use (Shaped Not* Edition) * H O il l5l5l h iI IdI EDUCATIONAL VOCAL STUDIES A Method of Elementary Sight-Singing—Graded Exercises, Songs, Rudiments, etc. BY JOHN D. BRUNK Musical Editor "Church and Sunday-School Hymnal." Professor of Music, Goshen College. PRICE: Single Copy, prepaid . . $ .35 Per Dozen, not prepaid . . 3.00 Per Hundred, not prepaid . 20.00 Published by MENNONITE PUBLISHING HOUSE SCOTTDALE, PA. [Bil l T lfDllDllI COPYRIGHT. 1912, MENNONITE PUBLISHING HOUSE, SCOTTDALE, PA. (if) PREFACE. This volume is an effort to help the student of vocal music to a correct understanding of the principles of Music from the very beginning. It attempts to impart to him an adequate method of Tone-thinking from which he may become a proficient reader. Thoroughness is its aim. The large group of exercises is indica- tive of the author's conviction that a habit is not formed except by numerous repetitions. To supply sufficient materials for fixing habits that are worth while is the purpose of Part One, Only such songs as will make a real contribution to the stu- dent have been included; 'no effort having been made to find the new song — but the helpful one. The author wishes to gratefully acknowledge credit to the following: The Publishing Committee of the Mennonite Publish- ing House for encouraging the preparation of this work and for many helpful suggestions; Oliver Ditson Company, Boston, for the use of the Dictionary; Ginn and Company, Boston, for songs used from "New Educational Music Course"; Silver, Burdett and Company, Boston, for songs used from "Modern Music Course". Gratitude is also hereby expressed to personal friends who as individuals have allowed the use of their songs and to all those who have promoted the work by encouraging words, helpful efforts, or sympathetic support. It is with a sincere desire that this little book may be of valu- able assistance to every earnest student, who pursues it, that the author sends it forth. JOHN D. BRUNK. Goshen, Indiana. April, 19 1 2. (iii) Digitized by the Internet Archive in 2012 with funding from University of North Carolina at Chapel Hil http://www.archive.org/details/educationalvocalOObrun INTRODUCTION. Good singing is one of the attainments of earth perpetuated in heaven. May it not be an allowable incentive toward the accomplishment of singing well the ' 'songs of Zion" here for the prospect it gives of singing perfectly the ' 'song of Moses and the Lamb" yonder? In this age when light, sensational, spectacular, demoralizing, if not sacrilegious music is the practice, expectation, the "satisfy- ing portion" (?) of so many, it is especially needful that more than ordinary attention be given to the study, practice and cultivation of one of the richest of the divine endowments of man — the gift of song. Moreover, there is a special demand for the promulgation of good vocal music, seeing that musical instruments are not only supplementing it, but virtually threatening to supplant the Creator's highest mechanism of music — the human voice. The only way to maintain the true charm of the human voice, attuned to melody and expression, in our homes, in social life, in our educational institutions, and in our churches and missions, is to wisely en- courage, carefully guard, intelligently foster and heartily support every rightful move made in the direction of the advancement of good singing. The Mennonite people are distinguished as a singing people. ' The love of song and the practice of congregational singing in their religious service as well as the use of this unifying agency in their social and family circles is a bright thread interwoven in the fabric of their history from the time of their early life in the moun- tains and valleys of Switzerland and other European countries (v) down to the present day, and there is a fond hope and a lingering desire in the hearts of the present generation that this heritage may be continued; but it is apparent that more than ordinary effort will be required to maintain and perpetuate this admirable characteristic. There is a demand for a music book that is in its character educational, practical, comprehensive, clean, consistent, that will inspire beautiful devotional singing, and that will also serve as a text-book for the pupil in the study of vocal music and the de- velopment of his musical talents. In preparing this work the author aimed to place into the hands of the pupil such material as will help him to secure true tone-perception, to gain correct tone- production, to cultivate an appreciation of proper tone-relationship and to lead him to recognize the highest ideals in vocal music and assist him in attaining to such a standard of efficiency in the use of his musical powers as to make his life of the best service possible in the field of sacred song. EDUCATIONAL VOCAL STUDIES has been written and especially arranged for the fundamental work of good, clean, de- votional, and general singing, and it bears the distinction of being the first work of its kind published by the sanction of the Publish- ing Committee of the Church. It is intended to be used as a text- book and music reader in our educational institutions, church singings, and in general singing-classes. My wish and prayer for this little volume is that it may prove to be a real help to inspire good singing, enlarge the capacity for service in song and to lead men to glorify Him of whom the "sweet singer of Israel" said, "His praise shall be continually in my mouth." D. H. BENDER. Hesston, Kansas. January 13th, 191 2. (vi) CONTENTS. Page Part One 1—67 Consists of Exercises in three grades, from the very simplest for the beginner to advanced ones. Each grade is prefaced by a table of contents giving the order of the materials. See Index. Part Two 68—113 Songs, usually in four parts, graded from very easy to difficult. Songs are classified according to key. Part Three 114— 137 A full explanation of the Rudiments of Music. This part is in twelve Sections, each section treating one subject, part of a subject, or a group of small subjects. The Contents page at the beginning of this part will come well. See Index. Part Four 138 — 142 This Voice Culture Department has two kinds of instruction. One is an explanation of the use of the voice, and the other consists of exercises which will be useful in gaining control of the voice. Part Five 143 — 152 A dictionary of the musical terms which occur more frequently in vocal music. Index 153 (vii) Contents of Grade I. Simple one-part exercises without skips, i a to 3 c. Rhythmical exercises in double measure after 2 d. Exercises with easy skips, 3 d to 12 d. Rhythmical exercises in triple measure after 5 d. Exercises in F Clef begin, 9 a. Key of F introduced, 10 a. Rhythmical exercises with rests after 11 f. Exercises with wide skips, 11, 13, 15, and 16, Key of G introduced, 14 a. (viii) PART ONE GRADED STUDIES. Grade I. References are made to Rudimentary Statements by Section. Note. — These exercises are for the study of tone-production and tone-relationship. Practice them carefully with Iyoo, or IyO, or Lah to each tone. Change the vowel fre- quently. Others may be used occasionally. Do not over use or abuse the syllable names. Exercises under the same numeral are alike in subject matter. 1 a. {Sec. Seven.) 1 b. 1c. 3r^l LJ— J ~ * J. J ^^^J-^^-LJ-^b PU J-*3 J 1 2 2 1 2 1 2 a, 2 b. I l i i _i J J 1 *J 9 W -££- J- J * w * • -£± -A ■ * • * • -£t 12 3 3 3 2 1 2 c. 2d. ^m PP^ "• *■ * #■ (Sec. Three.) 2 I I 4 * * \ 4 J 4: 4 i \ d i \ S i \ *J 2 I 4 * 0.0 i J 2 I 4 * J ^ I I J (1) 3 a. EDUCATIONAL VOCAL STUDIES. 3 b. 3 c. -jh% — — , — 1 — -S> 1 [ 1 -0 — — 1 -&4— L_ 9 -\ L ^ si — ' I 1 1 J v ' U=y 1 *-) h L«| ^ — y=±J ! ~± » ' \±=±a 3d. Se. 1 T zk 9± -* — sr ^ ♦— S^ la. 1 K 3s: ME -s> — sr ♦ L-W *" ^— ^ — *- 1233 4 34321 4 b. 4 c V / - 1 1 1 r^ i | T l x >-+ 1 -J 3— ^ — 1*— L© ' -3 ♦— Sb) — ; — Sb — * — i_| _ ♦ ♦ 4(1. s j j ^ ± « — e — 4e. I 4z -* — *- -*— Sr ^ S» — *- 5 1). 5 a. i 4z !*— t±Z— t*ZZ 5 i 12 3 4 5 TT— L * 5C. 1 &=* i -4--* 5d. ^r i ^p 4z tqt («S>r. Three.) ^T 3 I I I I I ill I I I I I II 8 1 1 I I I I ! I ! I I I I \ c J J e J J J J # J ,4* 00000000 e 8 I 1 i J I ill I'll 1 4 e c \a 4 \4 4 4 \ d - 3 |ll I I I J 4 rJ 4 \4 4 4 \e> 4 \a • GRADE I. r\ 6 a. -tH* J I ; -An* | j 1 1 J ^ J n ■J- -i- -4- w w * 6 b. - V '"i A r » i i 1 1 i i 1 i im i I \-\) 4-1 'J "j J ^ J ! ] n -a- • 6 c. V 1 1 ! | 1 i yi f » i i i 1 j f?T\ A \ 1 J a J a A J 1 1 V > 4- 1 J ! 1 H J j ^ 9 J ^ ^ cs -A- T ■ -^ w » ^J. • v 1 I A. i 1 I r^ ! J ■ J 1 4 J I , 1 X'\) J 1 i ^ J ^ J ^ • • i ^ ! "* J 6d. * -4 * » ^j. » -&.' V 1 | jfL '? I | J 1 1 1 I _£S4 r -J 1 U -J — & m J. -0 ■ — ■j ( — (— -J — J — d — El a ■ 44^ 1 g 1 1 2 * — u:3 L 3 4 5 6 ! 1 LJ« ^u 6e. 1 — — L-e^ •-<« — 3 J Vlozart. \J | 1 Z I f?H J i 1 1 1 d ta A 1MJ & • "4 J 4- "* ^ n • w ^.. _i_ ^ v 1 | /£. i i rt> 1 [ | 4 J • a m 1 j Vy ! 1 1 ! ■n "i « ( V ! 1 | /5 ■ 1 1 1 1 i 1 ; -m -«l — 0— --^ — ^~ i 1 -e & — -^ «, — — 1 1 1- r\ i i - 1 - 5 3 — ■-♦ — < (L _u_; l— ? L^i oi l^ H ■ «- 7 a. \ J I' o 1 1 i ^ l 1 /$s ri d A 1 | J e a 1 v- J *> ■« ^ 4- 1 ! ^ o ! * * W VJ ^J. ^ » " 5 6 V i |- J5 J J 1 m A rh a 1 ^ r i ~~V H -J d vm; • ■* O i) «j l- .... w» -jSsH 7 17 EDUCATIONAL VOCAL STUDIES. 7 b. JJ2 , | I T— F i J J I J h^ = M J i J » 'd 7 c. ^y=iii^s a 4 ^ j J J 1a^ T^^j^ =J=t ±=b±=5t (S)?c. Three.) \ J J J J I J J J 4 I I | I 4: 4 4 4 4 4 | | | 4 ff « « * 4 | | I 4 4 4 z> 4 | 4 fil 4 I 4 ^ J J I 4 4 8 a. # J i J 1 4 4 1 1 1 1 4 4 4 4 J J 1 1 1 4 4 4 & 1 1 1 1 4 4 4 4 J J 1 1 1 J J J \ 1 1 4 4 4 4 J .J . i 1 I J 4 4 JL .J ^ ^ U4-|U44 4z ^S 4: * — « — c*- J H g g g g ^ ^ A A" ££ |H S -ei 4 — #l -W — th T&- GRADE I. 8 b. rD~A 1 i 1 — l r 1~~ A "+ i \ -^—4 1 — LJ 1 — =f= — « * — -r: * „ i r~f~"F r~r -p w -» - r i I iii 9 b. H 1 = fe^ £=p: sa= ^=ps: • -j£t- C\ m • b *)• r » ~p ♦ i* ♦ -^ i A ■ '• 1 1 ' 9c. 3i# P ? I fc gl ir r r 1 '"^ ^t ^~^- * m ^=^ EDUCATIONAL VOCAL STUDIES. 9(1. ^m 3 tL. ± m r p 7t 9e. -^^-9 1 -1 fc k 1 1 (2 -1 1 1 , 1 -^ j_ A A j 1 A A I * A \ \ A A I 1 i 1_J j — J LJ J U d—i L_J 1 -Ctf 1 1— — k 1 1 1 1 1 k k P 1 J A A , 1 1 ! zJ A J- ■ f- "I | A 1 1 — [ I — I — 0- 1 1 1_| 1 1 0- — 1 u The Raindrops. {See pronunciation under Voice Ex.) i Ti M- w E§a * I «l 0- -w — tf- Rain-drops small that pat-tered down When storm and wind swept out the town, i l 4- -* *- -* © — — ♦ * Climbed up a - gain in wreaths of white To homes in cloud-land blue and bright. 10 a. (Sec. Nine.) i 3: w i 1 23 4567 1 76 5432 1 10 b. g £=*: Z-l 1 I | -al — * — — - _2: m— —I 1 h- 10 c. j — ^ ^tz^: -I h- :: 4=^ : i » I «j ■ A Al GRADE I. 10 d. I* IS ^ ^— *- P rrl — r~ i ; H i — — i r — — 1 nA ? a — * — r 1 n J\ b *9 1 -i p m l fti 1 « 1 v \ «> V.U A 1 1 A w A • 11a. Sl£* * W 3t=L5 lib. t""\* O A r — 1 p 4 , H • 1., z p & 1 • ♦ ■ -^ b 1 &J 1/4. | 1 1 1 — 1 — 1 1 | — — — — -*^Vj * — F — PH 1 I 1 _JB a_ — ^ ♦- 1 r7 "I -r— ^ — f— — r—w- p lie. -Rf— B — * — A — — * — 1 — f — * — ■— - — A Rbi 1 r h — 8 1 J— ^- -p ' -■-i -*V ■ A 1- — A — — * 1 r~i • k — * — — m A — 1 Pb 1 i — ■ 1 —B 1 1 1 — ' 1 1 + — I I , .0 • £ m lid. [ ~I 1 - * )., A , A J ! J 1 a S h A \ • . 8 & 1 * d 1 L'4- | * A I •! L_| 1 P\» A * — 1 B | - - ■ ■) r ■ ' 1 1 *— | 9 „ )'l i 1 * -^ b 1 & cJ 9 \ 1 i « 1 EDUCATIONAL VOCAL STUDIES. lie. -J?-K2— 1 J P -j 1 1 J J j d 1 -gjrSJ V P— * J— J ^ * L ^ < J— * d f—fl 1 k-,-^ 1 — | 1—, 1 1— p 1— | — | 1— . n gr J - ' 1 ■ 1 *^ — [ f— - 1 — *-^ — J— ^ — tJ n f. K^^ — f^-A — s a =-i F ■ — * *^ — * M^ — 1 — p — f- p — p ' — 1 — 1 — | 1 — f 1 i-t^.-. 1 — (©- — - — i ; 1 — m * h — i — * 1 = — t : n ■^1 1* F i 1 " f^ 1 j f^ JJ& — | 5 1 1 p 1 1 ! L — 4 — | p {Sec. One.) 2 I ill ill 4 4 4 \ 4 4 \ 4 X a 4 * * * - # 4 \ 4 X I \ & 2 i U ' s. I 'v.' V In. I I J 4 4 00 & 4 * ! - * I * * ! $ \ 9 ! - # # J 2 I I I s. I J \ \ 4 4 - \ a 4 X i L i iii * # X J 00 \ & 3.1 I I I III ^ I I I J I I I I N. I I I I I I I 4 4 4 4 • ! e & | 4 4 4 \4 4 4 \4 Z \ &* 3 I I I I I I I J «l I J v. J I J I I I I I I I I 4 4 4 00- \ 4 4 \ Z - \ 4 4 I --■ \ d • 12 a. Jp b 2 1 — 1 — 1 1 — 1 — r~^ 1 ! — 1 gr4J J — J J— « — J— -2 — J— J — d ^-J — J s 1 -Jh — 1 — — J-d — J— « — 1 — : 1 — 1 — 1 — 1 12 b. ) * 1 ' * 1^ P 1 J M M J 1 ' N» J- 1 I V» V» 1 N* ^4-4-1 — j— 4 •< * ■ * ^_^J — *_ 4 4 J — 1 * a -4-^ — U * ■ GRADE I. 12 c. pg^^ ^^ -W A- "r « r If r rP ^ -^ : l J i* r -*~^~f t — f~r~- i 4 - ■ * i* — —- r t p r- — — -A_k «— | 1 *_}_ _| ' j | * * J 1 -P e_. 12 d. hot? — f - p - "i — p ~ ■■ — ■■" t - ^ — f — J - t - B — r — * n* KSr^f — f - J * f r g J j i 5 -i — u— i— =- S *—- s ,_j 13 a. (Divide class into two sections.) Section I. Section II. I. II. ±=±3* id=FJ JL3U « f— *- ii. ii. ! I. & II. L&iixin fefe ^==£ 1 Li 13 b. (Section I. sings notes with stems up, Section II. sings others.) i^ J d h^H <> ? F^E 351 fep*=s fa=F =P F ■A- 13 c. Fine. rar 4 . . -j- -p ^^ S P ^ Eft r » m r± =J=4= m • 6 nl- =J= =i £>. C. =§F =b=H ♦ * ■f 10 EDUCATIONAL VOCAL STUDIES. 13 d. i—3 — ?; f— i 1 — i l—i 1 — i H 1 1 1 / h 2 I — h~ il — ' — *~ ~^ — »~ i- — i — r_ If P 4J / 1-f -f-M [-- — H 1 [- - 1 J jh^ — 1 g^ 13e. m St i* • ■ • i*~ ■ F <^ S^ k ^ » — i= ♦ g 8 * i ^=~ r Newton Ferns. Richard Mant. Samuel Smith. V i 'l - ! * / h4 * ' * i r F | uv\ V 1 i * I P J • ! 1 i ^ g VvJ 4- II a 1 i 1 w' ' 1 v 1. God, tny King, Thy might con-fess -ing, Ev - er will I praise Thy name; 2. All Thy works, O Lord, shall bless Thee; Thee shall all Thy saints a - dore; I " B B Day by day Thy throne ad-dress-ing, Still will I Thy praise pro-claim. King su-preme shall they con - fess Thee, And pro-claim Thy sov'reign pow'r. 14 a. It A ! ^+t4 1 1 — U w -P— -f- r ■ -g- -J 1 h I -xS) — 4- " 1 — II H— -I ~i 1 4- =t= ~ >_ » H - 1 V/ =t l_| 1 2 3 4 0^ ill 5 6 7 1 7 6 5 — 1 — 4 3 2 1 -4Mf 1 1 1 \- 1 1 i 1 jT •- w ^— J — i — i — fe J * *!=-*- -*-J- — 1 1 -J z£= — |» ► H- -r— 4^=4^=4= ■4 — 9 1 — ■■— - = — £d l_S^ 1 ^_. 1 ^_^ 1 1 h_^ . u 14 b. Vffo 1 r — 1— — 1 h — 4- -4- --^ h- — ^ — & — ^) |i — *! * — J- 1 — * — - • — O — 4— — *- = r * — #- — r — — i n ^ i ! ! 1 f =st= -d &~ p — 1 — i — — p— — i — — 1 — -— ♦ — i — — ▲ — — i- — + — w ri GRADE I. 11 14 c. 3E ■"J41UJJ ^S ' 4- V * - 1 •' J J 1.1 J .ihhh-t i I ' 1 ■! J l. i 1 H J ■ ' J 14 d. J J 1 j J * j tt J I J g at=3t 15a. -^ttir r p £ N*b±^ 4-f r r If p:| (■ i 1 r ^^ ■p — ■ — 1»- i» s ♦- 15 b. " 9 : #^ r f r i r r p i J J 1 1 1 - U ^r^ j ' g -1» a 1- -9*1— T r mp r P 1 F ^ -j—*— r 15 c. ggf^ 4-^ ^^ ^^ *h"rtr 12 EDUCATIONAL VOCAL STUDIES. 15d. Franc (1543). Choral. HZ 3 agg £ £ P* 2 =: h^^ j uU -^ — P- E 3h 1 5 e. Franc. Choral. nite i -A- 3=3- ts> — F- = 5=c £ PIE^ « ^A- £ £= 16 a. fcl # — P- P^=P ^^ ■ jpft i i . r i * p P = 1 — 1* 1 — 1 ■ — c — 1 1 — *— ±=? — u — i — V o * i J -: 16 b. r 2 1 1 fc=£zz rFF= l - 4 a m\ j a |— -z?- n tt A ■ V ft I r p 1 ■ rffh ■* • VJJ * 16 c. n ft i • • A -#ft-a^^ — t- — r — r- — i ^ — -■ — -f — . -/k V — 1 — F — I 1 — J — * J h — &-* hfi r i r if . r li 1 r 1 r 1 r r r 1. r Mr i J 1 i 1 -§*- ,U_Ll^l_J 1 ! 1 f j-4, J * ^ GRADE I. Thanksgiving Song. 13 Mary Vaughan. , i Moderate. Mrs. H. H. A. Beach. K r I r_jLj =t 1. The ap - pies have been gath - ered and piled in rud - dy heaps, And 2. Thanks-giv - ing day is com - ing, the glad Thanks-giv-ing day! We F#t S S down a - mong the grass - es the pur - pie as - ter sleeps. We've count the nights and morn - ings that slow - ly pass a - way. We'll m r r J r p^^Frr^^rr^ri brought the gloss - y chest - nuts from hill-sides far and near, And sing a mer - ry roun-del - ay when it at last is here, When H 53? soon it will be com har - vests all are gath ing, the glad day of the year! ered, and win - ter days are near. Contents of Grade II. Two-part singing, 17 a to 1 8 c. Intermediate tones introduced, 19 a and 26 a. Rhythmical exercises introducing the divided beat, 20 a. Key of B P introduced, 22 a. Key of D introduced, 23 a. Key of E p. introduced, 25 a. The triplet introduced, 27 a. The quarter-beat introduced, 29 a. Exercises in the minor mode, 31a. Key of c introduced, 31a. Key of b introduced, 31 e. Chord spelling for voice blending, 32 a. Three- part singing, 32at033d. Exercises in C clef begin, 33 a. Key of A introduced, 34 a. Difficult rhythmical exercise in two parts introduced, 36 a. Staccato introduced, 37 a. Compound double measure introduced, 38 a. Difficult intervals, 41 a to 41 b. (14) Grade II. References are made to Rudimentary Statements by Section. 17 a. K^ ^^m w .4: V- ■&■ P F- 33 4^ j^ *■ A » » A A A J J i*i A A F 1 l 1 F "H^ — H£= ^)* i* * w ■ 1* i* r* " p l i 1 "t — f — r~t — f — f — p — -4- U— -1 p — p 17 b. ±L f=F « < -» K- I ^Ed Pi rf-H-^ — t f=f= t ^rr = f u 17 c. fe^ g tj j ; *^ F F I I J _l _A1_ g §=f J ~F F (15) 16 EDUCATIONAL VOCAL STUDIES 17 d. n i Vi i , | i | /"L b f ' * — I * J ftn -1 * i « * o> • ♦ J V-l* '4- • A %J ' w r\* q a I i ! •)•,»» i i» J ' ' J I* i 1 s ri A \ # * "4- I ♦ 1 ! — , I 1 1^^ s 4^- 9yr^r -A F- ^-^— J — H — -f — * — ^ — J — 1 — i — 4 — d — — 1 g^ — 3 V J <^ ^: L r r r ""~ -I P p * J J * J zk i-> 1» b— i 1 — 1 1 n 1 i i A P ■ J ■ 1* l" • =^4 — ' ' i — 1 1 1 1 P ^— =— P f- 17e. n^ 1 1 V tf-4 — 1 -j 1 ^ «> # • 1 t)A J * -* *"~ = ' — J 1— 1 ^K— =* J 1 1 l_l 1 1 ^ ^ 1 11 f f f- f- f f t R:iU a — p — a — p 1 1 1 1 f- — a— > r 4 i ' i ' - ' =j=~f — r — 1 d: i i . L_| 1 1 ntt 1 1 i - i ! 1 #5 — J 1 1 1 1 1 — — i 1 (fo ' * * * « * 1 f •- ^ ^ ^ 1 LJ 1 1 [ J U II * m 1 1 1° ^ C|^ A A m +——^ A h f" L 1 1 >* # 1 [ 1 . ! H U ' ' : GRADE II. 17 f#F 1 7 f . -3= 1 — 4- ^=R J — a- f — r~ -+- — d — — A — '^ — A — #— 1 ■ — A — V * =1= 1 ^V 1 i i d= 4- ♦ ^ 4= > -J V & U 18 a. &E* ^E^ t£* iJ=t i » P =i=3t 33- r ■' J i : i 1 1 J J h^ i J j i J fri rr r m=F ?*F nr 18 b. K 1 , J J J-^ £ S ■-^ b- / I s J 1 1 1 1 1 I 1 1 J J ^ ^ f9¥ i l 1 i -i^h^^F 1 ^— hf " f F#~n 1 H M-4» — ' — j — i — i — f— f — f r — rr — r~* — r — 18 c. e* * — 1» — ♦ * K- -« f W F f , r _ r * , » r f , f . f * -I 1 9 | I | ' - I \ | FW^ nf^~f~T '~F| — 1 — | — r-j— i 1 . f * f 9y= ' i ' ' * • 4 J* I r r r f 1 F -F A i — i 1* 1 — 1 f — 1 — ^ "J J r-** rr — T — r — ~n 18 EDUCATIONAL VOCAL STUDIES. 19 a. (J 4) {Sec. Eight.) ^^ =^ d a *=£ * j j j i j i j j E it=* 19 b. (#4) -*\5-£— ' s— -» P- F 1* f 3 * ► 1 K -^4^-^ -J L — — 1 — a — -1 \ls1X \V^A " A IF t k zzst 19c ($4, #2) J 1 ■- 1 J ■»— i ft £^= ^ 1 1 j J I r i[H *J ■' ' J i J g ^ ^s # V -*- 19 d. (#4,jj2,#lj5) Andante. S 2 g Pfflt S 7 ; ♦ ' f 5 TO 3 ! 2± ^ as i5— >- .h. — ^ P II 1 P 5*- P 19 e. (#4, #2, #1) rr itf ~ i i HE - g—jy— — g S * ftj * ■> — *- ii rfr r u = f -e *- r > — *- GRADE II. 19 19 f. (#4,tf2,jtl,#5) 4 ¥M -fl*- f ag- ^ ^zznp « g £— 19 g- (j(6) y l 9 1 * Tkl "A © # f* 1 i *T l»5 im i • 1 1 | i H V 1 ' -4- 1 1 1 I 1 1 1 i 3ZZa 3; z^ Emerson X X 45: frg- 4r=r^=% S 4 — =i- -_± # • -^ • - ^ ■* ^—i 1 — ■ b ^ > ; fr The rain has spoiled the farmer's day! Shall sor - row put my books a- -P- i J — B — J- & St j ; i ■&- ■ — ggd e — ■ way? There - by are two days lost: Nature shall mind her own af- fairs; ^^ I S x d -=* 2ft a-=- I will at-tend my prop - er cares, In rain, or sun, or frost. 20 a. 20 b. J>j>|j II JJ J JU J I J J J>J>|J 20 c. U J>J>|J j>j>|j J>J>|J || 20 d. fj J J>J>[J J J>J>|J J> J> J> J>- 1 J . || {7">j>j j>>u j j>j>i-j 'j>j>j»j>j»j>u j j 20 f. 4i i i miji J. • « * 3 9 I i n i n O 9 20 EDUCATIONAL VOCAL STUDIES. 21a. ^^#^feUJ — U-J-^ gz^3^ F ^^ r#L i -1 1 h-f* — 1 -] 1— H — r^-ri / h # r p* -i ^ # icTi i 1 i * -A A A i ▲ — • A P- • 1-1* 1 b^i- H ~^2l1 — irlr — 1 — -f n-h- -f U-fcn -1 ^ — fcii- ^ ^ i >^ k J ^_rl i -» -F- =tt=p: iV— f"- ■ I* ip §5 fee 1=3= 1=?= 21c. #£3 i i -£-J> 1 I ^t i 1 i . r^i — M — 1 6 b i J J ^~^ » ^=^ — + 1 J ' *V ^ — ^ — ^ — <*! • ^K ^ — * J B — *- LJ ^ Li ' fst; — r> — * ^ h — rrv\ r h — ^ ■ iO . ■ 1 A y y_ 1 P m 1 N B~l gy | j iLii. I 1 ^)=p=^ — ^ i p — r-jk y *- — p- 1 a — F — r — ft- T= ^—&-t\_ — i 1 1 b P l/ : H feR FfPR ♦ ♦ e ^^4^ ^fal -*- s -d b ^^^-^ 4^ ^^> i f irf ^m $=? 22 a. J? J? 3 i u — 1 t =t n 1 -i 1 1 yihh -■— -v- -aU n ~m 1 1- | -A- -v- -■— 1 * — \~ — 1- -■- »\ ~~* — ^^ W- 1 ^ L i- -1 * -*- RH?vh» B -» r^— •— ' -£ -j " . : >b 4l -*- -p— H — -i»- »\ =£= -*- -^1— £ -s- 1= "P— -*- V -4- -aJ- -»- >— -*- n-- =i GRADE II. 21 22 b. i , b i i i A P ■ f - P A J (u) 4 ! P 1 i h 1 V • c 1 <5> £>■ i i 1 ▲ - ~P~tt/\ A -. A -. -. ^V" b4H — ?HlR — JM-fzr — r m j ■-— P — — £— -P— *. -4-0 — ■■ ^,^4 — T~ -P 111 ^ '1 1 1 1 '1 M*- -J-- — h- - v h- | 11 ' I P 22 c. l i • J4- « ^ ♦ ^ /L b '( — 1 — 1 — I— *~#J ^~~ -jfij— -P-#A— P- -- tip r i ■ y ■ tr ^A 1 i i r A 1 ^WPrf= p ,♦ i- ffffl o — I — *H — i_ 1* ftP- *- 3=tF=p= -p— • — l- 1 — I — •" T^ v H- I 4 — i i i i 1 i 1 i 4 J $$ 9 \ - r ilr r J 'J i ii J i -f— d-r-j — H-d-j — l s b II i*L * | | r ■ l pj ^ -* r * ^ 23 a. S=^=ft= 9— a A- 4 l> B -ft 5 H ft -2=P=t=£=P -A A ^=P= F** £=i=1=t=h=^=^* «i ± £=^ 23 b. ^g P A jh ^ -1* ^ 1- h l »- ^^ -?. £ -P #- > |P* £ 22 EDUCATIONAL VOCAL STUDIES. 23 c. i Sffi ^3 e is -» — i- 24 a. =• ^ ? " ';>^j zg — g p-r 351 =pE IE* P^F fig== •^ i = s p r- f 1 f- i i ^ ^^ 241). r ' d i \ — zest d — J -^ ■*- @s 1 -1 1 [— S g\ i 1 1 24 c. :fe— h- ^— V *3 g BEE I* & | 5ft §^ -* — » g P B E -» — p- ^ • ^E £=$= 45=3: T^Jr & ^=^ $=* D " ' l> A 1 GRADE II. 23 24 d. Andante. {Sec. Three.) Sfr SlsSEiS* ' =^te==grig==fr %&=$&=$ fc-id* =N=S^ =sV -fr- -fe-E-b-iS -fc, — K- ^ =15= =¥= -ft- -fv- -fr- * _ A _ — 4^— * jfc£-P- ^L « >^ • • - t -^- L » -^ — ♦ • ^=fc 4 — m 9=£ -rr — PL -9 r fr-fr ± P P P P P p p N-ir P l> Kind hearts are the gar - den, Kind tho'ts are the roots, Kind ill IE -h h" ±r r p l> words are the ^ P P bios - soms, Kind deeds are the fruits. 25 a. -ihjk 2 | 1 1 — -j — J— -p — ♦ — r • — b— -J — J 1 1 1 (qr b 4 . l—l— M * -4 1 i— * — *— •L-J d ■ — ^. 1 — ^j 1_| . — 1 '"^j nh^ n A ^ A 1 1 1 i >l b h a 1 1- in\ w " * I 1 | J * 1 vJJ J ♦ * • ♦ 1 25 b. 1 ibfat i i i -1 1 1 =t -+- — — \- -*- ^— -4 F- F-^-i^ -H- -• ! -1 1 P p 4^i J -ftr- -W- -A- -d- -ft- -or — ft^ -3- -ftL- L— -f-f-f- ' =^== ^A_ ~P J— 1 A » ^- -*- 1 1 1 ll 1 1 11 — 1 — — 1 — i #^- -1— 1 H— p F -4— * — 4- J ^ J — 1 1 1 ! 1 u-^j u 25 c. » p^^ ^— *— V- » — p — F ■F— P — F- ♦ — * — •- d ♦ d =£=£ — *— » a » , . _ m ! i J =^==^ — ~t i i i , y l7 i i I 4-r-r-i f i - 3 ' j *' j * * * ■ J J-^ — 24 EDUCATIONAL VOCAL STUDIES. 25 d. C\' K Q ■ 1* * )., P »> a F r /\ -. /\ • A • J A A v b h/1 u ^ i 1 " P4- 1 ' 1 L| 1 M — 1 ' H ! — ' 1 giife^ ^ t — t £ ^*— » -(=? A- — 25 e. /T\ -■- ^ /rs C\' \i o t A m I I* r I - 1 • )., P z A A p A 1 !* r — ^ b k '1 J J 1/ P4- » 1 ; 1 ' U 1 u ; — 1 i 1 • /TS /T\ f\* l-i i 1* * )*| P A A F r a A s b K i W ! g ■ j * I u (7 | • -J ^~ 1 1 1 — 1 1 — 1 i 1 — -1 25 f. — -B- ^- -J — ^ ■ -B- * r l 1 i i A k. i i i 1 ^^o; — — \— J — i — l_ r e ,» _= — • ^*— *—. 5— J 1 1 L--J- /x — (*- — / L 17 , V 1 1 — H 4=i r * ±=j*=±j ■ ^^_ i g * * f ££=E & . * , » -A-4 (*-r*— A 1 — I— ttzzl 26 a. Lentp. ^ — &•- := : J * — ■- E o 26 b. r#r^-T 1 — i 1 1 1 r 1 A. b k^ 1 1 ! 1 I i ! 1 i 1 fT\ y P /( J 1 1 ] 1 UJ ! 1 1 -P- *_J w • 1 Ai— #~ _£j 1 1 — *— B y» 9 1 — d— 4 — r- flrfr m -w * a=^^ 1 * — ♦ i i 26 c. P? o I X 26 d. H _- #©i $ ^ 1 =t j d I po I * =K— ^ — 4 r 1 F 1 r f r 'F * r 'i r r r ^F GRADE II. 25 Good- Morning, Merry Sunshine. Anonymous. Allegro. Margaret Ruthven Lang. p §^==3 1 . Good-morn-ing, mer - ry sun - shine, How did you wake so 2. I nev - er go to sleep, - dear, I just go round to :Til2: S » — -a ^i ..„_. soon? .„ You've scared the lit - tie . stars a - way And see-. .A "My lit — . tie ehil - dren of the East, Who -B* shined ~ja _-_ way_ the moom rise and watch for me. . I saw you go to sleep last I wa - ken all the birds and S^: gg^i^gi night Be - fore I ceased my play, bees And flow - ers on my way, How did you And now come :'ii: -a — gh ]=i: it tm : p get 'way o - ver there, And pray, where did you stay? . back to see the child Who stayed out late — to play, . 27 a. (Three notes in the time of two of same kind form a Triplet . \ 9 r>t>M 1 r> o r>i & & \ \ & 27 l>. • \ III J5.J) J) | \ WiJ Q J \4$-Pi--4 \?n. J u. 27 c. i:j j i mm\ j j i jwj^i j j i wmi j * sal :< a a a 26 EDUCATIONAL VOCAL STUDIES. 28 a. Sfei EfcJEJ -^ ♦ — A- 3^3 ^=P= :p=p: * fck P "*" {3 f k. ~^ f\* k 1* 1* J't ™ L) tr 5 ^ I A „ \>- !' - -^ b L i ^ r 1 rt> B 1/ [J I 1 ' 3—^ 28 b. fc3 ^H W d i s -* A ♦ ♦ H M -4 •>- 1 d 28 c JiL/ T^ A 4 A, 5 5 •__! . — a a » m m * * • » ■ F F JMZ 3L_ij aj M U P P ^ P ^ 9_ 9 9 i M^ J' j' Jt-frf> 5 |) I, B S -A ▲ A A_^» » » yp [ p p=pq p p g Jl PL_^ » » » w W g P V S 28 d. E g g j Jij-^H j .''r^ * j ^r^tM^r-H? ^ " — -3^ ' A 3-7 H A =^ u 1 y V — — b — - -N —^ fr-fr-t -h-fr- ^ — » $=P= 28 e. 2i^2rV^771 fcE££ m: -w — f: 3=Jqc 3=£ P ■ P rP ^ j^p^u IEEE — L=d — i — i — * — i 1 — \-A — 1 1 k=A h — i — F- ^^: GRADE II. 27 J P| 28 f. * ^^-7 1 1 TTT-* a ISfefesI 3 A I ^ fc~ -*-£- F W k fc ■ !k =ft^ 1 ^t^* ■ Eri ne. Phoebe Cary. Kathryn Yoder. CZ^fc *=£= ft#^==£=^ bk p g g — ^ D E £ One sweet - ly sol - emn tho't Comes to me o'er and o'er; I'm i q ggj i _ ft h b -f> s ♦ W g: £=£ near - er home to - day Than I've ev - er been be - fore. Near- &E £: -fr- it -» — ^~ ±=± -m g ♦ -* *- V= er my Fath-er's house, Where the man - y man-sions be; ft g b 5= H = T=3 : -i 1 Near-er the great white throne, Near-er the crys - tal sea. Used by permission. 29 a. 4 J 4 « * * 29 b. 4 I 4 e 29 c. 1 J"^ J Hi I i i nni 0'00 0'0 0'00'0 & nj I n i i ni i n n n i i n j 0*0& 0-00 0'0 0'O 0'0 0'0 0>0& 4. 9 e 29 d. 3 nil n I nil nil ni 1 p 11 e> @ \ 0> \ \ 0>0 \ \ & 0- \ 000' r~ ! rn I 1 28 EDUCATIONAL VOCAL STUDIES. 29 e. I J^IJ J : J>J)U JlJ*hJ. J>/3JJ J* J41 J. JV3 j j2 j4i j j . . j> ji j j> ji j. p.n\j 30 a. =firt K=^^=^ |B=Er? i=*z -»r r* » — A-; -A ~^=^ -A— — *-i ■ -A r-] -A iM- J- -t>- 4= -1 «i 1 =t= T- -V- =2= M= * — F -^ 4— 30 b. ^^n= ^ 1 : J* j j f f=^[^j ^ ^ 4 iTT v lr ) pV ir£ 30 c. 63 gafeg t=tt i*-^*- r r J * * ^ p=* £=# s f^ 4, r , MfrrrFrfr r~^ ULir f-4s zz-*^ n-F^-- r -w s 9 *%— r - , ♦ ^^ — 1 » • h a — a — ■ — a • n $=3fc 2=2: m -»— £=6 h !•■ £ ^ p 30 d. ffiBB ^Sgii tf^%p ^^-J^PP=^ ^?.R'-« P^ pg^-^ H J I J J ^ FP^p Q ;i L 9 ♦ . ♦ (~~| , t-p-h ♦ . ♦ha H 1 ^ CT£=£ ^F-r»r s ft-^i ^p ^E GRADE II. 29 Kate Brown. (Words.) Andante, ^ |PSE|EE| v : -k— he :£ 5 E ^P=^E 4 In the heart of a seed Bur - ied deep, so deep, A dim. Allegro. t ^ S 3= ^ 5^ =5 ^ f -P f dear lit - tie plant Lay fast a-sleep. "Wake' "said the sun-shine, "And ^=P- £^= &=£ creep to the light'" "Wake!" said the voice Of the rain-drop bright. (6"^. Nine and Ten.) This is an illustration, not a singing exercise. MAJOR SCALE. 1234 5 6717654321 do re mi fa so la ti do ti la so fa mi re do MINOR SCALE, HARMONIC FORM. -b^i < & " gEfe 12345 6 71 7654321 la ti do re mi fa si la si fa mi re do ti la MINOR SCALE, MELODIC FORM. Notice that the ascending and the descending differ. ^=fc 123456717654321 la ti do re mi fi si la so fa me re do ti la 30 EDUCATIONAL VOCAL STUDIES. 31a. rf-u>~n , 1 >5- h h f ' i 1 irh ™ -1 1 1 1 4r ^-J — J — *L- '^ j-J —J . -J — * — ^— 1 w «l J L -4 J ' 12 3 la ti do m ffi ♦ m * * ~$i -' * ' * t^^ 31 b. l-fl-H? 9 11 1 I 1 1 I , 1 1 1 ^P^j — ^- i— J — J— l-J — ^ — I— o ! 1 J i^^FR^ i -* — h ■ Qm - -♦ * e- 31c. ^s -U0- f I ) J L- ! i .Hi i,J I J J^^U-U-^ -»— jt*- i -» — » I j j f (y^^ » H -£•- -P— £#- 31 d. gg' j g =l= -» — a- as P p 31 e. l , t^"" *T I i 1 I ! • *>- J*ftU-'» 1 ■ 1 ' s 7 r aI 4 J if ■ a • a * A ■ ! ft -+ B ;# B £« — — — i ! ! — CV~ « — >■ — cp— ■4 •* — 1 i — r^ * 1 i — 1 1 F — ■ ■ ■ 1 — 1 1 i — *fl 1 r- 1 -J ! u. 1 1 "1 ■ GRADE II. 31 31 f. , A J ,,! J -4 -^ ft—J— =- ^=^ -4 i 4 b c g 33 ~ » f- j I I = x = TH "▼ i Translated from the German. Moderate, On A Snowy Day. Old German. h s r> -h — h- 6* 1. Fall - ing, fall - irtg, Fast the snow-flakes fall On the house-tops, on the seas, 2. Squir-rels peep-ing From the hol-low trees, Sa- ble - coat-ed, safe from harm, 3. Fire-light play-ing Thro' the co - zy room, Makes our books and toys and things 4. Tho'ts of wand'ring Thro' the wind and snows, Makes our bed so nice and warm, is r>— h t-ft— is b fa b £: On the ponds and all the trees, Whirl-ing, whirl-ing Round the steeple tall. Feel the snug-ger for the storm Sweep-ing, sweep-ing O - ver lonesome leas. Dearer when the cold wind sings, Stray-ing, stray-ing Out there in the gloom. When the chill-y sad-voiced storm, Moaning, moan-ing Past the chimney goes. From "Modern Music Series." Silver, Burdett & Co. 32 a. (Divide singers into three groups. Spell and pronounce the following chords. This plan of voice blending was first used by Dr. H. R. Palmer.) Very slow. > , III ZZt 32 1). n V o 1 JL ^ i J | 1 , ItTt 1 a a e ■ ( <9 \.\) 4- % § tk s. 1 « ^ I." 1 1 > « ^ i A | I 1 A ! „.: i 1 1 | 1 — 1 32 EDUCATIONAL VOCAL STUDIES. 32 c. 3 » it— A- *— #- ♦-HJ ,H-* j — 0~ y d—0 — 4~\-« — j-jf^-h^ 1 — 4 •*- w S *— fi- ll \ \ \ \ I I J J- J I f ! I I i i ££=£ i < * ^ s^* 1 4 rir — rn — -i — i — i 1 1 — I* V ♦ \1 ■■* ^ 4 s — <■ 1 ! -Ai- 4 -Ah j j4 :i- -M -Ik A A -A S tf -A- -A- J- ! 4 — -♦- - a - -♦- J -♦- -j *— p — W * • I 1 ! f - — r r r rl — a — w— -i 1. 1 -P J — H— 1 1 1 -1 — 1 — L_ (5i?f. 5for.) 83 a. M= Do is equal to Do. I J^4 -3 f) — M 11 ^ H J » S -*^B^- 33 b. 1 ^=* I :2z zzst 4 4 =5 -<5*- — ;& — \--& I I "F^ 7*" T7- -gr^r ^ S ^=F --j u - :^~: n I I . 38 c. ^T I 4 s =M=£^ _^I s§ 3 at j 3 ♦ «i --■- 7~ r c> > sz GRADE II. 33 33 d. i f 4 1 .5=1— rtr— a- , i ^-1 1 -.1 1 1 9 ' " 4- * ' P *- * » ► i ► «, — 1 1 -4- — - — J--*h *-= = — : L - 9 9 a ■ v ' ' ~i J* h t f f ■ CtiUrf M*"+ 1* J" fl-f — A 1»— t 4 — | • A * (^ 1 J n 4 1 — LJ-J 1 a 5! 1 1 ' r 1 frt I— u^ "^-T* ▲ A j^ dti s # P 9 -P » r.^ -r — W I* W - A I 1 — P S T 1 W— I ^— " a m i * I -A — &»- ff— I — •- 3= H 34 a. J W- M ■# — i*- ■4* P- 4: ntitt u ik/tr # 1 A. S' i i - ]»— —a - I* ♦ fen " r i A A 1 Al L^_ ! L_ 1—1— — U_ i—l 1 | ' ' 1— 1 1 — 1 i 1 . tt 34 b. S =t a ^-"ai :4: ■ i ■ ^ .3- ^ tt * — * — 4 25t ^ d i 34 EDUCATIONAL VOCAL STUDIES. r-^Li 34 c. mH I JtJt Sa*t_ k k kr £ 2SE i 4J 34(1. gffg^ -£ m—A- -& >— p- 1^- *— P- IS a tt i sfc i=rf 5± g g BE ■ 3E <*r-^ F— *- ■ P F K ■•*- > 35 a. iHHr*- a * » » i i -b B h b h-b 9* : S i,^2 :£3^ffi2^: -^2. !! — » ^ » » V ♦ -j ± ddfc -— J+ t 1 «Hr-W — W^^W— ♦ ♦ P P- g I 9 I 35 b. is* " z ! i 7 1 =±: J | | : ^=^=3 i p— k- 35 c. Fc*^±t »fi ,14- ^S F4- ! J ! 5 ^ » p p zj: 35 (1. (All li it voices in perfect unison.) fet ■TJjtf o "2 a "Z z <> ^> r* i* o C T* 3 ff o ! 1 P i A 1 :. | | 1 ! 1 ,J J> 36 c. I I 000 000 00 X I r r x » # _ j j pip j j j rrr JiJ>j r r r r "w rr i n • 1 1 i i * J r * 1 ! 1 • * PI P pr 5 J * t i i • # ' r J i I 1 36 EDUCATIONAL VOCAL STUDIES. 36 d. H - I- j>r j". • # * « & s a e o \ « « c m • 000 \ 1 .w 36 e. ''if 0-. J J s J2J}. x r *„.£*. j-Lf- -? 515. r- .* .- ''5 E'5 C 36 f. ! I 0000 0000 3 3 9 0.000 me e 9000 000 iii iii a 3 9 9 900 0000 3 3 i >» • 999 ^ 900 9 09 09000 111111" I |- | 3 O r\ r- r 3 3 * 999 ^ 000 000 -^ 00 g R 3 3 m m m i 0000000900 9000000000 i i i i I i i I r UU ■»>. _— I 3 3 3 37 a. ag-g- u^^ fTtT 1 ' -p-tr m 1 — I — — I — #H — i — — F— L P-F3»-Fh — i — I — i — i — •— l 1 — F-P- W ^s- :Bf^s GRADE II. 37 -#-*■ 87 b. (Staccato— See Dictionary.) 4o-^-rJ i i ' 3 e^-4- I? h Tf a±z* *=P* ifi g— i» f" tLA j^^i J' JUW-4 P 37 c. 3I J ' — — EB=i ^£E 3 -A- -P-'-S- - ? „ B-S- 37(1. ri i A -*— Bh -# l*~ ^^ s* ^ ^==^ p»-g#— p- ---a h-r*- a "•■W =.'■ :§£ *t 3 37 e. W ■ 4 l « h 1 #- -4- -A A- * » »- _4J ^ l^_ -—^-4 -' j — I - -U^- -f — *- tj ■fil * 1 1 *- d ! — 1 r p^ j ^ : 3 -^=F * - ■ * 3 , A IL U- — ...... — _ -* * K *- ^f r ' : ■ ? -J J *- 1 tt •* — 1 — I 1 S C 1 a! 38 a. (S — ♦- o • ^ i rfc * ♦ W ± 4 *■ ^ I j p- 39 b. *=E - > ♦ A ?*Eb= r^ 9 s -A e A_ 39 c. Lento. t 0,b r r- I — 1 i ri — n tH 1 /L h «> p I p ji ii rS q i — V > o « # 1 J S3 • r i d ~z- P P ^ ! 1 1 i i pi - i A A RttHt-t — #— — *— ^. • ! ; . — #— — . k. n | i J ^ . ^■bn J -fi-h- —?— -ri- 5 9 « — H j "I- £=:_ Z~Z n u N i I 1 ! \ ! 1 i V i c | ^ » ^ . ^ . /L b ' o V 1 A * •a" a #v *- * ) r^ . Hi- 5 1 rf=^ — P — |— ^ —9 • »_J»-- 1 — : — P ! -9- — • — — 1* — 1 a * "I A • H H — -1 ' a • '11 H — i 1 i P L 1 u A „ 9 i * 2 = r = -y— J — 1/ -p^ H -f^" Hi- 1 I GRADE II. 39 39 d. 39 e. ■Q, o , ' i — ! 1 i — i 1 — i 1 1 1 i — I 1 1 — ' 1 /L\i £ • 1 j * l * f/V\ v A \ * ♦ 1 * i V-1J -4- A A aI 1 - J ! B 1 J 1 ] ] i 1 ^ £A* O A V B * J )*l ^ 1 bj* * • * -^ bj. i 9 fli [— — « k *> • 1 I— 1 1 — H — | 1 1 1 1 L^ — b — i i V-f- "1 1 %fr fr h h r> e - r^-j — F t "X 21 2 ST -o w •- Up then with speed, and work and work, Fling ease and self a - way: Up then with speed, and work, §ife§3 -> *■ K ^£ 8 g P =^ V V P 3=^=* 3^3* This is no time for thee to sleep, Up, watch and work, work and pray. This is no time for thee to sleep, Pg J" ■ PL 40 EDUCATIONAL VOCAL STUDIES. 40 a. u ra ^ » ■ pjjj jjEE j j i i i iJi S -* ^ -* *- -* « «- -£& rzY. -* ^ P ! „ I 9 4» J ^ -»- -#- ^ J J g 40 b. -JP-B— i — 1 1— j— » U zr -a — F — P - 1* 1 1 1 fe^zi^-^-T^-T-d — +--? — F — ^i — *—ad — J — I — i 1 — — l — — F— &— — — * — -. 1 1 ^L-t±L_^|_l 4C L_| 1 1 — 1 M 1 LJ — T7— - ■ -=— L* — - 1— 1 — 1 u cvol — g_JL K fl# _pi_ -a*- E | -i — U ^J — i T -1 — [m -E "7 V f J — 1 — — i*-m — ^ — -^M — i — — J t— J — I — K J — ^-^— H 40 c. 5£ee1 3± 3^ old — -~^ "g d 2± O ■©> ' — «S> *S> ' TTO - r i i f^-hf-^-fr r 1 3 "^t^r s* -zsl- -d U - g g g -nd- -^ zst __ P -^- t£s- -jzSst- 5 i =^^ O — ^ -^- GRADE II. 41 40 d. ^:fi H= r^^ -»— ah E ♦ -F-fi»- £^ P ft gtfi: 3E i -f-8f- -cd— J— +- *= P » f^^ ^ 40 e. -Srr+f- 553 £=* - v j ^' -g — - j *— ^ i* i» 2 — & p-trMr P-t* I. ^=T=p^ tt ■4 fl Q *• ft ^ 9 fr^^ =S p=£ * p* =sm ^ L# 40 f. at^F ^g -*- — d- »— L » — F — F — F- * — — » — L » s=T= L MtriF ^tff gff 4' 3zfe -=t-p- 8 4 Q n ^ it 1 1 1 i i 4^?jp — »— iH — J — * — — ^ si 1 h ^ * | ] fa* r -* J ^ -^ i—^ —* « al ^ " 11 ]ir A A A \r h— 9 — 1— 1— c 1 F 1 ^ + P 1 r ' 1 ' r r c^iL— ft — ft — ft— q* — F a m ■ a ' — i h b ^r I - 1 — 1 — H= — F — F — n — V* * — 1 F. U 1 L y_l 1 1 — ' 1 1 =1 42 EDUCATIONAL VOCAL STUDIES. 40 g. I ±5fe£ J I =*=* g ?5=* St ♦ — «- r — ■ — ' f I ■ * rr^ 1 to b^fe ^ -g#- j-fe- ^=fci^ ^— » ; g » n _ y — m~i — n — i r s ■ — y - a — ^ ht " • A g ; A - ■ ; A ; g I • »A g -a -, " ■ H *e— — ' B ^ r -* ! X. * r-d- * i-x- 41 a. Zct/o. (Test. il s 3^^: -* — J- ♦ jN «- r7 — s — 1 i i 'i 1 k 1 1 n fr i i /L i A b* J [LA A F rh J l i ■ urn jy2 — i — ^ — j — i — - H ' — 1 1 1 1 1 i =^=F* ■W— J— ^F* 41 b. (Test.) f" I 1*" • " • B rv i i i * o • * k» * 1. f) I ! i I 1 i I P 1 1* -^ 1 A A r j aJ ■+ I - r-v. >k ! .| | V "v- '1 d /L »" J • » • lie* • 111 -» 3^ • V > M- o V A . Fierce Trem - E • P was bled — ^* — the the wild mar , — ~9 1 bil i - -+- 1 l - low, ners, a Dark Per I j 1 was - il the was ■ \ night; nigh: ^T&rR-i '- 1 ■ ■ 1 1 <3— ' s "5 /i . 1 -4- GRADE II. 43 ott ff \ , K i P 1 1 i V tt^ | j n 1 1 JL 5 — J • U- 1 Im tt i — • 3* v.; I * A Ttl Oars Then p^-a p^ 1 1 la - said i P bored heav the God (B , H_. - i of — P— l iy, God, — P , 1 1 1 Foam glim-niered 'Peace! It is i P &0 ■ i white; I." p • R% — j | ~i p — i — — I ^F « — — 1 *~ ^ 5 TT • Philip Doddridge. mf Con spirito. Morning Hymn. ffli Hiindel. F "— ^ ^^ ^t A * g l] 1. A - wake, my soul, stretch ev - 'ry nerve And press with vig - or 2. 'Tis God's all - an - i - mat - ing voice That calls thee from on ft4 •iS -^ =3F g| • a , i EE t=S=2: -»— on; high; g^ A heav'n - ly race de - mands thy zeal, i 1 'Tis His own hand pre - sents the prize To EE 1^3: T5^ I i a an im - mor - tal crown, thine as - pir - ing eye, And an im - mor - tal crown. To thine as - pir - ing eye. EE *l d.4^ A q^2 J — 3 — ^ ■ — A- ^ XT' Contents of Grade III. Four-part singing, 42 a to 42 d. Key of E introduced, 42 b. Drills in j:empo, 43 a to 43 c. Rhythmical exercises in the compound measures, 44 a. Key of A j? introduced, 45 a. Key of D V introduced, 46 b. Exercises with change of measure, 47 a to 48 f. Key of F$ introduced, 48 c. Double sharp used, 48 d to 48 f . Double flat used, 49 a. Exercises with change of key, 51 a to 52 c. Exercises with change of tempo and expression, 52 b to 52 c. Difficult rhythmical exercises in three-parts introduced, 53 a. Special exercise in dynamics, 54, 58, and 59. Exercise in rapid passages, 55 a to 55 c, 57, 58, and 59. Key of B introduced, 55 a. Key of G V introduced, 56 b. (44) Grade III. References are made to Rudimentary Statements by Section. 42 a. ^EF±^ e 2: 4_ T~\ r Jill ^ I I I I -*> *1 itefeEs 3t S^ -A A- -A A- ^£ -J-4 F=t ^ -A !»- ^ B- -* A- g ± ri dr 1 ' 9 : ^^J 1 I I *=E -gr s A- I — g » 1 — r y. 42 b. 1-2: ^m ^t-A A >—± A ■ — A M P I I rr rf ii' iii i i i i i i j R 'SnftJi 9 r ^ : + >r*? EE * d ■ d ■r- L i — r I I HI -^ A- I I A- (45) » » r r T7 = E f^ 3t 46 EDUCATIONAL VOCAL STUDIES. 42 c. o ., 1 J 1 , , 1 1 i 1 1 , H — i — h I ibi}* * * •jL, J A » * " A ■J J J ▲ | (3) 4 , • E * F~~ -# £— h-<^< — -0 0— k. k. w « tt*- ^! 1 1 J -AH -At- -AH 1 IN' -AH ^A- -AH 1- 1 -AH -AH -AH 1 | ! "I 1 1 -I J± 1 i 1 1 1 000 * -t> 1 ' -AH -A- -AH [-■ ■ ! 1 fS2-s ^ 4 A A A ' T | 11 A A A 1 r ! i AAA 'I 1 1 A * \ ! i 1 I -i — i — f- 1 — ■ — h- H -1 ! ' i , ill J J^ [Il | ■ | | -4 \ * * ~a\ 1 1 1 J w " s ' -* — ♦ » LA — 1— J— nh /K 1 • B 1 W » — • — c— — — • — c — f — • — p— -&-> — -f-f-f-=r f « ^Xi -• ^¥- ♦ — — — > — H* — — r — * — F — — — — 1 1 1 i III 1 ! I -A--AH-A- -AJ- -AH -AH -A--A- 9 -£sr. i i i i r f f [ [ |° ■J- i J- J- J J- i i R: 1 * ■* \ -1 1 1 +00 & • S A A A 1 A A A A j | 1 ' ' g~r~f~i i i ^ • ' 1 1 1 I 1 i '1 ' i ! i ; u 42 d. i l+* g i — ^~ * U tt ^ -> — ♦ — *- -* * ♦ — m- i I I - I- J "J -0- -0- -0- — — Sfcfc s -* — *- i J L A A A_ ■> <0^—f±- r- ^'-^M - -? 43 a. ^ n^ 1 ndante. i V ■** o ] i /5 " ^ J | ! 1 i i j i lcT> 4 x i i w 1 V J ) 4 * * ^ w' i> — n >» « ^T^ GRADE ill. 47 43 b. Moderate C\'^ O ! a oil A "* i 1 A r-- =9 1 %w- r— i — Nr- r — i ^— f--"— f-^ — * f> -k- -fec- l» r\"# A A i i i A i * i.jf r r 1 i i m S ■ 1 J 1 i ttr -1 ! — i -J 43 c. Allegro. i 1 • ». Q 1 1 s f > j J J I J A AAA r t b b a a ▼ r r ™ a <+ Lff 1 1 — 4 H 1 1—1 '1 1 1 ' U— f — 1 -d— * e _y A , 44 a. « i m hirn i ij b mi i m it hi m mi i b i hi mj v * 00«0> ««(« 0* 0000 000000 0000* 44 b. e I m m |i mihj hNii I 01 mil bmij g 0« 0> 0000 0« 000 00 >0< 0« 000000 0000 <$? • 44 c 9i I hm m mi i b'i b> b| v 0. 0* 0« 0000000000 00 00 000000000|0*0*0< 44 d. 9 , , - | rn- -^ rpi , kj k M ~H I bL| I fTI,.| TV I b| : V 0*0* 0* 000000000 00 00 0000 00 I 0.000^ 000^ 0.0.0. 44 e. 19 I p-T-n P"™F n! 1 p=^=i im i-l mil | I ' h I h I h ' hi g J 0«0«0«0«0 , 00 l 000000000 0«0»0«0«0 00 00 00 44 f. rr, i h m i hi I i i i"' || 12 1 1 1 \ 1 rn j h 1 1 0000 00000 0. 0« 0* 0*1 C 0* 0* 0* 0*0000 » • 1 mi 1 j)ii , rru 1 1 b ! m x 1 0« 0* 00. ^' *-• 0» *• i>> m Soi,o. EDUCATIONAL VOCAL STUDIES. Sleep, Baby, Sleep. J. D. B. m 2r ^3 ga 1. Sleep, Chords. ba by, sleep! Thy fath - er watch - es his s 3 5 A i ■ M -£*- §%fis Sfi P -$% =r— — 1 7 1 A. ff 1* ♦ * • _ |* ! ft rh P r V^17 h P P l? P U P 1 1 ♦ • .*! ♦ n^ 1 1 sheep; Thy moth-er is shak-ing the dream - i land tree, And r * j > 1 1 V ttJJ- j ■ • /I fl w • •* • J rh tt V.M; ♦ . O • -1 r- K ' 1 r - j».- tn 1 ^, /• ^ J- 1PJ- r\'^ tN • J'rW ^ "ft u 1 L^ . H i mm ir- m down drops a lit - tie dream on thee. Sleep, ba - by, sleep. 3 S -Z5>-5- ^ r: ' r. r aI SB 1*-s- b . « J . *i- -A"i *-r i§s ""•.fed — 1 N--* fc& -*>— te IM^^ S s; b -*-• -*-i N -i»- 0-1 p r ' i iTlLj LLTf ■^-i A-s A— i §33 -A— §a ee 45 b. i rrrm . i •^ ■ dl • £> P— f*_ JL *t-s- r i» f i — g y i i» -#- 5: J- V JT^ ^=M=r-^ J Al Jj -g- 95 t • P S^±E^ #?^ — *-^ — oL — -F?T^ -m ^^= -H =f^n J. -1— — F~i J. dp r — J. J. — *-* 1 J. J. J. -0— 1 J ^> ' — — 1 — H =1 =^^ i— u 50 EDUCATIONAL VOCAL STUDIES. At Sunset John G. Watts. Adagio. Frederic Field Bullard. m ra g J^ -P^ * —-T 1. Soft - ly sighs the eve-ning breeze, Thro' the leaf- y chest-nut trees; 2. Flow 'rs that when the sun a - rose Ope'd to life, now soft- ly close; =n te 3t3= -^— Lit - tie birds from rock-ing spray, Sing their hymns to part - ing day. As a lit - tie bird at rest, Ba - by sleeps on moth-er's breast. 46 a. m Sta=e: i T2- s^ d fee i -«— 4sL- Ek fe i ^ -ifctr ■251- ^L # is= F— -^-r P^? 46 b. te Eg s A a ▲ a A £ i ; i I i i f r 7 s A "A I ,-^S A A A A :ssz aarrfr # GRADE III. 51 46 c. k 1 ♦ 1 I I , | , 38 "bo • L J Z ' □ ' ! a 9 «i * M r ^bl | — k — ^b* — « — k — b^- — h. - « be— — 9 1 %*> ! ' H l f 1 1 ' r i — r— i — r^ I i i 1 ■■J ■ V U ' tv j | ! I j] A ^> a ^ 9 irr k "- W h » ^# 5 * h* a V..F r» r>* f» •V 1 1 1 1 46(1. g * <■ wl-^-u F-#-s pgj § • I J II I 114 | J J j .11 J J J 13 J I ill 47 b. 3 4. e a \& 47 c. H I 2 u 47 d. |! J J J I I 114 I | | | I | | J ||2 I I I I I I | J M 000l±0000 \ « I 4. 9 \ \ \ G 48 a. w^m 4 M r-r > K— L^ h ♦ h—£+ 1 I I I ^ J. ^ — A- wf—f-^-t -M- -Al- J -Ah -#- 4 ^ A A- P3 i 5^fc j=r±i ^: n5M- 4^-» » \-0 P -N— •=♦ — V-' » E -F— L^ ^ 1 I I ^* 4T 48 b. - • I « l «i ^ — #■ ^E i I i i -J- J -* — g— f? y~i ? p : £^= E4 : £==« F £=F ^^ ^=F ^==F8=^ 1=^ ^ 3i GRADE III. 53 y. 48 c. ffi & :S=P= jfeS ^— #- #— (•- b£ -^4$M r r ^ tim— ? p r k ^ ^ — 1 J J - j i -1 — -eh * t I i i -I P— f- i i r f p - * * J * ^— ^ — -U. 48 d. {Sec. Eight.) IS 3 -A- £ j^ — it 4 A- -* ^~ «==p?pEE^ i i =tt mm -4* PC -A *- -i* H 1 ■ _,. 48 e. Pife fi^ c r , rn~^ =— g -[^ — i i i S tTT at 3± ^ttSt A— r-*-n* ^ A- g :xp: s 4 4 48 f. §§ii ±=i f v ^x#: ^ 4=f: -# *k r rcv^ Si B5 Al . -^- I I 83 ism -^ ff=^4= i» i » - §§gigfe ^ — » -(* — *. =^ 54 EDUCATIONAL VOCAL STUDIES. I Love the Cheerful Summer-Time. m Allegro moderate g^=E 3^ : *=- 1. I love the cheer-ful sum-mer-time With all its birds and flow'rs, The 2. I love to hear the lit - tie birds That sing a-mongthe trees, I 3. I love the bright and glo-rious sun That gives us light and heat, I is M ^S T^ 4- A » E jN *> -TTV\j » h- « — 1 1 ^ — z — 1 9 — 1 n / n -.' vr- ♦ 1 I r * i i a ♦ . ] A * i r ▼ B 1 —J ! 1 1 grass love love \ i - y lawn be - neath my feet, The cool, re- fresh-ing show'rs. the gen - tie murm'ring stream, I love the eve-ning breeze, the pearl -y drops of dew That spark-le 'neath my feet. >i"li i rn r 81 ^ i A h h i**i i ' i P 5 *" j fm y * * u I | 1 V > '*+ |C> i° UH3 l* <> 1* 1 — o 1* o A | 1 -A- r 1 . 1 1 p 1 i 1 9*u^ fr A — i i 1 4 1 ^ H%4 1 1- f£^t=] 1 — — 1 1 1 1 1 i -7" 1 i 1 -M H—i i — i — i i — j — -|— -1 — n Ph- 2 ^ 1 j^s -^ 1 I t — "5 1 -1 -F 1 _ -^>- | 1 -© — ^ tad — I i B-fc i__ 1 i I ' -i — i -1 -1- — GRADE III. 55 49 c. Lento. m 3 EE Eb id— JSt f F^T ±±Mzi 5gi=3t Al 1 « IA7 1 ' I . I — S-JT — 0-T1 1 1 50 a. Ue£ •g— 3- d — d- ^P -*— * ^ d — d— *- v ■ i i y- sS ^ ^ *— # -±- »■ d »- H ■ * v » d hj? <*~ * 50 b. *W S zj d j j -^hr S= P w m p is: a » i » i » i »i» i »i» i » ^ -rs^ — ^ P W P P p p f_L~j ' ' ' : 'T P P P p P i » P P P i » » A ^ A i i +^»- » 1 ! 0—0—» 56 EDUCATIONAL VOCAL STUDIES. 50 c. A* &=P=t 4= 3i — *- f kr fc± Izfc » » -afcr-f f=^=£ f-T gifet^ 39E I P5 - ^a* r *^r EE ~^- -*-+ E ♦ l — F— M — ^ r i p » H=g — =» Fielding (Words.) £3 £=£ ■& jg 5 f) ^ £=£=^ -=,- «p-*— =h 4 ^ — A rt Wine is a turn - coat, a turn - coat, a turn - coat; P j» j» -9- -0- First a friend, -M . Al aI fel=^ S s t? ^ ~ =p=£ 3= «= 4 ft t> ^ ■^ it ;\ 3= ± -A — A - p 9 p first a friend, and ■p— JLAP -P"i — W F— I p p PI PIP then, and then, and then, and then, an and then, and then, ■* — p— GRADE III 57 h | | , N V i > M v J P 1 N II /Lr> •+ i * * • ^ P 11 ((Vi^ ^ • ^ •I • |» * ♦ * * J II V.M* ▲ ▲ A ♦ A A + W ^ II en p- r ■ e - ni)-, b i At first P -d- a i 1 | riend and 1 then an 1 1 1 en - e - m\ 1 i - 11 J'i • r^ S b l. ff B PI 1 *> 1 4 I* 1 1 b 1 1 r i L i i 51 a. m 4 ^_- L d — *- ^ — *- ttZ^ 6 tt4 5 12 17 m ♦ d "d- w" ±± "■ »" 6 5 1 2 51b. S ^t A j — -d ^ n # 4r-» m 9 iz^iz t?7 6 3 4 Ej — P* ;— 3 4 5 1 51c. :b:fa= j=e=^ --:> 3 £4 5 1 7 6 ^ V -zst- 7 17 51 (I. » A » . A -# FL 5 6 5 3^ A I " A « |- 1 2 £ £e£ -* K- o ■_ -P»- 4 1 7 58 EDUCATIONAL VOCAL STUDIES. 51 e. S s ^ 5E =4=^ 1 2 3 2 i^^i .* 51 f. fezfa « nfc 25t T*— ♦ a^f fefc S? 52 a. S :fc£ ie± ^ i» !,♦ |»~ I ' I 3t3C ^t=5t 3tZ± +W- s: «£ r< 52 b. Allegro. (Sec. Five.) P. S-, i £ ^ ■ * ♦ 1=^ M^» E "^ -&-&- 2=^=£ £=£ ^HgiLzg rf -#— — •-; — * p—r r* > F p— r >^-* b b i J J ' * t=fe ■f) ft -#-^ -*-i *" U r v — $ t^¥ -^ ^-i — "» h h ^4 S& Fine. ~ P ' F , ^=b= ■f^^-ft ► • >, p b ITT v* Andante Q 1 , i | | 1 — i i L— — i , ^J 1 1 1 — i — 1 1 1 — ■ — — k — • — -j — — n — 1 — =g — ^ —0— — ^ — ^ * — 1 — z< V p p 9^ =^ it- jHl * ■ A . A i A 4 j -J— r* J . J p*J JL_1 IS p 1 p" -?— E I iX ±=t ^ * a t 1 j: ^ ^ 1 A . A . ■A-s- -V — ^ — » — * — a — ♦- K 1 A ~ ^ > H -*~ V- :*=£ p k P 1 J 1 1 u «_ ^t— ^ * i i h -£-4 *i j -=i— ^ 9 S S £ — &. ^v/ 1 . 3C3t ^& P P e * P P -* b- P P r §^ *-~ — a_ p 1 1 p ^=^ V 7" 60 EDUCATIONAL VOCAL STUDIES. 52 d. Choral. ff-2- dz=4: z^: 7>Z g=ta=g ^ o -^ ^ ^a. -(2. fe 9 iS-2 I ifc ^— B £^ «" ■aHf S^ — r -^: o _ o 1 f*- 9* -P- ■& — p: 52: i :^ ±2: 53 a. Sing either in chord or same pitch. (so) 2 /(mi)f r r (do) Iff 1 1 r £/ "P • • » r r J ."3 • * i 1 PJ * * * • 1 1 LJ n i 000 * 1 u 1 i 'J'\ r r 53 b. Aso) J J gTj 8<(mi)f f f V(do)» r_» » 53 c. /(so, J J J J t»f iff u j j j j rr r r r ^ r r r r r j j r r. r r r r lj 0000 lt r r r r j r p r r <5> • r r p r p r r p r p 0^ p p p p r r j j p p p p r r j. p r - Lf p p j j j j p r p r r /5 GRADE III. 61 53 d. (mi)JJjj | * 1 0> I PI f "pf 0-0 PI 1 0' 1 P »• ! 1 I) " 5f 53 f. '(so) J (mi o r r (do) e e € P r. 00000000 53 g. (Test.) (so)J>. A"3 J J i I ! 9 U LJ 00000000 09400 99 r » » r 4 7(mi>» 4 # » (do) » • j=? rn b bi v 0- *>• S r f r 5-g r r r LLLf J • # r r r r lt c - J V gr r r_r ! I I 1 ! J 9 9 9 9 rrp x r r r r #• » » 00 P I LJ J r r i. ;>j r 0» p y^ i J JS AJ r r r •' 5' r • 62 EDUCATIONAL VOCAL STUDIES. fc* 54. Moderate, f , s (5"^. Eleven.) 4>- J. D. B. ffi=£ For te Stac - ca - to For - te >* J Le- ^ ^ 3± - S H- A* /? / £=fc % 2± ±± 3=^ =£f^ -^— — =* then For - zan ga - to and Pi - a do. 3 For- -•-i — •- -#-s — •- =*= ^t£r=t 35$ t=T= A-; A- =P=^ ^=K= -P— t^ ^ f* PP s fc^ £ - h — r r »=£ -23- zan -zsr do. ffF=I Pi - an - is - si -mo, A ^J A Pi *=t an - is - si - mo, ±=££ §« ^=£ v=^ 3=£ n= =f tr ppp P cres. m m b=^=t r3 n P =b ^ ¥=3= ^t£- l t$: *-: *r r ^ite Pi - an - is - is - is - si - mo, —0-i — 9 — i — 9—. — 9- Pi -; ♦- P b P P P P H£s- -p ■" 3* / S^s M^ iS fcfec £=£ ^: ^r ■^-i — ^ — *- Mez - zo and For - te, Sem-i stac - ca -P P— Tqlg to^=5=p! - to, 'l For - te, For - tis - si-mo, I -H — -t #-; » •- P=0 - T b d' I Copyright. 1912. by John D. Brunk. GRADE III. 63 ff cres. -&& i M s s fit* - ~- - S T\ SF\ /T\ A Sfc*=3: jl • j «< •* *»- .&: :&: Le - ga - to, — i— # 0- Cres - cen - do. For - tis - si - mo. U^^S §^=*=*F=£ Kg t— = -* — v=£ ^^ o» a. A A A * * A .AAA A a L-* a 4 i i i 5 * * _^ =^ * * ^ * " i i r -f- 3=J 55 b. Andante. gjt j 5 ? :-: ^ Hf - i ' ■ A A A «J -f=^ 1 d b m 1 — w * « - -m- _ -w- #. J*_ J*. J*. t» ^ — *H*# 4- A A A A I ^ A A — A — 5 I — b — L - : — i EzEj *j 4+ 1 « « .. ^r * — r 1 I f===3^ gg A ol — A— 9 1 1 J- » — \ 9 * TT~g I — — +HW A A A A- A A 1 ^ h K h K - A^ « — Y 0000 • mmammi 1 — I ^m imL 64 EDUCATIONAL VOCAL STUDIES. 55 C. Mozart. s§ 5^ h ♦ - • ^*^'=5 J~^=^ >. ■ •«««*- ^ S=i I I I i I i § b l^g lsaJ >■ — * — k : k~ 3= 5^ ^ * *— * "■ # 1 1 1 M -*-K I*Z* ~§S ^^f«F 56 a. — TT— i l_j S — a 1 c=3 3 at-**- r r r * a r r r r r f f 3 r? ^ V 7F. 56 b. Andante religioso. B± 3S tet -^ — * 4- A - - L i A A A zSd — I — r =L ^L ■ i A ^4= IS?-;- i±f? ^F^ m $m i r~f^r f ir /• a a ie -zsl- -* p- at -LjSj-S- zrfe 57. Wm. Allingham. P Leggier o. GRADE III. Spring Is Come. 65 J. M. McLaughlin. ft± feE m m&^ -f*-r ' ^-p-v 1. Ye coax the tim - id ver-dure A - long the hills of spring, Blue 2. The gav, trans-lu-cent morn-ing Lies glitt'ring on the sea, . . The P S4=* 4 3 s^ © 1. Ye coax the ver ■ dure 2. The gay, gay morn - ing A - long the hills of spring, Ivies glitt'ring on the sea, I £=£ s ~- -H sa ^_ u skies . . and gen-tle breez-es, And soft noon - day sprinkles shadows A-thwart clouds wan - der-ing! The the dai - sied lea; The ^^ ^^- £BE3=fe53E£33 3 -wH^ ^= Blue skies and gen-tle breezes, The noon-day sprinkles shadows And soft clouds wan-der-ing! A-thwart the dai - sied lea; P n =FT S mm -p-» B= choir of birds on bud -ding spray, L/Oud larks in e- ther sing; . . A round sun's sinking scar - let rim In va - por hid - eth he; . . . The i & fr-b-3- m The birds on bud - ding spray, The round sun's scar -let rim Ivoud larks in e - ther sing; In va - por hid - eth he; m / fit m s ■A-*- m ♦ -.- fresh - er pulse, a wid - er day Give joy to ev - 'ry thing, dark - ling hours are cool and dim, As ver - nal night should be. 1 d2 / fit. *l — *-^W— i=^: « From "New Educational Music Course." Ginn & Co. ¥ 66 EDUCATIONAL VOCAL STUDIES. 58 * Music Everywhere. M. L. Baum. Con moto di schottisch. m p — ~==Z ^4 # M. White. m e* & * # 1. There 2. There mu sing sic ing the breeze, the sea, It In the =fe=fc ST r- "F £ P^ SE SS *=fc sing - ing thro' the trees, Do you hear it? brook-let run- ning free, On - ly lis - ten! Do 50U On - ly -cr ^-. — *P — *-* — * **- :d2: Do you hear it? On - ly lis - ten! mP -p-r m -*-s- {t=feL hear lis it? ten! O The mP hark! it is sound -ing ev - 'ry- birds' hap - py sing - ing, too, we ^ -p-m- -± — * -.- ▲ , V E^g^P Do you hear it? O hear it sound -ing ev - 'ry-where, On - ly lis - ten! The song of hap - py birds we hear, =5=^==fr 3=3$=X where, hear, O hear! it is fill - ing all the The song of the rain-drops call - ing lim tee — fr * £ ^^ ^=£ sound-ing ev - 'ry-where, O hear it fill - ing all the air, song of hap - py birds, The song of rain-drops call - ing clear, From "New Educational Music Course." Ginn & Co, GRADE III. — =r m f 67 air. clear; and l^r^ rings, night it with. fill - ing the air. rain call - ing clear; Sing - ing and ring - ing, Night, sil - ver night, with I pin forte. A-iU & swings, It brings ev - 'ry one a word of light Oft plays on her harp of for - est piii \ forte. V h -fr- hear it, hear it sing, fin - gers, fin -gers light Bear Plays ing us harp a of mp £=fc fc Jjr & joy- leaves. 3tn Then Then hear the win-ning word learn to sing with ev m P it 'ry- ^ mes - sage of joy. leaves, harp of leaves. Hear L,earn the to word sing, that it learn to .±=51 dim . -> =f*- +2=^=^2: P 1 brings, thing, And And an light din - swer, ev - 'ry girl and boy. - en ev - 'ry heart that grieves. I > *i frJ- E) b fa k -^-v- *-*- -53)-!- brings, sing, . An - swer, ev - 'ry girl and boy. Iyight - en ~~ev - 'ry heart that grieves. Analytic Index to Part Two. Not all the songs of Part Two are listed in this index. Only a few examples of each subject have been chosen. Choral 85, 101, 112'-^, 113 Compound Measure. 7 2 (.t), I022 (.8.)> IIO (§) D. C 106 Dotted-eighth and Sixteenth 83, 84, 04 2 Dotted-quajter. 79, 82, 96 s , 108 Double Measure 70, 76, 78, 85 D. S.. 71 Double Sharp 98 Expression, Stud}- of 72 s , 86, 90, 112 2 Half-beat 74, 78, 82, 89, 99, 101 Independence of Voices 74, 78, 82, 86, 1 13 , Intermediate Tones 72, 87 s , 101, 109, 113 Key of A, Major. 97 — 99 Key of a, Minor 110, 1 1 1 Key of Av, Major 102 — 105 . Key of b, Minor 113 Key of B t>, Major 87, 88 Key of C, Major 69 —76 Key of D, Major 89—92 Key of d, Minor 1 12 Key of DP Major 106—108 Key of E, Major 100, 101 Key of E \>, Major 94— 96 Key of F, Major 76—82 Key of G, Major . 83—86 Key of g, Minor 112' 2 Key of G t>, Major , . . . . -. . 109 Ladies' Voices. . . . . 80 Men's Voices. 88 Quadruple Measure 72, 74, 79, 100, 102 Onarter-beat 76, 96^, 105 Repeat 78, 105 Rests 78, 79, 87, in Songs with Minor Phrases 92, 101, 106 Study of Tone-color 86, 87 2 , 105, 109, no, 112 2 Syncopation 86, 104 Triple Measure. 69, 71 Triplets 90 2 , 92 (68) PART TWO GRADED SONGS. Speak Gently. J. S. Wilcoxsin J. H. Hall. V '7 JL '» a J ! I i 1 1 im 1 a 2 ^ "fl vjj 4- J ^ s * J ! 3 ^3 ^ 4J- • t£^ -1 • w • 1 . Speak gen tly to him who in er - ror vou see, You know not how 2. vSpeak gen tly to oth - ers and do not for - get Thy broth - er may 3. Speak gen tly; his moth - er is striv -ing to win, His fa - ther is -A- -A- -A- -A- -A- -A- r\* '1 1 1 1 1 1 | m f> p )' "' S 4 W A A ▲ A. A A 1 ! |/A A 4" i Til 1 i 1 1 1 I [ ! ! 1 -y- | 1 1 1 1 1 ! 1 JL | J irn a 1 J a eti a \>.) J 5 ^ ^ ^S M -fi- -Ah V -1 ■■-A -Ah -Ah -Ah great the temp - ta - tion mav be; You know not the ef - fort, how turn from his sin • ful - ness yet; Al - though he has stum-bled and try - ing -A- to -A- lead him from sin; Re - mem - ber ^A- -A -A- \our - -A- self and -A- -*- how 6"V $ m fJ ^ p r ♦ * A A A A A 1 1 1 1 1 1 n 1 1 y i i II /T ' a! J ! 1 ! J A II /rW ! i ! d m a w % m i g n V4> ^ i i N H ■« • ^ ! XI "* c i *- -?~ •# V . -~ V ear - nest and well, Till yield - ing to weak-ness he stum bled and fell. fall - en from grace Have pa-tience and help him to win in the race. sin - ful you be, And deal with the er - ring as God deals with thee. -A- -A- -A- -A- -A- -A- -A- -A- 1 1 CV » £/ fi 4 ^ i *")• 1 _y r r r . |a A L^ 1 1 i i 1 i Used by permission of author. (69) 70 Cheerful Faces. | | | I | E. T. Hildebrand V o < | A / ^ ■ aI ' A * S fm 1 m L ' 1 J 1 L L to XA) 4 5 ^ ♦ ■^ ^ • % 1 P P F> %f * 1. Come, 2. When -A- O I come with cheer- ful gaze on cheer- ful fa fa -A- ■ ces, - ces, -A- 3eam-ing i Tho' my -A- • 1 nirth and mer spir - it may -A- 9 1 1 - ry glee; be sad, "u" ° f"\« 1 I * f * 1 « 1 f * * P 1* K=> * 1. Z ' ♦ -^ T K ▲ A A 1 1 ▲ ▲ A | | | | | 4- r 1 i i 1 l 1 | j 1 1 r | l 1 v A 1 1 1 • ' • P A. i h 1 1 i * a| A] w — • — m— ! 3 L4 — i— -4 — 1 — —0, L- — 1 1 — -3 — »— 1 y — ♦ o Al A ' \~ J ere 1 the 1 3_ 4, . z - a-tion's charms or sight of grief e - A- m 1 — ♦ — gra ras -A- — * — ' — ♦ F- 1 — p— -A- -A- w • ces, None are half - es, And I smile -A- — ♦ — so to -A- 1 5 k Q> . fair to me. see them glad. 9 f ~&~ rv | 1" * t # * I * )• P _-/ A *— ■ A A ■ A P- — 4 P— -4 1 — -1 1 -|a I I L, f__ ^r- -|— H — •— H ' | | I V ! 1 i | 1 | | | y£k J m — -i J^ — p —J — *— _ r. -i J— B W: — 3 i- — 3- ■^ — • — -f- — — -1 3— — 3— -^ f — i a| • Al /\) • i fn\ 1 a s J ' 1 VJJ 4- | J ■* J o' * ^ ^ d J »- -a!- -il- 9 1 t 1. Beau^- ti • ful fiow'rs, beau • ti - ful low'rs, Born of the sun - shine and 2. Beau - ti • ful fiow'rs, beau - ti - ful low'rs, Breath -ing of heav - en when 3. Beau - ti - ful fiow'rs, beau ti - ful low'rs, Bloom ing to bright - en our 4. Beau - ti - ful fiow'rs, -*- beau • ti - ful 1 (low'rs, Yours is a mis - sion from C\' Q • J f 3 ' 4 S fP • m d # 9 m )• <> 1* 1 i 1 -^ 4 F ▲ ▲ I ' ! |a • 1 1 [ 1 1 1 1 1 1 1 f r ■•N: ? :^r ■ d ' o ' gen - tie spring show'rs; Beau - ti - ful fiow'rs, beau - ti - ful fiow'rs, faint -ing we lie; Beau - ti - ful fiow'rs, beau - ti - ful fiow'rs, sad, lone - ly hours; Beau - ti - ful fiow'rs, beau - ti - ful fiow'rs, heav - en bove; Beau - ti - ful fiow'rs, beau - ti - ful fiow'rs, $C *£ D. S. — Beau - It - ful flow'rs, beau - ti - ful fiow'rs, Fine. Refrain. 1 1 ' | | 1 y I | | zJ • j/ Al *\ « ■ J g d i i mj -- -9 9 • ^ a j i t. k ►. K h- f^ if 1 Giy - ing Lift - ing Teach-ing Teach us your fra-grance thro' long sum-mer hours. B our hearts to the Giv - er on high. us faith when the dark storm-cloud low'rs. to trust in our Fa-ther's great love. I r i right Jeau-ti - S S ful, 1 s \ 1 fiow'rs, >eau-ti - S t j ful, 1 ex- iu L L r # r r 3 • • • 9 * * • *-). j* s * r 1 I 1 1 i i k^ • 1 1 ' 1 1 1 XL F r 1— 1 1 1 II 1 ' ' r | Teach us to trust in our Fa-ther" 1 s great love! D. S. 1 -*&— 1 I ! i I i o * beau - ti - ful fiow'rs, Sent from heav - en a - bove. beau - ti - ful fiow'rs, Yours is a mes-sage from heav - en a - bove. & JO- J=£ > I* k i X: Copyright, 1899, by Fillmore Bros. 72 Upward Look. ILa _J I | J I , I J =3 I , ■ = B. C. Unseld. ^S=l-d-± 1. Is the way he - fore you Fraught with doubts and fears ? Do you grope in 2. Is your spir - it wear - y Of the earth-ly strife, Long-ing, ev - er JjJ tt-f- W=^ p P ttV= p :4 -^- s — s- s ^4: 3=* --^- £=>=^i^ 73 p ^ h t) k k. K V 1 -— ^ • p P — R 1 P JL \ * h J i « 4 J '_P J J ^^ i Im m ■ P ±fl * J S J d. • a- ilI jJN • J v. ; j . u J TT* • V * iri • ^* Low, Rest, low, breathe and blow, rest, on moth - er's breast, 1 Wind of Fa - ther * t the west - ern sea; will come to thee soon; -^- i~ i~ -*- ->-• • c\. m • ttt' *. * I I P | | P ' F ^ a. *r _ ^Z A ' — ^ rt -^* 1 -P^f 1 =^- r- 5 — — i |4 — __A -A — K ~~ P ' -D i j — 1 1 ! — 1 1 ^P k \s/ S ~P " n »i/ k w " h PP V k p p K" P k k !*''~~ P h J5- P V P P A P J J ! |) S #5— •t — — iT — IL • 1 * ■ •t - —•si -^- ! 1 b 1 — ♦ -*— "fc> *"= — ^ r — f l> - o - ver the roll - ing wa - ters go, Come from the dy - ing - ver the wa - ters go, Come from the Fa- ther will come to his babe in the nest, Sil - - ver sails all Fa - ther will come to his babe, Sil - - ver sails all 9± * *> -*■- -f-^-ft- + J" -A- -A- -A . . h ^ J> O p J ™ h *^. k • * ■ ) L^ IJ p K !♦ ■r i ^ J K ^ • m r UL ' — « —0 — ■ i Come / £ from P the N &=?- w -♦— moon out and blow, of the west, Blow him Un - der the *-^> 9* /' nz//. -*- ± - While vSleep, my lit - tie one, while my pret - ty one sleeps. my lit - tie one, sleep my pret - ty one, sleep. ^ -I * hi * I k 5= y b— £ p p b ^ _kL u ^ 74 Soft the Evening Falls. (Canon.) Beethoven. V A 1* w 1 1 1 1 i — i F\ — r / ^i i ■ A J n .i » ■ ■ VMJ + '■ 1 1 1 Soft the eve-ning falls, n The aird of twi - light calls Our V A /L ^ 1 Jill 1 1 i $>-4 * 0- — -a 1 — -1 U-J- — j— — 1 i tr-^* Soft the — 5 J eve-ning -t^i — falls, — ♦ — *— ' — The bird of — • * ' twi - light LI a * V 5i+ — A -. p 1 lli" i i 4_ 1 1 1 l Soft the eve - ning Ri-4 -■-. -_ -— - m. ^ — n i V * m / *■ m ' a r A - m— — h- □ - - 1 1 i i i 1 1 — 1 1 1 foot - step ^ . No Ion - ger i 1 oam, For soft the 1 s home . ave-ning ■# r *. (% 1 I i J 1 ' —i 1 J 1 — | . - V|J ! H J ! J • ^ ■^ •■ calls Our foot-steps r \ tome. > • . No Ion -ger roam, For ■> I i ^ A r A a a m ! ' 1 B A • ■ O 1 1 1 i falls, The bird of twi - light calls Our foot-steps "^ home. . . C\' i B • p t f )• ' r ♦ * i ' • ♦ 1 VI r i i * r Al . ■ 1 I 1 ! _J i i 1 I vSoft the eve-ning falls, The i>ird of twi- i light calls Our V 1 ' A_ - A F A j j J * VT\ " * p * m W cd v- ' falls, The bird of twi - light calls l Our foot-steps v- home. 7T d 1 ■ — ■ ^~ g) d J -M -1 ^r • ^ J — ^-1 1 \— soft the eve-ning falls, The bird of twi - light calls Our I* 1 ; — : m- — (* v - 1 f» — h — y- -£ — i 4 — iC> * * — \— -\ 1— — ♦ • — ■ — • ' i ■1 .^ For soft the eve - ning falls, ... No Ion - ger roam, The s~ 9 : r ? —& -H» j»- — « k — 1 1 £> • -fcr-F- — 1 1 p ^— ~T — ? 1 h- £=£ — 1 M 1—=1 ' J j 1 foot-steps home. No Ion -ger roam, For soft the eve - ning 75 ■f- — 1 — 1— p- 1 ~ * m i — 1 1 ~ A ▲ r $\ ■ ■ cd • ri 5^2. ! : _J 1 I 1 I _^s n-ger roam, — i u— * No lc For soft the eve-ning falls, The v -«-• JL i 1 1 rn * J J m ■ # V- 1 ' ^ J 1 ! ! ■ ^ ~i • M • St: foot-steps home. . . No lon-ger roam, For soft the eve-ning j St- 1 * * m m *- -f* ♦ -J J h <* I43J —5* -i 1 bird of twi-light calls Our f 1 v^ No Ion - ger oot-steps home. t~\* • t I * )■ — • * - * — v * 1 1* — ^S 1 ' 1 1 L— EJ- U 1 1 1 falls, The bird of twi - light calls Our foot-steps home. ~§ — » ~\ — I — n H~ -i ~i « A. i * J J A ^ J i a rh - J • ^ * BE \-\) bird of twi-light calls Our : 1 1 oot-steps v_ No Ion - ger home. i , i A r"^ i rh ' J J J i i | J V- 1 1 J ^ • ■* ! ^ J ! ! falls, The bird of twi-light calls Our foot-steps home. . 3 * ■ A T i A * 1 A • p • • i r ■ 1 ■ 1 1 roam, For soft the eve-ning falls, The bird of twi-light ~^ r\ # * k * ■ m . )• ■ ■ o • r i i i i* ** r ■ 1 . i 1 i i I 1 ■ i 1 1 j 1 U [ — I — 1 No Ion - eer roam, For soft the eve-ning falls, The at ' — " =~°* *" a M — l 1 — H A a r I A J J ! -> A I rh i i I ■ ■ ■ V - v> 1 roam, For soft the 1 eve - ning falls, No Ion - ger roam. v A. i ! J 1 rh ' J I J m ■ II MJl • 1 ~} • M m ^ o " . . N 3 Ion - ger roam, No Ion ger roam. 1 ill rj j 1 J A % II H B ■ ITS II [ 1 19 II calls Our foot - steps v^ No Ion - ger roam. home. . . r\* * t P || 9 i» m ♦ || £S i " I — II r iii UM II bird of twi - light calls, No Ion - - ger 76 A. S. Kieffer. Lovely May. B. C. Unseld. m ? 1 tfwm & 1. Love - ly May, 2. Hap - py May, 3. Balm - y May, mer -ry, mer -ry May! Bird - lets now are mer-ry, mer -ry May! With our songs we mer -ry, mer - ry May! How we love thy sing - mgi greet thee; glad - ness; I I S=# ± 3BE -b n v h h 1 r-b fe b P 1 !> h K V a 1* — - • P A. T T 1 A n m m s 9 » "4 • J i XX) 9 Zj Ev - 'ry - where, On the hill, Buds and flow'rs, • • • thro' the balm - y air, Songs of pleas - ure by the shin - ing rill, Now we wel - come thro' the sun - ny hours, Ope their scent - ed • » • 9 "I 4- • "A" P ring! thee, leaves. ^ {■ • ji H m m r^ f ' P i> J i 1 s V V V V V l J \ p p p p ' R 1 1 1 i Refrain. :&=Sp=fcfc ^ fr-h-ft- fe=fc S fat 3t=at * * Wel-come, wel -come, love-ly May, Mer - rv, mer-rv Mav, mer - rj-, mer-ry May; 6 E 6 6 F £ '£ % ^ ^*EB ■p — p~ £— ±- £=fc ~ -h — iv L . '» -•>- r~r Wel-come, wel-come, love-lv Mav, Mer - ry, mer - ry, mer - ry, mer - ry May, _* 9 9 > — g b— te ^ fcizfc -P P P Pr Used by permission of author. fc J g i B tLjL = O Gentle Saviour. T. R. Birks. Arthur S . Sullivan. V i o 1 1 , X h ^ f/K^r, -d. J m 1 IvjJ ^ 23 a A' i J m w | " l r e -i&- 1. O gen tie Sav - iour, from Thv throne on high, 2. Go where we go, a bide where we a bide; 3. lead us dai - ly with Thine eye of love. -9- 1 ■#- ->9- -&- -P- -0- -f- h p -- IB i*rl. p ^ -P 1 ! i7 Ln i 1 | " I J Z \ 1 | I 77 ^ ^=^ Ivook In And down life, bring love, and death, our safe - ly hear our com - fort, to , our K ^£ hum strength home ble and cry. guide. bove. m ^ ^ National Song of Praise. Palmer Harlsough . , J. H. Fillmore. V i '1 1 1 1 I | JL h '» 1 | | 1 fv\ i o « oJ J tl v.; 4- a a! H 9 f A • A A ^1 x W A 1. Give 2. Give 3. Give ->9- I to God, to God, to God, O O ■f- l ^ Na Na Na - tion great, - tion fair, - tion free, 1 D rais Prais ^rais 1 - es for - es for - es for Sr &- 1 1 His gifts to thee, His guid - ing hand, His truth and light, r-v. o u P ,v • P 1 )*i f » f- 1 " B - / b •! 1 P w 1 p • ■ [74. i 1 1 rfi — ~ H 1 1 — 1 I 1 — l 1 | >L b 1 *» i W^— * "\ 1 ^ 3 <> J 1 aI ^j 3 /■- S A • aJ • ▲ <* * £ -A £T 1 . ' H- □ | \JT ■ -&- -J- -&-* He hath planned thy blest es - tate, He hath placed thy bounds so free, Child of His un - ceas - ing care, Prais - es give, O Na - tive L,and; Thy sup -port His Word shall be, Thy de - fense the strength of right; -fS>- i»- -p- -p- -p- ^ ^ . (^ ■#- ^- . rv p I*. ~ m Vl'i 1 1 -^ b ' yo £|e 1 Y J 1* 1 1 le> r- I 1 1 1 1 1 1 1* • n 1 | L^ 1 | 1 V 1 1 i€ b '^ p *i 1 r -\ *\ p - -P- lS>-« f" f N rv- - a k7 |^ p jj — B3 n • ° B V U I 1 k? • 1 1 1 1 p 1 1 1 1 1 i -^ * T5l- * A He hath formed the roll - ing deep, He hath fixed thy bor - ders good, Thus, L/and be-loved, re-joice ->5>- -9- -&- -0- -<5>- v Til o He He While -H hath hath the -F- spread thy fair do -main, blest thy hon - ored name, a - ges shall en - dure. iO- b— jfc Si: >g 1 r Copyright, 1899, by Fillmore Bros. 78 Spring is Here. J. H. Fillmore. !■ ^ b * ! * i r -•- 1. Balm - y south-em breez 2. Ten - der rays of sun $= ^ es, shine, Fra-grant, sweet and gay, Gen - tie A - pril show'rs, b,a t) ft 6=6= t) H f) IT la =& ^ *^£ 1. Balm 2. Ten der south - ern breez-es, Fra - grant, rays of sun-shine, Gen - tie sweet and gay, A - pril show'rs, §5I=S -k-4=£ ^=P— P — g = g=P = I ^ ^ ? =? Chase the sul - len snow clouds To the north - ern lands a - way; Bring -ing shades of light and dark With ev - er chang-ing hours; V^Z. «, ^ fl « 1 — ^ 9! V ♦ ■ — V ♦ • »L. I V t— jfc Chase Bring: snow ing clouds to lands a - way; ev - er chang-ing hours; 1) ft f) -k- v: :£ -V- v- Chase the sul - len snow clouds To the north - ern lands a way: £ 2 E ^ : Thro' the woods and val Blos-soms in the or fe=CT leys, Flow -ing deep and clear, chard — Birds and bees ap - pear- *=* h t) r> =ft m I F ts: £ iS * ^ Thro' the woods and val - leys, Flow - ing deep and clear, Bios - soms in the or-chard — Birds and bees ap - pear, £=£ l> b b b I i> ^ i> ^ ll> l> I Used by permission. 79 ^U^*^ fs K — fn • 1 — 1 ^n A. h. t T * k. n n j • '■ f\ v • u h ~ *■ * « J v: ^£- ^ 3£ D. I. Suter. Gently, m 41 Good-Night. (LADIES' VOICES.) J. D. Brunk. ^f4^=^\^=f=\d=£^ m P~ Ho - ly, heav'n - ly thoughts at - tend you To your homes to- i m fc B=± 4 ^ ^r ^Jee^eSe ^=^= s= i n l a -at— h~at night; I P Sweet - est com - forts may they lend you, Fare thee 3r-*l=3i =r — ri j ' i-^ »* ^c i p well, to - night, Fare thee well, to - night. . i -^r-- |~^4 4"j. — ^ />/« DIOSSO. trc rail. :«. =£^M I* Peace - ful slum - bers, Peace - ful Peace - ful slum - bers, i ^ *- *v d -W-. Peace - ful i « tempo. m -4 4- ^ 3j * slum - bers. +>- Peace -ful slum -bers, care will ban- ish Till the morn-ing light. i J: ji^^^T? 7 : F^= =1: 4 Used by permission of author 81 dolce. -m-r- ■**- *f : ^=i= Dream sweet dreams, Dream sweet dreams, . . L,et £=^ i*. -^ "*- Dream sweet dreams, n 1 k dim. •- ■^ row sentunento . jj , 1 p \—~~ N N* • P *1 >* • ^ ^ i i T a »\ \A) m aI I s A • ▲ » a 1 p 1 bur - dens van - ish . to - night. r b - Fare thee well, y l =1 1 K- — i — —5c 5 - SS- 5 — «p — J — \di>- ~~i — h~ ~~i — h 1 ~d — 4~ — \~i — if B pE A 4 4 4 4 v ■ Fare thee well, -A-^ f: v : v good - night, good - night, Fare thee well, good - night, I &=* P= -*=- -V- 1 - i p f^ 5®^ good - night, good - night, Fare thee well, good - night, ^T -^ ~bp-r Fare thee 1 well. good -a-' night. srood - night. y~i"^4 4 ~"""^ ^r J*- ? 32 Andante. i O Love Divine. X-^A Arranged from Mendelssohn by Theo. F. Seward. ^ :&r ^ 3 ♦ — ^-p O Love di - vine, that stooped to share Our sharp - est pang, our mM V u * » * » -* m P^ m fe b r^ F 1 ! 1 ^ *=2 za: ± •- -5- -#■ A — V-L» bit - t'rest tear, On Thee we cast each earth - born care, We On Thee 9* i i ^^ j j N rg gg ^ N=r" 3= p ■#■ smile at pain while Thou art near, Tho' long- the wear - y We smile Tho' long the ii i .]=-, ^T= IT H i I "~^n/* i a ^? way we tread, And sor - row crown each lin And sor-row g ring year; *tMj jtj?j •Sp. ^ 41 A ^ ■* i -i — i i ^=^ *=^ i ^ 6 ^ No path we shun, no dark-ness dread, O Love Di - vine, while No path O Love V ■(* • - j s !_t §3F^ £ 1 * ■ PL 83 | Thou art -v-x- : ^ | $ p B EE r#. ^=P 2t while Thou art near, while Thou art near. While Thou art near, . J? ^v> £ J a 3c •*!— *- "Almost." J. W. Wayland. ii Persuasively. """J • Geo. B Holsingcr. 1 V ft o n R | N j | J it. -^ J • ^ 1 n | J' 1 J iftl -i V H • t ■ ■ w • ?l x I VU 4- ■ J * ¥ * * 1 Cr # • • 9 9 • 1. "Al - most per - suad -ed,' ' why de - lay? '•Al ■ most per - suad - ed," 2. ' 'Al - most per - suad •ed,' can it be! "Al • most per - suad - ed, ' ' 3. "Al - most per - suad •ed,' ' Ah! bit - ter cry! "Al most per - suad - ed," u r ^* A £ *- -tc- * • _fi_ -&- l» -*-• _«_ * M- C^k'* .) A A • A ▲ A ! |a E ▲ • ▲ A A ■1.3 z r ~ n L -^ 4 P P | | | J n | ! 1 — 1 — -V— -9- i mf -0— Come, friend, to - day! But still not free! But doomed to die! Hear now the Saviour's voice, O make Him O friend, give Christ your hand, He will loose O friend, turn not a - way! Death on - ly £- *- =F=3 tJt- -£- ^ -+-i- -» #- — m- I V F n it h h i cr< 'S. K s to 1 V it R I h D _p 1 P N 1 1 X. ^ * "1 J ffh a. f! * » \ V- L» * • * ¥ • • I now your choice; How will your heart re - joice In Je - sus' love! ev - 'ry band, Lead you in - to that land Of end - less day! says "De-lay!" Christ calls, "0 come to - day, Come, come to Me!" T 1 ' -*- ■*- -w jl £:• k*: -p- -kr- ^- -*- <*> c\'^ k • k k A A • A A . A A 1 1 t • i.+r r n r r rr i- U i 1 -^ P P P n p p r • r ■ -R 1 | M f — b- 1 Copyright, 1906, by Geo. B. Holsinger. Used by permission. 84 Twilight is Stealing. A. S. Kieffer. B. C. Unseld. s ^ fcfc" fe=s fe=fc 5P=£ te£ «^ =2^ 4- j a - 1 1. Twi- light is steal-ing O - ver the sea, Shad-ows are fall -ing Dark on the lea; 2. Voi - ces of loved ones, Songs of the past! Still linger 'round me, While life shall last; 3. Come in the twidight, Come, come to me! Bringing some message, O-ver the sea, f=S "V* - S - _a_. _C- _^2_ _fi_. _*- jC 4=: PS MV=^ t L L 4: P=# :p=£ -a- 5 - 2=£ g^ £=&: i5=^ fe2=S T j >» _ J? 1 3=T Borne on the night-winds, Voi - ces of yore, Come from the far - off shore. Lone - ly I wan - der, Sad - ly I roam, Seek - ing that far - off home. Cheer-ing my path -way, While here I roam, Seek - ing that far - off home. _*_. _e_ _(S2_ ^^ ^ ^Zffc «t ^=£ REFRAI5T. $m fc-JU> 3 3 . ! L_fl * S 3 i 8 J^-8 ; ; ; Far a - way be-yond the star-lit skies, Where the love-light never, nev-er dies, i "1 ■' ~ i l — I — — I — gr- 1 1 jc P V *S=t 4t p p P =£ M 4 M> D i)' t¥- 21 *-. ri— e £=^ t= 4^* Gleam - eth a man - sion filled with de- light, Sweet, happy home so bright. ^ -*L ■P- -t- 1 9* n — ^~ i>TT -K^ v=# V g g Used by permission of author. Anew We Lift Our Song. 85 it / Ringhardt. m I5t t^ ■2r-+*r 1. A - new we lift our song, In stir - ring strains 'tis well- 2. For Right and Light we sing, And Peace and Love we cher- ■&- - — -*-_>£. - ±H ^ l o I jj, /T\ -*s- __L ^±== :p=d= p ing, From ish: May ev - 'ry lip and tongue, Of high - er du - ties Truth a - lone be King! May lies and dark - ness _=3 f^ . ~r~ £ -fe- -C2- *S= :_: ^ o 1 at ifiS! P=^ =P=^ M^^^t -iHf 3 ^ tell per J J ing. ish! It Pro ^ ris - es to the skies In ev claim it to the skies In ev A er swell -ing er swell - ing j i m 9 ; P =4 Z^- i J 1" I zd: ^ * ^ szcs: ^: 9 might, Till might, Till s# P &— all all the the i world re - sounds The praise of Right and Light! world re - sounds The praise of Right and Light! -#. JO. ^_ -n — X :fc 13 86 Lo, How a Rose E'er Blooming. m P Dolce tranquillo. From ten - der PP , rit. e dim. M. Practorius. 1609. stem hath sprung! - — "» sss 3Z 1. Lo, how a Rose e'er bloom 2. I - sa - iah 'twas fore -told SS ing, From ten - - der stem hath sprung! it, The Rose I have in mind; ^^> J J £z i pp pp From ten - der stem hath sprung! As men of old have sung. men of rit. e dim. t=P 3|: -y - t£J Of Jes-se's lin - eage com - ing, As With Ma- ry we be - hold it, The JZ. -M- -±. ^ men Vir 9ifc * g r- of old have sung, gin Moth-er kind. J 4 - c^ ^ r h P As men of old have sung. n# ?7l_/" / 1 | Jr Ti J I ' i •>> x ■ a! ( ' w fl : _ • .., c^ It To came, shew -k- « — 1 i a God's — ji — 1 flow love - 'ret a 9 — F — ■ bright, right A - She v — mid bore m ♦ the to * A 5>^- -x \- r— — 1 — i — h =£= — X • — =^= 1 I When P I half- spent rit. e dim. the night. PP «s' St 9^ cold of men a -£ f- win Sal- ter, iour, When When half half ^S~- spent spent r r r was the night. was the night. 1 ±C . I When half -spent was the night. Let It Pass. 87 Arranged. dz 4 » m s n 1 =r J. H. Hall. £ ^=^=5 E= -^ 1. Be not swift to take of-fense, Let it pass, Let it pass; 2. Ech - o not an an -gry word, Let it pass, Let it pass; 3. Grace will conquer ev - 'ry foe, Let it pass, Let it pass; Let it pass, Let it pass; -k A_ m^t «£ i -A- 5 - tr^r #=& I I 3 J t I. J TrTlT An - ger is a foe to sense, Let it pass, Let it pass. Think how oft-en you have erred, Let it pass, Let it pass. Do the right and on-ward go, Let it pass, Let it pass. Let it pass, Let it pass. ^ ^*+* {] 9a *-*—? P=£= =EI Used by permission of author. Softly Fades the Twilight Ray. Samuel F. Smilh. I. M. Goltschalk. m S -F c^ o>- 1. Soft - ly fades the twi - light ray Of the ho - ly Sab- bath day, 2. Night her sol - emu man - tie spreads O'er the earth as day- light fades; 3. Peace is on the world a - broad; 'Tis the ho - ly peace of God — 4. Sav - iour, may our Sab-baths be Days of peace and joy in Thee, aK i C— a -w- ^v Gen - tly as All things tell Sym - bol of Till in J- life's set - ting sun, of calm re - pose the peace with - in, heav'n our souls re - pose, rA When -the Christian's course is At the ho - ly Sab-bath's When the spir - it rests from Where the Sab - bath ne'er shall run. close, sin. close. k~ m r- M ttsz A Dream at Eventide. T. C. Harper. (MEN'S VOICES.) T. C. H. and J. Owen Long. r=P= *=fc *=t V 1 1. I sit a - lone at e - ven-tide And dream of days of 2. O hap- py days, come back to me With all thy joy and 3. Gone are the days of youth and love, The friends of long a - yore, light; go, fc Of Bring But ^ b frs= : g=^^^^F£=s EJiEEEEE tit ^=t =* £ £ gold - en hours of youth un-tried, And loved ones gone be - fore. In back my love from o'er the sea To cheer my heart to - night. A- iu the home of bliss a -bove We'll meet a- gain, I know: Till in 1ee$1 § ^=r-r-[— e e ~£ j' e c S -*-j- \— U ■ * Mj"""1 S - L rfi- • ^L S *. s * 3^ J ti £ * W k. 1 £= !• 1? IT n » H p * m w • » » t 4 : h i P P I i. r- » i i\ i k k i n I P lj 1 1 fan - cy now I see a - gain, As 1 l ' in the old - en time, The las! a - las! they're gone for aye, No more shall they re - turn; I then my wear - y watch I'll keep At e - ven - tide a - lone, While | hi h' . K A - — .. h iT\* i- me m 5 * 5 *1 •i ; 1 n n n ~, r r ^r U ! 1 1 _. L L • • ■ m 1 i b " ^ # * 1 D ! P 1 V K- * =fc :*=*= m face of one I loved in vain, And feel her hand in mine sit and dream the hours a - way In si - lence and a - lone, mem-'ry thro' my soul doth sweep With tho'ts of days a - gone. feEEE 1 — i — p— r- Used by permission. There is Music In My Soul. 89 T. W. Williams. I William Russell. fct M— k-4 > TfTBa 1. I was once in sin and far from God, \nd dis - cord reigned su- 2. Give me a heart that's tuned by God, A heart that's like His 3. All now I crave is that my heart May beat in time with M r m =p^p : -25t- :>> H *=£* ^=£ j ^j — g^ — i M 1 preme; But now I'm saved thro' Je - sus' blood, My soul's tuned to that theme, own; A heart that's washed in Je - sus' blood, A heart of pur - est tone. Thine; Thy rich - est mel - o - dy im - part, And har-mo - ny di - vine. m rHH^ A 1 *" -F= m Refrain. :l *=* £^&e£ 333 r t There is mu - sic in my soul, Sweet mu - sic in my soul, For A- -A- Jk. _A- -A- -A- _A_ _A_ -A- -A- -A- -A- 9^ •p — p — p- P — M=P — P D tr fc=fe=+5=45=£=^ £=£ ^=-45: rr-rr 3BE =*=*= ** 3 t 3 Christ has tuned my heart a - right; . . There is mu - sic in my soul, Sweet -A- -A. _A_ _A_ _A- -A- m £ £ ^ft b l) l) l >- :to- £=S=b£=g f D - —4+ — a b a h ■ fc — fr— tr ■H- a : mu - sic in my soul, For Christ has tuned my heart a .A- -A- >- -A- -A- -A- -A- \) right. t -» » » *- %=t* -p P- '¥=t Controlled by D. E. Dortch. 90 Purer Yet and Purer. Met. J- 69. p cres. f dint. P. Rankin Hollingsworlh. . . . p m 5 3* ± * ^ 1. Pur - er yet and pur - er, 2. Calm - er yet and calm - er, I would be in mind, Tri - al bear and pain, (5>-f- g> %tlt— t- 1 4 £s-i- # dint. PP I s 5 =*- * 1 Dear - er jet and dear - er, Bv - 'ry du Sur - er yet and sur - er, Peace at last £r=p= ty to find, gain. m A. J. S. Songs of Joy and Gladness. A, J. Showalter. £=£ ^ s i ^ 1. Songs of joy and glad - ness, beau - ti - ful songs we sing, 2. L,earn - ing more of Je - sus, read - ing His ho - ly Word, 3. When the Mas - ter calls us home to those man - sions fair, A S -A- S3 £ £ ^ : 3Ef P P P v : £_J J b ' gt g 5 P £ *=3= -r is: 4- V - Prais - ing our Re - deem Tell - ing un - to oth Trust -ing still in Je m er, ers sus -m- crown - ing our Sav - iour King; news of our bless - ed Iyord; safe - ly to guide us there, -A- 1 ^ D i) 9 P P P P I Copyright, 1905, by A. J. Showalter. Used by permission. 91 ott 3 1 v ftU s h \ ± | /L ff > \> s 'J ■ r fpW TT a * ^^ 1 i m ■ i* 1* a v!J 4 * <■ 9 J P ^ ^ y V Sun - shine all a - round us, bless - ings on ev - 'ry hand, Fin :1 - ing in His serv - ice hap - pi - ness ev - 'ry day, Gla d - ly we will fol - low, gath - er a - round His throne; _A - t -A- A- ■A- t f- A^ _/\_ r\'i^ i f f | f |* u i. )««+L|. L L V T! TI * h n n n n r * P P— -\>- — P i — H — K K ^ ^ V i £ ? :|i" ^=P= * I* While we trust in Je While we sing His prais Praise His name for - ev A- sus, es, fol - low - ing His com-mand. jour - ney - ing on the way. Je - sus will claim His own. mnnm;- ■m ■ — m s: ■ I P P wm Refrain. £=U=2= £ * --*=*- w Trust - ing Je - sus, hap - py in - deed are we, m £ £ Sing - ing songs of P Q P P P *=r^ iS^^ * " ihi -&r fr k k > — r -P P P P P- Prais - ing Him who ten - der - ly loves us all, -A-. ^- -A- -a. >. ^_ >. .a. ju - bi-lant mel - o - dy; -A- -A- -A- A- -A- -A 2if±t -4 A 4 4 A bSsr ~P P P b P- v=^ t& I ^ *=t Guid - ing still our foot - 9 lg tt p. i> p — p steps, lead - ing us lest we fall. 3 h L I 1 92 Thanksgiving Carol. Psalm C / John D. Brunk. fl: ^=fc fcr-^ I trT e— ?— F "P" Make a joy - ful noise, all ye lands, ye lands, Make a joy - ful J> fU f> & # *-= — m- ± ± J> "J J> J s =p= -M — h — P — fr- \^S 3 w JLA ^ f fc ^3 * W ~1 P P * noise un - to Je - ho ■ J -*- -s- -& tr vah. Serve Je - ho o A v A • A A vah with Frt r> ^ i r-~-D 1 a J j>. J * 4 U- s±=* *-* — F — *^ ? rt is: glad - ness: J Come be - fore His pres - ence with sinj •-; 9 m £ mg. ^= ^=^ £ P -^ ^ -<*- .o I - d W ♦ SI Know ye that Je - ho - vah, He is God: J - J J I i I And we are His; ^S"5> — r^k ^ K—*^jMl r -k — pc 93 ' I I P It is He that made us, And we are §^ ^ T m His; T~~TT We are the m ^^ d I p &• 5 r P' y = tures. En - ter in - to His gates with thanks || ^U « ^u! 3 sheep of His pas 1 I d ~ I g% rr ^ h h S=r] P^ ing, And I I A. *i J P P L-J to His courts -i b h I — i ^ jt ^L J. A nth I praise: Give i # « 1 * v ^ *~y~ Es= . £ ♦ l » • E §S P 9 thanks, give thanks un-to Him, . . And bless His name, A - men. aI -»■ iUL a • aP -^-« -*- zj 7~T S^ I 94 Jewels. W. O. Cushing. 3 i=^ h=fi Geo. F. Root. # ^ =?= P P ' I I P P 1. When He com-eth, when He com-eth To make up His jew - els, All His jew - els, 2. He will gath-er, He will gath-er The gems for His king-dom; All the pure ones, 3. Iyit - tie chil-dren, lit -tie chil-dren, Who love their Redeemer, Are the jew -els, n - - JE I «2 £=p: Refrain. ■—A) a! L-Al A 1 1 A WF=fr ±B £3 3=1 fl I ; pre-cious jew-els, His loved and His own; all the bright ones, His loved and His own; Lake the stars of the morn-ing, His pre-cious jew-els, His loved and His own; ^^ f 1 9^ v=& :rfc ±± =f * J. ; 'I -a — Al- bright crown a-dorn-ing,They shall shine in their beauty, Bright gems for His crown. « • • - | r J J =?— i-t %t=e = 1 ^frV-V-K *=£ v: A. Vancma. Take the Saviour With You. Dedicated to my brother, H'm. H. Hohinger, Shelly town. Pa. ■h* ". *-r Geo. B. Holsinger. cres. &=* 3 *: * £ t=Si -2 ^ =£=£ -A— ^A— 1 . Take the Sav - iour with you when you leave your home, His corn-pan - ion- 2. Far a - way from friends and loved ones, all a - lone, Mus - ing on life's 3. Bent on rec - re - a - tion, or in quest of heath, Min-gling with the 4. Tho' the world be wide, the Lord is ev - 'ry - where, Round the cir - cling r r f r ^tHr-Arb— P E E E i=t fr4-p g i) g j; g g g ■fr-^r-6 — r Copyright, 1906, by Geo. B. Holsinger, Bridgewater. Va. Used by permission, 95 mf &=£±=* 5: + '. S fefe D ~" — * — ^— -— p ship is sweet wher-e'er you roam, In the moun-tains wide or on the joys, re - call - ing pleas-ures flown, Like the skies His love o'er-reach-es surg-ing throng in - tent on wealth, Seek the Lord's ap- prov - al, keep your globe you'll find His shel-t'ring care, Ev-'ry sky re - fleets His beau-teous -Jk-* -A- -A-« -A- -A- • m t±=£ -&: S -•— = p p 1 p P p p p. P r~ p p -p- Si *=t ii=P"- roll - ing sea, all your way, con-science true, prom - ise bow, iS An - y- where with Je - sus it An - y - where with Je - sus it An - y - thing for Je - sus it An - 3' -where with Je - sus it Jl J) J> r f ' f V safe safe safe to safe to to be. to stay. do. go. l j b \> t q? E s P=£ Refrain. EeI fefi: * :™/ £ fe ^T P An - y - where, An b P p Ev-'ry -where, Take the Sav-iour with you y-where, Ev - 'ry-where, k \) k k, fl_! _kj k^ Sk-_ k s 95felE s E g=g=£ Vn>> *= tf- 5 — »- t =p=b (/«K. k p cres. ±r £=§= -b- fc f//;« . £ "SI £± -« . S £ iP — 2- -!♦— ev-'ry-where you go, Take Him with you thro' life's journey wherso ev-' ry-where, yes, ev'rvwhereyougo, -L-. -A- -A-. -A- *_!_„« «j ff e_! * ."|~ :r" " l~ -t *-s £ *-s — * — * gd z_p g p ~tj = g- i i ) ^ p— r p— p ^fcp— t H> t ) p ti. T ii dim. -ft-s- * ^S I -«l - P p: e er vou roam. £ An - v-where with Je - sus it is "Home, sweet home." h fc" h * £■ £ .. * J 1 P' if ^m^ m- W I 96 Little Eyes. Rev. B. R. Hanby, ^ < k J. H. Fillmore. Vif o »■ N 1 K 1 ' D \\ K / h uZ ' P D 1 J P i J 1 VT\^ * 1 * J * J 5 i i \s\) 4- ♦ * 9 J J| J I 5 1. Lit - tie eyes, 2. Lit - tie heart, lit - lit - tie tie eyes, heart, O - pen with the Full of laugh - ter, morn full A f -ing light; of glee, 3. Lit - tie hands, lit - tie hands, Bus - y with the kite or doll, 4. Lit - tie feet, lit - tie feet, Soft your pat - ter, light your load, v.- a a a m a a e a a • a • - a C~\ m h •) i i * l.| V Z A k A A A A [a A V |a A 1 V b hi r r 1 — g P4 ^ ^ | D— -W- 1 1 — V P i— --V— — y- — F h N V r" n P 1 f) n i J J M P K (fob b j' 3 3 a J P r\ H ^ 3 i * ^ ^ S 3 • v>K 3 W V 57 j ™ • J " 3 Up - Beat Learn Do • V 9 ward look, with love, ye may, not stray, a a up- beat work keep # ward with or the a look, love, play, way, • Heav For Dai Walk a v » w -en's morn is the Lord who - ly to do the straight and al - bless good nar - a f ways - es to row 1 bright, thee, all. road. ♦ J'i " 1 1 1 | | | | 1 ~ t A P V \ P V 1 P V V V P V Copyright, 1911, by The Fillmore Bros. Co. Softly Sighs the Voice. Arr. from Von Weber. PI pP. 1. Soft - ly sighs the voice of eve - ning, Steal -ing thro' yon wil-low grove; 2. Thro' the dark blue vault of e - ther, Si - lence reigns with soothing pow'r; » 4: « ^n £ ■ * ^_j_# - w A- m * si ^§=a=S £eP* »7X watch, their nightly watch a-bove. dark-ly brooding, seems to lower -*-* ti & i -•4 — fr £=^-g^ *TT ^ =r- While the stars, like guar-dian spir-its, Set their watch, But a storm o'er von - der mouu-tain Dark - lv seems, their watch a - bove. it seems to lower. God is My Song. 97 C. F. Geliert. '-W=W */ Arr. from Beethoven. / zst -2- - d— 1. God is my song! He is a God of pow - er; =■ « * J 2^: _- _ 25t i u 2. He sees my need, And hears each bit - ter wail - ing! ^^g ifi 2 3t 3. Is God so near? Is He my Say - iour e - veil? Pffe PH b =:- 4Ut / r r I J mf Energico. 9® e £e: t£ &-. ^ Great are His deeds, His name a might-} - tow - er, And all the W=^ £ = He knows what good I do, each fre-quent fail - ing, And hastes . with v — 1 . V j * g » »— - » * ^— ^ ;-; Then ask I noth - ing more of earth or Heav-en, Nor *£ fc e - ven — : F— fc*: / / // i | fe • -I* fS7 p =p ~« j* ^— ,^ fcsr-j +^= 1* E7- 25t worlds to Him be - long, And all the worlds to Him u be - long. £=T -&— o- & — I — <&— -2± love to in - ter - cede, And hastes with love to in - ter - cede. 1 4J- f^P ^ £2-5 ^_ I hell it - self will fear, Nor e - ven hell it - self will fear. §i§ E 98 Haste to the Rescue. Lizzie DeArmond. Samuel W. Beazley. s £: M B $ j^^JU 1. They are drift - ing a - way Where the break - ers roar, Throw the 2. They are drift - ing a - way, Send a cheer - ing shout O'er the 3. To the res - cue, nor wait, They are sink - ing fast, Pass - ing S ft A k fc 1 tl * ■ A A * -' *— 1 , A | i I " 1 « Uft ffil £=^ ^ &=3 w m=£*i 4 -*r» * sr^r PS£ life - line out o'er the sea; They are call - ing to you, O be foam-tossed waves roll -ing high; Lend a glad, lov - ing hand To your slow - ly down with the tide; Ere the day - light is done, O save -r^r ii±t istt £ &. P ^ fc=£ •^ . -•— 3(: swift to do, Tho' a friend or foe it may be. broth - er man; God will help you through if you try. one, just one, From the sea of sin deep and wide. •ft.i a ! i t= — *->-* — *- E £EE w . v- ^sz Refrain. I irit i =" 3|: -*-?■ ■*"i- To the res - - cue, Ere they drift a - waj', res - cue, my com - rade, h ^P -^- -^. .a- ♦- ^ V J. j t ^ T— = A — i A A-; A A A P5Eg p=g m 31 ? p g ftnt £: fc^=i=fc at£=a * -•-r-l* -b 1 hu - man lives to - day; They are drift - ing P P P P J PJLj t-—lt — A-^ a! AU A. A aU =A- • — * Res - - cue Res - cue some need - y 3?g^ =*==* -r~p — g & + Copyright, 1912, by Samuel W. Eeazley. 99 Al_ *— k EE r> E •^ . £=£ ^: -ri-i- 4^ 4 far from the heav'n-ly goal, Save a pre - cious soul, save soul. i §^ ..?= ? 1 f ?=F ■p — r Little Snowflake. I. D. B. 1 fej J. D. Brunk. *^-£ J> J) J) jt # ^ ft 1 31=1 *=* 1. Pret - ty lit - tie snow-flake, Whirl -ing, twirl - ing, all a - glee; 2. Pret - ty lit - tie snow-flake, Hiss - ing now in - to the main, 3. Pret - ty lit - tie snow - flake, When the rose its leaves has shed, m^ s =£=£ p p £=£ -fr—fr -f) — rr 3=^ Pret - ty lit - tie snow - flake, Cheer - ful - ly we wel - come thee. Heart - y lit - tie snow - flake, Mite to mite has stopped the train. Gloss - v lit - tie snow - flake, In the ball and out the sled. fct= ;vi- p p p p P" Refrain. i ii m ±t ± N t=# Ti ny 7> T lit - tie snow - flake. We P are chil - dren, too; ¥ v: *c -P" 4J- I £ Shin - ing 9 3*£ lit - tie snow - flake, See what we may do. -A A 1 A A 1 1 S H , zSs- I il =£ w fc =fr i V — =fr=fa= 100 Onward, Christian Soldiers. S. B. Gould. A. S. Sullivan. m^m 3 ?=f T 1. On - ward, Christian sol - diers! Marching as to war, With the cross of 2. .Like a might - y ar - my Moves the Church of God; Broth-ers, we are 3. Crowns and thrones may perish, Kingdoms rise and wane, But the Church of 4. On - ward, then, ye peo - pie! Join our hap - py throng, Blend with ours your '■-* — 1~ ■ t~ f*~ ■ ■ K K ' ■ tL fcr^hr % % % r §==P y 3=24. = s =±E sa *=t -o- Je - tread Je - voi - s§ JTV sus ing sus ces Go - ing on be - fore; Where the saints have trod; Con - stant will re- main; In the tri-umph-song; * T , ^ h- Christ, the roy - al Mas - ter, We are not di - vid - ed, Gates of hell can nev - er Glo - ry, laud and hon - or e. e «_ ±E zz. ~ ± =*=3: 3==$: ■ — 2^ "-* 4 = A ■— ^ — Leads against the foe; For-ward in - to bat - tie, See, His ban - ners go! All one bod - y we, One in hope and doc - trine, One in char - i - ty. 'Gainst that Church prevail; We have Christ's own promise, And that can- not fail. Un - to Christ, the King; This thro' countless a - ges Men and an - gels sing. fa S i"? ^3: r^ a Refrain ywt^ — 1 1 1 <^* — A-^-*H — I — — p^ — ^ — | | — 1 1 1 1 — i — — J ii ■j ■ ■{ ■] A. * On-ward, Chris-tiau sol 9 J ¥ » diers! I! 1 ~9~ T Iarch-ing as T to war, -J I" 1 c\'~ i * ♦ » * *l }""])■- lA A * 1 ''- a S '■jf - [ m L 1 ... ! - ff '• » 1 i ' | 1 1 1 1 «& I 12^ 3=?+ plfe With the cross of £: 1= * *- Je Go mg on P be fore. =£= £ -Jk-5- i— ? - I Acknowledge Me, My Keeper. 101 fcft Met. J- 66. (CHORAL.) J. S. Bach. (1685-1750.) '£H -■ 0- m *fc±: \ Ac - knowl-edge me, my Keep - er, My Shep-herd, own me Thine, ( Thou fount of bless-ings, deep - er Thau deep - est want of mine. fe ifc ^= w — — d-#- a 1 i 4 -* — *- ♦ — ♦ — *^- u. Ijjili F m • '■ -P — » — p ■ H — «■— g*- h h 9 %-fTfa Ac - knowl-edge me, my Keep - er, My Shep-herd, own me Thine, Thou fount of blessings, deep - er Than deep - est want of mine. d 4 ^ ,* *«.. /T\ /^\ V ttU-Tl*; A A ! Qa /£ If tt i B 7 1 i a ■ * J J 1 1 (m * 1 P i n r ^ "^ Li i 1 1 1 Thy mouth full oft hath fed 1 ' 1 me With milk and an - gel - f7\ food, Thy r^ ■"»! i i J 1 ^ J J ^ -J *» J r« 9 •fc, i s *v - r a „ i A A ^ £ +* p „ „ i ■ L^J 1 ] »^^»r 1 W ! 1 j 1 Thy mouth full oft ^TTi^T h 1 i kr- hath fed me With milk and an - gel - , — k — — ^ it. E- food , -E-. 1 — 1 Thy — k* — i EV JrLLf» 1 — W F 1 — F-W A A i — s — rrtr —I ^ -^ r j. +> 1 i ^ ' | 1 , | u» -J • 1 1— UL p L » — »- o . Spir - it still hath led ^5H — i — E me The way of heav'n-ly good. ,&Ji 1^ 1=1= ^= C-ikj BL ^ -* S 3 - ^ Spir - it still hath led me The way of heav'n-ly good. *E 94 -A-i»- 102 Evening Bells. s A. S. Keiffcr. B. C. Unseld. m 4 3=* -&- -Jr izs: 1. Peal - ing slow, soft and low, Eve - ning bells swing to and fro; 2. Here a - lone, here a - lone, I sit lis-t'ning to your tone, 3EE£ I fr-4-r ic *E *E £ ^^ -1, ^ ^C -z$ « ^t — • * +—-J: Once a - gain your re - frain Wak - ens dreams of long a - go. Dream-ing dreams, pen - sive dreams, Of the days whose lights have flown. 1 m& m 3* 3 *= E 2± l^: f= fc£ Refrain. B J: J=S^| 3i * 7? — ^ tale your mu - sic tells, l £2 Eve - ning bells, eve - ning bells, What 3££ m m I 3t As ye chime, keep - ing time To the mu - sic of life's rhyme. SSfe ^m —: Used by permission of author. Sweetest Hosannas. i ''Sing forth the honor of His name; tnake His praise glorious." — Ps. 66: 2. G. P. Hott. J. D. Brunk. Lively, m ;==- to tr— r>- & jyf^ p^ s lit 1. In from the high - way, in from the by - way, Gath - er the 2. Go where the man - y wan - der from Je - sus, Lov - ing - ly 3. Bright-er and bet - ter, gems of the king - dom, Hap - py the ^to3 A- ± A — £=£ S r=r Used by permission. 103 1* s fe£ ^ if^fe r> , b r> £=£ T W chil - dren whis - per - chil - dren se - cure - ly from sin; Je - sus has blest them, sweet-ly ca- ing "Come un-to Me;" Sweet-ly re - call them, for like the in seek-ing the fold; Ivov-ing-ly find them, put your arms ^1 A At A 1 — Af-; A _■ p_ ^^^ 9 V- ir^r m v- p" p p p p p itet t5=fc / J 5 -^^ : SSi ?*— IvOv - ing - ly bid - den us wel-come them in. Ev - er the king - dom of heav - en shall be. ressed them, chil - dren, round them, Just as the Sav - iour once blest them of old. -a-j- §a* S * EE =T=^ P=^£ P P Refrain. piW -^-i- ^ -d-i- 4 a- 5 - Help us to win them, help us to gath - er, Help us the -A-i- & . « P 5 r=? g a j5—6-Jl£ f r- fr-i *=d EfefeffiNi it jew- els of heav-en to bring; Je - sus has bid- den, "Suf-fer k Ah A 1 — At-- the -A^- ^ P P P 3 *=*c S -P p p P p p p fl Li —^^ k. K h /] P ft N K V i * b s p ; ■ H • P P ; A. b W m « ^ « H * II VT\ V v w , • A * A b* 4 / i • ii ^K J a ■ J j— ii chil - dre ,— . | A-; A -• ■ -V- ^ n;" Sweet-est ho - -i A * * 1 san - A—. — nas A to A Je - A sus A— they # si — * ng- ^ n ^WH 1— <+. — 1— — J -ft- ^ — *— H ^ 17 A • |i t 1 p p p / \ . ii 1 1 P P P 1 1 P 104 Thou Hast Never Forgotten. Mrs. Frank A. Breck. Samuel W. Beazley. m> 15=6 ^^ £ *£# & w^* £ ^ * 5 1. O God of all the a - ges that have passed, — Of a - ges yet to 2. Safe hast thou bro't us on our va-ried ways, Thro' tri - al, pain and ~d si » •— p p |=B ^r -*-i — ±- §SMr===3!E3 & : F*F£ "p— 17 S* ■f> h r> r> tet it=Ht -m m w m *l 1 ATS 3 j 5— 3 =sj— r+-^ -(54- d^ f^ -<&— be, Long as Thy love and truth shall last, So may we hon - or Thee, tears; Thy lov-ing-kind-ness ev - er stays, Thro' all the storm-y years. 9^= ^—1- *=£ v p p p Refrain. ^ p > r > b w^-fr-fr -T 3=*: ^ P P P P Thou hast nev - er for -got -ten us — nev - er, (nev-er,) What r> J? ± *• * SipE^ES feE ev - er of y jc >— p- P=p: P P P £ JE^E ^2- r> d p =s=* sor - row we met; Not one of Thy chil - dren was ev - er j P P ,9 ? for- g-as ±z v=^ m $^ i) p p- ffi Z± -6 — h- * K : "Z^ got - ten — And Fa- ther, Thou wilt nev "^ ±Z "I- -|~ ± » for - get! T0-. l m& * BE £=£ =P=p: **: Copyright, 1912, by Samuel W. Beazley. The Merry Spring. 105 M Not too fast. %m % ^=# S=fr I. H. Hall. s 1 m m ?=* * =r=i 1. O, a good - ly thing is the cool-ing spring, By the rocks where the moss doth 2. And as pure as heav'n is the wa - ter giv'n, And its stream is for -ev - er 3. L,et them sa)- 'tis weak, but its strength I'll seek, And re-joice while I own its 4. O I love to drink from the foaming brink Of the bub-bling, the cool-ing ,4 ££ 3E£ v= £=£ M P b P P b b =£=£=^ * fefe fa^ UUM^--^ l> b grow; There is health in the tide, and there's mu - sic be - side, In the new; 'Tis dis - tilled in the sky, and it drops from on high In the sway; For it mur-murs to me, in the ech - o of glee, And laughs spring; For the bright drops that shine more re-fresh - ing than wine, And its p — b- =^c £ — b^ =£=£ n n _/ Refrain, fastet -fc- i^ # z^z3= ^P »k — ^ — V" P brooklet's bound-ing flow, show'rs and gen-tle dew. as it bounds a - way. praise, its praise we'll sing. f Mer-ry, mer-ry lit - tie spring, Sparkle on, p Rip - pie, rip -pie, sil -v'ry brook, Rip-pie on, \k • I • U aI a y— gz^ rk k -> s p p p :p=p= :£=£ t££ repeat p. m ^=^4 ^i- * i spar-kle on; rip - pie on; Mer -ry, mer-ry lit - tie spring, Spar-kle on for me. Rip -pie, rip - pie, sil -v'ry brook, Rip- pie on for me. §y* t>— ^~ £=j=&=j= £=£ M P=tt s p p : p p The Ruebush-Kieffer Co., owners of copyright. 106 Happy Time of Youth. m J. M. B. Spirited. Clear timbre. J, M. Bowman. £^ ± £=£ ■P- V=^ $= ± v=& 1. Come, oh, come a - way to the meadows fair, Where sweet 2. Come to the mer-ry meads, here no lon-ger stay, On to the 3. Oh, hap - py days of youth, how they swift-ly fly! What will the i^ 4: £=^ 4 i i i i " i 3^ Come, Come, Days IEEE oh, oh, of — 0— come to the mead - ows come, here no Ion - ger youth, how they swift - ly —r r r fair, Where stay, To fly! What sweet the the f i r r '^S -$=p r' r- r -fiH k. is h *f 1 ! | A ' ^ |S N 1 A b V\\ N h\ h R J ■ fr\v \> u p n _ _ n • ■ e> P b h i • vL> V J J ^ •i • ^ K K * ♦ lil - ies fields we har - vest bloom, bathed in fra-grance rare; Birds are mer go, — let us haste a - way; Hearts bright and feet be, com - ing by and by ? Sow - ing their seed • ri - ly so light, by chance, V i " b >T b w\ \ I | fvs 9 v b A 1MJ v 2 J 4 « <$ < * 1 •I lil - - fields har ies bio we hat vest bj I A om so rar te a - wa ?■ and bj e; r> ? Bir Fe So 1 I ds are sing et so light, w - ing seed, - ing trip a C\' K I f P i* r r )'\ * b \ 1 I S b kl ^fi-b-k — f H F F— J H F F 1 — ! ^UJi^-^ ." $ 5 'Hr-J* Fine. £ $=r sing -ing in the trees, Sweet their notes now wafted on the breeze, trip - ping ev-'ry-where, Shouts of glad-ness ring out on the air. thus a crop 't will yield, Reap-ing what has grown in time's great field. jgg i i r ZJ trees, Sweet where, Shouts yield, Reap ev crop the 'ry to their of - ine notes glad thus up ness in on the breeze, on the air. time's great field. §as e x- % Copyright, 1897, by The A. S. Showalter Co. 107 Slower. Somber timbre. m P=tr- ^ v=9=W -?- -P- £=* v : Come now and ban - ish care, sor - row leave be-hind, Love and its Soon days of grief may come, sun-shine may de -part, Bright rays of Time's fleet-ing scythe will soon reap the fields of grain, What - e'er the St r=* i -^ Care and Grief may Time's fleet sor come, scvthe §aa m row leave sun - shine will reap be de the —0— hind. shall Love part, Hope may grain, What the " 1- — ' — ♦ — ii f* \> t j i *=P 4> D P 9 joy shall reign, hope may fade, liar-vest be, grief no heart shall find; Let not sor-row's wing sor - row rend some heart; Dark waves of troub - le may it lose or gain; Soon will the a - ged form &F £=£ *& jSL shad roll reign, fade, har grief none sor -row rend vest, loss £ shall some or find; Let heart; Dark gain; Soon -P — no waves the _A- ow o'er ged §Sfe 5^ * r#. ^ rfz';//. /?. c A . ^fifti tF^T £=£ ^^= 9 tt shadow bright young hearts, Tear-drops will dim the cheek, as the smile de-parts, roll o'er life's bright sea, Toss - ing the lit - tie barque as it nears the lea. cease this earth to roam, Soon will the gold -en sheaves all be gath-ered home. W $=FZ ■ i— s 3± r blight j'oung life's bright cease to hearts, Tear - drops come sea, Toss the barque roam, Gold - en sheaves i% 4 j rz n 1 f ■ as the smile as it nears are gath de - parts, the lea. ered home. -r — i — m J=L .£ ■A- I 108 E. T. H. £* With feeling. My Far- Away Home. (Effective as a Solo or Duet.) E. T. Hildebrand. m JU^k M i *?=* :^ ^— IE >^= t^ 32$ ^ -^- £=fc -f- r £ T^T -2ST- long to be - hold, Are trod by the bright an - gel throng, ceived the re - ward Which is prom-ised to all who seek rest. Je - sus the Son, Pass in - to that ha - ven of love. S^ glTT **=* -*— m -fr-fr -o-*- Refrain. s t^ i • i g v §S S| Beau - ti - ful home, land of the blest, Whose glo-ries for - ev - er are bright; -A.. X JL -A-. -A- -^- -A- ^. /Ts : 1 1 [ i f g - rl 1 1 r^ 1 ri O » — rP~ H4— 4 14 b£s 4 4— A It 4- ¥ v= f= ^^^ s iSESEEBg 1 ( 4H^ y rz'/ 1 . £r Pi -*—'<- My soul goes up to the great white throne, Where Je-sus is ev - er -A- -A- =A- . -A- ■ --A- ' -A- -A> _ft ' i- ^SS3 4- 4- '-4- " er the light. g^ m ■1 4 . A -t£r ^FPP Used by permission. Olden Memories. 109 Aldine S. Kieffer. e £=fc A. S. Kieffer. ;*-. -j- -^*- » =£ 3= =*=« v -*- ^T~ J" sit and watch the gold - en stars Be - gem the az - tire blue, And hear the song you used to sing In sum-mer twi -light hours, When hear a - gain the whispered vows Of con-stan-cy and love, That more! no more on Time's wild shore Shall we to - geth - er stray, Thro' I ->-*- T~S — t =a= £=£ \> b wm 6= s *. -W- -w- ■5 r watch-ing, dream a dream of love, Of heav'n, and home, and you; But Ivove's sweet chain first bound our hearts In hap - py per - fumed bow' rs; It then were breathed while gold-en stars Beamed on us from a - bove. But sum-mer bow'rs in twi-light hours, When day has passed a - way. 'Twas I I s±=s=r -A- m m l> b |||fc£^ J=d ^r-^- "9^ dark - er grows the night comes to me borne o'er dens - er grows the night but a dream, 'tis still tfT -1 t 3= ^j a-round, While plain-tive zeph-yrs sigh, the sea Of moan - ing, surf - beat years; a-round, More sad the night-wind sighs, a dream, I gaze on heav'n's deep blue: I And Its As A ^^ #=£ F^ ^^ ^ h: I P}- 3± S ^ P up van-ished scenes Of hap - py days gone dence thrills my heart, And fills mine eyes with once hap - py days Fade out be - fore mine -d'rer far a - way From home, and heav'n, and 4 mem - 'ry calls sil - v'ry ca - vi - sions of lone - 1}' wan by. tears, eyes, you. i SSI S : s s A- m* *# £=£ v r Used by permission. 110 There! Little Girl; Don't Cry! James Whitcomb Riley. J. D. B. Andante amabile. n f) i C\ (S ^ h N |— ^ V (\ — ^ B B /v " J {■■ *■ l ii * ▲ A A ▲ v ' im k ■ R S 1 \y " i k. k. 1 b b 1 P I -- I D P l> b 1. There! lit - tie girl; don't cry! They have bro - ken your doll, i 2. There! lit - tie girl; don't cry! They have bro - ken your slate, i 3. There' lit - tie girl; don't cry! They have bro - ken vour heart, i 1 h fc 1 h 1^— 1L J ^ I * * f> r> h 1 s> ^' frf— —f f p~ ♦ ^^ * * » \ h h "" — k. -h _-/ -ft- 1 b b — 9= -NH b— ri- !• k 1 P 1 -J -V— fc 5: ?= 1 fc£ « =? #-r * tr~t b b know; . . And your know; . . And the know; . . And the L- ^ I K K -*. -*- R R t tea glad, P set wild bow blue, ways gleams b b i— ^ ^ i And your play - house, too, Are Of your school - girl days Are Of vour youth - ful dreams Are ¥=W b b -j- -7- ^E?=#^£ * &£ ft=fc P P things of the long things of the long 1 things of the long go go go P ^- P \>-^v P But child - ish troub - les will But life and love will But heav'n holds all for I \> £ -J- -J- -J- pt ' ) • ) ' ) $■ ■Xr ± m -&-, fefe +— ^E=fc — ♦ * *-i- [ p I I soon pass by, — There! soon come by, — There! which you sigh. — There! fc! k) lit - tie girl; don't cry! . lit - tie girl; don't cry! . lit - tie girl; don't cry! . '^—f E 1 J? £ Jl But But But ^M Copyright. 1912. by John D. Bmnk. Ill I d: £ -4 £ ~K * E ft Hi^£ *=# ^ I*- 1 - * P P P — Tf* — ■* ♦ -P H Kj a 1 K- p PM> p ! pip -^ ^ P - ish troub-les will soon pass by. — There! lit - tie girl; don't cry! . and love will soon come by. — There! lit - tie girl; don't cry! . n holds all for which you sigh. — There! lit - tie girl; don't cry! . child life heav 1 JUL iij i jr J> 6 6 *±=^= h i §t -D^ tr - tr p-T^r Ingratitude. Shakespeare. J. D. B. * ^ D — rr 4: -^ Blow, Freeze, blow, thou win freeze, thou bit W p P P P ter wind, Thou art ter sky, Thou dost not not so . bite un- so -*=# ± Jl JUL m 9 9 s H Jl J J ^=fc tf= • «-* » a- Ft — r-r tr r b b .&"■ 8 IP 3 kind As man's in - grat - i - tude; nigh As ben - e - fits for - got; Thy tooth is not so keen Be- Tho' thou the wa - ters warp, Thy 1 I ' J J>. ft la r p — E B g I i Eg g — ^-P 1 n h to IS V J ri n s r i is I A. •■ •n Al J «i ,i 1 ) I im ■ • « ' • ■ tt* • ■ 1 ■» ! 4* J 1 V. J i - n K • * TT* • 1 J p cause sting P thou art is not not seen, so sharp J> J. 5 r Al - though As friend ^ i p 1 "5 1 thy breath be rude, re - mem - bered not. hi b ! Cy *. , .. ~ M ^ « ■J* — R^ — n — f^- — \ — , F — F -=| — F ^ =| — F — - - *- 1 1 y v h n p 1 ' p • f ^ p ' 1 112 Slumber Song. J. H. Hall. H 4: n IT ii i 1. Slum-ber soft, lit - tie one, While the qui - et shad-ows creep; 2. Slum-ber soft, lit - tie one, While the stars are peep - ing out; h"\ I i i/— I -fv- -p- -p- &s>- Si* a ----*:- %*f » -> S -' &— ? :-: =2=* ^S rr tf rr Slum-ber, dear, do not fear; Iyove is watch -ing o'er thy sleep. Heav'n's bright gleams cheer thy dreams; An - gels guard thee round a - bout. ■«-#■ I 9' m i # 3s: ! Used by permission of author. When I in Pain and Sorrow Moan. Melody by B. Waldis. (1550.) Harm by Praetorius. (1571 -162 1.) mf Andante. ^A m 3± 5 r^ 2-= P- ffg 3 J — g £ <> -^.-^ni ^ = F P a ^— Lg fS2- f-f r When I in pain and sor -row moan, And feel for-sak-en and a - lone, j A^A:ArAA . | I d aI J = ^m d: / £ A 5 3± -"- g (g Lgl fe -"- ^2 ZC 7 i ^^ i • ,i- r i ' ' i ■ i . p 'Tis then I lift my eyes on high To God, for help on Him re - ly; J j J J J J A -to- T 1 fhtr Td- •^ ^ 113 ™/l -I J I "g* ^ g Q ' ' j o - r=r=^ m=^ And wait in pa-tient prayer be-low, Un - til His gra-cious love He show. \ir±L aI-a^ -^ aI I I ! I -H < 5 > - d -N-o- H Now May the Will of God Be Done! J. S. Bach. I: M=fi4^E^ npl * — -ith -J 1 Eighth-rest i Sixteenth-note fi Sixteenth-rest =i Thirty-second-note J Thirty-second-rest 3 Sixty-fourth-note 1 Sixty-fourth-rest (115) 116 EDUCATIONAL VOCAL STUDIES. The following notes are also used in music, but less frequently than those in the preceding table: Double-whole-note, thus \&\ or \\a>\\ or even Jzq . Also very short ones; One-hundred-twenty-eighth-note / ' — £7 "i" a - ^ ^ tfj 1 __ d' - J -1- I _ « - 1 1 1 4 J.= J + J>= J> J> J> A= J>4 ^= /J^ 9 ' — + ju t) t) t» / . s «R With only the above notes not much rhythmic variety could be obtained. A dot to the right of a note adds half the note's value, therefore dotted notes are very practical. TABLE OF DOTTED NOTES AND THEIR VALUES. Dotted- Whole-note Dotted-Half-note Dotted-Quarter-note Dotted-Eighth-note Dotted-Sixteenth-not The above is sufficient to establish the formula that a Dotted note is equal to three notes of the next lower denomination. Any note dotted is affected as above. Extremely short notes are not practically dotted. Notes may have a second dot placed for finer distinctions of lengths, thus: Double Dotted-Whole-note „ = ' \ J j. J - J J J J J J J (]) £?•• & ^ o i 4 4 4 KiJ Double Dotted-Quarter-note J. . = j ., J> 4 j* = AW^AW* (i 7 6 ) This table should be written out in full by the pupil and the formula derived. Even a third dot may be added in like manner. Each added dot adds half the value of the dot just before it, thus: Triple Dotted-Half-note a ei 4 I ' d n 4 4 4 n 4 n n V«V« n #V ^ib; The pupil should fill out this table and state formula. Note. — A rest is affected by the dot to its right just the same as the notes are, and may have two or three dots if necessary. The different parts of notes have names. The main body of the note is called the Head. The line extending from the head is a Stem. The little dash floating to the right of the stem is a Flag or Hook. The head of a note may be open or closed. An eighth-note ( \)\ has a closed head, a stem and one hook. A half -note \& ) has an open head and a stem. The stem of a note may extend either up or down. When it is up it must be on the right, and when down, on the left, thus: i * fe j e ^c. Notice the hook is to the right in each case. RUDIMENTARY STATEMENTS. 117 Sometimes two or more stems are connected by a Beam, thus: p • p - CJ p p p - I [ i ^ v • JR J? - j ; , J The beam acts as a hook and at the same time as a slur. Section Two. TIME. Time in music should be considered as relating to the length of tones. To sing "in time" then, would mean that we are singing each tone exactly long enough; that a quarter-note will be twice as long as an eighth-note, or eighth-rest, and only half as long as a half-note or half-rest, etc. Just as the yard is a unit at the dry-goods counter, and the pound in the meat-market, so the Beat is a small division of time taken as the unit in the rhythmic element of music. Notes are said to represent tones so many beats long, or a certain part of a beat long. The beats may flow slowly or rapidly, yet the above definition and statements are correct. This subject will be further explained under measure and tempo. Section Three. MEASURE. Some beats (or pulses as they are frequently called) are accented and some are unaccented. When accented beats occur at regular intervals of time, Measure is produced. A concise definition is: "Measure is the grouping of accented and unaccented beats." By grouping beats a larger unit is produced. These measure units differ because beats easily group themselves in "twos" or in "threes". In the different varieties of measure will be found one, two, three or four of these simple groups of "twos" or "threes." When the measure consists of one group of "twos" — that is, one strong beat and one weak beat — Double Measure is produced. Lines are drawn vertically between the last note of one measure and the first one of the next to show where the accents should be placed. These lines are called Bars. They are placed just before the strongest beat of the measure. The spaces between the bars represent measure, but the real thing we can only hear or feel in the mind. When a single group of "threes" is taken as a measure unit we have Triple Measure. When two groups of "twos" are combined in one measure we obtain Quadruple Measure. The first beat has a primary accent and the third beat a secondary accent. Compotind Measure is formed when a group of "threes" is placed to each beat of simple measure. Compound Double Measure has two groups of "threes", making six beats in the measure, with a secondary accent upon the fourth beat. 118 EDUCATIONAL VOCAL STUDIES. Compound Triple Measure has three groups of "threes", making nine beats, with accents upon the first, fourth, and seventh beats. The groups become weaker as we advance until the bar is reached. Compound Qziadruple Measure is the result of bringing into one large group four "threes", producing twelve- beats in the measure. These small groups stand in the same relation to each other as do the beats in the simple quadruple measure. Accents occur upou the first, fourth, seventh, and tenth beats. For the convenience of the singer, and that the composer may be definitely understood, figures are placed at the beginning of a composition to state which variety of measure is meant. The upper figure tells how many beats there are in each measure. Double measure will have the figure 2 written on the fourth line of the staff; triple measure the figure 3, and quadruple the figure 4. The compound measures have for their signatures, respectively 6, 9, and 12. It has been the practice of composers to write sometimes a half-note to each beat and sometimes a quarter-note, and frequently other notes. It is helpful to have a figure to tell which is intended. We use the lower figure of the Measure Signature for that purpose. When the lower figure is 4, that means that each quarter-note in that song is one beat long, and all other notes in the same proportion. The lower figure being 2, means that each half -note has one beat, etc. The lower figure being 8, an eighth-note is the "beat-note." The following table will condense the above facts, showing the signatures and the location of the accents* Simple Measure ( Double -(Triple (2) (3) Quadruple (4) Compound Double (6) Compound ^Compound Triple (9) Compound Quadruple (12) Note. — The Choral would belong in the above group of measures, are equal in stress. Then there are the 4 | — — ~ | — — or | — - and the | | — — | — or | — | — — All tones The motions of the hand used to assist in keeping the measure, time and tempo, are: For Double — down and up; for Triple — down, right, and up; for Quadruple — down, left, right, and up. This procedure is called marking time. Compound measures usually the same. RUDIMENTARY STATEMENTS. 119 Section Four. TEMPO. Tempo is the Italian word for Time. In connection with music we use it to mean the rate of speed at which the beats flow. More clearly stated, the tempo of a musical composition is determined by how rapidly accents follow each other. When they follow in close succession the tempo is rapid or quick, and when they are far apart the tempo is slow. The tempo is indicated by placing terms or Metronome marks at the beginning of the first score. The sign M. M. stands for Maelzel Metronome. This is the name of an instrument made with an inverted pendulum which can be altered to different lengths, and can therefore be set to run at any rate from very slow to very fast. M. M. J - 1 20 would then mean that the Metronome shall tick 120 times each minute, and that a J should receive one beat or half a second of time. The above is a very definite marking and is growing into much favor at this time. Then there are certain Italian words which suggest tempo by their meaning. The following tempos form a safe scale from which to work: Adagio — very slow, Andante — slow, Moderate) — medium tempo, Allegro — fast, Presto — very fast. Beside the five named above the following terms are common tempo marks: (See Dictionary — back of this book for the definitions) Grave, Largo, Andantino, Allegretto, Maestoso, Vivace, Spiritoso, Con Spirito, Con brio, Prestissimo. The word Ritardando, abbreviated rit., means that we should have the beats to flow gradually slower and slower. That means that the tempo is gradually made slower, but does ?wt have the idea of diminuendo in it. Accelerando means to gradually quicken the tempo, to sing faster and faster but ?iot louder and louder. Stringendo has the same meaning as accel- erando. Section Five, There are several signs which do not so distinctly belong under any of the three general heads of the rudiments of music but we shall include them in this section under Rhythmics. SYNCOPATION. In our modern music there is much desire for contrast and variety, and this is particularly true in regard to the rhythmical effects. Syncopation is one of the striking means by which we produce such variations. The effect itself is that of hearing a tone begun upon an unaccented beat or part of a beat and continued into the accent. The following are a few simple examples of the notation of syncopation. Syncopated notes are marked * a teJaJte B^ ± s -r— ± 120 EDUCATIONAL VOCAL STUDIES. BARS. In section three the regular measure bar I J was mentioned. There is also a heavy bar called the Broad Bar (I). These two kinds are used in various ways. The light bars represent the measures. Two light bars or one broad bar show the divisions in musical compositions. The Close of a song or exercise is indicated by a double broad bar [ II] or by a light bar and one heavy bar I III. The following bar and dots mark the beginning of a passage to be repeated: I* or I J or I \\. The close of a passage to be repeated is marked ;l or ;| . I| S • I I • • J 6 • . ! . •! or ; II. "When this bar :|j: or \\\ is found between two passages both are to be repeated. Then there is a sign like this j Bis | meaning to repeat the part under the bracket. Bis means "twice". Two other forms of abbreviating are very common. D. C. stand for Da Capo, which means return to the beginning and end at "Fine." D. S. stands for Dal Segno, meaning to return to the sign :S: (sometimes §£) and end at "Fine". THE HOLD AND THE PAUSE. The meaning of this character n\ is best expressed by the word "prolong" but we call it hold or pause according to its use. When it occurs over a note it is a Hold and means to prolong the tone to a greater length than the note represents. When it is over a rest, or a bar, or the space between two notes, it is a Pause. Placed over a double bar it denotes a full close. THE SLUR AND THE TIE. The curved line plays a convenient part in musical notation. It is a Slur when it connects two or more notes which represent different pitches. It is a Tie when it connects two notes which represent the same pitch. Slur. Tie. Slur. Tie. Ties. -fiT ->. -=*- A - - - men. Note. — In vocal music the slur shows how many notes are to be sung to one word or syllable of a word. In instrumental music it is a phrase mark. In the use of a tie we sing only the first note, giving it the time value of all the notes connected. II. MELODICS. Section Six. PITCH. The Pitch of a tone is determined by the rate of the vibrations producing it When the vibrations are slow the tones have depth or gravity — in a common term we say they are "low." When the vibrations are rapid the RUDIMENTARY STATEMENTS. 121 tones are acute or shrill, the common term being "high". There are very many pitches that may be appreciated by the human ear but we use com- paratively few of them in the musical scale. Those we use are named by the first seven letters of the English Alphabet — a b c d e f g. Since there are many more than seven in use, these letters are repeated in groups higher and lower as the case may require. Pitches are represented to the eye by means of the staff and clefs. The Staff consists of five lines and six spaces, making eleven degrees. These lines and spaces together with clefs, added space above. 5^ space below. lines, sharps and flats, and a few other signs represent all the pitches used in music. The following- Clefs are in common use: The G-Clef on the staff and the names of the pitches represented. & The F-Clef on the staff and the names of the pitches represented. The C-Clef on the staff and the names of the pitches represented. m Added lines are short lines below or above the staff. Not more than five •of these lines may be used on one side of the staff. Below are the names of the added lines and spaces which are most commonly used: b -C -ii. -1>- I m 9 : ~ C ~ — II ( f - e :*) • *- *+■= = = e -d- -rr S(-i- - = - — i *> -a- *- — Section Seven THE SCALE. It is probably fair to state that the major scale is the basis for our entire musical system. The word scale means a ladder or a series of steps. We should keep the "series" idea in the term. We think of a series of tones progressing upward or downward step by step. On the staff then the scale would employ the degrees (lines and spaces) in succession as they appear either ascending or descending from a given starting-point. The steps of the 122 EDUCATIONAL VOCAL STUDIES. scale are not all alike. Two are smaller than the others. The larger.ones are sometimes called "steps" and the smaller ones "half-steps". We shall call the longer ones Major Seconds and the smaller ones Minor Seconds. The names of the tones of the scale are: i, 2, 3, 4, 5, 6, 7, and 1. Minor seconds occur between 3 and 4 and between 7 and 1, while all the others are Major seconds. Let -f mean major second and — minor second, then the formula upon which the major scale is built would appear thus: ++ — + + -!- — . On the staff with the G-Clef this scale is as follows: major scale. ^ e? — *? ^ — o _^_ 123456717654321 + + - + + f — - + + + — + f It will then be seen that the degrees of the staff e and f, and b and c represent minor seconds, or half-steps, while the others represent major seconds or steps. Syllable Names are usually applied to the tones of the scale in learning to sing. They are: 1 is Do (doh), 2 is Re (ra}'), 3 is Mi (me), 4 is Fa (fah), 5 is So (soh), 6 is La (lah), 7 is Ti (te), and 1 is Do (doh). Note. — Care should be taken that these syllables are well pronounced and not used too much, as poor vocal habits ofttimes result. For cultivating beautiful tone production it is better to call all the tones by the same name. Loo is fine, Lo is safe, La is all right. Section Eight. INTERMEDIATE OR CHROMATIC TONES. There are tones lying between the regular tones of the scale as represented above which are called hitermediate or Chromatic tones. NOTE. — Long ago these intermediate tones were represented by printing certain letters in colors, hence from the term "chromo" came the word Chromatic. The}' are very useful in our tonal system for giving color and variety. Only the tone in the middle of the Major second is used as such a tone. The following characters, which are used in connection with the staff, assist in the representation of the intermediate tones. The Sharp (j£) is a character used to make that degree of the staff upon which it is placed represent a tone an augmented prime (half-step) higher. NOTE. — This kind of a half-step should be called "chromatic half-step'' to distinguish it from the regular half-step. In fact such half-steps show the weakness, of the step and half-step system of naming intervals. RUDIMENTARY STATEMENTS. 123 Take i and 2 of the major scale for example. The interval between them 1 I . Now to name is a major second. Let us imagine it to seem quite large Li- the intermediate tone in this major second and represent it by a sharp, we call it sharp one or di (do sharp) tyi-\ . It sounds in relation to 2 as 7 does to 1. I_l_l In like manner we can find a tone within each major second of the tonal system. Those in one octave (from 1 to and including the next 1 above) are as follows: MAJOR SCALE — INTERMEDIATE TONES. v Vf fn\ VJJ n 1 + 2 + 3 4 ■ 5 M 6 _,_ 7 1 J /v v\\ U-' fe^ \ I Li' S^- M— El di r #2 ri Tf fi si «6 li Note — To represent an intermediate tone by a sharp, set the sharp before the lower note of the two forming the major second within which it is to sound. The Flat (i?) is a character used to make that degree of the staff upon w r hich it is placed represent a tone an augmented prime (half-step) lower. All that was said of the sharp applies to the flat, only it acts in the opposite directon — therefore p2-\ . LiJ MAJOR SCALE — INTERMEDIATE TONES. =£~ — n A. w LJ x; c n 1 7 — + 6 + 5 4 3 — + 2 1 _AL TT b— k« l(x\ \)^ b^- x^y b^ — b^ 77 t>6 le ft >3 >2 Note. — To represent an intermediate tone by a flat, set the flat before the upper note of the two forming the major second within which it is to sound. It is then certainly clear that all intermediate tones are practically formed by either sharping the lower note or flatting the upper one. Sometimes we need to present an intermediate tone that lies between two tones, one or both of which have already been sharped or flatted. The above rule still holds good — sharp the lower one or flat the upper one. Suppose we need to sharp a degree that has a sharp upon it? Just sharp it again. Then we have a Double Sharp or we have doubly sharped that degree. To do that, use two sharps, thus M. The old way was, and the common practice now is, however, 124 EDUCATIONAL VOCAL STUDIES. to use a special character called Double Sharp and made in various ways, thus: x or x or % . To flat a flatted degree use two flats, thus frb. There is only this one sign for the Double Flat. This with other important facts leads the author to conclude that the double sharp should be used like the double flat. A more difficult question is; How shall we sharp a flatted degree or flat a sharped one? If the following statement is clear then the whole matter will be easy. If a sharp sharps a degree, then removing the sharp will flat that sharped degree. That is true. Then it must also hold that to remove a flat from a degree will sharp that flatted degree. We have a character thus fa which has several names — Natural, Cancel — both are significant. What difference there may be among theorists as to the name, they all agree in their use of it. It is used to cancel the effect of any sharp or flat which appeared in the signature earlier in that same score on that particular staff and degree. To sharp a flatted degree use a cancel, and to fiat a sharped degree also ?tse a cancel. I :b: EE • N *-H > m 3£=:E 54345 #4 543 so fa mi fa so fi so fa mi 5 1 J?7 6 so do te la It has been the custom to use the cancel to erase the effect of a double sharp or a double flat, in which cases it becomes necessary to follow the cancel with a sharp or a flat as the case would require. For example, suppose we wish to write c x and c tt in the same measure for the same voice. The present practice would make it thus: p^jy— * Note. — We would much prefer to write the single sharp without the cancel to make it read cjj thus: £ w rr In all practice we think this would be cittt cit entirely clear. It must never be understood that placing a sharp upon a sharped degree makes a double sharp. The second note is not cfj, but only c£, therefore any degree with a sharp on it may be read only as singly sharped, and hence we claim that a single sharp after a double sharp is sufficient to represent the correct pitch. To erase a double flat we would like to place a single flat, however usage is still against that. m ~p~ i c5 ctf The cancel works with the double flat just as explained above for the double sharp. m We shall see the use of sharps and flats in subsequent sections. hV? b V RUDIMENTARY STATEMENTS. 125 ACCIDENTALS. All sharps, flats, cancels, double sharps and double flats occurring within a composition or exercise, not in the key-signature, are called accidentals. A sharp or a flat in the key-signature affects all the letters of the same name, in the octaves above or below, represented by the staff upon which it occurs. An accidental affects only the degree upon which it is located. It continues in force throughout the measure in which it occurs unless canceled by another accidental. If the composer wishes it continued into the next measure he shall have to write it again after the bar. ACCIDENTALS ILLUSTRATED. 1 7^7 67 6j?6 5 6 5 1 j?6 H 5 3 Jf5 7 #5 6 or 5 7 2 7 1 According to the above rules there are many useless accidentals in musical compositions. Composers and editors have learned the wisdom of using an accidental to make any questionable place understood. The musical mind hears all the parts of a song. Now suppose the altos sing it 4 (fi) and the composer in the next measure wants 4 (fa) in the soprano. The singers will be feeling the #4 ( (fi) which the altos have just sung, therefore he places a cancel (fa) before the 4 (fa) to make it certain that 4 (fa) is meant. Cases of greater extreme frequently occur but are based upon this same principle. Section Nine. MAJOR KEYS AND SCALES. When one first begins the study of tones and their relations he is much like a stranger in a large community. After a while he discovers that people are grouped into families and kinships. Characteristics and names aid him in seeing their proper relations. He adjusts and adapts himself to the conditions and is no longer a stranger. In some such way let us think of all the tones which we may be able to comprehend. Just now it may be you are in a strange tonal community. You are not acquainted with the tones. There are certain ones which relate themselves to one another very closely. They bear a certain fixed relationship to each other which is exactly the same as the tones in the scale bear to each other. In the scale they must progress as a series but in this family of tones called a A'ey they may occur in any order. The tones cluster about one central tone as do the members -of a family about the head of authority — the father. That tone is the Keytone the 1 of the scale. To avoid monotony and to make it possible to use a great variety of melodies in the range of the voice and the beautiful tones we use 126 EDUCATIONAL VOCAL STUDIES. different pitches as the keytone. Tones are then used which will relate them- selves to the new keytone the same as those in the old key. If the keytone or i is on C, then it is said to be the key of C. When the keytone or i is changed to G the key would then be G, but the minor seconds must occur between 3 and 4, and 7 and 1, and the other seconds will be major. The following will then define a key. A key is a family of tones bearing a certain fixed relations/iip to each other. The key and the scale are always named from the letter upon which the keytone is formed. There may therefore be as many keys as there are pitches in our tone system. We must not for a moment think that all the tones may belong directly to any one key. Each key will have certain tones which enter to constitute it. (There are also tones which lie in close relationship but do not help constitute the key.) Since the relation between the tones of a key is the same as that between the tones of the scale, it will be sufficient if we find the tones of all the scales. 1 — 7- It will be apparent that manj T tones will belong to more than one key. It must again be true that the tones of one key cannot be exactly those of another. They must differ b} T at least one, or the key will remain the same. The minor seconds must remain between 3 and 4, and 7 and 1. There is only one position (C as keytone) on the staff where that will be true without the use of sharps or flats. Let us reason our way through one key which begins at another point than C. Let us take the G as a keytone. We will call G 1. We must put a round in the ladder a major second higher for 2. It will be the letter A. It must be a major second from 2 to 3 and we find that B lies that distance above A, therefore B is the proper pitch to use for 3. Now 4 lies only a minor second above 3, and from B to C is a minor second. We may take C as 4. It is again a major second from 4 to 5 and D is seen to be the proper pitch. A major second above D will give us E for our 6. From 6 to 7 must be a major second, but E and F are onl}* a minor second apart. It is now clear that F cannot belong to this key because it is too low. G is too high. The tone between them must be found. It must be Fa and not Gi> because Fiji will make a major second while Gv will not produce a second at all but a third. Ftt be- comes 7 of the key of G. Our 1 now lies a minor second above 7, and as G would produce that interval it becomes the upper 1 just as it was the 1 upon which we began. We now see all the tones in the key of G are the tones of the key of C excepting one. That one distinguishes these two keys. All the sharps or flats required to represent the proper tones of the key desired are placed at the beginning of the staff. 4 — f- -3 e- 1 - -7- -6 -4 — -3 — RUDIMENTARY STATEMENTS. 127 These are then called the Key Signature. They hold their effect across the page (a score) unless that effect is erased by a cancel used as an accidental, or by a change in the key signature. The letters naming the pitches which con- stitute the key of C are simply the names of the tones in the scale of C, which are: c d e f g a b. The names of the tones in the key of G are: gabcdefit. This scale on the staff with G-Clef and signature would appear thus: SCALE OF G. ■ - === ^ ^ === gabcdefjgfie 1234567176 _|_ -p ^ — - r _j- -p — . _j_ do re mi fa so la ti do ti la d 5 c 4 b 3 a g 2 1 SO fa mi re do The Key of C has no sharps but the key of G has one. If the 5 of the key of G be taken as 1, the key will be D and the signature will have two sharps — one more than G. Each time 5 becomes 1, one sharp is added to the signature. This may be carried on up to a signature of seven sharps. The following table shows the names of the pitches forming the keys with sharps as their signatures: -4 f- -3 e- 2 d -7 b- -6 a- 5 g S i f- 3 e- 2 <1- f 1- -e 7- -4, Key Pitch Names F — f g a bt> c d e Bt?— bt? c d el? f g a El?- et? f g at? bt? c d At>- at? bt» c dt? et? f S Dt>- dt? ei? f gt? at? bt? c 128 EDUCATIONAL VOCAL STUDIES. just 4. It requires a flat to make 4 sound right. From Bi? to C is farther than from B to C, therefore it is a major second from Bt? to C, making the required major second from 4 to 5. C being 5, D, E and F will be 6, 7, and 1. The above shows that taking the 4 of a scale as 1 of a new one will give a key or a scale with one more flat in the signature. Another cycle of keys is therefore possible as follows: Signature one flat— Bt? two flats— Bt? El? three flats— Bt? El? At? four flats— Bt? El? At? Dt? five flats— Bt? El? At? Dt? Gt? Gt?— gt? at? bt> ct> dt? et? f six flats— Bt? El? At? Di? Gt? Ct? Ct?— ct? dt? el? ft? gt? at? bt? seven flats— Bt> El? Al? Dt? Gt? Ct? Ft? Some interesting facts are mow appare?it. 1. That fifteen major keys are possible by name, and twelve really different ones. 2. That the letter to be first sharped in writing signatures is the last one to be flatted, and the first one flatted is the last one to be sharped. 3. That all the keys might be represented by either sharps or flats instead of using both. 4. That each of the above cycles of keys brings us back to the starting letter, only that it is sharped or flatted. 5. That to take 4 of a key with sharps in the signature as 1 will get a sig- nature with one less sharp, and to take 5 of a key with flats in the signa- ture as 1 brings a signature with one less flat. Or to repeat, to take 4 as 1 the signature will be one more flat or one less sharp, and to take 5 as 1 the signature will have one more sharp or one less flat. Section Ten. MINOR KEYS AND SCALES. In olden times a great number of modes or ways of arranging the intervals of the scale were in use. At the present time with the different nations there are still various wa}'S, but we recognize two in particular and use them almost exclusively. They are the Major Mode, treated in section nine, and the Minor Mode, the subject of this section. The minor mode is not, however, cultivated among the masses to any marked degree. We can easily learn to love the minor music, and that with considerable profit. In fact this mode expresses sympathy and tenderness unspeakable, and yet it may thunder forth majesty RUDIMENTARY STATEMENTS. 129 do pi C— -c 1— - ti -7 b- -b 7- la -6— a- — ab — 6- fa -4 f- -f 4- mi -3 e- — *■? — 3- re -2 . F and G are in common as 4 and 5 in both scales. At? is required for 6 in the B and C are again common in minor, while A is correct for 6 in the major both as 7 and 1. Note. — From A V to B, 6 to 7 in the minor, is the augmented (enlarged) second. Briefly stated the minor scale is the major scale with its 3 and 6 flatted. This form is known as the Harmonic Minor Scale since in Harmony we extract our chords mainly from this form. The augmented second between 6 and 7 is an unmusical interval and difficult to sing. For the above reasons we use a different form of the scale when we wish to pass from 6 to 7 or from 7 to 6. That is called the Melodic Minor Scale, or form, because it simplifies and beautifies. It does away with the augmented second. Following are both forms of the minor scale. MINOR SCALE, HARMONIC FORM. =fc dm o -g-fr ; 12 3 4 5 6 7 1 + - + + -' -t 7 6 5 4 3 2 1 la ti do re mi fa si la si fa mi re do ti la MINOR SCALE, MELODIC FORM. i -<& — gg \> T 6 5 4 3 2 1 fa mi re do ti la — — t>'s 3i?'s Et? 4 P's J f 5>'s{ Di7 bt? b's{ ob 7^*1 oi? ai Nojhn re and i- -< No fr's.j I a TABLE OF SCALES. The following is a complete list of all the major and minor scales as lepresented in regular musical notation: 1. MAJOR SCALES. c. -#- A — <$>— -- -& — <^— <£j> ^ — &— — &— ^ — — — C7 t£s- tSt- C\' *? 1^ 9 s — T~ O <> A G. H*fi A A. —<&— i£* - "3 —&— —&— ^] - VT\ XA) — %J c\.£ /\ A • l.Jt a tn ^ Tl r^ ' & 1 ' ^ *" C7 /v RUDIMENTARY STATEMENTS. 131 D. ° g - » A. 1st :^z Ptf 7? -£= «- f* » B. V ?T.tf"it / "5 f J frn tt if m ^' " — » V — v.; TT ,-, o n !— £s — J -a- -^- ~ 4^'** Sn r~< ~ □ ^, )•"&■" o c^ ^ t^ ,V Q, -^ ' 5 > JJ. * O ° ° C7 1 ^4^ ' ' .a fc "Z? 3- "^ Z? ■ — ^±-#- grants: "7ST _— I o ES 3W 132 EDUCATIONAL VOCAL STUDIES. F. V 1 =3 ^ & a. v / h -n ^ & ^i rn 17 — o " o — V-U 3 ~ /\ Rl a- £ » 2^ . -T7 — a- — g — — ~ -^- -zr ife -o — ^ — i-^ — — ^ F> A A / |j k C^ i i X3 ^j " w c ^ —I S2. -^- t£s- JQ_ -B- iV rv h o * I., P A A -^ b h ^ P A>. t££ ±e — s: §a^ -g — g - g £/ faE o - dK V i P b /t b h l i i ^~ ith * b g <5 \j) u — , o -■??- A A. - C A - - □ 1—1 4 e, Harmonic Form. m fe n | =B= $^ pa -■?? — A. %*- — —%*- b, Harmonic Form. H -ff g — a — r a — flg 9* o ^- f J, Harmonic Form. ft! 1 1k- s ' F g =* ' Pjl B: ctt, Harmonic Form. ft ^a -^r-^g- p*fe -^ — a- -•^ — s: fc -#=- B* < y 134 EDUCATIONAL VOCAL STUDIES gQ, Harmonic Form. 5 C 7 m * ^ ^7 m r~i cd fc ^ ^> dtt, Harmonic Form. S5 ~yg> g -=a — yz? i^g X-^- -C 3 - - n - x- f an, Harmonic Form. ifat ias I3E: T-; X <2- Xg g^ Ma x^ 3E o ^ p# d, Harmonic Form. 1/ i /5 b -i n < = > — £,5> irh " — o ^ Tf ff Vll <-~ /\ /\ J/ □ c rs. »^- JZL -°- $9- r^ EJ £-V. ,s W 1 »)., _ V ^ •c -, I -^ b - 1 g, Harmonic Form. D In JJ.^ n rn J+^, [) iU ^ *» > TT vj r Z7 n Rf^> ^ gg> n -^^S^ „ I^fT : v7 — e> — — *■ — ff ff — <3— C7 ;- [1 _ ,_, £i * — ' V c, Harmonic Form. mfc g^ -G«2 ^ R>- c - RUDIMENTARY STATEMENTS. 135 f, Harmonic Form. hi 1 V i v b — i U' 53 1=1 b^ AH- ~ 7s ^ o ^ 1 i o ^ \j) n 3 — "S>— en r\* h i i- ■ • — - J"i ~ b h U<^ U a s b h — o lii, X| i o ^- n _^ A r A — V— □ b |?, Harmonic Form. n k i V i ™ b A b hi l _, — Li Ifh p b ^ ~-, rj£> fi^ V / ^ — i o- 1 u -^ " : — 5- — 9^— □ □—kj, z^ -■^ l - "EX R^H = o °~ _B». *^— *F— o o — - — S b hi a v ^T - — F Pb r" ej?, Harmonic Form. £ Se ^ j?" Ija. ^: ^: t|c sa fife ab, Harmonic Form. jfr -S- -glj? Sfe l fc> g pg=frg iH| III. minor scales (only a few in this form), a, Melodic Form. - HK-fr - * ^ -^ — <^- -^ ^- 3 — h Form. V i 17 /£. b h L h^ n n ffW P a H \) ^■K kJ J _ s _ V W V>• h o H ■ l-i P ^ A -/ k L □ i_j ^ 17 136 EDUCATIONAL VOCAL STUDIES. d, Melodic Form. rfz ■ — K — =~ /L b h^-, ^tt^^ □ gy f(\S — ° 1 v — \]) -v A " />, %J a ~ ^ cK #*" -O- J=L ^. IX □ C\' " ^ o *\ w ')-, r- v i - i o -^ b gft, Melodic Form. a n n -> V TriFif o fl^ "\l >L S ftli- ^ ° v TT c fh tf J n w ^7 YsL> tT a L ]ir S"\"T ill m * 1.. + LJ.TT+' t> S^ & vj ^ S Z riir - ^ ° tr C7 TT ^IT , — , " ffaW 2 : v- -o — t)^ 1 - -^ - ^ — — e— c A V \) V Zi. V v^ □ o _S £sr *» «: ^ ^ ■4^- o £--V. L, , ~ /\ ^ Zi k I., P U L □ c (—1 2_Hlb NOTE.— Use same plan to form all other minor scales in melodic form— sharp 6 and 7 ascending, and leave them as signature makes them descending. EI. DYNAMICS. Section Eleven. POWER. When a tone is loud we say it has much force, or that it is of a high degree of power; and when a tone is soft that it is of a low degree of power. The musician's term for loud is Forte which is an Italian word meaning loud. The Italian word Piano means soft. There are five terms which may be taken as a scale in judging the degrees of power. Between loud and soft is a medium force called Mezzo. Tones may be very loud or very soft. The Italian language (from which come nearly all musical terms) adds "issimo" to a word to make it express the superlative degree. A word to mean very loud could therefore easily be derived from forte. In adding this suffix the final vowel is usually dropped, therefore fort(e)issimo = Fortissimo, meaning very loud. In like manner we derive Pianissimo, from Piano, meaning very soft. English — Italian — • Abbreviations- Very soft. Pianissimo -PP MEMORY AID. Medium Power Loud Very loud Mezzo Forte Fortissimo m f ff Soft Piano P RUDIMENTARY STATEMENTS. 137 There is a power between medium and soft which, is frequently used. It is Mezzo Piano, abbreviated mp. The Mezzo Forte represents a force between medium and loud, abbreviated mf. Occasionally fp will be found but it can- not mean between loud and soft because then it would mean medium. It means that the note over, or under, which the sign may be found shall be loud and the next one soft. Forzando, abbreviated fz, will be found sometimes, and means to attack a tone solidly with pronounced accent, then quickly diminish the tone and sustain it softly. Very beautiful artistic effects are produced when we pass gradually from one force to another. When we increase the force gradually we make a crescendo, abbreviated cres., or represented by — = z. We make a diminuendo when we pass gradually from any power to a lesser one. The abbreviation is dim, and the sign is z_ - — . These effects are often mistaken, as beginners seem to think that to diminish they must begin forte or fortissimo, and to increase the power they must begin piano at least. The terms simply mean to pass into a greater or a lesser degree of force. One may begin at forte and increase to fortissimo, or at piano and diminish to pianissimo, or begin at any degree and increase or decrease. The effect obtained by increasing any tone and dimin- ishing it again is called a Swell. The sign is -^r: ==-. The cres. or dim. maj- consume much or little time. By these various means of expression a great variety of effects can be made. In fact music depends largely upon the contrast of the force and accent of the tones for its Expression. Section Twelve. OUAIJTY. Not much needs to be said here about tone quality. The study of tone production more properly belongs to advanced singing. There are not many marks and signs in regard to quality, that being left most largely to the judgment of each individual. It practically needs no notation as it belongs wholly to the expressional side of music. The words or the music or both must create some sentiment for the singer, which feeling or thought expresses itself through clear or somber tone-quality and the manner in which the tones are accented. Laughing and crying are physically very much alike, but the quality of tone decides whether we express gladness or sorrow. There are two general qualities of tone — Clear, and Somber. They may be so intermingled as to make very many effects. The words Grave, Pastoral, Jubiloso and the like are used as names of tempo but they more particularly suggest style and quality. (See Dictionary.) PART FOUR VOICE CULTURE. When one thinks of the possibilities of improvement along- the line of voice production the subject becomes very interesting. It is suprising to note how- little is known by people in general about a thing in such common use as the voice. Very little voice teaching has been done in this country, and that for only a short period of time. Among the folk of the rural districts and smaller towns we are not surprised that there are those who do not know of the valuable habits which may be acquired for the comfort of themselves and the pleasure and benefit of others. Singers and speakers alike are craving knowledge along these lines. The breath is the dynamo for the voice. It is not so essential that we gain much breath as it is that we have perfect control over what we do possess. It is however true that a very large percent of us are far below normal in our breath capacity. That fact is alarming not only from the vocal standpoint but also because a scanty breath supply means a weakened body. Tests made by the author show that more than fifty percent of the subjects he has recorded are able to exhale less than half the air that scientists claim to be normal. Allowing for a wide margin of individuals we should have a capacity of from 225 to 400 cubic inches of air. About seventy-five percent of the women make their first test read below 100 inches. Men usually exhale, on first test, from 100 to 200 inches. We believe the statement a fair one when we say that nearly all vocal defects may be traced directly or indirectly to either a small breath capacity or to a poor breath control, usually the latter. There are of course those strong men and women among us who break the above records. They stand as examples and verify our conviction that large breath capacity and good breath-habits bring vigor and vitality to our physical powers. (138) VOICE CULTURE. 139 Another accomplishment in tone production is the correct placing of the voice or the proper resonance or reinforcement of the tone. The breath being properly directed, the resonating factors will respond to each tone sung or spoken. These are the mouth, nasal cavity, and other cavities of forehead, nose and face, together with tissues and bones of the upper part of the body, and to a greater or lesser degree the entire body. The timbre of the tone depends upon which cavity or part of cavity is responding best for the reinforcement of the vibrations. If the resonance of the back mouth is dominating the tone it will be of a sad, somber quality. If the front mouth and the nasal cavity are the most active agents the tone will be sparkling and clear. The carrying properties of the voice depend much upon the placing. Every tone or word should sound as though it were reflected from the hard palate into the ear of the auditor. Tones from the hard palate alone, however, sound cold and hard — unmusical. There are three sets of muscles acting at the same time in singing and speaking and because of this, conditions arise which cause many blemishes in words and tones. The breathing muscles, the pitch-making muscles, and the vowel-forming muscles: — these — and each set consisting of numerous muscles — should work independently. The tendency is for each to be influenced by the other two. In singing, the linguistic elements usually suffer most, and therefore singers should put forth special effort to secure a pure, clear pro- nunciation while singing. Even to speak so that one is clearly understood is a worthy attainment. There is one other point we wish to raise in this connection. It is a matter of expression rather than one of technic; but all technic is but a means of expression, not an end in itself. We refer to the Sostenuto or Legato style of singing. That manner of using the voice and saying the words which beautifully connects the tones and words instead of breaking them apart as though the} 7 were quite brittle. Inexperienced singers seem to think a detached style necessary to clear diction, but that is a most erroneous notion — the very opposite is true. Connect the words, sustain the tones, and make the enun- ciation exact and you will be understood and your message appreciated. We wish to insist that the most important thing by far is that a singer or speaker must have a message which is vital and which he must tell. That will then bring spirit into the singing or speaking — one must have message and technic. The writer believes that some simple exercises will be appreciated. We give only a few and are aware that not the doing of many exercises will suffice, but that the perfect understanding and doing of comparatively few will fully develop the voice. Yet the limited space here allowed and the scope of this volume do not admit all that should be practiced. 140 EDUCATIONAL VOCAL STUDIES. Exercises, I. BREATHING. No. i. Secure Diaphragmatic breathing (make this type a life-habit — it is nature's way). No. 2. Practice the deep breath, the high breath, the front breath, the back breath, and the lateral breath. No. 3. (Deep, front, and back breath combined.) a. Inhale slowly and exhale slowly. b. Inhale slowly, hold, exhale slowly. c. Inhale slowly, hold, exhale quickly. d. Inhale quickly, hold, exhale slowly. e. Inhale quickly, hold, hiss (very small opening). f. Inhale quickly, hold, sing a or 6 or loo. No. 4. Breathe slowly and blow vigorously through a very small opening at the lips, being sure that the throat is loose and well open. No. 5. a. Take a medium breath, exhale one second and hold the breath the next second, and so on until the breath is all exhaled. b. Lengthen the interval. c. Shorten the exhalations and lengthen the holds. II. TONE PRODUCTION. Place the tones well in front and up in the mouth. No. 1. a. Sing three long tones on same pitch with your best vowel; 5, a, or a (one breath, but use it all). Repeat many times, changing to pitches higher and lower. b. Sing five tones as above with following vowel groups, changing pitches frequently and repeating many times, aiming to keep the same tone- quality with the different vowels within a group: a - o, -o, o-a-o-a-o, -o-a-a-o, a-o-a-a-a, a-o-oo-o-a, a-o-e-o-a, a-a-e-oo-o, o-a-i-e-o, a-e-1-00-0. Many other groups are possible and would be profitable. If you under- stand the principle, form those which your individual voice may require. III. SINGING. No. 1. s itefe &m w X ^ la la 15 15 la la la. la la la la la, lo lo 15 15 15 15 lii la la la la la la la etc. la lo lo .etc. 15 la la etc. la 1 ^ I VOICE CULTURE. No. 2. Transpose higher and lower. 141 $ &E±3m &-^ r-F^ » il » ' ■ i± lii lii lii lii la o a, la lii lii lii lii lii lii lii lii ^3=& — ^ — k. P — k J— j ^ ^ ^— — ^--gj " j — # Eji^^^^= rnmTO£^ ^ No. 3. cfci ft i &* :ri: ;-r 3 lii lii lii lii lii lii lii lii lii po tu lah ba dii ma ni po tu ah-o ah-o ah-o ah-o ah-o ah-o ah-o ali-o ah-o 1 I Iilii-Ii No. 4. Transpose. f Andante moderate. & .4: g feafe ^g^g 43^ 1 p"*" 1 "■ — i 1 i""-i 1 p" r 4 fed — ^j. 3 — *— 4 — -u • " •' J i- "T — ^ — ^ — — — — i H — P — 3 — * — . — 1 — 1 1 k—J B — M — * ' la la la la la la la la ba da me ni po tu la o L a e £*=i=l m 3 » j . — — i — i — -<>-* i ^^ ^s^ ^^J: (2nd) tu la ba No. 7. S-fe fcgEgj ^v*= l g j)vj^ir[^i-^M-j^ ^^^^s ha ho ha he hi ha ha ho ho ha ha he he hi hi fc=fe #=fc r> r> fc A— a— A— a— * « ^ vs- fcrJ. A v. r ^ [), h L> ' U ' v> ~- b_ £-a_j«— ~» 3 » 1 ? i_5 ^nn l > P P g-g-g ■ 1- 1 * 1 « Eg ^ Jji^zjj^j^ ^j^^^ No. 8. Transpose. Adagio. i zb » 3=^5 4* J -^ — =*- — h -J — 4- b b o b b o d d o d d o g g o g g o bo do go bo do go b d g b d g -zst- PART FIVE DICTIONARY OF MUSICAL TERMS. Note. — The following words are taken with their pronunciation and definition from ELSON'S MUSIC DICTIONARY by arrangement with the publishers, OLIVER DITSON CO., Boston, Mass. This book should be in the hands of every one who studies music seriously. VOWEL SOUNDS AS USED IN PRONUNCIATION. a as in ah; a as in hate; a as in at; e as in tree; e as in eh; I as in pine; I as in pin; 6 as in tone; 6 as in dove; 6 as in not; u as in up; u the French sound of u. A cappella (It.) (a kap-/>e/-lii.) In the church or chapel style, that is, vocal music, unaccompanied. So-called because the music of the Sistine chapel at Rome was purely vocal. Almost all of the old Masses, motetts, and madrigals were "a cappella." Accelerando (It.) (at-tshel-er-rarc-do.) Accelerating the time; gradually increas- ing the velocity of the movement. Accidentals. Occasional sharps, flats, or naturals placed before notes in the course of a piece. The composer may place an accidental before any note whose meaning may be considered doubtful. See Chro- matic Signs. Adagio (It.) (ah-dah-jio.) Slow. This term indicates a movement quicker than largo and slower than andante. Ad libitum (Lat.) (ad-/i&-i-tum.) At will; at pleasure; changing the time of a partic- ular passage at the discretion of the per- former; also a part that may be omitted if desired. Agitato (It.) (aj-i-#i-to.) Agitated, hurried, restless. Air. A short song, melody, or tune, with or without words. The upper voice in a harmonized composition. (See Aria.) Al fine (It.) (al fee-ne.) To the end. Allegretto (It.) (ol-le-gret-to.) Rather light and cheerful but not as quick as Allegro. Allegro (Fr. and It.) (al-My-gro.) Quick, lively; a rapid, vivacious movement, the opposite to the pathetic, but it is frequently modified by the addition of other words that change its expression. Alto (It.) (/(/-to.) High. In vocal music the highest male voice, sometimes called the counter tenor. In mixed chorus it is the part next below the soprano sung by low female voices. * * Andante (It.) (an-Jrtw-te.) A movement in moderate time but flowing easily, grace- fully. Andante literally means "going." In the 18th century it was often used as meaning "steadih," "distinctly." At present it often indicates a degree of expression and tenderness as well as a moderately slow tempo. This term is often modified both as to time and style by the addition of other words. (143) 144 EDUCATIONAL VOCAL STUDIES. Andantino (It.) (an-dan-ftjg-no.) A little slower than Andante is the literal meaning of Andantino, but it has become a doubtful term, and is generally used as meaning quicker than Andante. Anima (It.) (cm-e-ma.) Soul, feeling, animated, lively. Anthem. A vocal composition, the words of which are usually selected from the Bible, used in church either with or with- out organ accompaniment. See Stainer & Barrett. , Antiphony. The response of one choir to another when an anthem or psalm is sung by two choirs; alternate singing or chant- ing. Apollo. In ancient mythology, the god of music, and said to be the inventor of the lyre. Aria (It.) (a-re-a.) An air; a song; a tune; sung by a single voice either with or with- out an accompaniment. * * Assai (It.) (as-sa-e.) Very, extremely; in a high degree, as Allegro Assai, very quick. A tempo (It.) (atem-p5.) In time; a term used to denote that after some deviation or relaxation of the time, the performers must return to the original movement. Attacea (It.) (at-/«£-ka.) Go on. Begin the next. Bar. Lines drawn perpendicularly across the staff to divide it into measures; the term is also applied to each of these meas- ures by European usage, but strictly the bar is the line itself, not the measure it defines. The bar came into use in music after 1600. Bariton (Fr.) (ba-ri-#m/z.) ^ . . '. , _ _ / A male voice Bantono (It.) (bar-re-fo-no.) Y intermediate Baritone. ) in respect to .pitch between the bass and tenor, the compass usually extending from first line, F Clef, to F above the staff. Bass. The lowest or deepest male voice; the lowest part in a musical composition. Baton (Fr.) (Bahtong.) A conductor's stick. Brace. A character curved or straight used to connect together the different staves; the leather slide which tightens or loosens the cords of a drum. Cadence. A close in melody or harmony, dividing it into numbers or periods, or bringing it to a final termination. Calando (It.) (ka-/aw-do.) Gradually di- minishing the tone and retarding the time; becoming softer and slower by degrees. Canon. The strictest form of contrapuntal composition, in which each voice imitates exactly the melody sung or played by the first voice. The word is derived from "Canone," a rule or law. Canon was the earliest form of skilful composition. The oldest existing contrapuntal work of merit is a canon entitled "Sumer is icumen in," which is for four voices, and is supposed to have been composed about A. D. 1200. Cantabile (It.) (kan-Zct-bi-le.) That can be sung; in a melodious, singing, and grace- ful style, full of expression. Cantata (It.) (kan-^ci-ta.) \ ^ _ , . . . .. / A poem set to Cantate (Fr.) (k&nh-tat.) > music; a vocal Cantate (Ger.) (kan-/a-te.) ) composition of several movements, comprising airs and recitatives; a short oratorio or operetta without action. A cantata consisted origi- nally of a mixture of recitative and melody, and was given to a single voice, but the introduction of choruses altered the first character of the cantata, and gave rise to some confusion in the manner of describing it. Therefore it has been variously defined. A cantata is now generally understood to be a short work somewhat like the oratorio, but without characters. Carol. 1. A song. 2. A song of joy and exultation; a song of devotion. 3. Old ballads sung at Christmas and Easter. Chant. 1. A simple melody, generally harmonized in four parts, to which lyrical portions of the Scriptures are set, part of the words being recited ad libitum, and part sung in strict time. A Gregorian chant consists of five parts: the intonation; the first reciting note or dominant; the mediation; the second reciting note of dominant; the cadence. The Gregorian chant is the one chiefly used in the Catholic and Anglican service. See Helmore's "Plain Song." 2. To recite musically; to sing. Choral (Ger.) (ko-r«/.) Psalm or hymn tune; choral song or tune. DICTIONARY OF MUSICAL TERMS. 145 Chorus. 1. A company of singers; a com- position intended to be sung by a number of voices. 2. Among the ancient Greeks the chorus was a band of singers and dancers who assisted at the performance of their dramas. 3. A refrain. Chromatic. Proceeding by semitones. Any music or chord containing notes not be- longing to the diatonic scale. Chromatic scale. A scale which divides every whole tone of the diatone scale, and consists of twelve semitones or half-steps in an octave. Chromatic Signs. Accidentals; sharps, flats, and naturals. The chromatic signs used in modern music are the sharp (Jf), the flat (|?), the natural (J}), the double sharp ( x ), and the double flat (|?|?). The natural, or cancel, can annul the effect of a double sharp or a double flat, but if we desire a note to be flatted, after using a double flat, we must write (fetO, and if sharped after a double sharp (S%). The chromatics are also called "accidentals." The flat was the first of these signs in music, and was used to indicate the posi- tion of a single note — B — which was some- times sounded as B, and often "softened" into B flat. This was about A. D. 1000, when the letter notation was in use, and ran (for the scale of C) as follows: c, d, e, f, g, a, b, T , c. The round b, called b rotundum, was b-flat, the square b(h), called b quadratum, was b-natural. In Germany, the note b-flat is still called B, and as the square b ( h ) was mistaken for an h (of the German print), it was called "H" and is called so to-day, a clerical error that has been perpetuated nearly a thou- sand years. After some time the two b's were used as chromatic signs. The sharp came in later and was originally a St. Andrew's cross (JJ). Double sharps and double flats only came into free use in music after Bach, with his "Well-tempered Clavichord" (Part I, 1722; Part II, 1742), had brought in the use of all the keys in modulation and composition . In the music of the seventeenth century, the effect of a flat was generally annulled, not by a natu- ral," or cancel, but by a sharp, and each accidental was written as it occurred. To- day the effect of the accidental extends through the measure, on all subsequent notes of the same pitch, but it is often allowed to apply to the same note an octave higher or lower, if written on the same staff. There are many redundant and un- necessary chromatic signs employed in music, for this rule is followed by almost every composer — If a note can for any reason be considered doubtful, make its meaning sure by using an accidental! — Con fudco (It.) (kon-foo-o-ko.) With fire and passion. Con rndto (It.) (kdn-wo-to.) With motion; not dragging. Conservatory. A school or academy of music, in which every branch of musical art is taught. Con spirito (It.) (kon spi-re-to.) With spirit, life, energy. Counterpoint. Point against point. The art of adding one or more parts to a given theme or subject. Before the invention of notes, the various sounds were expressed by points. Counterpoint is the support of melody by melody instead of by chords (harmony.) Hauptmann expressed the difference between counterpoint and har- mony by calling the latter "vertical," and the former "horizontal music." Crescendo (It.) (kre-shen-do.) cres. A word denoting an increasing power of tone; it is often indicated by the sign -==r. Da capo (It.) da &a-po. ) D. C. From the beginning; an expression -placed at the end of a movement to indicate that the per- former must return to the first strain. In such a case the repeats indicated by dots are generally not made after D. C. Dal seg-no (It.) (dal san-yo.) D. S. From the sign :S:. A mark directing a repetition from the sign. Decrescendo (It. ) (de-kre-shen-do.) Grad- ually diminishing in power of tone r=-. Diatonic (Ger.) (de-£i-#m-ik.) Naturally; proceeding in the order of the degrees of the natural scale, including tones and semi -tones. Diatonic scale. The different gradations of tone of the scale or gamut arranged in proper order in conformity to some par- ticular key. Diminuendo (It.) Dim. Gradually decrease the power of the tone ==-. 146 EDUCATIONAL VOCAL STUDIES. Dirge. A musical composition, either vocal or instrumental, designed to be performed at a funeral, or in commemoration of the dead. -Dolce (It.) (dol-tshe.) Sweetly, softly, delicately. Doloroso (It.) (do-lo-ro-zo. ) Dolorously, sorrowfully, sadly, r. Dominant. The name applied by theorists to the fifth note of the scale. Double flat. A character (v?) which, placed before a note, signifies that it is lowered two semi-tones. Double sharp. A character which, when placed before a note, raises that note two semi-tones. It is usually written as fol- lows: x or x. Duet. A composition for two voices or instruments. Dynamics. This term in music has refer- ence to expression and the different de- grees of power to be applied to notes. Elegy. A mournful or plaintive poem, or a funeral song. Energico (It.) (en-dr-je-ko.) Energetic, vigorous, forcible. Enharmonic (Ger.) (en-har-racm-ik.) One of the ancient scales or modes, proceeding by quarter-tones. On the pianoforte these cannot be expressed; but on the violin, cello, etc. , they may be described as some- thing like the difference between G£and A f , or between D % and 13 )?, etc. In modern music it also means such a change in the nature of an interval or chord, as can be effected by merely altering the notation of one or more notes. Ensemble (Fr.) (auh-scm/z-bl.) Together; the whole; applied to concerted music when the whole is given with perfect smoothness of style. It means precision of attack; unity of shading. A morceau d'ettsemble is a composition for two or more parts, more especially quintets, sextets, septets, etc., in an opera, oratorio, or similar work. Espressidne (It.) (es-pres-se-o-ne.) Ex- pression, feeling. Ealsetto. The male head-voice as distin- guished from the chest-voice. A singer who sings soprano or alto parts with such a voice. Falsetti must not be confounded with castrati. A false or artificial voice; that part of a person's voice that lies above its natural compass. Fine (It.) (feen-ay.) The end; the termi- nation . Flat (Ger., Be; Fr. , Bemol; It., Bemolle.) The sign y, which lowers the pitch of the note following it by a semi-tone. It came originally from the letter b, as its shape and its foreign names indicate. See Chromatic Signs. Forte (It.) (for-te.) Loud, strong. Forzando (It.) (for-tsan-do.) Forced; lay- ing a stress upon one note or chord; some- times marked a >. Fugue (fug.) A term derived from the Latin word fuga, a flight. It is a composi- tion in the strict style, in which a subject is proposed by one' part and answered by other parts, according to certain rules. (See Elson's Dictionary.) Furidso (It.) (foo-re-o-zo.) Furious, ve- hement, mad. Gamut. The scale of notes belonging to any key; the lines and spaces on which the notes are placed. Giusto (It.) (joos-tb.) A term signifying that the movement indicated is to be per- formed in an equal, stead} 1 , and exact time. Giusto is sometimes used to indicate mod- eration, as Allegro Guisto, a moderate allegro. Glee. A vocal composition in three or four parts, generally consisting of more than one movement, the subject of which may be grave, tender, or gay, and bacchanalian. The glee was less intricate than the mad- rigal, and was frequently accompanied, while the madrigal was sung a cappella. It is a composition peculiar to England. Grandidso (It.) (gran-de-6-zo.) Grand, noble. Grave (It. ) {grii-ve.) A slow and solemn movement; also a deep low pitch in the scale of sounds. The slowest tempo in music. Grazidso (It.) (gra-tse-o-zo.) In a graceful style. Gregorian chant. A style of choral music, according to the eight celebrated church modes introduced by Pope Gregory in the sixth century. DICTIONARY OF MUSICAL TERMS. 147 Hold. A character (st\) indicating that the time of a note or rest is to be prolonged. Hymn. A song of praise or adoration to the Deity; a short, religious lyric poem in- tended to be sung in church. Anciently, a song in honor of the gods or heroes. Interval (L,at., intervattum; Ger., Intervall; Fr., intervalle; It., intervallo.) The differ- ence in pitch between two tones. The interval is counted from the lowest note to the highest. Intonation. A word referring to the proper emission of the voice so as to produce any required note in exact tune; the act of modulating the voice. The chanting of Plain-song. Jubildso (It.) yoo-be-/o-zo.) Jubilant, exulting. Key. The lever by which the sounds of a pianoforte, organ, or harmonium, are pro- duced. Also an arrangement by which certain holes are opened and closed in flutes, oboes, and other wind-instruments. A key also means, a scale, or series of notes progressing diatonically, in a certain order of tones and semi-tones, the first note of the scale being called the Key-note. Langsam (Ger.) (lang-sa,m ) Slowly; equivalent to Largo. Largo (It.) (lar-go.) A s^ow and solemn degree of movement. Larynx. The upper part of the trachea. It is composed of five annular cartilages, placed above one another and united by elastic ligaments, by which it is so dilated and contracted as to be capable of varying the tones of the voice. Leading-note. The major seventh of any scale; the semi-tone below the keynote; the major third of the dominant. Legato (It.) (le-gri-to.) In a close, smooth, graceful manner; the opposite to staccato. It is often indicated by a sign called a slur <• — ^. Lento (It.) Slow. Lied (Ger.) (leed.) A song; a ballad; a lay. Madrigal. An elaborate vocal composition, in three, four, five, or six parts, without accompaniment, in the strict or ancient style, with imitation; the parts or melodies moving in that conversational manner pe- culiar to the music of the sixteenth and seventeenth centuries. The madrigal is generally sung in chorus. The origin of the word is doubtful. The form probably had its beginning in the Netherlands. It was the earliest form of skilful secular composition, spite of one or two canons which bear earlier date. One character- istic of the madrigal was that the melody never appeared entire in any one voice. It was generally unaccompanied. Maestoso (It.) (tna-es-ft>-zo.) Majestic, stately, dignified. Major. Greater, in respects to intervals, scales, etc. Measure. That division of time by which the air and movement of music are regu- lated; the space between two bar lines on the staff. The measure is often miscalled a bar, but the terms should not be confused. Melodies. That department of vocal ele- mentary instruction which relates to the pitch of tones. Meno (It.) (ma-no.) Less. Metronom (Ger.) (met-ro-nom.) ) A Metronome (Gr.) (mff-ro-«o-me.) ) machine invented by John Maelzel (in 1815), for measuring the time or duration of notes by means of a graduated scale and pendu- lum, which may be shortened or length- ened at pleasure. Mezzo (It ) (met-tso.) Medium, half. Mezzo forte (It.) (met-tso ftjr-te.) Mod- erately loud. Mezzo piano (It.) (met-tso pe-a-no.) Rather soft. Mezzo soprano (It.) (met-tso so-prd-no.) A female voice of lower pitch than the soprano, or treble, but higher than the contralto. Minor. Less; smaller; in speaking of intervals, etc. Modulation. A transition of key; going from one key to another, by a certain succession of chords, either in a natural and flowing manner, or sometimes in a sudden and unexpected manner. As ap- plied to the voice, modulation means to accommodate the tone to a certain degree of intensity, or light and shade. 148 EDUCATIONAL VOCAL STUDIES. Mdlto (It.) (mol-to.) Much; very much; extremely; a great deal. Mdsso (It.) (mos-so.) Moved, movement, motion. Meno Mosso, less movement, slower. Piu Mosso, more movement; quicker. Motet. ) a sacred composition of the an- Motett. ) them style, for several voices. The words are taken from the Scriptures. The motet is generally contrapuntal, and it is possible that the word is derived from moto (motion), because of the constant motion of all the parts. Motive. The characteristic and predomi- nant passage of an air; the theme or sub- ject of a composition; a figure. Non (It.) (nun.) Not, no. Non troppo (It.) (ndn trop-po.) Not too much; moderately. Notation. The art of representing tones by written or printed characters. Obbligato (It.) (ob-ble-.g'a-to.) Indispensa- ble, necessary; & part, or parts which cannot be omitted, being indispensably necessary to a proper performance; a temporary solo in a concerted work, often misspelled Obligate. Octave. An interval of eight diatonic sounds, or degrees; also the name of an organ-stop. Opus (Lat.) (o-pus.) ) Work, composition; Opus (Ger.) (o-poos.) ) as, Op. 1, the first work, or publication of a composer. The numeration of musical works by opus num- bers began in the last part of the eighteenth century. Mozart was the first great com- poser whose works have an occasional opus number, but Beethoven was the first to use this mode of numeration regularly. Prop- erlj% the number of an opus refers to the order of publication, not of composition. An opus may include several numbers or may consist of a single piece. Oratorio (It.) (6r-a-£o-ri-o.) Oratorio. A species of musical drama consisting of airs, recitatives, trios, choruses, etc. It is founded upon some Scriptural narrative, and performed without the aid of scenery and action. Part-songs. Songs for voices in parts, an unaccompanied choral composition for at least three parts; a melody harmonized by other parts more or less freely, but from which counterpoint is for the most part excluded. The part-song owes its origin to the habit prevalent among the Germans of adding simple harmonies to their folk- songs. The part-song is always simpler in construction than the glee, and is intended for chorus. Passidne (It.) (pas-se-o-ne.) feeling. Passion, Passion music. Music picturing the suf- ferings of the Saviour, and his death. Al- though originally used in the Catholic Church, the subject became a favorite one with the Protestant German composers. Bach set the subject several times, and his 'Passion Music, according to St. Matthew," is one of the great master-pieces of music. Pastoral. A musical drama, the personages and scenery of which are chiefly rural. A pastoral is also any lyrical production, the subject of which is taken from rural life; and the Italians give the same name to an instrumental composition written in the pastoral style. Pentatonic scale. A scale of five notes> sometimes called the Scotch scale, and sim" ilar to the modern diatonic major scales, with the fourth and seventh degrees omit- ted. The Chinese also use this scale. Phrase. A short musical sentence; a mus- ical thought or idea. Piano (It.) (pee-a-no. ) Soft. Pitch. The acuteness or gravity of any particular sound, or of the tuning of any instrument. Pitch can most scientifically - be defined as the rate of vibration. Rapid vibrations mean a high tone, slow vibra- tions a deep one. Pdco (It.) {po-ko.) Little. Presto (It.) (pres-to.) Quickly, rapidly. Psalm. A sacred song or hymn. Quadruple. Fourfold. Quartet (Eng.) (qu&r-tet.) j a composition Quartett (Ger.) (qnav-tett.) f f or four voices or instruments. DICTIONARY OF MUSICAL TERMS. 149 Quasi (It.) (qud-zi.) In the manner of, in the style of, or somewhat. Quintet. A composition for five voices or instruments. Rallentando (It.) (ral-len-tfiw-do.) ) The Rallentato (It.) (ral-len-/d-to.) ) time graduall} - slower. Recitative, (re-sl-tsb-teev.) A species of musical declamation in which the per- former rejects the rigorous rules of time and endeavors to imitate the inflections, accent, and emphasis of natural speech. There are two chief kinds of recitative, the free (secco) and the measured {misurato or stromentato). The free is without tempo mark and with only a few chords for ac- companiment to sustain the intonation. The modulations are always very bold and free. Even in orchestral works the free recitative is often accompanied merely by piano. The measured recitative has tempo, and full accompaniment, and is like a fragment of a song. Refrain. The burden of a song; a ritornel; a repeat. Rhythm (Eng.) (rithm.) The division of musical ideas or sentences into regular metrical portions; musical accent and ca- dence as applied to melody. Rhythm represents the regular pulsation of music. The word time is constantly applied where rhythm is meant. Thus we have common time, two-quarter time, etc. , which have nothing to do with the tempo of the music. In this book we have most frequently replaced the misuse of the word time by the more correct name rhythm. It is possible that the word measure might also replace the more faulty expression. Three- quarter measure would express much more than three-quarter time. While we deem it impossible to change every misnomer in music, we believe that a beneficial change is possible in this instance. See Time. Ritardando (It.) (ri-tar-daw-do.) Retard- ing; delaying the time gradually. Round. A species of canon in the unison, or octave; also a vocal composition in three or more parts, all written in the same clef, the perfomers singing each part in succession. They are called rounds because the performers follow one another in a circulatory motion, and as they gen- erally have no cadence they move around without cessation, like an infinite canon. Rubato (It.) (voo-bah-to.) Robbed, stolen; taking a portion of the duration from one note and giving it to another. Scale (Ivat., Scala; Ger., Tonleiter; Fr., Echelle; It., Scala). The successson of tones upon which any music is built. The scales of different epochs and nations differ quite as much as their languages. It is impossible to demonstrate scientifi- cally (by any laws yet discovered) the reason of the subdivisions made in some scales. The scale seems to have been, like the art of music itself, an invention of man, which did not always seek a founda- tion in scientific laws. We cannot prove that the scales which we employ are better than those used by other races or at other epochs. Scherzando (It.) (sker-tsdn-do.) Playful, lively, sportive, merry. Septet (Eng.) se^-tSt. ) A composition for seven voices, or instruments. Sforzando (It.) (sior-tsan-do ) Forced; one particular chord, or note, is to be played with force and emphasis. Sharp (Ger., Kreuz; Fr., Diese; It., Diesis.) The sign jt, which occurring either before a note or in the signature, raises the pitch of a tone one chromatic semi-tone. The sign had its origin in a St. Andrew's cross X which was used in the notation of the middle ages. See Accidentals and Chro- matic signs. Slur (Ger., Legatobogen; Fr., liaison; It., legatura.) A curve drawn over or under two or more notes, signifying that they are to be executed legato. The slur over two notes is called the short slur. The slur first appeared in notation in connec- tion with violin-music, and was used to show how many notes were to be executed with a single stroke of the bow. Soon after this it was also admitted into vocal notation to indicate the number of notes to be sung in a single breath. It is almost impossible to give absolute rules for the execution of the slur, there are so many exceptions. Yet the following rules may apply in general cases: 1. When two notes of small denomination (quarter-notes or less) are connected by a slur, the first note is generally accented, the second played lightly; the tone of the first is to overlap into that of the second note; and 150 EDUCATIONAL VOCAL STUDIES. the second note is frequently shortened. This example, would often be played thus: 2. When the slurred notes are of a longer denomination, the second is not generally shortened. 3. When the second note is longer than the first, the effect of the slur is often nothing more than a legato mark. 4. In vocal music, both long and short slurs are often used merely to show how many notes are to be sung to a single syllable. The long slur (over more than two notes) is frequently a very indefinite sign. It is one of the most vague signs in piano-music, often merely indicating a legato execution, and not the phrasing. In vocal-music it is used properly as a phrasing and breathing-mark, but it is impossible to formulate any rules that will cover the contradictory uses of the long slur in piano-music. Solo (It.) (so-lo.) Solo (Fr.) (so-lo.) Solo (Ger.) (so-lo.) A composition for a single voice, or in- strument. Song-. 1. (Ger., Gesang; Fr. , chant; It., canto.) Vocal musical expression or utter- ance. 2. (Ger., Lied; Fr., chanson; It., canzone.) A lyrical poem set to music. The song deals with emotions; the ballad tells a story. Song form is a musical form originally derived from vocal music. (See Form.) Folk-song is a simple song (fre- quently a ballad) which is popular with the common people. Songs are. chiefly of two styles of composition. 1st. The strophe form in which the music is set to the first stanza and then repeated to each succeeding stanza. 2d. The art-song (or through- composed — Durch componiert style) in which each stanza receives separate musical treatment according to its con- tents. Soprano (It.) {so-pra-no.) The treble; the highest kind of female voice; a treble, or soprano singer. The soprano is the high- est part in concerted vocal music, and carries the air, or melody, in any modern composition that presents harmony, or counterpoint. But this was not always the case. In the early days of counter- point it gave support to the melody, which always lay in the tenor. See Tenor. It was then called "Discantus," which indi- cated that it was "against the melody," and not the melody itself. Spirit, life, Spirito (It.) (spi-re-to.) energy. Staccato (It.) (stiik-M-to.) Detached; dis- tinct; separated from each other. Staccato marks. Small dots or dashes placed over or under the notes, thus: PN^ ^ The wedge-shaped marks are shorter than the dots, but are little used by modern composers. Staff. The five horizontal and parallel lines on and between which the notes are written. Stem. The thin stroke which is drawn from the head of a note. Stringendo (It.) (stren-gew-do.) Pressing, accelerating the time: Syncopation (Eng.) An unequal division of the time, or notes; irregular accent, binding the last note of one bar to the first note of the next; accented notes occurring on the unaccented part of a bar. Syncopation is an artificial accent, an interruption of the natural pulsation of the music. It can be produced by giving an accent where none is expected, by taking away the accent from a point where it is expected, or by both methods com- bined. The natural rhythm must be re- stored after the syncopation has been used for a short time, otherwise the ear will accept the artificial accent as a natural one and the effect of syncopation be lost. Syncopations in accompaniments must be strong to be effective. Tempo (It.) (tem-po.) The Italian word for time. Tempo is rather loosely defined as the speed of the music, but it ought rather to be regarded as the speed of the rhythm, the rapidity with which the nat- ural accents follow each other. DICTIONARY OF MUSICAL TERMS. 151 Tenor. That species of male voice next above the baritone, and extending from the C upon the second space in bass, to G on the second line in the treble. So- called from teneo (I hold), since it held the melody in old times. See Soprano. Tetrachord (Gr.) (#tf-ra-kord.) A fourth; also, a system of four sounds among the ancients, the extremes of which were fixed, but the middle sounds were varied according to the mode. Time. The measure of sounds in regard to their continuance, or duration. The speed of the rhythm. The rapidity with which the natural accents follow each other. This is the correct meaning of time. Tonic Sol-fa. A method of teaching vocal music, invented by Miss Sarah Ann Glover, of Norwich, England, about 1812 (called by her the tetrachordal system), and afterwards perfected by the Rev. John Cur wen, who became acquainted with the method in 1841. Its formal basis is the movable-do system; the seven usual solmi- zation syllables are employed, as follows; doh, ray, me, fah, soh, lah, te. The reason for this departure from the ordinary spell- ing is, that the above is considered easier for English people to pronounce. In printing music, the initial letter of the syllable indicates the scale note. Si and soh having the same initial, the former is altered to te. Higher or lower octaves are shown by figures placed by the side of the notes, d l , d' , m s , and s x , m 2 , d 2 . The particular pitch of the key-sound is shown by the statement at the beginning of the piece, key G, key E P, key A, etc. The mi- nor mode is regarded as derived from the relative major, its tonic being called lah. Transition (Eng.) Passing suddenly out of one key into another, also a passage leading from one theme to another. Treble. The upper part; the highest voice; the soprano; that which generally contains the melody. Triad. The common chord, consisting of a note sounded together with its third and fifth. Trio (It.) (tree-o.) A piece for three instruments, or voices. The word trio is also applied to a contrasted song-form in the minuet form of composition. Triplet. A group of three notes, played in the usual time of two similar ones. Tutti (It.) (too-te.) All, the entire band, or chorus; in a solo, or concerto, it means that the full orchestra is to come in. TJnison. An accordance or coincidence of sounds proceeding from an equality in the number of vibrations made in a given time by a sonorous body; a tone that has the same pitch with another. Vespers. Name of the last evening service in the Roman Catholic Church, consisting chiefly of singing. Vivace (It.) (ve-#a-tshe.) Lively, briskly, quickly. Vivo (It) (we-vo. ) Animated, lively, brisk. Vocalize. To practice vocal exercises us- ing the vowels and the letter A, sounded in the Italian manner, for the purpose of developing the voice, and of acquiring skill and flexibility. Vocalizes. Solfeggios; exercises for the voice, also Vocalises. 152 ' EDUCATIONAL VOCAL STUDIES. Abbreviations and Signs. NOTE. — See Dictionary in this book for definitions. accel. accelerando. j brace. ', v breath marks. 4 cancel (natural.) cal. calando. n C clef. C. M. Common Metre. C. M. D. Common Metre Double cres. ) crescendo. D. C. de capo. dim. } diminuendo. tttt. *> x double sharp. D. S. dal segno. t>b double flat. 9 : F clef. t> flat. f forte. ff fortissimo. fff fortississimo. fp forte piano. fz, sf, ) sfz, \) ( forzando. ( sforzando. G clef. H. M. Hallelujah Metre. /T\ hold or pause. L. left. L. M. Long Metre. L. M. D. Long Metre Double. M. M. Maelzel's Metronome > marcato (accent). mf mezzo forte. mp mezzo piano. MS. manuscript. Op. opus (work). P. M. Particular Metre. P piano. PP pianissimo. PPP pianississimo. Rail. rallentando. Recit. Recitative. Rit. { Rritardando. ( ritenuto. S. M. Short Metre. S. M. D. Short Metre Double. ft sharp. :S: sign. , — . slur or tie. stacc - I staccato. staff. -==r z=- swell. ten. or — tenuto (sustained). tr. or tr~^ trillo. GENERAL INDEX. Titles in Romans, First I,ines in Italics. When Titles and First Lines are alike, Capitals. Songs marked * are in Part One among the graded studies. Abbreviations and signs ACKNOWLEDGE ME, MY KEEPER. A dream at eventide All hail the power of Jesus' name Almost Almost persuaded Analytic index, Part Two ANEW WE LIFT OUR SONG *At sunset * Awake, my soul, stretch every nerve Balmy southern breezes BEAUTIFUL FLOWERS . . Be not swift to take offense . . . Blow, blow, thou winter wind. Cheerful faces *Choral (52 d.) Come away to the meadows fair. . Come, O come with cheerful faces. Contents, Grade One Contents, Grade Two Contents, Grade Three Contents, General Contents, Part Three Crown Him Lord of all 152 101 88 79 83 83 68 85 50 43 78 71 87 111 70 60 106 70 viii 14 44 vii 114 79 Dream at eventide, a 88 Dictionary of musical terms 143 *Erie 27 Evening bells 102 * Fierce was the wild billow 42 *Forte staccato. 62 Give to God, O nations great 77 GOD IS MY SONG 97 *GOOD-MORNING, MERRY SUN- SHINE 25 Good-night 80 Grade One studies 1 Grade Two studies 15 Grade Three studies 45 Happy time of youth 106 Haste to the rescue 98 Holy, heavenly thoughts attend you 80 *How do you like to go up in a swing ..... 51 / am thinking tonight 108 *I LOVE THE CHEERFUL SUM- MER-TIME 54 Ingratitude Ill In from the highway 102 *In the heart of a seed 29 Is the way before you fraught 72 / sit alone at eventide 88 / sit and watch the golden stars 109 / was once in sin and far from God 89 Jewels 94 *Kind hearts are the garden 23 *Leo 42 Let it pass 87 LITTLE EYES 96 Little snowflake 99 LO, HOW A ROSE E'ER BLOOMING 86 LOVELY MAY 76 (153) f 154 EDUCATIONAL VOCAL STUDIES. General Index. Make a joyful noise 92 Merry spring, the 105 *Moderato (54.) 62 *Morning hymn 43 *Music everywhere 66 My far-away home 108 National song of praise 77 *Newton ferns 10 NOW MAY THE WILL OF GOD BE DONE 113 0, a goodly thing is the cooling spring 105 O GENTLE SAVIOUR 76 O God of all the ages 104 Olden memories 109 O LOVE DIVINE 82 *On a snowy day 31 *One sweetly solemn thought 27 ONWARD, CHRISTIAN SOLDIERS.. 100 Pealing slow, soft and low 102 Pretty little snowflake 99 PURER YET AND PURER 90 *Raindrops, the 6 Rudimentary statements begin 115 Rudimentary statements, contents 114 Scales, Major and Minor 130 *SLEEP, BABY, SLEEP 48 Slumber soft, little one 112 Slumber song 112 *Soft blows the western wind 35 SOFT THE EVENING FALLS 74 SOFT FADES THE TWILIGHT RAY. 87 *Softly sighs the evening breeze 50 SOFTLY SIGHS THE VOICE 96 SONGS OF JOY AND GLADNESS .... 90 SPEAK GENTLY 69 *Spring is come 65 Spring is here 78 SWEET AND LOW 72 Sweetest hosannas 102 *Swing, the 51 TAKE THE SAVIOUR WITH YOU. . . 94 Thanksgiving carol 92 *Thanksgiving song 13 *The apples have been gathered. 13 The merry spring 105 *The raindrops 6 *The ram has spoiled the farmers' day. ... 19 *The swing 51 *The wind's song 35 THERE! LITTLE GIRL; DON'T CRY 110 There is music in my soul 89 *There is music in the breeze 66 They are drifting away t 98 Thou hast never forgotten 104 TWILIGHT IS STEALING 84 * Up then with speed and work 39 Upward look 72 Voice culture 138 Voice exercises 140 When He cometh to make up His jewels. . . 94 WHEN I IN PAIN AND SORROW MOAN 112 *Wind's song, the 35 *Wine is a turn-coat 56 * Ye coax the timid verdure 65 Typography by Anderson Bros., Chicago, - - 111.