THF. 


I     ACADEMY     VOCALIST; 


OR,  VOCAL  MUSIC  ARRANGED  FOR  THE  USE  . * 


SEMINARIES,    HIGH    SCHOOLS,    SINGING    CLASSES,    ETC., 


profmsob  or 


BY  GEORGE  F.  ROOT, 

KTT.IC    IK   ABBOTT!    COLLEOIATB    INSTITVTIO.V,    8PINGIM   INSTITUTE,    THK    .VTGEB8    ISBTHimC,    VHB    H«W    VOBB    IN^.TUTION    FO«    TH«   (Lin,    1TO. 

INCLUDING  A  COMPLETE  COURSE  OF 

ELEMENTARY   INSTRUCTION,   VOCAL   EXERCISES   AND   SOLFEGGIOS. 

BY  LOWELL  MASON, 

NEW    YORK: 

F.    J.    HUNTINGTON    AND    MASON    &    LAW. 
EOS .  ^HN  P.  JEWETT  &  co- 


7 


*\>         ^X— 


of  nn^ 

JUN  6  1921 


m™      scSS> 

Section         £&</^ 


<§.  (3 .  ^2 


THE 

ACADEMY     VOCALIST; 

OR,  VOCAL  MUSIC  ARRANGED  FOR  THE  USE  OF  ^^0[nr>i 

SEMINARIES,    HIGH    SCHOOLS,     SINGING    CLASSES,    ETC., 

BY  GEORGE   F.  ROOT, 

PFIOFESSOR    OF  MUSIC    IN  ABBOTT'S  COLLEGIATE    INSTITUTION,    SPINGLER    INSTITUTE;    THE    RUTGERS    INSTITUTE;    THE    NEW    YORK    INSTITUTION    FOR     THE    BLIND,    ETC. 

INCLUDING  A  COMPLETE  COURSE  OF 

ELEMENTARY   INSTRUCTION,   VOCAL   EXERCISES   AND    SOLFEGGIOS, 

BY  LOWELL  MASON. 

NEW    YORK: 

F.    J.    HUNTINGTON    AND    MASON    &    LAW. 
BOSTON :  JOHN  P.  JEWETT  &  CO. 


r 


~  j*  = 

C^-  I  have  placed  the  Base  Clef  on  the  lower  staff  in  this  book,  for  convenience  in  playing,  and  that  its  use  may  be  more  extended.  It  will  be  found 
that  ladies  can  sing  from  this  clef  (an  octave  higher,  of  course,  than  the  actual  tone)  without  difficulty.  Should  any  object  to  this  arrangement,  I  would 
remind  them  of  the  constant  use  of  the  Treble  clef  for  Tenor  voices. 

I  have  written  a  few  Solos  for  high  Soprano  voices,  and  it  is  particularly  recommended  that  they  be  attempted  by  no  others,  as  nothing  is  more  injurious 
to  the  voice  than  forcing  it  above  its  natural  compass. 

An  agreeable  effect  will  be  produced  in  such  pieces  as  "  Beautiful  Star,"  "  Neva  Boatman's  Song,"  &c.  by  having  the  single  parts  sung  by  chorus  and 
the  trio  by  three  well  balanced  voices ;  but  this,  and  many  other  plans  for  producing  a  pleasant  variety,  will  suggest  themselves  to  the  teacher  or  leader. 

New   York;  Feb.,  1852.  G.  F.  R 


Entered,  according  to  Act  of  Congress,  in  the  year  1852, 

By  MASON  &  LAW, 

in  the  Clerk's  Office  of  the  District  Court  of  the  United  States,  for  the  Southern  District  of  New  York. 


S.  W.  BENEDICT,  Music  Stereotyper 
16  Spruce-street,  New  York 


ELEMENTS  OF  VOCAL  MUSIC. 


PREFATORY    REMARKS. 

The  following  exposition  of  the  u  Elements  of  Vocal  Music,''  has  been  prepared 
not  with  reference  to  names,  signs,  or  characters  merely,  but  having  also  constantly 
and  primarily  in  view  the  substance,  essence,  or  nature  of  that  which  is  to  be 
taught.  This  will  be  observed  in  the  propositions  or  axioms  throughout  the 
work.  Every  good  teacher  will  endeavor  to  convey  to  the  minds  of  his  pupils, 
in  the  first  place,  a  knowledge  of  things,  doctrines,  or  facts,  and  afterwards,  as  a 
natural  consequent,  a  knowledge  of  signs,  symbols,  or  characters.  The  inversion 
of  this  order  is  one  of  the  principal  causes  of  the  difficulties  attending  the  learning 
of  music,  and  of  the  obscurity  that  so  often  accompanies  the  well-meant  attempts 
of  the  teacher  at  explanation.  It  is  so  directly  at  variance  with  the  true 
philosophy  or  science  of  teaching  that  it  is  to  be  rejected  by  every  enlightened 
teacher  in  every  department  of  instruction,  or  whatever  may  be  the  subject  of 
his  lesson.  Music,  the  perception  of  which  can  come  through  the  sense  of  hearing 
only,  can  never  be  taught  by  signs  or  by  characters  which  arc  addressed  to  the 
eye.  With  as  much  hope  of  success  might  one  attempt  to  teach  chiaroscuro  by 
verbal  explanations  or  description,  as  the  nature  or  relations  of  musical  sounds  by 
an  exhibition  of  anything  to  the  organs  of  vision.  It  is  perhaps  mostly  to  a 
misapprehension  of  this  subject  that  we  are  to  attribute  the  many  new  systems 
of  notation  which  have  appeared  within  a  few  years  past;  an  attempt  has  been 
made  to  invert  the  order  of  nature  in  teaching  musjc,  and  to  communicate 
instruction  through  the  eye,  on  the  supposition  that  if  the  signs  and  characters 
are  explained  the  things  signified  will  be  understood.  Such  unphilosophic  attempts 
at  teaching  have  of  course  been  met  by  insurmountable  difficulties,  and  these 
difficulties  instead  of  being  attributed  to  their  true  cause,  have  been  supposed  to 
arise  out  of  a  defective  or  jjbscUre  notation  ;  and  hence,  new  systems  of  notation 
(so  called)  have  been  invented.  But  how  is  it  possible  that  one  can  be  made  to 
understand  in  any  practicable  manner  the  signs  or  symbols  of  things,  when  as 
yet  he  has  not  become  acquainted  with  the  things  signified  or  symbolized  ?  Let 
music  be  taught  first,  and  musical  signs  will  follow  easily  enough  afterwards. 
Let  the  teacher  draw  out  and  quicken  the  musical  perceptions  of  his  pupils,  let 
him  form  in  the  ear  a  true  idea  of  the  scale,  and  let  him  train  the  vocal  organs  to 


the  truthful  production  of  that  scale,  and  there  will  then  be  no  great  difficulty  in 
teaching  the  notation  by  which  it  shall  be  represented.  Notation  consists  mostly 
in  the  representation  of  musical  sounds  by  means  of  arbitrary  written  characters  ; 
one  arbitrary  character  being  made,  provided  it  be  simple  and  easily  strike  the 
eye,  is  as  good  as  another.  We  see  then  the  folly  and  ignorance  of  those  who 
would  attempt  to  render  the  learning  or  the  teaching  of  music  easier  by  adopting 
some  new  system  of  notation.  Not  more  absurd  would  be  the  attempt  to  relieve 
the  difficulty  of  teaching  colors  to  the  blind,  by  means  of  a  new  nomenclature, 
than  is  that  of  rendering  easier  the  teaching  or  the  learning  of  music  by  a  new 
system  of  notation. 

It  is  taken  for  granted  in  the  following  synopsis  that  the  teacher  is  familiar 
with  his  work,  or  that  he  knows  how  to  teach ;  pedagogic  directions  have  therefore 
been  mostly  omitted ;  not  even  the  questions  common  in  such  elementary  works 
have  been  inserted,  on  the  supposition  that  the  man  who  is  qualified  to  teach  will 
be  able  to  ask  Ids  own  questions.  The  practical  exercises  too,  must  be  regarded  as 
specimens  ;  for  as  the  good  teacher  of  arithmetic  does  not  rely  exclusively  upon 
his  text  book,  but  often  gives  out  original  or  extemporaneous  questions,  growing 
out  of  the  immediate  circumstances  by  which  he  is  surrounded,  so  the  good  music 
teacher  will  write  lessons  impromptu  upon  the  board  whenever  he  meets  his 
class.  There  is  a  freshness  and  lively  interest  in  such  lessons  that  cannot  be 
reached  by  the  most  carefully  prepared  book-exercises.  But  while  the  manner 
of  teaching  has  been  supposed  to  be  the  teacher's  own,  the  things  to  be  taught 
are  here  stated  or  defined,  so  that  this  work  is  properly  a  text  book  for  the 
teacher.  The  definitions,  so  often  defective  or  false,  and  the  technical  terms,  so 
often  misapplied,  in  treatises  of  this  kind,  have  received  close  attention,  and  it  is 
believed,  may  be  relied  upon  as  accurate.  The  order  of  arrangement  of  topics, 
both  in  respect  to  analysis  and  synthesis,  is  in  general  such  as  would  naturally 
be  suggested  by  a  careful  inductive  investigation  of  the  subject.  While,  therefore, 
it  is  specially  adapted  to  the  inductive  method  of  teaching,  it  will  also  be  found 
to  meet  the  wants  of  those  who  think  best  to  adopt  the  declarative  or  preceptive, 

I  in  preference  to,  or  in  connection  with  the  inductive  method.  Indeed  we  think 
that  every  good  teacher  of  an  adult  singing  class  will  avail  himself  of  both  the 
inductive  and  preceptive  forms  of  giving  instruction,  adapting  himself  to  the 

|   various  circumstances  in  which  he  may  be  placed. 


ELEMENTS  OF  VOCAL  MUSIC. 


INTRODUCTORY. 

ANALYSIS    OF    MUSICAL    SOUNDS. 

1.  Distinctions  existing  in  the  nature  of  Musical  Sounds.- A  musical  sound,  or  a 
Tone,  may  be, 

1.  Long,  or  Short. 

2.  High,  or  Low. 

3.  Soft,  or  Loud. 

2.  Properties  of  Tones.-A  tone  hai,  therefore,  three  essential  properties: 

1.  Length. 

2.  Pitch. 

3.  Power. 

3    Departments  in  the  Elements  of  Music.-As  there  are  three  distinctions 
existin«?n  the  nature  of  musical  sounds,  and  as  they  have  three  essential  proper- 
ties, so  there  are  three  corresponding  departments  in  the  elements  of  Music. 
1    Rhythmics, treating  of  the  length  of  tones. 

2.  Melodics, treating  of  the  pitch    of  tones. 

3.  Dynamics, treating  of  the  power  of  tones. 


1.   General   View : — 
Distinctions. 

1.  Long  or  Short. 

2.  High,  or  Low. 

3.  Soft,  or  Loud. 


Properties. 

Length. 

Pitch. 

Power. 


Departments. 

Rhythmics. 

Melodics. 

Dynamics. 


RHYTHMICS.* 

CHAPTER  I. 

divisions  of  time,     measures,     parts  of  measures,     counting  and 

beating  time,     accent. 
4  1    The   length  of   tones  is  mentioned  by   a  division  of  time,  into  equal 
portions.     This  may  be  indicated  or  illustrated,  by  counting  equally  thus  :  one, 
two ;  one,  two  ;  one.  two ;  one,  two ;  or  thus :  la,  la  ;  la,  la ;  la,  la ;  la,  la. 


«  2.  The  portions  into  which  time  is  divided  are  called  Measures  ;  thus  at  $1, 
four  measures  are  supposed  to  be  counted. 

§  3.  Measures  are  divided  into  smaller  portions,  called  Parts  of  Measures; 
thus,  at  §1,  measures  are  supposed  to  be  divided  into  two  parts,  the  first  part  of 
each  measure  being  indicated  by  one,  and  the  second  part  by  two. 

§  1.  Measures  and  parts  of  measures,  may  be  indicated  not  only  by  counting 
(to  the  ear),  but  also  by  motions  of  the  hand  (to  the  eye),  called  Beats  or 
Beating  the  Time. 

4  5.  In  beating  the  time,  a  downward  motion  of  the  hand  is  usually  made  for 
the  first  part  of  a  measure,  and  an  upward  motion  for  the  second  part. 

4  6.  The  first  part  of  a  measure  should  be  accented,  the  second  unaccented. 

Note  1.— When  the  pupils  commence  learning  to  beat  the  time,  it  is  well  for  them,  not  only 
to  make  the  proper  motions  of  the  hand,  but  also  to  repeat  the  words  dou.iiv.ard  beat,  upward 
beat,  or  down,  up,  as  descriptive  of  the  beats. 

Note  2.— It  should  be  thoroughly  and  practically  understood,  that  this  division  of  time  is 
the  Rhythmic  Element  J  the  principle  of  measurement  in  all  music.  The  portions  of  time  called 
measures  are  to  music,  what  the  portions  of  time  called  days,  months  and  years  are  to  history. 

Note  3  —The  letter  a  in  la  should  receive  its  grave  sound  (a)  ;  being  the  same  sound  as 
is  heard  in  the  words  Father,  Calm,  Balm,  Bar.  Far,  Pa,  Ma.  This  vowel  sound  (ah,)  is  the 
best  for  vocal  practice,  and  is  constantly  used  by  all  those  who  well  understand  the  training 
of  the  voice. 


CHAPTER  II. 

NOTES.       BARS.       RESTS. 

4  7    The  length  of  tones  is  represented  by  written  characters,  called  Notes. 

Notes  are  signs,  representing  to  the  eye  the  comparative  length  or  duration  of 

sounds. 

•    §  8.  Perpendicular   marks   are  used  for   marking   the   division  of  measures 

called  Bars. 

The  departments  arc  kept  separate  in  this  elementary  treatise,  not  because  they  should 
,       .    •     . i.:„~  i,,..v,An-1,„ni,n;n„tK1tc  «pnnratrd  thpv  nrcsent  a  clearer  general 


;  in  teaching  a  class,  however,  it  may  be  just  as  well  to  commence  with 
Melodies  •  but  with  which  ever  department  the  work  of  teaching  is  commenced,  it  is  cer- 
tain that  at  least  the  two  departments  of  Rhythmics  and  Melodies  should  be  almost  imme- 
diatelv  united  •  indeed  the  three  departments  should  proceed  simultaneously  (or  nearly  to) 
from  the  beginning,  and  through  the  whole  course  of  instruction. 


ELEMENTS  OF  VOCAL  MUSIC. 


$  9.  A  measure,  or  part  of  a  measure  may  be  passed  over  in  silence  ;  such 
silence  is  called  resting ;  and  the  sign  or  character  by  which  it  is  indicated  is 
called  a  Rest. 

Illustration  of  measures  ;  example  of  notes,  bars  and  rests. 

ii        i    r       i    i  r 


CHAPTER  III. 

RHYTHMIC    CLASSIFICATION.       PROLONGED    TONES.       PRIMITIVE    AND    DERIVED 
FORMS    OF    MEASURE.       LONG    NOTES    AND    RESTS- 

§  10.  A  sound  may  be  prolonged  so  as  to  occupy  both  parts  of  a  measure  ,  and 
thus  a  different  form  of  measure  may  be  obtained. 

$   11.  The  first  form  of  measure,  (a  separate  sound,  or  rest,  being  appropriated 
to  each  of  its  parts,)  is  called  Primitive  Form. 

§  12.  The  second  form  of  measure,  (both  parts  being  appropriated  to  one 
prolonged  sound,  or  rest,)  is  called  Derived  Form. 

§  13.  Derived  forms  are  obtained  from  primitive  forms,  by  uniting  the  parts. 
§   1-1.  The  prolonged  sound  is  represented  by  a  note  differing  in  form  from  that 
which  was  previously  introduced,  and  which  has  also  its  corresponding  rest. 

Note. — The  notes  and  rests  may  now  be  called  short  notes  or  long  notes,  and  short  rests 
or  long  rests. 

ILLUSTRATION. 
Primitive.  Derived. 

Short  rests.        Long  note. 


Primitive. 
Short  notes. 

•        0 


Derived. 
Long  rest. 


CHAPTER  IV. 


TRIPLE    MEASURE. 


$  15.  A  measure  may  have  three  parts;  as  one,  two,  three ;  one,  two,  three ;  or 
downward  beat,  hither  (or  inward)  beat,  upward  beat. 

§  16.  A  measure  having  three  parts,  is  called  Triple  Measure;  a  measure 
having  two  parts,  is  called  Double  Measure. 


$  17.  Triple  measure  receives  an  accent  on  the  first  part. 

^  IS.  A  sound  may  be  prolonged  so  as  to  occupy  two  or  three  parts  of  a 
measure;  and  thus  derived  forms  are  obtained  in  triple  measure. 

§  19.  When  the  derived  form  is  obtained  by  the  union  of  the  first  and  second 
parts  of  a  measure,  it  is  called  the  First  Derivative;  when  it  is  obtained  by 
the  union  of  the  first,  second  and  third  parts  it  is  called  the  Second  Derivative. 

§  20.  When,  in  a  derived  form  of  measure,  the  union  of  the  parts  commences 
with  the  first,  the  derivative  is  said  to  be  in  the  First  Class;  when  the  union 
commences  with  the  second  part  of  the  measure,  the  derivative  is  said  to  be  in 
the  Second  Class. 

§  21.  When  a  tone  commences  on  an  unaccented,  and  is  continued  on  an 
accented  part  of  a  measure,  it  is  called  a  syncope,*  or  syncopated  tone. 

■§  22.  A  syncopated  tone  should  always  receive  an  accent. 

§  23.  The  longer  sound,  occupying  three  parts  of  a  measure,  is  represented  by 
a  note  of  different  form  from  the  two  previously  introduced,  which  may  now.be 
called  the  longer  note. 

Note. — A  syncope  changes,  or  "  cuts  into  "  the  regular  accent. 

§  24.  Figures  are  used  as  signs  of  measure  ;  thus,  the  figure  a  denotes  double, 
and  the  figure  3,  triple  measure. 

ILLUSTRATION. 

Second  class. 
0  0  0 


First  class. 

Primitive. 

0 
| 

• 
| 

First  Derivative. 

P 
| 

Second  Derivitave 

O 

Longer  note. 

1 

Second  Derivative 

-m. 

Longer  rest. 

p 


Note.— The  principle  of  induction  never  anticipates  by  names  or  terms  anything  which 
has  not  already  been  discovered  or  taught.  In  investigation  this  anticipation  is  impossible, 
in  teaching  it  is  inadmissible.  Hence  the  pupils  use  such  names  or  terms  as  most  naturally 
come  up  in  the  mind,  and  if  on  further  progress  other  names  or  terms  become  more  conve- 
nient, they  may  then  make  the  change.  Again,  induction  never  burdens  the  mind  with 
names  or  technical  terms,  until  they  are  needed  as  aids  in  bringing  up  to  the  imagination 
the  idea  of  things  which  are  already  known. 

*  Syncope.— From  two  Greek  words,  signifying  "  I  cut."    f  Representation  of  a  Syncope. 


ELEMENTS  OF  VOCAL  MUSIC. 


CHAPTER  V. 


QUADRUPLE    MEASURE. 


§  25.  A  measure  may  have  four  parts;  as  one,  two,  three  four;  one,  two,  three, 
four;  or  downward  bi at,  hither  (or  inward)  beat,  thither  (or outward)  beat,  upward 
beat!    Called  Quadruple  Measubk,  and  distinguished  by  the  figure  4. 

§  26.  When,  in  a  derived  form  of  measure,  the  union  commences  with  the 
third  part,  it  is  said  to  be  in  the  Third  Class. 

6  27.  When  a  sound  is  prolonged  so  as  to  occupy  four  parts  of  a  measure  it 
is  represented  by  a  note  differing  in  form  from  those  which  have  been  previously 
introduced,  and  which  we  may  call  the  longest  note. 

Note. The  reason  why  the  commonly  received  names  of  the  notes  have  not  before  been 

given  is  explained  in  the  note  at  the  end  of  the  last  chapter  ;    they  may  now  be  adopted,  as 
Follows  :  — 

Notes.  Rests. 


Note,  Whole  Note,  or  Semibreve, 


Three-quarter  Note,  or  Dotted  Half,  or  Minim, 

Half  Note,  or  Minim, 

Quarter  Note,  or  Crotchet, 


? 


ILLUSTRATION. 


Primitive, 

First  Derivative,... 
Second  Derivative, 
Third  Derivative,  . 


First  Class. 
O       O       O       O 


e    o 


■? 


Second  Class. 

o     o     o 


*     rz>* 


P 


Third  Class 
•      O 


r  r 


r  f 

r 
p\ 


CHAPTER  VI. 


SEXTUPLE  AND  MIXED  MEASURES. 

§  28.  A  measure  having  six  parts,  is  called  sextuple  measure ;  as  one,  two, 
three,  four,  Jive,  six;  or  downward  beat,  downward  beat,  hithtr  beat,  thither  beat, 
upward  beat,  upward  beat. 

i  29  A  measure  having  six  parts,  is  often  described  by  two  countings  or 
beats,  as  is  double  measure  ;  but  it  differs  from  double  measure,  since  the  latter 
consists  of  two  twos,  while  the  former  consists  of  two  threes.  It  is  oiten  called 
Compound  Measure. 

i  30.  Measures  may  also  have  nine,  or  twelve  parts,  or  more  or  less.  But 
it  is  not  supposed  to  be  necessary,  in  this  place,  to  give  any  further  explanation 
or  illustration,  since,  if  the  pupil  is  well  grounded  in  the  kinds  already  mentioned 
he  need  not  apprehend  difficulty  in  any  other  forms  of  measure  which  may  be 
found. 

CHAPTER  VII. 

DIVIDED    PARTS,    OR    COMPOUND    FORMS  OF  MEASURE,  AND  THEIR  CORRESPONDING 
NOTES    AND    RESTS. 

4  31.  The  parts  of  a  measure  may  be  divided,  so  that  two  sounds  shall  be 
made  to  occupy  but  one  part. 

§  32.  When  two  sounds  occur  on  a  single  part  of  a  measure,  the  measure  is 
said  to  be  in  Compound  Form. 

§  33.  Compound  forms  of  measure,  may  be  either  primitive  or  derived. 

§  31.  The  notes  representing  these  shorter  sounds,  or  Compound  Primitive 
forms  of  measure,  are  called  Eighths,  or  Quavers. 


■  Syncope. 


t  Irregularly  classed. 


ILLUSTRATION. 


0    O 


0  0 


111 


u 


Jill 


Note  l.-The  forms  of  measure  heretofore  explained,  may  now  be  called  Simple  Forms  ; 
and  thus  be  distinguished  from  Compound  Forms. 

NoTE  2  -The  principle  of  derivation  and  classification,  as  heretofore  explained  (derived 
from  Kiibler  a  tally  philosophical  writer  upon  elementry  inductive  teaching)  can  now  be 
carried  out  in  compound  forms  of  measure,  il  the  teacher  thinks  it  best.  If  it  be  thoroughly 
and  practically  understood,  it  affords  a  certain  criterion  or  principle,  by  which  the  musical 


ELEMENTS  OF  VOCAL  MUSIC. 


performer  may  be  carried  through  the  most  difficult  rhythmic  combinations  with  certainty. 
The  principle  is  simply  this  :  The  primitive  form  of  a  measure,  or  the  primitive  note  of  a 
measure,  or  part  of  a  measure,  is  always  to  be  taken  as  the  standard  of  measurement.  This 
cannot  fail  to  solve  any  rhythmic  difficulty  that  can  occur.  The  common  mode  of  measur- 
ing sounds  by  beating,  is  unsatisfactory  and  uncertain.  Hence,  a  good  conductor  of  an 
orchestra  is  frequently  observed  to  indicate  with  his  Baton  (he  primitive  form  of  the  mea- 
sure, and  this  although  he  may  know  nothing  of  this  principle  of  classification.  This  fact 
shows  that  the  principle  is  a  natural  one,  and  one  that  fails  not  to  accomplish  its  end. 
Whether  the  terms  here  used  be  adopted  or  not,  the  principle  must  be  practically  under- 
stood, the  thing  itself  must  be  known,  or  there  can  be  no  certainty  of  correct  time. 

CHAPTER  VIII. 

TRIPLETS. 

$  35.  A  part  of  a  measure  may  be  so  divided  as  to  be  occupied  by  three  sounds. 
Such  divisions  of  parts  of  measure  are  called  Triplets.  The  notes  representing 
triplets  are  marked  by  the  figure  3. 


ILLUSTRATION. 


reir 


•  ~ 


3  3 

0  0  0  9  0  0  9 


CHAPTER  IX. 


COMPLEX   FORMS    OF    MEASURE,    AND    THEIR    CORRESPONDING    NOTES    AND    RESTS. 

§  36.  A  part  of  a  measure  may  be  occupied  by  four  sounds ;  such  sounds  are 
represented  by  notes  called  Sixteenths  or  Semiquavers. 

§  37.  When  four  sounds  occupy  a  single  part  of  a  measure,  the  measure  is 
said  to  be  in  Complex  Form. 


ILLUSTRATION. 


990 


as*  a?  a*  =i  ear  =i  m  s 


9999 


IV\ 


Note. — A.  further  explanation  of  Rhythmic  Classification  may  be  obtained  from  "The 
Boston  Academy's  Manual  of  Instruction." 

See  note  2,  at  ^  34. 


CHAPTER  X. 

varieties    of    measure. 
§  38.  Either  of  the  different  kinds  of  notes  may  be  taken  to  represent  the 
primitive  form  of  measure,  simple  and  compound.    Thus,  the  primitive  form  in 


any  kind  of  measure  may  be  represented,  by  Whole  Notes,  Halves,  Quarters, 
Eighths,  or  Sixteenths. 

-     §  39-  The  different  representation  or  signs  of  measure,  arising  from  the  use  of 
the  different  notes  as  primitive  forms,  are  called  Varieties  of  Measure. 

Note. — Varieties  of  measure  merely  furnish  different  signs  for  the  same  thing.  To  the 
ear  they  are  all  the  same,  to  the  eye  only  do  they  differ  ;  the  movement  or  degree  of 
quickness  depending  not  in  the  least  on  the  kind  of  notes  in  which  music  is  written.  Notes 
represent  no  positive,  but  only  a  relative  length  of  sound.  The  different  varieties  are 
comparatively  unimportant,  but  are  in  common  use. 

§  40.  There  may  be  as  many  varieties  in  all  the  different  kinds  of  measure, 
as  there  are  kinds  of  notes. 

§  41.  As  figures  are  used  to  distinguish  the  kinds  of  measure,  so  also  they 
are  used  to  distinguish  the  varieties  of  measure.  When  used  for  both  purposes, 
the  two  figures  are  written  in  the  form  of  fractions,  the  number  of  parts,  (on 
which  the  kind  of  measure  depends,)  being  indicated  by  the  Numerator;  and 
the  kind  of  note  used  on  each  part,  (on  which  the  variety  of  measure  depends,) 
being  indicated  by  the  Denominator. 

§  42.  EXAMPLE  OF  DIFFERENT  VARIETIES  OF  MEASURE. 


—  ©    © 
1 

2  p  P 

-*    f 

2»    9 

2  f    » 
*16?    V 


*^-  ©  o   © 


2 


P  ° 
I     I 


±rr 


4 

8  5 
16? 


©   ©  ©  © 


ippp 


2 


I     I 


iff  f 

f  f 

8  ]/     y  / 

4  0    0  0 

* —     >>      \a  Id 


*  Seldom  used. 
END    OF   RHYTHMICS. 


ELEMENTS  OF  VOCAL  MUSIC. 


M  E  L  0  D  I  C  S  . 
CHAPTEE  XL 

$  43.  Musical  sounds,  considered  or  treated  with  reference  to  relative  pilch, 
are  arranged  in  a  certain  order,  or  series,  called  The  Scale.* 

§  44.  The  scale  consists  of  eight  tones;  these  are  named  numerically  from 
the  lowest,  upward  :  One,  Two,  Three,  Four,  Five,  Six,  Seven.  Eight. 

$  45.  Musical  sounds  may  also  be  considered  or  treated  abstractly,  or  with 
reference  to  absolute  pitch.  When  thus  considered  they  are  named  alphabetically 
from  the  letters,  A,  B,  C,  D,  E,  F,  G. 

Note. — In  all  nations  where  the  generally  prevalent  system  of  music  is  received,  the 
pitch  of  tones,  as  represented  by  letters,  is  the  same. 

§  46.  In  treating  of  the  scale,  the  tone  C,  is  first  taken  (i.  e.  in  the  first  steps 
of  musical  teaching)  as  one,  or  as  the  basis  of  the  scale  ;  so  that  the  order  of  the 
scale  is  as  follows: 

One,  Two,  Three,  Four,  Five,  Six,  Seven,  Eight. 
C,       D,        E,         F,       G,      A,       B,         C. 

4  47.  In  vocal  music,  the  following  syllables  are  often  used,  in  connection  with 
the  scale,  or  relative  pitch. 

Written, Do,  Re,  Mi,  Fa,  Sol,  La,  Si,  Do. 

Pronounced, Do,  Ra,  Me,  Fa,  Sol,  Lii,  Se,D5. 

Notk  1. — See  previous  note  on  the  true  sound  of  the  vowel  ii. 

Note  2. — The  tcacheris  advised  always  to  accustom  his  pupils  to  speak  of  the  tones  of 
the  scale  by  their  numerical,  or  relative  names,  as  one,  two  three.  &c:  thus,  if  a  lesson  be 
written  on  the  board,  and  the  teacher  wishing  to  question  the  scholars  with  respect  to  the 
tones,  asks,  pointing  to  any  particular  note,  "  What  tone  is  represented  by  that  note?"  the 
answer  should  be,  one,  two,  thite,  or  as  the  case  may  be.  But  if  he  wishes  to  question  with 
respect  to  the  letters,  he  should  ask  directly,  "  What  letter  is  one,  two,  &c,  or  what  is  the 
pitch  of  one,  two,  &c.  ?  He  is  advised  aJso,  not  to  allow  his  pupils  to  substitute,  as  names  for 
tones,  first,  for  one.  second  for  two  &c;  nor  to  allow  them  to  say  Ko.  1,  No.  2.  &c,  but  sim- 
ply one,  two.  three,  four,  &c.  He  is  further  advised  not  to  allow  the  pupils  to  regard  the 
syllables  as  the  names  of  the  sounds  ;  never  to  allow  them  to  speak  of  the  tone  Do,  the  tone 
Re,  tec;  but.  in  all  cases,  to  consider  the  names  of  the  sounds  of  the  scale  one,  two,  three, 
four,  five,  six,  seven,  and  eight. 

Note  3. — Although  the  syllables  are  not  regarded  as  indispensable,  the  following  rea- 
sons may  be  assigned  for  their  use  :  1.  An  association  is  quickly  formed  between  each  par- 
ticular syllabic,  and  the  relative  pitch  of  the  tone  to  which  it  is  applied  ;  and  this  enables 
the  inexperienced  singer  to  strike  the  pitch  with  comparative  ease.  2d.  The  proper  practice 
of  the  syllables  lays  the  foundation  for  a  good  articulation,  or  a  correct  delivery  of  words. 

•Scale. — Signifying  a  ladder,  or  scries  of  steps. 


It  is  obvious  that,  if  the  syllables  aroused  for  the  first  reason  above  mentioned,  they  should 
always  be  applied  to  the  scale  in  the  same  manner  ;  i.  e.,  Do  toon*,  Re  to  two,  kc:  since  they 
are  intended  to  indicate  relative,  and  not  absolute  pitch.  The  Italian  or  French  method  of 
using  the  syllables  instead  of  letters,  or  to  represent  absolute  pitch,  is  perhaps  as  good  as 
ttnj  |  but  if  the  syllables  are  thus  used,  Do  being  synonymous  with  C,  Re  with  D,  k.r., 
there  can  be  no  use  for  the  letters,  as  we  need  but  one  method  of  designating  absolute 
pitch.  It  must  be  evident  also,  to  any  one,  that  in  this  use  of  the  syllables,  no  such  advan 
tage  can  be  derived  from  them  as  is  mentioned  above.  The  onlv  advantage  that  is  claimed 
by  those  who  would  make  the  syllables  synonymous  with  the  letters  is,  that  in  this  way, 
it  is  easier  for  the  pupil  to  apply  the  syllables  to  the  notes,  since  each  syllable  will  always 
occupy  the  sirme  place  on  the  staff.  The  question  then  is,  "  are  the  advantages  of  associa- 
ting the  syllables  with  the  sounds  of  the  scale,  greater  than  the  difficulty  rf  applying 
them  V  IT  the  answer  is  in  the  affirmative,  then  the  use  of  the  syllableshere  iecommendcu 
is  the  best  use  of  them  ;  if  in  the  negative,  the  syllables  had  better  be  given  up  altogether' 
and  the  German  method  of  using  only  the  one  syllable  La  for  all  the  tones  be  adopted. 


CHAPTER  XII. 

THE     STAFF     AND     CLEFS. 

§  48.  The  scale  (or  the  relative  pitch  of  tones)  is  represented  by  notes  in 
connection  with  a  character  called  The  Staff. 

§  49.  The  staff  consists  of  five  horizontal  marks  or  lines,  and  the  spaces 
between  them. 

Note. — Five  is  adopted  for  the  number  of  lines,  as  a  matter  of  convenience,  but  not  of 
necessity. 

$  50.  Each  line  and  each  space  is  called  a  Degree  ;  thus,  there  are  in  the 
staff,  nine  degrees,  five  lines  and  four  spaces. 

$  51.  The  degrees  of  the  staff  are  counted  upwards,  from  the  lowest. 

§  52.  If  it  be  desirable  to  extend  the  compass  of  the  staff,  spaces  and  lines, 
below  or  above,  are  used,  called  Staces  Below,  or  Sr-ACES  Above,  and  Added 
Lines  Below,  or  Added  Lines  Above. 

§  53.  The  scale  may  be  represented  on  the  staff  in  various  ways:  thus,  the 
note  representing  one  may  be  placed  upon  the  first  line  or  first  space,  second 
line  or  second  space,  or  upon  any  degree  of  the  staff;  but  when  the  position  of 
one  is  fixed,  the  other  sounds  must  follow  in  regular  succession. 

§  54.  There  are  two  ways  in  which  it  is  common  to  represent  the  scale  on  the 
staff:  first,  the  note  for  one  being  written  upon  the  added  line  below ;  second,  the 
note  for  one  being  written  upon  the  second  space. 

§  55.  To  distinguish  between  these  two  ways,  or  to  determine  the  position  of 
the  scale  on  the  staff,  a  letter  is  used  as  a  guide,  called  a  Clef.* 

*  Clef. — Signifying  Key. 


ELEMENTS  OF  VOCAL  MUSIC. 


$  56.  There  are  two  letters  commonly  used  as  dels,  F  and  G. 

Note  1.— The  form  of  these  letters  when  used  as  Clefs  can  be  pointed  out  by  the  Teacher 

Note  2. — The  letter  C  is  also  taken  for  a  clef,  but  as  it  is  notmuch  in  use  in  this  country, 
and  as  ii  is  fast  going  out  of  use  in  England  and  Germany,  it  is  not  thought  necessary  to 
explain  it  here. 

§  .r)7.  The  F  Clef  is  placed  upon  the  fourth  line  ;  hence,  when  this  clef  is  used 
the  note  representing  one  (C)  must  be  placed  upon  the  second  space. 

§  5S.  The  G  Clef  is  placed  upon  the  second  line ;  hence  when  this  clef  is 
used  the  note  representing  one  (C)  must  be  placed  upon  the  added  line  below. 


Ascending. 


ILLUSTRATION. 
THE  SCALE,  G  CLEF. 


Descending. 


us 


qc 


1,  9,  3, 
C,  D,  E, 
Do,    Ke,    11  i 


4, 
F, 
Fa. 


5, 
G, 
Sol, 


8, 
C; 
Do; 


C, 
Do, 


6, 
A, 
La, 


5, 
G, 

Sol, 


4, 
F, 
Fa, 


3. 

E, 
Mi, 


1. 
C. 
Do. 


Ascending 


m 


THE    SCALE,   F  CLEF. 


S=i^il 


Descending. 

■a- 


i 


1,  2,  3,  4,  5,  6, 
C,  D,  E,  F,  G,  A, 
Do,    Re,     Mi,    Fa,    Sol,   La, 


8  ;  S,  7,  0;  5,  ■*,  3,  2,  1. 
C  ;  C,  B,  A,  G,  F.  E,  D,  C. 
Do ;      Do,   Si,     La,    Sol,    Fa,     Mi,     Be     Do. 


CHAPTER  XIII. 

MELODICS — EXTENSION    OP    THE    SCALE    AND    CLASSIFICATION    OF    VOICES. 

§  59.  When  tones  higher  than  eight  are  sung,  eight  is  to  be  regarded  as  one  of 
an  upper  scale. 

§  60.  When  tones  lower  than  one  are  sung,  one  is  to  be  regarded  as  eight  of  a 
lowej  scale. 

§  61.  The  human  voice  is  naturally  divided  into  four  classes:  low  male  voices, 
or  Bass  ;  high  male  voices,  or  Tenor  ;  low  female  voices,  or  Alto  ;  high  female 
voices,  or  Treble. 


Note. — Besides  the  above,  there  are  also  other  distinctions,  as  Barytone,  between  the 
Base  and  Tenor.  And  the  Mezzo  Soprano,  between  the  Alto  and  Treble.  The  Treble  is 
often  called  Soprano. 

§  62.  The  G  clef  is  used,  not  only  for  the  Treble  and  Alto,  but  also  often  for 
the  Tenor ;  but  when  used  for  the  Tenor,  it  denotes  G  an  octave  lower  than 
when  used  for  the  Treble  and  Alto.  The  following  table  exhibits  the  common  use 
of  the  clefs ;  and  also  the  usual  compass  and  relative  position  of  the  different 
parts : 


EXAMPLE. 


Treble. 


— &- 
G 


O 


—Wx* 

— j— 


•5 


0 
^9- 


2-1 


B      cd.e      fg      a      b 


._!- 


©-«- 


a     b    c      d    e     f     g 


§  C3.  To  distinguish  between  the  different  tones  denoted  by  the  same  letter, 
capital  and  small  letters,  together  with  marks  below  or  above  them,  are  used. 
Thus,  in  the  above  example,  the  lowest  three  notes  are  designated  by  capital  let- 
ters ;  and  the  tones  represented  by  them  are  called  capital,  or  great  G,  or  great  A, 
and  great  B.  The  notes  in  the  next  octave  beginning  with  c,  (with  the  excep- 
tion of  the  upper  one,  which  is  considered  as  one  of  the  octave  above.)  are 
designated  by  small  letters,  and  the  tones  are  called  small  c,  small  d.  small  c,  &c. 
The  notes  in  the  next  octave,  (with  the  exception  of  the  upper  one,)  are  designa- 
ted by  once-marked  small  letters,  and  the  tones  are  called  once-marked  small  c 
once-marked  small  d,  &c.  The  notes  belonging  to  the  next  octave,  are  designa- 
ted by  ticice-marked  small  letters.  The  G  clef,  when  used  for  Treble  or  Alto 
voices  signifies  g;  when  used  for  Tenor  voices,  it  signifies  g. 


10 


ELEMENTS  OF  VOCAL  MUSIC. 


Notb  1  —This  system  of  designating  the  tones  is  carried  out  through  the  whole  extent 
of  the  great  scale  of  sounds  in  instrumental  music,  consisting  of  nine  or  ten  octaves,  as  fol- 
lows : — The  first,  or  lowest  octave,  is  denoted  by  twice-marked  capitals,  as£  (orCCC),JJ 

(or  DDD)   &c.    The  next,  or  second  octave,  is  denoted  by  once-marked  capitals,  as  C\  fVlV  &c. 

The  third  octave,  (the  upper  part  of  which  comes  within  the  vocal  compass  as  exhibited 
ubove,)  is  denoted  by  capitals,  as  C,  D,  K,  &c.  The  fourth  octave,  by  small  Utters,  as  c,  d,  e, 
&c  The  fifth  octave  by  once-marked  small  letters,  as  c,  d,  e,  &c.  The  sixtli  octave,  by  twice- 
marked  small  letters,  as  c,  d,  e,  &c.  The  seventh  octave,  by  th-ee-times-marked  small  letters,  a> 
c.  d,  e.  &c.     The  eighth  octave,  by  four-limes-marked  small  letters,  as  c,  A,  e^  &c.    The  ninth 

octave,  by  five-times-marked  small  letteis  ;  and  the  tenth  octave,  by  six-limes-markcd  small  letters. 
Note  2.— It  is  important  that  the  difference  of  pitch  between  male  and  female  voices  be 
fully  explained  and  illustrated. 


CHAPTER  XIV. 


INTERVALS.       STEPS    AND    HALF-STEPS. 


§  64.  The  difference  of  pitch  between  any  two  tones,  is  called  An  Interval. 
Thus,  the  difference  of  pitch  between  one  and  two,  is  an  interval. 

$  65.  In  the  regular  succession  of  the  tones  of  the  scale,  there  are  two  kinds 
of  intervals,  larger  and  smaller. 

$  66.  The  larger  intervals  are  called  Steps,  or  Large  Steps  ;  and  the  smaller 
intervals  are  called  Small  Steps,  or  Half- Steps.* 

§  67.  The  intervals  of  the  scale  occur  in  the  following  order  : — between  one 
and  two,  a  step;  between  two  and  three,  a  step;  between  three  and  four  a  small 
step;  between  four  and  five,  a  step ;  between  five  and  six,  a  step;  between  six 
and  seven,  a  step ;  and  between  seven  and  eight,  a  small  step. 


*  The  terms  tone  and  half-tone  arc  in  common  use  to  designate  these  intervals  ;  but  as  the 
application  of  the  same  word  both  to  sounds  and  intervals  is  inconvenient,  the  discontinu- 
ance of  the  term  tone  and  half-tone  is  recommended,  especially  in  teaching.  The  objection 
to  the  introduction  of  the  terms  major  second  and  minor  second  is  explained  in  a  note  on 
page5  ;  besides  which  it  may  be  added  that  these  terms  are.  wanted  for  another  purpose, 
and  in  another  connection,  as  the  pupil  advances. 


CHAPTER  XV. 

MELODICS. THE    CHROMATIC    SCALE. 

§  68-  Between  those  tones  of  the  scale  which  form  the  interval  of  a  step,  an 
intermediate,  or  Chromatic*  tone  ma}'  be  introduced  :  thus,  intermediate  or 
chromatic  tones  may  occur  between  1  and  2,  2  and  3.  4  and  5,  5  and  6,  6  and  7  ; 
but  not  between  3  and  4,  and  7  and  8,  because  the  intervals  between  these  tones 
are  already  half-steps,  and  these  are  the  smallest  practicable  intervals. 

§  69.  Intermediate  or  chromatic  tones  are  named  numerical!)'  (relative  pitch) 
from  one  of  the  tones  of  the  diatonic  scale  between  which  they  occur,  but  with 
the  word  Sharp  or  Flat,  or  a  character  called  a  shart  (f)  or  a  flat  (?)  in  connec- 
tion, to  distinguish  them  from  the  diatonic  tones :  thus,  the  intermediate  tone 
between  one  and  two,  if  named  from  one,  is  called  Sharp  One  (;1);  and  if 
named  from  two,  is  called  Flat  Two  (?i).  t 

The  intermediate  tones  are  also  named  alphabetically  (absolute  pitch)  from  one 
of  the  letters  between  which  they  occur,  with  the  word  sharp  or  flat  also  in  con- 
nection :  thus,  the  chromatic  tone  between  C  and  D,  if  named  from  C,  is  called 
C  Sharp  (C^)  ;  and  if  named  from  D.  is  called  D  Flat  (D?). 

$  70.  The  note  representing  an  intermediate  or  chromatic  tone,  is  written  on 
the  same  degree  of  the  staff  as  the  note  representing  the  tone  from  which  it  is 
named  :  thus,  sharp  one  is  written  on  the  same  degree  of  the  staff  as  one ;  flat 
two  is  written  on  the  same  degree  as  two,  &c. 

§  71.  A  scale  of  thirteen  tones,  including  all  the  intermediate,  or  chromatic 
tones,  with  twelve  intervals  of  a  half-step  each,  is  called  The  Chromatic 
Scale. 

§  72.  The  scale  which  has  been  heretofore  described  may  now  be  called  The 

Diatonic  Scale. 

Diatomc. — From  two  Greek  words,  signifying  through  the  tones,  or  from  tone  to  tone. 


romat.c 
tones,  having  been  formerly  written  with  colored  ink.  The  term  may  also  have  a  figiAtive 
signification,  as  chromatics  in  music,  may  be  regarded  asanalagous  to  coloring  jn  painting. 

t  Sharp,  in  the  technical  use  of  the  word,  signifies  higher  :  thus,  the  meaning  of  sharp  one 
is,  higher  thorn  unt     Flat  signifies  lower  :  thus,  the  meaning  of  fiat  two  is,  louvr  Man  two. 


ELEMENTS  OF  VOCAL  MUSIC. 


11 


EXAMPLE. 
The  Chromatic  Scale.     Notes,  Letters  and  Syllables. 


Ascending 


Vsi: 


5     3,       4,       |4,      5,       #5,     6,       |6L 
Df,    E,      F,     Ff,      G,      G#,    A,     Ajf, 
Ri,    Mi,    Fa,     Fi,      Sol,     Si,    La,      Li, 
Note. — Di  is  pronounced  Be.,  Fi,  Ft,  &c. 


-0_  :s_ 


7, 
B, 
Si, 


c. 

Do. 


fc^ :  (S_  fe:: :    _; : — .  z  -1=1, — : " 


-<&>- 

o 

b2, 

1. 

D, 

Db, 

C. 

Re, 

Re, 

Do 

6,       b6,      5,       b5,      4,       3,       -3, 

A,     Ab,     G,     Gb,     F,      E,      Eb, 

La,     Le,     Sol,    Se,     Fa,    Mi,    Me, 

Se  is  pronounced  Sd,  Le,  La,  &c. 

§  73.  The  sign  of  an  intermediate  or  chromatic  tone  (#  or  b),  belongs  not  only 
to  the  note  before  which  it  is  placed,  but  also  to  all  the  following  notes  on  the 
same  degree  of  the  staff  in  the  measure. 

§  74.  The  sign  of  a  chromatic  tone  belongs  to  all  the  notes  that  follow  it, 
from  measure  to  measure,  when  no  intervening  note  occurs  on  another  degree  of 
the  staff. 

§  75.  The  sign  of  an  intermediate,  or  chromatic  tone  (f  or  b),  is  cancelled  or 
annulled  by  a  character  called  a  Natural  (,8).* 

*  The  name  of  this  character  seems  not  to  have  been  well  chosen,  since  it  tends  to  mislead 
the  mind  of  the  pupil.  It  signifies,  not  that  one  sound  is  more  natural  than  another,  but 
merely  that  the  connection  which  has  heretofore  existed  between  a  note  and  a  sharp  or  flat 
is  now  dissolved.  The  teacher  is  advTsed  never  to  use  the  term  natural  in  connection  with 
the  names  of  the  tones,  or  to  speak  of  C  natural,  B  natural,  natural  one,  natural  four,  &c; 
but  to  say  simply  C,  B,  &c;  or  one,  four,  Stc.  The  fact  is,  thatCJf  is  just  as  natural  a  tone 
as  C,  ahd  so  of  all  the  tones  of  the  chromatic  scale  ;  one  is  just  as  natural  as  another,  and 
a  little  child,  who  chooses  the  pitch  of  a  song,  is  just  as  likely  to  commence  with  Cfl  as 
with  C,  or  with  Kj}  as  with  K,  &c.  The  term  natural  applies  not  to  the  thing  itself,  but 
to  the  mere  sign  of  the  thing  ;  not  to  a  tone,  but  to  the  mere  sign  of  a  tone  ;  hence,  its 
careless  use  often  renders  musical  language  obscure  and  absurd. 


CHAPTER  XVI. 

DIATONIC    INTERVALS. 

§  7G.  In  addition  to  those  intervals  called  steps  and  half-steps,  belonging  to  the 
scale  in  its  regular  progression,  there  are  also  other  interva's  occasioned  by  skip- 
ping:  as  Seconds,  Thirds,  Fourths,  Fifths,  Sixths,  Sevenths,  and  Octaves. 

$  77.  Intervals  are  always  reckoned  from  the  lower  tone  upwards,  unless 
otherwise  expressed. 

DIATONIC    INTERVALS. 
Note.— Diatonic,  because  they  are  produced  by  skips  in  the  diatonic  scale. 

§  78.  Two  tones  being  on  the  same  pitch  are  called  Unison,  or  said  to  be  in 
Unison. 

§  79.  The  interval  between  1  and  2,  or  2  and  3,  or  between  any  tone  and  the 
tone  that  is  represented  on  the  second  degree  of  the  staff,  inclusive,  above  it,  is 
called  a  Second. 

§  80.  The  interval  between  1  and  3,  or  between  2  and  4,  or  between  any  tone 
and  the  tone  that  is  represented  on  the  third  degree  of  the  staff,  inclusive,  above 
it,  is  called  a  Third. 

§  81.  The  interval  between  1  and  4,  or  between  2  and  5,  is  called  a  Fourth. 

$  82.  The  interval  between  1  and  5,  or  between  2  and  6,  is  called  a  Fifth. 

§  83.  The  interval  between  1  and  6,  or  between  2  and  7,  is  called  a  Sixth. 

§  84.  The  interval  between  1  and  7,  or  between  2  and  8,  is  called  a  Seventh. 

§  85.  The  interval  between  1  and  8,  or  between  2  and  9,  (or  2  of  the  next 
series)  is  called  an  Octave. 


CHAPTER  XVII. 


intervals,  major  and  minor. 
86.   Seconds. 

1.  A  second  consisting  of  a  half-step,  is  a  Minos  Sec 

2.  A  second  consisting  of  a  step,  is  a  Major  Second 


1.   Thirds. 
A  third  consisting  of  a  step  and  a  half-step,  is  Minor. 
third  consisting-  of  two  stens.  is  Majok. 


1.  A  third  consisting  of  a  step  and  a  half-step, 

2.  A  third  consisting  of  two  steps,  is  Major. 


12 


ELEMENTS  OF  VOCAL  MUSIC. 


§  88.  Fourths.  . 

1.  A  fourth  consisting  of  two  steps,  and  one  half-step,  is  a  Perfect  Fourth. 

2.  A  fourth  consisting  of  three  steps,  is  a  Sharp  Fourth. 

5  89.   Fifths. 

1.  A  fifth  consisting  of  two  steps  anil  two  half-steps,  is  a  Flat  Fifth. 

2.  A  fifth  consisting  of  three  steps  and  a  half-step,  is  a  Perfkct  Fifth. 

§  90.   Sixths. 

1.  A  sixth  consisting  of  three  steps  and  two  half-steps,  is  Minor. 

2.  A  sixth  consisting  of  four  steps  and  a  half-step,  is  Major. 
§  91.   Sevenths. 

1.  A  seventh  consisting  of  /bio-  steps  and  /ico  half-steps,  is  a  Flat  Seventh. 

2.  A  seventh  consisting  of  five  steps  and  one  half-step,  is  a  Sharp  Seventh. 
§  92.   Octave  — An  Octave  consists  of  five  steps  and  two  half-steps. 

Note.— In  addition  to  the  intervals  already  mentioned,  there  are  others  arising  out  of 
the  chromatic  scale,  but  as  they  properly  belong  to  the  study  of  harmony,  further  notice 
of  them  is  omitted  in  this  work. 


CHAPTER  XVIII. 

transposition  of  the  scale. 

§  93.  Preliminary  remark. — It  will  be  borne  in  mind  that  the  scale  is  a  suc- 
cession of  sounds,  irrespective  of  any  definite  pitch,  but  which  sounds  bear  one 
to  another  a  fixed  relation;  this  relation  consisting  in,  or  depending  upon,  the  in- 
tervals or  differences  of  pitch  between  them.  It  will  also  be  remembered  that 
letters  represent  the  absolute  pitch  of  sounds  ;  and  that  the  pitch  of  each  letter 
is  unalterably  fixed. 

§  94.  When  the  scale  begins  with  C,  or  when  C  is  taken  as  one,  or  as  the  pitch 
of  the  scale,  it  is  said  to  be  in  its  Natural  Position  ;*  but  the  pitch  may  be 
changed,  and  any  other  letter  may  be  taken  as  one,  in  which  case  the  scale  is 
said  to  be  Transposed.  Transposition  consists  in  changing  the  pitch,  or  in 
taking  any  other  letter  than  C  as  one,  or  as  the  basis  of  the  scale. 

§  95.  The  letter  which  is  taken  as  one,  is  called  the  Key  Letter,  or  Key 
Note,  or  simply  the  Key.  Thus,  if  the  scale  be  in  its  natural  position,  with  C 
as  one,  is  said  to  be  in  the  Key  of  C.     If  its  pitch  be  changed,  and  D  be  taken 

*  The  term  natural,  as  here  used,  has  only  reference  to  the  characters  by  which  the 
scale  is  represented,  not  to  the  scale  itself,  since  the  scale  itself  is  just  as  natural  in  any 
Other  key  as  it  is  in  C      (See  note  on  page  11.) 


as  one,  it  is  said  to  be  in  the  Key  of  D,  and  so  on.  By  the  key  of  C,  is  meant 
that  the  scale  is  based  on  C,  or  that  C  is  taken  as  one  ;  by  the  key  of  D,  is  meant 
that  the  scale  is  based  on  D,  or  that  D  is  taken  as  one,  and  so  on. 

§  9G.  In  transposing  the  scale,  the  proper  order  of  intervals,  must  be  preserved. 
Thus,  in  every  key,  the  intervals  must  be  as  follows  :  between  one  and  two,  a 
step;  between  two  and  three,  a  step ;  between  three  and  four,  a  half-  step ;  be- 
tween four  and  five,  a  step  ;  between  five  and  six,  a  step ;  between  six  and  seven, 
a  step ;  and  between  seven  and  eight,  a  half- step. 

$  97.  The  interval  between  one  letter  and  another  is  fixed,  and  cannot  be  al- 
tered. Thus,  the  interval  is  a  step  between  C  and  D,  a  step  between  D  and  E,  a 
half-step  between  E  and  F,  a  step  between  F  and  G,  a  step  between  G  and  A,  a 
step  between  A  and  B,  and  a  half-step  between  B  and  C. 

§  98.  In  the  transposition  of  the  scale,  the  proper  order  of  intervals  is  pre- 
served by  the  use  of  the  intermediate  (sharp  or  flat)  tones:  or,  in  other  words, 
in  the  transposition  of  the  scale,  it  becomes  necessary  to  omit  certain  tones  be- 
longing to  the  given  key,  or  key  from  which'  the  transposition  is  made,  and  to 
take  from  the  chromatic  scale  such  other  tones  as  may  be  required  to  constitute 
the  new  key,  or  to  preserve  the  proper  order  of  its  intervals.* 

ILLUSTRATION-. 

1  2  34  5  6  78  2 


i 

2 


3 


i 
5 


i 
G 


7    8 


Explanation.— The  above  diagram  is  designed  to  represent  the  chromatic  scale,  in  which 
each  interval  is  a  half-step.  The  figures  above,  are  intended  to  represent  the  scale  in  its 
natural  position  (key  of  C),  C  as  one,  D  as  two,  &c.  The  figures  below,  are  intended  to  rep- 
resent the  scale  transposed  into  the  key  of  D,  D  as  one,  E  as  two,  F|  as  three,  &c. 

It  will  be  observed,  that  if  D  be  oxe,  E  must  be  two,  because  the  interval  between  one 
and  two  must  be  a  step  ;  F  will  not  do  for  three,  because  the  interval  between  E  and  F  is 
but  a  half-step,  whereas,  the  interval  between  two  and  three  must  be  a  step ;  F  therefore  is 
omitted  and  Flj  is  taken  for  three.  Between  three  and  four,  the  interval  must  be  a  half- 
step  ;  and  the  interval  between  Fjj  and  G  is  a.  half-step  ;  U,  therefore,  is  Four.  Between  four 
and  five,  the  interval  must  be  a  step,  and  the  interval  between  U  and  A  is  a  step ;  A,  there- 
fore, is  five.  Between  five  and  six,  the  interval  must  be  a  sl-p,  and  the  interval  between  A 
and  B  is  a  step  ;  B,  therefore,  is  six.  Between  six  and  seven,  the  interval  must  be  a  step  ; 
but  as  the  interval  between  B  and  C   is  but  a  half-step,  C  will  not  do  for  seven  ;  C  f  is  there- 

*  The  difficulty,  in  transposition,  consists  in  the  transfer  of  the  absolute  pitch  of  sounds 
to  the  relative  pitch  of  the  scale. 


ELEMENTS  OF  VOCAL  MUSIC. 


13 


fore  taken  for  seven,  and  the  proper  interval  is  thus  obtained.  Between  seven  and  eight, 
the  interval  must  be  a  half-step,  and  the  interval  between  Cjf  and  D  is  a  liatf-step;  D,  there- 
fore, iS  EIGHT. 


CHAPTER  XIX. 

TRANSPOSITION    OF    THE    SCALE    BY    FIFTHS. 

§  99.  First  transposition  of  the  scale  by  fifths  :  from  C  to  G. 

\  100.  To  preserve  the  proper  order  of  intervals  between  six  and  seven,  and 
between  seven  and  eight  in  this  transposition,  it  is  necessary  to  take  Ff  as  seven 
in  the  new  key. 

$  101.  The  sign  of  Ff  (f)  is  placed  at  the  beginning  of  the  staff,  or  immedi- 
ately after  the  clef,  and  is  called  the  Signature  (sign)  of  the  key.  Thus,  the 
signature  of  the  key  of  G,  is  One  Sharp,  or  Ff .  The  signature  to  the  key  of  C 
is  said  to  be  Natural. 

EXAMPLE.    Key  of  G. 


HH 


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

6,      A,        B,       C,      D,      E,      Ff      G                       G,  A,  B,      C,  D,      E,  f|  G. 

Do,   Re,     Mi,    Fa,  Sol,  La,    Si,    Do ;               Do,  Re,  Mi,  Fa,  Sol,  La,  Si,  Do. 

ILLUSTRATION. 


n 

t<                             i/                           i/ 

step,  step.  step.  step.  step.  step.  step.  step.  step.  step.  s< <"i>- 

V 

™  ^rr         II 

'A 

-3    ° 

\\\ 

o        c> 

II 

v\) 

n 

i 

%      *  *       f 

6           7     8 

3 

V 

• 

•                • 

(5      +f°              || 

A 

*n    & 

t.     H 

(a\ 

>n      °, 

£F 

step 

1 

--step.-Step.step. -step. -step.-step.— u 
3          3       4          5        6            7      8 

Explanation. — On  the  upper  staff,  in  the  above  diagram,  the  scale  is  represented  in  the 
key  of  C.  The  distances  of  the  notes,  one  from  another,  represent  the  different  intervals, 
as  steps  and  half-steps.    On  the  lower  staff  G  is  taken  as  one,  A  as  two,  B  as  three,  C  as 


four,  D  as  five,  F.  as  six  ;  and  thus  far  the  intervals  are  right.  But  as  the  interval  between 
six  and  seven  must  be  a  step,  it  is  seen  at  once,  that  F  will  not  do  for  seven,  because  the  in- 
terval between  E  and  F,  is  but  a  half-step ;  it  becomes  necessary,  therefore,  to  take  the  inter- 
mediate  tone.  Fff,  for  seven,  and  this  gives  the  proper  interval  between  six  and  seven,  viz.: 
a  step.  The  interval  between  Ff  and  G  being  a  half-step,  G  is  taken  as  eight,  and  the  scale 
is  complete  in  the  key  of  G,  thus — 


step 

G  A 

1  2 


step.  step,  step 


1/ 
step.     step.    step. 

D  E  Ff        G 


Note.— No  illustration  of  the  transposition  of  the  scale  by  diagrams,  or  which  is  in  any 
way  presented  to  the  eye,  can  be  fully  satisfactory,  or  cause  this  subject  to  be  practically 
understood.  It  can  only  be  thoroughly  taught  by  audible  examples,  or  vocal  or  iastru- 
mental  elucidations. 


CHAPTER  XX. 

RELATION  OF  TONES.   TONE  OF  TRANSPOSITION. 

4  102.  Tones  are  said  to  be  related  as  follows :  if  C  be  one,  D  is  two,  E  is 
three,  &c;  or,  D  is  two,  considered  in  respect  to  its  relation  to  C  as  one;  so  also, 
E  is  three,  F  is  four,  G  is  five,  A  is  six,  and  B  is  seven. 

And  again  :  Cjf  is  sharp  one,  D?  is  sharp  two,  Ff  is  sharp  four,  Gf  is  sharp  five, 
and  Af  is  sharp  six,  when  considered  in  relation  to  C  as  one. 

And  again  :  Db  is  flat  two,  ES  is  fiat  three,  Gb  is  flat  five,  Ab  is  flat  six,  and  Bb 
is  flat  seven,  when  considered  in  relation  to  C  as  one. 

§  103.  The  intermediate  tone  required  in  transposition,  is  called  The  Tone  of 
Transposition,  or  (in  written  music)  The  Note  of  Transposition.  Thus, 
the  tone  or  note  of  transposition  between  the  keys  of  C  and  G  is  Ff . 

§  104.  It  will  be  observed  that  in  the  foregoing  transposition  from  C  to  G, 
the  pitch  of  the  scale  has  been  removed  a  fifth;*  and  that  the  intermediate  tone 
Ff,  or  sharp  four,  has  been  found  necessary  to  preserve  the  proper  order  of 
the  intervals  ;  hence  the  following  rule  :  "  Sharp  four  transposes  the  scat'-  a 
*ifth ;"  or  "  The  tone  of  transposition,  between  any  key  and  its  fifth  is  sharp 
four." 

*  Or  a  fourth  below. 


u 


ELEMENTS  OF  VOCAL  MUSIC. 


CHAPTER  XXI. 


TRANSPOSITION    OF    THE    SCALE    BY    FIFTHS.       CONTINUED. 

$  105.  Second  transposition  of  the  scale  by  fifths;  from  G  to  D. 

§  106.  To  preserve  the  proper  order  of  intervals  between  six  and  seven,  and 
between  scveyi  and  eight  in  this  transposition,  it  is  necessary  to  take  C;  as  seven 
in  the  new  key. 

$  107.  The  sign  of  Cs,  (f )  is  placed  at  the  beginning  of  the  staff,  a  little  to  the 
right' of  the  previous  sharp,  and  the  two  sharps  (P|  and  C|)  are  taken  together 
as  the  sign  of  the  key,  or  as  the  signature. 

EXAMPLE.     Key  of  D. 


1,  2,  3,  4,  5,  6,  7,  8, 
D,  e,  fS  g,  A,  B,  CS,  D, 
Do,   Re,     Mi,    Fa,  Sol,  La,    Si,    Do; 


'J-'l. 


1,  2,  3,  4,  5,  6,  7,  8. 
D,  E,  pj  G,  A,  B,  CS  D. 
Do,  Re,    Mi,  Fa,  Sol,  La,    Si,  Do. 


ILLUSTRATION. 


if*— 

6 

7        1 

a 

3        4             5 

6 

O 

8 

f  - 

—  r-> 

■   a    o 

— o    © 

«-jM  • 



1 

Note. — An  explanation  of  the  above  diagram  is  supposed  to  be  unnecessary,  as  it  would 
be  similar  to  that  at  §  101. 

,  108.  Third  transposition  of  the  scale  by  fifths,  from  D  to  A.     G|  is  sharp  : 
four  to  D.     G;,  therefore,  is  the  next  sharp  introduced. 


EXAMPLE.     Key  of  A. 


3 
Do   Re  Mi  Fa  Sol   La   Si    Do 


6 

F,   G; 


1 
A 

Do     Re    Mi    Fa    Sol   La     Si'    Do 

$  109.  Fourth  transposition  of  the  scale  by  fifths  ;    from  A  to  E.     D;  is 
sharp  four  to  A.     Djf,  therefore  is  the  next  sharp. 

EXAMPLE.     Key  of  E. 


» it 


n  — 


"_ 


1  2  3  4  5  6  7  8 
E  F$  G$  A  B  KDJE 
Do      Re   Ml    Fa  Sol    La  Si    Do 


1 


3     4 


S      6       7       d 

e    fs  gs  a    b    c;  d;  e 

Do  Re   Ml  Fa  Sol    La  Si '  Do 


$  110.  Fifth  transposition  by  fifths  ;  from  E  to  B.     A|  is  sharp  four  to  E. 


EXAMPLE.     Key  of  B.     (Same  as  Cb.) 


-•-«- 


b    c!f  d?  e    fs  gs  a;  b 
Do    Re  Ml   Fa  Sol  La  Si    Do 


1234      5      6      78 

B      CJDJE       pi    GS    AS  B 

Do   Re  Ml  Fa   Sol    La   Si  Do 


§  111.  Sixth  transposition  by  fifths;  from  B  to  Pj.     Ej  is  sharp  four  to  B. 


EXAMPLE.     Key  of  Ff.    (Same  as  Gl>.) 


g^jgi^ 


rs-t 


1S3456      78 

F$  GS    AS    E      CS   DS     1  5   Ffl 
Do  Re   Mi  Fa  Sol   La    Si  Do 


~9    w    " 

12      3      4      5    6     7    8 
FS   GS     AS  B      CSDSESFi 
Do  Re  Ml  Fa  Sol  La  Si  Do 


ELEMENTS  OF  VOCAL  MUSIC. 


15 


§  112.  Seventh  transposition  by  fifths;   from  Fjf  to  C|.    Bj|  is  sharp  four 
toFJ. 

EXAMPLE.     Key  of  Cf.    (Same  as  Db.) 


fm 


^Ptti 


■*  • 


1     2     3     4    5    6    7    8 

c|B«EijFiJGifA#Btc{} 
Do  Re  M  i  Fa  Sol  La  Si  Do 


2      3      4      5      6      7      8 
Do  Re   Mi    Fa   Sol  La  Si    Do 

$  113.  Eighth  transposition  by  fifths;  from  Q  to  G#.     F  Double  Sharp 
(written  thus  :  F"5C,)  is  sharp  four  to  Cjf. 

EXAMPLE.    Key  of  G|.    (Same  as  A b.) 

J 


Key  of  Gf. 


asirtfe==^*^ 


m 


1234567     8. 

0#A#B#C#D#E#PXe# 
Do  Re  Ml  Fa  Sol  La  Si  Do 


12      3    4    5        6    7     8 

GfAfBtfciDi      EfFXGS 
Do  He  Mi  Fa  Sol    La  Si  Do 
§  114.  The  scale  may  be  still  further  transposed  by  fifths  .  to  the  key  of  Df, 
with  nine  sharps  (two  double  sharps) ;  to  the  key  of  Ajf,  with  ten  sharps  (three 
double  sharps)  ;  to  the  key  of  Ef ,  with  eleven  sharps  (four  double  sharps)  ;  to 
the  key  of  B#,  with  twelve  sharps  (five  double  sharps),  and  so  on. 

Note  1. — The  key  of  B!f  is  the  same  to  the  ear  as  the  key  of  C.  The  difference  is  not  in 
the  thing  itself,  but  merely  in  the  sign. 

Note  2. — The  keys  beyond  Fff  (six  sharps)  are  but  seldom  used,  as  the  same  variety  may 
be  more  easily  obtau^d  in  transposition  by  flats.  The  keys  beyond  E  (four  sharps)  are  sel- 
dom used  in  chuichmusic. 


CHAPTER  XXII. 

TRANSPOSITION    OF    THE    SCALE    BY    FOURTHS. 

$  115.  First  transposition  of  the  scale  by  fourths  ;  from  C  to  F. 

$  116.  To  preserve  the  proper  order  of  intervals  between  three  and  four,  and 
between  four  and  Jive  in  this  transposition,  it  is  necessary  to  take  Bb  as  four  in 
the  new  key.     Bb  is,  therefore,  the  signature  to  the  key  of  F. 


EXAMPLE.    Key  of  F. 


:^£ 


afcz±: 


12  3  4  5  6  7  8 
F  GABbC  D  EF 
Do     Ro   Mi    Fa   Sol    La     Si    Do 


12  3  4  5  6  7  8 
F  G  A  Bb  C  D  F.  F 
Do    Re    Mi    t'a.    Sol    La   Si      Do 


ILLUSTRATION. 


step.  step.    step.  step.   step.  step.  step.  step.  step.  step,  step^ 

-<S> a— 


5 CL. 


-e- 
i 


4 


ra: 


-&- 


■>&- 


Note. — An  explanation  of  the  above  diagram  would  be  so  similar  to  that  at  §  103,  that  it 
is  supposed  to  be  unnecessary.  It  will  be  observed  that  Bb  is  taken  for  four,  and  not  Aff, 
because  the  scale  must  always  proceed  from  one  letter  to  another  ;  Afl  cannot  follow  A,  in 
the  diatonic  scale. 

§  117.  It  will  be  observed  that,  in  the  foregoing  transposition  from  C  to  F,  the 
pitch  of  the  scale  has  been  removed  a  fourth;*  and  the  intermediate  tone,  Bb, 
or  flat  seven,  has  been  found  necessary  to  preserve  the  proper  order  of  the 
interval.  Hence  the  following  rule :  "  Flat  seven  transposes  the  scale  a  fourth  ," 
or,  "  The  tone  or  note  of  transposition,  between  any  key  and  its  fourth  is  flat  seven. 

§  118.  Second  transposition  of  the  scale  by  fourths;  from  F  to  Bb. 

§  119.  To  preserve  the  proper  order  of  intervals  between  three  and  four,  and 
between  four  and  five  in  this  transposition,  it  is  necessary  to  take  Es  as  four  in 
the  new  key. 

§  120.  The  sign  of  Eb  (b)  is  p'aced  a  little  to  the  right  of  the  previous  flat, 
and  the  two  flats  are  taken  as  the  signature. 

*  A  fifth  below. 


16 


ELEMENTS  OF  VOCAL  MUSIC. 


EXAMPLE.    Key  of  Bb 


FPSb: 


*-      w 

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

Bb     C,       D,     Eb     F,      G,      A,       r.  >j  Bb      C,      D,      Eb     F, 

Do,   Re,     Mi,    Fa,  Sol,   La,     Si,    Do;  Do,  Re,    Mi,  Fa,   Sol, 

§  121.  Third  transposition  of  the  scale  by  fourths,  from  Bb  to  Eb. 

seven  to  Bb-     Ab,  therefore,  is  the  next  flat  introduced. 

EXAMPLE.     Key  of  Eb. 

± 


6,       7,     8. 
G,      A,     Bb- 
La,    Si,  Do. 

Ab   is  Hat 


^s^^a 


1  2 
Eb  F 
Do 


:*b 


-#=?E 


»-p: 


Re 


4  5  6 
Ab  Bb  C 
Fa     Sol    La 


Do 


12      3      4      5      6      7      8 
Eb  F      G      Ab  Bb  C      D      Eb 
Do   Re  Mi  Fa  Sol   La  Si    Do 

Db 


$  122.  Fourth  transposition  of  the  scale  by  fourths  ;    from  Eb  to  Ab. 
flat  seven  to  Eb.     Db,  therefore  is  the  next  fiat  introduced. 

EXAMPLE.     Key  of  Ab. 


12       3       4      5        6      7      8 

Ab    Bb    C         Db    Eb      F       G      Ab 
Do    Re  Mi     Fa    Sol    La   Si    Do 


1       2      3     4       5      6      7      8 
Ab    Bb  C     Db    Eb    F      G       Ab 
Do  Ke  Mi   Fa  Sol  La    Si    Do 


§  123.  Fifth    transposition  by  fourths;    from  Ab  to  Db.     Gb   is  flat  seven 
to  Ab. 


EXAMPLE.    Key  of  Db.    (Same  as  Cjf.) 


•  A 


Mr  <>  b                  a  * 

\y            ^     m    P 

tJ              m     '     • 

12       3       4      5       6      7 

8 

Db  Eb  P     ob  Ab    Bb  c 

Db 

Do    Re  Mi    Fa    Sol    La  Si 

Do 

m 


b* 


12      3      4       5      6       7     8 
Db  Eb  F    Gb  Ab  Bb    c    Db 
Do   Re  Mi  Fa  Sol  La    Si    Do 


124.  Sixth  transposition  by  fourths;  from  Db  to  Gb-   Cb  is  flat  seven  to  D': 
EXAMPLE.     Key  of  G,.    (Same  as  Ff.) 


t=T-lt 


0  • 


SES 


k  125. 
to  Gb. 


12345678  12345678 

Gb  Ab  Bb  ci    dp  Bb  f    Gb  Gb  Ab  Bb  cb  DbEb  r    cb 

Do  Re  Mi  Fa  Sol  La  Si    Do  Do  Re  Mi  Fa  Sol  La  Si  Do. 

Seventh  transposition  by   fourths;    from  Gb  to  Cb-     Fb  is  flat  seven 
EXAMPLE.     Key  of  Cb.    (Same  as  B.) 


^^^^^ 


12345678 

cb  Db  e'-)  Fb  ob  Ab  Bb  cb 
Do  Re  Mi  Fa  Sol  La  Si  Do 


12    3      4    6    6    7    8 

Ci  Dp  Eb    Fb  GpA?  Bb  cb 
Do  Re  Mi   Fa  Sol  La  Si  Do 


§  12G.  Eighth  transposition  by  fourths;  from  C?  to  Fb.     B  Double  Flat 
(written  Bpb.)  is  flat  seven  to  Cb. 


EXAMPLE. 


(Same  as  E.) 


12      3    4       5     6 

Fb  Gb  Ab  Bbb  cb  Db 
Do  lie  Mi  Fa   Sol  La 


7 
Eb  Fb 

Si  Do 


P~ 

12     3    4    5    6 

FbG^ib  BbbcbDbE?  f? 
Do  Re  Mi  Fa  Sol  La  Si  Do 


$  127.  The  scale  may  be  still  further  transposed  by  fourths  :  to  the  key  of  E-p, 
with  nine  flats  (two  double  flats);  to  the  key  of  Ebb,  with  ten  flats  (three 
double  flats)  ;  to  the  key  of  Abb,  with  eleven  flats  (four  double  flats)  ;  to  the 
key  of  Dbb,  with  twelve  flats  (five  double  flats),  and  so  on. 

Note  1.— The  key  of  Dbb  is  the  same  to  the  ear  as  the  key  of  C.  The  difference  is  not  in 
the  thing  itself,  but  merely  in  the  sign. 

Note  2. — The  keys  beyond  Gb  (six  Hats)  are  but  seldom  used,  as  the  same  variety  may 
be  more  easily  obtained  in  transpositions  by  sharps.  The  keys  beyond  Ab  (four  flats)are  sel- 
dom used  in  church  music. 


ELEMENTS  OF  VOCAL  MUSIC. 


17 


CHAPTER  XXIII. 


MINOR    SCALE. 

§  128.  In  addition  to  the  scale  as  explained  at  Chapter  XI,  there  is  another  di- 
atonic scale,  differing  from  that  in  respect  to  its  intervals,  called  the  Minor 
Scale.    The  former  scale  is  called  Major. 

§  129.  The  intervals  in  the  minor  scale  are  as  follows  :  between  one  and  two 
a  step;  between  two  and  three,  a  half-step;  between  three  and  four  a  step;  be- 
tween four  and  five,  a  step ;  between  five  and  six,  a  half-step ;  between  six  and 
seven,  a  step  and  a  half-step ;  and  between  seven  and  eight,  a  half-step. 


EXAMPLE.     Minor  Scale. 


01: 


=fc 


*: 


1         23         456         78 
A  BC  DEP         GJf       A 

La      Si    Do     Re     Mi     Fa       Si      La 


12  3  4  5  6  7 
A  G#  F  E  D  C  B 
La     Si    t'a.     Mi     Re    Do      Si 


La 


COMPARATIVE  VIEW  OF  THE  MAJOR  AND  MINOR  SCALES. 


c 

1- 


step. 


D 
-2- 


step. 


E 


F 


% 

step. 

3 4- 

Mi  Fa 


step. 


G 
-5- 


step. 


A-    step. 
1- 


La 


"  step.  ^    step. 

-2 3 

Si 


D 


step. 


Do 


Re 


Sol 

K 
-^  step. 

-5 6 


A 
-6- 


u 


step. 


Instep.  C 

-7 8 

Si  Do 

1/ 

"   step  &  <  step.  G$  step.  A 


La 


Mi 


-7- 

Si 


Note. — There  are  also  other  forms  of  the  minor  scale,  but  it  is  not  considered  necessary 
to  explain  them  since  it  can  be  of  no  practical  importance  to  the  singer;  the  person  who 
can  sing  the  scale  in  the  form  here  given,  or  rather  who  has  made  some  little  progress  in 
the  practice  of  the  chromatic  scale,  will  find  no  difficulty  in  any  form  of  the  nrinor  scale. 

f  130.  The  minor  scale,  in  its  first  or  natural  position,  commences  with  A,  or  A 
is  taken  as  one,  as  in  the  above  example. 

4  131.  When  the  major  and  minor  scales  have  the  same  signature,   they  are 
said  to  be  related.    Thus  the  key  of  C  major  is  the  relative  major  to  A  minor  ; 
and  the  key  of  A  minor  is  the  relative  minor  to  C  major. 
(2) 


§  132.  The  relative  minor  to  any  major  key  is  found  a  sixth  above  it,  or  is 
based  upon  its  sixth ;  and  the  relative  major  to  any  minor  key  is  found  a  third 
above  it,  or  is  based  upon  its  third. 

§  133.  The  letters  and  syllables  correspond  in  the  major  and  its  relative  minor. 
Thus,  the  syllable  Do,  is  applied  to  C  in  both  cases,  although  it  is  one  in  the 
major,  and  three  in  the  minor  scale,  &c. 


DYNAMICS. 

CHAPTER  XXIV. 

DYNAMIC    DEGREES. 

§  134.  A  tone  which  is  neither  loud  nor  soft,  is  a  medium,  or  middle  tone;  it  is 
called  Mezzo  (pronounced  met-zo,  or  matezo),  and  is  marked  m. 

§  135.  A  tone  somewhat  softer  than  metzo,  is  a  soft  tone;  it  is  called  Piano 
(pronounced pee-un-o),  and  is  marked^). 

§  13G.  A  tone  somewhat  louder  than  metzo  is  a  loud  tone  ;  it  is  called  Forte, 
ind  marked/. 

$  137.  A  tone  somewhat  softer  than  piano,  yet  so  loud  as  to  be  a  good  audi- 
ble sound,  is  called  Pianissimo  (pronounced  pee-an-is-si-mo) ,  and  is  marked  pp. 

§  138.  A  tone  somewhat  louder  than  forte,  but  not  so  loud  as  to  degenerate 
into  a  scream,  is  called  Fortissimo,  and  is  marked  jf. 

Note. — Mezzo.  Piano  and  Forte,  are  Italian  words,  which,  by  long  usage,  have  become 
technical  terms  in  music,  and  are  used  by  all  nations. 


CHAPTER  XXV. 

DYNAMIC    TONES. 

§  139.  Organ  Tone. — a  tone  commenced,  continued,  and  ended,  with  an  equal 
degree  of  power,  is  called  an  Organ  Tone.      (■  -^=^) 

(j  140.  Crescendo. — A  tone  commencing  soft,  and  gradually  increasing  to 
loud,  is  called  Crescendo.     (Cres.  or  -=d) 

§141.  Diminuendo. — A  tone  commencing  loud  and  gradually  diminishing  to 
soft,  is  called  Diminuendo.     (  Dim.  or  ~^=~) 


18 


ELEMENTS  OF  VOCAL  MUSIC. 


4  142.  Swell. — An  union  of  the  crescendo  and  diminuendo,  produces  the 
Swelling  Tone,  or  Swell.      (-==d^==-) 

§  143.  Pressure  Tone. — A  very  sudden  crescendo,  or  swell,  is  called  a  Press- 
ure Tone.     (<  or  <>) 

$  144.  Expulsive  or  Explosive  Tone. — A  tone  which  is  struck  suddenly 
and  forcibly,  and  instantly  diminished,  is  called  an  Expulsive,  or  Explosive 
Tone  ;  also  Forzando,  or  Sforzando.      (  >  or  sf.fz.) 

Note.— The  proper  application  of  dynamics,  constitutes  the  form  of  musical  expression. 


CHAPTER  XXVI. 

miscellaneous  signs  or  characters 
§  145.  Passing  Notes. — Notes  of  comparatively  small  size  are  often  used, 
called  Passing  Notes. 

Note.— Passing  notes  are  used  to  represent  tones  that  do  not  essentially  belong  to  a  mel- 
ody, but  which  are  regarded  as  tasteful  or  ornamental, 

$  146.  Appoggiature. — When  a  passing  note  precedes  an  essential  note,  on 
an  accented  part  of  the  measure,  it  is  called  an  Appoggiature. 

§  147.  After  Note. — When  a  passing  note  follows  an  essential  note,  on  an 
unaccented  part  of  a  measure,  it  is  called  an  After  Note. 


Written. 


EXAMPLES. 
APPOGGIATURE. 


iimi^ipi^ip^ 


Performed. 


^SrEgSSl 


Written. 


piSlSlS 


AFTER    NOTE. 

Performed. 


122= 


gS=3fl^ 


ZC 


§  148.  Shake  or  Trill. — The  Shake  (fr)  consists  of  a  rapid  alternation  of  two 
sounds.  It  should  be  cultivated  by  those  who  would  acquire  smoothness  and 
flexibility  of  voice. 


EX  \MPLE. 
SHAKE    OR    TRILL  REPRESENTED. 


■Written.        Performed. 


rraed,  Or, 


men.      A    - 


$  149.  Turn. — The  Turn  consists  of  a  principal  sound,  with  the  sounds  next 
above  and  below  it.  It  should  be  performed  with  care  and  neatness,  but  not  too 
quick.     Its  sign  is  (/%*) . 


EXAMPLES. 


Written. 


§  150.  Legato. — When  a  passage  is  performed  in  a  close,  smooth,  and  gliding 
manner,  it  is  said  to  be  Legato. 


EXAMPLE. 


mmm 


Sol    La.    Si..    Do      Re..    Si..  Sol  Sol...       Re Re..    Mi..    Do. 

§  151.  Staccato. — When  a   passage  is  performed  in  a  pointed,  distinct,  and 
articulate  manner,  it  is  said  to  be  Staccato.     1  I  t 


ELEMENTS  OF  VOCAL  MUSIC. 


19 


Written. 


EXAMPLES. 
Performed. 


Legato 


Staccato. 


§  152.  Tie. — A  character  called  a  Tie,  is  used  to  show  how  many  notes  belong 
to  one  syllable.     It  is  also  used  to  denote  the  legato  style.     ,- . 

§  153.  Pause. — When  the  duration  of  a  tone  is  to  be  prolonged  beyond  its  usual 
time,  a  character  called  a  Pause  is  placed  over  the  note  by  which  it  is  represented. 

$  154.  Double  Bar. — A  Double  Bar  I  1 1  shows  the  end  of  a  strain  of 

music,  or  of  a  line  of  the  poetry.  |  or     |  | 

§  155.  Brace. — A  Brace  is  used  to  connect  the  staves  on  which  the  different 
parts  are  written.  ^      ^     «»         or  ■ 

•  §  156.  Direct. — The  Direct  (av5-)  is  sometimes  used  at  the  end  of  a  staff,  to 
show  on  what  degree  of  the  following  staff  the  first  note  is  placed. 


CHAPTER  XXVII. 

expression  of  words,  and  miscellaneous  directions. 

§  157.  Tonic  Sounds. — The  tonic  (vowel)  sounds  only  should  be  sustained  in 
singing.  It  is  on  these  a'one  that  the  voice  should  dwell.  They  should  be  de- 
livered with  accuracy,  and  carefully  prolonged,  without  being  changed.  To  insure 
this,  the  vocal  organs  should  be'  immovably  fixed  from  the  beginning  to  the  end 
of  a  tone  ;  not  the  least  change  should  be  allowed  in  the  position  of  the  throat, 
mouth,  or  tongue  ;  nor  indeed  of  the  head  or  body. 

It  is  a  very  common  fault  for  singers  to  change  the  tonic  sounds,  and  dwell  not  on  the 
radical  but  on  the  vanish  or  closing  sound  ;  thus  a  becomes  e  ;  o,  oo;  &c.  In  the  word  "great." 
for  example,  instead  of  dwelling  steadily  upon  the  tonic  sound  a,  the  singer  changes  it  to 

«,  and  that  which  should  be  grea  -  •  -  - 1,  becomes  grea  --e t;  so  also  in  the  syllable 

applied  to  Two — let  it  be  Ra  -  -  •  -  e,  and  not  Ra  -  e 


4  158.  Consonants. — Articulation  is  essentially  dependent  on  the  consonants. 
These  should,  therefore,  receive  very  particular  attention,  and  be  delivered 
quickly,  smartly,  distinctly,  and  with  the  greatest  precision.  The  neglect  of  a 
careful  utterance  of  the  consonants,  is  often  a  principal  cause  of  indistinctness  in 
singing. 

§  159.  Accent. — Accent  is  as  important  in  singing  as  in  speaking.  If  the 
poetry  be  regular  in  its  construction,  and  is  properly  adapted  to  the  music,  the 
accentuation  of  the  two  will  correspond.  If  otherwise,  that  of  the  former  must, 
in  general,  be  attended  to,  and  the  musical  accent  made  to  conform  to  it. 

§  160.  Pause. — Pauses,   especially   rhetorical   pauses,   are   essential   to  good 
singing.     In  general,  when  necessary,  they  must  be  obtained,  not  by  an  inter- 
ruption of  rhythmic  divisions,  as  is  the  case  in  the  use  of  the  character  called  a 
pause,  but  by  shortening  the  preceding  note,  thus  : 
AVrltten.  Sung. 


Joy    to  the  world,  the  Lord    is  come  !      Joy  to  the    world,    the    Lord  is    come  ; 

§  161.  Emphasis. — Emphatic  words  should  be  given  with  greater  or  less  pow- 
er, often  with  s/.,  and  without  reference  to  rhythmic  accent.  In  common  psalmo- 
dy its  application  is  difficult,  from  the  frequent  want  of  a  proper  adaptation  of  the 
poetry  to  the  music,  or  rhythmic  appropriateness  of  one  to  the  other.  The  effect 
of  emphasis  may  often  be  increased  by  a  momentary  pause.      (See  §160 ) 

§  162.  Opening  op  the  Mouth. — The  mouth  should,  in  general,  be  freely 
opened.  It  is  very  common  in  singers  not  to  open  their  mouth  sufficiently  wide 
to  give  a  free  and  full  passage  to  the  sound. 

§  163.  Taking  Breath. — (1)  In  taking  breath  make  as  little  noise  as  possi- 
ble. 

(2)  Let  it  be  done  quickly,  and  without  any  change  in  the  position  of  the 
mouth. 

(3)  Never  breathe  between  the  different  syllables  of  the  same  word.* 

(4)  When  several  notes  come  together,  to  one  syllable,  do  not  breathe  be- 
tween them,  except  in  long  running  passages,  or  divisions  where  it  cannot  be 
avoided. 

(5)  Words  which  are  intimately  connected  in  sense,  as  the  article  and  its  noun, 
or  the  preposition  and  its  noun,  should  not  be  separated  by  taking  breath. 


20 


ELEMENTS  OF  VOCAL  MUSIC. 


(6)  The  practice  of  breathing  at  a  particular  part  of  the  measure,  or  of 
rhythmic  breathing,  should  be  avoided. 

(7)  Take  breath  no  more  frequently  than  is  necessary. 

(S)  Exercises  on  the  explosive  tone  (fz.  or  s/.)  will  assist  in  acquiring  the  art 
of  taking  breath. 

§  L64.  Qualitv  or  Tone. — The  most  essential  qualities  of  a  good  tone,  are 
.purity,  fulltiess,  firmness,  and  certainty. 

(1)  A  tone  is  pure,  or  clear,  when  no  extraneous  sound  mixes  with  it;  im- 
pure, when  something  like  a  hissing,  screaming,  or  huskiness  is  heard.  Impu- 
rity is  often  produced  by  an  improper  position  of  the  mouth. 

(2)  A  tone  is  fill,  when  it  is  delivered  in  a  free  and  unconstrained  use  of  the 
appropriate  organs  of  sound.  A  tone  is  faint,  when  it  is  produced  by  a  careless 
or  negligent  use  of  the  organs. 

(3  and  4)  A  tone  is  firm  and  certain,  which,  being  correctly  given,  is  held 
steadily,  without  change  :  and  which  seems  to  be  perfectly  under  the  control  of 
the  performer.     Hence,  the  following  are  faults,  viz : — 

(1)  Striking  below  the  proper  sound  and  sliding  up  to  it,  as  from  five  to 
eight,  Sac 

(2)  A  wavering,  or  trembling  of  the  voice. 

(3)  A  change  just  at  the  close  of  the  tone,  produced  by  a  careless  relaxation  of 
the  organs,  which  should  always  be  held  firm  and  immovable  in  their  proper  po- 
sition, until  the  sound  ceases. 

§  165.  To  correct  faults. — Whenever  the  teacher  discovers  a  fault,  let  him 
first  imitate  it  himself,  and  afterwards  give  the  true  style  of  performance ;  then 
let  him  require  the  pupil  to  imitate  both  the  bad  and  the  good  example.  It  is  not 
sufficient  for  the  teacher  to  say  that  a  certain  fault  exists,  he  must  actually  point 
it  out,  or  exhibit  it  by  his  own  performance,  and  this  over  and  over  again,  until 
the  pupil  obtains  a  clear  perception  of  it,  and  knows  both  how  to  produce  it, 
and  how  to  avoid  it. 

§  166.  *In  all  vocal  performances,  attend  to  the  spirit  of  the  words.  Enter 
into  those  emotions  which  are  expressed  by  the  poetry.  Avoid  a  dull,  heavy, 
unmeaning,  unfeeling,  automaton-like  style  of  performance,  and  cultivate  that 
which  comes  from  the  heart,  which  has  some  soul,  some  meaning,  and  which  is 
appropriate  to  the  words  and  music.  The  composer  does  but  furnish  the  mere 
skeleton,  and  it  depends  upon  the  performer  to  say  whether  that  inanimate  form 


shall  live,  and  breathe,  and  move,  so  as  to  take  deep  hold  of  the  affections  and 
control  the  feelings  of  others,  thus  producing  the  effects  for  which  music  is  de- 
signed, and  for  which  it  is  so  admirably  adapted. 


NOTE. — Lablache,  in  his  excellent  system,  has  the  following  remarks  : 

On  the  Manner  of  Exercising  the  Voice. — Experience  has  shown  that 
in  order  to  form  the  voice  and  equalize  it,  the  pupil  should  sing  much  on  the 
vowel  sound  a,  and  a  little  also,  but  at  a  later  period,  on  the  sound  a.  This  is 
called  vocalizing. 

Vocalizing — by  laying  bare,  so  to  speak,  all  the  faults  of  the  voice,  which 
would  be  in  part  disguised  by  the  employment  of  words — becomes  for  this  rea- 
son the  most  efficacious  means  of  combating  them. 

The  conditions  of  good  vocalizing  are  1st,  to  know  how  to  hold  the  mouth 
well ;  2d,  to  breathe  well ;  3d,  to  form  and  send  forth  the  sounds  of  the  different 
registers;  4th.  to  pass  insensibly  from  the  sounds  of  one  register  to  those  of 
another ;  5th,  to  attack  and  connect  sounds  for  forming  successions.  We  proceed 
to  devote  a  special  section  to  the  analysis  of  each  of  these  conditions. 

On  the  Position  of  the  Mouth. — The  mouth  should  be  kept  smiling, 
without  distortion,  and  opened  sufficiently  to  admit  the  end  of  the  forefinger. 

The  jaws  should  remain  not  always  perpendicular  one  over  the  other,  as  has 
been  wrongly  said,  but  in  the  position  which  is  most  natural  for  the  conforma- 
tion of  the  pupil's  mouth. 

The  tongue  should  be  suspended,  and  placed  in  such  a  manner  as  to  leave  the 
greatest  possible  open  space. 

On  the  Respiration. — A  long  and  easy  breathing  is  one  of  the  most  essen- 
tial qualities  for  the  singer.  Hence  we  persuade  the  pupil  to  practice  holding  his 
breath  for  a  long  time,  even  without  singing.  In  order  to  take  in  the  breath,  he 
should  be  careful  to  contract  the  abdomen,  and  to  make  the  chest  rise  and  swell 
as  much  as  possible.  He  should  remain  in  this  position  as  long  as  he  can.  and 
then  he  should  let  the  breath  flow  out  very  slowly,  until  his  abdomen  and  his 
chest  have  regained  their  natural  position.  Afterwards  he  should  begin  again, 
observing  that  the  mouth  is  moderately  open,  as  well  in  drawing  in  the  air, 
as  in  pressing  it  out  again.  By  this  exercise,  lungs  of  a  moderate  capacity  will 
become  able  to  furnish  a  well-pitched  sound  which  will  last  from  18  to  20 
seconds. 


ILLUSTRATIONS  AND  PRACTICAL  EXERCISES. 


21 


Note. — The  following  exercises  are  gradually  progressive.  They  have  been 
prepared  with  reference  to  such  persons  as  are  beginning  to  learn  to  read  music, 
or  to  sing  by  note  or  from  written  characters,  whether  children  or  adults.  They 
are  intended  particularly  for  singing  schools,  and  are  equally  well  adapted  to  the 
wants  of  the  teacher  who  pursues  either  the  inductive  or  preceptive  method  of 
teaching,  or  who  unites  in  his  practice  both  of  these  methods,  according  to  the 
circumstances  of  his  class.  They  are  designed  both  as  illustrations,  and  also  as 
practical  exercises  to  be  sung  by  the  pupils  as  they  proceed  from  step  to  step  in 
their  work.  Previous  illustrations  or  exercises  of  a  more  simple  character  may 
be  required,  but  these  every  good  teacher  will  be  able  to  write  upon  the  board  at 
the  instant  when  they  are  wanted. 

But  there  is  another  important  view  in  which  we  desire  to  present  these  les- 
sons. They  are  so  arranged  as  to  constitute  in  themselves,  a  complete  practical 
system  or  method  of  teaching,  independent  of  the  investigations  of  the  inductive 
teacher  on  the  one  hand,  and  of  the  a  priori  rules  of  the  preceptive  teacher  on 
the  other,  and  they  may  be  pursued  without  reference  to  the  axioms,  explanations 
or  definitions  laid  down  in  this  or  any  other  book.  The  class,  therefore,  which 
is  ready  to  begin  to  learn  to  read  music,  may  begin  at  once  in  the  use  of  these 
lessons.  This  mode  of  teaching,  which  will  be  new  to  many,  (and  it  may  be 
made  an  excellent  one,)  we  will  attempt  very  briefly  to  describe. 

The  class  being  ready  to  receive  instruction,  the  first  step  on  the  part  of  the 
teacher  may  be  to  write  on  the  board  the  first  lesson,  or  a  similar  one.  This 
being  done,  he  calls  the  attention  of  the  class,  and  pointing  to  the  notes,  he  sings 
do,  do,  re,  re,  or  as  the  lesson  may  be.  After  a  few  repetitions  so  that  he  may 
be  perfectly  understood,  he  requires  the  class  to  do  the  same  thing,  or  to  sing  the 
lesson  as  he  has  done,  he  pointing  to  the  notes  as  before ;  and  this  without  any 
naming  of  characters,  or  pointing  out  their  use,  or  previous  explanations  whatever. 
After  a  few  lessons  in  this  way  from  the  board,  he  may  proceed  in  a  similar  man- 
ner in  the  use  of  the  printed  exercises  contained  in  the  book  ;  gradually  and  as  it 
were,  incidentally  explaining  the  uses  of  different  characters,  and  giving  them 
their  appropriate  names.  This  describing  and  naming  of  characters,  however, 
should  always  be  an  after  and  not  a. fore  work;  it  should  not  receive  attention 
until  the  practiced  part  which  has  preceded  it  is  quite  well  understood  ;  and  ever! 
then  it  is  never  to  be  regarded  as  a  very  important  part  of  the  teacher's  work, 
which  should  consist  mainly  in  teaching  his  pupils  to  sing  the  lesson;  they 
looking  at  the  notes  or  characters  while  they  sing :  for  by  looking  they  will  learn. 
Let  this  course  be  gradually  pursued,  and  it  will  be  found  one  of  the  shortest  and 
most  certain  singing  school  methods. 

We  do  not  mean,  however,  to  recommend  it  to  the  neglect  of  those  before 


mentioned.  The  best  teacher  will  not  be  confined  to  any  particular  previously 
laid  out  plan,  but  will  from  the  different  methods  make  out  one  of  his  own  ;  not 
indeed  one  that  is  stereotyped  and  unalterable,  but  one  that  he  may  modify  and 
adapt  to  the  varying  wants  and  circumstances  of  his  different  classes. 

But  whatever  may  be  the  method  of  the  teacher,  if  he  teaches  the  commonly 
received  principles  of  music,  and  of  musical  notation,  he  will  find  the  following 
lessons  adapted  lo  his  purpose ;  since  these  universally  received  principles  of 
music,  are  here  gradually  developed  and  illustrated. 


LESSONS  ON  THE  SCALE. 

ccddccd  edeedd 


i^pp^P^SP 


i-*-0-0^-0—4- 


3=ES 


PiSEfe 


=1=4= 


M 


=1=1= 


m\~0t 

4      4 
g      g 


0-4 

3      2 


1 
d        c 


3EHS 


=p*i^m§^i^ii3!l||; 


e     a 


12        34        56        6  56 


PRACTICAL  EXERCISES. 


8      8 


*  We  have  sometimes  used  the  G  and  sometimes  the  F  clef  in  these  tenons,  for  all  the  pupil  s  should  be  equally  familiar  with  both 


PRACTICAL  EXERCISES. 


23 


18.   c 


2e 


Hr 


112       3 
19.    c      cl       e      f 


dfcdt.rlirTffT 


zM: 


4 

g      f 


3      3 
2  e      f 


4^1 


12        3      4 
20.   e      d        e 

as 


5      4 
S      a 


ig 


4      3 

g      f 
•— |-P— 0 


2  1 

e      d      c 


3      4 
2  g      f 


*=3££ 


3      2 
21.    e      f       g     a 

i):    m   0  IP   f 


s^^gi 


5      4       3      2       1 
e      d       e      f       e 


3     4 


5      4        3      2 


j c 


£ 


b,      a        g 


2g 


3 
e 


i      a       g      f 


3      4 

22.    g     g 


-P 


5      6 


7      6 
z      a 


EE 


5      6        7      6        5      4       3 


H 


23.    g 


7      7 
2  b      b 


ittH 


6  7      6       5 

c      b       a  g 

a; 


—W-.-G- 


tzfz: 


24 


UL^-q£-f-|ff= 


7      7        8      7        6  5 

c        b      b       c      b      a 


2b 


^nE^E^Fj 


7      8 


8 


25.   a 


b      b       c      b 


Bg^JE^^^lEgE^gE^Eg 


2  c       c 

0-  -#- 


b     b 


26. 


6      6        7      7 
c      c       d      d 


8      7 
e     d 


2a 


7       7 

b     b 


m^ 


1     1 

27.    a      b 


tt=t= 


Z25t 


-•— •- 


t=zt=EE= 


6      7      6 
c      b       a 

PR 


2      2        3      2 


6      6 
2  c      d 


7      7       8      7       6 
e      d        e      d      c 


28. 


6      7 
c      d 


8      7 
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6      7 
g      a 


1      2 
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cf-ff_i 


gS^ 


3      2 

g      f 


e      d      c 


3      4        5      6 


7      6 


THE   SCALE    IN  TRIPLE  MEASURE. 
2 


29.  2 __^ 


3=- 


112     3   3   2      112     3 


332      112     332     1 


30. 

BE 


3 


inzzz : 


2      3 


i^^a^ 


^ 


_:^: 


:=J== 


sfc=£: 


4     5       4      3 


4      5        4     3 


2      1 


24 


31. 


PRACTICAL  EXERCISES. 

37. 


EE=£ 


-&— 


a 


1  2 

32.       > 


112       3 


eff:35 


-&-— 


3  2 

> 


3      3      2 


:*:~=F: : 


£- 


gg^gpg 


p=p=^ 


a^_.^t^-^.- 


■fp 


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^EE 


--- 


5      5 


6     6       5     5 

> 


33.        >      a   'n    -P--P 
T-0—&-T       ■    ~~| — 


77       88       7765 

> 


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r 


■FF 


a     > 


i 


stte=e 


^=* 


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6677       887      6 


112     2        3     3     2      1 


LESSONS  IN  WHICH  THE  TONES  SUCCEED  EACH   OTHER,  NOT 
ACCORDING  TO  THEIR  ORDER  IN  THE  SCALE,  BUT  BY  SKIPS. 


34. 


1  and  3. 


SIB 


azr 


I 


=t 


B 


*=p: 


=1^R 


i     i 


13       3        1 


35. 


313      131      333      1 


si^^iie^jgi 


135      153     313     5 


513      531      315      1 


41. 


E5E5 


3? 


3^tfiS 


1      7 


8      1 


3       7 


3~r 

1       2 


xza: 


B 


-• — 0- 


3      8        5      5 


42.  2      _^__^^_^_^ 


875873     817      8 


354      321      332      1 


43.         1,  3,  5  8  7  and  4. 


PRACTICAL  EXERCISES. 

49. 


25 


?^im^spfi^=jp 


1435843  32        15321 


44. 


■W^r- 


l&W^^ 


8877443  3344778 

45.         1,  3,  5,  8,  7,  4  and  2.  2 


S^pl^g^lS^ 


8      5       3      1        2      7 


13       5      8       7      2       3 


46. 


PPP 


Z± 


:EF 


-1 


|3S 


1327        478  8574243 

47.  2 


^ 


1 


S 


853     4687423  358643227     8 

EXTENDED   SCALE. 
48.  2 


^rrtrr.i:ap^ijj77Ttrn 

112232        1  334454  3 


sB^SSS 


«tv 


112334      554     3  3345   5   4332      1 

50.  2 


BeeeESeHEE 


-r 


1 


t 


EE 


1353243  315      1731 


51. 


^S^Et 


•— * 


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jfcE 


8      8       7       7        6      7 


11        2       2        12      3 

2  #-p-» 


isissilllM 


^ 


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876     555     567 


53. 


12   1     7   5   5     7    12      3 

2 


T* 

—  - 

— I 

^_, 

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J  r 

p 

-_ 

tf    -* 

z     * 

J 

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J  J 

1    , 

1 

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54. 

e 


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^m^m^ 


55. 


*Hg|^E 


3=5: 


-£££- 


-0-        ±     -0- 


26 

56. 


.--** 


^^SB^S 


PRACTICAL  EXERCISES. 

■     m      _&.       I  SHARP  FOUR  AND   FLAT  SIX. 


££ 


u    63- 


CHROMATIC   SCALE.    SHARP   FOUR. 


57. 


puppufsi^i 


58. 


=«=t 


*** 


- 


^ 


a 


Sip 


59. 


^il^lll^^a^fl 


60. 


^PR^ag^g 


61. 


FLAT  SIX. 


62 


3=p 


•— • 


bfcH: 


mHiill 


3?= 


^^[^^g^^gg^ 


^* 


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i=3=^ziM=i 


:q: 


gifEzmi 


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64. 


jf^jSlg^hgj 


SHARP  TWO. 


^^^^^m 


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+=r 


- 


m 


65. 


;i 


AS 


=  3SF 


^^^ 


-p 


3=tf 


|i» 


_MZZ71_ 


- 


FP-- 


66. 


g^^gjfe?=g: 


czrtz 


:± 


srae 


* 


67. 


SHARP   ONE. 


^"-  r    f      P    .    d-  f-j-T-HH-p-rJ    J    Jr- 

^M-      -f-f  •#•  «-      ,    -  -    p— •  4K-=  ■*  - 

68. 


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... 


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^ 


J^ZfT 


£ 


FLAT  THREE. 


69. 


B5r£^^¥^^gEg^^^^E 


PRACTICAL  EXERCISES. 

75. 


27 


FLAT  SEVEN. 


70. 

IISEHS 


Mi^tz 


faffiSHtefc^+fecHd 


:E 


:-_t£:tt 


£EE 


-p-- 


71. 


SHARP  ONE  AND  FLAT  THREE. 


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i=* 


v»- 


fctfct±t#ztt=f 


-FBt 


^l^PPfe^^ 


72. 

r^i — 


l^lliiSeW^ 


tefc 


SEE 


73. 


SHARP  FIVE. 


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74. 


iii^ipjyip^iiiiii 


f^SBaH^ 


76. 


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ifiz 


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££. 


SHARP  FIVE  AND  FLAT  SEVEN. 


77.___^ 


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78. 


SHARP  SIX. 


79. 


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RECAPITULATION. 


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I 


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^£ 


-  9* — »—  £ — i— 7^-v-  — r 


28 


D 


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PRACTICAL  EXERCISES. 

86. 


81. 


CHROMATIC   SCALE   IN  REGULAR  SUCCESSION. 


Ipj^i^piS 


=F-F 


?=#: 


g^^^^^jb 


MISCELLANEOUS   LESSONS. 


82. 


^^^^^l=^^4=^l=q=M=^fl 
|J£E«i:  -^H:^^l-^^^«jfr-l-^^3^-i=====n 

83 

fe=@=fgg 


eSEBpe 


333BB 


84. 


^g 


^: 


£ 


■cr.f- 


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i— •- 


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85. 


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$i=^^L^=£Efl* 


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87. 


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o — : 


*= 


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=1: 


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=?=! 


?=3=E 


EIGHTH   NOTES,   OR  QUAVERS. 


88.  2 


89. 


HP^ 


:e 


»___ — ^~—\—\ i_| a 


90. 


^Elg^idpiiipigi !  <fr  j.^u  ji  j.  JJjptFflrT^jp 


PRACTICAL  EXERCISES. 


29 


91. 


92. 


|p§§iB£ig|fIi^Eg 


S3? 


mm 


•:f 


^nm 


Baffin 


-*-•  - » 


^t 


-£- 


^ 


94. 


fog 


i#siga 


^piirSs^spEg 


95. 


532JJI 


EffirriftgBs 


fe^i^ife^^g 


^s^ssi 


96. 


ei 


s^gra^^ffiflS 


?es 


SIXTEENTH  NOTES,  OR  SEMIQUAVERS. 
97.  2 


^r^igg 


-0-W-0- 


fc£:: 


98. 


f-^ 


"-t=Pi : 


99. 


200.  2  ' 


101. 


30 

102.  p 


DYNAMICS. 
f  ff  f 


*^te 


:J 


0  '-j 


PRACTICAL  EXERCISES. 


103.  / 


flP       P 


/ 


-#  4  a- 


104.fip 


3E^=^ 


ip=E 


-» »- 


# F 


I 


Crescendo. 

105  # 


be£^ 


• — *- 


^1 


FP 


=P=f»: 


-» — »- 


Diminuendo- 
106.  /  or  P'  as  directed  b>'  tue  teacllcr- 


giiiii^iiii^g^ 


P 


mm^ 


> 


±drz 


UT  1    r 


?fi* 


»    #•#- 


—  - 


la,    la,      la,    la,      la. 


'   *U 


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


m 


g^M^m^m 


la,  la,     la,  la,     la,  la,    la,  la,        la,  la,    la,  la,      la. 


108. 


rrrr*  *■ 


*ZjT 


*3 


i^S 


109.  2 H  ^^ 

uh  ah  ah  ah  ah  ah  ah  ah  ah  ah  ah      ah  ah  ah  ah  ;'li  an  all  ah  ah  ah  ah 


110. 


0  0 


4 


ZMTT. 


TW 


fEEtr£? 


=lTd 


35 


wi*ff 


107. 


Sing  the  followine  lessons  fometimes  p,  and  sometimes/. 


zsEm^mm^mm^ 


V        112234565432     3     2        8877     12343287     8 

111.  2 


S33 


±*±jti 


&±M 


mmmmmm 


la  la,   la,  la.   la,   la,  la,  la. 


w 


6787    1232    876    5     6     7        12  32    8787    6287    6 


PRACTICAL  EXERCISES. 


31 


112. 


Mti£ffJtoU4J J  nr  yw 


■G>—> 


1356    54  32    1    35      2  135     65  4  32    132     1 


-ukUHfefrtpj&SSgj^ 


"*"  "T 

113287654313  57  5  1132  87654315  8 


113. 


ROUND   IN  THREE   PARTS.       2 


9J—m-  -«—•—! — «-  -0— *—*—*-  -<s> — •- 


:*-#-t=-f- 


Sal-  va-  tion,    sal-va-tion        be  •  longeth  to   the  Lord,  And  thy   blessing,      thy 


ms^^^^g 


-F-F-4- 


blessing  is  a-mong  thy  people,  Hal-le-lu-jah,     H~l-ie-  iu-  jab,  A  -   men. 

ROUND   FOR  FOUR   VOICES. 
114.  2  3  4 


44 


t=F 


S^S^gl 


Let  us  endeavor,  To  show  that  whenever  We  join  in  a  song,  We  keep  time  together. 


gJggS^g^B 


116. 

7" 


^gissi^itig 


^p 


1  23  45    686     5315 
117.        v 


1    23  45    6    8    6    5532     1 
Creo. 


£te 


/ 


112        3 
/ 


i^is^ 


3      3      4      5 
Dim 


5     5     6      7         1 


n^^^^ii^pi 


2       8     7 
118. 


2      87654      3287    6"  7     1232      1 


Bi 


«      2 


£rS 


tit 


i=t: 


65         43287  5432876 

-r*~ »- 


£ 


^E 


zizzs: 


3= 


(E-F- 


87         65432  7654321 


119. 


ROUND  FOR  TWO  VOICES. 


^a 


fh-p-rmr 


e 


SS^Hp 


War-ble  for  us,      ech-  o  sweet,        ech- o  sweet,       Softly  now  our  songs  repeat, 


12345      5      56782  28765      5     64321 


S^^^^=fe^3^ 


'  Oen- tie     ech  •  o,   wake  from  sleep,       Gen- tie    ech-  o,     clear  and  deep 


32 

120. 


PRACTICAL 


135     85  3     135 


§§111111^1 


32  87  65     4    3   2     12   2     1 


121. 

n    ^120  ami  IS]  mav  be  sung  together. 
«-'  1       23531       2313     543*287    6   5   4    3    4   2      1 


gml^iHi^i^&i^^fei^ 


ri 


|z|^±=4P=Es 


631       876    3    2187        6332     8      7     6336 


123. 


9^ 


S 


±=± 


i 


13       2        7 


7657687  87 


,14  # 


*-*- 


sc 


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EXERCISES. 

124. 


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1135    8535     7542      1 


5     3      5  3     2      4     3 


126.„ 

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1..      3     3     3..      5..     4     2..     4..     3      1..       3..     2      1. 


tr^        III   U  Lj I    EJ  Cm      kTfi 

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8..     7         7..        6..      5        3..         5..     4 


3.. 
4..     3         5. 


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3...       5 


5...         4...        3 


2  7         8 


127. 


ROUND   IN  FOUR   PARTS. 


PRACTICAL  EXERCISES. 

129.  ROUND   IN  THREE   PARTS. 


M, 


-£?- 


1.  Come   and  sing      a        iner  -  ry  song,  Wake  the  cheerful    glee, 

2.  En  -  vy,    an  -  ger,    hence  a  -  way,      E  -  vil  passions      flee  ; 


fefeN^S 


*=t 


-G>- 


P=p: 


mm 


Now   the    joy  -  ous      tones      pro-long,       Hap  -  py,    hap  -  py        we  ; ) 
Why  should  we    in  -   dulge  them,  say,      Why  should  you     or        me?  J 


3 

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L-0 0 0 

4=±=E  >TT=^a 

Oh  !   hap  -  py      we,     oh    hap  -  py       we,    oh      hap 


py,  hap-py 


W=F 


& 


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128. 


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hap    -    py,           hap    -    py 
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33 

English. 

r-h-tT 


A 

■ — 1 n 

boat,    a    boat, 

3 

to 

cross  the  fei 

-ry  ;    We'll  float  and 

!      1 

sing,  and 

=Jr=Jz 

_p_ 

• 

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p* 

— ^ ™ r~ 

fe£2i 

(V 

1 

rj 

i 

all      be    mer-ry, 
130.    F  Staccato. 

— fc 


Sin" 


sin 
I    P  Legato 


sing  and  be      mer-ry. 


J ^ +_  U , + 1 c 

1525  3         5  4-5  53  24 


5        2 


4         -5 
Dim. 


6712      3     43212876       32878765     6387     6 


132. 


T^1 


#  • » 


67123     6        432873      67123562     8     7       6 

133.  2 


m 


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8765      6543      4321       5 


2    8     7     6 


u 


PRACTICAL  EXERCISES. 


zi~ 


- 


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~Tr  r  r 


~ 


S=J=i^M 


7654        0      2      76 


3      4      5        6     5     6     7 


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8     7     12       3 
134. 


S 


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512       3234       5432       1 


— -s=p-^*^t:|^^;»=?-p; — - 


=fc 


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Trrrrt: 


7       1       2 


1      2      3 


—or 


S 


3      4      5 


-# — j_a_#_. 


w—\— 


f=t 


12345671       28765432        1      3      5      3       1 


4     5     6 


Hp j-ph— ^ 

r-# — « — i 

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— iS>— -— - 

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— " 1-*— J-J-*- 

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4        3        2 

N   J     x- 

1 

H n 

2      3      4         | 


4      7      3      6 


PRACTICAL  EXERCISES. 


35 


1 


=F^p: 


^=t= 


7      1 


7.. 


5     S 


-&— F- 


SH 


-i ; ■ — «-!-■  — ©- 


233. 


1     s.. 


6.. 


EEE 


He^e 


-f — f- 


— p 


3 

z*: 


4.. 


3       2 

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:p 


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4= 


7  6  5         4  3 

139. 

*=SE3E^H 


5 


i^=^; 


t 


=J-^g 


-9-^-0 


P33t 


f  rr 


^t=i 


kj 


d^: 


:t*: 


Nageli. 


s 


1.  How   I    love    to       see   thee, 

2.  Sweetly  thou    re  -   call-  est, 


Gol- den  eve  -  ning    sun, 
Childhood'sjoy-  ous     days. 


fciN=i 


How     I    love   to      see  . 
Hours  when  I      so     fond 


v/„. 


r 


tP=£ 


thee,     When  the  day      is       done. 
-     ly      Watched  thy  eve  -  ning    blaze. 


141. 


ROUND   FOR  FOUR  VOICES. 
2  3 


ilgE^EEEi 


SE3E± 


=r 


Ev-  er  blooming,  ev  -  er  gay,  We  welcome  thee,  Thou  lovely  May. 
142.  ROUND   FOR  THREE  VOICES.  2 


~H2l 


3: 


e^ 


3 


&Eq=|E5EEB 


=d; 


* — •- 


^E 


By      the      riv  -  er      of       Bab  -  y  -  Ion,   There    we    sat  down  ; 


-e>- 


-f-F-J 


We     wept, 


gfeSras 


-*— <s>- 


we  wept  when  we    re  -   mem-  bered  Zi  -  on  ;     We 


3=3=1=* 


a — (i-g^-zzq-J_^zp — f- 


-© 


BE* 


22= 


:=^P 


_q_  : 


hanged  our  harps  up  -  on    the      wil  -  lows    in       the      midst    there  -  of. 
143.  4     German. 


ROUND   FOR   FOUR   VOICES. 

2  3 


m^^m^mmm 


Day  is  gone,  Night  is  come,  When  the  day  of  life  is  flown,  May  heaven  be  our  home. 


3fi 
144. 


PRACTICAL  EXERCISES. 


ROUND   FOR  THREE   VOICES.        2 

ri — K 


fftegfcba^^p 


■NH-* 


The  Lord  will  com  fort,  will     com-fort       Zi  -  on,     The  Lord  will 

3 


^^^^fe^^i 


comfort,  will  comfort  Zi-  on,  will  comfort,  will  comfort,  will  comfort  Zion. 

145. 


v 


;"  -  i 


^m 


w 


ss 


3£ 


7  6  5  432    1 


112     3        2 


14C. 

Slow. 


S     765432     1     1     3     5 


ROUND   FOR  THREE   VOICES. 
0m.         ~T^\ 


-&— 

-&- 
5  1 


148. 


ROUND   FOR   FOUR  VOICES. 
2 


J^Sf-fJ-fH-^ 


The  sun  is  high,  the  shadows  fly,  The  west  is  clear  and  bright,     The 


-I       1       !       -/   I; 


I      *      * 


- 


at=j= 


-& 


m 


morn-ing    call      a -wakes  us     all,        Be- hold    the    gold  -  en       light. 
149. 


—  I y-r 


/  << 


5       123      42     231      275     123      42     28765 


s3to=^ 


l^^^^^P 


1     2     34   5      6     5432851     2     345654321 


^ 


3      5      123      4      325432       8      7      1234       36543 

147.  2 


EE^IS^ 


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5   234   53   342   315123   42   21321 

150.  ,  M 


ESS 


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d <9- 


^St 


31'- 


1 •-•- 


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BSfl  P^ 


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PRACTICAL  EXERCISES. 


37 


E 


£ii 


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^ 


v 


+~v 


1       1     2 
2   8     7       6 

m 


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3     3    7     7 


152.     Four  parts. 


3     2    8     7      8     7    G 
MISCELLANEOUS   EXERCISES. 


G    2    3     3 


Ye        na-  tions  of     the    earth,   Ex  -   alt  the  heavenly  King  ;  With 


=P 


mel   -   o 
153. 


m 


=t 


-^7--* 


:3= 


t=^= 


dy      and  mirth,  Je   -    ho  -  vah's  prais-  es     sing. 

ROUND  FOR  THREE  VOICES.  German.  „ 


u*-|^VfcMifJte*f 


faH&l 


!±t=^ 


-I 4-z 


Now  to  all  a  kind  good  night,  Sweetly  sleep  till  morning  light ;  Till 
morn-ing  light,  To  all    good  night,     Sweetly  sleep  till    morn-  ing  light. 


-r  r    FF 


Good    night ! 


To    all  a  kind  good  night ! 


To   all  good  night ! 


154§      Four  parts. 


5 


•  -• 


-0-0- 


0—0- 


0—0- 


m 


3 


Good  night !  Time  sounds  its  evening  call  ;  Sweet  rest  descend  on  all,  on  all !  Good  night ! 

155. 


H^ 


4     5       6     7 


1853       4254 


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5      6 


_£2_ 


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5       6 


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--- i 


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3    2        1 


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38 

156. 


PRACTICAL  EXERCISES. 


ROUND   FOR  FOUR  VOICES. 
2 


t"1   -t 


*=*i: 


33 


5ESE 


i=iil3i 


Sing  we   now  our  morn  ing    song,  We  have  sung  it      oft    and  long; 


22: 


Yet  'tis    e  -  ven      fresh  and  new,    As    the  pearl-  y       drops    of     dew. 
ROUND   FOR  THREE   VOICES.  German. 

157.  2 


^^g^mm^m 


How  sweet  to  be  roaming,  When  summer  is  blooming,  Thro'  woodland  and  grove,  Thro' 

(woodland  and  grove. 


=^ 


^S^^SS^H 


How  sweet  to  be  roaming,  When  summer  is  blooming,  Thro  woodland  and  grove,  Thro' 

(woodland  and  grove. 


=fs 


.    -0-0-  I      r  r         _^_    5.  _#_^_ 


How  sweet,  how  sweet,  When  summer  is  coming.  Thro'  woodland  and  grove,  Thro'  wood- 

(land  and  grove. 
158.  From  Haydn. 

DZt 


a^S 


tem    fac 


rfc 


see 


22: 


=tt 


:1^ 


rum    coe 

:Ci- 


li  et      ter  -   ne, 


ni-po-ten  -  tem      fac 
159. 


to  -    mm      coe  -  li  et      ter  -  rae,  A 


KlRNBERGER. 

it 


-Sz 


3=x± 


T*Z 


m 


Credo  in      u  -  num       De 


f*= 


fi-0 


v=w 


m 


&  —  *-m- 


r©- 


um,   Pa 


3£S*£S 


trem  om-ni    po-  tem     - 


Cre  -   do  in  u  -  num.       De    -    -    um,     Pa 


161. 


-<s>-      ^— ^ 
MARCH. 


gS 


Male  voices  lead,  and  female  voices  sing  the  echo. 


T^        •  »  • 


l^QHt=P 


trem  om- 


U    U   If— »-*-+ 


+-P= 


IDS 


PRACTICAL  EXERCISES. 


39 


=F*i 


rr 


*5 


i^iiiSgl 


Ei^^^li^^l^S^^ 


j^gjs 


4q 


*     j|     p— M-»- 


162. 


CANON. 


Sabbatini. 


=1: 


-£=F 


^i^ffl^Ri 


pi 


^^Tt^Ma^^fg 


-^- 


Second  part  may  close  with  this  note. 


163. 


a 


m 


^=^=p 


mf^m^tff^m^ 


^eee 


r  r  if  Jir  J+f^Ngp^ 


^milr-rfnTc^^^^fa 


>a 


Slow, 


fcg^?: 


' 


S 


Cherubim. 


JS 


-g: 


Sing        to   the     Lord. 

J. 


S2 


fei^g^Fp 


ex    -    alt 


his  name  ;  his 


as 


^s 


Sing  to  the       Lord,...      ex   -    alt his      name;.,  his 


4- 


£ 


:i= 


mer    -    cy     en   -    dur    -     eth 


32L 


mer    -     ey      en   -    dur 


PE 


E^ 


more. 

-Gh- 
—& 


eth 


er      -    more. 


40 

164. 


SYNCOPATION. 


Andante  or  Allegro. 
>  > 


&3r  J  'j  T£t 


I   > 


1    > 


rr 


i  {-•_ 

-i — 
-ao- 


PRACTICAL  EXERCISES 

T. 


T.  Cooke. 


33323 


r 


li 


Welcome,  welcome,  lovely  spring-time,  Blest  and  blessing,  kind  and  free. 
>  >  >  >  .  >.         I  >l 


ai 


> 
i  i 


> 

i     i 


,>i 


^ 


P=£2_- *  -©- 


Rep: 


cpp 


-2- 


-ft-T- 


r 


ipf:: 


D.  C. 


■*        -I  J     IT*  J_iri 

-f-f9-L#TJT-rL-i 


II  III 

Youth  de  -  lighting,  Age  in  -  vit-ing  ;  Heart  and  voice  we    give  to      thee! 


1    >i       \   li        i   >l        I  £J        I    >\       I    >!        I  >i 


165.  CANON.  Sabbatim. 

n     Allegro.  2  ^n        


166. 


Andante. 


Sabbatim. 


HHiSfe^^SiSi 


ni-z— 


?§££EE^H 


»    #_ 


=t 


f^lp^H 


VOCALIZING   EXERCISES. 


169. 

— r9 T^^ r -SS 1    ^» »    i    ^— m-#-t— ^ — »*-*  ii 


O  G  C  Da 

The  letters  indicate  the  proper  Bass  accompaniment. 


Dl 


PRACTICAL  EXERCISES. 


PRACTICAL  EXERCISES.  41 

C  *  G  0  Ds  Es  D*  C  U  C  * 

C  G  C 


3=r 


z£Z±Z 


E6 


Jli^P^iii 


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h 


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irtit^ 


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X£±±±j 


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p-^^% 


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172. 

liii^illlll^!pSllllIli|^lpl^^ll^ 

C  #  G  .  C 

D3  E6  Ds 

0  '""'^  G 


42 
173. 


PRACTICAL  EXERCISES. 

174. 


itfyfilijg. 


175. 


^^SsEi  = 


(9- 


g^^gS^MHP 


c 
177. 


«v     o 
178. 


G 


fflU  i^^&.nSM^ 


^ 


I 


•-•-  G^5*"  *    C*1*^  F  C  F  G  ?^«  g"^T  •      S> 


c 
179. 


«*  ****"^     C  "*^        F  C  F  G«  •""^  *  *"^ 


^ 


j^s- 


Gfc 


:=  - 


PRACTICAL  EXERCISES. 


180. 


43 


181. 

h 


*J  G-  GO™*"  ^3-  *    ■&-  *J     -0-  ^**  •      »D!4       '     '  ^""^ mJ~ 


i  a  i        ^"**  -&■ 


BO 

182. 


■ 


B0^*«"W  ."-»-»  C  m-4--jd-*-9 

G  *D< 


'«^bi — 


ife^^J 


183. 


-*- 

c  ' 


44 


PRACTICAL  EXERCISES. 


184. 


*Sfea  AjjJyJ^ljg^gg 


^f^!»-g-^*^rd^^|I^Zn 


«fc- 


^SSB 


136. 


gppgggp^ilg^f 


187. 


188. 


Ffifirrrftftfrcr.f 


P^g^^II^ 


-» * *    *  -«»— f ■-#=!-< 


PRACTICAL  EXERCISES. 


45 


i^ 


£z* 


m — r 0—A 


35E^==: 


190.     |  > 

*  9    ~ 2. 


191. 


^^S^^il^^g^^^^^l^ggf^ig^ 


i^^^Mmmp^^i^a^ 


EEeS5E£ 


^^^^^p^g^gfegl^^i 


fe^tSE* 


~r 


=t 


*=tfzz=zzzz=  *Md'j£E z£jz£±±=z+?L g^^-J-j-S 


i^^tzptzg^tSzSa^iti^JB: 


::^=  = 


-£-■ 


46 

192.  Cadence  varied. 


PRACTICAL  EXERCISES. 

9 


»m~--z!-. a 


■=& 


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il  3 


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EEEEEf 


■ 


3 


F-F- 


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tF-F- 


u  6 
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BE 


£&. 


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farfSfi! 


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V 


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11 


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13 


fifffrrftiften 


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Accompaniment. 


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121 


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c5- 


"CT 


2L93.  Cadence  Varied. 


PRACTICAL  EXERCISES 

P.  Winter. 


47 


■ — H- 


s>  " 


*t 


# / « 1- — L#_> / « 


*£ 


— ^— > •    *    [-- — - — '-•— > /—0-> 


=£ 


Z2Z- 


&fees 


X94.  Cadence  Varied. 

l 


P.  Winter. 


lIl3M|liii3fe^feii 


ut=Sxi 


x=*~ 


m 


33= 


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rjzilzzr 


pEgfe^gEg^ 


<*He 


d^fiBt 


;     *     t^+j^i-^-g^gJKa =£jj ta b 


#^WPP 


>      Accompaniment. 


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— ™ — k ! >. — ; 

—  ■— • »— - 


-^— H 


48 

195s          Cadence  Varied. 
lit       1  ^ 


PRACTICAL  EXERCISES. 


P.  Winter. 


as: 


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zg=i 


3 


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25 


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THE    ACADEMY    VOCALIST. 


Mmlerato.— Solo. 


THE  INVITATION. 


G.  F.  R. 


££ 


gppgj^i^^l^^^^^l 


3 


? 


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1.  Come  and  join    us,    dear  companions,  Come  and  join   our    hap-py  throng  ;  Here  we'll  blend  our  hearts  and  voi  -  ces      In  the  dear  de-lights  of  song. 

2.  Joy  is    4iov'-ring  o'er  the  val  -  ley,  Rushing  in     the     wa-ter-falls ;      Joy     in      light-ed      halls  is  beam-ing  And  with-in  our    cir-cle  calls. 


tf 


Chorus. 


3=*=S 


5^- 


5 


^=fe^i^SEl^^E^li^i|^il 


y= 


Yes,  we'll  come  and  join  the  cho- rus  ;  Yes,  we'll  swell  the  hap-py  throng  ;  Here  we'll  blend  our  hearts  and  voi  -  ces      In  the  dear  de-lights  of    song. 


m 


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"°"  3"  "*"      *       ■•-  ;J;  "J"     '•-  "'s'- 


am* 


—I-   -j-   -*.  m 

Yes,  we'll  come  and   join  the  cho  -  rus;  Yes,  we'll  swell  the   hap-py  throng ;  Here  we'll  blend  our  hearts  and  voi  -  ces      In  the  dear  de-lights  of    song. 


-0—0 — 0 — 0- 


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THE  DAYLIGHT  DAWNS 

3^ 


Furnished  by  W.  B.  Bradbury. 


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1.  The  day-light  dawns,  the  night  is  slow-ly      fad   -   ing,  And    lies        all    faint  -  ing    on      the      dew  -  y       earth.  From      sleep     . 

2.  This   life,  my  God,    flows  from  thy  dai-ly    boun  -  ty,    And     we      would  hold      it    with      a       child-like     trust!  We  would  . 

3.  But    let    us   with    de  -  termined  will  and  pur  -  pose  To     thee        de  -  vote     the   gift       so      free  -  ly       given,  And  may     . 


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From  sleep    and    dark  .  ness 


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And       lies        all       faint""  •    ing      on      the         dew   •  y   earth.  Fiom  sleep 


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and 


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1  I  ' 

and  dark-ness  bright  and  fresh-  ly        ris  -  ing,  The   world,  the 

not  call      it    false  or  sad,    or      fleet  -  ing,  Nor   spend  its 

thy  spir  -  it,  strong  and  ev  -  er  — pres  -  ent,  Di  -  rect  our 


^ 


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world  a  -  wa-kens 
trea  -  sures,  treasures 
path,   our    path,  and 


to       a        new   -   er  birth. 

on    frail,     fleet  -   ing         dust. 

point  the      way        to        heaven. 


I 


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bright 


and        fresh 


ly 


lis    -      ing, 


The    world    a     -    wa    - 


-    kens 


a  new 


birth. 


ilfH 


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dark 


ness    bright  and     fresh  •  ly  ris    -    ing,    The    world 


kens       to 


birth. 


Dloderato. 


THE  LAST  ROSE  OF  SUMMER. 


Old  Melody 


51 


£±|= 


3 


ii 


iHP 


3^535 


*-*-& 


1.  'Tis    the    last    rose    of        sum-mer,    Left    bloom-ing    a    -    lone,       All    her    love-ly       com-  pan-ions      Are        fad  -  ed       and      gone; 

2.  I'll      not  leave  thee,  thou     lone  one,     To       pine      on    the        stem,      Since  the   love  -  ly       are      sleep-ing,     Go        sleep  thou     with     them ; 


l>  t 


:iri 


w^^^^w^^ 


3±3 


-i 


3.        So         soon   may    I         fol  -  low     When  friendships  de    -     cay,       And  from  love's  shin-ing       cir  -  cle      The      gems  drop       a    -    way ! 


E54-g— g 


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No    flower  of       her        kin  -  dred,  No       rose  -  bud    is  nigh, 

Thus  kind   -  ly        I  scat  -  ter    Thy  leaves  o'er  the         bed 


To    re  -  fleet  back     her       im  -  age      Or        give    sigh  for        sigh. 
Where  thy  mates  of      the       gar  -  den     Lie       scent  -  less   and       dead. 


e^3 


SB 


=^=y 


£5 


feEg 


When  true   hearts  lie       with  -  er'd   And     fond     ones  are       flown, 


Oh,       who  would  in    -     hab  -  it      This   bleak  world  a    -    lone  ! 


I 


m 


nei 


52 


Allegretto 


LOLO. 


fpflSiP^^ 


-»—#-»- 


=^=* 


-1 9 


^^m 


0-0 


Mary 

1st  time. 


H*1^-fi=E 


*  *  » 


I         love      it,  I        love    it,  the      laugh    of   a       child,  Now     rip-pling  and     gen  -  tie,  now    mer-ryand     wild:       It  rings  on  the  air  with  its 

1st  time. 


I        love      it,  I         love    it,  the      laugh    of   a       child,  Now     rip-pling  and    gen  -  tie,  now    mer-ryand    wild:       It  rings  on  the  air  with  its 


i   7V*S^ 


Ifczfsrlt^ 


*-*-*— *— * 


— i— « — ■ — « — • — # — • — m— 


zMziMZzm 


^ 


-• — •- 


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-• — 0- 


-0—0- 


W* 


»-- 


■#—-#- 


i^i 


in-no-cent  gush,  Like  the  trill  of    a    bird  at  the  twilight's  soft  hush  ;  It   floats  on   the  breeze  like  the  tones  of     a      bell,    Or    the    mu-sic    that 

A  .  .  .         5=     ^^.^^ — ^ -,—  -     ./     i— ;,- 


^^^^^^f^^j^f=S^  j|  JT  rppg 


-»—- r 


« — •- 


in-no-cent  gush,  Like  the  trill  of    a    bird  at  the  twilight's  soft  hush;  It   floats   on  the  breeze  like  the  tones   of     a      bell,    Or    the    mu-sic    that 


agg 


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t=t=£- 


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M-ft-,A 


0-T-0— 0-\-0     '■  |      ' 


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y-J LIE 


LOLO. 


53 


k 


D.  C.        2nd  lime. 


E?^H£ 


~p  » 


QzpigS^^ 


jb 


dwells  in  the      heart        of    a       shell.        O  the     laugh    of     a      child,      so      wild    and  so        free,      Is    the      mer  -   ri  -  est     sound    in  the 

D.  C.        2nd  time. 


gBiisa^i^^B 


dwells  in  the      heart        of    a       shell.        O  the      laugh    of     a      child,      so      wild    and  so       free,      Is    the      mer  -   ri  -  est     sound    in  the 


is 


-(9- 


d=£ 


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a 


JtZLMZUfTl 


-$- 


g£a_t_|:Q-*^=  =u^ms-^  3E3EB5E 


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2^ 


fr    ,  -     *  •  *    *    *     |-f— f-y 


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ill 


world    for      me ;     The    laugh     of     a      child,      so       wild    and  so       free,      Is  the      mer  -  *ri  -  est      sound     in    the      world    for       me. 


ffl  j  j  j-hj^^^^^^^N^^if^^^^^#a 


world    for      me ;     The    laugh     of     a      child,      so       wild    and  so       free,      Is  the      mer  -   ri  -  est      sound     in    the      world    for       me. 


Hfe 


^S 


a^P=p: 


:*=»: 


emm&#&&&m* 


5-1 


Allegretto. 


THE  SUMMER  DAYS  ARE  COMING/ 


# 


Jeffreys. 


PCrf=E 


Fine. 


fe|3EE^I 


Zfc 


-- 


1 .  The   sum-  mer  days    are  com  -  ing,      The  bios-  soms  deck  the  bough ;  The  bees  are     gai  -  ly  humming.  And  the  birds  are  sing-  ing  now ; 

reign  is      near  -  ly  o    -    ver,      The  spring  is     on       the  wane,  O     haste  thee,  gen  -tie  sum-mer,  To  our  plea-  sant  land   a  -gain! 

2.  The   min- strel  of        the  moon-light,   The  love- lorn  night- in- gale,  Has   sung  his    month  of  mu-sic     To  the  rose-queen  of    the   vale; 
sum-  mer  days    are  com    ing.      The  bios-  soms  deck  the  bough,  The  bees  are    gai  -  ly  humming,  And  the  birds  are  sing-  ing  now ! 


-r 


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zfczzfczjvzzj* 


Ja>  ftlJ.tl 


Oirfc^ 


±irk 


3.  We'll  rise  and    hail   thee    ear  -  ly,       Be-  fore    the    sun    hath  dried    The  dew-drops  that  will  spar- kle,    On    the  green  hedge  by    our    side; 
sum-mer  days  are      com -ing,    The    bios -soms deck  the    bough,  The   bees  are    gai  -  ly      humming,  And  the  birds  are  sing- ing    now. 
:#:_   — ^ p 0— g— — 1^1 — . 0 0 — .  —  — 

— - — m — 9-\-0—0 — 0—-*—\-\ — 


^g 


-V— /- 


We  have  had  our  May-day  garlands,  We^have  crowned  our  May-day  Queen,  With  a  cor-  o-  net  of    ros-  es,    Set    in  leaves  of  brightest  green.  But  her 

And  what  though  he  be      si  -  lent,  As  the  night  comes  slowly     on  !  We'll  have  dances  on  the  greensward,  To  sweet  music  of     our  own!  O,    the 

-Ir  i  N     k     »  i    »  N — Si— g—  — w  ■ '  l.     w     ■. .—  —i—  -T-/7V-      — :&., 


f^^^^mm 


And    when  the  blaze  of  noon-day  Glares  up  -  on    the  thirsty  flowers,  AVe  will  seek  the  welcome  co- vert   Of  our    jas-mine  shaded  bowers  !  O.    the 

-X c — ~ I — I E c-i —  —  —  -i— .       .  .     _     i    T e — T&- 


EjEz^zzFEN 


.<  -/ 


fggjsggffl 


From  "Bradbury's  Alpine  Glee  Singer."  by  pci mission. 


Andante. 


OFT  IN  THE  STILLY  NIGHT. 


P 


e^s 


^=N 


Old  Melody.  ^ 
Fine. 


^FffffffffT4ia^#t.f  1  r    p  g  II 


1.  Oft        in      the     stil-  ly    night,  Ere  slumber's  chains  have  bound       me,      Fond     memory  brings  the  light  Of     oth-er    days     a-   round    me; 


foj  |!-?l>j.j'JTC3^!ifejTi^^-.>jJ-|jJV/.>lj   Mil 


2.  When      I        re-  member    all  The  friends  so  linked   to   -   geth    -     er,       I've    seen    a  -   round  me  fall  Like  leaves  in    win -try    wea  -ther; 


w^m^m^^ 


^a^s^ss 


d.  r.* 


N-6-  g  ip  •  rcrfe^&yBBiiB 


* — 4— b- 


??=/=?- 


^B 


The  smiles,  the  tears  of  childhood's  years,  The  words  of  love  then  spok-  en,  The  eyes  that  shone,  now  dimmed  and  gone,  The  cheerful  heart  now  bro    -     ken. 


pife<ii^^ii^^EE£#£^E^fe^gSpgpipi! 


I      feel  like  one  who  treads  a- lone  Some  ban-quet  hall  de  -  sert  -  ed,  Whose  lights  are  fled,  whose  garlands  dead,  And  all     but    he      de  -  part    -     ed. 


•  Substitute  "  Thus  "  for  "  Oft,"  in  D.  C. 


56 


AWAKE,  MY  TREMBLING  LYRE. 


Aiulaiitiiio  con  Express, 
lifts 


Arranged  from  C.  Keller. 


A-wake.mytremblinglyre,        On  evening's  quivering  breez  -  es,    And  let     thy  silvery  mu^ic    Steal  soft  ■  ly    o'er    the   wea   -  ry    And 
A- wake,  my  tremblingly^      On  evening's  quivering  breez- es,    And  let    thy  ^very  mu  -  sic    Steal  soft  -  ly    o'er    the  wea   -  ry    And 


HI 


-* — *- 


=£ 


j$     # 


-\ 


-•— •- 


^ 


soothe  their  souls  to       rest : 


^^^a^^fflfe^^^^ 


Hfpi^ 


Through  memory's  gol- den     cham    -     bersBid    pass  the    forms  of     beau-    ty,    'Till  lost       in       heavenly 


-=t- 


^ 


. 


^ 


-*-r-5T 


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■      .'  „      -\ 

•-?$ w 


X: 


soothe  their  souls  to       rest; 


sj^m 


-p-^- 


Through  memory's  go!  -  den    cham-bers  forms  of     beau   -    ty,    'Till    lost      in       heavenly 

^-x-         xf 
jz=* rir 


r 


— v — f- 


=V; 


Through  memory    forms  of       beau  -  ty,  &c. 


AWAKE,  MY  TREMBLING  LYRE.     (Concluded.) 

■ft 


57 


^^^i^^^^^^^^^mmmm 


0 

Then 


i 


rap         ture  The  eye    shall  see      the    glo    -    ry,       The  ear       shall  hear      the   mu  -    sic,    Aye,  the     mu  -    sic    of       the      blest 


fe 


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ture,  The   eye     shall  see      the    glo    -     ry,       The  ear       shall  hear    the   mu  -    sic,    Aye,  the     mu    -    sic    of      the      blest. 


^=jEE^E^g^ 


^ 


v — i_ ff 


'-: 


Then 


** 


Dim. 


pilpp^!S!^i*^^l=p^ 


mur  -  mur,  sweet  lyre, 


And   let     thy  sil  -  very  mu   -    sic     Steal  soft  -  ly    o'er    the     wea  -    ry     And  soothe  their  souls  to        rest- 
Dim. 


trr^LJ^^ 


1 


^5^=^1=1^ 


=l=(d=l> 

-* — *— * — ¥ 


t-  :    --      -,-  .J       ►    *    .    V      ♦     •        "     '        -       <^_L 

mur  -  mur,  sweet  lyre,  And   let      thy  sil  -  very  mu    -    sic     Steal  soft  -  ly    o'er    the     wea-  ry     And  soothe  their  souls  to        rest. 

Dim. 


M r- 


g=^l^^ 


-J=^ 


BEE 


II 


liS^I 


58 


CANON  FOR  THE  MONTH  OF  JUNE.* 


A.     VoiGT. 


1st  Voice. 


Si 


£=!* 


=P^g^=^ 


-*\-0- 


»     0 


pi 


June,     love-ly    June,    now   beau  -  ti  -  fies    the  ground,  The     notes     of      the   Cuck-oo    thro'   the     glad       earth    re-sound; 
2d  Voice. 


pi 


3d  Voice. 


0         JH-*-^— • •— •— '- 


3=fe^S=£ 


-;"■' 


June, 


love  -  ly    June,     now  beau-ti  -  fies    the  ground, 


> 


The      notes      of     the    Cuck  -  oo    thro'  the 


*=fs 


ggg^g^isgf 


June,      love  -  ly    June, 


now    beau-ti-fies    the  ground, 


The 


notes        of      the    Cuck  -  oo    thro'   the*     glad  earth    re  -  sound ;  June,         love  -  ly       June, 

•  From  "Fireside  Harmony,"  by  permission. 


now      beau  -  ti  -  fipe    the 


CANON  FOR  THE  MONTH  OF  JUNE.    (Concluded.) 


59 


P 


Ooda. 


4 — g_i_# — i — __pz      _ l^_ ¥ y~z —«=:-# — Ld 


EE3: 


E=£=i 


1 — 


sound, 


slad    earth  re  -  sound, 


glad    earth    re  -  sound,   Cuck  -  oo,  Cuck  -  oo,  Cuck  -  oo,   thro'  the    glad    earth    re  -  sound. 
Coda. 


Cuck-  oo  thro'  the    glad  earth    re  -  sound, 


Sj^^^l^l^iP^ppfl 


glad    earth    re  -  sound,   Cuck  -  oo,  Cuck  -  oo,  Cuck-  oo    thro'    the  glad    earth   re  -  sound. 
Coda. 


P± 


■*—?- 


a^: 


g 


J2=| 


:*=& 


mm^H^ 


? 


I 


ground, 


The    notes  of     the  Cuck-oo  thro' the      glad    earth    re-sound,   Cuck-oo,   Cuck-oo,  Cuck- oo,  thro'   the  glad    earth    re-sound. 


Allegretto. 


THE  GREENWOOD  TREE. 


Arranged  from  Nelson. 


— f_ — 1. 


^g^ 


1.  Here,      un    -    der  the         leaf  -  y       green  -  wood    tree,  I       pass        the      noon   -  tide      hour,        And    hap   -   pi  -  er         far        am 


Wz 


#L=£=^=^ 


^P 


2.  The       but    -   ter  -  fly  sports  his     gold    -    en       wing,       A      sing    -   ing    stream     runs  by,        And    ma  -  ny      a 


rj^J    1     J'4.J^ 


bird      that 


m 


^m^mg 


m 


- 


m^^^m 


60 


THE  GREENWOOD  TREE.    (Concluded.) 


^ 


*=J==£ 


=^==S 


*s 


T^Z^»" 


^=3 


*       -m- 


> 


than       he,        Who    seeks       but     the       court     -    ly  bovver;        For       near  me     grows        the      wild      white    rose, 


^^^^^^ 


hail'd        the      spri 


ng      Still      greet  -  Tth    the        n  ■    «  sky;  For       paint    -ed        halls        and        pal     -ace      walls       I 


):? 


:> 


3=*=^ 


*       *" 


£=?EE£ 


E^EJ: 


-0 —    0 

1=.  ; 


s= — £ai    /— '-1      '     I-1 — — — *-*-L* 


. 


bright     ,ky       beams    a    -     bove,  And      op  -  -aid     spring,  the     lark,     «ho     sings     The       Ira-    esl     notes      of  love. 


ipii=ppiip^^^^^^i§ 


iii 


care        not,    whilst       for 


ood        tree. 


£V> *- W- 

rff   r    P 


me  Dear     Na    -   ture       yields  her     smil   -    ing     fields,  And  the  shad    -    y       green  -  w 


-0    m     P P- 


^^^^ 


Andante— Dolce. 


ERIN  IS  MY  HOME. 


§j§3: 


1=£ 


^ 


:i=n=» 


:#=P^=p 


^ 


=P=tt* 


Bohemian  Melody 
Cr<?- =>  p 


61 


££ 


t 


■=s>- 


tt=t 


1.  Oh,        I        have  roamed   in 


ma  -  ny      lands,   And  ma  -   ny    friends   I've       met,      Not   one      fair  scene   or    kind  -  ly       smile    Can 


M 


=fc 0 1 ! 


±i 


N 


.j^, Ores. r==-    J) 


ess 


2.    If       Eng  -  land   were      my     place     of     birth,     I'd  love      her     tran-quil      shore;     If     bon    -   ny   Scot- land  were   my  home,       Her 


Efcfc 


mm 


e£^ 


^ 


s 


Cros 


?=E 


s2 


m 


■-•-hi-«-tt- 


fi^a 


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£=3^ 


g^E^^S 


-p-» 


F 


-» — ^-»- 


£=^= 


^ 


:£* 


M>-fs-^ 


fcii?- 


this    fond  heart  for  -  get ;      But    I'll      con  -  fess   I      am   con  -  tent,  No  more     I      wish     to      roam —  Oh,    steer     my  bark  to    E  -  rin's 


& 


^^^mm^mM 


moun-tains    I'd      a    -    dore ;    Tho'  plea  -  sant  days  in    both   I      pass,  I    dream    of     days   to      come —  Oh,     steer     my  bark  to     E  -  rin's 


»^  b        v— i — \- 


0—i—0 • 0 0- — 0- 


-F-;1 


ES 


3 


f=* 


ERIN  IS  MY  HOME.    (Concluded.) 


Ritard. 


SABBATH  BELLS. 


Moderate 
dec* 


lp^^^^ 


Arranged  from  Rawlings. 


1    Hark'      the      Sab    -bath      bells       are      peal-ing,      Wei  -  come       are         their         sounds    to  me;        Mb   -   ric        on  the 

2.  Day  of       rest!       with      what       e    -    mo    -    tion      Doth      the         lone        lgg__wel    -    come   thee ;       Ch.ld      of         tod,      w,th 


3.    Let       these    words      thy      faith 


When       thou      kneel'st   to  heaven    in       prayer.     Ask       what  -  e  er        thy 


— 


^2= 


4- 


I  1 


I 


SABBATH  BELLS.    (Concluded.) 


63 


I 


s 


s 


rat 


EE 


S3 


^ 


*      -.. 


Ores. 


^^J 


night        air      steal   -    ing,     Hath       not       sweet  -  er 
what        de    -   vo    -     tion     Shouldst  thou    bend       to 


mel   -    o 
De    -     i 


dy.        Cheer  -  ing       now       the      heart        of        sad   -   ness, 
ty !        Though  from       E    -     den's    gar    -    den      driv   -    en, 


^Sgigi 


m^rn^ 


wants       re 


quire, 


Ask         it 


hum   -  bly, 


God       is 


there 


He 

Cres. 


ez 


will    grant    with       lov    -    ing       kind   -  ness 


=tzz 


~v       m         m • *- 


OEfc 


±£ 


^=t 


Cc 


•^-w- 


^ 


m 


Ritard. 


l^SS 


Sab  -  bath  bells. 


In        each    tone    such  sweet  -  ness       dwells,       Grief       is        al   -  most  turned    to      glad  -  ness    By      the    sound    of 
Just,   yet      mer  -   ci    -    ful      the        while,         One       day    gave      he    from      the    sev   -    en      On  which  man  should      rest    from  toil. 
V Ritard 


w 


What  'tis      good     that    thou  shouldst  have, 


if 


4r 


^m^^M 


What  thou  couldst   not    ask       for    blind  -  ness,   Still     thy     God      in 


33*^-^=5.- 


I 


V- 


3E 


Trf-      *      -Co- 
rner -  cy      gave. 
Ritard. 


64 


P 


Allegretto 


SP^F^: 


s 


_■=* 


*=t 


* — r 


*=t 


#    # 


THE  HUMMING  BIRD. 

•3^ 


Arranged  from  Rossini. 


^=^ 


P^^^^ 


1.  I      come 


where  tbe    hare-bell      and    vio-let        lie    sleep-ing,      And  sip    with    the    wild  bee      their  o  -  dors       a    -      way: 


kte      SJ 


fefe^^^^? 


3i 


3E3 


^ 


^ 


2.1     come  with    soft  mu  -  sic       my    in  -  cense   de  -  lighted,       To    Him  who     in       mer-cy      hath  taught  me       to 


Trust 


yM : 


& 


■* — j 


i=c 


g^^^^S^ 


a= 


i  * 


PF^mi^m^ 


m 


S 


*herethe    budsof      the  mil  rose    are  peep-ins,  'Till  they  thrill  in  -    to     bloom        at  the    soond     of  my    lay; 


I   come  where  the 


-^ 


? 


3^ 


-#-  -•- 


^ 


:-•— • — •- 


thou  in        His  love  when  thy  bios-  soms  are   blighted,  When  thy  flow-ers       are    with    -     ered  the     spring    is    no      more;       ^1   come  where  all 


°SlS__^_S^S^^^3^i3^^ 


-*=i 


THE  HUMMING  BIRD.      (Concluded.) 


65 


itfr 


•4" 


?c=p: 


S 


P — P- 


>      I         & 


facrt^ 


33E 


^ 


jas  -  mine    the      wil  -  low      is    wreathing,      And    cool  rip  -   pling  wa  -  ters       glide     murm'ring      a      -       long ;        Where  sum-  mer    her 


l 


fr 


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s 


-*     * 


m 


w=^ 


0 — •- 


j — * 


?^^? 


-> 


a*=? 


lull'dby        the      gush  of         the    foun-tain,    The  wood-tur  -  tie  dreamsthrough  the  long  sum  -  mer         day;  Now   loitering      o'er 


ay?* 


m=t=i 


-* — m 


P — P 


p    r 


m 


*    p 


«= 


B=gf 


i>: 


«c 


£ 


:■=■: 


*=t 


S?=^g^^§SEg^ 


£ 


-r^-rt 


LI 


spi- ci  -   est      fra-grance  is  breathing,  And  turf,  stream,  and  val-ley    break  out   in   -   to       song,        Breakout  in  -  to  song,  break  out    in  -  to     song. 


*fe? 


g^V'j  rm-^m 


*—* 


^ 


# 


^9-  -S- 


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val-  ley,  now  wheeling  o'er  mountain,  'Till  my  flowers  have  faded        in        beauty       a    -     way, 


-ft-fr— y    I       V 


=fc 


*=tZ=3t 


£=f=£ 


#— »- 


In      beau-ty    a  -  way,  in     beau-ty    a  •  way. 


* 


^M 


66 


Andante. 

1st  Voice. 


THE  NEVA  BOATMAN'S  SONG. 


r 


^M 


. 


Sees 


*=K: 


2d  Voice. 

-K-J- 


^-t 


WM 


Arranged  from  Horn. 


* 


:s 


£=*-" 


'-' 


1.  Day-light  fades,       Evening  shades     O'er  the    si -lent    wa-ttrs  creep :       Winds  a  -  rise,       And  with  sighs  Wake  the  stream  from  slumbers  deep  : 

2.  Eve  has  passed,       Shades  at  last         Round  the  dark'  ning  wa-ters  close  ;       Yet      one  star       Shines  a  -far,        Gild-ing  ev  -  ery  wave  that  flows 


EM 


^fck 


i 


3t 


3: 


s 


# 


=3? 


r^* 


■^T 


-&- 


y? 


3d  voice. 


ESEi 


• —-• 


?f 


M* 


9—r 


35 


«  «- 


A 


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W- 


^Sn 


£±=3 


Swift       o'er  the   Ne-va  tides,        Mark      how  our    ves-sel  glides;  O'er  the  curl'd  waves  she  rides,  Scatt'ring  pearl-drops  from  her  sides  :  Brothers,  row, 
Soon       shall  the  hand  of  night        Hang       up  her    crescent  light, 

J  \  JS  J  •      *     <J     . 


35 


ft  f  lift 

J 


5-=t^i^ 


*=  =  =* 


^ 


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s 


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2.  Mild,  yet  with  splendor  bright,  Chas-ing  ev-ery  gloom  from  sight :  Brothers,  row, 


t- 


ss 


t^^^mm 


THE  NEVA  BOATMAN'S  SONG.    (Concluded.) 


67 


-T — • — » — 0- 


Dim. 

=1* 


£=^=« 


E-— N--H- 


-N 


Cres. 


^^ 


?^£ 


^ 


Whilst    the   glow  Of     tvvi  -  light  sheds   a       part  -  ing  beam,  Till    our    lay    Fades    a  -  way,  And    dies    up  -  on    the      Ne  -  va      stream,     .     . 
Dim.  j)  Cres. 


zfc 


IE 


qs=qv=^v 


=rv 


^m^^m^^E^m* 


£j±- 


Whilst    the   glow  Of     twi  -  light  sheds   a       part  -  ing  beam,  Till    our    lay    Fades    a  -  way,  And    dies    up  -  on      the      Ne  -  va  stream,  dies  up- 


Dim. 


Be 


S 


^S 


gggg^B 


V 


Cres. 


--£=£ 


> 


H^ 


f%mmmi£mmmmm£m. 


& 


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the 

— N- 


stream,  up  -  on,    up  -  on    the      Ne  -  va  stream,  dies  up  -  on      the    Ne  -  va  stream,  the    Ne    -  va  stream. 

Ritard. 


.       m *"ara-       _-==- 


on    the    Ne  -  va 


stream,  up  -  on,     up  -  on    the      Ne  -  va  stream,  dies    up  -  on     the    Ne  -  va  stream,  the    Ne  -  va         stream. 

Ritard. 


5![psE3g^E^g^^^E*^^a£#p^^ 


Dies  up  -  on    the  Ne  -  va  stream,        the 


Ne  -  va  stream. 


68 


HOW  SWEET  ARE  THE  FLOWERS. 


Andante— Dolce 


From   Fireside  Harmony. 


£=^^^^i|p 


How  sweet    are       the       flow-  ers      that    grow    by    yon       foun  -  tain,     And  sweet  are      the     cow  -  slips  that    span  -  gle      the     grove,     And 


jg^^g^^ftS 


-•-  •-       •-     -0 


^c: 


How  sweet    are       the       flow- ers      that    grow    by    yon       foun  -  tain,     And  sweet  are      the      cow  -  slips  that    span  -  gle      the     grove,     And 


:fr=f*--r*— It 


* 


I 


SS 


S 


-*—r 


^= 


5^ 


S 


reet      is        the      breeze    that  blows      o      -     vei      the     moun  -  tain,     But      sweet   -  er       by        far        is        the      friend      that      I 


£^£^ 


^ 


love : 


^ 


sweet     is       the     breeze    that  blows     o     -    ver     the    moun  -  tain,    But     sweet  -   er       by        far       is        the     friend      that      I        love : 

— N IS       f^        *        N        Ni    «•       - N— N        N 


Se^ 


^^ 


-/• 


£^ 


p. 


2d  Time. 


HOW  SWEET  ARE  THE  FLOWERS.    (Concluded.) 


4 


69 


i 


be 


=*v 


-:— # 


^ 


I'll    weave   a    gay      gar-  land,     a      fresh  -  bloom-ing      gar  -  land,  With    lil  -   ies  and      ro  -  ses,      the     sweet  bloom  -  ing     ro  -  ses-       I'll 
r)2d  Time. 


3 


/ 


g^^l^^^^l^^^^ 


# 


S^v 


I'll    weave  a    gay      gar  -  land,     a      fresh  -  bloom-ing      gar  -  land,  With    lil  -  ies  and      ro  -  ses,      the    sweet  bloom  -  ing     ro  -  ses  ;       I'll 


^ 


t*=fe=f*=F 


*    # 


zm 


I 


i 


m 


z 


&a 


^ 


e 


weave        a       gay       gar   -  land,      a       fresh-  bloom  -  ing       gar  -   land,    To       give      to        the     friend      that      so       dear    -     ly       I        love. 


I^=^= 


=1* 


fe^^sj^^g^^g^^^^ 


•  -4-      -0-      -m- 

weave        a       gay       gar  -  land,      a       fresh-  bloom  -  ing       gar  -   land,    To       give       to        the     friend      that      so        dear    -    ly       I 


3=E=E 


*=£ 


:fi=^z=frrzzft=zj 
4 *~  -*zr—4 * 


=^=^= 


^m 


love. 


70 


BRIGHT  GLOWING  IRIS. 


Andante. 

Z2 


± 1 M «... 


"* r 


j^N 


^=^M=r 


Arranged  from  Bellini. 

-I 1 -r- 


^ 


Bright  glow-ing     I    -   ris,        born      on    high,        Cir  -  cling  a-   round  the        sum  -mer  sky,  Like  hope"s  fond  dream,  too       fair      to     stay, 


^^ 


1^=3^ 


j=5=r 


~9 V 


-*-m 


■ — 0- 


Bright  glow-ing     I    -   ris,        born      on     high,        Cir  -  cling  a  -   round  the        sum  -  mer  sky.  Like  hope's  fond  dream,  too       fair     to    stay, 


3L±2i±: 


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rp=c 


*  - 


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-1 A 

-• 0 * 0- 


7T W 9        # 


tfc= 


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is 


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s 


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C^LJ 


22: 


-# — » 


5=*^-^- 


*=P=p: 


a=^: 


Thou'lt  quickly  pass  a      -     way  ;  Like   joys  that  haunt  the    youth-ful      heart,   Ah !  soon  wflt  thou  de      -    part :      While   I    each  va  -  ried 


£^e^e£es^ 


-&- 


rr-piij  TTSH-J  ftWR 


-0 — r 


Thou'lt  quickly  pass  a      -     way ;  Like   joys  that  haunt  the    youth-ful      heart,   Ah !  soon  wilt  thou  de      -     part :      While   I     each  va  -  ried 


e^ 


s 


^ 


zzzziz^: 


» — 0- 


-0 0—0- 


-5=^3 — -o—  =3 — #=1— 4- 


--» — y 


v— ^ 


i^^i^H^ 


BRIGHT  GLOWING  IRIS.    (Continued.) 


d 


71 


g^fe^S 


tint    sur-vey,        Melt-ing    be  -  neath  the      sun:s  warm  ray,  All    tells  the      fair,  the    bright- est       Is      ev  -  er    soon  -  est        to    fade  and 


P^m 


5 


# ^— — ■ — =aL 


£ 


„ 9 *-#-a 


J=3= 


3^ 


as 


1) g * — w-j-  -m- —j r- -— — m "— *- 

tint    sur  -  vey,        Melt-  ing    be  -  neath  the      sun's  warm  ray,  All    tells  the      fair,   the     bright-  est       Is      ev  -  er    soon  -  est        to    fade  and 


oe 


Efc 


3^EE 


-0 0- 


a — 9- 


t^^^m^^^m^m 


Is  ev  -  er    soon  -  est    to        fade  and 


QEE3EE 


Ek 


H 


*=* 


-^ — i** 


=r-t 


±1 


-4-*r-*- 


l^^^SI 


^ 


*%£ 


die: 


So,    when  the    heart  feels      light  -  est,     Some  cloud    of      sor  -  row  is      al  -  ways   nigh. 


Ah!     like    to    thee,       fair 


0- — * — • — *■ 0 


iH^h-^^pj 


3*=^ 


^ * 9Z 


33 


^* 


die: 


So,    when  the  heart  feels        light  -  est,      Some  cloud    of      sor  -  row  is      al  -  ways  nigh.  Ah !     like    to    thee,       fair 


±±1 


723. 


b=fc 


^ 


0—0 


S 


^EF 


_* Ml 


Some      cloud    of      sor  -  row      is  al  -  ways  nigh. 


72 


BRIGHT  GLOWING  IRIS.    (Concluded.) 


I 


m 


-• — * 


^yE^gs|E^E^^E^E^^^%E|^igSi 


glitt-'ring  bow       Life's  transient  plea-sures    seem,  Daz-zling  a  -  while  with    sun  -  ny    glow,   Then    fad-ing  like    a 


dream. 


g=f 


^^^S^^pi^ii^^^ 


I 


ea 


i=t 


glitt-'ring  bow       Life's  transient  plea-sures    seem,  Dazzling  a  -  while  with    sun  -  ny    glow,  Then     fad-ing  like    a 


dream. 


:p=s: 


3= 


3E 


-0 — 0 


zziz=: 


S 


«c 


^ 


^Z5I 


*= 


\  i  ii  I  ii  iii  iii  ii. 


!*-•- 


THE  HOUR  OF  PRAYER. 


G.  F.  R. 


£^^EHE 


^^=&3E=^m3^=£=£=m^ 


-& — u 


1  Child,  a    -    mid      the    flow'rs    at      play,   When       the       red      light    fades      a  -   way;      Mo    -    ther,    with    thine    ear   -   nest      eye, 

2  Trav     -     'ler        in        the    stran  -  ger's  land,    Far  from  thine    own     house  -  hold  band ;     VIourn  -  er,      haunt  -  ed       by        the       tone 


3=3 


=>- 


^ 


^ 


0:^3 


3.    War    -    rior,     from      the       bat  -  tie      plain    Breath   -  est      now      at        set        of       sun ;     Wo    -    man,     o'er      the      low   -   ly       slain, 
£ 


I 


=fc=p: 


-• 4 — — # 


2Z 


-0- 


32" 


THE  HOUR  OF  PRAYER.    (Concluded.; 


73 


m 


V 


£=*=^ 


^^H^^^^igS 


zfcrd 


, 


!*==£: 


Ev     -      er        fol  -  lowing    si   -   lent  -  ly, 
Of  a       voice    from    this    world  gone, 


II: 


»/ 


Ev     -    er        fol  -  lowing    si   -   lent  -  ly ;        Fa    -    ther,      by       the    breeze    of         eve 
Of  a       voice    from      this  world  gone ;      Cap  -  tive, in      whose    nar  -  row        cell 


^S^: 


^ 


-d- 


^ 


m 


=£= 


^=qv 


»^=» 


a*i 


mf 


Weep  -   ing       on        his       bu  -  rial    plain,     Weep   -   ing       on       his        bu   -  rial    plain;     Ye        that       tri  -  umph,   ye       that       sigh, 


V- 


£=£ 


^=e==e==£(=F=£ 


^ 


n 


¥=ggg^g^^ 


W 


HiSi 


m 


Call'd       thy      har  -  vest  work      to  leave ;      Pray        ere        yet      the      dark    hours    be,       Lift    the     heart      and     bend    the     knee ! 

Sun    -    shine     hath    not    leave      to  dwell :      Sail    -     or         on       the      dark  -  'ning    sea —    Lift    the     heart      and     bend    the     knee ! 


W- 


1 


1 


Kin 


3=]EE^ 


■0-        -g- 


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=^=£ 


? 


9-         -&-        -•- 


3 


dred       by       one       ho    -    ly  tie,       Heaven's    first     star 


like       ye        see —  Lift    the      heart     and     bend      the     knee ! 


Hte^^^ 


^m 


:|En=^fe3^>=3 


IS 


74 


Allegretto. 

Tj  1st  Division. 


THE  ECHO. 


CreB. 


G.  F.  R 


=p!=t 


H=-* 


0 0 


3^& 


0 4 


Have  you      ev   -   er      heard     the        e   -   choes      That    sleep      in        yon  -  der        hill,        Em  -  bow  -  ered      in       the      green-wood       So 


?9-t-£- 


Ores. 


Ibk 


-• 0- 


*-'-* 


P^ 


-0 9 


0 »- 


=& 


zwzz^j-z 


-Jr-.- 

Have  you      ev   -   er      heard      the        e   -  choes      That    sleep      in        yon  -  der        hill,        Em  -  bow  -  ered      in       the      green-wood       So 


ei^ 


zbzzzzzzzmz 


^7-q-j= 


IHM    I        1 


3±=EJL-Ld 


^==t 


a£t=*. 


Dim. 


ifciZt 


-©— - 


V 


2d  Division. 


Cres. 


^^f^^7iTnTr^=F 


*=£ 


H 


sha  -  dy      and    so      still  3  Oh,    yes,  we've  heard  the       e  -  choes    That  sleep  in      yon  -  der      hill,     Em  -  bow-ered    in   the   green-wood     So 

Dim.  f)  Cres. 

33 


3 


^^^&g^^E*mgg 


-0 * 


m3m=m=m 


sha  -  dy      and     so      still ' 
Dim 


PS 


r 


Oh,    yes,  we've  heard  the       e  -  choes    That  sleep  in      yon  -  der      hill,     Em  -  bow-ered    in   the   green-wood    So 

Cres. 


-0 9 — r 


i±zi 


-4      d      wH-rr-Jr- 


W—WZ 


z*z-9—r-t 


0    *r 


THE  ECHO.    (Continued.; 


75 


Dim. 


Cres. 


EE3E 

— #- 


-P-F-t 


zm^ 


■^^^m 


*=± 


d      •      *■ 


sha  -   dy        and       so      still.     Will   they   an   -  swer      to        our    call,      To    our  tones       re   -  turn  -  ing  sing  ?  They   will   an  -  swer    to       our 
Dim  Cres. 


-& • — ■ *   —• — Jr  ^F7^— •-*-*■ 


M 


z=d=4= 


3 ap=i- 


_1 J 1: 

-4 " 4- 


^ 


I 


sha  -   dy        and       so      still.     Will  they  an   -  swer      to        our    call,      To    our  tones       re  -  turn  -  ing  sing  ?  They   will   an  -  swer    to       our 
Dim.  Cres. 


H 


*=* 


-m * 3— J- 


M* 


m^t- 


^zzEESEq? 


=t 


-rt-P-4 — a 


r_d__d: 


-• 0 fi-=WZ 


^EE 


Dim. 


— 5=P= 


1st  and  2d  Divisions  together 


1        * ^H—) —  -  — * — \ •# — i — I— • — F —  •- 


fcSEE 


P=P=i=F 


=t= 


:p3^: 


• »~ 


S& 


call,.    And       sweet-est    mu-sic    bring.            E  -  cho,   e  -  cno,      e  -  cho,    e  -  cho,       An-swer    us      a  -  gain,  An -swer    us      a  -   gain. 

Dim.  &  im  -&  i  7.17.)  .      ff _ m_ 


nq: 


-« — •- 


P=P= 


*=t= 


— 


-« — »- 


call,      And       sweet-est    mu-sic    bring.  E  -cho,   e  -  cho,      e  -  cho,    e  -  cho,       An-swrer    us      a  -  gain,  An-swer    us      a  -   gain. 


1 


BI: 


-Q-  Dim 

335 


HEEEj 


3S 


m 


76 


Maestoso. 


e 


t±=* 


THE  ECHO,    (loiitiuufd.) 


=t 


§1 


o 





331 


Wake  the     e  -  choes  far   and  wide.  From  for  -  est,   hill  and   moun-tain  side,    Let  their  soft-ened  num-bers  flow  Thro"  the  woods  and  vale  be  -  low ; 


sm 


- 


^ 


9     * 


=t 


Jt 


PH^^= 


-ll 


Wake  the     e  -  choes  far  and  wide,  From  for  -  est,  hill  and   moun-tain  side,    Let  their  soft-ened  num-bers  flow  Thro?  the  woods  and  vale  be  -  low  ; 


OISE 


fet 


0        # 


azzzc 


•     0 


£=£: 


-0 — #- 


azzjr 


a=t 


=     . 


-» — 0- 


9*       # 

w 

/f 

w 

1  ■ 

A ■     +        £! 

—&— 

— r — ?^_t_ 

2?  ". 

S>— 

r  v 

■*© — 

O 

r  (=»■ 

— t 

P— 

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— r 1 Uf- 

a m — 1- 

(y  4-    i — 

Wake 

■Oi5      if 

-\ — 

the 

e  -  choes, 

-J 

wake 
HO 

- 
the 

1   i 

e  -  choes, 

H1 — 

wake 

if 

the 

-j — i — 

e   -  choes, 

-1 — 

wake 

vp 



the 

_L_         _ 

e  -  choes, 

— •— 
Hear 

r/ 

-* f f— 

their  soft  -  ened 

XT   i 

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*            1 

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1          „ 
1          & 

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<  i     i 

GL 

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Wake 

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the 

e  -  choes, 

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wake 

— <s> — 

the 

i           J    • 
e  -  choes, 

— e> — 

wake 

.  | 
the 

4 si-r- 

e   -  choes, 

■i 

— &— 
wake 

m 

the 

— 1 G>    . 

e  -  choes, 

— I 
— • — 

Hear 
mf 

J     d    rf 

their  soft  -  ened 

=^=5 1 

m       m       m 

! 

THE  ECHO.*    (Concluded.) 


77 


$ 


zenz 


W- 


J* 


^ 


W- 


?2= 


r" 


II 


num  -  bers    flow,   Thro'     the    wood  and      vale      be  -  low,       vale      be  -  low,    Thro'    the    wood    and        vale      be  -  low,      vale      be  -  low. 


J  J ^J  J «- *-   "t~~#— — * 


W- 


sd 


=F=r 


$L 


=t=£ 


num  -  bers    flow,   Thro'     the    wood  and      vale      be  -  low,       vale      be  -  low,     Thro'    the    wood    and        vale 


-4 ©- 

be  -  low, 


W- 


^s^g^^^g^=ss 


S- 


vale      be  -  low. 


4= 


i=Ft 


2± 


*  Let  the  echoes  be  sung  in  an  adjoining  room. 


Allegretto. 

Ores. 


^=q=3 


« 


THE  MULETEERS  OF  GRENADA. 


Bishop. 


£^eee£ 


^g=g^! 


f        N      [V 


& 


3=i=± 


1 .  Oh !     the       joys        of      our       eve  -  ning      Po    -     sa    -    da, 


Where,     rest   -  ing      at       close      of      the       day, 


We 


p^^pg^ps^i^^pipl 


2.  Then    as       each       to       his       fav   -  'rite      Sul    -    ta    -    na 
Ores. 


In 


J:    r 

sleep        is     still    breath  -  ing    the 


5=^=3= 


3^33 


sigh, 


The 


-  '"frR~^~P=V-l    P~~~  £=ZV-1=:P^£ £ 


=H 


EE 


*=^ 


^=» 


=£ 


-5 »• 


THE  MULETEERS  OF  GRENADA.    (Continued.) 


Sit  and      sing      the    last      sun  -  shine      a 


way ; 


So         blithe      that 


Dim. 

— *=^r 


^=^ 


/- 


e   -   ven    the      slum      -    bers 


I 


Dim. 


^=3T 


-* — ^ 


Nr 


Dim. 


-/— /- 


-* -a 


That    hung         a  -  round    us    seem  gone. 

Dim.  ~=rr — ■ 


Till       the        lute's  soft      drow  -  sy      num  -  bers 


iqC 


sy       twin    -     kle, 


=« # 


K 


Dim.  „ 


A   -   gain      we're  up 

Dim. 


and         gone, 


V /- 


— / /      _"- 


*       » 


-* ^ 


While    the       mule  -  bell's    drow  -  sy       tin    -    kle 


-s- 


-*—*-w 


m 


Ritard 


THE  MULETEERS  OF  GRENADA.    (Concluded.) 


79 


^^m^m^^^t^mmSE^^^z 


A    -    gain      be    -  guiles  them         on. 
Ritard. 


iHP^S^t 


Oh !      the    joys       of     our      eve  -  ning       Po  -  sa    -    da, 

—i — fc fc — k  — \ |V IV  — jV; 


±f 


Where        rest  -  ing       at 

P . 


™  'j^L^J^^ 


Be  -  guiles      our    rough      way        on. 
Ritard. 


g^^fe 


* mzzlzzzzzjjzzr: 


Oh !      the     joys       of     our      eve  -  ning      Po  -  sa    -    da, 

4+ — 


-ar-V- 


-?- 


« 


EEBE^E 


Where        rest  -  ing       at 


=£ 


fn: 


H^Iiglfc 


*=&z 


z^zzzzz^izzzz^ 


Dim. 


close      of      the    day, 


We      young    Mu  -  le  -  teers     of     Gre  -  na   -   da 

■£-~*. — v — -> — s-i— N — fr     S  — X 


=S=£l 


l=lgg^gigi^i=g 


Sit       and    sing       the    last    sun  -  shine    a 
Dim. 


way. 


F 


e 


=1: 


-*     z^z  -* 

close      of      the    day,  We      young    Mu  -  le  -  teers      of     Gre  -  na   -   da 


=?= 


g^j'a  U1 


Sit       and    sing       the    last    sun  -  shine    a 
Dim. 


way. 


^fefe^^^^^^^^^g^3g^^g^^g 


80 


Allegretto. 


WHEN  THE  MORNING. 


ife^g^ 


v= 


rsz; 


ROOKE. 


1.  When  the   morn  -  ing      first     dawns  we     will     seek     the    green   hills,        Be     -     fore 
And         list        to        the      hum      of      the      wild     mountain      rills,        Or  join 


the 
with  pure      hearts    in 


s*_-#- 

horn      from  the 


the 


peak 

lark's 


wakes  the 
thril-  ling 


e 


s>- 


5 


N     N, 


^ 


•2.  When  the     first      star      of         eve  -  ning      il    -   lum  -  ines     the       sky,        And        herds 
Hand  in       hand    we       will     roam   the      lone     riv   -    u    -   let        by,         And        list 


from  the      hills        seek  their    home  in    the 

to     the      night  -  in  •  gale's    heart    -     sooth-ing 


-" 


— f 


22: 


I 


.— JMM-f»! 


*rlfc 


•-*! 


-trt 


»^= 


£E 


'•     * 


plain,       Be   -   fore        the         horn        from  the    peak  wakes  the     plain ; 

strain,     Or        join  with  pure   hearts      in      the    lark's  thril- ling    strain,       The      lark's  thril-ling  strain,       Or     join  with  pure      hearts        in   the 


^ 


=: 


!=: 


- 


^ 


: 


vale,      And    herds      from      the    hills  seek  their  home   in     the      vale, 
tale,        And    list         to  the    night    -     in  -  gale's  heart  sooth-ing      tale, 


--. 


-*~M      *       ^#- 


-• 0- 


:v=^: 


Her      heart-sooth-ing     tale,       And    list      to      the      night 


£=\ 


221 


:*=*ir 


jzi: 


•  From  "  Bradbury's  Alpine  Glee-singer,"  by  permission. 


E*: 


S3^= 


WHEN  THE  MORNING.    (Continued.) 


:p" 


8J 


lark's    thril  -  ling    strain.        Hail !   hail  the   fresh  morn,    List    the      chirp      of  the  birds,  Hark !  the   pipe   of     the   shepherd,  Hark !  the 


■-£^U-^m 


qz. 


heart    -sooth  -  ing       tale.        Hail !    hail  the  calm    eve,      See      the      birds    seek        their         nests,      See  the  wife  spreads  the  board,       And    the 


Bi 


5* 


rt-T-r— r 


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■• — 0 


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^#i 


~:c: 


^1^=1 


p=p= 


d=*=^ 


m 


\ 


v, 


low      of        the      herds,  While       dis  -  tant  and    dy  -  ing,  Sweet  e  -   cho  brings  near,    The        sound  of   the    horn      The       vil 

Set 


;e  to 


1ST 


— y*- 


-* — r 


g^i=i 


i-fit-lM* 


:tatc 


J  4-*-X 


hind    seeks  her      rest,    While       dis  -  tant    and    dy  -  ing,  Sweet  e  -   cho  brings  near,       The       sound         of  the  horn        The      vil      -      lage  to 


m. 


±=t— F— IF 


(6) 


3= 


-• — 0 — 0- 


SE^^ 


-0 0 0- 


82 


3 


3=P 


WHEN  THE  MORNING.    (Conclnded.; 


t=F 


P=m 


ztzfc 


V  v 


fi^— ^=^E 


cheer,       The    sound       of  the         horn 


the  vil    -   lage      to     cheer.        La,  la,        la, 


la,      la,  la, 


la,       la, 


* 


3EEJ 


S 


^-•- 


^ 


-* — *—  r 


cheer,       The    sound      of  the  horn 


the        vil     -    lage      to       cheer. 


La,       la,        la, 


-• 0 0- 


la,        la,        la, 


EE 


^m 


-0 0- 


-4  0Z=UtL 


^m^^^^m^M^t 


-*=v 


fc=* 


£=* 


g£CTg 


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


La,  la,  la, 


la,         la,  la, 


la,      la,  la,      la,     la,     la,     la,    la,       la. 


m 


i 


5==s= 


t 


:, 


a; 


la,  la,  la, 


J I— J- 


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


la,  la,  la 


la,  la, 


la, 


la. 


4 


3=  =j=iUZ3 hfcz— * r 


I 


Moderate 
t-4- 


FREEDOM'S  LAND. 


5 


Arranged  from  Zelter. 

^2 


83 


1 


t±z=lz 


0 • 


• — •- 


p: 


■+ — * 


-0 0 


0 0- 


1.  I'll   sing    thy    glo  -  ry,    freedom's  land,  Thou  home  of      all    that"sdear;    With   joy     I       hail  thy      ris-ing  strength,  Thy  sky    of    hope    so 

2.  Thy  walls  are    built    in    truth  and  right,  Thy  shield  is      just -ice's  cause;  Thy  guar-dian    is     the      God      of  Hosts,  Thy  guides  are  e   -   qual 

-4— , 


JS^Ei^^ 


-• 0 


5 


^=H^Ppp^s=^^^ 


sse 


3.  Thou  art     of     earth  the  bright  -  est  hope  For    free-dom's  ho  -  ly    reign ;      A      thou-sand  eyes     to     thee    are  turned   To    see    thee   wax    or 

-£_l 1 1 , 1 1 1 1 1 _ _ — w— 1 1_, — | 1 — -1 — _f_  __j: 


~d      d      m — r 


* * W^9Z 


^ 


^EE 


~d » a— ah 


:*=*=*: 


-0 — •- 


& 


Ores. 


-&-K—0- 


4- 


-*—• 


ts=h 


ht: 


clear ;   In  thee  shall  spring  those  gems  of  good  Which  once  were  sown  by  freeman's  blood  ;  Long  live,  sweet  freedom's  land  !  Long  live,  sweet  freedom's  land  ! 
laws;    Nor  o  -  ver  thee  does  sov'reign  pride  Bear    on      its   foul,  des  -  truc-tive  tide;  Long  live,  sweet  freedom's  land!  Long  live,  sweet  freedom's  land  ! 

Ores. 


=t 


"&  y  •«■- 


-j— -0 


JE~E 


^ 


T- 


^KZZML 


-0 — *- 


W 


zd=* — * 


4- 


■e-r 


wane  ;  Oh,  still  may  shine  thy  glo  -  ry's  sun,  And    all    thy  promised  good  be   won  !  Long  live,  sweet  freedom's  land  !  Long  live,  sweet  freedom's  land  ! 

Ores.  j_ 


BI^S4 


=p=p- 


mi 


=t 


t»     d     d 


J=P=4=t 


d      d       d      dr 


:i  -0 — 0 — 0 — #_ 


-fS>-^- 


1~pr 
9= 


zai 


84 


BEAUTIFUL  STAR! 


AlIeeTetto. 

1st  Voice 


Arranged  from  Glover. 


Star   .     .    of  the    twi  -  light !  Beau      -      ti-ful    star ! 

Ea    -     -    ger-ly  watch  -  ing,  wait     -     ing  for  thee, 


Glad     -      ly   I       hail       thee 
Looks      the  lone   trav'   -  ler 


Shin   -    ing     a    -    far ! 
O'er        the   dark    sea : 


p 


— •^S— ' #-# »-•-' m-m         m-M13 * 


—j —  '    i  1 1 — ! — i — i — ! — i— j — —±  2    J~a~i —   '  ■ — I — ' — i-i — ■ — t— i — ■ — • — — j— — '—±-±- 


g-n*1  rr 


Eb^k^zz^igp«_=^— 


£^ 


|=1-1-=^-    ^11  M^^^^-^^^^S:^^1^ 


£S 


^ 


11f  1-1-      1*1 


3^ 


^ 


i? 


|ft 


2d   Voice. 


£=*= 


-#_FHz^  =£±     ::•■:  q?3 


r^-i 


£-£ 


^ 


^Tf~rz^ 


v-i-i 


-•=± 


Rest  from  your  la    -    bors,  Chil     -      dren  of     toil ! 

Soon  as  thou  shin    -    est  Soft  on   the     air, 


Night  closes  o'er        ye :  Rest  ye  a  -  while ! 

Borne  by  the  light    breeze,  Float    -     eth  his    prayer ! 


"#: 


f* 


BEAUTIFUL  STAR!     (Concluded.) 


85 


* 


tf^ 


=J* 


S 


a 


-•— -# 


-*!- 


^^ 


-» b 


This  is       thy      greet  -  ing,  Sig    -    nailed    a  -  far, 


-«-— # 


Star         of      the      twi    -    light, 


^^^ 


Watch     o'er    him  kind 


iy 


Hence    from      a  -    far, 


Light       thou    his    path    -    way, 


SE5 


=fc 


S 


•=T-- 


#-— #- 


Beau    -     ti  -  ful       star ! 


m$^* 


-*—-9- 


Beau    -     ti  -  ful      star ! 


B3 


BE 


^E 


e — 0 — #- 


23 


£fc 


t=f 


-•— + 


:*=je 


*=t 


f— •-• 


* — ^ 


:F=^F 


jEEEB^^ 


£=* 


Star       of 


twi     -    light !     Beau  -  ti  -  ful 


star! 


Star      of 


twi  -  light ! 


Beau     -    ti  -  ful        star ! 


£fc±: 


Si 


tZJtL 


3 


S3 


£=* 


*=!=*= 


1 


Star  of  the 
Star      of  twi    -     light !       Beau  -  ti  -  ful 


star ! 


Star  of  the 
Star      of  twi  -  light !  Beau    -      ti  -  ful        star ! 


— s — # — #-*■ 


I^^Z 


jgj^^l^ 


86 


Moderate 


HEARTS  AND  HOMES. 


Arranged  from  Blockley. 


-:•> 


*=* 


t-i*-^ 


j£=±l 


i— i— ^ 


atzza: 


■P  •    ^ — * — *: 
1 ^~ y— 


=4=*=* 


^ — r 


^=fe 


«        JE 


1 


1.  Hearts  and  homes  !  sweet  words  of     plea  -  sure,    Mu-sic    breath -ing      as     ye       fall,       Mak-ing    each      the      o  -  ther's  trea  -  sure — Once   di- 


^E 


m-±: 


m 


3^=1 


V 


=£=qv=^| 


&$=3E3&EEE£E£Ej 


:> 


r-n — *= 


2    Hearts  and  homes  !  sweet  words,  re  -  veal  -  ing    All    most    good     and    fair    to       see,       Fit  -  ting  shrines  for    pur  -  est      feel    -   ing,   T«m-  pies 


D?3 


S 


^         4 •—•—•— 0 4 •- 


-» 0- 


V /- 


-0 0 0- 


■v — /- 


5 


*=£ 


-. — 4 — 4 — 4 


-0 — 0 — 0-  - 


-V ¥—  u 


£=£ 


I 


zwni 


_ . , 

* * 4- 


^E 


* 


* 


*=F 


vid    -    ed,    los  -  ing  all.     Homes!   ye       may      be      high      or       low  -  ly,     Hearts  a    -    lone      can  make  you       ho    -  ly;       Be    the 


^W  ^ 


t^~*        *        4- 


^-=^= 


meet       to  bend      the        knee ;        In  -  fant      hands  bright  gar  -  lands  wreath  -  ing,     Hap  -  py       voi   -   ces      in  -  cense   breath  -  ing,     Em-blems 


-0 0 0- 

-I \ r— 

-V p y. 


— © y — y—  ^+ =£ v £ 


-1*— £ 
-4 4- 


JL-N-ft- 


-0 0- 


-9 n 


-?-A 


£3 


HEARTS  AND  HOMES.    (Concluded.) 


*± 


87 


=t 


S|^a^^ 


* K 


fc 


£=^ 


dwell  -  ing      e'er      so       small,         Hav  -  ing      love       it     boast  -  eth        all.         Hearts  and    homes  !  sweet  words  of        plea  -  sure,     Mu  -  sic 

"": JL 


F^^i^^ 


*^^= 


.0 — 0- 


ISt 


=f* 


^.JJ-J 


P^ 


*        4 


rrs\<. 


fair       of     realms  a     -     bove,    For  love  is      heaven,  and  heaven    is       love.       Hearts  and    homes !  sweet  words  of        plea  -  sure,     Mu  -  sic 


E 


:£==£ 


-v — v- 


3 


^mrrr^^==p=^F^m=^r-  r  ~PP 


I 


^EEIrSE^ 


*—^- 


Ad  lib. 


— <S>- 


^~^: 


Ad  lib. 


z*~r±: 


breath  -  ing  as      ye      fall,      Mak-ing   each    the       o  -  ther's  trea-sure — Once  di  -  vid  -   ed,      los  -  ing      all.      Hearts  and  homes  !  Hearts  and  homes ! 

Ad  lib.  Ad  lib. 


*-*rV 


*—  + 


—G- 


-*-==a-l -g— #-^3- 


:«s 


-*— r 


-* — » 


S^ 


*zn£z 


W 


•       -0-       '       '         w  -    w    w      .0 -       -^  +.---£ 

breath  -  ing  as      ye      fall,      Mak-ing    each    the      o  -  ther's  trea-sure — Once  di   vid  -    ed,      los  -  ing      all.      Hearts  and  homes  !  Hearts  and  homes  ! 


a* 


—0—0- 
V — v—V- 


-& » — 0— *— 0  .    0 — a — •- 


3E5 


0 — 0 


££ 


Ad  lib. 


Ad  lib. 


H- 


^=^ 


^EE^£ 


E 


88 


THE  STAR  OF  HOPE. 


Moderate 


£> 


Arranged  from  Donizetti. 


■5* 


S=rf 


«:i=1=»i=m 


=S 


*=P= 


$=■ 


*=£ 


IS^^I-^^ 


-rrrr^- 


S 


1.  When,  o'er  the    o  •  cean's  drea  -  ry  way,  Where  tempests  dark   are    weav-ing,    The    sea  -man  hails  the  morn-ing  ray     Glad-ly,  while  storms  are 


•:  = 


p^^^P^J    J.JQ    Jjqijl/^j.^jj 


-&- 


=*=*: 


-* — •■ 


2.  Joy  round  my  heart  now  bright-ly  plays,  Each  sun  -  ny  dream  re  -  turn  -  ing ;  While  through  the  shade  of    fleet-ing  days,  Hope's  fai  -  ry     star    is 


y-iJr± 


ei-> 


^m^Ei 


=»^a=p: 


i 


sp* 


'9 — r 


IIZJT 

2= 


Sr^ 


^> 


*=££ 


3CZ3L 


v     y — \ 


r.~~ 


£ 


S=d: 


:•=*: 


gE 


==£==} 


i=i: 


ti 


P 


v.* 


a^-«-« 


•=^=? 


leav     -     ing.      So        thus  o'er     life's       all  -  chang-ing  dream,  Though  pleasure's    day    seems    o'er,     Ah !  Hope's    star  will  rise   with 


=t 


-•-     -•- 


s 


fl# 0 0 0 


S^ 


,»  •  #~ 


iszjzh 


• — 0 — 0 • Z0 


^^t?-^ 


-0 0- 


burn    -    ing.  Though  Time  may  fling      a     -     round    its  cares,  And      grief  the    past       de  -    plore,     Ah !  Hope's    smil-ing  beam    such 


0: 


S^^ 


-w — iz 


-»-= — 0 — 0 


-0 — 0 — • — •- 


Z22I 


3CTI 


THE  STAR   OF  HOPE.      (Continued.) 


'^=^^^^^^^=^=^^^^^^^^m 


^=t 


jj — m 


sit 


^ 


:*=* 


«=«: 


?=^-fcr==rj=F±frf 


89 


^^IPii^iprJi^^^S^^ii^i^ip 


smil    -   ing  beam,       And    joys       re-new     once     more.    Hope's  fai  -  ry  star,  when    burn  -  ing,  Sweet  joy      re-news  once  more  ;  Yes,  and 


sun  -  shine  wears,   Each      joy       re-news    once    more.  Hope's  fai  -  ry  star,  when  burn  -  ing,  Sweet  joy       re-news  once  more ;  Yes,  and 


33 


g^^pglil^^llli^^^ 


joy         re    -      news      once        more ;      Hope's    fai    -    ry    star,   when       burn   -    ing,   Sweet  joy       re  -  news  once  more ;  With  Hope's  bright 


i 


i 


Eg^^^is  g^£=£ 


-» — • 


3^^ 


joy         re     -      news      once        more ;      Hope's    fai    -    ry    star,   when    burn    -    ing,   Sweet  joy       re  -  news     once   more ; 

Bj£jg==3EZL_ g  PZZZZ3EZ 


*=* 


» — #— - — » — 0- 


^—+i 


90 


THE  STAR  OF  HOPE.    (Concluded.) 


J- 


^~  #~yg^pg^^»=i^=^ — rT"=ffl 


star    ....      each  joy  re   -   news       once  more,  With  hope's  bright  star  re-news  once  more,  With  hope"s  bright  star  re-news   once        more. 


%$  I  N  M*=fr^£ 


ff     1i    *— m— *    s   d    4~ 


=F=T 


*^# 


lp#i^^ 


With  hope's  bright  star  each  joy  re   -   news      once  more.  With  hope's  bright  star  re-news  once  more,  With  hope's  bright  star  re-news      once    more. 


>:£?• 


4- 


-y-p-y— V- V- V- 


m. c: 


a!=*=* 


:*-•-*- 


y^ 


■4- 


~p~~m     9 


£1  g      g: 

ir h~ 


Allesretto. 


THE  EVENING  SAIL. 


Hlrka. 


^^^^^^^mm^ 


g==a 


S33z^ 


1.  How       sweet  were   those      soft        eve  -  ning         hours,  When,  wreathed  with     the       bright  bloom  -  ing  flow     -     ers,        Our 

2.  One         star,      love  -   ly        Hes    -    per,     was  beam  -   ing,      And  deep       in        the       blue       wa  -   ters         gleam   -  ing,       Shone 


^        0— ' — 4 — ^^ — ^* — ^i «— — • & # -0—1- — 0 * • —  9         * #— > — e) 


i=HS-T 


3.  Night      slow  -  ly  a    -      round    us       was        clos 


And         we         in       deep       si     -    lence      re     -    pos 


3*=^ — i — r* — is- 


3tz±=a: 


:]=£=£: 


n*=£ 


m      0      0        4 — r 


ing,      With 

-N- 


J     1     m        - 


THE  EVENING  SAIL.    (Concluded.) 


91 


f^t^^^fj-^n^ 


E£ 


«=P ?— 

hs hi- 


t 


3E 


-&- 


-1=^=1= 


S^ 


E 


0: 


boat  gent  -  ly    float  -   ed       a  -  long,       Our      boat  gent-ly    float  -  ed       a  -    long.       The      soft  shades  of       twi-light  were   o'er    us,        The 
back  like      a    lies  -   per      be  -  low,        Shone  back  like      a    Hes  -   per      be  -  low..       The      toil     of     the      wood-man  was    end  -  ed,        The 


«-  -# 


^a^li 


s-F= 


qui   -  et      en  -  joy  -  ment  were  blessed,   With  qui  -  et      en  -  joy  -  ment  were  blessed     The   moon    ris  -  ing  bright  o'er    the    moun-tain,      Up- 


3=1*=^ 


* 


22 


— I -m J 0 0- 

•  9  ' 1 b 


• 0 #" 


-&■ 


^^ 


-1 — T 


-»— »- 


e 


iS 


# 


t= 


bright  west  was    blush-ing    be   -  fore     us,       And  glanc  -  ing    the   wave -lets      a    -    mong, 
song     of     the      reap-er      sus  -  pend  -  ed,       And  birds    twit-tered  sleep- y       and       slow, 


^gEEE±=g— •— *— -li=d=t=.c: 


And       glanc-ing    the    wave  -  lets      a  -  mong. 
And       birds  twit-tered  sleep  -  y      and   slow. 


3=*^T* 


* 


33 


-©- 


=Fv 


^5 


JVzzfE 


=^E^F    ! 


lift  -  ed      our  hearts     to     the      foun  -  tain      Of    beau  -  ty,    and   plea  -  sure,   and      rest, 


Of        beau  -  ty.     and    plea  -  sure,  and     rest. 


m- 


-• 0 0 0 O 0— 


92 


Moderate. 


THE  CONVENT  BELLS. 


Arranged  from  Blockley. 
/ 


»«=? 


N 


"* — ■" 


-& a— F- 


1=|fcj=fs 


-i  •    »    *  iica^ 


3=f= 


q: 


t= 


1.  List!    'tis    mu    -  sic      steal  -  ing  0  -  ver  ,  the  rip  •  pling    sea;         Bright   yon  moon     is      beam  -  ing  O    -    ver  each  tower  and 


\\    .4- 


-»— r — 9 jr 


S-i— i-i—£  3==tt3=£=*4=5 


*— * — *-* 


1=t^4 


0        0    0-     4 


1  JJi  =3=E 


-<s>-  -         '     -   -     -       — -        -#-  -•-       -^- , 

•_'.  Mu  -    sic  sounds   the    sweet  -  est  When,  on      the  rip  -  pling      sea  Our    bark  sails    the     fleet  -  est,  To         a  sweet  mel  -  o 


^£=i 


-<s> 0- 


£=£ 


0 — 0- 


-0 — 0~-0- 


-0— — 0 — 0 — —  0- 


- 


- 


•       r--r~» r 


~?    ?~ 


--- 


zd~r=w: 


?=0^ 


^~*  #  • 


p: 


Z3 r 


^*-1 


^^ 


=»=8t 


tree.  The  waves  seem  list'ning      to    the  sound,  As     si-  lent  -ly  they     flow  O'er    cor  -  al  groves  and    fai  -  ry  ground.  And  sparkling  caves  be 


^ 


1      k^ F ^1=*    J    J 

-j-^-d—    —  * — •—    z=g— * 


H^t 


g      ^' 


3=: 


F=3= 


« ^ ■ 9 0—0- 

dy.    Then     as   we're  gen  -  tly      sail    -    ing,  We'll  sing  that  plaintive    strain,    Which  memory  makes  en   -  dear    -     ing,    And  home  re  -  calls  a 


0:; 


-0 — 0- 


» — -0 — 0- 


:t=  ^=h-r— f-  4==f=F-T=t=F=t= 


O    ' 


-JCZ3L^ 


z± 


i=1=*=i: 


-W      F 


-0 — 0- 


ZM—^r 


-9~rr. 


THE  CONVENT  BELLS.      (Conclnded.) 


93 


H^S 


- 


^^=m^^^^±u=^M 


low. 


List !  'tis  mu  -  sic    steal  -  ing  O  -  ver    the  rip  -  pling    sea ;  Bright  yon  moon  is       beam  -  ing  O  -  ver  each  tower   and 

P 


^p3=j^B-^J  lh  fllj3CT=«=3%^Eg[ 


a* 


gain.  List !  'tis  mu  -  sic    steal  -  ing  O  -  ver    the  rip  -  pling    sea  ;        Bright  yon  moon  is        beam  -  ing  0  -  ver  each  tower  and 

P 


p«  nrcrc 


-#-f 


=t 


-• — 0- 


V^F- 


-m^t 


-&- #— ps- 


=l=jfc£=± 


^ — g-g — g— g- 


3' 


=|: 


-S^- 
tree. 


*-F 


gS 


Ad.  lib. 


^j^^j 


I 


List! 


List !       List     to     the  con- vent    bells ! 


List! 


List !        List       to      the  con  -  vent        bells ! 
Ad.  lib.  ^ 


t^F==E= 


-J- w^-9 gj 


3^ 


-F- 


Tf-T* 


** 


4s- 


1 


tree.  List !  List !  List     to     the  con-vent    bells !        List !  List !        List !        List       to      the  con  -  vent        bells ! 

List !  List !  List !  Ad.  lib.  ^ 


BHE== 


s — ■— I 


-P— F 


-P VJ 


> — V 


*-*- 


-f=B 


94 


THE  MOORISH  DRUM. 


Alleeretto. 

Arranged  from  Blocklet. 

1                                       h.         ^       .          1 

y  T  4                   .- — -. 

1                            1              IL 

N                 ' 

fflt  r  fit  r 

— r— i— f 

H— ^ 

— -4— 4- 

~1 1- 

— 0 0— 

0 

•  1  •    #    j— »-f 

*      *   •    * •— 

1.  Hark!  'tis  the  Moorish 

—               *  •  *   L-» — 

eve  -  ning  drum,  From  yon-der 

-■ #-J 

lof  -  ty 

-d  • 

tower ; 

Its 

light  and 

-J — 

j°y- 

-J — 1 1 1 

ous    tones  now  come,  With  the  mer-ry    sun  -  set 
■ 

(fc  I  -1   ^-fe4 

=j=f=q fk 

— i — 

1     _ 

1 — 

— i- 

; i — 

=} 

=j    L_j , , N  _N 

J"  I    ,|     | 

2.      Gai  -    ly      now  the 

*      V     -J-.   • 

mar  -  tial  band  Are 

|               .    ... 

wind  -  ing 
— 1 i — 

on   their 

H 

"Z7"   • 

way, 

1 — ' 

As 

LT* * 

round  the 

—0— 

lof- 

ty       ram-part  walls      The 

live-ly   march  they 

— 0 — 0 

B&fc-f *^5  -f— F~ 

~s — # — i — s: 

— 1 1 -j i— 

F « — «— 

l                •     5 

1 

a      e 

•        • 

'II' 

II                      /      / 

/     .           !      ~l 

I,            i^.      i  ■        r      r     I          l 

J-v-W- 

d  • 

1 

#       # 

^ 


=1 *H l 


:n  -: 


JF=fc*=i 


-• — •- 


"C ,- m ■ — ■ 9- 

play.      Their      Ian   -  ces    now      are       glit  -  'ring  bright,  Their  ban  -  ners   float      a  -  bove,       The     moon  now  sheds  her    silv 


EE 


'rv  light    O'er 


& 


O      ?      0- 


-0 0- 


0     0      0 


-0 — 0 


m 


-0 — 0 — 0- 


v  I     I 


IE 


Ritard. 


THE  MOORISH  DRUM.    (Concluded.; 


95 


*E 


^&E 


=t 


» — #^-»-p= 


y=i3=-zf=£=£ 


^^^ 


waves     are  lulled    to       rest,        The        waves  are    lulled    to     rest.  Hark!  ;tis    the  Moor -ish  eve  -  ning  drum,  From  yon  -  der      lof  -   ty 


Ritard. 


W- 


^^r^CTywV^jrJ^^^ 


moun  -  tain  and     o'er  grove,        O'er       moun-tain    and    o'er    grove.         Hark!  'tis    the  Moor -ish  eve  -  ning  drum,  From  yon  -  der      lof-  ty 

Ritard. 


&£& 


s- 


£ 


w. 


k=\    J   Jh5^ 


I >— g: 


-*— — * 


I 


* 


*=£ 


=t 


• — *- 


-g>— F— * 


-*=•- 


tower,        Its      light      and    joy  -  ous      tones    now     come    With  the    mer  -  ry       sun  -  set      hour,     With  the    mer  -  ry       sun  -  set      hour. 


i 


-d-  •     V     V^V 


=}z±= 


tower,        Its      light      and    joy  -  ous      tones   now    come    With  the     mer  -  ry        sun  -  set      hour,      With   the     mer  -  ry       sun   -  set      hour. 


-&-*- 


-t — P- 


3c=£ 


* 


"■ — r 


i 


»._.    » 


^=i 


96 


Moderate 

f     2d  lime  JO 


THE  MOON  IS  BEAMING  O'ER  THE  LAKE. 


Arranged  from  Blockley. 


fe 


1       ■    '/      I       -Z= 


-y-# 


J— »'• 


-«— V- 


' 


azzza: 


ZfrlfrT 


£=&: 


am 


1.  The   moon      is    beam  -  ing     o'er      the     lake;  Come,  sail    in    our  light      ca   -    noe !  Sweet  sounds  of  mu  -   sic     we:ll       a-wake,   As  we 

f    2d  time  V 


m& 


J        d      * 


* 


l^-x- 


P3=^^£2E1EE£ 


=fc 


ZEZtE 


S 


•    * 


2.  The    ves  -    per    bell        is        peal      -       ing     From      yon     -     der  lone  -  ly-       tower,         Its    tones   now  gen  -  tly        steal     -     ing        Pro  - 
f    2d  time    V 

m 


:?&=* 


-f — P g: 


-# • — • » 

1   e  r^ 


jSZLJUS--] — 4£ 


JZZC3ZX 


-i<-^ 


->•-/- 


S=fe 


fe^g^E^ 


zpzzzi: 


1= 


-y — ;S-/- 


"P~s»=g 


§£ 


-/ 


glide     o'er  the      wa   -   ters        blue.  In   our      light      ca  -  noe,    As    mer-ry  we     row,  O   -  ver  the    rip  -  pling     sil   -  ver  tide ;  While 


3^-j^J JJ4-44U 


^^ 


d^: 


V 


•  -*-* — *-*+ 


N— *-N 


r*    1 


^-|=»=gS=«: 


claim        the     ves     -   per       hour.  Sweet      sounds      a  -rise   To  the   tran  -  quil  skies,  Like  one     of  earth's  sweet-est    mel    -    o-dies;    Now 


*>:L  e  -.  a  iTT 


-=fcs 


^  .  j   :  -'i- 


-g  r  r    r~  r    r  r 


m 


aj 


THE  MOON  IS  BEAMING  O'ER  THE  LAKE.     (Concluded.) 


97 


/. 


:3=;F=£E* 


» 


Ad.  lib.  Dim. 


SE 


J1.U.     UD.    JJim.     ^^M^ 


A  tempo.    ~fi 


The    moon      is  beam  -  ing 
A  tempo,    p 


i  ti  i  i  i  i  ,  !  ~~ pn~i     >  '     i* 


now   gay,    As  it    floats        a  -  way,     On   the    wings    of     the    sum  -  mer      breeze.      . 

■f  O  Ad.  lib.  Dim. 

:p P-~?     » — i 


-?- 


-*h-F- 


m 


The    moon      is  beam  -  ing 
A  tempo,   p 


gS^S 


^^ 


=£# 


-»— v— \f 


J     "»• 


j^j— H-r-f _|g — e_r f  c  r  =fejf  •«  j'j-^i  i  in 


— ■ ¥ '- — + — i y-1-^^ p 1 /_  c i=n ^z= ^ZK_i5CZzpz s_-p--- 

o'er      the  lake  ;  Come  sail  in   our   light      ca    -    noe ;        Sweet  sounds  of  mu  -  sic    we'll       awake,    As  we    glide  o'er  the  wa  -  ters      blue. 


*. •  » ' — ^ » ^^; 

o'er      the  lake  ;  Come  sail    in    our  light       ca   -    noe;        Sweet  sounds  of  mu  -  sic      we'll     a -wake,   As  we   glide  o'er  the  wa  -  ters       blue. 

/7\  > 


— g— I ¥—P y- 


:*=£ 


=*rt 


fqqr 


(7) 


• — » 


gg=^gfe&^ig£ 


98 


THE  WANDERER'S  FAREWELL. 


p|S^I§feSa^Slt^^^Sa=^|gi 


1.  The    sails  are       all        swelling.  The  stream-ers    float    gay,        The      an-chor  is  ris-ing,  And     I       must  a  -    way.        A  -  dieu !  ye  dear 

2.  The  sun  through  the      heav-ens     E'er  hastes  to      the     west ;       The  waves  of    the        o  -  cean  Are     nev  -  er      at       rest ;     The     bird,  with  its 


m 


. 


g^p^Ejg 


3 


»-» 


3.    A   -  dieu!  dear  -  est       mo  -  ther !  dear    sis  -  ter,      a    -    dieu!        I  go  where  the    skies  are    All    shin  -  ing    and    blue,  Where  flowers  ev-er 


BI5E* 


*    *    * 


3te=t 


ZMZJ~EM1 


^m 


■- 


g^^^i 


•— • — •- 


mountains!  A-   dieu!  my  dear    home!         A  -   dieu !  ye    dear    mountains!  A   -  dieu!  my  dear    home!  I        turn  from  your  threshold  "Mid 

pin  -  ions  Un    -   fet  -  tered  and    free,  The      bird,  with  its      pin  -  ions    un  -    fet  -  tered  and     free,  Ca  -  reers  in       its      free-dom,  O'er 


^j^^^f^f^^i^^^^fB^lfsjp^ 


blos-som,  Where  birds    ev  -  er       sing,     Where  flowers  ev  -  er      bios  -  som,  Where  birds  ev  -  er        sing ;       Where  fruit    loads  the  branch-es,   From 


35=4=1 


1—* 


d=fc=J: 


£E3E^ 


r* 


->— r 


-• — #- 


-0 — •- 


-• 0  '  #• — 4  .  4- 


THE  WANDERER'S  FAREWELL!     (Concluded.) 


99 


i^SI^ 


T~w~T~r 


:t=£ 


See 


v- 


ELL  I     f- 


3?E t*—  =1 


i^ 


2±zl 


=F 


:*=*: 


stran  -  gers      to        roam,  I  turn   from    your    threshold    'Mid    stran  -  gers  to       roam,  to        roam. 

I  .       mouh  -  tain      and      sea,  Ca  -   reers    in        its       free-dom    O'er    moun  -  tain  and      sea,  and       sea. 


Ju  -  val  -  le  -  ra,     ju 


^=ppa^ 


-•— »- 


^^^m^m^m= 


^Bl 


^m 


har  -  vest      to      spring,       Where    fruit  loads    the    branch-es,     From    har  -  vest  to      spring,  to        spring. 


a± 


l. 


S       d  •     #- 


f       •  '    P~ 


ztzXL 


^=F 


^^ 


^: 


"3"    -*- 


T^. 


urn 


3 


^Sffig 


4- 


^^JE^E|E^| 


:t: 


val  -  le  -  ra,     ju    -   val  -  le  -  val  -  le  -  val  -  le 


Ju    -   val  -  le  -  ra,     ju    -    val  -  le  -  ra,     ju    -    val  -  le  -  val  -  le  -  val  -  le    -     ra. 
Ju    -   val  -  le  -  ra,     ju    -    val  -  le  -  ra,     ju    -    val  -  le  -  val  -  le  -  val  -  le     -     ra. 


s 


t 


m 


:  r    | 


f 


j- 


7t    -4 


SS^S^^SiPI 


m 


=33 


■4 

-0-  -# 


mr 


Ju 


val  -  le  -  ra,     ju     -    val  -  le  -  ra,     ju    -    val  -  le  -  val  -  le  -  val  -  le 


f 


3T 


^=^=1 


Mzriw±Mzz=Mz 


zP=^ 


I  'm—0  '  d—t-^—d- 


=tq 


100 


Moderate 


3=5 


m 


^ 


* 


BEAUTIFUL  SPRING. 

-£—- !$=$—  »-H— £— £=,=]v=fr=^ 


S* 


-* — •- 


=£=-"4    E    u    k  L 


is; 


1.  How   shall    I       woo      thee,      beau  -  ti  -   ful   Spring?  What  shall  my     of  -  fer  -  ing  be?        Shall    I      search  the      a  -  bode    of     the 


-** 


m 


m 


zfc— v 


^mm 


w 


2.  How   shall    I       woo      thee,      beau  -   ti  -  ful  Spring  ?  Whence  shall  my  of  -  fer  -  ing      come  ?      Shall    I        ech  -   o      the    birds   as     they 


a 


^^ 


-*— •— P= 


-f      /        '~'~=} 


\ 


3*=* 


*      *  ~a 


fcfczV^zA: 


j     g 


1 


—a— 

— N — v — fs — v- 

1    /    k. 

1 V- £ 

t 

w 

•        i 

=f=f= 

=J=r= 

— i p — \- — >- 

•        * •        a— 

j    r> 

Z      *        *        m 

~f     0-*=^ 

~~£-Z 

y1- 

0    - 

cean   King 

\— 

/        / 

And    a 

j/ — >_ 

chap  -  let 

of     pearls  bring    to 

N     , : 

— 0  — : — w m — 

thee  ?        Oh, 

I :in 

— / 15 : ' ■ 0 

-E / y y 1 

• 
no,      for  there  shines     in     thy 

— fc — s — fc — \ — \ — \- 

1  *    E    E   * 

clus  -  ter  -  ing   curls 

W v v 1 

0 

The 

-r-f 

it 

-* 

#" 

1 

"» * 

—  * • — 

• a— 

•      •     -I 

:- 

h  -  -J- 

— P Q — P P P 1— 

m  .    d     d       m       0       0 

l-#- 0 0 •— 

-J4 

m 


joyous    -  ly      sing        In    the  groves    of       thy    flow  -  er  -  ing         home?       0,       yes,     for  sweet   mu  -  sic        a    -    lone    has    the    spell     To 

4- 


^ 


ffiS 


V 


rffi^-rfrHrJJ-JHNF 


— v — ■- 


s- 


BEAUTIFUL  SPRING.    (Continued.) 


101 


I 


S 


p^^^g^s^^^feg^^ 


dew  -  drops    of       morn  -  ing,       far      bright  -  er       than    pearls.      Oh,       no,       for  there  shines    in        thy       clus   -  ter  -  ing      curls      The 


?E^^^E#^Ep 


m^m 


15=^ 


=1* 


^=J 


m 


fath  -  om        the    depths    of       thy 


lea 


fy        dell,       Oh,        yes,    for   sweet    mu  -  sic         a    -   lone      has     the      spell        To 


=* 


S=S 


3!=3E 


m 


=N k— (S -jS j^^—N 

4 4 J         <     ■  ^0 #- 


¥-=¥- 


?      T 


£=*= 


s 


3E 


s=s 


s 


32=  -y y \- 


-¥■ 


m 


# 


dew-drops     of    morn -ing,      far    bright  -  er    than  pearls.    How  shall     I,    woo    thee,   beau  -  ti  -  ful  Spring?  What  shall   my       of  -  fer  -  ing 


i^^E^Sii^ppiip^^^ 


ifczzls: 


^^^P 


fath  -  om      the  depths    of      thy 


lea 


fy      dell.       How  shall    I       woo      thee,  beau  -  ti   -  ful  Spring  ?  What  shall  my      of  -  fer  -  ing 


jL_^„js_4. 


:» #_ 


m 


y y y — y y y-M/ y — -y <*-— ' '=«  .    •      «- 


•  •    » — •- 


v — v- 


* — /- 


102 


BEAUTIFUL  SPRING.    (Concluded.) 


^p^i^^l^^i^i^igi^ 


be?         Shall    I       search     the      a    -   bode       of       the        0     -    cean   King,      And     a        chap  -  let        of      pearls  bring     to  thee? 

4- 


^h-^H^F^ 


Jt=J: 


S=* 


=5= 


=v 


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be'        Shall     I       search     the      a    -   bode       of       the        O     -    cean  King,      And     a        chap  -  let       of      pearls  bring      to 

4- 


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Recitando. 


ABOU  BEN  ADHEM  AND  THE  ANGEL. 


G.  F.  R. 


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Abou  Ben  Ad  hem  (may  his  tribe  increase)         *j 

■i:z £w™  «£JS£S&2  r:^°izT  Look  of  gold.  \  m^i  r~?iX\B0z  a\z bold ;  l " what  **■*  th0U  *»  j  ss  :SM5 

A1   ,  .       ...  ,  ...        ,p   ■     it     „  I  &         i  And  to  the  presence  in  the  room  he  said,  S  /  »n(U..«j 

Making  it  rich  and  like  a  lily  in  bloom,  1  i  r  i  ■> 

An  angel  writing  in  a  J 


The  vision  raised  its  head,  [accord 
tn  1  And  with  a  look  made  all  of  sweet 


S- 


PPPg 


Abou  Ben  Adhem  (may  his  tribe,  &c.)      book  of   gold.     Exceeding  peace  had  made,  &c. 


"  What  writ  -  est  thou  V     The  vision  raised  its  head,  &c. 


It 


--•- — S- 


ABOU  BEN  ADHEM  AND  THE  ANGEL.    (Concluded.) 


103 


I 


H — j — qp 


1 


s 


S 


Q 


"  The  names   of  those  who  love    the  Lord."  "  And  is  mine  one  ?"  said  Abou.    "  Nay,  not  so,"  replied  the  angel,  j  But'cheerly  m°re  °W'  j  stl"i  ana  said, 


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"The  names  of  those  who  love    the   Lord."  "  And  is  mine  one  V>  said  Abou.    " Nay,  not  so,"  replied  the  angel.  { Bufchleriy  """^  1<>W'  ]  stilIi   and  saidi 

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(  The  angel  wrote  and  vanished  :  the  next  night 
"  I  pray  thee,  then,  Write  me  as  one  that  loves  his  fellow  men."      }  The,  a^cl  c,™e  again  wi^b  gIieat  aw:a„ke"',ng.  uSht'  [  lo  !  Ben  Adhem's  name  led  all    the  rest. 

r     J  *  l  And  showed  the  names  whom  love  ot  God  had  l 

I 


blessed.  And 


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27  -&- 


"  I  pray  thee,  then,  Write  me  as  one  that  loves  his  fellow  men."        The  angel  wrote  and  vanished,  &c.     And  lo  !  Ben  Adhem's  name  led  all     the   rest. 


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104 


Legato  Moderato. 


THE    SYRENS. 


Arranged  from  Rossini. 


4-—fc-j — ^ 

dm*  —m- 


W==* 


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~» — e 


a — *—• — g 


MZ^Z|IJ!=Z3^—  # 


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O'er   the  wa  -  vy        o  -    cean,  Our  bark     in   gen-  tie      mo  -  tion,         Strives  to    gain    the    shore,  Where        sy-rens'  voi-  ces      pour.      Hark! 


9—d-Jr 


^ 


-• — 0- 


O'er  the  wa  -  vy        o  -    cean,  Our  bark    in    gen  -  tie      mo -tion,         Strives  to   gain   the    shore,    Where      sy  -  rens' voi  -  ces      pour.      Hark! 


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hark !  I      hear  them     cry     -    ing,    As    o'er    the  wave  we're    fly    -    ing ;  And  though  the  day    is        dy    -    ing,    We      soon    shall  gain    the 


?-1^%^3E£E^^=pE*E2 


g — dz 


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hark !  I      hear  them     cry    -     ing,     As    o'er    the  wave  we're    fly    -     ing ;  And  though  the  day     is        dy     -     ing,     We        soon  shall  gain    the 


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0 — 0. 


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:»=£ 


irz^r. 


THE  SYRENS.      (Concluded.1) 


105 


fe^lE^^S^^ 


A- 


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II 


P 


shore  ;     And  though  the  day     is        dy     -     ing,    We  soon  shall  gain  the  shore,  We      soon  shall  gain  the  shore,  We    soon  shall  gain  the    shore. 


=t 


wm^- 


33t 


A; 


zzixzhH 


H5 


shore ;     And  though  the  day     is        dy    -     ing,    We    soon  shall  gain  the  shore, 

&-. 


soon  shall  gain  the  shore, 


soon  shall  gain  the    shore. 


P^HH 


-M-*: 


m 


=1^4: 


JTTMZ 


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^^^e1 


Allesretto. 


I  DREAM  OF  ALL  THINGS  FREE. 


SE* 


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SS=s 


w=£ 


G.  J.  Webb. 


m 


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1.  I 

2.  I 


dream     of      all     things       free :  A 

dream    of   some  proud       bird, —        A 


gal  -   lant,   gal  -   lant       bark,  That      sweeps  through  storms  and         sea,  Like 

bright-eyed  moun  -  tain        king ;  In  vis    -  ions       I        have        heard  The 


.  A 


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hap  -    py      for    -   est  child,         With         fawns  and  flowers   at         play ;  An 


■-* — r—  • 0 — «■ 


$= 


^ 


In   -    dian     midst  the  wild,         With 


106 


I  DREAM  OF  ALL  THINGS  FREE.     (.Concluded.) 


FTftt 


IS ZN 


4     ¥• 


ar   -    vow   to       its 
rust  -  ling    of     his 


mark; 
wins ; 


stag 
fol 


that    o'er     the     moun-tains  Goes     bound -ing    in         his       glee: 
low  some  wild     riv    -    er,     On       which   no    sail       may      be : 


A  thou  -  sand  flash  -  ing 

Dark      woods     a  -  round   it 


f-i^u*^mmL 


4= 


stars        to  guide  his        way ; 


A        chief     his    war-riors    lead-  ing;  The       arch  -  er's  green-wood      tree: 


S 


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/     ' 


heart     in    chains    is 


*=f 


^    «__Hj 


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Ifc; 


foun  -  tains,      Of  all      things  glad      and      free,        Of 

shiv    -     er,        I  dream       of      all    things    free,  I 


OM — 


all     things  glad      and      free,        Of 
dream    of      all      things    free,         I 


all      things  glad     and  free, 

dream    of      all     things       free. 


j^-|S     j     ~~h 

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*--  *       '         9- 


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bleed   -   ing,      Yet        dreams      of     all    things    free,        Yet 


££ 


dreams    of     all     things    free,       Yet        dreams    of      all     things 


free. 


I 


Andante  con  Moto. 


HOME,  FAR  AWAY. 


Arranged  from  Mendelssohn. 


107 


WQ^VEX^^eeS 


-m-a- 


1.  Can   I,  light-heart-ed,    sport  and  rove,     Sing  like  a      bird     in  bloom  -  ing  May,  When  the  home  of  my  heart,  and  the  friends  that  I      love,     Are 

2.  'Tis  not  the    win  -  try    wind   I     fear;    Heedless  thro' storm  and   snow       I    stray;  But  my  heart,  when  mine  eye    is    be-dimmed  by  a        tear,  Is 


^fP^^SPli^ 


^#£3jl£ptLj>  >  rJ  J*  r 

w      -0-        ~M~ 


3.  Soon  May  will  come,  the  Spring  will  bloom,  And  Spring  will  make  the  mea-dows    gay  : 


then     shall       see        my      friends    and  thee,  Home, 


— -Hr-*— J-* — m — w-\^ g— J-+\  g=3-a— ^ — — H * ■ ■-*- -*=z=M-a — *  —*-*-+-£ — g-& 


?■— *- 


V— L 


ggg^^gpgg 


h*-^ 


F 


m 

/      '    "a 


ipcr^: 


^ — 1/ #=■ H r- — tT — '    \_> U-1 


o  -  ver  yon  mountains,    far        a  -  way.     Are      o  -  ver  yon  mountains,      far        a  -  way,  Are    o  -  ver  yon  mountains,      far  a    -    way  ? 

o  -  ver  yon  mountains,     far         a  -  way,      Is  o  -  ver  yon  mountains,      far         a  -  way,     Is       o  -  ver  yon  mountains,      far  a    -   way. 


0—-F  +  —0 — *-za-*  •=* — • — • — L^-/ *£■ « '-•-*-J2=J-  -£*-m^? — *+r?: 


o  -ver    the  mountains,     far         a  -  way,    Home,   o  -  ver  the  mountains,      far         a  -  way,  Home,  o  -  ver  the  mountains,      far 

P * 


way. 


*=tt 


V  v  V 


-V—*     I 


^iifi 


I 


108 


Andante  con  )Ioto. 

1st  Voice. 


—  2^t— 0—. 0 0 • 0 4 * 


DAY  AGAIN  IS  GENTLY  BREAKING. 


Arranged   from   Nelson. 


-•— — 0 


^^ 


^ 


3v==js=f=^=)s~- 


Day       a  -  gain     is      gent  -  ly      break    -   ing  With      her  gold  -  en     rays    of      light. 


mwmm 


* 


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■  0-  -4-  ■#• 


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■0-  j-    -j/- 


J-*** 


And      the      gon  -  do  -  lier    is 

— I" 


T f 


•"    -0-      -jt 


=tfefct=t=t: 


--• — 1 — 


xzy       mi 


m 


n=gE^wm^m 


ft* 


2d  Voice. 


~)w~ T\ — ST 


-• — F- 


v    ,, 


tak    -    ing  O'er      the   wave  his    rap  -  id     flight. 


Now;  while  music's  sweetest  num    -  bers  Glide  a- long  the  rip-pling 


s 


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T=T 


DAY  AGAIN  IS  GENTLY  BREAKING.    (Continued.) 


109 


P± 


^^m 


Chorus. 


i-— * — h- 


$E± 


-« 


Who  would  lose  in  dream-y      slum    -    bers  Hours    of  plea-s  ure  bright  as    these?       Roam  -  ing  o'er  the   wa  -  ters 


Roam  -  ing  o'er  the   wa  -  ters 


BE 


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light    •    ly,  See         the     morn  -  ing      breez  -  es      play,  And        the        sun  -  beams  shin  -  ing    bright    -      -    ly 


in- 


to: 


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ass; 


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light    -    ly,  See         the     morn  -  ing      breez  -  es      play, 


IS 


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And       the      sun  -  beams  shin  -  ins 


Id 


And 


the 


beams 


110 


DAY  AGAIN  IS  GENTLY  BREAKING.    (Continued.) 

— -~».  Ritard. 


Allesrretto. 


Ililli*3=j=^ 


f=K 


=£ 


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vite       us    o'er    the  waves   to       stray, 


"I? 1- 

2b" 


^HSi^^e 


bright    -     -     ly 


ai 


gpl^l 


shin 


to      stray,      O'er    the   waves  to  stray.       Sweet  sounds  are      on       the 

Ritard  ~> 


In  -  vite       us    o'er    the  waves   to      stray,       O'er    the  waves  to  stray.       Sweet         sounds    are     on       the 

Ritard.  •> 


-• # • »- 


I F F 1 \-r— - F M F F ■*— 


ii 


In 


-     vite 


to 


stray. 


±=t- 


3H£ 


W^m 


ZMZTJtZ 


■■4       I       E 

^-y— * m- 


3^2 


o    -    cean,    The  winds  have    left      their       cave,       And    as      they   meet     the       bil   -   lows   Wake   mu   -  sic    from      the       wave ;      And 


*- 


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o    -    cean,    The  winds  have    left      their       cave,       And    as      they   meet      the       bil   -   lows   Wake   mu   -  sic    from      the       wave ;      And 


'-F1 


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=U— — s, 


ffiHJE 


m 


DAY  AGAIN  IS  GENTLY  BREAKING.    (Continued.) 


Ill 


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mi 


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e 


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o    -    ther  sounds    are    steal  -  ing    Up  -   on      the      list  -  'ning       ear,        The    joy   -  ous    song      re  -  veal   -    ing  The  mer  -  ry    gon  -  do- 


m 


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Birfe 


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o    -    ther  sounds    are    steal   -   ing    Up  -   on      the      list  -  ;ning       ear,       The    joy  -  ous    song      re  -  veal   -    ing  The   mer  -   ry    gon  -  do- 


0 0- 


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lier, 


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The      mer  -  ry    gon  -  do- 


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lier,    The    mer  -   ry  gon  -  do    -    lier, 


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The     mer  -  ry      gon  -  do    -    lier,    The     mer  -  ry      gon  -    do- 


SeIee£ 


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112 


DAY  AGAIN  IS  GENTLY  BREAKING.    Continued.) 


fe=fc=± 


rP  t? 


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v — t F- 


:a:z~-fl: 


g=^^ 


lier.        Sweet  sounds  are      on        the  o  -  cean,    The   winds  have  left      their       cave,       And     as      they  meet    the      bil  -  lows   Wake 


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=!=£ 


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Her.        Sweet  sounds   are      on        the         o  -  cean,    The   winds  have  left      their       cave,       And     as      they  meet    the       bil  -  lows   Wake 


ee 


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mu  -  sic    from  the      wave;    And    o   -  ther  sounds  are  steal  -  ing    Up  -  on      the  list  - 'ning      ear;     The    joy- ous  song    re  -  veal  -  ing    The 


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mu  -  sic    from   the     wave  ;    And    0  -  ther  sounds  are  steal  -  ing    Up  -  on      the  list  -  ;ning      ear     The    joy  -  ous  song   re  -  veal  -  ing    The 


EH 


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«:=£ 


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DAY  AGAIN  IS  GENTLY  BREAKING.    (Concluded.) 


S^ 


OgJi 


— :==  =^p±p=  -•—•-•— i=|-^t-f 


-0—0- 


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s^r= 


-  ry  gon  -  do    -    lier,    The    mer  -  ry  gon  -  do    -    lier,    The   mer  -  ry  gon  -  do     -    lier,    The      mer-  ry,   mer-  ry        gon  -   do         lier. 


WEE£=&E3^m 


mer  -  ry  gon  -  do    -    lier,    The     mer  -  ry  gon  -  do    -    lier,    The   mer  -  ry  gon  -  do    -    lier,     The      mer-  ry,  mer-  ry        gon  -   do 


lier. 


Allegretto  Marcato. 


THE  FROST. 


G.   F.  R. 


I 


a=j 


*         *         *         V      i/H-       *  * 9 »-!-» d m       m       m 


« 


£.-k. 


The   Frost  looked  forth     one    still    clear    night,    and  whis  -  pered,  "  Now    I      shall      be      out     of    sight.     So      thro'     the       val  -  ley    and 


Pf 


I 


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1=1=* 


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:*— J 


=1 1 1=1*: 


"F     F 


rri 


n 


The  Frost  looked   forth      one    still    clear    night,   and  whis  -  pered,  l:  Now    I      shall      be      out      of    sight.     So      thro'     the       val  -  ley    and 


EB3E3E 


3E 


T- 


114 


i 


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1t=PC 


*        *        * 


THE  FROST.     (Continued.) 


^ 


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p     h— fr 


-9 * 


-N-1*- 


:*=c 


the      hight     In  si  -  lence  I'll      take      my         way ;  I  will    not     go       on       like     that     blus  -  ter  -  ing     train,     The 


^— r*-i= 


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#         -#-     -#-     -»-      ^ 


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o  -  ver    the      hight      In  si  -  lence  I'll      take      my 


-     i 

way ; 


i 


I         will    not 


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on       like    that      blus  -  ter  -  ing      train,    The 

4—4 — -4 0 — — 4- 


^ 


1= 


^=M 


-4-4 


Cres. 


3 


:*— V 


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wind    and    the  snow,  the     hail    and   the   rain,   Who  make  so  much   bus  -  tie   and     noise    in       vain,  But  I'll      be       as       bu  -  sy    as    they." 

Cres. 


&  Yi~ fr  f  j  f  f  r?  &*T  O  r  rf  f  ^  f  ST £  rr 


/  /     i  i  /  /  i  i 

wind   and    the  snow,  the     hail    and   the   rain,   Who  make  so  much    bus -tie   and    noise    in      vain,  But   I'll      be       as       bu  -  sy    as    they." 

Cres. 


# — • — » 


fczfc 


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\^ 


t=:fc=£ 


N—N 


3=3 


-y — y- 


Leggiero. 


THE  FROST.    (Continued.) 


115 


=fr=E 


^ — 0 — «- 


m V h- 


m^m^ 


Then  he      flew      to       the  -  moun  -  tain     and    pow  -  der'd      its      crest ;       He       lit      on       the    trees,   and     their      boughs    he    dress'd     In 
He  went    to        the      win  -   dows    of         those  who     slept,       And      o  -  ver     each  pane     like      a  fai     -      ry    crept ;  Wher- 


m 


3 


sz: 


m^^m 


m& 


—f-Z: 


fr-fr-fr 


■¥—¥- 


^& 


£ 


S^ 


=t 


E£ 


=3_» fc-i- 


di  -   a-mond  beads,  and     o  -  ver  the  breast  Of  the      qui  -  ver  -  ing      lake      he  spread    A  coat       of        mail,     ,  that  it      need    not  fear      The 
ev  -  er    he  breathed,  wherev-er  he  stepped,  By  the      light    of     the     moon   was  seen  Most  beautiful  things  ;  there  were  flowers  and  trees,  There  were 


$     t 

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-••  -•-  -»-   -*-       -a-  -9- 


3ISE 


-A — -\ Std—m2 


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*=* 


it 


-H-SH==H— 1 — I — H— 1-1 


S3     5* 


se 


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116 


THE  FROST.    (Continued.) 


down  -  ward  point    of       ma  -  ny      a    spear,   That  he    hung  on     the    mar  •  gin      far       and   near,  When  a      rock   could    rear       its        head, 
bevies    of     birds  and      swarms      of   bees,  There  were   cit  -  ies    with  temples  and  towers,  and  these       All      pictured  in        sil    -  ver       sheen 


;ei-B: 


fc:*=£ 


Je=i 


s— ^ 


-N — \ — IV 


*    -» 


=1=4      >>   ^   S~£-;: 

•    *       m—\—m      m    m—~m~m — r 


4.  But    he      did      one    thing    that  was   hard  -  ly       fair ;    He  peep'd    in    the   cupboard,  and        find  -  ing  there  That      all      had  for-got-  ten   for 


:? 


r7j_ 


:£zzi 


Z^V 


J*     JS_  N 


A-\V  -fe- 


H i  t  i  ii  *  i  +  i  i  tiff*    f'r  i  i~  i Hit  - 

But    he      did      one    thing    that  was  hard  -  ly      fair ;    He   peep'd    in    the   cupboard,  and        find  -  ing  there  That      all      had  for-got-  ten   for 


es 


t±L 


g^=l^: 


!rzE 

— *- 


ttff-f-^ 


THE  FROST.    (Concluded.) 


^=i=^=tsz 


XZZJtZ^Ml 


±e£e£=££ 


=1= ^=ra=z]z+ 


him      to    pre-pare,  "  Now  just      to      set    them  a       think  -  ing,         1*11    bite    this bas  -  ket  of    fruit,"  said   he ;  "  This  cost  -  ly pitcher    I'll 


him      to    pre-pare,  "  Now  just      to      set    them   a      think -ing,        I'll    bite  J.his     bas  -  ket  of    fruit,"  said   he ;"  This  cost  -  ly pitcher    I'll 


^S^^i 


^=£ 


:«zi 


v— /- 


j^=F^^BB 


•rlr 


*£ 


:=|vl 


Si^s 


burst        in       three,     And      the     glass       of      wa  -  ter  they've    left       for         me      Shall    tchiek*      to        tell   them  I'm      drink  -  ing." 


=P 


at 


:£=£ 


3=1= 


f    P  T 


3— — i -3 -J=p-)v^=q ,\ — |s — p  = 1 — : 


1/1/  r  '/      '/ 

burst       in       three,    And      the     glass_ of  wa   -  ter  they've    left       for         me      Shall    tchiek*      to        tell   them  I'm      drink  -  ing." 


*  If  this  is  accompanied  by  a  piano,  play,  instead  of  singing  the  notes  to  the  word  "  tchiek,"  lightly  with  the  right  hand  on  the  upper  part  of  the  instrument. 


118 


PEACEFUL  NIGHTS. 


Andante  Grnzioso. 


Arranged  from  S.   Glover. 


W5=& 


-• — y — / 


m 


'-^—1^: 


•      d 


mw 


JS 


*=2=v=i=£ 


-± 


:teB 


E 


Oh !  peaceful      night's        re  -  fresh-ing  slum  -  bers,       We   were    with,        in    child-hood,    blest ;       Gold  -  en       harps       and     fai  -  ry 


4&E 


=*=*=rV 


....       ...     TT— , 

Oh  !  peaceful      night's       re  -  fresh-ing  slum  -  bers,       We   were    with,        in    child-hood,    blest ;       Gold  -  en       harps       and    fai  -  ry 


afcteS 


m^£E£ 


j 


N-^— 11 


~*~ d— d d 


=1=j >^ 

'*  *  d      d- 


qes; 


-• — # — »- 


* — • 


^=7: 


=s 


1*     *     IS: 


*      *      rf- 


&*= 


Dolce. 


Dolce. 


t±2± 


J~jr 


3*=£: 


-•■— - 


-# — •- 


v— v--/- 


-i — rt- 


^-^-^-—|v=qv 


<t_~3 


num-bers  Lull'd  us    sweet  -  ly    to  our     rest,        Golden    harps    and  fai-ry  num  -  bers       Lull'd  us    sweet-ly      to      our    rest,       Golden 


& 


^=^I3V 


Dolce. 


Dolce. 


ah^: 


1^=Jt=te 


ZMZZMlZMZZ 


Q^^Q*ES 


-•-  -s>- 


Sg 


num-bers  Lull'd  us    sweet-ly    to  our     rest,        Golden     harps    and  fai-ry  num-bers       Lull'd  us     sweet-ly      to      our    rest,       Golden 

Dolce. 


I H d d m-r 


V- 


j — >=:> — wz 


^z=^=l?=^=^=^ 


hi — ^—\—, 


Dolce. 


1 


&=0 


& 


E-fr-H£E=«J= 


PEACEFUL  NIGHTS.     (Cmtimed.) 


-* • 


S^^SS 


• — • — •- 


-f— 


-F- 


221 


P=t 


119 

Fine. 


=*=P 


p-f-H 


^ 


harps    and    fai  -  ry  num  -  bers,      Lull'd    us    gen  -  tly      to      our        rest ; 


peace-ful      nights 


:*=*=* 


. 


^^==fr==fEE^=^ 


m 


=t 


■V 


peace-ful      nights ! 

Fine. 


Bm 


-0 — •- 


-£ 


?= 


:EEEF 


?^: 


=?~k~/=^~^ — t? 


221 


-*-  -si-  •        -<s>-  •         si- 

harps    and    fai  -  ry  num  -  bers,      Lull'd    us     gen  -  tly      to      our       rest ;       Oh !     peace    -     ful      nights !      Oh !    peace     •     ful       nights ! 

£ _ t £  o  Fine 


1st  Voice. 


iftS 


:*=^ 


* 


#t 


3* 


^ 


v=v- 


~e>- 


^ 


Of  -  ten    have 


those  forms  that  love         us,      Passed  the      te  -  dious  hours 


way. 


Till     the    morn 


m 


ing    stars    a 


P^Mp^PP^P^^i^Sppp 


\rv 


5P 


^=i=t- 


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1      1       'J.   i-^F 


120 


PEACEFUL  NIGHTS.     (Continued.) 


tr 


e 


-^ — #- 


IH5^^£ 


~*    a 


bove        us, 


Be    -    to-kened    the     ap-proach  of  clay, 


Be    -    to-  kened  the    ap  -  proach     of        day. 


*=£ 


& 


&s 


efe 


fir 


ESE 


S? 


i^ 


3= 


:♦ 


a»- 


' 


-^ 


~zl — =1: 


feMr=l*=>=t5 


S^S 


*E*f 


rnzmzm 


HS     [s     |s     N— n — ■ 
-* — » — •     *     * — i 


Then,  when  day's  beam  shone  a  .  -     round    us, 


And     fragrant  breathed  the  morn-ing         air, 


With     up  -  lift  -  ed  hands    it 


qr 


-1- 


=r 


f 


i 


^r 


1P — + 


PEACEFUL  NIGHTS.      (Concluded.) 


121 


te5 


£=&=£ 


mm 


S^ 


^=^z^->-fg: 


3ZII f-ZMZ 


-&--. 


-0 • 0 0- 


-&- 


found       us, 


At      our    mo-ther's  feet    in       prayer ; 


With    up  -  lift  -  ed  hands    it  found       us. 


fia 


i=i 


3^-^=4-=^=^: 


3==J 


^r 


=- 


-g- 


=r-j~ t 


^ 


H 


Eitard. 


fe=E 


Ad  lib. 


ti 


*     *     * — «-flr 


^=^ 


At    our    mo-ther's   feet    in      prayer ;  Oh,  peace-ful      night ! 

Ritard.  Ad  lib. 


$^5=3==E=? 


S 


^=.=5=^=^- 


Ritard. 


0\    . 
— I- 
*"  • 


3^ 


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1= 


P=fe=r_± 


Ad  lib. 


t>  V m 0 0  - 


-i— 


a^=y 


*=£=* 


3=3= 


-p-1- 


Oh,  peaceful      night ! 


*  i 


3=i 


-f: 


pp 


D.  C. 


a 


D.  C. 


I 


D.  C. 


122 


illfsretto. 

2d  Voice. 


SWEET  SISTER  FAY. 


^fiF 


A-A— M- 


2S 


-F--I — =1- 


V 


-SH^ 


Arranged  from  Barnett. 

1st  Voice. 

^--^ri— N N— *~  ~N  — > 


Ifcz*: 


1 


1       '■  Oil,  where  have  you  been,  sweet       sis    -    -     ter    Fay, 

2.  ''Where  are     you    go-ing,      sweet       sis    -    -     ter    Fay, 


sweet    sis    -    ter    Fay  '<" 
sweet   sis    -    ter     Fay  ?'" 


'•  I   have   slept    in       a        li   -   ly      bell 
"To  the      turf  that     is    green-est      I'm 


£J3-fc 


ggfe 


&$—£—& 


3k 


-| ¥     *     / 


E03^*=*=^ 


1TZ9 


~ 4~4 


*^/ 


all      the   long  day,  all       the  long    day, 

trip -ping  a  -  way,  I'm     trip  -  ping     a  -  way. 


And         ma  -  ny       an      in     -     -    sect        came  to      look 

Hark!    hark!  the  sweet  mu  -  sic      of        midnight    I       hear 


#-»- 


For  the 
The 


SWEET  SISTER  FAY.    (Continmd.) 


Pin  Lento. 


123 


hon  -  ey  that   lay     in     my        fra  -  grant  nook  ;    I  was  armed    with  a  spear  from  the     haw  -  thorn  spray,  And  a  -  fraid   of    its    point  they  all 
hoi  -  ly  leaves  rns-tle,  we've   startled      a  deer;     The       riv    -    u  -  lets  gush  -  ing  thro'    co    -    ral     caves,        At  in  -  ter- vals  drip   in     the 

■-I    Pi    !    '    |   -;    FT  i 


Senipre  Sosten. 


fc6= 


Ftm=S=F£ 


$&•   M-h 


m 


flut-ter'd       a  -  way ;    So     I 
dark         blue  waves  ;  I've 


sung  my  own  Iul     -     la-by,        sleep 

jew      -      -     ell"d  my  hair,       and  I've      span 


ing  at  ease  In  the       bell 

gled  my  wing,      For  I"m       go 

a 


gr   igf    gjE 


of    a     li     - 
ing  to  dance 


ly  that 
at  the 


124 


SWEET  SISTER  FAY.    (Continued.) 


Mr 


6-gp       Mhj- 


=f^ 


^^j^P^M^jg 


^ 


ff 


^3 

-■ —  "n* — l 


wav'd      in  the  breeze, 
court       of  my  king, 


So   I     sung        myownlul-  la-  by,      sleep-ing  at     ease        In  the    bell        of  a  li      -     ly  that  wav'd  in  the  breeze. 
For  I'm  go     -    ing  to  dance    at    the      court    of   my  king,      For  Fm   go  -  ing  to  dance       at  the  court     of  my  king. 


^q^jggaj 


I'horus.    Allegretto  Scherzoso. 


tt 


* 


The      day        is         for        la    -   bor,       the    night     is        for      glee,     Come,  bro  -  ther, 


trip     light  -  ly    with    me ;      The 


i^==!t 


z*c 


*c 


*=£: 


c: 


/ 


The      day        is 


for 


bee 


±±z 


la    -   bor,       the    night      is        for      glee, 

-• • m r— 0  0        ^  0 0— 


Come,  sis  -  ter,    trip     light  -  ly    with    me ;     The 


m 


SWEET  SISTER  FAY.    (Concluded.) 


125 


P^^^^^^^^^^^^^^m 


day       is         for       la    -    bor,      the    night      is        for       glee ; 


Come,    bro  -  ther,    trip      light  -  ly       with      me,       trip 


S*EE, 


£S=gEElEEEEgEES 


Y=- 


-/- 


^F 


-i 


-0 p- 


~- 


S 


day       is         for        la    -    bor,      the    night      is        for       glee;     Come,    sis  -  ter,  trip      light  -  ly       with      me,       trip 

9 C  - 


l!i$$~^=Z=^ £~  ^^^=^=^=^=^^=^=^=J=|^==* 


-'/-'l 


fer* 


S— "-HI — *=£—M:D 


E£ 


S=S 


:p: 


light  -  ly, 


trip      light  -  ly       with       me, 


trip    light  -  ly,      trip      light  -   ly       with      me 


g^-^=£=E=£=£ 


fii 


-0 f      ~m- 


fc±= 


light  -   ly,     trip      light  -  ly,       trip      light  -   ly       with       me,       trip      light  -  ly,         trip    light  -  ly,      trip      light  -   ly       with      me. 


^3^e£E£ee£ee£=^^ 


1—  2 JL Jl 


v: 


126 


Andante. 


li —*-—•—• — *- 


=3=^ 


TOUCH  THE  SOFT  HARP  GENTLY. 


G.  F.  R. 


=£ 


*      0      J  .  # — •—-•—• — i- 


•--  *— >-#- 


/=?: 


=*=*-«—/- 


I 


Touch  the  soft  harp    gent  -  ly.       Sweet  let     its      num-bers    be;   The    dew-y    eve      is       fad  -   ing, 'Tis    moon-light  on    the      sea. 

£ .-.-^ . , ,_ x — J- 


d-W^^fe^?  ji ;  j-  j.  j*t7\>  j>  jte=»k#fc*g#H 


Touch  the  soft  harp    gent  -  ly,       Sweet  let     its      num-bers    be ;   The    dew  -  y    eve      is       fad  -  ing,  :Tis     moon-light  on    the      sea. 


ra  V  * 


3i^ 


-• — •- 


"4 4- 


^r 


i     i      ^   i 


-3—4 


"r    ■«" 


*=^=^ 


Solo. 


=P=i= 


22: 


Now        the        ze    -    phyrs      float      -    ing 


by, 


P 


Si 


To 


the     sleep   -   ing        flow      -     'rets 


sigh; 


^B^Fj 


-»-=— 0- 


: 


% 


HE 


— 1— 

f 


-^r 


=3= 


?    /    / 

Touch    the    soft    harp      gent    -    ly, 


■0-         -#        -0- 

I  /         • 

Sweet      let       its 


- 


s 


T 


^f 


^t 


^ 


TOUCH  THE  SOFT  HARP  GENTLY.    (Continued.) 


n 


=53= 


A 


127 

Fine. 

"O r 


^ 


=  F 


Mid 


night's      si    -    lent       hour 


nigh. 


Touch     the    soft    harp        gent 


k     k     • 

num  -  bers       be. 


k     S    k    >  i^    ^      ?    k      T  T^— 


iy- 


f 


k      £    k      k      '        '       /      ?    k       i,     f-— "f 

Touch    the    soft      harp      gent    -    ly,      Touch    the    soft       harp       gent      - 


3= 


-   iy. 


-4- 


w^^&mmmm 


p 


fe 


Solo.    Moderato. 

0 1 — 


c 


at=±*=:al 


=t 


;e 


^ 


Touch  the    soft    harp      gent    -    -   ly,       While  all      is  hushed  and 


still ; 


The  stars    are  beam  -  ing        bright      -     ly      Up- 


SSEf: 
ErS=: 


--©- 


f 


f 


128 


TOUCH  THE  SOFT  HARP  GENTLY.    (Continned.) 


d=J=*E 


on       the    moun-tain       rill — 


— 1  J^llP^isIf  N!  *&y*^m  w%  i  sNI^P^S 


31 


-<9- 


s: 


£=2i 


5 


io- 


niums./ 


22: 


IE 


4= 


-»-=—•- 


3 


*    * 


* 


^ffi 


ISC 


Touch  the    soft  harp    gent  -  ]y,  While    all      is  hushed  and       still ;    The  stars  are   beam-  ing  bright  -  ly      Up  -  on       the  moun-tain    rill. 


* 


#::# 


-*      » 


v^- 


d      d      «      *- 


—a — #- 


Touch  the    soft  harp    gent  -  ly,  While    all      is  hushed  and       still ;    The  stars  are  beam-  ing  bright  -  ly      Up  -  on       the  moun-tain    rill. 


m 


-&- 


3k 


-si- 


■^t =t 


-z) — TZ> 


» 


-Si- 


-s»- 


"^r 


I 


-61    .    „■ 


Solo. 


TOUCH  THE  SOFT  HARP  GENTLY.    (Concluded. 


*s 


zzizzd-i 


i — czzirbzzz 


Phi  -  lo  -  me-la         in       the  vale        Tells  her  mel-an  -  cho-ly  tale 


To  the  rose  and      li     -     ly  pale.    Touch  the  soft  harp    gent 


D.  C. 


129 


iy- 


^ 


f=F 


fe 


(9- 


J=t 


&- 


Solo.    Allegretto. 


SWEET  ROBIN. 


G.  F.  R. 


=ffift ^R^^^N — s. — ^^=1=     1      I ^  =F=^=qs^>     m     .    =4= 


_J> 1 r\ P 


1.  Oh,   where   are  you      go-  ing,  sweet  Rob  -  in,  What  makes  you  sae    proud  and    sae  shy? 

2.  When    sum  -  mer  comes  in,    lit    -    tie     Rob  -  in  For  -    gets     all   his  friends  and    his  care ; 


I       once    saw  the  day,    lit  -  tie 
A  -  way       to    the   fields  flies  sweet 


p^ilPlss 


3 


tF 


130 


SWEET  KOBIN.    (Continued.) 


±=S=£ 


7=F 


=jS=>— fe 


:fc 


Rob    -    in,  My    friend-ship  you  would  not     de     -    -     ny.  But       win  -  ter      a  -  gain    is        re    -    turn    -  ing,  And 

Rob  -    in,  To       wan  -  der  the   groves  here   and  there.  Though  you      be    my    debt  -  or,    sweet     Rob     -      -      -     in,  On 


aii 


> *—  V ■—'—*--; -• 0 * 0 * 


=£ 


rr^>: 


^=s 


wea  -  ther  both  storm-  y      and 
you       I     will    nev  -  er      lay 


snell ;  If       ye     will  come  back    lit  -  tie      Rob    -    in,        I'll     feed    you  wi'  mou-  lins    my     -      sel'. 

blame,      For      I've    had    as    dear  friends  as     Rob    -    in        Who  oft    -   en   have  served  me  the  same. 


pl|Pp^pP|Ppjl| 


a* 


m 


Chorus. 


SWEET  ROBIN.    (Concluded.) 


131 


£=fc 


: m 4 


im^ 


p 


Oh,      where      are       you         go    -     ing,      sweet       Rob    -    -    in,  What       makes      you      sae       proud       and         sae 


shy? 


w=^  -tr-$  $  j  j~yrr 


**? 


^^m 


-* — Y 


Oh,  _  where      are       you         go    -     ing,      sweet       Rob    - 


What       makes      you      sae       proud       and         sae 


shy ': 


$=£ 


(—Ml 


m^&=F=t^ 


^E5 


P^e£ 


P 


3=^ 


I  once       saw       the        day,         lit    -     tie 


Rob 


My       friend  -  ship      you       would      not         de    - 


ny. 


3*= 
I  once        saw      the        day, 


z^l=P=^^^^=^i: 


1 


lit    -    tie 


Rob 


My       friend  -  ship      you       would      not         de     - 


£5BE^ 


-* « f-r — j 


=* 


f-5 •— 


=fc= 


Pi 


132 


BIRD  OF  THE  NORTH. 


Allcirrptlo. 


Solo. 
> 


G.  F.  R. 


W-*~: 


m 


mzi^r 


Lin  -  ger      not,       Jin  -  ger      not. 


HI 


7=r 


n 


IIPP 


^m 


S 


o 


-• F r- 


• — -F— F- 


P 


^ 


speed    thee      a    -  way, 


Bird      of        the    North,        for      the      chill  blast  is         nigh ; 


Fly      to        thy    gTeen    sun  -   ny 


YY%-        %  St  000  0  0e 


:—  : 


=*« 


':»:*: 


-#-  #-  #- 


1^ 


^^si 


^-r     r- 


i — f — F- 


•  - 


5 


=t 


3=^ 


*fl F— F- 


=3EE& 


BIKD  OF  THE  THE  NOKTH.    (Conliimnl.) 


133 


'- 


3= 


zm 


E» 


^mm 


-F-- 


n 


bow  -  ers        so        gay, 


Sing  while    the        soft    winds    go        mer  -  ri    -   ly 


by. 


I=F 


m^=.==S: 


III '    f||  ==^j |J| 


355 


-  - 


^tap 


":|  >    I-    r-pjj 


=5 


-F F- 


¥ 


=t 


3 


Andante. 


35 


$fc 


-s>- 


^3 


tW? 


gp»^j» 


Lin  -  ger    not,    lip.  -  ger    not.  why  shouldst  thou  stay, 


Na  -  ture    no      Ion  -  ger      is       smii  -  ing    for        thee ; 


Bios  -  soms  a- 


V^SS—f F^ 


0-0-0- 


3T2 


TfT 


=w 


-0  0-0 


331'  -a**- — ifEF — i3:l--s-J — la-t-1 — I  s  s l- 


mtr—mi 


0-0   0- 


0    0   O- 


"--tit — « — p- 


-fl? 


=1= 


:3=F=±: 


=r=F=F 


£z 


E — f-:  H-r    r  1  «    r    r 


? 


5 


^: 


134 


BIRD  OF  THE  NORTH.    (Continued.) 


gi 


m 


3=q: 


P 


-• — •- 


round  thee  are      fad  -  ing      a  -  way. 


Hushed  is     thy  mu  -  sic,  once   nap  -  py    and    free. 


\ 


1     #  0-0 


T^T 


SS 


] — bM-f- 


=l^a^= 


3: 


-«-  r    r 


=T 


I  N. 


=F 


-<S>— 


iej: 


rcr 


=©-^ 


=f=^ 


Chorus./    Tempo  Primo. 


:d-'     *     J~=f — * — J 


£T 


r 


P 


»^r 


_>_ 


Soon  will   the    spring-time   their  beau  -  ty       re  -  store, 


Wood-land  and      val  -  ley    now      lone-ly       and       drear ; 


P 


-1 


-• »- 


^ 


S 


~0~  — — y 


Ipi3i 


Then  will    we 

T~         I 


zt 


— 


-• — *- 


Big 


Soon  will   the    spring-time   their  beau  -  ty       re  -  store, 


fc^ 


=fc 


Wood-land  and      val-  ley    now      lone-ly       and       drear;  Then  will    we 
_J I 1  '         ' 


■w    '*-    -v     -w    -r    ■#     zt    3 


— # — 0 — •—'—•—• — #-'^> — ■ — * 


^— i — ii 


a|=* 


—i — i — " 


-• — •- 


3  3  3  353  3  3  3  5  3  3  3  3  3    *"  * 


-»-     r 


BIRD  OF  THE  NORTH.    (Continued.) 


fe 


a* 


4= 


# 


-r- 


^-# 


Solo. 


135 


^E 


^ 


^^S 


3=e 


5=g 


~# — 0 — 0 — 

si 


list      to       thy      mu  -  sic       once  more, 


p^^:i^=^Pl^ggpg 


Glad-ly,     sweet    song-ster,  we'll  wel-come  thee    home. 

m 


&* 


H^ 


Lin-ger  not, 

Chorus.  . 

I   '      ■  1-J- 


lin-ger  not, 


list      to       thy      mu  -  sic       once  more, 


Glad-ly,     sweet    song-ster,  we'll  wel-come  thee    home.  .Lin  -  ger       not,    lin  -  ger        not, 


&m 


-»-  v  v    g  3  =t    3  g  5  353 


^=^=^ 


^t 


:33      3:  3  3    =t    =t    3      i    5    ^    3    ^: 


5=3 


=±T 


■#•    ■#■    -t 


Lin-ger  not.  lin-ger  not,  speed  thee  a- 


^=ta£ 


speed  thee    a   -  way, 


ill  r      r  li 

Bird     of     the    North,      for  the    chill  blast    is    nigh ; 


=t 


& 


F=1= 


r 


Fly     to         the  green  sun    -  ny    bow  -  ers        so 


=fc=l 


m^&^mtm 


=M 


-*-    i 


>    ^=t3:    :±    =±    d:    =j:  :J  =t         ."j 

■*■  V  '^"   ■•"  ■*-   ••-   -•-  -*■  -*-       -*- 


Jtz*—* 


136 


BIRD  OF  THE  NORTH.    (Concluded.) 


way, 


HXL 


m 


■-- 


§ay, 


BE 


speed  thee      a  -   way 

^ 1 1-       I" 


way, 


speed  thee    a      -     way, 


speed  thee     a- 


1 % g- 


1  i 


Sing  while  the    soft  winds   go        mer  -  ri  -  ly  by. 


v- 


£  £   £  *  * 


Lin  -  ger  not, 


Iz^Z^L^ 


ZdZZ (TZJ 


-a — a- 


I*ZZl,ZZ^zfcaZZ*Zza; 


-a — a — #—  —  &-^ 


I; 


r    * — »■ 


# — a — #- 


*-  -*-  -r    -b- . 

-g-      -g-     -g-        -9-      -•-      -0-        -0-      -*-      -a-  Fed.     J 


3± 


-p-Ted. 


'•=f=i 


Lin  -  ser  net, 


* a — a 


^=1 


-e>- 


r 


liu  -  ger    not, 


r  p    r 


i     i 

speed  thee  a    -    way, 


221 


^ZZ- 


a  -  way. 


-a — a- 


-a — a—  -a- 


-a — a— a 


,  =1== 


S^ 


Ped. 


zt   zj:  zt     zt   zf   zt   z±      zt    z± 
V     a-    a      V    -a-    -aL     «        *     -fit. 


X 


Andantino  con  Moto. 

First  Voice. 


YES,  'TIS  THE  INDIAN  DRUM. 


H.   R.  Bishop. 


137 


F 


^ 


0.0  -■— 


r~ 


BE 


i=f^--* 


1.  Yes,  'tis   the  In  -  dian    drum, 


The  woods  and  rocks  a   -     round 


-* *T^* 

E  -   cho  the  war-  like  sound, 


^^S 


dts 


kf£=± 


1=1 

r   5 


ee±3S 


3=H^ 


# — #- 


-S-'-i — S — 3 

•        *       *      -9^ 


E  -  olio  the  war-like 
r— J- 


J.—. J.— Jr- :J 9— 9—  9 — 9-^-4 — 0 * — * — i— »— •,-#J-ii — * « — S-t 


-*1    * 


T¥ 


Espress. 


E^^=3^^B^|^^^=g-:|j=I^Egj| 


♦=£ 


sound : 


They  come,  they  come,  they    come, 


they     come, 


they  come. 


1 1- 


BBffi 


=* 


i=X 


=£Ej 


#  Second  Voice. 


*-*  —  * « '* .5 

o '-» 


-m — •*- 


:g=.&r:J: 
^ 


8=4- 


t 


* % — %  — :g— -J-0-" — i1^*—    — n 


i      9 


2.  Hark,  'tis  the  In  -  dian 


— &*-*-* 


— « a a 4 1— #  j 


3=£=± 


O* 


EE 


• — « — 0 — •—  - 


*  This  accompaniment  may  be  repeated  to  the  Coda. 


138  YES,  'TIS  THE  INDIAN  DRUM.    (Continncd.) 

fa=  =*=__  *Xi_- =^  =xz  =in=z=^^^: 


^^S^g 


=1: 


3 


Yes,      'tis  the    In    -     dian  drum, 


^=P 


^ 


^J= 


The     woods      and     rocks      a 


round 


E    -    cho  the  war  -  like 


ilrum, 


The      -woods      and  rocks      a 


round 


E    -   cho  the  war  -  like    sound, 


BIB: 


fe 


=±=t= 


£ 


^ 


sound, 


3*3* 


E    -    cho  the  war  -  like    sound, 


:F=fc^: 


3 


3=T 


-*— *ta 


— €?- 


They     come, 


they      come, 


I 


^^ 


=* 


^a 


==^ 


1=^=3=^=^ 


==]=£ 


If 


— <S! 


«       *      9- 


they 


E  -    cho  the  war  -  like     sound ; 


They  come,  they  come, 


they      come 


they      come, 


they 


agefe 


-# #- 


=F=P= 


^r=*= 


YES,  'TIS   HIE  INDIAN  DRUM.    (Continued.) 


139 


t=£ 


if*: 


come. 

±z=: 


Hark  ! 


hark  ! 


Harkl'tisthe  In  -  dian     drum, 


^§§§1 


The  woods  and  rocks  a  -  round, 


Jl 


-&■■ 


•s> 


:*=±=FzfE5r= 


Satt* 


Hark  !  'tis  the  In  -  dian    drum, 


ai± 


Third  Voice. 


a^-g-ia.. 


The  woods  and  rocks  a    -    round, 


iEjE*^ 


si^i^^i 


-» — r- 


>  :> 


Hark  !  :tis  the  In-dian  drum, 


The   woods     and  rocks  a    -     round 


d ^-*H 

E      -       cho  the  war-  like      sound, 


r-like 

m 


E-  cho  the  war-like 


l 


±«fa 


£=*: 


round 


"S3 
sound, 


-» »- 


•v— /- 


-<S>- 


=F^-s 


f 


=1 i^-=g^» 


E  -  cho  the   war    - 


-     like      sound; 


They  come, 


they  come,     they     come. 


» 


S-fc-  I      4      |Z|Z Hz±j 


E  -  cho  the  war  -  like       sound  ; 


im^mm 


*fe 


-&- 


H 


They    come, 


.     they    come, 


they    come 


E  -  cho  the  war-  like        sound ; 


They  come,        they  come,  they    come, they    come, 


they    come. 


MO 


I 


? 


YES.  'TIS  TJIE  INDIAN  DRUM.    (Continued.) 


K=\- 


JV-N: 


-* •       * 


v 


S=^: 


I3tZZI=M 


W=?= 


^ 


A  S 


Yes,  'tis  the  In  -  dian    drum, 

3— P— r= -— 


The  woods         and  rocks  a    -      round 


-0  ~*r—9 

cho  the  war-  like       sound. 


••• 


ia 


:^5 


Hark! 


Hark! 


Hark  !  'tis  the    In  -  dian      drun 


^=^ 


WW^3& 


The  woods  and  rocks  a   -    round, 


U 1.   I    >.■  .1__      T_  1-  1  ...  *  "  •         • 


Hark  !  'tis  the  In  -  dian     drum. 


The  woods    and  rocks  a    -    round, 


E  -  cho  the  warlike 


?! 


ztz^=^t=Jt 


■"  ~  s 


-m       g  .  0-g  — ■ — '—& — 

E  -  cho  the  war-like       sound, 


~9 « 


They  come,      they  come,  they  come, 


they    come, 


they    come. 


p^mmi 


^ 


»-^ 


=M^f 


round 


E  -  cho  the   war 


-     like  sound, 


They  come, 


-i i h 

they  come,    they     come. 


sound, 


!*=$*=«: 


*    * 


E-  cho  the  war-  like 


~& — 
sound: 


i* 


3E 


>frj: 


*;>   • 


-s>- 


They  come, 


they    come, 


they    come. 


YES,  'TIS  THE  INDIAN  DRUM.    (Concluded.) 


an 


Yes,  'tis    the   In  -  dian  drum, 

_J2# — *^l_»_  jL_je_  ..a 


-1 bi— *. 


^=^ 


Yes,    'tis  the  In  -  dian    drum,  'tis      the       In  dian 


£ 


S 


Yes,  'lis    the   In  -  dian    drum,         the     In  -  dian 


drum,  'tis  the  In-  dian  drum, 


'tis       the      In  -    dian 


E^3 


5 


-*—^— v— ^-V 


5^1 


g=**=l 


5 


:F— 6=3= 


^ 


3=£ 


-(9-=— - 


-P 


^1 


Dim. 


-» F 


drum ;      Hark  !     hark !     they  come,        hark !     hark  !   they  come,        Hark  !     hark  !    they  come,  they   come,        they    come. 

T77)  Dim. 


^=^=* 


EEB3 


-9 — p- 


ss 


SEH 


+ — = — +- 


-,— F-^-g=5-g 


:s*-— 


aiE£ 


V — '-y- 

drum ;       Hark !     hark !  they   come,        hark !    hark !    they  come,       Hark !    hark  !    they   come,  they  come,  they    come. 

A  J  -  Tin  Dim. 


— *+- 


__ — 0. 


I 


— 


^ 


=£ 


• — ' — i^- 


g^=^J=i^^^M^4j 


_^_^— r 


-/C\- 


$L 


L— — 0 


drum  ;       Hark !     hark  !  they  come,         hark !    hark !    they  come,       Hark !    hark  !    they  come.  they  come,  they    come. 


I 


-»       „    „- 


-F--- 


II 
1 


11 -2 


Solo.    Andante  e  Marcato. 


GREETING  TO  SPRING. 


Partly  from  Donizetti. 


^ 


=t=K 


zfcrftrr 


"A 


W 


=n=zT! 


a=i 


=S 


K-J — 4- 


^3 


Lo! 


Chorus. 


the       ro  -  sy   morn  -  ing  breaking, 


Lo !  the      ro   -  sy    morn  -  ing 


-0 4 0 * 0 0 •- 


^k: 


:£=£=:*: 


^=^: 


y     v     v     /     /      v     / 

Lo !      the      ro  -  sy    morn-  ing    break-ing, 


-0-     -0-     -0-     -0-     -0- 

/      /      V      >      / 


Lo! 


■0-    -0- 
/      / 
the      ro  -  sy    morn  -  ing  break-ing, 


Or* 


B%fc=fe- 


r± 


■  -&- 


^m 


>fe— i^fr 


breaking, 


0 r 


=H — Js4-^-# — 


13 


33^ 


JS-: 


^=fe^ 


Pours      its  brightness  o'er  the     earth, 


Pours  its  brightness  o'er  the  earth  : 


P: 


Pours        its  brightness  o'er  the    earth, 


3=? 


. 


-0- 


|S__£l_jv_n 


=i 


Pours      its  brightness  o'er  the  earth  ; 

J 


3^3: 


— <s- 
3" 


i 


~3r 


3t 


-s>- 


:=i: 


^fi 


rV-* 


/   /    /   r   / 

Now  from  peaceful  slumbers 


-0 #- 

1       ■        I 


GREETING  TO  SPRING.    (Continued.) 


143 


& 


iJ=q _ — * — m 


■=£ 


Now        from   peace-fill     slum-bers  wak 

=i 


r=F--l=t=E=F 


3         wale    -      --      -      ---      ...     mg,        Haste   with    song 


T" 

Haste   with    songs     to  hail  its       birth, 


wak  -  ing, 


hi*; l=j 


Now    from  peace-ful    slum-bers      wak  -  ing,  Haste  with    songs      to        hail 

-0-         -0- 0 # ■— ^— ,_      . (9- 


-0-        + 


£SEf= 


> — k 


f 


£ 


its 
-<9- 


birth, 


^ 


"27" 


-H2- 


^=££E 


E^d=^ 


£ 


»  » 


afe:-fe£ 


Haste 


with      songs 


to  hail 


birth,     .     .    . 


Haste 


with      songs 


to 


«7  p — # r17 S f f #       »      •      i: — "-jJ-^T311? f F      ? f P— P 


Haste  with  songs, 


/        1/        / 
Haste  with    songs. 


aip^ 


i 


a 


Haste  with  songs    to          hail      its    birth,        Haste   with  songs,  Haste  with  songs, 

i-  1" 


■I— Gt- 


m 


--.- 


3= 


S-— 


144 


GREETING  TO  SPRING,      rontiuucd. 


j — I- 


hail 


its 


birth. 


Echo. 


JL I jp 


Haste   with   songs    to  hail      its      birth.      Hark!  the   hunt-er"s   horn    is        sound -ing!         Hark!    the   hunt-er's   horn    is        sound  -  ing. 


BlffB 


3: 


-S>- 


-<&- 


— <S»- 


-9- 


#. 


/  t — •* 


■%■■ 


MEgzz-^i 


6S 


± 


2 


-          X      >      pi       > — vi     [__?- 
»~ — a — *      * — * 0—\—9=:m 


5b 


Echo." 


Fine. 


Hap    -    py      sea    - 


i  i 

son.      rich       thy 


*= 


f5S 


f3=i=t 


/     /     /     /     / 

O'er      the    dis  -  tant  hills    re 


bound  -  ing, 


•       ///•' 
O'er      the    dis  -  tant   hills    re   -  bound  -  ing. 


-     ¥■ 


an 


3 


-&.- 


^= 


~-?- 


=fc 


-&.—. 


m 


W: 


±3 


-&-^ 


Let  the  echo  be  sung  by  two  voices  in  another  room. 


GREETING  TO  SPRING.    (Concluded.) 


145 


i=* 


T 


F^ 


trea   -  sure,  Thou        to         us       dost    kind    -    ly  bring,  Can        we  dream       of   aught      but    plea  -  sure,  While     we  greet  thee 


f=i=j=d= 


^jjjLlJ|r  p£gli 


a* 


^2 


£21 


-<SH— 


-d" 


P21 


r 


:R2=z: 


© 


S 


E 


<^_ 


— ©— - 


>-=F j#—  —  <S>- 


■^mm 


■»■ 


s=? 


P": 


fc 


^2= 


-h- 


II 


I: 


gen    -    tie   Spring  ?     We    greet        thee,    gen      -    tie,      gen     -     tie   Spring !     We    greet        thee,    gen    -     tie        Spring  !* 

S7\ 


Si—- 


-& 


i^=f 


-0-      -0- 


-Jr-- Sr*— =f 


^     S 


^^i=?iiSii 


-0-       -0 


rl 


el! 


fl SK 


3=f 


2^z: 


d: 


S 


-<s>-  . 


-©- . 


=£ 


-©- 


3r 


i 


*  After  singing  this  through,  commence  at  the  beginning  and  end  at  the  word  "  Fine." 

(10) 


146 


P 


Allegretto. 
2- 


VIOLETS,  BLUE  VIOLETS. 


Arranged  from  Rodwell. 


SfeS 


53 


P^pSiH 


=»: 


/- 


===3^ 


3 


1.  Vi  -  o  -  lets, 


lets,      beau  -  ti  -   ful     blue      vi  -  o  -   lets,       La    -    den   with    per  -   fume   and      drip-ping    all    with     dew ; 


^^m 


=£ 


*=£==£ 


=*=T    T     : 

—J — • — • — #- 


1* 


SE3 


IS 


=£ 


^-M^ 


ft= 


2    Vi  -  o  -  lets,       vi  -   o  -   lets,     beau-ti  -   ful     blue      vi  -   o   -   lets,      La    -    den   with     per  -   fume  and    drip- ping    all     with      dew; 


=g— » 9 W— 


A 


=£==£==1: 


:=£=£=£=£ 


:£=*=] 


I 


*=£ 


*—!*— tc 


1=@ 


J  J  g   J=E*   p    i  \i     g=g=  -J — E=g 


s    IS 


Fine. 
H 


From     dell        and    from    din  -  gle,        by       rills        and    by       riv  -   u  -   lets,       La    •    dy,      at       sun   -    rise      I     sought   them   for      you 


^^E^^y^=^zfc^r^j-i  j  >js 


Fine. 


:£=* 


From     dell        and    from    din  -  gle,        by        rills        and     by       riv  -  u  -   lets,       La    -    dy,     at        sun    -   rise      I      sought  them   for       you. 


a 


4==*: 


Fine. 


=3=1* 


S 


VIOLETS,  BLUE  VIOLETS.    (Concluded.) 


147 


^E^f^^^E\^^^^E^]^^=^ 


m 


En  closed        in       a        clus  -   ter     of       green  leaves,  I       found        them  Hi   -   ding  their   heads    from  the      gaze        of      the       day, 


ru  jw-^re*J  .rjnr^ 


=£=£ 


-* — r 


35E* 


35E^ 


:=i- 


-4-    -4-      -+ 

Slight    not,    ah,    slight      not    the       shy        lit  -  tie      flow    -   er.     It      seeks      not     to       'vie        with  the       gay        gar  -  den      rose, 


o±v 


Bi 


-* — * — 3- 


£=!$■ 


TF Ml 


h — »~H^ 


^=^ 


3tz=i: 


^^^ 


£==& 


i=EtB=5E; 


d.  c. 


3^^1=^^g^^^pp|^^|d=^^^^^l 


— *- 

Be  -  trayed     by     the    sweets  they  them-selves    shed    a  -    round    them,  I        culled      the    coy    bios  -  soms  and    bore    them    a   -   way. 


D.  C. 


F3^3^ 


^ 


3^5 


:^^ 


»    J  04        -g- 


3S 


"T^^ 


Though  hum   -   ble    the       in   -     cense   it      brings      to     your    bow   -   er,      If  its    life         be      a      short       one    'tis  sweet      to      its      close. 


148 


Allegretto. 

3:'  "■  •  -=* 


HARK!  HARK!  WE  COME  WITH  SONG. 


E.  Townkr  Root. 


4E^3E« 


-v- 


#  •  # 

t £- 


5E^ 


-Hn-  - 


Hark!    hark!    we  come  with  song    Up  -on      the    free    air      fling  -  ing,   While  moun-tain     e  -  chos    deep    and  strong  Re    -     spon      -    sive 


te* 


5S^ 


E±5 


*=*=* 


Vr 


^ 


-" 


Hark!    hark!    we  come  with  song    Up  -  on     the    free   -air     fling -ing,  While  moun-tain     e  -  chos     deep  and  strong 

JS & ._# , ,-? 1 — ,N ^£ — - — •—    — . Je* 


0  *  T—+ 


Re  -  spon- 


fsE 


strains  are       ring    -    ing,    Re  -   spon-sive  strains  are  ring  -  ing-        List !    list !  old      O  -  cean  dim,  Hi-s     might-y    lips    un  -  seal  -  ing,  Sends 


-? 


-; 


ZN=5=* 


*=* 


H 


B 


-     sive      strains        are  ringing,  Re  -  spon-sive  strains  are  ring  -  ing.         List !    list !  old      O  -  cean  dim.  His      might-y    lips    un  -  seal  -  ing.  Sends 

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HARK!  HARK!  WE  COME  WITH  SONG.    (Continued.) 


149 


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out    a       cho  -  rus      to      the  hymn  That    far      and  wide    is      peal  -   ing 


Hark  !  hark  !    our     joy  -  ous   song   the      rap  -  tured  soul    is 


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out    a        cho    rus      to      the  hymn  That    far      and  wide    is      peal  -    ing.         Hark !  hark !    our     joy  -  ous  song  the      rap  -  tured  soul    is 


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fill    -   ing ;    It         tells    a      gay      and       hap  -  py  throng,  Whose  wak-en'd  hopes  are    thrill  -  ing ;  It      links   us  to      the 


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HARK!  HARK!  WE  COME  WITH  SONG.    (Concluded.) 


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And  o'er  the        fu  -  ture    ev     -      -     er 


Its    pleas  -  ing       mem-o      -     ry        is        cast,  For       ev  -  er       and      for        ev  -  er. 

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NOW  THE  WIND  IS  BLOWING  FRESH  AND  FAIR. 


Andante. 

2d  Voice. 


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1st  Voice. 


From  "  Cinderella,''  by  Barnett. 


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1.  Now   the   wind    is      blow-ing    fresh  and    fair,  Our  hearts  with  joy    are      swell-ing,        For  with    home  and    all    who    love      us    there  Our 

2.  Soon  shall  hand     to      hand   be     warm-ly  press'd,  And  heart      to  heart  be       beat  -  ing,       And   the        rov  -  er's  home    be      dou  -  bly  blest  With 

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NOW  THE  WIND  IS  BLOWING  FRESH  AND  FAIR.    (Continued.) 
-ncies.  Chorus. 


151 


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thoughts  are   fond- ly       dwelling.  1.  Dis-tant  hills  now   rise    be  -  fore  us,  Hear  ye      not    the  break- ers        roar,       Like  a     joy  -  ous    cho- rus 

love's  own  ten-  der        greeting. 


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2.  Then  shall  eyes    be    fond-ly       tell    -      ing  More  than  words  can    e'er    re    -     veal,      And  the    rea  -  dy    tear    be 
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sound  -    ing,  From  our    own,  our    wel-come  shore  ?  Long  and    wea  -  ry      too       hath    been  our    flight  a  -   cross  the   track-less      o  -   cean, 

Soon  as      past    the    tern  -  pest's  fear  -  ful  sway,  We  for-get    the    rud  -  er       mo  -  tion, 


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152 


NOW  THE  WIND  IS  BLOWING  FRESH  AND  FAIE.    (Conclnded.) 


Chorus. 


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But  with  love  and  joy's    e  -  mo   - 
And  our  hearts  are  like    the    o    - 


tion,  Hope  hath  filled  our  hearts   to   -    night, 
cean,  When  the  storm  hath  passed  a  -     way. 


Hark! 
Joy! 


Yes,       it     is     the  voice  of 
Yes,     we  touch  the  shore  of 


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cean.  When  the  storm  hath  passed  a  -    way.  Shout  for  joy !  furl  the  sail ! 


It     is    the  voice  of 
We  touch  the  shore  of 


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home! 
home  ! 


Joy! 
Home ! 


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hark!  Come  home,  ye       wand  -  'rers,      come, 
home !  O      blest      is        our  re    -      turn, 


A  -  gain,        come  home,        ye  wand  -  'rers,        come ! 
And  sweet       our    wel    -    come,  wel  -  come       home  ! 


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home  !    Breathing  joy,  now  it  comes,       Come  home,  ye       wand  -  'rers,     come, 

home !    Welcome  home,      welcome  home !        O       blest       is        our        re     -     turn, 


A-  gain         come  home,        ye  wand  -  'rers,       come ! 
And  sweet       our    wel     -     come,  wel  -  come      home ! 


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Amlantino. 


THE  LINDEN  TREE. 


Arranged  from  Carl  Lowve 


153 


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Oh,       Lin  -  den  tree,       how        sweet    art  thou       When  bees  are  o'er  thee     fly 
Soft      zeph- yrs  whis  -  pr'ing       thro'     thy  bough,    And     leaf -lets  soft   re   -   ply 


ing, 


Oh,      Lin  -  den  tree,  in        val  -  ley  green,  With 


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,    (      Oh,  trne         of  love!      Oh,      Lin    -    den  tree !     Why    fade    thy  blooming       bow    -    ers  ?  |  _,,         ,.,,,, 
-•It-.  .     .      u       •  it  ji  v  a  at-       j  a  ,     The     birds  all  love    the        Lin  -  den  tree,  And 

(       Is       it  to   teach      joy,      life         and  love      Fade      as      the  Lin -den       flow    -    ers?)  ' 


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boughs  all      bios     -    som  lad  -  en,  How    ma    -    ny  sighs,     how    ma    -    ny  vows,      Thou  hear'st  from  lad    and      maid  -  en. 

blossom  la  -den, 


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sweet  -   ly    there        at        ev  -  en 


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The  heart      that  knows    the    source       of  joy        May  raise  it  -  self  to       hea    -     ve 


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154 


Moderato. 


PRAISE  OF  MUSIC. 


\Y.   B.   Bradbury. 


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Oh.       har  -    mo   -   ny,       my      heart's  <ie    -    light,      My  joy      and        so    -    lace       day      and  night,   Thee     have       I        chos    -    en 


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Oh,       har  -   mo   -   ny,      wny      heart's  de    -    light,      My  joy      and        so    -    lace       day      and  night,  Thee     have       I         chos    -    en 


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for      my      own,  And        thou    shalt     be     my     love       a    -    lone ; 


La  la  la         la,  &c. 

All        sor  -  rows     I  be  -  hind    me       fling, 


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for      m)-       own.  And        thou    shalt     be 

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All        sor  -  rows     I 


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hind    me    fling,    And 

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PRAISE  OF  MUSIC.    (Concluded.) 


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Ad  Lib. 


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And       mu  -  sic    thou   shalt        ev  -  er      be 


rich     in  -  her  -  it  -  ance  to        me. 


2.  Let  those  contemn  who  prize  thee  not,   I    And  when  distress  or  care  assail,  I    All  sorrows  I  behind  me  fling,  I    For  Music  thou  wilt  ever  be 

I  leave  them  to  their  tireless  lot,  I    If  then  my  solace  ne'er  should  fail,       I    And  raise  my  heart  and  voice  to  sing,   I    A  rich  inheritance  to  me. 


156 


Moderaio. 


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".NO." 


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1.  Would  ye      learn     the     brav  -  est      thing      That    man    can       e    -    ver      do?       Would  ye        be 
2.  Few  have  learned  to      speak  this     word,     AVhen  it      should    be       spok-  en ;        Re    -   so    -    lu 


3    Learn  to       speak  this     lit    -    tie      woi 
4.  Ah  !  how     ma  -   ny    thorns  we    wre 


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an'    un-crowned  king,      Ab  -   so-  lute   and 
tion   is       de   -  ferred.   Vows  to   vir  -  tue 


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twine  our     brows    a 


Let      no       tim    -   id  doubt  be      heard  Clothed  with  seep-  tic 
round,    By       not      know- ing  when  to     breathe  This      im-por-tant 

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true  ?    Would  ye      seek    to  em  -   u    -    late         All    we    learn  in       sto  -  ry,    Of     the      mor  -  al,     just,  and    great,      Rich 
broken ;  More    of      cour  -  age  is        re   -   quired    This  one  word   to        say,  Than  to       stand  where  shots  are    fired,         In 


in    re   -    al 
the  bat  -  tie 


race:     Let      thy      lips   with-out    dis  -  guise        Bold-ly    pour    it         out,        Though  a       thou-sand   dul  -  cet      lies  Keep  ho    -  ver-ing      a 


grace;     L,et      thy      lips   wim-out    <ns  -  guise        Boid-ly    pour    it         out,        Though  a       thou-sand   dul  -  cet      lies  Keep  1 

sound  ;    Many   a      breast  has   rued  the    day  When  it    reck  -  oned     less,  Of  fruits   up  -  on       the    mor  -  al '  Nay,'  Than  flowers  up  -  on  the 


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NO."     (Contluded.) 


157 


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glory  ?  Would  you  lose    much  bit  -  ter    care        In     your  lot      be- low?     Brave-ly  speak  out  when  and  where 'Tis  right  to    an-   swer       "No." 
fray ;        Use    it      fit   -   ly       and  ye'll    see        Many  a      lot    be  -  low,      May  be  schooled  and  no-  bly  ruled   By  power  to    ut  -   ter  "  No  " 


£     \      -»-     *  •     -0-     *^  •    -a-     -&-  '  -•-• 


bout;        For,   be    sure   our  hearts  would  lose        Fu -ture  years  of     woe,       If     our  cour-age  would  re  -  fuse   The  pre- sent  hour  with        "No." 
"Yesf   Many  a      sad      re-   pent  -  ant  thought  Turns  to   'long  a   -  go,'       When  a  luck-less  fate  was  wrought,  By  want  of    say  -  ing  "No." 


SeE 


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Amlantiiio.    Dolce. 


THOSE  EVENING  BELLS 


E.  T.   Root. 


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1.  Those  eve-ning  bells,  those  eve-ning  bells,  How  many  a    tale       their  mu- sic     tells       Of  youth  and  home,  and  that  sweet  time,      When  last     I 


3EZ3C 


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158 


THOSE  EVENING  BELLS.    (Concluded.) 


*J  ?    k    [/     '        /    i/    /  ^    /    /  ^.^^r>//  [/     V     V 

heard    these  sooth-ing  chimes :  Those  joy  -  ous    hours       are     past    a  -   way,       And  many  a       heart       that   then  was      gay        With  -  in        the 


I 


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heard    these  sooth-itig  chimes ;  Those  joy  -  ous    hours       are     past    a  -   way,       And  many  a       heart       that  then  was      gay 

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tomb      now  dark  -  ly      dwells,   And  hears    no      more      those  eve  -  ning  bells ;     And    so    'twill     be        when    I 


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peal  will      still      ring      on,        While     oth   -    er      bards        shall   walk    these   dells,        And    sing    your  praise,      sweet   eve  -  ning    belh. 


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Moderato. 
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OH!   MERRY  GOES  THE  TIME. 


159 


G.   F.   R. 


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1.  Oh! 

2.  But 
/ 


mer-  ry      goes    the    time 
wea-  ry     go        the    feet 


When  the   heart    is    young,  There  is  nought  too  hard    to     climb 
When  the  heart    is      old ;       Time        com  -  eth  not       so    sweet 


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When  the  heart  is    young;     A 
When  the  heart  is      old:      From 


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3.  Oh !        sparkling    are      the  skies 

4.  But  the  sun    is       set  -   ting  fast 
/ 

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When  the   heart    is    young;  There  is    bliss      in  beau  -  ty's   eyes 
When  the   heart    is       old ;     And    the  sky        is      o    -   ver  -  cast 


When  the  heart  is   young  ;   The 
When  the  heart  is      old  ;     Life's 


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spi  -  rit       of      de  -  light      Scat  -  ters  ro    -  ses      in       its       flight,  And  there's  ma-  gic      in       the    night, 
all     that  smiled  and   shone    There   is      some-thing  lost    and      gone,      And  our  friends  are     few      or     none, 

I 


When  the   heart    is    young. 
When  the   heart    is     old. 


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Bring-eth    glad-  ness    in      its       ray,        And  eve-  ry    month   is      May, 

Lies  toss  -  ing    wild  and    dark,      And   the    star  hath  left     hope's  ark, 

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When  the     heart  is   young 
When  the     heart  is     old. 


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*»•  The  alternate  verses  slower  and  softer. 


160 


Allegretto. 

m 


THE  MAY-BELLS  AND  THE  FLOWERS. 


G.  F.  R. 


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1.  Young    May  -  bells   ring  through- out      the   vale,    And      sound    so  sweet    and       clear;    The     dance      be -gins,  -ye        flow-  ers      all      Come 

2.  Young    May  -  bells   play      a      spright  -  ly    tune,    And        all       be  -  gin        to        dance,    While   o'er    them  smiles  the       gen  -   tie    moon    With 


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3.     But      Frost    has  scarce  -  ly  ta   -    ken   flight,  When     well-known  sounds  I  hear,    The      May  -  bells  with      re  -  newed    de  -  light    Are 


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with    a       mer  -  ry        cheer,  The     flow   -  ers      red    and    -white    and  blue        Mer  -  ri  -  ly       flock    a    -    round ;  For  -  get  -  me  -  not,    of 
her    soft      sit  -  very      glance ;  This  Mas  -   ter   Frost    of  -  fend  -   ed    sore.       He       in    the      vale    ap  -  peared — Young  May  -  bells    ring  the 


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ring  -  ing    don  -  bly      clear ;    Now      I 


no   more    can     stay       at    home,      The  May-bells     call    me, 


too,       The     flow  -  ers      to      the 


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THE  MAY-BELLS  AND  THE  FLOWERS.    (Concluded.) 


161 


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heaven  -  ly      hue,     And       vio  -  lets,    too,    a    -     bound,        Young     May  -  bells  ring   through-out      the      vale.    And     sound    so    sweet    and 
dance      no    more — Gone      are     the      flovv-ers        seared.       Young     May  -  bells  play       a       spright-ly       tune,    And       all         be  -  gin       to 


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dance      all    roam,  Then    why  should   I        not 


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clear,     The     dance     be  -  gins,      ye       flow   -  ers    all      Come    with       a      mer  -   ry       cheer,  Come,    come  with     a      mer  -  ry  cheer, 

dance,  While   o'er    them  smiles    the      gen    -  tie   moon  With      her      soft    sil  -  very    glance,  With  her  soft    sil  -  very        glance. 


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hear,    The      May  -  bells  with      re  -  newed    de  -  light    Are       ring  -  ing    dou  -  bly      clear,     Are 


as 


xrir 


1Z=t=Z 


£ 


rin^     -      ing    dou  -    bly         clear. 


v£-£: 


© 


H 


(") 


THE  FOUNTAIN. 


§=s 


-# — ^- 


^E 


^s=i: 


2.     In    -     to      the   moon  -  light,  Whit  -  er      than      snow, 


4.     Ev 


tion, 


Blithe-some    and    cheer  -  y, 


p =: p =^=- 

Wav  -  ing     so      flow  -  er  -    like,        When  the    winds       blow. 
Still      climb-ing    hea  -  ven  -  ward,         Nev  -  er        a      -      weary. 


^ 

': 


W^ 


6.   Full 
S.    Glo 


of       a        na    -    ture 
ri  -  ous    foun    -  tain  ! 


£* 


V- 


mm 


No  -  thing    can      tame. 
Let      my    heart      be. 


Changed     eve  -  ry        mo      -      ment, 
Fresh,   change-fill       con      -      stant, 


Ev  -  er       the 
Up-ward     like 


same, 
thee. 


*=JE 


Allegretto. 


THE   COMPARISON. 


German. 


1G3 


1.  Our  life's  like  dews  of  the      mom-ing! 

2.  Our   life      is    like  the  light    va  -   por ! 


So    say  ancient  wise    men. 
So    say  ancient  wise    men. 


F 

Very    well ! 
Very    well ! 


m$t=te-i  t  \ri  r^^^^M^^^^^^^^ 


Very    well!       The    dew-drops  are  bril-liant   and 
Very  well!       The     va-por    in     gai  -  e   -  ty 


3.     Our  life     is    like  to    a 


v- 

jour  -  ney ! 


i^^^^^m^^^^^&^^^^^^m 


So    say  ancient  wise   men. 


Very    well !        Very    well ! 


3^3 


J- 


In  jour-neys  we  roam  for  our 
The 
The 


:pzz=~: 


S* 


0—0- 


-F— ^H  F- 


In 


fc^^^ 


*=t 


shin 
danc 


&= 


E=F 


:E^d^ 


^: 


-^— *: 


:F=S=F 


:/-V pa 


1 


ing,  And  pleasure's  gay  lights  are  en 

es,  And  flies  by  the  wind's  fickle 


shri 
chan 


run; 
ces 


Then  joy  -  ful  -  ly,       Then      oy  -  ful  -  ly 
Thus  air  -  i  -  ly,        Thus     air   -     -  ly 


-0-#d—0 9^0- 


* 


plea        -  -        sure,  And  win  what  is  worth  more  than       trea 

dew-drops  arc  brilliant  and    shin  -  ing, 
va  -  por     in    gai  -  e   -  ty      danc  -  es, 


sure.  Then  joy  -  ful  -  ly,        Then  joy  -  ful  -ly 


And  pleasure's  gay  lights  are  en  -  shrin  -  ing, 
And     flics   by    the  wind's  fic-kle    chanc-es, 


x^pzt 


%m 


^ 


-*i— r 


jour-neys  we  roam  for  our     plea    sure, 


And     win  what  is  worth  more  than  trea-sure. 


164 


THE  COMPARISON.     (Concluded.; 


Eitard. 


mu       -        -       sic  should        swell, 
plea      -      -      sure  should        swell, 


mu 
plea 


sic  should  swell, 
sure  should  swell, 


M^m 


-fe=E 


S3E 


^ 


mu  -  -  sic  should  swell, 
plea  -  -  sure  should  swell. 
~~T=—  Eitard.  _==--- 


±~4l 


-] — t 


^ 


Jt=3z 


sic  should        swell, 


sic  should   swell, 


zJH^-H^^  I  ] .  r  HI 

-M 0 0~-'—0- .- — 0—r-t=0- IJJ 


sic  should      swell. 


S^ 


^=7=^ 


V — / — W- 


■3= 


fc£=£ 


-.0  __* 


Andante. 


§*? 


£ 


SADLY  NOW. 


Arranged  from  Donizetti. 


E^E* 


; 


^ 


1.  Sad  -  ly      now      we  breathe  our    cho    -      rus,       Lend  the      harp        to      sor-row's         hand 

2.  Hence  we      go  to      ear  -  nest    du     -      ties —      Pa  -  tient      be        our    toil    and  zeal, 


Let     it 
Cheer-ful 


sigh 
ev 


in  moum-ful 
er   'mid  life's 


3.     Oft    shall  mem'  -  ries      of      our        child  -  hood,    Dart  like      sun  -  beams  on      our 


way, 


$£i=±JU&=gF2E$ 


Re  -  a    -      wa 


ken  with  the 


0— D — 0-—0-\—0~-. 0         0 »—  —  0  0      n      #-^-#— |— j- 


^=5=£ 


SADLY   NOW.      (Concluded.) 
fP^ 


165 


gfe^^M^^^p^^g^^^^^^^^^^fl 


/p. 


measure,    O'er  the    break    -    ing    of      our         band, 
turmoil,  Trusting      hea     -     ven  with  our         weal ; 


Now  with  -  in  our  heart-strings      qui  -  ver,     Burn-ing       drops      our  cheeks,  our 

And  when    years       and  cares  have        shad  -  ed  Brows  which   now       are    lit,       are 


# 


3=^=* 


* 


ech-oes      Of  our        life's  bright  ear  -  ly         day ; 


•  •      0^ 

And   we'll      trust,      tho'  wide  we        sev 
fP 


er,      Yet       to       blend      our  songs,  our 
fP 


-frz£z 


P=^ 


S 


it* 


zz± 


a; 


EfzES 


Ad  lib. 


^zJjt 


^^r-^l 


:t= 


ipZIZ-ZjE 


-g F- 


cheeks  be  -  dew,      Darkening    fears      their  shadows      min      -     gle,  While  we    weep  our  fond    a  -  dieu,  our       fond  a    -    dieu. 

lit    with  joy,        Still    our    love      shall  live    in       fresh    -    ness,    Stain-less   kept  from  earth's  al-loy,  from       earth's  al    -    loy. 


3ffe^ 


f— f— K 


m 


-» — '- 


BE 


•    4 


songs  of   love,      Gathering  where  love's  pur  -  est        foun  -  tain, 


Gush  -  es  from  the  throne,  the       throne 


bove. 


zzfe^zzz^zzzS 


=£=£ 


-d—^—F- 


I 


166 


Alleero  Sfoderato. 


I  COME,  I  COME.    (Song  of  the  New  Year.) 


Arranged  from  Donizetti. 


-     -c  • 


6. 


^ 


■1 


S*I 


-0  T-0 


SI 


4-—0ZCr 


$ 


1.  I    come, 
J- 


and     joy-ous 


ly       danc-ing  Are  the   spir  -  its 


of 


earth 


~ 


£?: 


to      'wel-come        my 


B/2 


q^CT 


aas 


I    come,  I 

^J      1 

s    *•*  *      * 


come, 


and    balm  I 

n      i 

,.     *.«   1      -0         = 


-CiCziltizrjrr 

EFT"7        pf 


"- 


EES 


am      bring-ing  To   the  sad  wound 


L** 


gaia — g 


g 


-      ed 

n  i    i 

MIM~JCZ.mZZ 


heart,  neg  -  lect  -  ed  and 

nil        n  ,   . 

-0.0-0.  -#-  r^ 

—*unm-Mz.r — li  izir 


i 


-IS>- 


-S>- 


r 


-©- 


=4 


O] 


f 


•t*1*— •- 1 0T0-0—0 G>~«St5-S— S— f 1 #.»  0      -0—  -0.0-0  -4-\  -0T0-0—0— 


=3 


'2T 
1 


"ST  • 


0- 


i 


eg* 


ei; 


■je- 


glad-ness 


E=***=^ 


and  mirth.  I   come  not 

111 


days  that  are  gone. 


tM  j  |  jfe*™^ 


I  come,  and 


I  COME,  I  COME.    (Continued.) 


167 


wF^&^EEm&^s^^m 


ztC:--^* 


d^: 


in         beau- ty, 


I      bring  ye  no      blos-som,  Ye  hear  not         the      sound  of 


the 


=Pta 


+nt 


ap=3r^^pj^^^^^g"=^ 


w- 


spell  of  bright-ness        and    beau  -  ty  I     cast  o'er         the      poor  -  est,        the 

H   s  jjfaM  =  J3J  j  f  #*4  ajiii   -  :«^:i 


■-©- 


g^ig 


£ 


r 


3 

2^ 


I 


g^ 


=fc 


S 


wild-bird's  sweet  strain,  But  ere   long      the  sweet  buds   that  sleep  in      earth's  bosom,     And  the  song-bird,      gay  tru-  ant,      shall  re-turn  once       a- 


^p 


low  -  li      -    est  home ; 


BE 


-0T0-0- 


-&- 


fx 


:3 


I    wak-en       new  thoughts       of  love  and       of      du  -  ty,      Dreams  bet-ter        and    ho- lier        for  the  year  that's    to 

1      nil      nil      ra ,  ,      r=ii         ni 


2  * 


Mm 


r 


T 


■&- ' 


r 


& 


m 


168 


=± 


I  COME,  I  COME.    (Concluded.) 


J- 


■?=&-- 


:t2= 


^az& — *-v-#—  -I — I r^**- 


at 


22". 


<*ain  Then  welcome,      thrice  welcome,    thou    hap  -  py        New     Year,      Tho'  thou  hringest       no       flow  -  ers        we   bid  thee      good  cheer ; 

■4- 


^=^::*r 


-•-T-« 


E 


JV 


s 


pi 


come        Then  welcome,      thrice  welcome,    thou    hap  -  py        New     Year,      Tho' thou  hringest       no       flow  -  ers        we  bid  thee      good  cheer; 

n  j  i 


n  i 


a; 


i=F=SiS:! 


*.#«   F 


-©- 


fzaaetnt 


F- 


,...v.,  ......  ..-j.  ,..7  ,  p ..-  -.„..  *..„  ..*.        _.w        »..„>.  fa«™     ^..v.w.     , 

.3JJ.       n  I  j      -lii      J34J-       -J1J-4       n  I  i   J3 


:«im 


3ir*~g 


•=): 
v 


F 


in 


F-»--«*zi 


fa 


— ' — L^3- 


aagnj 


I 


-GH- 


f 


Cres. 


.£■ 


T*± 


-O- 


I:: 


22: 


ice 


:F 


22: 


Thou   com-est       right  glad  -  ly,       with  mirth  and       with  song, 
Cres 


0  '  0.4 


^5: 


*-+o     y- 


And  earth  wakes    to 


hail  thee 


=t 


in      one  joy 


3 


ous    throng. 

3E 


■&- 


Thou  com-est       right  glad  -  ly,       with  mirth  and       with  song, 


And   earth  wakes    to 


hail  thee 


in      one  joy      -     ous    throng. 


=jqzl==t==^=iif^zj=:j-j=fj§j-jj: 


nil         r*  1  1        n  1  i       1 


i 


f 


22" 


-©- 


Allegretto. 

— _4_ — _ — j—  -^ * U j j_ 


[3 


*~*z:L*: 


SONG  OF  MEETING 


H.  T.   Lincoln. 


169 


i=B===*=£3 


N-- ]V 


?=F 


JBHt 


F* 


£*=ggfJ-J_4-E3E 


1.  Once   a    -  gain,  friends,  we  meet    in      our     hap-py  land    to  -   gether,      For  -  got  -   ten    the      sor  -  rows  it      caused  us      to    sev  -  er,  For  when 

2.  The         dew  leaves  the  flow'r    at      the       dawn    of      the       day,        The    first     sun-beams  bear     it      to      heav  -  en      a     -    way,   But  when 


tt__g_^_l_^ 0 9 0 ^ — Z^ -^=^m — 0 — • — **=A ■— '-* ■ 0 & ' / / — « *ZX. 


3.  Thus    when    we     are    part  -   ed,  kind      mem  -  o  -    ry       calls  Our  hearts    to      the   days    we    have  passed  in    these     halls ;  For  though 

4.  Each    eye    beam  -  eth   glad   -   ly,    each      dear  -  ly     loved    tone  Bringeth  thoughts  of    the  plea  -  sures,  the     hap  -  pi  -  ness     gone  ;  As        in 


^lz^l  ig— r— i •— -& 


0—0- 


m 


3EE£ 


t£st 


clouds  have  passed   by         our 
eve       casts    its       shadow  o'er 


^m 


^=.3=^ 


—£=■=3 


SE^aE^JS 


spjr  -  its 
moun-tain 


are    light  -  est, 
and       plain, 


As 


-*-*- 


^=^ 


H 


^ 


JjCZZ^L 


stars      in       the    dark  skies    al  -  ways      shine    out    the  bright-  est. 
Back     to       the     lone  flow'r  comes  the      dew  -  drop    a     -     gain. 


we         are      hap  -  py  we 

times '  that    are    van   -    ished, 


1= 


U^^: 


-•- 

— i — 
-V- 


=£=*=3=i 


-<«*^ • — gf- 0 — 0 — 0^=1— J-" 


dream    of     new        bliss,  And      what    can      be    bright-  er    than      a      meet  -   ing    like       this  * 

wake      a     joy-breathing  strain.  The      friends  who  were  part  -  ed        have        met        once    a    -     gain. 
-» » •_ 


170 


Andante.    Espressivo. 


CHANT  WE  NOW. 


G.  F.  R. 


\  r 


1st  verse.  Chant  we  now  a   mournful       an  -  them,  Xow   a       part    -    ing  song  we    bring;  Blend  once  more       our  youthful     voi  -  ces.    While  a 


4-4- 


E3^Efe35££B 


=• 


:=v^>l 


3d  verse.  Sis  -  ters,  we      have  walked  to  -  geth  -  er,  "Neath  the    skies        of    sun  -  ny    years ;  In    the      dim       and   mys-  tic       fu   -  ture,   Lies  there 

\ 1 ,_, , , -| J 1 ,—| i 1 1 1 .^_r 


=4j — H: 


3 


4    4  4 

4       '4-     -9' 


a « — :*: 

I  1  |- 


2=£=i 


y?:— 


-  i  _?; 


=t= 


^z=x 


^t=K 


-/-? 


dirge  -  like  strain  we    sing.  Tears  are     from      our    eye-lids    fall  -  ing,  Wild-ly    throbs  each  saddened  heart !  Sis-ters.  from  these  scenes  we're 


=£=5= 


<p-M^ 


not 


0:- 


?£ 


* 


=1* 


0—r 


=4 


:=M 


-0 — m— 


-*—*- 


a    vale    of     tears?  Yet    the     star        of  Faith  will  guide  us,    O'er  our     spi  -  rits  cast   a       spell. 

See  page  172  for  closing  cadence  for  3d  verse. 


=t 


3E^: 


=t 


rsr^ii 


_i — 1- 


■|— * — 4 — m I   •      0 


-0-    -0- 


-? 


1      -±     -• 


CHANT  WE  NOW.    (Continued.) 
Solo. 


^§fe^ 


Sis  -  ters,    we    are  doomed  to      part.  2d  v.  Soft    -    ly 
^Ritard.  CllOrilS.p 


swell  the  num-bers,  Gent  -   ly 


they  float ;  Grief 


m  ,j  n\r.  t^^^jwn^f^^^^m^^ 


2d  verse.  Soft-ly  swell  the  plain  live  num-bers,  Gently  on  the  breeze  they  float ;  Grief  is  waking 

■4- 


±3? 


3 


pit*! 


bee* 


.5  3 


3 


=" 


=r 


3=,=3-=3-= 


?-? 


£!•: 


i^ 


-¥-¥— I 

from  its  slum   -     bers, 


1*53=1= 


eH 


B*-?- 


:t3=t= 


A^iwt 


5? 


Wake 


each 


note. 


Gone      are 


now      fair  child  -   hood's      hours, 


from  its  slumbers,  from  its  slumbers,  Breathing  from  each  trembling  note,  each  trembling  note  ;  Softly  swell  the  plaintive  numbers,  Gently  on  the  breeze  they  flout : 


m 


r3! 


=j====t 

=1- — 3 


F=l=t 


=t 


CHANT  WE  NOW.      (Continued.) 

Cres. 


From  our  path  have    fled    the     flow-  ers,     Wo-  man's  lot      is 
Cres. 


p3t=x=*z=$^=£^^  ===1=y^ — S — N — js-| — N — N — ^ — 1^-| — > — >~  ^J=J^F 


Grief  is   wak-ing    from   its     slum-bers.  Breath-ing    from  each      trem-hling  note;  From  our    path  have  fled     the    flow-ers,      Wo  -  man's  lot      is 


0:3 


^3 


3 


" 


3 


m 


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r* 


1 » W 1 3 ' 3 — I" 

-4 j— 1-1  I  W V- m a m *— c 


-#-       •- 


Cres. 


&£=±=£=S± 


v-*-^ 


±-o 


Eitard. 


wzztz 


Ending  for  the  third  verse. 

SolO.  Cres 


±=±: 


XZ^ZZJfL 


V  v   V 


iq 


on       us   now  ;  From  our  path  have  fled   the  flow-  ers,       Wo-  man's  lot      is      on      us    now.         Lead  us       to 
Cres.  k.        w  \        *■  Ritard. 


a      fair-  er       ha 


ven, 


r->-r»H=3=a 


•N- =j^Z=>J 


*=JV 


on       us   now  ;  From  our  path  have  fled    the  flow- ers,       Wo- man's  lot      is       on      us    now 


ZWZZZ9Z 


^n 


r=j=h=t 


-*-=—» 


^=* 


m 


01^ 


^=Bkd 


—w W 


Lead  us       to 
--J- 


a     fair  -  er       ha 
I 


:    IT*-  ^*-  -4-  -4-    -1-  -*   -#-  -*■  ~.-  -»-         -•-  -•■    ■•■    z±  zz    zt    — 

— t-        •— r         -m-        -arf-         -arf-      -a*-       si^  r  w  ^ 


"*-    7^"     -«r-   ■*' 


CHANT  WE  NOW.    (Concluded.) 


+-  Ritard. 


^ip^m 


*=fc 


-^-0-0 


3EO 


ne  -  ver    more   to  breathe  fare  -  well, 


nev-er  more, 


nev-er  more. 


nev-er  more, 


*J  ai        -ar      -ar      "ar 


rv 


^# 


3 


S 


BB 


PS 


i—0~t 


£=£=£ 


-» — 0- 
■0 — 0 — 0- 


jv-: 


-0~    ■»     *" 

ne  -  ver  more  to  breathe  fare  -  well, 


Nev-er       more 


to  breathe  fare  -  well, 


to  breathe  fare  -  well, 


~9~     -» 
to  breathe  fare- 


S: 


-3-3- 


^ 


4- 


^=$=£ 


Ritard. 


ft-^ 


-S±h 


nev-er      more, 


nev-er     more, 


nev-er     more 


-     -   -   well, 


to  breathe  farewell, 


-0 — 0 — « — #- 

to  bieathe  farewell, 


E#EE3E_ 

to      breathe  fare 
Ritard. 


1 


well. 


^g^ms^niiis^^i 


bis 


i 


a 


f 


-*,-& 


^-^zr^:E5E?Q: 


iiii 


-si— "i — 4zza4—M—  a 


174 


Allfsretto. 


MY  OWN  NATIVE  LAND. 


English. 


1.  I've  roamed  o  -  ver  moun-tain,  I've  crossed   o  -  ver  flood, 

2.  The    right  hand  of   friend-ship  how     oft    have    I   grasped, 

3.  Then  hail,  dear  Co  -  lum  -  bia,   the    land    that    we   love, 


I've  tra-versed  the  wave  -  roll  -  ing  sand;  Tho' the  fields  were  as  green,  and  the 
And  bright  eyes  have  smiled  and  looked  bland;  Yet  hap  -  pi  -  er  far  were  the 
Where  flourish  -  es     Lib  -  er  -  ty's     tree;       'Tis   the  birth-place  of  Freedom,    our 


5K3SB 


±=± 


-€- 


,  V 


Bffi 


S. 


. 


moon  shone  as  bright,     Yet  it     was   not    my  own  na-tive  land ! 

hours        I   passed     In   the   West,  in      my  own  na-tive  land  ! 

own    na  -  tive  home,   'Tis  the   land,  'tis     the  land   of   the  free  ! 


No, 

My  own 

Yes, 


no,  no,  no! 
na-tive  land  ! 
yes,  yes,  yes ! 


Oh !  it    was    not   my  own 

Far,      far       in    my  own 

'tis   the  land     of    the  free! 


na  -  tive  land  ! 
na  -  tive  land  ! 
of     the      free ! 


-■ — «-m — •-# 


-J 


~; 


m 


:z: 


i=i=j 


tt    «r 


a 


? 


»:  »- 


Bi^t 


^ — ^ 


-=1— 


Moderate 

± 


AGAIN,  AGAIN  WE  MEET. 


Italian. 


175 


psm 


-G^~\0- 


mc 


1.  A   -  gain,    a  -  gain  we      meet,  Loud  swell  a     joy-  ous    =ong, 

2.  A   -   gain,    a  -  gain  we      meet,       We'll  breathe  a    glad-some  lay, 


For       nought  but  blithe- some  smiles        Beam     out    from  ;mid  the 
For  buds  and   bios  -  soms  fair  Have  bloomed  up  -  on    our 


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3.  A   -   gain,    a  -  gain  we      meet,  A  -  way  with  grief  and    care;  The        youth-ful   heart  should  know  Xo    thoughts  of   dark    des- 


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throng;  And    ma-ny  stars  have  shone  Up-  on   our  hap-py    road;        Let     eve  -  ry  heart  breathe  praise    To  our  Mak-er    and     our       God. 

way;      And    if  some  wand"ring  tears  E'er  shaded  their  pure  light,      'Twas  but    as  sum-mer    showers,    That       left  them  still   more    bright. 


pair ;      But       e  -  ver  meekly   bend 


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To  Him  who  reigns  on  high, 

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176 


Allegretto. 


OUT  ON  THE  AIR. 


H.  T.  L. 


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1.  Out       on        the       air         let      the       clear    notes      be        ring    -   ing,    That      wake  from    their    slum  -  bers       the       e  -   choes    of 


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2.  Sweet 

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of 

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on    - 

ly       Can 

add       to        the 

bright-ness      that 

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Ores. 


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a  -   zure    sky,      bring-  ing      A        thou  -  sand    proud    plan  -  ets     trans  -  cend  -  ent  -    ly 


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cast ;     Thou       hast  power  to        com  -  fort      the        sad      and    the        lone  -  ly,     Bring    hope    for       the        fu  -  ture,    glad  dreams    of       the 
Ores. 


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OUT  ON  THE  AIR.     (Concluded.) 

-rV- 


177 


bright.      Let      eve  -  ry    young  heart  feel      the      right    spir  -  it's       pow  -  er,      Ban  -  ish     vis  -  ions      of         sor  -  row     and       sha-  dows    of 


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past.        Then   join     in       the       cho  -   rus,  youth's  mo  -  ments  we'll    cher  -  ish,      Not    a      cloud  shall    o'er  -   sha  -  dow    the    light      of       its 

a, 


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care ;     Eend       on  -  ly       to        joy    at      this      gay    fes  -  tive      hour,  And    wel-come  dreams  ra  -  diant     as   the    hea-  vens    are       fair. 


Ores. 


3E=feM-J^-fff^-J>|J3  J^^^teJUMU-/>  n  J  1 1ll 


skies;   And      mem -'ry  shall  soothe  when  its       joys  fade    and      per  -ish,  Asa     rose  leaves  a        fra- grance  be 
Cres. 


hind  when   it       dies. 


(12) 


178 


Allesrrtto. 


GLAD  NOTES  OF  JOY. 


William  Mason. 


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1.  Glad    notes       of     joy       are       ring   -    ing,     And       all        is    bright      and       fair,  The      flow  -   er  -  breath  comes  wing  -   ing       Up- 

2.  Our       life         is      in        its        morn  -  ing,      And    bright  our  path    -    way      seems,      And      sure      the      fu  -   ture     dawn  -  ing       Will 


al  -  ize        our        dreams ;  And      though  these  halls    we're      leav   -  ing,        Our      haunts    from  child   -   hood's        day, 


A- 


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GLAD  NOTES  OF  JOY    (Concluded.) 

/    2>1time    P 


179 


^  >|      1^.  J     Zi1  time    I" ■ 


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let      no      note      of       sad    -    ness    be        heard  this  fes    -    tal 


day. 


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way  with   use  -  less      griev  -  ing,    Let    hearts    be    light      and  free. 


Come,  come,  come,  come,    come, 


I 
come, 


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come,    come,      come. 


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Come,  come,      come,    come,  Our    hearts   are    light  and  free. 


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Come,  come,         come,       Our     hearts  are   light  and        free 


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Come,  come,     come,    come,  Our    hearts    are     light  and         free. 


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Come,  come,         come,       Our     hearts  are    light   and         free. 


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180 


Adagio. 


A  REQUIEM. 


G.  F.   R. 


3^ 


■iv  4.  — s- 


5ES 


-• •- 


1.    Sad       as      the     mu  -    sic        low        and        dim,     That    comes  from    the    sea  -  shell        lone,        Swell  the     part    -    ing     note      of 


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2.    Soft       as      the    lay      the      wood    -    hird     sings,  When  the  light        of  day        is 

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gone, 


And         eve        hath    veiled      all 


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fune    -     ral  hymn,      For    the       spir 


er  gone. 


Fa    -    ther!    thou         a 


soul      hast       ta    -   ken, 


Zg~* j      d      •  m      J-|=j 


a 


earth     -     ly  things,      Be    our        re   -   quiem       for  the         dead. 


Fa   -    ther !      thou       most        kind,    most      ho   -    ly ! 


BEfc 


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A  REQUIEM.      (Concluded.) 


181 


J 


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Left      our     hearts    dark      and      for   -    sa  -  ken ;       One       more  earth  -  ly       course      is         run ;        God      of     love,   thy    will    be     done ! 


0  — 4 * « 


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Bend    me        to        thee,    meek  -  ly,      low  -    ly ;      Thou       hast  called      a        cher  -  ished      one,  God    of       love,  thy     will    be    done ! 


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Andante  legato. 


SOFT  MUSIC  IS  FALLING. 


G.  F.  R. 


or 


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1.  Soft       mu  -   sic  is  fall   -  ing         All        sad        on       the  ear,  While  dark  clouds  of  sor  -  row      Are        hov  -  er  -  ing 

2.  Oh !     voice      of         a  spir  -   it,         What    mys    -    ti    -    cal       power      Hath      made  thy  strange      mu  -  sic        the      sport    of  Time's 


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3.   That    same     strain      is  cheer  -  ing,      And        sweet    is  the      lay,     While  the  sad   voice     of  part  -  ing     Is  fad  -  ing      a  - 


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SOFT  MUSIC  IS  FALLING. 

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near;          So      mourn  -  ful          its        num  -  bers,        So        dirge-like  its        strain,     Each       heart  is       la    -  ment-ing  Its        com  -  ing       a  - 

hour.          To    -    day       it            re     -    pos  -    eth          In          ho  -   li   -  est        rest :        To    -    mor  -  row  stern      sor  -  row  Is          fill  -  ing  each 

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gain.       'Tis    the      sad    hour    of         part  -  ing,      It       whis-pers    of       fears,  Of      gen  -  tie     hearts   bow- ing       In      sor  -  row   and       tears- 

breast.     Ah !     the     sad    hour    of         part  -  ing      Now  mur-murs  the      song,       While  ech  -  o        re  -  sponds    us,      The  loved  ones  have    gone. 


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Ores. 


183 


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1.  List   -   en!     soft    -    ly,       soft  -   ly       peal   -   ing       Out       up    -  on         the       mid  -  night    air,  Like      to         fai    -     ry        mu   -  sic 

2-   Tis       the      old       Year    moan  -  ing       sad    -    ly       That      no       mor  -    tal      weeps    its    death,  But        all        Na   -   ture       wel  -  comes 

~r=—  Dim.  Ores. 


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voice        in        grief;     'tis         sigh  -   ing  A 

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184 


LISTEN!  SOFTLY  PEALING.    (Concluded.) 


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re    -    quiem    sad       and       low,  But        an    -    o    -    ther       voice       re    -    ply    -    ing      Seems      to      mock         its       bit   -   ter       woe. 

crown        up    -    on  its       brow,       That    the       old        Year      wore       so       proud  -  ly  A  short      twelve  months  a    -    go. 


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the       mid  -  night    bell, 


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STRIKE  THE  SILVER  STRINGS. 

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1.    Oh,  strike  the  sil-ver  strings,  Let       mu-sic  breathe  a  -   round.  While  fanned  by  fai  -  ry  wings,     Sweet      ros  -  es    scent  the   ground;    Let 
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2.  We'll   sing  the  mer  -  ry     lay       We      sang  in       ear  -  lier    hours,  When    all       a  -  round  was  gay         In  yon  -  der  bloom-ing  bowers.  While 

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STRIKE  THE  SILVER  STRINGS.    (CoueluiM.) 


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g\d  the  charm   de  -  stroy,   What  -  e'er      to  -  mor  -  row  brings     To-night  we'll  give       to     joy.  Oh,      strike   the  sil   -  ver         strings! 


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bound  -  ing  hearts  keep  time,     And    joy's  gay  cho  -  rus    rings,     Like  bells    in       mer  -  ry    chime.      Oh,      strike   the  sil   -   ver         strings  ! 

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Strike,  strike  the  sil  -  ver  strings  !   Oh,  strike,  strike  the  sil  -  ver  strings!   To  -  night  we'll  give  to    joy,      to  joy!  Oh,      strike   the  sil  -  ver  strings  ! 
J- 


~S? 


Strike,  strike  the  sil  -  ver  strings  !  Oh,  strike,  strike  the  sil  -  ver  strings,     Like   bells   in    mer  -  ry,     mer-ry  chime  !  Oh,     strike   the   sil  -  ver  strings  ! 


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186 


Andante. 
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ONCE  AGAIN. 


Arranged   by  G.   F.   R. 


£ 


--I — r_j«L 


Ss 


S 


1.  Once        a    -   gain      we'll    swell      a       cho     -    rus,        Loud  -  ly,    clear    -    ly,       ere       we      part;         Dim    the       fu     -    ture     lies      be- 

2.  On  the       bo   -   som        of        the       o      -     cean       Dance   the     wave  -  lets,      glit  -  t'ring    band,        With    a      slow       and       fai   -   ry 

S- V K 1 .— H* r-r—*- 


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3.    Still      fond     mem   -  'ry       will       be      bring   -  in« 
/ 

tEHE 


Vis   -  ions      of 


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the      days    gone      by,        When    the     fount       of      love    was 


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ONCE  AGAIN.    (Concluded.) 

1 H\         I jB ~ — 1 


187 


friend      -      ship   here  have  passed  ; 
more  by      beau-ty's  spell, 


Youth    a  -   round  us  wove  sweet  flow   -    ere,        But    they  were  too  bright   to 


last. 


Thus    we,    who  have  toiled  to  -    geth    -   er,         The  goal   reached     must  breathe  fare  -  well. 


f£^^£3^%=B^^^EgiE 


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droop  'neath  sor  -  row's  spell ; 


BMl£ 


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We'll    still   hope  for     joy    and      glad   -    ness,       In      the     heaven    -     ly   land,  fare  -  well ! 


£^= 


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V 


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l. 


ADIEU  TO  A  TEACHER. 

(To  be  sung  to  the  music  of  "  Once  Again.") 


Though  thou  leav'st  us,  still  we'll  bless  thee, 

Grateful  for  thy  kindly  care  ; 
Through  the  scenes  where  God  may  call  thee, 

Take  our  earnest,  fervent  prayer. 
All  thy  counsels  shall  be  dwelling 

Deep  within  each  youthful  heart, 
Though  thy  voice  no  more  may  utter 

Words  of  love  with  gentle  art. 


Up  the  rugged  hill  of  Scienco 

Thou  hast  led  us  kindly  on, 
Toward  the  temple  where  for  ages 

Wisdom's  star  has  brightly  shone. 
Though  thou  leav'st  us,  still  we'll  bless  thee, 

Grateful  for  thy  kindly  care  ; 
Through  the  scenes  where  God  may  call  thee, 

Take  our  earnest,  fervent  prayer. 


188 


BRING  FLOWERS. 


Allegretto. 


Arranged  by  G.   F.  R. 


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1.  Bring  flow  -    ers  from  the   hill-side.    Pale        lil     -     ies  from  the    stream,     White  -  rohed      and  fragrant  blossoms,  Pure       as  a  maiden's  dream  : 

2.  Seek     in        the  sha-dy  wood-land,  For  the     vio  -  let's  blue-eyed  throng  ;  Pluck  the  hea  -  ther  bells  that  soft- ly  Chime  a  sweet    and  fai  -  ry  song; 


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3.  Bring  dain    -  ty    lit- tie  butter-cups,  All      scat-  tered  o"er  the     green,       Like     threads    of  gold,  bright  flashing  In  the  rich  robe  of        a        qusen. 


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Bring    dai    -   sies  from  the   meadow,  From  the   gar   -    den    tu-lips      gay,        And  wreathe  them  all   to  -  ge  -  ther,  To    crown     the  youthful   May. 
And  the  rose    -  bud,  half-un  -  fold- ing       Its       leaves       to  meet  the    day, —  Earth's  stars,  Bright  gems  of    Na  -  ture,  Shall  crown    the   gen-tle    May. 


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Seek  the  per-fumed  flow'rets  springing,  Where  the   sil  -    very  fountains   play;    We'll  wreathe  them  all    to  -  geth-er,      To  crown  the  beau-teous     May 


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Andantino. 


THY  EARLY  DAYS. 


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'    189 

H.  T.   Lincoln. 


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1.  Thy      ear  -  ly  days  will  come  but  once,  Oh,  bright-eyed,  joyful    child,  Whose  laugh   is  echoing  o'er  the   hills,  And  in  the  green-wood  wild  ;  Whose 


IIp|§I^lllI^l3? 


PHI 


2.  Thy      ear  -  ly  days  will  come  but  once,  And  swift  they'll  glide  a-way,      The    rap  -  id  wind,  the  rolling  wave,  Are  not  more  swift  than  they.  Thy 


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steps     are    like     the         summer  birds,  Scarce  press-ing    as    they      pass,       The  meek  and  fra-grant  vi   -  o  -    let,  The  soft  and  dew  -  y      grass. 

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life      is       like    a         sum  -  mer  morn,  That  pass  -  es      all      too       soon —  Ere   thou    hast  seen  with  watchful  eye  The  com  ing  of     the    noon. 

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190 

Allcsro  Staccato. 
aii 


THRICE  HAIL,  HAPPY  DAY! 


From  the  "  Vocalist." 


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1.  Thrice   hail,      hap  -  py      day,      That  speak'st  our  na  -  tion's  glo    -    ry  !    A  voice  with  thee  Pro-claims  "  we're  free,"  Thrice  hail,  hap- py    day. 

2.  The      graves     of     oui  fathers,    Their  lau  -  rels  bright-  ly  crown  them  !  They  fought  and  died,  That   we,     in  pride,  Might  hail      free-dom's  day  ! 


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3.     Oh,    where       is      the    land,       In       all    the    wide  ere    -  a  -    tion,  That  beams  so  bright,  With  free-dom's  light,  On  this       hap  -  py    day! 


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Our    hills  and  plains   no  more   are  trod    By  those  who  wield  op  -  pres  sion's  rod ;  We  know      no       ty-rant's  nod   Hail,  hail !    hap-py    day! 
Then,  come,  ye    sons      of  freedom's  throng,  And  shout  their  deeds  in     joy  -  ful  song  :  May  mem  -  'ry      cher  -  ish  long  This  bright  hap  -py    day. 


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That's   ev  -  er  sought,  and    ev  -  er    lov'd,   By    all      her   free  -  born  sons    approv'd,  And  guard  -  ed      from    a  -  bove  :  Then  hail,  hap  -  py    day! 


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HOME,    SWEET  HOME! 


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191 

Old  Melody. 


1.  'Mid  piea-sures  and    pal  -  a  -  ces   though  we  may  roam,  Be    it      ev  -  er       so    humble,  there's  no  place  like  home  !  A  charm  from  the  skies  seems  to 

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2.  An      ex  -  ile  from  home,  splendor    daz  -  zles  in    vain ;      Oh,      give    me  my  low  -  ly  thatched  cottage  a  -  gain.   The     birds  singing  gai  -  ly,  that 


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hallow  us  there,  Which,  seek  thro'  the  world,  is  not  met  with  elsewhere.  Home,  home,  sweet,  sweet  home  !  There's  no  place  like  home,  There's  no  place.  &c. 


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come  at  my  call — Give  me  these  with  the  peace  of  mind  dearer  than  all  !  Home,  home,  sweet,  sweet  home  !  There's  no  place  like  home,  There's  no  place,  &c. 


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From  an  Ancient  Mats. 


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prais    -    es,     Sing    prais    -    es,    Sing    prais  -  es        to      His    name ! 


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pow-er!  All        ye  na  -  tions,      Sing  ye    to       Je  -   ho -vah;       Re  -joice  in       Him    with    the     voice,      the    voice  of  ex-uL 


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voice,  the      voice  of      ex  -  ul   -   ta 


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name,    O,  praise  the       Lord !    O,   praise  the     Lord !  Praise  and       mag     -     -   ni      -     fy  his  name !  0,  praise  the      Lord !      0,  praise  the 


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THEE  WILL  I  BLESS. 


A.  C.  Williams. 


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1.  Thee   will   I  bless,     O    Lord,  my  God!   To  thee  my  voice   I'll     raise,    For      ev  -  er  spread  thy  name  a-broad,  And    dai  -  ly  sing    thy  praise. 

2.  My    soul  shall  glo  -  ry      in    the  Lord,  His  wondrous  acts    pro-claim  ;    Oh  !     let    us  now     his    love  re-cord,   And    mag-ni  -  fy      his   name. 


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3.     O      taste  and  see    that   God   is  good,    Ye  who  on  him    re   -    ly  !       He  shall  your  souls  with  heavenly  food,  And  grace,  and  strength  supply. 


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Andante  e  piano. 


LORD,  WE  COME ! 


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m  t-  i    u  U"  i       v   l  y   ^  u 

1.  Lord  !  we  come  be  -  fore  thee    now,   At   thy     feet   we      hum-bly      bow  ; 

2.  Lord!  on    thee  our  souls  de-pend;  In   com-  pas-sion     now  de  -  scend ; 

3.  Send  some  message   from  thy  word,  That  may     joy  and    peace  af  -    ford  ; 

^-^-L-L-L-i  -  ■  -       -■- 


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Oh!  do  not  our  suit  dis-dain!  Shall  we  seek  thee,  Lord,  in  vain? 
Fill  our  hearts  with  thy  rich  grace,  Tune  our  lips  to  sing  thy  praise. 
Let  thy    spi  -  rit     now   im  -  part   Full  sal  -  va  -  tion    to    each  heart. 


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Allfjro  Moderato. 


35 

1 — 


JOY  TO  THE  WORLD  ! 


Arranged  from  Handel. 


^ 


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i  t  y  i       r  r  r  '  '    '  •    •  ' 

1.  Joy      to   the  world,  the  Lord   is    come;   Let  earth    re-ceive    her  king;       Let    eve 

2.  Joy     to   the  earth,  the  Sa  -  vior  reigns  ;  Let  men  their  songs  em-ploy  ;     While  fields 

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heart 
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pre  -  pare 
rocks,     hills. 


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and 


room,     And 
plains,      Re 


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heaven  and     na  -    ture      sing, 
peat     the  sound  -  ing       joy, 


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And  heav'n  and  na  -  ture       sing, 
Re  -  peat    the  sounding       joy, 


And     heav'n,     And      heav'n 
Re   -    peat         Re   -    peat 


11=11 


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22: 


Re    -   peat,  &c. 


and       na     -    ture 
the    sound  -   ing 


sing. 

joy. 

ZZ2: 


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Moderate 


SEE  HOW  THE  MORNING  SUN. 


£ 


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L.   Mason. 


199 


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1^0- 

1.  See      how  the  morning    sun     Pur  -  sues  his  shin-ing    way,       And    wide  proclaims  his    Ma  -  ker's     praise,  With  eve  -  ry      bright'ning     ray. 

2.  Thus  would  my   ris-ing    soul      Its    heav'nly   pa-rent    sing,        And        to    its  great  o    -  ri    -     gin    -     al  The  hum  -  ble       trib  -  ute     bring. 


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Andante. 


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WITH  HUMBLE  HEART. 


L.   Mason. 


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1.  With    humble  heart   and    tongue,    To    thee,  my    God,        I  pray;       O    bring  me   now,  while     I    am  young,  To      thee  the  liv    -     ing    way. 


22: 


JOT  TO  THE  WOULD. 

3.  No  more  let  sin  and  sorrows  grow, 

Nor  thorns  infest  the  ground  ; 
He  comes  to  make  his  blessings  flow. 
Far  as  the  curse  is  found. 

4.  He  rules  the  world  with  truth  and  grace, 

And  makes  the  nations  prove 
The  glories  of  his  righteousness, 
And  wonders  of  his  love. 


AVITII  HUMBLE  HEART. 

'*.  My  heart,  to  folly  prone, 
Renew  by  power  divine; 
Unite  it  to  thyself  alone, 
And  make  me  wholly  .thine. 

3.   Oh,  let  thy  word  of  grace, 

My  warmest  thoughts  employ  ; 
Be  this  through  all  my  following  days, 
My  treasure  and  my  joy. 


200 


Allegretto, 


THERE  WAS  JOY  IN  HEAVEN. 


G.  F.  It. 


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1.  There  was  joy 

2.  There  was  joy 


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heaven,   There  was  joy 


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heaven.  When  this  good  -  ly  world      to  frame,  The  Lord    of    might  and    glo    -  ry    came ; 
heaven,  When  of     love  the    mid-night    beam      Dawned  on  towers  of    Beth  -  le  -  hem ; 


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Shouts   of    joy    were   heard    on   high,    And      the   stars    sang    from    the    sky,     Glo-ry    to       God     in    heaven, 
And      a  -  long     the       echo-ing    hill,      An  -  gels   sang      on     earth  good-will,     Glo-ry    to       God     in    heaven, 


Glo-ry    to    God     in     heaven. 
Glo-ry    to    God     in    heaven. 


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CLOSING  HOUR. 


Arranged  by  G.  F.  R. 


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A       song    of  praise  to    God  we  pour,  With    mel  -  o  -  dy    of     heart. 
2-  'Tis      by      His  eoodness  we  are   led      With  -  in  these  favored  walls  ;        And       eve  -  ry  footstep  here  we  tread,  Thy  good-ness  still  re  -  calls. 


1.    As  -   sem  -  bled  af  the     clos-ing  hour,  When  we      awhile  must  part, 


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COME,  0  MY  SOUL  ! 


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But       oh !    what    tongue        can      speak    his        fame  ?     What   mor  -  tal 
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ASSEMBLED  AT  THE  CLOSIKG  HOUR. 

3.  Oh,  while  we  here  our  time  employ, 

Permit  us  to  improve 
In  useful  knowledge,  and  enjoy 
The  tokens  of  thy  love. 

4.  In  kindness,  when  we  separate, 

Regard  our  tender  prayer  ; 
And  let  us,  when  again  we  meet, 
A  Father's  blessing  share. 


C01IE,  0  iTT  SOUL ! 

3.  In  all  our  Makers  grand  designs, 
Omnipotence  with  wisdomVhines ; 
His  works,  through  all  this  \ondrous  frame, 
Declare  the  glory  of  His  nar 

4.  Raised  on  Devotion's  lofty  wing 
Do  thou,  my  soul,  His  glories  sir 
And  let  his  praise  employ  thy  ton^ 
Till  listening  worlds  shall  join  the\ong. 


202 


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OUR  FATHER!  THOU  WHO  DWELLEST  IN  HEAVEN. 

A.   N.  Johnson. 

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THY  NAME,  ALMIGHTY  LORD. 


From  "  Carmina  Sacra." 


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1.  Thy  name,  Al-migh-ty      Lord,  Shall  sound  thro'  dis - tant  lands;  Great  is  thy  grace,  and  sure      thy    word,  Thy  truth  for  -  ev  -  er     stands. 

2.  Far       be  thine  hon  -  or    spread,  And    long  thy  praise  en  -  dure,    Till  morn-ing  light    and  eve  -  ning  shade  Shall  be    ex-changed  no    more. 


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HUMBLY  AT  THY  FOOTSOOL  KNEELING. 


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Let      the   grace   of     thy    pure   spir  -  it      Be      our    soul's  de    -----    - 


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*  If  Bass  voices  sing,  take  the  lower  notes. 


OUR  FATHER,  THOU  "WHO  DWELLEST  IN  HEAVEN. 

2.  May  we  in  friendship  dwell  united, 

May  virtue  every  action  guide  ; 
And  when  our  schemes  of  joy  are  blighted, 

Put  down  each  swelling  thought  of  pride. 
Content  in  sorrow — joy  we'll  live, 
Since  all  is  good  that  thou  dost  give. 

3.  In  wisdom  and  in  skill  increasing, 

As  youth  and  vigor  haste  away, 
Our  labor  as  our  joy  increasing, 

May  we  ne'er  spend  an  idle  day. 

And  that  we  may  the  work  prolong, 
Oh,  make  us  diligent  and  strong. 


HUirELY  AT  THY  FOOTSTOOL  KNEELING. 

2. 
When  the  day  of  life  is  over, 

May  we  dwell  with  thee  above ; 
May  we  join  with  seraphs  hymning 
Praise  to  thee,  thou  God  of  love  ; 
There  with  harps  and  angel  voices, 
May  we  swell  a  ceaseless  song. 
Ever  happy,  ever  holy, 
Thou  our  God,"  and  heaven  our  home. 


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FATHER,  WHATE'ER  OF   EARTHLY  BLISS. 


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thou  art  mine,  My  life   and  death  at-tend  ; 


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Ac  -  cept-ed  at      thy    throne  of  grace,  Let  this      pe  ■ 
The  blessings  of     tby    grace  im-part,  And  make  me   live   to 
Thy  presence  thro'  my  jour-  ney  shine,  And  crown  my  jour-ney's  end. 


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SAVIOR,  SOURCE  OF  EVERY  BLESSING. 


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1.  Sa  -  vior,    source     of        ev     -     ery        bless-ing,      Tune  my      heart    to  grate- ful        lays,    Streams      of         mer-cy,      nev      -      er 


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Teach  me  some  melodious  measure, 
Sung  by  raptuied  saints  above ; 

Fill  my  heart  with  sacred  pleasure, 
While  I  sing  redeeming  love. 

4. 
By  thy  hand  restored,  defended, 

Safe  through  life,  thus  far,  Fm  come 
Sale,  O  Lord,  when  life  is  ended. 

Bring  me  to  my  heavenlv  home 


Andante. 


SISTER,  THOU  WAST  MILD  AND  LOVELY. 


L.   Mason. 


205 


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1.  My  shepherd  will  supply  my  need,  Je  -  ho  -  vah    is      his    name 

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UY  SHEPHERD  'WILL  SUPPLY. 

2.  He  brings  my  wandering  spirit  back, 

When  I  forsake  his  ways, 
And  leads  me,  for  his  mercies'  sake, 
In  paths  of  truth  and  grace. 

3.  When  I  walk  through  the  shades  of  death, 

Thy  presence  is  my  stay  ; 
One  word  of  thy  supporting  breath 
Drives  all  my  fears  away. 


SISTER,  THOU  WAST  MILD  AND  LOVELY. 

2.  Peaceful  be  thy  silent  slumber, 

Peaceful  in  the  grave  so  low  ; 
Thou  no  more  wilt  join  our  number, 
Thou  no  more  our  songs  shalt  know. 

3.  Dearest  sister,  thou  hast  left  us, 

Here  thy  loss  we  deeply  feel ; 
But  tis  God  that  hath  bereft  us  ; 
He  can  still  our  sorrow  heal. 

4.  Yet  again  we  hope  to  meet  thee, 

When  the  day  of  life  is  fled  ; 
Then,  in  heaven  with  joy  to  gTeet  thee, 
Where  no  farewell  tear  is  shed. 


206 


IN  SLEEP'S  SERENE. 


Dolce. 


G.  F.  R. 


Maestoso. 


i 


MY  COUNTRY,  'TIS  OF  THEE. 


4  English 


IN  SLEEP'S  SERENE. 

1.  In  sleep's  serene  oblivion  laid, 

I  safely  passed  the  silent  night ; 
Again  I  see  the  breaking  shade, 
I  drink  again  the  morning  light. 

2.  O  guide  me  through  the  various  maze 

My  doubtful  feet  are  doomed  to  tread  ; 
And  spread  thy  shield's  protecting  blaze, 
When  dangers  press  around  my  head. 


JIT  COUNTRY,  'TIS  OF  THEE. 

1.  My  country,  'tis  of  thee, 
Sweet  land  of  Liberty, 

Of  thee  I  sing; 
Land  where  my  fathers  died, 
Land  of  the  pilgrims'  pride, 
From  every  mountain  side, 

Let  freedom  ring  ! 

2.  My  nalive  country,  thee, 
Land  of  the  noble  free, 


Thy  name  I  love  ; 
I  love  thy  rocks  and  rills. 
Thy  woods  and  templed  hills, 
My  heart  with  rapture  thrills, 

Like  that  above. 

Our  fathers'  God,  to  thee, 
Author  of  Liberty, 

To  thee  we  sing  ; 
Long  may  our  land  be  bright 
With  freedom's  holy  light ! 
Protect  us  by  thy  might, 

Great  God.  our  King. 


CHANT  N°   1. 


CHANT  No   2. 


CHANT  No 


207 


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( I  will  lift  up  mine  eyes  unto  the  hills, 
j     From  whence  |  cometh  . .  my  |  help. 

!My  help  cometh  from  the  Lord, 
Which  made  |  heaven,  .and  |  earth, 
He  will  not  suffer  thy  foot  to  be  moved : 
He  that  lfeepeth  thee  |  will  not  |  slumber. 
I  Behold,  he  that  keepeth  Israel 
(  Shall  not  |  slumber,  .nor  |  sleep. 
(  The  Lord  is  thy  keeper  : 

(  The  Lord  is  thy  shade  upon  thy  |  right —  |  hand, 
j  The  sun  shall  not  smite  thee  by  day, 
\  Nor  the  |  moon  by  |  night. 
{  The  Lord  shall  preserve  thee  from  all  evil ; 
|  He  shall  pre-  |  serve  thy  |  soul. 
I  The  Lord  shall  preserve  thy  going  out,  and  thy 
J  coming  in,  [A-  |  men. 

(  From  this  time  forth,  and  even  for-ev-er  |  more. 


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THE  LORD'S  PRATER. 

1  (  Our  Father  who  art  in  heaven, 

(  Hallowed  be  thy  |  name  : 
„  {  Thy  kingdom  come,  thy  will  be  done 

|  On  earth,  as  it  is  in  |  heaven. 

3     Give  us  this  day  our  daily  |  bread  ; 
.  (  And  forgive  us  our  trespasses, 
(  As  we  forgive  them  that  trespass  against  | 

,  (  And  lead  us  not  into  temptation, 

(  But  deliver  us  from  |  evil ; 
.  (  For  thine  is  the  kingdom,  and  the  power, 

(  And  the  glory  for-  |  ever. 

THE  OLD  HUNDREDTH. 


"  THY  WILL  BE  DONE  !" 

"  Thy  will  be  |  done  !"  ||  In  devious  way 
The  hurrying  stream  of  |  life  may  |  run  j|| 
Yet  still  our  grateful  hearts  shall  say,  | 

"  Thy  will  be  j  done." 

"  Thy  will  be  |  done  !"||  If  o'er  us  shine 
A  gladdening  and  a  |  prosperous  |  sun,|| 
This  prayer  will  make  it  more  divine —  | 
"  Thy  will  be  |  done." 

"  Thy  will  be  I  done  !"||  Though  shrouded  o'er 
Our  |  path  with  |  gloom, ||  one  comfort — one 
Is  ours  : — to  breathe,  while  we  adore,  | 

'"  Thy  will  be  |  done." 

BoWRING. 
Close  by  repeating  the  first  two  measures— "Thy  will  be  done." 


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From  all  that    dwell  be  •  low  the  skies,  Lst      the   Cre    -    a  .  tor's  praise  a  -  rise  ;      Let    the  Re-deem-er's  name  be  sung,  Thro'  eve-ry      land,  By       eve  -  ry  tODgue. 


TABLE    OF    CONTENTS. 


Til 
188 

3> 


A  Boat,  a  Boat  (Round) 33 

Abou  ben  Adhem  and  Hie  Angel i»J 

Allien  to  a  Teacher [83 

Again,  again  we  meet ' '  ' 

A  Requiem '80 

Awake,  my  trembling  Lyre so 

Assembled  at  the  closing  Hour 200 

Beautiful  Spring  uul 

Beautiful  Star 84 

Bird  of  tin-  North 

Bright,  glowing  Iris 

Bring  Flowers 

By  the  River  of  Babylon  (Ron 

(  anon  for  the  Month  of  June 5S 

tome  and  sing  a  merry  Song  (Round) ...     33 

Come,  O  my  Soul 201 

(  hunt  we  now 170 

Credo  in  Unum 38 

>  Lin  is  gently  breaking 109 

H. i>  is  gone  (Round) 35 

Erin  is  my  home 6' 

Kver  blooming,  ever  gay  (Ron 
Father,  whate'er  of  earthly  Bliss.. 

Freedom's  Land 

Good  Night  (Round) 

Glad  NotOS  of  Joy 

Greeting  to  Spring 

Hark  !  hark  !  we  come  with  Song. 

Home,  far  Away 

Hearts  and  Homes 86 

Home,  sweet  Home 191 

How  1  love  to  sec  Thee 35 

How  sweet  are  the  Flowers 63 

How  sweet  to  be  roaming  (Round) 38 

Humbly  at  Thy  footstool  kneeling 203 

I  come,  1  come  (Song  of  the  New  Year)..    160 

1  dream  of  all  Things  free 105 

In  Sleep's  serene 200 

I  will  lift  U(i  mine  exes  (Chant) 207 

Joy  to  the  World  ..". 198 

Let  us  endeavor  (Round) 31 

Lord,  we  come 198 

Listen,  softly  pealing 183 

My  Country,  'tis  of  thee 206 

My  own  Native  Land 171 

My  Shepherd  will  supply 205 

No 136 

Now  to  All  a  kind  Good-night  (Round). .    37 


204 
83 

37 

142 

Us 
107 


Now  the  Win  1  is  blowing  fresh  and  fair. 

Oft  in  the  stilly  Night 

Once  again,  friends,  we  meet 

Once  again 

()  men)  goes  the  Time 

idredth 

Our  Father,  Thou  who  dwell'stir 

dm  Father,  who  an  in  Heaven  (Chant).. 

Out  on  the  Air 

Peaceful  Nights 

Praise  of  Music 

Regna  Ten  ;r 

Sabbath  Bells 

Salvation  (Round) 

Sad ly  no w 

Savior,  Source  of  every  Blessing 

See  how  the  morning  Sun 

Soft  Music  is  falling 

Sing  we  now  our  morning  Song  (Round) 

Sing  to  the  Lord 

Sister,  thou  wast  mild  and  lovely 

Si nke  the  Silver  Strings 

Sweet  Robin 

sn  i  el  Sister  Kay 

The  Comparison. 


■  \  ening  Bells 

i \ent  Bells 

, siing  Sail 

The  Echo 

intain 

The  Daylight  dawns 

The  Greenwood  Tree 

The  Invitation 

The  Frost 

The  Hour  of  Prayer 

The  Humming  Bird 

The  Linden  Tree 

The  Lord  will  comfort  Zion  (Round)... 

The  Muleteers  of  Grenada 

The  May-Bells  and  the  Flowers 

The  Last  Rose  of  Summer 

The  Moon  is  beaming 

The  Moorish  Drum 

pheNeva  Boatman's  Song 

The  Summer  Days  are  coining 

The  Star  of  Hope 

The  Sun  is  high  (Remind) 

The  Syrens 

Tbce  will  I  bless 


1 50 
65 
169 
186 
1 59 
207 
202 
207 
176 
118 
154 
192 
62 
31 
104 
204 
189 
181 
38 
39 
205 
184 
129 
122 
103 
167 
92 
90 
74 
162 
50 
59 
49 
.  113 
.     72 
61 
.    153 
.     36 
.     77 
.   160 
.     51 
.     96 
.     94 
.     66 
.     54 
.     89 
.     36 
.   104 
.   197 


There  was  Joy  in  Heaven 200 

Thrice  Hail,  happy  Day 190 

Thy  Name,  Almighty  Lord 202 

Thy  early  Days 189 

The  Wanderer's  Farewell 98 

Thy  Will  be  done  (Chant) 207 

Touch  the  soft  Harp  gently 126 

Violets,  blue  Violets M6 

Warble  for  us  (Round) 31 

Welcome,  welcome 4° 

When  the  Morning 80 

With  humble  Heart \^jS 199 

Yes,  'tis  the  Indian  Drum..-pV I37 

Ye  Nations  of  the  Earth  (RouuO) 37 


SONGS   OF  PARTING. 

Once  again 186 

Soft  Music  is  falling 181 

GRADUATES'   SONGS. 

Chant  we  now 

Sadly  now 


170 

101 


PIECES  TOR  VARIOUS  OCCASIONS. 


201 
304 

203 
206 
J07 
196 
202 
207 
204 
199 
197 
199 
205 


180 
205 
807 


OPENING   OF  SCHOOL. 

Come,  O  my  Soul 

Father,  whate'er  of  earthly  Bliss 

Humbly  at  thy  Footstool  kneeling 

In  Sleep's  serene 

I  will  lift  up  mine  Eyes 

Joy  to  the  World 

Our  Father,  Thou  who  dwell'st  in  Heaven 

Our  Father,  who  art  in  Heaven 

Savior,  Source 

See  how  the  Morning  Sun 

Thee  will  1  bless 

With  humble  Heart 

My  Shepherd  will  supply 

CLOSE  OF  THE  WEEK. 

Assembled  at  the  Closing  Hour 200 

Thy  Name.  Almighty  Lord 202 

The  Old  Hundredth 207 

SONGS    OF    MEETING. 

Again,  again  we  meet 175 

Ouce  again,  Friends,  we  meet 169 

The  Invitation l9 


DEATH. 

A  Requiem 

Sister,  thou  wast  mild  and  lovely  . . . 
Thy  Will  be  Done 

CHRISTMAS. 

There  was  Joy  in  Heaven 

Jo\  to  the  World 198 

NEW   YEARS. 
I  come,  I  come I66 

CLOSE   OF    THE   YEAR. 
Listen!  softly  pealing 183 

FOURTH   OF   JULY. 

Freedom's  Land 83 

My  Country,  "tis  of  thee 200 

Mv  own  Native  Land 174 

Thrice  hail !  happy  day 190 

MAY-DAY. 

Bring  Flowers 188 

The  Summer  Days  arc  coming 54 

Beautiful  Spring 100 

Ever  blooming,  ever  gay 3j 

OPENING   OF  CONCERT. 

Awake,  my  trembling  Lyre 

Out  on  the  Air 

Strike  the  Silver  strings 

VACATION    SONG. 

Glad  Notes  of  Joy !"3 

Adieu  to  a  Teacher ,87 


66 
176 

1S4 


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LiSHED  B!  MM  k  LAI,  :]  m<  RCft  SEW  HOP' 

FOE  SALE  BY  B00KSEL7  CltS  (32UHEBALIY 


CANTiCA   LAUDIS: 

OR  THE  AMERICAN  BOOK  01*CHURCH  MUSIC. 
BY  LOWELL  MASON  ANB  GEORGE  JAMES  WEBB. 

This  new  and  most  successful  collection  contains  a  larger  amount  and  greater 
variety  of  truly  bea' 'it'll    I  its,  Anthems,  and  Set  Pieces,  new  and  <^d, 

adapted  to  all  the  o-  .nary  services  of  the  Sanctuary  than  any  similar  work.  The 
Elements  of  Vocal  Music  have  been  newly  and  most  carefully  prepared  and  one 
hundred  and  ninety-Jive  Solfeggio  Eve/rises  have  been  added,  peculiarly  adapting 
the  work  to  Choi'is  and  Singing  Schools 

In  addition  to  numerous  testimonials  from  the  Press,  it  has  received  the  unquali- 
fied approbation  of  more  than  onk  ttUNtmerj  Pkofssso&s  and  Teachers  of  Music 
in  various  sections  of  the  country.     Price  $7*00  per  doz. 


ranged 


THE    MELODIST; 

A  New  Collection  of  Part  Sones,  Glees,  &c,  Selected  and  ,:' 

By  GEORGE  (AMES  WEBB  and  WILLIAM  MASON. 
Tb's  work  is  of  a  popular  character  and  is  adapted  to  the  wants  of  Singing 
Schools  and  Societies,  Glee  Clubs  and  the  Social  Circle.     It  abounds  in  delicious 
Melodies  arid  rich  harmonies.    Though  of  the  usual  size  it  is  sold  at  a  less  price 
than  any  previous  collection.     Price  $7  00  per  dozen. 


THE    GLEE    HIVE: 

.'.  C*.  V'-ion  of  Glees  and  P<*rt  iongs.  «•.-'      -i  and  arrar.»ed      i  f     Musical 
L'r.  "cation,  a. ii  Teachers'  Institut  softly  J  ... 

By  LOWE 'J.  MASON   tss  G  X  i\GE  JAMES  V£i 
Here  .ire  !hit.y-th;ee  choice,  tastef*.     and  sprightly  Glcej  i  id  Pari  &on?a,  mostly 
v.  fron.  the  bes:  au:    rv  d  and  substantially  bound — arid  c;tered  at  a 

..  w  p.ice.     It  '    ji  st  the  book  vinted  by  Singing  Clubs,  Societies,  and  the 
irue.     Price  50  00  per  dozen. 


.^UNDEL'S    ORGAN    BOOK: 

Two  hundred  and  fifty  easy  voluntaries  arid  Interludes,  for  the  Organ,  Melodec 
and  Serapiiine.  By  JOHN  ZUN1  -  L.  Pupil  o(  the  celebrated  Rink.  Pric 
$1  50  per  co 


„  * 


WILDER'S  SCHOOL   MUSIC. 

Thirty-six  pleasing  new  pieces  for  $cb"*Ms  and  Juvenile  Classes,  intende 
furnish  a  new  supply  of  Music  at  a  sm  Rj  L.  WILDER,  Teacher  at 

Music  in  the  Brooklyn  Public  Schoo'        '  (per  dozen. 

TEMPLE    Mr  LOQIE3. 

A  Collection  of  nearly  nil  the  Pou-lftr  St...  A  ■>  i  T  .nes.  ia  connection  with  600 
'  Fa-.  on- 

Intended  as  a  Hymn  and  Tune  Book  for  ',>,.,!    .  Social  Meetings,  Congregational 
and  Family  Worship.     By  DARIUS     .    JONES 

This  work  has  already  been  i^r<_-ely  introduced  and  i/  used  with  great  satisfac- 
tion and  profit,  and  found  to  be  exactly  the  look  wanted.     Price  ?7  00  per  dozen. 

6ound  in  cloth. 


!X»S    MUSICAL   COMPOSITION. 

Theory  and  Practice  of  Musical  Composition. 
OL1    I  BEll.   HAPn   MARX,  Musical  Director  of  the  University    . 
e  thild  German  edition,  and  edited  by  He,-. 


e         Ti 


ted 


m;  mi 


v.'      • 


ii  w 


etc. 
..n  rank  in  Germany  as  a  writer  u     ->  Mu 
cal  pcnsposil:'  '"'"'  "    1  without  a  rival  as  a  treatise  uj.jb  this 

im;.<-:tant  si.'i  -         1 .  =s  l     i  .  nttfic.  and  yet  adapted  to  popular  compr  - 

hen    on.     The"  t     nslation     is     ieti  ma.'e  from  the  third  improved  German  eo 
ig  the  origi  al  T.'Xt,  at  tie  securing  its  adaptation  ' 

j  wa.itsof  the  American  su.ent.    Itish^"'' 
i  vol  me,  of  ovel  -100  pages. 


Trice  $2  50  p 


somely  prii.tec!  and  buund,  in  one  < 
copy. 


