“ A considerable part of voice-training must be devoted to getting rid of resistance, that is, effort at the wrong point.
Good voice-production is based on the right idea of tone and right conditions of the instrument. ”

“ Outstanding choral compositions of Bach, Brahms, Gibbons, Kopolyoff, Lassus, Morley, Palestrina, Pearsall, Praetorius, Purcell, Rachmaninoff, Rimsky-Korsakoff, Sibelius, Tchaikovsky, Vittoria, Wilbye, and Zolotarieff; a few folk melodies, and a negro spiritual.
This notable collection of twenty-seven choruses, one hundred and twenty-eight music pages, contains sixteen secular numbers and eleven sacred. The names of the distinguished editors are a guarantee of the high quality of the book. Care has been taken to avoid music of more than average difficulty, or of extreme vocal range. ”

“ Who hath call-ing mer-rier,
Than the life of car-rier,
Where is a jol-lier man?
Where is a jol-lier man?
Where is a jol-lier man?
Snap, now, the lash goes,
I come! I'm the mer-ry car-rier! I'm the mer-ry car-rier,
Who hath call-ing mer-rier than the life, the life of car-rier,
than the life, this life of mine,
A hap-pier man than I?... Where is a jol-lier man,
where is a jol-lier man? ”

“ Morley, Weelkes, Pilkington, Bennet, Gevaert, Lully, Praetorius, Mozart, Bortniansky, Archangelsky, Sibelius, and others are represented.
While the musical standard of the editors is high, pains have been taken to selectmusic that not only is suitable in range and text for junior choruses, but is hearty, joyous, and singable. ”

“ Invaluable for those who wish to listen to music with quickened hearing and real understanding. With twenty-four portraits, twenty-eight diagrams and over two hundred music cuts.
What Educators have said regarding Professor Hamilton's
MUSIC APPRECIATION
Sumner Salter, Director of Music, Williams College:
"I am convinced of the skill and thoroughness of treatment and of the far reaching practical value of the work." ”

“ In these volumes of The Musicians Library the editor has presented in chronological order the most famous arias from operas of every school. Beginning with songs from the earliest Italian productions, a comprehensive view of operatic development is given by well-chosen examples from German, French, and later Italian works, down to contemporary musical drama. ”

“ It contains 132 pages of instructive text, technical exercises, melodic studies, and carefully chosen songs and duets.
The author's deep study of the voice together with his long experience in solving difficult vocal problems in the studio has enabled him to rid the subject of vagary, mystery, and uncertainty, and state the principles of voice-training so clearly and simply that they may be understood by anyone.
A FEW BASIC PRINCIPLES
A tone is something to hear. Therefore, to be right it must satisfy the trained ear.
A good tone is easily produced. It is the bad tone that is difficult. ”

“ Then dost thou leave me,
Then dost thou leave ... me?
Ah! No! Tu-rid-du!
Re-main with me yet and for-ev-er!
I im-plore thee, do not for-sake me, Tu-rid-du!
Turiddu.
I re-peat it, Go! Ah! ...
Go! ”

“ Sixteen representative works by Bach, Bortniansky, Byrd, Farmer, Ford, Gascongne, Gibbons, Jannequin, Lassus, Morley, Palestrina, Praetorius, Purcell, and Tchaikovsky.
4. Vocal phonetics of the text printed with the regular text in the music. With the right vocal effect in the mind's eye, good voice production comes naturally, and an artistic choral effect results.
5. No extremes in vocal range are demanded of any voice, careful provision being made for average young voices.
6. A special chapter on each of the choruses for analysis, technique, interpretation, and appreciation. ”

“ BOSTON: OLIVER DITSON COMPANY
NEW YORK: CHAS. H. DITSON & CO. CHICAGO: LYON & HEALY
MADE IN U. S. A.
William Shakespeare
The Art of Singing NEW AND REVISED EDITION, COMPLETE IN ONE BOOK
THE TEXT HAS BEEN ENTIRELY REWRITTEN
Price, $2.25
Postage extra, except in first and second zones from Boston and New York
¶ This work is based upon the principles of the Old Italian Singing-masters, and deals with Breath Control, Production of Voice, and Register. ”

“ MUSIC APPRECIATION Based on Methods of Literary Criticism
By CLARENCE G. HAMILTON, A. M.
Music Students Library, with 263 illustrations, diagrams and music cuts. 396 pages, cloth Price, $2.50
The illustrative examples of piano pieces and songs that appear in this book are issued in a separate volume entitled:
TYPICAL PIANO PIECES AND SONGS
Size, 91⁄2 × 121⁄2; 144 pages; paper Price, $1.50
A thorough and unique textbook for individual use, music clubs, classes, and educational institutions. ”

“ Contains twenty-nine numbers by twenty-one composers. The music covers 192 pages, the prefatory matter 27 pages. Portraits are given of Beethoven, Bizet, Gluck, Gounod, Mascagni, Massenet, Verdi, Wagner, and Weber.
BARITONE AND BASS SONGS FROM THE OPERAS
Contains twenty-seven numbers by twenty-four composers. The music covers 188 pages, the prefatory matter 20 pages. Portraits are given of Bellini, Bizet, Cherubini, Gounod, Halévy, Handel, Mozart, Ponchielli, and Tchaikovsky. ”

“ Giunge il rumore delle vostre spole,
Noi stanchi riposando dal lavoro
A voi pensiamo, o belle occhidisole.
O belle occhidisole, a voi corriamo,
Come vola l'augelo—al suo richiamo.
(Gli uomini entrano in iscena.)
Donne. Cessin le rustiche opre:
La Virgine serena allietasi del Salvator;
Tempo è si mormori da ognuno il
tenero canto che i palpiti—
Raddoppia al cor.
Uomini.
(Allontanandosi.)
In mezzo al campo, etc.
Donne.
(Allontanandosi.)
Gli aranci olezzano, etc.
[Pg 7]
Scene II. (Santuzza, Lucia, Alfio, and chorus.)
Santuzza. Tell me, mother Lucia—
Lucia. ”

“ For mixed choruses and classroom use in school, college, or university; or mixed vocal ensembles and choral societies, amateur and professional.
Price, in cloth, $2.00
OLIVER DITSON COMPANY, INC.
Standard Opera Librettos
All librettos have English text. Additional texts are indicated by Italic letters, as follows: I, Italian; G, German; F, French. Those marked with (*) contain no music. All the others have the music of the principal airs. ”

“ Where is a jol-lier man, a jol-lier man?...
Alfio.
Il ca-val-lo scal-pi-ta, i so-na-gli squil-la-no, schioc-chi la fru-sta, Ehi là!...
Sof- (fi il) ven-to ge-li-do, ca-da l'ac (qua o) ne-vi-chi, a me che co-sa fa?...
Il ca-val-lo scal-pi-ta, i so-na-gli squil-la-no, schioc-chi la fru-sta, schioc-chi la fru-sta,
Ehi-là!...schioc-chi la fru-sta, schioc-chi la fru-sta, Ehi-là! Ehi-là!
schioc-cha la fru-sta, an-dar di (qua e) di là!
schioc-ca la fru-sta, an-dar di (quà e) di là!
Chorus. Tenors.
O che bel me-stie-re fa- (re il) car-ret-tie-re an-dar di (qua e) di là!... ”