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Published by Oliver Ditson & Co. , Et Al, Boston, New York, Chicago, 1875
Seller: Willis Monie-Books, ABAA, Cooperstown, NY, U.S.A.
Hardcover. Condition: Fair. Dust Jacket Condition: No Dust Jacket. Rear cover held on by strips of fabric only. Front inner hinge mostly cracked. Spine is considerably worn. Covers have edge wear and light soiling. Internally very good. ; Oblong songbook with words and music.
Published by Oliver Ditson & Company, Boston, 1871
Seller: Gene The Book Peddler, Winchester, NH, U.S.A.
Book
Hardcover. Condition: Fair. No Jacket. heavy discoloration to front and back paste down and first page, hinge paper along front and back is open with netting showing, book has no markings, boards have heavy amount of rubbing and soiling and bumping.
Published by Oliver Ditson, 1873
Seller: Hook's Book Nook, Pottstown, PA, U.S.A.
Book
Hardcover. Condition: Good. solid and tight worn boards but all there.
Published by Oliver Ditson & Company, Et Al, Boston, ET AL, 1871
Seller: Willis Monie-Books, ABAA, Cooperstown, NY, U.S.A.
Hardcover. Condition: Fair. Dust Jacket Condition: No Dust Jacket. Inner hinges cracked, binding shaken. Pp 55-58 are loose but present. Covers havetwo slight stains on the front, a rabbit sticker on the front, and slight edge wear. Pages are predominantly clean, although the loose 55/56 is partially discolored. Owner writing on frontendpapers. ; Songbook with words and music.
Published by Oliver Ditson & Co., Boston, 1871
Seller: Falls Bookstore, Readsboro, VT, U.S.A.
Book
Cloth. Condition: Poor. No Jacket. Music Scales (illustrator). No Edition Stated. Brown cloth spine with tan boards ,black lettering on covers. Water stains on covers. Spine is torn at top and bottom. Front fly is included, but not attached and missing piece on top corner. Back page is attached but missing large piece. Pencil markings inside covers. 238 pages.
Published by Oliver Ditson & Co, Boston, 1874
Seller: Underground Books, ABAA, Carrollton, GA, U.S.A.
Hardcover. Condition: Very good. Hardcover. 7 1/2" X 5 1/8". 144pp. Paper over boards, with spine backed in brown cloth. Moderate wear to binding, with corners turned in, edgewear, bumping to head and tail of spine, and mild toning and soiling. Binding is firm and sound. Pages are clean and unmarked. Handmade crossstitched bookmark laid in. A quite charming copy of this 1874 music instructor.
Published by Oliver Ditson & Co. , Et Al, Boston, ET AL, 1874
Seller: Willis Monie-Books, ABAA, Cooperstown, NY, U.S.A.
Hardcover. Condition: Good. Dust Jacket Condition: No Dust Jacket. Lacks front endpaper; some shelf wear extremities.
Published by Oliver Ditson & Co. , Et Al, Boston, ET AL, 1874
Seller: Willis Monie-Books, ABAA, Cooperstown, NY, U.S.A.
Hardcover. Condition: Fair. Dust Jacket Condition: No Dust Jacket. Spine has splits to edges and chipping to ends. Covers have wear to outer corners and are darkened. Writing on fly leaf.
Published by Oliver Ditson & Co, Boston, 1875
Seller: Antiquarian Bookshop, Washington, DC, U.S.A.
Hardcover. Condition: Very Good. 256 pages; Former owner's name on ffep, otherwise unmarked and secure in original printed boards with black cloth spine; ffep creased at lower edge, boards rubbed, especially at corners. OCLC 1061685107 Music and lyrics for hundred of songs categorized in chapter headings including: Four Part Songs, Favorite melodies, Sacred and Secular Choruses, Chorals-Anthem-Hymns, Three Part Music- Sopranos and Alto, Four Part Music - Sopranos, Mezzo-Soprano-Alto-Bass, etc. Luther Orlando Emerson (1820-1915) was an American musician, composer and music publisher. Emerson was born in Parsonsfield, Maine. He originally planned to be a doctor. Later he studied music under Isaac Woodbury. He taught for eight years in Salem, Massachusetts; then served as organist and musical director in various churches in Massachusetts, and was the director of about 300 musical festivals and conventions. In addition to this volume, Emerson compiled several collections of church music, including "The Romberg Collection" (1853); "The Golden Wreath" (1857); "The Golden Harp" (1858); "The Sabbath Harmony" (1860); "The Harp of Judah" (1863); "Merry Chimes" (1865); "Jubilate" (1866); "Emerson's Vocal Melody" "The Voice of Worship" (1879); "Anthems of Praise (1886); and "Jehovah's Praise" (1887). The musical notation throughout includes a "tenor clef" -- shown as the top line in the musical examples. This will be very confusing to players of the cello, bassoon, tenor trombone and perhaps the viola da gamba, as what they think of as "their" tenor clef is a member of the "C" clef family, with the bracket pointing at the fourth line of the staff (second from the top); thus indicating that "middle" c is written as a note positioned on that fourth line. Instead, the author's "tenor clef" drops middle c one position lower, placing it on the space just under that fourth line. In fairness, it should be noted that L. O. Emerson designates his "tenor" clef quite distinctly from the sylized "C" bracket, but rather with a sign which looks a bit like a sharp sign (#) with the slant in the opposite direction -- centered on the space used to designate "middle" c. He has borrowed this ladder-like sign from some printed musical notation from the 16th and 17th centurys. In effect, notes designated in this "tenor" clef are precisely equal to notes written in a more usual clef sometimes used for the tenor voice: a "normal" G clef with a small subscript numeral "8" below the clef mark, indicating that the tenor voices were meant to transpose the notes they sing down one whole octave from the notes as written on the familiar G clef staves. That arrangement is usually called an "octave transposing treble clef." Sometimes this idea has also been denoted by a "doubled" pair of overlapping G clefs. While Emerson's unusual notation may not have survived him, the utility of this arrangement, with notes instantly familiar to hundreds of millions of musicians for whom the treble "G" clef is second nature, is clear. [even if this explanation is not].