THE STANDARD COUBSE. tbe same Hutbor. MUSICAL THBOET. 3s. M. The main divisions of the work are five : — the Common Scale and Time— the Minor Mode and Transition — ^Musical Eorm— Expression— Harmony. THE TEAOHEE'S MANUAL. 4s. The Art of Teaching in general, and especially as applied to Music. HOW TO OBSEEYE HAEMONY. 2s. The whole series of chords employed in Modem Music is described in progressive order, and by the use of single chants each is shown in its common connection. THE STAFE NOTATION. 6d. A Practical Introduction, on the principles of the Tonic Sol-fa Method. HOW TO EEAD MUSIC. Is. Teaches Sight-singing by the Tonic Sol-fa system, then applies the knowledge gained to the Staff Notation, and teaches that thoroughly. THEE STAND AED GOUESE or LE380N3 AND EXERCISES IN O^HE (Founded on Miss Glover's "Scheme for Eenderixg Psalmody Congregational," 1835). AVITH ADDITIONAL EXEECISES BY JOHN CURWEN. ELEVENTH EDITION. J. CUEWEIS" & SOJSrS, 8 & 9 WAEWICK LAIS'E, E.G. Price Three Shillings and Sixpence. Entered at Stationers^ Hall. The right of translation reserved. 1895. ISrOTICB ♦ Several friends have said to me " why do you not arrange your book in lessons ? It would be so convenient for us, every time we go to our class, to know exactly how much and how little we have to teach." I would gladly have done this; but the different capacities, tastes, and circumstances of our pupils make it impossible. A School lesson and a lesson to an Evening class, a Reformatory lesson and a College lesson, differ exceedingly both in the manner of teaching and in the number of things which can be taught. I can only pro- vide a general method, some points of which are essential and some non-essential, leaving the teacher to adapt this method to the particular class he has to deal with. Such topics as Harmony, Pronuncia- tion, Musical Form, Yoice Training, and the difficult parts of Time, Tune, and Expression may, however important, be reckoned as non-essentials, and will have to be omitted in many classes. Although I could not fix the exact amount of instruction and exercise which every class can receive lesson by lesson, I have divided the method into Steps. By a step I mean a certain stage of the pupU's progress at which he is expected to stop and examine himself, and bring the different divi- sions of his labours (tune, time and expression) abreast of one another. This is what is called, in the counting house, " taking stock/' in the House of Commons, ** Eeporting progress." It is ascer- tained that ordinary students do learn a certain proportion of each branch of the subject concm^entl^, and this proportion is given as nearly as possible in each step. One-sidedness of study is most danger- ous and miserable to the student. A clever reader of tune who. cannot keep time is constantly finding himself wrong, and annoying his neighbours, and a good timeist who is often singing out of tune feels himself to be unsatisfactory, and often stops the class to get his errors corrected. The steps, with their amplitude of questions at the end, enable all the members of a class to march together,— to keep step. But the Lesson is a different thing from the Step. A very dull class may require three or four lessons before they finish the first stage of progress and ♦ Price Fi bring themselves up to the mark distinctly drawn by the examination at the close of the first step. Rarely have we found classes so quick and ready that they can accomplish the first step at a single lesson. The teacher studies the kind of class he is about to teach, and draws out the plan of his lessons accordingly. Until he knows his class more per- fectly he will seldom be able to do in a lesson exactly what he had planned to do, but be always goes to his class with a plan, — having chosen the exercises to be done, and having anticipated in his own mind and pictured to his imagination, the blunders he will be required to correct, and the brief verbal explanations he will be expected to make. When a new topic is introduced, it occupies a larger portion of time than the other topics, and may at first do this even to the exclusion of others. But directly a subject has reached the "wearying point " in a class it must stop, even if it has occu- pied only a short time. At first the chief care will be given to the subject of ^w;?^, and not until the attention of the class gets near the wearying point, does the teacher introduce the first elements of time, as a variety. When the association of syllable and interval in d m s is fully established, and not till then, will much attention be given to the earlier time names. It is not wise to introduce a great number of new topics in one lesson. The Yoice exercises should occupy a brief portion of each lesson at its opening. On all teachers, taking^ up our Method, I urge faithful attention from the begin- ning to three things — the Pattern— the Mental Effects, and the preparation for Certificates. The experienced teacher knows how to arrange the topics of his class, how to pass promptly from one to the other, how to keep up the interest, and how to secure an even progress in all the branches of study. For the inexperienced teacher, I have gathered together all the helps I could think of, in the " Teacher's Manual of the Tonic Sol-fa method."* JOHN CURWEN. FlaistoWy 2nd July J 1872. Shillings. ^ 2 INDEX OF TOPICS. TUNE. Absolute pitch and pitching tunes 3, 28, 29, 59 Key relationship 3 Octaves 5,29 Mental effects iv, 4, 15, 28 Speed of movement and ditto 28 Names and signs , , • 3, 5 Pattern 3, 5, 77 Solfaa-ingandlaa-ing 8,37, 77 Modulator ...v, 3, 8, 11, 12, 24, 37, 42, 51, 77 Manual signs • iv, 51 Ear exercises 12, 24, 42, 77 The scale 28,48 Perception of Transition 49, 50 Distinguishing tones of 1st remove 50 Mental effect of transition ...... 50, 51 The second remove 117j 118 Chromatic effects , 52 Cadence transition 52 Passing transition 53 Extended transition 53 Memorizing adjacent keys 50, 77 The modes 84, 85, 86 The modem minor 86, 87 The Grave ray 46 Modulation and transitional ditto.. 88 The third remove 123 Accidentals 88 TIME. Accent, pulse, measure 6, 7, 18, 63, 64, 65 Beating time 7, 24, 65, 66 Time names and Taatai-ing ... v, 6, 7, 8, 10 Continued tones and half pulses ... 7 Silent pulse. Pulse-and-a-half tones Quarter-pulse tones 18, 19 Silent half-pulse. Three-quarter pulse tone. Two quarters and a half. Half and two quarters. Syncopation , 34 Silent quaxter-pulse. Thirds of a pulse •••• 6* Sixths, Eighths, Ninths, &c^, of a pulse — • 110 Time ear exercises 24 Bate of movement, sustaining and remembering it .......33,34,66 EXPRESSION . Breathing for the sense ^ ^. 16 The normal force of a piece 30, 98 Type mar ks'for eixpression of words p. 30, Ex. 97 General principles 30, 94 The degrees of Eorce, with their combinations and modes of de- Uvery 95,96, 97,98, Ascending and descending passages 99 Repeated and prolonged tones 99 Melodic imitations and marked en- trance 100 Subordination of parts and accom- paniment 4 100 Imitative sounds , 101 Tones congenial to the sentiment or spirit of the tune 101, 102 Rapid passages 102 Effect of the Explosive and Pressure tones and the Legato & Staccato styles 103 Unison, Cadence, Distinguishing tones 103 Dissonances • 104 Expression of words. Effect of speed and force 130 to 136 Phrasing9, 16, 30, 69, 70, 98,135, 149,150 PRONUNCIATION. Effect of vowels on Quality of tone 1, 14 Collective reading 15, 16 Recitation on a monotone 35, 36, 47, 59, 82 The Consonants or articulations 60, 61, 62 Importance of the Glide, in singing consonants 61 Order of accents in speech and song 63 Preparing recitations 36, 59, 63, 93, 94 The Vowels, their mechanism, and dialectic varieties 136 to 142 The Dipththongs 142 to 144 VOICE TRAINING, Its importance 156 Position of Singer 2 Good klang and quality 1, 2, 3, 14, 26, 45, 81, 95 Control of breath ... 2, 3, 14, 26, 45, 81 Breathing Places 9, 16, 30, 98 Tuning of voices together 14, 26, 45, 47, 81 Compass 29, 106, 109 The Registers 32,66,107 Thin Register 33, 67 Thick Register 67 Small Register ..^v.... 105 Voice Modulator 106 Examination of voices ... 81, 108, 109 Blending of Registers 67 Optional tones 32, 68, 110 Boys' voices • 107 Voices and parts...... 29, 30, 81, 108, 109 Flattening 109 Choral contrivances 149 Resonances 149 Vocal ornaments, portamentQ,shake swell, appogiatura, turn 160. 151, 155, 156 Training in class 150, 151 yi Agility, strength, and downward extension 151, 153 HARMONY. A chord 4 Relation of chords D & S 20, 27 The common intervals 21, 36 Positions and Constitutions of chords 26, 27, 48 Dissonances and their resolution 21, 36, 69 Chord 4S and ddh against ray ... 21, 27 Chord 7S, fah against soh^ and the partial dissonance 36, 46 Relationship of E with D and S, ambiguity 45, 46 Chords major, minor, or diminished 46 Chord RAH and grave ray 46 Chords T, L, M, and 7R.... 46, 47 Mental effects of Chords 47 Cadences 48, 52, 69 Apologies for dissonance 69 Chromatic chords and their resolu- tion 83 Chord relation in the Minor mode 87 MUSICAL FORM. General principles and divisions of melody 69 The Parsing of melody 70 Relative motion of parts and imi- tations 36 Parsing fugal passages 104 Roimds 16 Chants 35, 63, 64 The Response, Chant, Hymn Tune and Anthem 144, 145 The Madrigal, Glee, Part Song and Chorus 146 The Canon and Fugue 146 to 148 Recitative, Opera, Oratorio and Can- tata 148, 149 NOTATION . Of tune and octaves 6, 29 Of accent and measure 6, 7, 18 Of vocal parts and musical sections 8 Of repetition., 16 Of Bounding and silent pulses and their parts 6, 7, 18, 34, 64 Oftiie hold 28 Of chords 20, 26, 46, 47, 87 Of rate of movement. 33 Of chanting 36, 36 Of transition. 51,53 Of registers 68 Of the minor mode 86, 87 Of expression. .:. 30, 96, 97 Of consonantal sounds 61 Of vowel sounds 136 Writing exercises 12, 24, 77 FINGER-SIG-NS FOR TIME, vii AS SEEN FEOM THE PUPIL'S (NOT THE TEACHER'S) POINT OF VIEW. TAAtefe. TAAfe. tafaTAI. SAA TAAJSAI. 8AATAI, • • • VIU MEOTAL EPPECTS AITD MAFCJAL SIGISTS OE TOI^ES IN KEY. Note. — These diagrams shoiv the hand as seen by pupils sitting on the left-hand side of the teacher. The teacher makes his signs in front of his ribsj chesty face, and heady rising a little as the tones go up, and falling as they go down. FIRST STEP. SECOND STEP. THIRD STEP. SOH. The Grand or bright tone, — the Major Dominant, making with Te and Ray the Dominant Chord, — the Chord S, and with Fah also the Chord '''S. TE. The Piercing or sensitive tone, — LAH. the Major Leading Tone making r^^^ • tone, withi^at/andi^'^AtheweakChordT. ^^^e Major Sumiediant, making with Doh and Me the Chord L. 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 Soh the Tonic Chord, ihe Chord D. RAY. The Rousing or hopeful tone, — the Major Supertonio, mak- ing with Fah and Lah the Chord FAH. The Desolate or awe-inspiring R,— in which case it is naturally tone, — the Major Subdominant, sung a comma flatter, and may making with Lah and Doh, the Sub- be distinguished as Rah. dominant Chord, — the Chord F. For fe let the teacher point his first finger horizontally to the left. For ta ditto to the right. When seen by the class, these positions will be reversed, and will correspond with the Modulator. For se let the teacher point his forefinger straight towards the class. Note. — These proximate verbal descriptions of mental effect are only true of the tones of the scale when sung slowly — when the ear is filled with the hey^ and when the effect is not modified by harmony. MEI^TAL EFPECTS AJSTD MANUAL SIGISIS OE TONES IN KEY. ix SECOND STEP. TE. The Piercing or sensitive tone — the Major Leading Tone, making with Ray and Fahy the weak Chord T. RAY. The Bousing or hopeful tone — the Major Supertonic, mak- ing with Fahaxid Lahthe Chord R — in which case it is naturally smig a komma flatter, and may be distinguished as Eah. FIRST STEP. The Grand or bright tone — the Major Dominant, making with Te and Ea^ the Domin- ant Chord — the Chord S, and with Fah also the Chord 'S. THIRD STEP. SOH. 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 ToNio, making with Me and Soh, the Tonic Chord, the Chord D. LAH. The Sad or weeping tone— the Major Submediant, making with I?oh and Me, the Chord L. FAH. The Desolate or awe-in- spiring tone — ^the Major Sub- dominant, making with Lah and Dohy the Suhdominant Chord— the Chord F. TA. SE. ' FE. 'NoT^^.-'These diagrams show the hand as seen hy the pupil, standing in front of the teacher. The proximate verbal description of mental effect are only true of the tones of the scale when sung slowly — when the ear is filled with the Tcey, and when the effect is not modified hy harmony. TONIC SOL-FA TIME CHART. By JOHN CUEWElsr. Wlioles. Halves. 1 TAA -AA SAA 1 .1 TAATAI - .1 -AATAI .1 1 . (Copyright.) Quarters. 1 ,1 .1 ,1 tafatefe 1 .1 ,1 TAAtefe 1 .1 TAAfe 1 ,1 .1 tafaiAi ,1 .1 ,1 5«fatefe 1 ,1 .1 , tafate*^ 1 . ,1 TAA5^fe Eighths. ..11,11.11,11 tanafanatenefene Ninths, iifijiijii taralatereletirili Sixths. 2 accents. Thirds. :1 J ^ taataitee :i - ^ TAAtee :1 .1 - taatai-ee : ^ e which have the teeth too close, form shrivelled tones." These points must be attended to at the commencement and in the course of eveiy early lesson. There is no other way in which the pupil can be saved from slovenly habits and coarse flat singing. Ex. 1. — To train the muscles at the sides of the lungs and under them, — To be repeated at the open- ing of each lesson of the first step. The pupils standing, if possible, in single file, round the room (so that the teacher may approach each one and quietly signify any defect of position while the exercise is going on), the teacher raises his hand while the pupils take in breath slowly, and without noise. The pupils Ao^c?*their breath while the hand remains high, and let out the breath again through the mouth, and gradually as the teacher lowers his hand, "^he teacher counts " one,' ' "two," "three," &c (at' the rate of M. 60, or as slowly as a common eight-day clock ticks), while he lowers his hand. The pupils say, by holding up hands, who held out as far as "three," "four," ** six,' ' &c. The teacher is well satisfied with " four ' ' at first, and does not require even that from weak lungs. Ex. 2. — To train the larynx. for the production of pure vocal klang. To be repeated at the opening of each lesson in the first step. The teacher sings on the syllable ai (as in g«m, ^ai\, &c.) a middle tone of the voice, say G or A. The pupils imitate that tone, commencing immedi- ately the teacher opens his hand, and cutting it off sharply the instant the teacher closes his hand. This done, he gives the vowel ai again, but immedi- ately changes it into the more open and pleasant ««; changing, however, as little as possible the ai position of the tongue, so as to secure the " for- ward" Italian aa. The pupils imitate, attention being given exclusively to the position and to purity of the voice. This is done with various tones —say with D, with F, and with A. EmsT Exercises in Tune. Pitch. — ^By "pitch," we mean the highness or hwness of sounds ; the difference between the sounds produced towards the right hand on the St. Co. (New J * By means of the piano and those towards the leffc, or between a squeak and a growl. We are not anxious, at present, to teach the absolute pitch of sounds. Our first and chief work is to teach the relation of sounds in a tune to what is called the key-sound of that tune. Key Tone. — ^Everything in a tune depends on a certain given" sound called its governing, or key-tone, from which all the other tones measure their places. At present the teacher will pitch the key-tone for the pupil. The modulator represents this key -tone with its six related tones, in the way in which they are commonly used. The pupil will learn to sing them by first learning to perceive their effects on the mind, and not by noticing their relative distances from each other. Pattern. — ^The teacher never sings with his pupils, but sings them a brief and soft "pattern." The first art of the pupil is to listen well to the pattern, and then to imitate it exactly. He that listens best, sings best. "When it is the pupil's turn to sing let him strike the tones firmly, and hold them as long as the teacher pleases. As soon as the modulator is used, the teacher points on it while he sets the pattern, and also while the pupil imitates. Ex. 3. — The Teacher asks his pupils for a rather low sound of their voice. He gets them to sing it clearly, and well drawn out, to the open syllable aa. He takes it for the key tone of a tune. He sings it, and immediately adds to it what is known as the fifth above. The pupils try to imitate the " pattern," singing (still to aa) the key tone and its nearest related tone. When, by patient pattern and imitation, this is done, — Ex. 4. The Teacher gives a different low sound of the voice for the key tone, and asks the pupils to give him that other related tone again. This he does several times, always changing the key tone. Names and Signs. — ^Immediately that a thing is understood it is important to have a name for it, and sometimes a sign also. Any name or sign which is agreed upon between Teacher and pupil, will answer the purpose. But it is convenient to use the same names which others use. On our modulator and in our notation we call the key tone just given Ifoh^ and the other nearly related sound Soh. For voice Exercises, in which the Teacher has to look at pupils while he gives them signals to guide their singing, it will be useful to employ the closed hand as a sign for Boh,, and the open hand, pointing outwards, with the thumb upwards, for Soh^ ribs, not the throat. 4 PIRST STEP. Ex. 6. The Teaclier gives Doh and Soh (to the open aa) and, immediately after, another sound, different from Soh, which he knows as the third of the scale. The pupils imitate his pattern. The Tonic Solfa name for this sound is Me, and the sign is the open hand with the palm downwards, Ex. 6 . The Teacher, by the above named manual signs, causes the pupils to sing (while he watches their position and the opening of their mouths,) to the open sound aa such phrases as the following, Doh, Soh, Me, Soh, Boh. — Doh, Me, Soh, — Soh, Me, Doh, Me, &c., &c. The Teacher changes his key tone with nearly every new Exercise, lest the pupils should be tempted to try and sing by absolute pitch, instead of directing their attention to the relation of soimds. Mental Effect. — The effect felt by the mind as it listens to these three tones, arises first from their difference iu pitch, one being higher or lower than the other, and secondly and chiefly from their agreeing well with each other, — so that it is pleasant to hear them one immediately after the other, and pleasant to hear them sounded together. The science of sound shows how closely and beautifully these three tones are related to each other, in the number of their vibrations. Their agreement may be shewn by sounding together 1st Doh and Soh, 2nd Doh and Me, 3rd Me and Soh, and 4th Doh Me Soh. When three tones are thus related, and sounded together, they are called a Chord. The pupils will be led to notice the different efect on their minds of the three tones of this Chord. As they form the Chord of the key tone, they are the bold, strong, pillar tones of the scale, on which the others lean, but they differ in the manner of their boldness, one being brighter, another stronger and more restful, another more peaceful, &c. The Teacher, having brought his pupils to a clear con- ception of these tones, apart from syllabic asso- ciation, now attaches to each of them its singing syllable, — ^teaching by pattern, and pointing on the modulator the six following exercises. For the sake of solitary students, who cannot be thus taught, these exercises are printed, in the form of diagrams,' with skeleton modulators at the side. The first letters of the syllables on the modulator are used to indicate the notes, and so point to the modulator in the mind's eye. A narrower type and somewhat altered forin is given to the letter m (n), for convenience in printing. Ex. 7. KEYS D & F. SOH s ME Ex. 8. KEYS D & r. Ex. 9. KEYS D & P. DOH s—s Ex. 10. KEYS D & F. SOH s ME DOH d St, Co. fNewJ Ex. 11. KEYS D & F. s s Ex. 12. KEYS D & F. s s n / n n \ d FIRST STEP 6 Octaves or Eeplicates. — It is in the nat^re of music, that tones, which vibrate twice as fast or twice as slow as some other tone, should sound so like that other tone, and blend so perfectly with it, that they are treated as the same tone and receive the same name. They are the same in Eelative position and mental effect, — the difference of pitch being the only difference between them. Thus every sound has its "replicate" or repetition above and below. The two sounds are called octaves one to another, because if you count the tones of a scale from any sound to its replicate (including the tones at both ends) you count eight or an octave of sounds. "VVe put a figure one upward thus — ('), as a mark for the upper octave, and downward thus — (|), as a mark for the lower octave. If we wish to indicate higher or lower octaves still, we use the figure (2). The sign for a higher octave would be given by Ex. 15. KEY C. DOH ^ ^ First Exercises in IsTotation. In the following Exercises, " Key Gr," " Key C," " Key A," tell the Teacher where to pitch his Doh. The letters point on the modulator in the mincfs eye. The Teacher pitches the key tone. The pupils "sound the chord," singing (when they have a middle sound of the voice for J)oh^) Doh, Soh^, Me, Doh, and when they have a low sound, Doh, Me, St. Co. (NeivJ. raising the hand which gives the sign, and for a lower octave by lowering it. Ex. 13. The Teacher gives a low sound of the voice for Doh, and patterns to the open syllable aa^ d, n, S, d'. The pupils imitate. Again, by manual signs, the Teacher requires the pupils to sing which ever of these notes he pleases, while he watches the position and the opening of the mouth, — in each exercise varying the key. Ex. 14. The Teacher gives a middle sound of the voice for Doh, and then patterns to the open oa, d, n, S, S|, d. The pupils imitate. Again, watch- ing his pupils, he requires them, by manual signs, to make any of these tones he pleases, in each exer- cise varying the key. The Teacher sets for each of the following Exer- cises a Solfa pattern on the modulator. Ex. 17. KEY G. s Si Si Soh, As there is no indication of time, the tones may be made as long or as short as the Teacher likes. A gentle tap on the desk will tell the pupils when to begin each tone. During this Exercise it may be well to let the large modulator hang before the pupils, that they may glance at it when their mental modulator fails them. Ex. 16. KEY C. d' d' d' d 6 riRST STEP. Ex. 18—24. Ex.1 s, d KEY G. n s n s m Ex. 19. KEY 0. Ex. 21. KEY C. s n s d d Ex. 22. KEY A. s d' s m s n s d Ex. 20. KEY A. d d n s n d First Exercises is Time. Time and Rhythm. The word time is commonly used in three different senses. Sometimes it means the degree of speed at which the music is sung, as when we speak of quick time, slow time, etc. This we call " The Bate of Movement." Sometimes it means the arrangement of accents in a tune, as when we say " common time," " triple time," etc. This we call " The Measure." Sometimes it means the varied lengths of a set of notes standing to- gether, as when we speak of " keeping the time " in a certain phrase. These time -arrangements of brief musical phrases we call " Rhytlmis." Ihe word Rhythm is also used in a general sense to ex- press the larger relations of time and accent, such as the number and kind of measures in a tune, and the proportion which is given to each " section " of the tune. Accent or Stress. The Teacher, by singing on one tone such an exercise as the following, KEY Gr. d d :d :d d :d d aw -ful dawn-«^^ a - wake, a- rise. leads his pupils to distinguish the difference be- tween a weak and a strong accent both in words and music. The Teacher will be careful not to let h;s pupils . exaggerate the strong accent, so as 'to make a jerked tone instead of simply an accented tone. Accent is produced by the combined use of distinctness (or abruptness) and /ore*? — in their vari- ous degrees, and it differs in quality as one or the other element predominates. An upright bar ( | ) shews that the note which follows it is to be sung witi: the stronger accent. Two dots, thus, (:) shew that the note which follows them is to be sung with Uie weak accent. Pulses.— It vdll be noticed that in music the voice is naturally delivered in successive beats or impulses, some having the strong and some the St, Co. /New.) n s d m d n s s s, d Ex. 23. KEY C. s n d' n s d n weak accent. These we call Pulses. The Teacher illustrates this. The pulses move faster in some cases and slower in others, but the pulses of the same tune are equal in length one to the other. The Teacher illustrates this. The beginning of a pulse of time is indicated by an accent mark as above, and its end is shown by the next accent mark. ' In Tonic Solfa printing we place the accent marks in each line of the music, at equal distances, so as to measure time pictorially. Measure.— In music the accents recur in regu- lar order, — that is, if they begin thus, — strong. weakf they go on in the same way, — if they begin STRONG, weaJCf weak, they continue to recur in that order and so on. The Teacher illustrates this by singing tunes to his pupils, and requiring them to tell him which order of accents he uses. The time which extends from one strong accent to the next is called a measure. It is the primary form of a measure. If the tune begins on a weak accent the measure is reckoned from that, and extends till the same accent recurs again. This is the secondary form of a measure. Two-pulse measure. — ^When the accents of a tune recur in the following regular order, strong, weak, STRONG, weak, and so on, or weak, strong, weak, STRONG, and so on, that tune is said to be in two pulse measure. The primary form of two pulse measure would be represented thus 1 1 • | and the secondary form thus | : | | Time Names. — "We call a single pulse (whatever be the rate of movement) taa, Ex. 24. The Teacher causes his jpupils to sing a number of primary two-pulse measures on one tone to the time-names, while he beats the time steadily. He does this till all have ** got into the JTIRST STEP. 7 g-wing" of the rhythm (taa, taa, taa, taa, &c.), so that all the voices strike the heginning of each pulse perfectly together. Alternate measures are then sung by teacher and pupils, maintaining the same rate. They do this again with an entirely different rate of movement, only taking care to keep up the rate of movement vt^hen once begun. In this exercise let the pupils be careful to sing each pulse fully to the end. The second vowel ai is often added to make him do so.* Ex. 25. The teacher in the same manner makes his pupils practise secondary two-pulse measures taa, taa, taa, taa, &o. Ex. 26. Sing Exs. 20, 22, and 23, beginning with the strong accent, and again beginning with the weak. Ex. 27. Sing Exs. 18, 19, and 21, beginning with the weak accent, and again beginning with the strong. Three-pulse Measure.—When the accents of a tune recur at regular intervals thus, steokg, weak, weak, STRONG, weak, weak, and so on (that is like the accents in the words " heav^??/^/," "hapjt??- mss,'' and so on) or weak, strong, weak, weak, STRONG, weak, and so on, (that is like the accents in the words^ amtLZtng," ahunda^it," and so on) the tune is said to be in three pulse measure. The primary form of three pulse measure is this I : : II and the secondary this : | ' || In the three pulse measure, w/ien sung slowly, the second accent is not weak, but often nearly as strong as the first. For convenience, however, we always write this measure as above. Ex. 28. The Teacher wiU make his pupils sing TAA, TAA, TAA (primary three-pulse measure) on a single tone, while he beats time, first at one rate of movement. and then at another rate, always sustaining^ in each exercise, the rate at which he commences it. Ex. 29. The teacher will do the same with taa, TAA, taa (secondary three-pulse measure). Ex. 30. Sing exercises 20 and 22 in the pir- mary three-pulse measure, making two measures, and the first pulse of the next, to each exercise. Ex. 31. Sing exercises 18 and 19 in secondary three-pulse measure, making for each exercise, two measures and two pulses of a third measure. Continued Tones. — When a tone is continued hom one pulse into the next, we mark the continu- ation by a horizontal line, thus ( — ) . The time-name for continuations is always obtained by dropping the consonant, thus, taa, -aa, &c. Pupils are apt to SL Co, (New), • Latpr on (p. 18) ti fail in giving their full length to prolonged tones. Balf-pulses.— When a pulse (taa) is equally divided into two parts, we give it the name taatai'. The sign for an equally divided pulse is a dot in the middle, thus ( | . : ), and thus (| d .m : )• Beating^ Time.— Pupils should never be allowed to "beat" time till they hare gained a sense of time. Speaking in Time.— The value of the Time- names depends on their being habitually used in time—esLch syllable having its true proportion. Taatai-ing. — Wepropose to use this as a shortword for the phrase * ' singing on one tone to the time names, ' » just as we use Solfaa-ing" to save the circumlo- cution " singing with the use of the Solfa syllables." In the early steps of any art it is better to learn each element separately. As the pupil has first learnt tune separately from time on the Modulator, so now, with the help of the Time Chart, he studies time separately from tune. The rule of good teach- ing^ that, at the first introduction of any distinct topic, that topic should occupy much more than its ordinary proportion of each lesson, will stroni-ly apply in this case ; for we have to establish in the memory m association of syllable and rhythm, just as, in teaching tune, we have already begun to establish a mnemonic association of syllable and interval through mental effect. 1st. The teacher patterns and points on the Time Chart (just as he patterns and points on the Modulator) and the pupils imitate (taatai-in^ on one tone) the first half of one of the time exercises. The Teacher's pointer will sufficiently well beat time as it strikes on the Chart. 2nd. Teacher and pupils Taatai the time-phrase alternately, the teacher singing softly, with clear accent and very exact and well filled time, but only pointing or tapping on the Time Chart when the pupils take their turn. This is done till the pupils " get into the swing," fetriking the accent well together and giving each tone its full length. 3rd. The secondhalf of the exercise is taught in the same way by pattern and alternating repetition. 4th. The two parts are put together and patterned and alternated as above, but at a quicker rate, with- out pointing-, — the teacher beating time only when it is the pupils turn to sing. 5th. The pupils Taa- tai from the book as directed in Ex. 32. The other processes of Time-laaing, of Tuning, the time- forms and of Taatai-ing in tune, are introduced a little later, when the time-names are familiar. Each process is only continued till the exercise is AI may be omitted. 8 KEST STEP. perfect. These many processes, each increasing in difficulty, give variety to the work of the learner and keep his attention fixed on an otherwise unin- teresting but most important subject. Ex. 32. First slowly — repeated so at least three times — and then quickly, and repeated so six times. 1 :1 1 • • — 1 TAA TAA TAA -AA TAA Ex. 33. Slowly- —and quickly. 1 |i :1 1 • • 1 1 TAA TAA TAA TAA TAA Ex. 34. Slowly- -and quickly* :1 1 • :1 TAA TAA -AA -AA TAA Ex. 35. Slowly- —and quickly. 1 :1 :1 1 1 TAA TAA TAA TAA -AA Ex. 36. Sloivly- —and quickly. :1 1 :1 • • 1 1 • • TAA TAA TAA TAA TAA Time Laa-ing. — The Teacher when all the above exercises have been properly learnt, with time names, will canse them to be sung again in the same way, but to the open syllable Laa. The time syllables are, like the Solfa syllables, valuable as mnemonics, and must be much used, especially in the early steps. But they must not be too exclusively used, lest our pupils should be able to sing correct time to nothing else. Ex. 37. Laa Exs. 32 to ,36» Tune. Tune Laa-ing. — ^As soon as the memory-helping Solfa syllables have been rendered familiar, every tune should be Laad from the hook. Some teachers make a habit of Laa-ing from the modtilator, directly after the Solfa pattern has been learnt. One study should be alwaj^s before the teacher's mind while his pupils are Laa-ing^ — that of the blending and tuning of the voices. As all are using the same syllable Laa (not law or lod) it is more easy to notice whether in unison (that is when all sing the same tones) the tones hlend as into one voice, — and whether, in harmony (that is when several melodies are sulig together) the tones tune well with each other. Two-part Singing.— It is at first very difficult for SU Co. (New.) •AA 1 TAA :1 TAA -AA 1 TAA -AA :1 TAA TAA 1 TAA -AA -AA :1 TAA 1 TAA -AA 1 TAA :1 TAA :1 TAA pupils to sing independently one of another. The simplest form of two-part singing is that in which one set of voices repeatedly strikes the same tone ("tolls the bell "), while the other set sings the tune, as in exercises 38 to 41. These exercises should first be taught by pattern from the modulator, and then sung from the books, the Teacher beating the pulses by gentle taps on the desk. If the long- tones are not held the proper length, they must be sung to the time names. I Brackets are used both at the beginning and ( ending of lines to shew what parts of the music may be sung together. Double Bars (||) are used to shew the end of a tune, or the end of what is called a musical " section," generally corresponding to a line of poetry. Where the double bar occurs, the regular accent mark, whether strong or weak, is omitted. But it must nevertheless be understood and observed. Exchanging Parts. — The exercises of this and the second step do not go too high for low voices, or too low for high voices. All kinds of voices can sing both the upper and the lower parts. At these two steps, therefore, as soon as an exercise is sung, and without a moments pause, it should be sung over again, — those who have sung the higher part PIRST STEP. 9 taking the lower, and those who have sung the lower taking the higher. It is obvious that these early exercises are best fitted for those classes in which the voices are all of the same sort, that is, all men's voices, or else all women's and children's voices. If, however, the class is a mixed one, the exercises can well be used, although they will not be so pleasant. It is better in this case to let the voices be mixed for both of theparts ; forvariety,how- ever, ihe teacher may occasionally give the higher part to the ladies, and the lower to the gentlemen. Breathing Places. — It will be soon felt that music naturally divides itself into short portions or phrases. Just before the opening of a phrase is, musically considered, always the best breathing place. The pupil will soon learn to select breath- ing places for Mmself ; but at the present step we have marked the most convenient breathing places by means of a dagger thus f. The endings of lines, however, are not marked, as breath should always be taken there. The pupil who sings on till his ribs collapse and his lungs are empty, and then takes breath, produces a flat tone, and feels uncomfortable. Ex. 38. KEY D. t d d :d n : — d :d s d d : d : n s : s d' :d' d' :d' s : s n : n d d d d d :~ d d d d Ex. 40. KEY F. t d s • n d s s : — d d :d d : d d :d d :d d :d d :d d :d d Ex. 41. KEY D. t Ex. 43. KEY B. t d' t d' • s t n d :- d d :d d :d d :d d :d d :d t Ex. 44. KEY F. Quickly, d : n s : n S n d' d' : s n : s s : n d d :d d :d d : d d d :d d :d d :d d : — Ex. 42. KEY D. QuicMy, t d : n n : s s : d' d' d' : s s : n n :d d :~ d :- • n : n d d si : — PI d : - n d d Hi : ni Hi : Hi S| : S( Hi : — d : s, Hi :d, Hi d, d' SOH ME DOH d : n s : n d : n s : PI d : PI s s : s s : — d « • t d PI d • s PI • s : n d : n s : n d t : PI s : PI d : n d :d d :- PI • d • p? d S| • d St. Co. (New.) iO FIRST STEP. :1 .1 TAATAI Ex, 45. Slowly, — and quickly, 1 :1 .1 11 TAA TAATAI I TAA KEY C. U :n,s|d' : s.n Is, n : s.n Id keyC. Id' :s.n|d : n.s jd'.s : d'.s |n |( II 1 Ex. 46. Slowly, — and quickly. TAA :1 TAA 1 .1 TAATAI :1 TAA |d :n |s.n:d I s.n : s.n| s.n : d || In :d ld.n:s | d.n : s.nj d.n : s || 1 .1 :1 .1 (1 TAATAI TAATAI I TAA -AA KEY G. Id ;s(.d|n ; d.d|n.d ; n.d| s ; — KEY G. Id :s|.S||d : S|.n|d.d : s,.n|d : — 1 .1 :1 ,1 TAATAI TAATAI 1 .1 :1 TAATAI TAA !l II jd' :s (n.s:d» jd'.s: n.s | n.s :d II Id : Si |d.n:d I d.si: d.sil d.n : d || Taatai-ing in Tune. — Laa-ing on one tone helps to form that, abstract idea of a rhythm which is desired. But such an idea is never truly established until the ear can recognize a rhythm as the same, through all the various disguises which different tune-forms put upon it. To learn the abstract, you must recognize it in many concretes, — ^the abstract idea "round" in the concretes — wheel, plate, full moon, penny, «&;c., &c. ; of " crimson " in a shawl, a feather, a flower, a punctured finger, &c., &c. If we saw nothing round but a wheel, we could not form an abstract idea of " roundness." As a help to this distinct conception of rhythm, it is useful to taatai each time exercise on various tune forms. The Teacher 1st, tunes the time-form, solfaa-ing and teaching, by pattern, one of the phrases printed under the time exercises, — 2nd, patterns the same from the Modulator, as before, but taatai-ing, as he points, instead of solfaa-ing. The pupils imitate. The time-names shew them the sameness of the rhythm, while the modulator points them to the difference in tune, — 3rd, causes his pupils to sing the same from the book. Ex. 47. — Taatai in tune, all the tune-forms printed below Ex. 45 and 46, and any others, the Teacher may invent. The following exercises (introducing three-pulse measure without divided pulses, and taatai in two- pulse measure), should now be solfaad by pattern, from the modulator, taataid from the book, solfaad from the book, and laad from the book. Let each "part" be taught separately before the two parts are sung together. d d s n Ex. 48. KEY D. Quickly, — and slowly, : d : d n :d : s ' : s : — : n St. Co, (New.J d' n : d' : d' n d s n : n : s : n :d : s : n s n d d FIRST STEP 15 Ex. 4a d : n KEY D. : s - :d Quickly, — and slowly. d' ; - : - n d' n : s ?d d d n : s : d' n : — : n s : — : — n : — : -- s n : n : s : n d d Ex. 50 KEY G", Slowlyr —and quieldy. f : s, d • :d n :d : n s : — : s n • : si n, • : si d • 'i • • • d n : — : PI d • t :d : n S| :d : n s : — : S( d • :n, • : s, Hi : si : d Hi : — : si n, a SOH HE DOH Ex, 51. KEY G. Slowly, — and qidckly. d : n s : s t d ,n : s .d': s • n : s d' :d' d'.s : d'.s n : — d :d n : n d.d: n .s n • d : n n : n n .n : n .n d : — Ex. 52. KEY Gr. Slowly,— and quieldy. d :pi.d s, t:d PI : d s : n d : S|.d p; ;d s, Hi : pii.pii Hi. Hi: nil S| : d sj : s, Hi : Pii.S] d.d :d s Hi : si : s, d Ex.53.- KEY D. Slowly, — and quicklfy. d .n : n d .n : n t s : s n : — t n . s : s n .s : s t d' : s d' : - d :d d :d d .n : n d : - PI : n n : PI n .s : s n : — MoDtFLATOR YOLUNTAE-IES, A-t every lesson, the pupils will be exercised in following the Teacher's pointing on the modulator, without a pattern. The difficulty of this is, that the pointer cannot shew accent, — but, in cases of diffi- culty, by means of the time names the teacher can expia in any rhythm he wants . The pupils will learn to follow promptly, and to form the habit of holding the tones as long as the pointer stays on a note. St. Co. rNewJ The movements of the pointer are most visible when it passes from note to note with a curve side- ways The Teacher can invent his voluntaries or take them from other Courses. But they should never include greater difficulties than belong to the step which the class has reached. See the " Hints for Voluntaries." These Exercises will prepare for * the next. 12 FIRST STEP. Ear Exercises. The Teacher will now give his pupils short musi- cal phrases, sung to figures, and ask them to tell him to which figure or figures d fell ? — to which m ? — ^to which s ? — to which d' ? — ^to which s, ? He will also give them a key tone and chord, singing immediately to the sharply opening syllable skaa, either d, m, s, d', or S|, and requiring the pupils to tell him what tone he has sung. The answers to these exercises should not come from a few only of the class, but the Teacher will contrive (by subdividing the class or otherwise), that all shall feel the responsibility of thinking and preparing an answer, and all will be interested. See "Hints for Ear Exercises." It is a great advantage when the answers to these ear exercises can be written by the pupil, and afterwards examined and regis- tered by the teacher or his assistants. Pointing from Memory. At the close of each lesson the pupils should take a pride in shewing their teacher how many of the previous exercises they can point and Sol-fa from memory. These Exercises should be registered in favour of each pupil. Musical memory should be cultivated from the first, because it will greatly facilitate the progress of the pupil in' future steps, and wiU be of constant service to him in after life. "Writing Exercises. Notation is best taught by writing, and the thing noted is more quickly and easily practised when the notation is clear and familiar to the mind. Hence the value of writing exercises. For the first step the teacher should bid his pupils draw on slate or paper four (or eight or sixteen) two pulse measures, in the primary (or secondary) form. The teacher may do the same on a black board to shew his pupils what is meant. When the measures are properly drawn out, the teacher will dictate the notes to be written in each pulse, or he will write them on the blackboard for his pupils to copy. These notes he may invent for himself, or copy from other courses, but they must always belong to the same "step." Dictation. Dictation has always been difficult as soon as the time became at all complicated, but the time St, Go. (New.) names give us a means of dictating, by very brief orders, one pulse at a time^ " Rhythm," "Accent," and " Tune," at once. Thus, if we were dictating Ex. 52, we should first say to our pupils "secondary two-pulse measure." "Prepare for 8 measures." "taa lower s„" "taa d,'* "taatai m d," &c., or in Ex. 53 taatai dm," taa m," &c. The Tonic Sol-fa music paper will be found very useful for dictation. By this means a whole class may be permanently supplied with copies of a tune, while in the process of writing they make a thorough acquaintance with the tune, and are thus prepared to sing it. The Sol-fa music paper is so ruled that the copyist can keep his pulses of equal lengths throughout the tune. He can allow one compartment to a pulse, or two. In either case he will not find it necessary to mark with the pen or pencil more than the strong accents. Writing erom Memory. Pupils should also be well practised in writing tunes from memory. Even where it is difficult 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 with closed books from memory, the tunes they have learnt. If every pupil has his number, and writes that number on the right hand upper comer of the exercise, in- stead of his name, assistants can be employed to correct the exercises, and to register a mark for every pulse properly written. Supplementary Exercises. The Teacher naturally desires to see that all the members of his class (except the careless and inat- tentive who have no claim upon him) have mastered the topics of each step before that step is left.^ Some classes require longer practice on one topic, and some on others. For this purpose as well as with the view of gathering all eyes to one point in his elementary explanations, he is recommended to maJre good use of the black board, andthe "Standard Charts," pp. 1 to 5 (Tonic Sol-fa Agency). The "Wall Sheets," No. 1 (for time exercises), and Nos. 7 and 8 (for tune) may also be used as supple- mentary to the exercises of this step. riRST STEP. 13 QUESTIONS FOR WRITTEN OR ORAL EXAMINATION, 1 To what three practices must the pupil give daily attention in order to produce a pure and pleasant tone 1 2 What two habits improve the purity of tone ? 3 What two habits improve the quality of tone 1 4 Which are the forward vowels in the English language 1 5 What three things are promoted by a proper management of the breath ? 6 What mismanagement of the breathing causes flatness of pitch ? 7 What effect on a tone arises from the use of too much breath ? 8 Where should a beginner regularly take breath ? 9 Where should we not take breath ? 10 By the action of which set of muscles should the breath be expended ? 11 What are the two reasons for sing- ing the early voice exercises softly ? 12 Describe the best position for the body in singing — for the head — for the shoulders — for the chest — for the mouth — the lips — the lower jaw — ^the palate — the tongue. 13 Describe the bad effects of any wrong positions of mouth or body, 14 What do we mean by the " pitch " of sounds ? 15 What is your idea of a key tone ? 16 Why is it important to listen well to the pattern ? 17 What is the name for the key tone of a tune, and what is its manual sign ? , 18 What are the names and signs (1) for the tone which is commonly known as the fifth above the key tone, and (2) for that which is known as the third above it ? 19 From what two causes arise the different effects of the related tones Doh, 3Ie, and Soh on the mind ? DOCTEINE. 20 What is the name given to a set of three tones thus related 1 21 WTiat is an octave or replicate, and its sign ? 22 We can teU pupils what tones of the scale to sing, either by pointing on the modulator, or by giving them manual signs. What other way have we of doing so 1 23 What do "Key G," "Key C," " Key A " mean at the beginning of a tune? 24 What are the three common uses of the word " Time," and what distinct name do we give to each of the three things ? 25 How is "Accent" produced? 26 What is the sign for a strong ac- cent, and what for a weak ? 27 What is the name we give to the time which extends between one accent (of either sort) and the next ? 28 What is the time name for a one- pulse tone ? 29 In what cases may pulses be dif- ferent in length one from the other ? 30 In what circumstances are pulses the same in length one with the other ? 31 What is the order of accents in the primary form of ^two-pulse mea- sure ? What in its secondary form ? 32 What is the order of accents in the primary form of three-pulse mea- sure ? What in its secondary form ? 33 Give the time names which re- present a primary two-pulse measure, and a secondary three-pulse measure ? 34 How do you mark a two-pulse tone, and how do you name it ? 35 How do you mark and name a three-pulse tone ? 36 Why is it important, in elemen- tary teaching, to use distinct names for continuations ? 37 What educational principle dis- tinguishes the early steps of any art ? 33 How long should the pupils re- peat the first time exercises 39 What is the difficult thing which the teacher has to maintain in the time exercises ? 40 Why are the pupils at first not to heat time ? 41 How is it that the Sol-fa syllables come to be mnemonics (or memory- helps) of tune, and the time syllables mnemonics of time ? 42 What is the use of Laa-ing ? 43 What is the meaning of a bracket ? 44 What is the meaning of a double bar? 45 What are the best breathing- places when music only is considered ? 46 What is the sign for a pulse equally divided into two-parts ? What is its time name ? 47 What do you mean by taatai-ing ? 48 What is meant by taatai-ing in tune ? 49 How does the practice of taatai- ing help the mind to individualize — to form a distinct conception of— a rhythm ? 50 In the practice of modulator vol- untaries, what two habits must the pupil form ? 51 What difficulties must not be in- cluded in voluntaries ? 52 Describe the two forms in which ear exercises can be presented ? 53 Why should musical memory be cultivated ? 54 What is the best way of teaching notation ? 65 What advantage does the singer get from the practice of writing music ? 56 How would you dictate the air of the first four measures of Ex. 53 ? 57 Hold a steady tone, without taking breath, for five seconds. 58 Sing any two of the exercises 38 to 44, and 48 to 53, chosen by the teacher, to the open syllable Laa, correctly and without hreathiness of tone. 59 Sing to the open syllable Laa^ the Soh to any Boh the teacher gives you. 60 Sing in the same manner the lower 8oh\. 61 Sing in the same manner the upper Doh\ 62 Sing in the same manner the Me. 63 Sing in the same manner the lower i¥e,. St, Go, (New), PEACTICE. 64 Taatai the upper "part" in one of the Exs. 51, 52, or 53, chosen by the teacher. 65 Taatai in tune one of the Exs. 51, 52, or 53, but not the same as in the last requirement, chosen by the teacher. 66 Point on the modulator from inemory any one of the Exs. 46 to 51, chosen by the teacher. 67 Write down from memory an- other of these exercises. 68 From any phrase (belonging to this stage) sxmg to figures, tell your teacher, or write down, which figure was sung to Me. 69 Ditto ;^o^. 70 Ditto Z>o^. 71 Ditto DoW. 72 Ditto -^0^,. 73 Having heard the chord, tell, or write down which tone of the scale was. sung to Skaa. Do this with two dif- ferent tones belonging to this step. 74 JPollow to the teacher's pointing on the modolator in a new voluntary, containing Boh, 3fe, Soh, Boh\ and Soh^. TAA, TAA-AA, and TAATAI. 75 Write from dictation, and after- wards sing a similar exercise. 14 Ex. 54—5 SECOND STEP. To train the voice in purity, beauty, and good accord. To distinguish the mental effects of d, m, s, t and r. To produce them. To distinguish and produce the medium accent and the four-pulse and six-puhe measures,— also the whole-pulse silence, the half -pulse sounds in three pulse measure, and the fourths of a pulse %n their simplest form. To observe the reasons for breathing 'olaces. To commence the study of chords, intervals, dis- cords, and passing tones. tongue properly, and so prepares the mouth for the real Italian aa : the third gives the best form of mouth for the production of a beautiful sound : and the fourth strengthens the voice by vigorous (not forced) action, and favours that downward motion of the larynx on the delivery of short and accented (though not loud) tones which has to be formed into a habit for after, use. The exercise, having been thus six times sung in Key C, the same pro- cess will be repeated in Key D. Tuning Exercises can now be added for the pur- pose of teaching voices singing different parts to study one another, and to chord well together. To some extent this is done in every exercise, but it requires also separate study. The teacher divides his women's and children's voices into three "parts," (1st, 2nd, and 3rd) and causes them first to sol-faa and then to lai and laa, the following exercise. When this is done to the teacher's satisfaction he Voice Tbaining. The teacher calls his pupils into position just as he did at the beginning of every lesson in the first step. Every lesson of the present step should open with the following three exercises. It is exceed- ingly important that the pupils should cultivate jor themselves a good position in singing. It will then become an easy habit. Ex. 54. Chest Exercise, to strengthen the muscles under the lungs and on its sides, and give them control over the slow emission of breath. The same as Ex. 1, except that the breath should be breathed out more slowly, and that a sound may accompany it. Some will now be able to continue the tone while the teacher slowly counts ten, say for ten seconds. The weak-chested must not be discouraged. This exercise daily practised will be life and health to them. - Ex. 55. YocAL Klang Exercise. — The same as Ex. 2, except that instead of using only one tone the pupils will sing the Tonic chord. They will sing, in obedience to the teacher's manual signs d m s di d' s m d. The manual signs enable the teacher to watch the posture of his pupils, and the pupils to watch the commands and intimations of ifche teacher. This exercise will be sung slowly (say at M. 60) and also softly, for the sake of studying beauty in the quality of tone. When in any exer- cise, the teacher feels that he has secured that good quality, he occasionally ventures on a middle force of voice, but always strives to maintain the same good quality. In mixed classes of men and women this exercise will, of course, be sung in octaves, as the voices of men and women are naturally an octave apart. The importance of this simple exer- cise, and the difficulty of obtaining a perfect and pure unison of voices in it are strongly enforced by Fetis (see " Choir and Chorus Singing," page 9). The exercise is 1st, sol-faad once, 2nd, sung once to the forward syllable lai, 3rd, sung th^^ee times to the forward and pleasant Italian syllable laa, and 4th, sung once to the best English syllable for the sharp accented delivery of tones — koo, striking four sharp hoos to each tone. The first step of this pro- cess puts the ear in tune : the second places the St, Co. (New.) utters the word " change ' and those who have sung the first part take the second, the second the third, and the third the first . At the word" change ' ' again the same proce.^sisrepeated. The teacher then divides his men's voices in a similar manner and carries them through the same six-fold exercise. The teacher, in this exercise, watches his pupils — first, to ensure the holding of their books easily, not cramping the chest, as high as possible (so as just to see their conductor over the top) and with- out bending the head, — second, to secure a uniformly clear, so it tone, making a signal to anyone whose voice is so prominent as to stand out from the rest, — and third, to maintain the perfect tuning into each other of all the parts of the chord. The distinct entry of each " part " is meant to assist the percep- tion of "just" or exactly true intonation. ' See -Fetis, page 9. It is not every class that has the thoughtfulness and courage to take this exercise at the beginning of the second step, but it should be attempted. The division of voices is a severe test of independence, and therefore useful. Some sing- ers will never be independent till you compel them to try. For some time the accord of the voices will be very rough and imperfect, but soft singing and listening will amend the fault. SECOND STEP. 15 Ex. 66. 1st. 2iid 3rd. KEYS F and G. [Silent pulse, see p. 18.] s n s : — « n : s s n : — n : n d n : — d : s n d : -~ d :d d • • d : si d Tune. Rental EiFects.— It is of small importance what aames the pupil gives to tlie mental effect of the different tones, but it is all-important that he him- self! (not his teacher, nor his class-mates) should give those names, or if he cannot find a name, that he should at least form for himself a distinct idea of each mental effect. Let him listen carefully, therefore, while his teacher sings to the class such " exercises for ascertaining the mental effect " as those below, {a) The teacher first sings the exer- cise to consecutive figures, telling his pupils that he is about to introduce a new tone (that is, one not d m or s) and asking them to tell him on which figure it falls, {d) When they have distinguished the new tone, he sings the exercise again — ^laa-ing it — and asks them to tell him how that tone " makes them feel." Those who can describe the feeling hold up their hands, and the teacher asks one for the description. But others, who are not satisfied with words, may also perceive and feel. The teacher can tell by their eyes whether they have done so. He multiplies examples (like those in "Studies," &c., which he may point on the modulator) until all the class have their attention fully awakened to the effect of the new tone, {e) This done he tells his pupils the Sol-fa name and the manual sign for the new tone, and guides them by the signs to Sol-fa the exercise, and themselves produce the proper effect. The signs are better, in this case, than the modulator or the notation, because with them the teacher can best command the attention of every eye, and ear, and voice, and at the first introduction of a tone, attention should be acute. The manual sign for ray is the upturned hand, open, and shewing the palm ; that for te is the upturned hand, pointing with the forefinger. Ex. 67. KEY B!7. Effect of Eay, high in pitch. |d :si In :d |r |d : — II' Ex. 68. KEY Bi?. Ditto. : S| id : — : n I r : — : S( |d : — || Ex. 69. KEY F. Effect of Bay, low in pitch. : si Id : n : d |r : — : n |d - — || Ex. 60. KEY D. Ditto. Id :s In :d |r :-— In || Ex. 61. KEY D. Effect of Te, high in pitch. Id :n Is :t It i— |d' || Ex. 62. KEY D. Ditto. Id :n Is :t It : s id' || Ex. 63. KEY F. Effect of Te, low in pitch. Id :s |n : ti |ti (d : — |/ Ex. 64. KEY F. Ditto. : si Id : n |s : — 1 1, : — |d || Collective Reading. — The following exercises 65 to Ring -ing n'.di:d' merri-ly, Ex. 68. KEY E. d' :d'.d' Grone is the n : n .n Sweet sleep & plea - sant t : t hour of r : r "GONE IS THE HOTJIl OP SONG." Eound for four parts. d' : - song, n : n dreams, Good d : - night, s : s .s Now let us d : d .d Once more to all, good s : s say to Si ! Si s : t loud and S all, d : night ! S good D.O. d» clear. J". G. n : night. D.O. Ex. 69. KfiY G. :d 1. Sow I2. The :d 3. Thou 4. Thence, "SOW IN THE MORN THY SEED." A. Z, 0. Words by James Montgomery. - : s, To O'er Shall' The n : n n : r d : — - :t, r : n r : d in the mom f thy seed, At eve fhold not thy hand ; good t the fruit - ful ground. Ex- pect notf here nor there ; d :d S| : S| Pli : — t, : d si : n, Si : — canst not toilf in vain : Cold, heat,t and moist and dry, when the glo - rious end, — The 1 day of God t is come. d :d doubt and hill and Hi : Hi fos - terf an - gel t( : d fearf give dale,t by Si : Pli and ma - reap - ers f r : n thou no plots, 'tis S| : d ture the shall de • r : s heed, Broad found Go t| : S( grain, For scend, And s : n -cast it t forth, then, f n : d gar - nersf heav'n cry f o'er the ev - 'ry d : t| in the " Har-vest d : - land, where. d : - sky. home." Ex. 70. KEY B. «PRET NOT THYSELE." JS. jP. S| : Hi : Si d ••ti :d n : r :d d : - : — t, : r Fret not thy. self t tho' thy way be fall drear A ' n, : d, : n. : r. : pii d, : r, : n, si : — : — S( : — : t( n : d : n r :ti .: r d : n : r r : — : — d : - bright-er to - mor - row fis dawn -ing fto cheer thee. d :d :d t, : t, : t, d : S| : s, S( \ — \ — d : — 8t Co, (New,) Cease thy complaining — f thy thoughtless f repining; The clouds may be black, f but the sun is still f shining. Though thou art hemm'd in f by mountains f of sorrow, Stand still — f a broad path f may be open'd f to-morrow. 18 SECOin) STEP. Time. The Medium Accent. — Pupils will easily be brouglit by examples and illustrations to notice that in addition to the strong and weak accent, there is also a medium accent to many tunes. The intro- duction of the medium accent makes two two-pulse measures into a four-pulse measure, and two three- pulse measures into a six-pulse measure. This mark I is used for the medium accent. It wiU be noticed that several of the exercises already sung, require (when not sung slowly) this medium accent, in place of every alternate strong accent. Let the pupils try Ex. 65 and 69, singing them quickly and lightly. They will soon perceive the natural necessity for a medium accent. The teacher, however, must not expect too great a nicety of distinction at first. The finer points, both of time and tune, require much practice. four-pulse Measure. — When the accents of a tune are arranged in the order strong, weah, MEDIUM, weak (as in the words *'mommTAry," " plan^TA^-y"), and so on, it is said to be in the four- pulse measure. The pupils will taatai on one tone, as below, while the teacher beats, first slowly, then quickly. Note.— When the pupil has learnt to hold his tones to their full length, and where nearly all the pulses are undivided, it will be sufficient to call a pulse taa, omitting the ai. A primary four-pulse measure. 1 :1 |1 TAA TAA TAA :1 TAA :1 A secondary form. TAA I TAA :1 TAA 11 TAA Six-pulse Measure. — "When the accents of a tune are arranged in the order strong, weah, weak^ MEDIUM, weak^ weak (as in the words * * spire tuKLity,"*^ A primary six-pulse measure. 1 :1 :1 |1 :1 TAA TAA TAA TAA TAA :1 A secondary form. TAA 1 :1 TAA TAA :1 TAA |1 TAA :I TAA :1 TAA Silent Pulse. — ^It is more difficult for pupils to appreciate time in silences than in sounds. There- fore iihe silent pulse was not introduced in the first step. The name for a silent pulse is SAA. In taatai-ing, after the first time of going througli an exercise, or as soon as the rhythm is perfectly learnt, the silence- syllables should be less and less heard. M. Paris nses only the one word " Hush " for all the silences. In dictation, as well as for the purpose of first marking and measuring them dis- tinctly to the mind, we find the advantage of a separate name for each silence corresponding with St, Co. (New.) Another form. :i 11 TAA TAA Another form. |1 :1 TAA TAA :1 TAA 1 TAA 1 TAA :I TAA * * imww ^«BiL iti/^^)f and so on, it is said to be in six- pulse measure. The pupils will taatai on one tone, as below, while the teacher beats slowly. Another form. :1 |1 :1 TAA TAA TAA Another form. |1 :1 :1 TAA TAA TAA :1 TAA II TAA I TAA :1 TAA :1 TAA :1 TAA the names we use for sound. Silences are denoted in the Tonic Sol-fa notation, by the simple absence of any name for sound. Even if an accent mark is placed at the end of a line, a silent pulse is sup- posed to follow it. Pulse and a half Tones are very common and easily learnt. They are named and written as be- low. Quarter Pulse Tones are more easily learnt when the pulse is divided into four distinct quarters; than when it is divided into a half and two quarters- — two quarters and a half — or a three-quarter tone SECOND STEP. 19 and a quarter tone. Therefore the *' four quarters ' ' are introduced in this early step. They are thus named, tafatefe [a is the short vowel for aa, and e is the short vowel for ai.'] Thus the vowels still divide the pulse as hefore. If the time-names are to become aids to the memory, we must again repeat that even in speaking both teachers and pupils should form the careful habit of uttering them in their proper time. Thus, taa should be as long as taatai, and " tafatefe " should occupy no more time than either ; neither taa nor tai should have longer utterance one than the other ; and tafatefe should form foui exactly equal lengths. In the Tonic Sol-fa nota- tion a comma divides a half pulse into quarters. Let the Exercises 71 to 75 be {a) taught by pattern and repeated, see page 7. The exercise may be divided into two patterns if necessary. It should be sung at at least two distinct rates, {b) Alter- nated, see p. 7. (e) Laad, see p. 8. (d) Taataid in tune, see p. 10. Ex. 71. ^ I taa 8AA keyG. I d : Id KEY F. I s : Is KEY A, I d : i r 11 : I taa 8AA Id :d.r|n :d || Is :n.rld :n || In :ti.r Id : Sj || 1 : 1 .1 TAA TAATAI KEY A. I si : I KEY r. I s : I R KEY F. I n : Is 1 : 1 TAA TAA Id :s(.t(|d :r |i |r :t(.d|r :n || In :r.t(|r :d || Ex. 72. 1 1 TAA TAA KEY G. I d :si I keyF. |n :d I KEY G. I r :s I 8AA : 1 .1 TAATAI 1 TAA :d.r |n ; r .dis :r .tilSj -.d|t|.d:r || -.n|r.d:t, 1| -.tj|d.r:n || KEY B. I d KEY F. I n KEY F. I n : - .1 -AATAI t| r d Ex. 73. 1 : - a : 1 .1 1.1:1 TAA -AATAI TAATAI TAATAI TAA 8AA 11 .1 : 1 I TAATAI TAA :r .d I S| :-.di n.r : d j, :d.n|s :-.t(|r.d:d || :s.n|n :-.r|n.s : s 1 1.1:1 TAATAI TAA : 1 TAA KEY G. Id : - .ti : d .r 1 n .r : d KEY F. Id : - .r : n.s I t|.r : d KEY A In : -.r : d.tilr .d : d 8t, Co, (New.J n.r '. d : S| |{ I t|.r : d : S( || |r.d:vi : d jl KEY A. id : - .s : n,d|S|.ti: r KEY A. In : - .d : t|.d |n,r : n KEY G. I Si : - .ti: r .tjj d.n : n |s,.ti: r : ti \\ d.ti: d : S( II n.s : cs :n |l 20 SECOND STEl*. Ex. 74. 1 1 TAA TAA 1,1.1,1 : 1 .1 tafatefe taatai KEY G. s. Si 1.1 : 1 TAATAI TAA 1,1.1,1 : 1 .1 tafatefe taatai Si .n : d 1.1 : 1 .1 taatai TAATAI 1,1.1,1 : 1 .1 tafatefe taatai si .n : d .1 S|,S|.S| ,S( : Si KEY G. .t ti ,t,.ti ,ti : ti .r Id ,d .d ,d : d .n 1.1 : 1 TAATAI TAA 1.1 : 1 TAATAI TAA |S| .n :d r .t( : S| ! S : s s .n : d s .n : d .n Is .n : d S * S f S • S Ex. 75. 1 : 1 n ,n .n ,n : n .d r ,r .r ,r : r .ti Id .n : s TAA 1 TAA KEY .1 TAATAI : 1,1.1,1 tafatefe 1 TAA 1 .1 TAATAI : 1 TAA : 1 TAA 1.1 : 1 .1 TAATAI TAATAI 1,1.1,1 : 1,1.1,1 tafatefe tafatefe 1 : 1 TAA 1 .1 TAATAI TAA 1 TAA G. I d : m .d I m KEY E. Id :t,.r|d : d I r .t,: r .t, j r I d :m ,r.d,r | in .d : d | r ,d.t„d :r,d.t|,d j r .t, : s, m 1 1, .r : d ro I r : s ( d U»d.r,t,td .m; m j t„d.r,t,:d,r.ni ,d j r .s : s 0 Tune. The Two Principal Chords. — As the tones d m and s, sung together form a chord, so do the tones s t and r ' . The first we call the chord of Dohj the second the chord of Soh. We always write chord -names in capital letters, D, S. These two chords considered separately and in themselves, are exactly alike. Their tones are precisely at the same distances of pitch one from the other, and if the chord S, or the successive tones s t r' were heard without the sound of any previous chord of D, or succession of d m s, they w*6uld produce precisely the same effect upon the mind. But as soon as we place two such chords at a certain interval one from the other we establish a new set of relations, and so enrich the jnental effect. It is no longer one chord and its St, Co. CNew.J interval relations which the ear perceives, but two chords and their relations to each other, — so strong and rapid is the power of mental association. That chord, in ia tune, which is the first to occupy the ear, rules the chords which follow. Thus in Exercises 57 to 64 we were careful to " establish the key " by making d m s heard before we could make the mental effects of t and r felt. This relation between D and S, that is between any chord and that other which starts from its own highest tone, is a peculiar and very important one. It is called the relation between Tonic (D) and Dominant (S). It is the chief element in key -relationship. These two chords alone are sufficient to make music. Many a single page of brilliant classic music con- sists of the chords D and S. Ex. 76. SECOND STEP. 21 Thirds, Sixths, and Tenths. — ^Most classes and all self-teaching pupils will be glad to study the harmony (or the sounding together of tones) as they sing, and they will sing the better for doing so. Intervals or^ distances between tones, are generally counted step -wise on the scale — always including the two extremes. Thus the distances between d and r or m and f are called a second, those between d and m or r and f are called a third, and so on. By counting, in this way, on the modulator, it will be seen that from d to the m next above is a thirds — from d to the m next below (m|) is an inverted third, or a sixths — and from d to the higher octave of its m, above (m') is a tenth. So also from 1| to d is a third (a minor or, lesser third) from 1 to d is a sixth, and from 1| to d' i^ a tenth. What are the intervals between m and s ? — m and S| ? — m and si ? These intervals (which are the third in various positions) form the sweetness of all harmony, and are therefore, abundantly used. In Exercise 69 find twelve thirds and six sixths. In Exercise 80 find a sixth followed by a tenth. Octaves and Unisons. — ^Exercise 69hasits first tone and its last, in both parts, the same fthsit is in identical unison. At the beginning of the last line of words it has an octave between the parts. These unisons and octaves do not give the true feeling of harmony, — ^that is, separateness with agreement, and they are seldom used on a strong pulse where they would be much noticed, but they are useful ni the flow of the harmony — allowing the parts to pass through them to something sweeter or stronger, or bringing them to a close on the key tone. Two such inter- vals, one following the other, would make the harmony disappear.- Therefore, such a succession is, as the pupil will notice, carefully avoided. In speaking of unison above, we have referred to absolute unison, but the word unison is also commonly used to indicate the singing of the same tones, by male and female voices, an octave apart, as in our " Vocal Klang Exercises." Eifths and Fourths. — ^In Exercise 69 there are two fifths (s, to r in both cases) and in Exercise 70 there is a fourth s, to d. The two tones of a fifth agree with one another more perfectly than those of any other interval except the octave, but they have not the sweetness of the thirds. Their agreement is somewhat hard and cold, though strong and sure. They are, therefore, not very much used in two- part harmony, and tivo of them in succession are the dread of all composers. Fourths are the inver- sions of fifths (as sixths are of thirds) but are very much less acceptable to the ear. They have neither the perfect agreement of the fifths, nor the sweet agreement of the thirds, and are much avoided in two-part harmony ; even bald unisons and octaves being prefered to them. Where used they are found on a weak (and therefore, less observed) pulse or on a strong pulse in places where they suggest to the mind certaru familiar habits of chords to be hereafter explained. Discords. — Octaves, fifths, fourths, and thirds are concords. Seconds, as f against s, or d against r, whether close together or separated by octaves (that is, whether seconds, or sevenths, or ninths) are discords. They sound harshly together. But a Discord may be so sweetly introduced, and so pleasantly brought to a close, and the "part" which contains it may move so smoothly that it is made agreeable. This is because the ear naturally notices the motion of the two melodies as well as the actual consonance or dissonance of the moment. Thus, in Exercise 69, we have, on the fifth pulse counting from the last, or the fifth-last pulse, d dissonating against r, but it is so "prepared" by its own previous "sweet" consonance witu m, and so smoothly "resolved" by going down step- wise to t„ and there satisfying the ear with another sweet consonance, that it cannot be called unpleasant. It is only unpleasant when singers are afraid of it, and so put themselves out of tune. Hence the advantage of knowing what you sing. Find a similar discord at the close of Exercise 78. A note undergoes preparation when it is heard in a previous chord as a consonance ; it undergoes resolution when (being a discord) it moves down one step. Passing Tones. —As we have observed that the weak pulse is less noticed by the ear than the strong pulse, so is the second or weak part of a pulse less noticed than the first part. Therefore, things may be allowed there which the ear objects to else- where. Thus in Exercise 79, second score, third measure, second pulse, we find an apology for the dissonant r, because it is on the weak part of a pulse, and because it moves smoothly step-wise from one tone of the scale to the next. Find other ex- amples of the same part-pulse passing tone " in the same Exercise 79 Ex. 76. — Name, pulse by pulse, the harmonic intervals of Exercises 69, 70, 77, 78, 79, and 80. ;S'^. Co. (New,) 22 SECOND STEP, Let the Exercises which follow, be taught with the same' process of Pattern from the Modulator, first one part and then the other — taatai-ing in tune «very difficult rhythm— Sol-faa-ing from the book — laa-ing from the book — collective reading of words — study of breathing places — and singing to words, as before. Before each exercise, when the key-tone is pitched, let the pupils sol-faa by the manual signs the two chords, thus — d m s, s t rl d', or in middle keys d S| m, S| t| r d. When Si Ex. 77. d lands n, d ' When 'I KEY A. - .d|n : r are gone f and -.nils, : S, WHEN LANDS ARE GONE. I r and - .r lands are r gone n mon d mon- d - ey's spent. Then d Iti : ti - .n |n : s ey's spent. Then : PI Then 2 In youth f the time we thus employ. Is counted as f the richest joy. n learn d - .n I s - ingis -.d|t, s leam ti learn - inof -mg d is S, is r fmost t, - .r fmost - .s, n ex d n ex S| ex i?. p. : r Id - ccl - lent,! : si I Hi :r Id - eel - lent. : s, Id - eel - lent. fmost 3 When little else f old age can cheer, These harvests are f most rich and rare. 11. A 12. Hard 3. Con ; S| d : S| hale old work - er, tent - ed d : S| Ex. 78. KBT B|7. M. 72. Hi : d| man f is too, f is soul f is P1( : d| FARMER JOHN. Si Si S| Far - mer John, A Far - mer John, He Far - mer John,Light- Si Si Si S( t| : t| Id :d t| hap - py man is he; la - hours ev - 'ry day, heart -ed, gay, and free; S| : Si I Hi : d| S| A. L, 0. S| He And In S| d : Si I rii : d| ris - es, f with the as he ploughs, for win - ter cold, f or d : St I pii : d| S| : s, I St : Si lark f at mom,And sows the seed, He sum - mer bright,He Sj : S| I S| : S| n sings right mer - ri ■ sings his cheer-ful whis- ties mer - ri - d| : d 1 1| : Sj ly. lay. ly. d Sj ,St.S| ,S| : Sj .t| Tralala la la, la, S| )S| . Si : St • n .n : r la la la .d :ti Ir la, It, ,r |n ,n .n ,n : r .r la, f Tralala la la, Tra ,ti Id ,d .d ^d:: ti .s* S| ,S|.S| ,S|: S|' .d I n Tralala la, la, la, la, Sj ,S|,S| ,s,: S| .Hi I d, d .d :d .ti la la la la la. Hi .n, :r, .ri |di Tra .Sj 8U Co. /MewJ. SECOND STEP. 2iS THE DAISY. Ex. 79. KEY F. M. 76. Words by Fletcher, s .s : s : n 1. Little flow'r with. 2. Basking in the n .n : n : d 3. Thee no wind nor 4. Type of truth, and n .r : r starry brow, gladsome beam d .t : t| storm can tear, emblem fair, d .d : d : n Slumb'ring in thy Or, be- side some d .d : d : d From thy love - ly Virtue strug - gling r .r : r : bed of snow ; murmuring stream, S| tSf \ t| \ mountain lair ; through despair, s .s : s : n n .r : r : d .d : d .r : n .r d : Or mth light - Gently bow - n .n : n mg :d tmged ray, from thy nest, d .ti : ti : Winter gone & storms a- Grreet the water's sil- ver d .d : d .d : d .ti way. breast. d : Nor the slee - Close may sor - ty, rows • • sweeping ram, hem it round. Root thee irom thy native Troubles bend it to the plain, ground ; r .r : r : n r .d : ti : d .r : n : s n .d : r i Peeping from Or mid fis - t| tti \ t| thy sure :d couch of green, of the rock, S| • S# .Si * With thy mod - est Hidden from the d .d : d : n simple mien, tempest's shock, d .d : t, : "Winter's cold, Yet the soul nor with - summer's heat, in is calm, Blights thee in thy Dreads no an - guish. snug re-treat ; fears no harm; s .s : s : n n .r : r : d .d : d .r : n .r d : - : How I love Vie with snow n .n : n to - y :d see thee lie, li - ly's bell,— d .ti 1 t| \ In thy low se - re -ni- Q,ueen and fai- ry of the d .d : d .d : d .t, ty. deU. d : — : Chill' d by snow Conscious that or its scorch' d by flame, head may rise. Thou for ev-er art the Planted 'neath congenial same, skies. May, May, May, n : PI : r : n Ex. 80. KEY D. M. 60, twice. n : — : — 1. Come, 2. Come, 3. Come, d COME, GENTLE MAY. gen flow' love d — Id :t, Co. (New.) tie ry ly :d d9 • • May, Mav, May, n : — : — n s s s Win-ter, cold win - ter f has Chil-dren are long - ing f for Deck with thy beau - ty t each d : ti : t< Id : n : n d' : — A. It :r' X. G. : t Come, Come, Come, n : — gen - flow' - love : — r : ti tie ly : r d' : n Is : — • ling - ver wav n : — er'd long dant fields, ing bough, :d Iti : — • 24 SECOND STEP. t Id' : — s Now let thy balm - yf Deck'd with thy flow'rs f so Bring ns the haw - thorn' sf n : — n breez; bright whit n : - : n es play ; and gay, en'd spray ; : d 1 1( : - n s Fill all Longing Beau-ti - d : ti n s the woodsf with the for plea-sure f thy fui May-time,twhy d' : birds' pres ling n : : n Is : — : — sweet song : ence yields; 'rest thou?' : d I ti : — : — n — n : r Come, Come, Come, d : — Beating twice to the measure. — ^Let Ex. 80 be patiently taataid, while the teacher beats every pulse, never pausing and never hurrying. Only thus can the exact lengths of sound and sUence be appreciated. But when six-pulse measure moves more quickly than this should do, each pulse is regarded by the ear as a third of a pulse, and the whole measure as a two -pulse measure with ample use bf *' thirds." In this case the conductor beats only twice in a measure. Modulator Voluntaries are used at every lesson. Ear Exercises, like those in Hints for Ear Exercises," and if possible, ear exercises in which the pupil writes the answer, will also be as con- stant as the lesson hour. If the teacherfinds that. the pupils do not discover which is r easily, he does not either tell them or let them guess, but he reminds them again of the mental effect of r, and illustrates over again the high rousing r and the low prayerful r, and then again tests them. After the Sol-fa prelude, the pupils must be very careful to note to which tone figure one falls. They do not possess a sufficient clue unless they catch the first note. The teacher should be very careful to make his own pattern clear. One way in which a teacher keeps all his class at work is to cause all that can answer to hold up their hands, and then to select those whose answers he wishes. Another way is to give the proper answer and ask all who were right to hold up hands. In time ear exercises the teacher 1st taatais with accent two plain measures, then continuously laas a rhythm of two measures on one tone, which he requires his pupils to write or taatai. 2nd, he 50^- faas a short rhythm, and requires his pupils to taatai it in tune. Many of the old exercises and some of the Hints for Ear Exercises" will give him ready materials. St. Co. (New.) gen flow' lov d" :t n tie d May. May. May. n : — Dictation. — Notation, and with it, clear percep- tion, will be cultivated by Dictation Exercises. The second part of Ex. 77, second score (or line), fifth measure (always counting the first part of a mea- sure as one) would be dictated thus: — **taa lower t, " "-AA-TAir" '^TAAr" SAA'' ''SAAy &c. J^x. 78, third score, first measure, would be dictated thus: — **tafatefe lower S| S| S| S| " "taatai lower s, lower " " TAA -AA r.*' Pointing from Memory and Writing from Memory will still be practised diligently, as recom- mended at page 12. The teacher who can appoint half an hour before or after the regular class meetiQg for memory pointing, memory writing, and dictation exercises finds the interest of his class and ihe accuracy of its knowledge ten folded. At the close of every lesson, one or two of the exercises should be chosen for the memory exercises of the next meeting. The pupil should copy that exercise six or ten times from the book, until he finds by testing himself that he can write it from memory. In the presence of the teacher, even at first, ten minutes is sufficient for writing from memory on clear paper without book. Meantime the teacher may walk about his class to give advice or information In less than five minutes the quickest have their exer- cisesready. The teacher glances overthem andmarks them as suggested at page 12, and the secretary credits the marks in favour of each pupil, in the class book. The teacher can make remarks on the common errors, or shew them on the black board. Elementary Certificate. — Pupils now begin to make up their list of six tunes for the Elementary Certificate. See Preface. Supplementary Exehcises for this step may be found in Wall Sheets SECOND STEP. 25 FOB. WRITTEN OR ORAL EXAMINATION, DOCTEINE. 13 In choosing breathing'-places, what consideration is more important than that of the natural division of the mu- sical line or section into phrases ? 14 Give an example (different from those referred to above) in which "breathing for sense" would contradict the "breathing for phrase." 15 Give an illustration of "breathing for emphasis." 16 Describe the "musical form" called a Eound. 17 What is the chief difficulty in sing- ing a Round ? 18 Describe the Four-pulse Mea- sure. 19 Describe the Six-pulse Measure. 20 What sign is used for the medium accent ? 21 What is the time name for a si'ent pulse ? 22 What is the name for a tone a pulse-and-a-half long ? 23 How do we name that quarter of a pulse which occurs at the end of the first half? — that, at the end of the second half ?— that, at the beginning of the first half? — that, at the beginning of the second half ? 24 How would you dictate the last three measures of Ex 79. 25 When tones related to one another as DoTi^ Me, and Soh are, or as Soh^, Te^, and Rai/ are, are sung together or in succession, what is such a combination called I 26 When one such chord has been first heard and has pre-occupied the ear, if another such chord starts from the highest tone of the first what can you say of the relationship between them ? 27 Name or write a third, — a sixth, — a tenth. 28 How are sixths related to thirds ? How are tenths related to thirds ? 29 What is the quality in these inter- vals which makes them so much used in Harmony. 30 What is the difference between a common unison and an identical imi- son? 31 Where are octaves and identical unisons useful in two-part harmony ? 32 What effect on the harmony would consecutive octaves and unisons produce ? 33 Name or write two fifths, and two fourths. 34 How are fourths related to fifths ? 35 Of fifths, fourth, and thirds, which contain the nearest or most perfect agreement of vibrations? Which the sweetest ? 36 In what case are fifths avoided by composers ? 37 Why are they not very much used in two-part harmony ? 38 How are fourths regarded in rela- tion to harmony ? 39 Name or write four different sorts of Concords. 40 Name or write several Discords. 41 Describe how the Discords youhave heard are prepared and resolved. 42 Describe the passing tones you have noticed on the weak part of a pulse. QUESTIONS 1 Is the watchfulness of a Class- teacher suffic ent to form in his pupils habits of position, &c. ? Who must form (:hem ? 2 What is the obj£ct of the " Chest Exercises?" *3 In the "Vocal Klang Exercises" what are the chief points of the pupil's study ? 4 Describe the four steps of this ex- ercise and the reasons for each ? 5 What is the special purpose of the "Tuning Exercises," and what are the three points to which the teacher Vfill give attention during these exercises ? 6 When the tonic chord is established in the ear, what do you yourself feel to be the mental effect of a high Bap when sung somewhat slowly ? Describe the effect in your ovra words, as nearly as you can describe it, but be careful to describe only your own perceptions not those of others. 7 In the same way, describe the effect of a low 2^ ay. 8 What mental impression do you rec'eive from a high Te 1 9 What feeling is produced by a low Te ? 10 How do you distinguish vowels and consonants? 11 What kind of persons are com- monly lazy in their use of lip and tongue, and consequently indefinite in their vowels and consonants ? 12 Why is the clear and marked de- livery of vowels so important to the singer ? 43 Hold a steady tone without taking breath for ten seconds. 44 Sing Doh, Me, Soh, JDoh\ Doh}, Soh, Me. Doh, in Keys D or C, to the " for- ward" Italian Laa, as softly and as pleasantly as you can. 45 Sol-fa any example you please shewing the Mental Effect of high Ray\ — of low Ray, — of high Te,— of low Te. 46 Sing to words the upper part of any one of the Exs, 65 to 70, chosen by the examiner. Sing correctly as to Time Tune and Pronunciation, without breathiness of tone and with proper breathing places. Marks should be given for each of these four points. 47 Ditt,o with Ex. 77 to 80. 4:6 Sing to Laa the Bay and the Te\ to any Doh the teacher gives. 49 Sing to Laa the Bay^ and the Te to PRACTICE. any Doh the teacher gives you. 60 Taatai from memory any one of the Exs. 71 to 75, chosen by the ex- aminer. 51 Taatai the upper part of one of the Exs. 77 or 78, chosen by the teacher. 52 Taatai-in-tune the upper part of one of the Exs. 79 or 80, chosen by the examiner. 53 Point on the modulator from mem- ory (sol-faaing) any one of the follow- ing four Exs. 65, 66, 67, 69, chosen by the examiner. 54 EoUow the examiner's pointing in anew " voluntary," containing Doh, Me, Soh, Te and Bay, but no difficulties of time. 65 Write, from memory, any other of these exercises chosen by the examiner. 56 From any phrase (belonging to this stage) sung to figures, tell your ex- aminer (or write down) which figure was sung to R'^y, — to Bay\ — ^to Te^, — to Te. 57 Having heard the tonic chord, tell your examiner (or vsrite down) which tone of the scale [Doh, Me, Soh, Te or ^a^) was immediately sung to s^aa. Do this with two different tones. 58 Taatai any Rhythm of at least two measures belonging to this step which the examiner shall laa to you. He will first give you the measure and the rate of movement by taatai-ing two plain measures and marking the accents without beating time, but the two measures you have to copy he will sim- ply laa on one tone. 59 Taatai-in-tune any Rhythm of at least two measures, belonging to this step, which, after giving the measurf and rate as above, the examiner njiay, sol-faa to you. St. Co. (New.) o 26 Ex. 81 3 THIRD STEP. To execute more difficult Ghest^ Klang and Tuning Exercises. To recognize the a and b positions^ and the various constitutions of Chords, — the resolution of the " Major Dominant,^' — and the dissonance d against r in S. To recognize and produce the Fourth and Sixth of the Scale. To observe the relation of speed of movement to mental effect. To recognize the different sorts of voices. To recognize and produce one tone in absolute pitch and one rate of movement. To pitch tunes. To select breathing plapes. To gain first ideas of Expression. To be- come conscious of the great break from the thick or first to the thin or second register. To strengthen in men the thin or second register. To recognize and produce half -pulse silences^ various divisions of sound produced by combinations of quarter -pulse and syncopations. To study the elements of Ghanting. To recognize the partial dissonance t f, and the unprepared dissonance f against a. To recognize the relative motion of two parts. Ex. 81. Chest Exercise. The same as Ex. 54, except that 15 seconds may now be expected from all instead of ten. If the teacher is not quite sure of being able to count M. 60, he will use at least a string metronome. Ex. 82. Vocal Klang Exercise. To be used with Manual Signs and with the same processes as Ex. 55. After exercising in each key, let the teacher test the pitch. There should be no flatten- ing in these chordal exercises. KEY C, B and D. Vocal Klang Exercise. n s n : t :r' s Ex. 83. Tuning Exercise. To be used with the same processes as Ex. 56, taking care to secure a soft tone, each part listening for the others and learning to enjoy the perfect blending of the voices. Ex. 85 and 86 to be used in the same way, without words. KEY D. Tuning Exercise for three "equal" voices. r' ; Is :d' n Is : n d : — in :d t s s si : — Is ! t di !- 1- ;- Is : r n :- 1- :- Itl : si d :- 1- :- Positions of Chords. — In connexion with the tuning exercises, a study of the "positions" and constitutions " of chords will promote thoughtful, and therefore sure siaging. Only the more intelli- gent classes, or the more intelHgent members of classes will be expected to pursue this study. When the tones of a chord stand one above the other as closely as possible (as D when it stands in the order d, m, s coimting upwards, — or S when it stands in the order s, t, r) they are said to be in their normal position, the lowest tone being called the Hoot, the middle tone its Third, and the highest its Fifth. In Ex. 56, measures 3 and 8 D is in its " normal " position. In Ex. 83, measure 3, pulses 1 and 2 S is in its normal position. Let the pupils listen to them afresh, and feel their strength. In Ex. St. Co. {mw.) 83, measure 3, pulse 4, S has its root in the lowest part, but is not in its normal position. When the root is in the lowest part the chord, even if not in its close normal form, the chord is in the a position. When the third is in the lowest part, the chord is in its b position See Tib in Ex. 85, measure 2, pulse 1, and S5 in Ex. 83, measure 3, pulse 3. Let the pupils listen to them afresh and mark their compara- tive weakness. When the fifth is in the lowest part, the chord is in its c position. This will be illustrated at the next step. The a position is best and mo-^t used. The b position is much used to make the melody of the lowest part smoother or more pleasant. The c position is only used iu special cases, to be afterwards noted, but chiefly in the close of a section, as in Ex. 85. Ex. 84—6. THIRD STEP 27 Oonstitution of Chords. — One or more of the constituent parts of a chord may be omitted or doubled. In Ex. 56, measures 3 and 8 D is com- plete. Completeness we mark (when we wish to mark constitutions) by a figure 1, thus D^»l. See in Ex. 83, measure 3, pulses 1, 2, and 4. The root (the most important tone of the chord) is often and freely doubled. The trebling of the root (not uncommon in four-part harmony) is marked by 2. In Ex. 56 measure 7, pulse 2, the root is trebled, — indeed, the ehord has to be supposed. If, however, a third or fifth were added to this trebled root we should call it the chord ^a2. The third, the source of sweetness, is rarely omitted. Its omission would be indicated by 3. The third is doubled frequently in Da^ Dc, Fa;, and F< ; but in Db and where the third is already made prominent by being in the lowest part, its doubling (too much sweetness) is avoided (See Minor Chords, page 46) except for the sake of better melody in the parts ; and in S the third cannot be doubled because its t always goes to d' of the next chord, and we should then have the bald efifect of two t's going to two dl's — consecutive octaves. See page 21. The doubled third is marked by 4. It is quite common to omit the fifth. Being so like the root, its presence or absence is less noticed than that of the third. Its omnsion is marked 5, its doubling 6. See Da5 in Ex. 56, measures 4 and 7, and Ex. 83, measures 1 and 4. See S«5 in Ex. 83, measure 2, and S55 in Ex. 85. KEY 0. Tuning Exercise, as above. Ex. 86. key G-. Tuning Exercise, as above measure 3. Omitted roots — omitted foundations — are marked om, but we only interpret a chord as having its root omitted when the habits of the ear make it absolutely necessary for us to think of the absent root in such a place. See Ex. 83, measure 1. Prosfression of S. — Notice that S seldom moves to any other chord than D, its t going to d', its r to m or d, and its s to d or s or more rarely to m. See the close of Ex. 83, and Exs. 85 and 86. Thus these two chords, which are in their own internal structure the same, acknowledge a relationship to one another. S provt s itself the clinging depen^ dent on D. But, like other dependents, it is said to dominate — that is to rule the key, — and is called the Dominant. In fact, its clear declaration of allegiance to D decides the key. Wherever, in the region of pitch, two such chords thus cling together there is a key. Let the -pupils listen afresh to the softly laad close of Ex. 83. The Chord Four Soh. — Notice, at the close of Ex. 86, the dissonance d against r occurring in the chord of S, the third of the chord being omitted to make room for it. It would be counted as a fourth in this chord. "We call the chord " Four Soh," and write it thus ^S. In this case the posi- tion is a and the constitution 3. Ex. 84. Name, pulse by pulse, the chords, with their positions and constitutions, of Ex. 85 and 86. Thus Dad, Sal, &c. d' d' :d' t : - t d' :d' d' : t d':- n n : r n : - n r :d r ; r n :- n s : n s : - s s : n n : r n :- d d :t, d ;- d ti : d d: t, di- d n :d s : - s n :d s, : si d :- d d : Si d : - d S| : n, s,: S| d:- TFords to Hic. 85 to 'From ail-that dwell-be | low the skies — Let the-Cre | a tor's praise a rise — Let the-Re deem er's | name be sung — Through every | land by ev' ry tongue — Words to Ex. 86 to Glory-to thee-my God-this night 'for all-the blessings | of the light — Keep-me-0 keep-me Kang-of Kings 'be neath- thine | own Al might y wings — For give-me Lord-for thy-dear Son 'the ill -that I-this j day have done — *That with- the world-my self and thee . I ere-I | sleep at peace may be — St. Co. (New.) he taught at Ex. 110. 'E ternal are-thy [ mer cies Lord — , 'E ter nal | truth at tends thy word -— 'Thy praise-shall sound 'from | shore to shore -r- 'Till suns-shall | rise and set no more — be. taught at Ex. 110. ■ - i Teach-me-to live-that I-may dread 'the grave-as little I as my bed — Teach-me-to die-that so-I may . rise glorious I at the judg ment day — '0 may -my soul-on thee-re pose 'and with. sweet sleep- mine | eye lids close — Sleep-that -may me-more vigorous make *to serve-my | God when I a wake — 28 THIRD STEP. Ex. 87—96. The Hold (/7\) signifies that the note below it may be held as long as the conductor or singer pleases. Mental Effects of Pah and Lah. — The mental effects of these tones are developed with the same process which was used for t and r, page 16. The manual sign for fah is the hand firmly pointing downwards. The manual sign for lah is the hand hanging down from the wrist. Ex. 87. KEY A. Effect of high Fah, i d .tj : d .r 1 n : d 1 f : — II Ex. 88. KEY A. Effect of Hgh Fah. I d : n 1 1, : s, 1 f : f In : — II Ex. 89. KEY A. Effect of low Fah. 1 d .ti : d .r 1 n : a III : — 11 Ex. 90. KEY A. Effect of low Fah. 1 d : t|.d 1 n.r : d 1 fi : f( Is, : — II Ex. 91. KEY G. Effect of low Lah. 1 d.r : Pl.t 1 r : li Id : t, 1 1, : - II Ex. 92. KEY F. Effect of low Zah. : si Id : n : d |li : — : t, Id : — II Ex. 93. KEY D. Effect of high Zah. : d In : s 1 t : 1 11 :- Id' II Ex. 94. KEY D. Ditto. Id : n Is : n 1 1 : — 1 s : — II Ex. 96. KEY A. Effect of Fah and Zah. Id : s, 1 n : d 111 :f In : — II Ex. 96. KEY D. Ditto. Id : s In : 1 If :s Id : — II Speed of movement and mental effect. — Hitherto we have studied the mental effect of tones when sung slowly. Let the pupils sing any exercise containing lah and fah very slowly indeed, and notice how their mental effects are brought out. Then let them sol-faa the same piece as quickly as they can, keeping th thus D» "two-D"— Da " D-two "— G3 « three G" C, " C-one," &c. It wiU help the memory to notice that the higher comes first. Thus, we say that the easy Bass compass is, as above, " from (jf- two to unmarked C," that of the Contralto "froijn. G--one to one-O," that of the Tenor "from C-one ^i; E E B D c A, G, F, E, Di C, B, A3 G2 80 THIED STEP. unmarked F," that of the Soprano "from unmarked Gtoone-E." Men's and "Women's Voices. — ^Ask a man to sound the same note as a woman, girl, or hoy, or ask them to sing together the air of a tune, and they will sing an octave apart. If you doubt this, get the woman, girl, or boy, after sounding what is commonly called the same note, to sing down the scale an octave ; the man then resounds the note he first struck. The ear will then feel that these two sounds last struck are really in unison, and that what commonly goes by the name of unison is really octaves. Naming of Farts — In the titles of tunes the initial-letters are used to name the parts, thus : — S for Soprano, C for Contralto, T for Tenor, and B for JBass, Breathing Places. — After Ex. 113, the breathing places are no longer marked, but if the markings already given have been carefully studied, the pupils will be able to mark breathing places for themselves. Before the words are read collectively the class should do this under the guidance of the teacher, who will often remind them of the prin- ciples laid down, page 16. ^n addition, it may be noticed that if one wishes to take breath before a strong pulse, the time of the breath must be taken from the end of the previous weak pulse ; but that ' if one wishes to take breath before a weak pulse, the time of it may be taken away from the beginning of the same pulse ; that it is not only convenient but necessary to take a good breath before all long sustained tones or long connected passages. In Bol-faaing or laaing breath should still be taken "for phrasing." This will lead to a study of the musical phrases. The importance of taking breath for clear soft "emphasis" will appear in such Exercises as 97, where the purity of the tone on the first dl will be wonderfully improved by requiring a breath to be taken before it. Expression is such a use of loudness and so fines? in singing as tends to make the music more expres- sive. Even in the earliest steps, pupils enjoy thus embellishing their music. In the fifth step the subject is more fully treated. Here it is enough to draw attention occasionally to what is indeed the chief part of expression — that which is suggested by the words. In our Tonic Sol-fa books we early adopted the plan of using type -marks for this kind of expression. First, there must be fixed the medium or normal degree of force proper to the general sentiment of the piece to be sung ; then whatever words are printed in the common type are to be sung with that appropriate medium force, whatever words are printed in small capitals are to be sung loader, and whatever words are printed in italics are to be sung more softly. In writing, a single line is drawn under the words for italics, and a double line for small capitals. These marks of the pen can be easily added by the student to his printed copy. In Ex. 97, the. general sentiment of the words is subdued and prayerful ; therefore the common type indicates soft singing, but in the last two lines the spirit of earnestness rises to a climax, and demands greater force of voice. The general spirit of Ex. 100 is soft and gentle, but it should begin very softly — increasing in force as the phrase ascends. Ex. 101 and 102 also open with ascending phrases to be treated in a similar way. Continuous or repeated tones, as in the second line of Ex. 103 and in Ex. 65, suggest the same treatment. Notice that any tunes like Ex. 102 and 103 which require a light and tripping style, require also a soft voice Observe, in all these cases, how useful this distinction of loud and soft is in markinjg out the musical phrases or in " phrasing." Ex. 97 to 103 should now be taught in the same manner as before, except that previous to each exer- cise, the teacher will put the voices in tune by causing his pripils to sing, after his manual signs, for a low key-tone, d m s — f 1 dl — s t r' d' — and for a middle key-tone d S| m d — f| 1| d — S| t| r d. SUN OF MY SOUIj. Ex. 97. KEY C. :s s :s Id' :t 1 :1 Is :1 f :s t :1 l.Sun 2.When :n of my the soft n :n soul,t thou dewst of Id :r Sa - kind • f viour •ly :f dear, It sleep My In :d is wear r not -ied :ti nightfif eye ^ lidst |d :n thou be gen - tly r :d S.A - 4.Come bide with nearf and met from bless us morn when till we eve. For wake. Ere with thro' -out the theet I worldfour can - not way we Maimer. Is St. Co. (New). near : steep, It, live : take : THIRD STEP. SI s s : s Id' : t 1 : 1 Is : s 1 :t Id' :n'.r' d' :t Id' Oh may f no earth -bom cloud a - rise. To hide thee t from thy ser - vant's eyes. Be my last thought, f- —How sweet to rest For ev - er t on my Sav-iour's breast! S f :f In : s 1 : f In : n f ; r In : f s :^.fin A - bide with me f when night is nigh, For with - out thee f I dare not die. Till IN THE 0 - CEANf OF THY LOVE We LOSE OUR - SELVESflN heav'n a-bove. LABOUR'S STRONG AND MERRY CHILDREN. Ex. 98. KEY G. ^ Eound for two parts. n s La - hour's strongfand No de - spend -ing,t 1 : s If : n mer - ry chil - dren, No re - pin - ing! f n :d Com - radesfof the Lei - sure must t by :d |r ns - ing sun, toil be bought ; s :-.s|f :-.f Let us sing f a Nev - er yet f was n :-.nlr :r song to-ge - ther, good ac-com-plished, d : si 1 1( : ti Now our toil f is With-out hand f and D.C. d I— done, thought. ALL THE SPRINGING FLOWERS. Ex. 99. KEY F. Eound for two parts. ^ d : r In : f f : — | n : n : f | s : 1 All the spring-ing flow - - ers, All the fruit - ful t : show !d» : ers, d' :1 Is :f All the stars a f In bove, S Are 1 :f Is :t, tell - ing God is love. D.O. - Id : LTJLLABY. Ex. 100. KEY D, Round for two parts. d .r : n .f I s : — LulMul'lsi -by, d' :d> It : — lul' - la - by, 1 : 1 lul - la is - by, f :f In :n 8weeUly sleep with r lul : r la Id f lul :f • la In 1 M : 1 • la - Is by. f : f In : n Sweet - ly sleep with St, Co, (New,) r lul \ r la Id hy. 3 ^2 THIKD STEP. DOH, RAY, ME. Ex. 101. Boh, Eay, Me, Fah, s : s 1 1 : s Hold your head up :f IS :f in sol - faa - ing, WHO COMES LAUGHING? n : n O - pen f : n well your t r : r mouth in D.O. in : r laa - ing. Ex. 102. KEY El?". Bound for three parts. t d : d I r : r Who comes laugh - ing, n We n If : f come laugh - ing n : n |f : f laugh'ing^ laugh-ing, s .s : s .s I s .f : n .r Ha,lia,lia,lia,lia,lia,lia,ha, s : d' I s : n Who comes laugh-ing s .s : s .s| s .f : n .r 5a, ha, ha, ha, ha, ha, ha, ha, d : s I n : d We come laugh-ing t d .d : d .d I r .r : r .r Ha, 7ia, ha, ha, ha, ha, ha, ha, GLAD HEARTS AND FREE. n .n : n .n I s .s : s .s Ha, htti ha, ha, ha, ha, ha, ha. r : d .r I n : — here a - main? t t s, : S( Id ■: here a - main, D.O. s .f : n .r Id : — Ha, ha, ha, ha, ha. Ex. 103. KEY A. d : r : ti Glad hearts and Eound for four parts, d :~ : s La, : s la. : s LA, jree, S La, n Come :f sing r with : f .n : r .d la, la, la, la, Si ; S, Well we :.si A n me, d GREE. D.O. Registers. — In the highest part of the compass of men's voices, and in the lowest part of the com- pass of women's voices, may be noticed a remark- able change in the quality of the tones. The place where this change occurs is called *'the great break." It is in all voices between F and G. The break arises from the diifferent way in which the tones are produced in the larynx. Below the break the tones are produced by what we may call the first or thick register of the voice, above the break by the second or thin register. In women's voices there is a yet higher register, beginning with g', which we may call the third or small register. These registers of the voice are indicated on page 29, the "thick" register being shown by large capital letters, the " thin " by ordinary small St, Co, (New.) capitals, and the small " by common letters.* Optional Tones. — Although the lower registers cannot be forced upward, ' beyond the limits men- tioned, without -injury to the voice, the higher registers can in all cases be used some way below their proper limit. So much is this the case with the thin register, t^at the three tones F, E, and D are called optional tones, and the pupil is advised to exercise his voice in order to equalise the quality and power of these thi^ee tones, and to use either register interchangeably. In women's voices it is this thick register at the bottom which is commonly found to be uncultivated, and in men's voices it is the thin register at the top which is commonly left untrained. * Italic capitals shew the Upper thick and thin registers. Ex. 104. THIRD xSTEP., 33 Recognition of the Lower Thin Register.— It will be seen from tHe scale, p. 29, that women naturally use this register in the middle of their voices and have no difficulty in recognising it, — that, among men, Basses have uttle need for it except for solo singing and for any part-music which demands an uncommon compass of voice, — but that Tenors require a careful cultivation of this register and of the " optional tones." It may also be noticed that Contraltos require a special culti- vation of the first or thick register, but that is deferred till the next step. In order to enable men to discover and recognise the thin register, the teacher causes them to take a loud tone for doh (say D), which is decidedly within the thick register, and then guides them by his manual signs to sing the chord slowly, thus, d m s. If he allows them to sing the soh softly, they will instinctively produce it in the thin register. Having once found that register, it will not be difficult for them to continue the same quality of tone in a downward phrase like the following, s f m r d. Having got back to the doh in the thin register they may then take breath and sing it again in the thick. Of course the pupils can take A| or G| for their key-tone. They will then have t o follow the manual signs thus, d m s d' ; —d' will be delivered softly in the thin register, and the descending passage in the same register would be d' t 1 s f m r d. It is better that all the men's voices should go through this experiment. Strengthening of the Lower Thin Register. — Ex- ercise — regular exercise — strengthens the tones of this register so as to make them blend easily into the tones of the stronger register. Like all other exer- cises intended to strengthen the muscles, it must have something of force and violence in it, a marked shock of the glottis (see p. 1), but must not be over-strained. For strengthening the legs a run is better than a walk, but ov^r-exertion does more harm than good. Therefore the necessity in the following exercise of using well the forceful staccato syllable hoo. It will be remembered that a new combination of the delicate muscles of the larynx is required: for every conceivable sound which it produces and that all these muscles and combinations of muscles have to be exercised. Hence, the necessity of using this exercise in various keys, so as to bring intervening tones into play. Ex. 104 should be first sol-faad , with the manual signs ; second, sung to Icoo five or more times, much more quickly and force- fully ; third, sol-faad again. On sol-faaing the second time the quality of the tone will be found 8t, Go. (New,) to be very much improved. But care must be taken not to fatigue the voices. At first five hoo- ings will do this, and there must be a rest before the exercise is used in another key. The first and second keys will be quite fatiguing enough at first. The keys are so arranged that without the use of the tuning-fork the teacher can pass from one to another. For example, after exercising in key B, he strikes ray, caUs it doh, strikes the chord and proceeds with the exercise again. After thus using what is called the key of 0 sharp, he strikes te^, calls it doh, strikes the chord and proceeds with the exercise in key C. In the same way the ray of key 0 will give him key D. This exercise should be used for a very short time, at every future lesson of this step. If the class is a mixed one, women should join in this exercise, which lies in the lower compass of their voices, and is easy to them. They will encourage the men's voices, and prepare them- selves for a blending of the thick and thin registers at the next step. Ex. 104. To strengthen the Lower Thin Eegis- ter. To be sung in the highest part of men's voices, and the lower part of women's voices. KEYS B, Q>% 0, ,D. n n d d Time. The Metronome (pronounced onetronoam) is an in- strument 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 placed at the beginning of a tune in the Tonic Sol-fa notation means " Let the pulses of this tune move at the rate of 60 in a minute." The stroke of the metronome is the moment when it passes the lowest point of its arc. In the case of very quick six-pulse measure, the metronome ratb is made to correspond not with pulses but with half measures — " beating twice in the measure." Sustaining the rate of Movement. — When a tune, as in , psalmody, is intended to be sung to several verses, the singers may vary the rate of movement according to the sense of the words, and in simple songs this rate of movement may be occasionally accelerated or retarded to suit the sentiment. But even this power of varying the rate of movement with any good effect depends upon a previously gained power of sustaining the rate of movement uniformly. Exercises for the cultiva- 34 THIRD STEP. tioa and testing of this power are frequently in- troduced. The teacher causes his pupils to taatai on one tone a simple measure, thus, tbaa taa TLAA TAA, repeating it steadily, say six times with the metronome, so as to get into the swing. He then stops the metronome and they continue holding the rhythm steadily for another six measures. Just at the stroke of the first pulse in the next measure he lets his metronome go, and then the class immediately see whether they have sustained the rate. Accomplished musicians say that this power of sustaining a uniform speed is one of the first and most important musical elements. The irregular and ever- varying speed of movement, vdthout any apology, on the ground of Expression, which many organists and precentors indulge in, is very painful to practised ears. Remembering M. 60. — It is qidte common among Tonic Sol-faists to be able by habit to form a concep- tion in their own minds of the rate of movement given in the title of a tune, without referring to a metro- nome. This power is gained by first fixing in the mind the rate of M. 60 as a standard of comparison. Then, twice that speed, M. 120, or a speed half as fast again, M. 90, are easily conceived. Even some intermediate rates are recollected with considerable precision. To fix M. 60 in the mind, the teacher frequently asks his pupils to begin taatai-ing at what they conceive to be that rate, and then tests them weU with his metronome. The recollection of rate of movement is, like the recollection of pitch, af- fected by temperament of body and mood of mind. But these difficulties can be conquered, so that de- pression of either kind shall not make us sing too slowly. The silent half-pulse is indicated by the absence of any note between the dot which divides the pulse in two and the accent mark. It is named 8AA on the accented and SAI on the unaccented part of the pulse. See Exs. 105, 106, 107. The three-quarter-pulse tone is indicated by a comma placed close after a dot, leaving a quarter to fill up the pulse. It is named as below, TAAfe. Ex. 106# Slowly, — and quickly. 1 1 TAATAI 8AAlkl 1 .1 TAATAI 8AA KEY F. }n.r: .d|r.d: KEY Or. I S|.d : .tild.n: 8t, Co. (New), s .f : n . |n.r : d. || f .r : t(. I s .n : d. II With lighter accent and quicker speed TAAfe is the same thing as taa-aa-tai. And this is the same thing in small as taa-aa-aa taa. The teacher causes such an exercise as 71 to be sung quickl}- and lightly. Two quarters and a half are indicated by the use of the comma and dot, as below, Ex. 106. This pulse-form is called tafaTAi. It is the same thing in its nature with the larger and more strongly accented time-forms taatai taa and taa taa taa -AA. The teacher causes such exercises as 72 to be sung rapidly. A half and two quarters are indicated as below, Ex. 107, and are called TAAtefe. This pulse-form is the same in its nature as taa taatai and TAA-AA TAA TAA. See Ex. 75 Syncopation is the anticipation of accent. It requires an accent to be struck before its regularly recurring time — changing a weah pulse or weak part of pulse into a strong one and the immediately following strong pulse or part of a pulse into a weak one. Its effect in time is like that of a discord in tune. It is a contradiction of the usual and ex- pected. Both the discord and the syncopation should be boldly attacked and firmly held by the voice, — -just as one grasps a stinging nettle to master it. Insufficient definitions of syncopation have led many singers to strike the new accent, indeed, but also to retain the original strong accent on the immediately following pulse. This common misunderstanding entirely destroys the intended effect. In Ex. 108 the first line shews how synco- pations are commonly written, and the second line shews the real alteration of accent which they create and the manner in which they should be sung. Note that it is difficult to "beat the measure " in the ordinary way (see preface) during syncopations, because they seem to contradict the beating. It is easier to beat simply pulse by pulse. Exs. 105 to 109 should be taught as above, pp. 7, 8, and 19, especially with ** time-laa-ing," p. 8. 1.1:1 TAATAI KEY F. I s.p; : .1 KEY F. I n.s : .s TAA5'^7 1 .1 : 1 TAATAI TAA^^J s.n |s.f:r |f.n:d || f .1 : If .r . f , In.d : n. II THIRD STEP. 85 ti Ex. 106- Slowly y^and quickly, 1 .1 ,1 : 1 .1 j .1 : 1 TAA 1,1.1 : 1 .1 1 . : 1 tafaTAI TAATAI • TkkSAI TAA KEY G. |d.r,n:d.S|| .l|:t| (d,r.n : f .n|r. :d || KEY P. I s .f,n: r .n I .f :n |n,r.d : t,.d | n. :r || KEY G. |n.s,f:n.d| .f : r Ks.f:n.dit(. :d | KEY 0. |s.l,t:d".s| .l:s |l,t.d": t.s |f . :n || Ex. 107. Slowly — and quickly, 1 .1,1 :1 .,1 1,1.1,1 :1 TAAtefe TAAfe tafatefe taa 1 .,1:1 .,1 TAAfe TAAfe 1 .1 :1 .1 TAATAI TAATAI KEY D., |d .r,iti:f .,Pi|r,m.f,s:l |8 .,f:in .,r|s .f im .r II KEY D. |n .f,8:l .,t|d',l.s,in:r |d .,iTi:r .,f im .s :f .1 |i KEY F. |s .f,in:r .,d|t„d.r,in:f |1 .,f:s .,m|l .f :s jn fl KEY F. |8 ,m,d'.s .,dis,f .Pi,r:iTi |r .,f :pi .,d|f .1 :s .n || Ex. 108. Slowly — and quickly. |1 :1 |1 :1 I— :1 TAA TAA TAA TAA -AA TAA |I :1 |1 |1 :— :1 |1 TAA 11 :1 TAA 11 I- .— |1 :1 -AA -AA TAA TAA :— :— |1 :1 Ex. 109. Slowly — and quickly. 1 TAA :1 TAA 1 TAA :1 TAA 1 .1 :1 .1 II .1 :-.l -.1 :1 .1 11 :1 TAATAA TAATAI | TAATAI -AATAI -AATAI TAATAI TAA TAA Chanting is the recitation of words on a single tone with, a musical close or cadence at the end. The chant of English origin, called the AngKcan Ghant, has either two reciting tones with cadences, in which case it is called a single chant," or four recitations with caden^ces and is called a " double chant." The most important rule in reference to chanting is that the music should he well learnt •'by heart" before any attempt to apply words to it. The chant is commonly and properly applied to prose words (see next step), but the chanting of hymns is not out of place when the hymns are very long. It also forms a good exercise preparatory to the art of prose-recitation. The rhythms are so St. Co. {New.) simple and admit of so little variation that attention can be almost exclusively given to distinct and sharp utterance. The division of words for Chanting is commonly made simply by placing a single bar where the cadence begins and a double bar where the cadence ends. In addition to this there have been many contrivances for guiding the manner of the recita- tion so as to secure appropriate breathing places and to prevent confusion. Our Tonic Sol-fa teach- ings naturally suggest the division of - the whole into pulses. Our simple rules are that the syllables which stand together — whether joined by hyphens or otherwise— are to be sung in one pulse, — that 36 THIBD STEP. Ex. 110 this mark ' before a syllable denotes a silence on the first half of a pulse and a convenient breathing- place, — that this mark . denotes a silent pulse, and this — the continuation of a sound. In^ Ex. 85 notice the rhythms to the short recitations taa TAATAi twice, aS'^^tai taa taa once, and saatai TAATAi once, and the rhythms to the longer recitations -S'^^tai taatai taatai twice, taa TAATAI TAA TAA Once, and SAATAI TAATAI TAA -S^^^TAi once. Verify each of these rhythms and study the reasons for their differences of rhythmic form. Why will not one form do for all the short recita- tions, and another for all the long ones ? It is important to notice that the pulses of the cadence and of the recitation move at the same rate although it is customary and also natural to put more syllables into each pulse of the recitation than into those of the cadence. In teaching Chanting the teacher causes his pupils {a) to taatai a line by pattern, (5) to recite it by pattern, clearly and distinctly, and {c) to sing it to the chant already learnt by heart. Ex. 110. Ohant the words to Exs. 85 and 86. New Consonances.— Hitherto we have had for thirds and sixths and fifths and fourths (See p. 21) : n s t r' s r' AND d n s t d s Now, there are added 1 d« f dM n' AND fir f n 1 The harmony student will find and mark cases of each new consonance, and listen to them while the music is sung. The Partial Dissonance. — The very peculiar interval of the scale f to t with its inversion f to t, is not a discord according to the description at p. 21 . But its effect on the ear forbids it to be called a concord. The ear requires rest and sweetness after it, and therefore expects f to go to m and t, to d. We call it the partial dissonance. See and hear Ex. 116, 14:, m 1, p 4. — Kote. — I stands for line or score, m for measure, and p iov pulse, — Ex. 119, I 1, m 4, 4. But the effect of the partial dissonance Is specially illustrated in the cadences of Ex. 99. New dissonances. — ^We have hitherto studied (see p. 21) one dissonance, d against r. It is the model of those dissonances which occur on the strong pulse and are regularly prepared" and "resolved." We now have other dissonances of the same kind. In Ex. 114, in addition to d against r in m 3 and 6, we have s against 1 in m 4, and f against s in m 2. In Ex. 116, in addition to the ordinary d, against r, I 5,ml,WG have the same dissonance with delayed resolution I m I, and m against f with the less common interntpted resolution, — the consonance 1 "interrupting" the resolution of m' upon r', and f against s in H, m 2. f against s. — Although this dissonance is used on the strong pulse, and with the same kind of preparation as above, it is far more commonly used on the weak pulse and often without any sort of preparation. Its favourite form of melodic pre- paration, however, is when the f comes down step- wise from s and goes on as it always must to m. See and listen to Ex. 97, I 2, m %p 1, 2,-Ex. Ill, ^yi 7^ p 1 — where f is unprepared and has an inter- rupted resolution— and Ex. 118, m 5, p 2. This dissonance f against s is the model of unprepared discords. Relative Motion of Parts. — Two parts may follow each other upward or downward at the same time. This is called similar motion, and is generally sweet and pleasant, as in Ex. 97, m 5, and in Ex. 99, when the first two measures are sung with the second two. Two parts may move upward anddownward in opposite directions. This is called contrary motion, and is exceedingly gratifying to the ear. See and listen to Ex. 97, pulses 3 to 6 and 9 to 12, and Ex. 99, when the third and fourth measures are sung with the fifth and sixth. In the last case, indeed, the parts cross one another. The crossing of parts is common in Bounds, but not in other composi- tions. Anything which tends to confuse one part with another is objected to in modern music. Oblique motion is that in which one part "stands" — that is, continues the same sound, while the other part moves downwards or upwards. See Ex. 117, m 6, 7, and Ex. 97, beginning of line 2. Very much of the relative motion of parts cannot be. described by these simple terms. The ear could not be satisfied with one sort of relative motion only. It requires variety ; but that which satisfies longest is the similar motion. Imitation. — The music-student cannot fail to notice that every kind of imitation is agreeable to the ear. It is a great help to the singer to notice , such cases. Imitations in the waving of the St Co. /"JSTetvJ THIED STEP. 37 melody — or melodic figure — such as :that simple one in Ex. 70, I 2, where the air of the second measure imitates, in figure, that of the first, — or that in Ex. 98, between the two parts at the opening of line 2, — or those in, Ex. 101, ^2, are easily per- ceived. The imitations in Ex. 116 are interesting. In the opening, the second part is imitated by the first, for a measure and a half, starting a fifth above. In the second line the music of "grief of heart" is replied to, a fifth above, by that of " killing care ; " then, the second part repeats " grief of heart " a small step higher and is again replied to by the air a fifth higher. Let the student carefully verify observations like these; it will teach him to see more in a piece of music than most others see. "When the imitation is in two or more parts simul- taneously, as in Ex. 97, pulses 9, 10, with 11, 12, it is called a harmonic sequence. The study of rhythmie imitation is very interesting. See in Ex. 113, ? 2, tafaTAi tafaTAi taa quickly replied to by the same rh3rthm with contrary motion. See TAA TAATAi TAA in Ex. 116. Find other examples. "Elementary Rhythms," containing passages selected from popular . songs, and published separ- ately, will now make good home practice aud prepare for the elementary certificate. laa Voluntaries. — When once the use of the Sol- fa syllables is fixed in the, ear and has obtained mnemonic power, it becomes very impoitant to prevent that otherwise useful power satisfyiag the^ pupil. The practice of laa-ing every tune which has already been sol-faad is a step towards liberty, but laa-ing the Modulator voluntaries is a step further still towards that ready perception of the mental efiects of the tones, apart from associated syllables, which is desired. This practice, there- fore, of laa-ing at first sight from the teacher's pointing should be constantly used. The Pupil's Pointing on the Modulator while he: sol-faas must still be encouraged. Where it is possible for the pupils to point in class— each using a mounted " Home Modulator," and holding it up, while the teacher passes along the rows behind or stands on a chair or table so as to overlook all — that is the best plan. It makes all work. The Standard Additional Exercises^^ appended to this book, introduce four-part pieces at this step. The Standard Mixed-Voice Exercises'' and the- Standard Men's Voice Exercises " introduce four- part music in the course of this step. OH! GIVE THAWKS. Ex. 111. KEY A. Eound for four parts, t d n : d .,d r : ti d : S| n :f s : n .,n f : r .,r Oh! give. thanks to the God of hea - ven, For his mer- cy en- dur- eth for • • • « Si : S( S| : d • • • • S : s Hai- le - lu - jah, Hal -le - n ev S lu :d er. B.C. : n jah. PEACE, LOVELY PEACE. Ex.112. KEY El?. : Bound for four parts. d Peace, : r .r love - ly s .,d' : t .,r' rah, hur- rah for SL Co. (New.) t n : - .r peace a d' ,s : s .f iDeace and lib - er * n .PI : f .f gain re - news her PI t : r and S youth, d truth. B.C. 38 THIRD STEP. PRAISE YE THE LORD. Ex. 113. KEY A. S| : - .s, Id n . r 1 ri S)i .n : f,n.r |pi Praise Pli the Lord .n, in, t with I "" (Si cheer a - ful : S| voice, jni : t Ee- joice, • .t| Id t re % t Ee-joice, c -P m : f ,n.r in • • X :- .f in • .PI r ; f joice, f Id • ■ fii Praise li t, d l|,l( .u the Lord : ti,d .r 1 d t with cheer - l(,t|.d fill ! ti d .r re - joice, re- joice. re- joice. in : .s l,s .f :n .S If ,pi.r : d .PI r * _ • .r Id voice, re- • joice, li .ti :d .Si li .ti : d .si f, • re - •f. joice. ini Praise the Lord, re- joice. re - joice. t, :- .d |r .d : ti .d r : PI If : 1 1 • _ .f IS :d 1. In r, his tern : - .Hi |f| .Hi pie : r, .Hi t joy ■ f. . ful : si raise ill : To S| our God : - .fi ini tthe : Hi 2. Now 3. Now his migh to praise ty tthe acts name t re - di - cord, vine. Sing Ev the great 'ry Hv - - ness ing r .PI :r .d jti • S( : - .Si Id : - .S| n : r Id * song f| .Si of praise, : fi .Ml iri • While the fir Pli : - .Pli 1 PI, : ma- - .S| ment f d on : s, high, in, • t of t crea - our Lord, • ture join, Trum - pet, harp. Bring your sweet t and est, psal - t no - fry blest bring, song. s :- .f in .r : n .f PI r Id : .r n,r.d ; r,d.ti |d .r : PI .s Sing n his pow'r : - .r jd .t| t and :cl .1, ma - S| ■ jes - :f( ty. jPii t Ee- joice. .si Id t re- : - .PI Sound SweU his praise the chor t with - rust tune loud . ful and string, long, Ee-joice, s,f .n :f,n.r |n .f : s 1 .1 IS : - .d ti : r Id joice, n,r.d : r,d.t( |d .r : n Praise the Lord f .f, in, : t with - .Pl| cheer - S| . fill . ^ voice. fi iHi St. Go. (New.) THIRD STEP. 39 Ex. 114. KEY C. s :d< :f A — : n — : t : s AMEN. 1 yr^_ - :f n : 1 — : t : s Maimer, d' men, d men, s :d< f :t n : 1 r : s - .t : 1 .t d' : A •n : - .1 - .r : - .s - .d .f - .ti : - .n men. r .s : f n A m mm men. THE SKYLARK. Ex. 115. KEY E|7. Woxda hy Moggf. M. 96. s : - ,1 : s 1. Bird of the rep. Em- hlem of n : - .f : PI 2. Then, when the rep. Emblem, &c. S wil hap - n : .f : n der-ness, pi -ness, .r ; d gloam - ing comes, n :-.f Blithe - some and Blest is thy d : .r : n Low in the 1 : - .s : f cum - ber-less, dwell- ing -place — f : - .n : r hea - ther blooms, A. Z. C. n : r : n Sweet be ,thy Oh! to a - d : t< : d Sweet will thy 1st time. D.O. 2nd time. s : - .f : n r : n :f n : — : r : n : r d : ma - tin o'er moor-land and lea! de - sert with thee ! bide in the n : - .r : d t. :d : r d : - t| : ti : ti d : wel - come and bed of love be; de - sert with thee! 1 .t,d '»' s .n : s La la la la, f .f : n .d : n 1 .t,d': s .n : s la la la la, f .f :n .d :n d .r,n; r .n,f : n i,s La la la d . : . : d . f_^l : s .l,t : d' la la la, r : n .f : n pp . . 1 .t,d'i s .n : s La la la la, f .f : n .d : n St. Co. (New.) 1 .t,d'i s .n : s la la la la, f .f :n .d : n d .r,pi: f .s,l: s l,t La la la d . : r . : n .f d' la n 40 THIRD STEP. IN SWEET MUSIC. Ex. 116. KEY : 1 c. • t d ; r .rt)f ;f In f ; In sweet mu - sin. r : — 1 r : f n : Kill - ing t, : — • 1 1, : r care, d : - Id' : 1 n' : kUl - 1 1- ing care, • heart, . u rl) U and grief r : n .1 1 s of : f heart, n : sleep, or hear - ing die, r : — - jr • d : hear - ing d It, • die. d : : 1 .t Id' sweet mu - .n|n :d and grief of I S : I . S Fall a - — I s : - heart, - : 1 It kill 1 - f :- sleep, Fall f a in : s ing and grief If : s .f fall a - 1 IS :f : r Gehhardi. :d' d' : t .1 IS : — 1 sic is such art, is :d 1 : s .f in ; — f : s .f |n such art, : n .r |d r' : — j — • Cell X5y — : s If : r and grief of — : s Id' • of heart, n : -— in • f sleep. fall a - PI ; — m • . . . . • sleep or d : — Id • ■ ■ ■ « Ex. 117. KEY D. HALLELUJAH. : d' t : ~ .1 s : f .n r .1 : s . Hal- le - lu- jah, Hal- le - lu > d' > - .t : 1 - .s ; f - .n : r : t, A - jah, A - d .n ; 1 .s men,Hallelu - : t f .r : s .f -jahjHallelu Mainzer. d' : men. -jah. Ex. 118. KEY A. - .n : - oT d .s : - .f Halle - lu- d : t, I Hal - le - - jah, A- L : S| .S| lu - jah,A- men, 1, St. Co. (New.) HALLELUJAH, AMEN. r .d : - .ti A- S( I f I men, A - d . : n men, Hal- n..Si: d .ti men,Hallelu r : f le - lu - • S , • it - jah, Hal- n jah, -.d - le s A - - .r - lu- f : r men, A - - .d : - X. - jah, A- Mainzer. d. : men. d. : men. THIRD STEP. 41 Ex. 119. KEY A. : d .ti d : - .r |n .,f : s .,d Art thou poor, yet hast thou golden : n,,f| Hi : - .t, jd t|.,d ART THOU POOR. t, slum S| id bers, Id 0 d |n : f sweet con Id : t| F. L, It. jn : — tent ! d : — : n .,f Art thou : d .,r r : - .d ' ti .,r : d .,n rich yet is thy mind per t( : - .1| I s, .jtc* 1( .,d r : -plex'd, - I - ! Oh. 1, t. :1, pun - ish : r, si : — ment ! Si : — : d .ti Dost thou : Pii.si d : - .r In .,f : s .,d laugh to see how fools are 1( : - .ti I d .,r : n .,d vex : d ■ ed :d - .r : n .,f To add to ~ • t( I d i^lj s :f gold - en t( : r n n num - hers gold - en Id : t| ll, : si r : d num - bers, f I : n, ' r Oh n : r sweet con s, :f, d :- I- tent! rii : — Ex. 120. KEY 0. WHERE DO THE FAIRIES DWELL? s .Ijt : d' .r' I n' .r' : d' Tell me where the fair -ies dwell, f n .r :n .f Is .f :n r',d'.t |n',r'.d' Tell me, f i ell me : s,f .PI 1 : f ,n .r Tell me, Tell me .d' fwhere n :t .d' fair-ies : r .n r' : dwell .P , f : s,f .n Tell me .r' : n' .r» jd' : where fair-ies dwell : s .f f .f :f In some cav r .r : r .r In some cavern dark - oPi : r .f ei n dark and r .d : ti .r and 1 deep ? f deep? .1 Oh r' no ! s .s : s I - .f : n .d' In some qui - et mossy n .n : n .n I n .r : d .n In some quiet mos m. Co, (New.) t ; cell? S cell ? .tin' Oh no! r'.r': r' |-.d': t .1 In the depths of shady f .f :f .f If .n;r .f In the depths of sha - dy s : .s woods? Oh( n : — woods ? D 42 THIRD STEP 14' no! I- tell me, Not there, t s,f ,n I tell me, tell me, .s In' .r',d'; r' ,t not there do the fair-ies .s |s .f,n:f .r : f,n .r tell me. t :r» where, where, 8 :f d' dwell n If where ? |r All a - n .s ,f .n' Them I s .n',r':d' .t mong the* 1 11 .M':s £ra- grant flow'rs. If .f :n f .s^: s .f In .f,s:r 'Neath the drooping li - ly's bell, r .n,f : n .r |d .d : ti s .n|^':d' .t II .M'l s .s In the pur -pie vio- let's Ded, 'Tis n .s,f:n .s |f i :n .n r' : n' .r' |d' there the fair-ies dwell. f .f :s .f In s .n',r': d' .t La la la la la n .s ,f ; n . 1 .t,d': s la la la la, f .f n f .s,l : s .f La la la la la r .n,f ; n . In .f,s : r la la la la. id .d :t, s .n',r': d' .t !1 .t,d': s .s La la la la la la la la la 'Tis n .s,f : n . |f .f : n .n r' .d^t;n' .r' ! d» there the fair-ies dwell. f .f :s .f In Modulator Voluntaries have now increased in rapidity and difficulty, though they are still confined to one scale. To make sure of avoiding mannerisms and to secure variety, the best teachers find it necessary to study and prepare their voluntaries when they come to this step. The "Hints for Voluntaries " are only intended to suggest such as are suitable for each step. The teacher who wishes his pupils to follow his pointing rapidly can teach them to do so, by never letting his pointer wait for them. Ear Exercises. — tew two-part Ear Exercises, as in the " Hints," can now be wisely introduced, but only to quick and observant classes. To others each " part " of the exercise will serve as a separate exercise. When the great majority of the class do not follow the ear exercises with pleasure, the teacher goes back to earlier steps, — continually re- minding his pupils, not by words, but by examples and illustrations, of the mental effects of particular tones, and continually urging them to notice the first tone of the exercise after the " prelude." The 8t, Co. ("New J necessity of written answers to the ear exercises increases with the length of the exercises. Time Ear Exercises as at page 24, are still con- tinued. Bictation. — See pp. 12, 24, but name the octaves as at p. 29. Thus, the beginning of the last line above ''TAAtefe m f s*' — **taa r" "I'AAtefe s, one-m, one-r." Pointing from memory, writing from memory as at pp. 12 and 24. Elementary Certificate Slips being given to the pupils, they are now, — that is six weeks before the close of the class, — constantly coming up for indi- vidual examination in one requirement or the other, first passing the examination of the assistants, and then that of the teacher himself. The examination is conducted sometimes before the whole class, some- times privately, according to the convenience of teacher and pupils. All the requirements must be done within six weeks, else the examination begins again. THIRD STEP. 43 QUESTIONS FOR WRITTEN OR ORAL EXAMINATION. 1 What is a " liold "—What does it signify % 2 What is the advantage of a know- ledge of chords to the singer ! 3 Describe the normal position of a chord 1 4 What are the root— the third— and fifth of a chord 1 5 What is the difference between the a position and the normal position of a chord 1 6 What is the & position of a chord ? — the c position 1 7 Which of these positions is the most acceptable to the ear l and how are the other positions used ? 8 What does the name " Constitu- ' tion" of chords refer to ? 9 How do we figure the omission of the third ?— of the fifth ?— of the root 1 10 How do we figure the doubling of the third !— and fifth ?— and trebling of the root ? H Which of the three tones of a chord is most easily omitted without notice ? 12 What quality of a chord is lost by omitting the third /—the root 13 Which tone of a chord can be easily doubled because it is the least noticed ]— and which because it is the most characteristic and important ? 14 In the resolution of S into D where does te go 1 — sohl — rag 1 15 Why is S called the Dominant 1 16 Describe the chord 17 What do you yourselves feel to be the mental effect of low lahl — of high lah 'I 18 What is the effect of high fah 1 of low fah 1 19 How does greater speed of move- ment modify the mental effect of doh, me, and soh 1 — of rag, fah, lah, te 1 Mention any examples that occur to you. 20 Which are the strong tones of the scale, and which the leaning tones? Which have the strongest leaning tendency 1 21 What are the successive tones of the scale descending in pitch 1 — What are they ascending ? 22 How many vibrations in a second give the standard pitch tone, middle C ? — In what part of men's voices is this C ? Where is it in women's voices ? 23 Describe the manner in which tunes are pitched from the standard scale. DOCTRINE. 24 What variable circumstances affect our power of recollecting a tone in absolute pitch 1 25 What pitch tone stands at about the middle range of female and chil- dren' s voices ?— of male voices ? 26 How do we judge whether an uncultivated voice belongs to the con- tralto or bass class of voices, or to the soprano or tenor ? 27 What is the easy compass of the soprano voice 1 — of the contealto ? 28 What is the easy compass of the tenor voice ? — of the bass 1 29 Among uncultivated voices, which part of a man's voice is most commonly found to be neglected ? — of a woman's ? 30 The octave marks of a tune being taken from doh, how do we know which doh is to be without an octave mark 1 In key Gt how would the lah below the key-tone corresponding with the pitch E be marked ? In key C how would the me above the key-tone correspond- ing with the pitch E be marked ? 31 With what octave marks are the bass and tenor parts written ? 32 In speaking of octave marks for the purposes of dictation, how do you distinguish the lower doh from the higher doh 1— the lower C2 from the higher Ci. ' > 33 If we want fresh breath on a strong pulse, where do we take away the time of the breathing 1 And if on a weak pulse ? 34 Write down all the rules for breathing places which you can remem- ber. 35 What is meant by ' ' Expression " in music ?— and what are the elements of tone chiefly employed in it ? 36 In using the type-marks for expression of words what has to be first settled in the mind before those marks obtain their true meaning 1 37 What, then, is the meaning of common type 1 — Italic type 1 — small CAPITALS 1 38 What is the writing mark for Italics ? — for small capitals ? 39 How are ascending passages and continuous or repeated tones naturally treated for expression ? 40 What other means are there, besides taking breath, of separating and distinguishing musical phrases one from the other while one sings 1 41 What is the " great break of register " in the voice ? I 42 Where does it occur in men's voices ? — in women's ? Between what tones in absolute pitch is it always found 1 43 Where does the *' small register," peculiar to women's voices, commence 1 44 What are the three commonly used "optional tones" between the thick and thin registers ? 45 Describe or write the exercise by by means of which men come to per- ceive their thin register. 46 Why is forceful action of the laxjDS. necessary to the strengthening of the thin register? What syllable puts the organs of voice into the best position for this kind of vigorous effort ? 47 Why is it necessary to employ the strengthening exercise in various keys ? 48 Describe the process of using the strengthening exercise, Ex. 104. 49 What is a metronome ? 50 What is the meaning of M. 80.. placed in the title of a tune ? 51 How is the rate of very quick six- pulse measure marked ? 52 Why is it necessary to have exer- cises for sustaining a imiform rate of movement ? 53 Describe the exercises for attain- ing this power. 54 Why should the rate indicated by M. 60 be fixed in the mind ? 55 Describe the exercise for teaching this. 56 What is the name for a silence on the first half of a pulse ?— for thf second half ? 57 How is a three-quarter-pulse tone indicated in the Sol-fa notation ? 58 How is the pulse divided into three-quarters-and-a-quarter indicated in the time-names ? What are its two larger relatives ? 59 How is the pulse divided into two quarters-and-a-half indicated in the Tonic Sol-fa notation and in the time- names ; What are its larger relatives ? 60 How is the pulse divided into a half-and-two-quarters indicated in the Tonic Sol-fa notation and the time names ? What are its larger relatives ? 61 What is syncopation ? How does it affect the next following strong pulse ? 62 What is there in tune like sjmpo- pation in Time ? In what style should syncopation be sung ? 63 What is chanting ? 64 Describe an Anglican single chant— a double chant. St. Co, (New), •44 THIRD STEP. 65 What is the most important rule in chanting ? 66 Why should a student of chant- ing begin by chanting hymns ? 67 By what marks are the words divided for chanting, so as to separate the words of the reciting-tone from those of the cadence 1 How is taa or any division of taa indicated in the printing of the words? How is indicated? ^^^TAI? 68 What relation is there between the rate at which the pulses of the cadence move and those of the recita- tion ? 69 What is the process of teaching chanting recitations ? 70 What are the new Consonances introduced at this step, distinguishing the thirds from the iif ths ? 71 What is the partial-dissonance, and its effect upon the mind ? 72 What new prepared dissonance have we in this step ? 73 What dissonance is considered the model of unprepared discords ? On what kind of pulse does it most com- monly occur, and what is its favourite melodic preparation ? 74 Describe what is meant by the similar motion of two parts in relation to each other, — by contrary motion, — by oblique motion. 75 Which kind of relative motion is the least wearying to the ear? Which is the most exciting ? 76 What is meant by imitations of melodic figure ? 77 What is meant by imitation of rhythmic form ? 78 What is meant by harmonic sequence.- PRACTICE. 79 Hold a steady tone with one breath for a quarter of a minute. 80 Sing, softly and pleasantly, to the Italian Laa, Ex. 82 in keys B and D. 81 Name, pulse by pulse, the chords "with positions and constitutions in Exs. 85 and 86. 82 Sol-f aa from memory any example you please, shewing the mental effect of high fahf — low fah, — low lah, — high lah. 83 Give from memory an example of the manner in which speed of move- ment modifies mental effect. 84 Repeat the names of the scale tones upward, — downward, — repeat the strong tones upward and down- ward, — repeat the leaning tones upward and downward. 85 Strike, by the help of a tuning- fork, the pitch tone C (for women's voices C, for men's voices unmarked C,) and run down the standard scale of pitch. j-6 Pitch the key D,— G,— A,— F. 87 Strike from memory the pitch note C (for women) and C unmarked i (for men). 88 Are the best tones of your voice alove G (for women and children) or G, (for men) or are they below that tone ? 89 "What is the easy compass of your voice ? 90 Eor which of the four common parts in music is your voice best fitted ? 91 Write the Soprano of a tune in key C with the proper octave marks. Do the same in key B. 92 Write down "three G" — "G three " " two rai/ " — * ' ra^ two " — "unmarked G." 93 Write the letters by which you would indicate in the title of a tune that it is to be sung by two Sopranos St. Co. fmw.) and a Contralto, — by Soprano, Tenor, and Bass,— by Soprano, Contralto, and Tenor. 94 Mark breathing places, consider- ing the phrasing only, to Exs. ICO, 101, 98, and 115. 95 Mark breathing places for em- phasis in Exs. 115 and 120. 96 Mark breathing places to corres- pond with the sense of the words in Ex. 116. 97 Mark with your pen underneath the words the style of "expression" you think it best to give to them in Exs. 112, 119, and 120. 98 Sing to words any one of the exercises from 97 to 103 as required, page 25, question 46. 99 Ditto with exercises 110 to 120. 100 Sing to laa the lah and the lahx to any doJi the teacher gives you. 101 Sing to laa the fah and the fahi to any doh the teacher gives 102 Sing A in the thin register of your voice, — in the thick register. 103 In the key of C what are the Sol-fa names of your three principal optional tones ?— in the key of G ?— in the key of D ?— in the key of A ? 104 Sing to hoo Ex. 104 with your thin register in key D. 105 Taatai with accent a four-pulse measure, at the rate of M. 60 from memory,— at the rate of M. 120,— at the rate of M. 90. 106 Taatai with accent eight four- pulse measures, sustaining the rate of M. 60 —the rate of M. 90. 107 Taatai from memory any one of the Exs. 105 to 107 chosen by the ex- aminer, the 1st measure being named. 108 Taatai the upper part of any one of the Exs. 113, 115, or 120 chosen by the examiner. 109 Taatai in tune the upper part of any one of the Exs. Ill, 112, 114, 116, 117, 118, or 119 chosen by the examiner. 110 Eecite in correct time any two of the recitations in the words to Ex. 86 chosen by the examiner. 111 Show examples of the new con-, sonances introduced at this step. 112 Ditto of the semi-dissonance. 113 Ditto of the new prepared dis- sonances. 114 Ditto of fah against soh unpre- pared. 115 Shew an example of similar motion between parts, — of contrary motion, — of oblique motion. 116 Shew an example of rhythmic imitation,— of melodic imitation, — of harmonic sequence. 117 EoUow the examiner's pointing in a new voluntary containing all the tones of the common scale but no diflS.- culties of time greater than those of the second step, 118 Point and sol-f aa on the modu- lator from memory any one of the following seven exercises, 97, 98, 99, 100, 103, 111, 112, chosen by the ex- aminer. 119 Write from memory any other of these seven exercises chosen by the examiner. 120 Tell which is lah, — which is fah, as directed, page 25, question 56. 121 Tell what tone of all the scale is skaa^ as at page 25, question 57. 122 Taatai any rhythm of two four- pulse measures belonging to this step, which the examiner shall laa to you, see page 25, question 58. 123 Taatai-in-tune any rhythm of two four-pulse measures belonging to this step, which the examiner sol-faas to you, see page 25, question 59. Ex. 121—2 FOURTH STEP. To perform Exercises for Strengthening the Chest, securing Furity of Tone, and perfect Blending of ''^ Farts, To know by ear the Chords of the Subdominant, Dominant- Seventh, Supertonic, Leading-tone, Submediant, and Mediant in the Major Mode. To observe Cadences. To remember the structure of the ScaU in its conjunct intervals. To perceive Transition to the First Sharp and the First Flat Keys^ its mechanism and its mental effect. To perceive Chromatic Resolution. To distinguish Cadence, Passing, and Extended Tran- sition. To Fitch Tunes. To learn correct Fecitation, with special regard to the consonants. To learn the art of Chanting. To become familiar with the silent quarter-pulse and the sounding thirds of a pulse. To learn the art of Beating Time. To strengthen the Thin Register in Men. To recognise and strengthen the Thick Register in Women. To Blend the Registers. To understand Fart-pulse Dissonances. To observe various mints of Musical Form. Ex. 121. Chest and Klang. These exercises are now united. Tiie lower part is to be sung as a chest exercise, always to the word " skaa-laa," and on one breath. When taken at the rate of M. 50 the pupil will have to economise his breath for 20 seconds. Those who sing the upper part may take breath at the places marked. They must deliver the first measure very softly fppj, the second measure softly fpj, the third measure with a medium force of voice fmj, and the fourth measure with full force of voice (fj . As soon as the exercise is thus sung, the singers must change parts for the sake of rest and variety, and this is reckoned one performance of the exercise. Let the exercise be performed thus : first time in key G, the upper voices *' slurring "' each measure to the forward Italian "laa," at the rate of M. 60. Second time, the same in key D. The teacher will pass from key to key as directed, p. 33. Third time, in key OS, the upper voices singing to the staccato " koo," at M. 50. Fourth time, the same in key D^. Fifth time, in key D, the upper voices laa-ing as above, at M. 50. Laa-ing is used here as a rest before the last effort. Sixth time, in key E, the upper voices sol-faain^-, at M. 70. Sol-faaing is used here to make sure of correctness of tune in the highest tones. The teacher will be careful not to carry the voices any higher than is here indicated, for, especially in an exercise with in- creasing force, he may cause the first or thick register of men to be strained, and unfit them for chang- ing the register on the optional tones. It is remarkable that the woman's voice changes into the small register just where, an octave lower, the man's voice changes into the thin register. But women do not commonly use optional tones below the Gr'. ^ Their voices, however, reguire equal care to avoid straining. Basses may use this thin register for d' in keys D J, D, and E. KEYS C, D, Oft, !>% B, E. Chest and Klang Exercise. M. 70, 60, and oO.* PP fp frn f d .n :s .n |d .n :s .n Skaa d ' |~ :- f .1 :d'.l If .1 :dM f :- "i- :- s .t :r'.t 1 s .t :r'.t s :— !~ : — laa. d' :- I — Ex. 122. . Tuning Exercise. To be used with the same processes as described at p. 14, except that the parts cannot be changed. Exs. 123 to 126 are to be employed in the same way, without words. KEY E. Tuning Exercise for three equal voices. d' : t Idl : 1 ; :- It d' : n : r In : — ' : 11 :- If :- PI : d : Id f :- 1- :- f, :- |si :- d : The Chord Fah. — The tones f, 1, and d sung together form the chord of Fah. This chord considered separately and in itself is exactly the same as the chords D and S. But when placed in relation St. Co. (New). with those chords, — that is, when starting from the fifth below the first or leading chord D, just as the chord S starts from the fifth above, — it obtains a distinct mental effect. See p. 20. In Ex. 123 there * As to style of rendering", see page 81, close of first paragraph. 46 FOURTH STEP. are two cases of F in its a position. Let the exercise be softly laad, F being dwelt upon longer than its proper time, and let the pupils decide its mental effect. If T> is called the Besting chord and S the Moving chord, F may perhaps be called the Serious chord. When D is called the Tonic and S the Dominant, F is called the Subdominant. It is much used before these chords in the Tonic close or cadence. See Ex. 123. It is also much used in its b position. See Exs. 124, 125, and 126. The Chord Seven-Soh. — When f intrudes as a dissonance iato the chord of Soh, the chord thus modified is called Seven-Soh, and written ^S. The figure 7 is used because the f commonly occurs at the interval of a seventh above the s ; but it may occur at the interval of a second beneath the s. There is often an additional octave (making a fourteenth or a ninth) between the dissonance f and its resist- ing tone s. When this is the case the dissonant effect is very slight. The dissonant f follows, both in its preparation and resolution, the rules named in the paragraph " f against s," page 36. Let the pupils softly laa again Ex. 123, lingering and listening on and its resolution. Ambiguity of Chords. — Observe that there is nothing in the structure and mtervals of the first phrase of Ex. 123 to prevent the ear interpreting the chords as : S | S : D | S. But accordiag to the principle named at page 20, the ear naturally prefers to regard the first chord which rules it as a principal chord, and has, therefore, no difficulty in interpreting the first phrase as : D | D : F | D. Except for this pre-occupation of the ear by the first chord which is emphatically struck, D, S, and F are ambiguous. But there is no ambiguity in ' S. It cannot be mistaken for any other chord. It decides the key with an absolute certainty which S does not possess. Major, Minor, and Diminished Chords. — The chords hitherto described have a major or larger third at the bottom. Chords of this kind are by far the most acceptable to the ear. Their tones have a perfect agreement in every respect — a full sonorousness. But for contrast and for variety of mental effect, chords which have a lesser or minor third at the bottom are necessary. The minor chords of the scale are R, L, and M. Let the pupil point them out upon the modulator. They are glad of doubled thirds, even in the h position, p. 27. Far less sonorous than even the minor chords is the chord Te, for it has an imperfect or diminished fifth. The Grave Ray. — When the tone r is required t« tune with f (as m tunes with s, and 1 with d'), and when it is required to tune with 1 (as d tunes with s, and f with d'), the ear of singers, and of quartet players on stringed instruments, naturally seeks to produce the r a little lower than when it is required to tune with s and t. When we wish to distinguish this lower or " grave " form of r from its commoner form we call it Mah^ — to make it cor- respond, in its vowel sound, with Fah and Lah. The interval between rah and ray is called a komma. General Thompson, who first drew attention to this point in his "Just Intonation," says that in the chord '^S the acute form of ray is used because it is more important that it should agree with the root and third of a chord than with the dissonant seventh. His *' Enharmonic Organ" proves this. The Chord Ray, r, f, 1, (more properly called Rah) is the most used of the minor chords. It fre- quently occurs in its a position when the bass moves * thus — I r : s, I d II But it is most commonly found in its b position. See Ex. 124. Let the pupils laa this exercise, dwelling on RJ, and listening to it. When F is called the *' Serious " chord, R, from its similarity of effect, especially in its b position, is called the semi-serious chord. The Chord Te, t„ r, f.— The root and fifth of this chord form the "Partial-dissonance" described at page 36, and follow the rule of "Resolution" there described. This chord is much used as a " Substitu- tional Chord " for ^S. In many places in which there is not room for ^S, or where ^S does not allow so pleasant a melodic flow in the parts, this much weaker chord is substituted. It is chiefly used in its b position,whichis less harsh than the a position. Listen well to T^ in Ex. 125. See Ta in Ex. 126. T, in its relation to S and'^S, is called the weak moving chord. The Chord Lah, 1„ d, m, has its chief use in the minor mode, which will be described in the next step. Apart from this, it is used almost exclusively in its a position, lib being seldom seen, and Lc never. La is used, interchangeably with F5, when the tone 1 is wanted in the bass, and when a minor chord is required to set off the clearer sonorousness of the major. Let Ex. 126 be laad and the L dwelt upon. Notice that S can resolve into L, as can also ^S and T, — ^for special effect. L, from its proper mental effect, is called the sorrowful chord. The Chord M, m, s, t, though in itself as good as any other minor chord, for some reason not yet suf- ficiently explained is rarely used in Modem Music. St, Co, (New,) Ex. 123—6 FOURTH STEP. 47 Perhaps the mental effect of its fifth contradicts too strongly the mental effects of its root and third. The tone f in ^8 also contradicts the mental effect of the rest of the chord, but it is a decided disson- ance, and is easily resolved downwards. M is called the unmeaning chord. The Chord has, in it, the dissonance d against r with which we are already familiar in the less-used chord See pp. 21, 27. The dissonating d is prepared and resolved in the same way, in this chord also. is much used in closes, as a " sub- stitutional chord *' for F. Listen to it in Ex. 126. For fuller explanations of the habits of these chords, reference should be made to " The Common- places of Music" and" How to observe Harmony." We can only attempt here to awaken such an inter- est in the subject, as will lead the singer to further study. A thorough knowledge of the nature and meaning of the music he sings, both heightens the pleasure of the singer, and gives him confidence in striking his tones. This intelligent singing is what we are most anxious to promote.* The Mental Effects of Chords are much governed by the natural effect of that tone which is heard in the bass, especially if it is doubled. But the chief source of mental effect in a chord is its root. It follows therefore that the clearest mental effect of a chord is that which it gives in its a position. It then best developes the proper mental effect of its root. This should be shown by experiment. Ex. 123. KEY G. Tuning Exercise, as above. S n : 1 s : - s n : 1 r :f n : - n d :f n : - tl d :d t : r d d d :f( d d :fi : S| d 'Be hold-how good-and how | pleasant it IS II 'For brethren-to dwell 'to | gether in u ni ty — As the I dew of Hermon — || And-as-the dew-that-de scended-up on 'the | moun — tains of Zion — Ex. 124, KEY A. Tuning Exercise, as above. . 'For there -the Lord *com | manded the blessing — |1 Ev en | life for ev er more — . 'The grace-of-our Lord — | Je sus Christ — II Be — | with you all A men — St. Go. (New.) * For dogmatic summary of n f ; r t. :- d li :f n : r d : - d 1| :li s, : - S| 1| : d d :ti d fi :fi si : ~ n, fi :li 'The Lord — | bless — thee I keep thee — . 'The Lord make-his face . on-thee — || And be | gra cious un to thee — . 'The Lord -lift up-his counte nance- up I on — thee — jj and — | give — thee — peace — II And — I shine up Ex. 125. KEY A. Tuning Exercise, as above. n n :f s ; - s f .n.r n : r d :- d d :d ti:- d t, :d d : t, d :- d d :1| si : - n, ri :d| : si d : - Ho every one-that thirsteth 'come | ye to-the waters — jj . And he-that hath-no money . I come ye buy and eat — || . Yea come buy I wine and milk — |i without — | money and-with out — price — . . Wherefore do-ye spend money 'for that-which j is not bread — || . and-your labour for | that which satis fieth not — || . . Hearken diligently unto me 'and eat-ye I that-which is good — || 'and let-your soul 'de I light it self in fatness — . 'In cline-your ear 'and] come unto me — 1| Hear — | and your soul shall live — || Seek-ye-the Lord . while- He | may be found — II Call ye-up|on Him while He-is near — Ex. 126. KEY A. Tuning Exercise, as before. n s : f n d PI : r d d d : s, 1 f d li f :n r : d t| : d r : r d : t, fi : si d d d Now unto I him-that is able — |{ . 'to do-exceeding-A bundant ly 'a bove | all-that we ask or think — , 'Ac cording to-the power 'that | worketh in us — II . 'unto him-be glory -in-the church . I by Christ Je — sus — ■ ^ Through — | out all ages — || world -with out I end — A — men — the subject see " Mus. Theory," Book V. ^8 FOURTH STEP. Ex. 127 Ex 127. Name, pulse by pulse, the chords with their positions and constitutions, of Exs 122 to 126. Cadences. — It has already been noticed (p. 9) that music naturally divides itself into short portions or phrases. No one can sing over a tune without also observing that several such phrases together naturally form a larger divison of the melody, and that these larger divisions close in such a manner as conveys to the mind with more or less complete- ness, a feeling of rest. These resting -points in a tune are called cadences. The teacher can sol-faa several melodies, and ask his pupils to hold up their hands, or make some other signal, when be comes to the natural points of rest. These cadences cut the tune into larger portions which we call Sections. These Sections correspond with lines in poetry. When harmony is added to melody, the cadences become more marked and decisive, and the chords move towards these points of rest in a very clear and marked manner. Properly speaking a cadence in harmony consists of the two last chords, but other chords approaching such a cadence are very care- fully marshalled. The principal cadence is that of the Tonic. Listen to it in its various approaches in both cadences of Ex. 86, and 123, and in the se- . cond cadence of Exs. 85, 124, 125, and 126. Notice that the chords F, S, D, contain all the tones of the scale, so that when these three chords proceed to a cadence it is as though the whole scale were sum- moned to do homage to its Tonic. Among these Tonic cadences however is one in which the Dom- inant (S) is omitted, and there is nothing but the progression of the Sub-dominant (F) to the Tonic. This is called a plagal cadence. It produces a very solemn effect when the key is well established in the ear. See Ex. 123. The cadence next in importance to the Tonic is that on the Dominant. Listen to it with its various approaches in Exs. 85, 124, and 125. This cadence is felt to be one of expectancy as well as of rest. The only other cadence to be here noticed is that on L, just where from the common habits of cadences D would be expected. This we call the Surprise cadence. Listen to it in Ex. 126. C Positions. — The c position (p. 26) of chords is chiefly used in D(?, as the third-last chord of a cadence. See Exs. 85, and 1 24. There is this great peculiarity about the third position of D, that it asserts the key very strongly, for while the chord itself is the Tonic, the Dominant of the key is allowed the emphasis and importance which belongs to the bass tone of a chord. When the cadence iSif. (7o. (New,) * See fuller analysis of Scale moves thus, F, J)c^ S, D, it is as though the music in coming to a close swung like a pendulum from Sub -dominant to Dominant, passing through the point of rest — the Tonic — to which it finally returns. The : 1 1 1 f * 1 It : 1 Co, (New.) 1 Here t is felt to be the unnatural tone. You want an " over-leading- tone " to 1, as f is to m. The ear naturally interprets the constantly repeated f s 1 as d r m, and desires to make the last three tones m f m. Indeed it may be noticed that the " tritone," as a melodic progression (with its three long steps) is not loved by the ear, and that the lower part of the scale is much preferred to the upper. Adjacent keys in transition. — Such transitions as have just been studied are called transitions of one remove, because only one change is made in the pitch tones used. When s becomes d the music is said to go into the first sharp hey. When f becomes d we say that a transition is made into the first fiat key. Eighty per cent, of all the transitions of music are to one or the other of these two keys, and of them the first sharp key is the one chiefly used in " principal transition," or tran- sition from the principal key of the music. The relation of these two adjacent keys should be very clearly understood by the pupil, and he should be led to notice how the pitch tones change their mental effect. This may be proximately described by the table below. Piercing t becomes Calm m. Sorrowfull „ Eousing r. Grand s „ Strong d. Desolate f is changed for Piercing t. Calm m becomes Sorrowful 1. Eousing r „ Grand s. Strong d „ Desolate f. If the teacher has a black-board, it will be well for him to let his pupils construct the new key by the side of the old one in some such way as this : — I have drawn the scale [as at side] and you will see that I have observed carefully the shorter distances between m f and t d'. Let us suppose that our s is changed into d. To represent this 1 write d on the right of s. What change now takes place in the mentaleffectof s? " ^ ^ "In that case what will 1 become, and what will be the change of mental effect?" " What will t become, and how will it change its effect?" * # "What of m?" ^ * "What of r?" ^ ^ "What of d?" * » " What becomes of f ? Is there a Step or a Little Step between d and the tone below it ? " * * " What FOURTH STEP 51 is there between s and f ? " ^ Then f is not near enough to the new d to form a proper * leaning tone.' We therefore banish f from the new key, and use fe instead. This is the principal change of mental effect which occurs. How will you describe it ?" Again the teacher may say "Let us suppose that f has become a new d. I will write d on the left hand of f . What shall I write on the left hand of m ?— r ?— d P— s ?— 1 ? What becomes o^ t ? " ^ ^ Yes, the new flat tone is put in its stead." t Returning Transition. — As a rule all tunes go back again to their principal ksy, but the returning transition is not always tak^ in so marked a manner as the principal transition, because the 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 principal transi- tion that the composer wishes to produce his effect, and in which he therefore makes his chords decisive, and his distinguishing tones emphatic. It is not always so, however, and in hynm- tunes the returning transition is often as beautiful and effective as the principal transition. Let it be carefully 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 groundwork of all studies of transition. For convenience of memory it is well for the student, to draw a diagram of a principal key with its first sharp and first flat keys, and to learn by rote the relations of their notes. Thus let him say aloud " d f, ds; rs, rl; ml, mt; ftot, fd; s d, s r ; 1 r, 1 m ; t to f, t m. It may be interesting to mention that in passing to the first sharp key, the new t requires the old 1 to be raised a komma to make it into a new r. If it were necessary, this form of the tone might be called Z«y. Notation of Transition. — Tonic Sol-fa pupils always prefer that their notes should correspond with the mental effects of the tones they represent. We therefore adopt the plan of giving to some tone closely preceding the distinguishing tone, a double name. We call it by its name in the old key as well as by that which it assumes in the new, pronouncing the d' f t m f- -ta m 1 r r S d -t, d f n 1. r S| d ^1 old name slightly and the new name emphatically, thus M'Zah, S'Ray, D'Fah, &c. These we caU bridge-tones, and write them thus — Sp, df. We call this the Perfect Method of indicating transi- tion. But when the transition is very brief we write the new t as fe, and the new f as ta. This is called the Imperfect Method. The teacher will point on the modulator and teach by pattern such phrases as or Id Id and I d or I d n n n n s Is Is Is sd s d' d' d'sif d' Ita ti fe n 1 Id Is jr making the pupils sol-faa in both ways. Occasion- ally the transition is taken as in Ex. 129 and 123 on a bridge-tone which is not common to the two keys. In these cases we write the "better" notation of transition thus : — I f : f et, Id or It : taf I n Signature of Transition. — The signature of the new key is placed over every transition when written according to the perfect method. If it is a sharp key (e.^. to the rigM on the modulator) the new tones are named on the right of the key name, thus, A. t., or (if two removes) A. t. m. If it is a flat key to the left on the modulator) the new tones are placed to the left., thus, f. BI?., or d.f. Bi7., and so on. By this the singer knows that he has a new f or a new t to expect. More distant removes would have their two or three other distinguishing notes similarly placed. Mental effects 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 £b:st flat key depression and seriousness. Manual Signs. — It is not advisable to use manual signs 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 modu- lator 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 pupils' right) thus. When with the right hand he reaches a bridge-tone, let him place his left hand close under it, making the sign proper to the new St. Co. CNew,) + See other "presentations of Transition" in "Teacher»s Manuaf'," pp. 130 to 133. 52 FOURTH STEP. key, then withdrawing 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 he invented for fe, ta, etc., but we do not advise their use. Chromatic Effects. — The ear forms such a habit of expecting t to move to d' and f to move to m, especially in cadences and other phrases meant to decide the key, that a new effect arises when the ear is disappointed of its expected gratification. This is markedly the case when a new t or a new f threaten to decide for us a new key. Some of the Ex. 127^. KEY E. Effect of the new t. most startling and a few of the most beautiful effects of modern music are thus obtained. See more on " Chromatic Kesolution of Chords " in " How to Observe Harmony." Such exercises as the following should be care- fully taught by pattern from the modulator. Let them be first sol-faad and afterwards laad, the voices lingering on the distinguishing tone. But let the voices carefully mark the resolution (or progression") of that tone, because on the reso- lution it depends whether the effect will be transi- tional or chromatic. :d PI : d s f :d Ex. 128. KEY A. :d n s PI PI s. t. : Mil E. t. * ti * 1 Ex. 129. KEY EI7. Effect of fe chromatic. PI : d f :fe s : — di s t 1 d' * t PI d' n : — Ex. 130. KEY B!?. Effect of the new f. :d Si : d Ex. 131. KEY P. n : d s n dJ It f. El7. » f f. di : fd Ex. 132. KEY B. Effect of ta chromatic. : n :d ti : tai 1. : t, d : si PI li n d f s d PI : r d f • - PI n : r d 8 f m r t n X r S— t\ PI l\ h r 8\ /i Cadence Transition. — The commonest form of transition to the first sharp key is that in which it gives life and beauty to a cadence. See Exs. 133, and 134. When a transition does not begin before the second-last measure*of a line, and does not con- tinue beyond the cadence, we call it cadence-tran- sition. The first fiat key is seldom used thus, but LORD, WHILE FOR ALL. Mrmly, T\ S| d\ see Ex. 141. We write cadence -transition in the "Imperfect" manner— that is, with fe or ta. The Cadential Movement of the Bass.— | d : r | s, or |r :r |S| sounds like |f :s jdor |s :s |dof the first sharp key, and suggests transition to the mind even without the fe. Ex. 133. KEY A. :d (l. Lord, :d 2. O PI while d guard r for t. our PI : d all man - d : Pl| shores from r kind f, :ti we : Si .fi d :d pray. In ni : d foe, With St. Co. (New.) ev - ry " Or the third last aooent. S ev t, t( peace our Dr. Croft. fe clime and d .t| : 1| bor - ders S coasts) Si bless Si : s 0 : n With : r HEAR US r : t| pros - p'rous FOB d :d OUR : ni times our FOURTH STEP. I : n NA - TIVB li .t| : d cit les r : tj LAND,— The tj : S| crown, Our r I s land we f, : Hi FIELDS WITH love : S(.f| PLEN- TEOUS- 5S d most. Hi NESS. i Unite us in the sacred love Of knowledge, truth, and Thee, And let our hills and valleys shout The songs op liberty. Lord of the nations ! thus to Thee Our country we commend ; Be thou her refuge and her trust, Her everlasting friend ! FBAISE Ex. 134. KEY A. Joyfully. n : r d : n s : f n : -- 1. Praise to God! 0 let ' us raise. d : t| 1| : d ti.Sj! l|.t| d 2. Praise to him who made the Hght, d : t| li : d f : n r : — Of that good- ness let us sing. ni : S| fi : ii t(.r : d .1| t| : — Praise to him who form' d the ear ; 3 Praise him for our happy hours ; Praise him for our varied powers ; For these thoughts that rise above, For these hearts he made for love. Passing Transition.— The commonest form of the transition to the first fiat key is that in which it makes a passing harmonic ornament, not in a cadence, but in the middle of a line or near the beginning. See Ex. 142, 144. The first sharp key is seldom used thus, but see Ex. 170, 171. We write Passing transition in the "improper" manner. Extended Transition is that which is carried beyond a cadence. The first sharp key is much used in this waj?- in hymn-tunes, often occupying the second or the third lines, and sometimes the greater part of both. See Ex. 135, 136, 137, 140. 8t, Co. (New). TO GOD. German Chorale,, 1| : t| d : r t| : 1, S| : — \ From our hearts a song of praise ; / f I : fi Hi : fei s, : fei st 2 — \ Praise to him who gave us sight ; / s :f n :r d :t| d : — Whence our lives and bless - ings spring. n : r d : f , si : - .f, ni : — Will he not his chil - dren hear ? [| 4 Praise his mercy that did send Jesus for our guide and friend : Praise him every heart and voice, Him who makes all worlds rejoicb. The first fiat key is seldom thus employed in tunes which are in popular use. It is rare to find such an example of it as Handel gives in Ex. 143. The Exercises. — All the early transitions, and all the more difficult transitions which follow, shouli 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. Missed Transitions. — If one "part" is silent while another changes key twice — when it enters both bridge-tones are given in some old music, thus 'sd, but this plan is not now adopted. When a part enters after others which are already in the new key the bridge -note is placed in brackets {^). 54 FOURTH STEP. Ex. 135. KEY E. :d n : r In 1. 0 8a - viour^ go :d d : t| Id 2. 0 Shep- herd, go B. t. :sd r : n | f And »|di With O SAVIOUR, GO BESIDE US. Gently, M. 50. : 1 let pas no di harm 111 : be - f be - n be - Si tures green pro- 3 0 Master, stay beside us, Our hearts with wisdom store ; Be strength and grace supplied us, To grow for evermore. s : f In : 1 S : f |n : r 1 PI : — 1— side Wher- ev - er tve may go; n : r Id : f n : r Id :t| d 1- side US, And lead thy faint - ing flock ; f. E. r • Id :l|n f : n 1 r : r d :- 1- tide From ma • • lice of the foe. f. • l"l t. :d If, : s, d :- 1- vide us, And well- ■ springs from the rock. 4 0 Father, go beside us. Till all our wand' rings end ; Let weal nor woe divide us From Thee, our faithful Friend. LO ! MY SHEPHERD'S HAND. Ex. 136. d : r key F. n : n f : n r : — 0. t. "1 : t d' : r' n' : r' A. Stone d' :~ 1. Lo ! my d : t{ Shep-herd's d :d hand li : di - d vine! ti :- Want shall df :r nev n - er :f more s : be f mine ; n : — 2. When I faint with sum - mer's heat, He shall lead my wea - feet f. P. In : n f :f r : r n : — s : f n : r d : tl d In a fd :d pas - ture r : r fair ti : and S| large, d ;~ He shall n : r feed d his :f| hap - si : - 'll charge. n, : — To the streams that still and slow, Through the ver - dant mea - dows flow. 3 He my soul anew shall frame ; And his mercies to proclaim, When thro' devious paths I stray, Teach my steps the better way. 4 Though the dreary vale I tread, By the shades of death overspread. There I walk from terror free, Still protected. Lord, by thee. Words by Tupper. COURAGrE ! Ex. 137. KEY b!?. Boldly. M. 112. Music by A, L, C, St Co, (New). si : - .S|| S| : l|.t| d :- It, : si : - .S|| l,.t| : d .r n : — |r : Dan • - gers do not dare me, Ter - rors do not scare me, si : -.fitni :ri d| :n, is, : f( .fllf. :ni.ri d, :d It) : E. t. r : - .d 1 t|.d : r .n f If : fet :- .t It : t d' Id :- God, my guide, I'll bear me Man - . ful-ly for ev er. ti : -.1||S| :f|.n, ri : — Ir : r S : - .s 1 s : f n : — Id :- FOURTH STEP 55 * u . - fit* » A t| . — 1 ii PI • - •r 1 1 n r : — 1 A Id Trou - Die s daxk-est hour, Shall not make me cow er i,ni : - .s<|f| :nt 1 d .ti|l| : S( f( d :- .r|n :f s : — 11 s t|.t|: - - If.f: n .d : — 1- To the Spec- tre*s pow er, Never, never, never ! 1- d .t||d :1| ni : — Ifi : Sj.Si: - - |S|.S,: Sj.ni: — 2 Up, my heart, and brace thee, While the perils face thee, In thyself encase thee Manfully for ever. Foes may howl around me, Fears may hunt and hoimd me, — Shall their yells confound me ? Never, never, never ! 3 Constant, cahn, unfearing, Boldly persevering, In good conscience steering Manfully for ever. Winds and waves defying And on God relying. Shall he find me flying ? Never, never, never ! Ex. 138. Let this be practised until each sellable [A - and men) can be taken with one breath. KEY C. M. 80. G. t. d) It dif :1 Is :f — :pi.r|n A m m men, d : n 11 "ts f" : r 1 s ":f ml, :- It, d : - 1 d f. 0. : n 11 :s f : r 1 s :f wt :s 11 : t di :- 1 — men. d It^ :f' n : — 1 — Maimer, d A - Ex. 139. KEY D. ; n 1.0 :d 3. 0 A. Then n lit lit d lit with O LITTLE CHILD, LIE STILL. PI tie tie d tie thy Soply. s : child, child, PI Words from the " Lamp of Love." M. 96. child, an :f lie lie : r when gel PI still still d thou wings and and t, must quick r : — : — sleep ! restj — t| I — I ~— die, grown, At L» C» d : r : PI Je - sus is Se sweet - 1/y d :d :d Fear no - thing] Shalt thou as - — : r near, sleeps ti :- then, — cend, St, Co, (New), Thou whom But To : n NEED ST Je d : - say meet fe NOT SUS d A - thy s : - rEAB ; — keeps, — t, :- men! Friend,— :(s) And :(n) To s No in PI : 1 one : f God's Je - sus t need the r com- the d' fear mom PI — :d mand, lit - : PI whomi ing and tie 66 FOURTH STEl*. n : — : r r : — : n s : — • PI : — : s s : 1 : t God wake, d : — doth so : t| keep, blest, t| : — By His :d day CHILD ti :- or TO night. BE, d i/ien Love J PI lay ev n : f thee • r qui child et will lie own — In Safe, his at kind his hand side ! Till And he thou shall shalt d' : - : n n : — : r r : — : n X • • r : - - : PI d : down one, n : — in but : d slum love d : - her him :t| deep best ; — ti :- Till Se :d first d : — : t| ing lov^d ti :- • light, thee. d : say, live " Deal be- • child, fore come the fly throne. To Be- heaven's ■ CAUSE BRIGHT HE LAND.'* DIED ! BLEST BE THE HOUR. Ex. 140. KEY G. : PI 11. Blest :d 1 2. Sweet PI : s : f PI : r :d r : 1, :t| d : — : be the hour when friends shall meet, d : t, :1| si : — : li fi :- :f| pii : — : hope, deep cher ish'd, not in vain, Tune "Dublin.' D. t. ^ s Shall! t|Pi Now, f. G. 1 : t :di f : n meet to part f :- : PI r :d thou art rich mm :d wel S| vives come a - greet, S, : - gain; 3 And while remembrance, lingering still, Draws joy from sorrowing hours. New prospects rise, new pleasures fill The soul's capacious powers. r d • • fd r • : n f PI no more, And with ce - les tial t| d • ■ « i,n, S| • : d ii • \ d ly crown' d. All that was dead re - : s, s :f : PI r : li : d : On an im - mor tal shore. : si t| I "~" :d fi : Pl| . All that was lost is found. 4 Their Father fans their generous flame, And looks complacent down ; The smile that owns their filial claim Is THEIR IMMORTAL CROWN. HALLELUJAH. Ex. 141. KEY 0. M. 72. Hal d Bt. Co. (NewJ, Natorp. — • |n : — S :s 1 * • d' ! ta : ta : 1 1 - le lu - jah! Hal le lu - jah! - Id PI : PI 1 • • d : r In : — f :f 1 FOURTH STEP. 67 / r' Hal r : n I?: Ife di lu s :t I - jah! :s I i :- Hal s : 1 It : n lu I . jah! If Hal f — I ml le r» lu s I- :~ I- jah! d Ex. 1418. KEY Bb. si : d 1 1| : d 1. Through the day thy Hi : ni | S| : 1| 2. Pil - grims here on si : d I t| : d Through the si - lent Hi : Hj I Si : 1| Us and ours pre- d : tai 1 1| : 1| Je - sus, now our d| :ni If, :f| And, when life's short M. 58. love f, earth THROUaH THE DAY. watch-es d .ti |d : d has spar'd us, S| I Hi : ni and strang-ers, d.t,|d :d n r .d : t| n Now we lay us d : d I t(.l|: S| Dwell-ing m guard us, I Hi : PI) serve from dang - ers, n Let n the r .d : t/ r :d |t| guar - dian he, r, : fei | s, day is past. Ex. 143. d : n 1. Great is d :d 2. Greatis d .,r : n no Hi .,fi: S| child n : r nite d : t| KEY F. :f the : r the : r hlest : S| ren : n Their : d .Hi hT" s : Lord : n mer f. B|7. :dis his cy no foe our d : d I tj.Ii: S| In thine arms may : f d : r Sweet it pii : f, Rest with n is S| thee to 1| in GREAT IS THE LORD. f works d : - : - songs: d, : word, St. Co. (New), food ; li : t, of r. t. tin Let s,d n of d the s .f : n his n .r har fi : makes :d mo - his And, ev d .,r : n as d - er : r ^1 li : S| pro of : si mise r : — might S| : — Lord ; n : r sem d :jt^ mind d tongues. d : - good. ll :li Si : down to rest; S| :fe, si : midst of foes; 1, :1. |S| : peace mo - lest: S| : fei |S| : we re - pose, n : r Id : trust in thee. S| : S| Id : heav'n at last. Sandel. n ii : ti : d De- mand our d, fi : ri : n, He gives his d d' : t .1 : S .f bled saints u - d n f : n .r ful of his E 58 FOXJETH STEP "O'EB THE DABK WAVE OF GALILEE." Ex. 144. KEY Bl7. M. 72. Words by MusseU, n r. :d t, :1| : S( 1( :- d : — : — S| l.O'er the dark wave of Gal • 1 - lee The d, : ri :pi, fi :- :n, fi :- : s,.f, n< 2.The wea - ry bird hath left the air, And 1 : tai gloom of fi : Sj sunk in - li :- twi fi :- to light his 1 : t, ga shel Si :d thers : 1 ter'd t| fast, S| nest ; n And The on ri :d the : ni wand ring wa f. : beast Si ters hathi li :- d r : n : f n : d : r d :t( d :- :- drear • 1 - ly De - scends the fit fill ev 'ning blast. fi :- :si.f| Hi : — : — fi : PI, : r. d, : pii n, : — : ri d| : — : — sought his lair, And laid him down to wel come rest. 3 Still, near the lake, with weary tread, Lingers a form of human kind ; And, from his lone, unsheltered head, Flows the chill night-damp on the wind. 4 Why seeks not he a home of rest ? Why seeks not he the pillowed bed ? Beasts have their dens, the bird its nest ; He hath not where to lay his head. 5 Such was the lot he freely chose. To bless, to save, the human race ; And, through his poverty, there flows A rich, fall stream of heavenly grace. I LOVE LOVE. Ex. 145. KEY 0. M. 88, twice. Words by Charles Mackay. A, X. G, s : n : s 1 1 • - • S s : - :f |pi : - : di d' :t : d' 1 n' : - : d' t :- l.Whatis n : d : the n 1 mean - f :- : ing n of n : - the song That : r 1 d : - : n rings n : r so clear : n 1 d : - and : n loud, s : - : - 2.Whatis 3.0 hap - the py mean - words ! ing at of Beau ■ thy thought, 0 . ty's feet We maid - sing en fair them ere and our young ? prime; I- I- : : t d' : n 1 s : - : t di :- : n 1 s : - : pi' n' : : n' 1 : d' Thou night • in - gale a- mid the copse,— -Thou lark a - bove : : s.f n : - : d It, : - : s.f PI : - : d It, : - :d s : 1 : s 1 f : PI There is . such plea - sure in thine eyes, Such mu sic on And when the ear ly sum - mers pass, And care comes on , 8t, Co. {New), : t ' thei : r thy^ withi foxjiith: step. cloud ? n :- tongue; Time, s : si Up in What can join in S| the n, the the t| wal fi mean cho G. t PI • : n |pi : - . X u • - 1 rl • :(s ) What •ml t . says u • thy : S| song, |si : - thou . I| joy - n, . - ous • ^1 thrush, 1 m. • 1 Plj . - There Still is be such glo it ours. ry in 1 .11. on thy face — " UluC/, : S| a : - :- 1 - : f. c. :^ s s : 1 : s 1 1 : t nut :f. tree? Pl| :- 1 • ''I :ijn love n : f my : n love If :- be- ; r ing rus be? free — d» :- :d' 1 t : t d' :- : - |ri : - : - n' : - : - 1 - : : s s : 1 cause I know My love loves me, I love n : - : d.n| s : - :f n : - ; - Is : - : - d' :- :~ 1- : ; n PI : f my 1 : love : t be- : r d> : - : dM t : - : s I know My cause n : - : d.n| s - : s n' : love - r .1 . _ s loves - If • _ me. n >» Pitching Tunes. — By this time the pupil is probably possessed of a C tuning fork, but that should not prevent (it should rather promote) his constantly exercising himself to remember "one C " (C) as recommended p. 29. In pitching the key F, it is useful to suppose your C s, and fall on your key-note thus, s m d. The pupil will not now find it necessary to run down to G, but will fall upon it at once from his 0'. E may be pitched by fafiing to m, thus, C'd' s m - "d. A may be pitched by falling on 1, thus, C'd' 1 - id. D may be pitched thus C'd' r' - ^'d'. The key may be pitched a little higher (sharper) or a little lower (flatter) than any tone of the *' standard scale of pitch," p. 29. The tones thus required are named " F sharp," " E flat," &c., and the sign t? is used for " flat," and J for " sharp." A sharp bears no relation to the tone below it and after which, for convenience, it is named, but its relation is to the tone above it. To that tone it is an under-little- step, as ti to d. It is like the f, in transition, changed into fe. In order to strike it correctly we sing the tone above and then smoothly descend a little step to it. A flat bears no relation to the St. Co. {New), tone above it and after which it is named. It is an over-little- step (as f to m) to the tone below it. It is like the t, in transition, changed into ta. To pitch it correctly in the cases of A!?, G- p, and Dl7, we should sing the tone below and then rise to it a little step. But in the more commonly used keys of B 17 and E t? it is easier and surer to pitch thus : — For B 17 suppose your C to be s and sing s f - f d. For E [7, suppose it to be 1 and rise stepwise to d', thus, C'l - t d'. Recitation. — The art of reciting well on one tone is a very difficult but exceedingly beautiful one. A pure and exact enunciation, making every word stand out as it were in bright colours before you, is a wonderful charm even in common speech, but when one listens to the clear utterance of some great singer, words seem like old friends arrayed in startHng beauty and inspired with new power. A good elocutionary recitation depends on the study and practice of the most suitable rhythms, emphases, and pauses for expressing well the meaning of the words, and on a thorough mastery and careful practice of the articulations and vowels of speech. The emphasis of words belongs to elocution rather 60 FOURTH STEP. than to singing. The choice of accent also, in words set to music, belongs to the composer rather than to the performer. Varieties of rhythm the pupil will learn in the study of chanting. But the consonants and vowels, the articulations and continuations of voice, are proper objects of the singer's study. Of these, the vowels or continua- tions are the more important to the singer, because on them alone can a good tone be prolonged, and every fault a man has in speaking vowels is greatly magnified the moment he begins to sing. But the vowels have already been practised to some extent in connexion with the voice exercises, and will be studied more fully in the next step. Besides, in first attracting the attention of the pupil to the action of his vocal organs it is easier to begin with the consonants. In preparing the scheme of exer- cises on consonants and vowels, the author has been greatly aided by old studies of Dr. Eush on the Voice, and bv Mr. Melville Bell's "Visible Speech" and "Dictionary of Sounds.'* But his chief help has come from the generous and patient personal assistance of Mr. Alexander J. Ellis, author of "English Phonetics," "Early English Pro- nunciation," and other works. An Articulation is a joint. A joint implies in this case both a separation and a connexion of spoken sounds. The Ups may come into contact with one another, or the lip touch the upper teeth, or the tongue touch teeth or palate. There may be thus an absolute or nearly absolute stopping of the vowel sounds. And these points of separation are also made points of junction. They are joints or articulations. Qualities of articulation. — ^If the student produces strongly P and B, without any distinct vowel following them, as in la-p, tu-b, he will soon notice that P has a hard quality and gives nothing but breath ; that B has a softer quality and something of voice in it. In fact the larynx takes part in the act of articulation. The same differences may be easily noticed between the Tip-tongue articulations Tas inpe-t, and D as in mai-d, and between the Back-tongue articulations K as in seek, and G as in plagfuej . These we propose to call the two qualities of articulation, — the Brtrath quality, and the Voice quality. Modes of Articulation. — If the student pro- nounces carefully the Lip-articulations P as in shee-p, WH as in wh-ile, and with the use of the teeth F as in U-ffeJ, he will soon notice that in St, Co. CNewJ. producing P the lips shut the passage of the breath; that in WH they give it a narrow central opening ; and that in F they oblige the breath to force its way through chinks on both sides of the point of junction. It is easy to notice the same difference of passage in producing the Tip-tongue articula- tions T (with shut passage) as in be-t, S (with central opening) as in la-ssy SH (central) as in la-sh, and TH (with side openings) as in wra-th ; and in the Back-tongue articulation K (shut) as va.la'JcfeJ,2ivA Mid-tongue Y (central) as in y-oung. Again, there is the trill or tremulous motion of the tip of the tongue for the rough R (written E,') as in herring, — and a peculiar mode of articulation called nasal, in which the voice resounds within the nose, as for M, N, and NGr. These we propose to call the five Modes of articulation : shut, central, side, trilled, and nasal. Organs of Articulation. — The muscles of articu- lation reside chiefly in the lips, and the tongue, for the teeth and the palate are comparatively station- ary. The work has to be done by the Lips, or by the Tip, the Middle or the Back of the tongue. We may call the Lips, the Tip, Middle, and Back of the tongue the four organs of articulation. These Organs, Modes, and Qualities produce the following : — The Lip articulations, P, B, WH, W, and M, are easily understood. But it will be seen that in F and V the upper teeth act with the lower lips in making the articulation. The Tip -tongue articulations, T, D, L, N, and the trilled R' are also quickly understood. For TH, DH it will be seen that the tip of the tongue acts against the teeth. S, Z, and SH, ZH require both the tip and middle of the tongue, the teeth and lips also usually acting. S, Z use the tip more decidedly than SH, ZH. The letters DH, ZH, are commonly used by elocutionists to represent the soft forms of TH,SH. ThetriUedR' occursonly before vowels. When not before a vowel, R is vocal and modifies the proceed- ing vowel, forming diphthongs. See pp. 143, 144. YH and Y require no explanation. CH and J are double articulations, or conso- nantal diphthongs, and might be spelt TSH and DZH. Hence they are not included in the table. The Aspirate H is simply the sound of breath driven sharply through the open larynx. Its im- pulse comes from the muscular floor on which the lungs rest. See p. 96. Ex. 146. JfOURTH STEP. 61 TABLE OF ENGLISH ARTICULATIONS. * SHUT. Breath. Voice LIPS. Lips. P pea B bee Teeth. TIP-TONGUE. Palate. Mid^ongue. T _ _ foe D _ doe BACK- TONGUE. K keen a gain CENTRAL. Breath. WH F wheel feel Voice. 8I1)E. Breath. Voice. TRILLED, Voice. NASAL. . Voice. W V weal veal TH thin DH then S SH YH seal rush hew (yheu) Z ZH Y zeal rouge you (roozh) L lay M sum ray N sun NG sung How to sing a consonant.— A study of the above table will shew how little there is in any of the consonants which can be sung. The breath articulations with shut posture, P, T, K, have positively no sound ; the hisses WH, P, TH, S, SH, YH, cannot be sung at all, and should be made as short as possible ; the buzzes W, V, DH, Z, ZH, Y, are very disagreeable when continued, although it is just possible to sing them ; the voice articulations with shut posture B, D, G, are far too smothered for singing ; and although L, R, M, N, and NG may be more or less murmured or hummed, they cannot be properly sung. In passing, however, from consonant to vowel and vowel to consonant, that is^ from one fixed position to another, the organs necessarily assume an end- : . The I Hps-pro : duce-with | shut : passage {^ai^a J maa i \m^:mh\^m: \ my\ \ : . The | Hps-pro : duce-with | central : passage | whaa : waa I whaa : waa I &c. ? .The I Hps-pro : duce-with j central: passage I faa : vaa | faa : vaa | aat : ^v*| mi : ^a \ ^aY : ma \ St. Co. (New J * Por Diagrams see " Teacher's IManual," p. 198. t Don't open lips, t Note, p. 62. less number of intermediate posi- tions, and voice being uttered during the time of this change, there results a varying sound, which may be called a Glide. This is not a glide in pitch, but in vowel qualities. The organs do not change much, and there is comparatively little gHde between b and oo, but there is a great change in the organs, and therefore a considerable glide be- tween b and ee. A similar dif- erence may be observed between the Glides k to ai, and k to oa. It should be noticed that as long as any two sounds, for example m and ee^ are kept separate, how- ever closely they are put together, there is no syllable. It is the glide which makes sounds into syllables. Indeed the only part of a consonantal effect which can be really sung is the glide. The exercise of singing a consonant, therefore, consists of making this glide conspicuous by opening the mouth well for the vowel and clos- ing it smartly for the consonant. All real intelligibiHty in singing depends upon the manner in which the singer brings out the gHde, taking care not to introduce puffs, or to prolong hisses or buzzes. On this exercise he will then con- centrate his attention. Ex.146, Enunciation Exercises on the Lip articulations. Let the following lines he sung as in a chant, on the tone G, the pupils taking extreme care to make the requisite distinctions of articula- tion and to bring out the glide. When an exercise has been sung to the open aa it should be practised with the other principal vowels ai, ee, au^ oa, oo ; for each vowel will introduce a new glide. 62 FOUKTH STEP. Ex. 147— -152. Ex. 147. Enunciation Exercises on the Tip-tongue articulations. : . The | Tip : tongue-pro | duces : . with | shut : passage J taa : ^aa \ uaa : | aat : ««d | aan : j aat : taa \ aad. : daa j . The I Tip : tongue-pro | duces : . with | central : passage | saa : zaa \ saa : &c. * . The I Tip : tongue-pro | duces : . with [central: passage] thaa : dhaa \ laa : | aath : aadh. | aa. I aath : thaa \ aadh : dhaa | &c. Ex. 148. Enunciation Exercises on the Mid, Back, and trilled-Tip-tongue articulations. . The I Mid : tongue-pro | duces : . with | central : passage [ shaa : zhaa | aash : aazh \ . The I Back : tongue-pro | duces : . with | shut : passage | "kaa : gaa | ngaa : \ aak : aag \ aang : . The I Tip • tongue | trilled : . pro | duces : with | central : passage | vaa : ma \ aavaa : aavaa \ Ex. 149. Pronunciation of the Lip articulations. Eecite on one tone (G) paying exact attention to the thick letters. This will require close attention to a careful pattern. Where the pronunciation varies from the spelling, the proper phonetic letters are introduced. The ending articulations and the double articulations are very difficult in singing. They must be delivered very distinctly/ but very quickly, Gaj^f cab, i^ull, hull, cu^, cub, "pet, het, mop, mob, habCf hobble, bwmp, p^^p, sto^cocJc, upmost, leapt, map, member, Jilm, minimum, mumble, triumph. "When, wen, where, ware, while, wile, whither, wither, whim, whip, whc?rf, wh^^m, whimper, whiffie, yffhiff, "Fain, vaiii, fault, Yault, tear, veer, foist, "Voiced, fife, five, serf, serve, safe, save, muf[, puff, move, love, Ex. 150. Pronunciation of the Tip-tongue articulations. , Bet, bed., tire, d.ire, neat, need, troll, droll, eolt, cold, batch, badige, writer, rid.ev, tight, tied, titilate, tetra- /on, t^■ttbt«ttl^, tantalize, avidity, odd^ty, med.itate, paint, pained., painless, nap, map, son, some, muttn, s.'^ddn. Jfoss, moth, face, faith, seal, zeal, ice, eyes, base, baize, sport, store, skope, seve, smile, sweav, sue, suit, iezuit, spuzms, feasts, fifths, desks, zest, assassin, sashes, Heath, d.eaf, loth, loaf, thew, few, thrill, f mill, path, padhs, oath, oadhz, mouth, moudhz, lath, ladhs, clodhz, close, ladhe, lave, owez, loathsome, lot^dh^th, fair, fair'er, near, near'er, err, errHng, fir, mirr'or, hr*ide, thr'ee, ver'ily, r'evelr'y, pr*ud.ery, Iztt^rVUy, liter'ary, holily,world.lily, h*stbssly,yollily,bh'dh^ly, boldly, falsely, foully, eel-like, ill-look, play, flame, glass, slave, s«ddl^, kettle. Ex. 161. Pronunciation of the Mid and Back -tongue articulations. Kape, gape, klass, glass, karter, garter, krate, grate, back, bag, duck, dug, peck, peg, pick, pig, froek, frog packt, akt, sekt, strikt, picknick, quikset, klik-klak, kricket, clang, clan, thing, thin, dinging, dinning, singing, sinning, angktious, compungktion, congkord, ungktuous, fungktion, longest, long-gest, rung, run. Ashes, asses, shine, sign, Greeshian, adhezhion, shaises, incizhion, speshial, seizhure, Rushian, treazhure, shrewed, vizhion, suspishious, intruzhion, batch, ba^, bats, etch, le}, frets, leech, lie}, beats. Mar, year^ ooze, yeuz, booty, byuty, do, den (dew, due), pyure, tyune. Ex. 162. Error exercises on the articulations. "Foller," follow, window, sorrow, pillow, shallow. "Eunnin," running, writing, speaking, walking, singing. *'Laud," lord, storm, worm, far, first, smart, worst. "Gwacious," gracious, great, green, rich, rest, rough, right. " 'appy," happy, heaven, hymn, hail, when, why, which, while. " Hone," own, and, air, ill, eve. St, Co, (New.) * Don't let final dh run into dhth, nor z into zs, nor v into vf. FOURTH STEP 63 **The soldier's steer," the soldier's tear. " That lasts till night," that last still night. " Study deceit," studied deceit. " A languid aim," a languid dame. " His cry moved on," his crime moved on. " Luxurious oil," luxurious soil. " Pray to nobody," prate to nobody. "Make lean your heart," make clean your heart. Proof of utility," proof of futility. Beer descending," beard descending on his breast. Collective Beading.— This practice, commenced in the second step, p. 15, should now be revived with great care and constancy. Pulses and Accents in Public Speaking. — Any one who listens to a good public speaker may notice that the pulses of his speech are of equal length and constant recurrence, like those of music, — ^but that he has a greater liberty of accent. His accents sometimes fall so as to divide the pulses into three- pulse measure, but more conmionly into two-pulse measure. Some public speakers even beat time with their hands while they speak, and nothing interrupts the regularity of their movement but this occasional introduction of a three-pulse measure. 'Both, in poetry and in music if we begin in three- pulse measure or in two-pulse measure, we must continue in it. But in prose the two-pulse and three-pulse measures are continually intermixed in the same line. Let the pupil try to speak, in a clear declamatory tone, and with proper emphasis, the following words, and to mark the pulses and accents of his voice as he does so. He will then soon understand our meaning : — " And suddenly there was with the angel a multitude of the heavenly host." The words " heavenly host" we may, for the moment, leave out of consideration, because in chanting they would belong to the cadence, and the cadence is rhythmical music — not recitation. If we recite these words on a single musical tone, and then write down the rhythms we have used, they will probably have the following appearance : — ; 1 And Two-pulse Measure. 1 .1 : 1 .1 sudden ly-there Two-pulse Measure. I : 1 .1 with- the ^ was Three-pulse Measure. 1 :1 : .1 an gel a Three-pulse Measure. 1.1:1 : 1 .1 multi tude of -the \ Here you notice that the first" and second measures are of two beats, while the third and fourth are of three beats. Some of the old church chants had three-pulse cadences or closes, but in the recitations the frequent occurrence of three-pulse measures is recognised by all who observe with care. Even the following well-known musical responses shew the natural tendency to the mixed-measures of speech in distinction from the unchanging measures of song. They are here given in various rhythmic forms, as we find them in the " uses " of different cathedrals. Li the three-pulse forms we may notice the heaviness of the second pulse when this measure is sung slowly. Let each example be sung in exact time and accent. ii us KEY !P. d :~ Spare KEY "F, d : 1, Spare us KEY A, d .d : d d We beseech thee KEY A. d good d Lord. ti good d Lord. :d.d Webe- :d.d seech thee to -.d to d : hear li.li: t| hear us good KEY G. :d |d : d .d And bless thine in - KEY G. d And d bless d thine us d : - her - - .ti in- good ■ i d : Lord. d :- Lord. 1< :- tance. 1| .1, : her-i - ii tance. And, in reciting *' Thou art the everlasting Son," every one will admit that it is better to use the three- pulse measure, thus — I Thou : art-the : ever | last : ing | Son — than to sing thus — I Thou : art-the | ever : lasting | Son- Chanting. — The chant is intended to aid the united recitation of prose words by many people. It supplies, therefore, a single tone for the recita- tion^ and a short musical phrase for the cadence of each line of the words. A melodic cadence at the St. Co. (New.) 64 FOURTH STEP. Ex. 153—160. end of sentences, is natural to puL)lic speakers when they rise into an excited state of mind : whether they be fishwomen quarrelling in Billingsgate, or preachers closing their discourses among the moun- tains of Wales or of Scotland, or even ministers of the Society of Friends speaking or praying under strong emotion. The reciting tone may be as long or as short as the words require. It is indicated by a Hold /TN placed over the note. This elasticity of the reciting tone should always be kept in mind by the accompanist as well as the singer. The music of a chant should always be learnt familiarly and by rote, before it is sung to words. Then the words should be taken line by line, and taataid by pattern, clearly recited by pattern, and sung to the music. At the present step the pupil must obey exactly the marking of the recitations. Afterwards he may learn to make " markings " of his own. The present labour will be repaid not only by the great enjoyment there is in a freely delivered chant, but also by marked and valuable improvement in Rhythmical Perception. The teacher can beat time in pulses, or better still, use a metronome. If he uses a baton let it move simply from left to right and back again ; he will then have his accent sometimes on one side and sometimes on the other. Ex. 163. Learn as above the rhythms of Ex. 123. Notice cases of three-pulse measures in the recitations next before the first cadence of the first verse, the second cadence of the second verse, the first cadence of the third, and the first cadence of the last verse. Two -pulse measures are much more common in this position. Ex. 154. Learn as above the rhythms of Ex. 124. Ex. 155. Ditto Ex. 125. Notice three-pulse measures from the beginning of the first recitation of the first verse, of the first recitation of the third verse, of the first recitation of the fourth verse, and of the first recitation of the fifth verse. Ex. 166. Learnasabovetherhythmsof Ex. 126. Time. The silent quarter-pulse is indicated, like the other silences, by a vacant space among the pulse- divisions. It is named sa on the accented and se on the unaccented part of the pulse. The time exercises should be taught as directed, p. 19, Ex. 167. Ml : 1 .1 I ,1 .1,1 : 1 .1 ( I TAA TAA-TAI S, E, could not be distin- guished from one another except by the shades of difference which naturally mark individual voices. Ex. 162—6. FOURTH STEP. 67 or the more marked ditferences introduced by false training. Uncultivated male singers are commonly much ashamed of their weak Thin register until they have made it strong by practice. Already some progress has been made in strengthening it by means of Ex. 104, p. 33. This staccato koo-ing exercise must not be discontinued. It may, how- ever, now be varied after the manner of the two exercises which follow. Ex. ] 62. KEYS F, G, FJt, GJJ. Inld': rTt I^Tl : fTs X : t I koo,.&c. Ex. 163. KEYS A, B, AjJ, 0. koo, &c. this register too much, for the registers cannot be made to overlap upwards without injury. Male voices may join with the female voices in this exercise, for it is easy to them, and they may encourage the sopranos and contraltos, but they must sing softly lest the voices which need the exercise should be unheard. Let the following exercises be used after the manner described p. 33. The men will have to suppose the notes an octave higher than they are written. Ex. 164. KEYS A, B, AJt- koo, Hi : n &c. |f( :ni Si d, s : s d' Recognition of the first or Thick Register. — ^As the Thin register was found to be neglected by men and commonly used by women, so the Thick regis- ter is neglected by women and commonly used by men. Many soprano singers do not know what it is, and even contraltos are afraid to employ what they think is a man's voice. Mdme. Seiler says it is quite common for voice -trainers to encourage women to ignore altogether the upper Thick register using the Thin instead ; so that when on A, they do at last enter the Thick register it is on its fully vibrated tones, and the change of quality is unpleasantly marked. To enable female pupils to recognise the Thick register, place the scale (p. 29) or the Voice Modulator (p. 106) before them, and then, beginning with a tone (B, A, or G) decidedly within the Thin (their easy) register, let them sing downwards (guided by the manual signs) d' s m d, and with increased force on the lowest tone. This last tone will certainly be in the Thick register. Having got that quality of tone let them run up, retaining the same quality, to F. This is the converse of the process by which the tenors and basses learnt to recognise the Thin register, p. 33. Strengthening of the Thick register. — Contraltos and sopranos will require the same staccato keeping exercise to strengthen the lower part of their voices, which tenors and basses required (p. 33) for the higher part of their voices. The process of strength- ening must be upwards from the undoubted territory of the Thick register towards the border- land of Thick and Thin. Be careful not to force Ex. 165. KEYS G, A, Gft Aif. > > > > > > si : si |d| d|.ni: r(.f| |ni.S|: f|.l| koo, &c. tEx. 166. KEYS G,-A, Gfl, Aj. : d| koo, r|.,ri:ni.,ni|f|.,fi:si.,S( &c. 1| : si Id, Blending of Registers. — ^A good singer should be able to pass from one register to another without allowing the difference to be noticed. With this view the voice trainer strengthens on the *' optional tones" (p. 32) the weaker of the two registers (in men the Thin — in women the Thick) till it equals, in volume, in quality, and in ease of production, the stronger one. He then tests the power of the singer in producing one or the other register at will, as in the following exercises imitated from Garcia. The notes in common type are to be sung in the Thick, and those in italics in the Thin registers. The effort will be to make the two tones as similar as possible. Let the pupil take no breath in passing from one register to the other, and let him sing each exercise quicker and quicker. Male voices will sing these exercises in the higher part of their range, and female voices in the lower part of their range. Men and women will sing identical tones. None of the keys must be omitted, because we have to give exercise to all the small Laryngeal muscles, through the whole range of the optional tones. This is a case in which class teaching is insufficient. It can only set the pupil in the right way. He must judge his own progress. The effort to do so will make him eager to enjoy the advan- tage of individual teaching. * This Exercise can be used for the " Upper Thick," in key C, and for the " Upper Thin" in keys G', D', E', &e. It may be adapted for the " Small » in keys B', C^, &c. + Be careful not to cariry the " Lower Thick " above B (or A, for men), but to change into the " Upper Thick." 8t, Co. (New,) 68 FOURIH STEP. Ex. 167—9. Ex. 167. KEYS C, B, CJ, DJ. d" Id' d' |d> koo, &c. Ex. 168. KEYS C, D, Off, D«, D, E. d' :r' koo, &c. d' d' :H Id' Ex. 169. KEYS 0, D, Off, D«, D, E, Dtf, F, E, FJf. d' :^' Id' koo, &c. :fZ' d' Id' :— Becoguitiou and Management of Optional Tones. — Tenor singers should now systematically study the best use of their optional tones. First, before commencing any tune they should notice the key, and from that ascertain to what Sol-fa notes their optional tones will fall. The Voice Modulator p. 106 will at first assist them in this. Second, they should study the phrasing of each passage in which the optional tones are employed. Third, in cases in which a piano or forte is required they will remember that they can obtain a stronger tone with the Thick than with the Thin register. Some persons habitually change the register at a certain pitch, whatever the passage sung. Others try to avoid changing the register within any single musical phrase, as much as possible. Descending from the thin register, they keep it as far as they can. Ascending into the thin register, they begin their phrase, if possible, in that register. In Exercises 170 to 173 a thin horizontal mark is placed over the tone in which, for various reasons, it is thought best that a tenor voice should change into the thin register, and a double horizontal mark is placed where it is thought better to change intt> the thick register. Let the pupil be required to find the reasons for each of these changes, and be encouraged to suggest other and better changes. A Knowledge of Dissonances is useful to the singer in making him fearless. If he does not recognise the fact that he is striking a dissonance, he feels as though something were wrong, and is tempted to sing falsely. But if he knows what he is doing he strikes his tone with courage, looks well to the resolution, and makes it beautiful. Notice the definition of dissonances, p. 21. Part-pulse Dissonances. — At p. 21 there is an explanation of the commonest sort of dissonance which appears on the weak part of a pulse, — the part-pulse passing tone. Eour other apologies are St. Co. (JSfew.J also accepted by the ear for dissonances on the weak part of a pulse. When, like s in the follow- ing — j r .,s : S 11 they simply anticipate the tone which follows them, — when like 1 or t in the following — I d' . t : d' j s . 1 : s (| they wave upward or downward, or when, like f and m in the following — I s .f : r .m I d || they hang upward or downward from the proper tone of the chord, or when, like t and 1 in the following — | m .t, : d .1, I t, II they guide^ generally by an upward step, to the tone which follows. All these melodic relations are accepted as an occasional apology for dissonances. In addition to these dissonances on the weak part of a pulse, dissonances are also allowed, though less frequently, on the first or strong part of a pulse. These are all called Fore- stroJces. They nearly all " resolve " (see p. 21) by going a step downwards. The smoothest "prepar- ation" for these discords is when, like r in the following — : r j r .d || the dissonance has just been heard as a consonance in the previous chord. This will be called a Horizontal forestroke. The preparation which stands next in acceptance with the ear is when, as s in the following — ; 1 | s . f {| the dissonance comes down from the tone above, — like a passing tone, but on the strong part of a pulse. This is called an Odlique forestroke. A less common apology is when, like f in the following — I .m : f .m II we have a Waving forestroke. Less frequently still we may have, like m in the follow- ing — I d .r : m .f I s || an under obliqae fore- stroke resolving upward. But when the composer wishes not to apologize for a forestroke, but to assert it for the sake of a certain tart effect he leaves it Unprepared^ like 1 in the following — : m | 1 .s : f II . Advanced pupils only will have time to study these points. They may do so privately by marking beforehand, in the exercises, the cases they wish to notice, and, when the time for migmg comes, listening for the effects. Or, if the whole class is sufficiently skilful and attentive, the teacher may lead the class to examine each of the follow- ing cases and then to sing the phrase softly to laa two or three times. See Examples of Part- pulse Passing tones in Ex. 133, I. 1, m. 4, jc. 2; and m. 7,i?. 1 ; and I. 2, m. 4:, p. I; and Ex. 172, I. 3, m. 3, p. 2, a peculiar case. See Anticipation tones, Ex. 174, L 4, m. 2, p. 2. See Waving tones, Ex. 125, m. n,p. 2 ; Ex. 171, 1. 2, m. 3, p. 3 ; Ex. 174, I. 3, m. ZfP. 1, 2, 3; and I. 4, m. I, p. 1, 2, 3. See Horizontal Forestrokes in Ex. 172, I. 2, m. 1, p. 2 and 3 ; and I. 2, m. 3, ^. 3 ; and m. 4, p. 1 and 2 ; FOURTH STEP. 69 Ex. 174, L 5, m. 1, p. 3. See Oblique Forestrokes, Ex. 170, I. 1, m. If p. 4; and m. 2fp. 4; and m. 3, p» 4 ; and m. 5, ^. 4 ; and m. 6, j9. 4. Full-pulse Dissonances. — ^Allthe apologies above described are also accepted by the ear as excusing full-pulse dissonances. If the music moves very quickly. Passing tones and other dissonances so common on the weak part of a pulse are freely used on the weak pulse, the strong and weak pulse being treated harmonically as though they were one pulse. But when the music moves slowly the ear is not so content with these slight apologies ; and only the "passing tone" is much used. On the strong pulse, however, as on the strong part of a pulse, the various forestrokes are often employed. "When prepared they are employed for the smooth- ness of melody, when unprepared for the sake of effect. See examples of quick moving dissonances in Ex. 141, 1. 1, m. S,p. 2; and I. 2, m. I, p. 2 ; Ex. 192, I, 1, m. 3, p. 2 and 6 ; 1. 6, m. 4, p. 2 and 6 ; L 10, m. 2, p. 5; Ex. 174, L 7, m. 3, p. 2. See the partial dissonance (explained p. 36). Ex. 140, /. 2, m, I, p. 2; and I. 3, m. Z, p. 2; and Ex. 143, I. 3, m. 2, p. 2; and " disguised " (d for f and fe for t), Ex. 174, l.7fm.Z,p.4; and also Ex. 144, l.l,m. 2,p, 1, in which last case the t not being resolved on d sounds more like a forestroke. See Horizontal fore- strokes in Ex. 170, ^. 1, m. 4, ^. 4, in which f, hori- zontally prepared, continues two pulses and then resolves on m. It is the same with m in the next measure and with r in the measure following. The waving fe in ^. 1, m. 4, ji?. 4, waving against a disso- nance is curious and harsh. Also in Ex. 174, I. 7, m. I, p. 1 ; and Ex. 142, 1. 1, m. 4, ^. 1. See a case of "delayed resolution" in Ex. IZl, I. \,m. 3, where f passes through a consonance before it is resolved ; and Ex. 141, 1. 2, m. 3, p. 1, where it passes through consonance and partial dissonance to its resolution. See an JTwprepared dissonance " 1 against t " intro- duced for its own touching effect in Ex. 174, I. 7, m. If p. 3. See d and s (Tonic and Dominant) exercising the privilege of long holding (or pedal) tones, in spite of dissonance, because of their relation to the key, in Ex. 138, ^. 1, m. 2,^. 2; and I. 2, m. 2fp. 2 ; and m, 3, p. 3. New Cadences. — In two-part music the full chords cannot be given. But, for reasons given in the "Common-places of Music" two-part conso- nances always suggest the chords of which they form a part. Thus, s, with d above it suggests the I chord Bo; m with s above it suggests, not the " unmeaning " and seldom used chord Ma, but ; t, with r above it suggests, not the " weak " chord T, but S^ ; 1 with f above it suggests F^, and so on. Thus interpreted, the exercises in this step intro- duce us to two new cadences in addition to those (the D, the S, the P D, and the L cadences) which are named on p. 48. See the uncommon cadences on E and E in Ex. 137. See what we call cadences in Ex. 142, and a cadence in Ex. 143. See what we call a "weak -pulse cadence" in Ex. 141, L 2, m. 2, p. 2 ; and a "^D weak-pulse cadence " in 1, 4, p. 2. Phrases, Sections, Periods. — The nature of a cadence has been explained at p. 48. There it has been shewn that the cadence naturally eii^ts the melody into parts, and that these parts are called "Sections." "Phrases" are divisions of melody within a Section. "Periods" are divisions of melody including two or more Sections. In ex- tended pieces of music we use the word " strain " to represent several periods combined in one melodic whole. A Section, which is two measures in length, we call a Duain, one of three measures a Triain, and one of four a Quadrain. Musical Form. — A good form in house or orna- ment or animal must be symmetrical and varied and adapted, in all its parts, to its chief purpose. So, in music, a well-formed tune has symmetry and pro- portion in the length of its principal parts or "lines ; " it has both symmetry and variety in the rhythms and melodic replies of its musical phrases ; and its harmony as well as the style of its melody combine together to express the general sentiment desired. A disjointed, ill-formed tune would be like a picture in which a number of men and women beautiful and ugly, should be thrown together " any how." A weli-formed tune is like those men and women artistically grouped in one picture — where the beautiful are placed forward and the ugly kindly put in the shade, and the colours and postures all arranged for some unity of effect. It is pleasant when one sees a house or an ornament or an animal, to " know its points " of excellence, but we can receive much enjoyment from them without so intelligent an eyesight. In listening to music the case is similar. But in singing music the case is different. For the singer is an Artist. The sculp- tor and the painter can present their own works to the public view. But the musical composer is de- pendent on another artist — the smger or the player 8t, Co. (New.) 70 FOURTH STEP, — to present his works. By singing loudly or softly, quickly or slowly, in varioujs places and various degrees, the singer can make or mar the handiwork of the helpless composer. Every intel- ligent singer will therefore feel it his duty to study his music beforehand, and to fix in his mind how, by the art of Expression (p. 30) , its various rhyth- mical divisions and melodic ideas are to be dis- tinguished and " set off ' one from the other, how he can change a bare outline into a coloured picture. The main principles of Melodic Relation have already been suggested under the headings *' Eelative motion of parts " and "Imitation," pp. 36, 37. Some ideas of "phrasing" — or marking out of melodic divisions are suggested under the heading "Breathing-places," pp. 9, 30. Other principles of Rhythmic Proportion may be easily apprehended, and then an examination of a few examples will shew the pupil how to begin this enjoyable study. A fuller development of it is found in " Musical Theory," Book III. Parsing or Analysis of Musical Form. — The practice of requiring a pupil to make a written or verbal analysis of the tune about to be sung is very useful. Even elementary pupils should answer the first and second questions, — 1st. What is the Form — as Psalm-tune, Song, Dance, March, etc. 2nd. What are the Key, the Measure, the Eate, and the Style ? 3rd. What is the Ehythmical Division ? (That is, does it divide itself into two principal parts, or into three ? Is it Two-fold or Three-fold ?) And what is its Cadence design ? The Jirst " Cadence design " makes its principal dividing cadence (the most important cadence next to the final one) on the first sharp key ( SD) , or in a minor mode tune on the relative major (D) ; the second^ on the Dominant S (or SEjf ) ; the third, on the Tonic generally, with its Third or Fifth in the air (D3 D^DorL^LSL); and the fourth must have some other Cadence in that place. 4th. What is the Structural Plan? That is, describe or mark the place where the Periods and Sections (p. 69) of the Tune begin, using the Eoman figures, I, II, etc., to indicate Periods, and the small capitals, a, e, etc., to indicate Sections. Thus Ia means First Section of First Period. St. Co. (New.) 5th. What are the Transitions or Modulations most worthy of note ? 6th. What are the Principal Eesponses? That is, first, (or Pds.), what are the principal Melodic or Ehythmic replies (see Imitation, pp. 36, 37), of Period to Period ? Second (or Sec), What are the principal Melodic or Ehythmic replies of Section to Section within each Period? Third (or Har.), What are the principal points in the relation of " Parts" in the Harmony ? (See above, p. 36). 7th. Wliat are the most interesting devices, that is, Sequence, Fugal Imitations, etc. ? 8th. What is the Emotional Development and Point? That is, describe how, in the successive Sections, the " feeling " of the tune rises and falls ; and say which in your opinion is the most remark- able and effective point (whether of elevation or depression) io. all the tune. Examples of Parsing.— The following examples should be tested by singing over and over again, and comparing one with another the various Sec- tions and Periods of the tune. The teacher will find useful examples of Parsing the Charts in " Teacher's Manual," p. 194. Ex. 133 is— 1st. A Psalm-tune. 2nd. In key A, in two -pulse measure, of firm and prayerful style, about M. 80. 3rd. Is Two-fold, and of the first cadence design. 4th. Ia a Quadrain, Ib a Triain, lengthened by the "hold" to a Quadrain; IIa a Quadrain, IIb Triain, sung as a Quadrain. 5th. Ib First Sharp Cadence. 6th. (Pds.) IIa contrasts with Ia by setting of f against piJ otherwise it imitates it. IIb contrasts the r S against the s r of I^j and has contrary motion in its second phrase. (Har.) contrary motion of parts at the end of Ib, and similar motion at the beginning of IIa. 7th. None. 8th. I A seems to make a quiet assertion with a double emphasis on n- Ib seems to ' give an excit- ing reply ; IIa the assertion made more solemn by f twice emphasized. IIb, the joyful sure decision leaping up to thebriUiant s and making the "point" of the tune by falling on the solemn f . Ex. 170—1. FOURTH STEP. 71 Exercise 137 is — 1st. A song for S and 0. 2nd. In key Bj^, in four-pnlse measure, in a bold style, atM. 112. 3rd. Is Two-fold, and of the first cadence design. 4tli. Ia, a Duain, Ib, Duain, Ic, Dnain, Id, Buain ; IIa, Duain, IIb, Duain, lie, Duain, IId, Duain. 6tli. First sharp extended in Id. 6th. (Pds.) IIa b has contrasted motion to Ia b. (Sec.) Ib is a rising imitation of Ia, and Id simi- larly rises out of ic. IIb imitates IIa. a third higher, lie again returns strongly to the rising motion which sets off the wide intervals and the elegant rhythm of IId. Ehythmical unity in the beginning and ending of every Section till the last which makes the rhythm of the last more effective. (Har.) I has principally contrary motion between parts; IIa opens with contrary motion, IIb has chiefly similar motion, lie has contrary motion, IId has oblique and similar motion. 7th. A melodic sequence in IIa and b. 8 th. I A, a resolute thought (with taa -aatai and accented s and d), Ib, repeated more earnestly, Ic,^ a rising feeling, Id, passionate resolution ; IIa, quieter counsels, IIb, repeated in loftier strain, lie, return of the passion bringing the tune to its "point" of greatest energy, IId, the subsidence of passion in settled resolve. When a systematic course is pursued, the exer- cises of the 3rd and 4th Steps can be taken in the following order :— 97, 115, 134, 136, 140, 141, 142, 143, 144, 145, 113, 119, 120, 174, 175. Some of the exercises with fugal imitations are too difS.cult for the present step. For a fuller course, apply to the Secretary of the Tonic Sol-fa College. HOSANNA. Ex. 170. KEY C. Optional Tones, d' rm' f ' * Maimer, s :]Nt_|di -.l:t_.di|r' :- -.t:dLr;|n' - .di; r|.n|| f Ho - san - na, Ho-san - na, Ho-san - na, Ho-san - na, : I .d;r.n f |-,r:n.fes : — | - .n : f ,s 1 |-.l:s.fe Hallelu- jah! Hallelu- jab! HaUelu- jah! Hallelu- - .7': n^l n' : — - .n': r|_.d^| r' : — - . r': d '.t 1 1 : s .f n ; — | - : - Ho-san - na, Ho-san - na, Ho - san - na. s :— |-.s:f.n f :— |-.f:n.r n : |-.f :n.r d :— |-~ : — jah'! Hallelu- jah! Hallelu- jah! Hallelu- jah! HALLELUJAH. Ex. 171. KEY C. Optional Tones, d' r' m' f ' Mainzer. s :l.t|d' 1 :t.d'|ri t ; d'.r'jn'.s': f».n' f |-.f^n;_.r| Hal - le- lu-jah ! Hal - le -lu-jah! Hal - le -lu-jah! A - men, A n : — I - . s : f .}>! f : s i e s : — |- ,t : 1 .s 1 ; r'.d'l t .1 ; s .f A - - - men, A - men, A - men, Hal - le - lu - Pi' I- .n;^r^._d^ r' : — |-.r>:d'.t d' |t d' |— : — men, A - men, A - men, A - men. n : d'.t 1 1 .s ; f .n r ; t .1 1 s .f ; n .r n . f : n .r | s .1 ; s .f n - |— : — jah! Hal-le - lu - jah! Hal - le - lu - jah! A - - men. * A stroke over a note thus — shews where the Tenors are recommended to introduce the thin register, and a double stroke thus = shews where they are advised to use the thick register. 8t ^0. fNew,) 72 FOURTH STEP. Ex. 172. KEY G. AMEN, Optional Tones, m f s 1 Albreehtsherger. .u . r .n . I .S,I n .Q . r ill • 1 f Q . s,i . n .a . r a : 1 • f .1 : 1 .S,I A * ■ ■ • men,A >* r • PI . I . S,I men,A • - n . .n . I .r men, n . s,i ; n A .Q • r .tl A men. A - TYien A PI «U . 4- .1 ] 1 . .1 D. t. •••r .ci • .1,1. l .Q'^r ml vl rl 1 • t t\\ • f iM' .r ,a . t .u . I n . 1 if . s men, A u .n . r . s 1. m * ''iPl . r . s men, A - men, u .1 . .n . .r A — .CI . — .t|,li. t| rl V meiijA men, A « men,A f. G. d :wt, .d : r .t( d .s : r .n : f .s,f pi,s.l,t: d' : - .t d' x- meiij A n .d' :sr .n : f .s,f men,A n : ti .d : r .S| men,A d : ,n.r,d: r men. d • * men,A men, A men, A men. THE CUCKOO. Ex. 173. KEY C. M. 112. Round for four parts. Optional Tones, d' r' m' s . : s .,s I n' : d> s : Hark! 'tis the cue - koo's voice, : 1 s : 1 s : f From yon - der sha - dy grove ; n A. Z. G. d'. :d'.,d'|d' :di List to tlie mel - low t : notes, G. t. : ris The s : - .1 1 s .f : n .r song I dear - ly f. C. love. SI :n' di Ouc - koo! : n' Id' Cue - koo ! :n' d' Cue - koo ! : n' Id' Cue - koo ! n : n ,,n I s : d' Hark I 'tis the cue - koo's St Co. rNewJ t : voice, :f From n : f I n : r yon - der sha - dy d : grove : FOURTH STEP. 73 n : n .,n I n : d list tothemel - low S : notes, G. t. : tn The PI song : - .f In .r : d .t| I dear - ly f. C. loye. d : d .,d I d : n Hark! 'tis the cue - koo's S : voice, :d From d :d |t| : t( yon - der sha - dy d : grove ; d : d .,d I d : n List to the mel - low S notes. a. t. : sd The d : - d I S| : S( song I dear - ly f . C. love. OoDA. To he sung hy all together. / : n d' Ou - koo ! m Cue - koo ! :n' id' Cue - koo ! pp : n' Id' Cue - koo ! Ex. 174. KEY G. THE MAYTIME. Words by J. S. Stallybrass. : .S| d :~ Id .S, n : — Id : .S| l.The May time, time, the May time, how 3. In May in May time, oh, : .S| Pll : — Jhi : .S, si : — jni : S| .f love - waste r .t| ly and fair, not the hours, .S| I S| .f howi oh, : r .t| How love - ly and Oh, waste not they n .,f : n .r |d love - ly and fair, waste not the hours, S : - .Si I n .,f fair, hours, how love ■ oh, waste - .f What Go n .r ly and not the n pas - twine fair, hours. 1 .,1 I r .fe : - .fe time and pleasure are you sweet garlands of -.did : d .d What pas - time and Go twine you sweet - I there; flowers ; t| .r : - pleasure garlands .d |t| : .S| are there ; The of flowers ; Oh !^ : I : .r The And t| : d .d jr : t| night - in - gale sing - eth, far on the mea - dows, ^i'. Co. (New J n : f .f I s .,f : n lark it up - spring - eth, deep in the sha - dows, Miti: lu Jilt^n^r :d; .d La la la la la la la, La La la la la la la la, La r A »r : if.n : s, La la la" la la la la. La la la la la la la, t| . : d . |r . : n . la la la la la la la la 74 FOURTH STEP. 1 . : s . |f . :n .r la la la, O - ver la la la, There is f »S : r 1- :f n love - ly May S| :t, 1- :t, d : love - ly May f. G. d' ; t .1 |rll ; s .f Fine. gates of the earth that were r .,r : r \^t\ : t| .,ti out their poor pris - 'ners at time, time. .d B. t. I d :t|.lihl : s .f 2 The gates ofthe earth that were lock'd up so fast, Let I .sd'\ ThJ n .f : n ,r |d : d PI .f : n .r I d : ti lock'd up so fast, Let d : - .St In, : si last, Let out their d .,d : r | n out their poor pris d :d Id pns - 'ners at : fe .,fe^ 'ners atf last, As t, I— i .t( last, As d .r : - .r In : n .f s : pinks,and the bunch-es of blue .t| : ti.d I- .Si: d .r n The pinks and bunches of bltif^ St. Go. ("New.) PI .f : ~ .f |pt__m£ : d .pi li - lies, and ro - ses, And d .r : - .r | d .,t | : d .d li-lies, andro - ses, And s .s : 1 .1 |s .f : n .r ' vi - o - lets for po - sies,Andthe| n .n : f .f I n .,r : d . , vi-o - lets for po - sies, D.O. d I — nels. d I- nels. — js : s .f n .f : - .n |r : - .r bells, And the little red pirn - per- — |n : .r : r ,d I - .d : t|.S| bells, The little redpimper- FOraXH STEP. Ex. 175. KEY D. I Chorus. n :n :n |n :- :n La la la la, &c. d :d :d |d :- :d THE SEA FOB ME. § Soprano. : :s The I PI d :d :d id I- IS the It) s jes s ;- iTJ?' deep blue sea :f for :f d IS. me, d • • • sea ti :d :r in :r S| :1| :ti jd :t| ^ :- Beau • IS s :~ for me, :d r :- :- :li ti :- :- :n :n in :- I- It ti - ful, f f - :s cen :- :- tic, :n :n :n d :- Id :- t :- glo - ri - ous, r S| :- :n If IS, :- and :n / ?J :- free ; :r I- :r |r :- I- U If 7n} :~ Eush d d :n :n ores ma- :s :s P :- • _ * 1- • I- f7\ • 1- • ing a - long with re - sist less might. Or |d' :s :n si :t, :r |s :r :ti Si :tj :r If :r :ti d :n :s Id' • _ • |d' :s :n si :t| :r IS :r :t, si :t| :r If :r :ti d :n :s Id • _ * • 9 \t :d^ t • _ • •J 1^ :t I '.- • 1- s • • lull ing the sai lor to slum her Hght, n : If • • S t _ • • • |1 • ■ fe :- • • jfe :~ • :ti d ;- : ir • • n • _ • • • |fe :- * • r :- • • |r • • S| • _ • • / j- :s 8 • 1- * IS 8 • 1- IS d^ * _ * :d^ The sea for me, the sea for |t| :- : t| :d :r in :r :d r * Iti • • n :f :s |1 :s :f 1- : S) :1| :ti id :ti :1| |S| • • d :r :n If :n :r 76 FOUBTH STEP. me, S n I- :- |d' :s :n j : • m Id - \8 d :- the s :- :- \8 :- deep d :- :n |n :~ :- I- :- blue :n :n | :n :n Id :- Fine. A. t. dolce. Our ship sea S| |- |- on its sd :d :d id S|di :d| :d| |d| jsi for :s :s I :f :f me. :n :s d :- - :- I- :/ \n bo - - - ti :t| :ti |t| : S| :si :si jSi : som I I — I — j — \ s 1 1 smooth - - ly d :d :d id : : f\ :fi :fi Ifi : : s :- :- |- :- glides, n :n :n jn : d :d :d |d : s :/ [n : light - ly o'er n :- :r |d di :- : |di the - :ti d 1| fi |- :r ipi lows she 111 : Ifi : r :- :- j- :d ;/| - - - ly gai t, ri Ifei :- ir, ti :- I- :~ rides; :si :si |S| si I- :- Then d :- j- :t{ :d join si :si :si |S| n, :ni :ni jni us - j- m li :li :li 111 : fi :fi :fi |fi : our r :- j- :d :r grate t| !t| !t| |t| si :si :si ful m :- :- |- song, d :d :d jd d| :d| :d| |di As d on ir wardj rii :si di :- : \m :/ to our jd :r Idi : s - :- \l home n d. :■ St. Co, (New,) ir |f| we're » —I • * mm * m - :- I borne d :- Si |t| - |si a f. D. :- long. D.S. - I- :"ti:ti jt| :- I- FOURTH STEP. 77 Modulator Voluntaries now include transition of one remove. These should not be made too difficult by wide and unexpected leaps on to the distinguish - Lag tone ; nor too easy by always approaching the distinouishing tone stepwise. While the effects of transition are in process of being learnt these exer- cises may be solfaad, but the teacher cannot now be i content with solfaa-ing. Every exercise should also be laad, p. 37, and that to the Italian laa, p. 2. Two-part Modulator Voluntaries interest the pupils much and form good voice exercises when sung to the pure and open skaalaa^ and the simpler they are the better for this purpose. But if they are made difficult to the pupil they become difficult to the teacher and his attention is so taken up with the music he is making that he forgets to listen for the proper quality of voice. The teacher who would use only good two-part music should prepare such exercises carefully. Sight-laa-ing. — The laa-voluntaries are really sight- singing exercises, if the teacher does not get into self-repeating habits of pointing. See p. 42. But, at their best, they give no practice in reading time at sight. Therefore the absolute necessity of sight-laa-ing from new music (as the monthly Reporter) or the black-board. Memorizing the three keys. — The pupUs 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 modu- lator. 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. 51. The pupils must learn to say these relations, collec- tively and each one for himself, without the modu- lator. Memory Patterns. — It is difficult to indicate divisions of time by the motions of the pointer on the modulator with sufficient nicety to guide the singer 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 iaa-ing but pointing on the modulator. The pupUs imitate them, witKout the teacher's pointing, first solfaa-ing and then laa-ing, St, Go, (New,) 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 de- i lights 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, as at pp. 24, 42, will fasten on the mind the mental effects of fe and ta. Time Ear Exercises, as at p. 24, should stiQ be continued with the new difficulties of time. Dictation, as at pp. 12, 24, with the new language of time just introduced, will now be carried to a much greater extent. Copies of tunes belonging to this step from other courses, or original compo- sitions, or pieces for special occasions, can thus be rapidly multiplied. When once the practice of Dictation and the use of the " Tonic Sol-fa Copy Books " has got into familiar use in school or class many things can be done by it. Some schools are taught entirely by a Modulator, a set of Wall Sheets and Copy Books. The further we go in Dictation the more useful the time-names become. The " announcements " for Ex. 174, I. 3, m. 2, &c., would be as follows : — ** taa m"^ — **taatai f — TAAfe s f " — *' TAA m " — " taataitee r d r " — ** taataitee m r m" — taataitee f m f taas " (that is D in the minor mode) is as little used as Major M. R is called the " Super-tonic " in the Major, and r in the Minor. "Minor T," and "Minor ^r," are used like R and '^R (pp. 46, 47). L is called the " Sub-mediant " in the Major, and both F and ZA are Sub-mediants in the Minor. T is the chord of the " Leading Tone " in the Major, and SZJ in the Minor. No chord on the flat-seventh of the Minor (S) is used in distinctively Minor passages. It will be noticed that we write the chord-names for the minor mode in Italic Capitals to distinguish them from the same chords when iSlt. Co. rNewJ. 88 FIFTH STEP. influenced by the habits of the major mode ; for the same purpose of distinction in speaking we say " Minor X," " Minor T," &c. The student should compare the above six chants in every respect with their major-prototypes. To make the com- parison one of ear as well as eye, the two versions should be laad softly, the student looking at the major while the minor is sung, and at the minor while the major is sung. Ex. 187. Name all the chords in Exs. 1 8 1 to 1 86. Modulation originally meant singing in mode. We use it for a change of mode, as from the D mode to the L mode — from the major to the minor, or from minor to major. Major tunes frequently introduce touching cadences in their Lah mode or " Kelative Minor." (See Exs. 195, Meas. 23. 212, Meas. 14). And, it is almost a necessity for a minor tune, that some large portion of it should be brightened by modulation to the relative major. (See Exs. 189,— 5th Meas., 190,— 11th Meas., 191,— 5th Meas., 192,— 4th Meas., 193,— 10th Meas). And even in 188 and 194 there are short phrases of major, with f and s to distinguish it. Transitional Modulation. — When the music changes both its key and its mode, at the same time, some beautiful effects are introduced. The commonest change of this kind is that from the major mode to the relative minor of its first flat key. This originates a new " distinguishing tone " which we call (on the " improper method of notation) de. The bay is often used, disguised as t. l^'he phrase t, : de I r is really : 1 | se : ba : se I 1. d t f n 1 r se-de d ba-t : r 1 de (See Ex. 234, Meas. 5). This "transitional modu- lation" is more frequently used in Passing than in Cadence modulation. (See Exs. 233, 245, and 236.) Additional Exercises, — ^p. 33, 3rd score ; p. 47, 4th score ; p. 49, Ist score ; p. 52, 1st score ; p. 54, 2nd, 3rd, and 5th scores ; p. 80, 4th score ; p. 88, 2nd score, and p. 60, 1st score. Another, though not a frequent Tran- sitional Modulation, is that from the s d t f n 1 re- -se r -ba d major to the relative minor of the first sharp key. This originates another distinguishing tone which we call re. The bah, in this case, is rarely used, but it would be called in passing modulation de. The transitional modulation of the first remove — minor to major is more common. Cases may be found moving to the first flat key in Add. Exs. p. 60, 3rd score ; p. 69, 1st score ; p. 88. 4th score, — and to the first sharp key in Add. Exs. p. 33, 3rd score ; p. 59, 1st score ; p. 60, 4th score ; p. 79, 3rd score; p. 87, end of second score; p. 96, 1st score. Accidentals. — Properly speaking, nothing i% accidental in music, but this word is frequently used to indicate any tones which are out of the com- mon scale. It will be the student's business to judge whether these tones indicate transition from the key, or lead to a chromatic eflect in the key, or are merely brief ornamental passing or waving tones. In the Tonic Sol-fa notation we indicate a sharpened note by altering its vowel into ee, thus d , dee, (written to save space de) and a flattened note by altering its vowel into au as in caught, thus lUy mau^ 1, lauj s, sau, and r, rau. To save snace these are written — ma, la, sa, ra. See Ex. 247. Rare Accidentals.— In uncommon cases like those in Ex. 247, the sharp of 1 is introduced. It is called le. It seldom has any very traceable key- relationship, but is introduced as an accompanying third to de. In the same way, but in exceedingly rare cases, bay is sharpened generally to accom- pany le. It is called be. In even rarer cases still, the sharps of m and t are required. They could not be properly written respectively f and d, because that would make them slightly too high. The sharp of any tone bears a flxed relation — that of a little step to the tone above. Its relation to the tone from which it is named, varies slightly according as it is taken from a greater or a smaller step of the scale ; but it is always less than a little step. The sharp of m may be called my, that of t may be called ty. If in similar out-of-the-way cases, the flats of d and f were required, the flat of d would be called du, and that of f would be called fu. See " Staff Notation," p. 31. FAREWELL, MY OWN NATIVE Ex. 188. KEY B17. Z is G. Rather slow. Air 1| :- .1, !t| .d :r .t| d :- .r |d :n l.Fare - well my own dear na tive land. Dear :n, .ri d| :- .1| |sei.l| :ti .sei 1, .ti |1| :d 2 Fare - well to all my kin dred dear, My St, %, (New,) LAND. " The S r friends t. ohHd - .d (t| .d :r .t| a long |sei.l| fare - :ti .sei hood's home,fare - FIFTH STEP. 89 d well, ii well, t, bid ri bid Each :pi, With lov throb .d |ti :r ing heart and .fei|S| :ti bing heart and d Mnd li fall .t| |1| :d ly hand, I .sei|l| :nj ing tear, I - .1| jl| :sei you now fare - .Ii |ni :ni_£i you all fare - « _ ii well, well. I— — I Chorus. li :- Id :- :sei il; Fare well. fare ye well. f, :- |pii ri :ni.ri [di Fare well, fare ye well. EVER, NoTis. — Sing it firmly, with the " pressure form " more or less marked on every second pulse of the measure Ex. 189. KEY C. L is A. M. 66. Graun, • * • • :n 1 :■ - :t d' • ___ • :ri n' • :f' ;r' Our life is ev er on the wing. And 1 :— :t d' ;■ - :ri n' • :fi n' 4 :r' d' :t Our life is ev er on the wing, And death is d' - :t 1 ;— :1 fi \— ; f n' t ;n 1 r' :- .d'rr'.n' d' :- .t :d'.ri death is ev er nigh; The mo ment when our lives be- 1 :- - :ri di :n' — :r' :r' di • :d 1 t :- - :t 1 :~ - :1 ev - er, ev er nigh; The mo m ment when our lives be - t :n' d'.n':f'.Pi':ri.d' r'.d':r' :d' :d' :t d' :- gin, We all be - gin to die. We all begin to die. se ; — :se 1 :1 f .1 :t.l rse.ba se :n :1 - .,l.*se :se 1 :- gin, We all be - gin to die, We all begin to die. SUMMER IS GONE. Ex. 190. KEY B |7. Z is G, Slow, Am, " Fortune, my foe." li :- 111 d :- 1- :ti 1| :n ir :d ti :- 1. Sum - mer is gone, And sad - ly sighs the breeze, 2. Sum - mer is gone, And here I sad - ly sigh. S.S.C. or T.T.B. 1, 1- :-.t| d :- 1- d :t, 1- :li sei : — li 1- :-.t| d :- 1- li :sei 1- :li pii li :- 1- :-.t| d :- 1- Hi Hm, Hm, St, Co, (New,) 90 ¥IFTB. STEP. 1( ■ 1 ...^ 1 Hi 1 ^ • ti d : 1 , t I — :t, 1, :n |r :d ti :- Moan AU, ing all it a - goes lone, Througli Not hare one and dear leaf - less friend is trees , nigh; 1| I — .11 u 1 a \A :t, I — :li aa • 1( .ti "d * 1 1 — 1| :sei 1 — "li Hi : — 1| 1— : •t, d 1 — Hi 1 — . • 1— Hm, Hm, n : |n : .PI n : 1 — :n n :s |f :n r :— Sweet Sigh flow'rs on, aise ye dead, winds ; The Though song -birds spring a - aU gain have will flown, come, t, : d |r . jt| ; I — d : n |r : d ti 1— sei : 1( Iti 1| sei : 1 — si : 1— : ni ; 1— : 1 — d, : Its : d, _Sj :— Hm, Hm, r IS ; n :— 1— :r .d t, 111 :sei li :- 1— Sigh Those on, dear, ye dear winds, friends. For To smn me - mer can days - not are re - gone, turn. r : — 1 — d 1 — sei III mi t 1— J— t, 1 — d 1— Pl| 1— :ri d| :- 1— si :— l~ 1. 1— :di I— 1— Hm, Hm, THE CHRISTIAN'S PARTING WORDS. "Words by James Montgomery, Ex. 191. KEY C. L is A, M. 50. H ll.Let inWe Id :1 me . have :d 1 .d':t .1 |se :se go, the day is spent a night of d.n:r.d|t| :t| se.t :1 .sell :1 hreak-ing. Dear com wak - ing, In the ti .r :d .ti |d :d 1 .di:t .1 |Pi' :se pan - ions, let wil - der - ness Russian Air 1 me he - d .n :r .d |d :t| go; low. d |d» :di TJp - ward d^ni:r>^|t :t bend my :r now I n .s :f .n |r 8t. Co. (New), t .r'ld'.t |1 :1 way. Part we r .f :n .r |d :d 1 .di:t .1 jn' :se here at break of d .n ;r .d |d :t, 1 day. d FIFTH STEP 91 2 Let me go — I may not tarry, Wrestling thus with doubts and fears ; Angels wait my soul to carry Where my risen Lord appears ; Friends and kiadred, weep not so, If ye love me, let me go. 3 Heaven's broad day hath o'er me broken Far beyond earth's span of sky ; Am I dead ? — Nay, by this token Know that I have ceased to die. Would you solve the mystery ? Come up hither, come and see. Ex. 192. KEY G. Z is DRIVE DULL CARE AWAY. Am. — " We be soldiers three." li :- • < |ti :- • r :d |ti • • 1| • .t| :d 1. Drive li :- • dull jsei :- • • care t, :- a ■ :li isei :- • Let 1| us be -.sei:l( 2. Come, come, join our song, Mer - ri - ly Iti d :-.ti: |ti : , ,, ■ , M s :- -.f : n |r :-.d ;r n ;-.r :d hap isei :ni bHthe li :-.s|: and fe, gay; IS! : mmm, • , . t Ban - n :- ish your sad .r : d |S| - ness and :-.li:t| join d in our :-.t|:l| chant it loud and long; Ban - ish your sad - ness, bid sor - row be- lay, isei gone, Words by Byron. Ex. 193. :li .,ti |1. The As [2. Like the :li .,sei 1 3. For the r :- And let ti :- And let THE KEY F. X is -Z>. :d :r .n :d us all .d :1( us all It: sing Isei sing :t| and be , - .bai : se( and be d :1, mer - ry. 1| : 1( mer - ry. I" I- DESTRUOTION OF SEliTNAOHERIB. -sy - nan leaves of 1, :1| An - gel came the :t, of n down for - est d :d Death like a when :ll .,sej spread his d :d wolf on sum - mer li :li wings on Music by :r :d .,r the fold And his is green. That :ti d :— :li .,t| the blast, And n :n :ba se :se :ba n :n :ba se CO - horts were gleam - ing in pur - pie and gold; host with their ban - ners at sun - set were seen : d :d :d :t, :li set :sei 1| ti .— breath'din the face of the foe as he pass'd ; St. Co, (New), — '1 .,t And thei liike the; :d .,r And the) 92 FIFTH STEP. :t :1 sheen of their leaves 01 tne :s :f eyes of the rit. n :n :r blue wave rolls host on ine d :d :t| heart but once Ex. 194. KEY A. L is d • in l.Far, far 2.Far, far 1| • iSCi : 3.Far, far li - :f home, Where home, Our di :• - 1 — :ri home. Can s spears for - :f was est ;r n sleep - ers :n like when .•d waxed night - mor - 1, heav - :d row :1| ed. dim. :d 1 stars Au . d dead :s on tumn •■t, ly :f the hath and n :— sea, blown, ' chill. P :d .,r When thej That .,ti And their i on lay And for n :n :n deep with Ga . - er'd . u . and sei :sei :sei ev er grew 1| : lee. strown. 1| I stiU; THE JEWISH CAPTIVES. Slow. - .r from from - .sei from d home, home, ll I — — 1 home. n :-.r|d :r Baby - lon*swa-ters harps with un - tun' d m :n, 111 : t|.l| cap - tives tune the n :— | — roll, string sei I — string ? A. L. G. jd :- .t| Far, far fromJ Far, far from) li IMi :- .ri Far, far from) :ni bai :sei | l|.t| ;d .d In si - lence sit we| On wav-ing wil - lows/ :ni bai :sei il|.t| :d .1| Shall Zi - on's songs be' ti :- 1— : .n jn . n :— : .n f :- if :- down, hang, se, :— 1— And While : .Pl| bit cap r ;d ter tors It, :li tears, scoff, sei 1— And And : .ni hea ask r :d for |ti :li sung ? Je -ru sa lem ! . My chief est f :- 1— :n d :r in :r d It, • li :- 1— : sighs, nurth, SCj : — 1— Ex - And :sei press the bid us li :t, an - songs Id guish of :t, of Zi our on 1 — :sei soul, sing. ll [— : joy! A - way from thee. how j can we sing ? Co, (New). Ex, 195-~6. FIFTH STEP. FORGIVE THINE ENEMY. 93 Ex. 195. KEY G. D. t. • • • • • • ■ d ti :sj 1, :l" For give thine en - e my, thine d' :s' - .fi • 1 1 - .r' :d' .t 1 .t :d' mv, thin ft en e ' my, thine en n :- .r d .ti 1, : 1 - s f • — .PI en e my, vllXXXXj ATI • • :f n :d r :n For - give thine en e - .f : s .d r :- .r d • • :d Forgive thine en e - my, For t :s give thine 1 .s :n .s en r e my, li e :t e :1 thine :fi give thine 1 Fuchs, :t en - f e - :n .r my, thine d' • my, d .r • If my, :s .f li en - e " :ti en - e - :d' my, thine d :ti .li my, d' For M :d give thine 1 G. d's.f :r .f thine en-e- my, thine :t .1 se : — 1 .Pi :1 f en - e - • • my, :n .r thine en d :- .r,d thine en-e - my, thine t :s 1 :t d' :t .1 give r thine :n en - f e - :n .r my, n .1| thine :1 en - e - my. thine en-e - my> n :d' - .t :1 - .S :f my, d .t| For :li .n f give :- .n r thine, :- .d en e - my, thine en e - tl en :se e - I ~ . t| e t .n :n' en-e - my, — :s — :n thine tj.si :d my, thine en 1 my, 1. my. .r' :1 .t thine ene I f For d' my, - .n :d .n thine ene -j r en e :ti e my. d my. Chanting. — The pupil will now learn the recita- tions of Exs. 177 and 178, paying special attention to the Consonants as taught at the last Step. Ex. 196. Sing to words Exs. 177—178, having first learnt the music by heart. Arranging Recitations. — In connection with the fitudy of Chanting, it will be well for the Teacher to give out a portion of a Psalm or some other St. Co. (New). passage of Scriptirre ; to be fully marked for Chant- ing, with Cadence bars, Pulse divisions. Accent marks, and Type-expression. (See pp. 35, 36, 59). The comparison of these various plans, before the class at its next meeting, wUl prove both a fine exercise of taste, and an interesting study of the sense and meaning of the words. Besides, the Tonic Sol-faist should give himself the trouble of masteriag all these principles of recitation practi- 94 FIFTH cally, for he may some day have the duty and happiness of leading a congregation, and then, whether he uses a "book marked for recitation like our exercises or not, he will require a practical mastery of our principles, unless he is content with tasteless, sinful " gabbling " instead of chanting,^ In commencing such exercises, the student will first cut off the cadences. He will naturally try to arrange these so that the musical accent may correspond with the sense of the words. This cannot always be done. The attempt to do it, in difficult cases, often leads the marker to put too many syllables into the pulses of the cadence — so, that when it is sung quickly, as cadences should be sung, an irreverent dancing effect is produced, and when the cadence is sung slowly, it naturally makes the recitation also both heavy and jerky. The practice of putting several syllables into the pulses of a cadence, compels the reciter to put many sylla- bles into the pulses of his recitation. *It is certainly better in the cadence — as far as sense will allow — to keep only one syllable for a pulse. Compare : " : . Which I stilleth the : noise of the \ seas : . the : noise of their \\ waves : and the tumult ; of the | people " with " : . Whieh stilleth the : noise of the \ seas : . the noise : of their ] waves : and the jj tu : mult ] of : the \ people.*' The last can be sung quickly ; the first must be slow and heavy, and still jerky. In preparing the Eecitation, let the student first make sure of its beginning and ending.^ For he must remember that the chant is a mixture of Speech and Song. The Eecitation is Speech ; the Cadence is Song. This necessitates some compro- mise, at least some "management" at the points (before and after the cadence) where Speech and Song meet. As an accent comes at the beginning of every cadence, there must always be before it either an unaccented pulse, or a pause of a pulse supposed to be imaccented. As we cannot well have two strong pulses together, it is unnatural to make any other than a weak pulse between the reciting tone and the cadence. Thus, if in the follow- ing sentence we feel the necessity of emphasising both "martyrs" and "praise," we should not attempt to write — " : . The \ noble : army of I martyrs \ praise " but " : . the \ noble : army of \ martyrs : | praise , &c. As every cadence cloi>es with a soft pulse the mind naturally expects the strong pulse to follow, and if the words will not bear this, you must give a to let the St, Co, (New), * Because the pulses of recitation and accent pass by. Thus " | Thee : — (i : . The I holy : Church : throughout \ all ** or better thus " : . The : holy \ Church,*^ Another hint is this. It is important that the student should use a metronome for his recitation, else he will find himself continually varying his rate of movement, and that cannot be done by a great congregation. It is very unnatural to hurry the pulses of the reciting tone and slacJcen those of the cadence. They should all move at the same rapid rate. If you chant slowly it is impossible to make the pauses indicated by the dots. In further studying the reciting tone, the careful marker will observe that the two-pulse rhythm is the most common and easy, but the best speech contains a well-arranged variety. As a general rule, the rhythms in which a passage is best said are those in which, for chanting, it should be sung. Chanting, however, is not private talk ; it is public speaking. Public speaking differs from private talking in this — that the pulses in public speaking are necessarily more regular, in order that the voice may carry further. The student, moreover, must not despair if he finds it, in some cases, ex- tremely difficult to reconcile sense and rhythm. Prose is often written more for the reader than the speaker. The prose style of a Bolingbroke, a Brougham, a Gladstone, or a Bright, is quite different from that of a student or a learned trans- lator, who seldom speaks further than across a table, and it is altogether more rhythmical. It was not all the translators of the Bible who studied the rhythmical structure of their sentences. While the student is thus recommended to exercise his judgment and taste in deciding which plan best expresses the sentiments of the words and best draws out the voice of the whole people, — ^he should be always ready to unite cheerfully in the " use " which he finds established in the church in which he worships. The following hints are for the Precentor. First, avoid chants with high reciting-tones out of the reach of ordinary voices. Long recitations on a high tone are screaming impossibilities to a congrega- tion. Second, avoid chants with wide intervals in the cadence. Such cadences are not like the natural cadences of an excited public speaker. They are almost necessarily slow and heavy when a congre- gation sings them, and " slow " cadence makes jerky recitation. Expression. — At page 30, a brief and superficial reference to this subject is made. The pupn being cadence should move at the same rate. FIFTH STEP, 95 now well grounded in the doctrine and practice of time and tune, is free to give full attention to expression. The subject is one of great intellectual and artistic interest, and both voice and mind should go through a thorough training in expres- sion. The chief elements of expression are speed and force. How speed of movement influences the emotional effect of tones has been shown — p. 28. How the various Degrees of Force can influence expression is never known until the pupil has really learnt to control his own singing in this respect. It is one of the simplest, easiest, ihost effective, and most neglected of all the contrivances of music. Ordinary singers employ either an uniform weak drawl, or an equally uniform shout. They have never cultivated a medium force of voice, and they can never give that light and shade of sound, which, Hke the varied distances and lights in a painting, thi'ow such a charm over the musical picture. The first thing to be secured — the foun- dation of all the rest — ^is a good delivery of each tone, both for the sake of quality and clearne&s of impulse. Delivery of the Voice. — ^In singing, the student must remember that he is not singing to the top of his head or the bottom of his throat, or to the inside of his mouth, but to an audience in front of him. He will, therefore, direct his breath out- wards, in a steady, well-regulated stream, keeping his teeth always wide apart — even when he has to round his lips. By this means he will avoid shrill bird- warbling, bass growling, and vague humming, and will produce a rich, round tone^ without discor- dant upper " partials." Attack and Release. — Closely connected with a good quality of sound, and essential to its pro- duction is that clear striking of every tone — that " good attack," as M. Fetis calls it — ^that " shock of the glottis," as Garcia describes it — ^that firm, but Ught and elastic " touch " as Mdme. Seller speaks of it — ^which should become a habit of the singer. Every tone should have a sharp confident opening as well as a distinct close. It should be like a newly cut coin. " Any one," says Dr. Lowell Mason, " who gives attention to the production of tones by a good instrumentalist, or to the manner in which they strike the ear when the 'attack' is made upon them (or when they are first brought forth by a skilful player), cannot fail to observe their great superiority in promptness and energy of delivery, to those usually heard in singing. Indeed, choir or chorus singing can hardly be heard without reveal- St, Go, (New). ing the fact that whatever proficiency may have been made in reading music, so far as it relates to time and tune, the proper use of the vocal organs in the enunciation or" emission of tone has been sadly neglected." Any one who, in the Crystal Palace or elsewhere, has heard some great artist singing with the accompaniment of a vast chorus, must have been filled with wonder to notice how easily the artist's voice was heard above the thousands of uncultivated voices. It was greatly because the artist had formed the habit of good attack, and made his voice reach the ear more quickly and more truly. The increasing habit in singing classes (when time, tune, and words are learnt) of studying delivery and expression, with closed hoohs, under the guidance of the leader and his baton, have done much in England to remove this defect, — of bad attack. Mr. F. Kingsbury, in his sensible pamphlet on the voice says : — Pass the breath in a small stream letting it commence suddenly^ as if produced by the sudden opening of a valve, but without any further effort. Unnatural forcing of the breath must be avoided, while care is taken not to let it ooze out. By this prompt attack, after a few experiments the singer will positively feel the back of the throat and mouth simultaneously filled, as it were, with ? solid body. The muscular power of these parts^is felt to gTasp or lay hold of the sound. TMs sensa- tion of laying hold of the tone should always be present to the singer. He will then be conscious of a power to mould and shape the soimd at his will. The following hints from Mr. ElKs will assist the teacher in observing, and the pupil in learning the proper mode of attack. Only, that which he calls the " clear attack," forms the true action of the glottis to be practised by every singer. In this, the vocal membranes are brought into contact exactly at the moment when the breath is made to act upon them. In the "gradual" attack, the vocal membranes are brought together while the breath is being emitted, so that the passage through whisper to voice (whisper being speech without the vocal membranes) is unpleasantly audible. As this attack is common in speech, it is the more neces- sary to guard against it in song. It causes what we call " breathiness." In the " check " of the voice, the vocal membranes are brought tightly together hefore the breath acts upon them, and are separated with a sensation of a click in the throat. Only for an extreme staccato effect should this be 96 FIFTH STEP. ased. In tlie "jerk," tlie proper clear attach is made with the addition of a sudden jerk of the breath, produced by the diaphram or muscular floor on which the lungs rest. This jerk can be easily felt by the hand. It is the proper form of the aspirate H for the singer — ^that is H without " breathin'CSS." But, care must be taken not to allow a puff of wind to escape before the vocal membranes are brought close enough together to make the clear attack. In the " slurred " attack (that is the attack on the second vowel, or the con- tinued vowel ia a slur) there is a simple relaxation in the emission of breath between the two vowel impulses. So that no very sensible sound is heard between the two vowels, and no " clear " attack is heard on the second. The distinction between the slur and the glide (p. 61.) is this : In the glide the voice continues in full force while the organs are passing from one vocal position to another, and in the slur the voice is continued, but with greatly lessened force. This is true — ^both in music, when we pass from one tone to another, and in speech when, without change of tone, we pass from one vocal position to another. The " release " of the vowel by a clear action of the glottis, lea^dng no ragged ends to the sound, should be very carefully practised. It produces as beautiful an ejffect as the clear attack itself. The teacher will make his pupils try all the various modes of attack, but practise only the clear attack. The power of recognizing had execution helps the pupil to understand and enjoy that which is good^. Degrees of Force. — To give his pupils a proper command of their voices, iu this respect, the teacher will find distract and frequent practice necessary. The degrees of force he may introduce m the following manner : — " Siug me a tone to the open Lah, at an easy pitch of your voice, which shall be neither loud nor soft, . . What shall we call it, if neither loud nor soft ? " Medium. " Yes, it is called a medium, or, to use the Italian word (which has been adopted into all languages for this musical purpose) a mezzo (med'zoa) * sound of the voice. Let us write m in the middle of the black board, for mezzo, and you can Ex. 197. / 1 P 1 / :1 Ex. 198. P :1 / |1 / :1 p :1 p 1 / 1 p .1 / :1 p p |1 :1 / :1 sing with your medium force, whenever I point there. Let each one try to fix in his mind what is his own medium force of voice, and learn to pro- duce it at command. Siug it now, as I point. . . Again. . . &c." " Sing the same sound louder'' . . For the loud sound we use the word forte (for'tai) or the letter /. We will write / to the right of m, on the blackboard. . . " Now sing as I point." (m. /. /. m. (fee.) " Sing the same sound softly. For the soft sound we use the Italian word ^emo (pyaa*noa), and the letter p. We will write p, to the left of the m, thus : — P- " Now sing with ' medium,' * weak,' or * strong ' (mezzo, piano, or forte) power of voice, as I point to one or the other of these letters." The teacher points sometimes slowly, sometimes quickly, some- times in one order, sometimes in another, and the pupils sing accordingly. When these rough outlines of vocal force have been ascertained, and a good command of them sec ured, the teacher may proceed to develop, in a similar manner, the intermediate and the extreme degrees of force, using the marks m.p. (me^zo- piano), and m./. (mezzo-forte), for the intermediate degrees, and ff. (fortissimo), and pp, (pianissimo), for the extreme degrees, very loud and very soft. Let the teacher show, by example, that it is possible to give a very loud tone without scream- inq : — ^ The black board will now have the following signs marked on it ; — w/. /. if. pp. p. mp. The teacher wUl exercise his pupils in passing from one part of this scale of strength to another. A reaHy gradual (not a jerking) passage from one end of this scale to the other, and then back agaiu, is one of the most diflS.cult feats in music. The pupil must take a good breath before he begins, and use his breath economicallyc The exercise is of first importance. P f P 1 :1 |1 :1 1 :1 |1 ;1 p f f p p 1 p :1 / :1 / 1 / :1 St, Co, (New) . * The iuverted full point marks an accent on the preceding syllable. P :1 Ex. 199—203. FIFTH STEP. 97 Ex. 199. pp P f 1 :1 |1 Ex. 200. pp p mp 1 I- :- Ex. 201. ff f mf m 1 I- :- :1 m ff f P pp ff / p pp pp pp PP 1 • 1 — t 1 :1 |1 :1 1 :1 |1 : mf / / / ./ / mf m mp p pp • - • 1 — • - t • 11 t 1 — • « 1— : — mp p pp pp pp pp p mp m f ff f Crescendo (Kres]ien'doa),*&c. — long tone or a succession of tones passing gradually from tlie piano or pianissimo, to the forte or fortissimo is called a crescendo tone or passage. A long tone or a succession of tones passing from the forte or fortissimo, to the pia)zo or pianissimo is called a decrescendo or diminuendo tone or passage. The gradual passing from pianissimo to fortissimo and hack again to pianissimo is called a swell. The crescendo is indicated thus, The diminuendo thus, The s^^;(?^^ thus, For the development thus far of the suhject of force in music, the Editor is indehted to Dr. Lowell Mason, of America, who was the first to reproduce, in the English language, the Pestalozzian prin- Ex. 202. KEY D. d :r |n :f s :1 It :d' staccato and Detached Tones. — When a tone is meant to he sung only half its proper length, and in a marked (not loud) manner, this is indicated hy means of a small dash thus ( ^ ) placed over the note. This mode of singing is called staccato (stakkaa'toa). When a tone is meant to be sung about three- quarters of its proper length, , this is indicated by a dot placed over the note. These tones would be called " hall staccato " or detached^* tones. Legato. — ^When it is int^ded that the tones should glide gently and easily one into the other (the degree of force with which the first tone ends being the same as that with which the second begins J, a slur ^ or the word legato (legaa*- toa) is written over the note. Sing the following, 8t, Go. (New.) * pronunciatioii, I ciples of music teaching, by which Nageli and others had created a musical revolution in G-ermany. — See his " Boston Academy Manual of Vocal Music." Pressure and Explosive Tones. — Pointing on the " scale of force," as above, let the teacher cause his pupils to perform a verg rapid crescendo. A tone delivered in that manner is called a " pressure tone." It is indicated thus (<). In the same manner a quick or sharp diminuendo will produce the "explosive tone" marked thus (>). This manner of delivering a tone is also called sforzando, and marked sf A combination of the two last modes of delivery on one short tone should be expressed thus (/\) . This musical ornament is very elegant, but difficult to perform. A tone delivered with equal force, from beginning to end, is called an " organ tone," and may be indicated thus (=). A A :t A ii A :s r :d first with staccato, next with detached, and lastly with legato tones. Do not make the legato dull and heavy, but smooth and elegant. Ex. :s 203. KEY F. :f iPi s :r d :1 Application of Force. — The application of the various degrees of force to the sense of the words is deferred to the last step. But, the use of force, as suggested by peculiarities in the musical phrases which are sung (apart from any modification which words may suggest), is now to be studied. Of course the words cannot be neglected at any step, see Teacher's Manual, p. 202. 98 i^IFJH STEP. Ex. 204 Already some hints on the subject have been given at p. 30, and the teacher will add more as he comes to the cases in each tune sung. It is only the systematic study of verbal expression which is deferred to the next step ; musical expression alone will now be systematically studied. Additional Exercises." — ^We shall, from this place freely use the Additional Exercises (Pts. 1, 2, and 3) for the illustration of various points in musi- cal and verbal expression, in musical Eorm and in the Analysis of Harmony. Our illustrations will be principaUy taken from the earlier numbers, but for the Exs. all three numbers will be required. It is very important that the pupil should, as far as possible, not only see but " hear " the illustrations. When the class cannot sing the piece, a quartet should sing it to them. Pains have been taken — not only to suit these exercises to the progressive steps of this book, and to select them from the best composers, but also to secure in them as great a variety of style as possible. It is quite common for a class to sing a large quantity of music without really learning anything, because they are always singing the same sort of music. There is, however, always something new to learn in each of these Additional Exercises. Normal Force. — By this is meant not the force of certain passages^ but the general — ^the prevail- ing force of the whole tune. Some pieces of music by their bold character, evidently demand loud singing to bring out their proper effect. — See " God speed the right," p. 1. " Freedom's sons," p. 13. " Time for joy," p. 15, &c. Others, equally by their gentle motion, suggest soft singing. ** Hear me," p. 17. *' Jackson," p. 2. Hope," p. 12. " My Lady," p. 21, &c. Of course the sense of the words, and the character of certain phrases wiU introduce modifications in the course of the tune, but the "normal force" is that principally used. The pupil should endeavour to obtain full command of the Medium force of his own voice. The teacher should give out a tone, and require his pupils to sing it in various degrees of force as he demands them. Mezzo I piano ! forte ! piano ! mezzo, &c. He should then require his pupils to judge from the musical style, speed of movement, &c., of various tunes, which of th-ese three degrees of force should be the normal or general one given to the piece. Piano Passages. — ^A true piano is sung, not with laxity, but with effort. To keep a piano passage from flattening in pitch, and to deliver it with clear 8U Co. (New ) . * For phrasing" see further ** Mus: and just intonation is very difficult. Echoes are commonly sung by a few select voices in another room, but, for the practice of pianissimo^ it is better that they should be sung by all. When a true blended and real pianissimo of many voices can be obtained, it is far finer than the piano of a few. Illustrations of piano and pianissimo, for simple musical effect, may be found in " The Waits " when sung the last time, — in the imitations of the "Cuckoo" and the "Quail," — ^pp. 9 and 14, — at the change of measure in " Swiftly," p. 29 ; and again at the change of measure, p. 31, &c. Forte Passages should be sung with a very clear vocal klang, and should be perfectly free from the sound of breath. Such a forte is very heart- stirring. But the rude, coarse forte produced by strong lungs and harsh voice is only deafening. Illustrations of this may be shown in the manner of singing " God Speed the Right," p. 1. " The Waits," p. 8, — ^when sung the third time. The close of " Freedom's Sons," p. 13 ; close of " Hear Me," p. 19, and several closing parts of " Swiftly," p. 32, &c. Melodic Phrasing is the art of dividing a melody into its natural parts, and showing by the manner of delivery that the singer himself distinguishes these parts, and wishes his hearers to distinguish them also. It is as important that these pbiases should be distinctly marked by the good singer, as that the various members of a sentence (as indi- cated by the stops) should be marked by the good reader. This can be done by singiug one phrase piano, another mezzo or forte and vice versa, by com- mencing a phrase forte and ending it piano and vice versa, by deliveruig the last tone of a phrase staccato, and shortening the first tone of the next phrase so as to allow a momentary silence before it, and so on. The proper choice of breathing places has a great effect in marking off the phrases. In some cases the phrasing of all the " parts " will be simultaneous ; in other cases each " part " will have its separate phrasing. The phrases in " God Speed the Right" (p. 1.) are sufficiently marked out by the Imes of the words. Each of the long lines is easily divided into two, however, if more breathing places are required. * Ex. 204. Mark the phrases and breathing places, on the supposition that there are no words to modify your judgment, in " God Speed the Right," (p. 1.) and as the two opening periods consist of the same music, mark how you would distinguish t^em in musical expression. Theory," Book IV, pp. 244 & 261 Ex. 206—210. FliTH STEP. 99 Ex. 205. Mark in a similar way " Jackson/' p. 2. Ex. 206. Mark in the same way " The Waits," p. 8. Ex. 207. Mark in the same way " Freedom's Sons," p. 13. Ex. 208. Mark the phrases and breathing places in the Contralto and Tenor of " Spring Life," p. 3. Ex. 209. Mark in the same way the Soprano and Bass of " May-time," p. 5. Ex. 210. Mark in the same way all the parts of " Thou shalt show me," p. 7. Ascending Passages.— Passages which ascend by the steps of the scale (or otherwise) should, as a general rule, be delivered crescendo. Each tone should run into the next with regularly increasing force. We naturally associate height of pitch with ideas of energy and spirit. Full force of sound also naturally suggests the same ideas, and (except where it would interfere with some greater elffect) should always accompany ascent. The gradual nature of the ascent also tends to "set off" the wider skips of interval in the other parts. It is difficult to make the crescendo gradual, each tone running into the next with a steady and not jerked increase of force, neglecting for the moment the common accents of the measure. It is generally necessary to commence piano, in order that the singer may have breath and strength to spare for the end. The slightest signs of fatigue in a cres- cendo, would utterly and miserably k ill its musical effect. Imitative illustrations may be presented in the opening of " The Fortune Hunter," p. 4, where there is an ascent of an octave from s, to s, — ^in the opeiung of " The Waits," p. 8, where there is an ascent of a fifth. Ascending imitative phrases, as in the last four measures of " Swiftly," p. 32, should be sung with a crescendo effect ; notice also the ascending bass. — See also Standard Course Exercise 137. As a general rule, such passages as these should be commenced more or less piano in order to get the crescendo. For the same reason, it is almost always necessary to take breath before commencing such a passage. Descending Passages should commonly be delivered diminuendo, because an idea of quiet and rest is naturally connected with descent of sound. Descending imitative phrases follow the same rule. Find examples in " Going Home," p. 2 ; " May Time," top of p. 6. But where the &t. Go, (New), * " Musical Theory," Book IV., tre I character of the tune or the character of the words requires energy and power, this rule must be broken. See the bass — "Awake ^olian Lyre," p. 64, 1st score. When an ascending passage, in one "part," comes into contrast with a descending passage in another, and both passages are properly delivered, the effect is very beautiful. See — " The Quail Call," p, 14, soprano and bass; "How Lovely," p. 60 (S. against C, and T. or S. and C. against T. and B.), three times in two scores to the words " Gone forth the sound of their." As a general rule, such passages as these must be commenced more or less forte, in order to get the diminuendo. Repeated Tones. — The repetition of a tone, if it has any meaning, is intended to impress that tone upon the ear with cumulative force. To assist this purpose a repeated tone should be delivered cres- cendo, partly because the singer thus compensates the ear for want of variety in interval by variety in the degrees of force, and partly because he thus " sets off," by contrast, the movement of other parts, just as the Ime of the horizon " sets off" a varied landscape, and a quiet rock the rolling sea. The steadily increasing power also shows that the singer is not *weary ; and it is among the rules of art never to show weariness or exhaustion in the artist. See examples in 2nd score, " Going Home," p. 2 ; 2nd score, " Cuckoo," p. 9, and 1st score, " O, Saviour," p. 86. Eepeated phrases and passages should be treated in the same way as repeated tones. See Standard Course Ex. 113 ; air, meas. 3 and 4, and contralto meas. 6 and 6, Ex. 115; meas. 11 and 12, — and "repeated pas- sage," Ex. 120, last four measures. Prolonged Single Tones. — Lifeless monotony is unbearable in music, and therefore every tone should take some form. It will be found by ex- periment that the form most suitable for holding tones is the swell, and this swell should be full and strong rather than soft and insignificant. The composer commonly means that the other parts should be covered with a flood of sound from, the holding tones. " The greatest difficulty of this form of tone," says Fetis, "consists in employing an equal time in the increase of power and its diminu- tion." A perfectly simultaneous and equal (not jerking) delivery of this " tone form " by a chorus is very difficult to attain. Only practising without book, but with the signal of the graduoMy out- stretching and gradually returning hands of the ts the subject of Expression with new illustrations. IQQ FIFTH teacher, can lead to this attainment. See the close of " HaUelujah Amen," p. 28 ; " Swiftly from," three cases, pp. 29, 30. In the case of repeated tones running into a prolonged tone, or a prolonged tone breaking into repeated tones, the two should he treated as one, and the crescendo extended through both the prolonged and the repeated tones. See the bass in the close of " Cuckoo," p. 10 ; "Harvest Home," p. 39, two cases; "Theme Sublime," p. 68, 3rd score, and p. 70, 2nd score. See also Standard Course Ex. 138. Melodic Imitations.— When a composer makes one section or period of a melody imitate another, he designs that the singer should, by his manner, draw attention to the imitation. The best way of doing this is to make a contrast of force between the two. One must be more or less loud and the other soft. The pupils must study " the points " of a tune in order to know which of the passages must be loud and which soft. In "Jackson's," p. 2, the second section imitates the first chiefly in its rhythm. As it is a "rising" imitation, it is natural that it should be sung louder than the phrase it imitates. In the " Quail CaU," p. 14, the section beginning " Look at her " imitates the first section, and is itself imitated by the section which foUows. As the imitations are all " rising," the first section must be delivered Yory pimo to get anything like a forte on the last imitation. A striking rising imitation is in " Hear me," p. 18, 1st score. A falling imitation, which would naturally be softer, is in " Nearer," p. 35, 2nd score. In " Where the Gay," p. 65, we have a descending rhythmic imita- tion, preparing by its diminuendo for the striking succession of ascending imitations which imme- diately follow. See Standard Course Ex. 113, 6th score, at " Eejoice, rejoice." Ex. 188, meas. 5 to 9. Ex. 233, on " and in " to " me live." Marked Entrance. — ^When (as in much of the old sacred music, ia the old English Madrigal, &c., &c.) each "part" in turn, takes the lead in an- nouncing (in fugal style) the principal melodial theme, that " part " should assume its passing office with dignity, decision, and expressive clear- ness. The other " parts " should, at the same time, " give way," and hold themselves subordinate. It is plainly the composer's intention, that the entrance of these phrases into the music should be distinctly marked, like the entrance of some dis- tinguished guest into a drawing-room, when all conversation is hushed and all eyes are intent. STEP. Study examples in " Thou shalt show me," pp. 7, 8, in which all the parts hush, to listen to " thou shalt show me ; " " Bon Accord," p. 11, where the same thing should take place on the words " 0, Grant us by," or "Thy goodness more." Marked entrance is often effective when there is no fugal imitation, as in " Going Home," p. 2, second score ; " Hear me," p. 18, 4th score ; " Spring Life," pp. 3, 4 ; " May Time," pp. 5 to 7. See also Standard Course Ex. 116, scores, 1 and 2; and Ex. 113, scores, 1, 2, 6, — contralto, " Rejoice." Subordination of Parts.— As in the rule of " marked entry " the other parts were kept subor- dinate to the part which was entering the music, so in many other cases this hushing of several parts for the better display of some principal part has to be observed sometimes, as in " Gipsies Tent," p. 36, end of 1st score ; during part of the tune the melody is evidently given to the soprano, and the contralto, tenor, and bass sing a subdued accom- paniment, like the soft accompaniment of a piano or organ. Sometimes, as in " 0, the Joy of Spring," p. 57,— this is the case through- out the tune. Sometimes, as in " Saviour, Breathe," p. 92, the principal melodies are given at one time to the soprano ,and contralto, and at another time to the tenor and bass. When the chorus is only an accompaniment to the melody, the harmony should be delivered in careful accor- dance with the joyous or the saddened spirit of the ruHng melody, and always so as to let that melody be well heard. An unsympathetic accompaniment disgusts the mind of the listener. Let it be under- stood however, that whenever the part accompanied is silent, the accompaniment itself may speak out in fuller force and claim the attention of the listener. See—" Gipsies Tent," p. 35. Humming Accompaniment. — Humming accom- paniments may be produced in several ways. — First, by tightening and vibrating the lips without any voice from the larynx, the lips vibrating all round and not on one side. This should only be done when something of a reedy buzzing effect is wanted. — Second, by a soft voice from the larynx with only a slight opemng of the lips.— Third, by a soft voice from the larynx, resounding in the nose, the lips being closed. In this case the singer must be careful not to contract the muscles of the nose so as to produce a nasal quality of tone. Care should also be taken to secure an exact and unanimous striking of the tones, so as to imitate the effect St. Co. rNew). Ex. 211—221. FIFTH STEP. 101 of stringed or reed instruments. See — "Night around," p. 22, and " Angel of Hope," p. 48. In these cases the third plan should be adopted. See also Standard Course Ex. 190. Imitative Sounds. — When it is desired to imi- tate the rippling of water, the sighing of wind, or the sound of the drum or horn, the syllables commonly written under the notes, cannot be a sufficient guide to the singer; he must try to imitate the sounds intended, without caring to pronounce the exact syllables which dimly intimate them. The effect of nearness or distance is con- veyed by loudness or softness of sound. Thus when the Christmas waits (p. 8) are supposed to be at a distance they sing softly ; as they approach their singing sounds louder, and as they retire again their music dies away in the distance. The same remark applies to the sound of the drum, or any marching instruments. In a similar way the sound of distant bells, wafted by gusts of wind, may be imitated. See — " Come, let us all," pp. 24, 25. In imitating laughter we must remember that it has two characters ; it is either light and trifling, or heavy and bold. Such a passage as " Fortune Hunter," p. 6, first score, may be treated in either way according to the spirit of the verses ; if in the latter way it will contradict, but worthily^ the natural diminuendo of a descending passage. Ex. 211. What musical expression would you give to the air in "May Time," from end of p. 5, to first line p. 6 ? Ex. 212. What musical expression would you give in " God Speed the Eight," p. 1, to the air in first part of 3rd score, — ^to the air and bass in first part of 4th score, — to tenor and bass in 3rd score, — and to what part of this piece does the rule of subordination of parts apply ? Ex. 213. What musical expression would you give to " Harvest Home," p. 41, end of second and first part of 3rd score,— also to soprano and con- tralto, 2nd score, — also to tenor and bass, p. 40, first part of 2nd score,— and also, tenor and bass beginning with second part of 2nd score, ending at the top of p. 41 ? Ex. 214. What musical expression would you give in " Loud the Storm-wind," p. 95, to the aix of chorus, 2nd and 3rd scores ? Ex. 215. What musical expression would you give to the air of the first line in " Father," p. 34, and to the aii of the first line in " If I had," p. 45 ? St. Co. (New), * See "Musical Theoiy,' Ex. 216. What musical expression would you give to the tenor and bass in the first eight mea- sures of " Saviour, breathe," p. 91 Ex. 217. What expression would you give to the music in "Hear me," p. 19, 2nd score, where each of the parts in turn utters the words — " It is thou ; " and to the 1st and 2nd scores on p. 26 ; and to the 3rd and 4th scores of " Swiftly," oi> p. 31, and to the 3rd and 4th scores of p. 30 ; ant* to the first three scores of " We fly," on p. 20 ? Ex. 218. How should the accompaniment be sung in " Home," p. 76 ? Ex. 219. What expression would you give to the music in all the four parts, of " How Lovely," p. 61 ; scores, 3 and 4 ? Ex. 220. What musical expression would you give to Standard Course Exercise 170, 1st score, both parts; Ex. 115, 3rd score, third and fourth measures ; Ex. 170, 2nd score, both parts ; Ex. 171, Amens in air, Hallelujahs, in contralto ; Ex. 194, air in 9th and 10th measures, and 11th and 12th ; Ex. 145, last eight measures ; Ex. 193, first section, ditto second section ; Ex. 190. first and second sections ? Ex. 221. What musical expression would you give to Ex. 136, air, — 1st score ; Ex. 195, 1st and 3rd scores ; Ex. 195, contralto, fourth measure,, from lah to third me ; Ex. 116, contralto, half second, and whole of third score ? Congenial Tones.— As every tune has its own proper character, (bold and spirited, cheerful, didac- tic, solemn, &c.) it is natural that the Tonic Sol-faist. should give clearest force to those tones of the scale which correspond best with the general sen- timent of the piece, are "congenial" with that sentiment. Thus, in a quick and stirring tune, he- would naturally emphasize the trumpet tone Son,, the rousing Eat, the strong Don, &c. ; and in a slow and solemn tune, the sorrowful Lah, the deso- late Fah, &c. With tliis idea in the^ singers' minds, the tune will immediately become a new thing. The pupils will soon discover that they possess the- power of making this, or any other peculiar effect prominent in the general harmony, very much in proportion to the height, in their own voice, of the tone which gives that effect. Thus a high tenor tone will tell better than a low one. A high con- tralto tone will also command attention, because energy and spirit is implied in the very effort of the voice to rise above its medium compass, and thfi more piercing sounds are better heard. Low Boot IV, p. 259. 102 FIFTH STEP Ex. 222—5. sounds (in contralto and bass) also imply energy and force, and they are capable of yielding a good effect, especially when the barmony is " dispersed," and no otber sound lies near. Some composers have great skill in setting the congenial tones of tbe music to that register, in. each voice which is the most distinctive and the most beautiful. Any high sound, or any favourably situated low sound which is not " congenial " with the general effect, the instructed singer will, therefore, deliver as lightly as possible. On the other hand, when the congenial tone occurs in a favourable position, he will never let it miss of its effect. With these principles to guide him, every singer may know where the strength of his " part " lies, and where it can best contribute to the general harmony. Psalm tunes, of the " didactic and variable " style, will thus be very differently treated accordiug to the character of the words sung. If we were sing- ing " The Fortune Hunter," (p. 4) we should notice that it was a very lively and playful tune, meant to be sung in a light staccato style — that, therefore, the quickly uttered emotional tones of the scale, would produce an effect congenial with the general character of the music. The sopranos would find an opportunity of developing congenial tones with bright explosive force on the first r of their part, and the second 1 and the second f. To contrast with these and give force to the jollity, the first s and the second d' would be similarly delivered. The 1 being in the high part of the voice should be brilliantly attacked ; and the piquant effect of f agaiust the t, and s below it, should be brought out with sharp accent. The contraltos have nothing very effective till the two bursts of bright sounds under the soprano 1 and d'. The greatest power of the tenor lies in the delivery of t under the soprano f ; and the best poiut of the bass is in the s of the same chord. " Eise my Soul " (p. 33) is naturally a tune of joy, changing into meditative mood on the last section. The sopranos will, there- fore, find congenial tones in their first bright s, in the stirring t and the triumphant d', for the change of character in the tune their returning f can be well given. The contraltos have a good se| in that full part of their voices, which best dis- tinguishes them from other voices ; they can help the excitement in the beginning of the second score by delivering their s, which is in the upper part of their voice, clearly and lightly. The tenors can set their mark on this tune by a prompt delivery of s in the first chord ; their 1 at the St, Go, (Newj, beginning of the last section is also in a charac- teristic part of their voice. The basses have a fine effect in the full part of their voice in the first cadence, and they can well employ the high part of their voice in the second cadence, where 1 for a joyful effect should be delivered curtly ; the re- turning f which follows will be naturally well marked. But, if to suit the words this tune has to be sung with a solemn or mournful effect — every- thing is changed — each voice must then strive to bring out f and 1 wherever they occur, and to lessen the force of the brighter tones. In " Come, let us all," (pp. 24, 25) the bell ringing (which is heard as a distant subdued accompaniment to the cuckoo), is given to two parts. But of these two subdued parts, the most distinct and bell-Hke are first the tenor, afterwards the bass, — because the tones are thrown by change of key into the higher parts of those voices ; and of the two subdued parts, these must always have the pre-eminence. — See also congenial me and in a tune which expresses at once solemnity and repose in Standard Course Ex. 136 ; the congenial doh^ me^ soh^ in a tune of great boldness, Ex. 137, and the con- genial lah and fah in a tune which expresses soft and tender feelings, Ex. 140. Ex. 222, Describe the general character of " Jackson's," p. 2, and its congenial tones ; name those congenial tones in each " part " which lie in the full characteristic region, or in the higher or more marked part of each voice. Ex. 223. Describe " The Waits," p. 8, as above. Ex. 224. " Father," p. 34, as above. Ex. 226. " Nearer my God," as above. Rapid Passages. — The composer would never I give the singer a rapid passage or run if he meant the notes to be blotched, and blurred and run into one another, so as to be little better than an indefinite and disagreeable single tone. He designs them to stand as distinctly united and as distinctly apart " as the pearls of a necklace, resting on a black velvet dress." The singers must give them the clearest articulation, and there must be perfect unanimity of attack. In order to secure this effect the pupil should always take breath at the begin- ning of a long run, and economise it carefully so that there be no appearance of fatigue at the end. In some choruses it will be necessary to smuggle in" the breath even in the middle of the run. ■ Illustrations can be found In " Thou shalt show FIFTH me * (p. 7) on tlie first syllable of the word "presence." An exact delivery of the TAA-efe, with, unanimity of attack, will make this little run bright and beautiful. In "We fly by night" (p. 20) there are run« which will require careful forethought for the management of the breath. In "Hallelujah" (p. 27), unanimous and perfect delivery of TAA-efe, TAA-tefe, tafa-TAi will be re- required. In "Swiftly" (p. 32) we very seldom hear " universal song " sung with pearl-like clear- ness ; it is more like a skuttering upstairs of many irregular feet. Handel's runs should be cultivated with great care as exercises in flexibility. See also rapid passages in. Standard Course Exs. 102, 120, 174, and 247. Form of Single Tones. — The explosive tone naturally expresses vigour and decision of feeling. See pp. 12, 39, 42, 45, 57, and Standard Course Ex. 141. When a composer alters the accent by synco- pation for a moment, he wishes the syncopation to be noticed by the hearer. The singer must, therefore, give it the explosive tone. Syncopation generally expresses restless force or impatient desire. See p. 87, 4th score. See also " Ye spotted," p. 81, a case of piano-explosive tones, in tenor s, end of 1st score ; contralto d, with soprano r, at beginning of 2nd score. See also Standard Course Ex. 114. The pressure tone naturally suggests deepen- ing emotion. In any touching three-pulse measure to deliver the second pulse with this tone, at least occasionally, produces a beautiful effect. See " Jackson's," p. 3 ; notice also " The Woods," p. 72, second score. See also Standard Course Ex. 139, and iSx. 140. Pressure tones on a weak pulse, swelling into explosive tones on the next strong pulse, are often very effective. A good solo singer would often instinctively use them in slowly moving psalm-tones, on the last pulse of a measure moving to the next accent. See p. 57, 3rd score, and p. 17, last score. See also Standard Course Ex. 193. The legato style of singing is a modification of the pressure tone. It gives a smooth, gliding effect to the tones, and lessens the distinctions of accent. See p. 63, 3rd and 4th scores ; and p. 82, 1st and 2nd scores. The staccato style of singing is a modification of the explosive tone. It gives an abrupt, forceful STEP. lOZ effect to the tones, and necessarily lessens to a con siderable extent the distinctions of accent. See tenor and bass, p. 40, and p. 42, first and last scores. See also a piano-staccato, immediately following a legato passage on p. 82, third score. Unison Passages. — Passages in which all four parts strike either the same tones or their octaves together, should be sung with great care, so as to produce a perfect and clear blending of the voices. The voices should feel for one another, but not timidly, for such passages are generally meant to be very firm and strong. They should sing with conscious sympathy. See " God Speed," p. 1 ; " Fortune Hunter," p. 4 ; " 0, Saviour," p. 87 ; " Harvest Home," p. 41, 2nd and 3rd scores ; and " Stout Limbed Oak," p. 78, first and last scores. Cadences. — Few things are more painful to a listener than to think that a singer is tired, few things more inspiring than to feel that he closes without fatigue. Even when the cadence is down- ward and diminuendo it should be firm, but in ascending cadences a sustained crescendo is abso- lutely requisite. See close of "Harvest Home," p. 41 ; and " QuaU Call," p. 15, 1st and 2nd scores. Notice a vigorous descending cadence in " God Speed," p. 1 ; and others in " Theme Sublime," p. 71 ; " Rise my Soul," p. 33 ; " Stout Limbed Oak,' ' p. 77, 4th score. See also contrasted cadences, Standard Course Ex. 145, last two scores. Distinguishing Tones of transition of the minor mode and of chromatic resolution (except when occurring in some subordiQate part, and evidently introduced more for the convenience of the har- monizer than for any effect upon the harmony), should always be delivered with marked emphasis ; for they have an important meaning. They change the mental effect of all the other tones. . For the voices, in whose part the accidental occurs, not to deliver it firmly is to rob the whole music of its meaning. The tones of "returning transition'' should also be emphasized. But, if the transition itself were carelessly given, this second effect would be lost. Those movements of the bass which mark the tonic cadence of a new key, as | d : r | s, and I r : r Is, : or of the relative minor, as I r : m | 1, and | m : m | 1 should be markedly delivered, because they help to certify the transition or modulation. See p. 52. St, Co, (New J 104 FIFTH STEP. Ex. 226—232. Chromatic resolutions should also be firmly shown, because they are intended to reassert the key. Special attention should be given to those tones of the chord which would be quite differently resolved if a transition were meant. In " Hope win banish," p. 12 ; 2nd score, the fe in the air is not in a favourable position for accent, but that in the bass should be well delivered. In "How beautiful," p. 12, at the end of the 1st score, the cadence is made to change key, more by the move- ment of the bass than by the very light distin- guishing tone in the contralto ; therefore, let the bass move firmly. In the next score the distin- guishing tone of returning transition, which in this case is f, although it does not appear till the end of the section, comes out then with effect, and should be clearly delivered by contralto and bass. The same voices have the " returning f " at the top of p. 13. In "Hallelujah," p. 26, the sopranos have a very effective returning f. In " Lord, in this," p. 33, of course, the se will be well marked, because it is the distinguishing tone of the minor. In the second line of words there is a modulation to the major, which should be strongly marked by the cadential movement of the bass, and by the tenors' clear use of s instead of the preceding se. In "Ye spotted Snakes," p. 81, the tenors have a returning f at the end of the 1st score, and the contralto a transitional f at the beginning of the next score. In " Saviour, Breathe," p. 91 and 93, the chromatic resolution of fe into f should be clearly marked by the voice. In this piece, as well as at pp. 79, 94, 95, and 96, the manner in which such tones as de, re, ma, &c., flow into the tones which follow them should be clearly and lovingly marked. Dissonances. — In all cases of dissonance there is a " resisting " tone, and a " dissonating " tone. Every singer should know which of the two be- longs to his part, — the strong resisting tone or the smoothly moving dissonance. See pp. 21, 36, &c. It is difficult for pupils with uncultured ears to sing either of these tones steadily. But they must be sung without any " giving way." Else, their purpose is lost, and their beauty gone. Where would be the beauty of a cataract if the resisting rock gave way to the struggling current which strikes against its side and then flows on? The resisting tone should be sung m a firm, almost " explosive " style, and the dissonating tone (which springs from its " preparation," and flows forward to its " resolution ") should be delivered as part of Co, (New,) a short melodic phrase in a very smooth-connected manner. Let the pupils test their power of deliver- ing dissonances well by singing " Jackson's " p. 3, where on the word " through " the contraltos have d dissonating against r of the soprano, and on the word " day " r against m, where also on the word " led " the sopranos have t dissonating against the tenor d', and on the syllable " vin " m slightly dissonating against f,, in the bass ; while, on the same syllable the tenors have s, not only dis- sonating against this low f, but beating as a second against the 1 of the contraltos. This study of the dissonances will not only give the singer courage but great enjoyment, and will wonderfully add to the beauty oi the effect. See also Standard Course Exs. 114, 141, 244. Ex. 226. "What is the style in which you would sing the passage in " Harvest Home," p. 40, " O'er them the wavy wealth; " and "Theme Sublime," pp. 69, 71 ; and the "Stout limbed oak," pp. 77, 78 ? Ex. 227. What form of expression would you apply to the following tones on p. 67. Bass f, 1st score ; 2nd score, tenor d, followed by bass s and f ? Ex. 228. What form of musical expression would you give to the two lahs of contralto, p. 85, 3rd score ? Ex. 229. What style of expression would you give generally to the tones of Standard Course Ex. 140 ? Ex. 230. In singing the p. passage, " Morn- ing Prayer," p. 79, 1st score, what special care will be required from the singers in all the parts ? Ex. 231. Why should the contralto and bass in " Come, Freedom's," p. 13, 2nd score, third and fourth measures be firmly delivered ; and what note, soonf ollowing in the same voices, should be specially emphasized ? In " Eise, my soiil," p. 33, what are the most noticeable distinguishing tones, and how should they be sung ? Ex. 232. What musical expression would you give to Standard Course Ex. 142, third score, ta^ and ; Ex. 189, third score, u ; Ex. 193, second score, Parsing Fugal Passages. — The practice of parsing, described at the last step, becomes more difficult, but also more interesting when we have to analyse fugal imitations, or those in which one part seems to jiy after another. In these cases the great rhythmical divisions of the melody are not so regular. One musical idea is made to interlaca FIFTH STEP. 105 with another — ^thus, in Ex. 234, before the first section is complete the second voice commences a section of its own, and it is so very frequently throughout this and other pieces. We are therefore obliged to describe the passages and sections _ in such manner as the following : — ^Ex. 234 consists first of a subject of one measure and a half, started by the upper part, and imitated at the interval of a fourth behw by the lower part after one measure. This also, after one measure, is imitated in the fourth above with a varied cadence. This again, after one measure, is imitated in the fifth below ; and again, after one measure, in the sixth above, and again in the sixth below. After two measures the original theme with the old cadence is taken up by the higher voice for two measures, while the lower voice ornaments it. Then follows a sequence of two measures, each portion of which contains an internal imitation. The piece is concluded by four measures of orna- mental cadence. Ex. 195 opens with a subject in the lower part of three measures and a half which is imitated in the higher part, after three measures in the fourth above, the lower part supplying a soft and light accompaniment. Then follows eight measures of what may be called contrapuntal symphony — that is, a play of the parts one against the other without special meaning. One measure before this is concluded, the higher part starts the old three- measure theme, which is indefinitely imitated after two measures, and then for six measures more there is another contrapuntal sym- phony. Again the lower part starts its first theme with a varied cadence extending to five measures, and this is imitated again in the fifth above, not as before — after three measures, but after one mea- sure. This coming closer of an imitation is called a Stretto. After a brief ornamental, fugal imitation, the piece closes with five and a half measures of contrapuntal symphony. The singer should mark with pencil the exact length of the fugal subjects. When the other part or parts merely accompany the fugal subject they will, of course, be kept subdued. In the interludes and symphonies the parts may be of equal force. In the stretto the entries should be strongly marked, but the parts may be of equal force till the first which entered has finished the imitated subject, leaving the seisond to be well heard in its close. These observations will show the importance of this study. Let the student be now required to write out analyses of such exercises as 233, 235, and 246. St, Go, (New). * See further " Musical T It will be difficult to do so by sight, they should sing the exercises with a friend several times over. * The Small Register is in the highest range of the human voice, and belongs to females and boys alone. They naturally pass into it on one-FJ (Fjf'), or one-G (G'). It is remarkable that the change of breakage into this register should be just an octave higher than that into the thin register. It is this fact on which early students of the voice built the false theory, that the registers of the male and fe- male voices were the same — only, an octave apart. The distinction in quality between the small register and the thin is not so marked as that between the thin and the thick. The small muscles by which the voice is produced in this register are very delicate, and Garcia reconmiends that they should not be overstrained by too much practice. Some deep contralto voices, though weak and breathy in the thin register, produce many tones of this highest register. Their larger larynx and stronger chest enable them to force these tones more easily than many sopranos ; but, though the volume is greater the quality is inferior, and ordinary singers should be advised not to cultivate a useless and impleasant part of their voice. Specially gifted solo singers, like Alboni and others, have had opportunities of cultivating and using every register of their voices in a manner which, to most contraltos, would be impossible. For ordinary choral singing the tones of this register, except one-G (G'), are little used; but Bach, Handel, Haydn, Mozart, Beethoven, and Mendelssohn all use one-A (Al) in some of their choruses, so that every choral society should be able to command full, clear and unstrained force on this tone. This can be best obtained by culti- vating the small register of the- sopranos. It is sweeter and brighter than that of the contraltos above referred to — and besides, it is continuous, in them, with a good thin register (which such contraltos generally lack), so that passages rimning across the "break" can be sung with an even quality of voice. The classic composers expect their solo singers to go much higher. Beethoven in Engedi requires two-D (D^) ; such things must be done by voices professionally trained. In psalm tunes written for trained choirs one-G (G') may be used even on holding tones ; but, psalm tunes written for congregations should not even touch the small register, because the mass of women's voices in a congregation are not trained to its use^ ory," Book m, p. 105. 106 THE VOICE MODULATOR. D!2 AI2 EI2 BB p c f m II 1 X X c o d t 1 1. e d f t PI 1 s d f t n 1 r S f n 1 r S d f t n r s d f t n 1 r u f X t PI 1 r s d t 1 X c o f t PI 1 S d f t n 1 r s f n 1 r s d f t n r s d f t n 1 r d f I; 11 1 X V L e d t I r S u I t n 1 1 S a jp I t n 1 r s £ I n 1 r S d I t PI r s a I t M I r a 1 t n 1 1 r s Q X i r s u I t PI 1 s d f t n 1 r s f n 1 r s d f c- b' G G D A Hi T> ±> d f t PI 1 r s d t 1 r S d f t n 1 S d f t PI 1 r s f n 1 r s d f t PI r s d f t PI 1 r d f t n 1 r s d t 1 r s d f t n 1 s d f t n 1 r s f n 1 r s d f t n r s d f t PI 1 r d f t PI 1 r s d t 1 1 a a d X n 1 X s A U •P X f m PI 1 1 V X f X PI 1 1 ft X S A U f X •f u PI r s U f X 4- u n ] 1 1 A u z 4- b m PI X 1 o d IX t 1 r S d f t PI 1 s d f t n 1 r S THE GLOTTIS. 0 Hi O w o H Pi P 05 I— I o (-1 W below Xiie mm ime, aii uuuavc auijvc, oucwo ux^v^ oxxx«,^* ^^^^^ — ~ — — - — ^- ^ The dotted lines shew the average place of break, the other lines the htgfhest place that is sate. St Co, (New J FIFTH STEP. 107 The small register, like the other registers, can overlap downwards ; but it does not so frequently do so as the thin register in men's voices. It may often be of advantage and a relief, especially to a second soprano, to take one-F (F') habitually in the small register. The Lesser Breaks of the voice divide both the thick and the thin registers into upper and lower parts. The break between the upper and lower thin register, is quite manifest in ordinary soprano voices between one-C (C) and one-D (Dl). The upper thin may overlap downward, but does not commonly do so. The break between the upper and lower thick registers is easily noticed in male voices between A-one (A|) and B-one (B|). The upper thick register may overlap downwards, but seldom does so in male voices. Madame Seller says that in women's voices this break occurs one- third higher, between 0 and D ; but we have noticed that many women habitually make the upper thick register overlap downwards, so that they change into the lower thick, just where the men do, on A-one -(A|). Speaking Registers. — Men commonly speak in their thick register. Tenor voices, however, use the pleasant higher thick register. Very rarely a man may be heard speaking in his thin register, with a thin squeaking quality. Those who have to do with partially deaf persons ought to know tiiat men are better heard when they speak gently at a high pitch of their voice, than loudly at a low pitch. TMs constant speaking in the thick register is the reason why men are tempted in singing to strain their voices too much upward, and to neglect the cultivation of their thin register. Women commonly speak in their thin register ; but some contraltos use their rich upper thick tones, and occasionally a woman may be heard to speak in the rough lower thick register. It is this common habit of using the thin register in speech which tempts them, in singing, to employ it downward more than is necessary — and so, to neglect and ignore the better tones of the upper thick register. Mechanism and Feeling of the Registers. — In the lower thick register, the whole- length and the whole substance of the vocal membranes are thrown into full vibration. (See the Diagram at the side of the Voice Modulator). The air must, therefore, press upon the membranes with a greater volume than in the other registers. We feel the air passing into the windpipe from all parts of the lungs. This widens the rings of the windpipe, and as a con- St Co. (New.) sequence, draws down the larynx. " One thus has a sensation," says Madame Seiler, " as if the whole body took part in this formation of sound." In the upper thick register, while the whole thickness of the membranes is still in vibration, their length is greatly shortened. " The sensation," says Madame Seiler, " is as if the tones came from the upper part of the chest." These physical sen- sations do not show how the sounds are generated, but what parts of the nervous system are excited in the process. They help us, however, to recognize the distinctions of register, and they account for some of the coniiicting names by which the registers have hitherto been known. In the lower thin register the whole length of the membranes is again employed ; but only their thin edges vibrate. " The feelrng is as if they had their origin in the throat." In the upper thin register the membranes are again shortened, and the feeling is " as if the throat had nothing to do with the tones — as if they were formed above in the mouth." In the small register only a small part of the glottis to the front of the larynx is opened, and " one has the feeling," says Madame Seiler, " that the tones come from the forehead." Thus the singer is like the violin player who sometimes us6s a thin string, sometimes a thick one, sometimes a short string, sometimes a long one. These points of information will help to fix the pupil's attention on the various changes of his voice. Boys' Voices we find to be much the same, in their various registers, as women's voices, but they are commonly used more roughly and coarsely. The practice of permitting boys to shout against an instrument in village schools and churches, not only tears the voice to pieces, but destroys that tenderness and fineness of feeling which ' music ought to promote. It is this coarse use of boys* voices which has produced the impression that they are different in quality from those of women and girls, and incapable of gentle training; but of course the greater physical strength of boys gives a greater volume to their voices than girls possess. It is a great mistake to set all the boys in a school to sing the contralto, and all the girls soprano. The soprano and contralto voices are found in about equal proportions among both boys and g^ls. When the time of the " change of voice " comes, the practice of singing should, for a time, not be even attempted, and should be only gradually 108 FIFTH STEP. and carefully resumed. Many voices have been ruined by the neglect of this precept. Voices and *' Parts." — The four principal " parts " of choral music are marked at p. 29 ; but for glees, anthems, and men's voice music, we require a more minute classification, and as the cultivation of the thin register has probably made some good tenors, and that of the thick register some good contraltos, the teacher should now advise each of his pupils as to the part or parts for which his voice is adapted. The "parts" which women have to sing are often divided into first soprano, second soprano, and contralto, Occa- sionally we meet with four-part women's music requiring the contraltos to be divided into first and second. The " parts *' which men have to sin.g are frequently marked — ^first tenor, second tenor,^ and bass ; an additional part being sometimes written for a first or second bass. Those who have analysed a great number of voices know that there is^ an almost boundless variety. Nothing should satisfy a teacher who wishes to use his class for the higher kinds of music, but an individual examination of each voice, — on the plan of the "Voice Report Book." The process of examination is simple but needs to be conducted with deliberate care. The teacher gives in the case of women and boys, the pitch of G, and in. the case of men G-one (G-|). If only a tuning-fork is used, the greatest care is necessary to secure the exact pitch. Beginning with G or G-one (G|),the pupil laas downwards, (in long tones, taking breath before each), s, f, m, &c., while the teacher points on the " Voice Modulator."* The teacher takes notes or dictates them to an assistant. Doubtful tones should be tested over agaia. The various " breaks " should be crossed both upwards and downwards. When this has been done, the pupil, starting again from G or G-one (G|), laas upwards, s, 1, t, d', &c., while the teacher again studies and records the present condition of his pupil's voice. The teacher can bracket together several tones of the scale at the side of his Voice Report, and mark either by words or by figures (1 for fair, 2 for good, 3 for very good), first the quality then the volume ; or, he can mark the tones singly in., the same way. Figures showing degrees of excellence in the blending of the registers should be given in each case. The most useful men's optional tones should be named, and the place at which a woman's voice breaks, between the upper and lower thick registers, should be marked. After St, Co, CNe^^J * I^arge " Voi( this it will be easy to mark the full compass of the voice and its best region. These considerations will decide the name to be given to it, as first or second soprano, &c., first or second contralto, &c. i A faithful " Voice Report Book " will be invalu- I able to the teacher when he wishes to select singers j for any particular purpose, and it will lead the pupil to study and cultivate his own voice. A first Soprano cannot easily be mistaken ; she possesses in addition to a good thin register, a I few tones of the small register which easily blend I with it. A second Soprano is distinguished by the possession of a good upper thick register, along with a good thin register, even if she cannot com- mand more than a tone or two of the small. A Contralto voice is that which possesses good fuU tones in the distinguishing region of the con- tralto " part " — ^the upper and lower thick registers. The teacher must not be misled by the great compass upward which some of these voices possess, for their thin register is commonly weak and tune- less ; whilst their small register, though strong, is hard. When first contraltos are wanted, the teacher will naturally select those which are weaker in the I lower thick, and better in the upper thick registers I than the rest. This last voice is sometimes called > mezzo (med'zoa), soprano. A first Tenor (as it is now called in Germany and France), or an old English " counter tenor," cannot be easUy mistaken. He has a light and pleasant quahty of voice in the upper thick and lower thin registers. Well-trained counter tenors can give good tones up to one-F (F') at the top of the upper thin register ; but such a range is not common. The highest reach of men's voice " parts " in Palestrina's time was one-0 (C), or one-D (D'); the counter-tenor in TaUis and Morley's music reaches A and Bb, and the first tenor in German men's voice music does not often go above B!7. It is quite common for tenors to force their wpper thick register as high as this tone, but it is the distinctive quality of the first tenor that he uses with pleasure his thin register, and produces with it bright, yet soft and fiute-lihe tones. This first tenor, counter tenor, or tenor alto was used in England for the highest parts in men's voice music throughout the famous Elizabethan and Madri- gahan age. But at the restoration of Charles II., the Italian Opera brought along with it the Eunuch singers, whose rich, strong contralto voices sug- gested to bass singers the employment of their equally powerful, but not rich, upper thin registers. e Modulator," Is. FIFTH STEP. 109 This unfortunate discovery led to the neglect of the softer and brighter counter-tenor, and all the contralto music through Handel's period was written for the hard-toned bass-alto, and the same voice is still used instead of the richer female contralto), in cathedrals and choral societies, in which eighteenth-century traditions are preserved. It has been observed above (See " Small Register ") that contralto, as well as bass singers, possess the power through their larger larynx and stronger chest of forcing the highest register of their voices. Like them the bass-altos are weak and breathy in the next register below, so that there is no con- tinuity and equality of voice across the break at G, and the change of register is marked and unpleasant. This peculiar, unsympathetic voice, is often imcertain and out of tune, and its cultivation is very undesirable. The Tyrolese basses use this thin voice in their J odl songs ; but do not attempt to employ the region of voice lying between. The true counter-tenor or tenor-alto is no more wanted to take the place occupied in modern times by the contralto than is the bass-alto. But, for men's voice music, and for solo singing, it is very valu- able. The teacher will notice that many tenors have of late been misled by the false talk of a chest G- or a chest A, so as to force their thick voice upwards, leaving the beautiful tones of their thin voice entirely uncultivated. The practice of men's voice music, either separately or for half an hour after a mixed-voice class, will remedy this, and restore to England her long lost counter-tenors. The second Tenors are known by the excellence of their lower tones ; they have but little use for their thin register except on G. There, however, it should be truly cultivated if not also, as an optional register, on F. E. D. Tenors of both kinds, of the highest eminence, habitually change to the thin register on D or E. The shouting of the tenor part on a forced upper thick register is most pain- ful to the ear, and a fruitful source of flattening. The First Bass, or Baritone Voice may be dis- tinguished from the second bass by its not possessing fulness below C-one (C|), or B-two (Bg). Such voices seldom have the proper tones of the thin register, but they often find it a relief to employ that register as an optional one, instead of the higher two or three tones of the upper thick register ; it saves them from straining and flatten- ing. The second Bass is distinguished by its full robust tones on A-two(A2),G-two (G2),F-two (Eg), and even lower. In the upper part of the voice it is SU Co, (New.) not very dissimilar to the baritone. Those basses which have the so-called bass-alto or " head- voice " generally (though not always) of a shrill and screamy character, are advised not to use it. The examination of voices, here recommended, cannot occupy less than from fifteen to thirty minutes for each person, and should be regarded as a separate private lesson of great value to each pupil. Compass. — It will be noticed that in these instructions for the classification of voices, we have avoided any reference to compass as a criterion of judgment. This is not only because we are thus free to secure the best quality and the best volume for each " part," but because of the great injury done to voices by the habit of singing beyond the range of their proper part. Teachers and psalmody conductors are specially exposed to this danger. They wish to show other people the right tones and are careless of the manner in which they pro- duce them. Previous teaching by quiet pattern is really a quicker, as well as a better way, of reaching the desired result. Some highly trained solo singers may with impunity cultivate a great range of voice, but others are foimd to injure the tones of their proper compass by going much out of it. "When the more minute classification of " parts " is required (each of the ordinary four parts being divided into first and second), it may be useful to note that few composers go beyond the limits marked on "The Yoice Modulator," p. 106. The highest men's voice, the counter- tenor, and the lowest women's voice, the second contralto, coincide ; they sing the same part. From this point upwards and downwards the common compass of parts rises and falls by thirds. The Causes of Flattening are — 1st, Physical Weakness. In this case the singer should restrain his enthusiasm for the sake of others, and sing softly, and listen. — 2nd, The forcing of the Upper Thick Register in the higher part of men's voices which is immediately cured by the cultivation of the thin. — 3rd, Breathiness of Tone and other defects in various parts of particular voices. — 4th, Defects of Ear, to be cured by long and atten- tive listening, and by study of mental efiects. — 5th, Careless and lax- delivery of Piano or violent and coarse delivery of Forte^ which can easily be avoided. — 6th, Habitually singing with " tempered " instruments, with their fiat fifths and sharp thirds, putting the ear out of tune. — 7th, Sympathy with bad singers who are near, and inattention to the leader. — 8th, Bad posture in sing. no FIFTH STEP. iag. — 9tli, Neglect of breathing places, and the consequent exhaustion, and — 10th, Worst and com- monest of all — want of interest, and its consequent drawling delivery. The teacher should make the maintenance of pitch a distinct object of his care, and should call the attention af his pupils to it, often testing them at the end of a piece. The close of one verse and the beginning of another is the commonest place for inattention and, therefore, for flattening. Let the teacher beware of it. If he is acting as a precentor, let him make his voice heard on its effective tones, especially at the start- ing of the lines. An organist may maintain the pitch without playing loudly, by a skilful manage- ment of the more piercing stops. A cadence (^S to D) delivered at a high pitch in an interlude, will impress the ear better than the loud roaring of the lowest tones. Solfaa-ing the Break. — Tenor singers should, at this stage, be required to mark the places at which it is most advisable to change from the thick to the thin, and from the thin to the thick registers. See p. 68 ; but note that when the registers are well equalised, so that the change from the one to the other can scarcely be noticed by the hearer, it may be better always to change at one point of absolute pitch, instead of trying to suit the musical phrase ; this is done by some of our best singers. Each pupil should study the capabilities of his own voice. Other voices, as well as the tenors, sjtiould form a habit of "Solfaa-ing their breaks" ak soon as the key is pitched. Thus, for example, a second soprano, with a bad "upper thin" tone on one-F (Fl), who is advised to cultivate her "small" regis- ter on that tone, should learn to calculate the Sol-fa note on which it will fall. While Key 0 is being pitched, she calls to mind that the note she has to watch is f ; while D is pitched, she thinks of her re and m ; while E is pitched, she reminds herself of de and r, and so on. Mark the optional tones, and the places of change in the manner adopted in Exs. 170 to 175. — See questions at close of this step —No. 73. Sixths, Eighths, and Ninths of a Pulse are very little used except in instrumental music. The Eighths of a pulse are thus named, tanafanatenefene, :1 1,1 1.1 1,1 1 1 . The Exercise of singing them to the teacher's beating, quicker and quicker, will be very amusing to the pupils, and will greatly help to refine their sense of time divisions. There are two ways in which a pulse may be divided into Sixths, It may first be divided into thirds and then the St, Co, (New), thirds into halves thus— 'taataitee, tafatefetiji^ :1 1 jl 1 ,1 1 1 which we may call thirds-sixes," or it may be first divided into halves, and then the halves into thirds thus — taatai, taralaterele, :1 1 1 .1 1 1 I which we may call "halves-sixes." The Ninths suppose the pulse to be divided into thirds, and then each third into thirds again, thus — ^taataitee, taralatereletirili, :1 1 1 ,1 1 1 ^1 1 ij . It will be a useful exercise for the teacher while beating time to call for " halves," " quarters," "eighths," "thirds," "thirds-sixes," "ninths," "halves," "halves-sixes," and so on. Rare Divisions of Time. — It will be useful here to give the notation for some of the less common rhythms. When a pulse is divided into a quarter tone, a half tone, and a quarter tone, it is written thus I t ,1 .,s : or better thus | t ,1 .-,s : When a pulse is divided into a three-quarter tone and two- eighths, it is written | r .,mf : When a pulse is divided into a three-eighths tone, an eighth-tone, and a half tone, it is written j d,-r.m : When a pulse is divided into a half-pulse continuation, and three halves -sixths, it is written : - .fmr | In instrumental music, especially for strings, it is some- times necessary to divide a pulse into less than an eighth when the same tone has to be very rapidly repeated ; in this case we place as many dots over a Dote as the parts into which it is to be divided. In the instrumental score of * ' Hallelujah to the Father," from Beethoven's Mount of Olives we find a half- pulse divided into six: and another into nine ; they would be written as follows : — : .sltd'r'n'l .n'r'd'tlsfnr || These exceedingly rare cases of rhythmical division require careful examination before they are sung, in the Common Notation as well as ours. It will be perceived that the Tonic Sol-fa Notation does not make any lower division of the pulse than that into eighths, and that division it indicates by the simple absence of a mark. The occasional practice of writing, in the Established Notation, two measures as though they were one (See — "What is a pulse?" p. 66), makes it necessary, in that Notation, to have a more minute sub- division of pulse. In the Tonic Sol-fa Notation we, in such pieces, put two measures for each one of the Established Notation. We find, practically, that this mode of writing secures a more ready appre- ciation, and a more exact execution of the time. FIPTH STEP. Ill Ex. 233.' KEY E|?. s |1 Give un : I : M. 96. .t d' to me. GIVE UNTO ME. 1 :t made I low :t .d' ir' .d' :t .1 Gebhardi, s :1 .t wise, The id' « ' 1 ■*"* It > ____ d'f :d 1- ;f :pi Is spi 1 m • • m m • rit 1 * * of self df, :- Il| sac - :- .t| d ' ri • - fice ; I- Give un to me, • „„„ 1 If :- • in :f .n r :n .f IS :ti .d The |r .d :t| .1. con .t| Id - fi • dence of ____ * « free - .ti low ■ - ly wise, The spi rit made / dom f. Eb. :s Id' give, And in :s is :in of self - sac - ri — :d" 't :t the light of :n .f Is ,f :n .r r fice, self - sac - n - t :d' truth, Thy d :-- fice, II bonds :d self sac :1 man :d .r jse :se 1 • _ • .1 Id' n' :— 1 :n' f . .f |1 .t let me Kve, And in the Hght, And in the light of |n .r :d .ti ii * t 11 • s .f In :n f • If l — m ri - fice ; And in the light of truth And di 1 :d' :t 1-1 :r' :d' It :n' truth. In the light, In the Hght of truth, Thy n .r Id :d r :s Is :f n :1 1— :s - :f in the light of truth, Thy bonds - man let me live 18 :d' d' :~ It * d' 1 :s 1 :1 11 :n bonds - man let me live. And in the light of 1— :n r :1 is :f n :— 1 :n de :de Thy bonds-man let me live. And in the St. Co, (New J 112 FIFTH STEP. I f :- 1- :f s :s IS :r n 1 :s 1 truth, Thy bonds-man let me live, Thy bonds r :r ti :- I— :t, d :- 1 :n f Hght of truth, Of truth, Thy bonds It man |r man d' let In :— let in me. Id me. r let d let — Is me iti me n live. d live. I— Ex. 234. KEY D. M. 96. PRAISE TO OUR GOD. Rinck, s :s .s is :d' d' :t 1 • • s : s . s 1 s :1 .t d'.r':pi' 1 : Praise to our God : 1 and • glo - ry, r :r ,r |r :s Praise to our God and f :n 1 glo - ry, d :d .d jd :r .n Praise to our God and glo - ry. Praise to our God and 1 :1 .1 |1 • • t .de' r' .n' :f' 1 - .n' :r' .d' t .d' :r" I : Praise to our God f .s :1 1 : and glo - r ry, and :r .r |r :n .fe glo - ry, s .1 :t j- .1 :s .f glo - ry, Praise to our God and glo - ry, and s :s .S ]s :di d^ - It :s .s n'.r'rd'.t jl :1 .1 r'.di:t .1 |s :s .s Praise to our God n.r:d | and :n .n glo f .r :n ry .f IS . , Halle- f :n .r lu - jah, Halle- d :d .d jl .s :f .n lu - jah, Halle- r :r .r js .f :n .r glo - ry. Halle- lu jah, HaUe-lu jah, Halle -lu d' 1- :t d' - 1 :s .s 1 :1 1 :t .t d' :— Id' : lu n :d .d |f .1 mm :s .f jah, n - 1 Halle- :n .n lu - jah, f :f 1 HaUe- :r .r lu - jah ! n .f :n .r |n jah, Halle-lu jah. Ex. 235. KEY :si j — Bb. 1 :l|.ti LOVE M. 96. d :ti Id THY : :r CTEIGHBOXJR. n Id /, Mainzer, : 1 Love : 1 thy • • neighbour as : i thy- self, :4 1— :r,,nj fi :ni |fi :s, 8t, Co. (Newi, Love thy neighbour as thy- iflFTH STEP. :f (— :n r .d t| :d.r — :r f. Eb. Lis G, Love li :— thy iSi — neigh hour — :li.ti as d :ti 1 d thy- :si 1 self, Love i.n : — ir 1 1 self. Love thy neigh hour as thy 1 :se 1 1 :t d' :t il :se 1 :se :ri - .d':t .1 jse.l neigh. d :m I hour as 1 : se thy ll :t seli, d' :t n Love thy neigt • 1 self, Love thy neighbour as thy - self. Love. " ■ •• t rn in' - :r'.d' t .d' :r'.t d' :t |1 IB f ;s .f |n Love thy — :se neigh 1 :r^ hour -.d':t ,1 as thy - se.l :t .se seK, 1 :s Love If thy :n neigh r :t, |d Love thy neigh-bour, Love thy neigh Bb- 1. sd lti d ■• :s, :l,.t| d :ti |d as 1' 1 • *i thy - iSl jfi self, Hi idl Love fi :ni |f| thy :r, neigh-bour as ri| :Si |1' as thy - self. Love thy neigh-bour. Love thy neigh-bour as n :r 1 t n :r .d |t|.d :r .n r :si |S • — :f .n |r .n self, dl :ti 1st : — Love thy . ■ • _ neigh-bour. Love thy — :t, neigh :f hour as f .n :r .d |t|.d self. Love m — thy neigh-bour as n :r 1 :r .r n :r 1 :r .r n :r 1S| • — :l|.t| id self, d :ti Love thy 1 !Si.Si neigh-bour, d tsi Love thy 1 :S|.S| neighbour, d :si Love, • Love Si : — 1 — self. Love n :r in .s :f .n n .r :d .r |pi :r d :S[ :l|.t| d :r jPi neigh-hour, d :t| Love thy |d .n :r .d neigh-bour S|.f|:ni.f| as thy - |S| :f| self, Love PI, : ist thy neigh-bour. Love — :l|.t, |d neigh-bour, Love, Love s :n neigh-bour, n :d neigh-bour, 8U Co. (New J :r .,r Love thy :t|.,t| n .n neigh-bour d :tai :r as 1. :fi d thy Ml :si 113 ;ba,s ei :1 bourj :d hour. :r thy :ti thy. thy -I :r thy : l}.t| thy :f thy :r thy t, - :fi d ^ self. jn, I— \' I— :• 114 FIFTH STEf'. QUESTIONS FOB WRITTEN OR ORAL EXAMINATION 1. Describe your o-vm voice. "What is its easy compass— its quality and volume in each register — its best region % By wbat name is it called % — D 81. 2. ' Under what name is the chord ''S disgxiised, by notation, in cadence transition to the first sharp key 1 How is the same chord disg-uised in passing transition to the first flat key 1 How do you know when the chords 7feE, and taD are transitional, and when they are chromatic? — p. 83. . . , 3. What are the three prmcipal things which intensify the mental effect of particular tones in a tone p. 83.^ 4 When any pairticular tone of the scale is strongly emphasised through- out a tune or part of a tune,— how is this fact described in words, and in what parts of the world is modal music still used in the greatest variety. 5. Which are the modes with a major third above their principal tone or tonic— which are those with a mmqr third "J Of the major modes which is the one almost exclusively used among Western nations % Of the minor modes which is the one exclusively used m connection with modem harmony ? Describe the historical changes J^ough which the tune Dundee or Wmdsor has passed. What is the mental effect of the introduction of se9—ma what is the difficulty which, especiaUy m this tune, it occasions the singer % 6. Why is the Bay mode peculiarly suited for worship ?— what is the pecu- liar cadence which distinguishes the Eay mode from the Lah mode ?— p. 85. 7. What is the chief principle of modem harmony ? In what respect has the Doh mode better chords for its Tonic, Dominant, and Sub-dominant than any other mode? What kind of chord does the ear object to when two such chords occur consecutively amor^ the last four chords of a cadence ? 8. How did the first harmonists overcome the difficulty of three minor chords in a cadence of the Lah mode ? What is now found the most satisfac- tory arrangement for introducing variety ra this cadence !— p. 86. 9. Where does the tone lah stand, and how is it related to se 1 Why is it introduced? How many alternative tones are there in the modem minor, — and which of them is most used ? 10. Describe the sis chief difficulties DOGTUINK which arise to the singer from the in- troduction of se and hah m the minor mode.— p. 86. 11. Using the words Tonic, Domi- nant, Super-tonic, &e., as indicating the "Chord Relation," what is the chord relation of miaor L ?— of minor D?— of sejf?— of minor T?— of 8E9 —of BAH and F'^—ai minor i2? How do we distinguish the chord names of the major from those of the minor, mode in writing, and how do we dis- tinguish them in speech ? 12. What is meant by the word Modulation ? What are the commonest modulations from major to minor, and from minor to major ?— p. 88. 13. What is meant by Transitional Modulation ? What is the commonest change of this kind, and what new dis- tinguishing tone does it introduce ? What other change of this kind is common, and what distinguishing tone does it introduce ? 14. What is the meaning of the word Accidental, and how are acci- dentals expressed in the Tonic Sol-fa Notation ? — ^p. 88. 15. Describe sis cases of very rarely occurring sharps and flats with ' the names given to them. 16. What is the practice chiefly to be avoided in chanting ?— p. 94. 17. Jja marking passages for recita- tion what is the first thing which the student should do, and what are the faults he has to avoid in doing it ? 18. What is the great distinction between the recitation and the cadence of a chant 1 What kind of pulse should always come before the beginning of a cadence ? What kind of pulse should always come after the end of a cadence ? What relation should there be between the speed of the reciting tone and that of the cadence ? 19. What is the difference between the rhythms of public speaking and private talk ? 20. In choosiQg chants, what are the two blemishes which should lead a precentor to reject some 1 21. what are the principal elements of expression in music t What are the common defects of singers who do not study expression ?— p. 94. ^.^^ , 22. What is the principal habit to be formed in the delivery of tones ?— and for what queility of tone should we lis- ten in our own voice ? 23. By what other names is a good " attack " of the tones described ? Give illustrations of its importance. Des- cribe generally the sensations w^hich accompany it both in the larynx and the mouth. — ^p. 95. 24. How do the breath and glottis act together m the clear attack?— in the gradual or breathing attack?— in the check ?— in the jerk ?— in the slur ? What is the difference between a slur and a gKde ? 25. What is meant by a clear Ee- lease of the Tone, — and what is its importance ? 26. Describe the manner in which a teacher should introduce his first exer- cises on the degrees of force. — p. 96. 27. What are the names and signs for a long tone, or a phrase increasing in force?— diminishing in force ?~first increasing and then diminishing ? 28. Describe the Pressure and Ex- plosive tones. 29. Describe the Staccato, the Detached, and the Legato styles. 30. What are the two considerations which principally guide us in applying various degrees of force to music ? 31. How is it that it is possible for classes to go on singing a large quantity of music without really learning anything ? 32. What points in a tune have to be considered with the view of deciding whether it should be sung loudly or softly, or with a moderate degree of force ?— p. 98. 33. How should a tme 'piano be sung ? 34. How should a real vibrating/orie be sung? . „„ 35. Whatis"phrasmg"? Show its importance. Mention three or four ways in which musical phrases can be marked off, and distinguished by the 36. What is usually the best form of force in ascending passages, and why ? 37. What is usually the best form of force in descending passages, and ^38. How should Repeated tones be delivered, and why ? , . , 39. How should prolonged smgle tones be delivered, and why ? 40. What is the best way of " setting off" the musical imitations in a melody ?— p. 100. 8t. Co. fNe'^r ) PIFTH STEP. 116 41. How should the entrance of a " part " previously silent be treated ? 42. In what two eases should any of the parts, in music, be subdued ana subordinate 1 43. How shoidd accompaniment be delivered 1 44. Describe the three ways of pro- ducing what is called a humming accompaniment. What should be specially noticed in the imitation of natural sounds 1 45. What are the tones of the scale most congenial to a quick and stirring tune, and what to a slow and solemn tune ? Til what ranges of his voice is each singer able to make his tones most effectively heard in the midst of the harmony ?— p. 101. 46. If in the harmony a singer finds a tone placed in an effective part of his voice, which is congenial with the sen- timent he is singing, — ^how should he deliver it ? 47. How should rapid passages and runs be sung, and when such pieces are sung in chorus, what point is it impor- tant to notice ? In the management of the breath for a run, what point has the singer to notice at the beginning, and what at the end ? 48. What kind of feeling is naturally expressed by the explosive tone, and what by the pressure tone ? Which of these forms of tones is the exaggeration of the legato style, and into which of fchem does the staccato naturally break out ?— p. 103. 49. In what manner should unison passages be sung, and what should each singer strive to do ? 50. In what style should cadences be sung, and why 1 51 . How should distinguishing tones be sung, and why ? 52. In cases of dissonances, what shoidd every singer know in reference to his own part 1 How should the resisting tone be sung, and how the phrase which contains the dissonating tone ?— p. 104. 53. Why is it difficult to parse the rhythm of pieces in which there axe j fugal imitations? What is the name given to a fugal imitation which has been heard before, but which now follows its leader sooner ?— p. 104. 64. Describe the highest register of female voices. State the pitch at which they pass into it. What is the name of this register? Why should contraltos generally refrain from using it '.' p. 105. 55. What is the highest pitch whieli classic choruses require the first Sopra- nos to sing ? What is the highest pitch which should be used in church choirs where the congregation does not join ? What is the highest pitch that can be expected from congregations ? 56. What kind of voice wiU some- times find it a relief to sing one-F (F') in the small register ? 67. Describe the lesser breaks of the voice. How, and at what pitch-sound are these manifested in female voices I How in male voices ? 58. What registers are commonly used by men in ordinary speaking, and what by women ? What is the conse- quence of these habits on the singing voice ? 59. What is the mechanism of the Lower Thick register, and what are the physical sensations felt in producinff it? ^5 60. What is the mechanism and sen- sation of the Upper Thick register ? 61 . What is the mechanism and sen- sation of the Lower Thin ? 62. What is the mechanism and sen- sation of the Upper Thin ? 63. What is the mechanism and sen- sation of the Small ? 64. What points are noticeable in boys' voices when compared with voices of women 1 What course should be taken at the " change of voice ? " 65. Name the four * ' principal parts ' ' into which voices are most comm&nly classified. What other " parts " are sometimes required ? p. 108. 66. Describe the manner in which voices are examined and recorded. 67. What are the characteristics of a first Soprano? What of a second Soprano ? , 68. What are the characteristics of a first Contralto ? What of a second ? 69. What are the characteristics of a first Tenor ? What of a second • From what class of men's voices do we get the most agreeable tones in the upper thin register ? Give two powerful reasons why basses should not use this register. 70. What are the characteristics of a first Bass ? What of a second ? 71. What are the two reasons why in classifying voices you do not take compass for your guide ? In what choral part, as in Handel's choruses, do the voices of men and women coincide, singing identical tones ? In men's voice music, what is commonly the highest tone of fii'st Tenor, and the lowest of second Bass? In. women's voice music, what is commonly the highest tone of fii-st Soprano, and lowest of second Contralto ? 72. State all the causes within your knowledge of "flattening." Mention anything you think likely to prevent, arrest, or correct it. p. 109. 73. Mark in the heading of Exs. 188 to 191, 193, 195, the Sol-fa names of the optional tones, at the command of a tenor voice, — mark also the places at which you think it desirable to change the register. 74. In what cases may singers form the habit of changing the register al- ways on the same tone in absolute pitch? In what cases should other than tenor voices study carefully their optional tones ? 75. What are the chief uses of sixths, eighths, and ninths of a pulse in music ? How are eighths of a pulse named and written ? How are third- sixths of a pulse named and written ? How are half -sixths of a pulse named and written ? How are ninths of a pulse named and written ? p. 110. 76. Give the Time names for the following ; — :t ,1 .-,s II :r . ,m f y 3 :d,-r.Pi ji .fmrO 77. Hdd a steady tone with one breath for twenty-four seconds. 78. Sing with a beautiful forward quality of tone, to the Italian lah. Ex. 176. 79. Analyse the harmony of one of PRACTICE. the Exs. 177 to 179 — whichever the teacher chooses. 80. Give an example different from those quoted of increased intensity given to the mental effect of a tone by accent— by cadence — by the interval of a fifth or imder fourth. 81. Write from memory or sing tne three versions of the time Dundee or Windsor. — ^p. 84. 82. Draw from memory the diagram which shows the difference between the St, Co, CNew.J 116 FIFTH STEP. JWx. 236—243. Lali mode and tlie Ray mode. Write and sing the tune Nowell in the Ray mode and also in the Lah mode. 83. Laa from the teacher's pointing on the modulator aU the exercises given in the paragraph " Difficulties of the singer."— p. 86. 84. Name the tones of the minor mode -which belong to the following chord relations: Tonic,— Sub-dominant, — Dominant,— Super-tonic, — Leading Tone,— Sub-mediant,— Mediant. 86. Analyse any one of the chants, Bxs. 181 to 186, which the teacher may require. 86. Point out examples, -without having to look for them, of modulation to the relative minor, and of modula- tion to the relative major.— p. 88. 87. Point out examples, without having to look for them, of transitional modulation to the relative minor of the first flat key, and to the relative minor of the first sharp key. 88. Sing with correct time, tune, and expression, one of the Exs. 188 to 195, selected by the teacher. 89. Taa-tai on one tone the recita- tions of Exs. 177 and 178. 90. Mark the following passages of scripture for cadence and recitation. —Psalm 1, 8, 20, 84, 93, 98, 149. Isaiah. 12. 91. Deliver the vowels d':- the moun tain, I am :d s :- :f (n :i n PI the moun tain, I am the moun tain, No more - :n Is :r :f the boy 0' :d iti :ti the boyo' the boyo' the :li the the n •r id moun S! rf moun moun tain. IHi : tain, tain. St. Go. (New.) 120 SIXTH STEP. Ex. 246. KEY 0. s :s Ho - ly, Ho - ly, HOLY, HOLY, HOLY. 1 ho ho — :1 - ly, — :f - ly, ta :1 ho S ho :f ly, s ly. :t .d' ' :d' :n' n' ;d' t God of Sa ba - oth, r .n :f n :s f • :fe S Lord God of Sa ba - oth, d' :- .t :d' r' .n' :f' :n' r' • • God of Sa ba oth! S :f :pi :d S • _» • God of Sa ba oth! Telemann (1750) :d' ho :s Ho * Lord :n .r :n .d • ly, ;d' - ly, :1 Lord * S • S)S Heaven and) 1 .s4:t .l,t earth are full of thy - .t,l:s .f d' .s :d' glo - ry full - .t,l :s .f of thy glo - r fuU, of thy glo .r are f. C. n .n,f :sr',n'.d',r' G. t. :dif .s,s n ry, 1 .s,l:t .l,t Heaven and earth are full of thy :dif d' .s :d' glo - ry, full, - .n,r:n .r,d i Hea - I - ven and earth and ry. Ho - san d .,r;mt .1 fuU, are t .d',r':n',f'.r',Pi Gr. t.m. na! Ho - san s .1 ,t :d' .t full of thy glo • f. 0. na! 1 .PI f . r. L is D. :in .n,n Heaven and ;in ry. Ho - san ba .n,ba:se.ba,se^ earth are full of thy( 1 .n :1s :f .f n .n .s,s 1 .s ,1 :t .l,t d' .s :d' glo d - ry, fuU :i|S| .S|,S| 1| .S[,l| of thy •t( .l|,t| glo - ry, d .S| Heaven and earth are full — ;f of thy .f glo - ry, full n ;- .f,s na! Heaven and earth are full of thy glo - ry. full of thy glo - - - .r' ,n' :fi .d',r' :n' ,f' .ni,f' r> .t ,d' :r' ,n' .r',n' d' .1 ,t :d',r' .d',r» 1 are full :- .t d' of thy gl :d' 0 ry. Ho - san t .s ,1 :t naj 1 Ho - san :- .1 ry Ho - san - - . na! Ho- Si. G9» (New J SIXTH STEP. 121 t .s - .t ,1 :t .t - na in the S :- .f ,n r .r san na in the high d high :s :s d est. d est. Ex. 247. si :— 1. Good 2. Good n, :— S.Gopd 4.Good KEY A. Id night! night! night ! night ! GOOD NIGHT. Word^ translated by J. S. Stallybbass. [To illustrate chromatics.] :d good good Hi good good in night! night! |S| night ! night! r We May t| There's Heav'n ;- .re |n A. X. O. :d have fought our the star .li Isei an eye ly Fa ry :li that ther, s .f |n : P r .de |r :re n .r Id dai splen t. :- ly fight; dour bright .t| |d : Peace Cheer 't,. :- of mind the eye .leilti and that, :li rest sick sei fromhea with sor .seijli - van - row :n, knows with no night ; thy might Child Bless, of man, and streng while - then, thou and art sleep re - store - ing, us. r .delr :re n .r Id :si / s .fe Is dim, :n To Weep ti le - ward ing watch .leilti our - eth :li toil for sei are giv - the mor - .sei|l| en; row, — :n, Noi - Star - n :- sy day ry splen .re |n has - dour :d Faith - For ful watch the new and day's ward work 'tis keep be - fore - ing; us. There's Heav'n - an eye ly Fa - that ther PI .re |n • • P d ,— Id • • PP 1| .S| jS| • • tak soft si :- en flight : and bright ! .feilsi • • Good Good Pli night! night! :- .reilHi • • good good fi :- night! night! iHi • • wakes with all night, thy might 1 Good Good night! night! good good night! night ! SU Go. (New.) 122 SIXTH STEP. Ex. 248. KEY B I?. NIGHT SONG. P l.Onthe :n .r ^2. In the woods there broods d :t| 111 :- heav'nly land s :f |n Deep re - pose, t| :ti |d An - gels sing, n :r |d deep re - pose, S| :f, im an - gels sing, No :n |n Not one pain I :d Not No n in :r d .tf :d .1| isei - .se(:I( .t( Id :tr "breath stirs A - mong. the firs. And no ze ■ phyr or care Can en - ter there, But sweet voi - ces d .t| :d .1, jsei :~ .sci li .sei:li .fi ini .ni n, :f| |n, :ri one breath stirs A- mong the firs, And no ze • • phyr pain or care Oan en - ter there. But sweet voi - ces li :- I- blows, ring. di :— I— blows, ring. F. t. The On d .,r :n |s .f,n birds have all end - ed their earth we must soon end. our : .S|d |n .n :n .r,d The bir ds have ended their On earth we soon end our r I- song, song, t| song, song. d.f. E I?. .l|t, The On f .tad'idi .di :d' .t,l The birds have ended their On earth we soon end our d .,r :n birds have all earth we must n end soon .r,d ed their end our se song, song, t| song, song, mf Wait a- Wait :- .d ^n a- |s : f :- ^n .f |r : Is ^n 4' IS : while, ere long. Wait a - while, |n : r id ,r Iti : det, ,d ,n in ; while, ere long, Wait a - while, St Co, (New.) SIXTH STEP. 123 f ere r ere r long, It, long, P f . B b. Thine :ta,f, Thou'lt S( eye Hi with shall gent .Si |fe, the an :ti d ly close. :fi n, gels sing, I— I— rail. rsi Thine Thou'lt Si :- .feuSiHt eye shall gent pii .reu Piiifi with the an :si ly close. :fi n. gels sing. r s t m d t r s I r' 8 I r se s d f hat m f n I t n 1 d t f / r Three Removes. — Almost the only cases of three removes are those of three flat removes with modu- lation to the minor, or of three sharp removes with modulation to the major. In these cases the similarity of the upper part of the two modes (m ba se 1 and s 1 1 d') assists the ear in passing over from one key into the other, especially if that form of the minor mode containing bah is used. The third flat remove is the more difficult to sing simply hecause the minor mode into which it enters is itself artificial and difficult. The third sharp remove is the less difficult, hecause the major mode into which it enters is more natural to the ear. The Fhysical Changes, therefore, made in three removes, vary with the varying use of bah and se. They may he greater or smaller than those of two removes. The Mental Effects are obvious, ; — ^for a modulation from major to minor and a flat remove together naturally produce a gloomy depression of feeling, and a modulation from minor to major combines with a sharp remove to produce a strange Mnd of excitement. 8 r se r % d f n d t r 8 d/ t n 1 d t hat n \ f PI I r ^ I r 8 r 86 S df n t| n d t f n I r hat n \[r 8 The Exercises. — In the same manner as above the teacher wiU shew his pupils on the modulator that m Ex. 249 the transition to the third sharp key is not very difficult, first, because it moves ito the more familiar and more natural major mode, and second, because the second distinguishiag tone (m) enters first, after that the third (1) and the most difficult (t) last of all. In teaching each part separately it may be well for the third part to remember that f m is the same thing as r de of the the preceding key, — and for the second part to notice d' fe is the same as f t,. All three parts should hold out the d its full length in order to get it well into the ear before taking the new transition. The section in key C should be practised separately before it is united to the previous section in E |?. This also should be the case with the section in key B b, which is difficult, being a sudden remove from the major to the artificial minor. Although the distinguishing tone of the second remove (f ) comes late, it is only an alternative tone with bah, and so is awkward to sing. This tune contrasts very plainly the natural boldness of the "relative major " and the cold brightness of the "tonic major." In Ex. 250 the transition to the nunor of the third flat key is very difficult to sing, first, because it is to the minor, and, second, because it introduces the " alternative tone" (f) so early. If the third part sings f, f correctly and boldly, the second part will have no difficulty. In learning the third part separately it may be well to remember that :1, If, :f .n|r is like :n |d idU 1 1 of another key. It may scarcely be necessary to note that, in the second part, d r f is like ma f la of the previous key, — and in the first part m 1 is like s di. Other examples may be found in "Additional Exercises," pp. 78 & 94 for special efiect,— p. 86 for subor(Hnate transition and return, — and pp. 79, 84 & 92 for returning transition. Go, (Mew.) 124 SIXTH tjTEP. Ex. 249. KEY Eb. P :n :d ¥ n d s n li ni d, I :se 11 :t d'.t » .1 ;se :n s :s il :t d .n .n in :f PI .r :n .f in :n n :n If :f d :t, Id :r l|.t, :d .r In :d d :d If :r I- I- - I- 1 f i tj .d : fi >li :ri .Hi Id' IS |r Isei If. Ex. 250. KEY 0. S n d s PI d :s .s |1 :n .n |f :d.d If :s .s |1 :n .n |f :d.d If PI d P n d d .t| C. t. m. 1. 1 d .n :se |1 :t d' .t • .1 jse .n |n :f n .r :n .f In :Pis :ti Id :r li .t, :d .r m :rf d. f. Bb. :r' d' d :t, Ill :sei t d' :fesei li :sei 111 :pii :si d ni IP)) ir :n) .ri f. Eb. :rl P d' :t .1 It :se 1 1— ;iin ? :f .1 |se :n .r d 1- :f,d.t, :r .f |n 'ni 1. 1- s r :s is : spi ; n .f In '.'^^d :d.r Id : ^1 W. G. M'N, C. t. m. 1. dim. d' t |Ms :~ pi.l se :— :f li n s :s Is r ; n .f |n t| :d .r Id :se 1 "rn'.r' |d' :t d' :n f :1 IS :-.f n :d f :fe Is :si d Ex. 251. KEY 0. Andante. P s .s |1 :s Peaee - ful slum - baring n .n |f :n St, Co. (New J d' on n THE liXJIiliABY. :t :- .r' Id' the o .f in cean, :r n' Sea S A. L. C. .r' Id' .t :d' .1 J men fear no danger \ .f in .r :n .^e) SIXTH STEP. 125 s : nigh, S I- .f :n .r s Winds n The winds andt waves P s : Soothe s.d.f. Eb spi : 1. When mad :• 2. 'Neath C. t.m.l. PIS high, .n |1 .1 :s .fe them with their lu-la- .d If .f :n .re - .n If :n the wind tern - .d ir :d a hea - ven sky, !— I- .f :n .r E'en then no They in the rit, S by, n d' pest PI black S StiU They n fear hor — rit. .S |1 '.S and waves in If in If .n :f .s lul -la, Inl -la- |r .d :r .ti .t }1 :se nous blow - ing, .r Id :ti and scowl - ing, d' gen n gen PI tie mo .f 'S, tie mo :d' tion, tion. n RoUs n Trust .r |d .t| :d .r \ the billows mountains/ .r |d .t| :d .r iag One a - bove the no in :s of rid S They PI Hear .n |1 .1 :s .fe in storms hear lulla- .d jf .f :n .re a mo-ther's lul-la- S i^y, n by. }1 fear hor If of rid PP If .n :f .s lul -la, lul -la- jr .d :r ,ti lul -la, lul -la- dan tern Pt dan tern d :— - .r' in' :d' ger know - ing, jjest's how - ling, .f |s ;pi ger know - ing, pest's how - ling. I — I — by. MTJSIO OF THE SPHERES. d .d Id :s( .d n .r |r :d d .ti :1. .sei|l( 1. Stars are giv'n us our life to bright - en, And our dim PI, .n, jni :n) .ni S| .fi Ifi :fi If, 2.See yon star written con so - la - tion ; "Here is past d :d ,1, (1, :si n :n in .,d :f .n r :d It, path - way to light - en; They can sweet • • en the scourg -ing rod, n, :1( .fi Ifi :n, Sj 1S| .,ni :li .s, fe, ;fe( Is, earth*s tri - bu - la tion; Pil . grim, keep your cour - age high, A. L. C. :li .t| earthlyj :fi .f) aii' They( St, Co, fKew,) 126 SIXTH STEP. S.d.f. C. s :s .f |n :d .r 1 1 t ir id • # ma ;d' .,t il :se raise up the soul ti :t| .ti Id , to her :ni .f| Fa - Si ther, :fi God. MM See '^a,d.,r you the sol - :n .,n |f emn :f If thro' the dark you would climb the sky." Hark to the ho - 1 .t :d' .r' |n' .,re!:n' 1 :1 .1 ise :se .se 1 :f .f If :n words there glow - ing: f .f :f |n .,re :n "AU 1 that is :1 .1 earth - ise ly shall :se .se soon 1 be go - :f .f If ing; :n mel-o - dies ring - ing, They to the worlds and the a • ■ ges are smg - ing! f :f'.n'|r« :r'.d' t .1 ise • A. t.m:.l. Id |S| PI :— Im- • • No - thing on earth a - 1 :1 .s |f :f .n bi - deth stire ; r :re |n Souls den, that are - |si :ni / pure, d :— 1— • t There is an or-bit where thou shalt move, Or der'd a - right, s |s :f n :- - Id :r n - |r • d :- 1- • Souls ' that are t| |ti :t| pure (1 shaU for - iHi :fi aye en Si Ifi am • 1 dure." • • Or - der'd a - right by e - ter nal love. Ex. 253. KEY C. SOUND THE LOUD TIMBREL. Words by Moore. s .n ;s :n' d' It :1 s :— :s l.Soimd theloud tim - brel • o'er • E - gypt's dark . * sea! • Je - :s His • • 2,Praise to the Oon • - que • - ror, • • praise to the * Lord, s :d' :di di r-.t :d' Y» t • ■ • G.t. • • • tri - umph'd — ^his s :n :d peo n - pie are :- .s :d' free ! t : Sing — rS| : — for the :P1) .S| ar - row, his breath was our sword ! Who shall re- . . • > s .fe:s PI :d :pi ty - rant is d :ti :1| bro ii' - ken, :si His : s, cha • riots and n .re:n horse-men d :d aU :d E - gypt the sto ■ • ry Of those she sent forth in the s' ho PI word j^., Jj» G, .Pi' :d' vahhath .d :n was our pride of PI :n turn to f :f splen-did r :1| hour of the :r tell :f and :ti her St. Co, (New J SIXTH STEP. 127 f. C. brave, d pride ? spo - d glo - :n : • • • • • d) :t :d» How vain was their boast - ing!— - The Lord hath bul :ds.s f A :f :f f :n : n n :r :d For the Lord hath looked out from his pn - lar of s.d.f. E b. p ritard. :r' :d'i .t :t :1 PI :d .r n :n m ken, And cha - riots and horse - men are sunk in the :t| :dl,.t| d :t, :1. ise, :1) .ti d :n :pi ry, And aU her brave thou - sands are dashed in the 1. :- wave. li :- • • tide. s :s s' sea; Je - ho :s n ffO. t.m.l. PIS .n :s Sound the loud den :- .d :n :- .n' :d' vah hath :- .d :n tim S brel :s s :d' ;dJ tri - umph'd — ^his $ :n ;d d' peo n o'er :f d» E PI .r' ;t pie are .f :r :t :1 - gypt's dark :r :f d' free. PI Ex. 254. KEY G. TRUE LOVE. St :- 1. True n< :- 2. True id :pi love can I Hi ;s, love can PI .r :■ never s,.fi;- never Id die, I Hi die, s Hi : .f true love can p), |fi : .1,1 true love can n .s If .r d » 1 s.d.f. B 1?. : dli.t| d .d Id :r never, S| .n, : — nev-er 111 .fi • die, Hi • - 1 • 1 Al - though pii its first .Pli 111 "bright :t, never, nev-er die, Life's spring may pass a • PI :— 1 S .f Hi :t, d 1 P. t. : i-s.f gleam d 1 May :d fly ti like child :- .1, If, - hood's :fi dream, pij :— 1 Yet way, Soon fade its sum - mer 1 day, But 8U Co, (Newj 128 SIXTH STEP. cm. n :r .n is cret "bums its se d :t| .d |1| .t| :ti .d bright 1 pire : f bloom, p *mid win 1 — I — try / „ :s .,ie Ev - er :n .,re StUlun- dy 1 :- I- fire, f :- I- gloom, s :— glow n :r d Till we die. d |S| Hi I— — I— cres* jn :f .n Gf-. t.m. <7m. fepi :r .n |s Till Hf e it - self ex rd :ti .d | 1[ .ti : t| .d True love will ev - er :1 .,t d' IS ing, Id Ev - er :f .,f grow n : iiig> jn : ing. Timede- fy ■ m ing, PP St :- il, :t, d TiU we die. f| :- If. • Hi Ex. 255. KEY D. COME, FAYS AND FAIRIES. d' . :s .,fe s n s • in' .,re' Oome, n . fays :n and .,re fair Pi ios, d PI Come, PI . fays and IS Come, d . Come a - :d .,d a"' Oome, d . d' :s f r> •J* d' .t fair S ies, n :n .,n n Yes, :f Come,a PI .n - way :s ye .,f fays and PI .r fair -ies :f .PI Oome a - :d .,d way, d Yes, :t, d . :d , d . :d . Come, come. come. come. s .s ;s,fe . s,l "While the moon is n .n :n,re . n,f d . :d . Come, come, St, Co, (New,) S .f :r shin -ing n .r S| . come. bright, it) • :si . come, s .d' :n' .,r' Now for - sake the n .n :s .,f d :d . Come, come, d' .t :l,t.d' wood's deep sha-dows, n .r :f .n :d . come. d . come. r' .r' :r'>d'.t ,d' Come and dance in her] \t %\t * il ,X tS ,X s * Come, :s . come, SIXTH STEP. 129 t .1 :s .s sil - ver liglit,yes, s .fe :s .f r .r :s .t| cornea - way,yes, s .d' :n' .,r' Come a - way, ye PI .n :s .,f d . Come, :d . come. d' .t :l^.d' fays and fair -ies, n .r :f .n d . come, :d . come, s . s ;s,fe . s ,1 WMle the moon is n .n :n,re.n,f d . :d . Come, come. s .d> • i i r' d' .t :i ,t .d' r' .t :s 1 t Now for - sake the woods* deep sha - dows. Come and dance in her PI .n :s n .r :f .n f .f :f •f ,f d . :d « d • :d . • :t, Come, come. come come. Come, come. d.f. 0. f > P .d' ,d' :t . s l,t .d' :d' ,r'.n' r' .t :s ri .1 Come, trip it merri- ■ly ho. ho, ho. list to the li - ly .maf n .n :n ,f .s S .s :s r" .di ,d' :t .1 .dr d d :d ,d .d t| .r :s r' .d',di:t .1 Come, trip it merri- ■ly ho. ho, ho. List to the li - ly s .f :r . shin-ing hright, n .r :ti . S| . come, .r' sil - ver f .f S| .S| come a • :Si . come. Fine. :d' . Hght. :n :d way. S .f :n hell's sweet sound, ^ s .f :n s f :n hell's sweet sound,/ .1 ,t* f di .d' :d' ,r'.n' r' .t > :s P r' .t :s .1 ,t n' :d' Come, .f trip it PI .n merri-ly, :n ,f .s ho, ho, S .S ho, :s Lightly trip f .f :f it .f round and f .f round. :pi .r d .d :d ,d .d t| .r :s ti . :t, • .t, :d Come, trip it merri-ly, ho, ho, ho. Trip it round and round. A. t.m.l. 9 :id- ,r n :n Pl :- ,re s :- - .f Wea-ry mor - tals now are sleep " S|. :S| . S| . : S| . S| . :si . S| . :si . ti . :ti .' La la, :pi, . la. la, : pii . la, di la, :di . la, d, . la, :d, . la. Si . la, :s, . n .li -iti d :d d :- ttud Pl :- -.r d :s s ing Sil -ver stars the watch are keep ing. Fays and fair d . :li . Si . :S| . S| . :si ., sej. : sei . 1| . :pi .,re Pl la. La, la, la, la. la. la. la. la, Come, come, d, . Hi . Hi . PI) • il . * • d . ;d . St, Co, fNewJ 130 SIXTH STEP. n :n .,re PI d • r .t|4:r . • ies, d Fays and fair d . :d . ies, d . :d . Come from the glen, t( • lt| • t( . d . :si .,fei Come, Si come, come, come :di . Come, S, . come, :si . come. Si . come, :si . come, Fays and <* * fair 1 • 1 ies. come. n .d,r:n . : s .,f e S n :pi .,re PI Come from the hill, d . :d . d . JL C(i Y O OiWJL :n .,re XdlX PI J — ies, d Fays and fair d . :d' . Come, di . come, :di , comcj d, . d . :d . 001116, d . come. :S( .,fei Fays and S| fair d r .t|,d :r .ti f. n .d,r:pi D. ds B.S I — ies. d . :d . Come from the foun -tain, t| . :ti . t| . Come from the rill, d . :d . yes. ta,f come, PI, . come, .'di . Come, St . come, :si . come, S| . come, :s, . Come d, . come, :d| . yes. "it, ies. come, 1 1 i More Distant Kemoves are much used in modern music. They can be studied on the extended modulator. See also my "Construction Exercises," p. 164, and " The Staff Notation." Effect of Speed and Force. — ^We all know that when we are excited our pulse moves quickly, and that when we are calm and meditative our pulse moves more gently and slowly. This is the general principle which must govern our speed of move- ment in singing. It should he regulated by the character of the emotion we are expressing. We may also notice, that the same state of our feelings, which naturally suggests that we should speak quickly f generally leads us, at the same time, to speak aloud. And the same emotions which lead us to speak slowly, commonly also suggest that we should speak softly. Hence the connection between speed and force. In this study, however, the following caution from Dr. Lowell Mason should be kept in Blind. He says, " The very same words may be sung by different persons, or even by the same per- son at different seasons, — ^in different moods of mind, St. Go. (New.) and so with a pervading difference of expression. The hymn commencing, "When I can read my title clear," would be sung by one man (looking at his Christian hopes through the tears of penitence and sorrow) with a subdued trembling confidence, and by another man (who has long taken * Jesus ' for ' the Otirist,' in whom his soul trusts) with the free full triumph of gratitude and faith. The Israelites, before they crossed the Eed Sea, might have sung such a hymn as that which begins — I sing th' almighty power of God, That made the mountains rise ; That spread the flomiig seas abroad, And bmlt the lofty skies. But they would have sung it, in a very different strain after ^ they had crossed the Red Sea ! It might be said, that, in both these cases, th^ second way of singing is the right way. But allow- ances must, nevertheless, be made for this difference in the general style and manner of delivery." The principles here laid down are necessarily incomplete; but they will serve the purpose of setting the pupil to think. Each case given SIXTH STEP. 131 below, should be brought before the class, and sub- mitted to the judgment of the pupil's. They should then be requested to find other cases illus- trative of the same principles, or cases developing any new principle. Let the pupil remember that this exercise of independent thought and feeling is the only exereise, in connexion with this subject, 0/ any real mlue to Mm. The mere learning of rules for expression, without apprehending and testing their riieaning, and without trying tb apply them for yourself, or to invent others if need be, — would be just the putting on of so many weights and shackles to hinder all free movement. * Loud and Quick. — These principles will naturally suggest to us that passages of music expressing joyful praise, gladness of heart, and other, excited emotions, should be delivered with force, and with quick and sometimes accelerated speed. Besides this, among the many passages where music seems to act the words, there are some in which this dramatic delivery naturally assumes the same qual- ities of loudness and quickness. Joy ful praise. — Illustrations of this will be found in " Jacksons," p. 2, v. 4, last line,—" Swiftly" p. 32 "Nature's," &c.,— and St. Co. Ex. 111. Gladness. — See Sunshine, p. 45, last two lines of verses 1, 2, — " Spring life," p. 3, where full voiced gladness bursts out on the words " Hurrah," " grow away," &c., — see also St. Co. Ex. 174, at the open- ing and at the close before " Fine." Excited emotion. — By this we mean other exciting emotions besides those of praise and gladness ; and any of these emotions when suddenly aroused. See the feeling of patriotism in p. 13, first 8 measures and last 8 measures, — see exulting confidence iu " Eise my soul," p. 33, v. 1, — see a change to excited confidence in " Nearer my God," p. 34, v. 2, lines 1 to 5, — in " Hope will," p. 12, close of each verse, —m " Hear me," p. 18, third score, where the words are those of prayer but the feeling is that of exult- ing confidence, — and in " Saviour breathe," p. 91, third score, where even the depressing sentiment of confession is naturally overlooked in the rising urgency of passionate entreaty. See cases in which the excited emotion suggests also, acceller- ated speed, ia "We fly," p. 20, through the whole, — and in "Awake," p. 62, end of second score, con- trasted with the slow and sustained music which precedes it. Dramatic effects. — Cases in which our mental asso- ciations naturally suggest loudness and quickness St. Co. (New), * This subject is more fully trea in the "picturing out" or acting of a musical passage m*ay be found in " Quail," p. 14, score 2, " Euthless the winter comes on," — " Awake," p. 64, score 4,— see also St. Co. Ex. 175, accompaniment in Tenor and Bass " rushing along." The student should here be cautioned against an unnatural straining after expression, agaiust giving such expression to a single word, or to a single line of the poetry, as will distract the attention from the general sentiment — the pervading and pre- dominating feeling of the piece. The author of " Our Church Music " cites two striking illustrations of this. "The following stanza," he says : — Sinners rejoice, and saints be glad, Hosanna, let his name be blest ; A thousand blessings on his head With peace, and joy, and glory rest : "is evidently throughout a y^^zV^w^ one; and the individual word peace does not change its charac- ter. I once heard a leader, with a powerful voice, singing this hymn. Catching at such words as * rejoice * be glad^ &c., he bounded on exultingly. But suddenly his eye fell upon the word *■ peace.* This * gave him pause. ' He was startled. But, with ready presence of mind, he checked his musical career, and sinking his voice to a whispering pianissimo, faintly articulated the word This accomplished, however, he rallied inanfully for the remainder of the line, to depict the * joy * and * GLORY ' of it." The following stanza : — See, the storm of vengeance gathering, O'er the path you dare to tread, Hark ! the awful thunder rolling Loud and louder o'er your head : our author heard sung with an awful crescendo on the third line, and a great thundering of the organ- pipes. But the true feeling of the verse is that of subdued solemnity. The attitude both of speaker and hearer is that of quiet listening. " Would not an effective reader," he says, " sink his voice to a whisper, and turn the listener's ear inward, to the thunder of his own conscience, rather than stun it by material noise ? " Let the student always ask himself — "What should be my own state of mind (excited, or quiet, &c.), while uttering this sentiment?** Let him determine first to feel the sentiment quietly and fully, next to speah it feelingly, and then to sing it so as to make others feel. If he does this he will never be found labouring to bring out expression in "Musical Theory," Book IV 132 SIXTH STEP. Ex. 256—259 from unimportant words, and forgetting the main sentiment wMcli lie uttering. Loud and Slow.— Passages which express some grand idea on which the mind delights to dwell should be sung loudly, and not only without quick- ened movement; hut often in a delayed and sustained manner. Grand Ideas.~See e:^Simplesm " Godspeed," p. 1 —"Spring Life," p. 4, " praise and pray," where, in the same place, the other verses would "be sung loud and qtiiek,~a.ndi in "auail," p. 15, end of third verse, where after trembling and fear, there comes a sol- emn confident utterance of thoughtful faith on the words "Grod for his creatures will care,"— How lovely," p. 61, first score " throughout " to " tid- ings," expressing the universal triumph of the gospel. Musically considered, this forte^ rallen- tando prepares the way, by contrast,— for the Kght piano which follows,-~-in " Sunshine," p. 45, where the singer is contemplating with strong satisfaction the blessings he has realised, and where, in the same place the previous verses would be sung loud and quick. See also St. Co. Ex. 139, last Kne v. 3 & 4, Ex. 266, What musical expression is suitable to the words in " Morning prayer," p. 80, " I feel my being new created?"— in "May time," p. 5, opening of v. 1 and 8 ? Ex. 257. What expression would you give to " Quail," p. 15, " G-od be thanked," and " Look she goes?"— to <*Home," p. 76, "teU me heaven .?"-- and to "Saviour," p. 92, "for we are safe if thou.'' Ex. 258. What expression would you give to "The stout limbed," p. 77, last score and p. 78, third score ?— and to "How lovely," p. 58, last score. Give your reasons in both cases. Ex. 259. What general musical expression would you give to the words in St. Co. Ex. 134, — and what special expression to Ex. 113, scores 1, 2, 3^ 6^ 7 ?— in Ex. 175, on the words "The sea," "The deep blue sea for me?" — ^what expression would you give to St. Co. Ex. 143, " Great is the Lord," " He makes his promise good." Soft and Slow. — The principles stated at the conmieneement of this subject naturally suggest, — that words which express Worship, Sadness, or other Subdued Emotions as well as those which place the mind in the attitude of Meditation, Des- cription, or Bepose, should be sung more softly and often more slowly than other passages. There are also several Dramatic Effects which can be well expressed by soft and slow singing. Worship, — See examples in " Hear me," p. 17, at the opening, where the second score, being a repe- tition section and expressive of rising urgency is naturally sung louder than the first ; but stiR piano j — " Lord in this," p. 33, v. 2, where the worshipful feeling is deeper and humbler than in v. 1, and should be suSg more softly and slowly. This expression prepares for rising urgency of prayer in V. 3. See also St. Oo. Ex. 135, v. 1. Sadness. — See illusfcratiouis in Shepherds* lament," p. 89, score 4, where the closed door, pro- duces a sadness, which sobs in the words " and all, — all," and deepens into utter desolation, delaying the utterance of the words " me, a dream to me," — and in St. Co. Ex. 188, v. 2, second and third scores, — ^Ex. 190, V. 2, last two lines. Subdmd JSmotion. — See examples in "Jackson's" p. 2, V, 2, first and last lines, aM v. 4, second line. Note that in this piece, the last line of the last verse would be sung with a contrasting expression, — " auai] caU," p. 14, " Ah ! but " to " defend,"~also the same, " cold " to " cries," — and the subdued feeling of the listener, v. 1 and 4 of the same, — " Come freedom's," p. 13, v. 2, lines 1, 2,—" Fortune hunter," v. 5, last two lines, — " Hope will," p. 12, v. 1, line 1, and v. 2, line 1. See also St. Co. Ex. 139, V. 3, first line. Meditation^ Description, or Repose. — See examples in " If I had," p. 45, last score " But thoughts " to " here,' '—"How lovely," p. 58, duet,—" Swiftly," p. 31, "sweet," &c.,~"My lady," p. 21, where soft respectful "description" mingles with "excited emotion," which, see above, requires a different treatment, — " Spring life," p. 3, — "Hear me," p. 18, " I will," — ^where the singer anticipates the sense of repose. See also St. Co. Ex. 1 19, " oh, sweet content" " oh, punishment," — Ex. 193, where, the whole is descriptive and subdued ; but where, in the second and third verses, the second half is made softer and slower still by the " subdued emotion." Dramatic Efect.— See illustrations in " Night around," p. 22. The accompaniment imitates the effect of a night breeze, — "The woods," p. 73, last score "and vanish," &c., when the diminuendo, pianissimo pictures the passing away of a dream, — "Ye spotted," p. 83, fourth score, "Beetles black," where the low voiced horror of the fairies, when thinking of the "beetles," is contrasted with their loud defiance of the spiders. SU Co. (New.) Ex. 260—1 SIXTH STEP. 133 Soft and Quick. — On the same principles it is easy to see that passages expressing Gaity or the feeling of Cunning and Innendo are naturally delivered in a soft, light, and quick manner. Gaiety. — See examples in " Come let," p. 24, " trip it to and fro," — " Fortune hunter," p. 5, — "Gipsies' tent," p. 35,— and" 0 the joy,"— " The woods," p. 71, where the light gaiety of the music is moderated by the descriptive character of the words. See also St. Oo. Ex. 78, "Tra, la, la,"— Ex. 174 where the gaiety of the first half of the music is contrasted with the boldness of its opening and close, and with the more legato descriptive passage which follows. Playful Gunning, — See examples in "Fortune hunter," p. 4, v. 8, " Without asking my lady," and V. 10, last line where the fun would be increased by a pause after "not," — " Quail," p. 14, v. 3, "here I lie." See St. Co. Ex. 145 on the last words " my love loves me," as though playing with a pleasant secret, — Ex. 120, where after the importunate " Tell me," another set of voices seems to reply " Oh ! no," and p. 42, from "all among" to "dwell," where the pretty little secret is let out. Dramatic JEffeet. — See examples in "Swiftly," p. 29, where first the quick fleeting shadows and after- wards the quickly gUnting sunbeams are imitated. See St. Co. Ex. 102, where the rise and fall of laughter is not only imitated but enacted. Ex. 260. What expression would you give to " 0 Saviour," p. 86, 6 measures beginning " Save us ?"— " Father my," p. 34, v. 1, lines 5, 6 ?— "Lord in this," p. 33, v. 4, line 2?—" Saviour," p. 92, " Though " to " fly ? "— " Loud the storm wind," p. 95, "soft comes?" Ex. 261. What expression should be given to St. Co. Ex. 97, V. 1, line 1, v. 3, lines 1 and 2 ?— to Ex. 194, V. 1, " In sUence " to end, — and ia what different manner should the mingled emotions of joy, and sustaiaed, intensified agony, in " Jerusa- lem," &c., be expressed? — Ex. 137,first lineof each verse ?— Ex. 139, v. 3, " and quiet lie ? " loud to Soft. — Passages which suggest " Excited emotion " at their opening, gradually changing to " Subdued emotion," will naturally be sung dimin- uendo. See "Spring," p. 51, "Cloe" to "gone," ' — "Going home," p. 2, v. 2, last line, — "Morning prayer," p. 79, where the ma in the contralto twice ^ hushes the outburst of greeting at the solemn sense of the Divine presence, — andwhere,on the repetition, the feeling, still more deepened, may be expressed by a piamssimo, rallentando finish to the diminuendo. The words of the second verse do not require such refined expression : but those of the third verse in the same place, demand all the feeling which con- ductor and singers can throw into them. See also St. Co. Ex. 79, score 4, v. 1. Single tones may take the same shape, but in that brief and condensed form, which we call the explo- sive tone, when the singer wishes to express vig- our and energy in a somewhat spasmodic manner. Let the pupils sing the scale upward and down- ward with a feeling of resolute determination, to the words, "No! I will not! No! I wiU not!" See also illustrations in the fairies saying " Hence, hence," to the spiders, p. 83,— "Where the gay," p. 65, score 4, the energetic climax of a remarkable crescendo passage, — "Hear me," p. 18, first and fourth scores, — "The Shepherd's," p. 88 ia which a number of explosive tones must be excused on account of the state of passionate excitement which the singer has to impersonate, — " Harvest Home," p. 39. Soft to Loud. — Passages which suggest "Sub- dued emotion" at their opening, gradually chang- ing to "Excited emotion," will naturally be sung crescendo. See "At first," p. 54, first score, where the gathering force of a mountain stream is repre- sented by crescendo and accelerando ; and the same thing, p. 55, score 4, — **Loud the storm wind," pp. 94 and 95, " loud," &c., where the subdued feeUng of description gradually changes into dramatic excitement. See also St. Co. Ex. 139, v. 2, "And in," to "to be,"— Ex. 175, " Beautiful " to "free," where contemplation rises into ecstasy. Single tones may take the same shape but in that brief and condensed form which we call pressure tone, when the singer wishes to express the breath- ings of desire, entreaty, or any deepening emotion. Let the pupil sing the scale slowly upward and downward to the words " Oh ! do, pray do ! Oh ! do, pray do ! " See " Jackson," p. 3, on the words, v. 2, last line,— " Father," p. 34, v. 1, where a pres- sure tone on each syllable of " From human agony," would well express the deepening emotion, — " Hear me," p. 17, score 2, " 0,"— ditto p. 18, second score, "prayer," — "0 Saviour," p. 86, score 2, "Save,' " Help.' ■ It should here be noticed, however, that the same emotion is sometimes expressed violently and passionately by the explosive tone which in other moods would require the desireful pressure tone; see Saviour," p. 87, "Save," "Help," and Sf. Co. (New.) 134 SIXTH STEP. Ex. 262—271 "Home," p. 76, score 1, "shall." See also St. Co. Ex. 189, — Ex. 194, each syllable of "the anguish of our soul." Ex. 262. Mark for expression the following stanza, first on the supposition that the poet wishes the mind strongly im|)(ressed with the contrast in the picture, for the sake (for example) of some lesson he means to draw from it, — and, secondly, suppos- ing the sentiment to mean nothing more than a descriptive meditation : — In winter, from the mountain, The stream, like a torrent, flows , In summer, the same fountain Is calm as a child's repose. Ex. 263 . Mark the following — from Gersbach' s Little Singing Bird," translated by Mr. James Stallybrass : — On airy wings The skylark spring's To yonder cloud on high ; His thanks to God He flings abroad, And fills the wide blue sky. O songster rare, You swing up there — Creation's morning bell I My songs I'll blend "With yours, and send Them up to heaven as well. Ex. 264. Ditto, ditto. Oh ! never fear Old Winter's cheer, Though rude and sharp his greeting ; His coat is rough His voice is gruff, But warm his heart is beating. He wears no smile And for a while He'll seem to hide our treasures ; But in the end He'U prove a friend And bring us back Spring pleasures." Ex. 265. Bitto, ditto. When Spring unlocks the frozen ground And scatters all its treasures roimd, How sharp and active then is found, Old Master Spade the Gardener ! When 'mong the crops feeds hungry Bun, Oh ! who will rise before the sun To scare the rogue and make him run ? Old Master Spade the Gardener ! Suppose the last line in each stanza repeated, what would be your feeling in ;the repetition, and how "Would you mark it ? Ex. 266. Ditto, ditto. Oh ! there's not a sweeter pleasure Than to know a faithful heart. Ye that own so rich a treasure Never, never with it part ! Blest are we, in joy and woe, If but one true heart we know. Ex. 267. Ditto, ditto. Your cage is nice and ready ; Though green boughs, pretty bird, Are now your home delightful And rightful,— Yet spiteful Is Winter, and he'll pinch hard. The cage has long been ready : What says the pretty bird ? I'm still to freedom clinging And swinging And winging My flight o'er the bright green sward I Ex. 268. Mark this from "Eavourite Welsh Hymns," by Joseph Morris : — Par on the ocean, one cold starless night A small bark was sailing in pitiful plight ; The boom of the billows, as on rushed the storm, O'ercame the stout hearts of the men with alarm. But one in that lone boat was fearless the wMle, The captain's bright boy,— looking round with a smile; " The storm," he said, " threatens, but stUl do not fear, We safely shall land, for my father doth steer.'' Ex. 269. Mark this, by the Rev. W. B. R. Never forget the dear ones, — What songs, like theirs, so sweet ? What brilliant dance of strangers Like their small twinkling feet ? Thy sun-lights on hfe's waters, Thy rainbows on its foam ; Never forget the dear ones Within thy house at home. Ex. 270. Mark this, from Barry Cornwall;— Oh ! the summ er night Has a smile of light. And she sits on a sapphire throne ; Whilst the sweet winds load her With garlands of odour, From the bud to the rose o'erblowQ. But the winter night Is all cold and wMte, And she singeth a song of pain ; Till the wild bee hummeth And warm spring cometh. Then she dies in a dream of rain. Ex. 271. How would you treat the last verse of " Oh! where and oh! where is your Highland laddie gone?" We once heard it sung all in one piano. Should question and answer be given alike F Suppose, and suppose that your Highland lad should die ! The bagpipies should piay o'er, him and I'd lay me dowv and cry ; And 'tis oh ! in my heart I wish he may not die. St. Co. rmw.) SIXTH STEP V66 Will you take the first line as a simple thought- less remark of the questioner, as a solemn fear seriously entertained, or as a heartless mocking sug- gestion ? Is the opening of the second line the sad musing of sorrow as it pictures the parting scene ? Or is it the earnest voice of a momentary triumphant feeling, claiming, even in death, some honour for the Etighland lad ? Does the last line imply hope, or a troubled heart near despair ? Mark the verse according to all these various readings. Finally, on this subject of expression, let pupils be always reminded, that, in the preceding exercises, we have only introduced them to certain gen- eral principles and instruments of Art. But, to use the memorable words of M. Fetis, " Art without LOVE IS POWERLESS. To porsuadc we must believe in what we say. To move we must ourselves be MOVED." If you want to see how this principle is forgotten, and how little the highest art can do without Truth and Love, go listen to the well-paid chorus in some first-rate opera-house of England or France, or to the unbelieving choir and organist in some of our greatest churches. Phrasing of Words. — From the commencement of the course, as at pp. 9, 16, and 30, the attention of the student has been directed to the proper division of the melody into portions, marked by breathing places. At pp. 69, 70, instructions and exercises have been given in the art of quickly detect- ing the natural divisions of musical sections and phrases, and at p. 98, the principles of " Melodic Phrasing" are still further developed. But to the singer a yet more important art is that of dividing the words so as to give the sense most clearly and of making the hearer receive that sense as the singer feels it. When singers take breath in the middle of a word, or between words which so belong to one another as properly to make up a compound word, they commit an outrage on the poetry they sing. " Who would do so ? " exclaims the irritable reader. " Let him listen attentively," says Mr. Wordsworth, " to the next ten singers and out of the number, nine shall be caught in what appears an impossible fault. Intelligent people have sung words thus punctuated, — I saw the vir, — tuous man contend With, — ^life's unnumbered, — woes. And, — ^he was poor with, — out a friend. Pressed, — by a thousand foes." The singer should form the habit of looking on words not singly but in groups joined together naturally by the sense. In other languages than our own the little words are absorbed into the larger ones. Thus, in Latin or in Hebrew nearly all the "groups" marked in the verse below could be expressed by single words. Without studying deepl^r the details of grammatical analysis, the musical student will easily see, by his common sense, what words belong to one another. Let not such words be separated. When the smaller groups — ^the compound words — are readily distinguished, the student will begin to form these again into latrger groups. Thus each line of the following verse may be divided into two larger groups as well as into three or four smaller ones. The stronger the retaining power of the lungs the larger the phrase they can easily deliver in one breath. With all my powers of heart and tongue I'll praise my Maker with my song Angels shall hear the notes I raise Approve the song and join the praise. Mr. G. F. Root proposes that a verse, like the following, should be sung by the class to some familiar tune : — While shepherds watched their flocks by night, All seated on the ground, The angel of the Lord came down. And glorj' shone around. Let the pupils be first required to take breath in the middle of the words "shepherds," "seated," " angel," and " glory." " All would feel," he says, "that taking breath between the syllables of a word is wrong, and thus one rule would be deduced. Next, the pupils might be asked to take breath after the words * their,' and * by ' ia the first line, and after * the ' in the second, &c. It would then be seen that the breath must not be taken after words that are in close connexion with other words. Finally, the pupils should sing the verse, taking breath where the stops occur, and after emphatic Words . That will be found agreeable and expressive, and thus the rule for correct breathing would be established." The musical and poetical phrases, in ordinary cases, coincide with each other. But where thai is not the case, the word^ must rule. In the follow- ing illustration, from W. A. Wordsworth's " Trea- tise on Singing," the musical phrasing would suggest, as breathing places, those where tiie cross is placed. But such a phrasing would, in two places, be false to the sense. The other marking i* St, Co. (New,) 136 SIXTH STEP. Ex. 272—3 therefore necessary. Sing the passage in hotli ways. KEY A. t X X J:si It is :-.n|f :-.t, not that its d meads :~.rin :-.d) s are green, It ) t X f :-.r|n :- .d is not that its r hiUs ;f .n |r :— fair. are In a chorus it is a point of special^ importance that all should he agreed as to the principal places of taking hreath. It produces a delightful effect of unity and clear expression thus to make the " phras- ing" unanimous, Ex. 272. Divide the words of Ex. 191, 144, 140, into smaller groups and mark them after the manner of the verse above. — "With all," &c. Ex. 273. Divide into larger groups, and mark in the same way, the words of " Hope will," p. 12, "Come freedom's," p. 13, "Lord in this," p. 33, " Father my spirit," p. 34. Vowels. — The importance of vowel sounds to the singer has heen shown, and the consonants have al- ready heen studied, pp. 59, 60. "Whenever a class grows careless in the utterance of consonants,the "ar- ticulation exercises" Nos. 146 to 152 will have to he revived. This study of the consonants is sufficient to render intelligible the rapid recitations of a chant, or the quick speech of a comic song, but not to produce any lengthened tones with clearness and beauty. It is to the vowels that we owe the chief charm of speech in song. Unfortunately also it is the vowels in which the dialects of the different parts of the country principally differ. The local teacher may not always think it advisable to fight against an accepted and well confirmed local habit of speech. But he should at least know what the received sounds are, and how to produce them. Again, those vowels which are commonly short in speech have often to be sung to a long note, but few speakers have been accustomed to notice the exact formation of these vowels, or to sustain them, except for a passing moment. Now these vowels in Eng- lish are rarely shortened utterances of the corres- ponding well known long vowels. They generally require some parts of the vocal organs to be differ- AY. Co, (New,) ently arranged. Hence the power of sustaining them has to be learnt as a new art. So difficult are they that KoUmann and some other writers on musical pronunciation, misled by the word short, and not noticing that these vowels really differ from others in quality, take for granted that "the short vowel, cannot be prolonged." But to hear the quality of a vowel altered in singing, as for example steal, sate, cart, fool, substituted for still, set, cat, full, produces a most disagreable, often painful effect even on the uncultivated hearer, — whereas a pure vowel is a pure delight. The following explanations will help to make the subject clear to the pupil's mind. Mechanism of the Vowels. — Vowels are produced by giving certain fixed forms to the cavities between the larynx and the lips. Those cavities act as a "resonator" to the tones produced in the larynx, just as the body of the violin acts as a reson- ator to the tones generated by its strings. By their varying shapes they modify the quality, and tend also to modify the pitch, of the vowels. Not only are some vowels of a much pleasant er quality than others, but some vowels are more easily and clearly produced at a low or a high pitch than others. As any fixed shape of the vocal cavities will produce a new vowel, the number of poa^sible vowels is practi- cally infinite, and the number acknowledged in var- ious languages and dialects, without reckoning individual peculiarities, is very great. We shall of course confine our attention to the principal Eng- lish vowels, indicating their commonest dialectic varieties. The following diagram is a kind of vowel modu- lator, the vowels being for convenience expressed in glossic letters. The arrangement is according to natural pitch. If the vowels r . ' ' Singers must be careful not to let "leap, steal, feel, seen, green," sound the same as " Hp, still, fiU, sin, grin ' ' lengthened. When, how- ever, short or " brief " ee does not run on to the fol- lowing consonant, it may be always sung as «, if more convenient. Ex. 280. — Practise this vowel in Key B and in the manner described above. Men should guard against this sound desct/nding into i (as in still) only lengthened. Fourth Oboup, U, A, E, I. u. — short, in but, brush, judge, tun, sun, dun, blood, rough, money; For this vowel the tongue is almost flat, and altogether higher m the mouth Ht. Co, (NewJ 14U SIXTH STEP. Ex. 281—284. than for a a, but it is quite free from all the teeth, loose and unrestrained, filling nearly the middle of the hollow of the mouth. Many persons drop the tongue too deep, which destroys the beauty of this simple natural sound and gives it a disagreeable roughness or thickness. Care must be taken not to round the lips in the least. The teeth must be wide apart. If the larynx is lowered, as in the low pitches, the sound naturally approaches aa, but all approach to oa can be avoided by keeping the lips open. Notice this vowel at low pitches in the Bass, St. Co. Ex. 119, m. 8. "punish," and Ex. 145, m. 10, joyows thrwsh." Add. Ex. p. 47, sc. 4, m. 3, "shuts." Try to sustain, it purely although not at low pitch in Add. Ex. p. 58, scs. 1 and 2, " lovely," St. Co. Ex. 98, last word, 1st v. " done/* and Ex. 99, ms. 6 and 8, " bove " and love." The deeper vowel (glossic uu) is common in North Wales and in the Provinces. As a short vowel it is the commonest of con- versational sounds and all our unaccented vowels have a tendency to fall into it.. But notwithstand- ing this, many writers on elocution condemn it as slovenly and obscure. In the South of England this vowel is long before R in accented syllables, the R being generally omitted, as in mirth, earth. In none of these should e long (the modified ai of air) be tolerated. Other examples are in nurse, purse, murmur, word, world. In these a deeper sound, made by lowering the back of the tongue and much heard in the West, should be avoided. No approach to aa should be allowed. In both these sets of words tht; singer must learn to insert the r as a very slight rapid trill following the vowel. In Scotland these sets of words are pro- nounced with different short vowels before a tril- led/. Ex. 281. — Practise this vowel in Key D and in the manner described as above, Ex. 274. In order to guard against its great tendency to change, let the pupil think, while he sings, of one of the above words containing this vowel. Ex. 282. — Comparison exercise as above. Ton tone, nuns nones, run roan, pup pope, sup soap, sun sewn, rut rote, rum roam, stirring starring, bird bard, occurred card, deterring tarring, serve salve, firm farm, gird guard, herd hard, girl garland, pearl parlance, further farther, serge sarjeant. Ex. 283.^3iiig on any tone each pair to the same breath f^uck book, luck look, cud coidd, St. Co, (New), * This exercise should tuck took, knuckle nook, rush push, gullet bullet, pulp pulpit, nuUpuU, hull bull,hulk:bulk {u in both) a.— in tap, pat, pant, sad, mash, flax, plaid, plait, bade. The whole tongue is greatly higher than for aa, and the middle of the tongue is more raised than for u. It is however much lower than for ai, and should be quite free of the back teeth, below which it hangs freely, the tip of the tongue being slightly higher than the lower teeth, but not obstructing the free opening of the mouth. Both teeth and lips must be wide open. Persons who mince their words in England pronounce the word man almost as though it were men. Mr. Bell accuses the mincers of saying " the ettidude is edmirable." The sound which they reaUy use is the open sound of ai (glossic ae) so much heard in France, Italy, and Germany, (e, a,) and frequently in some EngHsh provinces in place of e. The larynx is lower for a than for ae ; partly for this reason, there is a natural tendency to convert a into ae at high pitches, which require the larynx to be raised. See a at high pitches in St. Co. Ex. 134, m. 3, V. 3, " happy," and Ex. 137, m. 7, " man- fully." Foreigners always confuse a and ae. It is heard as a long vowel in the West and in Ireland in place of aa, and in Ireland it is the name of the first letter of the alphabet. In Scotland short ah (the deeper sound of aa) is constantly substituted for and the teacher should carefully correct any tendency to say aa for a, except in such words as " pass, glass, ask, path, lath, aunt, haunt, gauntlet, grant, sha'n't," aa is commonly used in these cases ; the use of a is only common in the West and among the educated classes in the North. See cases St. Co. Ex. 133. V. 4, last line, " everlasting." Add. Ex. p. 21, sc. 3, m. 3, " glass." The unaccented a in ide«', Chin Ex. 291. — Comparison exercises as above : odd awed, pod pawd, sod sawed, holiday haul, Moll maul, stock stalk, yon yawn, nod gnawed, fond fawned, God gaud, pollard pall, rot wrought, hock- ey hawk, solid salt, totter taught. Ex. 292. — ^Error exercises on the vowels. The teacher sings on G the wrong pronunciation, and the pupils immediately (on the same tone, and pro- longing the syllables) sing the correct pronunci- ation of that word, and of the other words like it. " aiiouQ " atone, adore, among, alone, amaze, alarm, awake, above, about, amidst. " D^zvert," divert, digress, direct, divulge, engine. "Testimo^sny," migratory, patrimony, dilatory, and matrimony. "Oummand," command, complete, comply, commend, correct, and corrupt. "Goodntss," goodness, endless, I matchless, boundless, anthem, forget, yes and in» stead. "Evidence," evidence, silence, prudence, ardent, excellent, providence, influence, content- ment, judgment. "Regelar," regular, educate,, singular, articulate, perpendicular, particular. " Fee-aar," fear, near, their, more. " Ai house," a house, a mile, a town. " Thee bee," thu bee, thu house, thu mile, thu town. "Thu evening," thee evening, thee upper, thee open, thee apple, thee au- tumn. ' "Aimen," aamen. " JeroosaUum," Jeroo- salem. " A nice house," an ice house. " A nox," an ox. " This sour," this hour. " Our roan," our own. "This sage," this age. "On neither side," on either side. " Bear u sonward," bear us onward. " Tai kit," take it. "Eee din," read in. " Glory yand honour," glory and honour. "The glory, ooand the power," the glory and. Note that in the solemn style of music, the word "my" is pronounced fully, but in the familiar style, as it is in the last syllable of " clammy," "mmnmy," " Tommy," — ^that the termination "ed" is in sacred music sung as a separate syllable, — that the word " wind" is sometimes in poetry pro- nounced weiad, — that the word "heaven " is some- times pronounced as one syllable, and sometimes as two, and that when pronounced ia two syllables, the second should be very lightly dwelt upon. Diphthongs. — There are four principal diph- thongs in the English language ; ei as in height, oi as in foil, ou as in foul, and eu as in feud. It will be convenient to treat along with the Diphthongs the vowel ao, as in pore, because although it is not a diphthong it is used in English only as the first element of one. A diphthong is not merely two vowels put close together. The word " cawing" might be repeated ever so quickly without its two vowels producing the sound of oi as in "coin.." The two vowels must be cemented and bound to- gether by the Glide already explained, p. 61. Thus in the phrase " pap» is a Tonic Sol-f«?2'st," we have two cases of vowels put close together. The second vowel in each case has a clear separate "attack." If we allowed the voice to continue while the organs are passing from one vowel po- sition to another, we should make these double vowels into diphthongs, thus, "papeiz a Tonic Sol- feist." Let it be noticed that the common letters i and u, as usually pronounced, are reaUy diphthongs though single letters, and that the sounds au, ee, etc., are simple vowels although they have two letters, and are hence properly distiaguished as Digraphs. One St. Go. (NewJ Ex. 293—6. SIXTH STEP. 143 ol the vowels wMcli form a Diphthong is much shorter than the other. In a Diphthong, the Glide which is the characteristic part should always be longer than the shorter of the two vowels, and one of the two vowels should h© formed by a closer ap- proach of the lips or of the tongue and palate to each other. It is important to nbtice that the ac- cent is generally laid on that vowel which has the vddest opening. ei. — as in I, eye, isle, buy, tie. This diphthong is very variously pronoxmced in speaking. The second element is always the same, i, not the foreign sounding ee. The first element, although it has the principal stress, is extremely short and diffi- cult to catch, but is generally (not a) or aa. The stress suggests to the singer that the first vow- ^1 should be dwelt upon, but its indefiniteness, as ^oken, leaves him to chose his own vowel, and he selects the beautiful aa. The Glide between aa and i should be very marked. When ei has to be sus- tained, in^singing, prolong the pure aa sound, and finish rapidly, clearly and distinctly with the glide and i. See St. Co. Ex. 65, sc. 2, Ex 116, last word. Ex. 293. Sing the following pairs of words on any tone, beii\g careful not to raise the pitch on the final sounds. Sing the first word of each pair as short, and the second as long as possible. Pie pipe, buy laribe, tie tight, die died, fie fife, thy scythe, sigh size, sly slice, my mine, nigh nine. oi in boU, boy, buoy, buoyed, toy, toyed, quoit, coin, joy. The proper first element of this diphthong is It is very common in the provinces in place of oa, it is the true Welsh o long, it is the Italian open 1 ,d':t .r> Id' laa. f :s Id :d .n Skaa :d r .f :n .s |f .1 :s .t ti :d jr :n n'.d' Skaa d' r'.t :dM \t .s :1 .f t :1 |s :f s .n :f ,r |d "" las.. n :r )d Ex. 304. KEYS B up to F. M. 80 to 160. Skaa d s n d' Skaa 1 r ,d ,t, 1 tS Se r',d«,t s St Go. (New.) 1 f n d n^r 4e:r t tl .se:l d',t ,le:t n m d s 1 f 1 la s d> la s d' ta 1 s d' ta s d r re n d re n f s se 1 f se 1 s 1 le t s le t s 1 le t s le t r ren f r re f d' t ta 1 d' ta 1 t 1 la s t la s f n na r f na r n r ra d n ra d d r na r d na r s la s f s la f &U Co. (New). APPENDIX. CHKOMATIC TONES. 161 If the Voluntaries be all constructed on this principle, power over these chromatic leaps will gradually be gained. Transitional Models. — It will be noticed that some of the above progressions of notes have already been studied under Transition (imperfect method) or the Minor Mode, and many difficult intervals which occur, such as m ta, fe d', 1 de r, ta de', &c-, are best referred to their prototypes in the key in which they really are. Hints for teaching difficult intervals in the Minor Mode, by E. Dunstan, Mus.Bac. Fah^ Se. — This interval may easily be mastered by singing the following exercises from the modula- tor : — n ;— 1 :— :n :1 se: — f :1 :pi se:l f :— se :— 1 : f : f :- 1 :- f :1 :1 se :I if :1 se :1 se f :- f :— se n 1 Doh^ Se- 1 :~ di :- 1 :d» 1 :se 1 :d' i > 1 :- ll" :1 se d' :— se : — If the pupil "thinks of laa^^ he will readily be able to attack se (a little step below it) from any other note. SL Go. (JVew), Intervals. — The Chromatic tones may also be studied from the point of view of intervals. With- out going into the subject of Intervals generally, we may explain that for the purposes of Intervals the scale is divided into twelve little steps, each of which, roughly speaking, is of the distance between d t|. The following table shows, the number of semi-tones which each interval contains : — Semi-tones. Example. Minor Second 1 d t, Major Second 2 s f Augmented Second 3 d re Minor Third 3 1 dl Major Third 4 d m Diminished Third 2 f re Perfect Fourth 5 s d" Augmented Fourth, or 1 « - . Pluperfect ) ' Diminished Fourth 4 se d' Perfect Fifth 7 d s Diminished Fifth, or ) « . « Imperfect J ' * * * ^ ^ Augmented Fifth 8 ■ — d se Major Sixth 9 s m' Minor Sixth 8 m d' Augmented Sixth 10 f re' Major Seventh 11 d t Minor Seventh 10 S| f Diminished Seventh 9 t| 1 Octave 12 d d' It matters not whether the Intervals be comprised within the notes of the common scale or not. A Minor Third is the same Interval whether it occurs as 1, d or as d ma. The teacher may, therefore, point Yoluntaries which exhaust any one interval, presenting it in all its forms in the scale, both as- cending and descending. For example, a succession of Minor Seconds : — d t| r de n re f n s fe 1 se t le d' t d' In reverse order : — t d' le t se 1 fe s n f re n de r t| d These two exercises, it will be observed, also com- prise Minor and Diminished Thirds. Another exercise on Minor Thirds would be : — li d t| ti r d d na r r f nnsfflasstal Which could be shortened afterwards to : — li d t| r d na r f n s f la s ta 1 162 APPENDIX. CHKOMATIC TONES. This process can he continued with the easier in- tervals, but with the wider and more difficult ones it would involve melodies which would be practi- cally unsingable. The best practical course is for the teacher to follow, in his Yoluntaries, the actual habits of composers, and present Chromatics inter- spersed with Diatonic notes. Naming of Intervals.— Notice that intervals formed by two adjoining notes are seconds, however either of the two may be inflected ; those formed by three adjoining notes, thirds, and so on. Thus d ra, d r, and d re are all seconds {Minor, Major, and Augmented), as also are f fe, f s, and f se. On the pianoforte d re is the same as d ma, and f se the same as f la. But in the language of intervals they are different. Thus d re is a second (aug- mented) because the sounds from which it is derived (d r) are two adjoining notes, and d ma is a third (minor) because the interval from which it is derived (d and m) is formed by three adjoining notes. Flats or Sharps. — The teacher who wishes to point chromatic voluntaries may fairly ask, should I point sharps or flats, d ra or d de ; 1 le t or 1 ta t ; s la 1 or s se 1. The notes being the same on the pianoforte, composers are often in- different as to which they write. Some theorists hold that flats should generally be preferred to sharps, r ma m instead of r re m, &c. In music, however, especially of a popular kind, sharps are much more common than flats, and flats (be- cause they are less often encountered) are more difficult to singers. The best way is for the teacher to point both by turns, and when he wishes his voluntary to be specially searching and difficult, to prefer flats. The Extended Modulator. — It is to be wished that the Extended Modulator, which gives the com- plete range of keys, may become more common, and supersede, for advanced pupils, the small sectional modulators. It affords far better practice to the pupils, and gives much greater scope to a teacher whose fancy for the invention of melody is active. In using the Extended Modulator the teacher should always observe absolute pitch. Each column re- presents a key. and in the proper key the teacher should start. As a rule it is best to begin in C and return to it at the close of the voluntary. The loss of pitch, if any, can then be ascertained. The following will serve as a specimen of a somewhat advanced voluntary on the Extended Modulator : — St. Co. (New), C. Et>. d' s n d n s d' — n (1 1, ^ 1 C. ■D\). Eb. 1 se t 1 — Id' t r' d' dit 1 d' t ti g G. A.\). tlifnsfnrftid — dtidrn Gb. Ab. d dr n f s n — S| 1| t| d li i|S| 1| t| d Bb C D 1, i,s,'l, t, d 1, i,s 1 t d' 1 Is 1 t d' 0. 1 s f fs 1 t d' 1 s f n r s t, s d In this voluntary the changes of key are made in the easiest way, by passing horizontally to a note of the same pitch in the new key. The more difficult exercise is to leap obliquely to a note of different pitch in the new key. The following is an example : — C A-b s n' d' t d' r' — 1 ^in'f r 1, t| d — sj Eb. F. i|r t| d r "^r t| d r f n 1 s — d f n — S^. Ej^. C. ^li d f n i,n se t 1 d» — d» — ^eip^i p^i i r' r' d' s 1 s t 1 d' - t d' The principles on which all Voluntaries on the Extended Modulator should be constructed are these : — 1. Take a phrase of six or eight notes, and having pointed it in one key seek to get imitations of it in other keys, and in their relative Minors. 2. Never change key without introducing promptly the distinguishing tones of the new key. A change of column without the new tones is merely a change of notation. 3. Do not be afraid to repeat a note. All good melodies repeat notes. 4. If possible, let your phrases fall into measures and become rhythmical. This makes the sing- ing more spirited. A VOCABULARY OF MUSICAL TERMS. Note. — Mr. Alexander J. Ellis, who has kindly added the pronunciations to the following words, states that they are mere English imitations of Italian, but that a very near approach to the true Italian pronunciations will be made, if in those given ai is never allowed to vanish into ee, or oa into oo ; if aa be used always for a, and ee for i ; the broad ae (St. Co., p. 140) for e, and the broad ao (St. Co., p. 143) for o\ if also the consonants which are here doubled, be really doubled in speech, as in book-keeping," ** boot-tree," "mis-sent," "un-noticed "; and r' be always very strongly trilled. Italians do not generally pronounce their vowels so short as English short vowels, or so long as English long vowels. The full stop turned upwards ( ' ) middle of a word, throws the accent on what precedes. If there are two such in one word» the first one has less weight than the second. Abbandono, con {koan o*cA^^y,fem.pl. the voices. Legatissimo {lai'gatees'simoa), very smoothly con- nected, [gliding manner. Legato {laigaa'toa), bound or tied, in a smooth Leggiero {led'Jier''oa), with lightness. Leggierissimo {led'jier'ees'simoa), with the utmost lightness and facility. Lentando {lentaan-doa), with increased slowness. Lento {len'toa), in slow time. Ma {maa) but ; as allegro ma non troppo {tilleg'r'oa maa non tr'op'poa), quick, but not too much so. Maesta, con, {koan maa-aistaa'), maestoso {maa-ms- toa'soa), with majesty and grandeur. Marcato {maar' kaa'toa), in a marked and emphatic style. Mono (mai'nod)^ less, as meno forte, less loud. Mesto {mes'tod), mestoso {mestoa'soa), mournfully, sadly, pathetically. 166 MirSICAI. TERMS. Mezza voce {med'dzaa voa'ehai)f6bserYenot [met'tsaa\ in a gentle, flute-like voice. Mezzo {med'dzoa observe not met'tsoa), half, as mezzo-piano^ rather soft ; mezzo-forte^ rather loud. Moderate {mod-air' aa'toa)^ adj., moderatamente [mod'air* aa'taamain'tai)f con moderazione, {Jcoan mod'air'aa'tsioo'nai)f with a moderate degree of quickness. Moderatissimo {mod'air' atees'simoa), in very mode- rate time. Molto (moal'toa), very, extremely ; as moUo allegro, very quick. Molta voce, con {koan moaHaa voa'chai) with full voice. Morendo {mor'en'doa), gradually subsiding, dying away. Moto, or con moto {mo'toa, Jcoan mo'toa, almost maw too), with agitation. Nobile [nol'ilai), nobilmente {nob'ilmain'tai)^ with nobleness, grandeur. Non [non) an adverb of negation, generally associ- ated with troppo as, — Non troppo allegro {non tr'op'poa aUeg'r'oa\ non troppo presto {non tr'op'poa pries' toa), not too quick. Non molto {non moal'toa), not very much ; as non molto allegro, not very quick. - Non tanto {non tan' tod), not too much ; as allegro non tanto, not too quick. Nuovo, di {dee nwo^voa), newly, again. 0 (o, nearly au), or; as flauto o violino {flaa'ootoa 0 vee'olee'noa, nearly fiout'toa au v.), flute or violin. Obbligato {ob'bligaa'toa), a part to be performed by some particular instrument in conjunction with the principal part, and indispensable to the har- mony and proper effect. Obbligati {ob'bligaa'tee), pi., two or more indispens- able parts to be performed by different instru- ments in conjunction with the principal part. Oppure {oppoo - r* ai), or else. Ordinario {or' dinaa-r' ioa), usual ; as a tempo ordu nario, in the usual time. Parlando {pmr'lm'doa), in a speaking manner. Ta3sionB,tam.exLte{pas'sioanaa'tamain'tai),'gsL8Biona,to [pas'sionaa'toa), in an impassioned manner. Pianissimo {pyaanees'simoa), extremely soft. Piano {pyaa-noa), soft. The opposite oi forte. Piano piano orpiu piano {pyaa'noa pyaa'noa, pyeu pyaa-noa), more soft or very soft. Piu {pyeu), almost like the English pew) an adverb of augmentation, as piu forte louder, piu lento slower. Piacere al {al pyaaohavr' ai), at pleasure in regard to time." Piu mosso {pyeu mos'soa), with more motion. Piii tosto {pyeu tos'toa), or piuttosto {pyeuttos'toa), rather; meaning "in preference," as allegretto 0 piuttosto allegro {al'legr' ait'toa o pyeuttos'toa alleg'roa), rather quickly, or in preference, quickly. Placido {plaa'chidoa), calm, quiet. Poco {po'koa, almost pawkoa), a little. Poco meno {po'koa mai-noa), somewhat less. Poco pi^ mosso {po'koapyeu mos-soa), a little faster. Poco a Poco {po'koa aa po-koa,) nearly {pauk aa pawkoa) by degrees, gradually. Poggiato {pod-jyaa'toa), dwelt on, struck impres- sively. Pol {po'ee almost poi), then ; adagio, poi allegro, slow, then quick. Pomposo {poampoa'soa), in a grand and pompous manner. Portamento {porHamen'tod), sustaining the voice, gliding from note to note. Precipitamente {pr" echee-pitamain'tai), precipitato {pr'eohee'pitaa'toa)^ con precipitazione, {koan pr'eehee'pitaa-tsioa'nai), precipitoso {pr'echee-- pitoa'soa), in a hurried manner. Prestamente {pr'es-tamain-tai), hastily, rapidly. Prestezza {pr'estait-tsaa), with haste and vivacity. Prestissimo {pr'esteessimoa), exceedingly quick, quicker than presto. Presto {pr'es'toa), very quickly. Prime {pr'ee'moa) , first ; as primo tempo, return to the original time. Q,uas7 {kooaa-zee, nearly kwaa-zee), in the manner or style of ; as if ; almost ; as quasi allegretto, like an allegretto. MtrSICAI. TERMS. 167 Quieto (kooee-et'oa), nearly {hwee-et'oa), usual form cheto (Jcet'oa), with calmness and repose. Rabbia {f ab-byaa), with rage, furiously. Eaddolcendo {f ad-doUhen-doa), raddolcente {r'ad'- dolohen'tai)j with augmented softness. Rallentando {r'aPlentan-doa), more and more slowly Bapidamente apee'damain'tai), con rapidita (Jcoan r'apee'ditaa'), rapido {faa'pidoa), rapidly with rapidity. Rattenendo (/aU'enen'doa), restraining or holding hack the time. Ravvivando (r^avvivmi'doa), reviving, re-ani- mating, accelerating, as rmvimndo il tempo, animating or quickening the time. Recitando (/eeA*t^f?^'(^o. M. 66, twice. s !- :f |n :r :d 1 Is f :n,rls :- :f.n r n :~ |f :n 1 :s :fe |s :s 1 :t :d» In :- :r d j- No. 5. KEY A. M. 80, twice. :s, d !d |n :r :d f |n :r :n, :f| S| 1- :1| :t| St. Go. (New). d I- :t| ;d d :t|.d|r :d.r r :- :si |n :- :r n :- j- d I- i 174 Graded Time Exercises. No. 6. KEY I>. M. 72, twice. s : !s |n :f :s 1 :- j- l- : :1 1 : :1 |r :n :f s : :d |d : \ :d' f :- I- :n :r n :-.f:s |s : :t| d I- I- No. 7. KEY Cf. M. 112. d :si |d.r:n.f s .f |n t « r :d |f !n n !— |r :s 1 :s : .s r :d |ti !r d :— I— No. 8. :n .r d KEYEb. M. 80. :d .,d |d :n s I- : .c t !— Id' .s fe |s ) \ .d f .n |r :d t| :— I— : .s s : .s |n :d r Id No. 9. KEY C. M. 72. d' :s .,s jn :s d .r :pi .f js 1 .1,1:1 .1 Is .s d> ,d',d':d' .d« jt .d' n' .r',d':t .1 |s .f :n .f n sr .,d |d No. 10. KEY At?. M. 80. S| ;1| .ti |d n .r,d:r .d,t||d li :ti .d |r : ,n f .n,r:n .fe |s : .S| d .ti ill f .n !r .d |t| .n n .r |d .t|,d!li St. Go. (New). d :ti |d s— Graded Time Exercises. 175 No. 11. KEY F. M. 72. ^ :d Id .s, : d,ti.d,r:n .d |r r,d.r,n:f ,1 |s .f,n:r .d No. 12. KEY E: \). M. 84. n n n s- .r Id :n .,n in .d : !r ,,d |d In :-.f s .,s :s .s |n :- .d 1 ?— |s :-,s s .f^nrr .f |n .r9d?t| .r s .,1 :s .f |n % .d f :f .f In .^n I .s :1 .s d' \- ,d |r sn .,n f ! | ,r :n .f s sd |r s- .n No. 13. KEY C^. M. 88. :n.,r d. :d. |d :t|.d r s— I :d .,r n !— |-.,r;d.t| d V ti.Jirsi I .d:t|.d n .,r;d | .s :f ,n r i sd t j t| a— •l|>t| No. 14. KEY A. M. 66. • S| :si .S| n d : id :t| .d J- I- n .,r:r : ,d •d :ni .f| S| .l|,tj:d .S| 1| .t|,dJr .S| n ,r :f .n,rjd ,t| No. 15. KEY Si .S{ ,S| :ni s, M. 72. d S| !S| .f, n, s, d .d ,d :t i,li -Si n .,r :d ,t| .1| li St. d No. 16. KEY C. M. 96. :d ,,r :d ,,r n :d |s n :d |s n n St. Co. (New). l,d'"Sd' .,r''|d' !d t,r l,d'.-sd'.,r'|d' :1 n :s |l,s.- :s,n.- r i- ,v\ |r S ,S 1 1,8.- Si !d 176 Graded Time Exercises. No. 17. ivEY E. M. 104. (A beat for every pulse.) K sn„f :n :d' |t :-.l:s f.l :s.f :n .r |n ;n.,f s :-,l:s.f|n •.d s :n :-.d |ti : s :-.l :s |s : :f n :-»r ;d ,,r|n :1 s :d'.t:l.s|s :n :d.,n r :■ :- |d No. 18. KEY F. M. 88. :n .r d !- .d :r .n f sn :s. M. 80. [Tripletted threc-piilse measure=niiie-pulse measure.] d :-<- tana-a. tene-e- From Graun's " Te Deum," p. 35. .If,- : sn,-fr,-|d J r .,nf|n .lf,^:sn,-- .fr,- d :r jd 81. KEY A. M. 72. Tana?a-AI. From HandeVs " Samson," p. 56. : .s s,r.-:n,d»- |ti : .s s,r. - :n,d.- |1 : d d : d jd :r!r,d.- | d :pir,d.- \i :- .t 1 .8 :f .rn |rd,t| : d .f n : r .,d I d [Advanced Ehythms.] 183 TAAtefene. TAAte-ene. SAAte-ene, 32. KEY Ei7. M. 30. n : - .r,d| s I : .si (| J :s .frn .f,n|r n .,s : 1 ,s.f ,n|r From SandeVs " Samson," p. 42. 1 PI .d,-t|: d ,,ls I s 5 .n .f ,-n| n .,ti|tj d : .f |r : d .t| ;d .r,nf|r s .r 33. KEY G. M. 80. I |s : S n .fs,lt:d' From Graun's " Te Deiim," p. 35. fe .sl,td': r' |-,d" .t,l : s,f .n,r I w w w 34. KEY D. M. 66. : - .trl SAAtene-fe. 1 From SandeVs " Jephtha," p. 70. .d' : n .,s : fe f. G. .nf,s:f ,n 35. KEY E. M. 100. s : s Is : - .n Safatefe. :- .s In .d :n From SandeVs JepMha," p. 105. ,pi.r,n: f,n.r,n| r .f : — ,f.n,f: s,f.n,f|n .s : — ,s.f,s: l,s.f,s|f .1 .r' r' .di : d^ .t |d' Is 36. KEY D. M. 80. TAI-AAte-ene. - .d',-r':d' .n' |- .t,-d':t .r From Graun's " Te Deum," p. 35. .d',-r': .n' .t,-d': t .r' Id' .,r'n': r' \ 37. KEY G. M. 80. I |r .sr- : ts>~.r't,~ SAAte-ene. TAAtene-e. .d»,-r':di .t | .l,-t:l .s From Graun's " Te Deum," p. 36. •f ,-s : f .n d' .,tl : s [Advanced Ehythms.] S 184 38. KEY D. M. 80. I .f ir' - ; n'd^,- .r't,- From GraurCs ** Te Deum," p. 36. :r' .,n'f'ln' .f'r',- : n>d»,-.f«r»,~ d' 89. KEY D. M. 84. AA-efene. 5Vom JECandeVs " Samson,'* p. 97» ^:s n .,rn:n .,rn|f .,nf: f .,nf s .,fs: s .,fs|l .f ss jti .t(|d 40. To be sung in two parts, the Examiner or some other person taking one part. KEY G. M. 120. From EandeVs "Dettingen Te Deiim," p. 16, : s 1 - .f ,n : f f .n,r : n I - .r ,d J f Si .l|,t||l( .t|,d t| :- .i(,S||d :- .t|,l, f .8 :n .r |n : r :d 1 — d d 41. KEY G. M. 120. In two parts, as above. From KandeVs " Dettingen To Deum," p. 17. n : - .fe,s 1 fe .se,l se : - .l,t In * • 1 .s f .n : n 1- .r ,d : r .d,ti:n .r Id .ti : ii : r 1- .n :d .t| d : ti .,1 1 111 • • 1 • .t,l |se .n : 1 — ; se 11 In two parts, as above. 42. KEY BI7. M. 120. From Sanders " Dettingen Te Deum, " P- 28. :d| li • S| • .fi "1 • • - .ta n li .d : r ti .r : n : - .ti d .n :f • - .r r. t. S| .Hi : li : - .ri s, :-.d|:d df .r : n .d : r .tt d : - .n : r .d ti : t( n :-.d :f - .r : n : - .d - .n :f : - .n r I r [Advanced Rhythms.] Theee Exercises are intended for students or classes preparing for tlie Intermediate iCertificat^ ' Requirement 4. 1. KBY P. 8 ;f :r 2. r :s 3, 4. 5, ! 6. S If Cadence Transitions to First Sharp Key. \n :» :r s :fe |B :s f :r m :d d :ti Id n :fe is :n r :s |f :r n :f ir :s 1 :f6 |d :s jfe :r {s :s 11 :f {s :n n :f Is :n :n jr :d r :fe {s :r n :r |d f :s In :d r :t| |d r :f {n :s fe :1 |8 :n f :1 \% :d' n :r |d r :r |d f :r Id V S 8. 3 jl :n d :f jn :1 9. :d n ;s 10. KEY D. n :r |n :d 11. d» :t Id' :s f :fe |s :s r :n jf :r d' :fe |s :8 in :1 |s :d jd' :1 t :fe {s :n Passing Transitions to First Flat Key. d :ti Id n :r |d s :1 If :r n :ti |d n :f IS n :1 I d* :ta il :s 1 :ta jl :t d' :t |d« d» :r» |d» Price 0ns Halpfenny. London: J. Curwen & Sons, 8 & 9, Warwick Lane, E.G. 185 ^ 186 12. s :(n |f :1 13. II" ■■ 14. d' :t s sd' It s sta |1 .*s if sf m I 16. [With imitation.] I :d r :f In :f 16. [Oscillation.] s :f In :1 Is :fe Is d' :ta |1 :r' If rn r :fe |s Is tt |ta :1 s :t |d' t |1 :s If :pi jr :— |P! :ta |1 :s jf :r jd s ;ta |1 :t jd* :f |n :r n :r |d d' :t |d» 17. KEY D. I d' :s 18. s :f 19. PI :f so. 21. d :r 22. d' :t In :d s If :r 23. n :d jr :s Extended Transitions— Better Method. n :f IS n :1 is ll :s If :f \n :1 Is :d< |t is 'n ^d' :1 IS in :f jr :d |s :— f :n |r A.t. sd ;ni A.t. dif :r A.t. ir :n A.t. tn :d A.t. rs, :d A.t. ml, :t) A.t. fet, :S| {s :d tn :d If :n .r If tj ;r jds d :ti l^s f.D. d :ti l^s ID. :r Id :ti i^s I in :r .d :n f.D. :r |ds f.D. :r l^s ID. :ti l^s II * Tbe retom transition is made on the last note so that the Exercise can be repeated or the next one taken 'vithout pause. [ Elementary Transitions.] 187 First Sharp Transitions, shewing Cadential forms of Bass. 24. KEY E. S.B. (:d n * :r :r' :si :ri :s, f.F. dig f.F. dig dS| - I- - I- f.F. Id' :t dig |:| Is :s dgj :— - f.F. Id' :t dig 1- 1 11 IB d8i :— (- 1 [Elementaxy Transitions.] iS8 f :d :d :s :d :n :d 33. 34. PI d n 35. s n :f :r :r :r :f :r Is In Id Im In Id :n :d :n :d :d :n f 1( s ti n s :8 :si :f :si :r il Ifi In Id Id 111 c.t. :«id c.t. :^ s C.t. :rs ti :d 1 .t :d: f :n d :r If Id' r :t :s :t :s Id' :t In .f :s f.F. f.F. dig dS| f.F. d's d S| - I i 36. KEY D. d> :t II d :n If Sudden Extended Transition and Chromatic fe in Bass. A.t. I fd' I in :n In Id :s :n :ta :n f r 1 f :t, In Id :s If :n If :d :n :r :s dif :r ^eti :r s n :1 Iti Is, In Is :r :fi :r :fe s Hi n s :f !n :r Id :s( |d ] 37. KBY B. :s ;:d s n :d' :d It |r :ta :n 1 f Sudden Passing Transition. A.t. :d' :f Is Is :sd :tn ti r :d :d P5 Is, ID. .r .Si ds ds 1 Chromatic fe and ta (in Air)» and Cadence Transition to First Flat Key in Better Method. 38. KEY D. A.t. S d :fe :r tT>. i,n ;f ',d :r If Is. Is In :n f.a. :in :fd r :1 Is fi :fi |si f :s |n li :t} id :— feti :d |r rsi :ni |ft D.t. wl ;ta df :n It r :f :ri :di :d n S| n 8 :r -.8, :r :si Id Id, Id [Elementary Transitions.] Selected from the works of Bach, Handel, G-ranii, Haydn, Mozart, &c. These selections are intended to give exercise to classes which are preparing for the study of difficult music, and especially to aid pupils in ohtaining the Matriculation or the Advanced Certificates. The keys may be changed to suit the voice. J. C. 1. KEY At?. s : r : f His name is Two Removes. B7. t.m. JSach*s "Blessing and Glory," p. 11, 12 n .r ; d .tt :d jis :r :f |n .r :d .t| :d His ex eel - lent, name IS ex 2. KEY C. Je- n' .n' :r' .d' |f' : ho-vah's glo-ry known ; d.f. Bt?. f s, : t| ,r If Their i - dol gods .r shall 3. KEY F. s I s : - : f No more to 4. KEY D. rMr' : - :di No more to G. t.m. n : - : r 1 d : - : tj Am - men's God and t : - : 1 I s : - : f Am - men's God and - eel - lent. "Samson," p. 95. t, .S| : s .r |n from his presence fly. "Jephtha," p. 4. li : - : 1 I Is: ~ : f n : - : r |d : - : t| King, fierce Mo - loch, E. t.m. n : - : n' h'r': - : d' King, fierce Mo - loch, shall ourcym - hals 1, rmg. "Jephtha," p. 4, 5. n : - t : - : 1 I s : - : f shall our cym - hals rmg. 5. KEY C. D. t.m. t ;r' .t : 1 .s d' .t : d' • • de't : r' .t : 1 .s And their tri bute, And their 6. KEY D. : r' : n' d' .t :d' .1 :t .dJ r» .d' : r' .n' .d' llules the world Jephtha," p. 92. d' .t :d' : tri - bute. " Samson," p. 83, 84. E. t.m. : r' : di rules the : t : r' world, rules the s world : S in state. Price OxE Penny. London : J. Cuhwen & Sons, 8 & 9, Warwick Lane, E.C, 189 190 7. KEY G. |n .n : .n Bretliren,fare- d t well I ,d : d .r your kind at- tendance 1 1| .d : r .d 1( now I pray for- bear, «* Samson," p. 94. d.f. ¥. I : r .n Lest it of- f : .f If .f :f .n fend to see me girt witli d : .d |n : .n friends, Ex-pect of G. t.m. .isif .f :f .n I me you'll nothing hear im- pure. 8. KEY El?. r : - .r I n : f Mur - m'ring still his I n .r : s .n I d gen - tie love, Id love^ B!7. t.m. i^r : - .r |n Mur - m'ring still f. Al7. sr : - .r " Acis and Galatea."p. 52. n : f I n .r : s .n j tie) Mur - m'ring still his gen : f |n ,r : s .n |d his gen tie love. ti 9. KEY B!^. n par n sea, I In ed : fij And : - .n the : n and his S dry f he |t( :- hands Is : Si land. For - .f In : r hath fash - ion'd d : 1, form - ed B!7. t.m. His f. E!?. taf I : I it. "Come let us sing," p. 20. d.f. Al?. and d is pre t( the .1 ii 10. KEY P. : n .r : n Mingled with : n .d : r mingled with .ti : d the hail, : n .r ran a- .r : n the hail,. .r : r the hail. : n .r f .n : r .d : t, .1| | S( ran a long Israel," p. 26. « . • * up - on thel ground. G. t. m. :rd .d Id .t| : 1| .S( ; f| .d ran a- • long up - on the r : PI .t| : d I ground, mingled with ^ d long .d : t| .d up - on the ti ground. [Intermediate Transitions.] 191 11. KEt E. s : f i- |n : Take the heart mine; - !- :s 11 :r | s.f t n.r ; d you' fond - ly d. f. B. fs :f : Take the gave; - |n : - : s heart "Jephtha/' p. 16. d' :r' :n' ll.r':t lodged in your breast with you fond-ly gave. 12. KEY B|7. : s, But woe ! when burst - ing d. f. A>. d( : Sa I'lPii :l2 un - con - troll'd, The fi : r, |r :d glow - ing me - tals " Song of the Bell/' p. 36. t| : H/ I 1, fierce ex - pand. 13, KEY By, d. f. A!^. :d His t| . d : r .t( : 1| .d i r .1( ; t| .d : r .ti drous I frame to "Blessing and Glory," p, 10, II. won raise. : s Whose : — : r glo nous name :f a - S lone :d' de • d' .s : I .t : d' .1 serves our S end !f less n ; praise 14. KEY E'7. ;s .s He is s : s I bless -ed :1 that Three Removes. s : s I : s com - eth, 0 s ; Lord, - I- :- KaydrCs First Mass," p. 52. 8. d. f. - |fr :d \ in thy — I r : d 1 tj : - .d| r Ho E). t. m. 1. I ws : d' 1 1 : r' He IS d' bless :d - ly Is : 1 ed, is ti :- I name. r bless r .,n : f .,3 [ f ed that ! com I" eth. 16. KEY C. > .n : t .t 1 1 TJn-will-ing-ly .t their t .t : t .d' |r' . super - sti - tion yields A. t. m. 1. " Samson," p. 1. .d« id : I .d : d .r > this rest; To breathe heav'n'sj ii n ail .n I f .r : r .d 1 I fresh blowing,pure and sweet. [Intermediate Transitions.] 102 16. KEY D. : s I s : - In dis • n' : - blue, : s mal 1 : dance - I « « * d. f. C. It f. F. : sr If In dis a - r' round - : r • mal dance Jtjphtha," p. 4. r' |r' :-.d'; r' | the fur - nace 8. d. f. Ai7. : - I - : - ; sn j f round In the - m fur - !d : r nace n : blue. 11 17. KEY a!?. Is De - signed for t, joy :t, If :f and peace, is n "Song of the Bell," p. 36. f. D7. made. The toe - sin Bt?. t. m. 1. to to volt :r and d crime. I! 18. KEY C. n Sport Is' up f« In' : — on en • Macfarren*8 May-day,** p. 30.31. A. t.m.l. t : — chant Id' ed r : - ground; I- ^^6^ A n joy I : d .r ous. n joy - I- :d.r ous n : d I s : n throng now comes a - 1 Is long. li 19. KEY B>. ; Id :d.r Come,then,my G. t. m.l. I .i|d: d .r n brow, And in your n .n : jn .ti: t|.d daughters, choicest art be £2. t. m. 1. : .nj^s.s : s .1 songs for ever be con- •stow. ** Judas Maccabasus," pp. 98, 99. r .r : | r .r : r .d ^ chaplet for the victor's) I .r:n.f To weave a t : .t Ir'.t : 1 .s fess'd The valour thatpre d' : -serv'd. I 20. KEY F. Two Removes. More difficult rhythms. :f He f .f : s .r |n .n : ,t|,t| made a bloody edaughter, and pur n .r :n .t| |d •sued the fly-ing foe "Jephtha," p. 40. G. t. m. ."r [t| .t| : 1( .Sf till Inight bade sheathe thei [Intermediate Transitions.] 193 Id t sword, .d :n .d |f And taste the joys •d If .,f:f .n Id of * vio - to - ry and peace. 21. KET A . s : s . s : s . s 1 1 ; n In vain they roll their) foam - ing p 9 f .,s : f ,,n : f .,r tide, " Jephtha," p. 33. d. f. G. s .,1 : s .,f : s ,,rn ( II •fl • s tfii • s S- .n :n ,n in I their foam-ing ( tide. 22, KEY E!?. : .d |n Be - gone, F. t.m. I "^r Ely .S| be gone, « my child ! .s, |f .r : And leave me .t| |r .r :r .d Thou hast un - done thy "Jephtha," p. 61. li .1| : fa - ther. to the r .r : r .d |1| rack of wild des-pair. 23. KEY Bi7. n .d : .S| |d : n Saying, The sword of t .t : r' .t I s : for his Is - rael fought, S *^God .n |d .d : and Gideon." " Judas Maccabaeus," p. 56. C. t. m. .d : d .r |n : .^ir^ It was the Lord that I .d« :n' .d' 1 1,1.1 : ,d'.t,d' And this their wonderful salvation s : WTTOUght. 24. KEY C. |r' : .s,s Ha ! dost thou. t .,t :r' .s Id' .,d' : d« then, al - rea - dy sin - gle me ? " Samson, * p. 68. .8 :s .1 It .t ;t,d'.r',d'j I thought that labour and thy chains had) D. t. m. 1 .1 : ,n .n^n | is .s : s .s ,1 t tarn' d thee. Had fortune brought me to that field of .4 : 1 .t I s .s : s ,f .s ,r I death,where thou wrought* st wonders with an ass'a) n : ,s.d',s|l .1 :l,l.t,d' jaw, I'd left thy carcase where the ass lay dead. !l 25. KEY C. s .s : s .s |d' .d' : .d> For the horse of Pharoah went D. t. m. "Israel," p. 133. d» :d' .r' |nir».r» : ,r'.d',r*jt .t : t .d',r'| s in with his chariots and with hisi horsemen in - to the sea. [Intermediate Transitions.] 194 26, KEY G(?. Three Removes. More difficult Rhythms. "Samson," p, 44, 45. .t| : n .ti I d .t( : .t. Be - hold thy servant, Thy d .t| : PI .t| I r servant in dis-tress. : - .r O r God! « _ EL', t.m.l. .den : r .d 1 1| .1|,S|: d .t|,l| r .d ,t|: n .r,d | f .n,r: s .f,n To dust his glo -ry they would tread,To dust his glo - ry they would .r |r be - hold, r I tread, S :f num ber PI him .r,d|ti .t| a - mongst the d , dead. And( 27. KEY B>. d :d .d 11, Here lies the proof ; t| .d : r .s, I d in - vo - cate his aid, .Hi If f. El^. .rl His li .li : 1| .t| |d Da-gon be thy Grod, f .f : f .PI Id glo-ry is con-cem'd. Samson,'* p. 74. .d : d .r 1 1| .t| : \ With high devo - tion j C . t. m. 1. .d : d .r |n .,i^s: s .1 | Let him dis-solve those magic t spells .t 1 1 .t : 1 .s that gave our hero d' : .s |d> strength, Then know .PI :f. ,s|d whose God is God. 28. KEY Bl7. : s |r .n : f .n Sound then the last a - d larm! I .d : d .r And to the G. t.m.l. « Jephtha," p. 31. •^s .,r : r .PI | f .f : field ye sons of Is - rael ! f .f : s .r |n : .d with in - trepid hearts ; De D. t. PI .PI : r .df 1 1 .,t : t .d' -pendent on the might of Israel's S God. I II 29. KEY E, : ' I n .,r : n Taught by great f : PI .,r thrust the : t| I r : d I s .n : r .d Al - fred, never from your s. d. f. Gr. f door, poor. No Maefarren^s "Christmas," p. 21. - .f I S : 1 will you re - 1 : r lent - less - .n t| .,t| : t| . t| I f tale can to the time more r .,d : d .d I d fitt - ing be than one 30. KEY B7. : .li 111 His migh .It ty r .r, If, .,f,: t| .,f| griefs, His mighty griefs re [Intermediate Transitions.! Hi -dress. Samson," p. 43. I .PI, : Pij .Hi j His mighty I 19^ h t I .li : li .t| griefs, His miglity E:?. t. m. • Is ;r .n |f .f :f .n Nor by the hea-tlieiibetliey a :- griefs, d told. 8. d. f. 'D\>. I— .dl t .r :f .n |d His !F. t. m. I .Is : r .n Kor by the mighty griefs re-dress, f .f : f .n Ide heathen be they told. 31. KEY G. r : r .n ,f Still I'm 82. KEY G. S| • « Blood f| snow, Two and Three Eemoves. Advanced Rhjrtlims. A. t.m. « Jephtha," p. 102. of n ,d : r ,d ^t, : d : r ,f : r ,f thee pos - eess'd Such is kind n^r A : r «d tti: d heav'ns de - cree. : - ife^si : Ij tt ( ,d Dan - ish .1| A - of n war mid .4 : s riors : ni Is MacfarrerC s " Christmas," p. 26. s.d.f. Bt>. fi S- .fi :S|ni .,n, red up - on the .r :d .,li the conqu'ring d vti : d Sax - ons. I 83. KEY Gi7. : .ti |d .t( :n .t| d .t( : .t{ |d .t( : n .ti Be-hold, be-hold Thy ser-vant, Thy ser-vant in dis- E!?. t. m. 1. - .dejT] :r .d |t|l|,S|. I " Samson," p. 42, 43. r : — I — : — tress, S Ke - turn, re - turn, r : .J^l s : - . f,n hosts ! be - hold, be - 84. KEY B|7. .d 0 r ,d .tj I f .n ,r : s .f ,n God I n hold • r I Si Thy ser vant Be - turn, O n : r .,d | d God of m distress. And li : - .r : d .1| breath - ing forth his d .,t|: d : 1| sor - rows, Lifts up MacfarrerCs Christmas," p. 22. G. t.m.l. .r :d,l|.- his withered PI : hands : — :",S|.,f "The pii : — : S| heav'n - ly 1 : r : n Bless him who d King 1. : — : d S| : d who reigns on : s : - .f n : r hears the poor man's [Intermediate Transitions.] n : — high, d :« 3 cry 196 ii 85. KEY B^. Z is ^. •t| I n .,t( : t| .d My tears have been my Minor Mode. " As the Hart,*' p. 8. r : set .1| 1 1| • •ti^ni meat day and night, While they r dai .,r : d .t|,ti} ly say imto Id me. C. t.m. pir' .,t : t .1,1 1 se dai - ly say unto me, n' .,d' : 1 .,se| t Where is now thy God? 36. KEY F. Z is i>. h 111 Fount of 8.d.f. At^. End - Hi less li : - .,l||se, : ni mer - cy free - ly 1( :-.,l,|sei :n, streams of love be MossinVs <* Stabat Mater," p. 16. d flow d stow I- - I I- :- - I m mg. 37. KEY B7. I S| : - : S| I set : Night comes I on More than Three Removes. : seill, with sa :d ble t| : - : Hi I man - tie, " Song of the BeU," p. 27. G. t. m. 1. I nis : - : s Soft - ly 1 :1 It :1 :s |d' :s sleeps the burgh er I peace : PI ful, II :f With - out n dread, • _ |r : - : r soft - ly r. s. d. f. E7. d : - : I- cay. 65. KEY El?. Transitional Modulation. More difficult Ehythms. .t ;d' I- .r' :t .,t No show'rs to larks so d' .s Bl?. t. • r'sll .f :r 1- 1 1 * so v^SC to toil so pleasing, Et^. t. I .1 : .tn'lf .r' :t .n» eas - ing, As these dear smiles to Not sunshine to the me. Acis and Galatea/* p. 24. d.f. Al^. Z is n .,d:sl J bee. Not sleep J I 56. KEY F. : s They f8 : f .f In .f : s .1 : 8 - :f the wa loa - thed, they loa-thcd to I drink of d.f. Bb.iisG^. 1- .d',t : d> I- .ta : 1 .se|l I - ter in - to hlood. d' .s :dir' n Israel,** p. 16. : n .s 1 1 : 1 .t ) - ver : He turn -ed their) 57. KEY B7. Z is G. r : ti .t| I soi : .soi Wretch-ed in - deed ! But sei.sei: 1| »t( | d let not Ju-dah'srace " Judas Maecabaeus,'* p. 9. .Ij f| .f| : .ni,ri| sei.sei: sei.lj ru-in with desponding arms em Their ■J Hi brace. * C. t. m. Z ifl A. I 1|S : S .S Dis - tractful d' doubt I .s : s .1 and desper- .f : 1 .s |n .n : the cho-sen na - tion. n .n : n .ba] se Chosen by the Great .n 11 I I AMI t .t : It .r' :f a - tion 111 be - come D t. m. Z is JB, : .^s |t : .s The Lord of d^ 1 Hosts I |n : n .ba se ^ho still the : ,n 11 ; .1 id'.l :1 .n If same, We trust, will I give at- ten-tive ear, [Advanced Transitions.] • 1! O 202 t 68. KBY Ei?. d : - : d Hal • le 1| Hal :1, le ti .,r : s lu jah. se{ *,t|! n lu - jah.. f. A^. X is F. jta,f I : - I A B>.t. m. Z is A. A Eaydn's "First Mass," p. 59, 60. : f| I Hi .,sei : t| : men, j A - men, ^ : f I iPii .,sei: t( men, | A - men. 59. KEY A. X is jFjf. Beating thrice to the measure. : - .s n .,f : s .,f I s : n 1 1 Singing great Jeho - vah's praise, The f .n : r .d I ti : 1| | se( ho - Iv choir em - ploy, <*Jephtha," p. 49. .li 1 1| . 1| : tj .dej f. D. L is B. [T^l.se: 1 .t Ise.ba: Pi.ba se.l :t.d'|ri.t:n'.r'|d».t :d'.r' n' The : 1 It : l.,se|l ho - ly choir em - ploy. E. t. m. is.,l:t .,d'|r' :f |n |s.,f:n.,r|d :ta |1 : Such as on our so-lemn days, I Singing great Jehovah's praise. 60. KEY G. II .d |ti .1, The wa : tt .Sf ters were f. D. L is B, d .,d : d .n l^^se.ba : se .n gath - er - ed, the wa - ters were " Israel," p. 100, 101. A. t. m. d .,d:d .n |^e t| .1| : t| .st gath - er-ed, the wa - ters were 1 .,1 : 1 .d I ti .t| : gath - er-ed to - geth-er. 61. KEY Ej?. .s |1 .f :r .s No show'rstolarksso B>. t. n .r,d'. ^d |- pleasing,Not sun .r : ti .,d shine to the " Acis and Galatea," p. 42. d. f. A7. d : .rn I f ,r : ti .n bee, Not sleep to toil so E>. t. L is C, d .t|,l|:"l I- .t :se .,1 ! eas - ing As these dear smiles to 1 me. [Advanced Transitions.] 203 62. KEY D!?. iis ^{?. n' Id' :1 Thou, Lord, art se.,!: t • I Grod a-lone, 1 -ise :t.t|d' :1 al - I migh - ty and e - ver - H:aydn's " First Mass," p. 21, 22. se : t I d' : 1 A n men, I li .ti : d .r,nlf : — Lord for e 63. KEY F. L is B. n .r :d .t| :d,t(.l| n : s «f ,n| r ver. A If .n :f .r men. last - ing. A - men.) B^. t. m. 1. i^'s In :d.di O praise ye the; : r jd .r : PI .fe s A : - .n Thou m ■ thy G. t. m. r .r : n .f : .d hast led forlh thy f( .Hi : ri .1, : sei .t| deem mer peo 1. .r : S| .t| pie, which thou : sei men. j| "Israel in Egypt," p, 112. r .de : r : — > cy ' s.d.f. B^. Zis d .t| : d ; - .ta,s, ) hast tQ - ii ed. , Transitional Modulation. More than three Removes. 84. KEY A!?. "As the hart," p. 28. :d r : 1 Is f n : — 1- : f ' 1 n» : r' From hence - forth and for ev ■» • a d' : • t 1 1- se 11 :- C. t. m. 1. r. m m ■ • • ■ If » : r ' It : s d' : 1 t : |fi • • m • er more. for ev • er • more. I 66. KEY C. : s .'s d' ; All our art in : i I strong. s .fe : f I cher - ish, n jf : r and toil re r.s.d.f. A I;. X is '* Song of the BeU," p. 22. d : |dn,.sei: t|.seijl| : |n,.l| : d .1| | pay. Should the mould be| wrong, Or the gush ' ' tool F. t. m. 1. S hs : - .f |n : - .r |d .n \ Aht perl^haps. s.d.f. A {7. :rt(.t, All our PI :d |1( !- .d hopes and wish - es f Advanced Transitions.! d per : 8, ish. while joy we 204 66. KEY D. L is B, d' :~ .d' Id' .,d':d'.d' All th' inhab-i - tantsof d' .,t:l I Ca - naan .t shall d' .1 melt "Israel," p. 121. .se I 1 : .t ) a - way, shalP d' .1 : .se 1 1 melt a - way, .r' : n' .de'lr' : - .d' shall melt a - way, shall t melt :- .1 11 :- a - way ; s. d. f. Bfc d'i 11 great « ness ;dis I— :s by the 67. KEY C. Z is A. 1 .,t : d' .,t : 1 .,f n .,d : 1| For His 1 .,t : d' .,t ; 1 Mf His own 68. KEY B!?. d d :d As at :d Mer t : — : r « des ert, peo - pie's n .,re: n pre - cious : - .d : r bah thej^ a!?, t. m. :det| : r Af - ter n did, f for D. t. m. I. r. feri : - .r'l r' : — of Thy arm, B. t. m. 1. r'f :-.fln : — of Thy arm. d .,r : n .,f : s .,f jffomm's " Stabat Mater," p. 14. sm He 1. r. s. d. f. DI?. .,f : s .,1 I life .,f He ty n and n n : d suf - fer'd, n .,r : d of - fer'd. " Come, let us sing," p. 23. r. s. d. f. GI7. Z is j^7. : n f^se : - .1 : se.l at Mas - sa in the' f : - .f if : n .t|: d .r \ years grief at I this diso-bedient d race, : 1 I n : n Af - ter r :— :d.t| said : 'Tis a n :d :t|.l|jr peo - pie that do! err, BI?. t. m. Z is . Z is a dese : race, I ^ Bb. t. m. Zis G. I- :f .f :pi .r j and ' in their hearts re - de : s .s : f .n bel, and that of my r sta : r : n tutes are still [Advanced Transitions.] : I un -mind - ful. NEW EDITION. MINOR MODE PHRASES, SELECTED EEOM WELL-KNOWN COMPOSEES. JFor the 6th requirement of the Intermediate Certificate, any one of Nos. 11 to 22, taken by lot mus& be Sol-faad in correct tune and time. Two attempts allowed. The key may be changed when necessary. No. 1. KEY a. L is E, Sir H. Bishop. li :l(.t| jd :r Still as un-daunt-ed .r |d .r :d .ti pause to mark the n :f |t| :n on we stray, Thro' li :d |ti :ni si - lent way The From ** Tis when to sleep.** 1.1. 'd ir ;n 11, | ;1, many a tan - gled ' brake, We li :ti Id :r cau - tious travel -lers n : take. I — No. S. KEY B|7. LiaQ, It :ni.,niili :ni Bump not the flask, thou Mexdelssohn. From the "Turkish Drinking Song." ti :ni |ti rniMHi churl-ish clown, On the d : I|.,ti| d :li.,d board as tho' you would break Id it! il No. 8. KEY A. L is Ft, :n .r At d ;lj It, :n, Christmas - time, when \ But ll .t{ id :r sure - ly, soon as W. BoYD. 1/ .t| Id :d frost is out, The n :f in :r A - pril comes, * Twill From a Part- Song. r ;r year is If :f grow-ing n old, I d ; t,.li |ti :sei j 1| wake and bloom a - ' gain. No. 4. KEY C. L is A, :1 Sweet :1 The 1 :n in :d' Spring a - gain re d' turn n :f Jr :n ;r Welsh A^b. It :t ing, Makes From " The Dawn of Day.'* 1 :d' It ;1 ev - *ry bo - som 1 :-- jse glad, |ti .d 1 :1 id'.t :Lseil |— birds are sing - ing from each spray, 'Tis I a - lone am | sad. Pbicb One Haippsniti. London: J. Cur wen & Sons, 8 & 9, Warwick Lane, E.G. i06 No. 5. KBY A. X Ss ^ d :d }t|.l| :ti.d li J, JSt* TaoKAS. iftx)m There are good fish in the soa. I :li.ti d *ti:l|.ti ini |li 1 n .f :n .f m PI :r .d Iti No. 6. KBY X is B\f, Welsh Air, From " Of noble race was Slienkin/' ( :l,t d' :t.l I se.l ;t .se 1 :1| | :l|.t (From his cave in Snow-don's moun-tains, Hath the d .l| : r .t| |n :n pro - phet min - strel d :1, I spo - ken ; :1 .t f It dijT;:r^d; I t .r': d'.t o - mens great sue - 1 .d':t .1 |se :-.n f .n :f .r |n .'se cess in war, Of con - quest the sure 1 to ken. No. 7. KEY 0. L is A, We If 1 :pi all must work, it :n .r H. Lahbe. 1 :n jf :n.r is our lot, From a Part-Song, Each 1 :1 .sell :1 .t i :nijr; d' :d- |d' :dU [There's no - thing done, There's 1 :1 jl .l.se no - thing won, With- one must take his 1 :l.sell :l.se d' part, I out the earn - est 1 J- I— t| heart. " No. 8. KEY A. Lis Ft The O'er d sad er The I frost |ti :1, leaves are t, :- dy - 0. O. Allen. ing, the From a Part-Song. sweet jt| :d ti :sei jni 'ry fair |r :d spi - lit bios r lays som once Id :1, her cold bloom M, :■ fin |r :d birds have jr :d ing and 111 :sei gers to - ti :- flown, t.i :- bright, li night. !■ No. 9 KEY Bb. t :dj: in :sei V Where waxlike Handel. li :t|.d |r :d .ti d ir.njf Ju • - das wields PI. :r.d !t) his fMinor Mode Phrasaa>^ right :1. eous From "Judas.** n I- sword. 207 No. 10. KEY F. L is D. i :n j 1 :n .,n jd :n.,n 'MoumI not for the owl, nor his J, B. Thokas. t) :n |1| : .,t| gloomy plight; The d :d .,r in :n owl hath his share of From "The Owl.* li : I good; Nor n :t|.,d!l| :n.,fn n : t| .4 il( :ti lone-ly the bird, nor his ( :se 1 :s ,8 |f :n .n ^Thrice' fond - er, perhaps, since a ghast-ly mate, lliey're r :d If :- .n strange dark fate Has d :n .,n |1 each un-to each :- r a pride, 1 :f .r in :n rent them from all be - ii side. I No. 11. KEY Bb« Z is Veird ni .Hi jbai :sei by thy cloak of Henry Smart. From " Good night, thou glorious sun." if :li |ti :ti crim-son gold, Thy d :n ir :li day's high du - ty done. No. 12. KEY 0. L is A. On se ;1 ise :n thee a - lone our P. La TiioBB. PI :re |n :n ba :se spi - rits stay, While held in From the Tune "Hereford. |1 :t life's un - d' :t |1 e " ven way. No. 13. KEY D. X is Or d> lie, 1 :n |ba :se heav'n, earth, seas and Handel. 1 I sky ( :f Ere n in :r a Id :t In :t From "Jephtha. d> :se |1 :t one con - fa - don 1 daugh - ter's ' blood \ No. 14. KEY D. Lv&B. n :n |ba :se Cold with - in the Henry Smart, From "The Lady of the Lea. 1 :t grave lies she, d :d [r :- .d Sleep-ing peace - ful- d I— ly. , No. 15. KEY D. Z is J?. .n :1 .t All in the d' : t .1 ;se .1 downs the fleet was Leyerid«e. n :- .f :n .r d moor*d, The streamers From "Black-eyed Susan. ft wav :ti .1| :d .,r ing in the n windy i .d :n .ba se 'Does my sweet :n .n :1 .t William, Does my sweet d' Wil - liam (Minor Mode Phrases.^ n .,1 :d' .t :1 .se Sail » mong your 1 .1 crewP ' 208 No. 16. KEY C. Lis A. : l.ge l 1 :t i se.baise.l lt No. 17. KEY A.Xisi^8. :li In It :sei (Hi Henbt Shabt. From ** Now May is hero.'' :8e 't :n I— :n bai li :t' From the same. d I- No. 18. KEY C. Z is A* n :n |ba :n 1 :t Id' :d' Haydn. Prom "AchieTod is the glorious work." ba :se |l 1 :t Ise 1 tse jl :s 86 :se |1 :1 f in No. 19. kbyC. Xi8-4. Handel. For Re :n ev - er 1 :-~ bless - se :n iba :se ed. For I ev - er 1 : bless No. 20. KEY Bb. Xisa J. L. Hatton. 1 t :se d' For ev - er bless - d :ti Isei :ni bai tsBi lit :ti d :r it) :sei From "Esther." '.I From "Jack Frost." li :ti |sei ? rii :sei |lj :li !d :ti |ti :li In taei |lf :d ti :sei Hi : — No. 21. KEY C. Zis^, n :ba jn :ba se :1 ise :1 G. A. Macpabrbn. t :d' It :d' From "The Three Fishers. r' :d' jr' :t 1 :~ !- :- No. 22. KBYEb. Xis time, :d' Mer-ry, r' .d' mer-ry :t .r' Summer- d .d time, :d Mer-ry, S .8 mer-ry :s .s d< .8 :s n' .n' :n' .r' d' t .r' :t .8 d' .n' :8 gai- ly sing. 'Tis sweet Summer- time. Brightly now the Sun's gay beam, n .n :n S t S * 8 • S n S .8 .8 .8 8 .8 :s sing a • gain, 'Tis sweet Summer- time. Sweetly scent-ed is the air, 8 .d' :d' d' .d' :d' .t r' .t :r' .t d' .d' :t sing a - gain, 'Tis sweet Summer- time. Now the birds on ev - 'ry tree, d .d :d d .n :s .8 d 8 .8 • ^ .8 n .d :s d' .r' :n' Summer- time ; 8 .8 :8 Summer- time ; n'*.r' :d' Summer- time ; d .d :d 8 .n Gai-ly n .d S^ing a d' .8 Sing a d ,d A.L.C. :n sing, :d gain, :8 gain, :d t .r' :t .8 d' .n' :8 8 .n :n d' .8 :s n' .n' :n' .r' d' Glances o'er the crys-tal stream, Summer - time, Simmier- tirne, 'Tis sweet Summer -time. S .8 .8 .8 8 .S :s n .d :d n .n :n 8 .8 .8 .8 PI Beauteous flow'rs bloom ' ev - 'ry - where, Summer - time, Summer- time, 'Tis sweet Summer -time. r' .t :ri .t d' .d' :t d' .8 :8 8 .d' :di d' .d' :d' .t d': Warble their sweet mel - 0 - dy, Summer -time, Summer- time. 'Tis sweet Summer -time. b 1 8 > S .8 n .d d .d :d d .d :d d .n :8 .8 d * In marking the Tenor Eegisters (as p. 68), study the optional tones (pp. 32, 110), the phrasing SL Co, (Mew), (PP* piano or forte in each case. FIRST EXEROISEh. MUSIC IN THE VALLEY. Ex. 9. KEY A|?. |Q . r PI . d :s Id :r n 1. Mu- sic in the val - ley, Mu - sic on the hiU, S| :si |S| :si si : IS, : Hi :n, |S| :s, S| 2. Mu- sic by the fire side, Mu - sic in the hall. n :n |P1 :r d : — |ti : — d :d Id :t, d 3. Sing with iov - f ul voi ces, Friends and lov'd ones dear ; d :d Id :d d : — Isi : — d, :d, In! ; Si d r .r 1 y 1 ^ • s tn * rl • 1 u • ti :d |r :t, ti Mu - sic in the wood - land, Mu - sic in the *rill; t| :t| It, :t, d : jsi : S| :ni |S| :si S| Mu - sic in the school room, Mu - sic for us aU; T :s Is :s s : — jpf : — r :d It, :r n : Dis - cord and vex- 5 a tion, Ne'er shall en - ter here ,> si :si |S| ••si, d : Id : — S| :si |S( :S| d, : s :n Id :n s : in : r :t, 1 Si :ti t u| r : Mu - sic on the moun * tain. Mu - sic in tne air, u • u id 1 ^ •d d 1 :t i 1. Higher, high n :n 'n - er t :n will s we climb .s in : t Tip the mount of n :d Jn :n glo n - ry, :r 1 2.0x1 - ward, on - d' :d' }s wardf :s may d' we press :-.t|d" : t Through the path of d* :s Id' :s du s - ty; :3 1 3.Clo8-er, clos d :d Id - er, t :d let d us knit :si Id . : t Hearts and hands to - d .d Id :n ge S - ther, :s 1 A.L.O. s :s Id' :d' n' :-.ri|di : S :n |s :d' d' :t i That our names t may live thro' time, t Tn our coun - try's sto - n :n |n :n S :- .s In ^ : n :d |n :n n :r 1 Vir - tue is true hap - pi-ness, t Ex - eel - lenco, true beau -ty: d' :d' |s :s d' :-.tid' : d' :s |d' :s S :s 1 Where our fire - side - com - forts sit, t In the wild - est wea - ther ;- d :d Id :d d :si Id : d :~.djd :n S :s 1 r :--.n|r :r r :- .n IS : s :-.n|s :d' d' .t It : Hap - py,twhen her wel - fare calls, He who conquers,t he who falls, t| :d jSi :t, t, :d ir : n :-.d|n :n n :~ .r Ir : Minds are of ce - les - tial birth, Make we then fa heav'n of earth, s .S |S :s s :- .s IS : d' :-.d'|d' :s s :- .s Is : 0, they wan - der widefwho roam For the joys of life t from home, S| :d |t| :si S| :d |ti : d :-.d|d :n . s :- ,S IS : d' :s ,|n :d d' Idi :d' d' :t m' :r' d' :- - !— : l.He who con - quers, he who con - quers, he who falls. 2. Make we then a heav'n. make we then a heav'n of earth. 3. For the joys of life, for the joys of life from home. d :s in :d n :— in :n n :r |s :s n - 1- : : 1 • d' :s m :d s :— Id' :t d' :- - 1— : l.He who con - quers. he who falls. 2. Make we then a heav'n of earth. 3. For the joys of life from home. : I « • d' :s in :d s : — 'Si • d - 1— : St. Co, CNeivJ. FIRST EXERCISES. 2.13 HEAVEN IS Ex. 11. KEY Si :d :ti d .r :n IJ'm S| but • Si a :s, stran ger nere, .S| :si 2. What n though in the ;r tempests d rage r .ti :d S.There a at •rl . U my :s, Sav Hi iour's side, .Si :di i.There -fore I mur mur not, •d :t, d :- .r :n Earth Hi is a ae . - S| :- sert arear, .Si :S| Short d is :n my :r pii d :- • grimage, .t| :d I a shall liX be :si glo Hi :- ri - fied, .S| :d| What - e'er my earth ly lot. d :d :d ti :- .d :r Dan - c, ger and :s, sor Si row stand .Hi :si And in n time's • Pi wild :n • wm. r : - try blast .d :t| There d are :d the :d good Si and blest, .S| :S| And I shall sure ly stand S ;n :d r .n :r Heaven is d :d my :d i^a ti :~ tner-iano., .d :si I n shall :s reach home r at last, .d :t|. ■ And d there :d I, :d too, S| shall rest, .S| :S| Heaven is my Fa ther-land, St, Co, (New,) MY HOME. A.L.C. O •11 . u X Heaven is my home ; S( .ni .a Si t ' • "* # Heaven is my home ; s :n :d A t| :— : — Heaven is my home ; si :ni :d| S| :— : — Heaven is my home ; (> •11 • u Heaven is my home. s :n S| Heaven is my home ; s :n :d S| . " ' f " ^ "■■ Heaven is my home ; si :ni :d, S| ■ """™ Heaven is my home; 1 • 1 • _ Y* * PI • • X .11 Round me on ov 'ry hand ; t| :t| :t, d :- .t| :d Soon will be 0 ver- past : F :s : s n \- .1 . Q Those I loved most and best ; Si :si •Sj A U .S| .Q There at my Lord's right hand ; :> > U it" • X u Heaven is my home. rii :si :s, ni Heaven is my home. d :d :ti d Heaven is my home. d :si :si d| Heaven is my home. 214 Ex. 12. KEY F. FIRST EXERCiaES. SWEETEST, FAIREST. • > • 1 • • 1 5 1 m :s r i- l.Sweet ■ ■ est, fair - est. fbest of pla - ceSjIs home, sweet home ; A win t M .r IQ .Si n . - .r |r .a .q U Id » , • t| t t 1 • • 1 : n IS » ___ . s :- 2. There the dear ones fwait to meet me, At home. sweet home ; t I : • 1 • a ld_ S « • « 1 : 1 : n : m :r d There are dear ffa - mi - liar fa - ces. At home. sweet home ; d :- .r |n :r d :- .t| |d :S|.S| d : Id :t, d 1 I • • 1 : 1 : s : IS • • n :- 1 ■ — • Tried and true hearts flong to greet me. At home, sweet home ; • • 1 : 1 : d : |S| • 1 • d r .r |r :d t| :- .a |r : — n , - .n m :r A . - .r In : 0th - er skies fas clear may he, 0th - er landsfas fair to see, s, :- .S| |st :si si :- .ni |S| : — S| : - .S| |S| :ti d :- -.d Id : t, .t| |ti :d r .d |ti : — d : - .d Id :r n - .S is : Friend ■ ship's handfl oft have press' d, Hap - py thoughtsfof t fill my breast, s, :- .s, |S| :ni Si .S, iS| : — d : -.d Id :si d - .d jd : s - In Id' :n n .r |r :d s : ^^^^^ in :s None can be f so dear to me fAs home. sweet d : - .d jn :d d :- .t| lt| :d d t ■ Id • _ « n : ~ .s js : s s ;- .s s :n n : IS • ., , , , Yet I long fa gain to rest fAt lifome, sweet d : - .d Id : d si :- .Si |S| :d d : Id :n home, t| S home, S St. Co. (New), n Home, d s Home, d — m :r sweet Id ^ is sweet IS) d home. d n home. d I— I"- FIBS;r SXEROISES. 215 Ex. 13. KEY G. d :d :d jr :r MAY IS n :- COMING. \t d :d :d |t| :- A.L.G. :d d :d thro' clouds :d |t| :- t and :t| d :- • |t( :- • Com-ing s, :si thro' sleet :si |si :- T and .Hi II •if js :- :s • Is n :pi Ir :- :d d :d fa :d mom isi :- of :si d :- • TV |si :- • Com-ing f a d :d :d day |S| of :s, r • 1- • 9 si :t| :r IS :- n :- • \r :- • rain, s, ;- » j- • • Beau-ti - s, :si ful :si month jSj :- of :d flow d I* • ers, • t, e ^ • 1- • si :t| :r js :- :s s • IS rest, s, • I- t • Faith sees S| :si its :s, gold js, :- en :d pro Si :- • mise |S| • d :d :d |n :r d • I- • • r ;r :r ir :d Hast'ning to d :d :d us Id :- a - :t, gain ; d :- > 1- • • Thought of the win |ti try :d n :n :n Is :- :s n :- • h :~ • • • 1 : • Break thro' the d :d :d cloud |si . ed :si west ; d| :- * 1- • • Star of • t the • • dark 1 : est • • hour- Si hour. I- n :n :n |n : Cheer of the dark d :d :d |d : :r est :ti Beaming with death - less • • t * * day- d : ray- s :s :s Coming,ttho' s :s :s Comingjftho' d :d :d js :- :n tern - pests |n :d js :s tem - pests Id :d St. Co. rNew). n :- |r :- :- d :d :d in :- :r d 1- :- low er, Beauti - ful month of May. d :- |ti J- d :d :d Id :- :ti d 1- :- s :- Is :- n :n :n IS :- :s n i- low er, Blessed e - ter nal May. Si !- 1S| :- d :d :d isi :~ :si U| • • • 21G FIRST EXERCISES. Kx. 14. KEY F. THIRD STEP.* Brailsford. Ex. 15. key A. n n :f s s f :n r :r n :- d d :d ti :- d ti :d d :t, d :- s s :d r :- n f :s 1 :s s d d :1, S| :- n r :d fi :si d :- Ex. 16. KEY G. Gregorian. d n :r d : -- r n :f n :r d :- S| d :ti ti d :d d :t, d :- n s :f n :- s s :1 s :T n :- d d :s, li d :f! si :si d, :- Nares. n f :r ti.- d ii :f 41 :r d :- li :li si :- S| fi si :fi Hi d d :f r :- d d :d d :ti d :- d li :f. si Hi :r, S| :s, d. Ex. 17. KEY G. J .s.s. n f :n 1 :- f n :r d :t, d :- d r :d d :- ll Sl :fi ni :fi s :s A. • d d :t, d :r d d ti :d f| :- fi S! :si S| :S| d :- Ex. 18. KEY r. FOUJRTH STEP.f E. J. Hopkins. s :1 s :- S d :n r :d d :t, n :1 s :- S d :n r :r d :- d d :d d :- tl d :d 1| :si Si tl d :d t, :- d ll :d d :t, d :- n s :f r d :s f :n n :r S s :fe s :- s n :s 1 :s.f d d :f, d S| li :ni :d Hi li :ri S| :- Hi li :si f. :si d Ex. 19. KEY Eb. G.O. f.Eb. n 1 :s f :- sd ll :t, d :r n r d :t, d ' Ijll 1 :s f :r d : d r :n d :- ll :fi :si S| S| Sl :si si : fid r :n d :t, d : s f :n f :- d :r d :t, d :- ti d :r n : f :n 1 :s.f n d tl :d ll tiHi fi • ll m :si d :- Sif| d, : fid t, :d fi :si d Ex. 20. KEY F. Dr. Ciiipp. Ex. 21. KEY G. G.O. d n :r d : 1 s :f n :r d : n r :r s :- n f :s r :r d : d :t; li: d d :d d :t, d : s d tl :t, d :- d d :d d :ti d : n s :f n f ta:l s :f n : s s :s s s d :d f :r n d d .S| li fi Hi :fi Sl :s, d d Sl :fi ni :- tai fi :si d' St, Co. (mivj * To "be introduced before page 1 of " Additional Exercises, t To be introduced before page 12 of Additional Exercises. >» ADDITIONAL EXERCISES, PART I. ■ Note.— Ill teaching to sing, these exercises should he iDreceded hy at least' a selection from the Exercises of the 1st, 2nd, and 3rd steps in " Standard Course," or hy the " First Exercises for Mixed Voices." And" before the Ex. on p. 12 is commenced, either the St. Co. Ex. of the Fourth Step, or those on the last page of " First Exercises," &c., should he introduced. For style of singing see " Hints on the Tunes." Words by W, Eickson. By permission. GOD SPEED THE RIGHT. Music from the German, KEY D. s : s 1. Now to s : s 2. Be that s : s 3. Pa - tient, s \ s 4. still their M. d' heav'n d pray'r d' firm, d' on 66. - .S our - .S a- - .S and - .s - ward n : n pray'rs as n ^ : gain n : per - n : n re n se n course pur - d' |r' : -.r' n' : — 1 — : s : — God speed the right ! God d 1 s : - .S : — 1 — : s : — God speed the right ! God s : — It : - .t d' i- : s : — God speed the right ! God PI : — |r : - .r d 1- : s : — God speed the right! God s : ri cend - ing, S peat • s ver - S : su - n ed, n ing, n PI God d God s God d God r speed speed .r the .t| the .S the .S| the n right ! d : • right ! s ; right ! d : right ! s : s Id' : - .s n : n | s : n n : - .r n : In a no - ble cause con - tend - ing, God the right ! s : s Id' : - .s n : n | s : n d : |ti : -.t, d : Ne'er des - pair - ing, though de - feat - ed, God speed the right ! s : s d' : - .s n : n | s : n s : - .s s : Ne'er th'e - vent nor dan - ger fear - ing, God the right ! s : s d' : - .s n : n | s : n d : - .S| d : Ev - 'ry foe at length sub - du - ing, God the right ! dJ : t jl : s 1 : s 1 f : n r : n If : r s : f 1 Be their zeal in heav'n re - cord - ed, With sue - cess on earth re - n : s If : n f : r; | r : d ti : d Ir. : t, PI : r 1 Like the good and great in sto - If they fail, they fail with di. :di Id' ;d' d' : d' 1 s : s s : s Is : S s : Pains, nor toils nor tri - als heed - ing, And in heav n s own time sue - d : d Id : d d :d 1 d : d SI : Si isi : S| si : Si I Truth ! thy cause, what - e'er de - lay it, There's no pow r on earth can s speed S speed S speed s speed - .s d : the right ! - .S d : the right ! - .S d : the right ! - .S d : the riffht ! ) n ward- d glo - s ceed s stay r ed, ; ti ; s • ing, ; f it, J.I London : J. Curwen & Sons, 8 & 9, Warwick Lane, E.G. In three parts, 4d. each. 218 ADDITIONAL EXERCISES. PART I. GOING HOME. KEY F. M. 88. d' .t : I .S I .s kill, Were God PI .s : f .n f .PI warms His lit s : - .d Id wide. An ev d : - .d d KEY E[?. M. 72. n : — ■ : PI f : l.Fa - ther, in d : - : d r : 2.Tliis day's sins, s : — ■ : S s : 3. From en - tice d : - • : d ti : 4. Whilst the night s : f : n n : song be tell- si : — • : si s< : verse be - ha - t . ' :d' d' : spi rits e - r : — • :d si : heart be fill - St, Co. (New.) f .n not r .d tie d er - d n with d dar S last S| r us It, ling mg Si : d 1 ^ : s d' : - .f In : r s : - .d 1 r : n [.How many a pang, How many an ill, Q How many a : S| 1 A 1 d : r A a : - .d Id, : " .d t, :d I He hfiai's US- LAO* as in win - trv storms. When winds are : PI 1 s : r n ^ : - .f Is : s s : - .S s : s {.Be God our guide, whate'er be - tide. And when our d Id : t, I| .1, : fi Pll : - .Hi 1 si : d m f n .,1 1 I s lt..l • 1 ? • J. % s Q • 1 .t Id' : - .t. harm - ful snare Might sore - plague, and bruise, and r : d t| ' t| |r .d : d .ti t| : d .r 1 d .n : s .f rav - ing wild, A faith - ful ten - der fa - ther s : S S s : Is : s S S 1 s : - .s time shall come, For us pro - \ide in man - sions t, : d Si S Is : s s : S .f jpi : - ,r - .f d there. d child. n Home. d JACKSON'S EVENING HYMN. * : PI high : d 0 : s ments : d dews mg Si viour t vil, S| ing, hea ii par 1 of f| are d' W, Jackson. r : — : n ^ thoughts, per -f Of f En d' Be 1 With : - : d mng ADDITIONAL EXERCISES.— PART I. 219 P i. • X i 1 • * «s • d S t I JL • 1 1 • X 0 S Through the clav thy 1 love hatn led US, Through the day thy t| : t, d ' : - : d d : — : d r : : : d d : t| : r r : d : d From the world, the flesh. de - liv er, Save us now, and s : — : s s : — : d' di : - : s s : : S s : ~ : s s : — : s T.Af my y\) W 1 iiLxXo JLUJJ U « ___ " 1 ' \ Sf d : — : PI f : n : d t, : 1 LI Si : — : Si d : — I PI lOOIu will Will Irllc 6} es "hp YV Xllio {Jll Liie • dl t u JL • • 11 m • i. • i. • X A . ti • e care hath led us, With di - vin est cha • ri - • 1 t f : : d : d • JL d • — d • — • save us ev er 0 thou Lamb of Cal - va - ry ! f :d' : d' di : d' sT : — : s s : f : 1 s : — : f n : — • peace at - tend us, And an - gel io com pa - f :n : d f : - : n r : — : d f( : : r, si : — : s, d : c ^^^^^ soul re - pos ing, Ev er bless ed Trin - • 1 - ty. SPRING LIFE. (Words translated from E. M. Arndt, by J. S. Stallybrass.) KEY D. M. 144. f.lis l.Hur I2. Hur - : s rs. Hur : s .4.Hur : s Id' -rah ! Hur - rah ! : s In rah I Hur - rah! d' : s I s -rah ! Hur - rah ! n : s I d -rah ! Hur - rah ! f .s : f .n I r ti - ny leaves r .PI : r .d I ti hill and dale, : I days are long, lag be - hind, St Co, fNew.J - ret fair, r.fin : let le clear, dear, S Clam s Bid Flow Heart of Man, -.tit ber up .r I r ding all I rsare hod • PI .s : f .1 1 s : PI Bloom and be fragrant; d .n : r.f |pi : d Mur-mur, thou youngster ; : I I Warble, thou songster; ■ : I : Leap up and worship ; : t 11 Put forth all 1 : s if Oershaeh, S thy Slant - ing down thro' : I Woods are leaf - y. What, thou would'st not/ d s t .d': t .1 Is t :-.d'lri : my t| cot - r .PI : tage r .d eaves. Clam - ber up s : - .n| f : my loved ones hail, 1 : Bid - ding all : 1 : ding to thy song, Flow' rsare nod - s : s 1 s are glad of mind P When all else my PI my ding 3 are / 220 ADDITIONAL EXERCISES. PAUT I. t .1 : S .f 1 n : ' : S d' : — 1 1 : 1 - .r' d' : — 1 • cot - tage eaves. Hur- rah! Hur- rah! Grow a- way ! r .f : n .r Id : 1 ' s n : — 1 r : /I - .f n : — loved ones hail. Hur- rah! Hur- rah! Slant a- way ! • • S d' : — 1 — : s s : — 1 s : - .S s : ~ 1- to thv SOUS'. Hur- rah ! Hur- rah ! Chant a- wav ! 1- s s s S n : — 1 — : s d : - 1 Si : - .Si d : - fflad of mind. A - wav ! A - wav ! Praise and prav ! ■ s : Flow — - n : — ret, f : — bios 1 m - n : — sora ! ( PI : — — — • d : — 1 ti : — ■ d : — 1 Brook let. mur m mer ! s : — s : — 1 Song ster, war ble! 1 s : — d : - Take part, my heart I KEY r. /•S( |S( 1. I'd of S| I S( 13. With clat - S| |s, THE FORTUNE HUNTEH. (Words translated from Ruckert, by J. S. Stallybiiass.) M. 60, twice. Gersbach. [7. I'll : S| 8. I \9. By give S| spied la - ten ii ter ii up, ll a ti been ti and t, me ■ ti green told d :- noise, d thought, d : - spot d.dir That luck d .d| t| Whole na n .n I s hour and thought. Running af d .d I S| In the for By skill - .d : r was a - . 1 1 St tions did - .3 : s - ter this - t| est so n ro d : d ver : d r I t, n thought I'd d :d throng them. Men, wo - men s : n : s j s : s bub - ble ; Who knows that d : d : s/ Id : d sha - dy, To build me and per - sis - tence. My house I f \ make ; d and S when r a have/ S bold d boys S cauo* n cot ht n .r to dis ti.ti wrought Pl.n 1 r Her haunts d.dit, :- But no Luck S.S 1 S : - She will pay for the d.d I S| : - : S|.S| Without ask - ing my was a S.f Without For-tune's as-sis St, Co, (New.) d :d : -cov - er. d :d : -mong them ! n : n : trou - ble ? d :d : La - dy. tance. > 11 :- :d'.l S : - : PI . s > If :-.s:f \ La, If :- la, : l.f la, n la, : - : d.n la, |r la, la, :ti , La, Id' :- la, :d' la, d' la, : - : s la, It la, f : - : s ) La, Id :- la, : d la, d la, : - : n la, Is la, j : si ' La, La, la, la, la, la. la, la, la, la, la, I la, / ADDITIONAL EXERCISES. — PAK T I. 221 n : d : d :- ■ :d' d'.t : l.s: f.n 1 r : - : s Fine. d : - S| 1 S- ill t} \ la, d : - la, la, • if :- la, ■ : l.f la, la, la, PI : - : d la, it, : la, - : t, la! d : - 2.1 Si left my own |si : 1( : ti , la, S I - : rT la, 11 la, ■ :f.l la, s : - la, : s la. If : la, - : f la! n : - 4.1 Si ask'd of thosei 1 S| : 1| : t| > la, d : - la, la, 1 :d la, I :d la, d : - la, la, Is, :■ la, - : S( la! d : - 5. At S| one place I 1 |si : li : t( 1 la, la, la, la, la, la. la, la, la, la. la, la. la! la! G.Atagreat ci - ty's j 1 O.Here, Luck, is my / d :-.t|:d |r :d :r gate - way, And wander' d a - d :-. S|: S| 1 1| : 1| : Si near me, "Where was the shy d : - r : PI | s : s : s ask'd them If For - tune was d :-.d : d | S| : 1| : t| gate - way I ask'd, had she dwell - ing, And here will I D.S. n : - : r 1 PI : n : f s :- -.f : n 1 r : n : r d broad. "Went this way and that way, And tried ev'ry road. si : - : t| 1 d : d : d d :- -.t,: d 1 1| : t| : t| d elf; But none seem'd to hear me, Each sought for him -self. s : - : s 1 s : s : s s :- -.s : s 1 s : s : i PI : - near ; They said she had past them Full ma-ny a year. d : - : S| 1 d : d : r n :- •.r : d 1 S| : S| ; Sj d been ? They answer' d " here wait we, To wel - come her in." stay ; Come in, if you're wil - ling ; If not, keep a - way ! THE MAY-TIME. Words translated from the German by J. S. Stallyiuiass. KEY G. M. 66, twice. : s s :d' ' PI 1 PI : s : d n : Pl.s: f .11 s : - : si d : d.pi: r .f|n : d : The :d May-time d : , the May-time, how - 1 - : PI : d love d : -ly and fair, d.pi: r.fj n : - What pas - time and plea -sure : : si 1 Si : d : The : n May n : - ' time, howl s 1 s : - : love -ly and fair, : 1 : What pleasure : : r 1 PI : s : The : d May d :-- : time, - Id : : 1 : : s n What pleasure : d : t|.r| d : n : The May time. What pas - time and plea -sure Gersbach. ill] IS d is S is d there ; t| :- s there ; s : • SL Co. (New.J : s The : n s : -.f : PI I r : ti : night - in-gale sing - eth, n : -.r: d 1 1| : Si : : s The : n s lark PI : -.f : PI it up ; -.r; d I : I r : t, - springeth, It/ : S| : S|.S| Over 222 / ADDITIOITAL EXERCISES. PART I. < d : field d 1 n : - , n s . ~ * 1 u . - • m f . n ,1 s , - ; d .r 1 PI : and hill and dale, Over field and hill S|.sil d^ : - : d n : - : d .d 1 d : Over hill and dale, Over hill : s .s s : - : s s : - : d ,r n : s .1 1 s : Over hill and dale. Over field, Over hill : d .d d : - : d id : - J PI .f 1 s : vio n s red n red .f : n lets for .r : d .d : d lit- tie And d — » S s : d' : PI 1 PI : s : d n : pi.s : f .1 1 s : - dale. Tina gclUt3a Oi LlitJ T*l Tl Tin Q T* T«TiiT*ri c/dx iiXi, ifiictLi wtjrt? lock'd up so fast, d : — J — 1 — • * d a : i - • : PI : a a : d .PI : r .f 1 PI : - dale. The earth gates, so late ■ • ly look'd fast, n : — — ; — PI n : — : s 1 s : ~ : e : 1 : dale. In May time. d : d d : Id : - : • « : i : d : d .n : r .f 1 n : d : f .n r : 1 - : - : s s ; ; - .f : n | r : t| out their poor pris' - ners at last, As H . lies and ro - ses, • • S! 1 si : d : d t, : 1 - : - : n PI ; - .r : d 1 1| : S| poor pris'- ners at last, • r 1 n : S I S s : « _ » 1 * * : 1 : poor pris'- ners at last. n : d : tj.r 1 d : PI : d s : j _ • «. • ; : 1 : out their poor pris'- ners at last, r po tl n pirn d, pirn S S|iS| And the sies, d pinks, d and Si lit- tie pim : d I S| And pim St, Co. fNew), r per- ti per- f per- S| per- d nels. d nels, n nels. d nels. r \ and ^1 . and,'' and Si / Let S Let/ s Andl n PI : - .PI : n bunch - es of d : - ,d : d Bunch - es of : : s And : : d s blue n blue S blue d s s In May d d In May PI n In May d d d' time PI in I di : - : PI .f , bells, And the PI : - : bells, s : - : d .r bells, And the ^ PI : s : d \ May-time, oh, - : PI : d time, oh, s : - : time, Id : ADDITIONAL EXERCISES.— PART I, 223 n : n .s : f .1 1 s waste not the hours d : d .n : r .f I n S| Go s Go d : d .n : r .f I n twine you sweet gar : :si ls( n : d sweet gar r I n sweet gar t(.r I d d : f .n lands of d : d - lands of s : s lands of n : d twine you sweet gar - lands of r : - flow'rs ; ti :- flow'rs ; s : - flow'rs ; S : - flow'rs : S Oh! n s ; -.f : n |r : ti : far on the mea • • dows, n : .r : d It, ; s,, ^ • « 1 ; • f s s : -.f : Pi And deep in the • 1 ; « • n n : - .r d It, There is ti : dows s, : d : - .d : d | n ful - ness of life : s,.S|{ d : There is life : PI ana :d and : S .S There is : d.d s :- Id' : - : n .f s :d ; d .r 1 PI : - : r d : - :- h * joy, PI joy» s : - 1- 1- And there • — • • • : - : d .r reach-eth PI : n us no : S| Id : - And no : PI .f 1 s : - an- ; t, an- : f noy. d : - noy. n : - 1- • — • 9 _ • joy» d :- 1- And there t • f • reach-eth us no : d |si : - And no an- : S| an- noy. d : - noy. « „ 9 THOU SHALT SHOW ME. KEY D, M. 96. Canon, four (voices) in two (subjects). d' life f me S, Webhe. s Thou d' in f the -S'^ Co, CNewJ, r path S shalt d' show t Thy t Id' : 1 : t me the path of Id : d 1 f : Thou shalt show d'.,t : d'.,r'|d' : d' t : d' : d' pre sence is ful ness of s .f PI r : n : of life; in Thy ; 1 s : . s 1 d' : Thou shalt show 224 ADDI'IIONAL EXERCISES. — PART I. f pre 1 J 1 d' £ 1 l' If if : r'.r' n' 1 d' : a' r' : — m : r' And at Thy right hand there is plea m sure for ev er in : 1 r J r d U, : 1 f : - i s : s m sence, in ' Thy pre m sence is ful ness of t Id' : 1 ; 1- :t d' lai : It me the path of life; m Thy Id : d If : n If : r : — : s .f Thou shalt shew me the path of d' more. d joy* d'.,t : d'.,r'| d' s Thou pre n life; sence is d' lifo; — : n Pi' plea d pre me KEY c. :d'.r' n' Fa la la : n .f S :di.d' d' Fa la la :d'.d' d' 1 n' ; la, Is ; Id' : la, Id : d' t ful r in s Id' shalt shew - Id d' of Id' : in f the Id' sure ii d' for 1 sence is path r' ev f ful ness n Thy t : — Thy - I- : S .f of — : r' er s : s ness of rl joy, f pre d'.,t t me Id' the Id Thou Id' and n sence, d' at 1 path f Thy - i- : t of d If : - shalt shew' f! If :r'.r' right hand there is' Fine. ^ d'.,r'| d: :d' pre n : life; d' : more. d : joy- sence is Is Thou ^ t ful r in r in Id' ness n : r Thy D.S. ;d' of Thy s Id' shalt shew I THE WAITS. M. 72, twice. 1st time P-t 2nd/., 3rd/:, 4th/., 5th.p., 6th pp, Jeremiah Saville, 1667 : - 1 r' : - : - d' : 1 : t Id' : r'.n' fi la, Fa la la la, Fa la la : - Is : - : - n : n : s jn : - ; f .s 1 : - : - • - It d' :di : t 11 : t d' : - : - la. Fa la la la, 11 Fa la I — Is • ~ • *" 1 : 1 : s : s f . - . _ r' Fa S t Fa S t la s rl la s .d'lr' :n'.f' si :-.!': s'.f'jn' : n' la la. Fa la la la la la la la, : d .s 1 s : - : n .r n : - .f : n .r 1 d .d'lt : t .t t : - .t : t .t |d' : 1 la la, Fa la la la la la la la, : 1 .s 1 Si : - : n .p n : - .n : n .n 1 1 St. Co, (New,) ADDITIONA.L EXERCISES. — PART I. 225 ■PI I ' • I mvship this - .S|| S| : d c • o • hour, t, : b And S| Id : bless Hi : d the Pll f food f, : 1 tvi to r 1 n . s we eat ; Oh, si 1 di : I 1 : d t' ; j : s Oh, li !si :d f : grant t. : n us d ' r : si : d Thy S| sav si : - .d 1 r .* PI ing power, A - - .Sil S( : S, I : n Oh, 1 r : d grant s : us, by Thy I 1 n : s sav - s : ing S power, A - s : n round r ; Thy throne, a- - .r 1 r : s grant us, : d by Thy It, :1| sav - S| : mg power, Oh ! li.t|| d : n grant r : us d by It, : Thy d sav si : mg power, A - - .Ill t| : d Oh. errant us. bv Thy sav - ing power,A - round Thy throne ! to meet- r : d round Thy f • A It . U id •• t, throne to 1 i|»S|. I| .S| d : meet. On d : s : \J V si : d ti : soul S| - . d 1 r : PI as-sem - bled -lit. ' a - .ill il .a f : n 1 r : r d : — i — ! — n : n : n r : - .r 1 s : s round Thy Si I L throne to 1 f 1 .'Si meet. di : 1 • On d : ev - Id : 'rv d soul S| : as-sem - bled - .Sil S| : d r : s here. Oh, r : tj 1 n : d make Thy Id : S| r : face 1( : r 1 d ; to shine, t( Id ; d t, : 1 :s Thy 1( Is, :d s : s here, Oh, t| : S| Id :d make Thy 111 ; Hi f : face f| : r 1 n ; s to shine, Thy S( |d| : f : good • n i ■ ness d r more It, : Thy d our ii good - ness more our s : f 1 PI : s hearts can cheer, Thy S| : 1| .t|| d : n Thy good - ness more our hearts can f : n good - ness t, : d |r : d more our |si : Si 1 1 I hearts S( : - .d 1 r : n can cheer, Than -.Silsi : S| r rich - t, : d est d 1 d : food li.si: t, or f,.S, d : wine. Hi : 1 . — 1 — : — hearts can s : s cheer, Than 1 S : PI rich r - est food, Than - .r 1 r : s rich - f : est n 1 food r : or r wine. d : good - ness more our r : d 1 1 ( : d cheer. Than rich - est hearts s, : food can cheer,Than - .Ill t|_ : d or wine, Than rich - Sj : rich - est ii 1 est food ff : food or S| or wine. di : wine. - 1- ' SL Co. (New.) 228 ADDITIONAL EXERCISES. PART I. KEY F. M. 72. P *HOPE WILL BANISH SORROW. Words by Geo. Bennett. ; -.n : l.s l.Once again we're d : -.d : d.d 2. When I'm far a n : -.s : f .n S.Faith and trust in d : -.d : d.d s .,f : n : — doom'd to part, r .,r : d : — -way from thee, S .fS » S . ' heav'nwe have, t|.,t,: d : — P Swabian Melody, r .n : f . 1 : s .f f : n : s : -.n : l.s s .,f : n : — - Deem not 'tis for t|.d : r.f :n.r ev - r : er ; d : Love d : if rooted -.d : d.d in the heart, r .,r : d : — O'er the 0 - cean sail - You will often muse of me, S .S ! S IS God is ev - er f .n : r.S|:l|.t| S near - t, : S est, d : n : He d : -s : f .n can still the -.d : d.d S .jS . S • ~~~ stormy wave, t|.,ti: d : — r .s : t .1 : s .fe Time nor tide can t|.r : PI : r Tears & sighs pre • s'.t ; r'.d': t .1 Bearmesafe - ly, Si.Si A :d A r A 1 sev - r vail - di dear • ores, r .,pi : r : — sadder still, d .,d : S| : — ^s-ing tear, 1 .,1 : t : — heart once more, f .,f : f : - fe Say S( Smg Sing n A S er t est. S P i - .n : f .s '* we'llmeetto -mor 1 - .d : d .d d : — "well meet to -mor 1 ~ . s . s • s f .s : t .1 we'll meet to -mor : - .d : r .n f : — - .n : r .d the sad a- - .d : t|.l| ne'er think of - .d : r .n Then, farewell my si : - A\\ tj.d 1 .t : r'.d 'Tis r But tl t .1 row. d row, S .f row,' t| .,d : r : — 1 : - .s : f .n' dieus that chill. Make the parting S| .,l| : t| : — f : - .PI : r .d| me with fear, Check at once the' f .,n : r : — r : - .PI : f .s 1 na- tive shore, Clasp me to thy r .,d : t| : — t; : - .d : r .n s "^^T^Tnl f .r r : d ; Hope will banish sor - row. d .'.di^i.ti ti : d : Hope will banish sor - row. n : - .s : r .s f : PI : Hope will banish sor - row. S| I ~ . S| I S| . Si si : d : KEY D. mf .S 1. How .PI 2. But .S 3. 'Tis .d P s On r men t When S M. 80. s .,d':d' beau ti - ful PI .,n :n oft the sun S .)S . s thus in life, d .,d :d HOW BEAUTIFUL THE SUNSHINE. Words by G-eo. Bennett. cres. - .S the - .PI shine - .S the - .d s .,r':r' : suD - shine gleams f .,f:f : brighter glows, S .jS . S . cares and clouds t| .,t| ! 1 1 \ .r But s .,n :pi .s :d' .,s all a - round it sheds its n .,d :d .pi :s .,s sparkling o'er the wintry d' .,s :s .d' :d' .,d' twilight sorrow's vale en- d .,d.'d .d :n .,n 1 :1 beams, From f :- :f snows. Or d> :d' shrouds, Hope f : — :f .s Pi' .,r':d' .t :1 .r' In glorious summer's golden .f n .,s :s .s ;s .fe And . dear-er seems to heart & d' .,t :d' .r' :n' .r' makethepleasuressweeter .t| I d ,,r :n .r :d .r A.t. m f r's .,f :n .r :d .r ear - ly morn to ev - en- 1 r .,ti:d .t| : li .t| glowing o' er the autumn i^'s .,r :n .s :s .s shinesmorebrighton sun-kiss'd fet| .,S|:S| .S| :si .S| German Air. S prime, r eye, t still, S n time ; d sky; S hill; d SL Co. fNew.J *In teaching, introduce here St. Co. Ex. 133 to 145, or "First Exercises" 18 to 21. ADDITIOKTAL EXERCISES. — PART I. 229 f. D. mf ores, ds s .,d'J d' : ~ .s And yet we tire ere S|r n .,n : n : - .n When light and shade more d' .,s : s : - .d' The gold-en threads time's d s d .,d : d : - .d 1 .,d':d' summer's sped, f .,f:f e - qual seen, d' .,1 : 1 weft per-vade, f .,f:f And ■ .1 The • .f ' Shine • .f t .,d': r' .ml : fi .,t wish the long long days were S tjS t S • S • t) cloud •will make more bright the r' .,n': t .d' : r' brighter for its S i)S • s « s warp of S .,Si d' : - • • fled. n : ~ beam. s : — • • shade. d : - • • KEY Bb. M. 72. COME, FREEDOM'S SONS. .S( d :d d : - .Sf S| .Hi : li .Sf S| .f| l.Come, free dom's sons, and join in ring- ing oho .S| Hi :n, Hi : - .Hi Hi .n, :fi .Hi ri 2. In rain and storm our sky is oft - en frown .S| 3. Then .S| S| free d| . : si dom's :d, si : sons, d, : - .s, come ?l. jom d| .d in .d, : d .d ring- ing : d. .d| S| oho u n .d joy- fill S| .Hi girt by d .d joy. ful d| .d| .n mu - sic S| , S| ra - n gmg .d mu- SIC d( .Hi fa - vour S, .S, land IS r .r fa - vour ri .r. li .1. d spot of fCf .fe, rough and d .d d spot of ri .ri D.C d .r n .d : f .m n .r : .S f .n : r .d skies in beauty shin-ing o'er us, And loudly sing to Hi .S| S| .S| : S| .S| S| .S| : .S| Sj .S| : S| .S| peace our dai- ly la- hours crowning, Give countless blessings .t, d ..n : r . .d d .t| : .n r .d : t| .1| skies m beauty shin-ing o'er us, And loudly sing to d .d : ti .d S| .S| : .S| S| .S| : Si .S| > d : r .S| li : ti d : - .r gave US birth ; Come, praise the skies in ii :fi Hj : .Si f, : f| n, : - .S| spi rit's here ; But health and peace our f : r d : .d d : S| S| : - .t| gave us i birth ; Come, praise the skies in : SI d/ : .ni f( : ri 1 di : - .S| S| earth ; S| sear; ti earth ; S| .S, Come, .S| But .d Come, .1^1 1| praise fi health d praise SchuUz. Hi .d rus, In d| .H) ing. And S( .S| rus. In d| .d| : t, the :fi and : si the t| .1| : S| .d praise the land that S] .f I : Pit . 1| to the cheerful S| .r : n .n praise the land that S| .ti :d .1| n .d beauty S| .S| dai - ly d .n beauty d .d f .n shin-ing S( .S| la - bours( r .d shin-ing t, .d Co. (New J. 230 ADDITIONAL EXEKCISES. PART 1. . s o'er us, And S| .si : .S| crowning, Grive d ,t, ; .PI o'er us, And Sj .S( : .S| f 1, g-ave spi r gave ^1 f .n : r .d loud-ly sing to S( .S| : S| .S| countless blessings r , d I 1 1 . ii loud-ly S| .S( sing to Si .Si r us S| rits t( us n .d : d .d birth, the land that si .i| : li .1, here, the cheerful d .n : n .n birth, the land that d| ,1| : 1| .1, t( .1/ : Sf .d r • ^ 1 rl m * ni tn U til .11 .11 praise the land that a'av© US birth, the land that S| .1, : Hi .1| 1 , :fi Hj ,S.( : 1| .1| to the cheerful OjJi. rits here, the cheerful Sj .r : n .PI f : r d .d .vd -d praise the land that gave us birth, the land that S| .t, :d .1| : si d| .d : 1| .1| /?\ r : t, d gave us birth. ii : S( .f| Pll • • spi rits here. r : r d • 0 gave us birth. A/ : s, THE aXTAIL CALIi. (Words translated from the German by J. S. Stallybrass.) KEY G. M. 66, twice. n : - l.Hark d : - 2.O00I s : - 3. N0W d : - 4. Hark, n . PI n -.n : n to the Quail how she d.d Id : - d : d onthehea - therthe t s • s I s • ~.s . s come the huntsmen with : d.d I d : - d : d when the reaping is f : -.8 pipes r : dew s : horn ti : -.r d' : d' come let n : s _flutt'-ring d' :d' here I d : n ruth - ]ess d' Id' us hide 1 Is and shiv d'.r'lr.' lie safe f Is the win -.r': d' in the -.s : S • 'ring she -f: Pi' in the -.s : s - ter comes ov - t : - corn." S cries ; r' : - ground ; S : - on." f at r yet S and . t| I tj er and -.s P n : — : s.,s morn, *'Oomea- d : — : lies ; " Cold the s : — : hound; "Get you d : ~ : done, "I'Ube- s : -.s : s Look at her, S • tS . s J8,uns to the t • ~»t; « ti While the wheat S . "tS . s Hi - ther and Gersbach. t : - Is : 1 : t d' : r' : n' 1 f :-.f':f' n' : - : Id' :d' field, Tell - ing of sweets that the har - vest will yield, Sing-ing the s : - Is : s : s s : s : s 1 S • "".S . s s : - : 1 s : S : s bed, Pa - tient-ly waits till the shades are all fled. _Wist-ful -ly r« : - It : d' ;r' d' : t : di 1 r' : -r'; r' di ; - : 1 n' : r' :d' green, I by the hun - ter shall nev - er be seen ; Ah, but the s : - Is : s :f PI : r : d 1 t| ;-.t,:t| d : - : Id : r : n fiies, But not a glean-ing of har - vest she spies, Tho' in the s long ! Come a-long ! • • S t,S [ S • ~~' night! Cold the night ! " • • I • fl • I • gone ! Get you gone ! gone I'll be- gone ! s : 1 : t I d' : - r' : d' steal- ing through yonder green s : f e : s 1 1 : -.1 : 1 sand, where she mak - eth her r' : d' : t II : -.1 : 1 stands and the leaves are yet t : 1 • : s 1 fe : - fe: fe thi - ther she flits and she jSt. Co. ^New.J ADDITIONAL EXERCISES. PART 1 231 d' : - .t : d' Ir' : - .d": r' while f :- watch. - es the fright - en -ing r' : - - .t : d' I r that she - .f : n joy 3 - ful-ly -.1 : t -.1 .r':d' reap - ers they lay f : - .s : 1 Is vale of her eres s ; - .s : s who for the n : - .n : n slum - her he di :-.d':d' God for his s : - .s : s ov - er the moun-tains a s n' : - glides, d' :- skies ; "si : - i- " God be "God be - :d'.,dt Who'll be- t Look she :d'.,d'|d' :- thank' d, God be thank'd ! I « S ajS I 1 • thank' d, God be thank' d ! d' :- :d>.,diidi friend ? Who'll defend ? " : : n .,n I f : - goes, Look she goes, way. Words by /. S. Stallyhrass. M. 144. THE TIME EOR JOY. (" Soldiers, brave and gallant be") Gastoldi. St. Co. fNew.J n : - .ml n : s n ; - .n Id n : n . r 1 n : fe s : - .s 1 s : — l.When the win d :-.d|d - ter's : r past d a : - .d - way, Id When woods put on their d : d .r 1 d : 1| green ti : ar - ray, -.ttlti S( :-.s,lsi : s, S| : - .S| 1 s, 1| :l|.ri|li : li S( : -.sijsi : — 2. In the leaf - y month of June, Un - der a high :d.t||l( : and cloud - less moon. n : - .n 1 n : r n : - .n 1 n d r. r : - .r 1 r : — 3. Let the sum d : ~ .d 1 d P , n .n : n .n 1 n - mer : t, : r sun d n be : - .d • high, d ; S Or 1| n winter fogs : l,.t(| d : : d 1 r : blot r r out si : d : the sky, -.si|si : — Fa la la la la d.d:d.d|d la : t, la, d : s n : Fa d la la la : n .f 1 s : la S la. n : Fa la la Fa la la la la. S|.S|: S|.S|| S| : s, s ft , i • j d, : Hi.fl S| : li |ri : S| s, : d .d : d .d|d : r d : n .f Fa s ; la la, Fa la la :d.d|d : la t| la. d .ti: d .r 1 PI ; — Fa la la la la dj.d,: d(.d|i d| la : si la, Fa la c la, d .d Fa la d la Fa la la : li |s! : la la la S| la la la di : la. la la la. 1 mmmm J — 232 ADDITIONAL EXERCISES. PART I. n f - .n|n : s n : -.n|d : PI : n .r 1 n :fe s : - . s 1 s : — Then the birds con- spire to sing, Then, then with joy they hail the Spring, d : -.d|d : r d : -.d|d : — — d : d .r 1 d :li ti : -.t,|t( : — si : -.s,|s( : S| si : -.s,|si : — li : l|.r,|l, :li s, : -.silsi : — E'er the dew hath shut the rose, While yet a breath of eve ning blows. n : - .n 1 n : r n : -.n|n : — d : d.t.jli : r r : - .r 1 r : — Soii(?s of loy can still a - rise. Deep in the heart their foun - tain lies. d : -.did : ti d : -.did : — 1 . li.tild : r si : -.s,|s, : — P d |r d : n .n : n .n 1 n : r n : - 1 : s n : : r — I — I — Fa la la la la la la, d : Fa la la la la la. d .d : d.did : t| s 1 n : d • t n .f 1 S : s n : — 1 — : — Fa la la la la la la la la la. Fa la la la la. S[ • S| • S|.S,|S| S| 0 * Si — 1 Qi Hi .I| sj : 1| Ir, : s, S| 1 . Fa la la la la la la, _ Fa la la la _la la la la. d .d : d.dId : r d : Pl.f|s d .d|d : t, d .ti: d .r 1 n ; — Fa la la la la la la, Fa la la, Fa la la la la la la la la. d,.d|: d|.d||d| : Si * - i : d .d d : 1| 1 S| di : Fa la la la la la. p t( :t|.l,|t| :d Hark ! do you hear the r : r .d I r : n S| : si.nil S| : S| Hark ! do you hear the Hark ! do you hear our S| : S(.l|| si : di tale r S| t| jr :r.d they tell? r It, Near tl.li night-in - Sing S .n S( gale, Pis Hark! do you songs re - sound. Still S{ : S{ I Sj : S{.1| ores, r ; and t, : I I loud s ; hear, loud S, : more near d |t| and and d, r the ^' : s, clear. His : s clear, The s 1- swell : ti si : — tale? F : — round ? S| : — I — ' SL Co, (New,) f r : r .d I r ; n Now with a sun - ny t) : t|.d 1 1| : S( S| : si.Hil S) : S| Here, in the green and t| :t|.l||s] :d Whore joy descend-eth S| : Si.lil t; : d sky d fi sha ii fr®ni - .f If a - bove, -.did -.filfi - dy grove -.llUl a - bove, -.f.if. n s 1 s ; fe tid ings d : t, 1 r : — si : Hi thrill • ing n : jl :r whole year d : n |r ff s f.njf :r Now is the time for n : r .PI 1 d : s ni : S(|l| : S| Here is the place for d : li.d|d :t, There is the place for d, : r,.di|f, : si ADDITIONAL EXERCISES. — PART I. 233 P n .n I n .n 1 n ■ 1 till II : s n : — l — II • 1 d .d : d .did joy n and love, I - .n 1 n ; — Fa la d .d : la la la d .d|d la : ti la, d : — 1 — Fa la n ,n : la la la n . n 1 n la : s :-.silS( : — S|.S|: S|.S|| S| : S( Sj : — 1 — Sj.Si: S|.S|| S| : S| joy d and love, :-.d|d Fa la • fl la la la 1 la • « la, n .n : n .n 1 r. : s Fa la n : la la la la • joy d, and love, :".d||d| : — d .d : d.dld : n Fa la la la la d :- 1- la la, d.d: d .did : n Fa la la la la la la. Fa la la la la la d cres. ; — 1 : s . s n : - 1 f : s .s n : — ' ff '. PI .n n : — I — ; — la, n ores. Fa la : s .s 1 n : — la, / : s . s 1 n Fa la la, ff : s . s 1 n Fa la :d.d la. d : la, Fa la la, :ni.n,|s, : — Fa la la. Hi. nil S| Fa la la, : ni.n,|si Fa la la. H] .nil ni d Fa la la, : d.dld cres, : - 1 : d .d d : Fa la la, d .did ~ 1 '7 : d .d Fa la la, : d .did d :~ 1 :d,.d| di : Fa la la. Sj.Sil S| j la Fa la la, Fa la la. Fa la la. KEY HEAR n : f Is : 1 r : — 1 s Hear d : me d when Id : I d call, tl 0 Id s f Id' : 1 S :~ fs Hear Id : me when In, : I call, 0 |ni p n : f Is : 1 r : — Is Hear me when I call. 0 d : d Id : d t( Id s f |di : 1 s : — Hear me when I call. 0 d : ii |ni : f| si : f| In, : f : f|.s, d : |r : n G A Macfarreru f : - .n 1 n : Lord d : of Itl my :d right - eousness ; d :-.dld : n : Is : s 1 : - .s 1 s : Lord It : of Is, my : d right - eousness ; fi :-.d|d : > s : d If : n r : - .d 1 d : n Lord d : of Ui.t my : d right - eousness ; Have t, ;-.d(d :d n If : s s ; - . n 1 n : s Lord 1( : of |r, my : ni.f| right - eousness ; Have Si :-.d|d : d SU Co, (New J 234 ADDITIONAL EXERCISE8.--PAB,T I. cres, s : — ! PI ; r d : d f.Bl7. i S| > s : In : r d : d mer d : - Id : up - S| on li : me, ll Have ^Si mer d : m cy Id : up - S| on ll : me, ll s : — 1 s : s n : n ;l n s : Is : s PI : n mer n : — cy Id : up - tl / on li : s me, i| 1 I Have 1|P1, < PI mer PI : Mm, n I : m cy Id : |r : up - t| r on li : P r ; me, 1( r : d It, : and 1( heark d _ r 1 en PI un r : m d to 1 A. my J t| pray ir heark m en, dT 1 T V 1 ; d> 1 : Is : e s and df heark PI : v en :d un r : to Is : my Si pray d - C.t. sd' :~ |rt : r' n' : d' 1 t .d' r' : - .s 1 s : S 1 : 1 TiATrl JUKJX vL^ r s : — lift If : ■f.li mi ullU LI f up n : the S lib If Ui Lily : f .PI s - te- nance - l-.f: LA. kJ n .r OTl V/JLX f : f s d' : — 1 a' : t a' : a' 1 /II . I' .a' cl' ; t It ! t A 1 , u' Lord, + ... lift 1 ^ ' thou r up a : the n llglil; If ; r .1 coun s : -te - - .s nance Is : up - S on I me, : I :~ \ — 1 — t : d' j 1 I *^ : f ^ : ! ; 1 .1 t Lord, lift f tho.i c up u the :d light 1 of thy f f coun f - te * Q f] 1 r : di Id' : 1 f 1- : r'.r' r' :d' Lord, ir ; Lord, lift f : lift thou PI thou up If up the Ught r the |r : Hght of thy r ,r coun r 1 - te : PI F.t. di me. n di me. d f. F. P doloe. dig - • I PI er. d s er. d 1 f d' nance If / And di nance up - Pl.f d' up 1 f In : r d : 1 Is will ^lay me down in • peace \pia ;fd d 1 • • 1 and take r 1 • • 1 and ta^>: e r and Sir Co. fNew.J ADDITIONAL EXERCISES. — PART I. 235 Ir : s.f n : Is : —mm f |m : r d : 1 1 S — J r It, : Is : d : rest. s : r a.Tifl T JL Id : takft n : t, iu.y r d : n : will lav 1 : TT) A down in 1 > : d ; s d : •f-Q {rex r : dliU. 1 o • 1 S| . U t . 1 1 I , Hi S| : 1 1 r 1 e I n . 1- : I . I : rest ; d : For it 1 : is thou, 1 . Lord, li on r : d rest; f : 1 : S Id' : t 1 : For - it T : is rest; li : h Jd or r : •i. it d is ti : thou, — — d : Lord, For it 1- is thou r : tnon, — on r, : Lord, — f .B7. ^ S| pia. i| » -.s,| S( : li . 1 . I — : S| 1, : t| 1 CI : r Si : a that ^ S( mak - est me -.Pli|ni : dwell in S| safe m 1 ii : ty; ^ • Id .: that fd mak d : - est me -Id : d dwell d : r.d It, : in d safe d : Jy; If : PI : Thoi ly 111 : that l,ni mak fi ; ~".d(| est d, : me dwell f, • in safe f, ; S| Hi t, ty; d : ly that mak - est me : PI It, my : s t, thou — : s s, on r \ that S| ly T thati t| F. t. n mak S( mak d mak d A It, '1 -.r I r - est me, - Is, est -.t,| t, - est me -.s,| s, PI men d 1 men, me mi : — dwell Sj d ; r.d j t, dwell df : - dwell d,f, : - A Id n : — A 111 s men S| : s 1 : t Id' : 1 in :d safe d : If in safe : s in : PI, f : safe fi : m S| Hi f. 1 1 : 1 t : 1- 1- 1- men, 8t, Co. (New.) s 1 : s r : ty. n : s. Id : A - men, « t!.l!| ty. A - men. s ty. d 1 : 1 : PI A - s : men, • » It di : 1- : A men, Is : f PI : 1- : Is A |S| s : men, d ). di 1 — — * 1- : 236 ADDITIONAL EXERCISES. PART I. KEY F. M. 108. WE FLY BY NIGHT. 0* t. :d!.t|l : r' : r'.d'lt : d'f : r'.d'lt : s' We fly by night, : Id :d.d we f : fly by night, - .PI 1 r we fly by night 'mong : 1 .1 Is : s We flv bv If :f.s ni ""ht. 1 : Is : s .s we flv bv nis'ht 'mono' s d' ff ' 1 r' : d' Wp flv bv vv e uy uy : If :f.pi r : we Is : fly by S .f 1 : f 1 s : n f. F. : 1 : d's : s .f |n : d' :d'.t|l .t : 1 .s sr : r .d 1 ti : We d : fly by night, d.tild : we fly, d :d.d|d : We fly by night, «^'t :t.l| s : We s : fly by night, s .s 1 s : we fly by night, 1 :1.111 : : Id's :s.f n : Id : d .t, 1, : If :f.pi We fly by night, we fly by night, we fly Matthew Locke. r'.f: m'.r'ln'.d' troops of spirits, S : - .S I S .S troops of spirits, d' :t Id'.d' troops of spirits, s : s I d .d f .s : f .nl r : r . r r we fly by night, 1 :l.fls r .n : r .d I ti.d t,.l, s : s .f In .f : n .r d .r : n .d 1 r . n : f .r n .f : s •n If .s : 1 .f we r fly : r .r "id d :d .d l-ti" m .t, d " : If :"f .f we t fly : t by night, .t Id' We n fly by :n .n night, Is ; by .s night, S d" we Id' fly by : di .t Si Id ;d .t( 1( .t, :d .t(,l ll S] : S( d .r : n .d |r .PI :f .r we fly, w^e fly s .1 : ta .s 11 .t : d' t :d' Id' : t d' .d' : 1 D.O. n .n Id by : f night r 'mong : n troops jr : of r spi- rits. n .n : 1 night, d' we fly .d' Id' by = : - .1 night S 'mong : S troops Is : of s spi- rits. s .s : 1 i n .f : s .n 1 f .s : 1 .f S :d Is, : S| d .d : 1 • • by night 'mong troops of spi- rits. St. Co, (New J, ADDITIONAL EXERCISES. PART I. 237 KEY Bi7. M. 90. p : d .r My : piiii : s, My : dj n la S| d la d, .PI 1 n dy is .S,|S| .did dy is .dil di MY LADY IS AS FAIR AS FINE. F. t. : r .d I f : r as h as fi n fair S| d fair di as fine, With .* S| I S| as : d| : t, : s".f fine, Witli Sj \ S| / n n : r .d I r s ; d' milk - white hands and S| : d I t|n : d n : s I s d' : ? white hands and di I s,d : Hi milk d, di gold r 1 John Benetf 1614. :t Id' :d£ en hair; Her - .r I d : d s .f I n .f : PI .r gold en SI hair; Her Id :- cres. f. B^. PI : r .PI r .d : t|.d i,.ti : d .PI 1 r : — eyes tl^"" ra - diant stars out - shine. d : t|.d ti.ii ! Si.li :si.l||ti : — d ; r r . - .r S x» : n .d 1 r : — eyes the ra - diant stars out - shine. • S| S| :d| js, : — Her eyes the stars out - snine. PP A < a 1 - .r In d .S| If . t! : cl 1 u . 1 1 : — Fair as Oyn - thia, not so fickle ; Pii I -.fi Is, : S( fi : m, 1 V, V, • — 1 l| 1 1 1 • X 1 • T : d Id : si r : ¥ 1 s : r .PI Fair as Oyn - thia, not so fickle ; d, ; - .d| Id, : PI, ri : d| 1 S|.si: — P 1 : d .r PI : - .PI jn : f My heart is like a 1 : ni.fj S| : -.s,|si ; 1, 1 :fi d : -.djd :d My heart is like a 1 :d, di : ~.d||d| :f| cres. f. Bl;. - . s I f : d Light ing all things : - .S|| 1| ; d d : PI I r Light - ing all n, :-.Pl||f| :d things : li d : -^r |p7 Smooth as glass, tho* li :-.li|si :pi| f :d |d.r:pi.f Smooth as glass, tho' f|.S|: l|.t||d : d| r : r jn : far and near : d : t, Id : «" : s Is : far and near ; S| : si Id, : d : t, jd.d:- not so brittle. ri : ri 1 d|.d,: — s ;-.f 1 f .n : — not so brittle. S| : s, 1 di.d,: — - d' glan r 1 glan fi St. PI ball S( d ball d, r .d I ti : r of snow. Fast fMTil ri : t, :7.f of d, snow, s, : Fast PI melt S| PI melt d, r .d mg d mg d, F. t. r s at tjPl sd' at s,d d' a .r ces bright; Her -.rid : d s .f I n .f : PUT ces bright; Her S, Id : — Go. fNe wj. n r .n |r .d : t,.d ru - by lips d : tr^ I t|.l| d : r ru - by like Si.li : si Her r li^DS S| lips like -.s, like ^^ l|.t | : dLn | r : — night worms glow, ta,f, : Mj|r, : — : S|.l|l t, sr - .r nightworm.s glow, S|r, :d, lsi : — nightworms glow, PI : - Spark S| : - d : PI Spark " n, : - .s i f : d - ling thro' the .S||l| :d r : d ■ ling thro' the .Pill fi : li d' her d ¥ her pii ; r pale tvvi-j d : ti ¥ : s pale twi- si : s, 238 ADDITIONAL EXERCISES. PART I. n light : d : s : light : pp d : - .r I n Neat she is, Hi I - .f|| S| I :d Id Neat she is, d| :-.d||d| d .S| no S( S| no Ml fea fl r fea ri d I d.t|: - ther lighter; Hi r,.ri: — s : r .n ther lighter; S(.S|: — Bright she is, li :-.l||Si f : d Idj; Bright she is, f,.S(: Ij.til d no no di d dai ri s" dai S| : t| I d .d : — - sy whiter. : r( I d|.di: — : - .f I f .n : — - sy whiter. : Si I di.di: — i\ KEY F, M. 72, thrice. S| : n ; r d : - Hm, &c. n d Hm, &c. NIGHT AROUND. (Arranged for this work hy Geo. Oakey). : Si I t( : 1| : t| Ir Hi d d - I- « Air by Weingand. : \ s\ \ n \ r \ 1. Night a- 2. Tho' a- d : - • _ fl 1- 0 • • t\ \d '.I s : - e _ « 1 ra : \^ :/ : m r : - : - round round is soft these clois - ters creep night ing, ly All Spi - the rits earth awe d : S| : I - Id :- r : - Id : Id :r :d t, ; - : - St : - 1- - Ill :- si : - 1- : 1- :- Si : - : - n : - l~ s 1 f e : : r s : - !- : i - : - s : - : - d :- 1- - 1- t( id : i- : - s, : - : - > : s\ ! r : / : m d : - : ~ 1 : : 1 Si : n : r d : - :~ 1- : - : t\ \ d : I : fe to rest the tim m is id laid, breast. Grief Love it- fears self not lies calm - ly where sulmb'ring |si : : t, d : - : - 1- : - : 1 d : t, : d |si : Id : - : - 1- : S[ : - : - 1- • 1 S( : - 1 1( : - : - f :r : n If : n : ~ : - - : 1 n : - : - ! - : - : s Ife: - : r 1- : d :- 1- : - : 1 d I- :- :- 1- :- St. Co, rNew.J ^ 1 a _ a a 1- ADDITIONAL EXERCISES. — PART I. C. t. cm. 239 8 . 1 _ : - 1 ra : - 8 , • t f 1 s : - • • 1- : - 1/' : r' 1 e sleGp Hght - ing, - ly Sleep - I - est da thou lies be in - lov - heav'n ed -ly maid ? rest. r : Id :- - |t|n : r ' PI s : - • i - : - s a' It d' : " : - - : : S| :- 1 1 * t.n: f : n 1 r : - : d 1 2^ ; n : f n — * i- : : s ••- I- - 1 : • u I 1 - • s 1 « t, :- Id : - • . _ d : t| : d Is ; 1 - d > 0 a » dolce, : ^ f.F. r7 ; - ( I- 1- • : T 1/ : , r m : - ' \s : 1 4 - 1 ores. s :fe:s I - Play da - fill hear ze ai my lute's phyrs gent- soft • ly num steal bers, ing, Float - ing Up - ward on waft 1 taf : - ;- 1- : n 1 r : d ' t, d : - ; !- : C < f : n : f 1 pjti: - Id : t| : d 1 s, : - - i • ) s r : - ;- 1- : n 1 f ; s . • f PI : - < X 0 • 1 . • dsi: - 1- • 1 — » 1 • d : - . - 1 * the balm my song n |r - Is, Is 1, Foeo rit. - \ 8 \f \m \ r y to ti PI : - \ d^ \ s \ - \ - \ s\ \ PI \ r d l- \ - air, thee, Yet, May my its d:-:n|s;-'. - | : : d : si : 1, 1 si : - : - Id : - : - d : - : - 1- : - : - 1 : : s, : - : - 1 ~ : - Hi: - :- - : - : - 1 n : - : - 1 : : n : - : - 1 - : - : s 1 f e : - : r d :- :- 1- :- : - 1 : : d :- :- 1- :- lute tones if i r my love da re-i • _ slum veal n bers, ing. \ l \t : d' Hush ! nor Fill thy r : - Id |r s, : - Id : - 1- - Ife s' : - ; 1- : t| : - 1 1- d ; 11. PI \ - \ - \ - \ - dim. \ 8 \f ', PI : r wake dreams my la - dy with thoughts of fair, me. n : - : - 1 - : - : d |r :'d : t| d : - : - 1 ~ : : - : t( : d 1 S| : - 1- S| : - : - 1 - : : s : - : - 1 - : r :n If :- PI : - : - 1 - s I si : - : - 1- : - d : - : - 1 - : i \ St. Co, (New.) 240 ADDlTIOls^lL EXERCISES. — PART I. COME, LET US ALL A MAYING GO. Arranged for mixed voices by Geo. Oakey. KEY Et?. Vivace. M. 132. L. Afterbur^, f s : s .s 1 s : s 1 : s Is : .s 1 .f : f . 1 1 s . n : s r .n : f .n 1 r Come, let us all n : n .n 1 r a : n May - f : ing r go, In And :, .n light f - ly trip : d Id it : PI to t,.d and fro ; : r .d 1 1[ d' :d'.di|t :d' d' : t Id' : .s^ f .1 1 .fid" :d' r'.d : t .d'll Come, let us all d : d .d 1 S( a : d May - f| : ing S| go, Id And : .d light f - ly trip - .f 1 n .S it : d' to S and fro ; : s Is "r .d Let usi r .r P'E'9, t. n.d i 1( • • P : f .r It, d : eres - cen d .d |r - do. : - .r n : n Let us go, ti : 1 :>^li.S| f( let us :fi .1, go. 1 si : - . Come, S| : let us all S| .S| 1 S| a .s, May Si - ing :li go, s : 1 let us go, r : li .1) Ir n : n .n 1 r 1 - .r d :d P :3|d|.ni 1 f| « • let us : ri .f| go. |si : - . Come, d : let us all d .d 1 t| a :- .t| May d ■ ing Let u3 go, If :-.f f - , r In .d : f .r n .r :d.t,|d go> And light -ly trip it ' to and fro, It. S| : t( Id.d S( : s, Is, |r : - .r r ; s Is : 1 s .f : n .r 1 n go, And light trip it to a.nd fro. |r :-.d t, : - .s lid :f( S| : - ,S|| d P si.Hi: n(.d,| Ij : trip it to and^o, : |f.r:r.t, trip it to and P r .t,: tj.sp trip it to and Si fro, to and d fro, n, di: S|.ni trip it, trip it, isi : — fro, s,.n,: n(.d( trip it, trip it, Si Co. (New.) : r light -ly, Sj : t| light - ly r : s" light - ly, to : 8. |pi .d : f .r I n ,r : d .t light - ly trip it to and fro. 1 d .d : Sj.si: S|.S|| s,! ; trip it, Is : 1 s .f : n .r ht : light - ly, trip it to and fro, |d|.d : f( S(.s,: si.sd d,s, ; 1st time. f.El7.D.C. d s : — 2nd time. d fro. St PI fro. d, .s, The .S| .d The d .n . r .d ) t|.l( : S|.f|^^ hells shall d|.d : t|.l,j S|.f|: ni.ri s : n I : Cue - koo. d : - bells d : — shall ADDITIONAL EXERCISES. PART I. 241 rij.n ; r .d| t|.l |. S|.fi ring, and the d|.d : ti.lil S|.f|: Hi.T) ring, and the s : n Cue - d : ring, koo, : d .d and the Hi.pi : r .d I t(.li: s,.f| f. El?. cue s : n Cue - koo, a" : — cue d koo koo sing, d, ; sing, S Cue - smg, n koo. :'^.ti The The :d s The ds : n i Cue -koo, d Id bells shall di.n':r'.d'lt .1 bells S .t shall ^ n .r shall/ s : n Cue - koo, d : — I :d.S| ring, and the d^n': r'.d'l t .1 : s .t ring, and the d .d': t .1 1 s .f : n .r ring, and the s : n Cue - koo, d :— Id cue - koo d'.n': r'.d'l t .1 : s .t cue koo s : Cue - d ; sing, di : sing, d : smg, n koo, - I d' The S drum PP :d'.d'\ And the : n .PI I shall beat, I : t fife r d' shall : n It play, I / : s The : n :d' The :d s drums r t drums S| .S I S shall beat, .n |r .d' It shall beat, .d I s, p s .d' and the S .S n' .n' and the d' .d' t fife S r' fife s :d' shall : s : n' shall : d' t play, s play, S .t And .S .r' And .Si 1st Time. By, t. D.IS. 2nd Time. di : s Is ; f .n r : s .s, r : s In ; — so we'll pass our time a way. The time a way. s f In :d d : - .t| lofi : .S| d : - .ti Id :- d' : r Id' :T .s s : s 1 sd : s : s Is :- so we'll pass our time a way. The time a way ll : t, ■Id : f. Si : S) |dfi : .d Si : Si Id St. Co. (New.) 242 KEY D. Allegro. M. 88. I ADDITIONAL EXERCISES.— PART 1. HALLELUJAH, AMEN. (From " Judas Maccabseus.") / d Hal I .r j n,f.s : 1 .s le - lu - jah, A-men, 1 A I f .n I f .PI men, Halle - lu- jah, A / A. t. d men. I d .r |n,f.s Hal-le - lu - jah, I JSandeL 1 .s A-men, : 1 :§ d .r 1 n ,f.s : 1 .s 1 .s : f .PI 1 f .PI : r Halle - lu - jah, A-men, A - men, Halle - lu- jah. A - 1 .s : f .n 1 r .m :f PI :sd .tt jd : d .d : t| d 1 S| .d : - .t| A - men, Halle - lu- jah, A - men. Halle - lu - jah, Hal-le - lu - jah, Hal - le :r' .d' It .d' d' ;r's .f | s .s : f .s f . s : . s 1 s : - .s Halle - lu - jah, Hal-le- lu - jah, Hal-le lu- • ! \ « 9 :t n .r j d ,r.pi : f .n f .n : r .d 1 1| .d : S; Halle - lu - jah, A-mer., A - men, Halle - lu- jah, Hal - f. D. d :f 1- : ^ t 1 : - Is : d' d' : fl if : n' .r' men, A - - men, A men, Hal - le - lu - jah, Hal - d : - .ti^ii S| : - .Sir n : f . n 1 r : s s : f ,n.r Is : lu iah, Hal le. lu - jah, Hal - le - lu - jah. s : f ' Is : - .s r' d' : r' .d'l t .1 :T d> .r' Id'.s : d' jah. Hal - le lu- jah. Hal - le lu - jail, i| : - .si,iiixi .S( : ^ s - .d : f 1 — - : n 1 : - .t Id' : le lu - jah. Hal - le lu -jah, 8U Go, {NewJ A. t. Pi' : - .r' jd' : - .d' d' |_ : t d'f le lu - jah, Hal- le lu - jah. s : - .t, 1 d ,r.pi : f .PI f .n : 1 .s 1 1 . s : f Hal - le - lu - jah, A. -men, A - men, Halle - lu- jah, A - men. s : - .f 1 s : d' 1 • 1 • s d Hal - le - lu - jah, Hal d : ~ .r |n,f.s : 1 .s 1 .S : f .PI 1 f .PI : r Hal - le - lu - jah, A-men, - men, Halle - lu- jah, A ^ men. PI .r I d ,r.n : f .ri \ Hal-le - lu - jah, A-men, - .r I Pi,f.s : 1 .s le - lu - jah, A-men, ADDITIONAL EXERCISES. — PART I. 243 f n : 1 .s 1 1 .s : f n ■ B f. D. : fd' |r' •d' if • 1 1 £X A - men, Halle - lu- jah, A - 1 *■ 1 • men. 0 : ds Ju If dah, re- :f .f joice, n : re ,& -joice, U :s 1 .s : f .n i f .n : f d : In' Tn Ir' u.an,re- : r' .r' • • joice, d' re .n' - joice, If .,n re :r' .n',f' A - men, Halle - lu- jah, A - 1 : men. 0 : fd' Ju Id' - dah, re- : t .t joice, d' : re .d' - joice, |di .r',d :t .1 ,t ni : .d' |r' .,n':f' .n',r' n',r i.d' : .s 11 : - .t d' : .n' If .f : fi .f ^ •at Re -joice, 0~" Ju - dah, in songs di- vine, With cherubim and s .s |I :s s .s : .s If : - .f n : .s 1 1 .1 : 1 a joice. Re-joice, 0 Ju - dah, in songs di- vine. n' : .Pi' |f' .,ri':r' .n',f' n' .n' : .n' 1 r' : - .r' d' : ."s 1 f . s : 1 . t Re-joice, 0 Ju - dah, in songs di- vine. With cherubim and d' : .d' Id' .ri,d':t .1 ,t di .d : ,di If : - .s i : 1 : n' .n' : ni .n' 1 r' : - .t s : .t Id' .d' : d' .d' t .t : t .t Id' se - ra - phim harmo nious join, AVith cheru-bim and se - ra - phim harmo S .s : s .s 1 f : - .f n : «s |s iS tS iS S .S : s .s 1 S d' .r' : ni ,di Ir' .d' : t .s di : .r' 1 n' .n' : n' .n' r' .ri : r' .r' I n' se -ra- phim harmo nious join, With cheru-bim and se - ra - phim harmo 1 .s 1 d .r : n .f S a J t . S 1 d' - .d' \ nioQSi - .S - .n' nious ' - .d t A.» t. : sd .r 1 n ,f.s : 1 .s 1. .s : f .n If .n : r s f. D. 1 In' join. S Halle - lu - jah, A-men, 1 s, : f| A - men, Halle d : d - lu Id -jah, • • A - t. men, d and |ds in : s r' Har ■ : tn .r ■ mo - nious 1 d ,r.n : f .n join. Hal - f .n : 1 .s le 11 .s : lu - f jah, n and I'^it in : t join. S Halle : sd Har - - lu - jah, A-men, Id :- mo A - men, Halle • - e « - lu -jah, • A - r nious men, d join, and in : s St. Co. fNew.) 244 A-DDITIOI^AL EXERCISES. — PART I. f 1 1 s • s : — 1 : a' d' |r< • , « songs di vine har - mo nious f ; — If • n : — 1- : 1 .s 1 .s : 1 .s If .n : f songs di • vine , har - mo • nious d' ; — IT' • 1 ,„,m • n' : - 1- : f .n' f .n' : fi •n' |r'".d' ; r' songs di vine har - mo m nious 1 ; — It • d' 1- :d' d' J — 1 1 : t S :d'.t 1 d',r'.pi' : d' .s d'.s :l,t.d' lU.d' : t • • 1 • join. Halle - lu - jah, A-men, A- men, Hal-le - lu - jah, A - men, n : s .f 1 s ,f .n : f .n f .n : 1 .s 11 .s :f n * • join. Halle - lu - jah, A-men, A- men, Hal-le - lu - jah, A - men. di ; n' .r' Id' .t :d' .t ^ .t : d' .s Id' .s : r' S • • ! join. Halle - lu - jah, A-men, A- men, Hal-le - lu - jah, A - men, d' : d .r ln,f .S : 1 .s 1 .s : f .n If .n : r d 1 I : r' A : s A : r' A : t d' men, S men. n men, d' : t A : f A . J,\ A : s 1 men, n men d> men, 1 Adagio* :d' Hal- : s Hal- :d' Hal- : n t :-.t|d' d' :— It d' |~ le f lu-jah, :-.f|s : — A s 1- :'f men. le r' lu-jah, : - .r'l n' : — A r' Is men. s :- 1- :- le r lu-jah, :-.r|d : — A s : — i — man. d s- i— 8U Co. (New J ADDITIONAL EXERCISES. PAKT I 245 Words by Cunningham. KEY Et?. Allegretto. M. 80. SWIFTLY FROM THE MOUNTAIN'S BROW. d' : s d' :di .r',d': t .d' : r .f : 1 .f Swift ■ ly, • swift n - ly : d from the mountain's .ti,d : r .n brow, f Shadows, shadows n .d : • « Swift d J 7 : n •S ) S • S • s f Shadows • d : n : n .d from the mountain's f .f : f .n brow, r : t| .8/ d :f, .1) Swift - ly, swiftly from the mountain's brow. Shadows nurs'd, shadows d' : t dim. d' • 1 -1 HI • P — : t d' • ■ • di : s night r re - : r tire, PI • re - — : r tire, n • Swift - ly. 1 : s S • — : s s * - • . _■ _ * night fi re - : si tire, d • re - — : si tire, d • t Musio by Samuel Webbe. : s .di nurs'd by ti .r : r .n shadows r .t{ : t .s nurs'd by ' S| : - nurs'd by / s : d' swift - ly n : d s : n swift - ly .r',d': t .d' :r .f : 1 .f : s .d' d' : t di from the mountaiu's .ti,d : r .n brow, f Shadows, shadows n .d : shadows, nurs'd by t| .S|,l|: t|,r.d,n shadows night ll re : si tire, S| •S }S • S • s f r .t|,d ; r ,n r : r .n,f n from the mountain's f .f : f .n brow, r : t| .Si Shadows d .-fi.ii nurs'd, shadows Shadows nurs'd by S| ; - .Hi nurs'd, night f| re ; s, tire, d w * _ ' — — : t d' • DoUe. M. 80, twice. : n : n 1 f : - : s 1 . - . - Is : - : - d^^: - : - 1 - : - re - — : r tire. n • And the peep - ing : d : d i r : - : n sun f : - : - beams In : - : - now, d :~ :- 1- :- — : s s :d' d' : - : - 1 - : - ; - , » » 1 - : - : - : n : n J f : - re - — : S( tire, d re - % tire. • • 1- :- :- And the pe^ep : d : d 1 r ; - St. Co. (New.) 246 ADDITIONAL EXERCISES. PART I. Bt7. t. 9 • « • : s 1 sd : - : d ti Is f i - . - • « Now paint • m 1 ml . • with • 1 1 gold, S| . - now 1 S| . - . - paint • I : - Is :- : f n : - : - 1 ir : - r : - : - In : - : - r : - sun f :~ : beams - 1 n : - now : r paint d :- with f gold, S( : - now paint • nowl S| nowi /|n : - a 9 r : - : - In :- r : - Id ti :- id with Us, :- : S| gold, si : - : now paint • with : s, Is, : - : si gold si : - 1- ) paint \|d :- with gold, t, : - |7 :- :- f now paint : - In : - with gold r : - : - In with 1 si : - : s, gold, s, : : now - 1- :- paint • with : s, Id, : - :d| gold S( : - : f , In, \ paint with gold, now paint with gold :d the' Sir thef : r the^ :fi they / f. E^. d ; - It, d s : - vil - lage spire, s, : - : " 1- :fi "it,: - n : - ; - |r :- ds t - vil - lage spire, s, : - : - Is, : - d,si: - . _ . _ : n : n | f : - : s 1 And the peep ■ ■ ing sun :d :d |r :- :- 1 : : n f :d :d Id : - : d f And the peep ■ - ing sun beams, In t _ Id :- beams, St. Co. (New.) Bi;. t d' : - - 1- * • : s 1 sd : - now, d : - - 1- :- • • now paint : n ■ ! p^l, : - n : n If :- : s 1 ;- : - Is :f n : - : - 1 ir : - And d : the d peep ■ r • ing : n sun f : - : beams - In : - now : r paint d with : - 1 df , • • CI with ii * ^ ADDITIONAL EXERCISES.---PAIIT I. 247 t, : - Is :- f :- : - 1 n ^ : - J - r : - : - |n : - ; - r : - gold, now paint with gold, now - 1- :- paint S| : - :- Is, :- :~ » ____ « : S( 1 S( : - : s, s, : - : • gold, now. now paint with gold, r : - :- In :- :- r : - : - 1 d ^ : - t( : - : - |7 f /. - gold, now paint with gold, now - 1- paint Si : - Is, :- S| : - : s, 1 Si ^: - : S| S( : - : • now paint with gold, now^ now/ /|d :- ti :- :- Id i with gold \|si.:- : s, S( : - :- 1- j paint with gold \|n : - Y : - :- In F with gold [Id, : - :d, si : f 1 In, paint with gold :§ dolce. S Sweet, 1 .n If oh sweet |r I Sweet, S .S,f the n .t| ~" oh : - : d d : - It, : - f. B7. d s : - - 1- : the : - :li the " - : r vil si : - vil n : - lage 1 — . • — . 1 t 1 r : - lage spire. m,t,; - spire. ds ; - : - - 1- :■ - 1- :■ the - :fi vil S( : - lage 1 S( : - spire. d,s,: - - 1- : the vil lage spire. PI .,rn: 1 1 s .d' : t d' i~ : war d .,t,d:f .f 1 n bling : r throng, n : — ! : sweet • • t t the 1 1 war - bling throng, s : - Sweet, d : - .s oh .d 11 : sweet If : .d thel s the n d .t( : - f • war r ! .t| Id .f In bling throng, .r Id s — : - .l,s 1 f : PI f Sweet, oh sweet n — : - .f ,n 1 r :d r • < 1 : 1 • * • • - .r' Ir' .,d': d' .,t the war - bling • f |f .,Pi : n .,r d' : 1- throng, : .d d .ti : PI : 1 s : - .s 11 : s f : Sweet, oh sweet the war d : - .d If : n r : I s .d' On the .ti Id : - .f In bling throng, ,r Id t .r' : r .f | n white emblossom'd spray .n the! s .d' On the / St, Co, (New,) 248 r .f : f .r | s white emblossom'd spray : Id ^ On t .r' : r .f In white emblossom'd spray, on the d .f the_ S .1 d .n : n .n white emblosso ta.ta : ta.s 1 1 white emblossom'd i n .s : Si .ta< 1 1| On f s .f,n u - m In ver-sal song, s .n 1 echoes, n .d 1 : ti .d ii .ti rl.t : Is" .n to the : r .n ris - f .S Echoes, t .s : echoes In .d to the ris - n ture's n .r,d u - m - r,n.f ,s 1 1 ver-sal song, If d .r In mg 1 .t mg day, d' day. ris n s ris s Id' song. In song, Id ing r s mg Id' day, n Is day, Id P n .s ,f : n .n Na - ture's u d .n,r : d .ta, 1 1| .d,tai . — PART I. : f f .s : l,t.d' Id' : t the white emblossom'd spray, : 1 : • Is : s I .s f .n : r .d Na - |si : ture's on the white emblossom'd spray, f : 1 .1 t .d^: d' .d' It : ID t .S Nature's : f .f,n u-ni - ver-sal r .n,f : n .n song 1 r : Echoes r .t| : d' .d! r' .¥ : s .s Is : Nature's : f u -ni - ver-sal f .n,r : d,r.n,f song Is : : d' .s : d' .s |1 .t : d' .r' echoes, echoes, echoes d .Si : Id .r : to the d .d,f iphoes, d .n : |1 .f : s .1 echoes, : d .n echoes, : d .n echoes jf .r : to the n .f 1 f .1 ,s : f .f ,n r .r',d': t .di,r» s Na d - .s II ture's u - .d If d' .s .s • * .r',r' d' : t Idi Echoes, echoes to the ris ing day. d. .n,r :d .ti Id .n,r :d .f n : r In"^ Ech oes to the ris ing day. n If Is : 1 S : s Is Ech - oes to the ris ing day. d : r In : f S : si Id' ni - - .1 ni - - .r ver sal t| .,d : r t .s ver S S sal S| 1) St. Co. ("Mw.J ADDITIONAL EXERCISES, PART 2. Note.— The Standard CoT^rse Exercises, 188, 189, 191, and 192, may precede these— hut it is not essential that they should do so. For style of singing see " Hints on the Tunes." ivEY A*?. L is F, 1 . Lord, n, d f3.By 1, 4.G-rant r aye d ca S lem S| dag LOUD, IN* THIS THY MERCY'S DAY. By permission irom Anglican Hymn Book. /. Cruijcr. d tf : n 1 ^ : d t, [ — id : r n : f in this thy mer - cfs day, Ure it pass foi 1, SCi : li Hi ' ll se. I — Hi • t, d :d thy night of a gon - 1/, thy n n \ n It : n n ', — |m : s s : 1 thy tears of bit - ter woe For Je - ru sa 1| Hi :d, |r, : 1. n, Hi : si d :fi us 'neath thy wings a place, Zest we lose thi r d : :d t. : 1, Hi : sef ii A WAY, On OTJE, knees we fall and pray. tl d : Is, :f, In, : n. nt ting cry, By thy ivil - ling - oiess die. S n : Id : d r : - .d It, : t, d be - low, Let us not thy love tore - go. Sf d : Id, r. : r, |P>, : n, of grace, Ere zve shall he - hold THY FACE. KEY G. mSE MY SOUL, ADORE THY MAKER. G. E. Monh. n : f S : r d : r n : t| ml • 1 t : — l.IilSE MY SOUL, A DORE THY MA - KER ! An - GELS PRAISE d : d. ti :t| 1| : ll se. : sei i,r : . f r : — 2,Nev - er cast one from thy pre - senee Till my sold s : i r : s n : r : n ml : 1 s : — S.Thou the night wast my Pro - tec - tor: With me stay d : 1| Si : s, 1, : f, n. : n, df : r s : 4.iro - ho - ho ly Giv - er Of all good, f. G. t : t d' f d : f n Jd r : d : ■- Join THY lays; "With THEM BE PAR - TAK ER. n : S n rli : d d : d t, : d : - Shall he full Of thy hies - sed es sence. t : t 1 r)l ; 1 S : s s : f n : — All the day, Ev - er my Di - reot or. s : n 1 taf : f| d : n, s, : d, :- Life and food. Eeign, a - DOKD PGR EV er! 6'^. Co. (New.) LONDON : J. CUEWEN & SONS, 8 & 9 WARWICK LANE, E.O. Price EouRrENCK. 250 ADDITIONAL EXERCISES. PAUT II. FATHER, MY SPIRIT OWNS. KEY E!?. Z ia C. "0 mourn," in Anglican Hy mn Book, by per. G. A. Maefarren, : n il : 1 - .n 1 d .r : n r : — 1- :f i : - .t; 1 r .PI : f n 1- l.Fa- ther, myspi - rit owns Thy right to mine and me ; : d n : - .d| l|.t|: d r : — 1- :r f : - .r 1 1| : r t, :- :- 2.A - las ! the brit - tie reed, On hu - man life to lean! : 1 d' : -.l|n :1 1 : - 1- :1 ri : - .1 |f .s : i 3.I11 deep submis - sion, aid The brok - ken heart to lie, li : -.lill, :li f 1- :r r . r 1 r : r se, 1 — Bi? . t. f. E17. ; n f : f hi, : se, n : - - 1- : d d : t, Hi : sei li :-.i.n|f Yet par - don hu - man groans From hu - man a - go - ny ; The eye's : d d : d 1 l|r, : n, n, : - - 1- : 1. fi : f, Iri : Hi ni t-.i^itilr A so - lace frail in - deed, 'Tis gone as soon as seen ! Then who : 1 1 : 1 1 1 r : t, li :- - 1- : n r : r 1 r : ti d :-ds|l Nor, when the stroke is made, To mur - mur or re - ply ; Great grace : li li : 1| 1 d fi : n( d, : - - 1- : u r( : If. : n, 1, :-.i|n|r : 1 se : 1 It : n .r 1 d : - .l|se : 1 f : r Id : t{ 1( 1- de- sire, the soul's de - light, Thy wis - dom hath seen good to blight. : n r d In : t, d : - .d|r : d tai : tai 11, : sei li :- 1- shall fill the cheer - less void, Or stay the soul 'mid hopes de - stroyed ? : 1 f : d' It : t 1 : - .l|r : n f : f In : - .r d :- 1- for great -est need be - stow, And strong sup- ports for deep - est woe. : d t. : 1, 1 set : sei li :- • lilt, : d r : r In : n, 1, :- 1- KEY F. NEARER, MY GOD, TO THEE. From Anglican Hymn Book, by per. d : — Id : f n : r Is :- d : — |r : r n : I .JS^ear erf my God, to thee^ — Hear thou my prayer s, : - \h : r d : t, Id :- d : — Id : t, d : 2.Though the great bat - tie rage Hot - ly . a - round. n : — If : 1 s : S Is n : — 11 : s s : 3. When, my course Jin - ished, I Breathe my last breath, d : - |f( : ri s, : 1( :- f, : S| d : 4.And when thou, Lord, once more, Gb - rious shalt come, Henry Smart. - I- :- - I St. Co. CNew.) ADDITIONAL EXERCISES. PART II. 251 C. t. — — II : t d' : r' In' 1 : — Id' : t 1 : i- I — E'en though a hea - vy cross, Faint ing, I bear. 1- df : — If : s s : f In f : — in : - .r d : : — Still where my cap - tain fights Let me be found ; sd' : — |ri :r! s : 1 .t |d' : t 1 : — 11 : se 1 : 1- : — Ent Wing the sha - dow - y Val _ ley of i- df : — 1 r : s .1 n : r ' Id r : — In : n 1, : : — Ok! for a dwell -ing place. In thy bright home ! f. F. d' • If : n' r' : r' 1 d' In : 11 : s Still all my UX d Y t/X shall be. Near er. my n • If : s 1 : s .f fd : — — Id :t, Through toils and strife to be Near er. 7 my 4 m 11 .t :d' d' : t |di fd : If : r E ven there shall I be Near 7 my 1 • 1 ^ : n f : s d n, : . |fi : s, Through ALL E - TER - NI TY Near my f :f 1 n ; — r : - 1 d : t| d : I- J — God, TO THEE, JSFear - 1 er to thee. 1| ••t. .li 1 sei I — 1| : S| : s, S| l~ : — God, TO THEE, Near er to thee. r : r .It, li : f In : r n : God, TO THEE, Near er to thee. ri : ri |n, f| : - Is, : si d : 1- God, TO THEE, Near er to thee. KEY A. M. 120. Allegro Vivace. mf Solo S. or T. Eight measures THE GIPSY'S TENT. Bohemian Air arranged by W. S. Bireh. (By permission.) Symphony. si : d : r n : .r : d : d ; m r • • • l.We live so mer ry» so hap ' py and free. 2. Come to our green wood home and blithe- some be, : d :d • • d • * d :d : d : r • • r La, la. :li 1( : s, : s, s • : S| : si • • : n : n n n : n : n :f • • f d, : « • di : d, • • La. la. St, Co, (NewJ. O.N. edition W. tl. Birch, London Street, Readinp:. 252 AD15ITI0NAL EXEx^CISES. — PART JI. Dane - ing and In the wild r ri n mer Si d green d 1| f :r :li :f I : sing ■woods :r :li :f, .H :/ ing be - to roam :r :li :f. - .r : d ry, so - .t| : d - -wood home - .s, : d ri S| hap Hi d and neath the light -ly r li f ri oak and :t, :si :r (I tree, free. d, d S! n n Cnoiius. d * :r live so S| :s, d :t, to our Hi :s, d py d blithe n and nil d some free, be, ii E. t. 1, Dan r In f, cmg f| 1, the and 1| r •wild f. S| We Hi d Come d, 1 sing f. woods f, - . s ; f ing be - " .S|: 1, - .n : r to roam ~ .f ( .* f I % 1 f 1 1 • 1* s : cV Come to We'll tell • ^1 our your d> for for - est home, tunes young I hap - maid - s SrJ en :/ and quite f :1( neath the 1, :fi : t, oak :fi d tree. n, : ^iH :s,d : n :d : f : r : f : r r : r : si r : r light - ly r, : ri ; r and : Si d free. d, : s 3,d : : s S| : s : s i • t, : s : s VI : — s : - ,d} r' : cV : I : VI : - .r d : bright, true ; List And to pro our - mise sweet songs al - so they'll fond make your hearts lovers for light, you. : n : n : n : n : r : r : n : f n : :d : d : d : d : d : d : d : t| d : : s : s : s : s : 1 : 1 : s : s' s d : d • • f. : • • $d : (d, : s :d' :r' d' : - .t : t 1 : s :f ' PI s : df : - .d' Come to n : n our : n for f est home, :-.f :f hap - py t, : r and : ti bright, d : — t List d : to d our : - .d s : s : s S : ~ .s : s s : s : s s • n PI : n , We'll tell your d :d :d for - S tunes young : - .s : s maid - en Si : t| quite : S, true, d • And d : pro d - mise :d \ \ ADDITIONAL EXERCISES. PART II. ^G3 r' : d' : 1 s : 1 : - .t d' i : d : r n . - .r :d sweet 1| songs ' h they'll : li make d : your hearts d : - .r lig'tit. d We i,n, live : S| so : si mer S| - ry, so : - .f,: n, I 1 t • PI f d • rl < ti . f, . ii u :-.t, : d al - f so • •'■I fond • •••1 lov - Si • ers for you. d We f.d. live : so : s-i mer d - ry, so : - .S|: d s, : d : n r : ft li : r : f 1 : - .s : f If : t, hap - Pll py : si and : n, free, f, : ....^^ ^ * , 1, • Dan • f| - cing :f, and :1. sing - iug be - : - .81^: 1, neath the :fi oak :fi d :d :d li : • r :li : r f : - .n : r r ; , r . r hap - d, py : n, and :d, free, fi : • Dan ■ f| - cins" and :fi sing f| - ing be - :-.f,:fi neath ri : the oak : si Solo C. or B. n\ \ l\ : t\ Taste of our Come, where the d Gip song sy fare, - thrush and ns whole lin - : U -some net : d and holds h , : plain, sway. — « d I — I 1] . i| . 1, : 1| : li :t, Hi d : — ; , Hi : Hi d :d : Hi Id : d : Hi :d ; Hi :d r :f( : r d, 1, : • • 1 1 1| it : r : VI / : - M : r n : d : U h : vi\ vis h : t, And if Come where. you tney like war it then - ble their pray wpI 1 W L/XX come tun - a - ed gain. With Oh rich foam with -ing a :t, : t, tj : r : d : t, :1. :1( 1, :li :f| :f, fi : li :li : sei : n, : n, : nj : r : r r : f : n : r :d :d d : d ri • • > ri : • : ni 1 1 • • d VI : - ,r \ cl :/i /l : t\ : r / : : r ale light in large - some heart, bum cheer - pers of - ful and horn, We'll We'll toast bing. our feast, brown and beau rlM n pp - ties till tni the :1| li : 1, : t, : t, tl : r : n, : n, Hi : Plj :fi :f, f. :f( f| : tl :d : :d d :d : r • r r : r r ; :f h : 1( : • r/ : • • r< : r, : SL Co, fNew.) 254 / ADDITIONAL EXERCISES. PART II. VI ; d • mm, t 7 • % dawn's tbe bright mom. Close the day. ff : d :ti 1| Sj : d : r n : - .r We live so mer :li : set li Hi : S| : Si Si ■-1 \ til = lr n d > — > J : — 3 d :d • ti . LI d ' - t. We live so mer - ry Hi : Hi """" , " " di : n, : si d : - .s, r • — • i( . r . I 1 :- .s :f f : 1 free, Dan - cinff and sing ing be - neath the '- • • f| ;fi :Ii f| :- • s, : li ll :fi ii \ — « , • r : r f : - .n : r r : r free, Dan - cing • and sing ing be - neath the f| • :fi :fi .f. : r, s :f • . ,in.. • X t I 1 r : 1 : s .f n Gai - ly, hap - jol - ly and free, 1| : li • S| : si J ti : t, : t, d d :d • d : d \ s : B : s s Gai - ■ ly. hap - py? jol - ly and free, :f, • S| : si \ s, :f : n .r d s :d .r n . I . I d : - s : f ours 'neath. the 1 J old oak tree. Gai - ly, d a : t| d : - :lt d : n .f c • f n : ~ d :d ours 'neath. the old oak tree. Gai - ly, .1. \ — : Si d : - fi rail. adag io. T * 1 : s.f n • =s d' : f : \ M S • „ • : d .r n : jol - ly and free, No life e - quals ours 'neath the old ti : ti : t| d : d d : d ; d d • : n|.f| s, : s : s : S s • :d d :( d :d d • : d.d d : jol - ly and free, No life e - quals ours 'neath the old si : f : n.r d « : tai li : S] : f| • :l<.l! s, : tl oak f| r oak S, n No d d No tai hap Hi hap d, d tree. Hi d tree. d life d d life 1, f hap S, d hap St s e d d e n py, d py, d : n J py and I : n, 1 d : d py and ^\ : dt / D.S. : r &U Co. (New,) oak :fi oak d ; - tree. n, : — d :- tree. d : - 1 quals d d quals U ADDIi fONAIi EXERCISES. PART ll. 255 KEY D. M. 80, twice. HARVEST HOME." Chorus from Helvellyn." G. A. Macfarreu, f s : S Id^ :- 1 : 1 \^ : t : d' |r' : t 1 : — Is Har - n : vest PI home, 1 n : — har - f : vest f home. If : har f : — — vest : f home, n — 1 — d' : d' Is : — ' d' : d' 11 : r' : d' 1 1 : s d' : — 1 — Har - d : vest d home. Id : har - d : vest d home. Id : har d : — 1 — ' vest d home, d' : — j — s : s Id' :- 1 : 1 : t : d' |r' : t d' : — Har - n : vest n home, 1 s : — har - f : vest f home, If : har f : vest f home. n — d» : d' Id' : - d' : d' Id' : r' : d' It : r' d' : s 1 s Har - d : vest d home, |n : — har - f : vest f home, |1 : har S vest s home. d : We come t : 1 Is :l.f n : s : t : d'.l 1 s : 1 .f f : — 1 n come, f : we n come, And we 1 r : f .r bring d : the n last Is : load f : of our gol - s .n 1 r ; den f .r grain. r : — Id 1 — : s .s s : s is ,: s : s .s 1 s I t t : — d' come, r : we d come, And we 1 1| : S| .S| brina: d : the d last In : load r : of our gol - n .d 1 1| : den S| ffrain. d : — 1 — A. t. sd : -.d Hi :- ores. r : -.r|t, : n - .n Id : - .d f : — Loud - ly shout. loud 1, : - ly shout, -It, : a- - .t, gain, t( : a -.t. - gain. Id : a- - .d gain. o d : — fF . // Id Loud - ly |d'f :-.f shout, r : loud Is : - Iv - .s shout, n : a- - .n ■ gain, 1 1 : a- - .1 grain. o f : — Har Loud - ly |dfi :-.f, shout, fi : loud Is, : - .Si shout, si : a- - .S| • gain. Hi : a- -.1, grain. li : — ff 1 n : - . r s : 1 n - .r s d : Har - vest home. Id : - .d d : har - vest home. Id home. Har - vest home, -.1 loud Is s : 1 : • is : s : Har - vest home, 1 : hai' - vest home. 1 Si : - .f| ni : Is, : -.fi n, : p d' We S We n - .d vest) .d \ St. Co. fNewJ, 256 ADDITIONAL EXERCISES. PART II. • Id : - .r n — 1 1 • tm m r — 1 • 1 * - .d d : Load Id : - ly - .d shout, d : ! • _ • har t, : 1 — • 1 • vest - .d shout, » 1 n : - .f s ; t • . . . mm f : - .PI • • Loud 11. : - ly -.1, shout, si : — 1- • har s, : — 1 — — , ■ 1 • vest -.d • • 1 : • • 1 dolce, :ds s : il .t : d'.r' • • 1 : • • 1 The The fields board f ; 1 III • I • f ; • s If : • s • n : • s In • : s • r ; • s • |r : • S fields board t, : once will S| more groan it, : have with S| DOUU - Eng - d : teous been, O'er lish cheer. In Si |d : S, them hon - r : the our s, wa - of r : vy the S| s : jr : 1 s In • • s : |1 .t : d'.r' boun Eng r : m 1- : teous lish f been, cheer, n : Id « « O'er Hon f : - them 'ring If : the the f • f : m S If : • s • n • s In • : s • r • s • 1 1" • s fields once board will t| : S| more groan It, : have with S| boun - Eng - d : teous been. O'er lish cheer. In Si 1 d : S| them hon - r : the our S| wa - of 1 ^ : vy the s : -— : 1 f. s : G. K, : f cres. n : |t| : f n : — 1 d :1 \ wealth clin r : — was ing : f seen, year, n : — Ids, But Which : t, now thus t| : they has It, : are en - r robb'd of rich'd us d Hi their with, : d / • • f : s If • : s • • n : s V K, • : r • r • n • 1 r : ■ n • • • d : n jd : n I them the hon - our t| : Si wa of - vy the : si wealth was fall - ing d : s, seen, But year. Which jdsi : r. now thus se, : they've lost has shed Hi I SGi : their its n, am - pie store, they've! gold - en store,, has / 1, :n, |1, :n, / d :- 1 home. d I n : home. t. D. d The n :d' once more will groan : n : s n n wealth was seen, fall - ing year, d : S| Id : 1 \ have with n 9 s The The S| / n' : f'.n'jr'.di; t .1 wa bravo n : s In vy de - n s wealth was seen. O'er fall - ing year, In Id : Si St, Co. (New.) ADDITIONAL EXERCISES. ^PART II 257 c • 1 y • 1 c • d • < u o • 1 * 1 n * am gold - pie en store, store. Shout once more, 1 1 • shout r : 1 . • f PI 1 n : -.d S 1 PI : • f : • s • if : • s PI : I * • 1 1 n : - .d s : — 1— : lost shed ti : their its S| am - ffold - O Iti : pie en S| store, store. d : — 1 : Loud - ly 1 : shout. t : D. t. j . piu cres. s : — f more, Irl : — 1 — ; — once s : — sd' : t : - .s f : s : — 1— : loud - ly shout, loud - ly shout. once 1— : |l,r : - .S| s : 1 ^ s : — poeo rit. s : — 1 S — s : — 1 s : ff a temjjo. s : S 1 : 1 IJ^ : more, s : shout s : / once s : — more, 1 s Har - n : vest PI home, U :- har - vest f : f home, If : s : s s 1 d' : d' , a . — u • U' i rll more, s : shout s : once s : more, 1 S • Har - d : vest d home, 1 m har - vest I . I home, 1 1 t : d' 1 r' : t 1 : — 1 s : s : s Id' : - r' : r' In' : har vest nome, Har - vest nome, ndi - vest nome, f : f n : — 1 — • n : n In :- 1 : 1 1 se : r' : d' 1 t : r' d' : 1 • d' : d' » Q' : — i : 1 It : har s : - vest s home, d' : • Har - d' : vest d' home. har - vest f : f home, 1 PI : fl : t - .d' d' ; har Mi vest home. 1 ; s : - .s s : 1 , _____ r' : fl : n' : har vest home. r s : -.d d : : - .d Co. (New J. 258 Words for tliis work by George Bennett. KEY C. Alia Marcia, ADDITIONAL EXERCISES. PAKT II. AWAY TO THE FOREST. / •> • • .n' n" : d' •% S : d' .s s : r' .s s : - .s l.A- way to the for - est, fair Na - ture in -vites, With .S S : s n : n .n f :f .f n : - .n .d' d' :d' .d' d' : d' .d' d' .,t : 1 .t d' : - .d' S.We'll sit on a moss - bank and spread out our fare, The .d d : n .f S : s .s S : s .s Id : - .d d' .1 fra - grance and s : s .f d' :d'.d' lov'd d poco rit. and the S Music by Franz Abt. : d'.n bean - tyand^ n d' lov n .f Id n .n d'.d' ing our d .1, fe .,s :1 .r' s : .s s : s .s S syl - van de - lights ; The sun in its splen( r : r .fe s : .S t, .,d : r .n n .f d' : d' .d' t • S s : s .s s dain - ties shall share ; We'll troll the gay car r .,n : fe.r s : .S S| .Jl : t, .d de.r a tempo. > n' : n' .n' n' : 1 .r' di^ : 1 .s s glad • ■ ly we'll has - ten from Cl ty and town, S : s .s s : f .f . f : f .f n d' 1 : 1 .1 S .,1"' : di .t d' cares and our trou - bles for ONE day for- get, d :d .d de : r .r S : S .S d f ci 1 r' ONE r r' la! t s' la! S 1 ty f .t and .f r' .r' day for- r .S| / .s And .s .s Our .S town. n d' get. d / .d,ri Trala .d,n Trala .d,n s la s la S .fe,l : s la la la .fe,l : s la la la .fe,l : s rit. /: .n' la .d' la .d' la .S t| .S s .s ol or S| .S - .n And - .d ~ .n Our - .d I' la! t la! S> la! S {. :- t .,d : r' ,pi' lov - ing-ly down, S : s .s s : - s ,,1 : t .d> r' : - tune - f ul quar -tet. S : s .s s : - / And .S .r' Our) f .,s : 1 .t glad - ly we'll r .,n : f .f " 1 s and our f .r f .,s cares r .,P1 d' ide': r' .n' has - s .ta s .n' trou n .s ^ a tempo. , d> : d' glad n d' cares d f .d' we'll .S d' .d' and our r .n d' has 1 d' trou 1 .r' ten from f .f d' .r' bles for f .r .d,n Trala .d,n Trala .d,n 1 .t s la S la ci n di ONE S ty f and .f S .S day for S .S{ .fe>l : s la la la .f e,l : S la la la .fe,l : s d' town. n s ten from : 1 .1 : r' .de' bles for : f .PI rit. la .d' la .d' la .S get. d &t, Co. (New.) ADDITIONAL EXERCISES. PART II. 259 / • • . . • 1 :d' .1 s :d' .s s : r' .s S : - .s n' : d'.l 2. We'll hie through the for est with laugh - ter and shout, Its glades and its S : s .f n : n .n f : f .f n : - .n S ; s .f l.d' d' : d' .d' d' ; d' .d' d' .,t : 1 .t d' : - .d' d' : d'.d" 4.A- way to the for - est, a - way and a - way, Our hoi - i - day . .d d : n .f S : s .s s : S .S d : - .d d : n .f s clois - n d' bright d : d'.n ters we'll i : n .n : d'.d' - ens a : d .1. fe .,s : 1 .r' s P : .s s : s .s s wan - dera - r : r .fe bout ; S While : .s gold - beams are t| .,d : r .n glint n .f d' : d^ .d' t : .s s : s .s s red - let-ter r .,n : fe.r day !" s This : .s life S, .,1| has not : t| .d man de.r a tempo. n' ; n' .n' > n' : 1 .r' d^^ : 1 .s s roam 'neath the s : s .s sha - S dows of :f .f lin - f den and : f .f larch, n d' : t .ta 1 : 1 .1 : d' .t di souls that are d : d .d grate de - ful, and : r .r hearts S that are : s .s true, d / f arch, S few, s We'll, .s .r' With^ .s rit. f. - ,n We'll - .d - .n With - .d f .,s : 1 .1 roam 'neath the r ..n : f .f f s . 1 . s souls that are r .,n : f .r d' .de' sha - s .ta s .n' grate n .s /0\ : r' .n' dows of ] : 1 .1 : r' ,de' • ful, and : f .n rit. f» :1 .t d' : t • .n' r' • • .n' lin - den and larch. la la! la 1 :f .f n .d,n s .fe,l : s .d' t : .d,n s .fe,l : s .d' Trala la la la la la la! Trala la la la la la r' : r' .r' d' : .d,n s .fe,l : S .d' s' : .d,n S .fe,l : S .d' hearts that are true. Tra la la la la la la la! Trala la la la la la r : r .S| d : .d,n S .fe,l : s .S S : .d,n S .fe,l : s .s a tempo. f > r' • • .S d' la! We'll roam t .S n s' .S d' la! With souls S • • .s d d' .d' 'neath the f .s d' .d' that are r .n d' sha 1 grate f 1 .r' dows of f .f ful f .r' and .r s : 1 .t d' « lin - den and larch . n :f .f n • • d' : s .s s • « hearts that are true. s : s .S| d • • St. Co. (NewJ 260 ADDITIO^J'AI. EXERCISES. PART II. KEY B[7. SUNSHINE AFTER HAIN. Firmhj and in moderate time. (Copyright.) Henry Lahee, 'in f .Si d .Si .* pi .r.d l.I left my love in .PI, S| .Hi : S| .f( 2.1 left my love in .d d .d : d .t( 3.1 sought my love in A Hi .d, : Sj .8, Hi Eng - d .t,,I| : S| .s, land, In : S| .f| ' land, And I Si <1 1. 1 1 Eng 1, .s„fi: Hi .ri n .d pov-er Pli .f( s .f,n ty and Si .li sailed the stormy d .d : d .d land, And brouo-ht her o'er the d| .I'l : n, .f| F. t. r s .s pain/riie sea, sea ; s,d d' tears - .d To - .s A - .n / .t,l : s .1 hung hea- vy f .f :f .f earn niy bread by f .,n : r .tt hap - py man,a r ./i : t, .Si r .t| : S| .Si all I had, Ee- morn till night, And f , : - .n„r half strove large, d .t|)l I ! t of from my .8 wants are small, I cen - do. f .r,n : f .r,n kept my cour-age fi .S| : 1| .la, made the lit - tie f( .f : f .n proud,yet grate-ful I'l .r : r .d St., Co. (New J i .s,f : n .s in my eyes,But f .n,r : d .tai dai- ly toil, A.11 d .r : n .d hap-py wife. To 1( .t( : d .Hi li .1| : 1| .t|,o s . f ,n : n . r hers came down like li .r ,d : t| .t| f. Bt?. d .1 : s . f bless my home and £| • T) ^ S I « S I rain. ds( .S| P .S| I 2.1 S( hon-est man and free.^'I wrousrht gave t, ^My farm me. d Si .S| - .t! Mv s, 1( .1| : li .ti,d\ gave her half of wrouglit & strove from -— : fci press' dtberis - ing sav'd my lit - tie dei : d| all I morn till wants are s : - .fe bid (my care) de- sigh, store ; d, had, J night, [ small, ) f part ; : - .S( Eor, • ^2 .S| And :- .f And : -- .l|,t| n .n : n ,r,d thinking of the f high. S| more. r heart. t| : s .,f "0! fare- : S| .,S| Oh ! at • t( .,t| Oh! the • S, .,S| n,f .r ,n : d .r said," if d .fei well," I S| .t, length I bought the field I plo d .f : n .r children smil-ing d .S| : 1| .ri S| .sei : 1| .Hi ev -'ry sum-mer n .r : d .tj sit be - neath my d .t| : 1| .sei t„d .li,t| : Si .l|,ti d .d farm is d .d days to ri| .ri( her and is . d .d large,my cres - d .r,n\ come, I sea - sons pass,And S| .fei : S| .S| ughedjThe r .d : ti .r round the board, Ne'er gave me wealth, And/ d ,tai : 1| .S| own oak tree, With li .S| : fj .Hi d .d :f,-s .n-f > sun- shine fol -lovvsj S| .St :S| .S| sun- shine fol-lowed] d .n :r .d ask for broad in Hi .n :tj .d ADDITIONAL EXERCISES. PART II. 261 ff: . n .r rain, ram ; d .t| vain ; And S| The d .,r "The ' li n,f . r,n : d . r morning dawns on S| .t| : d .fCi day has da^vn'dup d ,S| : 1| .ri tijd • l|«t| t S| . S| darkest night, You'll S| .fCi : S- .Si morning dawn' don that dark night, And n .f : n .r r .d : t| .t( -on the night,The Si .ri : Si .f| s . f ,n : n . r,d see me back a - ^' -^i -(s, .f, I went back a - d .d :d .t, sun has fol-lowed n< .d| : S| .S| gam. nil gain. d rain. d. Words by ■ Coleridge. IF I HAD BUT TWO LITTLE WINGS. (Copyright.) cres. Music by Henry Smart. : s s : - .s 1 n : s d' : - .n 1 n : n n : -.n| d : n 1 : If I had but two lit tie wings, And were a lit - tie feath : n n : - .n 1 d : n n : - .d 1 d : d d ; -.d|l, :d d : : s s : - .s 1 s : s 1 1 : : 1 r : If I had but two lit tie wings, And wore a lit - tie feath : d d : - .d 1 d : d 1. li : -.liU. : si fei : -.r I r : r . 'ry bird, To -.did : d -.111 : 1 ■ 'ry bird. To you I'd t| : t| you I'd f : r 1 fly, If fly, |ti - .s Id' you, n - .t to - .r se To n 1 you d 1 you li n I'd n d' I'd li fly, r Ife fly, -.1 1 : — Is my dear. It, -.d d : — -.fe fe : — s my dear. Is, - .r r : — p : si But t But r s But : f thoughts like these are SU Co. (New.) r' :-.d'|d' :n thoughts like these, but s : - .s I s : d t :-.d'|d' :s thoughts like these, but f i - .n i n : - die things, - .d' ores. s : d' |n' thoughts like these are n : s I s : s id' :-.s are n I d : n like these are d' thoughts like these > dim. t :-.l|l :s i die things,and d :-.d|d :d s :-.f|f :s • 1 die things,and f :-.f|f :n i dlethings,and 262 ADDITIONAL EXIJRCISES. PART II, s 1 jy |f : — n : 1 : I poeo ritard, n : — 1 — : r 1 d : 1 P s I r stay :- |r :- here, d : r Id and : r I d : — 1 ti : stay here, d : — 1 — But PI I stay here, and I, and I stay here, 1 :- It :- s : se ! 1 s : — 1- : s : — 1 — s I stay here, and I stay i\s : l^s, : here, But r : — 1 S| : — d : Hi I 1| :fi Si : S( Si 1 1 • d : - \-\ 1 * d I stay here, and I stay here, And ores. I stay here, > s : - .s 1 PI : s d' : - .PI 1 n : n n : - .n Id : PI 1 : - .r 1 r : r • m n my sleep to : - . n 1 d : n you PI : I d fly ; - .d|d Im : d al - ways with you d : - .d 1 1| : d in d : my sleep ! The -.d|d :d s : - .s 1 s : s 1 : -.111 : 1 1 |n : 1 r : -.111 : 1 in d my sleep to : - .d 1 d : d you li : I'd fly; 1| I'm :1. al - ways with you S| in fei : my sleep! The - .f e| f e : f e f :n jdi :-.t own. The world, the r s :d n own, d : - .r : se The : n 1 : n world is d : n 1 : d' world is li :li t all r fe all r : - .1 one's : - .d : - .fe one's : - .r 1 : - Is • • own. d : - It, • * fe :- s • • own. p r : — Is, But : t But : r : s t| :r If then one wakes, and St. Co, fNewJ then s : t : then f : where .d'jd' :n one wakes, but .S I S : d .d'ld' :s one wakesjbut .n I PI : — ami? cres. s : d' then one n : s n' :-.d' wakes, And s ; - .s d' :s Id' :-.d' then one wakes. And ■— : n I d : n One wakes, And t : where s : d' : where f : where .111 am I ? .f If .d'ld' ami ? .f If ami? S All, d s All, PI All A.DDITIONAL EXERCISES. PART II 263 poco ritard. t dim. S : f n : — 1- : f PI : - 1 : r d :- 1- aU r : — |r a - lone, ci : r 1 A 1 d All, : r all A • j 4. tl a - • lone, a : — 1 — 1 :- It s : all, se all 11 a - : 1 lone, s : a : s lone. s : — 1 — all r a : — 1 St • lone, d ; all, n, all Hi a - lone, ^Si : (S| : all, Si 1 - 1 all S a - : f : S| lone. n : — i — d 1- all a lone, all. all a - lone, a - lone. Bt7. t. ml, Sleep S|d, ml, Sleep! / > li : Sl Is, .d > d stays not though. a mon ri : n, Is, : - .8, f( ti : d Id :- .S, S| stays not though a mon fi : ni In, : - ri : - .d I n n though my sleep be d : - .S|| d : t. s : - .n I s : f though my sleep be S| I • S I s, : sj .t|| ti : 1|.S| arch bids; Sol .f||fl :f,.f, .S|| s, : Ij.tj arch bids; Sol .III r, : Tl .I"! f : n while 'tis di : t while 'tis 1 : s while 'tis : 1 vet I r : de dark one U : s dark one |f : n dark one d gone, d n gone, 1. For d For I- :t. For I d : se, though my n : r though my In, : — For P s :-.f|f : while 'tis dark, - .r r one's lids, yet -.llr r shuts 1 shuts shuts one's lids, one .d cres. n love PI, d love d, 1| : 1| I d .t| : li.t - .r 1 d : t| r : d Is : f to wake -.f.Ui : e'er se. break of ti : ii day; Hi For : li - .t|| n : n n : n In : r to wake -.r,|n, : e'er n. break of 1| :1| day; 'fl For :fi though my sleep li :fi Ifi sleep |r sleep Is, though my sleep sleep, my d : r sleep, my f, : r. be fl be r be S| be f. E17. d s : — gone, '^iti : - gone, d s : — gone, ^ Si : r Is yet t yet gone, yet while one's lids, d It, : li — :r' Id' : t 1 : - .s , s : -.11 'tis dark one shuts one's lids. And d : t, 111 : S| r - .n 1 n : d while 'tis dark one shuts one's lids, And r : f |r' : r> t : -.d'jd' : S i while 'tis dark one shuts one's lids, And s, : — If f : - .PI 1 PI : n shuts, one shuts one's lids, And 8U Co. (New.) 264 ADDITIOI^AL EXERCISES. PART II. 1 If r s : — n • — still dreams on, r : — |r : — a : r stiil dreams on, and 1 : - It :- S : se still dreams on, and r : — lS( : — d : Hi still dreams on, and Id still, f And r and 1 still ill ,:f. still dreams poco ritard. n still d still S dreams on. : si and : r dreams It, : dreams :f still dreams on. d on. s on. PI d on. Words by Geo. JBemieti, KEY D, Sostemito con espressione. Solo — Contralto. AI^GEL OF HOPE. (Arranged for mixed voices Dy Alfred Stone.) 9 n : Hm, &c. d Hm, &c. d 1 . As sweet to 2. Blest ang-el. wea darlc I- r .VI ry hearts . as were life with- slum out ber, thee, t| S Si Music by G. Reicharclt. I .r : r .r \ And brooding To prince & I m gent pea cres, n :d \l sant d : — Hm, &c. s : — d : n as thou |r II If r the art fe dove, dear, t( S s - I ,s : s ,s When earth' slow- Nor age nor - I : t J ] s ,f : m >r press - mg youth can f ti S Si cares en ev - er I- r .d : d \ cum - ber, doubt thee, « PI d : ~ s : — d : - Co, (New.J ADDITIONAL EXERCISES.— PART II. 265 Bright Hope comes Thy radiant I- :- ^1 r mis pres cres. r t, :- Hm, &c. s ; - r Bion'd from - ence all |fe d II - I I ,s : s ,s Where gloom'd the Sweet Seraph, d^ cloud, who, P a glo whonE - II den's I — i de» : — brightens, Where sorrow por - tals Shut in those 1 f : ~ Hm, &c. r' : — r : — ta.l : I light- ens, mor - tals, f d Hm, d' &c. t .1 : 1 light - ens, n : n d' : d' mor - tals, 1 : 1 6'^. Co. (New.J And aimless Andha-lo re 1 fe .d': t .1 And aimless .1 : s .f .d': d'.d' And ha-lo .f :f .f : - ,r\ s : wept, scenes there glad ■ so fair • ness and f : ri : s - 1- : d^ s * 7'i,d\s\ : PI .r doubt earth no more be- with heav'n's de- n : ~ If : d : -It. : s : s : — |si : s : - .s 1 s : ~ .f doubt no more be- n : ~.nlr - .r d' : -.d'lt ; -.t earth with heav'n's own s : - .3 1 s : - .s PI : — I >s\: s\.S{ smiles ; While trusting bright. Still deign'd to S PI d' d d guiles light n d ten. I d .r : PI .r I d ,pi : s Ja\ faith the spi - rit so - lace fal - len S n d' d I- I \ f QuicJcer. — 1 .s : s .s S8 : - .sej se : - .se 1, While trusting — 1 .n : n .n • faith n the spi -.n In rit : - ji j - 1 .d':d'.d' ri : :-.r' 2.Still deign'd to — 1 .d':d'.d' so t : lace fal -.t 1 t - len : -.t n : • guiles, r t : - Hght, se : • 1 .n : n .n And aimless I .d:d.d I .1:1.1 And ha-lo I .1:1.1 1 doubt no more d : f .nir : di :-.d'|t :-.t earth with heav'n's own) f : - .f I s : - .8 266 ADDITIONAL EXERCISES. PART II. n : guiles. d : d' : light. d : 8 : t J Lin f us, r s us, BtiU r : - d« :_t stiU si : - s ,f \ m .r ger, still : ii near Coj>A S An n s An d tempo prima. d us. n lin d d' lin d in : n gel of Id :d Is : s gel of Id :d An P f : Hope t( : s : Hope d : moUo espress. : \t\ : ^, gel of - If I- II d : 1 — : — lin - - - cres, — ==:mir * ^ 1 • 1 m : — 1 f : f e s Tie 1 1 lin - - d : — 1 r : re ri :- I f di :-!-:- lin d :~ 1- : — ^ - :- 1- - :'- ff — I— \t J ger, u • Hope, n : s 1 n lin ger d : n Id s : 1 s lin ger d : Id n : — If :~ PI : — 1 — : — ger near us. d : — Id :- d 1- :~ s : — 11 :- s : — 1 — : — ger near us. d : — Id : - d :- 1- :— I : s lin - ger, PP s : — ger, n : — d' s : — d^ I : n s n€;ar/ id : s near, :d : m \ still P KEY G. M. 88. .(n) n : 1. The Spring, .(si) s, : .(d) d : 2. Come .(d) d : St. Co. THE SPRING. THE PLEASANT SPRING. - .f I s ,n - : r ,d>- the plea - sant - .S| |S| : S| : n thy :d .r |n with all .d Id ll :d Spring is f :f sweet d est :d blown, In smiles, Id n Let S| n With d M. Spofforth. : r .d us S| f .n thy r .n ADDITIONAL EXEECISE8. PART II. 267 j ti .r leave Is, |r gra If .d the • s, ces, s ,f .- smo S| r with t( : 1 ,n - : s, :d thy :d in town, |si : - Id : t, wiles, n Frpm d Come d D. t. .n I r s the mall .S| I S|d .d |rs and we .d |t,n cres. .d» and .n •s wiir .n / t .d' :r' .t Id' .t :d' .r' n',f'.- : r',t "d' .1 s,f : n .,r from the ring, Ev' - ry one has ta ken S : s Is • , , S : s Is .f n,r - : d .,t| S : s Is * - - -- s : s Is :- .d' d',r'.- : s mer ry he, Who shall be so blest as r .n :f .r In .f : n .r d,ti.- : r ,f In :- .f S : s, In : n .,1 s ; 1 .,t Id' : - .r' n',f'.- : r',t Id' : s wing. Id Ev' - ry : n one, d ev' - :f ry one .,f Is has :- .1 ta S ken : s wing, Is has : s Is • s <,s s :d' ..r'ld' .1 d',r».- : t .r' - In' :d' we. Id Who shall : d .,r he, n who : f shall be .,r In so \- .f blest s as : s we, |di so : n Much slower. 1 : f |r' : t • s r .r |r .r : — ta ken wing. Clo-e, Strephon, f • If • n 1- • t^ti.ti • Ui.r I'- d' : 1 It : s S :~ 1- * m • d's .S • ll ,1 blest as we? Clo-e, Strephon, f • 1 ... • Is • d • d's .S • If .f( :- : - .did n : n If • d :- .d / r : r In : — Co - ry don, All are fled and ail are gone ; r : de |r t ' d .d Id : - .d d : t, Id : - 1 : 1 11 • ,,, 1 .1 Is : - .s s : s Is :- Co - don, AU are fled and aU are gone ; Ini :li • - . - f :- .f In : - .ni ri : si Id :- 8t. Co, {New.) 268 ADDITIONAL EXERCISES. PART II. Original time. f,n.- :f,s.- 11 :- .f n,r.- : n,f Is ; — 1// r : - .de 1 r .f d • :d left's Id not : - .d worth d your : li stay, 1 Si Come, 1, Au-re :- .1, 11, u • u 1 d : - .a a . A : a 1 A \ d r : - .n 1 r What is . 1 . • il left's 1 1 1 1| not : - .1, worth S| vour : f 1 stay. Come, 1| Au-re : - .S| 1 tj f .n : r .d 1 ^\ • c c • o • o c : 1 come, 1| come a- : li .1, way, It, come a- way, : t| .t| Id come a- way, : r .r | n r .de : r .r 1 r come a : r .r - way. Id • come a - way, : t| .t, Id " come, ri .Hi come a- . i| .lei way, 1 S| • come a : f. .fi - way, h, * come a - way, : r, .ri |d, " S : - .n If : n f : s .s 11 • ,,.,n_j, • 10 l,s.-- : f,PL-- j r Come, A Au- . A : - .a • re Id lia, : d come, d come a- :d .d way, Id « What li is left's :li It, n : - .s 1 : s f : PI .n If • f : f Is Come a Au ; - .tai - re 11. lia, * tdi| come. come a- : S| .Si ■ way, u. • What f is left's :f If s f - • m V - Id • f .n : f .r 1 n :f n : r .n If worth your • f, stay, 1 A 1 ^ • • Come, L| .u come, Au-re - : t| .r |d lia, . r come, Q come a - way. S : s 1 s S : s .s 1 s : 1 S : s .s 1 f wortli f your :f stay, 1 n • Come, r .d come, Au-re - : r .t| 1 d lia, :fi come, S| come a - way, : S| .Si 1 1| { .1 X. • X : s .f |n .f • C f . S .1 n 1 3: . . r • c 1 I c f . s • 1 j s . I Come, d come, An -re - : r . r | n . r lia, : Cl .1 Come, A U come It, a- way, a m V • A ASA f ; r .r : s .1 S 1 s : - .s s Come a- way, : ^ .f 1 S Come, come, x\u-re - : tj .t, 1 d .r lia, : n .f Come, S como 1 S( a- : - .si way, d .r : n .f 1 n .r 1 .s lia, 1. de lia, -• .r ■ ^ not .t, .S not .f : d .r come a; : s .s St. Co. {New.) ADDITIONAL EXERCISES PART II, 269 P n .f : s .1 I s .f : n .r d : d .d I d : d .r way, come a - way, come a- s : s .f I s : s .s d .r : n .f |n .r : d .t| n d" way, S ores. (S Come, - .S| Au- n : - .n Come, Au- re n re i( lia. f lia, p |f£.- come Hi P come : d,t<.~ a - : si a - : s, r : d 1 s : - -Si S| :li 1- :- f :r Id : t{ d 1- way, Come, S| 1 : Au- re - lia, : 1 come li :- 1 a S| • way. S| 1— f : n t : 1 : r :f 1 n ; r n : — j — : - . way, d : — 1 n : - .r; n :f 1- come fi :- 1 a S| m • way. d, : — 1 — : - . Come, Au- re - lia, Words by John Oxenford. AT rmST THE MOUNTAIN (Part-song from " Jessy Lea.") RILL. Music by A. Macftt'/ren^ KEY D. P Andante, (T. S. Copyright.) • • .,8 s .,s : d' .t : 1 .s s : f .f : s .1 1 : r : s .f f : n * • At first the mountain rill is weak, And from its pris - on scarce can break ; • • .,n n .,n : s .f : n .n n : r .r : r .r ti : t, : r .r r : d • • • .,s s .,s : n' .r' : d' .t 1 : .r : n .f f : f : s .s s : : s At first the mountain rill is weak. And from its pris - on scarce can break ; Then • • .,d d .,d : d .d : d .d r : .r : r .r S| : si d : • • A. t. r S|.Sj : n .d : t| .r Then each pebble in its ^ S|.si : S| .S| : S| .S| s d : - .d : f .t< peb - ble in its tiHi.n, : d| .Hi : ii .f i Then each pebble in its SL Co. {Nm.) ores. y dim. d .,n : s : - .s s : - ,f : n .r r : n way Seems e - nough its course to stay. S| : S| :d ii Ij : t| t, :d d : d : n r .,r : r : f f : n way Seems e - nough its course to stay. P Hi .,d, : Hi :d, ri .,ri: r, : si d, :d way Seems e - nough its course to stay. .,d : d .d ^ 270 pf.T>, sr'.,d': t .1 : s .f Spreading as it glides a- .,1 : s .f : n .r ABDITIONAL EXERCISES. ^PART II. S a 1 .n' cres. ds : — glides S • f 6 • S And its path is broad and r ,,r : r .r : de.de ta : — : 1 . 1 strong; And its S (^SIS tS ^s>s And its path is broad and n : : V .,n': r' .d' : t .1 e * * long, Soon it is a torrent strona: : d : : r' .,d': t .1 • • • y dim. s' .,f': n' .r' : d' .t Nothing can restrain its S «,S . S • " strain its course ; PI : : way; d : : d' : : way; 1 .,s : f .PI : r .d Nothing can re-strain itsJ 172 ADDITIONAL EXERCISES. PART II. s .,s : fe .s : i .n- Nothing can re- strain its r .,r : r .r : de.de s .,s : s .s : s .s Nothing can re- strain its tai : — : 1| .Ij f dim. course, can re- s' .f ' : se .1 : pi' .r' course, r : : r' course, r .,r : f Love thro' : f .f : 1 .1 Love thro' : r .r strain its course, Love thro' 7^ cres. r' * et A] » ^ rll ! s .a . t .u' ml all will find a way. PI • » N • 1 1 • 1 1 c d' : - .d' :~ .d' r all, Love thro' all s : - .1 : 1 .1 t all will find a ^ way. ,r': s .r? :t .,1 will find ft 1 way. P .r : n .f Thus love, thus .t( : d .r s .f : n .r Thus love,thus s .,s love is d' .t oft so s .f d .,d : n .r love is oft so : 1 .s weak at : n .PI p > «,s Thus : d .t| weak at s :f first ; n : f d' .t : 1 .s love ii is .d weak at :f .n first, so weak at eres. .,1 : r' .d' : t .1 But soon it will its .,t .1. .S af af first, Buti r .,r : f .n : r .d , firstjBut soon it will its , \ .jS • S • pow'r reveal, i .jS • s • r' : - .d' : t .1 soon re - veals its ti .,tt; tt .r ; s .f pow'r re-veal, its mf .,d':f> .n' :ri.di so mighty,Nothing .,d : d* .t : 1 .s s : .,d':f'.n' pow'r, so mighty, n .,n : 1 .s : f .,r pow'r so mighty. Nothing t .1 : s .f : f .PI can re - strain its course, f .f : n .r : r .d r' .t : d' .r' : s Nothing can re - strain, s .S| : 1| .t| : d can re - strain its course, s .,f : t Love thro' all, n .,f : f ta .,1 : r' Love thro' all, de .,r : f Love thro* all. : 1 t .,1 :n' :r' fi .,n': s' .Pi' :di .1 s .1 : t : n' .r' d< : love thro' all, f .,f : 1 : - r» .,r»:f' : — love thro* all, f .,f : r : - love thro' s ,,s : d' : s .n all will find a way. f .f :f .f n will find a way. t .d' :r« : t .t d» : — Love thro' all d' .,d': n' .d' : n' .d" love thro' all S .fS • S • will find a way. - .s : s : S| .Si d : — SU Co, (New.) Words by J. S. C. KEY F. mf : d .r ADDITIONAL* EXERCISES. ^PART II. O THE JOY or SPRING. 1. O tlie : d .d i2.N'ow the : n .f n .S| : n : r .d joy of Spring, Let ns d .S| : d : t|.d primrose pale Greets the s .n : s : s .s 3 Then com -panions, ho! To the : d .d Id .d : d : r .n r .1, gaily daf-fo f .f li dil, f :f .1 Vliile tl : li .r sing, "While the fields we go, f . f I f\ And the : r .f And in : fl .fl s .r : s .1 : r .f sunshine on the mead is t| . t| • t| . 1 1 I 1 1 • t| vio-let - Bcented air is f .f : f .r : s .s harmo - ny be - guile the S| .S| : Si .S| : Sj .S| n bright d sweet, S hours, d 273 Slyrian Air, — : d .r While the J — : d .t( Birds in — : S .S Now in — : n .r : r .d lambkins play, And the d . Si : d : t| .d ev-'ry tree Make a s .n : s : f .n softest trill ; Now in d .d :d :d .d C. t. eres. ^iH.s : n' earth is gay, s,d.n : s melo - dy, r s.d' : d' music shrill, Shall our / : r' .di And all : s .s Singing : fi .n' J" s.s : s s .s na-ture keeps a hoi - i- s .s * Xi .d^ •!} .,s welcome to the sun- ny r' .n' : f ' .n' : r' .,f' song the j oy-f ul wel-kin S.is (S.S .S .fS f. F. P d's .se ^ La la 1 n .n La la f'd'.d' La la fd.d 1 .f :d' : t .1 la la la, La la f .f :f :d .d la la la, La la d' .1 : 1 : s .f la la la, La la f .f : f : f 1 .f 1 1 la d la f la d dim. .,s : n la la, .4 d la la, .,n : s la la, .,d : d s .se t .,1 : s .1 : f .r n La la la la la la la la la, d .d r .,d : t| .t, : t, .t| d La la la la la la la la la, n .n f f • f .f : r .s s La la la la la la la la la, d .d S| .,S(: S| .S| : s, .S| d / : s .se While the] : n .n Birds in/ : d' .d' Now inl : d .d molto, rit. e dim. 1 .s :f lambkins play, f .d :d ev- ry d' .ta tree, 1 softest f .f St, Co, (New) trill ; f t .,i And the f .,f Make a s .,s Now in r .,r rit. fe .s : d' ; t .1 i .,SaX .,S.f .^1 d earth is gay, And all na - turekeepsa hol-i - day. re .n : : n :f .f f .,f ', f .,f . It * S| S| mel-o - Singing wel - • come to the sun-ny May 1 .s : s :d' .d' t a^t) \ \> .,t).S .f n mu-sic shrillj Shall our song the joy - ful wel-kin fill. d .d : d .fi f, Si .,S|: S( .fSf.' S| .Si d 'I 274 ADDITIONAL EXERCISES. — PART II. KEY G. HOW LOVELY ARE THE MESSENGERS. (Chorus from '* St. Paul.") Andante con moto. M. 132, Alto. Mendelssohn. : Si How d : - : t| love - ly are ; S| the f : - : n I r : - : d mes - sen-gers that t| : d : r I si : S] : S| ^ preach us the gos-pel of' SI ' - peace ; : Si How n : r : d (r : 1| : t| preach us the gos - pel of 1| :• love d : - peace ; : t, d are : r the : d The mes S| : gos : d I r : sen - gers pel that^ P :fi of :Bas8.: S| How J Hi : - peace; d :- love :ti ly li are : S( the : s, the Ij : - : si 1 1| : - : d mes - sen - gers that f : - : n I r : - : d mes - sen - gers that preach t| : d : r Si : n us : si :f the : Si preach us the gos - pel of PI : PI : r I d : - gos - pel of peace ! si : - : - I : peace, : s, How ii love :t| Id ly are : r the mes :d Id : How love : d I r : sen - gers : f thatj PI : r preach us / S.C.T.B :d the !r gos — \ :1| - pel • Si s : - To all \ t| d : - of peace ; : Sj n : - To all : Si d, :- of peace ; / S| To / d To d all all : t, of d :- peace ! : n the : d the : s the : d the :d Id : are they : f that :d the PI : r : d | r : 1| preach us the gos - pel S( • ~ I ~" words PI : - :- |r :- : d t| : d : r 1 r : PI :f ^ na tions is gone forth the sound of their d :- :- Iti :- : d S| : 1| : t( lt| :d : r na tions is gone forth the sound of their s : - :- Is :- : s f : PI : r |r :d :t, 1 na tions is gone forth the sound of their s : ~ :- If :- : PI r : d ; t| It, :1| : S| na tions is gone forth the sound of their St Co. (New). ADDITIONAL EXERCISES.- — PART 11. 275 D. t. m • — 1 1 • 1 • 1 • 1 • - * - ' - : ~ : d' d' : - : - It : - • t iPi • Ml words, to all the na tions is d ! : : PI n : - : - 1- :- : rs words, the sound is d : n In • • - i- :- : 1 1 :- : ~ 1 se : - words, to all the na tions d 1 : : n d : - 1 - : t, : 1, n : - • - |n, : - words, to all the na tions is f : s : 1 gone forth the gone, gone. It : d' : r[ sound of their I- :- : f I / n words. d' :- love - IS is : r is t s : - words, f gone s :1 _ » n : - : s is : § t Id' forth. the n' gone forth the sound of their n : f : s 1 1 : t : d' gone forth the sound of their II are S the f mes 1 : t :di |ri :n' :f' gone forth the sound of their S .~ |f ty~ • sound n' : - words, f :~ words. sen - gers d' that S| How fi :- words, t : - words, S sound. of : - : d' their • : : f s : - : - j the I : : Si I s : - How love t : d' : r' | s : s preach us the gos-pel s : - : f I n : - love - ly are / : s d' : - How love : f n : - ly are : s s : - of peace. : r n : - the mes f theirf S How^ t ly d sen-' 1 : - : s f : - : n' |r' :- :d' Pi' : r- : d' |r' ; 1 :t are the mes - sen - gers that preach us the gos -pel of : s f : s 11 :- : f n : - : - If : - : r the mes - sen - gers that preach us. that : s d' : - : t |1 :- . J.) d' : - : - Is ; - :f' the mes - sen - gers that preach US, that f : n 1 :- : s If :- : r s : - : - « gers. the mes - sen - gers that preach d' s peace, s : f : n | f preach us the gos n' : r' : d' | r' preach us the gos S us, - :- I- :d : r - pel of : 1 : t -pel. the : s that s : ~ they n : - peace, d' : s gos -pel s :f preach us St, Co. dim. I- ta jl : - of peace, n If :d the gos-pel (New). ;f that : r that : I that : r of p 1 . G. n ; - ; - 1 n • - ■ :f n : - :- |r :- :d dsi : - peace. preach us the gos pel of r : - :- [d •- ■ :d d :- : d h :■ - :d' d» : - : - It :- : s : 1 : :ds n' :- 1- :■ - :d' s' : - : : s To all the na tions is :d Hi :• : 1 : • t tions I :f IS t :- words, f • - • - : s is : n :d r : - : - words, is si : 1, : t| [d : r : n gone forth the sound of their d' : d' : t 1 1 : s : f gone forth the sound of their d :r :n lf:s :1 n : f : s 1 1 : t : d' gone forth the sound of their n : - : - I : : 1| words, is r' : - : - words, r : - : - s ; - : - words, t| : Ij : S| gone forth the - |r : - ;d 1 - : : s s : - • !- : - : n n : - : To all the na tions is 1- : :f n : - • 1- : - :d d :- : - It, : d 1- : : s, s : - t 1- : - : s s : - : - 1 s - : s To all the na tions is 1 f in : r d : s, Id : - : n s : - : - If :- : n sound of their words to all the na tions is ti : d : r | r : n : f gone forth the sound of their ' S| : 1| : ti I tf : d : r f : n : r j r : d : t| gone forth the sound of their^ r : d : t) j t| ; 1| : s, gone forth the sound of their J St. Co, (NeioJ, ADDITIONAL EXERCISES. PART II. 277 n words, d n words, d :d :d throughout through - out :d :d throughout : d : d 1 1 : - : ~ , s : - : - I : - : all the lands h :- 1 ti : - : - d : - : all the lands f :- |r :- 1 : - : all the lands Is, :- :- 1, :- : I n : their d : their s : their Id : - : r glad - :d glad - :1 glad - :f, r : - tid d : - : - tid s : - tid S| : - Itl d :- :- 1 : : 1 : 1 • dings. d :- :- 1 : p : si d : t, 11,:- : si f : - : n j r : - : dings. :- :- 1- : How love - ly are : 1 : the mes - sen - gers :- ":f, dings. Hi : - : - 1 - : : 1 : : : 1 : : d that) P : : 1 : : 1 : : s s : How love tj : d : r | Si : si : s, : - : - 1 . : S| li : preach us the gos - pel of peace, How love • • 1 : : 1 : : n 1 : How love : : 1 : : 1 : ; :d, fi : How love - If ly t, Id are r the 1 n : - : r n : r : d ! r : 1. : t, d : - : - 1 S| d they that preach us the gos - pel of peace, :f, : they Id si : : s, si : f| : ni If, f| n, : - sen gers that preach us the gos - pel of peace, Id :- ': 1 s :'- 1 f : : f n : r : d | r ;1, : t| d thev that preach. that preach us the gos - pel of peace, \h':- S| : - : - 1 - :f, they that preach US t( mes S ly ly P I- Ui that the gos : f that] :ti that^ -pel oi ■ : r d :- : US the gos :- Hi :- ■ :li s, : - : :-|d :- :f n : " : US the gos 1- • :f( s, : - : the gos n : - preach sei'. - t, :- preach n, : - peace, SL C^^ (New J. It, pel If. !r pel S| pel d d : - : - 1 : of j)eace. Four measures n, Hi : - : - 1 : d d : - : - 1 : of peace* Si d, : - : - 1 : of peace. Sijinphony, 278 ADDITIONAL EXERCISES. PART II. ''AWAKE iEOLIAN LYRE." KEY D. M. 50. Largo e sostenuto. cres. f d' I s n :-.s(d' : — : d' t : — A XX. - wake, a - wake, UTi - u _ 1 T Q * XidLL lyre, t, d :- 1- :- - s : — :n n : n r : — n :- 1- : .d' ^ a - wake, : r n' :~ 1 : s s ; s s : — 1 — : s A - wake, a- wake, 0 - lian lyre, a - : s, d :- 1- :- :d d : d s, : — d' : n' |r' : t d' ff :d' t : wake, - 0 - lian lyre. a - wake. n : s 1 f : r n :- 1- : n r : s :di It : d' • 1 : s s : wake, ^ - 0 - lian lyre. a - wake. - :- .1- : S| d 1- : d S| : a - wake. / .1 :t.aMri :di t .d' : t .d'lt mf • • and give to rap .d : r .n 1 f - ture : n all thy trembling strings ; r .n : r .n |r : r From 1 : - .3 If : s S • S • s • s Is • • Quicker, M. 100. I- s and S :f to n .f : s ,n rap - ture, give f to rap - .n |r ture : PI .d all thy trembling strings ; > S|.d : Si.d I S| : s mS Hel-i give / .S(: l|.tii d .r : n .d and give to rap - ture, mf d' \ From s .f I n : s con's harmo - nious s Id' .,d': d'.ta From Hel-icon's har : d From f : springs 1 : 'd' -mo - nious f .,f: f .n Helicon's har-/ flf .,r:f'.n' Helicon's har : .d har It : springs, r : - .d mo - nious r' -mo S .f ■mo dim, p -.d'ls nious springs, f .PI I n .r : .t. nious springs, har : .s har t| t - .d I d .t( : d .r springs, har-monious, har / d .t| : t| .d I d .t| -mo - nious springs, s .f : f .n I n .r -mo - nious springs, n .r : r .d I S| .t A .r .s A .s, -mo nious springs, d' thou n Pi» Id' sand rills s I n thou d s I s sand rills d Id - .n - their -.d St. Co. (New). ADDITIOlSrAL EXERCISES. — PART II. 279 — : — 1 — : d'.s 1 .s : f .n |d' .f«:n'.r'|di : t J 1 d' : — 1 — a t .n ; 1 .m 1 1 . n thou - sand I .n . r .Q rills 1 1 1 i their mazy pro - gress .1 : s .f 1 n \,ic take, n . — 1 1 — • S| mazy progress take, 1 c • 1 « 1 1 • d' f|l m • -f c U 4 1 i • X • o 11 .d' :dM|s : s C • i mazy progress take, a f fl • f d 1 f • d I ,U . 1 •u 1 1 . U thou -sand d • "T n rills If their mazy pro - gress .f : d .f 1 s : Sf take, d : — - 1 The f : 1 : • t mf 1 :n'.d' t dim :-.r'|d' : t.l P rail. 1 : se |1 d .n : - .r 1 r .d : t|.d r : n If Drink Ufe and fragrance : 1 as they flow. 1 1 laugh - ing flow'rs that n :s |s round them t : d' blow. • 1 * t 1 • 1 r laugh-ing flow'rs that : 1 : round them a • blow. • rli 1 1 U' • 1 :-.t|l : r n : - .n 111 ■ 11*1 It" life and fragrance as they flow. Largo e sontmuto. / M. oO. s : - . s 1 s : — - n : f : 1 S :- Is : t 1 :t Idi :-.d Now the nch n : - . s 1 s : — stream s : f of 1 n : - .n Mu n sic : r Id : t, winds d : r In a : fe W • » 1 1 1 1 1 • n' : r' Id' :-.d' d' :t In' : r' d' : t 11 Now the rich d :-.dld : — stream d : r of 1 1^ :fe Mu s sic :- Is, : winds 1 1- a : 1 t :- 1- :- P s : — / : t d' :- It : P t : 1 1- : 1 long Deep, s, : — ma - : r jes n tic, :- |r : smooth r : — 1- and : r ri :_ I- :_ s : — : s s :- Is : s : fe 1- :fe long ; s :- 1- :- Deep, si : — 1- ma - jes d tic, Is, : smooth r : — 1- and : r Si Spiritoso. M. 152. I strong. r s strong. SI I- St, Co. (New). dolce, s Thro' n S : I : : - .1 1 s : f ver n :-.f dant : r dolce. And Ce S S ,f'| n» res* gold .lis I I r' -en f 280 ADDITIOi^AL EXERCISES.— PART II. :d» 1 cres. Now, d : - d« :d'.d'ld'.t : l.s Now rolling down the d'.t : 1 .s 1 1 .s : f .n - It now — : — I r 1 .s : f .n I r steep a - main, f .n : r .d I S( : d^ rt.tldJ head - long impet n :r.r)n d' :s.s|d' head - long impet } - U0U8 : n : s - uons d' : s Is - : - 1 1 .dl : t .1 see f it : r pour, In - .s : f .n |f : — 1 : t Id' :- -.n' :ri.di|l :f see f it : s pour. Id mm m ^ pour, t pour, P .S The - .r -.t The - .S| s rocks n rocks d - .s 1 1 : ta.s and nod - ding - .n I f ; n -.d'ld' ;ta and nod - ding -.ta,|l| : S| Id' s - .n s f .r |n X .tild dl re f 1 re roar, PI' : d .ti: d .r |n .r : n.f roar, d .ti*. d .r In .r : n.f n :-.f s .1 : s .f jn .f :n .r s .1 : s .f |n .f : n .r :~ 1- :f, n' :~ |d» • s : 1 n • d .t,: d .r jn .r : n.f d .ti: d .r ! n .r : n.f cres, d' hel n s :f bel - low ; s, ■ ^ • • : n .n r ; n .n see it :d .d' pour, t see it : d'.d' see it : n .d pour, S see it : n .d : r' : t low : r to Id the : r In to Is, r s s - 1 : r the : S( ff : t re - : s :r' re - : s D.s. d' :~ • • 1- :d' d' :- It • bel low to the s : — • 11 s : f bel low to |r' the n' : — • Ifl n' • , • bel low to the d' • If s : s d^ : d' .,t 1 d' : d^ .,t dl :- 1- roar, to the roar, to the roar. n : s .,f 1 n : s .,f n :- 1- n' : n' .,r'|n' : n' .,r' di :- 1- roar. to the roar, to the roar. d : s .,s|d* « s «,s d :- 1- SU Co. (NewJ, ADDITIONAL EXER CISES, PART 3. For style of singing see " Hints on the Tunes." Words by WHERE THE GAY DREAifliS OF CHILDHOOD ? George Bennett. (Copyright.) German Air. KEY G. Moderato. Harmonised by Kuck&n, : S| .,S| S| .,n 141 : - .1 s : r : r .,n f : i : - .s n : — 1 Where tlie gay dreams of child - hood, With the love - light of truth ? • S| „Si si .,d • d : - .d \i\ * ^1 * ^1 ')d t, : t| : - .t, d : - 2 Where the bright dreams of man^hood, That would seem not like dreams, : n .,n n .,s : s : - .f r ; s : f .,n r : f : .r n : — 3. Let us live for the re - al, There's no truth in our dreams, : d .,d d : d : - a, Sj I S| I S 1 ,,S 1 S| : : - .S| d :- The df But sd' Theyl mf s : 1 : t touch'd with the s : fe grasp at t : d' true S and s f the r' the S last - ing, d : d 1 : - .s : s .t r' : d' : t .,i vi sion of beau - ty That f : -.f : f f : n : re pre sent and cer - tain, The t : -.t : t t : di : d' melt like the rain - bow, With r : s s : 1 : fe r : d : - .S| S;.,f : f : - .s cloud- lets By morn ■ ■ing un- S| : s, : - .S| S|,,r : r ; -.t| ta - tion, It fades at the f : n - .n r .,s : s : - .S beau- ty In man - hood or d : d : -.d t, : ti : - .Si dim. 1 daz n sur d' fair S - .S zled our - .n est -.d' - est - .s, m : — roll'd, d touch, s : — age, d : - f. G. p> All We d's The .ds, 1 touch'd with t, : d grasp at s : f e true and S| : S| r .,ri ti of f .,S of~ Si youth ? d : schemes ? PI : beams, d : G. : ds| They : ds, We : dsi In : ds, pt c. .ds All .ds We The .ds poco accell. s : 1 : t touch'd with the s : fe : f grasp at t : t the r the f the Si S|.,r : r : - .n pass'd like the S|.,t|: t| near the temp- S|.,f : f : - .s youth's morn of S| : s, I ~ . S| D. t.m : M gio - lies. All s : s : .Is bub - ble, We f ' : n' : .Is last - ing. The d : d : .Is gio - ries d :d bub - ble, n : n last S| mg, Si Of .d It .n Our .Si t : 1 crim - son t( : t| bursts at r : r thoughts should en- 1 Si : sj ; - .Si ' LONDON : J. CURWEN & SONS, 8 & 9 WARWICK LANE, E.G. Peice Foubpbnce. T 282 ADDITIONAL EXERCISES. PAUT III. p piu lento. n : — : n r : t - .1 S : 8, f : n :r 1 d ; gold, d : - All : d J tin * J 1 touch a with d : t| : the - .t, glo d - ries : s, Of : s, crim - son r : d and : t, gold. s, : clutch, s : — We : s grasp at f e : s : the bub n - ble, : n It : n bursts at s : s the : f clutch. n gage, d The :d true and r : S( ; the - .S| last d - ing :d Our :d thoughts should en- t| : d : S| gage. d : KEY Bl?. M. 60. THEME SUBLIME OF ENDLESS PRAISE. Handel, • S( : d ti : .r r .d : d .t, d : c V di : si Theme sub - n, : .1, lime 1( .Si : of Sr .f 1 I I end - n, : less r, praise, di .ri : nj.di ri ; 1 Theme sub - • t lime • • of end - less praise. of end - Si : less d praise, t, : .r r .d : d .t, • • • d, : Theme Hj : sub - 1 lime 1( .s, : of S) .f 1 end - n, : less S| Theme sub - lime of end - less praise, of d : s n : .1 1 .s : S .f n .s s .f : f .n r : F. t. mi .t d' : Theme sub - • • lime s, : of d end - t| : less .r praise, r .d : of d .t, end - 1, : less, .d end - d .t, : less t|n .r praise, d : d : r Theme sub - n ; 1| lime n of t. end - d : less n praise, f of d end - s : less praise, d' praise, of li : t, end - d : less praise. of end - less, end - less praise, s, : Theme sub - n : .1 end - less praise, t Theme sub- lime of d f n .1 1 .s ; S .f n .S s .f : f Theme sub - • • lime Si : of d end - t, : less .r praise, r .d : of d .t| end - li .r : less -.d t : .r' r' .d' : d'.t 1 .s : 1 .t Theme d' : sub - lime r : of S end - s : less - .n praise, d .1, : 1 lime of 1 .s : s .f end - n less, .s end - f .n : less r praise, d : Theme sub - s, : t| lime d : ol PI, end - f 1 : less -.fi end - less praise, of end - less praise, 1 St. Co. (New), ADDITIONAL EXERCISES. — PART HL f. Bl?. M. 69. 1 : n r : - .r a praise, of end less praise. t| .1, : si .d d : t, d of end ■ ■ less praise. r : n S :- .f n praise. of end loss praise. S| :d 1 S| : - .S| d V, Just and ri .d, :f| righteous are 2B3 Just audi ~ .f| : Hi thy ways; 1 - .si li.si :d « 1 Just and righteous are f|di : - li .si : d - .d : u li .t|,d: r .d t( .d,r: d .tai Just righteous .n, ; are PI, ,ri,d( thy r/ .ni,f(: ways, S| right f| Ml eous are fi .n,,ri: n, Just are thy ways, right - eous are andf thyl .d, thy/ - .d : ti d .d r .d :f - .f : Pt thy ways ; Just and righteous are thy ways ; Ri .r, : S| - .s, : f. : n, .ni li .si : 1| .ti d .S| : d righteous are thy ways, are thy ways, . - s, : d : - .1 s .s f .PI : r d : ways ; Just and right eous are thy ways; S| S S| .S| 1, .1, : ll .S|,f| d ways ; Just and righteous are thy ways; I jF t r s '.l,t : d' .d' right eous :t,n .PI Just and S|d : - .d Just and St Co. (NewJ. t .d' are thy f .n righteous d' ways, 1| . S|,f | are thy r .d : f righteous are t .1 : s .1 right - eous St .If.ti: d ways. .f : PI thy ways, f are r are - .f thy t| .t| are thy - .r thy f .S,f ways, d ways ; Just d ways; n .r ,d .d and 284 t| .d : 1| .r - are thy r ,d : f righteous are SI ways, d Just - .f thy are r, thy .1, righteous are thy ri A) : f 1 righteous are fd Just S| ways ; S( ways ; - .f. ADDITIONAL EXERCISES.- f. Bi?. -PART III. - .d and n ways ; .In Just righteous are n .r,d are thy 1 - .d : tai thy ways; r .n,f : s .f ways, ni thy ways ; f. El7. .d rl.s :di and f,d : - .n Just and As : s .d' Just are thy .l,n : n .r,d Just are thy - .d' :t thy ways, f .n : r right - eous 1 : t ways, Just r .n,f : s .f ways, .1| S| Just and right eous n .d :f - .n : n .r,d - and riffht- - eous ; Just & f|d| : - .d, Just and Jt$7. t. .r' mil , are thy ways; Just & n .f sd : t| .,t| are thy ways ; S .t d'f • s «,s are thy ways ; Just & n : n .r df, :f .,f are thy ways ; s :-.d f : -,f n : n - .n n : n n : n n : right d - eous : - .d are d thy t, ways, d : And n, : thy - .SCi mer - li : cies r .d stm t, : en - 1. dure, se, s f : -.f s : d : - .r n : n r : d ti : right n - eous :-.f are r : thy - .r ways, d : And li : thy - .t, mer - d : cies 1| still en - ii dure, Hi : n still : n en - n dure. f. r 1 : And i|n : d» thy - .n t mer - n ; 1 cies : n t : still n d' en - n still ni en - : Hi dure, n, rl : And f.d : -.1 thy 1| se mer - n. :d' cies : 1 t still se 1 en - 1 se dure, n F. t. m. fen : And rd : 1 thy d s mer - n : 1 cies : n f still r : r en - :li n dure, t, : t And n still :d' thy : r» en - t mer - n : dure, di cies t dure, n r'd' : And fen : d» thy f d' mer - d :d' cies : 1. t still r : 1 en - :f se : dure, n se And : 1 thy se : mer - 1 cies 8t Co. {Ketv). ADDITIONAL EXERCISES. PART III. 285 r :d' t : — 1 : - .t d' : t .1 1 : se.l 1 : — • • still en - dure, And thy mer - cies still en - dure, n : - .r d : f n : - .n n : — - fd : 1. Ev - er se : 1 t : — d' :-.t 1 : r'.d' t : - .t d' still en - dure, And thy mer - cies stni en - dure, n : 1 se : — 1 :f d : r n : - .n « • • • • • :fi ni,r|.n,,f|: S{ .tg d| .d(,r(:ni,f(.S|,n fill • • ev er • • sure. Ev • • * • • • r. t. • • die ! PI r :df n,r .n,f : s ,t| Ev - er faith ful. ev - - er JTi .di : S| .d t| .S| I^^lll .t, d,t{.d,r:n .s/ er, ev - er • • • faithful. ev- er. ev - - er • • f s n .f • : r ,s .f ,s PI .d . n .16 • s .fe.s .l:t .s .1 .t - er. ev - er faith - r .d : t| .li,t| d : d .r ti,l| .tj,d:r ,t|.d ,r faithful, ev - er sure. Ev - er faith • • d' : 1 s :f • Ev - er faith - ful, • • f. Bi7. • d :f .r " tj • • sure. ev - er sure. f :li .fi :ti t, d .t„l|:s„f,.n,,r, sure, ev - er sure, Ev - er faith 1 ,s .f ,n : f ,s .1 ,t d's .f ,n :r ,d .t|,l| S|,f(.S(,l(:t(,r .Sj - er. ev - er faith - ful, f : r ^ S| ^{,r,.ni,f|:s, .ts Ev - er faith - ful, 1 3v - er li,S|.l|,ti:d ,S|.lj,S( fi,s|.nt,f,:r(,S|.f|,SH d .d,r :n,f .s ,n sure, Ev li :d .PI sure. ev - er 1 ,s .1 ,t:d',s .1 ,s \ f sure. :n .d Ev - er d' .t,l :s,f .n,r - ful, ev - er S| .S|,l(:t| .r - ful, ev - er n ,r.n,f :s .tj ev er n sure, :s .n ev - er :d jn mi,r|.ni,fj:S|,l|.t|,S| ev - er d| .d„r,:ni,f|.S|,Pij sure, Ev sure, ev - er d . d ,r :pi,f .8 ,pi sure, Ev d :1 Ev - er d .1/ :d| .fj - ful, ev - er f ,n .f ,s :l,s .f ,s faith lt,S |.ft,ni;f|,si .li,t| er. iSL Co. (NeivJ. 286 s :f faith - ful, d : 1| .r ev - er sure, n ,f .s ,n : 1 . s I ~ ful, d ,r .n ,d : r .t| ev - - er, ADDITIONAL EXERCISES. PART III. n,r .n,f : s .t| ev d sure, s er : t| .t| ev - er : - .n ev - - er d ,t|.d ,r : n .S| ev er d .d,r :n ,f .s ,n sure, ev 1| :S| .S| sure, PI ev - er :n .n sure, ev - er li,S|.l|,t|:d .d| faith - ful, 1 ,s .f ,n : f .s f. sure, d sure, ev .s n er sure. .S| Si er sure, .r n er sure, •ti d er sure. • • • d : li Ev - ev • • • d . 1| S| . jf ' f| Ev - er faith - ful, ev d : 1 s :f n :f PI d And thy mer - cies still en - dure, ev d :d d :~.d d : d d And thy mer cies stiU en - dure, Hi S : n r :d S : n r S : n r sure. Ev ■ . er faith - ful. ev - er sure, ev - er sure. d d : s, tj : si t| :d t| d : s, ti sure, S d : PI S : n r :d S PI :d s sure, Ev . ■ er faith - ful. ev - er sure, ev - er sure, ni :d, S| : s, S( : si S| And thy mer - cies still en - dure, S : n r • • ev er sure, t| :d t| d :1| S| .ni,r,.ni,f|: S| Ev . er faith - ful, ev r :d S f :d .r PI .S| d,t,.d,r : n ev or sure, Ev - er faith - ev 1| :fi d • • ev er sure. St. Co. (NfwJ. ADBITIONAL EXERCISES. — PART III 287 1 1 :fd' r : S S •d|,r( Ev 1(,S| .l|,ni er : ,r .n ,i Mih. - S .S|,l| ful, : t|,a .r ,t| ev d,r er .n,r .f| sure, ii ev . l|,t| : d ,r .n,d B m f,s .l,s :in',r'.d',r' er, ev t,l .t,d' : r',d' ,t,r' s er fsd sure, ev • « f :rl ■ w m s : f n,r er .d,t| :df,,s,.l„t, Ev er faith ful, faith s :f n :d ti • S : n r :d faith - ful. ev er sure, And thy mer cies :d, d : s, S| # S| : d t, : s, d • • s : n r • - t t, :d S : n sure, ev er sure, And thy mer cies d .Si .t, d .d| : Hi .f| S( • 1, 1 II „ • S| : si S| .S| ful, ev er sure, /7\ Adagio. f : n r : — f :- .f f : n r « .r d :^ still en - dure, Ev er faith - ful, ev er sure. t| :d t| I — d .d S| :d d d : - r :d s : — f .d r : s s : f n : — still en - dure, Ev er faith - ful, ev er sure. : si St : — 1, .1, t| :d Si • ^ 9 "~ .S| d, :- KEY A. Andante eon moto. M. 80. THE WOODS. SL Go. (New J. Mendelssohn. S.^r^l ,d ti : lu- : luf ,r t( . r • f - 1 s : - 4- 4^ : r 4- tH Be- hold the woods in ver-dure drest. The heav'nsa -gain are » iS| : Sir tS| Si :f|- : hr ih S| • t~ i^i i t(<- ttj d . »n : n :f - .f • f - f f n • i~ 4S J f 4"" 4S Be- hold the woods in ver-dure drest. The heav'ns a -gain are i A : d,- .d d • ( cd : d r id d : - r id : d - n :f ■ float, d • • i , ,s, : Sun ^d Hereo-dours i tS| I S\r : f .,n n : n 1 — ! n r d :d 1- :d se * • 1 :1 1- :1 n : n 1- :n • /' .to'I r'.,r': 5' n t er : se : n' Tell me,heav'n,my spirit PP S r' s - IP ; L - : 1 : ==— dim. n' 1 - .r :d'.t r' : d' 1 — : t Hm s : — |se ; n :- If :- n n' : - |r' d' :-|r' :- d' Hm. - In : 1 n SL Co. fNew.J \ : • 1 : t j 1 1 — : se PPP 1 : In : d :- 1- - |r :- d : Id : 1. I- - It :- 1 : 11 : n : — | — 1. :- 1- 1/ :-!- KEY D. t ADDITIONAL EXERCISES. — PART III. THE STOUT-LIMB'D OAK. 293 /. Danhy* • s S .1 1 5 . — 1 5 The stout - limb'd oak that • i i PI • f 1 PI * — PI II * X 1 1 1 • .11 :di d' :d' Id' :~ The stout - limb'd oak : d d :f Id : — d' :d' .d' Id' .t,l : t . di.t:l.s|f : — long l.S has borne f .n I r : — : -.n'|f'.n': r'.d' that long has -.d |r .d : t|.l( — : -.f I n.n : s .s Th' unnumber'd shocks of — : -.r I d.d : r .r u • «S[StS*S«S borne Th' iinnumber'd shocks of S| : -.S|| d.d : t|.t| di : -.r'lt : win n : try skies, f e 1 s : s : 1 Is : win - li : try skies, r Is, : Lift fies, d scorn, n mul - ing its head with dauntless r' Lift - .d Id The wind's n II, The d tuous wind's f rage Pi' :in' If mul - tuous rage r' .r' ing its f tu - - .r tu - r de - tr r' de - d' scorn, n' head f mul mul S fies, d' : s If :- .f fd' :d'.d' Id'.U^.-t .s Lift - ing its head with dauntless d : I r : r .r scorn, Lift - ing its n scorn ~ .n if The wind's - .d |r - 1 - .f tu- - .r d d fies, d ; d .d jd .t|^l|j t, .S| Lift - ,ing its head with dauntless St. Co, (New). d' fies, s d' scorn, n head n mul d d scorn, The d' with n tuous d tuous The d with S The n 1 wind's fl daunt r .n,f rage d rage - .r' tu less .f de- A. t. tn mul - sd Lift- sd scorn, f. D. fies, fies, Lift S A. t. r's |r d .d I d .ti,l| n tuous rage - .r de. t| .S, ing its head with dauntless^ f tu - .n I s The wind's .r •t 1 : - .r' wind's tu f : r daunt - less f tuous — : r 1 :~.f wind's tu - Hi : - .r ^ :r' .r' The winds tu- • t) • ti tXl ing its head with dauntless ' s .s I s,f.s,i: s,f.n,r : s .s i s,f.s,l: s,f.n,r Lift - ing its head with dauntless t n : n .n ln,r.Pi,f : n,r.d,t| t n : d - mul - tuous sd : — scorn. rage de f : n rage r :d s mul s tuous :d I- |s rage Is, - .r de- t| - .s de. - .Si 294: ADDITIONAL EXEBCISES. PART m, 1st time. ^ D.C. 2nd time. 1^1 : — fies nes. : — 1- mt : — sr» : — 1- sr' : — fies. fies. ds : — 1- : — And should it n'.r': d'.t pi'.r'id'.t And should it n .r : d .t| 1 fall, 1 1 fall, 1. S and S S and S| tr If : should if : (f : should f. : -.f it -.f it -.f, n :-.d'|t .d»:r'.d» fall, its buoyant, buoyant n : - .1 I se.l : t .1 n : — i — : — fall, pii : — I — : — t : t Id' .t : d' .n' n' .r',d': r' 1- .d^t: d' .r' d' .t : 1 .se 1 1 * coursO) se , its : se buoyant course It 1 1 .se : 1 .se guides a -long i : - .1 1 se.n : the .f roll - n .r ing waves, : d .t| Id « • • • « 1 : : 1 : .d« : n 11 .n : 1 .n f : - .f lf.se : 1 .r n : - .n 1 Ij : the - .1, its buoyant course It guides a - long the roU ing waves, • • 1 : .d' r'.n': f'.n'Ir'.d': t .1 s : 1 : .s 1 .t : d'.t 1 1 .s : f .n • • the : .s roll - - ing t .d':r'.d'|t%l : s .f waves, n : 1 the : .n roll f .s : 1 .s 1 f .n ing : r .d 1 .t : d'.tll .s : f .n r : 1 : .r n .f : s .f 1 n .r : d .t| : 1 roll f .s : ing 1 .s |f .PI : r.d waves, t( : the 1 : .t. roll d .r : n .r ing 1 d .t|: l|.s, waves, the roll f, :-.f,|f. -ing :f. tr n : — |r • „,-, • d' :di .,d'|d' :f» n' :d» Id' :f' waves, d : It, • And d though assail' d with : d .,d 1 n : f e s qual :f force id The : r s : • im • n :l .,1 1 s : t di :1 1 s : t waves, \s, : — • ,- • And d though assail' d with : f .,f 1 n : r e d qual :f force The : r n' roar n .S d» ro8J - jn' jr' ing tern - .d' It .d» Is ing tern - d,ti*d,r;n,r .n4e| s St Co, (New J, s. d. f. F. : r' d» : - .t,l| t t d'l.s pest stiU it braves, The roar : s s : f e 1 s t d'l.S : t 1 : - .r' d'l.s pest stm it braves, The roar : s d : r j si s f .n ing f .PI f .n ing f,pi r,d:r,d.t|,li tempest still it f,n.r,d:r,d,t|,l| f,n.r,d:r,d.t|,l| tempest still it I f,n.r,d:r,d.t|,l| D. t. m. 1. Pis : — braves, seiti :- t,r "braves, I- : r' The : t The : s ADDITIONAL EXERCISES. PART III. ir roar d' : n' - ing :d' d> :nl roar - ing d' : 1 295 D.S. 1 P1> 1 ^ A\ . — UL • 1 1 • d' : — tern - pest still it braves. : 1 s : — 1- : s s : — :f' n' : — - |r' • - • n' •: - tem - pest still it braves. In : f s : — 1- d Words by /. S. Stallybrass. KEY C. Adagio. M. 69. MORNING PRAYER. : s : - .Pi'l r' : d' f : - i'ln' ;r' s : 1 .,f 1 f : n f A sol - emn calm, a si - lence ho - ly, Now lies on all things far : n S : - .s 1 f : n 1 : -.lis : s s : 1 .,f 1 f : n n :d n' : - .n'l t : d' d' : - .d'l d' : t s : 1 .,f 1 f : n 1 A sol - emn calm, a si - lence ho - ly, Now lies on all things far :d d' : - .d'l s : 1 r : - .r t s : s s : 1 .,f 1 f : n r Music by Mendelssohn. .PI : - n ,and nigh; Thej : r .,d I ti : -.r : t .,1 1 se : - se^ and nigh ; The PI : -.PI cres. 1 :1 |1 woods a - lone d .r : n .f I n 1 .t : d|£_L| d' woods a - lone li : li in se are - .r - .t are - .n d' :d' bend d .PI Id' low 1 . s I f e mg 1 .t : d'.n' bend - ing 1 .s : fe.pi :t .1 - iy,To :fe.l :r' .fe :r .d sf dim. -.t|s their Ma f In - .s I s their Ma t| :-.t,|d ^.1 greet S S greet 1 ker na d' - ker s .s s pass - ing by, r : f I n di : t I d' pass - ing by. si : s, - .n'' To^ 1 : / .f If : n .,r To greet their n' : r'.,di t : -.s' greet their Ma - ker di : t .,1 1 s : -.f d Ma s' t_t .,1 To greet their ta 1 1 : na ker, greet their f'.,n'|f' :d' their pass - ing by, n : r .,d I f : f e s Ma r Ma d', Ma P -.sis : s - ker pass - ing -.n|f :f - ker pass - ing -.d'ld' :t - ker pass - ing S SI : s : Si s by. n by. d' by. d / s I n d' I . d St, Co. (New). 296 ADDITIONAL EXERCISES. — PART III. n' : - .n'l r' :d' f feel my be - ing new s -.s|f : n 1 n' : -.n'lt :d' d' feel my be - ing new d' : - .d'ls : 1 r cres. 1 J. 1 1 11 o c d- Iv d.r : n .f 1 n : - .r d .n 1 .t : d'.r'ld' : - .t 1 .t fears tbat late - ly 0 - li : li In : - .n 1 .S - cre-a - .lis - .d'jd' cre-a .r I S r' ted, s t ted, s p s d' Id' :t.l ver - weightedjRe 1 .s I fe : fe.l d'.n'jl :r'.fe ver - weigbtedjEe fe.n I r : r .d : 1 .,f I f : n Where is the care, the s : 1 I f n s : 1 .,f I f : n Where is the care, the s : 1 .,f i f : n dim. -.tjs :1 a - bash'd be - n : na r' ■tire S f s -tire s s a - bash'd be - - .t,ld 'fe, f : f In : - .n tor - ment gone? The n : r .,a ) t| : -,r 1 : t .,1 1 se : - ,se \i\)x. r : r 1 n s : - .s 1 s : fore the Dawn, r ; f In : — d' : t Id' : fore the Dawn, Ee- S S| : so ' -.d" n' If Re -tire r'.,d't t n.,r a- - ,s tire a - bash'd be d' : t .,1 js : - .f Ee-tire d : ta 1 1 : na bash'd, re - tire a - s' : f '.,n'| V : d' the Dawn,a -fore n : r .,d I f t f e P />. / s : - .s 1 s : s s :- \- s bash'd be-fore the Dawn. The r : - .n|f : f n :- 1- n bash'd be -fore the Dawn. di :- .d'ld' : t d' 1- s bash'd be-fore the Dawn. The s : - (sis : s ) d :- 1- d 7s,| s, : S| S p di f : -.f'jn' : r' s : 1 .,f 1 f : n world, with all its joy and sor - row, Is but a bridge o'er s : - .s 1 1 : d' 1 : -.1 Is : s -S : d .,tt| d : d .n d' :-.d1f' : n« f : - .f'ld' : t d' : d'.,s 1 s : s world, with all its joy and sor - row, Is but a bridge o'er d : n 1 s 1 r : - .r 1 s : - .f : f .,r 1 r : d ares. / cres. 1 : 1 11 : se d> : d' 1 d' : t .1 r' : f 1 1 n' : - .r' I, a cheer ■ ■ ful pii . grim, bor - row. To bear me to my de.r : n .f 1 n - .r d .n : 1 .s|fe : fe.fe s : - .s 1 S : 1 1 : 1 .r'l t : - .t 1 .t : d'.n'll : r' .r' r' : - .r'l n' :d'.r' I, a cheer - ful pil - grim, bor - row, To bear me to my f ,:n.r|n : - .PI 1 .s : f e.n 1 r :r .d» t : - .t|di : f f :f In time's deep flood. That n : r | de : - .de 1 : 1 II : - .1 time's deep flood. That fi ; f|.S,| 1| ; -.S J sf ' d' : rLt_| s' : home and God. S : - . S I S n' : t_£^| d' : home and God. s : f In : -1. To SL Co. {New) ADDlTIOKAIi EXERCISES. PART IIF. 297 • 1 .d'jd' t .,1 s : n .f If .' PI ..r d : To Dear ta 11 : me 1 t (hW to r n' : To bear r' .,d'l t me to s' : my home, f'.,!Vlf' : ray di home, d' : hear me to my home and God, home, d' : t .,1 1 S :-;f n : r .,d i f : fe S p .s I s : s my home and .njf ;f my home and .d' I di : t my home and i s God. n God. d' God. d - I I- KEY A. mf Andante. M. 96. YE SPOTTED SIJ'AKES. Id :t|.d li.tjid :n.f f : n 1 n : - .n n.r : d X\\ t( Ye spotted snakes with dou- ble tongue, Thor - ny hedge-hogs be not 1 S| : S|.S| fi : si |1| : S| s. : — 1 si : S| S| : 1|.S|| Sj : f e, In :r.d d :d Id :t| d : — Id : d r : n | r : - .d Ye spotted snakes with dou- ble tongue, Thor- ■ny hedge-hogs be not |di :r|.ni f, : n, 1 ri : s, d( :~ Id : -.d t, :d |r : 1*1 M. J. S. Stevens, Si : i seen ; Si :p I : t| IS I — : f seen; Kewts and P 1 : 1 • • P :d 1- : tai Kewts and f :n If : r blind worms, newts and t| :d |r : - .S| s .n : r .d If : near our fai - d :d It, : s : s Is : near our fai - n : PI Ir : p E. t. cres. r [— :df f : PI 1 s : s s : — 11 : Newts and blind worms do no wrong ; Come not tai : li jta, :i|r r : d If : n PI : r If : -.d| blind worms, newts s : f Is t : d' |ri :d' d' : t Id' : -.d'' blind worms, newts and blind w^orms do no wrong ; Come not ni : fi In, :i,r s : 1 It : d' s : ~ If : -.f . : PI n : r PI .fe : s Is : f e : d queen, d :ti Come |r not : r near d our : r fai - ry |d .r^n: r .d : s s • Is : - .s s : s 11 :1 ry : d queen, Si • Come It, not near d our :t, fai - ry 11, :r 8t, Co. (New), 298 s queen d s queen, S, : t| : d your sweet s .f : n lul - la ■ s, : — sweet P d n .n by, lul -la, d : S|.si n • • by, d • • f : n 1 charm, d : - 1 :- charm, li :- Con tspres.p S( :-,s, Phi - lo- ADDITIONAL EXERCISES. PART III. I . P f .n : f .r Sing in - :t, r : s by, sing, f .f : r .r lul-la,lul-la- s .s lulla- : s .s If.t, mel d |r : n .f with mel - lo - I : n.fe: s | s : f e your sweet lul - la ■ d : r I n : r lul - la - by, cres» — :— Id'.trdM smg, in smg d : t| |1| : — lul - la - by, by, d s by, n 9P : d .d I r .r : t|.t| lul -la, lul-la, lul-la- : n .n I f .f : r .r lul-la, lul-la, lul-la- : t W:s,.s, f dy, 'P I n .r : n .d Sing in P : d s Sing ores, f .n : f .r s p |d .t|: d .1| Sing in I- :fe your sweet - .-ti Hi :- in your smg m by, f .r : n .d 1 1| : S| smg m your, :d' I- :t your sweet cres, S| sing : — r : — n . f : s . 1 ! n your sweet lul d : - .d I d d' : n . 1 1 s lul - la, lul : r • la - :-.f - la- d .r : n ,f I s : si d by. S| n by. d s : f .n Oome our d : r .n n .s : t .d' : In 8U Co. (New J. Come our : r .d 1 love f .s|f.n:r.dir : — - ly la - dy d |t|.d:s|.l| d' : - . s I s : - .f e love - ly la - dy f : - .n|r .d : t(.l| nigh, d : t| s : nigh; S, : in your sweet lul - la - mf Is : f .n 1 : t .d '|r : n.f Nev - er harm, nor spell. nor Id : r .n f :d Id : t| Is .1 ; t .d' d' :t.l|s : S Nev - er harm, nor spell. nor h : r .d f : f Is : S un poco cres. dim. Is : f .n 1 : - |r : S So good night. SO good Id : d d ; - Id : t| In : f .s f : - Is : S So good night, so good In : r .d f : - Is : S ADDlTIOJvAL EXERCISES. PART III. 299 d' • f ' PI d' — n "f 1" * d . t f w •pi pi 1 f "f • r V 9 night, so good nignt. wim luiid, luiia- Dy» Inl 1q In! la 1n1 la lui-ia, lui-ia, iui-ia- t>y» A . u » 1 d d — d 1 d .r • Si Si : s 1 s • 1 1 1 1 ( * 1. 1 1 1 d with lul - la - by, 1 Is. : 1 . s : - .s 1 1 .f : n .r n : 1 : s .s s night, SO good night, with lulla, lulla- by, lulla- by, li In. : f . n : - .d 1 f : S d : 1 : s .s n with lul - la - by, f. A. D.O. :S I. JD. mj d S| : — 1 1 • 1 S,r • PI "f • 1 I'*' • 1 1 • X s f ■3 • X by. mf ni.f| n, |f| :r( vv eav-mg spi s,r, : — ri : si : : — hit, : d .r n r Weav -ing spi - ders come not here, ni t| : — ti : d .r d : -.d|d : t| d |ds :-.f n by. Weav-ing spi - ders come not here, Weav- ing spi • d S| : — s, : ni.ri: rJi.diln : S( d :- 1 : dim. d.d lul-la, dim, n .PI lul-la S .PI ; 1 ders / .t| 1 1 f : n 1 t : d' :- : s I : s 1 : s 1 ; here. Hence, hence. ye long. ■legg'd spin - • ners, ye long- r d 1 f : n : - .n|d :d d :d Id :-.d d . hence, d : 1 ri : di : - .s|l :d' d'^ : d' 1 : n f ; here, Hence, hence, ye long- legg'd spin - ners, ye long- Ids : d : - : n f :pi 1 : d f d. f. C. L is A. PI :~P|»1 : 1 hence ! Bee-ties d : — |rn : 1 t : black 1 : t ap se Id' :r" - proach not 11 : 1 n' near ; 1 : cres. — It : t Worm and se 1 n : f / d' , : - snail n : — It do If s : — Itad' : di t : n' (n' : r' d' : t Is : s s : — 1 t : ri hence ! d Bee- |sl : •ties 1 black n : ap n - proach not 11 :f near ; n : Worm and - In : r snail d : - do 1 s 1 : - I- : 1 1 : se It : t cres. d' : r» In' : 1 .t d' It no n ; In : of - fence, n : worm and In : se snail 1 : s .f In do :f no n : — of m \ T d' Id' : t : 1 se : n' n' : r' Id'.t :1 1 : - 1 se no 1 : - of wm 1 fence, n : wonn and 1 n : n snail li : ti Id do : r no n : — of 1- : n 8L Co, (New), r .r : ti.t,\ lul-la, lul-la- : Si.Sjj f .f : r .r lul-la, lul-la- ' : S|.S| f .n : r .s co:ne not r .d : ti.r r : s come not 1 legg'd spin n f Id' legg'd spin r I s : f ners r s ners S| ^00 ADDITIONAL EXERCISES. PART III. A. tim.l. ^ Con espressiotie. fence, den : — Id fence. Ml :- your S .f lul - sweet P f .n : f .r sweet n la - d by, Hi by, d by, Sj.S lul-la, Hi. Hi Phi lo- ll. t, mel : n .f with mel - o I : Sing in - :"t, r by, s sing, n.fe: s cres. S your sweet lul - d : r I d .t| lul - fe la - d .1, la - by, I n smg m r in 1| . Ij I t| . t| lul-la, lul-la- f|.f|: S|.S| P : r .r luUa- : Sj.S, t|.t| d : t, 11. lul - la - by, PP : s,.s,| 1(.1| lul-la, lul-la, lul4a : n|. nd fi.fi: S|.s ' I by, your f .r d by, ni d by, di r .r lulla- S(..S, your Sf sing d by. n, d by. di Pin .r : n .d Sing in 1 P: d Sing mf 1 f .PI : f .r sing in r your Sing I- sweet ti |i( your d.I, in fe m : t, sweet n .d I r sweet lul mf d Nev S| n llTev d .s la- in r .n f .n : r .d |d your sweet lul d : 1| 1 S| lul - la, lul 1 .s : f .n I n by, sweet lul d : fi I si your sweet lul er Si r .d er d r harm 1, harm d nor li nor d spell spell, It, f : n Id : d d : r .n 1 f : n n : r P 1 s : f .n dim. 1 |r : s f : PI charm, d : — Come |si : OUl* 1, love- ly la Si : t|.d 1 r - dy : d nigh; d : t, So Id good : d night, so d : — Is, good : t, night, d : - 1 : - In : f n : s 1 s : s s : — Is : s f Is : r d charm, 1( :- Come Id : our d love- ly la d .n : r .d 1 tf - dy : d nigh; S| : — So In good : r .d night, so f :-|t, good : s/ night, 1, Is. : 1 . s : - .PI 1 f .r : d .t| d so good night. with lulla, lulla- by, Id. :d. d : -.S,ll| ; S| S| lul - la - by, Is. :f . s : - .d 1 d .f : n .r n so good night, with lulla, lulla- by, In. n : - .d 1 f| : Si lul - la - d by. PP S|.S|| 1(.1|: t|.ti lul-la, lul-la, lul-la- ni.n,| f(.f,: S|.s, PP : r .r lulla- I i S| . S| d : Si.Sil If .1| : t| .t| d : — by. lul-la, lul-la, lul-la- by. Hi ; Pli.Pltj ff.ffl S(.S| dim. ni : — d : I :r.r luUa- d by, by. d^ ) :s|.si d, I- tl la -« la-^ r la - S| la - -.f nor] t| r nor S| D.S. £lt. Co, fMwJ. ADDITIONAL EXEReiSKS.— PART III 301 O SAVIOUR OF THE WORLD. a!?. Andmtino. M. 60. (Copyright.) John Goss : n 1 r « 0 1 • r : d 1 1( S( : - Is=^ • f :d 0 Sa - vioTir of the world, 0 Sa - Viour 01 tne a • • f 1 : f . 1 f 1 • ■'■I — Id 1 • • 1 1 • • " 1 1, ; li 1 li • ■*■» I •••1 i |S| • S| : S| 1 S; : l|.ti d : 1 a • 1 1 , • u . s 1 z : n 0 Sa - viour of the world, 0 Sa - viour of the « ! f\ 1 * r, : r, j r, : r, n, : • f, • f 1 If. • f . sf ti 0 - . J 0 Id :d .d n : - .d Id :d n |r : li world, Who by thy Cross and pre - cious Blood hast re - S| • ,, „ • In, : Hi .Pli sei : - .sei 1 se, : sei 1| • 11, :li r Id : d .d d : - .d Id : d d i If :f world, Who by thy Cross and pre - cious Blood hast re - S| • 11. : - .Hi hi : 1^, f| t 'fi d : - 1- : t, d : - 1 n : n .n 1 : In In deerai s, : — n : — - ifi" |r ed us, n, : — d : — Save us and help US, Hi :l|.li Save us and Id :d.d d : — help n : — - Save It, us, |r deem s, : ed Is, us, d, :- Save us and 11, :l|.li help se( : — US, 1 sei 1 : - In 1 s ores. f ; . n |r :d ti \f help us, u. ores. d : — 0 1 tai : tat Sa - li : viour of S| |fl the : n. world, ri : — 0 ltl Save us and Id :d.d help n : — us, 0 f : iT s ;f In • • Save us and 11, :l,.l. Save us and help .Si : — help Id us. us, fi : help 0 1 1 Sa - viour of si :- 1- us, 302 ADDITIONAL EXERCISES. PART III. s. d. f. Gt7. Ziall\>. E7. t. mf eres. n T" • ivi It* "•I . n 1 r • f\ • u ti . — 1 «* se . — 1 Sa - viour of the world, 0 Sa - viour, Who by thy Cross "il, : 1| 1 1. :1( s, : — m, : - d :li Hi d ; df :s If : n r : ■— 1 sn : — n :n |n : n .n f : world, of the world, 0 Sa - viour. Who by thy Cross l,r :r |f, :f| S( : — d :d Id :d.d r : Sa - viour .111 :1 and pre - cious] • liUi :1( .f|f :f and pre - cious| : r - .r r Et7. t. m. 1. f dim. Id' It Blood hast dna:-^ |na fel :- It Blood hast ref e : — 1 f e 1 re - na d' re - fe P 1 : - .s 1 s : f : - In : n 1 : - |r : r deem r : - ed us, - .r 1 r : Save r : ~ US Id and : d help d : - US, Id we : d d' : -.t|t : se : — 11 : 1 r : — |r : r deem s : - ed us, - .s 1 s : Save • • US 1 and • • ' help fi :- US, we f. Al?. s : f .n 1 n : r .d hum • • bly be - seech thee, 0 Lord d :d .d |t| : ti .d d S| n : 1 .s If :f .f PJt| hum • • bly be - seech thee, 0 Lord : S| .s, 1 S, 1|P1, we 1 : s S : n .d 1 1( : 1( .si we hum - bly be - seech thee, 0 : — J •^1 : d .1| 1 S| : fei.s, we |S| : S| .s, S| : S| .n 1 r :d .t| hum - bly be- • • seech Thee, be-seech thee, 0 Its di :d| .d, In : ri .r, we hum - bly be - seech thee, 0 I si : Lord, s, : t, : Lord, si : Lord, St. Co, (New). — |S| O I f I : ni I n Sa - viour of the world, p In : — r :d It, 0 Sa - viour of the Is, : — f. : Hi ^x\ 1 : P^ t 0 Id, ri • % • 0 save ADDITIONAL EXERCISES.- — PART III. 303 ores. g. : — I s world, O dj : — 1 S| n : r | d Sa - viour of Pll us and Cross 1| d Cross f do. .f If and pre -.1,1 ii - .did and pre .f,ifi Save ir iSave Sa - fl save d save 1, us ll us S us I Hi n viour t, the al. f Sa 1, n world, fl :- help fd':- cious ClOUS f. Blood rl : — r 1 : — Blood ta.f : — n :r.r|f :t,.t, hum-bly beseech thee, 0 fl :f,.f,|fi :f|.f| t| :t|.t||t. : r .r hum-bly beseech thee, 0 Si : S| .S|| S] : S(.S| St Ce (New J, |r :d ti . n r of lfi the : n, world, ri : — 0 It, 11 ■ s : f 0 Sa - viour of 1- • , |,,|, • si : — us, 1 sei 0 i rl . 1 n« : — 1 hast 11 re - : 1 deem 1 : — 1 se 11 : 1 d' : - It hast If re - : f deem n :- 1- ; r the crea - cen' n : 1| I n : n .n Sa - viour, Who by thy ] d :d |1, d Id :d.d world, : ll 1: hum' fi ti hum- Si n' ed ba 1 ed n S|.si| t, : Ij.si bly beseech thee, 0 fi.filfi :fi.f, li Sa - I WHobythyl Hi :1i.1| Viour, n us, se ti .ti| tj : tj .t| bly beseech thee, 0 S| .S|| S| : S| .S| I- : lai.lai us, and : lai.lai : lai.lai us, and : la/.lai d Lord, d| Rather slower* lai us, n S| Lord nil - I help lai us, S| 1 lai : Sj I help la/ us, : Sj I Ab. t. nil - I Save sf I S O I Pll 0 Id 0 I tai we S| S| we cm. d : — Id :- dim, d \- 1- Lord, A men. ni : — 111 :- S| : — |f( :- Hi : — 1 d : - A If :- men, n : — 111 :- Sj : — 1- Lord, d, :- 1- :- A |fi :- men. di :- 1- 304 P KEY E ^ . Andan te Im to. .f of .t| .S of .r 1 on f ADBITIONAL EXERCISES. — PART III. SHEPHERD'S LAMENT. s : - On the : d .,d brow d : - • S tfS s : - On the : d .,d brow n : - : .1 stand, r : - And - : .f t : 1 ; .1 stand, And r : - : .r cres. n : r : .s .land. The d : t( : .r s : - land. - : .t The s, : - • d : - well , h : - : d s .,s From the n : - well ; :"t.,t From the h :- well ; : i|n.,n From the f . : : f e how, d . : yet d d : r : na tell, yet li . : : lai 1 how, JSt, Co, (New), THE M. 63. r .1 yon- der t| .r s .t yon- der f .f Henry Smart. moim r moun f S tain n d' tain n 7d' A S d' .s A n n' • .d' :t .1 thou sand times I n : PI : n .n s :di .n' : r' .d^ thou sand times I d •1, .ii 1 on r . ib'?. t. sd flocks t n flocks - .f : n .s my croolc re- - .r : de.de my crook re- - .r : r .r ,t| A ' n .,r as they graze 1 4S1 tSj : S( ,,S| ite^n : s .,f as they graze I pos r 1 pos r d fol S. r ii 1) : d .t( d .n ing, mg, r' : .t : d' .1 moun - tain have I de- f : f .f : n .n t : r' .r' : s .d' moun - tain have I de- S| : st^ .S| : S| .S( moun - tain have I de- Pi : — : r .r fol - - low, My The flocks as they graze, dim. S scend - s .,s : s .f ^ on the ver-dant / S) .4 : d .d d .,n : n .f on the ver-dant n, .,ni : 1, .1( : t| .t| low. My : sei.sei - .d :t, ^d ,r he guardeth them =n, .1| :seul, ^t. - .n :n he guardeth them^ . n, .Pii :n, a My dog he guardeth them j t scend scend f ed, r S| ed, P n . Yet d . d' .d ed, Yet Vet r . how, d how, fi. how, : n . yet : ta(. » f T f d d :d .d I can scarcely^ yet ritard. how d : n I d can .d : s how si : — n .n can .S| I f e . s : f scarcely, scarce - ly d .d : d . : tj re.n : 1 . : s scarcely, scarce - ly Si .S| I Si . I^gj tell. d s tell. n d = i p n The d s The d ADDITIONAL EXERCISES. — PAKT III. 305 n : s .,s : f mea-dows are sweetly en- d : d .,d : tutur S « S ijS « S (S (t) mea-dows are sweetly en- d : n .,n : r if f : «f ;1 tS ), * These measures to be disregarded when the music is unaccompanied. save S where n, n canst save, and est where thy - Hi and -If :pi thy fl Music by Mozart. f . i 1 s : f eve r : f ning 1 n : r s : 1 s dark t, : and hi i 1 : n rits, r spi r : Id rits :d s s : ; s from, ti hide d : from Id S| : tl : r come con - s, : :t| r : : f ne m ver tl : 1 S| d : |t| :t| thou canst peo m pie , s, : : S| } thou canst] r : : r ' peo pie Sf : : S] ^ 308 ADDITIONAL EXERCISES. PART III. \ P r. 8. d. f. F. Z is D. d : — 1 — : — d : — 1— : d : t s I s tem- pest is past, PI : f .r I n But s d' But d : r' the : s : t the : f d' :r'.t|d' tem - pest is past. s : s .s I s d' : t .s I s tem - pest is past. PI : f .r I PI ADDITIONAL EXERCISES. PART III. 311 Soli, ddlce. i I f ■ ~ \s' : 1*' : k' 8 : - - U : 8 Soft s comes ;- \s : the sun s : — shine, U : s still s ino- t : — \s the : 5 Soft :- comes - k' : the d^ sun d^ : shine, - \i : peace d^ : — ful - k' : ly di still ing U the : t Soft m : - comes - 1/ : the m sun r shine, -1*1 : peace d : m ful - 1/ ly TO still r ing the : 5( 1- • storm. « : — 1 — t t : — 1- • storm. m m 8\ : — 1- • • d^ d Chorus, ffi Pi' Loud se t Loud n ii ores. .n' in' the storm wind dothj .se I se : se.se .t 1 1 : t .t the storm wind doth^ - .n |r r .r / n' : n' .n' |n' : n' .n' n' In' : - .n' n' : n' howl, 1 and the waves :1 .1 |1 threaten : 1 .1 death se in :- U their :- .1 fu - 1 : se 1 d' :d' .d' Id' : d' .d' r' : - Id' : - .d' d' : t 1 howl, d P ni and the waves :d .d Id threaten : d .d ores. : n' .n' death t| in Hi their :~ .d fu - n / r' : n • .n' |n' re' : re'.re'l re' : re'. re' • , in Loud n • • the storm wind doth .n |n : n .n howl, fe and the waves : fe .fe 1 fe threaten : fe .fe death se t in 1 se se • .se| se : se.se 1 :1 .1 11 :1 .1 t • It Loud the storm wind doth howl, and the waves threaten death in n • .n In : n .n n : n .n | n : n .n n • __ • In \ .r' their j .se .t their .n Zis D. P r' : d' 1 , : f'd' : — 1- :t 1 :t .se| 1 ; d' : - 1- : t fu se :1 1 : But In : — the 1- :f tem- pest is past ! n :n .n |n : But n : — 1- the : f t :1 1 : r'l |— ; se 1 :se.n |n 1 1- : se fu n - ry, III : But the 1- :r tem- pest is past ! d :r .t| 1 d : But li 1- the : r St, Co, (New J, 312 ADDITIONAL EXERCISES. PART III. 1 1 :t .sel 1 ; tern- pest is past ! n ;n .n I n : 1 :se.n |n ; tern- pest is past ! d :r .ti |d : P C. t. Soli di/1 : - ■ Soft ^ s : — Soft 1 1^ dolce. U' :/' comes the s : s \t \t comes the sun s : — : shine, \b : f still s : — ing \s the : s d) : — : d^ t : — \t : t sun d : VI shine, 1/ : n still r : — ing 1 the : 5, — \m storm. t storm. — Id fe' : — 1- : s' fe' :fe'.fe'| fe' But the tern - pest is past ! 1 : — 1 .1 1 : 1 .1 11 d' 1- :d' d' :d' .d' Id' But the tern - pest is past ! r : — 1 — : na r : r .r | r fP f 1- :f' :f.f'|f' Soli. 7^' : dolce. • • 5' 1 s' : d' d' W : i' But t ; the 1- :d' tern t - pest .is past ! : t .t 1 t : — Soft s comes the \s : s sim s • shine, \s :- r' : - I- :r' r' :r'.r'|r' : d\ : 1 : m n \d^ Ul : — But s : — the i~ :1a tern S - pest is past ! : s , s 1 s : Soft d : comes the ]d : d sun d m • , ■ • shine, \d : — Chorus. : s' r' : — stiU - ing 1- the storm, s : t : 8 8 : — t : r} 1- : t t : — U' still - ing the storm, ^1 : 5| 1- : — \d cres. r' 1- :fi.ri n' : — I- sun - shine is here, S : t 1 — : s s : — t :r' 1- : t d' :~ sun - ehine is here, I — S| ; S| 1- : S( d : s 8L Co. (New), . p. ra' : 5' ' : i' \ iv} : d' \ Soft comes the sun shine, The i 8 : — \s : 8 8 • 1 ^ • S i d"^ : |«i : n n :^^i :d' I Soft comes the sun shine. The ' d : — \d : d d • _ \d :d j ; n' The : s :di The : n .d sun S sun - shine Si : Si HINTS ON THE TUNES IN ADDITIONAL EXERCISES. WITH EEEEEEKCES TO IKSTEUCTIONS liT STAI^DAED COURSE/' God spekd the right, page 1, is treated of in " Standard Course " under the following topics : —Normal force, page 98 ; Breathing-places, page 98 ; Treatment of unison, page 103 ; Ap- propriate force and speed, page 132 ; Melodic phrasing and subordination of parts, Ex. 212 ; Degree of force in a cadence, page 103. See analysis of sec- tional relation in How to Observe Harmony," page 63. Going Home, page 2. — ^Delivery of repeated tones, page 99 ; Marked en- trance of parts, page 100 ; Melodic Im- itation, page 99. In scores 2 and 3 develope S. and C, running in thirds and sixths. Jackson's Evening Htmn, page 2. — Pervading force, page 98; Treatment of melodies, page 100 ; Study of con- genial tones, page 102 ; Crescendo on single tones, page 103 ; Expression of joyful feeling, page 131 ; Contrition and supplication, page 132 ; Growing excitement, page 133. See analysis of sectional relation in " How to Observe Harmony," Study carefully the melo- dic phrasing of each part, pp. 69, 70. In harmony let S. and B. deliver well their tertiary dissonance in score 1, measure 3. They have the same in score 4, measure 4, where the Tenors also have to strike a primary disso- nance against the C, and secondary as against the B. This double dissonance should be carefully done. There is a strong primary dissonance between S. and C, at score 3, measure 5, and an- other in the next measure. See " Stan- dard Course," page 21, and " How to Observe Harmony," page 90. Spring Life, page 3. — Vigorous en- try and unanimity, page 100 ; Outbursts of enthusiasm page 131 ; Didactic style mingled with emotion, page 132. Aim. at perfect unity and blending of S. and C. in score 1 and 2. The Fortune Hunter, page 4. — As- cending melodic imitations, page 99 ; Sympathetic singing in unison, page 103; Slyness and gaiety, page 133; Imitative sounds — laughter, page 101 ; Sad reflection, page 132. See analysis r>f sectional relation in " How to Ob- serve Harmony," page 63. The chang- ing expression suitable to every verSe should be cai'efuily attended to. In the last line deliver the word '"not" staccato y and make a slight pause after it. Carefully attend to variations of both time and tune in verses 2, 4, 5, 6. The May -time, page 5.— Firm entry of parts, page 100 ; Ascending and de- scending phrases, Ex. 211. Should not exceed the rate of tiaie marked. Clear- ness must not be sacrificed to rapidity. Sweet concord in the two-part passages is the essential featiure. Thou shalt show me, page 7. — This should frequently be used as a test of steadiness in time and for the practice of syncopation and marked en- try of parts. Let S., T., and B., hold firmly d against r in score 3, measure 4. The Waits, page 8. —Example of soft singing, page 98 ; Increasing force in rising phrases, page 8 ; Representa- tion of distance, page 101 ; The promin- ent and the subdued tones of a melody, Ex. 223. The higliest part will prove very fatiguing if not sung in the upper thin register without straining. None but undoubted first sopranos should take this part. The piano singing of this piece will discover the presence of low and hard voices among the so- pranos. The Cuckoo, page 9.— Imitative sounds, page 98; Cumulative force on repeated tones, page 99 ; Unanimous delivery of the bass voices is required in scores 1 and 4 ; Unity and good blending in S. and C, page 10, scores 1 and 2. The close dim. pp will require tenors to use their thin register gently. The word '"cuckoo" should have its first syllable pronounced exactly like its last, and thus aid the imitation of the bird's cry. BoN ACCORD, page 11. —Entry of parts, page 100. This piece should be sung firmly, at a brisk rate and with fine roimd tone. It is one of the pieces which should be simg from memory in all its parts. Hope will banish sorrow, page 12. — General character of a piece, and ap- propriate force, page 98 ; Rising excite- ment, page 131 ; Depressing thought^!, page 132. The rhythm should be well practised. It is nearly the same in all the parts. Emotion ebbs and flows very much in this piece, and its phrasing is an interesting study. Transition analy- sis, score 2, measure 1, " How to Observe Harmony," page 57. How BEAUTIFUL THE SUNSHINE, page 12. — See analysis of sectional relation in "How to Observe Harmony," page 63 ; Study the rhythm, which is varied and somewhat intricate ; Three related phrases in scores 2 and 3, require in- creasing force ; Transition analysis, score 1, measure 4, " How to Observe Harmony,"> page 57. Comb, Freedom's sons, p. 13. — Loud and bold delivery, page 98 ; Discourag- ing reflection, pagel32 ; Poetic phrasing and expression, page 136. The Quail Call, page 14. — ^Normal force, page 98 ; Imitative phrases in a melody, page 100 ; Dramatic expression of words, page 131 ; Effect of different expression in contrary motion, page 99; Excited exclamation, Ex. 257 ; Verbal expression, page 132 ; Pi-operrendering of cadences, page 103. The rhythm is uot likely to be made perfect unless each pulse is distinctly beaten in learning the piece. Transition analysis, score 2, measure 8, "How to Observe Har- mony," page 57. The time for joy, page 16. — Ap- propriate force and speed, page 98; Notice alternate periods of p and /, and this order reversed at page 16, score 3 ; Develope tenor in last score, page 15, and score 2, page 16. The second S. must not cover up and ob- scure the first S. in those places where the second is the higher of the two, for even there the notes in the top lino form the principal melody. Hear me when I call, page 17, — Subdued and prayerful effect, page 98 ; Exultation, page 131 ; Vowel sounds, page 138; Melodic and harmonic imi- tation, page 100; Marked entry of bass, page 100; Various contrasts of expression, page 132; Pressure tqne, page 133 ; Bold delivery of fugal pas- sage page 19 ; Triumphant afiinnatioiv. X 314 fl:iNTS ON THE TUNES. page 98. Transition analysis, "Addi- tional Exercises," page 19, score 3, mea- sure I, "How to Observe Harmony," page 58. Let the bass, score 4, measure 4, hold its d well against the t and r of C and S. Wb ply 3Y night, page 20.— Force- ful delivery, Ex. 217 ; Accelleration of speed and force, page 131. Mark breathing places in the long rim for S., scores 3 and 4, or still better, practise it till it can be sung easily to one breath. Marked entry ia very important, espe- cially in C. and T. For public perform- ance this chorus may be preceded by the bass song in the Macbeth music, Beporters 520 and 521. Transition an- alysis, score 1, measure 3, " How to Ob- serve Harmony," page 67. My lady 19 AS FAiu AS FINE, page 21. — Subdued general effect, page 98 ; Pronunciation, page 140 ; Develope the tenor in the 3rd score ; Mark well the most effective part of the piece, which is at the beginning of 3rd score. Ti ansi- tion analysis, score 1, measm-e 4, " How to Observe Harmony," p. 57. NiOHT AROUND, page 22. — How to pro- duce humming accompaniment, page 100; Dramatic effect, page 132. Obe- dience to the baton is imperative here. The conductor has to keep the chorus in time with the soloist. Transition analysis, score 2, measure 1, "How to Observe Harmony," page 57. Come, let us all a Maying go, page 24. — Expression of light-hearted gaiety, page 133 ; Imitation of the cuckoo and of bells, page 101, The piece must go freely and nimbly, — the quicker notes being struck neatly and somewhat st ccato, especially in the downward runs imitating the sound of bells. Notice contrasted eflfect of / re- presenting drums and p representing fifes. Transition analysis, score 2, measure 1, " How to Observe Har- mony," page 58. Hallelujah, Amen, page 26. — Swell on prolonged tones, page 100. The ihythm of the principal subject must be perfect. - Strongly marked accent is required at page 27, scores 1 to 3, be- ginning " 0 Judfih." Tenors must use thin register in the higher passages, and this part must be well developed in measm'es 6 to 8, where it assumes the importance of an ascending bass. In the same way the bass part must be brought out when it imitates the same Idnd of ascent a fourth lower. The long silences are somewhat trying. The two " Amens,'' must be very bold. Swiftly prom the mountain's brow, page 29. — Expression changing in a new movement, page 98 ; Sunbeams and sha- dows, page 133 ; Warbling birds, Ex. •^17 ; Prolonged tones, page 100 ; Nor- mal force, page 98 ; Eepose in nature, page 132 ; Expression rapidly changing, pp. 98, 99; Pronimciation, page 140. The two first movements of this glee represent the landscape, and the last one the music of nature at early morn. It abounds in melodial passages and fine effects. Transition analysis, " Ad- ditional Exercises," page 32, score 4, measure 2, " How to Observe Har- mony," page .57. Lord, in this Thy mercy's day, p. 33. — See " Standard Course," for proper expression of deepening emotion in v. 2, and increasing urgent supplication in V. 3, p. 132. Study of Verbal Expres- sion, Ex. 260. Vowel ai low in pitch, p. 139. Preserve the subdued eflfect throughout, but study well the rise and fall of its three phrases. Tenors must use the thin register in the second phrase. Rise, my soul, adore thy Maker, p. 33. — Tones to be developed as heigh- tening the general effect, p. 102. De- livery of Cadences, p. 103. Give due eflfect to Harmonic Sequence, m. 7. The Verbal Expression requires great variety of speed and force. The chord spjf, sc. 1, " How to Observe," pp. 76, 77. Father, my spirit owns, p. 34. — Musical Expression, Ex. 215. Study of congenial tones, Ex. 224. Verbal Expression — Resignation, Ex. 260. The vowel a, p. 140. Deep feeling ex- pressed by pressure tones, p. 133. Study the peculiarities of the rhythm in sc. 1, and mark well the change of rhythm in sc. 2. Chord SE, sc. 3. See ' ' How to Observe,' ' p. 78. Chord TA&, sc. 3, " How to Observe," p. 114. The bass part contains some difficulties. Practice the first line well, especially the octaves 1, 1, and r se . The S in sc. 2, m. 1, 2, 3, must be drilled also. Nearer my God, p. 34.— Tones to be emphasised, Ex. 225. Pure vowel sounds, p. 140. Melodic Imitations, p. 100. Get a pure quality of tone in the low passages for bass, sc. 1 and 4. Contraltos have to hold d against r in chord 7R&, sc. 1. See "How to Ob- serve," p. 26. T also has a Secondary Dissonance, p. 35, sc. 2, m. 2, in the same chord, 7R6, The Gipsy's Tent, p. 35. — Appro- priate speed and force, p. 133. The proper singing of subordinate "parts," p. 100. When the S takes up the mel- ody previously sung by the soloist, it should be done with great spirit, and be in strong contrast with the soft ac- companiment which they were pre- viously doing. A primary dissonance for the solo part (if soprano), occurs in chord 9Di, m, 1. Also a tertiary disso- nance in the same chord at p. 36, sc. 3, m. 3. See " How to Observe," p. 9(> and pp. 4, 5. Also a secondaiy disso- nance in the chord ^Dc. See " How to Observe." p. 100 Also a secondary and tertiary dissonance in the chord? 9F, p. 38, sc. 3. Harvest Home, p. 39.— Character- istics of the "Part- Song," p. 146 Form of tones, p. 133. Sharp delivery of detached sounds, p. 103. Ascendinj^ and descending melody, and subordin- ate parts, p 101. Study of unison, uni- form and equal emphasis, prolonged tones, " Vamping," Ex. 213, and p. 103. See that the correct tones are sung by T. and B. in this vamping accompaniment. The vowel oa, p. 138. Delivery of cadences, p. 103. The fine melody for S, p. 40, sc 2, should be well studied, and sung with perfect clear' ness. A pure, bright tone must be go', at the f (g'), last sc., which must not be attempted by any but Jir.it sopranos. Notice 4 7 3D, p. 39, sc. 3., m. 4. See " How to Observe," p. 98. Tenors should use thin register in the three last tones. Away to the forest, p. 42. — Stac- cato passages, p. 103 The lively,, dancing effect of the rhythm, with al- terations of sforzavdo and staccato^ re- quires much practice. The piece is full of expression. Notice the echo effect in sc. 4, " Tra la," &rst / and then pp. Tenors must use thin register on s' at the close of the " Tra la." Sunshine after rain, p. 44. — Musi- cal Form, p. 146. Emotion quickly ehang-ing, p. 132. Vowel ai, p. 139. Sc. 4, 5 contain some difficult rhythm. Develope tenor and bass, moving in thirds, sc. 3, 4. In these two parts the octaves, sc. 4, m. 1, should be clear. The S, in its tm*n, must be developed, sc. 4, m. 2. Bring out the # at the close, which is intended to give great prominence to a repeated section. If I HAD BUT two LITTLE WINGS, p. 45. — Melodic Expression, Ex. 215. Musical Form, p. 146. Reflection, p. 132. Vowels a and u, p. 140. Melodic Imitation in sc. 1, should be studied, see p. 100. Give emphasis to d' m. 3, and 1 m. 5. The bass part, m. 5, 6, has some serious difficulties. Chromatic fe leaping up an octave and resolving: on f in 7S(/. Tenors should use thin register at p. 47, sc. 4, m. 3, p. 3, to m. 4, p. 4. Angel of Hope, p. 48. — How to pro-^ duce humming accompaniment, p. 100. To avoid the danger of flattening, get , the accompanying voices to listen to the snloist. The long sustained chords are. of themselves, difficult to hold in eroort' tune without this kind of sympathy with the leading voice. Tenors shoul(> HINTS ON THE TXTNES. 315 use the thin register wherever possible, and the closed lips assist them to do so. The rising passage, p. 49, m. 3, to sc. 2, m. 4, should be delicately sung in the thin, so as not to obscui'e the solo. The Spring, p. 50.— Musical Form, p. 146. Excited emotion becoming subdued, p. 133. The rhythm is va- ried and difficult. Much practising together is required for unanimous de- livery of tafa-AI which is of very fre- quent occurrence and is mingled with various other difficult forms. The piece abounds with melodial two-part passa- ges, such as S and B, p. 51, sc. 2, where care must be taken to get good blending of these two parts while the G and T, in unison, must be quite subordinate. Tenors should use thin register on the notes d' r' m', p. 51, sc. 2, 3, 4. At first the mountain rill, p. 53. — Growing impetuosity descriptive of the gatherine force of a stream, p. 133. The descending melodies in S and T alternately, starting each time a step higher are very dramatic, and must be commenced each one louder than the last. Tenors require to use the thin register for the higher notes in sc. 1, p. 64, and only first sopranos should at- tempt m' s' f &c., in sc. 3. The note se after f' is difficult. Other high passages will be found for sopranos and tenors in p. 54, sc. 6, and p. 55, sc. 1. Notice the dissonance 7 d<^/y. See '* How to Observe," p. 115. Tenors should use thin register in ra. 2, p. 3, 4. Page 54, m. 2,4, 11, 12, 18, 19, 21, 22, and corres- ponding parts of V. 2. 0 THE jov OF Spring, p. 57. — De- velopment of a principal melody, p. 100. Gay and tripping style, p. 133. Musical Form, p. 146. Pressure tones, p. 103. Subordination of parts should be attended to, see p. 100. Notice the chromatic part-pulse dissonances, fe and re, p. 57, sc. 4, m. 2. See " How to Observe," p. 119. The thin register should be employed by the tenors in m. 7, 8, 9, and on all following notes higher than S. How LOVELY ARE THE MESSENGERS, p. 58.— Musical Form, p. 146 Vowel u, p. 140. Appropriate speed and force, p. 132. Bold and striking change of sentiment, Ex. 258. Fuual passages, p. 148. The proper rendering of " parts " in contrary motion, p. 99. Triumphant joy requiring the sinsrer to dwell on the notes, p. 132. Changmg emotion — tri- umph to repose — Ex. 219. Let each part study (in keys suited for each voice) the melody which opens this piece, and which becomes the subject. See ".Melodic Phrasinj;," p. 98. Only first sopranos should sing the highest part, which aboimds in high notes, often requiring small register. In pp. 59, 60, the thin register is constantly demanded from the tenors. Awake, .^olian Lyre, p. 62. — Mu™ sical Foi*m, p. 146. Smooth legato, p. 103. Downward rush of a stream, p, 99. The opening should have a well- sustained ores, the last chord being cut off sharply when the climax of force has been reached. The jf in sc. 2 is very important. Notice a little syncopation, p. 63, sc. 2. The last movement spirit- oso should have very marked accent. Tenors should use thin register at the second "awake," at p. 63, first five measures of Largo, and in the fi' close, except the last note which may be in the thick for the sake of effect. Where the gay dreams, p. 65. — A series of cres. passages, rising each time higher. Standard Course, p. 133. Attend closely to the marks for cres. and dim. as they are intended to give form to the melody. Study " How to Observe Har- mony," pp. 97, 101, 112, 113, for the dissonant and chromatic chords 4 9d, 9 "S, 9 4 fes, 7 feRE. Only first soprano voices should attempt the phrase com- mencing sc. 4, m. 2. Tenors must use thin register on the notes r' f' m in keys C and D, sc. 3, 4. Theme sublime, p. 66. — Study of fugal movements, subject, counter-sub- ject, &c. , p. 147. Development of parts, p. 148. Study of syncopated passages, and emphasis in a melody, Ex. 227. Fugal entry, p. 148. Form of pro- longed tones, p. 100. Study of runs, and their accompaniment, Ex. 226, see also " Rapid Passages," p. 102. The "subject" and its variations, see p. 148, Delivery of cadences, p. 103. A very useful and invigorating practice piece, which ought to be often used. Study in " How to Observe," p. 103, the discord ^L. Tenors mark their books for thin register in the following pas- sages: — First movement, m. 13-18. Second movement, m. I0il2, 1 s f m. Page 68, m. 11-15; score 5, m. 2-5. Page 69, sc. 1, m. 3-6 ; sc. 4, m. 2 ; sc. 5, m. 2, p. 1 ; m. 4 to p. 70, m. 1, 2 ; sc. 2, m. 3, p. 2. All the s's in sc. 2, 3, 4 ; p. 71, m. 2, 3. All the s's in sc. 2, 3, and the whole of the last 2 meas. The Woods, p. 71.— Diverging senti- ments in music and words. Gaiety in music and sober reflections in poetry, acting upon each other, p. 133. Struc- ture of a part-song, p. 146. Dramatic effect — the fading away of a dream, p. 182. The vowel ee, p. 13. The normal force (see p. 98) of this piece should be p and the movement a gentle legntn. Thp second verse may be >nf for the sake of a little contrast, but the third ranst resume the p, and the close should be very soft and soothing. Study in I "How to Observe," 7D, p. 103, 47D, p. 98. Home, 0 where is thy blest haven, p. 74.— The study of vocal accomoani- ment, p. 100, and Ex. 218. Passionate utterance, explosive tone, p. 134, and Ex. 257. Where the soloist is silent, let the accompanying parts sing out with fuller voice, see " Subordination of parts," p. 100. Study in " How to Ob- serve," 4R, p. 104, p. 95, 3R, p. 106, ^F, p. 104, 9D, p. 96, 6 'R (ornaraentab) p. 109, 4/,, p. 95. Tenor's to use thin register on m', p. 75, sc. 2, m. 2. The stout-limbed oak, p. 77. — Musi- cal form of a glee, p. 146. Delivery of cadences, p. 103. Delivery of bold passages, Ex. 258. Unison passages, p. 103. In the first movement of ihxa glee all the " parts " claim in turn to be prominently heard. Notice m this way S, sc. 2, m. 1 ; C, sc. 2, m. 3 ; B, sc. 3, m. 3 ; T, sc. 4, m. 1. Then S and C to- gether, sc. 4, m. 3 ; B, sc. 5, m. 1. The two-part passages on p. 78 must have both the voices perfectly together. Tenors should mark for thin register m. 3 ; sc. 2, m. 1, 2 ; the note m , sc. 4, m. 2 ; sc. 5, m. 2, to p. 78, m. 3, and all the last phrase. Morning prayer, p. 79. — Piano sing- ing in unison, Ex. 230. See " piano passages," p. 98, and "unison pas- sages," p. 103. Structure of a part song, p. 146. Solemn effect of ma introducing or invoking p in all the parts, p. 133. A shout of thankfulness, Ex. 256. Notice in verse 3 an altera- tion of the air, m. 8, 9 ; and of the harmony throughout. The s' should be sung by first sopranos only, and they should be careful to give it in the small register. The forte outburst at begin- ning of each verse should be finely de- livered. Especially the bass, which in verses 1, 2, leaps an octave in the first two notes, thus d |d'. The expression is constantly varied, and should be carefully studied. See " How to Ob- serve," i»aFB, p. 113, ^^L, p. 114, ' 'leL p. 115. Thin register should be used by T in the phrase beginning at the end of m. 9 ; in corresponding part of verse 2 ; also in fourth line of v. 3, p. 80, se 5, m. 2. Ye spotted snakes, p. 81. — Musical form — the glee, p. 146. Legato singing, p. 103. Soft and light staccato, p. 103 Sforzando for sudden exclamation, p. 133. Dramatic representation of terror. Secure marked entry (although p) in the syncopated notes, m. 5, 6, 7. The two transitions, p. 83, sc. 2, need care- ful practice, and still more does the transitional modulation, p. 83, sc. 4,. and its return "oa the chord deL 316 HINTS OK THE TUNES. i,Picai'dy Third.) See "How to Ob- serve," p. 114, and par. 98, p. 88. Tenors use thin reg^ister, m. 5, p. 2, to sc. 3, m. 1. Page 82, sc. 2, m. 1, p 3 to ra. 4 p. 1. Page 83, sc. 4, m. 2 ; sc. 5, m. 2, p. 4 to m. 3, p. 3. Pag-e 84, m. ,4, p. 2 to 6G. 2, m. 4, p. 3. Beginning of sc. 4 to m, 4, p. 3 ; and beginning of sc. 5 to ra. 2, p. 2. O Saviour of the world, p. 85. — Musical form of the anthem, p. 145. Prayerful utterance, Ex. 228. Increas- ing force on i-epeated tones, p. 99, Im- portant words to be made prominent, p. 133. Humble supplication, Ex. 260. Unison passages piano, pp. 98 and 103. The transition to thuxi fiat, p. 86, sc. 1, is difficult, as it commences with an upward leap of an octave in S, and of a seventh in B., In the chromatic unison, p 87, sc. 4, nothing can help the singers but a strong sense of the note S, on which the repeated 1 a resolves. Study in " How to Observe," " "F, p. 106, '.sA', p. 78, 9 ' 48, p. 103 Tenors should use thin register on the word " O," p. 85, 5C. 5, and p. 87. sc. 1, The shkphkuo's lament, p. 88. — Sfvrzando tones expressive of pa.?«--ionate excitement, p. 133, Musical form of a part-song, p. 146. jip in detached notes expressive of deep sr)rrow, p. 132. The rhythm of sc. 3 should be well practised as a time-model of several passages following. The whole piece depends upon true intonation of chromatics. Study such chords as ^« '"'iLa, p. 89, sc. 5, in the lif^-ht of " How to Observe," p. 118. In the transitional modulations, p. 90, practise each part separately, then two or more parts combined, and finally altogether in slow t>me. Study in " How to Observe," ltfGO •Q?£tB/t;G^6 ••• ••• ••. Table of English articulations Te and ray, Mental effects of.. , The chord of Tenor, First Tenths, Thirds, Sixths and .. Thick register, The : — Strengthening the Third, Omission and doubling Thirds of a pulse Thirds, sixths, and tenths Tliird step ... .. Three-pulse measure Three-quarter-pulse tone, The Three removes Timbre ^iCxxxxo ••• ••• ••• -I and rhythm ... chart • laaing — names , Rare division.s of . . . . Tip-tong^ie articulations ... . Tonic and dominant Training the muscles at the of the lungs Transitional modulation ... . — w— , A;djacentjveys iaj jyCrahsAioajpadeftce*..; ^, §ist3nguic5hing 53 :63 1 » * PAGE Transition, Introductory lesson ... 49 , Melodic tendency to 50 , Mental effects of 51 , Missed 53 , Modulators to illustrate 50, 51 Notation of - of one remove. Exercises in -, Passing 51 52 • ••• 53 • ■• ••• 49 • •• ■•• ■•• 5"! • •>* *«« 51 123, 124 117, 118 . ... ... *•• 69 . ... ... ... lo5 60 i ... 48 , ... 3, 8, 15, 20 • • • ■ • • 29) 59 14, 26, 45^ 81, 117 • •• ••• 1.56 -, Perception of , Returning , Signature of ... , Three removes , Two removes.. Triain Trill, The shake or .. Trilled R>, The Tritone ... „. Time Tune-laaing. . . Tunes, Pitching Tuning exercises Turn, The Two part singing 8 pulse measure 6 quarters and a half 34 removes 117 Vocabulary of musical terms 163 Vocal klang. Production of pure ... 3 exercise 14 Voices and " parts " 108 Voice, Agility of 151 Voices, Boys* ..." 107 , Classification 29 , Compass of 29 ~ , Delivery of the 95 , Downward cultivation of ... 155 , Examination of 81, 108 modulator 106 , QrUality of 1 training ... 1, 2, 14, 45, 81, 150 training exercises., , Strength of Voluntaries, Laa , Modulator Vowels 151, 153 ... 153 ... 37 ... 42 ... 136 137, 142 ... 141 Exercises Fitth group, UO, O First group, AA 137 Fourth group, U, A, E, I ... 139 Mechanism of the 136 Scale of English ... ... 136 Second group, AU, OA, 00 138 Third group, AI, EE 139 Waving forestrokes . Words, Phi'asing of . Writing exercises T from memory. 68 135 12 12, 24, 77 a St. Co. 9 * 320 INDEX TO STANDARD COURSE EXERCISES. •MO. PAOB. 78 A hale old man 22 99 All the spring-ing flowers 31 172 Amen. Alhrechtsherger 72 114 Amen. Bfamzer 39 178 And I heard 82 119 Alt thou poor 41 193 Assyrian came down, The 91 123 Behold how good 47 115 Bird of the wilderness 39 140 Blest be the hour 56 191 Christian's parting word, The 90 •255 Come Fays and Fairies 128 80 Come gentle May 23 137 Courage 54 173 Cuckoo, The 72 79 Daisy, The 23 137 Dangers do not dare me 54 193 Destruction of Sennacherib,The 91 101 Doh, ray, me 32 192 Drive dull care away 91 188 Farewell, my own native land.. 88 194 Far, far from home 92 78 Farmer John 22 195 Forgive thine enemy 93 70 Fi-et not thyself 17 233 Give unto me Ill 103 Glad heartd and free 32 68 Gone is the hour of Song 17 NO. PAGE. 247 Goodnight 121 143 Great is the Lord 57 171 Hallelujah. Mainzer 71 117 Hallelujah. Mainzer 40 141 Hallelujah, mtorp 56 118 Hallelujah, Amen. Mainzer ... 40 173 Hark ! 'tis the cuckoo's voice... 72 177 He is despised 82 125 Ho, every one that thirsteth ... 47 246 Holy, Holy 120 170 Hosannah 71 145 I love my love 58 116 In sweet music 40 194 Jewish Captives, The 92 98 Labour's strong and merry 31 191 Let me go JO 79 Little flower with starry brow . 23 136 Lo ! my Shepherd's hand 54 124 The Lord bless thee 47 179 Lord have mercy upon us 83 133 Lord, while for all 52 235 Love thy neighbour 112^ 100 Lullaby 31 251 Lullaby, The 124 174 Maytime, The 73 67 Morning bells 17 252 Music of the Spheres 125 248 Night song 122 NO. PAGE 126 Now unto him that is able 47 144 O'er the dark wave of Gallilee 58 111 Oh ! give thanks 37 245 Oh ! I'm the boy 119 139 O little child lie stiU 55 248 On the woods 122 135 0 Saviour, go beside us 64 189 Our life is ever 89 f 251 Peaceful slumbering 124 112 Peace, lovely peace 37 134 Praise to God 53 234 Praise to our God 112 113 Praise ye the Lord 38 65 Scotland 's burning 16 175 The sea for me 75 66 Sing it over 16 115 Skylark, The 39 253 Sound the loud timbrel 126 69 Sow in the mom thy seed 17 252 Stars are given us 125 190 Summer is gone 89 97 Sun of my soul 30 120 Tell me where the Fairies dwell 41 142 Through the day 57 254 True love 127 145 What is the meaning of theSong? 58 77 Wlien lands are gone 22 120 \\Tiere do the Fairies dwell 1 ... 41 102 Who comes laughing 32 INDEX TO ADDITIONAL EXERCISES. FA6B Angel of Hope 264 At first the mountain rill 269 Awake, ./Eolian Lyre 278 Away to the forest 257 Bon accord 227 'Chants for Third Step __ 216 Chants for Fourth Step 216 Chordal Exs. First Step 209 Come, Freedom's sons 229 Come, let us all 240^ Cuckoo, The 225. j. Father, my spirit owns 250 Fortune hunter, The 220 Gipsy's tent, The 2^1* God speed the right 217 Going home 218 Hallelujah, Amen 242* Harvest home 255 Hear me when I call 233 Heaven is my home 215 Higher will we climb 212 Home, O where is thy 290 Hope will banish sorrow 228 How beautiful the sunshine. . . 228 How lovely are the messengers 518 If I had but two Kttle wings 261 Jackson's Evening Hjmin 218 ■ Lojd, ittl'his ^}Aa Thy mercy's *. . 84,9 "JLoOd tj^^st|)4njivi$id ; i...^ Q '309 Mayiscommg ?15 May-time, Tke 221 M:5)tn^^ Rray^* .-C? . .\. . . . ^* . . * . • .-295 Mnisio iij«the -Wley. .* ...... .*. ^ *t IVlJrla^y^i^X^f^iij^^fin'e*....^. • ^ • ^3> Nearer, my God, to Thee 250 IJigbt aroup4 "238 lo SavieuBoJ Ihewwdrld^^.i.,..* , » 301 O the joy of spring 273 PA.GE Quail Call, The 230 Rise, my soul, adore thy Maker 249 Saviour, breathe 307 Shepherd's lament, The 304 Spring, The 266 Spring life 219 Stout-limb' d oak, The 293 Sunshine after rain 260 Sweetest, fairest „ 214 Sweet summer-time 210 Swell the anthem _ 209 Swiftly from the mountain's 245 Theme sublime 282 Thou shalt show me 223 Time for joy, The 231 Waits, The 224 We fly by night 236 Where the gay dreams 28 1 Woods, The 287 Ye spotted snakes 297 MUSIC SCHOOIjS siNama tutors (o.n. & soi-fa). €ODE MUSIC DRILL, Parts I, n, HI, Sol-fa, 2d. each. 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Contains roimds, solfeggios, anthems, part-songs, elemen- tary rhythms, &c., carefully graded. Choir Training [Id.] 6d. The music is rather in advance of the other couises. The illustrative chants are a feature of this book. •GteB Choral Singer [Id.] 6d. Avery popular course. Includes ninety-three exercises, rounds, part-songs, anthems, time and expression studies, illustrative chants, and the "Elementary lUiythms." •The Singing Class [Id.] 6d Contaios several very popular anthems and secular pieces. •Hours op Song [|d.j 4d. Shorter than the precediag courses. Has roimds and graded exercises. Vocal Harmony [Id.] 4d. The same length as " Hours of Song." Has proved a favourite course. *Thb Temperance Course [Id.] 6d. This course now contains eighty part-songs, anthems, rounds, and exercises, all carefully gn^aded according to the steps of Mr. Curwen's method. The Templar's Course [Id.] 6d. Containing a course of exercises, with Temperance part- Bongs, roimds, anthems, and choruses. May also be had in three 2d. numbers. Graded Sight Tests [Id.] 6d. A series of part-songs arranged according to the steps of the Tonic Sol-fa method for practice in sight-singing. Elementary Courses for Schools. With Instructions and Tunes. The Academy Vocalist, Parts I and n [Id.] each 6d. Suitable for High Schools, Academies, Middle Class and Private Schools. Part I comprises instructions for 1st to 3rd Steps. Part n, comprises 4th Step, including Transition, Six-pulse Measure, &c. Pupil-Tbaoher's Elementary Class Book [Id.] 4d. Thb Pupil's Manual [Id.] (Cloth, 9d.) 6d. Ninety-one Exercises and Tunes in two-parts, with Bhythms and Bugle calls, and questions to be answered orally or in wilting. *Thk First High School Vocalist [Id.] 6d, The Young Chorister, Parts I to IV [Id.] each 3d. By A. L. Cowley. In Parts, containing 40 pages, size of "Code Music Drill." Part I.— Steps I, EC, and TTT. Part n. — ^Recapitulation of Steps I-III; Step TV as far as imperfect Sol-faing. Part III.— Steps IV and V. Part IV. — Additional Songs for Practice, and Introduction to the Staff Notation, Cloth complete, 1/-. Also Exami- nation OR Home Lesson Sheets for above. A Series of Twenty Sheets of Questions, with spaces for writing the various answers. Price 1/6 per 100; 2/- assorted; the 20 sheets in wrapper, 6d. The Educational Vocalist, Part I, for Div. 1, Id. ; Part n, for Div. n, l^d. ; Part ni, for Div. HI, 2d. ; Part IV, for Div. IV, 3d. Complete, 8d. By A. Adamson. Auxiliary Music Cards, Packets I, II, ni, & IV, 6d. each. School Courses with Exercises and Tunes only. For Standards I, to VI. The Call to Song [^d.] 4d. A pocket edition of the "Educational Music Charts," with an appendix of Voice Exercises, Elementary Rhythms, Certificate Requirements, &c. For Infant Schools. The First Linnet [^d.] 3d. ( The Second Linnet [^d.] 4d. For Junior Schools, The Irish Tonic Sol-faist [Id.] 6d. Graded Rounds [^d.] 3d, The First Blackbird [^d.l 2d, The Royal Songster, Part VH [M.] id. Young Voices, Parts I to m [Jd.] each 2d. Code Music Drill, Parts I and II [Id.] each 2d, For Senior Schools, The Song Primer [Jd.] 4d. The First Nightingale [^d.] 3d. Code Music Drill, Parts HE and IV [Id.] each 2d. Crotchets and Quavers, O.N., Pts. Ill & TV [Id.] each 3d. *SoNGS AND Tunes for Education [2d.] is. In cloth [2d. ], Is. 4d. First Course [Id. for 3], 3d. Second Course [Id. for 3], 4d. *Thb Second High School Vocalist [Id. for 3] 4d. 6d. 8d. 6d. •The Third High School Vocalist (Advanced) [Jd.] •The Fourth High School Vocalist (Advanced) [Id.j •Arranged Reporters, No. 1 [Id.] Intermediate Courses. Intermediate Class Book [Id.] 6d. For pupils preparing for the Intermediate Certificate of the Tonic Sol-fa College. Intermediate Training [Id.] 6d. Intended as a connecting link between the Elementary Class and the Choral Society. •The Intermediate Secular Course [Id.] 6d» The Inteembdiatb Standard [Id]. 6d, Introductory Exercises. Introductory Exercises, No. I [^d.] Roimds and two-part exercises, as iax as the Fifth Step. Introductory Exercises, No. II [Jd.] |d. Intended for psalmody purposes. Introductory Exercises, No. Ill [^d.] Id. Double the length of the preceding. The Short Course f^.] 2d, Its speciality is that all the exercises and tunes are I»inted in both old and new notations. *«*The first Number (Id.] of "The Choral Singer," " Hours of Song," or " The Singing Class," will also serve as introductory exercises. LONDON : J. OURWEN & SONS, 8 & 9 WARWICK LANE, E.G. 9 DO STANDARD WOEKS ON MUSIC. BOY'S VOICE, THE. By J. Spencbb Curwbn. Erice2/6; postage l|d. A bouk of practical informa- tion for choirmasters, with hints from choir-trainers. CANDIDATE IN MUSIC, THE. By H.Fisher, Mus. D. Price, in paper. 2/- ; in cloth, 2/6 ; post. Ijd. A text-book of Musical Elements for students. CHOBAL SOCIETY, THE. By L. C. Venables. Price 3/- ; postage 2^6.. A book of practical hints and experiences for the use of Conductors, Secretaries, &c. COMPANIOKT FOR TEACHERS. By J. S. CuRWEN. Price 1/- ; postage lid. This work gives the school teacher all necessary information on the Tonic Sol-fa system. COMPENDIUM OF HARMONY. By Geo. Oakey, Mus. B. Price 2/- ; postage 2d. Comprises the subject matter of the first half of the author's " Text- book of Harmony," the examples in Sol-fa only. FIGURED BASS. By Geo. Oakky, Mus. B. Price, limp cloth, 1/- ; postage Id. Explains figured bass in modem harmonies, and epitomises harmony. HANDBELL. RINGING. ' By C. W. Fletcher. Price 2/6 ; postage 2d. Explains the method on which the Criterion " Handbell Kingers play ; shows how to organise and train troupes of handbell ringers, and gives exercises and tunes arranged for the bells. HANDBOOK OF ACOUSTICS. By T. F. Harris, Bi"Sc., F.C.S. Price 4/6; postage 3d. A hand- book for the use of musical students. HOW TO EARN THE MUSIC GRANT. By An Inspector of Schools. Pk 3 4d., Sol-fa. HOW TO OBSERVE HARMONY. By John CuRWEN. Tenth edition with appendix. Price 2/-; postage 2d. HOW TO READ MUSIC. By John Curwen. Twenty-four chapters, pp. 128. Eighth edition. Price Is. ; postage l^d. Teaches sight-singing by the Tonic Sol-fa system, then applies the knowledge gained to the Old Notation, and teaches that thoroughly. HYMN LOVER, THE. By the Rev. W. Garrett HoRDBR. Price 7/6 ; postage 4|d. An account of the rise and progress of English Hymnody. MANUAL OF ORCHESTRATION. By Hamil- ton Clarke, Mus. B. With Appendix. Price 2/-; postage 2d. Gives much information that will help young conductors and enable amateurs to listen intel- ligehtly to the playing of an orchestra. MECHANISM OF THE HUMA:Nr VOICE. By Emil Behnke. Seventh edition, enlarged and revised. Price, cloth, 2/6; paper, 1/6; postage 2d. Ultistrated. MEMORIALS OF JOHN CURWEN. By his son, J. Spencer Curwen. Price 2/- ; postage 3d. MUSICAL INSPECTION, and How to pre- pare for it, The. By A School Inspector. Price 1/6; post. 2d. Lessons and instructions on the Tonic Sol-fa method, for teachers in elementary schools. MUSICAL PROFESSION, THE. By H. Fisher, Mus. D. Price 6/- ; postage 4|d. Contains advice for music teachers in every department of the art. MUSICAL SELF-INSTRUCTOR. By J. Sned- don, Mus. B. Price 3/- ; postage 2d. Both notations. Self-help in musical elements and vocal practice. MUSICAL THEORY. By John Curwen. Price 3/6 ; post. 3d. Or in parts— I, 4d. ; II, 4d. ; m, 1/4 ; IV, 4d. ; V, 1/-. AU the musical examples are given in both note.tions. MUSICIANS OF ALL TIMES. Compiled by David Baptib. Price 3/6. A biographical handbook of composers, &c., containing nearly 12,000 names. ORGANS, ORGANISTS, AND CHOIRS. By E. MiNSHALL. Price 1/6 ; post. l^d. Hiilts aiiid sugges- tions for all interested in Nonconformist Church Music. PRONUNCIATION FOR SINGERS. By A. J ElliVE.R.S. Price 4/6 ; postage 4d. SCHOOL JKEU^IC TEACHER, THE. By J. Evans and "W. G. McNaught. Third edition, revised and enlarged. Price 3/- ; postage 3d. SHORT DICTIONARY of MUSICAL TERMS By Arnold Kennedy, M.A. Price 1/-, postage Id. ; cloth, 1/6, postage l|d. Includes about 2,700 terms. SINGING IN ELEMENTARY SCHOOLS. By A. "Watkins. Cloth, 1/- ; postage Id. SOLO SINGER, THE. By Sinclair Dunn. Price 1/6 ; postage 1 Jd. A handbook giving hints to those who desire to become solo singers. SPECIMEN LESSONS on the TONIC SOL- EA METHOD. Edited by J. Spencer Curwen. New and enlarged edition. Cloth limp, 1/6 ; post. Id. Con- tains specimen first lessons on Time, Tune, Transition,&c. STAFF NOTATION PRIMER, for Tonic Sol-fa Pupils. Price 6d. ; postage Id. Size and style of " Musical Theory," with 69 exercises. STANDARD COURSE, THE. By John Curwen. Ninth edition of the re-written work. Price 3/6 ; post 3d. Lessons and exercises on the Tonic Sol-fa Method. STUDENT'S MUSICAL HISTORY. By H. Davy. Price 1/-. In handy, popular, and modern style. A record of all the landmarks of musical history . STUDIES in WORSHIP MUSIC, First Series By J. S. CuRWB N. Second edition, revised and enlarged, 7/6; postage 4|d. Contains articles and iuformatiou on various matters relative to Worship music. Studies in' Worship Music, Second Series- , By J. S. Curwen. Price 3/- ; postage 2|d. A continu- ation of the above work. TEACHER'S MANUAL, THE. By John Curwen. Fourth edition. A manual of the Art of Teaching in general, and especially as applied to music. Price 5/- ; postage 5d. TEXT-BOOK OF COUNTERPOINT. Sixth edition. By Geo. Oakbv, Mus. B. Price 2/-, cloth ; post. l^d. All the examples are given in both notations, and a set of subjects for exercises are given at the end« TEXT-BOOK OF HARMONY. By Geo. Oakey, Mus. B. Pif th edition, price 3/- ; postage 2^d. Sevens teen chapters, with about 150 Graded Exercises. All examples in both notations. TEXT-BOOK OF MUSICAL ELEMENTS. By Geo. Oakby, Mus. B. Price, in paper, 1/- ; cloth, 1/6 ; post. l^d. All the usual topics arranged on anew plan, with an Appendix of questions and exercises. TRAININa COLLEGE MUSIC COURSE. By E. Mills, Mus. B. Price 3/- ; postage 2|d. O.N. Course, Vocal and Theoretical, to prepare directly for the various Examinations. UNITED PRAISE. By F. G. Edwards. Price 3/6 ; postage 3d. A practical handbook of Nonconfonmst Chur(Si Music. LOKDON ! J. CTJEWEK & SONS, 8 & 9 WAKWICK LAKE, E.G. mi