PRICE, 35 CENTS EACH. By THEODORE F. SEWARD, assisted by B. C. UNSELD. I Biglow & Main, Publishers, 76 EAST'i\'lNTH STREET, New York:. 81 RANDOLPH STREET, Cliicagfo. MAY BE ORDERED THROUGH ANY BOOKSELLER OR MUSIC DEALER. THE TONIC SOL-FA MUSIC READER: V A. COURSE OF INSTRUCTION AND PRACTICE IN THE TONIC SOL-FA METHOD OF TEACHING SINGING, WITH A Choice Collection of Music Suitable for Day Schools AND Singing Schools. By THEODORE F. SEWARD, assisted by B. C. UNSELD. APPROVED BY JOHN CURWEN. BiGLOw & Main, Publishers, No. 76 East Ninth Street, New York, and 81 Randolph Street, CnicAGa FOR SALE BY BOOKSELLERS AND MUSIC DEALERS GENERALLY. Copyright, 1880, by Biglow & Maim PREFACE. The Tonic Sol-fa System is presented by the authors of this book to the American public, in the firm belief that the introduction of the system will mark a new era in the musical history of this country. The Tonic Sol-Fa System presents two widely different characteristics, either one of which ought to com- mend it to all who are interested in music. Together they constitute an absolute demand for recognition. These characteristics are : First. — It removes three-fourths of the difficulties of music from the path of the beginner j and, Second. — // leads to far greater intelligence and appreciation in the advanced stages of study and practice . A scholarly American musician has recently written concerning Tonic Sol-fa : — "It is not only a method of making music easy, but for making it more truly and profoundly understood." The Tonic Sol-fa System is often called, by those who use it, "the natural method." The steps of progression are so easy and natural that both teachers and pupils find a pleasure in the study that they never realized before. It is so simple as to bring about a new departure in the teaching of music, in the following respect — Those who know a little about music can teach that little without being compelled to master the whole science beforehand, as is necessary with the staff notation. In this way a new class of teachers is developed wherever the Tonic Sol-fa System is introduced, viz: persons of education and culture who love music, but who have heretofore been deterred by its technical difficulties from devoting themselves to it. It has been a common experience in England for such persons to begin teaching the first steps by the Sol-fa method, and, becoming interested, they have gone on studying and teaching till they were led to devote themselves exclusively to music and became among its most intelligent exponents and successful workers. Try the system fairly. Do not omit the best points and fancy you know all about Sol-fa. The various devices and expedients presented in the system are not matters of theory, but the outgrowth ol years of actual trial and experience by many of the best teachers of Great Britain. This book is prepared for elementary classes of all grades. It embraces the first four "steps " of the system, and is intended for Singing Schools and the various grades of Day Schools. Even the primary de- partments can be carried through the first steps by the aid of the modulator, handsigns and blackboard. It is important to state that the "Tonic Sol-fa Music Reader," is published with the full sympathy and approval of Mr. Curwen, the founder of the system. The first steps were submitted to him for examination and were returned approved, with but few and unimportant changes. Since the recent death of Mr. Curwen, his son, Mr. J. Spencer Curwen, who takes his place in directing the movement in Eng- land, has examined and approved the MS. THEO. F. SEWARD, Orange, N. J. B. C. UNSELD. INTRODUCTION. IT has been known for some years by musicians in this country that an important musical movement was in progress in England. A new notation had been invented, and new methods of teaching were coming into use which seemed to awaken a widespread musical interest among the masses, and to lead them rapidly to the practice of a much higher order of compositions than those studied by the corresponding class in this country. During what may be called the experimental stage of the movement, it is not strange that the attention attracted on this side of the water amounted to little more than idle curiosity. This country had already been the subject of repeated " experi- ments." New notations and "easy methods" almost without number had arisen, won a few converts, and passed into oblivion But at last it became evident that the English system con- tained elements of vitality and usefulness which the others had been wanting in. Prominent musicians in that country recog- nized and acknowledged its educational value, and thoughtful people, even in America were convinced that the system was based upon true philosophical principles. A two-years resi- dence in England and Scotland gave the author of this work an opportunity to thoroughly investigate the method and to witness its practical results. Seeing is believing. The superiority of the system for edu- cational purposes was so evident that he resolved to devote flimself to the special work of introducing it in this country on iis return. A practical use of the system with classes of differ- xnt grades and ages since his return has fully confirmed the i, aU, aX, or 2i\h. Each degree of the staff is so modified in the use of the various keys as to have more than thirty different mean- ings. 4. "When a chromatic tone is introduced there is nothing to tell tlie reader whether it leads to a change of key or is merely "accidental." 5. The intervals of the scale (steps and half-steps) are in no way indicated or suggested by the staff. 6. The minor scale is not individualized by the staff notation, and remains to the average music reader an unsolved mystery. 7. Notes have no fixed value as to time. A quarter note in one movement may be twice as long as a half note in another, and vice versa. 8. The technical difficulties of the notation so cover up and mystify the simple realities of music that the study of har- mony, which ought to come naturally in the early stages of any thorough course of instruction, is left as an abstruse science to be taken up as a special study by a favored few, after every other department has been mastered. In view of such an array of difficulties, is it any wonder that there are so few readers of music? The truth is that the stafif notation is (except to the especially gifted) really a barrier between the learner and tnusic, and the only question is whether or not it will be overcome. In nine cases out often it is not. In contrast with the complications of the staff notation, ob- serve carefully the following characteristics of the Tonic Sol-fa system : 1. It has but one representation of the scale instead of fourteen, as in the staff notation. 2. There are but two representations of each chromatic tone in- stead of five, as in the staff notation. 3. "Accidental" or passing chromatic tones are not confounded with those which lead to a change of key. 4. Changes of key, however remote, are clearly indicated by this notation. In the words of an acute musical critic, (Dr. W. S. B. Mathews of Chicago,) " the Tonic Sol-fa notation shows the musical reader exactly what he needs to know." 5. There is no puzzling out of notes on added lines and spaces, which is always so confusing to the beginner, (and usually a long time after beginning.) 6. The representation of time is simple and uniform. 7. By this notation the minor scale is easily sung and under- stood. iv. INTROI 8. By the Tonic Sol-fa notation and the method of teaching which properly accompanies it, the principles of harmony are received almost unconsciously, and can be compre- hended from the beginning. 9, It is the quickest and most thorough means of acquiring the use of the staff notation. The highest aim of those who teach the staff notation in pop- ular classes is to enable the learner to read music, and the diffi- culties are so great that a very small per centage of those who begin the study ever really acquire the ability to sing indepen- dently at sight. The Tonic Sol-fa system, on the contrary, developes the general musical intelligence of the pupil — his perceptions, his listening faculty, his memory. It enables him to think music, to write music ; the ability to read it comes incidentally as a matter of course. Another advantage of this method is that it is really a system, from beginning to end. The pupil's way is marked out by a series of " steps," and a great incentive to industry and practice is afforded by the giving of certificates to those who prepare to pass the various examinations. These certificates are issued by the Tonic Sol-fa College of London, and are five in number — the Junior, Elementary, Intermediate, Member's and Advanced. A teacher who has taken the Intermediate certificate is entitled to give the Junior and Elementary, after a proper examination of the pupil. (For requirements, see page V.) One who has the Member's certificate is entitled to give the three lower ones. Neat and tastefully printed certificates are supplied by the Lon- don College at a nominal price, which can be filled in by the teacher as needed. While the Tonic Sol-fa system has arrived at its present stage of perfection through the experience of many teachers, yet it has been chiefly moulded into shape by the wisdom, firmness and organizing qualities of one man — the Rev. John Curwen, whose life of singular usefulness has ended within a few weeks. The educational part of this book — the method proper — is drawn from Mr. Curwen's various published works, but mainly from "The Standard Course." The authors claim no original- ity for this book except in the manner of presentation. It has been prepared with great care, taking in every valuable point of the system, but rearranging and condensing for the special adaptation of the method to the musical needs of this country. The " Standard Course," which is Mr. Curwen's most complete setting forth of the system, includes full instructions in vocal training, harmony, musical form, etc., etc. The "Tonic Sol-fa- Music Reader" presents only the broad facts of time and tune, )br the use of elementary classes. A new and very interesting application of Sol-fa principles is now being made by Mr. Daniel Batchellor, of Boston, in the Kindergarten work. Mr. Batchellor was a well known Sol-fa teacher in England, having takea the Advanced certificate at JCTION. the Tonic Sol-fa College of London. After his arrival in Boston several years ago, he devoted considerable time to the Kinder- garten work, and developed a very ingenious method of teaching tones by colors. His method has attracted much attention among prominent advocates of the Kindergarten system, as it adds a new educational element to that work. Mr. Batchellor is an official representative of the Tonic Sol-fa College in this country. He has taken a deep interest in the preparation of this book, and its authors are indebted to him for many valua- ble suggestions. The Modulator, (see page VIII.) As the Sun is the centre of the Solar system so the Modulator is the centre of the Sol-fa system. The Modulator in the Tonic Sol-fa notation takes the place of the Staff in the common notation. It stands behind every note we see in the book. From habitual use of it, the Mind's eye always sees it there. It is our "pictorial symbol of tone relations." In the first steps it shows us the relations of tones in a single key, and at the fourth and other steps it shows the relations of keys to one another. A complete familiarity with the Modulator is of the utmost importance, for it is impos- sible to understand the notation properly until it is printed on the mind ; in fact, until the letters of a tune become not merely a straight line, but " pointers" which at once carry the mind to the Modulator. It is to the Sol-fa singer what the key-board of the piano is to the player. It is not simply a diagram illustra- ting the intervals of the scale and related keys, to be used a few times and then laid aside. Its great value is in the means it affords for drilling the class on the tones of the scale. It will be observed that the syllables are spelled with the English sounds of letters instead of the Italian, as has heretofore been the usage. Children are not accustomed to to the Italian sounds in any other words, and there is no occasion for con- fusing them with these. The open sound oi soh is preferred to sol as being more vocal. The exchange of " te " for " se " (si) is a needed improvement for several reasons, viz. : — i. The use of the syllable " se " (si) twice, e. as the seventh of the major scale and also of the minor. 2. The letter " s " has the most unpleasant sound in the language, and it should not occur more than once. 3. The change gives an additional consonant, and is useful for practice in articulation. 4. In the Sol-fa notation a different initial letter is needed for either soh or se. Mental Effects. — Some teachers are, at first, inclined to ignore this doctrine of the Sol-fa method, but it is a subject emi- nently worthy of the profoundest study. Mental effects are difficult to perceive because they are mental. Let not the teacher be discouraged if he does not at once grasp the whole matter. The perception of mental effect is cumulative, the more the subject is studied the plainer it becomes. The practice of teaching by mental effect has become so important in the Tonic Sol-fa method that the teacher cannot take too much pains to master it. He should remember that these effects exist, whether he INTRODUCTION. V. recognizes them or not, and it is certainly wiser to utilize than to ignore them. The pamphlet " Studies in Mental Effects " fur- nish a large variety of examples. Steps of the Method. — One of the most useful features of the method is the arrangement of the course of instruction in a series of graded steps. The close of each step is intended as a point at which the work, should be revised, and the standing of each pupil ascertained before proceeding to the next. Any- thing which is left dimly understood or imperfectly practiced in one step, is only a legacy of so much confusion, weakness and discouragement handed over to the next. How many lessons will be required to teach each step it is difficult to say, without knowing the kind of class. Some classes will require one les- son and some three or four to each step. The teacher should be guarded against hurry rather than delay. The Certificates. — At the end of the third step a distinct personal examination of each pupil is made for the Junior School Certificate. At the end of the fourth step another exami- nation is made for the Elementary Certificate. The value of the Certificate depends on the known character of the Examiner for strictness and integrity. A careless examination soon makes the pupil ashamed of his Certificate and of the teacher who signed it. The special object of these Certificates is to save the pupil from one-sidedness, and to secure an equality of progress in time, tune, memory, &c., as well as to promote pri- vate study and discipline at home. They supply to the teacher also a welcome test of his own work. If he finds his pupils generally failing in the Time Exercises of the Certificate, he knows where his own neglect has been. If their failure is in the Ear Exercises or in memory or in tune, he learns how to im- prove his lessons. It has been proved by extensive and careful statistics, that those teachers who make the fullest use of the Certificates have, on an average, times the success of other teachers, however skillful those other teachers may be. There- fore it is that, in the Tonic Sol-fa movement, every pains is taken to put honor on the Certificates — first, by guarding, as far as pos- sible, the strictness of the teaching ; and second, by firmly pro- hibiting the appearance of any uncertificated pupil at a public concert. Any one who gives his pupils the gratification of taking part in a public entertainment before they have taken the trouble to prepare themselves for a Certificate, does an un- kindness to his brother teachers and to our whole movement, and a greater unkindness to his lazy pupils. The Elementary Certificate is the only honest introduction to an Intermediate class, and the Intermediate Certificate is a necessary ground of membership for an Advanced class. Requirements of the Certificates. Junior School C-ektivickt-e.— Examiners : Teachers or their Assistants who hold the " Elementary." 1. Bring on separate slips of paper the names of three tunes, and point and Sol-fa on the Modulator, from memory, one of these tunes chosen by lot. 2. Sing on one tone to la, in perfectly correct time, any one of Nos. I to 9 of the " Elementary Rhythms," taken by lot. Two attempts allowed. 3. Follow the Examiner in a Voluntary by the Manual Signs, or on the Modulator, moving at the rate of M. 6o, and con- sisting of at least sixteen two^pulse measures, including leaps to any of the tones of the scale, but neither transition nor the minor mode. 4. Answer correctlf any one which the teacher may choose of the exercises belonging to Class A in the second and third steps of " Hints for Ear Exercises," {e. i., Nos. 76 to 121 and 160 to 175), or any corresponding exercise. Elementary Certificate. — Examiners : Teachers or their Assistants who hold the " Intermediate." 1. Bring on separate slips of paper the names of six tunes, and point and sing on the Modulator, from memory, one of these tunes chosen by lot. 2. Sing on one tone to la in perfectly correct time, any two of the " Elementary Rhythms," taken by lot. Two attempts allowed. 3. Follow the Examiner's pointing in a Voluntary on the Modu- lator, moving at the rate of M. 60, containing transition into one of the side columns on the "better method." 4. Pitch by help of a tuning fork. Sol-fa not more than three times, and afterwards sing to words, or to the open sylla-' ble Za, any "part" in a psalm tune, in the Tonic Sol-fa Notation, not seen before — but not necessarily containing any passages of transition, or of the Minor Mode, or any divisions of time less than a full pulse. 5. Tell by ear the Sol-fa name of any three tones in stepwise succession (except m r d) the Examiner may sound to the syllable "Scah," the Examiner having first given you the key-tone and chord. Two attempts allowed. Manner of Teaching'. It is hardly necessary to say that the ways of presenting the various subjects in this book are not to be followed mechani- cally. They are illustrations of the manner in which the topics may be treated, but every teacher will have his own way of carrying out the details. One of the leading characteristics of this system is that so little time needs to be occupied with theory. "We learn to do by doing" is the grand motto of the Tonic Sol-faist. The new devices of the system — the Modulator, Manual Signs, Time-names, and even the doctrine of Mental Effects are all expedients for leading the student to practice more, to think more, to remember better ; in other words, to in- crease his musical intelligence. MENTAL EFFECTS AND MANUAL SIGNS OF TONES IN KEY. Note. — The diagrams show the right hand as seen by pupils sitting in front of the teacher toward his left hand. The teacher make* his signs in front of his ribs, chest, face and head, rising a little as the tones go up, axid falling as they go down. FIEST STEP. SOH. The Grand or bright tone,— the Major Dominant, making with 715 and Ray the Dominant Chord, — the Chord S, and with Fah also the Dominant Seventh Chord, — the Chord 'S. 0 ME. The Steady or calm tone, — the Major Mediant, making with Soh and Te the rarely used Chord M. DOH. The Strong or firm tone —the Major Tonic, making with Me and ^oh the Tonic Chord, the Chord D. SECOND STEP. TE. The PrEBCiNG or sensitive tone, — the Ma- jor Leading Tone, making with Eay and Fah the weak Chord T. The EousiNG or hopeful tone, — the Major SuPEBTONic, making with Fah and Lah the Chord K,— in which case it is natural] j' I sung a komma flatter. THIRD STEP. The Sad or weeping tone, — the Majoi SuBMEDiANT, making with Doh and Mt the Chord L. FAH. The Desolate or awe-inspiring tone, — the Major Subdominant, making with Lah and Doh, the Subdominant Chord,— the Chord F. NoTE.-77(e.s-e proximate verbal descriptions of mental effect are only true of the tones of the scale when sung slowly—^ fUled with the key, and when the effect is not modified by harmony. NOTATION OP TIME. The long heavy bar indicates a strong accent; the short, thin bar ( | ) a me- dium accent, and the colon ( : ) a weak accent Time is represented by the space between the accent marks. The space from one accent mark to' the next represents a Pulse. (Beat, or Part of the measure). The space between the strong accent marks (long bars) represents a measure. TWO-PUIiSE MEASUKE. THEEE-PTJLSE MEASTJKE. FOTJR-PUXSE MEAStTRE. {I ■■ n\ ■■ ■■ ill = ' = 111 SrX-PTJLSB MEASURE. : : I : : The Tonic Sol-fa Method makes use of a system of I^me-names to aid in the «tudy of time. The Pulse is the unit of measurement, and a tone one pulse kmg is named taa. \ ^ >^ | ^ • ^ I TAA TAA I TAA TAA The continuation of a tone through more than one pulse is indicated by a dash, and the time-name is obtained by dropping the consonant d :d TAA TAA Id :- TAA - AA d TAA I- :- - AA - AA A pulse divided into halves — half-pulse tones —is named taatai, and is indicated in the nota- tion by a dot in the middle, (pron. tah-tay) A tone continued into the first half of the \ next pulse — a pulse-and-a-half tone — is named and I- indicated thus: ) A pulse divided into quarters is named tafatefe, ] and is represented by a comma in the middle of f each half-pulse, (pron. tah-fah-iay-fay). ' A pulse divided into a half and two quarters I is named TAAtefe. | A pulse divided into three quarters and a a quarter is named [TAA-efe. and is indicated by a !■ dot and comma. ) Thirds of a pulse are named taataite«, and ) represented by commas turned to the right j Silences (Bests) are named by substituting the letter S for T or f, thus — a full pulse silence is named SAA ; a half-pulse silence is named SAA on the first half of a pulse and SAI on the second half. Quarter-pulse silences are named sa on the first half and se on the second. Silences aare in- dicated by the absence of notes in the pulse di- ■mions. e. i., vacant space. Minuter divisions of the pulse, sixths, eighths, ninths, are seldom used ex- rapt in instrumental music. In the Sol-fa notation no distinction is made between J, ^ etc., there being but one way of writing the different varidUs of iDMsara Id .d :d .d 1 TAATAI TAATAI d :- .d 1 TAA -AA TAI |d,d.d,d :d .d 1 ta-fa - te-fe TAATAI Id .d,d :d .d,d |taa - te-fe TAA - te-fe Id .,d :d .,d 1 TAA -efe TAA -efe Id ,d ,d :d ^d ,d 1 taa - tai - tee taa - tai - tee 1 TAA SAA Id . : .d 1 TAA SAI SAA TAI |d,d.d, : ,d.d,d 1 ta-fa - te-se 3a - fa-te - fe THE MODULATOR. se 8 ba f m d 86, B| ba, f| PIi _ ri fe' rl de' ta la de doh> te lah se soh bah fah me ray doh ti t& Be, 8| le fe d' t Be 8 ba f PI d t, - 1. se, S| ba, f| n, ri THE TONIC SOL-FA MUSIC HEADER. PART I.-INSTRUCTIONS AND EXERCISES. FIRST STEP. To recognize and produce the tones Doh, Me, Soh; the upper octave of Doh, and the lower octave of Soh. To recognize and produce the ttrong and weak accent, and the simplest divisions of time, viz ; — the Pulse, the half-pulse, ttoo-pvlse measure and three-pulse measure. The first lesson may begin by practicing a familiar tune, or by a few appropriate remarlM by the teacher, after which he may You may listen to me and be ready to sing the exam- ples I give you. He sings a tone which he considers in his own mind as Doh, the first tone of the scale, at about the pitch of D or E, clearly and firmly to the syllable la. You may all sing it. — The dash will signify that a command is obeyed or a question answered. It may be necessary to repeat the example several times before the voices blend well. NOTB. — The teacher should never sing with his pnpils, but give ex- amples or patterns carefully which they are to imitate. They should Usten while he sings, and he listen while they sing. Mr. Curwen says, "The first art of the pupil is to listen weU. He that listens best, sings best." After this tone is sung correctly, the teacher may say — Listen to me again — He now sings a tone a fifth higher, Soh, the fifth tone of the Bcaie, to the syllable la. The pupije imitate. Now sing these two tones, after me, just as I sing them. He sings the two tones in succession, to la, in any order he Ex I. KEYS D, F and C. SOH S S S — DOH d d d — / Ex. 3. SOH S — s s d d s s chooses, but varies the manner of producing them; making them sometimes loud, sometimes soft, long or short; changing the pitch of Doh frequently, sometimes singing C and G, some- times E and B, or D and A, etc., the pupils imitating each pat- tern. See examples below — Exs. 1 to 4. We will now learn the names of these two tones — The lower tone is called Doh — What is it called ? — The upper tone is called Soh — What is it called? Note. — In giving out a new fact or principle the teacher should al- ways question the pupils, that they may not only hear it stated but be led to state it themselves. The teacher, as he gives the names, • writes or "prints" them on the blackboard, Soh above Doh, leaving considerable space between them. Now we will sing the tones to their names; repeat after me the tones I give you. The following exercises are specimens of patterns which the teacher may give. The upright lines indicate how much of each exercise may be given as a pattern. The horizontal dash — shows that the tone should be prolonged. For the sake of soli- tary students, who cannot have the assistance of a teacher, the exercises are printed in the form of diagrams, the arrow indi- cating the upward or downward direction of the voice. A nar- rower type and somewhat altered form is given to the letter m (n), for convenience in printing. Ex. 2. S S S ddd — s s d — Ex. 4. DOH d d d - /\ /\ d d d — d — d d d FEaST STEP. You may now sing as I point to the names on the blackboard and without a pattern from me. They sing, to his pointing, exercises similar to those given above. Sing again as I point, but this time sing the tones to la. He points to the names, they sing to la. In all these exer- cises the teacher will frequently change his keytone, lest the pupils be tempted to try to sing by absolute pitch instead of giving their attention to the relation of tones. Now I will sing Doh and you may sing the Soh to it. He sings Doh and then gives them a signal to sing Soh. I will take a different Boh and you may give me the Soh to it. He takes a different pitch for Doh and they sing the Soh to it. This he does several times, always changing the keytone. You may now name the tones as I sing them, I wUl sing to la, and when I sing the lower tone, say Boh, and when I sing the upper tone say Soh. He sings the two tones in various successions, the pupils Ex. 5. KEYS D, F and C. SOH ME DOH SOH ME DOH Now sing as I point. The teacher should drill the class thoroughly on these three tones, singing them first to the names and afterward to la. The pitch should be changed frequently. Thus far we have been studying the names and relative positions of these three tones, but now I want to call your attention to the most important and most interesting thing about them, and that is their characters, or the effects or feelings they produce upon the mind. One of them is a strong, firm tone; another is a bright, clear, grand tone; and another is a gentle, peaceful, calm tone. I want you to find out the character of each tone for yourselves. You may listen to me and as I sing give your attention speci- calling out "Doh," "Soh," etc. It may be well for him to winf each tone several times and not to change too quickly — for in stance d, d, d, d, s, s, s, b, d, d, a, a, d, s, d, 8, s, d, etc. Name them once more, and if I sing a different tone from these two, one that is neither Boh nor Soh, you may say New-tone. He sings as before, the class calling out the names, and after keeping them a little while in expectation, he sings the third tone of the scale — Me — (of course to la), which the pupils at once detect. It is better to let the new tone come in after Soh, thus, d — 8 — PI—. Is the new tone higher or lower than Boh? Is it higher or lower than Soh? The name of the new tone is Me. What is its name ? Where shall I write it on the board ? See diagram. Imitate the patterns I give you. SOH ME DOH He patterns the following or similar examples, singing to the names, which the pupils repeat. Ex. 6. /\ d d— \/ n m- Ex. 8. / / \ \ d— ally to Boh, and then tell me which of these characters it has; whether it is calm and peaceful, or clear and grand, or strong and firm. Teacher sings the following phrase or something similar, bringing out strongly the character of Doh. |d: — |d:d|pi:m|d: — |d:m|s:ni|s:s|d: — II Is Boh calm and peaceful, or clear and grand, or strong and firm? Now listen to Soh and tell me what character it has. Teacher sings the following phrase. |d:d|m:d|s:s|s:-|s:Pi|d:in|s:B|8: — H What kind of a tone is Soh? FIE8T STEP. Now listen to Me. Teacher sings the following phrase. :d|n:d|n:s|pi: — |pi:m|s:n|d:s|[n: — II What is the character of Me? What kind of tone is Dof—Soh ? Me? I call your attention to these characters or mental ef- fects of the tones not as a mere matter of curiosity, but as a real help in singing them. As you try to sing a tone, think of its mental effect and that will help you to sing it correctly. Let us now learn to sing the tones from signs repre- senting their mental effects. The strong, firm tone is represented by the closed hand thus, (see manual signs). All make it. What kind of a tone is indicated by this sign ? What is its name? The bright, clear, grand tone is represented by the open hand thus — . All make it. What kind of a tone does this sign indicate? What is its name ? And this sign (open hand, palm downwards), represents the calm, peaceful tone. All make it. What kind of a tone is indicated by this sign ? And this? — and this?— etc., etc,, etc. Give me the sign for the strong tone. The sign for the grand tone. The sign for the calm tone, — Grand tone. — Strong tone, etc. You may sing the tones as I indicate them by the Think of their mental effects as yop sing them. The teacher will give a good drill with the hand-iigns, pu- pils singing to the sol-fa names and also to la. Listen to me and when I sing the grand tone, instead of telling me its name, you may give me its sign. Teacher sings the tones to la and each time he sings soh the pupils make the sign. Now give me the sign for the calm tone when you hear it. Teacher sings as directed above, pupils make the sign. Now give the sign for the strong tone. Teacher and pupils as directed as above. Now give the sign for each tone as I sing. Teacher sings to la, pupils giving the sign for each tone. I will indicate the tones in yet another way. I will let d stand for Doh, m for 3Ie and s for Soh. Teacher writes the following exercise or a similar one. You may sing the lesson as written and you will b singing from the Tonic Sol-fa Notation. The following exercises may now be written upon the board and practiced, or they may be sung from the book, — first to the syllables and then to la. "Key C," "Key G," etc., will tell the teacher where to pitch his Doh. Although there is no indication of time in these exercises, they all have a melodic form and should be sung with a rhythmic flow. They may be sung as fast or as slow as the teacher likes; he can indicate the time by gentle taps on the table. Ex. 9. KET D. d d PI d PI m s PI s s PI PI s PI d Ex. 10. KEY F, d PI s s PI d s s PI PI s s m s d Ex. II. KET C. d S PI s d d PI s PI d PI PI s PI d Ex. 12. KET E. s PI d PI s s s PI s PI d PI s s d Ex. 13. KEY G- PI d s PI PI d s PI PI PI s s PI s d Ex. 14. KET E. n PI PI d PI PI PI s PI PI s PI d PI d Ex. 15. KET C. d S PI d PI d s PI d PI d s PI s d Ex. 16. KET D. d PI S PI s PI d s PI s d s d PI d 4 FIKST STEP. Time aad Rhythm — measure — may be introduced here if the teacher thinks best. For method see page 5. The upper octave of Doh may now be taught by the name process as that used for Me. When the pupils have discovered the new tone the teacher may proceed as foUows: Is the new tone higher or lower than Doh? Is it higher or lower than Mef Higher or lower than Soh'i The name of the new tone is Doh. What is its name ? You may think it strange that we have two tones with the same name, but it will be explained a httle later in the course. NOTB. — The nature of octaves can be better explained after the oom- plete scale has been tanght. Where shall I write it on the board ? Ex. 17. EEYs C and D. d n s d' d' s PI — m d' s — d' s PI d After a thorough drill upon the tones by pat- tern, from the Modulator, Hand-Signs and so on, the Ex. 18. KEY D. d d PI Ex. 19. KEY C. d s PI Ex. 20. uKy C. d' s PI Ex. 21. KEY D. d PI s I need not write it in full* the first letter will be suf- ficient. Teacher writes a d in the proper place. In writing, the Upper Doh is indicated by the figure 1 placed at the top of the letter thus, d', and is called One- Doh. While we are practicing this new tone I want you to be thinking about its mental effect; compare the Upper Doh with the lower and notice whether it has the same effect, or if it is stronger or firmer.' Let the new tone be practiced in connection with the others, first by patterns from the teacher, and then from the teacher's pointing. Then let the teacher by questioning develop the fact that its mental efifect is the same as the lower doh, only stronger or more positive. The manual sign for d' is the same as for d with the hand raised. The following exercises are given as specimen patterns for the teacher. Sing them first to the sol- fa syllables, and afterwards to la. SOH ME DOH d' s PI d d' s d' d' PI s s di PI di d s d di PI di PI s d' s PI following exercises may be written upon the blackboard and practiced or they may be sung from the book. PI S PI di d d' d' d' PI s PI s di d' PI di s s PI n s di d' d di d d The teacher may now explain the lower octave of Soh by simply stating that as we have an Upper Doh, so we may also have a Lower Soh. It is indicated in the notation by the figure 1 placed at the bottom of the letter thus, s,, and is called Soh- One. Its mental effect is the same, only somewhat subdued. The hand sign for s, is the same as for s with the hand lowered. Let Soh- One be practiced after the same manner as that pursued with the One-Doh, only taking a higher pitch for the key tone. The following exercises are patterns for the teacher. Ex., 22. KEYS F, A and G. PI d — d Si PI d KEV D. S n m d' d d PI SOH ME DOH ETEST STEP. 6 The class is now ready to practice the following exercises. d Ex. 23. S| KEY F. d m s s PI d d S| d PI s 8| d d Ex. 24. d KEY A, m d S| S| n d n PI s PI d S| d n Ex. 25. m KEY G. d s s PI d s PI d S| m S| d s Ex. 26. S KEY F. PI d PI d s s PI d Sl s d TIME AND Note. — The Tonic Sol-fa treatment of the subject of Time (Rhyth- aiics), differs essentially from that which has nsaaUy prevailed in this coontrji Here the measure has been regarded as the standard or nnit. In the Solfa method, the pulse, which con-esponds to our beat or part of the measure, is treated as the unit; and time is measured by a regmar Recur- rence of accent. This is undoubtedly the true philosophy. In fact some prominent teachers in this country have already developed this theory in their later works. There are several ways in which this subject may be presented to a class. The following will serve as an illustration of one way, which the teacher may vary, or condense or enlarge as he may deem best. Listen to me, I will sing a familiar tune, and as I sing I wish you to observe that there will occur in your minds, at regular intervals, a throb or pulsation of some kind that keeps time with the music. The teacher sings to la a familiar tune such as " Haste thee ^Vinter," — |d:d|s:s|l:l|s: — |f:f|m:mir:r|4: — ll&c. jr "Vesper Hymn," — |p\:slf:s|m:s|r:s|m:sif:r|d:t||d: — II bringing out the strong accent. Those who noticed the throbs or pulsations may hold up hands. I will sing again and will indicate these pulsations by taps upon the table, and you may indicate them by some motion of your hands. He sings again, giving a tap for each strong accent, the pu- pils making, perhaps, a downward motion of the hand. These throbs or heavy tones are called accents. What are they called ? I will sing again and you will notice that after each of these accents there occurs a second pulsation, but of less force. He sings again, giving a heavy tap for the strong accent and a Ught tap for each weak accent. How many noticed the light throbs ? The heavy pulsations are called strong accents, and the light ones are called weak accents. How many kinds of accents have we ? I will sing again and you may indicate every accent, strong or weak, by some motion of your hand. RHYTHM. The pupils may be directed to make a downward motioa for the strong accent and an upward motion for the weak accent. These motions are not absolutely essential and they are not in- tended as an exercise in beating time, but merely as a means for the pupils to show to the teacher that they recognize the accents. Listen again — this time I will occasionally stop singing to show you that the accents may go on in the mind with- out the music. In this exercise the teacher will occasionally stop singing for a measure or two but keeps on tapping in regular time. I wUl now show you that the accents will move quickly or slowly as the music goes fast or slow. Teacher illustrates this. You learn from all these examples that time in musi- i is measured by regularly recurring accents. How is time measured in music ? The time from one strong accent to the next strong ac- cent is called a measure. What is it called? What is a measure ? The time from any accent, strong or weak, to the next, is called a Pulse. What is it called? What is a Pulse ? Listen to me. He sings a number of measures to la, two tones to each meas- ure, accenting distinctly, thus, Za la, Za la, etc. ., After each strong pulse how many weak pulses were there? Yes, they were regularly strong, loeo^, strong weak, etc Listen again. This time he accents the first in every three, thus, 2a la la, la la la, etc. How many weak pulses followed each strong pulse ? Yes, they were regularly strong, loeak, weak, strong, ■weak, weak, etc. 6 • FIEST Different arrangements of the order of accents makes different kinds of measure. ] What makes different kinds of measure ? A measure consisting of two pulses, one strong and one weak, is called Two-pulse measure. What is it called? A measure consisting of three pulses, one strong and two weak is called Three-pulse measure. What is it called? Listen to me and tell me which kind of measure you near. Teacher sings a number of measures to la, accenting dis- tinctly, changing occasionally from two-pulse to three-pulse measure and back again, the pupils calling out " two-pulse," "three-pulse," at each change. Or he may sing a familiar tune in each kind of measure and require the pupils to tell which kind of measure the tune is in. Note. — In the Standard Course of the Tonic Sol-fa Method the pnpils are not taught to beat time until the fourth step. Mr. Curwen says — " Pu- pils should not be allowed to "beat" time until they have gained a sense of time. * * * Because uo one can well learn two things at once, and, con- sequently, those who try to do so are constantly found beating to their sing- ing instead of singing to an independent, steady beat. * • * Beating time can be of no use — 13 only a bui den to the pupil in keeping time, till it has become almost automatical, until "the time beats itself," and you know that your beating will go right whatever becomes of the voice. Then, and not till then, the beating becomes an independent test of the singing." American teachers, however, are so accustomed to teaching counting and beating time from the beginning that the teacher may introduce it here if he prefers — not as a teat in singing, but as a separate exercise as a means or a help in developing the sense of time. In two-pulse measure the countings are one two, one two, &c., and the motions of the hand are down up, down up, &c. In three-pulse measure the countings are onetwo three, one two three, &c., and the motions are down left up, down left up, ic, or dotcn right up, &c. In practicing exercises in time it is useful to have names for the different lengths. The time-name of a tone one pulse long is Taa* or Taa-ai.* The "ai" is only needed when the pupils fail to prolong the tones their full length. When we wish to indicate the strong accent we insert the letter R,, thus, Traa. This indication of the strong accent by the letter E is use- ful in the first teaching of accent, and later on in dictation. You may sing in two-pulse measure, one tone to each pulse thus, Traa Taa, Traa Taa, &c. Let this be kept going until all get into the "swing" of the rhythm — alternate measures may then be sung by the teacher and class or by two divisions of the class, being careful to keep a steady rate of movement. Then let it be done with a different rate. In this exercise be careful to have each pulse sung fully to the end. If 'it is not done so, the second vowel, ai, must be add- ed. Later on when the pupils have learned to hold the tones to their fuU length the ai may be omitted. Let us try two-pulse measure again, but this time begin with the weak pulse, thus, Taa Traa, Taa Traa, &c. Let this be practiced as above. I When the measure begins with the strong pulse it is , called the primary form of the measure. What is it called ? * Aa as in father — ai as in pail. STEP. When is a measure in the primary form ? When the measure begins with a weak pulse it is called the secondary form. What is it called? When is a meas- ure in the secondary form ? Three-pulse measure may next be practiced with the sam* process as that just given to the two-pulse measure, or it may ba- defered until later. I will now write a number of pulses on the blackboard and you may sing them as I direct. Teacher writes thus : — Taa Taa Taa Taa Taa Taa Taa Taa You may sing them in two-pulse measure commencing with a strong pulse. — Teacher indicates the time by a gentle tap of the pointer on each pulse. Again, commencing with a weak pulse. — Teacher, if he chooses, may have them sung in three-pulse measure. You see that as the exercise now stands there is noth- ing on the board to tell us which are the strong and which are the weak pulses. In the Sol-fa notation an upright bar ( I ) shows that the pulse following it is to have the strong accent; the weak accent is indicated by two dots (:) and the Double Bar (||) shows the end. Teacher while he is making the above statement inserts th© accent marks as follows: — I Taa J Taa | Taa : Taa i Taa : Taa | Taa : Taa || What does the bar indicate ? How is the weak accent indicated? What does the double bar show? The accent marks are placed at equal distances of spacf and thus represent the equal divisions of time. The space from one accent mark to the next, strong or weak, represents the time of a pulse, and the space between the bars represents the time of a measure. What represents the time of a pulse ? What represents the time of a measure? You may now sing the exercise as written. After it is sung cdrrectly, at different rates of movement, the teacher wiU write an exercise, , beginning with the weak pulse, thus: — : Taa | Taa : Taa | Taa : Taa | Taa : Taa | Taa || Let this be practiced at different rates of movement from the teacher's patterns. Then each exercise should be sung to la, teacher writing a "la" under each taa. Then erasing the las and putting a d in each pulse sing doh. Then again with thii following or similiar successions. j Taa : Taa | Taa : Taa | Taa : Taa | Taa : Taa II id dis s IP) mid dli FIBST STEP. 7 Teacher will next erase the Sol-fa notes, leaving the taas. I will sing the exercise, and if I make a mistake, you may say wrong. Teacher sings it the first time correctly ; second time with wrong accent, and the third time he makes a mistake in the sec- ond measure— prolonging the tone through both pulses, at which the pupils will say "wrong." Which measure was wrong? How many tones are indicated in the second measure ? How many did I sing? Was it a long tone or a short tone? How long was it ? Yes, I continued the tone through the second pulse — made it two pulses long. It is called a two-pulse tone. What is it called? When a tone is continued from one pulse into the next the continuation is indicated by a horizontal Une, thus, — The time-name for continuations is obtained by dropping the consonant, thus, Taa-aa. The teacher, as he makes these statements, changes the sec- ond and fourth measures so they appear thus: — I Taa : Taa I Taa : -aa | Taa : Taa | Taa : -aa || Teacher pointing to the continuation mark, asks: — What does this horizontal line indicate ? How are the time-names for continuations obtained?' How long must this tone be? What is the time-name of a two-pulse tone ? A convenient short name for two-pulse tones is Twos. What will be a good short name for one-pulse tones ? In the lesson now on the blackboard what kind of tones are required in the first and third measures? Ones. In the second and fourth? Twos. I will sing the lesson first and then you may try it. If the pupils fail to prolong the tones their full length, the- vowel Ai should be added, thus | Taa-ai: -aa-ai. When the les- son has been sung correctly to the time-names and at different rates, it should be sung to la, the teacher indicating la by an 1 under the time-names. Then he may change the measiires so as to obtain the fol- lowing or similar rhythms. Each exercise should be sung several times — to the time-names — to la — and at different rates of speed. They may also be sving in tune, the teacher writing the Sol-fa letters under the time-names as has been already sug- gested. Ex. 27. Taa Taa 1 :1 Taa 1 Taa 1 Taa -aa 1 : — Taa 1 Ex. 28. Taa -aa 1 : — Taa Taa I Taa Taa i Taa 1 11 1 : — Ex. 29. I Taa -aa 1 : — Taa Taa Taa | Taa 1 :1 1 Ex. 30. Taa -aa 1 :- 1 Taa Taa Taa 11:- Ex. 31. Taa I Taa •1 |l Ex. 33. Taa I Taa .1 1 Taa 1 Taa 1 Taa ; 1 I Taa ll -AA I -AA Taa I Taa - 1 - :1 1 -AA I Taa It is not important to dwell on the secondary forms of the meaa- are or on three-pulse measure at this point. To practice three- Taa : 1 Ex. 32. Taa I Taa :1 ll Taa 1 Taa 1 Taa 1 Taa 1 Taa 1 Taa Taa 1 Taa 1 pulse measure the teacher will write the following exercise on the board. I Taa : Ta* : Taa | Taa : Taa : Taa I Taa : Taa : Taa | Taa : Taa : Taa Let it be sung with clear accent to the time-names and to la; then the teacher will change the measures so as to obtain the followiag rhythms. Each exercise should be sung to tht time-names, to la, etc. Ex. 34. Taa ■ Taa 1 :I Taa :1 I Taa 11 -AA Taa — : 1 [ Taa 1 Taa :1 Taa :1 Taa 1 -AA Taa :— :1 FIBST STEP. Ex. 35. Taa. Taa 1 :1 Ex. 36. I Taa -aa 1 Ex. 37. Taa I Taa :1 |l Ex. 38. Taa I Taa ^1 |l Ex. 39. Taa I Taa : 1 Taa ;1 Taa ; 1 Taa : 1 Taa 1 Taa 1 Taa ll Taa :1 1 : — Taa 1 Taa 1 Taa 1 Taa 1 Taa :1 Taa :1 The pupils Me now prepared to take up the following lea- Bons. It will be observed that here is an abundance of exer- cises, but the teacher must not feel compelled to dwell upon aU that are here given, he selects only such as his class may require. A bright, smart class may sing through all of these exercises to advantage, while a dull, slow class will positively need them. Two-part Singing.— It is at first very difficult for pupils to sing independently one of another. The simplest form of two-pMt singing is that in which one division of the clas%re- peatedly strikes the same tone ("tolls the bell"), while another division sings the tune, as in exercises 40 to 42. Each part should be sung separately by all the class before singing the two together. These early exercises are best suited for those classes in which the voices are all of the same sort, that is, all men's voices, or else all women's or children's voices. K, however, the Ex. 40. KEY D. d :d s d :d d Ex. 41. KEY F. d m d :d d Ex. 42. SET C. d :d m d d : s :d :d :d rn s d s d : m s : — Taa 1 Taa 1 Taa ;1 Taa : 1 Taa : 1 Taa 1 Taa 1 Taa 1 Taa 1 Taa ;1 Taa 1 Taa 1 Taa : 1 Taa 1 Taa 1 Taa ;1 Taa : 1 Taa :1 Taa :1 - :- I Taa -aa 1 : — Taa 1 Taa 1 class is a mixed one, the ladies may take one part and the gentle- men the other, or, better stiU, half the gentlemen and half the ladies may sing each part. As soon as an exercise is sung, it should be sung over again, exchanging the parts. The teacher will explain that Braces are used both at the beginning and ending of lines to show what parts of the music may be sung together. The teacher may explain that music is naturally divided into short portions or phrases. Just before beginning a phrase is, musically considered, the best place to take breath. Where words are sung, the breath must be taken with reference to the sense of the words. More on this subject in the following stepa The dagger (f) shows where breath may be taken. Exercises 40 to 46 consist only of the tones d m a, in two- pulse measure. PI d n d :d d t n d n d :d :d : n : PI : s :d d d s d m s : — d :d :d d : — d :d d : — d :d d d rrmr r STEP. Ex. 43. SBX L. li :d :d s n Ex. 44. KEY D. : n Ex. 45. KEX F. s : m d : — n d d n : n :d : n :d : n s : — n : — s : — n d s n : n :d : n ; 8 ! m m t PI : — : n :d Ex. 46. KEY F. May be sung as a Bound in tkree parts. t * t d :d Id :— |m :ni |m : — Is :8 I Day has | gone, | night is | come, | Now each d : n s : s loved one PI d s m s n d wel :s : n : n : s n d :d come d : — home. WTien the first division reaches the note tmdor the asterisk (*) the second division strikes in at the beginning; the third divis- ion begins when the second has reached the asterisk, and so on. Exercises 47 to 51 include the tones d n s d', in two-pulse measure. Ex. 47. KEY D. d :d d :d Ex. 48. KEY D. d : m s t n d PI d Ex. 49. KEY C. : PI : s :d : m :d :d' d d' d d* d> d d' d d' PI :d' :d : 8 :d : PI :d : s :d : m s d s d PI d : 8 :d : PI :d :d d : d : d : d : d : Ex. 50. KEY C. d :d d :d Great and Trees and n n d :d good is birds and 8 : 8 PI : PI God our flow'rs de ■ d' : s d' : 8 n : — PI : 8 d : — n : PI PI : n d : — d : m d : — Fa . ther, Great a&d good. great and good. dare Him Great and good, great and good. 10 FIRST STEP. Ex. 51. KEY D. Bound for four parts. s m : d m : s dl :d! ' s : s 8 : s S s : — in sing - ing t Hal ■ le - lu - jahl Hal . le - lu jah ! A men. m n : m n :fi d : n S : m d d :- men, Hal - le - lu ■ jahl Hal . le - lu Jah! A men. Exercises 52 to 55 consist of the tones d m b d', in three-pulse measure. If three-pulse measure has not yet been taught these four exercises may be deferred. Ex. 52. KEY Q . U . U D. n . I'l ' m d ; PI '. s d' . t d' :d' : d: 8 s : 8 d' s :m d d : d : d d n '. n '. n n n :n :n n n : 8 : m d . . Ex. 53. KEY d :d :d c. n :— . t m : m : m 8 : — . t 8 : s : s d' :d'. :d: s : 8 : 8 d :— : — d :- :d d :— d :— : d n ! — m : m n :— : m m : m d • * Ex. 54. KEY d : n : d c. s : — ._t S : m : 8 dl :— . t 8 : d' : 8 m : s : m d :n : s d! :— :— d :- :d n m :— : n m ; — n : n d :- : d d : n d • Ex. 55. KEY d :m :8 D. 8 : m : d m :— : s m :— t m : 8 : dl d' : 8 : m 8 :— :m d :— :— d :— :— d :— :— — :— :— m — : — n '. — d Exercises 56 to 58 include sj. Ex. 56. KEY 1 d '.m F. s : n d PI 8 _ f n d s :m s 8 d 1 d :d si Isi d d Si d d n :n d si d Ex. 57. KE^ d :- D. n : S s d' t d! 8 m 8 d d : d si : S'l m d n :n d :n si d Ex. 58. KEi d :- r G. B n d t s m s m d d :- m m d si d m :m d : d si S i d riBST STEP. 11 Half-pulse Tones may now be taught, or if the teacher prefers, they may be transferred to the next step. The following lesson may be written on the board, il :I II :1 U -.1 II :1 II a"^d after it is sung correctly the teacher may say : I will sing the lesson and if I make a mistake you may say wrong. He may sing it correctly the first time ; with wrong accent the second, and the third time he sings two tones in the iirst pulse of the second measure at which the pupils will say wrong. Which measure was wrong ? Which pulse of that measure ? How many tones are indicated in that pulse ? How many did I sing ? Two tones sung in the time of one pulse are called Half-pulse Tones or Halves. What are they called ? The time-name of the first half is Taa — of the second half Tai. What is the time-name of the first half ? Second half ? The sign for an equally divided pulse is a dot in the middle, thus, | . : The teacher changes the measures to obtain the following rhythms. They should be practiced carefully — from the teacher's patterns — to the time-measures — to la, etc. The Finger Signs for time (Taa, Taatai and Taa-aa) may be introduced here with good effect. These signs are gen- erally given with the left hand, to distinguish them from the Hand Signs for Tune, which are chiefly given with the right. Of course the teacher may use his right hand if he finds it easier. The back of the hand is toward the pupils, and the thumb should not be seen, for we never divide a pulse into five equal parts. The time may be marked either by slight forward and backward movements of the hand, or by the right hand tapping the pulses on the top of the left or beating time in the regular way close by. The Time Chart also affords a most excellent means for drilling a class in time. It is to Time what the modulator is to Tune. Taa Taa Taa - TAI Taa Taa Taa Taa -AA 1 :1 1 .1 :1 1 :1 1 Taa Taa Taa - TAI Taa Taa - TAI Taa - TAI Taa -AA 1 :1 1 .1 :1 1 .1 :1 .1 1 d :m 8 . 8 :m s . 8 :n . m d d : B m . 8 : d m .d : 8 . m d Taa Taa Taa - TAI Taa Taa - TAI Taa - TAI Taa - TAI Taa 1 :1 1 .1 :l 1 .1 :1 .1 1 .1 :1 d :n 8 . m :d s . m : s . m 8 . m :d d> : s m .8 :d' d' . s : m . s S .n :d Taa Taa - TAI Taa Taa - lAI Taa - TAI Taa - TAI Taa -AA 1 :1 .1 1 :1 .1 1 .1 :1 .1 1 d :n .8 d' : 8 . m s .m :s . m d d : 8, .8, d • PI d .d :s, . n d Taa - TAI Taa Taa - TAI Taa Taa - TAI Taa - TAI Taa - TAX Taa 1 .1 :1 1 .1 :1 1 .1 :1 .1 1 .1 :1 KEY F. Si . d :d S| .d :d s . m : s . n d .d :d 1.2 FTRST STEP. Taatai-ing in tune. — By "taataing" is meant singing an exercise (on one tone) to the time-names, just as "Sol-fa-ing" is singing to the Sol-fa syllables. "Taataing in tune " is singing the tune to the time-names. Mr. Cui-wen says "Laaing on one tone helps to form that abstract idea of a rhythm which is de- Bired. But such an idea is never truly established until the ear can recognize a rhythm as the same, though all the various dis- guises which different tune-forms put upon it. To learn the ab- stract you must recognize it in many concretes. * * * Ab a help to this distinct conception of rhythm, it is useful to taalai each time-exercise on various tune-forms." After the above time-exercises have been sung to the time- names and to la, let them be sung to the tunes printed under each, and lastly let the tunes be sung to the time-names. Exercises 59 to 63 introduce half-pulse tones in two-pulse measure. Each exercise should be taataid on one tone to secure correct rhythm. Ex. 59. KEY C. d d .d :d :d.d s . s : m . s PI . PI : PI . n t d' : — t PI : PI . n d' . s : PI . s PI : PI . PI : PI :d . d PI. PI :s . s d : — d :- Ex. 60. KET D. d . PI : PI d . PI : PI d :d s :s d . PI : PI PI : — d : — PI . s :s PI : PI PI . s :s m : PI d' :s PI . s : s II Ex. 61. KEY D. d. d:d. d d. d:d. d PI . R : PI . PI d .d :d .d s . PI : d . n PI . PI : PI . PI I PI . PI : PI . PI Id.d :d.d s . s : s . s PI . PI : PI . PI d' . s : n . s PI . PI : PI . PI {1 {1 {I il Ex. 62. d . d What a S On my Ex. 63. d :d Roam - ing S Tra KEY G. Round in four parts. :d .d Id .d :d .d « 1 ^ . PI : PI . PI PI . n : PI . PI clat - ter! 1 "SYhat's the mat - ter! \ John - ny's gone and 1 spilt the bat - ter : s . S :s, :si 1' nice new 1 clothes, oh. 1 dear! oh. 1 dear! KEY G. Round in four parts. :S| IPi :- Id :- 1 ^ : n 1* :d in 1 0 ver 1 mead - - 1 0W8, Sing - ing 1 ev er 1 gai ■ |iy : s . S : s . S : s . S : s la la \i la, ITra la la la lla la. Modulator Voluntaries- — At every lesson the teacher ■hould drill the class in following his pointing on the Modulator, toUhout a pattern. This exercise is called a Voluntary. The pu- pils most be taught to follow promptly, and to hold the tones as long as the pointer stays on a note. The teacher must be careful not to vary from the "Step" at which the class is en- gaged ; that is, in the tirst step he must use only the tones d m s d' 8, ; in the second step he may use the tones d Pi s t r and their replicates, but not f and 1. It is a good plan to cover all the eyllables not required by pinning paper over them. The teach- er must foUow his own fancy in his voluntaries, taking care to adapt them to the capacity of his class, not to make them too difficult nor too easy, but progressive as his pupils gain faclity. He should make them as beautiful and attractive as he can, in- troducing snatches of familiar tunes now and then; and above all things he must avoid faUing into self-repeating habits, that is, constantly repeating favorite phrases which the pupils come to know by heart. The teacher is recommended to practicehis vol- untaries at home; write them down, if necessary, and commit them to memory. See the pamphlet "Hints for Voluntaries." FIRST STEP. The Time Chart is intended to be used for time-volun- taries in the same way that the Modulator is used for tune-vol- uataries. The Hand-Signs in connection with mental effects are to be used at every lesson. The Finger- Signs for Time are also considered very useful for exercises in time. Mental EflFects should be frequently reviewed, accom- panied with fresh illustrations. It is only in this way the impres- sion can be deepened. The perception of mental effect is at first very dim, but it is cumulative and the more attention given to it the clearer and stronger it becomes. See pamphlet "Studies in Mental Effect." Ear Exercises. — At every lesson the teacher will exer- cise his class in naming the tones he sings. There are several ways in which this may be done. First way, teacher sings sev- eral tones to figures and requires the pupil to tell him to which figure or figures he sung b or pi etc. Thus, "Tell me to which figure I sing s " — sings d in ni B d — or d d n d s n d — or m d b in etc. 12345 1234567 1234 "Tell me to which figure I sing d"— sings B PI 8 d PI — orpisdndspi etc. 12345 1234567 The same process is given to other tones. Another way, the teacher sings the tones to la and the pupils make the manual sign for the tone required. Again, the teacher gives the key- tone and chord and after a slight pause sings to la, lo, loo, lai or any vowel either d pi s d' or s, and requires the pupils to tell him what tone be sung, thus :— |d :- |B :pi |d :- T* II loo Again, the teacher sings to la and the pupils name or give the hand signs for all the tones. Again, the teacher sings two or three or four or more tones to la, as, d pi d s, etc., which the pu- pils repeat after him, first to la, then to the Sol-fa syllables. When the pupils can do this quite readily they will then be re- quired to simply give the names without singing the tones. The teacher may then sing to different vowels, as 8 PI s d le lo lai la and the pupils give the names. In time ear-exercises the teacher sings two, three or four measures on one tone to la, and requires the pupils to teU him the length of the tones in each measure, or they may Taatai or write what the teacher sings. Again the teacher sol-fas a short exer- cise which the pupils taatai in iunt. It is a great advantage when the answers to these ear exercises can be written by the pupi and afterward examined by the teacher or his assistants. Th answers should come from all the pupils, not merely from a fe See pamphlet ' ' Hints for Ear Exercises. " Writing Exercises. — Notation is best taught by writing, and the thing noted is more quickly and easily practiced when the notation is clear and familiar to the mind. Hence the value of writing exercises. The teacher instructs his pupils to draw on slate or paper four (or eight or sixteen) measures in the pri- mary (or secondary) form, thus: — I : I : I : I : I etc., or : | : | : | : | || and then dictates the notes to be written in each pulse, or ha may write them on the blackboard for the pupils to copy. Dictation. — The time-names furnish a means of dictating, by very brief orders, one pulse at a time, "Accent" "Time " and "Tune" at once. The following example would be dictated thus: "Prepare four two-pulse measures, secondary form." "Taa soh-one," "Ts,ij. doh," "TjulTai me doh," "Traa so A-one," "Taa doh," "Traatai me doh," "Taa soh," "Tit^iA doli." :■, {d -Pi.djB, :d |Pi.d:8 |d y Pointing from Memory.— At the close of each lesson the pupils should take pride in showing their teacher how many of the previous exercises they can point on the Modulator and Sol-fa from memory. Musical memory should be cultivated from the first, because it vdW greatly facilitate the progress of the pupil in future steps, and vnll be of constant service in af- ter life. To encourage this exercise the pupils should be provi- ded with small modulators upon which they can practice point- ing at home. WTiere it is feasible the whole class should be sup- plied with "Hand Modulators" and point and sing together, holding their modulators in such way that the teacher can over- look all. Writing from Memory. — Pupils should also be well practiced in writing tunes from memory. Even where it is diflS- cult for a whole class to point on their modulators from memory at the same moment, so as to be seen by the teacher, it is not difficult to engage a whole class at the same moment in writing from memory the tunes they have learned. At the close of every lesson, one or two of the exercises should be chosen for the memory exercise of the next meeting. The pupil (at home) should copy that exercise six or ten times from the book, until he finds by testing himself that he can write it from memory. Keep within the Step. — The teacher must fully under- stand that in all these exercises he must keep within the step at which the class is engaged. All the topics of the step should be mastered before the next step is entered. For instructions in Voice Training, Breathing etc., belonging to this Step the teacher will consult the Standard Course. 14 FIBST STEP. QUESTIONS FOR WRITTEN OR ORAL EXAMINATION. DOCTBINE. 1 WTiat are the first three tones you have learned thus farf S. Which of these is the lowest tone ? The next higher f The highest 1 3 Which is the more important, the relative po- sition of these tones or their mental effects t 4. What is the mental effect of Doh t Of Met Of Soh t 5. How are these mental effects represented to the eyel 6. Besides the hand-signs and the modulator what other way have we of indicating or writing the tones 1 7. What letter represents Doh t Me t Soh t 8. Whatis this method of musical notation caUedf 9. What other tones have yon learned beside doh, me, loht 10. What is the mental effect of one-doh t 11. What is its hand-sign ? 12. How is it indicated in the notation ? 13. What is the mental effect of toh-one t 14. What is its hand-sign! 15. How is it indicated in the notation! 16. How is time in music measured? 17. How many kinds of accents have yon learned! 18. What is the time from one strong accent to the next strong accent called ! 19. What is the time from any accent to the next called? 20. Is there but one order ot arrangement of ac- cents or may there be different arrange- ments ? 21. What do different arrangements of accents produce ? 22. How many kinds of measure have you learned and what are they ? 23. What is the order of accents in two-pulse measure ? Three-pulse measure ? 24. When is a measure in its primary form! Sec- ondary? 25. How is the strong accent indicated in the no tation? The weak accent? 26. What represents the time of a pulse? Of a measure ? 27. What is the time-name of a one-pulse tone? 28. How is the strong accent indicated in the time- names ? 29. When a tone is continued from one pulse into the next, how is the continuation marked? 30. How are the time-names for continuations ob- tained? 31. When two tones are sung in the time of one pulse, what are they called ! 32. What is tlie time-name of the first half of a pulse? The second? 33. How are half-pulse tones indicated in the no- tation ? 34. How is the end of an exercise indicated! 35. Sing tn In ihp Snh to any Doh the teacher glvM. 36. Sing in the same manner the Soh-one. 37. Sing in the same manner the One-Doh. 38. Sing in the same manner the Me. 39. Sing in the same manner Soh to any One-Doh the teacher gives. 40. Sing in the same manner the Me. 41. Sing in the same manner the Doh. 42. Taatai the upper part in one of the Sxs. 59, 60, or 61. PRACTICE. 43. Taatai in tune one of the Exs. 59, 60, or 61, but not the same as in the last req^uirement, chosen by the teacher. 44. Point on the modulator from memory any one of the Exs. 50, 51, 52, 54, 56, 58, chosen by the teacher. 45. Write from memory another of these exercises. 46. From any phrase (belonging to this step), sung to figures, teU your teacher, or write down, which figure was sung to Me. 47. Ditto Soh. 48. Ditto Doh. 49. Ditto Soh,. 50. Having heard the chord, tell or write down which tone wag sung to la. 51. Follow the teacher's pointing on the modulator in a new voluntary, containing Doh, Me, S»h. Doh^, and Soh,, 3?aa, Taa-aa and Taatai. 52. Write from dictation and afterwards sing a similar exercise. KEY D. Round ill four parts. Ess ET Yew. {I H {I d .d Now the * n . m Don't be S Cour d' .di WeU be : d .d Sec - ond ; PI . m frightened, : d' gun, PI Step . PI : PI . PI Is . S : s . S is com - ing- 1 read - y ev - ery . S : s . S Id' . d' : di . di your cour - age. 1 Soon it will be In I Cour . di : d' Id . d : d .d ery one, 1 Soon it will be s one, d' done: d done. SECOND STEP. In addition to the tones i, n, b, d' and s, to recognize and produce Ray and Te. To distinguish and produce the medium accent and the four-pulse and six-pulse meeisures. The whole-pvlse sUence, half -pulse tones in three-pidse measure, pulse-and-a-half-tones and quarter-pulse tones in their simplest forms. To introduce Ray and Te the teacher may proceed somewhat as follows. After re^"iewing the tones already taught, and a short drill from the Modulator or hand-signs, he may say: — Name the tones I sing and if I sing a different tone from those you have learned, one that is not d, m, or s, you may say new tone. The teacher sings the tones to la, pupUs calling out "Doh," "Soh" and so on, and after keeping them a moment or two in expectation he sings Ray, the second tone of the scale, (of course to la) which the pupils at once detect as a new tone. Is the new tone higher or lower than Doh ? Is it higher or lower than Jfe? If the answers are not prompt and correct the exercise must be repeated. The name of the new tone is Bay. He writes it on the board or shows it on the Modulator. As we have an upper Doh so also we call have an up- per Bay, and there is also an upper Me and an upper Soh. They are called one-Bay, one-Me and one-Soh. He writes them on the board or shows them on the modulator. Name the tones again and if I sing a tone you have not heard before, say New-tone. He sings the tones to la as before, pupils call- ing out the names, and after a moment or two he sings Te, the seventh tone of the scale. He ques- tions the class as to the position of the new tone, writes its name on the board or showti it 'on the modulator, and also its lower octave. See diagram. He then patterns and points on the modulator such exercises as these — Ex. 63. KEY C. { I d : m I s :— I s : t I r' :— I r' : 1 1 s : d' I s : n I d :— I Ex. 64. KEY F. {| d : m I s : n I s, : ti I r : t| I Si : s i PI : 8 I d : — II Ex. 65. Kr.Y A. {| d : m I d :sr lt| :r 1 1, : s, | d : s,| m : s, | d : — | Ex. 66. KEY F. {| 3 : m I d : m I s : r 1 1, : r I s : n | s : s, | d : — | Ex. 67. J:j: D. {Im:d|in:s|r :tilr:s|n:B|r:Bld:— 1 n' DOH' TE SOH ME RAY DOH t, 8| The teacher next brings up in review the mental effects of doh, me and soh, and then proceeds to develope the mental ef- fects of ray and te, somewhat as foUows. Now give your attention to the mental effect of ray in the examples I shall sing, and notice first whether ray gives a feeUng of rest, of satisfaction, or whether it is the reverse of that, is restless, expectant, unsatisfied. Teacher sings in any key suited to his voice, the foUowiog exercises, making a slight pause before the last tone. d' :s :r' rl . _ All sing it. — ymi satisfied to stop on that tone or 4o you ex- pect suuaething else ? Listen again. Teacher sings. : , d' : s I m : s I d> m' : — All sing the same. — Is that as satisfactory as the former or more so? Listen again. Teacher sings. I ,d' : 8 1 PI : 8 I rn' : r' fr' : — II AU sing it. — Satisfactory or expectant? Listen again. Teacher sings. I d' : s I n : s I PI' : r' fd' : — II AU sing it. — Satisfactory or expectant? You learn from these examples that ray is a restless, moving, expectant tone, that it leans upon doh or me. But listen again and notice whether it has a depressing, despondmg, hopeless effect, or whether it is hopeful, rous- ing, animating. Teacher sings the following, which the pupils may repeat. : 8 . d' I r' : d' . t I d' : s . d' l^r' : n' . r' | d' || What is its effect, depressing and hopeless, or hopt^ rousing, animating? 16 SECOND STEP. It will be well to sing the axerciBe ^ain, substituting doh for ray, thtie, :8. d' Id' :d'. t |d' :b. d' |d' :fn'.d'|d' H and again with ray as at first; this will produce a contrast that will make ray stand out very clearly. The following examples will illustrate the mental effect of te. The teacher may use them in his own way, to show that Wait :d long, r Wont I S while. yon :8 hnr T. F. S. .8 ry? Tuning Exercises are designed for the purpose of teach- ing voices singing different parts to study me another, and to chord weU together. To some extent this is done in every exercise, but it requires also separate study. The teacher, iu these exer- cises endeavors to secure from the class a uniformly clear, soft tone — making a signal to any one whose voice is so prominent as to stand out from the rest, — and to maiutaiu the perfect tun- ing into each other of all the parts of the chord. For some time the accord of the voices will be very rough and imperfect, but soft singing and listening will amend the fault. The exercises may be sung from the book, but a better plan is to sing them from the blackboard, as iu this way a correct position of the pupU is secured, and the teacher can readily call the attention of all, in a moment, to any point in the exercise. They may be sung as foUows — By three sections of women's voices, one sec- tion singing the first part, another the second and another the thjSrd. When moderately well done, the parts should be ex- changed, those who sang the first part taking the second, the second taking the third and the third the first. At the next change the same process is repeated. The exercises may then be sung in the same manner by three sections of men's voices. Boys whose voices have not changed will sing with th women. Again, let alT the men sing the third part, and tw* sections of women take the first and second; again, all the women sing the first part, and the men in two sections taking the sec- ond and third. Again, all the women sing the second part, and the men in two sections the first and third. To be sung first to the sol-fa syllables, then to la and to loo. Ex. 74. KEYS F and G. TUNING EXERCISES. Ist. s PI s PI : s 8 2d. n m : PI d PI d : PI PI 3d. d : — d :d d d : S| d For the following exercises in four parts the class should be divided into four sections, two sections of ladies taking the two upper parts and two sections of gentlemen taking the two lower parts. This division of the voices must not be considered aa a final classification unto Soprano, Contralto, Tenor and Base. That will come later in the course. Ex. 75. KEY C. Sing first aa written. Second time. Soprano and Tenor change parts. Third time, Soprano and Contralto change parte, Contralto sing- ing d t, d instead of d' t d' . Ex. 76. KEY F. First as written. Second time, Soprano take Tenor, Tenor take Con- tralto, singing s instead of s,, Contralto take Soprano. Third time. So- prano and Contralto change parts, Soprano singing s instead of s, . d s : PI d : — d': — di:t d': — d S| : PI d : — d : — d :t| d : — d s : PI d : — m : — m : r n : — d S| : m d : — s, :— S| :S| s, : — d s : PI d : — s : — s : s s : — d S| : PI d : — m : — PI : r m : — d s : n d :- s : s d : — d Si : m d : — Si :S| d : — 18 SECOND STEP. Ex. 77. KEY C. First as written. Seoond time. Soprano and Tenor change parts. Third time. Soprano take Contralto — Contralto take Tenor, singing t, in- stead of t — Tenor take Soprano. Ex. 78. EBT F. First as -written. Second time. Soprano take Tenor — Tenor tak< Contralto, singing s instead of s, , Contralto take Soprano. Third tiaie. Soprano and (>}ncralto change parts. Soprano singing ■ instead of i, d : — m :d s : — s : — 3 : s s : — d : — m : d s, : — t, :- d :t, d :— d : — m :d 8 : — r : — n : r m : — d : — n : d S| : — 3, : — 3, :b, 3, : — d : — m : d s : — t : — d':t d': — d m : d S| : — r : — PI :r PI :— d :- tn : d s : S| d : — d :- m : d 3, :3, d :— ^ Ex 79. KEY G. S| S| :d m m : — m : PI 3 : m r S| : — S| :t, r r PI :d d :t, d : — S| S| :d m d : — d :d d :d t, s, t — Si :t, r t, d : 3| Sl :S| 3, : — Si S| :d n s : — s : s s : 3 s Si : — S| :t, r s 3 : PI PI :r PI : — S| S| :d m d : — d :d PI :d S| S| : — S| :t, r S| d :d Sl :s, d : — Breathing Places. — It was taught in the first step that jhe best places to take breath, musically considered, are at the be- beginning of the musical phrases. But the sense of the words is of more importance than musical phrasing. It frequently hap- pens that the phrasing of the words and phrasing of the music do not agree. In such cases breath must be taken where it will not destroy the sense of the words. In the following example the musical phrasing would allow a breath to be taken at the dag- ger (t) and this would suit the first verse; but it would not do for the second verse; and the breathing places neither of the first nor second verses would answer for the third. KEY G. d :8, . 1. Light of 2. Son of 3. Je - SU8 t d world, Fath from the Sav - iour Lord most proud con - d dear! high, cealed. To take breath before a strong pulse the time of the breath must be taken from the end of the previous weak pulse; to take breath before a weak pulse the time of it may be taken from the beginning of the same pulse. It is not only convenient but ne- cessary to take breath before all long sustained tones or long con- nected phrases. It is recommended that before singing the words of a tuns they should be studied separately. The teacher may read the portion of words from one breathing place to another, which the pupils are to repeat after him and mark the breathing place with pencil. In this exercise particular attention should be given to pronunciation; the vowels should be clear and pure and the con- sonants sharp and distinct. Expression is such a use of loudness and softness in sing- ing as tends to make the music more expressive. Even in the earli- est steps, pupils enjoy thus embellishing their music. In the fifth step the subject is treated more fuUy. Here it is enough to draw attention occasionally to what is indeed the chief part of ex- pression — that which is suggested by the words. First there must be fixed the medium or normal degree of force proper to the ijeneral seiUivient of the piece, — then whatever words are print- ed in the common type are to be sung with that appropriate medi- um force, whatever words are printed in sMAiiL oapitaTiS are to be sung louder, and whatever words are printed in italics are to be sung more soJUy. Many of the pieces in this book are left to be marked by the pupils under the direction of the teacher. A sin- gle line drawn under the words by pen or pencil will indicate italics, and a double line small capitals. !1 II Ex. 80. KEY F d Let d Left, Round for two parts. r 1" : r Id :pi Is |m : r 1" : s us 1 sing a 1 mer - ry 1 song. 1 While we 1 gai - ly t, 1^ :t, |d.d:d j t| . t| : t| :t, 1^ :t, right. 1 left, right. 1 steadi - ly, 1 steadi - ly. I Left, right, 1 left. rig m : r march a d : S| March a d long. d long. SECOND STEP. 19 Ex. 81. xsY 6. SWELL THE ANTHEM, a : a a : S| a : PI s s : s s : Pt r : d 4. t| s, :si S| : Pi| S| :d ti : — t, :t, d :d t, :d S| ; — 1. Swell the an - them, raise the song; Prais - es to onr God be - long; of sings, Frais to the Twiner of kings PI : p\ PI . U s ! PI r • r ; r PI : S S ; PI r • d :d d :d PI :d Si 8| :si d : d S| :S| S| : — d :d d :S| d • : PI s S : s s : PI r : r d S| :si S| : pi| S| :d tl t| :t, d :d d :t, d Saints and an - gels join to smg Prais - es to the heav'n -ly King. Let us join the chor - al song. And the grate - ful notes pro - long. m : PI PI :d S : PI r r : r PI : s S : s PI d :d d :d PI :d S| S| :si d :d S| :s, d The Slur is a horizontal line drawn nnder two or more notes and shows that one syllable of the words is to be sung to &s •many notes as are thus connected. CHEERFUL LABOR. Ex. 82. KEY D. d : PI : s d' : : s s :t :r' di d' : s :d' di : s : PI d :d : PI PI : : s s : r : r PI PI : PI : PI PI : PI :d 1. Let us, dear broth - ers, Oheer-ful - ly toil; Nev - er from la - bor. No, 2. Rich is the treas • ure Now to be won; Toil in fuU meas - ure. Till n : s :di s : :di t :ri :t di S :di : S s : d' : s d :d :d d : : PI S : s : s d d :d :d d : d :d s : r : n d : PI : s d' : s :d' d' : s : PI s : r : PI d : t, :t, :t, d : PI : PI : PI PI : PI :d t, :t, :t, d : nev - er re - coil Nev - er from la - bor, No, nev - er re - coil. time shall be Toil in full meas - ure, TiU time shall be done. s : s : s m : S :d' : S S :d' : s S : s : s n : S| : S| :S| d : d :d :d d :d :d S| :s, :S| d : Ex. 83. KET C. Round for two parts. ildi.dird' It :t Id'.d' i Icheerful-ly Iwork, or |mer-ri-ly PI play, : n But al : PI ways r strive : r that PJ you : r may A. L. C. d :- say. II? r ihave PI done d some S Igood :- It, to d day. 20 Ex. 84. EET E^. n . n d .d 1. Pur-er 2. Calmer 3. Quicker S . S d .d d dear snr firm n d SECOND STEP. LONGINGS. :d . PI s : m r . r :d . r PI PI . n :d . m \ ! :d .d d :d t, . ti :d .t, d ; — d . d :d .d 1 yet and pur - - er I would be in mind, Dear- er yet and [ yet and calm - - er Tri - al bear, and pain. Sur - er yet and > yet (juick 6r Hi V - er on - ward press. Firm- er yet and I J PI J . a PI : s S S : PI . S S ! — S . S : PI .d ) :d .d d :d S| . Si :s, . S| d ; — d . d :d .d / * m • in r • r • n . r A U. • , r . r : t| . r s : r :d ti .t, :t, .t, d t, .ti :si • t, t, :t, er Ev - 'ry du - ty find; Hop - ing stUl and trust - ing er Peace at last to gain; Snff - 'ring stm and do - - ing. er Step as I pro- gress; Oft these earn - est long ings, : s S . S : s . S PI S . S : r . r r : S :d S| . s, :si . S, d S, . S| :si . S| Sl :si n . PI : d . PI s : — r .r :t| . r s : r PI .PI : r . r d d .d :d . d ti :- t| . t| : S| . ti tl :t, d .d :t| .t| d God with -out a fear, Pa - tient-ly be- liev - - ing He will make all clear. To his wiU re - signed, And to God sub- du - - ing Heart, and will, and mind. Swell within my breast, Yet their in - ner mean - ing Ne'er can be ex - pressed. s . s : PI . d r : — s . s : r . r r , : s s . s : s . s PI d .d :d . d s, : — S| . S| : S| . S| :s, d . d : S| . S| d The Medium Accent should now be explained. One or more of the following tunes may be sung by the teacher, (to la) first in two-pulse measure with every other accent strong and heavy, and then in four-pulse measure by changing every alter- nate strong accent into a.medium. It may be well to let the pu- pils imitate the teacher's examples. Id : d d Ir : d I n |d:d|r :r|ni:n|r:r |n:8 |f :B|r :r |d: — || |pi :b |f :8 |n :b |r :b | m :s |f :r |d :t, \i :— j| Also the following, first in three-pulse measure as written, and then in sis-pulse measure by changing every alternate strong accent into a medium. ': 1 I n : — : n I m : - |n :-:-|r : 1 8, : d : r | m : - ;d |r :-|d ;r |r :- : ;- II or I n :— : n [8 1 8. : 8, : 8. 1 8. "1 1 "I ;-:f t iS, :8. t :r{r :r :d|pi:n:r|d Also the following time-exercises may be written on the blackboard and sung first as written, and then with every othei strong accent made medium. TWO-PTTLSE MEAStTRE. FOTXR-PTTLSE MEASIHtE. 1 i THREE PXJXSB MEAStTRB. S 11 SrX-PTJLSE-MEASXTRH. g :1 :1 :1 1 :1 1 :1 1 :1 :1 II :1 :1 :1 1 :1 :1 ■r SECOND STEP. 21 When the pupils have distinguished the medium accent and can produce it, the teacher will explaiH that the medium accent changes two two-pulse-measures into a four-pulse measure, and two three-pulse measures into a six-pulse measure. In four-pulse measure the accents are arranged Ln the order strong, weak, SDSDiuM, weak, (as in the words " mo-wien-TA-ry," "plan-e-TA-ry.") In six-pulse measure the accents are arranged in the order strong, weak, weak, medium, weak, weak (as in the words "spir-ii-w-AXi-^ ty," im-mw-ta-BiL-i-<2/.") The medium accent is indicated in the notation by a short, thin bar. In the time-names, the medium accent is indicated, when necessary (as in dictation exercises) by the letter L, thus, Tiaa, Tiaatai, etc. In Taataing, the L is not usefuL The teacher must not expect too great a nicety of dis- tinction at first. The finer points both of time and tune require much practice. The following time-exercises may now be practiced from thel teacher's pattern, first with the time-names and then to la. It will be well in exercises 85 and 87 to sing each measure four times, as a separate exercise, before singing the four meas- ures continuously. In exercises 86 and 88 the portions marked off by the dagger (t) should be treated in the same way. Addi- tional time-exercises are obtained by Taataing the rounds and tunes on one tone. Ex. 85. 11 :1 TfiAA TAA u TLAA :1 TAA 1 TBAA II TAA :1 TAA 11 I TBAA :1 TAA 1 TBAA Ex. 86. :1 11 11 :1 11 :- TAA I TBAA - AA TAA TAA I TBAA - AA t :1 TAA 1 :1 II :1 1 :- I- TBAA TAA TAA TAA TBAA • AA- AA Ex. 87, I^rst slowly, beating six times to the measure, then qniokly, beating twloe. 11 :1 :1 |1 :1 :1 11 :-:-|l :-:-|l :1 :1 |1 :-:l 11 I TBAA TAA TAA TLAA TAA TAA TBAA - AA - AA TLAA - AA - AA I TBAA TAA TAA TAA - AA TAA TBAA - AA-AA-AA-AA-AA 1 : — :1 11 : — :1 11 :1 :1 |1 : — : — 11 : — :1 |1 :1 : 1 |1 ]-:-:— ' TBAA - AA TAA TAA - AA TAA I TBAA TAA TAA TAA - AA - AA I TBAA - AA TAA TAA TAA TAA I TBAA - AA-AA-AA - AA-AA Ex. 88. t t :l 11 :-:l |1 :1 :1 11 :-:-|l :-:l |1 :1 :1 |1 :-:l |1 :_:_|_:_ TAA I TBAA- AA TAA TAA TAA TAA ItBAA- AA-AA TAA - AA TAA I TBAA TAA TAA TAA - AA TAA | TBAA -AA ■ AA < AA - AA :1 11 :— 11 :-:-|l :1 :1 |1 11 :1 :1 |1 :1 :1 11 :_;_|_:- TAA ITBAA-AA - AA TBAA - AA-AA | TBAA TAA TAA TAA - AA TAA ITBAA TAA TAA TAA TAA TAA ItBAA-AA - AA - Ai - AA Ex. 89. 1 1 . 1 : 1 . 1 1 1 : 1 1 1 . 1 : 1 . 1 jl ^ - 1 1 : 1 . 1 1 1 . 1 : 1 1 1 : 1 . J 1 1 . - I TAA-TAI TAA-TAI TAA TAA I TAA-TAI TAA-TAI TAA - AA I TAA TAA-TAI TAA-TAI TAA I TAA TAA-TAI TA» • - AA Ex. 90. 11 :1 :1.1|1 :1 :1 11 :1. 1:1. Ill 11.1:1 :1 11 :1.1:1 11.1:1.1:1.111 I TAA TAA TAATAll TAA TAA TAA I TAA TAATAI, &0. Ex. 91. E£Z EI2. Bound m three parts. * (Is :8 |n :d |t| :s, |d |r I |Ev - er bloom - ing, | ev - er gay, |Bt t| |d :tn |r :r |d er wel - come, jlove - ly Ma^ 22 SECOND STEP. Ex. 92. Key F. Eotmd in four paxts. n :m |ni :r Id :d |d :t| Id :S| |d :r in :pi |n are met let | mirth a - botind, and | let the catch and glee go round { Now I KET A. d : S| sum - mer d : Si SWEET Id :pi crowns the Id :d s pleas ■ m n ant I d SUMMER I d earth Id :s, Si With CROWNS. s, : t| beau - ty, s, : t, |r light, Ir : s and :t, m love, d :d d : S| Id : n s : n Id :s, ti : r Is :t, d : — 1- And clear blue skies. with smil - mg mirth, Speak bless - ings from a - bove. :d d : S| Id :d t. : s, Id :s, t| : r It, : s, d : — 1- Ex. 94. KEY F. Bound in kiree parts. * d :t| Id :r.r|m :r In :s {s.s:s.s|s fol - low I me to the | green - wood | tree, Come j fol - low, fol-Iowlme. |:s, I, ( Come I Ex. 95. EST C. Bound in four parts. {Im :m |r Id : m |s : — I d' : d' 1 1 . d' : r'. 1 1 d' :s |s :- ( jCome let's laugh, I come let's sing, I Win - ter shall as merry I be as Spring. Ex. 96. KEv G. Bound in four parts. (|d.d:t|.t||d :S| |[n.n:r.r|in :d I iHappy, happy New Year, I Happy, happy New Tear, |s.3:s.s|s : m I Happy, happy New Tear, Sj.S,: S|.S|| d Hear the merry bell. II Ex. 97. KEY C. Bound in two parts. d :d :d |n :n :rn|s : — : — jd' : — : Mer-ri - ly, mer-ri - ly | danc ... ing, — It : t : t I r' : r' : r' Id' : — : — | Mer-ri - ly, mer-ri - ly | glanc s : — : - ing, il n :n :m jd :d :d |pi : — : — |m : — : Come the bright rays of the mom - - - ing, s :s :s jt :t :t Id' :- Fill -ing all hearts with de -| light !l Ex. 98. KEY G. Bound in two parts. n :m : n |r :r :r Is :s :s | tn :— : Cheerful - ness com - eth of | in - no - cent song, d : d : d 1 1, : t, : t. Is, : s, : s, | d : — : Let us then sing as we I jour-ney a - long. SECOND STEP. El 99. KEY F. Ronnd in three parts. a : 8 Come ye : s a way, * — : — I m : PI : m | r I Come ye a - way, d :d This is t| : t| ve - ry fine d :— :d |s, :- sum - - mer's day, d : — Come : PI a way. d : Come It, way. Ex. 100. KEY D. Round in four parts. d :d :d |d :d :d i n :- Mer-ri - ly, mer-ri - ly, | sound the horn; | Cheer-i - ly, cheer-i - ly, I o'er the lawn; d:d :d |d:d :d|ni : — :r Id : — : — |pi:m:pi|ni:n:mls : — :s In s : — :s |s :— :s|s : — :s |s : — : — Id': — : — |s :— : — Id':—:— |s : Let it ring now (loud and long; |0n • ward, I On - ward. HAPPY HOME. Ex 101. EES C. B. C. U. s : s Im : s d' : — 1- :- t :d' |r' : s n' : — / - : - r' :r' |r' : s m : m Id : m n : — 1- :- r : rn Is : 3 s :- ■ : - s : s Is : s Sing we now of home, hap - py. hap - py home, Sing we now of d' :d' Is :d' s : — S :d' It :t d' : — 1- :- t :t it :t d :d !d :d d : — 1- :- s : s Is : s d : — 1- :- s : s Is : s r' : r' | r' : s s : s I s : s hap - py home, of t :t It :t s : s Is : s ra' :r' |d' :t s : s I m : r hap - py, hap - py di :t |d> :s s : s Is : s d' I- m :- I- home. t :t It :t r : r | r : r Yes, with heart and Love, that . bright-ens Bless -ings ev - er Love with last - ing s : s I s : s s : s Is : s d' :d' |di :d' m : n | pi : pi voice un - tir - ing, ev - 'ry pleas -ure, new in - vite us, bonds shall bind us, s : s I s : s s : s I s : s t :t It :t r :r | r : r We will join the Brings us more than Joy and so - cial While the fleet-ing s : s I s : s s : s I s : s d' :d' Id' :d' PI : PI I R : PI strain in • spir - ing, gold - en treas-ure, mirth de - light us, mo-mentsfind us, s : s I s : s s : s ! s : s t :d' |r' :s r : PI |s : s Sing-ing now of s :d' It :t s : s Is : s n' : — — : — home. Pi' : m' I r' : r' s : s I s : s hap - py, hap - py d' :d' It :t d' :d' Is :s d' :• PI : - home. d' d 24 SECOND STEP. Ex. 102. KET G. M. C. S. SING EVERY ONE. B. C. U. : S| |S| : S| d : m In r 3 : s Is n : r 1 d nil : m, 1 mi : Hi pii : S| Is, : — t, :t, 1 d : — d :t. Id : — 1. Sing when first the sun's bright beam, At the dawn, at the dawn 0 Sin a fit day when the sun OH high, on high eve'^ - nmg shad - owB fall, T.a - bor done, - bor don 6 d : a 1 A \ d : d A . A d : d 1 A 1 d • r : r \ m • s : s 1 ni d : d Id : d d : d lS| — s. : S| Id : — S| : s. Id : — Sl 1 a 1 S| : S| d : m In r . A : d \ m : r d 1 pii n, 1 nil : nil ni : S| |S| s. : s. Id :t. d 1- Makes the dew - drop dia - mond seem In the wel - come mom. And its fer - vid heat we shun. Flood • ing earth and sky. Sing till slam - ber claims ns all Sing, sing, ev - 'ry one. d : d Id : d d :d Id t. r : m 1 s : S PI 1- d : d Id : d d : d Is, 8, : S| Is, : S, d 1- Silent Pulse. The following exercises include the prac- tice of the one-pulse silence. The teacher may explain this in his own way. A very good way is that in which two-pulse tones, and half-pulse tones were taught in the first step — that is, by singiug a simple time-exercise and making a mistake, passing over a pulse in silence, the pupils calling out, wrong, &c. The time-name of a silent pnlse is SAA, and to further distinguish the silence names they are printed in italics. In taataing, the silent pulses are to be passed in a whisper — that is, the time- name SAA is to be whispered. Some teachers prefer to whisper the time-name taa. The following exercises should be Taataid and la^ed on one tone and then taataid in tune. Ex. 103. TAA TAA TAA 1 :1 1 d : Pi s d : r PI d : PI d Ex. 105. SAA SAA SAA Ex. 106. Ex. 104. TAA SAA 1 : TAA SAA 1 : TAA 1 TAATAI :1. 1 TAA 1 TAA : 1 d : d d :d.r PI :d s : s : s : PI . r d : PI d PI : d : s, . PI d :s, TAA 1 TAA :1 TAA :1 TAA 1 SAA TAA :1 TAA 1 TAA :1 d : d : d n : PI s : s d : PI : 8 d : d PI :d d :t, : d r : r Pi : s SAA TAA 1 d s d SAA TAA 1 TAA :1 TAA SAA 11 : TAA 1 TAA :1 3AA-AA \ • TAA 1 SAA - AA TAA : 1 :1 TAA 1 SAA . d : d Id : PI : PI 1 : 8 : 1 : 8 d d : r |Pi : PI : d 1 : PI : 1 : 8 PI Id : 8, Id : m : r 1 : PI : 1 : B, d 8£CX)ND STZP. 25 Ex 107. EES G, Bound in four parts. d j I I March, PI : n Fal - ter march, r not : r for * :si d : 1^ :d 1 march a • way, 1 Who are |m = 1 P, : : S |foe - mane ire. |Now make tl read :t, 1^ :t, - y 1 for the : s 1" :8| - y. 1 aim and I* I fray; u. : 8 shooti Ex. 108. KETz C. Ronnd in two parts. s :d' : Cue - koo. s :d' : ouc - koo. t :t :t list to the d' : song; « s : n : d Sweetly it s :in :d |r :r :r floats o'er the I meadows a T. F. S. n : — : long. Ex. (09. SET D. Bound in three parts. (I II d : m I s : See the bee, Is :t |r' I on the lea, s :3 It :t Id' : — is his mer - ry I Song, di : — Is hear his n :-| song — B. C. U. m:s |d< :s |r :s jt :s |pi :s |r :s Id : 0 I hear it, I yes, I hear it, | Hear his mer - ry | song. Ex. 110. SET C. ■.i t : Who's these? S I'm Don't speak. :d Id keep still. :d' I t heard : s I s hvsh, kuah. VP :t d' sound. YES, : 8 TE3 d' WE Ah Id' YES, :d' who S sing. :d' who Id' sing : 8 who n ring :d' this : m this ut |r ut ;t tie : 8 tie d' song. d song. Ex.111. KEY 6. Bound for two parta :d 0 {| (|r :r ( not d< jln : I I will. Id haste. m : — lay. :r 0 : m I r will. O HASTE. |r : haste, * d : Yes, : r I jr wm : rn 0 :d I :r a In haste, r will. d way. — I :r Do :r I 26 SECOND STEP. Ex. 112. KEY El. d : — d : — Come Come m : — d : — m : m d :d wea - ry that I COME UNTO ME. A. L. COWLBT. S : 8 n : m HeaT-y Now let 8 : 8 d :d 1 m • : n r • • s : — 1 s : s PI • d :d d : r 1 d : d ti t, : 1 ti d 1 1 ■ • 1 d * A u un • to me, Come tm ■ ■ to me. the un - to me, Come un - to me. 2. Light the bnr - den 1 8 : S S r : — 1 S : s S 1 • PI : — 1 • Come, |d :d 8l Si : — 1 Si : Si d 1 — • d : — 1 « 1 8 : — S : m :d PI : r 1 r • "' ■ 1 PI : s : — 1 • It, m :d It, :d d :t. It, d 1 m : s : — 1 ^ • road, Faint-ing 'neath sin's heav - y load, Come, come. come. give, Learn of me and low - ly live. Come, come. come, 1 • 8 • d 1 PI : s : — Come, d d 1 m * a t • 1 8 in d' :t It u' : 8 1 s : PI PI :r 1 r : — 1 m : d n : r 1 r PI : n 1 ^ :d d :t, It, :- • la - den and op - preet. Come to me and be at rest. ev - *ry sonl be blest, Come to me, &0. Be at 1 8 : 8 8 : s 1 s s : 8 1 s : s s : 8 Is : — d' : — |d> : Id :d S| :8, |S| d :d Id :d S| :8, Is, : — PI : — d : PI 1 • PI 1 1^ r : — 8 • 1 s : PI : — d Id t, :- d t « It, : d : — ■WW • Be at rest, Come, come, come. • n 1 s : s : — 1 1. ^ • • • • 8| • Is, : d : — rest, t : — 8 : — Bz. 113. E. d : d : d I m : PI : P) d :d :d jd :d :d 1. O - ver the o - oean of 2. Under a can - o - py 3. Mingling onr singing with m : Pt : PI 1 8 : s : s d :d :d |d :d :d s : 8 : s I m : m : « | d : — bright sparkling snow, gemmed with the light, jingling of bells, d' :d' :d' Is : — d :d :d |d : — OVEB THE SNOW. PI : — : r :r :r |s t, ! t, : t| 1 1| Mer-ri - ly 0, Mer-ri - ly O, Mer-ri - ly 0, 8 : s : s I r S| :s, :S| Si : — : — r : r ti :t, mer - ri mer - ri mer - ri - ly S : S : S S| :si :8| : r :t| ly ly E. S. Tatloe. Is |t| o, o, o, Ir < SECOND STEP. 27 d :d : d 1 ni : PI : m s : — : s 1 PI : — : — r : r : r Is : s : s d d :d : d Id :d :d PI : — : PI 1 d : — : — t, : ti :t| It, :t. :t, d Swift as a bird in its flight we go, Mer - ri - ly. mer - ri - ly 0. Speed we a - way on our path - way bright, Mer - ri - ly. mer - ri - ly 0. 0 - ver the val - ley our mn - - sic swells, Mer -ri - ly. mer - ri - ly 0. m : m : m |8 : s : S d' : — : d' Is : — : — s : S : s |r : r : r PI d :d d Id :d :d d :— :d |d — S| : S| :8| Is, :si :s. d I- CHOKTJS. s : S : s 1 s : s : s s : — : — Id' :-: PI : n : PI In : PI : n PI Is :-: PI : PI : m n : n : PI PI : — : — d : d :d Id :d :d d In :-: Mer - ri - ly. mer - ri - ly 0, ^ Mer -ri - ly. mer - ri - ly 0, 1 : s : S : s Is : s : s s Id' :-: d : d :d Id :d :d d d : d :d Id :d :d d 1-:-: D. a : 1 : PI : PI : PI |Pi r : r : r Is : s : s d 1-:-: d :d :d Id t, : t, :t, It, :t, :t, d : 1 : Swift-ly we go. Mer- ri - ly. mer - ri - ly 0. 0 - ver the snow, s : s : s |r : r : r PI d td :d Id :- s, : S| :s. Is, :s. :si d Ex. 114, KEY F. / PI. n : PI : d \ d . d : d : s, ) 1. still like dew in \ 2. Day and night the / s . s : s : m I d.d :d :d PI . PI : s : PI d . d : PI : d si - lence fall - ing, spell hangs o'er me, s . s : s : s d .d :d :d STILL LIKE DEW. r . r : r . r : d . r t, . t, : t| . t, : d . t, ' Drops for thee, the nightly Here for-ev-er fix' d thou ; s.s:s.s:s.s i s, . s, : s, . s, : pi,, s, < PI : — : . d :— : tear, art, s : — d : B. C. Dnseld. PI . PI : PI : d d . d : d : s, still that voice the As thy form first s . s : s : m d . d :d :d PI. pi: s : PI r . r :r . r : pi. r d :— : 8 : — : n J d. d : PI : d t| . t| : t, . t, : t, . t| d : t| : t, :- : d :- : past recall - ing, DwjDs like echo on my ear, stm. stm, stiU. shone before me, So 'tis graven on this heart. Deep, deep, deep. s . s : s : s s . s :s . s :s . s • PI : — : s : — : s : — : s : — : d.d:d :d S). s, :S|. s, :S|. s, d :— : S| :— : s, :— : d :- : 28 SECOND STEP. Pulse and half tones may be tanght as follows. The t«aoher writes the foUowing exercises on the board. TAX 1 I TAATAI TAA :1 .1 |1 TAATAI TAA :1 .1 H TAA : 1 TAA : 1 TAA TAA |1 TAATAI TAA :1 .1 |1 TAATAI TAA :1 .1 |1 TAA :1 TAA : 1 And when they ase correctly snng he changes the second r»t« to TAA - AA TAI TAA TAA TAA - AA TAI TAA TAA |1 :- .1 U :1 |1 :- .1 |1 :1 |, and explains that in the first and third measttree the tones are to be continned from the first pnlse into the first half of the sec- ond, making the tone a pnlse and a half long. The exercise then to be taataid and la-ed from the teacher's pattern. The two exercises may then be song alternately. The following exerciser are to be taataid and laed on one tone and taataid in tone. Ex. 115. Ex. 116. TAA 1 TAATAI :1 .1 TAA - 1 AA TAI :- .1 TAA - 1 AA TAI :- .1 TAA 1 TAA :1 d : n .r d : - .r n : - .3 m : d m : s . s PI : - .r d :- .t, r : d s : m . m s : - .m r .d t, : d TAA TAA SAA TAATAI TAA - AA TAI TAATAI TAA 1 :1 :1.1 1 :- .1 1 .1 :1 d : s, : d.r n :- .d .d : r m : d : r . d s :- . m r .d :t, n : 3 :d.r n :- •S| PI .r : d Ex. 117. TAA - - AA TAI TAA TAA TAA TAA TAA - AA TAI TAA TAI TAA TAA SAA 1 : - .1 :1 1 :1 : 1 1 :- .1 : 1 . 1 1 : 1 d - . r PI S : PI : d t, : - . d PI r d n - . r d r : d : t, d : - .Si PI d 3 : d 8 - . PI d m : r : n s : - . d' : s . PI d : m Ex 118. KEY F. Roimd for three parts. U. : - . s |8 .sin. r :d .t, - i; . n In : - . r Using we 1 now a 1 mer - ry, mer - ry |iay. 1 Let as 1 aU be d . t| : d . r I PI hap - py while we | may, d As :d we d jour :d ney 8| on S, our d way. Ex. 119. KBT G. Bound for four parts. d . T : m . d| s I ilie&m to sing, : - .rl n to I rest - .rlr :d the wea - ry, d. r ; P I . d 1 8| : - . t|| d Learn to sing, to Icheer A. L. 0. .t,|t, :d the drear - y, w d . r ; n . d | s Learn to sing. :- .8||S| :8, |S| :d to [soothe the tear - ful, d.r Leam jn . d I S| to sing. .sis :s |s :m to I make life cheer • fa) SECOND STEP. A. S. KlUFFBB. Ex. 120. EES 6. GENTLE SPRING IS HEHE AGAIN. B. C. UMBXIiD. .s, Id :d r :d .r 1 PI : — s :- .8 1 S : PI r : — Id PI, . Pill S| . C6 still - Iv Com ing to me in luy dreams — r • r 1 r • r r • A 1 M A A 1 rl . u. 1 u. • A A U Id s- .S, 1 S| : S| S| :S| S| : a :- . d 1 d : a Pl| : S| Id S| .S| 1 d :d r :d .r 1 P) : s :- .8 1 S : PI r Id pii . Pill S| :d ti :d .t| Id : d :- .d Id :d ti Id For I miss the lov - mg tone. Which could bring it glad ness. And I lin - but to grieve For the dear lost treae ure. Like an an gel's still it seems — Bend - ing o'er my pil - low. d .d 1 PI : PI S :s 1 s : n :- . PI 1 n : 8 8 jm d .did :d S| : Pi|.S| Id : d :- .d Id :d S| Id Ex 121. K£T G. BANISH SORROW. B. C. U. :si .S| )1. Banish (2. Here's a J3. Join we, d .d ^■d .d m : - . PI : d . n s : PI : PI . PI r : - . r : 8 . r PI : — : PI . n S| : - . S| : 8| . d d :d :d .d t, : - . t| : tl . t| d : — :s, . S| aU desponding sor row. Tho' the skies may frown to- day; Shall not hand for ev - 'ry broth - er, Working stout ly, climbing slow. Here's a then. in bravest cho - rus. Sing-ing all our pains to rest While tho d : - . d : PI .8 n : 8 : 8 . s S : - . s : r . s 8 : — :d . d d :- . d :d .d d :d :d .d S| : - . 8| : S| . S| d : — :d .d 30 SECOND STEP. sun wiU heaVn d d : - . PI : d . m s : n r : - . s : s . t| d : — : - . S| : S| . d d : d : d .d ti : - . t| : t| . S| S| : — shine with to - mor row, O'er its a - - - zure beau - ty play? to help each oth - - er. In the doubt we all must know. gleams Mnd-ly o'er ns, Light and joy shaU make us blest. : - . d : n . s n : s : S . S S : - . s : r . r PI : — :- .d : d .d d : d : d . d S| : - . S| : S| . S| d : — : m . m : d . d Life mustf Hopes are Strength shallt : s . s :d .d r • ^ . t, : d . r m : d : n . tn r :- .t| :d .r PI : — t, • mm. • .81 : S| .S| S| : 8, : d . d t, : - . S| : S| . S| s, : — bring its toils and trou - bles. But the heart that fears and faints, cheered and loads and light • ened, By the mag - - - - ic of a word, s-toop to lift the weak - est. Love the low - - - - nest grief shaU see, S • . r : d .t| d : n : S . 8 S : - . r : d . t. d : — S| • mm. . S| : Ri . S| d :d : d . d 1 8' : - . S| : ni| . S| d : — : PI . PI : s, . s, Makes the Dusk - y Pride no :d .d : d .d / m • — • . m : d . PI s : n : PI .PI r : - .8 : s .t, d 8| .8, : S| . d d :d :d .d t, .- .t, :t| . S| S| • heav ■ y bur - den dou - - bl«. Heap-ing care with vain com- plaints. day by smiles are bright - ened. Ere the friend ly tone is heard. more shall spurn the meek est; Broth-ers firm and true are we. d .d : PI . S PI : 8 : S . S 8 : - .8 : r . r PI d .d : d .d d :d :d .d 8| :- .8, :si .81 d Quarter-pulse tones are to be taught next. The method for doing this need not be described — the-same process pursued with half-pulse tones may be used or they may be taught at once by pattern from the Time Chart or Finger-signs or from the ex- wcises below. They are named tafatefe. They are indicated in the notation by a comma in the middle of each half-pnlse, thus, |1 ,1 .1 ,1 : tafa tefe. Exercises to be taataid and la-ed and taataid in tune. Ex. 122 T4A TAI TAA TAI ta-fa - te - f e TAA TAI ta - fa - te - fe TAA 1 :1 .1 1 .1 :1 ,1 .1 ,1 1 ■ . 1 :1 ,1 .1 ,1 1 d : m . PI s . 8 : d ,d .d ,d PI PI : s , S . s , 8 d d : B, . PI d . d : PI ,1 • d ,t, d 81 : n , r d , t, d Ex. 123. ta - fa- te - te TAA TAI ta • fa - te - fe TAA TAI ta-fa - te • fe TAA rAx TAA Tll TAA 1 ,1 .1 ,1 :1 .1 1 ,1 .1 ,1 :1 .1 1 ,1 1 ,1 :1 1 1 .1 : 1 d ,d .d , d : PI . d PI , PI . PI , PI : s . PI S , S . s . s : s m d . PI : d S , S .8 , S : 6 . PI m , PI . PI , PI : n . m r ,d t, .d : r s PI . r d SECOND STEP. ta - f a - te -fe TAA TAI TAA ta I :1 ,1 .1 ,1 1 . 1 :1 1 S : 8 , m.d , PI s . s : s S r : r , r .r ,r r . s : m r fa - te - fe ta - fa - te - fe 8 .S liX. 124. KEY G. d :d Id Oae, two, three, Ronnd in three parts, * : d 1 1| . t| : t| I d . d : d I m : m four, I keep the time, keep the time, |Oiie two, TAA TAI TAA 1 . 1 :1 s • PI • A • u. d . PI : d r . r : s 1 m . A. L. 0, n : PI ■ three, four, IVoioes chime, voices chime, Tra la la la la . P) la d la . m la : s la. S|, Si. S|, S| :8| . S| ITra la la la la la d la Ex. 125. KEY A. Bound in four parts. I S{ , S|. S|,S|: d .d j r , r . r , r : pi Is , s . s , s : d, d. d . d |t|, t|. t|, t|: d iBeauty in the wood - land, (Beauty in the glen; iBeauty In the fertile meadowjAnd the marshy fen. Ex. 126. KEY F. Round in four parts. Id , d . d,d: PI .pi |Mer-ri - ly the bells are r . r ring - ing : PI near; PI , PI . PI , PI : S . S Cheeri - ly the birds are t| sing .t, ing :d here. S , S . S , B : S . 8 iLiaten to the bellsl how S , S . S , S : S mer-ri - ly they ring ! d,d.d,d:d .d I S|, S| . S| , Si : d [Listen to the birds ! how jcheeri - ly they sing. A. S. KCBFFKB. Ex. 127. KEY C. LOVELY MAY. R 0. Uhsxld. s . s : s 8,8. s , s : s s . PI : s . d' d> :t PI . n : PI PI, n. PI , PI : PI PI .d : PI . n n : r 1. Love-ly May, mer-ry, merry May! Bird ■ lets now are sing - ing, 2. Hap - py May, mer-ry, merry May! With our songs we greet thee 3. Balm - y May, mer-ry, merry May! How we love thy glad - ness, d' . d' :d' di, di . di,di :d' d' . S :d' . S S : 8 d . d :d d , d . d,d :d d .d :d . d S : 8 r' . r' :r' r', r' . r', r': r' Pii . r' : d' .t d' s . s : s s , s . s , s : s s . s : n . r PI Ev - ery - where thro' the balmy air Songs of pleas - ure ring I On the hill. by the shining rill Now we wel - come thee; Buds and flow'rs' thro' the sunny hours, Ope their scent -ed leaves; t . t : t t, t . t, t : t d' . t : d' . S S S : 8 : 8 8 , s . s , s : s 8 . s : s . 8 d 82 SECOND STEP. 8 . 8 : m . n s s : d' t ,t . t ,t : r* d',di . d'jd' : n' m . n :d .d m . n : n r ,r . r ,r : r pi,m . PI ,pi : n - come, wel - come love - ly May, Merry merry May, merry, merry May; d> .d' : s . S d' .d' : s S ,S .8,8 : 8 d',di . d',d' :d' d .d :d .d d -d :d S ,8 . 8 ,S : 8 d ,d . d ,d : d 8 .8 : m m . m : d Wel - come, wel . m .d come d' .d' :8 .8 d .d :d .d 8 . 8 m . m love - ly d' .d' d .d : m' : 8 May, :d' :d m',ni' .m',m':r' ,r' .r' ,r' 8 ,8 .8 ,S :8 ,S .8 ,8 Merry, merry, merry, merry di,di .d', d':t ,t .t ,t 8 ,8 . 8 , 8 : 8 ,8 . 8 ,8 d' n May. d' d Modulator Voluntaries, Eab Exeboises, Dictation, Pointing and Writing from Memory, as described in the first step Me to be practiced regularly at every lesson. Pulse and a half tones, quarter pulse tones and silences, aa in the following ex- ample — d :- .r|n : |n,i<).n,n:n .r |d : — B vould be dictated thus, "TEAAd," " — aatait," "tlaap)," "SAA," "tafatefe n n n n," "taatai n r," " tt.aa -a* d." Certificates. — Pupils now begin to make up their list of three tunes for the Junior School Certificate or six tunes for the Elementary Certificate. No tune of less than eight four-pulse measures or sixteen two-pulse measures should be accepted. For instructions in Voice Training, Brsathing, Harmony, etc, be- longing to this step, the teacher wiU consult the Standard Course. QUESTIONS FOR WRITTEN OR ORAL EXAMINATION. 1. What two new tones have yon learned in this stept S. What it the relative position of Bag to Dek t a. What is the relative position of T» to Dek t i. What is the mental effect of Bay% 5. What is the mental effect of T«t e. What is the manual sign Bay 1 For oa*-Bag I 7. What is the mannal sign for T«1 For r«-on«t 8. What chord is formed of the tones d ra si 9. What chord is formed of the tones ■ t r t DOCTKINE. 10. What new kind of accent have yon learned in this step! 11. How is the medixun accent Indicated in the no- tation) 12. How is the medinm accent indicated in the time-names? 13. What two new kinds of measnre have yon learned in this step! 14. What is the order of accents in foor-pnlse measnre! 15. What is the order of accents in six-poise meas- ure! 16. What is the time-name for a silent poise! 17. How is it indicated in the notation ! 18. What is the time-name of a polae-and-a-half- tone? 19. How is it indicated in the notation ! 20. What is the time-name of four qoarter-pulse tones! 21. What is the time-name of the first qnarter of a pulse! The second! The third? The fourth! 22. How are quarter poises indicated in the nota- tion! (3. Sing to la the Bay and the Tt, to any Dok the teacher gives. 24. Ditto the JKoyi and Te to any DohK iS. Taatai from memory any one of Exs. 103 to 106, 115 to 117, chosen by the teaoher, 86 Taatai the npper part of one of the Exs. 131 tk,'h and rare, Bloom to fade a way ? Sum - mer with thy gen - tie show - ers. bvHS the skies Nev - er fade a way. Look be - yond this world of Bor - row. Pin d| :mi nil . S| :f, . S| Plj d| .Tl :ni| . nil S| •fl rm, .nil d, i, :d, d| . d| :S| . S| d, d| .d| :d, • d, d| .d, :d| .d, 1| .li :li .t| Ciolden frnits and Thou shwit seo a f| .f| ?f, .S| fl .fl :f. .f. d .1, :1, .s. blushing flo's>'- ers, bright to - iQor-row, li .f| :f| .mi fi .f| :d| .d, m .r :d .1| Autumn chills thy And the ros - es S| .f| :mi .f| dj . d| : dj . d| Tuning BxersiskJS. — See page 17. To be Solfa-ed, la-ed and then sung very softly to loo. S| .mi : S| . S| greenwood bowers, hope will bor-row, m; . d| : mi . mi d| .d| :d| .d| d . m :r . m And their leaves de- Bloom but ne'er de - S| :f| .S| d| :S| .Si d, cay. cay.' mi d, Sing Ex. VJ/ Srrst as written. &econdtime. Soprano take the Tenor, Tenor take the '>ntralto, singing i' \nstead d. Contralto take the Soprano. Third ^e Soprano and Con^AMo change parts, Soprano singing d ' iu- £x. 151. KEYS C, Etz and S- stead of d. In the key G the Tenor and Contralto change parts, Con- tralto singing 1, instead of 1, and Base will take f , instead of f. Ex. 152. KEY C. Sing only as written. d:— m :d f : — f :- f :f m : — d n : d 3 f : — m :r PI : — d : — m :d f : — d — d :d d : — d m : d 3 r : — d .t, d :- d : — m :d f : — 1 : — 1 1 s : — d n : d S t : — d':s s : — d :- n :d f : — f :f d ; — d PI : d S s : S| d :- 40 THIRD STEP. Ex. 153. KEY El2. Ex. 154. KEY F. d m :d s f : — 'm : r d : — d m : d s r : — d .t, d d m :d ti : — d :t, d : — d m : d Sl t, :- d :s, S| d m : d s r : — s :f n : — d m : d s f : — m : r n d n :d S| S| :S| d : — d PI : d S| 3| :S| d KEY F. M. 86. COMING NIGHT. B. C. U. d :d t, :t, li :1. S| : — d d r : n s : n r : — S| :si 1. Slow-ly, 2. 0, the S| gent won :S| - ly - drous fi :fi comes the brow of n, : — night, night. S| With Beau - d its ti - t, heav ful :d - y with d e moon :d ban and t, :- paU, • star. m :pi r :r d :r m : — ni : m S : s S :s s : — d :d :s, d : — d :d S| :d n :d s, : — PI : m f :f s :di 1 : — 1 :s s : m m :r d d :d ti :t, d :d d : — d :d ti :d d :t, d But the ores - cent BIS - tNG OLEAE, Sheds a mel - low light o'er all Send - ing forth its sHi - VKE lilGHT, O'er the dark - 'ning shades a • far. S :s S :s S :s f : — f :s S :s S :f m d :d r :r m : n f : — f : m r :d S| :s, d KEY EIZ. M. 76. s :s 11 :1 d :d Id :d 1. Si - lent vale ! where 2. Fare ye well, ye m : PI If :f d :d Id :d /=i Is : PI d :d Id :d WESTEEN EVENING, LOVE - LY MEADOWS, 1 :f I PI :s d :d Id :d s : PI 1 s : PI d :d love and loft - y Id :d pleas - ur& shad - ows, pj :s 1 PI :s d :d Id :d s :s Id :d d :d Id :d Love - ly as the Fields with bright-est PI : PI 1 PI : PI d :d Hi :1i SILENT VALE. d :d |r :r d :d |t| :t| Ev - er round our Which have shield-ed 1 :pi |s :s li :1| |s, :S| PI :r |d : — d :t, Id : — sun - lit cUmd, fhw'rs he spread; s :f In : — S| :s, |d : — m PI :s |r d :d It, cot - tage flow'd ; oft our head; S :s Is d : n Is f :f |1 :1 d :d Id :d Peaceful as the Melds where oft the 1 :1 If :f f :f If :f B. C. U. s :s H :1 d :d Id :d Beauteous as the Still be green ye n : PI If :f d :d Id :d PI : PI Is d :d Id ves • per beU, ves per song. S :s In d :d Id T H I kT> STEP. fl * m O • 1*1 1 s 1 1 m • 1 " • D • 1*1 1 :t t .t :s .8 8 .8 :d' 8, .8, :s, S| .8, :s. .t, r :s 8 . 3 :si .Si d .d :d THIED STEP. 1 1 ] 1 .1 • U t 1 1 * fl c o m "T • G 1 1 • X * o 1 i the rus - tic wild, When the i-dle winds are blowing. We will roam with pleas - ure to- day; On the 3.0h,th» glad May mom, Like a child she comes to meetns, With her brow all cov - er'd with flow'rs; And she :!n.s di :d' Id' :di.di d'.s :s .8 |s .s :s .s 8 :d' id' :s .s 8 : — 1 — :pi.s :d.d d :d Id :d .d S|.S|:8| . S| 1 8|.8| :S| .S\ d :d Id :d .d 8, : — 1— :d.d^ s :s Is :1 .s 8 .f :f .PI If .f rs .f rn : PI Is :f . PI r : — 1- n : PI 1 PI :f . PI pi.r :r.d |r.r :pi.r d :d |Pi :r .d ti :- pure young buds. From their dewy sleep a-waking, Mirth and mu - sic float in the air. mos - sy bank, Where the crystal brook is flowing, We will crown our queen of the May. calls the birds, All the merry birds to greet us. And the laugh ■ ing. bright summer hours. d' :d' Id' :d'.d' d'.s :s.s js.s :8.8 8 :d' Id' :s .8 s : — 1- d :d id :d.d S| . S| :S| . S| 1 8| . 8| :8| . S| d :d Id :d .d S| :— 1- do. d' : — d .PI s .s :s .8 8 :d'.t 1 .1 :1 . 1 11 :r'.d' t :s Is :1 .t d .d PI . PI : PI . m PI :pi .s f .f :f . f If :f .f f :pi If :f n : — Then a- way, a-way, a - way. Then a- way, a-way. a - way. And a - May - ing we will go. Pl .8 d'.d':d'.d' d' :d'.d' d'.d'.d'. d' Id' :1 .1 8 :s It :d'.r' d' :— d .d d .d :d .d d :d . PI f .f .f . f If :f .f s :8 |8, :8| d :— THIKD STEP. 45 MERBILY THE CUCKOO. KEY D. M. 80. Ohzstbs G. AiiLrai. S ,S .S ,S :s . m d' .1 :s r . PI :f .1 8 : PI n ,n . PI ,pi :pi .d m .f :m t, .d :r .f PI :d 1. Merri-ly the cuck - 00 in the vale To the mom is sing - - ing, 2. Pleasantly the sun with gold - en Ught Wakes the earth to glad - - nesB, di,di.di,d' :d> .S S .d' :d' S .8 :s .t d' :8 d ,d.d,d :d .d d .d :d S| .8, :si .S| d S $1 S S ; S . n d' .1 :s .d' t a • o :1 .t 8 :s .8 PI ,pi . PI ,pi ! PI .d PI .f : PI . n r 4. .t| :d .r t| •t. +■ Cheeri -ly the ech ■ o's fair - y tale By sil - ver fount is ring - ing. A - Happi - ly we roam till dew - y night With - out a thought of sad - - ness. A - di,di.di,di :d' .3 S .d' :d' .8 S .8 :8 .8 8 :s .8 d .d .d .d :d .d d .d :d .d r . r :r .r S| * a . a. .S| .S| I . Pi jr .1 s .f : PI .s z • PI :r .1 8 f * m • I'l r .d :t, .f PI .r :d . PI r .d :t, .f PI .r :d ■way, a way. with foot - steps free, We'U chase the shad - 0W8 o'er the lea. way, a way, with foot - steps free, We'll chase the shad - OWS o'er the lea. S . S :s .t d' .di :di .S S .8 :s .t di dl • u S| .S| :S| .S| d .d :d .d S| .8, :si •S| d .d :d s ,s .s ,s :s 1 ,1 .1 ,1 :1 1 .r' :d' .t d' PI ,P1 . PI ,P1 : m f ,f .f ,f :f f .f : PI .r n Merri - ly we go. Merri-ly we go, None so gay as we. Merri - ly we go- Merri-ly we go, None so gay as we. d',d'.di,d' :d' d',di . d' ,di :d' 1 .1 :s .8 S d,d .d ,d :d f ,f .f ,f :f f • r :s .S| d D S. KEY F. Eound for three parts. : PI The {I Id bell :- .r I PI :pi doth toU, I d :- .r I PI :f love its roll. Its PI :r |d :t| Id song I know full I well; PI :- .f 1 8 .8 :8 .8 j PI :- .f 1 8 .8 :1 .1 I s :f | pi :r I pi love its ringing for it | calls to singing. With its) bim, bim, bim borne bell. d : — Bome, d Borne, S [ Bim, :8 bim, bim, :8| bome d bell. :8 I 46 THIRD STEP. E o G' F' E' D' C B A G. F E D Clasaiflcation of Voices. The teacher may now proceed to a more definite classifica- tion of the voices. He will first explain the difference of pitch between the voices of men and the voices of women. This may be done by having the women sing the scale of C several fcunes alone, and then let the men sing it alone. Most of the men will think they sang the same tones the ladies sang. To prove they did not let the ladies sing d (C) and sustain it while the men sing from their d up to d', when they reach their d' they will be in exact unison with the ladies. It will thus be seen that the voices of men are naturally an octave lower than the voices of women. This pitch C, which was just sung in unison, and which stands high in a man's voice and low in a woman's — is called Middle C. It is about the middle tone of the usual vocal compass and is common to Ex. 155. KEY C. C Middle B. A, -G, FCC I s E, o D, i C, B. A, G. nearly all musical instruments. The diagram on the left wiU show the usual vocal compass, male and female. The teacher may find it useful to draw this diagram on the black-board and have the tones sung at their proper pitch to his pointing. Let all begin at Middle 0, the voices of the men and women in exact unison, then as the teacher points sing up the scale together. At G the men will stop, many of them will have to stop before reaching that tone, the women continue up to G'. Then de- scending the men wiU join in at G (at the proper pitch) and together de- scend to G,, at this tone the women will stop, the men continuing down to G,. Returning upwards, the women will join in at G,, and so on. Ladies. d :d d :d d :d d :d Now our voic es aU u - - nit - - ed. Gentlemen. di :d' d' :d' d' :di di :d' n :ni s :s d' :d' t Let ns see why they a - - gree. di :di t :t 1 :1 S t :t d' :d' S :s PI : n 'Tis be - - cause when first we start - ed, S :s d :d m : PI S :s f :f ni :r d :d d We were sing - ing Mid . die c. f :s 1 :t d' :d' di : 1 The teacher may next examine the women's voices and classify them into high voices — called Soprano — and low voices, called Con- tralto. The high voices of men are called Tenor — the low voices of men are called Base. Each voice should be examined individually. To examine the women's voices the teacher gives G (first G above middle C) as a key-tone and requires the pupil to sing the scale, first upward as high as she can go, and then down- ward as low as she can go. If the fuller, more beautiful, and more easily produced tones of her voice lie above G it may be classed as a high voice. If the best tones lie below G, then it may be called a low voice. The men's voices may be examined in the same way by taking G, (first G, below middle C), as a key-tone. It is the quality of the voice, not the com- pass, that decides the question. Cul- tivation may afterwards make a differ- ence, but this simple mode of classi- fication will answer for the present purpose. The diagram on the right shows the iisual easy compass of the different voices. G' F' E' D* — C' B C/7 A G — i F E D -C- B. A, L_G, F, E, D, C,- B, A. G, 'I' H I kT> STEP. 47 Octave Marks. The pitch of the key-tone of any key is always taken from the unmarked octave of the Standard Scale, and this doh, what- ever pitch it may be, with the six tones above it are without octave marks. For instance, for the key G, the unmarked G of the Standard Scale is taken as doh, this doh with the six tones above, r m f s 1 1, are without octave mark; the scale below would have the the lower octave mark. This may be illustrated by the following diagram. To save the unnecessary multiplicity of octave marks both in writing and printing, the Tenor and Base parts are always written an octave higher than they are sung. In quoting octave marks, as in dictation, the upper octave marks are distinguished by naming them before the note, the lower by naming them after — thus, C is "one-C", d' is "one-doh", G, is ••G-one", a, is "soh-one". It will help the memory to notice that the higher comes first. Thus, we say that the easy Base compass is, as above, "from G-two to C", that of Contralto "from the G-one to one-C", that of the Tenor "from C-one to unmarked F", that of the Soprano "^rom unmarked C to one-F". Ex. 156. KEY C. Soprano. d : — Id :d d : — Id , :d n : rn Is :s d' ; — 1- :8 CONTEALTO. d : — Id :d d : — Id :d PI : m Is :s n : — 1- :m Once Tenob. d' : — more Id' u - :d' nit - - - d' : — ed, Id' And :di then d' ifi :di four Is parts :s sing; s : — The 1- :d' Base. di : — Id' :d' d' : — Id' :d' :d' 1 s :s d : — 1- :d 1 :1 11 :1 s : — Id' :d' t :t It :t d' : — 1- :- f :f If :f m : — 1 PI : m r :r |r :r n : — 1- :- meas - ure gent - ly flow ing- The pleas - ant tones will ring. d' :d' Id' :d' d' : — Is :s S :s 1 s :s s : — 1- :- f :f If :f d : — Id :d S : s Is :s d : — KEY B|2. s, :1| .1| .m, :f| .f| \l. Thy home is f2. Dear Com -fort - )3. Who made this .d :d .d ^d| :di .d| ROBBINS. L. M. Dabtus E. Jones. 8| :- .d :d .d d :r in .r :d :m n. :- .n, :f| .f. m. :si S, .S| :S| :s, w ith the hum-ble. Lord, The sim - plest and the er. e - ter - nal Love, If thou wilt stay with beat ing heart of mine, Bat thou, my heaven - ly d :- .S| :1| .1, S| • :t, d .t, :d :d d, :- .d| :d| .d| d, d .S| :d, r :- .S| :1| .1| s, :- .d :d .d d :- .PI : d . 1| S| :s, 8| :-. S| :- .n, :f| .f. Pii :- .pi| :fi .fi PI, :- .S| :si .f| pii :ri :f| n, :-. best, Thy lodging is in child-like hearts. Thou makest there thy rest. me, Of low-ly thoughts and sim - pie ways, ru build a house for thee. guest, Let no one have it then but thee. And let it be thy rest. t, :- .d :d .d d :- .S, :1, .1, s, :- .d :d .d d :t, :r d :-. 8| :- .d| :d| .d| d, :- .d, :d, .d, d, :- .d| :p1| .f| Si :8, d, :-. i8 THIRD STEP. m ! - d .— Sweet d :r Stee - plb d : — S-weet CHRISTMAS SONG. '8 : — In :- the |n :f bells with f :- Is r : — fill - s :1 ChristmM rhym r :- I- tiearts jr ing It d' ing f : — r : — chim - s :1 joy - ful r : — bells r all t on S| mak 1 the |s :- |r :- ing. It :d' ehim - ing, IS It, the Is si ■ f lent r still t ;1 stee - pie chim d air. n air. d ing. s : — ti :- the s :f clocks with n : — d : — tim - n :r care - ful d : — S Chil r ChU- t L. M. (JoEDON, by per. Id :- Id :- ing, Id :t, tim - ing, - - dren r jf dren's voic - I rl - IS Chil - - dren s d : — In : — Glad ness d : r 1 m :f Ush ■ ep in the d 1- Glad S sing |s ing, Fl :f Is : n car - ols sing -ing, di :r' 1 m' :d' d Id sing - s : Is s : — Is An gels wing - ing. r :r If :f m :f Is : m An - gel bands thro' heaven win ?ing, t :t |r' :r' di :r' |P1' :d' s : Is :- d :- id An gels wing - mg, KBT D. :n :- Id :n s : :d d :— Id :d m : 1. Enp work - - inf y, 'tis wis '2.m eyes ev - er 0 3. In life's ros - y mom :s S :- In :s d' : :d d :- Id :d d : PI : — I s : — Ti - - dings d : — I m : — To the earth good d :r I PI :f d : r I PI : f f :-|s :- bring - ing, r : — I r : — ti - dings bringing, s :1 It :di s :1 It :di t NEVER SAY PAIL. PI d :s : PI - pen, a ing, in [s :di d :d 1 :d ' It :1 f ;1 Is :f - - ting a sit - tongue man - d' :- f :- that's not hood's fair |di :di If :f r : PI I f :s Joy and glad-ness r : PI I f :s Peace and glad-ness t :1 is :f :1 Is :f s :- PI :- side, dumb, pride, d' :- d :- 1- :pi And A Let — :d' — :d 1 :t |di :- ev - ery - where. 1 :t |di :- ev - ery - where. PI :r |d :- PI :r Id :- ChESTEE G. AliLEN. 1 : — f : — dream - heart this 1 : — f : — If :1 Id :f ing, and that will be your i 11 If :d' ;f s :s s : — If :pi r : — 1- :d d :pi Is :1 s : — 1 PI :s m • - Id :n r : — Ir :d t, :- i- :d d : PI Is :1 s : — 1 PI :s sigh ing and wait - - ing the tide; In life's earn - est bat - - - tie those nev er to sor - row sue - cumb; You'll bat - tie and con - quer, tho' mot to, your foot - - steps to guide; In storm and in sun - shine, what- d' Is :s s : — Is :s s : — 1- :d d : PI Is :1 s : — 1 PI :s d Id :d ti :- It, :d s, : — 1- :d d :pi Is :1 8 : — 1 PI :s t THIKD STEP. 4? 1 :s 1 rn :d 1 • — _ 1 1 :r 1 I .s 1 :- 1 d' :1 o * 9 • 1 — 1 1 :t A\ . 1 1 :8 1 n :d t, :- - 1 — :t, d :- It, :d d :- 1 f :f m : - 1 f :f m :-|- on ly pre- vail. Who dai - ly ixiarcii on - - ward and nev er say fail thons - ands as - sail. We'U on - - ward and con - - quer, and nev - - er say ML ey - er as - sail. Then nev - - er, oh. nev - - er, oh. nev er say faU. 1 :s 1 n :m s :— - 1 :& s : — 1 s :s f :- 1 1 :d' d' : — 1 r d :— 1 — 1 :s 1 PI :d S| :— - 1 I : Si d : — |r :n f :- 1 f :f s : S| d :— 1 — 1 MORNING HYMN. KEY C. T. r . oEWABD. d m In :f s * • 1 m :s 1 :— - :1 d' :— It :1 s :- - 1 s : n \ d d Id :r rn Id :m f :- - :f 1 :— Is :f PI :- - 1 n :d J .Our Fa ther we thank thee for sleep, For qui et and com fort and ( .Our voic es would ut ter thy praise. Our hearts would o'er- flow with thy > .So long as thou deem est it right. That here on the earth we should I m 8 Is :d' d" Is :d' d' :- :di d' : — Id' :1 d' :- - Id' :s ) d d Id :d d Id :d f :- - :f f : — If :f d :- - Id :ni / r : — 1- :d n : — 1 n :f s rn If :s 1 : — 1- :1 s : — Id' :ni t, :- 1- :d d : — Id :r m :d |r :n f : — 1- :f n : — In :s rest, We thank thee for lov ing to keep Thy chil dren from love. 0 teach us to walk in thy ways, And fit us to stay, We pray thee to guard us by night. And help us to s : — 1- :n s : — 1 s :d' d' :— Id' :d' d' : — 1- :d' d' : — Id' :s 8 1- :d d : — Id :d d :— Id :d f ',— 1- :f s : — Is :s r' :— |d' :t d' : — :d' d' : — It :1 d' |t :1 8 : — In :f f :— In :r m : — rn 1 : — Is :f 1 : — Is :f n : — Id :r be - - ing dis- tressed. 0 how in their weak ness can crea tures re - meet thee a - bove. The heart's pure af - fection tion is aU we can serve thee by day. And when all the days of our earth life are s : — Is :s s : — :d' d' : — Id' :d' d' : — Id' :d' s : — fs :d' 8i : — Is, :si d : — :d f : — If :f f : — If :f d : — Id :d 8 : — 1- :d' n' : — |r' :d' n' : — |r' :di t : — 11 :t d' : — 1- rn : — 1- :m s : — If : n s : — If : m r : — Id :r PI : — 1- pay Thy fath er ly kind ness by night and by day. give; In love's pure de - vo tion 0 help us to live. past. Re - ceive us in heav en to praise thee at last. d' : — 1- :di d' : — Is :s d' : — Is :s s : — 1 s :s s : — d : — 1— :d d : — Id :d d : — Id :d s, : — Is, :si d : — 60 THIRD STEP. EST D. :d \1. How (2. A 13. With HOW SWEET TO HEAE. T. F. Sewabd. PI : — :f Is : — 1 1 : :s d' : — :s 1 s :f :m d : — :r |Pi :- 1 : :n n : — in In :r :d sweet to hear, When ring ing clear, At eve or ear ly bove doth float The cue koo's note, O'er fields of wav ing flow era Bweet This gay re - treat Kind na ture doth a - • • • 1 : :d m : — :f Is :- :s s : — :d' Id' :s • • • 1 : :d d : — :r In :- :d d : — :d Id :d r : t| : mom, com, dom. :r :t, Borne But And S t, on sweet oft — :1 :r the er we It :- Is :- breeze still, come, Thro' O'er When :r :r rust vale la S t, ling trees, and hill bor's done, :1 It :t :r The Ee To :s ; — :r s :si t : — :t It :1 :t d' :— : — 1- :- !-:- r : — :r |r :d :r n : — : — 1- :- :n n : — : n If :- :f n : mel low mel low horn, The mel low mel low hom. sounds the mel low horn, The mel low mel low hom. hear the mel low hom, The mel low mel low hom. s : — :s Is : :'s s : — : — 1- :- :s di : — :d' 11 :- :1 s : S| : — :si Is, : :si d :— : — 1- :- :- 1-:- KEY A. ,:8| .S| : ni . ni \1. Ceme, thon /2. Bora thy ]3. By thiie ':d .d :d, .d, :S| .S; :s; .ni From our Bom to By thine :d .d : ni .d| KINGDOM. 78. Wm. Mason, Mas. Doo. ll .t, :d .r n :d :1, .d f . n :r .d d :t, fl .fi :si .S| S| :si :f, .S| fi .8, :1| .fi S| long - ex ■ pect-ed Je - - BUS, Born to set thy chil - dren free; peo pie to de- liv - - er. Bom a child, and yet a King; own 6 - ter - nal Spir - it, Rule in aU our hearts a - lone; d .r :d .t| d :d :d .S| 1| .d :f .d n :r fi • ri :ni .S| d :ni :fi .n, ri .n. :f, .1, S| • - li .t, :d .r n :f :s .f n .d :r .t. d fi .f| :ni .S| S| :li :S| .1, S| •S| :S| .f, n. sins and fears re - lease us, Let us find our rest in thee. reign in us for- ev - - er. Now thy gra - cious king-dom bring. aU - suf ■ fi - cient mer ■ it. Baise us to thy glo - rious throne. d . r :d .t| d :d :d .d d . n :f .r n fl :li .S| d :li :ni .f S| .S| :S| .s, d, THIRD STEP. KEY D. M. 90, beating twice, MY MOUNTAIN HOME. Words and Music by Aidine S. KnanTEB, by per. s : m :s |1 :- :s s : — : — 1 — : — :r . pi f : PI :f 1 :- :s m :d :m If :- : PI PI : — : — 1- :- :t,.d r :d :r If :- : PI love my moun - - tain home, Where wild winds love to here the wild flow'rs sweet Spring up a - - round my sweet to wan der here By foun - tains cool and moun - - tain home for me. Where wild winds wan - - der di : — :d' Idi :- :di d' :— : — 1- :- :s S :s 1 s : — :s d : — :d Id :- :d d :— : — 1- :- :s, S| :s, 1 S| : — :si PI : — : — 1— :— :pi.f s : — :8 Id' : — :d' .d' r' : — :d' :1 d :— : — 1— :— :d .r PI : — : PI IPi :- :pi .pi f : — :f If :f roam ! Wliere the cy - press vine and the whisp - - 'ring pine A feet. And the lau rel blows 'mid the - press gloom Of clear. And talk of love where the coo - - - ing dove A free. With my own true love who will nev - er rove. My 1 — : — :s .S d' :— :d' Is :- :s .s 1 : — :1 Id' :- :d' d :- : — 1— :— :d .d d :— :d Id :- :d .d f : — :f If :- :f s : — :pi Is :f :r d :— : — 1- :- :s s :pi :s Id' :- :t n : — :d It, :- :t| |— :— :n PI :d : PI IPi :- :r dom each gran - - - ite dome. I love my moun - tain many a sweet re - treat. lone may see and hear. moun - - tain home for me. I love my di : — :s Is :- :f PI : — : — :d' Is :- :f s : — :s Is, : :s| d :— : — :d Id :- :d home, .... moun - PI : — d : — : — I PI : — tain home, :s Id' : — :d Id : — I- :- :f : PI 1 : — :s If :- : PI r : — 1- :- :d f : — : PI Id :- :d t, :- 1- :- I love my moun - - tain home, I love my moun - - tain home. : PI 11 :- :s s :t :r' Is :d Id :- :d S| : — :si Is, :- :r Whore :s :s, PI :r : PI 1 s : — :s 1 : — :f Id' :t :1 s : — : PI Is :f :r d~t. :d 1 PI : — : PI f : — :f |1 :s :f PI : — :d It, :- :t. d :— :— 1 — skies s : — are : s blue. Id' : — and :d' hearts d' : — are :1 true. If :- I :1 love d' : — my :s moun - 1 s : — tain :f home. PI :- :- 1- d : — :d Id : — :d f : — :f If :f s : — •s |si : — :si d :- :- 1- 52 I'UiKD STEP. Second Veree and Chorus by T. W. D. KEY A. M. 72. .d SUN SHOWER. S| ,f| .nil ,f| :si ni|,ri .d| ,ri:ni . Hi 1. Sparkling in the sunlight, 2. Clouds are flying swiftly, d ,d .d ,d :d .d d| ,d|.d| ,d| :d| .d| d ,t| .d ,1| :si li ,1| .1| ,f| :mi Dancing on the hills. Sunlight breaking through, d,d .d ,d :d fi,fi .f| ,fi :di S| ,S| . S| ,S| :d . d mi,m|.ni| ,ni:si .S| Tapping at my win - dow, Everything is shin - ing, d ,d .d ,d :d .d d|,di .d| ,d| :ni .nii T. W. Denninoton, by par, r ,r .n ,ni :r Si ,s .S| ,si :si Singing in the rills; As with morning dew; t| ,t|.d ,d :t| S| ,S|.d ,d :S| s ,f .n ,f :s .PI Si ,S| .S| ,S| :S| .S| Comes the pleasant sunshower Falling on the moun - tain, rn,r .d ,r :rn .d d,d .d ,d :d .d d ,d .d ,pi :f pii,ni|.ni,S| :1| Like a glad surprise, In the fer-tile vale, d ,d .d ,d :d d| ,d|.d| ,d| :f| f ,f .f ,f :pi .r li ,1| .li ,li :S| .S| While I gaze with won-der Giving joy and glad-ness. d,d .d ,d :d .f fi ,f| .f| ,f| : S| . S| d ,ti .m ,r :d S| ,S| .S| ,f| : ni At the changeful skies. Comes the gentle rain. n,r .d ,t| :d S|,S|.S| ,S| :d| s .n :s .m Pat - ter, pat - ter, d ,d .d ,d :d ,d .d ,d Patter, patter, patter, patter, PI .s :m .s Pat - ter, pat - ter, d| ,d|.d| ,di ,d|.d| ,d| Patter, patter, patter, patter. d .1, :d hear the rain, 1| ,1| .1| ,1| :S| Listen to the rain, f .f :ni hear the rain, fi A -fr jfi Jd| Listen to the rain. S|« .d :n .s Gen - tie spring has nii,n|.S| ,S| :S| ,S|.Si ,S| Patter, patter, patter, patter, d .m :s .m Gen - tie spring has di ,d|.d| ,d, :d| ,d|.d| ,d| Patter, patter, patter, patter. f .PI :r come a - - gaia; t| ,t| .d ,d :t| Spring has come again; r .d :t, come a - - gain; S| S| .S| ,S| :S| Spring has come again ; s .rn :s .m Pat - ter, pat - ter d ,d .d ,d : d ,d .d ,d Patter, patter, patter, patter, m .s :m .s Pat - ter, pat - ter d| ,d|.d| ,d| :d| ,d| .d| ,d| Patter, patter, patter, patter, d .1, :d soft re - frain, li ,1| .1| ,1| :S| . hear the soft refrain, f .f :n soft re - frain, f| ,f|.fi .fi :d, hear the soft refrain, S| .d :ni .r Tap - ping on the ni|,ni|.S| ,S| :S| ,S| .1| ,1| Tapping, tapping, tapping, tapping d .m :s .f Tap - ping on the d| ,di-di ,d| :d|,d|.f| ,f| Tapping, tapping, tapping, tapping d .t, :d win - dow pane, S| ,S| .S| S| :S| on the window pane. ni .r : m win - dow pane, S| ,S| .S| S| :d| on the window pane. II 11 KEY D. Round for two parts. d :n Is :s l*d' :d' |t : War - ble for us, | ech - o sweet, f :f |m :n 11 :1 |s : Gen - tie ech - o, I wake from sleep. KEY G. Round for four parts. :8| For 8 :s [ health and * Is :f strength and n dai 1 :1 ech - o f :f Gen - tie ly |s : sweet, I n : PI ech - o. I n :r food. We f :f Soft - ly d :d praise thy I PI :m now our r :r | d : clear and deep. Id :t, name, 0 r :r song re Id peat. s :s I PI clear and deep. d Lord. THIRD STEP. 63 KEY A. M. 72. : m . rn n :d :d .d d :si .S| S| :mi :f, .f, 1. Sleep 01, dear - est. while a - round 2. To the cham - ber of her dwell 3. And the woo ing night wind bears :d .d d :si :li .li S| :d, .d, d, :d, :d, .d, d, SERENADE. :P1| thee ing, them :d :d, :s| .s, :nii .f| All is Where my Far a - :d .r 1, :- .d :t| .1, S| :d :d .PI chains of sleep have bound thee. God doth trees in love - tones tell - ing. As on dream - ing fair one hears them, Hears and fi :- .1| :s, .f| Pl| :mi :mi .S| d .d :d .d :d .d d :si 'WTiile the chains of sleep have bound thee. Thro' the trees in love - tones teU - ing. them, And the dream-ing fair one hears fi .fi :fi .fi :fi .fi d, :d, S| .S| :S| S| .S| :S| wrapt in si love in slum way o'er dis PI . PI : m d| . Pi| : S| . s All is wrapt in Where my love in :S| :f| lence ber tant :r 1 :si .S| si - lence deep; slumber lies; Far a - way o'er dis -tant plain; s, : — nil : — deep; lies; plain; d : — d| :- :si .S| : Pij . Pij While thel Thro' the^ And theV / S con gold sweet t, r .r - .f :n .r stant vig - ils en lad - ders dreams a - :d .S| :d .t| - ly :- .t, :r .r God doth con - stant vig - ils As on gold - en lad - ders Hears and sweet-ly dreams a - S| .S| :S| .S| :S| .S| PI keep. rise. gain. Si d keep. rise. gain. d, Dim. :pi . m Con- stant \ As on Sweet - ly d : — :d d :d . d :S| S| vig ils keep. Con - stant vig ils keep lad ders rise. As on lad ders rise. dreams a - - gain. Sweet -ly dreams a - - gain. fi .fi :li . 1| :si .f| P1| • • r, .PI, :si .f| :n, .r. PI, God doth con - stant vig - ils keep. God doth con - stant vig - lis keep. As on gold - en lad - ders rise. As on gold - en lad - ders rise. Hears and sweet -ly dreams a - gain. Hears and sweet -ly dreams a - gain. 1, .1, :d . d :t, .1, S| • • t, .d : PI .r :d .t, d f, .f, :f, fi :f, .f, d, S, .S| :si :si .s, d| EE7 AtZ. EVAN. :s. s, .d : PI :r d .1, :s. :s. :pi, 1. Lord, 2. A 3. 0 :d PI, . PI, : s, I be - lieve rest where all that I now d .d :d :f a our the :t, PI, .f, :ni, rest re - mains souls de- sire, rest might know, d .d :d :p1i To Is Be :d :d. d|.d, :d, :si li .fi :d, :d, m .r :d :r PI .d :1, :s. S, .f, tPlj rest where pure fear, and sins, Sav - iour, now d .t, :d :si en and the :t, s, .s, :f, joy - ment reigns, grief ex - pire, pow'r be - stow, d .d :d :r. And Cast And :t, di .S| :li .Si d, .PI, :f. :si I. M. • Havebqal. s, .d : PI :d r :f pi, . PI, : PI, :p1i S| :s, aU thy peo pie known, A fixed on things a bove. Where lieve and en ter in, Now, d .d : d :d tl :r d,.d, : :li S| :si s, . d : PI :r d PI, . pi( :si :f| m. thou art loved a lone. out by per feet love. let me cease from sin. d .d :d :t| d d, .1, :si :s, d • 64 THIRD STEP. CANON. NOW THE EVENING PALLS. Btz. M. 104. May be sung in two, three or four parts. Beethoven. n ; X |d :ti 1 :t|. d r :d 1 tl :li Si :li.ti d :ti • "1 ll Now the eve - ning falls, The bird of twi - light calls Our foot - steps home. ll :s, |f| :rn, ri : — :ni|.f| S| :fi |.ni :ri d| :- — :r|.pi| Now the eve - ning falls. The bird of twi - light calls. Our • : 1 : : : PI :r Id :t| ll :- — :t,.d Now the eve - ning falls. The • 1 • • : I li :si fl :p1i Now the eve - ning "I r :d t| . 1 — :d.r n :r Id :t, 1, :t|.d r :d It, :1| No long - er roam. For now the eve ■ ning faUs, The bird of twi ■ light fl rrn. Tl — Si :f| nil : — :fi.S| ll :si |fl tPIl ri : — — :n|.f| foot - steps home, No long - er roam, For now the eve - ning faUs, The r :d t, :li Si < - :li .t| d :t| Hi — 1 1| r :d t| : — — :d .r bird of twi - light calls Our foot - steps home, No long - er roam, For ri : — :nii.f| Si :fi n. :ri d, :- :r|.ni| fl Pl| ri — :ri s. :fi falls, The bird of twi - light calls Our foot - steps home, No long - er S| . :l|.ti d : tl Hi — :li 1 :d tl . :d.r PI :r d :ti , calls Our foot - steps home, No long - er roam For now the eve - ning S| :f| in. :ri d, : - :r|.mi fi :ini |ri |S| :fi pii : — :f|.S| bird of twi - Ught calls Our foot - steps home, No long - er roam. For PI :r d :t, ll 1- :t|.d r :d tl :li S| :li.t| d :t| Hi now the eve - ning falls. The bird of twi - light calls Our foot - steps home. m, :f|.S| ll S| fl :ni r, : — :nii.fi Si :f| 1 mi :ri d| :- :r|.Pi| roam, For now the eve - ning falls. The bird of twi - light calls Our ll 1— :t|.d r :d It, :1, Si : — :l|.t| d :t, Hi :- :1| falls. The bird of twi - light calls Our foot- steps home. No 1, :s, fi :mi ri 1- :pi|.fi Si :f. 1 nil :r. d, 1— :r|.pi| fl :p1i now the :li eve -'ning r :d falls, t| 1- The :d.r bird of PI :r twi - Id light :t. calls 1, Our 1— :t|.d foot- r steps :d No long - er roam For now the eve - ning falls. The bird of fl foot - :pii steps r, : — home. No |s, long :f| - er PI, : — roam, :f,.S| For ll now :si the 1 f| : "1 eve - ning ri faUs, r :d long - er ri : — home, t, :1| twi - light — : Pi|.f |/ The tl i- :d .r n :r Id :t, ll :1| Hi :t| d : — 1- roam. For now the eve - ning falls. No long - er roam. |S| :fi PI, 1- :fi .S, ll :si Iff PI, : — 1- No long - er roam. No long - er roam. Si 1- :l|.t. d :t. Hi :li" Hi :s, S| : — 1- :- calls Our foot - steps home. No long - er roam, S| :fi 1 Hi d. 1- :r, .PI, fl :pi. |r, :si d, :- 1- :- bird of twi - light calls, No long - er roam. THIRD STEP. 5& KEY At S| :- .s, :si .d n nil : — 1 1| • . nil :S| .S| Si 1. God, who madest earth 2. Guard US when we sleep d :- .d :d . m d d, :- .d| :n • di S| S| :- .s, :S| .d m nil :- .ni :S| .S| Who the day for toil Wilt thou then in mer d .d :d .m d d| :- .d| :mi .d| r : - .r :n .r Si : - -S) :si 1 an - gel guard do- last dread call shall t| :- - .t| d .t| 8) :■ - .S| S| .S| r :■ - .r :d .r s, :- - .S| 'S| •S| dreams and hopes at - reign in glo - ti :- - .t| d ■t, S| :- - .f| :p1i . EVENING PRAYER. J. H. TZNNBT. KEY D. Eound in three parts. :r. d :— : — d :t| :li S| : — : :f| m, :— : — li :si :fi m, :— : and heaven, Dark - ness and light, or wake, And when we die, :t| d :— : — d :d :d d :— : :s, d, :- :f| :fi d, :- : :r d :— :— r :d :t, d : — :fi nil :— :— li :si :fi pii :— haa given. For rest the night. cy take Oui souls on high; :t| d :— :— f :n :r d : — :s, :s, :si d, :- :t, .d :si .S| May thine ( When the :r .d ;— :si .m. I 1 d' :t Hark! the m :s Night is d One, 1 If :in come, our Id :- Two, r :d :d .r PI .n :f .n n :r :r .r f. • nil Si .S| :s, .S| c, • Si Si fend us, Slumber sweet thy mercy send US, Ho ■ ly wake us. Do not thou. our Lord, for- sake us. But to d :d :d .d d .d :r .d d :t| :t, .tl :d| :d, .d, d .d :t, .d S| :si :si .S| rn :d • li :si :S| S| • KM S| :li fi :si :fi plI tend us This live long night. take us With thee on high. d :d d :d d d, :f| fi :nii d, 1 :t Id' :s 1 :s 11 .■■i 1 d' :1 Is :■ beU re - minds us, That an - oth hour is fled; f :f 1 n : n PI :m If :f 1 1. :f 1 m :- work is end - ed, Friends, good night, 'tis time for bed. d Id :- 1 d Id =- 1 d Id :- Three, Four, 1 Five, Six, Seven, Etght. 56 THIRD STEP. HURRAH I FOB THE MERRY GREEN WOOD. KEY B. M. 108 twice. Observe the accent A. L. CovnxY. :8| d :d :d Id :d :r n :- :n |n :- :r m :- :- Is :- :r n :- :- Is :- Hur- rah for the mer-ry green woods, hur -rah! Hur - rah! Hur - rah! ts, d :d :d |d :d :r n :- :m |m :- :t, d :- :- |n :- :t, d :- :- |n :- :si d :d :d |d :d :r m :- In :- :s |s : :s |s :- Hur- rah for the mer-ry green woodB, hur -rah! Hurrah! Hurrah! ts, d :d :d Id :d :r m :- rn In :- :d Id : :d Id :- Hur - n :n :n |r :r :r d :- 1- :- :si 1, :- :1| 11, : 1, :t, d :d :d Id :- l.The sun on high, in the cloud - less sky. rah for the mer-ry green. woods, 2. No lord - ly haU with its col umns tall. 3. No pal - - ace floor aU carp-et - ed o'er. 4. No state - ly chair with its cush - ions fair. d :d :d It, :t. :t. d : :s, |3| 1| :li :1, 11, : S| :si :s, |s, :- s :s :s If :f :f n : : n Im f :f :f If : n : n :n |n :- d :d :d |si :s, :s, d : :d Id f| |f| : d :- : Id :- rah for the mer-ry green-wooda. hur-rah! La, la, &C. / Gomes Can iCan Can t, :t| :t| |t| :t. :d r :- |r :si :si n :r :d |t| :1, :si forth with a smile to meet me, And the fresh - 'ning breeze, comes vie with my for - - est glade. And no la - - dy's bower, with vie with my car - pet of green. And no gob - let fine, with its my mos-sy bank out- vie, And no crown - ed head, on s, :si :si |S| :8| :s, ti :- :t, It, :s. :s, n :r :d |t| :1, :si r :r :r |r :r :r r :- :r |r :si :si n :r :d |t| :1| :S| S| :- : |S| :- T .o la Xr/\ s, :- 1- :s, :s. n :r :d It, :1| :s| f : n :r through the trel-lis and ro - - sy down - ny 14.../.*' trees, With fiow-er wine bed f :n :r Id :t f :n :r Id :t f : n :r Id :t :li 8, :8, S| Is, :1, :t, d :— : — Id :— :S|.S| d :d :d Id :d :r a wel come true to greet me. Then hur- rah for the mer - ry green :1, S| :s. 8, If, :- :f, n, :— : — |n. :— :S|.s, d :d :d Id :d :r Com- pare with my green trees shade Then hur- rah for the mer - ry green :1| t| :t. t, It, :d :r d :— : — Id :— :S|.S| d :d :d Id :d :r Com- pare with my crys - '- tal stream. Then hur- rah for the mer - ry green :li S| :si S| Is, : — :s| d, :- :- |di :— :s, .S| d :d :d Id .d :r Has hap - pi - er dreams than I. Then hur- rah for the mer - green THIRD STEP. 67 n :— :in In : — :r m :-|8 :- :r n : — :-|s • :s 1 :1 :1 11 :1 :1 > woods, Hurrah ! Hur - rah ! Hur- rah ! Hur- rah for the mer-ry green PI : — :n |pi : — :t| A '• — 1 PI t — .t| Q. . — 1 m . 1 PI • A A • A a. , Q. • A \ A >A 1 O. id • A 1 n : — :pi |pi : — :s |s : — :s 1 s : — : m f :f :f |f :f :f 1 woods, Hurrah ! Hurrah ! Hurrah! Hur- rah for the mer-ry green m : — :m |m : — : :d Id : — : • :d Id :d ft :fi :f| |fi :fi :f, 1 s : — • — l~ - ! — :si s :- !-:- :S| s : — :- 1- : — :s f :f :f 1 PI : PI :n ^ woods, Hur rah ! Hur- rah ! Hur- rah for the mer - ry green d :— - : — :si t| :- Id :- :si ti :- :- Id •— :pi r :r :r Id :d :d ( PI : — :s f :- IPi :- :s f :— :- IPi :s s : s :s |s : s :s woods. Hur rah! Hur- rah ! Hur- rah for the mer - ry green d :— • — l~ - : — :si S| :- Id :- :s, S| :— :- Id ! — :d t, :t, :t, Id :d :d r : — :— 1- :r PI :- Is :- :r PI : — : — |s :s PI :pi : PI |r :r :r ^ woods, Hur - rah Hur- rah ! Hur - rah for the . mer-ry green t| :— :- 1- . 4- .t| d 1 m * • — |P1 . — A ' :- |Pi :S| A • A • A If • f |t| .tj .t| ( s : — :- 1- : s 1 s : — :s |s :s s :s :s If :f :f woods. Hurrah ! Hurrah ! Hur- rah for the mer-ry green s, :— :- 1- • :d Id :— • :d Id :si d :d :d liSi :S| :s, 1 d :— : :s PI :n :m |r :r :r d :— • 1 • • s 1 :— woods. Hur - rah for the mer - ry green woods, Hur- rah I Hur- d : — : d :d :d |t| rt. :t, d :— 1 :d ( PI ! — :8 1 s :- • S s :s :s If :f :f PI : — :s Is PI f :— Hur-rah ! Hur - rah for the mer - ry green woods, Hur-rah ! Hur- rah ! Hur - :8 1 s :■ d :d :d |S| :S| :si d :— :s Is t f i 1 : :s 1- :— :1 s :s :s Is : s :s S .— - :8 Id' ran ! Hur - rah ! Hurrah ! Hur - rah for the mer - ry green woods, Hur - rah 1 d :— :d |d :— :d t| : t| : t| It, :t, :t, d :- :t, Id • : m f : 1- :— :f f : f :f If :f :f PI : — :f |m rah ! Hur - rah ! Hurrah ! Hur - rah for the mer - ^reen woods, Hur - rah ! f, :— fl |fi :- :f. S| :S| :S| Is' :8i :$, d :- :b, |d, • THIRD STEP. KEY D. M. 112. Boldly, wUhotit dragging. WAKE THE SONG OP JUBILEE. Chesteb G. At.t. tctj, by per. t d' :t Id' :- .1 s :- .f m r :r If :1 s :n \T PI :f 1 s :-.f n :- .r d t, :d |r :f ni :d It, Wake the song of Ju - -bi. lee, Let it ech - 0 o'er the sea. s :s 1 s :-.d' d' :- .8 8 S :s Is :s S :s Is d :r 1 :-.f s :- .8, d f : m |r :t, d :m Is :r lee, r' :t 8 Let 8 Let d' :8 |1 :t d' :r' n :m If :f m.s:s Let it soond from shore to 8 :d' |d< :s 8 :t d :d If :r d.mts 8 :- .8 Is Wake the song :n of :d' s :- .8 8 Wake the 8 ech :s o 8 :8 ech - o r :m o'er the t :d' If :r sea, :t d' :t.l|s :n 1 :8.f |m d' :t.l|s :pi 1 :8.f |m Wake the song - bi - lee, di :t.l|s : PI 1 :s.f m d' :t.l|s : PI 1 :8.f f :s jl :r' d' :t Id' 7f 1 1 7> d Let 1 :d it :8 Id ech If :f • 0 :1 PI o'er 8 :f the :s 1 ^ sea; 1 s d Now PI :r is :8 |Pi come Id' :-.f the PI :r promis'd 8 :f Id hour, |m f Je - 1 :n sns :s f :in If :r 8 :si Id 1 * 1 t :d' |r' :t d' :r' |Pi' P d' 11 :r' d> :t f 80V t :Fn |r - reign pow'r. :d> It r All 8 :pi ye :8 If na - 1 s :r tions :s 8 join 8 :8 and :t Is sing. Id' PI :s Christ is d' :d' if Lord Id' :f and :1 PI Kin{ S :f ^of :8 S :8 1 s :s m :s Id' d :pi If :f 8 :si PI' : — 8 : — shore, d' :- d' : — // d' :t |1 :ri PI :s If :f Je - sns reigns for • d' :d' |di :1 d :n If :f PI ev 8 8 :t :f - er •s :si Id' :- I PI i — more. Is Id :- All ye .8 son^ 1 :8 reigns with f :pi d' PI kings 8 AU 8 :s na - tions S :8 ye na - tions THIRD STEP. 69 t f s : — 1- :- 8 :- .8 1 8 :s s : — 1- :- d' :t.l 1 s : tn 1 :s.f|pi : — join Je - - BUB is the King r : m If :r : 1 :p\ r :n If :r d' :t.l 1 s : m 1 :s_^f|n : — join and sing, the King of kings, Let it sound from shore to shore, t :d' Ir' :t : 1 :d' t :d' |r' :t d' :t.l 1 s :pi 1 :s.f|n : — S 8 :- .8 Is :s 8 : — 1- :- d' 1 8 :m 1 :8.f|n : — join Je - - BUS is the King f :s |1 :r' d' :t Id' 1 1 : 1 d :d Id :f n :f In :- 1 1 : 1 Je - BUS reignB for - ev - er - more. 1 :s If :1 8 :8 Is :- 1 : 1 mezzo. f :m If :r 8 :8| Id :- d :r In :d f : ni.r d 1. :t, Id Now the de - sert lands re • joice, And ths is m is • lands' r :d Is, join their voice, S Now - .8 jS the de Yea, d |r the whole I PI I r m ere • Yea, the whole ere S sert s :- .8 Is :8 / d' :t .1 Is : n d' :t .1 Is : m Yea, the whole ere d' :t .1 Is : m d' :t .1 Is : m r' lands f 8 lands, 8 d' re m It joiee, I r : 1 :t Id' :r m' : r' Id' :— irn.r Id : f :f In :r 8 :f |n : — - tion sings, Je - sns is the King of kings! 1 : d' :r' Is :1 s^:t Id' :- :s .f |m : f :r In :f s :si Id :- - tion sings. 1 • r' :d' It t join their voice, 1 f :m |r t 8 :-.8l 8 : 8 8 And the islands join, s .8| 8 : 8 S ; s .f I n : — :s .f I n : — tion sings, : s .f I m : — :s .f I m : — t // f d Je 1 f :d sns :8 :n II Id is If If <7\ :r' d< :t Id' • :f m :f In • the :1 King S of :s kings. Is :r 8 :8| Id 60 THIRD STEP. The Metronome is an instrament for regulating the rate of movement in a piece of music. It is a pendulum which can be made to swing at various rates per minute. M. 60 (Metronome 60), in the Tonic Solfa notation means, "Let the pulses of this tune move at the rate of 60 in a minute." In the case of very quick six pulse measure, the metronome rate is made to correspond, not with pidses, but with half measures — "beating twice in the measure." A cheap substitute for the costly clockwork metronome is a string with a weight attached to one end — a common pocket tape- measure is the most convenient. The following table gives the number of inches of the tape required for the different rates of movement. The number of inches here given is not absolutely correct, but is near enough for ordinary purposes. M. 50 Tape 56 inches. M. 56 " 47 M. 60 "38 M. 66 " 31 M. 72 " 27 M. 76 " 24 M. 80 " 21 M. 88 " 17 M. 96 " 13i " M.120 " 8i " Remembering M. 60. Just as it is useful to remem- ber one tone in absolute pitch, so also, is it useful to remember one rate of movement. The rate of M. 60 is to be fixed in the mind as a standard; then twice that speed, M. 120; or a speed half as fast again, M. 90, are easily conceived. Tc liz 60 the mind, the teacher will frequently ask the pupiiB to uegix Tcuitaing at what they consider to be that race, isii then teei them with the metronome. The recollection of rate of move- ment is, like the recollection of pitch, affected by temperament of body or mood of mind. But these difficulties can be con- quered, so that depression of either kind shall not make us sing too slowly. Sustaining the E.ate of Movement. The power of sustaining a uniform speed is one of the first and most import- ant musical elements. To cultivate this faculty the teacher requires the pupils to taatai on one tone a simple measure, thus: repeating it steadily six or eight times yyith the metronome, so as to get into the swing. He then stops the metronome while they continue taatarng for several measures, then starts it again, on the first pulse of the measure, and the class can see immediately whether the rate has been sustained. The Half-Pulse Silence is indicated by the blank space between the dot (which divides the pulse into halves) and the accent mark. It is named SAA on the first half of the pulse, and SAI on the second half, thus: I .1 : or 11 . : SAA TAI TAA 8AJ In taataing, the silent half pulses are passed, by whispering the time name. Ex. 157. TAATAI TAA iS.il/ TAATAI TaASAI taa* :1 .1 1 :s •.1 s : PI .T 3 a. • :i .,8 1 .,8 :i ,T a • :d 1 ^ .f :s .f 1 n .1 : m sing. \ We will make the wel - trin ring; :s Id :d 1 .S| :d sing. 1 Sing, sing. la • ■ dies, sing. :d :s come, S There d La .d ,r la la : m la d Sound S Tra .,r :n the strain .,f :n la la . d ,r 1 n .PI to the| sing - ing :d . school, d Let |r 1 no .r one :t, stay .t, a - d way; Id 1 come, • ,,, , • Is, 1 Come •S| ,S| to the :S| sing - mg 1 d school. .s 1 PI we'll 1 sing PI the If 1 mer - .f :f mer 1 - ry PI round. . PI ,f 1 S .1 ,S la la 1 la la la. :n la n ,f la la 1 la .f la :r la la 1 d la. Round in four parts. * 1 ^ \ 0 - .,r Id a - 1 gain. • _ • • .,f - ver :s sea and PI main. .,f u .,f la |la la :n la .,r la, IPI Tra •,r la :d la .,r 1 la 1 PI la .,r :d la la .,t| la. KB? A. d :s|.,s,ld pii :pi|.,Pi|lni 1. Light of the soul, 2. Son of the Fa - 3. Je - 8UB is from d :d.,d|d d :d.,dld r :t|.,d|r S| :S|.,S|]S| Darkness and guilt Come in thy hid Through him unto t| :S|.,l||t| S| :S|.,S||S| ANTWERP. L. M. T. F. Sewabd. :-.d r :t, Id : — PI :d .,r 1 PI :- .PI f : PI |r :- :-.pii fi :fi 1 nil : — s. : Pi,.,f,| S| :- .s, s. :8| Is, :- 0 Sav - iour blest ! Soon as thy pres ence flUs the breast. - ther, Lord most high ; How glad is he who feels thee nigh; the proud con - cealed, But ev - er - more to babes re - vealed. :-.d t, :r Id :- d :s, .,S||d :-.d r :d It, :- :-.d S| :si Id, :- di : di.,di| d. :-.d t. :d Is, : — :- .PI fj :pi .f |r :- PI .r :f .PI |s .f : PI .r d :t. Id :- :- .S| S| :si Is, :- S| .f. :li .S| |s. :s, .1, S| :f| 1 ni, :— are put to ^ flight. All then is sweet - ness and de - light. • - den maj es ty, Fill us with love, fiU us with thee. the Fa - ther be Glo - ry and praise e - - ter - nal - ly- :-.d r .PI :d .r It, :- d :d .d i PI .r :s .f PI :r 1 n : — :-.Si Sl :si Is, :- d, : d,.d| |d| .r. :Pi,.f, S| :8, Id, :- 64 THXED STEP. OH! THE SPORTS OP CHILDHOOD. KEY C. Smoothly ; in swinging style. M. 104. O. B. Basbows. s .,1 :s .,f 1 rn :di s .,1 :s ,f In :d' r' ,d' :t .,1 l8 :r' ni .,f :n .,r | d : PI m .,f : n . ,r Id :m f ,f :f .,f If :f 1. Oh, the sports of child - hood! Eoaming thro' the wild - wood, Run -nin g o'er the mead - ows, 2. Swaying in the snn - beams, Floating in the shad ow, Sail -inj I on the breez • es, 3. Oh, the sports of child - hood! Eoaming thro' the wild - wood. Sing -in^ I o'er the mead - ows, d' .,di:di .,dil di :s d' .,di :d' ,d' 1 d' :s t ,d' :ri .,dl 1 t :t d .,d :d .,d | d :d d .,d :d ,d|d :d S .,s :s .,s |s :s d' :1 Md' S s ,1 :s .,f In :d' s .,1 :s .,f IPI :d' n :f .,f m m ,f :ni !d :pi m .,f : PI .,r 1 d : PI Hap - py and free; How my heart's a beat - ing. Thinking of thp greet - ing, Hap - py and free; Chas -ing all our sad - ness. Shout-in g in our glad - ness Hap - py and free; But my heart's a beat - ing, For the old time greet - ing, d' :d' .,1 di d' ,d' :d' .,d' Id' :s d' .,di :d' .,d'|d' :s d :d .,d d d ,d :d ,d Id :d d .,d :d .,d id :d Chorus. ri .,d' :t .,1 s :t d' S :d' 1 ml :d' f .,f :f .,f f :f .,f m j- PI : PI 1 s : PI Swinging ' 'neath the old ap - pie tree. Swing - ing. swing - ing- Swinging 'neath the old ap - pie tree. Swinging 'neath the old ap - pie tree. Swing ing. S ,1 :t .,d' r' :r' .,t d' 1- d' 1 s s .,s :s .,3 s :s .,S d 1- d Id s :d" 1 m' :d' r' .,d':t .,1|8 :t .,ri d' :1 .,d' Is 8 :d' m :m 1 s :m f .,f :f .,f|f :f .,f m :f .,f |m m :m Swing ■ ing, swing - ing. Lull -in g care to rest 'neath the old ap - pie tree. Swing - ing. Swing ing. Swing - ing 'neath the old ap - pie tree. Swing d' S t t :t di :di .,1 d' • d' d :- Id S :s s :s d :d .,d Id d ml :d' S :d' n' :d' ri .,d':t .,1 Is :t d' 1- 8 :n m :m :m f .,f :f .,f 1 f if .,f m - • swing - ing, Swing - ing, swing - ing, Swinging 'neath the old ap - pie tree. ing. Swing ing. Swinging 'neath the old ap - pie tree. S d' Is s .,1 :t .,d'!r' rri .,t d' d d d s .,8 :s .,8 Is :s .,8 d - THIRD STEP. K L. KET G. THE OLD BLACK CAT. S| . m :n m .r :r S| .r :r S| .d :d .,d d .t, :t, . S| .t, :t, 1. Who so fuU OI fun and glee, Hap-py as 2. Some will choose the tor - toise shell. 0 - thers love 3. When the boys, to make her run. Call the dogs m .3 :s 1 8 . 8 8 .8 • St d .d :d ..d d .8, :8| . 8| .S| :si n .r :r S| •t, :r .,P1 r .d :d d, .t, :t, .,t, Si .8, :t, .,d t, .d :d nice and fatr— Oh, how I love the old black cat. this or that, But give to me the old black cat. on my hat, And fly to save the old black cat. S .8 :s .,8 8 . 8 :8 .,8 f . m : Pt d .S| :si .,S| S| .8, :8, .,8| .d, :d, r .d :d .,d t| .d :d a cat can be? the white so well. and set them on. .,8 f .n :pi .,S, 8| .d :d Pityingly. Poor .r .t, f .t | ;t, .r r .8| :si .f| 0, poor r .d f, .n, kU - tyl PI :r .d f .1 . d :t, .li ll .d :- . su - ting so CO - »y. 8 . t| : t| ti .S | :S| Close by Briskly. 8| . m : PI .,f PI .r :r .8, 8, .r :r .,Pi r .d :d .8| S| .d :d „d d .t, :t, .S| 8, .t| :t, .,d ti .d :si .8, Pleasant, pur - nng, pret - ty pus - ey, Frisk-y, full of fun. and fus - ey, PI .8 .,8 S . S :s . S S . S :s f . PI : PI . PI d .d :d .,d d .8| :si .8, 8, .8, :si .,S| .d :d .d f .1 :1 s .,t, :t, r .d :d PI :r d .d •d t, .,S| :8| .,ti ti .d :d d mease and rat,— 0, I love the old black cat, Yes, I 1 -f :f r •,r :r f . PI : PI 8 :f f; :fi S| .,S| :s, .,8| .d, •d, d B. LowBY, by per. 8| .PI :m 8| .d :d .,d Pol - ished sides so Let them choose of Quick-ly I put PI .8 :8 .,1 d .d :d .,d PI .8 d . n kit - tyl .,t, d • • .,fl PI, the fire. S| . m :pi .,pj S| .d :d .,d Mor -tal foe of PI .8 :s .,8 d .d :d .,d d d do. n d. 66 THIRD STEP. TWILIGHT IS STEALING. A, 8. KarppEE. ' B. C. Umbku). KEY G. M. 72. d :d .,r 1 n :8 d :n .,n|r tl :t, .,d|r f f :pi .,r PI t , S| :8| .,S||d :d s, :d .,d|t| • S| :s, .,1,1 1| t, r :d.,t||d 1. Twi - light is steal - ing Ov - er the sea, Shad - ows are fall - ing Dark on the lea; 2. Voi - ces of loved oneSi Still xn ft While life shall last; 3. Come in the twi - light, Coni6, oome to me, Bring -ing 80II16 IQ6S - 8&g€ Ov - er the sea. m :n .,f 1 s : n PI :s .,s|s • ' ■ ' r :r .,Pilf :r 8 :s .,8 : d :d .,did :d d :d .,d|S| • 8| :S| .,si| S| :si 8| :8| .,8,1 d d :d .,r 1 m :& • d :n .,Pi|r t| :t, .,dlr : m d :- 1 — S| :s, .,S||d :d S| :d .,d|t| S| :S| .,l||t| :t| d :— 1 Bome on the night winds, Voi - ces of yore Come from the far - off shore. Lone - ly I wan - Seek - 1T1£T fllflt. "faT - off home. Cheer - ing my path - way, While here I roam, Seek - ing that far - off home. ni * m TIC* . R •)! 1 S : PI m :s .,s 1 s • """ ' r :r .,m|f :8 PI . — 1 : — A U. :d d :d .,d| S| • ,11 1 S| :8| .,S|| 8| :8| d :— 1 • , S :s 1 n :- . s 1 .s :s . PI 1 r r :r Is r f . PI : m .r d d :d Id :- .d d.d :d .d |t, ; — t, :t, It, ; _ , ti r .d :d .t. d Far a - way be- yond the star-lit skiee. Where the love - U ght nev-er, nev-er dies. m : n 1 s .- .pi f . PI : PI .s 1 s • S :s 1 r • _ 8 s .s :8 .f PI d :d Id :- .d d.d :d .d | s, : — S| :si |S| :- . S| 8 .8 :8 .8 d • „ - d :d .,r 1 PI :s d :pi.,pi|r t, :t,.,d|r :n d : — • 8| :S| .,s,|d :d S| :d.,d|t| S| :S|.,l||t| :t, d :— 1 • Gleam - eth a man - sion filled with de- light. Sweet, hap-py home so bright. m :pi .,f Is : PI PI : s . ,s 1 s r :r .,Pi|f :s PI : — h- d :d .,d|d :d d :d .,d| S| S| :S| . ,S||.S| :s, d : — 1- • ■ • KEY A. Ronnd in two parts. :8| Up, up :li :t, and a d : way. * :m Is :8 Why I longer :f de PI :— :d.dlt| tl, :t| Id :d :pi lay, When the] birds and the | blospoms are S : caU jlagV :8| .Sjlsi :1| :t| Fno tbe| dwellings of d :— :n.pi|f :f :f men To theirj homes in the n :- glen, :pi.Pi Let us r :t| :si haste ere the S| :S| :S| shadows are fi : faU in, ; ling. THERD STEP. 67 EST 0. TO THE MOUNTAIN. J 1 1 :d'.,r' d' :s 1 rs .,1 s : PI : PI .,pi r .PI :f .s :1 .8 8 • PI :s .8 :n.,f PI : PI :n.,f PI :d :d .,d .d :r.pi :f .Pi m : d : PI .PI l.Tothe mountain, to the mountain, To the motm - tain ft way Let us 2. To the mountain. to the mountain. To the moun - tain a way, Let us :s .,s S :d< :di.,di di :s : s .,S S :s :s 8 : — :d' .d :d .,d d :d :d .,d d :d :d .,d S :s :s d : — :d .d s : PI :s 1 :1 :t d' :d' r :t .d' :r' .t PI :d : PI f :f :f PI : n f :r .PI :f .r bright in the sun's ear - liest ray, And hark I 'tis the merry zeph - yrs are scorch'd by the day, And come, follow. as the di ;s :d' d' :r' :r' d' - :d' t :s .s :s .8 d d :d f :r :s d :d S :S|.S| :8| .S| J. EL Tknnes. 1 :1 .t :d' .1 f :f .8 :1 .f haste for the mom is( haste for tho morning i d' :d'.d':di .d' :f .f :f .f : 8 : PI R : PI :d hnn - ter whose deer leaps from 8 : d' : s d :d :d f :r .PI :f .r PI : — :& 1 :1 .t :d' .1 8 : PI :8 1 .r':d' :t d' : — r :t|.d :r •t, d : — : PI f :f .8 :1 .f PI :d : PI f .f :n :r PI : — horn far a-wav we hear, Then come, hasten to the mountain, The summit now is near. sleep in his sh£ idy bed. A - - waked by the hunter's horn. Who e'en now has past him fled. 8 :s .8 8 .8 8 : — :d' d' :d'.di:d'.di d< :s :d' d'.l :s :s 8 : — S| :8|.8| 8| .S| d : — :d f :f .f :f .f d :d- :d f .f :8 :si d :— KEY F. ARLINGTON. C. M. Db. Abne. ;d PI .,pi :pi :r d .,d :d r PI .8 :f : PI PI :r :d d .,d :d :t, li .,1. :li d .d :t, :d d 1. Am I a sol - - diet of the cross A follower of the lamb, . 2. Must I be car - - ried to the skies On flowery beds of 3, Sure I must fight if I would reign. In - - crease my cour - age. Lord, . . : PI 8 .,8 :8 :f PI .,Pi :pi :s 8 .PI :f :s 8 :d d .,d :d :8| ll :li ' :s| d .PI :r :d S| :f PI .,n :pi :1 8 .,8 :8 :d r .f :pi :r d :r d .,d :d :d d .,d :d :s, ll .r :d :t| d And shall I fear to own his cause. Or blush to speak his name ? MTiile oth - ers fought to win the prize. And sailed thro' blood - y seas. I'U bear the toil. en - - dure the pain, Sup - - port-ed by thy word. :s S .,8 :s :f PI .,Pi : PI :s f .1 :8 :f PJ :si d .,d :d :fi d .,d :d .r, :8| :8| d 68 THIRD STEP. KXT C. M. 104 LOUD THEOUQH THE WOELD PEOCLAIM. 0. HxnmNO. s :n .,r| d :n s :in .ji'ld :m Lond thro' the world pro - s :pi .,r|d :m 8 : PI .,r| d : m s s claim S s : — a D •HI • u :1 f 1 1 * 1 m> •rl m :in |s :f 1 1 s :f no - - van B • • high - est ■ • prad Bes, Je - • • d' It d' :d' n r m :n high est prai - Bes, S S S :s • S 8| d :d :f t r • „, f rn 1 s t, r :r d 1 m :d an gels a - dore; Bow - ing • • • d' m ho PI d low :d' t :r' Id' :t d' :d' 1 :s :pi r :f In :r n - 1 :n 1 :m Je . ho - vah's high - est prai - ses, Je - :s S :s Is :s 8 :8 1 • :d S :s Is :s d :d 1 • :m' 1 r' :t d' : — t |d' : s 1 : — t |r> :- :s If :r PI : — 1 n : tn f : — If :— - vah's high - est prai ses. Je - ho vah's : d' d' : — U :- : 1 d f : — If :- : 1 s :n n : — If : 1 8 : — |s : m : 1 m :d d : — |r :f m : — |pi :d : 1 : Bow low at his throne, : with the 1 : 1 : :- If :1 T 8 : — 1 s :s 1 : — It :t :- r :f n :— 1 1^ n f : — If :f : at his throne, with the an gels a - 1 : : 1 : :- I- d' dore; PI :— I pi' :— |Pl' f :f' .f'lr' :r' .r' d' Id' :f' For he liv . eth and reign - eth for- ev er and 8 Is 1 :1 .1 {s :s .8 m :f .8 11 :1 .1 For he liv ■ eth and reign - eth for- ev ■ er for - ev er and d' :— ■ Id' d' :d' .d'|t :t .t di Id' For he Uv ■ ■ eth and reign - eth for- ev er and d : — id f :- Is :s d :r .ni If :f .f For he Uv - eth and reign-eth for - ev • ■ er and THEBD STEP. di :d' m :n prais - ea, s :s d :d :r' 1 n' :- 1- :d' s : — 1- :s 1 rf'.r' Id' :t ev - er, S :s 1 :m s : — 1- :s m : — 1- : n f :1 1 s :f ev - er, Be - joice. re - joice. re - joice, and praise his d' :t 1 : :d' 1.8 : n d' : — 1 — :d' d' :r' |m' :r' ev xie re - joice. s :s 1 . - j|oice, :s [n :d f 1 s . ev - er, Be - - joice, and praise his t 7> d' 1 — • s n' : — 1 :d' S 1 — : S 1 :fLri 1 d' :t m 1 • m o • o • 1 a O m I'l 1 f :1 1 ^ name, Be - joice. re - joice, re - joice, praise his di J) : a' : m a' 1 . J 1 :a' d' :r' 1 m' : r' Be - joice, re joice. d ; 1 ~~ * 1 V :s Im :d f 1 s ._ name Be . - joice, and praise his d< / t ; , : s :fn .,r Id :m s 1- :d' t :r' Id' :t m s : m .,r Id : m s : n r :f 1 :r name, Loud thro' the ■world pro - claim Je - ho - vah's high - est d' s : ni .,r Id : m S 1- : s S :s 1 S :s d s :n .,r Id :pi S 1- :d S :s i|s :& : s :m Be s joice, ;— I— :d' :d' Be I— :s re I s : m joice, re t s i- :s 1 :f' .r' Id' :t m 1- : m f :1 1 s :f joice, re - joice. and praise his di 1- :di d' 1 Pi' :r' joice. :s jn :d f 1 S Be - joice, and praise his t f d' 1— :d' d' 1- :d' d' : — 1- :f' m' : n' |r' :r' d' :- 1- Je- ho vah reigns, Be - joice and praise his name. m : — 1- :n f :f If :pi f :f |f :1 s :s Is :f m :- 1- nff^e, Je - ho - vah reigns, Je - ho - vah reigns. Be - joice and praise his name. d' : — 1- :s 1 :1 11 :s 1 :1 11 :d' d' :d' It :t d' :- 1- <3 : — (- Id f :f If :d f :f If :f s :s |S| :s, d :- 1- 70 'I' mk D STEP. Key Ab. ASCRIPTION. S. M. C'HESTEB Q. At.t.ibi , :8, n • * .8 :d . PI r • :n li :- .f :m .r d :8, :n, 8| .8| :d .d tl :8| fi :- .1| :si .Si S| :mi 1. 0 bless the Lord, my soul. His grace to thee pro- claim. And 2. The Lord for - gives thy sins, Pro - longs thy fee - ble breath. He 3. Then bless his ho - ly name, Whose grace hath made thee whole, Whose :d d 8 8 • :8 d :- .r :s .f n :d •A A U • •d t n . d a. • ,a.\ • 'II •»! .S| d, •A 8| t _ :8| .d PI .d :r :8 8 :- .n :d • r d Pl| .fi :ini . pij S| .8, :8, :si 8| :- .8| :S| .S| S| • aU that is with- in me join To bless his ho - ly name. heal eth thine in - firm - i - ties, And ran soms thee from death. lov ing kind - neas crowns thy days, 0 bless the Lord, my sonl. d .d :d .d d .d :t, :r n :- .d :n .f m • d, • .d, :d, .d, d, :8, :t, d :- .d :8| .8, d, • DENNIS. S. M. KEX F. Naqzll m :d :pi r :t, :r d :- :d d :1, :d d :S| :d ti :- :r :d d :S| :d t| :8| :8| 8, :— :si li :fi :li S| :mi :s, 8, :— :t, 1. How gen tie God's com- mands. How kind his pre cepts are! Come, 2. Be - neath his watch fal eye His saints se - cure ly dwell; The 3. His good nesB stands ap - proved, Un - changed from day to day; ru :8 8 : m :8 s :r :f n : — :in f :d :f n :d :m r : — :8 :d d :— :d 8, : — :8| d : — :d :fi d : — :d 8| :— r :t, :r d : PI :s 8 :r :f PI :8 :1 8 : PI :f PI :d :r d t| :8| :8| S| :d :d t| :r d : — :d d : :d d :s, :S| S| cast yonr bur - dens on the Lord, And trust his eon stant care. hand which bears aU na tare up. ShaU guard his chn dren well. drop my bur - den at his feet, And bear a song a - way. 8 :r :f PI :8 :n r :s :s 8 :m :f PI : 8 :1 S :n :f PI 8, : — :8, d : — :d 8| :8i d :- :d d : :f. S| :8| d THIED STEP. 71 Syncopation is th* anticipation of accent. It requires •n accent to be struck oefore its regularly recurring time, changing a weak pulse or ffeak part of a pulse into a strong one, {| II II II II II II II II II II 11 Ex. 169. 1 :T TAA TAA Ex. 170. 1 .T TAA TAI I TiA 1 TAI 1 :1 TAA TAA 1 .1 TAA TAI Ex. 171. ixr C rtound in two parts. s :T I- :8 11 :T Come now, oh, I come now, * m Yes, \m we're f com Ex. 172. HEX C. Round in two parts. r :— \T :— in" : — No, — :r yes. no. no, I yes. :t yes. Ex. 173. KEY C. Bound in two parts. d' .di" :- .t II A Come now. O PI . n : m No, no, no. come now, f .f no, no, Ex 174, KBT F. Round in three parts. I — If ing |r no, :f no. n CaU fast d oars :n .,f U John the I boat :m .,r falls the| rain. :d .d Id . are at I rest. :d man. m call :1 TAA .1 TAI :1 Or and the immediately following strong pulse or part of a pulse into a weak one. It must be boldly struck, and the strong accent on the immediately following pulse must be omitted. 1 TAA :1 I- TAA t we S right d' no. :t I- shall :~ It no. :1 yes, .8 Or . n And :r .,d him a - f we :s yes. . n :r shall be r .di you, too. r gain, :1 TAA :1 TAA 1 .1 :1 .1 TAA TAI TAA TAI :t be d' :d' late, I d : long. 1 no, :f yes, :f yes. .f too PI late; d' must I wait 1 TAA :1 TAA 1 . :1 . TAA 8A1 TAA 8AI T. F. S. Id' fear. :- is no. :m yea. I PI yes. ;- .d |n For I loud :s .1 Is roars the I tern :n .d I pest and | .d :d .d John is a - :d .d In and his | boat :s .,f is a 8 .8 :- .1 It rap-id and | deep; .8, sis .s :pi .f Butthel louder you call 1^ :- .d Id :t, . 1' s, •t, I His ) 1 sleep. he 1 sleeps ve - ry sound. IPl :s I- :d •»r PI . PI : .d t -1 ground. Loud roars the riv - er, so ) 1 ^ : . PI Is .S :s, .,S| d : ! 1 John, the 1 sounder he wiU sleep. 72 THIED STEP. T. F. KET G. :d ., :d \1. Hear J2. Hear S. M. S| S| the the HEAE THE WARBLING NOTES. T. P. SXWABD. 100. n, .8, :d .r PI :d :d .t, 1. .d :t, .li nil ' '1 .Si •"1 :d .r m :d :d .t| 1, .d warb ling notes of Bpring - time, From the gay and cheer-ful ech oes as they're ring - - ing Far and near, o'er hill and tn • n : n PI .n : n f :f .1 :8 .f La la la la la la La la la la la d .d :d d .d :d f) La la :fi la • throng, dale S, d song, gale. d la. PI d d .,S| Ev - ery Let us d .,si :8 .,1 La la :d La ,d la pii :- voice join PI) :- PI .R J PI La la la d .d :d ;d .,d 8 .r la la :r la t| .t| :t| la la la r .8 :s Si .S| :S| .8| :d .r is filled with them with our .S| :d .r :s la :t, la :r :si 'i .,t, la m :d glad - ness, sing - tug, PI :d La la la PI .PI : PI d .d :d s .PI :n la la la, d .d :d la la la, PI .s :s d .d :d :d .,t, Let us Send -ing 1, .1 :1 .8 :f .r join their hap-py, hap-py :8 .,1 ;Hear the :d .,d Hear the : PI :d .,pi .,d out our songs on ev -ery 1| . :t, . :t, .t, La la la la f :r :r .f :8, :8, .81 s .T :- .1 :s .f ech-oes t, .r :- ech-oes 8 .t :- S| .8, :- so gai - ly .f :pi .r so gai - ly .1 :8 .f .8, :1| .t| f .PI :n :d ring - ing, f .R : PI :8 .,1 S .r :r :8 .,1 s .PI : PI :s .,1 8 .t ,1 :8 .s,f :pi .r d :d' :d .,d t| .t, :t| :t, .,t, d .d :d :d .,d t|.r,d:ti.t|,r :d .t, d :d La la la la la la la la la la la la la la la la la la la la la la :pi .,P1 r .8 :s :r PI .8 :s :n .,P1 8 .8 ,8 :8 .8 ,8 :8 .f PI :pi :d .,d •S| :si :si .,S| d .d :d :d .,d 8|.8|,S| :8|.S|,8|:S| .81 d :d KET E. M. 160. COME, LET US ALL BE MERRY. Arranged, and new words. /.d,r PI . PI :pi .8 s .f : . r,n f .8 :1 .t d' . s : . n,f 8 .8 :8 .1 i .d£ PI . PI :pi .8 8 .f : .r,pi f .8 :1 .t d' . s : d PI . PI :pi .f Jl. Come <2. A - )3. So let us way with when the aU be all the clouds are mer - ry, tra - ceg low'r-ing, For Of Then griev-ing sad - ness let us is a gloom and laugh the fol - sor - stron ly row; g-er, AU If Fo. care we thnr and all troD wear care - ble long o'er- d,r PI . PI :n .8 s .f : .r,pi f .8 :1 .t d' . s : < S d' d' .d' .di ^ d,r PI . PI :m .8 8 .f : .r,pi f .8 :1 .t di . 8 .d d .d :d .d 'I' mkT) STEP. 73 s .m : .d' t ,1.8 ,f :m,r.d,t| r .d : PI *.d : .n s ,f.n,r :d,t|.l|,S| t, .d : ba - ry And while we live be jol - ly. fa - ces, Let's keep them for to - morrow. pow-'ring, We'U sure - ly last the longer. d> .8 : .8 s .8,1 : 8 .r f .n : d .d : .8 r .m,f :s .S| S| .d : .,1 r,r .r :r .8 PI . 8 .PI jolly old world you know. t| .t| :t| •t| d . : m .,f PI .d ha ha ha ha ho. All be hap-py, s .s :s .S S . :s .,dl di .8 S| .S| :S| .S| d . :d .,d d .d .,1 :d' s . :d' S .PI .,1 S .PI PI . :1 .,f PI .d :1 .,f PI .d go; All be bap-py, all be mer-ry, d' . :d' .,dl di .8 :di .,dl d< .8 d . :f, d .d :fi .,f| d .d Modifications of Mental EfiFect. Thus far we have studied the mental effect of tones when sung slowly. All these affects are greatly modified by pitch, by harmony, by quality of tone, but chiefly by speed of movement. Highness in pitch favors the brightness and keenness of effect, makes ray more rousing, and te more piercing. Lowness in pitch favors the depressing emotions, makes fah more desolate, and lah more sad. Quick movement makes the strong tones of the scale (d m s) more bold, and the emotional tones (r f 1 t) gay and lively. Let the pupils sing any exercise containing fah and lah very slowly indeed, and notice how their mental effects are brought out. Then let them sing the same piece as quickly as they can, keeping the time and observing the change. Fah and lah are now gay and abandoned instead of weeping and desolate in their effect, and the other tones undergo a similar modifica- tion. The tune Manoah wiU afford a very good illustration. Let it be sung first very slowly and then very quickly. Let the pupils try in the same way other tones which are deemed most characteristic. Key G. :d.r|m :— :r |d :— :t, |t, :— :1, } 11, :— :r.Pi|f :— :in |r :— :d |d :— :— } ' |t| :— :S| |m :— :r |f :— :m |1 :— :in } '8 :f :r Id :— :s, | m :— :r |d |— :— H • CHOEUS. .d.r With a • • PI .m ha ha d .d • :pi .r ha. An :d . • f ho t, • .f ho •t, • :f ho, :t, •Tisa ha ha ha. ho ho ho. t o . o d .d ;g , :d . g r c . 0 .r :r • :di" .,1 8 .PI :r .r 8 .f : PI : PI All :8 .,f be .,dl PI .d mer-ry, d' .8 :t, .t, Let's be :8 .8 t, Jol 8 .t, • ly .8 :d as :s .,r I we / .,8 :d .,d d [ .d :si .8, S| .8, :d .,d ^ :f .1 8 .f : PI .r d :d .r broth-ers :1 .f PI .r : d all, both friend 8 .1 :s .t, and .f d foe. PI :ft .f. PI, .f| :8> .8, d " Elementary Rhythms " required for the time exer- cise of the Elementary Certificate, should be carefully taught by the teacher and diligently practiced by the pupOs at home. Modulator Voluntaries, Ear Exercises, Pointing and Writing from Memory are still to be practiced at every lesson. The exercises becoming more and more difficult as the pupils gain facUity. The voluntaries wiU now include la-ing as well as solfa-ing, to the teacher's pointing. A few two-part Ear Exercises, as in "Hints for Ear j^xercises," can now be wisely introduced, but only to quick and observant classes. To others, each "part" of the exercise wiU serve as a separate exercise. Examinations for the Certificate may begin six weeks before the close of the term. All the requirements need not be done at one interview ; as soon as a pupil is prepared in any one requirement, he may be examined in that, but aU the requirements must be done within six weeks, or else the exami- nation begins again. The examination may be conducted be- fore the whole class, or in private, as suits the convenience of the teacher and pupils. For instmctions in Foice Training, Breathing, Harmony, etc.. belonging to this step, the teacher will oonstilt the Stfoidard Course. T4 TFTTRT) STEP. QUESTIONS FOE WEITTEN OR ORAL EXAMINATION. I. W hat tw» new tones have you learned in this I. Setweea what two tones does Fdh come) S. Between what two tones does Lah come ? 4. What is the relative position of Fall to Doht 5. What is the relative position of Lah to jDoA I 6. What ia the mental effect of FoA? Of Ldht 1. What is the monnal sign for Fdk f Por Lcih ? 8. What chord is formed of the tones f 1 d I 9. What is the aeries of tones, d r m f ■ 1 t d', called? M. Which is the fifth tone of the soaleT The third? The sixth f (The teacher will sup- ply additional qnestions, and also qnestlonB on the mental effects and hand-signs.) 11. Each tone of the scale differs from the others, in wha$f 12. What is meant by " pitoh V 13. What is the eighth tone above or below any given tone called t 14. How is the octave above any tone indicated In the notation! 15. How is the octave below indicated t 16. How is the second octave indicated! 17. Which are the strong, bold tones of the soalet 18. Which are the leaning tones ! 19. Which two i/aaea have the strongest leaning or leading tendency! 20. To what tone does t lead! SI. To what tone does f lead! tS. What Is the most important, the strongest, the governing tone of the scale called f 3. What is a family of tones, consisting of a key- tone and six related tones, called! •4. When the tones of a key are arranged in sne- oessive order, aaoendijig or deBoeadiiig,wbat do they make! DOOTEINE. 25. Must the scale always be sung at the same pitoh or may it be sung at different pitehes ? 26. What is the name of that scale from which all the others are reckoned? 27. What is the name of the pitoh that is taken as the key-tone of the Standard Scale? 28. Name the pitehes of the Standard Scale ? 29. What pitoh is Soht Sayt Laht (The teacher will supply similar qnestions.) 30. In the absence of a musical instrument, how may the correct pitoh of the Standard Soale be obtained! 31. From what Is a scale or key named! 33. How are the different keys Indicated in the notation I 33. What is the difference of pitoh between the Voices of men and the voices of women ! 34. What is the name of the pitoh that stands about the middle of the nsual vocal com- pass ! 35. Is middle O a high or a low tone in a man's voice! 36. Is It a high or a low tone in a woman's voice! 37. What are the high voices of women called! 38. What is the nsual compass of the Soprano! 39. What are the low voices of women called! 40. What is the nsual compass of the Contralto ! 41. What are the high voices of men called! 43. What is the nsnal compass of the Tenor! 43. What are the low voices of men called! 44. What is the osnal compass of the Base ! 49. From what octave of the Standard Scale Is the pitch of the key-note of any key taken! 1 46. How is this tone and the six tones above ll marked ? 47. In the Key O the unmarked G of the Standard Scale is doh, what is the unmarked A ! Th* unmarked E? 48. How would that lah be marked ! 49. With what octave marks are the Base and Tenor parts written ? 50. How is the exact rate of movement of a tune regulated! 51. What does M. 60 indicate? 52. How is the rate of ver^ qulek, sli-pnlse meas- ure marked ? 53. What is the time-name of a silence on the first half of a pulse! On the second half! 54. How are half-pulse silences indicated in the notetion ? 55. What is the time-name of a pulse divided into two quarters and a half? 56. How are they indicated in the notation ? 57. What is the time-name of a half and two quar- ters! 58. How are they indicated In the notation ! 59. What is the tune-name of a pulse divided into- a three-quarter-pulse tone and a quarter! 60. How are they indicated in the notation ! 61. What is syncopation ! 63. What is its effect upon a weak pulse, or weak part of a pulse? 63. What is its effect upon the next following strong pulse? 64. By what, chiefiy, is the mental effect of tones modified ! 65. How does a quick movement effect the strong tones of the scale! The emotional tones! 06. Sing from memory the pitch of d' of the Stand- tSi Scale, and sing down the scale. 67. Strike, from the tuning fork, the pitoh of dl of the Standard Soale, and sing down the scale, as above. (8. Pitoh, from the tuning fot^ Key D — O— A— F. 69. Sin^lto la the Fak to any DoX the teaeher gives. ro. Ditto .niA,. Ditto XoA. Ditto Zm memory, any other of these four Exercises, chosen by toe examiner. 79. Tell which is lah; which is /ah, as directed, on page 32, question 31. 80. Tell what tone of all the scale is sung to lo, as at page 32, question 32. 81. Taatai any rhythm of two four-pulse measures belong to the step, which the examiner shall la to yon, see page 33, question 33. 83. Taatai, in tane, any rhythm of two fonr-pnlsa measures belonging to this step, which the examiner Solfas to you. See page 32, qnes tion 34. 75 FOURTH STEP. Tht Intervals of the Scale. Transition to the First Sharp and the First Fdat Keys ; Us process and mental effect The tones Jfc and 7b. Chromatic effects. Cadence, Passing and Metended Transition. Pitching Tunes. Thirds of a Pulse. Beating Time. The Intervals of the Scale. In the art of singing, his subject is not now deemed so important as it once was, for attention is now directed immediately to the character and mental effect of a tone in the scale, rather than to its distance from any other tone. In an elementary class the subject need not be dwelt upon — merely the main facts briefly presented. The teacher or student who wishes an exhaustive treatment of the matter, is refered to Musical Theory, Book I., by John Curwen. The Tonic Sol-fa statement of the scale-intervals is as fol- lows: t to d Little Step 5 Kommas. 1 td t Greater Step ... 9 Kommas. s to 1 Smaller Step. . .8 Kommas. f to 8 Greater Step ... 9 Kommas. PI to £ Little Step 5 Kommas. r to PI . . . .Smaller Step. . .8 Kommas. d to r Greater Step. . .9 Kommas. Thna the scale contains Three Great Steps, Two Small Steps and Two Little Steps. The difference between a Greater and a Smaller Step is called a Komma; a Greater Step consist- ing of nine Kommas; a Smaller Step, eight Kommas, and a Lit- tle Step, five Konunas. Ordinarily, no distinction is made between the Greater and Smaller Steps, they are simply called Steps, and the Little Step is commonly called a Half-Step. Intervals are also named Seconds, Thirds, Fourths, Fifths, Sixths, Sevenths, Octaves, and so on. The iuterval from any tone to the next in the scale is called a Second; from my tone to the third tone is called a Third ; to the fourth tone Fourth, and so on. A Second that is equal to a Step is called Major Second; a Second that is equal to a Little Step is caUed a Minor Second. A Third that is equal to two Steps is called a Major Third — as from d to n — f to 1 — or s to t A Third that is equal to one fuU Step and one Little Step (a Step and a Half) is called a Minor Third — as from r to f— n to b — 1 to d— or t to r'. Te and Fah are separated by a peculiar interval, called the Tri-tone — equal to three full Steps— it is the only one found in the Scale. Thus f and t become the most marked characteristic tones of the scale. From their mental effects t may be called the sharp tone of the scale, and f the flat tone. We shall pre- sently see how the whole aspect of the scale changes when f is omitted and a new t put in its place, ot when t is omitted and a new f is taken instead. Transition is the " passing over" of the music from one key into another. (Heretofore this has been called modula- tion—but in the Tonio Sol-fa system modulation " has a differ- ent meaning.) Sometimes, in the course of a tune, the music seems to have elected a new governing or key tone; and the tones gather, for a time, around this new key-tone in the same relationship and order as around the first. For this purpose one or more new tones are commonly required, £ind the tones, which do not change their absolute pitch, change nevertheless, their "mental effect" with the change of key-relationship. To those who have studied the mental effect pf each tone, the study of "transition" becomes very interesting. At the call of some single new tone characteristically heard as it enters the music, the other tones are seen to acknowledge their new ruler, and, suddenly assuming the new offices he requires, to minister in their places around him. The musical fact, thus didactically stated, may be set before the minds of pupils in some such way as the following : First bring up the scale in review, questioning the class as to the mental effects of the tones, the intervals and the two most marked characteiistio tones of the soala. The teaohoT may then say: Listen to me while 1 sing a tune, and notice whether I stay in the same key all through the tune, or whether I go out of it at any point. Teacher sings the following example to la. A. . KEl C. {|d :m Is :n \1 :1 Is :— } {|8 :s Id' :t .1 |8 :f |n : — Did I stay in the one key all the time, or did I go oui of it any point? Listen again, and raise yonr hands when yoa feel the key has changed. Teacher now sings, still to la, example B. B. KEY C. {Id :n Is :n jl :1 |b :— } {Is :s Id' :t .1 js :fe |s :— || When the teacher strikes the tone fe the pupils wiU, with- out doubt, hold up their hands — if they do not, then both examples must be repeated. You feel that the music has "passed over" into a new key. This change of key daring the progress of a tone » called Transition. It may be well now to repeat the two examples to la, papils imitating. Let us now learn what has caosed this transitioo, or change of key. You may sing (solfa-ing) as I point The teacher points on the modulator the examp above. 76 FOUETH STEP. Did you make a transitien then, or stay in the same key? Try it again, as I point This time he changes second phrase, thns: C. KEY C. {I d :rn |s :n |1 :1 |B :— } {|B :s Id' :t .1 Is :f |'s :- || Did you make a transition then, or stay in the same key? Listen to me. Teacher sings example B to la, pointing as he sings; and ai fe he points to fah, on the modulator, but sings /e. Did I sing fah, then, or a new tone ? Was the new tone higher or lower than fah? Was it higher or lower than sohf The new tone is a Little Step below so^, and is called fe ; it is to soh exactly what te is to doh. Now sing as I point, listen to the mental eifect of soh, and tell me whether it still sounds hke soh. Pupils sol-fa, to the teacher's pointing, example B, above. What did the last soh sound like ? What did the fe sound like? Yes ; soh has changed into doh, /e is a new te, lah is changed into ray, te into me, and so on. The teacher may illustrate this further if he thinks best. You see that the transition is caused by omitting fah, he flat tone of the old key, and taking fe, the sharp tone f>( a new key, in its place. Fe thus becomes the distin- guishing tone of the new key. The new key is called the "Soh Key," or (on account of the sharp effect of the distin- guishing tone), the First Sharp Key. The new key is shown on the modulator on the right of the old key. You see the new doh is placed opposite the old soh ; the new 'ay opposite the old lah ; the new me opposite the old te, and so on. The teacher will now pattern and point on the modulator example B, going into the side oolnmn, as indicated in exam- ple D, following. r>. KEY c. {jd :in |B :m jl :1 |s :— } G.t {|«d :d If :in .r |d :t, |d :- || Now for another experiment. Instead of patting a sharp tone under soh, in place of fah, let us put &flat tone under doh, in place of te, and see what the effect will be. Teacher sings, anil points on the modnlator, example E, which the pupils may sing after him. E. KEY C. {jd :pi is :iti |1 :1 js :— } {|s :s Id' :s .1 |t :1 .s |f :— H Have we made a transition or not? Has the mental effect of any of the tones changed ? Listen again, and in place of te we will put a new tone called ta* ; now notice the mental effect of fah. Teacher repeats example E, singing ta in the place of te — pupils imitating. Fah has becoine doh, soh has become ray, lah has become me, ta is a new fah, and so on. We have made a transition into a new key, but a different new key. The distinguishing tone of this new key is ta. It is called the "Fah Key," or (on account of the flat effect of its distin- guishing tone), the First Flat Key. The Fah Key is rep- resented on the modulator on the left of the old, or Doh Key. Teacher wiU now pattern and point exam ple E, t,'oing into the side column, as indicated in example F. F. KEY C. {|d :n Is :in |1 :1 |s :— } f. F. {|8r :r |s :r .m |f : m .r |d :— P It will be interesting now to review examples A, B, D, h and F. Adjacent Keys in Transition. Such transitions as have just been studied are called transitions of one remove, be- cause only one change is made in the pitch tones used. When s becomes d the music is said to go into the first sharp key, or or key of the Dominant. When f becomes d the music is said to go into the first flat key, or key of the Sub-Dominant Eighty per cent, of aU the transitions of music are to one or the other of these two keys, and that to the Dominant is the one most used. The relation of these two adjacent keys should be very clearly understood by the pupH, and he should be led to notice how the pitch tones change their mental effect, as described in the follbwing table: Piercing t becomes. Calm n. Sorrowful 1 " Eousing r. Grand s " Strong d. Desolate f is changed for Piercing t. Calm n becomes Sorrowful L Kousing r " , Grand s. Strong d " Desolate t ! *For pronanoiatlon, see page 77. POUKTH STEP. 77 f t n t—ta n 1 r r S d d f t, m li R, B, d f, Returning Transition. a rule, all tunes go back again to their principal key, but the returning transition is not always taken in so marked a manner as the departing transition, because tli« principal key has already a hold on the mind, and the ear easily accepts the slightest hint of a return to it. Commonly, also, it is in the departing transition that the composer wishes to produce his most marked effect, and in which, he therefore makes his chords decisive, and his distinguishing tones emphatic. Let it be care- fully noticed, that the return to the original key is the same thing in its nature, as going to the first flat key, so that a study of the mutual relation of these two keys is the ground work of all studies in transition. The pupils should be taught to draw a diagram of a principal key, with its first sharp key on the right, and its first flat key on the left, observing carefully the shorter distances between m t and t d', and to learn by rote, the relations of their notes. Thus, let him say aloud, reading from the middle column to the right, "d r 3, m 1, fe t, s d," and so on; and from the middle column to tlie left, "d s, r 1, m t, and so on. It may be interesting to mention, that in passing to the first sharp key the old 1 requires to be raised a komma to make it into a new r; and in passing to the first flat key the old r is lowered a komma, to make a new 1. These changes need not trouble the leamerj his voice will naturally make them without any special effort. Notation of Transition. Tonic Sol-faists always pre- fer that their notes should correspond with the mental effect of the tones they represent. We therefore adopt the plan of giv- ing to some tone, closely preceding the distinguishing tone, a dovble Jiame. We call it by its name in the old key as well as by that which it assumes in the new, pronouncing the old name slightly, and the new name emphatically, thus: S' Doh, X' Ray, T' Me, etc. These are called hridge-tones ; they are indicated in the notation by double notex, called bridge-rioie.s, thiis: sd, Ir, tpi, etc. ; the small note on the left giving the name of the tone in the old key, and the large note its name in the new key. This is called the "proper" way of indicating transition. But when the transition is very brief, less than two measures long, it is more convenient not to alter the names of the tones, but to write the new t as fe, and the new f as ta. The Signature of the New Key is placed over every transition, when written in the "proper" way. If it is a sharp key (e. t. to the right on the modulator) the new distingjiishing tone is placed on the right of the key name, thus, G. t. If it is a flat key (e. i. to the left on the modulator) the new distinguish- ing tone is placed to the left, thus, f. F., and so on. By this the singer knows that he has a new t or a new f to expect. More distant removes would have their two or three distinguishing notes similarly placed, for which, see Sixth Step. Mental EflFects of Transition. The most marked effects of transition arise from the distinguishing tones which are used. Transition to the first sharp key naturally expresses excitement and elevation; that to the first flat key depression and seriousness. Manual Signs. It is not advisable to use manual sign, in teaching transition, because they are apt to distract attention from the modulator, with its beautiful "trinity of keys." The greatest effort should be made to fix the three keys of the mod- ulator in the mind's eye. But if, on occasion, it is wished to indicate transition by manual signs, the teacher may, to indicate transition to the right on the modulator, use his left hand (which will be to the pupil's right), thus: When with the right hand he reaches a bridge-tone, let him place his left hand close be- side it, making the sign proper to the new key, then withdraw- ing his right hand, let him proceed to signal the music with his left He can use the reverse process in the flat transition. Signs could easily be invented for/e and ta, etc., but we do not advise their use. Cadence Transition. The most frequent transitions are those which occur in a cadence, that is, at the close of a musical line. AVhen these transitions do not extend more than a measure and a half, they are called Cadence Transitions, and are commonly written in the "improper way," that is, by using fe or ta. Cadence transitions are most frequently made by /e. In singing, emphasize this/e and the first f that follows it. Passing Transition is one which is not in a cadence and does not extend more than two or three pulses. The com- monest form of the transition to the first flat key, is that in which it makes a passing harmonic ornament in the middle of a line, or near the begining. It is written in the "improper" manner. Extended Transition is that which is carried beyond a cadence. The first sharp key is much used in this way in hymn tunes, often occupying the second or third lines, and sometimes the greater part of both. Missed Transitions. If one "part" is silent while another changes key twice — when the silent "part" enters again, it is necessary, for the sake of the private pupil, to give both bridge-notes, thus, rsd. But the chorus singer must dtsre- gard these marks and tune himself from the other parts. Chromatic Effects. The tones fe and ta are frequently introduced in such a way as not to produce transition. When thus used they are called chromatic tones, and are used to color or ornament the music. Chromatic tones may also be intro- duced between any two tones of the scale which form the inter- val of a step. These tones are named from the scale-tone below, by changing the vowel into "e," as doh, de, ray, re, etc.; or, from the scale-tone above, by changing the vowel into "a," as te, ta, lah, la. The customary pronunciation of this vowel in America, is "ay," as in "say;" in England is pronounced "aw." Such exercises as the following, should be carefully taught by pattern, from the modulator. Let them be first sol-faed, and afterward sung to la. In fact, all the early transitions, and all the more difficult transitions, following later, should be well taught from the modulator. If this is not done, transition will become a confusion instead of a beauty and a pleasure to the learner. The following seven exercises may be treated as foUows Sing each exercise first, as written in the "improper" wa/. then according to the "proper" notation. Then connect tb« first part of each exercise with the second part of all the others. FOUBTH STEP. thTis, the first part of Exercise 175 and the second part of Ex- ercise 176. The first part of Exercise 175 and the second part of Exercise 177, and so on. Then take the first part of Exer- cise 176 and connect it with the second part of the others, in the same way, and so on with each exercise, singing by ths " proper " notation. The object of this is, to acqiiire the ability to leap to the bridge-tone. It is needless to say the teachrr ma,y invent his own exercises, in place of these, if he so prt^fors Although key 0 is indicated for aU these exercises, it wUl be better to change the key occasionally to D or E|}. Alter they have been well practiced, they may be sung through continuously as one exercise. The small notes indicate the tones as they are named ii key C — caUed the "improper" notation. Ex. 175. KEY C. G. t f. C. :m Is :d' It :l |s :— I'd :d It, :d Ir :r If :— |ds :1 1' :n If :r Id : — 1 1 1 1 g * 8 1 fe • g • 1 1 1 1 Ex. 176. KEY C. G. t f. :r Id rm Is :f |n :t, 1' : n 1; :r If :— jds :s 1' :1 |s :f |n : — ' 1 1 PI : fe 1 " : t 1 * : 1 1 Ex. 177, KEY C. G. t f. c. :r In :d If : m |r :-|^s, :li |S| :d Id :t, If :— |ds :r :f In :r Id : — 1 1 1 ' ; PI 1 ^ 1 s : fe 1 1 1 1 Ex. 178. KEY C. G. t. f. c. :f Is :d' |r' :di |t : — |*n :f 1 ^ :r If :t, If :— |ds :di 1 8 :n jr :f 1 n : — 1 1 1 ^ : d' 1 t : I 1 ( : fe Is 5— 1 1 1 Ex 179. KEY C. G. t. f. c. :— |ir : n If :r If :t, Id :— |ds : n |f :r |d :t| |d : — :f |n :s |d" :t |1 1 1 : t 1 d' ; 1 :fe 1 s Ex. 180. KEY C. G. t f. C. :t |di :— |df :f :d 1'' :t, d :— |ds :s :f |n :r |d : — :f |s :s |1 Id' :d' : s 1 " :fe 8 Ex. 181. KEY C. G. t. f. C. :— |fet, :d ir :r Id :t, f :— :di :f |r :s jd :— : n 1 s : n jr :n |f 1 fe : s :1 1 8 :fe Extended Transition to the first flat key seldom occurs, so that it is not Tiecessary to give more than one or two examples of tt. Ex. 182. KEY C. f. F. c.^t :t ,1 :f ir :r Id If :f 1 ^ :s |1 :t |d' : — :f jn :s jd' : ta : 8 1 f Ex. 183. KEY C. f. F. C.t :t |d' :— Id's : n 1 ^ :f 1 ^ •f 1 f :— jdf :1 1 ^ :d' |di :t | d' : — :f |s :s |1 1 : 1 1 8 : ta 1 1 POUBTH STEP. 70 Ex. 184. KJsn C. Passing Transition to the first flat key. d' :s II :ta 1 :f |m : — |m :f :ta II :t d' :- Ex. 185. KEY C. s :m |d< :t ;di — Is :ta jl :f In :r jpi : — Ex. 186. KEY A. m :r Id :t| |d :1| d :tai |1| :r |d :ti |d : Ex. 187. KEY D. Ohromatio fe and ta. d :m |8 :fe |s :f — I PI : s fe : 8 If : r id : Ex. 188. KEY D. d :m |r :m If :fe is :8 fe :f Ex. 189. KEY A. S| :n |r :d ta li : — ;tai d : — Ex. 190. KEY F. s :fe If : PI :i s ;tai Ex. 191. KEY C. :f in :1 :fe d' :ta II d' :t d' :— FitchiBg Tunes. In the third step the pupil was taught to pitch the key tone of a tune by singing down the Standard Scale, stepwise, to the tone required. A shorter way may now be taught. In pitching key G the pupil need not run down to G stepwise, but will fall upon it at once from C. In pitching key F he will take C as s, and fall to the key tone, thus, C — 8 m d. Key E may be piched by falling to n, thus, C— d' s ni— md. Key A is pitched by falling to 1, thus C — d' 1 — Id. Key D, thus, C — d r" — d'. The key may be pitched a little-step higher (sharper), or a little-step lower (flatter), than any tone of the Standard Scale. The tones thus required are named "C sharp," "D ekarp," 'E flat," ' D flat," etc., and the sign $ is used for "sharp," and fe for "flat." A sharp be&is no relation to the tone below it, and after which, for conTenience, it is named, but its relation is to the tone above it. It is to the tone aboTO it the same that t is to d, or /e to ■. In order to strike it correctly, sing the tone above, and then smoothly de- scend a Httle-step to it. A flat bears no relation to the tone above it, and after which it is named. Its relation is to the tone below it, to which it is the same as f to n, or to to 1. To pitch it correctly, in the cases of Gfe, Afe and Dli, we should sing the tone below, and then rise to it a little-step. In the Key Bb take 0' as 8, and sing s f— fd. In Key Hi take C as 1, thus, C— 1 1 d'. 80 POUBTH STEP. COME BACK, SWEET MAY. KEY F. :d d : — : n 1 s : — : d' s : — : — 1 — :n :d f : — :f If :s :f n : — 1. Com« back. come back, sweet May, And bid « the flow - 'rets bloom, 2. As ev - - 'ry sea - son chang - - es, Each brings some pleas - ■are new, 3. I love the gol - den splen - - - dor Of gay and glo - rions June, :d d : — :d In : — :n n : — :-|d :- :d r : — :d It, :- :t, d :- d : — :n Is :- :d' s : — 1 — : m :d r : — :r 1 r : n :r d : — birds sing on the spray, The skies their blue re- sume. which the fan - - cy rang - es, Afi pleas'd and change - ful too. love the twi - - light ten - der Of Au - tumn's har - - vest moon. d : — :d In :- : n n : — Id :- :d s, : — :8, 1 s, : — ■ 5 8, d : — f : — :f |r : n :f s : — : n id' :d' di :t :1 1 1 :s :fe 8 : — more I would be breath - ing Thy fresh and fra - grant air; win - -try nights we hs - - ten To tales and songs of mirth. las! that all snch honrs So soon should pass a - way ! r : — :r It, :d :r n : — :d In :- :n r : — :r 1 d : — :d •ti :- d : — :n 1 s : — :d' d' : — :f 11 :— :1 s : n :s f :n :r d :- more I would be wreath - . . ing Thy bios - soms in. my hair. joy - - lit fa - - - ces glis - ■ - - ten A - - round the so - - cial hearth. fill thy lap with flow - - ers. Come back. come back, sweet May. d : — : d 1 ta, : — :tai li :- If) :— :f n :d :s. li :t. d :- KEY G. Bonnd in three parts. :8| Id :- It, :t, 11, :- |s, :f In :n I To I Ports - - rnsnth, to ' Forte - - month, It, 'is a ijd ;— tti :r in .f :s |s { t tovMtt, Sing I der - ry iawn, hey : 8 down FOUBTH STEP. 81 THE HONEY-BEE'S SONG. KBY A. s. c. B.' S| :d :d |d :d :d ti :r :r |r : — : — S| :r :r |r :r :r rii : pij :pIi 1 pii : ni| : PI) r. :fi :fi |fi :- :- f| :fi :fi |f| :fi :f| 1. 1 am a hon-ey - bee, buz -zing a - way, 0 - ver the blos-Boms the 2. Up in the morning — no lag -gardsare we, Skimming the clo - ver - tops 3. No i - die mo-ments have we thro' the day, No time to squander in d, :d, d| Id, :d, :d, 8| :s, :si |S| :— :— S| :S| :S| |S| :si :S| T. F. Sbwaed. d :n :ni In :— : ni :S| :si | S| :— : long sum - mar day ; ripe for the bee; sleep or in play; d| :d| :d| Id, :— : s, :d :d |d :d :d nii : n, : ni| | m, : rn, :S| Now in the Kl - y - cnp Waking the flow-ers at Summer is fly - ing, and d| :d| :d| I d| :d| : m. t| :r :r |r : S| :t| :t| |t| : drinking my fill, dawning of day, we must be sure s, :8| :s, |s, : r :r :r |r :d :t| t| :t, :t, It, :1, rs. Now where the ro - ses bloom Ere the bright sun kiss the Food for the win-ter at S| :s, :s. Is, :s, :s. 1, :t| :1| |S| : — fe, :fe| :fei | S| : — un-der the hill; dew-drops a - way; once to se - cure; r, :r, :r, |S| : — s, :s, :s, If :- :n r : — :n If :- :s, 8| :8, :s. 1 rn : — :r d :— :r |m :- s, :8, rs. |r :- :d t| :- :d |r :- :s. s. Ai :s. Is, :- :f| R, : — :f| |S| : — Gai-ly we fly. we fly. we fly. My fel - lows and I. and I, and I; Gai-ly we sing. we sing, we sing. As on - ward we wing. we wing. we wing; Bees in a hive, a hive. a hive, Are up and a - live. a - live. a - live; s, :si :s, Is, :- :s. s, : — :s. Is, :- :8| s. :s, :si Id, :- :d. d, :- :d. Id, in:m :n |f :- :f r :r :r 1 n :- :- d :d :d |r :r :r t, :- :- 11, :- :t, d :- :- 1- :- :- S|:si :s, |1, :- :!, t, :t| :t, Id :- :- s, :s, :si |1, :1| :1, 1) :- :- Ifi :- :f| n,:- :- h Gaily we fly, My fel-lows and I, Seeking for hon-ey our hives to sup- ply- Gaily we sing, As onward we wing, Back to the hive with the treas - - ure we bring. Bees in a hive Are up and a - live, La - zy folks never can pros - - per and thrive. d,:d,:d,|f, :- :f, s, :si :si 1 d| :- :- m,:n,:in,|f, :f, :f. S| :- :- Is, :- :S| d, :- :- 1- :- :- * Soprano, Contralto, Base. {I KET C. Chromatic Fe. S. s .fe :f .n Ir :r Ir .rn :f .s jm :— Id' .d' :t .1 Soh, fe ffth, me, I ray, ray, | That's the way it | goes. | Now well try to II :s Ife.s :f .s |m er I Fe, soh, fah, soh, I me, . S Yes, fe .s that's the :f .8 way it n goes. 82 FOUBTH STEP. COME TO THE FOUNTAIN. KEY D. S. 0. B. 3. WXIOHX. R :r .f 1 8 : d' .d' t :1 Is : m r :- .R If :f PI :r 1 R : — d : d .r 1 m : n .m 8 :f 1 :d ti :-.d |r :r d :t, Id :- 1. Come, come away to the pear foun - tain. •Tis the mom - ing hour that calls, 2. Oome, come away while the bells are ring - ing. In the gen tie wav - ing wind. d :d .d|d :d .d d :d Id :d 8| :- .8, Is, :8| 8l :8, Id :- R .f :s .1 Is :d' t :1 11 :8 1 :- .1 |l_j :f_jn r :s Id d .r rm.f In :1 S :f If :r f :- .f |f\jn :r .d t, :t, Id :- Where the stream - let from the monn - tain, To its mel - low mu - sio falls; And the flower - boat now is bring - ing. Flow - - ing wreaths our brows to bind; • • 1 1 f :-.f|d :d Si :8, Id :- r :- .R If :f :s_J Is : R d' :-.d' It :s 1 :fe k :- ti :- .d |r :r d^r :rKf Im '4 R :- .R 1 r :t, d :d It, :- There with un - bound tress - es wav - ing, Like a sil - - ken fair - y sail. From the spark - ling wave then bound - ing, Spir - - its fresh as mom-ing's gale, si .8, |8| :S| d :d Id :d d :-.d |8, :8| r :r |S| r :r .r If :r R :PKf Is :r 1 :- .1 |8 :d' d' :t Id' :- t| :t,.d |r :t. d :d ^ |r :d f :- .f |r :d r :r 1 R : — Breez - es fan - ning. wa ■ ters lav - ing, Health and joy, — the Fonn - tain haiL Hearts light beat - ing, Joy snr - round -ing, Ah! what bbss,- -the Fonn - tain haiL 8, :8, Is, :S| d :d Id :d t, :- •t. Id :1| S| :8, Id :- OHIPPEREE GHEE. Mas. S. J. Bbioham. T. F. Sewabd. KEY G. S. C. B. T s :f : R Is :f :r s :f : R Is S| :si :8| |R : — : R r : — :r Id I—:— R :r : d 1 R :r :d R :r :d |R S| :s| :Si Is,': — :si fi :f, 1 R| :— : — 1. Chipper-ee, ohip-per - ee. chipper - ee chee, Nev-er were birds as bUthe as we. 2. Chipper-ee, chip-per - ee. chipper - ee chee, 0 what a love - - ly lunch have we; 3. Chipper-ee, ohip-per - ee, chipper - ee chee, 0 fol-low me. 0 fol - - low me; d :d :d Id :d :d d :d :d Id Si :8| :S| Is, : — :s. S| : — :8, Id JT FOUBTH STEP. Up Chil 1 :1 Down He f. G. :d If :f :f PI : — :m Is d : — :d If :f :f PI'. — Is :- Hi :1i :1| d : — :d In : — : — li : — Hi :1i •li d : — :d 1 PI : — a - bove ns the gold - en sun. Shin - ning I bright til the day is done; ly winds and sum mer ram 6r blightod our gold - - en grain; fltit - ter and whirl they Down the bank to the brook be - low; :fi |f| :fi :fi d : — :d Id fi :f| Ifi :fi :f| d : — :d Id :- D. t. :1 1 S ! S J g f : — :f |m nil :1 :1 1 s :s :s t :6} :r' Id' :— :d Id :d :d ti :- :t, Id df :f :f 1 m : Fi : m r : n :f 1 n : — be - low and be- neath our feet, Shine the sheaves of gold - en wheat; who feed -eth ns all so well. Knows where all the spar - rows dwell; a bath and some to drink. Some for a chat by the wa - - ter's brink; :f * 1, rn : m : PI X * '. r Id •— : — df :f :f |s :s s ! — :8| Id I :pi . Is :f : n s :f : Fi s s, :S| :.8| 1 m : — r : — :r Id :~ :d 1 n :r :d rn :r :d m S| :si :s, |S| : — :s, fi :f| 1 mi - ee, chipper - ee, chipper - ee chee, Nev-er wore birds so blithe as we. :d Id :d :d d :d :d d S| :s, :si Is, :- :s, s, :— :b, Id, :- Al2. GENTLY EVENING BENDETH. Sroeetly. PI : PI |r :r d : — Is, li :t. Id : PI r : d :d It, :s. s, :— 1 nil : — f| :fi Is, :d ti : 1. Gent-ly eve - 'ning bend - - - eth. 0 - ver vale and hill, 2. Save the wood - brook's gush - - - ing, AU things si - - lent rest; 3. And no eve - ning bring - - - eth. To its life re - lease; 4. Eest-less thus life flow - - eth, Striv - eth in my breast; d, :pi. |S| :fi pii : — Id, :- fl 1 ni, :d, Si : 0. H. Bras. PI : PI If : n r : — Is :- d :f In •T d : — 1- : d :d |r :d t, :- 1 d : ta. 1, :r Id :s, pi, :- 1- : Soft - ly peace de - scend - eth, And the world is RtilL Hear its rest - less rash - ing, On t'ward 0 - - cean's breast. And no sweet bell ring - eth, O'er its wave - lets peace. ftod a - - lone be - stow - eth Tran-quil eve - ning rest. d :li |r, :pi,.f. Si :f, 1 m, : — f, :r, Is, :s, d| :- 1- : POUETH STEP. El2. ANYWHEBE. B. G. UNSBIiD. n : PI 1 a 1 8 J PI PI : r 1 v I . I 1 a tr PI ' — • 1 — • d :d Im :d d :t, It, :- r :r It, :t. d — l.A - ny lit - tie cor - ner, Lord, In thy Tine - yard wide; 2. Where we pitch our night -ly tent, Snre - ly mat - ters not; 3. AU a - long the ■wil - del - ness, Let us keep our sight; s :s |8 :s S :s Is :- S :s Is :s s : — \- : d :d Id :d :8, Is, :- Sj :si Is, :si d :- \- ' s :s |1 :s s :pi |r .— r :s It .1 :s :- 1- : s :s 11 :d' PI :pi 1 f :m PI :d |t| :- t, :r 1 r : d t, :- 1- : d :d Id :d Where thou bid'st me work for thee, There I would a - bide; Mir - a - cle of If the day for thee is spent, Bless -ed is the spot; Quickly we our On the mov - ing pil - lar fixed. Con - stant day and night, Then the heart wiU d' :di Id' :d' d' :s Is :- s : s 1 s : fe s :- i- : PI : PI If :1 d :d |d :d d :d Is, •:- S| :t| 1 r : r s, :- 1- : d :d If :f di :1 is-: d :d Id : sav - ing grace. tent may fold. make its home, 1 :f In : f :f Id : KEY EI?. s :s |1 :di d :d Id :d That thon giv - est Cheerful march thro' Will-ing, led by PI : PI I f :1 d :d If :f d' :1 d :d me a storm and thee, to 1 :f f :f s : PI d : — place cold, roam, PI ;s d : — s : PI |r :- PI :r Id : — n :d It, :- t, :t. Id : — A - ny - where. A - ny - where. With thy care. With thy care. A - ny - where. A - ny - where. s : s Is :- s :f |m :- d :d Is, :- si :s. Id : — THE LOVELY LAND. R. LowET, by per :s d' :t Id :s 1 : 1 |1 .t :d' s :s .f 1 PI :r d : — 1- :8 :pi PI :f Is : PI d : d Id :d PI : PI ^ Id :t. d : — 1 — : PI 1. There is a land of pure de - Ught, Where saints im - mor - tal reign; In . 2. There ev - er - last - ing spring a - bides. And nev - er fad - ing flowers; Death 3. Sweet fields a mong the swell - ing flood Stand dressed in Uv - ing green; So :s S :s Is :s f : f If.s :1 d' :s Is :f PI : — 1- :8 :d d :r 1 ni :d f : f If :f s :s |8| :s. d : — 1- :d d' :t Id' :s 1 :1 11 .t :d' s :s_^ |P1 :r i : — 1- : PI :f Is :in d :d Id :d PI : PI .r Id :t, i : — fin - ite day ex eludes the night. And pleas - ures ban - ish pain; like a nar - row sea. di - - vides This heaven-ly land from ours; to the Jews old Ca - naan stood. While Jor - dan rolled be - tween; S :s Is :s f :f If.s :1 d' : s Is :f PI : — 1- : d :r Im :d f :f jf :f s :s |S| :s. i : — 1- : FOURTH STEP. 85 s :- .n |1 :s n :r 1 J Id :r n :d'.,d'| t .1 :s .16 s : — 1 m :-.d If : n d :t, Id :t, d : m.,n 1 r :r r : — 1- Oh! the land, the love - ly laud, The land o - ver Jor - dan's foam; S :-.s Id' :d'.s S :f |m :s S :s .,s 1 s :t^l t : — 1- d :-.d Id :d S| :si Id :s, d :d.,d |r :r s, : — :s .s : m.m On the ; :di.d' :d.d d' :t Id' .s .,s 1 .1 :1 .1 11 .t :di s :s .,f 1 m :r d : — 1- n :f |s :ni.,Pi d .d :d .d Id :d n :n.,r |d d : — 1- gold - en strand, Wait the happy, happy band. To wel - come the ran - somed home. S :s Is :d'.,d' d'.d' :d' .d' Id'.t :d' S : s .,s 1 S :f m : — 1- d :r |m :d..d f .f :f .f If :f S :s .,s |S| :s, d : — MAY IS HEBE. KEY A. 8|.,S|:ni :- .r d . pii :1| :si S| .,S|:1| :t| d .,r : n :d S| .,S| : n : - .r ni.,mi:si :- .fi mi. ni|:f| :f1| S| .,S|:fei :fi pi|.,f| :S| :nii mi.,pi|:si : - .fi 1. May is here. the world rejoic - es. Earth puts on her smiles to greet her. Grove and field Ufl 2. Birds, thro' ev' - ry thicket call - ing. Wake the woods to sounds of glad - ness. Hark ! the long - drawn 3. Earth to heaven Ufts up her voie - es, Sky, and fields, and woods, and riv - er, With their heart our d.,d:d :- .d d .d :d :d t| .,t|:d :r d .,d:d :d d.,d:d : - .d d|.,di:d| :- • d, d| .d| :d| :d, S| .,si :si :si d .,d :d :d d|.,di:di : - .d, d.,rn|:l, :si S|.,S|:1| :t| d .,r :in :d 1 .,s :r : — f .,m :d mi.,pi|:f| :n, Si.,S|:fei :f mi.,fi :S| :mi t| .,t| :t| : — d.,d :d up their voic - es. Leaf and flowers come forth to meet her. Happy May, blithesome May notes are fall - ing, Sad, but pleas - ant in their sad - ness, Happy May, blithesome May &c. heart re-joic - es, For his gifts we praise the Giv - er, Happy May, blithesome May &c. d.,d :d :d t| .,t| :d :r d .,d:d :d r .,r :f : — d .,d : m d|.,d| :d| :d, S| .,S| :S| :S| d .,d:d :d S|.,S|:S| : — d.,d:d : tn.,r:l, :t| d.,r:m :f 1 .,s:r : — f.,m:d : — n.,r:l| :t| d.,ni:d : — S|.,f|:f, :f| m|.,f|:S| : — t|.,t|:t| : — d.,d:d : — S|.,f|:f, :f| pii.,S|:ni : — Winter's reign has passed away. Happy May, blithesome May, Winter's reign has passed away. s .,s :r :r d.,d:d :r r .,r :f : — d.,d:pi : — s .,s :r :r d.,d:d : — S|.,Si:S| :S| d.,d:d : — S|.,S|:S| : — d.,d:d :— S|.,:i:s :s, d|.,d|:d| : — 86 FOUBTH STEP. Key F. M. 120. ONWARD CHRISTIAN SOLDIERS. s :s s :s s Is r :r 1 J 1 ^ :r PI d : PI rn : m tn :n f If t, :t| Hi :t, d 1 — : d :d 1. On -ward Chris - tian sol diers, March-ing as to war, With the 2. On -ward then ye faith - - fnl. Join onr hap - py throng, Blend with d : Fi 1 s •d' di : — 1 1 s :s 1 s :s S • S :s d :d id :d r |S| • s :f 1 PI :r d 1 — • PI : PI d" • , t 1 :1 In :fe s : — r :r |s :r PI :-.f r r d :d Id :d ti :- • ti :t, |r :t, d :-.r Je . sns Go - ing on be - fore, Christ, the Roy - al M;is Toi ces In the tri - nmph song ; Glo - ry. land and hon S S fe :fe Is :1 s : — S :s i s :s S r r r :r |r, s, : — 8| :si It, :8, d s :s |d> ts 1 :- 1- :- 1 :s f :s 1 :s If :s 1 :s If :pi d :d Id :d d :- 1- :- d :d d :d d Id d :d 1 r :d Leads a - gainst the foe ; For - ward in - to bat tie. See his ban - ners Un - to Christ the King; This, throng ;h connt-less a ges, Men and an - gels PI : PI |s :m f :pi f :n f : PI if :pi f : PI !r :r d :d 1 m :d f :- 1- :- f :d 1, :d f :d Hi :d f| :f| Iff :fi A. S. SuiiLivAH, Mns. Doc, s :d' d d cross of ours yonr s : PI n :pi PI d ter, or S d r : — t, flow, sing. S Si d :d s, :si On - ward On - ward PI : PI d :S| Id :d jsi :s, Chris - tian Chris - tian I n :m Id :8, ;t,.l| It sol sol f r Is, dier, dier, f :s, :si r :r 6, :s, March - ing March-ing f :f t, :8, |r Is, as as If It, :d_.2 :8| to to :f :8, m t- : s :s Id' :t d' : — Is :- f : PI |r :-.d d 1- : S| 1- : PI :m If :f PI : — Id :- d :d It, :-.d d 1- : war, "With the cross of Je - - - sns; Go - ing on be- fore. war, With the cross of Je - - - sus Go - ing • on be- fore. PI d' :d' 1 8 :s s : — Is :- 1 :s If :-. PI PI 1- : d 1- : d :d |r :r PI : — jm, : — f, :f, Is, :- s, d 1- : FOUBTH STEP. 87 PATHEE OP MBBCIJSS. KEY E. Beenabd Schmidt. 1313 r r — V B. t. cres. s : — |8 :s s : — 11 d : -.d|t| :d^ r Id : 8d :— |d :r n : — If :1| u • — :t, d : — d : -.s,|si :S| t, 1 ii • 1 a • °-\\ , — 1 S, . Sj S] .l. Hi • f, r a tiier of mer - cies When the day is dawn - ing, TTi^-r* TTT-;n T X 11611 win 1 pay my m • :f n : — If PI : -pilr :m f 1 PI • ml. . 1 u, • 1 r * d :■— 1 In :r d : — • s, : -.s|si :si S| 1 d : df, : — 1 n, : s, d :1| lfl f,E. ^ 1313 r r ltl S| : — it, ds : — 1 :f PI : - Is :f PI • ...i. 1 PI : — r :-.r | d : d d :— :s I»l s.r : — 1. 1 • T d : - Id :- d Q, ♦ 1 s. •ti VOWS to thee. in - - cense waft ed on the hreath of Mv r 'd 1 ^ nit : — 1 1 • s • o s : — |ta:l s • II Ife • s •— s 1 m • T 0 • tOtll .JL m • Ir :f S| : — la diS, : — :t. d : - Id :- d jtt :— J. . 4. 1 1 . t| •-.t, 1 1| . le. S| : — 1 S| ; r arts. f. A. ^ s : — It s : — 1- :f PI : -iTT- d dsi :— |s, :si li :- Is, d :— m : — 1- :r d : d 1- :- iiPi, : — 1 PI, J Pi| fl :- |P1| heart - felt praise to heaven shall be. Yes, thou art near me ni : — Id' ta : — 1- :1 s : -|s :f n 1- : 1 : • d : — Id PI : — 1- :f s : -Isi :- d 1- :- : 1 : • 1 • E. t. PI ;d |1, :t. li Is, :- 1 : : 1 : : 1 r's s :1 It :d' Si :pi, |f| :fi f| |pi, :- r.si :- |s, :si 1| :- Is, :- PI :d |1| :t. d :- 1 : PI PI :- |m :n Sleep - ing or wak - ing, StiU doth thy care nn - changed re - - main. If ev er I 1 : PI :- |pi :m f :- |m :- s : PI if :- PI :- 1 : di di :- Is :s : 1 1 : : 1 : 1 : : 1 : d d :- In : m d' :- It :.l s :1 It :d' d' :- It :1 f :- If : .f PI :- In f :- If :r wan - der, thy ways for sak • ing, 0 s :- |s : .r PI :- Is s :- Is :f r :- Ir :.t| d :- In r :- Ir :t, s : PI : lead PI : in Id me Is d :- Id :- dim. s :- |n r :- Id gent - ly s :- Id t, Id d :- |r : d It,: back a - PI If : li : s, :- d :- I d :- I gain. PI :- I d :- I - :- !( 88 FOUBTH STEP. HURRAH FOR THE SLEIGH BELLS! Fajtoie Cbosbi. T. F. Sewaed. KBY 6. ^ n .ni,f :pi .r |r .d :8| li .li ,d :t, .t| ,r Id .s :s .8| \.ni Sl .Sl ,1| :S| .f. |f| . Pij :ni fl .fl ,fi :fi .fl ,fi 1 n, .S| :s, . jl. Hur- rah! for the sleigh bells, here we go. Jmg, jmgle, jing, jingle. jing, jing, jing; A - S2. Oh! now is the time for mirth and glee, Jing, jing, jingle. jing, jing, jing; And /3. We - 'U sing with the beUs in choras sweet, Jing, jingle, jing. jingle. jing, jing. jing; We'U d .d ,d :d .d Id .d :d d .f ,f :r .r ,t| d . m :p\ .d r d .d ,d :d .d Id .d :d fl •fl ,fl :S| .S| ,S| d .d :d .d rn .ni ,f : n .r |r d :s, li .li ,d :t, .t| ,r Id Sl .S| ,1, :S| .fl Ifi .pii :n, fl •fl ,f| :fi fl ,fi 1 pi| way o'er the white and drift ■ ing snow, Jing, jingle. jing. jingle. jing. yon - der an - oth - er sleigh we Bee, Jing. jingle, jing, jingle. jing. sing till we reach the vil - Iflge street. Jing, jingle. jing. jingle. jing. d .d ,d :d .d Id .d :d d .f ,f :r .r ,t, Id d .d ,d :d .d Id .d :d fi .fl ,f| :s, .S| ,S| Id D. t The Eeia Oh! SOLO. s . 8 ,f :n .r | d stars are beam - ing bright, up the steeds just here, hap - py sleigh -ing time, Inst; or may be sung with voices to la. who .d' The With- We .t.pi : .f 1 . m :m . PI .«,d : .r 1 .d :d .d .'s : .8 1 .8 :8 .8 ".d . : £ Id .s ,f :pi .r Id .d' :d' .8 the rug - ged hills we glide. And to join U6, let them come, We would mind the win - ter's cold. On . m : .f 1 . m : m .d : .r 1 .d :d . s : .8 1 . 8 :8 :s, Id :d d' .yt night is in this hail it .f .d .1 1 .1 know the such a .f .d .1 cold ru - with .1 M .8 Eind clear, WhUe\ ral deU. They 1 do - light. And ^ .f 1 .m :n .d 1 .d :d :r) .1 1 .s :s .8 / :t .t sing with mer par joy 8| ty 0U8 .f .r Id' cheer. well. night In Id Is Id f. G n . m ,f : PI .r |r .d :S| li .li,d :t| .t| ,r Id .8 :s .S| Sl .8|,1| :si • fl |fi .n. :mi f| .fi,fi :fi .fi,fi 1 nil .8, :8, .n, Hur - rah for the sleigh bells! here we - go. Jing, jingle, jing, jingle, jing, jing. jing, A fd d .d ,d :d .d Id .d :d d .f ,f :r .r ,ti Id . m .n .d — :si Isi :— - :si : 1 : : • : i : :tpi m : — :d |d :— :m r :d :t| |d :— : rn m : — :d |d :— -: m Sees none so fair in all his race, Sees none so fair in : 1 : : 1 ' •Bd • 1 • ."U •/I. If]. • • H . a\ |ai . — . tt] S| : — :S| |d : — • u. A . u • • i\. [f\. •— . Uj I tti .— f. Et?-D.C. S. :s |1 :— :s f :m :r 1 ds : — s s :f f :— :n If :— :f f :ni :f |s :- :f n : — : r 1 m :— -:s, aU his race. The cir - cling hours that stay be-hind Would draw iresh beau - ties from thine eye; Then S| :— :fih't, :- ni n :r :m |f : — :n r : — :de|r : — :r r :de : r 1 m : — :r d :— :t,|d :- r :d :t,|ds:- 1 1 :- -:1 |1 :— :1 1 :— :1 |1 :— :8 s : — :s |s : — :s 8 : — :s |8 :— • all his race. The cir - cling hours that stay be-hind Would draw fresh beau - ties from. thine eye; s, :— :S| |*-si:— ll ll :- Hi r : — :li |r:— :si S| :— :si |s, :— :si d :— :s, Id :- • d :— :-|r :-: I'l • — _ • T \ A • • V ~ « X 1 u • — • 1 — If •— :— e • if I m ! O • • .1 III" : s 1 :_ - :t ah! in pit - - -y, Then ah! in pit - - -y, In pit - y to man- : 1 : : : 1 : :s, d :— n : — :r |d : — :d d :— :8 If :- -:r : 1 : : : I : : : 1 : : : : 1 : :d' d' :— :d' |d' :- -:s In pit - y to man- • : I : : 1 : : • • : 1 : : : : 1 : f :— m If :- -:f FOURTH STEP. 91 D. 8. d' :— :— I— : — . d' w • — ! S 1 S ' — * n r : PI • f 1 in • a' • — : s 1 s : — : ni ■F I : PI ; r 1 u : — No long - in vis ions lie No long - ftr wTfl'nnAH lATlH Ha d :— :d d :— :fn In : — :d t| :d :r Id :— :d d :— :pi Im : — :d r :d :t, Id :- : — :8 s : — :d' Id' :— :s s : — :s |s : — :s s : — :d'|d' :— : s s :f IPi :— kind, No long - er wrapped in vis - ions lie, No long - er wrapped in vis ions lie. m:-:- |- : — : n m : — :d Id :— :d 8 : — :s, Id :- • m n : — :d Id :— :d 8 :s,|d :- WITH THE KOSY LIGHT. KEY C. M. 120, :n .f 8 :d> |r' :m' f :1 1- :1 .1 :d .r m : m If :8 1 :f 1— :f .f l.With the ros - y light of mom-ing. Where the 2. By the wood-land streams we'll wan - der, Till the :di .d' d' :d' Id' :d' d' :d' 1— :d'.d' :d .d d :d Id :d f :f 1— :f .f 1 .8 :s .1 It :d'.r' f .f :f .f If :m .f merry birds awake, And the merry bird has gone To its t .t : t .d' I r' : d' .d' s .8 : 8 .3 I 8 :d .d T. F. Sbwabd. n' .d' :d' .r' I m' :m.f 8 .n :ni .f 1 8 :d .r laughing waters flow, We will! qniet leaf-y nest, Andthe( d' .d':d'.d'|d' :d'.d' d .d :d .d Id :d.d FINK 8 :d' |r' :m' f :1 1- :1 .1 1 .8 :s .1 It :d' .r' d' :— n : n If :8 1 :f 1— :f .f f .f :f .f If :n •f n : — haste with joy and glad - ness. Singing gayiy as we go, as we go- gold - en sun - beams dy - ing, Gently linger in the west. in the west. d' :d' Id' :di d' :d' 1— :d'.d' t .t :t .d' |r' : 8 .8 s : — d :d Id :d f :f 1— :f .f 8 .8 : 8 .8 1 8 : 8 .8 d : — G.t :tpi.n :Bd.d We vna[ Then the (' :r's .8 :»d .d f .r :r .m |f :8 .f r .ti :t| .d |r :n .r carol to the breeze, Where the fairies tripping light, To the 8 .8 :s .8 |s :& .8 8| .8| :8| .8| |8| :8| .S| m :S| .d I PI :f .m d :S| .S| I 8| :8| ,S\ old for - est trees Wave their fields say good-night, With a 8 :pi .PI 1 8 :8 .8 d :d .d Id :d .d r .t| :t| .d I r :m .r S| .Si :si .8| I S| :s| Si branches in the ray Of the footstep glad and free We will f .r :r .pi |f :s .f S| .8| :S| .8| 1 8| :S| .S| d :d .d |d :m .n 8| :pi|.f| I S| :d .d bright king of day. And th« bound o'er the lea In our PI :d .1 I PI :s .8 d, :d,.d, Id, :d .d f. c. f .r :r .PI |f :s .f PI :S| .d 1 PI :f .PI r .t| :t| .d |r :pi .r r .t| :t| .d 1 r : n .r d :S| .Si |8| :8| .S| 8| .8| :8| .8) |S| :s, .8, : — music from the dell. Where the youn^ 5 lil - ies dwell. Shall be echoed far a - way. far a - way. cheerful homes so dear, We will sing sweet and clear. Till the welkin shall resound with our glee. s .8 :s .8 |s :s .8 8 :pi .m 1 8 :s .s f .r :r .n | f :s .f n>t : — S| .S| :S| .8| 1 8| : S| .S| d :d .d Id :d .d 8| .S| :8| .S| 1 8| :si .8, *iSi : — D. 0. FOURTH STEP. VIRTUE WOULD GLORIOUSLY. EST C. 1 1 • • • 1 * • 1 : d' • - It :i Vir - tne would 8 : — :d 1 :1 11 :s f ;m.f Is :f PI :fe Is 8 Vir - - - tne would glo - ri • ons - ly and for - ey - er shine By her »wn Pi' :in' :r' d' :t .d' |r' :d' t :8 Id' :— 1 :- .1 11 :1 glo ■ ri - OTIS - ly and for - ev er, ev - shine By her ra - diant 8 :b Id' :t 1 :s f :fe 8 • Id f :f If :r ra - diant light, By her own ra - diant light, Though gnn, and moon, and r' :- 1- :d' t :d' |r' : • • 1 : d' : — It :s Ught, her ra - diant light, • Though moon. and r ; r j n :fe S :1 It : d' It :s n' :- 1 :r' stars were in the deep sea sunk, Though moon and stars. Though m' ;— 1 :d' f In' : — r' 1- rr* d' :- 1- stars were in the deep sea sunk. d< :s |d< :ta 1 :t Id' : — :d> It :t d' :— 1- • mooii, and stars were in the deep, the deep sea sunk. zinr C. Bound in two parts. Staccato. d' :d' It .le :t 11 •1 Is .fe :s :f Trip, trip, fai . ries light, 1 Dane ing aU the night. 1 "Keath the n .re :n r :8 Id * Id :d |r . de :r ■tars BO bright, Here and there. lid k la la la la. f :f m .re : m IL :1 Is .fe :8 It :t Id' : la la la, la la la la* iLa FOUBTH STEP. 93 SEEK THE TENDER SHEPHERD. KEY D. S, 0. B. Mart C. Sewabd. d' :— :t Id' :1 s :n : — | — : — : d' : — :t r' :d' :1 s : — : n : — :f Is :-:f rn :d :— '— :— : 1 : — :se t :1 :f m : — 1. Seek the ten - - der Shepherd, Seek him lit - - tie lamb; 2. He wiU light your pathway, Wand - 'ring lit - - tie lamb; 3. You find the Sheperd, Hap - - py ut - . tie lamb; d : — :r 1 PI : — :f d :d :— 1— :— : fi :f| 1 fl :-:f, d : — :-!- :- : r : — :s |t : — :s r : — :s It : — :s rn : — :s Id' :— :8 m : — :8 Id' :— :8 t, :- :t, |r :- :t, ti :- :t, |r :- :t, d : — : m 1 m : — : m d : — : m 1 m :— :m If you've not al - read y found him, Seek tie stars whose rays have crowned him. Through dark vrood and thorn - y bri - - ar. On - - ward, up - ward. ev - - er high - er, Dp - ward, tiU the Ught grows clear - er, Fold and Sheph - erd. near - - er, dear - er. S| :— :si |S| : — :8| S| : — :s, |si : — :s, d : — :d Id :— :d d : — :d Id :— :d 1 :- :1 11 .:— :1 s : — : f : — :f If :— :f m : — : Seek it lit - - tie liimb, Wand - 'ring lit - - tie lamb, Hap - py lit - - tie laiub, f : — :f If :- :f d :-: d' : — :s f : m :r d :-:-!- n : — :pi r :d :t, d Seek it lit tie lamb. Wand ■ 'ring Ut tie lamb. Hap - py lit tie lamb. d : — :d 1 S| :8| d :- :- 1- NOW THE WINTRY STORMS ARE O'ER. KEY C. T. F. Sewabd. m :re :m Is :- :d' d' :t :d 11 r :de :r If :-:l S| :fe :s 1 m : — : — d : — :d 1 m : — :n f : — :f If — t| :lei :t| Ir :-:f n :re :rn |d :— : — 1. Now the win - - try storms are o'er, Spring un - locks her ver - - dant store; 2. Now re - spon - sive through the grove, Soft - -ly tuned to Spring and love; s : fe :s Id' :- : s 1 :se :1 Id s : — :s , Is :— :t d' : — :d' Is :— :— d : — :d Id t_ :d f : — :f If :— : — s : — :8 Is : — : s d : — :d Id :— : — n :re :m Is :- :d' d' :t :d' 11 t :le :t 1 n' : — :r' d' : — :d' |d' :— :— d : — :d Im :- : m f : — :f If r : de :r Is :- :f rn : — :f In :— : — Smil - ing pleas - ure crowns the day, Sweet - ly breathes the May, the May. Ech - 0 with her sport - ive lay, Sweet - ly sings of May, sweet May. s :fe :s Id' :ta 1 :se :1 Id' s : — • s Is :- :s s : — :1 Is :- :- d :- :d Id :- :d f : — :f s : — : s Is, :- :si d : — :d Id :— : — 94 FOUBTH STEP. xxT Bjz. REST, WEAEY PILQEIM. S. S. C, or T. T. B., or §. 0. B. From DoNizETn. May be swnjg in key G, by 8. C. T., Tenor singing the lowest part an octave higher than virHteti. m : — 1 1 m : PI re : — 1 1 n : — d : — 1 d :r PI : — 1 J Id n : — 1 1 PI : m s, :— |B| :s, fe, :- Is, :- li :- lla, :lai s, : — Is, d : — |r :r 1. Rest, wea - ry Pil - - grim ! from toil re - pos - ing. Night's dark'-ning 2. Best, wea - ry Pil - - griml tiU mom-ing's break ing. And birds a - d, : — Id, :d, d, : — Id, : — f| :- Ifi :fi d, : — 1 n. s, : — |sei :sei cres. m : — If • • r : — 1 n :r d : — Id : r : — Ir :n d : — Id : d :— |r t, :- Id :t, d : — Id : t, :- It, :t, 1| :- Hi : shad - - OWB round thee are clos - - ing; Drear is the path - - way round thee bUthe songs are wak - ing; Hark! thro' the for - - est 1| |r, s, : — |8i :s, n, : — In, : S| : — Is, :sei li :- 11. : n :- d :- frown chill li :- d :- la, :- Rest, f| :- |Pi :f r : — |r : PI : — |re :n s : — If :n r : — 1 m :r d : — Id : Id :r ti :- It, : d : — Id :d PI : — 1 r :de r :li Id :t, d : — Is, : ing be - fore thee! No stars on high to guide and watch o'er theel winds are blow - iBg! Here, there is friend - ship and kind wel-oome glow - ing! 111 :r, 8| : — Is, : s, : — |fe, :s, ta, : — 111 :si fi :- Is, :f, PI, : — 1 "i : 'P'P Id :r n : — Id : d :- Id :r PI : — 1-:- d : — I-: 1 lai : la. si : — Is, : li :- 111 :li S| : — !-:- PI, : — wea-ry PU - grim! Rest, wea - ry Pil grim ! |f| :fi d| :- |m, : f| :- Ifi :fi d, :- 1-:- di :- 1-:- I-: KEY C. Round in two parts. d< :t :1 Is :fe I Lil - ies and | ro - ses. {I II n :re :m If :fe gar - land we're j weav - ing f : PI : re true hearts en - n : — shrined; :s ll :s the 1 pure and to n : — night. s :1 :t What could be :fe the s : bright, * m Em :$ :f blem of s :fe :f Twine in the m Tir :re tue :pi in d' :t :d' ir' :d' :t Id' :— : — fair - er than I these flowers com - ' bined. FOUBTH STEP. KEY G. THE MILLEB. d .,8| 1. To wan - der 2. We've leamt it 3. We Bee thifi 4. Ohl wan - d'r .,S| :mi .f| is tke from the S| mil flow in is .,li :si .d : .d l^r's joy, To ing stream, We've the wheels, We my joy, Oh! n d wan - leamt see wan - .r .fi .,r :d .,S| :p1| der is the it from the this al - BO d'r - ing ever n 8, mil flow in is ZoiiUJEB. .,f :n .d .,li :8| .d ler's joy. To ing stream, The the wheels, the ™y joy. Oh! : .p> : .d :r d • • .8, r .r :pi ,r .de,r t, .r :s, .8, d :t, d • • .S| ti .t, :t,' .ti S| .S| :S| .S| wan' der. The mU. - lers all do love to roam, To flow ing stream. It neith -er rests by day nor night, Its bus y wheels, Which do not turn a lone by day, But wan der ing. Fare - well my pa - rents. friends and home, Let S :f n .S f .S :f .S f .8 :f .8 Si :S| • d, • .Si S| .8, :8| .8| S| .8, :s, .8, r .r ;m ,r .de,r t, .r :8| .S| 1| .t, :d .r n Mr :d . m ti .t, :t, .t, ,S| .8, :8| .8, 1| .t, :d .r m :d .d leave their vil - lage. house and home. To leave their vU - lage, house and home, To course it fol - lows with de light. Its course it fol - lows with de - light, The keep it up all night so gay, But keep it up aU night so gay. The me on - to the wide world roam. Let me un - to the wide world roam. And f .8 :f .8 f .8 :f .S| 1. •t, :d .r n :d .d .S| :si .8, S, .S| :si .S| 1| .t, :d .r n •,r :d .d wan flow bu wan r :t, :si der, iag, By. der, :8 :s, 8 t| wan flow bu wan r :t, :si der, ing, sy. der, :s :8, 8 :t| ti :8i wan ... flow - - ing, bu - - By, wan ... r :f 8| :s, 8| der. stream. wheels. der. ni KEY C. Bound in fonr parte. * s .fe :8 .fe :s r .re :m In .re :n Soh, fe, aoh. I soh. fe, soh, re. me, 1 me, re. ma. di .1 :s . n Id' .1 :s . m Id .d ,d : m .8 Id' • • Now be - wars and sing with care. And 1 keep ev - 'ry voice in 1 tune. 96 FOUBTH STEP. MURMURING BROOKLET. Mabt G. Sewasd. sisnr B{2* 8, :d :t| |1| :r :d Murm'ring brook-let n,:- :- jf, :- :- t, :1, :t| |d :- :m gent - ly flow - iag, - :- :- IPi,:- :- s, :d :t| |1| :r :d Wind - ing free the PI,:- :- |f| :- :- t^l, :t,|d :- :- fields a-mong. - :- :- |pi, :- :- t.pi:- :- |f :- :- r.S|:d :t, |1| :r :d Sweet and pure as «.d:- :- |1 :- :- S| :- :- |1| :- :- s, :- 1- :- :- s, :- :- |1, :- :- d, :- :- If, :- :- - :- :r |d :- :- S| :- :- 1 d, :- :- m :- :- |f :- :- d,:- :- If, :- :- - :- :r |d :- :- s, .- .- |a, .- .- Bjz ds|:"d :t, |l|jr :d Glad and gay its i,Pi,:- :- If,:- :- ".a .- .- 1 1, .- .- t, :1| :t| jd :- :pi work ful - fil - ing, - :- :- |Pi,:- :- t, :1| :t, |d :- :n bub - bling fountain, 8 :- :- 1- :- :- S| :d :t, 11, :r :d Sing - ing soft its s :- :- 11 :- :- t,^, :t. Id :- :- rip - pling song. ds, :- :- U, :- :- s, :- :- 1- :- :- 8i :s :f 1 PI :r :d d :- :_ If. :_ :_ f. El2 t, :1, :t, |d :- :% cloud or sun. Tis - :- :- h,:- :d.S| s, :s :f 1 n :r :d ^d,:- :- If,:- :- t, :d :1, |s, :1| :t, on - ward push - ing t, :d :1| |S| :1, :t, t, :d :1| |s, :1| :t, on - ward push - ing t, :d :1| |s, :1, :t. S| :- :- |d| :- :- d :pi :1 |s :n :d Ceas - ing not when d :n :1 |s :ni :d d :ni :1 {s :m :d Ceas - ing not when d :pi :1 |s :pi :d 8, :d :t, |1| :r :d Car - ing not for n,:- :- |f, :- :- d :pi :1 |s :n :d roll - ing, rush - ing, d :pi :1 |s :pi :d d :pi :1 |s :m :d roll - ing, rush - ing, d :pi :1 |s :pi :d s, :- :- 11, :- :- d, :- :- If, :- :- s, :- :- 1- :- :«i,S| 'Tis s, :- :- Id, :- :% tjjd :li Is, :- :s. d :n :1 |s :pi :d t, :d :l, |si :1, :t| d :pi :1 s :pi :d t, :d :1, Is, :- :s once be •Tis whirl - ing. twirl - ing. wind - ing, turn - ing, Rest - ing not till work is done. t| :d :1| Is, :- :s. d :pi :1 |s :n :d t, :d :1, |S| :1, :t| id :n :1 s :pi :d t, :d :1, Is, :- :s t| :d :li Is, :- :s. d :pi :1 |s :m :d t, :d :1, |si :1, :t| d :pi :1 s :pi :d t, :d :1, Is, :- :s once be - gun, 'Tis whirl - ing, twirl - ing, wind - ing. turn - ing, Eest - ing not tiU work is done. t| :d :1| Is, :- :s. d :pi :1 |s :pi :d t, :d :1, |si :1, :t, d :pi :1 Is :pi :d t, :d :1, Is, :- :s s :d' :t |1 :r' :d' Mur - m'ring brook - let p, :_:_|f t :1 :t Id' :— : pi' gent - ly flow - - ing, s :d' :t |1 :r' :d' Wind - ing sweet the PI :— :— If :— : — t :1 :t Id' :— : — fields a - mong; _:_ :_ In :_ :_ d :-:-|l :-:- s :-:-|l :-:- d :-:-|f, 8| :— :— |d : — : — d :-:-|f, :-:- FOUKTH STEP. 97 Bl2. t. tn :— :— |f :— :— — :— :r |d :— :— PI :— :— If :— :— — :— :r |d :— :S| 'Tis rsi :d :t| |1| :r :d Sweet and pure as t| :1, :t| |d :— :n bub - bling foun - tain, s, :- :- Id :- :- s, :d :t| |1, :r :d Sing - ing soft its Loo t| :1, :t, |d : — :pi, rip - pUng song. 'Tis s, :— :— jd :— :d 'Tis 8,d,:_ :_ If, :_ :_ r :m :f |pi :r :d W ILITl 1 11 L W IXi - 111k, S| :— :s, is, rn, t| :d :r |d :— :d whirl - ing, twirl - ing, S| : — :s, |d| : — :d| S| :— :fi In, :r, :d. d, :- :- If, :- :- r :ni :f |n :r :d XVcou AXlg UUb tin S| :— :s, |s, :— :pi, t, :d :r jd :— :d Rest - ing not tiU s, :— :si Id, : — :d. s, :— :f| |pi, :ri :d| t, :1, :t| |d :— rs, WUIQ - Ulgf bum • f, :— :f| In, :— :mi r : — :r |d : — : d wind - ing, turn - ing, s, :— :si |d, :— rd. d :1, :t, Id :— :d Tirr^i'lr /J r\'r\ C\ f, : — :f, |pi| :— : r : — :r |d : — : work is done. s, :— :s, |d| :— : t, :d :r. Id :r :re PI : f : fe 1 s : — : t. d : — :-|d d : — flow for - ev • er mur - m'ring brook - let, with thy song. • • • 1 • • : : 1 : : PI, : — :— In, :— : — n, : — • 1 • • : : 1 : : d : — s, : — with thy song. • 1 : : 1 : : d, :- :-|d| d, :- OH, WIPE AWAY THAT TEAR. KEY C. M. 108. :s s :— :s jl :t :d' s :— :— 1 PI :— :s 8 :— :f If :— : PI f :— :— !-:- :f PI ;f :s |1 :t :d' :ni PI :— : P) |re :— :re m :— :— Id :— :m PI :— :r |r :— :de r : — : — 1- :- :r pj : — : PI |re :— :re l.Oh, wipe a - way that tear, love. The pearl - y drop I see; Let hope thy bo - Bom 2.Tes, when a - way from thee, loVfe, Sweet hope shall be my star; We do not part for \3.At close of part - ing day. love. When yon bright star is set; Still meet me while a - '4.1'll watch the set - ting star, love, And think I look on thee; And thus. tho' sund - 'red 3 : — :s |fe :- :fe s : — : — 1 s :— : s s :— :s |s :— :s 3 : — : — 1-:- :s s :— :s |fe :— :fe :d d :— :d jd :— :d d :— :— Id :-:d S| :— : s, 1 S| :— :si S| :— :— i- :- :s, d :— :d Id :- :d 8 : — :-|d' :- :di Pi' :— :pi' If :pj :re' Pi' :— :- Id' : — :d' r' :— rde'lr' :— : m' d' |_:_ PI :— :-|m :- : PI 3 : — :s |1 :s :fe 3 :— :- |Pi — : PI f :— :pi If :— : s m 1-:- cheer. love. Let hope thy bo - som cheer, love. Ab yon bright star we see. aye, love. We do not part for aye, love. I'll wel - come thee a - far. way, love, Still meet m« while a - way. love. 'Mid scenes we'll ne'er for - get. far, love. And thus. tho' sund - 'red far. love, How near our hearts may be. s : — :-|s :- :s d' :— :di |d' :— :di d' :— :- Is : — :s 3 :— :s Is :— : 3 s :-: 1-:- d :— :-|d :- :d d' :— :d' Id' :— :d' d' :— Id — : s 3 :— :s |s :— :s d :-: 1-:- 98 FOUBTH STEP. OUT IN THE SHADY BOWERS.) T. F. s. KEY AIZ. S| :fe, :s, ti .1| :li .se, :1| r : de :r nil :re, :f1i fl .fi :fi .fi :fi fl :ni :f| 1. Out in the shad-y greenwood bowers. BaLm - y the 2. On mos - By banks where blossoms creep, From ev - - ery a • A . U • a d .d :d .d * A • u. S| :s, :s, d : d :d fi .fl :fi .fi 'h S| :S| : Si Si "1 :si ti .1, :li .se, :li Si :li :ti m. I'll . rei :ni fi .fl :fi .fi :f, • -^1 fl :fi :fi Swift flee the happy summer hours On wingB a Sun - beams and flow'rs their revels keep, Ana songs re d •d d .d :d .d :d tl . A I r A U • Q. :d fi .fi •.fl .fl .f, . ■'•1 S| :8| :8, eV. t. :fe :s s .di :di .s :1 f :r :1 : re :ni n .m : n .PI :f r :r :f Birds fiU the air with sweetest song. Soft - ly the Un • der the leaf-y for - est bough Where - yrs s^l :d' •d* d' .s :s .di :di t • t .+ . u sd •d :d d .d :d .d :f s : s :s S :fe : g s .d' :di .s :1 f : r : g m :re :n PI .PI : n .R :f r :t, :t, There pass our hours, a hap - py throng. Day af - - ter Spend we the hours as swift they go, While joys a d' :di :d' d' .s :s .d' :d' t :s :f d :d :d d .d :d .d :f s :s :s, T. F. Shward. f .PI :m .re :n li .S| :S| .fci :S| air with fragrant flowers, side the fresh buds peep, d .d :d .d :d d| .d| :d| .d| :d| FINE. pii : — way. sound. d : — d : — 1 .s :s .PI :s f .n :pi .d :n brooklet flows a - long, whisper soft and low, d' .d' :d' .d' :d' d .d :d .d :d f. Aiz. ds, :- ^1 : ni /TN D. c. day. bound. ■^ti :d :r ds, :- SINGING CHEERILY. KEY BIZ. Words and Music by W. F. Sheewtk. PI .d :si,fe|.S| li .f ;f f •ti :t, ,d .r PI .d :r .S| S| .Pl| :pii,re|.R| fi .li :1| Sl .Sl :si ,S, .f| Ri .S| :fi .f| 1. Singing cheeri - ly come we now, Tra la la la la, gai - ly twin - ing, 2. Oh ! how pleasantly time glides on Tra la la la la. bring-ing pleas - ure, d .d :d .d d .d :d t| .r :f ,pi .r d .d :t, .t, d, .d, :d, .d, fl .fl :fi Sl .8, :s, ,S| .S| d] .R| : s, .8, FOUETH STEP. 99 LFINE. m .d :S| ,fe|.8| 1, .f :f S| • mi :nii,re|.ni f| .li :li Wreaths of melo - dy for each brow, When in harmony sings each one, d .d :d ,d .d d .d :d d, .d, :d|,d| .d| fi .f| :f| F. t. ''I .r :r ,ni .f ,1 8 .d' :di .,8 i.r •t, :ti,d .r ,f P\ .m : m .,m Eyes that sparkle with a pure de - light, So All life's trials are a - while for - got. Its • S :s ,s .s ,s 8 .8 : 8 .,8 .S, :S| ,Si .S| ,S| d .d :d .,d f .r :r ,m .f ,1 s .d' :a' .,8 r .t, :t|,d .r ,f PI .n : rn .,tn Brinf ; with beauty in their ftlance to night, A Care and wea-ri-uess can harm ns not, K S .S :s ,S .8 ,8 S .8 :s .,8 Si .8, •S|,8| .8| ,8| d .d :d .,d f .t, :t| ,d .r ,pi d • • 8| .S| Tra la :8| ,S| .fi,S| la la la la pii la. • • Tra la la la la la la. t| .r :f ,pi .r ,t| d S| .8, :8| ,Si .8| S| d, • ' • t .1 :8 ,fe .8 1 .8 :m,f .8 8 .f : PI ,re .pi f .m :d ,r .n bright-ly gleam-ing. On OS beam-ing. troubled dream-ing, I - -die scheming. 8 .8 :8 .8 8 .8 :s .8 S| .S| :si .8, d .d :d .d t ,1 .8 ,f : PI .r f. Biz. % :i r ,f .PI ,r : d .t| cheery welcome to our Is, Bong. :s, So— we can sing a mer - ry glee. Then— 8 ,8 .8 ,s :s .f :t, 8| ,S|.S| :8| .S| Is, :s, KEY :m, \\. Bow ^2. To \3. No U. How :d :d, Bl2. d :-.ti :d Pl| :-.r| : Pi, sweet to go pluck the sweet gardner stands sweet to go d :-.d:d d| :-.d|:d| HOW SWEET TO GO STRAYING. T. F. Sewaed. n :r :d s. :f| :rni straying, How daisies From nigh you To straying, How d :d :d d| : d| : d. 1, r-.se,: 1, f, :-.f, :fi sweet to go warm sheltered watch and de- sweet to go d :-.d :d f, :-.f, :f. d :t, :1, li :S| :f, maying O'er places. In ny you The maying O'er d :d :d f, :f, :fi S| :— PI, :— hill - grove flow'rs hill - d :— d, :- d : r s, : — top or that top d : t| m, :ri : Pi :S| and by J'OU and :d :d, r : — Si :— grove; brook; see; grove; t, :- s, :— :s, :8, To And For To :si :8, r :-.de:r f : n :r d :-.t| :d r :d :1| S| :— : — t| :d :r d :— : — S| :-.Si : S| S| : S| : f, m, :-.r, : m. f, :f, :fi Pii :— : — f, :n m, :— :- range the green meadow, To rest in the shadow With those that we love. vio - let or mayflow'r.And many a gay gay flow'r From each COB - - y nook. rich is earth's bosom In bud and in blossom For you and for nae. range the green meadow. To rest in the shadow With those that we love. t| :-.lei: t. r :d :t, d :-.d :d 1, :1, :t, d :— : — r :d :t, d :— : — S| :-.S| :Si S| '■ 8\ '• Si d, :-.d, :d, f, :fi :f, s, :— : — S| : - - :S| d, :- :- 100 T. F. Shwabd. KEX Biz. s, : — 8, : Sweet eve d, d, : r .t, :d .li calm and qui - at ere - f| .S| : ni| .f. Ti S| I — S| ning hour, til t| :si .8, f Si : Si .Si Si liev ina. The birds Uev - - ing. The stars r :t, .t. t, :8| .S, S| f : m A t, S| :8| •S| S| na - - ture's glad voi - light zeph - yrs play t, :d .PI f 8| :si .S| S| r :d t| all is hashed S| :s, f| t, :n r fling - - ing eT - 8| :8i 8| FOURTH STEP. SWEET EVENING HOUB. Arranged from Ktolak by Thbo. F. Sbwaed. • • .8, 8| :1, .d S| :- .m 0 sweet evening hour, \J .n. nil "1 :fi .r, PI, a. .8, S| : — S| :- S| S| : — ning hour, Sweet eve ■ d| d, di • d| • :s, .8, S| 1, .d S| .n r •t, :8, •ll How gen tie thy power; From care each hesii't .f| nil • fi .r, n. .8| S| .8, • "I • Sl : — S| S| .d r .r : n .PI Sweet hour; From care each heart re - d, .d t, .t, :d .d :n .d t, :d S| .S| :8| .8, 1| :s. .8, :s, .8, S| :s, f| .f :fi .f| fl :fi .8, to their nests with cheerful songs re - tir - ing, All one by one ia heav'ns blue vault ap - pear • - ing, The :d .m f m .d t, .t 1 :t, .t, d :t. •t. :8, .S|' :si 8, .8 :s, .8| 8| :8| .8, :d r .r :r .r r : n .r r : PI .r :si 8| .8| fei .fei S| :si fe, :fp, . le. oes come with Bonnd in - spir - - ing, Come tin where ros - es are in - twin - - ing. Fra grance : n r .r :d .d t, :d •t, d :d :d t, .t, 8| :si li :li .d :li 8| - .Sl 8, S| .ni to rest. 0 sweet eve - ning hour, 0 :fi f| - .fl n. :f| .ri PI, .8, :d t, 4 S| S| ery where. Sweet eve :8| 8| • • d, • di • 1 .1 POUBTH STEP. 101 r .t| :d .1| :&, .8, S| .d 8| .PI r :1| •t. calm and qui - et eve - How gen - - tie thy power. 0 sweet eve - ning f, .S| :pii .f| ri :fi .f| n. :fi nil .s, f| .fl Si : — S| : — S| : — S| • .d t| d .r ning hour, Sweet hour, 0 sweet eve - ning di •~ 1 di di • di •di S| :S| .S| d ! — •S| s, :li .d S| S| I 8| • hour, Sweet eve - - ning hour, Sweet hour. PI, .S, S| :fe, S| f| PI, d .m PI :re m .m r :li .ti d hour, Sweet eve - - ning hour. 0 sweet eve - ning hour. d, .d, d, :d, d, Si d, Eliza M. Shubman. IN THE VINEYARD. B. C. Unseu), by per. KEY F. PI :s -If : PI PI :r 111 :r d :d It, :d PI :r |r :- d :d 1 d :d li :li 111 :li Si :s. Is, t Si d :d Iti :- 1. Long, 0 Mas ■ • ter, in thy vine - yard, Thro' the dust and heat of day. 2. Tan - gled vines and fad - ed flow - era, Hid - den lie a mong ' my sheaves, 3.«Grath-ered I the love • • ly flow - ers. With their dew - y fra - grance sweet. 4. Purge thou. then the sheaves so worth - less. That I lay at thy dear feet. s :ta 11. :s f :f If :f PI :pi |r : PI fe :fe Is :■ - d :d Id :d fl :fi |f| :f| S| :s, |Si :si r\ :r, Is, RUard rjnj PI :s If : n PI :r Hi :r d :d Id :t, li :ti Id :- d :d Id :ta| li :1| Hi :la| Si :s. |fei :fi fi :S| jSi :- I have toiled and with my bur - den Come I now thro' ^'lad - ows gray. Look'st thou sor - row - ful, 0 Mas - ter? Are there noth - ing there but leaves. Hop - ing that a - - mid their beau - ty Thou migh'st find some grains of wheat. So they yield thee at the har - vest On - ly fin - est of the wheat. D. S.— Glad to rest when eve - ning com - eth. And the hours are cool and sweet. s :ta 11 :s f :f If :f PI : PI |r :r r :f 1 PI : — d :d Id :d fl :fi |f| :fi S| :8, Hi :s. Si :s. Id :- r : — Is t :1 Is :r f :f In :1 1 :fe Is :f Toil - - ing in thy vine - yard All day long vidth wea - ry feet, i •- It, r :d It, :t| r :r Id :d d :d It, :r fe 8 :s ir :s s :8 \T :s s :s Is :f :1 Is :- Toil - ing. toa - ing. toil - ing. toU - ing, AU day long with wea - feet, S, :S| Is, :ai Si :8, iSl :s. ti :ti Id :f r :r |S| :t| s. 102 FOURTH STEP. Beating Time. It was recommended in the first step (see note, Mge 7) not to allow pupils to beat time until they have gained n sense of time. It the teacher wishes, he may now teach beating time according to the following diagrams. The beating shonld be done by one hand (palm downwards) chiefly by the motion of the wrist, and with but little motion of the arm. The hand should pass swiftly and decidedly from one point of the beating to the next, and it should be held steadily at each point as long as the pulse lasts. The direction of the motion is from the thinner te thicker end of each lina. The thicker end shows the "poiut of rest" for each pulse. NoTB. — It is better to beat the second pnlse of three-poise b, .^ore to the right, than (aa some do) toTcartls the loft, Ikicbusb It th it corre- sponds with the medinm beat of the four-jralse measure, and th" seeoaa pnlseof three-pnlse measure is likt a medium pulse. It is commoaly ueatetf (both rhythmicall.v and harmonically) as a continuation of the Jh-it pulse Similar reasons show a propriety in the mode of beating a six-pulse meaa ore; but when this measure moves vrry quickly, it is oeatea like > tyro ptilse measure, giving a beat on each accented pulse. TWO-PDXSB ItEASUBK. UPI THREE-PULSE MEASTJItE. FOUK-PtTLSE MEASUKE. up: SIX-PX7LSE MEAST7EE. DOWN Expression. — The following table shows the names of the different degrees of power; the abbreviations and marks by which they are known, and their definitions. The teacher will explain these topics, as may be required, at convenient points in his course of lessonB. The full treatment of the subject be- longs in the Fifth Step. Pianissimo - ■ Piano - - - Mezzo - - ■ FOBTE . - - FoBTissnio - • Cbescenbo - DlMTNTJENDO • SWEMi - - . SrOBTZANBO Legato - - Staccato - • Pbokoukcko. Pe-ah-nissimo - - Ve-ah-no - - - Met-zo . - - . • jfowr-tay - - - Four- : f : — ; If :- ; — f :- . :_ - :f r :- - :ni If : — :r PI : — 1 ~*~' Ho! ho! ho! The hap - - py days for me. 1 : — '» — id' :- '• — 1 : — J — 1-:- - :1 8 :- — :s |s : — :8 8 : — f : — : — If : — f :- : — 1-:- - :f s :- —IS |s : — :s. d : — KEY At?. CHEISTMAS CAROL. 1, F. Sewaed. d :d :d PI : PI : PI s : — :s PI '. — ; PI r • r 1 Si :8, PI : PI Id : — :si d :d :d Id :d :d d : — :d d : — :d t, :- :t| |S| : — :s, S| :s. |s, : — :s. D. C. — 1. Cheerily, cheeri - ly sing we oil an. vjn Christ - mas eve the shad - ows faU, Ob 2. Heavi - ly hnng is our Christ - mas tree. 'Tis bur - dened well for you and me, The 3. Help Ub , dear Lord, lest we self - ish be. All hearts are not as glad as we, xie - PI :pi : m 1 s :s S PI ' — '. PI S — I S S * a la • . s 1 o • — :s S : 8 1 PI . — ■ m • I'l d :d :d Id ,:d :d d : — :d d : — :a S| : — :s, |S| : — :s. d :d Id :- :d d : — :d PI : — : PI s : — :s PI : — : PI r :r |s, : — :s PI • |r :- : — S| : — :d d :- :d d : — :d d : — :d t :t| |S| : — .s, d t, :- Christ - mas mom the Bun light breaks, And all the world to glad - - - ness hem lock branch - jbs piled with snow. In na tive woods bend not so mem - ber then thy poor to - night. And flood their dark ness with thy m : — : m s : — S PI : — : n s : — :s S : s 1 s : — :s S : — If :- d : — :d d :- :d d : — :d d : — :d S| :S| Is, : — :S| S| [s, :- FINE. d : — -:- Si 1| :- :d d : — :S| 1, :d |a : — :si 1| :d :d Id : — :d d :- -:- pii f| :- :fi pii : — :p1i f| :f, 1 PI, : — :p1i f| :fi :fi Is, .— :si wakes. The leaves are dead, The birds are fled. The ut ■ tie brooks' tongue are low. (iod giv - eth aU; The ra - - ens call. He heareth them. so let light. The htin - gry feed, The wan d'rer lead. The sor -row -ing souls, the n : — -:- d d : — :1| S| : — :d d :li Is, :- :d d :li :li Is, :- :d d, :- - :- d, f| :- :fi d, :- :d, fi :f| Id, :- :d, :fi 1 n, : — :ni, r :- :pi 1 r :- :s. fe,:- :fe,| s, :- rpii tied with cold ; But us be - gin, He cap - tive free, And d :- :d |t,:- :d r, :- :r, 1 s, :- :d, 1, :- :d Id :- :s, fj :- :f, 1 m, :- :pi, beUs may ring, and hears al - way when think, we pray, on d :- :1, !s, :- :d f, :f. Id, :- :d, 1, :- :d Id :- :s, fi :- :f, I R,:- :n, chil - dren sing. For chU - dren pray, For this glad day. Of d :- :1, Is, :- :d f, :- :f, Id,:- :d, li :- :d Id :- :d f, :- :f| Is, :- :s, safe is our dear he him-self a those who have no d :- :1| Is, :- :d f, :- :f| I n,:- rnii rTN D. c. PI :- :r | r :- :- fe,:- :fe,|S| :- :- Shep - herd's fold, child hath been. Christ -mas tree. d :- :d |t, :- :- r, :- :r, |s, :- :- 106 FOURTH STEP. COME UNTO ME. No. 2. r. F. Sewabd. d :- Id :d d :- 1- :- n : — If :f n : — 1- :d 1| :t, Id :f S| :- Hi :li 8, :- 1- :- s, : — Hi :li s, : — 1- :s, fi :si 1- :si Come nn - tc me, Come - to me, all ye that m : — If :f m :- 1- :- d : — Id :d d : — 1— :d d :r |d :t, d, Id, :d, d, :- 1- :- d, :- id, :d. d, :- 1— :ni| fi In, n :tp Id : m r : — Id :l| S| :8| 1 : S| : n |r :d 1| Id S| :s. |8| •8, s, : — Ife, s, :s, 1 : pii :si Is, :S| fi :— Ire, la - bor and are hea - - vy la - den; Come nn - to me, and d :d :d t, :- Hi :d ti :t, 1 : d : — It, :d d :- Id • di :d. |d| :d, r, : — |r, S| 1 : d| :- |r, :n. fi Ifei d^ :d |r :t, d : — 1- : 1 : s :s If :f n Id :d |fi :f| Take my yoke np - on yon and pii :pii m, : — 1- : 1 : t| :t, Hi :s, S| :- Is, :S| I will give you rest. d :d It, :r d : — 1- m :— Id : — r : — Id :r d :- Id :d Take my yoke up on yon and :s. Is, :8, d, :- 1- d :— In, : — S| : — Hi :t| d :— In, : n. d :— Hi :- S| : — 1- :s, 1, :- H, :- t. :- Id f :f In :- r : — learn of me; For .1 am meek and low-ly of heart, li :- |fi :- n, : — 1— Jni, fi |fi :- s, :— Is, S| :s, |si :- S| :— d :— Id :- d : — 1- : d :d Id :d r : — Id :d ti :- Id :- t, :- learn of me; Take my yoke np - on yon and learn of me; fi :- Hi d : — 1- : fi :fi Ifi :fi fi :- 1 Hi :ni ri : — Id, :- S| :— And I- :s, [- :t| And I- :si n :n |d ye shall find 8: :si |n, d :d Id ve shall find d, :d, Id, S| :- rest n, :■ d :- rest d, :- nn |n. Id nn In, 8| Is, :- s, : — In : n n :d If : n s :f 1 1^ :r to your Bonis, For my yoke is eas - y and my ri rn. |f| :r. n, : — Is, :s| s, :ni Hi :S| ta. :1| |S| :li t, :d |r :t, d :- Id :d d :^ Id n :f |s :f to yoni souls, For my yoke is - y nnd 8| Is, :- d| :- Id, :d, d, :- Id, dei Im, FOUKTH STEP. rit. 'PJ) d : m |r :- d :- 1- :- d : — :-.r m : — 1- :- f :n |r :-.d d :- 1- burden is Ught. Come un - to me, Come un - to me. S| :s, |si : — 8| : — 1 — : — pii :S| Is, :-.S| S| : — fi :s, |f| PI, :— 1 — rn :s If :- m :- 1-:- d : — It, :-.t, d : — 1- :- d : — It, :-.d d :- 1- burden is light. Come nn - to me, Come un - to me. |si : — d,:- 1-:- di :ni| Is, :-.S| d : — 1, :d Is, :-.d, d, :- ;- EVERY DAY HATH TOIL AND TROUBLE. KZY Aiz. M. 120. rn :in If :s s. :s, Is, :8| l.Ev - ery day bath 2. Pa - tient - ly en - 3. La - bor ! wait 1 though d :d |r : in d :d Id . :d m : n If :s s. :s| Is, :si Meek -ly bear thine Bound, by links that And the storm a - - d :d |r : n d :d Id :d r : r Ini :d s. :S| Is, :si Fear not, shrink not. La - bor ! wait! thy Wait in hope, the t, :t, Id : in s. :si Id :d rn : m If :s s. :d It, :ta| God shall fill thy Oount not lost the And peace - ful d : m |r :de d. :d. |r. : m s :f |m :r s. :li .t Id :si toil and troub - le, dur - ing ev - - er mid - night shad - ows n :r Id :t, s. :si Is, :f. s :f |m :r s. :1, .t Id :s. own full bur - den. can ■ not sev - er. bove thee low - 'ring m :r Id :t. s. :si Is, :f, r :in .f Ini :d s. :si Is, :si though the bur - den crown is read - y mom - ing dawn - eth. t| :d .r Id : PI S| :si Id :d s :f 1 m : r 1, 11, :1, mouth with glad - ness. fleet - ing mo - ments rest a - waits thee, r • r , Is :f f. :f. lif. :f. d :d |r : m s, :si |S| :s, Ev - ery heart hath Let thy spii - it Gath - er round thee d :d It, :d m, :n, |r, :d, d :d |r :in s. :si Is. :s. And thy broth - er's To hu - man i - Fills thy heart with d :d It, :d :in, |r. :d, r In :r s. •s. Is, : sei Heav - y to thy When thy wea - ry When the gloom - y t, :d ^ Id : n s. :si Id :t, d :d |r : rn S| :si If, :m| And thy heart with Life has but be - When thy work is m : m |r :d s. :si |S| :s, Beethotxn. n |r Sj : — 1- : care; be here. d |t, • S| r 1- |d • t • f, In, : share. ty. fear t. Id • s. Id, d :r Is, 1, :fe, Is, • heart may. prove; task is done; night is gone; m :r .d |t| • 1, Is, r Id f| |m, • love. gun. done. t, Id s. Id, • 108 FOUETH STEP. THE SWEET VOICE. Grace J. Fbances. Hubibst P. Main, by pel KEY Db O tit • X 1 o • u. •di d' • — . It • • 1 If 'PI * X m • • A|2. t. 1 • • ml. \ :d d :d :r | r :pi : PI f : — :-|f :- :f f :t, :d It, :t. t. d :— : — |-:-:df, ; 1. 1 dreamed that afar I had wan dered, And stood on a des - ert a - lone; A ( 2. The cares of my life in a mo tnent Were lost in a thrill of de- light; The) 3. That voice in my heart I cher ish, And when I am sad and op- pressed; Its \ : m PI :s :s 1 d' :s :ta 1 : — :— Id' : — :di t :f :n |r :s : S s — :— :sd :d d :d :d |d :d :d fi :- :-Jf, :- :f. s, :S| :s, |S| :s, : S| d -:-:af, ' t. PI S| :s, :S| |S| :s, voice o'er my spir-it desert transformed to ec - ho, per - haps, in d :d :t| |d :r PI, : PI, : Ti I d, :tz : m PI : — :- |r : - :li d : — :d It, :1| :t| :s| fi :- :- If, : - :fi pii : — rm. |fi :fi :f, •^.t,:— :— 1 — : — came steal - ing; How soft its mag -if" - al tone. a gar den. Where all was love - ly and bright. my •lum her Will calm my SOT - row to rest. :d 1| :- :- 11, : — :d d : — :d 1 r :r :r ds :— :— 1— : — :d, f, :- :- If, : - :fi s, : — :si |S| :si :S| d,s,:_ :_|-:_ r : — :f PI : — s : — : — 1 — :d' : PI voice, sweet voice. Dear lov - ing voice! \ t| :- :t, It, :- :r d : — :s, 1 s, :— : d :— : — 1 — : PI :d voice, sweet voice. sweet voice, sweet voice, Dear lov - ing voice! ) s : — :s |s : — :s s : — : PI 1 PI : — : PI : — : — 1 — 'S :s voice! \ voice, sweet voice, sweet voice, sweet voice, Dear lov -ing S| : — :s. d : — d :— : — 1— :d :d d :_:_|_:_: / 1 : — 11 :t :di Pi' : — :d' 1 s : — r : PI :f 1 1^ : ~- :r d : — :s Where, where is the bliss it gave? Why is the vis ion o'er? Swee d : — |f :f :f PI : — : PI Id : — d' :d It, :- :t| d :- 1-:- f : — |1 :se :1 s : — :s |Pi :- 1 :s :1 1 S :— :f n : — Where, where is the bliss it gave? Why is the vis ion o'er? f, :- |fi :fi :f| d :d Id :- f :pi :r Is, :— :s. d :- 1- :- r : — |-:~ :s n : — :s t : — :1 |s :r :f PI ;d' :1 Is :- voice. Sweet voice, That made my in - - most soul re - joice. :t. :t. It, :- :s, :s. Is, : — :d t, :- :t, It, d : PI :re |Pi :- su - ver voice, Sil- ver voice. That made my in - - most sonl re - joice. :3 :s Is :- : PI : PI |Pi :- : PI r : — :r |r :s :s s : — :fe Is :s, :8, Is, :- :d :d Id :- :d S| : — :8, Is, :— :8, d :- :d Id :- : PI Sweet : d Sweetf : B Sweet / : d FOUBTH STEP. 109 1 - :-|l :t :d' ml :- :d' Is :- f ~ :-|f :f :f PI : — :pi Id : — Oh ! say, was it aU a dream. d' : - :se :1 S : — :s |Pi :- fi : - :-|f, ••f| :fi d :— :d Id : — — r :pi :f |n :— :r d : — :— |— : — — d :d :d |t, :— :t, d Gone to re - turn no more. — 1 :s :1 |s :— :f pi :— :— — : — — f :m :r |8|: — :S| d :— — : — EEX B\1, pii :f| :fe| re. SABBATH EVENING. di :ri 1. Lin ■ 2. Sa - 3. 'Tis d, :- ger cred the :d :d, S| : — :d PI] :— :S| still, O songs, 0 third watch, d : — : PI d, :- :d, d :- f| :- bless do bless r :- s, :- :t, :f| ed not ed :r :s, t, :- fi :- hoars, cease; Lord, r : — t, :1 fi :- Slow Sweet Come, t| :— :t S| : — :s, S| pii your oh. Ri :f| :fei 1 S| — : pi PI : — :r | d : — :d d :t| :1| 1 S| : — :t| r :— |d :— : d| :r| :rei 1 pi| : — :8| sei : — : sei 1 1| : — : li rei :— :rei | Pii :— :fi Back - ward roll, 0 Min - gle with my Ufe and lib - - er - li :t, :d Id :— :r f, :— :— 1 Pi| :— ! still d« - soend, ye Sounds of praise and Thro' this si - - lence S| : — :d 1 d : — :d d| :— :d| | d, :— :d| F. t. tiPi :f :fe 1 s :— :d' heaven - ly showers, hymns of peace, speak the word Of t, :- :t, |1, :- :1, ty t| :— :— Id :— : pii :— :p1| 111 :— :1| fei : — : fei 1 S| : — : S| r : de : r 1 1 : — : s s, :— :— |d, : di :— :t It :— :- n : — :r |r : — : — sa - - cred Dove, still and sleep, let it go, s : — :s 1 s : — : — si :— :S| |S| :— : — fe :— :— Is :-■ : Sid : r : re 1 PI : — : pi t| :lei :t| |r : — :pi re : — : — | pi : — : Tar - ry stUl, 0 Bu - sy world, lie Clasp my hand, nor rs : — : s | s : — : s 8id : — : d | d : — : d In this worth - less Far a - way from Je - - BUS, Sav - iour, s : — :s 1 f : — : pi Si : — :si 1 1| : — :d breast Friend, i :-|s :- : PI :f :fe :re s : — PI : — :di : PI d' : — PI : — :t :r It : — :t t :1 :s :t, f : — r : — :t, :si r : — :- Ids, :- : d :r 1 r : — :r r :d t, :- :- Ids, :- : Come from thine a - bode a - bove. Make with me thy rest .... Heart of mine. oh, wake - ful keep. Je - - SUS calls for thee! Thy rich grace Still let me know. And love me to the s : — :s s : — :s s : — :s 1 s : — :s s : — :s s : — :f f : — :- ht,:- : d : — :d d : — :d S| : — :si |S| : — :si S| : — :S| S| : — :s, s, : — :- Ids, :- : r, :-:f, fade, sweet ech - oes come with t, :- :t, s, :— :s. B. C. Unsbld. li :-:-|S| :- : f, :— ;— I PI , :— : light are, me, d, :- :-|_:- : PTNE. f Rb.D.G.litTero. ilO POUETH STEP. QEOBaB Bennbtt. HOPE WILL BANISH SORROW. Kex A|2. S| :si Is, * Si mi : nil |f| :fi 1. Once a - gain we're 2. When I'm far a - 3. Faith and trust in d :d It, :t| d, :d, |r, d :r |rn li :1a, Is. in the heart muse of me, storm-y wave, d :d Id f, :f. Id, Httbebt p. Main, by per. t, :-.t, jd :m s, :-.s, |s, :si Make the parting Check at once the Clasp me to thy r :-.f I PI :d s, :-.s, |S| :s. S| .i| .biia 1| 1 4. 1 ^ i a r : — jo. S| s. 1 A |d . A : a f, :f. In, • fi :fi |f| rm. f, :— In, • PI, :f, jpi. :si doom'd to part, Deem not 'tis for - ev - - - er; Love, if root - ed . fr IT way irom thee, O'er the 0 - cean sail - - -ing. You will oft - en heav'n we have, God ev - er near - - est; He can still the t, :d.r|d : — d :d |S| :s. t, :- Id d :r Id :d Si :s, |1, : — fi :fi |r, :d, si |d| d :t, Hi :n, r :s, Id :t. li |S| n :-.m |r :d f :pi |r s, :si |r, :s. fe, |S| s, :-.S||f| :ni, 1, :S| Is, Time nor tide can sev - er; 'Tis the sad a - dieus that chill, Tears and sighs pre - vail But ne'er think of me with fear, Bear me safe - ly dear est; Then fare-well my na - tive shore, t| :t, |1, :s. d |t| d :-.d it. :d d :d It, ri :r, |r. Is. d :-.d Is, :li fi :d| Is, PI :r |r : — s, :s. I s, :f , sadder stUl, ris - ing tear, heart onee more, d :t, It, :- s, :s, Is, :— d :-.dlt, :d PI, :-.S| |f, : PI, Say "we'll meet to- Siag "we'll meet to- Sing "we'll meet to- d :-.d Is, :s, dj :-.m,|ri :d. d :— PI, mor - mor - mor - d :— 1| :- |r : Is, : row, " row," row, " It, : Is, :f. s :-.d|t| :d s, :-.s, |f| :pi, Hope will banish Hope will banish Hope will banish d :-.d |S| :s, pii :-.Pi,|ri "d. r f| ■ sor sor sor t| : s, : :— !d - I PI, - - row. - - row. - - row. - Id - Id, KEY F. s rpi.djl :-.l d :d.d|d :- .d 1. Fa-therll long, I 2. There all the heaven - ly 3. Fa - ther ! I long, I PI :s .PI I f :- .f d :d.d|f| :-.f, s : PI . d 1 1 : - .r d :d Id :-.t, leave thine earth - ly drink im - mor - tal leave thine earth - ly PI ; s . PI I f : - .s d :d If :-.f LANGDON. C. M. ; r .f I PI :t;TF|d s faint, to see hosts are seen, faint, to see r :s I S S| :S| Id :d :d courts, and vig - or courts, and s :s If It, PI : PI flee in, be Is I r :- . PI .d The In The :- .1 - .r -.t. Up With For .s ;- .8, ; d .r :li .ti PI d _ place of shin - ing place of : PI 1 1, n d to won ev - :sjf> :li thy der er :f :fi :fe d :d thine a ranks they thine a n :r 1, :r seat, and with PI :t, :s, my with my :r s t, bode; move, bode; r s, S| :s. T. F. Skwabd. I- : .s I- : .d I'd j And\ I'd I I — : .PI I— : .d d :- I- s, :- I- God! love. God. PI : — I — d : - I- FOURTH STEP. Ill H. H. Hatden. KEY D. M. 108. EVENING ON THE LAKE. M. L. Baxtlett, by per. s .d< t :1 Is : s . f m :1 Is :1 . t d' : s 11 . s :f .in PI s :f 1 :d d :- .t, Id :f n : n If . n :r .d . Now bright - ly on the yield - ing wave, The moon's soft rays are . The eve ning breez - es gent - ly blow, A sweet re fresh ment . We gai - ly dip the gleam - ing oar, And on ward now are S S :1 .t Id' :1 . la S :f |m :1 . la S :d' Id' : s d d :d Id :d d :d Id :d d :d Id :t| .d |r : s a' 4. t : 1 1 s : s .f PI : 1 Is : a' d : — It, :d PI s :f 1 ^ :d d t 1 Id : PI glanc - The spark - ling wa ter seems to move. As bring ing, As on ward blithe - some - ly we go ^jur dash ' ing, WhUe faint er the shore On S Is : s S : 1 . t Id' :1 .la s : f 1 ni : s S Is : PI . d d :d Id : d d :d Id :d t . 1 : s . 1 It :1 1 1 s : s s . r' : t . 1 Is : s r : r |r : PI . fe fe . 1 s : s f :f If :f if with joy 'twere danc - ing, And we are fuU of mer ry cho rus sing - ing. Our wa fry path way which the waves are plash - ing. We bid each thought of s .d' :t . d' |r' :d 1 d' : — It :t t :r' . d' It :t r : r |r : r r : — 1 s : s S : s Is : s s . m' :d' 1 Is : s 1 .t :d' Id' :r' Pi' 1- : s n :f Ini : PI f : s 1 ^ :1 se 1- :f an Bwering glee, With hap py hearts we sing, And gleams with Ught, The hour is fuU of joy, AU sor row flee. Care to the winds we fling. And d' :1 . d' 1 d' :d' d' :d' Id' :1 t 1- :t d :d Id :d f : PI |1 :f PI • 1- : r s . m' : n'.r' r' . d' : s . se 1 . r> : r' . d' Id'.t : s 1 A : d'. r '1 Pi' :r' d' :- - 1- PI . s : f n :d f :fe 1 s : d . PI f s . 1 1 s :f PI : - - 1- fiir a cross the WU ters free, Our mer - ry notes shall ring. na ture smiles on us to - night, No trou - ble shall an - noy. far a - cross the wa ters free. Our mer - ry note? .shall ring. . d' : t 1 d> : d' d' :ri |r' :di d' .r' : d' d' :t d' d : se 11 :m f : r Is : PI . d f . r : PI . f Is : s d L12 FOURTH STEP. GOOD NIGHT. KEY C. Gust AYE CABtnxi. :1 .1 d' : m . m s :1 s • d' :1 .1 d' :di PI :f .f m :d .d r r m :f .f n : re 1. Bim, bim, bim. bim. hear us sing - ing. Bim, bim, bim, bim, now 2. Bim, bim, bim, bim. chimes are ring - ing, Bim, bim, bim, bim. ye S :1 .1 S :d' .d' t :d' t S :1 .1 S :fe d :f .f d :d .d S : r d :f .f d :1| D. 0. d' .d' .t d' t :le . le t . t :di . d' r' :d' d' n . n :f . r m • r :de . de r . r : m . PI f : PI PI sounds the mid - night hour, Hark! how the chimes are ring - ing. Voic - es your zeph-yrs lend your aid, S . S : s . 8 S • : 8 : 8 : s Bim, bim, bim, S| .8, :si . 8, d • 8| 8| S| Bim, bim, bim. :le .le t .1 : 8 . S t t . t :d' r' :de' . de' r' . de' :r' . re' r .d :t, .t, r :de . de r . r : PI f : PI . PI f . n :f . fe way be wing -ing, High to our la - dy'B bower. Charm her with ma - gic pow - er, : s : 8 : 8 : s : s bim. bim, bim. bim, bim, 8| 8| • S| S| t bim. bim, bim, bim, bim. n' .t :d' .1 8 .d' : 8 . 8 8 .1 :t . d' r' . de' :r' Pi' . t :d' .1 8 .1 :f .f PI . n : PI . d t| .d : r . PI f . PI :f S :1 ..f While we our watch are keep - May she in slum - ber light. Calm and se d' :d' . d' d' . 8 : 8 . PI r : s . 8 t : le :t d' :d' .d' d :d . d d .d :d . d 8| : s . 8 s : 8 : 8 d :d .d 8 .d> : 8 . 8 8 .1 :t . d' r' .Pi' :d' 8 : 8 .8 8 . fe : 8 .8 n . PI : n .d t, .d : r . n f . 8 : PI care be Bleep - ing. So let OS say good night. Calm be our la ■ dy sleep -ing, d< .8 : 8 • . PI 8 : 8 . 8 t . 8 : 8 • • d .d :d . d S| : 8 . 8 8 . 8 :d • • • • FOUBTU STEP. 113 So :t .t : s .8 let OB t .le :t 8 .8 : 8 say good night, r' 8 So t S . 8 ; r' : 8 let us ;t .t ; 8 .8 r' . de' : r' s .8 : 8 say good night, t .le :t ml Good 8 8 : 8 PI night, 8 Good m m night, d . PI' , 8 good d' PI night. . PI' . 8 good .8 : s good night, .d :d di PI night, . Pi' . 8 good good night, .d :d 1 ! t d' pi' d' Pi' d' Pi' 1 : .t f : 8 PI 8 PI 8 PI 8 f : . 8 night, good night, good night. good night. good night. good . 8 : 8 . 8 : 8 . 8 : 8 8 : 8 8 : 8 good night. good night, good night. good night. good night, . s : 8 .d : d .d :d d :d d :d d' t . PI PI . 8 : 8 .d' d< . Pi' Pi' .d' r' .r' :d',t .1 ,t PI • • .d d . n : PI . PI PI . 8 8 . PI f .f :pi ,r .d ,r night, la. la. la. la. la. la, la, la. la. la, la. la, la. . 8 : 8 . 8 S . 8 : 8 . 8 8 . 8 8 . 8 1 .1 :s .8 la, .d :d ,d d .d :d .d d .d d .d f .f :s .8 d' .n' : 8' . PI P) . 8 : 8 d' d' . Pi' :pi' . de' r' :t . d' PI . 8 : PI . d d . PI : PI . PI PI . 8 : s PI f :f . PI la, la. la. la, la. la, la. la, la, la. la, la. la, la, la. 8.8 : 8 . 8 8 . s : 8 8 8 . 8 : 8 1 1 : 8 . 8 d .d : d . d d . d : d . d d . d :d . 1 f : 8 . d • 1 114 FOURTH STEP. Maby C. Sewabd, sleep, BELOVED. Th». F. Sijwabd. EZY G. vv — rn : re . n : f . PI s : — : f . n r : de . r : PI . r Jnit (J jm, . f| .fe; .a, ^ • di . r, • r«i .m now; round, PI : : d| : : d :— : d 1. Fall - - -ing 2. Bios - - Boms s : fe . s : 1 . s d : PI . d : d shad - . - ows fold their R : s . PI : 1 . s t| : - : t, length - - en pet - - - als f : PI . f : s . f d :— :d d :— :d S| : — : S| PI Tre~T^Tf . PI d :— : d Dark and Clouds are s : fe . s : 1 . s s : — : PI d : PI . d : S| . d r : — : r t, : 1, . t, : d . 1, r : — : — lie , sky; s : — : — S| : — : — oLiii tut? sleep ... ing PI : s . PI : d . PI wood - - - lands in the s : fe . s : 1 . fe d :d r : d . t| : li . S| d :- :d r : — : r S| : — . d : f . PI r : d . t| : 1| . S| s : — : - . fi . S| : f| . si : f| . S| S| : — : d sleep on hushed comes rn . s : PI . s : 1 . s fi . S| : f| . S| : f| . S| S| . t| : d . r : PI . Birds a - - Soft - - - ly t| : r : f leaf - - - - y eve ... ery t| : r : f bough, sound, m . r : n . f : s S| : — : 8, d, : - : d, S| : — : S| d : — : — n : re . PI : f .PI s .1 :f . r d :t, .d : r .re PI : — :d d : d tai :1| S| :t, .1, S| : — :d Hushed the zeph er's faint est sigh, Then Bliss - ful il. i. ams are hov 'ring nigh. Then S : fe .s : I .s PI : de : r .f PI : r . PI :f .fe s : — : PI .s d : d d : Pi| :fi S| : s, d| ni : S| . d : S| . m Bit. ^'P PI : re . PI : f . s 1 .s : f . r d :t| .d : r .PI d d : d ll .ta :li S| :t| d • ll :si .f, : Pii sleep be - - lov ed. lul la - - by. sleep be - - lev ed, lul la - - by. S :|fe .s : S f .de : r .de : r .f PI : r . n ;f .8 PI .f : n .r :d d, : ri . ni, fl .PI, : r, . pi| :fi : 8, d, FOUETH STEP. 11 ELEMENTARY RHYTHMS. For Pupils preparing for the Elementary and Junior School Certificates. These Rhythms must be done at the rate indicated by the metronome mark. The pupil must 1cm or taatai one complete neasure and anj' portion of a meiisure which is required, as an introduction to the Exercise — the Exercise itseK being taken up "Nvithout pause or slackening of speed, at the right moment. The exercise most be taataid on one tone. For amusement, it may be ■taataid in tune. For the Time Exeecise of the Elementaet CERTirrcATE (Requirement 2), any two of these Rhythms taken by lot must be sung to kt on one tone at the rate named, and in perfectly correct time. Two attempts allowed. The pupU is also allowed to taatai the Exercise on one tone once before he commences laa-ing it- For the Time Exercise op the Jitnioe School Cestifioate (Requirement 2), any one of Nos. 1 to 9 of these Rhythms, taken by lot, must be sung on one tone to to, in perfectly correct time. Two attempts allowed. The keys are fixed so as to bring the tones within the reach of all voices. The Rhythm may often be leamt slower than marked, and when familiar the pupils will take pleasure in largely increasing the speed. J. 0. They are to be taught by pattern. Three or four may be practiced at each lesson until the. whole are learned. The pupil is «xpected to practice them at home until they are thoroughly familiar, so that any one taken by lot can be correctly done. 11 I. KEY F. M. 100. S| .d :d I S| . d :d TAATAL s . m :s . m I d .d :d |Si.d:d |S|.d:d TAA I TAATAI TAATAI 1 TAATAI TAA | TAATAI TAA 1 TAATAI Bugle Gall, "FaU in." s.ni:s.in|d.d:d TAA I TAATAI TAATAI 1 TAATAI TAA 2. KEY F. M. 100. TAA :S| . ni TAATAI d .d TAATAI :S| . m TAATAI TAA :S| .m |d .d :S| .m TAATAI TAATAI TAATAI Bugle Call, "Close." :- In TAA 3. KEY A. M. 100. S| Id :ri.S||d :m .S| Id .S| :m .S| |d .S| :in .S| TAA I TAA TAATAI TAA TAATAI I TAATAI TAATAI TAATAI TAATAI d :m .S| I d TAA TAATAI TAA Bugle CaU, "Fatigue." : m . S| I d . S| : ni . S| | d TAATAI .TAATAI TAATAI T 4. KEY F. M. 100. s . n :d .S| I d. n :S| Is.rnrd.Sijd : — 1 s . m :d .Si | d . n :S| TAATAI TAATAI TAATAI TAA TAATAI TAATAI TAA -AA j TAATAI TAATAI TAATAI TAA I TAATAI TAATAI TAA Bu^le Call, "Guard." s . rn :d .S| I d : — 5, KEY A. ^'l. 100. :S| Id .d :d .S| |d.d :d .S| TAA I TAATAI TAATAI TAATAI TAATAI d .S| :d .S| |d .d :d TAATAI TAATAI TAATAI TAA S| :— |8| TAA -AA TAA Bugle CaU, "Advance.' AA I TAA 11 6. KEY A. M. 144. rn :— Id TAA -AA TAJ m . d : m . d I S| -AA I TAATAI TAATAI TAA I- Id -AA TAA Bugle CaU, "Extend." — I PI .d : m .d I S| :- -AA I TAATAI TAATAI TAA 7. KEY E. M. 100 d :d .r :ni .f |s TAA TAATAI TAATAI :— :1 -AA TAA Bayly, "In happier hours.' :f .PI :f .s In :d :d d :d .r :n .f Is :s :1 lAA TAATAI TAATAI 1 TAA TAA TAA :f .n :f .s TAATAI TAATAI 116 FOXJBTH STEP. 8. KEY G. M. 100. d : — TAA -A I TAA I :t, TAA TAA I TAATAI TAATAI TAATAI TAA TAA TAA s :- .f :m TAA -AATAJ XAA li .r :d TAATAI TAA :d :t, AATAL Tune, "Wainwright' r .m :f .m :r. .d Id :ti SAA {\ II 9. KEY E. M. 100. 8 :s . f I m :- . f I n :r TAA TAATAI TAA -AATAI | TAA TAA n :r .d If : n .r s :1 Is Hymn Tme, "Simeon." :-.d|f :-.n|l :-.s|t, . :d |r :- .r TAA -AATAI | TAA -AATAI TAA -AATAI I TAA TAA TAA -AATAI :- .8 8 :- .1 Is .f :ni .f I PI TAA TAATAI TAA TAATAI I TAA TAA TAA -AATAI I TAA -AATAI TAATAI TAATAI TAA TAA :r TAA -AA 10. KEY D. M. 100. PI .f :r . n I d :s TAATAI TAATAI TAA TAA d :d Id :t| (The pupils to take each part alternately. ) TAA TAA Pl.f :r . PI I d :s TAATAI TAATAI TAA TAA d :d Id :t, TAA TAA TAA TAA s . f : PI . f I s : d' TAATAI TAATAI TAA TAA d :d In :d TAA TAA TAA TAA J. R. Thomas, "Picnic. 1 .s :f . n I r : — TAATAI TAATAI TAA t| :d |si ; — TAA TAA TAA -i :s :s SAA TAA SAA TAA TAA SAA TAA SAA :s I :s SAA TAA SAA TAA r : I PI : TAA SAA TAA SAA f .8 :1 .t Id' :pi TAATAI TAATAI TAA TAA f :r I PI :d TAA TAA TAA TAA r :8 |d : — TAA TAA TAA -AA d :t, Id : — TAA TAA TAA -AA KEY C. M. 72. !l W d,d.d,d:d .d I pi .d :d tafatefe taatai Tafatefe. PI, PI ; PI .PI tafatefe taatai |P1,P1. I tafat ,s.s, s:s .R |d,d.d,d:pi .s I pi . d :d tafatefe taatai PI j I S .PI I I taatai tafatefe taatai | taatai TAA di,di.di,di:di tafatefe s ,s . s, s :s tafatefe taa Bugle Call, "Walk and Drive." Altered s .PI :n |di,di.di,di:d> .d' TAATAI TAA tafatefe taatai PI .d :d taatai TAA d, d.d, d :pi .s In .d :d tafatefe taatai | taatai 12. KEY D. M. 72. d .d,d:d .d TAitefo Ms 8 ,s : ! . s TAAiefo TAAtefe. d . S| :d . S| j PI . n ,pi : PI .pi TAATAI TAATAI | TAAtefs TAATAI di .8 :d' .s Id .d ,d :d .d TAATAI TAATAI TAAtefe TAATAI Bugle GaU, "Hay up or Litter down." In . d : n . d SAA 13. KEY F. -M. 100. :*i .S| I d ,8| . PI :d ,8| . m TAATAI I tafaTAi tafaTAi 'tafaTAI. .8 ,s :s .3| Id ,S| . PI TAAtefe tafaTAi Bugle Call, "Defaulters." :d ,S| . PI Id tafaTAi I TA> FOURTH STEP. 117 14. KEY G. M. 100. TAA-efe. BvgU CaU, "Salute for thu Guard." nd :d.,d|S|. :S|.,S||d :d .,d|d : \ I TAA TAA-efe I TAA TAA-«fe | TAA TAA-efe | TAA d .d : m.d I m .s : m .d I S| :S|.,S||si : 8AA I TAATAI TAATAI | TAATAI TAATAI | TAA TAA-efe I TAA SAA 15. KEY C. M. 100. Bugle (M, "Officers." IS :- I I TAA -AA ) (:s .,s Id' :s .,s :s .,s |m :s :s |d> :s .,s :s .,s I TAA-efe TAA TAA-efe TAA-efe | taa taa TAA I TAA TAA-efe TAA-efe ! :s Id' :s .,s :s .,s I m :s :pi Id :d .d :d .d Id : — .) TAA I TAA TAA-efe TAA-efe I TAA TAA TAA I TAA TAATAI TAATAI I TAA -AA 16. KEY F. M. 100 Bugle Call, "Orders." s :S| .,S||d :— |n :s|.,S||d :— | m :Si.,S||d :si.,S||m :S|.,S|ld : — | n ) } TAA-efe ' TAA -AA TAA TAA-efs I TAA -AA TAA TAA-efe | TAA TAA-efe TAA TAA-efe | TAA -AA TAA f :S| I d .,S| : PI .,Si| d .,S| :rn.,S||d .,S| :ni .,S| I d :m Is : — |— :ni.,d|si :-.d|n TAA I TAA-efe TAA-efe TAA-efe TAA-efel TAA-efe TAA-efe taa taa I taa -aa -aa TAA-efe | taa -aatai taa I TAA I 17. KE \\d :n .,f|s • :- .s 11 :t | d' :-.s|d' :s |f.in:r.dlf :ni jr : |j ( I TAA TAA-efe taa -aatai I TAA TAA TAA -AATAI I TAA TAA TAATAI TAATAI I TAA TAA TAA SAA |{ 17. KE? C. M. 100. Hymn Tme, "Truro." 18. KEY F. M. 100. ^wgie CM, "General Salute." :S| Id :d .,d{ d . PI :s . m I d :d.,d|d :S|.,d|ni :d.,m|s :S|.,S||S| :S|.,S|)S| TAA 1 TAA TAA-efe TAATAI TAATAI | TAA TAA-efe TAA TAA-efe | TAA TAA-efe TAA TAA-efe | TAA TAA-efe TAA :S| Id :d .,d|d .m :s . nld :d.,d|d :S|.,d|m :d.,ni|s :S| Id :d.,d|d TAA I TAA TAA-efe •«:aATAI TAATAI | TAA TAA-efe TAA TAA-efe j TAA TAA-efe TAA TAA | TAA TAA-efe TAA II II 19. KY F. M. 100. -AA-efe. ^ Bugle Call. "Assembly." s :— |- .,n :d .S| Id :— |- .,S|:d .Si Id .,S| :d .S| |d .,S| :d .S| TAA -AA -AA-efe TAATAI | TAA -AA -AA-efe TAATAI | TAAtefe TAATAI TAA-efe TAATAI d :n I— :— Is :— |- .,pi :d .S| Id :— |— : TAA TAA -AA -AA I TAA -AA -AA-efe TAATAI | TAA -AA -AA SAA 20. BEY F. M. 100. Hymn Tune, "Serenity." (:d lt|.,d:r :s Is :— :fe Is :— :d.,t||l| :-.t,:d.r|n :— :r Id : — ( TAA I TAA-efe TAA TAA | TAA -AA TAA I TAA -AA TAA-efe | TAA -AATAI TAATAI I TAA -AA TAA | TAA -A 21. KEY F. M. 100. Hymn Tune, "Arlington." (:d In .,ni:m :r Id .,d :d :r |m .s :f :n In :r ) ( TAA I TAA-efe TAA TAA I TAA-efe TAA TAA I TAATAI TAA TAA | TAA TAA J (:f In .,n:n :1 Is .,s :s :d' Ir .f :n :r Id :— |j \ TAA I TAA-efe TAA TAA | TAA-efe TAA TAA | TAATAI -EAA TAA | TAA -AA I 118 POUETH STEP. 22. 8 KEY F. M. 100. :- . m -AATAI I TAX 23. KEY F. M. 72. :8 f .1 TAATAI s .,pi:d .d TAA-efe TAATAI I XAA I n .,f :r .,ni :d .S| Id TAA-efe TAA.efe iaatai | taa PI .,f :r .,pi :d .S| 11, TAA-efe TAA-efe taatai | taa TAA 24. TAA I TAA-efe TAA-efe I TAA-efe :d 8AA BAA ' Bamett, ' ' Hark 1 sweet echo. " :- .8 :f . Tj I r .,t| :.8| .S| :8| -AATAl TAATAI I TAA-efe TAATAI TAA :r m .,f:8 TAA-efe TAA-efe Mazzinghi, "Tom Starboard.' .,in :l,s.f,pi|r : tafatefe 3AA :t. TAA d .r :n.s,f:ni.r TAATAI TAAtefe TAATAI KEY F. M. 72 PI .,f :f .,s|s .,r:pi If .,n :f .,r| n TAA I TAA-efe TAA-efe I TAA TAA 8AA "Home, sweet home." .d,d| PI .,f :f .,s|s :pi .s If .,n:f .r id -AAtefe I TAA-efe TAA-efe| taa taatai | TAA-efe taatai | taa 25. KEY C. M. 60. s,f . n,f :s .1 tafatefe taatai Is .Pi' TAATAI :d' |r' .,d' :t ,1 .s ,f I n TAA TAA-efe s . m' TAATAI :d' TAA It .d',t:l .t,l|8 I TAAtefe TAAtefe TAA tafatefe 8AA J. R. Thomas, "Picnic." |s,f .Pl,f :s .1 tafatefe taatai 26. KEY F. M. 100, Hymn Tune, "Prestwiok." d :t| :t| |d :-.r:n |pi.r:d :t| Id :s .f j PI :— :r.n| f : — :in I n :r :d TAATAI I TAA -AA TAATAI TAA -AA TAA | TAA TAA TAA TAA TAA TAA I TAA -AATAI TAA TAATAI TAA TAA I TAA -AA -AA SAA SAa\ Modulator Voluntaries now include transition of one remove. These should not be made too difficult by wide and unexpected leaps on to the distinguishing tone; nor too easy by always approaching the distinguishing tone stepwise. While the effects of transition are in process of being learnt these ex- ercises may be sol-fa-ed, but the teacher cannot now be conteni with Bol-fa-ing. Every exercise should also be sung to la. Sight-laa-ing. The laa-voluntaries are really sight-sing- ing exercises, if the teacher does not get into self-repeating habits of pointing. See p. 12. But, at their best, they give no practice in reading time at sight. Therefore the absolute neces- sity of sight-laa-ing from new music from the book or the black-board. Memorizing in three keys. The pupils should now know from memory, not only what is above any one note on the modulator and what below it, but what is on its right and what on its left. The one key no longer stands alone on the mind's modulator. It has an elder brother on the right and a younger on the left, and each of its tones bears cousinship to the other two families, and may be called to enter them. Therefore, at all the later lessons of this step, exercises should be given in committing to memory this relationship, p. 77. The pupils must learn to say these relations, collectively and each one for ' himself, without the modulator. Memory Patterns. It is diffloult to indicate divisionB of time by the motions of the pointer on the modulator with sufficient nicety t« guide the singers in following a voluntary, and it is important to exercise the memory of tune and rhythm. For these reasons our teachers give long patterns— extending to two or more sections — including some of the more delicate rhythms. These patterns are given laa-ing but pointing on the modulator. The pupils imitate them, without the teacher s point ing, first Bol-fa-ing and then laa^ing. ' Memory Singing. The practice of singing whole pieces to words, from memory — in obedience to the order "Close books: eyes on the baton — is a very enjoyable one. The singer enjoys the exercise of subordination to his conductor along with a sense of companionship in that subordination, and delights in the effects which are thus produced. This practice is very needful at the present stage in order to form a habit, in the singer, of looking up from his book. This should now be his normal position. But, as from necessity, the learner's eyes have hitherto been much engaged with his book, he will have to make a conscious effort to form "the habit of looking up." Occasional "Memory Singing" will make him feel the use and pleasure of this. Ear Exercises (which will now include fe and ta, and new difficulties of time), Dictation, Pointing arui Writing from Memory, should still be practiced. Writing from memory does not at all take the place of pointing from memory. There have been pupils who could write from memory, but could not point the same tunes on the modulator. It is important to establish in the memory that pictorial view of key relationship which the modulator gives, especially now Uiat the study of Transition is added to that of the scale. FOUBTH STEP. 119 QUESTIONS FOR WRITTEN OR ORAL EXAMINATION I. How many greater steps are there ut the scale, and between which tones do they occur 1 S. How many smaller steps are there, and where do they occur ? 3. How many little steps are there, and where are they ? 4. What is the difference between a greater and a smaller step called! 5. How many kommas has a greater stept A smaller step t A little step 1 6. By what other names are intervals called ? 7. Wliat is the interval from any tone to the next in the scale called t 8. What is the interval from any tone to the third tone from it called ! 9. What is a Second called that is eqnal to one fall step) 10. What is a Second called that is equal to a lit- tle step (half-step) I II. What kind of a Third is equal to two steps t 13. What kind of a Third is equal to ose foil step and one little step I DOCTRINE. 13. What is the interval from /ah to te called t 14. Which are the two moat marked characteristlo tones of the scale ? 15. From th«ir mental eifcts, what are fah and (e called? 16. What is a change of key during the course of a tune called T 17. Which is the sharp distinguishing tone, and what is its mental effect! 18. Which is the flat distinguishing tone, and what is its mental effect? 19. On which side of the modulator is the first shan) key t On which side is the first flat keyf 20. In going to the first shai-p key what does the soh of the old key become in the new! What does the old lah become ! What does the old U become ! (The teacher will supply addi- tional questions.) 21. In going to the first flat key what tone of the old key becomes lioh in the new! What tone becomes ray I (The teacher will sup- ply additional questions.) 29. What is that tone called on which the change is made from one key to another! 23. How are bridge-tones indicated in the iM>t»- , tion? 34. What is the meaning of the little notes placed on th 27 00 Shilling Modulator. Size, 60x25 inches, paper " Calico " Modulator. Size, 72 x28 inches, (on muslin) - Time Charts paper, Tonic Sol-Fa Testimonials (50 copies for 27 cents) . . Staff Notation Primer. J. Spencer Cur- wen Staff Notation. John Curwen paper, Pupils' Tuning Forks Hints for Modulator Voluntaries paper, " Ear Exercises " Studies in Mental Effects How to observe Harmony Musical Theory ... Standard Course Teachers' Manual Metronomes, each The Messiah Oratorio. Geo. F. Handel, Elijah " Mendelssohn. St. Paul " German Two-part Songs. A. J. Foxwell, paper Short Anthems. J. S. Curwen cloth, " . " " in Staff Notation, cloth Mechanism of the Human Voice. E. Behnke each. Studies in Worship Music. J. S. Curwen, Additional Exercises, Parts 2 and 3, paper, each I . . . . Harmony Player for the Harmonium, paper, J. Curwen Account of the Tonic Sol-Fa Metl^od (50 copies for 27 cents) Story of the Tonic Sol-Fa Method. J. S. Curwen. (25 copies for 40 cents). . . . Philanthropic Aspects of the Tonic Sol-Fai Method. J. S. Curwen •. . Tonic Sol-Fa Method in the Church ^ ' Eng- land. J. S. Curwen. (25 cr: for 40 cents) Tonic Sol-Fa Plans. J. S. CURWF.n ir, Single Cor- n/ Mail. 44 4C ^3 44 £2 21 42 8 12 12 85 33 33 90 52 43 63 57 15 42 1 24 2 14 15 62 7 II «o dr OC 3 O'- Tu O' , 20 ^ f 40 0 ' 7 c. 10 ro 10 (n> 80 . o 125 -iO 125 o 180 00 50 40 OQ- 60 f .. 54 14 00 40 00 42 40 00 120 00 200 00 14 00 60 00 3 00 6 00 10 00 6 00 6 00 We -will forward Messrs. CCJRWEN'S com- plete Catalogue on applivation, and will ordr r wJiat- I e-vei is rtesired from it at the ra* ; of forty cents to the ' Unglish Shilling, adding the postage thereto. A Liberal Discount to ttie Trade. Catalogues and Specimen Pages furnished free on application.