a
(D JUVENILE SINGING SCHO
~
Fos haay
z Net os.
x ,
f. 4 ’
a Ps
% f
‘ Fi
'
fw
t
‘
i
yi
* i, a
3 \
i
' 5
é a
s
- aa Ss
-
e
.
.
4 ®
>
r
‘
*
5
al
.
" *
p)
‘
/ —
x
,
THE
MUSICAL CLASS | BOOK,
“FOR THE USE OF”
. GEE VAT TT SEMINARIES, HIGH SCHOOLS,
ADULT AND JUVENILE SINGING SCHOOLS,
PRIVATE el dot SSB Lot
“By ALN ‘JOHNSON.
: BOSTON:
PUBLISHED BY GEORGE P. REED, 17 TREMONT Row.
NEW YORK: FIRTH & HALL, No 1 “FRANKLIN SQUARE.
“a =
Entered according to Act of Congress, in the year 1845, by
GEORGE P. REED,
in the Clerk’s Office of the District Court for the District of Massachusetts.
Ec} Two editions of this work are issued— one, of about 300 pages, including songs with words
arranged for two and three voices — the other of about 200 pages, without the songs. The last mentioned
is designed for adult schools, to be used in connection with some collection of church music.
See ee
BOSTON: -
STEREOTYPED BY A.B. KIDDER 7 CORNHILL.
PREFAUCE.,
=
The principal design of this work is, to
furnish a thorough course of theoretical and
practical instruction in vocal music, with a
sufficient number of exercises. to enable the
teacher to dispense with the use of a black
‘board, except for illustration. For this pur-
pose, besides the usual number of rules and
songs which are commonly found in works of
this kind, it contains more than five hundred
exercises and solfeggios, (songs without
words, 1..e. to be sung with syllables,) vary-
~
Wid43
ing from four measures, to three pages in
length, and in point of difficulty, from the
easiest to the most difficult rhythmic and me-
One hundred of. the
solfeggios are popular airs arranged for three
lodic combinations.
voices, forming lessons at once agreeable and
useful. |
The book is believed to include everything ©
necessary to make it a valuable text-book for
schools and classes in which music is thor-
oughly and systematically taught.
IV
PREFACE,
ELEMENTARY PrinctpuEes. The order in which _the
elementary principles are arranged, differs somewhat from the
usual one, but is still, it is believed, perfectly natural and pro-
gressive:
Though these are doubtless susceptible of improvement, yet the
author has not attempted to change them, because it is intended
that the explanations and questions shall be made in the teach-
er’s own language, without regard. to those which are printed.
The printed explanations are not to be studied by the pupils ; they’
merely suffice to show the subject of each set or chapter of exer-
cises, although they may also serve as useful references for the
learners, and as guides to the teacher. They are not made sufli-
ciently plain to be understood without'a teacher. Teachers using
this work should be already acquainted with the Pestalozzian
method as’ laid down, fully, in Mason’s Manual, or; briefly; in
most of the recently published collections of Church Music. — The
exercises in this part-of the book are very easy, and in general
do not exceed four or five measures in length. They are, how-
ever, believed to be sufficient to give a practical knowledge of
the principles they are designed to illustrate, while in the vocal
exercises, (pp. 79 and 199,) and in the solfege ios, (pp. 85,)
longer, more interesting, and more difficult lessons, may be
found in abundance. -
INTERVALS, PAGE 77. For want of room,’ extended exer-
cises on intervals have not been introduced. On pages 77 and 78,
a short example of each is given; which should be practised, first
with syllables, afterwards with Ja or some other syllable, and
lastly with words. Being in the key of C they are rather high,
but they may be transposed, if desirable, to the key of A or G
The terms ‘and expressions are those, im common use.;
VocauL ExERcIsres, PAGE 79. These are exercises for ac-
quiring rapidity of utterance, and smoothness and flexibility of
voice. ‘They should be practised at each lesson. No. 1 may be
‘introduced. as early as the first meeting of a class; and the others
as soon afterwards as possible.
After they are all learned, it
would be well to commence every lesson, by singing through the
six pages, continuing the practice even through the fiole course.
As it.cannot be supposed that the members of a class can at first
read the notes, the above direction implies, of « course, that they
“must be ietaed by rote.
SoLfre@aios, PAGE 85. The definition of the word Solfexeio
is, ‘a musical composition without words, designed as an exercise
in reading music.’ This is the sole design of the exercises which
commence on page 85. Teachers generally agree that it is highly
desirable for singers to become expert in applying the syllables,
as the quickest method to learn to read music well. Learners,
especially the young, are often averse to performing the mental
labor necessary for acquiring this ability, and are more so, if the
exercises they are required to practise are of an uninteresting kind.
A popularair, or a marked melody, forms the basis of each of these
solfeggios. Experience shows that learners, old and young, are
much pleased with such airs,,and are willing to take more pains
to learn them, than they are to learn exercises destitute of melo-
-dy., As these airs are.without werds, they will at once see, that
they must learn to sing them by syllable, or not at all. In
order better to adapt this work for Female Seminaries
and the older classes in Juvenile Singing Schools, all the
Solfeggios are arranged for first and second treble and alto
voices, although in many instances one or more parts are
PREFACE. V
“written with the base clef, that the'.pupils may become.equally
familiar with that clef... In: classes. composed of ladies and gen-
tlemen, the solfeggios can be sung in one. of several ways, at the
discretion of the teacher.
gentlemen one ; the ladies one, the gentlemen two ; the ladies
alone in three parts ; the gentlemen alone in. three parts; the
treble and high tenor the first part, the second.treble and low tenor
or high base'the second part, and thealtoand base, the third part,
etc. etc. The best effect will probably be produced when only la-
dies:sing, but in the other cases the Solfeggios will be equally use-
ful as exercises in reading musicgg— In some Schools it will doubt-
less not be possible always to sustain the three parts. In such cases
one may be omitted. Sometimes it may even be necessary to have
the whole class always sing the same part: The melody, in the
solfeggios, will always form a, useful exercise even when sung
alone, and in the most of the pieces, the third part may-be omitted,
without seriously injuring the effect. —It may be well to remark,
that these exercises have -been arranged in the manner that will
make them most useful for learning to read music, and that
even some of the strict rules of musical composition, have been
sacrificed to this one object. For this purpose, algo, the
SOLFEGGIOS MARKED * in the index, have been arranged: in
such a way that no air, will be apparent, unless.all of the parts are
sung, and by voices of the same pitch, i. e. by ladies’ voices
alone, or by gentlemen’s voices alone. To give them their proper
effect, the parts should be equally balanced, both as it regards
strength and quality of voice. When this is done, the melody
will be distinctly heard, while, a previous acquaintance with it
will be of no assistance to the performer.
VOCAL EXERCISES, PAGE 199. Some of these exercises are
of the same nature as those commencing on page 79, and may
The ladies) may. sing two. parts, the |
be used m connection with them. ‘The most of them, however, are
exercises in dificult rhythmic and melodic combinations, each of
which will probably require much practice. After a class have
sufficiently advanced to sing them understandingly, a short time
at. each lesson spent upon these exercises, will be. very useful in
enabling them to surmount such difficulties. When the pupils
are perfectly familiar with the exercises which commence on
page 79, it may be well to practise them with the syllables ‘la,’
‘ah,’ or ‘ah-men.’ ‘The first syllable of a group may also be.
used for all the notes composing that group.
Sones, PAGE 211. These songs, like the solfeggios, are ar-
ranged for female voices, and+are mostly from the German.
Among them are several for children and a few for various occa-
sions ina seminary ; but the majority belong to that tribe of songs
called im German, VoLKsLInpmR, (songs of the people,) which
seem to be better suited to the seminary and fireside, ‘than -
more difficult ones. A few common hymn tunes and chants are
also'added, the words of which are suitable-for the opening or
closing services of school. a
Course or Instruction. The following brief outline,
will, perhaps, more clearly show the manner in which the book is
designed to be used. After the usual preliminary remarks, let the
teacher commence by explaining in familiar language the divisions
of the subject, illustrating, if desirable, upon the blackboard.
Then let him direct attention to the remarks on this. subject
in the book, asking the questions there given, or similar ones of
his own. Attention may also be directed to the divisions as they
are actually arranged, directing the pupils to notice how many
pages are devoted to Rhythm, how many to Melody, and how
many to Dynamics. He then says, ‘‘we now commence, of .
course, with Rhythm,’’ and questions upon the subject of Rhythm
‘as laid down on page 1—Chap.I. As the subject of Rhythm .
is the length of sownds the first thing for the learner to do, is to
learn to measure them. In this chapter the fact that musical
sounds are measured by time, must be explained ; also the man-
ner in which it is done, viz., by dividing the time into equal por-
tions, called measures, and the manner in which measures are
represented in written music. These can be explained either in the
tedcher’s own language and with his own illustrations upon the
blackboard, or in the language and with the illustration contaimed
in the book. Chap. II. is upon beating time. This cannot
receive too much attention. Perhaps no method can better be
taken to convey the idea of the regularity with which the hand
must move, than to impress strongly upon the mind of the pupils
the ideas contained in this chapter. In Chap. HI, the scholars
learn the names, forms and lengths of the notes. The teacher
need not adopt the manner of speaking of the lengths of
the notes introduced here, although it is without doubt the plain-
est language for beginners. It is true as far as this book is con-
cerned, and learners readily comprehend their usual meaning, after
having been accustomed to regard them as here explained. In
Chap LV, singing in connection with beating the time, is intro-
duced. Chap. V, is devoted to the practise of whole, half and
quarter notes. Such exercises are somewhat tedious, and it will
verhaps be better, to review them at two or three successive
lessons, than to spend much time upon them when first intro-
duced.
This is the proper place to introduce meLopy. ‘The teacher
should now make himself familiar with the songs and solfeggois,
and introduce them as fast as the knowledge of the scholars will
permit. For example, as soon as the elass.are able to sing the
exercises in Chap V, (page 26,) they can sing, understandingly, the
| PREFACE.
upper part of the song ‘ Flight of Time,’ page 221. After chapter
VIL in Melody has been studied, the middle part of Solfeggio
No.1, (page 85,) may be introduced, (because it contains nothing
with which the pupils will not have become acquainted when
‘they have studied as far as the chapter mentioned,) also the upper
part of Solfeggios, No. 3 and 4. After chapter XI in Melody,
any of the solfeggios and songs in the key of C which do not
contain sharps or flats, can be practised, and after the chromatic
scale, all in the key of C. In this manner all of the solfeggios
and songs should be gradually introduced. It may be well, as an
exercise in pronunciation and musical expression, to allow some
of the songs to be learned by rote. The teacher can, however,
(and it is perhaps the better method,) adopt the plan, that no
songs or solfeggios shall be sung until the school are able to sing
them by note, taking care, however, that they are introduced as
fast as the class acquire the requisite ability.
For want of room, the songs and solfeggios arg arranged with-
out a piano forte accompaniment. It is presumed, however, that
even those unacquainted with thorough base will experience no
difficulty in playing three parts. The third may be played an
octave lower than it is written. In many of the solfeggios, it
will, perhaps, be éasier to play the second and third parts with
the left hand and the first part alone with the right hand.
The songs are arranged for Ist and 2d Treble and Alto voices
only. For classes composed of ladies and gentlemen, an edition
in which the songs are omitted, is issued. See page II.
The solfegeios are not arranged in progressive order, nor are
those of the same key placed together ; it will, therefore, be
necessary for the teacher to become sufficiently acquainted with
them, to be able to select lessons suited to the state of advance-
ment of the class. i
,
~
‘
i S Bote mel 7,
VU
After Studyiey 6c sdeue 4,
PUL SONS were ae
Angel Watchers . . oii wide
Approbation. . .
At the Grave ofa Schoolmate,
Call to Joy “vn. ;
Care not for the morrow
Childhood !
Closing Song 4
Concord ee aS
Contentment
Contraries icy 5
Barly Day ep 4 cele
Evening Hymn
Fleeting Hours
Flight of Time . 2
Forth where pure breezes ;
Friendship Shale 20
Franz Drake) #28),
Hans Sacks’ Pic-nic .
Hours of Study A
Hymn for Examination Day
Hymn for the commencement of the School 286
Incitement to i Be
Innocence
In Summer .
In Winter sleep ‘the Flowers .
Know you how many stars,
Bay Sone Te oe ee
Morning Call
Morning Hymn : ; % ; :
Morning’s Awaking wee lar 01%
Morning Song. z
My Home in the Valley . °
INDEX TO THE SONGS.
PAGE.
285
256
274
242
269
233
273
234,
276
235
251
231
220
283
265
221
218
219
258
252
282
266
270
994
914.
IAT
268
O57
226
231
246
280
244.
Nature brought no sorrow. . . .
MightSonet. So tee eh te a tees
O How Purely . 3. St ie aaa
O Praise the Lak Ss eo
Song of Praise : hie :
Song of Praise, (Rinck.)
Song i im the Night. :
Summer Song Abele
MRURTUSE. ings SUmeMmaey eS yo, oY hates
Swiss Song .
The Beauties of Meare. ‘
ne Birth, Mamie. Oe ues, cal
The Boy's Wane er | iehde: a .
The Brooklet . , ween See :
The Cottape ry" aS aaa
The Dying Wear ond +, vig :
Che armersuGall sa, Cosy
The Five Senses . ‘
The Four Seasons,
‘The Gardener, .>.. 3. 4
The Golden Rule rae
The Green Summer Birds
et ame ee ee
The Moonbeam Fairies ., ,
The Maiden and Rose . 5 Ns
The Open Air. . i ise, Fs SR
The Pleasures of iis 3
The Rivulet . ih Esai
The Sabbath Bell. TaD, ANG A
The Silver Streams ) 3). ow)
The Seasons
The Snow
The Tinman, the Doe and ihe oe a
The Treasures of Lite ems 3
The Voice of Home’. , 2°. # %
_ 995
PAGE.
213
290
4
284
223
288
ane
219
299
260
220
261
239
230
277
236
228
278
263
237
250
216
258
217
21)
| The Voice of the Fell
The Walk
Time’s* Footsteps .
To Nature
There lives a God
Up, Brothers, Up .
Vacation Song ad
While to Heaven
Winter :
Worth of Labor
Balerma . .
Dedham .
Dresden .
Duke St. 2%:
Greenville
Hamburg . ,
WEarhOw feu? , es
Nuremburg
Old Hundred, No. ies
212
289
232
287
241
254,
248
272
Olmutz .
Pleyel’s s Hymn.
Rockingham . .
Wilmot... jus ape
Chant, Nodes 5
Chant, No.2)" $7.
Chant, No.3 . .
HYMN
Old Hundred, No.2".
TU
oF eS) Se Re © Sees
Pawage” Ww o e
be ak OO a ay i)
292
299
aot,
301
298
291
294
296
296
294,
292
300
293
295
302
303
ELEMENTS OF
VOCAL MUSIC.
pees Ie,
i fai
‘The Elementary Principles of Music, are arranged :
in Three Departments, viz: Rurtum, MeLopy, and |
Dynamics.
Ruytsm treats of the Lencri of ‘Sounds:
of Sounds.
How many Departments, are; athens in the, Melasiegticy Pedaiglen
of Music? h
second? Of what does: it treat?) What is the third? Of what does it
treat? If you study in Rhythm, about: what will you be learning? Melo-»
dy? Dynamics? If: i wish to ascertain anything relating to the Power
of sounds, to which department must you turn? About the Length of
sounds? About the Pitch of sounds? Is there anything relating to the
Power of sounds in Melody? What is the subject of Melody? ‘Is
there wane A relating to the Pitch of sounds in’ Rhythm? “What is:
hythm? Is there awe about. the rength of sounds:
the subject of
in Dynamics? | May
* fe tas state with regard to lowness or hgh ( Walker: ).
cg erreergiced
Which Department i in the Elementary Principles of Music is Rhythm?
Of what does it treat? Shall we find anything about the Pitch of sounds:
in it? Shall we find ba tat about the: Power of sounds in it? Why? 2 uae
“Mutopy, | the steam whistle of a locomotive?
of the Pitcn* of SOUROR i Dynamics, ‘of the Powsr
at is the first? Of what does it treat?, What is the.
“| Bars.
CHAPTER L
ibsmethl nj describe the liveth ofa room? How the, A aad of a
piece of ribbon?. How the length of a sound, produced for example, b
Can sounds be measured y feet
or yang? ay ‘How must they be measured? » (Ans. By: Tren. )
“Nore. “The teacher can here sing sounds of different lengths, and
| let the pupils judge how many seconds long, each is.
Musical sounds must be measured by time. To do
this, the time occupied in the performance of a piece
of music must be, divided into,zEquaL. portions. ‘These
equal portions of.time, are called Measures. — |
Music is written upon five horizontal lines. These
are divided into small spaces, by perpendicular lines
drawn across them,. The perpendicular lines are called
The: spaces included between the bars Tepre-
sent measures. .
How many au are. there in the following ehaapte? How many
| measures?
(Each dot renee a musical sound.)
————
“le
a
?
2 NT OTT Ww AUTEM, OMA
ae Orey cr ys
C43 ty
medhanist, invented an \ oathummedt called a Metronome,
It. has.a.Pendulum,* which swings
and ticks at regular intervals ot
time, like that of a-clock. | 2 a
instrument, _is, ‘ in fact, a” ¢ lock,
turned upside down, but without
dial plateor hands.) af the weight .. ae
be moved | upward: a 7} pen ndulu a We ' + Se
Hoe i Vis it io
Hl
( ‘Seceomne »
cay
Measures are equal portions of fime. Le the exam-
ple, we will suppose each measure to occupy..four.
seconds. In the first measure, there will then be one
sound four seconds longs -;In, the “Sa two sounds,
each two seconds long. In the third, four sounds, each
one second lon ai ‘In the fourth,° eight sounds, each ‘a
half of a sécond long. - In'the fifth, siateen sounds, each’
a quarter of-a second long. ;-Observe. that. the spaces.
included. between.the, bars, represent measures, In
the example, to the eye the last measure is “much,
longer. than the, first; to the ear they are, of equal |
lengths. . : bs
Measures’ are “awiaea int wink OF queasy “A
measure of two parts is’ called’a DouBLE measuréi-a’
er dragging ee ei i A
measure of three parts, a TRIPLE measure—a measure’ “ty aa. ©
, ih n the gamle! id a a” yaa pode chaste thie titne
of four parts, a QUADRUPLE’ hedsute—a''y measure. ‘OL | Sanit iors tee mputed wert Thi come an ‘accuracy and. regu--
pie a5 TELS SF LG}
aS Beha a al A abl sof Hakim eee larity’ as by a metronome or’a clock. It ;would not be:
ow is the len of soun c? ny BS
pottiens of time Alida sata whach buasielia divided (Avatars Mensa convenient for the members of a school to"bé’ éach’
ures? What represent measures? What are Bars? . giibat is, the, dif-. supplied with ‘a metronome, nor: would: the noise: soft so
ference eo a bar na], eee ‘ki Ripa Iways look — many ticks form an agreeable accompaniment to the
Hownthest pre! thomalikel.,, Hawn map ykigdssetomeanmes ane there singing. We must, therefore, resort to some other
method, less expensive jand ‘less noisy, but equally
will | swing slower AS Faway ag.
faster; but put the weight where
you ‘will, its: ‘motions will’ ‘always’
be..in. ‘equal ‘time; never faster, /
never slower; ever vovus'emtioe nev=
EE
=
9
;
EE—UABZ- :
SS
=
i
—==
ow many parts has Double measure? Triple?” “Quadruple? . Sextu-
ple? What Catena a one hope of measure from another? —
i aad dL
Sa S3G meh dosh
fF eed eee r '* PENDULUM, any, weight bung so that,it may easily swing backwards
Somat CHAPTER. mise MWECR _ [and forwards, of which: the breat law is, that its oscillations are. always)
Pap. ate in computing Time, zt ra pen ithe coebabot | performed in EQUAL time: ( Walker.) ® 8° 8 280 8 Lane Vans
*
wedurtte! "Phat visually adoptsdiin singing, is) to make
certain motions of the hand, carefully imitating in regu-
larity the movements of a pendulum. ‘This is called
BEATING TIME. One motion*~of the hand (orené BEAT)
must. he aNAMA hen eash ena of a,measure., Double
‘measure, therefore, hastwo beats—first, . lown ;, second,
Up. .Triple measure. has thre ay
stom rae thect, Up. Quadruple. measure chas four
_beats—first, Down; second, Left ; Wee fronts fpurth,
Up. Sextuple measure has six beats—first, Down;
aa falls SAS, blo SBaonl” own eethand (aise the “Te-
snainder ‘of the way 3) third, Deft; fourth, Right; fifth, Up ;
(hand rises half of the way ;) sixth, Up. (hand rises the remainder
of the way.) oe Nor ae
In beating time, the:shand must imitate a pendulum
in the regularity, but not in the manner of its move-
ments... It must moye instantaneously, and then remain |" ~~
stationary» until the time for the next motion... Care| ©
must’ also bé takén, not to touch’ anything with’ the
hand, All. noise must be.ayoided in beating, the time,
lest the effect of the music thus measured, be injured.
The words Measure and Tim are often used synony-
mouslyin music. The expressions ‘‘Double Measure”’
and ‘‘Double Tine’? mean the samé thing.
How is Time usually computed in singing? .How.many beats has.
Double “Measure?. Why?. How many beats has Triple Measure?
Quadruple? Sextuple? What is the meaning of Double
has three beats—first, Down ; |»
ime? Triple
3s
‘Time? » Quadruple Tine? Sextuple 'Titne? hi beating time; what
pmnust' the shand:imitate in the régularity-of its» motions?’ Im what re-
‘spect mustit not imitate od bj a ‘Which way on first beat
in Double‘time be made? ‘The se¢ond? The first beatin ‘Priple time? &c.
How much noise must be made, in beating time? How hard must you
strike your desk or whatever is before you, in making the downward
beat? Why? Is it right to beat time with the feet? Why?
<Ey ‘ é
? OITSES :
nee *
¢ We Serra!
PTT Teele Tet Sao tee wees
If we speak’ of the length of a table, we say, it is
so many feet long; if of a carpet, it is so many yards
long. It is’customary to designate the length of mu-
sical sounds, by. the number of beais which : are: made
to each. bei). .¢ azon-as(l sodahad Langu? : vi-wo ld = ;
The following characters, called Norss, are used to
indicate the length of sounds$:)90) > bse9 feo) 94!
_ _The first is called a wore note; because it is the
longest in common use.” It is four beats long.” The
second is called a Harr note; itis half as long as a
| WHOLE. z
| quarter as long as a wHoLeE. © The fourth is called an
The third is called a QUARTER note; it 1s one
‘EIGHTH note} it is one eighth as long as a wHoLE. The
fifth is called a sIxTEENTH note; it is one sixteenth as
long as @ Wuotn. $c See chap. X
4
What characters denote the lengthof sounds?.
notes are there in common use? What is the longest called? The
second? -The-third? The fourth? The fifth?) How long is a whole |
“note Ahalf note?’ A yee ered An gc roens me A sixteenth
note
CHAPTER 1 IV.
How many measures has this exercise? How many bars? What
kind of measures are they? How do:you know?
Sing the i to : ath La.
bar hab a late aa
‘Note: It can also be sung, using one of ‘the following wontd 5 3 viz:
Lof-ty ; Low-ly ; Tune-ful; Joy-ful; Dark-ness; Glad-ness; or tal
other word of two syllables.
The first part of double measure must be. novented.
Note. The accent im singing, must not usually be stronger, than it |.
kind of measures are they
is in the pronunciation of. words which are accented on the first sylla-
ble.
How many measures. has this exercigal
kind of measures are they? How do you know?
Jesh sek leah bf wibscl fu) raul
1.9 .@ @1|16 e@\@
Notre. Use the an on La; oo Stu- — -ous ; Glo-ri-ous; Melody
Har-mo-ny ; 3 Or any other word of three arliabiee,
The first oe of Triple measure must. be. accented.
Se
How many kinds of
a ‘ ! Bsa pag eo || | ‘das oe td
How many bars? _ What
RHYTHM.
' How many measures has_ this ek How many ba What
kind of measures are they? How 0 you know! .
aa oe ; ;
@@eee0
The first and third parts: of Quadruple Measure
must be accented.
How many measures ne? this exercise? How be bars? What
kind of measures are they?’ How do you know ?
divas laedde dtpaaeaderee
The first and: fourth parts of Sextuple measure must
be accented. y
ee CHAPTER ha
How many measures has exercise No. 12 How many bars? What
ow can you tell?’ How many sounds
How
must be sung in the first measure? How long must each be? |
‘| many in the second measure? How long must it be? How do you
know.
Nore. Ask similar questions, before singing each of. the other ex-
ercises. ‘a 7 |
No. OS oe ie 8 pa at |
ta eel rely,
LAPP Or Peer
eel.
No. “te dal i
x08 ae Ava
gs 3&8
No.
No
No.
No
Nort
P oe ; ad hs ray |
= sdslddddlel- diel
No:
J RHYTHM. oO
HAH! , | | a In studying the Elements of Music, we do nof, as in
\@@eelea Arithmetic, go through the first department, before at-
| tending tothe second and third. ~
Idi Bc It will be necessary to study Sittira: I, I,
lel III, IV and V, in MeEtopy, before re ‘to the
"3e8
Jdidd dal
4 q next in ‘this soporte
Noi! ee
Ts Ato:
CHAPTER VI.°
“le cs FI i ai] he 2 le |} | I 1d} | e 7 i A Dot adds to a note one half its primitive length.
ig Hel | A dotted halfnote ( 3. ) is, therefore, three beats long.
: How long is'a dotted whole (@«)?~ A dotted quarter (¢!. lil et
| | What kind of measures are the following? &c.
No. 1... Nos. 1,2 and 3 may be sung together."
Sea
ake Velde diddddid dle!
1 a at Sst
| +i
ecol@eceltece
tel
H| | \CHAPTER YEE p>] .ts01
| <5 |} @ ' F — SS Tt ; : ;
To produce certain effects, a measure, or part of a
| measure, is often passed over.insilence. Such assa-
;, | ges are indicated by characters called Rests. Each
| note has @ corresponding rest, which denotes that as
(| much time must pass in silence as would be oceupied
[| in singing the note. | boon |
SPS BSD]
RHYTHM: : ra
ar me ea ee on ae ee =
Dotted Eighth Rest). Dotted Sixteenth Rest.
No. 4. Nos. 4, and 6\may be sung together. :
. a 2
How long is a Whole Rest? &c. How do whole and haif rests dif-
fer in appearance? Quarter and éighth rests? 7°97) 1" Oo Uae EL
Fag t= qrovests SE RRERET EEE Sar ie Sienennarciis a eee ices
- te y ; ‘ . nme Oe I donnie =a Een ee Sern
© H aiid * a 5 ee, a ’
Bed Ho ns ; iid at tak. coo ae = as oe
: : ae : SS ;
tet
J
bag gee f= on ge Rp fe ee - eae
~ TaN o.S&. “Nos. 1, 2 and 3 may be sung together.
ak!
. Be ve
niet suasenanlienniennmeniatentemmemens ee Kid AS a ee
, to.Cuaptrer VI in Meropy. ~
ee ee ee oe Se cnsappeeiniaide. area dint mn
8 | RHYTHM
CHAPTER VIII. b of | No. 6.
What kind of notes occupy the second measure of No. 1? How
long is an eighth? How many eighths must be sung toa beat? ~
No. 1. N os, 1, 2 and 3 may be sung together.
9 may be sung together.
RHYTHM 9
CHAPTER. IX,.
‘What kind of notes oceupy the third measure of No.1? How long
is a sixteenth? How’many must be sung to a beat?
Nos. 1, 2.and 3 may be sung together. °
229 ee
ee Ee ia, 9 mee inamee
9-0 |e0ee-oeee
‘am ===) ae = oy
= a | ———
(a ———1 et pars a
as CA) Ame
Nore. It forms a useful and pleasant exercise, to allow the school
to name the sounds by numerals, syllables or letters, in time; i. e.
naming one ee to a beat ; two ‘eighths to a hie &e. ,in the Speak- =”
ing voice. 4G. 3s pega!
“gc ATTEND NEXT TO Morte) VIL. IN NE EOSYO
EES _ sa ,
Tw | ate alal
aw pecs Hert
10 RHYTHM.
may be sung together.
ie uses ‘
5 ae — ar
ra oe +++ e-@ a a r
~ i / D a) i my ' .
a “CHAPTER X. .~ oe
-. In this work, @ QUARTER NOTE 18 always ONE BEAT
long. In music, books generally, this is not the case;.
> | but two figures in the form of a fraction, are placed at
{| the commencement of each tune, the upper figure.
~~ | showing the kind of time in which the piece.iswritten,
“RHYTHM.
and the lower one, the hein of a note which is one
peat. long. ~ ad
In this book, one figure only i is qscae at ine com-
mencement of” ath exercise and tune. ‘This indicates
the°kind of time in which the tune is written. Another
figure would be superfluous, because, throughout the
book, (except in this Chapter, ) a quarter note is one
beat long. .
Nore. See Chapter XVI, for an explanation of a kind . move-
ment, which may perhaps be raaickapedl an exception.
Suppose the figures § tobe at the commencement of a piece of mu-
sic, in what kind of time would the piece be written? What kind of
note would be one beat long? If 4 isat the commencement? 4? 37 §?
41 a §2. 32°27 Why is the lower figure omitted in this book? In
this book, what does the figure 4 at the commencement of a tune mean?
The figure 2? 6? 31 Ifa tune has no figure at the commencement, can
4ou tell in what kind of time itis? In what kind of time is exercise
o.. 11 How do you know? What kind of a note is one beat long?
How do you know?
In tunes where a half or a whole is one beat long,
eer notes than wholes sometimes occur.
A poustE NoTE ( |i or rc) is twice as long as a
whole note.
In tunes where an eighth or a sixteenth 1s one beat
long, shorter notes than sixteenths sometimes.occur.
A dash added to the stem°of a quarter note, forms a
note of one half the length of a quarter. Every ad-
ditional dash has a similar effect; thus, one dash
dt
forms an 8th; two, a 16th; three, : a 32d: four; a bah;
five, a 128th; and so on,
i
|
Az | RHYTHM.
. —o
53” ATTEND NEXT TO CuapTeR IX 1n MeExopy.
Notx. All of the remaining Chapters in Melody can be studied be-
fore the subsequent Chapters in Rhythm. If preferred however, the
rest of this department may be introduced at any time, during the re-
mainder of the course. .
CHAPTER XI.
A dotted quarter (e.) isabeat and a half long; i. e.
it occupies as much time as three eighth notes. -
Note. The exercises of this Chapter may be sung, first reducing
the dotted quarters to eighths; afterwards singing the dotted quarters
with an undulation of the voice for each eighth note, and finally, with
one smooth--sound, in length. equal to. three eighths. Thinking of
three eighths, will assist the singer in making a dotted quarter the right
ine ae as i ae i
avo. 1. .
RHYTHM
CHAPTER XII.
94 RHYTHM.
“CHARTER SR
“This eiaatte senna called a — drawn over
or under two notes which are on the same degree of
the staff, unites them, and they become virtually one
note. _When.a note. commences on the unaccented
| part.of a measure, and is continued on the accented
| part, it is called a SYNCOPATED note, and must be ac-
cented.
1D.
RHYTHM.
are found difficult to
If the quarters in the above exercises,
sing, reduce them to eighths, as in Chapter XI.-
E.
Nor
CHAPTER, XIV. |
DOTTED QUARTER RESTS, &c.
ESTS
EIGHTH R
J
RHYTHM
{ r | ;
! |
F »
H V8.
a |
ae
; ;
} i |
| a
i ie
a |
au | ¥ |
| |
i
f
* : |
' |
| i
}
rr
| Hl
i
4
4
te CnaPreeny.- ets |
“TRIPLETS. se =
Three notes sometimes occupy a part of a measure,
and must be sung to one beat,
PAE
them. T
aK
he figure, however, is often gpaitted:
ee
Such notes are called a
and usually have a figure 3 written over a
{ at he a ame
. a Te Pa Be ao
- ae al a
yt ey Ma PP
.7 ae es ee rat eas SS ag Teasaesis
A noes coat aat Hi
ae a—tn wo a Od Pd me ent! aa
— __, CHAPTER XVE0 0,
In the following exercises, a triplet occupies each
9} | part.of a measure throughout. A dotted quarter is,
| therefore, but one beat long, being considered as the
-_three_eighth notes which compose. a triplet, united... A
- | quarter, also, is considered as being composed of two.
- | of the eighths of a triplet united, and is but two thirds
"| of abeat long; 1. e. a quarter and an eighth together,
_ occupy only the time usually occupied by a: quarter.
_ Nore. Music in this kind of movement, is usually figured §, 3 or ¥2.
_ | It seems equally proper, to consider a triplet as occupying each part of
* | the measure. > ™ an
> i
i
Ya - Cae
RHYTHM. 19
CHAPTER XVII.
A dotted eighth (g-) is three quarters of a beat long;
| i..e.as long as three sixtéenths., = ae
Note. If the dotted eighths are found difficult, they can be first
practised, reduced to.sixteenths. See Chapter XI.
= ‘ . No. 1. > me - : E : . o . oe ?
A... 1 e--0.0.0.0-0.61 oT oe a ee
yy, S y | a or ia 3s aoa See emai
ei.
CHAPTER XIX.
ws a
<i
SAP
Teer
Oo j
A
DOTTED EIGHTH RESTS,
SIXTEENTH RESTS,
RHYTHM, 23
CHAPTER XXI
' One small note, written before a large one, borrows | 7
halfof the time belonging to mn “000 note which:s suc
ceeds it. .
Written. Sung.
If, however, the large note is dotted, the small one
receives either one third or two thirds of the ‘time:
Written. Sung,
When more than one small note is written, the:time:
is barrnares from the large note ees rr ales (pent.
' Written.
Nore. ‘This explanation of small notes, will perhaps meet most of
the cases in which they occur in sintalie choral music. There are’ | raf
many other ways.in which they are used, which the teacher can nie igi (Sia i. elt fobeoe 3
trate if necessary. sOWOMOL BE i
-
MELODY.
. | A
Which Department in the Elementary Principles_of Music is Melo-
dy? Of what does it treat? Shall we find in it anything about the
Power of Sounds? Shall we find in it anything about the Pitch of
Sounds? Of how many subjects does it treat? wd
CHAPTER I.
The foundation of Melody, is a series of eight
sounds, called the Scare. The sounds of the scale
are named, ONE, TWO, THREE, FOUR, FIVE, SIX, SEVEN,
EIGHT. ana n ce ye
Nore. The first and principal thing to be done in melody, is to be-
come perfectly acquainted with the eight sounds of the scale. The
pupils must acquire the ability to sing each sound, with as much readi-
ness a8 they can repeat the alphabet. At first, they will, of course, be |
able to make the right sounds, only by imitation. The teacher must
sing or play each, over and over again, until it is sung correctly.
Through the whole course, the scale should be practised at each lesson,
even long after the pupils are perfectly familiar with every sound. The
teacher should,. also, often sing, with the-syllable La, sounds of the
scale out of their regular order, and require the pupils to name them.
The Germans call this an “ exercise in hearing,” and esteem it a very
necessary part of elementary instruction. Previous to the introduc-
tion of the next chapter, use in practising the scale, the words, One,
Two, Three, &c.orthesyllableLa. =>
MELODY.
CHAPTER II. |
The following Italian syllables are commonly used
in singing the scale, viz. Do, Re, M1, Fa, Sor, La,
S1, Do,—pronounced, Doe, Ray, Me, Fah, Sole, Lah,
See, Doe.
What is the name of the first sound of the scale? Second? &c.
What Syllable must be used in singing ONE? Twot &c.
Nore. Let the following exercises be sung, making each sound
four beats long.
No. 1.—1. 2.
No. 2.—1. 2,
Beri
a We es
No. 3.—1. 2. 3. 2.3. 4. 3. 4. 5. 4. 3. 2. 1.
No. 422112. 8, 4.95.94.°5. 6.6.96. 7B)
No. Sel. 2.3? decd. 6s To Be Oot, Babe 4s 3. 2. £
; gay \ be z eae md 4 . 4 ¢
CHAPTER.
_ Music is written upon a certain number of lines and
spaces, called a Srarr, The staff, consists of five
lines, with the spaces between them, which are named
as follows, aus
>
LARS IIG 2 GILS
MELODY.
‘ourth space.
‘hird- spaces
Second space.
First spacee
How many degrees are in the staff?
If more degrees are wanted, the spaces above and
below the staff are used.
Space above.
Space below. pay *
If more degrees still are needed, any number of ad-
ditional lines and spaces, called appEp lines and ADDED
spaces, may be used. |
2d added space above.
1st space above.
2d added line above.
lst added line abovee
F
——— Ist added line below.
ist added space below-____24 added line below.
What is the collection of lines and spaces. called, upon which music
is written? How many lines are in it?! How many spaces? How
many degrees? What line is next above the first line? hat degree
is next above the first line? If more degrees are wanted than are in the
staff, what are used? If more still are needed, what are used?
Nore. If a black-board is used, point to different lines and spaces,
and ask the name of each.
[2*]
Seat
25
CHAPTER IV.
. The scale is written upon the staff in notes,—one,
on the first added line below,—rtrwo, on the space be-
low,—THREE, on the first line,—rour, on the first space,
—FIVE, on the second line,—six, on the second space,—
SEVEN, on the third line,—x1GuT, on the third space.
A note written on the first added line below, means
simply, ‘‘ sing oNE;”’ a note on the space below, “‘ sing
Two,” &c.
SEVEN. |EIGHT.
Do.
SIX.
La, Si, -
TWO. |THREE,| FOUR.| FIVE.
Do, | Re, | Mi, Fa, | Sol,
What sound does a note written on the second line indicate? Is it
the note or the line which indicates that?) What does the note repre-
sent? What does.anote written on the first line mean? On the third
line? First space?’ Third space? Second space? If you wish to
write a note upon the staff which will indicate FivE, where must you
place it? Two! Srven? Four? One? Eient? THreEeE? Srx?
hich department are you now studying? Of what does it treat?’ How
is the pitch of sounds represented? What.sounds -do the following
notes indicate?
pt MELODY
ce CHAPTER V. No. 4. _ Nos. 4, 5 and 6 may be sung together.
What sounds must. be sung in exercise No.1? How can ou tell?
How long must the last sound be? How long’ the others?) How do
you know? _ What syllable must be used in the first measure? In the '
second? | ‘Third? . Why? hs ee
Nore. Similar questions should he asked, before singing the other
exercises.
No. ae ‘ Nos. 1 é 2 and 3 may be sung together.*
a= a” Se - Ae des pee a
7 : ha
* The schoo! may be arranged in three divisions, one of which can
sing No. 1, the second, No. 2, and the third, No. 3;—or in two divisions,
one of which can sing No.1, and the other either No. 2 or 3 j—or the.
three exercises may be united, and considered as around, the second.
division commencing No. r when the first commences No. 2, &c. _-
MELODY. ? Qy
CHAPTER VI.
| ‘The sounds of the scale are also named after the first
seven letters of the alphabet, A, B, C, D, E, F, G.
For reasons, now perhaps unknown, the first sound is
not called A, but C. Only seven letters are used, al-
though there are éight sounds in the scale. To supply
the deficiency, C is used for both one and r1cHT.
| What letteris 5? 82 32 12 72 52 42 22 62 What numeral
is A? D? F? B? E? C? GQ! car cae
Note. In the following exercises, the pupils should name the
sounds by numerals and letters, continuing the practice in subsequent
lessons, until familiar with both. ; _
icp ‘Acrrenp NEXT To Cyarrers VI & VII in Ruytum.
MELODY
CHAPTER VIL.
In all the exercises thus far
, the sounds have re
gu-
ale
n the order of the scale.
rly ascended or descended i
A good singer must be able to sin
order they may move.
la
g them in whatever
and vice versa.
3
_ Skips from ONE to THREE
~
‘MELODY.
FIVE and EIGHT.
THREE,
3
using ONE
|
fap
=
<=)
~~ _&
=|
a=]
S
|
fa}
aa]
&
using ONE
. MELODY.
CHAPTER VIII.
geet 2 3 4 5 6 P .OFL gS
‘One is often written on the second space, ,
In exercise No. 1, where is one written? Is it always written on
the first added line below? How do you know itis in that exercise?
In exercise No. 2, where is on written? How do you know?
ONE. TWO. THREE. FOUR. ~ FIVE.
To distinguish the two ways of writing the scale, two
characters called crers* are used: the TREBLE. CLEF,
which shows that onx is written on the first added
line below, and the Bast CLEF se which shows that one
is written on the second space.
*Cuer, the French word for Key.
MELODY. 31
The first character, probably meant g scale; it showed
_| G to be on the line on which the character was written.
: | The other character, designed perhaps for a letter St
showed F' to be on the line which was between the
| two dots. Engravers and type founders have gradu--
ally changed the clefs to their present forms, which
bear no resemblance to the letters they are designed
to indicate. ‘The clefs are still considered as indicating
thatthe lines on which they are written are respective-
ly, Gand. F.'The line around which the lower part.
or
——
of the Gclef £@' twines, is considered the line on
| which it is written; that between.the two dots of the F
clef, the line on which i is written.
t)
; eee oe oe = <3 es Oe Oe ek 2 | ae ee ee Pea.
The Treble clef is also called the G cLer, and the” ) ee nes tte pineal “Pho
Base clef is called the F crer. A’hundred yearsago, | 2+ aiinets gion. = gremmeeerent ot
oy a = : ee
they were made thus, 1A oh ee . Powe be we, FF
_ae é‘ “| —A few years ago, it was customary to place the clefs”
enmieiniield Ve ee .
ee ee aA. an & 9 i ‘3 - a £ fe 205 4 Bey
ab... “09 «sia on either degree of the staff, at the pleasure of the
at
wna Ore ee as
ae
Gsoving the third line to be G; & showing the
3D MELODY.
composer. ‘In old music they are frequently written | |
—_—_——
first line to be G; showing the third line to be F, |
&e. At present they are generally considered fixed,
the G clef on the second line, and the F clef on the.
fourth line.
5CP?ATTEND NEXT TO CuapTeR J, In DyNamics.
CHAPTER IX.
It is comparatively easy to sing the sounds ong,
THREE,FIVE and EIGHT, in any order in which they can bé
written. After becoming perfectly familiar with them,
they may be used as guides to the other sounds.
To sing SEVEN correctly, think of EIGHT.
MELODY.
To sing two correctly, think of onz or THREE.
No. 13
think.of. THREE.
To sing Four, correctly,
ee
34
CHAPTER X.
The word scale, is derived fron? the Latin word
scala, which means a ladder.
ascend like the steps of a ladder.
The distance, or * difference of pitch be”
tween two sounds, ‘is called an INTERVAL, The ,
ert
accompanying figure illustrates: the intervals ae
as they occur in the scale. The larger inter- a il
vals are called sters, and the smaller, waLr $F
STEPS.
Notes. The‘order of the intervals was be further illustrated, by the
figure in Chapter XXI.
How many intervals are in the scale? How many kinds of Ob valat
How many large intervals?’ How many small?..What.are the larger -
~The smaller? - What is the interval, or distance, from
ONE to TWO? AND TWO to THREE, &c. — Between. what. sounds do
intervals called?
~The Germans call'the
scale, the Tonleiter, (tone ladder, ) because the sounds |
8-==Ox-
if =?
MELODY.
the half-steps occur? The st Befirean what ietiers do’ the half-
steps occur? The steps? What i is the interval from A to B?~ D
to E?- 5to 6? 1 to2t” FtoG?_ 6 to7?_ pares 4 toot G to A?
20.32 BtoC? 8 to4? Es toFt., 7 to 8? cm Coe
Note.» The figure exhibits the ye ae to the eye. They must be
made equally plain to the ear. The teacher can sing or play sounds
which are a step apart, and\some which are a half-step apart, » requiring
the pupils to listen attentively, and note. the difference. “The school.
can then be exercised something as follows. Let the Feacher si sing a
sound with the syllable la, requiring the pupils to do the same. “Then
let him say, ‘sing a sound a step higher than that you have just sung,’
‘a half-step lower than the last,’ &c., ‘continuing the ‘exercise, until
they can easily sing sounds which are either a step, or a half-step
apart. It is a good exercise to sing the scale in this way, commencing
on different letters. For example, let the teacher require the sound D
to be sung. Then say, ‘sing asound a step above the one you have just é'
sung,’ ‘sing a sound a step higher still,’ ‘a half-atep higher than the last,’
‘a step higher, ‘a step higher)’ ‘a step higher? ‘a half-step higher.” De-
scend in the same way. In all such exercises use the syllable la, and be
sure the pupils get the right sounds, only by’mental calculation,” ‘It is
recommended, that the school be thoroughly exercised.in this way, as all.
of the subsequent lessons are arranged on the supposition that the pupils
are perfectly familiar with these intervals, theoretically and practically.
7 Berea: Eee t . Qr- a «ih... By . ”
- a ¥ Cv cue
p—- GHAPTER XT, '
“The same syllable is used for EIGHT ed for: ONE.
The -same letter is also applied t to each. We may,
n 7
MELODY.
therefore, conclude that if the sound next above EIGHT
is written; it will have the same cen and. syllable “as
Two,—the | next pighier# stl ie
ble as THREE, &c.
the same letter and mpl
vag
| |
As ercut has: the same letter and syllable aS ONE,
when sounds. are written above it, we may call it. by
the same numeral, and consider it-as onxE of the UBER
scale.
The sours. gt pbequpper eoqle bear. precisely the
in
The dais we have Si meee eee 18 Salles the MIDDLE SCALE.
canes the LOWER SCALE, i the UPPER SCALE.
2 ee
35
' same relation to one another, ‘as’do those of the’ scale
we have practised. One familiar with the’ seale, ‘can
with equal facility, sing the sounds of the upper scale,
as far as the compass of his voice will permit.’ ONE,
may also be considered: as EIGHT of a scale still lower.
sary tapeine Py 4 (3. serie Se
Do, Si, La, Sol, Fa, Mi, Re, Do
C B A G F E D Cc
Ce
|} | S| EEE aca) ee sae, |
| -o- eT
~The sounds of this scale also, bear the same relation
to one another-as those of the scale with which we are
already familiar, and as far as the compass of the voice
will tte can be,sung with re ease. ~
Those xplhined i in this, Chapters are
UEFEE SCALE... - -o-
“LOWER CARE Tee et Te “MIDDLE SCALE. |) .
. ao eee -e- . 4 ‘ $ ; ; ” + 'e?, :
r 2 oo 2 * > oe
7 9 ‘2, &
& <imee oe See : Se
= 2 :
e ¥ money Preheas =p aa C/ ) ” . - RM ni ey ea oe
eS ere oe | 9 ote he
oa aC" 5 = be u q ; ¥ ¥ . 4 4 4 ~ 5
| 3 i‘
36 , MELODY.
There are few persons whoican with ease sing: higher
than Five. of the upper scale, or lower than rive of
the. lower scale. Vocal music is abldom ivTittio paehee
or wer than these two. sounds, )
What sound of the lower scale is the same as one of and middle
scale? What sound.of x ¢ upper ogee is the same.as is eight, of the
middle scale? 4
Nore. In adult schools, the: voices’ ‘should mow be clstaifieds “See
Chapter XXXVI. She
~
ee
“CHAPTER XII.
Bésides 1 intervals which’ have been = oe
there are others, obtained by reckoning the distances
between-allthe, sounds of the scale. Unless accom-
panied by a direction to the contrary; intervals are ,
always reckoned from the lower sound upwards. —The
interval between a sound, and that on the next degree—
of the staff, is called a seconp. The distance from one
sound to another; skipping over one ‘degree, ‘is called
CE} a THIRD; skipping over. two.degrees, ‘@FouRTH; three _
, degrees, a@FIFT 3. four degrees, 8 SIXTH five degrees, :
ool’ a SEVENTH} 81X. degrees, an EIGHTH OF OCTAVE. ==
__ THIRDS.
FOURTHS,
What is the interval from 1 to 3? 4 to’8?.; 5:to 62:3 to 72 2.to 8?
of the middle scale to 5 of the upper scale? 2to 5? 3 to 8? What
s the interval from D to F? E to C? F toG? BtoC? CtoA?
+toD? AtoG?
LARGE SECONDS.
SMALL SECONDS. ; SUPERFLUOUS SECONDS.
-OpIMINISHED ‘SDs.
ag 8 > ee
_ DIMINISHED 4THS. SUPERFLUOUS 4THs. ‘4
|’ you last-sang THREE? -
MELODY.
PERFECT 5TH.
Lp inhi ee Mn
DIMINISHED 7THS.
Nore. For exercises on.these intervals, see page 77.) ~
gt (OHAP T hh cet :
Sing one. Sing a sound a_half-step_higher than one. Was. the:
sound you last sang Two? -How much lower than Two was it? How
much higher than onE? — Was it a sound which belongs in the scale? |
Sing Two. Sing a sound ahalf-step higher than Two. Was the sound —
How much lower than THREE;was it? **How —
; much higher than Two? Was it a sound that belongs in the scale?
i
MELODY: , 39.
on ‘the (first) added ‘line below a character called a
SHARP (4+) is placed before it, to show that it is not onzE
but a sound a half-step higher than one. If written on
| the space below, a character called a FLAT (fp) 1s placed
before it; to show that it isnot Two, but a sound a half-
slep lower than TWO,
Sing THREE. Sing a sound a-half-step higher than THREE. Was the
sound you last sang Four? Sing Four. Sing a sound a half-ste
higher than Four. Was the sound you last sang Five? How pee
lower than FIVE was it? How much higher than Four? Was it. *
sound that belongs in the scale? Sinz FIVE. Sing a sound a half-step ©
higher than FIVE. Was the sound you last sang six? How much
lower than srx was it?) How much higher than FIVE! Wasita ante
that belongs in the scale? Sing six. Sing a sound a half-step higher
than srx. Was the sound you last sang seven? How much lower
than’smVEN,was it? How,much. higher. than six? Was ita sound that
belongs in the scale? Sing seven. Sing a sound a half-step higher _
than seven. Was the sound you last sang EIGHT? How many sounds
have you now sung which do not belong in the scale!
“These new sounds are called INTERMEDIATE 8 =
souNDs... They occur between those sounds of 7? [__
the scale only, which are a step’ apart. In the 6 beterbl
figure, the intermediate sounds are represented 5 ae wm
by dots. Although they. do not belong in the ‘
scale, yet they éften occur in music, and must 3|——|
be thoroughly learned. It will, of course, be. }---|-
necessary to have a method by which ies eae
can be expressed on the staff. Mey Jt i
Ont belongs:on the first added line be’ ow, , and Two
on the space below, one of the intermediate. sounds is |
half-way between one and two, but there is no degree
of the staff between the first wilded line below and the —
space below on which it can be wr itten. It must, there-—
fore, be written either on the same degree. with ONE,
or onthe degree on which Two belongs... If-written :| _
: ‘THE INTERMEDIATE SouND BETWEEN
1&2 2&3..1 4&5. 5&6. 6&7.
As. both ong, and the intermediate. sound, which is’
a half-step above onE,;..are written on. the first. added
line. below, the. intermediate sound is called sHaRP ONE,
to distinguish it, from oNEz. When written on the
| space below, it is called r1ar Two, to distinguish it
| from two. Tf named by letters, it is called C sHarp,
or D ¥rxaz, to distinguish it from C and D. :
C CHP ak EF F PRG ate A#.B C
8 7 h7 2 42) 1
When a sound is sharped, the termination of its syl-
lable is changed to ce. For #1, therefore, the syllable
is Dee, and not Do. For #2, the syllable is Ree,—for
#4, Fee,—for #5, See,—for #6, Lee. é.
When a sound is flatted the termination of its syllable is
changed toay. For )7,therefore, the syllable is Say,and
not Si. For )6,the syllable is Lay,—for h5, Say,(same as
for )7,)—for )3, May,—for )2, Ray, (same as for 2.)
_A series of thirteen sounds, including twelve inter-
vals of a half-step each, is called the cHroMaTic or
ARTIFICIAL scale. The scale which consists of eight
sounds, is called the pIATONIC or NATURAL scale.
THE CHROMATIC SCALE EXPRESSED BY SHARPS. ©
elevates a sound a half-step?
| matic’ scale contain?
THE DIATONIC SCALE.
In the Italian language, from which the syllables —
for the. scale are taken, 1 is always pronounced e, and
4 Z
e, a.
Between which sounds of the scale can intermediate sounds be sung?
Between which can they not be sung?) What is the character which
What is the character which depresses
a sound a half-step?. How is the intermediate sound between 1 and 2
represented upon the staff? Between 2 and 3? 4and5? Sand 6?
6 and 7? Why is there no $3? Why no #7? -Whyno 4? Why no ps? ~
Is there such a sound as pl? Why? What letter is B17 $2? $4? . #57 |
62 Why is thereno E#? Why no Bg? What letterisb7? 56? p5? .
32.22 Why is there no Cb?) Why no Fp? When-a sound is —
sharped, to what is the terminationof its syllablechanged? What syl- |
lable is sung to #1? 92? $47 fo 6? When a sound_ is flatted, to
what is the termination of its syllable changed? What syllable is sung
to p72 p62. p52? 3? 52? How many sounds does the diatonic scale
contain?, How many intervals?. How many kinds of intervals?) How
many steps? How many half-steps?) How many sounds does the chro-
: Tow many intervals? &c. “When a sharp is
placed before a note, how much higher is its sound? When a flat is
placed before a note, how much lower is its sound?
Nots. The sharps and flats may be further illustrated, by the figure
at the commencement of ChapterXXL00
gai
CHAPTER XIV.
CHAPTER XV.
or a flat, affects throughout the mea
ein
In
sur
hich it is placed,
o
me
3
mn
fy
®
—
ad
=
(-°]
av
=
2
(i
o ,
ow
Do
2G
me tes
Sn
~~ od
a fe
n Ss
HM
‘3
gg
a8 &
ar) om
a2 Es
Bo a 2
oj &
om H
arena
although the character is written before only
one. . -
the first
-= = CHAPTER vn <a te
oY intérmediate- sound: represerited by a sharped
ist is said to. lead to the sound onthe degree, next
above ‘it, and one Rae oqrioces anes pores to gthet |
or Saree
on hele, gree next) if be Sh it; :
. cedes and follows it. When this is not the case, it is
well to think of the sound to which the’ i Beadiote
ees d leads, both before i and ee
To what sar — “$20 44 #51 #61 -TLo- what “seen bk
+ Yead?. p61 —p5?-—-p32 p22? What oa igsthe ‘guide to #4?.->7?
Het p3? #1? Pel $21 pot #61 p2? After singing #4, if you wish to
sing ONE, of what sound must you think? anh Of the! guidé to #4, 5.)
< sae ee
ser ~eaaed oan *. neti
ete
RAB
A.2
nan.
- :
a2
2
3
=)
©
wa)
=
= F
a
3
:
iter
_ What letter
pt? Gp? Ep?
sharp‘
Moat
ral_ is
Ch?
9
?
pon asound?
nume’
y -no
CHAPTER XVI”
ct has a flat u
67 p72
re no Fp?
1 pdt
‘What effect |
b3? ps? ~
the
b6
r -
en p2 is sung? p31
y is
.._.Wh
wh
” MELOby. =
) f (CHAPTER oxvE {
cA Natura (4) takes away. the effect of. ak or, 43 |
In the second measure of No. 1, the # is not intended .
to affect the last note, its influence i is therefore counter- ‘|
‘acted by a 4. S ms ee Hi
Naturals are often: written. where there t is no “neces-
sity for'them. “The same is true of Sharps and Flats. - 4
|
CHAPTER XIX,
olf the last note ina measure is sharped or flatted,
om the first note of the next measure is on the same
degree of the staff, ‘the # or b affects all the notes
written on that degree i in the next measure.
How far does the influence of a + or ap extend? If the composer |
‘of:a piece of’ music does not wish it toextend throughout the measure,
what must he do? Does a Natural raise or depress a sound? What
does the expression “ C natural” mean?
the ‘In No» 3, there are: but two F’s which are not shar ped ; in which
; meee, are they? Is the F, in the third measure of No. 2 Pekaped!
Z4 y
more correct definition is,—the penn gs aiseries of
step, 6 to6 as — 6 10 Soe 110-8 a he : = ie
matter which letter is taken as one. a Srey.
4. _ Nore. This can be illustrated by-requi ine he pupils to,sing algiven
al _sound,—then ¢ a aouid-a step higher a ate higher =~2
a ig | "| = atep higher, — =a step higher, —a step higher,—a half-step higher "5 Te-
—
péating-the exercise several times, commencing on different letters.
The scale as frequently commences on other letters
asonC. When HYSOTIREPTEER en, it is “af to be |
the key of C; when on D, i nthe aN , &e.
Rey ‘of C2 fears “that © Cis'taken as os NE; 4 ‘of D,
|? ‘that D is taken 5 foc prong ¥ on ma
§ wi ati Moa 1 3% a oh iF togh of
pia ia is the meaning 4 ap expression, ‘Key oa (Ag? gt
PL | ‘Key of BY ‘Key of F? ‘Key of Gr the Key of
a {Reyer te ipsam a eae 17 © BP: bi si
; ae) Ww etter .is,.11., 2b nthe; rof.G
: ee letter tet 42 °61~ ou 5? | Spee wie oF nl gta “
_ pdb rnd go "4? ‘Inche key: of, B, whateletter is 12: 420 In ithe ke
tte hag pores chine. ors 38) 1, waitten? stead &e. Inthe bey oft
i paket i? FY Ge). a Al.B 2° Py ose isisied) a weo ‘ Seb oa dar a fraser
Tesan ipioten O cpvisavtare set apo
Sil 1. Inthe Key sels Te
are P= '
=a oP]
ait om ei.o4 |
eascit & i a 2 laa a : it te S Be ii 2 5
-PRANSPOSITION OFTHE: isdaikao notircw
The sls we. have thus far. had: of» the scalevis, min |G f-
- dtis-a-series of eight sounds, commencing ‘on™
MELODY: AG
i: Inthe Keniof dott
I Fak Wer ae
ijewlted st |
TiWyrierypar;Bi-c D E F G
. “The figure ‘represents: part ‘of the” key-board of a
= ee a Piano Forte. The black keys are the flats and'sharps,
to 2, | that between G and A being G# or Abs. that HetiBen
— A and B, A¥ or Bp, &c. . There is no black’ key bee
tween E and F, nor between Band C, because inter
| mediate sounds can be played or’ sung, only between
those. sounds of. the seale which are a step. apart.
Tr What is the interval from 1 to 2? 2 to 31. 3 to 40 4 to 5? 51 to 6?
or i Sto i oe,
4s
‘When D is.taken.as one, what letter is 2? 3?
When E is taken as one, what letter is 227 3?..42..5? > 7? 82
“When F is taken as‘one, what letter is 2? 3? 47» 52, 6? 72-8?
When G is'taken as one, what letter is 273? 47 57
When A is taken as one, what letter is 2? 32 42 5? 62 72 8?
When B is taken as one, what letter is 2? 32 42 57 627 72 8?
When C is taken as one, what letter is 2? 3? 4? 5? 6? 72 8?
Because the halfsteps‘are fixed between B and C
and E and F, when C is taken as one, the order of
the intervals is right without the use of shar ps or flats.
When any other letter is taken as onx, sharps or flats
must be used to preserve the order of the intervals.
On this account, when the scale is in the <i of shit
is said to be in its NATURAL position, and when it is in
any other key, it is said to be in a TRANSPOSED
position. :
* CHAPTER XXII: :
From the answers to the questions in Chapter XXI,
it appears that in a tune written inthe key of D, every
F and © which occur, must be sharped. In the key
of E, every F, C, G and D must be sharped.., In the
key of F, every B must be flatted. In the key of G,
every F must be sharped. In the key of A, every F,
C and G must be sharped. In
C, G, D and A must be sharped.
sharp or flat is required. ae
As in the key of D, every F and C must be sharped,
In the key of C, no
6r 7 Bt”
In the key of B, every F, | »
MELODY.
4? 526771 81)
instead of writing the character before’éach note that
-oécurs on those letters’ in the course of a tune, it_is
_placed at the commencement, upon the degrees of the
staff on which F- and C belong ‘In the ‘first of ‘the
following examples, the sharp upon the fifth line, shows
that every F, and that upon the third space that every
Key of D.
MELODY. £9:
The sh arp upon F , may. with ec eae propriety be
placed. on the first. space; t ton. G, on the second.
Lind; Bop. —— ns 5 / cat
In the key of D, what. romeo are maxed: VRAIS are athe. ‘charac-
ters placed, which denote that those letters are sharped? ren
Nore. ok similar vb Sig ll ne respecting the other i
fos. Sa a ure tice ee TER XXUL'* |
~ Whenever a tune has. two. sharps « at the. 75 eau oo .
ment, it is in the key of D; two sharps, therefore, form
the SIGNATURE; or the sign by ie wer kiiowewheit a |
tune is in ‘the .keyoof Dion ei) ovo + ‘i ered
What is the signature of the key 7 E? Fr ar “AY BP vi va
When there is no sharp or flat at the commedtégiteat
ofa it is in the. key of C. The. signature of the
key of fC, is said to be, natural.
Nore. ; The. pupils should b be ‘thoroughly questioned, before singing
the ad exercises. PTR
t zaakh ids
CHAPTER XXIV.
64 MINOR SCALES.
“The minor scale* isa series of eight ‘sounds,
between which the intervals are, from ! to 2. oF
a step,—2 to3,a im ad er ta 4, astep,— $). |
4to5,a step,—5 to 6, a half-step,—6 to 7, a} ays
3c a step anda half,——1 to 8,'a half-step. | =f
The diatonic scale is called the masor scale, ss
when spoken of in distinctions from the minor |
scale. | : age 2) 4
Every. major scale a a minor scale, called 3 | ;
its RELATIVE MINOR, commencing on its SIZTH, Al_J3
Every minor scale has a relative Major scale, aL. : 2
commencing. on its THIRD. A, ‘Major scale,
and its relative minor mang the same > signature,
iat The minor scale which is here explained, is the same ascending and
descending. See Chap. XXXVI
be right. j if j tn 4 ,tP'ts is OT &
-o-
eis flats and naturals, which occur in the course
of a tune, are called accipENTALs, to distinguish them
from those which form the signature. ok
tt Jocm
Snven i in ithe minor scale, always tas an reonelabeesigh
sharp before it. Were this not'the: case, the intervals
from s1x'to SEVEN and from sEVEN to. EIGHT would not
Ag
The syllables of the minor scale, are the same that
would be used, if the sounds were considered as
| belonging i in the relative major key. One familiar with
the major keys, can sing any minor tune correctly,
without a Seaton of the minor suet |
Bilt echeme = aha ~ ihe be :
*2 heen A sb eo “Si-Fa_MiR
ee
_ MELODY.
The Gevmans'call the major, the haid scale, aiid the |
minor, the’soft scale. Tunes written in the minor key,
produce a more tender, ‘pensive, or melancholy effect,
than those written in the major key.
What. scale™is introduced in this. chapter? With what. scale were _
In the minor scale, what is the interval |
tween 1 and 2? 2 and 3? &c.. What syllables are sung to.the minor —
Me previously acquainted?
scale? Whatsyllable is sung to 6 in the major scale? 7? 12 2? 3?
4? {52 6? Upon which sound of a major scale does its relative
minor commence? aye which sound of a'minor scale does its rela- |
tive major commence?
In what consists the difference between the
major and minor scales. fee
eee
CHAPTER XXV.
_In speaking of a major key, it is not necessary to
express the word major. The expressions ‘Key of C,’
‘Key of G,’ &c, mean ‘Key of C major,’ ‘Key of G
major,’ &c. When speaking of a minor.key, the word
minor should always be expressed, ._ :
_. The signature of each of the following exercises, is
natural; they are consequently, either in the key of C, |
or in the key of A minor.
Note. Exercises and tunes in the Keys of C major and A minor, -
| which do not contain rhythmical passages that have not yet received
attention, should now be introduced. See page.
52
CHAPTER XXVI. ii
- Rutey To transpose the scale a fifth higher ora
fourth lower, SHARP THE: FOURTH,
When is the scale said to be in its natural position?. When is it said
to be transposed? What letter is a fifth higher than C? - What letter
is a fourth lower than C? Ifthe scale be transposed from the key of C,
a fifth higher or a fourth lower, to what letter will it go? In what ‘key
is the following example? Which sound must be sharped to transpose
it to the key‘of Gt” at i all
Bee Ghetto ee
_ What sound does the #4 become in the new key? What is the sig-
nature of the key of G?- What letter is sharped? On which line or
space is the sharp in the signature written?
in the key of G?~ Between what sounds would the intervals be wrong
if it was not sharped? What letteris ong in the key of G? 27 32 4?
5? 62-72 81> What letter is in the key of G, that is not in the key
of C? What letter is in the key
What letter is Re in the key of C? What letter is Re in the-key of G?
&c... In the key of Cy upon which line orspace is oNE written? In’
the key of G, upon which Jine or space is ONE written? In the key
of C, upon which line or space is 2 written? Inthe key of G, upon |
which line or space is-2- written? &c. In the key of C, what sound is B? ©
3 What is the meaning of the ©
expression ‘Key of €2’, ‘Key of G?’? What other letters can be taken as ©
In the key of G, what sound is B?. &c.
one, besides C and G? Upon which sound of a major scale does its
relative minor commence? Upon which sound ofa minor scale does its
relative major commence! What.is the relative minor of C? - What is —
the relative minor of G? What is the relative major of A minor? What
Why is F always sharped |
of C that is’ notin the key of G? |
What letter is Do in the key of C? What letter is Do in the key of G? |
MELODY.
) is the relative major of E minor? When the scale commences.on G how
much higher is it than when it commences on C? How much lower
is G second line, than C third space? What must be done to transpose
the scale a fifth higher ora fourth lower?, =, eho
Key: ofdh.ai node, osods noth
ste. . os Kg
Peles SE SS)
ras
St” Do
Bi 2008 pelvoe! Bis no. buchen ster m
b gotta ly vr F Ass 2M. ot Sine
Key of E Minor.” '*
3 . a
_ If, inthe course of a tune, a sound which is sharped
in the signature is made natural by the use of an acci-
dental, it will be depressed a half-step. belowits. proper
place, and will become flatted. Thus, in.a tune in the
Key) of Grn wome Og nit te ee
‘The Signature Of each of the following’ exercises is
one sharp; they are, consequently, either'in the key
of G, or in the key of E MAOH 4 4OH-Oa8d- a1.
i ft a eee ee st
MELODY. © os
| _ CHAPTER XXVII. i
mer aed is-a fifth higher than ‘G2... What letter is fourth lower *
“f- |. than Gt If the scale be transposed from the key of G, a fifth higher
. |, or a fourth lower, to what letter, will it go?. In what.key. is, the follow-—
ing ning Which sound must be sharped to transpose it to the key
of D? mm sO¥
Questions asin Chapter XXVI. as 1
5 ee ee —
Se ae ee ree
Do Re Mi Fa __ Sol La Si ~ Do.
‘Key of B)Minor.
ae y 0%
Dintige —ieietiln-ag LO Re — Mi, Fa. Si. La.
The signature. of each of the following. exercises is
Noire, ‘Panes! and exercises which have the signatire one sharp, | two sharps; they are, consequently, either in the key
eyes
should Rew beidttoduteds -Cicapoe OD Ft8 of D, orin he, ayiol B SAM RBipir m9
ontm Ol GeNOe Sd} ci bey
Ane | | | MELODY:
. | CHAPTER XXVIII.
[= What letter is a fifth higher than ] 4, What letter is a fourth lower %
r} than D? Ifthe scale be transposed from the key of D, a fifth higher ora _
| fourth lower, to what letter will it go? In what key is the folibwing a:
/ example? Which sound must be sharped to transpose it to the key of A?
we — ; i ; : aGe
: ac : 7 > -
peewee. Cele a
| ~ Quzsrions as in Chapter XXVI. _
Key of A.
Tt ert ® os
Do Re Mi Fa Sol La. Si Do.
| Key of F# Minor. |
Eh Bi) -Do- Re] Mi Pel Sm eh
~ The signature of each of the following exercises is
three sharps ; they are, consequently, either in the key
of A, or in the key of F # minor.
Nore. Tunes and exercises which have the ‘signature two sharps,
4auld now be introduced.
t
¢
Nore. Tunes and exercises which have the signature three sharps,
should now be introduced.
CHAPTER XXIX. |
What letter is a fifth higher than A? What letter is a fourth lower
than A? If the scale be transposed from the key of A, a fifth higher,
or a fourth lower, to what letter will it go? In what key is the follow-
ing example? Which sound must be sharped to transpose it to the key
of EY he a
. can sa ene ae 3 4 5
a as a." St _ ral: i : ? ie
. QurstroNs as in x 7
Chapter XXVI.
, Ge AB D |
“Do~ Re Mi Fa’ Sol La Si Do.
Key of Cz Minor.
Fa Si - La.
ra
The signature of each of the following exercises is |
four sharps; they are, consequently, either in the key |
of E, or in the key of C# minor. .
Po A coh a ed
ee Ee tee ae:
Notr. Tunes and exercises h have the signature four sharps,
should now be introduced. ,
MELODY. »
CHAPTER XXX.
Nore. This Chapter may be omitted. Bes
What is the signature of the key of G?- What letter is s sharped?:
What is the signature of the key of D? . What letters are sharped?
What 1s the signature of the key of A?’ What letters are sharped?
What is the signature of the key of E?| What letters are sharped?
If the scale be transposed from the key of E, a fifth higher or a fourth:
lower, to what letter will it go? Which sound. of the key of E must
be sharped, to transpose the scale from the key of E to the key of B?
Hex of B.
heaton
bist By
Do Re Mi Fa Sol La Si Do.
Key of G # Minor. mee
La Si Do “Re Mi Fa Si La.
What letters cannot be sharped? (See pages 39 & 47.) In the key.
of B, what letters are not sharped? What letters can be sharped? In
the key of B,what letters are sharped? Why cannot E and B be sharped?
If E was sharped, what letter would it/become? If B was sharped?
What letter is 5 it the key of B? Ifthe scale be transposed from the _
key of B, a fifth higher ora fourth lower, to what letter will it go?
‘Mich sound’of he key of &. must be e sharped, 6 | -Eranspese: 1 the Aga
a een Co eae |
0 seins ampnety’s HA
_ ==
Bi é fy 8 sex: ag
57
from the key of B to the key off #? What letters are sharped in the
key of B? “What additional letter is tee in the key of Fw? What
letter has = same sound as H#?
Key of. FR.
———
bGobiGh & f
Do —-Re Mi Fa Sol La. -— Si
; Key of D# Minor.
la Si. Do Re Mi Fa Si La.
What is the signature of the key of Fe? What letters are sharped?
What letter is not peerpedt
“According to the rules bf Harmony ,* the letters A,
B, C, D, E, F, G, belong in every scale. If, in the
key of F#, 7. was called F, there would be no Ein
the key; it is, therefore, éalled E#, Fone EF has
the same sound as F.
What letter is 5, inthe key of F#? If the scale be Get lea from |
the key of FH, a fifth higher. or a fourth bia! to what letter will it go?
~ Harmony, the : art of composing music.
358
from the key of F # to the key of C#?.
the Seat re? What additional letter is sharped in the key. of C#?.
In the key of C#, what sound is B42? What letter has the same sound
as BH? Why is 7 in the key of C# called Bg, instead of C?
Bite e
ay
sa _ Sol La Si_ Do.
» Key At Minor. it aie
ae ~5-
1 By Oks
rc? iT Sif FITS een ts Do . é Re Mi Fa) Si La. }
A DOUBLE sHaRP (X or ##) elevates a sound a step.
2 perm ttcyt anes Treo Tre} { $74 meer ier =f ; nA ee my “nA &
What effect has a# upon a sound? AX? What letter. has the
adlib odthdcks Cx? DX! EE? ES? Fx? Gx? Ax? BET Bx?
‘What is the signature of the key of € #? ‘What letters are sharped?
What letters are‘not'sharped? What letter is Sin the key of C#? If
the scale be transposed from the key of C¥, a fifth. hi her or, a fourth
pe ahs to what letter will it go? Which sound of he key of C# must
€ sharpe
sharped, to transpose the scale from the key of C# to the key of G#?
What letter is'4in the key of C#l, How can F# be sharped!
Mi We hgbtare of 38 key of bf ui
can there be eight sharps in the si e,y
letters in the scale? (ane ; F is euble whatped:
ters are sharped.)
when there are but seven
aig ae bah
cat be ghargeat What |
oe EIGHT teats} ‘How
MELODY
Which sound of the key of F¥ must be ci ip ene telat, the scale 4
What letters are sharped in |
de oh & G& Bm KR &
Do Re Mi Fa Sol La Si Do.
Key of E# Minor. .
oe Be Sto Re MF 7
What letter is'7, in the key of G#? What letter has the same sound
as FX? Why is 7 in the key of G# called Fx, instead of G?
Norg. The teacher can now explain, that the scale might be trans-
“posed in this way, obtaining an additional sharp at each transposition,
ad infinitum. Also that tunes are. seldom. written with a signature of
more than four sharps: with asignature of more than six sharps, never ;
because seven sharps indicate the same key as five flats; eight sharps,
the same key as four flats ; nine sharps the same key as three flats, &c.
It forms an interesting exercise, to continue the transpositions, (if there.
is time,) until it becomes necessary to introduce triple, and even quad-
ruple sha 3. ay
P thedsne *
ogee ot
MELODY.
60
CHAPTER XXXI.
Rute.—To transpose the scale a fourth higher or a
fifth lower, FLAT THE SEVENTH. ‘a 4
When is the scale said to be in its natural position? When is it said
to be transposed? What letter is a fourth higher than C? What let-
ter is a fifth lower than C? If the scale be transposed from the key
of C, a fourth higher or a fifth lower, to what letter will it go? In
what key is the following example?
transpose it to the key of F?
Which sound must. be flatted to
4 5 Re: 1 & ee
QUESTIONS as in Chapter XXVI.
Key of F.. «
ae
Pe eg oh
Do ‘Re Mi | Fa Sol ia, Si Do.
Key of D Minor.
MELODY.
If, in the course of a tune, a sound which 1s flatted
in the signature, is made natural by the use of an ac-
cidental, it will be elevated a half-step above its proper
place, and will become sharp. ‘Thus, in a tune in the
key of F, B5 would be #4. =
The signature of each of the following exercises is
one flat; they are, consequently, either in the key of F
or in the key of D Minor. — ;
No. 1.
MELODY. GE
fifth lower, to what letter will it go? In what key is the following eXx-
ample? Which sound must be flatted, to transpose it to the key of Bp?
ry 2 ee Fn : ai =
6 ye ee 2% 3 4
What is the signature of. the key of Bp? What is the signature of the
key of B? Other questions as in Chap XXVI.
Key of Bh
Fa Sol La Si
Key of G minor.
Norsr. Tunes and exercises which have the signature one flat, | >
should now be introduced. . sit “a
be —S-—-— Dan Ray Mig pe
The signature of each of the following exercises is
. - CHAPTER XXXII Ae -| two flats; they are, consequently, either in the key of
What letter is 4m the key of F? What letteriis a fifth lower than | Bb, or in the key of G minor, | ~ ; .
F? If the scale be transposed from the key of F, a fourth higher or a ‘
J
oa
Nore. Tunes and exercises which have the signature two flats,
should now be introduced. :
CHAPTER XXXIII.
| . What letter is 4 in the key of Bp? What letter is a fifth lower than
Bp? Ifthe scale be transposed from the key of Bp, a fourth higher or
a fifth lower, to what letter will it go? In what key is the following
| example? Which sound must be flatted to transpose it to the key of Ep?
What is the signature of the key of Ep?” What. is the signature of
the key of E?. Other questions as in Chap. XXVI.
Key of Eb.
————- 6 ——
~ Do Re Mi Fa = Sol
FHS
La
7 a of wa ot a ming?
Mi
The signature of each of the ae exercises is
three flats; they are, consequently, either in the key of
Ep, or in the key of C minor,
“ Norx. Tunes and exercises which have the signature three flats,
should now be introduced.
*
CHAPTER XXXIV.
What letter is 4 in the key of Ep? What letter i is a fifth lower than
Ep? If the scale be transposed from the key of Ep, a fourth higher or
a fifth lower, to what letter will it go? In what key is the following
example? Which sound must be flatted to transpose it to the key of Ap?
-o-
Se
6 7 of 2 ee
_ What is the signature of the key of Ab? What is the signature of
_ the key of A? the. letters which are fiatted in the key of Ap, are
. neined i in. the order in which they have been obtained, -whatoword. will
they spell? Other questions as in Chap--XXVI.
64 MELODY.
B 2 ese aoe a
Do Rew (Mi~-Pa~-Sol-- ba: Si
Key of F Minor.
SK
a a a a y
The signature of each of the following exercises is
four flats; they are, consequently, either in the key of
Ab, or in the key of F minor. —
No. 1.-
. - “ <e vie ve * Y ae . ~ nal —_ ; igs eee tcieeme nnn T . cieeotianen - ae
Norr. Tunes and exercises whi 1 have the signature four flats,
shquld men pe iuiagaced i nf eee)
CHAPTER XXXV.
Note. This Chapter may be omitted. . ..
What is the signature of the key of F? What letter is flatted?
What is the signature of the key of Bp? What letters are flatted?
What. is the signature of the key of Ep? What letters are flatted?
What is the signature of the key of Ay? What letters are flatted? If
the scale be transposed from the key of Ap, a fourth higher ora fifth —
lower to what letter will it go?_ Which sound of the key of AP must
be flatted to transpose the scale from the key of AP to the key of Dp?”
Key of Db.
ret Nici age ager
Dp >. ® Gp & BB € Bp
Do Re Mi Fa Sol La Si
‘Key of Bh ‘minor.
BW ay San a
La Si Do Re Mi
‘
La
What letters cannot be flatted? (See pages 39 & 47.) In the key of Dp,
what letters are not flatted? What letters can be flatted? In the ke
Fa Si
e
of Dp, what letters are flatted? Why cannot F and C be flatted?
was flatted’ what letter would it become? If C was flatted?.
_If the scale be transposed from the key of Dp,‘a fourth
If
an, ne r Dp, 2 higher or a
fifth lower to what letter will it go? Which sound of the key of Dp
must be flatted, to transpose the scale from the key of Dp, to the key
C5]
MELODY.
65...
of Gp? What letters are flatted in the key of Dp? What additional
»,
Ch? Why is 4 in the key of Gp called Ch, instead of B?
Key of Gb.
| letter is flatted in the key of Gp? What letter has the same sound as
hs Select
fe sigphandlacahioe ir ibe
Key of Eb minor.
re Si Do Re Mi Fa Si § La™
What is the signature of the key of Gp? What letters are flatted?
What letter is not flatted? If the scale be transposed from the key of
Gp, a fourth higher or a fifth lower, to what letter will it go? Which
sound of the key of Gp must be flatted, to transpose the scale from the —
key of Gp to the key of Cp? What letters are flatted in the key of -
Gp? What additional letter is flatted in the key of Cp? What letter
has the same sound as Fp? Whyis 4 in the key of Ch called Fp,
* instead of E12
‘Key of Ch. x ;
cp By Eb fp & Rp bh &
66% MELODY...
«| What letter is 4, in the key of F)? What letter has the same sound
| as Bpp?) Why is 4 in the key of Fp, called Bbp, instead of A?
ri
we + * aoee ie sel? me
88 BOALOR SHib!@ BGs SL:
ma
lonolibhs tadW ‘Key of Ab: minor... »
ee tal $4 tod Wy tend 1 ¥ RA
as
Sat DSLR es WHm wit rer ‘a ; el iid :
= MT See Norr. ChapterKXK.° 9 0) 90" aco"
— i 2; wiab2 4 ‘
‘9
wa tO. ¥A 2 .3O. piierygia off 2
CPE RANE SN HE RE RE
A DOUBLE. FLAT. (bb). depresses a-sound a step. ~
What effect has a.p upon a sound? a pp? : What letter has the same”
sound as Cpt ;Cpp?’ Dpp?. Epp! Fp! Fppt .Gpp! Abb! Bpp!
What is the signature of the key of Cp? What letters are flatted?
What letters are not flatted? If the scale be’ transposed from the ke
of €p, a'fourth. higher or a fifth lower to what letter will it go?’ Which
sound of the key of Cp must be flatted, to transpose the-scale from the»
key. of Cp to the key of Fp? What letter is 7 in the key of Cp? How |}
can Bp be flatted? “What is the signature of the key of Fp? How can |
there be eight flats in the signature, when there are but seven letters
inethe, scale, ....») rf [ : ; uF
sal jen e
é
a TSE Bis Mion. peeacant
=
7
bunt ~ t “ e ener "
Sh att V8 1OY HL Fee
Fp Gp Ab Bpp Cp Dp Epo Fp
Do Re Mi, Fa Sot La Si Do
Sabi ~-Key- of Db minor.
. -/MELODY. 67
iH 2eenio owt obtt bohivib viininien ee e6aie \
REVIEW OF THE TRANSPOSITION, OF, THE, SCALE...
Whenz:is the-scale said to bein its natural’ position?’ When trans-
ia pored® Why is the key of C called the natural position of the scale?
- | How can'we tell in what key a tune is? In what key is a tune, which
“has the signature four sharps? Two flats?’ Natural? One flat? ‘Two
_ | sharps? Fourfiats? Five sharps? ‘One sharp? Three flats? Three sharps?
| What is the signature of the key of B? Bp? G? E? Ep? D? A?
Ap? Ct BY? What is the signature of the key of C minor? D minor? E
minor? F minor?)G minor? A minor? B minor? C# minor? F# minor?
In. what, consists. the difference between the’ major and minor scales?.
. | What is the relative minor of the key of C2.D? E?.F?.G A? Bb? Eb?
- Ap? What is the relative major of A minor? B minor? C minor?
D minor? E minor? F minor? G, minor? C# minor?, F# minor?
Upon which sound of: a major scale is its relative minor scale based?
_ | Upon which sound of a minor scale is its relative major based? Why
. | are there no sharps or flats in the signature of the key of C? Why is
- | it necessary to have sharps and’flats in the other keys? How can the
| | scale be transposed a fifth higher?” A fourth higher? A ‘fifth lower?
\ | A fourth lower? iodine ,
REVIEW OF CHAPTERS xxx & xxxv.
~ In what key isa tune, that has the signature five ie Six sharps?
Seven sharps? Eight sharps? Five flats? Six flats? Seven flats?
| Eight flats? Which of these keys are seldom used?...Which never?
} Why? What is the signature of the key of C#?-Dp?.- Eb minor?
Fp? F#? Gb? G#? G#minor? Ap minor? “A# minor? B? Cp?
Dp minor?) D# minor? E# minor? Bb minor? —
-
+ | Norte. Ifkeys, with signatures of nine or more flats or sharps hay :
been explained, question accordingly. = =
tH etiam LAE
a" YGHAPTER XXXV I.
m VARIETIES OF VOICE.
Voices are naturally divided into two classes, HIGH
voices, and Low voices. ‘The first class can sing, at
least, as high as|5. of the upper'scale, (See page 35,)
but are usually unable to sing with ease, much lower
than ons ofthe middle scale. The sécond class: can
sing, at least, as low as 5 of the lower scale,’ but are
unable to sing higher than 2 or 3 of the upper scale.
In female voices, the first class is called the TREBLE, .
In male voices, the ‘Gist |
and the second, the ALTO.
class i is called. te TENOR, and the second, the Base.
Compass. of Treble and Tenor voices.
Nore. The difference of piteh between Male and. Poca voices
should now be explained. Also the difference i in boys’ voices, | before
and after thoy change.
“MELODY.
Another class of voices, cannot sing. quite as high
-as the first class, nor yet as low as the second... In
| female~ voices, this variety is called Mezzo Soprano;
in male voices, BARITONE. Commonly, in vocal music,
no part is written for this class, and they must sing
with either ‘the first or the second; he perhaps,
with the second... ae 1 ode ie
"
Nore. In male voices, the differences ee cer the two claséeri is 50
great, that the Tenor cannot sing Base, nor the Base, Tenor. With
female voices, it is highly desirable that all should rearnste fine Alto,
whether | oe Alto voices or not. a
"Oey
“ br
:! , >
ee
_CHAPTER XXXVI. =
a ar; MODULATION. Sent Foie rals
Ae, iy, or 4, occurring in the course of a tine as
an accidental, ‘generally changes the key, in the same
manner as if written in the signature. The F# in the
fifth: and sixth measures of. (0. 1; changes those two
s
measures to the- key that F#, when written in the sig-
‘nature, indicates, i. e. to the nes of G.
No. 1. 2 oV
“MELODY
~The subject of modulation cannot be perfectly understood, without a
_ knowledge of the principles of musical composition. _ If the chromatic
_| scale has been thoroughly practised, such modulations as usually occur,
- can be easily sung without changing the syllables, and it is hardly neces-
| sary to dwell on the subject. r vn Aneiiee
Nore. The modulations which most frequently occur, are those
in Nos. 1 and 2. Such passages can be sung as easily without changing
the syllables, as with. A passage in which a modulation to a distant +| ;
key occurs, as in No. 3, is made much easier by a change of the sylla-
bles; such passages, however, seldom if ever occur in vocak music.
69
CHAPTER XXXVIII. Pat
The minor scale explained in Chapter XXIV, is called
| the Harmonic Scauz, because it can be correctly har-
monized ‘without modulating from the key in which: it
is written. . It is, in fact, the only proper minor scale,
but on account of the difficulty of singing szvEN’ cor-
rectly in ascending, and s1x in descending the scale,
(because of the interval of a step and a half,) a scale,
called ‘the MELODIC MINOR SCALE is often used, in which
this difficulty is avoided. In this scale, s1x in ascend-
_ | ing is elevated by a sharp, and seven in descending,
- | is depressed a half-step below its proper place, b
| taking away the sharp, which Chapter XXIV tells us,
~ | must always be expressed before it. _ ;
Melodic Minor scale, ascending and descending.
nal of ) y MELODY.
n the melodic minor scale, are.the interyals, sascendin; Al aire ) io
yng Mtafige PERARE hunnbite i caneplerse are the Bi ote scene ing
sand deve calike? Inthe melodie minor scale ascendin: en ees
ich. oa nat ner tommy nea ster = | oe
endin the s 2 ; rmonic
" sooflescer eae {Pie Morey in the me rasa Aes crit Rai ascending, be-
tween which sounds do the steps occur? Descending? In the harmonic
minor scale ascending? Descending? What interval is in the harmonic: 7%:
minor scale which is not in the melodic? In the harmonic minor scal
_ what sound is alw Bi Vere fromthe signature? In the melodic coat oe : a Z . d
scale ascending? Descending?
holiso et VIX K tetqedD ai banisiqns olsoe rosie edT . Sen eae
“18 Nowe. rm ld wos on harm rule is “always gi ri ven, that'com- | Ce Bah pumice teniericnard —__jresurecesast suas — —
rt posers must not write a saath aibilenpancsandii sana lied | Pa ar. ore ioe" :
_>ing as-aoreason;: that-singers cannot sing’ stich aiprogression orrectly. eerengeres oo ee ee os 4 I
~_ The melodic smninoyseale is formed, by taking the sime kind of license
_oWith the rules,of harmony, whichris sometimes allowed: in: poetry, with Written: 9" Sung’
athe, rules of grammar.., Tn, ‘old: music: it is almost ‘exclusively»used, - ” 4 TA, OOS OM | ER A sean mae ef
i tae forthe reason assigned in-the rules; At the presentday,sing- ~ | Axe a PY es a Be
- <>
SF 8s not find, it impossible to] sing) sounds which, are, a'tuperfivous +] Berne ie | ES eee
fitentapasts dt isnot fpPaphablehatithe harmpmasiralghs seple Wil : |
; ““be much 1 one -Benerally. used. in He green melodic... need re effect er ~ nent
of the “nelodig n minor, Niemcs ling, is nearly 1 the same. as, that. pro-- ie’ A
e duced by the Tajo 8 seal an] oni nin or. scale 8 a
minor character througlibal! phe: sce Atlas tech
ae
; . :
spetbascesd bam yoibassad’ since tori hi ciboloht H oeous. 91s ,1o90 <iinewped vaom doietve snoitalubom « edt. “atoV ;
Nk eNom beauties ra — wie. ci ita | pamanis jgodiow ylace as gous od snagguenag dove, © bast novi me
: vanes es h ARES sts Ma benseisgi he me en sat ramped praaielaten % 6 at sich nt; id cant he : G bis an poldelies ot
a ee ae ho cat | Ba de elt dens parapet ), Be 19kRae Hasina phen ai & tl fy 2m etus9n youl
see der bi it Yeoo0 tev Hi amobleg vovewod eogenacg dbue ; sale
DYNAMICS. tk
-fPhiai 18h Wi ¥ Vinut te DY NAMI C: 8. as vi i pie Ly $e
havoa tek pia hg 6
oat’ Atos ‘mage POR Tee to. xewoq oft iveeoiges
“Whiew de mmr in A tiie icine aed Principles of music, ‘is py! ry,
namics? Of what does it treat? Shall we find anything i in it about the |
length of soun st Shall we, find anything 1 in it about the pitch of |
sounds? Why?’ *
see ear ten ee at
CHAPTER 2
“The Italian words mrzzo, “FORTE, ‘PIANO, FORTISSIMO, |
PIANISSIMO, or their abbreviations m,f, p, ff, Pp, “are
used, by all nations, to represent the: power, of sounds.
Mezzo indicates a’ MEDIUM sound,.i..e..a sound which,
is neither loud nor soft; Forre,: aloud sound; Piano,
a» soft’: sound; | Forrisstmo, a ope loud . sold, and
PrANIssimo, a very softsound.y) tesie 6 seang Yo bo
Note. Learners should be cautioned against. ‘singing’ so soft in PP. ‘'as'| 7
to produce ¢ an impure ‘tone 5 yand, against singing so ae, ns, as to’ Gause =
the voice'to’ break’ ‘imto a'screamy ii) 0 10 | $0 LOE |
A dynamic. mark is generally eBasidaned! as remaine
ing in’ force, “until another occurs to alter. it, » Boras #
72 # DYNAMICS!
How many departments are thére i yy; ementary principles of
g- | music? What is the first? The Seooddt third? What repre-
7 | sent the length of sounds? What represents the pitch of sounds?
>| What represent the power of sounds? How many dynamic degrees
are there?. Sy petanes tale names in, pliant ie wnglish? XR eee
their abbreviations? . fed? a onl 31 esob tetiwrO
(LP ATTEND NEXT TO CHAPTER ‘IX anp X,1N fasomte, ain
CHAPTER II,
Ne oTE. This chapter may be introduced at any a during the Te-
mainder of the course. a
; Sosmun bro or Tenvro, indiented that a sould or pas=
sage must’ be commenced, continued and ended with. an
equal degree of power}, called an ORGAN TONE.’ ;
CRESCENDO, (cres, or —<<7___) indicates that’ a
sound or passage must be commenced soft, and: eee
ally increased. to. loud.
Diuinvenno, (dim. or Cacee-) indicates | that. a.
sound or passage must be commenced loud, ne gradu 7)
ally, diminished, to'soft.. -
A union of the Rreatpriie awe. diminuendo, rg alled a,
| SWELL. (
| A sudden crescendo or swell, is called a PRESSURE
| TONE.(< or;<>) ~ |
mf, tihezo forte,) indicates ee palteas between -Forzanvo or SporzaNpo, ( (3, or Pf or 2) indicates.
mezzo and forte; mp (mezzo piano,) a sound ‘half-way a sound which must be struck with great force, and
between mezzo and piano. instantly diminished ; called an EXPLOSIVE TONE.
SYNaMics” M dey
Nos» 6. | | rr
The proper application of dynamics constitutes mu-
sical expression. . ) Ra Mat SEN
“When a sound, or a passage is commenced, continued and ended
with an equal degree of power, what is it called? When a sound or
a passage is commenced soft, and gradually increased to loud, what is:
it called? When a sound or a passage is commenced loud, and gradu-
| ally diminished to soft, what is it called?.._ When, the crescendo and
diminuendo are united, what is it called?, What is a sudden crescendo .
or swell called? What is a sudden diminuendo called?) — * oe
[5*] an Bae wold pep Or DYNAMICS
7A.
ee eo CHARACTERS.
“Kk passage’ marked, Leeato, or ———~, must be
performed: tn.a,chose, smooth and gliding manner.
A passage marked Sraccaro, or !! 11. or? e»,
must be performed i ina ‘pointed and ‘Maven manner.
A Passe, ge indicates tha a note em be prolonged
sah aa Si eee ss fast ih -p
colihiataeth Pee 145\ ee ests Mb
_ ADounee Bar, ap
aa,
orastrain. of music.—£=
SSS SS ee OR ~~
‘
- a
The character Weeds} to o,gagnect es peat pacS on Shick
Bpemecet: ir biiga sm written, as ealled a Brace,
we
ee shows. that the music must: be’ r re-
A R oe 2! peated, either from the beginning, or
’ “from a. preceding repeat,
_D. C,. is an abbreviation for the Italian words Da
Caro, Which mean, begin again and, end. at ee sword
PINE. sp yliew
+i asruirt
“A “Bieeen? ate — ‘in eed" music, ‘shows’
new ‘many notes. are, to be : sung to. one syllable,
. shaw the end ofa tine of 2 Sn 3
MISCELLANEOUS CHARACTERS. PRONUNCIATION.
PRONUNCIATION. nes
_- The rules for pronunciation ins ging are. =the gale
as they are in reading. Ir singir g each syHab
generally made longer than in reading, and -the pro:
-longation must always be upon the vowel. .'The-con-
sonant at the beginning of a syllable, must be aie
with much distinctness, but thervoice must, as S00
possible; pass | from it to the vo vel. at consona nt. “ah
the end ofa syllable, also, mu be- Sstingity= articus
lated, and in the least possible time, 1. e., in tl » last
point of time which belongs to the note.
Nore. As an_illastration of this, , Suppose it is required -to-sing - the
word ‘bad’ to a sound twelve Secondsilong. About a- quarter part. of
the first second: must be given to the ‘b, and_ the | of the
last second to the ‘d,’ while the ‘a’ must be prolonged the i ing rven-
ing eleven seconds and a half. It is not possible to produce a a musical
souid with aconsonant. The ‘consonant is always afticulated before
the musical sound commences. In singin g the word ‘bad’ the musical
sound does not co ce until. the. voice has bale the ‘b, ) because itis
not possible to pro ani 2 musical‘soutd wi Ty sptlables ending
with ‘r’ the vowel is often left too soon, and ths closiag consonant
dwelt upon instead; thus fe-+- ur instead of fea--< 1; ne -- - ur
instead of nea---r, &c. It is a cor mon fault to leave. the- as
sound of th Ie vowel and dwell. on tl “wan vanish or ‘losing sou fo
jexmenpis, fy “= e for fly; grea= -0=e - <2 et fon.grea,- -- - nee
a thorough course of exercises in pronunciation, the teacher 1s bd
| to Russell’s Elements of Musical Articulation, ;
yy CHANTING.)
GLAND TNGaoy
5 | * TUuUTeS (221 AN ‘ wsaet "3 a oO i
governed by the rules of elocution, as well a8 those o
music. A chant in its regular form, consists of a re-
citing or chanting note, followed by a cadence ‘of two
measures inthe first part, and a chanting note follow- |
ed by acadence of three measuresin thé second. The
words which belong to the reciting note should ‘be
chanted as fast, and with the same emphasis, as a good
reader would read them. There is no such thing as
time in a chant; although there is apparently some
approach to it in the cadences, yet even. there the
movement should bé ‘eéverned rather by the ‘emphasis |
which properly belongs to thé ‘words, than by the |
length of the notes. Pout ae tae
wateniish .yobne) leowe fa, .Casoetielh) angen |
Chanting may be defined as musical reading, apt |.
Note, The best way to teach a class to chant, is, to let them first
read the words tégethier) with due régard to emphiasis and pronuiicia-
tion. When they can do this well, let, them, read the words ‘with ‘the
same emphasis, &c, to a musical tone, (say F,) without, however, ob:
serving the cadences. After this, it will be comparatively easy to per-
form the chants avtheyare'writtem, 9. 5 =. ami
, ROSITION.OF THE MOUTH...
The-mouth: should in general be opened sufficiently
to admit the end of the fore-finger freely between the |
1 \
} enters into: ‘ Speaking
| The music of the best composers, will be dull and un-
2
| teethr It should ‘be kept is.! a Ismiling’ position)’ bit
i without distortion... ore ry OR roe ora YRS J
ee
The singer.should accustom. himself to, .a,long,and
easy respiration, taking breath quickly, without-noise,
and without any change in the.position of the mouth.
Never breathe between the.syllables of the same word,
nor between words intimately connected in sense.
nt
: g? fe 2 st ott
ts GiGi ie. 4 "5 :
t t 0 , ; 3 : : ;
fi # aye? fey eye t ‘ J NE. ~h5e a. } OT? St Sta
Every sound should be ‘uttered without hesitation,
and without first singing another sound ‘and thén slid-
ing to the right one. The bréath’should be sent ‘forth
freely, and in such a manner-as not to strike against
| any, part of the mouth on its passage. ) The tone should
be full, pure, and firm; not faint, husky, or wavering.
, : 5 we
‘She singer must enter into the spirit of the words he
is singing, in the same manner that a good speaker
the Spirit of thé words that he is speaking.
meaning, if the performer does not ‘feel ‘the words he
is singing. ee
76
DESIGNATE THE MOVEMENT, EXPRESSION, AND _
MANNER, pE PERFORMING MUSIC.
si ae
LARGO. Very ew:
Laneuerro. (pronounced Lat-gate’ -0.¥) Slow.
ADAGIO. ‘(A-dahdg-i-o. ) Slow, but not 30 slow : a8 8 Larghetto.
Leno. Less slow than Adagio. i '
‘ANDANTE. N either slow nor fast.
ANDANTINO. Somewhat quicker than Andante.
MopvrraTo. In moderate time. .
ALLEGRETTO. (Al-le-grate’-o.) Less ai than atl
ALLEGRO. (Al-lay’-gro.). Quick:
Presto. Quicker than Allegro.
PREsTISsIMo. | | Very quick. ei é
“e : bagi ei : oe # OUR Oe DE Eo
AcceLERANDo. (Ah-chel-a-ran-do.) ~ can ec the time,
Rirarv. | ig naan. ie: SMES idee? |
RITARDANDO. : Pe bye Sy Slower and slower.
RivrENUTO. ee
RALLENTAN! Do. , he jana sfbwer: and softer. jet 3
| Se eeee Tes
a+ eae:
Lentaxno, . yuo od) do. plenitien I
A Tempo. , da time.. seyby aden , coef Tie oniased:
" : - f atEON =
Vivace. (Vi-vah-tschay.) Cheerful, lively. gi
MUSICAL
THE; FOLLOWING ITALIAN: WORDS ARE USED TO |
TERMS.
4
Con Srrrito. With spirit and animation.
| Douce. (Dolisch-a.) Soft, sweet, tender, delicate. _
ENERGICO. (En-air’ -Ze-CO-) With energy, bold.
| Marcaro. Marked, distinct., vn
Mazsroso. ~ (Mah-es-to-s0.) “Majestically. |
EsPREsstvo. ni om si pba 8 with ib aeeae
Con EXPRESSIONE..
Vreoroso. Bold, energetic. odd Tite r ih ae
Pranissiato. “(Pee-an-is" -si-mo,) Very soft.
PIANO. -Pee-an-0.) Soft. eer NY j
Mxzzo.. (Maid-zo.) Neither loud nor - soft. ravi eweedioe
ForrTE. (For-tay.),, PBT, RR aim Ma ahi seine, ale
| ForTisstmo. Very loud. esiog Bc) to Hi
CRESCENDO. ‘(Cresch-en-do.) Louder and louder. 9
| Rinemmeads : | Softer and ee ee ee Bacal, pa
DECRESCEDNO. eh a i * Z ay wy ¢ iss OEE Psi
“(Fort-zan-do.) ~ deonebse alt geivie4
FORZANDO. ” 0
ceil giliad The. bemear’ tone. .
(Sorte us
‘f
- The fktiad ps pronunciation of some > of the vitae is Pte but there
ean be no objection to bots wn all’ of them’ as if they ‘were
English words.” tebe ay? "8G abd tt. ye AF rs 74 eee Be pty wei *y herb s in
x
VOUAL EXERCISES.
~ —
No 1.
_ IN EASY RHYTHMICAL RELATIONS.
far
a3,
a
Pe)
80 » » » NOGALEXERCISES, |
on me a. Bae st mete tag 29
. Wi Bor : 7
—s es Se
pistenetiee? ms *
cee are ee
ee 45” te ee
VOCAL EX
Ar
aca Pema i"
~
eo
ERCISES! — is ‘81
La =
a oe ees ne
VOCAL EXERCISES.
oat I 1. eat
HH ig je) >
|_| a i —
ell 1 ed OE
- No. 11. 4 ni
(Se aes
| mmm ei
a
~o-*- -o-
Ss —- —— epee _—____,__ comes a reer em es za _— pee a hg i. EEE ——
Mote, -| eye Seed “pas eacaet z “es ase - ee ee
ila ef OS + -8g@g —- 1-034 a a a ee i
: — a -G-
Veer ro ate. WPT - = — ee = se ne
(ae ee -totet—etee ae
Seo ae OE an = ae La a 0 1 + tego eo
ae Dini -@-' wg e ‘ ‘ ,
ea Pe a
(aaa Ga = ne
++ 9 1} pg — get o—;
sega sete a lererel oite,8 Pied te — ae eee ee ae
dl SA nd omeiote Jal HE Nad” Ot; ale ete tite TP sleet ce oe
wt OF ete Ft oe hd Pr Wee #lgy oy i ey
= voll se san ms, onerawe Ki CaO c a oe rary
VOCAL; EXERCISES. 83
Sr Soceecers = Kona Tae Seana
ye 2 Ba AS Bes :
reece oni *ae, Brice le, ren see
88 T opcreeee A Bar A WRN rors eo, o> sigs ees ak Suen aw |
mad ? : ea -G-
No. 16. |
J se imeem ee ee ia Sa owe —— =m
a eo, rat sine getter af gee reg ef Bee
}
\)
|
|
BY A a= te -@p— | fen ee a A At =
= al eit oe ie) eet ayia ae ae a bh eal tuabidiome LE tl | Meee
er ori Te Le oor (Te a Oe TS rt ed / Pee, ee
=patt tae ee oes | igi Fs pet
> joe en “ares | ooumen] yy OM SE om Ss Sat ~~ ety 12h Sth anacecaalt nema am : pen: {vam Sy ip Win tnachassaaa tte SS eevee | NS Ee eee i. G~
a Ps
84 : ‘VOCAL EXERCISES.
maa) SA ee
a OF into ak
|) eae
_ oer) ee rt ee
te = wien Pag te
=e Pree
‘ge iene, Re ‘
ike 16
— # siza
ans | 2 2 i
ae
ante — 508 Pe, ag aw
SY Loe —
teen ae aos
: iE .——-oe " 7-5 aoe a me ne = eo
ce a MeN Se oF -F Om ic 979 Oa rs ak re a uh FS
x poe poe Pe, ee oa ia Soret a peri eas, a. ata ah ry oP Pa a 3 Oa =
"Gat ges NN er a a Ee 8 5 ON tae ee Ee ‘ Fo ee i ee eee
In this edition pages 85 to 210 inclusive, containing the Solfeggios, are omiteed.
»
F. Allegretto.
ols, Ou tthe .love-ly time, of childhood! . How, fair is: then the ‘wildwood, .'The meadow, and the grove!
-2. When the smile of childhood’s faded,' Still the sun. of joy’ssunshaded, When virtue dwells with truth.
3 Ahd yet ‘manhood hath rich pleasure, For home holds precious treasure, To glad the good man’s life.
‘4, 0, no path of life’ is drea-ry, No toil nor care can wea-ry, The souls that vir-tue love.
——" —. — SS $< ———
Each flower.1s |atreasure, Each insect... .giv-eth pleasure—’Tisthe.time, of joy,...and, love!
The forms lof youthare fair-est The friends ofyouth are dearest;—O _ how fair. the time of youth!
The father’s heart’re-joic - es, When greethim happy voices “Of. ehildren, ‘and of © wife.
Tho’ here much joy be blended, They'll find, when life is end-ed, ‘Their d ia + bove.
| oe he
2i2
i ~ oP ERS
Adagio... Dolce.
. Flow ‘on ev - er, soft’ and
flow-ers
. Thirs'- ty
a |
2
8. When the noon -day © sun. shines
4. Gen - tle bree-zes
» meadows
- wind-ing, ev -
sun is
voice hath .pow’r
_ thee
gent - ly ‘murmuring,
er purl - ing,
» down, then night - ly,
to soothe me, .
are
mur - mur
Glad » 1
THE RIVULET:,
sweet - ly,
»eall - ‘ing,
' bright = ly,
soft - ly,
‘Till '‘the'wood re-ceives’ thy song,
On-ward, onward: all the day,
-wander, brook, by. thee,
With sweet peace my soul im-bue,
Lit - tle riv - u - let
Pret - ty brook = let,
On thy banks I.
Si - lent, cool, . de - scends
» With sweet peacemy soul. imbue. -
’a -'long, Through the
do not stay. Ev’ - er
, love to. -be! ». When the
the dew,
-'Tillthe ‘wood re-ceives’ thy song.
_ Onward, on-ward). all «the day. —
Glad I. . wan-der, brook by thee.:
“ And thy 5
NATURE BROUGHT NO SORROW. 213
2.: On -)ly through his. blessing » Ri-pen fruit: and seed: Through hislove un-ceas-ing; Safe -ly are'we led.
ols) Na-ture broughtno»,sor-row; To thisworld: of flowers. ‘They who» troub-le: bor-row; Call their own’sad hours. ’
3. Near the path’ we fol - low, Ma - ny’ ‘flow’rets bloom;-Each with grate-ful | trib-ate, | Beau-ty, © or ‘per-fume.
Pov - er-ty and trou - ble, Wherefore should we dread? God provides the ra - vens Day by. day their bread.
“Where re-fresh-ing streamlets ‘Through t the meadows flow; ‘There with gen-tle | mo - - tion, Fragrant winds do blow.
_ Who. is .wise, will | ‘gath - er 77 Cheer-ful - ly each flow’ r, When we cross Death’s riv - er, They will cheer the hour.
214 WOAROe OM SUMMERE THUTAU THEIL.
1, At the Asiaing o¢ of the summer morning; Doki and walk with me. Then’the birds are” sitiging,
2. Now ascending, Tints of beauty blending, From the eastern wave, Bright the stin ‘up - ris - ing, »
3. O!chow mighty, Hourly, dai - ly, night-ly;.Is the Lord of . all! - | Richest: gifts: pos + iageeing)
y PLEAS ARAN... Rp amie
(a OE OE AO SL SS ok Sten al : —* - —
25 oe a Re RR A aba ae 24 |
G- -G- -G- -o- -8- -y- -g- -G- -G- -y 9 ay
~ Zz
DY |
Kt
412-3 136-6 a
' iat ical aoa oo 5 siete ae EES area eH — i oan ee ia
Thro’ the woods tis ringing, ] Purest mel-o o-dy. Breezes blowing, Streamlets flowing, Wander. 0 ‘er the of
Shades of night surprising, Quits his ocean-cave. Swift advancing, Sunbeams glancing ,Mount and j forest lave,
| All his children hg th he over all.God our Maker, Great Cre-a-tor, Mast ‘thee all things call! :
“WINTER. | H T THEIL. 215
: Allegro. _., ; ,
~ * Ss ne - a aaa — aa a
f == Sete Sa |
Se ee oo $96 soa peer oa 0-645 +o — I
le Ola ‘Win = ow! he bowseelil ands spell - eth the grounds And: des -' 0- late fascia On Na-ture a - round.
2. He spreads o’er the tiv -er His. mir - ror - like ice, Its smooth glassy | sur - face, Doth skaters en - tice.
8. While, sunk in deep slum-ber, The flow - er “seeds lie, © He ‘sings to his wind-harp A wild luk la - by.
He, _crushsdthcel the - flow-ers, N or heed’ - eth our grief; And strews inthe bow - ers The ding - y brown leaf.
O’er road and o’er meadow He a sift - - eth the snow, And ‘Jaughs. as 50 ihe! ‘swift - ly The ‘mer - ry sleighs go.
He decks the. br ight fire- abe UUs song and with play. —Old Win - - ter, a love thee! Pray lengthen thy stay.
216 tees THE MOONBEAM FAIRIES.
== +s a é =F =$- <9 po y—
A troop of fai-ries prancing,Came down up -on her. beam. § They dance up-on the green—
2. Ho! Ho! The mer-ry _fai-ries, They sport a-mong the flow’rs, . Now round and round they skip,
That ope their drowsy pe-tals, To view the. fes-tive hours. And hon-ied dew-drops sip.
3. A-way, a-way so swift-ly, The lit-tle peo-ple _ fly, In break and dell they hide,
Or o’er the wa-ters glide.
And near each = and river, Their forms sei flitting by.
ie Se POM APC,
7
4. Hush! Through a sleeper’s window,
The fairy host have sped,
And now in mystic conclave,
They cluster on his bed. =f aici
1+ g@ 2g : 5 _& _..._And now in antic row we
a hl Across his brow they go!
i . - niin? ..... 4», Ho! Ho! The moonbeam fairies, _..
Ho! Ho! The merry fai-ries,Thatdance up-onthe green, A What dreams and thoughts they sow!
Ho! Ho! The merry fai - ries,That wake the flow’rs from sleep. 5. Now on a moonbow climbing,
Ho! Ho! The moonbeam fairies,That o’er the waters glide. ~~ Behold the shadowy crew;
_Of Evie blue, or crimson,
ale and changing hue—
he fairy host have flown
Farewell! Ye moonbesm fairies,
Too quickly have ye flown!
1. The moon so mild- ly Te i Il - lu-mines wood and stream. Hark! hark, the tam-bou-rine!—
a, awn—the moon isdown—
\THE OPEN AIR. 217,
1. A = bove | us, on the moun-tain, How pure and cool the ~~ air!
* 2, Come, pine not in the ci - ty, Forth, in the o - pen air!
In. val - ley, by. the. foun-tain, Bloom lil - ies. rich. and. rare.
Come, join our ~ mer -,ry dit = ty, © And pluck the . flow - ers fair.
(_.) nis be
Vy Se cs aS 5 a Lae NTE ae et | EARS Cmte ioe “oe
wi \ 1, eer | al ee ae ee i ee ee AP
SS A I ONE) TNE CE ED ES HS Te vi a RanM 6 i aN a OPT i
_ [14]
218 FORTH WHERE PURE BREEZES. MEISTER.
1. Forth where! purés bree-zes breathe on. ‘the. field! oLoy.- i+ est . azure.,,spreads) 0 er a world.
2. Forth in,,..,cool ,shad-ow, haste tothe wood!. Loye-li -.est- aoemay _ bloom in. the wood.
3. Here “tis ‘so. love -ly, come Bi. and sing, Batis” all the woodland, Tet : mu- sic ring!
“Yes, under heaven Mis ev - ct, fair, - Lis - ten! what mu - sic fill - he the_ i | ;
“Yes: it ‘cool shadow,” love © we” to . "There dwell sweet'songsters, mel = 6” dy’s* home.”
*€ Yes, tet’ our’ chorus | ‘sweet-ly ” “arise, Ri -\val ‘the birds “that ‘sing dm. the Okkies.”
™~
*FRIENDSHIP. HOFMEISTER. ‘249
Allegro,
ca Me Oo how pleasunt’ is the sight, When good friends to-geth-er, ” Make to each, his heavy oad Seem as light as ether.
, ae Tf. dame Fortune’s weather-glass Shows a epee coming.» Sing we ‘then, | in cheerful mood, While life’ 8 sea, is foaming.
- Sorrow’s night is. ‘as the'day, When a friend can 1 share the way, Aad the path illumine,.. And the path, See,
‘With our ‘hands i in friendship joined, And our hearts in oye combined, ‘Storms can hare no tertor,Storms can have no terror.
pases *For many voices, the key of Gi is Botiare a
id THE BIRTH DAY.
1, Cir-cle, cir - cle, summer, win-ter,Bring ye _ma- ny days like this, May our friend, our friend and
2, Swiftly, fly, her days,and light-ly, Ev - er cloudless. be the sky, Or whenvex’d with care and
3. When dark shadows round her drawing, Tremblingly she quits the light, Round her friendship warmly
a EE arr EARLY DAY...
eB | : : ja en : Said eae Oi a Se ine egal EA aah awe ew it peor <4 ieee Sve fay Bl
i aol i * aa ‘ice eae ames ee gee
(\ pe eh
Zales ae inte fe 0a s
‘1.°The ‘day awakes,The morn - ing’ breaks, A-
| -QooIn,..ear-ly morn, E’er , dew . . is :gone,Come
3. For they are wise,Who ear - ly rise, Each
Nis Oe ee
“sister, Live in peace ‘and ‘hap - pi-ness.
. otrouble, May -re-lief.» sbe:.( ev-er nigh.
glowing, Make the pathway calm and bright.
221
PIM Li e ba
am i eens ee os era ae A ar a a a
(=> St Bestest eer a ae oa og Sita
eT ys “oo —f
bove the hills ‘in beau - - ty : For need-ful rest, Let God be blest, Tio serve him is our du - - ty.
“with me friend and _ neigh-bour; The Farmer’s gate,Ne’er o-pens late, A - way to cheer - ful la - - bor.
-morn-ing hour’s a
trea-sure; Our time is short, Then linger not, But make of toil
a plea - sure. .
1. Pluck ye ros -es while they bloom, Labor while tis day, Swift-ertham an ar-row’s flight, Hastens time a - way
2. Deeds of kindness ev--er do, While it is to-day; Wait not, for with ar-row’s speed, Hastens time a - way.
3. Pluck ye flow’rs of love~li-ness,Soon those flow’rs a ae Hark ye! Swift with arrow’s speed,Hastens time a - way,
ft te ) “SCR A & SY me ser et
a ee a s ie (cama En A ee Et
TL = = ¥ - sity ~~ on ; h ae — 2
= Boo SS Se Sees SS cea ety
e | it ad we ¢ <<
“O HOW PURELY.”
-1...Q, how pure -Jy,...0, how. _ sure -ly; Live; the.. in te no --cent _in. heart; Evy - ~ er, light-ly,.» ev - - er
; 9. Angels | stand-ing Where we’re wand’ring,Watch our wallk,and. guard, our way; Like |.the'showers'On the
3. . Days de.- clinzing, Stars are shin - ing, Gleaming through the . tran + quil night; Tired eyes closing, Safe re-
at eye:
SONG IN THE NIGHT. SHULTZ.-
ee}
S Se 5—§ et §{-e—Gte te 6- a8
~ Msleep oe T waary! Be er peace Saicteih, toil and
_. 2, Gen - tle breezes sweep the lake,Murm’ring thro’ the
. 3. Stars: are, shining, calm and still, Fragrant herbs the
brighuly, a gar doth joy im-part.
flow-ers,; So fall es all: the’ day. »
_ pos-ing, Rest we | till » the. roti 0
passion. cease: _ Slumber soft—let., ‘(visions - laid am Banish Somer Oy: t : banish: care.
bending» brake: | Dew is. fall - ing—darkness. reigns+-Shronds, the woods, and veils the plains.
night air, fill: ; .: Sleep ye. wea - ry, ’while,ye. may,- Soon, too soon. will come, the HY,
oe ee ie SE i =
REICHARDT.
“WoRDS, FROM THE GERMAN:
" Ho pail ena tivd inh iusiattitypdine ye thé Lord! Agis.diruch with alaay'g joy, ay Me we phid dvdhiooubdelbdeck ois the! Che nikal ky.
2. Come ye ‘and witness how gracious he is ;;Sweet love‘and pity,’ ‘with truth and with: mercy, Hele éter- nal, «°0.--ver 4, us.
«3. Allthat, have hearts to love, love:ye the, Lord! Seraphim, Cherubim,Spirits and. Angels, Love is |{.all, -your,. ng +> pl, ness:
4. Ev - er we'll love him, thus eee his name! Pitiful sees. he our sad tears of longing | Which him - self wal wipe a- way.
a
3 Peis ssid eas == eet oy
224 INNOCENCE.
| OE GAR Aine aie Ln Mi Tit | te
1. How happy the Lamb as it feeds on the green, How happy the dove on the rooftop is seen;
2. The mad joys of pleasure, they poison the heart,The joys quickly vanish, but long stays the smart;
3. Like brown leaves of autumn, all pleasure is gone, The roses’ are faded, the heart feels a thorn;
4, Then when all life’s troubles and sorrows are’o’er, An angel shall guide to the hea-ven-ly shore;
a ve ee oe
ao 7S ee Se
—___s-l- ee 9-1 eee bie! see es eo $E>=-= ==
‘ ‘ . i , ; $ BIR nt ee ethan lB on I Neh ef
But hap-pi-er he, who with innocent heart, Knows nought of remorse, nor of sin knows the smart.
At first all. is lovely, but soonis revealed A form like the serpents, mid» -flowers'concealed. —
But ev-er we'll walk in the path which is good, Where flowers of: innocence bloom:by the road.
There In-nocence dwelleth, so love -ly and bright, There dwell happy spirits in beauty and. light.
—
THE BEAUTIES OF NATURE. 22S
Allegretto.
1. How bright si Pata heppys. Is nature around, The sunbeams. are glancing, And. warm is the ground;
2. How green is the meadow, How lovely : and mild! With dew drops ¢ are sparkling, The flowers of the field ;
on ee EY SE eS
Sas
ae TT
oT
pet Sao aeeae ss
How smoothly ‘and gently The riv- er flows ree he white clouds reflecting, That float i in the sky.
The sun, fruit anil ber - ary Is tinging with ted, The grain ears are e swelling To bless us with bread.
MORNING GALL.
1. Rouse ye sleepers; Up, ‘and: reste) Rise, and: feel’ the sun’s warmbeam! © aden the mists the
2. Now a-bove up-on the mountain, How, all shines in gold - en light; Now the vapory
3. Glad the reaping men are hasting To the fields of wa - ving grain, ‘Hark their Ritagiom
g, Semblance of 2 tranquil stream, Semblance of oh Se tranquil stream... i
Suites rising, ‘Dis - appear as shades of night, “Dis - appear as shades of night.
song “is: Pinging, Sounds of j Jey fill’ ~all the oa Sane oftjoy “filko: alle« the plain. o« ©
THE VOICE OF THE BELL.
Andante.
1, Hask! hese’ ‘bell tones sweetly sala li Come, O" eat, Far and wide melodious stealing, Come; O! Come; ;
2. ae wy bell to peayerl is ‘oun: Wiaiidertr,’ conte! In God's house ‘with revererit gic Seek’ thy home!
seems PEt eres oe eee
1. Hark! those bell tones sweetly pealing, Caine O come! Far and wide melodious stealing, Come O
: 2. Hark! the bell to prayer is calling, Wanderer come! In God’s house with reverent feeling, Seek thy
Se ”-__—o— oo
Through each are the voice is py rey Govasc of f eret me passion aimee Wanderer, hasten home, Weanderet hasten hoine,
There's samansion far a hi thee, Where dwell spits pure and lovely, Wanderer tis thy home ; Wanideret tis thy home.
ees SoS SEEee e-%ie-
: come! ! Through each heart the voice is thrilling, Storms of grief and passion stilling, Wand’rer, Wand’rer hasten home.
home! There’s a mansion fare above thee, Where dwell spirits pure and lovely, Wand’rer, Wand’rer, tis thy home.
o
“
228 THE FIVE SENSES. -WANHAL.
1. How great the gift to sre and HEAR; The bounteous Giv - er let’s revere: ‘He
2, And when the spring in. joy is here, The ‘sweetest FRAGRANCE fills the air; ‘The
3, I rasre the hon -ey, FEEL the breeze; It cools me as_ it waves the trees: One
— SE anne
SS - a ee ee
"sends Ave sun. to»... light our way, He gives the ‘sight: and eae of May. ‘4
bees lay hon - ey by in store, te meet their wants in win - try hour. -
mages were joy . @.- nough for ‘me, pe ‘how grate - ful eg ee i ti be?
a eat abe
SS = a
——I— ee a —hoe-—
TIME’ g FOOTSTEPS.
. pan
Swifter. than the waves of ‘oft cean, Flee-eth time; what holds him back ? 2 Flowers, brothers, flowers; lighter,
VAN ought can stay nor check his mo-tion: Strew ye then ‘with flowers his track! §
2 Ro-ses, while pure dew-drops drinking, Bloom they Wataeous round us here, ne nature, sad and fail-ing,
Ro-ses, e’re_ the aye are Gets In the mists of win - ter drear. )
-
eee a ee —E ees ee en eS ee ee eo es en ee pe ee ee
-
ee a
eae CNS A RO ii ros re = pda LAE Sian | A oe Oy We
ae ee ee ee visit acs mpemeunne ooo
Sacer, < = a ae —— a * eS ee ===
= -@ — -g i—- = ao @ -
<= ee ee a Fg gp Se a ime eer a io
——s 2S a td ee Sees oe $5 —— ES Oe ape E
Ss Bh" KON Ee -_|+-@—_@—_@—6-} -9—__9-—_9—_. “9__9__@_ @- me
Se noe ee ea foe oe Seem ee a =p oat
a a we @ rate “po
Smoother glide the hours a - way; Nights are fair - er, days are bright-er. Strewye ro-ses by the way!
Death’s dark wreath shall ore us throw, Soar we where, no woe as - sail -ing, Flowers ce-les - tial deck the brow.
nena eed OE | 4 eS eg Cog - cy +
a
230 THE COTTAGE. STERKEE.
Moderato:
1. Close ‘by my cotlhge stale a tree, e, With branches * = to aia fro The tignehigats there sings to x Wen vain shades fall allow.
-2. In this my cottage, ] am king And none ibis my sovereign remanent i doth varied pleasure bring;Swift fly the hours awey
t fine
= Seas
Loi licence snd sgl re cn presen ean ——+—— 4-7-8 a a —_ enaeeiiasian
0-06-06 pa a o-e—-- +e :
ie oes oe ees ee ee eee eee
[Seed Sead Ee reese ees eee eee
It shades-my cottage all the day, Nor heat, nor cold, nor storm comes nigh, While near my _ in.busy nee little brook flows by. |
par in my cottage Vm anes There’s Aine my friend, for me ve thee Se be igpse maith who would not dycgpeatl pe come and dwell with me.
Sif § as we =Saie meveeT Ei ae ee ae we ee Miran mot me it .
ie emer ——- et ° a
Sa o"-# ate Satay —€—¢1-e-g—_|——_—_|--+|"-9-- ae
:. sent wicshal : aided ” el 4 by L il ry Sia 3 ¢ “ oP,
MORNING HYMN... |
Andante.
a F ‘ather: safely, through = favor, Passed ihe hone @ of | “night with me.
Listen! hill, and plain, and river,Strike a song of praise to thee.
an# ieO7e pay IsbRe, SSS Eien 4 Hat aa — mn Era Aan sane i
Gt =a me eens sfert--my os cee ae, foleece®
Be an I te vives e’er singing Joined by nature’s varied-voice,
“N otes of birds through woods are ringing;Come,ye brooklets,and rejoice!
eet Sing, yew ood ant dette’ and braes.Be one ‘anthem to his praise.
4
= Praise our God: for by his Sie are ae day and =e
“atin We hse We ple tame woes aha a 8 Baa SS
4S 1 1G, ON MT ef 5:5? re ne See ese a
A Nh SE ee ete ——
ae -€--O- =. ~ oe Fo Joie
| | CON Eyer RIES.
aoe Mon ie a te He aS == ai:
oe g oF fae SESS eee
e a a ee ap ce ee ——#—-_— lt ee cae
ai One, two, Dune, Land is not sea. Richis not poor, Window 8 no “gook,
= Base ae two. Oldis not new. New is not old, Warm is not
3. Three, one, two. lam not you. Coarseis not fine, -
Bad is not worse, Ox is no __ horse.
cold, Cold i is not warm,Calm is not storm.
Beer is‘ not. wine, Wineis not beer,There is not here.
4. Three, two, one. Moon is notsun. Souris not sweet, Hands are not feet, . ss not. won, My sto-ry’s_ done.
232 ) THE SILVER STREAMS. WINTER:
Stas
1. The silver streams are springing From cubis le to the lea, And merry birds are singing,With joy-ous melo - dy.
~ 9. We wander o’erthe meadows,We share all nature’s glee, And weave us crowns and garlands,Under the greenwood tree.
3. Then raise to hima - boveus,U - ni-ted heart and hand,For spring, and spring’s bright flowers,Both come at his command.
pa rere — seep ert paseo: : =e
ae evar erases are reece steerer
Ar-rayed in thousand - flow-ers, Fair naturenow is seen; And happy Sieg pasture Their flocks upon “the green.
~ God gave us joy and gladness, The sun sent down his ray, And freed the frozen fountains, And drove all gloom a - Way.
Where spring eternal blossoms, O Haphers let ug rest... There innocence and beau-ty,Dwell ev-er with the blest.
4—<.
By)
—
va eae
oe@ALL; TO,JOY. STERKEE. 233
SE TSE Oe URE esas See = am
See eee ee
i : st nt ae 1 5 — ie ae SN eee
1. Tis pleasant ‘on this earth to dwell,Tho’ not from trou-ble free ; If oth-ers love to
2, How all a-round us __ of- fers Joy 'The flowers, the breezes free, _ Give pleasure, and with-
3. If frowns our fortune dark as night! And clouds frown fearful - ly, There’s One who watches,
(a SS
a7 | ,
murmur, well, But we’ll sing merri-ly. If others love to murmur, well. But we’ll sing merrily! —
out al-loy,Then come, sing merri-ly! Give pleasure,and without alloy. Then come, sing: merrily!
clothed in might, We may sing merrily. There’s OnE who watches, clothed in might.We may sing merrily!
CHILDHOOD. :
sorrgaits
P
1. Seapen..
eit eteeeiie.. ior
pa “When the red of eve-ning O’er the village falls; P _When,vithnamerous e - ‘choos, ‘Brook to nda “calls ; ;
2.’ Ah! the ‘night doth darken, Clouds, and cp ti see by % “Se a time of ‘sor - row, “Childhood, comes ‘té ‘thee.
isiew onw au Soaron'l St awott ehucls pak mai eB Bis dere ty Ol iO BipH rot t
oh Phen Pithink, O” ‘child-hood) Of thy tranquil hours, -couneaihiae ‘dean sty? ‘Pleasant time ia
‘A $eon'the morrow’s: dawiling Mas “Cometh froma - fers" a YAKS But when childhood’s’ fa ded; Comes eee dup
ay :
> eevee ¢ oh ag ie i} a ty ; r Hite wen :
LEER ¥ RM g) *¥ woods SES SES ee ides - eid ints ‘ er werkt SB Fak 2 «Vis STONY * fii Y Skt e kd Ri Ol ay bs 244 e0R9
cS : . t oI
IAG CONCORD? SHT SORENSON. 235
De we el -z--- Pane Be yess —_ ave
mao $ Be: ae ae
—+4--@ @g—_@—g—
-&. == pleasant is ity “hand i in ‘hand, Thro’ life i in peace rn wane” THEA never be the: siicial fala
2, Our life’s a wea-ty pilgrimage; Give me your hand, then, brother! In friendly compact let’s engage
3! Tfe’er thé path i is straight and Small And pilgrims « érowd ‘together,’ True, tis not ‘broad éndtigh fhr alls,
bes Look to the heavens, the world ofstars!Thére millions peaceful wander ;Nor stop, their brilliant rolling. cars,
Ts ©7
J aid 6 Andw when we soar to happy heights, And leave the stars behind us; ; While fasting | heaven’s 2 delights)
— RPP ele ae: anata specs tere o e ator ee
: ine an- ae Pbaret a - Te Bg nae mortals rch; in reonebed bright, And lenvi to deniods strife ext fight
+ To «love, andhelp eachother: For time is brief, and shorfis lifé;Then leave to demons fight and strife.
“But wide enough for: @i- ther: I'll step aside; nor’ stay in pride. Behold! the'path is’ 6-ver wide.
"6 strive, or Shoot'a + sunider: So ‘will'weé live in’ concord bright, ‘And leave to demons strife and fight,
= ‘Shall sweeter goncord bing us. Then: Jeg us s walk as re brothersppre: And leayeto demons strife and war, |
—
236 oenaa THE FARMBER’S CALL.
se "Comer rouse up ye’ slothful, the: sun 3 o'er the hill! “The tw are all cgi ce mountain and
2. Your coat from the nail, and: your hat from the wall, The cat-tle to. pasture, the horse from the
}| 3 Aud while’ owe ‘toiling, Ahi se tg raise on ‘high, For picsnings to man | always come e from sats |
; :
—— a a Lt el
pS Serie = sericea
Saat ot et ee a
oY SSSt SEE ey ee ee ce ey “The
‘a LS BB o169_~__ iar al
Be eed as aS Tat et ee
2 aE eae ee Te mie
rill; s The - Tiv-er ‘is werk lig with! ren bith wand, Theveattle are’ Jowing:the sahioep Jwave the fold.
stall! A-way. to the: garden, a-way | tothe field! For food without labor) it» ney-er will y1 ield.
sky. From thence come the sunbeams, the rain and the wind: Who easel nlauchetioelharnert shall find.
THE GOLDEN RULE.
‘Dim. Rallentandoe
| good aT. “all. your soul. and strength, With all your cheats and mind;
2. Deal with
a -noth - er as’ you’d have A - noth - er
deal with you.
. A Tempo. Cres.
we sath ' e} ~ . , Dim. Rallentando. 7)
| RO 1 ea Ne =r ya kat eR as a
TASB. Pan a | aC a ae re
Fig am a a =f " fo ee Sok ae sae oe a
7% Rein > ee
| aan Loews your debi behtienar as yourself, Be faith- ful, just, and_ kind.
“What you’re un - wil - ling to re-ceive, Be sure you. nev- er do.
Yo bs , wh 3 re ac Pac r
By wren: Sas SS are on el ; ra , eee
: -—__| ap oa agen, aE
\ i Uigeebeen ae et —L = z : ° eet _—- . . ; a eae = es
@
bios | : BRANZ DRAKE. 5 157 FINK.
r i ‘ ’ Words translated from the GERMAN.
le. waves . dance round jt merril ¥
“8. The wchor or fal; he steae on fehene, To see what’s wonderful or new. ité Sarath river, | mountain o'er, And. ev -er does his ©
3: A plant of homely form he found.A weed it seemed, but neath the ground; Grew swelling roots of pledgant tdatd, And nourishing.He
4. Franz Drake stands on his vessel’s deck, The billows rock,it here and iti srt north and south he.bends his track, Andthémeward pulse Tie,
—_- ae —— — — — - -.
~ = = aos!
Pro a aS 20, are Saree ze
=€ a o-e-e= a — Tes ee i
" Ban sie nan. 8- The ¥eEsel sails with » area and might, Until the land appears in Mighi Un - til the land ap-pears in sight i
search renew. “In all, Franz Drake hath done right well ;, But what found.he in wood and dell? But;what found he sin wood and dell?”
digs in ‘haste.’ The precious plant with j joy biden he,And sends it o’er the rolling sea,And sends it ’er the rolling sea.
Bréezes fail ; heron lands Franz Drake in n pride The | sch i sent, spreadfir and and wide, »The hhe plant | hes sent t, spread far and wide.
-
* Sir Francis Drake, has the credit, at least in Germany, of having introduced the potato into Europe.
THE ; BROOKLET. SCHNYDER VON WARTENSEE. (239
Moderato.
Brook - - let flow’ - ing, “gent ~ hp “go. pits) "On-ward, downward, far_ che way: “Sil - ver’.
bast, iog - 28 si} AOg91 : ite § iso,
“way * -- via" ‘ green banks lay - ~ > ing, Glow - est ae “in éyen--+ing ray.”
T | fe. eats SS Se
ky ac ee ; ep tt to fe
——~ TW
eo ~ | ae . ie
& x ih ws ‘ “I~ ;
ie ‘. <3 te my ( -~gy- = ey
: -9-
“TO NATURE.
is ‘Na - ture, ev - er fair» to
2. Whenthe sun has fall - en
3. Soon with tired and wea - ry
me,
low,
eye,
Lead me by thy trus - ty hand,
Hush’d each voice. of mel - 0 - dy;
Life and joy I'll glad re - sign,
Deign my light, my guide. to _ be,
When more gent - ly
I shall hear the
Ti I reach _ the
Then I... love . to.
On thy bo- som
brooklets flow,
call to die; |
an - gel land.
walk with thee.
to _—re-cline.
MUIINI THE: § NOW.¢ » WEDEMANN. 241.
~~ fy Allegro. re * : an Oe ee ” Ta 7 an a 4 eon _ oe ver toto oho
si ===: SS es as
a vk: oe =o! T= oP" Pe ~of How? ‘beauti'- “fal the stiow! “What pur: -er than its whiteness? What
“1. - of er Crete Wee “Tove t he! light, white snow! Now wintry v winds are ‘blowing, How »
; TO ¥ Syre = TT} aT bf i at *
4 a ake wage - “ol a Li ol i ol “How. /smooth t the swift sleighs go! The moon so brightly shining, The"
brighter than its brightness, Il-lumed in sunset’s glow?: We. Tove’ veal white a
_ thick ar and fast. its ion BGR Well, let the wild winds blow} “We ‘love them,” and the “snow! 5
pure blue sky i is clim ing, Whe earth so white Be - low” Tig: “pure, Hig” fair— ‘ie ame
‘evinte vod? cow set-dford ait! esdtyce & dt endined :
— Pe ere wl a ee ae oe ia
\ 7 M 5 :
ae
2izd — APPROBATION. HILLER. /
Moderato.
a ie —— e q : = ;
aay Pe, y ch
7 Semé-chorus. ier, «ae
1, ‘The man, in ‘friendship firm and true ‘Whon kind desires are ev. - er new;Who feeds ae en - e-
2. Whose word, once pledged, i is ever held; Who makes oftruth a strong, firm shield; And, without falsehood
3. Who changes hard an hon-est view;And e’er doth Virtue’s Bath pur - sue; Nor lin-gers, ‘but in.
4, Who ev - er wears a ial-ling faCG, N or thinks tolaugh a sad dis-grace; Who loves to see e com-,
‘=: 7 RCRA! RA Be oun: edschettie a ee A +H
rO\\ Ee, 2S Se RD ETS snes Se EE
y PS i, ee we ee
my,and clothes The:poor, and all their e@che ri
or de - ceit, Knows how each foe, each friend to ‘meet: | wi
cheer-ful mood, Toils for -his own, his: neighbour’s good: He is, he vig ‘
praise ie och And soothes his breth-ren when ee strive: |
“a right good man,Come join and praise him
a
; O ony — ices ae b ot it
o Ab — —— ——— f+ — is ae s SESasae = See compere amano
; a 4 See eR ne - — tw f wim | saan the
— a Parrots to — ay - O — 2 a 1o— p-O—s fF
gk
TewnIoyv a bal AY a 2 ‘i i ce ay; % 248
vr er oR EB =
ae ee 5 ee oe ton afoe 2
ye who can, He is, he, is a right good man,Come join & praise him ye who can;He is a man we
like to see,Whom all to love and praise a -gree. He is amanwe like tosee; Whom all to love and praise a- gree.
A
f | , AG oda SOR = as 2 So woe mc: Gems
-2—€
~
244 MY HOME IN THE VALLEY. VOLKSWEISE.
4, Allegro. | Be ie Joe P —
\ oP enema ee es ee Bs SB g Reece Sax mae pes Rina | Ses Sa
ie ee ee ees et | hers eee SS Se a
6-3 te tee eee te ziaaeie = +8-2 SSigse
i fal aa | PP m ial |
1. My neat lit-tle home in the valley; lala lau - di! I live nan so hap-py and free!
“2. "The trees that my cottage are shading— » lala lau - dil “My life is so hap-py’ and free!
Ss
; hse is a a” Sees HE GG SST ES ae es EF ae ne, a =e te Srircse
eg gig ot Sg te eet Bt
. ; He a - e z 4 | ae a
| pp “mf
_ There winds with the bright flow’rs dally, RT RED Me 6 __As rustles the silver-leaf tree.
‘I sit there when daylight is fading, la da law-dit “And birds hush their sweet melody.
apa Sonne Se Sheena mere met re rs na mater ere Ey 9th ny eter te ene
——_—— ee Cee
Ss no ae -— ise fle ene foterk wns! = gusta : pay
yi + Joni be a
toe
', What.care I for rank and for treasure, -_. oy Tf cheerful each morn I a-rise? ..) . They. cannot af-ford me the
‘The wa-ter- fall. distant. is sounding, |; Sweet echoes its. murmur repeat oc-o) My heart with rich pleasure ig
Dee . ’
pf t 4} od | tah
RMR, a, Can AE TB: ue” POF BL Bei.
* -@- ‘i tz
Caves eae ne 2 et
LLY al a Lew i i (— -
| a
pleasure, la la lau-di. I draw from the earth andtheskies. la lau -di—di! la la lau -di- di!
bounding, la a lau-di! ~My peace and my joy are complete. = la lau -di—di! la la lau - di - di!
246 MORNING’S AWAKING! GLASER.
SSS
a sa a
'Morning’s a - wak - ing, darkness has flown!” | Red from'the’’ o-céan, ’ ri-ses “the © sun!
Up, and to la-bor, hast-en a - ial ‘Come, friend and ‘neighbor, swift flies the ens
eciimnvcmn waren —__—_—-;— ee
ee rsssieesie pee
eS a a a a ee aa
| sae ee
See == 5 Tite} re
Mel - o - dy’s ringing round and a- se iiawea are scenting meadow and grove.
Work till to rest the vil-lage bells call; © Then, all re - fresh-ing, evening shades fall.
—
\4 aT : EES Sie 2 Seat ieee eet
Lax SO DOA. OU IN A Sa yo
oo 2, aos
So hasten - seasons briskly a-way: <’New joy a -
‘Lo In winter sleep'the flowers, Beneath the deep white snow.'They hail the bright spring hours, A - gain in beauty grow.
2. When night ends toil and labor, Then slumber prince and slave, And toil again when rises The sun from eastern wave.
3. In autumn, spring and sumnier,We’ll do what’good we can, A winter comes—from lavor, We’ll rest eternal then.
248° THE TREASURES OF LIFE. GLASER.
Allegretto,
: ot a tet ee are
1. Lis-ten, ye strong ones, and tell if ye can, What is the dear-est of God’s gifts to man?
2, Yell. me, ye gen-tle, who liye.but to love, Are then love’s pleasures all pleasure: above?
3. Ye, who in stu-dy find ev-er § de-light, Is then this Wisdom so cost-ly a light?
4, Ye, towhom Vir-tue’s a shield and a guide, _Dothshestrew flow-ers on ev-e - ry side?
‘‘Tuife is the -dearest, life is the nearest, Life-we will cherish, the | first gift-to man.”
‘*Love is the sweetest, love is the mildest, Love is the noblest of God’s giftste man.”
‘“Wisdom’sthe highest, Wisdom’s the. brightest, Wisdom’sthe purest, the stea-diest. .light.”’
‘‘ Vir-tue we'll hon-or, Vir - tue we'll hon-or, Vir-tue’s the kindest, the trust-iest guide.” _
giles ciaaiaata bi o nee
Se (ESRORAARN SNe (sees ie cae idteieses ee ieardds aediaabs Weseaees | Mcbuiams TecceamslT eee oo ea
TAE OW ALK. SCHNEIDER. 249.
: cae ok nda a
1. Ev -er glad, and nev-er weary, Thro’ the verdant fields we rove.
From the hills our voices. ringing, Echo from each wood and grove. § Round us birds are singing, flying,
2. What care we for all their pleasure, Who in gil-ded chariots ride?
Dus-ty roads can hold no treasure, Like the flowerets at our side. § Purest springs from rocks are welling, —
A 7 >
o~ Brae ag de a me er =a , a a, 5 Fee — al
ae a gi — 5 2-0-6 -o—? = © bee ee
+ © -62§ @—_2__§ OE a ROE Ts ees | Re bee a .
Through the trees soft zephyrs sighing. Let us . wander arm in arm, Free from care,and free from harm.
Streamlets to the lake are swelling—Free from care,aud free from harm, Let us wander “arm” in arm.
250 “"““THE GREEN SUMMER BIRDS. (A Cuarape.) GERSBACH.
1, There came a ay sum = mer birds, I think, they.came from, heay-en;?
And warmed, themselves in bright —_sun-shiney From morn-ing un - til e - ven. :
2) When’ shook ~/a- bout — in -morn~-ing breeze, Then sat they all | the — firm- er.
ate the light, and». drank. the. dew, Aud. ‘sang with © geno- the | mur-mur. :
stor - my night sat © on ‘the clouds, But still. they kept to..- -geth- er, ¢ ,
And when it rained, their ecoats were wet, And dry in bet - ter weath-er.
4, And then came days so hot and dry, Their dress be - gan to with - er.
And then the frost came down one night, And lay on eve - ry feath-er.
5. There came an _ old man from the north, And blew up... on... the. Fiv = er Fy
guhe- rig -f""er gfroze— 1... the tree. From. top to.» bety= tom. j
yt <i —
8 Soo still in’ sunshine glances, Up-on the old oak’s’ branches, ‘The green birds seemed to grow thereon.
oy ¢khey sang so . light-ly— light-ly, Of warm sun shining. bright-ly,’ Of Spring, and flow’rs, and heaven.blue.)
“The breeze a-gain blew on them, The warmsun shone up ~ on them, And made them green-er than be - fore.
The poor birds lost their gladness, And sat in si-lent sad-ness: Their fresh green dress was brown and worn.
‘Its branches - were -de- sert- ed—The brown birds had de ~ part-ed; Bu
a .
A
a 2 ee pone So ae rnsicusteeze tmes niibnaetimie—ae Se stoke cero Rist open
7 % ; D i ay
Ww aR SP) el ods... Wor non a a on
* a af > a - ~
. 7 : a - aes :
= leven owe — A ee a oR me WSR: 5 t wets $--— E% ‘—~
+ —— Ft - J. — - +4 -— ~
+
CONTENTMENT: } ys 251
a ieere
1, How happy, peaceful is. our lot, When we con-tent-ed are; No King, and were he e’er so great, A
ee 3 “Say, what i is honor, gold « or rank Against a conscience clear? The world possessed. would bea blank, With
“3. Thrice happy he, whose tranquil brow Has never felt thisthorn, He’s e’er content at morn and eve,Con-
| eNO ——— +t oe
greater good could share, For. if one “jg.in. cheer-ful mood, Or rich, or poor, thestate is good.
no good thought to cheer. Let dis-con-tent op-press my days, No earthly good the pain allays.
tent-ed, eve and morn. This eer is oe i nor sold; Too peewee to be pyar with ee
QL ! HANS SACKS’ PIC-NIC.*
Moderato. 2
fe |
1, On Pente-cost- day, inthe end of May, ae 4 Ee Sacks to the wood,
2. On ei - ther side, a fa - - ther’s pride, Ran iit - tle Karl and . Sue,
beeper Siomigt PY wok, Ors, . ‘ait : hs t Whe ths, pe ea bo) a Ba ems ve
Bp ie hone RG + Instrument.
a + alle eg" -pen “air a. reel to share, As all Ceraan ton - i- zens should.
By -mo- se led,came lit - tle we Hey With a Goat aiid a waist-coat' of blue.
ea S adiel ~~ om iin mee y ee i Pi in eet us
. ik ‘Germany, in which fice resided for s
By in the morning of 4 bditecot day, and spend the whole air in roa sine saibe and siueaeenean teek ‘wha carrying their own
provisions.
The wind was cold, but Hans was bold, Now truth to speak, their cups were weak,
They reached the forest grand. Nor well repaid his toil, |
But wet with dew, the branches threw For lost in thought, bold Hans forgot,
~ Cold water on head and on hand. That coffee with water should boil.
The wife before had put in store; s be The'sky o’ercast—the rain at last,
Fresh milk, and bread, and cheese. In torrents ’gan to pour.
Soon Hans with toil made coffee boil— The homeward road in haste they trod,
_ The children played under the trees. — While thicker and fast fell the shower.
By mossy rock their seats they took, | : Such colds they caught—but that was nought,
neat
iemsen eres their = 55 Sista —=— Rates pees seeernect weet
THE TINMAN, THE DOG, AND THE DRUMMER.
MRA
» | G ASS i oo 761th BOW
*twill ‘sure’ = spoil one’s hearing, Such a nol =- — sy
ae =e ae
tic, ticstic-ticy noon tic a tac, tic a tac, tac shen ong, tic, tic atac, tic a tac;
a ne er ae oe ee a —
o{-- _ se a — a ari
oT see Mics ooh a ” Basia ” 12 eee. - "id) .4 ure 34 7 | eT yacte Vi or ———~s8—
barb’-rous clacky~ man, *ydw 0 ai aig Grim ¢ “mer; “Row tha
walt a Bt
‘mer, « now ~ thé dog;
beats the roll, fapa-tap,rap-a-tap, rapa-tap, rapa -tap, rap-a-tap,rap-a -tap, rapa-tap,rapa- tap, never
“tac, bie a tac; tie a tac; never aa tic, the; ro
256 : ALP SONG.
- 7 i: = .- Do 5 ° : : ' aa Oe a ey. - cs =
1. How clearly fromthe mountain height The Alp -- horn peals__ its
1.3 YS ot. 90) 6 Su
._.song; And woody
2. The Al-pine shepherds hear the note, They shout a loud re---ply; Far upthe _
3. With deaf’ning roar the torrents fall,While round them rain -- bows play; But through them
4. Ye mountain dwellers, bend the knee,The:Good. and Great a---dore; So tones his
0 %, “aS as en :
IV = 3 — ao ma a ES 2 as ee ee _-_? “ae [as ©
i ans om 9-5 -o—4 _ é a a wt ne, ee ne ;
¢ fj,@ x e S
AS Plat AL i A ARS AT Re Pi dT ee Se ee Py Ee 5 Pato ia
vale and cliff de-light The mu-=sic to pro = - long,— pro - - long—
steep the glad tones float, And van -ish in~ the sky,— the — sky—
strikes the bu-gle-call;Whichech-o bears a---way,— a---Wway—
voice in mel - 0 - dy, A-- mid life’stem- pest. roar,— . its roar——__
pro: --- long.
the sky.
t a--- way.
its —roar.
‘ gpOoMAZySONGe aw ay SCHNYDER. 25%. =~
i j “g 1g ste ~_+—_|—, -be-19 a
——e-fe oe 13 a ae ee) [ai Se ( a ee ae ah ale a a
eT. —*—s-16-2 ste ig o_o $12 $s
i. ‘ q > ¢ y
t $ +s ’ “ ; oi ‘ . Fs ry. err + : >
: r f ‘ r en | ‘ > » > "5°9
waiad - PS d 4 - -. : -*F ow 8 ¥) ; 7 TR
pa
- °° How bright is thy” preséiice, thot! beau+ti- ful May! » How: bright are. the heavens, the fields’ call to
: 394 x ae ~ 7 . ” van . q
“eo pe monee Son teen ane - ‘ s S, [oe ¢
‘ 4 - Z ‘ ~
ental a 4 re
» ! A : f : PAM Inn ae a Se ntetan
Rte a en line sth Pee sonnei Aoi ate Pin aaron a enon . = harem tii mnt, Binamemit ie ’ rs . ;
Beef — ie remem irene we ate - Serra aap abianes ia apts ae wignees ae me sncrensintitiregsacs Span. inne ashe Siyet iat mension tah mete eet Atma aasstcieinen Sete aS
at onvere a + - : “ .
«
coda ~_
HARDER,
THE MAIDEN AND ROSE.
Ss ! m dim.
sweet my) flower,»At, morn-ing hour, Per,- fume,
leaf Was scat - tered by
eve, And eve- ry
2. I+: came at
Seen we r— ete 5 i
f. dim. PN A at wc _ eres. Ryriny menue gh hse,
Ali fresh with dew, Ail” fair’ ahd of beau- ty ~ shin
I’m like — the fees ae wind bows I. mits Ber em iain ud flow
M4 Fe ewe . i te eal
‘Eom eae Se eo wane saseras son aS Ae Ps a ——
: ————
\eeeontl
cres. :
. and..grace .com -, bin - ing!
the show - er!
SUNRISE. “© DALBERG. ‘259
1. Look ye, to the eastern sky! ‘Por - - tal” of ~ the day’ ante dwelling! Now ‘the glorious sun draws nigh.
2. Up, now, in the glowing east, Comes the sun, in garb of brightness! Far and wide his “rays are cast.
8. Brighter, fair- er glows the dell, Where the sun - ny beams-are’shin-ing, See! they seek the mount as well,
List ye how the birds are calling! Bird to bird, and tree to tree, Sing in- - pur~- =~ est mel-o - dy.
See! they play, in air--y lightness, On the ripples of the stream. Lilies rise to catch his beam!
Sav - - age rocks with beau -ty twining. wring” sir he the beams progress, Waking life and hap-pi ~ ness.
260 li SWISS SONG. SCHNYDER VON WARTENSEE.
~ Prestissimo. __ — ° oti gae’ 295 take oe)
ye Oe acne | ae eed ale LWerLy ad Mike eee aed ig piri Ee te Sa eae > Sco isomers
(wee ee
eS | ee ined 8 DP Salis! igs a
—-:
Hur-ra! Hur-ra! Msi Hurra! reed rets, ae brightly ye’re re boom Flow’rets, how brightly yer
: blooming! Stretch your lit - tle leaves on high!
C/
vaiav a == Se en at Po pS |
i Pee a anaes Sete gst tee $e
cone
all the ven And pened cher - - ries gather: ~~ But, seeing that no bird am I, (It.
1s. the lot of ma-ny,) I’ll just run. to the market house, — And buy some for a penny.
THE GARDENER. / 263.
2. ‘The lovers of fashionmay say what they please, They. know not what treasuresare flowers and trees.
3. They say Ishouldtravel, great cities to see; But a walk in my garden’s a jour-ney to me;
I’m_ ey - er 0 stunn’d with the turmoil and noise—How can there be pleasure where so much al - leys?
The poor gaudy insects! They flit in ablaze That dazzles and burns whom it lures with its rays. |
264
Allegro.
WORTH OF LABOR.
WEDEMANN.
1. ’Tis the lot of all mankind,
2. As we toil, our time flies fast,
Time is fleeting, life is short,
Strength enough for all we do,
ee
Bus-i - ness and toil. Hea harvest ne’er will reap, Who ne’er tills the soil. .
Hours are nev - er drear, But he trouble has, and pain Who his task doth fear.
La - bor while youcan;. Labor’s no-ble, sloth is not,
Doth kind na-ture give; Ho! ye nurm’ring, idle crew,
give ; ye nan 8 AS
Toil creates the man.
Ye _ex-ist, not live!
FLEETING HOURS. WEDEMANN. 265.
1. How fly a-waythe hours Ofchildhood’s busy play. As fleeting as the flow-ers That wither in a day. The
2. As clouds fly o-ver heaven, Their shadows o’er the earth; So hasten morn and e - ven, So sorrow fly and mirth. To-
sound of mer-ry voices,,Falls gladly on _ the ear. But while the heart rejoices—No sound of joy is there!
day the birds are singing, While buds and flow’rs appear. But,e’er theirnotes cease ringing,Comes winter,cold and drear.
266 .- wi | HYMN FOR EXAMINATION DAY.
a coe gain a ap > pears _ th’? im- por = -tant tt *Whek “we, ine hope “and
2. We thank thee that fair Wis -dom’s light O’er all our land _ has
“8S. “OD, “gtant that... we in =©Wis - dom’s way May — walk, and \mney -- er
0A Qs bless the ones, whose love © and care Our doubt -- ing. ‘steps have
5. And as we learn how good _ thou art. And... Wise. and great, and. —
oe 6 FALE Nag 8 om Pe ‘ies Seer Stes Sd
(28 Os A Na 7 , elgg eg
pst
y fear) Be - - fore “our friends, ane. nah Oo “Goat With honk ble bbeist ap i pear. eZ
spread; Be--fore it | Su--per--sti--tions shade, And Fol - ly fly in dread.
_cease; Her, ways are. ways ,of . pleas - ant--ness, And, all _ her. paths are ;peace.
led; Who teach us how, with strengthand — skill, The flow’ -ry paths to tread.
true, oe bi ‘seek to gain “that. hap-= py “ ‘shore,’ Where Wisdom’s ev --er new. .
‘
“STHERE WIVES ACG itd wa FABER. ~*~ 267
. d,.There lives a ‘God! In love and might, He ‘rules o’er land and. 0 -- cean. The
2. His love is seen in eve-ry. star, In eve-ry summer show - er, When
a When’ fra - grant night-winds willows rock, And _ cool each sleeper’s pil - - - low, When
. When joy and gladness rule my dase aed From love my song wits bor --row, And
sun by .day, the moon by night, From him.have light and mo - -- tion.
storm and whirl-.wind vex the air, Whenstill’d the tem-pest’s pow---er.
an---gry light-nings strike the rock, And cleavethe 0o---cean bil----low!
still the God . of love . I'll praise, Though he send. care and sor - - - row.
1. Know you how
Know you how
2. Know you how
~~ Know you how
3. Know you how
Know you from
7
“KNOW YOU HOW MANY STARS.”
many stars are glowing, Where the blue sky is unfurled?
many clouds are go-ing Far over all the world? ¢ God the aot d,their Crea-
many motes are play-ing In the bright warm sunbeam? d in
many fish are stray-ing In 0 -cean and stream? § oe ee
many child-ren ear - ly A -rise from their bed?
whose good boun - ty, Those chil-dren are fed? fo made on God
0 Were their num -ber ” tap great -er,Could number them all, Could number them all.
-cean, God gave them all mo - tion, That they now so happy are, That they now so happy are.
sees dei His game agen never es shone He knows you and inves you too, ‘He meni: you ane loves YOu too.
é
AT THE GRAVE OF A SCHOOLMATE. FABER. 269
J :
1. Now rest, our wea-ry sis-ter, here; Thy joys, thy sufferings all are o’er; Farewell! Thy
2. Thy bod -y to its pa-rent earth De-scend-ed, qui - - et there to dwell;Thy spirit
3. O say, where art thou, sis - ter dear? Beneath the ground, or bright above? A two-fold
4, Soon we shall leave these frail abodes, And friends shall bear them to the tomb;'There, freed from
5. But . through the blue se - rene we’ll sail,And meet thee, fair in realms of light. Thou art not
a ee eee
se CoVwe ow 7 “or
| | @
: il 2) 8 ae epson: -T-o-e- Ts ry
5 : a : A A | a eR 2-ats Ly
Sere ee 21 ON BE aD GT Ed ba — S inh ee
' . | . me Lentando.
form, to us so dear, A - las! our eyes shall view nomore, A - las our eyes shall view no more.
felt a heavenly birth, As back to dust its mansion fell, As back to dust its mansion fell.
be - - ing knew we here, But whatisnow the one we love? But what is now the one we love?
Nature’s heavy loads, They’ll slumber peaceful, though in gloom,They’ll slumber peaceful tho’ in gloom.
in this dusk - y cell, Our sis-ter is an an - gel bright! Our sis-ter is an an-gel bright!
eer eee
wre ance, Ma is i, ail a. A in or 8 ae NL el
ae | a a ee eT ee
&
9270 .... =~. (INCITEMENT TO, STUDY:
“haa Magy
Moderato
“pease ‘nian bee
me! a — a
—— —g- | et
eres sre
; Se mni-chor Ui fie
ee
1. Open,sisters, ear and heart; List to Wisdom’ s call! Let us panei hak taskaj joys Nor let sloth aps # pel Gcheplmates,we are
gy 2. Now the seeds of joy we soyaiAnd hereaittent reap. ae = re x pp in the: spring, In the harvest weep. Let us seek pone
we a py ae tee ea a ot Pe abe aa a ae ih
= Ll ipesirey “te Sees ieee SL oeee.
oe olf ? aS Cheete:!: bent 4. i : . or.
here to learn, Let us af-ter knowledge burn. Schoolmates,we are here to learn, We will _af-ter knowledge burn. |
seeds to strew, From which joys immortal grow. Yes, we’}] seek those sdeds to strew, From which joys immor - tal grow.
VACATION SONG, ()° FINCK. Q71-
MYA TAA
H ‘tral-la! We welcome’them with right good cheer, tral-la! > Tn wis -dom’s halls we
Ho, ho! the hill, the wood, the dale, tral-la!’The lake on which we used _to sail, : tral-la! We... greet, ye," all, with
igual ho! ye songsters of the shade, tral-la! A _ Ier-ry troop your haunts invade, tral-la! Be-ware! our songs of |
“ho! the hours shall quickly ae tral- Tal And soon va-ca-tion time be by, 'tral-la! Ah, then ~ we'll all’ in
=
Ho, ho! vacation days are here, -
@voevsve
_be free. Sing merrily, and cheerily, tral - ‘a! Sing cheer-i-ly and mer-ri-ly, tral-la!
Sing cheer-i-ly and mer-ri-ly, tral-la!
mer-ri-ly, tral-la!
mer-ri-ly, tral-la!
“love to be, But still tis pleasant, to
right g good cheer,In thought unchanged, again we’re here. Sing merrily and cheerily, tral-la!
mer - ry) glee Shall fright ye from-the green-wood tree! Sing merrily and cheerily, tral-la! Sing cheer-i-ly and
glad refrain, Sing welcome to. our home a-gain! Sing mer-ri-ly and cheerily, .tral,- la!’ Sing cheer-i-ly and
THE VOICE OF HOME. HENTZSCH.
1.‘ Come, ye dear ones, come!—’ O how light and sweet the accents fall—Say, from whither comes the
2.* Come, ye dear ones, come!—’ For af~ fec-tion waits im - pa-tient there, In each home are joys be -
3. Haste, companions, haste!
O the roll-ing cars are far too slow, On the wind’s swift pinion ©
SSS Seas
ee
—e- sa jo @ Tt
7 oe -~ : | 5
mystic _call?—‘Come, ye dear ones, come!’ Know ye not the welcome sound? At each tone our
yond compare—-‘Come, ye dear ones, come!’ Now inpeace, our du- ty done, Home’s delights are
would we go— Haste, ye lov’d ones, home! Welcome,welcome, friends most dear! Long remov’d, at
ne ae
~ gladhearts bound—Yes, ’tis. the sweet voice .of home!
gafe-ly won, Yes, let: us: chaste to» our home!
—
” Ty iy
1. Let not griefand pain annoy,
Lpkebere ane eee ee Dountacrss 1 a ston = = - —
—— aan ———— = ee cee
See eaeth fo atrne Meio 5 es — ae eee he f von ébats . _ en ee Bes
: Fag ae Pte one a
length we’re here—Yes, ‘tis our own cherished home!
Yes,.’tis__., the sweet, voice,..of home!
rn
bg
» Mes,:cletis us haste: to “our>;home!
Yes,’ tis our
Care not for ‘the morrow | While we live,let’s life enjoy. What’s the use of sorrow? ©
2. Short,O short our life, *tis true— Much too short for sorrow, What is good, en -joy to-day, Wait not for the morrow!
3. See,how brightly bloom the flow’rs! Fresh each leaf is growing, Wilteth not, because in fall ~ Chilling winds are blowing.
own cherished home!
arr fan 3
Q74 ANGEL WATCHERS. HUTTENBRENNER.
. Lento. “ pr once "Wms len, las -
(eS a a Le a SSS SELENE SS tS oS
IZ a BPs Sag SO Se ES as a i ect a
deere ee Oe eee eee eee ee
i a 6 SS | i led | |
1: Now sweet slumber’s gen - tle: pin-ions’ Wave a - bove our sleep - ‘ing’ one;,
2, Cher-ub | forms, his couch at-tend-ing, Watch o’er him—they love him well—
eth. thee?
4, Slum-ber on! too oft, a-wak-ing, Hear we sound thy plain - tive cry;
5. Wake not! wake not! ’tis» to sor-row! Now thou see’st a hap - py band.—
Fair-est thoughts, from bright do - min-ions, O’er his rest are gent - ly thrown. —
Through the night, a - round him bend-ing,... Pleas-ant, tales. of heaven they tell.
Ah, he hears, in gold-en num-ber, .. Dis-tant harps.make. mel - o - dy! |
Sad, in-deed, such vi - sions. breaking; For thou dream’dstso _bliss- ful - ly! _
Sleep! for trouble comes to - mor-row; Tar-ry in the spir - it land. bh
3. Oft - en smiles a - dorn. his slum-ber,—Child, O . say, what pleas 4
UP, BROTHERS; UP! BREUL. ‘S7S
is
1. Up, brothers, up,while morning’s bright! sight!
2. Hetreadshis path) a he = ro bold, ~~ -Be-fore him van-ish shade and cold;
3. So Virtue’s sun doth light our way, ©» Tho’murky clouds ob-scure the day;
ys “4
The sun il-lumes the eas-tern sky,; And now in splendor ri-ses. high...
His banner o-ver.. half the world, Tri-umph-ant-ly is now. un-furled.
A-bove them still its beams are seen, . And soon de-scend in ~ golden sheen.”
| A CLOSING SONG. © RINCK.
Moderato... tres oe hee
eo = a a a — a =e Sia cer Part ey
i a aS a. i ote = 2S a @ sl Bee
[= — oo Sie Se ate tee ae Ne Bes Pa ST
SS a ce aa oe oe ceed See os Sai. ai k
‘¢ 1. The | bu-~- sy hours of stud - y; How.” siaiabat --ly have — they flown; _
|2. While ‘young, and fit’ for la--bor, Let’s.. seek our ~ high-est' good;
- 8, And as |. the sun’ at. evening, Shines. mild---ly. from ‘the: west,
But schoolmates are we wis-er, Now that the hours are gone? Now that the hours are gone?
And © fix in wisdom’ s temple - Our pleasant, sure a- bode, Our pleasant, sure a - bode.
“So shall our it happy influence Make all around us’ blest; Make all ‘around us — blest.
THE DYING.YEAR,.. ENDERS, 277
Andantino.
ees Ne rush the years,on migh - ty wings, on! “to “thy: gale Ob - Yb,
The hours which number earthly things, ‘Or lost, or ‘won, are quick- “ly gone.
2. As down thine awful path, O Time! I wan-der tr embling” and a - lone,
As oft I hear fate’si-ron chime Peal through the gloom, in thun-der tone,
3. Full ma-ny'scenes of joy and woe *< With cir - ‘cling sea -sons rise and fades
And still the great account shall Petows Till earth be numbered with the dead.
A
a f= ee
See Ss a z= “gia?
. ~ They flit across the ocean drear, And nev-ér, nev-er re- appear,— 7 aes las, our deeds are with them!
~~ "Be God the merciful my stay, A-mid the dangers of the way, Lest Ishould fall in ter - -‘ror.
Farewell! ! Farewell! Thou dying year, Thy morn was mild thine evening clear,Go, sag Rol ae slum - ber.
attains THE FOUR SEASONS. ‘HIMMEL,
—p—
1, Four _broth-ers go, from year to year, Far over earth and © o--cean;
2. The first ap--pears a . mer -ry youth,Withcrown of pur--est a--zure; —
3. The sec-- ond bless--es all the plainWith fer-vid sun, and .show-ers;
4, The | third draws nigh in . reap - er’s dress, With pleasant fruit o’er - - load - ed;
5. The mer--ry brook-lets cease their flow—The summer songs are end - ed!
Co # : t
iis {
o —$-
Se . : ~~ es mg +S "9
4 : nS
ne’er to-- geth - er they ap-- pear; Un - -ceas-ing is their mo -- tion.
scat - - ters flowers and rich per - fume, AM OVE = = TY where brings pleas-ure.
He __ fills the fields with way-ing grain, And, ro--ses_ deck the bow -- ers.
But soon. the fields are flow-er--less, The sun- ny sky o’er-cloud-ed. ~
storm at - tend - - ed.
sul - len
fourth hath come with brow, With night and_
cd
SUMMER SONG | VOLKSWEISE. 279.
PStiga a
Allegretto
o——_o—
is sounding, light-ly ~ bounding Through the free air far ‘ae near.
Now in. fragrant - meadows © wand’ring, View .we | na-ture,, ev - er fair.
., Gent - tly. rip-ple lim- pid |. wa-ters,, Once .with blast),of, win - ter. chilled.
2, Hum-ming, bu- sy, hon-ey - la. - den, Roams the bee from flow’r to flow’r,
Where bright pe-tals ope, in - vit_- ing, Sweet- er from the —sum-mer show’r.
Fa - vored man, to whom ‘’lis ——- = en, Let “your grateful songs as - = cend! :
SPLEEN SAE! AE PUR FECTS cron 2¥10 Hy NANCE THE eek =< Pt
2 caianaral wets #— esse ae nasa pater ret one 2
cleuy ae ‘fair blue. heav - en, Spreads, a boye the. — field.
fair, this earth, and smil-ing, Fresh as from — its — Mak-er’s. hand.
230°
Maestoso.
MORNING SONG.
1. I greet thee, young and lovely morning, Robed in thy “glo - rious light! Above night’s
2. I greetthee in thy radiant. beau-ty, A gift by God be - stowed; In patient
Sy Sake aaa sate Cero Iaingt NS ar a em EON he a
2 SECS VME RY ANE th PRN LIT + oe oe aoe
1. I greet thee,young and love - ly “morning, Robed in thy glorious light! -
2. Igreetthee in thy ra-diant beauty, A gift by God bestowed;
as
settee oS
pall of gloom, thy dawning How beauti - ful! how bright! How beautiful! how b
love and cheerful du-ty, Fortheemy thanks. be ~ showed, For thee my thanks be showed.
= eer ar en oes See ae ee ae ae
_- Above the pall of gloom, thy dawning How beautiful! how brigt ; brigh
In patient love and cheerful duty, For thee my thanks be show’d, Forthee my thanks be show’d.
ht! How beautiful! how bright !
WHILE TO HEAVEN. 281
4 “WORDS WRITTEN FOR A SABBATH SCHOOL ANNIVERSARY. MUSIC FROM THE GERMAN.
- Selo. “Chorus. |- _.... Solos.
eS oe eee es es
ae eis | oe ot I wi ena ua a a BR
o-—--: ( i Gee 7 ae : . = a 9: TA:
1. While to heaven our songs areringing, Ancient of Days! To thy name in chorus singing, List to our _ praise.
2. As we humbly. bow before thee, Bless, Father, bless!. That we rightly may adore thee, Give us thy grace;
3. La-bor wewhile youngand lowly—Soon shall we see Christ, triumphant, reignin glory, O’er land and sea!
4, Thou of life and be-ing donor, While here we roam, Give us hearts thy name to honor—Then call us home.
o "-8-§
Thou, our Father and» Cre-a-tor, Jesus, mighty Lib -er-a-tor, List to our praise, List to. our praise.
That wein thy cause may labor, Honorthee, and love our neighbor,Give us) thy grace, © Give us’ thy © grace.
‘So, from mount, a well-spring gushing,Soon a river onward rushing, Spreads to the sea, —_ Spreads to the sea.
Then, with angels swift descending, Seraph voices sweet-ly blending, Welcome us home!
—
a a at oe a
282. HOURS OF STUDY.
1. How pleas -ant - ly. the mo = ments, In stu- dy” pass 4a. -_ way.
2. ‘The world’s. dull care... and .-,..tur, -.moil, Sub - side, and dis - ap - pear,» .
Lord! we know thou ‘hear’st us, For thou “art eve - ry where.
shall our — days re eree Bin eee a In ve = ry truth’ be ‘© blest.
hours are. far too ~ fleet - ing, —Thds ~ ip, fare “too- me ict: anes
‘mild - or genie tite “dis-tance, The pear - ly gates Bp’ - pear.
fill ---our- minds with — - knowl-edge, Our §) dai =~ ly: walkes cheer.
\ hap- pier «in» that'.-coun - try,, Where g - men dwell. i3 in _ srest.
i , ae
‘sn “ se as
7 * ee iM aa aeniutaiiaeal ae -
~_ * ~~ ‘ *
EVENING HYMN. A. ANDRE. . 283
Chorus, Semi-chorus.
wri 1. Praise the Lord! Praise the Lord! . The. tired earthy seine, 2 ta .even;ing sun. is. ; sink, -_ ing low,
2, Praise the Lord! Praise the Lord! To heay-en -bal-sam __ in - cense _fi- ses | from, the lea,
ae Praise the Lord! _ _ Praise the Lord! _ Our, la -bor done, we , Jay. .us down to. ,grate.-, ful ~ rest,
7 _ 4 ‘ 33
ee >
oo siete ste te ete
; Si —@_@- 212 -e a-$ 185¢-8- 4 me “or a o-e-gte 7
The tired earth rests,the evening sun is sink - ing jaw. O’er the wholé creation’s inde Spreads , holy darkness RE
+ <[o ‘héaven balsam’ incense’ri-ses from the lea, “And the cooling breeze brings freshness, To ev’ry flow’ rand tree,
“Our la-bor done, we lay usdown to grate - ful” ‘rest. O,for that too which we suffer’d, Let our r Father’ 8 name be blest!
o er'the whole creation’s gladness, predils a Bet} darkness now Spreads a holy darkness now,Spreads a holy darkness now.
And the cooling breeze brings freshness,to ev’ry flow’r and tree, “To ev'r flower and tree, To ev oF flower and tree..
‘0, for that too,which we suffér’d, let our Father’s name be plest,Let our Father’s name be bhi Let our Father’ 8 name be blest!
dys 0, .praise; thas ede ye. ound vost seal He inte to hear, acti inatit volbiasshighhin 0, praise the ae y praise the Lord!
2. It mounts-on high, to,thy most holy name, From-our weak choir,an anthem to thy fame ; Thou,who dost.love thy children well.
3. With glad praise full,our hearts to thee shall sing; Our thankful song,to thy high throne shall ring; Our God, and ru-ler over all!”
- 4. ‘There comes es.atime,when we i in n thousand ways, ‘0. hap- pines! The Father, ‘tie we'll Praise, E-ter-nal. sthen,our precy, shall be.
AFTER STUDY. RINCK. 285
Allegretto.
(\4 A SS NAAT BOEING Wee CN PPLE EE LE cea ocak i as im
(GS Ss ae
Sees Aw Sone ¢ LE BaP AS a all nod ms
}|° 1, Now. end-ed are our stu-dious hours; Let’s sing a mer - ry_ glee!
_ 2, How good the One who reigns a= bove! From,.Him come eve - ry © joy. .
3. In kind-ness is' he. ev-. er. near,
To guard the ones — he loves;
a
1 |
| SSeS Sess Se anes all a a aati ot <a eer ce a
—e—ete—t
*T will give us strength, and will to work, As sounds our mel-o - dy, As sounds our mel-o - dy. :
He gives us mirth and. cheer-ful song; Let praise ourtongues employ,Let praise our tongues employ!
Nor can each loved one faint or fall, Where’er, or how he roves, Where’er, or how he roves.
ie na Ree a9 eS nest = :
co
4 — So aaa eee
‘o—e— ee ee ame we
SY Hi ie
ee he : a r~ © ©
~~ ml “ @ 2
~ tee
ie
HYMN FOR THE COMMENCEMENT OF SCHOOL. RINCK.
1. Our Father! Thou who dwellest in Heaven, Come list - en to our hom - ble _lays. 2.
From theeour strength, and life are given, | ‘May ‘we’" de "vote them’ ’ AO yom ah "Kathe. to
2. May we in Friendship dwell'u: - nit ‘ed, May Vir =' tue’ eve - ry “ac? = tion’ guide; j
And when our schemes of joy are” blighted, Put down” ‘each © ‘swell-ing ' thought! of “pride; t
| 3. In wis-dom and in _ skill in- creas-ing,; As youth and vig - or haste aoe aay $
Our | la-bor as our joy. Sis alb n dut e -— May we ne'er spend an d= -dle | ar
,O! woe . 3 Foe eh thy, while to - day, .We,. seek thy, coun-sels.,.. . tOn. gO le bey.
3G0nhe tent ino» sor-row— > © joy we'll: live, Since: all ta is’ “good which’ thou” ‘dost’ give.
>And: ‘that “we ° may ‘the © work ‘pro-long, O make “us dil i i- gent : and Sirona a
1. When Spring unlocks the flowers, to ‘paint the laughing soil; When Summer's balmy showers, refresh the mower’s toil; When
2. The birds that wake the morning,and those that love the shade; The winds that sweep the mountain,or lull the drowsy glade; The
8, Shallman, the lord of na - ture, ex - pectant of thesky, Shall man, alone un - grate-ful, his little praise deny? No!
4, The flow’rs of Sprmg may wither, the hope of Summer fade, The Autumn drop in Winter,the Birds forsake the shade; 'The
ce ae tae a se et |
“ol oe al oe ie et
7 wea =e <e-
; -o-
Winter binds in frosty chainsthe fallow and thé flood, ‘\ Fatt Stiod the earths rejoiceth still, andowns her Maker’s good.
Sun that from his amber bow'rs re,- joic-eth on his way,;!.'The moon and stars,their Master’s name in silent pomp display.
let the year forsake his course, the seasons cease to. be, Thee, Master, must we always loye,and Saviour, honor thee.
Winds be lll’d,the Sun and Moon forget their old de-cree; © But we’ in Nature’s latest hour, O Lord, will cling to thee.
238 s394% SONG OF PRAISE | | RINCK:
.
oad SK oe P= == as vr Fe seamen a EE A SL OE a -/ a acd
“awe —J— 9 te eee oat? ptt He et m
fant ate ET 7 oe Ce a ge ee
SS: B “et ETS
|
1. Ye heavens raise the song, Let earth the strain prolong, Mortals, the , chorus join,Praise the Lord!
2, His pow’ris all supreme; His goodness e’er the same; And ho'-ly is bisname: Praise the Lord!
3, Hear thou our song of praise; Bless us,and guard our days,Clothe us with ho-li-ness, Our father, God!
For: Mer-cy dwellswith him e- ter- nal - ly. Ev-er good .is | our. God!
_His presence fills the wide ex-tend-ed world! — ‘Ev--er ho = ly «is \» God!
- And may thy peace with us. for-ev - er dwell! -- A-men! A-men! A- ment,
shy Wate Gire ent, Dial Sd apipey
mT
Andante.
THE SABBATH BELL ; GEO. F. ROOT. 289
A “OF ho- ly hopes, os ~ joys: “re-fined, The pensive murmur r seemed to tell ; And poke of
strain n, 50 | sweet, Ab thinie AsrmoniotiaS Sabbath pelts tin pavinonious ‘Sabbath bell. |
: = .% * eae Tate at ——-—~- = hs
— 7 7 = . Gai nana Serer mare =| “|
SS RENONS. eK mb Minas eh ae: (Sale mega ee
_ mee eet aM Sa AH ee mae = ew Se ee Soe pee
rns ne oe aaa "FSO Al es Ga_eeeeE eo oF t=
count - less joys combined, In thatecle@pought the Sabbath ‘pell,In that sole Rove ae the s Sabbath be
[19]
foe
290 are 8 ‘NIGHT SONG. —- | RINCK.
eae Andante+ Ԥ Sempre Pianissimoe
G ws = a “apne ee . a wee we
fx —3 fy eed ce =F: . 2s = a ee a 2 RN A
1. Night a Still: - ness reign a- = xyound—- Hush’d the dick xe s bu --sy sound—
2. Eve-ry storm of pas --sion wild, Eve --ry. wish . me is. still’d,
3. Rich” and great. let oth -- ers be; _,, What is. power rs .. fame to. me?,- .
4, O! what wish I~ more than this! Here reign joy, and gen - tle peace. .
sun sie course hath -run— and calm~ the moon oaks ante tt
the -
- Which tow’rd fol - ly’s gid -+ dy play, Once could bear. my soul a- way.
Here, when day - light cares are through, .. Night--ly Jl my joy, re - new.
Here, with grate-ful, hap--py song, All — = life could’ elds “a- es ;
i . —= Lees I a a ee enka ee
-o- -~o : S gj. } , 23 : S-. itt ipo
HAMBURG.
1.0 God, we thank thee that the’ night In peace andrest hath passed a-- way;
2. Be thou our Guide, and let. us....live As un -der thine all---see--ing eye:
== = oS ee
: uC Or : oe
And that we see, in this fair _ light, Our Father’s smile, that makes © it day.
Supply our wants, our sins for-- give, And make us hap-py when we die. o
OLMU TZ.
1 S¥rom nartest ics of life, Thy ohadaere we pan shared And still y we ite to sing ndiieae pie tE
5: To. learn and do thy. will, -O.Lord, ourhearts, incline; And o’er the paths of.) fu-ture life
3. While taught thy word of truth, May we that word receive; And when we hear of J esus’name,
4. Oh let’ us. ‘nev-er tréad ‘The broad, déstructive road, But trace thosé en viii meh lead
“Tn - falcon God, ae botecae care.
: What. mercies. has this day _be-stowed!
3. Now may soft slum-ber ‘Close’ my’ eyes,
- 4, Thus bless each future: :day: ‘cand, night, |
By sovereign mer ipey spared.
Command thy light to «shine.
In. that blest name be-lieve! .
To glo-ry, and” to God.
<> —- -
Fee ae a I SE
SSeS at 2 SiS Sb So eas as 2 ese
te. ! -C- a een J
_. O’er all. thy works is shown,. Oh. Jet..my grateful praise and pray’r A, - rise be-fore thy throne.
~ How largely hast thou blest! My cup with . plen-ty ,..o;ver-flowed, With cheer-fulness my breast.
From pain and sickness free; And let my, waking,thoughts arise, ,.To _med - i-tate on, thee.
{| “Till life’s vain scene is And then torealms of endless light, Oh let’ my spir - it soar.
|
fico. wena
one iy
1. Great God,to thee my evening song With humble gratitude I raisé; Oh let thy miercy tune my tongté,And fill my heart with lively praise.
2. Mydays unclouded as theypass, And ew’ry gently rolling hour, Are monuments of wondrous'grace,And witness tp thyflove and pow’r.
3. Thy love’and pow’r,celestial guard Preserve me from surtounding harm: Can danger reach me while the Lord Extends his kind protecting arm?
. 4) Let this blest hope my eyelids close;With sleep refresh my-feeble frame; Safe in thy care may I repose And wake with praises to thy name,
RG os i TE ROR yee —=b4- SF Mw. SS AS, ORE ER PRE 3S RE | mass is : ;
; ¥ re a RE soe i SE -
Ya
294 OLD HUNDRED. No. 2.
1. My God, how end-less ‘is ‘thy | love! Thy gifts are eve-ry ‘evening © new; And morning mercies frou a-bove .
_ 2. Thou spread’st the curtains of the night, Great Guardian | of my sleeping hours; Thy SOV ’reign word restores the light,
tee ogy
3. 1 yield my pow ’rs to. thy command, To thee 1. -yeon cee sete my days; Per-pet-ual blessings from thine hand
—
Vi te °F = Tene ae ee
[5-2 eee owe! oer m fe Fe—e Ft
oOo Ce — _ % oC
1, God,...,of....my.. life, my ae ie song
2, Pre-served by thy al -migh-ty arm,
(Ao OD let the same. al --migh-ty care
5.'Smile on my min-utes as they. roll,
Gently dis -til like. ear-ly dew.
And gquickens all my drowsy pow’rs.
Demand per-pet-ual songs of praise.
e189 9-5 -o 8-1 8 18 eS ee ae :
To thee I cheerful raise: Thy acts of love ‘tis good to sing, And pleasant ‘tis to praise.
I passed the shades ofnight, Se-rene, and safe from every harm, To see the morning light.
Through all this day at-tend: From eve-ry danger, every snare, My heedless steps de-fend.
And guide my fu-ture days; And let thy goodness fill my soul With grat-i-tude and praise.
i
—— ee ee
Sar arhs etree
@ oe
WILMOT.
ete ls t gel et
‘1, Thou that dost my life prolong, Kindly aid my morning song; Thankful from my couch I rise, To the God that rules the skies.
2. Thou didst hear my evening cry; Thy preserving hand was nigh; Peaceful slumbers thou hast shed Grateful to my weary head.
3. Thou hast kept me thro’ the night;” was thy hand restor’d the light: Lord ,thy mercies still are new, Plenteous as the morning dew.
4) Still my feet are prone to.stray; Oh,preserve me thro’ the day: Dangers ev’ry where abound; Sins and snares beset me round.
(
296. OLD HUNDRED. No. 1.
cate Gs
NUREMBURG.
Moderato. .
a1: ‘Thou, who dwell’st enthron’d . a- eg ~
2. O how ‘sweet, how ex - -cel-lent
8. When the morn-ing , paints the skies,,
4, Sov’-reign Ru - ler! nance Lord!
Thou in whom we live and move! Thou who art most great,most high! Godfromall, e - ter - ni-- ty!
Tis when tonguesand hearts consent,Grateful hearts,and joyful tongues, Praising thee in tune-ful songs!
When the stars of evening rise, When decks spring with flow’rs,the fields, When rich harvests autumn yields.
We thy praises will re-cord! Giv-er. of these blessings, we Pour the grateful song to — thee.
Senaerae ot ae erage tae Sa ae a he.
imlgadaa
1. To Thee, my God, to Thee rie The evening’s grateful offering; From thee, the source of joy above,Flow everlasting streams of love;
And all the rays of light that shine, nd blesswreation,Lord,are thine. .
2.The morn,when stepping down the hills, The noon, which all creation fills With glory; evening’s placid fall; The twilight,and the raven pall
Of midnight,all alike proclaim Thy great,thine all-impressive name.
3. Yes! in the midday’s fervid beams,And in the midnight’s shadowy dream, In action and repose, we see, We recognize and worship Thee; +
To Thee our worthiest songs would give,And in Thee die,and to Thee live.
——.
GREERVIGEE.
¥;
io
*
7
-
1. Praise’ to ~ thee, thou great Cre - a - tor! Praise to thee from eve - ry. tongue; ‘
Join, my ‘soul, with eve - ry crea-turé, Join the u - ni - ver - sal song.
Hail the God = of ‘our sal - va - tion! Praise him for his love «di-- vine.
2. For ten thou-sand - bless - ings giv - en, For the hope = of fu = ture: joy, 2
Sound his praise through earth and heav - en, Sound Je - ho - vah’s praise on —high.. {
There, en - rap-tured, fall be - fore him, Lost in won - der, love, and praise.
EGR ie vs amis Se ieee Sas
|
Fa-ther, source of all com - pas- sion, Pure, un-bound-ed grace is thine:
+ Joy - fal - ly on earth a - dore him, “Till in heaven the ‘song: we raise;
DEDHAM. | (299
Moderato,
thee, each morn - ing, » ‘oO ‘my God, My sll thoughts at’ -' tend;
1
2. My. soul, .in pleas-ing won-der lost, Thy’ boundless love. sur - veys;
in ‘When eve-ning slum-bers press my eyes, | With his pro: = -tec - tion blest,
4. My ‘spir - it, in’ his hand se-cure,’ Fears no. ap - proach - ing ill;
Sees :
aS SS ee ee
In thee are found - ed all my — In. ‘Gan my wish - e8 anf
And, fired with grate-ful zeal, pre - pares A sac - ri - fice of praise
In peace and gafe - ty I com - mit My wea - ry limbs” to rest.
For, _wheth-er
wak - ing or a -. sleep, Thou, Lord, art with me still.
300 | PLEYEL’S HYMN.
epdante. dolce.
Cy. - a _
ag? Sp Sascomese arcs owe
ey, Zz — od 2 i SEN nt 8 Lore] ao”, Se BRET Fs TR
a) Zan o a Bro, CA] =A 5 = ann, i RET _p5—
AS), | ves = = OG o, at
F Te When hed - ire thy throne we kneel, Fill’d with awe © and) ho = ly fear
2. Check each proud and wandering thought. When on thy great mame we call;
3. Weak; im - per + fect crea-tures we In ‘this vale © of dark-ness dwell;
4, 0 re-ceive the praise that dares Seek ‘thy heaven-ex + alt - ed throne;
| i. “oa, ag ~ feel, All thy ——‘sa-cred_ " ~pres-ence: near.
is nought, is Jess than nought: ‘Thou, our God, art all’ “in~ all.
Yel _ pre-sume to. look. to thee Midst thy light in - ef - fa - ble.
Bless our off’- ring, ‘hear. our prayers, In - fi - nite and Ho - ly One.
a —— -
DUKE STREET.
yh
4
a=, a
e
1. God of the morn-ing, at thy voice The cheer-ful sun makes haste to rise, :
2. Qh! likethe sun may I _ ful - fil Th’ap-point-ed du - ties of the day;
be - cloud- ed eyes;.
me to thy bliss;
3. Lord, thy commands are cleanand pure, En- light-ening our
4, Give me thy coun-sels for my guide, And then _ re - ceive
jour,- ney through the . skies.
keep my heavenly. way.
sim -ple_ wise.
com-pared with. this.
|
re-joice To run ‘his
5 _. Andlike a gi - ant doth
ac - tive will, March on, and
Th makes the
cold
With ready mind, and
Thy threat’ningsjust—thy prom - ise sure; Thy gos-pel
All my de-sires and hopes be - side Are faint and
—— Sa
: ae eg —S ~ a ee aes e —= —— = os G— : hn 4 .
wo A ee ee o
302 | CHANT-No.
O come, let us sing unto the Lord, For he is the To our God; ‘sie ae
‘1 | Let us heartily rejoice in the strength of | our sal-| 7, And we are the people of his pasture, and the
vation. sheep of..his | hand.
g § Let us come before his presence with thanksgiving, a } O worship the Lord in the beauty of holiness;
And show ourselves | glad in |, him with Ml pagime. Let the whole | earth. stand in | awe. of | him.
ae,
3 Ror: the Lierd i is a great ‘Gad ; : 9 of For he cometh, > } a
Anda great King above-| all— | gods. For he cometh to | judge the ‘eat j
af i And with righteousness to judge the world,
And the strength of the |" hills i is | his— [ also. And the | peo-ple |” with his In truth.
The sea is his, and he made it;
And his hands prepared the | dry— | land,
O come, let ws worship, and fall down,
, In his hand are all'the corners of the bart: 10
5
and | knee)-be: ‘fore the | Lord our’| Maker ee oven NT Le ee ae
CHANT No. 2 303
1 O Lorp our Lord,
How excellent is ‘thy name in,| all the | earth! For thou hast made him a little lower than the an-
7% < gels,
2 Who hast set-thy | gloryia-| bove the heavens. ) And hast crowned him with | glory, cand | honor.
3 § Out of the mouth of babes and sucklings Thou madest him to have dominion over the
Hast thou ordained iiss be- | cause of’. work of thy: hands;
thine | enemies; a! Thou hast put: | all things | under. shis | tees
4 That thou mightest still the | ene..my | and. rhe - All sheep and « epee Disa, and the beasts of the
a- | venger.
eld; -
( When I consider thy heavens, the work of thy The fowl ote airy, sand the fish: de the. sea, >
5) fingers; — And whatsoever passeth wyoales a a °.| paths. of
d The moon and the stars, which | thou..hast thei|ebea. oct fy | }
or- | dained: 10 | -O Lorp our Lord, | = sha
‘How excellent is thy en name in \ al the # eatth.
What is man, that thou art mindful of him?
6 And the son of | man,..that thou | visi-test | him.
304 CHANT No. 8.
QD ee ee
(ua a ee et et ee ee oa ee
Se ee ae eS a = a = z, Z -o-—
A - - men
| |
: = “o = -G- -o- oOo = Se ne as
God be merciful unto | us, and | bless us; - ~ § Let the people praise thee, | o— | God;
1 ) And show us thelight of his countenance, andbe | ~ ?.Yea, let | all the—people | praise— | thee.
merci-ful | un-to | us. ©
§ That thy way may be | known up-on | earth;
‘Then shall the earth bring | forth her | increase ;
62 And God, even our | own—God shall |»
% Thy saving | health a- | mong all-| nations.» give us—his | blessing. ©
3 Let the people praise thee, | O— | God;. « Las |
Yea, let | all the—people | praise—| thee. _§ God shall |, bless— 1 Wie so hsenos rary
) ) } : And all the ends of the { earth shall | fear— | him.
oF let the nations rejoice | and be | glad; od God) | dolce aunte edi bea coon act) -
4 For thou shalt judge the people righteously,, "Apacer
_ (And govern the | na-tions up- | on— | earth. ° m |
/ ‘ - =
GOSHEN COLLEGE - GOOD LIBRARY
Wing
3 010159 |
gers, cand “gnable them to
passages,
Live Music Archive
Librivox Free Audio
Metropolitan Museum
Cleveland Museum of Art
Internet Arcade
Console Living Room
Books to Borrow
Open Library
TV News
Understanding 9/11