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BOSTON;OLIVER DITSON COMPANY,

NEW YORK;C.H. DITSON &CO.

CHICAGO;LYON &. HEALY.

PHILADELPHIA;J. E.DITSON &CO.

TAethodfor the

XylophoneBY

frofo. % y j

T.H.Rollinson

BOSTONOLIVER DITSON COMPANY

NEW YORKC.H.DITSON aCO.

CHICAGO^ LYON & HEALY

COPYRIGHT MCMVI bu QLIVCR DIT5DN COMPANY

PHILADELPHIAJ.E.DITSON & CO.

METHOD FOR THE XYLOPHONEBY T. H. ROLLINSON

CONTENTS

Major Scales 6Elementary Exercises 7Minor Scales 7 9Technical Exercises 10

Embellishments 14

Double Notes 17

Diminished Chords 17

Chromatic Scale 18

The Roll or Tremolo . 19

The Trill and Glissando. 20

Triplets 21

RECREATIONS

Dem Golden Wings 22Idle Moments 23

Nydia Waltz 24King Of The Road Galop 26Speed The Plough . 26Calypso Polka 27

Loin Du Bal 28

Softly Gliding Polka 29

The Blue Bells of Scotland 29

The Free Lance March 30Russian Hymn 30The Silent Steed Galop. 31Constitution Hornpipe 31Greater America, Fantasia Polka 32

Common Musical Terms 34

Digitized by the Internet Archivein 2013

http://archive.org/details/methodforxylophoOOroll

THE XYLOPHONE

XYLOPHONE(F scale)

CONCERT XYLOPHONE(C scale)

In this work the chromatic xylophone only will be considered} with scale extending-, 2^ octaves, from

ttf

=*=

te

and the large concert size with scale fromA#

35=

* A#

The best xylophones are made of hard wood and arranged similarly to a piano key board as in the cut represent-

ed above. The upper section represented (sharps and flats) should be arranged so that they will come between

their natural notes in the other section. By placing it so the lower C# will come between the lower two notes of

the other section (C and D) the other notes will be in their proper places

MANNER OF PLAYING

Place the xylophone on a table of the proper height for convenience and stand opposite the centre of it in

order that it may be equally convenient to reach the highest and lowest notes. Hold the hammers between the

thumb and first joints of the forefingers, using the third and fourth fingers for controlment only. Strike the bars

exactly in the centre with a quick rebounding stroke, using the wrist and fore-arm. The right hammer should

always be the nearest to you and as a rule use the left hammer on the sharps and flats and the right on the natural

notes in rapid hammer crossing. If the hammers are always kept in this position j>. there will be no dan-

ger of entanglement. R. signifies the Right hand and Z,.the Left. Ascending, begin with the Left; descending with

the Right Hand.

y6

In some cases, simply for convenience, (he notation in these exercises has been written an octave below the pitchcalled for, thus:-

-ts-written^/JL

,---and the^ig-hest^A'fi~i i nstead of

In such cases beg-in upon the lowest note of the same name, on the instrument

MAJOR SCALES.Scale of C major.

See scale of F major.

-fffnfffr

i

rJ JJljj]'fiJJJ' JJ rrir 1E

I

R L R L R L R L R L R L R L R L R L R L R L R L R L R L

Scale of G major.Begin upon the lowest G of the instrument.

R

3 mm= -+ r^'^Ji'jjE ? fUse hands as in the scale of C throughout the scales.

Scale of F major.Begin upon the lowest F.

=+

r^ ' jJii 'jjjr\

BE 2 L 1

Scale of D major.*

J J l Jf

#=R mR L

#-# # #Eii>- f-ir

i? X

Scale of B!> major.

^^fe^ i 1#=F F=*f f f ^

Scale of A major.*t

i? z

feg , /^fcKP?

Scale of Eb major7? L

+=w m mr r r

JiJ J J ^

r

iiBee

J J" I fNOTE. The scale of two octaves in keys of E and El? cannot be played on the F xylophone (*ee cut).

R LScale of E major.

L RA m mrr

J NJJ'?j j^ j if0=W F=F*

^Sl

Scale of A\> major. R L

trtj^iJ 'Jj^ i rr rr^rrrr i r M^JJJ 'iij* 1

On

1Scale of B major.

M^ p

Scale of Dp Major

t* R L

nrffnfffr irr\g^ W

L R

Scale of F$ MajorL R

' 11 j J

5 Z

iPT\

fThese two scales are identical in pitch.

Scale of Gp Major

fete ^^ #

rri JJ JMF^R

J? 'L R R L

Elementary ExercisesTempo J =8o to 120

Hammer changing- on the same note.

1E S i S# #

J?

^ JTTJ l JTflMZM ^ #

*

*

J =80 to 120L R L R L R

2 $ : "iiiiuir m SI #-#ffiR L R L R Lj'rrcjrrE s^P

P^ s #-* rrrrm^ ^^ o #-#Ep #

f

3^ i rn.m # ##=-#4 J ' a=it:=fcE=zM g _L R L R L R L R L R L R L R

em m ^:

r+^^ S ^L R L R

fus #-# ffi

(l;80tO 121"

Preserve even power of stroke.4>trki- abbn \i

ation4 A^ d d d d* *

* s -0-0RLRLRLRL W5 r~+^+I

r

ES*=F=F m w w w-f Tg

J .*.

iVZA-Z

t4XXima4^ r i>-; i .fZpp J5=2; g * I *

I # fif f,iffifCiif|jrjc if r g=p:^; ? i y*S * ^ * a ^LRLRLRLR

%^f1-^

;~r> u; uf si!*5 Z=5*yS?fji^f if; i-J /ijJi^;ijf i f; ^s^

5 ^jfjTUj pgf R t3 ' ^rnrrrf iC

TfefTrs SSi-^ r

itrf,

ifrrj4t s^E L R L

r>

^m$ m3E m ^ ** g

6 The above written 8X5 lower, but played the same

I^i'iJi Ji J^BBs t =F=^ *-r s

ifeS # I f a< s ^f r< I P *^ # *lS SI "Jij ' Jj^ ' j-Jii *

-5-

Minor Scales

A Minor. Relative to C MajorL R L R L R L R L R L R

T r L R L a> L R L R L R L R L R L R C\s-[jiJ ' Ji iJit^ i r

E Minor. Relative to G MajorL R

rr'UH^jji^m *te &fe #r ir t J I J J J I (7\3E iP~ff *P ?

B Minor. Relative to D Majorto D Major jyj ajnJJ i rrrr i ftr

tt

rr M rj /7NB rrn i'^^jiJii^w=*F$ Minor. Relative to A Major

L Rufe..L

j^itriirrnriHraa-o

IP^W J | Jw rr *JwUCO Minor. Relative to E Major

fe^jjjiJi

^rr#=F Wfnffrr BS

^

^jffiT**D Minor. Relative to F Major

I fe#?.^gg iiw^1 H-^irrrrir'rJJiJjjMBBE i

G Minor. Relative to Bp Majork

*.,L

M rtt r r > i r*rt> i/TN

m^s. C Minor. Relative to Ep Major

9-0--M-

j,j j j iJii*y rir_rii tM

/T\

ES I *^?F Minor Relative to Ap Major

^^jjjjVirV^^ l^gf gtek*:mrrrri 'T^r rJ /TN bf r *=*

IBp Minor. Relative to Dp Major

k$ J i ^rnWnfV ^JiJJ I J^'nf f h^JJ j Ij fpiH^=^

Ep Minor. Relative to Gp MajorL Rt* S^3m rirfttifexr y'r r JiJjjM t/rry

35842 -S5

10Technical Exercises

Tempo J r ho to no L

l 1 fTr irrrr m-d *^w *=* m * ~mL R L R L R L R

rr.rirrff i f f rr , rffr ir ff

m gEnding in KeyofFS^^S

Other .Models forNl

1. Beg-in and ewrf on 1J note of the 2^ measure and play in the Key of G.-(% % J g

15* 3d ; , Ak foH^ m^m\

Is-

1

4th

Bk ~fcVr

% pfff.

1st (ith T)

2. Bepin,, ,

3. Begin,, ,

4. Begin .

5. Begin

6. Begin.,

L R L R

SR=

1st 7th:> ;> :> jj j> :, Ek f^R R FT

7? Z

^,.MUJul 4 Other Models

Begin at 1. and end on last note of the next measure, in Key of G.cegin

,,

11

TempO J ; 100 to 120 and 6 z 100 to 120

gjg ^ F IS3 ^^ cxlr l xjir i lLU#RLRLRLRL

Finish for Key of F

^JS\[jSllUj \^[SSS^'^ls'^^Other Models

2. Beg"in and end on l^t note of the 2i\ measure and play in the Key of G.3. Beg-in IS.* 3^ A.

;; Bk>j >> i> '-'

4, Begin a* , 1 !> 4th >)5. Begin ., Is-1 , ) J) 5th ;j6. Begin Is-1 , 6th >)7. Beg-in

, i*

, ) )) .,7th

>>

5ths L R L R L R

is# ,. #-

t^ i j j j u * ^^ ^L R L R L R

=0 E**---i* j^*

iffige*

i "fe fW #L R L R L R

sMm ffff,.,.f f* opg^

12

6.13

3 S i J J J J d I7Cr B m m m m m m m\ m RLRLRLRL R L R L1

1

i f; i5=S* jjJ^U ? r r [T azai # -0|i> ^rriTr^ Jt*a i ^u n

J: 80 to 120

7.

L R L R

a g s i a^ mrr.rrr u iir^/ i ^r^Lr#-=-,. Me?==? f^ fe *ig ifc::"i i I ==I= I J ^ ii ' J-* U ' i i -1

r ffr

fI r r

f^^ =?*I

--i''iff

-^SE===i3i^^ I

' 1 r ; r fe

if r if r f r r -H n* m . * * m ^ nsrri -iir;7 ,f

65842 - 85

13

r trrr r m \^mr kr r r r r^ee^^dz 80 to 100

*J R L V R L R L R L ' 1 I

fflf r t ,f ,\rJ ~0 mRLRLRLRLg ?S ^P^ f Sj :T \>p \

\

m i r .Ep fr f h > ? r I f i Igj JTJ iJT^S ?

j wIt t-f .^f :12. dJiiLirciJB Li-i lIj#Ti? ffl R L R L R L*-

.*-

r^ir ,,* ^ . ^* r *I'rrrrir ilLr^^kf^^^tr^fgI' ^Oj \ ti xjJ \& Uj-te; tsJ \& uj

&*etl l eU uji^gi^ i fflr^ ^65842 - 85

14 EMBELLISHMENTS.These include the Grace Notes in general, Turn (Gruppetto.), Mordente, and Trill.The Small Appoggiatura or Petite Grace Note, is a small note with a dash through its stem,thus

its time from the principal note - to which it is usually attached by a slur - and is played very quickly.

EXAMPLES.Written Played

It takes

Written Played

*J tJ ^J ti Jrf i M!_g | \^ X z&^*

There are two forms of Double Appoggiatura; one consisting of two grace notes, (ascending or descending,)taken at the distance of a third from the principal note, and the other of two grace notes, one above ancLone belowthe principal note.

Ascending-. Descending". one above and one below

EXAMPLES

The Double Appoggiatura should take its value from the preceding note,thus;Written Played

EXAMPLES.i& CrWLr =t*=*= mf^^ 'M r^*^

The Appoggiatura Simple is seldom used, for it is better and decidedly less confusing to write the passage outin full. A short illustration will fully explain it. It takes one half of the value from the note which it accompanies.

Written Played1

EXAMPLES. 3EJ i. 4-

XE m m 3EThe Gruppetto is a small group of grace notes including the Turn. We will first explain the Gruppetto of three

notes. They are usually written in sixteenth notes unless attached to an eighth note, in which case the Gruppettoshould consist of thirty-second notes. They do not take their time from the note to which they are attached.#i^ i as r i

The Turn or Gruppetto offour notes comes after its principal note and takes its time from it; usually one halfits value. Many forms are better written out in full, owing to the difficulty of proper interpretation. The follow-ing is the most simple form of Turn.

Written " ~~=^- Plaved

The sign used to indicate this species of Turn is c\s thus

The Turn consists of one note above, one below and two repetitions of the principal note. The lower is the nextnote, but is sometimes raised a half tone by a % or \\ placed under the sign as above.

If the upper note is changed the turn is written out in full.There are so many ways of rendering the Turn that a thorough explanation cannot be given owing to lack

of space.

As a rule the Turn partakes of the character of the composition.There are many irregular groups of grace notes, which appear in difficult forms of composition like the

following :

-

Moderato.

fee SI >^r BP^tThese all take their time from the previous note and are always to be performed in a brilliant style.The Trill proper, consists of a shake upon the principal note and the next above in the scale, concluding with a turn.

EXAMPLEIn this case the low^er note of the turn is usually a half tone below the principal note, /ffg $7* ~) %. 1

The Trill is indicated by

15

A Long Trill on a note affected by a pause, should usually commence slowly and very graduallygrow morerapid, while the Turn should be rather slowly and deliberately executed. Sometimes when the note followingthe Trill is lower, the Turn is omitted.The Mordente is a Trill without the Turn. It is indicated by the sign^v

Written.

#-F '

1

Played.^3 "

m^ wva^3

The same in slower tempo would be played thus-.

$ A:There is another form of Mordente common in Clarinet and Flute parts, but ineffective when performed by a

brass instrument.

It is indicated by the Mordente sign, sometimes by ** sometimes by grace notes and sometimes written outas performed, thus:

^m $ or m or $fT!jb < -B y 1 piayed- j^j HI y ^f

The Mordente takes its time from the note to which it belongs.

The Gruppetto is ordinarily placed between two notes of unequal value and serves to give grace and ele-gance to certain phrases.

ModerateEXAMPLES.

t 1

IB

Exercises on The Short Appoggiatura Mordente and Trill

Allegro.

m*> wsm b ir tfjT y y ^ zcz:1. FS i=^=t * y j y r ] y y_]-/^?

^g m . t i rj*. * ^r^--^ if J

U

-

I?gt A i ?*=# a ^v.* liili^y y fcs-t y y y ytJ ^?

Allegretto.

fe ffi te s jjg i*^@g * \> m |l>^a = J.J'.iu:^- =s 5ari t^^ wfrm tj5 B5 ?=ttt

aJLjg f , j|ft-JE1 # #'ip^ *=#= r * iBS^ wa. Li *-cs^

Allegro.

Written.

3.

Played.

3T/*V

ZE 3 =H ^PPP j=* ^S

Allegretto.ZEE

^

t

fo>-

^

4r,

^

^

^

I4 K33E

Tount 1 ?2~ '2

*7

^ISi

Double Notes.17

R R R R

rffiyfr^mtrrj^ji'ffft^frr^1. jjgg f># 0-S 3 S3^a S: a o: < " *r k- Pi> i

# j/96'(5> crest:

W=r g ir ir r yCODA./?/'

Szzr ! ftf .# JIfefeAHfefe 4fciF//

tS^ S5*= L =^F f

i r i fif ifrf i rr r:t jc i: =S/ f eresc. P

^rtr#i! *^/

m tfaJJ tpiff

ftw^i^$

^H # a :z :z :z5^i I i "*"

00*42 - sr.

26 KING OF THE ROADGALOP.

|rf ?* + t r*1& ^3 m ' #-^

J

i

,

i>J

--n

f

\crfihQ _A ^ U ^===Srsrr

i

rrBrrfe

r

it!f

\ i i

* IT

fz a irr1 I P t

K rI py rj-ipr'"'!

ur

fc=*rrrr i^H ' i'i r'tfriiai'ir- ^~TJS:*=:*

J^

e# t 4

^rirgT

iiS3 K | #* 1 1 \ jp|C^ y l[jj 0 >m"tT- s #H!r#^

I*

T> iS H l*f !% &-TRIO. S S r:^=g il f It:''=s 5?=!^ 15=rr

fe=ALC>if/ i^ i g^^

Ufa: ^j ifa: ^sISj #-)-

ttfo- # jjy-16 jr.ri;; iff |E;rJ' if[frT f I ftfte te jfeifi ei-J" 1 L^r ( 1 ^S

s*ia^

accel. M PP^tt r r i f !_f- M lit,!.5:CODA.ff

SPEED THE PLOUGH.

CALYPSO POLKA.FOR CONCERT XYLOPHONE, C SCALE.

27

I

INTRO.Andante. a tempo

3 C\ Solo

?{S i[WT^g^ P : *S^ P--*- ^

#

^

*=^

Tremolo

m s F^ *=!S^^ ^

# tempors * 5

frit.

Tempo di Polka

fas

POLKA.,[.% espress.-O.ISL l^gf

'

|L-i

^

^g JttJJi ^?^ # tempo animato

16

r at;T3 jf au ifU l l-Tg mm 16 ftP ^=3

ffP D.S.

Brillantc.

3F- - '

#ff^ S p

28 LOIN DU BAL.FOR CONCERT XYLOPHONE, C SCALE.

Tempo di ValseE.GILLET.

dim.

(S5S42 - S5 PPP

SOFTLY GLIDING POLKA.

fctfUririf, mm ** Mmmmf

m j i i-c r cj- irff

,

i

^t-r|Jfjf ,fff ,.;f g |

ir

NM^f ^ 'rm m rff

mmrrr*fY l rtfffirr P * * F

TRIO.

^^^

Pa. f'- p o

THE BLUE BELLS OF SCOTLAND.

^ I i 1 g I t^Mj- ##(-i^aUj-4i^JUEm

^i 14 | |H^tN?-7 f

J

i^T^Ph-Js:*^51

30

THE FREE LANCE MARCH.

ft2: m jt #_ u i i i'f

p f^mP# # KX? i HzJ ^t p* v T 8

r>*fe ft t* I lr 3 .

* I Hi #^

4^ #gW P* ^T^=sp s?=i?g g t

Tif ff LLr I^LjT -J pyr Fj^Cff^ i r I

fe| ^77^77^77^ -*^7TP7 I kfaA ifPSTRIO. fl^I^T^-^ 'V: ; 77 ff yy 1 P y y 5

urv iiy:fc a* g ^

P 7 7 J } 7 7 I Jyy 1 I J : ll g PfPf *?

THE SILENT STEEDGALOP.

31

tiff* |Lfrp,|*f a i r jjj^j7 ^3^

iIE^

1.

' '

^

'^

' //> i

*

00ijjv [ frrf g^ fag

I??* i* c^icy/TjjTr i i# t? *-.**--

P

a i g is ^C -- # ^T^# ir

TRIO. :v * rrr- r#r-?& ih%

b&4 p IVifi:

MUU ffl e ^ /M?jgg I

t fcm ^tjf ^

* ^^

^r T i C/LcJ r nrrfrrTfi f rTrifw iS D.C.

%-0-fej *-X LlJ y i/|P y M^ y *=Ff=i^CODA. ^ ^JF

CONSTITUTION HORNPIPE.oz90.

00 JL m mu&fc^ f .if \T*f0-i 0-0-0

m \^ksk&kffg^F-* # _ # m f- mMrtrrif r fs^p^

32 GREATER AMERICAFANTASIA POLKA.

Allegro maestoso.

|j jU . a ^s nj.-j i n*^

-m #

fap a^ HJ- i0- ' *jg* *-m *- m m m

Soloftvg-

!eS^ ^ I

x-0-{7\ Cad

*SE f8 i^r 'fi77?!?:**=* Andante con moto8i?rr throughout.

#i #HI -JWW ^S^ *r^< S #

#

Smf _

E^ilf J ^- i j ttr r r H S

i p b i> P s i # usf J J *f^r'^rj-r

/

33

TRIO. flK P P WTT II PPig t , f f4 jV

www&M ai e * ~ 000^M 16 *i/*

34LIGHT AS A FEATHER.

SCHOTTISCH CAPRICE.

* f T-0

,

m

X riff r/^ -#ieiij r B St

"

#.//'

p Or r^ t fclfe . .. f i- 1.3^^=ff^^ff^ I

I'2.

t_/ ir "f-f :==^:k>-

COMMON MUSICAL TERMS.

Accelerando, Accel.- Gradually increasing- the velocity.

Adagio -A very slow degree of movement.Ad Libitum, Ad Lib .-At the discretion of the performer.Affettuoso-With mournful expression.Agitato -Agitated, hurried, restless.Allegretto - Light and cheerful but not so quick as Allegro.

Allegro - Quick, lively, but frequently modified by the addition

of other words that chang-e its expression, as;

Allegro Agitato - Quick,with anxiety and agitation.Allegro Assai-Very quick.Allegro Con Fuoco - Quick,with fire and animation.

Allegro Con Moto - Quick, with more than the usual degree ofmovement.

Andante- A movement in moderate time but flowing steadily,easily, and gracefully, This term is often modified as to time

and style by the addition of other words, as;

Andante Con Moto - Moving- easily, with motion or agitation,-rather lively.

Andante Maestoso -Rather slowly and in majestic style.Andante ma non Troppo- Slowly but not too much so.Andantino- A little faster than Andante. This is a disputed

term and in some old compositions it is used to indicate a

movement slower than Andante.

Anima or Animato - With life and animation.Assai- Very, extremely, in a high degree, as Allegro assaivery

quick.

A Tempo - In time; a term used to denote that after some divia -tion or relaxation of the time, the performers must return to

the original movement.

Ben- Well; such as Ben Marcato,Well marked.

Bravura, con- With spirit and boldness of execution.Brillante- Brilliant.

Cantabile- In a melodious, singing and graceful style, full of

expression.

Col or Colla- With the,- as Colla Voce, with the voice.Con -With; as Con Forza, with great force.

Con Ainore - With tenderness and affection.Con Anima or Con Animato-With Animation.Con Brio - With life, spirit, brilliancy.Con Fuoco - With fire and expression.Con Spirito -With spirit, life,energ-y.Delicato - Delicately, smoothly.

Dolce - Sweetly, softly, delicately.

Elegante - Elegant, graceful

.

Espress, Espressivo or Espressione-With expression.

Facile- Light, easy.

Giocose- Humorously, sportively.

Gracioso - Graceful.Grandioso- Grand, noble.

Grave - Slow, solemn.

Larghetto-Slow but not so slow as Larg-o.

Largo -A slow and solemn degree of movement.Largo Assai-Very slow.Legato- In a close, smooth, graceful manner.

Leggiero- Light, swift, delicate.Lento -Slow.

Ma- But, as Andante ma non troppo, slow but not too much so.Maestoso - Majestic, stately, dig-nified.Marcato - Marked, accented, well pronounced.

Meno-Less; as Meno Mosso, less movement.

Meno Vivo - Not so fast.Mezzo- In a middling- degree or manner; as Mezzo Forte,

rather loud.

Moderato- With a moderate degree of quickness.Molto- Much, very much, a great deal.

Molto Allegro -Very quick.Morendo - Gradually diminishing the tone and time.Mosso -Movement, motion.Moto -Motion, movement; as Con Moto, with motion rather quick.Non - Not, no; as Non troppo, not too much.Non tanto-Not so much,or not too much.Piu-More; as Piu lento, More slowly.Piu mosso- More motion.Poco- Little.

Poco Piu Allegro- A little more Allegro.Prestissimo - As fast as possible.

Presto- Quickly, rapidly.

Rallentando, Rail.- The time gradually slower.

Rit, Ritard, Ritardando - Same as Rallentando.Scherzando - Playful, sportive,lively, merry.Sempre- Always; as .Sempre Accelerando, always faster.Smorzando- Gradually dying away.Sostenuto- Sustaining the tone.

Stringendo- Accelerating the movement.Tempo Primo - In the original time.Tutti - All the entire band or chorus; in a solo it indicates where

the full band or orchestra is to come in.

Vivace -With animation.

Ask any music dealer forELSON'S MUSIC DICTIONARY

"Price One Dollar.

THE JOLLY DUTCHMAN WALTZ C.W.Bennet.PARAPHRASE: on'THE OLD OAKEN BUCKET" T.H.Rollinson.PARAPHRASE on'THE PALMS'.' R.Gruenwald.PARAPHRASE on "ANNIE LAURIE'.' C.W.Bennet.GRAND INTERNATIONAL FANTASIA. T.H.Rollinson.GRAND AMERICAN FANTASIA Theo.Bendix.SYMPOSIA WALTZ. The Success of theAgeA MORNING IN NOAH'S ARK T.H.Rollinson.THE HUNTING OF THE"SNARK'.'THE MUSICAL CRITICS DREAM E.A.Dix.A NIG-HT WITH THE BOGIES OttoLangey.A CHINESE EPISODE. Theo.Bendix.WEARY RAGGLES (hobodance.)PARADE OF THE DOLLS R.Gruenwald.MARCH OF THE NUBIANS C.W.Bennet.THE DREAM AFTER THE FEAST LP.Laurendeau.WAY DOWN SOUTH "GRAND FANTASIA ON"DIXIE'.' OttoLangey.A LITTLE BIT OF"ESSENCEV T.H.Rollinson.MUSICAL SCENES FROM SPAIN Otto Langey.MUSICAL SCENES FROM SCOTLAND "MUSICAL SCENES FROM SWITZERLAND.LA PAPILLOTE R.Gruenwald.A BUNCH OF VIOLETS flower song. C.W.Bennet.DANSE DES ODALISQUES. scherzo FANTAsrtQU. GeaLTracy.SHADOW BALLET Theo.Bendix.

Sample Melody pants ofnumbers marked (* ) sent free of Charge.

^

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