one of somewhat heavy for imaccompanied singing. Even with a full orchestral texture for the winter and early spring, a second of medium service in church, the beat of the conductor should be texture for the spring and autumn, and a third, the flourish. quiet with no superfluous lightest te.xture, to be obtained for the extreme heat of The choir-trainer organist should have some one under summer; but the heavy fabric should not he changed rehearsal, so him who can occasionally take the organ at for the lighter until the change of season is positively that he may hear the choir at a distance and personally present. All underclothing worn during the day should correct individuals, winch can always be done quietly and be removed at night, and turned inside out, so as to be unostentatiously, without giving pain. The choir should thoroughly dried and ventilated before the following enter into the spiirit of every ijart of the service they have morning. The underclothing worn during the day should to sing, and should endeavour to feel, and bring out, the never be slept in, and that worn at night should never be delivery meaning of the words by appropriate and hearty worn in the day. earnestness. All eccentricities should be studiously It is well for individuals who are specially susceptible avoided and corrected at rehearsal (the organist indeed to cold to keep the mouth well closed whilst in the open must watch himself closely in this respect). Sharpness air, and in many cases a respirator will be found useful. attack, crisp clearness should be attained voices and of by With respect to the remedies for sore throat, it may be organ. There should not be {to use Mr. Barnby's ex- stated Isriefly that it is difficult to lay down any hard and " edges " heard. pression) any ragged to be fast rules, as the medical attendant will be the best The accompanist at the oi'gan in church is also the person to consult ; but it may be said that warmth is of conductor. a one he must have certain quali- To be good the greatest importance, and, if it be possible, the sufferer fications—anticipation, .sharpness, idealism, heart, or what should be kept in a warm room, at a temperature of is called soul, the power of touching a responsive and 70° Fah. sympathetic chord in the hearts of liis hearers through Inhalation of steam is very valuable. This is most his medium, the organ. He must have a power of keeping conveniently carried out by means of a proper steam X^eople together, which should be felt both in congi'e- inhaler ; but if this is not easily available, boiling water gational in chorus music, so that the hearers should and may be x^laced in a suitable vessel and the steam inhaled. is intricate difficult, not he in fear., when the music and Lozenges of tannin, chlorate of potash, tolu, ratany, and that things must inevitably go to pieces. In this branch others are often used. Astringent gargles may also be of the choirmaster organist's work, the old saying of rs A employed, of which common alum is perhaps the best. artcm, holds and, if is the ^vil•e- est cclurc good; he "secret The term sore throat, in a restricted sense, implies an puller behind the scenes," never unduly obtrudiug himself, affection which is limited to a small part of the throat, to command, will fill but always ready help and he both such as the pharynx, or merely the back of the throat choir and congregation with a sense of security and con- and soft palate, and known by the name of pharyngitis fidence. One very important quahty in an accompanist or it may indicate far more extensive mischief, and is the conductor's intuitive of hitting the right power embrace a far larger area, extending to the tonsils, and of attacks at first time and rhythm everything he once at even to the larynx and vocal chords. starting. good efltects can be obtained unless the No Probably in the slightest ordinary cold there is always are firm, steady, decided. starts and a certain amount of inflammation of the pharynx present, and this is comparatively of mild significance, but when THROAT DISEASES. the deeper structures are involved the case becomes of Every one is familiar with the symptoms of sore throat. far more serious character. Musical Standard. These are, the irritation and soreness, the feverish con- dition, hoarseness, difficulty of swallowing and speaking, INSTRUMENTAL MUSIC IN CHURCH. &c. Some persons immediately upon entering a room or railway carriage fiUed with tobacco-smoke experience a By Hewjy Maskell, Brecon. tickling and irritation of the throat, producing an irre- There still remains in the opinion of many people a pressible hacking and coughing, results whicli are apt to doubt as to whether instrmnental music should or should

follow the smoking of tobacco ; and alcohol, especially not be used in church ; and, though this is not always when ardent spirits are indulsed m, 'svith many persons publicly expressed, yet, nevertheless, it is occupied in the c THE MUSICAL TREASURY.

minds of many. Even that noble church instrument, the British. Until he won his first great success in this " organ, comes in for a share of adverse criticism, it being country, when about three years ago his " Stabat Mater sometimes looked upon as an intruder (some say an idol) came in the hght of a revelation to EngUsh audiences, he in the house of God, and no allowance is made for the was deemed merely one of the Dii minoresoi modem musical great amount of assistance which the singing receives Germany. He was patronised by Brahms and championed from the instrument, or how lamentably poor the general by Joachim, but few beyond a certain circle were familiar effect (in most cases) would be -without it. It is, I thinlc, even with his name. Antonin Dvontk is duly grateful for a very Httle plea (though perhaps laudable in itself) that the position the good taste of British music lovers has the voice alone is sufficient in church, and that an instru- enabled him to achieve. He has devoted himself as- ment is not needed ; but let the holders of this idea siduously to the study of our manners and language. All consider whether this does not often proceed more from a the most important of his forthcoming compositions are want of taste for music rather than from any other cause. written specially for England, and part of each year will The voice is certainly of the first importance in the render- henceforth be spent by him in this cotmtry. ing of any land of music, but in the majority of cases it is The career of Antonin Dvorak reads bke a volume of in want of a sustaining power—a foundation upon which romance. His fame is far too recent to warrant the ad- it can rely. How often the singing would become flat, mittance of his name to the pages of our stand.ard bio- dry, and untniisical, were it not for the help it receives graphical dictionaries. The composer is, however, himself

from the organ ; besides, bright, hearty, well-rendered by no means averse to referring to the humbleness of his

music is a chief means of attracting good attendances ; and origin. Antonin Dvorilk was bom in 1841 in the neigh- few will deny that our congregations in church might not bourhood of Miilhausen, or, as it is called in the Bohemian be made larger. But while the organ is by many allowed dialect, Nelahozeves, a village with a few hundred in- to be a necessary and proper means of elevating and im- habitants. His father combined the offices of village proving church music, the introduction of string and other slaughterman and rural tavern-keeper. Young Dvorak instruments into the service would be looked upon as very himself in his early years served as pot-boy at the inn, objectionable, and probably cause a general exodus aroong and assisted his father to slaughter, skin, and dress cattle. the congregation. Let us see whether this would be right. By the laws, even the poorest lad in the meanest Bohemian In looking at the subject from its true point, we find in village is compelled to learn music as a part of his primary the Scriptures that many, and perhaps all the then known education. DvoriUc was taught at the village school, and kinds of instruments were used in the old Jewish Cliurch. roughly learned the rudiments, and to sing and fiddle on David, in the Psalms, urges us to praise God \^'ith all the violin. When he could play a little he belonged to kinds of instruments—the sound of the trumpet, psaltery, the village band, which was wont to strike up the dance

harp, timbrel, and with the loud-sounding cymbals ; and, as for the lads and lasses of the neighbourhood after church these were to be used as a means of praise to God, where was over on Sundays. The dancers contributed a few could a more fitting place be found for them to render pience each to the expenses of the band, and these slender such service than in His own house ? To say that when earnings were divided among the members. When Dvorak Christ came to the world the ancient law departed is was thirteen he went to work for his uncle at the village certainly true, but this applies to the abolition of the of Zlonic, close by Schau. There the village schoolmaster types and shadows of our Saviour's first coming rather was a somewhat superior musician. Dvoritk used to sing tifian to the alteration of the manner of praise in His in the choir, and his master gave him a few lessons on temple. Since such is the case, why exclude the use of the organ. Finding him an apt pupU the schoolmaster instrumental music from the church ?—why banish those allowed him to copy music, and even to play old ecclesias- things which in ages gone by were used as means of tical services from a figured bass, an art which the young praise to God? To the reverent worshippers the sound of musician taught himself. He also had a few piano lessons, music, rather than diverting the soul from the service, and was initiated into the rudiments of counterpoint. materially adds to a devotional frame of mind. While on When DvoriCk was sixteen he was sent to Prague to this subject we may notice the objections which some have study at the College of Organists, then directed by Joseph to the performance of oratorios and other sacred works in Pitsoh. Antonin Dvorak only spoke the Bohemian dia- church. In my opinion, the people who raise such objec- lect, and his first difficulty was to teach himself German. tions are influenced more by their own narrow-mindedness Then he was compelled to live upon the scanty allowance —not to say ignorance—rather than by a sincere desire to of a little over fifteen shillings per month. The struggles maintain the sacredness and perfect purity of the church. of a young man, even at Prague, to lodge, feed, and clothe To argue that such works are given for the pleasure and himself on about £10 per annum can only be imagined. to justify the vanity of man is hardly s\ifficient reason _ When Pitsch died he was succeeded by a far Idnder master, promoters of such performances in giving serious considera- one Kreyci, and under his guidance young Dvorak first tion to the views of the "unco guid," who are happily made the acquaintance of the music of Mozart, Mendel- fast becoming an unimportant minority incapable of doing ssohn, and Beethoven. He says the first real orchestral much harm. It is now universally admitted that the use work he ever heard was when he stole into a rehearsal of of instrumental music in church is a right and orthodox Beethoven's choral symphony, under Spohr. In 1860, that medium for the praise of God ; but, while rejoicing when Dvorak was nineteen, he became a violinist in a band this is so, I would say, let us be careful that we neglect which played at cafes and dancing haUs, and his wages not to worship with our hearts as weE as with the feeling were £25 per annum. He earned a Httle overtime by of devotion induced by the "heavenly sounds" of sacred playing in a sextet in order to amuse the insane in a melody. private lunatic asylum. In 1862 he obtained a post in the band of thirty-six at the new Bohemian Opera House at ANTONIN DVORAK. Prague, under Mayer, and it was about this time that his One of the most prominent of the coming men of music friend Bendl for the first time lent him the score of the indisputably is Antonin Dvorak. Although not by birth Beethoven septet. In 1871 he left the theatre, in order to one of our own countrymen, hia celebrity is almost entirely try and get a living of at least £50 per annum by teaching. — —

THE MUSICAL TEEASURY.

During this struggle Dvordk was not idle. To shortly Hitherto most of the music we have heard from the pel), after this period (in 1873) belonf;s the " Patriotic HjTnn," of Dvorak has been that composed in his early years, announced for the last Worcester Festival, but since given when the young married man was struggling for an artist's in London. He also wrote an opera, " Konig and Kohler," stipend of £40. Now, however, for the first time he comes avowedly in the style of the " Meistersinger." It was before us at the greatest of our festivals—that of Birming- tried by the orchestra, unanimously "protested," and ham—with a cantata specially written for this country. withdrawn. He has in hand an English oratorio on the subject of Dvorak was shortly afterwards appointed organist at " Samson and Delilah," and other works. He thus, having Adelbett Church, Prague. He sent in his opera and his cast in his lot with us, has a special title to be considered symphony in P to the Minister in Vienna, and for these as a Coming Man. In the judgment of many, he is one of he obtained the enormous Government grant of £40. the sole surviving hopes of continuing the long line of Flushed with success, Dvorak married, and has since lived great Continental composers. The star of Brahms is on a very happy wedded life. A year later he made a second the wane; Baff and Wagner are dead; Gounod is well attempt, sending in an opera entitled " Wanda" and his stricken in years ; Verdi cannot, and Boito vn\i not, write " Stabat Mater." ' Both were ignominiously rejected. any more. The position of the younger generation of " The " Stabat Mater —which established his fame among Fi-ench, German, and Italian writers is overshadowed, a more intelligent community, and has set the musicians both here and abroad, by the advance of the composers of of two hemispheres wondering whether we have or not England, from Mackenzie, ViUiers Stanford, Goring discovered a second Beethoven—was not deemed worthy Thomas, and Cowen downwards. It is to Dvordk that an encouraging grant of £40 by Austrian bureaucracy. the eyes of Europe turn in expectation of hailing another He tried again, and got £.50. Eventually he sent in several of the race of really great Continental musicians. There works, and among them the pianoforte concerto in G- are some who are nervous lest adulation and the process minor, first introduced in this country by Mr. Manns at of " academising " should injure that which promises to be the Crystal Palace in October, 1883. Brahms hajjpened a great and original genius. On this point it would be the to see it, and he and the renowned Viennese critic, Han- vei-iest nonsense to attempt prophecy. The result of the slick, exerted themselves sufficiently to obtain for Dvorak highly important essay at the Birmingham Festival will, a grant of £60. Besides this. Bralims asked Simrock, of to a certain extent, tend to indicate whether high hopes Berlin, to publish some of the Bohemian composer's works, are justified or otherwise. and thus they were brought to the notice of Joachim. The success of the Birmingham Festival was indisput- Mr. Manns had ah-eady introduced some of Dvorak's Slav ably won by Herr Dvorak's cantata, " The Spectre's music at the Crystal Palace. But his very name was Bride. " Despite a ghoiUish libretto, and a puerile English almost unknown. Joachim's ^vill is, however, puissant at version, distilled from the original Bohemian through a the popular concerts, and when he recommended the pro- German translation, the swing of Dvorak's music carried duction of Dvorak's Sextet in A, Mr. Chappell at once all before it. Anything more exciting than the chain of accepted it. The work, first given Feb. 23, 1880, made a choruses—led by Mr. Santley, descriptive of the_ terrible great impression, but it was not until 1883, when the march of the spectre and his lady love, and relieved by " Stabat Mater " was produced here, that the name of the the duets of the imfortunate couple — has rarely been coraxjoser came prominently to the front. heard. 'This work (the first choral composition ever The evening of March 10, 1883, may hereafter be deemed written by Dvordk for an English festival) shows the historical. Very few of the small audience had the Bohemian composer at his very strongest. The choral smallest knowledge of the work, the vocal score of which parts are somewhat diificult, biit it will doubtless be the was placed in the hands of most of them as they entered privilege of many choral societies in the provinces to over- St. James' Hall. Yet another " Stabat Mater," rejected come them. Figaro, by the Austri.an Minister, was not likely to interest those who attended as a business duty, expecting to chronicle yet another pretentious failure. But a very few minutes after Mr. Barnby had lifted his hiUoii served to stifle the small talk, and to concentrate the attention of the audience A GREAT obstacle to any improvement in our English upon the music now heard. Rarely in our time has such sacred music is the prejudice which many people still a master work from a totally unexpected source been retain to what they caD a "performance" in Church sprung upon a sceptical public. Dvorak leaped at a bound ignoring the fact that the clergyman always "performs" into fame. The Philharmonic Society, sorely in need of a not only the sermon but a great deal of the service. They lion, invited him to come to England. Messrs. Novello's do not object to the vicarious offering of prayer by one " idea of a fairly repre- firm, who had published his Stabat Mater," warmly and m.an ; but they are shocked by the generously, according to their wont, looked after his sentative number of people discharging, in the name of interests. Dvorak came here, conducted at the Philhar- the congregatio:i, a duty for which the others have not monic, and directed a gala performance of his "Stabat taken the trouble to qualify themselves. And the very Mater " at the Albert Hall. The senior partner of assistance they will not accept in Church, they delight to NoveUos gave a fHe in his honour at Norwood, and have in the concert-room. For, in England, there are Dvorak declared he had never before seen such a congre- thousands of people, destitute of general musical pro- gation of beautiful ladies. But his tastes were not amid clivities, who, at least annually, attend "performances" the garish lights of society. He was at home at Mr. of the "Messiah;" and do so distinctly as a religious Oscar Beringer's, and vastly preferred his laager beer, his exercise, yielding their sympathies freely to the influence pipe, and his chat with friends. Dvorak returned last of its sublime strains, and consciously warmed and ele- autumn to direct his " Stabat Mater" at the Three Choirs vated in spirit by the increased pathos and power with Festival, and again this summer to conduct at the Phil- which the music endows the words. How funnily moulded harmonic his new symphony in D minor, expressly com- our "principles" are?—JOr. Hiles, in the "Quarterly posed for this country. Musical lieview." —

THE MUSICAL TREASURY.

which did not possess a bell of some description. Musical XCreasur^^ Probably many people will be of opinion that the present proportion of churches without bells is by no EDINBURGH, OCTOBER 1, 1885. means too large. In country districts, church bells, ADVERTISEMENTS. rung at regular times, have for generations been of great usefulness. The ringer of the church bell is in Advertisements : will be received at the following rate some villages regarded, and justly regarded, as a public One page, . . . .£100 benefactor. Does he not leave his cosy bed at an early

HaK page, . . . 11 hour in all sorts of weather to annoimce to the working Quarter page, . . .060 people of the district the approach of the hours of One-eighth page, . . 3 6 work, and is there not a sense of satisfaction when in lines, Three . . 10 the summer evenings the eight o'clock curfew intimates Advertisements must reach the Treasury Office not later that there are still some hours of leisure in store for the han the 20th of each month. villagers ? Apart from this utilitarian point of view, NOTICE. however, there is a solemn peacefulness about the church bell as its chime reaches us across the meadow

THE MUSICAL TREASURY. 9 njore than a miserable jingle. In towns, the single bell the proposal you have now put forward \viU be taken up is probably on the whole the more tolerable as bells go. heartily and energetically imtil that anomaly ceases to exist, have our own Tonic Sol-fa College. At the same time it can scarcely be said that this is a and we Scotland usually in the van seems to be wofuUy be- comfort to the hater of bells. No one who has lived in — — hind in matters musical. Even although we have a Edinburgh can have failed to hear the frightfully un- Professor and a College of Music attached to oxir single bells at a little musical effects produced by University, yet degrees cannot be conferred upon the distance from one another. There is no doubt Ijut that students who attend until they also pass an examination in some districts they have constituted themselves a in England or Ireland. Surely in sol-fa matters we could nuisance which ought to be got rid of. It has often beat this sham coUege, at least in some respects struck us that the best way out of the difficulty would I would suggest that, before any meeting is held or any be to have a really good resounding bell for each action taken, the subject should be thoroughly weU ven- district, which should serve all the chui-ches. The tilated, through the medium of your admirable paper, by the free expression of opinion. great deal will be gained time of day is past which req^uired frequent daily bell- A if correspondents will study moderation of language ringing. and avoid personaUties and recrimination, as these only prevent An amusiug episode occurred last month in the the great bulk of ordinary readers from perusing an other- occasion being a recom- Glasgow Town-Council, the wise useful discussion. mendation that the salary of the bell-ringer in Black- It seems to me the chief obstacle in the way will be the friars church should be increased from the munificent rooting out of the prejudices and petty jealousies of the yearly £10 to £12 in consideration of the fact that the numerous sections into which those who might combine for artist also played the chimes in the church spire! One such a useful purpose are divided—upon such matters as councillor described the music as " unpleasant, " and the scope of the college, and even as to its location. The thought the young man should be dissuaded from former, of course, would be subject for debate at a meeting

convened for that object ; and as to the latter, I cannot attempting hymn-tunes on a chime of five bells ! A conclude without suggesting that Edinburgh would be a bailie suggested that the coixncillor's ear was deficient, most suitaijle centre for the establishment of such a college. wliereupon that gentleman vmdicated his musical Most institutions nowadays require a paper or journal to character. Another bailie said they could not expect a convey to the general pubUc a record of the work engaged fine tune for £l2. He thought the man was playing in and the results obtained ; and I am certain it would be up to his wage. This latter idea was too much for the most desirable and beneficial to incorporate such particulars grave assembly, which consequently relieved itself with mthin the Musical Treasury and Star, which have already

a hearty laugh ; but the whole discussion, which ended such a wide-spread and well-deserved circulation. in the preservation of the status quo, only proved how Do-Kat-Mb. true it was that a " good deal could be said on both sides," Glasgow, Sept. 15, 1885._ Dear Sir,—I am very pleased to see such a lively dis- cussion in the Trea^Hury over the proposal to establish a Tonic Sol-fa CoUege north of the Border. I think the proposal ^bc XetteivBoy. is good, and the sooner it is given effect to the better for A TONIC SOL-FA COLLEGE FOR SCOTLAND. Scotland. Every such effort must tend to do good, and should be very cordially welcomed by every genuine sol- Edinburgh, \5th Sept., 1885. faist. Why "Musicus" should have been thro%vn into such a Sir, —Seeing you have solicited an expression of opinion naughty fright over it one can only guess "Musicus" regarding the desu-abUity of establishing a Tonic Sol-fa has long ago ceased to have any influence in musical College for Scotland, I venture to offer a few remarks circles here, and his clumsy and selfish efforts to pose as thereanent. There cannot be the slightest doubt that but an authority in teaching music are rated by your corre- spondents at their true value. Do not let the cause of for the introduction of the tonic sol-fa system, the know- progress suffer because some fossilised stick-in-the-mud ledge of music would have been much less generally has become alarmed lest his craft should be endangered diffused in Scotland than it happily is at the present time. by this movement. is not such hot-bed of these gentry as your In numerous rural districts, up to quite a recent date, Glasgow a Galashiels correspondent seems to think. There are more there was comparatively little interest shown in the study men in Glasgow than "Musicus"—men who have quite as of music, in consequence of the difficulty experienced in good a claim to be heard, and who know more about teach- mastering the technicalities of the old notation, added to ing and notation than he with all his sneers at the lessons in the Treasury. I do not wish to be held as sympathis- the fact that few persons located in such districts had then ing in the least with the views "Musicus" gave expression the necessary knowledge combined with the faculty for to, and beg to assure you that I, at least, shall be very lucidly explaining the principles of music to the average pleased to see such a college established soon for the rustic mind. The new notation has quite revolutionised benefit of musical students and for the good of sol-fa. — am, &c., A Glasgow Teacher. this state of affairs, beiug now eagerly studied by large

numbers of our country cousins. Edinbdrgh, lith Sept., 1885. It certainly seems absurd to think that, with such a good Sir,—On page 8 of the Mu.tical Treasury for September, work going on in Scotland, we should still require to go there appears an article advocating the establishment of a across the Border for our certificates of merit ; and I trust Tonic Sol-fa College for Scotland, Iij that article every —.

10 THE MUSICAL TEEASUR7.

effort 13 made to convey the impression that the Tonic Sol- led by the nose by any other town or institution outside fa College, " London, is an exclusively "English institution. their own country, they would make any sacrifice rather Nothing could be further from the truth. Like our Army, than co-operate with their friends in the capital—no matter Navy, Postal Service, Parliament, &c., it is British, though how great the benefit to them might be. its headquarters are in London ; hence the writer in the You will no doiibt receive _ the support of a certain sec- Treastirii betrays either great ignorance or an intention to tion of sol-faists who are wise enough to see that Scotland wiUfuUy mislead his readers. It can hardly be ignorance, is ripe for something more substantial than a branch of an so, in the beUef that it is misrepresentation, I may remark English college ; but as that section, I am afraid, will be that Tonic Sol-faists, as a class, are too intelligent to be small in number, it will not go for much. I would fain hoodwinked so easily ; and it may be safely predicted that wish you success, but the case is too hopeless. —Yours, &c., any attempt, by such questionable means, to establish a Jaevis. rival College to that in whose solid worth they have justly so much confidence will utterly fail. Edinbukgh, 25ffi Sept., 1885. Sir, have After a sentence, in which the ivriter gets considerably —I read with interest your short articles, and the letters which "mixed" in regard to "notation" and "music," not they have called forth, in reference to the provision of a Tonic Sol-fa College seeming to be aware that they are different things, he for Scotland. I am always pleased to see anything which has for its begins his second paragraph by saying— "As most of our end our improvement in matters musical, I feel certain readers know, our EngUsh neighbours are in advance of and no one will regret the discussion in us in the matter of high-class tonic sol-fa education. " This your columns. Perhaps you wUl allow to say, however, may be met by the counter statement that, probably "most me that I think the present College in meets all of our readers know " the veiy reverse to be the case England the requirements of the case. If there were anything distinctive in Scottish namely, that in proportion to the number of its inhabitants, tonic sol-fa, as compared with English sol-fa, then there Scotland possesses more highly-educated tonic sol-faists might be some than England and Ireland taken together. reason for the founding of an institution which should bear testimony to our national characteristics ; That there is some inconvenience caused to Scottish but, seeing that sol-fa tonic sol-fa students by their CoUege being in London, is sol-fa and nothing else, why should we bother about rearing an institution which would merely do what the may be admitted ; but this could be obviated, and the English College is present i.e., whole question solved, by forming branches of the parent at eflficiently doing, putting its students College wherever it might be practicable. through a course of training, and then per- mitting To the late lamented John Gurwen there were neither them to affix four letters to their names. So far as the sending of cash across the Border is concerned, I English, Irish, nor Scotchmen ; there were only his fellow- think we need not vex ourselves about it. men whom he wished to benefit. So it comes to-day that much Tonic sol-faists are "The Tonic Sol-fa College for the People," the found- certainly a very enthusiastic class of people, but I am iucUned to advise them to temper their zeal with ing of which was the cro^^^ling achievement of his life, is discretion. If it were resolved to open to all on equal terms, without distinction of race, have a Tonic Sof-fa College for Scotland, sol-faists require to couiitiy, colour, or creed. Therefore, to speak of the would be prepared to thrust their hands into their pockets to some purpose, Tonic Sol-fa College as being " EngHsh," is as unjust as it is unless they were content to merely rent a in of xmgenerous—at once an outrage upon truth and a libel on room some the memory of a truly philanthropic and noble-minded man the less brilliant parts of the City in which to caiTy on col- legiate operations. To put the Quaker question—" Trusting that these remarks may recall the true state of Do the sol-faists sympathise £20 or the case to the minds of such touic-sol-faists as may have each so?"—Yours, &c., Musious No. 2. forgotten it—if any such there be, —I am. Sir, &c., Thos. Young. 6 T.VNNADICE St., Dundee, IQlh Sept., 1885. Dear Sir, —I was very sorry at reading the correspon- Edinbtjkgh, Wth Sept., 1885. dence in this month's Treasury, anent the opening of an Sir, —The proposal now being ventilated through your Edinburgh College for the propagation of tonic sol-fa, to columns to establish a Tonic Sol-fa CoUege in Scotland, find that Mr. J. C. Grieve had been very unwarrantably sviU never come to anything. I am positively certain of brought into the correspondence. But doubly sorry was I this. The reasons are not far to seek. Any proposal or that men talented to write such letters would waste such an suggestion—it matters not a jot how disinterestedly it is amount of paper, ink, and time—that most valuable made—having reference to sol-fa matters, emanating from adjunct of all—in running down such a no\ice as the one Edinburgh , will not be supported, or even countenanced, who styles himself "Musicus" must be. Let us Uve the by the great men of Glasgow. On the other hand, they like of him down. Eirst, as to Mr. J. C. Grieve ; he is a will strive with might and main to ignominiously crush any man I have had correspondence with, but never saw. He scheme that is set afoot ; and they will do this without has done, me so much good, however, that, should I ever giving the slightest considuratiou to the fact that such meet him, I shall at least shake him most warmly by the scheme might do a vast amount of good to promote the hand. I have written the tests which " Musicus " has interests and welfare of the sol-fa movement. It is well taken upon himself to call confusion, and have found them enough known that there is no profession under the sun very beneficial confusion indeed. where more blind jealousy exists than in the musical pro- But, Mr. Editor, we want proposals for the, working of fession and ; while this applies to musicians of all types our Scottish College, and not for the confounding of an and classes, the evil is seen at its very worst amongst those ignoramus. I would not have the thing hurriedly gone who are connected with the tonic sol-fa. I state this fear- into, but have aU points considered. Would it not be lessly and challenge contradiction. Any such proposal, better to include staff notation as well? Would it not therefore, I beUeve to be altogether out of the question, also be as well to have all sorts of instrumental music more particularly as it comes from the Metropolis. Glas- wrought up ? These, and many others, are points well gow sol-faists have a very poor opinion of their brethren in worthy our attention, and will better repay us. —Truly Edinburgh ; and though they will cheerfully submit to be yours, Bkimbokiam. :

THE MUSICAL TREASURY. 11

The foUoTving letters appeared in the Glasgow Blail — only by means of the notation that the resolution is to be " arrived at. " The imperfections of SOL-FA the tempered scale TONIC COLLEGE FOR SCOTLAND. can only exist in the imagination, so to speak, of any one Sir,—In my last letter it appears I have most un- looking at a piece of tonic sol-fa music; and the nature of wittingly and unintentionally given offence to a gentleman these "imperfections" will depend on the individual in Edinburgh, whose name I did not even know. There interpretation put upon the sol-fa syllables. I maintain is not a syllable personal to any one in my letter ; I merely that the tests are not only practical, but that they are offered, as requested, some suggestions in reference to au scientifically correct. Had this been a musical journal I article in the Musical Trcasnrp, for which pubUcation I would have sent you a minute analysis of the tests com- only knew the editor as responsible. Why this should have plained of, shomng that no tempered intervals are neces- brought down upon me such a severe personal attack I sary for their proper solution, but that every interval reaDy cannot imagine. No exception is taken to my employed may be strictly in accordance witii just intona- remarks upon the proposal contained in this article, and tion. I thoroughly agree "with " Musicus " in his con- all that I have said in reference to the " new notation " is cluding sentence, that "imperfect notation and illegitimate admitted by Mr. Grieve, but he adds that what I complain transition " have seriously " hindered the cause of vocal : of is " intentional.'' I highly approve of musical problems music " and I would only add it is for the very purpose being submitted for solution, but I hold very strongly that of enabling students to understand those imperfections all such should be set in a musical manner, so that they and illegitimacies that the Treasury test problems are partly can be sung and resolved correctly. Neither of these designed.— I am, &c., John C. Grieve. requirements can be applied to those at page 1.5 of the 8 Rankeillor Street, Edinburgh, Aug. 24. Treasury. They are intended to embrace the niceties of the enharmonic scale, though these are frequently used in a AN EVENING AT CHOPIN'S. very peculiar manner, but they can only be even apparently It is about nine o'clock in the evening. Chopin is resolved by using all the imperfections of the tempered seated at the i^iano, the room is dimly lighted by scale. This, I need hardly say, is no true musical solu- a few wax- candles. Several men of l^rilliant renown are grouped in tion, but destroys the problem altogether. It is, further, the luminous zone immediately the "piano. very confusing to the student, leading to the idea that the around Heine, the sad humorist, leans over his shoulder, and enharmonic and tempered scales are convertible. If so, as the tapering fingers wander meditatively over the ivory why trouble them with the enharmonic scale at all ? I am keys, asks " if the trees at moonlight sang always so har- very pleased to see attention called to the niceties of " moniously ? musical notation. Nothing has so hindered the progress Meyerbeer is seated his side ; his grave of vocal music as imperfect notation and illegitimate by and thoughtful head moves at times tacit acquiescence transition, the necessary and constant causes of the rough with a and delight, and lie almost forgets singing and falling in pitch so destructive to our choral the ring of his own Cyclopiean harmonies in listening to the dehcate music. —I am, &c., Musicus, Arabesque-woven mazourkas of his friend. Aug. 19. Adolphe Nourrit, the noble and ascetic artist, stands apart. has something of the grandeur Sib,—" Musicus " in his second letter says I admitted He of the Middle Ages about him. In his later years he refused to paint in my last all that he said in his first letter. I scarcely any subject which was wanting in true dignity. think I did. However, I cannot admit all that he says in his Like Chopin he served art with severe exclusiveness later epistle. He asserts that the examples on page 15 of a and a passionate devotion. the Treasury are not set in a musical manner, as they can Eugene Delacroix leans against the piano, absorbed in neither be sung nor resolved properly ; and he makes some meditation developing, it be, in his remarks upon the niceties of the enharmonic scale in such — may own mind, some form of beauty, or some splendid tint, a general way as may be taken to mean anything or suggested by the strange analogies which exist colour. nothing, just as one chooses. What, I would ask, has the between sound and Buried in fauteuil, enharmonic scale to do with the examples, as examples? a with her arms resting on a table, sat Madame Sand, curiously attentive, gracefully subdued. They are written in tonic sol-fa notation (at least, they are She is Ustening to the language of the emotions fascinated supposed to be), and that notation—nor, indeed, any nota- — by the subtle gradations of thought and feelings which tion under the sun—cannot depict properly the niceties of she herseff deUghted to express. It is in memory of some such the enharmonic, nor yet of the chromatic—no, nor even of — golden hours that she writes : the diatonic scale correctly. Certain niceties of intonation "There is no mightier art than this to awaken in the sublime are often implied in the tonic sol-fa, as well as in other man consciousness of his own humanity—to paint before his mind's eye the rich notations, although they are not definitely expressed ; and splendours of nature the joy of meditation the national I liold that the notation of the tests is as conformable to — — character of a people the passionate tumult of their hopes tonic sol-fa principles as to write 1 1 s in a cadence tran- — and fears the languor despondency sition when m r d are the actual sounds represented. As — and of their sufferings. Remorse, violence, terror, to the tests not being singable, that wUl depend on the control, despair, enthusiasm, faith, disquietude, singer. The exactness of the sounds produced by the glory, calm—these and a thousand other nameless emotions belong singer does not depend upon whether the notes are named to music. Without stooping to a puerile imitation of noises m fe or m ba,h, but upon the perception and appreciation and effects, she transports us in the spirit to strange and distant scenes. There of the vocahst concerning the interval he is required to we wander to and fro in the dim air, and, Hke .^Eneas in the produce, and his ability to produce it. " The imperfec- Elysian fields, all tions of the tempered scale," which " Musicus " says are we behold is greater than on earth—god- like, changed, idealised." necessary for the proper resolution of the tests, have really nothing to do in the matter. How these "imper- " fections are to be employed in the resolution is a kind of One evening towards sunset, Chopin, who had lain in- a puzzle, as the notation cannot represent them, and it is aensible for many hours, suddenly rallied. He observed 12 THE MUSICAL TREASURY.

the Countess drajjed in white standing at the foot of the A Hint foe Pianists. —A foreign medical man counsels bed. She was weeping bitterly. " Sing !" murmured the those who practise frequently on the piano, harp, and dying man. She had a lovely voice. It was a strange stringed instruments generally, to submit to a surgical request, but so earnest a one that his friends wheeled the operation, which consists in dividing the tendon of the piano from the adjoining parlour to hi.s bedroom door, and annulary or ring-finger. Pianists are aware that, out of there, as the twilight deepened, with the last rays of the the five fingers composing the hand, the fourth one, as it setting sun streaming into the room, the Countess sang is termed, is the most rebellious in action, being alike the that famous canticle to the Virgin, which it is said once weakest and least flexible of all the others. This feeble- saved the life of Stradella. "How beautiful it is!" he ness proceeds from the lateral tendons that join the annu- " " exclaimed ; My God, how beautiful ! Again, again ! In lary to the other fingers, and in a measure paralyses its another moment he swooned away.—H. B. HatixU. movements. It seems that the operation is not painful, the patient loses but little blood, and the fingers become as free as the others, and can work upon the key-board or MECHANICAL STREET MtLSIC. music-strings with equal force and facility. It is commonly believed that street-organs, hurdy-gurdies, and kindred instruments are looked upon with particular Negro Festivities. Negro festivities, as represented dislike by all orthodox musicians. It appears, however, — on the stage, are cheerful and jovial proceedings, replete that the common belief is an inaccurate one. In 1861 the with fun and good temper ; but in sober reality they are celebrated advocate, Adolphe Cr^mieux, was engaged to not unfrequently scenes of disputes and bloodshed. The plead the cause of certain organ-grinders who were indicted negroes carry knives and razors, and use them on the in Paris as public nuisances ; and, in order to obtain mate- slightest provocation, and "desiderate frays at negro rials for the defence, he applied to three of the leading gatherings" is a stock heading in Amei'ican journals. It composers of the day for their opinions about .street-organs is not often, however, that the cause of dispute is as slight and hurdy-gurdies. Two of the replies have recently been as that which set the "sons and daughters of Moab" by discovered among a large collection of autographs that was the ears at a ijicnic near Richmond, Virginia. The trouble left by the great lawyer, and the letters are printed in had its origin in a misunderstanding about which tune the current number of the Sertie Politique et Litteraire. — the brass band should play. Anthony and some of his J. F. Halevy ^^Tote : " I do not believe that any composer fi-iends insisted it should be "Wait till the clouds roll will admit that his reputation suffers when a few of his by." Another faction demanded a livelier air, called melodies are reproduced on the street-organs and other "Dancing Jimmy." The two factions became greatly musical boxes to which you allude ; I believe, on the con- excited, and in the melee a dozen razors were flashed trary, that airs which are thus made pfiblic not only do not in the suidight. A coloured constable on the ground lessen the reputation of the composer, but give it an arrested the fighters. Anthony attempted to rescue his additional popularity which is not unwelcome. Of course, friends from the officers. The constable, after repeated the composer likes great singers —celebrated tenors and warnings, drew an old, rusty, pepperbox revolver, and illustrious prima donnas yet there is good in the rox — shot him. Several other men were severely wounded in popitli, and he is far from despising it." Kossini was next the fray. The negro has always been fond of music, but appealed to, but his reply is not given. It was evidently it would hardly have been thought that whether "Wait much to the same effect as Halfivy's, for Auber, who till the clouds roll by" or "Dancing .Timmy" should be was the third composer to whom the question was referred, played first was a question of sufficient importance to wrote:—"I entirely agree with Rossini and Halevy, and cause ^ score of sober enthusiasts to go at each other's I beg to add my testimony to theirs. The success of the throats with deadly weapons. street is not the least flattering of all." Not one of these distinguished musicians went so far as to declare that the strains of a hand-organ were soothing to him, or that he General Grant and Mosio. —Amongst other reminis- had an active liking for the lugubrious outpourings of a cences of the late General Grant is one concerning his hurdy-gxirdy ; and therefore it may not be sesthetically singularly intense dislike for music. Many persons do incumbent upon a mere every-day lover of music to go not care for music; others only like certain kinds of music; into raptures whenever Giovanni Giovanelli elects to but General Grant positively detested it in any and every chum out discordant fragments of opera within hearing. form. The narrator who recalls this curious trait in his It may be added that the composers of the advanced character remarks that, when Marshal MacMahon was school, writing with a sublime contempt for, or neglect of President of the French Republic, he had frequently an melody, are not likely to suffer from "grinding," or to opportunity of seeing the patient endurance of the Ameri- gain popularity after this manner. can hero put to a severe test. Being on a visit to the French capital, the Marshal used often to place the Presidential box at the Grand Opera at his disposal, and APPOINTMENTS. etiquette prevented him from declining the proffered Me. John M'Laken, leader of psalmody in St. Bryce- courtesy. He could not stay away, but what he endured, dale Pree Church, has been appointed teacher of music we are told, in the cause of politeness on such occasions under Kinghorn School Board. can best be understood by those who knew him intimately. Me. William G. Uunsmokf, (late of Holyrood P. C), He would sit passively enduring what to him was real has been elected precentor of Campbelto^vu V. P. Church. suffering throughout an opera ; not a muscle of his face After hearing a leet, which were chosen out of the twenty- would change or betray him; but afterwards he would eight applications sent in, the precentor's Committee gave confess to a friend the reality of the sufferings he had in their report at a meeting held for that purpose. Ex- undergone. His disHke for music also caused him real Provost Greenlees moved, and Mr. A. Colville seconded, inconvenience when in society. Those who knew of it that Mr. W. G. Dunsmore, of Edinburgh, be elected pre- took care that if the General was at a "soiree" there centor. The motion was put and carried unanimously. should be neither singing nor piano-playing; but in many — — — ; —; ; —;

^EE MUSICAL TREASVrT. 13 ibstances his host and hostess were unacquainted %vith this George Elliott KESt, Askern, Doncaster. peculiarity, and amateur vocalists and pianists would Britannia's Heroes of the Nile. Written and composed insist on i^erforming for his benefit. His answer to by George Elliott Kent. Price 2s. There is an appalling "What shall I sing, or what shall I play to you, General?" recklessness about the following lines (which are a fair in such cases was the discouraging one, " Something specimen of the words of this patriotic song) that cannot short." fail to satisfy the most sanguinary jingo : Let Hicks and Goidon be your cry Brave British heroes to Khartoum hie IRew flDusic. Tho' death and hell before you lay. There Br-itain's flag must float to-day, J. WiGHTMAN" & Sou, 13 South Castle Street, Edinburgh. Tho' reek and blood All up iha way. Mil Harp is upon the WiUow. Sacred Song. Words vigorous and spirited. Key by Newton. Composed by W. P. Gale. Price 2s. The music is appropriately A Although sacred songs are not in great demand in the compass E to 1). musical market, a composition of this class, with any Henry Klein, 3 Holborn Viaduct, London, E.G. claim to merit, rarely fails to secure a fair measure of Pauline Lueca Waltz. Price 2s. Botsehafter (Ambas- success. Aly Harp is vpoii the Willow, the composer of sador) Walts. Price 2s. By Henry Klein. These two which is known in Edinburgh as a clever orsanist and sets of waltzes are excellent examples of this prolific com- choirmaster, is distinguished by a melody and harmony poser's best workmanship. Both are admirable dance that are at once simple and effective. Mr. Gale has been measures, and possess considerable musical interest. especially happy in the selection of his words, and displays the Last Muster. Song. Words by Juba Kennerley. excellent taste and unmistakable ability in their treatment. Composed by Henry Pontet. Price 2s. There is genuine Key E flat ; compass B flat to E. artistic beauty both in words and music of this song. The former belong to the best class of song poetry, and Mr. T. H. Barnbtt, 40 Poland Street, London, W. Pontet has dealt with them in a manner well worthy of The Finished Song. Words R. Sydney. Composed by his reputation as an accomplished and sldlful musician. by Orsino Salari. Price 2s. An admirable song with a There is an ad lid. harmonium accompaniment. Three pleasing melody and highly elaborate, if somewhat heavy, keys—B flat, C and B flat ; compass, B flat to D. accomijaniment. The words are of more than average Earth's Secret. Song. Words and Music by Oonagh. merit. Two keys flat and F. —E Price 2s. Simplicity and prettiness are the chief features

; to G. C. B. Tree, 132 Petherton Koad, Highbury, New Park, in this petit ballad. Key B fl.at compass E London. Our Darling. Song. Words by Hay Lotinga. Com- flDu0ical (5o66ip, posed by Lindsay Proctor. Price 2s. There is a simple pathos in this pretty little ballad that should make it New music, and matters of interest for notice in this column, shonld addreBBed. Ediiok, Musical Treasury, 11 ^. Bridge, Edinbtu-gh. popular. Three keys—F, G, and B flat ; compass B be flat to D. (J'H r iiday, tlie2Siu August, i no nicinbcis ul i\ oud- side Church Choir, Glasgow, met and presented Mr. .T.Clap- Orsborn & TocKWOOD, 64 Berners Street, London, W. perton with a handsome epergne, as a token of the high The Vesper Voluntaries Harmonium, or for Organ, esteem in which he was held Ijy them, and as a mark of their this series is assuredly Ameriean Organ. Book Seven of appreciation of his services in the capacity of organist and of the best offered the public in this one shilling's worth to choirmaster of Woodside Clmrch. Mr. Wilson, inafeW' harmoniumists age of cheap music. Young organists and words, made the presentation. Mr. Clapperton replied in will find in this beautifully harmonised numljer many suitable terms, and thereafter a pleasant and harmonious themes that really play. The book are a pleasure to evening Avas spent. Mr. Clapperton (who was recently ap- deserves : Pianoforte. a large sale. Drucie Dance for the pointed organist of Sandyford Church) has also been elected Price Is. 6d. Carpenter. easy and tuneful, By A. J. An to Belmont Estabhshed Church, the duties of which he will if not very Words original piece. The Freebooter. Song. carry on in addition to those of Sandyford. by Lindsay Lennox. Composed by Morton Elliott. The Glasgow St. Andrew's Musical Association, Price 2s. net. The composer has been successful in under its clever conductor, Mr. D. S. Allan, will shortly be hitting off the rollicking joviality which is generally in full swing, and is even now engaged in %veekly rehearsals. associated with members of the "freebooter" fraternity. During the coming season, this Society will, judging from It is a capital song for a baritone. Two keys—F and E its scheme, not only sustain, but add to, the high reputa- flat; comp>ass C to F or D. Danse Entransim/. Com- tion won in past years. Strong in membership, with many posed by E. Boggetti. A sprightly and pleasing piano first class voices, and led by the beat of so able a con- sketch. It is not at all difficult, and being extremely ductor as Mr. Allan, much good work may be anticipated. " catchy," it is just the sort of piece to attract and interest After the presentation in Dublin to Madame Marie young executants.— Pw(7 Polka. Price 2s. By the same Macfarlane and twenty- composer, is somewhat unequal, but the trio move- Rose of a gold bracelet by Major of the Irish capital, the crowd ment is bright and pretty. The frontispiece is neatly three ladies and gentlemen to the illustrated.— Once in a While. Song. Words by G. outside wished to draw the prima donna's carriage Clifton Bingham. Composed by Arthur J. Greenish. hotel, and in the struggle somebody purloined a silver Mapleson's side Price 2s. The fashion set by the popularity of Same cigarette case out of Colonel Henry Day has induced many song-wiiters to imitate, with pocket. There is something hke a precedent for this, the more or less success, this style of drawing-room ditty. as it seems when the Dublin crowd wished to drag triumph, the horses were Onee in a While is a charming example of this class, the late MdUe. Titiens home in melody being fresh, and the accompaniment uncommonly never returned, and Lieut.-Colonel J. H. Mapleson and matter with the good. There is a violin ohbligato. Two keys—C and A Titiens had subsequently to arrange the compass G to F, l^rosaic Uvery stable-keeper. — :

14 TEE MUSICAL TREASURY.

guishiug tones appear in the melody, but tkey are neverthelesa Bonoutable /Mention Certificate. implied, and woukl. of course, be introduced, if the melody were of the parts. J. C. G. Test No. 5 (New Notation). harmonised, in some a. Construct as many common chords, in various positions, as PASS LIST. you can, using r in the key of as the bass note in every case. Airdrie, Robert Houston. Glasgow, Robert Gray. h. Harmonise the following bass, mal;ingf.ur-part harmony; no Barrow-in-Fiu-ness. J "W. Dudley. Alex. Stirling. note shorter than one puUeioXiQ used in the added parts : Smith. „ T. Wawdsley. Hugh Tunibull. Key B flat. Cambuslang, Andrew Archibald William Carfin, Thomas M'Grady. James Y.Piukerton. { di :si d .ti,li:si/i.ni^i|di .ri,nii:fi,S|Xi,Wi} Carnwath, William Prentice. Leslie, W. S. Stephenson. Castle Douglas, John Welsh. London, Chas. Iseard. James S. Monro. Perth, George Archibald. .Hi ,fi :sr ,li .S| ,fi Hi .fi ,si : li ,ti .li ,si Ediuburgb, { n } James Storrar. „ David Mltchley. Slamannan, John Strathie. Strathbuugo, Robert Wilson. {|fiAni/i:si .S2 |di :- |- : || Forfar, John Esplin. c. Tell what keys the chorda in requirement a would be D, or L chords of. Cotrespon&tng Class, a. Key E. SoinTioN of Test No. 4. For conditions, see ''Star" for October, 1884. .f {.s |d .n :s .,fe s .,re;n .,t| d .r -.n } First Course—HARMONY. Primer, " Harmony," by Dr. Stainer. {|s .n^:s,li |s .l,t :dip:i.t |di :- .d' } Text-book— Novello's Music XIII. {jf .1 :di .,t di .,se :1 .,I<1 |f .s :1 .ta } Lesson Chap. X., page 7G. Study pars. 116-118, with intervening examples. di,ri.ta di .,di di,s.l,t di : - di.l,ta: : .t,l : s^ .Pipe d 1 is rarely { | .|| iYoi'e.—In par. IIG we are told that the suspension 4 to 3 fouud on the sub-dominant and leading note. It is much more frequently employed on the sub-dominant than on the leading note. ri Stainer says the reason it is rarely used on the sub-dominant is |d:Pl.f s |di:t |l 1 : t |s : PI |r {d :n || 3:tjil | because the fourth from the sub-dominant is an augmented fourth; 3. 4. this, in my opinion, is no valid objection, as the fourth, being augmented, und also by reason of its incisive character as the |r :mi|n :b |f :n |r ||r n :f^|l ;f jn :r d note, only renders the discord more piquant. The per- {r | leading cussion and the resolution of the suspended fourth on the sub- 1. Cadence modulation. dominant produce a sti'ong and effective contrast of pungency and 2. Transition to the dorninant of the first sharp key. sweetness which cannot be so effectively and so simply obtained 3. Extended tra-isitional modulation. by any other means. Here is a common instance of the suspended 4. Passing transition to the sub-dominant of the original key. fourth on the sub-dominant: — c. Kev E flat B flat. t. CI ^ ^ A

: s : n d' t |1 ll>r|d :Pli|s :Pl d :li si E a F d af 1 {1 |{ G C d. f. Aflat. LA/IisF. E flat, t. t. A flat. E flat. t. C, E F fourth on the leading note has less to recommend {..1 ti |li ||i.r :«dj|'"l:f \n :r |d Tho suspended i|li:M|ti:r |d |n 1| it, as the resolution must be effected on the chord of tho leading contrast The following is the explanation of a few points wherein some of note, which is not a completely consonant chord. The tho test-papers were wrong: — between the percussion and the resolution of the suspended fourth on neither In tho first lino of the test this passage occurs:— the leading note is not so great as in the previous example, is the result so satisfactory as in most other suspensions; never- : d .,sei 1 re I n .,ti 1| theless, it might be employed thus:— Divested of what wo may consider its embellishments, the passage

: the-e being tho three plainly thus: | PI would stand d I li. El Dl notes of the minor chord. Each of ihe notes is approached in the test F- by a semitone from below. The notes of approach being quarier- F- considered as non-essential; O ^u?se iones, may be they are, in fact, C B,- incidental guiding notes, or nielo lic leading notes, directing the ear The pupil is not advised to employ this, unless it be in a sequence. to the three principal notes already mentioned, Pl . d . 1|. In the Exercise.—Instead of doing the exercise given after par. 118, write major, the parallel passage to PI . d . 1| is s .PI . d ; and if we every note of tho scale, in the key of D. ornament this latter i^assage similar to the minor passage in the 4 to 3 suspensions on Study par. 119. test, the result should be what we have given in the above solution at ^o^e.__The student may here be a little perplexed. In par. a. There is another point. The ta-'s given in our solution were, in 116 he is told that the 4 to 3 suspension is found on every most of the papers, set down as t's; this is wrong. The test is degree of the scale, and in this par. he is told that when it written in the "improper method." Had it bean put in the occurs on the 5th degree of the scale it is not a suspension. This ''better method," the key would have been changed at the last is a trifle paradoxical. Clearly, if the 4 to 3 on the dominant is ^^'^; ' preparation, note of the second line, thus: i_| because if twenty prepared, it is a suspension; because, having a proper percussion, and resolution, it follows the common rule of all notes are taken in succession, beginning at this poinf, they will be suspensions. "When the 4 to 3 on the dominant has no preparation, found to be the very same in effect, and in relation, as the first then it may be considered as an individual chord of the dominant twenty notes ot tho test; showing that the first passage of twenty elevenllL The dominaiit eleventh is the dominant ninth with notes is repeated further on in another key. If the test were another third superposed. With its full complement of notes it written in the "better methoJ," the fourth last measure, for appears thus:—6—B—D—F—A—C. In four-part harmony it example, would appear thus: and the |Pl.djr:n,f.r[Pl, usually appears thus:—G—D—G—C, having its root doubled; or major pariiilel would be this: in the im- | s .H ,f :s ,1 .f I S; thus:—G—D—F—0, having its seventh introduced; in both ways method the above exti act appears in the test proper thus we find the chord employed in Ex. 112, but there the discord C its mo^o/' parallel |l,f,S:l,td.3| 1, and should appear in the (that is the 4th), being prepared, it must be considered as a properly solution as we have given it. treated suspension. of the candidates Several mentioned that they did not know Study pars. 1*20, 121, with intervening examples. exactly how to work the b requirement, being puzzled as to how A'ote, —From the former of these pars, it will easily be discerned necessary to make the changes of key without using accidentals. that when the note of discord moves up to its resolution it is called Seeing that it was only the melody of the paalm-tune toat to was be a. 7'iiardation : this is in contradistinction to suspension, "which the written, it only be explained th'.^ need that key may change with- device is called when the dissonant note moves down. out of the distinguishing tones any appearing in the melody. In the Exercises. —Vaso 80, No. V.; page 119, Nos. 70, 82. of this solution requirement, as given above, none of the distiu- Write a L.M, tune introducing 4 to 3 suspensions. J. 0. G, ! ; ; " —

ADVERTISEMENTS. 15

KOHLKRS' OLD FRIENDS WITH NEW FACES. Ikoblers' Musical Star, /IDusical TXvcnsuv^, KINDERSPIEL: No. 169—For October. Ho I Comrades, ye whose Fathers fought (Part For October. A Song). Blossoms (Part Song). David Baxter, M.A. No. 77-Staff Notation. Price 2d. Down by the River Side I Stray (Song). J. R. Thomas. Ho! Comrades, tb whose Fathers fought. Gathering Shells by the Shore (Song and J. C. F.E.I.S. Blossoms. Bavid Baxter, M.A. By GRIEVE, Cliorus). W. Thompson. Softly she padbd. G. F. Root. Sol-fa, 2d. Staff Notation, Sjrmphonies and Day Softly Dying (Duet). ZiS(3arelli. Accompaniments, Is. Od, Ocean Lullaby (Part Song). Now Ready, had op all Musicsellers and CONDUCTORS. CHOIRMASTERS, Newsagents. EDINBURGH Kohler & Son, Edinburgh. PRECENTORS, & OTHERS. TONIC SOL-FA COUNCIL NEW SACRED SONG. Price 23. Mr. F, Laubach supplies Orchestral Parties of THE LOYINa SHEPHERD. any number, froDi four or five upwards, for Oratorio or other Concerts. A Loving Shepherd is my Lord, First-Class Artists. Terms Moderate. My way of life he guideth IN CONNECTION WITH THE COUNCIL, Solo Singers Provided. No care have I, for in His word, WILL I)R PORMED IN Concert Parties Organised. My happy heart confideth. pastures green He feedeth me, Bands for Bazaars, Flower Snows, &,c. In Hall under Free Tron Church, My noonday walks attending ONLY ADDRESS— By pleasing streams he leadeth nie, CHAMBERS STREET, My midnight hours defending. — Words by Miles Sandeys. As under Music by Bernard White. Elementary and Intermediate Classes (Teacher. J. M. on Kohler & Son, Edinburgh. Mr. GRAHAM), Monday MUSICAL AGENCY, Evenings, beginning 5th October, 1885. 5 DUNDAS STREET, JUST PUBLISHED, Elementary Class meets at 8 o'clock. Terms, 2s. Gd. per quarter. TN THE EDINBURGH. Intermediate Class meets at 9 o'clock. STAFF NOTATION WITH ACCOMPANIMENT, Terms, 3s per quarter. Matriculation and Advanced Classes S^WAN & CO.'S "The March Of the Cameron Men," (Teacher, Mr, JAMES SNEDDON, Mus. Bag.), AND on Tuesday Evenings, beginning 8th October, 1§S5. MI & POPULAR PUBLICATIONS. ? "Will ye no Come Back Again J^fATRicuLATiON CLASS inccts at 8 o'clock. Terms, 7s. Gd. per quarter. Barcarolle, for Violin andPiano,&yS".roZ/mrs(, 3a Arranged as Part Songs by Advanced Class meets at 9 o'clock. Nocturne, 3s. „ „ „ j-j^i^:es ^oia.ics'xonsr. Terms, 10s. per quarter. Reverie, „ „ „ 3a. 3d. each. Fees in Advance. Berceuse, „ ,, „ 38. Payable Melodie, „ „ „ 33. To be had also in Sol-fa Notation m Kohlers' Members can be Enrolled by applying to the Impromptu, ,, „ „ 33. " Musical Star," Nos. 3 and 133. Pnce Id. each. Secretary, Romance, ,, ,, „ Ss. GEO. MORRISON, Duo, for twoViolina and Piano, hyff. Brandon, 3s. Farewell— In Preparation. 17 Parkside Street, Edinburgh, Duet, ,, „ 33. All the above are Original Melodies, easily *' The Auld House." Or at the Hall on night of Meeting. arranged, and Single Copies may be bad. Post •'The Covenanter's Widow's Lament." Free, Is. 6d. net. "The Auld Edinburgh Cries," &c. CONCERTS, RECITALS, h. Messrs. PATERSON & SONS, 27 George St., FOR THE Edinburgh. Children's Evening; J^arty* Messrs. KOHLER & SON, 11 North Bridge, J. 8. JACKSON, Edinburgh. A Collection of Games with Tunes. Songs for the Little Onea, Quadrilles, Waltzes, Schottisches, CHRISTMAS PIECES IN "MUSICAL STAR." Polkas, Country Dances, Vocal Marches. &c., &.C., For Testimonials, Terms, and Dates, compiled and aiTanged for an Evening's Amuse- Sacred. No. please Address ment, by T. S. Gleadhill. Glory be to God on High, . . . Silclier, \G 'Tis Night on the Silent Mountain, J. M. Tennei/,'3S 1 SPITTALFIELD CRESCENT, Frict One Shilling tiet. Oh Rmg the Merry Bells 40 SWAN & CO., 4 Great Marlbokodgh Street, Oh Come all ye Faithful {Adcste Fiddes,) . 43 EDINBURGH. London. To us a Child of Hope is Born, Lowell Mason, 4!i

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