all the Plagal forms, the Participant is used as an Absolute Initial; and, by virtue of this privilege, it may be used as the first note of a Plain Chaunt Melody of any kind. In all cases it may begin or end any of the intermediate phrases of a Melody, and may even begin the last; but it can never end the concluding phrase. This rule is not even broken in those Endings of the Gregorian Tones for the Psalms which close upon the Participant—such as the Second Ending of the First Tone: for, in these cases, the real close is found in the Antiphon, which always terminates upon the Final of the Mode.
[ W. S. R. ]
PARTIE, PARTITA. The German and Italian forms respectively of a name said to have originated about the beginning of the 17th century, with the Kunst- or Stadt-Pfeifers, or town musicians, and given by them to the collections of dance-tunes which were played consecutively, and which afterwards were taken to form suites. Bach uses the name in two senses; first, as the equivalent of 'Suite' in the Six Partitas for Clavier; and second, for three sets of Variations on Chorales for Organ, viz. those on 'Christ, der du bist der helle Tag' (7 Partitas, including the theme itself), on 'Gott, du frommer Gott' (9 Partitas including the theme), and on 'Sey gegrüsset Jesu gütig' (11 Partitas or variations, exclusive of the theme itself). He also wrote three Partitas (in the Suite-form) for the lute. The name has very seldom been used since Bach; the chief instance of its occurrence is in the original title of Beethoven's Octuor, 'Parthia in Es' (see vol. ii. p. 492a). But in the modern rage for revivals it may possibly reappear.
[ J. A. F. M. ]
PARTIMENTI, 'divisions.' Exercises in florid counterpoint, written generally, but not always, on a figured bass, for the purpose of cultivating the art of accompanying or of playing at sight from a figured bass.
[ J. A. F. M. ]
PARTITION and PARTITUR, the French and German terms for what in English is termed the Score; that is, the collection in one page of the separate parts of a piece of music, arranged in order from top to bottom. When all the parts, instrumental, or instrumental and vocal, are given, it is called 'Partition d'orchestre'—'Full score.' When the voice parts and a PF. arrangement are given, 'Partition de Piano' 'Short score,' or 'Vocal score.' For the various modes of placing the parts see Score.
[ G. ]
PART MUSIC, a collection of vocal music made by Mr. John Hullah for the use of his Singing Classes, and published by John W. Parker, London. It consists of three series—'Class A for S. A. T. B.' (vol i. 1842, vol ii. 1845); 'Class B for the voices of women and children' (1845); 'Class C for the voices of men' (1845). Each series contains sacred and secular pieces. Each was printed both in score and in separate parts, in royal 8vo., and the whole forms a collection unexampled (at least in England), for extent, excellence, and variety, and for the clearness and accuracy of its production.
CLASS A.
1. Sacred.
Vol. I.
God save the Queen.
Lord for Thy tender. Farrant.
O Lord the maker. Henry VIII.
Sanctus and Responses. Tallis.
O praise ye the Lord. (Psalm 149).
I will give thanks. Palestrina.
Since on the cross (Ein feste Burg). Luther.
God is gone up. Croft.
When as we sat in Babylon. (Ps. 137).
O be joyful. Palestrina.
Ye gates lift up (Psalm 24).
The day is past. Hullah.
Thou that from Thy throne. Haydn.
Venite. Tallis.
Thou art beautiful. G. Croce.
O Lord, another day. M Haydn.
O Lord, I will (Ps. 34). H. Lawes.
Praise the Lord. Jer. Clarke.
Gloria Patri (Canon). Purcell.
Sanctus. Creyghton.
Be not Thou far. Palestrina.
Hide not Thou Thy face. Farrant.
O Jesu Lord. Lejeune.
Give ear, O God. Himmel.
Praise the Lord. Dr. Child.
Blessed be Thou. Lotti.
Forth from the dark. Rousseau.
Almighty God! Forde,
I will arise. Creyghton.
Sing to the Lord. Tye.
Hear my prayer. M. Haydn.
O King eternal (Ps. 8). Croft.
O God of truth. B. Rogers.
O remember not. Rossini.
Give to us peace. [Lvoff.]
Thou knowest, Lord. Purcell.
Amen. Dr. Cooke.
Sweet day, so cool. H. Dumont.
Go not far from me. Zingarelli.
O how amiable. V. Richardson.
To laud the heav'nly King (Ps. 148). Jer. Clarke.
Almighty & everlasting. Gibbons.
Awake thou that steepest (Canon). W. Horsley.
Hallelujah. Boyce.
Vol. II.
King of kings. Kreutzer.
My soul doth magnify (Chant). Dr. Cooke.
Responses. Dr. Child.
O come ye faithful (Adeste fideles).
Hosanna (Canon). Berg.
Amen. Neukomm.
O Lord grant the king. Child.
Ut queant (Canon). Harrington.
Sanctus. Rogers.
Why do the heathen. Palestrina.
I will magnify Thee (Chant). P. Humphrey.
Plead Thou my cause. G. Croce.
Ponder my words. Zingarelli.
Awake my soul. Jer. Clarke.
Sleep, downy sleep. Do.
Thou shalt shew me (Canon). Callcott.
My God, my God. Reynolds.
Wherewithal shall a young man. Alcock.
O Saviour! W. Horsley.
O most merciful. Hullah.
Praise the Lord. Gossec.
Sanctus. Bassani.
We will rejoice. Croft.
Lord in Thee (Canon). Paxton.
Try me O God. Nares.
Lord teach us (Canon).
Praise ye the Lord. Brassetti.
I will remember. G. Croce.
Peace be to this habitation. M. Haydn.
Hallelujah (Canon). E. Bevin.
All people that on earth. (Old 100th).
Praise the Lord (Canon). Callcott.
Behold now. Rogers.
The Lord hear thee. Blow.
Hosanna (Canon). T. F. Walmisley.
Help us, O God. Durante.
The day must come. N. Decius.
Hear me when I call (Canon). W. Horsley.
Sanctus. O. Gibbons.
Let all the people. Palestrina.
Blessed be God. Greene.
O God, Thou art. Purcell.
Mock not God's name (Canon), Tye.
The voice of joy. Jannaconi.
2. Secular.
Vol. I.
Rule Britannia. Arne.
All ye who music love. Donato.
Hard by a fountain. Waelrent.
Flow O my tears. John Bennet.
The Waits. Saville.
Long may life and health.
Freemen rejoice. Purcell.
Crabbed age and youth. Stevens.
In going to my lonely bed. Edwardes.
Ah me! where is. F. Anerio.
Nymphs of the forest. W. Horsley.
O never fear though rain be falling.
May day. Neithart.
Solfeggio. Scarlatti.
Lady see! Marenzio.
How sleep the brave. Dr. Cooke
Hark the village maids. Cherubini.
All hail Britannia. Lotti.
Upon the poplar bough. Paxton.
Since first I saw. Ford.
How glad with smiles. Gluck.
Sing a song of sixpence. Macfarren.
Happy are they. Paxton.
See from his ocean bed. V. Ruffo.
Daybreak. Moscheles.
The hardy Norseman's. Pearsall.
Come again sweet love. Dowland.
In paper case. Dr. Cooke.
Harvest time.
Thy voice O Harmony. Webbe.
Awake Æolian lyre. Danby.
My lady is as fair. J. Bennet.
Sing loud a joyful. Gluck.
April is in my mistress' face. Morley.
Vol. II.
The Joyous birds. B. Spontone.
Here in cool grot. Mornington.
Girls and boys. Macfarren.
Swiftly from the mountain's brow. Webbe.
Our native land. G. Reichardt.
Like to the grass. Benedict.
Ode to Spring. Paxton.
Come shepherds. J. Bennet.
Hark, hark, the lark. Dr. Cooke.
Come my friends. W. Horsley.
O how sweet 'tis. Sir J. Rogers.
Long live the Queen (Canon). Boyce.
Come shepherds. Grast.
Dulce Domum. J. Reading.
Thyrsis when he left me. Callcott.
Which is the properest day. Arne.
Albion, thy sea-encircled isle. Dr. Cooke.
Pack clouds away. Hullah.
Breathe soft ye winds. Webbe.
Amid the din. Gluck.
Who will bring back. G. de Vert.
Hark, hark a merry note.
Thyrsis sleepest thou? J. Bennet.
Unto the merry greenwood.
Dance we so gaily. F. Schubert.
Blow, blow, thou whiter wind. Stevens.
Awake sweet Love. Dowland.
'Twas on a bank. Hullah.
From Oberon. Stevens.
Thus saith my Chloris. Wilbye.
Now, O now. Dowland.
Happy are we met. Webbe.
