CONSISTING OF
SELECTIONS FROM THE POPULAR AIRS,
c
Lee
oe ¢
WITH
Se PRIMARY SCHOOL EXEI POISHS,
-
We. ALSO
EW STSTEM OF FIGURED UUSIC,
win ELEMENTARY LNSTRE CTIONS +
#
HE VARIOUS GRADES OF SCHOOLS TUROUGIOUT THR COUNTRY.
Pu @ od
Bia eee
‘BY
ir, HOBBS & CO.,
‘120 W asec ee a 6 STREET.
’ yy
en te
M at
Daas Arg
if sarNie i
Bil Bis
DORAL
apy tay
Cet
FOR THE
MILLION!
CONSISTING OF
SELECTIONS FROM THE POPULAR AIRS,
WITH
ORIGINAL POETRY; ALSO ORIGINAL MUSIC,
AND PRIMARY SCHOOL EXERCISES ;
ALSO
ANEW SYSTEM OF FIGURED MUSIC,
WITH ELEMENTARY INSTRUCTIONS :
ADAPTED TO THE VARIOUS GRAD=S OF SCIIOOLS THROUGHOUT TIIB COUNTRY.
BY
ASA FITZ & J. W. GREENE.
= ie
BOSTON:
PUBLISHED BY FITZ, HOBBS & CO.,
a, 120 Wasuinaton Srreer.
STERROTYPED BY A. B, KIDDER, 7 CORNHILL.
sinaatetenskaceaecameenl sass =
al
ET TRESS te, ot Cr TN ai th Raita | a ia NetlE a BE
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neering f
INDEX.
FIRAIT SRRIRS.
Name. No.
The Washing Song, = e o _@ - eo - * a 1
The Farmer, le — ° Bie a hen - tae as z 3
Song in Motion, > ° ° ° — . « e - se 3
The Shoemaker, - e e <_ = . ot he - Fe 4
The Mimic Cooks, a) = Cr) tue . oo. oe e o 5
Clap, Clap, Hurra, - < < = : ° . « i a 6
SECOND SERIES.
Tl bea Man, - - ° ° = e o e e ‘aa l
Morning, rs Hh & - iE = - is ni ms 7 23
Vacation, = o e e cs 2 e @ eo e as 3
Happy Schoolroom, - - C ° ° © « - - 4
School Boy’s Carol, - 4 & Pe es ‘f 7 1 he % 5
Lazy Bill, ~ * ° = > = ° 2 - ° = 6
That Jewel Bright, - : ° © * o « © - - 7
Swear Not, - e ° ° = ° on © _. ° 8
Oh, Carry Me Back, 2 e e e e ° ba pay Lacon 9
The Car of Education, - . e ° 2 ° © e ° 10
Willy Lee, - . 2 © - * s e e e e ll
Idle Scholar’s Choice, © ° . - = * ° © . 12
Holyday Son 9 © - e @ 2 2 2 e © o 13
The Ex-Pupi ’ ° 2 e o ° se ro e e © 14
Try,’Try, Try Again, © e e @ e © e e e 16
Three Little Boys, (Round,) = - ° 2 © 2 = - 16
The Bell, (Round, = “ ° ° e a o 2 e e 16
The School Boy’s Satchel, - : * ° © © ° © 17
O the School Room, - - ° . ° ° ° e ° 18
“(Where are you going, John?” (Round,) e ° ° 2 © « 19 .
What will make us happy ? (Round,) ° ° ° © * e e 19
The Gay Schoolboy, « © * - 2 - = e - 20
The Singing Master, - - . ° ° * © ~ : 21
‘THIRD SERIRS.
The goost Rill, ° e wh « e @ = e o o oe 1
That Neglected Lesson, - « © 2 vs ° e ° ° 3
The MerrySong, - - - ° ° © ° e ° ° 3
Sweet Home, ~ ° e e 2 e e oe 2° « 4
Happy Da 8, : PONT of @ © « ° s e cs « §
When shall we meet again? e - ° ° « e © e 6
In the Schoolroom, © © ° ® © © ° ° 7
Little Star, a - e @ ° * © ° ° « 8 |
Evening Song, = © ° ca) s e e e © = 9
Here we Stand, ° ° ° e ° 2 e ° e e 10
The Lord is my Shepherd, - 2 ° « * ° © e e 11
The Lord’s Prayer, - 2 ® ° ° s © ° ° ° 12
Master Inattention, - - e ° ° o ° e - ’ 13
Mimic Tailors, = - ° e 2 « = . = 14
O, Come, Loud Anthems, - ° ; ; ; q é - i
While thee I seek, - 2 © « ° ° ° - ~ ‘ 15
God of the Morning, « = ° . ° - - = 16
The Little Printers, - - - ° - & “| A % 17
Entered according to an act of Congress by Asa Firz & J. W. Greene, in the Clerk’s office of
the District Court for the District of Massachusetts.
PRIMARY SCHOOL EXERCISE. 3 |
NO. 1.
Sea
* * So we wash, wash all to- Hele wash, wash a - way} |
= Se
This’s the way we wash at school, to have a game at nity.
Boys. Boys.
So we chop, chop all together, So we thresh, thresh all together,
Chop, chop away ; ; Thresh, &c. .
This’s the way we chop at school, GIRLS.
Toh t pl
bar he ea” ad So we sew, sew all together,
So we at rinse all together, Sew, &c.
Rinse, & Boys.
" ye So we pound, pound all together,
So we mow, mow all together. Pound &c.
Mow, &c. : GIRLS.
ree GIRLS. So we knit, knit all together,
4 . So we wring, wring all together. ‘> Knit, &e.
et Wring, &c Bor
: Boys. % + So we stam tak all togethe
So we reap, reap all together. f Stamp, ee A mp pale Hi
Reap, 3 Bord.
IRLS.
So we sprinkle, sprinkle all together. ad ear clap, ay together, r
Sprinkle, &c. or !
oe S foe all togeth
a o we sing, sing all together. _
So Pid age grind all together. Sing, &e. ™ i> te
GIRLS. Boru. 1 :
So we fold, fold all together. t So we ie nod all together
Fold, &c. Nod, &c.
* Motions of the hands, &c., are made by the scholars in accordance with Wit ve
| boys and girls will take turns in singing.
| t The toe of the foot only should be raised from the floor.
t This verse to be sung very slow and faint, finishing in imitation of sleep.
Entered according to Act of Congress, in the year 1850, by ASA FITZ, in the Clerk’s Office of the
oe District Court for the District of Massachusetts.
1] Published fe ies & Hosss. at the Office of the Scholars’ aise pate) 138 1-2 hi seater St. Boston.
BOG ge iF PS y
PRIMARY SCHOOL EXERCISE,
NO. 2.
THE FAR
See
1. You see the far-mer in his field, in his field,
Pee
see the far-mer_ in_ his ai So ear-ly in the morn’ - ing,
2
And then he comes and ploughs the ows
Ploughs the ground, ploughs the ground ;
And then he comes and ploughs the ground,
So early in the morning.
3
And then he comes and sows the seed/
Sows the seed, &c.
4
And then he harrows and covers it o’er, &c.
5
And then the gentle showers come down, &c.
6
The weather is hot, and the wheat grows up, &c.
; oe 7
The reaper comes and he cuts it down, &c.
8
He bundles it up, and cries “ Harvest Home,” &c.
9 ’
The mill goes round and grinds the grain, &c.
i >» The baker comes with his bread to sell, &c.
The flour he takes hae it well, &c.
And into the oven ie OR it well, &e.
‘And thus the happy farmer lives, &c.
All day and in the morning.
Notr.—Motions of the hands, corresponding to the words, should be made by the whole
| school, while the above is being sung.
— ee) ee
Entered according to Act of Congress, in the year 1850, by ASA FITZ, il ‘ ‘Clerk's Office of the
District Court for the District of Massachusetts.
Published by Firz & Honns, at the Office of the Scholars’ Penny Gazette, 138 1-2 Woshington St. Boston, —
PRIMARY SCHOOL EXERCISE,
N@O. 3.
: 6 NG T N N WM oT r I 0 Ne
ARRANGED BY ASA FITZ.
at-
— 1.
—3—-e ea
ten-tive to or-der and rule; We'll read or we'll sing as our
aaa : ier orer
— a
teach-er commands, And keep time so nice - ly by ‘ie ping our hands,
Our hands and our faces so nice and so clean,
And moving our fingers so nimbly are seen ;
Our hands on our heads next we'll prettily place,
Then some arcs of a circle our elbows shall trace.
3
Our hands on our shoulders is next in our rule,
And well do we place them, obedient in school ;
We'll give them a toss up and down in the air,
And count one, two, three, four, while shaking them there.
4
Our next true position is right about face,
With arms horizontal all true to their place ;
‘We'll clap once, again once, then 1, 2, 3, 4,
Then hands by our sides hanging true as ‘before. }
Now left about face we will turn us once more,
And step out true time with our feet on the floor ;
When wearied with standing our arms we'll stretch out,
And then we will twirl them so swiftly about. :
Notr.—The scholars may stand during the singing of this song, and make motions with their
hands, arms, &c. corresponding to the words. ‘The first exercise commences on the last line of
the first verse. The arcs of a circle are made by moving the elbows up aad down, at the utter-
ance of each syllable, while the hands are upon the head.
eee SEEEEEEEaEaEaaEaEaEaEaEaEaEaEamyEE~wm—OO™
Entered according to Act of Congress, in the year 1850, by ASA FITZ, in the Clerk’s Office of the
District Court for the District of Massachusetts,
Published by Fitz & Hosss, at the Office of the Scholars’ Penny Gazette, 138 1-2 Washington St. Boston.
: PRIMARY SCHOOL EXERCISE.
ge ee Ee ) @e. afk eR SS
&
-e- -2- ;
e | | a |
1. The Shoe-mak-er toils that our feet may be Pro - tect-ed from
_prop-er size and form, The shoe-mak-er keeps our feet all warm.
2
He makes all his wared-ends so nice and long,
He sews up the seams till they’re tight and strong,
He hammers out the soles, with his lap-stone on his knee,—
The shoemaker toils for you and me.
3
The uppers he fixes upon his last,
He tacks on the soles with his tacks quite fast,
And then he drives the pegs through the edges round and round,
To keep our feet from the damp cold ground.
4
He draws out the tacks, then the soles trims nice};
He pulls out the last with his hook in a trice:
He rasps off the pegs, that they may not prick our feet,
Then puts on the polish with his brush so neat. ~
| 5.
Hurra! for the shoemaker faithful, true !
Hurra! for his trade and his character too!
While honestly he labors to keep us from the cold,
We'll sing of the shoemaker brave and bold.
Notr.—Make the appropriate mimic motions to all the verses. While singing the last verse,
the right hand should be swung round in the usual manner.
From “ School Songs for the Million.” Copyright secured.
PRIMARY SCHOOL EXERCISES. 7
NO. 3.
4 : , | yee
1 At five o’clock Pa - iP will come, So let us now the ta-ble set; Mammais gone, we're
fr Semi-chorns. 1st Voice.
Coe
all a- asi a we the sup- oa now must get, So blowthe fire, and hur -ry the cakes, The
Voices _ Chorus, f\ f\
water boils, the biscuit bakes ;*Stand by the door to meet Papa, I’m sure he'll laugh, ha,ha,ha a!
2. Bring on the plates, the knives and forks—
Stop, stop! the table-cloth’s not right!
All smooth and even it must be—
Papa will bring his friend to-night.
Czorvs.—Now, blow the fire, &c.
3. The knives and forks why dont you put
More orderly around the plates ?
This place is mine, and that is yours,
And here’s Papa’s, and there is Kate’s.
Cxuorvus.—Do blow the fire, &c.
4, Dear Charlie run and buy some milk;
The pepper, Jane, you need not bring
Come, come, dear Ellen, fix the sauce,—
I’d rather have you work than sing. ,
Cuorvs.—Let’s blow the fire, &c.
5. Put in the tea, and make it steep,
The cups and saucers bring alongs
1 Cold water, Kate, will do for us—
; The tea, you know, is very strong.
Cxorvs.—We'll blow the fire, &e,
6. O, dear, the teaspoons I’ve forgot!
Why, Ellen, where’s the butter plate?
Quick, quick! the chairs—set up the chairty—
Papa will come—tis getting late.
Cronus. —Now leave the fire, take up the cakes,—
How well our stove the biscuit bakes!
Throw back the door,—for here’s Papa !—
See how he laughs, ha, ha, ha, ha! +
* This line should be rather spoken than sung ; yet the time may be kept, the same as in singing.
{Let the last chorus be followed by a brisk clapping.
N. B.—If the school is not much advanced, the whole chorus may be sung in the usual way. |
From “ Schoo! Songs for the Million.” Copyright secured.
% PRIMARY SCHOOL EXERCISE.
¢. AP, €LAP On HURR ie
Lively. " me | | tains and Music by W. i. WALKER.
: -o - yo ‘ — |
blacksmith strike while the iron’ is het: Lit-tle boy, wake up from your drowsy nap!
2. To the Eastward point, to the Westward point;
. Fold your arms behind you, heads upright.
See the drummer drum on his big bass drum!
Let us step together—left foot, right.
3. Here we all stand up clapping merrily,
Let the arms: extend*—clap once again.
See the sawer sawf at the big wood-pile;
How it makes the blood move through each vein !
4, Let us seated be, and our arms fold up,
Then again clap merrily, merrily O! ,
See the school-girl washing her hands and face,
For to school all clean she loves to go,
5. Now we rise again and our hands stretch up,
Back and forward quickly the elbows draw ; |
See the school-boy driving his hoop along,—
Ha, ha, ha, ha, ha—Hurra! Hurra! **
*Horizontally, to the left and right. é
{Keep the arms perfectly straight, and swing them upwards till they meet over the head.
tBend the body over slightly, then move the hands and arms with great force in imitation of
the wood-sawer. This movement expands the chest admirably.
Stand perfectly erect, shut the hands and throw the elbows back suddenly as far as you can,
then forward, till the arms are straight.
**Swing the right hand, in the usual way.
N. B.—As soon as the Hurra is over, give the Triple Applause ; i, e., all clap briskly, then
stop ; clap again briskly, then stop ; clap once more briskly, then stop. The teacher can hold .
up one hand as a signal for stopping. ‘
From “ School Songs for the Million.” Copyright secured.
Sak ak
s VL BE A
AIR, —“ 0, Susanna.” NO. I. , Monet BY een HOLT.
‘Ym but a lit - tle fel - low now Be-tween three feet and four,
capac but nine short years as ie A-bove my — have run,
Sighs ut -0- -y~
But if JI keep on growing fast, [ll soon be three feet mnie, v
ween a dozen more have passed a-way,Then [ll be twenty - one. |
Chorus,
be agreatman by and by And strivefor li
I wear a cap and apron now, — A tippler I will never be,
_ And dress as mother tells; No drop my lips shall pass,
But then I'll have a hat and coat, Pilsign the true tee-total pledge,
Like anybody else. _ And keep it till the last.
Tl have a pocket in each side, Nor will I use the poison weed,
A watch within my vest, Which now so many crave;
A dickey anda neckerchief, Because I mean to be a man,
As smart’s the very best. _ And never be a slave.
CHorus—Men of fashion CHorus—O ye Tipplers,
Don’t you fret for me; Don’t you fret for me,
[ll be a great man by and by, For when I come to be a man,
Though small I now may be. Tm going to be free.
For when I am a man, I'll vote, And many years must pass away,
For President you know; And I must go to school,
Though Cass and Taylor both are down, That if they choose me President,
Some other one will do. ~ T may know how to rule.
And no mere party ever shall, - With knowledge I must store my mind,
Hold me in fetters tight ; For though I’m e’er so tall,
Tl go for truth and liberty, - If am rude and ignorant,
ly country and the right. [shall be very small.
Cuorvus— Politicians, CHorus—Men of learning,
Don’t you fret for me; Don’t you fret for me ;
For when I come to bea man, Tilstudy, that when I’m aman,
Tl vote for Liberty. A wise one J may be.
SMP 6 IL POL EE By WE ERR RRR a ara rele VA aad cena pear aay eR he wets >
Entered according to Act of Congress, in the year 1850, by ASA FITZ, in the Clerk’s Ofice of the
District Court for the District of Massachusetts.
Published by Firz & Hosss, at the Office of the seconded Penny Gazette, 138 1-2 hapten Bt. Boston.
4 q & q a
: i, ihe et | /® ; y 6
Y ie, baal al f k
‘| e 5 Ws . y % i Ye
ast i ? (" coo te ae ; ‘ aN
Dis ee vee a) x
Ket ey al : Vk ms 6 e Lihe yi
r= =] =~ sg = SEE
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AIR,—“ Lightly Row.”
2 2a—
- or - der ev - er free,
7 rT ne rs WER oh
: ee ee Be
Hap- pi - ly! Hap- pi - ly! Pass-ing time a - way.
—o—
Let
2
Cheerfully! Cheerfully !
Let us in our work engage;
With a zeal! With a zeal!
Far beyond our age ;—
' And if we should chance to find |
Lessons that perplex the mind,
Persevere! Persevere !
Never borrow fear.
5)
Now we sing; now we sing,
Gaily as the birds of Spring;
As they hop; as they hop,
On the high tree top,
Let us be as prompt as they, |
In our work or in our play
Happily, Happily,
Passing time away
RR neem
Entered according to Act of Congress, in the year 1850, by ASA FITZ, in the Clerk’s Office of the
District Court for the District. of Massachusetts,
Published by Frrz & Hosss, at the Office of the Scholars’ Penny Gazette, 138 1-2 Washington St. Boston.
re |
2 aceiaiiemaaae et
ar oa oe
SCHOOL
NO. 3. | il
WAGARION.
AIR,—“ Haste thee, Winter.”
bcii® my ities come a - way, For it is va - cation day ;
Get your pate and come a -. cl For it is va - ca-tion Gay
g(t task
Lit - tle children come ath me; eae and brooks and po - sies see ;
Everything doth laugh and ne
See the pretty flowers spring
See the kittens full of fun;
Sporting in the pleasant sun ;
Children, too, may sport and play,
For it is vacation day.
Bring the hoop and bring the ball,
Come with happy faces all ;
Let us make a merry ring,
Talk and laugh, and danee and sing,
. Quickly, quickly, come away,
For it 1s vacation day.
oe
THE LITTLE HUSBANDMAN.
T’m a little husbandman, _ When to work I go along,
Work and labor hard, I can ; Singing loud my morning song,
I’m as happy all the day . With my wallet at my back,
At my work, as if’twere play; Or my wagon-whip to smack ;
Though I’ve nothing fine to wear, Oh! I am as happy then, \
Yet for that I do not care. As any idle gentlemen.
I’ve a hearty appetite,
And I soundly sleep at night ;
Down I lie content, and say,
‘‘T’ve been useful all the day; , th
T’d rather be a ploughboy, than . '
A useless little gentleman”
gE NF ep reat OPM ELD DEKE LANE REA OBIE ORIG IIE Te AIS 100 FS aR AN RAIN Se
Entered according to Act of Congress, in the year 1850, by ASA FITZ, in the Clerk’s Office of the
District Court for the District of Massachusetts.
Published by Frrz & Hosss, at the Office of the Scholars’ Penny Gazette, 138 1-2 Washington St, Boston.
| 12 NO. 4. I
| SC i 00OL SONG.—The nine Schoolroom.
oe BY A. HOTZ |
| iss
ae afSSes “9 8—_-}e
i
We have come from our ne away, Where-cares we have none;
We have parted from our mer - ry play, To seek truth a - lone, Haste, comrades,
Ss [esas rss
I
fly with me, Where true knowledge waits for thee, Ours, outs its sweets shall be, Ever the same.
Fd
EE
“The summer has its heavy cloud, Then hence, to this happy place,
The rose leaf will fall;” Where truth and knowledge shine ;
But our sweet schoolroom wears noshroud, And first in the merry race,
Its pleasures ne’er will pall; ‘Make them freely ‘thine ;
“Each new morning ray, Haste, then, fly with me,
Leaves no sigh for yesterday, Where true knowledge waits for thee,
No smile passed away, Ours, ours, its sweets shall be,
Would we recall.” . Ever the same.
ee em
No. d .
SCHOOL SONG —NSchool Boy's Carol.
ARRANGED BY A. FITZ.
-B -@-
nae now a) merry, <a ot hives a- way 8 school ;
There is a_ lit-tle world of joy, A-way, a-wayat school.
Hur -ra! hur-ra! hur-ra! hur-ra! Hur-ra! hurra! hur - ra.
| at TS IMETTEN a a
‘Then t: take th thy bod books’ woe leave thy play, And to the schoolroom hie a - way,
O come then to the school-boy’s home, Though howling winds and tempests blow,
Away, away to school ; Away, away to school ;
And never let thy footsteps roam, Through storms of sleet and drifting snow, ||
Away, away from school ; Away, away to school; i
Here Science’ schoolmates ever dwell, With ardent hopes, and favoring gales,
‘Here love and truth their ¢horus swell, The school-boy’s courage never fails, |
Hurra! hurra! hurra! hurra!, Hurra! hurra! hurra! hurra!
Hurra! hurra! hurra! Hurra! hurra! hurra!
ae it
| Entered according to Act of Congress, in the year: 1850, by ASA FITZ, in the Clerk’s Office of the |}
District Court for the District of Massachusetts.
Published by Fitz & Hopss, at the Office of the Scholars’ Penny Gazette, 188 1-2 Washington St, Boston. | |
. 6.
Bllk.
Worps sy J. W. GREENE.
le ED
23 oe:e-e- “o< ina ‘=
1, me ’s fled long a-go, com bar - ot
Chorus.
When last I saw him he ran rita the mill—For torun sir, hg wasn’t very ae:
: td
No more les - sons for poor young Bill, He’s gone where the old ee go.
His hands were as dirty as dirt could ever make, One night he stole a gold watchfrom Mr. Thomas
His face—oh, it wasn’t very clean ! Page,
His hair— if you combed it, the comb woald surely Lazy Bill—what a silly boy was he!
break ; . They took him off to jail and put him in an iron
His clothes scarcely fit to be seen, ees
Cuorvus.—Then place all his books in a row, &c. enon Delian 200) cage man wrantals Holl
3 Cuorvus.—Then place all his books in a row, &c.
6.
I wonder if he thinks now of what the teacher said,
That “the TRuANT down to ruin quickly goes!”
One morning I met Lazy Bill in the street ;
Said I—* Going to school, Bill, to-day ?”
But he saw the master coming, so he picked up his
feet, He used to swear, and say, “I wish the teachers all
And he ran like a woodchuck away ! were dead,
Cuorvus.—Then place all his books in a row, &c.( For they’re nothing but the truant boy’s foes !”
4 Cuorus.—Then place all his books in a row, &c.
One dark, rainy day, Bill thought he'd venture in, 7 :
Teacher set him a task all alone; O, who would be a truant, like wicked Lazy Bill,
But he had n’t studied long, ere we heard a mighty) And lose all the pleasures of our school !
din,— To loaf about the street, or to hide behind the mill,
Out the window had lazy Billy gone! {Never minding propriety or rule.
Crorus.—Then place all his books in a row, &c. ‘ CHorvus.—Then place all his books in a row, é&c.
OPE OPO GF LEGG DFP GOGGLE PPL DEE PP ARH AAAA AAA
Entered according to Act of Congress, in the year 1850, by ASA FITZ, in the Clerk’s Office of the
District Court for the District of Massachusetts.
Published by Firz & Hosss, at the Office of the Scholars’ Penny Gazette, 188 1-2 Washington St. Boston.
eh
“REAR JEWEL BRIGHT.
Arr,—‘ Dearest Mae.” Words by E. Woodbury.
Come, children, listen to me, and learn what now you may, Of
school, For fear he might be tardy, and it. was against the rule.
ey
PSEretaeer ss eS
» So o °
darkness he veas light; His heart was kind, He ne’er was blind, To the good, the true, the right./
2 His books he studied fondly, and learned his lessons well—
Upon them ne’er was questioned, and the answers could not tell;
At school each day in season, as all good boys will be,
’*T was found by constant labor, he progressed quite rapidly.
That jewel bright, &c. ‘ko
8 His comrades he loved always to see, attentive, kind ;,
It gave him sweetest pleasure, when he saw them well inclined ;
His teachers, too, he aided—did every call obey,
For well he knew the burden that they bore from day to day.
That jewel bright, &c. | sist ai
4 The task, O, how delightful, that tender bud to rear,
For he was well preparing now, to fill some useful sphere ;
Now, children, all take courage, by his example pure ;
Be prompt to do your duty, and you'll reap a harvest sure.
That jeweljbright, &c.
Entered according to Act of Congress, in the year 1850, by ASA FITZ, in the Clerk’s Office of the
District Court for the District of Massachusetts.
Published by Fitz & Hosss, at the Office of the Scholars’ Penny Gazette, 138 1-2 Washington St. Boston.
Pi i a oe eee a’
18
SWEAR NOR.
Arr— Away with Melancholy.” Worps By J. W. GREENE.
4
Ce ee eae oe ee Sa eae oe a
oe See sa ee eo eet tt tt
2 When joy | thy heart is swell-ing, When thou art wild with
eae [53 38— 2:8—6 =a
eee 33—
© =3—"—3" ana nae ae a ©
z -@-
glee ; When laughter shouts are tell - - ing Of school-boys’ rev -el -
sme PGR! CN AR ee PARNER WED: SOAS 2 ©
say paeaena te see oe lee ee |
A re, Soa a8 wtnarwane wa
i 0, SWEAR not, in thy laying! SWEAR not, thy wit to show! The
Sotty~ -- sage Canst iby pro - fane — it’
2. When angry thoughts invade thee,
And prompt unkind desire,—
If petty wrongs have made thee
Speak out thy burning ire ;
O, SWEAR nof, in thy playing,—
SWEAR not, thy wrath to show!
The NAME we use in praying—
Canst thou profane it so?
8. When sportive tongues invite thee
To wordy contests vile,
Still striving to delight thee,
_ By oaTus and ‘mingled smile !
O, SWEAR not in thy playing! 2)
SWEAR not, thy skull to show! |
The NAME we use in praying—
Do not profane it so? i
PP PRARAAARARR AAAI RRR?
Entered according to Act of Congress, in the year 1850, by ASA FITZ, in th@Clerk’s Office of the
District Court for the District of Massachusetts.
Published by Firz & Honss, at the Office of the Scholars’ Penny Gazette, 188 1-2 Washington St. Boston.
© a, CARRY. WE BACK.
Arr,—“ Carry me sist ‘to’ Old Virginia.’ Words by J. W. GREENE.
sec: by Asa Fitz.
eb Gag 1334 rE SEreESrerer=:
3----—-+-@ -$-0_6-8_ $-9-6— 1
fs
—
‘sll a “Sg 18:5
-
The pleasant school in yonder village, I went to from day to
$sPree ice ed rerres iter: Aas
—$- —9-¢-e— “8-8-6 3-8-] “3° o-3-6-
And boys and girls together learned To study, and sing, and __ play. "T'was my cr th at
eee eee eee
8-8-9 8- $-3-$-6--
morning break, To look all my lessons o’er;—O, car-ry me back tc school again, To my
ten oe, —@
elisistice
Speers SL. =9-0-8-
Yes, car-ry me back to school again, To my pleasant school once
9-8-5 —S-
Raia i AE? BOR!
~t-9—8 a et Se
~~ ~8--2--6-}6
7 aREseee epee et inet ast el aa
a a ae 3-t2- — oe
more! Oh, car-ry me oac« to schoola-gain, To my pleasant schoo} once rove!
3
2
My school-boy days were short.and merry,;Oh, tell me not I’ve passed the limit
And merry my heart shall be, You’ ve set in the school-boy’s prime,
As I think upon the innocent joys That the World is now the school for me,
Our school-room gave tome. And my only teacher, Time ! :
But I miss some lessons I lost at school, {I would go to school where once I went,
And it grieves my heart full sore,— And stand on the same old floor,—
So carry me back to school again, Then carry me back to school again,
To my pleasant school once more. To my pleasant school once more.
Cuo. Yes, carry me back, &c. Cuo. Yes, carry me back, &c.
ADA ieain ASMA acd T XRD ms OA Ae LAI afishiads RRA WAS Aa Oe i ER, POE RT De hot
Entered according to Act of Congress, in the year 1850, by ASA FITZ, in the Clerk’s Office of the |
District Court for the District of Massachusetts. ait
Published by Firz & Hosss, at the Office of the Scholars’ Penny Gazette, 188 1-2 ian i St. Boston. |
THE CAR OF EDUCATION.
cana ” 3 WORDS BY E. WOODBURY
_-@ o- - ©
~. Hore’s the car of ied -u- ca-tion, In its mo-tion stea-dy;
2, In the car arefriendsof learning, Zeal-ous all, but prudent;
— -@- -@-
But it stops at eve-ry sta-tion, Tak - ing who are rea-dy.
Each his rep -u - ta-tion earn-ing, As a faith-ful student.
Se Cae a ;
—a Sf oe
Step on-board and claim a _ seat, Or vakern 8 pi be - hind its
Take the tick - ets— Hay are free —Haste !the bell is ring-ing;
Ce
Noth-ing can with this compete, And 50 you'll sure-ly find it.
Soon be-yond the reach ’twill be, Its way right on-ward winging.
Here you'll meet the hoary headed, Here’s the rising generation,
Ardent still and active ; ! Thoughtfal and aspiring,
To the Car they’re firmly wellded, In the Car of Education,
Finding it attractive. Never, never tiring.
Soon they'll pass beyond the goal, See them with an active zeal,
Never more returning ; And a true devotion,
But their virtues we'll enroll Counting it their greatest weal,
Upon the altar burning. To keep the Car in motion.
Here is manhood in his power, - Come and join the grand procession;
Vigor, and ambition ; All are now invited ;
Gathering laurels every hour, Come, whatever your profession ; ;
By his erudition. Let us be united.
See them toiling side by side, Keep the Car upon the track,
Each in his vocation, Free from all disaster ;
Scattering knowledge far and wide, And if there’s no holding back,
In this fast growing nation. In time. ’twill run the faster.
ee nN rrp tipper tin ppp Pp Nae ain rntapacrer rp Pacagany
Entered according to Act of Congress, in the year 1850, by ASA FITZ, in the Clerk’s Office of the
District Court for the District of Massachusetts.
Published by Fitz & Hosas, at the Office of the Scholars’ Penny Gazette, 138 1-2 Washington St. Boston.
SCHC
NO. ii.
WilkhY LES.
Miss gis
(2 gst. gg
is
aie eee A am re i ect e
Stra SS ese = = Ee = sae
PS --——a— Liss
es oa
Coe Oe
ae eee el eee! pa yee eS a
< a sles 2 oe sigs lets etree res
en od
rm 4; long a - go, when pass-ing by ‘Near a lit - tle cot-tage
|
“ Oh, Willy, ae Lee! Oh, Willy! Oh , Willy! Come, g0 along with me,”
2 I wondered why so earnestly 5 * A loving band of comrades we,
He was calling Willy Lee ; And our leader, kind and true;
For still he said in pleading tones, He guides us o’er a pleasant field—
‘“‘ Oh, yes, do go with me! Last night he asked for you!
CHorus. a Willy, &e. Cuorvus.—Oh, Willy, &c. [ words,
6 “ With cheerful hearts, and pleasant
We will welcome you to-day ;
We'll aid you when Your task is hard,
You shall mingle in our play.
3 “The place is fair, and every eye
Beams bright with hope and joy;
We toil, we strive—we sing, we play—
How pane is our em loy ! ‘
Cuorus.—Oh, Willy, Rol PHOR eS a Willy, Ge
7 A school hoase stands in yonder grove,
4 “ The rains may pour, the snows may fly, Near the little cot you see ;
But ’tis always pleasant there ; Two boys go daily singing there—
The morning brings its cheerfulness, And one 1s W1LLY LEE!
The night brings no despair. Cuorvus.—Yes, hl Willy, Willy Lee!
Cnorus Se Oh: Willy, &e. Tis Willy! Oh, via —
How happy now is he!
BO Roemer
Entered according to Act of Congress, in the year 1850, by ASA FITZ, in the Clerk’s Office of the
District Court for thé District of Massachusetts.
Published by Fitz & Hosss, at the Office of the Scholars’ Penny Gazette, 138 1-2 Washington St. Boston.
ao,
AIR, —* Cynthia Sue.” WORDS BY J. W. GREENE.
S€HOOL SONG.
NO. 12.
IDG SCHOLAR’ S CHOICE.
AIR, —“‘ Billy Boy.” WORDS BY J. W. GREENE.
iP 9 WO “jy PE EE ie
J SSty nS shears
1. O, where have you been, Lit --tle boy, lit - tle
=o =. St ee
e_ ee —-a—e--
ee en ee oo Se
boy? Say, where have you been, All the morning? “ Why, to
rie os CT AEE tRNA! Lae ELSTON AT AA PU
= SSS ae oe =a FASE IT SST REE Ft
ae oe o-— Ee ete ————— =
school I have been, But they would ne let ~ me
ae at” at Yad at aii aa =e ik ss SS RE as teen
= 5-8 = a —- Leary a. =H E
in, For ‘twas late, sir— an hour or so. too LatTH!” ©
* Sing the last part of this line with a dragging, lazy movement.
Entered according to Act of Congress, in the year 1850, by ASA FITZ, in the Clerk’s Office of the
District Court for the District of Massachusetts.
Published by Fitz & Hoss, at the Office of the Scholars’ Penny Gazette, 138 1-2 Washington St. Boston.
pe ah er ,
2 : 4
How fast do you learn, Don’t you wish to be a MAN,
Idle boy, idle boy, Silly boy, silly boy ?
How well do you learn Don’t you wish to be a MAN
All your lessons ? Bright and clever ?
“ Why, I do not learn a thing !— “ No, I'd rather be a boy,
I can’t cypher, write, nor sing !— And my ignorance enjoy— _[see”
O, this learning is awful hard to me !” And a school-room I never more would |
3 5
Do you love to go to school, ; O, hard is the fate,
Tardy boy, tardy boy ? Wretched boy ! wretched boy !
Do you love to go and see QO, hard is the fate,
Others study ? "Thou hast chosen!
“No, I love to sit and play And thy life to thee will seem
| With my marbles all the day !— But a long and weary dream—
| No, I don’t love to jog* away to school !”,O, Paynes na AWAKE, and go to
schoo
20
NO. I3.
HOUYOAY SONG.
4
am— — Words by CHARLOTTE. KINGSBURY.
Over hill, through the dell, Rov - ing at ° our will.
With the Bind bird blend your son. we gai-ly glide a -long,
Sees
Come a - way, School-mates gay, "Tis
2
Nature’s smiles, all the while,
Will each lonely thought beguile.
Then we'll hie, for the sky
Has no clond on high.
Woods with merry sounds shall ring,
With our voices echoing,
And we'll be, wild and free,
As the birds we see.
Come away, while we may,
Soon the heavens will hide away,
And the night, hide from sight,
Every object bright.
Soon the morrow’s bell will sound,
To the school-room then we'll bound,
And all will, cheerful still,
Climb on science hill.
PP PP PPP PDP PD LDAP LDARLAAPDLRALALDARPRP AL APRA ALA AL APPA AAPA PALA APP AL AL APL LOA APP APA ALLA LPP PRL LP ALA LPAPAL APPA AL AL ALP AL rn lng
Batered secerding to Act of Congress, in the year 1850, by ASA FITZ; in the Clerk’s Office of the
District Court. for the District. of Massachusetts.
Published by. Firz.& Hoss, at the Office of the Scholars’ Penny Gazette, 1381-2 Washington: 8t, Boston.
q@ 12] IM @® F
SCH WY i
SONG.
14.
Kes Ke POPUL.
.— OLD MARCH,
fey
pre rece
Words by E. WOODBURY.
Fine ere Mae
=# SaaS ae
now ‘et the world’s busy strife, Al - read-y tomanhood I’m grown ;’Mid
days that are numbered and past, I strive, but in sony to
[p39
—s18
= eas
life, My
e
the care andthe bus- tle of
seemed that they ev-er would last, So
===>
mem’ty I
of -ten
4 sigh br the lessons
it was so asinies with truth, Th’ impressions will -ways
That old-fashioned school-house I see—
*Tis pictured on memory’s page,
And children, with merriest glee,
Around it in pleasure engage ;
How oft on the ice did I skate !—
How oft did I coast down the hill !—
My love for them ne’er did abate—
In fancy I’m eee there still.
I’m now from the skool away ;
Its profit no longer I share ;
I might have been | reaping full pay,
Had I an investment made there ;
But I, like the rest of my mates,
Deemed books of small value to me ; :
My marbles, my sled, or my skates,
Were treasures far better to see.
Stra
time, it is aah -ly my rey
full of de- light were they all. Th’ in
g— 2 | #=2:[3 2-8 s—
return— My childhood live o - ver a- gain, ta
struction hy ai in os UL I
nev-er can have it a-gain; But
to learn, That once gave me trouble and pain.
re - main.
My teachers did bai declare,
“ The seed-time of life—it is youth ;
The soil of the mind now prepare,
And plant there the rich seeds of truth ;”
This counsel so wise and so good, |
(As now I esteem it to be,)
Was slighted, if e’er understood,
Though often repeated, and free.
6
Whene’er on the past I’ve looked back,
And viewed all my school-habits o’er,
In most I have found myself slack,
And many I have to deplore ;
Now, children, whoever you be,
A lesson I'll give you to use;
Don’t slight it because it is free ;—
“ Good céunsel—oh ! never refuse.”
Entered according to Act of Congress, in the year 1850, by Asa Fitz, in the Clerk's Office of the District
; Court for the District of Massachusetts.
Published by Fitz & Hosps, at the Office of the Scholars’ Penny Gazette, 188 1-2 Washington St. Boston.
NO. 15.
“TRY, TRY, TRY AGAIN.”
"Tis a les ~-son you should heed, Try, try, try @ - gain.
1. ‘ , ‘
(if at first you don’t suc-ceed, Try, try, try a - gain.
“You will con-quer, nev - er fear, Try, try, try a - gain!
epeaTrye
an ar
e «© 6 i iB
Then your courage should ap-pear, For if you will per - se
2
Once or twice, though you should fail,
Try, try, try again,
If you would at last prevail,
Try, try, try again!
If we strive, ’tis no disgrace,
Though we may not win the race,
What should you do in that case?
Try, try, try again !
3
If you find your task is hard,
Try, try, try again.
Time will bring you your reward,
Try, try, try again!
All that other folks can do,
Why, with patience, should not you?
Only keep this rule in view,
Try, try, try again!
III III IER PPP PP LAARLAPRAAERALAL APPR PAPAL APPA PAPAS PSP PSP PSPSPS PSAP SPRL PDP PPP PDA AD rng
From “School Songs for the Million.” Copyright secured
nn gee Apne
A ROUND, IN THREE PARTS.
Arr. — “ Three Blind Mice.” Words by W. H. WALKER.
ist Part.
— O-=-@
Three lit - tle boys Smart lit-tle boys!— Nice lit- tle boys!
pEEseSeoe:
How well they read! How well they write ! How well they sing !
2d Part.
3d Part.
= es ad ie oO e Vn ae - @ ar wa
a ee oe oo ——| —_ 4.
— 9 —p— 6 _s —s—__—_— st — st —
They all have gone to their school to-day, They had no wish to
ay a pin inon aT —
Be Z—s— ae oe E
|—_— ——
run off a and play, yy So el ni - ly sing-ing they iol a a- way!
A ROUND, IN TWO PARTS.
ist Part. 2d Part.
; a Ae
The bell, t that’sin the stee-ple high, Is ring-ing mer - ri -ly.
From “School Songs for the Million.” Copyright secured.
i eg ar rs a Re
TRE SCHOOL-BOWS SATCHEL.
Air.— ** The Scotchman’s Wallet.”
Words by W. H. WALKER.
Ist Voice.
SS
Have not you seen the school-boy’s Satchel “A hanging o-ver his shoul - der?
CHORUS.
-Shoul- der, shoul- der, A hang-ing o- ver his shoul - der?” |
2d Voice. , yes, I’ve seen the school-boy’s Satchel,
“A hanging over his shoulder,—
Crorvus.—Shoulder, shoulder, &c.”
1st Voice. What had the school-boy got in his satchel,
« A hanging over his shoulder ?
Cuorvus.—Shoulder, shoulder, &c.” “:.
2d Voice. Plenty of school books, papers, and pencils,
“ A hanging over his shoulder,—
Cuorvs.—Shoulder, shoulder, &c.”
1st Voice. Can not we buy the school-boy’s Satchel,
For three or four great sticks of candy ?
Cuorvus.—Candy, Candy, &c.
2d Voice. Treasures of MIND are in that Satchel,
“‘ A hanging over his shoulder,—
Cuorvus.—Shoulder, shoulder, &c.”
2d Voice. [Better than gold the school-boy’s treasure,
“ A hanging over his shoulder,—
Cuorvus.—Shoulder, shoulder, &c.”
Both. O, let the school-boy keep his Satchel,
“ A hanging over his shoulder,—
Cuorvs.—Shoulder, shoulder, &c.” ~
From “ School Songs for the Million.’ Copyright secured.
1 It is ‘not in the noisy street, That pleasure’s oft-en found;
* ) But where the faith-ful teacher stands, With firm but gen -tle rule;
It is not where the i- dle meet, That pur-est joys a- bound.
Oh that’s the hap- i place for me, The pleas-ant com-mon school.
SS
school-room, Oh that’s the place for
oull rare-ly find, go where you will, A hap-pier set than we.
2
We never mind the burning sun, We come from down in Boston Street,
We never mind the showers, We come from Carltonville,
We never mind the drifting snows, We come, we come, with nimble feet,
While life and health are ours ; From up on Prospect hill;
But when the merry school bell throws {From up on distant Boston Road
Its welcome on the air, A mile or more we come :
In spite of rain and drifting snows, We come from many a bright abode,
ou’ll always find us there. From many a pleasant home.
Oh the school-room, &c., Oh the school room, &e.,
4
The stamp that’s borne on manhood’s brow
Ts traced in early years ;
The good or ill we’re doing now,
In future life appears:
And as our youthful hours we spend
In study, toil, or play, +
We trust that each his aid may lend’
To cheer us on our way.
Oh the school-room, &c.,
From “School Songs for the Million.” Copyright servred
a
26
OL, SONG.
NO. 19.
* WHERE ARE YOU GOING, YORIN 2”
A ROUND, IN FOUR PARTS.
Arr. —“ Let us endeavor.” Words by W. H. WALKER.
Ist Part.
Where are you go - ing, John? Come,
|
|
2d Part. |
lS: a a :
a are eo Oe eee
let’s go to school NOWer >. ee eta
3d Part.
{9 9
no, I must Sish to - - day—
4th Part
ScHooL makes me sleep - - y
wae A
“WEAR Wilk MAKE US BARRY?” :
- A ROUND, IN THREE PARTS.
Words and Music by W. H. WALKER.
py
ist Part.
Me ; _—— ;
—S—— ==
eae aie ere as aes
What will make us ha ?
5 d ie
2a Part ey P PY
e. ~ a
——- 8 RENE SS: ——
o - «= ing good to oth - - - ers—
a TP. aa
ip) - - py!
_—aeooeeeeesvrn irae s_ es ee o3<o3<3 ae OOO TET OTEOTETEeEeee ee ee re ere eee
iL From “ School Songs for the Million.” Copyright secured.
s—______@-____@
That will make us
(Se
SCHOOL SONG. 4
-NO. 20.
BB Gav semoossor.
Air. — “Sparkling and Bright.” Words by J. K. LOMBARD.
o— Se ask
Of the mer-ry throng as they haste along To
! ——
so) fall” of) “alee "S free from care and
= o_
r - row, Sofull of joys as the gay school-boy’s Who thinks not of the morro
2
Better than wealth is the glow of health
Each rosy cheek adorning ;
When sweet content its charm has lent
To life’s young gladsome morning.
No life may be, &c.
3
Richer by far than the treasures are
To which thousands now are turning,
Are the priceless spoils of the student’s toils
In the golden mines of learning.
No life may be, &c.
4
Then who would roam far away from home,
And ties the closest sever,
To seek the plains and golden grains
Of Sacramento’s river; *
4)
When Wisdom stands with open hands,
And points to the discerning
The countless stores she freely pours
Around the paths of learning.
No life may be, &c. :
* Omit the Chorus to this verse. .
From “School Songs for the Million.” Copyright secured.
SCHOOL SONG.
NO. 21.
THE SINGING MASTER.
AIR.—*“*O Rose.’ > Words by J. W. GREENE.
1. One, Two, Three, Four, Five, Siz, Seven; Don’t you see the , .
Bae Re, salts) eee” (ou, La; sig Don't: you — sees the
Cuorwvs.
| é; 4
ScaLE goes up to Seven? Mi, fa, mi, re, 0}
Sytiapiesare Do, Re, Mi? O, dear! don’t sing so!—
err
Mi, «i, mi, mi, fa, mi, fa, sol, re, do.
| Pi - ty if you cant say your MM, Re, Wot
2. Now Bzar Timz;—Up, Down, Left, G’s Sol, D’s Do; and D’s, A’s;t
Right; ; That’s the way to Transpose, the SHARP |
All together! Up, Down—that’s not right! * man says.
Accent stronger! Mi, sol, re,— nT:
Speak a little PLAINER, Miss, and BEAT, eS 8a mi, eh Sith
I say! ; 6. Mr. Fiatr-man takes C’s Fa,
: Cuorus. Mi, fa, &c. ‘ And turns it into Do for F—ha, ha!
3. Mind that Suarp Four! makeFa, Fi;t F’s Fa B-flat takes for Do;
Always recollect, SHarp Do is Di.| The flat-of-E, and A-jlat, do just so.||||
Fiat that seven, Miss!—sing Si, Se;§
Will you never learn, Frat Mi is Me?
Cuorvs. Mi, fa, &c.
, __ Cuorus. Mi, fa, &c. 7. Sing Piano—Pianissimo;
4. Eighth-Rest, Fourth-Rest, Half-Rest, Poco Forte, Presto, Staccato!
Rest; Diminuendo, Cresendo;
A singer of the Rests** you must detest. { Moderato, Lento, Pomposo!
See that Hotp, boys? Now, hold on!“
That'll do, I thank you—my breath’s all Cxorus.—
gone! O, ho! sing just sol— .
Cuorvs. Mi, fa, &c. And very soon you'll learn Do, Mi, Sol, Do.
5. To the G-ScaLz now we'll go; Mi, fa, mi, re, do;
The Sol of C is taken to make G’s Do. Mi, mi, mi, mi, fa, mi, fa, sol, re, do.
*Pronounced Doe, Ray, Mee, Fah, Sole, Lah, See.
t Fee. || Dee. §Say. 1May. **That is, one who disregards the Rests. {Sol, in the G-
SCALE, is Do in the D-scaxe; and Sol in the D-scatx, is Do in the A-scaux. {||| That is,
Do in the E-flat-scaut, is the Sol of the B-flat-scaLx; and Do, inthe A-flat-scaL£, is the
Sol of the E-flat scaLr.
From “School Songs for the Million.”
Copyright secured.
, ’ T ww ~~
: *
ree
| RR Se
’
| ELEMENTARY LESSONS
ON
FIGURED MUSIC.|
“~
BY
ASA FITZ AND J. W. GREENE.
BOSTON:
PUBLISHED BY FITTS & HOBBS,
120 Washington Street.
30
INTRODUCTION.
THE MUSICAL SCALE.
Every body knows, or ought to know, that the Musical Scale is a series of
seven sounds, rising one above another, like the rounds ina ladder. Almost
every body ought to know, too, that these seven sounds of the Scale are numbered,
one, two, three, four, five, siz, seven. Expressed in Arabic numerical carac-
ters, the musical Scale stands thus: 1, 2, 3, 4, 5, 6, '7. « These figures, when
sung, are called, do, re, mi, fa, sol, la, st ; pronounced, doe, ray, mee, fah, sole,
lah, see. This designating of the sounds of the scale by figures, is nothing
new. ‘The best Church Music Books have for many years contained it. All
the Singing Masters in the country are accustomed to train their scholars more —
or less on the Figured Scale.
The Scale cannot be learned by reading; it must be done by practice, by
imitation. The following Lessons are given for the use of a teacher, who al-
ready knows the Scale, and is anxious to teach it to his scholars. By the
proper use of his voice and the black-board, he will find this to be not a diffi- |
cult task. Do not attempt too much at once. Most of the Lessons are inten-
tionally made very short, as the time which most schools will have to devote
to the study of music, must consist of small portions. Of course the teacher
will sometimes include several Lessons in one, or, if need be, will divide those
which may seem too long.
ee a
=
tie in ee ae Yee
ee es i
; i”
CONTENTS.
PART I.
LESSON,
‘| Practice on the Scale, : : i . f I. If. WI. IV. V. VI.
Different Styles of Figures, : ‘ : : ‘ : VII.
Practice on the Scale, : : ; y ; : ‘ . VIII.
Fixed and Sliding Scales, . : : : : : : : IX,
Compass of the Human Voies, . eis iy ee Ms ae a
Positions of the Figured Scales, : ; : : XI.
Four Scales of Voice, from fhiree Scales if Figures, “ : . Arey. @ i ay
Vocal Compass and Sliding Scales, : : oh hail oe eee
Table of the Vocal Compass, &c., : : : ee > Ns ap. 4 4'p
Range of the Open Figures, : ‘ ; wis . : XV,
Exercises in Seven Keys, , : : : : : a. By
Starting Point in the Several Paris, ; : ‘ ; : SY LG
Sounding the Key, &c., . . XVIII, |!
Lettered Scales formed from the Primitive Letters, C, D, EK, F, G, A, B,
(Table I.) XIX.
Lettered Scales formed from the Altered Letters, Dh, Eb, F a Ab; Bb
(Table II.)
Altered Syllables used with the Altered Figures, gtuihe sho osteenany XX
{poh A Hog es
SECTION I.
Preliminary Remarks on eran : : ‘ Sess =) gee I.
Kinds of Measure, ; : . : : : vie 1B
Names of Measures. Po hed of the Kinds, . ; A ei te
SECTION II.
| Preliminary Remarks. The Dash and Dot, ohink eroinemin ane cade a
Addition to the Length of Sound, ‘ . ° . : II,
Division of the Length of Sound, . . ; ‘ . : oi lll,
Table of Lengths. Notes, . , : Cans at Si ; IV.
Signs of Silence, or Rests, Sha ie oe al A eee Soe
ELEMENTARY LESSONS.
Pde rd:
Tur Mustcan Scare.
LESSON L
Scholars who do not know the scale must be thoroughly drilled upon it, till ||
every sound is familiar. Let the teacher sound 1, on a convenient pitch. |}
Scholars imitate. Repeat this several times. Teacher sound 1, and 2. Schol- :
ars imitate several times. ‘Teacher sound 1 and 2 forward and backward, or |
up and down. Scholars imitate. Do this severaltimes. Teacher sound 1, 2,
and. 3. Scholars imitate. Sound 3, several times. All sing 1,2, 3, up and
down-ten or a dozen times, if necessary. The scholars are now prepared for the
first exercise by skips; that is, they can now sing ANY TUNE which can be
written, in ANY KEY, provided the composer keeps within the first three sounds
of the scale, and makes his sounds of equal length.
We do not wish to do what the teacher can do just as well as any body else ;
therefore we write only one ewercise of a kind. The teacher may write on
the board as many similar exercises as the school seems to require.
JOXERCISE.
LS OSS FOU SS OT Zon los ae ©
A great number of exercises. may be made, by varying these three figures.
| Encourage the scholars to prepare original exercises similar to the above.
The best of these should be written on the board for regular practice at the
Music Lesson. In this way some very pleasing exercises, and even correct
tunes will be produced. After a little practice, the labor of writing musical ex-
ercises will be found less difficult than the common exercise of ‘¢ writing com-
positions.”
LESSON II?
Give an easy pitch—say middle C, asnearly as you can, and request the school
to sing 1,2,3. Sing again. Sing down and up again ; that is, 3, 2, 1, 1,
2,3. Sing up once more, and prolong 3. Now, Teacher, sound 4, several times.
Scholars imitate. All sing 1, 2, 3,4. Sing again. Sing up and down: five
often times, till these four sounds are very familiar to most of the scholars.
| EXERCISE. |
—-111133334433229212342211
From “School Songs for the Million.” Copyright secured. ‘
a NOS ome Nem ot one
-1| 1, 3,5, to be the easiest,
5 | 33 ||
ELEMENTARY LESSONS. ‘
LESSON III.
|| . Let the whole school try to sound 1, on middle C. Of course, very many |
|| will sound wrong—perhaps all will, but no matter; set them right. All sing |
1, 2,3, 4, 4, 3, 2, 1. Scholars Sing 1; Sing 33 Sing 1; Sing 4; Sing 2; |
|| Sing 4; Sing 1; &c. Sing up to 4, and prolong it. Teacher sound 5.
|; Scholars imitate. All sing 1, 2, 3, 4, 5. Sing again. Sing again. Sing up
|| and down as many times as you think best. |
EXxercisr.
123455554391 299313531111
; Sing this till you are tired of it. ‘Then, if it is time to close the Music Les-
‘|| son, give out some exercises for the scholars to prepare for the next lesson
|| If any one says, “I can’t write a musical exercise”—tell him he has already
{| written more than fifty! He cannot write a row of figures without writing a
{| musical exercise. — More than a hundred good tunes may be made by varying
|| these five figures. A SDA ite Galea am | : |
| seen ee ooh EV,
|| _ Sound 1, on middle C. Sing 1, 2, 3, 4, 5, 5, 4, 3, 2,1. Sing 1; sing 3 ;
|| ing 5; sing 4; sing 2; sing 1; sing 5; sing 2; sing 5; sing 1; &c. Sing
|| up to 5, and prolong it. Teacher sing 6. Scholars imitate. All sing up to
|| 6, and back again. Begin at 6, and sing down to 1, several times.
| are EXERCISE.
3306056534435421156531211
| Sing fast or slow to suit your own taste, but after you commence an exer-
|| cise, sing with uniform time till it is closed. .
: i al, La S SOM. . Yi,
| Sound 1 on middle C. Sing up to 6 and back again. Skip from five to
|| twenty times, asseems necessary. Take the easiest skips first. You will find
Scholars sing up to 6, and prolong it. Teacher sound 7 very carefully, for
| itis the hardest sound in the whole scale. Teacher sing up to 7 several
|| times, then let the scholars imitate. Remember that this is the last sound in
|| the scale above. There are several scales above the one you are now practic-
|| ing; so are there several oth@rs below it—but they are all alike, and when
|| you have learned one you have learned all.
hes Exercise. ,
| Do not failto encourage the scholars to prepare original exercises on the |
|| scale. If an exercise is a little faulty, or does not entirely please the ear, try to
|| alter itfor the better. After a little attention and practice, a pupil may write a
|| very pleasing exercise in two or three minutes. :
‘From School «Songs for the Million.”
Copyright secured.
‘ 3 ¥ - 3 a ’ - — 7
:
|
:
:
:
Ba LEMENTARY LESSONS. |
LESSON VI... if
Ler the school give middleC, Sing up to 8, and back ; up to.4,and back; —
up to 5, and back; up to 6, and back; up to'7, and back. Sing again up to
7, and prolong it. Do this three or four times. How impatiently the voice
rests on 7! It is the last sound in the scale, yet the ear is not satisfied with —
this sound as a resting place. ii
Teacher, sing alone from 1 to 7 — pause a little, then sound 1 in the next
scale above. Scholars imitate. Observe, now, that you have sounded 1 ina |
scale which is precisely like the other scale, only it is higher. Sing care-_
fully from 1 to labove. Sing 1, 2, above —then back. Sing 1, 2, 3, above. '
Sing from 3 above to 3 below. Sing from 1 below to 5 above, and back. %
Sing 1,on middle C. Teacher, start on this sound, and sing downward, |
7,6, 5, and back. Scholars imitate. Start on this lower 5, and sing up,
_ through the three scales, as far as you can—then back. We represent
these three different scales to the eye, by three different styles of ‘figures. —
But it may be well to present these in a separate lesson. |
LESSON VII.
The Different Styles of Figures.
1. The Lieut Ficures designate the Middle Scale. «
2. The Oren Ficures designate the Scale next above.
3. The Heavy Ficures designate the Scale next below.
To fix these facts in the memory, we here present the three sets of figures;
Open, TD A eying on wirgale i |
uit, 1234567 |
vey, 1 234567 |
LESSON VIII.
Practice in the different scales need not be much extended. As soon as
the ‘school can pass easily from one scale to another, both by regular pro-
gression and by skips, they are prepared to sing plain tunes, which are writ-
ten In two or more scales. |
, EXERCISM
0067123 153821532165671
If the open five is too high, start the Exercise on a lower pitch.
dit | EXERCISE. a i ahi
55321176555435135128211.
Entered according to Act of. Congress, in the year 1850, by Asa Fitz, in the Clerk’s Office of the District
Court for the District of Massachusetts. _ . mi.
Published by Fitz & Hoss, at the Office of the Scholar’s Penny Gazette, 198 1-2 Washington St., Boston. —
aN a
ae ae 2 -
wi Re en
ELEMENTARY LESSONS. pe
LESSON IX.
Fixed and Sliding Scales.
THE first seven letters of the alphabet have long been used to represent
the seven sounds of the scale. C is 1, D is 2, E is 3, F is 4, G is 5, A is 6,
Bis'7. The lettered scales are fixed scales ; the figured scales are sliding
scales. For example,C is always the sign of one particular sound ; but 1
may slide up or down, so as to represent different sounds.
How can seven letters be made to represent several successive scales, one
above another ? Godfrey Weber, an eminent German writer, has expressed
seven lettered scales in the following manner :
eee
—— —
Se eee _— = ee
_—_—- — SS eS
_——- — — Ss eee ee
The highest and lowest of these scales are entirely beyond the reach of
any human voice; they are used only in instrumental music.
LESSON X.
Compass of the Human Voice.
The voiees of females and of boys are one whole scale higher than those
of men. Taken together, the two kinds of voice extend through a compass —
of three scales. In the common music books, the three vocal scales extend
from the bottom line in the Bass Staff to the top line in the Treble Staff. In
the lettered scales given by Weber, G is the Jowest sound, and f is the high-
est sound in the three vocal scales. Bass voices extend from G toc; Tenor
voices, from c tog; Alto voices, from g toc; Treble voices, from c to f,
and sometimes one degree higher. The small c (oncemarked) is called
‘‘ MipptE C,” because it is the top of the Bass compass, and the bottom of the
Treble compass ; i. e., it stands exactly in the middle of the three vocal scales.
LESSON XI.
Positions of the Figured Scales.
The figured scales have seven positions, viz., one to correspond with each
letter in the lettered scale. In the First Position, the light 1 is one ; inthe
Second Position, the light 1 is on d; in the Third Position, the light 1 is on
e; in the Fourth Position, the light 1 is on f; in the Fifth Position, the light
1-is on a3 in the Sixth Position, the light 1 is on a; in the Seventh
Position, the light 1 is on b. Hence, in the last two positions, the light 1 is
lower than in either of the other positions.
.
LOC ll ll OOO Oa ss Ss —eeeeeeeresr err e re_e_»=—=—_=_ = OO OeareaeeeaeEeEeeeeEeeeeeeeaSs eS OLBL OOOO ;
} Entered according to Act of Congress, in the year 1850, by Asa Fitz, in the Clerk’s Office of the District ||
; Court for the District of Massachusetts, et
Li _, Published by Fitz & Hosss, at the Office of the Scholar’s Penny Gazette, 138 1-2 Washington St., Boston. —
mt re
ELEMENTARY LESSONS.
LESSON XII.
Four Scales of Vorce, from Three Scales of Figures.
The well-known fact, that adult male voices are one scale lower than female
voices, enables us to express a compass of four scales of voice by three scales
of figures. This is evident, because, if an adult male and a female sing
through a compass of three scales, the starting point of the male’s voice will
be one scale below the starting point of the female’s voice ; and, therefore,
from the bottom of the one to the top of the other, there must be four scales.
In accordance with this principle, any figure in the Bass, or TENOR, 1s
always one scale (an octave) lower than the same figure in the ALTo, or
Tresie. A man, therefore, ought not to sing the Alto, nor the Treble, unless
he sings it one scale higher than he would sing the same figures, if they were
in the Bass or Tenor. So, also, females and boys ought not to sing the Bass,
nor the Tenor, unless they sing it one scale lower than they would sing the
same figures, if they were in the Alto or Treble. Inattention to the principle
which is set forth in this lesson, will make you often suppose the Bass, or
Tenor, to be at one time higher than the Alto, or even the Treble; and at.
another time on an equal pitch with these.
e
EXERCISE IN TWO PARTS.
™3911257232112561125543211
™151155571431425551315511
LESSON XIII.
Vocal Compass and Sliding Scales.
The Bass Compass measures 11 letters; the Tenor, 12 letters; the Alto,
11 letters ; the Treble, 12 letters. This measurement allows the Treble to
extend up to g, which is one degree above the Three Vocal Scales. Remem-
ber, the Lettered Scales are fied; the Figured Scales slide up or down.
(See Lesson IX.) The following Table will show two important things :
Ist, the whole extent of each voice or part; 2d, the manner in which the
Figured Scales slide, and their different correspondence with the Lettered
Scales in each successive position.
The object of sliding the Figured Scales, is to accommodate the different
Keys. The starting point is C; that is, 1 is first made to correspond with
this letter. The table of the Vocal Compass must be deferred to Lesson XIV.
RRARARARARRA Rn nn nee 2 eer er errr ee5eye ere ree
Entered according to Act of Congress, in the year 1850, by Asa Firz, in the Clerk’s Office of the District
Court for the District of Massachusetts. . ia
Published by Fitz & Hoxss, at the Office of the Scholar’s Penny Gazette, 138 1-2 Washington St., Boston. |}
ELEMENTARY LESSONS.
LESSON XIV.
TABLE of the Vocal Compass, &c.
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OBSERVATIONS. —1. The Letters. The twenty-two letters at the head of the Table extend
through both the Bass Staff and the Treble Staff of the common music books. Gis the low-—
est line of the Bass Staff, and g is the space next above the top line of the Treble Staff. These
letters constitute the medium portion of the seven Lettered Scales given by Weber. (See
Lesson IX.) As they stand here, they represent two entire successive scales; a part (three
letters) of the next lower scale; and a part (five letters) of the next higher scale. These two
parts are equal to one entire scale, plus one letter in another scale. This makes the vocal
compass consist of three and one-seventh scales, which is the more usual measurement.
2. The Four Parts. The heavy perpendicular lines show where each part begins; the light
ones, where each part ends. Observe that the Bass ends where the Treble begins, viz., on
“middle C’”—(c).
8. The Dots. Those heavy figures which have dots under them are supposed‘ to belong
only to the Bass and Tenor. Of course they are not needed in the Figured Music, because
there the parts are always named. ,
4. The Different Keys. ‘‘No. 1,” in the Table, shows the position of the figures in the keys
of C; “No.2,” in the keys of D; ‘‘ No. 3,” in the keys of FE; ‘No. 4,” in the keys of F; ‘* No.
5,” in the keys of G; ‘‘ No. 6,’’ in the keys of A; and ‘‘No. 7,” in the keys of B. In each
separate key, the position of the Figured Scales never varies. Thatis, in the keys of C, the
light 1 always corresponds with c; in the keys of D, it always corresponds with d, &c.
5. The formation of the different keys by the Lettered Scales may be very briefly explained
in a subsequent lesson. There is no such thing as a formation of different keys in the Figured
Seales. So far as singing is concerned, all the keys are alike in Figured Music; excepting
that the scales are set higher or lower in one key than in another. :
6. Method of Learning the Table.— Write it upon the Black-board gradually; first, the
Letters, then the first line of Figures, then the second line, &c., thus making eight lessons,
7. Importance of the Table. — You can sing, without understanding this Table; but it is a
perfect guide to all possible Aeys, and no teacher should neglect it.
ns #'wO O20 0 0 0 08 OOllaRRNN—_ROl RR _—__—a—aeaIaneanrernrernwaerrs see eeeeeeeerrPeerresrrnr ees reer ese" eee eeee~s~sr meee"
Entered according to Act of Congress, in the year 1850, by Asa Fitz, in the Clerk’s Office of the District
Court for the District of Massachusetts. ‘
Published by Fitz & Hoss, at the Office of the Scholar’s Penny Gazette, 138 1-2 Washington St., Boston.
i a et
——.
;
.
ELEMENTARY LESSONS.
LESSON XV.
Range of the Orpen Ficures.
A glance at the Table of the Vocal Compass, (Lesson XIV, ) will show:
Ist. That music written in the Keys of A will have more Open Figures,
than that in any other Key, 2d. That music written in the Keys of G will
have less Open Figures, than that in any other Key. 3d. That it is im-
possible for the Treble ever to contain Heavy Figures in the Keys of A,
B, or C. 4th. That the Bass may contain Open Figures in the Keys of
A, Band C. (This will be evident, if.you remember that any figure,
when in the Bass, is one scale lower than when in the Treble.)
It is easy to perceive, also, that the number of different Open Figures
which may appear in the Treble, in every possible Key, must be as follows:
Different Keys, . . . tA, BEC; Dy E, FF; G
No. Open Figures in each Key, Tin Gai? By, kav Gy, ey ee |
If the Treble in any Key has less Open Figures t than are here indicated,
it is because the composer has not, in any instance, carried the Treble
to the top of the Treble Compass.
LESSON XV I.
Each of the following Exercises may be considered as part of a Treble
extending from the bottom to the top of the Treble Compass. They show |
the greatest possible range of the ny Pe Figures, within the Vocal Com- |
pass, in the different arty
XERCISE in the As
5345 17518485565 753166571
EXeERcIseE in the
532346511722531556 486671
Exercise in the © scale.
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343127117250751134255311
Exercise 2n the
321761423115321115316711
Exercise in the F scale
111567113515625515115561
EXeErciseE in the scale.
1564517129353317651313511
Entered according to Act of Congress, in the year 1850, by ASA FITZ, in the Clerk’s Office of the || —
District Court for the. District of Massachusetts.
Published by Firz & Hosss, at the Office of the Scholars’ Penny Gazette, 188 1-2 ‘Washington St. Boston. |
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“ELEMENTARY LESSONS. 39
LESSON’: XVII.
StartinG Point in the Several Parts.
Music is said to be written in the Key of C, Key of D, Key of E, &c.,
because it is written in a Scale which starts on C, on D, on E, &c. (See
Lesson XIV.) Before you undertake to sing a piece of music, ascer-
tain the Key in which it is written. In our system of Figured Music the
Key is, always named; thus, ‘°C. Major.” —Ep. Major.” —G. Major.” —
&e. (The term ‘‘ Major,” ‘will be explained hereafter.)
The Key is the starting point of the Scale, but itmay not be the starting
point, of the music; hockhbe music is not always commenced on 1. In-
deed, the different Parts generally have different starting points; at
least, they very rarely start all onthe same point. A single glance at the
different Parts will indicate, to the eye, the beta starting point of every
Part in any piece of music.
LESSON XVIII.
Sounding the Key, &c.
_A good musical instrument will enable you to sound any Key, directly.
A ** sounding-fork”’ willenable you to sound one Key, directly. This
fork ought to be constructed so as to sound middle C. If you have not
such'a fork, remember that middle C is nearly at the bottom of the fe-
male voice* then sound it as nearly as youcan. After sounding middle
—C, you can ey get the other Keys, thus: Commence in the C a te
ad.
1
nS
and—
Sing from 1 to 2; the sound pal ewag? between these, is .seeceseccesscoves the Key of Dp.
Sing from 1 to 2; the sound Of 2, is.......sceessccccccccvece socvcccccees the Key of D.
Sing from 2 to 3; the sodinw) balfteay? bebirdey these, is ...cscccccsccesees the Key of ED.
Sing from I to 3; the sound of 3, is ...eessecccesccvcercocccccccccsccces the Key of E.
Sing from I*to 43 the sound Of 4, is 12... .cscccrecccctscccssccccsccccce the Key of EF.
Sing from 4,to 5; the sound half-way between these, is ......sesccoreeoes the Key of E'#.
Sing from 1 to 5; the sound Of 5, is ..0..ssccssseceescescescccescccscoee the Key of G.
Sing from 5 to 6; the sound half-way between these, is .........00.-seeeethe Key of AP.
Sing from 1 to 63; the sound of 6, i8...ceersccrscccerceccercocsccocscovcecthe Key of A.
Sing from 6 to 7; the sound half-way between these, is ....0e+eeeee+ecoee the Key of BY,
. Sing from I'to:7; the sound Of 7, is..s.socecerecccerscccscces secccececoes the Key of B.
* A male Teacher has only to remember that his voice is one scale lower than that of
his scholars, then proceed as directed above.
(Eo ee ee ee Oat ee PU ane I eS Fe WO ee
1] Entered according to Act of Congress, in the year 1850, by ASA FITZ, in the Clerk’s Office of the
District Court: for the District of Massachusetts.
Published by Fitz & Hosss, at the Office of the Scholars’ Penny Gazette, 138 1-2 Washington St, Boston.
ELEMENTARY LESSONS.
LESSON XIX.
Formation of the different Lettered Scales; or TRANSPOSITION.
It has been agreed that, in the Lettered scales, there shall be a Half-Step between E and F
and between B and C. This makes the Lettered Scale agree with the Figured, if we take Cc
as the tonic. When any other letter is taken as the tonic, it is necessary to make one or more.
alteritions or corrections in the letters, either by raising or lowering.
TABLE I.
Lettered Scales formed from the Primitive Letters, C, D, E, F, G, A, B.
Keys.
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3
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——
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Hi RR I NS rR
Cepek OS) et 09 femlog
a os ee 09 1,108 |
Entered according to Act of Congress, in the year 1850, by Asa Fitz, in the Clerk’s Office of the District
Court for the District of Massachusetts. —
Published by Firz & Hops, at the Office of the Scholars’ Penny Gazette, 138 1-2 Washington St. Boston.
ELEMENTARY LESSONS. 41
TABLE II.
Lettered Scales formed from the ALTERED LETTERS, Db, Eb, F#, Ab, Bb.
Gps skies ede sehen feremn a Me ttatatl ie eT als es - db Keys.
1: ein et a's -3: “4. ds -: u's -6: hip ‘C: ‘i Db
‘Deas * *Bbe +4 «+ ta ‘hess SETA eis as eh aehn ihssale dium CGD a Si
Ores dee weer ehe ee
© UO bir MOA Dea OL EE
DEFINITIONS.—1. Degrees. The distance from any sound in the scale to the sound next
een or below, is adegree. There are six degrees in the scale, and one degree between the
scales.
2. Steps and Half-Steps. The third degree in the scale, and the degree between the Scales,
are smaller than the other degrees ; they are called Half-Steps. The other degrces are called
Steps. So there are seven degrees ; five of them are Steps ; the other two are half-steps.
3. Sharps. The sounds which area half-step higher than F,C,G; 1, 4, 5, &c., are called
F-sharp, C-sharp, G-sharp ; sharp-1, sharp-4, sharp-5, &c. Instead of a word, we use a sign, to
indicate a sharped letter or figure, thus ; F#, C#, G+; #1, #4, #5, &c.
4, Flats. ‘The sounds which are a half-step lower than B, E, A; 3,5, 7, &c., are called B-
flat, E-flat, A-flat; flat-3, flat-5, flat-7, &c. Instead of a word we use a sign, to indicate a flat-
ted letter or figure, thus; Bp, Ep, Ap; 23, 5, b7, &c.
Note. The Lettered Scales cannot, by any means within our knowledge, be formed without
Flats and Sharps. The figured Scales are independent of those signs, except in very rare cases,
where it is desirable to use a sound which is a half-step higher or lower than the figure itself
indicates. — .
5. Tonics. The first sound in any scale is called the tonic.
6. Primitive Tonics. Every letter of the Primitive Lettered Scale c, d, e, f, g, a,b, may be
used as a tonic; and each of these unaltered letters forms a Primitive Tonic.
7. Intermediate Tonics. Every Altered Letter represents a sound which is intermediate be-
tween two Primitive Letters ; (except in Superfluous Keys; ) and each of these Altered Letters
forms an Intermediate Tonic. ' '
EXPLANATIoNS.—Tables. The dots indicate the steps and half-steps; four marking a step,
two, a half-step. The seven letters over the figures, show a false scale, in all the Keys from
D to B inclusive. The seven letters wnder the figures, in the same Keys, show the true scale,
as it stands after the manifest errors are corrected.
Entered according to Act of Congress, in the year 1850, by Asa Fitz, in the Clerk’s Office of the District
Court for the District of Massachusetts. >
| | Published by Firz & Hopss, at the Office of the Scholars’ Penny Gazette, 188 1-2 Washington St. Boston.
CS ae
a
BLEWENTARY LESSONS.
LESSON XxX.
ALTERED SYLLABLES used with the ALTERED E:Gures.
1. Sharped Figures.—The Sharped 1 is called di, pronounced dee.
EXERCISE.
|511123143.2412325551727111
The Sharped 2 is called ri, pronounced ree.
EXERCISE.
333 #234552343 256713342333
_ The Sharped 4 is called fi, prenviness See.
55554#45651565312 355153111 |
The Sharped 5 is called si, Pas see.
EXERcIS
36645617711 763456 63212333
The Sharped 6 is called li, a ahs lee.
Exerc
32176174#672151 53211556711
2, Flatted Figures.—The pati g sah is called ra, pronounced rah.
123-1 2534439955439994771
The Flatted 3 is called me, ht may.
3329b317122953399>31543. 3 3
The Flatted 5 is called se, pone say.
1563439155'5431172 Od 211 1 |
The Flatted 6 is called le, i it lay.
HSS SIGHIGED312S15°6S11 771].
The Flatted 7 is called se, praRunoel say.
XERCISE.
11765346556607615 64351711 |.
Note.—If the Sharped or Flatted 3, 5, 6, &c., be immediately followed by a figure or figures |
of the same kind, it is customary. to consider these as being sharped or flatted also. "In 1355 $44 |)
55, both the 4’s are sharped. Andin12 331155, both the 3’s are flatted. Whenitisde- |} —
sirable to neutralize the effect of a Sharp or Flat, the sign f called a Natural, isintroduced. In || —
ae 5 ir #4 $43 21,. the second 4 is not rey a And in
From “ School ‘Songaifor the Million.” Copyright secured.
te a, the second'3 is not |
“ELEMENTARY LESSONS.
7 PART II.
Measure. Dirrerent Lenorus or Sounps.
SECTION I. MEASURE.
LESSON I.
Preliminary. Remarks,. :
__ Where the music is of considerable length, especially if the sounds ar
_ much varied in their length, it is very difficult for the eye to follow the
| musical characters. It is quite possible that some pupils, in singing the
Exercises given in Part I. may be puzzled to ‘‘Keep the place.”? In or-
der to diminish the difficulty here alluded to, musical composers have di-
_ vided their music into quite small parts, which are called Measures.
| |; These are always indicated by perpendicular lines, which are called Bars.
| We use two Bars to denote the end of a piece of music. Another rea-
son for dividing music into Measures, is, that the performer may more
easily understand where to place the Musical Accent.
LESSON II.
; ; Kinds of Meusure.
The peculiar movement of the syllables in poetry makes it necessary
| that the measures in music should be of different lengths. One kind of
measure has only two parts ; another has three parts; another, four parts ;
another, siz parts. By a part of a measure, we mean one of the sounds
‘|| inthe piece which has not been varied in length; or the figure which de-
|| notes that sound. }
Two Parts. Ifthe measure has two parts, accrnr the first part.
EXERCISE.
EAE ES A 3 She’ Oey OR BT
. Ma- ry, let me _ hear your les - son.
Taree Parts. If the measure has three parts, accent the first part.
oes EXERCISE.
| : | 4 | lI
Come, fe. tle wr 2 de 4 ahs eo = 3 - 2 - ii
Four Parts. If the measure has four parts accent the first and third
parts, but the third part rather lightly.
Pe _ Exercise. _ i
L Sow eye Gocbrege Th By 3
ht oy John and Hen-ry went a hunt-ing, ae
: Stx Parts. Ifthe measure ha®six parts, accent the first and fourth
||| parts, but the fourth part rather lightly. | |
iS staat as _ Exercise. Kohl |
Me etP 9D © 1OF Oo. GudkaeewOe il
Moth -er, may El - len and Jane go to school with me?
From “School Songs for the Million.” Copyright secured.
{| 44 -ELEMENTARY LESSONS.
LESSON III.
Names of Measures. Repuction of the Kinds.
A measure of two parts is called DovBLe.
A measure of three parts is called TriPte.
A measure of four parts is called QuADRUPLE.
A measure of six parts is called SexTupte.
Any QuapRUPLE measure may be reduced to Double measure, in two
different. ways:
1. We may regard the four parts as only four half-parts, equivalent to
two parts. This is perfectly allowable, because the two parts of a Dou- ||
ble measure are often divided into four parts. (See Section II.)
2. We may insert a Bar in the middle of a Quadruple measure, thus
making two Double measures from one Quadruple.
Thus the Exercise—
12'3511 56 513132119 5112714
may be written—
12135115165131132113 15112711
Any SExTUPLE measure may be reduced either to Double or to Triple
pasate
. We may regard the six parts as only six third-parts, equivalent to
i, parts. This reduces three parts to one part, which is the usual method
of reduction. (See Srecrron II.)
2. We may insert a Bar in the middle of a sextuple measure, thus
making two Triple measures from one Sextuple.
Thus the Exercise—.
135 1% 71 6.0 ©, O.atedlal of pewcdills dhcdlel
may be written—
1S5/17716661671L1I76 711111
Hence we have really but éwo distinct kinds. of measure. The third and
fourth kinds are only modifications of the first and second.
If it be asked, why are Quadruple and Sextuple measures ever used? we
can only answer, that they seem to be somewhat more,convenient forms.
of measure, for certain purposes, than the primitive forms, Double and
Triple; perhaps a little better suited to the movement of certain kinds of
poetry. One Quadruple measure generally requires quicker movement
than two Double measures. So, one Sé&tuple measure generally requires"
quicker movement than two Triple measures.
Nore.—It is a custom adopted by some composers, copehinliy of church music, to use aus |
kind of measure, including a whole strain of music, or line of poetry. Such measures are
ihn indicated by heavy perpendicular lines.
From “ School Songs for the Million.” Copyright secured. +
45,
ELEMENTARY LESSONS.
SECTION II.
DIFFERENT LENGTHS OF SOUNDS, AND OF SILENCE.
LESSON I.
Preliminary Remarks. The Dasu and the Dor.
All the Exercises which we have thus far given are composed of sounds
of equal length. But there is scarcely any music in existence which
does not contain sounds of more than one length. We often see music
having so many different lengths of sounds as to render its performance
needlessly difficult, as well as to detract something from its merit. And
yet some variation in length seems almost indispensable to all music.
To express, in our System of Figured music, all the different
lengths of sounds required, we use only two characters, viz., the Dasu,
and the Dot. The Dash has two distinct offices; it indicates, 1st, Appr-
tion, 2d, Division. When placed after a figure, it adds to the length of
its sownd; but when placed within a parenthesis, it adds to the length or
duration of silence. When placed over or under a figure, it divides the
Length of its sound into equal parts. The Dot is always a sign of App1-
rion. When placed after a figure, it adds to the length of its sound; but
arin placed within a parenthesis, it adds to the length or duration of
silence.
LESSON II.
ApvpiTion to the Length of Sounp.
1 By the Dash.—Every Dash placed after a figure adds one PART, or
‘a unit of Measure, to its length.
Exercise, with oNE Dash. |
O! eae! Or Bl Ola- pli Ll (- 9 ler
| EXER cisE, with Two Dashes.
31333 3/5=91222 213-1
In - to temp - ta-tion’s snare, O, et us not be led!
, Exercise, with THREE Dashes.
oer e Comey ey sitet bike These 4 | way
How I love to see child-ren all a - gree!
2. By the Dot.—A figure having one Dot after it, is increased in length
one-half. If two Dots are placed after a figure, the second adds one-half
as much length us the first. |
NotE.—In computing the musical length of a dashed and dotted figure, we reckon the figure
first, then the dash, then the dot.
~ From “School Songs for the Million.” Copyright secured.
ELEMENTARY LESSONS.
LESSON Ill.
Division of the Length of Sounp. .
Ont Dash, piace over or under a figure DIvIDEs the length of its sound
into i : ; ‘ cs . Haves;
Two Dashes pivinE it into : , ; , Fourtus 3
THREE Dashes, into’ ; : ; ‘ : ; EIGHTHS 3
Four Dashes, into .
; ree ‘ ncaa SIXTEENTHS.
EXERCISE, with ONE Dash. .
sniea 2 3 | zs me a ) Te 2 | 31 |
EXERCISES, with two Dashes.
5.5 5-315. 6 116-6 6: 516: 7
h * Wal - lace bled; Scots, whom Bruce has often 1,|
—
a Be Bp ba Biel
AAPM: hoy! ship a - hoy!-What cheer! what cheer!
NorE.—Sizteenths are very rarely used. :
®
Lio SN TNS
Table of Lenctues. Notes.
“Taking the undashed and undotted figure as the Unir of measure, the follow-.
ing Table is easily constructed, and easily understood :
By AppITION.
fog
“e IC
By Drviston.
SUS wey the ian ae
e ° ° 2 Fi , * ie
: s S a 8
2 3 pd ee S zB 5
eae are Beieeck (a. Soe
) =~ 2 S s J pe §
= v3 & 28 “9 8 is Ss)
a) - = 3 = PPS 8
& 'S 5 So or a
LESSON V.
Signs of SiLence ; or, Rests.
1. The Dor.—With ehepones to the Unir of measure,— ‘
One Dot, in a Parenthesis, is a ® Quarrer-ReEst.
Two Dae} in a-Parenthesis, are a Haur-Rest.
THREE Dots, in a Parenthesis, are a 'THREE- FouRTH-Rest.
ee The Dasx.—In a similar manner,— :
One Dash, ina Parenthesis,isa 9. WHOLE- af |
“Two Dashes, ; ina Parenthesis, are | Dovste-Resv. ||
Turee Dashes, ina Parenthesis, area = = Traye-Resr. ||
“Four Dashes, in a Parenthesis, are a As ita QuapruPLe-Resr.
rar of —— Baad Astden: ead
From ‘.Schook. Bonet nike Millon se "Copyright secured.
——— ret ||
Cr ne i gene Re,
APPENDIZ.
1. Mustcat CHARACTERS.—Such of the Musical Characters as are not noticed in the pre-
ceding Lessons, are the same in the figured as in the common notation, and may very readily
be explained by the teacher as they occur in music.
2. PosITION OF THE FIGURED SCALES IN THE DIFFERENT Krys.—This has been clearly
‘llustrated in Lesson XIV., Part. I., by reference to the Lettered Scales, which are indepen-
dent of any system of Notation. For the convenience of those, however, who are already
familiar with the common system, we here present another illustration of our system, showing
its relation to the common Treble Staff. The seven different positions of the Figured Scales
correspond to all the keys that can possibly be formed, although only ten keys are here
marked. | e Yan i : .
Figured Scales applied to the TREBLE STAFF.
A, or ab .B, or Bb C. /D. KK, or Eb 1 (
_Norz.—Let it be remembered, that any figure in the Bass or Tenor, is just one octave lower
than the same figure in the Alto or Treble.
3. ue Minor ScALE.—If we take the last two sounds, that is, 6 and 7, of one scale, in
connection with the first five sounds, that is, 1, 2, 3,4, 5, of the next scale above, it forms the
following succession of sounds :—
CL = ON FS i 0 aM
If now we sharp the 5, we have,
Geil eee ay ee #5 6
And if we sharp the 4 also, we have,
wos G FLO Sw4 #5 6
The series of sounds marked No. 3, is what most music instructors call the Minor Scale, if
you sing upward; and the series marked No. 1, is what they call the Minor Scale, if you sin
downward. Thus they make ¢wo Minor Scales. Rejecting both of these series, (Nos. 1 an
3,) the able and learned Godfrey Weber adopts the series marked No. 2, and calls that the
Minor Scale.
With all possible deference to these, high. authorities, we beg leave to say, that we have no
knowledge of any more than one Scale. We do not believe that such a thing as a Minor Scale
exists. What +s each of the above three series of sounds, but parts of the common Scale?
Nothing. There is not one sound, not one musical step, in either of them, which is not in
the common Scale. Is it said, that the 4, or the 5, or both, are sharped? So may any sound
of the common Scale be sharped, or flatted either ; but still, we do not reckon a new Scale for
every such variation.
en we use the plural, Scales, we mean, not two or more different things, but only a sort
of repetition of the same thing. There is but one Musical Scale, but this has various starting
points, or pitches. : .
We do not deny the existence of minor music ; but. minor music is produced, simply by
taking the skips, 6, 1, 3, instead of 1, 3, 5. When this is done, it is customary to consider
5, and’sometimes 4, sharped. Except this slight variation of 4 and.5, there is not a iece of |
minor music in existence which, upon being analyzed, will exhibit anything more than the
simple sounds of the common scale. ,
From “+ School Songs for the Million.” Copyright secured.
48
$0000. Sones.
FIGURED SERIES—NO. 1.
THE SHADY RILL.
Cc. Major. | Musie sy ee Firz.
ee 1. By rons, O72 16 | R rod La the tly (3G | - grows! !
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a Whose i 3 4-3 2 3-4 31/1 up a i ; an
baa The i eat that shawl | neath 9) hill aes hoe Dt 5 a i -
4.
And soon, too soon, the wintry hour
Of man’s maturer age >
Will shake the soul with sorrow’s power
And passion’s stormy rage.
5. \4 .
Like Him, whose early feet were found
Within his Father’s shrine,
Whose years, with changeless virtue crowned,
Were all alike divine ;
6.
O gracious Father! full of fears,
We seek thy grace alone,
In youth, and all succeeding years, ,
To keep us stillthineown. = © i f
Entered ccordifig to Act of Congress, in the year 1850, by Asa Fitz, in the Clerk’s Office of the © Disttet
Court fo __ District of Massachusetts.
Published by Frrz & Hopss, at the Office she Scholar’s Hen Gazette, 138 1-2 nt St., Boston. —
SeUDOL SoNas.
THAT NEGLECTED LESSON.
sen thts Soa Worps By J. W. GREENE
D.
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THE MERRY soled A
Major. Worps By J. W. Greene. Ain— Gaily the Troubadour
sae As 2 Rings gues Fons 3 I
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1] Entered according to Act of Congress, in the year 1850, by Asa Firz, in the Clerk’s Office of the District
Court for the District of Massachusetts.
j| Published by Firz & Hosss, at the Office of the Scholar’s Penny Gazette, 1381-2 Washington St., Boston. .
EK. Major '°
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° HAPPY DAYS. ag
F. Major. AIR, — GREENVILLE. *
nm 33-3111923-2 1155-43312] 2-31-|
|1.Hap - py days are gliding o’er us, Life ‘is is fresh,and earth is fair;
w11 11177 1 1183-21117 7 1-|
“ 2.Sometimes an-gry passions, ris-ing, Drive a - way our peace of mind;
msl] 1 Mis Wt eal BA ea
our spirit, meekness learning, fe to God its 2. - age gives;
33-5111223-91155-43319-19-31
Tr Q |
Sor - row swiftly flies be - fore us, And we gai-ly laugh a3 care.
mf 11 1ii77 1 1133-31117 7 1
O, ’tis strange, ’tis quite surpris-ing,That we are not al - ways kind!
ll 1b DASE Ltd ddls. BS
e the modest vio-let, turn-ing To the sky its az - ureleaves;—
m. || 33-455 (66 5 A313 3-4 5516 6 5-
1:9
From our qui-et slumber spr pring - ing, C ly we pass the day,
hee
Wl 17-2331443-21117-2331443-|
If we cherish good af - fec- tions, And our parents’ will o- bey;
. heal 1 it 46 I I | e a 11/46 |
A
eo
B
nev-er need be sah ful :
=s
4 33-2111293-91155-43312-12-31-l
Each suc-ceeding moment, bring-ing Pleas-ant study, work, or play.
1d 11177 1 1133-3111 7 7 1-1 |
we fol-low the di - Pa Of our teachers through the day;
ally i e 115 2 ae ‘aes us Jd) 8 full 2 ae -| |
* We give this music at length, as the Repeat and Da Capo often occasion mistakes,
p=
—
————eaEeeaEeereererernrneeerereeeene5ne ere _e_rer_er—neanenmnneeeeerseereeeeseeeeeeeeeeeeeeeeeee5rrereeererre—wePeeeerernan neem ee es
| Entered according to Act of Congress, in the year 1850, by ASA FITZ, in the Clerk’s Office of the
District Court for the District of Massachusetts.
Published by Firz & Hosss, at the Office of the Scholars’ Penny Gazette, 138 1-2 Washington St. Boston.
gONOO& SONes.
FIGURED SERIES.—NO. 6.
“WHEN SHALL WE MEET AGAIN?”
G. Major. Music By J. W. GREENE.
ml 3 1 2/7,6 515 7318 203 12
hall we ne 6 gain, Meet n hen will peace
wl 5 5516 6.117 5.117 75 BB
Alt0.f'o When shall love free - ly flow, Pure as life’s riv-er? When shall sweet
mi TT bl4 4115 1 TB BOT I 8
8. Up to that world of light Take i a Saviour ;
lmoyi T 6 BIG BSO10177 712111336
lwreath her chain Round us for-ever? Our hearts will ne’er repose Safe from each
Mel 6 @ 112513143012 9 217 551 34
friendship glow, Changeless forever ? Where joyscelestial thrill, Where bliss each
bas 44.1) 5 551 «14.4 415 5 5i1 TT
there u-nite, -py for-ev-er: Where kindred spirits dwell, There may our
mf 655177711 2316101531210
blast that blows In this dark world of woes, Nev-er, no, nev -er !
ml 233129917 7116 6011-5 Bel
heart shall fill, And fears of part-ing ay
mull T1514 4415 Be |4 AC 5-lr44) |
mu-sic swell, And time our joys nev-er
Soon me we meet again,
Meet ne’er to sever ;
Soon will peace wreath her chain
Round us forever :
Our hearts will then repose
Secure from worldly woes;
Our songs of peace shall close
Never, no, never.
INP PLSD AAPA ERALAL AE AAA AEA AEA APA
Entered according to Act of Congress, in the year 1850, by Asa F11Tz, in the Clerk’s Office of the Distriet
Court for the District of Massachusetts.
Published by Firz & Hosss, at the Office of the Scholar’s Penny Gazette, 188 1-2 Washington St. Bostom.
Ss
— ry fo
Sonooy soles.
IN THE Sb NG dal.
A. Major. AIR.—In a Cottace. Words by E. WOODBURY.
mf 3-45 516 6 5-l1 2843|171-:|
‘ In the School-room while we stay, There is work e - - nough to do;
"Stud-y, stud - y, through the day, Keep. our les - sons all in view.
idl 4.5 Fic 5 ie
Mio! 1-2 3.314 4 3-13 5173/323-;|
Here then let us ear-ly sow, While we're in our opening youth;
‘Seed that will take root and grow, Seed of knowl-edge, vir-tue, truth.
BILUAd ble 60.4 loeta:
“In - ter-est - ed‘ al- ways feel, And our in-fluence to ‘it Tend ¢
Bass.
There’s no time to waste or lose, Eve-ry moment we should use ;
ml B17 1121791297 6154321
For the time is com-ing, when .Wom-en -we shall be and men;
ml 55 5 515 5 5- 15 5 5 515 55
cf all :
we rise or fall, Teach-ers, schol-ars, one and |
Imi 3-45 516 6 5-l12343l17 1-
For the hours are glid-ing fast, Soon our school-days will be past.
|
ml4-53 314 43-135 11313 2 3-
Then, oh, then we'll need it all, In dis-charg-ing du-ty’s call.
ee a its 5 4 [55 1-
Let us then wu - nit-e or our
Entered according to Act of Congress, in the year 1850, by ASA FITZ, in the Clerk’s Office of the
District Court for the District of Massachusetts. — ai,
Published by Fitz & Hosss, at the Office of the Scholars’ Penny Gazette, 138 1-2 Washington St. Boston.
SONO0U SONGS.
“FIGURED SERIES.—NO.'8.
“LITTLE STAR.Y—A DUET.
Bp-. Major. Music By J. W. GREENE.
35l15 3 265 3 5ILD.B 3|5°7 1115
Ta i. B. tle. star, How I wonder n°) 3. are! How I wonder!
5/43 1 3I5 33 113- (-)|(=)
| rint 315.3 1. tle. star, thon 3 eRe, what you
ene Lis
5I5-
Ho w I won- 2. &. a are!
rab ghee
In the sky; Like a diasuond in the:
a Ever twinkle, little star :
“It. Ever twinkle, 2d. Ever twinkle,
“Ast. Little stan! 2d. Little star !
be Ever twinkle, little star !
Both. For your bright and tiny spark
| (Lights the trav’ler in the dark ;
1st. Lights the trav’ler, 2d. Lights the trav’ler,
Ist. In the dark! 2d. In the dark !
Both. Lights the trav’ler in the dark!
Both nig Though I know not what you are,
Pap ON OTE TL ILLEN, OCG OAS A SIRS on a 5 Sea RONNIE
Entered according to Act of Congress, in the year 1850, by AsA F17z, in the Clerk's Office of the District
Court for the District of Massachusetts.
Published by Firz & Pitcsss, at the Office of the Scholars’ Penny Gazette, 138 1-2 Washington 8t. Boston. ;
e S$aN004 Sones,
EVENING tai, :
Ain. — “Let thy Kingdom.” Words by E. WOODBURY.
EF, Major. j
riff 3 O11 1 3 5lo.9 2 3516.59
:
©
Let us now, zs 3 -a- rat-ing, Join in one har - 3 nious lay ; t
Live- ly 5 Re aly ti- vat-ing, In good cheer we'll close the day.
| Alto.
5 Bl7 771121 7 Fit-3
2,9 us 2, 3 om ev - er, That old pre-cept, good as new}
2 “Do to oth-ers nev- is nev-er, What you’d not take done to you A
Fe 1 5l1 Lui 18.5.1 [141.5 Bl:
ein
Ke
jg Let us a I thought to, Hea- ven, To the God, un-seen a-
For the bless-ings dai - ly giv - en, For his pure, un -ceas- fh Fi
raf BIG 5 5 61 7 6 5 ltl
kn rated Re "re oh - vanc-ing, May our hearts ts sdb, too ;
H Alto.
joe 31433 4\3 Z 3 |3-
ways show-ing An af - 3. 2, ae and kin
ial | Lie ike ale ih.
i sik a ex - tend-ed, Lets no dan- -ger hov- er near;
re. 5 ia.1 5, 5 © BARI 2 B11
Each his ndnce 3 en - hanc-ing, i a true.
15 5138355177 7719
Comforts round each oth - er strewing, ake their i wh a nev-er b CARs
Bass. 1511118155 L- t 1 5B Bl1- i
is who has_ be aa 2 cia. I our footsteps
Bass.4|
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4
Nature, all around, is praising
Him, whose throne is fixed on highs
Shall not we, our voices raisin
Swell the chorus to the sky a
God alone is our protection—
He’s our sure and constant guide ;
He deserves our best affection;
In his strength may we abide.
From “ School Songs for the Million.” Copyright secured,
SONOOL SONGS.
FIGURED SERIES.—NO. 10. .
“HERE WE STAND.”
(aparrep TO PHYSICAL ACTION.) —
§ Eastward point, westward point ;
Left hand Nadir, Zenith right ;
Forward fold, backward fold ;
Arms a-kimbo, chests upright ;
Singing cheerily, &e.
4 Seated now, smooth your brow,
Then drum lightly on your crown.
O, what fun! every one
‘Driving off each surly frown !
Singing cheerily, &c.
* or sistere.
Air, “Children go to and fro.” Words by J. W. GREENE. —
: D- Major. |
Treb eS) , Q 5 | 2 55 lS Oy |
1. Here we nes mo} o Aon re) 2 2) 5IG Ex - er - 2 2,
alto. | P38 1A |
2. Right Dna up, left hand up; Whirl-ing 3 2 oe - gers es
Treb. . |
| Gt 4 with a ae ee. a i fo eyes!
mrd| 5 | Oh ay Be Aas kD |
ce fa 4, “, 2 bow fa 3 lA 2 2,
moll TT TITT1I11111 591559595
| ok! eeri-ly, cheeri-ly, cheeri-ly ; fieppings pict riy, mer- ri-ly, merrily ;
wel DT Loo LLG 27 777007747 |
dade eer-ily, Buotat cheeri-ly ; Cla pping merrily, mer-ri- ly, merril ly;
rill 3 5. 413: 31 |
» two, | hiee, don’t you see Whereschol - ars love to be?
Alto.|) 1 | Ul Au Sol de esl
1. two, three, don’t you 3 0 schol - 2. love ¢ iby
5 Quickly stand, lungs expand, ——
Backward let our shoulders go!
Life, and health, comfort, wealth,
We can thus i improve, you know;
Singing cheerily, &c.
6 Both hands meet, then retreat ;
- Clasp, then whirl them round & round;
ight and fold, left hand fold ;
et’s shake hands, like brothers* bound!.
Singing cheerily, &e.
From “ School Songs for the Million.” Copyright secured.
-sen00% Solas,
FIGURED SERIES. —No. 11.
CnHE LORD Is ‘MY SHEPHERD.”
FE. Major. . AIR. — The Pleasant Ohio.” ©
i want ei Yi Eo [
Tred.
"4 the: Lord’
Fou =O)
2.Thro’ the val- le
oo HI8. aah Mied
feed in
i
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ee
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lead - eth °
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_ fume thou noint - est
BeBe D qu ped oar
stores me when wan-d’ring, re - deems when — op -. pressed, .
harm-can . be - fall ; ah my com -fort-er near.
ml 6 44 eg ole T Tl
a |
a thy .prov.- i - dence more?
* This simple, beautiful melod has ee sung thousands of times as a ‘Ring Play,” at the —
social gatherings » young people during the long winter evenings. ' ‘The following is a couplet |
from the original Play:
“ Let the Girls card and spin, while the Boys rea and sow,
When we settle on the ba: nks of the pleasant Ohio.’
APP
“From ‘School Songs for'the Milliom’? » Copyright secured.
Treb.f
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* In arranging this beautiful set of words for music
3.3.3
—- $on00R soNas.
THE LORD’S PRAYER.*
'.. B. Minor. (From D. Major.) Music by J. W. GREENE.
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1.0ur Fath-er, who art in heav’n, All hallowed. be thy name ; Thy
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we have endeavored to deviate as - little
as possible from the original language of the prayer. To do this we were obliged to dispense
with rh
e. Indeed, no modification can possibly add anything of excellence to the sim-
ple sentences forming the’Lord’s Prayer. The few modifications we have made were necessary
to the measure... . -
: From “School Songs for the Million.” Copyright secured.
SONOO& Sones.
FIGURED SHRIES.—No. 13.
MASTER INATTENTION.
F. Major. Air.—“Alfarate.” Words by E. WOODBURY.
Treb, PALES
1. There sits be-hind
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3. Deaf is the moral ear
Of Master Inattention,
Ne’er heeding any laws,
His teachers choose to mention.
Tell him that it is not right,
my To give his teachers trouble : ;
‘, + une Ten to one he'll seek a chance,
, And try to make it double.
4. Heed not, I pray you now, .
Master Inattention ;
For he seeks to do you harm,
By ev’ry invention.
Shun him as a serpent vile,
For he is more deceiving—
Kills your comforts and your joys,
And o’er them leaves you grieving.
: From “ School Songs for the Million.” Copyright secured.
genoa. sonas.
THE MIMIC TAILORS.
(ADAPTED TO PHYSICAL ACTION.)
FRENCH AIR. Words by J. W. GREENE.
: ¥F. Major. |
Treh, O | i 5 | O93
1. Poor eg i eu cold: he 3, fear ie. al- most froze !
Alto. 1E3i 3 ey a @ a. 2 @ 1=
2. Give 3 a sHEARS, I'll cut i ee, iZ (ll fol - low nice;
Treb. | 63 14 3|3 1 a 2.3 314 ca
Come, 3, -lors both great and small us ma uA “al new clot
ui 55 557 12,7
e
Alto. ra i and cut, and cut the cloth, Twill be rea bad a trice,
6
44 4 4/3-
2 2
=
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get it right! Th
which way it goes!
2? alls
| 7 ¢ ¢ @ | 1 1 1 22 3). aa 47d
e’ll mark, and mark, and mark away, And h !
,o1S8591 28204 Og 7.421351
sew, and sew, and sew away, And
1 23
read the cloth A i our digsls 4 the
«a
ere, tw
Treb.
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Alto.
3. 4- |
Don’t sleight your work, but make it strong, Now get the goose, and heat it well,— |
Lest the seams should rip away, Put the press-board on our knees ;
For Johny Lane can’t mend, you know, Then press, and press, and press away,
And no money can he pay. So the work will Johny please,
Now the seams are closed, make the button-So he'll think of us with thankful heart,
holes, As to school or church he goes ;—
Set the buttons round in rows ; Now to Stupy we will turn our thoughts,
We will stztch, and stitch, and stitch away, For we’ve made poor Johny’s clothes.
And we’ll soon make Johny’s clothes.
RAR AAARARARARRARRA
From “ School Songs for the Million.” “Copyright secured.
Treb.
Alto.
| Bass.
1 Treb.
Alto.
1 Alto
| Bass.
Treb.
| Bass.
SBHVO0L SONGS.
FIGURED SERIES.—NO. 15.
0, COME LOUD ANTHEMS.
A. Major AIR.—Sterling.
Revitands:
Ala i loud 111! 9 2)8- i 2 4 eb | 2 pity a4 3 |
3/3 33,315 5 lps | Rao 5.516 1 9 413
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him ad-dress, in joy - es which to his name be - 3.
112117 1 1B I3 SSPE Tat
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Se
‘WHILE THEE i SEEK. PROTECTING POWER.
AR. cic AIR.—Dundee.
e ou 248 ‘7 a 14.3 ing Power se vain Bite ce -es hs
Thy “4 al power of Bald be- Leils nl my 6 6 3,25 soar ;
eR 6Ib 1 4 1! S84 Ol
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In se | event of life, how “ssi In bidet joy that open my days,
Thy ruling hand I see ! In every pain I bea
Each blessing to my soul more dear, My heart shall find delight i in praise,
Because conferred by thee. ) Or seek relief in prayer.
From “ School Songs for the Million.” Copyright secured.
-geN00R sonas.
“FIGURED SERIES.—NO. 16.
#
“GOD OF THE MORNING.”
Bb. | _ AIR.--Hebron.
518 5.6 51671 MI7AZBLI7 65
1. God of the morning, at thy voice The cheerful sun makes haste to rise,
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. QO, like:the sun may I ful . fill Th’ap- pointed du-ties of the day;
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ia “And like a gi-ant doth re-joice To run his journey through the skies.
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With rea-dy mind and act-ive will March on,and keep my heavenly way.
m5 1351318155113 41145 1
3 Lord, thy commands are clean and pure,
- Enlightening our beclouded eyes:
‘hy threatening just, thy promise sure ; yd
Thy gospel makes the simple wise.
4 Give me thy counsels for my guide, —
And then receive me to thy bliss ;
All my desires and hopes beside
Are faint and cold compared with this.
~ From School “Songs for the Million.” Copyright secured.
88902 sonas.
FIGURED SERIES.—NO. 17.
| THE LITTLE PRINTERS.
G. nina AIR.--From Swiss Waltz. Words r J. We laa
SH MaNip ARS Res K Lib jay aye id eRe
e are ‘printers, tle _ printers, 2. we'd 4, ) e to
wl 5 515 5B BIB BB BIT 7 ZI 1-
must think first on the sub-ject, for the cop-y’s not a
Bom SEO ele 1S Tad 1S hs ee Bellas
re we write now, with our pencils, thoughts o - rigin-al and_ brie
mii 5 SI11 5 Slt] B.3i2.2 6.5l1-
| Treb.
you printers, you big printers, how’ we
M2228 2228 BBC 22 be
‘tse - lect-ing’’ from the apers, for they’re not th one pin!
g pap y Pp
bass 1 111 1 Tiel h die bind: B, 5,8, Bl 1-
‘In - structive,’’ some “A « musing,” with a Sone to soo
Sis
m5 31115 311 15 312 2 5 5l1-ll
a, lay Jay: da, Ja, 1 a, la, a, ha, ha, ha, ha, ha,
W/BSIREBSRBB SIZ YZ
a. la, da das eda, da, 1 1 Ha, ha, ha, ha 5 5 ha!
mo Ed ol 11115 6b 5 bla-l
la, la, la, la, a, ha, ha, ha, ha, ha,
4. Set the type now—set it quickly ;
Each compositor I'll beat!
There, my stick’s* full, so I'll empty it,
In the galley so neat.
5. Now we'll “make up”’ all the pages,
Slow! take care! twill all be pz!
Wet the proof-sheet, then the proof take,
We will read it by and by. 4
6. Do be careful—mark the “errors,’’ : as
Neg” Lest the public laugh or frown; } -
», It is shameful that Proof Readers
Should leave letters upside down.
7. “Off to press,’ now, we have finished
No. 1, of volume V;
) Our subscribers: ‘are increasing,
And the printers’ work must thrive.
*A composing stick is an instrument in which the compositor sets up the type, and a
galley isa long, narrow board, with raised edges, in which the type is placed before
being “made up”’ into pages.
From * School Songs for the Million.” Copyright secured.
>*
weger ane
ee eee
rs
~ itn
3 9310 01016584
m!
bt |
Ah
ry
iy mh
IMPORTANT SCHOOL APPARATUS.
a
FOR SALE AT THE OFFICE OF THE FATHER’S _ eae
_ AND MOTHER’S. MANUAL. aod
FOWLE’S SET OF OUTLINE MAPS.
THE PLAINEST, CHEAPEST, BEST FOR COMMON SCHOOLS.
This ponte series consists of eight maps, viz. :
1. The “astern Hemisphere, 5. The United States, i
2. The Western Hemisphere, 6. Europe, ¥
3. 2y-cth America, 7. Asia, * P
4, South America, 8. Africa, i t
The price including a Key, is only $4. en ges
The Key is a complete Geography, and contains Miniature Maps, corresponding with the | ws
great ones, and no other geography will be. needed, if each child has this Key, the price of || _
which, by the dozen, is only $1,50. es
an Published by Fitz, Hobbs & Co...
FOWLE’S NEW PHYSIOLOGICAL DIAGRAMS. ~— ||
CHEAPER, LARGER, BOLDER, BETTER FOR SCHOOLS THAN ANY THAT || —
HAVE YET APPEARED. | See
These new diagrams, eight in number, are ona larger scale ti... any hitherto pnblish= |} >.
ed, in order to be to Physiology what the author's outline Maps are ts . cgtaphy. ‘he |{
Series embr27es rd ee
1, The Skull and Unest,
2. The Pelvis and vicinity. . Sib ag! * :
3. The Lower, 2xtremities. . Bs: Ay
These three ave so drawn that they can be mounted. as one plate, and then they form 2.
sealed skeleton six feet and a half in height, every bone of the body being distinctly rep-_
resented. 4 aa
4, The Heart and Lungs, on a grand scale, to show the Circulation and Respiration.
5. The Stomach and Abdominal Viscera; to show the Digestive System.
6. The Brain, to show the Nervous System.
7. The Eye and Ear, to explain their Structure.
8. The Teeth, Vocal Organs, Diaphragm, Skin, &c., &e.
The price of the Diagrams and Key, on cloth, and colored, will not exceed $5.
Fitz, Hobbs & Co., General Agents:
4
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THE COMMON SCHOOL JOURNAL.
; W. B. POWLE, EDITOR, ee
Published by FITZ, HOB & CO., 120 Washiugton St., (up staie- ) Poston. ae +
This is a spirited and valuable semi-monthly periodical, devoted a to the int_resis of |f =. y
‘schools, It is unquestionably the oldest and most respectable. School Journal in the Uniteu 4)
States. Subscription price, one dollar in advance. . ' ae
All communications containing remittances of subscription money to be addressed, post
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All communications intended for publication in the Journal to be addressed, post paid, to jj
the editor at West. Newton, Mass. dee a
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A beautiful miniature book bound in the style of ‘ Unconscious Influences.” Published {|
by Fitz, Hobbs & Co., 120 Washington Street, ene tea SS aR ia
This little book contains 124 pages, embracing three stories, named as follows:.No. 1. i} ier
“‘ Andrew and his Playmate.’’ No.2, “The War Makers.” No. 3, “Little Mike.” - ee
These stories are written in a most interesting style, and as the author is‘a teacher of hich”
standirg, the incidents are unquestionably taken from real life. . ;
renin ee
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