. ■ 1 ** ™ l IX ? r9r-5- SIGHT-SIN GLN G FROM THE ESTABLISHED NOTATION % IN A $EtIES OF Jkssons anir ferries 011 % Conk Jlrinopk, BY K W. S. YOUNG, OONpUCTCito OF THE FIRST JUVENILE CONCERTS OF THE TONIC SOLFA ASSOCIATION AT THE CRYSTAL PALACE. Price Is. 8 cl. anil $Ufiistl> (Sirttion. TONIC MUSIC DEPOT, PATERNOSTER ROW, E.C. m Tint, at Sts. Hall- PECULIARITIES AND ADVANTAGES OF TONIC MUSIC. It is now generally admitted that the art of sight-singing is best and most readily to be attained by measuring interval from the key- tone or tonic. The principle is not a new one, but is that which may be justly denominated the old English plan, since we find fiiat ao far back as three centuries ago it was in constant use. It is the plan, too, adopted by all the best and most popular teachers of modem times. Mention need only be made of Morley, Tansur, Webb, Dr. Crotch, Turner, Rev. J. J. Waite, &c., in confirmation of these facts. It is the plan, too, upon which our world-renowned Lancashire sight-singers have gained their well-deserved popularity, and let us hope it will be the plan upon which the British nation generally shall be made to rival those days of musical glory when every man could take his “ part ” in a musical composition. But fashion with its overwhelming tide set in, and for a while this tonic principle was hidden under the intricacies of a French method, made popular through the skill of its teachers, but doomed to give way before the rising of the tonic star. There are difficulties, however, to be found in any system, which must be fairly met and mastered, if we may hope for success. If there be any connected with the adoption of the tonic principle, it is the difficulty of keeping in mind the position hf the tonic on the staff, and when modulations occur, to recognise at o nee to what new position it has removed. These difficulties it must be borne in mind are only those of beginners, expert musical theorists find no such difficulties, but it must be con- fessed that they stand much in the way of learners. To obviate this, we adopt the plan of printing the tonic line or space in dotted or spaced •ines, so that the eye can see at once on which portion of the staff the key-tone lies. The mind, thus relieved, can apply itself to the measur- ing of interval from it, and a few simple rules of relative distance are all that is required for those who understand how to produce a required sound ; indeed, rule 1 (see “ Sight-Singing,” p. 11), faithfully practised, will go a very long way in giving ability to read from the staff at sight. Examples 1 and 2 represent the key-tones on the second and fourth all other intervals must be reckoned from them : — Key G. Examples 3 and 4 show the key -tones in the second and third spaces : — lEx. 3. Key A. Ex. 4. Key C. If a modulation occur, it is shown by the removal of the dotted line to its new position. Example 5 shows a modulation from G to D : — Key G. Key D. See also Examples (of modulation) in “ Sight-Singing,” pages 59, 60, 62, 64, &c., and “ Tonic Music,” Vol. I. pages 44, 45, 49, 51, &c.* It may be noticed also from the above examples that we introduce that which we consider to be a better plan of marking the “parts” soprano, alto, tenor, by inserting in the clef the initial of its part. No difficulty can then arise as to the particular line of the score containing the “part” to be sung by a given voice. The bass clef speaks for itself (see “ Sight -Singing,” page 8.) The adoption of the dotted tonic line or space does not prevent the instrumentalist from using the music, but rather guides him as he goes along, by showing decidedly in what key he is playing. The treble and bass parts are placed next each other, rendering it easy for those who use a pianoforte to play from the same score as that which is used for the voice. The addition to the soprano part, by small dots made by a pen, of the alto and tenor parts, secures for the pianist a complete score. * Sc# Advertisements. SIGHT- SINGING FROM THE ESTABLISHED NOTATION IN A SERIES OF LESSONS AND EXERCISES ON THE TONIC PRINCIPLE, BY W. S. YOUNG, -a CONDUCTOR OF THE FIRST JUVENILE CONCERTS OF THE TONIC SOL-FA ASSOCIATION AT THE CRYSTAL PaSaC^A^ Price Is. 6d. ^surl^f anb $ebistb €i»ilion. ™ x /cy ^ £\/ a ' 1 V Ent. at Sta. HalC" / L /• TONIC MUSIC DEPOT, PATERNOSTER ROW, E.C. l/J V i\JL , f rt j /. V f > t Gi It . tifl >' ■ ' tV LONDON : HENDERSON, RAIT, AND FENTON, GENERAL PRINTERS, 23 . BURNERS STREET, OXFORD STREET. PREFACE. The following work is strictly elementary in its character, and is designed for those who have passed through a course of lessons in the Tonic Solfa method, or those who, through prejudice or other reasons, object to the new notation used in that method, but who, at the same time, prefer the plan of reading music from the key-tone or Tonic. Having been a student and teacher of all the popular methods of reading music as they have successively arisen, the author feels that he has gained such experience as enables him to decide upon the comparative merits of, and to adopt that which is most useful in each. He is therefore very ready to acknowledge the great value of, and benefit he derived from, the first course of lessons given by John Hullah, Esq., to schoolmasters and schoolmistresses, at Exeter Hall. But, having early approved and adopted the Tonic Solfa method, and having been one of its first public teachers, and having used it in, and throughout, its various alterations, modifications, and improvements, the author feels that to this he is mainly indebted, and has to confess that similarity of design and expression to that used in that method will be found in this work. To the Rev. John Curwen, therefore, the author has to express his deep obligation, not only for direct cordial permis- sion to use the nomenclature adopted by him, so as to render his “modulator” available for the teachings of this book, but also for the indefatigable exertion by which he has caused the long-lost Tonic principle to be again revived in England. But to the labours of Dr. Lowell Mason, of America, is the author and the people of England generally, most mainly in- debted for this revival. To those only who have studied his musical works is the extent of such obligation known. Teachers will, therefore, find but little that is new in this work. He trusts, however, that that which may come under that term may be found useful. IV The author has sought in this book to present a course of lessons thoroughly sequential in their character, leading gradually from that -which is simple to that which is more difficult. Some teachers, unfortunately, too generally take it for granted that their pupils know a great deal, it is much better to err on the other side, and suppose that they know nothing, and to treat of each subject in the most simple manner, so that even the dullest of the class can follow. It is therefore desirable at the commencement of a course of lessons for the teacher candidly to tell any pupils who may be, or think they are, more forward than the rest, that they must, for the general good of the class, patiently submit to be treated precisely the same as those who absolutely know nothing. He would desire to direct attention to the plan of marking the Tonic and its modulations, which plan he thinks will be found valuable in the early stages of instruction. With more advanced knowledge, such plan would perhaps not be needed, although the author has always found difficulty, even with expert sight singers, in ensuring a proper, ready, and unanimous change of solmization, when such change has not been previously pointed out. The author does not claim perfection for this plan, but hopes that even this attempt at improvement (innovation some perhaps may call it) will lead to something which shall be more useful. In the matter of the Initial Clefs, the author con- fesses with pleasure that the idea was derived from the work of Mr. Hickson, “ the Father of English School Music f entitled “A Musical Gift from an old Friend,” in which he marks the Tenor part with its initial, but neglects the others. He believes the plan will meet with general approbation. In conclusion, the author trusts that the publication of this work will assist in obtaining for the Tonic principle a more widely extended recognition, as the plan by which the mas'ies shall the most easily and effectually attain to the art of sight- singing. SIGHT-SINGING FROM THE ESTABLISHED NOTATION ON THE TONIC PRINCIPLE. In Music there are three principal things to be studied— 1st. Time — length , or duration of a sound . 2nd. Tune — pitch , or highness or lowness of a sound. 3rd. Expression — force , power, or strength of a sound. These distinctions necessitate a threefold division of the sub- ject, and each must be separately and carefully studied by those who would make progress in the art. * Of these divisions, that of time is perhaps the most neglected by ordinary singers ; and to this we purpose first to give our attention, when, having become familiar with the forms representing it, we may the more readily master the other subjects. It may be necessary to premise that music is usually written upor. five parallel lines called a staff, thus — Ex. 1. = • Pupils must not imagine that they are going to be made singers all at once; they must be content to work on steadily, patiently, and perseveringly, when, after a little while, the fruit of such “ work ” will be found in the ease with which they can read music, and the pleasure to be derived from it. There is no “ royal road ” to its attainment. and that upon, or between, these lines certain characters called notes are placed to represent the length or duration of sounds. The length of sounds is regulated by a division into equal portions of the time occupied in the performance of the music. These portions are called measures, and are marked on the staff at equal distances by upright lines called bars, thus — Ex. 2. Care must be taken to insist on the distinction between a bar and a measure, since the former is often erroneously used to express the latter. In Example 2, there are four measures to five bars, there always being one more bar than measure. The last bar is doubled, and is called a double bar, and is used to indicate the end of a phrase, or strain of the music, and sometimes a line of the poetry. A double bar, when used to indicate the finish or end of the music, should be sup- ported by an additional line or lines, thus — Ex. 3. This is usually called a close . These measures are divided into portions called beats, and ,ire usually one of four kinds, and are spoken of as — two- beat measures — three-beat measures — four-beat measures — six-beat measures. Each of these will receive attention in their proper order.* To assist in the computation and accurate division of time, certain motions of the hand are made. This is called beating time. Every person learning to sing should give much attention to this, since experience proves that where the habit of beating time is neglected, the ability to keep time is seldom acquired ; besides, where the teacher neglects to teach proper time-beating, the pupils are found to adopt certain practices of their own (not always of the most methodical character) as a substitute ; such as, making a motion of the finger to each beat, stamping the feet, swaying the head from side to side, etc. etc.; all of which practices must be discouraged, nay, prohibited, and all beat uniformly and methodically. Two-beat measure requires two motions of the hand — one in a downward direction, called the down beat, and the other in an upward direction, called the up beat. The teacher will now draw upon his black board f two arrows, thus — and causing the pupils to stand, require them to make beats at equal intervals of time in the direc- tion of the arrows, saying, as they make them — down, up — down, up. This should be continued till all the • The teacher will do well to ask frequent questions, and not proceed further till he obtains clear and definite answers. f No teacher should appear before his class on any occasion without a black board, having two staves of music lines on it; with chalk, duster, pointer, and modulator, since in every lesson there will be sure to be something to illustrate or enforce ; and, after all, the black board is perhaps the best teacher. 2 pupils can mako them evenly and regularly. For further practice, the numerals 1, 2 — 1, 2, may be used in a similar manner; and, as this is the simplest form of time-beating, the teacher should spend a considerable time in getting it 'perfectly done, since any little neglect or irregularity now will cause a vast amount of time to be wasted in after study. Connected with time is accent , or a stress of the voice on a particular beat. This, indeed, is the foundation of all good time in music, since, when, and after time beating is discon- tinued, good time will be kept by its aid, the time notion having been w r ell impressed by time-beating. There are two accents in music — & primary and a secondary accent. Two-beat measure has but one, the primary, and this is laid upon the first or down beat. In order to assist in its attainment, the pupils may repeat the following, or any similar series of words, which, consisting of words of two syllables, and having the first accented, will illustrate the measure. The pupils should stand, beating the time as they repeat them, carefully accenting the first syllable. roam - ing mu - sic plea - sure ac - cent faith - ful mea - sure flow - ing voi - ces psalm - ist ear - nest foam - ing sing - ing guid - ance tri - umph whis - per As a change, the ladies of the class may be required to do this alone, while the gentlemen listen, and, vice versa , for as much may be learned by patient listening as by doing. In order to assist still further in the attaining of this accurate perception of time, the teacher should advise the pupils to practice time-beating at home, standing before the clock, and making the beats with the pendulum. A quarter 3 V, of an hour’s practice thus, for a few days, will do more to- wards making good timists than any class-practice can pos- sibly do. Yet the teacher must not be tempted, for the sake of forward pupils, to permit the class to go further till this accurate perception of time is attained. This character f, called a crotchet, usually (not always) represents a heat — it would be well did it always represent a beat ; but, as it does not, the various forms of a beat must be studied hereafter. In our exercises, however, such will be the case. This character P>, called a minim, usually (not always) re- presents two beats, 1 and is so used in this book, except when otherwise expressed. In written music, two-beat measure is usually marked by the numeral 2 being placed as the upper figure or numerator of a fraction, as, §, or f, or §, etc. etc. — the lower figure indi- cating the note* (or character) used as a beat, to be here- after more fully explained. The pupil may now practice the following Exercises to the syllable la, spoken fully and distinctly, with mouth freely opened, at the same time making the beats. When music • Let the word note ( note , a mark) be carefully distinguished from sound or tone — a tone is to be heard, not seen, while a note is a thing to be seen, not heard. is thus sung to the syllable la, it is said to be vocalized — an excellent practice. Let them afterwards be sung to the numerals and the words. e*. 4. i-r-M-r- M - r- n r ri b See, the glo - rious sun is ris - ing ! Hark! the birds are eai - ly sine - ine. 1 2 3 4 5 6 7 8 6 E- 5. r i rr i f If I f r trir imrtpit- La, la, la, la, 1 23 4 5 67 8 1 2 3 4 Come, singwith me, come, smgwith me, and keep good time. THE SCALE. Musical sounds are seven in number, and are arranged in a certain series called a scale or ladder (scala, a ladder ) — sometimes an 8 th sound is added, called the octave ( octo , eight), as forming the boundary of the scale. This, however, is more properly placed as the beginning or first sound of another and upper scale. These sounds are known by various names — some teachers preferring to call them by numerals, others by letters, others by syllables. The following diagram shows each of these ways : — 4 For purposes of solmization we prefer the syllables, be- cause they assist in producing a full, clear sound; hut teachers who prefer the numerals can easily adapt them to all the exercises in this book. Let these syllables, therefore, be now carefully learned — the teacher by questioning ascertain- ing whether the pupils can name any note when asked. They may be learned by pupils repeating thus — Doh is the first of the scale. Ray is the second of the scale, etc. etc. The lowest (first, or doh) is called the key-tone, or Tonic, and upon it all the others depend for their musical character. The distance between any two sounds is called an interval {inter, between — vallum, a ditch), and, according to the extent of the distance between them, so they are named seconds, thirds, etc. etc. The pupil may read the scale thus — From doh to ray is a second. „ doh to me is a third. „ doh to fah is a fourth. Ex. 7. 4 fah or F 3 me or E 3 ray or D From doh to soh is a fifth. „ doh to lah is a sixth. „ doh to te is a seventh. „ doh to dehl is an octave. The scale (following its sequential order) is coc^'V! of seconds ; these may be read thus — From doh to ray is a second. „ ray to me is a second. „ me to fah is a second, etc. etc. Let it now be pointed out that of these seconds those be- tween the third and fourth (me, fah,) and seventh and eighth (te, doh 1 ,) are closer together than either of the others. These smaller intervals are therefore named minor (smaller) seconds, while the others are major (greater) seconds. Thus the scale will be found to consist of five major and two minor seconds. These intervals are also by some teachers called “ steps ” and “ half steps,” having reference to the musical scale as a lad- der. The teacher may draw a figure to illustrate this, thus— 8 C 1 or doh 1 7 te or B 6 lah or A 5 soh or O 1 doh or C 5 It is very important that the positions of the half steps be carefully remembered, since upon these hang the •whole construction of musical scales hereafter to be explained. This scale is called a Diatonic scale (dia, through — tonos, a sound) (by, through, or progression by tones), to distinguish it from the Chromatic scale, composed of half steps only. The scale may again be read thus — From doh to ray, a step. „ ray to me, a step. „ me to fah, a half step, etc. etc. The Teacher should now sing the scale, pointing on the modulator as he does so, after which the pupils may imitate. This must be done till they can sing it readily. It will now be found that (generally) there are some per- sons in the class who cannot sing these notes, or who, in endeavouring so to do, make a confused noise, such persons have either untrained ears or voices, and should patiently submit to be placed at the back of the class, and go through a course of listening or “ ear cultivation ” and, if possible, get some private practice with the teacher, or more forward pupils. Such persons are generally very anxious to learn, and will submit to almost anything that can be pointed out as likely to improve them. OF THE STAFF. 5tli line 4th line Ex. 8. 3rd line 2nd line 1st line The staff consists of five lines and four spaces, the lowest line is called the first line, next above the second, and so on. The spaces are similarly named, commencing at the lowest, h 3, first space, second space, etc. Let the pupils name them. Each line and space of the staff is also called a degree; thus, there are nine degrees, five lines, and four spaces. When the staff does not contain sufficient lines or spaces, others are added either above or below, as may be required, these are called added or leger lines. Sounds are represented by the notes (minims, crotchets, etc.) which are placed on, or between, the lines and spaces of the 4th space. 3rd space. 2nd space. 1st space. staff. — The scale may he represented on the staff in various positions , beginning on any line or space , but when the place of one or doh is fixed, notes representing the other tones must follow in their proper order. In this book a dotted line or space is used to represent doh or one. In the following Example “ doh ” is on the second line — and the other notes follow in regular succession upon the staff. Let this be sung with the syllables, doh, ray, etc. 6 In Ex. 10, doll is on the third line — Let these he read. From these Examples the pupils may observe that the scale has no fixed place on the staff, but may be placed in any chosen position. Let the following Exercises be sung first to doh, ray, me, In Ex. 11, doh is found under the first line, and its octave on the fourth line, which line, on account of its convenience, is here dotted — Ex. U zzzzizzzzzzz~,zij^*^z +--m--jr-~y ^ 7^* - ----- » * etc., and then to la , la. In Exercise 15, two notes are joined by a curved line called a slur — one la is only to be given to both notes. As some of the Exercises are too high for gene- ral voices, the teacher may pitch them lower : — ~~i r :~4— 1- -=T tt -_g— •: zf zsf rr t T~t' z U J j y i zJ. -< J tt SL ■-=*= d=:4— P- 1 a — Doh, doh, ray, ray, me, etc. La, la, — t-j P ~w~f f=P=\ f fhjfj m - — m r F=t=P =t=- rtttt jzizizi •m t---- ZZS2.Z.Z Z /UU, La, la, Ex. 14. r i-f 0ZZ0- -ZZ=f 0 0 zpzzfizzz- ■ zz . z L-0 — 0 — * L — =-i -4 1 A-0 ^_L d 0 Doh, doh, ray, me, etc. La, la, -m 0- ?-fq Pi Fp---,,r fj |— Q P ~ -f*'— — =fc 1} ZZBZZ^Z £e£ jrzzhz .zt.-z.-z rtrzizz ±z_zzz 1 zzizirz- -TT'-ZZZ Doh, ray, me, fah, soh, etc. La, la, Ex. 16. — J— 4- (4=P p=1=q -1 h- 4=h -m 0-i tt — -i r-z=4== 'll- 0 *- .J3..Z - d__ *. — -r- -?• Jll IT- -1 4-_~— -1—4- Doh, doh, ray, me, ray, etc. La, la, Ex. A. I LOVE THE SPRING. i I love the spring, the gen - tie spring, I love its balm - y air. > Come j. _ I love the show’rs that ev - er bring, To ns the flow’r-ets fair. ) ’ And an - tumn with its plea - sant fruit, And win - ter’s cool - ing air. us sing we love the spring, We love the sum-mer fair. EX. B. MAY-DAY. 1 _i- rf-Tb 0 #_ =Wq -f—f- f ■ -m ■ 4 — h 4=^ 0 ^ — 1 r r — - S---+- .tL.F- 44 4-4- 4-4 1 44 444 May-day now is sweet-ly smil-ing, Hearts of care and grief be-guil-ing, Tuneful choirs their song are wak-ing, Tones on e - cho gen - tly breaking. 1 1 1 — 1 — h i=h=|q — 1 — 1 1- -I — h — 1 — n — 1 — r 1 1 4b 4^4 ? hi. 1 » * — 1 — U 7 *. - 0 . 0 • -FF-- :'.r 0 -0-- 11- So-cial friends are now a- round us, Thousand gifts have richly crown’d us, Hearken then to what we’re say-ing, Let us quick-ly go a May-ing. Ex. C. LIFE IS LIKE. F= : FFF 0 - ■ 0 ‘ • * \ — 1“ 1— — H — F F~=4~ 44 m * f - * ■ =*==FF 3 ==F j4---—L4J 4 - 0 — -O- \-G> — rrab*. 4^ ~M * # » _ £4rL4±=: =F±r44 Wliilfl TrflVo cufn frnm otnmn nr* cliAw.or Wof-forl Ktr flip frpn . fin cro 1 r> Wo 11 cpi ’71 Life is like a ship in mo-tion, Sometimeshighandsometimeslow, Where ev - ’ry one must brave the o-cean,Whatso - ev - er wind may blow, While we’re safe from storm or show-er, Waf-ted by the gen -tie gale, , . , 1 We 11 seize the pre-sent, pass-ing hour, And to the breeze un -furl our sail. Ex. D. BIRD OF THE GREENWOOD. Notice half beat notes. =5=1* . -a— V» — & m — T~i~~ 1. Bird of the green- wood, Oh, why art thou 2. Mid the wild bil - lows Thy place must not here? be, Leaves dance not But mid the to thee, Flow’rs bloom not wav - ings Of rose and i— - V--Y- -- 4 fr"g z. -:S -Ln -— : — m J- - near, tree, All the sweet wat - ers far How canst thou bat - tie wiiv rV-Hr I hence are at play, Bird of the green-wood, a - way, a storm and with spray, Bird of the green- wood, a - way, a Bird of the green- wood, a - way, a - way! Bird of the green- wood, a - way, a - way! way; way; 8 ABSOLUTE PITCH. Each line and space of the staff, besides representing the sounds of the scale relatively to each other, indicates what is called absolute or fixed pitch. Thus a note on the upper portion of the staff represents a sound higher in the scale of the voice than another placed in a lower position. This absolute pitch is necessary for instrumentalists, and for deter- mining the highness or lowness of the key- tone. Absolute pitch is represented by the letters CDEFGABC 1 , and form what is called the standard scale, as in the annexed, viz. : — The sound C 1 is obtained from a tuning fork,* which gives but that one sound, and any other sound required must be obtained by running down the scale, and stopping at the one sought. Suppose, for instance, the pitch of E be re- quired for a key-tone; then the sound C 1 being taken from the tuning fork, we pass down the scale till we come to E, on which we stop. The teacher will show liow to do this. The sound E thus obtained is a key-tone ; now all key-tones are invariably called “ Dob.” The sound of E must be therefore, as it were, transfered to the modu- A G F E D C * Pupils should possess a tuning fork for home practice. Teachers should ilways have a supply on hand . — See Advertisements. lator and called “ Doh.” The teacher will go through exercises on the various key-tones. This standard scale is represented on the staff in two positions corresponding to the two great divisions of the human voice, the male and female, thus — For female voices, C is placed on the first added line below, the other letters rising in succession above it. When thus used, a character called a G Clef (^) is placed at the be- ginning of the staff, turning principally on the second line, thus — Ex. 18.; For male voices, C is placed in the second space, and, when so used, a character called an F Clef (t§j) is placed at the beginning of the staff on the fourth line, thus — -c- Ex. 19.^ The names of the lines and spaces must be perfectly learned, since, in speaking of them, those names only are used. Let the pupils practice them. 9 Voices are further divided as follows : — Soprano — the higher voice of women and children. Alto — the lower „ „ Tenor — the higher voice of men. Bass — the lower „ ,j As the G Clef is now commonly used for the three upper of these voices, much confusion arises from inability to distinguish which staff carries the part intended to be sung by any particular kind of voice. No uniform plan of arranging the parts existing, and not being likely to exist, we have determined to associate with the G Clef the initial of the voice for which the music is intended. Thus— The Soprano Clef would be represented by The Alto Clef would he represented by The Tenor Clef would he represented by No confusion of parts can then possibly arise. When music is simply used as exercises, in which all the voices are to join, the plain G Clef is used. Clefs, however, have no difficulty when the Tonic is re- presented, as in this book, by the dotted line or space — the teacher giving the sound “ doh ” its place on the staff, of whatever kind, is at once recognised. Let the following and similar questions he asked as to absolute pitch : — Bass voice — Ex. 20. 1 ■ '■ . What is name of first line, second line, etc. etc. What is name of first space, second space, etc. etc. The ascending and descending scale of C is here repre- sented — Let it he sung by the pupils as follows : — I Doh, ray, me, C, D, E, La, la, la, Who made the sue with beam* so bright? Who made the moon to shine at night ? Ex. A. 10 Round for Four Voices — “DARK AND DEEP.’ 1" t-T 1 1 | — - ; 2 -, — i — i — i — p 1 r L— : 4~- f-~ =1 =1 - -S- - -m- - - m- - -t ----J-I -^J — i Dark and deep the wa-ter’s flow-ing, While our boat is swift- ly go - ing, And the dis-tant thun-der’s roar, Bids us quick-ly seek the shore. Ex. B. Round fob Four Voices— “HEAR THE TRUMPETS.” 1 2 — 4FFF HH-4==f=4 — I — i — r~ -J - J J j ' 1 i - H~ ■■ -si_ ;p3=plh Hear the trum-pet’s loft - y sound, E - cho thro’ the woods a - round, Hear the trum-pet’s lof - ty sound, E - cho thro’ the woods a - round. Ex. E. IF WISHES. Fj— j-1 — F « i » -- m - " J F=F=F3 ■ - 1- 1 — - * !-- ._JL ._g *_.* _ -si. — t f=4q -^3 — ^ © a „ . -j ■! ■ -4 1 : 1 ^ U- 35E -P- r * — -g — A-^-. - But they on - ly pros - per who choose to work hard, And slug - gards by wish - es will gain no re - ward 11 OF FOUR-BEAT MEASURE. Four-beat measure requires four motions of the hand, which heats may be made in the following directions : — down — left — right — up. The teacher will draw a figure on the black board, and the class, standing and looking at it will make the beats, saying — down, left, right, up ; or, 1, 2, 3, 4 — 1, 2, 3, 4. Four-beat measure has two accents, one on the first (pri- mary accent), and another on the third or right hand beat, not quite so strong (secondary accent). The following words, practiced similarly to those in two-beat measure, will give an idea of these accents gen' - tie - man'- ly sym' - pa - tliet'- ic mez' - zo -for' - te di'- a- ton'-ic his' - tri - on'- ic hor' -i - zon'- tal con' - se - qnent'- ly as'-i-at'-ic mod'- u - la'- tor Four-beat measure is usually called common time, as being that most commonly used, and is often marked with a great C, thus — - but as this sign is often used for two-beat 22 - ° h^ - Tr -ri-r r - r r I r La, la, la, la, la, la, la, etc. measure, the figures i are now more commonly and properly used, as being less ambiguous. Sometimes the C has a line drawn through it, thus (jl In this form it more frequently represents two-beat measure. Four-beat measure is also ex- pressed by the following figures — 5 , These latter figures (qp) indicate what is called compound common time; but these are now going out of use, since “ one twelve-beat measure” is better written as three four-beat ones. All compound times may be thus resolved into their more simple forms, by drawing a pencil through and dividing the measures. One four-beat measure may also be reduced to, or considered as two two-beat measures. This note o called a semi ore ve usually (not always) repre- sents four beats, and is so used in this book except when otherwise expressed. The following example in four-beat measure may now be performed : — — TT-l r r r \-~-t r t t\- Sing the Scale in four-beat , two-beat, and one-beat notes, ascending and descending. Let the following be sung first to doh, ray, etc.; second, to la, la, etc .: — nfr: Ex. ---4--- One, two, major second ; two, three, major second ; three, four, minor second ; four, five, major second ; five, six, -Jr-Jr- I — P~- 1 Q._ -- P-— * - — _ 1 — 1 — 1 — 1 1 J-TZ major second ; six. seven, major second ; seven, eight, minor second ; eight, seven, minor second ; seven, six, major second ; — -f.-t.-t-- — t — p . _r 4- 4-4-- — 1 — _ — r— ------ — r ".-P. I * LJ J J— 0 — L-g, a ■ — -T six, five, major second ; five, four, major second ; four, three, minor second ; three, two, major second ; two, one, major second. 12 OF INTERVALS. Tunes or melodies are not arranged according to the re- gularly succeeding steps of the scale, but by intervals chosen according to the taste of the composer, or the nature of the subject for -which the music is composed; it is necessary, therefore, to be able to produce at will any sound of the scale in any required relation. To do this requires much patience, and the teacher will therefore introduce much modulator practices in these early lessons. The easiest sounds of the scale to remember are the first, third, fifth, and eighth, or doh, me, soh, dob 1 ; and as these also form the groundwork of music, should be first studied. Great variety of practice may be obtained on these four sounds. The teacher may afterwards add the upper me and soh, m 1 , s 1 ; also the lower soh, s x ; never leaving these seven sounds till they are readily and accurately sung in any rela- tion to each other. The four sounds, doh, me, soh, doh 1 , are called by musi- cians the chord sounds of the scale, and, when sung together, produce harmony, concord, or agreement of sound ; and, since they are more frequently employed in harmony than any other, they are named the Common chord ; they are also spoken of as the Tonic chord , being founded on the “ Tonic ” “ doh” or “ one” of the scale. Separate the class into four divisions — Let one division sing “ doh,” another “ me,” another “ soh,” and the other “ doh 1 ,” thus producing harmony. Having learned from the modulator these chord-notes, the teacher may introduce the others, “ ray,” “ fah,” “ lah,” “ te,” observing that these depend or hang on the others, and may be called dependent notes, thus — “ te ’’ leans, or hangs, or is dependent upon “ doh 1 ." “fah” „ „ „ “me.” “lah” „ „ „ “soh." “raT” „ „ „ “doh." So strong is the tendency of “ te” the 7th to rise to “ doh,” that musicians agree to call it the “ leading” note, since it seems naturally to introduce “ doh” to the ear. It may also he regarded as the “ sharp,” “ rising,” or “ acute” note of the scale. “ Fah” also has so decided an inclination to re- solve itself into “ me,” that it is looked upon as the “ descend- ing,” “flat,” or “grave” note of the scale. Let the females of the class sing the sounds, “te,” “doh 1 ,” dwelling for a con- siderable time on the “ te” before rising at a signal from the teacher to “ doh 1 ,” and they will then perceive this rising tendency. In a similar manner let the gentlemen sing “ fah,” “ me,” and afterwards let both be sung together, thus — d 1 Females t Males f Let the dependent sounds now be practised from the modu- lator till they are perfectly at command of the singers. We must now endeavour to learn the places of these scund. 13 on the staff. This is the principal difficulty in reading music, since it is necessary to keep in mind the particular line or space of the staff which represents “ one” or “ doh” of the scale, all other notes being measured from it at their proper relative distances. This difficulty, however, vanishes by representing (as we do) the tonic by a dotted line or space. ’Tis easy enough to name a note which stands on the next degree of the staff to another, and a few simple rules will assist us in naming the others. These are called RULES OF RELATIVE DISTANCE.* Since thirds are easiest to read, and are of most importance, we commence with these : — Rule I. Notes a third apart are found on succeeding lines or spaces. Thus, if “ doh,” the first, be on a line, “ me,” “ soh,” “ te,” “ ray,” See., the thirds above it, will be found on the succeeding lines above, and the descending thirds, “ lah,” “ fah,” “ ray,” &c., will be found on succeeding lines below ; and similarly, if “ doh” be on a space, the thirds connected with it will also be found in the spaces. Learn the series of thirds ascending and descending, and afterwards practice them on the “ staff modulators”t in the various keys, first from those whose tonics are on the lines, and afterwards from those Cn the spaces. In a similar manner is each interval to be practised when its corresponding rule is studied. This rule (I.), thoroughly practised, will go a long way in making pupils expert tonic singers. * It is not intended that these rules should be all given or learnt in one lesson, oetter to take them one at a time, and do a considerable amount of practice on the staff modulators in relation to it. t The teacher, when using staff modulators, should have a piece of leather, of about two inches diameter, cut in the shape of a child's battledore, fastened to the «id of a rod, to be used as a pointer. Rule II. Notes a fifth apart are found occupying similar or like positions on alternate lines or alternate spaces. J A fifth, in this sense, might be considered as two “ thirds." Rule III. Notes a seventh apart occupy similar positions, and have two lines or two spaces intervening. Sevenths, in this sense, might be considered as three “ thirds." The teacher may now point out that the intervals represented by the odd numbers, 3rds, 5ths, 7ths, &c., occupy similar positions, while it will be seen from the following Rules that those represented by the even num- bers, 2nds, 4ths, 6ths, 8ths, will be found on dissimilar or unlike positions. Rule IV. Notes a second apart are found on following degrees of the staff. Rule V. Notes a fourth apart occupy dissimilar positions, and have one line or space intervening. Thus if one of the sounds of a fourth be on a line, the other will be in a space, and vice versa. Rule VI. Notes a sixth apart have two lines or spaces inter- vening Rule VII. Notes an octave apart have three lines or spaces in- tervening. t The “ dotted space Tonic” might he introduced to pupils thus : — 1st. Draw attention to the fact that some lines are dotted and others not : chose that are not dotted may be called solid lines. 2nd. That when two lines are dotted, the upper one represents “ray” of the scale, and the lower one “ te.” 3rd. That the first solid line above the dotted space always represents “ fah.” 4th. That the first solid line below the dotted space always represents “ l;wer soh.” Thus names for at least four lines of the staff may be known almost at a glance For further information respecting “ staff modulators" see advertisements. 14 Practice the following Exercises in connection with the corresponding rule of relative distance. These are rather EXERCISES IN SECONDS AND THIRDS given as specimens for the teacher than for absolute prac- tice in the class ; they may be multiplied ad injin. m — -4---T+ ■ — Ex. 24. 4= 4=: •tr Ex. 25. : Ex. 26. I f~ A--- ±-1 ^Se rjri: F -A-“ i-- 1 — r Ex. 27. I I F-- zjzrrz u EXERCISES IN SECONDS, THIRDS, AND FIFTHS. -j 1 pj- C .j I — h -4 * — p r- p ^ i J j — ' — ii — •—! LL-L^-T^tJ — ; - - J- J^a-i - *- J fe'4-J-lJ /J- & Ex. 28.; Ex. 29. ; 1 - 9— p— -g Ex. 30. S= fg £gj=B l S=i=£lli=§i 0- 15 Ex. A. (Round in two parts.) “ COME AND JOIN.” j v- — F P ~ * — # (9 _ 1 p°t — F=d — =1= — ■ i 1 1 & — ' — 1 1~~ ZZZT-. --F— : P d : - Come and join our cheer - fill par - ty, While we sing this ea - sy round, Come and join us, While we sing this round. J] x . B. LITTLE THINGS. P~\ -P— 1 1— — i — - m P =f= F=*—h — i — i — — 1 rbrrtJ LJ — 1. Lit - tie drops of wa - ter, Lit - tie grains of sand, Make the migh - ty o - cean. And the plea - sant land. 2. Lit - tie deeds of kind - ness, Lit - tie words of love, Make our world an E - den, Lake to heav’n a - hove. Ex. C. HEAR US SINGING. .? ^ jzqi— 4-, n 0 -^T] — ^ — i pd zj— _4 1 -- rfy-— _-j 4 D.C. _ q ii / ' 0 1 : - ~il Sing it o - ver with your might, Ne - ver leave it, ne - ver leave it till ’tis right. Ex. E. (round for three voices) — “ COME AND JOIN.” 12 3 DC. ~9 ■. 1 1 -t — 1 r 1 7— n 1 1 — 1 1 — —1—1 t— i 1 — • 1— n : n -fay —-* — •w w:z~ \~r mzrrrM— + -f~~ ^=sE=\==^. ■=£=\ ,-_L i:_z 1-^f- H= Come and join the sing - ing, Kind - ly feel - ings bring - ing, Plea - sant voi - ces ring - ing- Ex. F. (round for three voices) — “ TIME ENOUGH FOR SORROW.” 1 2 3 D.C. r -Jn — •— P=t3 -zL.. -j — q~ — -1 ■ fzzz zz— zz„z W — — J — — — i — # 1— m J * 0 — — o Time e - nough for sor - row, Ne - ver, ne - ver bor row Trou - ble from to - mor - row. 16 OF NOTES OF DURATION, Etc. There are five principal notes in music to represent length or duration of sound. Adopting the crotchet j* as the stan- dard of a beat, they may be named as follows : — © — the Semibreve or 4-beat note. — the Minim or 2-beat note. — the Crotchet or 1-heat note. — the Quaver or 1-beat note. — the Semiquaver or ^-beat note. It is to be observed that each note is in length one-lialf of that which precedes it, and the teacher may arrange them on the black board thus, to show their relative value — o r r rrrr c_r c_r l_t c_r rrrr rrrr rrrr rrrr L l ■ i t ■ L ■ CESSES I i n n mi The pupils may read this table thus, taking the semibreve as the standard — Two minims are equal to one semibreve. Four crotchets „ „ Eight quavers „ „ Sixteen semiquavers „ „ Then taking the minim as the standard — Two crotchets are equal to one mi nim. Four quavers „ „ Eight semiquavers „ „ And so on with each other, viz. the crotchet and quaver. Besides these, there are two others, but seldom used, and which therefore may here but be simply named — The breve I Ml or eight-beat note, or double semibreve. The demisemiquaver £ or one-eight-beat note; or, as its ✓ name implies, the half of a half, or one quarter of a quaver. Practice each kind of note in four-beat measure. These notes may be used singly or in groups, their value continuing the same, thus — or ILLS A dot placed after a note prolongs it one half ; a dotted minim will therefore be equal to three beats. In Ex. 39, two notes on the same degree of the staff are found in different measures united by a slur ; such notes are said to be “ tied,” and are to be sung as one note. The same kind of thing may be found a little further on, where the semibreve is divided by the bar. This, however, is now only to be found in old music, the “tye” now taking its place. When notes are arranged in measures so as to destroy the secondary accent, a false accent is placed on the second bear- Astead. Such accents are called “ syncopations .” See Exercise 40. This > mark is often used in connection with them. 17 Let all Exercises be sung to dob , rag; la , /a; ant/ afterwards to words , (/" an^. 3b — ~t~ --I 1- CJ - » -P-- ' 1 . r T “ ----i - M l- J — - — t- -t -Tff — h ~+ H~ 4- ' >7 ■ C ■ 0+f * — - :rn -TTrrr — h -t- 1- ! w r — 1 r | L d-Tt J — c 1. 1 — U — i — M— 1— 1 h-p L -— — d j — w—m~ ksU-^-1 Syncopation. — i ■ ■ , i 1 ~1 -nr- S -r- 11 , rr- _i — T a -o m — p. — ..r 1 P 1 m 1 lr~ — J — A — • - 1. J ! — LL_1_.J. — L f Come, come, 0, haste ye! nor make no more de - lay; Come, come, 0, haste ye! seek wis-dom while you =:*5j~±3= — 1 1 i ■ -0 0- - ~ti=r - ~—\ -j I — ^ J J — ¥ — * — & — — 1 — 1 — 1 — — — _ m m u — Smil-ing May, comes this way, Mak-ing all things fresh and gay ; Mu - sic floats, soft-est notes, Hear ! from sweetest warbler’s throats. OF RESTS. Besides the notes indicating length or duration of sound, it is necessary also to indicate silence , or cessation from sing- ing. Characters used for this purpose are called rests, and are named after the notes of duration, each note having a corresponding rest, thus- Breve note \M Breve rest I Semibreve note o Semibreve rest Minim note p Minim rest Crotchet note 1 0 | Crotchet rest r Quaver note ; Quaver rest Semiquaver note m * Semiquaver rest Pemiaemiquaver note \ Demisemiquaver rest 3 Let it be noticed that the crotchet rest turns to the right, while the quaver rest turns to the left. A semibreve, or four-beat rest, is used for a whole measure rest of either kind of time. Dots are also used after rests in the same manner as they are after notes. Thus, a dotted minim rest is equal to a three-beat rest. In reading in time, rests should be counted according to their duration, thus — A one-beat rest should be counted “ one.” A two-beat „ „ “ one, two.” A three-beat „ „ “one, two, three.” A four-beat „ „ “ one, two, three, four.” When singing, the time of the rest must be kept in silence. Music may begin on any part of a measure ; count, there- 18 fore, the odd beats first. If the music, for instance, should begin on the fourth beat of a four-heat measure, count “ one, two, three,” before beginning. If the music begin on the first beat of a measure, it is well to count a whole measure first. Read the following to la, and name the rests 1, 2, etc. Ex. 42. p r r i r n - 1 r r rri r r l r r r i * • iv " i “ 1 1 La, la, la, la, la, 1,2, 3, 4, la, 1,2, la, 1,1,1a, 1,2,1,1a, la, la, la, 1, 1, Ex. 43 is a Round in two parts. A Round is a piece of music in which the same sounds are sung by different voices, with an interval of time between them. In Ex. 43, 44, let the female voices begin, and, having sung the first line of the music, pass on to the second, the gentlemen then beginning the first line — so continuing, till the teacher shall say “ last time,” when all will stop on the last note, over which is found this character /t\ called a pause. ROUND IN TWO PARTS. Notice the dotted Rests. -1 1-1 r — m _m_ - =1 1-1 1 *-# # zafcrj Will you go ? will you go ? will you go? will you go to day? No, no, no, not to day Ex. 43. Ex. 44. BE bEBB 3=e if- * m e -P- im O tell me, 0 tell me, 0 tell me, O tell me, why ? no, OF QUAVERS OR HALF BEATS. When two sounds evenly divided are produced in the time of one beat, each occupies half the beat ; the quaver com- monly represents a half beat ; four quavers occupy a measure of two beats, and eight quavers occupy a measure of four beats. Repeat evenly 1, 2, 3, 4, 5, 6, 7, 8, several times in suc- cession, making the beats as usual. Be careful not to divide them into pairs, as 1 2 — 3 4 — 5 6 — 7 8. Practice the following on la — E *- 45 --r r r r i -Q — I IW 19 Dots placed at tlie end of a piece of music signify that it is to be repeated. Sing the scale in half heats several times in succession, thus — Ex. 46. Ex. 47. “3- f—r EXERCISES 9- Sr - - ~ •? -m * , . -Azfsr — ✓ V / V 11 • 4 A quaver rest (shaped like that of a crotchet, but turned to the left), thus, (*l) is, in reading in time, counted “half,” as a crotchet rest is comated “ one.” In singing, it is suffi- cient to take a short but noiseless breath before commencing the next note. When a minim jo represents a beat, then the crotchet * is a half beat .— See Ex. 56. Ex. 49. 1 £§§ Ex. 50. Ex. 51. Round in Four Parts— “ THREE THINGS ARE SOUGHT FOR.” 3 — — 1 — ! zz — I |~- ~ J g>--— 4-Q — -& — m — (Si = — - H L -o Li-T-aIL Three things are sought for. Pow’r, pleasure, and wealth ; One spoils our tem -per, And two si^il our health. Ex. 52. Round in Four Parts— “IN THE FIELD THE MEN ARE MOWING.” In the field the men are mow - ing, Come and help them, I am go - mg. Ex. 53. Round in Two Parts— “ FRUITFUL FIELDS ARE WAVING.” 'i - --J - - f_-_- 'it'-TPlV ■-H 1 : --T - 332:4 ~i — -j ■ - O - 9 • * — G > r 5 * “ — — t ~ G > — Gt Fruit-ful fields are wav - ing With the yel - low grain; Peace-ful herds are graz - ing On the ver-dant plain. Ex. 54. R< )UND I =t= n Three Parts =t= — “ 0 MU SIC 3!” r = — i 1 — 120. — | ^ — 4- -o> — r^. . TTihl Oh ! mu - sic, sweet mu - sic, thy praises we will sing. rap £ } rfi I — We will tell of the plea - sure and hap -pi -ness you bring, 3 m -rtr S 32 Mu - sic, let the cho-rus ring. 20 Ex. 55. Round in Three Parts — “COME, COME, COME." (* = 69 Pr j--— *—— + -* _ * L * M- ^±~=ZZZ Come, come, come, the sum-mer now is here ; r — Jy br — 1_' 1 . _ : _ P Come, come, come, the sum-mer now is here, Come ^ii out a-mong the bow - ers And cull some pret-ty flow - era Ex. 56. EVENING BELL. o = 72. m Softly and Slowly. - — - PP — _ -i/-»-rs ri I , J | | I I,. 4a) 5 1~ • — - - -O' (- - — 1 --! P- - —o* — * m- - ~ ~o? -J — — 1- -J- r — - ^7“ O' O' O' O' O' 9 # O' O O' 1. Hark ! the peal - ing, Soft - ly steal - ing, Even - ing bell Sweet-ly e - cho’d down the dell. n . . 1 V 4 f ° n i _J Fj - * * m 0 w— 5- — - — - - -s) -1 - -si ci - __ g J _ - 1 T-- — -4--1 * -1- - - 1 h - - - c7 ^ 1 1 ’ 1 2. Wei - come, wel - come, Is thy mu - sic Sil - v’ry bell, Sweet-ly tell - in| ^ , . . days fare - well. | /T A _ 4s) 9r -O c -- — ^ o>- - --p — i-- - -T p - - \ - L _« ° • •• - -O' 3. Day is sleep - ing, r -f 2 - - ^ » Flowers are weep - ing r-r-'-'-ri Tears of dew, F£-~- Stars are peep - ing e - ver true. F 0 - -O' _ 1 1 4 O' 1 - L-a 1 F r r r i 4. Grove and moun - tain, Field and foun - tain Faint - ly gleam In the rad - dy sun - set beam. b. Men - py K "— . . May thy pow - er Fill my breast, Each wild pas-sioa • to rest. 21 CLASSIFICATION OF VOICES, AND USES OF CLEFS. Voices were said to be of two great classes — those of women and men. The voices of men are naturally about eight sounds lower than those of women. To prove this, let the teacher strike the tuning-fork, asking the females to pro- duce the sound — then its lower octave, dwelling on the sound. The teacher will then sing the whole scale, ascending ; when he has done this, the pupils will perceive that he is singing the same sound with them. An average voice can produce about eleven scale sounds ; the two kinds of voices together, therefore, can sing about twenty-two. To represent these would require a staff of eleven lines, thus — Women’s Voices. Soprano Voice. 1 /" — Q Alto Voice. 1 ! o p l W 'it 1 ) R o ff lYiV 1 V^* - CT O'- 1 m & v 7 s j ! Tenor Voice. ’ Bass Voice. Men's Voices. To read music from so many lines would be very difficult, but, fortunately, it is not necessary. Seeing that the lower notes can only be sung by men and the higher by women, we take out of this great staff the lower five lines for men’s voices, and the upper five for women’s. The intermediate voices, alto and tenor , take out the intermediate lines corresponding to the voices as marked on the diagram, but this involves the use of another, the C Clef |f£ Those voices, however, are usually represented by the G Clef . — See page 8. Musicians have agreed to take a sound midway between the two scales as a standard, and call it middle C, and this not only because it is about the middle of the vocal scale (or scale of the voice) , but, because it is also about midway 22 between the sounds of the great instrumental scale ; a scale consisting of about nine octaves. The upper five lines are marked by a G clef, ^ which character is merely the letter G, differing a little in shape from the ordinary form of that letter. This is placed on the second line of the upper five, which, on examination, will be found to correspond to it in name, G. The lower five are taken for men’s voices, and, to mark these, a character called an F Clef jgj is placed at the beginning, on the fourth line, which, on examination, will be found to correspond to it in name, F. The “ Middle C ” is also used as a Clef, represented thus, |J^ (called the C Clef) ; but, as it is gradually going out of use, the G Clef being used instead, further need not be said of it than that it is placed upon the centre one of the five lines for alto voices, and, for tenor, on the fourth, thus— Alto Clef. Tenor Clef. The teacher should, in this connection, recapitulate “abso- lute pitch.” * It is not needful to provide special Exercises for reading the C Clef, since the “ Rules of Relative Distance ” apply equally to all Clefs. Same Tune, written in two ways. Met. = 66. A minim is a beat. ^ ' I). C. 1 - -i — 1- -t~T rr : Okmri- I-Zfi-J----:, cf rr c j — u L -C> — CL* — ip^TfT 0 - - 0 * .ram i. m — 1 ■a /T -p-|l \ * -ttrz T \- -f~\t -\r=tr-- ' ^ L J i J i J I 1 : OF THREE-BEAT MEASURE. Three-beat measures require three motions of the hand. A triangle may be taken as its symbol, and the beats may be made conve- niently in the direction of — down, left, up, thus — < 4E Left. The teacher will draw the figure upon the black board, and the class stand up and practice, saying — down, left, up — or, 1, 2, 3. We advise the use of the left beat as the second, rather than the right, as it interferes less with the conve- nience of the class in beating time, and reserves the use of the right beat for the secondary accent in four-beat and six-beat measure — the right beat thus always representing this second- ary accent. One accented sound occurs in each three-beat measure, this falling always on the first. Let the teacher sing a short piece in three-beat measure. 23 such as “ The National Anthem,” making the beats, and observing strongly the accented notes. The following words, accented on the first syllable, carefully practised, beating time, will lead to a proper accentuation of three-beat measure — pen'- du - lum me'- tron - oma mus'- i - cal tech'- ni - cal em'- pha - sis ay'- er - age will'- ing - ly gen'- tie - men faith'- ful - ly psalm'- o - ir ser'- aph - iin au'- di - ence syl'- la - ble en'- phon - y char'- ac - ter sym'- pho - ny whis'- per - ing talk'- a - tive fol'- low - ing mer'- ri - ly in'-di - cate joy'- ous - ness laugh'- a - ble lis'- ten - er Three-beat measure is usually marked by a figure 3 as the numerator of a fraction, thus — t>, or |, or |, the lower figure indicating the particular note used as a beat. |, or §, or yg, etc. are also used for expressing three-beat measure. Such figures (9) indicate compound times; but these are now seldom used, since one nine-beat measure is better written as three three-beat measures, and may be so made by drawing a pencil through such measures. La the following Exercises in three-beat measure : — E- 58 . r r r i r • i r rirrrirrrir r t r - r -i - • *r ' Ex. 59. -t-rf-t r i r r i -ri m r i r r r i - r i - r r-r I u r c rbr-ili- D.S. (or Dal Segno) at the close of a piece of music signi- I some former part of the music, marked thus F is th fies “ repeat from the sign,” which sign is to be found at | initial of the word Fine, signifying fini sh. 24 FORCE OR POWER OF SOUNDS. A musical composition must not be sung throughout in a uniform manner as regards power of voice, but must be varied according to its sentiment. To express this variety of force, certain words or marks of expression are used. The following are the principal : — Piano, soft, pronounced pee-ah-no, marked p or pia Pianissimo, very soft , 11 pee-ah-niss-imo, 11 pp Fobte, loud, M four-te, 11 f or for Fortissimo, very loud, 11 four-tiss-i-mo, *1 ff Mezzo, medium, 11 met-zo, 11 m or mez Mezzo-Piano, rather soft, 11 met-zo-pee-ah-no, 11 mp Mezzo-Forte, rather loud, •1 met-zo-four-te, 11 mf Crescendo, increasing, 11 cre-schen-do, - cres. or Diminuendo, "] or De-cresendo, J j- diminishing, W (dim-in-oo-en-do,~\ 1 ° r (de-cre-schen-do, ) dim. or or decres . Swell, ( to increase and) [ diminish, ) 11 • ii — ~ — ■ — Sforzando, f suddenly and ) i. forcibly, f 11 sfort-zan-do, « : or sf l orfz Staccato, short and abrupt 11 stac-kah-to, w ! » 1 Mezzo- ( Staccato, j not quite so ) abrupt, ) 11 met-zo, etc. 11 Legato, smoothly, 11 le-gah-to, 11 - The different degrees of power, or at least p, /, m , should be practically introduced very early in a course of singing lessons. It may, in connection with the scale-tones, be introduced thus — v m n f ff ff f m p ■r.-Jr-rrpxl Jjl .r =11 tff j. r* Lg f . . . ff f m p pp [~ "t ’ ’ J" J" 4 ' " if f r — T TT t ‘ HI u- i -I ■■Uu. H=l=t= — a =11 % 'T1“T 233 'tTT — 1 1 jaa i±±r- J La, la, la, PP * " ff ff #• p pp -tt cres - - - cen - - - do. dim - in - u - en - do. ■^y-47 -tttI 3# C3 * ■ SL rl 3i FI -31 r-t :r H Li 25 Ex. A. Ex. B. Round in Four Parts — THE CDCIvOO. — — 1 hi- 1“ ■ 7 V 1 (ihb - S--0- "7-1-1-+- w m. j r i & er a ^ The cheer-ful day is dawn - ing, I hear the cue- koo sing, n u [jLlJI . _i VL v r* i — f — ,-H — \ s -- — H- " 1 " J vtr m J "1 J m # To ush-er in the 9 — h • — - m ~ ~ ^ ~ morn - ing, And welcome gen-tle spring, * m l 1 3? i 4 -!. ■ --£** 4- £ 4^* 4 . ~P r~ Z L. T _ T_ T t : i Q h Cuckoo ! cuckoo ! / cuckoo ! 4_ JC 1 1 1 * 1 +■ L-J--P-P-7*- -&-—r — 4- — ^ — m 0 ‘-7—1 — i — — L h — |t == I hear the cuckoo that welcomes back the spring. SONG OF NIGHT. Fine. D. C. for repeat of words. | _V v :*v ^ ' 1 _N __N J _ _ - r- ; 1 1 _q._ .. — . jr_ _" _r L L_iv— T*-- - L - 0 -- — m — 0 —0 -1— £. --4---T- — 4- -4— -T— *T- 1. » Now night’s darkshadesap - pear, I to my couch re - pair, Where an - gels are keep - ing, Their watch while I’m sleep - ing, 1. rep. And safe in qui - et rest, My dreamings are all blest, gmbrT F4 r ^4==ii — 4-=4= — ±-j—j 1 — =h--. ■■ r^-i= E?5=q=fl -4 y-Jrsjtsjts - - 0 r jctzsst-- V*. --- 4:- 0 zjJrA-zJ-s.- 2. Yes, while I sleep and dream, Bright forms a- round me gleam, From heav'n they’re de - scending, And o’er me are bend -ing, 2. rep. To guard my slumbers still, From all ap-proach of ill. — P 0 ■ 1 — 1 — 1 r-| - -w— ft— 44-4- n:r. f — ^ : f-g£4- rxzrs: #- --Jr.-q;-. —0 O 3. When mom first gilds the skies, They gent -ly ope mine eyes, From slum-bers as - cend-ing, My soul low - ly bend -ing, 3. rep. I raise ray grate- ful prayer, For heav’ns pro- tect - ing care. 26 27 THE CHROMATIC SCALE. Between those tones of the scale which are a step apart, an intermediate tone may be introduced. These intermediate tones, or half steps, are named from the notes of the scale either next above or below ; if named from that below, it is said to be that note sharpened ; or if from that above, that note flattened. When a tone is thus sharpened, a character called a sharp (#) is prefixed; and if flattened, a character called a flat ( p ) is used to indicate such change. In solmization, the vowel sound ee (written e) is added to the initial of the solfa syllable when sharpened ; and the vowel sound aw (written a) when flattened. The following diagram will show these intermediate tones in dotted lines : — Called taw, t b dot 1 te l % called lee. „ law, i\> lah •* „ see. „ saw, «b soli f% ,, fee. maw, m b fah me 4 „ ree » raw, r\> ray d % „ dee. doh The teacher will do well to work out this diagram on the black board, and go through some considerable vocal practice on it. CHROMATIC SCALE, ASCENDING. d, de, r, re, m, f, fe, s, se, 1, le, t, d l CHROMATIC SCALE, DESCENDING. d 1 , t, ta, 1, la, s, sa, f, m, ma, r, ra, a. These intermediate tones are frequently introduced into music, and must therefore be carefully practised, s p and r p are less used than the others. The Chromatic Scale thus formed will he found to consist of thirteen tones (eight scale tones and five intermediate), having twelve intervals of a half step each. Such a scale is never used in its entirety, but occasional notes are taken from it to give beauty to a musical composition. These inter- mediate tones of the scale are cnly considered strictly chro- matic when they spring directly from notes of the same degree of the staff, thus — s, se, r, re, t, ta, m, ma. Others are spoken of as Diatonic seconds (not chromatic), similar to m,f- — t, d l ; they, however, in solmization, receiv the same names, as — -G 1 1 ! r-J 1 — P- — pm — — . — __i s, fe, s, d, ta, L 28 The term “Chromatic” is said by some to have derived its name from such tones having formerly been written with a different coloured ink ( chroma , a colour ), as not belonging to the scale tones ; and by others to the fact that such tones give shades of intensity and feeling analagous to light and shade in colouring. In either case, the term is very expressive. The. characters called sharps ($) and flats (t?) carry their significance through the entire measure in which they are found, unless they are cancelled by the introduction of another character called a natural (|^). A note with a natural before it, if preceded by a or belonging to a sharp key, has the characteristic sound of a i? (or fall of the scale tones) ; while, if it be preceded by a fr, or belonging to a flat key, it has the characteristic sound of a $ (or te of the scale tones). After a note has been sharpened or flat- tened in one of the parts (s, A, T, b), and the same note occurs in another part, shortly after, not to be so sharpened or flattened, a $, or h, or t], as may be necessary, is occa- sionally introduced as a caution not to follow the lead of the former sound. Such notes are called cautionary accidentals, but, generally, they are best omitted, as being liable to lead in another and wrong direction. ' ~ -J- ■ ?L_ . . 4 :: a-c-fc | _ 5 V. — — ft* — — 1 1 — j =P L.4— -i — 1-— Ex. C. Ex. D. 29 SPRING TIME IS COME. Spanish Melody. Vivace. tree. * = 126 D.C. n «=*• - — N~ ~N~ “V - X N N ^ „ nr •no J ^ S . L J J. > S_ I v y - n mm m '9 ' d 0 r* 9 9 9 J ^ L CT * 1. Th r\ > • # - 9 mm- - - m e spring time is come, and the vine tree is bloom-ing, And bow’rs that were leaf - less are wav-ing with green ; ■ - if 1- -f- + ~f~ -f 9 - -f- -j*- -fr ^ - -J J j ' -jVN -^E - w a d 9 m ( 7 1 7 hi d d d d 9 d "vy — ~n — 9 — V 1 / lr £ 9 d 1. rep. How chang’d is the val - ley, where win - ter was gloom-ing, When the ri - ver roll’d sad midst the des - o - late seer 10 . \ V “ Sr J I’S- - - - - -x- -fs- -f* - r ~J~ a ~ Sh - -J — fa\ * n ^ r 1 2 1 L*: r vV n C m ' Lr 9 9 m _z V 9 T ' * 9^9 2. My own na - tive stream may roll on to the o - cean, So cheer - less, and cold, ’midst the rude win - try gale ; 9 9 , 9 -f - - - 9 - - 9 d- - 9 --[?■ ~p ? — - -1 - -0 9 9- - 9- - _ -P- -{0- -ft. _ — V — '—V — — V V - — — f / - / — — ' if v - 2. rep. But, mark it in sum-mer, each flow-’ret's in mo - tion. As gent - ly it pas - ses and sighs a fare - well. 1 f 1 V r i -b- I 1_PS_ _{5l -X. P N f* s.: — V r fr\ fi .9 . 9 & £> 9 9 'J 9 d d 9 7] J r rs 1 w 9 9 0 . 9 9 I > ■ \ 1. Come sum - mer, sweet sum - mer, with vio - lets and ro - ses, With birds sing - ing sweet in the gree O > . . , „ , w , L -9 i my] ir^j r - tie shade : ~w~~ »- - * — ~ 9 -f-f- 9 ~ - 0- ~~ 9- - 9- - w- - 4X_x: S ~ “ 1 E d ■ ■ d ..w d d \m 9 9 liz 2 2 v " f f / 1. rep. On t iy dear - est sea - son the fond heart re - po - ses, And thinks on thy sweets, tho’ thy beau - ties may fade. - 1 - -f- -f ^T- m ts ~ - -- - -+ -fS' - - J*- -fs- ST _ 12 ^ d L 1/ r + 9 r Lr _ i i Lc d -J ' — i — > f f f L f. £ ^ r 2. Come sum-mer, sweet sum-mer, with sun - shine and glad-ness, With all that L u ^ V V _ V _ ^ 9 love - ly, and all that is dear; 9 9 9 X S n n . n - .. - . 9 > !> 1>~ ~ -f~ - f- - ‘ ~9 1 - -J — J — J — zAr -_=±r -Lr~ ... s. — .0 . — r - # m m. ■2.rfy.Then a - way with all sigh - ing, and a - way with all aad-nes3, For peace and con - tent-ment will dwell with me here. 30 -Ms. HOMEWARD. -d—q— : ' .: =t=t=^C ] *, --=1= i -J— J—d F E^ - J 1 PE ^ & JP ^ •* 0* -*- "® ^ J- -*- ^ #- 0 A -~^ ~0 0 0- 3^ 1. Gal-lant ship now cleave the bil-lows,Cleavetheclear and sil - ver deep, Fill my sails, ye swell-ing breez -es, Gal-lant ship now onwardsweep. IXSiq- g 0 — a * » — 1 =t P3 o' »•> 2. Breez - es rise, and speed me onward, Leave me not to lin - ger here, When the heart is homeward yearning, Day and night are slow and drear. t=F- : *L— _» _ _ J. _ — jL—J = 1 ; =?^s3=3=i 3. Mem - ’ry ev - er true and waking, Bears me swift-er than the wind, To the friends and lov’d ones waiting, On the shores I left be -hind. M- -A 0 - 0 [ i h - -d - vi _ - _ 4 rrtvd"--. ----- fe-- q || u & *•*> r \z— G> - e ~ P— t= 4. Gal-lant ship now cleave the bil-lows. Cleave the clear and sil - ver deep, Fill my sails, ye swell-ing breez -es, Gal-lant ship now onwardsweep. BE LIVELY BOYS— ADIEU TO OLD WINTER. — 1 t~ & rs > i - r> s j - _N v i - , 0 V & - & 0 —0 S5 L* f C/ »" • Y 4T 2. O-pen wide the doors, Sing a - loud for joy, Be live - ly boys, be live - ly boys, be live - ly. He .1 V _ V 1 S. S. 1 1 1 ~ dm -m ^ m ~ _ dm i 1 ! (ckV** 1 0 | 1 " ! 0 1 r r - r r c -* - - -0 H 0 0- - 0- - - -0 P 0 0- - -■V--V--V- - ^ - _ -j — J--*- -J 3. Open wide the doors, Sing a - loud for joy, Be live - ly boys, be live • ly hoys, be live - ly. For Q 1 ol BE LIVELY BOYS— ADIEU TO OLD WINTER — continued. cres. " r , : r FP J. irp U* « 0 i i'T'j. l 1 1 1 L_ L 0 « 0 0 - 1. crab - bed win - ter must de - part, He packs his rub - bish, loth to start, And loit - ers round from room to room, With r 1- d dJ JTT P~fP£PPE L -d 0 0 * — 0-1 L ~d d ” L-4 0 — 1 0 — L- 2. scents the spring on ev - ’r y gale, And turns with ter - ror, weak and pale; The poor old man is filled with fear, He P & P P m * 0 9 ^ _ ~0 — if i i r w T 1 + 1 1 — - - — 1 1 Ll r—r—f- — r — i - "i i — f— - — 1 1 3. spring is here al - - rea - dy here, I hear his voice so sweet and clear, And gent - ly tap - ping see him stand, With 1. coughs, and sighs, and looks of gloom; Be live - lyboys, be live - ly boys, Be live-ly boys, be live-ly boys, be live - ly. e !1 m. 2. knows his mor - tal foe is near ; Be live - ly boys, be live - ly boys, Be live - ly boys, be live - ly boys, be live - ly. — m m rl t W — : i=- Be live - ly boys, be live - ly boys, Be live - ly boys, be live - ly boys, be live * ly. 3. clus - ter'd flow’r-buds in his hand. BOUNDLESS GLOKY. Moderate. (*=108 1. Bound-less glo - ry, Lord, be thine; Thou hast made the dark-ness yhine ; Thou hast sent a cheer - ing ray; 2. Dark - ness long in - volv’d ns round, Till we knew ' the joy - ful sound ; Then our dark - ness fled a - way “arr/T 33 Murk the lye in the bass. BRITANNIA. dim. r = ii6 1. Hail, Bri - tan - nia! home and free - dom, Bless - ings on thy « r •• , chil - dren rest ; O'er thy fields are har - vests ;— -z - b ZMZM^Z^-XIZ !**■ 2. Pa - triot blood these bless -ings pur - chas’d, Dear - ly priz’d the gifts should be ; All that breathe the air t$zA .-p-T zsr.rz^=^=r±r. 3. When the treach - ’rous foes as - sail thee, When the threat - ’ning gjjffufr-#— -L T I — t: _d L—-0 — m — * — 0—\ m- .. ?s= tern - pests low’r, May’st thou, like thy fa - thers, •t — r 4. Speak the man - date ! loud - ly speak it, Let it sound from sea to sea ; E - qual rights by God are - cres. — - / .ztzzr. 1. wav - ing ; Ev - ’ry sea thy keels are brav - ing, Ev - ’ry At=p= r— i-tcZvi- r-g— J- home with plen - ty bless’d. ~-jr -■ ^ -_Jr 2. - hove thee, All that own, o - bey, and love thee, Let them guard thy li - ber - - ty. ~ — ~zz ~ V — ~-f— - - ~- 5 tnrjr: 3. wak. - ing, Off thy shame - ful fet - ters break-ing, Stand e ■ +--T £ rect • - in all thy ^w 1 pow r. 4. gi - ven. All in - her - it earth and hea - ven, All are and all a r e tree- TIIE EVENING SAIL. mf 1 - M> ~- m : m m — m — m — m — _L_ 1. How sweet were those soft ev’ning hours, When wreath’d with the bright blooming flow'rs, Our boat gent-ly float-cd a -long; The shades of the twilight were 2. The night slow-ly round us was closing, And we, in the si-lence re - posing, So qui - et,sohap -py were bless’d, Themoon,ris-ing bright o’er the F~i : — 1 Si — k i 1 1 ri~~i r* — i — 1 \ — k ;==F-J n -| A, 1 0 — (- /sV— 5^B-T4 £r * r.i -- - 4V-Jr “^77 L * > » m*o -rJrSA-r-i : - l Ql^ 0-^0 — 0 0 - - L o^ 0- ±t***JJ 0~ 3. How sweet were those soft ev’ning hours, When wreath’d with the bright blooming flow’rs, Our boat gent-ly float-ed a-long; Theshadesof the twilight were ^ 7 ; ~N— N" N-JS-4- =t- 35 CHARMING LITTLE VALLEY. H. Naqei.l 36 . t) V TRIPLETS. Ex. 69. WTien three tones are sung to one beat at equal intervals of time, a triplet is formed ; and as each tone occupies one- third of a beat, they are sometimes called 3rds. They are usually joined together by a slur, with a figure 3 introduced, Practice Triplets in each kind of time , saying to each beat — 1 , 2 , 3 — OF QUARTER BEATS. When four tones are sung to one heat, at equal intervals of time, quarter-beats are formed, generally written thus — A measure of four beats might contain the following : — Ex. 70. o Practice the following , in — time, to “ la." Keep the rests and time — \ Practice quarters in each kind of time , saying to each beat — 1 , 2 , 3 , 4 . Practice the following to “ la ” : — E*. 71. | — •= — H- Ex. 72. Sing the Scale , ascending , thus — And descending , thus — a-» 0 • m 9 m ^ m-W* T a * m J-S-- \\ f] IT £ I .1 Ti 1 t j “ 1 _ Triplets and quarter-heat notes are seldom used much in succession, but are more usually found mixed up with other portions of heats. w i *," V r Ex. A. ' SOLFEGGIOS. Ex. D. SING, SING. 9 _J J , --f r— > > 3 /VS — i — h WX^EEtr. — 1 i — -# — #- Sr S S -A^z- Sing, sing, mer - ri - ly sing, sing, sing, mer - ri - ly sing, sing, sing, mer - ri - ly sing, sing, sing, ii Ex. E. 3 — THE EXCURSION. ls< lime. 2nd time. smg, sing, sing, sing. D. C. ls< verse ls< time. 2nd time. m m-m ■ -1 A -0- -s.-.y.-l P3 fF — 0 ^ — 0—0- FFWFIFM. -0—0 0 * — r -f 0 0-0 -0- 1. Mer-ri-ly ev’-ry heart is bounding, mer-ri-ly oh! 3 3 mer-ri-ly oh ! 3 r - r-T oh! To the woods we go, where the violets grow, where the violets grow Trpr - m-'- -0-- » 0-.-0- L P '7 7 4 1 strep. Joyfully now the news is sounding, joyful-ly m joy-ful-ly 3 oh! violets grow, To the woods we go. « > -0-0-0- 7 S- t-r-r - S 4 2. Cheeri-ly ev’-ry face is beaming, cheeri-ly oh! cheeri-ly oh! »* f- oh ! In the fields away, we will rove to-day, we will rove to-day 3 Q s SA ?> 1 i S S V 3 r 1 V 3L 0 0 0 0 0 }-— L —~0 0 0 P-0. P ■F—FFFi 1 R . — - W- i® i® 1 7 7-~4 F-7--'4 2wf rep. Playfully ev'-ry eye is gleam-ing, playfully oV p^-fiil-ly oh! rove to-day in the fields away. 38 MERRILY SINGS THE LARK. Notice triplets and quarter beats. 4 P .* i* * j" ^ ' r-j 1 r — 100. 1. Mer - ry sings the lark at the break of day, Trala la la, trala la la, trala la la, . TW-»T > Thus she ca - rols her mer - ry lay, Tra la la ' 2. Rouse ye, rouse ye now at my morning call, Tra la la la, tra la la la, tra la la la, Rouse ye dream-ers one and all, Tra la la ;;; ri - i~~]=f s -^ s E 3. Health and strength are found in the morning air, j Tra]a , j trala la la, trala la la, 4. Let us then a -rouse at the morning call, ) ’ ^ 1 , N .v. ss ~ (Beau - ty life in (Rouse ye dream-ers 0 0 -|S>- — -f= r: • U- ^ I, — U U-h* — 1 — na - ture fair.) ™ , , one and all,| Tra la k Repeat pp la, tra la la la, tra la la la ; 8> — I- Tra la la la la la ■ la, tra la la la la la la, tra la la la, tra la la la, She sings her mer - ry lay, ETZL la, tra la la la, tra la la la ; Tra la la la la la la, tra la la la la la la, tra la la la, tra la la la, I sing this mer - ry lay. '’T'"' ^3 -0 0 - 0- -0 i- - 0 - b - • U.q r i •* »=^0=r=m^ POh la, trala la la, tra la la la; Trala la la la la la, tra la la la la la la, tra la la la, trala la la, j ^ rouse "ye "ne and < alL nrri 39 MAJOR AND MINOR INTERVALS. It has been explained that an interval is the distance between any two sounds. These intervals are 2nds, 3rds, 4ths, 5ths, 6ths, 7ths, and octaves, according to the extent of the distance between them. Practice from modxdator each hind of interval. On closer examination, each of these (except the octave) will he found to consist of a larger and a smaller interval, depending upon their connection with the half steps of the scale, and are named accordingly. Bear in mind that the term major means greater, and minor , smaller. Verify from the modulator the following statements: — A 2nd, consisting of a half step, is a minor second : „ „ a step, „ major „ A 3rd, consisting of a step and half step, is a minor third , „ „ two steps, „ major „ A 4th, consisting of two steps and half step, is a perfect fourth ; „ „ three steps, „ A 5th, consisting of two steps and two half steps, is a flat , or imperfect fifth ; „ „ three steps and half step, „ perfect „ A 6th, consisting of three steps and two half steps, is a minor sixth ; „ „ four steps and half step „ major „ A 7th, consisting of four steps and two half steps, is a flat seventh ; „ „ five steps and half step, „ sharp „ An octave consists of five steps and two half steps. as, m, f ; t, d 1 „ d, r; r, in ; etc. etc. as, r, f ; m, s ; etc. etc. „ d, m ; f, 1 , etc. etc. as, d, f ; r, s ; etc. etc. sharp, or plu-perfect fourth ; „ f, t ; the only one in the scale. as, t, f 1 ; the only one in the scale. „ d, s ; r, 1 ; etc. etc. as, m, d 1 ; 1, f 1 . „ d, 1 ; r, t ; etc. as, r, di ; m, rl. ii t ; f, ml. Let it be constantly remembered that all the smaller intervals {minor, flat, imperfect ) are connected with, or include the half steps, m, f; t, d l . It will probably be noticed by some pupils that the term perfect is applied, in fourths, to the smaller intervals, and, in fifths, to the larger. This may be explained as including the greater number of each — only one fourth belonging to the larger, and only one fifth being of the smaller (or minor) kind. As a help to the memory, and to aid in distinguish- ing smaller from larger intervals, the former is here printed in italics and the latter in small capitals. 40 MORNING SONG. (No. 1.) T--m 1 — r -1^ !!*** * ir^rTr rf jj * * s'* i — r i 1. The sun in glo - ry ri - - sing, Calls all to life and light, And all the forms of dark - ness. Sink back to shades of night. 2. With joy -ful heart a - ri - - sing, I hail the stir- ring hours, Sweet sleep, thy sooth-ing pop - pies, Re - new my ac - tive pow’rs. 3. A - rise, my hap - py spi - - rit, In thank ful pray’r and praise, To Him who guards my slum - bers, And crowns with joy my days. 4. Re-ceive, 0 heav’n-ly Fa - - ther, The hum-ble song I raise, Tho’ words are all too fee - ble, To speak Thy love and praise. m .-m.--.TL ..*! m m m mmmmm MORNING SONG. (No. 2.) Joyfully. f = 126. — j- — - rni & li 1 1 -t±-- - 1 ‘ .. “ d. # tt # 2 1 J 1. Cl A - way with your slum - bers, the bright mom - ing skies Pro - claim the glad sun now is rea - dy to rise ; Lir-v-i * r r -_r- -p: i in ■ -f -If--- ~ -1- — A * - 1 ' ^ ^ & L t: " ' L ° 9 9 L J cr 2 Oh, who can be sad when the dew-drops so bright Are spark - ling with plea - sure to w :1 - come the light? 4:: — - -g- — 4- - - -A - \- - - - J - ~ 9 ~ -- ~4--q: = Y- 7J i-- + ~3 b- ! * - — 1 f " 1 ? _ 1 m 9 2 9 1 3 The sui looks with smiles on the lov - ing and bright, Who wan - der to - ge - ther en - joy - ing his light ; n I □ _J j 1 1 1 1 1 1 ^ 9 *7 _ - a — tLr # - r 9. tt ~ .0 0 . r 9 - -* .*> _ Z 3Z> . 41 MORNING SONG — continued. '-i£i W~-ZS3-*- r-q-r 1. The birds are all Lq.0 m sing - ing, and this is their song, “A - wake, you are sleep - mg, you ar ' 0 sleep -ing too t — 6> U- long.” jkk = -"# ~~^-0 £i e> ~ : — F 7 ~ 2. The wil - lows bend 1 1 -i — i — * — 1 — — 1 — #* — low with their leaves to the u 1 1 ground, And flow’rs are all 1 Ti t r- — l off - ’ring their in - cense a round. it-v z -T-- ' f - - 4- --*---*---$-4- -■iEEE*-« eeqee : z tr 3. In plea - sure they 1 1 L— 1_ 1 shout, and in har - mo - ny join, And sing of the 0 — ✓ — / care of a . . 1 1 V Fa-ther di it— vine. Wk- " 1 1 : “4r.— r eeLe e e #: ' nr.-Tt; ^£E£e=if « l IaY r ” .— El— El- :5eee EqEtEr_ T Je — fr_?s -■& — *-*■- ee^e^ee EfSEEfV • - 0 - - - EEt- T-T- W J * 1 - J d — 1 ll- - 0 - - 0 - • Chorus to each verse. /T\ & Try zip — . _Ej j— j- - - H - e_^: -r-¥ zf. ff I - ip ee q 9 P EiJ ^-1 r- - zzzpr-. - e Aiz U ,U_ ^ — i F The birds are all sing - ing, and this is their song, A. - wake, you are sleeping, you are sleep - ing too long.” g ‘ "-T-^rrl - -f- — V - -i* - f lE. : .P~rTJ 9 - _ Q — jl. . ^ ~ ~ : + - P~ -1 T" •+ P- - rg-_- =5= sSl L nr— 1 — 4- v /E\. 1 — -1- > U "TP Z7\ — n — 0 — 0 — Wkz [ —F >—» 1 i EE E - - ZZ E-ePe £-1 — "e|e_e eee-gJeee:e 42 FAINTLY FLOW. Spanish Mki.odt. • T- -3- -A-sp.~J^:z^ --T- «X a « 1. Faint- ly * • „ « — 0 flow, thou fal-ling ^ -m- S- ~ * 9 ~ ri - ver, Like a dream that dies a - 1 =r-i 1 t V * way; To the rv-s V N o - cean glid-ing e - ver, Keep thy calm, un - ruf - fled 1 Vi V K -esL way. r?v -JV^- IS .-xjS. fsrfs. K4 N -^H 000000 0^0000 Sing to - ge - ther, mer -ri - ly, mer-ri -ly Sing mer-ri-ly mer-ri-ly sing, Mer -ri -ly, mer-ii -ly, merri - ly mer -ri - ly. Ex. C. THE WINTER TIME. S - . .f.' *_ 2“ J 1 • 1 f 0 -• * » A~V- z . <1 0 J C C 0 0 ! 1 1— V-U ^ U 1 J -1 I V- l 1 The win -ter time is com - ing, The time of frost and snow, All cold and chil - ly is the air, The drea - ry wind doth blow. Ex. D. IN THE SILV’RY MOONLIGHT ROWING. > i ^ ' v \ v £ i r ✓ ^ In the si] - v’r y moon -light row - ing, Gent - ly glides our boat a - long; Swift and free as we are go - ing, Gai - ] y sounds our ev’n - ing song, On we g° and still so gai - ly, Sing - ing as we glide ev’n - a - long; E - cho from each hill and val - ley, Sends U 3 back our ing song, r ' l*=*=r=; V | As we’re float - ing down the ri - ver, [• May our hearts and lives be e - ver ii ) dim. Tf m —m m 1 • m — ^ -v - J js j _y. — ^zp^zz^— j. . r > i ✓ i ),i p — , : s - - VI a. C-' • 1 r r w _□ — . I _ CZ> 45 i 14 C C2 t— I» .rjd E ~td EJEEEEEiEd t_rj it zj — rq =t — =t — — C2 * _«=_ _ • Q * ! ' f— 1-3 — j — ir ps £r_ -4- t*. — t 4—1= — — ^4' p — -: mf pp ritard. D.C. i i i ; ~VT H 1 1 ~ n:izi n n ^ n i i i i _i [ S s 6 >^4=4= j -e rjL_f4J_-_T d A A A A •'» C T ^ -z 2 ,^ he JPr ^ i---±z^dr± ■ l H 4^ t --It — i t i 1 - ZZ5T^ * 9 i f 9 19 9 — 9 O r- • 1 1 : m 2 Il_ E?-- £ 4^3 -4— 4--- ±-- -*-4 — L--^l- 4 4 — t' -^44^- 4 + --I1- (The fai - ry moon-light stream -ing, Up - on the mount - ain height,) nf an ,i He - liaht j As if the world was dream - mg Of mu - sic and de - light, j ° , ^ , , , , 1 pp ritard. f D.C. w t 1 9 4 f , r # t-* # r q m* •] c n J r..A j Q : ll_ tF- -4- -4- , --t_-- i- -4- i- ± i 44--^ -4---* - . . * * -Jr :— t±J- - -hr 1 — 4- nr - - *- -_t Jr U- D.C. fvi ‘ *- __j — \ j 1 — -4 — 1- — P — 1 — --A — ^ — — -4- 7 - 9 4 — 1 „ i . _ J 1 48 WINTER, GOOD-BYE. -9-f V V — -j 1 | V S»- 1 1 i s s s •h r 1 r? 7T J ~ P j *H ^ p x \kh-4-T- J--- --I 1^-1 h>- 0 - S- - - J 0- - - -J- * J- - -J- - - - 0 L u - - # « « « 0 1. thee, Draws not a tear from me; Wi , .. , . i n- ter, good - bye Parting is nigh, .... Win -ter, good - 1/ < ^ ^ P 1*^ /T 11 0 • 2 Sh 2 ( T > - I 1 _ _r_ _ j _ ” _ r r_ _ -4- — -! ~ ~i -f!r ~tv~ ~ -4- — -1 \ — i _ _ 2. stay, The birds will quick - ly say, Win -ter, good - bye, Parting is nigh. .... Win- ter, good - n £• j , _ __ s. o j ** j n v 0 1 V — i <9 0 0 y .r I -H S S — ; ^ J i 1 | 1 - . . m r (s' 1 0 - 0 - - - 1 ■ 1 2 _ L _ ^ 0 I*. t S_ r t _ ^ O O O ~ v ' ^ Lr r 3. go, With all your ,ice and Ml - ~ f- M ^ ^ snow, Win- ter, good r-'P^frF^F^q bye, r . . Part-ing is nigh, . * m * * * p . Wir - ter, good - 1 0 * 0 0 ! y v > 1 0 0 r -O • 0 • ZZ2 ^ ^ ^ ■ . ^ ^ * j 49 WINTER, GOOD-BYE — continued. Marks of expression influence the music till contradicted bj other and different signs : — m f $ tune, or in f time by using thin bars. pp ,nf k fl — f (-4 1 4-1 \~rj~- 1 — ! hi F=j 4=T ^ S3 1 rr , 1 - 4 - 3-1 1 — i R 1 1 &±-=?=i b£==*i l7.C21“TtJ P T_ Q ■ - p - — 1 -io — — — t- — t — Tf= h— pp - 1 . • i /T\ -1 — h — ^ / -g>— — r -fp—wzp — . , U.-— J Ur-- ±==£t==t OJ-jAm- 1 r^3 -p k n — 0-f— H » -h P ‘ 1 !=!^=FP — f- rp... ml h" T—\ aim. /? D.C. [ — I — l|- 4---UU“ :£:LUrJ £-Z--Jr±±j=.-£l U— - 50 ROUND FOR THREE VOICES — WILT THOU LEND. Andante. Tied notes — change of time. Dr. Nares. P = 92 . Wilt thoa lend me thy mare to go a mile ? No! she’s lam’d leap -mg o - ver a stile. r a j | b - S :±-L- But if thou wilt her to me . . spare, Thou shalt have mon-ey for thy ^-Ajsr-zi-Jz _ XL- -G>- Oh! oh! say you so ? Mon»ey will make the mare to go, Mon-ey will make the mare to go GOOD NIGHT. 51 GOOD NIGHT — continued. fpf p — crcs. p cres. --J ?C N_ Z---EE -J-- — i 1 m 1. Lo ! the moon from heav’n is beam - mg, O’er the sil - v’ry wa - ters stream - ing, ’Tis the liour of V ZEE EFEZEZZ - 2. An - gel like while earth is sleep - ing, Stars a - hove their watch are keep - ing, As the star of 4- it 3. Slum - her sweet till the mom - ing, Till the sun the world a - dom - ing, Rise in all his 52 SONG OF THE VINEYAED F. Schneider. rar." rs. rar.: a: — jt_3> je: 3= z: ~ -J l- 1. Clouds are soft - ly sail . - 1= z= 4z_-_4r - zfc-. Au - tumn bree - zes wail - mg, Sum - mer’s re - quiem sing. =1* •F— 2. As the bas - kets Clus - ters full and smil mg Lads and las - ses bear. ‘ - 3. Lads in gam - bols skip - ping, m# ~ : ^ 4 -— ^ ¥ Mai - dens light - ly trip - ping, 70ZZ : 6^ F F F~ Seek the sba - ven ground. 1_ — ^ — l>jdzzgz^zig_— 1EZEI 4. Days of full ploy - ment Leave to sw • en - joy - ment Ev’n - mg’s sport and dance. rTTT 53 OF THE CONSTRUCTION OF SCALES. It has been before stated that a scale can be formed on any note of absolute pitch, as A, B, C, etc. ; but only one of these (key C) can be represented on the staff without the aid •f sharps or flats; hence key C is called the natural key, because it uses the staff in its natural (or simple) state ; but as regards the scale when sung, key C is not more natural than any other ; indeed they are, and must be, exactly alike, and, to make them so, is the reason that sharps and flats are used. De R^"«. ins Musical scales ascend or descend by fifths, because it is found that they have more notes in common, or are more nearly related to each other ; indeed we shall find that they have all but one note thus in common. Any other arrangement would necessitate much greater alteration. Ascending keys will be found in the following order C,G, D, A, E, B, F, C; and the descending ones, C, F, B, E, A, U, G, C. The teacher should work this out with an extended standard scale, thus — see margin — In the ascending series, it will be found necessary to use sharps, and that each next succeeding key requires one more “sharp” than that which precedes it. Hence the ascending series of keys are spoken of as “sharp keys;” and in a similar manner, the descending series will require flats, and in each next suc- ceeding key one more “flat” than in that which preceded it. Hence these are spoken of as the “flat keys.” The scales beyond those represented in the margin are very seldom used, and the teacher will not therefore, for the pre- sent, go further with them. Now examine the scale founded on G, the first of the ascending series, and it will be found necessary to place a % before F, in order to preserve the half step between the 7 th and 8 th, or F, G. 12345678 GABCDEF4G drmfsltd 1 Analyse it thus — From G to A is a step. A to B step. B to C 11 half step. C to D 11 step. D to E 11 step. E to V % 11 step. ^ F i to G 11 half step. In answer to the question, “ Why F $ ?” the teacher will show that E to F would be but a half step, while F to G would be a step — both out of order as regards the scale tones, but the introduction of the $ sets both right. F % is therefore placed at the beginning of the staff, next the Clef, and is called the signature (sign) of Key G. F $ may be regarded as the characteristic or leading note ( te ) of key G. Let us treat key D, the next of the ascending series, in a similar manner, and we shall find that two sharps will be required — the F J, already found necessary in key G, and another on C : which sharp, it may here be observed, is a fifth above F $ ; and every new sharp required by succeeding scales is also a fifth above the last. KEY D. 9 1 2 3 4 5 6 7 D E F $ G ABC d r m * f s 1 t Analyse it thus — From D to E is a step. , E to step. Why - to G „ half step. » G to A „ step. , A to B „ step. B to C #-> step. Why - C # to D „ half step. C \ is therefore placed along with F $ as the signature (sign) of key D, and C % is regarded as the characteristic or leading note (te) of key D. In a similar way, any of the sharp keys may be analysed, and in each succeeding one it will be found necessary to add one more sharp, which new sharp will always be on the 7th key D, 1) 2 sharps „ O# n If key A, >1 3 sharps „ D # If key E, 1 If 4 sharps „ A# « •I key B, II 5 sharps „ E # !» If key F #, II 6 sharps „ B # *• n key C II 7 sharps „ Musical scales also descend by fifths, or, what is just the same, ascend by fourths, since by inversion (turning upside down) a fifth becomes a fourth. Thus, F is a fifth below C, or a fourth above it. Let us now examine the scale, com- mencing on F, the first of the descending series, and we shall find it necessary to introduce a flat before B — 123 4 5 G 7 8 F G A B I? C 1) E F d r m f s 1 t d Analyse it thus — From F to G is a step. 11 G to A ii step. 11 A to Bp ii half- step. 11 Bp to c ii step 11 C to D ii step. 11 D to E ii step. 11 E to F ii half step. B !? is therefore placed at the beginning of the staff, next the Clef, and is the signature (sign) of key F. B b must be regarded as the characteristic note (fah) of key F. It will be as well here to observe that this B b (the flat 7 th of the Tonic C) is the fourth (or “ fall ”) of key F ; and as this same relation is found in all the keys of the descending series, we obtain as a rule, “That each new flat thus intro- duced is the 4th or 'fall’ of the new key.” Musical scales must not only ascend or descend by fifths, but those fifths must be perfect, that is, consisting of three steps and a half step. B is the second of the descending series ; but as B is only distant from F by two steps and two half steps (a flat or imperfect fifth), we must depress or flatten B in order to make it a perfect fifth. In this case the Tonic itself is a flattened note; we therefore speak of the key B b, not B. In this scale we shall find two flats necessary — the one we have already found necessary for key F, and which is also our present Tonic, and another on E. 123 45678 lib c D E b F G A Bb il r m f s 1 t dl Analyse it thus — From B b to C is a step. „ C to D „ step. „ D to E b ii half step. Wliy E b ? „ E b to F „ step. „ F to G „ step. „ G to A „ step. „ A to B b „ half step. E b i s therefore placed along with B b in the signature (sign) of key B b, and E b is the characteristic note (fall) of B b ; and, in a similar manner, any other of the descending series may be analysed, when it will be found that each suc- ceeding one will require one more flat, which flat will always be the “/a/t” or fourth of the new key, and will be its characteristic note. Let it also be observed that these flats are a fifth below each other. These notes may be arranged as under : — B b is the characteristic ") key F, which needs 1 flat in note or “/aA” to } signature, thus — E b ii n key B b „ 2 flats A b n n key E p „ 3 flats D b n n key A b „ 4 flats G b n n key D b „ 5 flats C b ii n key G b „ 6 flats F b II It key C b „ 7 flats 56 ONLY WAITING — ' Andantino. Xotice | heats » — gg_ p I s - -4 n s s ~~i r ~~~ IS PV~ ^ *( 1 1 a 1 1 1 r 1 1 L I {a>— ft- -4 ^— ■ ■-*— 0 - — » J— — « — a — — J rr-^ — : N a — 5 cr — — « • o - 1 1. On - ly ..n. . . 0 wait - ing till the sha - dows, Are a • • t* * lit - tie lo 5 0 n - ger J"- 0 ~ grown, On - ly « * wait - ing till the i Wm i\ *! £ 0 - h \T) 4= — * * — a * “ !- * t — t — «_= — m - -» — 2. On - ly wait - ing till the reap - ers, Have the last sheaf g a - ther’d home, For the sura - mer time is -- -0-~ - -J— - A ■>- - \ 1 ' _ /ay -fr /i j _Sl . x r , f 9 ~0 • 0 0 9 ~ * 9 Vd tt 0 v ^ _ . y y 9 • 9 • w : 1 .a 3 — r 5" 3. On - ly wait - ing till the an - gels, 0 - pen wide the mys - tic gate, At whose feet I long have .1 S. 1 _V ^ V , V - *-r . *; • 1 r* [ " 1 1 V 9 • n = - -9 9 - ; 9 J - - - - x, — \j — ? - -0 -• -*4 * — • - * - - -* — *- •— •— #- - < d ^-v — * — 1_ — ^ =% t=£ 1 E cres. 7&r^| ~ j N — J ~fs- — - T7T v a 4 “1 1 P — • a. I ” _S ^ r^- ' N 1 'v ~r* — h ^ i L V s 9 • - J _ . 0 ■ — > d ^ ^ - • ' * — • I. glim - mer, Of the day’s last beam is flown, Till the night of earth is fad - ed, From the . ci.it. S. ’ * v. . w » 1 * - f-' j w- - ~~r - "I H~ J*' j — j*— ^ •-j 9 0 J J 1 • t 9 0 ^ 0*0 p r « a 'Jz tz I - 1 9^1 l 2. fad - ed, And the au - tumn winds have come, Quick - ly, reap - ers, quick - ly ga - ther The last CL * V , . _ — d T-j -J J x --T - ~is ~~4 r~ " --54 --fs - j V- -S- C f gTi 9 9 : 9 9 ® • 4 J J ^ iv e 0 • h- V^' ^ 0 - - J C ' m - 9 & l 3. lin - g^r’dj Wea - ry, poor, and de - so - late; E - ven now I hear their foot - steps, And their 1L ^ V />o •#> — * * * C- V- j ^ i . r~ -f — ^ •- - -f — - h 9 y N. _ 1 |Sl ^ - - J 0 . is [> E -tr y ■[ V A 9 -i 0 0 0 • 0—'. 0 0 » ■- 57 AUTUMN SONG ( An Exercise for the practice of double sharps'). „ jL Duet. Duet. 1. Seethe leaves a - round us fall - ing, Dry and wither’d to theground;Thustothoughtlessmor-ta!s cail-ing, In a sad and sol-emn sound : . s r j 2. ‘‘Whattho yet no los - ses grieve you, Gay with health and many a grace; Let not cloud-less skies de - ceive you, Sum-mer gives to Au-tumn place ; cr * 7 cc 1. “ Youth, on length of days pre-sum-ing, Who the path of plea-sure tread, View us, late in beau-ty bloom-ing, Number’d now a - mong the dead.” 1 - 2. Year - ly in our course re • turn -xg, Mes- dgu -gers of short-est stay, Thus we preach this truth con-sern-ing, ‘Heaven and ear th shall pass a-way.’ ” Ex. A. -I — v ' ■0- -r - *- oS THE HAPPY SINGER. « h . rj_ . . . N .. s - ^ - A - - ^±jEi±-^t n. 's'/.# 1 / £ ~-£- -4-- -0 — -X-4S- — ft— > fr, 1 1 # * ■ » l * _ ~ ~ * > ' ' ' I ■*“ I '✓ / 0 ^ r \ 7 1 '/ v / > 1. I am a free and hap-py sing-er, And wan - der far from grief and care, No free - hold have I in pos - ses-sion, But 2. The lords of earth may hold their re -vels, In halls with cost - ly ta - pers bright; My sil - ver is the mom's pale ra-diance, My TFsr-* f — 0 -T —0 0 - . - 0 — r ^ - 1 V — i — i — ■ - 0 - - - • V - < - — ~*-r— - --! - - £ ~ 0 - ~ •* — j. — i- _ 4s. — ii J f =1 1 m * ; # if-- 0 * ■ t L - — « ;«*** 1 ^ -N-Jfc , s _ 1 - s N-.SS N_ s i ^l^=£=$p-f u =F ± i tr- 7 pT“f r * ^ > h \ 1. heav’ns own pure and cheer-ing air. 2. gold the sun’s warm glow-ing light. No flocks have I to climb the moun-tains, No No hope of heir-ship gilds my fu - ture, No herds to roam the fields a - long, rich eu- tails to me be -long, No state -ly By no man’s i I ! i 1. pa - lace, lodge, or cot-tage, I A 2. death am I the gain-er, y ^ =* -' r — trea-sure is my song, my song, my song, My on - ly trea - sure /Tv song. --J-- - ' * Y % -I i — 1 t” --o- ~ V ---g >-r-- — ==1=^ — i m L U mJ -1 ‘ * — M , . . . i — i — r . '1. Yield thee, yield thee, gold - en har-vest, Fall thou, gold - en grain, 2. ’Twas for thee the hand of la -hour Rear d thee thus to fall, 3. Ere the dews of ev’n - ing ga - ther, Bu - sy hands will come, 4. Soon shall I like you he ga-ther’d, Till no leaf sur - vive, 6 . Yield thee, yield thee to the sic - kle, Rich and gold - en grain, SONG OF THE REAPER. -i 1 j- —I 0 0 0 * 0 - * i r ~ n ‘ ; s t :±=jq=J=J5t»: I Yield thee to the keen edged sic - kle, Strew the stub - hie plain. Yield thee, yield thee to the sic - kle, All must one day fall. Bind the sheaves and with re - joic - ing, Bear thee to their home. But the death-less germ with - in me, Yet a - gain shall five. All must bow *“• - fore the reap - er, All will live a - gain. MODULATION Very few pieces of music continue throughout in the key in which they are commenced; a new tone is chosen as the Tonic, and the other tones are made to conform to it. The tone most frequently chosen is the fifth of the scale, or soil.” Soh, therefore, becomes the Tonic for the time being, and we are then said to be singing in the soh key (right-hand side of the modulator). Musicians know this note by the name of the “ Dominant,” in the same manner as they speak of the first or doh as the Tonic. When, therefore, the music leaves the original (or Tonic) key, and passes into the key of the fifth, we are said to be singing in the Dominant key. The fourth of the scale, or fah (called also the Sub-domi- nant), is also frequently chosen as a new key-tone. Fah, therefore, becomes the Tonic for the time being, and we are then said to be singing in the 11 fah” key (left-hand side of the modulator). When, therefore, the music leaves the original (or Tonic) key, and passes into the key of the fourth, we are said to be singing in the Sub-dominant key. In an ordinary piece of music, where transition is neces- sary, the usual plan is to pass into one of the next related keys , that is, the Dominant or Sub-dominant ; but sometimes the composer will make, as it were, a leap from the Tonic to those keys which are further removed from it, and it is sometimes very difficult to decide into what key the music has passed. DOUBLE CHANT BY DR. BOYCE. r t- KEY D. — -frjr- - -o- If TRANSITION. A careful study, however, of the characteristic notes, to- gether with the chord notes of the music, will generally lead to a correct solution of the difficulty. Modulations as to duration are either for a short time, transient or passing modulations ; or continued or lengthened ones. In reading the former, it is enough simply to name the characteristic notes (called also Accidentals') by their ordinary chromatic name ; hut when they are continuous or lengthened, it becomes necessary to change the whole of the names of the notes into those of the new key. This change is often most conveniently made on some note common to the two keys, before reaching the characteristic note. In this book, lengthened transitions are indicated by the removal of the dotted line or space to its new position, commencing at a note common to both keys. Modulation into a new key involves a “return,” since music should always close in the key of the Tonic. If this “ return ” be from the Dominant to the Tonic, it is equal in effect to passing into the Sub-dominant key — that is, if we consider for the moment the Dominant to he the Tonic, then the Tonic will he its Sub-dominant; and, if the “ return ” be from the Sub-dominant to the Tonic, it is equal in effect to passing into the Dominant key — that is, if for the moment we consider the Sub-dominant to be the Tonic, the Tonic will be the dominant. IV x v;. | — — — — — 5- Notice the modulation of each phrase, KEY G. i r - -o- - 60 It will be observed on examination of the chant at the bottom of the last page that each phrase is in a different key, and that the change is made at the beginning of the phrase rather than upon the characteristic note or accidental. A small break in the type has been made to point out more distinctly such change ; such break (indicating what is called “ The point of change") is, however, much more necessary when the music is written for four parts. An instance of this occurs in the second score on page 62, commencing at the words “ Thanks to our heavenly Father a second instance of this occurs on the next page (G3) at the “return" to the original or Tonic key. When change of key occurs, however, quite at the end of a score, such a break cannot so conveniently be made ; we, therefore, in such case put the following sign, W, in the line or space on which the first note of the next score is found ; such mark w 5 pointing to change of key. In teaching modulation, the “ Staff Modulators ” will be found exceedingly useful. The following plan is recommended. Take any piece in this book, containing a lengthened modulation, and having adjusted the modulators, corresponding to the keys, from whicli and into which you are going to modulate, require each part to be solfaed singly on the modulator as far as the point of change, as marked by the break in the type. Then point out that the first note in the new key must have a double name ; 1st, the name belonging to the old key, and 2nd, the name belonging to the new key. These double notes may be learned from the “ Modulator,” using the side columns so as to show the sounds “common” to the different keys. It will then be found that the “ common” sounds most fre- quently used when passing to the dominant or “soh” key are : *d, h, 'm, d f, r s, m l, and in the sub-dominant or “ Fall” key, 41, *r, *m, d s, T, m t. It should not escape notice that the “double notes” of the sub-dominant are exactly the reverse of those of the dominant, so that really but six of these double notes have to be learnt, and, as most modulations are very similar, using very fre- quently the same notes, the pupils become familiar with them, and no after trouble arises. This knowledge helps to a better understanding of the paragraph on page 59, relating to the “return” to the original key. It may be as well to observe that one modulation well taught is much better than a large number taught in a less perfect manner. When music in modulating skips over its next related key to one further removed, other combinations of “ sounds in common ” will be found, but they will be easily read by those who have conquered the above, and being of rare occurence, and seldom appearing except in difficult classic music, do not re- quire further elucidation here. Modulations through the chromatic notes of the scale are still more rare, but present no insuperable difficulty. When suddenly, in classic music, a number of flats or naturals are found, it may generally be concluded that they indicate a modulation into “ the minor of the same tonic,” — that is, “ doh" becomes “ lah" — thus, suppose we were singing in the key of C major, and suddenly find a B '7, E ?. and A> occuring, we should know that we had passed into the key of C minor, three flats being the signature for that key — and vice versa — if we found that if, in singiner, for instance, in A minor, which requires neither sharps or flats, we suddenly find three sharps in the music, we should decide that we had changed to A major, “lah" becoming “doh," three sharps being necessary for that key. 61 Ex. A. “ WE PRAISE.” Key D. — i i^ h lar.-^rjdt. : 7JZT- rrzf ^ *• W- Return to G. No//a also in Key G throughout .. \- — 1 1 - =j=p Htl f^r. a " JsJ- ^ - i We praise, we worship Thee, 0 God; Thy sov’reign power we sound a - broad ; All nations bow be-fore Thy throne, And Thee, thegreat Je-hovah, own. EX. B. “ PRAISE TO GOD.” Return to By . Solfa also in By throughout. Key f. m & Praise to God, im-mor - tal praise, For the love that crowns our days; Bounteous source of all our joy, Let thy praise our tongues em-ploy. Ex. C. “ GLORIOUS THINGS.” Key C. Return to F. Solfa it also in F throughout. Glor-ious things of thee are spo-ken, Zi - on, ci - ty of our God; He whose word can ne’er be bro-ken, Foun’dthee for his high a - bode. Ex. D. FESTIVE SONG. Ay ' 8 — » ^ 1. hum - hie song to — z raise ; _p|: - p^-jr - — * — e> — e — m— — 1 1 if — — 2. crown our hap-py home ; - zirjrjr; zr*z I— — — j— 1 H J fl J 0 i r i O' ^ ■_ _ jLl C — 0 - -0 j . 9 0- ■ - '—rz — s -3*-* -t Thanks to our heav’nly Fa - ther, Whose love pro-tects us here, And spares us yet to f — £» f*5 1 * ■ & ^ ^ • 0 " r L» . 9 0 0 ____ r- Pziiz — -■ - +^i--i - - -- L-^r-p-rj - - — P_l] -4 =r^u =p -T- " r »• » _ J?_ ® 0» J. a e> a & -- ~-t ~h ~r ~= For all our lov-ing kin - dred, For all the friends we claim, We thank our heav’nly a_-r--p jr z a: z r & — —& 0- ~jn — i — p rtz zz i p T- ! 1 r 1 r- r \ -1 1 L 1 . €> 0 I ‘ i r r- \- c- - 1 F 1 l \ U 1 1 I \ NEW YEAR'S HYMN — continued. _ ' ^±_-J ~k3~~ 1. wel - come An - o - ther hap-py year, F-=| v- :: L-d '“f 1 — : = — - * o n — -E-s* a Thanks to ourheav'n-ly Fa ther, Whose love pro - tects us here, And (t >- -| p- - - *- *1 |— " IZ — r- # # -» ~sn — F- t =l- 3 ^^ 7 d=a pfej | * ; :dp-‘qprqr^-.^|=; : #■*: r-prZ^-jrzjr -- - sL “ — 1= -—1- — ■— ' [7 i ^ — i — F_ 1= l=* E 2. Fa - ther, And bless His ho - ly name, For all our lov - ing kin - dred, For all the friends we claim, We g> •: * .tr. nez: r - J -F--F - - rr — qr “t z - n — Ts--:- Q- 0 -' “>—*■ 0 1. spares us yet to — q= ■J— s< # ifr* — wel - come An - o - ther hap - py -d * year, An 0 * c o - ther hap- py —ri ^ J.m year, An - o - the ~ ^ — 0 — «_ r hap - py r d j J— «s > year. # # f > — - - T- — ! I 1 i : ^£3— -* — - :j:a; — i 1— : _z2_*z_^: : ^ z i ?. =PL J— 1 1 i q*F m- - - -i —a — P- -'F-* • * H V — 1 ! — H 1 H f — E FT r ! ■F“-F : = F=3 2. thank o SSr.i- ur heav’nly =fc=|-F mr Jiroer Fa - ther, And 1 -1 ! ! dess His ho - .0 0 - f^F- #f * - ■y F=: name, And -i-F-rt-- dess His ho - ly i“4r 1 1 1 name, And 1 f* a' . . *-- v— )less His 1 . d o- ly t ' ~ :- name. 64 THE FAIRY BOAT GLEE. J = 96. \ — S; — ?*- — ^ -V g- ~-N- - &--- A * ±jt_a #- #— * — *- a * — - _3J * J 1 1. O’er the sea, come with me When’tis in the moonlight glist’ning: O’er the sea, come with me [Tt- 4^ ‘ In my fai - ry boat. H : IF 2. O-cean’sbow'rs, fragrant flow’rs, Per fume round our shal- lop streaming, Sense shall steal, soft re - veal, J71v ' _N s i - -f*- -z- - -F-» c + -m- ~ -N - -V Fixe. :^lt o — Mu - sic's thrill - ing note. l 11 * ’ .’^ ll i—' j. Key A. -9-5— D.C. in key D. &J: p.^zz.±. - ^ = £ - £ - --T = t./ ^ 1. Love’s soft voice hearts re - joice, — k N; l-i E - cho’s self is - \- — Si v — m gai - ly list - ’ning, S;-- N era Stars aj S. re brigh -S: 1 — .winds are light, O'er the wave we’ll V 1—. -V V \ -O- W float. - * ip. -p- 'ii'tjri : 1 : zl: z w Key A. W r— V \ v- — Sc D.C. P# s_ $££-£- ; ?•? ; ?Zzd*- - ~Ajz J- 2. Spark- ling waves co - ral caves ’Neath the wa - ters gai - ly gleam- ing, Pearls s o fair, N rich and rare, Far a - hove we'll * m # i N V> — * — »- float. — i — n » * * he -*==*==&== V — * — • a. # — -* ✓ >d 65 AUTUMN. Ket P. Reichabdt. m DO ble friend good an - tumn is; ^=jS- IV.'.T.': «v;c To tempt the taste and He comes, his trea - sures bring - ing, 2. Rich fruits he scat - tors from his wings ; And thon dost not choose them, Blame not the bonn - teons 3. Old win - ter, call your war - ring pow’rs, Snow, hail, and whirl - wind mus - ter, We trim the fire and t « » ) \ --m — ^ - f—m--. m -» - -. *- - Key B^. ■W 1. please the sight. And dai - ly o - ver =fc=F=^=i=^ ^j S. ft. — |S---->- hedge and height, His silk - en fringe is spin - mng. 2. friend who brings, Nor him who sends all v---- pre - cious things, But him who will not mm ; ii. them. 3. close the doors, Bring forth -■es^-ssr kind an • tumn 'a ^--» V ^ ** • M \ E$ EESE=i^ =L 4=S= i£ trea - sur’d stores, And care not how you :r:iZSE'Z^ bins - ter. 66 MAY MONTH (No. 1.) X £ I !-' | r PP- »43=!iiz t' 7+i ' 1 * * / / / / L. Dk Cali- „ Now t^e gen - tie May ap proach-es, Shin-ing flee - cy clouds are seen, clouds are seen ; And a joy - ful song of wel-come Dai - ly come her fea-ther’d he - raids, From a - far a - cross the sea, across the sea; And a - broad the hap - py chil-dren far and near, far and near; And on ze-phyrs -gent - ly float- ing ! 1 0 - - -a 0 - - • - h - a m [- 3. 0 er the hills and mea-dows scat -ter, Low -ing cat - tie m — * — i* N — S=N- =3' •S * * s s — ) - — iv £ — *■ p f " — - <9 -- — - — - — 1 1 -4- i — 1 ^ > --* fta— N— I n- y 'y 1. Sounds from ev - ’ry cop - pice green, cop - pice green. 2. Shout and sing in barm -less glee, harm -less glee. 3u Mark the sheep bell tink-ling clear, tink-ling clear. jr — * - r — L ... _ _ J_ _ -N— N--N-- >— N— 1^- | i 0 -0 0 „ 0 ] ~* t tr~f U ' y y * « ? v * * $ v r -p-p- Tra t ;r r r la la la la la la la la la la la la la la la la. ■--y - -g- - -g- V- - V- - V- - s? - -g- -t=^r i SWEET NIGHT. Allegretto e piano. Passing chromatic — syncopation — necessary jjj C = 120. 1. When the sweet n S- night, calm, bright, Falls like a mist o’er the trees, r ~ * 0 0 c? B & vy o c ^ — -js- -4s- -4N-' W=^fF=* « * - - 13 1 1 i Ptj! 1 1 1 1 - 4 m L. & 0 — a 2. At that soft hour, leaf. flow’r, H * ? > ^ . - - f ! 1-~ - -i -=t - - £ - - V- - F All a- but the stream - let m still. - 35 si 67 SWEET NIGHT — continued. -- .j ^ 1 i "'I 4 S N S — i — \=T*~ -fals 44 ^— s 4v F it • *• ' 1. 'When the moon - light — ? — looks ? white, # « 0 Sil-ver - y ^ V \r-- <9 ? <0 white o’er the seas. y. - v -0 * When birds of o „ day are ■p ~*^ t shig- ing to 1— S 9 rest, And E -ijr- -i — — i^- -1^- 4>- a a a - -i — =^N- - - - _ - if - — n * ! — i n — * Duet. -Ni — j-^-- =^- » - -i - - -fzjr '0 - (9 O zA- - i-4- =j - V ~]V -f^- r^rN; - "j ^ - pne -%r - =3 32 2. By Na-ture’s pow'r, grove, i>ow’r, Mea-dow, and V val- 1 r ^ ey, and hilL Make not a sound, but si - lent - ly & & weep, As p- - . hr— - y *4- - -i- ^ - -b b 17 - — F? 1 ^ - =i== -j- **.. _ " — __ ; “ _ _ 1 / — / 1 i — i r r r — ^ r- ^ - - JL -^ Chorus. --4- v H - — 4 FT*-^ — F 1. birds -O* of • o night are * a - wak 1 \ « ing; 1> — |> — |V_ * — • 0 Then is the hour that 0 I love - - 0 0 - best, My lone - ly * path - way — 1 o» • tak 1=4-,- ing. i l 1 1 1 f ig ” “ — i4~ "Ts ^ - -0 — V wrl- - r-4- - Chorus. m e — rzz W$ i - f -h-*— ' 0 ■ J -2- . :S ~ ~ i — i i/ -—0 m 2. if in joy tliey’re dy - ing; ft m m Oh ! there is 1— N- |V N peace with — N-i - 4 - V in their sleep, For which the soul is V • sigh i== ing. m**- - -- j 2 - - ~ — - ” -5» -4- -J- - f- - ft - 0 * *- ifr. - - 0 - ! — --4---- — l . . . . /. "4- — f—* 4 — M 4= F4 & . GS SWEET NIGHT — continued. ^ I - — =i~ - 1 H ~ • :■ * * » * ir -4>- ~q- -# M ~ - 4^ 4»- - M • 4 V -A 4*- ^ZZ ■ -0 — a — TZr\ — 0 0 W ~0 L 1 M 0 — M M d M m . m WWW V z — “T *1 rvy r- r~ i i_i _j z _i zhj i — ~ r- it r 1 & 2. Come, then, sweet night — calm, bright; Come, like a mist o’er the trees ; . . And thou moon-light, look, white, TT-*’#" ~N~ _ N' ■ j H" j. h ..R- 14 s : -p 1 . - ti-z; — 1 M~ -_ls. -N- >- - j" *Vf - -f- r£s — *ff ~r^ zi^ ^ #_Z L m 9 — J - w 1 ' “ Jd — ~ w — — w m m _*e? -W # 0 0 0 Z* 9 - - - ^ ^ i ^ - p — P p p r ® » -f- - 0 - -0 h - . .|i _ . *- - -V- -v- - 1- - -zj* - - W W- - - - f- -1-- \f *■ L 1 ^ * 4 k- 1 =F — ~L _ ~ _ And thou moon-light. 1 / ffijL- - _ _ _ . - r~ t- -X- — . " 4" ~ - -x ,-N Z- r4-.- p _ - __ — r " 4 * _ rz — ir — n — n N N j . —L- -J Zl__ L -ia; ~ n # # * 0 - J l XJ ~ — p p " z ' " ' ’ * A -l>- j 4 - 4^- ^3“ - - W - -# r - -f- - - d- " 'j - -I" 'H' ' - kr — p — i (« i z |_ I # • W W IT f d ■ " 0 1 & 2. Sil - ver - y white o’er the seas, ... Sil - - ver - y white, o'er .... the seas - ~f — 4 _ - rr — “ — f ■— 1 • , ^ ^ — — 1 — ^ — » 7^7 - — f — P P — —p— * o ^ -i *- -< - V- -t f- - - 4- -- - in v -J?- - -#-.- -p- -■ -W- r - - - 4- - U- - -p-- - ^ tr J? L -f L-4 LZ— l h — [ -i ■ — J 1 - Sil - ver - y white. 69 QUICKNESS OR SLOWNESS OF BEATS. Beats have no absolute length, their quickness or slowness depending upon the character of the music to be sung. If the music be of a grave or solemn character, the beats will be made slowly; and, if gay and cheerful, the beats will take a quicker motion. To give a proximate idea of the rate at which music should be performed, composers sometimes prefix to their compositions certain Italian words (given below) to guide the performer. As these words, by themselves, how- ever, only give this rate indefinitely, too much reliance must not be placed upon them. There is, generally, a rate of movement at which the music will best produce its effect, and composers should signify this rate at the commencement of their music. If a change of cha- racter takes place in the music, a corresponding change of time also occurs, which change should also be as carefully marked. An instrument called a “Metronome,” or time measure, has been invented to give this fixed rate ; it has a pendulum which swings and ticks at regular intervals like a clock. If the weight attached to the pendulum be moved upwards, the pendulum (thus made longer) will swing slower, for the longer the pendulum the slower its motion, and vice versa. The pendulum always, however, keeps equal time, never faster, never slower; hence its value as a “ time regulator” in clocks. A more simple Metronome has been invented, consisting of a case enclosing a spring, around which a tape is coiled, which tape is marked at proper distances with the figures corresponding to the number of beats it would make per minute at those distances. Composers having determined the rate at which their com- positions should be performed, place at the beginning the initial of the word Metronome, and the number of the beats per minute, thus — “ M.” 100 ; or, sometimes, “ Met.” 100. Others, more exact still, will indicate at the same time the musical note (character) to which this beat refers, thus — Met. 1*= 60, or Met. JV=132, or *— 60. As a genei’al rule, it may be given that the higher the number the faster the music ; but a better idea may be thus obtained : — An ordinary clock pendulum beats seconds, or 60 per minute ; this rate of motion is, in music, usually expressed by the word “ Adagio,” as below. Doubling this rate, or making two beats while the pendulum describes one “ arc,” will give rate 120, or “Allegro.” PRINCIPAL WORDS USED TO INDICATE RATE OF MOVEMENT. Adagio , slowly and solemnly, Met. 60 Largo , \ ) M. 80 Lento. ) slowly, > 84 Larghetto, not quite so slow as Largo, ,, 88 * Andante, moving gently onward, ,, 92 Andantino, not quite so slow as Andante, ,, 100 Allegretto , rather slower than Allegro, „ 104 Allegro, quickly and cheerfully, 120 Vivace , with vivacity, 132 Spiritoso, with spirit, „ 138 l'ruto. very quick, n 160 ro THE PLEASANT SPRING HAS COME AGAIN. Spiritoso, Passing transition — lengthened transition. G. J. Webb. |»-= 138. i " mzrzj-..r. u a 1. The plea - sant spring has come a - gain, Its voice is in the trees, It speaks from ev - 'ry sun - ny glen, It r • m ZZZl * — ZZrzrm. t t | ~~ " m I *— ' m * -*- }& m "■ - - JL-£ -j-± --t- dr — ± =|=l— rfr. --jTE 2. The plea - sant spring has come a - gain, I hear the ri - ver’s roar; It spark - les, foams, and leaps as when, My 3. The plea -sant spring has come a - gain, All na - ture’s heart is glad; The moun - tains rise like gi - ant men, And q ~ ..er-. * * #_ _ 1 -tr-- rr — i — 1. rides up - on the breeze. Tiie scat-ter’d flocks are low - ing, Be - neat-beach sha - dy tree, The gen -tie winds are blow - ing, Oh, 4. The plea - sant spring has come a - gain, The plough-man’s songs a - rise, Key E. While wood - land e - choes mock, and then, The f=^T== # 9 -tr =P=P: * * o lt __ F 2. sum - mer skiff it bore! Stern win-ter’s chain is rend • - ed, The gush-ing founts are free, And light with wa - ter blend - ed, Is " I -iff— — I — ! — m ^S>— -- y g- - g ~ # »’ :t k, e ° 3. smile with beauty clad ; The pret - ty flow’rs are spring-ing, In e v - ’ry green -wood shade, Their perfumes round them fling - ing, As rn.zws-W.~--M * * ■M.-Jwr-t-~z -J 1 O .0 9 _ 0 ■f 3 — *- -} — -1 ! 1— 1 — 1 1— 1 e> & 4 — 1 — 1 U j J 4. thrill ing ca-dence dies; The mer- ry buds are sing - ing, A - far the mu - sic floats, And ev’-ry vale is ring - ing With 73 » THE PLEASANT SPRING HAS COME AGAIN — continued. Key A. 3F d .«*_ - ' . s J \ j - 1. come, re - joice with me! The scat - t’red flocks are low - kg, Be - neath the sha - dy tree, The gen - tie winds are =t3F i> 0 e ~$= i - ^g T- jg^ sjr-Jair :j= , ^ -* — m -0- — ! 0 : — N i r- - e : e _: - -P -| g ® “I 1 ~ ~ U j~ ■f2_ _ 3. sweet as E - den made; The pret - ty flow’rs are spring - ing In ev - ’ry green -wood shade, Their per - fumes round them -0 0 L 0—0 1~0 4. soft and mel - low notes; The mer - ry birds are skg - kg, A - far the mu - sic floats, And ev - ’ry vale is FLOW GENTLY SWEET AVON. J. E. Spilman. “1 ■ ■ 2 Z * i- -- * J'tr # S ■ L qJ v 1 --*-—* * 0 1 . praise ; _ - -t ■ My Ma - ry’s a - sleep by thy mur - mur - ing stream, Flow gent - ly, sweet A - von, dis - turb not her W e o -&4=- ch-_- t « re ~r w ._~Jz 7 e — — d — -T- •fcfcfcd q Sr 1 *- d_ - -* ■T : 3^3 2. -sides; There, oft, as mild ev n - ing weeps o - ver the lea. Thy sweet -scent - ed groves shade my Ma - ry and nj - * . d i 73 FLOW GENTLY, SWEET AVON — continued. Key A. 1. shrill, Ye wild whist - ling warb - lers your mu - sic for - bear, I charge you dis - turb not my slum - her - ing fair. jzj-^r — Jee|t jlFj? - rj^j: J m— 1 i j-- -1 — 1 ff — — t 1 1 ‘ /T\ W . ... m . 0 — i i h ~ -IF trr - -F- -ii~ : jL^-J9TZ--*rs ^ -H- 2. lays; My Ma - ry’s a - - sleep hy thy mur-mur - ing stream, Flow gent - ly, sweet A - von, dis - turb not her dream. 74 TRANSPOSITION. The term transposition simply means a change of place or position. A piece of music is said to be transposed when it is altered to a higher or lower key. The simplest method of transposition is to take a higher or lower tone for key ; and, for vocal purposes, this is gene- rally sufficient ; as, for instance, if a piece of music should be too high for the pitch of the voice, it may be sung a tone or two lower, or, if two low, a tone or two higher; but for instruments (which require absolute pitch) the piece must be re-written, in which case, the sharps or flats proper to the new key must be carefully placed at the beginning, and each note raised or depressed upon the staff as may be necessary. The difficulty (if any) of transposition consists in the change of absolute to relative pitch ; while the notes are raised or lowered absolutely, the relative positions must be preserved. Modulation is a kind of transposition, since the position of the key-tone is changed from place to place. MAY MONTH. C. Bi.roR. 7o MAY MONTH — continued. ffe Key A. ff zjt 0 e m za wr. m *- ^.4- -fr > -N- >_N 4N- -N -A A * =fcr=c Cometo the dance of May, Come, sing a round-e-lay, Come to the o - pen air, Come and our plea-sure share. Heigh ho! Huz - za: Huz-za! Huz- % ~S‘ m jw- 4 ^ zm 0 — \N ,N ¥ ^ J ✓ / 2 s * -m m 0 76 IN THE TEMPEST OF LIFE. - A- -N |=3=£#j 116. - -^4-- —4 — — 1 L -»‘ * — * Tj 7 : I i __c2 ~ * # : -y — * * a' 1. In the tem - pest of life, when the wave and the if thy foot - ing should fail, J2. * f J - f- -f- -I C2TZ. k->-J L — — 2. If the friend who em - brac’d in pros - per - i - ty’s glow, With a smile for each joy and a tear for each woe, - 1- - 3. Should the vi - sions which hope spreads in light to thine eye ; Like the tints of the rain - bow, be 3Z swift - er to fly, -m=£z - -f- -t 4. Should they who are dear - est — the 5. And, oh! when death comes in his son of thy ter - rors to heart, The wife of thy bo - som, in cast, His fears on the fu - ture, his sor - row de - part; pall on the past; ■r— N- -N- - Jr — 1 4- -J- - r= r~\- ° J r > • \ —n — 1 . If thine eye should grow dim, and thy cau - tion de dt - part, Look a - loft, look a ✓7N loft, T ■ I ' 1 ’ z±z j_: EE fEH T - . --F- 2. Should be - tray thee, when sor - rows like J . J - -J clouds are ar - ray'd, Look a - loft, look a - loft, J-'-J- _> L _j r. ? ? ?ir • i£ look a - loft, -S 1 ~l 3. Then tum, and through tears of re - pen - tant re - gret, Look loft, . . . look a - loft, /?\ -V # 1 1 * ■1 M & f- - - J- — - F F— - -f — |-- -y - rT»— JV _ ht — ^ *~N 4 Look a - loft from the dark - ness amT dust of the tomb, 5. In ths mo - ment of dark - ness, with hope in thy heart, -C2_ ~r H To the land, With a smile, to the land, with a smile. 77 IN THE TEMPEST OF LIFE — continues — Q-— p- — , ; : — 1 | _v 1 -fw-9- — N- -N- - J - ~ 1 - “ j - -1 — \ 1 - - - ! — E E “ "I “ J - .j?»~ - - I 1 — i — H -±-~ - i r 0 0 0 _ 0 ® & e & j> O 0 0 0 O _ J 1. Look a - loft and be firm and con - fi - ding of heart. Look a - loft and be firm and con - fi - ding of heart. / I ? | 1 0 0 0 & ffir- ^ - - _I — r— - - ~r — r r - * 0 r ~ & ~ - J -G> 0 p - -1 Y- -T ~ ■f- - 1 — ■ -f - - 1 1- - r - |- W 1 M J 1 1 1 1 ^ !> 1 1 J 2. Look a - loft to the friend -ship which ne - ver shall fade, Look a - loft to the friend - ship which ne - ver shall fade, n ^ a. _ ^ O' '0 Y i [7 v, 0 r ~ 7 n 0 p - /^-b- - -\z — i> - - 4- —f- ■ p - * I -f - -+ — f - ■ ‘ 1 \7 ~\J - +- -f- -r-- -4 1 — f -f- r- -f- -F fSe- - 1 L~ f * 1 * \z J 1 — ^ 3. Look a - loft to fhe sun that is ne - ver to set, Look a - loft to the sun . that is ne - ver to set. 0 0 0 0 0 0 0 0 0 0 0 0 0. ['-•Z, n ry — y | - | 1 [~ ~j - j . [ 1 I r r ^ ‘I _ Z _| •} -| -Z\Z -£ ~bz - -I — F — P - *4 — = 4. To the land where af - fee - tion is e - ver in bloom, To the land where af - fee - tion is e - ver in bloom, b. With a smile in thine eye, look a loft and de - part, With a smile in thine eye, . look a - loft and de - part 1 Gai - ly our boat glides o'er the sea, And light the oars we 1. rep . Mer-ri-ly ring our songs so free, As sea-birds round us GAILY OUR BOAT. Fine. n j fc /T\ 1 jZr =J- s ' - E- - - J- -S'^r-jr • — Met. 120. D.C. 1! ply fly. Tra la la la, Tra la la la, Tra la la la la -J?Ld 2. Here, on the bil - low as we go, A - way from care and strife, 2. rep. Health is instore for us. we know, 0! who would flee this life? > — 0 — & — o-\ — 0 — 0 — 0 — F 0 — i 1 — r- * i ! ^—7 . 7 ~r — _ 7 -£Zt±£_-z£_zj Tra la la la, Tra la la la, Tra la la la la *3 D.C. 0* t2- <*— 0 -- 0 —, 0 0 0 - 0 r^- 3. Bend to the oar, nor fear the storm. A - wav, a- way, we glide, 3. rep. Mer-ri-ly sing, nor sit for - lorn, As glides the homeward tide. -I- - Tra la la la, Tra la la la, Tra la la la la la. ^ H ■' » ' ''J] 0 AT__r 4Nr ± z N.- --_TT1- 0- rjr_-«-JC zm □ * mr x zr x - tf=^^±^==nzi\\ £ j ^zjzz^ - 0 ~" a ~ f , i = — ■/ [■■■ ✓ I 78 BLOWING, SHAKING, AND ROARING. 2- _l_ « * — _i_ 1 “ "pi. -I y -v — =■*- "" - 9 # — * — 1 r 1. Blow. . . . -ft—** - winds do blow! Shake. . . How the c V-, case - - ments shake. $r%~ r_^-r_-s--y. : - -* - r--~: — * ■ *- — 1 1 — r -'--p~-- y * v * * _n C * s 1 — L — ' N— - - ■ir— 1 $£=%-■:. n: — ~r*j -- N ~S -W m \ 1 = 1 * a 0- - V— ? • £1 ---e-= y * v * * dJ c « — i V t — — — . 2. Sing. . . . winds do a — P — F-i blow! r-F- Sing. . . . ya—»-* — . Tho’ the •- case - ments shake. ~.zrJ?:~z ^t~~~ ~r~~~~ 70 BLOWING, SHAKING, AND ROARING — continued. ffsrs - 0 — - • 0 - • • < 5 > : — — — Hr- - -V — ppppt --r- F~-T o 1. Let the blaz - ing fire be strong, Let the blaz - ing fire be strong. We will join to sing ^ - = ~ re — — bz / • \ - — ' T *- ~ - rarer # * a &==- =“ Ua_| ^ 2 =*— t ^ _ : pd ' 1 !i U- 2. Let the rag - ing tem - pest roar, Let the Y 1 — rag - ing tem - pest roar. Sing a - loud, and sing the — m 9 m m — TJ — w T 7 m P T: • T— £- • - 5~— , rrt - -— ------ 1 re.- _ j. _k £ _ fer-- — f5 i— - — jr- — d - -4 — 3s - =5^ — ?T — f£- _ •r . ^ * 1. song, We will join to sing a song! We will join to sing a song, to sing a song. ~ji .jt: 4tV — ; W-. r ~g~ r " s : L^l - -T- — - - *- J -3*-— sp- Ei> -i- _ n. p IF / — k g— k / / / / [ / T\ # — “ #- ■v^l 0- ~ f— rr* » - - -y— > - - : zm -----1= 2. more, Sing a - 1< jud, and sing the more. — 1 nr Sing a - loud, and sing the more. and — i Vn sing the 1 more. AL-d «_ . d ✓ — . — / ^ ♦ 0 — F— 1“-^: drf-rr -- 7~Jt 80 MINOR SCALE OR MODE. Doh has been spoken of as the first or Tonic of a scale. In music, however, of a plaintive or mournful character, “ lah ,” the sixth of the scale, is often taken as “one,” and a scale is founded on it, called the Minor Scale, in contradis- tinction to that founded on “ doh,” called the Major Scale. It is often called the “ Minor Mode,” being a different manner of writing (modus, a manner ) the scale. It derives its name from the minor third, with which it, as a scale, commences “ lah, doh” The Germans call it the soft scale — an expressive term. The Minor Scale is used in three forms. In the first form it uses the ordinary notes of the scale only ; hence it is called the ordinary or natural Minor, thus — lsf or Ordinary Form. i -t . -r =£=*= 1 s f m r d The melodies of the well-known psalm-tunes, St. Bride’s, St. Mary’s, and Wirksworth, are instances of this “ ordinary minor mode.” SECOND. OR HARMONIC FORM. Sometimes musicians introduce into the “ ordinary minor” a half step, between the seventh and eighth of the ascending scale, asaleading tone, similar to “ te,” the seventh of the major. This note is spoken of as the sharp seventh of the minor mode, thus — 2nd Form. i r . -i — u # * ' — , — T— -i ? — P — * — a 1 1 — |- Yr s m + f 1 — 1 — *- 1 — — L -- — i — | — r-r « i | — ± ) 1 ! 1 1 tdrmfsel lsfmrdtl This sharp is named after the ordinary chromatic form, “se.” THIRD OR MELODIC FORM. It will be found that the second form destroys the diatonic character of the scale, since the interval between the sixth and sharpened seventh is neither a major or minor second, but is in fact a minor third, since it includes a step and half step; but, as it is named from two notes on following degrees of the scale, it is called “ an extreme sharp second” To restore, therefore, this diatonic character, another sharp is placed before the sixth of the scale, and it appears, therefore, thus — 3rd Form. — 9 ' 0 * « m T- — 1 1 — n- - i w & r- w a - ir \ : — "ML - t drmfese 1 lsfmrdtl This new ($ sixth) note is named after the ordinary chro- matic form “fe;” for though it is not strictly (mathemati- cally) the same, yet for all practical purposes it may be so considered, and the introduction of another name rendered unnecessary. If pupils find difficulty in singing these intervals, teachers may point out that the lower portion of this scale only is minor ; the upper four notes (or tetrachord) being major, consisting of two steps and half step, and as such, corres- ponding notes may be found in the major scale, with which they are already familiar, as — s, 1, t, dl or, d, r, m, f These changes, however, only affect the ascending scales — the descending scales retaining the ordinary notes of the 81 major. Hence the minor is considered by some to be entirely ' artificial , or made to suit the ideas of the various musical theorists. There are said to be some other forms of this minor scale, but the pupil need not trouble himself with them, since, if he can sing the Chromatic Scale with some degree of accu- racy, he will be able to master all difficulties as they occur. Great care must be taken in practising these notes as a scale, that the minor third ( lah , doh) be carefully marked, since upon this, the minor effect , more depends than on any- thing beside. RELATIVE Scales are said to be related when they contain certain i tones common to one another. Major and minor scales have many notes in common , and are therefore related. Every major scale has a relative minor ; and, vice versa, every minor scale has a relative major. We have seen that the “lah” of a major key may become the Tonic of a minor; and as “lah” is a minor third below “doh,” the major Tonic, we get the following rule : — “ The relative minor is always a minor third below the major,” and the relative major is always a minor third above the minor. The following table exhibits the relative major and minor keys or scales : — Keys with Sharps. Keys with Flats. Key A is the Relative Minor to C Key A is the Relative Minor to C i, E „ 11 G „ D „ 11 F » B ,, 11 D » G „ 1) Bb » F $ » 11 A » G „ 11 e b .. c £ „ 11 F. „ F !• a b „ G £ n B ,, B > 11 d b „ d i „ 11 Fi .. f. b 11 g b « A ? .. 11 C £ „ a > „ M c b Teachers will do well to write a scale thus, on the black board, and give the pupils much exercise thereon — 1 di f se t s or i f m s r Minor Third. MINORS. A piece of music modulating or changing into the minor form will do so into its relative minor key, as from D major to B minor, etc. etc. Minor tunes have the same signature (number of sharps or flats) as their relative majors ; hence they are not thus to be distinguished from them. The first, third, fifth, and eighth sounds of the minor scale (as in the major) form its common chord. “Lali,” therefore, being the Tonic, lah, doh, me, lah, will be its chord tones. (These should be well prac- tised on the modulator.) An examination of the chord tones will, therefore, generally inform us whether the music be major or minor. The methods of distinguishing minor music from major may be simply stated thus — Is*. By its having “ lah” as its Tonic instead of “doh” 2nd. By the absence of “ soh” from the chord lone of the chord notes of the major), and having “lah” instead. 3rd. By the introduction of the sharpened sixth (as in 2nd Form), and sometimes of the sharpened sixth and seventh as in 3rd Form). m r d 82 —?~r ~ — ’ 1 ■■ 1 ; — 1 — 1 1 — h 1 T® J_ -=i - A — =r — S— — & . 4 o — •- '-Ad^r I Hard things be - fore us all gloom - i - ly rise, Yet we still press for - ward, with joy in our eyes. Ex. D. the autumn leaf. Slowly. — I i * - , "1 n “ =\ — i— r 1 — | r r- tw rrz] J — : m — - - m • * -■ | 1. I -‘=F=t= : T= = :q= G> - 4 - I 2. I saw the skies so blue, The birds were sing-ing o’er me, Theflowerssprangup be - fore me, Of ev’ - ry chang-ing hue; * :# 3. We fade as all else must, No more the birds are call - ing, The flow’rs and leaves are fall - ing, To mor - row we are dust. 83 MY SHEPHERD. EXPRESSION. Expression lias been explained as meaning force, power, or variety of utterance, so as to convey a proper idea of the sentiments contained in the words we have to sing. Piano, forte, etc. having already been explained and enforced, it only remains to give attention to delivery of tones. Musical tones should always be delivered with promptitude and decision, otherwise the music will be of a dull and life- less character. They should be produced by a very distinct movement or motion of the glottis, which, being shut, is suddenly opened for the emission of sound as by a vigorous shock. Let the teacher pronounce the letters p and A*, and observe that they require a very distinct and direct effort to produce them properly. Let the pupils repeat slowly and distinctly such words as the following : — Come, king, prince, came, kind, clear, point, proper, care. The sound thus produced strikes the ear sud- denly and abruptly, and makes itself heard ; so, in singing, each tone should be delivered sharply and energetically. Thus the woeful habit of “ slurring,” or running notes into each other, will be avoided. The difference between a good and bad instrumentalist is not simply dependant on rapidity of execution as some suppose, but the promptitude and deci- sion with which each tone is given ; the sound seems to “ attack ” the ear at its very commencement, and call forth attention on the part of the listener. The contrast between the delivery of instrumental and vocal tones in a performance of choral music, with orchestral accompaniment, is very great ; while the instrumental tones will be given with energy and character, the voice will some- times be drawn out heavy, dull, and lifeless. Garcia, in his “ Singing School,” says — “ I recommend the shock of the glottis as the only means of obtaining sounds pure and with- out bungling.” In order to attain such purity of tone the pupil should open his mouth freely but not extravagantly, and practice frequently upon the vowel sound “ah” — this being the most open and broad sound which can be produced by the human voice. It is also the most natural sound, for all others require some kind of restraint or peculiar forma- tion of the vocal organs in their production, and all such restraint is detrimental to good tone. Hence the necessary avoidance of all such habits as singing with the lips and teeth partially or nearly closed. The body must be held firmly, with the head slightly raised, and no motion or change of position must be permitted in the throat, mouth, tongue, or indeed of the head or body, during the continuance of a tone. A tone is only pure when it is full, clear, and resonant ; such purity of tone is only to be obtained by a very large amount of attention and careful practice under a skilful trainer ; for no one who cannot himself produce a tone in a proper manner can teach a pupil to do so; for by pattern ana example the work must be done, rather than by mere descrip- tion. As this full and free delivery of voice is only to be attained by much practice, teachers should see that in the very earliest stages of instruction these things are attended to, even though 85 no lesson has been specially given on the subject, and should rather encourage “ out singing,” as it is called, than petmit sounds of a meagre, thin, muffled, gutteral, nasal, husky, hissing quality; while, at the same time, it is needful to guard against that violence of delivery which calls into action the lungs, chest, and indeed the whole of the vocal region instead of the glottis merely. To aid further in this proper delivery, attention must be given to the careful utterance of the words we sing. Much attention should be given to the vowel sounds of the language, as upon these we must principally dwell in singing, while the consonants must be delivered quickly, smartly, distinctly, and with great precision. Complaints are often heard that the f “ words cannot be distinguished.” This fault mainly arises | from an improper delivery of tones, since, if a singer pay proper regard to this, he is not likely to neglect the other. Breath-taking is also an important element in musical execution. This should rather he done frequently (and always noiselessly) than at prolonged intervals of time, since any- thing like an exhaustive effort would require a corresponding vigourous breath-taking that would he offensive. Before a rest, however short, a good breath may be taken ; and, where rests do not occur in the music, places are usually to be found where a short pause (sufficient for a breath) would be avail- able. Never take breath in the middle of a word, or on an accented note or syllable. ROUND FOR THREE VOICES— HOW SWEET TO BE ROAMING. T~J? — - — | ,_q. — “ j" : "7"~1 'I ~H~ q — i | T ° .7* 1 #— __ J ~1 F 8 - How sweet to be roam - ing, WTien sum - mer is bloom - ing, Thro’ wood - land and grove, Thro’ wood - land and grove. 3 = 3 = 2 ^ =3= Sweet, sweet, sweet to be roam - ing through wood - 7 = — j- - 3 - -o- land, wood - land and grove. 86 AWAKE YE SAINTS. , Moderaio. - f - 7 - -~-~^--~r •: T----V : r. * :f :: ^ v. - r = 100 t j - V t jj 5 ~- M-~- fr- -fc 1. A -wake, ye saints, a- wake, and hail this sa - cred day, In lof - tiest songs of praise, your joy - ful horn - age pay * r~ — ™ l-r-4 V^- IA 5 ■^.TL3t "air .=rrPL 2. All haill tri-um-phant Lord, Heav’nwith ho-san- nahs rings, And earth, in hum -bier strains, Thy praise re - spon - sive sings; 87 AWAKE, YE SAINTS, AWAKE — continued. ' 1— i r 1 — — i 1 — t- 1 ^ir - -m- rcrsrjt^j^! r er r* -J— : — 4 - 4- - - m- - r 1. Wel - come the day that God hath blest, The type of Heav’ns e - ter - nal rest; Wel - come the day, ~A- rir = ^tr z 4 *4^ ,-| zp_ - Z>- — ‘1 : f^r -fr&rt . - ry—. # — 1 1- I 1 — -m-- -±~ $ “iFE ■fc — i4=- - - • - : Ar-A- : jztz - -CA - 4-^ 2. Wor - thy the Lamb that once was slain, Thro’ end - less years to live and reign; Wor - thy the Lamb, -W= 4^ =£=* p- _J ! 1 ! -i 1 -t t — J 4= i -i- 1 1 — 1 — f?~~ j~n 3r — i 1 — r — | — [ -I — ! 1 , =d — i — \crr~^r 1 1 — ^ m- : :o ■_ ji r zr-rs - rZd _ -AT3t A 4 ~ ~ 4 : : m~: - 1. wel - come, Wel - come the day that God hath blest, The type of Heav’n’s e - ter - nal rest. _ £-L_ — f- f - J - ~i — ~i~ : 44-43 g~4: T- IT _0 _ _ 1 id o- — r G>— — ?n — = # — ^5 7T5 -4 -o — — — 4-T -T- • - -A?-- - --I 1- - -Ti'- -t - r* i : -jc£— •&- - -=4 i 2. wor - thy, Wor - thy the Lamb that once was slain, Thro’ end - less years to live and reign. » =3 ZZ2 £-> — F — I — — * — 1 — — ■---(■ --I — r ■ -i i J- — | 1 88 ; a Moderato. Change of Ret, TIIE HARVEST MOON. 4— Key C. G. J. Webb- r = xo8 1. All hail! thou love -ly queen of night, Bright em- press of the sky; The meek-ness of thy sil-v’ry light, Beams glad - ness on the 3d i±£2M 2. When still-nessdeepbroodso'er thenight,And wea - ry la-b'rers rest, . . How love - ly is the scene; how bright, The wood, the lawn, the m 3. Shine on fair orb of light, and smile Till autumn’s pass’d a - way . . And la- hour hath for - got the toil, He bore in sum-mer’s |B - - j — t r q N Kev F. 1. ga-zer’s eye, Beams glad - ness on the ga- zer's eye; While from thy peer - less throne on high, Thou shin - est bright as ra - diant glo - ry r- - 9.R.- » * : -7 l =1 ^ — -4 *±t. 2. mountain's breast, The wood, the lawn, the moun-tain’s breast ; When thou fair moon of har - vest, hast Thy 3. sul - try ray, He bore in sum -mer's sul -try ray; And when the reap - ers end the day, Fir'd with the bum - ing ra^~g---4s_i ==i - 0 0- - 0 ^ -f - 0 0- -f - 8*j THE HARVEST MOON — continued. -9t — — ^ V 1 a ] i>_j v j J'* 1 S. 1 r- d'! *4 — r* 1. cloud - less morn, And r :# : : mz : bid’st the shades of dark- ness fly, Be : jtrit fore thy glo - ry, rjhrd: zmrs-z har - vest moon, _s. - bar - - vest moon, ? a o i . m .. iff ^ ■ m 1 9 • a w — — m . a ^ r* gETEt---! 2. all u a J n-ftuTd, And sweet - ly sm d - est _ »- < “J — — in the west, Far S i down u p - on the si - lent world, t-i- -i.-4z-d si - - lent Li' -rt— z± world, ~ xt , - m 1 H* - _ _ V B k V , ^ • # f- ' Lr 0 . w r i m ^ ' lz_ J £ & _>u . ^ ~ i o • mr-~ \ — 1 r* IT- >- ' 3. heat o - — ‘ — -9C- f noon, They’l p _ come with spi - rits light and gay, And :: * r ±Jr ± ±. ft A*b -d d bless thee, love - ly har - rest moon, har - - vest 0<^0 0 moon, •- T~ -ly - - -1- -> d- -V ~ -j- - f* ~ H- vi- - L ~] S ~ . _ _ ff ff • < — 1 1 n — 1/ 1 90 EVENING. * -L H • L^_ __ . n — sri — M i-'- =d=fs=t=* s T=l _ f* =r= g“p L4--f-^-_r3 * --J=^ '■ — iU- -m— ^ — — #— -f - ||- 2. It seems a qui - et cham - ber, Where, free from fear and dan - ger, We sweet - ly sleep our griefs a - way. J b — K I F»- 3. Sweet slum- ber is a to - ken, Of pur-er rest un - bro - ken, When this our earth ly race Wfsk F r ' *- - T * 1 & — r ' - - m - -w~ ~y — p-- m s-L p t J U- — / t ' -1 r- A- i. '"'..ill; INDEX TO “SIGHT-SINGING” FROM THE ESTABLISHED NOTATION. IB IT W. S. TOTJ 1ST Gr. Printed on the Tonic Principle, whereby the Tonic and its Modulations are presented to the Eye throughout the Music. In this Index the Particle “ The ” is omitted. PAGE All hail ! thou lovely queen . 88 Autumn 57,65,81 Awake, vc saints Away, away ... . 86 . 46 Away with your slumbers . . 57 Be lively, hoys . . 30 Bird of the greenwood . 7 Blowing, shaking, and roaring . 78 Boundless glory . 32 Britannia .... . 33 Charming little valley . 35 Cheerfulness . . . . 45 Cold the wind . . . . 82 Come and join ... . 15 Come, come, come . . . 20 Crimson leaves are flying . . 6 - Cuckoo .... . 25 Dark and deep . . . . 10 Evening . . . . . 90 Evening bell . . , . 20 Evening sail ... . 34 Excursion ... . 37 Faintly flow ... . 42 Fairy boat glee . . . . 64 Festive song ... . 61 Flow gently, sweet Avon . . 72 Fruitful fields . . 19 PAGE Gaily our boat . • 77 Good-night. (Round.) . • 23 Good-night . . . • 50 Glorious things . . . • 51 Hail Britannia . . # 33 Hard things . . . 81 Hark the pealing . . 20 Harvest moon . . . . 88 Hear the trumpets . . 10 Hear us singing . . . 15 Homeward . 30 How can I forget thee . 10 How sweet to be roaming . . 85 1 love the spring . . • 7 If wishes were efforts . . . 10 In the field . . . 19 In the tempest of life . * 76 It dearly echoes . . • 45 Join with me . . . • 10 Lesson on Absolute pitch . . • 8 Chromatic scale . • 27 Classification of voices . 21 Construction of scales . 53 Expression . . . 84 Force of sounds . • 24 PAGE Lesson on Four-beat measure • 11 Intervals . . 12 Major and minor intervals 39 Minor scale 80 Modulation • 59 Kotes of duration . 16 Quarter beats • 36 Quavers . • 18 Quickness or slowness of beats 69 Relative minors 81 Rests . 17 Rules of relative dist ance . 13 Six-beat measure 43 The scale . # 3 The staff . 5 Three-beat measure . 22 Transposition • 74 Triplets • • 36 Two-beat measure 2 Life is like . . # 7 Little things . . • 15 May -day . . . . 7 May month . . • 66,74 Meeting, The . . • . 44 Merrily every heart . • . 37 Merrily sings the lark • . 38 Morning song . . • • 40 My shepherd . . • • 83 PAGE New-Year’s hymn 4 • 62 O’er the sea # 64 O music . 20 Only waiting • 56 Open wide the doors • 30 Pleasant Spring 70 Praise to God . 61 Promptitude • 25 See, shipmates . 4 40 Sing, sing • 37 Sing together . 44 Solfeggios • 37 Song of the vineyard 52 Song of night . . 25 Spring time is come . 29 Sweet night . 66 Thanks to our heavenly Father . 62 The lovely moon • 90 Thou poor bird . 81 Three things . 19 ’Tis dawn . • 26 We praise . 61 What you’ve to do 25 Wilt thou lend . 50 Winter, good-bye • 48 Winter time, The • 44 CONTENTS of Vols. I. & II. of TONIC MUSIC (24 Nos.) already Published. IK NUMBERS AT ONE PENNY, OR VOLS. AT ONE SHILLING. No. 1. Hail ! smiling morn Come, sing: this round Spring, Summer, Winter The harp that once No. 2. My faith looks up Softly fades Joyfully, joyfully Realms of the blest Sweet spices Nearer home An evening hymn Hail to the brightness Will you go ? Sweet rest in heaven No. 13. Bells are ringing Ever blooming Morning bells Try the echoes Let us with a gladsome mind If Christian love Come, follow Warble for us Join we all Morn is come Morn is waking Come, come Rosy morning The merry month All the day Sound the horn Whether you whisper May comes laughing Hark ! the distant clock What you’ve to do How the merry wind Humble is my cottage As a band Music now is ringing Haste thee. Winter Shepherd, while thy flock Spirit of Summer. No. 3. Sweet Spring is returning How lovely are the woods Spring morning Come, come quickly away My own native land Change Old England No. 4. 1 Jerusalem, my glorious home O praise the Lord Hark ! the vesper hymn No. 5. The merry, merry May The mountain heid-boy No. 14. Yes or no Ilail to the month The lark Look pleasant By-and-bye Beauty everywhere Music everywhere Little things Diligence Ligntiy fall G«»d is near thee Once more before LJp the hills No. 15. Reaping song Gone and sing Exercises in Chromatics I long for thee Song of the patriot Let’s go a Maying The beauties of S- ring The morning walk Sing, merrily sing There is a footstep light Come, O come away I am a falling leaf Close of school. VOLUME I. My native land The lily of the vale Summer music Vacation song. Birds, bees, &c. Longing for homo No. 6. Bird of the wilderness Firmly stand Parting song Invitation to May No. 7. See the conquering hero Hail ! Judea VOLUME II. No. 16. Wake, day is nigh The bonnie boat The prairie ride Softly the day declining Keep me. Saviour O, praise ye Jesus high in glory Arrival of May O, softly sleep Sing, good night Softly uoav the light Single chant O Absalom No. 17. Here in cool grot Solfeggio Return of joy Sweet Sabbath-day Aldiboronti No. 18. Sanctus The British volunteer Come soft and lovely Blessed is the people Song of the mountain hoy Hark, the merry Christchurch bells No. 8. Since first I saw Flow’, O my tears Return, my lovely maid Oh, ladye fair No. 9 A prayer for the Prince Awake, iEolian lyre Rise, Cynthia, rise The last rose of Summer. No. 10. God the all terrible But in the last days Let every heart rejoice Praise the Lord No. 19. Child of sin and sorrow Swiss toy girl Th-i good rule Lord, for thy tender mercies Sweet the moments By the waters of Babylon Parting No. 20. Song of the grass The sprite queen O thou that tellest How beautiful upon the mountains There is a ladye sweet and kind O come to the garden No. 21. Summer My country Deeds of charity Father by thy love and power The Lord shall come Cheer up ye sons of toil The sea shore No. 11. The better land Morn of Zion’s glory Sabbath school I was glad All ye that pass by Thy will be done Praise ye the Lord The shining shore No. 12. Spring is coming Merrily o’er the waves The merry Swiss boy The foot traveller The thunder storm To all, good-night. No. 22. Joyous spring is coming Arrival of spring O Father, whose almighty power Social pleasure Through forests drear No. 23. Everywhere I find a brother When the ruddy evening Closing Song The Autumn winds Gone has Summer Autumn’s sighing Ere I die M idst sorrow and care The Minstrel Boy Autumn Song No. 24. Come all ye faithful Brightest and best Hark, the herald angel* There were shepherds And lo the angel And the angel said And suddenly Glory to God TONIC MUSIC DEPOT, Nos. 13, 14, 15, 16 form “ The Elementary Course.” In wrapper, 4d. PATERNOSTER ROW; OR, W. S. YOUNG, 3, WOOD STREET, SPITALFIELDS.