a (fols. 1-5) Op. 13. 'Male voice partsong (T.T.B.B.) "It was a lover". Words by Shakespeare'. Composed c 1912. Score with piano reduction for rehearsal. Octavo. See f below;

b (fols. 7-23) Op. 32. 'Celtic impressions for string quartet'. Dedicated to Frank Bridge. Final fair copy of score. Octavo. See l below;

c (fols. 33-46v) Op. 32. 'Celtic impressions'. Rough draft of score. Sketches appear on fols. 44v-46v. Octavo;

d (fols. 47-74) Op. 32. 'Celtic impressions'. Sketches. Octavo and folio;

e (fols. 75-78v) Op. 7. 'A motet for unaccompanied chorus (S.S.A.T.B.)'. Begins 'Lord, thee I'll praise with all my heart'. Dedicated 'To Olive [Farrar]'. Score with piano reduction for rehearsal. Also exists as a chorale prelude for organ, published as "Lord, Thee I'll praise", Op. 7 no. 3. Folio;

f (fols. 80-84) Op. 13. 'Madrigal "It was a lover and his lass". [For] S.A.T.B. Words by Shakespeare. Set to music for mixed voices by "Vagabond"'. Score with piano reduction for rehearsal. For the T.T.B.B. version see a above. Folio;

g (fols. 86-89) Op. 18 no. 2. 'A dirge. Two part song (S.S.) [with piano]. Words by Christina Rossetti'. Dedicated 'To my wife'. Score with engraver's markings. Published: London, Stainer & Bell, 1923. Folio;

h (fols. 90-91) Op. 19 no. 2. 'Pierrette'. For piano. Published: London, Oxford University Press, 1927. Folio;

i (fol. 92r) Op. 24. 'Voluntary. [For] organ'. Later arranged as 'Introit', no. 2 of Three spiritual studies for string orchestra, op. 33. Folio;

j (fols. 94-100v) Op. 29. Three part-songs for A.T.B.B. Words by A.E. Housman. 1: 'O when I was in love with you' (fol. 94r+v); 2: 'When I was one-and twenty' (fols. 95-96); 3: 'Think no more, lad' (fols. 97-98). Together with a copyist's score of no. 2 (fols. 99-100v). Folio;

k (fols. 101-110v) Op. 37. Six pieces for organ. Composed, Aug 1918. Grouped as 'Two preludes and a postlude', dedicated to John Pullein (1: 'Chorale-prelude [on Waltham]'; 2: 'Prelude on "St. Flavian"'; 3: 'Postlude on "St. Ethelwald"'; [4] 'Trio' and [5] 'Pastoral'; [6] 'Epilogue on "The old 100th"'. Published: London, Oxford University Press, 1926. Folio;

l (fols. 111-26v) Op. 32. 'Celtic impressions for string quartet'. Parts, in copyist's hand. Folio. See b above;

m (fols. 127-128) 'Lord, keep us safe. Short evening anthem'. For S.A.T.B. and organ. Composed c 1917. Folio;

n (fols. 129-130) 'The white Paternoster'. Begins 'Matthew, Mark, Luke and John'. For S.A.T.B. and organ. Set to the same music as m above. Marked 'Plough', presumably in favour of 'Lord, keep us safe'. Photocopy of the manuscript owned by Peter and Maria Martin. Folio;

o (fols. 131-132v) Op. 34 nos. 2 and 3. Drafts of 2 of the 3 North Country folk sketches for piano. 2: 'Bonny at morn'; 3: 'The Hexhamshire lass', the latter incomplete. 'The Hexhamshire lass' was published by Ascherberg, Hopwood & Crew, London, in 1920 as no. 2 of 'Two North Country folk sketches'. Folio;

p (fols. 133-138) Op. 2. 'Songs of memory. [For] soprano voice [and piano]. 1: A dirge (words from Heine); 2: Memory (words by Christina Rossetti); 3: Sea-foam (words by Harold Simpson)'. With a second copy of no. 3 (fol. 138r+v). Folio;

q (fols. 139-140) Op. 8. 'Characteristic valse'. For piano. Published as Valse caprice, London, Stainer & Bell, 1913. Folio;

r (fols. 141-142) Photocopies of 6 caricatures by Farrar, the 4 identified being Frank Mullings (twice), Dan Godfrey, and 'Little Burds'.