Hand Gimnastic- For the Scientific Development of the Muscles Used in Playing the Pianoforte_Ridley Prentice

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lLUlvj|MA\JAUA.UAUJLU^Lj(Ld

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11.

On

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at Sight - - -

₇₀

12. Exercises; Studies'^

...

yi

13.

The

Orderinwhichthe Sonatas ofourClassical Masters

should bestudied - - " ₇₃

14. Classification of Composers; their Styles

and

Schools

-74

15. Concluding

Remarks

₇₅

Appendix.

—

The

Pianoforte

and

itsPredecessors

-77

Vocabulary of Technical

Terms and Expressiom

connected

with thePianoforte

-..«..

_yg Chronological Table of Composers.

Cornell University Library

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Hand aymnastics:for the scientific deve

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634 252

Edited

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HARMONY

D

r.

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CONTENTS.

: .

Subjects includedin thestudy of

Harmony

: Scales, Intervals,

Chords, Progressions

—

The

different kinds _of Scales : Diatonic, Chromatic,

Enharmonic

—

Variety of

forms

of

Minor

Scale

—

Relation of Scales

—

Diagram

of Division of Scales

—

Key

—

Relation of

Keys

—

Cycle of

Keys

—

Method

of reckoning

and

naming

Intervals

—

Major, Minor,

and

Diminished Intervals

—

Table of Diminished Sevenths

—

Simple

and

Compound

Intervals

—

Diagram

of threefold Division ofIntervals

—

The

Construction

of Chords

—

Common

Chords

—

Rules governing the Succession of

Common

Chords

—

Examples

and

Exercises.

—

Inversion ofChords

—

Figuring of Chords

—

Distribution of Parts

—

Treatment of Leading-Note

—

Examples

and

Exercises.

—

Different kinds of

Motion^—

Rulesgoverning the filling in ofBass Parts

—

Examples

and

Exercises.

—

Analysis of Simple

Harmony

—

Chorals to be

Analysed

—

Chord

of the

Dominant

Sevenths-Its inversions

—

Their figuring

and

treatment

—

False relation

—

Examples

and

Exercises.

—

Suspefisions

—

Suspension ofnine to

Mght

—

Inversions

of nine to eight

—

Examples

and

Exercises.

—

Chord

of

Dominant

Ninth

—

Its inversions, treatment,

and

figuring-'^Examples,

and

Exercises.

—

Suspension of four to three

—

Its resolutions '

and

inversions

—

Dominant

Eleventh

—

Its inversions

and

resolutions

—

Suspended Leading-Note

—

Its resolutions

and

inversions

—

Exam-ples

and

Exercises.

—

Double Suspensions

—

Triple Suspensions

—

Examples and

Exercises.

—

Different Triads

—

Their nature

and

treatment

—

_{Chords of} the

Augmented

Sixth

—

Suspensionsix-four tofive-threeon the Tonic

—

Six tofive on

Dominant

—

Neapolitan Sixth

—

Passing-Notes, Diatonic

and

Chromatic

—

Cadences

—

Attendant or Relative

Keys^Modulation

—

Exercises.

—

Conclu-sion.

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HAND

GYMNASTICS

For

the

Scientific

Development

of

the

Muscles

used

in playing-

the

Pianoforte

BY

RIDLEY PRENTICE

Author

of"

The

Musician," S-c.

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YORIC

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:

NOVELLO, EWER AND CO.,

PREFACE.

The

aim

in this little

book

hasbeen to sketchout a course of

gymnasticssuitableforuseinschools

and

classes. I

have

tried,

on

the one hand,to renderitso completethat thevtirious sets of muscles in the wrist,the hand,the fingers,

and

to a certain extent in the

arm

also, should receive

due

development.

On

the other hand, I

have

kept constantly in

view

the necessity

of avoiding

any

exercise in

which

there could be the slightest

chance

of danger

owing

to carelessness or misunderstandingof

the directions given.

Several

schemes

for gymnastic training of the

hand have

been

alreadyputforward, the chief being Miss Lefifler Arnim's "

_Wrist

_and

_Finger

_Gymnastics

_"

_and

_Mr.

_Ward

_Jackson's "

Gymnastics

for the Fingers

and

Wrist." Miss

Arnim

gives three classes of exercises: Active, Duplicate

and

Passive.

In the Duplicate exercises the fingers of one

hand have

not

merely to perform certain motions, but have, in addition, to

overcome

the resistance of the otherhand. This

seems

to

me

decidedly dangerous, because it is impossible to ensure that pupilsshouldsufficientlymodifytheopposing force.

Mr.

W^ard

Jacksongives, besides the free exercisesfor

hand

and

fingers,- a series to be performed whilst holding cork

cylinders

between

thefingers,

and

another series in

which

the

-finger-tips are to be placed

upon

a notched stick.

These

exercises areveryingenious,but his system is based

upon

the idea that the chief source of stiffness is in the transverse

ligaments lying at the

back

of the hand,

and

he does not,

I think, sufficiently insist

on

the importance of training the

extensor muscles.

In using the present

manual

in schools

and

classes the exercisescanof course bedirected

by any

oneof the teachers, as

no

musical capacity is needed; but 1

would

strongly insist

on

the necessity of a thorough

comprehension

ofthe elementary

principlesof

muscular

actionas describedinthesecondchapter,

so that the directions given

may

be clear,

and any

deviation

from

theproper performanceof the exercisesatonce detected.

The

illustrations are

drawn

from

photographs

taken

by

Messrs.

Window &

Grove, Baker

Street.

The

original of

tiiis

book

is in tine

Cornell University

Library.

There

are

no

known

copyright

restrictions

in

the

United States

on

the

use

of

the

text.

CONTENTS.

PAGE

Preface ,., ₅

-CHAPTER

1 ₇

Increasing demands upon technique

—

Danger of excessive practice

—

The remedy

—

Objectors to purely technical work

—

Necessity for regular and scientific gymnastic training

—

This

must be intelligent, not mechanical

—

Should begin with, or

before,thefirstattemptsatplaying.

CHAPTER

II lo

Processes involved in playing

—

Balance of opposing muscles

—

Brief description of muscles

—

The keyboard unsuitable as a gymnastic apparatus

—

Danger of mechanical practice

—

Mr. Walter Pye onhammerman's andwriter'scramp

—

Control the

chief object ofmusculartraining.

CHAPTER

III 14

Classification of exercises

—

Valueofgymnastics in the intervals of practice

—

Selectedseriesof exercises

—

Cautions.

CHAPTER

IV 17

Exercisesforthearm.

CHAPTER V

• 20

Exercisesforthewrist.

CHAPTER

VI 25

Exercisesforstretchingthehand.

CHi^PTER

VII zg

Exercisesforthe fingers

—

Knucklejoints,middlejoints,endjoints.

CHAPTER

VIII ₃₇

Exercises for thethumb.

CHAPTER

IX 39

CHAPTER

I.

INCREASING

DEMANDS

UPON TECHNIQUE—

DXt^GER'OF EXCESSIVE PRACTICE

THE REMEDY

—

OBJECTORS

TO PURELY TECHNICAL

WORK

NECESSITY FOR

REGULAR

AND

SCIENTIFIC

GYMNASTIC

'TRAINING ^THIS

MUST

BE INTELLIGENT,

NOT MECHANICAL

SHOULD

BEGIN WITH,

OR

BEFORE,

THE

FIRST

ATTEMPTS AT

PLAYING.

The

demands made

by composers upon

theexecutive abilities of players constitute

an

ever-increasing quantity.

Of

this fact three representative

names^Beethoven,

Chopin,Liszt

—

furnish sufficient proof. Students are accordingly obliged to devote

more

and

more

attention to

mere

technical study, to the training of the

implement

they are to

work

with. This

would

be a

most

serious matter

had

we

only to consider the lossof

time involved; for to the student every

moment

is precious,

and

the

day

far too short forthe

work

tobe done. .Stillmoi-e

lamentable is the muscular

and

nervous strain

which

is the inevitable result, a strain leading often' to a complete

break-down,

ortoa deadeningoftheartisticperceptions

and

faculties

;

the latter being perhaps a greater, because a less recognised,

dknger.

One

of our cleverest

young

pianoforte professorshas

told

me

that he used to devote regularlyfour or five hours a

day

to

mere

technical study, with the result that in the

evening his muscles

were

in a state of collapse

and

refused altogetherto

do

theirwork. I

am

bound

to say he has

by

this

means

attained a very fine technique, but not without serious

apparentloss in other respects.

One

hears

more

and

more

of students

who

have

developed

some

weakness

in finger,

hand

or arm,

owing

to excessive practice at the keyboa,rd,

and have

consequently

been

com-.pelled to take three or six months' rest.

Now

this means, not

only the loss of so

much

precious time,

which

can never be

made

up, but also a probable return of the

weakness

at

some

critical

moment

of strain

and

effort,

when,

as a consequence,

it is not unlikely tliat the opportunity of

becoming

8

HAND

GYMNASTICS.

The

question for us is: "Is there

no

remedy

for this state

of things? "

The

remedy, I venture to say, lies ready to our hand, if

we

willonlytakeit.

In order to perform the varied

and

intricate

movements

needed

in pianoforte-playing, thefingers

and hand must

be ina state of perfect development

and

training. Hitherto, as ex-plained inthe following chapter,

we

have endeavoured

tosecure this training solely

by

exercise atthe

keyboard

; in

many

cases

with fatal results,

owing

to the

undoubted

fact that this

was

never intendedto serve thepurpose of a gymnasticapparatus.

The

consequence has

been

a vast waste of time, and, in countless instances, severe injury to the delicate

mechanism

with

which

we

work.

A

well-known English musician has declared that "Allthese

ugly things are amistake" (referringto technical studies),

and

inone sense he

was

right in his opinion.

Madame

Schumann

saysthattechnical exercises areusedtothe extent of dragging

allthe

music

out of the pupil's brain.

Von

Biilow maintains

that the flexibility gained

by

the practice of

monotonous

five-finger exercises is acquired at the cost of a loss of musicai

intelligence. " Involuntarily," he says, " the performer loses

all thought of

what

he

is playing. Tfie lack of

charm and

interest in the task produces absent-mindedness, and, finally, utterthoughtlessness.

The

player

becomes

a

mere

machine."

If, however,

we

are to

abandon

the

bad

method,

and

lessen the

amount

of time devoted to these exercises,

we

must

find a

good

method

to take its place.

The

hand

should undoubtedlj' be subjected to a simple, yet scientific,

course of

gymnastic

exercises before

any

attempt is

made

at playing,

and

this training should be persevered in afterwards,

during the years of musical study,

accompanying and

supple-menting

technical exercises

on

the keyboard. Inthe ordinary

employments

oflifethefingersreceive

remarkably

littletraining,

exceptin thesimpleaction of grasping;

and

even in thB best

developed

hands

thereis generally a lack of controlling

power

overthe varioussets ofmuscles, sothat it is almost impossible

to

make them

actsingly.

A

simple experimentwillprovethis.

Take

aclass of a

dozen

girls

and

make

them

try Exercise 22, holding the

hand

straight out with fingers close together,

and

then opening

between

the middle

and

ring lingers; probably half of

them

will be unable to

do

it freely. If that isthecasewith such a

simple motion,

how

can

we

expect Ihat the intricatemotions

requiredat the

keyboard

can be executed except as the result ofincessantlabour

accompanied

by

a quite unnecessary

amount

HAND

GYMNASTICS. 9

In our

gymnasiums

this fact of the lack of training for the

hand

seems, curiously enough, to

have

been overlooked

;

though

provision is

made

for the

development

of all other parts of the body, the fingers

have

received

no

attention. In only one instance

have

I found

an

apparatus

for their use,

and

that

was

merely

a

set of keys, resembling thoseofthe pianoforte, with weightsattached.

It

must

always be bornein

mind

that fullbenefit can only be derived from these exercises ifthey areperformedintelligently

and

thoughtfully.

Mere

mechanical motionof

hand

or of finger will effect nothing; the. attention

must

be firmly

and

un-waveringly directedtowards the

accomplishment

of the action exactly in,the prescribed

way

—

e.g., in Exercise 17, towards

preventingtheslightestmotion or^even tremblingofthe fingers

CHAPTER

II.

PROCESSES

INVOLVED

INPLAYING

—

BALANCE

OF OPPOSING

MUSCLES

BRIEF DESCRIPTION OF

MUSCLES

THE

KEYBOARD

UNSUIT--

ABLE

AS A-

GYMNASTIC APPARATUS

DANGER

OF

MECHANICAL

PRACTICE MR.

WALTER

PYE

ON HAMMERMAN's

AND

WRITER'S

CRAMP

CONTROL

THE

CHIEF OBJECT OF

MUSCULAR

TRAINING.

The

artofpianoforte playing,likeallotherarts,hasto

depend

"for the

accomplishment

of its intellectual ends

on

physical

means.

Without

using

any

technical terms

we

may

describe the

process of playing as follows:

The

brain receives certain

impressions

and

wills that certain motions shall take place.

A

message

is

conveyed

by

the

motor

nervesfrom the brainto the muscles,

whereupon

these contract or relax themselves

(as the case

may

be)

and

produce the blows

upon

the keys.

The

ear acts as a

gauge

ortell-tale as to

whether

the muscles

have done

their

work

properly

and

carried out the intentions of thebrain.

Thus

the

motor

nerves

and

the musclestogether constitute a delicate

and

sensitive instrument essential to

our purpose. If this instrument is defective or untrained the result

must

be bad,

no

matter

how

finelyorganised

may

bethe brain

and

the sense of hearing.

This is surely an unanswerable reply to objectors

who

say

that

no

mechanicaltrainingisof

any

use,that allexercise

must

be artistic.

Formed

as

we

are

we

can

work

only through mechanical means.

A

great conductor studies a score

and

hears the music perfectly in his mind, but he cannot express

it on the keyboard,

owing

to a lack of mechanical muscular

training.

His

brain is trained to originate, his ear to act as a tell-tale, but nerves

and

muscles are undeveloped in the particular direction needed..

So

with

an

untrained, or

im-perfectlytrained, pianist: his ear is perpetuallyinforming his

brain that its messages

have

not been properlydelivered

and

HAND

GYMNASTICS. II in turn

becomes

unable to act with the requisitedecision

and

delicacy;

and

thus the

whole

artistic nature of the player

suffers,

owing

entirely toa lack ofscientificmechanicaltraining.

Now,

it will be readily admitted that the

keyboard

has

no

pretensions to be a gymnastic apparatus suitable for this scientific training; if

was

not invented for

any

such purpose.

The

player's

hand and

arm

remain practically always in the

same

position,subject of courseto innumerableslightchanges,

which do

not

however

affect the argument.

The

setofmuscles

exercised is always the same.

Here

is at once a source of

weakness. 411 motionsof the limbs, all positions of the limbs,

even

in a.state of rest,aretheresult of a balance

between

two

opposingsetsofmuscles. If

one

set isstrengthened unduly,the otherset

becomes

too

weak

forits work,

and

givesway. Inthe great majority of cases

where weakness

is

due

to excessive practiceit

shows

itself atthe

back

of the

hand and

just

above

the wrist.

To

Understand the reason of this, let us glance

briefly atthemuscles employed.

For

our present purpose those of the

upper

arm

need

not be separately considered.

Taking

the musclesof the

fore-arm

and

hand

we

find two* broad divisions

—

the flexors

and

extensors.

As

the readerprobably knows,theflexorslieonthe frontofthefore-arm, takingtheirrise,

some

from the

elbow

and

some

from the bones of the fore-arm.

They

connect with tendons,

some

of

which

passthroughthe wrist

and

areattached

to the front surfaces of the finger bones, while others are

attached atthe wrist itself.

When

theseflexormusclescontract

they

bend

the wrist

and

fingers.

The

extensors lie atthe

back

of the fore-arm, their tendons being similarly attached to the

back

surfaces of the wrist

and

finger-bones. Theiroffice is to straighten the wrist

and

fii^gers. It is evident therefore that

any

motion,

any

position even, of the

hand

is theresult of a balstnce

between

these

two

opposing setsofmuscles, theflexors

and

the extensors. If ,the extensors

were

absent the

hand

would remain

firmlyclosed;

we

should

have no

power

ofopening

it.

On

the other hand, if the flexors

were

absent

we

should

have no power

ofclosing it. It is easyto perceive thevital

importanceto a pianist of an equal

development

ofeach setof

muscles.

The

numerous

musclesinthe

hand need

notbeparticularised, if

we

bearin

mind

thatthis

same

principle of opposing forces applies in everycase.

They

are briefly

—

muscles

which

move

.thefingers sideways (these lie

between

tfiebonesof the hand) ;

small muscles

which

connect the extensors

and

flexors

and

serve to steady the fingers; muscles for.'

moving

the

thumb

12

HAND

GYMNASTICS.

fleshy partatthe baseofthe

thumb)

; muscles

which

act

on

the

little finger (these lie in the fleshy

mass

at the inside of the hand).

All exercise at the

keyboard

develops the flexors

more

than theextensors;. fortheflexors

have

not merelyto

bend

the wrist

and

fingers,butalso to resistthe

blow

upon

the key. This fact

condemns

the

keyboard

as a gymnastic

and

muscle-training apparatus. It isnot merelythat the flexors

have

more work

to do,butthat

more

attention isdevotedto their actioninstriking the note than is given to that of the extensors in lifting the fingers.

Thisbringsusto theimportant principleof muscular action,

which

must

form the foundation of all successful physical training.

Each

exercise

must be

intelligently

and

thoughtfully

performed, with theattentionfirmly fixed

upon

the desired

end

;

otherwisethemuscleswillwaste instead ofcontinuing togrow. Thi§ pointis brought out clearly

by Mr. Walter

Pye, surgeon

to St.

Mary's

Hospital,

whom

I

may

be allowed to quote as

speaking

on

such a subjectwith authority

beyond

that of

any

musician.

At

a meetingof the Musical Association

he

said:

—

" Directly the will

and

intelligence are separated from

the muscular performance

we

find at first an increased

mechanical efficiency,

and

then,*ifthe

movement

ispersevered

in,

we

get a gradual inefficiency,

which

ends frequently in absolute loss of power.

Hammerman's

cramp

is a striking

example

ofthis.

The

manipulationof nails

and

bolts involves

hundreds

of separate, extremelyrapid,

movements

of the wrist

and

arm.-

A

good

hammerman

will go

on

improving for

some

time,

and

then graduallywillfind his

power

ofperforming these

movements become

ill-regulated, ill-directed, until at last he

loses thecapacity ofguidinghisblows atall.

On

investigation

it isfoundthatthe contraction of these muscles, actingpurely as they

have

got to

do

by

long course of habitwithout the intervention

and

controlof the will,instead of being

done

with

the head, is

done

mechanicallywith the

hand

and

wrist,

and

this has

had

a degenerating influence

upon

the musclesuntil

they actually waste."

Mr.

Pye

then refers to the case of writer'scramp,

and

toa

method

ofcuringit

by means

ofcertain carefully-devised

movements

of themuscles affected,performed

intelligently

and

thoughtfully,

and

sums

up

asfollows: "If

we

are to use our muscles properly

we

must

use

them

with our heads."

The

object ofmusculartrainingofthe

hand

isthreefold, viz.

:

the gaining (i) of strength, (2)of flexibility,

and

(3)o£ control. Itisinthe third of these that finger-board trainingisso defective

;

HAND

GYMNASTICS. 1

3

equal

and

thorough

development

of all the different sets of

muscles,

which

we

have

already

shown

to be impossible

on

the

keyboard. Intheperformance of the followingexercises, then,

two

thingsshould be constantly

remembered

:

—

1. All

movements

must

be intelligently

and

thoughtfully

performed.

2.

The

main

o'bject isthegainingofcontrolover the various

setsofmuscles.

Suppose

a pupilhashithertodevoted

an

houra

day

to purely technical

work

atthe

keyboard

;

and

that, inplace ofthat, half-an-houris spentat the

keyboard

and

ten minutes, twice aday, at

gymnastic

exercises, at leastdouble the

amount

of progress

will

be

manifest; while results will be gained as regards

muscular

control

which no

amount

of

work

at the

keyboard

would

evergive.

Speaking

generally, gymnastics

and keyboard

exercise

combined

will give

more

than double the results

CHAPTER

III.

CLASSIFICATION OF EXERCISES

—

VALUE

OF

GYMNASTICS

IN

THE

INTERVALS OF PRACTICE

—

SELECTED

SERIES OF EXERCISES CAUTIONS.

The

exercises describedinthe followingchaptersare classed

under five heads: those for developing the muscles of the

arm, wrist, hand, fingers,

and

thumb.

The

division is to a certain extent arbitrary,because the action of the various setsofmusclesisnot altogether independent; the

bending and

straightening of the fingers, forexample, being mainly

accom-plished

by

muscles

which

lie in the |ore-arm;

and

it will be seen that finger exercises are united with the

arm

exercises.

Still,this classification is essential as conducingto simplicity,

and

as a help to the student in keeping ever in

mind

the

paramount

importance of a concentration of all the

powers

of the intelligence

upon

the particular object in view.

Every-thing

depends upon

the

way

in

which

the various exercises are

performed; a single thoughtful performance being of

more

availthaninnumerablecarelessmechanicalrepetitions.

Itwillbe found advantageoustogo through a fewgymnastic

exercisesinthe intervals of practice,

where

thetime devotedto

it is long. For this purpose Exercise i has special value as

tending to

open

the chest

and

make

the lungs act

more

vigorously.

The

practice of simple breathing is also very

useful;

drawing

in the breath with

moderate

quickness

and

letting it out again as slowly

and

gently as possible.

The

three

methods

of distending the lungs

must

becarefully distin-guished.

The

greatest capacity of the lungs isat their lowest

part, asthey are here broadest; consequentlythe best

method

of breathing is the abdominal, in

which

the diaphragm, a

membrane

lying just under the lungs, is lowered,

drawing

the

bottom

of the lungs with it. This

method

causes a slight swelling atthepit of the

stomach

at the

moment

of inhaling.

HAND

GYMNASTICS. I'S

The

costal method,

depending

upon

a stretching of theelastic tissues connecting the ribs, is useful as

an

auxiliary to the

abdominal.

The

scapular method, consisting of a raising of the shoulder-blades, should never be used, as it inflates only

the top or smallestpart ofthe lungs.

Where

onlya short time is availablefor thelesson, care

must

be taken

by

the teacher to

make

suitable selections from the exercises so as to secure variety and, at the

same

time, to

prevent anj' exercisesfrom being altogetheromitted.

The

following

may

serve as a

model

for six Short lessons, in the courseof

which

all the exercises are introduced, the

more

important ones being given twice.

The

teacher should, of course, devote extra time to'

any

exercise presenting special difficultyeitherto aclass orto anindividual pupil.

First

Lesson.

Exercisesforthe

arm

... Nos. i

and

2.

» " wrist ... Nos. 5 II _9.

" "

hand

...

No.

11.

" fingers ... Nos. 16, 19, 22,

and

25.

" II

thumb

. .

No.

31.

Second

Lesson.

Exercises forthe

arm

... Nos. i

and

2 (variation).

" " wrist ... Nos. 6 « '8.

'/ "

hand

No.

12.

" " fingers ... Nos. 17,23, 26,

and

29.

II II

thumb

... No. 32.

Third

Lesson.

Exercisesfor the

arm

... Nos. i

and

3.

" " wrist ... Nos. 7 H 9.

" "

hand

...

No.

15.

II II fingers ... Nos. 18, 21, 24,

and

27.

i> II

thumb

...

No.

33.

Fourth

Lesson.

Exercisesforthe

arm

,... Nos. i

and

2 (variation).

II II wrist ... Nos, 4 " 6.

" "

hand

...

No.

14.

II II fingers ... Nos. 16, 25, 26,

and

28,

l6

HAND

GYMNASTICS.

Fifth

Lesson.

Exercisesforthe

arm

...

Nos,

i

and

3.

" n wrist .„ Nos. 9 w 10.

n II

hand

.,.

No.

13.

II " fingers ... Nos. 17,-20, 22,

and

24.

I' thumb- ... No..32. Sixth:

Lesson^

Exercisesfor the

arm

.„ Nos. i

and

2,

II It wrist ... Nos. 6 « 10.

II II

hand

...

No.

15.

ir II _fingers ... Nos. i6r 18, 29,

and

3cr,

I' 1 thumb- ...

No.

_33.

The

importance of an-intelligent performanceof the various exercises is so great,,

and

the necessity of impressing it

on

the pupil's

mind

so imperative, that it

may

be well to

sum

up

briefly, in the shape of a series of cautions, the conditions ofsuccess :

—

1.

Each

exercisehasa definite object.

2. Allexercises

must

be performedthoughtfully

and most

of

them

slowly.

3.

They

must

be performedexactly the prescribed

number

of

times,

4.

They

should produce a feeling of

warmth

and

of slight fatigueinthemuscles

exercised.-5. Ifthe least aching or pain is felt it is a sign that the exercise

has

beentoo vigorouslyperformed.

6.

The

exercises

must

be performed

by

one

hand

at a time except

where

thecontraryisexpressly stated.

7.

The

objectbeingto thoroughly train allthe muscles

and

torenderthe

hand

a perfect instrument,a great variety of exercisesisessential.

8.

For

the

same

reason the

movements

which

differ

most

from those performedatthe

keyboard

willprobably be foundtobeof greatest value.

9.

The mouth

must

be kept shut

and

the

head

erect.

10.

The

best results are obtained

by

the oft-repeated

per-formanceofeasy exercises, not

by any

strain orefibrt.

These

cautions

must

be constantly borne in

mind

both

by

CHAPTER

IV.

exercises for

the

arm.

First

Exercise.

Fig. I, a. Fig. I, b.

(a.)

Stand

upright, with the heels together

and

the toes

turned outwards. Stretch out the

arms

in front ofthebody, with the

palms

ofthe

hands

facing

one

another; at the

same

moment

let the

hands

be stretched

and

fingers separated as widely as possible.

See

that the distances

between each

pair of fingers are equal.

As

the

arms and hands

are thrust

forward count one; retain the position while counting two, three, ifpossibleincreasing the stretch (Fig. i, a.)

(b.)

Bring

the elbows

back

to the side of the body,

bend

them, closethefisttightly

and

bring it in frontoftheshoulder so that the knuckles touch the body.

As

the

motion

is

iH

HAND

GYMNASTICS.

performed count one; retain the position while counting two, three, pressing thefingersalways

more and

more

tightlyinto the

palm

ofthe

hand

(Fig. i, 6). '

(c.)

From

this position stretch the

arms

out sideways level

with the shoulder, opening

and

stretching the

hands

and

fingers as in the first position, keeping the

palms

in front.

Count

asbefore.

(d.)

Return

tothe second position(6), stillcounting.

The

actualmotions should berapid, butthe rate of counting should be slow, about sixty to the minute, so that the

whole

exercise

may

be performed thoughtfully.

Repeat

the four

movements,

a, b, c,d, first with the

palms

downwards,

then with the

palms

upwards, and, finally, with

thebacks of the

hands

together.

Second

Exercise.

Fig. 2.

{a.) Stretch the right

arm

out sideways, as in the third positionofExercise i,

palms

infront (Fig. i,a).

(b.)

Keeping

theupper

arm

fixed,

bend

the elbow,half close the

hand and

bring it

up

level with the ear, lettingit droopa little from the wrist (Fig. 2).

(c.) Stretch out the right

arm

three times, withthe

palm

first up, then

down, and

finallybehind; returnafter each

movement

of position b.

HAND

GYMNASTICS. Ig

In every case count one at the

moment

of performing the

exercise,

and

count two at the

moment

of rest.

Should

the

exercise

be

carelessly or incorrectly performed, the period of rest

must

be doubled

by

counting three, as inExercise i. If

performed properlythis Exerciseis

somewhat

tiring; itwillbe

well therefore to practise the

arms

separately, as

recommended

above.

Variation

of

Second

Exercise.

As

a useful variation of thisexercise, close the fist

when

the

arm

is stretched out, knuckles

downwards,

and open

it

when

the

arm

is bent; but in this case the

hand

must

not be

stretchedout tightly,but

hang

loosely

from

thewrist.

Third

Exercise.

Stretchthe right

arm

out sideways,

palm

upwards.

Keeping

the

upper

arm

still,let the

hand

describe a circle, horizontally,

with the

elbow

as centre, all the muscles being as relaxed as possible.

When

the

hand

is farthest from the

body

the

palm

will be upwards,

when

nearest,the

palm

will be

down^

wards.

Repeat

four times,

and

then reverse themotion.

Go

through

the

same

motions withtheleftarm.

CHAPTER

V, exercises for

the

wrist.

Fourth

Exercise.

Fig

3, a.

{a.)

Bend

the

hands

up

from the wrist, keeping the fingers

curved (Fig. 3, a). Straighten the fingers, stretching out the

whole

hand;

then relax again

and

return to the original position.

HAND

GYMNASTICS. !2I

(6.)

Drop

the

hands

so that they

hang

down

looselyfrom the wrist, with the fingers curved (Fig. 3, b). Straighten the fingers,stretching out the

whole

hand

; then relax again

and

return to the bent position of the fingers.

Repeat

these

motions four times.

Care

shouldbe taken,

when

straightening thefingers, to

keep

the wrist bent.

Fifth

Exercise.

Fig. 4, b.

Turn

the

hands

from side to side at the wrist,so that they

may

point first

upwards

(Fig.4, a), then

downwards

(Fie 4, 6).

Repeat

twelve times with

moderate

quickness, countingotie at

the

movement, and

two

when

the

hands

areatrestateitherside. After the muscles are developed this exercise

may

with

advantage

be

done

rapidly.

Sixth

Exercise.

Keeping

the fingerscurved

and

the

whole hand

relaxed,

bend

the

hands round

slowly from the wrist, so that they

may

describe acircle, first from right to left eight times, then from

22

hand

gymnastics.

Seventh

Exercise.

Fig. 5, b.

Hold

the

hands

quiteloosely,

palm

upwards, withfingers

and

thumb

bent so as toform a hollow(.Fig. 5, a).

Turn

the

hands

round on

thewrists, so that they

come palm downwards

and

withthe

thumbs

together (Fig. 5, b).

Repeat

fourtimes slowly

and

eighttimesquickly.

••*

HAND

GYMNASTICS. 23

Fig. 6, b.

Clasp the

hands

looselytogether with the fingers interlaced

and

the right-hand

thumb

outsidetheleft;

approach

and

retire

the wrists (Fig. 6, a

and

6) twelvetimes.

Repeat

exercise withleft-hand

thumb

outside.

Ninth

Exercise.

24

HAND

GYMNASTICS.

Hold

the left

hand

straight out -vvith the

thumb

at the top.

With

the right

hand palm downwards,

place the

end

of the middle finger against the centre of the

palm

ofthe left hand, then keeping the left

hand and

consequently the

end

of the finger against it still,

and

alsothe right

elbow

still, alternately raise

and

depress the right wrist (Fig. 7,;a

and

b), four times

veryslowly

and

eighttimes quickly.

Repeat,reversingthe

hands

—

i.e., bendingtheleftwrist.

Where

convenient this exercise

may

be

done

even

more

easily

by

resting the finger-tips

on

a table; care being taken

that the tableisatthe

same

height as theelbow.

Tenth

Exercise.

Fig. 8, 6.

The

motion hfere is similar to that in Exercise g, but the

hand

isheld sideways,

and

the wrist bent

upwards and

down-wards

inthat position.

CHAPTER

VI.

exercises for

stretching

the

hand.

Eleventh

Exercise.

Close

the left

hand

tightly. Clasp it with the right

hand

;

placing the right

thumb

over the'left

thumb, and

letting the riglit-hand fingers lie

upon

the fingefs of the left hand, the

26

HAND

GYMNASTICS.

hand.

The

rightwrist will

now

be pressed forwardagainst the left fingers (Fig. 9, a).

Relax

the grasp, without letting go,

and

raise the right wrist.

Repeat

ten times, rather ^juickly,taking care that the second-joint knuckles ofthe left

hand

pressinfothe

palm

ofthe right.

Repeat

withthe

hands

reversed.

Twelfth

Exercise.

Clasp the

hands

tightly, in the

same

way

as in Fig. 6, a,

having the right

thumb

outside. Let the finger-tips press

firmly intothe

back

of theopposing hand. Straighten outthe fingers, still keeping

them

interlaced,

and

the

thumbs

bent. Alternately

bend and

straighten the fingers six times, taking

special care that, during both motions, the fingers press one anotherfirmly at theirroots (closeto the largeknuckles); this

last isa very important point.

Repeat

the motions withthe left

thumb

outside.

Thirteenth

Exercise.

Claspthe

hands

tightly as in Fig. 6, a,right

thumb

outside.

Relax

the grasp

and throw

the

hands

apart to a distance of

about a foot. Alternatelygrasp

and

relax eight times, butlet the grasp always befirm, pressing the fingers atthe roots.

Repeat

withleft

thumb

outside.

Fourteenth

Exercise.

Stretch the

hands

out perfectlyflat,

making

the" fingerseven

HAND

GYMNASTICS. 27

between

thetip ofthe

thumb

and

that ofthelittle fingertothe

utmost extent,keeping the other fingers atequal distancesone

from

another(Fig. 10).

Repeat,fixing the attention

upon

the stretch

—

first

between

the ring finger

and

thumb

(the ring

and

little fingers will

then be close together) ; next

between

the middle finger

and

thumb

(the middle, ring,

and

little fingers close together)

;

and,lastly,

between

theindexfinger

and thumb.

28

HAND

GYMNASTICS.

Stretch both

hands

out flat, with the fingers bent slightly

backwards, left

hand

palm

upwards, right

hand

palm

downwards.

Press the

lump

formed

by

the muscles at the root of the right

"thumb

into the hollow of the left

palm

(Fig. ii, a).

Keeping

the

hands

rather bent

back

at the wrist, twist

them

round,in opposite directions, through a quarter of acircle (Fig. ii, b),

and

then backagain.

Repeat

six times.

CHAPTER

VII. exercises for

the

fingers.

Sixteenth

Exercise.

Fig. 12, a. Fig. 12,b.

Hold

the right

hand

uprightwith the fingers close together

and

bent a little

backwards

so as to exercise the extensor muscles(Fig. 12, a).

Bring

thefingersforward atright angles to their former position, bending only the knuckle joints (Fig. 12, b).

The

thumb

must

retain, throughout, a slightly

bent position, so as to avoid

any

involuntary motion in

sympathy

withthefingers. ^

Repeat

fourtimesslowly.

The same

withtheleft hand.

Seventeenth

Exercise.

30

HAND

GYMNASTICS.

Hold

theright

hand

upright as inthe precedingexercise,but withthe fingersnot quite touching one another,

and bend

one

finger at a time forward fromthe knucklejoint; themotion will

now

onlybe through about an eighth of acircle (Fig. 13).

Be

carefulto avoid

any

sympathetic

movement

ofthe otherfingers or ofthe

thumb.

Move

eachfinger six times.

The

same

withthelefthand.

Eighteenth

Exercise.

Fig. 14.

Again

holding the

hand

upright, as in Fig. 12, a,

bend

the fingers forward from the middle joints (Fig. 14). It is impossible to avoid

bending

also the

end

joints, but the exercise

must

be

done

very slowly

and

thoughtfully so as to

reducethe

motion

ofthese to a

minimum.

Repeat

four times.

The

large knuckle-joints

must

be kept

straight.

The same

with thelefthand.

Nineteenth

Exercise.

HAND

GYMNASTICS. 31

Holding

the

hand

as in Fig. 12, a,

bend

the index finger

forwardfrom themiddlejoint,taking care the other fingers

and

the

thumb

remain

unmoved.

Repeat

four times,

and

then do the

same

with the other fingers in succession.

The

ring finger will probably

move

onlyhalf as farasthe others.

The

same

with theleft hand.

Twentieth

Exercise.

Fig. 16, a. Fig. 16, 6.

Place the

hands

as ib Fig. 16, a, the left-hand fingers pro-jecting about an inch

beyond

those of the righthand.

Very

slowly

bend

the left-hand finger tips,using onlythe

end

joints (Fig. 16,b).

Repeat

sixtimes; then reverse thehands.

Twenty-first

Exercise.

This

is the

same

as Exercise 20, but each finger is to

be

moved

separately, fromthe

end

joint, six times

backwards and

32

hand

gymnastics.

Twenty-second

Exercise.

Fig. 17.

Stretch the

hand

out flat as in Fig. 12, a. Separate as

widely as possible the index

and

middle fingers, keeping the middle,ring,

and

littlefingersclosetogether.

Repeat

six times.

Do

thesame, having thespace first

between

the middle

and

ring fingers (Fig. 17), the

most

difficult position;

and

then

between

the rjng

and

httle finger.

Separate simultaneouslytheindex

and

middlefingers,

and

the ring

and

little fingers, keeping the middle

and

ring fingers closetogether.

Twenty-third

Exercise,

HAND

GYMNASTICS. ₃₃

Hold

the right

hand

with thefingers separated

and

bent at

themiddle

and end

joints (Fig. i8).

^ove

the middle finger

slowlyfirom side toside sixtimesso thatittouches alternately

the index

and

ring fingers.

Then move

the ringfinger in the

same

way

so that it touches the middle

and

little fingers alternately.

The

'knuckle-joints

must

be kept straight, the

thumb

muscles relaxed,

and

all sympathetic motion of the

thumb

and

of the index

and

little fingersavoided.

The

same

withthelefthand.

Twenty-fourth

Exercise.

Fig. 19.

Placethe

hands

with the palms, fingers,

and thumbs

firmly

pressed together.

Bend

the

end

jointsof the fingers, keeping the

palms

together

and

the

thumbs

straight(Fig. 19).

Repeat

sixtimes.

34

hand

gymkastics.

Twenty-fifth

Exercise.

Fig. 20, a.

Fig. 20, b.

Hold

the right

hand open

but with the muscles slightly relaxed (Fig. 20, a). Stretch out so that fingers-

and

thumb

projectslightly

backward

from thelineofthe

hand

(Fig. 20, b);

thefingersnot quite close together.

Repeat

sixtimes.

The

same

with theleft hand.

Where

itisconvenientthisexerciseshouldbe

done

at a table;

the

palm

of the

hand

being pressedfirmly

down, and

then the fingers

and

thumb

raised

above

thelevel ofthetable.

Twenty-sixth

Exercise.

The

same

as Exercise 25, but with each finger straightened separately. Special care is needed in ordertokeepthe

whole

of the palm,

and

the

whole

length of the fingers not being

hand

gymnastics.

Twenty-seventh

Exercise.

35

Fig. 21,a.

Fig.21,b.

Stretch the little finger of the right

hand

so thatit touches

the palm, as nearthe wrist as'possible (Fig. 21, a); the other

fingers will be

more

orless bent, but their tips

must

.not touch thepalm.

Draw

thelittle finger tip along the

hand

until itis as close as possible to the root (Fig. 21, b).

Repeat

sixtimes.

Treatthe other fingers similarly; but the tips of these will

not

approach

theirroots so closely as did the tip of thelittle

finger.

The

same

with theleft hand.

Twenty-eighth

Exercise.

Fig

22.

Hold

the right

hand

as in Fig. 12, a, but with the fingers slightlyseparated.

Keeping

theindexfinger straight,

bend

the

36

HAND

GYMNASTICS.

otherfingers from thesecond joints,

and

also

bend

the

thumb

(Fig. 22).

Repeat

sixtimes.

Then

keep straight the middle, ring,

and

little fingers in succession;

when

the ring finger is kept straight, the others

must

be only slightlybent.

The

same

with theleft hand.

Twenty-ninth

EJxercise.

Fig

23.

Hold

the right

hand

out so that the

arm and

the

back

of the

hand

form a straight lineasfaras theknucklejoints,thefingers

separated

and hanging

loosely. Raisethe fingers so that the

secondjointsare higherthari theknucklejoints (Fig. 23),

Repeat

sixtirnes.

The same

with th§, lefthand.

Thirtieth

Exercise.

CHAPTER

VIII.

exercises for

the

thumb.

Thirty-first Exercise.

Fig. 24.

Place

the tip of the right-hand

thumb

and

that of the Httle finger together (Fig. 24).

Move

the former slowly

backwards

and

forwards six time's

from

the tip of the little finger to its

root.

Repeat

witheach finger in succession; but in the case

of the index

and

middle fingers,thetip of the

thumb

must

be brought

down

onlyasfaras the secondjoint.

The same

withthelefthand.

Thirty-second

Exercise.

Fig. 25, a.

38

HAND

GYMNASTICS.

Hold

the right

hand

flat,

palm

in front (Fig. 25, a).

Keeping

the fingers

and

the

palm

straight,

move

the

mass

of

muscle

which

liesatthe root of the

thumb

so.that it

may

be

completely over the

palm

(Fig. 25, b):

Repeat

six times, stretchingthis

mass

of muscle so that it increases thebreadth

ofthe

hand

as

much

as possible(Fig. 25, a).

The same

withtheleft hand.

Thirty-third

Exercise.

Fig. 26.

Hold

the right

hand

as in Fig. 25, a.

Then move

the

mass

of

thumb

muscle forwards,

and

slightly inwards, so that it

projects'as

much

as possible (Fig. 26).

Repeat

sixtimes.

The same

with theleft hand.

Thirty-fourth

Exercise.

Let

the

mass

of

thumb

muscle

assume

successively the positions

shown

in Figures 25,a; 25, 6; 26. Afterdoingthis six

CHAPTER

IX.

THE

TECHNICON.

The

foregoingchapters containacompletecourse of exercises forthe systematictraining of the arm,the wrist,the

hand and

lingers. If, instead of devoting (say) half-an-hour a

day

to technical

work

at the keyboard, half that time is spent at the

keyboard

and

half in the performanceof gymnastic exercises, not onlywill at least double the result be obtained,but there will be

an

immense

saving of time, because all these exercises

can

be performedin class. Selectionsfrom those given

must

of

course be

made,

longer or shorter according to circumstances,

and

carefully varied _so that no exercises

may

be neglected (see

Chap.

III., p. 15). Regularity is one great element of success: half-an-hour twice a

week

will not

have

the

same

effect as ten minutes dailyin developing nerves

and

muscles,

and

soforming

an

instrument asfitas possible forthe

work

itis calledtoperform.

With

pupils of fifteen years old

and

upwards

still

more

valuableresults

may

be

obtained

by

the use of the Technicon,

an

instrument invented

by Mr.

_J. Brotherhood, of

New

York,

for the scientific

development

of the muscles of the

hand and

arm. It

would be

foreign to the purposeof the present little

book

togo intodetailon the subject of the Technicon, but inits construction

two

fnain principles

have

been observed

—

(a) that special training

must

be provided for the extensors; (6) that each individual muscle, or set of muscles,

must

be exercised separately, with the attention firmly fixed on the

end

desired, theresultbeing the trainingat onceofthemuscle

and

the

motor

nerve

which

acts

upon

it.

The

chief effectof a regular course of

gymnastic

exerciseson the

Technicon

isan increased

power

of control over the motions of the fingers,

and

thus a greater

command

of the finer gradations of tone.

There

also results

more

strength•gffinger,

which

inthesedaysof thick strings

and

ever-increasing tension is a not unimportant consideration.

40

HAND

GYMNASTICS.

they merelystrengthen the muscles,it isnecessarytoemphasise

this statement, that the

most

valuable result is an increase ofcontrol suchas cannot possiblybe gained at the'keyboard.

Proofs are constantly accumulating that in the majority of cases inability toplayquick passagesarises, not from stiffness of muscles

and

joints,but simply from a lack of this pojver of control.

What

is

needed

isthe abilitytouse one muscle,orset of muscles, while all the others are kept at rest

and

under

control. I

have

discussed the matter with

many

medical

men,

to

whom

I

have

shown

the Technicon,

and

they are all of opinion that it is a

most

valuable invention, doing

what

it

professestodo

—

i.e.,developing

and

trainingeach setofmuscles

individually

and

scientifically.

They

think further that it will

be extensively used,

and

prove of

immense

service, in cases

where

there has been a partial loss of muscular

and

nervous

Novellas Original

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AGUTTER.

MiSSADESANCTOAtBANO (EnGUSH) ...

THOMAS

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W.

I.

ARGENT.

Mass,inB flat

P.

ARMES.

Hezekiah

St,John the Evangelist

St.Barnabas s.d. 6 6 6 6 6 6 6 6 3 o The Gipsies Endvmion StabatMater E. ASPA.

ASTORGA.

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Massin Bminor MissA Brevisina

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Christmas Oratorio

Magnificat

Godgoethupwithshouting Godsolovedtheworld

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LIGHT Everlasting

Bide withus

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Blessing, Glory,andWisdom

1wrestle andpray(Sol-fa,zd.)

ThouGuideof Israel

Jesu,PricelessTreasure

WhenwillGodrecallmyspirit Jesus,nowwillwepraiseThee

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LEONARD

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ThbBridalDay

J. F.

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TheRaising of Lazarus

Paradiseand thePeri

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BEETHOVEN—

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KAREL

BENDL.

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WILFRED

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SIR

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SIR

W.

STERNDALE BENNETT

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International ExhibitionOde{1862)

G. R.

BETJEMANN.

TheSongoftheWestern Men

W.

R.

BEXFIELD.

IsraelRestored

JOSIAH

BOOTH.

The DayofRest(Female Voices) E. M.

BOYCE.

TheLayoftheBrownRosary YoungLochinvar

J.

BRADFORD.

Harvest Cantata The Songof Jubilee PraisetheLord

W.

F.

BRADSHAW.

Gaspar Becerra J.

BRAHMS.

ASongof Destiny

CHARLES

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BRIDGE,

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_BRIDGE.

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Nineveh

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W. BYRD.

MassforFourVoices(ikFminor)...

CARISSIML

Jephthah

3

ORATORIOS,

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F. D.

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WILLIAM

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E. T. CHIPP.

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Naomi 2 o

FREDERICK

CORDER.

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SIR

MICHAEL

COSTA.

The Dream i o H.

COWARD.

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F. H.

COWEN.

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Ruth (SoL-FA,is.6d.) 4 o

J.

MAUDE

CRAMENT.

IWILL MAGNIFY Thee,O God(Psalm145) ... z 6

W. CRESER.

Eudora(ADramaticIdyl) 2 6

W.

CROTCH.

Palestine 3 o

W.

H.

CUMMINGS.

TheFairyRing z 6

W.

G. CUSINS.

TbDbum I 6

FELICIEN

DAVID.

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P. H.

DIEMER.

Bethany 4 o M. E.

DOORLY.

Lazarus 2 6 F. G.

DOSSERT.

MassinE minor ... .'. ₅ o

ANTONIN

DVORAK.

St.Ludmila 5

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Ditto (German andBohemian Words) 6 o

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PatrioticHymn i 6

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SalvatorMUNDI 2 6 Electraof Sophocles i 6 H. J.

EDWARDS.

TheAscension a 6 TheEpiphany 2 o

PraisetotheHoliest i e

ROSALIND

F.

ELLICOTT.

Elysium i

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FARMER.

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MYLES

B.

FOSTER.

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TheAngelsofthe Bells (FemaleVoices) x 6

Ditto ditto Sol-fa o 8

TheBonnieFishwives (ditto) ... 2 6

Salamis.

Philippi

Orpheus

ROBERT

FRANZ.

PraiseYEtheLord(Psalm117)

NIELS W. GADE.

Psyche(Sol-fa,is.6d.)

Spring'sMessage(Sol-fa,3d.)

£rl-King'sDaughter(Sol-pa,gd.)

ZiON

TheCrusaders(Sol-fa,is.)

COMALA

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HENRY

GADSBY.

LordoftheIsles (Sol-fa,is.6d.)

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Columbus (ditto)

G.

GARRETT.

Harvest Cantata(Sol-fa,6d.)

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R.

MACHILL

GARTH.

TheWild Huntsman

A. R.

GAUL.

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TheHolyCity(Sol-fa,is.)

TenVirgins(Sol-fa, is.) ,

IsraelintheWilderness(Sol-fa,is.)

FR.

GERNSHEIM.

ATriumph Song (MaleVoices) F. E.

GLADSTONE.

GLUCK.

HERMANN

GOETZ.

BytheWatersofBabylon(Psalm137) ,„

NtENIA ,

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CH.

GOUNOD.

MorsetVita (Latin or English) Ditto, Sol-fa (LatinandEnglish) TheRedemption(EnglishWords)

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Messe Solennelle(St.Cecilia)

Outof Darkness

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DeProfundis (Psalm 130)(Latin Words)...

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C. H.

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TheSoul'sAspiration

G.

HALFORD.

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HANDEL.

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AcisANDGalatea

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Ditto,ditto,Sol-fa

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TheTriumphofTime and Truth

s.d.

I 6

X 6

ORATORIOS,

Sec—

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HANDEL

—

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O praise the Lord with one consent

(SixthChandos Anthem) z

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Let thy handbestrengthened ... o 6

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L'Alleoro 2 o

HAYDN.

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Ditto (LatinandEnglish) i o

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TeDeuh(EnglishandLatin) z o

Insaneet Van^g Cur^g (Ditto) o 4

BATTISON HAYNES.

TheFairies*Isle(Female Voices) 2 6

H.

HEALE.

JubileeOde i 6

C.

SWINNERTON

HEAP.

FairRosamond(Sol-fa,2s.) 3 6

EDWARD

HECHT.

ErictheDane 3 ^

OMAYIJOINTHE ChOIRINVISIBLE Z

GEORGE

HENSCHEL.

OutofDarkness(Psalm130) 2 6

HENRY

HILES.

Fayre Pastorel 6 6

TheCrusaders 2 6

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HILLER.

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HOFMANN.

FairMelusina a o

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H.

HUNT.

StabatMater „ H. H.

HUSS.

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St.John theDivine

JOHN WILLIAM

JACKSON.

IcrieduntoGod

W. JACKSON,

TheYear

D.

JENKINS.

David and Saul(Sol-fa,2s.)

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JENSEN.

TheFeastop Adonis „

W. JOHNSON.

EcceHomo

C.

WARWICK

JORDAN.

BlowyethetrumpetinZion

N.

KILBURN.

TheSilverStar(FemaleVoices) ,

ALFRED

KING.

TheEpiphany

OLIVER

KING.

Bythe watersofBabylon(Psalm137)

TheNaiads (Female Voices)

J. KINROSS.

Songs inaVineyard (FemaleVoices) Ditto, Sol-fa

H.

LAHEE.

TheSleepingBeauty (FemaleVoices) Ditto, Sol-fa

LEONARDO

LEO.

DixitDominus

H. LESLIE.

TheFirstChristmasMorn

F. LISZT.

TheLegendofSt.Elizabeth Thirteenth Psalm

C. H.

LLOYD.

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Andromeda Heroand Leander TheSongofBalder

TheLongbeards' Saga(MaleVoices) TheGleaners'Harvest(Female Voices) ..

ASongofJudgment

W.

H.

LONGHURST.

TheVillage Fair

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Layofthe Last Minstrel(Sol-fa,zs.6d.)..

LordUllin'sDaughter(Sol-fa,8d.)

G. A.

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May Day(Sol-fa,6d.)

TheSoldier'sLegacy(Operetta) ...

Outward Bound s.d. z o 2 O 1 O 2 1 O 2 O O 4 O 4 3 Z X o I 6 a o 3 1 o 2 o X 6 z 6 3 o 1 6 2 6 2 6 o 6 2 6 6 3 6 3 o 3 O 3 6 3 6 X o 6 o