Instrumentation (1877)
Sheet music included.
"The paucity of books in our language on the subject of Instrumentation has always appeared to the present writer a matter of surprise. On the Continent many excellent treatises have been published, such as those of Berlioz and Gevaert in French, and of Lobe and Marx in German ; but with the exception of the translations of Berlioz, and of Czerny's "School of Practical Composition" (the third volume of which treats, it must be confessed rather superficially, of orchestration), we have scarcely anything in English beyond such elementary details as may be found in Musical Catechisms. The present Primer is an imperfect attempt to supply the deficiency." (Preface)https://archive.org/details/cu31924021750082/page/n3/mode/2up
https://archive.org/details/instrumentation1909prou/page/n3/mode/2up
The Life Of Mozart: Including His Correspondence (1878 · A New Edition, With Notes by Ebenezer Prout) · Edward Holmes (1799–1859)
Sheet music included. "The late Edward Holmes's "Life of Mozart" has so long ranked as a standard work, that the "editing" of it may appear at first sight superfluous, if not an impertinence. Since the work was first issued, now more than thirty years ago, so much new information has come to light by the publication of the late Otto Jahn's "Mozart" and by Von Köchel's "Chronologisch-thematisches Verzeichniss sämmtlicher Tonwerke W. A. Mozart's", that when the present editor was requested by the publishers to supervise a reprint of the volume, he thought it would be well to take the opportunity of adding a few notes supplementing, where necessary, the details given by Mr. Holmes. It may be advisable briefly to state what has been done in the present edition. The original text has been left entirely untouched, excepting in a few cases in which Mr. Holmes differed from Jahn. These, with hardly an exception, were matters of orthography; Mr. Holmes's spelling of German proper names occasionally differed from Jahn's; in such instances preference has been given to the later authority. The whole volume has also been carefully collated with Jahn's book, with a result which reflects the highest credit on Mr. Holmes's accuracy. In many places whole pages have been found in which the English and German texts so closely resembled each other that one might almost have been thought to be a translation from the other; the probability being that both authors went to the same sources." (Editor's Preface)
https://babel.hathitrust.org/cgi/pt?id=uc1.31822012945028&view=2up&seq=6
https://archive.org/details/the-life-of-mozart/page/n7/mode/2up
Counterpoint: Strict And Free (1890)
Sheet music included. "The present volume is the partial fulfilment of the promise made in the preface to Harmony : Its Theory and Practice, to follow that work by a treatise on practical composition. The author's first intention was to write a book on this subject, as a companion to his Harmony ; but as soon as he began to think the matter seriously over, it became apparent that it was quite impossible, within the limits of a single volume, to treat so extensive a subject except in the most superficial manner. Holding firmly to the opinion that whatever is worth doing at all is worth doing thoroughly, he thereupon modified and enlarged his original plan, and resolved (should life and health be spared) to prepare a complete series of treatises on composition, which should embrace all the different branches of that art." (Preface)https://archive.org/details/cu31924021789650/page/n3/mode/2up
https://archive.org/details/counterpointstri00prouuoft/page/n3/mode/2up
https://babel.hathitrust.org/cgi/pt?id=mdp.39015009603674&view=2up&seq=4
Double Counterpoint And Canon (1891)
Sheet music included. "In treating of double counterpoint, it has been thought advisable to begin with it, as with simple counterpoint, in the strict style. It must, of course, be borne in mind that this is merely preliminary technical work to such double counterpoint as is used in actual composition It has been necessary in some respects to relax the strictness of the rules when applying them to double counterpoint especially in the tenth, the most difficult interval to work. The fundamental principles of strict counterpoint are, nevertheless, observed ; and the author believes that writing under restrictions will be of great value to the student, as giving him freedom in the later stages of his work. The whole of the examples to the strict double counterpoint have been written expressly for this work." (Preface)https://babel.hathitrust.org/cgi/pt?id=uc1.31822024780959&view=2up&seq=4
https://archive.org/details/doublecounterpoi00prouuoft/page/n1/mode/2up
Fugue (1891)
Sheet music included. "In writing the present treatise, the author has consulted all the standard authorities, but (as may be inferred from what has just been said) has followed none. He has proceeded on the same principles which have guided him in all the preceding volumes of this series, and has gone to the works of the great composers themselves, has carefully analyzed and examined them, and from their practice has deduced his rules, without paying the least regard to what might be said on the subject by Marpurg or Cherubini. He has started with the axiom, which few will be bold enough to dispute, that Bach's fugues are the finest in existence, and that whatever Bach does systematically, and not merely exceptionally, is the correct thing for the student to do. He therefore first put into open score and carefully analyzed the whole of the forty-eight fugues in the "Wohltemperirtes Clavier". He next examined every fugue, vocal and instrumental, to be found in the forty volumes of Bach's works published by the Bach Gesellschaft, making notes of all points of importance. But he did not confine his attention to Bach. He examined probably at least a thousand fugues, including all those by Handel, Mozart, Beethoven, Mendelssohn, and Schumann, besides a large number by other writers of more or less eminence, to find out what had been actually done by the greatest masters of our art. The farther his researches extended, the deeper became his conviction of the necessity of placing the laws of fugal construction on an altogether different basis from that hitherto adopted. The result of his investigations will be found in the following pages." (Preface)https://archive.org/details/fugueprout/page/n3/mode/2up
Musical Form (1893)
Sheet music included. "In dealing with the subject of Musical Form, the author feU that the only satisfactory and logical method was to begin with the rudiments. Rhythm—that is, the more or less regular recurrence of cadence, is as much an essential of music as it is of poetry. The first part of this volume is therefore devoted to an examination of the fundamental principles of Rhythm, as shown in the construction of musical phrases and sentences. Such an examination would have been incomplete without the analysis of a musical sentence into its ultimate constituents—the motives.The last two chapters of the present volume treat of the two typical forms—the Binary and the Ternary—out of which all others are developed. Hardly two authorities are in exact agreement as to the definition of these two forms; and the author dares not venture to hope that the lines here laid down will be universally accepted as correct. But the plan adopted in these chapters has at least the advantage of being intelligible and consistent, and is the result of much thought, and of a careful examination of a large number of movements by the great composers." (Preface)
https://archive.org/details/cu31924022495513/page/n5/mode/2up
Applied Forms: A Sequel To "Musical Form" (1895)
Sheet music included. "The greater part of the present work is devoted to the evolution of the larger forms from the two typical forms, the simple Binary and simple Ternary, treated of in the ninth and tenth chapters of Musical Form. In order to assist beginners in composition with practical hints on matters not often touched upon in theoretical treatises, the study of these forms is preceded by a chapter on Pianoforte Writing. Students, even though they may themselves play the piano well, often write uncomfortably or incorrectly for the instrument ; and it is hoped that the directions here given will assist them in various points on which the author's experience has shown him that they are apt to go wrong." (Preface)https://archive.org/details/cu31924022495539/page/n3/mode/2up
The Orchestra (1898)
Sheet music included.Volume 1 · Technique Of The Instruments
"In planning the present work, it appeared advisable to deal first with the instruments of the orchestra individually, leaving till later the important subject of their combination, though this is of necessity incidentally shown to some extent in the examples given. After two preliminary chapters, treating of the qualifications needful to the student, of the composition of the modern orchestra, and of the arrangement of the score, the various departments of the orchestra, strings, wind, and percussion, are taken in turn, and the mechanism, character, and special features of each instrument explained in detail. Without going deeply into scientific problems, it has been necessary to touch from time to time on questions of acoustics ; for otherwise it would have been impossible to explain many points connected with the technique of the instruments. No further knowledge of acoustics is required than the student can obtain from such a work as Mr. Sedley Taylor's 'Sound and Music'.In dealing with the different instruments, the author has endeavoured above all to be practical—with what success readers must judge. Many of the hints here given to students have been furnished to the writer by orchestral players, and much is to be learned from these gentlemen by those who have the opportunity of associating with them."
https://archive.org/details/cu31924022390938/page/n3/mode/2up
https://archive.org/details/orchestra01prou/page/n3/mode/2up
Volume 2 · Orchestral Combination
https://archive.org/details/orchestra02prou/page/n5/mode/2up
https://archive.org/details/cu31924022390920/page/n3/mode/2up
Fugal Analysis: A Companion To "Fugue": Being A Collection Of Fugues Of Various Styles, Put Into Score And Analyzed (1896 · 2nd Edition)
Sheet music included.https://catalog.hathitrust.org/Record/100346671
Harmony: Its Theory And Practice (1903 · 16th Edition)
Sheet music included.https://archive.org/details/cu31924021757285/page/n5/mode/2up
https://archive.org/details/harmonyitstheory00prou/page/n3/mode/2up
Mozart (1903)
65 pages long. No sheet music included. Bell's Miniature Series Of Musicians.https://books.google.gr/books?id=f1ZJAQAAMAAJ
Some Notes On Bach's Church-Cantatas (1907)
19 pages long—excluding 7 pages displaying a list of Bach's cantatas in chronological order. Sheet music included.https://archive.org/details/somenotesonbach00prougoog/page/n8/mode/2up