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This item is filmed at the reduction ratio checked below/ Ce document est filmi au taux de reduction indiqu6 ci-dessous. 10X 14X 18X 22X 26X 30X >/ 1 i 1 L_ J 12X lex 20X 24X 28X 32X The copy filmed here has been reproduced thanks to thb generosity of: National Library of Canada L'exemplaire film6 fut reprodult grfice d la gdndrositd de: Biblioth^^ud nationale du Canada The images appearing here are the best quality possible considering the condition and legibility of the original copy and in keeping with the filming contract specifications. Les images suivantes ont 6t6 reproduites avec le plus grand soin, compte tenu de la condition et de la nettet6 de l'exemplaire filmd, et en conformity avec les conditions du contrat de filmage. Original copies in printed paper covers are filmed bepinning with the front cover and ending on the last page with e printed or illustrated impres- sion, or the back cover when appropriate. 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Maps, plates, charts, etc., may be filmed at different reduction ratios. Those too large to be entirely included in one exposure are filmed beginnir.g in the upper left hand corner, left to right and top to bottom, as many frames as required. The following diagrams illustrate the method: Les cartes, planches, tableaux, etc., peuvent dtre filmds A das taux de reduction diffdrents. Lorsque le document est trop grand pour dtre reprodult en un seul clichd. il est filmd d partir de Tangle supdrieur gauche, de gauche d droite, et de haut en bas, en prenant le nombre d'images ndcessaire. Les diagrammes suivants illustrent la mdthode. 1 2 3 3 1 2 m 5 6 4 J THE NORMAL MUSIC COURSE A SERIES OF EXERCISES, STUDIES, AND SONGS, DEFINING AND ILLUSTRATING THE ART OF SIGHT READING : PROGRESSIVELY ARRANGED FROM THE FIRST CONCEPTION AND PRODUCTION OF TONES TO THE MOST ADVANCED CHORAL PRACTICE. FIRST READER BY JOHN W. TUFTS AND H. E. HOLT. ADAPTED FOR USE IN THE CANADIAN SCHOOLS BY S. H. PRESTON. CANADA PUBLISHING COMPANY. TORONTO. 1883. ■J. I Entered according to Act of the Parliament of Canada, in tlie year 1883, by S. H. Preston, in tlie Office of the Minister of Agriculture. PEEFAOE. »0«- The Manual of Instructions to teachers, accompanying the First Reader of the Normal Music Course, has been speciall}? prepared to meet the requirements of the teachers in Canadian schools. In many of our schools music has not been taught at all ; in some, the theory only has been studied, in preparation for examinations ; in others, rote-singing lias been practised for the purpose of adding to pro- grammes of closing exercises. No systematic instruction has been attempted. It is hoped that with the use of the books of this course the teachers will be enabled to place music, with its widespread refining influence, in its proper position as one of the most useful and interesting subjects of the i^ublic school course. This can only be done by careful and systematic teaching. It must not be treated as a storehouse of puzzling facts, or picked up and thrown aside as a child's toy. It is the aim to present here a carefully graded series of exercises and songs, and such clear directions to teachers that it will be in the power of every teacher, with a little study, to successfully teach the subject. Very little executive ability as a singer is required. In teaching the Rote-songs, one must be able to give an accurate rendering of each for imitation. Should this be beyond the power of anyone, by reason of possessing a poor voice, or not having had sufficient practice, the diffi- culty may be easily overcome by exchanging places temporarily with another teacher. Apart from Rote-singing, any teacher who can sing the major scale correctly is competent to direct pupils as herein suggested. Toronto, December, 1883. S. H. PRESTON. cm) II 1 ^ I PRELIMmAEY TRAmiTsTG. It is BO easy to fall into serious errors in the use of the vocal organs that great cf.re sliould be exer- cistil by tile teaclier in the beginning, that pujiils are taught to sing naturally. The natural way is tlie easiest, and an entire absence of efTort should be insistevl upon. As ffae air expelled from the lungs forms the motive power of vocal sound, the first step to easy and natural Hinging is to gain control of the breath. To accomplish this some time should be spent in breathing exercises before the pupils are allowed to sing. Besides being of the utmost importance in sing- ing and speaking, the proper management of the breath will expynd the chest, strengthen the lungs, and exercise a beneficial influence on the system generally. The following exercises must be practised first by the teacher, not only for illustration to the class, but that the practical application and benefit arising therefrom may be more thoroughly understood. BREATHING EXERCISES. T. Stand upright, place hands over abdomen, palms turned inward, thumbs resting on hips; with the mouth in a whistling position, slowly and audibly expel the breath through the mouth, pressing abdo- men inward with hands. Without change of position, slowly and Audibly inhale through the mouth, press- ing hands outward with abdomen till lungs are filled. II. Place hands at the back, thumbs resting on hips. Expel, pressing with hands. Inhale, pressing hands outwards. At the same time ex-ert will to move abdomeri as in No. I. IIT. Place hands high up under the arms, palms flat ag.iinst ribs. Expel, drawing abdomen in first, then pressing ribc in with hands. Inhale, moving abdomen out first, then pressing hands out with ribs as lungs are filled. After control of the abdominal muscles is gained by practice of Exercises I. and II., but not before. No. III. may be practised. Then expel and inhale through the nostrils only&a a regular daily exercise. Teacliers will find it very easy to gain enough proficiency to enable them to direct their pupils. Children will be much interested in a well-conducted breathing lesson, and feel invigorated when ills over. It will be found desirable to divide the class into sections; and, while one section is being drilled, have the rest of the cU.ss count slowly, beginning with six while expel' ag breath, and nine while inhaling, in- creasing the number of counts as the ability increases to expel and inhale slowly. Five minutes is long enough to drill each sc. tion at a time. A few min- utes spent in this way each day will be Huffiticnt to form good habits of breathing. The next point to be considered is the APPLICATION TO VOCAL SOUND. Let the teacher sing the scale very softly with the vowel o, thus : i P=±=i :i Drawing attention to the soft tone and round position of the mouth, repeat. Ask class to listen very care- fully, so that they may imitate, and sing again. Ask class to sing. Insist on a soft, clear tone, and easy utterance. Next, practise the scale downwards in the same way, thus: Then upwards, dwelling on the highest note, and down without taking breath. Use aioo the vowel a, as in the words far and fall. In o observe a round position of the mouth. In a the mouth should be well opened. Humming with mouth closed (m) should be prac- tised at the same time. Let the vibration centre in (V) VI PRELIMINARY TRAINING. the nasal pasBagos, and mnkc the sound apparently In the nose — not in the throat. Thia will not only help to extend the conipuBS of the voice, but give reBonancc and cleurneBS to tiie tone. It will be found that the children can hum higher than they can sing. Begin Hcale practice with the pitch C aa one of the scale ; next take C sharp, then D, raising the pitch by semi-tones till the limit of Bounds in reached which can be easily sung. As liigh sounds are added, precede the singing with vowels by humming. A belter tone will then be produced than otherwise. The teacher may now sing the different suui.iIh of the scale by the syll'ibieB, Do, lie, Mi, Fa, Sol, Lu, 81, Do, one at a time, giving each the proper relaMve pitch, and requiring the class to imitato, making the tone soft and articulating distinctly. It will be comparatively easy to induce the chil- dren to sing softly, but to teach them to sing dis- tinctly will be quite another matter. The last will require the accurate and proper movements of the language-making organs, brought into action in a clear enunciation. ^iny process by which the teacher can incite the little children to speak with clear and distim . utter- ance will be of great value. Give them the idea that they should sing with their mouths. This will direct their attention to the language-making movements, which is the artiflcial process in singing. The sounding or voice action is a natural process, and wi'.l take care of itself, if the language move- ments are properly managed, and the pupils are not permitted to sing loudly. Some teachers have produced excellent results in their classes by giving what might be called exer- cIbcs in visible speech. The following may 8er\'e as a suggestion of the manner : — The teacher, standing before her class, requires all the children to carefully watch her mouth while she makes the motions and shapes necessary in forming the syllables. Do, Re, Mi, Fa, Sol, La, and Si, no sound being pn uced. Let her see how many of her class can tell from the motions what syllable she has made. If che should fail in making any of the children understand what she has done, she may be pretty sure that her illuBtrations were not positive enough, and that further practice on her part is necessary. When the children can correctly render by speaking what she Intends to convey, Bhe may require of them similar cxerclBcs for her judgment. She can then call for members to stand voluntarily before tho class, and give the different motions and shapes of tho syllables without any sound of voice. When the class has gained some skill in this exercise, a soft tone can be added, and, in tills way, all will become interested and clear articulation gained. This standard of soft and distinct singing must ever after be encouraged and followed. Children should never be urged to sing louder, but be con- stantly cautioned to sing softly and very distinctly. Any explanations given children with regard to the manner of using the voice technically would be entirely out of place, and only tend to confusion. One might as well tell them " how to use the eye in order to see." A good position of the body, the lungs well sup- plied with breath, and a soft and distinct utterance of whatever is sung, should be required. All gain In this direction will not only improve the singing, but will be equally beneficial in reading and recita- tions. These hints and suggestions about the proper management of children's voices are given at the outset, in order that harsh and noisy singing, so ruinous to ear and voice, may not become a habit. Several lessons should next be spent in teaching two or three of the Rote-songs In the First Reader. When this has been successfully accomplished, the class may begin the important work of learning to sing by note. The foregoing is a brief outline of the preliminary training. The length of time It will occupy will vary so much with different teachers and classes that no attempt is made to confine the work to a fixed number of lessons; but, with an average class, a short dally lesson should In a month advance the work sufficiently, so far as regards pure tone, and easy and natural singing, to warrant the teacher in beginning the course of lessons following. The preliminary training should be applied not only to primary classes, but to all grades. It might seem that the preceding exercises would prove tedious and uninteresting to very young chil- dren, but such Is not the case. With tact they can be presented in such a man- ner that from the first lesson the children will enter Into the study with earnestness and pleasure. Keep up the interest, and gain bach point. PRELIMINARY TRAINING. Vll SINGING AT SIGHT. Mii«icui sounds pussoss two greut attributes; viz:- 1. PiTCU. 2. Dl'kation. PiTrii U repiesenlt'd by the position of note on the Btaff; e.g., i^m the sound indicnted by the second note is one step higher than the ttrst. Di'KATioN is represented by the form of the notes used in writing music ; e.g., J J ; the first note is culled a quarter note and the second a half note; the Hecond Indii iting a sound of twice tlie duration of the first. All the worlf, therefore, of teaching children to rend music, is comprised in tills : tliey must be taught a correct conception of the pitch and duration of sounds. Teachers should lieep in mind these two divisions which will be named hereafter: Tunk and Time. The fundamental principles of tiiis course, viz., 1. That the children learn by doing, 2. That the learning is incidental to the doing, are closely followed i.i these instructions to teachers. TUNE. One must deal with the real things, viz., musical sounds, in order to acquire an idea of their relative pitch. At the outset. Tune and Time (in this order) should be taught consecutively, and not in combina- tion. In teaching "Singing at Sight," the scale is the unit of measurement in pitch, and should at first be taught as a whole. The teacher should take the pitch of C, and sing its major scale, ascending and descending, using the syllables do, re, mi, fa, sol, la, si, do, the scholars afterwards giving a close imitation. When the class can do this, the teacher may say, " Whenever I say slug the scale, you will always sing it as we have now learned it." The teacher says, " Sing the scale," and the class sings do, re, mi, etc., ascending and descending. The teacher should now sing the scale, using the names, one, two, three, four, five, six, seven, eight — eight, seven, six, five, four, three, two, one, the class then imitating her. The teaciicr should now say to' the class that whenever they are aslted to sing the nnmea of tlie sounds tliey sliouid do as they luive junt done. Hhe may tlien say, " Sing the scale." I'UPILM. Do, re, mi, etc. Teacher. Sing tlio names of the sounds. PUPIL8. One, two, three, etc. The teacher may now sing tlie scale, using the pitch of the sounds, c, d, e, f, g, a, b, c — c, b, a, g, f, e, d, c, and the scholars will give an imitation. She will then say, " Whenever I ask you to sing tlio pitch of the sounds, you will sing the letters as you have just done." Teacuek. Sing the scale. I^ITPILS. Do, re, mi, fa, sol, la, si, do — do, si, la, sol, fa, mi, re, do. Teacher. Sing the names of the sounds. Pupils. One, two, three, four, five, six, seven, eight — eiglit, seven, six, five, four, three, two, one. Teacher. Sing tlie pitch of the sounds. Pi'PiLH. C, d. e, f, g, a, b, c — c, b, a, g, f, e, d, c. Let this be repeated daily, until there can be no mistake about the terms names and pitch. The teacher must never say, sing the numbers or sing the letters. It is of the utmost impui itnce tliat the teacher should have a clear idea of the order in which tliese sounds should be presented and named, so tliat there sliall be but one real nams 'n the child's mind for each. When the teacher fully understands this subject there will be no diflliculty with the children. Let it be remembered that neither the syllables nor letters are the names of the sounds in singing. The names, as before stated, are one, two, three, four, five, six, seven, and eight (expressed in fig- ures) ; and these should always be used when speak- ing of the different son'-'s of the scale. The syllables are used to give variety and practice in singing dif- ferent vowels and consonants. The teacher should never direct the children to sing do, re, etc., but should give the name when speaking of the sounds of the scale. Many may not see the necessity of being so particular in this respect, as one and do indicate the same relative Bound, and it would indeed seem to the casual observer as a distinction witiiout 1 difference. This is not so; and it may be confi. dently claimed that the success in teaching this sys- tem will depend largely upon the observance of these directions in the naming of sounds. A distinguish- ing feature also of this system is, that the sounds are to be taught as relative mental objects which are distinctly and unmistakably named, and the same Vlll PKKLIMINAHV Ti: A I NINO. relullvo Houml iilwuyti Iium Hh- Huino name rcKiinllt-HH of the key. AIho llial the txtinf of tlie houiuI Iw never 8iini< except hi the fli-Ht wtepM In teaeliing the ncule uh II whole, l-lltle children will use the HylhibleB n* nanum of the soundM to gome extent in the beninnhiK, •ho tenn» huvlng been UMed Bynonymoimly, yet they need not be disturbed too soon in tlu'ir use uh such. If, from the beginning, children are taught to aMHoci- ute thcMe HOund» with their nanien, and the nnmes arc not hUMK, lliey will outgrow theMylhtblen aa names of sounds us naturally as tliey outgrow their clothes. In the tlrst stagea, much time .should be spent in training the voice and ear without any representa- tion to the eye. It will doubtless seenj to most teachers at Hrst that they are not teaching nuisic unless much is said about the char.icters representing it. Be sure that nothing is said about the characters until you have tauijht and named something to represent. Kven tlien as little should be wiid as posMible. TEACHING TIMK. Difllcultles In time arc generally found to be nearly or quite as trouble;«)ine as tliose in " tune," and pursuing a train of reasoning and practice with reference to the former as already api)lied to the lat- ter, it is believed a result can be attained as certain and beneticial in its results. It is proved beyond doubt that relative sounds are quickly and definitely establlslicd in the minds of the youngest singers, and it is equally certain that questions of time may as quickly be learned and ex- plained without laboring in the usual vague way over units (wliole notes) and their fractional parts, many of such problems being far beyond tlie comprehen- sion of young children. It is the experience of thoughtful teachers that, In a large nuyorlty of cases, the singers have learned to " sing in time," by imita- tion, ratlier than by nn intelligent comprehension of the subject. Even with t. fully -developed imitative faculty, it is a very common thing to find older and, in other directions, experienced singers who liave long strug- gled and who still labor, In vain, to even satisfy themselves in the ordinary subdivi»ions of the meas- ure, to say nothing of gre.iter intricacies. Any means that can be used to confirm and Insure the question of accents and fractional combinations must be enlisted, as in no way can we gain musical effects without a positive and practical knowledge of its two gri;ateBt elements, Tune and Time. To assist in the last (Time) the French " Langue des Durees," or Language of Time, invented by M. .Vina- I'uris in 1S2«, as an addition to the (Jalln-l'aris- Cheve, or French Hol-fa system, has l>"en introduced with slight changes. These Time-names were intro- duced by Mr. I.. W. Mason in his Natloii.d Charts and IJooks, and we feel tliat they have not received the attention they deserved. If treated aciordiug to the directions liere given, it is beljeved that the ditll- cultles of "keeping time" will almost disappear, and that the enjoyment of music. In its rhythmical and accented characteristics, will be very much en- hanced. In the practical consideration of this subject, the first feeling to awaken in the pupil is a conception of tiie regular accents of tlie measure. This the teacher should at once i)roceed to do, wasting no time in talking upon the subject, or try- ing to demonstrate the fact that " ^ouudi may be long or short." No explanation or naming of char- acters used in representing the relative length of sounds, such as whole, half, quarter, eighth notes, etc., is at all necessary. At the outset this is of minor importance; it will be learned, unconsciously, as the work i)roc.;edM. When a conception of llie dilferent accents in two, three, and four-part measure Is clearly estab- lislied, the various representations of the one rhyth- mical idea as expressed in ?, ?, "i measure is very qidckly comprehended through practice in doing. The names of notes are not to be considered mathematically, or to be tauglit and conHidered as fractions. Children should become familiar with the names of these characters by talking about them in connection with their practice in music long be- fore they comi)rehend fractions. The following routine is suggested to teachers, and will be of practical value to those who consider this subject, as here presented, for the first time. The syllables ta, ta, to, te, etc., are arbitrary, without meaning except in their application. A sllglit value is attached to the different vowels and consonants in the variety of shape and action necessary in their use. TWO-PART MEASURE. Let the teacher begin by repeating Ta, Til, in. a very distinct manner, making the Tii strong and Ta light. These names may be accompanied by a light tap of a pencil upon a book, .and should be given as distinctly and regularly as the ticking of a clock. When the class c.in give these syllables with dis- I'KELIMINARY TRAINING. IX tiiic'tueca uiiil rogularlty, observing the accent, thu tiMU'hc-r ahotiM naiuo every succcsittve TH, TA, ur a twopurt iiioaKure. Teacueu. Olvti 1110 u two-part ineaMure. I'uri.s, I'ii, Tft. 'iKAdiKH. (live me two two-part meaBiireM. ri'PILs. Til, Tfl, I Til, Ta (ut.i»i»tt'cl by the toachrr's beat). 'VUv toucher may now il-aw a staff iipjn the blackboard and place two quarter notes upon it tlius : saying, *' Tliis is a two-part measure with ti'.o quar- ter notfrt." Tkaiiieh. Give me a two-part measure witii two quarter notes. I'lPlLs. Tii, Ta, Teacuku. (Adding anotlier measure.) Here are two nieasiireb of two quarter notes. Give nie two measure."* of two qua/ter nuters. I'UPILS. Th, Tft, I Th, Tft. Tiie accent must never be forgotten. In giving the idea of a sound, two beats long as a liaif note in a two-part measure, the teacher will say Ta-A, omitting the T in Tfl, and connecting tlie vowel Kounds ii and a. The pupils should imitate this combination, the teacher marliing the time with tli pencil. When this is fully learned, tlie teacher should name it by adding it to the preceding written exercise, saying tliis is a two-part measure with a lialf note. Teacheh. Give me a two-part measure with a half note. ri'PiLS. Tii-a. A dictation exercise will now follow. Teacher. Give rac a two-part measure of quar- ter notes. PfPiLH. Tii, Ta. Teacher. Give me two two-part measures of quarter notes. T'fPlLS. Tfi.Ta, | Tii, Ta. Teacher. Give me a two-part measure with a half note. i.'upiLs. Tii-a. Teacher. Give me two two-part measures with lialf notes. PupiLP. Ta-a, I TiJ-5. Give me two measures with quarter notes and one measure with a half note. Pupils. Tii, Ta, | Tii, Ta, | Tii-a. The tehcher must never accept these tin.o-names as an an.twer, unless they are given at regular inter- vals aiul with the proper accent. Without this ob- ser\'ance tliey mean nothing and are useiesH. In giving dictation exercises in time, two mens ures should be required in order to esUibiisli and ■how clearly the regularly-recurring accent. Tlic teacher must be very pa'tieular that these time- names are given softly and very distinctly, bringing out the consonant T as clearly .is possible. It is not necessary tliat the pupii sliould beat time. The pupils are gaining a concei)tion of regu- lar accents, and the relative lengtli of sounds meas- ured by these accents "The more time is beaten the less it is kept," until a clear eonce])(ion of ac- cents is est iblished. The mind makes the hand move, but the hand does not nuike or lielp the mind to act ; and tlie nuiking of a set of movements with the luind for the different forms of measure called " beating time," is not only useless, but a great bin- derance to the pupils at this stage of the work. The accomplishment of beating time is cniy necessary for the teacher or leader. For the singers the time language gives and names distinctly the relative accent and length of every sound. Practical application of what has been learned in tunc and time separately may now be made by be- ginning tlie study of the Hrst exercises where both are combined. Every lesson should begin with a sliort dictation exercise in time and tune, as a prepa- ration for the written music to follow. After giving pitch, teacher says ; Bing one. The pupils sing the sound. Teacher. Now I will show you where one should be written. (Draws staff ..J clef, writing a quar»er note on the first added line below.) Teacher. Hiiig two. After the i;roper sound is given, the teaclier leads the children to observe that two of the scale sounds higher than one, and that it should be written above one. Tli.ee of the scale should be represented in the same way. The teacher may then take the pointer and point to the notes in turn, while the children sing; wlien they an sing each sound readily, the first six exercises may be taken up, which the class should be able to sing at sight after repeating the time-names of the notes. The scale as a whole may now be presented in notes. Let the teacher draw the staff on the black- board, write the G clef in its place, and then proceed to write and dictate somewhat as follows : — Teacher. Sing one. PRELTMINAllY TRAINING. The pupllu answer by islnglng the tone. Teach a. What is the pitch? PvTiza. C. The teacher then makes a note upon the flret added line beJcw the staff, saying, " This is its place, on the Jirsi added Hne below the staff." Teacuer. Sing one, two. Th3 pupils do so. Te-vcber. Wl;at is the pitch? Pupils. D. The teacher then writes a note upon the first space below the staff, and says, " Th's is its ph-xe, on the first space belcw the sUiff." Teacher. Sing one, two, one, two, three. The pupils do so. Teacher. What is the pitch? Pupils. E. The teacher tht n writes a note upon the first line and says, "This is its place, on the^r«< line of the sfaff." In a similar way each sound is made, its name given, and its place assigned, until there results ■> series of notes, of which the following, called the scale of C, is a representation : — In all this it will be seen that, so far, the clef, letters upon the staff, and its lines and spaces, are taught unvioiisciously, and this information has been given by the practical working out of the simple pioblems. When the scale has been properly taught, and represented in this mannor, it will be foujd that, with a few minutes' practice, the class will ning ac readily from the staff as by the earlier lessons iii dic- tation ; and that, in addition lo all this, the singer, not being tramelied by the intricacies of whole, half tones, tetrachords, etc., is rejoicing in a result ac- complished he hardly knows how. He has gained the throe imuortant items of musical knowledge, — the sound itsoif, its name, and its representation, — as given in our system of nr' xtion. The teacher sun .low provo the work by taking the pointer and mak- ing exercises from the staff, stopping occasionally and calling for the pitch, which always means that the pupils shall name that of the lust note that was sung. Th<^. questions miy bo somewhat as follows : — Sing the first added lino below the staff. Sing the first space bciow the staff. Sing the first space on the stafiT. Sing the third line. Sing the second space. Sing the third liue. Sing the first space. Sing the first line, etc. Sing one; two; three; the first added line be- low; two; three; four; the se'?ond line; the first space; tliree; two; one; one, ( vo; three; four; the first added line below; the second line; first space; three; the first space below; first added line below. These are only given as illustrations ; many otiiers will suggest themselves. DICTATION EXERCISE NO. II. Teacher. Sing the scale, sing the names of the founds, sing the pitch of the sounds, sing 1, 2, 1 — 1,2,3,1 — 1,2, 3,4,1 — 1,2, 3, 4,5,1-1, 2, 2,1 — 1,2,3,3,2,1-1,2,3, 2, 3,2,1-1,2,3,4,3,4,3,2, I — 1, 2, 3, 4, 5, 4, 5, 4, 3, 2, 1 — 1, 2, 3, 4, 5, 5, 1, 5, 4, 3, 2, 1. The lowest sound of the scale, one, is the first objective point, and above it the others stand in their several relative positions. We must continually re- turn to one in practising these relatne sourds. The second objective point to which skips can easily be made is the fifth. Ne.\t in order comes the third, and to first sound, she should, always try from the pitch luat the singer gives. They should '^ot forget that the training of the ear is the first and most iraportanc thing to do, and that no real progress can be made in singing from notes until the pupil has gained commrnd of the scale. This should first be taught by illustration, and then practised by (dicta- tion and from the modulator. It will be noticed in tne exercises that only one nev. sound is added at a time. Nos. 7, 8, 9, 10, con- tain four RO'inds of the scale. Nos. 11 to 17 contain five sounds. iVos. 18 to 21 contain six. Nos. 22 and 23 contain sevet:. No. 24 contains all the sounds. Thus far the sounds used in the exercises follow each other consei.uMvely, but from 25 to 43 they are arranged principally in skips, so that added to the daily dictation exercises, the pupils have the sounds presented in every conceivable order. The teacher may apply what has already been taughi la time to the first twenty-seven exercises upon the charts prepared to accompany the First Reader, and also to the first forty-three exercises of the b >k, in order. It the pupils have been properly exercised on the relative uitch of sounds, u few applications of the time-names will enable them to sing such exercises correctly at sight. In giving the daily practice on the sounds of the scale, a child's love for variety and change should be considered. A new way of presenting them should be found, if poesible, for every lesson. A few of many are here suggested : Use of the hand signs by teacher ; the same by individuals of the class taking the place of teacher; raising or lowering pointer to represent th' different sounds ; arranging articles on desk; usinj. buttons on a boy's coat, etc, etc.; but not to the neglect of practice from the modulator and staff. Frequent changes by the use of these or other devices will keep the attention of young children in exercises which might otherwise be tedious. A few minutes' practice on the sounds of tho scale, and a dictation exercise in time must form part of every lesson. RESTS. The practice for these is very simple, and easily learned with tho ♦ime language. A rest occurring on any part of a measure receives the same timc-nnme as a note in that place. Its name is printed in italics, and is given in a soft and distinct whisper to indicate silence. J he toacber should illustrate this by giving two two-part measures, making the Ta strong as usual and 7^ in a soft whisper in each measure. The class will then give an imitation, repeating the same until they can do it with accuracy. The teacher can then write the following upon the blackboard saying, " This represents two measures in two-part meaaure, having in each a quarter note and a quarter note rest. The rest indicates that Ta is to be whis- pered and not sung." A dictation exercise, review- ing the preceding examples, ehouid now be given, followed by Ex. 44. Nos. 45 and 46 contain the first example* of } time, and may be practised after the following exer- cise in FOUR-PART MEASURE. This form presonts no greater ditticulties than those already treated, and should be considered in a similar manner. The teacher should give the r.ylla- bles Tii, Ta, To, Te, accenting the Tii, and T5, the iormer a little istronger than the latter. The first is the primary or chief, anJ the second the secondary accent of the .-neasure. J.et the rlass practise th^ » carefully many times, until they fully appreciate the difTerence. Afler this Ta, Tn, T5, T5, is named a four-p:irt meas'ire, and the class is exercis<;d in ns many combinations as possible. mm Xll PRELIMINARY TRAINING. DICTATION EXERCISE, Tbacheu. Give me a four-part measure of four quarter notes. Pupils. Tii, Tft, T6, TS. Teacher. Give me two such measures. Pupils. T«, Ta, lo, Te, | Tii, Ta, To, Te. Writing it on the board the teacher says, " This in the way it loolis: " — ig^^^mi Tii Ta' T5 Te Tii Ta To Te We will now have a measure with two sounds represented by two half notes, thus: Tii-a, T6-e. This is a four-part measure, with two half notes, and ia writtnn or printed : — -(&- 1 Tii-a To-e DIOTATION EXERCISE. Teacher. Give me a four-part measure of quar- ter notes. Pupils. Tii, Ta, T5, Tg. Teacher. A measure with two quarters and a half note. Pupils. Tii, Ta, To-e. Teacher. A measure with a half and two quar- ter notes. Pupils. Tii a, To, Te. Teacher. A measure with a whole note. Pupils. Tii-a-o-e. Teacher. A measure with a half and quarter note tied, and a quarter note. Pupils. Tii-a-o, Tii. Teacher. Give me a measure with a quarter note and the rest in one sound. Pupils. Tii, Ta-o-e. Teacher. Give me a measure with a quarter, a half, and a quarter note. Pupils. Tii, Ta-5, T6. Pupils should also be taught to begin with Ta, T6, or Te, giving the rest of the measure after the bar, such as the following : — Rests should also be introduced for any note or notes in the preceding exercises. Any teacher will readily arrange other combinations, and will derive much pleasure and protlt in their use, both to herself and her pupils. ** These things must always be observed. The do- ing must always precede the naming and representa- tion. The accents indicated by Tii and To must never be forgotten, but carefully compared and jiro- duced. The illustrations of these points are fully given in the Exercises of the First Reader, and they will suggest similar forms to the teacher, of great variety and much interest. Nos. 47 to 55 will be readily understood. Nos. 56 to 61 arc written in j time, the time- names being the same as in f time. The song following will be easily sung with the words after practice with syllables. THREE-PART MEASURE. What has been said about two-part measure may 6er\e as an illustration of all the other forms. The following will show that anj' intelligent teacher will readily comprehend the way of presenting the sub- ject to her classes, inventing new combinations of notes and rests. The variety in these simple forms, such as are introduced in the First Reader, will be surprisingly large. Ill teaching three-part measure begin by giving an idea of the regular accent of the measure, saying, Tii, Ta, Te, the Tii strong, the Ta and Te weak. Imitation by the class should follow, repeating the names until they sensibly understand and feel the apparent movement caused by the regular accent of the first beat. This ' ill take a little more time than in two-part measure, but will soon give pleas-, ure to the class. The teacher then gives the name, saying Tii, Ta, Te is a three-part measure. DICTATION EXERCISE. Teacher. Give me one three-part measure. Pupils. T-i, Tft, Te. Teacher. Give me two three-part measures. Pupils. Tii, Ta, Te | Tii, Ta, Te. Teacher. Give one three-part measure with two quarter notes and a quarter note rest. Pupils. TK, Ta, Te (the last whispered). Teacher. Give two such measures. Pupils. Tii, Ta, TS I Tii, Ta, TS. Teacher. Give two measures with one quarter note and two quarter note rests. PiTPiLe. Ta, ITS, Te \ Tp, Ta, Ti. I ■m PRELIMINARY TRAINING. Xlil iiACHER. Give u measure with a quarter note, a quarter note rest, and a quarter note. I'UPILS. T.i, 7'a, Te. Teaciieu. Give a measure with a quarter note rest, a quarter note, and a quarter note rest ITPILS. ra, TA, Te. Teacher. Give a measure with three quarter note rests. Pupils. 7'3, Ta, Te. In giving the time of a three-part measure repre- sented by a half and a quarter note, the following ex- erciscs will servo.— Tii-a, Te, or Tii, Ta-e. Tit-a, Te, or Tii, Ta-e. The t'me of a full three-part measure may be represented by a half and quarter note united by a Tie. In this case the three vowels arc connected as follows: — Ta-a-e. In the First Reader the tie only is used for this prolongation ; later on its equivalent is introduced by printing the same as a half note with an added dot. Ta or -S- a - e Tii-a-t A dictation exercise may now follow. Teacher. Give me a three-part measure in quar- ter notes. Pupils. Tii, TS, To. Teacher. Give me two measures. Pui-iLs. Ta, Ta, Te | Ta', Ta, Te. Teacher. Give me two three-part measures in quarter notes, and one measure with a li.alf and a quarter note. PiTPiLs. Tii, Ta, TO I Ta, Tft, Te | Ta-fi, Te. Teacher. Give me two three-part measures in quarter notes and one measure witli a quarter and a half note. Pupils. Tii, Ta, Te | Tii, Ta, Te | Ta, Ta-e. The teacher may assint his class by a beat or tap with a pencil or pointer. It will be well for the teacher to ca'I for other combinations, with and without representations, in- troducing rests for any and all the measures already practised. \Vhen the two and three-pavt measures are clearly comprehended, the fractions J and J ...ay be given as mdications of the measure. The same method must be employed for meas- nres indicated by the fractions § and 3. represented In the names. Tii SH j S,- Ta Tji 7Tt Tv. Ta Te Tii Ta Te Tii Ta Te --_^. -<&- \— J— j—sL ^\ Ta Tii Te Ta-a Te Tii Ta-e Tii TVl-g Ta-a Te -«&— I Ta-ii-o Ta-a.<- Nos. 62 to 71 are written In J time, and the time- names should be applied in the same way as in two I dnd four-part measure. I The slur in the melody following Ex. 71, showing that two notes are to be sung to one syllable, must be explained by the teacher first singing an example and leading the class to hear the effect before the representation is given The same time-names as in | time must be used with ISTos. 72 to 83 in g time. In the melody following Ex. 7.3, the hold /^ occurs. Double the value should be given to the note over which it is placed. Attention may here be called to the single and double bar, and to the eighth notes joined together which should be sung to one syllable. When the pupils have become familiar with the nanies and pitch of the sounds in the scale of C, by singing them ascending and descending, and can make the easier skips when the names of the sounds are called, they should be taught to ihink the pitch of each sound as they sing it. This should be done by giving a dictation exer- else in the following manner : — Teacher, giving the pitch of C. Sing the ])itch of the sounds of the scale. Pupils, e d, e,f, g, n, b\ c-c, b, n, rj,f, e, ,1, c. The teacher now proceeds to call the jifimes of the sounds, and after each is sung she asks, " What is the pitch?" The i.iipils answer by simply giving the name of the pitch of the sound that is sung XIV PRELIMINARY TRAINING. In giving a dictation exerciee which calla up to the mind the pitch of the sounds as sung, the teacher may say " Pitch! " after every three or four 80U\d8, and the pupils will give the name of the last one. The teacher should require h. r scholars to sing the sounds w'th the syllables lii, 15, or le, as she names them. After this she can sing, using one of the syllables, and require the class to name the pitch of the sounds as she produces them. The number is the guide to the sound, but the class is not to name it. All the exercises in the key of C having been studied, it is necessary before proceeding further to accustom the pupils to a different position of the scale. In giving the succeeding positions the teacher must be careful that the class perceive ihey are sing- ing the same scale with which they are already fa- miliar. No explanation need here be given of why or in what order the sharps and flats are used. The simple facts will suffice. The scale of O being the next required after C, may be presented as follows : — Teacher. Sing the scale. Teacheb. Sing the names of the sounds. Answer, by singing the sounds themselves. Teacher. Sing the pitch of the sounds. Teacher. Sing one, two, three, four, five. Teachfr. What is the pitch? Answer. G. The pitch of G being established as one, the teacher may say : " Listen, and I will sing the pitch of the first five sounds when Q is one." Slugs g, a, b, c, d. Repeating this, the pupils imitatinnf, she sin^ra one, asking, " What is the pitch? " Answer, G. She sings two, saying. Pitch. Answer, A. Singing three, she calls, Pitch. Answer, B. This exercise is continued till the pupils can readily give the pitch of the first five sounds. The teacher may then say, "Listen, aid I will sing the pitch of the next three sounds." Sings g, then / sharp, e, d. The pupils will at once notice that the sounds are below one. The teacher can explain this by saying that they would be too high to sing above ; that the sound be low one is seven, the next six, and the next five. After singing j/,/ sharp, e, «i, again, the pupils imi- tating, she sings one, asking. Pitch. Answer, G. She sings seven, saying. Pitch. Answer, F sharp. Six and five follow in order. As in the scale of C, a dictation exerclsf; fol- lows : — Teaches. Sing one. Teacher. What is the pitch? Pupils. G. A note is placed on the second line. Teacher. Sing two. Teacher. What is the pitch? PuriLs. A. A note is placed on the second space. Proceeding in the same way the other notes are written in the order in which the sounds were pre- sented to the ear, till the scale is written in full, thus : — -iS> -s> ^- -- -S>' It will be seen that the sharp is practically named by naming the pitch of the sound it represents, and no f uk'ther explanation of it is necessary. Attention may be called to its position at the beginning in the following exercises and songs wliere G is one. After teaching this scale the teacher should point to the notes and exercise the class as in the scale of C. The class will then be prepared to study Nos. 84 to 121. It is necessary to present the scale of G in this way, as, owing to the high pitch of the upi)er notes, an ordinary class could not sing all the sounds con- secutively. D, the next scale required, when placed upon the staff, is within easy compass, allowing practice to be made upon the whole scale in consecutive notes as- cending and descending. Let the class first sing the scale of C, and then take two as the key-note of D, thus: — • Teacher. Sing the scale. Teacher. Sing the names of the sounds. Answer by singing the sounds themselves. Teacher. Sing the pitch of the sounds. Teacher. Sing one, two. Teacher. What is the pitch? Answer. D. The pitch of D being established as one, the pupils should sing the scale with syllables and names ; after which the teacher can say, " Listen, and I will sing the pitch of the sounds when D is one." The teacher sings d, c, /sharp, g, a, b, c sharp, d, d, c sharp, 6, a, g,f sharp, c, d. Repeating this several times, the pupils giving imitations, she sings one, asking, "What is the pitch?" Answer, D. She sings two, saying. Pitch. Answer, E. Singing three, she calls. Pitch. Answer, F sharp. This dic> PRELIMINARY TRAINING. XV tation exercise ahould be continued until the pupils can readily give the pitch of the sounds of the scale of D. It should be placed upon the board as fol- lows : — --i^' rv -1^- -t^- -t& — L^- -a- -19- -4«- As in the scale of C, a dictation exercise fol- lows : — Teacher. Sing one. Teacher. What is the pitch ." PfPILS. D. A note is placed upon the first space below the statl'. Teacher. Sing two. Teacher. What is the pitch ? Pupils. E. A note is then placed upon the first line. Teacher. Sing three. Teacher. What is the pitch? Pupils. F sharp. The teacher writes a note upon the first space, placing a ^ before it.' In a similar manner the scale may be finished, when its representation follows ; — s)- -G>- :tt^ -S) — ^- -<&- -<& — Whure a icale is thoroughly fixed in the mind, a mental picture of its different positions can be very easily established. This can be assisted by calling alternately for the names of the sounds and a descrip- tion of their positions upon the staff. The following may serve as an illustration in the key of D .— After giving the pitch of D, the teacher asks as follows : Sing one. Sing the first line. Sing three. What is the pitch.' Sing one, two, three. Sing the second line. Sing the first space with a sharp. Sing four, five, six. Sing the 'hird space with a sharp. Sing the fourth line. Sing the first space below. It will be seen that a dictation exe.'cise given in this way keeps the ear and voice in constant training, and at the same time keeps the mind fixed upon a true representation of each sound as it stands upon the staff. After tuis the same course should be followed as in the preceding keys, the teacher using the pointer and directing the class by the simple signal that when she takes the poi^iter away from the board they are to give the pitch of the last sound that they sang. An interesting and profitable exercise also is made by the teacher, who sings different sounds of the scale, while one of the- class points to the notes upon the blackboard as she sings them. A simple game may be made of this, the pupil with the pointer being in, until he makes a mistake, when he is out, and his place is taken hy the one who, by raising his hand, was the first to detect the error. This will awaken much interest on the part of the class, and, at the same thue, furnish the best pos- sible training for both ear and eye. The great advantage of associatmg the pitch of each sound with its name so closely that the two be- come inseparable is, that the singer is enabled to see the modulation, and know at once in what sca'e or key the music is written. The singer, like the player, should practise the scales, thinking the sharps or flats as they occur in the different keys, until he sees them mentally, whether actually placed before the notes, or at the beginning, as the sign or signature of the key. If the Graphic and Staff Modulators, found upon the Charts, are not at hand, the following illustration should be placed upon the blackboard, and kept there for daily jyractice : — m W f& XVI TRELIMINAUY TRAINING. Ill -[/ if^J^ a -_ E.1''^"~ £2 % —d- 3£Z . - G — & — No8. 122 to 156 nre in the key of D, and may now be pmctUcd. Before proceeding to tiie next exercise (157) the scale of F must be learned. The scale represented with flats is qnite as easily taught as with sharps. The pitch of all the key-notes in the four keys with sharps ((t, D, A, E) may be found in the scale of C, while of those represented with flats, only one (F) is there. It will therefore be better, at first, to approach these keys in their order. The teacher should do this by taking/o!/r (F) in the scale of C, establish it as Off, and then proceed as in the illustrations given in teaching the scale with sharps. The four scales, C, G, D, F, will serve as illus- trations to indicate the course to be pursued with each of the keys used in the First Reader. The scales must be taught in the order required by the change of key in the exercises. No new difliculty will bo met with, and the teacher will find that by following the directions already given, the remaining exercises will be sung by the children as easily as those in the first part of the book. The following formula, showing the keys with flats (F, B>, E>, and A>), will show how they should be approached and practised : — The importance of keeping these nine different positions of the scale clearly in the mind, by a nhort daily practice, suggested by the preceding formula, cannot be overestimated. In this way the pupils will easily realize that they are not practising nine distinct scales, but eimpli one scale in nine different positions. m ■ .11 W" _-i2- zz -a-^ E: _5^^._ — — NORMAL MUSIC COURSE. FIRST READER. PART I. EXERCISES FOR STUDY AND PRACTICE. Ex, 2. 1t_ z4t~ 1 Tii Ex. 3. -•- 1 Til 2 Tii I 1 Ta 5 2 Tii 2 Ta 1:2: :4: ^ 1 Tii Ex. 4. 2 Ta * — ^ ■^- Tii 1 Ta 1 Tii 2 Til ^4: W^- il^ Ta Ta Ex. 5. :# ^ :± i^ES Ta Ta -i«5>- 1 Tii-a 1 Tii-a ^ -(&- Tii-ii i -&- Tii-a 3 !i' il m i! I Ex. 6. -0- 1 Tit Tu Ex. 8. Ex. 7. 33 2 321 1234 3 4 3 2 ^ Til Ta Ex. 9. -(5" Tii-fi ifefi^EjEfe3EE ^^.[||j=jl-ibji£]l j Sx i il 12 2 3 4 3 Tii Ta Ex. 10. 12 334321 Tti Ta Ex. 11. ^msmm^s^smm^ m 1234432 1 Tii Ta Ex. 12. 12345 54? 21 Tii Ta Tii-a t^ :1: ^i^i^ ;d=:-: --::t ^ 12 3 2 Tii Ta Ex. 13. 1 Tii-a W^^i :iJz ^iE^Et^bEE^ypJ 1 12 Tii-a Ta Ta Ex. 14. iiplifei Ex. 15. tf — S- ^ 12 2 3454321" Tii Ta Tii-a Ex. 16. I :2; ^ z1=z:l~- 12 3 2 3 4 Tii Ta Tii-a 5 4 3 2 Ex. 17 3 2 1 12 3 4 :-::!- 1 2 3 4 Ta-a Tii Ta 5 4 3 2 ^^- 1 E22r 12 3 4 Ta Ta 5 Tii-a - —s) i^^^^EEE^E 1 I f i t^- Tii-fi E3E \ i dzz- 1 Tii-a V 4 Ex. 18. E^ ? t 2 Ta Ta Ex. 19. 6 ^^ I Tii-a 'l* 2 3 ,4 5 6 12 3 Tii Ta Ex. 20. 5 Ta-a a 2 1©- 1 :2: e:4: ^^ ^giEi£^ g ^- 3 4 5 ^ :3 Ta Ta Ex. 21. 1 1 ii-a lEtS 2^ • 4 III— 6 :s J Tii Ta Ta-a Ex. 22. P3^ fzizt =t ^^: 3234 545G 7654 32 ^^3^:= I i Ta Ta Ex. 23. Tii-a i 1*^^ ^ ^ ri=1=F. ■ »— ^- ^=^ =1: 1212343456567G765432 1 i Ta Ta Ex. 24. Ta-a =3: ^^ d^ li t: 12 3 4 Ta Ta :t:z=f:z±r 8 7 6 MZZTJZ 5^E=r-- 4 3 2 ^i 3!l :tl Ex. 25. 12 3 Ta Tu Ex. 27. 13 2 1 Ta-a Ex. 26. ^^^^^5^^^^^^^^^ 3 2 13 2 3 1 Tii Ta Tii-a Ex. 28. 1 2 3 Tii Ta Ex. 2y. ^^ 4 6 3 3 4 3 2 1 Ta-a tpp"#^^l|i 13 5 3 1 Tii Ta Tii-a ^= =1: 1 2 Tii Ta J:x. 30 ^ I 1 Tii-a Ex. 31. t ei^^^^gipi 15 3 Tii Tu Ex. 32. 5 3 1 5 3 1 Tii-a ±z^^,H:z.i 15432432 1' Tii Tii Tii-a Ex. 33. 1 emIih= t t zj: 15 4 Tii Ta Ex. 34. 3 4 2 3 2 1 Tii^ 2 1 1 mm i=i ^ I r^: ^: 4- 12 3 Tii Ta Ex. 36. f 4 14 3 2 1 Ta-a g 5 3 12 5 4 2 1 Tii Ta Tii-a Ex. 35. 2: i^i^^ i ::i: I 13 5 8 Tii Ta 1 Tii-a 2 EM3: ¥ gj-f-i-j J i j=Tt^^3^ Ta Ta Ex. 37. 5358531 3531 Tiira I 3 H -^^^m_ j^ — •- =1: ^ 1 3 Ta Ta 5 3 4 6 6 5 4 3 2 *^^ 1 Ta-a M, 1 Tii-a 1 Tii-a 1 Til-a 1 Tar* 9 Ex. 88. bB^:4=z::jiiz: Pli-^^^ :^y lii:::: :.-d: I 1 a Til Tfi 1 TU-ft iiJl Ex. 39. ^1^ dzii:; :=* 1 2 Til Ta PE^^ipIl 1 Tii-ii i Ex. 40. 4=ii tr — ij: i rl: -«*- JE^g^j^gE^j Til Tfi To Te Til Ta To-e Ex. 41. EfeE^^fe^^l^jiii^illi Ex. 44. ^. -\ — ^g- :1=^=i:=:i=*-Ld: 3EE3: nH: ^ 12 2 2 Ta Ta Tii Ta 1 ;i Ta-a nff'- 10 Ex. 45. 138 432 1211 ^ Ta Tu To Te Ex. 46. 1 2 1 f Tii-a To-t-i ^ I 3E^ 1 3 15 4 3 2 3 1 Ta Ta To Te Ta Ta To Te Ta Ta T6-e Ex. 47. ^B f 3=031 ± R Ex. 48. 2 3 2 3 4 Tii Ta Tii-a Tit Ta Ex. 49. 6 4 2 1 f i ii 5 ^=fw^f 5 -s^-He- s Tii Ta Ta Ta Tii-a 2 3 2 Tii Ta Tii-a Ta Ta 3 4 ^ S Ex. 50. C 3 4 2 f=^-^ •fS' Ta-o Ex. , i 2 Ta Ta 3 4 6 Ta Ta Tii-a Tii Ta 5 4 2 1 ^3^=i ?^ ^i 2 8 Ta Ta Tii Ta Tii-a Ex. 52. ^ -(» i i^ Ta Ta Tii-i a Ta-o Ex. 53. fe t 4- ^ 11 Ta Ta Ta Td Tii-a Tii^a 1 'a T(V« <5 2 1 3 4 u Ex. 04. "? 13 r. :» T) 8 ^^S=ii^i Tii Tfi Kx. r>5. 6 8 7 7Vi Tu Tii-a 1 '4z-^ ^- 1 Tii Ta Ex. 50. ^^^i^^^pipl Tii-A %j ^ &-fS 1 2 3 4 Tii Tu Ex. 57. i^3l=-il G Ta-u 1 :^ 2: 5 12 3 Tii Ta -i-j^feg i:rd: -»- P^J ^ -.^Q. (5^ 1 Ex. 58. Tii-a 12 li^: — »- — r_ E ■ :^^ j?^JE^EJEj •(^- ^ 8 5 6 5 8 5 6 You see the gen - tie wa - m zt 5 8 3 8 7 6 6 ter. How si - lent - ly it floats ; -ih 8 How i I ^ :t= 5 6 58 56 5 538678 cau - tious - ly, how stead - i - ly, It moves the sleep - y boats. 'if ±1^ t ii^ 8 5 Here's a Ex. 62. 4 3 2 4 3 6 5 (J 7 8 les - son all should heed— Try, try, try a - gain. ;z^^EfSEzj c=^ 1 3 TJi Ta Te Tii-a Te Ex. G3. 2 2 4 ^=i t I 23456543421 Tii-ii Te czzra I 1- ft Ex. 64. 12 3 4 3 2 1 ^m- 3 2 15 4 3 4 2 1 1 iv-a Te Tii Ta T«3 Tii-a Te Tii Ta Te Ta Ta-e Ta-a Te Ex. 65. 3 em:4 m -1^- d: 3^3^ 5 6 5 4 3 2 1 m Ta Ta Te Ta-a Te Ex. 66. ^ ^J«-J^ Ex. 67. 13 5 8 Ta Ta Te Ta To. Te ^H^-^W^^ ±± ^. ;J 5 4 2 1 12 3 4 f*- 3 5 4 2 1 Ta-a Te Ta Ta Te Ta To Te Ta-aTe 13 ^=^*- ^^ t t 5 3 4 5 6 5 5 6 8 An un - truth once ut - tered For - ev - er 7 is I 8 told. i Ex. 68. Ex. 69. 3: ^ -*- gEE 5 im -*-b*- 1 3 5 8 6 3 1 Tii-a Te Tii Ta Te Tii Ta Te Ex. 70. t^0^ 12 4 3 3 2 1 Tii Ta Te Ttira Te Id Ta Te Ex. 71. 1 5 6 Tii-a Te S ■£^=?Ei^ 4 2 1 Ta Ta Te Ta-a Te 1 5 3 4 5 6 7 8 Ta-a Te Tii T^ Te Tii Ta Te Td Ta-e t^t ce ^;=i= i =^ F "* 1 5 6 5 4 3 4 Rain, rain, go a - way. m Ex. 72. 34 5 6788 78 Come a - gain an - otli - er day. Ex. "%. w^^^m t±*=t '9' 13 21 35421 Tii Ta Te Tii-a Te Tii-a Te 1 1234 5 ^'2 1 12 3 4 5 Tii Ta Te Tii-a Te m ^-^ 3 Said 4 a 6 drop 3 to 4 a 6 drop, 5 "Just 6 loolc 7 at i^ m^^ — ^- ^ ^f^^ m 8 6 7 me I I'm the Ex. 74. 8 fin 4 est r» 3 1 rain - drop you 3 3 ev - er 2 did see. g Ex. 75. 1 2 -A-SV- ^m 1876 64321 2 3 4 5 6 7 8 Tii TaTe Tii-a Te Tii-a Te Ta-a Te Tii Ta Te Tii Ta Te Tii-a Te i«S£ WkMNMiM wmM 14 Ex. 76. E^^^z z^— n^: — 4- :fc: :i= i Ex. 77, ;^ iiM 3 Tii-a 8 Te 4 3 Ta Ta 2 Te 1 TJi-a I 12 3 4 5 4 2 1 Tii-a Te Tii Ta TO Tci Ta Te Tii-a Te ^ re m llH in//. 0" ^. A §^ ^ «: r: Pus 5 3 4 5 6 5 8 sy, where liave you been tc - day ? i * -- N- -iV- 8 7 6 7 7 8 6 inead-ows a - sleep in the hay. 18 7 la the H 6 6 5 « 6 Pus - sy, you are a g „v Al W t ^ i 5 4 3 la - zy cat, Ex. 78. t 1 4 43543 21 If you have done no more than that. Ex. 79. S S: ■^ 4 3 ip^ifl^iiEi 5 2 3 1 Ta-a Te Ta-a Te Tii Ta Te 1 S 5 6 7 8 Ta Ta Te fV-N 5 4 2 1 ff ^^ 80. ^ ^m 13 5 6 6 7 8 Tii-a Te Tii Ta Te Tii-a Te Ta Ta Te Ta-a Te Ex. 81. i^ ^ __._^ I Ta T& Te Tfiptt Te 15 6 a -a Te XI Ex. 82. $i^ ^ 15 3 8 Ta Ta Te Ex. 83. t=^m i 3 2 1 Tii-a Te Ta-a TC A PS 3 Tii-a 4 5 Te Ta-a m Te t^^ 5 3 453456 6 6 7 8 7 The mer-iy mice stay in their holes, And hide them- i «; * ^—^ i ^^ Selves by day ; 8 7 5 6 6 6 But when the house is still 3 4 4 at night, The $^^^ It: -l_..-!=^ f^ — I- -q— n I 3 4 5 6 rogues come out Ex. 84. 7 8 to play- ^^^i-j; 2 3 8 2 7 8 The rogues come out to play. Ex. 85. i t -<» 1 2 Ta Ta gS fe^ i^ ■!&■ 1 1 Ta-a 13 2 Ta Tii 3 4 2 1 Ta-a Ex. 86. -i Ex. 87. -i-s' i^ feES -» 3 1 3 Ta Ta 1 Ta-a 12 3 Ta Ta Ta 3 2 1 Ta Tii-a ^^ a ^1^^ f ± ^3-^ 3 12 312 4321 Come a - gain ! come a - gain ! Sun-shine com - eth 2 3 1 af - ter rain. 16 Ex. 88. "t? 4i^ =t Ex. 89. S^^^^^^ 1 2 3 4 2 1 Ta-a Til Ta Tii Ta ^ 11 3 2 1 Tii Ta Ta Ta Tii-a Tii Ta i III i^i J 'in n ^g^^^j i 1112 3 1 I am a hon-ey bee, 2 Bit z 3 15 ing a - waj' c=m'- 1 ^^ 4 O Ex. 90. ■9 ^- 3 231555 421 ver the bios - soms The long sum-mer day. Ex. 91. -*- I a: 4 -» i^ -^^ Ife as I 1 7 1 Tii Ta 3 2 1 Tii-a Ta Ta 1 7 6 5 G 7 1 Tii Ta Tii-ii ^^ i:t ■F ;i 15 6 7135 42 3 1271 Lis-ten tc the A-pril rain; Broth-er Robin's come a-gain. Ex. 92. Ex. 93. // m -#- g h iS: t #-- 17 1 Tii Ta Tii Ta 3 Ta^a 1 7 1 Tii Ta Tii Ta ^^: 6^ s isz -z>- 1316425332. 3 11 7^"^ 2 If wisdom's ways you'd wise - ly seek, Five things ob- serve with care ; Of i: -'5'- ^^EEi ^- I- 3 11 m= 22: 32 ±: ■z? — 54 3 343 231 2 57 l" ' whom you speak, to whom you speak, And how, and when, and xohere. Ex. 102. ^ Ex. 103. fc5 -^-g-'gt -^' -6—2^ ^ 2: -(S*- eE2^ -^ ?^ ^ 15 6 Tii Ta Ex. 104. 1 15 4 Tii-a Tii Ta Ex. 105. IS 7 -<&- I 1 Tii-a t I ::t IS^ a ^^ *=F: p^ m 1112 3 5 Ta Ta Te Ta-a Te 2 1 Ta-a Te 1 23454321 Ta-a Te Ta-a Te 18 Ex. 106. i — -fi^- 1 /^ 12 1 Til Ta Te Tii-a Te m Ex. 107. Ex. 108. i: :1: ^ ^TfW- :^rp- ^ 1 ^ 1 31 35571 Tii-a Te Tii Ta Te Tii-a Te Ex. 109. 1 3 5 Cy 4 Tii Tii, Te Tii Tit Te :i: ?3li J ^3 iiii -*- i ;j 3 5 7 1 Tii-a Te Ex. 110. ^S 4= ^ 1 7 « 5 14 3 2 1 Tii Ta Te Tii Ta Te Tii-a Te Ex. 111. ^-zz*: '^^^^^$M -*-^ 14 3 2 5G71 1 2 Tii Ta Te Tii a Te Tii To Tf' Tii Ta Te Ex. 112. t fM^. j.jjlfBi -*-« 1 4 3 2 1 Tii Ta Te Tii-a K Ex. 113. 1232 5 5671 Tii Ta Te Tii Ta Te Td Ta Te m t t I 5 4 Tii Ta 3 2 Te Tii 2 To. Te 1 Tii-a Te \l^i ^^m m 5 -- 23412371 2G71 Be - cause to flow downward is ea - si - er still. I 19 iX. 114. :i=zz:g=:g3t Tii Ex. 115. ::^z ritq pS I 1 1 Ta Te T'i-i rn- rp Tii-u !:i: :i ::*:: -•n f tit g^^^ ^ \ A Tfi-fi Ex. 116. hi il — A- A-A Te Tii-a -^^-f--^- Te Tii Ta jtrg: :tii: :pv^: d: I hi- Ex. 117, ^d=q =^-^^^£fc^ 1 1 2 3 2 1 7 (i 7 1 Tii Tii Te Tii-a Te 1 1 Tii Til-e 2 3 Ex. 118. [.iz± i^2^S -•i-^ .. rffci-vzi =«--i~=1--^ r-N- -it -51—5;. »— F 1- ifcZJt ;i 3 4 2 1 Tii Ttl Te Tii-fi Te Kx. 119. 1 Tii Ta Te m M^^- iEl^^^i^ 1 3 Tii Ta Te W — ^- 4 3 2 >:i: 3 5 7 1 Tii Ta Te Tii-ii Te X. 120. — K \-— s- - =^: 1 7 1 Tii Ta Te Tii-a Te ititriiEg'rgztd 1 7 5 G 7 Tii Ta Te * 1^ :F-^ :a=1!^ I 4 Tii-ti Te 5 4321271 m s=r= ;^= 5 15 13 13 5 Old Win - ter is com - lug a - gain, 1 a i t ir^j ■^ ■; \^ E^ 3 lack! 3 How 4 i 3 cy ;i 2 1 and cold 7 is 6 he! il 20 Ex. 121. m ^ ^ t ^- ^ ^ 1 234325 4 Tii-a-e Ta-a Te Ta Ta Te Tii-a Te 3 2 12 7 1 Ex. 122. m 4: 3^ t -^ fj S 12 3 Tii Ta Ex. 123. ^^^^ 8 7 6 Ex. 124. -s' — 3 4 5 4 3 2 1 Tfi Ta Ta-a Ex. 125. ip m ail- t 17 1 Ta Ta I fc. Ex. 126. n-- -i' i i; ra Ta Tii Ex. 127 4 3 Ta m Ta ra 13 5 Ta Tfi 8 5 ■Jt#: ^ ^mm dc 5 3 5 6 Ta Ta 2 4 3 4 6 5 4 Tii-a 3 2 1 if Ex. 128. torSg^ 3fci it* I 1 Ta-a -5*— 2 3 2 1 Tii-a ;j -Z5'- 1 Tii-a I 13 4 6 TiiTa 3 1 1 Tii-a g ^ ^ ^ ?; 5 5 6 1. The day is 2. The l)ee is i Ei^ J ^ 7 6 5 ev - ery lit stars a - lone Ex. 129. 6543543221 tie bird has flown Home to its down - y nest, are peep - ing forth From out the dark- ened sky. Ex. 130. F^2-i>g _^_ zt -2;^- 3 5 4 Ta Ta 3 *2: m^ 1^ 3 4 5 67827675 8 gone, the night is come, The night for qiii-et rest; And hushed with - in the hive; Shut is the dai - sy's eye ; Tlie 1 Til Ta -o — 12 3 4 Tii Ta Ta Ta I -e^ I 1 Tii-ri m Ex. 131. s) 1 6 Ta TO ■5' 2 3 1 Ta Ta ^^ Ex. 132. 3 12 3 Tii Ta -(5^ m m %J Ex. 133. - g"'sJ if^ 1=-- -«?- I 2 1 Tci Ta Tii Ta Ex. 134. 13 5 Ta Ta 8 G 8 Ta-u M 5 3 1 Tii Ta -S)- 1 Ta Til ^^^ Ex. 135. tSl— 5 (J 4 Tii Ta Tii Ta r-Qn- ^. Ex. 136. ^ ■s? 1 Tii Ta m^. -z? 14 3 Tii Ta .^ S)- 1 7 Tii Ta m 5 5 4 Ta-a Tii Ta 3 4 G 5 21 8 And The ^■ w «J 5 It 3 was 4 a 5 5 bless - ed 6 8 sum - mer 5 day, 3 The ^P^ "T ? I M l 876 3 87 66 G 855 flow - ers bloomed, the air was mild, The lit - tie birds poured r O 5 wm 4 5 335314 forth their lay, And ev ery thing in 3 2 1 na - ture smiled. .»v - ^■.;«^.^nx' j^ii'tif^w^v-'vii'-T^'" : l! 22 c:::;^^; Ex. 138. i^^3^3 J,, g zzz ^__#- P=t: 3 1 7 1 2 :J 4 5 Ta Ta To Te Tii Tu T6-e Ex. 139. fa m i:-3^^§ ^^^^ 4 5 6 7 Ex. 140. tffej ^^aj 1112345G78 Ta Ta Te Tii-u Te Ex. 141. 8 8 8 7 6 6 Tii Ta Te m^m -4-- -X- m 3 2 1 Tii-a Te Ex. 142. ■z? r 1 1 2 Ta-a Te i 1: ±=d S ^4 3? d: 3 4 3 2 1 Tii Ta Te Ta-a Te Ex. 113. -*—^ 13 5 8 5 4 Tii Ta Te Tii TCi Te -a 2 1 ^m Tii-a Te 12 3 3 2 Tii Ta Te Td Ta Te i Ex. 144. 1:=^: -4 — • Ex. 145. ^^ ^ » lei^: i 1 Tii-a Te ^ 13 5 6 5 3 Tii Ta Te Tii-a Te Ex. 146. 1 Tii-a Te I Ppi -«- g » 1 3 Tii Ta-e i -i+— J 4 2 5 1 Tii Ta Te Tii-a Te Ex. 147. ^4; t 5 6 5 Tii Ta Te fii-a Te t li ^^^ '«* Ta - a - e 4 Tii 4 3 ^ 3 Ta -zr 1 2 Te I Tii-a Te 23 a Te 3 2 iTaTe m t ^ 9^ •) (! 5 5 4 4 3 8 G 5 7 8 You lit - tie twinkling stars that shine A - bove my head so liigh, m ^ ^EEEj t m m 6 6 5 5 4 4 3 5 4 2 5 1 If I liad but a pair of wings, I'd join you in tlie sky. Ex. 148. , Ex. 14!). 1 1 3 Ta-a Te Ta Ta Te 3^^^?=?^ ^-^- S 1112 3 4 Tii Ta TO Ta-a Te ^1 Ex. 150. 1^ -^EEt ii ^ f5^ :s=: khzz&jjt -f- ^iE^^^i 1 Tii-a Te 3 4 5 6 T;i Ta Te 2 3 1 Tii-a Te * Ex. 1.51. $; 1 Ta 6 Ta 4 Te 12 17 1 1 Ta-a Te a-a Te 2 Te m :4^ The 1 mer t ri 1 est :=i: S;zi::zz1: month 2 in 3 all ^1 ^^E ^ izi-i:: Ex 5 year, Ex. 152. 6 Is 7 the 8 mer 3 ry 5 4 month -•- 2 Of SEE£ 1 Ta 1 Ta Te N- ~l — d— 3 Ta 4 Ta 2 Te 4 the 1 May. 1 I 1 Ta-a Te hrf" %?, S4 T Ex. 153. PI^E} nj^ M iE^ 1 3 6 Ta Ta Tfi 3 1 TJi-a i Ex. 154. s ii: ? S N- ^ 1 1 Tti Tu-e 3 6 3 Tii Td Te 1 Tii-fi Ex. 155. P^^^ 13 5 4 Ta Ta Te ? 1 Tu-a m Te i re ^ Te m iiiii ;«:; ;V,»i J I '''/I //' //>• r^ -"^ ,W/ L^i ! Ta Ta Te dz 5 6 ;e ^: 1 5 Ex. 176. Tii-a Te 1 2 Ta Ta-e -s^ 1^1 ^^i i^i3 4 3 2 Ex. 177. Tii-a Te. W^ i^ 13 4 3 2 3 2 1 Ta Ta-e Tii-a Te Tii Ta Te Tii-a Te Ex. 178. 1 2 3 Tii-a Te .28 ■I m ^ i=:i=^=^ 3 123 45 4543 Come, pret - ty Vi - - o - - let, Win - tei's a - way 4: S 6 5 Come, for Ex. 184. 4 with 3 out 1 you 2 May 6 is 7 1 n't May. ten w ^ ii=^' Ta Ex. 185. 3 Ta 4 Te Ta-a :^^#=^ :^ W±^ 1 Tli Ta 3 Te I Ta-ti 2 Te 1 Ta-a Tii-a Te Ta Ta Te Tii-a Te Ex. 187. EM $~^- t m m I Te Te Ex. 186. -/tv'^— i i" -j- ^ — s_ — ^~ — pv- -1 — 1 f» • —A -^ 1 — _ — ^— -^- #- — J^- i -i # — =t= i w m: :i^l 5 6 Ta Ta Te i d: i I Ta-u Te Ta-a Te 29 30 in' 31 l2 1 To Te To SS ^i -« — ^ t ±&L 5 6 5 1 R See the riv • ers flow mg 3 16 2 5 Down-ward to the sea, g' i tZI^. -* -F= :•--«: ;i ^ 5 6 5 15 2 Pour - ing all their treas - ures, Ex. 202. Boun - ti 2 7 . fill and 1 free. ^BEj * -«- ?: ^ 1 Ta Ex. 203. 7 Ta 6 Te 1 Ta-a 2 Te 1 Tii-a Te ^^ ^ PEfcf ^ ^^^ fe^ I ii 1 Ta-a Ex. 204. 2 Te 7 Ta To 1 Te 2 Ta G Ta 7 Te 1 Tii-a Te -5f— • =t=:i= ^«=P= r- t Ex. 205. -*- b^ ipE^gEEi Tci Ta Te ini^ ^ i Tii Ta Te Ta-a Tl Ex. 206. 1 2 3 2 1 Tii-a Te Tii Ta Te Ei ?i=i i=± -'^■^ -&■— -js- i Tii-a Tq 1 7 6 Tii Ta Te 3 2 1 Tii-a Te Tii-a Te i^li Ex. 207. ftEfe^EEE^ Ex. 208. =1=^ -X- WE± ^m Te Tii-a Te i i Ta Tii Te Tii Ta Ex. 209. Ta Tii-e 5?- i^^ii^ 53 ^H 6 Ta-a Te Ta Ta Te 6 7 1 Ta Ta Te Tii-fi Te 32 mm W i Ex. 210. iS 7 6 7 5 Te Tii-a Te ■t±=ML ? H- -«'—•- -X- ^ 14 655312 Ta-a-e -a, Ta m -.5k^ ::^ f - >l Tii Td ,P:x. 223. 15 6 Tii Ta 1 1 Td Ta Tii-a t=t 3 jt=i 5ZI^ a -s? -<9- 16 6 Tii Ta 4 7 1 Tii Td .Ex. 224. Ex. 225. ^ J^^^EE^^EEJE^ t ^^ t 17 1 Tii Ta 1 Ta-a 13 4 6 7 1 Tii Ta Tii Ta Tii-a ^ ^^^^ =t: 11 7123 11234 Not much to make us hap - - py, Do an - y of :=*: 7 1 us need. ;,Ex. 226. '-t^- =^ IS. t t 1 Tii-a Ex. 227. 7 5 Ta Ta «=^ i S 1 Ta Ex. 228. 7 Ta 1 Ta-a 'i^ t ^ t ^ 1 Tii-a 2 Tii Td 2 3 4 Ta Ta Mr i i 35 1 Tii-a 1 need. P*l%^ ^ t Ev 1 ery 1 l^Jl t=W- thing is laugli - ing, sing - ing, ^ I aiJt; 340 3 26 51 All the pret - ty flowers are spring - ing. Ex. 229. #-— ,1 — #- 15 4 6 6 5 6 7 TJi Ta To Te ■S m f. -fi*- i=^ i 1 2 .T 2 1 Tci Tii To Te Tji-a To Te A ^^ t i 12. -0 — ■-€ 1^^ '3' 4 R 6 5 3 17-21 Pine tree and wil - low tree, Fring-ed elm and larch ; »=»: m 6 1 t&» Don't you think May - time's Pleas-ant - er than March ? Ex. 230. ■^S^^i fe sE^E^^-^ 1 117 71232 543234 Tii Ta Te Ta-a Te Tii-a Te m s d—^ 9 £ X. 231. &. -^^-gJ -+ ^fel 3 2 1 ,Ex. 232. 1 7 6 5 6 Td Ta-e Tii Tii Te 1 7 1 Ta-a Te ^ I 5 1 5. 1 7 Te Ta Ta Te 6 7 1 Ta Ta Te T»-a 36 Ex. 233. i^ ^ 3 1234321765 <) 71232471 TiiTaTe Tii-a Te Tii-a Te ^Ex. 234. ?=*=F :«l_-^;-iih i 1 17 5 13 2 Til Ta Te Tii-a Te To, Ta Te 3 4 3 2 1 7 1 ^Ex. 235. m^ P=^-«- T ^ -*^ P=F T -P •i:^: 513 2 5721 5432 2 321 Ta Ta Te - a Ta Te Tii Ta Te Tii-a Te Ta Ta Te - ii Tu Te si ^m t 115 5 One thing at a time, 5 1 2 3 2 3 And that done well, Is a ^-i- ^^W^—0- m ^ 5 4 3 2 3 2 1 2 5 vei- - y good rule, As man - y 7 1 can tell. Wi«: Ex. 236. ^ -+- -A- £ ^Ex. 237. m -^~^ ^=S :i-J:z![ 17 6 5 Tii Ta Te i iiS ^ ►M Tii-a Te ,Ex. 238. 1 2 6 6 7 Tii-a T6 Tii Ta Te -H— t=j- — ^ T- S K 1 2 1 Tii Ta Te Ta-a Te 1 7 6 Ta-a Te Ta Ta Te m ^ ^ I 1 2 6 6 7 1 Ta Ta Te Ta Ta Te Ta-a Te i 1 m a i 6 7 Ta Te 37 Ex. 239. ^^H ^^^^^ 112 3 2 Tii Ta To 7 17 Tii Ta Te if=P=^ ^^m Ex. •?40. 112 7 1 Ta-a Te ^ ^s J=i* ^ 1 5 4 Tii-a Te ^Ex. 241. ^ il =^^j^^^^ 6 5 6 7 1 Tii Ta Tii Tii-a Te Ex. 242. 'm^m 12 17 6 5 12 1 Tii Ta Te Tii Ta Te Tii-a Te 3 2 3 1 Tii-a-G Tii Ta Te rdt^^z:^ w t^t- t±zi. :grx: W- y- m- ^ I 4- 2 .'i 1 5 Tii Td Te Tii-ii Te Ex. 243. ^iE^ a- i N— fN E^EEEJEE?E2 1^3 1 2 Ta-a Te 1 2 3 Ta Ta Te 4 3 Tii Tit Te 3 2 1 i iji ■rS=s s=i=i=it P=4=P: £^ 1 12 2 3 3 4 4 3 2 1 Lit -tie Bo-Peep has lost her sheep, And can't tell whereto find them; i fct ^E^. ^^^m htzgin* ? i 3 33*? 2117 6 566 12 1 Let them a - lone and they'll come home, Wagging their tails be- hind them. m Te m\i 38 p Ex. 244. -9- 1 Tii-ii Ex. 245. -*- -«»- 2 6 4 3 Tii Tu Ex. 246. ^^3 -- ^ --■- ^- -<» ' 1 5 Tii-u Tii 2'a — ::i:_-iz4 ■ — ^3 2 3 1 Tii Tu 112 3 3 4 Tii Tu Tii-a iEi zfcz^iz ZS- fi* 3 2 1 Tu Ta Ex. 247. SI KE2E Ta -■& Ta-fi iii i -«5» 1 Tii-a P:x. 248. 22: 3 -i5'- -«Si>- Ta-d 3 4 5 Tii Ta =f:2-^=_^5 ^= ?: fz^ -(5'- 1 3 2 1 Tii Ta 3 6 T) 8 5 Tii Ta Ex. 249. ^^^=3; ?: ^tzi^t itiiM: ^ 12 3 Tii Ta 5 6 7 6 4 3 2 1 Tti-a ii'^' > ;2- 3:^^EEEEEf: -^^^^ =F -«— 5 6 'Twas an Ex. 250. 5 6 7 8 Oc - to - ber even 5 5 6 5 5 4 3 ing, So still, and clear and cold. 5* ^t V^- 1 Ta-a Tii Ta 3 Tii 2 Ta 1 3 Kx. 2,51. Tii Ta ^—ai- IPZlj 3 4 7 1 Ta-fi \—ait- 2 1 5 in tJie night; Ex. 253. «"e still watches o'er us, 4 3 2 1 Who can give us light. Il l i HK I ir i liM II 40 m Ex. 254. 3: 4iit=i ^ •6^ -^- Ex. 255. p^^i^ 123 34 54321 Ta Ta Te Tii-a Te Ex. 256. 14 3 6 6 3 Til Ta Te EE^ IhF§- mEA i «>- ;i 3 2 1 Ta-a Te 1 3 5 Ta Ta Te 3 1 7 1 Ta-a Te Ex. 257. ^t^=^ ■(& -^-y^^-ir? Ex. 258. fa5 a: fc 1 12343 21 TJi-a Te Tii Ta Te Ta-a Te 1 6 6 2 3 4 7 1 Tii-a Te Ta Ta Te 7 'ii-a Te Ex. 259. rt-p!? gfe^=JEE^Eg^^ ^ ^ 13 6 5 2 13 Ta Ta Te Ta-a Te 6 5 2 3 5 4 3 ?■ 1 Ta-a Te Ex. 2G0. a i^; ^ 4:it :* t ^ 17 4 3 6 6 Ta Ta Te Ta-a Te 1 5 8 Ta Ta Te iTJSi ^^^g=^ -«- 1= ;f^ i 6 6 1 Tii-a Ex. 26^. s^ i -5^ i^zi jj_^ Si 1532 4 71 2 4 3 6 523 Tii TaTe Ta-a- e Tii-a Te Tii-a Te Tii Td Te-a TaTe Ex. 262. ^ — N ^ ~N- ^- Te -*- ■^: 1 Ta 2 3 Ta Te Ta-a Te i 41 i -a Te ^ Ta-aTe Tii-a Te Te ^ f^. md^rzA 3 ^^^ •rz* m ;. 3 () 5 5 4 3 2 Hereprim-ros-es,cowslips are out, 2 4 3 4 5 And the fields are with ^^ -s' -^ -S^-» ^^ 4: 8 7 C 5 uai- sies all gay ; 5 2 3 4 2 3 4 While but - ter-flies flit-ting a i -<5l- -^ ^njtzji wm ^ ■^^— * I 3 l>out, Ex. 263. 43455678 Are glad in the sunshine to play. ±z ^^^ i 12 6 5 3 Te Ta Ta Te 3 2 1 Tii-a Te Ta-a Ex. 264. '-ir B ■tt Bz^ ^- K — ^^M Ta-a Te Ta Ta Te Ex. 265. i -N-51 ^ ^ -=l— =4- £ ? I Ta Ta Te Ta xa Te Ta Ta Te Ta-a Te Ex. 266. ^±: HJ ^ ^ 11^: S ifv^ir- 13 1 2 5 TJi Ta Te Ta Ta Te ,-t>- ^ ifcll F^^^#^ -A-- Ta-a To Ta Ta Te Tii-a Te 42 Ex. 267. ^iE^ 4_q- t- =1— =1- UL :ii£E3t n t ..^ 1 Ta Ta Te Ex. 268. 2344 364253 Tii Td Te Ta-a Te 17 3 2 1 Tii-a Te I 8 7 « 5 4 2 1 ^=1^ §^^i^ Ta-a-e TaTaTe 2 3 4 5 6 Ta-a Te TaTaTe 2 3 1 11 ?^3 i-fli* t m^M^^ 33 3 5 43 3 421 35 32 65 1. There's not a yel - low but - ter - cup, Re-turn - ing with the spring ; 2. The red rose and tlie li - iy fair, Thatcliarm our sum-mer's day, y2: -=t— =l-P^ #=# ^^^^^^^^^^^ C^fii 787 6 5 66543 45312431 But it can boast a gold -en crown, As bright as an - y king. There's not a la - dy in the land So fine- ly dressed as they. Ex. 269. . a.Ex. 270. fjEi:^ 2r. 3 fe 1 7 Tii Ta -f5>— 1 Tii-a fcE=2 25: 12 3 4 3 Ta-a Tii Ta Tii Ta i ri 53S^ ?: ^ JZ- , ^Ex. 271. gp''"^:g i — ifii 6 5 3 5 1 Tii Ta 3 2 4 ^P -l£ X. 272. ri^i: i -i^ -s> — 1 Ta X. 273. 3 Ta ^ 'tm 2. ^^ -O- 1^ 13 5 6 Ta Ta Ta Ta Tii-a '.W.ifcWKWKMl}^. i •a Te m E)rmg ; ay, ^ i^ rii Ta P 7 1 ■>9- 43 ,Ex. 274 13 2 Ta Ta 2 4 Tii Ta t ^iiiHi-^i: tr -«;- -ffi- ¥^ -z?- j2- i ^Ex. 276 ^rS:^ -t 4=JrzM:b g =1: 12233421 Tli Ta 'isSEEILi :4=i S :::]: ip: =1: 1^^ 5 8 5 3 1 Soft and qui - et, soft and slow, Down it falls, the feath-ery snow. ^Ex. 277. -4f- ■M-^z m^^^^$ ^Ex. 278 *^t^tq=4 I^P 13 3 3 5 5 Tsi Ta Ta-a 6 5 4 2 1 12 4 6 5 3 1 Ta Ta Tii-a ^Ex. 279. ^-S:? ^ ^^ li^S tiS ,Ex. 28C. ■»ig# ^ I ;4iJ=t: fe :J: -i- IJ «i, 13 5 Tii Ta Tii Ta Ex. 281. 1 5 Tii Ta 7 4 3 Ta-a mmm:^^^. w^^^ ^ 1 3 Tii Ta To-e 8 5 3 12 1 Ta Ta T'o Te Tii-a To Te ^Ex. 282. ii i; Si -(5*- ;J 1713 542346 5 243 721 Tii Ta To Te Tii Ta To Te Ta Ta T6-e 44 i M atzit -• — #- m 123453321 O - ver in the meadow, In a hole t- 6 7 1 in a tree, ^ ^ ^ ^ — » m 65G7854354231 Lived a motli-er blue-bird, And lier lit -tie bir- dies three. & 283. t X ^ i i j^ 15 3 1 Tii Ta Te X. 284. 1 Tii-a Te ^ lit =1: ^ 1 Ta-a Ex. 285. ^# 12 3 4 Te Ta Ta Te J- 7 ^ ^ 1 Ta-a Te 4=i: :5t i^: 1 3 Tii Ta-e 3 2 1 Td Ta Te Ta-a Te £- X. 286. ^* ^=^3 H: i sj 14 6 Ta Ta Te Ex. 287. •— 5 1 Ta Ta Te ^ 7 2 4 3 Ta Ta Te tm -<5>- -«- t I^ Ta-a Te 5 6 5 3 12 Tii-a Te Ta Ta Te ^ 1 g I 288. i 'Si- ± t I 1 1 G 5 3 1 4 4 3 5 3 12 ^ ■^ 3 2 G 7 1 45 1 Te Ta-a TG Tsi Ta Te Tii-a Te Tii-a ,Ex. 289. ^sm t I -•-s- •(& -*- 6 Tii-a-e 3 4 2 3 5 Ta Ta Te Ta Ta Te 3 5 1 Ta Ta-e Tii-a 2'e m^ m ^iH 3^ ^ -h- 8 53235421 In t* pleasant and sha - dy wood .Ex. 291. S-jferri mH r-; N i 5 5 3 4 5 5 A lit - tie tree there stood, ^Ex. 290. &ft m^ t t s i Pi ^ jEI^ 12 3 4 5 6 5 Ta Ta Te ^m 4 2 1 Ta-a Te .Ex. 292. 13 5 2 Tii-a Te Ta-a Te 4 6 tfcS ^£ip^ s^^ -+- ? a ^#? 5 4 3 2 G 7 1 Tii Ta Te 1767123421 Tii Ta T6 Ta-a Te i ^Ex. 293. ^P# m =]: ?=*: S ^ ^ N I ^^S g iJ 12 3 Tii Ta-e Ex. 294. 6 5 2 4 Tii-Ji Te 7 3 2 1 T(i Ta Te ^^^^^^^^S^l » 112 22 3 43 6 Tii-a Te Til Ta Te Tii Ta Te Tii-a Te 6 5 3 12 3 1 ^Ex. 295. 45: A I & tj ^ ^~^ itzf: P=^=F -■A ^ ^ 5 5 1 14271236 Ta-a Te Tii Ta Te Tii Ta Te 6 2 3 4 3 2 1 Ta-a Te 46 kP'' ^m i^=i^ ^ jtzgi: ? 5 43 4 5345 () 5 543 2 7 Hey, my kit - ten, my kit-ten. And lipy, my kitten,my dear; Sure ^-£ m PE :izut f^^m ■^ ^M $ fci ll'^.3216 6543321 sucli a .« .eet kit - ten as this, Was never seen far nor near. Ex. 29 J. r^ m M^^^m 1 12 3 4 5 TJi-a Te Tii Tf- Te Ex. 297. ^^^^^m^^^ 5 4 3 2 3 1 Tii-a Te m Ex. 298. ^ ^^i^^Eg i^ i9- 2?: 1 3 2 1 G 7 1 • Ta Ta Tii-a Ex. 299. :2 ~g - 13 2 3 4 7 1 Ta Ta Tii-a 1 7 Tii Ta m til? i -- ^ e -(S-- .jS- 1 Ex. 300. -gi-'g'- ^ 5 4 3 2 Tii-u Tii Ta j:x. 301. 15 6 7 12 3 TaTa Tii-a y^ :^ :--^- t ^^ 12 4 3 5 7 1 TiiTa Tii-a m Ex. 302. -^5!- IZ^ '-(5'- e^^ 3s: 'S'liai-^ 16 6 3 2 1 Tii Ta Ta-a f2~^~\ 7 1 4 3 2 1 Tii Td 47 i Sf 2: -fZlr- S 3 ^ ::3: ?:^ I 1 3 1 5 1 315361231 There are twelve months in all the year, As I hear man - y say. Ex. 303. Ex. 304. ^ pj^esggj q: |: 17 6 5 6 7 1 Ta Ta Tii-a 12 3 4 Tii Ta 1 Tii-a Ex. 305. ^ ^: Ex. 306. i^E^^i^iH 39 ^ 112 5 Ta Ta Ta-a Ex. 307. 13 2 7 Tii Ta Ta Ta ^t±r H2 S •&' 32Lz: I 1 2 3 4 Tii-a Tii Ta 3 5 Tii Ta 7 1 Td-a i ^3E =t=4: — L J 2i& t t -^ x-^ 5 1 1 7 21 514321532 3 We come in childhood's glad - ness, To breathe our songs oi praise;.. Nor ^ ^- ^^mm iR=p :f 4 3 2 1 let one note of 76 5 124721 sad - - ness, Be min - gled in our lays. Ex. 308 ^^ig izzt #-• - 1 1 1 Tell - ing all Ex. 310. 7 13 5 its tale of love, 6 4 3 2 1 To the as - pen trees. Sff tfc: t |: I 1 Tii Ex. 311. 7 Ta 6 Te 1 Tti-a Te &d ?a t ^^ ^ ?: :^ ^^^ 5 1 2 3 2 15 Te Tii-a Te Tii Ta Te Ex. 312. 3 2 4 Ta-a Te 3 16 15 ^mm i -t m t:^ -* 6 7 1 Ta-a 1 6 5 Ta-a Te Ex. 313. 13 4 2 3 Tii-a Te Ex. 314. s^*sE* ^Ss =fe r- m^^ m & g_# w 13 16427321 Tii Ta Te Tii-a Te 1113 1 Tii Ta Te Tii-a Te i i ^ -& "^^^m Ti—d—9 i 4 3 2 Ta Ta Te Ta-a Ex. 315. 66 71 3653 Te K5 H^ ¥=fi I ii=±: ?: i^ 5 6712 3 1 5 Ta-a-e Tii TaTe Tii-a Te Ta-a Te 35437321 mtmm i 'i'k - m 'bmd k' ^ ' iM^j U im i ai ita lt^ ilie^-^ Ex. 316. ^^m. t^^^ -MzHa ^ m^ 3 2 15 17 4 3 Ta Ta Te Ta-a Te Ex. 317. 2 2 3 4 2 1 Tii-a Te ^ ±Z^ g^- |^^^% ^gE^fej 1 53 15315 2171232471 TJi-a Te Tii Ta Te Tti-a Te ^^^g^j r4^ tz±: ^^^^^^^ 1 2 1712 3 4 3 21765671 Slide, slide, the ice is strong ; Mer-ri - ly, mer-ri - ly, slide a - long. Ex. 318. Ex. 319. 4—^ t l '"^ ^ ?-33 i^ u— *- iiz5: P^ 17 15 5 3 2 Ta TaTeTa-aTe Ex. 320. 1351 2471 Ta TaTe Tii-a Te fea I ::i=:A-: ^--^ t^ o [fjK :S5: g=SEi: -l?* W— h- -v-v- EJe£? 3154272555314323165671 Ta Ta Te Tii-a Te Ex. 321. ^ :nT :|^ ^ ^ 1 7 Tii-a-e 5 ^ 12 3 5 4 Til Ta Te 3 3 2 1 Tii-ii Te Tii-a Te y^ ::|^ i 1= J— u=f i 1 5 1115 3 Tick, tock! What says the clock? One, 1 2 3 2 1 two, There's work to do. i 60 i Ex. 322. i ii -I Gh- 8 3 Ex. 323. -ei ZS- 5 6 -I 1 «<— i-s) 8 6 3 2 5 1 I 3^^^^^ ^i=i ^Eiiz# I 17 14 3 Ex. 324. 5 5 6 7 1 ^^^^m -*- -M ^^^^ -<«i 4t*t 13 5 8 7 6 5 Ex. 325. 4 3 6 6 5 8 -a 2 3 1 m t 3fe; m^. I ^ 12 5 3 Ex. 326. 3 4 2 5 4 6 7 1 ffi^ ^^ w ■>-- ^ ■s« 15 4 3 Ex. 327. 4 8 7 6 5 3 4 2 ^^=j= ^ -^ m #— ^g==7=j= 3^ :i :* t ^ 12 3 4 5 3 Ex. 328. 6 14 3 9^ t -J^^. ^- 1 5 6 5 4 3 Ex. 329. ^ i^ 4 3 6 5 6 ^^i i^ESE=; ±i ±=± w — *=F l2t=z; ^<&- I 3 5 4 3 Ex. 330. 2 4 3 2 5 6 4 2 3 1 4^ T~^ I a 1 5 ? W h it 1¥ lat i 4 2 5 5 3 12 3 1 Part II. ROTK-SONGS. 61 NO. 1. Morning Hymn. :i m^-. t =-i£4; ^= ^ 1. The morn - - ing bright, With ro - 2. All through the day, I hum - 3. Oh, make thy rest With - In sy light, Has bly pray. Be my breast, Great ^1^=^ i ^ waked me from my sleep; Thou my guard and guide; Spi - rit of all grace; Fa - ther, My sins Make me I own Thy for - give, And like Thee ; Then ^ t 11 ^ love a - lone, Thy lit - tie let me live, Blest Je - sus, shall I be Pre - pared to one doth keep. near thy side. see thy face. 52 NO. 2. THE LITTLE BROTHER. ^MEl mEB^£ ^fe^ 1. Lit - tie broth - er in a cot, 4. Lit - tie broth - er in a cot, J dt ^ Ba - by, ba - by. Shall he have a Ba - by, ba - by. He shall have a i^ ^ 1 :P=|t ?; pleas - ant lot? May be! may be! 2, Lit - tie broth - er pleas - ant lot; Must- not may bel 3. With a rat - tie i -:iEE^ ~t in a nap, Ba - - by. ba - - by! Bless his ti - ny in his hand, Ba - - by, ba - - byl Dream-ing— who can yt -^^. ^ I m lit un tie cap ! der - stand Noise Dreams like far a this, what way they bel be? LiLLiPUT Levee, 08 No. 3. SONG OF THE FIVE FINGERS. m ^ -^^ ^ ^^ *^ — This lit - tie bird lived In a tret, This lit - tlo m SEEE£ m^ ^E^^m bird sang, full of glee, This lit - tie bird slept in hev i P^ nest, :^=:f^ ¥ S- W~ '' :t e * ' ^^E^E ^=f = ^~ This lit - tie bird loved cher - ries best. This lit - tlo m— t: - Xiii — ^ bird o- ^^^m i sang chick - a - dee. Cliick - a - dee - dee - dee ! Mes. ANi;ER80N. 54 NO. 4. SAW THREE SHIPS. 'ill I i £ ^ £ mM ^^^m ^ 1. 1 saw ihree ships come sail 2. And what do you think were in 3. Three pret - ty maids were in zt ^= --■t d± ing Hvzi: Dy. come sail - - ing by. come sail - - ing by. I them, were in them, vere in them, And them, were in them, were in them, Three mm saw what pret ^ three ships do you think - ty maids come sail were in were in ^ ing by, tliem? them. ^^^^ New New New t Year's day in Year's day in Year's day in the mom the morn the morn ± 1 mg. ing. ing. Nursery Song. No. 5. My Little Doll rose. 55 ±15 i F-g- i ii 1. I have a lit - - tie doll, 2. She has pret - ty blue eyes, :^ f i: n W 3= ^ take care of her clothes, She has soft flax - on ver - y small nose. And a cuu - ning lit - tie s t ==:p: hair ; mouth ; -#- And her name And her name is is ?= t -n- i Rose. Rose. 8 My doll can move her arms, And stand upon her toes, She can make a pretty courtesy, My dear little Rose. 4 Indeed, I cannot tell. In poetry or prose, Hov. beautiful she is. My darling little Rose. III. Book of Songs. 56 NO. 6. THE ROCKING-HORSE. i ¥^ 1. Ha, ha, he ! 2. Skip, jump, hop! 3. Well - a - day! My fine po - ny see ! Stop, my po - ny, stop! Po - ny eats no hay; ^ * mth his rid - er rear - ing, pranc - ing, Ere a - - gain so gal - ly spring we. We will buy some oats or bor - row m f- ;^^^ :^ Not a We a Then he'll sin - gle step ad - vane - ing, feed of corn will bring thee, trot right well to - mor - row. Ha, ha, ha, ha he! Skip and jump and hop, O - hone ! well - a - day I My fine po - ny see ! Stop, my po - ny, stop! Po - ny eats no hay ! III. Book of Songs. 67 No. 7. Little Rain-drops. i fet ^ 5;e^ 1. Oh where do you come from, You lit - tie drop, of 2. Tell me, Ut - tie rain - drops. Is that the way you m rain, play, ^^^ Pit - ter • ■ pat - ter, pit - ter - pat - ter, Pit - ter • ■ pat - ter, pit - ter - pat - ter, g Down the win - dow pane? All the rain - y day? 5 :t= They say I'm ver - y The lit - tie rain - drops mmm s naught - y, But I've can - not speak, But t ^3 noth - ing else to do, "pit - ter - pat - ter, pat," But Means sit here at the win -dow; I should like to play with you, "We can play on this side, Why can't you play on that?" AunjC Effie's Khymes. 68 No. 8. TWINKLE, TWINKLE, LITTLE STAR. T-r~t- ^ 1. Twin - kle, twin - kle, lit - tie star; 2. In tlie dark blue sky you keep, How I won - der Oft - en tlirough my m ^^ ? -b'— : what you are; Up cur - tains creep; For a - bove the world so you nev - er shut your high, eye. i ^P: ^ t=f=^ Like a dia - mond in the sky Till the sun is in the sky When the glo - rious As your bright and ^ i^ fe^E^ -^n=^=^ t: ^ i m ^^ sun is set, When the grass with dew is wet, Then you show your ti - ny spark Lights the travel -ler in the dark, Though I iruownot fe ^ ^^1 lit - tie light, what you are. Twin - kle. Twin - kle. twin twin kle, kle. all lit the night, tie star. Jane Taylob. 59 NO. 9. HARK! THE BELLS ARE RINGING. 5^ # EE -N- __^_. :i 3^ -U- =f:: 1. Hark! the bells are ring-ing gay, 'Tis the eve of Christ-mas day, 2. Hear a voice that whis-pers near, Like an an - gel in your ear, 3. Three hur-rahs for snow and ice, Slides and snow-balls are so nice. g Ml •V- ]^^=m: biib: -iv - — ^- :t=b Hoi - i-days have now be - gun. Full of mer - ri-ment and fun, You have poor - er neigh-bors here. Share with them your Christ-mas cheer, We the hap - py play now see, And per - haps a Christ-mas tree. ^J^^^ _V-L :?-f: 5 ^^ Mer - ri - ly we pass our time, Mer - ry as the Christ-mas chime, Ev - ery child can spare a part, And re-joice an -oth-er's heart. Who loves danc-ing? Who can skate? Who de-lights to sit up late? May the com - ing New Year, too, Be a hap - py one to you. Win - ning love that nev - er dies, Love the best of hu - man ties. Let us raise a heart - y cheer ; Christ-nnas comes but once a year. Iff 60 NO. 10. I LIKE LITTLE PUSSY, i Efe ^Eg^ J ^ ^^ ^ =^ 1. I like lit - tie pus - sy, Her coat is so 2. So I'll not pull her tail, Nor drive her a- warm, And if I don't hui-t her, She'll do me no harm, way, But pus - sy and I Ver - y gent - ly will play. ^ ^=S^^ i KES ,^,3=^=^^^ :^ 31 3. She shall sit by my side, And I'll give her some ^^^^^^m^^^^^^^^^^^^^^^^^^EEm food, And she'll love me be -cause I am gen - tie and good. Jane Taylor. mm , No. 11. BUTTERFLIES ARE PRETTY THINGS. ^ SB^ m Isl m ^ f 1. But - - ter - - flies are pret - - ty tilings, 2. Soft - - ly, soft - - ly, girls and boys; 3. Kot to hurt a liv - - ing thing, ^^ Pret - - ti - - er than you or I; He'll come near us by - - and ■ ■ by; Let all lit - - tie chil - - dren try; See the col - - ors on his wings. Here he is, don't make a noise, See, a - - gain he's on the wing: Wlio would hurt a but - - ter - fly? We'll not hurt you. but - - ter - fly. Good - - by! pret - - ty but - - ter - fly. III. Book of Sonq& ei . ;»^ 62 NO. 12. PEEP OF Day. m- t ^ 4=t p 1. Five rob - ins in their air - - y nest. Woke 2. Tlien in tlie liedge - rows 'gan to stir Tlie 3. Tlie dan - de - - li - - ons oped their eyes, And 4. And as tlie sun his gold - - en head Lifts F^-^ J — ] pq F=? 1 1 1 ^f— r * J=:--?= -_.b J x_ J ear - - ly in the mom - - ing, And spar - rows brown and thrush - - es, While to the dew - - y clo - - ver, To ev - - er high and high - - er. The sang. songs eat mead d: wake up, te rang out from his hon - - led ow mists curl whee, ev - break up te ery fast, like whee, tree, came smoke. m^ For In- Full The see gur man hiU the gling ya top day trills wing seems IS and ed on dawn gush ro file. es. ver. Mbs. Andebson. if' 68 No. 13. Engine song. i iz ^ :S^ 1. Choo, clioo ! Oh, is that you, 2. Whirr, wliirr ! What a great stir ! 3. Bang, bang! Now with a clang. 4. Ding, dong ! Wliat is your song, I g It — g, — p _J — - ^-1) — g^ start - ing for Bos - ton and Lynn? Why do you whis - tie so shrill? All the long train starts a - way. En - gine so nois - y and black? EEEf All that You will Our four "Trou - ble m 3£E p=z:j^ -P-- long way. And back wake up The dead big boys Don't make and work 1 nev in a day, And but - ter - cup. That's such a noise When er will shirk, Un- i i read - y a - gain to be - gin. fro - zen stiff un - der the hill. they are just let out to play. less I run right off the track." : iiis. Anderson. m 64 NO. 14. One thing at a time. ^ ^tzd. J^ — i ^i -^»g jizrE 1. Work while you work, 2. All that you do, 3. One thing each time, 4. Mo - ments are use - less, -•(^ Play while you play; Do with your might; And that done well, Tri - fled a - way. ^^^^ Is So n il5 ^^ No. 15. ^ ii- i ^ That is the way To be cheer - ful and gay. Things done by halves Are nev er done right. ver - y good rule As man y can tell. work while you work. . 1 play while you play. M. A. Stodabt. Morning Song. ^=1* ^ --ttit i i I m 1. With the dawn a - wak 2. All thy pre-cepts keep ing, Lord, I sing thy praise; Whole and un - de - filed, ^ m .J m m -J- m Guide me to Thee, mak - ing Wak -ing, Lord, or sleep - ing, Me to know thy ways. Let me be thy child. III. Book of Songs. 65 NO. 16. Winter Jewels. ^iS: iEE^ f=t—J^ ^= i^E^ mil - lion lit - tlo di - a - monds M SJL i :d=^ :^Ei£g ^gEEi — ^_ Twink - led on the trees, And all the lit - tie ^ ===3=3=J F^^ *EE^: maid - ens said, "A jew - el, if you please!' But m& m "«: ^^i^IEE^ while they held their hands out - stretched To !M: ;fe^ i m -»- ^ M W catch the di - a-monds gay, A mil - lion lit - tie F 4= S. _ i -^ i sun - beams came, And stole them all a - way. 5 mi ■UK 66 NO. 17. The Golden Rule. ^^ ^ W^^' t m Love and kind. -ness we may meas-ure By this aim -pie rule a -lone; ^ iEEES =^ pE^^i^^^^^^ Do we min-- A=:t^- ^:^-^ O Mt - tie flowers, you love me so, ^m You could not cJtfc ^PE *: ^i^iiE^E?EP^=^ do with - out me; O lit - tie birds, that come and ^ ife=i; t=^^ -1- feEEf; —^ V- You sing sweet songs t^ -+- P^EE^ a - bout me; O lit - tie a :fc=* EE^E^^ ^ :»- ^ -, :*=^ ^^a moss, observed bj' few. That round the tree is creep - ing, You 11^ in y ifcztzzzzzzi^iizit / — ]/ ^m head to rest on you, When I am i - - dly sleep - ing. • : WniTTiER'8 Child Life. 70 NO. 23. THE ROBIN. *T ^=^^m i 1. Pret - 2. Pret - 3. And ty ty Rob bird, when, one in, you de do do light not not ful i know morn, -m 1^ ^^^^ --Si For How First 1 love to have you near; each morn - ing in tl'o spring, I caught your clieer - ful strain. Stay a - mong the To my win - dow Like some long - lost ^: f= sha - dy leaves, I would go, frieiid you seemed, t^^^^=m Sing Hop tJ your songs so sweet and f lear. ing I might hear you sing; our home come back a - gain. SuSM Jewett. :B No. 24. Busy Little husbandman. -t f^- 1. Pm a lit - tie 2. When to work I hus - band - man, go a - long, Work and Sing - ing I la - bor hard I can ; loud my morn - ing song, ~^m ■i I'm as hap - py all the With my wal - let on my mssm mmmmmmmm. m day back, Busy Little Husbandman. -$^— ptid At my work as if 'twere play. And my wag - on - whip to crack, 71 Thongli I've Oh ! I'm m :^ — I ^ "'^- S noth-ing fine to wear, thrice as hap - py then ^^^ii^Jl No. 25. Yet for that I do not care. As the i - die gen - tie - man. CRADLE Song. m :l233 r=% ^= -g — I ^ ^ii^^i^ 1. Lul - la - by, lul - la - by. Ba - bv must sleep ; 2. Lul ■ la - by. lul - la - by. Ba - by must sleej) ; 3. Lul . ■ la - by, lul - la - by. Ba - bv must sleep ; 4. Lul ■ la - by. lul - lu - by, Ba - by must sleep ; -:^ -¥-~ *^ -ii. . J Now when the day - light dies. Closed be the lit - tie eyes- Motli - er will watch, and pray Dan - ger may keep a - wa/' Forms that we can - not see, Lov - ing, are watcli - iug thee'; God an - swers from the skie^; Noth - er's fomi prayers that rise- Rest till the sun Un - til the dawn Thus may it cv Ba - by must close :t: a - rise; Sleep, Ba of day; Sleep, Ba er be ; Sleep, Ba his eyes; Sleep, Ba -<&■-, -^ 1 by, sleep, by, sleep, by, sleep, by, Samuel Buknham. m 72 li w i 'ev^/ n:(^. I ' No. 26. SUPPOSE A LITTLE COWSLIP. ES^E5^ ^i-i=r 1. Sup-pose a lit - tie cow - slip Should hang its gold - en 2. Sup-pose a glist'ning dew - drop, Up -on (he grass, should 3. Sup-pose the lit - tie breez - es Up on a sum - mer's i w mm f. ■^- cup, say, day. And say I'm such a ti - iiy flower, I'd What can a lit - tie dew-drop do? I'd Should think them-selves too small to cool The ^^^E3 itiEi^t ^m. mv:: atzd bet - ter not grow up. bet - ter roll a - way. trav-eller on his way. How ma -nya woa - ry Tlie blade on wliich it VV^ho would not miss tlie c: ^m^ iif-^ 1 • -• trav - 'ler Would miss its fra - grant smell, rest - ed, Be - fore the day was done, small - est, The soft - est ones that blow, -A-r How With- And ^^^S^^^zSI -N-- H ii ma - ny a lit - tie child would grie^-e To lose it from its dell, out a drop to mulst-en it Would with -or in the sun. thinJc tliey made a groat mis-take. If tliey were talk-ing so. WOfi'&6^. NO. 27. Nell and her Bird. 78 i to ia P^S^P^ ^- ^ 1. Good - - by. lit - tie bi)- - - die ! Fly to the 2. Tell how I found you, Hurt in a 3. Why, why, lit - tie bir - die, Why don't you 4. I know, for he real - - ly Seemed try - ing to 5. And he felt just as I do When girls come and i i=$ sky, tree; go? say, shout It "^^m: ^ £ Sing - ing and sing - ing A mer - ry good Then, when they're wound - ed. They'll come right to You sit on my fin - ger, And sliake your head "My dear lit - tie Nel - ly. can't go a - Right un - der my win - dow, "Come, Nel - ly, come -*- way out I" t ^ £? f f- by; Tell aP the bir me. I'd like to go with No!" He's off! oh, how quick But just r dies Fly - ing a- you. If I could ly And glad - ly he then some bir - dies Came fly - ing a- It's wrong to be sor ry I ought to be ^ ^M ^ 1 bove, N'ell in the gar - den, Sends them her love, fly; It must be beau - ti - ful Up in tlie sky. rose ! I know he will love ma Wher - ev - er he goes, long, And sang as they ne.ired us A chir - rup - ing song, glad; But he's the best bir - die That ev - er I had. Mrs, Dodge. 74 No. 28. COCK-A-DOODL -DO! yzjz 4-i p=p= t ^ -=j__p i 1. A lit - tie boy got out of bed, 'Twas on - ly six o - m- ^=5:^^ fzzfz=it fei^fe^^ clock, And out of win-dow poked his head, And out of win-dow ^-JtL''!l1i Ji ^ ?^^ i ^^ -^ -- — * i . ,!>:.; pokedhis head.Andspi'ida crow-ing cock. i fr >b V - ^^^^Efe^pa^ :tP 2. Tlie lit -tie boy said, "Mis-ter Bird, Pray tell me who are 3. "What would you think, if you were me," He said,"and I were 4. " How man -j times, you stu- pid head, Goes three in twen- ty .-ii': .. <■>," i ^ -»— «» — ^ — 0- P=^i= '^^m^^ ^ — r jfim?" And all the answer that he heard, And all the an-swer you ? " But still that bird provok- ing-ly. But still that bird pro - two ? " That old bird wink'd one 3ye,and said, That old bird wink'd one i IP^ §^^^^ i^ that he heard Was,"Cocka-doo-dle-do ! " vok-ing- ly Cried,"Cocka-doo-dle-do 1" eye, and «aid, Just"Cccka-doo-dle-do 1" '-■*r:i^ COCK-A-DOODLE-DO ! 75 it**- t ipurp: ^ L _. :t= ^li=^:^§i^^i^^^ 5. Heslamm'dthewin-dow down a- gain. When up that old bird flew; An»l ^.^^i^^^^^^ -N-i •-T— •- peck-ing at the win -dow-pane, And peck- ing at tlie win-dow-pane, Cried, --fa- •' Cock - a- doo- die-doo-dle-doo- die - do!" m Nursery Nonsensk. No. 29. My Pussy. ^i -IT- 1^ ^=^ >^ 1. Oh, here is Miss Pus - sy, She's drink - ing her 2. She sips it all up With her lit - tie lap - 3. My kit - tie is gen •- tie, She loves me right ^^^g^^^^i^^gi^ mllir; Her coi^ is as soft And as gios - sy as sil.k. lap; Tben wip-ing hn wtiiskers. Lies down for a nap. well; Andhuw fun -ay her play is I'm sure I can't tell. 76 NO. 30. THE LITTLE DREAMER. ft ii &M EE:4^ S^^l l^=:?s: P> H * 1 K--'- A lit - tie boy was dream - ing Up - on his nur - se's ^ t ¥=^^' --$=^ y- V k iEEEf= lap, That the pins fell out of all the stars, And the ^ ; n; i^,=^=1^ ± ^l^ii ^^ stars fell in to his cap. So when his dream was ^^^S^ ^ ver, What should that lit -tie boy dbf Why. he m * ^ ^^ ^ :fc=i siHpr=z« tf went and looked in - side his cap, And found it was n't true ! Nursery Nonsense. m, ^imd 77 NO. 31. The Busy bee. ^m =Z3E 1. How „„«, a,, „t . ,,„ ^^^ ^ ^^^ Im. prove each .hl„-,„g 2. In works 0, ,a . bor or of skill. I „o,„d be bus - y ;5; i hour, too; And For gath Sa '^^^^^^m er lion - ey all the day From tan finds some mis - chief still For ^^= u -s^ ev - ery open - ing flower ! i - die hands to do. -«- -t- ^ How skil 1q books, jl J ful ly she or work, or ^ -■X '^ -^ builds her cell ! How neat she spreads the wax! licalth-ful play, Let my first years be past; -«- And That B la - bors hard to store it well With the sweet food she makes. I may give for ev - ery day Some good a«- count at last. Isaac Watts. 78 NO. 32. COME HERE, LITTLE ROBIN, ^ 1. Come here, lit - tie 2. I don't mean to 3. Cold win - ter is ^ — N Rob - in, and don't be liurt you, you poor lit come, but it will not ^ ^ a - fraid. I tie thing ! And last long, And ^^^^=S^ :gzz T- V V would not hurt e - ven a feath - - er; Come here, lit-tle Rob- in, and Pus - sy - cat is not be - hind me; So hop a-bout pret - ty. and sum-raer we soon shall be greet- - iug; Then re-member, sweet Robin, to % :S: -N- ^ ^ — N- ^ ^ pick up some bread. To feed you this ver - y cold weath - - er. put down your wing. And pick up the crumbs, and don't mind me. Bing me a song, In re -turn for the break - fast you're eat - - ing. Easy Poetry. NO. 33. SWING, CRADLE, SWING. DUKT. ^M ff ii^g J m -■^ ^ 1. Ba - by is a sail - or boy. 2. Snow-y sails and precious freight, 3. Lit- tie eyelids downward creep, Swing, era - die, swing ; Swing, era -die, swing ; Sleep, ba - by, sleep ; Is^:^ Sail-ing l.-> the sail - or's joy, Swing, era die, swing. IJa-by's cap- tain, mam-ma 's mate, Swing, era -die, swing. Now he's in tlio cove of sleep, Sleep, ba - by, slepp. Chorus. a '^m --A- mmmm Swing, era - die, swing, era - dle,Swing,era-dle, swing. Swing, era - die, swinj,, era - dle,Sving,cra -die, swing, Sleep, ba - by, sleep, ba - by, Sl« ep, ba - by, sleep, V, ^^m^^ i r-r Swing,cra - die, swing, era - die, Swing, era - die, swing. ; Swing.cra - die, swirg, era - die. Swing, era- die, swing. -■ — " Sleep, ba - by, sleep, ba -by. Sleep, ba - bj', sleep. IMAGE EVALUATION TEST TARGET (MT-S) A f/j fe" 1.0 r i.l 1.25 bim 12.5 | 5c '*"'™ fflSH 1^ 1^ III 2.2 •JO ii£ IlilO 1.4 18 1.6 PTiOiDgraphic Sciences Corporation 7"* Wi3T MAIN STRUT WE3$TIR,N.Y. 14580 (716) 872-4503 fV iV ^'> S^ :\ \ \ '^h #3^ 80 NO. 34. TIME. ptiA^L.LJJ:^ ^ [=U^t^f^ 1. "Six - ty sec-onds make a min-ute, SIx-ty min-utes make an hour #^^=^=^-J=-j= M w ^ 4: :i—» U I were a lit - tie lln net. Hopping In her teat - y bower, ^^ ^ S 3E :p=i= m s Then I should not have to sing it:"Six-ty seconds make a min-ute." fe&=^=t — H--t>- -i^ -#- ^ ^^^1^^ 2. "Twen-ty - four hours make one day. Sev-en dayswillmakeaweek;" And F^^ J" 1 J H-FJ — 1 — ^— i!--!:^— 1"J~I^<^=F===F=^ while we all at mar-Wes play, Or run at cunning "lildeandseei," Or fefc^ m ^i^^^^^^ In the gar -den gath - er flowers, We' 11 tell the time tliat makes the houra Time. 81 ^^=^ z&zztM \z=zt ^^=«tZIZZtlI=i[ ^^i^^i 3. lu ev - eiy month the weeks are four, And twelve whole months will fe* ^^^ M ^ ^^^^i^^i^ make a year; Now I must say it o'er and o'er, Or 'O ^i^ t ^^^ else It nev - er will be clear; So once a - gain I ;* ^^ ^^^i^^^^l^ will be - gin it: "Six - ty sec - onds make a min - ute." No. 35. The Wind Blows Sweetly. #— # feJEiE.^ =}: ^^ The wiud blows sweet - ly, The riv - er runs fleet - ly, The ^B=J^ J. ^^iS^ :=1: -&- m lark is sing - Ing, The bells are ring - Ing. LiLLiPUT Revels. 82 NO. 36. THE WAVE'S GIFT. "3 m^Ei fe 1. "Wave, pret - - ty wave, Come o - ver the sea, And bring a 2. "Or peb - - bles dyed, And atreak - ed and pied, I'll fling at your ^^^ i^^E^E^^^ beau - ti - iul gift feet in the com r to me." "0, is it a shell, Like a ing tide?" "No, none of these, But, i ^m -A — ^■ ^ i -•— •- ti - ny pink bell, Or a flow - er that grew in a mer - maid's cell? if you will please, A boat with white sails to catch the breeze." '§- N— iN g '-^ aF^# mznM 3. "Round the world I'll go. While you ebb and -4: ffi :^=in: F=4= t t: i flow, And come back be - fore I'm found out, you know.' Little-Folk Songs, Mrs. A. B. White. H-: 83 No. 37. I HAD TWO Pigeons. ^^=fe ^i^^^^^^^ I had two pig. eons bright and gay, They flew from me the oth - er day; What was the -^ :t=: =^~it ^^^^ reas - - on they did go? What was the ± m E=EEfei= reas on they did go? can - not i feS ~al — *: m _-} — i tell- for I do not know. Nursery Song. \. 84 NO. 38. Rain, rain. w m T JEE^^^^^^^^ 1. Rain, rain, 2- Here we stay, Here a - gain, All the day Rat tling on the win-dow pane. In the house, and try to play. li -^^ -^^ Please to stop; Ev - ery drop Helps to make more mud and slop. When you're done. We can run Out of doors, and have some fun. No. 39. Three children sliding on the ice. 'm^ -h- t- P^ I t 1. Three 2. Now 3. You chll had par dren these ents slid - ing chil - dren all, that on the ice Up - been at lionie, Or chil - - dren have, xind H- -« t i on a sum - mer's day, slid - ing on dry ground, you that liave got none. ^ IT all fell in— The rest they ran a - way. one pen - ny. They had not all beendrown'd. safe a - broad, Pray keep them safe at home. Af. it fell out, they Ten thous - and pounds to If you would have them I Mother Goose. No. 40. 86 The Bee is a Rover. -4— H^ =iP=it ::|^: ^fe^^ i^ ^ 1. The bee is a rov - er; The brown bee is gay; 2. Tlie mar- tens Have rest - ed, AH un - der the eaves; To Tlie ? ^^&EE^ ^ -« J feed on tlie ciov - er, He pas - - ses this way. field mice have jest - ed. And played in the sheaves; We have i X-l' ^ =j= — li — ^Hi — -i — ■ J "rt^f Brown bee, hum-ming c - ver, What Is that you say ? " The played too and jest - - ed, And none of us grieves, AH ^m world o ^ is so ver the hap wide E^=^. -^ i i - py, So hap - py to - day!" world, Who is it that grieves? LiLLiPUT Revels. 86 NO. 4i. The Swallow is come. a 'tm. ^r:::i zzd-'t ^t P^ The swal low is come ! 3E^ The ^ igzr^* # swal low is come ! Oh, fair SEE^EEE^ are the S^=t sea sons, and light • • Are tlie clays that she 5^i m ^ =*: s brings, With her dusk 1^ wings, And her bos - - om so snow - y and ^^^=Ei^^l white ! Child's Play. 87 No. 42. COME, MY CHILDREN, COME AWAY. ft ^^^ ^ IZZD 1. Come, my chll - dren. come a - way! For the sun chines 2. Ev - ery thing is laugh - ing. sing-ing. All the pret - ty 3. Bring the hoop and bring the ball, Come with hap - py JS" -^~- t f- =ti: i^ ^ bright to - day. Lit - tie chil - dren, come with me, flowers are spring - ing. See the kit - ten full of ali Let us make a mer fac es ry fun, ring, i fc ■-^- i<- Birds and brooks and po - sies see; Sport - ing with the rays of sun! Talk and laugh and dance and sing. Get your hats and Chil - dren, too, may Quick - ly, (juick - ly, t^ i=F=t come sport come a - way, and play, a - way, For For For Jl it it it i IS IS ^^^eeM a pleas - ant day. a pleas - ant day. a pleas - ant day. Child's Play. iri p iiWB 88 NO. 43. The north Wind doth blow. i W ^^ nM^=^. ^^^ The north wind doth blow, And we shall have n 1 1 ' , i/r. A^b -1 ^ J J m 1 >• rY * ^ • # • i J < ^ v-.> • • • • -1 *.j ^•.ow, And what will poor Kob - in do then? Poor --j jg k^ i=i^=ri thing ! -*- He'll sit m a barn, And rpzzzzip: T7 t=^EEf; * * i s keep him - self warm, And hide his head un - der his ? ^ I wing. Pooir thing ! Child's Play. 80 No. 44. IF ALL THE WORLD WAS Apple-pie. m. lEi: *^=1: ^^ ^ If all the world was ap - pie - pie, And *!: m i^^^s mES^ all the sea was ink! And all the trees were '"•ffi -^ {/ 3 i H^ I; bread and cheese, What should we have for ►:t#:Mo«i X A )<* t~^ drink ? #-- old -^- Slower and slower. at Jit It's e-nough to make an :=|- i man Scratch his head and think. Mother Goose. 90 NO. 45. LITTLE ROBIN REDBREAST. 'tf- t=n: tzjt 5^ 1. Two Rob - - in Red - breasts built their nest With 2, One day (the sun was warm and bright, Ami ^- I know a child, and who she is I'll ni a shin - ing tell you hoi in by low tree; the sky,) and - by, The hen sat qui - et - Cock- Rob - in said, "My When Mam - ma says, "Do l$i ^ ^^ ^ r f ^S: 1^ ly at home, The cock sang raer - ri - ly, And lit - tie dears, 'Tis time you learn to fly." And this," or "that," She says "What for?" and "Why?" She'd all the lit- tie young ones said, "Wee- wee, wee - wee, wee - wee !" r'l the lit - tie young ones said, "I'll try, I'll try, I'll try." be a bet - ter child by far, If she would say "I'll try." Aunt Effik's Rhymes. I ji^j ._*««.- -, — —■■■■ ■ 91 NO. 46. THE CHERRY-TREE. ^^^^^l^^iig fe--^- ^t i ^ *; i^ p-r= rj^ciz: 1. Bees in the cher - ly- tree Hum in the spring "The 2. The frost conies in au - tum\i, To gath - er his gold ; The ^.d old hive is enip - ty, Fresh lion - ey we bring." In cher - ry - tree gives him More than he can hold. The i m^^§^ m= sum - mer the bird cliil - dren on win • • lings Sing all the day, ter Morn - ings look out; "The i ^ ^ ^ I -^ — I "Hie cher to ry the clier-ry feast, Fly thith tree's, turn - ing To sil er a - way!" ver!" they shout. Mrs. Anderson. 92 NO. 4' Calling the Tides. 1. 2. f^ ;t:^ i Ev - er 80 high, From their sleep Up in the sky, The wee waves leap, ^ Broad and Rip - pling ^- -0^- f=-F —si 'W- is: bright, . . Round and white. The full moon rides. The rua ... By the winds spun. Their foam caps wear. Their full foam nr)on rides, caps wear. -^- — <5>- ^^S^^ t O'er lier car . In a row, . • • . Hangs many a On they -3,- :i -a te: star ; flow. Cold and fair. With, laugh - ter reucJi Sits she there, The shin - ing beach, :r11 - ing the tides, . Call ■ ■ ing the tides ! Lnd toss them there, . And toss them there ! Little-Folk Songs, Mrs. A. B. Wihts. No. 48. THERE'S A MERRY BROWN THRUSH. 93 ^^fl^ilp S5^ :J^ :S=^: :J-pz 1. The-o'sa mer-ry brown thrush Sit- ting up 2. And tlie br'>\vn thrush keeps singing, A nest 3 So the raer-ry brown thrush Sings a - way -i- m in a tree, He is sing - ing to do you see? And live eggs laid by in the tree To you and to ii -d- E3: N-r -O-- s=:Js; gi^ -v- z£:id=:^ i±M P 1/ you, He is sing - ing to nie ; And wliat does lie say, lit-tle girl, lit - tie me In the big cher-ry tree; Don't nied - die, don't touth,lit-tle girl, lit-tle me. To you and to nie;Andhe sings all the day, lit-tle girl, lit-tle boy! Oh 'the world brun-ning o - verwith joy; boy, Or my world will lose some of its joy; boy! Oh! the world's run-ning o - verwith joy; Don't you hear ? Now I'm glad, Don't you hear? don't you now I'm don't you see ? Hush I look here, free ; Ard I shall see ? Hush ! look here, in my tree ; al - ways be, in my tree : For I'm as hap - py as If you ne'er will bring an-y For I'm as hap-py as ^^^^^^^m^^^ hap - py can sor - row to hap - py can be. me. be. For I'm as If you ne'er will For I'm as pi=l hap - py bring a • hap - py as ny as hap - py can be. sor - row to me. hap - py can be. mggm 94 NO. 49. Welcome Swallow. ^I^^P^^ 1. Wel • come, wel - come, swal 2. We had grown so 3. Out they came, some 4. Now my dar - ling swal - ■ lov/, Flit - ting. twit - tering wea - - ry, Of the win - ter leap - - ing, Some more slow - ly swal - - low, Flit - ting. twit - tering swal drear creep swal low, Have you come to stay ? y, When the blue - birds came I ing From be - neatli the ground ; low. You have come with spring ; -j^-J^ P^« mm — J^^ ^^ L — __J 4 . J . ,, — * M J _,-^ ... T^> • i ,^=3-«n f^ -d — ? — ^ •^^-^iz^^^^iZA — Where have you been stray They brought back the show Then, one gold - en morn In the chim - neys hid - mg, ers, ing, ing, What have you been And these called the Just be - fore the Through the twi - light ^ play - flow - dawn - glid - ing, ers ing, ing, iifc: I Since you flew a - way? Ev - ery one by name. Birds sang all a - round. On your the - less wing. Mrs. Anderson. urn No. 50. THAiSIK YOU, PRETTY COW. 96 m ^-J; :1: -fS>- Z- -P=f^=t= -wt — ji 1. Thank you, pret - ty cow, that made Pleas -ant milk to soak my bread, 2. Do not chew the hem - lock rank. Grow - ing on the weed - y bank ; 3. Where the bub -bling wa - ter flows. Where the pur - pie vio - let grows, Ei :i 5;^-* :g=t t ?: 1 Ev • ery day and ev - ery night, Warm and sweet, and fresh and wliite. But the yel - low cow - slips eat ; They will make it ver - y sweet. Where the grass is fresh and tine, Pivt - ty cow, go there and dine. Jane Taylor. No. 51. Dash and Rover. ^I^ISl ^= pp^=^~P^ 3EE§: 1^^ W—i 1. Hur - ra, boys, hur-ra! . . School-time is o - ver. Now for a 2. This way and that way, All the field o - ver, In and out, m ^EEH N— r 9' 4^T -^--^^g frol - ic, boys. With Dash aro Rov - er. Where shall we go then ? round a - bout, With Dash and Rov - er. Fresh breeze and sun - ligLt, ^^^.^iimiE^ L^ fffE^S itr iill Down through the clo - ver, Chas-ing the but -ter -flies With Dash and Rov- er. Boys in the clo - ver. Glad . are we thus to be With Dash and Rov- er. W. W. Caldwem,. 96 NO. 52. Little white Lily. ^ 6^3^ 1. Lit - tie white Li - - ly sat by a stone, 2. Lit - tie white Li - - ly said, "It is good; 3. Lit - tie white Li - - ly droop - eth with pain, 4. Lit - tie white Li - - ly said "Good a - gain. 5. Lit - tie white Li - - ly smells ver - y sweet ; ^JE-^^EEE^rE^ ^ 5 Droop - ing and wait - ing till the sun shoLe. Lit - tie white Li - - ly's cloth - ing and food." Wait - ing and wait - - ing for the wet rain ! When I am thirst - - y to have fresh rain ; On her head sun - shine, rain at her feet. ^= ^ ^^ Lit - tie white Li - ly sun - shine has fed; Lit - tie white Li - ly dressed like a bride ! Lit - tie white Li - ly hold - eth her cup; Now I am strong - - er; now I am cool; " Thanks to the sun - - shine, thanks to the rain ! ? i Lit - tie white Li - ly Shin - ing with white - ness. Rain is fast fall - ing, Heat can - not burn me, Lit - tie white Li - ly ^ ^^eI^ee ^^ is lift ■ and crown and fill my veins is hap ing her head. - ed be - side, ing it up. are so full." py a - gain." George Macdoxald. i ip mmmm No. 53. Little Things. 97 ±: :^-4; p3=fE ^s^ .s. 1. Lit - tie drops of wa - . ter, Lit - tie grains of sand, 2. So our lit - tie er - . rors Lead the soul a - way fc •^^=^=i Make the might - y o - - cean. And the sol - id land, From the path of vir . - tue. Oft in sin to stray. m fcrt=t ::1: ^ ^1 And the lit - tie Lit - tie deeds of kind mo - - nients, Hum - ble though they be. - ness, Lit - tie words of love, -2;^ ^ EEfEE^ ^^ X v^ (-• -&- Make the might -y a - - ges, Of e - ter - nl - ty. Make our earth an E - - den. Like the heaven a - bove. 1 Bbeweb. i 9d NO. 54. Daisy buds. i ^ '^^^m 1. O - pen your eye, lit - tie Dai - sy, 2. See, I will pull your lids o - pen, 3. Dai - sy buds' eyes are all yel - low, 4. Gay lit - tie sun- beam, sweet dai- sy, ^ -«- ^ m O - pen your eye to the All the white lash - es a ■ Yel • low and round like the You are my dar - ling and -^ ^ ^ f sun; part; sun ; pet; Why should you on - ly be la - zy» Now your long slum - ber is bro - ken. Such a bright - eyed lit - tie fel - low, Still I must think you are la - zy, ^ 5=^ i *- When the glad day is be - gun? Now with the world you must start. Sure - ly loves kiss - es and fun. Sleep - y and nid - nod - ding yet. -^ Mrs. Anderson. I 99 No. 55. Old Gaelic Lullaby. i «E 1. Hush! 2. Hush ! 3. Hush ! the waves the winds the rain are roll - - ing roar hoarse and sweeps o'er the g i in. White with foam, white with deep, On they come, on they knowes, Where they roam. where they foam; come ! roam ; Fa - - - ther toils Broth - - er seeks Sis - - - ter goes a - - mong the the wan - - d'ring to seek the c=fi^ * 3 -G din; But ba - by sleeps at home. sheep ; But ba - by sleeps at home. cows; But ba - by sleeps at home. Whittieb's Child Life. I ■M ^samBaaamam 100 No. 56. LITTLE BROWN BIRDS. ^ fea ^^ ¥^EA tz '\>> — 1. A lit - tie brown bird sat on a high tree, O, the i ^it=W A A 4: tt f=iF V — ^ zM d wind blew soft - ly out of the west; Her mate near by sung *—d *- ■^m m- ^ w — w mer - ri - ly, Four spec - kled eggs were in her wee nest. 2. So i fc^HC |; t=f^ ^^3^ S y V ^ -^ — ^- sweet - ly he sung, so shril - ly and deal*, O, the i ± ^^^ ^- iftzzzi -1^ — w V V- wind blew soft - ly out of the west ; His love sat thi-iU ling with mmmmm Little brown Birds. 101 ^ ^ ^^m^^^^m d: ±=.-z*:z:i ioy to hear, While her eggs lay era - died be-neath her breast. i -N-- t- m 3. The great sun went down be - - 4. Two birds lay dead in tlie fez5izisz=:S=t ztzzj: -A — ^- :tz^i=i: iziX ; — J— J— ^- r-^ hind the blue hill, O, the wind blew cold - ly out of the north ; The chill, gray morn, O, the wind blew cold - ly out of the north ; The m fcEE t V ^- ^- ^m ^v— N t lit - tie bird's song was hushed and still, The bit - ter black frost came ti - ny nest hangs on the tree for - lorn. Four fro - zen eggs are its fcM ^ i :&=£: creep on ing forth, worth, came its creep on ing ly forth, worth. Mbs. a. B. White, Little-Folks Songs. 102 NO. 57. ^^- DING, DONG. -± 1. Ding. dong! ding, 2. Ding, dong! ding, 3. Ding, dong! ding, -N ^^m dong! I'll sing you a song, dong! I'll sing you a song, dong ! I have sung my song, sr: :^J It's a- It's a- Now give -^ bout a bout a me a * pa lit - tie bird, lit - tie mouse, lit - tie kiss. mm He He And riiv ^ ::fL~i sat up - on a looked ver - y some - - time or m tree, cun - ning oth - er ^=?:z-? m^m. And he sang a song to As I saw him I'll try an . - ^ f— ^— I me, But I run - ning In our oth - cr That's peeper; ::)£ :± nev - er spoke a word, lit - - tie house, pret - ti - er than this, -i=f- ±:^-4: fc=C=F=f=Er- But I nev - er spoke a word. In our lit - - tie house. That's pret - ti - er than this. Child's Play. i nMMw»«i'« mmmmmmmmm No. 58. Now THE SUN IS SINKING. loa 1. Now the sun is sink 2. Cow - slip, dai - sy, vio ing let, In tlie gold - en west ; In their lit - tie beds, ^ ^Sl^^^ ^s Birds and bees and chil - . dren. All have gone to rest: All a-mongthe grass- . es Hide their heav - y heads; ^^?:^^^=ii ^m And the mer - ry stream - let, As it runs a - long, Therethey'Il all, sweet dar -- lings. Lie in hap - py dreams, g ::i: t ±± =t With a voice of sweet - ness. Sings its eve - ning song. Till the ro - sy morn - - ing Wakes them wi^h its beams. ^ ;a ■MM IKDEX A little (Girl's Faiicies Busy little Husbandman Biittertiies are pretty Things Calling the Tides . Coasting .... Cock-a-dooJle-do . . Corae here, little Uobin Come, my Children Cradle Song Daisy Buds . ^ . Dash and Rover Ding, dong ! . Engine Song Hark ! the Bells are ringing . If all the World was Apple-Pie I had two Pigeons . 1 like little Pussy I saw three Ships . Little brown Birds Little Rain-drops . Little Robi'! Redbreasts Little IM Little whi .e i ily Morning Hymn , . Morning Song . My little Doll Rose My Pussy Nell and her Bird . Now the Sun is sinking 104 No. No. 22 Old Gaelic Lullaby 55 24 One Thing at a Time 11 11 Peep of Day . 12 47 Rain, Rain 38 19 Song of the five Fingers 3 28 Stop, stop, pretty Water 21 32 Suppose a little Cowslip . 26 42 Swing, Cradle Swing 33 25 Thank you, pretty Cow . 50 54 The Bee is a Rover . 40 51 The busy Bee 31 57 The Cherry-tree • • 46 13 The Golden Rule . 17 9 The little Brother • • 2 44 The little D'-eamer 30 37 The North Wind doth blow 43 10 The Pigeon House . • 18 4 The Robin • • 23 56 The Rocking-Horse • 6 7 The Swallow is come » • 41 45 The Wind blows sweetly • . 35 53 The Wave's Gift , , 36 52 There's a merry brown Thrush . 48 1 Three Children sliding on the Ice 39 15 Time .... ^ . 34 5 Trifles . • • 20 29 TAA-inkle, twinkle, little Star . . 8 27 Welcome, Swallow . • • 49 58 Winter Jewels • . 16 MMMMtHMMWa*?!