-t  « 


t 


MODERN  HISTORY  DIVISION 

BRITISH  COLUMBIA  PROVINCIAL  MUSEUM 
VICTORIA,  8.C. 


THE 


FOREST  CHOIR: 

A  COLLECTION  OP 

VOCAL  MUSIC  FOR  YOUNG  PEOPLE; 

EMBRACING 

“  OUR  SONG  BIRDS’  SINGING  SCHOOL,” 

MUSIC  FOR  CONCERT,  SCHOOL  AND  HOME, 


SONGS,  HYMNS,  ANTHEMS  AND  CHANTS,  FOR  WORSHIP. 


GEO.  F.  HOOT. 


PUBLISHED  BY  ROOT  &  CADY,  612  MICHIGAN  AVENUE, 

NEW  YORK:  A.  S.  BARNES  4  CO.,  Ill  *  113  WILLIAM  8T. 

1872. 


PREFACE 


- - 

We  cannot  do  better  here  than  to  repeat  in  substance  the  statement  with 
which  the  Musical  Curriculum  begins,  viz. :  Every  teacher  has  some  ways 
of  teaching  that  are  peculiar  to  himself,  and  from  which  others  may,  at  least, 
derive  suggestions  that  will  be  useful.  Therefore,  though  we  do  not  suppose 
the  experienced  teacher  will  always  adopt  the  exact  phraseology  of  this  “Singing 
School,”  we  believe  he  will  like  to  see  the  way  another  teacher  would  work, 
while  the  young  teacher  will  find  in  it  just  the  help  he  needs. 

As  to  the  singing  lessons ,  we  think  all  will  agree  that  they  have  been  prepared 
with  care,  and  are  attractive,  progressive  and  thorough;  and,  whether  this]  way 
of  teaching  them  be  adopted  or  not,  we  believe  it  will  be  found  that  they  will 
go  far  toward  making  good  singers  and  ready  readers,  if  they  are  carefully  prac¬ 
ticed  in  the  order  in  which  they  occur. 

May  we  express  the  hope,  that  the  last  department  in  this  book  will  be  used 
only  for  purposes  of  worship,  especially  those  pieces  in  it  whose  words  are 
taken  from  the  Bible;  that  the  children  may  early  learn  to  draw  the  line  between 
music  for  amusement  and  music  for  worship. 

This  is  our  first  complete  juvenile  singing  book  since  “Silver  Lute,”  and, 
we  hope,  will  be  found  as  useful. 

GEO.  F.  ROO^ 

Chicago,  January,  1861. 


Entered,  according  to  Act  of  Congress,  A.  D.  1867,  by  Root  &  Cady,  in  the  District  Court  of  the  United 

States  for  the  Northern  District  of  Illinois. 


“OUR  SONG  BIRDS’” 


SIN  GIN  G-  SCHOOL. 


CHAPTER  I. 


The  teacher  asks  the  class  to  notice  how  many  times  he  sings  la.  He  then  takes  the  pitch  Q 
and  sings  eight  sounds  about  as  fast  as  the  pulse  naturally  beats. 

After  they  have  imitated  him,  he  turns  to  the  blank  side  of  the  blackboard  and  makes  eight 

notes  thus  :  r  '  r  r  r  r  f  P  and  says,  “  These  marks  may  stand  for  the  sounds  we 

have  been  singing;  they  are  called  quarter  notes.” 

Ho  then  writes  the  word  la  under  each  note,  and  says.  “  Now  look  on  the  blackboard  and  sing 
these  pounds  again,  and  you  will  be  singing  by  note.” 

The  teacher  now  sings  to  the  same  eight  sounds,  with  careful  enunciation,  pronunciation,  and  • 
pleasant  tone,  such  words  as  the  following,  (the  class  singing  each  line  after  him.) 

No .  1. 

Now  to  sing,  let  all  be  ready, 

Voices  cheerful,  firm  and  steady — 

Do  not  stoop  nor  look  about  you, 

Dor  we  would  not  sing  without  you. 

Faces  pleasant,  bright  and  cheerful, 

Not  one  scowling,  sad,  nor  tearful  ; 

So  let  each  some  help  be  bringing 
To  the  happy  hour  of  singing. 

These  lines  may  be  written  on  the  blackboard  under  the  notes,  and  may  be  sung  again,  if  thought 
best. 

Now  is  the  time  to  begin  to  train  and  cultivate  the  voices  and  tastes  of  tlio  class.  First,  and  most 
important,  by  good  examples.  Second,  by  such  simple  directions  as  they  will  understand  about  posi¬ 
tion,  taking  the  breath,  opening  the  mouth,  speaking  distinctly,  and  singing  with  pleasant,  rather 
than  loud  and  strained  voices.  Third,  by  such  selections  of  words  and  music  as  are  adapted  to  their 
states  meutn.il}  and  musically. 


4 


QUARTER  NOTE,  HALF  NOTE,  VOCAL  CULTURE. 


The  teacher  now  rubs  off  all  the  words  from  the  blackboard,  leaving  only  the  notes,  and  then 
sings  to  the  syllable  la,  the  lessons  on  the  board  only  making  one  sound,  in  place  of  the  last  two 
When  the  class  have  observed,  and  have  done  the  same  thing,  and  have  named  the  new  sound  a 
half  note,  and  those  they  have  been  singing,  quarter  notes,  the  teacher  rubs  off  the  last  two  quartet 
notes,  and  puts  a  half  note  in  their  place,  making  the  lesson  stand  thus:  r  r  r  r  r  r  ? 
He  then  sings  to  it  such  lines  as  the  following,  (the  class  imitating  each  line.) 

No.  2. 

Come  ye  timid  ones  draw  near, 

There  is  nought  to  dread  or  fear; 

Sweet  let  all  our  voices  be, 

Give  the  tones  out  clear  and  free. 

Speak  distinctly  every  word, 

That  the  sounds  may  all  be  heard. 


As  before,  it  may  bo  a  good  plan  to  write  these  words  under  the  lesson,  and  have  the  class  sing 
them  again,  this  time  attending  more  to  such  things  of  voice  culture,  position,  breathing,  speaking 
distinctly,  etc.,  as  they  can  understand. 

The  teacher  now  clears  the  blackboard  again,  and  turning  to  the  class,  sings  to  the  syllable  la, 
quarter  and  half  notes,  in  a  different  order,  perhaps  thus :  p  P  p  P  P  p  P  P  P  T  P  P 
After  the  class  have  imitated  him,  ho  writos  the  lesson  on  the  board.  After  they  havo  named  the 
kind  of  notes,  (he  pointing,)  the  teacher  sings  to  the  lesson  such  words  as 

No.  3. 

One  and  all,  hoar  the  call,  ’ tis  the  hour  of  meeting. 

Now  in  place,  all  front  face,  give  the  teacher  greeting. 

All  around,  hear  the  sound,  of  the  song  we’re  singing. 

Oh  to  you,  pleasures  true,  may  its  tones  be  bringing. 


Such  lessons  as  the  following  may  here  bo  added.  If  the  scholars  have  these  books,  it  will  not 
of  course,  be  necessary  to  write  the  lessons  on  the  board. 

No.  4. 


No.  5 


No.  0 

0 


0 

1 

0 

0 

\  \  \ 

f  f 

r 

f  f 

|9 

1 

La, 

la, 

1 

la, 

i  1  1 

la,  Do  we 

1  1 
give  the 

i 

tones 

1 

out  right  ■ 

■  ly? 

Ha, 

ha, 

ha, 

ha,  Will  you 

an  -  swer 

us 

po  -  lite  - 

ly? 

Half, 

quar  - 

ter, 

half,  quar  -  ter, 

quar  -  ter, 

quar  - 

ter,  half 
the  laugh 

note. 

La, 

ha, 

ha, 

la,  ha,  the 

quar  -  ter 

is 

note. 

1. 

r 

f 

0 

1 

f  f  f 

0  0 

r  r 

0 

0  o 

1 

0 

0 

the 

1 

hap 

1  1  1 

-  py  spring  time 

,  the  spring  time, 

1  1 
the  spring 

1 

time, 

How 

the 

mer 

-  ry  birds  chime,  the  birds  chime, 

,  the  birds  chime. 

\ , 

r 

r 

r 

r  r  r 

r  r 

0  • 

0  0 

o 

i 

i 

■  *7, 

i 

Jen  - 

i 

nie, 

!  i  i 

Su  -  sic,  Liz 

-  zio,  Nel 

1 

-  lie, 

1  1 
Lou  and 

Fan  • 

-  tio, 

Net  - 

tie, 

Mat  -  tie,  Lot 

-  tie,  and 

our 

lit  -  tie 

An  • 

r 


5 


PITCH,  PITCH  NAMES  AND  SYLLABLES. 

Sal  -  l'.e,  Ger  -  tie,  Ka  -  tie,  I  -  da,  Flo  -  ra,  Gra  -  cie,  Car  •  rie, 

Jo  -  sie,  John  -  nie,  Char  -  lie,  Frank  -  ie,  Wil  -  lie,  Fred  and  Geor-gie, 

Li  -  na,  So  -  phy,  Let  -  tie,  E  -  va,  Do  -  ra,  Ad  -  die,  .  Bel  -  la. 

How  -  ard,  Jes  -  sie,  Cy  -  rus,  Ly  -  man  and  his  sis  -  ter  El  -  la. 

Such  questions  as  the  following  will  show  how  well  the  class  understand  what  has  been  done* 
and  also  serve  to  keep  them  in  mind  of  the  important  things  of  vocal  training.  How  many  kinds 
of  notes  have  we  learned  ?  What  is  the  name  of  the  longer  note?  The  shorter  ?  How  much  longer  is 
a  half  note  than  a  quarter  note?  How  much  shorter  is  a  quarter  note  than  a  half  note?  Should  you 
stoop  while  you  are  singing?  Should  you  open  your  mouth  so  that  the  sound  will  be  free  and  pleasant? 
Should  you  take  a  full  breath  when  you  have  time  enough,  while  singing,  or  only  catch  the  breath  a  lit- 
'le?  Should  you  speak  five  words  distinctly,  or  indistinctly?  Should  you  ever  sing  so  loud  or  so  high 
is  to  make  the  voice  sound  harsh  or  strained  ? 

CHAPTER  II. 

The  teacher  asks  the  class  to  notice  whether  he  sings  a  half  note  or  a  quarter  note.  He  sings  a 
half  note  to  “  la,”  and  asks  which  it  is.  He  then  takes  a  lower  pitch,  (say  F,)  and  sings  again  a  half 
note. 

Which  was  that,  a  half  or  a  quarter  note?  Yes,  the  same  kind  of  note,  or  the  same  length  of 
sound;  but  listen  again.  The  teacher  then  gives  two  half  notes,  as  before,  of  different  pitches,  but 
now  being  nearer  together,  are  more  easily  compared.  Were  these  two  half  notes  alike  in  all  re¬ 
spects,  or  different  in  some  ?  Yes,  we  may  have  half  notes  or  quarter  notes  different  in  highness  or 
lowness,  and  highness  or  lowness  in  music  is  called  pitch. 

The  teacher  now  asks  the  class  to  notice  whether  he  sings  half  notes  or  quarter  notes.  He 
then  sings  five,  four,  three,  two  and  one,  in  the  scale  of  C  major  in  quarter  notes  to  the  syllable  la. 
Which  did  I  sing,  half  notes  or  quarter  notes?  What  is  the  highness  or  lowness  of  sounds  called? 
Notice  now  how  many  pitches  I  make.  He  sings  the  same  again.  How  many  pitches?  Listen  again, 
and  then  sing  the  same. 

After  practicing  from  five  to  one,  a  few  times  with  quarter  notes,  it  will  be  a  good  plan  to  try  it 
with  half  notes,  and  then  the  five  sounds,  in  the  following  order  as  to  length.  Quarter,  quarter, 
quarter,  quarter,  half,  and  then,  half,  quarter,  half,  quarter,  half,  &c.,  the  teacher  giving  each  exam¬ 
ple,  and  the  class  imitating  and  repeating,  until  the  work  is  well  done  in  respect  to  length,  pitch, 
position,  breathing,  distinctness,  and  giving  out  the  tone. 

How  many  different  lengths  of  tones  have  we?  What  are  the  names  of  these  two  lengths? 
(half  note  and  quarter  note,)  How  many  different  pitches  have  we?  Eveiy  pitch  has  a  name,  just 
as  every  length  has.  The  first  pitch  we  sang,  or  the  highest  of  these  five,  is  named  G.  All  sing 
four  quarter  notes  to  the  pitch  G.  The  next  lower  pitch  is  named  F;  the  next  E;  tno  next  P,  and 
the  lowest  C.  If  you  go  the  other  way— from  the  lowest  to  the  highest,  tho  names  of  the  pitches 
are  like  the  alphabet:  C,  D.  E.  F.  G.  Sing  tha  pitches  now  as  I  ask  for  them,  making  a  half  note 
at  each  pitch  to  the  syllable  la,  G,  F.  E,  D,  C,  C,  ti,  C,  C,  D,  E,  F,  G,  G,  G,  G,  G,  F,  E,  D,  E,  D,  E.  D, 
C,  D,  E,  F,  G,  F,  E,  D,  C.  That  we  may  not  be  obliged  to  sing  la  all  the  time,  we  will  learn  the  sylla¬ 
bles  that  are  often  used  for  these  sounds.  The  teacher  then  sings  from  five  to  one,  with  the  syllables. 
sol,  fa,  mi,  re,  do,  and  the  class  imitate.  Now  sing  the  different  pitches  with  these  syllables  as  I  give 
their  names ;  sing  half  notes.  What  syllable  is  used  for  the  pitch  whose  name  is  G?  What  for  the 
pitch  F?  E?  D?  C?  The  teacher  then  names  the  pitches,  (witiout  skipping,)  and  the  class  sing 


e 


STAFF,  DEGREES  OF  THE  STAFF  AND  EXERCISES. 

This  is  the  time  to  see  that  the  syllables  are  pronounced  well,  (right  vowel  sounds,)  and  enunciated 
well,  (right  emission  of  the  consonants.) 


CHAPTER  III. 

The  teacher  turns  to  the  blackboard,  and  draws  slowly  a  horizontal  line,  two  or  three  feet  long, 
sounding  the  pitch  G  in  one  sound,  while  drawing  it,  and  says:  This  line  may  stand  for  the  pitch, 
whoso  name  is  G.  As  many  times  as  I  touch  this  line  you  may  sing  quarter  notes  to  the  pitch  G, 
syllable  sol.  Now  I’ll  put  quarter  notes  upon  the  line,  and  that  will  save  me  the  trouble  of  touch¬ 
ing  it.  The  line  then  stands  thus : 

No.  7. 


Sing  the  pitch  of  &  to  -  geth  -  er, 

In  this  pleas  -  ant  sum  -  mer  weath  er. 

The  teacher  then  clears  off  the  blackboard  and  draws  the  line  again  for  the  pitch  G,  and  under  it 
another  line,  which  he  says  may  stand  for  the  pitch  F.  thus : 


He  then  says  sing  half  notes  as  I  point,  using  the  syllable  sol  for  G,  and  fa  tor  F.  After  exer¬ 
cising  the  class  a  few  minutes  on  these  two  lines,  the  teacher  draws  another  line  uuder  these  two, 
and  says :  Let  this  stand  for  the  pitch  E. 


After  exercising  awhile  on  these  three  lines,  he  draws  another  for  the  pitch  D,  and  exercise*  on 
the  four. 


He  finally  draws  another  for  C,  and  says:  We  now  have  five  lines  for  our  five  pitches — one  line 
for  each  pitch.  Sing  quarter  notes  as  I  point.  After  oxercising  (without  skips)  fin-  a  few  minutes, 
and  using  the  syllables  sol,  fa,  mi,  re,  do,  the  teacher  says :  It  is  customary  to  lot  the  spaces  between 
the  lines  stand  for  pitches,  as  well  as  the  lines  themselves;  if  the  upper  line  stands  for  the  pitch  G, 
the  space  next  below  it  will  stand  for  F.  What  will stand  for  Ef  What  far  Dt  What  for  Ct  Sing 
half  notos  while  I  point,  according  to  this  plan.  Aftor  exercising  a  short  time,  the  tencher  says: 
These  five  lines,  with  the  spaces  between  and  above  and  below  them,  form  what  in  music  is  called 
tub  staff.  The  linos  and  spaces  of  the  staff  are  named  thus — (writing  the  names  or  speaking  them 
while  pointing:) 


Bpftct  above 


Fourth 


epcoe 


Spec*  t*k>w 


1  »paot 


Each  line  and  space  of  the  staff,  and  they  are  reckoned  from  tho  lowest  upwards,  is  called  a  db- 
jrf.f..  How  many  degrees  are  there  in  this  staff  t  (Eleven.)  What  it  the  frst  degree  t  (Space  be¬ 
low.)  The  second  t  The  third  t  &c. 

Our  live  pitches  may  be  represented  by  any  five  dogrees  of  the  staff  that  we  please  to  use.  The 
teacher  then  writes  such  lessons  as  the  following,  (if  the  pupils  hate  no  books,)  but  Is  careful  to  have 


DIFFERENT  REPRESENTATIONS  OF  THE  FIVE  PITCHES. 


7 


the  class  giro  the  true  pitches  of  G,  F,  E,  D  and  C,  whatever  degrees  of  the  staff  may  be  used  to 
represent  them.  If  we  let  the  highest  degree  of  the  staff  stand  for  the  pitch  6,  what  must  stand  for 
Ft  (Fifth  line.)  What  for  Et  What  for  D  t  What  for  Ct  If  we  let  the  fifth  line  stand  for  G, 
what  trill  stand  for  the  other  pitches!  It  may  be  well  for  the  teacher  to  exercise,  beside  questioning 
on  different  parts  of  the  staff,  hut  by  no  means  change  the  pitch  while  doing  so.  Have  the  class 
always  sing  the  G  represented  by  the  second  line  of  the  treble  staff,  whenever  the  five  pitches  are 
represented. 

No.  8. 


•- 


Sol,  fa,  mi,  re,  do, 
Clear  -ly  now,  let  all 


£ 


x 


x 


re,  mi,  fa,  sol,  fa,  mi,  re,  do,  do,  do. 
our  voi  -  ces  join  and  sing  this  ex  -  er  -  cise. 


We  will  sing  at  morn  and  e  -  yen,  Bird-like  car  -  ols  with  the  birds. 
Here’s  the  tune  that  has  been  giv  -  en — Let  our  glad  hearts  find  the  words. 


The  five  pitches,  G,  F,  E,  D  and  C,  and  the  two  kinds  of  notes,  quarter  and  half. 


No.  9. 


■- 

* — > — 

-   *  * 0 

-  0 ~ 

p 

' c 

m  0  S3 

LJ 

1  . 

1  1  1 

- 1 - 

- - 1  1 - 

Sol,  fa,  mi,  re,  do,  re,  mi,  fa,  sol,  fa,  mi,  re,  do. 


How  beau  -  ti  -  ful  the  snow,  On  the  sleep  -  ing  earth  be  -  low. 

How  light  -  ly  does  it  rest,  O’er  the  ear  -  ly  called  and  blest. 

How  beau  -  ti  ful  the  skies,  Where  the  glad  soul  nev  -  er  dies. 

The  same  pitches,  but  in  a  different  order,  and  represented  by  other  degrees  of  the  staff. 

No.  10. 


0 - 

^  ^  #  i  <©  w 

9 - F- - 

*  #  m  j  " 

— 1 - 

~ f & r 

L 

_ 

1 . -4  . 1  ■■  1 - 

! 

-  P  F=~— 

Sol,  fa,  mi,  mi,  re,  do,  re,  ml,  fa,  sol,  fa,  mf,  re,  do. 

Ug  -  ly  crow,  do  you  know?  Here’s  a  net  that  I’ve  been  weav  -  ing, 

I  shall  lay  it  to  -  day  On  the  corn,  and  stop  your  thiev  -  ing. 
Sil  -  ly  crow,  you  will  know,  When  too  late,  that  you’re  out  -  wit  -  ted, 

Ev’  -  ry  thief,  comes  to  grief,  And  not  one  of  them  is  pit  -  ied. 

Tho  same  pitches,  but  represented  by  still  other  degrees  of  the  staff. 


No.  11. 


'  X  .  7 - 

0 « - J 

t_ 0  ^ 

tr  » a  • iz.  a 

r - 1 ~ - f - r - c  |  1= -  - « - - 

Sol,  fa,  mi,  re,  do,  re,  mi,  fa,  sol,  fa,  mi,  re,  do. 

Long  -  er,  short  -  er,  long  -  er,  short  -  er,  half  and  quar  -  ter  notes 

Lit  -  tie  Har  -  ry,  do  not  tar  -  ry,  Win  -  ter  comes  with  joy. 

Down  hill  fast  er,  glad  young  mas  -  ter,  You  shall  ride  ray  boy. 

The  same  pitches,  but  different  tones,  and  different  representations. 


8 


DIFFERENT  REPRESENTATIONS — CONTINUED. 


No.  12. 


Sol. 

fa, 

mi, 

fa, 

mi,  re, 

mi, 

fa, 

sol, 

fa, 

mi,  re, 

do. 

How 

the 

A, 

B, 

C  is 

writ  - 

ten, 

On 

this 

paint  -  ed 

card, 

Now 

you 

dar 

ling 

lit  -  tie 

kit  - 

ten, 

You 

must 

stud  -  y 

hard. 

It 

would 

be 

a 

shame  and 

pit  - 

7i 

Just 

to 

run  and 

play. 

Do 

look 

on 

my 

lit  -  tie 

kit  - 

ty 

Now, 

when 

I  say 

A. 

Keep  the  same  pitches  in  both  of  these  songs. 

No-  13. 


— - - 1 - 

,  *  “1 

—4— 

—4— 

| 

.  P  *  —  - 

1  J_ C 

J 

J 

-  w 

- ” - S - « 

0  ~  ^  * 

— & - 

Sol,  fa,  mi,  re,  mi,  fa,  mi,  re,  do,  re,  mi,  mi,  re,  re,  do. 

Mer  -  ry  we  go,  the  spring  time  is  gay,  the  spring,  the  spring  is  gay. 


Como  to  the  fields  and  wood-lands  a-  way,  To  fields  and  woods  a  -  way. 
Como,  for  the  birds  and  blos-soms  are  there ;  Are  there  this  bright  spring  day. 

No.  14. 


- - : - « - z - j - 

.  - “ 

,  ~  . 1  ~  ' 

*  *  0  - 

Sol,  fa,  sol,  fa,  mi,  re,  mi,  re,  d< 

Come  and  lis  -  ten  while  I  tell  you  ir 

How  wo  chil  -  dren  sought  the  for  -  est,  ii 

How  the  but  -  ter  -  nuts  de  -  fied  us  fro 

They  were  then  a  lit  -  tie  ver  -  dant ;  tl 

j,  re,  mi,  re,  do. 

a  sim  -  pie  rhyme, 

r  the  nut  -  ting  time, 

m  the  top  -  most  boughs ; 
ey  are  dry  -  ing  now. 

CHAPTER  IV. 


Although  wo  may  have  our*  live  pitches  represented  by  aiiy  five  degrees  of  the  staff  that  are 
next  to  each  other,  it  is  common  to  have  them  represented  in  only  two  ways  or  places.  In  ono,  the 
fourth  space  stands  for  G,  like  No  1.0,  and  in  the  other,  the  second  lino.  This  we  have  not  tried,  hut 
will  do  so  now.  If  the  second  line  is  made,  to  stand  for  the  pilch  G,  what  will  stand  for  Ft  (First 
space.)  What  for  FI  What  for  Df  Well,  here  we  are  at  the  lowest  space  of  the  staff,  as  we 
havo  heretofore  represented  it,  but  it  may  ho  enlarged  by  adding  more  degrees  when  they  are  wanted. 
Wo  now  want  a  degreo  below  tliespaco  to  represent  the  pitch  of  C,  and  wo  get  it  by  adding  a  short 
line,  thus: 


After  exercising  a  little  while  on  this  plan  of  representing  the  five  pitches  by  pointing,  the 
teacher  says:  There  is  a  character  called  the  treble  clef,  which  is  always  placed  on  the  staff  when 
the  second  line  is  to  staud  for  G,  and  another  called  the  base  clef,  which  Is  always  used  when  the 
fourth  space  is  to  staud  for  Q 


CLEFS  CONTINUED  AND  MEASURES. 


9 


No.  15. 


Lit  -  tie  May,  come  and  play,  with  my  pret  -  ty  paint  -  ed  sled, 
I  will  guide,  you  shall  ride,  till  the  west  -ern  sky  is  red. 


No.  16. 


-1 

)•  *  f  m  -  *  r  ' 

C "  a  f 

2 - r  .  

r  t  r  r_ r  1 

w ® 

'  ^ - 1  .  1  ■=: - - - ^ - 

Sol,  fa,  mi,  re,  mi.  fa,  sol,  sol,  fa,  mi,  fa,  mi,  re,  do. 

Space  the  fourth  for  base  clef  Gr,  and  the  sec  -  ond  space  for  C. 

Line  the  fourth  for  let  -  ter  F,  (mind  this  is  no  tre  -  hie  clef.) 

And  the  let  -  ter  A  has  place  on  the  fifth  line  and  first  space. 

Line  the  third  has  let  -  ter  D;  line  the  sec  -  oDd  stands  for  B. 
O’er  the  staff  make  care  -  ful  search,  let  -  ter  E  must  have  a  perch. 


CHAPTER  V. 


The  teacher  says:  Notice  how  many  times  I  count  one,  two,  fee.  He  then  counts  one,  two,  four 
times,  making  the  counts  even,  and  about  as  fast  as  quarter  notes.  How  many  times  did  I  count  one, , 
two  !  (Four  times.)  All  do  the  same.  The  time  it  takes  to  count  each  one,  two,  is,  in  music,  called 
a  measure,  meaning  a  measure  or  portion  of  time.  Count  again  four  measures,  and  while  you  are 
filling  these  measures  or  portions  of  time  with  counts,  notice  what  I  fill  them  with.  (The  teacher 
sings  quarter  notes  at  the  pitch  G,  to  the  syllable  la,  while  they  count.)  In  how  many  measures  did 
you  count,  and  I  singt  Hoiv  many  notes  did  I  sing  in  each  measure  t  What  kind  of  notes  were  they, 
half  or  quarter t  Now  I  will  count  while  you  sing  quarter  notes.  The  teacher  then  says : 
There  are  two  kinds  of  spaces  used  in  writing  or  printing  music.  The  kind  you  already  know,  are 
those  that  are  between  the  horizontal  lines  of  the  staff,  and  that  stand  for  the  pitches  of  sounds. 
The  others  are  used  to  stand  for  measures,  and  are  between  perpendicular  lines,  thus  :  )  |  |  | 

and  these  spaces  arc  called  measures,  although  they  are  not  the  real  ones.  How  many  quarter  notes 
did  we  sing  in  each  measure  t  Then  how  many  should  I  pul  in  each  of  these  spaces  or  signs  of  meas¬ 
ures  f  The  lesson  would  then  be  written  thus: 

r  i  i  r  r  i  r  r  i  r  r  n 

The  perpendicular  lines  that  divide  the  surface  of  the  board  into  the  spaces  that  stand  for  measures, 
are  called  bars,  and  the  two  that  are  near  together,  to  close  with,  make  what  is  called  a  double  bar. 
How  many  measures  are  there  here  t  How  many  bars?  Count  four  measures  again.  (The  teacher 
now  sings  half  notes,  one  in  each  measurj,  while  they  count,  and  then  questions.)  You  may  ting 


10 


MEASURES  CONTINUED  AND  EXERCISES 


half  notes  while  I  count.  I  will  always  count  one  measure  before  you  commence,  that  we  may  get 
a  good  idea  of  the  time,  and  begin  exactly  together.  After  this  is  done,  the  teacher  and  class  count 
and  sing  alternately,  without  losing  the  time,  or  stopping  between  the  lessons.  While  the  class 
«ount  eight  measures,  the  teacher  sings  a  lesson,  which  the  class  immediately  imitates,  the  teacher 
taking  up  the  counting  without  stopping  the  regular  movement,  then  when  they  get  through  sing¬ 
ing,  they  strike  into  the  counting  again,  and  the  teacher  sings  another  lesson,  or  other  words  to  the 
same.  The  following  lessons  will  be  good  for  this  purpose.  Alternate  singing  is  very  important,  as 
there  are  many  things  of  time,  pitch,  breathing,  enunciation,  pronunciation  and  style,  that  can  be 
learned  in  no  other  way  than  by  imitation. 


No.  17. 


r  r 

i  r  i 

|  f 

0 

1 

i  r ! 

i  r 

r  i 

r  r  i 

& 

1 

1  f  II 

La,  la, 

la, 

la, 

la, 

la, 

la, 

i<b 

la,  la, 

1 

la, 

la. 

See  the 

trees, 

in 

the 

breeze, 

All 

their  branch  -  es 

wav 

-  ingi 

Here  the 

brook, 

ev  - 

’ry 

nook, 

Are 

its 

wat  -  ers 

lav  • 

■  ing. 

No.  18. 

1®  1  f 

r  i 

\ 

i  r 

r  i 

r 

i  r 

r  |  r 

r  | 

\  || 

1  1  1 

La,  la, 

la, 

la, 

la, 

la, 

i 

la, 

la, 

la,  la, 

i», 

la, 

Go  win 

-  ter, 

go 

win 

-  ter, 

Come 

pleas 

-  ant  sum  - 

mer 

time. 

Oh  !  bow 

-  ers, 

glad 

bow 

-  ers, 

When 

will 

your  ten  - 

drils 

climb, 

Oh  !  flow 

No.  19. 

-  ers, 

bright 

flow 

-  ers, 

When 

will 

your  sweet 

bells 

Chime. 

Sol, 

sol, 

sol, 

fa, 

fa, 

fa,  ml,  mi, 

re, 

do, 

do. 

Ma  - 

ry 

Ann, 

Ma  - 

ry 

Ann,  Where  are 

you 

go  - 

ing? 

O’er 

the 

hill 

to 

the 

mill  -  brook  bright 

-  ly 

flow  - 

ing, 

There1  s 

the 

boat, 

just 

a  - 

float.  Shall  we 

go 

row  - 

ing? 

No.  20. 


Sol, 

fa, 

mi 

re, 

mi, 

fa, 

sol, 

fa, 

mi 

re, 

do, 

do. 

Lot 

me 

see, 

let 

you 

800, 

What  was 

I 

then 

say  - 

iug, 

(Tho’  ts 

that 

roam, 

hur 

•  ry 

home 

1  You 

are 

sad 

-  iy 

stray  - 

ing.) 

Oh 

1  twas 

this; 

if 

we 

miss 

ilt 

our 

re 

-  ci 

-  ta  - 

tions, 

We 

shall 

be, 

cer 

-  tain 

-  ly  dropped 

to 

low 

*  er 

sta  • 

lions. 

DEVELOPMENT  OF  THE  SCALE  AND  OCTAVE. 


11 


CHAPTER  VI. 


The  teacher  sings  Q  again,  and  then  A  to  the  syllable  la.  After  the  class  hare  imitated,  he  tells 
them  that  the  name  of  the  new  pitch  is  A,  and  that  the  syllable  la  is  often  used  in  singing  it. 

Sing  quarter  notes  to  the  pitches  I  call  for,  using  the  syllables  sol,  la,  &c.  G,  A,  G,  A,  G,  F,  E,  D( 
C,  D,  E,  F,  G,  G,  G.  What  degree  of  the  staff  represents  the  pitch  O  when  the  treble  clef  is  usedt  If 
the  second  line  of  the  staff  is  used  to  represent  the  pitch  G,  what  wottld  properly  represent  the  new  pitch 
At  (Socond  space.)  What  represents  the  pitch  G  when  the  base  clef  is  used t  If  the  fourth  space 
stands  for  G,  what  would  stand  for  A  ?  How  many  pitches  have  we  now  l 


Sing  -ing  on  the  tree  -top  high,  Who  has  home  so  blest  as  I  ? 

Lit  -  tie  nest- lings  chirp  to  me;  And  my  mate  sings  chee,  chee,  chee. 


No.  22. 


rvj  Q 

-G— 

3 - 

# 

0 — 

PI- _ 

0 

—0  a 

Z 

— 

i - 

Sol 

la 

sol, 

fa,  mi,  fa, 

sol, 

la, 

sol, 

fa,  mi, 

re, 

do. 

Oh  1 

ho  ! 

how 

we  go,  From 

fast 

to 

slow, 

from  high 

to 

low. 

Oh  1 

ho  ! 

life  barques  go,  From 

fast 

to 

slow, 

from  high 

to 

low. 

The  teacher  now  sings 

G,  A  and  B,  in  half  notes  to  the  syllable  la.  After  the  class 

have  done 

the  same,  he  gives  them  the  names  of  the  new  pitch,  and  the  syllable  si,  and  exercises  them  a  few 
minutes  by  calling,  perhaps  as  follows:  G,  A,  B,  A,  G,  A,  B,  A,  G,  F,  E,  D,  C,  the  class  singing  half 
or  quarter  notes  as  he  may  direct.  How  many  pilches  have  we  now  t 

The  teacher  then  gives  out  G,  A  and  B,  in  half  notes,  to  tho  syllable  la,  and  asks  if  B  is  a  good 
pitch  to  6top  on.  If  they  do  not  perceive  that  another  pitch  is  wanted  to  make  completeness,  tho 
teacher  begins  at  the  lower  pitch  C,  and  goes  up  in  half  notes,  stopping  again  on  B.  It  is  probable 
that  all  will  then  feel  the  want  of  another  pitch,  and  at  the  teacher’s  direction,  will  give  it  readily. 
How  many  pitches  have  we  now  t  (Eight.)  What  is  the  name  of  the  lower  one  t  (C.)  Name  these 
pitches  from  the  lowest  up  to  B.  Listen  while  I  sing  the  new  pitch  again,  (to  syllable  la,)  Now 
listen  to  the  lowest  pitch.  All  sing  the  lowest  pitch  while  I  sing  the  highest.  One-half  of  the  class 
listen  while  the  other  half  and  I  sing  these  two  pitches.  Now  the  other  half  listen.  (The  teacher 
divides  the  class  as  it  may  be  convenient.)  You  perceive  what  a  singular  agreement  there  is  between 
these  two  pitches.  (The  teacher  may  make  it  more  apparent,  if  he  thinks  best,  by  singing  B,  or  A, 
or  0,  while  the  class  sing  C,  and  then  again  the  lowest  and  highest  pitch.)  Partly  <»u  account  of 
this  agreement  these  two  pitches  have  the  same  name  C.  We  will,  for  the  present,  call  them  the 
lower  0  and  the  upper  C.  They  have,  also,  the  same  syllable,  do.  It  is  said  to  be  an  octave,  from 
me  C  to  the  next 


12 


SCALE  COMPLETE  /  b  KEY  NOTE. 


Let  ns  now  sing  from  the  lower  C  to  the  upper,  and  then  from  the  upper  to  the  lower,  making  um 
of  the  syllables,  do,  re,  mi,  &c.,  attending  to  length,  position,  pitch,  breathing,  enunciation,  pro¬ 
nunciation,  and  everything  that  will  make  our  singing  sound  well.  After  this  is  done,  the  teacher 
sings  to  tho  syllable  la,  as  follows: 

No-  23. 


And  says  :  Is  this  a  good  stopping  or  resting  place  t  He  then  sings  the  same,  but  adds  E,  and  asks  it 
that  will  do  for  a  stopping  place.  After  tho  answer,  which  will  probably  be  in  the  negative,  he  sings 
the  same,  but  now  with  the  addition  of  E  and  D.  After  the  questioning  about  D  for  a  stopping 
place,  he  sings  the  same  again,  and  after  holding  thorn  a  little  in  susponso  on  D,  says  you  may  all 
give  tho  pitch  that  will  make  a  good  stopping  or  resting  place,  a  horns.  They  all  give  C.  Tho  whole 
lesson  will  be  thus : 


No.  24. 


“1 — 

4  m 

-  r  -  -  « 

§ 

L.  .  * - 

— 1— - 

— 

"  CJ 

— s> - 

'—a 

— 

Sol,  la,  si,  la,  sol,  fa,  mi,  re,  do. 

And  the  teacher  says :  The  pitch  that  is  the  best  to  stop  on,  is  called  the  key  note.  Which  of  all 
the  pitches  is  the  key  notet  Let  us  see  if  tho  upper  C  is  a  good  key  note  also.  He  then  sings  first  to 
high  A,  in  a  lesson  like  the  following,  and  questions  as  before : 

No.  25. 


After  stopping  on  B,  and  letting  the  class  finish  by  giving  C,  tho  teacher  says :  You  see  that  this 
npper  C  does  very  well  for  a  key  note,  although,  perhaps,  not  quite  so  satisfactory  as  tho  lower. 

All  sing  from  the  lower  key  note  to  the  upper,  with  the  syllables,  do,  re,  mi,  Ac.  Such  a  succes¬ 
sion  of  eight  pitches,  including  the  two  key  notes,  is  called  in  music  a  scai.e.  Sing  tho  scale  ascend 
ing  and  descending  it  quarter  noteB. 

No.  26. 


- - -  ■■■—  T  ■  -1 - ' - 

■  T  ""i ^ 

# 

m 

• 

A L  1  !  ; 

V  17 

i  ^ 

.  *  0  

-  0  c  n 

Do,  re  mi,  fa,  sol,  la,  si,  do,  do,  si,  la,  sol,  fa,  mi,  re,  do. 

0  come  and  sing  the  scale  with  me,  Don’t  let  our  voi-  ces  die  -  a  -  gree. 
Now  sing  a -gain  right  nier  -ri  -  ly,  How  pass -ing  sweet  is  liar  -  rno  -  ny. 


SCALE  NAJWl  AND  EXERCISES, 


13 

We  sometimes  find  it  convenient  to-name  the  sounds  of  a  scale  by  some  of  the  names  of  num¬ 
bers.  The  lower  key  note  is  called  one  ;  the  tone  next  above  it  two,  and  so  on  up  to  eight.  TV  hat  is 
the  pitch  of  one?  Twot  Three.*  <tc.  As  I  give  you  the  names,  you  may  give  me  the  sounds  that 
they  call  fon,  to  the  syllables,  do,  re,  mi,  Ac. 

One,  two,  three,  four,  five,  five,  five,  five,  six,  six,  seven,  eeven,  eight,  eight,  eight,  eight,  eight, 
seven,  six,  six,  five,  five,  four,  four,  four,  three,  three,  two,  two,  one. 

Tho  letter  names  we  will  call  pitch  names,  and  tho  number  names,  scale  names. 


i 


-5»- 


Scale  names, 

One, 

two, 

three, 

four, 

five, 

six, 

seven, 

eight. 

Pitch  names, 

c, 

D, 

E, 

F, 

G, 

A, 

B, 

C. 

Syllables. 

Do, 

re, 

mi, 

fa, 

sol, 

la, 

si, 

do. 

« - 

a — 

■H- 

In  the  following  lessons,  it  will  be  well  before  singing  each  one,  to  question  thus:  Which  clef 
is  here  used  ?  Which  degree  of  the  staff  stands  for  the  pitch  Gf  Which  degree  then  for  the  lower  hey 
note  ?  Which  for  the  upper  t  llow  many  measures  are  in  the  lesson  ?  Hoiv  many  bars,  counting  the 
double  bar  as  one?  What  occupies  the  first  measure?  (half  or  quarter  notes.)  What  the  second?  {and 
bo  on  all  through.)  W hat  is  the  pitch  name  of  the  first  tone  *  Second  ?  Ac.  What  the  scale  name  of 
the  first  ?  Second  ?  Ac.  It  would  be  well  also,  occasionally,  to  ask  such  questions  as  these :  What 
position  shall  we  take,  whether  we  sit  or  stand,  while  we  sing?  Shall  we  take  a  full  breath,  or  but  lit¬ 
tle?  Shall  we  make  the  voices  sound  pleasant  or  harsh?  Shall  we  speak  carefully  and  distinctly,  or 
indistinctly?  Ac.  Sing  first  with  la,  then  with  syllables,  do,  re,  mi,  Ac.,  and  at  last  with  tho 
words. 


No.  27. 


- — 

- 1— 

-  4  -k  H- 

3 

A 

0  M 

<  * 

z'  : 

4 

a 

— 

— 0 

& 

-1 - 

— 

Do,  do,  re,  re,  mi,  fa,  sol,  la,  sol,  la,  si,  do,  do. 

1.  Where  is  lit  -  tie  Su  -  sie  gone?  See  what  I  have  brought  her, 

2.  She  is  at  the  riv  -  er  side,  Play  -  ing  pranks  with  Ro  -  ver, 


-P  .  ^=j 

- tq 

| 

i , 

# 

9 

■ 

( 

T  ' 

gP-l  -  ^ 

-1 - 

w  9 

L-# - « 

— 

— 

Do,  do,  si,  si,  la,  la,  sol,  sol,  fa,  mi,  re,  do.  do. 

Sweet  -  est  blos-soms  from  the  lawn,  Lil  -  ies  from  the  wa  -  ter, 

See  a  -  round  his  neck  she’s  tied,  Wreaths  of  pur  -  pie  clo  -  ver. 


14 


SCALE  EXERCISES — CONTINUED 


No.  28. 


Do,  do,  si,  si,  la,  la,  sol,  fa,  mi,  re,  do,  re,  re. 

1.  She  who  gives  the  wrink-led  frown,  For  the  smile  and  dim  -  pie. 

2.  Life  hath  man  -  y  thorn  -  y  ways,  Ere  we  reach  the  riv  -  er, 


Re,  re,  mi,  mi,  fa,  fa,  sol,  la,  sol,  la,  si,  do,  do. 

Lays  her  bright  at  -  trac-tions  down,  And  is  worse  than  sim  -  pie. 
Smiles  will  light  the  tang  -  led  maze,  Sun  -  light  blest  for  -  er  -  er. 


No.  29. 


-t 

— - 

/ 

I 

I 

1 

). 

fr 

J 

J * 

|  | 

V 

— J 

■ 

— 

0  * 

>  0 

- *— 1 

G 

Do.  re,  mi,  mi,  fa,  sol,  la,  sol,  fa,  mi,  re,  mi,  fa. 

1.  Come  with  me,  ev  -  ery  one,  And  you’ll  find  we’ll  have  some  fun, 

2.  In  the  pond  throw  some  sticks,  Dogs  are  fond  of  all  such  tricks. 


Car  -  lo  there !  come  a  -  way!  You’re  a  rare  dog  at  our  play. 
“  Get  it,  sir !”  it  is  done  I  Car  -  lo,  too,  en  -  ioys  our  fun 


No.  30. 


- -z — 

—  t- - 

& 

" — 73 - 

*-)•  r 

I  r 

r 

J 

I 

— - 

- 1 - 1 - 

0  0 

- j - 

1 - 

-"t 

Sol, 

1.  Where 

2.  If 

sol,  fa, 

1  tell  me 
thou  shalt 

— i — 

mi, 

vhcre 

give 

— 1 - 1 - 

mi,  re, 

is  Ce  - 

all  the 

do,  ro, 

leste,  what 
heart’s  af  - 

— 1 - J 

mi,  (< 

shall 

fec-tion 

m  a 

I 

9 

sol, 
give 
ev  - 

sol. 
her  ? 
er ; 

-**■ 

cy — p— 

rf—  0 

-  O 

0  » 

* 

-t - 

j 

J  E 

-1 - j— 

.  I. 

- h 

— \ - 1 - 

II 

La, 

There 

No 

la,  sol, 

o  -  ver 
jow’r  on 

fa. 

here, 

earth 

fa,  sol, 

in  a 

shall  your 

In,  la, 

house  be  - 
lo7  -  ing 

si,  ’  si. 
side  the 
spir  -  its 

do, 

riv 

sev 

do. 

er. 

-  er. 

MEZZO,  FORTE,  PIANO. 


15 


CHAPTER  VII. 

All  sing  four  quarter  notes  to  the  pitch  of  G,  and  try  to  have  them  neither  loud  nor  soft,  but 
nedium  in  strength  or  power.  Now  again,  but  sing  them  loud — not  very  loud,  but  somewhat 
stronger  than  medium  Now  medium  again.  Now  soft — not  very  soft,  but  less  than  medium  in 
strength. 

In  the  science  of  music  when  they  wish  us  to  sing  medium  sounds  they  say  mezzo,  (pronounced 
metzo,)  or  write  the  letter  M  (which  stands  for  mezzo)  over  the  note  or  lino. 

Instead  of  loud,  they  use  the  word  forie,  or  the  letter  F.  Instead  of  soft,  the  word  piano,  or  the 
»etter  P. 

Now  sing  a  half  note  to  tho  pitch  G  each  time  I  call.  Mezzo,  forte,  mezzo,  piano,  mezzo, piano,  forte, 
piano,  mezzo,  <£c. 

No.  31. 


in 


/tv  "  i 

l 

■ 

"i  . 

- 

— 

— 

.  j  .. . 

— -d 

- d-1 

\—4 

i 

Do,  do,  do,  do,  do,  do,  do, 

1.  When  yo-u  see  the  let  -  ter  M, 

2.  Then  a  glad,  he  -  ro  -  ic  strain, 


do,  re,  mi,  fa  sol,  sol, 
Mez  -  zo  you  must  sing,  sir, 
For  our  coun  -  try  chant,  sir, 


4- 


sol,  sol,  sol,  sol,  sol,  sol,  sol, 

But  when  F  is  writ  -  ten  down, 

Let  the  wel  -  kin  ring  a  -  gain, 
No.  32. 


sol,  sol,  la,  si,  do,  do. 

Make  the  mu  -  sic  ring,  sir. 

At  the  name  of  Grant,  sir. 


BE 


=t 


- 1- 


Do,  do,  re,  mi,  mi,  re,  mi, 

1.  Soft  -  ly  sing,  soft  -  ly  sing,  Let 

2.  Sweet  and  low,  sweet  and  low,  As 


fa,  sol,  la,  sol,  fa,  mi,  re, 
the  tones  be  sweet  and  low;  Wlien- 
the  whis-per  of  the  blest ;  When 


W=\ 

--  1  -"1 

f— 

- 4 

- j - 

- - - 

A  ,  ■ 

— #- 

X-ri~  -J 

9  9 

L# - 

-I 

Do,  do,  re,  re,  mi,  mi,  re,  mi,  fa,  sol,  fa,  mi,  t«,  do. 

e’er  you  see  the  let  -  ter  P,  For  it  means  sing  soft,  you  know, 

near  to  us  the  dear  ones  are,  And  the  heart  is  hush’d  to  rest. 


No.  33. 


-fi 

— ; - r 

'  1  -f 

- n 

/ 

1  1 

■  1  1 

II 

rvi  1 

"3  9 

9  9 

1 1 

gP — 1  ■ J- 

-0 - 0 

'4= 

z=L  .11 

Do,  re,  ml,  fa,  sol,  la.  sol,  sol,  fa  sol,  la,  si,  do,  do. 

Mez  -  zo,  fcr  te  and  pi  -  an  -  o,  me  -  dium,  loud  and  gen -tie; 

Give  them  out  in  oj  der  fair  with-cut  a  frowj  or  wrin  -kle. 


16 


DEPARTMENTS  IN  MUSIC. 


The  teacher  sings  a  half  and  quarter  note,  making  them  alike  in  pitch  and  power.  How  many 
sounds  did  I  sing  ?  Were  they  alikt  or  different  ?  Did  they  differ  in  length,  pitch,  or  power  t  What 
is  Che  first  length  called  t  (Half  note.)  T he  second  ? 

The  teacher  now  sings  the  pitches  G  and  F,  making  them  alike  in  length  aud  power.  Did  thest 
sounds  differ  in  length,  pitch,  or  power  ?  What  is  the  name  of  the  first  pitch  ?  The  second  ? 

The  teacher  now  sings  two  sounds,  one  loud  and  tho  other  soft,  but  making  them  alike  in  length 
and  pitch.  Did  these  sounds  differ  in  length,  pitch,  or  power  l  What  is  the  name  of  the  first  power  f 
The  second?  How  many  lengths  of  sounds  have  we  learned  f  What  are  their  names t  How  many 
pitches  of  sounds  have  we  learned  f  Name  them,  beginning  at  the  lowest.  How  many  powers  of 
sounds  have  we  lear  ned  ?  IP  hat  are  their  names  t 

Can  you  make  a  musical  sound  without  any  length  ?  Do  you  suppose  that  you  can  make  one  without 
any  pitch?  Can  you  make  one  without  any  power ?  No;  evory  tone  must  have  some  length,  some 
pitch,  and  some  power ;  but  we  may  attend  especially  to  one  thing  at  a  time — that  is,  wo  may  keep 
the  same  pitch,  and  same  power,  and  practice  a  good  many  different  lengths;  or  we  may  keep  the 
same  length,  and  same  power,  and  practice  different  pitches  ;  or  the  same  length,  and  same  pitch, 
and  practice  different  degrees  of  power,  as  we  have  done,  or  we  may  continue  them  all  together,  aud 
In  the  same  piece  have  differences  of  pitch,  and  differences  of  power,  as  wo  have  also  done. 

What  is  that  department  in  mathematics  called  in  which  you  study  about  adding  numbers  together  ? 
What  is  it  where  you  study  about  taking  one  number  from  another?  Well,  it  is  just  on  that  principle 
In  music.  When  we  are  studying  especially  about  the  length  of  sounds,  we  are  in  a  department 
called  Rhythmics.  When  we  are  studying  about  tho  pitch  of  sounds,  we  are  in  a  department  called 
Mblomcb.  When  we  are  studying  about  tho  power  of  sounds,  we  are  in  a  department  called 
Dynamics.  What  is  the  name  'of  the  department  in  music  that  treats  of  the  length  of  sounds?  What 
is  the  name  of  the  department  that  treats  of  the  pilch  of  sounds  ?  What  that  treats  of  the  power  of 
sounds?  Yes,  aud  Rhythmics,  Melodics,  and  Dynamics  include  everything  of  this  subject,  When 
you  know  all  about  these  three  departments,  you  will  know  all  that  can  be  known  of  music. 

Are  notes  rhythmic,  melodic,  or  dynamic  characters  ?  Is  the  staff  a  rhythmic,  melodic,  or  dynamic 
character  ?  How  about  clefs,  bars,  d-c.,  dc. 

When  no  dynamic  mark  is  given,  mezzo  Is  always  understood. 


No.  34. 


— 

=r  =q= 

- 1 - 

— 9 — 

i  ■■  h  — 
—0 — #— 

Sol, 

1  Oil, 
2.  Rhytli 


sol,  sol,  sol,  sol,  sol,  la,  sol,  fa,  mi,  re,  mi. 

lis  -  ten!  do  list —  the  bird  up  •  on  the  high  -  cat 

mica,  yes,  Rhyth  -  mics  and  Me  -  lod  -  ics,  and  Mo  -  lod- 


m 


:=|z=t= 

-1- 

*  - 

S' 

. . 

3= 


/ 


—I — ■-)- 


la, 


la,  la,  la, 

la, 

Bi, 

si, 

si, 

si, 

do, 

—sings  choe,cheo, 

IS 

sing 

-  m 

un 

-  to 

me. 

-  ics,  Dy  -  uain  - 

ics, 

last 

of 

all 

tho 

three. 

TRIPLE  MEASURE. 


17 


CHAPTER  VIII. 


The  teacher  says :  Count  four  measures  of  time,  but  instead  of  saying  one,  two,  in  each  measure, 
say  one,  two,  three ;  that  will  mako  the  measures  a  little  longer.  Count  evenly  and  steadily,  letting 
tho  voice  drop  at  the  last  count  of  each  moasure. 

Now  I’ll  count  and  you  sing  quarter  notes  to  the  pitch  of  G.  That  would  be  represented  thus- 

No.  35. 


f  f 

r 

1  f  f 

0 

i 

i  r  r 

r 

1  f 

la, 

• 

1 

£ 

1  1 

La,  la, 

la, 

1  1  1 
la,  la, 

la, 

■  i  i 

la,  la, 

la, 

la, 

Cheer  -  ful  - 

iy» 

Care  -  ful  - 

iy> 

Hope  -  ful  - 

iy, 

Joy  - 

ful 

•  iy- 

Measures  that  have  three  parts  are  called  triple  measures  ;  those  that  we  have  been  practicing 
are  called  double  measures. 

Sing  four  triple  measures,  putting  a  half  and  quarter  note  in  thus : 


No.  36. 


£ 


r 

la, 

0  llOW 

Now  each  measure  again,  filling  each  measure  with  a  single  sound, 
named  dottbd  half  note.  It  is  represented  thus:  Uo.  87. 

La, 


? 

# 

| 

P  f  1 

s> 

1 

r 

la, 

la, 

II  II 

la,  la. 

la, 

la. 

long 

the 

way  we’re 

go  - 

ing. 

II 


This  is  a  new  length,  and  is 

?  '  IP'  I  ?■ 

la,  la,  la. 


How  slow,  we  go. 

To  which  department  does  the  new  measure  and  the  new  note  belong,  Rhythmics,  Melodics,  or  Dy¬ 
namics  f  Before  singing  the  following  lessons,  question  about  the  measure,  the  kind  of  notes,  clef, 
pitch  names,  scale  names;  and  if  necessary,  remind  the  class  about  [osition,  breathing,  giving  out 
the  tone,  enunciation,  and  pronunciation. 


No.  38. 


m 


- j - 1 - 1 - 

-1  — k- 

- L — 

- 1 - 1 - 1 

^ - * - * 

- - ( - 1 - 

— 0 - 0 - 0 - 

~eh~ 

- 0 - * - 

Do,  do,  do,  re,  re,  re,  mi,  mi,  mi,  fa,  sol,  sol,  sol. 

1.  Now  let  the  tones  of  the  new  meas  -  ure  ring,  For  you  will 

2.  Un  -  writ  -  ten  meas-ures  much  sweet  -  er  can  be,  Songs  of  the 


find  it  a  ver  -  y  good  thing:  ver  -  y  good  thing;  ver  -  y  good  thing, 
wood-bird, the  hymn  of  the  sea,  hymn  of  the  sea- hymn  of  the  sea 


18 


EXERCISES  IN  TRIPLE  MEASURE. 


No.  39. 

I  want  this  song  to  go  faster,  so  I  mark  it  AVegro,  (pronounced  AXlaygrow,)  the  musical  word  lot 
quick,  lively.  The  way  we  have  been  singing  would  be  called  moderate,  (pronounced  modarahtow.) 


a  i.  mono 


0 


Sol, 

sol. 

sol, 

la, 

sol, 

sol, 

SOl; 

la,  sol, 

sol, 

sol. 

1. 

Haste 

ye 

a  - 

way  1 

haste 

ye 

a  - 

way  1  For 

it 

is 

2. 

Haste 

to 

the 

wild, 

maid  - 

en 

and 

child;  Where 

is 

the 

_ A  _ A 0  _  0 _ 0  Tl _ 

0 

rv* 

" r  r 

i  r 

r 

m  w 

a 

■ 

l 

_ 

A 

1  A 

1 

1  | 

La,  la,  la,  si,  si,  si,  do,  si,  la,  sol,  boI,  sol,  la. 

com  -  ing,  ’  tis  com  -  ing,  1  tis  com-ing,  0  haste  ye  a  -  way, 

drum-ming, the  chirp  and  the  hum-ming;  0  there  Spring  hath  smil’d. 


Sol,  sol, 
Haste  ye 
Haste  to 


sol,  la,  sol,  sol 

a  -  way,  For  it 

the  wild,  Spring  time 


sol,  la,  la,  la,  si,  si,  si,  do. 

is  com-ing,  the  beau  -  ti  -  ful  day. 
is  com-ing,  sweet  maid-en  and  child. 


No.  40. 

I  want  the  next  song  to  go  slow,  so  I  mark  it  Andante,  which  in  music  means  rathor  slow. 


i 


fa. 


Do,  do,  ei,  la,  sol,  la,  la,  sol,  la,  la,  sol,  fa,  mi,  fa, 

1.  Slow  -  ly  sound-ing  a  -  long  the  dell,  Hear  the  tones  of  the  eve  -  ning 

2.  Soft  -  ly  tril-leth  a  child-ish  lay,  Birds  and  boos 'mid  the  bios  -soma 


i? - 

.... 

1  -  | 

I  11 

whs - 

— | - 1- 

- 1 - \- 

— 1 - -U 

- 1- 

— - It — r~t  1 

Uw  -d 

■A—  • 

- j- 

-~-+ 

Mi, 

re,  mi,  fa,  mi,  re, 

mi,  fa, 

sol,  fa, 

mi,  mi, 

re,  re,  do. 

bell,  Rest  from  la  -  bor  its  num-bers  toll;  Its  plain-tive  mnn-bers  tell. 
Kay,  These  we  heard  when  the  morn  was  grey;  A  sim  -  pie,  bird-  liko  lay. 

What  does  allegro  meant  Mode.ratol  Andante. t  To  which  department  do  tlwse  terms  belong t 
That  is,  have  they  to  do  with  the  length  of  sounds,  or  the  pitch  of  sounds,  or  the  power  of 
sounds  ? 

Make  four  measures  of  time  again,  but  now  let  them  bo  long  enough  to  j  ut  fair  counts  iut« 
each  moasuio,  iustoad  ot  three,  that  is  say  ouo,  two,  throe,  four,  in  each 


QUADRUPLE  MEASURE  AND  WHOLE  NOTE 


19 


CHAPTER  IX. 


Now  while  I  count,  yon  may  sing  quarter  notes  to  the  syllable  la,  on  the  pitch  G,  four  in  each 
Measure. 

This  is  QUADRUPLE  MEASURE. 

No.  41 

rrrrirrrnrrrnrrrr  n 

La,  la,  la,  la,  la,  la,  la,  la,  la,  la,  la,  la,  la,  la,  la,  la. 

Ev-’ry  step  that  we  are  tak-ing.  Shows  some  prog-ress  we  are  mak-ing. 
Ev-’ry  rill  that  seeks  the  riv-er,  .Swells  the  cur-rent  on  and  ev  -  er. 

Now  sing  a  half  and  two  quarter  notes  in  each  measure;  pitch  G;  syllable  la.  I’ll  count. 


No.  42. 


©  #  # 

1  1 

ip  r  r  | 

P 

r  r 

1  P 

r  r  ii 

1  1  1 

La,  la,  la, 

la,  la,  la, 

la, 

i  i 

la,  la, 

la, 

la,  la. 

Half,  quar  -  ter, 

half,  quar  -  ter, 

half, 

quar  -  ter, 

half, 

quar  -  ter. 

0,  Wil  -  lie, 

no  oth  -  er, 

sings 

like  you, 

dear 

broth  -  er. 

Now  a  dotted  half  and  quarter  in  each  measure. 

No  43 

f  ’  f 

i  i r  r  i 

f 

•  r  i 

©  * 

1 

f  II 

La,  la, 

la,  la, 

la, 

la, 

la. 

la. 

Help  me, 

help  me 

sing 

this 

long 

note. 

Fare  -  well, 

Fare  -  well 

sum 

-  mer 

ro 

ses, 

On  your 

sweet  dust 

snow 

re 

po  - 

ses. 

Now  fill  each  measure  with  a  single  sound: 

sam  e 

No.  44.  © 

1  s> 

i  ©  i  ©  i 

pitch;  same  syllable.  This  leugth  is  called  a  whole 
note,  and  is  represented  thus : 

Whole  note; 

long  sound. 

Shull  we.  put  the  whole  note  among  the  things  of  Rhythmics,  Melodics,  or  Dynamics  t  Where  shall 

we  put  the  new  measure,  f  Mow  many  lengths  have  we  now  t  Name  them. 


20 


EXERCISES  IN  QUADRUPLE  MEASURE. 


No.  45. 

If  we  wish  to  have  a  piece  of  music  go  a  little  faster  tnan  moderate,  yet  not  quite  so  fast  as  Alio 
gro,  we  mark  it  Allegretto. 


ALLEGRETTO 


^  * 


Do,  do.  do,  do,  re,  re, 
1  E  -  ven  meas-ure,  what  a 
2.  Roll  for  -  er  -  er,  rap  -  id 


re,  re,  mi, 
ploas  -  tiro,  ’  Tis 
riv  -  er,  Thine 


nti,  mi.  mi,  fa, 
the  time  to  keep; 
a  sweet  -  er  song. 


la, 


la,  si,  si,  si,  si,  do. 


High  -  er  mount  -  ing  to  the  count  -ing,  As  we  on  -  ward  sweep ; 
On  thy  bo  -  som  hill  -  side  bios  -  som  Sea  -  ward  floats  a  -  long. 


No.  40. 


tS.  e>  »  « - 

— 

* — 

9 - 

© - 

i — 

— 1.  T 

— 

'   9  0 

! 

J - 1 - 

— 

- 

- 1 - 

- j - : — 

G  - 

Sol,  sol,  sol,  la,  la,  la,  sol,  fa,  mi,  re,  do,  do, 

1.  Bir  -  die  sweet,  Bir  -  die  sweet,  Where  may  you  be  go  -  ir.g? 

2.  Bir  -  die  sweet,  Bir  -  die  sweet,  When  you  are  re  -  turn  -  ing. 


9  . 

— 

* 

41 

r- 

r — fn 

9- — 0 — 0 — ©- 

-■  1.  i— 

-J 

— 

© 

- i - 

- [ - 

.  . 

L  -IJ 

Ro,  re,  re,  mi,  mi,  mi.  fa,  sol,  la,  si,  do,  do. 

From  the  North,  Has  -  ten  South,  Fear  -  fill  winds  are  blow  -  ing; 

Come  to  me,  Let  me  see  What  new  songs  you’re  learn  -  ing. 


No.  47. 


Do,  do,  do,  do,  si,  si,  do,  do,  do,  do,  si,  si, 

1.  I  toss  you  my  ball,  Then  you  toss  back  to  me.  Aow 

2.  Throw  back  to  me  now,  Shall  I  show  you  just  how  A 


Do,  do,  do,  do,  si,  la,  sol,  la,  sol,  ’  fa,  mi,  re,  do 

to  and  fro.  0  what  a  throw! ’Tis  lodg’d  up  in  a  tree, 

boy  should  play?  This  is  the  way;  The  way  for  boys  to  play. 


STRANGE  STAIRWAYS. 


21 


No.  48 

Let  one  voice  or  a  few  voices  sing  the  words  of  this  exercise,  Afezzo,  and  the  remainder  of  the 
class  the  syllables  of  the  scale  as  they’  occur,  forte,  all  joining  where  it  is  marked  Chorus 


— - 

L 

K — 1~ 

- 1 - 

J 

- 

Do. 


The  first  step  of  the  stair- way  Was  made  of  un-bak’d  bread.  The 


- 

s 

— 

9  9 

I— 1 - 1 - j- 

L  9  '  d  9^ 

=t=t — =t=r 

a  •  — 9  #-J 

-j - 1— 

L-# — sT  *  J 

Re. 

sec  -  ond  was  a  sun-beam  That  shone  from  o  -  ver-head.  The 

m 


- 1 - 

— 1 - 

- - P 

— i — l — 1 

— 0 

- 0 

- 

1— 0 - 0 

- ! - (— 

— 0 — 

-#  *  # 

.  0 — a) 

j.: 

third,  I  stepp’d  up  -  on  my  -  self !  The  fourth  was  dis-  tant,  far.  The 

f  m  f  m 


-€ 

— 

— 1 

— 1 - 1 - i - 

-  |  1  ■ 

:::J - ;  -  - 

t 

Br- 

0 

— 0 

J  J 

.  0 - #  0  4 

— 

“  4i—  & .  a 

— 

fifth,  just  like  a  spir  -  it  seem’d;  Sixth, half  the  Turk’s  Al-lali !  The 


n - 

JL~-  &  —  0 - 0 - 0 — 

—  0 - 0 - -0 - 0 — 

t-  • - 0~0 - -0— 

— 0 - 

— 9 - 

grp. - r^T 

|  j  |  ~1 — 

■  i ....[ 

~t  -  1 

-f - - 

XT'  1  1 

seventh  was  like  the 

o-cean  wave,  The 

rock-ing,  toss-ing 

Si. 

main. 

So 

/ 


chorus. 


1 


m  —M-  • 


7H  i  "i=P 


7  P-p  ir 


:ir~Z0^:r  r 


=t= 


Do. 


i 


to  the  eighth  a  leap  I  gave; ’Twas  un-bak’d  bread  a -gain.  I 

t=3 


4- 


-o - S - - 9 - * - 

hur-  ried  down  an  -  oth  -  er  flight,  Just  like  the  one  be  -  fore  !  Yet 


-» - 0~ 


I 


T- 


I 


3? 


1 


folks  of  note, both  black  and  white, Climb  these  strange  stair-ways  o’#* 


22 


SEXTUPLE  MEASURE  AND  DOTTED  WHOLE  NOTE. 


CHAPTER  X. 


No.  49. 

Make  two  measures  of  time,  but  with  six  counts  in  each.  Now  I  will  count  for  you  to  sing 
quarter  notes;  pitch  O;  syllable  la.  This  is  called  sextuple  measure. 


f  f 

r 

f  r 

n  r 

f 

r 

0 

r 

r 

f  II 

La,  la, 

1 

la, 

la,  la, 

la,  la, 

i 

la, 

i 

la. 

i 

1*, 

1  1 1 
la. 

Long-est 

of 

meas  -  ures 

this  one 

of 

the 

Six 

parts 

is. 

Sing  sextuple  measures  while  I  count,  and  make  three  quarters  and  a  dotted  half,  in  each. 


No.  50. 

r  r  r  nr  r  r  nr  r  rnr  •  r  rn 

La,  la,  la,  la,  la,  la,  la.  la,  la,  la,  la,  la,  la,  la,  la,  la. 

Oh  1  come  and  play,  Sweet  lit- tie  flow’rs,  An-na  and  May;  Play-mates  of  ours. 

Now  sing  four  measures  again,  and  fill  each  measure  with  &  •  \  &  *  I©*  |  ©•  |i 
a  single  sound.  This  length  is  called  a  dotted  whole  note.  La,  la,  la,  la. 

No.  51. 


ALLMOtt 


S3 

* 

-p.. 

0 

0  -  0 

r  r 

t_ 0  • 

"  9 

«  

- fc= 

=t= 

=1 

Do,  do,  do,  do,  do,  do,  re,  mi,  mi,  mi,  mi,  mi,  mi.  fa, 

Clear  and  firm,  hold  the  tones  long;  Take  the  breath  well  to  sus-tain; 

1.  Where  the  sweet  -  est  dai  -  sies  bloom;  Where  the  dews  of  eve  -  ning  fall, 

2.  Heard  we  not  at  clos  -  ing  day,  An  -  gel  wliis-pers  soft  -  ly  call? 


Sol,  sol, 
Strive  in 
Is  a 
When  we 


sol,  sol  sol,  sol,  la,  si,  si,  si,  si, 

each  line  of  the  song, Time,  and  good  tune 

lit  -  tie  gras  -  sy  tomb,  Is  the  grave  of 

laid  our  hopes  a  -  way,  In  the  grave  of 


s*.  si,  do. 
to  main-tain. 


lit  -  tie  Paul; 
lit  -  tie  Paul. 


No.  52. 


AU.ua  RO 


:y . .  .  . . . . 

-zzt=A=^ 

- 1— 

- \ - 1 - 

- - 1 

0*0 

-S-T- 

•  ~  r  * 

g  1 

—j— 

— 1 

— i — i — i — i — 

- * - 0 - 0 

— 0 

Do,  do,  do,  si,  la,  la,  la,  sol,  fa,  fa,  fa,  mi,  mi,  mi,  re. 

1.  Where  are  th*-  gone,  Wil-liam  and  John?  Why  have  they  left  us  to  -  day? 
2  Beau  *  ti  -  ful  streams  I  How  like  our  dreams, On  thro’  the  val-ley  they  wind; 


BEATING  TIMR 


23 


i 

— 

a 

— 4-.. 

— 1 — 

- ; — 

- II 

fry) 

i 

-• 

# 

1 

1 1 

— e 

— # — J 

- 

— « — 0 

— j— 

b _ JJ 

Mi,  mi,  mi,  fa,  sol,  sol,  sol,  la,  sol,  la,  sol,  fa,  mi,  re,  do. 

0  -  ver  the  hills,  Down  by  the  rills,  They  and  their  boats  pass  a  -  way. 
There  at  their  plays,  See  our  es-trays,  *We  are  the  girls  “left  be-hind.” 


To  which  department  do  Sextuple  measure  and  the  dotted  whole  note  belong  t  How  many  quarter 
notes  are  equal  to  one-half  t  How  many  to  a  whole  T  To  a  dotted  whole  t  How  many  kinds  of  measure 
or  time,  have  wet  (&c.,  &c.,  reviewing  what  has  been  practiced.) 


CHAPTER  XI. 

Count  four  measures  in  double  time.  Now  again,  but  while  you  are  counting,  make  motions  of 
the  hand  like  this,  (the  teacher  counts  and  beat9,  down,  up,  while  speaking.)  This  is  called 
beating  time.  Do  not  move  the  whole  arm — only  hands — and  make  the  motions  prompt,  letting  the 
hand  stop  at  each  point  until  the  time  of  the  count  has  passed,  thus :  (Teacher  gives  example.) 
Do  not  let  the  hand  hit  anything  to  make  a  noise.  When  I  say  ready,  all  raise  hands ;  and  when  I 
say  commence,  all  begin  to  count  and  beat,  moderato. 

Now  try  beating  and  singing  at  the  same  time;  four  measures;  quarter  notes ;  pitch  G;  sylla¬ 
ble  la.  Ready;  commence.  (This  is  repeated  until  it  is  well  done,  if  there  is  anything  wrong.) 
Now  beat  again  and  sing  half  notes.  Ready ;  commence.  Now  again,  and  sing  first  a  measure  of 
quarter  notes,  then  a  half,  and  so  on. 

Turn  back  to  No.  27  and  see  if  you  can  sing  this,  and  beat  the  time.  After  singing  to  No.  34, 
the  teacher  says :  Count  four  measures  in  triple  time,  and  beat  thus:  (teacher  counts  and  beats 
down,  left,  up.)  Now  sing  quarter  notes,  and  beat.  Try  dotted  half  notes,  Now  a  half  and  quar. 
ter  in  each  measuro.  This  is  hard,  and  you  will  probably  have  to  practice  it  sometime  before  you 
can  do  it  well.  Make  the  motions  promptly  and  gracefully. 

After  singing  from  No.  38  to  No.  40,  and  beating  the  time,  the  teacher  introduces  beating 
quadruple  measure  (down,  left,  right,  up,)  in  a  similar  way,  and  the  pupils  beat  and  sing  from  No. 
45  to  No.  48,  and  then  the  beating  for  sextuple  measure  is  introduced  with  the  motions  as  fol¬ 
lows:  1st.  The  hand  half  down.  2nd.  The  rest  of  the  way.  3rd.  Left.  4th.  Right.  5th.  Half 
way  up.  6th.  The  remainder,  or  down,  down,  left,  right,  up,  up. 

Tnis  is  the  most  difficult  measure  to  beat,  and  it  will  bo  well  to  practice  longer  with  the  count¬ 
ing,  and  the  singing  of  quarter  notes,  than  in  the  others.  When  the  class  is  ready,  let  them  try  from 
No.  51  to  No.  52,  singing  and  beating. 

7b  which  department  in  music  does  beating  time  belong  t  Beating  time  is  very  useful  to  help  form 
correct  habits  of  keeping  time,  but  may  be  dispensed  with,  after  a  certain  amount  of  progress  has 
been  made. 

CHAPTER  XII. 


All  sing  the  sound  we  have  learned  to  the  syllable  do,  re,  mi,  Ac.,  as  I  call  their  scale  names. 
(We  print  the  figures  instead  of  the  words  one,  two,  throe,  &c.,  to  save  room.)  1,  2,  3,  4,  5,  6,  7,  8, 
and  7,  6,  5,  4,  3,  2, 1,  2, 1,  2,  3,  2,  3,  2,  3,  4,  3,  4,  5,  4,  5,  4,  5,  6,  5,  6,  7,  6,  7,  6,  7,  8,  7,  8,  7,  6,  7,  6,  7,  6,  5, 

5,  5,  4,  5,  4,  5,  4,  3,  4,  3,  2,  3,  2,  3,  2, 1,  2,  3,  4,  5,  6,  7 - 8.  (The  teacher  waits  a 

little  after  they  have  sung  7,  to  see  if  any  sing  8  without  direction.  This  sometimes  causes  a  little 
amusement.)  8,  7,  6, 6,  4,  3,  2 - 1 


24 


SKIPS.  ROUND. 


All  sing  1  again — think  of  2.  (Don’t  think  aloud.)  Sing  3, 1,  3, 1,  3,  3,  3, 1 - 1, 3 — think 

of  4 — sing  5 — think  of  4.  Sing  3, 1.  3,  5,  6,  5,  5, 1,  3,  5,  3,  5,  3,  5,  3,  1 - 1,  3,  5 — think  of  6 — 

think  of  7.  Sing  8,  8,  8 — think  of  7 — think  of  6.  Sing  5,  8,  5,  8,  5,  8, 1, 3, 5, 8, 8  5, 3, 1.  The  teacher 
continues  this  exercise  as  the  pupils  require.  What  wo  have  been  doing  is  called  skipping.  Does  it 
belong  to  Rhythmics,  Melodies,  or  Dynamics  t 


No,  53.— Round. 


Do,  mi,  sol,  do,  sol,  do. 

Now  come  on,  you  can  not  catch  us,  For  we  have  the  start,  you  know; 


Hear  them  say  what  we  are  say  -  ing,  As  we  on  to  -  geth  -  er  go. 


When  the  preceding  lesson  has  been  sung  by  all  together,  the  teacher  says :  We  may  mako  of  this 
what  is  called  a  Round,  by  singing  it  over  and  over,  without  stopping  the  beats,  or  losing  the  time 
between  the  ending  or  beginning.  You  may  try  it,  and  while  you  are  singing  I  will  say  piano, 
mezzo,  or  forte,  as  I  want  the  dynamics  of  the  lesson  to  bo  varied.  When  I  raise  my  hand,  it  will  be 
your  signal  to  stop  when  you  have  sung  to  the  end  of  the  piece.  Ready;  commence.  (The  class 
sing  it  three  or  four  times,  the  teacher  giving  the  dynamic  directions  as  he  thinks  best.) 

Now  do  the  same  again,  only  do  not  all  begin  together.  (The  teacher  divides  the  class  into 
two  equal  parts  in  any  convenient  way.)  Let  this  half  of  the  class  commence  first,  and  the  other 
half  commence  when  the  first  have  sting  one  measure.  After  you  have  commenced,  keep  right  on 
until  I  give  the  signal,  and  then  stop  when  you  get  to  the  end  of  the  piece. 

Tho  teacher  may  now  divide  his  class  into  three  sections,  and  sing  this  piece,  each  section  coming 
in  one  measure  after  the  other,  and  when  the  signal  is  given,  ending  one  after  tho  other.  In  fact,  it 
may  be  sung  by  four,  five,  six,  seven,  or  eight  sections,  in  the  same  way,  or  by  each  pupil  in  tho 
class  coining  in  one  measure  after  the  precoding. 


No.  54. 


MOMKATO  ■#“ 


- ^ - 

I  0 

. 

0 

*  V 

4  r 

a 

_  e 

J  •  zf. 

T  -j 

—1 - L- 

0  1 

1 - 

1 — 

- - 1 - 

Do,  mi, 

sol,  do, 

sol,  sol. 

Ill 

. 

- 1 — 

do,  mi, 

sol,  do, 

8ul,  sol, 

do. 

1.  Sons  of  Free-dom  wake  tho  song,  Be  tho  cell  -oes  loud  and  long. 

2.  Lo!  the  curse  hath  pass’d  a  -  way!  Praise  tho  Lord  for  this,  for  aye. 


0  0 

- 

.7&T 

0  -  t 

p 

=q — r 

L)7 — 

K  r 

m  m 

■ 

t 

L 

J 

— r~ 

t= 

Hi. 

- 

1 - 

Sol,  sol,  mi,  mi,  do,  do,  sol,  do,  mi,  sol,  do,  sol,  sol,  do. 

Tcll-ing  of  the  great  To  Be,  Brcath-ing  notes  of  proph  -  o  -  cy. 

Hon-ors  now  and  ev  -  er  bring,  To  our  Sav  -  ior  and  our  King, 


QUARTER  AND  HALF  RESTS, 


2& 


.No.  55. 

AIXXQRO 


ii 


T= 

1  

'  3= 

T 


- — i* 


-+- 


Do,  md,  sol,  do,  mi,  sol,  do,  sol,  do, 

Her  -  ri  -  ly,  Her  -  ri  •  ly  bound  -  ing  Off 


mi,  sol,  do,  sol,  mi, 

to  the  wood-land  a  - 


?**■  • 

do. 

way, 


Do,  mi,  sol,  do,  mi,  sol,  do,  sol,  do,  mi,  sol,  do,  sol,  mi, 

For  the  bold  horn  is  re-sound  -  ing,  And  the  great  stag  is  at 


do. 

bay. 


All  Bing  four  measures  in  double  time,  pitch  G,  a  half  note  in  each  measure,  moderato,  using  the 


word  Sark  I 

No.  56. 


r 


Hark  ! 


r 

hark  1 


P> 

I 

hark  ! 


r  ii 


hark  ! 


If  you  wished  to  listen  to  anything,  would  you  say  hark  in  this  way,  or  would  you  speak  it 
shorter  ?  Will  all  give  four  measures  again,  and  in  each  measure  sing  hark,  but  let  the  sound  con¬ 
tinue  only  half  through  the  measure,  or  during  one  beat.  Be  silent  in  the  last  part  of  the  meas¬ 
ure,  only  occupy  it  by  the  beat.  This  is  called  resting,  and  the  sign  for  silence  during  one  beat  is 
called  a  quarter  rest. 

No.  57.  I  ^  |  |  ^  |  |  ^  I  f  ^  |  | 

Hark  I  hark  !  hark  !  hark  1 


What  kind  of  note  is  a  quarter  rest  equal  to  in  length  t 

Sing  four  measures  again  with  a  quarter  rest  and  a  quarter  note  in  each,  but  let  the  rest  come 


first : 

No.  58. 


r  f  i r  r  i  ?  r  i  ?  mi 

Hark  I  hark  !  hark  !  hark  1 


How  four  triple  measures,  one  sound  in  each,  same  pitch,  samo  word.  Sow  -many  parts  has  each 
triple  measure  f  Let  the  sound  occupy  the  first  part  of  each  measure,  and  the  rest  the  other  two. 
This  kind  of  a  rest  is  called  a  half  rest.  It  is  represented  by  a  little  oblong  foim,  as  you  see,  just 
above  a  line. 


No.  59. 


Hark!  hark!  hark!  hark! 


Sow  many  beats,  or  parts  of  a  measure  does  the  half  rest  occupy  f 
equal  to  f 

Try  these  four  measures  again,  but  let  the  rest  come  first : 


No.  60. 


Hark !  hark ! 


hark! 


What  kind  of  a  note  is  ft 


T“ 

hark! 


26 


DOTTED  HALF,  WHOLE  AND  DOTTED  WHOLE  REST 


Now  again,  and  let  each  measure  have  first  a  quarter  rest,  then  a  quarter  note,  then  a  quarter 
rest.  You  may  have  to  practice  some  time  before  you  can  beat  and  sing  this  right. 

«ro.ei.  f  r  r  I  *  f  f  I  r  f  I  f  f  't 

Hark!  hark!  hark!  hark! 


Now  give  me  four  quadruple  measures,  with  a  quarter  note  in  the  first  part  of  each,  and  a  rest 
filling  the  remainder.  This  kind  of  rest  is  called  a  dotted  half  rest. 


No.  62. 


No.  63. 


• 

M  mm  • 

1 

0  ™  •  j 

f 

~T~ 

r 

f  I 

Hark! 

hark! 

hark! 

hark! 

but  let  the  rest  come  first. 

-  i  -  -  - 

M  •  0 

-  •  •  11 

r 

Hark! 

r 

hark ! 

r 

hark ! 

f  :i 

hark! 

Now  let  each  measure  contain,  as  follows;  quarter  rest,  quarter  note,  half  rest : 


No.  64. 


Hark! 


hark! 


hark ! 


hark ! 


-H 


Now,  as  follows;  half  rest,  quarter  note,  quarter  rest: 


No.  65.  — 


Hark! 


T 


hark! 


-i r -*■ 

hark ! 


I 

hark ! 


Now  let  the  first  measure  be  filled  with  four  quarter  notes,  and  the  second  with  a  rest.  Let  tlie 
third  measure  be  like  the  first,  and  the  fourth  like  the  second.  Syllable  la.  This  rest  is  represented 
by  a  character  liko  the  half  rest,  only  just  below  the  line  instead  of  just  above  it.  It  is  called  a 
WHOLE  REST. 


No.  66. 


1 

Now 

r  r 

ae  si  -  lent, 

f 

Yes,  1 

r  r 

36  si  -  lent. 

1 

Now  four  measures  of  sextuple  time.  Fill  the  first  with  quarter  notes,  the  second  with  a  rest, 
the  third  with  quarter  notes,  and  the  fourth  with  a  rest.  This  is  called  a  dotted  whoi.e  rest. 


No. 


, # 

Lt 

ti  m 

What  is  that  com-ing  ?  hark 

r 

3,  i 

rn 

t  i 

r 

s  ver  - 

y  dark. 

_ 

* 

1 

It  might  be 'mentioned  here,  that  when  a  measure  rest  occurs  in  any  kind  of  time,  a  whole 
rest  is  need  to  represent  it.  Hut  anything  that  is  told  to  learners  will  not  be  likely  to  be  remem¬ 
bered  nuloHs  it  is  put  into  something  for  them  to  do,  as  it  is  only  by  doing  that  wo  seally  acquire. 
Po  rests  belong  to  rhythmics,  melodics  or  dynamics  t 


EXERCISES  IN  RESTS. 


27 


No.  68. 


Look!  look!  look!  the  sol  -  dier  boys  are  march-ing;  Left,  left. 


*“4 - 

do,  do,  sol,  sol,  do,  do,  re,  mi,  fa,  sol,  la,  si,  do, 
left,  left,  left,  left,  left,  So  on  -  ward  al  -  to  -  geth  -  er  move, 


I 


m 


T 


-*-£■ 


Do,  re,  mi,  fa,  sol,  la  si,  do,  do,  sol,  do. 

Un  -  til  they  hear  the  word  they  love.  Halt!  halt!  halt! 


Round,  in  three  parts.  Let  each  division  sing  two  measures  before  the  next  commences.  Sing 
it  over  until  it  goes  well,  all  together,  then  divide  into  throe  sections. 


No.  69.  — Round. 


I  I - a - 8  - t- - — 


•  t-  

I  • 

r1 - F- 

d  "M*- 

0  :~zj  -T- 

—P - 1  ? 

p  •  '* 

\ 

-4 - i - 1 — 

— 1 - 1 — 

3 

Do,  sol,  do,  sol,  do,  do,  mi,  mi,  mi,  mi,  mi,  mi. 

John  -  ny!  John-ny!  What?  what?  So  we  keep  call  -  ing  him. 


No.  70. 


do,  re,  mi,  fa,  sol,  la,  sol, 

Sing  -  ing  is  a  pleas  -  ant  task; 
Thus  our  task  should  all  be  done; 

This  the  way  our  life  must  go; 


Sol,  mi, 

1.  Sing  now, 

2.  Work  now, 

3.  Sleep  now, 


sol,  mi, 
rest  now, 
play  now, 
wake  now, 


sol,  la,  si,  do,  sol,  la,  si,  do,  bi,  la,  sol,  fa,  mi,  re,  do. 

Let  us  try  to  do  our  best  now,  That  is  all  our  teacli-ers  ask. 

Not  too  long  at  la  -  bor  stay  now;  Life  must  have  its  share  of  fur. 


Night  must  fall,  and  mcrn-ing  break  now;  r'on!t you  seo  it  must  be  so 


••■3 


28 


ACCENT  aND  ACCENTED  N0TE8. 


CHAPTER  XIV. 

Listen,  and  tell,  if  you  can,  whether  I  sing  double,  triple,  quadruple  or  sextuple  measure.  The 
teacher  sings  perhaps  twelve  quarter  notes,  pitch  G,  syllable  la,  without  beating  or  accenting,  or  in 
any  way  indicating  the  measure.  The  class  will  not  be  able  to  tell  with  certainty.  The  teacher 
sings  again,  still  without  beating,  but  now  accenting  the  first  note  of  each  measure.  After  the 
class  see  that  this  is  double  measure,  and  have  done  the  same  thing  themselves,  the  teacher  says : 
It  seems  to  be  natural  to  make  the  first  sound  of  each  measure  a  little  louder  than  the  others,  and 
this  is  called  accrnt.  The  notes  which  are  sung  louder  are  called  accented  notes,  and  those  that 
are  sung  after,  unaccented  notes.  Turn  back,  and  sing  No.  27,  and  siug  it,  noticing  this  fact. 

The  teacher  now  sings  some  triple  measures,  manifesting  them  by  acceut,  without  beating.  After 
the  class  have  done  the  same,  they  siug  No.  38.  The  teacher  then  shows  that  in  quadruple  time 
the  acceut  occurs  not  only  iu  the  first  part,  as  in  double  and  triple,  but  slightly  on  the  third. 

All  sing  No.  45.  The  teacher  then  shows  that  sextuple  measure  is  naturally  accented  on  tho 
first  and  fourth  parts — more  on  tho  first,  and  less  on  the  fourth — and  all  sing  No.  51. 

You  know  that  when  wo  speak  or  read  we  make  some  words  or  syllables  louder  than  others, 
especially  iu  poetry.  All  say  together,  “  How  sweet  and  calm  tire  evening  air,”  and  notice  this. 
Now  let  us  set  these  words  to  music.  The  music  says  we  must  acceut  the  first  noto  in  each  meas¬ 
ure.  Let  us  see  how  that  will  agree  with  the  emphasis  of  the  words : 


No.  71. 

r  r  i 

f  f 

|  f 

f  | 

# 

i 

f  II 

How  sweet 

and  calm 

the 

oven 

i 

ing 

air. 

You  see  there  is  a  conflict.  In  speaking  the  first  two  words,  which  is  naturally  louder,  “  Now ”  or 
•‘sxceet'”  Then  we  must  contrive  to  have  “sweet”  come  to  the  accented  note  of  the  measure.  \Y« 
may  do  it  in  this  way : 

NO'”'  r  i  r  r  l  r  r  i  r  r  i  r  hi 

How  sweet  aud  calm  the  even  -  ing  air. 

But  it  is  common  to  begin  a  piece  of  music  with  a  part  of  a  measure,  in  order  to  accommodate 
tho  emphasis  of  tho  words  and  make  it  agree  with  the  musical  accent.  When  this  is  done,  it  is 
always  noticed,  that  the  last  measure  of  tho  piece  will  not  be  full  also,  and  that  tire  last  aud  fiir 
together  will  make  as  much  as  one  full  measure. 

In  singing  this  and  other  lessons  of  this  kind,  commence  at  the  right  place  in  the  second  mea» 
ure,  that  is,  beat  and  describe  a  full  measure  beside  tho  one  in  which  the  song  commences. 


No.  73. 

r 

1  f  f 

i  r  r 

• 

1  f  f 

1  f  ll 

i 

How 

sweet  and 

calm  the 

even  -  ing 

air. 

ACCENT  CONTINUED,  AND  EXERCISES. 


29 


What,  kind  of  measure  has  an  accent  that  would  agree  with  the  emphasis  of  the  following  words  t 
’*  Gladly  we  welcome  the  summer  again.”  Sing  it  to  the  pitch  G.  How  do  you  think  the  movement 
ought  to  be ;  andante,  moderato,  allegretto  or  allegro  l 

No.  74. 

r  r  r  i  r  r  r  i  r  r  r  i  r  - 11 

Glad  -  ly  we  wel  -  come  the  sum  -  mer  a  -  gain. 

Supposing  the  words  were  “Yes,  gladly,”  &c.,  would  you  commence  on  the  full  measure,  or  on 
the  second  or  third  part?  Sing  it.  If  the  words  were,  “  0,  yes,  gladly,”  <Ssc.,  on  which  part  would 
you  commence?  Sing  it.  To  which  department  does  commencing  on  different  parts  of  the  measure 
belong  f  In  which  department  will  you  put  accent  t 

Tho  large  bars  of  the  following  piece  of  music  do  not  indicate  measures,  but  divide  the  piece 
into  sections.  How  many  sections  is  this  song  divided  into  t 


No.  75. 


Sol,  do,  do,  do,  sol,  la,  si,  do,  do,  mi,  mi,  mi,  re,  do, 

1.  The  swal-low  flies  a  -  bove  the  trees, Then  skims  a  -  long  the  ground  ; 

2.  So  up- ward  may  our  song  take  flight,  So  down- ward  safe-ly  go; 


Sol,  do,  do,  do,  sol,  la.,  si,  do,  do,  mi,  mi,  mi,  re,  do. 
First  up- ward  borne  up  -  on  the  breeze,  Then  down  where  flow’  rs  a-bound : 
Not  bawl-ing  out  with  all  our  might,  But  sing- mg  sweet  and  low: 


-9 — i  [ — r  i  -i-  1 1 

- 1 - 

—1 

1 

w  a  0_ 0 

=»  1 

frT) 0  L-  *  *  &  0  . 

*  r  r  r 

“  9  * — 

1 

v]7  9  L  9 



|  1  | 

Sol,  la,  la,  la,  sol, 

la,  si,  do,  do, 

si,  si,  si,  la, 

sol, 

lie  dips  and  flut-ters,  stops  and  flies, Where  sil-ver  stream-lets  flow; 
And  when  the  waves  of  mel  -  o  -  dy  Go  sway  -  ing  here  and  there, 


-9 — n 

i 

--i — 

»  *  e  -  - 

— J  0  • 

— i — i — 

===i- '  i — 4- 

— 

- i - 

Sol,  do,  do,  do,  sol,  la,  si,  do,  do,  mi,  mi,  mi,  re,  do. 

Then  up-ward  soars  to- ward  the  skies,  While  we  stand  hero  be  -  low. 
We  fol  -  low  when  they  lead  us  high,  Aud  then  de-scend  with  care. 


30 


REPEAT,  DA  CAPO,  UPPER  SCaLE. 


How  many  of  the  sections  in  the  previous  are  just  alike  as  to  the  music  t  Sometimes  when  sections 
are  alike,  we  can  save  room  by  making  them  so  as  to  have  the  music  repeated.  The  dots  just  before 
the  double  bar  do  this.  D.  C.  stand  for  the  words  Da  Capo,  which  mean  sing  the  first  section  again 
pine  means  the  end. 


No.  76. 


i 


iUIGUITTO 


*  - 

The  swal-low  flies  a  -  bove  the  trees,  Then  skims  a -long  the  ground;  ) 
First  up- ward  borne  up-on  the  breeze,  Then  down  where  flow’rs  a-bound:  ) 
D.c.  Then  up- ward  soars  to- ward  the  skies,  While  we  stand  here  be  -  low. 


D.  C. 


H 


He  dips  and  flut-ters,  stops  and  flies, Where  sil-ver  stream-lets  flow; 


CHAPTER  XV. 

Sing  the  scale — half  notes,  syllables  do,  re,  mi,  Ac.  How  many  key-notes  are  there  in  this  scalel 
Now  let  ns  make  another  scale,  by  commencing  at  the  upper  key-note,  and  singing  upward 
This,  you  see,  will  be  making  our  upper  key-note  the  lower  key-note  of  a  new  scale.  Sing  half  notes 
to  the  syllable  la.  Do  not  strain  your  voices,  as  it  is  not  necessary  to  sing  the  .whole  of  this  scale. 

After  the  class  have  sung  what  they  can  of  this  scale,  or  the  teacher  has  perhaps  manifested  it 
on  some  instrument,  he  says  this  scale  is  so  similar  to  the  other  that  its  pitches  have  the  same 
names,  and  it  is  sung  with  the  same  syllables.  The  pitch  of  the  lower  key-note,  or  one,  is  named 
C;  the  next  pitch,  D;  the  next,  E,  and  soon.  Sing  in  this  new  scale  as  I  call,  using  syllables  do,  re, 
mi,  Ac.,  1, 1,  2,  2,  3,  3,  2,  2, 1,  2,  3,  4,  5,  4,  3,  2, 1.  (If  the  teacher  thinks  best,  the  higher  tones  of  this 
scale  may  bo  sung,  but  straining  young  voices  should  very  seldom  be  dono.) 

What  degree  of  the  treble  staff  represents  the  pitch  of  the  lower  key-note  of  our  new  scale  t  Which 
line  or  space  stands  for  D  t  Which  for  Et  Ft  Gt 

Now  we  are  at  the  highest  degree  of  this  staff,  but  we  may  add  moro  degrees  if  we  want  them. 
The  degree  which  stands  for  A  is  named  the  first  added  line  above.  That  whi  'h  stands  for  B  is 
named  the  first  added  space  above.  (There  is  but  one  space  above  and  but  one  space  below,  just  as 
there  is  but  one  first  space,  one  second  space,  Ac.,  and  there  are  no  added  spaces  until  there  are 
added  linos.)  That  which  stands  for  C,  the  upper  koy-note,  is  the  second  added  line  above. 


No.  77. 


m 


=?£ 


I 


0, 

D, 

E, 

E, 

6, 

A, 

B, 

0. 

If 

2, 

3, 

4, 

6, 

6, 

7, 

8. 

Do, 

re, 

mi, 

fa, 

sol, 

1*. 

si, 

do. 

UPPER,  MIDDLE  AND  LOWER  SCALES.  31 

How  many  pitches  does  our  mio  scale  contain  t  How  many  are  new  to  us  t  To  which  department 
iocs  this  scale  belong  f 

It  may  here  bo  well,  if  there  is  an  instrument  at  hand,  to  play  still  another  scale  above,  and 
explain,  that  the  upper  key-note  of  this  new  scalo  may  be  taken  as  the  lower  key-note  of  a  still 
higher  scale,  and  that  the  pitches  are  named  as  before.  It  may  also  be  explained,  that  the  pitches 
are  represented  by  more  added  degrees  of  the  staff,  and  that  these  pitches,  being  above  the  voice, 
uro  only  used  in  instrumental  music. 

We  will  call  the  first  scale  that  we  learned  the  middle  scale,  and  the  new  one  the  upper  scale. 


No.  73. 


1.  Sing  a  lay,  Bright  Queen  of  May ;  June  waits  the  crown  You  will  lay  down. 

2.  But  your  reign,  Will  come  a  -  gain;  So  do  not  mourn,  Your  pow-er  gone. 


No.  79. 


-fi - 

c 

# 

‘  *  ~ 

— S’ - 

* 

<9 

* 

pry  1  i 

1  I  ! 

L  C. 

i 

_ 

1  V 

VlL  ...  1 

J_ L 

*J  Do, 

do, 

do, 

re, 

re, 

re, 

mi, 

mi, 

mi, 

fe, 

1.  Out 

of 

the 

hea  - 

vy 

clouds, 

Som  - 

her 

and 

brown, 

2  Lov  - 

ing 

-  iy, 

spark  - 

ling 

-  ly, 

Laugh  - 

ing  - 

iy 

falls, 

1/ — T - T  • 

— f  *  # 

-  m 

!  1 

...  n  "  f 

«  1 

rPl  1 

i  . 

— j-  ' 

SI 

iiiL  1 

L 

— 1 - 1 - 

u 

sol,  fa,  mi,  fa,  mi,  re,  mi,  re,  do,  re,  do. 

Sweep-ing  o’er  for  -  est,  and  field,  and  town,  the  rain. 

Drip  -  ping  in  pal  -  a  -  ces,  huts,  and  halls,  the  rain. 


All  sing  our  old  acquaintance,  the  middle  scale,  again,  but  commence  at  eight  and  sing  down  in 
I-  half  notes,  syllables  do,  si,  la,  &c.  Now  lot  the  lower  key-noto,  or  ono  that  you  have  just  sung,  be 
I  regarded  as  the  upper  key-note,  or  eight,  of  a  lower  scale,  and  sing  down.  It  is  not  likely  that 
any  of  you  can  sing  to  the  lower  key-noto  of  this  scale;  but  some  instruments  can  go  down,  and 
some  of  its  pitches  we  can  use. 

The  pitches  of  this  scale  are  named  just  like  the  others — eight  is  named  C ;  seven,  B ;  six,  A,  and 
so  on,  and  the  syllables  apply  in  the  same  manner.  All  sing  syllables  as  I  call  for  the  sounds  of 
this  lower  scale — 8,  8,  7,  7,  6,  6,  5,  5,  5,  5,  6,  7,  S. 

If  eight,  or  C,  is  represented  by  the  first  added  line,  below,  what  will  sta7id  for  seven,  or  Bf  What 
for  six,  or  A  !  d;c.  But  'if  you  take  the  base  staff,  wlu'.re  the  second  space  stands  for  C,  what  will  stand 
for  Bt  What  for  A?  Gt  Ft  Et  Dt  Cf  ('Clio  teacher  may  show,  if  convenient,  that  an 
instrument  can  make  a  still  lower  scale.) 


32 

No.  80. 


LOWER  SCALE  AND  EXERCISES. 


7 - 5 

- - 

- 1 

....  ,  .. 

& 

c, 

B, 

A, 

& 

2, 

E, 

-& 

D, 

— i 

i9- 

0. 

8, 

7, 

6, 

5, 

4, 

3, 

2, 

1. 

Do, 

si, 

la, 

sol, 

fa, 

mi, 

ro, 

do. 

It  would  be  well  here  to  have  the  class  become  familiar  with  as  much 

of  the  upper  and  lower 

Beales  as  their  voices  can  reach,  as  well  as  the  lines  and  spaces  of  the  staff  that  represent  them. 
This  can  be  done  by  pointing  to  the  degrees  cf  the  staff  that  represent  the  new  pitches,  the  Class 
singing  syllables,  or  suoh  words  as  tho  teacher  may  select. 


No.  81. 


— 1  T" 

— i — r~ 

J  ! 

r— 

— 

- n 

I-  1  “t 

: 1  1 

i 

" 

*  # 

— 

9  # 

- 1 - 

j 

Do,  do,  si,  si,  la,  la,  sol,  la,  la,  si,  si,  do,  re,  do. 

1.  Deep-er,  doep-er,  deop-cr  down  In  tho  low  -  er  scale  wo  go. 

2.  Do  not  stoop,  nor  nod,  nor  frown, While  the  stead  -  y  mens-  tires  flow. 


No.  82. 


-2- - 

— : - 

- 

— 

«T)  1  . 1 - H 

i  1 - =t= 

J_ 1_ L 

— i - 1 - ! _ 

g 

i  -+ 

-*• 

Do,  do, 

do, 

si,  si, 

si, 

la, 

la, 

la, 

la,  si, 

do, 

1.  Heav  -  i  - 

]y 

roll  -  ing 

all 

O  - 

ver 

the  earth,  Hush  -  ing 

tho 

2.  Dark  clouds 

of 

va  -  por 

and 

shad 

OWS 

of 

night, 

Sud  -  den  - 

iy 

1st  time. 


2d  time. 


"y- - 

• 

*  —  ■  i 

I 

: 

 l  I' i 

: — ~i — 

By  -  -  j  -i 

~?r 

— 1 

<* 

— 

- — 4 

. 

L—oN-'J 

4 

4 

Ml, 

do, 

re, 

do, 

re, 

mi 

re, 

do, 

mi, 

re, 

do. 

sounds 

of 

re  - 

joic  - 

ing 

and 

mirth  ; 

fell 

on 

tho 

(omit). 

rows 

of 

liglit. 

II 


In  the  following  lessons  name  first,  tho  pitches,  mentioning  also  which  scale  each  piich  is  in — 
middle,  upper  or  lower.  Give  also  tho  scale  uames. 


No.  83. 


«  1.  One,  two,  one,  one,  two,  one; 
2.  Try  a  -  gain,  try  a  -  gain; 


- , - f - 

* 

- 1 - - 

— ! - ! - d 

- 1 - 

—  1 - — - 

-#• 

4 

• 

do, 

ro, 

111) 

> 

dc. 

ro, 

mi. 

o 

what 

fun, 

0 

what 

fun: 

’Till 

'  tis 

plain. 

’till 

'  da 

plain; 

MIDDLE,  UPPER  AND  LOWER  SCALE  EXERCISES. 


33 


3 


Do,  re,  mi,  fa,  mi,  re,  do,  ^  do,  re,  mi,  fa,  mi,  re,  do. 

Now  we  have  a  larg  -  er  scale,  Let  us  not  in  sing  -  ing,  fail. 

Run-ning  up  and  run  -  ning  down,  Smile  each  one,  but  nev  -  er  frown. 


No.  84. 


I 


Do,  re, 

Now  we 
Once  more 


— rt*  ■ 

— <s> - 

- T~ 

mi, 

fa, 

sol, 

do, 

re, 

mi. 

fa, 

sol, 

have 

to 

try 

Go 

-  ing 

ver 

-  y 

high 

we 

will 

see 

If 

we 

reach 

the 

O; 

1. 

2. 


gg  i   .-L -  f'  

— i - - 

.  .  4— - 1 -  ,  . 

l 

-#■ 

V 

4 

L 

do, 

si,  ..  la, 

sol, 

do, 

do, 

si. 

la, 

sol. 

do. 

Now 

then  down 

a  - 

gain 

Goes 

the 

mer 

-  ry 

strain; 

Now 

re  -  turn 

a  - 

gain 

To 

the 

low 

-  er 

strain. 

No.  85. 


3 


Do,  do,  si,  la,  sol,  la,  si,  do,  si,  la,  sol,  sol,  la,  la, 

1.  The  time  now  is  trip  -  le,  and  we  must  look  out,  Tho’  low,  wo 

2.  That  was  pret-ty  good,  but  may  be  bet  -  ter  yet;  Once  more  now 


t 


£ 


No. 


si,  si,  do,  mi,  sol,  do,  do,  si,  la,  sol,  la,  si,  do. 

go  up,  up,  up,  up,  Take  care  now  what  you  are  a  -  bout, 

o’er  this  piece  we  go,  Please  greet  us,  when  per  -  feet  we  get. 

80. 


3 


*  -* 

-# 

*  *  9 

9  O 

Do 

do 

ro.  re,  mi 

,  mi,  re, 

do. 


— 4- 

*  3 

si,  la. 


4= 


61, 


. 

do, 


1.  Why  dear  com-rades,  on  -  ly  see  How  low  down  we  are; 
2  ’Tis  so  odd,  we’d  bet  -  ter  try  How ’twill  go  once  more; 


EXERCISES,  CONTINUED. 


3* 


~0  c  a 

I 

F - F — 

- f - - 1 - 

— # — ■ — 

0 - a 

- 0 - 

P-  ‘  -  t 

W— 1  T  — 

 1 — 

-  I" . t— 

- 

- It= 

"I  . .  '-J 

do,  do,  re,  re,  mi,  ml,  re,  do  si,  la,  si,  do. 

What  a  fun  -  ny  mel  -  o  •  dy,  Down  and  up  so  far. 

Don’t  you  like  it,  low  and  high,  Bet  -  ter  than  be -fore? 


Wo.  87. 


-v - 

r 

V  m 

| 

Am. 

i  i  J 

0  - 

p  • 

-  - 

J  A 

.9  r  r 

ILU — | — 

-J - J—  * 

-J — 1 — 

- U  : — | — 

L| - 

Do,  re,  mi,  fa,  sol,  la,  si,  do,  re,  mi,  do,  r-e,  si,  do, 

1.  We  give  our  whole  at  -  ten  -  tion  now  to  sing  -  ing  what  we  see; 

2.  Try  once  a  -  gain,  re-mem-ber  not  to  strain  the  voice  at  all; 


— 0 — 

•  0 

=1  ‘ 

=n 

/fa  ■  h 

- F 

—f  •  - 

r  II 

^  t 

-1- .  ~  «- 

1— J 

— 4 — J — Ul 

mi,  fa,  mi,  re,  do,  si,  la,  sol,  fa,  mi,  do,  re,  si,  do. 

When  we  are  per  -  feet,  oh,  how  glad  our  teach  -  ers  kind  will  be. 

We’ve  ris  -  en  now,  and  pleas-  ant  -  ly  we  let  our  voi  -  ces  fall. 


No.  88. 


♦  4  £ 


•  1 

Bizrz: 

=3=  * 

- »  * 

'■•rr.  *  w 

- - - j - 

- 0 - 

- U 

- 1 - 1— 

F— - 

W— 

— 0 

Do,  re,  sol,  sol,  re,  sol,  sol,  mi,  sol,  sol,  do,  do,  re,  sol,  sol, 

1.  Once  more  tri  -  pie  time, ’tis  our  plcas-uro  to  greet, ’Tis  down  ver  -  y 

2.  0,  playmates, dear  playmates,  when  les-sons  are  done, ’Twill  then  bo  a 


4)|  0  ■“  - r 

9  1  f 

— i — i 

.  A  f 

=F=S=f= 

TT" 

i— i - 

't ZSfZ 

1_ 1  Lljz 

j  3- 

:l  —  J 

v  A  - 

-  1 -  1  - 

X 

-7  *  0 

~  J 

re,  sol,  sol,  mi,  sol,  s»l,  do,  sol,  la,  si,  do,  sol,  la,  si,  do. 
low,  but  it  still  may  be  sweet;  Here  comes  a  rest,  Let’s  do  our  best, 
good  time  for  play  and  for  fun;  Let  us  at  -  tend  Now  to  tho  end. 


No.  89. 


Do, 

Do 


-j/ — 

» 

- T  — 

zd 

--T  ±=  - 

mi, 

not 


do, 

hur 


Sul, 

ry, 


do, 

Do 


sol, 

not 


do,  bol, 
wor  -  ry, 


do, 

We 


do, 

shall 


sol, 

win 


mi, 

at 


do. 

last. 


t  SHARP,  KEY  OP  U. 


35 


CHAPTER  XVI. 

tbe^Hbifr  rr  the,pitch  G,r,d  sings  down  as  far  as  av9  *n  °*  **  °f  * 

the  sj  liable  la.  Of  course,  he  sings  P  sharp  instead  of  F,  but  it  sounds  so  natural  that  the  clas. 
probably  do  not  notice  that  a  new  tone  has  been  introduced;  and,  as  they  readily  sin-  the  same 

a  neTptrsubs«;rd.are  PelhaPS  SUrPriS6d  *°  ^  ^  the  pHch  F  bas  be*»  — *  and 

After  practicing  upon  these  four  tones,  by  imitating  the  examples  of  the  teacher,  who  gives  them 
out  in  a  variety  of  ways  (without  skipping),  the  class  are  informed  that  the  new  pitch  is  hi-her 
lb  Tb  °Wer  tham  aDd  "  named  F  8han>,  and  not  the  P  that  they  have  been  singL  The 

d.  e,  p  shi:rrB!  notes’ syllabie  ia>  to  the  pitches  tuat  1  name-  g>  f  sharp-  g’  *  ^p.  e> 

shafp0' VirtJnF6  iSpS’  and  end  °“  °ur  0ld  key-n0te  C-  The  Caches  then  sings  G,  A,  B  A  G  P 

key-note,  let  us  try  to  find  one  that  is  When  t  ■*  ’  as  C  is  no  longer  a  good 

sings  as  follow,  (dwelling  on  the  tones  toward  the  laate  q'  a°r  T“o  (f?  ,h“ 

scale  names  (G,  A,  B,  A  or  one  twn  three  t  ,  g  tllolr  101168  by  pitch  names  and 

sometimes  given  to’ the  tones]  of  a  scale.  The  key  of  clrT  tbat  th°  term  KEr  is 

B  C  D,  E,  F  and  O,  with  tbi.  dW.n.no.,  ,b.t  .b.„  “7^711  ^  * 

hinatiou,  are  still  the  key  of  C,  while  only  a  certain  orHm-  7  ’  f  succeS81011  or  com- 

the  scale  of  C.  7  Certa,“  °rder  °f  SUCCfi8slon  P°‘8  ‘bem  into  the  form  of 

The  key  ot  G  consists  of  the  tones  A.  B  0  T)  E  w  ohnm  „  .  „  . 
they  may  have,  while  they  form  the  scale  of  G,  only  when  they  MlT  °r  con'bination 

seconds.  We  therefore,  speak  of  a  tune  or  niece  ‘  f7  f  each  other  Jn  intervals  of 

rather  than  in  the  scale  of  G  or  (Ithe  key note  2 r  “  ^  ia  th°  or  the  key  of  C, 

He  then  points  to  the  treble  ??*  ^  T™  °f  ^  k<* 

F,  are  of  no  use  to  us  as  they  are  now  for  thi  g  c  °  *'°e  and  Slmce  wbich  stand  for  the  pitch  named 
They  can,  however,  easily  be  made  to  stand  for  tlic^no  fT°  haT6  D°  8Uch  pitcJl  to  represent, 

a  character  called  a  sharp  upon  them  at  the  beginning, 'thus  :  ^  6Dtire  le“Sth  by  placiuS 


No,  90. 


»s: 


t 


The  pitch  F  is  now  not  here  represented  but  inatmr!  cf  ’mi  • 

'  -  *•  B“  “*  ”  ^  ™  “  j 


36 


SIGNATURE,  TRANSPOSITION.  EXERCISES. 


Sing  half  notes  to  syllables,  do,  re,  mi,  &c.,  as  I  point.  After  exercising  sufficiently  on  the  staff,  tin 
teacher  says,  it  is  customary  to  put  a  sharp  on  but  one  of  the  degrees  that  stand  for  F  in  each  staff, 
the  other  change  is  understood  ;  for  example,  a  sharp  on  the  fifth  line  indicates  that  the  first  space 
is  to  stand  for  F  sharp  also,  although  a  different  one. 

The  sharp  so  placed  is  called  the  signature  or  sign  of  the  key.  It  happens  in  this  key  that  the 
tones  most  convenient  to  sing  comprise  a  part  of  the  upper  and  a  part  of  the  lower  scales,  as  fol¬ 
lows  This  going  to  a  new  key  is  called  transposition. 


G>,  F  sharp,  E, 
8,  7,  6, 
Da,  si,  kr, 


D, 

5, 

sol, 


E,  F  sharp,  G, 
6,  7,  1, 

la,  si,  do, 


A, 

2, 


B, 

3, 

mi, 


C, 

4, 

fa. 


D, 

5, 

sol. 


E, 

6, 

la. 


D, 

6, 

sol, 


G; 

1. 

do. 


fi 

ft 

— & — 

7 

r— f-  -i 

~f~ 

i 

‘'ll. 

-  & 

J 

L 

4- 

— 

J 

I  would  call  the  attention  of  teachers  and  musical  people  to  the  fact,  that  it  is  much  easier  to 
sing  F  sharp  as  one  of  the  tones  of  a  diatonic  scale  than  as  a  chromatic  tone;  and  much  easier 
to  represent  it  by  modifying  the  lino  or  space  of  the  staff  once  for  all  throughout  the  entire  tune, 
than  to  do  so  only  for  a  measure  or  part  of  a  measure,  as  is  done  by  an  accidental — consequently, 
that  the  key  of  G  properly  comes  before  the  introduction  of  sharp  four,  or  any  other  tone  of  the 
chromatic  scale. 

What  is  the  name  of  this  new  family  of  tones  f  ( Ans .  Tho  key  of  G  )  Give  me  the  names  of  the 
members  of  this  family,  or  in  other  words  the  pitches  of  which  it  is  composed.  What  is  the  signar 
ture  of  the  key  of  G  t 


No.  93. 


- - - - - - - 

<r  . 

0 

0 

'  ? - f — 1 

•>  — T  - 

- 

F - F - F — 

- j - 

— T--  p  0 

- 1— 

=t  t  - 

— 1 — — 1 

-r.-  3- - L~— 

^ -j 

I)o, 

si, 

Hi, 

ni, 

do, 

do, 

do, 

si,  la, 

801, 

do, 

mi, 

1. 

Come, 

Rov  - 

or, 

old 

Rov  - 

er, 

lo 

and 

fol  -  low 

our 

slid  - 

ing 

2. 

But 

sparo 

U8 

a 

80  • 

of 

bow-wows- 

—it 

in  ay 

be 

EXERCISES  IN  THE  KEY  OF  G. 


37 


rv4'  0 

- 3 - #  - 0 - 

'  w  * 

§is-tE 

=-£-  "j 

J===t=t= 

~T— Tyt: 

do,  si,  si,  si,  do,  do,  do,  si,  la,  sol,  do,  do. 


Your  skates  are  the  good  ones,  of  na  -  ture’s  pro  -  vid  -  ing. 
Your  mu  -  sic,  old  fel  -  low,  will  wake  up  the  ba  -  by. 


No.  94. 


-G- 


Do,  re,  mi,  fa,  do,  re,  mi,  fa,  mi,  re,  fa,  mi,  re,  do, 

1.  One,  two,  three,  four,  one,  two,  three,  Sing  the  notes  a  -  long  with  me; 

2.  One,  two,  three,  four,  one,  two,  three,  Let  your  voice  be  full  and  free; 

3.  One,  two,  three,  four,  one,  two,  three,  Oh!  what  sound  can  sweet  -  er  be! 


One,  two,  three,  four,  keep  the  time,  Let  our  tune-ful  voi  -  ces  chime. 

One,  two,  three,  four,  let  it  sing,  Sing  now,  liap-py  chil  -  dren,  sing. 

One,  two,  three,  four,  if  you  try,  You  will  learn  this  mel  -  o  -  dy. 


No.  96. 


£  *-* 

— 

— ! - 1 - 1— 

— J =| — T  • 

0  0 * 

& — 

i — p — | - 1 - 

L  * 

-1 — 1 — u 

-l , 

Mi,  mi,  mi,  re,  do,  sol,  do,  re,  mi,  mi,  mi,  re,  do,  mi,  sol, 

1.  Heed  the  sounds  that  we  are  giv-ing,  While  we  skip  thus:  one, three, five; 

2.  See  the  joy  -  ous  squir-relspring-ing,  Watch  his  skips  now, one, three, five; 

3.  Well  this  les  -  son  yo.u  are  learn  -  ing,  Well  you  sing  your  one, three, five; 


' Y 

- 1 

- 1 - d - f— 

£5  "\777tr-  1'  — 

— & 

i—0— i-  ■ 

-1=J — 1 — 4- 

~ p  °  : 

mi,  mi,  mi,  re,  do,  sol,  do,  mi,  sol,  sol,  sol,  fa,  mi,  re,  do. 

List  -  en,  chil-dren,  list  -  en,  striv-ing  Well  to  learn  the  sounds  we  give. 

On  the  loft  -  y  branch  now  swing-ing,Soon  he  high  -  er  up  will  live. 

Soon  to  otli-er  mu  -  sic  turn-ing  You  the  oth  -  er  sounds  shall  give. 


No.  96. 


- : - 1  - 

-  ~0 

~\ - 

\£— 

0 - 

=1  .11 

a 

?  # 

-I- 

tr~ 

— 0 

=t=±= 

— 1 - 

- 0— 

— 

— 0 

_ 

— 0— 

~G 

— 

#  c  -g  i  — 

8,  5,  1,  8,  8,  5,  1,  3,  5,  8,  8,  5,  3,  8,  6,  3,  1." - ' 

Do,  sol,  do,  mi,  do,  sol,  do,  mi,  sol,  do,  do,  sol,  mi,  do,  sol,  mi,  do. 


38 


0  SHARP,  KEY  OP  D. 


do,  do,  re,  re,  mi,  mi,  re,  mi,  sol,  do,  mi,  re, 

1.  Two  rob  -  in  red-breasts  built  their  ne&t  Up  in  a  ma  -  pie 

The  one  was  brood-ing  o’er  her  young, The  oth  -  er  sang  with 

2.  Once  on  a  sum  -  mer  morn  the  sun  Was  shin  -  ing  in  the 

The  rob  -  in  said,  ‘My  lit  -  tie  dears,  ’Tis  time  you  learn  to 

3.  I  know  a  girl,  and  who  she  is  I’ll  tell  you  by  and 

When  moth-er  says,  “Do  this,  or  that,  ”  She  says,  “What  for, ’’and1 


_ 

* 

x.  1 

1  □ . 

E ! 

P  A 

»  J 

1 1 

wrv\  i 

9 

J  ! — 

1 - 

-A—  " 

•  i 

11 

And  all  the  lit  -  tie  young  ones  said,  “Wee,  wee,  wee,  wee,  wee, wee.” 
And  all  the  lit  -  tie  young  ones  said,  “I’ll  try,  I’ll  try,  I’ll  try.” 
She’d  be  a  bet -ter  girl  by  far,  If  she  would  say,  “I’ll  try.” 


CHAPTER  XVII. 

All  sing  G,  half  note,  syllable  la.  Now  F  sharp.  E.  if.  Now  tell  me  the  names  of  the  pitches 
as  I  sing  them.  Tho  teacher  sings  I),  E,  F  sharp,  G,  A  and  B.  The  class  give  the  names  readily  so 
far.  The  teacher  then  says,  I  will  now  throw  aside  C,  and  take  C  sharp,  a  pitch  which  is  half  way 
between  C  and  D,  notice  how  pleasantly  and  easily  it  comes  in. 

After  giving  it,  tho  teacher  commences  again  at  D,  aud  sings,  the  Class  naming  tho  pitches,  D,  E, 
F  sharp,  G,  A,  B,  C  sharp,  D.  All  sing  tho  samo. 

Introducing  C  sharp  instead  of  C,  makes  another  key.  Let  us  find  tho  key-note. 

After  this  is  done,  the  teacher  says,  namo  the  members  of  this  new  family,  of  which  I)  is  the 
father  or  key-note.  Now  sing  as  I  call,  quarter  notes,  syllable  la.  I),  E,  F  sharp,  E,  F  sharp,  G,  A, 
B,  C  sharp,  D,  C  sharp,  B,  A,  D. 

Now,  as  I  give  the  scale  names,  sing  quarter  notes  with  syllables,  do,  re,  mi,  &o.  1,  2,  3,  4,  5,  6, 
7,  8,  7,  6,  6,  6,  3,  3,  1. 

The  staff  is  made  to  stand  for  tho  key  of  D  by  two  sharps,  placed  as  follows : 


No.  98. 


EXERCISES  IN  THE  KEY  OF  I). 


39 


After  exercising  in  this  key,  by  pointing  as  in  the  previous  keys,  the  teacher  says :  What  is  a 
key  in  music  t  (Ans.  A  family  of  tones.)  How  many  of  these  families  or  keys  have  been  introduced 
to  us  thus  far  t  (Ans.  Three.)  What  was  the  first  one  t  (Ans.  The  key  of  C.)  The  next  f  This  one  t 
What  is  the  signature  of  the  key  of  Cf  (Ans.  Natural.)  What  is  the  signature  of  the  key  of  G  t 
What  of  the  key  of  Dt 

Before  singing  the  following  lessons,  name  the  clef,  signature,  key,  kind  of  time,  and  gi-e  the 
pitch  and  scale  names  and  syllables  of  each. 


No.  09 


-e-s 

V 

T  ’ 

1  1  ‘  1 

i* 

i 

§ 

f  ...  -  0 

•  1 

— d - # 

.  jL *  :  r~ 

Do,  do,  do,  do,  do,  re,  re,  mi,  mi,  mi,  mi,  mi,  fa, 


1.  Com  -  ing  thro’  clouds  and  dark-ness,  Com  -  ing  thro’  sleet  and  rain, 

2.  Tlio’t  of  the  win-fry  hour —  Cheer  of  the  dark-est  day — 

3.  Com  -  ing  a  morn  of  glo  -  ry,  Com  -  ing  a  day  of  rest, 

4.  Star  of  the  dark  -  est  hour,  Beam-ing  with  death-less  ray — 


n 


(HI — i- 


-G-± 


-fr- 


sol,  sol,  80i,  sol,  sol,  la,  la,  si,  si,  si,  si,  si, 
Beau  -  ti  -  ful  month  of  flow  -  ers,  Hast-’ning  to  us  a  - 
Com  -  ing,tho’  tem-pests  low  -  er,  Beau  -  ti  -  ful  month  of 
Faith  sees  its  gold  -  en  prom  -  ise  Break  thro’  the  cloud-ed 
Com  -  ing,  tho’ tem-pests  low  -  er,  Bless  -  ed  e  -  ter  -  nal 


do. 


gain. 

May. 

west. 

May. 


No.  100. 


n  - - - r-. 

- 1 - 1 - ; — 

.  J - ij  : 

pry  ff  1  J 

0  r  a 

&  9 

r 

EP— — , - 0  9  # 

-  - jy  — «-  - 

1  -  - 

r 

Do,  re,  mi,  fa,  sol,  la,  sol,  mi,  la,  sol,  do,  do, 

1.  Spring  has  come  so  fresh  and  fair,  All  hail!  all  hail!  And 

2.  Hear  the  clear  and  wel  -  come  song,  All  hail!  all  hail!  From 


-fl- 

r 

— 

- I — -T— 

- i - 1  1 

1 

jf  i 

it 

r  r 

J  M 

J  A J 

■ 

_ 

T 

.  •  J. 

0  0 

!  v— 

_ 

J 

"  0 .  A 

9 

re,  do, 

'  -  9  . 

si,  la,  sol,  fa,  mi,  re,  do,  mi,  boI,  sol,  do. 

sweet -est  flow  -  ers  scent  the  air,  On  ev  - ’ry  pass  -  ing  galo. 
out  the  mer  -  ry,  war-bling  throng  Of  wood-land  aud  of  vale. 


No.  101—  Round. 
it  1  _ 


I 


re,  mi,  re,  do,  »>.i,  fa,  sol,  fa,  mi,  do,  do,  do,  si,  do. 

Sing  this  song  with  me,  Sing  it  full  and  free,  .And  we’ll  mer- ry  be. 


Q  SHARP,  KEY  OF  A. 


40 

No.  102. 


ALLEGRKTTO 


—I - 1 

r 

L 

a  * 

ZS  ft 

0  •  1 

'Hr*; 

|- 1 — 

*  . 

.  [  #  . 

rt  0 

J  A 

Do, 

do,  do, 

si,  si,  si, 

la,  la, 

sol,  sol, 

do,  sol, 

do,  sol, 

do, 

1.  0,  who  is  down  in  the  well  so  deep  I  Say  who!  say  who!  say  who! 

2.  How  came  he  down  in  the  well  so  deep!  Say  how!  say  how!  say  how! 


1 

•111 

)■ 

-t- 

—d - d - d~ 

- 

— i - L 

— 6> - 

— <S> - 1— 

-<g  y 

aa 

_ 

:ht 

i=t= 

— #- 

C?.  * 

=P - # 

— 

sol,  do,  do,  si,  si,  si,  la,  la,  sol,  sol,  do,  sol,  do,  sol,  do. 

’Tis  John-ny  Lane,  and  he’s  fast  a-sleep, That’s  who, that’s  who, that’s  who. 
He  tho’ t  he’ d  rest  on  the  wood-en  sweep,  That’ s  how,  that’ s  how,  that’ s  how. 


No.  103. 


-fr-Bjj.  ■ 

- 1 - 1 - 

=t=l= 

0—zg— 

— 0 — 

0 - 

=l=j= 

-J — J- 

— I - — 

«  i 

•  0 

— k - 

-t- 

-  0  -  r 

I 

-T'f- 

L-# - 

Do,  do,  mi,  mi,  sol,  sol,  do,  do,  do,  sol,  sol,  mi,  mi,  do, 

1.  One,  and  three,  and  five,  and  eight,  This  is  all  we  have  to  date;’ 

2.  Up-ward,  up-ward,  light-ly  bound,  Now  re  -  turn  we  to  the  ground; 


=t= 

0  ^ 

J- 

G._ 

i_  J 

*  0 

“j - 

- - Jr 

f  # 

=1=4- 

0  0 

m  * 

u 

- 

-9-  ~i 

6 

do,  do,  fa,  mi,  la,  sol,  do,  re,  do,  la,  sol,  mi,  re,  do. 

One,  and  four,  and  six,  and  eight,  Here’s  an  -  oth  -  er  song  to  mate. 

Up- ward  once  a  -  gain  we  go,  And  a  -  gain  re  -  turn  be -low. 


CHAPTER  XVIII. 


All  sing  D,  E,  F  sharp,  G,  A.  Now,  if  G  sharp  is  in  its  place,  wo  shall  have  anothor  boy.  Listen. 
Teacher  sings  A,  G  sharp,  F  sharp,  E,  1),  C  sharp,  II,  A,  and  says,  all  do  tho  saino.  This,  as  you  see, 
is  the  key  of  A. 


Sing  as  I  call  (quarter  notes,  syllable  la)  A,  B,  C  sharp,  B,  A,G  sharp,  F  sharp,  E,  D,  C  sharp,  B, 
B,  A.  This  is  here  represented.  Sing  tho  same  with  syllables  do,  re,  mi,  &c. 


EXERCISES  IN  TIIE  KEY  OF  A. 


41 


What  are  the  pitch  names  of  the  members  of  this  new  family  t 

Before  singing  the  following  lessons,  name,  as  before,  the  clef,  signature,  key,  kind  of  time,  Ac. 


No.  105 


Do,  mi,  sol,  do,  sol,  do,  do,  si,  la,  sol,  fa,  mi,  re,  do. 
One, three,  five,  eight, five, eight, Eight, seven, six, five,  four, three, two, one; 


-c-y-  f-r 


do,  si,  la,  sol, 
Sing  -  ing  down  is 


fa,  mi,  re,  do,  sol,  sol,  do. 

al  -  ways  good  fun,  yes,  good  fun. 


No.  100. 


Do,  do, 

do, 

do,  do, 

do, 

re, 

re, 

re, 

mi, 

re, 

do. 

1. 

Fleet  as 

the 

shad  -  ows 

glide, 

0  - 

ver 

the 

ice 

we 

fly, 

Swift  as 

the 

swal  -  lows 

ride 

Un  - 

der 

the 

star- 

•ry 

sky. 

2. 

Blu  -  est 

of 

skies  a  - 

bove, 

Smooth- est 

of 

ice 

be 

-  low, 

Bound  to 

the 

steel  we 

love, 

Ev  - 

er 

aud 

on 

we 

go- 

3. 

Shout-ing 

our 

words  of 

glee, 

Sing  - 

ing 

our  songs 

of 

mirth. 

Hap  -  pi  - 

er 

souls  than 

we 

Nev  - 

er  were  found 

on 

earth. 

Mi,  mi,  re,  re,  mi,  mi,  fa,  fa,  sol,  fa,  mi,  re,  mi,  do, 

Curl  -  ing,  whirl-ing,  Glid  -  ing, slid  -  ing,  0  -  ver  the  ice  we  sail. 

Curl  -  ing,  whirl-ing,  Glid  -  ing, slid  -  ing,  0  -  ver  the  ice  we  sail. 

Curl  -  iug,  whirl-ing,  Glid  -  ing, slid  -  ing,  0  -  ver  the  ice  we  sail. 


No.  107. 


Sol,  do,  do,  re,  re,  mi,  do,  mi,  fa,  mi,  re,  do,  re, 


Come,  ev  -  ’ry  son  and  daugh-ter,  And  join  the  praise  we  sing, 
D.  o.  But  these  are  not  such  pleas- ures  That  we  for  them  should  cry; 


42 


D  SHARP,  KEY  OF  E. 


« 

FINE. 

If 

1 

m  r 

J  

m 

J  0 

- 

TFFT1 1 

0  .  0 

”  r - 

&  • 

* 

- 

- ^ - 

-4—  - ' — 

—J  1. 

Sol,  do,  do,  re,  re,  mi,  do,  mi,  fa,  re,  do,  si,  do, 

For  clear  and  spark-ling  wa  -  ter  Just  from  the  mead  -  ow  spring 

And  I’m  for  tak  -  ing  meas-ures  To  pass  them  whol  -  ly  by. 


’Tis  true  it  does  not  bub  -  ble,  Like  ei  -  der  or  cham-pagne; 


Nor  make  you  see  things  dou  -  ble,  Nor  of  your  head  corn-plain. 


CHAPTER  XIX. 

"  All  sing  A.  Now  G  snarp,  F  sharp,  E.  We  will  now  make  a  new  key,  by  taking  away  D,  and 
putting  D  sharp  in  its  place.  See  if  you  can  tell  wbat  pitches  I  sing — I  will  commence  with  E.  The 
teacher  then  sings  the  soale  of  E,  the  pupils  naming  the  pitches : 


No.  108. 


t#F=] 

i — 

-fS  '  ] 

^ — — p=n 

=3!--  ■ 

— fit  — 

gh . ■ 

—T—t. 

—  -  Lil 

E, 

F  sharp, 

G  sharp, 

A, 

B, 

C  sharp, 

D  sharp, 

E. 

1, 

2, 

3, 

4, 

6. 

6, 

7, 

8. 

Do, 

re, 

mi, 

fa, 

sol, 

la, 

si, 

do. 

a 

& 

£ 

in _  ^ r  .  ;  _ r  ,  . 

The  teacher  now  exercises  the  class  on  the  tones  of  this  boy  in  the  manner  already  indioated 
and  questions  about  what  has  boon  done,  ami  about  the  lessons  to  be  sung,  as  follows:  What  is  the 
name*  of  this  new  key  t  W hat  are  the  names  of  its  pitches  t  What  is  its  signature  t  What  clef  is 
here  used  t  What  kind  of  time  t  When  the  treble  staff  is  arranged  for  the  key  of  E,  what  pitch  does 
the  space  below  stand  f err  t  The  frst  space  t  Second  line/  Third  space t  he.  Name  the  pitches  of 
the  first  lesson. 


EXERCISES  IN  THE  KEY  OF  E. 


43 


No.  109.— Round. 


1 — r-n— r 

3 

3 

4 

- hi'- 

—0 - 0 - 0-\ — 

'  l  — 

— 0 - 0 

=?*--- 

Do,  do,  do,  mi,  sol,  sol,  sol,  do,  sol,  do,  sol,  k.,  m»,  mi. 

Pip  -  ing  up  so  clear  and  strong;  Cuck-oo,0uck-oo,  hear  the  song. 


No. 

HO. — Round. 

,,  t  ALLEGRO. 

2 

r\*" 

D 

0 

0  0  0 

.w 

5  0 - 

• - r - 

0 

P~  '  P  '  •  . *  - 

— T — 

- P - P - 

ff-t - 

- 1 - 

-  -i  - - 1  — 

i  1 

- 1 - 1 - 

Do,  d 
Now  tl 

o,  do,  d 

ie  black-sir 

o,  do,  do,  do,  do, 

ith’s  arm  is  swing  -  ing, 

mi,  mi,  mi,  mi, 

And  this  cheer  -  ful 

A— *  *  * 

— i2 - — 

— i — — 

— ® — n 

p-F-, 

- 1 — 

1 

i*  \ - 1:  "'I  '■  ! 

- 1 - ■* - 

— ! - 

1 

mi,  mi,  mi,  mi,  sol,  sol,  do,  do. 

song  he’s  sing  -  ing,  Cling,  cling,  Clang,  clang. 


No.  111. 


_n  ^_Ull ah 

-f 

-V  •  £ 

pii 

0  m 

|  zf 

0 

/L  :G  ft 

r 

fuT 

j  j  j 

r  f  f 

p  r 

9 - 2  ^ — 

r 

ibh — 

-  1  --  1 — t=i 

b±=±=h 

=t — 1= 

Do,  mi,  mi,  mi,  sol,  sol,  sol,  do,  si,  la,  sol,  mi,  sol,  do, 

1.  0  gai  -  ly  the  plow-man  his  ox  -  en  is  call  -  ing,  Gee  up, 

2.  Now  down  in  the  pond  all  the  frog-gies  are  fall  -  ing,  Ker-chunk, 


iftf 

0  ..  0  _  . 

- m~\ 

[ - 1 - r 

pzp  q il 

j_ i 

v  r  .  ! 

- i - 

- -4- — — 1 - 0 — 0— 

L- 6> - 1 

-J===t===t== 

sol,  do,  sol,  do,  do,  do,  do,  do,  mi,  mi,  mi,  sol,  sol,  sol, 

gee  up,  Haw  Bright, now  come  here;  A-round  them  the  dead  leaves  are 
ker-chunk,  And  splash  in  he  starts,  And, pop-ping  his  head  up  his 


£ 

:y 

m 

.  -0  .... 

0 

• 

n 

r — 

Z_ 0 

— 0 - 1 - * — 

j  0 

- j - 0 - 

--1  q= 

±= 

.  r *  ~r 

r4!  1 

- J — 4- 

AgdJ 

do,  si,  la, 

sol,  mi,  sol, 

do,  sol, 

do,  sol, 

- 9  # 

(1j,  do,  do, 

do. 

qui  -  et  -  ly  fall -ing;  How  gay  the  day,  How  bright  and  how  clear, 
speck-led  coat,  flasli-in^.  Will  cry,  Good  bye,  And  uu  -  dor  lie  darts. 


44 

No.  112 


B  FLAT,  KEY  OF  F 


Do, 

1.  Bim, 

2.  Bim, 

Vt 

si, 

bom, 

bom, 

la, 

bim, 

bim, 

sol, 

bom, 

bom, 

sol, 

Hear 

What 

do, 

tliem 

is 

mi, 

ring 

it 

sol, 

ing 

they 

0 

sol, 

loud 

Say 

fa, 

and 

to 

re, 

clear; 
mo  ? 

| 

0  

r 

n 

'  j 

.  » 

|  .  1 

i 

'  11 

T- 

1 

m  L 

I  H 

do, 

si, 

la. 

sol 

sol, 

do, 

mi, 

sol, 

fa, 

re, 

do. 

Bim, 

bom, 

bim, 

bom, 

Pleas 

-  mg 

sound 

to 

ev  - 

ry 

ear. 

Bim, 

bom, 

bim, 

bom, 

Do 

your 

work 

as 

well 

as 

we. 

CHAPTER  XX. 

All  sing  oar  old  acquaintance,  the  scale  of  C.  Now  listen  while  I  sing,  omitting  B,  and  putting 
In  its  place  a  sound  which  is  between  B  and  A,  and  which  we  will  call  B  flat. 

The  teacher  then  commences  at  the  upper  C,  and  siugs  C,  B  flat,  A,  G,  F.  After  the  class  have 
done  the  same  thing,  ho  says,  now  let  us  see  what  this  throwing  away  B,  and  substituting  B  flat, 
will  give  us. 

After  this  is  ascertained,  he  says,  a  character  called  a  flat  is  used  to  make  the  degrees  of  the 
stafT  that  have  stood  for  B,  stand  for  B  flat.  The  teacher  then  exercises  the  class  by  pointing  to 
the  scales  represented  as  below: 


No.  113 


F,  G,  A,  B  flat,  C,  D,  E,  F. 

1,  2,  3,  4,  5,  6,  7,  8. 

Do,  re,  mi,  fa,  sol,  la,  si,  do. 


No.  114. 


J — =1= 

- !  —  J - 

0 

•  & 

— 1 - r — m - 1 — 

— 

Py- — * 

— 0 - * — 

=t - lr— -T- 

— E  * 

— 0 

- G 

— 

Do,  re,  ml,  sol,  la,  la,  sol,  do,  sol,  mi,  do,  mi,  re,  re, 

1.  One, two, three, five,  tip  we  go;  Eight, five, three, one,  down  a  -  gain: 

2.  “Once  a  -  gain,”tlio  teach  -  er  says,  So  onoe  more  we  mug  it  through 


EXERCISES  IN  THE  KEY  OF  F. 


45 


~xj — ; - ; - 1 - 1 - 

~  f — ; — i — - 

— q - 1 - ; —  i 

y  r»  !  !  !  * 

nj .1  ■  ■'!  j 

fFP\  v  1  ~2  m  : 

i_ r  j 

v]y  a  ” 

L 

- 1 - 

- 1 - * 

t  g  "  J 

Do,  re,  mi,  sol,  la,  la,  sol,  do,  sol,  mi,  do,  mi,  re,  do. 

Back  a -gain  un  -  til  we  know  Ev  -  ’ry  move-ment  of  the  strain. 

We  will  sing  our  mer  -  ry  lays,  ’Till  he  says  that 1 ‘That  will  do.” 


I  No.  115. 


-y 

~m  , 

- 1 - 

rn — - 

-J0  —* — <■ 

4- 

- j — 

- M - # - 

— 1 — -1 - 

=t=± 

— 0 — - — 0 — 

a 

m 

. *—trz 

Do,  sol,  sol,  sol,  sol,  mi,  do,  re,  mi,  re,  do,  do,  re,  mi,  fa, 

1.  Three  cheers  for  our  he-roes,  Not  those  who  wear  stars,  Not  those  who  wear 
2  But  cheers  for  our  sol-diers, Bough,  wrin-kled  and  brown,  The  men  who  make 


— 0 - 1 — 

- 7  ^ 

— 0 — j*— j 

— G> - -0- 

- r - f - r — 

•41—  .j-— 1- 

— F - 0 - m 

=t=tr—  -- 

— . — 

sol,  la,  si,  do,  sol,  mi,  re,  re,  sol,  sol,  sol,  sol,  fa,  mi, 

ea  -  gles,  and  leaf  -  lets,  and  bars;  We  know  they  are  gal  -  lant  and 

he  -  roes,  and  ask  no  re  -  nown,  Un  -  self  -  ish,  un  -  tir  -  ing,  in- 


— 0— 

'  -f 

=1 — 

d--  ■ 

=5=  ■* — 

—  i  — 

0  - 0 

fa,  fa,  sol,  la,  la,  sol,  la,  si,  do,  sol,  mi,  re,  mi,  re,  do. 

lion  -  or  them  too,  For  brave-ly  main  -  tain  -  ing  the  Red,  White  and  Blue, 

trep  -  id  and  true,  The  bul-wark  sur-round-ing,the  Red,  White  and  Blue. 


No.  110, 


B:/V  . 

*  #_ . 

- 1 — 

— i 

-1 — h 

■4  4-= 

-& — — 

5=lH= 

1-  1— 

~l — r. 

 & 

— 0 - 0 — 

— j  — J— 

*  0 

— 

Do,  do,  si,  si,  la,  la,  sol,  fa,  fa,  mi,  fa,  sol,  sol,  do, 

1.  Now 'be  -  neath  the  key-note  we  Sing  our  les  -  son  o’er  with  glee, 

2  We  are  not  quite  sure  just  yet  That  this  one  we  shan’t  for  -  get; 


rv-  m 

— I — 

fn—  . 

— I — 4“ 

H-,  0  0 

*  0 

_ 

j 

r>  l 

0  0 

r  _ 

J - 1 — 

-1 - 1 — 

0  0 

do,  do,  si,  si,  la,  la,  sol,  fa,  fa,  *  mi,  fa,  sol,  sol,  do. 

Prac  -  tic.e,per  •  feet  makes, they  say,  May  we.  per  -  feet  be  some  day. 
So,  to  be  con- vinced  we  shan’t,  Once  a  -  gain  this  strain  we  chant. 


46 


E  FLAT,  KEY  OF  B  FLAf. 


CHAPTER  XXL 


All  sing  F,  G,  A,  B  flat.  Now  listen  while  I  sing  down,  beginning  with  B  flat.  I  shall  omii 
E,  and  sing  E  flat  in  its  stead.  The  teacher  then  sings  the  scale  of  B  flat  down.  After  the  class 
have  done  the  same  thing,  he  says,  E  flat  is  one  namo  of  tho  tone  that  is  half  way  between  E  and 
D.  We  used  this  same  pitch  in  tho  key  of  E,  but  thero  it  was  called  D  sharp. 

After  finding  the  key-note,  tho  usual  exercises  in  singing  from  pointing  to  the  notes  of  the 
scales  takes  place. 


No.  11.7. 


rt? 

| 

— 1 

9— 

.  .. 

- 1 - 

- 1 - 

- 

o 

J-  _ 

- j - 

- J - 

L — s> — 

& 

B  flat,  C,  D,  E  flat,  F,  G,  A,  B  flat. 

1,  2,  3,  4,  6,  6,  7,  8. 

Do,  re,  mi,  fa,  sol,  la,  si,  do. 


r\  •  l 

- 1 - 1 — : 

“  n 

*-»•  -p 

GL. 

L JJ 

A; - 0 - 

■ 

=± : 

— i — 

No.  118. 


7? - - - 

0 — 

» 

- 1 - 

- Tt - - 

>  #  0 

— t - 

Z  T-  - 

-  -1 - 

-  0 

- — - 1 - 

Do,  re,  mi,  sol,  fa,  mi,  re,  do,  si,  la,  sol,  la,  si,  do, 

1.  Now,  that  we  have  changed  the  key,  Wo  must  ver  -  y  care  -  ful  bo; 

2.  When  he’s  sure  of  that,  he’ll  soon  Let  us  sing  an  -  oth  -  er  tune; 


dfc  V  ,  •  f 

W 

=t= 

- 1 — 

fap— 

0 - f— 

t 

-1 - - 

- p. 

0  *  - 

- 1 - 

_  1 

:  i-  i~ 

xrn 

r 

l 

L_  ”  • 

.  a  0 . 

TT 

• 

do,  re,  mi,  sol,  fa,  mi,  ro,  do,  si,  la,  sol,  fa,  sol,  do. 

Let  us  make  the  teach  -  cr  see,  We’ll  not  miss  the  flat  -  ted  E. 

Com-rades, sing  with  joy  -  ful  care,  And  of  sing  -  ing  wrong  be- ware. 


No.  110. 


-f) — b - 

- 3 - Z 

0  _  n 

3 

0  0 

^  0  M 

_ 

r  '  *  '  T — ■ 

5 

L l - i 

Sol,  do,  sol,  do,  ml,  re,  do,  si,  sol,  do,  boI,  mi,  sol, 

1 .  ‘  Tho  moor  is  bright,  tho  dew  is  sweet,  Tho  mead  -  uw  pleas  -  ant 

2.  ‘'My  moth  er  al  -  ways  says,  ’tis  best  To  stua  -  y  flrst  aud 


EXERCISES  IN  THE  KEY  OF  B  FLAT. 


47 


- - - - ; - 

► — 0 - 

* 

— 0 - 1 - 0 - 

— 

* — *—  ; — 

do, 

n>i, 

re,  sol, 

do, 

sol, 

do, 

mi, 

re,  do, 

si, 

sol, 

to 

our 

feet;  Come 

let 

us 

roam 

a 

lit  -  tie 

way, 

We 

play 

for 

rest;  So 

let 

us 

go 

to 

school,  and 

then  We’ll 

3F42 

=3= - J~ 

0  '  0  “  n 

'  '0  0 

0 

•  „ 

TT 

0  r 

r  j 

- 

- 1  4-  l — 

-11  a 

-1 - 

- — 1 - 

la,  si,  do,  mi,  re,  re,  do,  re,  re,  si,  sol,  do,  re,  mi,  do, 

will  not  go  to  school  to  -  day.  ”  This  a  lit  -  tie  boy  did  say  To 

like  our  plays  as  much  a-gain.”  Don’t  you  think  that  boy  was  wise,  Who 


re,  re,  si,  sol, 
one  who  was  with 
did  the  oth  -  er 


do,  mi,  re,  sol, 
him  at  play;  But 
thus  ad  -  vise  ?  And 


do,  sol,  do,  mi, 
sing  the  com  -  ing 
if  you  do,  I 


re,  do,  si,  sol,  la,  si,  do,  mi,  re,  re,  do. 

verse,  and  see  What  his  wise  friend’s  ad  -  vice  will  be. 
hope  you’ll  take  His  mot  -  to,  for  your  teach  -  er’s  sake 


No.  120.— Rouptd.  (In  two  parts.) 

1  [The  second  section  commences  when  the  first  reaches  the  first  heavy  h  ar.] 


-H — b - 

r  .....  j - 

- 1 - - 

 m  0 

Tc 

.  * 

V 

Z  F - i-  • 

-4- 

 G 

— 

Do,  do,  do,  do,  do,  si,  sol,  la.  si,  do,  re,  mi, 
Come,  broth  -  ers,  come,  the  mer  -  ry  tune  is  sound  -  ing; 


o 


- 

h-^r - 

0 

*  0  0 

Jrv>— 

f 

m  r 

- 

1  i 

i  — 

i 

-  -in 

L  I 

=4= . 

mi,  mi,  mi,  mi,  sol,  fa,  mi,  re,  mi,  fa,  fa,  mi,  do. 

Come,  join  our  cheer  -  ful  song,  with  joy  each  heart  is  bound -ing. 


( The  teacher  will  explain  at  the  proper  lime  that  the  pause  indicates  that  the  tone  is  to  be 
prolonged  beyond  its  usual  time.) 


48 


A  PLAT,  KEY  OF  E  FLAT 


CHAPTER  XXII. 

All  sing  the  scale  of  B  flat.  Now  listen  while  I  sing,  and  name  each  pitch  as  I  give  it.  I  will 
begin  at  the  upper  B  flat,  and  think  that  perhaps  you  can  toll  the  name  of  the  new  pitch  that  I 
introduce,  and  also  the  name  of  the  key-note  that  results  from  its  use.  The  teacher  then  sings  B 
flat,  A  flat,  G,  F  and  E  flat.  After  the  class  have  named  the  pitches,  and  have  sung  them,  and  have 
also  ascertained  the  key-note,  the  usual  exercise  in  the  scale  takes  place. 


No.  121 


H7— 1 

- 1  ' 

5  i 

■v 

y- 

7 

1 

I 

7 

& 

£ 

V 

J. - « - 

~~  v  ~ : 

- f - 

- 1 - 

JJ 

E  flat,  F,  G,  A  flat,  B  flat,  C,  D,  E  flat. 

1,  2,  3,  4,  6,  6,  7,  8. 

Do,  re,  mi,  fa,  sol,  la,  si,  do. 


R.,]?  .. 

— <9 — 

— f» — 

- <9 - 

- 1 - 

- (2 - 

- - 1 - - 

'  -1= 

- t - 

I 

1 

f =: 

No.  122. 


p-' 

— m - m - 

,  f 

p—w=^~ 

14: — 

:=J  - 

- p - 1— : 

=t= t— 

Sol,  sol,  do,  sol,  sol,  mi,  do,  mi,  sol,  do,  si,  la,  sol, 

1.  Up,  up,  up,  down, down, down,  One, three,  five,  eight, seven,  six,  five; 

2.  Is  it  not  ver  -  y  kind,  That  our  teach  -  er  takes  such  care; 


7  • 

_ 1 — - 

[ 

—0 — 

—0 

-4- 

sol, 

I- 

sol, 

do, 

— 1 - 

sol, 

-4- 

sol, 

Mer 

-  ry 

we 

not 

a 

Let 

11s 

all 

try 

to 

_ l_ 


m 


mi,  do,  re, 
frown, While  to 
xniud  What  ho 


mi,  fa, 
con  -  quer 
says 


a 


ml, 

this 

bout 


•3 

do. 


rc, 

we  strivo. 
this  air. 


No.  123.— Bound.  [Each  section  commences  when  the  preceding  one  reaches  the  first  heavy  6ar.] 


..  .  ... 

0  - 

—  1 

y7? — 

— J 

—5  - 

_ 

— ,7- 

- - 

-1 — 

-1— J 

Sol,  mi,  do,  ml,  sol,  la,  sol,  mi,  do,  mi,  sol,  do,  lo. 

Thoro  was  a  lit  -  tie  lamb- kin, Whose  fleece  was  ver  -  y  white. 


EXERCISES  IN  THE  KEY  OF  E  FLAT. 


49 


No.  124. 


Jz 

.. 

• 

- 1 — 

=4= 

& 

A-p— #- 

- O - #— 

■  1  ■ — f_ d 

.  9 

- 1 - 

~\ — 1 — l— 

E- - — 

w 

Sol,  sol,  sol,  sol,  uo,  sol,  mi,  fa,  mi,  re,  do,  ml,  re,  mi,  fa, 

1.  G.od  bless  the  brave  sail-or,  who  rides  o’er  the  main,  And  bat  -  ties  with 

2.  Oh  fill  his  sails,  fill  his  sails, soft  breath-ing  wind,  0  car  -  ry  him 


4= 


nii,  re,  mi,  fa,  mi,  sol,  sol,  sol,  sol,  do,  sol,  mi, 
a  ter  -  ri  -  ble  gale ;  His  hard-ships  are  ma  -  ny,  yet 


mi,  ia, 
ma.  -  ny 

sale  o'er  the  treach-er-  ous  main;  And  leav  -  ing  all  storm  and  all 


ev  -  er  the  same,  He  loves  o’er  the  dark, blue  sea  -  wa  -  ter  to  sail, 
dan-ger  be  -  hind,  Just  waft  him  a  -  long  to  his  dear  home  a  -  gain. 


No.  125. 


JLpL.|7 

— q. - 1  "  ~t  ~ 

-i  ,  t. j 

- 1 - 

— — t - 

— f  r— 

r~ T-' 

J 

1 

- 1 — 

- W - 

Do,  do,  do,  do,  do,  do,  mi,  sol,  mi,  do,  si,  la,  si,  do, 

1.  Our  teach  -  er  thinks  it  best  we  should  go  down  be  -  low  the  key, 

2.  For,  if  he  did  not  think  we  ought,  we  may  be  ver  -  y  sure 


mi,  mi,  sol,  fa,  mi,  re,  mi,  fa,  re,  si,  sol,  la,  si,  do. 

And  up  a  -  bove  as  well,  so  let  us  all  o  -  be  -  dient  be. 

He’d  not  have  let  us  do  it,  but  have  told  us  so  be -fore, 


CHAPTER  XXIII. 

All  siug  tlie  scale  of  E  flat.  Now  sing  the  lower  E  flat  again,  but  instead  of  applying  the  syllable 
I  do  to  it,  sing  sol,  and  think  of  it  as  five — sing  it  again — again.  Now  sing  the  next  pitch  above, which 
|  is  F,  but  consider  it  six,  and  sing  la — again,  once  more,  now  five,  six,  seven,  eight,  seven,  six,  five, 
i  (bur— fpur  again.  You  are  now  pinging  a  new  pitch,  it  is  not  D,  the  one  you  have  boon  si  uging 


50 


D  FLAT,  KEY  OF  A  FLAT. 


next  below  E  flat,  but  it  is  D  flat;  and  if  we  keep  on  down  to  one,  we  shall  find  out  what  key  the 
addition  of  D  flat  makes.  All  sin?  the  E  flat,  or  five,  again,  now  four,  three,  two,  one.  Now  I  will 
sing,  beginning  with  the  E  flat,  and  you  may  name  each  pitch  as  I  give  it. 

The  teacher  then  sings  E  flat,  D  flat,  C,  B  flat  and  A  flat.  What  is  the  key-note  f 


No.  120. 


A  flat,  B  flat,  C,  D  flat,  E  flat,  F,  G,  A  flat. 

1,  2,  3,  4,  5,  6,  7,  8. 

Do,  re,  mi,  fa,  sol,  la,  si,  do. 


/^v  .  1 

- 1 - 

- 75 - 

- - - 

& - 

1 

:  i  ■ 

V  ?  i 

_ 

/ 

S. 

— 

- 1 - 

- - 

. i 

J 

No.  127. 


HH- b- 

fc — 

— | - 

— - - ,L-  J - 

ZhTLY 

!  J 

v  y  a  a 

#  m  j 

1 "2? 

'  *  # 

 M. 

Do, 

do, 

do, 

do, 

do, 

si, 

la, 

sol, 

la, 

si, 

do, 

1. 

A 

flat, 

A 

flat, 

Let 

us 

all 

re  - 

mem 

-  ber 

that 

2. 

Once 

more, 

once 

more, 

Sing 

it 

bet 

-  ter 

than 

be  - 

fore 

-Q- ,  l>  U 

— r~ 

~r 

=4  ' 

'1 - 1  T 

'/L*  (?-u— # — 

— #- 

-U 

- j— 

— ri — 

— \- 

-1 - 

— 4— 

—  0  -  r?  I 

—4— 

0- 

— 

—4 

- 1 - 

•  • 

/  4 — 

ro, 

re, 

si, 

sol, 

la, 

si, 

do, 

si 

> 

sol, 

la,  si, 

do, 

do,  do. 

For 

it 

will 

be 

vcr 

•  y 

well 

That  the 

key-note 

we 

can  tell. 

For 

if 

wo 

our 

sing-ing 

love, 

We 

are 

cer-tain 

to 

im  - provo 

No.  128. 


-6-rp-fc - 

- 1 - 1 - 1“ 

nq - ~r - T~i 

- J - ^ ^  — 

—0— 

— — j - ^ — ! - — m - - 

fvVt - -j— 

<* 

- t- - g 

-*  -*  ~  *:  b-*r:---f  ■ 

Sol, 

do,  do,  do, 

si 

re,  sol, 

do,  do,  do,  si,  ro, 

1.  The  voice  of  the  mom-ing  is  call  -  ing  to  child-hood, 

And  Ma  -  ry,  the  lovo  -  li  -  est  nymph  of’  the  wild  wood, 

D.  c.  From  glance  and  from  smile  there  beams  some-thing  e  -  lys  -  ian, 

2.  Yet,  oh!  to  her  heart  moth  -  er  Na  -  ture  hath  giv  -  en 

She  loves  ev  -  ’ry  star  that  sheds  ra  -  diance  in  heav  -  en, 

D.  c.  But  dews  that  like  tears  on  the  lil  -  ies  aro  trcm-blin^, 


EXERCISES  IN  THE  KEY  OF  A  FLAT. 


51 


i 


FINE. 


- 1 - 

- *  « - ~±— 

• — 

* 

— 0— 

sol, 

mi,  re, 

do, 

si,  la,  sol, 

la, 

la, 

si, 

do, 

From  stream  -  let, 

and 

val  -  ley,  and 

moun  -  tain 

it 

calls ; 

Is 

cross  -  ing 

the 

brook  where  the 

mill 

wa 

-  ter 

falls : 

She 

has  but 

one 

fail  -  ing — sweet 

Ma  -  ry 

is 

poor. 

The 

kind  -  est 

af 

-  fee  -  tions  that 

mor  -  tal 

can 

know; 

And 

al  -  so 

the 

flow  -  era  as 

God’s  im 

-  age  below: 

Are 

types  but 

of 

Ma  -  ry —  for 

Ma  -  ry 

is 

poor. 

-£-7 

_ 

■i  ■  ■  — 

— 1 - : - 

m 

00* 

0 

□ 

'  v  r 

=t= — t=t= 

- - - 0 

_ 

.  E~ 

• 

- 0 

mi,  re,  re,  mi,  do,  sol,  mi,  re,  re,  mi,  do,  sol, 

Oh!  love  -  ly  is  'Ma  -  ry,  her  face  like  a  vi  -  sion, 

’Tis  pit  -  y  to  think  that  a  be  -  ing  re  -  sent  -  bling 


D.  C. 


- J - 0 - 

- 1 - 

i 

- -d - 

- j— h 

-  :4— - q=- 

9  ~ 

- 1 — 

— 0 - « - 0  - 

m - '  » 

— <s> - U 

sol,  do,  re,  do,  si,  do,  si,  la,  si,  la,  sol. 

Once  seen  leaves  a  charm  that  will  ev  -  er  en  -  dure; 

The  fair  -  est  in  beau  -  ty,  such  lot  should  en  -  dure; 


,i  No.  120.  — Round.  (In  four  parts.) 


-  1  -3= 

"  :  — l — 

Bp.  *  . f: 

- & - 

- 1 - 0— 

1 

k 

* 

1 

1 

-  & .  — - 

— -  r-^ 

Do, 

Let 


mi, 

US 


re,  sol,  la,  do,  si,  do,  mi,  re,  do, 

sing  an  -  otli  -  er  gay  Round,  Join  in,  com- 


y=r/r 

IP 


3 


::  — s»- 


si,  re,  sol,  fa,  mi,  fa,  mi,  do,  sol,  do,  so), 

pan  -  ions,  to  swell  the  glad  sound;  Come,  come,  let  each 


,  J 

0 

(St  • 

:i2 — 

0 - 

*  * 

- 1 - Tl 

IT  0 

- - 

- ( - - - 

TfV V  9 

4 

| J 

_ 

do,  mi,  sol,  sol,  sol,  sol,  la,  la,  sol,  do. 
young  heart  bound.  Glad,  glad  to  join  in  our  Round, 


52 


EIGHTH  NOTES. 


CHAPTER  XXIY. 

All  sing  four  measures — double  time,  quarter  notes,  pitch  G,  syllable  la. 

Now  again,  but  instead  of  singing  one  sound  to  each  beat,  sing  two.  When  this  is  well  don^ 
the  teacher  says,  these  are  eighth  notes,  and  would  be  represented  thus : 

No.  130. 

PCCCICPPCICPCPIPCC  5'IJ 

La,  la,  la,  la,  la,  la,  la,  la,  la,  la,  la,  la,  la,  la,  la,  la. 

Now  four  triple  measures  of  eighth  notes — same  pitch,  same  syllable. 

Now  four  quadruple  measures  of  eighth  notes — same  pitch,  same  syllable 
Now  four  sextuple  measures  in  the  same  way. 

It  will  be  observed,  that  one  dash  at  the  end  of  tho  quarter  note  makes  an  eighth  note,  whether 
on  one  alone,  or  joining  two  or  more  together.  The  following  are  all  eighth  notes,  having  the  same 
length : 


l  >  i 

0  0  0 

la,  la,  la. 


There  is  no  need  now  of  printing  tho  syllables,  but  they  should  bo  sung  beforo  the  othor  words 
are  applied.  Name  the  pitches  of  the  lesson  before  singing. 

No.  132. 


£ — ==q 

- 1 - 

zh  iJcH 

3" 

0  0- 

_u _ n  -Is  -P 

— 0 - * - 0 - 4-A 

J2 L 

— 0 - J- — 0 — 

Now  beat  the  time,  and  let  tho  eighth  notes  ring;  Don’tmake  tho 


No.  131. 


G  C  G  G 


h  b  r>  h 

0  0  0  0 


c_r  l-j 


.1/ 


La,  la,  la,  la,  la,  la,  la,  la,  la,  la,  la,  la,  la, 


£ 

h 

E 

(2 

[3—.  7  ] 

- 

=: 

-  — K - K - 

- — - ^ - - 

k - 

y. 

=fl 

— 4 

■ 

t  a. 

if 

=1= 

'  '  « 

A 

1  II 

mo-tions  fast  -  er  than  you  sing,  Tra,  la,  la,  la,  la,  la,  la,  la,  la. 

No.  133. 


-n 

- r 

/ 

— 

— *= 

0 — 0 — 3 — 

- H - 

^3 

w 

•  •  -r 

Fibzf 

3d 

-p— '  # 

— # - 

].  Blow,  vo  breez-esl  sum-mor  greets  you,  With  her  soft  and  ten-der  heat; 
2.  Sweet -Ty  arc  her  show-era  fall- ing,  From  the  foun- tain  far  on  high; 


EXERCISES  WITH  EIGHTH  NOTES 


53 


V -  k  '1 

T - 1 - 

| 

n  * 

-  0  r  \  \  \  r  et> 

1 

rvi  1  a  r 

1 

©2 - - t=T- 

#  * — ?  — i— 

y  [/  1  m  1  y  *  1 

J 

Now  her  fair  -  y  fin  -  ger  meets  you,  Now  her  swell-ing  puls  -  es  beat 
And  the  mer  -  ry  birds  are  call  -  ing,  As  they  roam  the  west-ern  sky 


i  No.  134. 


~JL~ - N- 

— i — =1 — 3=r 

- 1 - i - V - !\- 

hw — f* — j 

— J  * — 2 

-  «  -4 — 1 

4  * — * — f— 

— (2  ♦ 

- 1 - 1 — 

=t= 

1.  There  is  mu  -  sic  on  the  wa  -  ters,  As  they  on- ward  ev  -  er  flow, 

2.  There  is  mu  -  sic  by  the  foun-tain,  Where  the  wa-ters  bub-ble  o’er, 

3.  There  is  mu  -  sic  to  the  wea- ry,  Where  the  wa-ters  of  their  soul 


rtf- 

‘  e  T- 

i  i 

-j 

/L  M # 

° 9  * 

| 

9  « 

1  ' 

1 

— U-l 

-J . — 

-  #  i=U - 

'  # - 4 

- J — 

J 

Thro’  the  pleas-ant  plains  and  val-leys,  Where  the  rose  and  lil  -  ies  grow. 
Like  the  last  link  of  a  spir  -  it,  Bound  to  earth  by  sin  no  more. 
Cease  on  earth  to  flow  for  -  ev  -  er,  And  in  heav  -  en  find  their  goal. 


CHAPTER  XXV. 

nitherto  the  quarter  note  has  been  the  standard,  or  the  one  to  fill  one  part  of  any  measure  (or 
one  beat).  In  double  measure  it  has  taken  two  quarters  (or  their  value)  to  fill  each  measure — in 
triplets,  three,  &c.  There  is  no  particular  reason  why  this  should  be  so — the  eighth  may  be  the 
standard  if  we  choose  to  have  it  so,  or  the  half.  The  following  song  sounds  the  same  in  its  three 
representations,  although  it  looks  so  differently.  In  the  first,  an  eighth,  or  the  value  of  an  eighth, 
fills  each  part  of  the  measure,  a  quarter  requiring  two  beats,  &c.  In  the  second,  a  quarter  fills  each 
part,  as  heretofore;  and  in  the  third,  a  half.  It  may  seem  strange  that  a  half  should  be  used  in 
one  piece  to  stand  for  the  same  length  that  a  quarter  does  in  another,  or  an  eighth  in  another;  but 
this  will  serve  to  show  that  notes  have  no  positive  value,  only  relative.  It  will,  however,  bo  observed 
that  in  the  same  piece  the  quarter  is  twice  as  long  as  tho  eighth,  and  half  as  long  as  tho  half,  &c 


No.  135. 


vr~ 

..  | 

— - 

m 

Ph 

s 

#  •  •II 

J  ^ 

4  4 

—0 - 0 — 

.  i 

Shlz  p p - pu 

* 

^ - h — 

■ 

Let  us  re  - 
And  let  our  t 

•  m 

mem  -  ber 
ho’ts  go 

when  we  roam,Th 
forth  to  them,  Ir 

e 

t 

rienda  we 
feel  -  ings 

— i - 1 — 

1 - — - 

leave  be  - 
pure  and 

- 1— - 

hind;  ( 
kind,  f 

~T~ 

- 1 - 

 '  " 

j 

_ 

A  .  - 

<r 

- - 0 

— r  .1 1 

-d  w 

— d — * 

=t— J= 

Let  us  re  -  mcm-ber  when  we  roam, The  friends  we  leave  be  -  hind:  \ 
And  let  our  tho’  ts  go  forth  to  them,  In  feel  -  ings  pure  and  kind.  I 


5+ 


VARIETIES  OF  MEASURE,  DOTTED  QUARTER  NOTE. 


1 

•  n 

c  •  1 1 

a 

• 

•  1 

Let  us  re  -  mem-ber  when  we  roam, The  friends  we  leave  be  -  hind; 
And  let  our  tho’ts  go  forth  to  them,  Jn  feel  -  ings  pure  and  kind 


.1 


It  now  becomes  necessary  to  have  some  way  of  indicating  which  kind  of  note  is  taken  tvs  the 
standard.  This  is  done  by  figures — 2  stands  for  a  half  note,  4  for  a  quarter,  8  for  an  eighth,  &c.  The 
figure  2  also  stands  for  doublo  measuro,  3  for  triple,  4  for  quadruple,  and  6  for  sextuple,  and  so  are 
also  used  to  indicate  the  kind  of  time  or  measure. 

Two  figures  are,  therefore,  usually  placed  at  the  commencement  of  a  piece  of  music  in  the  form 
of  a  fraction — the  upper  to  show  what  kind  of  time  is  made  use  of,  and  the  lower  what  kind  of  a 
note  (or  its  value)  is  to  occur  on  each  part  of  the  measuro  or  beat;  thus  :  §  Bhows  double  meaaui* 
with  a  half  (or  its  value)  to  each  beat;  or,  in  other  words,  two  half  notes  (or  their  value)  in  each 
measure. 

This  is  said  to  be  half  variety  of  double  time.  Quarter  variety  of  double  time  would  be  indi¬ 
cated  by  4,  eighth  variety  by  half  variety  of  triple  tirno  by  |,  Ac. 

We  can  have  as  many  varieties  of  measure  as  there  are  kinds  of  notes,  but  the  three  already 
mentioned  (half,  quarter  and  eighth)  are  the  only  onos  in  common  use. 

When  two  figures  are  placed  at  the  commencement  of  apiece  of  music,  what  is  the  upper  me  for  f 
What  the  lower  t  What  would  the  figures  a  stand  for  t  (  Ans.  Quadruple  measuro,  half  variety.) 
How  many  half  notes  in  a  measure  f  How  many  quarters  t  What  Icind  of  a  note  to  each  heat  t  How 
many  varieties  of  measure  could  we  have  f  Hoiv  many  are  in  common  use  t  What  are  theyt  In  what 
kind  of  time  is  the  following  song  written  1  Which  variety  t  If  an  eighth  occupies  one  beat,  what 
kind  of  a  note  will  take  two  beats t  What  three t  (Ans.  Dotted  quarter  note.)  How  many  eighths 
is  a  dotted  quarter  equal  to  t 

It  will  be  an  excellent  plan  in  the  following  songs,  to  name,  first  the  tones  that  make  the  key, 
then  give  the  scale  names  of  the  tones  that  make  the  lesson,  and  then  sing  syllables. 


FINE. 


D. 


D. 


1.  A  -  wake  thee,  lit  -  tie  sleep 

Tlve  ro  -  sy  light  is  break - 

c.  While  all  the  air  is  ring  - 

2.  A  -  wake  thee,  lit  -  tie  sleep 

II  is  cir  -  cuit  thro’  the  licav  - 

C.  Then  hast  -  ens  on  his  jour  « 

3.  Be  -  hold  him  as  ho  speed- 

For  nev  -  er  once  ho  pans  - 


er,  No  Ion  - 
ing  O’er  all 
ing  With  Swop, 
-  er,  And  view 
ens  A1  -  rea 
ney  Far  o  - 
eth  Up  -  on 
eth  ’Till  even  - 


ger  slum 
the  East 
t-est  mel 


the 

ver 

his 


glo- 

is 

vale 

on 


D.  C.  So  shall  thy  rest  bo  glo-rious,  When  life 


ing’s  clos 
has  pass 


— h — — (-- 
b’ring  lie,  [ 
■  ern  sky;  ) 
-  o  -  dy. 
rious  sun,  ) 
be  -  gun; ) 
and  hill, 
wiird  way,  1 
ing  ray;  J 
da-  way. 


D.  c 


-f) - 

— h' - i— i 

n 

wL  & 

r 

"  .  t  -  .N 

-  .  1 ! 

~ _ 

--P— 

-  V 

U  - 

s - P - #— 

#  "  -  r,  ■ 

— V  -J 

Ami 

joy  - 

-  '•/— 

ous 

birds 

aro 

- 1 - j - 

wing  -  ing  Their 

L- - - ^ - W - 

flight  from  tree 

to 

— _ lJ 

tree, 

lie 

looks 

in 

at, 

thy 

win  -  dow,  To 

find  then  sleep 

-  ing 

still, 

'•’ll  us 

let 

thy 

piitii 

bo 

ou  ward  And 

up  •  ward  ev 

’ry 

day; 

55 


EXERCISES  IN  VARIETIES  OF  MEASURE,  EIGHTH  REST. 


It  the  following  song  there  are  six  eighths  (or  their  value)  in  a  measure.  It  is  more  convenient 
to  beat  this  in  double  time  than  in  sextuple,  because  the  sextuple  beats  would  be  so  quick.  Make 
three  eighths  (or  their  value)  to  a  beat.  There  may  be  some  difficulty  in  starting.  The  lesson 
begins  on  the  last  part  of  the  upward  beat.  Question  about  key,  <fcc.  (It  may,  perhaps,  be  well 
before  singing  this  to  practice  beating  double  measure,  and  singing  three  eighths,  or  a  quarter  and 
eighth  to  a  beat,  pitch  G,  syllable  la.) 


No.  137. 


-jj—  if  11 L — 

1  V 

— 1 - - IT 

, v 

— J — J 

•=3  -d 

— # - 4 - 1 - b— 

- # - i 

— * - * - 1 - !/- 

1 .  Shall  we  stand  still  ?  Oh  no,  oh  no;  Go  on  -  ward  ev  -  ’  ry  one! 

2.  In  work  or  play,  what- e’er  we  do,  Re  -  mem  -  her  this  each  one; 


I 


'in 

— 

s — 

— 1 — r 

s — 

*  r 

V 

#  '  # 

Lj 

^ - a 

-T . 

The  mot  -  to  is,  still  on -ward  go,  Go  on,  go  on,  go  on! 

Those  must,  who  would  in  good-ness  grow,  Go  on,  go  on,  go  on! 


I 


Ui 


0  .# 


Go  on,  go  on,  go  on,  go  on,  The  mot  -  to  is,  Go  on. 

Go  on,  go  on,  go  on,  go  on,  The  mot  -  to  is,  Go  on. 

An  eighth  rest  is  like  a  quarter  rest,  only  turned  the  other  way — something  like  the  figure  7. 
Before  singing  the  next  song,  it  may  be  well  to  practice  lessons  like  tho  following,  to  learn  to 
come  in  on  the  last  part  of  a  beat. 


No.  138. 

3  •  • 

4  If  U 

La,  la, 


la, 


p  'ip  p  r  i  n  r  i  p  c  p 

la,  la,  la,  la,  la,  la,  la,  la,  la,  la, 


la. 


Question  about  key,  kind  of  time,  variety,  &c.  Name  tones  of  key  (pitch  names),  names  of  les¬ 
son  (scale  names),  then  sing  with  syllables 

No.  139. 


fcr  <  v 

— r — b 

I i  

— i  - 

— ~ — J- — • — » — 

4 - 

-Ti  4- — i — 

*  .or  o  e  - 

t- 

■  d  ■- 

].  There 

is 

a  child,  a 

boy 

or 

girl, 

I'm 

sor  -  ry  it 

is 

true, 

2.  I 

know 

a  child,  a 

boy 

or 

girl, 

I’m 

loth  to  say 

I 

do, 

3.  I 

know 

a  child,  a 

boy 

or 

girl. 

T 

hope  that  such  are 

few, 

4.  A 

girl  thero  is,  a, 

girl 

J  know, 

and 

1  could  love 

her 

too; 

56 


EXERCISES  IN  DOTTED  NOTES. 


Who  does  not  mind  when  spo-ken  to;  Is 
Who  struck  a  lit  -  tie  play-mate  hard;  Is 
Who  told  a  lie,  yes,  told  a  lie;  Is 
But  that  she  is  so  proud  and  vain ;  Is 

Question  about  kind  of  time,  variety,  key,  signature,  &c. 


that —  can 
that —  can 
that —  can 
that —  can 


that  be 
that  be 
that  be 
that  be 


you? 
you  ? 
you  ? 
you? 


No.  140.  — Round.  (In  three  parts) 


quar-ters  next  we  bring;  Now  both  to  -  geth  -  er  hear  them  ring. 


CHAPTER  XXVI. 


All  sing  four  measures  in  double  time,  one  sound  to  each  beat,  pitch  Q,  syllable  la.  This  wo 
could  represent  by  quarters,  halves  or  eighths.  Wo  will  take  half  notes: 


No.  141. 


2 

2 


r 


o 


o 


o 


Now  again,  but  let  there  be  two  notes  to  the  second  beat  of  each  measure.  If  a  half  note  is 
taken  as  the  standard,  what  kind  of  mtcs  would  these  bet  This  would  bo  represented  thus : 


No.m.  srrrirrrirrrir  r 

Now  again,  and  connect  the  first  and  second  notes  in  each  measure  into  one,  thus: 

■Me.  1/ft  2  O'~^0  0  I  O'  0  0  1  O  '0  0  I  O'  '0 

No- 143-  Si  i  mi  rili  i  in  i 


0 


ii 


This  is  difficult,  and  to  boat  and  sing,  will  require  to  be  practiced  some  time  Alternating  by 
teacher  and  class  is  a  good  way  to  practice. 

Before  singing  the  next  song,  it  will  be  a  good  plan  to  practice  exorcises  like  tho  following,  to 
prepare  for  the  note  which  occupies  a  beat  and  a  half: 


.1 

2 


O 

I 


0 


O 


o~0 


o 


o 


O  *  0 

I  I 

I  I 


o: 

I 


No.  144. 


EXERCISES,  CONTINUED,  AND  TRIPLETS. 


57 


It  will  be  remembered,  that  in  beating  time  well,  the  motion  is  made  quickly,  and  the  hand  rests 
at  the  end  of  the  beat  until  the  time  of  the  beat,  or  part  of  measure,  has  expired;  so  the  sound 
that  is  a  half  a  beat  long  is  made  after  the  motion,  and  while  the  hand  is  waiting  at  its  point  of 
rest. 

Question  about  key,  signature,  kind  of  time,  variety,  and  sing  first  with  syllables. 


No.  145 


1.  How  thor-ough-ly  and  si  -  lent  -  ly  The  sun  per-forms  its  du  ty, 

2.  Each  morn-ing  when  it  ris  -  es  up,  Apd  peeps  a  -  bove  the  bush-es; 

3.  The  lark,  from  out  her  earth- y  bed,  Flies, sing-ing,  up  to  heav-en; 

4.  And  shall  we  more  un-grate-ful  be  Than  are  the  lark  and  flow-ers  ? 


iri — 

— f- 

— - 1 - 

i  1 1 

-  1 

d  •  0  ' 

1 1 

tfrvv 

4 

u 

d 

0 

=t=P - — 

G  d  U 

Of  call  -  ing  up  from  all  the  earth  The  flow  -  er  forms  of  beau  -  ty. 
The  flow  ■  ers  take  a  sud  -  den  start  From  in  a  -  mong  the  rush  -  es. 
Her  song  of  praise  for  one  more  day,  Which  has  to  her  been  giv  -  en. 
No,  we  will  all  give  ear  -  nest  thanks  For  all  our  hap  -  py  hours. 


CHAPTER  XXVII. 

All  sing  two  measures  in  quadruple  time,  pitch  G,  syllable  la,  one  sound  to  a  beat.  Suppose 
these  to  be  quarter  notes.  Now  sing  two  measures  again,  but  this  time  fill  them  with  eighth 
notes — two  to  a  beat. 

Now  again  and  sing  three  notes  to  each  beat.  After  this  is  practiced  until  it  can  be  well  done, 
the  teacher  says,  this  would  be  represented  by  eighth  notes  grouped  in  threes,  with  the  figure  3 
over  them,  thus : 


No.  140. 

3  3  3 


4 

4 


9  0  0 


PPP 


0  0  0 

im 


3  3  3  3  3 


No.  147.  — Round.  (In  three  parts.) 


Sing  mer-ri  -  ly,  sing,  for  tho  sum  -  mer  time  is  com  -  ing; 


58  SIXTEENTH  NOTES,  DOTTED  EIGIITH  NOTES. 


i#=P  -  1  -  - 1 - q 

*  ^ 

* 

< 

- 

< 

a 

B  o  e  #  a 

- 3 - 

=5=± 5=bi— 

# 

Sing  mer-ri-ly,  sing,  for  the  sum  -  mer  time  is  com-ing; 


Mer-ri-ly, mer-ri-ly,  mer-ri-ly, mer-ri-ly, mer-ri-ly,  mer-ri-ly,  mer-ri-ly,  mer-ri-ly.  j 

These  groups  are  called  triplets. 

Now  sing  two  measures  again  in  quadruple  time,  pitch  G,  syllable  la,  ono  sound  to  a  beat. 

Now  again,  with  two  sounds  to  each  beat. 

Now  again,  but  with  three  sounds  to  each  beat. 

Now  again,  but  with  four  sounds  to  each  boat.  When  this  is  done  neatly  and  distinctly,  the 
teacher  says,  if  we  have  a  quarter  note  as  our  standard,  four  sounds  to  a  beat  will  be  represented 
by  SIXTEENTH  NOTES,  thus  :  , 


No.  148. 

5  5  5  5  •  o  *  •  • 


0  0  0 


Sing  two  measures  again,  making  an  eighth  and  two  sixteenths  to  each  beat.  That  would  be 
represented  thus : 


No.  149. 

IS  JS 

'  2  2  c  5  *  '  '  * '  '  '  L= 

When  this  is  well  none,  the  teachor  says,  now  join  the  first  and  second  note  of  each  boat  (eighth 
and  sixteenth)  into  one  sound.  That  would  bo  represented  thus : 


0  0  0 


rR 

0  0  0 


0  0 


No.  150. 


Yo  i  observe,  that  just  as  the  dotted  whole  note  is  equal  to  three  half  notes,  the  dotted  half 
note  to  three  quarters,  the  dotted  quarter  to  threo  eighths,  so  the  dotted  eighth  is  equal  to  throe 
sixteenths.  Pleaso  practice  those  groupings  in  the  different  kinds  of  time.  It  is  not  very  difficult. 


No.  151. 


1 

• 

] 

J 

41 

1 1  ^ 

.  K- 

f.  0  0  •  jsi 

- - — 

■v - 

.  0 

-V - V, ' - «— 

- V 'Z - 

b-.  1 

- 1 - 

See  the  lit  -  tie  brook  -  let  how  it  dau  -  cos  o’er  tho  lea, 


EXERCISES  IN  DOTTED  EIGHTHS  AND  SIXTEEENTHS. 


59 


J2: 

- -h 

K5 

0  •  0  0  •  0 

•  .  m  ,  rr 

1 

'a  u  l  u 

r  d  r  £ 

\J  Yj  \j  Yj 

•  Tj  9' 

d  j 

Bv  -  er  sing  -  ing  cheer  -  ful  -  ly  its  c 

ui  -  et  mel  -  o  -  dy; 

.  v  i  Y-  >  k  p 

0  •  5  r  Yj 

0  •  M 

fJ 

\j  K  T  m 

— V-  ^  * 

^ *  U - '9— 

-t - 

Leap  -  ing  up  to  kiss  the  flow’rs  that  bloom  a  -  long  its  way, 


-H-yb - 

,  • - fc- 

~p  ■  .  - 

i  0  •  j' 

■frr\v—9  ~  f? - f  5 

\j  rj  W  M 

-  P  0  •  u 

-  v — lz=— - 

- - v' — 

Hap  -  py,  use  -  ful  lit  -  tie  brook,  I  love  by  thee  to  stray. 


If  yon  beat  double  time  in  the  next  song,  it  amounts  to  a  kind  of  triplet  to  each  beat,  with 
occasionally  a  dotted  eighth  and  sixteenth  instead  of  even  eighths.  This  kind  of  music  is  not  hard 
to  sing,  although  it  looks  somewhat  formidable. 


No.  152, 


4?  r  ; 

p  if  ~ 

^  I'' p 

.  p P  M  .P  P 

1 N 

1  !  1 

J  9_ f  J p  N 

WT7  o  0 

*  •  0  0 

* _ *  0.  - 

9  •  Li—  • C  9 

1.  The  ta  -  ble  was  set,  and  the  tea  -  ket  -  tie  sang,  By  the 

2.  They  wait  -  ed  for  fa  -  ther.  So,  night  af  -  ter  night,  They  had 

3.  0,  who  is  it  comes  in  the  dark  -  ness  and  rain,  To  the 


 : 

N - 

, K  k  w 

*  W  «  A  « 

0  •  #  P  J 

p  p  hp p  p 

rv 

n  tj  r  -  #  r 

r  1  * p 

IZT  IP.  7  7 

\i — r — — > — \/ - ]/— 

0-0  i  0  0  -  -0 — 

fire  -  side  pleas-ant  and  snug;  The  voice  of  the  crick-et  in 

watch’d  as  the  year  had  gone  by,  For  his  face  at  the  door, ’till  the 

farm  on  t’,y>  brow  of  the  hill  ?  And  who  is  it  peeps  thro’  the 


-A — f? — : - K - : - : - : — 

— - N - : - 

Sr-i 

- ^ - 

0  £)  V'  - K;  - 

pp/  's  0  f  , 

A! N 

jAj  !j _ r  0 _ J  1 

W]7  9  •  ?  * 

0  0 

- - V - 7 - = - 

- : --t~r 

mer  -  ri  -  ment  rang,  And  puss  lay  a  -  sleep  on  the  rug. 
tear-drops  were  bright  In  the  deeps  of  each  play-wea- ry  eye. 

glim  -  mor  -  ing  pane,  At  the  group  that  is  joy  -  less  and  still  ? 


60 


EXERCISES  IN  VARIOUS  RHYTHMIC  FORMS. 


-y-rf? 

-N  ±= 

- - — — \ 

a - a - 1 

— p-m-  -f, - p - p - p - p — 

\j  y  hj  L/ 

-!*  f  ; - * 

V  — - 

F  FA 

l *  -1 

The  rain  on  the 
Ah!  slow  were  the 
A  hand  on  the 


win  -  dow  -  sill  tapp’d  with  a  will,  As  the 
steps  of  the  hours  that  pass’d,  Tho’  when 
latch,  and  a  voice  loud  and  clear,  Then  a 


moth  -  er  look’d  out  in  the  gloom; 
even-ing  grew  chill  -  y  and  long, 
form  by  the  door  stands  in  view  I 


And  three  lit  -  tie  chil-dren  were 
And  the  arms  of  the  wind  round  the 
0,  moth-er  and  chil-dren,  dash 


m 


#•# 


sit  -  ting  so  still,  In  the 
old  house  were  cast,  Still  the 


shade  of  the  dim  -  light  -  ed 
crick  -  et  breathed  hope  in  her 


by  ev  - ’ry  tear — Clasp  your  sol  -  dier,  so  no  -  ble  and 
Narao  key,  kind  of  time,  variety,  pitches,  and  sing — first  with  syllables. 

No.  153. 


room. 

song. 

truel 


-0  .  b  .»  .   > 

- , - 

\ - : - 

■  t  H? — t?  r- 

-  •  i 

- rN  4s- 

-i-J 

— 

a 

-t-  0 

* 

1.  Once  in  spring  a  lit  -  tie 

2.  First  the  loaves  look’d  ver-y 
8.  Then  a  bud  made  its  ap 


flow  -  er  Pushed  its  head  up  thro’  the 
yel  -  low,  But  they  slow  -  ly  turn’d  to 
pear-ance.Slow  -  ly  burst  in  -  to  a 


*=zfc: 


earth,  Poop’d  a  - 

bout  and 

went 

on 

grow  -  ing, 

Ris  - 

ing 

green;  And  the 

llow'r  grow 

tall  - 

er, 

tho 

strong  -  er, 
dew  fell, 

As 

tho 

flow’r;  Then  tho 

rain  came 

and 

Soft 

iy 

slow  -  ly 
leaves  be  • 
kiss  -  ing, 


from  the 
came  more 
and  the 


earth,  From  tho  spot  that 
green  Than  they,  days  bo  - 
flow’r  Frosh  -  er  look’d  for 


gave 
loro, 
ov  • 


it  birth. 
Iiad  been. 
’rv  sliow’r 


EXERCISES  IN  THE  KEY  OF  A  FLAT. 


61 


No.  154. 


trkxi - zh - -h  -  i  i- 

p p  p  i  ■ 

7  /i  9  9  •  m  * 

*  rj-  -  ~ 

- - * - d - • - 

1.  Weep  for  the  fall  -  en,  hang  your  head  in  sor  -  row,  And 

2.  Yoi  -  ces  of  wail  -  ing  tell  of  hope  -  less  an  -  guish,  While 

3.  Hark  I  how  they  bid  us  sound  tho  time  -  ly  warn  -  ing,  While 

4.  Weep  for  the  fall  -  cn;  but  in  all  your  sor  -  row.  Point 


sor  -  row-ing  moth-ers  bid  us  on-ward  go;  Hark!  to  the  ac-cents 
yet  there  is  hope  to  shun  the  cup  of  woe;  For  is  it  noth-ing 
all  to  the  pledge, free-dom  can  be-stow,  Res  -  cue  the  na-tinn 


■0  k  ,  .  . 

-  1 

- - - - - I - hl-. 

.f  ty  |  y  ^  p p *  r 

m  »  ! i 

P — p-  *  "“h - r  * 

7  -pi ~t~r  i  W  P 

L  - 9.  — a-  - 

\>]7  ^  4f  9  0  0 g  p  f 

-J- — V  V  -V —  *- 

9  9  w 

by  tho  fell  de-stroy-cr;  0 !  weep  for  youth  and  beau-ty  in  the  grave  laid  low. 
of  the  broken  hearted,  Who  weep  for  youth  and  beau-ty  in  the  grave  laid  low. 
ye,  who  see  no  dan-ger,  To  weep  for  youth  and  beau-ty  in  the  grave  laid  low? 
from  the  fell  de-stroy-er;  0 1  w7«/should  youth  and  beau-ty  in  the  grave  lay  low  ? 


No.  155 


mm 


-K - 


1 .  Take  the  pledge !  take  the  pledge !  The  temp’ ranee  banner  view ;  Take  the 

2.  Take  the  pledge !  take  the  pledge !  The  balm  for  many  a  wound ;  Take  tho 

3.  Take  the  pledge !  take- the  pledge !  Hero  comes  the  conqu’ring  host;  Tako  tho 


o  «* 

f  o  9  £  »  •  J 

n 

rT* 

rn 

u 

<s> 

_ 

folLtZ=|===U - p 

-  =E=t=- 

p | — i— 

pledge !  take  the  pledge !  And  then  your  course  pursue ;  March  bold-ly  on !  the 
pledge!  take  the  pledge!  A  glo-rious  prize  is  found;  March  bold-ly  on!  and 
pledge!  take  the  pledge!  No  more  of  sin  we  boast;  March  bold-ly  on!  and 


vie  -  t’ry  now  has  come;  March  bold-ly  on!  a 
bend  your  might-y  bow;  March  bold-ly  on' and 
let  your  ban-ners  fly:  March  bokl-lv  on  and 


might- y  con-quest’s  won. 
lay  th1 2 3  in-vad-er  low. 
cou-quer,tho’  you  die. 


62 


EXERCISES  IN  MAJOR  SCALES,  ENHARMONIC  CHANGE. 


CHAPTER  XXVIII. 

There  are  other  keys  in  music  beside  those  we  have  now  passed  through,  but  they  are  so  little 
ased  in  singing,  that  we  will  only  introduce  them  enough  to  sing  the  scales  that  belong  to  them. 

The  key  of  i!  is  made  of  the  tones  B,  C  sharp,  D  sharp,  E,  F  sharp,  G  sharp  and  A  sharp. 

The  key  of  F  sharp  is  made  of  the  tones  F’  sharp,  G  sharp,  A  sharp,  B,  C  sharp,  D  sharp  and 

E  sharp. 

The  key  of  G  flat  is  the  same  in  sound  as  the  key  of  F  sharp,  but  the  tones  are  named  differ¬ 

ently.  They  are  G  flat,  A  flat,  B  flat,  C  flat,  D  flat,  E  flat  and  F. 

The  key  of  D  flat  is  made  of  the  tones  D  flat,  E  flat,  F,  G  flat,  A  flat,  B  flat  and  C. 

It  will  bo  a  pleasant  exercise  to  sing  in  order  the  scales  of  all  the  keys  that  have  been  intro- 
luced.  This  is  called  transposing  by  fifths,  because  each  successive  scale  begins  on  what  was  five 
,f  the  previous  one.  You  will  notico  in  tliis  transposition,  that  one  sharp  is  added  at  each  new 
ey,  or  that  one  flat  is  taken  away,  excepting  at  the  key  of  G  flat,  which  is  the  same  in  sound  as 
he  key  of  F  Bliarp. 

The  change  from  the  scale  of  F  sharp  to  that  of  G  flat  is  said  to  be  an  enharmonic  change.  It 
■  ill  be  a  good  plan  to  make  the  singing  of  the  scales  a  daily  exercise  for  the  present.  Learn  to  sing 
•  hem  without  an  instrument — going  directly  from  each  to  the  next  in  perfect  time. 


No  150. 


*3 


I - *  «  *  l-J.  • 


r#- 


-0-  v 

l)o,  re,  mi,  fa,  sol,  la,  si,  do,  si,  la,  sol.  fa,  mi,  re,  do,  mi,  sol,  do,  sol,  mi,  do. 


-+- 


i 


vP-P-J 

— i - 1 — r — 0  s - 1 — i — 

•  i  r  ,  *  •  0 

p  0.rx-0  0 

>  r  || 

- 

*  s? — 

*  •  JJ 

Bo,  re,  mi,  fa,  sol,  la,  si,  do,  si,  la,  sol,  fa,  mi,  re,  do,  mi,  sol,  do,  sol,  mi,  do. 


W  ..  e.. _ 1  1..  „!  t . 1  r..  _ ; _ 


Do,  re,  mi,  fa,  sol,  la,  si,  do,  si,  la,  sol,  fa,  mi,  re,  do,  ml,  sol,  do,  sol,  mi,  do. 


ip 


EXERCISES  IN  SCALES,  CONTINUED 


65 


y 

— 

<1— , 

5s - 

- - 

- ! — 

— — - i - 1 - ^ - 

^  - 

N,  - 

>+  |  | 

TrQ  . . 

9 

°  •  j  1  ■ 

, 

j 

^  L 

1  I 

VT7  TT~! 

Ill 

..  m  0  . 

.  9   #  j  ! 

9 

0 

_ 

-tr  + 

Do,  re 

*  -#■  V  9 

i,  fa,  sol,  la,  si,  do,  si,  la,  sol,  fa,  mi,  re,  do,  mi, 

sol,  c 

o  sol,  mi,  <X>. 

erne  0  ^ 

- 1— ?-|J 

-W-- 

~"J~9  *  '  W 

^  !j 

Do,  re,  mi,  fa,  sol,  la,  si,  do,  si,  la,  sol,  fa,  mi,  re,  do,  mi,  sol,  do,  sol,  mi,  do. 


-fh  b - 

- - H-- 

- ^ — - — w — 

- Sri  ! 

EJZ 

-  — f— 4 — J-J- 

i  * 

**0  „  -■ 

5  . 

-  mi 

Do,  re,  mi,  fa,  sol,  la,  si,  do,  si,  la.  sol,  fa,  mi,  r.-,  do,  mi.  sol,  do,  sol,  mi,  do. 


- p* - 

-  # 

* 

e  &  .  ^ 

—0 - - — 

^  IS 

y-r-  *  *  5  * 

=*j- 

- -  g  0 - g  - 

, - H-f-  9  O 

*1 

«>  . 

L 

=5  -1 

t 

\1 - - - is*l - 

Do,  re,  mi,  fa,  so!, 

^ - 

la,  si, 

do,  si,  la,  sol,  fa,  mi.  ro;  do.  mi,  sol,  do,  sol,  mi,  do. 

D - - *** 

-  ■*-.  -  r-  -  ^  v 

1 

— i — 

^ — H— 

-*  •  0  j-j  ~T»  r  -L-  ‘-jF  ~:+  t  - 

v- 

J 

5—^-3 

-0 — « - 1 

ht - c  -t  ^  «  * 

I'y-. 

do,  mi,  sol,  do,  sol  mi, 


64  INTERVAL,  STEP,  HALE  STEP,  MODULATION,  ACCIDENTALS 


CHAPTER  XXIX. 

The  teacher  gives  two  pitches  an  octave  apart.  After  the  class  have  done  the  same  thing,  the 
teacher  says,  the  difference  in  pitch  between  any  two  tones  is,  in  music,  called  an  interval.  All 
give  this  interval  of  an  octave  again.  Now  observe  whether  I  give  a  larger  or  smaller  interval  than 
this.  Teacher  sings  one  and  screen.  After  they  have  answered,  he  gives  one  and  six,  then  one  and 
five,  and  so  on  down  to  one  and  two.  All  sing  arte  and  two  This  is  the  smallest  interval  yet,  and  is 
called  a  step.  Now  listen  again.  Teacher  sings  one  and  sharp  one,  or  flat  two.  All  do  the  same. 
This  is  the  smallest  interval  used  in  music,  and  is  called  a  hale  step.  All  sing  G.  Now  a  step 
above  it.  Now  G  again.  Now  a  half  step  above  it.  After  practicing  steps  and  half  steps  from 
various  tones  of  the  scale,  the  teacher  says,  in  the  scales  the  tones  seem  to  succeed  each 
other  with  the  same  interval ;  but  the  fact  is,  that  between  three  and  four  and  between  s«ren  and 
eight  the  intervals  aro  but  half  steps,  while  in  all  the  other  cases  they  arc  steps.  Sing  the  scale 
again  carefully,  and  see  if  you  can  perceive  this  fact.  What  is  the  interval  caused  try  one  and  twof 
Tivo  and  three  t  Three  and  four t  Vow  and  five  t  Five  and  six  f  Six  and  seven  ?  Seven  and 
eight  t 


CHAPTER  XXX. 


Hitherto  in  oach  piece  that  has  been  sung,  only  one  key  has  been  used ;  but  it  is  pleasant  sometimes 
to  change  the  key  during  a  song,  and  this  is  frequently  done  (always  returning  to  the  first,  key  to 
end  with).  This  is,  of  course,  accomplished  by  introducing  the  peculiar  tone  of  the  new  key;  as, 
for  example,  if  we  are  singing  in  the  key  of  C,  introducing  the  tone  F  sharp  instead  of  F,  will  make 
us  sing  in  the  key  of  G,  and  then  introducing  the  F  again  will  bring  us  hack  to  C. 

Going  from  one  key  to  another  during  a  piece  of  music  is  called  modulation. 

Modulation  is  accomplished  by  changing  the  signification  of  the  staff  somewhere  in  the  tune. 
Instead  of  at  the  beginning. 

When  the  shatps  and  flats  are  used  for  this  purpose,  they  aro  called  accidentals. 

The  effect  of  an  accidental  continues  only  through  tho  measure  in  which  it  occurs. 

This  rule  has  but  one  exception,  viz :  when  the  last  note  of  the  measure  is  on  the  degree  of  the 
staff  affected  by  tho  accidental,  and  the  first  note  of  tho  next  measure  is  on  the  same  degree  its 
effect  is  continued  through  that  measure  also— thus  making  it  possible  to  continue  tho  effect  of  an 
accidental  through  many  measures. 


No.  157. 


Aij.iG*rrr© 


1  1  1  1 

... 

■4 

L#_.  J 

:zfv 

# 

H 

#— 

; 

: 

s  . 

*  . 

f*=£ 

L_# 

-zh: 

-i 

5 - 

Ml, 

mi, 

mi,  re, 

mi. 

sol, 

fa, 

re, 

re. 

re,  sol. 

fa, 

!U 

1.  Now 

our 

!:t  -  bors 

aro 

end  - 

IHR, 

Free 

from 

toil  cl' 

the 

dav : 

2.  Who.  when 

lark-tiess 

a  - 

round 

US 

Seals 

our 

oye-lids 

1U 

sleep, 

EXERCISES  IN  MODULATION. 


65 


t=f- 

-±: 

-35===*- 

ff  £ - 0 

2 . K 

r-#w 

1 

“ft 

1 

1 

£ 

a  * 

=£ It  V— 

-  sN*- 

sol,  sol.  fi,  mi,  fi,  sol,  la,  si,  do,  si,  la,  mi,  fi. 

Here  our  voi  -  ces  all  blend  -  ing,  Drive  we  all  sor  -  row  a- 

Who,  when  slum  -  ber  hath  bound  us,  All  our  young  spir  -  its  will 


— 1— 

| 

I7TV  - 

^  r  J 

m  J 

/ 

VT7 — TT  • 

^  • 

£  •  j 

J  * 

•  o 

1 

9 

sol,  la,  sol,  fa,  mi,  re,  mi,  fa,  sol,  fa,  re,  do. 

way:  Peace-ful  even  -  ing  Pol  -  low  -  eth  now  the  glad  day. 

keep?  Ho  -  ly  an  -  gels  Kind  -  ly  will  watch  o’er  our  sleep  1 


What  key  beside  the  key  of  C  is  introduced  into  this  lesson?  At  which  measure  does  the  modulation 
take  placet  By  what  pitch  does  the  modulation  take  place?  In  how  many  measures  do  we  feel  that  we 
are  in  the  key  of  G?  By  what  pitch  do  we  return  to  the  key  of  C? 

(In  modulation,  the  syllables  may  be  changed  to  the  new  key,  if  the  teacher  thinks  best;  it  is 
not,  however,  very  important.) 


No.  158. 


Do,  mi,  sol,  sol,  la,  la,  sol,  S3,  se,  la,  la,  do, 

1.  Night  has  spread  her  sa  -  ble  pall  0  -  ver  all  the  earth; 

2.  Birds,  and  tlow’rs,  and  hum-ming  bees,  Rest  in  slum  -  ber  light; 

3.  Slum -ber  light  thro’  all  the  night,  Tinged  with  hap  -  py  dreams; 


do,  mi,  sol,  sol,  la,  la,  sol,  la,  la,  si,  si,  do. 


Hushed  are  sounds  of  bu  -  sy  toil,  Hushed  the  songs  of  mirth. 

And  as  we  our  couch  -  es  seek,  Bid  we  all  good  night. 

May  our  guar  -  diau  keep  us  all,  ’Till  the  morn  -  ing  beams. 

What  key  is  introduced  into  this  lesson?  What  tone  belongs  to  the  k-y  of  F that  does  not  belong  to 
die  key  of  C?  What  lone  belongs  to  the  key  C  that  does  not  belong  to  the  key  of  F?  How  fur  does  the 
effect  of  the.  accidental  continue  in  this  song  ?  To  which  department  in  music  do  intervals  belong  ?  To 
which  do  steps  and  half  steps  beUmg  ?  To  which  modulation  ?  What  would  be  the  note,  of  modulation  ? 
What  would  be  the.  note  of  modulation  in  going  from  the  key  of  G  to  the  key  of  />,  or  what  tone  bdongs 
to  the  key  of  D  that  does  not  belong  to  the  key  of  G?  What  would  be  the  note  o/  modulalion  in  going 
from,  the  key  of  F  to  the  key  of  B  flat  /  dx. 


66 


CHROMATIC  TONES,  NATURAL. 


CHAPTER  XXXI. 


A  tone  not  belonging  to  a  koy  may  be  introduced,  and  passed  over  so  quickly  oa  not  to  give  the 
impression  of  a  change  of  key. 


No.  159. 


— N  ■  N  '  N  s 

f,  ■  f,  -T  .lN 

=Js  K t 

$p.4  *  •  ;  •  y. 

. p  p - 

— J  4s — 1 

— *  •  0 

Sol,  fl,  sol,  do,  mi,  ri,  mi,  sol,  do,  re,  mi,  sol,  fa,  mi,  re, 

1.  How  tie- light- ful,  a  -  ged  win  -  ter,  Are  thy  brao  -  ing  winds  to  me; 

2.  Clad  in  snow-llakes  caught  do-scend-ing,  And  to  keep  them  from  the  sun; 


■jL  — s'  ~w- ■ 

- g. - V - Nr - h 

— 

S - K  -S 

=£  A, - - 

-f  • 

#  * 

T 

i 

i 

1 

TT  ^  * 

sol,  fi,  sol,  do, 

mi,  ri,  mi,  sol, 

-0  • 

do,  r< 

,  mi,  sol, 

*  ~0 

fa,  re,  do, 

Thro’  the  keen  air  on  your  pin-ions  Throng  a  troop  in  wild  -  est  glee; 
Round- ing  cor-ncrs  ’mid  the  shad-ows,’ Till  “old  sol”  his  race  had  run, 


la,  si,  la,  do  sol,  fl,  sol,  do,  si,  la,  sol,  fa,  mi,  ro,  do. 

In  the  moon-light  by  the  stream-let  Elfs  of  frost  -  y  land  I  see. 

Ev  -  or  rea  -  dy  when  sweet  Lu  -  na  Ran-soms  them  a  -  gain  for  fun. 


li  is  sometimes  desirable  to  restore  a  line  or  spaco  already  modified  by  a  fiat  or  a  sharp  to  its 
original  signification  before  the  moasur-  ends.  A  character  called  a  natural  is  mado  use  of  for 
this  purpose.  A  natural  is  also  an  accidental. 


No.  J00. 


rr 


>0 


s 


3  4  A-U-T 

Sol,  li,  fa,  mi,  sol,  fi,  fa,  ml,  sol,  sol,  sol,  la,  se,  si,  do. 
(ron-tly  a- long  Float-eth  the  song  Of  the  low  mur-mur-ing  rill. 


Siu  li  accidental  tones  as  do  not  produco  the  Impression  of  a  chango  of  koy,  aro  called  chro¬ 


matic  tones 


CHROMATIC  SCALE  IN  VARIOUS  KEYS. 


67 


Taking  any  key,  and  putting  in  all  the  chromatic  tones,  gives  us  the  chromatic  scale. 
The  scale  we  have  already  sung  is  called  the  diatonic  scale. 


No.  161 . — Chromatic  Scale.  Key  of  C. 


%  ,  1 

] -  if  y 

- 1 j 

1—  J— — * 

CL. 

•  & 

=r  * - i= 

— 

Do,  di,  re,  ri,  mi,  fa,  fi,  sol  si,  la,  li,  si,  do, 
1,  sharp  1,  2,  sharp  2,  3,  4,  sharp  4,  5,  sharp  5  6  sharp  6,  7,  8. 


zjS=\ 

- 1— 

- 1 - 

=fl 

fTV>  7  i  * 

1  1 

W-  i  — •  1 

# 

— 0 

- 9* 

0  00  ~ 

L:  JJ 

do,  si,  se,  la,  le,  sol,  se,  fa,  mi,  me,  re,  ra,  do. 
8,  7,  flat  7,  6,  flat  6,  5,  flat  5,  4,  3,  flat  3,  2,  flat  2,  1. 


Do,  di,  re,  ri,  mi,  fa,  fi,  sol,  si,  la,  li,  si,  do, 
1,  sharp  1,  2,  sharp  2,  3,  4,  sharp  4,  5,  sharp  5,  6,  sharp  6,  7,  8, 


88 


LEGATO  MARK  AND  EXERCISES. 


CHAPTER  XXXII. 

Sometimes  it  is  desirable  to  sing  two  or  more  sounds  to  one  syllable.  The  notes  to  be  so  sung 
are  connected  by  a  character  like  the  tie,  but  called  a  lf.gato  mark.  It  will  be  an  excellent  plan 
here  to  practice  the  scale,  giving  two  of  its  pitches  to  one  syllable,  ascending  and  descending,  after 
which  the  following  song: 


No.  164. 


AIXEG  RZTTO. 

t  1 

-1 - 

-  i  .  ~t - -4— 

— =t= 

— 1 — 1 

- d  It#  

— 9 

- d - « 

-J— 

—eS 

- # — 

m  m  m 

•J  Mi,  fa,  11  fi, 

so 

,  la,  sol, 

9 .  r  tT 

1111,  fa.  n, 

sol,  sol, 

la,  la,  la, 

1.  Breath-ing  so  soft  -  ly  a  -  long  the  gay  mead,  The  spring  time  is 

2.  Flow’r-ets  a  -  wake  in  the  sweet  ver-nal  air,  And  fling  their  new 


-fl - 

\ 

1  I 

fa  f  '  T  - 

- j - - - 

— -# - - - -# 

L - 1 - 1 - 1 - L_J - 

- 0 

com  -  ing  a  -  gain; .  Laugh  -  ing  rills  dance  on  the 

o  -  dors  a  -  round: .  Song-birds  re  -  turn  -  ing  from 


mi, 

la, 

1  fi,  sol,  sul, 

la, 

la, 

la, 

si, 

si, 

si, 

do . 

hill 

-  side 

a  -  bove,  And 

mur 

-  mur 

a  - 

way 

on 

the 

plain. 

far 

dis  - 

tant  climes,  With 

joy 

make 

the 

wood-lands 

re  - 

sound. 

You  perceive  that  the  F  sharp  in  the  foregoing  song  docs  not  produce  the  feeling  of  a  change 
of  key,  therefore  it  is  regarded  as  a  chromatic  tone.  In  the  following  song  the  first  sharp  does 
produce  the  impression  of  a  change  of  key,  but  the  second  does  not.  To  what  key  is  the  modulation  t 
What  is  the  name,  of  the  character  that  connects  two  notes  of  different  pitch,  when  they  are  to  bo  sung  to 
one  syllable  t  What  is  the  name  of  the  same  character  when  it  is  used  to  connect  two  notes  of  the  same 
pitch*  Name  the  key,  kind  of  time,  and  variety  of  time.  Givo  scale  names  apd  pitch  names  before 
singing. 


No.  165. 


_ - 


+ 


■ 


d  * 


-fit 


Mi,  re, 
When  in 
When  from 
Life,  that 
F  resli  as 


do, 

the 

tlio 

is 


do,  si, 

an  -  tunin 
for  -  est 
on  -  ly 


the  flow’rs  of 


do. 

the 

the 

a 

the 


ro.... 

liar 

crim 

fleet 

iua 


re,  do, 
vests  stand, 
son 
ing 


m 


si,  la, 
Wait  -  ing 
leaves  Float  a  - 
breath,  Soon  shall 


pie  bough,  Bloom  ing 


Sol, 

the 

way 

be 

and 


MINOR  KEY  AND  EXERCISES. 


69 


stroke 
down 
bound 
gor  - 


of 

by 

in 


the 

the 

the 


ge  -  ous 


reap  -  er  s 
fall  -  ing 
sheaves  of 
are  ye 


hand ;  Sweet  in 
sheaves,  Sing  -  ing 


the  sun-shine  they 
a  mel  -  o  -  dy, 
death;  Live  ye  through  time’s  sun  -  ny 
now:  G-lad-den  the  earth  as  the 


mi . 

la, 

sol, 

sol, 

la . 

do, 

si, 

sol, 

sol, 

sol .  si, 

do. 

smile 

to 

know 

Their 

work 

is 

done; 

and 

they 

glad  -  ly 

go. 

faint 

and 

low, 

Their 

work 

is 

done ; 

and 

they 

glad  -  ly 

go. 

sum  - 

mer, 

so, 

When 

He 

shall 

call, 

ye 

may 

glad  -  ly 

go. 

flow’rs 

do, 

so, 

When 

win  - 

ter 

comes, 

ye 

may 

glad  -  ly 

go. 

CHAPTER  XXXIII. 

Take  away  five  in  either  of  the  keys  that  we  have  been  using,  and  substitute  a  tone  a  half  step 
higher,  and  a  great  change  will  bo  made;  not  only  another  key  will  be  the  result,  but  it  will  be  a 
key  of  a  different  kind,  more  sad  and  mournful.  For  example,  take  out  6  from  the  tones  that 
make  the  key  of  C,  and  put  G  sharp  in  its  place,  and  you  have  a  key  of  this  kind. 

It  is  called  a  minor  key. 

The  keys  we  have  been  using  are  called  major  keys.  (There  are  no  chromatic  keys — chromatic 
tones  may  come  into  major  and  minor  keys.) 

Here  is  a  song  in  this  minor  key  that  is  made  of  the  tones  A,  B,  C,  D,  E,  F  and  G  sharp.  See  if 
you  can  toll  by  the  sound  what  the  key-noto  is. 


No.  160. 


■  0 

i  4:-: 

q  i  = 

r — 1 — 

- 

rTf — 1  1  4 

v  *  0 

-  s)  ■- 

d  I-: 

■  — i - 1 - 

« — 0 - 

ir - UJ 

*  a  * 

"IT 

Ho,  re,  mi,  fa,  mi,  la,  si,  la,  si,  la,  mi,  re,  do,  re,  mi,  fa, 

1.  Sad  -  ly  a  -  round  us  the  au-tumn  leaves  fall,  While  the  dark  clouds  hang  a- 

2.  Deep  in  the  for  -  est  the  gloom-y  winds  sigh,  Bird  songs  and  flow-ers  no 


bo ve  like  a  pall,  Si-lence  and  gloom  they  aije  spread- ing  o’er  all. 
lon-ger  are  nigh,  Suin-mer,  sweet  suiu-mer,  we  bid  thee  good  -  bye. 


70 


EXERCISES  IN  THE  MINOR  SCALES. 


Tlit  tojes  of  the  different  minor  keys  put  into  scales  are  as  follows. 

(We  will  make  use  here  of  the  harmonic  minor  Beale  only.  There  are  others,  but  this  is  the  best.) 
When  it  becomes  necessary  to  make  a  degree  of  the  staff  already  affected  by  a  sharp  stand  for 
a  pitch  still  a  half  step  higher,  a  character  called  a  double  shakp  is  used.  It  is  first  used  in  the 
scale  of  G  sharp  minor  in  the  following  scales. 


No.  167. 


E  minor. 


^  -»■  -+■  -m-  9  9  . 


1,  2,  3,  4,  5,  6,  7,  8,  7,  6,  5,  4,  3,  2,  1,  3,  5,  8,  5,  3,  1. 

La,  si,  do,  re,  mi,  fa,  si,  la,  si,  fa,  mi,  re,  do,  si,  la,  do,  mi,  la,  mi,  do,  la. 

V  sharp  minor. 


La,  si,  do,  re,  mi,  fa,  si,  la,  si,  fa,  mi,  re,  do,  si,  la,  do,  mi,  la,  mi,  do,  la. 


EXERCISES  IN  THE  MINOR  SCALES,  CONTINUED. 

D  sharp  minor. 


71 


La,  si,  do,  re,  mi,  fa,  si,  la,  si,  fa,  mi,  re,  do,  si,  la,  do,  mi,  la,  mi,  do,  7a. 


E  flat  minor. 


'  > 


^  r 


t1^P=fe= 


— I 
-6^7 

La,  si,  do,  re,  mi,  fa,  si,  la,  si,  fa,  mi,  re,  do,  si,  la,  do,  mi,  la,  mi,  do,  la. 
B  flat  minor. 


H 


§illllplll§ 

-r  * 


=^z^— 


La,  si,  do,  re,  mi,  fa,  si,  la,  si,  fa,  mi,  re,  do,  si,  la. 
F  minor. 


,  do,  mi,  la,  mi,  do,  ^u. 


C  minor. 


*  «  •  J 


t=r 


La,  si,  do,  re,  mi,  fa,  si,  la,  si,  fa,  mi,,  re,  do,  si,  la,  do,  mi,  la,  mi,  do,  la. 
O  minor. 


11 


P 


f$=X^=0k^ 


S3 


r  i. 


1 — r 


s5 


e 


-&-• — 


I 


La,  si,  do,  re,  mi,  fa,  si,  la,  si,  fa,  mi,  re,  do,  si,  la,  do,  mi,  la,  mi,  do,  la. 
A  minor.  t 


1  s  *- 


—  *■*.  :  :  . 

u 

. 

1 

* 

• J z 

\ 

A 

*  *  m  .  •  • 

. 

1 

1 

6 - 6 - -J 

L, 

lai,  si,  do,  re,  mi  fa,  si,  la,  si,  fa,  mi,  re.  do.  si.  la.  do.  mi,  la,  mi.  do.  la. 


72 


CRESCENDO,  DIMINUENDO,  SWELL,  FORZANDO. 


You  perceive  that  G  sharp,  which  is  one  of  the  tones  of  this  key,  is  represented  by  an  accident- 
al,  and  not  in  the  signature.  One  reason  for  this  is,  that  relative  keys  may  have  the  same  signature ; 
another  is,  jat  another  kind  of  minor  scale  has  G  in  it  as  well  as  G  sharp. 

You  hare  probably  discovered,  that  the  key-note  here  is  A. 

The  key  of  A  minor  is  said  to  be  the  relative  minor  to  the  key  of  C  major. 

Every  major  key  has  its  relative  minor,  and  every  minor  its  relative  major. 

That  which  is  six  in  a  major  key  is  one  in  its  relative  minor,  and  that  which  is  three  in  a  minor 
key  is  one  in  its  relative  major. 

Wltat  interval  is  produced  by  one  and  two  of  the  minor  scale  f  Two  and  three  f  Three  and  fourf 
Four  and  five  f  Five  and  six  t  Six  and  seven  t  Seven  and  eight  t  How  many  keys  are  indicated  by 
each  signature  in  music t  (Ans.  Two.)  What  aie  their  names?  (Arts.  Major  and  minor.)  Give  me 
the  names  of  the  keys  as  I  give  you  the  names  of  the  signatures.  Natural  t  (C  major  and  A 
minor.)  One  sharp ?  (G  major  and  E  minor.)  And  so  on  through  all. 


CHAPTER  XXXIV. 

It  will  be  well  to  direct  the  class  to  sing  loud,  soft,  increasing  or  diminishing  according  to  the 
requirements  of  the  words;  and  it  may  aid  them  to  do  this,  to  practice  the  more  unusual  dynamic 
effects  which  may  be  done,  as  follows: 

All  sing  to  the  pitch  G,  syllable  la,  a  half  note  pianissimo.  I  write  its  abbreviation.  Now 
piano;  now  mezzo;  now  forte;  now  fortissimo.  I  write  the  abbreviation  of  each,  and  tho  result  is 
thus:  VP  P  m  f  ff 

Now  I  will  pass  my  stick  gradually  from  pianissimo  to  fortissimo.  Take  a  good  breath,  and  let 
your  voices  increase  gradually  as  my  stick  goes.  This  gradual  increasing  is  called  iu  music  cres¬ 
cendo  (pronounced  creshendo),  usually  abbreviated  in  writing  to  cres. 

Now  all  sing  as  I  draw  my  stick  gradually  from  fortissimo  to  pianissimo.  This  is  called  diminu¬ 
endo.  Abbreviation,  dim.  , 

Now  sing  while  I  move  my  stick  from  pianissimo  to  fortissimo  and  bnck  again,  making  both  a 
crescendo  and  diminuendo  in  one  breath.  This  is  called  a  swell,  and  is  sometimes  indicated  by  the 
following  character :  ~~ 

Now  bo  ready,  for  I  shall  go  quickly.  The  teacher  then  moves  his  stick  quickly  from  pianissimo 
through.  When  they  have  produced  the  effect  well,  ho  says,  this  is  called  a  pressure  tone,  and  is 
marked  thus :  <C 

Now  the  same  tho  other  way.  This  is  one  of  the  most  important  effects  in  dynamics.  It  is 
sometimes  called  the  explosive  tone,  and  marked  thus:  >  but  is  of  toner  called  tho  forzando, 
and  indicated  by  f*  or 

Now  sing  the  scale  of  C  major,  with  syllable  la,  crescendo  ascending,  diminuendo  descending. . 

Now  again,  giving  each  tone  forzando. 

In  practicing  these  lessons  in  two  pnrts,  it  is  strongly  recommended  to  divide  the  class  equally, 
and  let  each  section  sing  each  part  in  turn.  After  a  while  it  may  be  best  to  select  those  voices  that 
am  especially  adapted  to  singing  second,  and  let  them  always  tako  that  part.  It  is,  however,  de¬ 
sirable  that  all  should  he  able  to  sing  second  when  circumstances  may  require  it;  and  this  subject 
has  not  been  introduced  iu  this  course  until  uow,  that  the  pupils  may  all  be  sufficiently  independent 
to  do  this 


EXERCISES  IN  TWO  PARTS. 


73 


Question,  before  singing,  with  regard  to  key,  kind  of  time,  expression  of  words,  major  and 
minor,  modulation  and  the  proper  use  of  the  voice.  Not,  perhaps,  all  at  each  piece,  but  some  at 
one  and  some  at  another — that  the  technical  terms  with  regard  to  all  these  matters  may  be  kept  in 
mind. 


No.  168. 


Ur 


h:  -3 


*r-$r-  ir 


1 


1.  Soft  -  ly  the  shades  of  even  -  ing  come,  Still  -  ing  the  gay  world’s 

2.  Gen  -  tly  the  stars  gleam  in  the  west,  Zeph  -  yrs  have  lulled  the 


w- T=F 

.\ - ~\ - 4= 

i 

~ 1 - 1 - 1— 

— 

g- 

- 9— 

^  -  5 — 

'  =8- 

— d - ^ - # — 

L— % - 5 - S — J 

L— & — 

bus  -  y  hum.  So  while  we  sing  our  last  part  -  ing  lay, 

birds  to  rest.  Flash  -  ing  and  cool  the  brook  -  let  at  play, 

Ritard.  e  dim. 


I 


3=8= 


=t 


-a- 


Slow-ly  the  day  -  light  fades  a  -  way,  Fades  a  -  way,  fades  a  -  way. 
Mur-murs  be  -  low,  then  glides  a  -  way,  Glides  a  -  yay,  glides  a  -  way. 

Ritard.  means,  to  sing  a  little  slower. 

No.  169. 


j  i 


Si 


±z 


1.  Night’s  shades  no  long-er  rest  on  the  land,  Bright-ly  o’er  all  doth 

2.  What  scene  so  love  -  ly,  what  scene  so  fair,  As  hill  and  vale  in 


morn-ing  ex  -  pand,  Hail  wo 
morn’s  gold-en  air?  Wake  to 


its  glo  -  ries  with  heart  and  with 
their  beau  -  ties,  a  -  wake  heart  and 


|i 

h 

- 1 — 

- 1 - 1 — 

n  J  -1 - -I  - . - „ 

- 1 — 

- 1 - ! — 

— #  » 

2  f  * 

*3  * 

0 

- 0 - 0 - 0 - 

— 0 

•  0  0 

voice:  Come,  join  in  the  cho  -  rus,  re  -  joice,  (),  re  -  joice. 

voice:  Come  join  in  the  cho  *  rus,  re  -  joice.  0,  re  -  joice. 


EXERCISES  IN  TWO  PARTS. 


74 


ALLEGRETTO. 


No.  170. 

pijfc*=s- 


aa- 


0- 

-0  - 


3 


-0- 

-#- 


# 


5 


3: 


1.  G-ai  -  1  y  the  bright  wings  are  flash  -  ing,  Out  in  the  mid-sum-mer 


2.  Wreaths  of  rare  beau-ty  we’re  twin 


Soon  they  will  grace  the  sweet 


m  m  ? 


air, 

bowers; 


0  -  ver 
Oh, 


in 


the 

the 


flow  -  ers 
gar  -  den 


so 

so 


ra 

fra 


3= 


diant 

grant, 


s 


Of  the  sweet  gar-den  so  fair: 
Swift-  ly  fly  mo-raents  and  hours; 


Thou-sands  of  bright  wings  are 
While  the  bright  wreaths  we  are 


- 0 - 


± 


flasli  -  ing,  Out  in  the  gar  -  den  so  fair, 

twin  -  ing,  Swift  -  ly  fly  mo  -  ments  and  hours. 


No.  171. 


1.  On  -  ly  be  -  gin  -  ing  the  jour  -  ncy,  Ma  -  ny  a  mile  to  go; 

2.  Talk-ing  the  odd  -  est  lan  -  guage  Ev  -  er  be  -  fore  was  heard; 

3.  Fa-ther  of  all,  0,  guide  thorn  Pat  -  ter  -  ing  lit  -  tie  feet, 


5 


-0  ■ 


2= 


2=3 


Lit  -  tie  feet,  see  how  they  pat  -  ter, 
Moth-er  (you  will  hard  -  ly  think  so) 
While  they  are  tread-ing  the  hill-road, 


- 1 - 1 - < - - - 1 — -H — 

Wan -dor -mg  to  and  Iro: 
Un-der-stands  ov  -  'ry  word: 
Brav-ing  the  dust  and  heat  I 


-G-ttJ  -  - -1  -  -  n 

- 1 — 

- 1 - - 

S  - ?  /  *  / 

--  T- 

tr  0  t  t  ~  0 

— 0 

■0 

b  2 

t—i  igi  - 

-0 

t:*  J 

Try  -  ing  a  -  gain  so  brave  -  ly,  Laugh-ing  in  ba  -  by  glee, 
Tot  -  ter  -  ing  now  and  fall  -  ing,  Eyes  that  are  going  to  cry; 
Aid  them  when  they  grow  wea  •  ry,  Keep  them  in  path- ways  blest; 


EXERCISES  IN  TWO  PARTS. 


75 


Hid  -  mg  its  face  by  its 
Kiss  -  es  and  plen  -  ty  of 
And  when  the  jour  -  ney  is 


-9-  *  -#■  . 


3 


a ± 


v  ■#  ■# 

moth  -  er,  Proud  as  a  child  can  be. 
love-words,  Will-ing  a  -  gain  to  try. 
end  -  ed,  Sav-ior,  0,  give  them  rest. 


No.  172. 


#  .  0 — m- 

-0-0—0- 


-++ 

0 — ~ 


1.  Where  sweet  -  est  flow  -  ers  grow,  0 

2.  Thy  pres  -  ence  here  we  greet,  0 


0  Z  0  —  0 — 

list!  list!  list!  And 
stay!  stay!  stay!  Thou 


1 


« 


15Q 


B5 


zeph-yrs  mur-mur  low;  0  list!  list!  list!  I  hear  her  step  so 
queen  of  flow-ers  sweet,  0  stay!  stay!  stay !  And  wear  the  crown  of 


s 


0- 

-0- 


free;  And, Oh, what  peace  and  joy  she  brings  to 
fair,  Bright  Flo  -  ra,  with  thy  smiles  and  sun  -  ny 


me. 

hair. 


No.  173. 


'  |S 

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i  N  ,s 

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— 

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s 

;  i  : 

— 

1.  Look  a  -  way  to 

2.  ’Tis  the  song  of 


the  fields  of  the  liar  -  vest,  See  the 

a  true  heart  so  hap  -  py,  As  he 


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Z3 


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e> - &-—9- 

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reap  -  er  a  -  mid  the  grain,  How  it  rns  -  ties  and  trem-bles  be- 
gath-ers  the  shin  -  ing  store,  And  he  thinks  of  the  soft  hour  of 


fVvwrt  K  I  TV!  T  .1  IrC 


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2 


fore  him.  Like  the 
twi  -  light  When  the 


Sz 

rain  rip  -  pies  on 
la  -  bor  of  day 


:1- 


-  * - 1 

the  main;  And 
is  o'er;  And 


EXERCISES  IN  TWO  PARTS. 


76 


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St: 

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list!  he  sings,  As  he  sweeps  o’er  the  gold  -  en  plain, 

see!  he  smiles,  As  his  eye  seeks  the  cot  -  tage  door. 


No.  174. 


=t= 

a — 

r 

— ~0 — 

- 0 - 

* — e — 

0  0- 

==F= 

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0 — 

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1.  Rain-drops  are 

fall  - 

mg, 

they 

pat  -  ter 

on  the 

au-tumn  leaves; 

2.  Yet  ’tis  not  drear  -  y  with  -  in  our  qui  -  et  hap  -  py  home. 


Cl'  L - 

-z=)=-  0 # 

1 

0 

9  0  0  m _ 0 

i 1 

i_  gf 

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0 

9  0  0  0  0 

- 

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9  1  1 

- 1 - 1 - 

H? - 

r - F - F - F - r — 

h - H - H - -H - - 

-  v  •  J 

Low  winds  are  sigh  -  ing  a  -  mid  the  bare  and  leaf  -  less  trees: 
While  bright  and  cheer  -  y  a  -  round  our  hearth  the  even-ings  come; 


k)'i\z  5 _ 5  {  ; _ { 

0  0  0 

0  0 

- 1 - 

— ^ - 

0  9  9 

0  ~  0 

— 

— — V — V  V — /-  \ — 

1 — 

7 — y  y — 

- F - 

7 — H 

— O— ; - 

Gone  are  all  the  sweet  flow’ rs,  and  the  sum-mer’s  bright  hours 
Though  we  mourn  the  sweot  flow’rs,  au  -  tumn  fruits  are  now  ours; 


Mourn  -  ful  -  ly  sing  in  the  chill  and  des  -  o  -  lat  -  od  bowers. 

So  we  will  not  hoed  tho  storm-king’s  dark  and  win-t’ry  powers! 


No.  175. 


1.  0,  how  sweot  are 

2.  And  tho  riv  -  cr 


the  ech  -  oes  at 
be  -  low  gen  -  tly 


oven  -  ing,  When  tho 
moan  -  ing,  Hath  a 


vil  -  lago  a- round  us  is  still,  Of  tho  shop. herd  boy’s  pipe  soft-ly 
charm  in  the  tone  of  its  song,  As  all  dim  in  tho  shade  of  the 


EXERCISES  IN  TWO  PARTS. 


77 


V  7  '  “I  p - ^ 

— 

N  n 

-0  is  0  - 

.A  A  A 

A  A 

§ 

*  »  * 

L — 0 

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&  • 

peal  -  ing,  As  he  watch  -  es  his  flock  on  the  hill: 

gleam  -  ing,  Its  clear  wa  -  ters  flow  light  -  ly  a  -  long: 


-0— b - K - K— 

- ! - S - K - N - Kf— 

1 — - 

s — 

- 1 - p - p - - -P - P— 

-T7& 

s 

*  * 

— 

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- 0 - 0 - 0 - 0 - 0 - 0 - 

a 

- 1 - 

§  t 

- * - —  - 0 - 0 - 0- - 0 - 0 - 0 - - ^ - 1 - * - ■ 

’Tis  the  song  of  con  -  tent  -  ment  and  bless  -  ing,  And  it 

How  the  moon  in  her  splen  -  dor  on  ris  -  ing,  Loves  to 


; — 1 — Js=  —  Sn 

— ! - : - : — 

— — Is — r* — 

- P - 

>S - 

j  p 

"V/  2  2  2  2*2 

j  00 

0000  0  0 

rs~-  0  % 

I  1  L  1  1  # 

spreads  far  a -way  o’er  the  dale;  To  the  wea-ry  it  comes  with  ca- 
mir  -  ror  her  face  in  the  deep;  While  the  breez-es  with  soft  ca-dence 


t 


=idt=t= 


s?-9r - 

r-' - A - 0_ 


hz 


ro*s  -  mg, 
sigh  -  ing, 


To  the 
Lulls  the 


sad  with 
for  -  est 


a 

to 


- 0- 

— 

sil 

shad 


ver 

ow 


-0- 

-0- 

y 

y 


veil. 

sleep. 


No.  176. 

n  N 


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1.  Stud  -  y  hard,  stud  -  y  hard,  In  the  school-room, day  by  day;  Stud -y 

2.  Stud  -  y  hard,  stud  -  y  hard,  Youth  is  short  and  life  is  long;  Stud-y 

3.  Stud  -  y  hard,  stud-y  hard,  If  you  learn  your  les-sons  well;  Stud  -  y 

4.  Stud-y  hard,  stud-y  hard,  Pass  no  les  -  son  i  -  dly  '  by;  Stud-y 


Stud  -  y  hard. 


hard,  stud  -  y  hard,  Put  a  -  side  your  i  -  die  play, 
hard,  stud-y  hard,  School-days  swift- ly  glide  a-long, 
hard,  stud-y  hard, Time  a,-  lone  their  use  will  tell, 
hard,  stud  -  y  hard,  You  can  learn  if  you  will  try, 


■a — — - -j— 

V  -0-  -0- 

Stud  -  y  hard, 

Stud  -  y  hard, 
Stud  -  y  hard, 
Stud  -  y  hard, 


stud-y  hard .  stud-y  hard  .... 


0  h--Hi 

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stud  -  y  hard,  stud  -  y  hard,  stud  -  y  hard. 


78 


BRACE,  EXERCISE  IN  FOUR  PARTS. 


It  is  quite  co-n  mou,  especially  in  songs  for  young  people,  to  put  two  staves  together,  with  two 
parts  on  each  sta/T,  as  in  the  following  example,  making  four  parts  that  may  be  sung  at  the  same 
time.  It  will  be  an  excellent  plan  to  sing  the  four  parts  of  this  tune,  first  with  syllables,  ami  then 
with  the  words  set;  although  it  is  expected,  that  in  the  music  of  this  book  generally  there  will  be 
lit  one  or  two  parts  sung  (those  on  the  upper  staves),  and  the  music  is  arranged  to  sound  well  in 
this  way.  It  will,  however,  be  an  advantage  to  have  an  instrument,  or  voices,  give  all  the  parts. 

The  character  connecting  the  two  staves  together  is  called  a  brace. 


No.  177. 


-G>- 


3 


5 


EE 


i 


Now  four  parts  to  -  gcth  -  er,  We’ll  burst  in 


to 


song, 


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i 


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£ 


. 


£ 


¥ 


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E 


:,-E ,  ] 

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The  meas-ure  gen  -  tly  flow  -  ing,  The  pleas  -  ant  tones  pro -long; 


J — — i - p_ 


-  0 


0- 

EE 


-f - r-l 

# 


±EEE: 


CONCERT,  SCHOOL  AND  HOME 


If  I  were  a  Bird. 


P? 


MODE  RATO. 


4— N- 


i 


. 1  Were  I  a  bird,  I  would  2soar  on  high, 3  And  clap  my  wings  as  I 
.  4I’ d  wheel  and  float  thro’  the  bright  blue  air,  5Then  drop  be-low  to  the 
.  6I’d  fly  a  -  way  to  a  shel-ter’d  nook,  V  And  build  my  nest  by  the 
.  8I!  d  swing  and  rock  on  my  down  -  y  nest, 9  And  smooth  my  feath-ers  for 


i: 

2.‘ 

3. « 

4.  < 

5.6In  morn-ing’s  light  I  would  swift-ly  speed1  °Where  bus-y  hands  sow  the 
6.  *0’  or  broad  green  fields  I  would  sing  and  roam,  ttThen  hie  a  -  way  to  my 

-f- 


V 


=F=f 


1  Arms  folded 

2  Raise  both  arms,  pointing  upward. 

3  Arms  fall  heavily. 

4  Describe  circles  above  the  head. 

5  Imitate  bird  plunging  down. 

« 


6  Wave  arms  as  if  flying. 

7  Tapping  on  seat  with  fingers. 

8  Swing  the  arms. 

9  l’ass  hands  from  head  downward. 
10  Imitate  sowing  grain. 

79 


Vacation  Over. — Exercise  Song. 


yy. 

1.  Should  old  cora-pan-ious  be  for  -  got,  And  bro’t  to.mind  no  more*? 

2.  Should  faith-ful teacli-ers,  true  and  tried,  Be  bro’t  to  mind  no  more? 

3.  Then,  friends,  com-pan-ions,hap-py  band,  We'll  pledge  our  hearts  once  more, 


J - J- 


J-V-A- 


■4- 


♦  4  A 


IH 


1 


3 


-  #  - 


Should  old  com-pan-ions  be 
They1  ve  stood  with  pa-tience  by 
We’ll  walk  to  -  goth  -  er  hand 


for  -  got,  And  the  bright  days  gone  be-fore  ? 
our  side,  In  the  bright  days  gone  be-fore; 
in  hand,  In  the  bright  days  yet  be-fore; 


=P 


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0,  no,  we’ll  ne’er  for-get,  We’ll  greet  each  school-mate  dear; 
0,  no,  we’ll  ne’er  for-get, We’ll  greet  our  teach  -  ers  dear; 

r\  .  .  _ 111  .  i  .  , 


no, 

no,  O,  no,  we’ll  ne’er  for-get, We’ll  greet  our  teach  -  ers  dear; 
no,  0,  no,  we’ll  ne’er  for-get,  Coni  -  pan-ions , school-mates  dear; 


J 


'  -  0 
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=1  — t~ 


£ 


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bAT 


in  •  i  i  i'  i  •  i  . 


We’ll  give 
We’ll  give 
We’ll  give 


1  nod 
anod 
tnod 


of  kind -ness 
of  kind-ness 
of  kind-ness 


yot, 

yet, 

yet. 


And 

And 

And 


heart  -  y  wol-come  here, 
heart  -  y  wel-eomc  here, 
heart  -  y  wol-come  here. 


|  "t-# — •' — 0 - *-\-f~'~0 - * - h 


iV 

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1  Graceful  bow  to  schoolmates. 


'£  Graceful  b<  w  to  touchers. 


Sower,  Mower,  Reaper  and  Thresher. — Exercise  Song.  81 


p 


FIRST  DIVISION. 


ALLEGRETTO. 


Pi 


=t 


3 


1.  Rid  you 

2.  Did  you 

3.  Did  you 

4.  Did  you 


ev 

ev 

ev 

ev 


er 

er 

er 

er 


see 

S‘6 

bee 

see 


the  farm  -  er 
the  mow  -  er 
the  reap  -  er 
the  thresli-er 


sow,  In  the  spring-time  of  the  year? 

mow,  When  the  grass  was  high  and  tall? 
reap,  In  the  au  -  tumn  of  the  year? 
thresh, When  the  wheat  was  gath-er’d  in? 


When  all  the  fields  were  get  -  ting  green,  And  the 
He  swings  his  scythe  wilh  meas-ur’d  heat,  And  the 
When  all  the  fields  were  get  -  ting  brown,  And  the 
And  the  corn  was  borne  from  the  field  and  piled  In  the 


skies  were  blue  and  clear? 
slen  -  der  grass  -  es  fall, 
sky  was  blue  and  clear? 
hap  -  py  farm  -  or’s  bin? 


■H-' 


SECOND  DIVISION. 


=1=1 - = 

_ 

— j — r  i 

— | - 

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J  j 

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Sir  • 

Vs  T/  4.  9  o  S 

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O  • 

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This  is  the  way  that  the  fa 

This  is  the  way  that  the  fa 

This  is  the  way  that  the  r 

This  is  the  way  that  the  th 

-&■  -0-  -9- 

mi  - 

pm  -  e 
-ap  -  € 
•esh-e 

r  sows,  In  the  spring-time  of  th 
r  mows,  When  the  grass  is  high  an 
r  reaps,  In  the  an  -  tumn  of  th 
rs  tliresh,  When  the  wheat  is  gath-er’ 

e  year ; 

I  tall ; 
e  year; 
d  in ; 

^  * 

At—* - * - * - (- - 4 - 1 — 

- - f-  »  * 

r  » 

\J-\j  l~  U  1 \j  !*  S  'e 

k=. 

>  -9_ 2/ 'u 

:  r  l  ■  I  ■ 

V  ,  *  ' - t-  \/  V- 

- ! - 1  J 

Llmd 

ii  "  -sy-  . 

When  all  the  fields  are  grow-ing  green.  And  the  skies  are  blue  and  clear. 

He  swings  his  scythe  with  meas-ur’d  beat,  And  the  slen  -  der  grass  -  es  fall. 

When  all  the  fields  are  get  -  ting  brown,  And  the  skies  are  blue  and  cl  ar. 

And  the  corn  is  norne  from  the  field,  and  piled  In  the  hap  -  py  farm  -  er’s  bin. 


is 


i — r 


—m - m - m - ■= - - - 


m 

■ - 1 - 1 - — ' - U 


Let  the  motions  commence  at  the  second  ilivision,  and  keep  timo  with  the  music. 


82 


The  Old  School-House  . — Exercise  Song. 


$ 


y 


— K - 


V  t  * 


— i- 


1.  If  we  stamp  our  feet  to  keep  us  warm,  The  teach-er  thinks  we’re 

2.  Un-cle  Sam  is  rich,  we  all  know  that;  I  wish  he’d  try  to 

3.  There  is  wood  e-nough  to  make  the  boards,  And  saws  e-nough  to 

-f — • - ! - j 

3=5=4:-  LB 


miM  £  £  i 


=?f=g 


z)--d= 


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£ 


;  It’s  hard  to  keep  your  -  self  per  -  feet  -  ly  calm,  With 

; :  Tt.’a  1  \  n  rrl  t 1  i  vo  in  <1  Tfnn  TT  nl/I  TTn.  M  _ 


-«■  .  ->*• 

naught  -  y; 

please  us:  It’s  hard  to  live  in  a  ver  -  y  old  hut,  While 

saw  it;  If  Un-cle  Sam,  or  if  some-  bod  -y  else}  Would 

J - -A— £  —  * - r-r-A-  A 


— ! —  ~i — k 

i 


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4- 


- - - * - * - 

1  Stamp  with  feet,  not  too  loud.  ;  'l  Strike  hands  togothor.  |  »  Rubbing  and  Kwh^U>g  the  ham 


The  01(1  School-House. — Concluded. 


83 


The  Launch. — Exercise  Song. 


5 


=$= 


#1 


1.  lOurbeau  -  ti  -  ful  ship  is  launch’d  to  -  day;  3Glo  -  rious  day! 

2.  1  Our  beau  -  ti  -  ful  ship  is  launch’d  to  -  day;  4 Clear  the  way! 

3.  i Our  beau  -  ti  -  ful  ship  is  launch’d  to  -  day;  5Down  she  goes! 

- (* - * - * - 1* - — P * - P  -  P - P- 


| fit* 

g  o  * 


X 


V 


* 


t 


:»M^SE3 


p 


3(rlo-rious  day!  3glo-rious  day! 
4Clear  the  way!  4clear  the  way! 
5Down  she  goes !  5down  she  goes ! 


4.  10ur  beautiful  sliip  is  launch’d  to-day, 

6Roll  tlie  drum!  6roll  the  drum! 
3We’ll  wave  the  glorious  banner  high, 
!  6Roli  the  drum!  eroll  the  drum! 

5.  iOur  beautiful  ship  is  launch'd  to-day, 

7There  she  floats!  7there  she  floats! 
3Hurrah  for  noble  ship  and  crew! 
7There  she  floats!  “there  she  floats' 


1  Arms  folded. 

a  Describe  circles  above  head. 

8  Strike  bauds  together 

7  Extend  arms  with 


|  4  Hands  moved  as  in  swimming. 

5  Hands  plunged  downward. 

]  6  Beat  time, 

waving  motion  or  undulations. 


Sf 


Points  of  Compass.— Exercise  Song. 


1.  Come,  and  stand  be  -  side  me,  chil-dren, 

2.  Can  you  tell  me  which  way,  chil-dren, 

3.  Can  you  tell  me  which  way,  chil-dren, 


£ 


- - 1 

1  J  1 

*  a 

— » 

- 0 — 

0 - 5 

— 

Let  me  talk  a  -  while  with  you. 

It  is  north, and  which  way  south? 
It  is  east,  and  which  way  west  ? 


CHILDREN. 


-fl-S — t- - 1 — J— 

— 1 - ! - -| - 

- 1 — 

J 

J 

£  w — J  -  -j — a 

a  a  j  • 

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1 

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j 

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J 

0  3  0  3  9  9  9  0  o 

We  will  come  and  stand  be  -  side  you,  We  will  talk  a  -  wh 

We  can  tell  you  that, dear  teach-er,  Thai  is  north,  and  th 

We  can  tell  you  that, dear  teach-er,  That  is  east,  and  th 

..II  -  l _ J  .  -  J  Sr  _ 

m  m  » 

ile  with  you. 
at  is  south. 
at  is  west. 

0 « 

0  0  a 

'  0 

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1  1 — i — v- 

— r — 

M - ' - a 

— LI 

Teacher. 

Children. 

Teacher. 

Children. 

Teacher. 

Children. 

Teacher. 

ChiUlren. 


4.  Can  you  toll  me  which  way,  children, 

Europe  is  from  where  we  stand? 

Wo  can  tell  you  that,  dear  teacher, 
Europe’s  east  from  where  we  stand. 

5.  Can  you  tell  me  which  way,  children, 

Europe  is  from  Africa? 

We  can  tell  you  that,  dear  teacher, 
Europe’s  north  of  Africa. 

6.  Can  you  tell  me  which  way,  children, 

Asia’s  from  America? 

We  can  tell  you  that,  dear  teacher, 
Asia’s  east,  from  ’M erica. 

7.  You  have  answered  well,  dear  children, 

You  have  answered  very  well. 

We  are  glad  that  wo  can  answer 
Questions  that  you  ask,  so  well. 


In  answer  to  the  first  two  linos,  sung  by  tho  teacher,  the  pupils  should  take  tlioir  place  on  the 
floor.  When  answering  the  questions  relative  to  the  “cardinal points,”  they  will  poiut  according 
to  the  answers  of  tho  questions  asked.  They  will  also  point  in  the  direction  of  Europe,  when 
answering  that  it  is  east  of  America.  North,  when  answering,  Europe  is  north  of  Africa.  When 
the  last  verso  is  sung,  they  will  all  bow  to  the  teacher,  and  take  their  seats  in  order.  If  the  teacher 
does  not  choose  to  sing,  a  seotiou  or  single  voice  among  tho  pupils  may  be  appoiutsd  to  ask  the 
questions 


Pi 


Wliat  the  Birds  are  Saying. — Exercise  Song. 


85 


FIRST  DIVISION. 


I 


-l  ' 

1.  Hear  the  quail  in  yon  -  der  glen,  He  is  call  -  ing  to  his 

2.  Hear  the  owl  from  yon  -  der  tree,  Hid  a  -  mong  the  leaves  so 

3.  Seek-ing  for  his  morn -ing  food,  Hear  the  crow  in  yon  -  der 

4.  When  the  even  -  ing  comes  a  -  gain,  And  the  earth  in  night  is 

*  !»  i  p  — • — 


pe  : 


£ 


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5E 


- ! - 

- 1 - 

1 

- 1 - 

mate; 

You 

9 

can 

9 

hear 

9 

him 

9 

in 

the 

& 

morn  - 

9 

^g, 

Hear 

him 

green; 

Can 

you 

tell 

me 

what 

he’s 

say  - 

ing, 

In 

his 

field; 

He 

must 

feed 

the 

lit  - 

tie 

nest  - 

lings, 

In 

the 

hid; 

Then 

a  - 

long 

the 

roads 

and 

mead  - 

ows, 

You 

will 

N 


A 


0- 


i 


SECOND  DIVISION. 


3 


g 


f- 


tz 


f 


0: 


ear  -  ly,  hear  him  late:  Whu,  whu,  whuit;  whu,  whu,  whuit\ 

leaf  -  y  house  un-seen:  Whoo,  whoo,who-o-o!  Whoo,  whoo,  who-o-ol 
nest  so  well  con-cealed:  Caw!  caw!  caw!  Caw!  caw!  caw! 

hear  the  ka  -  ty  -  did:  Ka  -  ty,  katy-did!  Ka  -  ty,  katy-did! 

i 


Jl 


j. 


p 


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That  is  what  the  quail  is  say-ing,  As  he 

That  is- what  the  owl  is  say-ing,  In  his 

That  is  what  the  crow  is  say-ing,  As  he 

All  a -long  the  roads  and  mead-ows,  Thus  the 


0 

-  0- 


whis-tles  to  his  mate, 
leaf  -  y  house  un  -  seen, 
seeks  his  nest-lings’  food, 
ka  -  ty  -  dids  will  sing. 

£  t  f  P 

^*x=pz=±: — r 


fV- 


M - V- 


X 


Children  can  easily  imitate  tiie  quail,  hut  it  i-  very  llfHcult  to  render  his  whiatia  i*  vor  *. 


II 


86 


We  •ire  standing  Face  to  Face.— Exercise  Song. 


are  stand-ing  face  to  face,  Each  one  in  his  pro  -  per  place; 

us  whirl  a  -  bout  once  more,  Take  of  steps,  one,  two,  three,  four, 

one  hand  be  -  hind  you,  so,  One  up  -  on  your  breast, you  know; 
us  all  keep  time  once  more,  With  our  right  foot  on  the  floor; 

5.  Wave  your  right  hand  up  and  down,  Keep-ing  time  with  words  and  sound; 


tv  4-  5  5 

r=EtHEt==3:EEE 


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Let  ns  step,  one,  two,  three,  four,  Then  we’ll  all  shake  hands  once  more 

’Till  wo  reach  our  right  -  ful  place,  Then  we’ll  turn  round  face  to  face. 

Change  them  quick-ly  left  and  right,  This  will  be  a  pleas  -  ant  sight. 
Now  our  left  one  we  will  try,  While  we  hold  our  hands  on  high. 

Let  us  to  our  teach  -  er  bow,  For  our  stud  -  ies  call  us  now. 


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In  our  health  ful  ex  -  er  - 

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Let  118  In  it  per-se-vero,  'Till  we  make  our  work  pre-cL,. 

_ - - ^ 


p=Fq7: 


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ill 


■r 

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t  lii-'l 
moil 


I  r 

li«  children  should  stand  nine  Rteps  apart,  and  at  the  words  “ one.,  two,”  Ac.,  stop  toward  each 
r,  and  shake  hands.  In  the  chorus,  let  them  keep  time  with  their  hands.  In  third  verse  let 

i  put  one  hand  liehind  th"in.  the  other  on  their  hreast.  "" 1  .  ..  ..  .  ..  ,.  .  i.  .» 

nd  '<•  lle-ir  breast,  and 


. . let  Ilium  bring  their  left  baud 

ail  >  tlioii  rurlit  olio  Itoliiiifl  t lit* in .  both  at  the  same  Lime. 


Multiplication  Song 


87 


4* 


■~K" 


4  zf^zh: 


n ^ 

"1  1  "1 

- 

 0  0  0- 

ij  "  " 

Twice  one  are  two,  That  is  ver  -  y  true;  Twice  two  are  four, 
D.  C.  There,  that  will  do;  Now  we’ve  sung  all  thro’,  Well  was  it  done, 


yxr- 

m  a 

I  Jf  ■  - 

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r 

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ST 

u 

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/ — p 

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t-P - P--P  V  => 

I 


That’s  a  cou  -  pie  more;  Twice  three  are  six,  On  this  our  minis  we’ll 
Soon  pre-pare  for  fun;  W'hen  this  we  know,  We  will  still  far-ther 

PINE. 


2 


o — 


fix;  Twice  four  are  eight,  We  will  not  be  late.  Twice  five  are  ten, 
go,  Hop-ing  we  may  All  know  more  some  day. 


v- 

* 

4=* 

a  .  — 2 - h 

m  •  •  •  • 

— 

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0  - 

— F~  — F — r-# - # - # - # - 

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We’ll  be  lit  -  tie  men;  Twice  six  are  twelve,  For  learn-ing  we  must 


t! 

H=i 

fe: 

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# — 

# — 

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p — 0 — 

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delve-  Twice  seven  are  four-teen,  Bad  we’ll  bo  no  more  seen;  Twice  eight  are 


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--P  P  P  -P-i-P  P — U  - 

plen-ty;  Twice  ’leven  are  twen-ty-two,  We'll  at  -  tend  to  what  we  do; 


A  45=*-- 

— 

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p 

6) - ^ - ^  — 

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Twice  twelve  are  twee  -  tv  -  four.  That’s  the  last,  there  are  no  more.. 


88 


Multiplication  Song. — Concluded 


I  0  S  -  ■  0  a 

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— h — b — y — v-  - 

— P.  V  V — b— 
y — - — : — y — 

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Five  times  five  are  twen  -  ty  -  five,  And  five  times  six  are  tliir  -  ty,  And 


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5 


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five  times  seven  are  thir  -  ty  -  five,  And  five  times  eight  are  for  -  ty; 


£ 


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Five  times  nine  are  for  -  ty  -  five,  Five  times  ten  are  fif  -  ty, 


.0 

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R.  C. 

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Five  times  ’leven  arc  fif  -  ty  -  five,  Five  times  twelve  are  six  -  ty. 


Steady,  Boys! — Exercise  Song. 

MODRRATO. 


M-f—f -  -f  J'  A  - 

ErrS-  i 

= 

1— — - 43  - 

1.  ’Stead  -  y,  boys!  stead  -  y,  boys! 

2.  ’Stead  -  y,  boys!  stead  -  y,  boys! 

3.  ’Stead  -  y,  boys!  stead  -  y,  boys! 

....  '  1 - br — [- 

— i - » - # - # - 1 

mind  your  team!  a  The  re’ 8 
En  -  gi  -  noer!  aTlie 

don’t  you  hear!  5The 

■o-  -a-  -a-  -a- 

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k=3^-£-2-*==±-i'  i 

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some-thing  tlio  mat  -  u»t,  tlie 
cars  are  in  dread -ful  com 
steam  -  ur  is  puff  -  ing,  and 

f*S»  U —  H E - - 1 - r  ! - 

-  .  -  —  V - 7 - 1 

mat  -  ter,  the  mat  -  ter!  3Tho 
mo  -  tion,  com  -  mo  -  ‘.ion !  aThey 
reel  -  ing  and  rock  •  ing!  3The 

t-  +-  +-  •  \  N 

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EtCT-=| 

Steady,  Boys !— Concluded. 


89 


Si 


joints 
rtat  - 
boil  - 


- « — 

— # — 

— « - 

— « — 

are 

all 

loose, 

and 

the 

tie, 

and 

clat  - 

ter, 

and 

ers 

are 

hiss  - 

ing 

and 

box  -  es  they  scream !  2The 
rum  -  ble  and  roar!  3The 
2ream  -  ing,  0,  dear !  2 5The 


fc- 


-V- 


-fc 


4- 


E 


E 


■V — 


3r- 


V  '  P  ? 

bolts  are  a  -  clat  -  ter,  a  -  clat  -  ter,  a  -  clat  -  ter:  6It’s  an 

world  is  in  mo  -  tion,  com  -  mo  -  tion,  com  -  mo  -  tion:  6It’s  an 

thump -ing,  and  groan -ing  and  strain  -  ing  is  shock  -  ing:  6It’s  an 


M - w — 


i 


5 


~± 


*  ?  f  ■  r  r 

aw  -  ful  rough  road,  or  some-thing’s  to  pay;  4The  driv  -  er  is 

aw  -  ful  rough  road,  or  some-thing’s  to  pay;  4The  driv  -  er  is 

aw  -  ful  rough  sea,  or  some-tiling’s  to  pay;  4The  cap  -  tain  is 


§3 


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ft  f  t  "u 

drunk,  *And  the  hors 


es 


are  run  -  mng 


a  -  way ! 

drunk’  *And  the  en  -  gines  are  r  run  -  ning  a  -  way! 

drunk,  *And  the  steam  -  boat  is  run  -  ning  a  -  way! 

JS  N  N  J 


- s 


* 

-t' 


'-Ml 


1  Hands  held  as  if  driving  horses. 

2  Rattling  feet  or  hands. 

3  Twirl  hands  around  each  other 


4  This  line  recited  in  a  whisper. 

5  Swaying  body  to  and  fro. 

6  Extend  the  hands  as  cautious  persons  would 


* 


90 


G.  F.R. 


Drummer  Boy.  (Exercise  Song.) 


MARCH  MOVEMENT. 


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\  I.  1Drum-mer  b 

2.  iCol  -  or  b 

3.  4Sol  -  dier  b 

oy,  d 
0  y, 
oy, 

t- 

rum- 

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<ol  -  ( 

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mer  1 
or  b 
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)oy,  where 
oy,  where 
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are  you  h 
are  you  g 

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i,  2Kc 
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)ll-ing  so 
iv-ing  your 
ir-ing,  so 

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T  . 

gai  -  ly  your  bold  rat  -  a  -  plan  ?  4I 
ban  -  ner  of  red,  white  and  blue  ?  *1 

proud  -  ly  your  knap-sack  and  gun  ?  II 

N  *  I  f 


- IS - N--— 4- 

50  where  my  coni 


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go  where  my 
go  where  the 
go  where  my 


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flag  of 
coun-try 


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how  -  ing,  41 

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id  rat  - 
d,  white  n 
ip-sack  a 

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a  - 

nd 

nd 

t 

* 

plan. 

blue. 

gun. 

4.  1When  will  you  come  again,  soldier-boys,  playing, 
2Drumming,  and  8waving,  and  4bearing  the  gun? 

JNot  while  our  country  shall  bid  us  be  staying, 
3Drumming,  and  8 waving,  and  ^bearing  the  gun. 

6.  aRat-a-plan-pIan,  not  a  “  white  feather”  showing, 

3 Follow  the  glorious  red,  white  and  blue  ; 

*Sing  us  a  song  as  we  gaily  are  going, 

Sing  us  a  song,  then,  adieu,  boys,  adieu ! 

1  Hands  folded. 

2  Keep  time  to  the  music  with  the  cuds  of  the  finger*  on  the  desk. 

3  Wave  the  right  hand,  or  little  flag*  in  the  right  hand. 

*  Lay  the  hand*  upon  the  shoukiers. 


Charlie  wants  a  Piece  of  Bread.  (Exercise  Song.)  yi 

EORETTO.  B.  R,  II. 


3.  5Sow  some  grain,  good  farmer,  sow, 

If  of  wheat  there  is  none ; 

6Come,  soft  showers,  and  make  it  grow, 
2For  of  bread  there  is  none. 

4.  7Thresh  it  on  the  threshing  floor, 

aFor  of  bread  there  is  none ; 

4Grind  it,  miller,  o’er  and  o’er, 

2Till  of  bread  there  is  some. 

6.  8 1 * *Knead  it  quick,  good  Bessie,  knead, 

2Now  of  flour  there  is  some  ; 

^Charlie,  here’s  your  piece  of  bread — 

2  Are  n’t  you  glad  there  is  some  ? 

6.  6Sow,  and  7thresh,  and  4grind,  and  8knead, 
3When  of  bread  there  is  none ; 

®What  a  deal  of  work,  indeed, 

aJust  for  bread  there  is  done. 


1  Both  hands  stretched  out. 

S  Fold  hands. 

•  Move  hands  as  in  kneading  bread. 

4  Move  right  hand  to  imitate  a  wind  mill. 


5  Move  right  hand  as  in  sowing  seed. 

6  Move  fingers  on  the  desk  to  imitate  rain  sounds 

7  Both  arms  up  and  down  as  in  threshing. 

9  Both  hands  raised  perpendicularly. 


h.  a  a. 


92  Rap!  Rap! — Exercise  Song. 


1. 

1Rap! 

‘rap ! 

‘rapl 

‘rapl 

How 

the 

shing 

-  les 

2. 

‘Nail, 

‘boys, 

‘naill 

‘nail, 

Nev 

-  er 

mind 

the 

3. 

“Rest, 

now 

rest, 

rest, 

What 

a 

CO 

-  sy 

2  clap 
2gale, 
nestl 


£ 


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■v— 


i 


* 


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“Here  a  beam  and  4thcre  a  tim  -  ber,  5Then  a  5board  so  “long  and  “lim-bcr. 
®Sun  -  ny  days,  or  win  -  dy  ^weather  “Cheerful  5la  -  bor  “all  to5geth  -  er. 
8A11  well  done  from  floor  to  ga  -  ble,  4Mim-ic  shelf  and  kitch-en  ta  -  ble; 


am 


=#- 

'Hr 


£ 


How 

Soon 

“Now 


the  laths  shall  3snap,  2snap,  How  the  ham  -  mer’s  1  rap  1 

our  house  we’ll  2hail,  2hail,  Brisk  -  ly  1nail,  1boys,  1  naill 

sit  down  and  rest,  rest,  All  have  done  your  best. 


■  r  r  -  f— f 

— K - K - S - S - 

0.  -  0*  0 — #  -- 

— Z - Z - z - 1 

4 - ^ ^ - 

- «s 

01 


1  Rap  with  ends  of  fingers  of  both  hands  on  the 
desks. 

2  Bring  the  hands  together  with  one  clap. 

3  Wave  right  hand  to  the  right  and  leave  it 
there. 


4  Wave  left  hand  to  tlio  left  and  leavi 
it  there. 

6  Move  both  hands  up  and  down,  waving 
time  to  the  music.  ^ 

6  Fold  hands. 


Now  Work  is  Done. — Hound. 


Now  work  is  done,  and  wo’ 11  go  home,  0  come  a  -  long  boys  coma. 


The  Blacksmiths. — Exercise  Song. 


g.  r.  r. 


93 


There’s  a  bright  fire  in  the  forge,  Atul  the  iron  is  heat  -  ing  fast ; 
Now  the  fur- nace  roars  a-lond.  Throw- ing  light  through  all  the  shop; 
Put  it  in  the  fire  a  -  gain,  ’Tis  not  vvhol  -  ly  shaped  as  yet; 
Rake  the  ash  -  es  o’er  the  lire,  Work  is  done,  the  shoe  is  made; 

-A— , 


- 1=4»=  ^rLfe^=iz=S±l=4===t=t=-liE=3 

tit  s  s 


By  liis  an  -  vil  stands  the  smith,  While  the  bcl-lows  give  the  blast. 
Pull  the  iron  out.  strike  it  fast , ’Till  it’s  cold  you  must  not  stop. 
Blow  by  blow,  with  pa-tient  work.  What  a  horse  shoe  we  shall  get ! 
Rest  a- while,  the  toil  is  hard,  Yet  it  is  a  iner  -  ry  trade. 


mm 


-■©- 


* 


I# 


CHORUS. 


P 


-f 

-a 


•  r 


Bang!  batig!  bang!  bang!  Oh 

,,  -6-  -9- 

|&:t==n=urt-— 1--»- 


_ g  >g 


how  hard 

- 1 


the  ham  -  mers  strike! 


J 


33 


Note. — The  class  is  separated  int(  two  divisions.  During  the  chorus  these  divisions  mark  the  time 
as  follows; — At  the  first  ‘bang'’  the  first  division  hit  the  desk  with  their  closed  fists,  at  the  second 
“bang”  the  second  division  do  the  same;  at  the  third,  the  first  again;  at  the  fourth, the  second, and 
so  on  alternating  to  the  end  of  the  chorus. 


B.R.H. 


* 


- — 

- h - h - H 

\  A"  N — - 

- w - 

— # - « - • 

- w - J > 

- « - • — 

- - - J - 

* 

—m 

1.  If  the  boys  and  girls  will  list  -  en, 

2.  All  their  books  so  new  and  pret  -  ty, 

3.  Then  a  -  long  the  street  came,  sing-ing, 


*  *  * 


V- 


£ 


! 


sad  thing  that  I  no  -  ticed,  As  to  school  I  came  a  -  long ; 

torn,  and  soiled  and  turn  -  bled,  As  their  own  -  ers  pushed  a  -  round, 

song  soon  ceased  its  ring  -  ing,  And  his  hap  -  py  face  was  sad, 


m 


' 


v — -P- 


■*- 

4— U—  1~ 

—0 - # - »- 

n\t  .  >  —  U- 


& 


95 


Was  it  Bight.— Concluded. 


tween  two  lit  -  tie 
ncv  -  er  will  be 
part  -  e<i  them  so 


chil  -  dren,  Who  had  fall  -  en  out 
de  -  cent  To  be  used  in  school 

gen  -  tly,  And  he  begged  them  so, 


in  play ; 
a  -  gain ; 
to  cease, 


£= 


t 

i 


.N-^q=q= 


rude  and  an-gry  way!  Was  it  right?  was  it  right?  was  it  right? 
bout  their  les-sons  then.  Was  it  right?  was  it  right?  was  it  right? 
went  to  school  in  peaoe.  Thai  was  right!  that  was  right !  that  was  right! 

XL  JL  JL  XL  XL  s  J2.  XL  JL 

•£^=tr=t:~l-  '  L  M  L=f- 


it-9- 


£ 


2=C 


9- 


_ o 


Bo  Kind  and  True. — Bound. 

12  3 


f  C  r-4~ H 

- ! - 

- 1 - 

!  i  ■  . 

- 1 - 

“T 

a  :c 

V-\  .  ;  ..  r:  .  *  •'  :  - 

J 

4 

i.  4  e 

8 

*  -  3  « 

± 

Be  hind  and  true  In  all  that  you  may  da,  Keep  this  in  view. 


? 


96 


Jolly  Little  Claeker. — Exercise  Sono. 


6.  F.  K. 


[Wherever  the  words  “click”  and  “clack”  occur,  tho  fingors  may  be  snapped,  or  the  hands 
■truck  together;  or,  better  still,  when  convenient  the  “  bones”  may  be  used.  At  the  word  “olick,” 
the  sound  should  be  softer  than  at  “  clack.”] 


MODERATO. 


i 


1.  Spring-time  brings  the  Rob  -  in  and  the  Blue  Bird  home:  The 

2.  Through  the  nois  -  y  mar  -  ket,  down  the  long  pa  -  rade,  Up- 

3.  Blue  Bird  and  the  swal  -  low  from  the  sweet  South  rove,  The 

4.  Move  your  nim  -  ble  fin  -  gers  in  the  brisk,  quick  way;  Some 

site 


4£ 


hap  -  py  lit  -  tie  Swal-low  knows  his  hour  to  come;  But 

on  the  crowd  -  ed  side- walk,’neath  the  com-mon’s  shade,  His 

Rob  -  in  leavos  his  quar  -  ters,  in  the  deep  pine  grove;  I 

peo  -  pie  could  not  do  it,  if  they  tried  all  day !  This 


$ 


1 


3 


> V 


mmmm 


not  a  bird  is  tru  -  er  to  his  time  of  com-ing  back  Than  the 
tramp-ing  feet  for  mu  -  sic  in  their  march-ing  can-not  lack,  While  his 
know  from  whence  theystart-ed  on  the  hap-py  home-ward  track;  But  where 
morn  the  first  of  clack-era,  but  a  hun-drcd  know  the  knack,  And  to¬ 
rn*-*: - 


-4 — - 

-• 

ar 

-b  4 - 4-j- 

T 

i! 

4 

jol  -  ly  lit  -  tie  clack-er,  with  his  clack, elaCk, clack !  Click, click, click, 

nim -ble  lit  -  tlo  fin-gers  play  the  clack,  clack,  clack !  Click,  &c. 
all  tho  win-tcr  slecp-ing, stays  the  clack, clack, clack?  Click,  Ac. 
night  you’ll  hear  them  an-swer  with  a  clack, clack, clack!  Click.  &c. 


ll-/ 


* 


Jolly  Little  Clacker. — Concluded. 


9? 


#- 

-p- 


5EE2 


i  I  -  -  '  7  , 

clack,  clack,  clack !  Jol-  ly  lit  -  tie  clack*  er,  with,  your  clack,  clack,  clack ! 


I 


I 


Wliip-poor-will. 


B.n.n. 

-js — 


7 


•  mer  fields, 
the  shades 
the  moon, 
the  ma  - 
the  Night 


? 


5 


1.  O’er  fra  - 

2.  As  clos  ■ 

3.  At  mid  - 

4.  He  sings 

5.  In  oth  - 


grant  sum 
er  fold 
night,  when 
up  -  on 
er  lands 


t 


new  mown,  When  eve  comes 
of  night,  And  bright  -  er 
se  -  rene,  With  glo  -  ry 
pie  high,  Or  in  the 
-  in  -  gales  Sing,  all  night 
-M_ h. 


down  and 
shine  the 
gilds  the 
fra  -  grant 
long,  in 


=£ 


o 


m 


— 1- 


o 

3= 


-4- 


m 


v 

day  is  flown,  I  hear  up  -  on  the  dis  -  tant 
stars  of  light, Sounds,  near-er,  by  the  tink  -  ling 
si  -  lentscene, Bursts, start-ling, o’er  my  dwell  -  ing 
li  -  lacs  nigh;  A  -  far  or  on  my  win-  do w 
moon  -  lit  vales;  But  thy  sad  strains  our  nights  shall 
K  — 0 —  »  » - 0 


f 


5 


M 


' 


--V- 


hill,  Whip-poor-will, 
rill,  Whip-poor-will, 
still,  Whip-poor-will, 
sill,  Whip-poor-will, 
fin.  Whip-poor-will, 


9 


98  The  Cars  are  Coming— Exercise  Song. 


oa  AtiiSonaTTO. 

— 

- s — 

j— - 

— 

S - 

8  . 

— 0 

— 2 — 0 

- 

— 2 jznh  ' 

—  J 

*  -  « 

"j— 

p  t  t 

1.  It  is 

2.  Come,  a  - 

3.  All  ye 

-a  v - k — 

time,  time, 
rouse,  rouse,  r 
youth,  youth, 

\  | 

rr 

time  that  the 

ouse  ye,  and 

Touth  of  the 

r— J - k k— 

Pe 

ra 

lan 

-jr 

o  -  pi 
L  -  Ij 
d,  he 

e  were  wic 
with  mig 
ir  the  ca 

W*  - 

V 

le  a- 
ht  and 

11  once 

cuirfi  r  y- 

— B— ” 

*r  fcf  a  .W 

- 

, 

- V  -  V  1 

»  - 1 

J  r  ,  i  0  ?  - 

— 7 

7 

/  J _ r  Jr 

— * 

- « 

- ^ - V— 

— « 

- <• 

l - M 

- 1 - u — 1 

wake ;  Our  lives  and  our  for  -  tunes  are  all 

main,  To  scat  -  ter  the  for  -  ces  of  Rum 

more,  The  train  is  ap-proacb-ing,  the  night 


r 

at  stake ;  A- 
a  -  gain  ;  Our 
is  o’er ;  For 


- -a- - V  -sr  ‘7  * 

rcmsc,  or  you  11  find  your  -  selves  late  in  the  day,  The 

cause  is  ad  -  vane  -  ing,  bur  -  rah  for  the  fray,  The 

Tom  -  per  -  ance  Sta  -  tion  our  bag  -  gage  we’ll  check,  Re- 


ml 


-a 


V - 


Efei 


F - *- 


CIIOKC8. 


The  (Jars  are  Coming. — Concluded. 


99 


-5=3— i 

* 

N - ; - n 

=3  . fs . 

r-jr — h — r — h - 

JL  11 

7  *;  a 

^ p 

a  .  P  n 

2: 2  *-  2  2  . 

/  2 

S 0  a  a  7 

1  S  7  ' 

^ - pi 

srp  j 

r  r  2  r 

Li  *  \j 

-y 

a 

-9 

1/ 

✓  ? 

com-ing,  com-ing,  The  wheels  are  roll-ing, 

roll-ing,  roll-ing,  Stand 

s  S 

h  0  

r  -■?"  <P  f~.  O 

a- 

•  a  d 

s,  * 

J? 

*  *  P  J? 

(9  O 

#  ~  N 

1 

3 *t 

III 

;  1.  .  j 

J  L 

3  3  3  7 

u  b  7  b 

lj  p 

*— - 0 

- « 

- # 

- a 

— 

rJta — —  .  1 — 7z= 

1  1  .  — - ^— ! 

— 

* — — h — ; — 

/W  n 

.  45  a_ in 

r  w 

In  r  A - N - 

£s  A -  A— 

v  U _ 2 

2 * 

3  r  r 

ou 

li  . 

-  s 

t  of 

S  d 

-9-  °  -ft  v  °  \  Vi/  V  V  V 

the  way  there,  clear  the  track,  This  en-gine  goes  for-ward,  but 

SS!  N  !  0  a  m 

0  0  0 

a  1 

1  tf  & 

p  i y  a_ p  o_ m 

7  r 

- « 

— 9 

— —  U— 

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— 1 - 1^ 

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)/  \t  &  V 

r«-3— : — 

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0  .4 

fn\  L 

L 

n  

n  1 

V  T7  ff 

0  t>  ..0 

n  ° 

J  • 

V  t 

nev  - 

'  '  f  z  ■+  *  ■*  * 

er  goes  back;  !The  cars  are  com-in; 

„  „  k  1  N  is  , 

>■  *  -5 

5,  com-inj 

S N 

9  -sr  V- 

5,  com-ing,  !The 

N  N  N _ a 

rx»  Jf  “ 

* 

a 

k-J.5 

—  L  jm 

-  ■ 

-  ^ 

*- 

J  Tr  9 

_ 

/ 

/ 

b 

P 

7  v  1 P— 1 

— 0 

— 0 

— 0 

— 9 

- 0 - 0 

* 

1  Keeping;  time  with  the  hands. 


2  Swinging  hats  or  handkerchiefs. 


100 


G.  F.  R, 


The  Happy  Band.— Exercise  Song. 


r 


aProvided  we  do  what’s  right, and  that  is  what  we  calculate  to  do  11always.  Wo 
:*Providod  we  do  just  what  our  teacher  wishes  us  to  do,  and  are  not^eye-  j 

servants.  )  We 

8  Wo  now  propose  to  take  a  drink  of  freedom’s  pure  air.  We 

nr  1*1  1  ..I  _  j.1. _  J  _•  1_  «  P  imI  r. 1  n  vxiinn  n  i  x  o  A  wnl  1 


8  We  liked  the  other  drink  of  freedom’s  pure  air  so  well, that  we  now 


take  another. 


Tis 


=t=i 


3= 


:  " 


dug  our  arms  and  5elap  our  hands,  And6bind  our  brows  with  gold-en  hands 
ling  our  un-chain’d  arms  on  high, Like1 4free-dom’s  ban-ners  in  the  sky, 


9|ill  our  lungs  with  free-dom’s  air,  And10gaze  o’er  free-doin’ s  land  so  fair, 

,alike  the  ncc-taj  of  the  gods,  It* 3makcs  us  strong  for  ev  - ’ry  odds, 
_ _ J0. - 0 — — 0 F — r — 0 - j — - - - 0 — — 0  ■■r—j—0 - 0 — — 0 - 1 — | - 


And  do  just  as  we  7like  to. 

And  do  just  as  wo  7liko  to. 

And  do  just  as  wo  7liko  to. 

To  do  just  as  we  like  ^to. 


1  Hands  folded. - 3  Arms  looped  ont,  with 

hands  resting  on  thigh. - 3  Recite  in  concert 

in  speaking  voice. — —4  Swing  arms. - 5  Clap 

hands. - 8  Right  arm  raise  above  head,  hand 

beut  downward  and  passed  around  head. - 

7  Strike  softly  ou  head  or  shoulder  of  nearest 

schoolmate  (not  intended  for  naughty  boys). - 

8  First  3,  then  fold  arms  behind,  thon  fill  the 
lungs  by  drawing  in  slowly  until  all  give  out. 

- 0  Hands  placed  on  lungs. - 10  Sweep 

srnis  around  to  touch  behind. - 1 1  bring 

rignt  hand  to  forhead,  and  sweep  it  outward 
and  downward,  bowing  the  head  at  the  saino 

time. - 1 3  Hands  clasped  before. - 1 S  Arms 

flung  outward,  with  hands  clenched,  express¬ 
ing  strength. - 14  Both  hands  describe  circles 

above  the  head. 


Lillian 


g.  r.  r.  101 


n  1 

,  A I X  E  6  R  BTTO.  k 

y  . 

f  4 

,  - 

Jr 

4 

S  PT  h.  N. 

P P  ft  hu 

{TO  K  1- 

— « 

*  -£l 

-4 —  *  35= 

— S  *  ■  ■■■)  — * 

1.  At 

2.  And 

3.  But 

4.  But 

# - « - a - •  - 

dew  -  y  dawn,  in 

when  she  goes, where 
ah !  one  day,  I  l 

what  a  shame  to 

m  o  »  0 

9  -9  a 

mist  y  morn,  W 

sing  ing,  flows  T 
)lush  to  say,  W 
Dear  such  name, 

d?  _ 0 

c 

he 

hen 

r0 

» 

y  0  0  0 

o’er  the  wood-lands, 
Drook’s  blue  wa  -  ter 
she  was  wild  and 

be  so  rude  and 

*  •  0  • 

p:: 

f  4  p 

» 0  0.  0  ..... 

a  m  m 

f 

mow  •  0 

r  r  r  i 

l  r  r 

> i i  i?  i 

L  L  L 

T7  J 

L  U  W  J 

- 

r  r  Ir  r  ~J 

i 


i 


5 


3 


hill 

chill 

wil 

sil 


y, 

y> 

iy, 


Her 

lit  - 

tie 

feet 

fly 

swift 

and 

* 

fleet, 

w« 

And 

plash  - 

es 

thro’ 

the 

wave 

-  let 

blue, 

Wo 

And 

strove 

at 

bay, 

to 

have 

her 

way, 

Wo 

She’ll 

try, 

I’m 

sur.e, 

to 

be 

so 

pure, 

We’ll 

a- 

- 1 - 

*- 

— I - 

-1 - 

*- 

- 1 - 

■a- 

— i — 

- ia— 

a- 

— « 

-GH 

t-j* - 

% - 

; - 

JL 

<  a, 

"l 

0  *  *  w  ' 

•  i  0 

0,  A  p  . 

0  /  7  pi  ~ 

• 

J  3 

L . 

x/  »  -  o 

call  her  Mes 

call  her  W, 

called  her  Ti 

call  her  swe 

* 

0  9 

id  -  ow  -  Lil  - 
i  -  ter  -  Lil  -  ; 

-  ger  -  Lil  -  ; 
et  Day  Lil  -  j 

a 

*  »  ✓  " 

r,  Oh,  yes,  Oh, 

7,  Oh,  yes,  Oh, 

7,  Oh,  yes,  Oh, 

'k'  >'£•  *  *  °i 

ro  l  L  r 

_ 

| 

[ 1 

M., 

'  r  t  L  L 

y 

-  m  0  *  ? 

E 

f- 

. - 3 - v - v - v — 

—V - 

» - 5— 1 

- U--  ✓  =5 - /-J 

yes,  yes. 


--G- 

— 

S 

v- 

- - N - 

—  ,N~ - 

J  ’ 

i - d 

a 

s  -4s 

'  7_ 1  s 

*  i  » 

tn7 - *  " 

0  ■ 

€ 

-J-r- -  0  0  0  m 

yes,  We  call  her|  Mead  -  ow  -  Lil  -  y 

yes,  We  call  her  Wa  ter  -  Lil  -  y 

yes,  We  called  her  Ti  -  ger  -  Lil  -  y 

ves.  We’ll  call  her  sweet  Day  -  Lil  -  y 

V  a-  *-  +-  a-  9-  m 

i - 1 - r  r 

o  o 

w _ r 

* L . 

~v - >  — 1 

^ - 5 

tnp 4 ? - ^ - 5=1 

L— </ - # — U 

yes,  yes, 


0,  we  liaye  Studied  Hard  now. 


O.  F.  R. 


102 


;  iir 


-# 


i 


*4 


H 


head  is  grow  -  ing  wea  -  ry,  My  pulse  is 
true  '  to  my  ex  -  pe-rience,  And  grow  -  ing 
all  come  back  and  stud  -  y,  When  days  of 


get  -  ting  slower;  0 
so  still  more;  I 
rest  are  o’er,  And 


WM  I  im  *  rli 


CHOU US 


iu.Fonrrr«i 


,'i  y\  ru  * V'".s  33 
}=.  tfcj  -j— i^3 

■W  -mr-  V  V  „ 

yes  we’d  like  *  a  re  -  al  good  va  -  ca  -  tiou.  Wait  a  lit -tie 

wish ’t  were  done,*and  we  were  out  a  play  -  ing/  Wait  &c. 

pledge  our  word*of  hon  -  or  for  the  fu  -  ture.  Wait  &c. 

~  N  N  k 


0,  we  have  Studied  Hard  now. — Concluded.  103 


long  -  er  boys,  Wait  a  lit  -  tie  long  -  er  ;  Don’t  give  up  the 


rv*4  #  #  ft 

J» 0_ 0  it- 

0 - 0 — 

— 0 — 0 — 0 — — 0- 

*  «-»'LLTI  —  £ £ 

0  0  0 

!  1 

r~- 

y  f+c  *  *  0 

e  , 

..a  p  a  P 

..  - V 

y — V  * — U— 

L  r  ■  ■  > 

'—i-: - h - h - l-i — 

-fM—* - K - h— H 

/  ii 

d  \  HP 

1 

«  — «  « 

#  • - ? - « 

Hi*— — * - * - i — 

— o - 0 

ship  to  -  day,  But  wait  a  lit  -  tie  long  -  er ; 


u 


WfF- — h - h - 1-1 - 1 

M  «  :  ; 


We  shall  con-quer  by  -  and  -  bye  And  sing  an  -  oth  -  er  sto  -  ry. 


& 


/TS 

-• 


-h- 

0 


w  ~ - r  -r- 

-  * — p 

0  0  -  0  0 

— r — 

i 

i 

\ 

a  v  U- > 

- 0  0 

J 

*At  this  rest  with  the  pause  over  it,  an  amusing  effect  may  he  produced  by  allowing  the  class  to 
yawn  or  gape  or  sigh,  as  if  weary.  Take  time  enough  to  do  it  naturally  and  he  careful  to  coma 
iu  well  together  afterwards 


104 


The  young  Recruits. — Exercise  Song. 


G.  F.  R. 


4.  1  You  dull 

■0-- 


boy  there !  hold  up  your  head  !  10Let  all  the  rest  take 


r  ^  f 


m  m  ^ 


Pf f=3T 

•=rr — ft — 

I  - 

—Jr-.—d - ! - J— 

m  *  3 

m  m 

:  . 

- 1_ 

- M - J 

•  ^  3 - - 

— m — - m - 

3free  -  dom !  2Tlie  4or  -  der  s  come  to  4march,  my  boys,  2And 
pow  -  der;  And  8all 
high  -  er  1  And  8shoot 
warn-ing;  Now  14shoul 


say  7“6awy !”  as  8loud's  you  3can,  To 


your  guns 
-  der  arms, 


when  I  3speak,  Just 
8for  -  ward,  3march  !  The 
- 0 - -0 - 0- 


I’m  the  man  to  lead  em  ;  ®Left  and  4Right,  ®Left.  and  4Right,  7At  - 

make  the  guns  go  loud  -  er ;  ®Left  and  4Riglit,  ®Left  and  4Riglit,  7At  - 

8  when  the  word  goes,  7“fire!”  ®Left  and4Right,  ®Left  and  4Right,  7At- 

2day  of  glo  -  ry’s  dawn-ing  ;  ©Left  and  4Right,  6 Left  and  4Right,  7 At- 


lNTERi,ui)E.(nifli/  be  whistled.) 
rr-m - i — 0- 


ten  -  tion  !  8for-ward!  3roarch  ! 
ten-tion!  8for-ward !  3march! 
ten  -  tion  1  8for-vvard  !  3march  ! 
ten  -  tion  !  8for-ward  !  3march  ! 


'  Z  .r.Z.  it-l*  -  s i jrf:;..,  -  ..Jig' 


105 


i  ■  -i  H  | — —| 

— ^  — |- 

— i - 

: 

feSr*  -&■ 

9  0  * 

9  ».« 

1  Arras  folded  behind ;  head  erect. 

2  Describe  circles  above  the  head. 

3  Bring  arms  down  to  side  with  a  clap. 

4  Right  foot  down. 

6  Left  foot  down. 


7  Bring  hands  together  witt  a  clap. 

8  Fling  arms  outward,  right  and  left. 

9  Arms  as  if  taking  aim. 

I  0  Raise  right  hand. 

I I  Hands  on  shoulders. 


Kitty  Dew-drop. 


F.  R, 


id  -  -A-: 


j55. 


-0 — — m - 0 - 0- - 0 - 1 - 1 — - i- 

-0--0--0--0--0--0--0--0- 

1.  To  what  shall  we  lik  -  en  our  Kit  -  ty,  Our 

2.  Like  dew  she  makes  fair  things  seem  fair  er,  Like 

3.  Like  dew-drops  at  noon  and  at  e  -  ven,  Our 


4,  And 


so,  when  her  la  -  bors 


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are 

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end  -  ing,  Life’s 


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I 


n 


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Kit  -  ty  so  young  and  so 
dew  she  makes  bright  things  more 
Kit  -  ty  must  hast  -  en  to 
la  -  bors  of  mer  -  cy  and 


gay  ?  She’s  just  like 
bright ;  Like  dewdrop 
bear  Some-what  of 
love,  Like  dew  on 


the  dew-drop,  so 
s,with  others  a 
the  fresh-ness  of 
the  sun -beams  as 


pret  -  ty,  That  glis  -  tens 

shar  -  er  In  all  of 

Heav  -  en  To  souls  that 

cend  -  ing,  She’ll  shine  in 


dawn  of 
sim  -  pie 
droop  -  ing 
gar  -  den 


0 - 0 


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i  r 


the  day. 

de  -  light, 
with  care, 

a  -  bove. 

0  '  -0 


US 


By  permission  of  H.  Toi.mah  &  Co. 


1.  The  ground  was  all  coy  -  er’d  with 

2.  He  had  not  been  siwg  -  ing  that 

£=e=^e£e 


wmm 


11 


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snow  one  day,  And  two  lit  -  tie  sis  -  ters  were 

tunc  very  long,  Ere  Era  -  i  -  ly  heard  him,  so 

—c - 0 - * - r - 9 - 9 — 


£ 


100 


Cliick-a-dee-dee. — Concluded. 


107 


n  u 

w_ I  

J 

[i  r  p  j 

. . , 

K  -  1 

$  1 

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chick  -a-de-de,  chick  -  a  -  de  - 

-   . 

le,  chick  -  a  -  de  -  c 

e, 

‘yi 

#  r 

r 

- 

r 

^ t £ 

m  * 

: r 

J* 

f , W  r  r 

_ 

r  r  i 

T  D  Ij  U 

#  0 

# 

*  ■ 

C  : j 

3.  Poor  fellow  !  he  walks  in  the  snow  and  the  sleet, 

And  has  neither  stockings  nor  shoes  on  his  feet ; 

I  pity  him  so !  Oh  how  cold  he  must  be ! 

And  yet  he  keeps  singing  his  chick-a-de-de. — ChicK.-a-de-de,  &c. 

4.  If  I  were  a  barefooted  snow-bird,  I  know 

I  would  not  stay  out  in  the  cold  and  the  snow 
I  wonder  wThat  makes  him  so  full  of  his  glee ; 

He’s  all  the  time  singing  that  chick-a-de-de.-  Cnick-a-de-de,  &c. 

6.  0  mother!  do  get  him  some  stockings  and  snoes, 

A  frock,  with  a  cloak  and  a  hat,  if  he  choose ; 

I  wish  he’d  come  into  the  parlor,  and  see 

How  warm  we  would  make  him,  poor  cliick-a-de-ae.-Chick-a-de-de,&c. 

C.  The  bird  had  flown  down  for  some  pieces  of  bread, 

And  heard  every  word  little  Emily  said; 

“  What  a  figure  I’d  make  in  that  dress !”  thought  he 

And  he  laughed  as  he  warbled  his  chick-a-de-de. — Chick  a-de-de,  &o, 

7.  *‘I  am  grateful,”  he  said,  “for  the  wish  you  express, 

But  I’ve  no  occasion  for  such  a  fine  dress ; 

I  had  rather  remain  with  my  limbs  all  free. 

Than  to  hobble  about  singipg  chick-a-de-de. — Chick-a-de-de,  &c. 

8.  “There’s  One,  my  dear  child,  though  I  cannot  tell  who, 

Has  clothed  me  already,  and  warm  enough  too : 

Good  morning!  0  who  are  so  happy  as  we!” 

And  away  he  went,  singing  his  chick-a-de-de. — Ch'ck-a-dc-de,  &o. 


108  Playing  Bird. 


109 


riaying  Bird. — Concluded. 

[For  the  following  verges  it  will  be  sometimes  necessary  to  divide  or  join  the  notes  of  the  tune 
ft  little  differently  from  what  they  are  for  the  first  verse,  in  order  to  accommodate  the  accent  and 
number  of  syllables;  but  it  will  not  be  difficult  to  arrange.] 


2.  “  I’ll  be  a  thrush,”  said  Minnie, 

“And  sing  you  my  sweetest  song, 
And  have  my  nest  where  the  lilies  blow 
And  the  streamlet  glides  along.” 
“I,”  said  her  little  sister, 

'*  Oh  !  I’ll  be  a  little  wren, 

And  sing  all  day  ’till  the  sun  goes 
down, 

And  the  world  grows  dark  again.” 

3.  “I’ll  be  a  crow,”  said  Willie, 

“And  the  farmers’  corn  I’ll  pull; 
And  that’ll  let  some  of  the  mischief 
out,  ‘ 

For  of  mischief  I  am  full.” 

“  I’ll  be  a  great  proud  eagle, 

And  my  home  shall  be  the  sky,” 
Said  Johnny,  “and  I’ll  go  sailing  swift 
The  clouds  and  the  mountains  by.” 


4.  “I’ll  be  an  owl,”  said  Henry, 

“And  sit  in  an  old  oak  tree, 

And  all  the  rest  of  the  little  birds 
Shall  be  so  ’fraid  of  me.” 

“I’ll  be  a  lark,”  said  Mary, 

“And  sing  at  the  break  of  day 
“And  I’ll  be  a  hawk,”  said  Philip 
Lee, 

“And  frighten  the  lark  away.” 

5.  “I’ll  be  a  man,”  said  Georgy, 

And  his  little  face  grew  bright; 
“For  a  man  knows  more  than  all  the 
birds ;” 

And  the  little  boy  was  right. 

“If  there’s  a  man  among  us,” 

Said  the  pretty  little  wren, 

“  I  think  we’d  all  better  fly  away, 

For  birds  are  afraid  of  men.” 


Towel  and  Consonant  Exercise. 


The  above  will  be  easily  learned  by  the  little  ones,  and  afford  them  great  amusement,  as  well 
06  profit.  After  learning  the  tune,  let  them  take  the  other  consonants  in  their  order,  thus  •  D,  a. 
da ;  d,  e,  do,  Ac.  All  the" consonants  in  the  alphabet  may  be  used,  except  C,  G,  Q  and  X. 


110 


Sleighing  Song.-  -Exercise  Song. 


G.  F.  R. 


M.DEBATO. 


1.  A -way!  a -way!  the  track  is  white,  The  stars  are  shin  -  ing 

2.  A -way!  a- way!  our  hearts  are  gay,  And  need  not  breathe  by 

3.  A -way!  a -way!  a  -  cross  the  plain,  We  sweep  as  sea-birds 

0 - 9- 


clear  to-night,  The  win-ter  winds  are  sieep-ing;  The  moon  a-bove  the 
night  or  day,  A  sigh  for  sum-mcr  pleas-ure;  The  mor-ry  bells  ring 
skim  the  main,  Our  puls  -  es  %ai  -  ly  leap-ing;  The  stars  are  bright, the 

* _ 9  “ 


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si  -  lent  watch  is  keep  -  inir,  Her  si  •  lent  watch  is  keep  -  mg. 

laugh  in  hap  -  py  mens  -  lire,  And  laugh  in  hap  -  py  meai  -  ure. 

win  -  ter  winds  are  sleep  -  ing,  While  win  -  ter  winds  are  sloop  -  ing. 


CHORUS. 


Sleighing  Song. — Concluded. 


Ill 


:$Ap*s: 


*3: 


-jr-* 


*5=^-=3= 


m 


Then  jin  -  gle,  jin  -  gle,  jin  •  gle,  jin  -  gle,  Bells  and  hoofs  are  gay; 


mM 


* 


j 


* 


* 


t 


4 


Jt _ 

5 


***  It  may  sometimes  be  convenient  to  have  gleigh-bells  to  jingle  while  singing  this  chorus,  and 
perhaps  torpedoes  for  the  crack  of  the  whip,  and  some  device  ior  imitating  the  clatter  of  th« 
horses’  feet.  When  this  cannot  be  done,  hands  and  feet  may  answer  the  purpose. 

K 


112 


•WITH  ENERGY. 


Ring  the  Bell,  Watchman! 

Published  iu  sheet  form  by  Root  &  Cady.  Price  25  cents. 


n.  1.  Work. 


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1.  High  in  the  bel-fry  the  old  sex-ton  stands,  Grasp-ing  the  rope  with  his 

2.  Bar  -  ing  his  long  sil  -  ver  locks  to  the  breeze,  First  for  a  mo  -  incnt  he 

3.  Hear !  from  the  hill- top  the  first  sig-nal  gun  Thun-dors  the  word  that  some 

4.  Bon  -  fires  are  blaz-ing  and  rock-ets  as  -  sccnd — No  niea-ger  tri-uinph  such 


- 0 - 

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thin  bo  -  ny  hands:  Fix’d  is  his  gaze,  as 
drops  on  his  knees,  Then  with  a  vig  -  or 
great  deed  is  done;  Hear!  thro’  the  val  -  ley 
to  -  kens  por-tend;  Shout, shout!  iny  broth-ers, 

,  „  J  J*  S 


some  mag-ic  spell, 
few  could  ex  -  cel, 
long  ech-  oes  swell, 
“all,  all  is  well!” 


0  5EE5  ZZ 


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Till  he 

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the  dis  -  tant  mur  -  mur, 

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Ring, 

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ring 

0  - 

the 

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bell. 

An  -  swers 

he 

the  wel  -  come  bid  -  ding, 

Ring, 

ring 

the 

bell. 

FiV  -  er 

and 

a  -  non  re  -  peat  -  ing, 

Ring, 

ring 

the 

bell. 

’Tis  the 

u  - 

ni  -  ver  -  sal  cho  -  rus, 

Ring, 

ring 

the 

Lmll. 

fiTiL  >.:  ■  ’■ 

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ring 

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Ring  the  bell,  watch-man  I  ring,  ring!  ring!  Yes,  yes!  the  good  news  is 


S- 


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113 


Ring  the  Bell,  Watchman !— Concluded. 


now 

on  the  w 

■ng 

A 

Yes,  yes!  they  come,  and  with 

A  2  l 

tid  -  ings 

to 

tell — 
i 

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J  1 

J  J   2  «  J 

ITT  #  ^ - 

w  ^  # 

Glo  -  ri  -  ous  and  bless  -  ed  tid  -  ings — Hit 

u  JS  >  >  lS 

ig,  ring  the  bell!” 

^ 

•  #  #  . . . .  #  -  nr  r n# 

94 

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The  Day  is  Hot. — Exercise  Song. 


HtS  , 

— - 1 — ; — i — r- 

!| - - rzj 

- 11 

/  n  • 

-4 - m - w - J— 

- 1 

— * - ^ — 

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* * 

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,• — j — j— tg— 

m 

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h  *  # 

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— 

If  teach  -  er  on  -  ly  felt  as  we,  He’d  sure  -  ly  think  it  best. 

3 1  nod,  and  nod,  0,  dear!  0,  dear !  How  sleep  -  y  now  I  am. 

5The  wind  blows  round  them, and  a-bove,  In  cir  -  cles  flies  the  moth. 
1 In-deed,  I  can’t  make  a  -  ny  noise,  I’m  al  -  most  fast  a  -  sleep! 


•frizzS: 


is 


3=rt 


r 


:s : 


-J2- 


t  Arms  on  desk,  and  head  leaning  sleepily  forward. 

2  Stretching. 

3  Nodding  head  sleepily. 


4  Move  hand  (from  wrist)  left  to  right. 

5  Move  hand  round  and  round. 

6  Both  hands  held  out  to  teacher. 


IU 


Bee  Song. 


<>.  t.  R. 


ALT.F.GRETTO 


K - K — 

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— — 

•:  j  s  i 

1.  Out  in  the  beau  -  ti  -  ful  gar  -  den,  Say,  will  you  go  with  me, 

2.  Look  in  the  snow  -  y  day  -  lil  -  y,  Peep  in  the  blue-bell  so 

3  So  in  the  beau  -  ti  -  ful  gar  -  den,  Fill-ing  the  mu  -  si  -  cal 

.A. 


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now?  The  o  -  ri  -  ole  sings  as  he 
fair;  The  hon  -  ey  -  bee  sips  with  his 
air,  The  songs  in  the  tree,  and  the 


0  •  0- 


4= 


=t= 


gai  -  ly  swings 
dain  -  ty  lips 
buz  -  zing  bee, 

A-  A  * 


r_r  > 


0 

0- 


& 


ITigli  on  the  ina  -  pie  bough:  Down  by  the  wall  of  the  nm.id-ow, 

Sweet-est  of  nec  -  tar  there:  Deep  in  the  red  hon  -  ey-suck-le, 

Wei- come  us  ev  -  ’ry  where:  Is  it  the  bird  in  the  ma-ple? 


XI 


a 

v: 


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Rows  of  red  hoi  -  ly -hocks  see;  In  ev  -  er  -  y  one  is  a. 

1  ois  ing  on  light  wing  so  free,  The  hunt-ming  tlrd’s  bill,  see  it 
Is  it  the  hon  -  ey  bee's  hum?  Or  is  it  a  band  from  the 

-0-  -  -  A-  A  A  A  A  A 


o 

0 


0  -  P 

> — V- 


0  ■ 

✓ 


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0  0 


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p  — » — 


Bee  Song.— Concluded 


115 


n  J 

;  CHORTJS. 

tr. * 

-  !  n 

urt  rz iz iz 

.  7 

~ 

|  ^ 

i  * 

•f. 

rru  ?  •  0  • 

&  i 

L 

xnz  o  ~  «  • 

-o  §  o 

2.^0  l  22 

0  • 

«  ] 

gold-en  throne, Throne  of  the  great  king 
take  its  fill,  Out  of  the  reach  of  the 
Fair-y  land,  Beat-ing  a  sil  -  ver 

bee. 

bee. 

drum. 

P'%-  -gr...f:  ‘ 

Hark !  hark !  hark ! 

Z . 

L  A  • 

1  r 

i  \ 

"  "  * 

r 

— £  •  S'« 

Of 

a* 

f  *  E 

7 

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c  ~T*  " 

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S  B  K 

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n  J 

i . 

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-  0.0  “ft" 

— 0 

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-2 - 1 — 0  *  0 — 

- H - 0 - 0—+ 

0-0 

- ^—0— 

— -  - *-#-  S - 

r  5 

P' 

p' 

\ 

_ - 

^  ^ - 

Hear  the  hum-ming  sound,  As 

if  a  band  from  Fair  -  y  land,  Were 

r):: 

- - 

-  -0 - w— 

7 

r 

"  r"  L/ 

-—A  v-  y- 

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coming  from  uu-der  ground  :  Hark!  hark!  hark!  Hear  the  buzz  and  hum, 


pi| 


a 


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The  Fair  -  y  queen  in  gold  en  sheen,  Is  bcat-ing  a  sii  -  ver  drum. 


2 


V—^-O— 


Let  a  divison  of  the  class  imitate  the  buzzing  of  the  bees,  by  continuing  the  first  part  of  thi 
sound  usually  represented  by  the  letter  Z,  to  the  tone  D,  in  the  chorus.  Observe  that  “Hark' 
commences  exactly  with  the  buzzing,  although  printed  a  little  after  it. 


110 


WTiistling  Farmer  boy. 


o.  r.  a. 


1.  See  the  mer  -  ry  far  -  mer  -  boy  Tramp  the  mead-ows  through ; 

2.  When  the  far  -  mer  -  boy,  at  noon  Rests  be  -  neath  the  shade, 

3.  When  the  bus  -  y  day’s  em  -  ploy  Ends  at  dew  -  y  eve, 

4.  Ear  -  mer  -  boy  is  blithe  and  gay  Morn  -  ing  noon  or  night, 


SSsi 


-V- - V1 


z£~- 


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mm 


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;  se  3 


-y-—  -  • - •  - — »  ^ 

Swing  his  hoe  in  care  -  less  joy,  While  dash  -  ing  otf  the  dew. 

List’-ning  to  t lie  cease- less  tune,  That’s  thrill-ing  through  the  glade ; 
Then  the  hap  -  py  far  -  mer  -  boy  Doth  haste  his  work  to  leave; 

Song  or  glee  or  roun  -  de  -  lay;  He’s  whist-ling  with  de  -  light: 


-n?  $ 

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Bob  -  o  -  link  in  ma  -  pies  high  Trills  his  notes 

Long  and  loud  the  liar  -  vest  -  fly  Winds  his  bu  ■ 

Trudg  -  ing  down  the  qui  -  et  vale,  Climb  -  ing  o’er 

Mer  -  ry  heart  so  full  of  glee,  O  -  ver  -  full 


of  glee ; 
gle,  ’round : 
the  hill, 


gs  ¥  •-  m 

- g~. - g - g  ~ - g - g-. - 0 - g-  i  t>  1  0-0  J 


Far  -  mer  -  boy  a  gay  re  -  pi}',  Now  whis-tles,  cheer  -  i  -  ly. 
Long,  and  loud,  and  shrill  and  high,  lie  whis-tles  back  the  sound. 
Whist- ling  back  the  change-less  wail  Of  plain-tive  Whip-poor-will. 
Hear  him  whis-tling  mer  -  ri  -  ly  Un-til  the  day  is  done. 


# 

— ?- 

* 


0 

0- 


i 


0 


N  N  ,S  S 


— b — — ^ 

— ✓ - V- 


Whistling  Farmer  boy.— Concluded. 


117 


*  Let  all  who  can,  whistle  this  interlude— both  parts,  Don’t  laugh. 

Come,  Count  the  time.— Round,  in  three  parts.  G.y>B> 

i  , , 


mm 


-iS- 


Come,  count  the  time  for  me,  Come,  now  be  -  gin; 


=t 


m 


And  you  shall  quick  -  ly  see,  that  thus  good  time  we  win; 
3 


-4 - # — 0 - 0 


=] — 1— J— it- 

-0  0  S  t/- 


-0 - 0 


Now,  one,  two,  three,  four,  one,  two.  three,  four,  one,  two,  three,  four,  one,  two,  three 


118 


The  Song  of  the  Shoemaker 


1.  The  shoe- nmk  -  er  sat  a  -  mid  wax  and  h-ath-er,  With  lap-stone  up  -  on  his 

2.  This  hap  -  py  old  man  was  so  wise  and  know-ing,  The  worth  of  his  time  ho 


G  :0- 


li- 

- 


-  9- 

»- 


l>  I  H 


V 


->7 


draw-ing  his  quart  -  era  and  sole  to-geth-er,  A  hap  -  py  old  man  was  ho. 
felt  to  each  mo-ment  a  stitch  was  ow  -  ing,  Un  -  til  ho  got  round  the  shoe. 


* 

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V 


3.  Of  every  deed  that  his  wax  was  sealing, 

The  closing  was  firm  and  fast, 

The  point  o!  his  awl  never  caused  a  feeling 
iif  pain  to  the  toe;  and  his  skill  in  healing 
Wat  perfect  and  true  to  the  last. 

4.  Whenever  you  _ave  him  a  foot  to  measure, 

With  gentle  and  skillful  hand, 
lie  took  its  proportions  with  looks  of  pleasure, 
As  if  you  were  giving  the  costliest  treasure, 
dr  making  him  lord  of  the  laud. 


5.  And  ninny  a  one  did  he  save  from  getting 
A  fever,  a  cold,  or  a  cough. 

For  many  a  foot  did- he  save  from  wetting, 
When,  whether  in  water  or  snow  ’twin  setting, 
ilis  shoeing  would  keep  them  otf. 

(i  When  done  with  his  making  at  last  and  mending 
With  h  'pe  and  a  peaceful  breast; 

Resigning  his  awl.  as  his  thread  was  ending, 
lie  pass’d  from  his  bench  to  the  gra*  t  descending 
As  liipli  as  the  King  to  rest. 


The  Truant. 


G.  F.  R, 


119 


MODKRATO. 


A 


FINE. 


V 


1.  One  bright  and  pleas-ant  sum-mev  day,  when  school  was  just  be-gun,  "I 
An  i  -  die  schol-ar  stray’d  a-way  to  lin  -  ger  in  the  sun:/ 
d.  c.  Come  down  and  buzz  a  -  bout  my  head,  you  lit  -  tie  bus  -  y  bee. 


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Come,  lit  -  tie  bird,  come  down,  he  said,  and  sing  and  play  with  me  ; 


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2.  The  Robin  said,  “  I  cannot  play,  my  nest  beneath  the  blue 
Is  not  half  done;”  and  so  away  with  merry  song  he  flew: 
“Nor  I,”  the  little  busy  bee  just  raised  his  head  to  hum, 

“  Sweet  drops  of  honey  wait  for  me,  ah !  no,  I  cannot  come.” 


3.  Just  then  he  saw  a  little  ant  upon  a  blade  of  grass  ; 

“Come  now,”  he  said,  “don’t  say  you  can’t,  I  will  not  let  you  pass; 
Don’t  stay  upon  the  earth  so  brown,  come  fill  me  with  delight, 

To  see  you  running  up  and  down  this  daisy,  fresh  and  white.” 

4.  “Ah !  no,”  the  little  ant  replied,  “I’ve  so  much  work  to  do, 

I  cannot  find  the  time,  beside,  to  run  about  with  you; 

For  little  ants  must  work  all  day  to  build  their  tiny  home, 

Or  what  would  happen  to  them, pray,  when  chilly  night  should  come?” 

6.  “What!”  said  the  little  truant  boy,  “shall  bird,  and  ant  and  bee, 

So  busily  their  time  employ,  nor  stop  to  play  with  me. 

While  I,  who  know  much  more  than  they,  spend  all  my  time  in  fun  ? 
Shall  I,  alone,  at  close  of  day.  say  I  have  nothing  done? 


6.  No,  no!  right  back  to  school  I'll  go,  and  let  my  teacher  see 
That  I  my  work  as  well  can  do  as  bird,  or  ant  or  bee: 

And  when  she  tells  me,  ‘  Very  well !’  when  she  my  'ask  has  heard, 
This  stoiy  I  to  her  will  tell,  of  bee,  and  ant  and  bird.” 


MARCH  1 1  MI 


*  Children  for  the  Union.” 


F.  B.  Rife. 


J20 


Solo 


1.  We  are 


2.  We  will 


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“Children  for  the  Union.” — Concluded.  121 


CHORUS 


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free  -  dom  and  law, 

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3.  We  are  all  a  band  of  brothers, 
All  the  States  are  sisters  too, 
And  in  time  there  will  be  others 

That  shall  happy  vows  renew. 
Chorus.  Then  join,  &c. 

4.  Union  now,  and  Union  ever  I 

True  hearts  now  for  Union  all! 
We  will  keep  it  safe  and  never 
Shall  our  glorious  Union  fall  1 
Chorus.  Then  join,  &o. 


Washington’s  Birth-Day, 


0.  F.  R, 


— 

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— -  & 

—id 

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1.  Tell  it,  ye  winds,  to  the  far-thest  earth,  This  is  the  morn  of  a 

2.  Who  was  like  him  when  the  storm-cloud  burst,  And  ground  the  land  ’neath  a 

3.  Who  was  like  him  when  the  storm  had  past,  The  work  of  years  at  an 


*— 


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1 


he  -  ro’s  birth;  Waft  triad  the  tid  -  iugs  from  sea  to  sea, 

host  ac  -  curst?  When  stars  of  hope  in  the  sky  were  dim, 

end  at  last?  When  bow’d  all  hearts  as  a  wind-swept  wood, 


l  -0-  -0-  -a-  iv 


CHORUS. 


School  is  Done.  o.r.  r.  123 


£ 


< 


Down  the  hill  we  rush  a  -  long,  Sing  -  ing  loud  our 

Boys  and  girls,  Oh,  join  our  chime!  Shout  Hur-ra!  for 


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mer  -  ry  song :  School  is  done  ochool  is  done,  Come  and  see  the  fun. 
Win  -  ter  -  time ;  Climb  the  hill,  with  a  will ;  Joy  our  hearts  shall  thrill ! 


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124  The  Burlesque  Band. — Exercise  Song. 


The  Burlesque  Band. — Continued. 


125 


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rig,  jig,  boong  is  the  Big  Base  Drum,  and  that  is  the  way  we 


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Tam  -  hour  -  ine,  and  zoo,  zoo,  zoo  is  the  Doub  -  le  Base,  and 


we 


can  play  on  the  Old  Ban  -  jo,  and  this  is  the  mu  -  sic 


The  Burlesque  Band. — Concluded. 


.26 


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Bu  -  gle  Horn,  and  rig,  jig,  boong  is  the  Big  Base  Drum,  and 


that  is  the  way  we  do  it.  0,  we  can  play  on  the  Castanet,  and  this  is  the  music- 
to  it:  Tick,  tick,  i  tack  is  the  Castanet,  and  turn,  turn,  turn  is  the  Old  Banjo,  and 
jing,  a  jing,  a  jing  is  the  Tambourine,  and  zoo,  zoo,  zoo  is  the  Double  Base,  and 
tan,  tan-ta-rah  is  the  Bugle  Horn,  and  rig,  jig,  boong  is  the  Big  Base  Drum,  ai.d 
that  is  the  way  we  do  it.  0,  we  can  play  on  the  Kettle  Drum,  and  this  is  mo 
music  to  it:  Prrrum,*  pum,  pum  is  the  Kettle  Drum,  and  tick,  tick,  i  tack  is  ihc 
Castanet,  and  turn,  turn,  turn  is  the  Old  Banjo,  and  jing,  a  jing,  a  jing  is  the 
Tambourine,  and  zoo,  zoo,  zoo  is  the  Double  Base,  and  tan,  tan-ta-rah  is  the 
Bugle  Horn,  and  rig,  jig,  boong  is  the  Big  Base  Drum,  and  that  is  the  way  wo 
do  it.  0,  we  can  play  on  the  Octave  Flute,  and  this  is  the  music  to  it:  Tootle, 
tootle,  toot  is  the  Octave  Flute,  and  prrrum,  pum,  pum  is  the  Kettle  Drum,  and 
tick,  tick,  i  tack  is  the  Castanet,  and  turn,  turn,  turn  is  the  Old  Banjo,  and  jing, 
a  jing,  a  jing  is  tiie  Tambourine,  and  zoo,  zoo,  zoo  is  the  Double  Base,  and  tan, 
tan-ta-rah  is  the  Bugle  Horn  and  rig,  jig,  boong  is  the  Big  Base  Drum,jind  that 
is  the  way  we  do  it. 

ft/)'  Observe,  that  the  tune  is  printed  in  full  once  through,  nnd  commenced  h  second  time,  after 
which  it  goes  on  in  two  pails,  ii  is  believed  Unit  not  only  the  player  can  continue  nil  the  parts, 
hilt  that  tin-  singers  ran  pi  on  perfeetlj’  well,  white  the  words  alone  are  printed.  Make  stub 
motions  ns  "ill  he  appropriate  to  enrli  instrument  mentioned,  and  vary  the  strength  of  the  voice, 
nl-o.  to  suit  the  char ni  ter  of  r.ii  h  Perhaps  the  boys  may  he  trusted  to  beut  ou  tho  desk  with  the 
soft  part  of  the  list  lor  the  tlig  JJruin. 

*  Koll  tho  r.  m  '■  1‘iti  nil..” 


Wishes* 


G.  F.  R.  12? 


r  i 

1.  Don’t  you  wish  you  wore  a  bird?  I  do,  I  do;  Fly- ing  in  the 

2.  Don’t  you  wish  you  were  a  cloud?  I  do,  I  do;  Sail- ing  o-  ver 


air  a  -  bove?  I  do,  I  do;  Glad  my  voice  should  e’er  be  heard, 
peo-ple’s  heads  ?  I  do,  I  do;  Wind  blow  soft,  or  wind  blow  loud, 


3.  Don’t  you  wish  you  were  a  flower  ? 
I  do,  I  do  ; 

Perfumed  like  an  angel’s  wing? 

I  do,  I  do  : 

I’d  look  fresher  ev’ry  shower, 

If  I  could  but  be  a  flower 


"The  Answer.” 


1.  No,  I  would  not  be  a  bird; 

Not  I,  not  I ; 

1  don’t  want  to  “fly  above,” 

Not  I,  not  I  : 

My  glad  voice  can  now  be  heard, 
Even  though  I’m  not.  a  bird. 


2.  I’ve  no  wish  to  be  a  cloud ; 

Not  I,  not  I: 

For  since  I’m  not  thinly  clad  ; 

Not  I,  not  I : 

Wind  blow  soft,  or  wind  blow  loud, 
I  don’t  care  to  be  a  cloud. 


3.  I’ve  no  wish  to  be  &  flower; 

Not  I,  not  I ; 

Though  they’re  perfumed  sweet  and  rare; 
Not  1,  not  I: 

Childhood’s  prayer  to  Heaven’s  great  power, 
Smells  more  sweet  than  perfumed  flower. 


128 


e.  f.  b. 


The  play  Ground. 


1.  Wca  -ry  of  play  -  ing  at  hide-and-seek,  One  of  the  par  -  ty  wno  yet  Could  speak.  Loan’d 

2.  i'ive-year-old  Dick  from  the  clover  sprang,  “A  new  pop  -  gun  that  will  go  hang!  bang  !  A 


'—]z= 


TEs 


gravely  hack  ’gainst  a  gateway  post,  And  asked  each  one,  “What  lie  wished  for  most.” 
bright  tin  sword,  and  a  painted  drum ;  And  then,  1  say,  let  the  rob  -  els  come.” 


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3  “I’d  like”  said  Johnny,  “a  coach  and  four 
To  |  dash  around  to  the  hotel  door; 

That  |  boys  like  mo,  in  the  street  at  play, 
Would  |  liave  to  run,  as  I  ran  to-day.” 

4.  Harry,  whose  eyes  had  a  starry  look, 

Smiled  |  thoughtfully  upward,  “A  great,  new 
book  | 

Larger  than  father’s  great  Review, 

That  |  one  might  read  and  never  read  through.” 

6.  “I  wish”  said  Ernest  “I  had  a  ship,” 

“And  |  I”  said  Charlie  “a  nice  long  whip;” 
Ned  |  slyly  pulled  at  his  neighbor’s  cuff 
And  asked  |  “If  the  master's  was  long 
enough?” 


6.  Iforbert  wished  most  for  a  bat  and  ball  | 
Howard,  that  the  school  bells  would  never 

call ;  | 

Allen  who  hides  in  a  thunder  storm,  | 
Longed  for  a  sword  and  a  uniform. 

7.  Tho  boy  ’gainst  the  gateway  post  reclinod. 
Said  |  none  were  just  of  his  turn  of  mind; 
lie  only  wished  of  the  kimlly  fates 

A  |  new  hand-sled  and  a  pair  of  skates. 

8.  A  poor  little  errand  boy  passing  by  j 
Loitered  and  listened  and  h.  avod  a  sigh  ;  | 
“These  pretty  thi  ngs  would  he  nice 

indeed, 

But  I  |  only  wish  I  could  learn  to  read.” 


Be  you  to  Others. — Hound,  in  three  parts. 


Does  it  Pay  ? 


e.  f.r. 


129 


1.  There  flowed  a  lit  -  tie  troubled  stream, Re -joic  -  ing  on  its  way; 

2.  Ah!  then  he  screamed  with  might  and  main,  And  frighten’d  all  the  trout ; 

3.  “Ho!  here’s  a  craft  with  drip-ping  sail ! How  ma  -  ny  fish  to  day?’* 

«- 


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And  naugh-ty  Jam  -  ie  closed  his  book  And  sly  -  lv  ran  a  -  way; 
He  would  not  run  a  -  way  a  -  gain  If  ev  -  er  he  got  out; 
“I  say,  young  di  -  ver  where’s  the  whale  ?  I  guess  he’s  run  a-way;,: 


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And  bend- ing  o’er  to  watch  and  wait,  With  line  and  crook-cd  pin; 
A  shout  a  -  rose  a  -  long  the  path.  The  school  was  just  dis-missed; 
‘Trans-gres-sors’  ways  are  al-  ways  hard”  The  l’eaeh-er  said,  “to  -  day; 

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His  hopes  sank  low  -  er  than  his  bait,  He  stum-bled,  tum-bled  in. 
When  up  came  Jam-ie  from  his  bath  With  line  a-round  his  waist. 
We  see  the  tru-ant  boy’s  re-ward,  Ah!  Jam-ie,  does  it  pay 


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ALtEf.mi-11,  vi'-At  r.  [Dy  permission  of  H.  Tolman  4  Co,  Boston.} 


0.  F.  It. 


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HI 


1.  Don t  you  see  me  com  -  ing,  coin  -  ing, 
.  I  ve  been  wink  -  ing,  blink-ing,  prink  ing, 
Dob  -  o  -  Link  -  urn,  Link-  urn,  Nink-um, 
* - * - - * - «— ■  « _ « #. 


£ — t — 5—11 


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— An 'IK 


com  -  ing  right  a  -  long?  Here’s  the  lit  -  tie  gra^ss  -  y  mead 

cv  -  er  since  the  morn  Wait  -  ing  for  the  men  to  go 

all  in  black  and  gold,  We  must  have  our  break-fast  soon 

-* - " - £ - * - * _ » _ p 


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ow, 
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now  I’ll  sing  my  song.  I  am  Mis  -  ter  Bob  -  o’  Link - 

leave  field  of  corn  Blit  -  sey  Lee  -  die’s  wait  -  ing,  too, 

1  shall  have  to  scold.  Pret  -  ty  lit  -  tie  .Blit  -  sey  Leo- 


'  * 


<0 


.hat  I  s’pose  you  know,  Blit,  sey  Lee  -  die  .  it  nfe  wife  sl.fes 
ncy  -  or  makes  a  sound,  She’s  a  mod  -  est  lit  -  tie  thing  and 
s.t-„ng  on  the  nest,  Thinks  if  she  takes  care  the  house  ha 


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131 


Dont  you  See  Me  Coming?— Concluded. 


T\0-b-d 0 — - a * 


0 

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JS  N 


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in 

the 

grass 

bo  -  low,  yes,  yes. 

yes,  Don’t  you 

see 

me 

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com  -  ing. 

wears 

a 

rus  - 

set  gown,  yes,  yes, 

yes,  Don't  you 

SCO 

me 

com  -  ing, 

com  *  ing, 

i 

can 

do 

the  rest,  yes,  yes, 

yes ,  Don’t  you 

see 

me 

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go  -  ing, 

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com-ing  right 
com-ing  riglit 
go  -iug  right 


a-loiig?  Here’s  the  lit -tie  grass-y  mead-ow,  where  my  folks  bo -long, 
a-long?  Here's  the  lit- tie  grass-y  mead-ow,  where  my  folks  bo-lorig. 
a-loug?  There’s  a  chance, the  men  are  oft',  and  so  I'll  stop  my  song. 


'  ' 


— V- 


•-  -•  •  - 


V — V- 


ST 

£ — P 

it 


I 


ALLEGRETTO 


m 


j=± 


i 


3=3= 


Tlie  Grammar  Lesson. 

4 


G.  F.  R, 


s 


5=t 


4 


4. 


-+■ 


-0 - m - « - - - ~  0 - -j- - g 

1.  Three  lit  -  tie  words  you  of  -  ten  see,  The  ar  -  ti  -  cles,  a,  an,  and  the: 

2.  The  ad  -jec-tives  de  -  cide  the  noun,  As  great,  small, pret  -  ty,  white, ,  or  brown: 

3.  Verbs  tell  of  some-tiling  he  -  ing  done,  To  read,  write.,  count,  sing  Jump,  or  run : 

4.  Con -junc-tions  join  the  words  we  use,  As  men  and  wo  -  men,  noots  or  shoes: 

o.  The  in  -  ter  -  jec  -  tion  shows  sur-prise,  As,  Oh!  how  pret  -  tylA/i.'how  wise! 


1 


A  noun’s  the  name  of  an  -  y  -  thing,  A  school,  or 

In-stead  of  nouns  the  pro-nouns  stand,  His  head,  her 

How  things  are  done,  the  ad -verbs  toll,  As  slow  -  ly, 

The  pro  -  po  -  si  -  tious  stand  be  -  fore  A  noun,  as 

The  whole  are  called  nine  parts  ol  speech,  Which  Head-ing 

-i- - *  -t  * — * — * — * e 


=t= 


--r- 


gar  ■  den,  hoop  or  swing. 
face,  my  arm,  your  hand. 
quick  •  ly,  ill,  or  t veil. 

in,  or  through  a  door. 
\\  rit  -  ing,  Speak-ing  teach. 

* - TB-nr— 4 - 4 


x: 

Ij i_ 

"I — 


K 


m 


132 


Over  the  Snow, 


K.  B,  Tajlor. 


^ — hi 


i 


~~s - N - S—z - - : - -  s - y— IJZZ] 


1 


?  y  ~^T 

Mcr-n-ly  0,  mer  -  ri  -  ly  0,  Swift  as  a  bird  in  its 

\for'r! 'y  S’  mer-r}-,^  °.  Speed  we  a -way  on  our 

Mcr  -  r.  -  ly  0,  mer -ri-ly  0,  0  -  ver  the  val  -  ley  our 

i* - 1* _ m. 


SJ»^ 


pm 

W- 


\t  t  ; 


0 

0 


Mer  -  ri  -  ly,  mer  -  ri-ly  0,  Mer  -  ri  -  ly,  mer  -  ri 


^Ju¬ 


ly  0; 


1  - - - - 

1  ^  ^  f 

V 

J  ~  J  J 

~r^-d - » 

%  ~  Hm" -as— 1 

“-4^— 

3=t± 

Ly — v — U— u — t? — £-. 

Oyer  the  Snow. — Concluded. 


133 


! — —  N,  •  — 


- P* - 0 - « - «  . 

- *-0 - 0 - 0 #4 

Swift-ly  we  go,  Mer  -  ri  -  ly,  raer  -  ri  -  ly  0. 


WPPPi 


*  p* 


V-M—V- 

O-ver  the  snow. 


3= 


=t=t 


T 


"V 


0  •  0 

-P-=-«-7- 


1 


By  and  By. 


0.  F.  R. 


d: 


f 


y~‘  *  # 

1.  These  are  words  so  mis-cliief  mak-ing,  That  they  set  the  world  a  -  wry; 

2.  Here’s  the  task  for  re  -  ci  -  ta  -  tion,  Quick  -  ty  con-quer’d  with  “I’ll  try;” 

3.  From  the  hem-ming  and  the  stitch-ing,  Nel  -  lie  turns  a  -  way  her  e3re, 

4.  Ah!  the  plea  is  a  de  -  ceiy  -  er,  Work  -  ing  e  -  vil  on  the  sly; 

~J - J~ 


m 


A — 0- 


i-E 


4: 


i 


0- 

0 


i 


I 


t 


*»  ♦ 


-0 

0- 


•5— hd- 


When  a  no  -  ble  un  -  der  -  tak  -  ing,  Meets  its  death  in  “by  and  by  ; 

But  the  thief,  pro  -  eras  -  ti  -  na  -  tion,  False  -  ly  whis-p’ors  “by  and  by; 
Breath-ing  o’er  a  book,be-witch-ing,  “I  can  do  it  by  and  by; 
Wis  -  dom  is  an  un  -  be  -  liev  -  cr 


cm^ 


0  0  ,...0 


In  the  faith  of  “by  and  by;” 


r~r- 


¥ 


■f 


1  71 


■P _ j— . - 1 _ S _ fcL 

ff— 0 - * —  ffl  ■  ^ 0 - 0— 


32 


f — f- 


-G>r 


By  and  by, 
By  and  by, 
By  and  by, 
By  and  by, 


p - * 


- If 


r 


a 


by  and  by,”  Meets  its  death  in  “by  and  by.” 

by  and  by,”  False-ly  whis-pers  “ by  and  by.” 

by  and  by,  I  can  do  it  by  and  by.” 

by  and  by,”  In  the  faith  of  “by  and  b}\” 


tv#  *  * 

ft 

% 

4 

i 

-  9  e 

~a  .  -  - 

y '  * — 0 — 0 — 

— 0 — 0 — 

—  ©—£ — 9 - 0— 

— 9 - -0 - 0 - 0  — 

_ 

- V— 

rJ - 

L_J - > - > — 

-T-  -t--r  t~~ 

3-5 

ii  ^  ALLEORj^w* 


itcauj  tor  Duty. 


^zzrq^n: 


0-  f.  H 


1.  A  itf  -  T  .  f,  +  -*-  * 


1-  A  bif  -  7y  -  d~„  -Tlil  -"t.  *  C  -*■ 

2.  But  Daf  -  fy  .  down  -  dil  -  ]v  i"P  the  coK1'  Through 

A  Now  then,”  nmr  -  mur’d  Daf  -  fy  dew  down  !m  '  ,dur '  ground,  The  ° 

■l.  1  here  was  snow  all  a  .  bout  hir_  grey  clods  „  ht‘r  l,'e'irt'  “I1’*1 

\  s.  .  ~  .  cl0llcls  0  -  ver  -  head—  The 


Hs5fr  .  { 


sweet  rush  -  ing  sound’  Tim  sweet  uish-Tng  Lmnd  OfVh.  it"'  ***“  M,irch  l^'(,ez 
d  start,  It  s  time  i  ,  ,  nl  s  -  «  ‘heatroa.i.H,  ,*  they  hurst 

,0ok’d  ■>«'.  trees  dead ^nh^^ 


the  brown  mold,  Thro 
’  -  ing 
should 


-0^-  -  ~0^~~ 


^=g=T-J==ff 

r|* — £  j  ^ 


■+>:=£= 


JOU 


es  blew 
off  their 
wings  thro’  the 
think  Daf-fy- 


keen  on 
white  win 
hard  fro 
dowu-dil 

§f,ffe£ 

- — - — 5— ^i7~ 


her  face,  Al  -  tho’  the  white  snow  lav 
ei  (hams  Of  the  whis-tlingspriug winds an  l 

-  iv,gfelt,Uli,,itr,  ,,p  l"  Sllr  -  fhce 

tilt,  \\  hen  the  sun  would  nut  shine  and 


•  »-r 

nia  -  ny  a  place, 
pat  -  ter  -  ing  rains, 
then  she  look'd  round, 
ice  would  not  mult? 


5-  Dftffy>  8tin 

There  h  hut  half  an  inch  of  my  leaves  to  hn  K,*«r» 

And  two-thirds  of  that  is  more  yellow  than  green! 

6'  I.WeU  fb^m,  J'et:  b,U  T'"  d°  Whftt  1  ««*: 

For,  uu'cks  I  can  manage  to  lift  up  my  head 

Hit  people  will  think  that  the  Spring  horsoira  dead. 

7.  So,  little  by  little,  she  brought  her  leaves  out 


Forest  Echoes, 


G.  F.  R.  135 


1.  A  -  long  the  path  of  the  dim  old  for  -  ost,  I  stray’d  in  the  dew -y  dawn;  And 

2.  They  stir’d  my  heart  with  their  low  sweet  voi  -  ces,  Like  chimes  of  a  ho-lier  land;  As 

3.  They  float -ed  down  thro’  the  list-  ’niug  si-lence.Like  tones  of  a  sil  -  ver  dream ;  From 

4.  And  ev  -  er  -  more, thrc>’ the  si  -  lent  march-es, Where  life’s  bus-y  mo-ments  throng,! 


I  9-  9-  -0-  -9-  9-  9-9-9- 


xzz5z=:-pi- 


&-  -e>- 


r 


EE 


7-rr 


±t 


r5- 


E^E 


„  ff  /TN  VP  /Ts 

f  /TV  PP  /Tn 

j 

•| 

< 

rzs 

9 L g  -J-- 

r  S  v 

%  e.i  j 

_ lf~  j - r 

-g  -b  .  3  J- 

„.|| 

tE-rt  r-E-LT-r-r  r 

bias: 

" —  p — 5 - 0 

/  r  4- 

Ech  -  o !  Ech  -  o ! 

Ech  -  o !  Ech  -  o ! 

Ech  -o !  sweet  good 

bye 

Ech  -  o  sweet  good  bye! 

/T  /TV 

/Ts  rz\ 

-S-  nS- 

-e- 

/7\ 

CV  s9 - - 

— ^ — 

-■£-  '  F 

-6- 

■ 

^  - ■ 

, - 

-  3-tz 

EE3 

- 

If  convenient  let  two  clear,  true,  voices  in  another  rn',:n  imitate  the  echo  singing  the  notes 
marked  pp.  In  the  last  line  let  the  echo  conineuce  a  little  before  '.lie  chorus  finish  the  last  uote. 


136 


The  Soldier’s  Motherless  Daughter. 


B.  R.  H. 


p,  tkcdbrlt. 

f m 


r>3 - : - N — 

p— q  -h  if? _ N 

pfc=? — #= 

i  •  — 2 - # - 3 — 

p- — - - s - -j 

t— # - * - 0 -  « 

1.  Let  me 

2.  Must  I 

4.  Oh  !  my 

-9-  -9- 

kiss  you,  fa  -  ther, 

be  a  sol  -  dier’s 

moth  -  er  is  in 

■O-  '  -9-  O- 

~0 

kiss  you,  I  am 

daugh-ter?  Does  that 
heav  -  eu,  Where  the 

■9- 

- J— 1 

3^j=s _ sZl 

-£ — t — 3—^ 

The  Soldier’s  Motherless  Daughter. — Concluded.  137 


JR? — 

-  1  .  s  . _ nfc 

s 

rrs  dr 

J  I  S  J 

Ct7  a  1 

d-d  J  9  . 

X 

~  a 

V  * 

•  rest  ii 

love  m 

i,  I  shall  have  no  place  to 

I  shall  have  no  heart  to 

N  _N  1  N  N 

-5>-  # 

pray,  I  shall 

play,  So  I’ll 

s 

tv  *  f 

*  *  - 

&  •  &  9  0 

-  a—  p 

)'  * - B 

- 4 - 4-: 

j !  -1 - 

a  <?  » 

^  t  V 

L#  —  * - # - « 

— f - £ - v - 

Windows  to  the  Sunrise, 


e.  r.  r. 


'  ft - 0-  0 - * 


~  a  — a 

1.  I;;  you  want  to  see  the  light  of  the  dawn.  wl„  ft  tinsu^h 

s  it-  ta0  8t ^Tb""1 '  rg’ Where the he^rt ^ 

See  tbat  buau  -  u  -  ™  gleam,  When  it  spans  the 


9’*-  fc-g — £ 


tf - 6 

-7 — t 


--tP- 


— #— 

-<*• 

— «•- 

-9- 

- <• — 

t  ii  0 

h  ills 

of 

and 

joy 

<lo:h 

of 

life’s 

fair  c 

-f— 1 

-JL_ 

—  « — 

Xz 

*d 

-+= 

-P=L 

-  1 - 

en  mo-ments  roll 


•!  wsirn?  "r 

j  y 


i 

** 

jo: 

*  - 

r. - £ 

? - * 

E - p. 

«  .  » 

9  *  ~  9  "  -  #  .  „  „  _ . _ _ 

.  in  a  room  with  win-dows  With  win  ,w„  ^ 
l.vo  ■„  .  Will  ,vi„  w',i  win" down  ° 

1..VC  ,»jour„e«rt»„,cwl»U0w.  Th.l  T.  peT,  !° 


:=&=»— f, 

<=S^- i. _ £r 


(he  sun  -  rise, 
the  sun  -  rise, 
the  sun  -  rise, 


Windows  to  the  Sunrise.— Concluded. 


You  must  sleep  in  a  room  With  win-do ws  to  tlie 
You  must  live  in  a  house  With  win-dows  to  the 
You  must  have  in  your  heart  Some  win  dows  to  the 


nsfc 


¥ 


Fred!  Free!  Free! 


sun 

sun 

sun 


i 


rise. 

r-ise. 

rise. 


-P- 


-  0 

a- 


WTTH  ENERGY. 


¥ 


*  S  I 


4 

o.  v.  u. 


■J — 

^  1 

* 

1  .  e 

J 

& 

D 

1.  Free! 

2.  Free ! 

3.  Free! 


Free!  Free! 
Free !  Free ! 
Free !  Free ! 


I 


i 


Shall  all  our 
Our  speech  shall 
Our  thoughts  shall 

4-  JR-  JL 


-O- 


coun 

ev 

ev 

_ a _ 


try 

er 

er 


he, 

be, 

be, 


With 

Far 

Yes, 


o 


1 9- 
-  IP- 


5  ®  "*  ‘  tr  g 

] - ^  - 

-  1 3 - 

OUt  a  lasn,  wit  a 
as  earth’s  vva  -  ters 
free  -  er  yet  with 


9 - 9 


a 

;  Wall 


- a 

out.  it  chain 
run  arid  ting;  Far 
ev  - 


r 


-F 


9 

out 

as 


re-proacli  with 
the  wild  -  birds 


L  \  •  f* 

- £9 - 

a 

.  .6 

<1  r  ? 

1  u  U 

-3 

3  - 

- IV - 

- W  — 

- — A - 

— 3 

ry  year.  What  man  nnty  dare, 

e - e - 


— 


9 

■  »- 


V - y - 


€ 

-»'■ 


isr 


-<a  — 


-9- 


T-^ 


 « - 

si - st 


out  a  stain  :  We’ll  shout  from  sea  to 
soar  and  sing  ;  We’ll  shout  from  so.i  to 

sea  to 


hear;  holds  dear :  We’ll  shout  from 


-i* 

a 


e> 

0 


-A 

-  & 


:o 

-7- 


-o 

s 


■& — f! 

_ e 


sen. 

Sea, 

sea, 

o 


■a— 

■\T 

er 


Free !  for  -  ev  - 
Free !  for  -  ev  -  er 
Free!  for  -  ev  -  e: 

£L  v.  >. 


~pr 
free ! 
free ! 
free ! 


m 


-7Z 


14  0 


ALLEGRETTO. 


Household  Pets. 


K.  R.  11. 


2.  Nira-bleDicklN^m-ble^ick^bHck^H  t^’ but  be  CIlU  P>po  a 
3-  Ba  -  By  B„n ,  3,  .  £  *  ££ 


mer  -  ry 
qiH  -  et, 
now  so 


V 

round  -  e  -  lay; 

if  you  can; 
vor  -  y  wise, 


--0. — 


iimpi 


T  V 

Jip  -  i  -  dee!  Jip  -  i  -  dee!  sweet  -  ly  sing 
Hero  he  ,s,  there  he  is,  don’t  you  set’ 
Frol-ick-ing,  clur-rup-iug,  full  ‘0f  fun. 


Bird  -  ie 
What  a 
What  a 


of  the  gold 
bus  - y  dog 
jol  -  ly  Ba 

£3  %  3 


?°  ™Df  M°m-ing  bright  brings  his  song  so  free- 
is  he?  Coat  as  sleek  •.«  a  ,i  .  .  ,  ,  1 

by  Bun!  Fat, round  face, and  a  dim-ldedchin03’ 

-  1  '  ’ 


at  night  hoar  his  oheo  ehee  clmn.  r-  •  , 

i»  Rick  of  l.ia  to  -  nor  „P  ‘ ’  d“’  1  '  *«, 

'i'lircc  white  tectii  and  .  griu.’  K^-iS. 


Soft 

Proud 


1  =pr-F-F— 0 — *- 


Household  Pets. — Concluded. 


141 


i 


-&r 


> - 4 - 5 - # - - 

sweet  -  ly  sing,  Bird  -  ie  of  tho  gold  -  en 

don’t  you  see  What  a  bus  -  y  dog  is 

full  of  fuu;  What  a  jol  -  ly  Ba  -  by 


mm m 


--(So¬ 

wing. 

he? 

Bun. 


£ 


h?- 


A  Fair  Little  Girl. 


MODERATO. 


+ 


Its: 


4  I  4 

tie  girl  sat 
of  rooks  came 
they  neighed,  the 


G.F.  It. 


m 


,  -Hr  -r 

1.  A  fair  lit 

2.  A  num  -  ber 

3.  Tiie  hors  -  es 


un  -  der 
o  -  ver 
ox  -  en, 


-r 

a  tree,  And 
her  head,  All 
too,  lowed,  And 


ifv£7*Z 

*  -  e  *  e 

P-  -P-  -  -  * - *  i 

r=r 

IT  X  H 

9 - 

— Jr  t7 - 1 - 1 - b= 

//  0  9  j~ '[ 

/ 

■— _ c-  U 

— u - a - j - 

* - # - 0 - # - aH1 3 


sewed  just  as  long  as  her  eyes  could  see, Then  smooth’d  down  her  work  and 
cry-ing,  “Caw!  caw!” on  their  way  to  bed;  Site  said,  as  she  watch’d  their 
geri-tly  the  sheep’s  bleat  came  down  the  road,  All  seem  -  iug  to  say  with 


K 


0 

t-  i - i - 1 — 

9  r'  --4- — • 

%  5 — £ 

2 

— i — 

- - hr - * - P - 

~ 

— -  * * — p- 

n - h - h - h— 

b - 

-s-  -y 


fold  -  ed  it  right.  And  mur-mur’d,  “  Dear  work,  good  night!  good  night!’ 
_cu  -  ri  -  ous  flight,  “0,  lit  -  tie  black  things,  good  night!  good  night!’ 


^:|=g— % 

/»  s  2 

— # - F - F — 

p-# — 

— « - 

— « - is— 

— » — 0 — 

i  »  Q 

- — 0 — 

0 

- A  

- * — > 

4 

— £ — > — 

-*  ±=£ 

— i/ — 

IV 


Out  West. 

s  Pl!bii3hed  in  sbefct  form  by  Root  &  Cadt. 


Price  35  cents. 


If.  L.  Frluble. 


2.  Oncn  ,  ™,‘"  Ti'!  VJJ'  As  you’ve  of  -  ten-times  boon 


West  -  ward 
such  a 
fore  his 


sands  of 
set  his 
one,  ’  ’  said 
vis  -  ion 


—  0 

~<trjr 

- 0- 

- JI  _ 

of 

peace 

-  r y 

at 

tho 

Mis  ■ 

hitn 

down 

n:'? 


8$  *  r  § 

-  •  -  -  rj  i:  2  ± 


plen 
ca 
sin 
poll 

tsr- 

> \V  X 


-  ty, 

iro. 

Ph 

Par'd 

a. 


A  ud 
Sr) 

Then 

Mill 

_*  • 


-m 

*> 


5 


’  s- 


witli 

ho 

ii|>  . 

for 

c 


o 

✓ 


» 

$ 


(|UI 

Sat 

on 

him 

6 


-  ot  -  ness 
him  down 
Mis  -  sou  - 
there  was 

• - 0 


’tis 

to 

ri’s 

no 


i  mmmi 

S'-  ^  1 


blest! 
rest; 
breast, 
rest;  ‘ 
-S>- 


But  this 
But  ’twas 
He  ex- 
Bis  an 


Out  West. — Concluded. 


143 


i  — | — p-  ,  . 

-j - 1  - N - r~ 

- 2 - 1 - H- 

— 1 - 

1 

*  J  9 

fra  v  m  0  ■  ! 

J  2  »  • 

e  •  j 

VT7  3  9 

%  &  iJ  •  " 

a  :  2 

I 

«/  3  9  9  3  - 

coun  -  try  that’s  so  fam  -  o 
on  -  ly  there  the  een  -  tc 
plor’d  tho  wilds  of  Kan  -  sa 
is  -  land,sure-ly,”  said  h 

_  e  s  a  o  a 

w  9  9  "  • 

as  Is  a  -  way  off  in  the 

r,  Not  the  fa  -  bled  gold  -  en 

s  For  this  coun  -  try  in  the 

e,  This  fair  coun  -  try  in  the 

n  a  •  »  o  e  ~s~ 

CV* 

west. 

west. 

west. 

west. 

n  • 

•  u  '  .  j  ;  \ 

1 

\  1 

-  •  c 

j 

a 

rj  o  *  o 

— 

S  w  L  L  L  L 

1:  | 

J 

V  w  W  W  9 

- c - c - f. - j - 1 - 

U| - 

I 

U — . —«l 

- P* 

- , - 

C1IORCS. 


5.  So  a  vessel  quick  he  builded, 

And  the  shore  he  left  behind; 
Sailing  on  with  eager  longings, 

Still  this  happy  isle  to  tind: 

After  many  days,  one  morning 
lie  beheld  the  wish’d  for  land; 
Steering  ’  mid  the  shoals  and  breakers, 
Quickly  reach’d  the  golden  strand,  j 
CUOR  us — 


6.  From  his  gallant  bark  he  landed, 
Wading  thro’  the  curling  foam, 
With  his  eyes  wide  ope’  with  wonder, 
For  ho  found  himself  at  home: 
Then  he  learn' d  that  one  forever 
Might  go  on  and  never  rest; 

Still  they  would  not  tind  this  country, 
For  ’tis  always  further  west. 
Chorus — 


U  will  lie  an  excellent  plan  sometimes  to  have  this  sung  as  a  song  ami  chorus.  Tho  song  by  a 
hoy  jr  gil  l,  who  can  give  the  s'oiy  distinctly,  and  with  proper  expression. 

Ill 


Tiny  little  Raindrops. 


145 

James  R.  Murray, 


—43- 


t 


1.  Ti  - 

ny 

lit  - 

tie 

rain  -drops, 

Fall  -  ing 

in 

the 

street ; 

2.  Ti  - 

ny 

lit  - 

tie 

rain  -  drops, 

Bless  -  ing 

all 

the 

land. 

3.  Like 

the 

ti  - 

ny 

rain  -  drops, 

Mod  -  est, 

pure 

and 

still ; 

S 

N 

1  * 

N_ 9 

A-  • 

--4~  ?- 


—v- 


=P= 


:  -f- - -g-  sr  -#■ 

1.  Are  nil  your  liiutch-es  sold  yet,  Tom’ 

2.  We  ll  call  the  sun  our  fa  -  ther,  Tom 

3.  But  Oli,  there’s  One  a  -  hove  him,  Tom’ 

4.  We’ll  tell  Him  all  our  sor  -  rows,  Tom’ 

JS _  N  \  s  . ; 

-f- - *  -  \-  ® 

ipizzr.piz^p 


-V- 


-*-t 


— 0 — 

~Y-l 

— #s 

=z 

- 0— 

- 0 - 

=£4= 

Are 

all 

~  # 

your 

match 

-  es 

done  ? 

We’ll 

call 

the 

sun 

our 

mother 

Who 

loves 

US 

more 

than 

he ; 

We’ll 

tell 

Him 

all 

our 

ca  ve : 

J- 

J.  • 

J- 

JL 

JL 

J.  * 

— y — 

-i 

Ill1 

I  II 

Then 


We’ll  tell  Him  where 


o 

o 


..-Ji 


we 


=t 


o  -  pen  square,  And 

lit  -  tie  beam,  A 

sun  to  shine,  With 

sleep  at  night,  We’ll 


Si 


warm 

us 

in 

the 

Jr  .  ■ 

sun :  1 

sis  - 

ter 

or 

a 

brother: 

beams 

so 

warm 

and 

free ; 

tell 

Him 

how 

we 

fare :  . 

|  # 

~J - 

—0 - 

0  • 

0- - 

.1 - y - 

✓ 

— V - 

"?■  ■ 

1 - 

He 

He 


91* 


<11*111  US  ill  (Ha  RWPnf  hrirrVit  cnn  To  1  1  i.  •  n* 


warm  us  in  the  sweet  bright,  sun,  To  feel  his  kin  -  dline 

thinks  no  shame  to  kiss  us,  Tom,  A1  -  though  we  rag  -  ged 

is  our  re  -  al  fa  -  ther,  Tom,  A1  -  though  while  here  be- 

then,  Oh  then  to  cheer  us,  Tom,  He’ll  send  his  sun  to 

>  ,S  ,S  ,s  #  .  J-  JL  ‘  JL  .CL  JL 


-•  ' 

— - y>  - 


f'T-#- 


*  •  K-T^ 


=t=t=t=rn 


-y> - J- 


Hare  You  Sold  Your  Matches,  Tom  i — Concluded.  147 


M  ~  - 

"  ,N  N 

K  K  -N- 

A  f  “J .» 

ir  r 

s  s  > 

K  p  p  J 

■JS  ,N 

“N  7 «  ; 

\M7  a  • 

.  _ .  _  ® 

J  *  2  1  J 

. 

#  * 

glow ;  For  hi 

go ;  For  hi 

low ;  The  sun 

glow;  For  hi 

*-  * 

-<P-  -jy 

3  kind  lool 

s  kind  loo 

s  kind  loo 

3  kind  loo; 

'  ,N 

9  -*■  9  -9- 

vs  are  the  on  -  ly  looks  Of 

<s  are  ihe  on  -  ly  looks  Of 

<s  are  the  on  -  ly  looks  Of 

is  are  the  on  -  ly  looks  Of 

k  A 

- P 

9  £ 

*  9 

&  9  m  P   1 

L  •  € 

i 

I  1  {  1  1 

1 

1  - 1* 

— * 

- # - • 

- J - 0 — 

— V - V - S - V — 1 

CHORES. 


-6H 

5 - N - IS - 

*- 

9  9 

.  .  f  S— 

-s — 

/ 

t  r J  2 

Sr- 

o> 

rm  p  i  i  •  • 

J 

L  L 

L  •  L   2  : 

\nz   d  "T^~i 

r  p 

-J-  #  9  '  -0 

friend  -  ship  that  we 

.  '  f  1  F P 

know.  0  Tom,  don’t  you  cry,  Al- 

-B-  e  .  m  i*“ 

a  a  v*  •  * 

f  » 

p  •  &  ,5k 

•f 

5 

zzq  / 

?  "  p  [y 

- S - S - 

/ — -P— 1 

-  .S  .  .  .  N  N  . _ > _ 

f  m  P P  h 

~  V'  fu 

ci  J  p 

s 

t  3  2  J 

-  i  •  . 

7  *  # .   <? 2  . 

*  • ■  J  . 

.  J _ J _ 5 _ a 

"  *  v  -0-  -jr  9 

though  the  cold  winds  blow;  For  the  sun  is  shin  -  ing 

a  a  ’  N  N  N  S 

q 

i: 

a  a 

0  9  9 

9 

'  r  r  La 

1  . 

!  j  r  r 

.  9  S _ B 

r  | - 

- 1 - > - s — J 

— 1 - $  =2— 

— 0 

- ♦ - 0 

- 0 - 

148 


Robin  Song, 


6.  F.  K. 


A  f.T.EGBKTTO 


Robin  Song. — Concluded.  149 


. N  S  S  . 

y i 

«  J ^ 

P  S.  J  -  S 

jfnh  - 

J  IS  9  - 

ft&r  t 

2  •  J 

0  0  0  - 

.vlL l_ i 

#  • 

#  e 

lay,  While  \ 

by,  When  c 

way,  But  v 

■0-  i 

ve  wait  your  sweet  -  er  ech  -  oes,  Lit  -  tie 

ur  pleas  -  ant  toil  is  end  -  ed,  And  the 

•ill  come  a  -  gain  as  the}'  will,  Lit  -  tie 

•&-  -49-  -3-  *fP-  -3-  -49- 

rv  L 

i 

1 

r 

1 

”  !• 

f 

1_ 4 

9 

S  e 

0  0 

\  a 

a  a 

7  r-  f- 

— h - h - h - h — 

— h 

- h - h - ii — 

CHORUS. 


r - r - h- 

-  J  K,  - 

- p 

=±=*5=±f— 

■./  -  N 

s  -P  .  J' 

*  P 

S  m 

rPrvv - J 

b  i 

1  -J- a 

lL 

5  J-  '  2 

WT7  •  a 

t  •  > 

J  2  a ~ 

 0  0  •  6? 

XT  ^  ?  F 

rob  -  ins,  For  the  woods  a 

•  _  ...  « 

nd  groves  are  gay,  Will  you 

e~  s~  -e-  -a- 

^  .  - C - w  E  .  E 

B 

l 

*  1. 

“ 5 

■;  fa  fa  W 

9 

ft  ■» 0 

t - 

f - IT - ir 

, - C - H 

150 


Winter  Time. 


a.  f.k. 


].  Come,  0  come,  and  gai 

—  See,  the  sun  -  light  on 

3  Crowd  -  ing,  fill  .  jllg  all 


ly  go  O  er  the  spark-ling 
the  ground  Scat  -  tera  dia-monda 
the  air,  How  they  float  the 


Winter  Time. — Concluded.  151 


Good  Night. 


IL  AHDAsmwo. 

.  N  S  ..  .  .. 

V  fpt 

\ 

1 

v  a  J  TV 

J * w  . 

-j 

fnA  r*  i 

A  ~ 

1 

-P  * 

'l  0 

s 

L 

L  1 

1  ,  !  ! 

1 

1.  Come,  let  us  sing  a  p 

2.  We’ll  seek  in  peace  eacl 

3.  Yes,  dear  com-pan-ions 

J  .N  K  )  ! 

-§r  9  a  9  9  *  v  ^ 

leas-ant  song,  As  to  our  homes  we  go  a-long; 
qui-et  home, For  now  the  evening  shades  have  come; 
,  fare  you  well,  A-gain  our  part-ing  num-bers  swell; 
_ N _ N _ 1 _ i _ N _ N _ N  r. _ N 

5 

9  J 

1  1 

1  s 

a  t 

B 

1  a  "e 

r  r 

L  [ 

S  ^  r, 

J 

J  1 

1 

L 



- 

y  y  - 

d 

— 4 

1 

r 

r 

— J - 

1 


Kzi  jt 


T 


3t 


jtr 


? 


V  \  V  I  v 

With  chcer-ful  tones  and  spir  its  light, We  11  sing  a  gain  our  glad  good-night. 
With  cheer-ful  tones  and  spir  its  light, We’ll  sing  a-g,iin  our  glad  good-night. 
With  cheer-ful  tones  and  spir-its  light,  Wesingoncemoreourglad  good-night. 


SI 


-6- 

& 


9 


-Gh- 


RErKAT  vv 


■■■  f*  --  e  d  ~  w  j 

.r  r 

zl _ \ _ i _ t  -J  ® .. 

L  g;  0  ^  -  -  £? 

s'  41  a  . 

J  -ji  ^ 

Good  night,  good  night,  good  night,  good  night. 


Good  night,  good  night, 


152 


TBNDERLY. 


Kiss  me,  Mother,  Kiss  your  Darling. 

Published  in  sheet  form  by  Root  &  Cady.  Price  35  cents. 


e.  f.  r. 


1.  Kiss  me,  Moth-er,  kiss  your  dar  -  ling,  Lean  my  head  up 

2.  Kiss  me,  Moth-er,  kiss  your  dar  -  ling,  Breathe  a  hless-ing 

3.  0,  how  dark  this  world  is  grow-ing,  Hark!  I  hear  the 


pa=:ErrP=:i:=iF=l=| 


EE 


on  your 
on  my 
an  -  gel 


-/ — V — V- 


%.  >.  f~>  3  T 

=4^ 

ir: 

C  •  o  ry  0  g 

I  am  wea  -  ry,  lot  me 

Faint  -  or  grows  my  breath  e’en 
In  that  fair  and  hap  -  py 

CV - *  i 

— 

rest:  S 
now : 
land : 

-ey-  • 

-  f ' 

H - J - a —  £  0  ^ 

cones  of  life  are  swift -ly 

Tell  the  lov'd  ones  not  to 

Icnr  you  not  that  lmav’n-iy 

_ O _ Q _ #  b  gf 

_ #  5  5 — & — 

^  > — _5  .  >  . ...  > 

~5,~v 

■  - v  — -  j —  i/ —  / — 

Kiss  me,  Mother,  Kiss  your  Darling. — Concluded  153 


tT 


-0- 


S' 


a 


a 


✓ 

the 


SI 


I  am  stand-ing  by  the  riv  -  er, 
And  that  I  shall  slum-ber  sweet-ly 
I  must  leave  you,  fare- well,  Moth-er 

«-  -o-  iV-  „ 


m 


mm. 


An  -  gels  wait  to  waft  me  o’er. 
In  the  sol-dier’s  lion-or’d  grave. 
Kiss  me  once  be-fore  I  go. 

.1  .  «  -0-  A-  „  -<v- 


-s 


-0- 


-V— 


mtsm 


CHORUS. 


0-  0  •  0  m 

=N 

- n- 

—  S, - 1 - - 

A  i _ 1.  T  & 

^ 

9 

A  J  .n p  n  p  p   p 

zr 

*  0  •  , j  i  j  i  - 

\y\j  *  - v  *  e  ^ 

<2  09  e  e  o  9  a 

•j 

V 

Kiss  me,  Moth  -  er,  kiss  your 

dar-ling,  kiss  your  dar-ling,  Moth-er, 

■0-  •  -o-  -e- 

0- 

9 

0- 

-0-  -0-  -0-  -0-  -0- 

rv  |  t“  1~ 

/  5  .  9  a 

0 

m 

0 

- 1 - U - - 

/ - 

v — 

Fold  your  lov  -  ing  arms  a- 


Fold  your  lov  -  ing  arms  a- 


round 


l>  l>  ^  \7  V  ^  V 

lov  •  ing  arms  a- round  me,  Moth-er,  I  am  wea-ry,  let  me  rest. 


<*•  s-  -9-  -e-  „ 

- - n - h —  9  ~z, — 

-V - V - r~-G Y~. 


Bi 

- — h- ~=== 


A— V'—  V— 


-e- 

-7- 


— 1 


<?_ 


wmm 


round 


4 


Throwing  the  Stone. 


Fourth  of  July. 


G.  F.  R. 


155 


f 


-8-# 


m 


-K 


~  ~  N~ 


1.  Hur  -  rah  I  for  the  room  -  ing  of  morn  -  ings  has  come! 

2.  Hur  -  rah!  let  the  lips  of  the  can  -  nons  be  red, 

3.  Hur  -  rah  for  our  ban  -  ner!  the  Flag  of  the  Free, 

4.  Hur  -  rah  for  the  Fu  -  ture!  We,  boys  of  the  land, 

o - 9 — 


£ 


M--V- 


■P" 


m 


3E 


-V 


Let  bird,  boy  and  bu  •  gle  tell  earth,  sea 

For  those  who  first  taught  us  to  con  -  quer 

Its  stripes  for  the  trai  -  tor,  who  dares  to 

Then  down  with  the  trea  -  son,  whose  life  is 

a — - a - 0 - ft - 


or 

de 

a 


and  sky, 
die, 

fy, 

lie; 


p 

-f— 


’Tis 

Free  - 

dom’ s 

glad 

birth 

-  day, 

the 

Fourth 

of 

Ju  - 

And 

those 

who 

at 

Yicks 

-  burg 

kept 

Fourth 

of 

Ju  - 

Its 

stars 

go 

be 

-  fore 

us 

Oil 

Fourth 

of 

Ju  - 

And 

up 

with 

the 

rock 

-  ets, 

'  tl5 

Fourth 

of 

Ju  - 

WJ2 Ty: 

E=T. 


- *<_  J - 


v - A 


Wea  -  ver  John  And 
gen  -  tic  wife  And 
bout  the  room  With 


* 


'-4 


:-Et 


:t= 


-f- 

< 


hap  - 

py 

old 

John 

is  he ; 

twirl 

-ing 

the 

flax 

en  thread; 

kit  - 

tens 

one. 

two, 

three,  four; 

mu  - 

sic 

of 

time 

roll  on: 

• 

— v- — 

—m — 

«LL» 

II 

- 1 - 

- •  — 

- » — 

- 0 - 

-9-  i  — 


Maud  is 
Sweet  to 
Tow  -  ser 


t  > 


a 

name 

* 

of 

a 

lift 

a— 

dear 

- 0 

old 

,  5 

dame, 

—l 

And 

•ear 

is 

the 

low 

wheel 

s  hum 

It 

tak  - 

mg 

Ills 

want 

-  ed 

nap 

On 

noon 

of 

a 

use 

-  ful 

life 

Brin 

0 

* 

« 

0*  ■■ 

—  ^ — 

i 

* 

i — 

N 


:♦ 

— - 


atones. 


gEE3=3^|H  3p8i 

*  — jf  »-  ■ — J fj at  'M —  i 

twl  nl 1 1  ..IT"  •  ,  f  0  *  * 


bless -ed  old  dame  is  she.  W hide  -  it  -  y  whadc 

purchased  when  they  were  wed.  Which  -  it  v  ’  <tc 

set  -  tie  be -hind  the  door.  Whick  -  it  -  v’&c’ 

peace  -  ful  -  ly  set  -  ting  sir.  Whiclc  -  it  -  y  &c‘ 


it 


ife 


t=5^z±: 


f-rvf 


'Lt^-Lb - R - ? 


-  J  .T  XT'. 


Weaver  »J oh !!.•  —Concluded. 


157 


jv-i-h _ l.-_E 


o 


0 

<S 


3 

0 


-it 


<S 

-tf 


'9  ~  9 
a  •  <s~ 


iz^czitc 

— « - ■ 

~  # r~ 


click  and  clack,  How  the  shut -ties  do  glance  and  ring!  Here  they  go, 


9 

-9 


-0- 

o- 


—9 


-c- 

9 

-H- 


— r- - - - r- - r - r-  — 

— •  : 

r - r- - r- - 

d?  <2 

s- 

L 

V 


there  they  go,  forth  and  back,  and  a  stae  -  ca  -  to  song  they  sing. 


£ _ #  .  (9 

9  .  ...  P  0  ~ 

I 

f'v*  U  F 

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fl  tm  ft 

0  .« 

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\j  .v  \j 

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V" 

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? *12  :11 

Little  Flow’ret. 


1.  Lit -tie  flow  -  ’ret.,  press  thy  way,  Thro’  the  dark -ness  in  -  to  day; 

2.  Bee  and  bios  -  som,  each  fill -fills  Pur  -  po  -  ses  our  Fa  -  ther  wills ; 


8.  Like 

the 

• 

lit  - 

tie  flower 

-9-  -9- 

we 

press 

On, 

to  hope,  and 

hap 

-  pi- 

ness ; 

/ ->V  •  9 

* 

O  * 

a 

a 

— 

*  j.  .r 

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...  «  . 

4  £? 

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0 

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£ 


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-a-  I 

Ev  - ’ry-thing  shall  wel-come  thee,  Warb-ling  bird,  and  bus  -  y  bee. 
Cbil-drcn  should  not  i  -  die  be,  Say  -  ior,  let  us  work  for  thee. 
Ev  -  er  in  God's  pur-pose  true,  Ho  -  ing  all  that  we  can  do. 


02 


-t- - - 

|  f»  £? 

£  £ 

!  f  r.  u  > . 

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s 

e 


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1 


How  it  Marches, 


n.  ii.  ii. 


158 

^  £  wrm  BinjRfl..  1^ 

-ff-4- — +  \ — tP- 
-4— r:'  . 


l. 

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U 


& 


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“<|-T - ~_N 

--!— 5 — <* 


IIow  it  march  -  es !  the  Flag  of 

Oh !  our  boys  love  the  Flag  of 

Sai  -  lors,  too,  love  the  Flag  of 

js-  •  Jl  ■#-  -P-  •  -e- 


<•  — m  . —  e 

■*  4r  . 


the 

the 

the 


Un 

Un 

Un 


0 


1l- 

ion, 

ion, 

ion, 


— —j  * 


bo-soms  swell  with  pride,  While  we 
front  of  ev  -  ery  light,  ’Mi<l  the 
nailed  it  firm  and  fast  To  the 


*  — U  -J - J - u- 


% 


see  it 
bat  -  tie’s 
top  of 


float.  -  ing  wide 
lu  -  rid  light, 
ev  -  ’ry  mast, 


-V- 


0  -1 

*  * 

^  -  - 

rrtr 

^ - 4.-.- 

'  “ 

-  -  . 

CHOKES. 


How  it  Marches. — Concluded. 


15  Q 

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1;  v-  — K - N - '  "S - 

- 1: — ^ 

h  e  t — 

N  j 

«  * 

•  9  J  r> 

\ni - &  9  9  • 

!  v  “  •  jS 

:  -+J  9 9  9  9  •  9  -  9  -J. 

float  in  pow’r  and  pride,  0  -  ver  all  the  land  so  wide, 

+-  1*-  f-  *  e  > 

fe-v-s  o  — 5  *  e  "6 

0  ♦  0  £>• 0_ 9. 

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u  'y 

u  u 

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„  a  -  h  fe  n  IS  . 

V  ^ 

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1? 

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f 

£ , 

t  ....  1 

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u- - - - .  ! Tj  j 

•J  -5- 

Ev  -  er  more  as  t 

I**  * 

- - -  <7 

le  Flag  of  the  Un  -  ion. 

-  *  • ti_ t> 

- a  •  a 

&  L 

r_ r  

J  * 

k  ^  -  nr 

r  t 

J - h - '< 

»  *t>  •  a  r  r  5 

L-f  E-— 8  1  ■ - ^ ^ 

— 

- u 

4.  Uncle  Sara  loves  the  Flag  of  the  Union, 
The  dear  old  Flag  of  the  Union, 

And  amid  the  loss  we  mourn, 

Says  in  thunder  tones  so  stern, 

“All  shall  honor  the  Flag  of  tho  Union.” 

H;w  it  marches,  ftc. 

i  i 


1G0 


Sing,  sing  Good-Dye. 


G.F.  R. 


(  MOD 

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1.  Now  all  our  work  is  done,  sis-ter  school-mates, bro 

2.  Take,  take  our  ear  -  nest  thanks,  faith-ful  teach-crs,  lo 

3.  Once  more  we  sing  to  you,  gen-tle  friends  and  lo 

l  h  fe  Is  Is _ !  -  .  „  * 

ther 

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teach-crs, 

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voi  -  ces  blend-ing, 

Sing,  broth-ors 

sis  -  tors 

an/ 

gai  -  ly  sing  good-bvol 

skies  shine  o' or  you: 

Sing,  hroth-ers 

sis  -  tors 

all, 

gai  -  ly  sing  good-bye! 

al  -  ways  meet  you : 

Sing,  hroth-ers 

•  N  ^ 

sis  -  tors 

all, 

gai  ly  sing  good-bye ! 

1 

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A.  Cr&ik  Smyth.  161 


I  would  if  I  could. 


Is  but  a  mis  -  tak  -  en  and  slug  -  gish  ex  -  cusc  And 

Come  solve  me  this  prob  -  lem  you  cau  if  you  choose,’' But 

While  the  cold  wind  blew  freely,  was  beg  -  ging  for  bread ;  A 


ma  -  ny  a  per  -  son  who  could  if  he  would.  Is  of  -  ten  heard 

John  at  that  mo  -  meat  was  not  in  the  mood,  Andyawn-ing-  ly 
rich  man  pass’d  by  her  as  trem-bling  she  stood,  lie  answered  her 


m 


say-ing,  “I  would  if  I  could” 
answered  “I  would  if  I  could” 
cold-ly,  “I  would  if  I  could” 

urn _ • _  - 

m  -I — i 


_| — 

»- 

tr 


4. The  scholar  receiving  his  teacher’s  advice. 
The  swearer  admonished  to  quit  such  a  vice 
The  child  when  requested  to  try  to  be  good 
Oft  gives  the  same  answer  “I  would  if  I 

could.” 

5.  But  if  we  may  credit  what  good  people  say, 
That  where  a  strong  will  is,  there’s  always 

a  way 

And  whatever  ought  to  be  can  be  and  should, 
We  never  need  utter  “I would  if  I  could.  ” 


J.  It.  Murray. 


10!, 


ANDAMlmO. 


Daisy  Deane. 

Publish  "id  in  sheet  form  by  Roor  &  Cady.  Price  30  cents. 


].  ’Twuh  down  in  the  mead  -  ows,  tlie  vio  -  lets  were  blow  -  mg, 

2.  Her  eyes  soft  and  ten  -  der,  the  vio  -  lets  out  -  vie  -  ing, 

3.  'p'ie  bright  flow’ rs  are  fad  -  cd,  the  young  grass  has  fall  -  en, 

* — - — — * — •- — t-T-t — 


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^  %  5  -»■  -*■  ^  ' 

And  the  spring  -  time  grass  was  fresh  and  green;  And 
And  a  fair  -  er  form  was  nev  -  er  seen;  With 

And  a  dark  cloud  liov  -  ers  o’er  the  scene;  For 


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Daisy  Deane.— Concluded. 


m 


CHORUS. 

Repeat  after  last  verse  pp 


5 


None  knew  thee  but  to  love  thee,  thou  dear  one  of  my  heart, 


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ev  -  er  fresh  and  green; 


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Tho’  the  sweet  buds  may  with  -  er,  and  fond  hearts  bo  bro  -  ken, 


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green,  the  sweet 


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4.  0,  down  m  the  meadows  I  still  love  to  wander, 

Where  the  young  grass  grew  so  fresh  and  green; 

But  the  bright  golden  visions  of  springtime  have  faded 
With  the  flowers,  and  my  darling  Daisy  Deane. 
Ceorus — 


,  M0D1B. 

iBf:: 


1  st  voice.  1.  Come,  mer 
“  2.  Como,  mer 

“  3.  Come,  mer 

“  4.  Walk  -  iug, 


Resisting 


m 


■  >7 

■  >7 

•  ry 

and 


lad, 

lad, 

lad, 

rid 


the  Tempter. 


n.  n.  h. 


- 9 


I 

take 

take 

ing 


am 

a 

a 

and 


wait 

scat 

walk, 

row 


ing 

by 

and 

ing, 


for 

my 


you; 
side ; 
well  find 
for  you, 


Come,  take 
Po  -  ny 
Where  swing 
they 


Must 


IS 

tho 

all 


2d  voice.  Dear  -  ly  l 

Dear  -  ly  i 

Dear  -  ly  I 

“  Yes,  and  I’ll 


sail  on 
prane  -  ing, 
ma  -  pie 
wait  ’till 


— -  - .  ±UJ _ I 


the  wa  -  ter 
I’ll  give  you 
blooms,  red,  in 
the  school  hours 


so  blue, 

a  ride, 

the  wind, 
are  through  ? 


love 

love 

love 

go 


on 

a 

where 

’till 


the 

gay 

tlie 

the 


riv  - 
gal  - 
spring 
last 


er  to 
lop,  you 
bios  -  soms 
hour  is 


row, 
know ; 
grow ; 
done  I 


Blithe 

Po 

Ram 

Then, 


school 

school 

Bohool 

play 


I 

I ' 
I 

and 


must 

must 

must 

the 


go. 

go- 

go. 

fun. 


CHORUS. 


Resisting  the  Tempter. — Concluded.  105 


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Dear  -  ly  I  love  on  the  riv  -  er  to  row ; 

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Blithe  is  the  boat,  but  to  school  I  must  go. 

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0  come  away  to  the  Scibool-Room. 


II.  R.  Paloren. 


ALLKGRKTTO. 


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1.  O  come  a  -  way  to  the  school-room,  0  come  quick-ly 

2.  Now  play  claims  all  our  at  -  ten  -  tion,  With  joy  mer  -  ri  -  ly 

3.  And  when  our  stud-ies  are  o  -  ver,  We’ll  hie  a-way  to  our  homes ; 


a  -  way ; 
shout ! 


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0  come  away  to  the  SchooI-Room.-CoNci™™. 


’Tis  there  pleas  -  ure 
We  play  just  as 
0  yes,  joy  ful 


HH 


y  haste  we  a  -  way  to  Home, bright, hap  . 


Welcome  to  Teacher. 


G.  F.  R. 


183 


SJOTTDIiLT. 


.v 


Ss=2 


1.  Wel-come, thrice  wel-come  a  -  gain, our  own;  Wel-come, thrice  wel-come  a- 

2.  "Wel-come, thrice  wel-come  at  last  to  you;  "Wel-come, thrice  wel-come  at 

3.  "Wel-come, thrice  wel-come  to  home  and  heart,  War  -  ble  a  blithe  glad-some 


ino 


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gain:  We’ve  won-der’d,  and  w 
last:  We’ll  meet  ev  -  ’ry  to 
lay:  We  shall  look  now  no  me 

w  r  w  y]  1  t - 

ait  -  ed  and  watch’d  so  long,  While 
isk  with  a  cheer  -  ful  glow,  For  the 
>re  on  the  va  -  cant  chair,  For  the 

r-v  •  i  ^  ^ 

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fad  -  ed  the  smile  -  light  and  hush’d  the  song,  And 

smile  we  have  lov’d  in  the  long  a  -  go  Is 

teach  -  er  we  greet  fills  the  old  place  there,  And 


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wait  -  ed  and  watch’d  in  vain, 
nev  -  er  with  frowns  o’ er-cast, 
this  is  a  liap  -  py  day, 


— * — * — * 


✓  V 

And  wait  -  ed  and  watch’d  in  vain. 
Is  nev  -  er  with  frowns  o’or-cast. 
And  tliis  is  a  hap  -  py  day. 


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Lit  -  tie  Will, 

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Clat  -  ter  the  steeds  of 
Ha  !  is  it  not  a 

— * - * - • - f - . 

«  Ir  - *M 

— tf - « - a — J 

San  -  ta  Claus; 
“glo  -  rious  bill?” 

- 1 - - - 

fo  '  1  JM 

»  _ij  Li  t? - -tr-j 

— • - 

y — tf-  !t  -  -  --  J 

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>  v  r  -1 

Down  thro’  the  chim-ney  with  loads  of  toys,  llo  for  the  lit  -  tie  ones 
Ham  -  mer  and  girn-lct  and  lots  of  tacks, Whis  tle  and  whirl  -  i  -  gig,  ’ 

*— *— »—  £  r  , 

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Christ-mas  joys.  0 ! 
whip  that  cracks.  0! 


0!  Who  would-n’t 

01  &c. 


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Santa  Claus. — Concluded. 

N _ s  N  S 

-*T"  — 


185 


3* 


9 


Who  would-n’t  go, 


m 


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:F= 


Up  -  on  the  house  -  top,  click!  click!  click! 

A & 


;S: 


\9  *  — * — 0 


PEP 


Down  thro’  the  chimney  with  good  St  Nick. 


8.  Snow-white  stocking  of  little  Nell, 
Oh  pretty  Santa  cram  it  well ; 
Leave  her  a  dolly  that  laughs  and 
cries, 

One  that  can  open  and  shut  its  eyes, 


0; 


*-  ° 


r — I 1 1 — rl~ 

t=bz-t=:h=± 

e — * — E — Wj--  p 


Here  are  the  stockings  of  Lazy  Jim, 
What  will  the  good  Saint  do  for 
him  ? 

Lo  !  he  is  filling  them  up  with  bran 
There,  he  is  adding  a  new  ratan! 


6.  Pa,  ma,  and  Uncle,  and  Grandma 
too, 

All  I  declare  have  something  new  ; 
Even  the  baby  enjoys  his  part, 
Shaking  a  rattle,  now  bless  his 
heart. 


6.  Rover  come  here,  are  you  all  alone, 
Haven’t  they  tossed  you  an  extra 
bone  ? 

Here’s  one  to  gladden  your  honest 
jaws 

Now  waga“thank’ee”  to  Santa  Claus. 


Now  we  say  Farewell. — Round,  in  two  parts. 


Now  we  say  fare  -  well,  Our  pleas  -  ant  worn  is  done:  Good 


- - -r — j — r 

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bye  then,  good  bye  then  all  Un  -  til  to  -  mor-row’s  sun 


186 


Rippling  Fust,  Rippling  Still. 

moderato.  G.  F.  R, 

L: : : :: ;  ^  ti  tC 

;  .  »  ,  Ti.  %  -.  -1  .. 


o'  ^jPmP^j^S  fast,  rip-pJing*  still  WMfh  r»  P  ^ 

2.  Rip-pling  fast,  rip-pling*  still’  n  \"e*  J*0  ’  est  ^°u,  0  rill?  T 

/■•"s 


«”f  Sr.rS“d  flo''pra  So1  a  °yk”°":  ’"°anii  th°7  love  me  vc]l- 

7‘  j  ™'^^KWheregeKa7J^e  m  -  »  «* 


Rod  Bird  cornea  in  noon-tide  boat  To  hmTn  i-  "* 
m  tho  glen.  Jloine!  Jiomel  tho sono-  i  '•  °  113  cun-ning  foot- 
And  wept  to  find  .  -W!t  ™d,sp»r  -  kto  on * 


-  ICS  down,  And  all 


the  flow -crs  gone: 

JS  -N 


Rippling  Fast,  Rippling  Still  . — Continued. 


187 


Then  perch  -  ing  on  the  near  -  est  twig,  To  dry  his  coat  and 

Home  with  the  gush  -  ing,  gur-gling  rill,  She  finds  the  cot  -  tage 

I  hushed  my  song,  and  soft  -  ly  crept  Just  where  a  wound -ed 

-  -  -  -  -  -  *- 


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fix  his  wig,  He  pours  from  out  his  swell  -  ing  throat  His 

by  the  hill,  While  on  I  seek  the  for  -  est  dim,  Still 

sol  -  dier  slept;  I  whis-per’d  low,  he  woke  to  life,  To 

m S  ±  Js _ >  JS  -  *  * _ * 

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188  Rippling  Fast,  Rippling  Still. — Concluded. 


* 


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v  S 


la,  la,  la,  la,  la,  la,  la,  la,  la,  la,  la,  la,  la,  la,  la,  la,  la. 
a  — - - - - - — r-b — 0^ 


A-  *- 


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Learning  the  Lesson. 


R.R.1I. 


ALI.rORKTO.  k  k  k 

3-  Is  4  -«£— jFTJ5 — 3- - 8qrr8  ;fcz=z3 

a* - * - h  * - * - i~\-  •  • - * 


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t=* — 2 — f — 

1.  “I’m  learn-ing  my  les  -  son,”  said  Ned  -  die  to  Kate, “For  I 

2.  “It’s  just  so, ’’said Kate,  “with  the  patch-work  I  hate,  I  am 

3.  “But  how  would  it  be,  Kate,  with  you  and  with  me,  If  both 

#■  #-  4*-  A  *- 

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al  -  ways  can  play  so  much  bet  -  ter,  When  tasks'  are  well  done, and  I'm 
Bew-ing  now  0  -  ver  and  0  -  vcr;  Then  grand-ma  has  said,  that  ray 
left  to  our  own  way- ward  ac-tions?  I'd  like  as  a  man  to  know 


*-  A 


Learning  the  Lesson. — Concluded. 


18S 


off  for  a  run,  With  my  les-sons  all  learn’ d  to  the  let  -  ter: 
books  may  be  read,  (I  will  "cad  them  from  cov  -  or  to  cov  -  er:) 
more  if  I  can,  (I  have  now  on  -  ly  ci-pher’d thro’  Frac-tions:) 


I  feel  like  a  boy  who  has  much  to  en  -  joy,  With  the 

This  earth,  as  I  look,  seems  a  ver  -  y  grand  book —  I  do 

For  ig  -  nor  -  ant  men,  in  nine  ca  -  ses  in  ten,  Are  ’most 


8 


=K=M 


3=^ 


bees,  and  the  birds  and  the  flow-ers; 
wish  I  could  read  it  all,  Ned-die; 
sure  to  be  thieves  and  gar-rot  -  ers ; 


r- Vs— -e- 

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If  work  is  not  done,  there’s  small 
If  on  -  ly  the  world  a  whit 
And,  Kate,  sure-ly  you  should  learn 


:fz 

■V- 


-£= 


pros-peel  of  fun,  For  the  sport  is  not  lion  -  est  -  ly  ours, 
fast  -  er  was  whirl’d,  We  would  be  man  and  wo -man  ai  -  rea  -  dy. 
some-tiling  more, too,  If  the  wo  -  men  are  bound  to  be  vot  -  ers. 


190  Crowding  Awfully. 

Published  in  sheet  form  with  symphony  and  accompaniment  for  the  piano, by  Root  &  CADr.Price35cts 


B,  K.  II. 


-N-t- 


Temp’rance 
not  the 
stick  the 
talk  of 
wish  these 
come  to 


folks 

man 

pledge 

woe 

chaps 

search 


'9idzikllzl3z 


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Crowd 

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Lose 

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Blue 

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pov  - 

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Want 

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pi  ■ 

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me, 

Cease 

to 

fat 

pock  - 

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book 

Once 

fat 

0 

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✓  ✓  /  1  • 


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all 

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see  - 

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smile 

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Ve  - 

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ZT — 

•-Z 

£  £ 

=t — t 

0  _ 

* 

— h — 

» 

->  p- 

-V — 

- - 

— F— 

-V - >- 

n  Iww.i  T™  ..  J  .  .  it-  *  .  _  «  • 


ZF'  3  £ 


gl 


Crowding  Awfully. — Concluded. 


191 


» 


=15= 
-0  — 


— k - k- 


through?  They  hold  their  meet  -  ings  round  e  -  ter  -  nal  -  ly  I 

too.  My  right  foot  goes  hut  poor  -  ly  hoot  -  ed  Aud  the 

day.  There’s  a  bright  hair’d  child  would  jump  and  ca  -  per.  You  may 

7 T *■ t —  1 •&- 

1 - — I - 1 - 1 - 1 - 1- 


*  This  song  may  he  sung  in  character  to  great  advantage  either  by  a  hoy  or  an  adult,  pointing  in 
turn  to  his  boot,  his  shoe,  producing  his  “once  fat  bockot-hook”  <fec,  The  chorus  whether  a  quartette 
ar  a  larger  number  should  sit  on  the  stage  just  behind  him.  One  of  their  number  should  have  a 
paper  rep-res.  nting  the  1’iedgo  All  should  remain  seated  while  singing  the  chorus,  until  the  last 
one,  when  the  solo  singer  on  reaching  the  line  ‘  you  may  pas>”£c,  should  turn  round,  take  the 
pledge  from  the  one  who  is  holding  it,  q,ud  leading  off  on  the  chorus  should  advance  to  the  fron. 
of  the  stage  waving  it  above  his  lmad.  The  last  chorus  should  bo  sung  standing,  all  rising  quickly 
and  wiigiug  with  great  spirit. 


1D2 


Sweet  Spring-time. — Solo  and  Chorus. 


n.  w.  j. 


SOLO-  ALLEGRETTO  _  „ _ * _ 


■N— , - — l 


v 


1 .  Come  to  our  l  ow’rs  a  -  gain,  come  w  itli  your  song, 
•2.  BuU  that  are  Bleep -iug  in  or  -  chard  and  bower, 
3.  Conie.buildyour  nest  by  my  cot  -  tage  door, 


Black-bird  and  Red-breast, 
Spring  to  new  life  in  th» 
War-ble  your  twi-light 


73= - ?- 


Sweet  Spring-time. — Concluded. 


193 


ntc 


r  *  -#■  w  ~~~s 

morning  hours  waste  in  in  -  do-lence  here :  We’ll  shout  and  we’ll  sing,  till 
wildwoods  clear  call  is,  up  and  a  -  way  ; We’ll  brush  off  the  dew  from 


— i- 

-0- 


:«t  zii 


:S 


=t 


1 


m 


■V — 


9 


n 


p 


««•* 


S3 


-*■ 


morn-ing  is  done  ;  The  wildwood  shall  ring  with  our  frol  -  ic  and  fun. 
mead-ows  and  glen,  Nor  rest  till,  a  -  new,  eve  re-stores  it  a -gain. 


E 


— -r- — r— - ® — ?—  n 


194 


Follow  Your  Loader.  (Temperance.) 


B.  R.  H. 


marching  song. 


1.  Hark!  how  your  lead  -  er’s 

2.  Hark !  how  your  lead  -  er’s 

3.  Hark !  how  your  lead  -  er’s 

-V - r - ^ - * 


t-  / 


bu  -  gle 
bu  -  gle 
bu  -  gle 
- 1— 


is  sound  -  ing, 
is  sound  -  ing 
is  sound  -  ing, 

* - I* - 0~ 


$ 


- 9 V  V 

D.  c.  Hark !  bow  your  lead  -  er’s  bu  -  gle 

d.  c.  Hark !  how  your  lead  -  er’s  bu  -  gle 

d.  c.  Hark !  how  your  lead  -  er’s  bu  -  gle 


is  sound  -  ing, 
is  sound  -  ing, 
is  sound  -  ing, 


-ar— £ 

p 

•ftrv? 

N 

VM/  N  '  S 

N  a 

.2  •• 

P J □ Q P  *  ' 

! 

it 

Up !  up  !  my  boys,  we  m 
Up  with  the  en  -  sign  ai 
Quick  take  the  step,  on  w 

a  g  e 

*22* 

ast  meet  the  foe ;  He 
id  charge  the  foe;  He 
e  go,  we  go ;  Ec! 

xr  ye  his  cry  as 
ed  we  his  cry  as 
i  -  o  his  shout  as 

s  0 

9 

a- 

a- 

a- 

9  - 

- p Pi 

• 

»P  - 

^  -5  *  r 

4., 

7 — 2 —  -s  f 

'  r  « 

w  r_ r 

-  -p  t  L 

/  9  i  t 

-Jj  L . 

! — £=8 — £d 

v  x L.~ 

- n — b — 

Up !  up !  my  boys,  we  must.  meet,  the  foe ;  Hear  ye  his  cry  as  a- 
Up  with  the  en  -  sign  and  charge  the  foe;  Hear  we  his  cry  as  a- 
Quick  take  the  step,  on  we  go,  wo  go;  Ech  -  o  his  shout  as  a- 


way  he  is  bound-ing,  Ho!  fol-low  me,  ho!  fol-low  me,  ho  !  fol-low  me,  ho! 

way  he  is  bound  ing,  Ho!  fol  low  me,  ho!  fol-low  me,  ho!  fol-low  me,  ho! 

way  he  is  bound-ing,  Ho!  fol-low  me,  ho!  fol-low  me,  ho!  fol-low  mo.  hoi 


Follow  lour  Leader. — Concluded.  I 'J3 


-Q — (7 — N - h  “fc 

r— 

=js- 

i - *r - £ 

— fc= 

=4- i 

$ 

:  «  % 

*- 

~*V 

HZ_ g  e - 1 — 

u  ■■■ 

-  p 

tire 

* 

In  -  to  the 

ranks 

or 

re  - 

to 

the 

rear, 

Hope  for  the 

hope  - 

less 

and 

comfort 

for 

dis  - 

may, 

Look  through  your 

tears 

to 

the  dawning 

of 

the 

day, 

...  f  -f~.  p- 

- 1 - 

-0-  • 

- - T - 

- 1 - 

-9- 

- C - 

-9- 

9:,  Mr — Hs — Hjf 

— * - 

d? 

9 

— h  - 

— u - > - £ — 

— V — 

— V - 

- 

— 1* - 

- hi - 

K _ 

-V — 

=k= 

G.  F.  K. 


1.  Come  10  the  meadows  a  -  gain,  sweet  bird, 

2.  Come  to  the  meadows  a  -  gain,  sweet  bird, 

3.  Come  to  the  meadows  a  -  gain,  sweet  bird, 

4.  Come  to  the  meadows  a  -  gain,  sweet  bird, 


^ ^ 

/(i  a 

.  » 

s  0.  ' 

l 

— 

I 


3 


Come 

Come 

Come 

Come 


to 

to 

to 

to 


the 

the 

the 

the 


meadows  a  -  gain  ;  We’ve  waited  and  lis  -  tened  so 

meadows  a  -  gain;  The  cow  -  slips  are  open  -  ing  their 

meadows  a  -  gain ;  The  lit  -  tie  blue  bells  of  the 

meadows  a  -  gain  ;  The  zeph-yrs  are  breath-ing  their 


? — f- 

- 

3 

P — v- 

r 


s 


-m- 


; 


wea  -  ry  and 

bright  star  -  ry 
vi  -  o  -  lets 
o  -  dors  of 


long, 

The 

sound  of 

your 

pip  -  ing, 

the 

eyes ; 

The 

dai  -  sies 

and 

but  -  ter  - 

cups 

peep 

From 

un  -  der 

the 

.moss  -  es 

where 

balm, 

From 

sweet  south 

-  ern 

lands  where 

the 

SWEET  BIRD.  — Concluded. 


197 


joy  of  your  song  And  the  trill  of  your  mu  -  si  -  cal  strain, 

soon  will  a  -  rise,  With  their  bril  -  liant  and  bios  -  som  -  ing  train, 

they’ve  been  a  -  sleep,  And  all  smi-  -  ling  they  wel  -  come  the  rain, 

or  -  ange  and  palm  Wave  their  plu-mage  of  beau  -  ti  -  l'ul  green. 


V 

CHORUS. 

Come, 


-Vr 


bird. 


198 


“Millions  of  Tiny  Rain  Drops.’7 


G.  F.  R. 

From  tho  “Coronet1 


instrument.  Play  the  accompaniment  an  octave  higher  than  it  is  'written. 


1.  Mil  -  lions  of  ti  -  ny  rain 

2.  A  light  and  air  -  y  tre 

3.  Oh!  ’tia  a  storm  of  mu 


drops  Aro  fall  -  ing  all  a  -  round; 

ble  They  play  up  -  on  tho  stream 
sic,  And  Hob  -  ins  don’t  in  -  trade, 


zi=4rX=- 


*  *  *  0 

e 

.... 

_ 

• 

• 

: 

-  . 

>  *  *  n 

0  - 

0 

k 

i  -Jr~ 

> — 

J 

] 

#• 

:  '  1ft 


s  Us  l: 


They  aro  fair 
A  deep 
It  Seems 

-0-~  0- 


APf  t  * 


j  ;  v 


y  • 

like 

mu 

-  Hi 

01' 

in 

sound 

IlM 

if 

the 

war 

if- 

J  •- 

rj 

cians,  With  a  -  ny  -  tiling  for  keys, 
ing  When  they're  drop-ping  in  -  to  caves, 
liling  Of  the  birds  in  all  the  bow’rs, 


ff 

& 


>  5  J 


zztrr.^rqrpii 


3 


“Millions  of  Tiny  Rain  Drops. ’’-Concluded.  10y 


Beating  tune*  up  -  on  the 
With  a  ten  -  or  from  the 
Had  been  gath  -  er’d  in  -  to 


win  -  dows,  Keeping  time  up  -  on  the  trees, 

zepli  -  y rs,  And  in  al  -  to  from  tlie  waves, 

rain  -  drops, And  was  com  -  ing  down  in  Hiuw'ra. 

At  s  S  S 


—  I  S  N 

a  - - * - P — »  1  -* - * - — 1* — 

S  ft- 

~7-~^7  /  y  -- 

±= - 7=1  -A  =» — * — f- — 

I 


200 


B.B.  H. 


The  Farmer’s  Song. 


Mlllc  Maid's  Song  „ 
for  1st  and  2  Ivor.  ^ap 
.Milk  Mnid>  tong  Wear 
for  3d  verse. 

MODBHATO. 

vi? 


1.  Up  the  steeps  the  morn  is  bound -iiig,  Hark!  the  milkmaid’s 

2.  Now  while  earth  and  sky  are  glow  -  ing,  Speed  the  plow  -  ing, 

3  Now  the  west-ern  sun  de  -  scend-ing,  Shad  -  ows  with  the 


l?n*  w  sound -ing,  Voice  of  bird  and  bee  re  -  sound  -  ing ; 

speed  the  mow  -  ing,  Gay  the  song  that  cheers  our  go  -ing; 

light  are  blend  -  ing ;  Lo  !  the  herds  are  home  -  ward  wend -mg; 


t=t= t=t^  — r~r 

r=f=F=^H’~~r~r 


Sisfei Efej 


Up  my  lads,  be  blithe  as  they,  A  -  way,  a  -  way,  a  -  way. 

Glad  -  ly  toil  we  while  we  may,  A  -  way,  a  -  way,  a  -  way. 

Cease  the  toil,  but  not  the  lay,  A  -  way,  a  -  way,  a  -  way. 


i  :  Ur  wm  F.oorl  flip,  p.nll  li  nod  the  call. 


«  0  * . 


r — F - F - r - 

s  « 

w  — 

F=£=-l - \z-W- 

— 

*  * 

-  0 - 0 - * - 

L  r  -f — - 

t.  _J 

201 


The  Farmer’s  Song. — Continued. 


202 


The  Farmer’s  Song. — Concluded. 


Tlie  New  Dress. — Concluded. 


203 


*'  stam  -  mered, 

“  nei  - 

ther 

sick 

nor 

& 

au 

school 

dress 

so 

that 

Ma 

-  bel 

shall 

hung 

it 

but 

will 

rath 

-  er 

think 

bright 

with 

joy- 

and 

ev 

-  ery 

heart 

M 

f* 

y  where, 
not  stay, 
I  guess 
was  gay, 

P . 


§ii 


i 


5 


5 


§s 


•  On  - 

ly 

her 

Moth 

-  er 

keeps 

her 

home, 

she 

Need  - 

ing 

the 

prop  - 

er 

clo 

-  thing 

from 

her 

God 

in 

His 

P1  - 

ty 

for 

His 

child 

has 

When 

lit 

-  tie 

Ma  - 

bel 

smil 

-  ing 

came 

in 

-  l - 

— i - 

■e- 

■o- 

T 

- 1 - 

-e- 

- » — 

20  4 


Arr.  for  this  work. 


All!  how,  Sophia. 


FIRST  DIVISION. 

_  £1 _ |  - h  _ 

i  i  1  1 

1  . 

1  '1  l  h  1  H _  1 

3  ?  a 

IfrT'  /.  ST  _ O  if 

I'-Jz  » 

.  -  t  t  “ 

Ah!  how,  So  -  phi  -  a,  can  you  leave,  can 


ry  —  “i 

— 1 - f - *—\ 

0  2 

- 1 - 1 - r 

,  1 

1#  tfW 

-4 - 

-  f*  -  0 

-  t  4— 

— 1  — \ 

* 

leave  Your  lov  -  er,  your  lov  -  er,  and  of  hope  be -reave! 

SECOND  DIVISION.  l 


\-jLb+  ~l 

— d= 

-d=d-: 

^  9 

1  -J — * 

€ 

t-  *  • . i 

* 

—G - 

w 

- - U 

Go  fetch  the  Indian’s  bor-row’d  plume,  bor  -  row’d  plume ;  Yet 


rich  -  er,  yet  rich  -  er  far  than  that  your  bloom: 


TIIIKD  DIVISION. 


0  -  -a 

F=F 

=J  T“ 

# — 

I’m  but 

a  lodg  -  ei 

- - « 

r  in 

her 

 o 

heart, 

«  JJ 

in  her 

1  ' 

heart;  A 

nd 

r  y 

— j: - 

0 — 

* 

r— z\ 

- ! - -i 

1-  - 

* 

r  .  0  m 

- 1 - 

— 

IrT\ 

rj 

# - - 

— 

- 1 - 

— i - h 

- - - 

more  than  me,  and  more  than  me  I  fear  have 


Ah!  how,  Sophia. — Continued.  205 


-LLj _ 9  _  £?  9  & 

9 - 

Jl—h  -J _ 

*•  .  *>  L 

.  \a 

a 

O  »  & 

fmr  1 \ L  ,'j/ 5  u 

-  1 - 

r? 

,j  1  r~ 

phia, 
n . 

Ah !  how,  So-phia, 

Ah! 

how, 

~lr - 1 - h- 

So-phia,  phia, 

v  r1 

.  v  _ p _ n  v 

r> 

T  “Tf 

P  3  a  p  6  m 

P 

n  tv 

&T\  S  * 

r  a  0  ■  -  0 

9 

\ 

Lf  J  J  9 

Vl7  «  T 1 

0 

ft*  0 

Indian’s,  fetch  the  Indian’s,  fetch  the  Indian’s, 

fr 

Go  fetch  the 

,  .  ...  . 

ft  i 

J  P  P  ^ 

rrrs  V  1 

*  1  J  .  T 

-  - 1 - N- nr 

vs  y  « 

u  c  |S 

  1  i 

I’m 

but  a  lodg  -  er, 

O  ~  Tl 

I’m  but  a 

i 


^4- 


'V 


4r 


=E= 


7 


V- 


-V- 


V— 


— h- 


pliia,  Ah!  how,  So  -  phia,  phia, 


f 


phia,  Ah!  how,  So  -  phia,  phia, 


£ 


Indian’s, 


Go  fetch  the  Indian’s, 


Go  fetch  the 


fH - : - . - 

- - w - 

— p — P — ?— — 

-* 

9— 

— 

-0 - - - 

- i  1  ? 

*  0 

- 1 - 

— V — 

=p  : 

t r 

lodg  - 

er, 

-0-  ^ 

I’m  but  a 

lodg  -  er, 

I’m 

but 

a 

- P- 


-V- 


-V - 


V - I*- 


*- 

5 


0 —  p - 0 - te  -A 

£  ^  l' — 


phia,  Ah!  how,  So-phia,  phia,  phia,  Ah!  how,  So- phia.  Ah!  how,  So- 


V—  H-- 


— I 

-0 


Go  fetch  the  Indian’s,  fetch  the  Indian’s,  fetch  the 


=*: 


“N  ^ 


lodg  -  er, 


I’m  but  a  lodg  -  er, 


•I’m  but  a 


206 


Ah!  how,  Sophia. — Concluded. 


— i— 


m 


$ 


-0 —  0- 

rp=p: 


phia,  Ah !  how,  So  -  phia,  phia,  phia,  Ah !  how,  So  -  phia,  Ah  !  how.  So- 


£ 


=£=*: 


6 


Indian’s 

£ 


* 


:  /  ? 


& 


V 


=1=r 

0°  fetch  the  In-dian’s,  fetch  the  Indian’s,  fetch  the 


— K- 


lodg  -  er, 


I  m  but  a  lodg  -  er, 


& 


^3 


„ ,  ^  * 

1 m  but  a 


Ah !  how,  So-phia. 


phi  -  a,  can  you  leave,  Ah !  how,  So-phia, 

Indian’s  bor-row’d  plume;  Ah!  how,  So-phia, phia, phia. Ah!  how,  So-phia. 

9 

p: 


$4 


lodg  -  er  ...  her  heart;  Ah!  how,  So-phia,  phia, phia.  Ah!  how,  So-phia 


When  the  Old  Year  Died. 


B.  K.  H.  20  7 


'4  iz 


^  .#  ;  : — * 


H 


1. 

2. 

3. 

4. 


9:fe 


There  were  ring  -  ing 
There  were  stnck  -  en 
And  a  prayer ,  a 

And  the  New  Year 

- *• - *- 


l 

notes 

forms 

rose 

came 


i 


in 

at 

in 

with 

— «• 


the  fes  -  tal  throng, 

the  lone  -  ly  hearth 

that  home  of  doom 

a,  song  of  mirth 

-0 - 0 - » - 


f 


¥ 


a r 

T~ 


3== 


^  -0T- 


pf 


With  the  dan  -  cers  feet, 
When  the  news  was  told 

O’er  the  child  of  time 

As  the  smile  of  Spring 

— 0-' - 0 


and 

to 

at 

to 

K 


the 

the 

his 

the 

A 


swell 
wait 
o  - 
wea 

i 

i 


 0 

of 

ing 

pen 

ry 

=j= 


song, 

earth, 

tomb, 

earth, 

=4= 


1 


=u==u 


¥ 


s 


3= 


3= 


There 

were 

forms 

of 

beau 

-  ty 

,  and 

forms 

of 

pride, 

And 

a 

tear 

a 

-  lone 

to 

the 

notes 

re  - 

plied, 

And 

the 

wait  - 

iug 

ser 

- 

aph 

heaven  - 

ward 

hied 

As 

a 

grate  - 

ful 

token 

to 

the 

heart 

un  - 

tried, 

=S= 


f 


— t- 


f- 

— 0 

- 

— a — 

0  • 

When 

the 

deep 

chime 

fell, 

and 

the 

Old 

\  ear 

When 

the 

deep 

chime 

fell, 

and 

the 

Old 

Year 

As 

the 

deep 

chime 

fell, 

and 

the 

Old 

Y  ear 

AYhen 

the 

deep 

chime 

fell, 

and 

the 

Old 

Year 

m 


died. 

died. 

died. 

died. 


pin  -  ions  of  light,  Wait  till  I  whis  -  per  my  Moth  -  er  goodnight; 

sor  -  row  is  sore,  Weep-ing  for  one  who  will  weep  nev  -  er  -  more  ; 

bless  -  ed  art  thou!  See, there  s  a  smile  on  the  dear  pal  -  lid  brow; 


5 


*- 

6= 


£ 


tr± *— t 


3 


r - K - S- 

— N“ 

T-k  -s 

— v- 

- Kr - 

— P— 

0 .  *  * 

-  0 — 

- P - 

—p - s — s— 

*==§-  * 

-*l - ' — 

0  0 

-P\ - 

<» 

1,  j 

— 1 — 

J 

-*i - p - p- 

-0  a 

List  while  she  calls  me  her  pride  and  her  joy,  Folds  to  her  bo  -  som  her 
AV aft  hersweet  dreams  of  the  bless-ed  a  -  bove,  Tell  her,  our  God  is  a 
To  -  ken  of  faith  that  hath  conquered  her  fears, To-ken  that  time  will  have 


—  --  up — y 


mm 


*  * 


£=v=p= f==fc=§3 

_ _ Li _ Li _ _ Li  _ 'Li_J 


-# - P - F  -- 

-P  E? — t — ^ — p — ? — P—  ✓ 


i— i 


y — s - 

"  -h- 


s 


* 


t 


rH~~— ~t— jv 

0 -  0H 


1 - 


N~ 

0  - 
0 


0 

C 


0 

¥ 


*  own  lit  -  tie  boy,  IIov  -  er  a-round  her  or\  pin  -  ions  of  light, 

Fa  -  (her  of  love;  On  -  ly  for  this,  am  I  stay-ing  my  flight, 

so  -  lace  for  tears  :  Prest  to  those  lips  in  their  ag  -  o  -  ny  white, 

>  — - -  —» - « - « -  -» - 0 - 0 - | - 

—r— - 1 - ~1 - 

-# - P - P  ^ 

— !/ - / -  r  — 


mpi mm. 


e  •- 

-Iff-  ’  - 


209 


Beautiful  Angel.— Concluded. 


Moth  -  er,  dear  Moth  -  er,  0 !  kiss  me  good  night. 

Math  -  er,  dear  Moth  -  er,  0 !  kiss  me  good  night. 

Moth  -  er,  dear  Moth  -  er,  for  -  ev  -  er  good  night, 


NT#- 

;  * 

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- - P  1 - s - ; - 

’  r 

T  n  “  ff  . 

*  iFI 

!J  Yj  Yj 

*  '  r  \  f 

tl 

P - - 

V 


Will  you  Sing  after  Us? 


MODERATE 


i  y  4.  ... 

i . i . 

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a  ^  0 

*  e  — (— 

1.  Will  you  sing  af  -  ter  us?  0,  yes.  Just  what  we  sing?  Just 

2.  Will  you  sing  af  -  ter  us?  0,  yes.  Just  what  we  sing  ?./««£ 


what  you  sing;  Well,  Do,  re,  mi;  Do,  re,  mi;  Do,  re,  mi,  fa,  sol ; 

what  you  sing;  Well,  Ha,  ha,  ha,  Ha,  ha,  ha;  Ha,  ha,  ha,  ha,  ha ; 

Tin. 


Do,  re,  mi,  fa,  sol;  Do,  re,  mi,  fa,  sol,  la,  si,  Do,  re,  mi,  fa,  sol,  la,  si, 
Ha.  ha.  h  •,ha  ha;  Ha,  ha,  ha,  ha, ha,  ha, ha,  Ha,  ha,  ha,  ha,  ha,  ha,  ha, 


1 - t 


Do. 

Ha. 


Do,  re,  mi,  fa,  sol,  la,  si,  do,  re,  do,  si,  In,  sol,  fa,  mi,  re,  Do,  re,  mi,  fa, 
Ha,  ha,  ha, ha,  ha, ha,  ha, ha,  ha, ha,  ha,  ha,  ha,  ha,  ha,  ha,  Ha,  ha,  ha, ha, 

-4—4- 


— l - a 

a- - 


Jz 


I 


sol,  la.  si,  Jo,  ie,  do,  si,  la,  sol,  la,  mi,  re,  do.  That’s  right, that’s  right. 
ha.  ha,  no,  ha,  no,  ha,  ha,  ha,  ha,  ha,  ha,  ha,  ha.  That’s  right, that’s  right. 

Divide  tho  class  into  two  divisions,  one  to  sing  the  words  in  Koninn  letters,  the  other  those  to  Italic*. 


b.  n,  n. 


210  Morning  Song. 

Note.— It  is  likely  that  in  most  schools  but  one  part  will  generally  he  sung,  hut  a  piece  like  the 
following  depends  for  its  full  effect,  so  much  upon  the  blending  of  all  the  parts  that  i#t  is  hoped  the 
teacher  will  contrive  to  have  them  all  represented.  Let  those  who  sing  the  sustained  notes  do  so 
with  the  swelling  tone. 


ALLEGRETTO 


1.  The  morn  -  ing 

is 

beam  -  ing, 

the 

morn  -  ing 

is 

beam  -  ing 

2.  The  hill  -  tops 

are 

glow  -  ing, 

the 

hill  -  tops 

are 

glow  -  ing, 

3.  The  brook  -  lets 

are 

dash  -  ing, 

the 

brook  -  lets 

are 

dash  -  ing, 

3 


■V- 


3 


S 


The 

morn 

- 

ing 

is  beam 

- 

ing, 

The 

hill 

- 

tops 

are  glow 

- 

ing, 

The 

brook 

- 

lets 

are  dash 

- 

ing, 

„  u  S  N  N  N  N  .  v  w.  •*?  - & - 

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bring  from  your  port-als  A 

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*  *  *  '  £ 

i  ir 

greet-ing  as  glad  as 

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212 


Morning  Song. — Concluded. 


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li  -  lo,  Hil  -  lil  -  li  -  lo,  We 


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hail  the  dawn  of  the  morn-i 

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Iiil-lil-  li  -  lo,  Hil-lil  -  li  -  lo,  We  w  el-come  the  com-ing  clay. 


Make  Hay  while  ilie  Snn  Shines. 


It.  U,  H. 


11  Ik  MOOKRATO  k  I 


1.  Make  hay,  while  the  sun  shines,  When  the  day  is  bright  and  calm  ; 

2.  Make  hay,  while  the  sun  shines,  As  the  bees  lay  up  their  store  ; 

3.  Make  hay,  while  the  sun  shines, Gather  in  life’s  precious  store; 

4.  Make  hay,  while  the  sun  shines, .’Till  the  toil  of  life  is  done; 


’Till  the 
For  the 
Ere  the 
And  a 


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1st  time.  2d  time. 


j-J 


welcome  restshall  sooth  thy  breast,  In  the  evening’s  hour  of  balm,  balm 
win-try  blast,  will  comeat  last,  And  the  bright  flowers  bloom  no  more.  more, 
gold  -  en  morn  of  youth  is  gone,  And  the  bright  days  come  no  more.  more, 
calm  sweet  rest,  shall  sooth  thy  breast,  When  the  work  of  life  is  won.  won. 


Farewell  to  Teacher. 


G.  F.  R. 


m 


1.  Fare-well!  If  not  on  earth  we  meet,  We  will  not  grieve  to 

For  thev,  whose  life  -  work  is  com-plete,  Shall  dwell  in  bliss  for- 

2.  Fare- well!  The  paths  that  now  di  -  verge  May  ne’er  be  re  -  u- 

And  tho’ts  sweep  o’er  us,  surge  on  surge  Of  bless  -  ings  un  -  re- 


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0  0  O 

sev  -  ei 

ev  -  er 
ni  -  tec 
qui  -  tec 

h 

if 

if 

- 

Thy  glance  was  on  a  bright  -  er  shore,  While 

May  He,  who  keeps  thee  in  his  care,  With 

P  *  _ f-  ^ 

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heav’n  -  ly  lore,  In  beau  -  ty  in  -  ter  -  la  -  eing. 
grate  -  ful  pray’r,  Those  bless  -  ings  doub  -  ly  ren  -  Uer. 


214 


Rallying  Song  for  Bauds  of  Hope, 


G.  F.  It. 


MODERATO. 


1.  Lo,  the 
Hope,  her 

2.  Ral  -  ly, 
Rum  is 

3.  Speeds  the 
Rum  shall 


ranks 
cheer 
boys 
strong, 
glo  - 
cease 


-h- 


T 


tr. 


- 1 - 

e  - 

e 

=5— 

# 

a  - 

9 

of 

youth 

and 

beau 

ing 

song 

sings 

o’er 

and 

girls, 

we 

need 

but 

truth 

is 

strong 

rious 

re  - 

form 

a 

its 

reign 

of 

ter 

— * 

* 

* - 

m 

i 


ty, 

them, 

you, 

er, 

tmn, 

ror, 


s 


=4-= 


i: 


-fl¬ 

it 


- 


At  the  call  of  truth 

Vic  -  t’ry  is  the  prize 

Ral  -  lyl  join  some  band 

Rum  must  rule  the  earth 

Speeds  the  hour  when  from 

And  be  -  fore  the  truth, 


and  du  -  ty,  March  a- 

be  -  fore  them,  Far  a- 
and  speed  you,  Speed  a- 

n o  long  -  er;  Then  a- 
the  na  -  tion  Swept  a- 

the  er  -  ror  Shrink  a- 


way, 

way, 

way, 

way, 

way, 

way, 


a  -  way, 
a  -  way, 
a  -  way, 
a  -  way, 
a  -  way, 
a  -  way, 


V 

n — 

— w — 

a  - 

a-. . 

way, 

a  - 

way; 

a  - 

a-. . 

way, 

a  - 

way; 

a  - 

a-. . 

way, 

a  - 

way; 

sipi 


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way,  a  -  way.  [ 

way,  a  -  way.  f 


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Rallying  Song  for  Bands  of  Hope.— Concluded.  2 15 


CHORUS. 


|t  lS 

S  .  . 

N  • 

\  N  N 

^  US m 

«  •  0i _ p _ us r  .  u 

A  W ~  •  0 

N  n  -  * 

J  *  a  a  J  _ S  _N  1 

fr T>k 

viji  .   . 

2  2  2  2 

XU  J  •  *  s  e  e  s  a 

bands  of  hope  are  march-ing  on 

m  •  0  m  0  0  0  © 

a 

,  An 

 0 

^  ^  O'  ^  ’O 

d  vic-t’ry  must  and  shall  be  won, 

*1: 

0-6  9  m  x  s  K 

o  - r - r   c  '  i 

r 

5  •  »  *  »  f  r  r 

1  y  i  i  y  y  y 

F 

- h - E - F) - h - H - f-7 - h 

- h — 

2  W— V 

3- 


m&E  = 


A  -  way,  a  -  way;  The  bauds  of  hope  are  march  -  ing 

* - f:  * - •  '  ' - ' - ' 


r 


AS. 


-m- 


' 


i 


ANP  A  KTTNO 


1 .  We  are 

2.  Though  the 

3.  He  will 


sail 


me 


skies 


arc 


keep 


o  er  an 
dark  a- 
ev  -  er 


217 


S— t- 


i 


-5- 


^=J: 


"V 


Where  we  /iope  to  cast  our  an-chor,  When  our  voj  -  ag  -  ing  is  o:er 

.•JL 


— Jis- 


-j-V- 


L-g — » — »— |— r 


218  ITords  by  Dr.  BluckaJI.  The  Union  Greeting, 


King  a  -  lone,  And  all  His  cliil  -  dren  fond  -  ly  own  Their 
mid  the  throng,  Aud  young  hearts  glow  as  they  sing  the  song  Of 


u  »  «  o  ee  so  9  —  m  e 

U  ^ •  g— if 44-i— — - 1 - 1 -  - 

F - 2 - 2 - 2 - 

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f  V  1  P~ 

I  P  Pi/  F~ 1 

CII011U8. 

:I3=i=33FE±-^5? 

— f-  •/ — \  i/— i 

Fa  -  ther,  God  a  - 
this  our  Un  -  ion 

hove.  Oh !  mer  -  ri  -  ly,  mcr  -  ri  -  ly, 
Hand.  Oh !  &c. 

/fN 

yMi  y 

U‘ 

II 

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V- — U  £= - U— • 

The  Union  Greeting. — Concluded.  219 


you.  Wei  -  come  !  wel  -  come  !  Warm  is  our  wel-come  to  you  ! 


i  •  5  «• 

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v  fHt  [  -jp 

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K 

— 

9  W-  9  -fr-f,  t- 

=P-P — : 

3.  Gems  have  we  brought  to  delight  the  soul, 

And  flowers  whose  fragrance  shall  e’er  be  whole, 
That  cheer  life’s  way  along  ; 

Then  give  your  hearts  and  extend  your  hands, 

And  let  us  bind  you  in  silken  bands., 

The  bands  of  love  and  song. 

Cbobus — Oh  !  joyously,  joyously  sound  we  the  strain. 
For  ’tis  the  song  of  the  true ; 

Cheerily,  cheerily  give  we  again, 

Welcome,  thrice  welcome  to  you. 

Welcome!  welcome! 

Welcome,  thrice  welcome  to  you. 


The  Talley  of  Cliamouni 


From  (JIotpt, 
A  rr.  by  h  W.  R. 


2  m 


^  0*  ^  SOl.O.  ALLEGRETTO 

'  * . .  / 


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-gr 


:-3Cp 

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-3  -K 


-s  s» 


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V  '  - —  ss 
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1.  When  the  heart  iu  golcl-en  fan-cies,  To  the  sway  of  happiest  dreams,  Back  to 

2.  \Ylu<u  I  hoar  the  Alp-horn  ring-ing,  When  Mount  Blanc  fore-tells  tiled  .y,  and  t tie 


m 


chorus 


....  P  l .  f>  /— I3-/.-P  '  -p-t-|X/.-P-L-j-: 

«  -#  -«  l-g’  a « 

i ,  *  fl  ♦  ♦  -*■ 


-H 


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V  ZJ  r->'1 

««#<?» 


l/tf 

1.  When  the  heart  in  gold-en  fan  cies,  To  the  sway  of  hap-piest  dreams,  Then  hack  to 

2.  When  I  hearthe  Alp-horn  ring-ing.  When  Mount  Blanc  foretells  the  day,  And  when  the 


V— Ip-  — p — P--J 


# 


#  p- 


-0^0  ‘ 


-S-  -N--S-1 


* p.j~ 


scenes  of  beau-ty  glan-ces,  Lit  by  mem 
breeze  of  morn-iug  bring-ing,  Moun-tain  chime 


’ry’s  brightest  beams;  Then  I 

and  mountain  lay ;  Then  nne6 

IS- 


.£  -#■-#•  -5-  00S0  +  0 


scenes  of  beau-ty  glan-ces,  Lit  by  mem-’ry’s  bright-est  beams; ’Tia  then  I 
breeze  of  morning  bring-ing,  Moun-tain  chime  and  moun-tain  lay;  0,  then  once 


J— »~M-p  p-^-p'  "p  :«±  «_  *zl  '  _d 


see  that  vale  of  foun-tains, 
more  with  rap -ture  glow-ing, 


Where  the  Alpflow’rs  woo  the  gale; 
All  that  moun-tain  land  I  hail; 


g  # - 


♦  Tt5-?P  +  V  *  ♦  : 


v  V 

.  hvdvr 

«  Cl  — 


geo  that  vale  of 
more  with  rap-ture 

—v  K — S' 


fountains,  Where  the  Alp-flow’rs  woo  the 
glow-ing,  All  that  moun-tain-land  T 


mii;  #  T 


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r  r 

gale  ;  Yes  nn-di  r 
hail ;  But  still  my 

~K — S — N~  N- 


j-l-P  *2  o  *  ?  | 

- _ — - j/  ■*- •—  — - -* 


221 


T3ie  Yulley  of*  Chamoi?ni.— -Concluded. 


I  I 


the  snow-crown’il  nmu'itains  Shin-ins;  o’er 
with  joy  o’er  -  flow  -  ing.  Liu-gera  in 


that  beau-teous  vale;  Oh! 
tliat  beau-teous  vale;  Oh! 

/T\ 


.  u  .Aj_  N  5  ArrA  -j; 
—  & —  &  — a — 

nr  -sr  sr  -& 


l-H|. 


&r 


-St¬ 


all  tho  snow-crown’il  mountains, Shin  -  iug 
heart  with  joy  o’er  -  flow -mg,  Lin  -  gers 


o’er  that  beau-teous 
in  that  beau-teous 


-& 

vale ;  Oh ! 
vale ;  Oh ! 


m 


nAzA: 


p A  p  p 


~^T\- 


t: 


H 


•g~ 


— i-1- 

#:• 


2 


57 


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5=3= 


# — # — 0 — • — L« 


— Az 


a 


— I- 

-0- 


Cha-mou-ni,  sweet  Cha-mou-ni, _  Ohltlievale  of  Chariuou-ni!  Oh! 

Cha-mou-ni,  sweet  Cha-mou-ni,  Oh!  the  vale  of  Cha-mou - ni !  Oh! 


■0— * -0— -0- 

*—*—*—r 


Cha-mou  -  ni,  sweet  Cha-mou 
Cha-mou  -  ni,  sweet  Cha  -  mou 


ni;  Oh!  vale  of  Cha-mou  -  ni,  sweet  vale;  Oh! 
ni;  Oh!  vale  of  Cha-mou  -  ni, sweer  vale;  Oh! 


-*■■■ 1  s  1 


yTZZp - U— V— 


--K — |- 

e  -  o — st 


STS 


irt 


h 


#■* 


I  *  0  .*>  >  V 


Cha-mou  -  ni,  sweet  Cha-mou-ni, 
Cha-mou  -  ni,  sweet  Clia-mou-ni 

f7\ 


Oh !  Cha-mou  -  ni’s 
Oh  !  Clia-mou  -  ni’s 


feHbidLjsS 

- ] - 0 - 0 — -.0 


-JS-— j— 

a  ■  ~r3r~ 

0  "  & 

-or-  ~*r~ 

Clia-mou  -  ni,  sweet  Cha-mou-ni, 
Cha-mou  -  ni,  sweet  Cha-mou-ni, 


sweet 

sweet 

/Tn 


vale. 

vale. 


A  •* 


— 1 - ' - a 

-9-  -0-  ° 


~0 

Oh  !  Cha  -  mou 
Oh!  Cha  -  mou 


^ m 


ni’s  sweet  vale, sweet  vale, 
ni’s  sweet  vale, sweet  valo. 


^1>*A_AaA-^A 


On  the  Mountain  High. — Solo  and  Chorus. 


G.  F.  R. 


SOLO,  OR  SEMI0H0RU3. 

ALLEGRETTO. 


From  “Festival  Glee  Book,”  by  permission. 


*  °  • 


—»  -i- 


1.  On  the  ‘moun-tain  high  lie’s  roam-ing, 

2.  When  the  shades  of  eve  are  fall  -  ing, 

CHORES. 


~r 


=t 


In  the  bright  and  glo-rious 
And  the  mel  -  low  horn  is 


o  0  o 


tv-r 


-a-  -s-  -& 

La,  la,  la,  la,  la,  la,  la,  la,  la,  la,  la,  la, 


=ji=*zp-—  iqerpcr 


0  a 


H 


t  vi  %  t 

la,  la,  la,  la,  la,  la, 


*  t* 


-V — V — i - ^—*0 


CONTENTS 


253 


et  Me  See .  19 

et  Us  Sing  anothei  Gay  Round .  ol 

vet  Us  Remember .  33 

.lift  Up  to  God . ^ 

“Lillian . 

Lillie  of  the  Snow-stcrm . If; 

■(•Little  Flow’ret . loi 

Little  Harry .  1 

Little  May,  come  and  Play .  “ 

Look  away  to  the  fields . 

:.ook,  the  Soldier  Hoys  are  Marching . 2‘ 

Make  a  Joyful  Noise . 261 

JMake  Hay  while  the  Sun  Shines . 212 

Mary  Auu,  where  are  You  Goiug? .  lb 

Mary,  Jennie,  Susie . .. .  7 

Merrily,  merrily  Bounding .  2o 

'erry  We  Go . . .  ° 

'lions  of  Tiny  Rain  Drops . US 

.  S7 

oao 


Out  West . 

Over  tiie  Snow . 

Pence  of  God . 

Piping  up  so  Clear.. 

Playing  Bird . 

Poiiits  of  Compass- 
Praise. 


Our  Teacher  Thinks  It  Best . 49 

Out  of  tiie  Heavy  Clouds .  31 

142 
132 
240 
43 
108 
84 

. .  231 

Praise  to  Thee . 238 

fQueen  of  May . 176 

Rain  Drops  are  Falling .  76 

Rallying  Song  for  “Bands  of  Hope” . 214 

*Rap,  rap .  92 

Ready  for  Duty . 134 

““Resisting  the  Tempter . 164 

Ring  the  Bell,  Watchman . H2 

Rippling  Fast,  Rippling  Still . 136 

Rockingham . 236 

fRobin  Song . 143 

Sadly  around  Us .  69 

fSanta  Clans . 134 

• — ol  ia  Done . 123 

ttrooklet .  58 


15 


222 


On  the  Mountain  High. — Solo  and  Chorus. 


CONTENTS 


253 


et  Me  See .  10 

et  Us  Sing  anothei  Gay  Round .  61 

jet  Us  Remember .  53 

-lift  Up  to  God . 2.;7 

"Lilliau . 101 

Lillie  of  the  Snow-stcrm . 173 

fLittle  Flow’ret . 157 

Little  Harry .  7 

Little  May,  come  and  Play .  9 

Look  away  to  the  Fields .  75 

'.ook,  the  Soldier  Boys  are  Marching .  27 

Make  a  Joyful  Noise . 251 

JMake  Hay  while  the  Sun  Shines . 212 

Mary  Ann,  where  are  You  Going? .  10 

Mary,  Jennie,  Susie .  4 

Merrily,  merrily  Bounding .  25 

Merry  We  Go .  8 

Millions  of  Tiny  Rain  Drops . 198 

♦Morning  Call . 193 

Morning  Song . 210 

Multiplication  Song .  87 

My  Country,  ’tis  of  Thee . 239 

Ni.lit  has  Spread  her  Sable  Pall .  65 

Night  Shades  no  Longer .  73 

Now  Beat  the  Time . . .  52 

Now  Beneath  the  Key-note .  45 

Now  Come  On .  24 

Now  Four  Parts  Together .  78 

Now,  Kittie  and  Nell . 174 

Now  let  the  Tones .  17 

♦Now  our  Labors  are  Ending .  64 

Now  that  We  have  changed  the  Key .  46 

Now  the  Blacksmith’s  Arm.— .  43 

Now  then  Down  again .  33 

Now  to  Sing .  3 

Now  We  have  a  Larger  Scale .  33 

Now  We  have  to  Try .  33 

Now  We  say  Farewell . 185 

Now  Work  is  Done . 92 

O,  come  away  to  the  School  Room......,— . 165 

O,  come,  let  Us  Sing . ; . 251 

0,  come,  and  Sing  the  Scale .  12 

0,  Gaily  the  Ploughman .  43 

O,  give  Thanks...., .  . . 248 

0,  how  Sweet  are  the  Echoes .  76 

O,  Listen,  do  List .  16 

0,  Sing  unto  the  Lord . 247 

0,  that  tho  Lord . 237 

0,  tho  Happy  Spring  Time .  4 

10,  We  have  Studied  Hard . 102 

0,  who  is  Down  in  the  Well? .  40 

tOcean  Blue . 168 

Oh  Bowers,  Glad  Bowers .  10 

Oh!  how  We  Go .  11 

On  tho  Mountain  High . 222 

Once  in  Spring .  60 

Once  more  Triple  Time .  34 

One  and  All  .  4 

One,  and  Three  and  Five .  40 

One,  Two,  One .  32 

♦One,  Two,  Three . , .  37 

Only  Beginning  the  Journey .  74 


Our  Teacher  Thinks  it  Best . 49 

Out  of  the  Heavy  Clouds .  31 

Out  W  est . 142 

Over  the  Snow . 132 

IVacu  of  God . 240 

Piping  up  so  Clear .  43 

Playing  Bird . 108 

Points  of  Compass .  84 

Praise . 231 

Praise  to  Thee . 238 

fQueen  of  May . 176 

Rain  Drops  are  Falling .  76 

Rallying  Song  for  “Rands  of  Hope” . 214 

♦Rap,  rap . 92 

Ready  for  Duty . 134 

♦Resisting  tho  Tempter . . . 164 

Ring  the  Bell,  Watchman . 112 

Rippling  Fast,  Rippling  Still . 186 

Roc  kiughaiu . 236 

fRoliin  Song . 148 

Sadly  around  Us .  69 

fSanta  Clans . 184 

♦School  is  Done . 123 

See  the  Little  Brooklet .  58 

See  the  Trees  in  the  Breeze . 10 

Shall  Wo  Standstill? .  56 

fShe  who  gives  the  Wrinkled  Frown .  14 

Sicily . 238 

Sing  a  Lay,  Bright  Queen  of  May .  31 

♦Sing  Now — Rest  Now .  27 

♦Sing,  Sing  Good-bye . 160 

Sing  Merrily,  Sing .  57 

Sing  the  Notes  along  with  Me . 37 

Sing  this  Song  with  Me .  39 

Singing  on  the  Tree  Top .  11 

Sleighing  Song . 110 

Slowly  Sounding  along  tho  Dell .  18 

Softly  Sing .  15 

Softly'  the  Shades  of  Evening .  73 

Sons  of  Freedom,  awake  to  Glory .  24 

Sower,  Mower,  Reaper,  Thresher .  81 

♦Sowing  Seed . 171 

Space  the  Fourth .  9 

Spring  has  Come .  39 

JSteady,  Boys . 88 

♦Strange  Stairways .  21 

fStudy  Hard . . .  77 

tSweet  Bird . 196 

iSweet  Spring  Time . 192 

Sweetest  Blossom .  13 

Swiftly  Glide  the  Hours . 234 

Take  the  Pledge .  61 

Thanks  to  Thee . 240 

The  Beacon  Light . 216 

r'>\e  Blacksmith .  93 

The  Burlesque  Band . 124 

JTlie  Cars  are  Coming .  98 

Tho  Day  is  Hot . „ . .113 

[The  Dawn . 233 

The  Farmer’s  Song . . . -jbu 

The  Grammar  Lesson . . . v  1 

+The  Happy  Band . lu<> 


254 


CONTENTS. 


83 

tThe  Launch.. . """249 

The  Law  of  the  Lord....... . . 250 

The  Lord  is  ray  Shepherd .  4fi 

The  Moon  is  Bright . 202 

The  New  Dress . 

tThe  Old  School-house . 128 

jThe  Play-ground . 31 

Pthe^Sold i er’s  Motherless  Daughter . 136 

The  Song  of  the  Shoemaker .  £9 

The  Swallow  Flies .  59 

The  Table  was  Sot . 799 

The  Three  Rabbits . . . 33 

The  Time  now  is  '•'riple . 779 

♦The  Truant . •  • . .218 

The  Union  Greeting . . .  900 

The  Valley  of  Chamoum .  sn 

The  Voice  of  the  Morning . lf)4 

'll 

There  is  a  Child . •••••• .  .0 

There  is  Music  on  the  11  aters .  4R 

There  was  a  Little  Lambkin . 24g 

Thou  wilt  Keep  Him . ,u3 

Thou  wilt  Show  Me..... .  4fi 

Three  Clieers  for  our  . . 

[-Throwing  the  Stone . 1S0 

Tic,  Tic . . "145 

To  each  Beat,  a  Half  Note  Sing . 

To  Thee,  0  God  and  Savior . 

Tweet,  Tweet,  Tweet .  sS 

Two  Robin  Redbreasts . ? 

♦Ugly  Crow . on 

Unto  Him  that  Loved  Us . 


H 


Unwritten  Measures . •  • .  ., 

Up,  up,  up— Down,  down,  down.. .  4ft 

Upward,  Upward,  Lightly  Bound .  g() 

Vowel  and  Consonant  Exercise . 

♦Was  it  Right? . . 100 

[•Washington's  Birth  Day . 

We  are  not  Quite  Sure .  Rfi 

We  are  Standing  Face  to  Face . 227 

We  Praise  Thee...... . : . .,05 

♦We  Praise  Thee,  0,  our  Father . 

We  will  give  our  Whole  Attention . 

IVe  will  Sing  at  Morn  and  Even . ^ 

Weaver  John... .  fi1 

IVeep  for  the  Fallen . 1R„ 

■[•Welcome  to  Teacher.... .  o- 

What  the  Birds  are  Saying . 

♦When  in  the  Autumn . 007 

When  the  Old  Year  Died . “ 

When  the  Joyous  Day......  .  . . 

When  You  all  see  the  Letter  M . 

Where  are  They  Gone? . . .  70 

Where  is  Little  Susie  gone? .  i" 

Where  Sweetest  Flowers  grow  . . 

Where,  tell  Mo  where  is  Celeste? .  “ 

Where  the  Sweetest  Daisies  bloom .  ““ 

♦Whip-poor-will .  i 

♦Whistling  Farmer  Boy.... . 

Who  is  down  in  the  Well? . 

Why,  dear  Comrades? . — 1 ”  !£ 

Windows  to  the  Sunrise . *•: 


JWiii 

♦  Winter  Time... 

Will  You  Sing  after  Us?. 

Wishes . 

Worthy  is  the  Lamb . 


-***■*■*■■**- 


Good  Night. 


MOPniATO. 


-0- - 


Methfesiel. 


*  y:.«  p 


And  now  we  say  to  all,  Good  night;  And  now  we  say  to  all,  Good 

night . 

P 


night;  And  now 


wo  aav  to  all,  Good  niglit;  Ind  Sow  wo  soy  to  all,  flood 


[#  l  . 

** uicM,  good „*ia.  fool  o.tM.  food  oiKlit,  food  nigld,  food  food  oiBU. 


— 


MODERN  HISTORY  DIVISION 


BRITISH  COLUMBIA  PROVINCIAL  MUSEUM 
VICTORIA  B.C. 


THE  CHAKM,  for  Sunday  Schools,  by  P.  P.  | 
Bliss.  > 

Pronounced  by  competent  judges  in  nil  the 
religious  den. jdiuih! ions  to  be  the  great  Sun¬ 
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The  popularity  of  The  Prize  is  so  great, 
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THE  MVSK'.VI,  KOI' XT  A  IN',  by  G.  F.  Root. 

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THE  MUSICIAN'S  (.I  f HE. 

A  book  cf  .i08  pages  for  10  cents.  Invalid 
able  to  teachers,  dealers,  and  all  others  in 
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1 


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