'■■^;v::'.^;i;r;a,),!!'(v!i'lh^'!i!^'!'uflVi!hiA.L^ ! iliil Jl t ^ / FROM THE LIBRARY OF REV. LOUIS FITZGERALD BENSON. D. D. BEQUEATHED BY HIM TO THE LIBRARY OF PRINCETON THEOLOGICAL SEMINARY I I ■> r V ■I Digitized by the Internet Archive in 2012 with funding from Princeton Theological Seminary Library http://archive.org/details/singOOhick ^Hl OF fdlHC^ THE /O^ . ^^' JUN 7 1935 SINGING MASTP:R; CONTAINING No. 1. FIRST LESSONS IN SINGING, AND THE NOTATION OF MUSIC. No. 2. RUDIMENTS OF THE SCIENCE OF HARMONY. No. 3. THE FIRST CLASS TUNE BOOK. No. 4. THE SECOND CLASS TUNE BOOK- No. 5. THE HYMN TUNE BOOK. dFoxii'if) iEtrftion. REVISED AND CORRECTED. LONDON : TAYLOU & WALTON, UPPER GOWER STREET, BOOKSELLERS AND PUBLISHERS TO UNIVERSITY COLLEGE, SOLD ALSO BY J. A. NOVELLO, DEAN STREET. SOHO ; SIMPKIN, MARSHALL, & Co., STATIONERS' HALL COURT; AND JOHN CUMMING, DUBLIN. MDCCCXL. GENERAL INDEX. FIRST LESSONS IN SINGING, AND THE NOTATION OF MUSIC. PART I. PAO£ Preliminary instructions as applicable to the teaching of young children . . 1 Notation of music . . 7 1 Names and forms of the notes ... 8 2 Places of the notes . 11 3 Places of the notes be- longing to the upper and lower scales . 12 4 Duration of notes: tones and semitones . 14 5 Various musical charac- ters .... 17 6 Rests ... 20 7 The clefs . . . 21 8 Time, — accents and time signatures . . 26 PAGE 9 Intervals . , .30 10 Method of singing the inten'als . . 31 11 Intervals continued . 33 12 „ „ 35 13 The diatonic and chro- matic scales . . 39 14 Major and minor keys . 42 15 Signature of minor keys 44 16 The key note . . 46 17 Harmony, — singing in parts . . . .48 18 Sounds and signs . 50 19 Singing with taste and expression . . 52 Cheap Metronome . 55 NO. 8 Abroad at home . . 59 PACE 13 And now we part . 62 6 Be you to others kind and true . . 58 15 Grace before meat . 63 16 Grace after meat . 64 7 He that would thrive . 59 5 Lost time ... 58 2 Love of truth . . 56 4 Love your neighbour . 57 10 Let us endeavour . 60 12 Let your pleasure . . 62 9 Plough deep . . 60 11 Swiftly flies our time away . . . .61 1 Time and tide . . 56 14 When a weary task you fiudit ... 63 3 Your patience and pru- dence • . .57 RUDIMENTS OF THE SCIENCE OF HARMONY. PAET II. • PAGE PAGE PACK Application of rules • . 95 Diminished fifth 75 Preparation of discords • 78 Augmented intervals 79 Enharmonic scale . 93 Progression of harmonies 83 Cadences . , . 82 Figured basses . 90 Resolution of discords . 75 ,, simple . ,j Fundamental basses 71 ,, interrupted . 79 „ authentic . • »5 Fugues . 92 Rhythm .... 95 ,, plagal . Harmonies belonging to ma- Si?cth (added) . : 78 „ half-cadence . 8^3 jor scales 71 Scale,— harmonised • . 73 Canons 92 ditto— to minor scales . 80 ,, melodic and har- Chords, the principle of . 65 ditto— dispersed 74 monic minor scales* . 80 „ common chord . 67 ditto— close 74 Seventh of the scale . • 7o Consecutive fifths and oc Harmonics 66 Sequences • . .86 taves . 85 Intervals, — names of 69 Sub-dominant . . 71 Counterpoint, — simple . 74 Major and minor chords 67 Tonic . . . .71 „ double . 92 Melodies,— construction of 94 Iransposition • • 87 Discords . 74 Modulation . 87 Triad . ... 66 Dominant 71 Ninth (added) . 78 Triads . . . 71,72,80 Dominant seventh . 75 Passing notes 84 Triad, mode of using the . 72 Diminished seventh 77 Pedal harmonies 93 * In the example given, page 80, of the harmonic minor scale, a note (D T) is by accident omittt'd in many of the early copies, and in the following line a (jj) is also omitted, which should follow the letter D. IV GENERAL INDEX. THE FIRST AND SECOND CLASS TUNE BOOKS. CONTENTS. Ist Snd 1st 2nd 1st 2nd too K.. BOOK. BOOk.BOOE. BOOK. BOOK. NO. NO. PAOK NO- NO. tkourers'8ong . 188 18 School is begun . 123 24 Come let us sing 130 18 Let the smiles of 26 See, he comes . 185 9 Come let us march youth 172 29 Sluggard . 138 and sing . 158 26 Linnet . 132 22 Stormy winds . 178 6 Cricket song . 154 3 Love of truth 150 1 Sunrise . 146 9 Days of the months 113 20 Lullaby . 176 32 Time for rest 142 31 Dulce domum . 194 6 Multiplication UblellO 20 Tit for tat 124 15 Early to bed . 11 Kre around the 119 7 Do. 2nd part 15 March.andliftup 111 1 Twinkle twinkle, little star . lOO huge oak. 161 your voices 167 2l The hour is come 43 farewell. 212 17 Might with the of twilight grey 177 25 Filial affection . 183 right . . 169 24 To the good cause 182 4 For age and want 151 41 National anthem 210 4 Try again . ^Ve all love one 106 lO Forgiveness 159 30 Neatness & clean- 12 39 (jolden rule . 207 liness . 140 another . 116 33 Good night •143 42 Now let notes of joy2 11 2 Welcome to school l02 33 Hark, the lark 197 17 Nursery jest 122 13 We'll go to our 27 Harmonious black 32 Old friends shall places . 117 bird 134 never be forgot 195 12 Welcome 162 14 Ilar\estHome. 166 16 Over the water . 120 36 Well done . 202 30 Home. 193 23 Our native land. 180 8 When we go out 21 Hot cross-bnns 125 35 Patriots' song . 201 together 157 U How the wind is 27 Peasants' song . 187 16 When the rosy mornl68 blowing . 118 11 Peacemaker . 114 31 Work away. . 141 THE HYMN TUNE BOOK. PART V NO. PAGB NO. PAGB NO fAOl .'>2 Admiration . 269 6 Hanover 222 37 Old Hundredth 254 27 Adoration 243 15 Harts . 231 48 Passing Bell (The) . 265 36 Arabia . 253 23 Haweis, or Mount Cal 8^ Peru 255 24 Auburn . 240 vary "233 .6 Piety . 263 44 Bradley Church . . 261 56 Helrasley • . 279 66 Portsmouth New 284 64 Calcutu. 28-2 43 Hephzibah . 266 45 Portugal New . 262 33 Calvary . 250 20 Insh . . . . 236 29 Prospect, 246 26 Carey's . 242 16 Job . . . . 236 63 Refuge . 280 41 Compassion . 258 67 Joyful .... 285 70 Repose . 288 39 Condescension 256 53 Jude's Do.xology 270 19 R ou sseau'.«j D ream . 235 22 Contemplation . . 238 49 Knaresboro' . 266 21 Sandgate. 237 10 Cranbrook 226 69 Leigh, or Tucker's 287 65 ShirUnd . 283 14 Deritend . . 230 32 Lcmsdale. 249 1 Sicilian Mariners 217 3 Devizes . 2i9 30 I^well 247 13 Staughton . . 229 25 Katon . . 241 34 Lydia . 251 7 Stevens . 223 55 Faster Hymn . 272 12 Martin's Lane . 228 4 Stonefield . . 220 57 Evans . . 274 18 Matthias. 234 42 Suffolk . 2.« 5 Evening Hymn 221 17 .Melbourn Port . •233 35 Sutton Cole6eld . . 252 31 Fairsoat . 248 54 Miles- Lane . 271 51 Vesper . 268 1 1 Falcon Streit . 227 59 Monmouth . 276 2 Warwick . . 218 28 Gabriel New . 245 23 Mount Calvarv •:.w 60 Wcstbury Leigh . 277 8 (ierman Hymn 224 58 Nativity •275 47 Wigan . 264 9 Grove. . 225 50 Newport . 2o7 62 Hallelujah, Amen . 279 61 New Victory 278 PREFACE. The time is not distant when we may fairly presume the study of Vocal Music will be universally introduced in schools, as one of the means of effecting the object proposed by a good education. Already in Prussia, and indeed in all the German States, a knowledge of music is a sine qua noTi among the qualifications required of every candidate for the profes- sion of a schoolmaster. In the humblest village- school in Germany, and indeed very generally on the Continent, singing is taught ; and in the superior schools, the master is further required to teach his pupUs to play upon some musical instrument, and to instruct them in the science of Harmony or Thorough Base. ^ In this country singing has been introduced with great success in infant- schools. It has been shown to be a means of varying, in the most pleasing manner, the usual lessons, and calculated, therefore, not only to reheve the attention when too much fatigued by study, but to create a conviction in the minds of children (which it is not always easy to produce in any other way), that they are sent to school to be made happier as well as wiser. It has also been found a means of impressing the miud with kindly feelings, and of kindling or strengthening just and generous emo- tions, much more effectual than any mode of persuasion or reproof. The importance, however, of singing, as a branch ot Education in all elementary schools, and of teaching music systematically, with a view of softening the manners, improving the taste, and raising the cha- racter of the great body of the people, is not yet fully understood. Let us briefly depict the reasons, moral and physical, why music, but more especially vocal music, should be made the common property of all, in- cluding the masses to whom it has hitherto been inaccessible. The first is, that it would promote the happiness of all. That music is a means of social enjoyment, will be admitted ; and this ought to be a suflBcient argument to induce us to make an effort to render it a means of enjoyment to the poorest members of the community. After all that II PREFACE. can be done lo meliorate tlic condition of tlie working classes, they will Iiavc to submit to quite enough of privation, as compared with the more favoured lot of the rich man, without our withholding from them any inno- cent source of pleasure, which we might, by a little exertion, enable them to command. Vocal music is not only an innocent pleasure, less likely to be carried to a hurtful excess than almost any other, but it has the re- commendation of being a cheap amusement, which renders it peculiarly fit to be encouraged among the labouring classes. In this respect, vocal music is superior to instrumental music, while superior also in the power of producing musical effect. If the poor man should regret his inability to purchase costly musical instruments, let him learn that the human voice is in itself the finest instrument in the world. All voices are not, indeed, equally good ; but four even indifferent voices heard in correct harmony together, will produce a more perfect effect than any equal number of keyed or stringed instruments, played upon by skilful performers. A party of German peasants, singing together in a cabin, will often make better music than the whole band of the Italian opera. A family of vil- lagers able to spend a winter's evening in singing the glees of Webbe and Calcott, need not sigh for grand piano-fortes, and double-actioned harps. Even in regard to accompaniments, when vocal music is really good, it is almost invariably better without an accompaniment than with it. The sounds of different instruments, which seldom assimilate sufficiently with the voice, and prevent its being distinctly heard, distract the ear, and withdraw its attention from the harmony. The moral influences of music are of two kinds. It has a direct tendency to wean the mind from those pleasures which consist in mere vicious and sensual indulgences, and it has a tendency to bring the heart into a right state, or, in other words, it has a direct and powerful influence upon the disposition and temper. It is a great error in any system of education, pro\'ided for the children of the poor, to conclude that it is no part of the duty of an instructor to teach the means of rational enjoyment. It is time we made the dis- covery that it is quite out of our power to train any class of men to habits of such unwearied industry, that they shall be content to toil on throughout their lives, without a moment's relaxation, or any attempt to relieve the monotony of their existence by some pleasurable excitement. Pleasurable excitement of some kind is necessary for all : it can be with- held from none : we may determine merely the form which it shall as- sume. Among the rich it is attainable in a thousand different ways j among PREFACE. Ill the poor, it assumes the too common form of intemperance. We have but the choice of two things, — either to provide for the working classes, and enable them to appreciate rational and intellectual amusements, or to allow the people, while in a low moral state, to choose for themselves their own sources of gratification, although they may be such as will be fatal, both to their own well-being, and to the peace and good order of society. It is said to be dangerous to encourage a taste for music among the working classes, because singing is used as an attraction to public-houses, and other places where young men and young women are often drawn in to their own ruin. Happy would it be for the community if every drunkard in the kingdom could be inspired with a love for music. The young man who is weak enough to give way to habits of intoxication, does so because in drinking he has one source of enjoyment; — render him musical, and he has then two sources of enjoyment ; and what can be more certain than that as his taste increases for the more intellectual source of pleasure, the temptation is diminished to that which is merely a vice pro- ductive of misery in the end ? But it is not in consequence of a musical education, but of the want of it, that common labourers and mechanics run to hear a comic song, wretch- edly sung, in a public-house. If they had been properly taught, they would have had a taste for something better, and in that case, when they left their own homes for the sake of music, would have been probably found among the members of a choral society, preparing, perhaps, for the per- formance of the Messiah, at some of our great musical festivals. But one great advantage of music is, that it is always enjoyed the most as a home amusement. The quietude of home is much more favourable to the effect of harmony than the noise, bustle, and glare of the theatre or concert-room ; and every one may observe that when an individual is raised to the rank of a musician himself, of however humble a grade, he is no longer so easily drawn hither and thither to witness the performances of other people, as before; for it is a curious fact that however sublime those performances may be, musical amateurs like infinitely better to hear their own. The effect of music in diminishing the temptation to intemperance has been strongly exemplified in the case of the Germans. Forty years ago they were one of the most drunken nations on the face of the earth ; but since music has been taught scientifically in the humblest school, they have become, comparatively, remarkable for their sobriety. IV PREFACE. In tlie large sugar-baking houses of the Metropolis, where, on account of the danger, a person given to even occasional habits of intoxication is never trusted, (jlermans are invariably employed in preference to the EngUsh. It is sometimes urged that a young man who has a talent for singing is apt to be invited too much into company, and is thus led to form habits of dissipation. The remedy is to teach those persons to sing themselves, who, being unable, require to be amused by one who can, and are thus induced to court his society to a prejudicial extent. We may add, that let music be rendered universal, and the Apollos of the public-house, and of the third-rate concert-room, would descend at once to the common level. They would no longer be considered gifted pro- digies ; and the few only would be followed who, from pre-eminent talent, would be found at the top of the profession, and who could only be heard on great public occasions. Tliere are many other objections to music which may be treated as belonging, generally, to the class of those which are often inconsiderately urged against every thing good and useful. It used to be contended to be dangerous to teach a child to read, lest he should read improper books ; dangerous to teach him to write, lest he should commit forgery. No doubt the danger exists ; and it is dangerous to satisfy the wants of hunger and thirst, lest we should become gluttons and wine-bibbers. There is danger even in inculcating habits of prudence and economy, lest they should degenerate into avarice ; and we may fairly allow that there is some danger that music may become a ruling passion, too strong for guidance. But what is the value of education, if it be not to teach us the difference between the use and the abuse of that which is good, ajid to impress upon the mind the lesson, that that which is useful in mode- ration may be hurtful in excess ? With respect to the direct moral influence of music, we mav observe that, although it would be preposterous to contend tliat music is sufficient to make a bad man a good man, we may safely assert that there never yet was a l)ad man who would not have been the better for its influence. The reason is, that nature has so ordered it that when the heart is full of evil thoughts and malignant passions, the ear cannot at the same time listen with pleasure even to the simplest melody. Thoroughly to enjoy the eflects of good music, it is necessary that the mind should be in har- mony with itself, and with all things around it ; and hence there is much truth and sound philosophy in the words of Shakspeare : — PREFACE- V " The man that hath no music in himself. And is not moved with concord of sweet sounds. Is fit for treasons, stratagems, and spoils. Let not that man be trusted." If we have a load of care or guilt upon our minds, we cannot sing. Keep the mind in a state the best fitted for the enjoyment of music, and that will be a state in which it will be least of all disposed to yield itself up to the jarring and discordant influences of the evil passions. Hence the secret of the art by which David/ the sweet singer of Israel/ charmed away the evil spirit from Saul. It may be observed, however, that the moral effect of cheerful music, as adapted to the daily intercourse of life, is much greater than that of music of a solemn and plaintive character. Solemn anthems are most appropriate to solemn occasions, and nothing can be more suitable when the attention is required to be exclusively fixed on the most serious sub- jects which can engage human contemplation. But when our object is not exactly that, but to act upon the affections, the music should be of a more joyous character. If we want to render education something more than the teaching of two or three mechanical arts, — if we would educate the feelings, — then our first care should be to make the heart cheerful. If we desire to prevent children from being sullen and quarrel- some, let us beware how we do any thing to throw too deep a gloom over their minds. We ought not to repress, but merely endeavour to keep within bounds, the buoyancy of youthful spirits ; for it is not when children are happy that they disagree, or find a pleasure in disturbing the happiness of others. It is often said by the opponents of education that it has failed in the civilizing and humanizing effects expected from it, and there is some truth in the assertion. We cannot look round an ill-conducted charity school, and see the sullen looks and scowling brows we sometimes meet with there, without perceiving there is something wrong in the system pursued, and something dangerous, too, to the peace and welfare of the future community, of which the children of that school will form a part. Much of this prospective evil, music would be calculated to prevent ; but it must not be confined to that kind of music which has a tendency to sadden, but that which will make the heart glad. Let us, above all, beware how we defeat the object of a religious edu- cation, and become a party to the irreverent use of sacred words, by allowing only such to be used during Singing Lessons. Instead of VI rUEFACE. compelling children to sing, at all times and seasons, nothing but religious hymns, as some do, children should only be allowed to sing them when their attention has first been drawn to the serious import of the words to wliic'li they arc al^out to give utterance. Otherwise, with the mind wholly engaged upon the time or tune, or upon worldly subjects, instead of worshij)ping the Almighty, " We mock him with a solemn sound Upon a thoughtless tongue.'* In conclusion, we may notice an argument in favour of vocal music, drawn from physical considerations. It is the opinion of Dr. Rush, and several other eminent physicians, that there are few things so well cal- culated to keep the lungs in a state of healthful action, and therefore to operate as a preventive to consumption, as singing. The reason why females, more especially than males, fall victims to this disease is, that from their confinement within doors, and sedentary pursuits, the lungs are seldom freely brought into play. Young ladies who are not allowed to run, and put themselves out of breath, or to shout, or laugh loud, on account of the vulgarity of the act, and who rarely speak in a tone ot voice above that of a drawing-room whisper, never have the chest fully inflated. The consequence is, that a large portion of each lobe of the lungs lies in a comparatively torpid state, and a stagnation of the fluids, or an insufficient supply of the oxygen of the atmosphere, must often be a pre-disposing cause of tubercles and abscesses in this fatal organ. Public singers have been generally remarked to be long-lived, and one reason (without, however, attaching an undue importance to it) no doubt is, the necessity of taking longer inspirations, and of more fully inflating the lungs, than would have been done but in the exercise of their pro- fession. To promote the object we have described is the design of the present work. It originally appeared in an experimental form, and having been favourably received, the author has been encouraged to the further task of revision and correction. The work is now re-cast in an improved shape, in which it is hoped it will be found much more perfectly adapted to facilitate the introduction of music into schools than before. If it have any merit, it will ])c found in the simpHcity of the introductory lessons, and of all the airs and arrangements. Only those who, like the author, have undertaken to teach a class of children to sing in parts, can PREFACE. Vll form a correct idea what apparently insignificant difficulties may prove insurmountable stumbling-blocks. Compositions of a higher order than those included in this work abound, but they are adapted only for the more advanced student. The present edition, unlike the last, besides the moral songs, will contain a large collection of the most favourite hymn tunes ; and the whole work, although complete in one volume, will be sold in separate parts, with a view of promoting the convenience of those who may wish to procure copies of the introductory lessons, or of the songs or hymns, without purchasing the entire book. FIRST LESSONS IN SINGING, AND THE NOTATION OF MUSIC. FIRST LESSONS IN SINGING. AND THE NOTATION OF MUSIC. The first lesson in the art of singing with adult pnpils is usually an exercise upon the gamut or scale of sounds, named after the letters — a, b, c, d, e, f, g, and sometimes sung to the Italian syllables — do, re, mi, fa, sol, la, si, do. The pupil is expected to sing every note of the scale correctly ; to learn to sustain, diminish, and increase the volume of sound, as well as to read music tolerably at sight, before he attempts any air or melody from which he might derive some gratification. There are two objections to this course, which render it, if rigidly adhered to, unfit for children, and especially for little children. One is, that it is ex- ceedingly wearisome, and therefore calculated to defeat the object in view, which can only be effectually promoted by inducing a love for the art. Another is, that there are many persons, both old and young, who cannot sing the gamut, and many who never would learn to sing it if the ear and voice were not first exercised upon some more simple and striking melody. It is often assumed that a person who cannot readily overcome the difficul- ties of the gamut has no musical ear, and cannot be taught to sing. This is a mistake. The ability to sing through the scale is the test of a certain degree of proficiency, but a person may have a musical ear, and yet not be able to snig the gamut upon a first trial. Every ear perfectly formed, and in a healthy state, is a musical ear ; by which we mean an ear capable of being taught to distinguish musical sounds ; but every ear has not been tutored to the same extent ; that is to say, has not been accustomed to listen to the same melodies by which the love of music is first awakened. The diflference in musical talent between two children of an equal age is, in ordinary cases, easily explained. One, while an infant in arms, was allowed to cry itself asleep ; the other was constantly amused with lively nursery songs. In a similar way we may account for the remarkable diflference, in the aptitude for learning singing between the boys of large towns and the boys of country villages. The town boys soon learn, because their ears have been tutored by listening to airs performed by street musicians ; but the boys of the village — those at least who spend their days tending sheep, or frightening away birds, and do not even live within the sound of a peal of bells — are seldom found B 2 FIRST LESSONS IN SINCiINC, to have tlie slighU'st notion of music, iind can only be taught, with extreme dirticulty, when upwanU of twelve years of age. In all such cases, it is unwise to begin with the gamut, for the Diatonic icale being an unaccented melody, is often found by a beginner a very trou- blesome air. The better plan is to choose, for the first lesson, some simple and striking air, calculated to fascinate the ear, and dwell upon the memory. Every professional teacher must have met with adult pupils whom he could not teach to sing through the iiTtervals of the Diatonic scale. This difficulty never would have occurred if the opportunity had been given them, when young, of singing lively tunes in classes. The facility of teaching children to sing in classes is very great as compared with th'c plan of teaching them individually. It has been found that a child, who by reason of its timidity or dulness would never learn to sing if taught alone, will, when standing up with others, in a class, gradually get the notion of managing its voice so as to join in with the rest, and, gathering courage to make the at- tempt, by little and little, will be led on, until it begins to improve as rapidly as need be desired. The first step in musical education is to teach a child to distinguish, by the ear, one note from another. The second is to express the same sound correctly with the voice, and to sing perfectly in time. If this can be accomplished in childhood (audit can easily be done), the progress made, although it may appear insignificant, is not to be despised, for it is much greater than would be made by many adults within a similar period of time, if music had been entirely neg- lected by them in their youth. Although there are many persons who do not begin to learn to sing till they are past the age of twenty-one, and succeed, there may almost invariably be discovered a flatness in some of their notes, which proves that the ear has not acquired that extreme sensitiveness to nice grada- tions of sound, which is only the result of an early cultivation. To effect the object, lively melodies in which the accents are strongly marked, are better than any other, because the knowledge of the tune, which the ear speedily acquires, enables children to discover more readily, than they would do in any other case, when they are singing the wrong note ; and the sounds which the ear can the most easily retain, the voice will the most readily learn to express. Parents, therefore, who wish their children to be musical, should begin to teach them to sing while in the nursery, or should send them, if only for that purpose, to a well-conducted infant school. At a ver\' tender age they will quickly learn, provided the moral songs or hymns they may be taught be adapted to cheerful tunes, and that the singing lessons be never made too long. Nothing can be better than the plan generally adopted in infant schools, of not always confining the singing to a decided hour, but of employing singing as a means of relieving the attention at intervals, throughout all the lessons of the day. No day should be allowed to pass without practising, more or less, or the voice will never acquire strength, nor improve in quality. It is very important to guard against the mistake that slow, or serious music. Is better adapted for the early lessons of children than musiic of a cheerful cha- AND THE NOTATION OF MUSIC. J racter. Many persons imagine that it mnst be much easier to teach a child a slow tune, because of its apparent simplicity, containing but a few notes, than an air contahiing comparatively a great number of notes rapidly following each other. Experience, which is the best guide, proves the fact to be directly the reverse. The ear of a child, while dwelling upon a long note, is apt to forget the note which preceded it, or which should follow ; and, partly for the same reason, the note itself is seldom sustained throughout, exactly at its proper pitch, — the voice always having a tendency to sink. Indeed to* sing, in slow music, or serious harmony, every note perfectly true, and in correct time, is one of the last things which even good singers attain. Compared with this, it is easy (although the public may think differently) to run up and down the scale, and execute very florid and brilliant passages. Hence it happens that some of the most celebrated Italian singers are unable to give proper effect to much of Mozart's music, the beauty of which often consists in its graceful simplicity, or even to execute, otherwise than ill, the national anthem. Neither is the larynx, or organ of voice, in a child sufficiently developed for sustaining, with the requisite fulness, long drawn out notes. Not only the ear, but the physical power is wanting. The voice of a child resembles rather the chirp- ing of a bird than the performance of an organ ; and the music, therefore, suit- able for the one, is of a totally different character to that which is adapted for the other. In some infant schools, however, masters, altogether unfit for the situation, set the alphabet and other lessons to airs only adapted for a funeral service; the result of which among the children is a discordant effect like that of screaming or crying, instead of singing, while they appear listless and unhappy. In schools where the children are permitted to sing spirited popular airs, the difference is striking ; in this case they not only often sing extremely well, but appear animated and cheerfid, as if they enjoyed the music. It is necessary also to observe, that it is only by means of melodies having a quick movement, and in which the accents are strongly marked, that the ear of a child can be made to acquire any notion of time in music. It is customary to begin in the case of elder pupils by teaching them to count time ; but the first object should be to enable a child to feel the time of the music, or, in other words, to discover by the ear where the accents fall, upon which what is called time in music depends ; for if in singing a sufficiently marked emphasis be not given to the accented notes, although they may be sung in exact clock time, that is to say, neither too fast nor too slow, the music will lose its proper effect. In very slow music it is quite impossible for the ear of a child to discover the accented notes ;* but, by means of lively melodies, children soon learn to keep time with their hands and feet, and this method of marking the time should always precede that of counting. Pupils who have never been allowed to * It may be observed that there is one kind of quick music open to the same objection. In teaching the piano-forte, a child is often tormented by being required to execute apparent impossibilities. Passages are given it to perform^ written for the mere purpose of showing with what rapidity the finger may be made to move, and totally devoid of melody, accent, or meaning ; the consequence is, the ruin of the ear and of all taste for good music. B 2 1 FinsT LESSONS IN SINGING, (lojuMid ui»un llic ear, but have lu'en made to trust entirely to counting, are apt to become nure nu'clianical j)erroniiers, incapable of entering into the true spirit of a composition. Many persons have failed in their attempts to teach music to children, by en- deavouring prematurely to form a Uiste for compositions of a higher order than it is j)ossible very young persons can appreciate. This is to commit as great a blunder as it would be to make a sj)elling-book of Milton's " Paradise Lost," in order to create a taste for poetry. Those who would teach children to sing must liave a great deal of patience, for some time will elapse before they discover the dillerence between noise and music ; but it would require more than the patience of Job to hear them, at an early age of their instruction, attempt a piece of refined haniiony, the beauty of which might depend upon a chromatic semitone, struck exactly in the right place, and at the right moment, — upon a crescendo or diminuendo movement, or upon an instrumental accompaniment, which could not be proi)erly, if at all, supplied in the majority of schools. If, therefore, the teacher be a profound musician, and, on that account, one who, for his own gratification, would study only works of a grave and scientific character, let him not hesitate, if he wish his young pupils to make any progress, to sacrifice, at first, his taste to theirs. There are quite difficulties enough in tcacliing little children to sing any air, however simple, in correct tune and time, without adding to their number; but those difficulties would be increased a thousand-fold by insisting upon children singing only airs which appear to them dull and insipid, and the melody of which cannot be easily remembered. It is a mistake to suppose that simple and cheerful melodies have a tendency to prevent a taste being formed at some future time for serious harmony. Let the teacher in this, as in all other branches of instruction, follow nature ; — she will not lead him wrong. A simple melody pleases at first, because it is understood, without an eflfort. The ear can follow it, and the memory can retain it. By and by, the ear begins to tire of this very simplicity, and craves for melodies of a more elaborate construction. So with harmony, the simplest chords please at first, because they are understood ; but gradually the ear becomes capable of following, and the memory of retaining, the different parts of a more scientific composition when heard together ; and ultimately it delights in tracing the skill and ingenuity with which a number of distinct melodies may be interwoven by a master of the art, so as to produce one grand combined eflfect. But, however rapidly the taste of a child may improve, it is but seldom that it will be found to take the same pleasure in j)laintive music, and melodies in a minor key, as persons who are more advanced in life. The reason is, that music, to please, must give expression to the feelings which govern the mind. In youth, the predominant feelings are those of hope and joy, arising from the flow of animal spirits. At a later j^eriod the mind has been saddened with dis- appointment ; the bright visions of youth have been dissipated ; sorrow and anxijty intrude upon our thoughts ; and solemn, or plaintive music, has then an inexpressible charm, because it awakens a kindred chord in our bosoms. These considerations should not induce the teacher entirely to discourage the AND THE NOTATION 01' MUSIC. ^ serious style of music for young pupils, but to reserve it for serious occasions. Even children may feel the sublimity of the Dead March in Saul performed upon a powerful organ during a funeral service; but if they were compelled to listen to the same air in the school-room, in the play-ground, or in the midst of a festive holiday party, they would think it the most intolerable they had ever heard. The same remark will apply to many other fine old church compositions — the hundredth psalm, for instance. During Divine Service, when the mind has been properly attuned to the most solemn subjects, it pleases both young and old ; but compel little children to sing this psalm when they are thinking of making their escape, from a wearisome lesson, to their tops and marbles, and it will be one of the most effectual means that can be devised of damping their enjoyment, and causing music to be regarded by them as something hateful. Teaching children to keep time with their hands and feet, will be found very useful in infant schools as an agreeable muscular exertion, calculated to quicken the circulation of the blood, as well as to raise the attention of the dullest to the tune he is required to learn. Tlie noise they make by this method will of course somewhat destroy the effect of the music, but, if not permitted to make some noise, they will not learn to keep time accurately. The motion of the teacher's hand rising and falling will not be sufficient ; but when accom- panied with the sound of clapping or stamping, the ear assists the eye, and by means of both the object is attained with little difficulty. Neither is it of much consequence what noise they make while learning a new air, as the clapping or stamping would of course be dispensed with when they could sing it perfectly. No one thinks it necessary to keep time either by counting or beating, if well acquainted with the music in which he takes a part. The teacher should stand before his class, raising his arm, and directing the children to do the same ; at the first note after every bar in the music, his arm should descend, his right hand striking his left. When the children do not strike or clap their hands simultaneously, he should direct them to repeat the attempt till they are perfect. In teaching them to keep time with their feet, he need pay no attention to the bars, but only to the accented notes. He should tell the children to lift up first one foot, and then the other, letting it fall upon an accented note ; and when they can do this perfectly, as they stand up all together, or in classes, they may march round the room, or round the play-ground, to the sound of their own voices. To lead the singing in schools, no instrument is so effective as a powerful treble voice. The mistress of a school, if she exercise her voice sufficiently to allow it to acquire the requisite strength, will have a great advantage in teaching children to sing over a master, as her voice is of the same pitch as theirs, while the voice of the master is an octave below that of the children ; in consequence of which it is not always very easy for them to learn from the note he sings, what note it is he expects them to sing. Still, however, even a tenor voice is better adapted for guiding and controlling the voices of children than any instrument. But when the master cannot sing, or wishes to save himself some rather severe exertion, he should learn to play the Clarionet. German masters often make ') FIRST LESSONS IX 8 IXC IXC, nse of the Violin, because it allows of their playing and giving directions at the same time. But the Clarionet assimilates more nearly with the voice, and would be bi*tter heard than the Violin. A Flute is useful, but has scarcely suf- ficient power. A Violoncello is best for the base. If an Organ, or a Piano Forte, be used, the air should be played at first without the accompanying chords, that the attention of the children may not be distracted by several sounds heard at one time. "When the pupils are perfect, the instrument sliould be laic] aside, or kept entirely to parts written for it exclusively. A melody is improved when the harmonies are taken up by instruments playing in ver)' sub- dued notes ; but in vocal harmony the effect is as perfect as possible with voices alone, and can only be impaired by the sounds of instruments. Even in performing the grand choruses of Handel, it would be well if care were taken to have no more instruments than suflicient to sustain the voices and perform tlie symphonies. The common error, however, is to make the band so powerful, that, whatever may be the numbr- of vocal performers, they can oidy be occasionally heard. Until the voices of the pupils have acquired strength by continued practice, some of the airs to be taught, which run much among the upper notes, should be pitched a tone, or a semitone, lower than they a})pear in the written music. In teaching singing, as in teaching reading, great pains should be taken to render the enunciation of the pupil perfect. Whether the words to which the air may be adapted happen to be musical, or not, it is, above all things, neces- sary to sing so as to be understood. That the meaning of the words should be properly conveyed, the pupil should be taught to distinguish those which require to be sung with more force and emphasis tlian the rest, and neither to sing every note alike, in the same even monotonous tone, nor to place an emphasis upon words of comparatively little importance, such as — a, an, the, and, of, &c. Children should never be allowed to sing airs arranged to words, which are so unsuitable, or so badly adapted to the accents of the music, that they cannot be sung with proper expression with- out offending the ear. In some schools all sorts of airs are sung to the same spelling lesson or pence table, the melody being tortured for the purpose ; utterly destroying all correct notions of time, accent, and expression. A more serious error in music cannot be committed. Another fault against which the teacher will have to guard his pupils, is the habit of drawling or sliding one note into another, throughout a tune; a fault committed by almost all congregations in churches and chapels. When music is so written that one word, or one syllable, is divided among several notes, they require to be connected together by the voice ; but whenever a note has a word to itself, it should be separated from those which follow it by a slight break, the voice ceasing and commencing again upon the next word. The habit of drawling singing is chiefly confined to those who sing, almost exclusively, slow tunes, and the fault is one which might be cured by means of melodies having a quick staccato movement. When the children are learning a new air they should be allowed to sing it as loudly as they please ; otherwise, it will be found that some of them, not AND THE NOTATION OF MUSIC. 7 quite knowing the tune, and not understanding how to subdue tlie voice properly, will leave off, while the others will sing flat. When the air has been fairly acquired, the children should then be made to observe the superior effect of light and shade in music, or, in other words, of singing one part more softly than another : — sometimes sinking their voices almost to a whisper, and then gradually or suddenly increasing the volume of sound. They should at the same time be cautioned against singing so loud in a forte passage as to produce the effect of screaming, or over-straining the voice. Every tune should be first taught to a class of the best singers, and not to the whole school. They will learn it most readily by themselves, and be the better able to teach the rest. The above preliminary instructions for teaching, referring chiefly to children under six years of age, may be considered as forming the first stage of musical tuition. We proceed to the next. THE NOTATION OF MUSIC. &c. Little children who have scarcely mastered the mysteries of the alphabet, should not be puzzled with crotchets and quavers, but, even in an infant school, a class of the elder boys or girls may be formed to learn the names and places of the notes, and there are few children who may not be taught, by the time they are eight or nine years of age, to read music sufficiently well, not, indeed, to sing perfectly at sight, but to derive great assistance from having the written notes before them, without which they would have to trust entirely to the memory. To neglect this would be to throw away every chance of future improvement. It is obvious that if a child leave school ignorant of the notes, it can make no fbrther progress in music, vocal or instrumental. In forming a class, or a number of classes, for learning the notation of music, choice should be made of the best voices, and of those who can sing most cor- rectly the common school songs and hymns. Those who have had no previous opportunity of learning to smg by ear can- not be expected to make very rapid progress in learning to read music. A con- siderable time would elapse before they would be enabled to connect any sounds with written marks on paper. Supposing the class to be formed, the teacher provides himself with a large black board, similar to those which are in common use in the Bell and Lan- casterian schools, and a piece of chalk or pipe-clay. The class should be drawn up standing before the board, so that all can see it, each having a slate and pencil in his hand. The teacher then addresses the class to the following effect. ii PinST LESSONS IN SINGING, FIRST LESSON. THE NAMES AND FORMS OF TUB NOTES. Teacher. — * Every sound in music is called a note^ whether it be soft, or loud, shrill, or deep : but it has also another meaning; it is not only the name of a sound, but the name of the sign by which the sound is represented, or marked upon paper ; so that a person who can read music, may know, without hearing the note, what kind of sound is meant. Thus the signs or musical characters which you see me now make on the board, c:> L, are called notes. They are signs for two different kinds of sounds ; the one long or slow, the other short or quick. Remember then that the word note has two meanings. It is the name of a sound, and the name of a sign by which the sound is expressed. Hence what is called the Notation of music is the art of noting,.or marking down on paper different kinds of sounds, so that they may be understood, just as writing is the art of putting down our thoughts, so that they may be com- municated to other persons, without speaking. I will now show you all the characters called notes used in music, and tell you their names. Each of you will copy the note upon your slates, which I make upon the board. ||o|| This is called a hreve. It is the sign of the longest note that a person can sing, without taking breath. "Breves are now very seldom used, and you will meet with them but rarely, excepting in old music. O This sign is called a semihreve. The word scJ7ii signifies half. It is therefore a half breve ; that is to say, it is a note held only half as long as a breve would be held. C> This is called a minim. You will observe it is made like a semibreve, I but with a stem added. A minim is half as long as a semihreve. • This note is called a crotchet. You see it has its face filled up, and has ' a stem turned a different way to that of a minim. A crotchet is half as long as a minim. rThis is called a quarer. It is made exactly like a crotchet, but with the ^ stem turned up. A quaver is a short quick note, half as long as a crotchet. ^ This is a semiquaver ^ or half a quaver. / J This, with three strokes turned upwards, is called a demisetniquaver. / The word deyniy as well as semi, signifies half, so that it means the half of Ik lalf a quaver. A demi-semiquaver is the shortest, and quickest note used in music. If you have attended to what I have been saying, you will recollect that a demi-semiquaver, A» is the half of a semiquaver, '/; that a semiquaver is ^ m • the half of a quaver I ; that a quaver is the half of a crotchet, | ; that a AND THE NOTATION OP MUSIC. 9 crotchet is the half of a minim, j ; that a minim is the half of a semihreve, ; and that a semihreve is the half of a breve, ||cd||. In other words, every breve is equal to two semibreves ; every semihreve is equal to two minims ; every minim is equal to two crotchets ; every crotchet equal to two quavers ; every quaver equal to two semiquavers ; and every semiquaver equal to two demi-semiquavers.' The teacher now proceeds to examine the slates, and employs those boys or girls of the class who may have copied the notes the most exactly, to correct the others. He then puts the following questions to the class upon the above lesson. Questions, How many meanings has the word note in reference to music? {two.) W hat is one meaninor ? What is the other ? What note is this, at which I am now pointmg, on the board, l|o|| ? What is this sign called, c> ? I What is this ^? This, I ? this, L? this, >? this, g? ^ ¥ y^ Is a breve a long note, or a short note? How long ? Is it used for quick or slow music ? What is the meaning of the word semi? How long is a semihreve ? (Half as long as a breve.) How long a minim ? How long a crotchet ? A quaver ? A semiquaver ? A demi-semiquaver ? How many semibreves are equal to a breve ? How many minims are equal to a semihreve ? How many crotchets to a minim ? How many quavers to a crotchet ? &c. How many crotchets do you say are equal to a minim ? How many quavers are equal to a minim ? (4.) How many semiquavers ? (8.) How many demi-semiquavers ? (16.) How many crotchets are equal to a semihreve? (4.) Hov/ many quavers ? (8.) Semiquavers? (16.) Demi-semiquavers? (32.) These questions should not always be put in the above order, but sometimes dodgingly. 10 FIllsT LESSONS IN SINGING, The teacher next effaces the notes from the board, and tells the class to rub them out from their slates. He then gives the chalk or pipe-clay to one, of his pupils, saying, " Now make on the board, from memory, a breve — a semibreve — a minim — a crotchet — a quaver — a semiquaver — a demi-semiquaver ;*' the other children copying the notes as before on their slates, as they see them matle. This done, the notes are again effaced, both from the board and the slates, and another boy goes to the board to make the notes from memory ; and in this manner each in turn is called to the board, until the teacher is satisfied the whole of the class are perfect hi their lesson. This lesson, with several of those which follow, may be repeated, when the teacher is not present, by the monitor or head boy of the class. Before proceeding with the next lesson, the teacher should have the five lines of two staves painted on a black board, with white paint, so that notes placed upon either staff may be rubbed out, when necessary, with a cloth, without effacing the staff itself, which would be required for subsequent lessons. It would also be desirable, for the same reason, that two staves should be en- graved on one side of all the slates used by the children. On common slates this may be done with a nail, and a ruler.* When there may not be a board in the school sufficiently adapted to the object, the teacher should provide himself with a board or frame of painted canvass for the purpose. It should be six feet in length, and eighteen inches deep. A shorter length would not suffice for all the exercises requiring to be placed upon it. Two staves are necessary for the introductory lessons in two part harmonies, w hich will be all short, and simple. When the pupil has made sufficient progress to attempt a long, and difficult piece of music, he should sing, not from the board, but from a written, or printed copy, placed in his hands. We suppose, therefore, the class to be diawn up before a board on which two staves are painted thus : — f For the following lesson one staff only is absolutely necessary, and that need not be painted if the teacher does not mind the trouble of ruling fresh hues every time they are effaced. * White porcelain music slates are sold in the shops with the lines ruled ; but they are generally too expensive for schools. t If a wider board he used, and four staves be painted upon it, 'Vfire should be taken to place the two upper at some distance fro:n the two under staves, or the eye o{ the pu|>il will be perplexed iu lul'.owiug his part. AND THE NOTATION OF MUSIC. 11 SECOND LESSON. PLACES OF THE NOTES. Teacher. — ' The five lines which you see before you are called the staff or stave. It is usual when speaking of one set of five lines to call them the staff, and when speaking of more than one staff to call them staves. Remember, — singular, staff; plural, staves. The use of the staff is to provide a number of different places for the notes, so that, by putting them sometimes in one place and sometimes in another, we can represent the comparative height or depth of different sounds. Thus, if we wanted to express on paper a very high or shrill sound, we should place it about the top of the staff; if we wanted to de- scribe a very low or deep sound, we should place it near the bottom of the staff. You will observe that the staff consists of five lines, and four spaces between the lines. These lines and spaces are caEed degrees, and each of these lines and each of these spaces is called after one of the seven letters, — a, h, c, d, e,f, g ; so that if I put a crotchet, for instance, in one place, it is called a ; if I put it in another, it is h. Now, observe each place where I put a crotchet, and do the same thing on your slates. A — ^— in the space just below the =i= middle line; 5 — # — on the middle line; C — W — in the space just above the middle line ; D — \- — on the top line but one ; E — 1- — in the £E space just below the top line ; F — p — on the top line ; G — V- — just above the top line. The lesson on the board now stands as under, and the teacher with the monitors proceed to examine the slates, to see if the notes have been accurately copied, and rightly placed. The following questions are then put : — What are the five lines called? What is the plural of staff ? What is the use of the staff? What is each line and each space called ? (a degree.) How many degrees are there on the staff? 12 FIRST LESSONS IX SINGING, What arc tlicir names ? Wliat is tlie nanu" of this note? (pointing to a.) — 1 his ? b. — Thio? c. — This ? d- —This ? r.— This ? /.—This ?y. These questions arc then a^keil dodgingly, after which the notes are effaced from the board, and from the slates. Teacher. — *It is necessary to make a distinction between the names of the notes as signs, and the names of the notes as taken from the places in which they stand in the staff. When I ask you therefore the naz/te of a note, I expect to be told, — it is a minim, or a crotcliet, or perhaps a quaver. When 1 ask the place of a note, you will have to answer «, or ^, or whatever letter it may be called. Now tell me what is the name of this note which I place on the middle line ? ^^ Wliat is its place called ? {h) What is the name of the note which I put on the top line ? | W^hat is its place ? (/) What is the name of the note which I put on the top line but one ? i Its place? {d) AVliat is the name of the note which I put just below the middle line ? \j Its place ? (a) The name of the note I put between the two top lines ? L Its place ? {e) m The name of the note I put in the space just above the middle line ? A Its place ? {c) The teacher again examines the slates^ effaces the notes^ and exercises each of his pupils in turn^ at the hoards in the following manner : — Make upon the board a quaver, and put it in the place c. Make a crotchet, and put it in the place d. A minim, and put it in the place h. A scmibreve in the place a. A demi- semiquaver, in the place e, A semi(iuaver, in the place y, &c.' THIRD LESSON. PLACES OF THE NOTES BELONGING TO THE UPPER AND LOWER SCALES. Tlic pupils forming the class arc again assembled before the board, as they are supposed to be in all the subsequent lessons, — each 7cith a slate and pencil. Teacher. — ' All sounds in music, or notes, are called after tlie seven letters— AND TJll- NOTATION OF MUSIC. 13 a, h, e^ d, r,/,//. No other letters are ever used. For example, no note would ever be called ^, i, or^'; but when we have got to ^, and wish to give a name to sounds higher than tliat note, we begin over again, a, b, c, &cc. These seven notes are called a scale, and all kinds of sounds are divided into scales, each scale consisting of seven notes, named after the letters, a, h, c, d, e^f,g. On the piano-forte there are six of these scales, but at the present your atten- tion need only be directed to three, which embrace more than the compass of the voice. The places of the notes in one scale you have been taught, you must now learn the places of the notes belonging to the upper and lower scale. In order to find places for the notes of these scales, it Is necessary to make use of what are called le(/er Jives, These are short lines, which serve as an extension of the staff above it and below it, like those which I am now about to make. It will be useful for you to remember that a is the space just below the middle line ; because, if you recollect that, you may easily find out by counting where the other notes should be placed. G and a are always close together, because, after g comes a over again, going upwards, and after a therefore must come g going downwards. The place of a in the lower scale is on the second leger line from the bottom of the staff 1 — . B follows of course next.' 3 The teacher proceeds to describe on the board the places of all the other notes of the lower scale, then the notes of the middle scale, which the class have already learned, then the notes of the upper scale, till they all stand in the following order, but without the letters. ^ , Middle Scale. _ - -•- -^- Lower Scale. iViiaaie acaie. ^ -^ J^ j^ \_ \ _ J_ _ J_ _^i'gFG ABCDEFG ABODE F '^ B ^ Upper Scale. The slates having been examined, the teacher puts the following ques- tions : — What are the seven notes called ? How many scales are there usually on a piano-forte ? What are the letters which give names to the places of the notes ? 11 FIRST LHaSONS IX SINGING, Are there any notes called x^ ij, z '/ No other letters but those you have named? When we have got to //, what note conies next going upwards? (a, over ayain.) Going downwards, what note comes after af (y.) And what aflery, still going downwards? (y*.) What are the short lines called, above or below the stafl", at uliieli I am now pointing? What note, in the middle scale is it immediately below the middle line of the stair? {a.) What is the next note above it on the middle line? {h.) What is the note called which is placed on the second leger line at the bottom? (a.) What is the note called on the first leger line at top? {a.) In this manner the teacher proceeds to question the class, dodgingly, upon the places of each of the notes in the lower, middle, and upper scales, and concludes, as in the second lesson, by exercising each boy or girl of the class, in turn, at the board to the following effect: — Put a minim, upon ft, in the middle scale. A crotchet, in the place ft, in the lower scale. A quaver, on ft, in the upper scale, kc. &c. The class should be more frequently exercised upon the notes of the middle and lower scale, than upon the higher, as they are comparatively but little used, even in playing upon an instrmnent, and no voice reaches to g in the upper scale, or, as it is called, y in alt. FOURTH LESSON. DURATION OF NOTES TONES AND SEMITONE"?. Teacher. — *My object in this lesson will be to give you a clear practical notion of the comparative f/«r«//V)/^ of different notes. Observe the note which 1 am going to put on the staff. Wliat is its name ? i|^^t (A breve.) What is the place of the note? {c.) Very well. Now I will sing this note to the wordy^r, and I wish you to count audibly, while I sing it, 1, 2, 3, 4, 5, 6, 7, 8. Here the teacher sint/s the syllable far, holding on the note while his pupils count 1, 2, 3, 4, 5, 6, 7, 8. Teacher. — Now do you sing the same note while I count 8. {Here the pupils sing far, holding on the note while the teacher counts S.J The teacher proceeds to efface the breve from the board, and places instead, oa the same degree of the staff, a semibreve. He sings it as before to the AND THE NOTATION OF MUSIC. 15 syllable far^ desiring the pupils to count 1, 2, 3, 4. Afterwards they sing it, while the teacher counts 4. Next a minim is w ritten on the board. The teacher sings far^ -while the pupils count 1, 2. The class then %m^far^ while the teacher counts 1, 2. The teacher then writes u])on the board — P — • — ^ P S- Teacher. — ' I will sing these five notes to the words, far^ far^ far awaij^ while you count 1, 2, 3, 4, twice.' The class, having done this, sing the same words, while the teacher counts 1, 2, 3, 4, twice. The teacher proceeds to describe upon the staff the following notes, and to question the class upon their names and places. t -^- ^^- _Ci. ^_c>. Teacher. — * I will sing these semibreves, not to the letters, a, h, c, d^ FIRST LESSONS IN SINGING, interval or distance between certain sounds,* as, for instance, the sounds d and e. (Here the teacher should sing^ or play upon an instrur/tent, each oj these notes.) The interval between these two notes is called a ichole tone. But there are not only whole tones, but half tones, called semitones ; instead of going from dio e^l may go only half the distance, to d sharps thus : (Here the teacher performs upon the instrument d, and d sharp J IJut although there is a place for d in the stalf, there is none for d sharp ; and in order, therefore, to express it, we use this sign, called a sharp # (making it upon the board) ; and when we intend to pass from d to d sharp, we put this sign before it : | ^ — . ^ sharp^ therefore, signifies that the note is to be raised a semitone : and in the same manner when^we want to lower a note a semitone we make use of this sign, p, called a -flat. The note e^ and the note half a tone lower, may also be written thus : - ; \ . You will see, there- fore, that there are two modes of describing on paper the half-way house be- tween d and e ; it is sometimes written -^i and sometimes — r- — . ee; If we want to come back to d from d ^ox ^[7, we make use of another sigii (g) ; it is called a natural, and signifies that the note is to be restored to its natural state. The teacher should take a future opportunity to explain that when a note has been raised by a sharp, or lowered by a flat, in the signature, and we require to raise or lower it yet another semitone, we make use of characters called double sliarps and double flats. A double sharp is l , a double flat is [i[-). §-^i F with the double sharp before it is to be played as G f jf K . B with the double flat before it is to be played as A Questions. What is the difierence between a note and a tone ? What is the name of the interval between rfand ils in the present stage of their instruction. AND THE NOTATION OF MUSIC. 17 What sign would you put before it if you wanted to lower the note half a tone ? ;A flat.) What sign if you wanted to restore the note to its original state ? (A natural.) The lesson concludes with exercises upon the board to the following effect : — Put the sign of a sharp upon the line /, in the space c. Put a flat in the space for ^, on the line h. Put a natural on e, &, &c. FIFTH LESSON. VARIOUS MUSICAL CHARACTERS. Teacher. — * You have been told that two quavers are equal to one crotchet, and that two semiquavers are equal to a quaver ; but this is not always the case, for three notes are sometimes performed in the time of two, so that one minim is, in certain cases, equal to three crotchets, and one crotchet equal to three quavers. When this happens, the three notes to be sung in the time of two are usually distinguished by the figure 3 placed over them ; and if 3 3 quavers or semiquavers, are joined together thus : — When three notes are written in this manner, to be sung in the time of two, they are called triplets. (Sometimes the 3 is omitted, but it is generally easy to find out, by the grouping of the notes, when they are intended to be sung as triplets). It is customary to join all quavers, semiquavers, and demisemiquavers to- gether at the bottom, that is, for instrumental music ; but when each note is to be sung, and has a syllable to itself, it must be written quite separate and de- 9 • # tached from the rest, thus / !^ ^ . When several notes are to be sung to the same syllable, without any space or break between them, the curved line, called a slur^ is put over them, or under them, thus :— When a slur is put over two notes, divided in the middle by an upright line, — , it is called a iie^ and signifies that the two notes are thus to be performed as one. 18 FIILST LESSONS IN SINGINU, Sometimes a minim is re(|uireil to be held as long as three crotchets instead of as long as two only, and sometimes a crotchet requires to be held as long as three quavers ; in such cases we put a dot by the minim, or the crotchet, thus, This dot signifies that the preceding note is to be held half as long again as it would be held without the dot. A dotted minun is therefore ec^ual to three crotchets ; a dotted crotchet | to three quavers ; a dotted quaver f * to •• three semiquavers ; a dotted semiquaver / to three demi- semiquavers. Upright lines like these are used to divide a tune into a num- ber of equal parts,* and are called bars. The space between them is sometimes also called a bar, but its proper name is a measure. Double bars, much thicker and blacker than the others — signify the end of a part, and when wTitten thus 3!'"*~» ^^® ^'^^ ^^ ^^ whole music. Dots placed against a bar thus -[-— indicate that the preceding movement, or that the whole of the part is to be repeated, or sung over again ; when placed thus they signify that the movement which follows is to be repeated. Besides the dots, there are two other repeat signs. One is yO. This sign is placed aver the notes where the repetition is to commence, in order to assist the eye in finding it out. The other repeat sign is ' ji* and is placed under some bar or measure, thus to signify that the preceding words are to be repeated. When the words Da Capo^ or the letters D. C, are placed at the end of a tune, they denote that it is to be repeated from the beginning until we come to the word Finey which signifies the end. P is an abbreviation of the word piiino, which means soft, and is used to show when the music is to be played softly. F is an abbreviation of the woTdforte, or loud, and shows when the music is to be performed full and strong. The dash, or Staccato sign, thus "p shows that a note is to be sung • \Vhea the first bar, or measure, contains fewer notes than any other bar, they are added to the notes of the last bar to make up the proper number ; the first bar and the last being in this case reckoned only as one. AND THE NOTATION OF MUSIC 19 short, with a break or pause between that and the next. The hold O signifies that the note placed under it is to be held much longer than usual. Two lines forming an angle opening outwards, thus, * Z form what is called the Crescendo 5/^«, (pronounced creshendo). It signifies that the sound is to be increased. An angle drawn thus 2— ^ ^^ called the Diminuendo sign. It signifies that the sound is to be diminished. The direct {*^) placed upon a line at the bottom of a page, shows the place of the next note overleaf. The hrace or bracket < is used to join two or more staves together, and signifies that all the parts so joined are to be played or sung at the same time.* Questions. When a figure of 3 is placed over three notes joined together, what does it signify ? (The three notes are to be performed in the time of two.) What are the three notes then called ? (Triplets.) How would you denote that several notes are to be sung to the same syllable ? (By putting the curved line over them called a slur.) When a slur is placed thus !, joining two notes on the same line, interrupted by a bar, what is it called ? How should these notes be sung ? (As one minim.) When a crotchet is to be held as long as three quavers, instead of two, how would you express it ? (By a dot placed against it.) When a dot is placed against a minim, thus ^ , what does it signify ? (That the minim is to be held as long as three crotchets.) What are the upright lines called ? (Bars.) What is their use "? (To divide a tune into equal parts.) Supposing there to be six crotchets in one measure, should there be the same number in the next ? (Yes, or as many quavers or other notes as would be equal to six crotchets.) What do the double bars signify ? What do the dots between the lines against the bars signify ? What is the name of this sign '^ ? What is its use ? What does this sign signify * 1 1* ? (That the same words are to be repeated.) What is the meaning of the words Da Capo f Of the word Fine ? What is the meaning of the letter^ ^ Of the letter /P I What is this sign P 2 What is this called O ? c2 20 FIRST LBS80N8 IN SINGING, What is this ^-^ — 'J This :;:z===" ? this ^ ? this | ? In concluding the lesson, each of the pupils should make the above signs from memory, at the dictation of the teacher upon the board, or upon their slates. SIXTH LESSON. RESTS. Teacher. — *The different signs, or characters, called minims, crotchets, quavers, tell you how long each note is to be held in singing it. Sometimes the music requires that you should leave off, and begin again ; and it is neces- sary, therefore, that there should be signs to tell you exactly how long to stop, — that you may neither wait too long, nor too short a time. These signs are called rests. This is a breve rest, A 1 1- , and is also used as a one measure or -■P^. one bar rest. That is to say, it signifies that you are to stop as long a time as it would require you to sing a breve, or all the notes that might otherwise be placed between the two upright lines, called bars. This is called a semibreve rest, , and signifies you are to wait during the time of two minims. It is also used as a one bar rest, even when there are more or less than two minims to every bar. This is a minim rest, — ^ to denote a pause equal to the duration of two crotchets. This is a crotchet rcst^ - — , a pause equal to the duration of two quavers. This, which you will observe is turned the other way, to the left, is a quaver rest, equal to the duration of two semiquavers. This a semiquaver rest — 3 — . This a demi-scmiquaver rest — S — • '^- When the singer, or performer, is required to wait more than one whole bar, or measure, a figure is placed above to denote the number of bars he is to AND THE NOTATION OF MUSIC. 21 count, before he begins, thus : 2 3 — 1- - ~ L: Questions. What are the signs called which tell you how long to be silent ? (Rests.) What is this sign called Z l 1 How long does it require you to wait ? What is this sign called- How long does it require you to wait ? The teacher proceeds in this manner through all the rests, and afterwards directs each of his pupils to make them from memory upon the board, or upon their slates. The lesson may conclude with the following exercise. zz^: :o: i: _G?! ^ on m. Far - - far, far a - way :p=P=P=»: -.trzK t ==EEE ST Far a -way from all I love, a - way. The teacher having written the above on the board, desires the class to count audibly 1, 2, 3, 4, 5, 6, 7, 8, in each measure. While they are doing this he sings the notes to the above words, pausing the proper time when he comes to the rests. Afterwards the class sing while the teacher counts. SEVENTH LESSON. THE CLEFS. Teacher. — * When music is put into your hands to sing, you will observe, at the head or beginning of the staff, this sign /n It is called tAe treble or G cle/f and signifies that the music is to be sung or performed by voices or instruments of the highest compass. You know there are various kinds of musical instruments, and there are also different kinds of voices. The fife, and flute, produce much higher, or shriller notes, than those of the violoncello, and if you take notice you will observe that the voices of females, and boys, are much * To assist the memory, it is usual to count in this manner, I 234. ^234. 3 2 3 4. 4234. 5 2 3 4, &c. 22 FIRST LESSONS IN SINGING, liigher, or sliriller, than those of iikmi. Wlien a man's voice is very powerful in the lower notes, it is termed a base* voici\ and when music is intended to be sung by base voices, or performed by base instruments, another clef or sign is placed at the head of the staff. ^ ^' This is called the hose or f clef. The reason llie treble clef is called the g clef is, that its curve line at the bottom is so placed as to enclose the second line of the statf, which is g. In the base clef, and in the other clefs, the different degrees, or lines and spaces of the staff, are not called by the same letters, as in the g clef. The same line which is called ti in the treble clef is called/ in the base clef, and thebase clef itself being placed upon that line (f ) is therefore called the f clef tj! > I will now tell you the names of the different degrees of the staff in the base clef Double base Scale. Middle base Scale. Upper base Scale. s flf?f ilSi^ ♦-* ^-* ^^ t- ABCDEFGABC D K V O A B Besides the F clef and the o clef you will sometimes meet with what is called the c clef which is written thus H . It is called the c clef, because ini whatever line it is placed upon in the staff, is intended to become c. Thus if I place it upon the middle line, which we call h in the treble clef, it is no longer h but c _^ . and all the other letters take their places accordingly. This clef is now falling rapidly into disuse; but in old vocal music it is used in three different positions, in which it is severally called the soprano clef the tenor clef and the counter-tenor or alto clef Formerly, only music intended for the upjier notes of instruments was written in the g clef, and all music intended for the voices of boys or females was written in the sopranof clef, in which the bottom line of the staff is converted into c, by having the clef placed upon it "|M" | ' "When this clef is placed upon the top line but one of the staff, it becomes • This word was formerly spelt basi, but Burrows and other modem writers spell the word as pronounced, hn.\,\ t Soprano, from the Italian word wpra, upper. AM) THE NOTATION OF MLSiu. 23 what is called the tenor clef u 4ffl= and the notes then placed upon the staflf are designed for tenor voices, — that is, for men's voices of middle compass, neither very high nor very low. When the clef is placed upon the middle line, it is called the Alto or Counter' Tenor clef designed for men's voices of the higliest pitch.* In modem music, not only soprano parts, but parts written for tenor and alto voices are all placed in the g clef. When singing an alto part, men are generally obliged to make use of the falsetto^ or of that kind of voice which was natural to them when children, and which ceases to be so about the age of fifteen, at which period boys' voices break. The highest notes of men's voices only reach to the lowest notes of women's voices, for the natural pitch of the voices of women and children is an octave, or eight notes, above that of men's voices. The lowest notes, therefore, of soprano voices, are the same with the highest notes of men's voices. When the voices of women and children are very powerful and rich in the lower notes, they are said to have fine contralto voices; the word contralto referring to the same notes as the words counter, tenor, and alto. * The following diagram represents the comparative pitch of the different voices, and the order of the different scales on a piano-forte of six octaves. It is much to be regretted that music had not been originally written upon a similar plan, in which it will be observed that a note never changes its place in the staff; the staff in this case, consisting of but three lines and four spaces, or of seven degrees instead of eleven. Sixth or highest s^^S Second Scale. First or lowest Base Scale on the Piano. Soprano, or Treble voice. Second Treble,or Con- trailo.and Alto voice. Tenor voice. Baritone or upper base voice. Base voice. ¥ G The largest organs contain no less than eight scales, but the extreme upper and lower notes are of little practical use. •21 FIRbT LKS.SONS IN SINGING, I will now (liri'ct your attention to the names of the principal degrees on the btiifT, as determined by the dilFerent clefs.' The tcarhcr cicdnt tJie board ^ aud irrites as follows'. — G or Treble Clef. F or Base Clef. i %J UABCDKFG F i^i Soprano Clef. A B c D E K Tenor Clef. I II ini 3 :S=P: ^=^pfeB^ #- • ,, U E K G A b *- T B C D E K ( A II Alto Clef. mmmsr 5 A B C D E F O The teacher now effaces the explanatory letters and words from the board, leaving only the notes, and proceeds to put the following Questions. What is the name of the sign to which I am now pointing Why is it called the g clef? (Because it is placed upon the line o.) Why is it also called the treble clef? (Because the music m that clef is generally sung by treble or soprano voices.) What are treble or soprano voices? (The voices^of boys and females.) What are base voices ? (Men's voices, very low.) What is the name of this sign -^^^~ i Why ffTf called the F clef? (Because, when that sign is usedj^the line on which it is placed becomes F.) What notes are chiefly written-«i the tenor clef? "(The middle notes of a man's voice.) --^ — * " ' ^ What notes are written in the alto ckT? (The highest notes of a man's voice.) " ^ Thc-Kmest note ujk)!! a pifflo-forteTs generally F, but the lowest note of the staff should be A ; because, as the first letter of the alphiil t-t, it would be the more easily remembered. In composing full-score music it_would still be useful to write^ upon this plan, by which the intervals and chords emplv)yed, and the merits of the composition would be much bettei undf.rstood than by the present mode. AND THE NOTATION OF MUSIC. What is the name of this simi ff ? (The soprano clef.) Why is it also called a c clef? (Because whatever line it may be placed upon it becomes c. When it is placed upon tlie top line but one, as in this instance, what is it called 4ttj- ? (The tenor clef.) ■i-i- - ? (The When it is placed upon the middle line what is it called alto clef.) Is the pitch of men's voices the same as that of females and boys ? How much lower? (An octave or eight notes.) When are the voices of boys or females called contralto voices? (When they are rich and deep in the lower notes.) The teacher then asks questions upon the names of the places of the notes in each of the different clefs: thus, pointing to a note in the base clef, he says, *' What is the place of this note ? Of this note ?" &c. &c. The lesson concludes by the teacher clearing the board, and requiring each pupil to make the signs of the different clefs upon the board, and to place a note upon «, 5, t note of the next bar, as in the instance of the NationeJ Anthem : Down, right, up, down, right, up, down, ri^^ht, up. One, two, three, one, two, and tlii-ee, one, two, three down, rijjlit, up, down, right, up, down, right, up. §?3^ t^^ :t <3-^ one, two, and three, one, Iwo, three, one. AND THE NOTATION OF MUSIC. 27 (The Teacher should sing the air, heating time with his arm as directed. J To keep time by counting, the rule is not always to count four to a semi- breve, because it contains four crotchets, but to count one, two, three ; or one^ two, three, four; or one, two, three, four, five, six; according to the number of notes contained in a bar. In some airs it is better to count six than three ; in others, eight than four. When we are singing the words of an air, it is impossible to keep time by counting, but we must do so when we come to a rest; and when singing for eflfect, or to enjoy the music, this counting must be done mentally, or so quietly to ourselves that it can be heard by no other person. In order to learn the time of a new air, and the exact duration of each of the notes, it is desirable to sing it through first, not to the words to which it may be set, but to the words — one, two, three ; or one, two, three, four, five, six. Let us now do so with the National Anthem, singing, as I have just done, for the first bar, one, two, three ; and for the second bar, where there is a dotted crotchet, one, two, and three, and so on throughout the tune.* (Here the teacher and class sing as directed. J I must now explain to you the meaning of the characters called time signa- tures. But first let me tell you that all the characters at the head of the staflT, ^^-^ such as the clef, with flats and sharps, in different tunes? -/^-^ — » are called the signature of the music, and hence certain other characters, also placed at the head of the staflT, are called time signatures. These are, first, the signature of what is termed slow common time, (J* This character indicates that every bar contains one semibreve or four crotchets, which are to be performed slowly. The same character with a line drawn through it is called quick com- mon time, (L . It signifies that there are the same number of crotchets or quavers in every bar, but that they are to be performed a little faster than in common time. •^^shows that every bar contains ivfo fourth parts of a semibreve. -q- denotes 9 that every bar contains six eighth parts of a semibreve. — that there are nine sixteenth parts of a semibreve in every bar. The upper figure shows the num- ber, the lower, the value of the notes. As the fourth part of a semibreve is a 2 6 crotchet, — therefore means two crotchets ; and by the same rule means six 4 8 * It will be found that there is no better method of teaching children to sing the National Anthem in correct time than that of first making them sing it to the words one, two, three, and in every other bar, one, two, and three. It is here selected as an exercise, because, although it appears simple, it is really a very difficult air in respect to its time, on account of the dotted crotchets, which are never held sufficiently long by children, when they are made to sing this air in schools. 28 FIHST LESSONS IN KINGING, (juavers, — ^j^g semiquavers. — is called the sign of trijjie time^ and — the sign of compound triple time. 3 —means tliat there are three t no parts of a semibreve in every bar, or three minims. All these time signatures are supposed to indicate not only the number of notes in each bar, but where the accents are laid ; but they do this very im- perfectly ; you will find that both in — and — time, the accents sometimes lie upon the 1st and 4th notes, and sometimes upon the 1st, 3rd, and 5th notes. We have sometimes to count 1 2 3 4 5 6, and sometimes 12^ 4 O 6. It may also be observed that the time signatiu-es give no notion of the real or clock time of a composition. They indicate that the music is to be performed quickly or slowly, but do not determine the exact degree of quick, ness or slov/ness required.* For this purpose an instrument, upon the principle of the pendulum of a clock, is used, called a Metronome .\ • On this account the German composers are beginning to omit altogether the time signa- tures, anexample which should be generally followed, as tending greatly to simjtlify the notation of music, by removing much which is very troublesome (to children especially) to learn, and yet very unimportant, if not quite useless. It is as easy, when speaking of the time of an air, 3 3 .3 to say three crotchet time, or three minim time, as — r time, or —• time ; and as neither -7- 3 nor — indicate with precision how many figures to count in each bar, the composer should explain it at once, at the head of the staff, by saying. Count 6 #, or count #, indicating at the same time the exact duration of the crotchet or quaver by the metronome. t The teacher should take another opportunity to explain, that Maelzel's Metronome, the instrument used for measuring the real or clock time of a composition with accuracy, consists o an upright rod which is made to oscillate, or vibrate, to and fro, as quickly or as slowly as maj be desired. The vibrations are regulated by a weight, that slides up and down the rod. which is so graduated that when the weight is fixed at 160 the rod vibrates 160 times in a minute; when at 60, only 50 times in a minute. These instruments are usually constructed so as to produce at each vibration a sound like the ticking of a clock, and are very expensive ; but, as the clock-work is quite unnecessary, a metronome may be made that will answer every purpose, at little or no cost. Take a yard and a half of fine string, and fasten a bullet or any small weight to one end, liolding the other between the thumb and finger. The string is then a pendulum, like the pendulum of a clock, and its vibrations will be quick or slow in proportion to its length. We have elsewere (page 55) given the sralc by which a string pendulum of this kind should be graduated. This scale should be transferred (at full length) to the wainscot of a wall, by means of whiih the master or pupil might always meafiure his string in a moment, without having to seek for a foot rule. AND THE NOTATION OF MUSIC. 29 Questions. What are the accented parts of a tune ? (Those parts which have a more marked and emphatic character than the rest.) Can you tell me where to find an accented note ? (The first note in every bar is always one.) What is time in music? (Giving to each bar or measure an equal duration, when singing it.) How should we keep time? (Sometimes by beating and sometimes by countmg.) When I keep time by beating, upon what note should my hand always fall ? (The first note in every bar.) What are the clefs, and sharps, and flats called, at the head of the staff. ? (The signature.) What are these characters, C> (p' "t j called? (Time signatures.) What is this sign called, C ? (The sign of common time.) What does it signify ? (That there are four crotchets in a bar, to be per- formed slowly.) What is this sign, Cp ? What does it signify ? 3 What is this sign called, ■— ? (The sign of triple time.) What does it mean ? (That there are three crotchets in every bar.) What is -3- called ? (The sign of compound triple time.) 8 What does it mean ? (That there are six quavers in every bar.) 9 What does rr signify ? (That there are nine semiquavers in every bar.) 3 What does — mean ? (Three minims in every bar.) The lesson concludes by the pupil being required to make these various signs on the board or on their slates from memory. It may be desirable to remark, as many persons are not aware of the fact, that, if the hand be held steadily, whatever may be the swing of the pendulum, while it remains at the same length, the vibrations will always be of the same duration, passing the centre at the same moment, until they cease. o r When, at the head of the staff, the pupil sees | M 50, or I M 100, these marks mean that each minim or each crotchet is to be held as long as it would take a pendulum to swing once, at the rate of fifty vibrations in a minute, or one hundred vibrations, as the case may be. PIR8T LESSONS IN SINGING, NINTH LESSON. INTERVALS. Teacher. — ' Tlie distance between one note and anotlier, considered as sounds, is called an inter tal; a tone and a semitone are, therefore, iniertaU. But as there are greater intervals than these, it is usual to describe them by numbers ; thus we speak of the interval between one note and that on the next degree as a second; the interval between the first and third note is called a third; that between the first and fourth is called a fourth^ and so on, counting upwards or downwards from the lirst note. The interval of the eighth is called an octace. We will now sing through the intervals with which it is most im- portant you should be. familiar.' Here the teacher puts the following notes upon the board, and sings them with the class to the words placed underneath the staff, taking care, if his own knowledge of music be imperfect, to assist himself with a flute, a pitch pipe, or some other instrument, that the notes may be sung quite correctly. A second, a third, a fourth, ■-T=^ :1=i-^=::lr z:c5: ^^ T=^ One, two, one, two, three, one, three, one, two, three, four, one, four. a fifth. 5=^7 5^ :S=?Ci&: a sixth one, two, three, four, five, one, five, one, two, three, four, five, six, one, six, a seventh, one, two, three, four, five, six, seven, one, seven, ■^■=^-1 is—S- an eighth. e> — n ::; -/=^ one, two, three, four, five, six, seven, eight, one eight. 2\\icher. — * I will now sing the same intervals, counting downwards,* Here the teacher places upon the board the following notes, and sings them '♦h the class as before : — ANll THE NOTATION OF MUSIC. A second, a third, a fourth. asii^i^i^^ One, two, one, two, three, one three, one, two, three, four, one, four, 31 a fifth, a sixth, i :lP ^E '— C^- -c^- ■/->• fzozr: o \J one, two, three, four, five, one, five, one, two, three, four, five, six, one, six, a seventh, i t -^- -^- one, two, three, four, five, six, seven, one, seven, an eighth. :q— I "^ one, two, three, four, five, six, seven, eight, one, eight. Teacher. — * When music is put into your hands with which you are unac- quainted, you will often find yourself at a loss to determine the exact sound which belongs to the written note ; but you will observe, from the exercise I have just given you, that it will never be very difficult to find out what sound is meant, by running through all the intermediate intervals, as we have been doing, until you come to the note to be sung.' Before the intervals, ascending and descending, are effaced from the board, they should be sung by the class over and over again, the teacher always pointing to the notes as they are sung, — afterwards each pupil of the class should sing them individually ; but if too diffident, two or three of the pupils may sing together ; the object being to fix the attention, and ascertain the pro- gress made by each. This lesson should on subsequent occasions be frequently repeated. TENTH LESSON. METHOD OF SINGING THE INTERVALS WITHOUT RUNNING THROUGH THE IMTERMEDIATE NOTES. Teacher. — * In reading music you will find that there are some intervals which are much easier to be sung than others. The most easy are the intervals 3*2 FIIIST LESSONS IN SINGINfi, arisiiiL:: oni of wliat is called the common chord, or the tliird, fiftli, and eighth, counting ii|)wards, and the fourth, hixlh, and eighth, counting downwards. The teacher directs one of the class to write from dictation, notes in the following order, which the class afterwards sing, first altogether, and then indicidualli/. One, three, five, eight, one, four, six, eight. Teacher. — * The easiest interval to raise with the voice, is that of the eighth or octave, and the reason is that the eighth is precisely the same note as the first, excepting that the one is of a higher pitch than the other ; one heing what is called grave, and the other acute. We will now sing an exercise in octaves, rising and falling. fep^iiii C - C D- D E-E F -F G- G Teacher. — ' Thus you will perceive, that when one note is exactly the eighth from another, there is no difficulty in finding out how to sing it. And this knowledge of the facility of raising an octave will help you to sing the other intervals. For instance, the interval of the seventh. This is one which you will not learn to sing at sight without considerable practice, but when you come to it, you can always find out the sound to be sung, by fir«t singing the octave, and then descending one degree, thus fe One, eight, seven, one, Pi. and the same in fall ■ ^ -^ -^- One, eight, seven, one, seven. Questions. What are the easiest intervals to sing? (Those of the common chord, the 3rd, 5th, and 8th.) Which of those intervals is the easiest? (The 8th.) Sing the eighth to the sound c Here the teacher pitches the note, and the class sing the octave to it without his assistance. The same with d, e,f,g. The lesson concludes by the teacher effacing the notes from the board, and AND THE NOTATION OF MUSIC. 33 desiring first one and then another of the class to write upon the board in crotchets, the third to c, the fifth to c, the eighth to c, tlie seventh to c, &c.; so that, although they may begin at first by counting the intervals, they may learn ultimately to name them at a glance. He then, pointing to b, says, " What interval is this note from c '? (A 7th.) What interval is A from c ^ (A 6th), or questions to the same effect. ELEVENTH LESSON. INTERVALS CONTINUED. Teacher. — * The easiest intervals to sing I told you were the third, Ji/ih, and eighth ; but the intervals of \\\q fourth, sixth, and eighth, are not very difficult, and when you have learned to sing them, you will have obtained a tolerable notion of the method of finding out what sound is meant by any note which you may see upon the staff,' Here the teacher dictates to one of the class the following notes, which, v*hen written upon the board, he directs the class to sing. In this exercise it is im- portant that the difference between the third and fifth, and fourth and sixth, should be accurately marked, and unless the teacher have a very correct ear, it is absolutely necessary that he should make use of an instrument in pitching the notes. i* =i=i= E i ?^ one, three. Jive, eight, one, four. eight. one, four, six, eight, one, three, five, eight. These exercises should be sung over and over again till each pupil in the class can sing them perfectly. The board is then cleared, and the teacher places upon the staff tlie following notes, which he desires the class to sing. i w 1 E -^- '^ Far from my heart vain world be - gone. Teacher to one of the class^ — *Rub out the last d, and insert a mirdm in lower D. 3» FlUST LK^>SoNS i.\ siN(.i.sr; ?=f- — ^ ' oi — Far from my heart vain world be - t^one. Teacher to the class. — ' Now sing it, taking care to fall an octave ui)on the last note.' Teacher to one of the class. — lUib out every alternate note, and insert in its |tlace a note upon E. Fur from my heart vain world be - gone. Teacher to the class. — ' Sin^ as before.' Tlie teacher continues, upon the same plan, to cause further changes to be made in the position of the notes, and to direct the class to sing them to the same words. The following changes may be made, none of which will be found very difficult exercises to sing, even without the assistance of a teacher. ft. #=f: W:^^ Far from, &c. i n ^^E=«=^ ;E~t=E :oi. :^: 't- ;3^5 r -ff \ ^ — • — d — f— f 1 ^— • ^ ■ bzzip — [ "— 1^:= -I — I— ^if— - c> # — •- -^ ^— /— /— h :*= ^ — jp dznz AKD THE NOTATION OF MUSIC. 35 -o^- % ^i^^eS^3^ =^ 1 I I ^—-W- • • EEEEE^ e>- '#= o^ :=^ • i — ' ^ The teacher's knowledge of music, and experience with his pupils, will suggest many other variations of the same lesson, which, in one form or another, cannot be too frequently repeated. TWELFTH LESSON. INTERVALS CONTINUED. Teacher. — * The present exercises, like the last, are designed to facilitate your progi-ess in learning to read music at sight, and further, to enable you, when a number of notes are joined together, in one movement, to sing each note with distinctness.' L — ^ ^^^ J=1: :oi Far, far a - way, a - way, a way. !iipif^=1: a - - wav a - - way. D 2 36 FIIIST LESSONS IN SIN(.lNO, ±1 — FR-t^ ^ •=i=p: :J=:t Tar - way, far - a - way. pi^gpi. fur a - way. A - - way, a - - way, a • ■-# '^^^^^^^mi a - - way, a - - way, a - - way, - a - way. This lesson may conclude with sometimes one, and sometimes another of the following exercises, the teacher assisting the class, in the first instance, with a flute or some other instrument. THIRDS. PS^ 1 — f- Hi One, three, one, three, :11: one, three, one. EiE^ ■*zt^£ ^m One, three, one, three, :fl:. <3- one. throf, one. FOURTHS. :3: -:±| *=p|lf^ -M- Onc, fuur, one, four, unc, fuur. o'le. AND THE NOTATION OF MUSIC. 37 ^f^^tii^^-^^i. One, four, one, four, :||:. one, three, f.)ur. FIFTHS. L ^=t -iz=^: :i:=t:; '^^, m One, five, one, five. :ll: one, five, one. f E^ :^: ^=t * li. One, five, one, five, one, two, five. SIXTHS. i=^§3^i3^ :q=p: il One, six, one, six. one. i :F^: :1: :p=4 ?E5 p=*; *-^ --?: ;Q| One, six, one, six, :||;. one, SIX. one. SEVENTHS. i -^ T^ -^^- -€^- :^ i^ 3: -^- I %y One, seven, one, seven, . :|I; • • 38 FIRST LEMONS IN SIKGINO. P ^X XX ^ o C^ 1-^ CL <>-, <2: ^>- One, seven, :il: one, two, three, four, five, gix, seven. OCTAVES. i w ^^ <3- T3J :±fc :^ <^- :o: -O- <^ One, eight, one, eight. ■=t -^ c:> -<^- -^3- T^ :m: ^^ One, eight, one, eight. Exercise in minor or Hat thirds. $ :i— *— •— ■ One, two, three, four, :;j: p 0-—W- One, two, three, four, Exercise upon various accidentals* f <^ ^Jti Ezi^ ^^^-c: >— "^ <>: One, two, throe, four. • When flats, sharps, or naturals are introduced without being in the signature at the head uf ll'C bUiff, they art- called accidentals. AND THl'] NOTATION OF MUSIC. 39 one, two, three, one, two, three, four, ri|o^|^zo^=j= one, two, three, four, one, two, three. THIRTEENTH LESSON. THE DIATONIC, AND CHROMATIC SCALES, AND KEYt. Teacher. — ' You have already learned that the seven letters, «, 5, T LKSSUNS I.N SINGING, :q~ •=Q: t You will observe that, for reasons which you have had now exj)laine(l, the signature otthe stalF contains two sharps, signifying that F and c are to be each raised a semitone. If we had begun a scale upon c, there would have been no sharps in the signature ; but take care to remember that music is so written, and instruments are so tuned, that the interval between e 7iatural amd vnatural^ and between b natural and c natural^ is always a semitone. Questions. How many sounds are there in music ? What are they ? What is the 8th note ? (The first over again in the scale above.) What is the 9th ? The 10th? The 11th? How many notes are there in the Diatonic scale ? Wliat is the meaning of the term ? (A scale consisting chiefly of whole tones.) Chiefly or entirely ? (Chiefly.) How many whole tones, and how many semitones does it contain ? What is the position of the semitones? (Between the 3rd and 4th, and 7th and 8th.) What other name is given to the Diatonic scale ? ( A key.) By what name is one key known from another ? What note is called the key note? Why is the key of c sometimes called the natural key ? What is the Chromatic scale ? (A scale consisting entirely of semitones.) What is the name of the interval between E natural and f natural— a tone or semitone? Between b natural and c natural ? (A semitone.) Between A natural and B natural ? Between c natural and d natural? The lesson may conclude by the pupils being required to write from memory upon their slates, or upon the board, the Chromatic scale. FOURTEENTH LESSON. MAJOR AKD MINOR KEYS. Teacher. — * Diatonic scales, besides being called keys, are also termed major keys^ to distinguish them from minor keySy which I will explain to you presently. Now as not only each of the seven natural notes, but each of the half notes betwein them, may become the key-note of a Diatonic scale, there AND THE NOTATIOiN OF MUSIC. 43 are altogether twelve major keys, each of which is known hy a diflereiit signa- ture on the staff. I will now show you on the board the signature of eacli of these keys, and you must copy them on your slates as I write them. Signatures of the twelve Major Keys. li D b F. " G. aI> a. Bb B. " In each of these major keys, the notes bear one uniform relation to each other. The tones and semitones are always in the same places — that is to say^ the semitones are always between the third and fourth, and seventh and eighth, counting from the key note, and the remaining intervals are whole tones. In what are called 7ninor l^eys, the first semitone is between the second and third, mstead of between the third and fourth. In other words, the third is minor instead of major. To' make the distinction between major thirds and minor thirds perfectly clear to you, let me again illustrate the subject by a diagram. Major third. Minor third. E, — m — ^3 J, I •TNI C\ D| 12 ] 1 1 1 1 1 C" — •-- ^1 cU Jl Two whole tones. One whole tone and one semitone. "When the melody in a minor key does not ascend higher than the sixth, the sixth also is minor — that is, half a tone lower than in major keys. Minor keys are used for the serious and plaintive kind of music, while cheer- ful music is always written in major keys. To show you that the minor keys are adapted for the expression of grief or sorrow, let us sing a short exercise in the key of a minor. (The teacher writes upon the hoard, and the class sing the following : J ^hat other name is Questions. Besides the term gamut for ihe Diatonic scale or key, given to the same series of notes ? (Major key.) Why is a Diatonic scale called a major key ? (To distinguish it from a minor key.) 41 MUMT J.E880N8 IN SINGING, What is the cliiei" difference between major and minor keys? (Tlie third is minor instead of major.) Is there any otlier interval minor in minor keys ? (Yes ; tlie sixth, when the nnisic does not ascend higher than the sixth.) Wliat keys are used for cheerful music ? What for i>laintive music? How many major keys are there? This lesson may conclude by the teacher requiring each of his pupils to write on u slate or on the board, from memory, the signature of the following keys: — c, i>, E, F, G, A, B b. As the other keys are comparatively but seldom used, the pupils need not be required to remember them in this stage of their instruction. FIFTEENTH LESSON. SIGNATURE OF MIXOR KEYS. Teacher. — ' As every scale may be played or sung with the semitones be- tween the second and third, and fifth and sixth, instead of between the third and fourth, and seventh and eighth, there are, of course, as many minor keys as major keys — that is to say, twelve of each. You must now, in order that you may know when music placed before you is written in a minor or in a major key, learn the signatures of the minor keys. The signatures of the minor keys. ■feiliiiiiiiif^^f D5 G. Gi? Tcachei. — *Vou will perceive that the signatures of the minor keys are the same as those of the major keys, although the key note is different; and this similarity, if you are not very careful, will cause you sometimes to confound them together. Thus you observe the signature of A minor is the same as the signature of c major ; the signature of g minor is the same as the signature of fib major. To find out which is which, you must attend to the accidentals. ANL? THE NOTATION OF MUslC. 45 Here I must explain to you that the signature of minor keys is always written on the supposition that the melody does not ascend above the sixth. Thus in A minor no Hats or sharps are put in the signature, because none are rctpiired up to F, the sixth. But when the melody ascends to the eighth it is necessary to make the sixth major, and also to raise the seventh a semitone, or otherwise the etlect to the ear would be extremely unpleasing. Let me show you a minor ascending only to the sixth. :4rz=T=:; !=Ei In this example you would not easily find out whether the key be c major or A minor ; but the case will be different when the melody ascends above the sixth. A minor ascendinj to the eighth. C major ascending to the eighth. |ipg^i|^^.^s You observe there is a sharp, or accidental, upon the sixth and- seventh of a minor, but none in c major. The sharps, therefore, or accidentals, in this case enable you to determine that the key is minor and not major. In the same way you may determine whether a key is in g minor, or b p major, and so with other keys. G minor. B ^ major. .^.jft. g^iil It is remarkable that the melody of a minor key, although in ascending to the eighth, it requires that the sixth and seventh should be raised, descending from the eighth, the same notes are required to be lowered, and restored to their former state. I will give you an example which you may sing to the words, one, two, three, four, five, six, seven, eight. G minor. =i?^te=5^=n-^ 1=^-H- KJ One, two, three, four, five, six, seven, eight. 4(i fir<;t lessons in sincjing, One, two, three, four, five, hix, seven, eight. When a minor key has the same signature as a major key, it is called the rehitice rfiinor of that key. Thus in the instance hefore us, g minor is called the relative minor oI'b [^ major. Questiojis. May every scale be played or sung with a minor instead of a major third? (Yes.) How many minor keys are there ? (Twelve — as many as major keys.) Are there any flats or sharps in the signature of c major? (No.) Are there any in the key of A minor ? (No.) When the signature of a minor key is the same as a major key, how do you fmd out whether the key is major or minor ? (By observing whether there are any accidentals upou the sixth and seventh of the scale.) What is meant by the relative minor of a major key ? (A minor key that has the same signature with the major key.) What is the relative minor of b b major ? (g minor.) The teacher proceeds to require each of his pupils to write upon their slates, or upon the board, from memory, the signature of the different minor keys, but chiefly the keys of A, b b, c, d, Eb, and g. To assist them in doing this, he may further explain that the key note of the relative minor is always a minor third below the key note of a major key with the same signature. So that the signature of a minor, or b minor, may always be known, if we bear in mind that it must be the same as the signature of the major key, a third above ; for example : — Key notes ivith their Signatures, As the junior pupils will seldom have to sing music written in minor keys, they should not be detained too long over this lesson, because, in all probability, it would be forgotten long before it could be of any practical use to them. The older pupils should study it attentively. SIXTEENTH LESSON. THE KEY NOTE. Teacher. — ' When you have a piece of nmsic put into your hands to sing, AND Tin: NOTAFION OF MUSIC. 47 and you have no instrument to accompany you, and no leader to help you, the first thing you should do is to find out what key it is in, and the next, to sing the key note by itself; for if you once get the key note well in your ear, so as to fasten it upon your memory, it will help you greatly to sing all the other intervals of the scale correctly. When you are puzzled by the signature, and cannot make out in what key the music is, you may always find the key note by looking at the base, when there is one. It is a rule in composition that generally the first, but always the last, note of the base shall be the key note.' Here the teacher should exhibit different pieces of music with a base^ and desire his pupils tojind out^ by this method, the key note. Teacher. — ' In order to pitch the key note right, it is customary to make use of a tuning fork.' The teacher should exhibit a tuning fork ; or, if one cannot be procured^ a pitch pipe, or some other instrument should be obtained for the following exercises. Teacher. — ' The note given by a tuning fork is generally c ; but if you hear c it will help you to find out any other note which may happen to be the key note. For example: suppose the key note to be d; if I play c, you can easily find out the right pitch of d, because it is but the next note. The teacher plays c, and the class sing, first c, and then d, as follows: — t ©1- :^: Suppose the key note to be e ; I will play c again, and do you sing e. i w Now having found out the key in this manner, by means of a tuning fork, we have next to find out what is the first note of the tune, or part, to be sung in the music placed before us ; whether that note be the same as the key note, or some other. Suppose g to be the key note, and the part we have to sing begins upon d. Let me hear if you can sing d correctly, if I give you the key note G. Remember d is the fifth of the key note/ The teacher plays c, and the class sing as follows : — »=]=i -^ %J The lesson may conclude with any of the customary school songs or vocal exercises ; the teacher singing first the key note, and desiring his pupils to pitch, themselves, the note on which the part they have to sing begins. 48 FIIIST LF.SSOM8 IX SINGING, This practiro sliould be fulloweil, generally, with all the school music, when- ever a cliuis ii> about to cuniiunice sni«Mn:r. SEVENTEENTH LESSON. HARMONY — SINGING IN PARTS. The class must be divided into two bodies, one half forming to the right, the other to the lell, but all facing the board. The teacher explains that those to tlie right are in future to sing the part written for " first voices," and those to the leit to sing the part written for " second voices." In dividing the class, the teacher will be careful to select for second voices generally the elder pupils, whose voices are the most powerful in the lower notes. He will also see that a clear space, of standing room, be left between those who are to sing the fust and those who are to sing the second ; other- wise, the two divisions will become confused, and one will be apt to sing the other's part. When the second voices are heard to be louder than the first, their number must be diminished, or the number of the first voices in- creased. Teacher. — ' As you are about to take a lesson in harmony, I wish you to imdersuind the difference between harmony, and melody. Every air or tune heard by itself is a melody, but wlien two or more airs are so arranged as to produce a pleasing effect if performed together, they constitute what is called harmoiuj. Two or more sounds heard, not in succession, but at the same moment, form either a concord or a discord. AVlien the effect is good, it is called a concord; when the sounds jar, and grate upon the ear, they are termed a discord. Questions. Wjiat is a melody? What is harmony ? What is a concord i What is a discord ? (An air or tune of any kind.) The teacher then dictates the following notes to one of the class, by whom they are written upon the board, after which ihey are sung ; the first voices singing the notes upon the upper staff; tiie second singing tiie notes upon the lower staff. M \st Voices. ZZ_~cjr Far, far a • way, 2mi Voices. far, far a "C3 wav, t^^_oz^ far. far - way, dz= = Far, far a - way. I <=:>- fir, far far. far way. AND TIIK NOTATION OF MUSIC. 49 When the above three exercises have been sung perfectly by the class, tlie board is again cleared and the foUowino: notes substituted. ]st Voices. -O C3- .^_ ^^i=^ <^ Far, far a - "vray ,2nd Voices. far, far a - way. ! \st Voices. i^^i:^ :^=^ -^- Far from my heart ^2nd Voices. be - gone :^ -^— c^ -^— oh Far from my heart vain world be - gone The lesson may conclude sometimes with one, and sometimes with another of the exercises of the precedmg lessons. The pupils having arrived at this stage, are sufficiently advanced to sing with more or less facility from written music. They will not indeed be able to sing music, new to them, perfectly at sight, without any assistance from the teacher, or from an instrument ; but such a degree of proficiency is only ac- quired by long continued practice. The ear must be continually accustomed to nice gradations of sound, or the difference between one interval and another will not be retained by the memory ; and the eye must be equally accustomed to connect those intervals with the written marks on paper, or the notes on the staff will not always recall lo mind the precise sounds which they are intended to express. On this account it is of great importance that the pupils, even before they are thoroughly conversant with all the preceding lessons, should begin to sing from written or printed music. Copies should be placed in their hands of the simplest school songs which they have been taught by ear, in order to establish an association in their minds between the sounds with which they are already familiar, and the notes before them. By these means children will r>0 FIRST LKSSOX8 IN SINGING, begin to feel their way, an^z:^- :i Another fault to avoid is, singing with your mouth nearly shut, and your teeth quite closed. Even in singing the close sounds, such as c, D, g, you should keep your teeth as far apart as you can possibly do, consistently with distinct articulation. Every sound is to be rendere'd as full and round as possible ; but remember especially, that in singing, every word should be as correctly and as distinctly expressed, as if you were speaking. No display of skill or science in the exe- cution of difTicult passages will compensate for the want of a good enunciation. Unless you sing so as to be understood, you degrade the voice to a level with an instrument. The great superiority of the voice over a flute or flageolet is, that it can not only give utterance to sweet sounds, but make words of them, so as to express a meaning which the sound alone would not convey. But there is no fault more common, even among those who think themselves good singers, than that of expressing their words so indistinctly that their meaning is whollv lost.* Remember, also, that too much attention cannot be paid to the P's and F's, or to the words Piano and Forte, so that you may not sing an air, throughout, in an even monotonous tone, but improve the efl-ect by singing some parts • This fault is often greatly increased by sinking mu>ic to Italian words, to the meaning of which an English audience is always indifferent. A very young pupil should, therefore, learn to sing well words in his own language before he attempts any other. AND THE NOTATION OF iMlSlC. 53 much more softly tlian others. When all the notes are sung equally loud, the music is as defective as a painting would he without light and shade. When you have no guide to tell you what notes should he sung more em- phatically than others (for sometimes the F's and P's are wholly omitted), you must then he governed hy the sense of the words. Thus, if you come to tiie word " grief," or " sorrow," you should sing it softly ; if to the word "joyful,'* or "triumphant," you should sing \t forte. The same rule applies to alterations of the time, which are often not marked : when the words are of a plaintive character, the music requires to he comparatively slow ; when of a cheerful character, quick. In all slow music it is of great importance that every note, however loud in the middle, or even at the beginning, should die away towards the end ; other- wise, the sudden cessation of the voice, excepting in the peculiar case of a staccato movement, will produce a very harsh and unpleasant effect. Gene- rally, every long note should be soft at the beginning, loud in the middle, and soft at the end, as if the crescendo and diminuendo sign were written over it — We will now sing through the gamut, increasing and diminishing the power of every note. Remember that you are to begin each note with your voices sunk to a whis- per, that they are to swell in the middle, and die away quite softly at the end. <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> <> ^a-^-" ■ ^ ; ° Q o,g^ Do re mi fa sul la si do do si la sol fa mi Sometimes you will see this sign, ^, written over a note. It stands for TR, which is an abbreviation of the word, trill, or shake. A shake signifies the sliding from one note to another several times with great rapidity. If I write down two notes, b and c, and place a shake over b, ~^ — ^ C3 ^ they require to be performed thus : — ^: 'II''''' * ^1 — ' : — ^^==^— I — The teacher must not expect the majority of children under fourteen years of age to learn to sing a shake perfectly ; and as it is not required in choral music, he will do well in most cases not to lose too much time about it, but, after explaining it, proceed to more important lessons. A few, however, of the pupils, who may show the greatest aptitude in music, may be taught the shake ; to learn which it is simply necessary to begin sing- ing the two notes forming the shake at first very slowly, gradually increasing their quickness after the following example : — FIRST LKSSONS IN SINGING, :o»: ■■t Id -co- i Teacher. — * Besides the musical characters or signs which you have now learnt, there are a number of Italian words of which it is necessary you should know the meanin"-, as they are often given, as directions to the singer, for the time. Adagio signifies a slow, solemn movement; Largo means very slow; Lar(/hettOj not so slow as Largo; Andantino^ rather slow and graceful; Andante not so slow as Andantino ; Allegretto and Modcrato^ in moderate time — not very fast nor very slow ; Allegro^ rather quick and lively ; Vivace (pronounced vevarchayj^ quick and animated; Presto y very quick; Prestis- siinOj as quick as possible.' Qiiestio?is. What was the first fault I told you to avoid ? (The habit of drawling in singing.) ^ ^ What is the name of the little note placed against the minim c (The appoggiatura or grace note.) What other fault were you told to avoid ? (That of singing with the mouth shut, and the teeth closed.) In what does the superiority of the voice over an instrument consist ? Is there any other fimlt that I told you to avoid ? (That of singing in an even monotonous tone.) What are the signs to which you should pay particular attention ? (The F and P.) Should the word grief or sorrow be sung piano, or forte.? Sliould plaintive or sorrowful music be quick, or slow? What is this sign called ? ^. What is the meaning of the words — Adagio Largo Larghetto Andantino Andante Allegretto Moderato Allegro Vivace Presto Prestissimo. GRADUATED SCALE, For a String Pendulum^ or Cheap Metronome. 50 LENGTH Number of H jiidrcJt Vibralium. Inches. of an 11 50 56 44 51 54 25 52 52 19 53 50 24 54 48 40 55 46 65 56 45 57 43 43 58 42 59 41 85 60 39 20 61 37 93 62 36 71 63 35 56 64 34 45 65 33 40 66 32 39 67 31 45 68 30 52 69 29 64 70 28 80 72 27 22 74 25 77 76 24 43 78 23 20 80 22 5 82 20 99 84 20 86 19 8 88 18 22 90 17 42 92 16 67 94 15 97 96 15 30 98 14 69 100 14 11 104 13 5 108 12 10 112 11 25 116 10 49 120 9 80 124 9 18 128 8 61 132 8 9 136 7 63 140 7 20 144 6 80 148 6 44 152 6 10 156 5 79 160 5 51 Explanation of the Diagram, When the pendulum is required to swing at the rate of fifty times in a minute, its length must be 56 inches and 44 hundredth parts of an inch. When it is required to swing as rapidly as at the rate of 160 times in a minute, its length must be shortened to 5 inches and 51 parts ; &c. 60 FIHST LESSONS IN SINGING, VOCAL EXERCISES. The following simple canons, and two part harmonies, are designed as vocal exercises, to follow, or, to be included in, the preceding lessons. Eiich canon, and duet, is to be written on the board, and the pupils are to learn the air or melody well first, before they attempt to sing it in parts. No. 1. *' Time and Tide: (A Canon.) Count 4^ Time and tide will wait for no man, time and tide will 3^: ^ ^^ Time and tide will wait for no man. In singing the above, the teacher directs the second voices to count, 1,2, 3, 4, silently, while the first voices are singing the first bar. The canon may be repeated several times. As a signal when to stop, the teacher holds up his hand about the middle of the air, and lets his hand fall when either the first or the second voices have come to the last note. All the voices should cease together, although some must necessarily end in the middle of the tune. This canon is sometimes sung to the following couplet, adapted for young children : — "Idle folks, who spare their trouble, Always make their labour double." In German schools the same canon is sometimes sung to the word, " Halle- lujali !" No. 2. " Love of Truth. (A Canon.) Count 4 :1 -t3- -*-* <^ =»=i-^ -•— #- C^-^ Love of truth guide my youth, From my heart ne'er de - part, Love of truth, -#— #- — i ^ « -^-& ]^Ei Love of truth guide my youth, From my heart ne'er de-part« The above canon is also sung by junior classes to the words, " Little strokes fell great oaks." AND THE NOTATION OF MUSIC. 57 No. 3. Count 3 r *' Your Patience and Prudence^ (A Canon.) (From Musikalisches Schulgesangbuch.) m= -• — •- ■M 4 •: Your pa-tience and pru-dence will not be in Your pa-tience and -C3l vain. They'll help you to con-quer a - gain and a- 4ZIZM. 3^EdE pru-deace will not be in vain, They'll help you to ■^- t=:^=ii *=i: gain, your pa - tience and pru - dence will ^=1=i *:=«=£: 3^i^ ::]: con - quer a - gam and a - gain, your No. 4. " Love your Neighbour .'' (A Canon.) Count 4 f P=F Love your neigh - hour, Live by la - bor. =1: ^^ -t i -; r- Love your neigh-bour ■^ :M-M: ■l^ -0 — •- ■t would you pros-per that's the way, Love your neighbour t= I tzit: tiliMizzM: ^^- Live by la - bor would you pros-per that's the way. 6S No. 5. FIRST LESSONS IN SINGING, '• Lost Time." Count 4 f 2#=i^ z'J 1^3: -o- -e>- Loht time \& ne - ver fuund O gain, Ji :t C3 :^ ^>- XS" 32: Lost time is ne - ver found a - gain. tm w C3 t3I 0> — c?^- X5: -^ lost time is ne - ver found a gam. X O- cjr =1=4: <^ -Ci. O :^:>: <> "c> lost time is ne - ver found a gam. No. 6. " i?^ 2/ow to others Kind and True.'' Count 4 r ^^' V- g c -^ Be you to o - thers kind and true as V I =: :4: -*—— * — « — r 4 ^ ■ ^ — y • # A- icn*: V^F^ you'd have o - thers be to you, And ne-ver do nor !=f^f=f^fig^^^^ Az, g P=p: -# — •- ItfZZIC -K- -# — •— e>- '^- buy to men The thing you would not take a - gain. f^:^- 4—4—m —^\ I i — ^ — ^ ^— r-o AND THE NOTATION OF MUSIC. 5.9 No. 7. He that would thrive. \ Count 4 ^ xj^pilt c^" ^— •-^•- o He that would thrive Must rise by five -•-M- -^— I — /- He that would thrive Must rise by --^- roizixp: SE5 ^— ^ ( He that has thriven may lie till seven: i -^^- z^lW^Wi ^^- five. He that has thriven may lie till seven. No. 8. " Abroad, at home.** Count 4p \ JSTpB ■=3s; S5Ep"= ^- ^ ^Ef=^ T3 I H — ^ ^i<- ^^s? A-hroad at home, Where'er we roam, What-e-ver ills he -tide, Still P-# -h:-4 '-*■ ^E^^.^g^g -hi — ^ pziin <^ '/ !^— f rj 1 r-3 1— pzi^ ^^q^ -ha h ^^qv^ :*:=?; -£31- har-mo-ny, And u - ni - ty, And love shall be our guide. M=:^ +3 \ rj — ■^^- GO FIIIST LESSONS IN SINGING, No. 9. " Plough deep. Count 4 r S^ ■. Plough deep, 1-^=:^: -<3 — e> — while blug - jjards sleep, Am: ~F- F -^- €3- -fc*- ^^- Pli»U|^h deep, while slug - gards sleep, And deep, \Vhile slug- gards sleep, plough deip, plough deep,pliiugh deep. No. 10. '■''Let US efideaoour." Count 3 r (A Canon.) ^^^^: •1=1^: -0 0- WZZI0: II Let us eu - dea - vour to shew th^t when- Let us eo- AM) THE NOTATION OF MUSIC. 61 I •^lES=i=^ S -• #- EEE EEE e - ver We join in a song, we can keep time to- f=F=F^ -• — •- dea-vuur to shew that when - e -ver We join in ^ 0- Mzm^zzim: -0 — 0- ge - ther, And let us en - dea - vour to %^ W=T r=|: az=i=:p: -• — •- song we can keep time to - ge - ther, And No. 11. " Swiftly flies our time away'* Count 4 r i ^ O- :^: -M- ^- Swift - ly flies our time a way, -^ :S -^ -€3- ■i^i Swift - ly, swift-ly flies our time a - way, oh swift -]y, ^\ & O ziizio: ^^- 4 Youth im - prove it while you may. i .^1 — -#—4 S Z5=q: t=^^- Youth im - prove the mo-ments while you may. Cyl FFIIST LESSONS IN SINOINC, No. 12. Count 4 • " Let your pleasure.'* (A Canon.) (From Musikalisches Schulgesangbuch.) fe^E.t4E :«z=r l-T- i=M: in*: ir-* Li't your pU-a-sure vrait your lei - sure, Hut your work do ?^^ ? Lt't your plea-sure. r I • — E3=£ -• •- :*=:•: Let your plea -sure wait your lei-sure, i t=:l: ig^^ygia^^ wait your lei - sure, But your work do nut de - lay. 'i^^S. " ^?id now we part.** o- 1^^ 3EH v^. T5^ And now we part. p>od night! pood night ! And now #:= -Ci. -o <3 3^51 c^ And now we part, good night ! good night ! In singing the following canon, tlie pupils must be told to count silently 1, 2, 3, 4, in the bars where they have to rest. This canon is intended to be sung m four parts, and therefore when the pupils have learnt the air and time, they sliould arrange tluMuselves in four divisions, so that the four parts may be sus- tained. The bars where the 2nd, 3rd, and 4th voices should come in are marked. AND THE NOTATION OF MUSIC. 63 No. 14. ** JFhen a weary task you find it.'* (A Canon ) (From Musikalisches Schulgesangbuch.) Count 4 f (2nd voice begins.) (1st voice begins.) When a weary, &c. p •— P ;t3; gs=g When a wea - ry task you find it, Per - se - vere and (3rd voice begins.) 3 =tE3EE p ne - ver mind it, (4th voice begins) P— /•—!■- Ne - ver mind it. :t=t=t=Hz* e^ •-p: i No. 15. i k Count 4 r Ne-ver mind it, When a wea - ry task you find it, Grace he/ore Meat. f zi^ziiizt .^ #- C3|_a| ■^—± Fa - ther we thank thee, These are thy mer - cies, ¥ o^— i^ 1^ -^^ 1=t ZQti:*: 1 SI I S P -^- -^ m ^ -o And thus thy good - ness pro - longs our days, t ^: idiz^ # — ^- -^ p / ^^ — •- EE: ^^ — •- :1=F- -^ 4 -^- AU bounteous Fa - ther, thy name we praist ^^ tr. G4 FlllsT LESSONS IN SINGING, &C. No. I^. (J race after Meat. F- SOL -<3- •^3" -^ And now, with grate - ful hearts, Our songs of m ?il -e> ^^ -^> -^ <> <^ ■^ s ■i I- / ICSZZZZMZ It3 ^=t=t=^ -<3- e^ '^^=^- :c^ thank - ful - ness, Thy good - ness, Lord, pro- O C5 -| lO. T^ t# p *^5t^^ lii + H / zq: -^ claim. We - - praise thy name, We praise thy name. H + ^> -irz^o: m I I ^tjhr O" RUDIMENTS SCIENCE OF HARMONY. RUDIMENTS SCIENCE OF HARMONY, OR THOROUGH BASS.* The science of Harmony is not a study adapted for young children ; but at the age of fifteen every youth evincing, by his love of music, a disposition to cultivate the art, ought to have some general knowledge of the principles of the science. Without this he will not be able to appreciate fully the merits of the finest compositions, nor to understand the meaning of much that he will meet with on the subject of music in works of general literature. The following outline of the rudiments of harmony will not supersede more elaborate treatises, nor obviate the necessity of taking private lessons of a master, in the case of those who wish to write music professionally, but will perhaps suffice to convey (in an accessible form) as much information as is required by the great body of musical amateurs, and by those who merely wish to obtain the power of harmonising simple airs for their own amusement, or the gratification of children. In schools,the Teacher must exercise his own judgment as to what parts of the subject may be adapted for class teaching, and what must be left to indivi- dual application. OF CHORDS. The theory of harmony is very simple, for however numerous, and diversified, the chords employed by a modern composer may appear, they all consist of, or may be considered as derived from, thirds diTidi fifths. Strictly speaking, there are but two perfect chords, or concords, in musicj — the third and the fifth. They may be used separately, or combined, thus : — A Third. A Fifth. A Third and Fifth combined. u_ L_ L_ * The term ' Thorough Bass' is becoming obsolete. It originated in the use of figured basses, (explained page 90). To understand the nature of the chords belonging to every base note, and to know how to figure these chords was to have a thorough knowledge of basses, and of their harmonies. Hence the science of harmony itself was called * thorough bass.' F m RUDIMENTS OF THE The tliree notes of the third and fifth combined, form what is called a Triad, Music may be written in nine different parts for nine different voices, and yet all consist of thirds and fifths, as in the following example : — One of the most curious facts in the science is the tendency of every sound to generate its own third and fifth, or produce them of itself. If the student take an opportunity, when the room is perfectly still, to strike any one of the base notes of a piano, and at the same time place his ear close to the sounding board, he will distinctly hear two other sounds, fainter than the first, and con- siderably shriller. These are the twelfth and seventeenth, or the fifth and third in the two upper scales, thus. . J y 17th orad. JK_e ~V 7;~'ia a'or5th.^ g w ai CZ> c The sounds thus generated, or self-produced, are called harmonics , and include a minor seventh, which may usually be distinguished, besides the third and fifth, by a good ear. A sixth is the same as a third, only inverted or turned upside down, and a fourth is the same as an inverted fifth ; for ex- ample : — A Third. IF. A Sixth.» — I — A Fifth. ?it: A Fourth. -I — An eighth is not considered to form a chord when there are no intermediate notes, but is an unison with the first : — ^~8th. or Ut of the »cale nbovf . =1 * A minor sixth. The major third becomes by inversion a minor sixth, and a minor third by inversion a major sixth. SCIENCE OF HARMONY. 67 The second and seventh are not concords, but discords, which may be in- troduced occasionally for the sake of effect. The ninth is, of course, the same as a second : A Second and Ninth. A Seventh, -«-^ I ^; What is called the common chord consists simply of a perfect triad, or third and fifth combined, but it is generally written with the addition of the eighth. THE COMMON CHORD IN DIFFERENT KEYS. i i^^mM ^j' *::i %-- iii=fz^ MAJOR AND MINOR CHORDS. A third may be either major or minor, and in both cases the effect is con- sidered equally perfect, although the minor third is, of course, only adapted for plaintive music. Major Third. Minor Third. ^m w -1— The minor third becomes by inversion a major sixth, A Minor Sixth. A Major Sixth. •W The augmented sixth is not considered a concord, but is one of the most pleas- ing discords employed in music. It contains the same number of tones and semitones as a minor seventh, although the two chords, or rather discords, are written differently. An augmented Sixth. A minor Seventh. -! 1^ %-i?^ ^- j1 minor sixth is considered as perfect a concord as a major sixth, because when inverted it becomes a major third. F 2 68 RID1MEM& 0¥ THE Minor Siith. Major Third. ^^ bt. A minor fifth, or, more correctly speaking, a diminished fifths although, when introduced witii judgment, often producing a pleasing effect, is to be considered a discord. By inversion it becomes an augmented fourth^ which is also a discord. Diminished Fifth. Augmented Fourth. ^ % ^ The third and fifth combined, we have said, form what is called a triad ; but as the third may be major or minor, there are consequently major and minor triads. A Major Triad. A Minor Triad. I — tm ^ Each of these triads forms a perfect consonant chord. The triad may be re- garded as comprising not only a third and fifth, but also as consisting of two thirds; and it is a fact worth noting, that the two thirds in every perfect triad always consist of a major and a minor third. When the first third is major, the second must be minor. When the first third is minor, the second must be major. Two major thirds combined, or two minor thirds combined, produce a discord, although the latter is one of a pleasing character. The student should strike the notes upon a piano-forte to observe the difference of effect. Two Major Thirds. Two Minor Thirds. P V NAMES OF THE INTERVALS* FORMED DY CHORDS AND DISCORDS. Before we proceed to any further explanation of the nature of chords and discords, it is necessary that the student should make himself acquainted with the names of the intervals between each, and with their quantities, in reference to the tones and semitones they contain. Here let us recall to mind that the interval between b and c, and between e and f, is always a semitone, miless one or other of those notes be raised or depressed by a sharp or a flat ; while the interval between all the other degrees of the scale, next to each other, is a whole tone. • The term interval we have already defined to be the distance between one note and another. In speaking, however, of chords, every note in a chord is commonly termed an interval, in- cluding even the first note of the chord. Upon this subject musicians differ. We follow the opinion of those who say that it is a misnomer to call the first note of the chord an interval. The term is derived from the Latin iutervalhnn, a ditch, and the preposition intrr, between. There can be no ivlcr in reference to one object, as in reference to two objects. One o'clock, for example, is not an interval : but we may speak of the interval between one and two o'clock. Hence ni/iinl is an interval, because it includes two sounds, and the semitones between them ; but not the first or root of the chord. SCIENCE OF HARMONY. The first of every chord is called the prima or root, to distinguish it from the first of the scale, merely. Thus the first of the scale in the followmg instance is c, but the prima or root of the annexed chord is d. i w=^=^ Ist of the scale. D the Prima or root of the chord. m A Chromatic semitone or augmented unison, containing one semitone. A Diatonic Semitone* or Minor Second, containing one semitone. yj l; I A Major Second, containing two semitones. w^ $ =j=lli p :i— it*- i F^f5E i w^. #-3 Pi :laix; A Diminished Thirds containing the same. An Augmented Second, containing three semitones^ A Minor Third, containing three semitones. A Major Third, containing four semitones. A Diminished Fourth, containing the same. i ^=3=-- -! A Perfect Fourth, containing five semitones. * When the semitone changes its place on the staff, it is called diatonic; when it arisen from sharpening or flattening the same note, without changing its place, it is called chromatic^: 70 KUDIMENTS OF THE ^^■- ^n Augmented Fourth^ containing six semitonea. .-. 1^- — A DiminisJied Fifth, containing the same. >#5- 3 ~[ ^ 5 A Perfect Fifth, containing seven semitones. - I ~ An Augi7ientcd Fifth, containing eight semitones. i w -{7 g-6 — A Minor Sixth, containing the same. p - Wl, — A Major Sixth, containing nine semitones. Pg ' , An Augmented Sixth, or Extreme Sharp Sixth, con- 1^ taininf; ten semitones. J-:- A Diminished Seventh, containmg nine semitones, the same - — -g#Li as a Major Sixth. i-J-,- _l A Minor Seventh, containing ten semitones, the same as an ^^ Augmented Sixth. :n5^ ^^ Major Seventh, containing eleven semitones. m The Octave, containing twelve semitones. A Flat J^inth, containing thirteen semitones. - 1 aClENCB OF liARMOIfY 71 m A Major Mnth, containing fourteen semitones. The student should take great pains to understand thoroughly the nature of the above intervals and to remember their exact names. He should strike them upon the piano frequently, until he can tell the name of each without looking at the notes ; and he should examine music written in different keys, to analyze the intervals between the lowest base note, and the uppermost note of the air. It is especially important to make himself well acquainted with the difference between a minor seventh and a major seventh, upon which much depends, in the science of harmony. OF THE HARMONY BELONGING TO MAJOR SCALES. Every full perfect chord contains simply a third and a fifth ; but the third and the fifth may be derived from different roots. Sometimes the first of the scale may be considered the root, sometimes the fifth, and sometimes another note. According to a system adopted very generally in England, there are but three roots, otherwise called fundamental basses. These roots are the Jirst, the fourth, amd the ffih of the scale, known by the names of the tonic, the sub- dominant, and dominant. Mm 4 CD ' The Bubdominant. ^: The tonic or key note. According, however, to the system of the Abbe Vogler (a very high authority, followed by most German writers), every note may be treated as a root, or fundamental base, from which a third and fifth may be derived. The harmony of the major scale, therefore, comprises the following triads, some of which have major thirds, others minor. The triad fonned upon the seventh of the scale is called a diminished triad; it consists of two minor thirds, and is not a perfect chord, but a discord, which requires what is termed resolution ; a term we shall hereafter explain. Major Triad. Minor Triad. ^L=i Minor Triad. ^^^- Major Triad. "O" Major Triad. Minor Diminished Triad. Triad. ^^- ^k m ^»- %J 2 4 Sub-dominant. ^ 5 Dominant. * The reason why the fifth of the scale was called the dominant is supposed to be because of its predomiyiance in old church music. 72 RUDIMENTS OF TIIK Tlie same in the key of D. Major Triad. Minor Triad. Minor Triad. Major Triad. Major Triad. Minor Triad. Diminished Triad. :^^^- 4 Sub-domiammt. I The reason it is necessary to regard every triad as derived from some root is, that when the three notes forming the triad change positions — the third becom- ing by inversion a sixth, the fifth a fourth, and the first an eighth — they still belong to the same chord, form essentially the same harmony, and are better understood by their original names, than they would be by sometimes calling the third a sixth and the fifth a fourth. Every triad may be employed in three different forms, as in the following example. First Second Third First Second Third First Second Third form. form. form. form. form. form. form. form. form. -0-1 I ' ! ' OP The mode of using the triad. Suppose the note to be harmonised is d, we must consider to what triad it belongs. If we are in the key of c, it will be found that d belongs to three different triads— namely, the triad on the second, the fifth, and the seventh of the scale. ■#-D- 5<:> We may take then for the accompanying chords, the two notes belonging to any one of the above triads ; but if in one part of the harmony we take g, for a third part we must take b, because g and d belong only to one of the triads. If to accompany d in one part we take f, then the third part may be either A or D, because, as will be seen above, the two notes f and d belong to tno of the above triads, and either may therefore be used. If the note to be harmonised be e, we shall find that, in the key of c, B also belongs to three different triads, derived from the first, the tliird, and the sixth of the scale, thus : — SCIENCE OF HARMON'Y. 73 In harmonising b, therefore, for two parts, we may lake, if we please, b ; hul in consequence of taking b, if we wish to add a third part, we must then take G, because b only belongs to one of the above triads, and determines, therefore, the chord to be employed : G, b, and a, for instance, will not be found together in any of the above triads, and woidd produce a discord. On examining the scale, it will be seen that every note, in a similar manner, may he harmonised as helonghig to three different triads. The harmony, however, most frequently used, is that of the triads belonging to the tonic, the sub-dominant, and the dominant. Every note of the scale may be treated as belonging to one of these three chords, as in the following example ; but to employ them exclusively would produce a monotonous effect. THE SCALE Harmonised with the Tonic, Sub-dominant, and Dominant, in the hase. \ XJ 1 • \J 1 ^^ 1 1 c:^ f/\\ 1 i V — y '^ 1 c ■> ^—^ -^ oi — \. _., <^ ^" 1 •J- ^ ^ C3 i o 1 o cz^ I- Tonic. Dominant. Tonic. Sub-domioant. Tonic. Sub-dominan*^. Dominant. Tonic. In writing music in three parts, three different notes may, as we have ex- plained, be employed ; but if a fourth part be added, it must be done either by introducing a dissonant note for the sake of some particular effect, or by doubling one of the three notes. When one of the three notes is doubled, the note to be preferred is generally the first, or root of the chord, sometimes the fifth, and, but very seldom, the third. Without using any dissonant notes, it is possible to harmonise the scale for four voices with the chords only of the tonic, sub-dominant, and dominant, and with their roots in the base. The scale may be harmonised much more effectively by employing, as well, other chords ; but the student will find it a good exercise hereafter to harmonise the scale upon this principle, without having the following example before him.* THE SCALE Harmonised for four parts , with the chords of the Tonic, Sub-dominantj and Dominant only, and their roots in the base. i f u— J— 4 .^L &^ C^ ^ -A -Ql I^ ^^L ^^ SEE T_C3^ -j D-^ zLzizoE: ::^-— ^- ^ 3 -s— ^ T CD -S— 13 * Taking care to avoid consecutive fifths and octaves, to be hereafter explained. 74 RUDIMENTS OF THE The preceding is an instance of what is called dispersed harmony. Har- monies written in the following manner would be called close harmonies. m -m m jO^ The example we have given of the scale harmonised may be taken as an illus- tration of what is termed harmony in simple counterpoint. Formerly, when notes were written without stems, they were called />oiw/«, and to harmonise in simple counterpoint was to put point counter to, or against, point ; that is to say, note against note. The same note may be harmonised with any niunber of notes belonging to the same chord, as in the following instance ; but the harmony in that case would not, of course, be called simple counterpoint. OF DISCORDS. It cannot be too often repeated, in order that the fact may be well impressed upon the mind, that every full perfect chord contains simply a third and a fifth. When any note is introduced not belonging to the triad, in its first, second, or third form, the cbord is changed into a discord. Discords are greatly used in music, because, in dwelling upon them occa- sionally, the sweetness of the perfect chord is more fully felt by contrast. The term chord is a general term, which is often made to include discords ^ so that discords are frequently termed chords by musicians, in speaking gene- rally on the subject ; but as it is desirable in an elementary work to use the greatest precision of language, we shall here never use the term chord when we are speaking of harmonies containing a dissonant note. All discords follow one general rule : they require to be succeeded by the harjnojty of the perfect chord. However pleasing the occasional introduc- tion of a discord may be, the ear is not satisfied to rest upon it — it requires to be conducted to a state of repose. Music without occasional discords is tame and spiritless, but nothing would be more unpleasing than music consisting entirely of discords ; and for the same reason, when, in a composition, discords are allowed to predominate over chords, however scientific the music may SCIENCE OF HARMONY. 75 be considered, it is bad in principle and in effect, and more especially so in vocal music. The first discord we have to notice is that of the diminished Jifthy in the triad on the seventli of the scale. Like every other discord, it must be followed by a perfect chord, and this is called the resolution of the discord. The dis- sonant note in this case is the fifth, called a diminished fifth, because, as an interval, it contains one semitone less than a perfect fifth. The manner in which it resolves is by descending one degree in the staff. Resolution of the diminished fifth in different "keys. B, The 7th of the scale. F % The 7th of the scale. G #, The 7th of the scale. This example will serve to illustrate the rule which applies very generally, excepting in minor keys, to the seventh of the scale. The seventh of the scale in major keys requires to be followed by the eighth, from which it is but a semitone distant. If the student play through the scale of c till he comes to B, he will find that the ear would not be satisfied with resting there, nor with descending to A, but that the natural progression of the note is to c. So in harmony, when the seventh from the key note occurs in one of the under parts, it still requires to ascend to the eighth. Hence, in the above example, b, the seventh, ascends to c ; f, the seventh, ascends to g ; g, the seventh, ascends to a. The rule, however, excepting when accompanied by a diminished fifth, is not to be regarded as an invariable one. This tendency of the seventh to rise to the eighth occasions it to be called the leading note of the scale, because it leads on to the tonic or key note. The third of the diminished triad is free to ascend or descend, and every other note of every other triad in the scale is free to ascend or descend, and is bound by no rule in that respect. OP THE DOMINANT SEVENTH. This discord, of which great use is made, is identically the same with the diminished triad, with the addition only o^ a dominant base. When the domi- nant is taken for the root, then the diminished fifth becomes a minor seventh, counting from the dominant, and is hence called A Dominant Seventh. a :=fc:Ji: -l-^3~ Dominant.- It is important to notice that the dominant seventh is a minor seventh, and 76 RUDIMENTS OK THE not a major seventh^ like the seventli of the scale ; or, in other words, a whole tone, and not a semitone, from tlie eighth. Were it the major seventh of the scale, it would he a leading note to the eighth ; but as a minor seventh, it re- quires to descend to the sixth. The Seventh of the A Minor SeTcnth resolved. scale resolved. *a r Key of C. Key of C. The diminished fifth, as part of a triad^ may be employed in three different positions. The dominant seventh may, in like manner, be employed in four different positions. In the following example the dominant seventh is written as a crotchet, while the other notes are in minims, that it may be the more easily distinguished by the eye. The four positions of the Dominant Seventh^ with its resolutions. In this example the two roots of the dominant and tonic are placed in the base, but the third, fifth, or seventh may be placed in the base instead of the dominant root, if preferred. The discord of the dominant seventh is often played thus : — =.h=ES^ c^ — ^% — "^f~ — ^% _ I m ^1351 :^s: .^1. -Q H: :cx <^ x^ This example should be played by the student on the piano, in order that he may leani to recognise the dissonant note which forms at once the diminished fifth and dominant seventh, whenever he hears it, without having the music before him. The following is an example of the dominant seventh, with its resolutions written in score. This is a term used to distinguish music, written with all the parts complete, from music written or printed with each part in a separate book. SCIENCE OF HARMONY. Dominant Seventh. t :oi: -jb: -C3- I ^=i Oi- -^ a; i w ]- — Gh Gi ^ I iX G^ 3 O! iQuI :1: o: :1=: -^>-3= il ■€^-5- ,-f^^^ Another discord, which is often used with very good effect, is called The Diminished Seventh. — The discord of the diminished seventh differs only from the discord of the dominant seventh in this, that the intervals of the discord are diminished, or lessened, by raising the dominant root a semitone. The diminished seventh, however, only occurs in minor keys. The Dominant Seventh and Diminished Seventh. #Ei*^§=i^if^^fe In each of the above positions of the diminished seventh, the original root c, being raised a semitone, becomes c #, the seventh of D minor. The discords of the diminished seventh maybe repeated in the same position in the treble with the third, fifth, and seventh in the base, as in the instances we gave of the dominant seventh. The following is an example of the dimi- nished seventh, in the key of A minor. s :z|^=|^=|^=|^t= I ^ &h-5- 78 RUDIMENTS OF THE The discord called the added 7iinth, is formed by adding a third to the domi- nant seventh. Tlie discord is then composed of two triads ; one having a major third, the other a minor. The dissonant notes are the seventh and the Tiinth, both of which must descend one degree. The added Ninth with iU resolution. The added ninth may be employed with or without the seventh, and may be introduced in five different positions, but the most effective form of the discord is that of the above example. What in England has been called the chord of the added sixth^ upon a sub- dominant root, is by German writers not considered as a distinct chord, but merely as the triad belonging to the second of the scale, in its second form. The added Sixth. Triad belonging to the second of the scale. The same in its second form. Besides the rule we have mentioned, that every discord requires to be re- solved, or followed by the perfect chord, there is another, equally important ; — it must be prepared ; that is to say, the dissonant note must not be suddenly or abruptly introduced ; it must first be heard as a consonant in the preceding chord. With these two rules of preparation and resolution every note of the scale may be introduced as a dissonant note thus : — The Ninth prepared as a Fifth and resolved as an Eighth. \- -CTM-S- C3 :^:a e — § t To the rule that all discords require to be prepared, by being first heard as consonants in the preceding harmony, there is one exception. The rule does not apply to the diminished fifth or dominant seventh. The note forming these dissonances may always be introduced abruptly, or without preparation. Dis- cords prepared' and 'resolved as in the preceding example are sometimes called discords hy suspension, but the term appears to be wrongly used. By the best German writers, discords by suspension, or suspended discords, are only those repeated once, or oftener, before their resolution ; the resolution SCIENCE OF II.VUMONY. 79 being, in this case, correctly described as suspended. In the following exam- ple, F, the dissonant note, is suspended in the second chord, and resolved in the third. i ^— J -e)L ^=y The following is an example of interrupted resolution^ or resolution by re- tardation. The F, which should descend one degree, is first iiiterrupted by d j but finally it descends upon e. J M^^ The peculiar effect of resolutions by retardation may be best studied in the works of Sebastian Bach. When the diminished fifth or the dominant seventh occurs in two parts of the same chord, one may ascend, provided the other resolves by descending. H^ ^^1 ^- :C> Discords arising out of what are called augmented intervals are an exception to the general rule. Instead of resolving by descending one degree on the staff, they resolve generally by ascending one degree. In Major keys the only augmented interval that can arise (without accidentals are introduced) is that of ^^^ augmented fourth^ on the fourth of the scale. It is, as before stated, an inversion of the diminished fifth. A diminislied Fifth with its resolution. An augmented Fourth with its resolution. P ■1-^ EE^ ::^-^ n The note forming the augmented fourth, it will be observed, is the seventh of the scale, or leading note, which is the reason it must, as a general rule, resolve by ascending. 80 RUDIMENTS OF THE In Minor keys there are other augmented inter\'als, but before we notice them it will be necessary to speak of TUB HARMONY OF MINOR KEYS. German writers usually make a distinction between the melodic jyiinor scale, and the haniumic ni'tnor scale. The Melodic minor scale is that in which the progression of the notes pro- duces the most pleasing effect, ascending from the first to the eighth. The harmonic minor scale is that in which the notes are considered solely in refer- ence to the chords belonging to them. The Melodic Minor Scale. ^=t: t =ij=^=^= E The Harynonic Minor Scale. :^ zzti: V- For the various reasons assigned for introducing d « in the harmonic minor scale, and for not sharpening the f, we must refer the student to the works of the most learned writer on the subject of harmony — the Abbe Vogler. IIi« system, although not generally known in this country, in Germany, the classic land of music, has a higlier reputation than any other. The harmonic scale, as above written, comprises the following chords : — Triads of the Harmonic Mi??nr Scale. llnrd Minor Triad. Diminished Triad. •Diminished Triad. Au£rmontcd Triad. Minor Triad. Double Diminished Triad Major Triad. Major Triad. Diminished Triad. Minor Triad. It will be seen that the above triads contain three diminished fifths, namely, one on the second, one on the raised fourth, and one on the secenth of the scale. These diminished fifths become, by inversion, augmented fourths, in which case they resolve by ascending, as in preceding instances. SCIENCE OF HARMONY. 81 J gigi-Jiis^ii^lE^ii: The minor harmonic scale contains a diminished third upon D jf, or the raised fourth of the scale. The diminished third becomes by inversion an augmented sixth. One resolves by ascending, the other by descending.* Diminished Third resolved. n H^p: e^e^^He Augmented Sixth resolved. lll|E=li.: Minor keys also contain two diminished sevenths^ one on the raised fourth, the other on the seventh of the scale. These become, by inversion, augmented seconds. Diminished Seventh resolved. Augmented Second Diminished Seventh Augmented Second resolved. resolved. resolved. No diminished interval requires preparation, but all augmented mtervals must be prepared by the dissonant note being heard as a consonant in the pre- ceding chord, and the preparation and resolution must be in the same scale and in the same part : the preparation must not be given to one voice, the dis- sonance to another, and the resolution to a third. An augmented Second prepared and resolved. „ :=t o ^T wm An augmented Fourth prepared and resolved. * This triad is termed by Callcott the diafotiic dissonanl triad, out of vphich, he says, arise two altered triads, one with4;he third flattened, the other with the third sharpened. Thesa arc here termed the Hard diminished triad, and the Double diminished triad. 82 RUDIMENTa of TliK CADENCES. By a cadence is understood the preparation of a close ; thus the last two bars of the National Anthem form a cadence : — i #— • w ;;^s^=^ n ic^ir 1 The harmony upon which a simple cadence is founded is that of the sub- domiuant, dominant, and tonic, thus : — A better effect is, in most cases, produced by introducing the harmony of the second of the scale in the place of the sub-dominant, as in the following instance : — '-^ ^EEi I- ^=E3^P^^ The above are called aulhentic cadences, by which term is meant, cadences in which the chord of the dominant imrnQdiidiieXy precedes that of the tonic. The plagal cadence is that in which the tonic harmony is preceded by the chord of the sub-dominant. I ■1- ai pi S. D. T. SCIENCE OF HAIIMONY. 83 An excellent effect is generally produced in a cadence by the introduction of the dominant seventh. 9. tf#-^- 1 at ?^^IIe Key of A Minor. A half cadence is when the cadence ends upon the chord of the dominant, instead of upon that of the tonic. A half cadence may occur at the termination oi a phrase^ or a passage in the music ; but at the final termination of the com- position the last chord should be always the tonic, and so contrived, if possible, that it should end with the full chord of three, five, eight, in its first form. When the third and fifth cannot both be introduced, the third should always be preferred to the fifth. There are many ways of varying a cadence, but to judge of these it is necessary to study the works of the best composers. PROGRESSION OF HARMONIES. In harmonising it is not sufficient that every note in the second, or in the base, should be in accordance with the note above it in the air, but the pro- gression of the parts must be considered. Not only the air, but every part, whether a second, third, or fourth, should have a melody of its own ; the voice proceeding not by sudden skips, and abrupt transitions, but by easy intervals. In vocal music this is of the greatest importance — much more so indeed than in instrumental. The same progression of harmonies that may be easily per- formed upon the organ or piano, and which may seem satisfactory, will often appear forced and unnatural when sung by voices. Hence it has often hap- pened that clever writers of organ and piano-forte music have utterly failed, when writing glee and choral music. The following is an instance (an extreme one) of a false progression in the second part. ^- Q ^^- ^^- iE^Pi Although, in this example, there is not a note given to the second part which does not accord with the note above in the air, the eflfect produced by the sudden skips up and down to extrem.e parts of the staflf, is as disagreeable as if every note were a dissonance. The second should be written after this manner: G 2 84 RUDIMENTS OF THE It is of so much importance that each part of the harmony should be written flowingly, that it is olten better to sacrifice one or more of the intervals of the perfect chord, and to have the harmony less full than it might othen^ise be, than to let the melody of each part be, in the slightest degree, broken or in- terrupted. The superiority of Mozart over all other composers consisted not so much in the richness of his harmonies as in the beauty of the melodies which were breathed into every part of his score, whether written for a second soprano or for a tenor violin. Another rule to be observed is, that the accented parts of a composition, or the notes most dwelt upon, are the parts where the harmony should be the most perfect. The full chord is in its most perfect state in its first form, with the root in the base. When the third is used as the lowest note, or the fifth, the eflfect is less per- fect, and should be confined as much as possible to rapid movements, and not to what may be called the resting places of a composition. There are some notes, especially in quick melodies, which do not require to be harmonised at all : these are the notes merely used for connecting the more important intervals together. They are termed passing notes — for instance, • If we follow nature closely, we should put the fifth next the root, as in the order of the self-generated sounds called /tarmonics. The tifth, however, without the third will be found to produce a less perfect harmony than the third without the fifth ; but, when possible, both should be heard in the last chord. SCIENCE OK HARMONY. 8.5 In this example the quavers are passing notes. Were they notes requiring to be dwelt upon, they could not be harmonised with o in the base. Among the false progressions in harmony, or progressions condemned by musicians as producing a bad effect, are what are termed consecutive jifUis and octaves. By these are to be understood fifths and octaves, ascending or descending in the scale consecutively. Consecutive Fifths. ^ Consecutive thirds, fourths, sixths, and sevenths, are allowed, and often produce a very agreeable effect ; but not consecutive fifths. The following are not considered consecutive fifths, but merely repetitions of the same chord. p Consecutive octaves are only disallowed when the intermediate intervals of the chord are employed. The following would not be considered, in the ob- jectionable sense, as consecutive octaves, but as an example of Unisons. i 9^ ^•U -I 1 h ^ t=?t: f: But if the intermediate parts of the chord were introduced, the octaves would be disallowed, as producing, with the consecutive fifths, bad harmony. Consecutive Fifths and Octaves, —dr «■-« ^8 "r-^ a^r- *|-2 «-8 -r-g — -/?K- ■^- — S-r — €-5 — S-- — •rs — 3-5 — 5-?- — To avoid consecutive fifths and octaves, which the student will at first find very troublesome (and which give much more offence to some critics than more serious faults), the parts may be made to proceed by contrary 7notion. And indeed, without reference to consecutive fifths and octaves, when music i» written in two, three, or more parts, they should not, as a general rule, move much together. If one or two of the parts ascend, a third should descend ; and when one or more of the parts have a rapid flowing passage, a third should rest upon one long note. m RUDIMENTS UP THE Consecutive Fifths and Octaves. The same aroided by contrary motion. Besides consecutive fifths and octaves, there are hidden fifths and octaves^ which are equally to be avoided. They are called hidden because one of the parts, in its progress from one note to another, is felt to sing through the note which, if expressed, would form a consecutive fifth or octave. Hidden Fifth. Hidden Octave. ^t— ■x-^ ^: When the upper part does not move by skips, but from one degree to another, hidden fifths and octaves are allowed, as in the following instance : — And even when the upper part does move by skips, hidden fifths are allowed, when the chord or triad employed in the harmony is not changed, but the notes merely move from one part of the chord to another.* #-1- Chord of G B D SEQUENCES. This term is another name for consecutive chords, but chords wliich are allowed to succeed each other ascending or descending, and which often pro- duce a rich efiect. A Sequence of Sixths. #1-6- r^_3 i^-=^ t= €=>-6- ^ -Of • Hidden fifths are generally allowed when the last fifth belongs to a major triad, but never rhen the harmony moves from a major to a minor triad. SCIKNCK OF HARMONY. 87 It is a rule in sequences that they must preserve throughout the same inter- vals with which they commence. For example, if they commence with athu*d and a fifth, thirds and fifths must be continued throughout. i I 5-_ ' J ^ -I- f t -#-i- t— 1= A Sequence of Sevenths in four parts ^ ^ -^- -^- *:i- -^ -4 -C3i^ /^ -■§1 -^- ~c:«l. •e> -o S3: f- $=1: Ei i^^ ^^^: ^^- :^ f-F- -^ ^^- :o^ 1^ J-J- :?=?r^q=g -^- -^- -e^ ■i- MODULATION. When music is removed firom the key in which it may be written to another, and the whole of the notes are played or sung one or more degrees higher or lower than before, the change is called a transposition. When a piece of music is played partly in one key, and we pass suddenly and abruptly to another, the change is called a transition. When the music, beginning in one key, glides gracefully and insensibly into another, the change is called a modulation. The art of modulating into different keys is very important, for the richest and most varied effects in harmony are produced by a change of keys. To pass suddenly from one key into another, without preparation, is only allowed when the object is to startle or to express the effect of surprise, — for, in ordinary cases, the abrupt transition is painful to the ear, — but a change of keys, pro- duced by means of modulation, is extremely pleasing ; it enables the composer to give all the effect of novelty, even to the repetition of the same movement. The following is an example of transposition. 88 liri)I MINTS OF THE IS ^ c • — ^ ^ We have here a movement written first in the key of c, and the same move- ment afterwards transjtosed, and written in the key of d. The difference of the two movements is merely a difference of pitch — one being a Httle higher than the other. If in the middle of the movement, as written in c, we were to pass suddenly into the key of d, and finish in that key, the change would be a transition, and a most disagreeable transition it would be. In order to glide gradually and insensibly from one key to another, without any interruption of the music, or, in other words, to modulate, it is necessary 10 understand and remember the following rule : — Ifi inoihihition 7ve must pass into a neiv key, through a chord common to both Aei/s. For example, the subdommant of c is the tonic of f; when, therefore, we are playing the chord of the subdominant of c, we may, if we please, consider ourselves in the key of f, and treat the succeeding chords as belonging to that key : — I :c5t e^ .^^L m .^^ S. D. of C. and Tonic of F. S. D. of F. -t :S= Tonic of F. -^. 1^ ^1 The dominant of c is also the tonic of g, and therefore, when we are in the chord of the dominant, we may treat all the succeeding chords as belonging to the key of g. I 3i lev t^ -OH 1P Pom. of C, and Tonic of G. Dom. of G. lo: o- Another rule for modulation is, that rrr tnai/ pass into a nejv hey, through the dominant chord helonying to it, generally with the dominant seventh SCIENCE OF HARMONY. 89 |g|«^aJ ^jE§^ Dom. of G. -^ qu r-g =15^ rzic^zinf :i Dom. of I). I O E^= In modulating back again from the key of d to c the same principle may be followed, but the process is shorter. The tonic d may be treated as the domi- nant of G, and the tonic g as the dominant of c. In modulating in this manner, by means of the dominant, into different keys above or below, it is necessary to pass through all the intermediate keys. Thus to get from c with no sharp, into e with four sharps, we must pass through g with one sharp, d with two sharps, and a with three sharps. There is no diflB.culty in finding out the dominant of the next key above, be- cause the dominant root of the next key is always the next note, ascending^ to the tonic of the key we are in. For instance, in the first of the two modu- lations we have given, d, the dominant of g, which is the next key to c upwards, is the next note to c ; and a, the dominant of-Q, which is the next key to g, is the next note to g. When we are not harmonising, but require the melody to modulate from one key to another, it is done, with respect to the keys above, by raising the fourth of the key a semitone, which then becomes a leading note to the tonic of the next key ; the tonic being the next note. The raised fourth of every major key is to be regarded as the major seventh of the next key. raised 4th. Key of C 7th of G. 7th of D. This corresponds with the rule that in modulation we pass through the domi- nant of the next key. For the f j^ in the first instance, if harmonised, would 90 RUDIMENTS OF THE be the tliird of the dominant i), ;uk1 the c ^ in the second instance would be the third of the dominant a. To moduhite back in the melody to the key below^ it is necessary to flatten or lower a semitone the major seventh, or leading note of the key we are in. For instance, we may modulate thus from a major to c. ta?^ ^-■^- ->-- ^ <> <_> ■t;< Key of A. Key of D. Key of G. Key of C. C3- Here again the same rule applies, that it is necessary in modulating to pass through the chord of the dominant. For, in harmonising, the note lowered a semitone in the keys of d, g, and c, will be found to be the minor seventh of the dominant. FIGURED BASSES. The perfect chord, and all the discords we have described, are known to musicians not only by the names we have given, but by figures^ which indi- cate the position in which the chord or discord may be used. Formerly it was customary not to treat a chord as derived from but one root, which might or might not be in the base, but to consider the base note always as the root, whatever that note might be. Thus, while the perfect Triad in its first form 5 was called, rightly enough, the chord of q, in its second form, although essentially the same chord, it was called the chord of the sixth or «» and in its third form the chord of the . ; the intervals being, in these cases, always counted from the base note. 1st form. :^F5 :8tr aiE=3E^ c-^ZI 2nd form. 1 -^^r?- m^l M^ '^- 3rd form U ^ m -C5^ In old music it will be observed that the composers, to save themselves trouble, often inserted over the base the figures of the chord intended to be played, instead of inserting the notes themselves. Thus : — m -■X :cjiz 4 =1: SCIENCE OF UAKMONV. 91 These figures mean that the chords to be played are those given in the preced- ing example, and which may be played either by the left hand, or right hand, or both ; but this practice of writing is now very properly discontinued, and the notes of the full chord designed to be played are always inserted ujion the staff. As, however, the different chords and discords are still known by names derived from the old figured basses, it is necessary that the student should make himself familiar with them. The discord of the dominant seventh in its first form is called generally by the same name, and in figured basses is marked simply by a 7. In its second form it is called the chord of in its third the chord of 4 3 in its fourth the chord of the 4 2 1st form. j.- i^ 2nd form. 3rd form. :iti= -•^4-3- 4th form. -l- i*r2- -JPLl When in figured basses it was necessary to indicate that one of the notes should be raised a semitone, it was done by drawing a line through the figure referring to that note, thus — 5. In other cases, when the same note was to be depressed, a flat, or a natural, was placed against the figure. The four forms of the ^7 >. 6 6 diminished seventh are written thus : — it i w 1st form. ..u 2nd form. 3rd form. 4th form. \- -#l- •^ The discord of the added ninth is called, in its different forms. 7 6 6 7 9 6 5 4 6 7,5,4,3,4 3 3 2 2 Other discords, of which we have not thought it necessary to give examples, are known in the same manner, by names derived from their figured basses. 9*2 RUDIMRNTS OF THE DOUBLE COUNTERPOINT. In harmonising an air it is usual to treat it as the principal melody of the composition ; and, to keep it higher than the rest. The highest part will always predominate over every other, and, therefore, none of the notes given to the second, third, or fourth voices, should rise above the first, unless it be intended that the melody of their part should, for the time, take the lead. In most collections of psalm tunes harmonised for four voices, the parts are so written that the tenor and counter appear above the air ; but the air in these collections is intended to be sung by trchh voices, and the other parts by the voices of men, in which case the air would still be the uppermost part.* By double counterpoint musicans mean harmonising an air in such a manner that it may sometimes be given to the base, and sometimes to the tenor, and yet produce an equally good ellect. FUGUES. A fugue is that kind of composition in which the second or third part imi- tates the first, by following it at a certain distance, but starting upon the do- mhiant or fifth of the scale, instead of the key note. The air which leads off is called the subject ; that which follows in the base is called the ansiver. \ Subject. FJ=t=:J: -C3- :o: ♦^# I Answer. zrozz iJEiE- ^ m The greatest fugue writer the world ever produced was Sebastian Bach, who was contemporary with Handel. j1 canon is a species of fugue : the diflferent parts follow and imitate each • Ignorance of this rule is one of the reasons an unpleasing effect, especially when there is not or Chapel. A clerk leads the air while the tenor third and fifth above him. Hence the air has the sion of the chord, contrary to the design of the fifths and octaves. In Germany, Churnlfs, a word which answers instead of being written for one treble voice, with are written for two treble voices, with a tenor and between male and female singers, produce a much why congregational singing often prodacet a majority of female singers in the Church and counter-tenor voices sing their parts a grumbling effect of a base, while the inver- composer, sometimes produces consecutive very nearly to pxalm tunrs hnrmntusedf an alto for a second, and a tenor and base, base. The four parts thus equally divided better effect. SCIENCB OP HARMON T. 03 other, but the answer is not required to be founded on the dominant. The endless canon is one in which the same parts repeat ad libitum. PEDAL HARMONIES. These are peculiar to organ music. The pedal note is a long note, generally, but not invariably, the dominant, which is sustained sometimes through a con- siderable number of bars, in which a variety of chords and discords are played* into each of which the pedal note enters as a component part. THE ENHARMONIC SCALE. According to the strict theory of musical progression a ft is not always to be considered precisely the same note as b b , although on the piano-forte there is no difference. In the progression of sounds, a delicate ear will detect, besides semi or halftones, quarter tones, and three-quarter tones. And hence arises what is called the enharmonic scale, or a scale including the minutest possible gradations of sound — ^gradations which may be expressed on the violin by a first-rate artist, but not on the piano-forte, and which cannot even be correctly written with the present system of musical notation. The enharmonic scale is therefore of little or no practical use. Out of this fact, however, — that in a musical progression the ear requires to proceed (although generally without being conscious of it) sometimes by quarter tones (it is said by even smaller intervals), and three-quarter tones, instead of by semitones, arises the impossibility of tuning perfectly a keyed instrument like the piano-forte or organ. In tuning, it is found that when all the fifths are per- fect, the thirds are not, which are of more consequence than the fifths. To tune the notes correctly it is necessary in some cases to flatten the fifths, or leave them comparatively out of tune ; hence the organ and piano-forte are termed imperfect instruments. The imperfection is called the woolf and its distribution among different notes little used, so that the defect may be the least observable, is called the temperament. The enharmonic change is when, without altering the pitch of the key note, we change it from a key written with sharps to one written with flats, or vice versa. It is, in fact, merely a different mode of writing the same sounds, the key of G t> being for all practical purposes the same as that of f? ; but the rules of harmony require that when an interval is changed enharmonically it must frequently be followed by a different chord to that which would otherwise hare been employed. Thus an augmented fourth changed enharmonically becomes a diminished fifth. The one would have ascended, the other must descend. _^ 1 I.I I W- — i *i — "^ f~^ 94 RUDIMENTS OK THE OF THE CONSTRUCTION OF MELODIES. Meloily ranks before harmony. A good melody will please whether harmo- nised or not ; but a piece of harmony, however scientific, if the air be indifferent, is rarely listened to with much pleasure. A bad melody may be greatly im- proved by being harmonised, but the perfection of the art is when good melodies and good harmonies are blended together. A person who has no talent for writing original and beautiful melodies, can never make a great com- poser, however great may be his knowledge of the science of harmony. Hence every lover of music should study the construction of melodies — a branch of the subject generally too much neglected. Their construction is much more artificial than would at first be supposed. The principal features of a melody are, the subject^ consisting of a number of short j^hrascs and a cadence, jl phrase, sometimes called a Ccesure and Figure, is a passage seldom extend- ing through more than two or three bars, containing a musical thought or idea which may be imitated, varied, and changed at the will of the composer. The National Anthem contains five phrases and two cadences ; each phrase occupying but two bars. First phrase. Second phrase, or variation of the first. 'M 9: glIZ|~(i_.; m- t: Cadence. V- .^^- The same thought is again taken up and varied in three diflferent ways, in the second part of the tune, concluding finally with another cadence. To com- pose good melodies, however, it is not sufficient to string musical phrases to- gether, however scientifically. Good music must be written upon the same principle as good poetry. The heart must be made to speak. Poetry that con- sists of words or phrases, that appeals to no kindred feeling, or that awakens no strong emotion, is always of an inferior character ; and so it is with music. A good composer will give himself up to the inspiration of his feelings. If writing music to words expressive of aflliction, he will endeavour to feel like one afllicteil. If the words lie expressive of trium})li. iie will endeavour to call up in his mind the emotions of joy and exultation. According to his ability to do tills (and it is an art to be ac(|iiired), will be his power of producing works such as are commonly ascribed to genius alone. The passions will always find utterance ; but the passionless cannot express the language of the passions. SCIENCE OF HARMONY. 95 Rhythm in music is the same thing as metre in poetry. In a poem one line contains a certain number of syllables or feet, and it is necessary the next line, or one not very far from it, should contain the same number of syllables or feet. So in music. One phrase containing a certain number of bars, requires to be answered by another containing the same number of bars ; and, as in poetry, there are different kinds of metres — sometimes called long metre, short metre, common metre, &c., so in music there are different kinds of rhythms, to understand which it is necessary to study the works of different composers. APPLICATION OF THE FOREGOING RULES. The musical student who is able to afford the expense of private instruction, under an eminent master, will not require, in an elementary work, any practical directions how to proceed, for every master has a system of his own, which he will of course expect his pupils to follow ; but to the humbler class among the lovers of music, and those who cannot afford to devote so much time to the study as is often spent over a tedious, progressive series of lessons (and for such especially we write), we would recommend the following course. First, he should endeavour thoroughly to understand the principles we have attempted to explain, relative to the science ; then let him take a simple air, like that of the National Anthem, and, with the assistance of a piano, endeavour to harmonise it for two equal voices. In so doing he will discover that the chief intervals to be employed are thirds and sixths, but he must find out by his ear alone, w^hen a sixth will produce a better effect than a third, and when a third should be used as a tenth. The choice of a third, sixth, or tenth, or of any other consonant interval, must always depend upon the progression of the air: there is no rule that can be laid down on the subject. When he has written his second, he should look it carefully through to see that he has not introduced any consecutive fifths or octaves, and then get some person to sing it with him. If the effect be such as to please his unscientific friends, he has made one step, which will encourage him to persevere, and in subsequent efforts he will find himself rapidly improve. When he has learned to harmonise tolerably well for two voices, he should take the same airs and harmonise them for three, and afterwards for four and five voices ; and not till he is somewhat expert in doing so should he attempt any original composition. With respect to them, he should commence in the same manner, first with trying to write simple airs, such as might give pleasure to childhood, then with simple duets ; and never attempt, until he has gained considerable knowledge by practice, the higher order of compositions, lest he be discouraged by a failure, which, at the be- ginning of his career, would be inevitable. If he wish to write good vocal music, for three or four voices, without instrumental accompaniments, he should study the compositions of Webbe, who must be placed at the head of English glee* writers. Next to Webbe, Callcott. Both these writers were eminent for their skill in that peculiar description of music in which England has neither been excelled, nor equalled, by any nation in the world. * The old madrigals also should be studied, many of which are very beautiful. A madri- gal is a peculiar kind of chorus, written usually in six parts, without accompaniment. Glees are usually written for three or four voices only, the parts not intended to be doubled, or sung as choruses. OG RUDIMENTS OF THE SCIENCE OF IIARMOXY. The professional musician will find it ofu^reat importance to learn to write music witliout the assistance of tlie piano — an art wliich most great composers have attained. This is not to be done by simply studying the rules of harmony, but by cultivating the memory of sounds, so that the effect of different intervals may be heard, i/i the mind's ear^ the moment they are seen on paper. To acquire this power the young composer should begin by attempting to write down from memory different airs, and correcting them afterwards witli the piano or some other instrument. He should then procure a person to play to him the seconds or basses of the same airs, and write them down also, depending onlv upon his ear; having no copy before him. Then the same airs played with their full chords. In this manner he will learn gradually to commit his musical ideas to paper as readily and as correctly as he would put thoughts into words ; but the art is not to be attained without considerable practice. Beethoven wrote many of his later works after he had become wholly deaf; but he could not have done so, had he not first learned to retain the memory of the sounds he had once, and oftentimes heard. We shall conclude this brief outline of the rudiments of harmony, by an extract from the ablest paper* that has yet appeared on the subject, written upon the article *' Music" in the last edition (the edition of 1837), in the ** En- cyclopedia Britannica." *' To attempt to make any one a composer of music by means only of dry treatises upon intervals and chords, is just as absurd as to attempt to make a poet by means of Bysshe's ' Art of Poetry,' or other books of the kind. Genius, and observation, and a careful study of the best models, are really the only things which can ever make a good poet, or a good painter, or a good com, poser of music. The aid of a skilful master will be of great importance, if he be not wrapped up in a theory. And in the absence of a master, two or three of the best modern treatises on the subject, such as Reicha's and Cherubim's, may help the student to understand the construction of those models of com- position which he ought to have constantly before him. But there is nothing so uselcsJ! as spending whole years in the vain study of what is called thorough base, although it is still considered by too many persons as comprehending the whole art and science of music, *' In the works of the greatest composers are found many passages of excellent effect, though prohibited by the rules of the theorists. Such being the case, we would again earnestly urge the student to form an extensive acquaintance with the best models of the art, rather than to trust to any theories on the subject, lie ought never to give up his reason and his judgment to any theoretical au- thorities. If he do, he will become timid and uncertain — whatever he meets with different from what his dry rules have taught him will perplex and terrify him. His energies will be paralyzed, and he will be incapable of producing any thing but cold, feeble, and formal music. He ought to keep in view that in music nothing is out of rule except what offends the ear, the taste, and the judgment, but that he must not attempt to imitate the freedom and bold effects of the greatest masters, until he has acquired great knowledge and command of his materials." • Since writing the above, the article referred to, written by Mr. Graham, has been pub- lie iicc in .\ s. j>aiate form. THE FIRST CLASS TUNE-BOOK. CONTENTS. No. 1. Twinkle, twinkle, little star 2. Welcome to school .... 3. Come and see how happily 4. Perseverance, ur try a^am . 5. Improve the passiiij^ hours . 6. Multiplication table. — Kirst part 7. Ditto. Second part 8. The pence table 9. The days of the months 10. Procrastination 11. The peace maker .... 12. We all love one another 13. We '11 go to our places . 14. How the wind is blowing . 15. Early to bed, and early to rise . 16. Over the water from England to France Pa^e 100 102 104 106 108 110 HI 112 113 113 114 116 117 118 119 120 No. Pae*" 17. The nursery jest 122 18. School is begun 123 19. The alphabet 123 20. Tit for tat 124 21. Hut cross buns 125 22. Plav hours 126 23. The kind heart 128 24. ('ome let us sing 130 25. The chatterbox 131 26. The linnet 132 27. The harmonious blackbird . . . 134 28. Tiie praise of spring .... 136 29. The sluggard 138 30. Neatness and cleanliness . . . 140 31. Work away 141 32. Time for rest 142 33. Good night 143 The following airs ma\' all be sung as songs without the accompanying parts, or they may be sung with the second part only, omitting the third, or base. The seconds will not be found too diflficult to be acquired by any child of seven years of age, accustomed to sing in classes, but it will be necessary to teach both the air and the seconds separately, before singing them together, as children when attempting to sing both parts, without knowing either perfectly, are apt to pass from one into the other. The base, when not written expressly for an instrument, may be sung by the schoolmaster, or by the father, or elder brother in a family. In some cases the third vocal part, although written in the base clef (for the convenience of piano- forte players), may be taken by boys or girls of fourteen. When, however, the third part, if sung by a treble voice, would rise above the air, it is intended solely for a base voice. To perform the airs upon the piano-forte, children should be directed to play from the top and bottom staves, paying little or no attention to the middle staff, by which they might be confused. In singing, to pitch the notes b and c ^i with the help only of a flute, the teacher must first play the upper b or c with the voice. -^ — *- and then fall an octave K? THE FIRST CLASS TUNE BOOK. No. 1.— TWINKLE, TWINKLE, LITTLE STAR. Count 2 r Metronome 104. 1st Voices. 2nd Voices. Violoncello, or Piano-forte. y 'Ah vom dtrai-je.* The words from ' Rhymes ttvm the Nursciy. lt=i=j; ;e '^ ^^- I Twin - kle, twin - kle, lit - tie star. ^=i^iE ■.9>— o: eiiS Twin - kle, twin - kle, lit - tie star. e=?: ^: 1*4— F" -•=^ t=F: -i "O. ^.=.=x How m^ won - der what you are. Up a- i=i^3ES How --i-*; -• •- R m^ C3- won - der what you are, >-»-ii: ^1 *fl^=q" 3EEi5rd^=.= fEt*Esi?=«b i^-p -nP- Up a ^.=3g= y- Si mzzzm: -G^- t=h ^ - bove the world so high, Like dia - mond ■t <=^ Zlt eJ^ bove the world so high, Like a dia - mond 3ttatE5^3 #3^5- :*_ii* ^"^=S=^^ THK FIRST CLASS il;nc UUOK. 101 hi m w -o>- in the sky. l=iES :y=Tq: :p=*: E3EE^; =J Twin - kle, twin - kle, lit - tie M^zz m^mw- m the sky. Twin - kle, twin - kle, li t - tie -t^i^ ■ feg^ star. -ft R- fej :o: How I WGU - tier what you are. E3^S star, How I won - der what you are. gglgigpp3§ :i=:t l=ip=i=»: •->>- P :d: When the blazing sun is gone, M^'hen he nothing shines upon, Then you show your little light, Twinkle, twinkle, all the night. Twinkle, twinkle, little star, How I wonder what you are. 3. Then the traveller in the dark, Thanks you fo your tiny spark ; He cou/d not see which way to go, If you did not twinkle so. Twinkle, twinkle, little star, How I wonder what you are. 4, In the dark blue sky you keep, While you through my curtains peep And you never shut your eye, Till the sun is in the sky. Twinkle, twinkle, little star, liow I wonder what you are. 102 THE FIRST CLASS TUNE BOOK. No. 2.— WELCOME TO SCHOOL. Count 4 r M. 104. 1st V. 2ud Voices. 3rd Voices. f^' P March in ' Riue Beard.* The Word, l^ W. E. Hicluoa. ^^ Come, where joy and ■■t Come, where joy and / gUd Come, with joy and glad ICX glad - netiS X2t ^- i w h ^ m 1 hj Yj K- ^ ^ — ^ — 1^^-^ ' - ^ — b^- t- — r — r m Make each youth - ful stran - ger wel - come guest ; And 1^ — i»<;=L — / — ^ ::1: Make each youth - ful stran - ger wel - come guest ; Aiul lap^ Come, 2nd Ferte, Learn and ing be still a some wel - come guest ; use - fill thing ; >r|2:z f=3=» : I L > : Oi- iss: 4=t=:]: come, where grief and sad - ncss Will not find a dwell - ing where grief and sad - ness Will not find a dwell - ing aFEEH q=z:j^ ^ :^: ^3- Coiue. where grief uu'.l sad • ness Will not dwell with* 2/i«/ f'erse. Thus to - sjeth - ei THE PlUSr CLASS TUNE BOOK. Fine. P 103 1 h F=^ in your breast. Your time with us will pass a - way, With P i m your breast. Your time with us will pass a - way, With S33^= ;(&* P i in your breast, we will sing. f=^ :p=pc=p: W t- ^Ey books or work or health - ful play; And some -times with a ^^ ji=:± books or work or health - ful play; And some -times with a m A 1 D.a —^ J \) 1 1 1 -) P P P ^r • • ^ • J 1 #/" V 1 1 1 1 1 ^ J 1 11 ^ \ \ \ ^ • cS 1 %J cheer - ful song, n \ 1 1 The I hap - py hours will 1 i 1 glide a - long. / K ' y 1 " 'J J ^ J J J 1 1 f \v d d t ^ d ^ d J _1L J d c^ cheer - ful song, The hap - py hours will glide a - long. ^. 1 fi •\V ■ ^ ■■ w ' V 2. Thus, our days employing, We are always learning some useful thing; And, these pursuits enjoying, Merrily together we will sing. Tho' in our sports we take delight ; We also love to read and write ; And those who teach us, too,, we prize, Who strive to make us good and wise. ' 104 THE FIRST CLASS TUNE BOOK. No. 3.— COME AND SEE HOW HAPPILY. Count 4 ' M. — /5 \\\. P The worJ StfveDSun » by W. E llickMO. L/ \ k. » ■ V s.-- i( r m m A > 1^ 1 1st Voices. \\ ^ ^ • m _^ \y ^ > J • , Come and see P huw hap - pi - ly We -2, J ' \ 2nH Viilri'S T V 1\ ' _iS > -j^- — N- --N-^ (' ^ !^ P m ^ • • M ' ^ • Come and see K P K. how hap - pi - Jy We at: N \ ' \ N ^ - _ ^ _ \ r J , 1 ! "% ' '1 3rd Vuicc'S. ^ # m M . # • m m • 1 Cume and see how c^- ' m • m -P - ^— - -/— i-t^ — /— - In our books and sports coin - biiitd. Mc ny the TIIK MUST CLASS TUNE BOOK. 105 y~^ 4= ^^= charms we find. [n our books and sports combined, What charms we find: 2iid Verse, Time glides a - long. charms we find, In our books and sports combined, "What charms we find: -a-. -P- I ~^^=^-T-P— ^=^— ^ ^H^ ZZ^l =j=: charms we find, In our books and sports combined, What charms we find; :p=:p: ^=Sf-^ ■A- Come and see how hap - pi - ly We spend each day, — I -9 \—A-^- :gf: Come and see how hap - pi - ly We spend MOZMZZM. each — •- =F- day, :p:zzr Come and see how hap - pi - ly We spend each day, —p N- q^ -5 ":s A — // ■ a p a J > -\ p .• • a P * #~^— ^— ? * •^r i y^ -\ ? — Al - ways join - ing cheer - ful - ly In work — h or 1 play. ^=^"=51-?-=.^ II -q^-J-^r^ • ■ 1 r M ^ A-^ — d~ ' h ^—0 & ■- Al - ways join - ing ^- « • tf • cheer - ful - ly In work Q 1 or — P= — play. ■ * -F- Al - ways join - ing cheer - ful - ly In work play. We improve the present hour, For swift it flies : Youth is hut a passing flower. Which blooms, and dies. But with harmless mirth and song, Time with us still glides along. !06 THE FIRST CLASS TUNE BOOK. No. 4.— PERSEVERANCE, OR TRY AGAIN. Count 4f M. IGO. f Chorus * DuDcan Oi«y.* Tlie word* by W. E. Hid Ist X'oicL'g. 2nd Voices. 3rd \'oice8. ?<=? :©;=£? :q=^ b 'Tis a lea - hoa you should heed, Try, try, w m^ =^=; / Try, try, ■^ Try, try. :b=i: -i:^. try, a - gain. If, at first, you don't sue - ceed, •zfc ^5 try, a - gain. g^g^ j^ try, a - gain. f Chorus. P ) C3 -0|. i^ / 7'y. to-. try a - gain. P Then your cou - rage 5hP-^— t—^^=?- f. To-. '0-. eSS_=i try a - gain. Then your cou - rage Try, r^: irv a - i:aiu. TUB PIIUST CLA88 TUNE BOOR. J 07 slioultl ap - pear if you will per - se - vere, m- 'r f-f-r f Chorus. :!^=:t=t: E^ m y -^- ■•-•-r- You will con - quer, ne - ver fear, Try, try, try a - gain. Try, try J try a - gam. Once, or twice, though you should fail. Try again. It you would at last prevail. Try again. If we strive, 'tis no disgrace. Though we may not win the race ; What should you do in that case ? Try again. 3. If you find your task is hard. Try again. Time will bring you your reward, Try again. All that other folks can do, Why, with iiatience, should not you? Only keep this rule in view, Try again, 108 THE FlUsT CLASS TUNE BOOll. No. 5.— IMPROVE THE PASSING HOURS. Count 4 r M. 132 Mutiirt. Tlu; word. b> W. E. Hieluoiw Ist Voices. 2n(l Vuicei: Violoucello, or Piano-forte. ii^^^^m^m w Im - prove the pa>.s - in^ hours, For )- — ?-*H— • — • — • — • -— LztH— T— 1— 1-— r: :m=zf: gBEE3 Im - prove the pass - ing hours, _C3! C3| For 1^ ■b _,_,_. tizztizzif ■1-- » — •- ■» — •■ EEE^3 time is on the mg. Sip ho - ney from the :p=S;i»: 4=:^ ^^l : EEE3 time is on the wmg, Sip ho - ney from the §|iS .C> C^_. ^=1:= t::? e: ^^- And mer - ri - ly, mer - ri - ly, mer - ri - ly sing. 'fe -i=^ flowers, And mer - ri - ly, mer - ri - ly, mer - ri - ly sing. dg ± :c>: <3 ^^ i b=p: s; All f-^^ All ^^: THb: FIRST (JLASS TXJSE HOOK. £ fol - ly ends in sad - ness, 4=^:1=:1=^: P fol - ly ends in sad - ness, m . . C> -^- 109 For I For C3 i l2zip=:pzzzpzzzii: w i — \ — p f^^^ g -0 • • trou - ble it will bring. But wis - dora leads to :p=P=»- ?=? trou - ble it will bring, But wis - dom leads to ^=5: itzzzt: x>. ^h t a -^ :lr ;£? -« — •- S^zz^: 58=!?=t: 1^ I glad - ness, And mer - ri - ly, mer - ri - ly, mer - ri - ly sing. -I-P- ^— P -• # •- 1t:fs glad - ness, And mer - ri - ly, mer - ri - ly, mer - ri - ly sing. 3itb — ^: — P r -M ^^- ^3- ^^- t- i 2. Repine not, if from labour Your health and comfort spring, Work hard, and help your neighbour, And merrily, merrily, merrily sing. Store not your minds with fable, To truth your homage bring, Do all the good you are able. And merrily, merrily, merrily sing. no THE FIRST CLASS TUNE Ul>OK No. G— MULTIPLICATION TABLE. First Part Count 4 r M. 132. 1st Voices. 2n(l Voices. Violoncello, or Piano-forte. -^. Three threes are nine, three fours are twelve. Three i— L-^ ^ i=J= ■^ ^^=m W 10- Three threes are nine, three fours are twelve, Three ^"•tt c> -■-• -,■■■- r •^•tti^ r* ^tt 1 G> V 9 1 1 . fives will make fif teen: * And three times six are *— *— i— i fives will make fif -?r5 — =; — • teon^ And three times *— :J— ^ I m M ^ C3- ^ just eigh - teen, As they have a) - ways been. m iOl -^- And three times seven arc twcnt}'-onc. Three eights are twenty-four ; And three times nine are twenty-seven, You'll find they make no more. 3. Three tens are thirty, and three elevens Will make just thirty-three ; And threi- tinu-s twelve are thirty-six. And more ihey cannot be 6. 4. And four times four will make sixteen, If you will count them o'er; Ami lour times five have always been Just twenty, or a score. 1 5 And four times six are twenty-four, Four sevens are twenty-eight ; And foiur times eight are thirty-two. Four nines are thirty-six. Fou) tens are forty, we repeat, Four elevens are forty-four; And four times twelve are forty-eight, And now our song is o'er. THK FIRST CLASS TUNE BOOK. Ill No. 7.— MULTIPLICATION TABLE. Second Part. Count 6 ^ ist Voices. 2ad Voices. Violoncello, or Piano-forte. -• # • ^-m- »=.p: Five times five are twen - ty five, aF,i2=f; %■ ^^ -4 *— tf^ Five times five ::* ■^— 4- twen - ty five, I; p _^,— .--c i j=hz j Pp ^ Five times six are thir ty ; And five times seven are ^^^# Five times six are thir - ty; And five times seven are ^; ^ i five times eight are for ty. t i thir - ty - five, And five times eight are for - ty. aiiE ^^-=-. m. Five times nine are forty-five, Five times ten are fifty; And five times eleven are fifty-five. And five times twelve are sixty. 3. Six times nine are fifty-four, Six times ten are sixty ; And seven times nine are sixty-three. And seven times ten are seventy. 4. Eight times nine are seventy-two, Eight times ten are eighty ; And nine times nine are eighty-one, And nine times ten are ninety. 112 THE FIIIST CL^SS TUNE HOOK. No. 8.— THE PENCE TABLE. Count 4 J M. 160. Pur three equal or two treblo and a brjie Ut Voices. 2n(l Voices. 3rd Voices. ii m Twt'ii - ty pence are one and eight - j>ence, '4 m lig5zr=i^=rr=|=*r^p=:i=ziTq3«=rp=#=:irzL —ft — ' 1 t-j ~ — \—V b 1 ■ b b b b— 4- Thir - ty pence are two and six - pence, For - ly pence are ^^=r-/—^: 4^—^-i^ =4 Thir - ty pence are two and six - pence, For - ty pence are ' ^ /^ Fur - ty pence are zM-h--=^-v=i- -m — • — » — a- V — »^-^ — / —^ — > — / — a— %J tliree and four - pence, Fif - ty pence are four and two - pence, IV three and four - pence, lif - t)' pence are four and two - ponce, V — /— : three and four t" pence, Fif - ty pence are four and two - pence, '*i»z^:p=:f==frp=:^il=r«=#=»==*rp==3^i4z^ xJ Six - ty pence, if you will count, Are five shil - lings in amouut. I Mzz^: Six - ty pence, if you will count, Are m-e :•=*: shil - lings in amount. ^SES^i IX - ly pence, if you will coiuit. Arc five shil - lings in amount i IHB PIKST CLA88 TUNE BOOK. lis 2. Serenty pence are five and ten pence, Kif;hty pence are six and eij^ht pence, Ninety pence are seven and six pence, And a hundred, eight and I'ourpence ; Twenty more we'll add, and then. We shall make the shillings tea. THE FOLLOWING SONG MAY BE SUNG TO THE SAME AIH. No. 9.— THE DAYS OF THE MONTHS. Thirty days are in September, April, June, and dull Noverabtrr; All the rest have one and thirty. Save the month of February, Twenty -eight are all its store, But in leap year, one day more. No. 10.— PROCRASTINATION. Count 3 r A Canon for three -^ ^=0 =1= ^^ =t ^3- i What you've 2nd Voice begins. to do get done to - day, W^ -^ i What you've to, &c. ^- ^^ .Q»- O I J And do 3rd Voice begins. not tiU to slay, There's 114 THE FIRST CLA88 TUNE BOOK. No. 11— THE PEACE MAKER. Count 4 r M. 144. Ut Vc 2n(l Voices, Violoncello, or Piano-forte. -R The air from ' Midas. The wordi by W. E. Hicl ^ Comt !i=:1: -CJ>- let u» be good friends a • gain, We Come, 5=1 I let us be good frieuds a • gain, We :A- -O i =q=:4: -8=^ ■-■X ;h both may have been wrong; — ^- V\1iy should we let our l|=d: £=i both may have been wrong ; t:^= Why should we let our 3ii: <3- -^^- :o: ■^- m - ^ Our •€> -^ z:l=ji ^—■^- i )tn- quar - rels on - \j give us pain, And should not last so quar - rels on - ly gi?e us pain. And should not last so m^^ =1- -o -Gh THE FIRST CLASS TUNE HOOK. 115 -^^h- / Fine. — c > f. loug; In fu - ture we will learn to be mote / wise. Fine. JOS- -t long: In fu - ture we will learn to be more e3 Ql^ :± ^^- .^_ 5EL i J^^ f :^=d: -^3- C>' ^^- Come, then, shake hands, be not still of fend - ed, -^- en & 1=t :i=: ^3- o Come, then, shake hamis, be not still of fend - ed. :ss: ■t ^F .!Q)_ -^- i Z)a Capo. -0 — 9- -m — •- -h EEtEl ^^- o: Don't dis-dain to smile a - gain, for all is past and end ed. tuM: t ±=jii m t Mizin— ^ T3' m B Don't dis-dain to smile a - gain, for all is past and end ed. az^ -^- :■=#•= ^^ -^ 2. All those who wish for happy days. This truth should keep in mind, That friends without some faults are few and rare ; And to those faults the proverb says, " We should be sometimes blind," For we must learn to bear and to forbear. Come, then, shake hands, be not still offended Don't disdain to smile again. For all is past and ended. Come, let us be good friends again. We both may have been wrong ; Why should we let our angry passions rise ? Our quarrels only give us |)aiu, And should not last so long : la ftiture we will learn to be more wise I If) THE FIRST CI^SS TUNE DOOK. Count 4 r No. 12— WK ALL LOVE Ox\E ANOTHER. it w -0 #- We all love one a no - - ther, We tJ'tfl ^=F^ i l=l=i Pf all love one no - - - ther, We all love one m f f- ^^ :^ :3^E?^ rf^ -# •- no - - ther, And we all love be - side, Our fa - thers and our EEi=:t^=E;E|^=E -^- f^E -e>- 3zziz: -e)- thers. Our sis - ters and our bro thers, And ^«^^a=i ■f- C3- i # — •- ^^^^ itzz :;?=F=t: ^ tf: o- we for - get not o - - thers, Who seek our steps to guide. -4 -t^. o- -C5: <3 — ' 1 2. We love our school and teachers, We love our school and teachers. We love our school and teacher*. For useful things we learn: We'll now take leave together, We'll now clap hands together^ We'll go and play together, But soon we'll all return. THE KIHST CLASS TUNK HOOK. 117 No. 13.— WE LL GO TO OUR PLACES. Count 3 f* We'll ai go to pla - ces, With I :^ P ■ -/- clean hands and fa - ces. And pay great at- y a Iv X V m p - W - " ■■" ^ 1 m 1 1 r ^ / ' J ~'?~ ) J ^ jj / • ^ ^ / '— - r ten - lion to all we are told J For else we shall 1 1 « . 1 f 1 '• • • 1 4 • 4 _ —p- _-v_ HS h— ^ :^ -N-+ W- ~^ — r~ — 4^ — ^ ^— ^ — « J — d f i* /' J • *" r ne - - ver Be hap - py and cle - ver, And r- di- p. 5. A • m 2. h 1 1 I- ' 1 :=U=t^ aj^^ N-E^v learn - ing is bet - ter than sil - ver or gold. ^ 118 TUE FIRST CLASS TUNE BOOK. No. 14.— HOW THE WIND IS BLOWING. Count 4 r M. 132. 1st Voices. 2n(l V Violoncello, or Piauo-forte. Irl— M^V =l=«=z:*=r*iz xiz=q: -^ 3^^ How the wind is blow - iug, WUith - er i« it :#- ^-^ Whith - er is it aiiil 'C5" ly -l-ir ^^7===4 :ozzim: :^ !L4 go - ing? North-east to south-west, and where the waves are , f Qi It ^^ t=i • • I go - ing ? North - east to south - west, and where the waves are ^=1: LX^. -^- .ii. :s5: -^ n- t— ^-r~^ ./^ >-t ^ I flow - ing. There the har - dy sai - lor bat - ties with the t e>- •-^-# — •- i=i -^ — ^ iLtZ- flow - ing. There the har - dy sai - lor bat - ties with the in: c> :c^ — c^ 'c5' THE FIRST CLASS TUMB BOOE. 119 EE£Ei-^ ^ s^ :^ u n J- m breeze, I wish him safe on dry laud, and home frum the sea». -4=^±:?- S=^ :^.^: -*— r breeze, I wish him safe on dry land, and home from the Oi-i 0(- . — I — i: ^: li^ :t==-=1 I^ZZZ^ -^ I No. 15.— EARLY TO BED, AND EARLY TO RISE. The old air of ' Lillibt'lero. Count 6 ^ M. 160. 1st Voices. 2Dd Voices. Violoncello, or Piano-forte. % '-is. ■■*^i=*Ef: Ear - ly to bed, and ear Iv to :gtf — ^- PPP=Slg3 ^ £ar - ly to bed, and ear - ly to rise, m^ i^ I have read. the way to be f g^ ^^ Is, I have read, the way to be *^ir eiiS #i I: =^ 4 If health you would keep, this counsel you'll take. Be early asleep, and early awake. 3. 'lis good for your health, 'tis good for your purse, No doctor you'll need, and seldom a nurse. 4. Then early to bod, and early to rise. That we may be healthy, and wealthy, and wise. 120 TIIK HKST CI-ASS TUNK LOOK. No 10— 0VP:R THE WAIEK FKOM ENGLAND TO FRANCE. Count 6 '^ 2ncl \uic.» Vi"lonceIlo, or Piano-forte. -#-— H O - ver the wa - ter from Eng-Und to France, An* ■■%- ;q^^5; =t=:tt: O - ver the wa - ter from Eng-lasd to France, And m L^^HEEE?; i=:^S= home a - gain o - ver the m blue !fe-^ >- ^ — IV B= ;s home a - gain o - ver the blue - ail i^ ■^ But -9- But !itj? V^=^^=^ ^i^-- » — • — m — •■ SE3^a t -F- t how much the bet - ter will you b«. 'I ^^3gSgS gg :^Ha: how much the bet - ter will you be. y— t if iu your learn - ing you do not ad - vance. Pray i if in your learn - ing you do not ad - vatice, Pray ri;if=.=i: ^=lP^i TIIK FIRST CLASS TUNE BOOK. 121 Some lit - tie folks, who love al - ways to r= s=^ :i Some lit - tie folks, who love al - ways to roam, aifcf^i^ s Re- It: Re- i '4 -A^- ? main as great dun - ces as P ^^^ a* • " ■ main as great dun - ces as $ But But t ■^- -I F- -t>'- i if of our time we make good use at home, ff f- i^=IS=ltrqV=jS: :*z=:^= • •- of our time we make good use at home, S We JSi: We t5=^: ::^ =j5=j — i=ztf=: j: all njay he hap - py and t 1^=:f!5=^5s=:^^ isi all may be hap - py and m^ I! cle cle f ^p^i 18? THF HR«rr CLASS TL'NK BOOK. Count 6 ^ M. 144. ChUd. Mother. Father. b No. 17— THE NURSERY JEST. P A GermaB Melody. EEf — / — ^ — h g Lit - tie Bo - yenf has lost htr iihe«p, And I J ^ ^^c:#- Lit - tie Bo - peep has lost her sheep, And P P • r- H K- Cff ^ Lit - tie Bo • peep has lost her sheep, And tb: -• •- / ^^— #- -# #- 5^ Tt can't tell where to find them ; Leave them a - lone, and . / -i L-i — \^j c=i -0 0- can't tell where to find them ; Leave them a • lone, and ^^' :/=^=^ ^i can't tell where to find them ; Leave them a - lone, and P i'=- '^=gg^ / -t=^=i^ they will come home. And bring their tails be - hind them. P . f :t:^'«=fi=^ MZZM. -^Ek -0-^ — r-^ they will come home, And bring their taila be - hind them. ■^=^=7- -• — •- tht-y will cume home, And bring their tails be - hind ^^m. -1 THE FIllST CLASS TUNE ROOK. JSS 3. Little Bo-peep fell fast asleep. And dreamt she heard them bleating ; But when she awoke, she found it a joke. For still they all were fleeting. Then up she took her little crook, And forth she went to find them ; She found them indeed, but it made her heart bleed, For they'd left their tails behind them. N.B. — ^The song of Little Bo-peep is so great a favourite with children, that to have omitted it in a work partly designed for the parlour and the nursery would have been an unpardonable offence; but as the words are not considered by Schoolmasters of a character sufficiently grave for Infant Schools, the following may be substituted, and sung to the same air. No. 18.— SCHOOL IS BEGUN. 1. School is begun, so come every one, And come with smiling faces. For happy are they, who learn when they may, So come and take your places. 2. Here you will find your teachers are kind, And with their help succeeding. The older you grow, the more you will know, And soon you'll love your reading. Little boys when you grow to be men, And fill some useful station, If you should be once found out as a dunce, Oh, think of your vexation, 4. Little girls, too, a lesson for you, To learn is now your duty. Or no one will deem, you worthy esteem. What e'er your youth or beauty. 5. School is begun, so come every one, And come with smiling faces, For happy are they, who learn when they may, So come and take your places. No. 19.— THE ALPHABET. S=S !S=S=^ V-N-N' mB ■¥-' bcdefghijklm -sa^ =t t: P5=q^=^ S^ ]S=|!E p q r s t u V and w dr^^^Ea^ g—» 1: 4= X y jtzf Hi 124 IHi: PlllST CLASS TUNE IJ()«)K No. 20— TIT FOR TAT. Conot 4 ^ • The merry Sw!« Hot.' The wurds liy \V. E. llick»< W XX Chil - dren, as we .some - times see, Don't ai^3 ri x^ — ^«Ji. 1=^ S^^ =1: EE gree, ^- (lou't t=a: gree : They Tall out, 1 :o»: :<^: i grieve to ::!= ^d^^ :q: i say, In their hours of play. ^7 XX -C^i :c3 i=s=i5 One of - fends, and soon we m^S: M- ■:i^=-- -C3- learn, =1= Its: He's of - :=3: g^3£ ■^ fend in nis XV turn; And tht-y say that -o THE FIRST CLASS TUNE BOOK. 125 H^^^i^ ^#=p- £ ="F=P=FF Children, why such anji^er show ? Don't you know, don't you know You should not this rule obey ? There 's a better way. If each should in turn offend, Then would quarrels never end : There's a better way than that, Or than tit for tat. Though it was indeed unkind, Never mind, never mind : You should bear a little pain, So be friends again. Those who in this world would live, Must forget, and must forgive ; Bear these trifles like a man, That's the better plan. Count 4 ^ . No. 21.— HOT CROSS BUNS. 1st and 2nd Voices. Violoncello,, or Piano-forte. Hot cross buns. One a pen - nv XX buns, at — ^- lo If One -H>-J N- -9 — •L — «: ^^ O f^==^t: I J I pen - ny, two pen . iiy, Hot cross buns. ai^; p tzzzt- -^'^^ i^iS The Infant Schoolmaster may substitute, for the above well-known nursery words, the following, upon suitable occasions : — Come, come, come, Come away to school ; Leave your play, and come away, And come to school. 126 Count 2 r M. 108. TIIK FIRST CLASS TUNE BOOR. No. 22.--PLAY-HOURS. Ist Voices. 2r)d Voices. Violoncello, or Piano-forte. !*^'; t— The vorda by W. E. Hickaon. Boys and girls. come aU aud pUy, ^t=i^ S^=# Buys and gii'^S) como ^P^ ml f :^: .C2. :^: and p'»y. :=!- ^^ =1: i^-ppl^ll P-. P Join hands and form ring; Put your j^fefej -^>- P- Join - • hands and form ring ; Put mt i=i :^: 1^2: •y r= =1=F t^ -•— :m: ^^ books and slates a - way, =3^?i: :c^: Conie jom y^ iCil ^^ books and :l^ ■m- -0- slates a - - way Coi ra=:fc join our :o: THK FIRST CLASS TUNK BOOK. £ i-- 127 are bright. In health - ful games we all de- =1: :^ f skies are bright, lu health - ful games we all de- ^ig: ^ Qi -G> G>- ■^- Discord shall not here be heard ; No tales have we to tell Of cold looks, or angry word. We love our friends too Avell. For foolish strife we cannot spare One moment from our hours of play. Much too short they always were \ Too swift they fly away. 128 THE FIRST CLASS TUNE BOOK. Count 3.* M. 104. No. 23.— THE KIND H^:.\RT. Ut Vcices. 2nd Voices. Violoncello. ^ or Piano-forte. Th« »ir of the * IH^ar G irL ' The words by W. E. Hickaoa. «^ Life ^=4: a school where this lea - son is !Sd^-1: taught, -C3 Life is a school where this . les - sun u taught, :1= S|=^ -e^ i ^- -^ I t =f=»=i^ fe -<3 P- May it be deep-ly im - pressed on my mind; Vain through the SjjE i±t Of May it be deep - ly im - press ss'd on my mind ; Vain through the gilE^^E c> -o- i -jp^^ m^: ^ orld is tru« hap - pi - ness sought. If we pos J I L o world is true hap - pi - ne^s sought If we pos 3 C3 -C^ I G> J^> _ w ^3-5- -R — r ^EBEiE ses8 not a heart that is kind. Those who ue - light to make — I 1 I r ^-^ sess not a heart that is^ kind. Those who de- light to make 3^^m " * >Vheu two notes are written, as in this instance, the upper one is only to be sung in th« event of the voice not being able to reach the lower. THE Finsr CLASS TUNE BOOK. 129 ±=:r. t ^mm o - thers un - hap - py, And think it fine sport to cause ^ —4—-]- SEP o - thers ua hap - py, And think it fine sport to ^- ■^- '^- i -^ trou - ble and pain, No one will love for their want of hu £ , Sni: trou - ble and pain. No one will love for their want of hu - aie: - o . ^ -^ :^: i i Slower. w #— P- -• — •- f; "if P • '^ P P (iJ \ J i ^ ^ r i • o ■^ -fi^ c There is not a king 80 hap - py as we: ]/r,^ 1^ 1 ^ t^-ff-^ s — ^^ k k. \ s « p ^ \u -J, 1 ^ 1 be. There -m- IS r-# — not a king 80 hap - py as S ^e : ^W-r m 1 . — ~P —•" — 1 — w — I — ^ J ^ « Tt 4 • / A V~ • > — c:> 1 2. — We'll not be sad without knowing why, Tu not half so bad to laiijjh as to cry ; With cheerful voice we join in the song, For not to rejoice would surely be wrung. THK KIKST CLASS TUNE BOOK. 181 Count 2 r 1st Voices. 2ud Voices. Violoncello, or Piano-forte. No. 25.— THE CHATTER BOX. ■-R From the Oermaa. t =1= rs3 There's some folks, do what you will, They won't t^^a^ :*zii — C5l— at There's some folks, do what you will, They won't _ ^ Q, -^- 1=:^: -e3>- -^ ''- :^=*=«= Q| II :t:: let their tongues lie still, click, clack; ^ i %- O Thus they M^^M: m, let their tongues lie still, click, clack; Thus they -^- r-^i=i- F :t:-- t=t: :*=t 1 still keep on, ding, dong, :r=d=i " o night and morn - ing. :1^^ o- ^1 o- ding, dong, night and morn - ing. A- ^^- -H-= It:!?: i 2. But, though inends you live among. Do not tire them with your tongue, Click, clack ; click, clack : Soon they '11 wish you gone, Ding, dong ; ding, dong : Take this warning. When advice you give or take Think before you silence break, Once, twice ; once, twice : Think, and then you'll speak Twice, thrice ; twice, thrice j Thrice the better. 182 TUB PIKaT CLASS TUNE BOOK. No. 26— THE LINNET. {Arranged for three equal voices, or two trebles and a base.) Count 3 f M. 104. The word."by"w. E^Hilkum, kt Voices. 2iid V'oic<». 3rd V. l^SzE^ f '.i -^t Oh, r\\y is the Liu - ut-t bo si - lent and So Hi - lent and Oh, why the Lin - net 81 - lent and :p=f -4: sad, No hap - pier bird there could be; r The O- 4 :t=:=r: sad, No hap - pier bird there could be; -•—»-- The Gf :p=4 t- sad. No hap - pier bird there could bej «»- mmm- £JL -!— #- cold nights were gone, and we thought it glad, For «-HfeS '^^=^^ -^^ cold nights were gone, and we thought it so glad. For <^ I We thought it so glad, For fe sweet-Iy it sang on n- i — r I I' the tree. The greeu leaves were i^E ¥ sweet-ly it -' 9 ^ sang on the ry r: •\v»ct-ly — 1— tree. The green leaves were K sang ou the tree. The greeu leaves were THE FIRST CLABS TUNB BOOK. 138 »i=f^: ■i^'— t f^EEE -*-l come, and no bird seemed so t-w ^^^. blest, For joy tuned its — V. L 3Ii come, and no bird seemed so blest, For joy tuned its — -s come, and no bird seemed so t=t: I blest, For joy tuned its notes when it sung; But some era - el chil - dren have V- ^—•^ ^ notes when it sung J But some cru - el chil - dren have aa5=i=f=|= a notes when It sung ; Have 3!f=t -^- %J at tak - en its nest. WE^ And robb'd the poor bird of its i ^ -^- :f:==p: tak - en its nest, And robb'd the poor bird of its young. t: youug. -^>- tak - en its izzp: t=l=f=t: -• — •- nest. And robb'd the poor bird of its -^3 young. I 3. Our parents we love, for they do a gregt deal More for us than we e'er can repay ; But think of the sorrow those parents would feel, If we were thus stolen away ! I would not be guilty of such a great wrong, No pris'ners in cages for me ; Fly away, pretty birds, and repeat your sweet song, I am always the friend of the free. 184 THE Kills I CLASS TUNE DOOK. No. 27.— THE HARMONIOUS BLACKBIRD. Count 2 f Ivt Voices. 2n(l Voices. Violoncello, or Piano-forte. HandeL Tlie wurdB by W. B. HidMOO. Hark, I ^E3^3 hear the black - bird 3 g - »ng Hark, I — 41- hear the black - bird ig - mg C3- =4; F :=f^ ii^iii -o- In the trees of yon - der grove ; Loud and the trees grs— .•-iT- yon - der ■a c^ grove J^ Loud and ii^l^ !l=* ee; -fe-i. -Sil rh= ::]: t =1: clear his notes are ring - ing Through the woods where *^.^^ ^^ P- ,-> oft we #— I •- =it= ZI^!IIZ :-a fL Var - bling sweet - ly songs of t:: ^ oft we War - bling sweet - ly songs of aie i -fi-. £?: S5: THE Fia.-.T CL\SS TUNE llOdK. I3fi ^^m^ glad - ness, When spring flowers have deck'd the plain ; liffigtgi^i glad - ness. When spring flowers have deck'd the * plain ; '^- t- =1=^ -*:=^; -C3- m Charm m: -^- ing hence all grief and sad - ness, <^- 2. Feather'd songsters, singing gaily, Oft among our groves are heard; Yet, but few that warble daily Sing more sweetly than this bird. Pretty blackbird, do not fear me, Think not I would do thee wrong. Come, and warble boldly near me, And repeat your cheerful song. 136 THE FlttST CLASS TUNK UOOK. No. 28— THK PRAISE OF SPKING. Count 6 ^ M. 160 lit Voice*. RoMini. Tb« word* by W. E. Hicluou. 2nd Voices. Violoncello, or Piano-forte. —Q-Vj- -f- s -^ ^t :rz^ *i \^ _ — # ^ • ^ — — \ K 1 ^iJ vy- m "~r 1 > ^ — a- - In cheer ful lays your voi - ces raise. Let ~i m M ^-~F 4 In ->- cheer - ful lays your -A ,.^^-± Toi - ces raise. Let —r» r»^ — h— — • — r-r-- T^- ^xj- rB—V. •l?z— — none refuse to :F=t=*: 5E^^5^S^ sin^, Let all u - nite, who love the bright And - — M — m-^ — a-^1 — I ^-^ 1 N — I — m— none refuse to sing. Let all u - nite, who love the bright A.nd -#— L {,'-j--= -r— ^ijii* fc Fine. t: -^^— cheer - ful days of pla^« spring. To Fine. :=zM^0 — vr • cheer - ful days of spring. Fine. cpring be - long ihe -P- ^_ f=iS To spriug be - loug the ^^p^^^m ^\ }:\r=^-9- ^=t birds of song, To sum-mer fruits and flov^ers. When wood -bine and the V P=P^»J -tr: ^=V^. ■^ birds of sonif. To sum-mer fruits and flowers, When wood-bine and the gfe'=. ■mmmm.m^ THK FIRST CLASS TUNE BOOK. 137 ^^!^ ^ ^-P £E5i EE^5 •3*: ij* i3^H 5^-^ ^ autumn comes the gold - en grain, Theu win - ter fol - lows fast. But ^^i£§fe5=a^^i^ :q;^- icz*: autumn comes the gold - en grain, Then win • ter fol-lows fast, But ^^M^^^^^^^ J Da Capo. soon the spring re - turns a-|:^ain, And we forget the past. B—0 • -X--] :j^- sfe ' — :•=■-■ i:l;=:^q=qs^h;zsJ=*=(E soon the spring re - turns a-gain, And we for-get the past. Each season in the circling year, Has charms iinlike the rest, But those of spring to me appear, The fairest and the best. I love to feel a summer breeze, In shady bowers al noon ; I love autumnal tints on trees, I love the harvest moon. And winter brings us social joys, Though verdure quits the plain, Till lovely spring his power destroys, And smiles on earth ag£ua. 158 THE FIR>-T CLASS TUNE BOOK. No. 29.— THE SLUGGARD. (A Lesson an the Gamut.) Count 6 r The words by Dr. W«tla Ist Voici?ji. 2nd Voices. Violoncello, or Piano-forte. 'Tia the voice of the slug-gard, I heard him cum-plain, You have 3eS£3^^^^ I heard him com -pldin, You have ai m I ^ N N -. \ -^-> f r^ 1 ^^5 1 ^ -=» ^ -• — #- \—^ — ^ — ^ J f — ^ waked me too soon, I must slum - ber a - gain ; Like the M | _-N_-S =: ^^==?s=S 4- • •- -# #— ~(i ~~* m — m — '^ — ^ waked me too soon, I must slum - ber a - ^ain ; Like the :^irp=c 'M p: /^-^ — / # — -• •- — / — / — /- ^zz^z door on its hin - ges, so he on his bed, Turns his P : ^_N |S uV_, S3=^ •zzz^: jfiizr -9 0- y — i^ — i^ 1Pf 8< >-y door on its hin - ges, so he on his bed, Turns his ,—, ^ # , S- ^ i m sidt^s and his shoul-ders and his hea S — N — N- head. 1^=zA i {^-•=« — * — — »—0 sides and his shoul-ders and his hea - vy head. THE FIRST CLASS TUNE BOOK. 139 :|=Sr ._p._»--c:c=p=rp=:pE y— t^- ^31 lit - tie more sleep, and lit - tie more slum - ber, So he Ifciftlfcil'irilV ;Ie£ :fcr.*— i—.*— •= ~ :p=p: ^M lit - tie more sleep, and a. lit - tie more slum - ber, So he wastes all his days and his hours without number ; And when he gets up he sits ^ wastes all his days and his hours without number; And when he gets up he sitg ?^rzs;==S=q^=^^qv =t^ I fold- ing his hands, Or walks a - bout sauntering, or trifl-ing he stands. :=zr ezir ZiV=iVixzzv:-?v -qSziM-Vr^Hz » -0^ -#- -#- -«- -0- -0- fold-ing his hands, Or walks a -bout sauntering, or trifl-ing he stands. 3. I passed by his garden, and saw the wild brier, The thorns, and the thistles, grew higher and higher; The clothes that hang on him are turning to rags, And his money still wastes, till he starves or he begs. 4. Said 1 to my heart, here's a lesson for me. That man's but a picture of what I might be; But tha:»ks to my friends, for their care of my breeding, WiiO taught me betimes to love working and reading. 140 THE FIRST CLASS TL'NK BOOK. No. 30.— NEATNESS AND CLEANLINESS. Count 4 r . Tlie blae » ell- of 'ifefE?35S x^^--^. this a sad dis • grace, Fur who would be seen with such -Or s2: 8^-^ ! -^— h ^p= -Q. ^^--^ t=x:; P P^a. m t=^Q:: S^ -^i dir - ty hands and face.' Why, you have nut been gc <^ ■C3" ~4- :5^:rt=:^=t=* IZC3: wash'd, and you have not comb'd your hair, Are vou ai o: <3- t: i=i -^ rii trll you a rule, so attend that you may hear: At hiKiie. or in school, always cle^n and neat appear, Fine clothes you do not w»nt, in the huut»e, nor in the street. But your pride should be this, — to be alnuys cleau aud neat. THE FIRST CLASS TUNE IJOOK. 141 Count 4 J. 1st Voices. 2nd Voices. Violoncello, or Piano-forte. No. 31.— WORK AWAY. zzzd^-J^qzjSziM ♦ LeRoldeSardaiKne.' The wurds by W. E. ilickion. :*=« rzj«=^ — 1 • ,v-^^ les - son which was not thrown a I re - mem - ber a les - son which was not thrown a - ante t t-- y ^ W=W- ■^-^z- ±^^-Z±: EE= MZZW- 'r]3=:fr=:p=i=[: way, * Learn be - times to be of use, don't lose too much time in % «=p: :3^;2=52z wA yiia:^, ' Learn be - times to be of use, don't lose too much time in :a. ■\=\: I !fep=P=f: 3SE — 0— ii^cjt *-?= -S — 0— i play : Work a - way while you're a - ble, work a - way, work - way. ;^e ^■^^ :^ ^=? -*-^ ■tp^-t^h-*— * — ::+ 3 i ffiiii play : Work a - way while you're a - ble, work a - way, work a way. -^- fi- :1=: = 2. Hands were made to be useful, if you teach them the way. Therefore, for yourself or neighbour, make them useful every day : — Work away, &c, o. And to speed with your labomr make the most of to-day, What may hinder you to-morrow it's impossible to say : — Work away, &c. 4. As for grief and vexation, let them come when they may. When your heart is in your labour, it will soon be light and gay : — Work away, &c. In the world would you prosper, then this counsel obey. Out of debt is out of danger, and your creditors to pay: — ^Work away, &c 6. Let your own hands support you till your strength shall decay, And your heart should never fail you, even when your hair is gray : — Work away, &c. 142 Count 4 r M. 98. THE FIRST CLASS TUNE BOOK. No. 32— TIME FOR REST. Ibt Voices. 2ud VoiceH. Viuloncello, or Piano-forte, 1^ P- -^ t q=p: ^-•^ fcd^ -f-2 1 — And we're all nod - ding, nid, nid, nod-ding, For we're ^^i=^=zi- :c2: 4 — m # — d— •— ^ And we're all nod - ding, nid, nid, nod-ding, For we're ^^f — p--j - S3 'it #^=R- Sil i^j •op - pinji: off* to hleep. To tired, and drop - ping off* to sleep. :^=:i5: ■^s==lv all tired, and drop - ping off to sleep. To ^e ff^ 'fe^-^^^ t£ ?2^: :1^ keep a - wake we do our best. But wea - rv limbs must )#4^x. 't^ it: :1=:l: t: *!?: ---.T-zq: :rr«=ii; keep a - wake we do our best, But wea - ry limbs must V=r — # — r-#— r— *— # r -ft— rE*-*-^*-»-i— *— -«-^— •— 0- -* f— ^— •— i=3— P have some rest : And we're all nod - ding, nid, nid, nod-diiig, And we're \^*-« — -J — # — I •— --!-# — # # — J— # — L -•- -•- -#- have some rest: And we're all nod - ding, nid, nid, nod-diug, And we're ?=?Ef£^^: ;:!= •tl THK FIIIST CLASS TUNK BOOK. US f^^^^ 2. %J 'I. " And we're all nodding, aid, nid, nod- all tired, and droii-ping off" to sleep. <1>"J?» PP p- For we're all tired, and dropping off to sleep. ■^ 1— Bj. The hour is late, we will not stay. t :^ ee: eep all tired, and drop-ping off to sleep. But go to bed without delay : 11 For we're all nodding, &c. pp ^. Count 3 ^ 1st Voices. 2nd Voices. 3rd Voices. No. 33.— GOOD NIGHT. :|±=:1: C3l- P- r/T^ ^- -^- ^^- P ^ Qi-e> -^ -y~. Good night: good night: May peace and rest £. p. ■t ■c>" "O" ^^- ^-O t=:i .^. Good night : May peace and rest f g rest dwell in your breast, and rest dwell in your / PP C3 ^— Q^ -^ ■t -^- -^- breast : good night : S ^^- -^- breast: good night; good night : good night. ^^- i -^ ^E" -^ 4: po • I '•* n^t. mm good night: i '^ night, good breast : good night good night. THE SECOND CLASS TUNE-BOOK. CONTENTS. No. 1. Sunrise 2. Bells ringinj^ 3. The love of truth 4. For age and want 5. In the cottage . 6. The cricket song. 7. Absent friends 8. When we go out together 9. Come let us march and sing 10. Forgiveness .... 11. Ere around the huge oak 12. Welcome 13. A man's a man for all that 14. Harvest home . . . 15. March and lift up your voices 16. When the rosy morn 17. The might with the right 18. Let the smiles of youth . 19. Idleness and knavery . 20. Lullaby '21. The hour is come of twiligh 22. The stormy winds . . grey Page 146 148 1;^0 151 152 154 156 157 158 159 161 162 164 166 167 168 169 172 175 176 177 178 No. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35. 36. 37. 38. 39. 40. 41. 42. 43. Page Our native land 180 To the good cause ..... 182 Filial affection 183 See he comes, the hero comes . . 185 The peasant's song . . . • . 186 The labourer's song 188 Humble fare 190 Home 193 Duke domum 194 Old friends shall never be forgot , 195 Harkl the lark 197 Rejoice, rejoice 200 The patriot's song 201 Well (lone, well done . . ... 202 If you get into debt 204 Britons, arise 206 The golden rule 207 Rule Britannia 208 The National anthem .... 210 Now let notes of joy ascending , 211 Farewell 212 In the selection and adaptation of the following vocal pieces, we have not confined ourselves to the task of giving expression to sentiments, suitable only to a state of childhood. Education should take a prospective aim, and youth is the period when the mind may be impressed with the feelings and principles which should govern the individual when he arrives at an age to take a part in the active business of life. Hence it will be observed, that several of the songs written for this work, have reference to a time when the boy will become a man, and have duties to discharge in reference to his family, his country, and his kind, of which in childhood he could not have a very clear perception. Throughout the whole, our object has been to make music subservient to higher objects than that of merely pleasing the ear, and to promote cheerfulness of mind, kindly feelings, content ; a love of industry, honesty, and integrity, and a spirit of self reliance and independence, combined with that of universal brotherhood. Most of the songs may be sung without the accompanying parts, but the effect will of course be better with them. In a school the bases may be omitted, or may be taken by the teachers: in a family by the father, or elder brother. In some cases where there are three vocal parts, they may all be sung by treble voices, but not invariably. L 1 \G THE SECOND CLASS TUNE BOOK Count 6 [ M. 160. No. 1.— SUNRISE. In splen - dour [»t Voices. 2nd Voices. Violoncello, or Piano-forte. Moxart. The word! by W.E. Hickaoe. :^. vJ See where the ns - lug sun ^ •- '^'- See where the ris - ing sun In Hpleu-dotir iS— ^ •=*; 0=i=Mr E y=f: 1 decks the skies, His =i dai - ly course be - gun, decks the skies. His m. dai - ly course be - gun, I , r-* » -» :»: -•- -. ^ cy Haste, and a - rise. - - Oh, 9zS-r m Haste, and a Oh, eome with me where ■E*^E?3 Oh, come with me where 1 f • •— r V — r nzl q_-^__ ^ — ^ vio - lets bloom And scent the air with sweet per-fu:iie; And :»z:rr F^^ vio - lets bloom And scent the air with sweet per-fume ; A^d ^d # • • y=F^ :5^P: THE SKCUNO CLASU TUNE BOUS.. 147 See where the n - sing sun In splen - duiir decks the skies, See where the ri - sing sun splen - dour decks the skies. aB^ ■^ ^ •=jt rn^izzw: fi S •— r — " • .»— »- / t-p^f^ V- -^S- His dai - ly course be-gun, Haste, and a -• — 9- ^- His ^ It dai - ly course be-gun, Haste, and a ^^ m :$zc itt- cEze; * — ■— # =I=d=:]: -•-^ FB= 3. Fair is the face of morn ; Why should your eyelids keep Closed when the night is gone ? Wake from your sleep ! Oh, who would slumber in his bed W' hen darkness from his couch has fled ; And when the lark ascends on high, Warbling songs of joy? Fair is the face of mora ; Why should your eyelids keep Closed when the night is gone ? Wake from your sleep ! 14!i Count 4 Ixt Voice*. 11(1 \ oices. 3ri] Voices. I HE SKCOND CLASS TUNE BOOK. No. J— BELLS RINGING. • Caller Herring.* The word« by W. E. lUckaoa. ^ » — •- ^EEv^^^ -• — p- f.=>^.=i: -■^^JE.-, j?i± Ilark ! 'tis the bells of a vil - Uge church, How Hark ! 'tis the beils of a vil - lage church, Iluw Hark hark: 'tis the ll-SS^Tr^ -# •- afzz/ ^ y— n—t tz^ X- plea-sant - ly they strike on the ear, How mer - ri - ly they ring fe^^^: ^ plea-sant - ly they strike on the ear. How mer-ri - ly they ring. ^gm m^ bells; hark! haik ! How mer- ri - Iv thev riiur. «4f-^ •— •- '^ AZUL #-«- » — #- ly they ring. V I 'rS Come let us join and im - i-tate -^-^ ^-^ their me - lo - dy, Let q:ri=dN=::«^iV i3izSr±iiKiE Come let us join and im - i - tate their me - K> - dy, Let aii^-=P^ iz: m Come, % y— / X3- -/ let us join ±z± each take part in har-mo-ny and sing. '%-- Sch t.ike a is=jt3 ^ part in har-mo-ny and sing. ffg; =1— 1# y-^ ;=^F- =; come, join in har - mo - ny and sing. THK SECOND CLASS TUNF, UtH)K, 149 /^— ty • — — M — ^ love a mer-ry peal of bells; »=F rfrr: =>c Of hope and joy their inu-sic tells ; V\ hen — ^ — d — ^ ~ ^ — ^ ^ — ^ — ^ — / / %J love a mer-r^' peal of bells ; Oi hope aud joy their mu-sic tells ; When ?L*p5^_^5EjE; ¥=^= love ry peal of bells; Of hope and joy their teffa; When li-i^ ■ismm 1^::^ JtiiV -I — I — trav'liilg homewards wear - i - ly, They greet cheer - i - ly. m — -•—0- — i — t!— «— d— '— *: '- : — ; ^ !er - 1 - ly. trav'ling homewards wear - i - ly, They greet They greet us cheer - i - ly. ^^==^^ -• •- :e^^ ¥-^ V— • ■7=^- =i=P=: 5=?*- % 1 ::_ 1 1 ^ ^ '- ^ ^ ^_ Hark ! 'lis the bells of a vil-lage church. How pleasant - ly they Hark ! 'tis the bells of a vil-lage church, How pleasant - ly they f siZi» fr 'Mzzm. ^-7 Hark! hark! 'tis the bells, I ^5-P- V- strike on the ear, How mer - ri - ly they ring. % kJ stri t^^ ^^=?^qv azzt 1 strike on the ear. How mer - ri - ly they ring. ^a**— •■ t Hark hark ! How iner - ri - ly they nng. 150 TML bliCONU CLASS Tl;.\E Ii(>(»K. No. 3 — I'HE LOVE OF TRUTH. Count 6 f M. CO. Ikt Voi 2nd Voices. Violoncello, or Piano-forte. l4 p- The air of' Be{;otM. dull care. Tl.e word* by W. E. Hick»4>n. s5==|=:1:z£d n- My days of youth the' not from fol - ly a; • — ^- ?ri=r#i?zprrg E5: 3^: My days of youth tho' not from fol - ly izl=rz==i zti: tEE5 free, • — ^-m-^-m- ■>-~4-^ 3EiEIE35 I prize the truth the more the world I see. :5 i^=]=^ '■^^-i free, 3l?iiS_' :p: s I prize the truth the more the world I see. I'll keep the straight and nar - row path, and lead where - eVr it ^MM ±=;^=F -4- y-t-.- 3SZ /i y-r*-- :•=•: -V: 1*11 keep the straight and nar - row path, and lead where - e'er it ?F3fe i may, The voice of truth I'll fol - low and o - bey. 3 z^^z-^T-££ lino — u_LJa: ^— >-• — •— • — •- 35 fetix: may. The voice of truth I'll fol - low and o - bey. ^^^mm^w^M THB SECOND CLASS TUNC BOOK. 151 2. My footsteps lead, O truth, and mould my will, lu word and deed my duty to fulfil: Dishonest arts, anil silHsh aims to truth can ne'er belon^^, No deed of mine shall be a deed of wrong. 3. The strength of youth, we si-e it soon decay, But strong is truth, and stronger every day: Though f.iUeh )o E and want save while you S3; ^^- 4 may, No morn - ing i^ last all ^EE£i £5 ^ £ day. For age and want save while you l^=f=? -^ ^- -^- G* -Ci -^- sun will last all day, will last all may, 4 No morn - ing sun will last all day, -^ day. 152 TliK SECOND CLASS TUNE HOOK. No. 5— IN THE COTTAGE. Count 2rM. 104. Ist Voices 2iid Voices. Violoncello, or Piano-forte. f Tlio wortU b) W. E. Ilicluuii. fe^^ ^ fc=i In the cot - tage where we dwell, We han iSTT— r ^— Jr -:\—t \-jr- -•C^i: In the cot - tage where we dwell, We have ae3^3 ^^ t -I — t- led led ■»=^ t i= t :m 4- peace - ful Ufe; ■^- =1: peace - ful \- life; Ours are joys which J— :n :^ Ours are joy* which =:a=n__| 1_ -^- ^==s- t ■^ none can tell Who en • g'^^g^' i" i^Qx - ious strife. I W TZZ i =^d-j=|: none can tell Who en - gage in anx - ious strife. ^r^pi rc2: i p p THE M'COND Cl,\89 TUNK lOOK. 158 <>- :t- *=P pi Though but low ' ly be our state, Yet -^- t Though but a t low ■ b^ be our be our state, Yet Or § P / ::fs: :1=i i tent - ed with our lot, 3: We - vy not tha m^ ±jM: ^ '■h=£< ^ tent - ed with our lot, We en not the 3 'K-^ — S- =1: =1: 4 -•^=V I ZZMIZZ^ ^^ t t proud and great, Hap - py our hum - ble fe=£ w -i- t^ :1=* proud and great, Hap - py ^f=4 t i-t cot. ^ • — g our hum - ble cot, 1 QJ ZZI 3. Blest with life, and blest with health, We desire no splendid home ; Nor, to be the slaves of wealth, Do we ever wish to roam. All its sweets would quickly pall- Honest hearts and liberty In our own cot are worth them all- Home is home where'er it be< 154 TUB SECOND CLASS TLNE HOOK. No. G— THE CRICKET SONG. Count 4r M. 144. lit \'uicos. 2nd Voices. Violoncello or Piano-forte. •ii S; ■^ ' The FarUienne.' The words bv W. E. liieiuaa ^id±:^-- rc^p: :c^- /=^ :^=^^U :F a Come, jtiin our sportii, o - bey - ing The laws that rule the 0—m- :o? _j — ^ Come, join our sports, o - bey - in^ The laws that rule the ^iU '#^ -C3 =1: Q|. "tV =^ S; / -c?: ^^ ■• — •- I game; A no - ble game is play - ing, And crick - et is iU tiizz; ^ -S3: *—• HZIfZIfllC ^'ame ; A no - ble game is play - ing. And crick - et is its EEIHE^S % — O :c^: U: C3l ^g bound ; Then run, boys, run, start ev' - ry one To catch the ball be - bound ; Then run, boys, run, start ev' - ry one To catch the ball be - i=#=c^ V -m ^ c^ o- THR SECOND CLASS TUNE BOOK. 155 :^ p:?^ S fore it fall, So take your sta-tions round, So take your sta-tions 1— '-i-r-t^— j: ^-- :Mzz^.. fore it fall, So take your sta-tious round, So take your sta-tions #=^^=1=^ =!: ^ «-ai i -^ — *— g-l-C-Tl t*4 o in* P=|C round. Then run, boys, run, start ev' - ry one To catch the ball be ^f^S^H*- -^h Wi ^-^ =^ ziiSr^iiES:: Bllil round. Then run, boys, run, start ev' - ry one To catch the ball be ^ t — ^ • ^— * C5t- :M—t: -QL e>- ;q=: P / fcbfsanfil trti: fore it fall, So take your stations round, So take your sta-tions round. fore it fall. So take your stations round, So take your sta-tious round. eii^ '^^^^:MT± T ^ Q^ t^ And now, secure of winning, Another youth is seen, His turn is just beginning, The best bat on the green. The wicket, from our bowler, Is long with skill defended, But run, boys, run, start every one To catch the ball before it fall : He 's out, the game is ended. And we the game have won. But run, boys, run, &c. 156 THE SECOND CLAS8 TUNR BOOK. No. 7.-ABSb:NT FRIENDS. ^ ^J^^! ^:i7,'Jl::r'^ 1st Voices 2nd Voice*. Violoncello, or Piano-forte. %.J Friends, and old com - pan - ionn dear, Though far, far i^.^=P3pgg Friends, and old com - pan - ions dear. Though far, far a- -^- ^^^ rb=q-a=?eT:^ feSr^F :.=i=:r*^ :1— / * ray, In our dreams you HV ^£^i o— oft ap-pear, Though far, far a ^— ^ -H- H- way. i=;J=:t way, In our dreams you oft ap - pear. Though far, far a - way. -<^- ^^ e>- %J Think not we can e*er for - get The pleasant hours when last we met; In A 1 ^ ' t: ^=1: ^__n=^: Think not we can e'er for - get The pleasant hours when last we met ; In a^b=: :^= -cir O— h,-#H iSil ^zzM-tl^: -^- CT :l^: :i :^: :r± ?^ :»z_"»: deed, dear friends, we love you vet. Though far, far way. deed, dear friends, we love you yet. Though far, far a - way. — ^ ±: — r ^ i^^-i^ o ' 3. — Time steals on, and you remain, Still far, far away ; But we hope to meet again. Though far, far away. 4- — Yes. we hope again to meet, And then our joy will be complete ; For now, dear friends, the thought is sweet. Though far, far away. THE SECOND LLA3S TUNK HDOK. 157 No. 8 —WHEN WE GO OUT TOGETHER. Count 4 r 1st Voices. 2ud Voices. Violoncello, or Piano- forte. A March. i=SjES3^3=!^^33^ 'hen we go out to - ge - ther, In bright or gloomy EBEi^S =-£ •^ When we go out to - ge - ther, In bright or gloomy m "^' :o- 3: r- ^\ ■±=^E t= wea - ther, The same good friends - ver, We'll sing to cheer the ^:ia=i^_?T|=p=p==p-?EE»±-=»=aEh3=p=i=- ai wea - ther, The same good friends as e ver. We'll sing to cheer the ^^ :o: -^ way: And when our jour-ney end - - ing, Our steps are homeward as^Ef-^ "^' P-i :t :c^ = bend- ing, Our cheer-ful voi - ces blend -ing, Shall close the hap-py day. ■-i *w=^- ■-:?=f=!i! M—0ZZW t ■^1- ?=:p^ 33 ^-•— •— 1* -Q^ bend - ing, Our cheer-ful voi - ces blend - ing, Shall close the hap - py day, -Qj - ;1=^= -^3- zi^: :^ i^j IbS TUB 8BCONO CLASS TUNE BOOK. No. 9.— COME, LET US MARCH AND SING Count 4 r M. 144. lit Voices. 2nJ Voices. 3rd \roices. fm w i The air of ' Le Petit Tambour. The words by W. £. Hickaoa. -o»- _:=zq: Come, let us march and fei 4 ting. 4= q=4; =l=, a— !f-«± Come, 1 lot lis march, come, march aud sing, And ati=fe^-tE^=^^ Come, t ^te^r='='^ t let us march, come, march, M-^ =1: St; %J mu - SIC s voice o bey, W can - not tire if \ *^^=* mil - sic 8 voice o bey, We Qiffii^iF — I — O- can - not tire if T— r— r ==: t And mu - sic's voice o - bey, Let us march, Fine. w t t tz V- ^^^S^ con - spire With songs to cheer the way. The ^ Fine. =ff:p=t:: :t: $- m^: t=E way. Fine. con - spire With songs to cheer the :=P=t: march. march, isr^ t -• — •- -P march, come, let us march a - way. The :c>-^-:gl- ^— • 'I — r i w pleasures of this hour. No dis -cord shall al - \o\ With It :^=:1 ■=«z±= =1^ =1^:^=4=4 «zzr II The pleasures of this hour, ^^ r-r^— r No dis-cord shall al - loy,With — i — r i pleasure! of this hour, No dii - cord shall al - loy. With TME SKfOND CLAfii TU \ K HOoK. ^ t=t=t pzifpni^-p-ir 159 Da Capo tE^tEE^t£ utie de-sign we all com -bine, And raise a song of g=&S^-^; 1=1=1=1: Du Capo. SipE, one de - sign we all com - bine, And raise a song of joy. I . Da Capo, ff~W t=t:=t one de - sign we all com - bine, I And raise a song of joy. Count 6 f M. 66. lit Voices. No. 10.— FORGIVENESS. 2nd Voices. 3rd Voices. !^ ' Ye banks and braes.' The words by W. E. Hickson :^=W -/^=?#- 1^1 In peace with all the wise would live, And -/^ N-H*^- 'r^ • H^ ^-5- ^fc^ lu EEE§J peace with all the wise would live, And i t- In peace with all A — •- — — F H 1 ^— the wise would live, And long their an - ger will fiot burn. But when they suf - fer -^ =5^*=j •v-+ i^zzi^^r: :• — e — '-^•- 1 i-r-H P^ __j— ^ ^^ ^ long their an - ger will not burn. But when they suf - fer n»—f — '^,b4=r-=w- -0 jtzt long their an - ger will not burn, But when they suf - fer ly they for - give, And good for e - vil they re- turn. ■^ they for - give. And good ^=3t: ^tiZB they for - giv 1— i»* V a r^ =J— « >J ^ U give, And good for e - vil they re - turn. ^E # • 1 ^ they for - give, And good for V- y— • M e - vil they re - turn. 160 TUB SECOND CLASS TUMK BOOK. coa-quer ev* - ry sul - len mood, Un - kiud - ness shall with J - quer ev' - ry ^-^ o ^ ^ sul - len moud, Un - kiud - ness shall with V -m — # tt'=2-=E; -! /- con - quer ev* sul - leu mood, Un - kind - ness shall with T^=^ - vil o - ver - come with good. love be met. And e - vil o - ver - come with ^ood. aiHS^5 love be met. And Vll o ver - come with good. It is not pride, it is not strife, Nor bitter thoughts, nor angry deeds, That gild with joy the days of life. Resentment htill to sorrow leads. Then love shall triumph, love alone Within our hearts shall live and reign; Our foes subdue N ^ w m • X I ' I t=t we meet •— i ?i^ sweeter is the plea - sure, When at last we meet a^53^^ ■=■: t :t: i sweeter is the plea - sure, When at last we meet flZ a - gain. i Wel - come, wel - come, wel f=^= at — •- gain. Wel come, wel - come, wel come, I -F-- gain. Wel - come, wel - come. wel 104 THK bKCOND CLASS TUNK BOOK. ^£5: -;=4= ?P:1^ ^=*=^: ^S s We will all re-joice with clieer-ful hearts and voice, Fur here at We will all re-joice with cheer-ful hearts and voice, For here at S— > -T-m — . • » ^ It ' V=tJ 4:: p: ■« P— I r,-| :>.zi^ ^ W^e will all re - joice with cheer-ful hearts and voice, For here at X w — • — f. p last we meet gain '^^- -»=± 3 =i-: May we e - ver V- EE last we meet a f=X— gam; =4- izs: May we e - ver H-W- last we meet it :r- gam May we t ^■'-. ^ t I t=?^ t lom to • ge-ther, and on - ly part to meet a - gain. r-¥- i=p=rzzprrp=«= r/n^. :«!=»: ^a= I I thus u - nite to - ge-ther, and on - ly part to meet a - gain. 'MZZLi thus u - nite to - ge-ther. and on - ly part to meet a - gain. Count 4 r Ibt Voi 2nd Voices. Violoncello, or Pianu-forte. No. 13.— A MAN'S A MAN FOR ALL THAT. ^^ \r M Tlu' words from Burns, anglicised a=i=::?^ :?^=«: :i-*-p^- •rb — ^- We will not blush for po - ver - ty. Nor hang our heads and y— + ^^=^ ^^ -0:j-*-^: -0—0- '.nzm: :4S=; aaE3 We will not blush for po-ver- ty. Nor hang our heads and p — — # -• — m—0- ^=i^*=f F=t=t THE SECOND CLAS8 TUNE DUOK. 166 :fc;=?s t,!lrj=:?:q=^ r-^-p=»: all that, Tito' wealthy folks may pass us by, A man's a man fur alt :iq=q=J=± all that, Tho' wealthy folks may pass us hy, A man's a man for all ^fe^g-. ^ ii=t t=^ V-t -e)- ■-i-f i^- that, For all that, and all that. Our toils obscure, and all that. Their ^^ — #— • -■A-t -^ — ^ — #- -•■• •— 1 3=^: ■ / I ^ ' o — ^ — -- that, For all that, and all that, Our toils obscure, and all that. Their aiFE i UJ ! ^=3^-^ ±: 4=f=± ^-* -> ^ »=«;: xn P^ ^ ■■^-o- -•--r -#-•- 5£ -jr^l 5E 3 rank is but the guinea's stamp, A man's a man for all that. =i • — •- i H t rank is but the guinea's stamp, A man's a man for all - - that. aMES — fe— •-•- -h=^=+ ^St ^^ The king may make a knight, or lord, A marquis, duke, and all that; But honesty needs no reward. And kings can never buy that. For all that, and all that, The pride of birth and all that ; Good sense and worth o'er all the earth, Are nobler things than all that. 3. And let us pray, that come it may. As come it will for all that ; When with the right, shall be the might, And truth shall reign, and all that. For all that, and all that, 'Tis coming still for all that ; When man with man the wide world o'er Shall brothers be, and all that. ir)6 Couiil Iht Voic.s. 2n(l Voices. 3rd Voices. THK 8KCOND CLASS TUNB BOOK. No. 14— IIAUVKST HOME. ^, fc=t ;p=*: Har-vent home, liarve:>t home, Hail the fruits uf la - bour ^z± Ilar-vest home, harvest home. Hail the fruits of la - bour ; CF apE^Eg-^E^E^^^ Har-vest home, harvest home, Hail the fruits of la - bour; , , P f Fine, ;eee; ^^- <3> ~^3 — e>- Har - Test home, har - vest home, Wel-come, friend and neigh - bour. :^ - — i^: ■H — •H — ■Cr5 — C!>~ Har - vest home, har - vest home, Wel-come, friend and neigh -boor. aftb§aEE3E^tEHEEEa353E^£EiES-- -m o ^ \-m — 9 |~- — P — ' — ■^' Har -vest home, har - vest home, Wel-come, friend and neigh -bour, P f :z=t: M^ Har - vest home, har - vest hume, Hail the fruits of la ^f bour E »=i= { — I- gi Har - vest home, har - vest home, Hail the fruits of la bour J ae ^E^ - ■^ p—^r l: H 1 :*zz» Har - vest home, bar - vest home. Hail the fruits uf la P . / . £b S2^ T: m. i Har-vest home, har-vest home, Welcome, friend and neigh • bour. lo: Bar-vest home, har-vest home, \\'elcome, friend and neit;h - bour. V-* •4-«- •C3- •t3- t Bar-vest home, har-vest home. W^elcome, friend and neigh - bout. THE SBCOND CLASS lUNK UOOK.. 167 No. 15.— MARCH, AND LIFT UP YOUR VOICES. /ount 4 Ist Voices. Jnd Voices. /iulon Cello, or ?iano-forte. z^lk n •/r March, and lift up vour vui - ces, re - jui ,_L — ^ : — ^ L .z=:*:zz:± • Suono la tromlvi. The words by W. E. llickson E^tF*=^^ cing as -^- 9-'-P — • — • =F=F=^=?=F=F^ 1^ March, and lift up your voi - ces, re - joi - ciug as W^^^ -t=t=^ mk V €3- ^^- Fine, %J JE^^EESE^-EEB it #-•-. it; ■Qt-t %^—-x bro - thers, Each hand within an - o - thers, And love in each heart. , — R ^ bro - thers, Each hand within an - o - thers. And love in each heart. aEEEJ 4 :t=q: fi p P • Fine. ■»-»- I -•-•-•- t3- •— * t fc> F zw:r*z:w=z»-. ?=^=:^ thistzoth -^ March thus with joy and mu - sic. To snoooth the path be - fore us, ir- T—^^^ \ — ^- ^t -^ t Jtujii: :M:i:^Mi ^- zi/izitz^zz*: March thus with joy and mu - sic. To smooth the path be - fore us, SEE EEE^ -\— EEJ "lEZ* -*-*—#■ -- ^ -#—•-- Da Capo. fct=t ^=i=p: I cy While friendship watch-ing o - ver us, Bids ev'- ry fear de - part D.C. «^zz*=:*=S=o=:ft While friendship watch-ing o - ver us. Bids ev'- ry fear de - part. m^j: D.C. -J=::i. 1^—9 ^ -^- I6b IHK yLCO.NU CLASS lUNE BOOK. No. 16— WHEN THE ROSY MORN APPEARING. Count 4 f M. IIG. Fur three equal Voice*, or two Trebles and a Bmw. Voice 2n(l Voices. 1 E=t::zit±±Bii:^^ztrl±:«r-*~'-^-\ J^zi^t When the ro - sy morn appearing;, Paiuta with gold the ver-dant lawn, im0:^^ Bees on banks of thyme dis- port- iuj]f, Sip the sweets and hail the dawn. ■^^ 2nd Voices. :^^ "SE^ : r^ ■* :is;=^=; =i=q^=:i :i=M: \^ — .01 -0. ^' See con -tent the hum-ble j^leaner, Picks the scatter'd ears that fall uy^-*^ Na-ture all her child- ren viewini;, Kind-ly bounteous cares for all. :r,t*i=|?: t i=*; =1: t±=t -♦— •- ]-•-#- Warbling birds the day pro-claim-in g, Ca - rol sweet their live - ly strain ; ^-^t r.^ :9:*^ziz=jf. ^^^^=t :jj-^-*-* • azrr Warbling birds the day pro-claim-ing, Ca - rol sweet their live - ly strain / ^ :#_!_#: Warbling birds the day pro-claim-ing, Ca - rol sweet their live - ly strain THE SFCONl) Cl.ASb TUNE BOOK. If)'. faE^^E^^ ^gg^gj^i They for-sake their lea - fy dwell -ing, To se-cure the gold -en graia. :=W= :^ :^5=f=ff-- They for- sake their lea - fy dwell -ing, To se-cure the gold-eu grain. at^^ ■R St t=t li t=f; t=^=F=t *=d= :czi=?=r± t:*=t=t They for-sake their lea - fy dwell- ing, To se-cure the gold -en grain. No. 17.— THE MIGHT WITH THE RIGHT. Ck)unt 4 f M. 160. Callcott. The words by W. E. Hickson. Ist Voices. 2nd Voices. 3rd Voices, t -0 • May ev' - ry year but draw more near The time when strife shall ■bz£ ^^m. ±=M: *-« May ev' - ry year but draw more near The time when strife shall £ , _J ^ p » ^ :P=T J=«=t^ May ev' - ry year but draw more near The time when strife shall a.' m^ nun^ - p p •- EE5 eri^ cease, And truth and love all hearts shall move, To live in joy and peace. cease, And truth and love all hearts shall move, To live in joy and peace. SEE O. ^H •V -r^iii azzpr a P~P~#=»: t -j: :* ^ cease, And truth and love all hearts shall move, To live in joy and peace. 170 THE SECOND CLASS TUNE BOOK. I i|-J?_-z*=*. s^^^^ Now Mor-row reigna, and earth cum -plains, For fol - \y vtill her n t^ !g^=Eta3^5^1Sli aHE Now 8or- row reigns, and eatth com- plains, For fol - ly still her - J I 1 — 1 — I — 1 I ~ II I ^ - :lrr ^— P Now sor-row reigns, and earth com -plains, For fol - ly still her P=#: p — I — p — p — p- 1 — r—r =1: i5=1^ power main-tains; But the clay shall yet ap - pear, When the ¥E^ ^^^ :i=:#=«: 4- ■—^—n=r^^±—-~z— t=t power main-tains ; But the day shall yet ap - pear. When the £ ~ m'=^^ £ -• 0- — ^ =?=T=^=/T =i=i=*- =1- ^3=^: <3- ^-t power main-tains; But the day shall yet ap - pear, i t^ 11^ *=P=»: ^5Efc^ l^^Ut. .^. H h *^ might with the right, and the truth shall be, With the right, might with the right, and the truth shall be, When the might with the right, and the a!?J f- ; - !- /-> J ■•— #■ 1 — rr-^ i^n^ When Uje mi^ht with the right, and the ;t.' iPc a-. / ^ — ^ » ^ "/^^^ -0 • • # #- itlO^ H h - - - And come what there may, to stand in the way, That l^^g E^g ;p=P=P=*=::p: ^2=i^ • — • # •-{- -I f ^^a truth shall be, And come what there niav, to stand in the wav. Tliat »_«:»L^_i ,agb^=^ #-, aczip; :?=^ =t=t ±=?=ir truth shall be. And come what there may, to stand in the May. Th»t TUB SECOND CLASS TUNIi HOOK. 171 1 ^m "> :^_zS£ztt"^= ^. iqi=52z:;? day the world shall see, When the might with the rii;ht, and the day the world shall see, When the mij^ht with the right, and the afeE=«=p.-=f=?d- :t =t:=P i -^3 day the world shall see. VZT^ e^- l-O! ?^ truth shall be, With the right, r And truth shall be, When the might with the right and the truth shall be, And ffi=E; ItiuL -Q — B y— y ^■=± —^—^ :t=ti t=t~- i f p P P P p . When the might with the right and the truth shall be. And -hi — ^ ^=?=T -I h y— ^ a=± :p=ir ^- come what there may, to stand in the way, That day the world shall see. 1==5?=;?=t -t>'— t^- 5-3 T. See come what there may, to stand in the way, That day the world shall see. -frzwz: ^zzi/: ^=^ t ■# — •- t come what there may, to stand in the way, That day the world shall see. 2. Jjet good men ne'er of truth despair. Though humble efforts fail; Oh give not o'er, until once more The righteous cause prevail. In vain, and long, enduring wrong, The weak may strive against the strong ; But the day shall yet appear, M'^hen the might with the right, &c. 3. Though interest pleads, that noble deeds The world will not regard ; To noble minds, that duty binds. No sacrifice is hard. The brave and true may seem but few. But hope has better things in view ; And the day will yet appear, When the might with the right, &c. 172 THK SECOND CLASS TUNE BOOK. No. 18.— LET THE SMILES OF YOUTH APPEARING. Count 4 [ M. 160. 1st Voices, 2od Voices. 8rd Voices, Let the smiles of youth ap-pear-ing. Let the Toice of i 1=^ EEiEl Let the voice of -ff- piu r-g— ^ qig--p_p_^ /=/-^J5-3f— 5 du - ty cheering; Let the smiles of youth ap-pear-ing, Let the voice of E5E:^ii du - ty cheering; Let the smiles of youth ap-pcar-iug, Let the voice of s #-■ y-y — /-i^ ^^ y=?=;«=? Let the smiles of youth ap-pear-ing, Let the voice of -• — * du • ty cheer-iiig, Drive the gloom of care a - way, Drive the gloom of '#=P: •—•—J :z^_>?=A :/zzfr. >=/=t= ^ -I H 5*=?-Jt=^ du - ty cheer-ing, Drive the gloom of care a - wa)', Drive the gloom of Sim t-f=\ 0-r-m #-^-# 5Ei du - ty cheer-ing, Drive the gloom of care a - way, Drive the gloom of vi+Jt . .Fine n ^ ^ s^ J care a - way. Thus in strains Fine •y care a • way. li ^Fine P- V-/: -•=•: ^^— /- •■^3^^ Thus in strains of live - ly mea-sure, ;=>=^ :?=!tzt: care a - war. Thus in strains of live - ly mea-surp, THK SKCOND CLASS TUNE BOOK. 173 la :^ :cx ^v-#- EE^ =>: ::1= rs^t Lengthen out each hap - py day. We would still with joy and pleasure Lengthen out each hap - py day. W e would still with joy and pleasure Lengthen out each hap-py day. Thus in strains of live - ly measure, We would still with joy and pleasure , — t— .— —I-, — I- -^—^^^/- Thus in strains of live - ly measure, W^e would still with joy and pleasure 3ii#SESEI f-^— ¥ —!/—¥- -P=P=B=P=|=P— ^— >=P Thus in strains of live - ly measure. We would still with joy and pleasure u %y Lengthen out each / ^^— K— 1^— i»»- ?E^ # Lengthen out each hap-py day, Lengthen out each hap-py day. _L -/— /- J A 6—\^—¥' Lengthen out each hap-py day. :?=;<: sm y— / :p=p: ;^=;^: Lengthen out each hap - py day y-p^ V— /^ y_/_ Lengthen out each hap-py day. Lengthen out each hap-py day. f=° 17* THF 8EC0ND CLASS TUNE BOOK. Count M. 66. '<.->' ^^- :c^ ri=j=i^ ±:f=#?=± If— ^' of am - bi • tioui * ^>- sS Far from the lu - muit ars^l -^-♦- i^ Of am - bi - tiuus 'il '#- :cSf>; -Q|- Ql tJ| . =:^: s^: --If- strife, Ea - sy, con - tent - ed =i=c:?=^ Riit -o :o: may we glide thro' life : C> -^ J=q: =t ^- c^: ■i- 4 ^^- IZOj Ea - sy, con - tent - ed eii^ i^^ ^3^^ may we glide thro' life =s^ Q|_t^ strife :c^ may we glide thro' life; i !fet Time can im - pair - - - the lus-tre of our youth, But #=l^ ^ -^ ^5 :c3: Time can im - pair - - - the lus-tre of our youth, But g#- EZ.».giilLlO>-^ I- not t=t :or : of - - fdend - ship, love, nor sa - cred truth. CO- ^ti ^-It -^ iLi: T c^ i i not of - friend - ship, love, ndr sa - cred truth. aM^^z?^ % M^ C3 -V- 1^ c:> H But not of — friend - ship, love, nor sa - cred truth. mm II TnF SECOVI) CLASS TUNE BOOK, 175 No. 19.-IDLENESS AND KNAV^ Count 4 f Ist Voices. 2nd Voices. !t#=^ iziziti-* :d-'- 1 - die 176 TIIK SECOND CLASS TLNK BOOK. No. 20— LULLABY. b'ring the o - c«an, I^ -^ the =}=F THE SKCONU CLASS TUNK bOOK. 171 p .i^ V- lul - la - by. Soothe them with their lul - la - by. '■^^ -0 — •- -^ =1: ^efJ a lul - la - by, Soothe them with their lul - h t— f A' i=j=i£ ^ S^. 'C3; by. ^ 2. Is the wind tempestuous blowing ? Still no danger they descry ; The ^'uileless heart its boon bestowing, Soothes them with its lullaby. Lullaby, lullaby, lullaby, lullaby, Soothes them with its lullaby. No. 21.— THE HOUR IS COME OF HVILIGHT GRAY. Count 6 f » A Canon for four voicea ■h^^- I The hour 2nd voice begins. IS come ?=^ ::T -1- of twi - light gray, 3r4 voice begins. v^ i^l The hour is come of, &c, The hoi O- -#_Q- ^— •^^ is come of, &c —M eV :SL m And even - ing veils the face of day ; The shades of night be 4th voice begins. gteg^ :|,=i:!=3::ar The * hour is ' come of, SccT " -^ izzzotzmdz q: C3" -^T" gin to fall. And dark - ness soon will co - ver all. N 179 THK SECOND CLAbS ILNK HUOK. Count 4 r 1st \'ou:i 2iu\ Vuiceit. 3rd Voices. No. 22— THE STORMY WINDS. Or. Calloutt. =z^,-r|if .-=firpi:^ ^ :3:=^=?+*-f -^ i?«ip Hark! how the rain is fall - ing, And loud-ly roars the i ais Hark! how the rain is fall - injj. And loud-ly roars the -M— ri^ h 0- I==F S^ <3- E^=t=t Hark ! how the rain fall - ing, And loud - ly roars the -fc^-P t)— ;i=^' m^^^ rpzzc ^->^^ blast; What torrents pour, Shut to the door, And close tHe shut - tera -P- -• •- f* q=:^=t ^ a blast; What torrents pour, Shut to the door, And cluse the shut - ters 6i± g ^=if1^= g blast; What torrents pour, Shut to the door, And c!os»i the shut - ters m f e>- :p=t=F: i; !rb- fast. On such a rough and bit - ter night, How plea-sant 'tis to f ^ ' Lrz± fast. On such a rough and bit - ter night, How plea-sant 'tis to fast. On such a rough and bit - ter night, How plea-sant 'tis to /? _--„Q. r-^^ c >■ :i=p: ^> t i^ w We have here nought to fear. We have V-'- :c5 ±: aii:b=« We have here uought to fear, We have +— -, know We have here nought to fear, \\t have i^^a THK SECOND CLAKS TUNK UOOK. 179 t^i^ j^:^ here nought to fear, We have here nought to fear. When the here nought to fear, We have here nought to fear, When the here nought to fear, We have here nought to fear, stormy winds do hlow, - - - When the stormy winds do blow, - - - When the ■b. ^^ ^^-J^ stormy winds do blow, When the stormy winds do blow, - - - When the stormy winds do blow, - - - When the stormy winds do blow, When the sg^^^ B^ stor-my winds do blo w, - - - When the stor - my winds do blow. =^- t:i=i=:i fi stor-my winds do blow. When the stor - my winds do blow. ^—7 SES -^ stor-my winds do blow, - When the stor - ray winds do blow. Oh ! pity the poor sailor, And all who cross the seas; What fears are their' s, What toils and cares, While here we sit at ease. May they in safety reach their port. Nor wreck nor danger know ; And on shore, Fear no more, When the stormy winds do blow. J80 Ck)unt 4 r Ist Vuici's. 2n(l Voici'S. 3rd Voices. THB SECOND CLAi»9 TVHH IHJOK. No. 23.— OUR NATIVE LAND. The mntie by Webbe. The v^ordb bv W. R. Hiduutt. «-y Land of our fa - there ! ^— • E Ql=^> where-80 - 'er we ^m w ■i^r :l=t ii: C^ Land of our fa - therg ! where-so - 'er we m —M-V-& — csq- :c3; MZlfk t- -X JTI O W 0. 4=F^ Laud of our fa - thi-rs ! where-so - 'er we roam, / :p==«: :f=F -Oi- p Our na-tive coun - try is still our home; Long may pros =r:z:*zr *=^^*^ _ l uJ_J z=i3d==B-^z= Our na - tive coun - try is still our home ; Long may pro* at^5E:^E.j=g=^=^ :il=:.-r=t :«-i; c;^: jL^yZzm: Our na - tive coun - try is still -• — en — P^ t X3: t© - ri - ty its gifts '-^ ip^^ ^ de - sceud. Thus then u - ni - ting, THB SBCUND CLAtiS FUNB HOOK. 161 i ^— •^ / w f^=F: :q:: :<^ »~r :l=f:=t:J -C^ — C ._,_- hearts and voi - ces join - iiig, Sing we in har - mo - ny our na - tive :ca; ^=q: 0=^ ^— C> hearts and voi - ces join - ing, Sing we in har - mo - ny our na - tive 3EV£ W-W ^nar -H- -^ -\ h :«=r -< — /■ ^=^ H 1- hearts and voi - ces join - ing, Siug we in har - mo - ny our na - tive m p f :^ — Q) — Q %j land, na - tive land. na - tive -^ -^ ^^ ^ and, our na - tive land, our na - tive ?E5 :^=^ o .C3 .09_ land. our na i p land, 9— F- ^> tive land, our na - tive I E — C31 Q- our na - tive laud, our na - tive land. sEeEeEe^ -^ land, ee3 _o 1- na - tive laud, h- ^ ^ CZ> na • tive land. ^ Qi _Ql_ :1: -^^- land. na • tive land. na " tive land. Though other climes may brighter hopes fulfil, * '< England, with all thy faults I love thee still." Heav'n shield Britannia frorr. each hustile band. And peace and plenty crown our native land. Tnus then vmiting. hearts an;l voices joining. Sing we in harmony our native land. " Tlie sons of Erin may substitute " iielaud" for " England, or the Scotch, " Scotlaud.' 182 THE BECOND CLASS TUNE BOOK. No. 24— TO THE GOOD CAUSE. A Fuli«li National Air. Tti« words by W. H. HickMb. Count 3 r goud cause: to the cause for which we'll e - ver bat tie Ig ^^p ^^^^ ism To the good cause : to the cause for which we'll c - ver bat - tie To the good cause; *-— • — • — F- /*% -•-- man - ful - ly. ^ (1? tdE^E we 11 Uat - tie g good cause : may it pros - j)er more, and -• •- man - ful - Ij-. To the good cause : may it pros - per more and i±:?=^=[:=n: pznairp; y_g i=t; To the good cause : man - ful - ly. / h^i:^^ !iz^ S-# =^_^t: i=gsH^ p «zr more, and &pet:(l con - tin - ual - ly. To the brave few, the more, and speed 51 i - iial - ly. To the brave few, the cou - tin - iial - ly. 5! may it speed con - tin - ual - ly. To the brave few, the good and true, Who for it strug-gled un - sue -cess- ful - ly; And may its tri- good and true, Who for it strug-gled un - sue - i5^-^^^ cess - ful - ly ; And may its tri- good and true. Who struggled un ^fitrt:^ sue - cess - ful - ly ; And may itiT— P— •- TIIK SECOND CLASS TUNE BOOK. 183 I ggjggg^B^iggjaii umj)h now be speed - i - ly. And to the right, the vie - to - ry. It: -+^ ^ umph now be speed - i - ly, -•-^-^^^"1-^^^^-^ ^=^4 ■^h'^ 1 t-/ umph now be speed - i - ly, And to the right, the vie - to - ry. it triiinn)h speed - i - Iv, And to the riirht, the vie - to - r/. vie - to - ry. No. 25.— FILIAL AFFECTION. Count 4 f 1st Voices. 2nd Voices. ' The miser tlius.' The words by W. E. Hickson c7 "4~^ ig^^^^i^^ y mo-ther she was kind to me. When ^=F I 11 -^- ■t t: '^ -G>- — ^ '^ ::^=l=:t yet these limbs - - were weak, She ^^ took me smi knee, And - - n-- Second voices repeat. -ff- .^3i_ ::^ taught my lips to speak. mm m w The above having been sung by the first voices, alone, the second voices repeat the air, sing- ing it also alone, to the following words: — My father he was kind to me, He took me, smiling, on his knee, When yet these limbs were weak ; And taught my lips to speak. First and second voices then join in the following chorus : — 84 THB SECOND CLASS TUNB DOOH, Ikt Voices. (1 Voices. Violoncello, or Piano-forto. t ^_fe^? i^ ►t, And pa-renU dear, whea yuu are Tis: Your #■ -=^#3 ^cii=^=:t^-?5 <^ And pa -rents dear, when you are old, Your m. f- -^_ :<^ - in: q=:i^^ ^ SOi ^ii c>- :c>r <^ o -o ^^ jq: THK SECOND CLAS8 TUNE ROOK. 185 No. 26.— SEE, HE COMES, THE HERO COMES Count 4 f M. 116. HaiideL Amngod for two trebles and a ba»e. ist Voices. 2nd Voices. 'i: e>^ fe 33 ^^m^ ro comes. See, he comes, the he -» --*-*-r* — i— I— ^-^ Songs umph to sin«. 186 THB SECOND CLAHS TUNE BOOK. Sound the trum - pets, beat 2. He was tried and faithful found, And with laurel shall be crown'd, Since he duty's call obeys, He deserves our honest praise. See, he comes, the hero comes, Sound the trumpets, beat the drums. drums. No. 27.— THE PEASANT'S SONG. Count 3 ^ M. 84. The words by W. E. Ilickson u n ;he; 3 :q=1= :■=*: xi 3 Though for - tune may frown, and pass by my 'S^ 5="a: C5l X± ■b=q=1 kfeg'.^ tlz±::l± lizip: ii. %j door, On mansions of pride her gifts to be - stow, I aiHE3 1 'Se^^^S^ <3- ^^- THE SECOND CLASS TUNE BOOK. 1H7 will not ve - pino, for though um poor, This hand earns my =E C3l- -i: :t5 h-m-»-^ B. :p -o- «7 a blessings, uo wealth can im - part, The friend whose af - fee ■m t (^ 1=:|: tion will rb=f=r?=p|irr 3 i-.zp=f^rp: :^: £ ne " ver grow cold ; The best joys of all, those which spring from the ^e.^ ^- -^: -M ?*=#^ £ H — \- atit C5l heart, Can ne - ver be bought with sil - ver nor m ^^ gold. T^ H \- m Though sickness or sorrow may sometimes o'ertake me, With wealth, and with power, those ills would befal ; Though Heaven may afflict, it will not forsake me. The rich and the poor, one God made them all. 4. Though rank and distinction by thousands are sought. The highest is that which few care to find, But mine, be it ever to act as I ought, And leave, when I die, a good name behind. 188 Count 4 r Ist Voicea. 2nd Voices. Violoncello, or Piano-forte. THl 8KCOND CLASS TUNK HOOK. No. 28.— THE LABOURERS' SONG. A. Marut. Hie words by W. E. Hicksoa. ^^S^^^^^^^ Let none but those who live in Tain, The use • ful arts of :>^:Tt=:i M-T.0i i^^ Let none bat those who live in vain, The use - ful axtt of m± -o Ot- -o- -^ life disdain, While we an honest liv-ing gain, Of labour we will not complain. -^ >-G) ot complain. ^1 life di8-dain,\Vhilewe an honest living gain, Of labour we will not complain. g i^i^-: !iz.:zrzLii.xBi:*r:fz aia: ^=;?=F Tho' some for riches dai-ly mourn, As if their lot could not be borne, With t,:^-j=:^t]^ Tho' some for riches dai - \y mourn. As if their lot could not be borne, With 3tp_d- <3 -O ^^ -€> Ot -O ^ f Hi: h_^- ^-^#- aL^-# ho - nebt pride from them we turn, No bread's so sveet as that we earn. ■{0=^^=1^ ^?CT M:rMiz02 •ziMjji: -^ ho - nest pride from them we turn, No bread's so sweet as that we earn. ai; — h ^ -=--♦- IcX THK SE5CX>ND CI.AHS TUNB HOOK. IS1> Count 4 J forle and quicker. i J-U-g- ^S ^- :p=P- tf 7=?- Bright shines the suu to cheer the sons of la - hour, Thro' the field and I 1^ t^_-^ IBZZt ?=iEi -I- =1; Bright shines the sua to cheer the sons of la - hour, Thro' the field and ai ^^- l.=|: sE: ^ a: ^^- :^ ^ ipizp: 5^=;? 3^=q5^ t 1^:^ jizzr It:: workshop let your voi - cea ring, Night, when we've done, will fzt workshop let your voi - cea ring, Night, when we've done, will -^- IE£: =1: .^ ^ -^ %J :ieS bring a friend and neighbour Who will join the chorus, so re-joice and sing. m^^^^ -is^ZS^-^-^-r ^--^S-M. ^- ~<3r bring a friend and neighbour Who will join the chorus, so re-joice and siug. m ■A- 1^: -^ L=l= -^- -qt -^- 2. With food by our own hands supplied We '11 be content, whate'er's denied ; The world could not improve the store Of him who feels he wants no more. Among the rich, among tke great, For all their wealth, and all their state. There 's many a heart not half so free From care, as humble honesty. Bright shines the sun, &c. &c. 190 0>unt 6 J THF SECOND CLASS TUNE ROOK. No. 29.— HUMBLE FARK. 1st Voices. !n(l Voices. VioloncellO) or Piano-lorte. ^ Hook. The words by W. K. Hiekton Here, bro - there, here, Here, bro - thers, -•-^ Here, bro - thers, iEH3 iH^^^ i: :^-F=^=F here ^ ±^ :?=r Shall joy at - tend our con - btant guest, Though Si t^ i^ -^— r - ^- m here 3^^ hum -^in Shall joy at - tend our con - stant guest. Though 9^r—} 1 # — — # — •——•-—= — • =— g ■#— =- ble our fare ; P Here bro - thers, hum ble our fare : i!=£ ^^m THE SECOND CLASS TUNE UOOK. joy ut-teii(l our con -staut guest, Tho' hum ble our ^i=K-i=^ n t joy at-tend our con - slant guest, Tho* hum ble our Who would with health and peace compare ? The crys - tal stream will -m hj — P K — — 1 P — F b .=5^=^z!d=t:: Who would with health and peace compare ? The crys - tal stream will aiEE3 --t ■■^t l=«: ;d^«L -^— # "1;;^- "> ■F3^P^^ f=P=p: V=t:: «y best en - sure The head that's clear, the heart that's pure. best en - sure The head that's clear, the heart that's pure. eE3 r=t=i^* ^^^ ^11 199 THE SECOND OLAHtt TUNE BOOK. ■h- *^^i=W=t :i.5=? .1 . rm%% 1 I ■ >> 111 1 ^ And thus vrhut-e'er kind Ileav'n ha« sent, Through life we'll al - wajv /•^j^ «^ \r-\ 1 : \ li: h^^ 1 1 :^ And thu8 what-e'er kind Heav'n has sent, Through lite we'll al - wayH ffi=i ^^-3=3= y— • live content; Discharge oar du - ty, dis - chargt -^^-^- -^ «" :2; A—^\— live con - tent ; Dis -charge m %-^v -0 '- 1=— t ^=^ du ty, :^^^ nur think our lot hard, fcl du ty. P- nor think our lot an S=S^^ hard, - i^^^m -£^^ ^--^ &^ life well spent needs no re-ward, A life well spent needs no re- ward. r V . l3^Ei: i^ — fc^: i^^i life well spent needs no re - ward, A life well spent needs no re - ward. ai^-* THE SCCONI) CLASS TUNK ItOOK. No. 30.— HOME. Count 3 j Ut Voices. 2nd Voices. Violoucello, or Piano-forte. 11)3 From till! nermnn. ' Du, du, lifj{8t rair iin luTzen.' f Home, home, can I for - get thee ? Dear, dear, home, can I for - get thee ? Dear, dear. %y Home, home, can I for - get thee ? Dear, aiiSET— — •- t ■-t U ^=i=i=i=: n- *— •— p: -tT 1 Hi- 4- ^^ -J dear - ly loved home ; No, no, still I re - gret thee, Far, fe ^ pfe :fersnjs ■4 dear - ly loved home ; No, ^ ^S still I re - gret thee. Far, % V- I — -- -h- z^: X- ?=ir \ — hi — h far, tno' I ma; iii t JIfJi =qs;^:^^ may roam. Home, home, there would I be, ^^-- ^P: H 1- li >-^-^-h i far, tho' I may roam. Home, home, there would I be, aiist fee EgS f t i~ «it4 ^g^3^i Dear, dear, art thou to i=n =P ^^5 Dear, 35^. dear, -•— : '-• — 9 — •— art thou to me. 2. Home, home, why did I leave thee ? — Dear, dear friends do not mourn: Z] — 11— Home, home, once more receive me, ^•~ ~ Soon, soon, 1 will return. Home, home, quickly I come, Dear, dear, dearly lovod home. X 11 !)1 THE SECOND CLASS TUNE BOOK. Omnt 4 * Ixt Vuicei 2Qd Voices. 3rd Voices. No. 31.— DULCE DOMUM. Con-ci - na-mui O So - da - les, E - ja quid si t=2±i=± t=± ::i=n Cou - ci - na-nrns O So - da - iR, 3^ :# — g: E - ja quid si - »— f*a— <3| Con-ci - na-mus O So • da - les, E - ja quid si — •- :/cr?: le - mu8, No - bi - le can - ti - cum dulce me - los do - mum, !=i -R 5i=^ i^s=i±S 4_/ le - raus, No - bi - le can - ti - cum, tt • • — •-r-»- le - mus. No - bi - le can - ti 3f=*: \^ — • — •- ■zztiip cum dulce me - loe do - mum, rzj • m dul - ce do - mum so - ne - mus. Domura, domum, dul - ce domum, i dul - ce do - mum so - ne 3^ t - inus. H f -=:^^=*z=r Domum, domum, dul - ce domum. ?=^i^^=S xzir -• — #- dul - ce do - mum so - ne - mus. Domum, domum, dul - ce domum. — /^^ f ^% m •- U. — # — — +t«— CO — '' m • —0 \^ T^ — r — #•_ — tr— - ' •— 1 ~^: — I 7 ' / i r \ %^J dul - ce do - mum so - ne • mus, Dul - (!e, dul - ce, =^^— ^ - S ' 1 1— — j- - -T j 1 ^ — ! -- >-^ -^^ - m — J — — ■1^ — -1 1 1 -zi—zl . ^ ~ {\/ • = ^ « # -«• c:>' «J dul - ce do - mum so - ne - mus, Dul - , f ce, dul - ce, ^•^ p * '« • J m • ^ •->'»-f u ' ! — — • — 1 1 — ^ -i ^T-^ ^- ~ 1 - / — ' — -t:= — 1 ^ _ dul - ce do - mum so - ne - mus Dul - ce, dul - ce. THE SECOND CLASS TUNB BOOK, 195 Ifc^ %J ta — \ ■ — 9 — •-^ — I — ^ ^^^mt dul - ce, dul - ce do - mum, dul - ce do - mum so - ne - mus. lul-c S^T «3=pl 80 - ne - mus. dul - ce, dul - ce do - mum, dul - ce do - mum Vrrt -=i oLmz -• — •■ 80 - ne - mus. 2. Appropinquat ecce I Felix Hora gaudiorum: Post grave toedium Advenit omnium Meta petita lahorum. Chorus, Doraum, domum, &c. Concinamus ad Penates Vox et audiatur Phosphore ! quid jubar Segnuis emicans Gaudid nostra moratur. Chorus, Domum, domum, &e. No. 32.— OLD FRIENDS SHALL NEVER BE FORGOT. Ck)unt 4rM. 108. Ist Voices. 2ad Voices. ^''ioloncello, or ■*iano- forte. The air of ' Auld lang syne.* The words by W. E. Hickson Old friends shall ne - ver be for - got, Whose love was love sin ±4 ^=^1 Old friends shall ne - ver be for - got,Whose love was love sin - ^^^ ^*^=^^- -^- 14=^=1=^.: 11^ Or.-»- :p=p: :S^: :=^ -•-r-a— •— P- :i^^-3: cere. And still, what e- ver be their lot, We'll make them welcome here. :#^ t=t V- ^ -A- ■^- =l=1?s:-t=^ ■*— *T-*- cere. And still, what e- ver be their lot, We'll make them welcome "here. mt. t 33 ■1- -•-n z^id: o2 19') THE SECOND CLASS TUNE BOOK. =F- ^ The kind - negs they have oft - en shown. We f ai_fc The kind - ness they haw oft ._ • — bhown. Wt f #— -•_L p: :f: te^ ^-^ / 1=: a:=r ?=P /=. long have borue in mind, And long we hope our — -^"^-i ,- Mznm: -/ ^zz—zzS=T- t t- :izzic s long have borne in mind, And long we hope our E£!|He; ;eeE: €3 ^^- :^: friends have known, l^t zr^ze wel - come where to C2L find. m :^ friends have known, A 5ligftir^~^ — ^ — g~ — ^: i^ S=J 3 wel - come where to i fiud. m 3. It shall not yit be said with truth, That now our hearts are cold ; The friends who loved us in our youth. We'll love when they are old. And if in ills which we withstand, They kind assistance need, We'll stretch them forth a helping h&nd. And be a friend indeed. THE SECOND CLASS TUNK BOUK. 197 Count 6 f 1st Voices. 2nd Voices. 3rd Voices. No. 33.— HARK! THE LARK. a f^^^^=^^^=f^^=F=S Hark! hark! we the lark we hear on S^^tES high, With songs he hails, he hails the dawn ; The l^z^-m- SE^ t=t=i^=: high, With songs he hails, he hails the dawn ; The sun be - "^ ^-^35 t^^: -%-.- 3=i ^ gins to gild the sky, And gloomy night golie. gins to gild the sky, And gloomy night t- 111 i!a =P=p=:^ ^^F=B= EE :35 =*=*-*=*=: goue. gins to gild the sky, And gloomy night is gone. 199 THE SECOND CLASS TUNE BOOK. r H ' n-n . -r i^ w .33^3 -• • •- ii ^^=1^ Ami now the flowtTB and bud» ap-pear, \\ ith va-ried tints they ^'^^=ip^^==p=1^c :t:«=:^ :z^i=r. And buds ap-pc*ar, With ra - ried tints they aiFE=^b=^= y g Now flow'rs ap f pear, And =1=4^=^ •r-F greet :t^ — •■ •rl^ our eyes ; And now the flow'rs ap - pear, With greet m^m our eyes; And now the flow'rs ap - pear, With now they greet our e}t •rb: ^^ va - ried tints they Now flow'rs __• '-0- ap tE5 :]t: greet our eyes ; t • •- va - lied tiuts they greet our eyes ; -t* — I -F — ^ pear, :r::rp=:^=f:=7= they greet our eyes; ^ # P^ y — ^ < ^ — »-# wake, and lend a listen - in? ear, And with the sun -• #- 4=?=t=^ A listen - ing ear, And with the sun a - ^ -= — p- -1-^=? — I — t^ t And with the sun a THE SECOND CLASS TUNE HOOK. VJO f- ■^- t And with the sun :b=i: -F— ^^— ^ m And ■■^M And — p — • — - — •- ^ — ^ — F- ■y- t: rise, 3.^ ■s = H- :;^: ith the sun a - rise. :z=:pi=±=:zt:=t^ with the sun a <^-- -^ • A-wake, and lend a i /^ ^^1^=F -F— ^- A-wake, and lend a -P- ■-1 — r -zt:=^ a - rise. A-wake and lend •d2z? g=g=| :^ ^^ y^- listen - ing ear, And with the sun ■P-/ I rise, a ri==i=P=5 -/—■«» ^1=^: listen - ing ear, And with the sun a - rise, a - rise, a - agEt=?=PEf; : — '/. t 3^-5 :^^^— ^ listen - ing ear, And with the sun :t=2?: a - rise, / t3i -^ — I — h t F-*- ^-^- And with the sun ■V- rise. •I— =1/=^ J- i7 ?;p: ¥=^: ^ =^ 4 And with the sun S ^—w rise. i m rise, And with the sui 200 Count 4 r I kt Voices 'Jutl VoiceH .'3rd Voices, THE SFXOND CLASS TUNK UO(;K. No. 34.— REJOICE, REJOICE. A Chorus from * Macbeth.* ^=0: {,===q=d Re - joice, re - joice, re- joice, re - joice the 4= ji=± m Re - joice, re - joice, re - joice, re - joice, re - joice, re - joice the ?E? -# — •- tE^3^ ;l5fei^_=,^ Re - joice, re - joice, re - j oice, re - joice the t gfeii hour at length will come, And soon a dear and well-known voice Will gG^3^=Ti.^^i^ys^ C3 >-«-i-^^ — C^-" lengtl hour at length will come, And soon a dear and well-kuown voice Will w^^ ^^mm^ hour at length will come, And soon a dear and well-known voice Will P ^ glEgg^l^j .c>. p ^^=f^ p ^^^ bid us wcl - come liome ; Dear - ly loved home, Dear - ly loTed |i^4=gz= -C =^ f-CT^'— «- *-^ bid U8 wel -come home; Dear - ly loved home, Dear - ly loved {'■ s? . -€)■ :35 #-^-# bid us wel - come home ; Dear - I3' loved home. Dear - ly loved ^-^ O- E 1- ■e> t home : Yes, we re - joice at thoughts of home. ^l^^^dEaE=j jcy. -o G> "ClT home : Yes, we re - joice at thoughts of home. m^ -^> :1=it -QJ- -<3 :1: c^z: home : Yes, we re • joice at thought* of home. THE SECOND CLASS TUNE BOOK. No. 35.— THE PATRIOrS SONG. 201 Count 4 f M. 96. * Soots wha ha'e.* The words by W. E. Hickaoa. 1st Voices. '2nd Voices, Violoncello, or Piano-forte. ■kM ^=X Mn: Friends, we bid you wel-come here, Who freedom's sa - cred ^=? :i Friends, we bid yuu wel-come here, Who freedom's sa-cred ^^^- ^^ ^^ -M- Q| \r^=^ — h la: v» t=>^ ^sm •zliji cause revere ; And dai-ly breathe a prayer sincere, For all who suf-fer wrong, li-^- t^^=^-=\. 0-0^-itr rgitt ri-F cause revere ; And dai - ly breathe a prayer sincere, For all who suf-fer wrong. a 17~Q|: IjjL -^ .^^ -M .^_ -^ ■.t=t ■&^^- i 1 1 1 ^- t ipTzpzie t :px: f- :^-: cy Fear not, lest your hopes should fail, For truth is strong, and must pre- vail; Tho' ^-- S Fear not, lest your hopes should fail, Tor truth is strong, and must pre - vail ; Tbo* ._ca| Q| C3| -t ^: ^^- -1: -e^- ipTz^: i :ri i rh t=^ SEE t -c^-F- hosts of foes our cause as - sail, They will not triumph long, Ipgg l5-». :s: IBZlt •— fT-*. hosts of foes our cause as - sail. They will not triumph long, J=F=iIL 2: ^^ .^- .^. ■■t & =P:q: isx ::l=t EiEEE:E 202 THE SECOND CLASS TUNE DOOK. Who IH ho devoid of tthame, Who jiutice for himself would claim? And yet deny to all the «ainu, Through vain and Keltisih pride. Friends, our hearts you Ion;; hate known, You are not left to fi^^ht ulone ; The j;oi>d man'u cause we'll make our own. Fur Ileav'n is on our side. Who would live, to live in vain, Like those wha seek alone for gain ? Or spend their days with care and pain. For some ignoble end. We would hope to leave behind A better world than here we find ; A world the better fur mankind, That we have lived their friend. Count 6 ^ No. 36.— WELL DONE, WELL DONE. Adapted to Purcell's Make ruom, make room. 1st Voices. 2nd Voices. Violoncello, or Piano -forte. ^— ' =!=J^ i=^ =1: =i£ :^ jt=M: im W^ell done, well done, well done, Well done, well done, Let W ^-^-F-*^ 31 H^EEiE^ Well done, well done, well done. Let to the wor - thy, the wor - thy, the m- =u=t :|=?: t .^1=^1 :ta^: wor - thy, be shown. The tri-bute of praise we cheerful -ly pay, the W_ wor - thy, be shown. We cheer-ful-Ty pay the ^— #- V- m THE SKCOND CLASS TUNK BOOK. 203 •-^ tri-bute of Diaise : Wt -# — m- ±-=JL -m — #- mm tri-bute of praise : Well done, well done, kt ev' - ry hon-our due. to the i-jS— 4v E.Ef ^ -F-y- pi=:& i=^=:fi £=?=: tri-bute of praise : Well done, let ev' - ry hon - our due, -■-^^=4 =Z±7 1 :^=i=(==*=p: -J- K^PC wor - thy, the wor - thy :§= ^■ to the wor - th y, the wor the wor - - thy, the it: thy, the wor - - thy, the S 53=r5=^ :lE^EiEt3^ ^=P-PC thy be shown, (hi 4:: i to the wor - thy, the :S=T^==Pi sJ; «=?:i=*=± ?=^=3=SE ^ ^ a — ^: wor - - thy be shown, to the wo r - th y, the wor - thy, the thv be shown. m=^ l=i==t i^ i nr ^^ 204 Count 4 r Ut Voices. 2nd Voices. 3rii N'oices. THE SECOND CLASS TUNE BOOK. No. 37— IF YOU GET LNTO DP:BT. !l=3 a. F. Ploweri CompOMd tot two trebles and « bail. :•=:•: ^^- <) I If you get in - to debt, You'll have ^^m If you j^et in - to debt, You will have 3i ft — .■?- ?s ■# — *■ :ff: ^ 4L If you get in - to debt, You'll have B ■■t a3=*zzi*: m-: to re =^ fe.^ «': gret. If you get in - to =4=11: mi cau se to re -O gret. tf. :•=*: ou get in - to f—j ^ -• — •- :*zi*=rz^^z^ to re gret. ^ =:^: If you get in - to ■ -^ C5= -• — •- i debt. You'll have cause to re n=i: W^ " — • • ♦ debt , \ou 11 hare cause, you will have cause to re - ^^ -^ ^ - -# •- ]^!zr/j -:3- debt, - . You'll have cause. ou'U have cause to f :4=i=: gret. If you - get in - to debt, You gri-t. ^^=F^?=f sf^isg If you get in - to debt, You gret. 'IHE SECOND CLASS TUNIi BOOK. Mb t— t: t:=r= i=*=P k= ■:^4^ M^± will have cause to re - grot If yoti i^et in - to debt, You'll have will have cause to re - gret. If you get in - to debt, You'll have ^—0 m—» ^-jrJiC^: -0 •- EEE^ -e> r~^-¥- -• V— I — t You'll have cause to re - gret. If you get in - to debt, You'll have r-:pc: -'.SE^ ^- t^l^E; caase to re - gret. You will have cause, ::i5^=qv -t m ^5 V- .^. Q|. 3=1 cause to re -gret. You will have cause, • — \-i — hi — • — ^ ^=^ cause to re gret. i w ■&- -^ :^^=^ mi i 1: You will have cause, have cause to re - gret. W -^ ^ ^ gret. You will have cause, you will have cause to g ■0- -^ I ^: You will have cause, have cause to gret. 206 THE SFXOND CLASS lUNE BOOIt. Count 3 r lit Voices. 2nd Voices. 3rd Voices. No. 38.— BRITONS ARISE. PuroelL ^tE^E -C> Hit:- m Bri - tona rise, vuiir coun try callii ; her -^l =1: tons ais^feti nse, your coun try calls ; her -r> -o Bri - tons a - rise, your coun try calls : her ig^iB £— F- bey. Hear, hear the O ;1=ti: w^ o - bey. 4^ Hear the call, hear the ^ tub bey. Ht hear the i ics: EE ¥=T- £ -0'- c ==t:: c/ call, hear, hear the call, Your t=t call, laSEf: zlzit: S Hear the call, hear the call, Your t=l==t ^iis -^- call, hear the call, hear the call, hear the call. Your :|z ^^ i-V coun - try's bey Ht -^- C3- I3-E2EE coun - try's voice bey. A^ 1- coun - try 8 voice -O-- -i H bey. Hear the THE SECOND CLASS TUNE HOOK. 207 H 1- »:? H — I- :<:5 your coun - try calls ; Hear. her voice o U P.-^_ , 1 1 1 ^-0- ±^ i3, your coun - try calls Hear, her voice Et 1 r 5;=t=t: ^ -~ \ — r -Of -F=^ call, Your coun - try calls. Her voice o bey, Su - pine - ness will her cause be tray. •^^^- a] -^ -^ -^- i v=-\- bey. Su - pine - ness will r-=^^=t: *=# her cause -4- be tray. O*- -^- Su - pine - ness will her cause be tray. No. 39.— THE GOLDEN RULE. Lidierti. A Canon for three voioe* to - thers kind and true, As you'd have * When canons are written in this manner, it is intended that the first voice should sing to the end of the first part, and then sing the second _ part, after which the third part, and * — ]\— then the first part over again ; so with the other voices : each voice alternately sings the other's part. The second voice begins when the first has got to the end of the first part. 20S Count 4 r M. 98. THE SECOND CLASS TUNE OOOK. No. 40— RULE BRITANNIA. Ainr. Th« worda bv Tliumson. lit Voices. 2ud Voices. Violoncello, or Piano-forte. m n-. x^ B-1 — 1 1- -^^- -I 11 %J When Bri - tain first at Hear'ni com -^—-^ R =1: -C^- ^i --I— \Vhen Bri CCSZ tain first at Heav'ns ^^ I at i \.J mand, A - rose ai i / i- t=t -- t=3 iit ^ %J main, i -^ A - rose from out f -the a - zure main, -^ ^^E^ ^i=t= =t -O- S -^-^ main, A - rose from out . . - the a • zure mam, a i^i / A - rose from out the zure main. :^: ^^ -o»- This was the char - ter. the char - ter of the land. And 4- r- ^-, n— ^ €5> '-^ 9- jt:^ R^F^ :1: -€^ This was Ihe char-tcr, the char - ter of the land, And EE TriK SF.CONl) CLASS TUNK bOOK. 209 guar - (liaa gels sani^ the a? / p .^ i- w± p— • Czzii- t Rule, Bri - tan - nia, Bri • tan - nia rule the waves, For ^ :i t Jiztzitzi: =t=f:. -o- ty Rule, Bri - tan • nia. :i=i=E=* Bri - tan - nia rule the waves, For 4 " - &'3^g=g3if Rule, - Bri - tan- nia. f\J o P a Bepeat Fo rte. y P I I 1 <=^ • y 1 J_ _ ! ^^. CZD • 1 tnS 1 |- ' (■ 1 • 1 V\) ' J- %J Bri /7 -^ - tons ne - ver, ne - ver shall be slaves. y <^ ^^-^ 9 « 1 • 1 ^ ^1 O] i 1 • ify\ r tm • (f y 1 9 4 c-> O' Bri - tons ne - ver, ne - ver shall be slaves. ^* t_>i 1 "^ o •■ " %J. •■■-- • c^l 1 j j cz> \. ! _; Bri ' tons ne - ver, ne - ver shall be slaves. The world a bright example give, ' And teach the nations how to live :* — Justice, — the spirit of thy kws. And freedom, — Britain's sacred cause. Rule, Britannia, &.c. 3. Thy ships shall whiten every sea, Diflusing knowledge, liberty; — And while thy commerce they maintain, Let tyrants tremble at the strain.* Rule, Britannia, 6.0. The second anil third verses have been added by \V. I«: Hjcksi 210 THE SECOND CLASS TUNK BOOK. No. 41— THE NATIONAL ANTHEM. ( The air should be tungjirit, by thejiril voices, atone, the* repmt.furte, with all the partt.) Count 3 f M. GG. The words by W. E. Hickion. 1st Voice! 2iul Voices. 3ril \'oices. *= =p; God bless our na - tive land, May Heav'n's pro - tect - in^j hand t /^} 11 3^ (lotl bluss our na - tive land, May Heav'n's pro - tect - ing hand 41 . •• -• — •- '^'- ^g^_g God bless our na - tive land, May Heav'n's pro - tect - ing hand Repea forte. Repeat p — e>- £3^[ f=»=i^ 1 r Still guard our shore! May peace her power ex -tend, Foe be trans- fe 'A- -^—i: 42. -» — m — • ^ — l—u : *^^ pzic Still euard our shore! May peace her power ex-tend, Foe be trans- — ^- [— i- — F i=l^^ .^^-^ still guard our shore 1 May j-eace her power ex-tend. Foe he trans .-f^ ^^ Repeat forte. ^^>-i~ form'd to friend, And Britain's rights de-pend On war no more! form'd to friend, And Britain's rights de-pend On war no morel t: -<^ ii)rmd to friend, And Britain's rights de-pend On war no more! 2. 3. 4. i'hroMjrh I'v'ry cliani;ini; scene, l\Iay just and riixhticuis laws And not this land aK)ne, Oh Lord, preserve the Queen ! Uphold the pubbc cause, But be thy mercies known L<)uj^ may she reign I .And bless our Isle ! From shore to shore I lltr li^-art inspire, and move Home of the brave and free, — Lord, make the nations see With wisdom from above; The land of liberty, — That men should brothers be, And in a natu)n"s love We pray that still on thee And form one family Her throne maintain ! Kind Heav'n may smile ! The wide world o'er! THB SECOND CLASS TUNE BfX^K. :?11 The original words arc subjoined for tlic convenience of those wlio, from old associations, prefer singing no otlicr to the above air; it will be ol)>-erved, however, that the spirit of the second verse is at variance with the kindly feelings which should be cultivated in a childrens' school. 1. God save our gracious Queen ; Long live our gracious Queen Goil save the Qiu-tu ! Send her victorious ; Happy and glorious ; Long to reign over us, God save the Queen ! O Lord our God arise, Scalter her enemies, Ami make them fall. Confound their politics ; Frustrate their knavish tricks; On thee our hopes we fix ; God save us all ! Thy choicest gifts in store, On her be pleased to pour, Long may she reign ! May she defend our laws. And ever give us cause To sing, with heart and voice, God save the Queen ! No. 42.— NOW LET NOTES OF JOY ASCENDING. Count 4 f 2nd Voice begins. A Canon for four or eight voices ; from ' Musicalishes Scliulgesangbuch.' ^g^ Now let notes of, &c. !^ow let notes of joy as-cend-ing, And har-mo-nious voi - ces blend-ing, Now 3rd Voice begins. 4th Voice begins. i Glad-den ev' - ry heart 5th Voice begins. Glad-den ev' - ry heart; 6th Voice begins. w :± t=\- Now let notes of, &c. -i9— .—•-#— p- =i=^: © — •- :t=:t: Now let notes of, &Ct %J Friends with you we'll share the plea-sure, If you know the air and mea-sure, 7th Voice begins. 8th Voice begins. «_/_ No lit ow let notes of, &c. \J Now let notes of, 3^ Come and take a part, Come and take a part. 21-2 Count 2 1* M. 6G. Itt Voices. THK SECOND CLAS»S TINE D >OK. No. 43.— FAREWELL. Go(ln. The wurd* by W. K. liickMiu. 2nd Voices. 3r(l V •"are - well, friendil a time of »or - low \J Fare - well, friends! a time of sor - row ail friends! a time -P— . V— ' — I — K time %J ^- of sor if^^ ■^- Is the mo - ment when part; P- But, though mo - ment whTn we part ; But, though Is the mo - ment whTn ^2 ^: •Snt, though the mo - ment when we part -••4- Biit, though 1=^=4= ab - sent on the mor - row, You'll be A V- pre - sent i ab - sent the mor - row. You'll be pre - sent ^ ab - sent on the mor - row, You'll be pre - sent ■<^- M t i to my %J 5^^S to my heart. There your 1 - mXt fge will ■^- .i=i WB- rp heart. There your i - mage I to -• •- heart. There your =i ma^ will THE SECOND CLASS TUNK UOOK. 1=^: ::i: ¥- 213 m rish, And where - e'er my feet may — Ir^ it" :± stray, :c>: rish, And where - e'er mjr feet may 2 P^^^ _^^ che - rish, And where - e'er my feet may stray. stray. ^— *■ t^: :w=^F ESdE£5=F; Ter, ne shall it pe - rish, :t=t: shall pe rish, :p==P=:f Ne ver shall pe rish, 2. Farewell I and when thoughts depressing Rise for you within my breast, May my prayers bring down a blessing, Which on you and your's may rest. May another happy meeting All those doubts and fears dispel ; Joyful, then, will be our greeting, And, 'till then, dear ftiends, farewell I THE HYMN TUNE BOOK, CONTENTS. NO. PAGE 1 Sicilian Mariners 217 2 Warwick 218 3 Devizes 219 4 Stonefield 220 5 Evening Hymn 221 6 Kanover ." 222 7 Stevens 223 8 German Hymn 224 9 Grove 225 10 Cranbrook 226 11 Falcon Street 227 12 Martin's Lane 228 13 Staughton 229 14 Deritend 230 15 Harts 231 16 Job 232 17 Melbourn Port 233 18 Matthias 234 19 Rousseau's Dream 235 20 Irish 236 21 Sandgate 237 22 Contemplation 238 23 Haweis, or Mount Calvary 239 24 Auburn 240 25 Eaton 241 26 Carey's 242 27 Adoration 243 28 Gabriel New 245 29 Prospect 246 30 LoweU 247 31 Fairseat 248 32 Lonsdale 249 33 Calvary 250 34 Lydia 251 35 Sutton Colefield 252 NO. PAGE 36 Arabia 253 37 Old Hundredth 254 38 Peru 255 39 Condescension 256 40 Horsley 257 41 Compassion..... 258 42 Suffolk 259 43 Hepbzibah 263 44 Bradley Church 261 45 Portugal New 262 46 Piety 263 47 Wigan 264 48 The Passing Bell 265 49 Knaresboro' 266 50 Newport 267 51 Vesper .' 268 52 Admiration 269 53 Jude's Doxology 270 54 Miles' Lane 271 55 Easter Hymn 272 56 Helmsley 273 57 Evans 274 58 Nativity 275 59 Monmouth 276 60 Westbury Leigh 277 61 New Victory 278 62 Hallelujah, Amen 279 63 Refuge 280 64 Calcutta 282 65 Shirland 283 66 Portsmouth New 284 67 Joyful 285 68 Triumph 286 69 Tucker's, or Leigh 287 70 Repose 288 The following collection of hymn tunes, adapted for public and social worship, has been pre- pared chiefly with a view to schools, especially Sunday-schools. The object is to promote the practice of part- singing, by which the eflfect of psalmody is always greatly improved ; and the necessity of a collection arranged upon the plan of this work arises from the fact that in the books commonly used the airs are arranged without a second treble part for children, but with alto and tenor parts (written for men's voices), which, in schools, can very seldom be adequately sustained. 21C rUF HYMN TUNE BOOK. It 16 very desirable that every one should be enabled to join in sacred harmony, each tak- ing the part best adapted for his voice ; but to attain this eud it is necessary that the practice of singing in jjarts should commence at school, for a youth who has not first acquired the ability to sing a second treble part will very rarely, at a subsequent period when his voice has changed, learn to sing a part written for a tenor, alto, or base. All the airs, therefore, in the present work, are arranged with this object in view, either for two trebles and a base, or for three equal voiees. The Sunday School Teaeher, it is presumed, will form a class of the elder pupils, to meet on some evening in the week for the purpose of learning the notation of music, upon the plan, or in the manner described in No. I of "The Singing Master, or First Lessons in Singing." When his pupils are familiar with the notes he will divide them into two classes,— one to sing the air, — the other to sing the part written for "second voices," taking care to keep both classes some distance apart, that they may not confuse each other. Each part, until the pupils have had some considerable practice in reading music, must be taught at first separately, — the air by itself, and the second by itself, before both are sung together. The female teachers should lead, dividing themselves between the first and second voices. Some of the young men among the teachers may perhaps be able to sing with the seconds in a falsetto voice, the rest shoxild sing the base, and boys of fourteen whose voices are about to break may sing the base with them in the octave above. When there is sufficient strength in the upper parts with treble voices, the air should not be sung by men's voices, as they would only injure the effect. The pupils should never be taught entirely by ear, but always with the notes before them. The tune should either be written on a black board with chalk, the teacher pointing to each note when it is sung, or copies should be placed in their hands. By means of the best writer* in a school, copies can always be multiplied ad libitum^ — but without having either the written or printed music constantly before them, children will never acquire a thorough knowledge of intervals, or have an association established in their minds between musical sounds and the signs by which those sounds are represented on paper. In a school in which the children have had no previous practice in singing, the teacher should begin with the airs which have rather a quick movement, leaving some of the fine solemn airs better suited to suoh an instrument as the organ until the voices of the children have acquired sufficient strength and fulness for sustaining long notes. THE HYMN TUNB BOOK. 217 Count 4 f No. 1.— SICILIAN MARINERS. The words by Rev. Uubt. Robinson. m rs=m- ^=f=^ ■#-1?^ (i==F m tzz^. Mighty God, while an - gels bless thee, May an in - fant lisp thy name. 1=1^ ?5 -e-»- g Mighty God, while an - gels bless thee, May an in - fant lisp thy name. ^ t=i=^ Mighty God, while an -gels bless thee, May an in - fant lisp thy name. te^ jTTTj $ es i =F=^ ZX \=i Lord of men as well as an - gels, Thou art ev - ery crea-ture's theme. t/ Lon ^J1 n l J . l il S •-It s^ Lord of men as well as an - gels, Thou art ev - ery crea-ture's theme. 3 !• — ^»- -• — •- S Lord of men as well as an - gels. Thou art ev - ery crea-ture's theme. i ^ /^ -^v ^=^ :p=^ -• — •- 9i—^-m d t=t ^F=t -—jU —^ 1 1 • 1 1 — I ««»| ^ ■ ^ . ^ ' ^ Hal - le - lu-jah! Hal - le - lu-jahl Hal - le - lu - jah! A -men / f n n i i u ] sj^^ rtf-tiMJ^ ^ Hal - le - lu-jah! Hal - le - lu-jah! Hal - le - lu - jah I A - men. / ^ ^ -• — 1^ g Hal - le - lu-jah! Hd - le - lu-jah! Hal - le - lu - jah! A - men. 2. Lord, of every land and nation, Ancient of eternal days ! Sounded thro' the wide creation Be thy just and lawful praise. Hallelujah ! 3. For the grandeur of thy nature, Grand beyond a seraph's thought ; For created works of power, Works with skill and kindness wrought, Hallelujah ! Q For thy providence that governs Thro' thine empire's wide domain : "Wings an angel, guides a sparrow Blessed be thy holy name. Hallelujah I 5. By thy rich, thy free redemption, Dark thro' brightness all along, Thought is poor, and poor expression ; Who dare sing that awful song ? Hallelujah! 2lB THE HYMN TUNL BOOK No.2.— WARWICK.— c. m p Stanley. 'Ihe word* by Dr. Walli* guard their P W^ lives from sin ? Thy word the choi - cest 33: tl TT I %J rules rules im - parts, To keep the con - science clean. t IQ XJ- XX im - parts, To / keep the con - science clean. S m -f^=) — 63- Z3: Z3 rules im - parts, To keep Wlien once it enters to the mind. It spreads such light abroad, The meanest souls instruction find, And raise their thoughts to God. the con-science clean. 3. 'Tis like the sun, a heavenly light, That guides us all the day; And, through the dangers of the night, A lamp to lead the way. Thy word is everlasting truth ; How pure is every page ! That lioly book shall guide our youth, And well 8uj>port our tgc. THE HYMN TUNE BOOK. No. 3.— DEVIZES.-c. M. Count 8 p Ist Voices. 2nd Voices 3rd Voices. M^/-t-f^— P- 219 Tucker. The words by Dr. Walti. S32 ^F^ V- O ^^ m^ r I sing th' almighty power of God, That made the mountains 1^=:^-^^ P esT^ ^iW 3tjt ^ ^^ I sing: th' almighty power of God, That made the mountains % r r : 3 :/f I sing th' almighty power of God, That made the mountains ^ ?S-f- f % o r X ■/ — ^ r r ^p-: ^ ^ ^ .. .;i: atitjfe? i rise ; That spread the flowing seas a broad, And * PS i P=F=F -©^ 5^=51^ «- rise ; That spread the flowing seas broad, And :*: ^mp: y — ^^ ix xi. rise ; That spread the flowing seas broad, m i ^f- g ^ ^ i — e5,--e^ ^ zx A - wake my soul, and with the sun Thy dai - ly -^ T5 ZX fe -^ M M— I ■ I I P » --J o — ^ stage of du - ty run. Shake off J'- dull sloth, and m ^ W' ^ y^i^ ^2: n — T7 sta^e of du - ty run. Shake -^ -(^ -^ off dull sloth, and <=^ sc -e^r ^s -CX i stage of du - ty run. Shake off dull sloth, and -«i- ^^ TT rszzTT <^ -^— •- 1=t -^ To pay thy morn-ing cri - fice. 1/ oar _ 1, ^ -e>r TX O C> .< > O 33: rise, To / pay thy morning cri - fice. e^i aSF zx Q C> 1 ZX Z3 ly rise, To pay thy morn-ing sa 2. Redeem thy mis-spent moments past, And live this day as if the last : Thy talents to improve take care ; For the great day thyself prepare. 3. Let all thy converse be sincere, Thy conscience as the noon-day clear ; For God's all-seeing eye surveys »hy secret thoughts, thy works, and ways. cri - fice. TIJK HYMN TlNt- ROOK. 29t Count 4 f Ist Voices. No. 5 —EVENING HYMN.— l. m i ^f- Talhs. 2nd Voices. 3rd Voices. p5iE ^=FF5^^ ^ Glo - ry to thee, my God, this night, For k — ^■ - ^S E S^ ^ g :=l: Glo ^ -/- ry to thee, my God, this night. For £3 m m Glo - ry to thee, my God, this night, For H ~^v I 1 ■■ » — r-f-^=^ M ^i ^ fJ all all the bless - ings of the light. Keep me, P ^ f keep me, g i^2 «K». all the bless - ings 1 of the light. Keep me, A f ^w^^m O keep me ^t all the bless - ings of the light. Keep me, O keep me, ^ -P- ^ ta p & King of kings, Be - neath thy own al P— migh - ty wings. ^ m i &: i=3 3t *■ migh - ty wings. at King of kings. Be - neath thy own al ^ King of kings. Be - neath thy own al 2. Forgive me, Lord, for thy dear Son, The ill that I this day have done ; That with the world, myself, and thee, I, ere I sleep, at peace may be. 3. Teach me to live, that I may dread The grave as little as my bed ; Teach me to die, that so I may Rise glorious at the judgment-da» migh - ty wings. 222 Count 3 *^ THE HYMS TUNE BOOK. No. G.— HANOVER.— p. m. lit Voices. 2nd Voices. 3rd Voices. $ 13 -/- The wori\» by — I'ark. m zx o- -^> -p- -X Z4 Tl Z5: -/- zx ^ My soul, praise the Lord, Speak good of his name; Hi* mer-cies re- P -/- -€=? — O^ O C3 m J^JL My seal, praise the Lord, Speak good of his name; His mercies re- -^ -e3 S^3£E3| -^- P My soul, praise the Lord, Speak good of his name; His mer-cies re — 2' -©r TX ^r XT-ei r5 Z2 ■©^ Z5; -€3- rx -^ ^-e^- cord, His boun-ties pro - claim. To God, their Cre - a -tor, Let all creatures P ^^ :cxS3 ri^ f-> c^ I r-> r^ ^^ I r>]^r>r^" _| u «■ cord, His boun - ties pro|. claim. To God, their Cre - a - tor, Let all crea-turea K Z3: n <^ -p- -^ ^ Z3ZOC ■^ O r O P cord. His boon - ties pro - claim. To God, their Cre -»- tor, Let »11 crea-tures -<9 r-/. -^- -CL -L-A -Or c > raise The hymn of thanks - giv - ing. The cho - rus of praise. P -/- -^^- 25=xr Ti-~rrz\ J^ — LJ_ o- :i2 The ^ song -/— of thanks - giv - ing. The cho - rus ot praise. -^ xx m Oi ri TT ^ ■€3- TX raise The song of thanks 2. Though hid from man's sight God sits on his throne. Yet here by his works Thtir author is known. The world shines a mirror Its Maker to show, And heav'n shines with wonders Reflected below. 3. Those agents of power, Fire, water, earth, sky, Attest the dread might Of God, the Most High; Who rides on the whirlwind. While clouds veil his form ; Who smiles in the sunbeam. Or frowns in the storm. - giv - ing, The cho - nis of praise 4. By knowledge supreme, By wisdom divine, God governs the earth With gracious design ; O'er beast, bird, and insect His Providence reigns. Whose will first created, Whot»e love still sustains. 5. And man, his last work. With reason subdu'd, Who, falling through sin, By grace is renew'd ; To God, his Creator, Let man ever raise The song of thanksgiving, The chorus of praise. Count 4 ^ lit Voices. '- ^^ THK HYMN TUNE BOOK, No. ;.— STEPHENS.— c. m. 223 Rpv. W. J ones. The words by Dr. Walts. P 2nd Voices. 3rd Voices. t=^t^ -^3- g: XX Time, what enip - ty -e>- -© — ©- va - pour 'tis, And ~-P'- 25 — V a=± Time, what an emp - ty va - pour ■f- -Ci. -^ v=^ 'tis, And p Time, what an emp - ty va - pour 'tis, And hQ> ^jn — 1 rr/r-r— a=tr \—^ r-^-i O- -©r rx ^ X=W=S- days how swift they are ; Swift as an In - dian ar - row P -^ ■/- -^ lOL -^— €^ 3 «r±x±=^ days how swift they are ; swift In - dian ar - row ^ 3 -©r- 1=tt -^ xz Xi. 21^ days how swift they are ; swift as S"*"" In - dian ZX -ei- lo: flies, or like shoot star. t==:i^= I CL - mg flies, or P like shoot ^ star. iii=a g shoot - ing flies, or like star. 2. Our life is ever on the wing, And death is ever nigh ; The moment when our lives begin, We all begin to die. 3. Yet, mighty God, our fleeting days Thy lasting favours share ; Yet with the bounties of thy grace Thou load' St the rolling year. 'Tis sovereign mercy finds us food, And we are cloth' d with love ; While grace stands pointing out the road That leads our souls above. 5. His goodness runs an endless round ; All glory to the Lord ! His mercy never knows a bound, And be his name ador'd. Thus we begin the lasting song, And when we close our eyes. Let the next age thy praise prolong, Till time and nature dies. 224 TIIL HYMN TLXK BOOK No. 8.-GERMAN HYMN.— 7s. Count 4 r 1ft Voices. 2nd Voices 3rd Voices. Tlie word* by Ur. RyUnd. $ f Zjl T—m- TT -M- -e3- -e> ;t-(»- i Sov' - reign Ru-ler of tlie skies, h— p — -^3- xs ^— •- JUL. <^ K - Tcr gracious. -e 6> Sov' reign Ru - ler of the skies, ^^ -e>- Q • zx -€> K -/- rer gracious, O ^ • I b o zs: Sov' - rei^n Ru-ler of the skies, -P- I XX -6^ -^3*- 3Eg ver gracioiD, -/- tt: ^>- e - ver wise, i=-i q LJ_ All my times are in thy hand, All my P I. , .-, . ^f- zx TIT e^-*- ZJ iX e - ver wise. -eor All my times are inj thyl hand. -Or AU my -/ XX -^ -6^ e - ver wise. All my times are in thy haud, All my xz powers at ZX powers at Vl^^^ powers at zx zx thy com xz thy com -t>- thy com - mand. O mand. mand. i 2. 3. Times of sickness, times of health ; Times the tempter's pow'r to prove Times of poverty and wealth ; Times to taste a Saviour's love ; Times of trial and of trrief ; All with thee begin and end, Times of triumph and relief. Father, and Almighty Mend ! thou gracious, wise, and just. In thy hands my life I trust ; Thou, O Lord, art God alone ; 1 and mine are all my own. THE HYMN* TUNl. BOOK. No. 1).— GROVE.-p. M 225 Count 4 f 1st Voices. 2ud Voices Th» worils by Dr. Wutts. P Aud of - f'er songs di - vine, To your Cre - a - tor' praise. - O i O r l=r-^ ^ -©r -i^ ho - ly throng of $ an- gels bright, In worlds of light be - gin the song. ^ F » ^i— ^ ex ^ ^ r ho - ly throng of an - gels bright, In worlds of light be - gin the p — d . o ,.. o, r p song: ^ O) o I ho - ly throng of 2. Thou sun with dazzling rays, And moon that rul'st the night, Shine to your Maker's praise. With stars of twinkling light. His power declare, Ye floods on high, And clouds that fly In empty air. 3. The shining worlds above In glorious order stand. Or in swift courses move By his supreme command. He spake the word, Aud all their frame From nothing came^ To praise the Lord. an - gels bright In worlds of light be - gin the song. 4. Ye kings and judges, fear The Lord, the sovereign King And while you rule us here, His heavenly honours sing ; Nor let the dream Of power and state Make you forget His power supreme. 5. Virgins and youths, engage To sound his praise divine. While infancy and age Their feebler voices join. Wide as he reigns. His name be sung By every tongue In endless strains. :26 THF. IIVMN TLNt HOOE. No. 10.— CRANBROOK.— s. m. Count 4 r CUrk. The wonii by Dr. WatU. 1st V 2nd Voices 3rd Voices. I m ^^m aLit fe tefe^ Come sound his praise a-broad, And hymns of glo - ry ging ^^— /'-r-H5s-r . r i P- ^mjw^Fm^ ^ Come sound his praise a- broad, And hymns of E?^=p zizt i glo - ry »i»K; a • * J 1 C>| O ps ■\^ — /- m ly Je-ho-vahist Come sound his praise a-broad, And hymns of glo - ry sing; wEm I ^ -^•- P Je-ho-vah is the sov'reign God, ■if : l^-N- Je-ho-rah is the sov'reign God, The -P ^ > ^-^ J-J- » * » d * * ^ Je-bo-vah is the sov'reign God, -A-y- Je-hovah is the sov'reign God, S ::3c #-^ Ut^: Je-ho-vah is the sov'reign God, The i / • ^ • ♦ ♦ p* f -^ V^^'/-l=A r-'f— c P u- ni-ver-sal King; The u-ni-ver-sal King ; The u - ni - ver-sal King. ^ *i.» r a I M^ ^=i=*^^ • ♦ it-i I ziz: :^=z: Z3 The u-ni-ver-sal King; The universal King; The u-ni - ver - sal King. trrjr I ry ^^^^ o- / I / u . ni-ver-sal King ; The u-ni-ver-sal King ; The u Ter - sal King. He form'd the deeps unknown, He gave the seas their bound ; The watery worlds are all his own, And aU the solid ground. 3. Come worship at his throne, Come bow before the Lord ; We are his works, and not our own, He form'd us by his word. To-day attend his voice, Nor dare provoke his rod ; Come, like the people of his choice, And own your gracious God THE IIVMN Tr>'E BOOK. No. 11.— FALCON STREET.— s. m Couut 4 p i TX f- J. Smith. ;The Words by Dr. WatU. -^> €3- I -^>r 3: t^^ CJ> CJ i Come sound his praise a - broad, And hymns of glo - ry sing, Je — / . , ^ r-V- o « y j-;ijo!i^ ^ -GJ — ©^ -es^ ■o- Come sound his praise a - broad, And hymns of glo - ry siug j Je /-HV-, 1 H-. 1 H, r-P- =^ a S o LjtiCi €^ ^j^ Q ^— /- Come sound his praise a - broad. And hymns of glo - ry sing ; Je - ^ ^ :^:^ XX «— ^ -^>-^ :s: ho - vah is the sov - reign God, The u - ni - ver - sal King. p ^^&Ef^^ E^^^i m^m:^ ho - vah is the sov' - reign God, The u - ni - ver - sal King. a :^ CIT ho - vah is the I ^ TZf -Ci. ^ I r^ sov - reign God, The u - ni - ver - sal King. f P^ . ->.. / - ZX E^^3 -g—rcy I Praise ye the Lord ! Hal - le - lu -jah ; Praise ye the Lord ! Hal - le - lu - jah ! P f P f ^— •- ? ^ Praise ye the Lord 1 Hal-le-lu-jah ! Praise ye the Lord ! Hal - le - lu - jah 3^ ^ — ^- Hal-le-lu-jah I Hal - le - lu-jah '¥=fi=¥- U n: B i Hal-le lu- jah ! Hal-le-lu - jah ! Hal -le - lu-jah ! Praise ye the Lord ! i=i ^ $ Great God, and wilt thou con - de - scend To be mj ^ WlJL i^Z^ •^ * 1 1 ^ r^^ I I 1 I <:>- i fa - ther and my frieiid J To be :? >^v ! ' ■ — . — — . -t-/- my ther and my J ^ 1 I J 5 az^ my friend? To be my fa - ther and my <^ — fa - ther and -L-i- iJJii i=j < >, 1 :^ xx i fa - ther and my friend ? To be my fa - ther and my -P^ =r €3r -« * ^c;t_i:izx:^3C ^ '\- « ■ I r thou so high, The Lord of friend ? I a poor child, and $ „ — .-p- t Si -• •■ • • XJL!_U_l =^=^ Tl ^ ' * '-~' — ^"1 — — I — T friend ? I a poor child, and I 5=2 -6> -m=^ thou so high, The Lord of :^=^ Xji O. t=i ■ > r ^ 1 -Gr ^^ friend ?! a poor child, and thou so high. The Lord of ^ ZZ •--♦■ '• — •- rzx ^^* ^3- zr I X=:X --^ earth, and air, and sky, The Lord ot earth, and air, and sky. =5 vx 5t3 5 -e> 3e:^ earth, and air, and sky, The Lord ^.\^ i^ -eo o'" earth, and air, and sky. ^ i m \ ix i rr Z3: ^-c O: t=^ o- c> :J=1 ^ -e> earth, and air, and sky. The Lord of earth, and air, and sky. THE HYMN TUN I BOOK. «20 Art thou my Father ? Canst thou bear To hear my poor imperfect prayer ? Or wilt thou listen to the praise That such a little one can raise ? 3. 4. Art thou my Father ? Let me be A meek, obedient child to thee ; And try, in word, and deed, and thought. To serve and please thee as I ought. 5. Art thou my Father ? Then at last, "When all my days on earth are past, Send down and take me, in thy love. To be thy better child above. Art thou my Father? I'll depend Upon the care of such a friend ; And only wish to do and be Whatever seemeth good to thee. Count 4 f No. 13.— STAUGHTON.— c. m. ^ The words by Dr. Watts. -P- q r>. .CX- s TT ■^ Sl _CIL 53 b o > in> H{> T31 With songs and honours, sounding loud, Ad-dress the Lord on high, O y.,^_1S . . I . . .-H-^-, , ^P- M ^^ d o* rV CV i_i. T3 i-i- ri ■e^-^ ^ God moves in 5& ZX a mys - te- rious way, His won - ders Z2=gl3r <^ o God moves in / ■G> o, r>, a mys - te-riousway, His won - ders 1/ to per - form: He plants his tootsU ^c^ to per - form; He plants his footsteps in tiiC sea, And l^ ._ r IT ?=K ^ • g 1 • per - foiTDj He plants his footsteps in tho sea, He plants his footsteps in the sea. / TX Jf-«- ^-•- E *^ , o, c">, <^> I to per - form; He plants his footsteps in the sea, He plants hisfootsteps inthesea,And ^ <:rJ i ^ • ^L^-A :^:± ^' ir I I r ^^ ^3- -I — ^—\- rides up-on the storm ; And rides upon the storm ; And rides up - on the storm ># 1 n .;-i I I ^ I L/ -^T^ t r\» ^ * * ' ' I H ' ' ■ ' r — r^ f And rides upon the storm: And rides upon And rides up - on the storm. s *-»/'^ :q^ »^ ^ii^=p=[ c:> o ZX rides upon the storm ; And rides upon the storm ; And rides up - on the storm. Deep in unfathomable mines Of never-failing skill. He treasures up his bright designs, And works his sovereign will, 3. Ye fearful saints, fresh courage take ; The clouds ye so much dread Are big with mercies, and shall break In blessings on your head. Judge not the Lord by feeble sense. But trust him for his grace; Behind a frowning providence He hides a smiling face. 5. His purposes will ripen fast, Unfolding every hour ; The bud may have a bitter taste, But sweet will be the flower. Blind unbelief is sure to err, And scan his work in vain ; God is his own interpreter, And he will make it plain. THE HYMN TUNF BOOK. 231 Count 2 f Ist Voices. 2nd Voices 3rd No. 15.— HARTS. P^ <->- -f- $ An - gels, roll tlie rock a P- m t=t g^ way ; Death, give -/- t=^ Voices. f)r^> i ^ An - gels roll the rock a P- way ; Death give -/^ An - gels roll the rock a - way ; Death, give $ T°r tt -m — •- ^^ ii-p: ^ up thy migh - ty prey. See, he ri - ses from the i i m -p- p^^^ SH. up thy migh - ty t^ prey. See, he ses from the Vh J a"^ ^ i=f: ^ $ up thy migh - ty prey. See, he ri - from the -P-4=^ ? P tomb. Glow - ing with im - mor - tal bloom. hr-^ ■ — ^•^- ^ £3 tomb, ^^F?v=r Glow - ing with im - mor - tal — O bloom. i tomb, Glow - ing with im - mor - tal bloom. 2. 'Tis the Saviour: angels, raise Your eternal hymn of praise ; Let the earth's remotest bound Hear the joy-inspiring sound. 3. Heav'n, display your portals wide, Glorious hero, thro' them ride ; King of Glory, mount the throne. Thy great Father's, and thine own. 4. Shout, O Earth ! in rapturous song. Let the strains be sweet and strong : Praise him, all ye heavenly choirs ; Praise, and sweeo vour golden lyres. 23-i THE HYMN TUNE BOOK. Count 4 p No. 16*.— JOB.— L. M. 1st Voices. L 1/ / AmolJ ■ Tlie w«rd» by Dr. Watti. ^ 2nd Voices 3rJ Voices 5^ -6J- {^TT -f >- "e> O , i"> . Give to the Lord of lords re - nown, The King of kings with r-^-^. ^ — r- I I I . ■■^ P~ ^ . ' I i - J \- ^zzz I I r - I / f Give to the I^ord of lords re - nown, The King of kings with 1^ i > o o King P'- a^^ kings t i ^^3 ^ Give to the Lord of lords re - nown, The King of kings with -L> » Mt- -<=>- I I glo - ry i crown. Hismer-cies -/— t \- i o — •-i-*- -©- shall H dare. Q o dure, 1/ "O O glo - ry 3 crown. His mer-cies ver shall en ZX zx Z3: , , ,_ J J xz glo crown. His mer - cies e - ver shall en dure, ^ ^ -/- -e>- xa. I J When -y^^ Lords and Kings, when Lords and Kings are known -e^ i^ -e^ -#-^^ Z3: 3t: When Lords and Kings, when Lords and Kings are knos ^^^ iZL xunt -e^ Z3: zx When Lords and Kings, when Lords and Kings are 2. He fills the sun with morning light, known He bids the moon direct the night; His mercies ever shall endure, When suns and moons shall be no more. Thro' this vain world he guides our feet, And leads us to his heavenly seat ; FKis mercies ever shall endure, When this vain world shall be no more. THK HYMN TUNE BOOK. 933 Count 4 r 2nd Voices 3rd Voices. No. 17.-MELBOURN PORT.— c. M. The words by Dr. Watti, tJ Bless' d be the e - ver - last-ing God, Tlie Fa - thei 13 Z3: U Bless'd be tbe e - ther of our Lord ; be /7^ -Or m * — g e - ver-last-ing God, The Fa - ther of our Lord; ^^^ -#•—•' r>, r>, n ftj rr-rr «i0 I ■ V Bless'd be the e - ver-last-ing God, The Fa- ther of our Lord; Be » » A T-m ^^ ^m XX his abounding mercy praised ; Be his a - bound-ing mer - cy -^ Be his a -bound-ing mer - cy a: his abounding mercy praised ^ p raise d ; Be his a - bound-ing mercy praised, His ma-jes -ty a - dored. ~ f g t=x ^i3t if~if XJl praised ; Be his a-bound-ing mer - cy praised, His ma-jes -ty a- dored. m ^ ±=i ^^^^=t ?=p: ^=^ t=1 =14 ^—^ -^>- o Be his a-bounding mercy praised, His ma -jes - ty a - dored. 2. When from the dead he raised his Son , And call'd him to the sky ; He gave our souls a lively hope, That they should never die. 3. What though our inbred sins require Our flesh to see the dust ; Yet as the Lord our Saviour rose, So all his followers must. jj 4. There 's an inheritance divine, Reserv'd against that day ; 'Tis uncorrupted, undefiled, And cannot fade away. 5. Saints by the power of God are kept Till the salvation come ; We walk by faith as strangers here Till Christ shall call us home. 234 Count 1ft Voice*. 2nd Voicci 3rd Voice*. THE IITMM TUHE MOOK. No. 18.— MATTHIAS.— s. m Stanlfj. The word* by Dr. WatU 3--^ ^ -e^ ZX i Be - hold, the ^ 4: ii lof - ty sky De • clares its maker m ^3 Be hold, the lof • ty sky <^ -e^ -t^ XJL |g -LJ_ o o De - clares it* r/ Esac maker Z5 Be - hold, the lof - ty sky De - clares its maker God ; And all his star works high Pro- i ^. S-9- ./- m -e>- -Ci. -e>- Z5 his power a - broad. claim his power a - broad ; Pro claim i'fi iJ .l,i | J_J .1 J •-' nlnim Viia nnnrpr n . ./- 3^ .13 ^ claim his power broad; Pro - claim — =^/ J ^* V# his -' Q o power a - broad. XX i Z2: -ex- claim his power a - broad ; Pro - claim his power a - broad. 2. The darkness and the light Still keep their course the same ; While night to day, and day to night, Divinely teach his name. 3. In every different land Their general voice is known, They show the wonders of his hand, And orders of his throne. Ye British lands, rejoice : Here he reveals his word; We are not left to nature's voice To bid us know the Lord. 5. His statutes and commands Are set before our eyes ; He puts his gospel in our hand* Where our salvation lies. His laws are just and pure. His truth without deceit ; His promises for ever sure. And his rewards are great. THE HYMN TUNE BOOK. No. 19.— ROUSSEAU'S DREAM.— 8. 7 4. 235 Count 4 -^- ■/- 3 ^m T=F Guide me, O thou great Je - ho-vah, 15f Pil - griai thro' this bar - ren land ^ ^S33 3SS^ g tjt Guide me, O thou great Je - ho vah, ^m Pil - grim thro' this bar - ren land : • — # -=V- P Guide me, O thou great Je - ho-vah, Pil - grim thro' this bar - ren land ^P-^ , _ . ^ ^--v , . f- # — •- £ -^ *F I am weak, but thou art mighty ; Hold me with thy powerful hand /- I i^ ^fi-LQ^^ w I ^ • • " #-- •^ t=t5f I am weak, but thou art mighty ; -P 7^n^ r p ^ i=t=t: I I ^ Hold me with thy powerful hand I am weak, but thou art mighty ; Hold me with thy powerful hand. m ^ :i=t ./- -»—m m i w—w -^— - Bread of hea-ven, bread of hea-ven, Feed me till I want no more. ^ -m^ w^ m Bread of hea-ven, bread of hea-ven, ■P- Feed me till I want no more. rTrnn^^^g ^ ^ Bread of hea-ven, bread of hea-ven, Feed me till I want no more. Open thou the crystal fountain Whence the healing streams do flow ; Let the fiery, cloudy pillar Lead me all my journey through. Strong deliverer ! Be thou still my strength and shield. When I tread the verge of Jordan Bid my anxious fears subside ; Death of deaths, and hell's destruction, Land me safe on Canaan's side. Songs of praises I will ever give to thee. * The four last bars, here, should be sung by a tenor voice, the second treble voices singing as in the first part of the tune. r2 U36 TIIK HYMN TLNT. BOOK. No. 20.— IRISH.— c. M. Count 4 f lit Voices. 2nd Voices The wonU by Dr. Waiu. wait your Ma - ker's nod ; My soul stands trem - bling wlule she sings The T^^-4-^ nours of her God. TJ -€3- -i-4 ■<^»- ZX while she sings 1 he 2. Lifi', death, and hell, and worlds unknown Hang on his firm decree ; He sits on no precarious throne, Nor borrows leave to be. 3. Chain'd to his throne a volume lies, With all the fe>rm3 of men, With tvery ansrel's form and size Drawn by the eternal pen. bo of God. His prnvidtnce unfolds the book, Ar.d makes his counsels shine ; Earh opening leaf, and every stroke, Fulfil some deep design. 5. My God, I would not long to see My fate with curious eyes ; \\'liat gloomy lines are writ for me, And what bright scenes may rise. In tliy fair honk of life and grace, O may I find my name Recorded in some humble plr.re I3eneath my Lord, the Lamb. Tlir. IIVMN TUNE BOOK. 237 Count 4 t Ist Voices. P 3rd Voices. No. 21.— SA.NDGA TE.— c. m. riiirk. The worda by Addison. • t I When all thy mer - cies, s ^ p-»- my 2nJ Voices. A_UJ_^^ vl When all thy God, My ri - sing ^ as t± -# •■ thy mer-cies, my God, My ri - sing When all thy mer - cies, m O my God, My ri - sing i '=s soul sur veys, Trans-port-ed with the view, I'm lost In won- -/: N^ 1 ^ 1^ ^ s soul sur veys, Trans-port-ed with the view, I'm lost Inwon- H tt=^ -Ci. soul sur veys Trans-port-ed with the view, I'm lost In i ^PS der. love, and praise ; In der, love, and praise. ^ ^ mzzK der. love, and praise; In won - der, love, and praise. ^ ^ won - der, love, 2. and praise; In won -der, love, and praise. To all my weak complaints and cries Thy mercy lent an ear, Ere yet my feeble thoughts had learnt To form themselves in prayer. 3. When worn with sickness, oft hast thou With health renew'd my face, And when in sins and sorrow sunk, Heviv'd my soul with grace. Ten thousand thousand precious gifts My daily thanks employ ; Nor is the least a cheerful heart That tastes those gifts with joy. 5. Through every period of my life Thy goodness I'll pursue, And, after death, in distant worlds The glorious theme renew. Through all eternity to thee A joyful song I'll raise ; For oh ! eternity 's too short To utter all thy praise. 238 Count 2 f 1ft Voices. 2nd Voices 3rd Voices THE HYMN TUNE BOOK. No. 22.— CONTEMPLATION.-c. m. The word* by J.C.Wallace. There's not fr n -• — •- ^^-^ mm •-' THptp'r nnf n Star whose twinkling light II • lumes our na - tive -# — •- :p=t: ^^^^ S 9 ' « _ There's not a star whose twinkling light II • lumes our na - tive ^^ ¥ -• — •- If- i > -♦-T- \P- twinkli P There's not a star whose twinkling light II - lumes our na - tive _t_-i. r earth, And cheers the solemn gloom of night, But goodness gave it birth. There's ^^fjiffjrmi^^s^ ii^ earth, And cheers the solemn gloom of night, But goodness gave it birth. There's m^ -^^ earth, And cheers the solemn gloom of night, But goodness gave it birth. Piere's $ rr^'-r I . . I » -P ^ ^W -/- 1^=^ +=t==f P not a cloud whose dews dis - til Up- on the parch-ing clod, And g^i' — I , . I I II I 1 1 =p / 1 1 n I 4 pm • «ij_j. ' ^ -€> 3^ not a cloud whose dews dis - til Up -on the parch-ing clod, And P 1-«^ 1 n^ r-i-F-/^-i : ■ "T^. 'P # 1^ a ■^ Ji m. m not a cloud whose dews dis - til Up- on the parch-ing clod, And I Z2 clothe with ver-dure vale and hill. That is not sent by God. ^^ ^ S If- I clothe with ver-dure vale and hill, That is not sent by God ^»-#-i 1 ^ r-l— -— 1 /• 1 1 : H"! z r ^F^^' -4 * i=lf- ^ .clothe with ver-dure yale anA hill. That is not sent by God. 3. 4. There's not a place, search earth around, Almighty God, thy gracious powei Or ocean deep, or air, On every hand we see ; Where skill and goodness are not found. And may the blessings of each hour For God is every where. Direct our thoughts to thee. THE HYMN TUNK BOOK. 239 No. 23.— HAWEIS, or MOUNT CALVARY.— c. m. Count 8 r ^'- "*''*•*• 1st Voices. 2nd Voices 3rd Voices. i * mmm ^ I O thou from whom all good-ness flows, I lift my ^ i^ I . . I . ■ 1 ^ , ^-^ ^/- soul 1 1 i:z3 i^sg -^^ T=^ **: O thou from whom all good-ness flows, I lift my .p..-^-^ ,_ r-f- t* soul to 7^^^^ :o: :^ iii- -€5 O thou from whom all good-ness flows, I lift my soul to -©r f=Pi -^-€9) prr^^ ^^ — - thee ; In all my sor - rows, all my woes, Good Lord re-mem-ber me ; Re -P- -©I- 1 — «- _«_i. 1^- m thee ; In all my sor - rows, all my woes. Good Lord re-mem-ber me ; Re ^^ TJ-W thee ; P=E Good Lord,re-mem-ber me ; Re fc* ^«— * ^ ZX member me ; Re-mem-ber me ; Good Lord, re r> f ber t^ i J5-^ -#-r#- S member me; Re-mem-ber me; Good Lord, re ber ^^Ar^ ir~if 5 fesES BE i M^ ^ -JZL mem-ber me ; Re-mem-ber me ; Good Lord, re ber 2. When on my aching, burden'd heart My sins lie heavily ; Thy pardon grant, new peace impart, • Good Lord, remember me. 3. "When trials sore obstruct my way, And ills I cannot flee, O let my strength be as my day ; Good Lord, remember me. When worn with pain, disease, and grief. This feeble body see : Grant patience, rest, and kind relief: Good Lord, remember me. 5. ■^Tien in the solemn hour of death I wait thy just decree, Be this the prayer of my last breath — Good Lord, remember me. 240 Count 4 f Tlir IITMN TUNK BOOK. No. 24.— AUBURN.— c. m. Up / Uer. J. Lawson The words b> Dt. W»IU. 9ZM <^> r ^ ^ r^^ ^qt Hap-py the heart where gra - ces reiga, Where love inspires the brcMt; Where teiU B *=Jt o: ( > zn: rx Hap-py the heart where gra g?^3 ces reign, "Where love inspires the brcaat; Where _ •- Hap-py the heart where gra • ces reign, Where L/ love lEZiT i o, (i (i ii^^ of t=t «-^-f^ P love inspires the breast. Love is the bright - est ^-:^zr the traiu, And 1^ E3 • \4J ^li^^^-tr^ i^ XJ- love inspires the breast. Love is the bright - est / . „— /^ of the train, • • 5==t ^ -o»- Xj love inspires the breast. Love is the bright - est of the train. i /-^ ^>- 3ET -t-^ trS < > o :r5: P strengthens all the rest; And strengthens all the rest; And strength- ens all the rest. *-4<.^-J-* -^> TTTT P -w=— •■■ And strengthens all the rest ; And strength-ens all the rest. -• — • — •— •- > T ^ t=L -rnH 3 And strengthens all the rest; And strength-ena all the rest. Knowledge, alas ! 'tis all in vain, And all in vain our fear ; Our stubborn sins will fight and reign If love be absent there. 3. This is the grace that lives and sings When faith and hope shall cease ; ' i is this shall strike our joyful strings In the sweet realms of p«>ace. 4. Before we quite forsake our clay, Or leave this dark abode, Tlie wings of love bear us away To see our smiling Goil. TIJK HYMN TUNK DOOK. No. 25.-EATON.— L. m. 041 Count -J f blow. 1st Voices. 2nd Voices 3rd Voices, -pi Wyvil. Tlip words by llie Krv. J. Stcntielt nJ An - o - ther six days' work is done, An - o- ther sabbath is begun ; Re- ^^^ ■^l-»- ^ An - o - ther six days' work is done, An - o- ther sabbath is begun; Re .p-u— , rH— .l"*-^ l"%-r-/- T>-4- att -1 — I—] — ^ An - o - ther six days' work is done, An - o- ther sabbath is begun Im - prove the day thy God has blest ; Re ^^ ^ 11^^ t=ic en - joy thy rest, Im -prove the -^T : ^- day thy God has blest. ^g ^ff^^^t^?^ turn, my soul, en - joy thy rest, Im - prove the day thy God has blest ^E^g -• — ^ ^^ turn, my soul, en - joy thy rest, Im - prove the day thy God has blest. 2. O that our thoughts and thanks may rise As grateful incense to the skies ; And draw from heaven that sweet repose "Which none, but he that feels it, knows. 3. This heavenly calm within the breast Is the dear pledge of glorious rest. Which to the child of God remains The end of cares, the end of pains. 4. With joy, great God, thy works we view, In various scenes, both old and new; With praise we think on mercies past. With joy we future pleasures taste. 242 Countfip 1st Voices. 2nd VoictN 3rii Voices. THE HYMN TUNE BOOK. No. 26.— CAREY'S. The words by Addittoa. P jcr Z3 -^rrr cy c >— - f The -r Lord my |)a« - ture shall pre • pare, And C> () 13 \^( i c ^ M— e^ X-L. -e^ The ^ 13, Lurd zoz my pas - ture CT- shall pre - pare, And JUL -^3- ZT (-?i:^;^^ O (^ The Lord my pas - tore shall pre - pare, And -P- C7 with a <>- -< > o "CT I <3- zx ^ -f>- tt: shep - herd's care. His pre - sence shall my _LJ LJ_l_e> 'cr -f > with a shep - herd's care. His pre - sence shall my ZT Z2 -^> c>, I (> r r r> o. feed me with shep - herd's care. His pre - sence shall my i 5^ C3 o .ai ^^ wants sup - ply, And ^^^^ O O - guard -/ r with -63- ^ -^y- i-i- -63 watch - ful eye. ( >» ^^ -^ t > -^ -63- 1 I ^ wants sup - ply. And guard me -/ with watch - ful eye. ^3 ^ O C> -63- Xi wants sup - ply, And guard me X-L C3 C3 with ■<-> watch - ful eye. 2. WTien in the sultry glebe I faint. Or on the thirsty mountain pant. To fertile vales and dewy meads My weary wandering steps he leads ; Wliere peaceful rivers, soft and slow, Amid the verdant landscape flow. I Though in a bare and nicged way, Through devious, lonely paths I stray, Thy bounty shall my pains beguile, The barren wilderness shall smile, With sudden greens and herbage crown'd, 4^..d streams shall murmur all around. 1 hough in the paths of death I tread, \Vith gloomy horrors overspread, My stcdfast heart shall fear no ill, For thou, O Lord, art with me still ; Thy friendly crook shall give me aid, And guide me through the dreadful THE HYMN TUNE BOOK. '243 No. 27.— ADORATION. (liy permission of Mr. J. Walker.) Count 3 f Walker. Ist Voices. 2n J Voices d^ » » I * I I I n-M r r r. ■# — » ices. ^ Now, un - to Him who is a - ble to keep us from /^ ^ii ¥^ 3rd Voices. f=fT ^ Now, un - to Him who is a - ble to keep us from -f>-^» :t:=f: -• ^- i Now, un - to Him who is a - ble to keep us from i^ 1 r-P • ft f I r r n r r tall - ing And to pre - sent us fault - less be - fore the fc— ^P- TT ^ ^ I f"r r~^T-^ ^ 1^1-^ att fall - ing And to pre - sent us fault - less be - fore the M ^p I I . . . Q 1» 0- fall - ing And to pre - sent us fault - less be - fore the / ^ ^ pre - sence of his P^ * ♦ P gio - ry with ex m ^ ceed ing joy. f^^^ * H pre ^ sence of his glo - ry with ex HS —. ^f- r^-f^ ■y IT • • T JT V / / / ceed - ing joy. t=^ ^^r^ pre - sence of his glo - ry with ex ing joy. 244 THr. HYMN TINE BOOK. ill 'S aif: ^m P To the on-ly wise God our Sa-viour, the on - ly wise tiud our Saviour i P ^t^t^t^ ^P r~¥ s To the on-ly wise God our Sa-viour, the on - ly wise God our Savioor P njjj\ih\u^i^ ^ T y^ To the on-ly wise God our Sa-viour, the on - ly wise God our Sa\iour Quicker J'-r^^ ^^ ^p ^ fir J I ^= rr'r I f L I T r 1 r !> ^ i^ ii Be glo - ry and ma-jes-ty, do - mi-nion and power, both now and =6 ^ Be gJo - ry and majesty, do - minion and power, both now and ^m See m Be glo - ry and i=i- — ' ^' majesty, do - minion and power, both now and ^ ^^i-r ^ r I [.rizprmj ^ ^p=^=^ ever, A - men. Be glo ^P ry and majesty, dominion and power, both i=^4=i=t ^ ff^ f5=I ever. A- men. Be glo J'-^ ry and majesty, dominion and power, both -^ * r I I TXULZK ^ ,/- ever, A - men. Be glo ^ ? <->^^=i-f=i^ Tj and majesty, dominion and power, both P-^ ^^f. m ^2>r q: S^JL. P now, and e-ver, A - men. A - men. A - men. A - men. ^^ m^ ■(->■ < > C i Q- I_Ji azztf ( > ^> Our God, our help in a- ges past, Our hope for years to come, Our i O -;^- ^ zx o , o , ©1-^ t^ -4—: — k-i — ^— ' — \-^ " ^-J — ^ — ^~' — \ H — \-^-i hope for years to come ; Our shel-tor from the stormy blast, And our e / -Ci. #-# i=t m^^ ^n hope for years to come ; Our shel-ter from the stormy blast, And our e / I P o O-p I I |-Q~||< > * I I I i-l I <^ I P hope for years to come ; Our shel-ter from the stormy blast. a i g / i^X 3C=^ ■^•^ :^-r n s^l W -M- i=± t=t:^ « P ter-ual home, And our e-ter-nal home, And our r/- e - ter - nal home. Ji^3^ -©- ^ 1 O -f-^ -^ Tzr 2 ter-nal home, ^->i ^ And our e-ter-nal home, And our e - ter - nal home C~7.». -O I y~¥ Xli- ^ and our eternal home, And our e-ter-nal home, And our e - ter - nal home. Before the hills in order stood, Or earth received her frame, From everlasting thou art God, To endless years the same. 3. A thousand ages in thy sight Are like an evening gone ! Short as the watch that ends the night Before the rising sun. The busy tribes of flesh and blood, With all their lives and cares, Are carried downwards by the flood. And lost in following years. 5. Our God, our help in ages past. Our hope for years to come. Be thou our guard while troubles last, And our eternal home. 246 THE HYMN TUNE BOOK. No. 21).— PROSPECT.— c. M. Count 3*1 The words bj Dr. Watts. ^■^ W \ \ \ \ h 1/ There ia a land of -J^-W O ^4= XX pure de - light, Where sainU im - mortal reign. t=^ ^7~-r ^tct :^-rr > CJ> c ^ -i-M^ ■o <> TT There is a land of 1 ^ IS 5 ^ (•^ c-> <-> <3- Zl pure de - light, Where saints im - mortal reign ZZ -i~J^ -o < :j o rs: 63«- i Th is a land of pure do - light, Where saints im - mortal reign. ^ ^^ s H - Q C> C> ( > < 4 ^ ^>- -e>- I In - fi - nite day ex - eludes the night. And plea - sures ba - nish pain. ^3 ^ €> O < > Q €> -OL i-l- -^ -^ In - fi - nite day ex - eludes the night, And plea - sores ba - nish pain, ^'YY^ o <^^ (> r> I -<^> ( y -e> XX -^3 — ^ <^ 1/ Thei In - fi - nite day ex - eludes the night, And plea - sures ba - nish pain. -Oi- <3r -^^-f^ -^^ ^ — rj o zx -e> -e>- There e - ver - lasting Spring a - bides, And ne - ver with'ring flowers ; I7\ ^ o'-^.e ^ o <:> c:> c^ -€3r -e>- X-L ^ry K There e - ver - lasting Spring a /- bides, And ne - ver with'ring flowers iX (~> (•" ( } (> C~) CJ> ("> Ci -?"> -^ XZk -^>- p There e - ver - lasting Spring a - bides, And ne - ver with'ring flowers ; m e>-©^ «--^-M < ^ o -o^-M ■©f -e-> z:^: -e>- Death, like a narrow sea, di - vides This heav'n - ly land from ours. P l=i m 3 c> zx <=>■ -e>- iZ2_^> -^^- Death, like a narrow sea, di - vides This heav'n - ly land from ours. ZS i s cTTT (- > I c > Z^ -e> C3 o XJt -^- «^ -6^ Death, like a narrow sea, di - vides This heav'n • ly land from ours. Sweet fields beyond the swelling flood Stand dress'd in livinj^ green. So to the Jews old Canaan stood, W^hile Jordan roU'd between. Could we but climb where Moses stood. And view the landscape o'er, Not Jordan's stream, nor Death's cold flood* Should fright us from the shore. THE HYMN TUNE ROUK. No. 30.— LOWELL.— s. » 247 The words by Dr. Watta. Ph'3 C V o c ■m-^ fj^^^tegt^ ^ O, bless- ed are they Whose sins are CO - ver'd x^ nm^^ ^ ^m^ m^ O, bless- ed souls are they Whose sins are co - ver'd ^S TT" O, P bless-ed souls are they Whose sins are co - vei'd '3" _ P. t^=^ ^Or ^ s #^ ^55*: ^ ©r fe Di - viae - ly bless'd, to whom the Lord Im - putes / p their Xi ^ [- Di - ^ vine - ly bless'd, to whom the Lord Im - putes /i' n I .. <^i , -— r-^ fP L ^ r^u'rir^^ ^ F^ i s^ o'er ; Di - vine - ly bless'd, to whom the Lord Im - putes their ' '3'. / TT-m ^ 4-+- I P guilt Im - putes their guilt no more. t^i^ m tq: h-l \ I ^ guilt ^3 Im - putes their guilt no more. /_ ri ^^m i::^. :o; xx guilt no Im - putes their guilt no more. They mourn their follies past. And keep their lives with care; Their lips and lives without deceit Shall prove their faith sincere. 3. Let sinners learn to pray. Let saints keep near the throne; Our help in times of deep distress Is found in God alone. 248 THE HYMN TlNK BOOK. No. 31 .— FAIRSEAT.-c. m Count 4 r W. E. Ilickion. The worJi by lUe Kev. Mr. llegtobotha P 2ad Voices. 3rJ Voices. / p _ _ i^«- ril bless thee, O mjr Maker, God.Tiiro' all ray mor - tal days ; end to e J- «: r 11 bless thee, O my Maker, God.Thro' all my mor - tal days; an -S / a • * i"^ I 1^«-» =^^ i \ ^ ^tV \ ~\ ' I - ^ I i 1 1 X- ^j- ^ ^ d to e - I'll bless thee, O my Maker, God,Thro' all my mor - tal diys ; and to e - Sig^ 13E=?E vx !* • F • /•- -♦-*- *-• ; * terni - ty prolong Thy vast, thy boundless praise. In ev'ry smiling happv hour, Be - / ■ I ^ , — , — „-,;'- terni - ty prolong Thy vast, thy boundless praise. In ev'ry smiling happy hour, Be t-. ,.==- • • ■t- f -•— •■ t:^3 • • term ty prolong Thy vast, thy boundless praise. In ev'rv smiling happy hour. Be this my sweet em - ploy, Thy praise refines my earth-ly bliss, And doubles all mj joy. m n,-^^^ n-^^-r— ^ ^ I ^ _{_n I I gi =1-. «" - :^=i: ■ » J I Xi tx^^ ± this my sweet em- ploy. Thy praise refines my earth-ly bliss, And doubles all my joy. i SI this my sweet em - ploy, "When cloomy care and keen distress Attiict my throbbing breast. My tongue shall learn to speak thy praise. Aud lull each pain to reat. Nor shall my tongue alone proclaim The honours of my God ; 51 y life, with all its active powers. Shall spread thy praise abroad. And doubles all my joy. 5. And when these lips shall cease to move Vhen death shall close these eyes, Tl en shall my soul to nobler hcig'uts Of joy and transport rise. 6. Then shall her powers in endless strains Their grateful tribute pay ; The theme demands an angel's tongue, And an eternal day. THE HYMN TUNE BOOK. 219 No. 32.-LONSDALE.— s. m. Count 4 From Corolli. The worrJs by Dr. Walts. fn o o _« i p} r r p- 1 T^rti ftfflTTfnrrr?:^ i Come we ihac love the Lord, And let our joys be known ; Join in a song with 2^ ^ r^ — . r-f- E3 «M — -- F=P= ^ A — [ <-^r Come we that love the Lord, And let our joys be known ; Join in a song with iLi!_jl ! r* • i> ^-A- W^ Come we that love the Lord, And let our joys be known ; Join in a song with gffl^^ ^ ^ sweet accord, And thus surround the throne.The sorrows of the mind Be banish'd a ^^ P-9-^ ^ ;iz*; sweet accord, And thus surround the throne.The sorrows of the mind Be banish'd Be ym g *-^ S -^ 1=1: ^ sweet accord, And thus surround the throne. -/- • • P=P The sorrows of the mind g^^ Re - ligion never was design'd to make our pleasures less. inr m -•-i* ^ ♦ ^ 1=1 never was design'd to make our pleasures less. W=f ^Ezp: ^^^g «: ^qs Be banish'd from this place ; Re - ligion 3 The God that rules on high, And thunders when he please ; That rides upon the stormy sky, And manages the seas — 4. This awful God is ours, Our father and our love ; He shall send down his heav'nly powers To carry us above. 5. Yes, and before we rise To that immortal state, The thoughts of such amazing bliss Should constant joys create. never was design'd to make our pleasures less. 6. The men of grace liave found Glory begun below ; Celestial fruits on earthly ground From faith and hope may grow. 7. The hill of Sion yields A thousand sacred sweets. Before we tread the sacred fields, Or walk the golden streets. 8. Then let our songs abound, And ev'ry tear be dry ; We're marching thro' Immanuel's ground, e To fairer worlds on high. 250 ()ount4 P let Voices. 2nd Voice* 3rd Voices. TIIK HYMN TUWF. BOOK. No. 33.— CALVARY. ^-V-P^ Z5 B { X -O^ SUnley. -»•- Hark ! the voice of ^/ r-n— . Pr love and nier - cy Sounds a r/ -i- — ■ — e> ^^ — e^ -e>- Hark ! the voice of love and mer - cy Sounds a ^^P=i=3E X-i LJt. J", £3 1 Hark ! the voice of love and mer - cy Sounds a - P P- -^ ! ^ ^y- c J| f > loud from Cal - va ry- x) loud -O 1=t :ttrt See, it rends the rocks a -sun-der ^P -G> ^ loud from Cal - va - ry rx See, it -Pr -€3l F4 •-^ <->- 8^ rends the rocks a - sun - der. -*--V j^o. P loud from Cal - va ry. ^:^ ^ See, it rends the rocks a - sun - der, V— 4=t: -LJl- t=t: i Shakes the earth, and veils the sky. f — .-4-H — J^-^ nish'd, x3i: atzi: --^3L -O li cJ . J :dz:^ T Shakes the agi5 »»f earth. and vsils the sky. I It is ::3 o— fi • nish'd, Z3 Shakes the xJ It is earth, and veils the sky. It is Xf cx.' » I <^ ' • I e x. cy nish'd, -•—(?>■ -e^ xX fi - nish'd, Hear the dy - ing Saviour $ cry. xix If? -•— C>- Iz fi - nish'd, Hear the dy - ing '^ Saviour ^^ cry. 1 _CJ- t > -*-9>- U is fi • nish'd. Hear the 2. It ii finish'd — O what pleasure Do these dying words afford ! Heavenly blessings without measure Flow to us from Christ the Lord. It is finish'd — Saints, the dying words rccorJ •dy - ing 3. cry. Tune your harps anew, ye seraphs. Join to sing the pleasing theme; All in earth, and all in heaven. Join to praise Imraanuel's name. Hallelujah 1 Glory to the bleeding Lamb I TIIK HYMN TUNK HOOK. 251 No. 3 1.— LYDIA.— c. m. Count 4 f 1st Voices. 2nd Voices. 3rd Voices. Arnold. The words by Dr. Watts. 1 ^ ' 1 r"' i -jjS ^^ ^H=^i=^ ^ p My God, my e - ver - last - ing hope, I live up ^ ^'T l_e^ g l3t My God, my e - ver - last - ing hope, I live up ■P- ;): o • ^T My God, my -^ <^ e - ver - last - ing hope^ I live up |^^^^=ffl ^ ■A S^S ^^m thy truth, Thine hands have held my childhood up, and Z± -OLt %=4=^ thy truth, Thine hands have held my childhood up, and -• — ^ truth. Thine hands have held my childhood up, -"'T : -c:i- strengthen'dallmy youth. And strengthen'd all my youth. 3ES m i i strengthen'd all my youth, And strengthen'd all my youth. -€3r t^ -^ And strengthen'd 2. all my youth. 3. My flesh was fashion'd by thy power, With all these limbs of mine ; And in the mercies of each hour Thy care and goodness shine. 4. Still has my life new wonders seen. Repeated every year ; The futiire as the past has been, Thy love will make appear. 5. And when in age my strength declines. When hoary hairs arise, Thy goodness still, in endless signs, Shall still my heart surprise. Then in my life I'll trust to thee, And dying still adore ; And after death will sing thy praise, When time shall be no more. 252 THE HYMN TVSt BOOK. No. 35.— SUTTON COLEFIELD.-s. m. Count 6 f l7 Blest are the soni -^ Stanley. The words by Dr. Wattf. / <^ !p Blest :^ -^P sons of peace, Whose hearts / C 1 I and <~> n • (-> 1 c^ -^ Blest the ±4 -/'- of peace, NN hose hearts / and ■Or -M, -f> 3 -^> Blest the ^ of peace, Whose hearts and zx Or XX ^ ttit <-> i=^ ^^ r-y Vf hopes are one, Whose kind de - signs to serve and $ , -. „— A P hopes are one, Whose kind de - sigus to serve and ^P TTT Q^_^ ^^ -^ ^3r -^Ixi ^5^ hopes are one, Whose kind de - signs to serve and $ • 4 • o o • a r p-^-=^ r_ -^ -^ Z2 LJL. 25 j^ please Thro' all their actions run, Thro' all Thro' all their actions P ^P m f- -e^ iS please Thro' all their actions run, Thro' all Thro' all their actions f. .. rP-& ^^ /■ <^ t -^ ♦-^•- -^ P t:^ Ti please Thro' all their actions run, Thro' all Thro' all their actions run. 2. Blest is the pious house Where zeal and friendship meet : Their songs of praise, their mingled vows, Make their communion sweet. 3. Thus on the heavenly hills The saints are blest above, Where joy like morning dew di&tils. And all the air i* love. Tilt HYMN TUNE BOOK. 253 No. 36.— ARA.BIA.— c. m. Count 4 f Ist Voices. 2ml Voices 3rd Voices The words by Ann Taylor. /^ P 1 \J, 1 ^ ^^ 1 1 1 l^f ll ( k • r ■ ( > <^-k 1 t > 1 Wff ■\''^ 1 ' y , 1 ^~^ t J h- ( J < ^ • 1 1 J^ / 1 < > A-* _ 1^ • 1 1 t/ Our life is ne - ver at a stand, 'Tis like a fading flower ; Vi ' -^ , 1 1 1 1 ^h tt r-) ' 1 1 (TY ' > 1-^ f )i r~^ r 1 :-\j i ] ( 1 1 1 w_^ e> 4 \ . i __ ^=' c^ r:i -. 1 nJ Our life is ne - ver at a stand, 'lis like a fading flower ; c-C o ' 1 f-> I # J — 1 ^ m P 1 U <■ ^ ^ c -} (-ll O r^ <• > . 1 _ ^^ u 4-1 U j_ Our life is ne - ver at a stand, 'Tis like a fading flower ; -^m s=^^ ^^VH^ W ^=V= ^M And death is always near at hand, And nearer ev' - ry hour. ^ a^ ^^^u^ z3r And death is always near at hand, And nearer ev' - ry hour. Q Q ^ -Or Or ^m s s=f And death is always near at J 1 1 >'^~A O hand, And nearer ry hour. 3 -Or .Op_p_ 5=^ :q^ 4-4- And death is al - ways near at ■ft- hand, And near - er ev' - ry hour. H ^ -T-hr-d- -e"- "TT -e^ ^ TT-FSTrmflE And death is al - ways near at ^^ r^— ^^^^ r-R — ^ hand, And near - er ev' - ry hour. ^ ■o. -OL ^ -ry And death is al - ways near at hand, And near - er ev' - ry hour. 2- And those who now are young and gay, Like roses in their bloom. Will very soon be old and grey, And wither in the tomb. For now man's life does seldom last To three-score years and ten ; And, Oh ! the time will soon be past, If we should live till then. How often has the bell been toll'd— The funeral mov'd along ! 'Twas for the young as well as old, The healthy and the strong. Then let us all prepare to die. Since life will not endure ,; And trust the Lord of earth and sky To make his promise sure. 264 THE HYMN TUNE BOOK, No. 37.— OLD HUNDREDTH.—L. m. t rf- Luther. tongue. Eternal are thy mercies, Lord, Eternal truth attends thy word ; Thy praise shall sound from shore to shore, 'Jill suns shall rise and set no more. The above is usually sung to the following Psalm : — All peo|)le that on earth do dwell, Sing to the Lord witli cheerful voice ! Him serve with fear, his praise forthtell, Come ye before him and rejoice. 2. The Lord, yc know, is God indeed ; Without our aid he did us make ; We are his flock, he doth us feed, And for his sheep he doth us take. O enter then his gates with praise 1 Approach with joy his courts unto I Praise, laud, and bless his name always* For it is seemly so to do. 4. For he, the' Lord our God, is good, His mercy is for ever sure ; His truth at all times firmly stood. And shall from age to age endure. TUE IIVMN TUNE BOOK. 255 No. 38.— PERU.— L. M. Count 4 p ^ / Loach. The Words by Dr. Watta. T^ -QT-t- fiT I3t 13: -»h-Or f^o (3 V «;» Ei -^ 1/ Sweet is the work, my God, my King, To praise thyname,givetiiank8,and sing ; / ■ . ,—r-P- P \P. » \ B ^ ^ o o x-i Sweet is the work, my God, my King, To praise thy name,give thanks, and sing ; IS o ^~-i — 13 -N^^J l '>l'^V-i ifi^^ • 1 XLi. Sweet is the work^ my God, my King, To praise thy name,give thanks, and sing Epf ^— P^ :^ ■P- ^^ :?— «: -^ To show thy love - - by morn - - ing light. And talk of f. p t=:t -d^ T>~7 itZZ^ ing light, And talk of P- To show thy /- love by *__ i lo: To show thy love - - by ing light, And talk of i SE^ ^ r Tr ^ loi -Ol TT" i all thy truth at night, And talk of all thy truth at night. — /— J J f r I "i - | -FFl I ^ZlZ^-^f-F=1 all thy truth at night, And talk of all thy truth at night. ^ Sf -/ !::» -Ol i Xi ^ all thy truth at night, And talk of all thy truth at night. 2. Sweet is the day of sacred rest. No mortal care shall seize my breast. O may my heart in tune be found. Like David's harp of solemn sound. 3. My heart shall triumph in my Lord, And bless his works, and bless his word. Thy works of grace how bright they shine ' How deep thy counsels ! how divine ! And I shall share a glorious part. When grace hath well refined my heart, And fresh supplies of joy are shed, Like holy oil to cheer my head. 5. Then I shall see, and hear, and know All I desired and wish'd below. And ev'ry power find sweet employ In an eternal world of joy. 256 THK HYMN TUNE BOOK. No. 39.— CONDESCENSION.— c. m. Count 2 f Ist Voices. 2nd Voices 3rd V Ttif-kor. The Word* from "The Suudny Scliolar'i Cumpanioa,' llyinu 62 nud part ol CI. / _ When Christ a mong the sons of men In P hum - ble form was found, With cru el slan - ders, false &♦- :pH false and a^^ -•-a — ^ & zzt form was found, With cru P el slan - ders, false and }L±l±A -ttf XX form was found. With I cru - el slan - ders, false and a^i a m f=A f vain, They com - pass'd " They com - pass'd / him round. t:!^ vain. They com - pass'd They com - pass'd him a - round. i -;=r-»- vain. They com - pass'd 2. With triiderness he bore their griefs. Their peace he still pursued : They render'd hatred for his love, And evil for his good. 3. ]>f)ve to the fallen human race (Ilow'd in his tender breast; For man he yielded to discrace. Forsaken and distrtst They com - pass'd round. From the rich fountain of his love What streams of mercy flow ! "Father, forgive them," Jesus cries, ** Ihey know not what they do." 5. O may his meekness be my guide. The pattern I pursue ; How can 1 bear revenge or pride With Jesus in my view : Tin; HYMN iune book. 257 Count 4 r p / No. 40.— HORSLEY.— c. m, J. Tucker. The words by Dr. Watts. i^ ^?^ ^=?t 3tl{^ t^=^ Awakeoursouls.a - way our fears, Let ev - ery trembling thought be Awake our souls, a - way our fears. Let ev - ery trembling thought be i^S ^m 4=-^ Awake our souls, a - way our fears, bling thought be t=^ ^m zx gone ^=t A -wake, and run the heavenly race, And put a i s -P- Z2 gone; I A - wake, and run the heavenly race, And put a Q -Or 5=^2= =« gone ; A - wake, and run the heavenly race. ?=P= •— ^ ^^ ^^=?= cheer f ol cou - rage on, And put a cheer- ful cou- rage on. E^ ^fc^^-^ XT cheer - ful cou -rage on, And put a cheer- ful cou -rag ^^t^rs -o, And put a cheerful cou- rage on, And put a cheer- fvd cou - rage on. 2. True, 'tis a strait and thorny road. And mortal spirits tire and faint ; But they forget the mighty God, That feeds the strength of every saint. 3. The mighty God, whose matchless power Is ever new, and ever young, And firm endures, while endless years ■ Their everlasting circles run. From thee, the ever-flowing spring, Our souls shall drink a fresh supply : While such as trust their native strength, Shall melt away, and droop, and die. 5. Swift as an eagle cuts the air, We'll mount aloft to thine abode ; On wings of love our souls shall fly. Nor tire amidst the heavenly road. 258 TIIK MYMN TINK FtOK. Count 6 P Isl Voices. 2nd Voices 3rd Voices P No. ll.-COMI'ASSION.— s. m. / _ _ _ P B««liger. ^ S ^ Raise your tri - um - jjhant songs, To an P fWcrm^-^ ^ Raise your tri um - pliant songs, To an ■r—- - -^^ ¥~ir-ir the wide earth resound the deeds Ce - les - tial P^ - -•- -^=^ -P-f'- i=}: ss grace has T done, '*^ij' i ^~r • 1*1^ i / ^ y the wide earth resound the deeds Ce les - tial grace has done. Sing how eternal love Its chief beloved chose ; And bid him raise our wretched race From their abyss of woes. His hand no thunder bears, Nor terror clothes his brow; No bolts to drive our guilty souls To fiercer flames below. 4. 'Twas mercy fiU'd the throne. And wrath stood silent by, When Christ was sent with pardon down To rebels doom'd to die. TIIK HYMN Tl'NK DOOK. 250 No. 42.— SUFFOLK.— c. m. Count 4 ^ The words by Dr. Watl«. i 1t3t in the Lord, Tliis work be - longs to you. I Rejoice, ye rigliteous,ia the Lord, Tliis work be - longs to -^ •# -e>- is Rejoice, ye righteous.in the Lord, This work be • longs to you. ^B O X ^=F fq: i3:5t ) - Sing of his name,hisways,his word. How ho - ly, just, and true 2. His mercy and his righteousness Let heaven and earth proclaim His works of nature and of grace Reveal his wondrous name. He bid the liquid waters flow To their appointed deep ; The flowing seas their limits know, And their own station keep. His wisdom and almighty word The heavenly arches spread ; And by the Spirit of the Lord Their shining hosts were made. Ye tenants of the spacious earth, With fear before him stand ; He spake, and nature took its birth, And rests on bis command. 2G0 TIIK HYMN TUNE BOOK. / No. 43.— HEPHZIUAH.— c. M. The words by Dr. Doddrid^ '^■ft ^ ■ ^ * ^^ W^f^ i 5 v^ "—ir A- wake, my suul, stretch ev-ery nerve,and press with vi-gouroii, A :J*=f ki±i n e:^ J I p7f J44^ s A- wuke, my soul, stretch ev-ery nerve, and press with vi-gouron, A s ^s=m £ A - wake, my soul, stretch ev-ery nerve. And press with vi-gouron, A heaven - ly race de - mands thy zeal, And m f^ ?ES tt i^ It- he ivea - ly race de - mands thy zeal. A heaven - ly race de - mands thy zeal, And « heaven - ly race de - mands thy zeal, A heaven - ly race de - mands thy zeal.And p f ir ^ » * SE / / y f 1^=^ -Ui an immortal crown, And an immortal crown, And an And an ioi-mor-tal crown. f fe^PI^E^P^^ ->-^r an immortal crown, And an immortal crow^n, And an And an im-mor-tal crown I ^ ga£B ■^j-^ /^ T>-*"-ir -=H j^ m immortal crown, And an immortal crown, 2. A cloud of witnesses around Hold thee in full survey ; Forget the steps already trod, And onward urge thy way. 4. And an im-mor-tal crown. Tis God's all-animating voice That calls thee from on high ; Tis his own hand presents the prize To thine aspiring eye. That prize with peerless glories bright. Which shall new lustre boast, WiuMi victors' wreaths and monarciis' j^cms Shall blend in common dust. THE HYMN TUNK BOOK. 261 Count i f No. 44.-BRADLEY CHURCH.— s. m. Mortimer. The wortls b^ Dr. Watts. / P-m^^-P^ ^M» ^^ t=f ^^ ■P-^ God the on - ly wise, Our Sa - viour and our King, To / ^ -f- ^B^ -©^ the on - ly wise, Our Sa ^ -O" viour and our King, To / -e^ the on - ly wise, Our Sa P , iour and our King, To ^ © ^ ^^ -Ci. God the only wise, Our Saviour and our King, Let all the saints be - low the p *^a -i^ lO JOL God the only wise, Our Saviour and our King, Let all the saints be - low the a|^ i -^)r- :o« ^ m ^^ -o^ God the only wise. Our Saviour and our King, / be - low the ^ -^1 :^ m Si -{=-•- ^ Z3 I skies. Let all the saints below the skies, Their hum - ble praises bring. / ■Oi ^ ©^ 1 ■ • • tf- ^ Xi -^ Sfa skies. Let all the saints below the skies. Their hum - ble praises bring. / ^ -Qt s ' ff . , -. -»- _J^ g r-> 1 skies. Let all the saints below the skies, Their hum - ble praises bring. 2- 'Tis his almighty love, His counsel, and his care. Preserve us safe from sin and death, And ev'ry hurtful snare. Then all the chosen seed Shall meet around the throne ; Shall bless the conduct of his grace, And make his wonders known. He will present our souls, Unblemish'd and complete, Before the glory of his face, With joys divinely great. 5. To our Redeemer, God, Wisdom and power belongs. Immortal crowns of majesty. And everlasting songs. 262 THE HYMN TUNE BOOK. Count 4 f jj to tJ Be gone un-1 No. 15.— PORTUGAL NEW. / Adeste Pidelet. The wordB by Newton. 3 K *» m Be gone un-be-lief, my Sa - viour is near, And for my re - lief will i rl' -. -, — -/' 1^ R«» . tr,\i\f iin_Kf>_li*»f inv .Su - viniir ia TtPnr. Xni\ fnr mv rt TX Be - gone un-be-lief, my Sa - viour is near, And for my re - lief will P -W-f E H o #— • -f V m^ itnt Be - gone un-be-lief, my Sa - viour is near. And for my re - lief will / « %J surely ap-j F5=ff ♦-#- t±t=t 3tf: T4: m By prayer let me wrestle, and he will perform ; \N ith Chribt in the ^>- J-i474v-J-k-J-J trt^: ^ LJMs. SH surely ap-pear. By prayer let me wrestle, and he will perform ; \N ith Cbrist in the gg^ssiii^^^ -e> surely ap-pear. By prayer let me wrestle, and be will perform ; ^^gg?^ ^*-^ ^>^ x=x i-i. v^ vessel, With Christ in the vessel, With Christ in the vessel, I smile at the storm. vessel. t- 34: TS. 3 I-L. ^ jr^.-^nr With Christ in the vessel, I smile at the storm. — p ^o ■ 1 ^^= — I — \- t^*=p^ -^^ v: With Christ in the vessel, With Christ in the vessel, I smile at the storm. 2. 4. Though dark be my way, since he is my guide, How bitter that cup no heart can conceive, 'Tis mine to obey, 'tis his to provide. Which he drank quite up, that sinners might Though cisterns be broken, and fountains all live ; fail, His way was much rougher and darker than The word he has spoken shall surely pre- mine ; vail. Did Christ, my Lord, suffer, and shall I repine ? 3. 5. Why should I complain of crief or distress, Since all that I meet shall work for my good, Affliction or pain.' he told me no less ; Tlie bitter is sweet, the medicine is food ; The heirs of salvation, 1 know by his word, Tho' painful at present, 'twill cease before long, Through much tribulation 'nust follow their And then, O how pleasant the conqueror't Lord. song. TIIF. HYMN TUNE HOOK. 2fi3 No. 4G.— PIETY.— c. M. Count 4 r P / W7f^^ _LJl J-^ ^^^ t=^: Et! P Father of all, e - ter - nal Mind, Immensely good and great, Im fr— ^^^ ■ ■ " P m -^ <=>-«- Father of all, e / i py=h^ S ter - nal Mind, Immensely good and great, Im- ^ =^=F ^-4 ffi t A Father of all, e - ter - nal Mind, Or-©r ^«^-# P m 15 iDLjCA 15 iZi mensely good and great ; Thy children form'd and bless'd by thee, Thy child - ren -^- -€>■ ♦zi •--^ «— J— -©1-^=^ mensely good and great; Thy children form'd and bless'd by thee. /y-»-f I .y< ^ ^, I A • ^ t=1 P 0| ^ » S ^ H^ZZff p mensely good and great ; Thy children form'd and bless'd by thee, Thy child - ren rx rf: %=^- form'd and bless'd by thee. P Ap - proach thy heav'nly seat. ^ lo: Ap - proach thy heav'nly seat. H -€>- Z5 ^ o: ~o»- form'd and bless'd by thee, Ap - proach thy heav'nly seat. Thy name in hallow'd strains be sung, We join the solemn praise ; To thy great name with heart and tongue Our cheerful homage raise. 3. Thy righteous, mild, and sov'reign reign Let ev'ry being own ; And in our minds, thy work divine, Erect thy gracious throne. fi. Extend thy grace to ev'ry fault; Oh ! let thy love forgive ; Teach us divine forgiveness too, Nor let resentments live. 5. Where tempting snares bestrew the way. Permit us not to tread ; Avert the threat'ning evil near, From our unguarded head. Thy sacred name we thus adore. With humble, joyful mind ; And praise thy goodness, pow'r, and truth, Fi^ernab unconfin'd. 2C4 Tlir HYMN TUNE BOOK. Xy. 47._\V1GAN.— s. M. •A Count 4 f l»t Voirea. 1;^^ (Treble) ■'^♦'^ The Word* by Dr. Watt«. The Lord my ShepherJ is, I shall be ^> i ^-4 -rm- m ^r^p tt -i-j m iJ w well sup - plied ; Since he is mine and 1 am his ^ r—^P NN'hat can I ■^ -^> P=F ^1^ P well sup - plied; Since he is mine and I am his, -P- rt- t ^=mP -c> ^ VV ^= ^ well sup - plied ; Since he is mine and I am his, -Pn ^-^ r ^ I I i 1 >r ^-^ -h-H 1 Et^I ^> — •- Xi ^ > . • <^ tt well sup - plied ; Since he is mine and I am his,Whatcan I want be -side? 1— M- -<^ r- -*-^ ^i-i-i- want be - sidePWliat can 1 want be-side .'What can I»want be *• side ? What P 9-9-^ « <>-s- ^ t— L_| I I 'J ^'J U ra P What can I want be -sidePWhat can I j^nt be - side ? What ^ -e^>-^ ^ 4t<; What can I want be- side / What can What can I wan* be - side ? What ^ ;> h "i 3=.--^ < ^> » • What can I want be side ? What THE HYMN rUNK DOOK. 2Cj 2. He leads me to the place Where heavenly pasture grows, Where living waters gently pass, And full salvation Hows. If e'er I go astray, He doth my soul reclaim, And guides me in his own right way ; For his most holy name. 4. While he affords hi 1 cannot yield to ^^^^^^««;y Tho' I should walk SIBIi^^i^ dark shade, My Shepherd's witu pe 5. The bounties of thy iSve •■.vV' ■^ want be - side ? With joy shall crown my ^ays ; And while in thee I live and move, My tongue shall speak thy praise. No. 48.— THE PASSING BELL.-l. m. Count 4 r Wliitaker. Oft as the bell with so-lemn toll Speaks the de-part-ure of a soul, Let Or e^i -»^-9- t=^ ^^ iJL Speaks the de- part-Tire of a soul, Let W h;> Let to ^^ ^ ^ i=V^ :pp: o o «! -i^ -ej- tt T=^ each one ask him - self, "Am I Prepar'd, should I be call'd to die?' J^ ± ^5r ^^ ±± .pp. Xi -^- be call'd to ^ each one ask him - self, "Am I Prepar'd, should I die ?' lEF -^ LCi Gr M Q 0| -e> i each one ask him - self, "Am I Prepar'd, should I be call'd to die 2. Only this frail and fleeting breath Preserves me from the jaws of death ; Soon as it fails, at once I'm gone, And plunged into a world unknown. 3. Then leaving all I lov'd below, To God's tribunal I must go ; Must hear the Judge pronounce my fate, And fix my everlasting state. 4. But when the solemn bell I hear, If saved from guilt, I need not fear ; Nor would the thought distressing be, " Perhaps it next may toll for me." 5. Rather my spirit would rejoice, And long and wish to hear thy voice j Glad when it bids me earth resign, Secure of heaven if thou art mine. 29C TUK MY UN ItNE BOOK. No. 49.— KNARESBORO'.— c. m. Counts J Leach. To uraUe the e-ver bounteous Lord, My soul, wake all thy powers ; My i^oul.wake S o ^> j ^ ^-F id ±ri im#f^6 ^ To praise the e-ver bounteous Lord, My soul, wake all thy powers; My soul, wake /-» » • Ni 1 1 — X- m zuc IT^ To praise the e-ver bounteous Lord My soul.wake hiMM ^ n: Wif=^ 33 :f=r Et ■>^— ;t all thy powers ; He calls, and at his voice come forth rJ ;a^-r^Y^ The smil- -P— Z3: ^F^t=x all thy powers ; He calls, and at his voice come forth The smil- ^5 -i^^ -^ -- — p— =^- ^^-^ all thy powers He calls, and at his Toice come forth f«4f y \jr -•^rnr ?=p: f^ i^^ r-Q^ ^1^ ing harvest hours.He calls, and at his voice come forth The smil - ing harvest hours. [i^^U t' ^i g?«=5 ing harvest hours, He calls, and at his voice come forth The smil - ing harvest hours -c^^ ^=r^ ^=^ » » < i M: He calls, and at his voice come forthThe smil - ing harvest hours. His covenant with the earth he keeps; My tongue, his goodness sing; Summer and winter know their time, His harvest crowns the spring. 3. Well pleased the toiling swains behold The waving yellow crop ; With joy they bear the shervves away, Anii BOW again in hope. 4. Thus teach me, gracious God, to sow Tlie seeds of righteousness ; Smile on my soul, and with thy beams The ripening harvest bless. 5. Then in the last great harvest, I Shall reap a gloKous crop: The harvest shall by far exceed What I have sown in hope. TIIF. HYMN TUNE BOOK. 267 No. 50.— NEWPORT.— L. m. Count 4 f Cuzpns. The words by Addison. E|p P=*=^ ^ — P. ^ <^ ^ fe -^ 11 The spacious tir - - ma - meut on high, With all the blue e- ^ tt o m ^mt ^ ±3t Z2 <^ The spacious fir - / ma • ment on high, With all • the blue e- P Tft-r^ m s CJl :^ -o»- T^ g ^r-R The spacious fir - - laa - ment / m on high, With all - the blue e- P ^ ^ ^ [it t 3cp: n Q t± the - real sky, And spangled heav'ns, a shining frame. Their great \$ H-1 . ^/-PH— r-. . 1 . I - . P^ -Or ■G^ -Of the - real sky, And spangled heav'ns, a shining frame, Their great / \ -m-^-m- ^ -Or P '■" 1 jhiiTm SEm^ :^ iQ the - real sky, i And spangled heav'ns, a shining frame, Their great S -^ S ■G § gi - nal pro - claim, Their great O -n/ r- - gi - nal proclaim. m rf: -Gf- m S^ ■Gr t=t^ -^ -^ gi - nal pro - claim, Their great O - ri ^ gi - nal proclaim. SE ^^^^ t3^ z^izp -Gf- iZL I ri - gi - nal 2. The unwearied sun, from day to day. Does his Creator's power display ; And publishes to ev'ry land The work of an Almighty hand. 3. Soon as the ev'ning shades prevail, The moon takes up the wondrous tale And nightly to the list'ning earth Repeats the glory of her birth. pro - claim. Their great O - ri gi - nal proclaim. 4. Whilst all the stars that round her burn, And all the planets in their turn., Confirm the tidings as they roll. And spread the truth from pole to pole. 5. What though in solemn silence all Move round the dark terrestrial ball ? What though no real voice nor sound Amid their radiant orbs be found ? In reason's ear they all rejoice, And utter forth a glorious voice ; For ever singing as they shine, ** The hand that made us is divine." t2 268 Coant 4 p TUE HYMN TLNK BOOK. No. 51.— VESPER.— 8. 7. 4. The wordf by Robinson. i U ( ?s .i:-^Wkf» ZjT Come, thou fount of ev'-ry bless-ing.Tunemyheart to sing tby grace, Streams of mercy I ■i — r I=T=t: cIS;^ ^1 Dt -• — #- Come.tbou fount of ev'-ry bless-ing.Tune myhpart to sing thy grace;5ltream6 of mercy P -•— •- • • ti -• — •- t^ ■^Jr -# — m- ^— r izt "r~¥- -•-•- i Come,thoufount of ev'-ry bless-ing.Tune my heart to sing thy gracejStreamsof mercy / M ^ Z± i ne -ver ceas-ing Call for songs of loudest praise. Hal- le - lu-jah! Hal- le - lu- jah ! / :p=p: B ^— ih -• ♦- JUL ne -ver ceas-iug Call for songs of loudest praise. Hal- le - lu-jah ! Hal- le - lu- jahl f i 1- -• — •- ^~~# • * -• — •- Jn=t: o- ne-ver ceas-ing Call for songs of loudest praise. Hal- le - lu - jah ! Hal- le - lu- jah ! i \- • * • • o- Jir^-^ Hal-le-lu-jah ! A - men. Teach me some me 2' lodious sonnet Sung by flam-ing lf~W ■^—^ TX ■ I I ■ -^ ^ Hal-le-lu-jah ! A - men. Teach me some me 9 m lodious sonnet Sung by flam-ing T^^ -e*- ;=t -y—r Hal-le-lu-j{di ! A - men. Teach me some me • lodious sonnet Song by flam-ing tonjTues a-bove ; Praise the mount, O fix me on it, Mount of God's un -•-f- ^. d i tongues a-bove ; Praise the mount, O fix me on it, Mount of God's un - S T*— ^ t=x tongues a-boTe ; Praise the mount, O fix me on it, Mount of God's un - THE HYMN TUNE BOOK. 269 p L/ chaD #-^i7i*- m Z2 mj chai iging love. Hal-le-lu-jah Hal-le-lu-jah ! Ha -1 e - lu-jah ; A - men. 1 ly . •^ 1 1 I^f 11 » 1 i J » P ^ 1 K^ i 1 • 4 4 i • • 1 1 • ^ r: 1/ changing love. Hal-le-lu-jah I Hal-le-lu-jab I Hal - le - iu-jah 1 A - men. , . f ^ f ^ ^—^ » • A A ^, ^ » " ^ «^ ■■ */ C^ P • * ' • <-• II \j ■ 1 1 1 a 1 II ^ t 1 L_ • ^ II changing love. Hal-le-lu-jah! Hal 2. Here I raise my Ebenezer ; Hither by thy help I come; And I hope, by thy good pleasure, Safely to arrive at home. Jesus sought me when a stranger, Wandering from the fold of God ; He, to save my soul from danger, Interposed his precious blood. le-lu-jah I Hal - le - lu-jah 1 A - men. 3. O to grace how great a debtor Daily I'm constrained to be! Let thy grace, Lord, like a fetter. Bind my wandering heart to thee. Prone to wander. Lord, I feel it. Prone to leave the God I love ; Here 's my heart. Lord, take and seal it- Seal it from thy courts above. Count 4 • No. 52.— ADMIRATION.— c. m. Moreton. The words by Dr. Watts. ^ -Or £5 -P- P= Q <^^ E&4 c c»;> Lord,thouhastsearch'dandseenmethrough;Thineeyecommands,wit.h pierc - ing • /,. ■ , I. . . .^P-^ -P^ -#— *■ -&■ -&- .LJL -^ U Lord,thouhastsearch'dandseenmethrough;Tbine eyecommands.with pierc -ing m i-4 ^ m ^ ?S3 JDL i Lord,thouhast search'd and seen methrough;Thine eye commands,with pierc - ing / ^1 p • ^ m ^ i^ R^ I Q • • K > l < ^ s:s ^ ^ ^--V-Or i view, My ris-ing and my rest - ing hours. My heart and flesh,with all my powers -/-^ . -+.^^-r.P ffi Rof I Oi » • ^ Ut tt=t I^ -o- view. My ris-ing and my rest - ing hours. My heart and flesh, with all my powers V)4-^^MI-R-? tt=t T± is: -^>r-= C>« 9 XDi -Qr rs iOL view, My ris-ing and my rest - ing hours, My heart and flesh,with all my powers. 2. My thoughts, before they are my own. Are to my God distinctly known ; He knows the words I mean to speak, F,re from my opening lips they break. 3. Amazing knowledge ! vast and great ! "What large extent ! what lofty height I My soul, with all the powers I boast, Is in the boundless prospect lost« 570 THE UTMN TUXK BOOK. No. 53.— JUDE'S DOXOLOGY.- M. Count 4 f The word* by Watt«, From "The Sundfty Scholar'* Couipaaion" — Uymn 161. P / t=^ c«> :f=K ^ My God, who makes the sun to know His pro - per hour to rise, And N-, .-H — iv-.;^T — & It^rt i=t T=it: My God, who makes the sun to know His pro - per hour to rue, And a -/- R t=^ P ^ ■p,-=^ »»E My God, who makes the Eun to know His pro - per hoar to rise, i / m ^ trt fcif: Q i to give light to all be-low Dost send him round the skies And to give light to P p ^ tzt ■E^^ ^ t=t to give light to all be-low Dost send him round the skies, And to give light to -P- m ^ aU / i And to give light to ^7N Slovrr. «=|E ?=«=« I fcZjE tzjcft: P be - low, And to give light to / all be -low Dost sendhim round the skies. (On siotcfT. t=5: I 15! Sr«- *=it I^ all be - low, And to give light to all be-low Dost send him round Ihe skies. /TS Slourr. m i— ?— ^ ^ ig all be - low, And to give light to all be - low Dost send him round the skiet. 2. When from the chambers of the East His morning race begins, He never tires, nor stops to rest, But round the world he shines* 3. So like the sun may I fulfil The business of the day ; Begin my work betimes, and still March on my heavenly way. Give me, O Lord, thy early grace. Nor let my soul complain Thnt the young morning of my days Hat all been spent in vain. THE HYMN TUNE BOOK. 271 The following hymn may also be sung to the same air :— GOODNESS OF GOD. Lord, I would own thy tender care, And all thy love to me ; The food I eat, the clothes I wear. Are all bestow'd by thee. 2. 'Tis thou preservest me from death And dangers every hour; I cannot draw another breath " Sunday Scholar's Companion" — Hymn & My health, and friends, and parents dear. To me by God are given ; I have not any blessing here But what is sent from heaven. 4. Such goodness. Lord, and constant care. My youth can ne'er repay; But may it be my daily prayer To love thee, and obey. Unless thou give me power. It is usual also, at the close of Divine Service, frequently to sing the follow ing lines to Jude's Doxology : — To Father, Son, and Holy Ghost, One God, whom we adore, Be glory, as it was, is now, And shall be evermore. Count 4 p / No. 54.— MILES'S LANE.— c. m. P f Shrubsole. ^ S p ^ p T E'^ p p p «: All hail the pow'r of Jesu's name, Let angels prostrate fall ; Bring forth the royal / p f m -m—m- ■&- • tt All hail the pow'r of Jesu's name, Let angels prostrate fall ; Bring forth the royal ^^ ^ ig f^e ^ All hail the pow'r of Jesu's name, Let angels prostrate fall ; Bring forth the royal P n\ n\ n\ f ^^ ^ ^ o JSOl C\ r> ^ di-a-dem. And crown him, crown him, crown him, crown him P r\ n\ r\ f . Lord of aU. ^ZSf I • m O — CT T3: -&— ^ lO di-a-dem. And crown him, crown him, crown him, crown him Lord of all. ■irrfr r i ;].? ^ JZ> -Qt- m di-a-dem. And crown him, 2. The Gentile and the Jew shall meet At his celestial call, Shall lay their honours at his feet. And crown him Lord of all. crown him, crown him Lord of 3. Let ev'ry kindred, ev'ry tribe. On this terrestrial ball, To him all majesty ascribe. And crown him Lord of all. 4. aU. Oh that with yonder sacred throng We at his feet may fall ! We'll join the everlasting song, And crown ))im Lord of all. 272 Tllk: HYMN lUNK BOOK. Count 4 P i No. 56.— EASTER HYMN. / ^ «: ^m -m-^ ^■ >^»o - Jesua Christ is ris'u to - day, Hal - le-lu-jah, A - men, Our triumphant ^mm &> ^i Hal - le-lu-jah, A - men^, S5 ^m i T—jf Z5 :c5 i^ -Gf- Jesus Christ is ris'n to - day, Hal - le-lu-jah, A - men, Our triumphant / ^^^ / -fm-P: «: B:3t @ -#— Qi— ^ -€>- ho-ly - day, Hal - le-lu-jah, A - men; Who did once up-on the cross, Hal - le- f . p f ^^^4^f#F^^ K L - taen \ Hal - le-lu-jah, A / Who did once up-on the cross, Hal - le- p f F*5 S^^ s Z5 i* ho-ly - day, Hal - le-lu-jah, A - men ; Who did once up-on the cross, Hal - le- P f lu - jah, A - men, Suffer to redeem our loss, Hal-le - lu-jah, A - men. 2. Love's redeeming work is done, Fouplit the tii;ht, the battle won. Lo, the sun's eclipse is o'er. Now he sets in blood no more. Vain the stone, the watch, the seal, Christ has burst the gates of hell; Death in vain forbids his rise, Christ has open'd paradise. Hymns of praise then let us sing Unto Christ, our heav'niy King, Wlio endur'd the cross and grave, Sinners to redeem and save. TIJE II VAIN TUiVE BOOK. V73 Count 8 f No. 56-.— flELMSLEY— 8. 7-4. / ?^ ^ acj ^K® Jtst ly O'er the gloom - y Hi P. — ^ hills of darkaessLook.my soul, be still and gaze, /- ^S ^ ^^•^ i=i^ I** • * h^ "^ hills of darkness Look, my soul,be still and gaze, ^± O'er the gloom - y s:=i" -/- t=^ 1 • -g . ^ •-^-n^ -©I- O'er the gloom - y hills of darknessLook,my soul,be still and gaze, P _ / p ^ ^O m. as i -*^ — «N- m s :i=*: ma All the pro - mi - ses do travail With a glorious day of grace. Bless - ed Ju P ^ -*-* — ^- ^ y=»- :^^ *<(-»=*. s±aiH^ ■#T-l^ t^ All the pro - mi - ses do travail With a glorious day of grace. F ^ f ^ Bless - ed Ju P W^ - r=w t:p: § -•— •- J=t *z4: All the pro- mi - ses do travail With a glorious day of grace. / Bless - ed Ju ;^ »■•■«-— i^-j — I — p-i»- ^S -^-» KLTE ^-Or :t==t i bilee ! Bless- ed Jubilee 1 Bless - ed Jubilee! Let thy glorious morning dawn. -b-^> t5:5 i:^!: tt I \9 m. u •-& ^;t=^J=t o^^ bilee! Bless - ed Jubilee! Bless -ed Jubilee ! Let thy glorious morning dawn. ^5^ 1=tE :i=i: :f^ bilee ! Bless - ed Jubilee ! Bless - ed Jubilee ! Let thy glorious morning dawn. 2. Let the Indian, let the Negro, Let the rude Barbarian see That divine and glorious conquest. Once obtained on Calvary ; Let the gospel Loud resound from pole to pole. 3. Kingdoms wide that sit in darkness, Grant them, Lord, the glorious light; And from eastern coast to western. May the morning chace the night ; And redemption, Freely purchased, win the day. 574 THE HYMN TUNC BOOK- Count 3 f No. 57.— EVANS.— c. M / s ^=3^ The words by Dr. Watlg. ^ -• — •- s;?i t*-^^ :p=f «: <£)^- When 1 can read my ti - tie clear To man - bions in the skies, p / i=^ ^3- c^ When 1 can read my ti tie clear To man - sions in the skies, / tI s * * r ^ f=4=:t ^ -• •- -^^ I When 1 cart read my tie clear To man - sions in the skies, -•-•- ^ ^^ -©r #* 'f^ :!t3t 5-p: ^P-^ i rt 3=1^ :p=P=i: 3: ^3^ I bid farewell to ev' - ry fear, And wipe my weep - ing eyes. g J1 r ^^. i* t^ ^ ti ^ t=i: :dz^ <^- I bid farewell to ev' - ry fear, And wipe my weep - iog eye*. ^ i — t- • • A — [- ^^S /. And wipe my weep - ing eyes. g I 1^^ I bid fare - well to i=tt ev' - ry fear, and wipe my weeping eyes. ^^ t-t-t i i^ -^ :±jt • m • I bid fare I /-^: well to ev' - ry fear, And wipe my weep-ing .eyes. rrr-T ^ TX ^ -H^ I bid fare - well to ev' - ry fear, And wipe my weep-ing eyes. Should earth against my soul engage, And hellish darts be hurl'd, Then I can smile at Satan's rage, And face a frowning world. Let cares like a wild deluge come, And storms of sorrow fall. May I but safely reach my home, My God, my heav'n, my all. Then shall 1 bathe my weary soul In seas of heav'nly rest, And not a wave of trouble roll Aorp«s «y peaceful breast. THE HYMN TUNE UUUK. 27.G No. 58.— NATIVITY.— c. M. Count 4 f J arm an- The words bv Medle. Ij^ :pPfi m i=t: di^ ^ Mortals, a - wake, with an - gels join, And chant the solemn lay, And Jj^^^l -Gh Mortals, a - wake, If^t^ with an - gels join, And chant the solemn lay, And i^^ES O ■ c> H> :ff » r P -L-i- p^ ^chant Mortals, a - wake, with an - gels join, And ji ^I ^ V ^} -^ ^i^QK^l i n F F ^m Ir rrr- H /.chant the solemn lay. Joy, love, and gra - ti - tude combine chant the solemn lay. Joy, love, and gra ft P tude combine To hail th'aus- ^ t=± :^ -•— • 0—9- CJ • • t=t tt To hail th' auspicious day, To hail th' auspicious day, To hail th' auspicious day \-rP . 1 1 . r . 1 I ■ I 1 . / - •— • — •— ♦ riz* XJL «— # TT7W &>^ To hail th' auspicious day, To hail th' auspicious day,To hail th' auspicious day. p-f-r ^ -CX tt To hail th' auspicious day, In heav'n the rapturous song began, And sweet seraphic fire Thro' all the shining legions ran, And strung and tun'd the lyre. 3. Swift thro' the vast expanse it flew, And loud the echo roll'd ; The theme, the song, the joy was new, 'Twas more than heaven could hold. To hail To hail th' auspicious day. 4. Hark ! the cherubic armies shout. And glory leads the song ; Good-will and peace are heard throughout Th' harmonious heav'nly throng. 5. With joy the chorus we'll repeat. Glory to God on high ! Good-will and peace are now complete ; Jesus was born to die. Hail ! Prince of life 1 for ever hail, Redeemer, Brother, Friend ! Tho' earth, and time, and life should fail, Thy praise shall neve end. 175 THK HYMN TUNK BOOK. No.5!>.— MONMOUTH.— L. m. Count 4 f Davis. The words from " The Sunday Scholar's Companion.' Hyiim 12. Praise ye the Lord, 'tis good to raise Our hearts an^ voi - ces in his praise; Our 1 H< -e^-c^ ^> -e>- <^ ■€> ffiS Praise ye the Lord, 'tis good to raise Our hearts and voi - ces in his praise; Our ,o \ L - - -•■" £5 i AhJ- gg L^ < ^ mo t'> e>- Traise ye the Lord, 'tis good to raise Our hearts and voi - ces in his praise; Our hearts and voi - ces in his praise ; His na - ture and his works in - vite P I I i I -^ — = f=^ ^j tt tt a) < > 3: f» — a To make this du - ty our de - light To make tliis du - ty our de - light. P t=t i^:f^ -L_l To make this du - ty our de - light To make this du - ty our de - light. ^^ Tt^=f^ ti J \ -c-^ £ :!^ i^-i. -i^J. -t^ H T To make this du - ty our de - light To make this du - ty our de - light. 2. 4. He makes the grass the hills adorn, And clothes the smiling fields with com The beasts with food his hands supply, And the young ravens when they cry. 5. His saints are lovely in his slight, Ho views his children with delight ; He sees their hope, he knows their fear, And loves his holy image there. He forrn'd the stars, those heavenly flames, }le counts tlieir numbers, calls their names ; His wisdom's vast, and knows no bound, A deep, where all our thoughts are drown'd. 3. Sing to the Lord, exalt him high, W'lio spreads his cloud.-? arouncl the sky ; There he prepares the fruitful rain. Nor lets the drops descend in vain. THE HYMN TUXK BOOK. 27: Count 4 J m 1/ w No. 60.— WESTBURY LEIGH. / Tucker. m Xi^ S « V o P When thou, my righteous Judge, shall come To fetch thy ransom'd people home, h .r^. - I r^t^ ^5^ atit e^ When thou, my righteous Judge, shalt come To fetch thy ransom'd people home, ^ ^^=P^ S -y-1^ When thou, my righteous Judge, shalt come To fetch thy ransom'd people home. ^ se ^ ■/-, ? -•-Ht- ^ ^S- t: ^ n Shall I a-moug them stand ? Shall such a worth-less worm as I, Who some- -^P . H : . !„ /— T— -1 -. -.- rP- -0—9- ■o^- t:^ JtW n-4— -■ 3tat r f- Shall I a-mong them stand ? Shall such a y y y ^ if" I . _ ■«/ >- / /^/ worth-less worm as I, Who some H n / / - ^^ i 'no some- 6^ Q S3t Shall I a-mong them stand ? Shall such a worth-less worm as I, Who some- «— •- S «-»^ -g— ^ 5^ ;tt :^: H times am a- fraid to die, Be found at I thy right hand, Be found at thy right hand '. ^ ♦-#- ^£^ ^i: Be found at i^ii -fi-M at± t-f li- p=y=4 -©— e- thy right hand, Be found at thy right hand ? t 63^ times am a - fraid to die, 2. I love to meet among them now. Before thy gracious feet to bow, Tho' vilest of them all : But can I bear the piercing thought, What if my name should be left out, When thou for them shalt call ? Be found at thy right hand 3. Prevent, prevent it by thy grace ; Be thou, dear Lord 1 my hiding-place In this th' accepted day: Thy pard'ning voice O let me hear, To still my unbelieving fear, Nor let me fall, I pray. Let me among thy saints be found, Whene'er th' archangel's trump shall sound. To see thy smiling face : Then loudest of the crowd I'll sing, While heav'n's resounding mansions ring With shouts of sov'reign grace. 278 THB HYMN TUNE BOOK. No. Cl.-NEW VICTORY, OR WIMPOLE.-c. m. Count 4 f P^.= U Thi / ♦ • :ift£i ^ >-# v^ » The word! by Tate. M Thio'allthe chang - ing scenes of life, lu trou-ble and in joy, 1' he praises Thro' all the chang - ing scenes of life, In trou-ble and in joj, The praises / ^ p =5= a f5 = ?=» ^ O i • • O ' 9 rx ^ ^> ^^ Thro' all the chang - ing scenes of life, la trou-ble and in joy. The praises P=ff • • -•— ♦-c T^ r^Pl i T=t: ■^^ i^ of my God shall still, Ihe prai • ses of I / my God shall still ^^ :ir»~y -#-•- "• ~y rx y F » of my God shall still, The prai - sea of my God shall still .£Ik f SOk. n e> ^ • IT. t=? :?* ♦— »■ ^r^ of my ^^ God shall still, The prai - ses of my God shall still <=^ m tjL -€> i P My heart and tongue em - ploy. My p . f m heart and tongue em - ploy. ^ ri 4 4 -e3^ ^~ ^ — I — E- ^m My heart and tongue en - ploy, My p f heart and tongue em - ploy. 1 ^ ^ -6^ -^ TX -e>- My heart and tongue em - ploy. My 2. Of his deliverance I will boast, Till all that are distrest From my example comfort take, And charm their griefs to rest. 3. The hosts of God encamp around The dwellings of the just ; Deliverance he affords to all Who on his succour trust heart and tongue em - ploy. 4. O, make but trial of his love I Experience will decide riow blest are they, and only they, Who in his truth confide. 5. Fear him, ye saints, and you will then Have nothing else to fear; Make you his service your delight. Your wants shall be his care. THE HYMN TUNE BOOH 279 Count 4 1 No. 62.— HALLELUJAH AMEN.— c. m. A Spanish Chant, (la The words by W. K. llickson. P i 23h «: -e-> p ^ o in :^=z^z^ :t=4 $ Join now in praise, and sing Hal - le - lu -jah, p 1 / A - men ! Praise to our P m -©I 05 ;> ^^ -fci'- Joia DOW ia praise, and sing Hal -le - lu- jah, A"^ menl Praise to our -&rP» -» . -9- . -Or ;>- ^y . r ^ 3 i Join now in praise, and sing Hal - le - lu - jah, A - men! Praise to our .,i^^ ^ .^A ^^^^m rx t=f^ ©r ^ m t=^ -G^- i heavenly King, Hal - le - lu - jah, t=t it—t men ! By love and gra ti-tude Still be our tor ^^ -Gf- heavenly King, Hal- le - lu- jah, A- menl By love and gra-ti-tude Still be our ^ t:p=#: t=^ I heavenly King, Hal- le -lu -jah, A - men ! JBy love and gra-ti-tude Still be our -/ — i 1=1: ^ TIT*^ *\ ■Gh hearts subdued, Still be the song re-new'd, Hal - le - lu - jah, I T -f- m -i hearts subdued. Still be the song re-new'd, Hal - le - lu - jah, 9 — A - men. ^ ^ :^ m hearts subdued, Still be the song re-new'd, Hal - le - lu - jah. A - men. 2. Praise to the Lord most high, Hallelujah, Amen ! Let every tongue reply, Hallelujah, Amen I Our father and our friend, On thee our joys depend ; Thy love will never end : Hallelujah, Amen! 4. Sing both with heart and voice, Hallelujah, Amen ! Sing, and in God rejoice, Hallelujah, Amen I O Lord, each day we prove Some token of thy love ; In thee we live and move : Hallelujah, Amen \ Praise yet the Lord again, Hallelujah, Amen 1 Life shall not end the strain. Hallelujah, Amen ! For, when this life is o'er, This dust thou wilt restore, Thy goodness to adore ; Hallelujah, Amen 1 80 Count 4 ^ Tin: HYMN TLNE BOOK. No. (;3.— REFUGE.— L. m. ut (Treblt Voices. I^ tf^ fT"! %7 lie that hai Morcton. Tht words by Dr. Watts. 2nd Voices (Treble, or Alto.) 3rd Voices, (Tenor.) 4th Voices, (Base.) BB gg g; Z3: #«^ has made his / fugt God ShaU ^ J ^ t== ^ >#:Jf- E3: ^ He that has -/- made his re • fuge God t:^t■ 3»=^^ ^^ ^»h4 He that has ■N N- made his re - fuj'e God i=t r-F TJL ^ t=f^ He that has xuade his re - fuge God Shall / **-. EE t=ts find a most se P cure a - bode, Shall fe^;j^ find / most se - - ^ P" • • ci^-^ Shall find a most se P - cure a - bode, Shall find a most se 7~~:r :i=it :^=P If ^^ii=^ Shall find a most se P cure a - bode, Shall find a most se - t:^ ^=fW^ ^?E== t=t -A- tind a most se cure a - bode, Sliall find most se - cure a - bodt : J'- P:=W=^=^ ^^ E :f::^=^ X^ i%I± • • pro - lui - ses to travail with a glo - rious day of grace Let thy glorious morning dawn, Let tliy i;lurious niorniiij; dawn, Let thy glorious morning TIIF. HYMN TUNK BOOK. 2^<3 dawn, Let thy glorious morning dawn. Let thy glo - rious morning dawn. ^L_^ / m=m^ Wr=^ ^ ss ^^ dawn, Let thy glorious morning dawn, Let thy glo - rious morning dawn. 2. Let the Indian, let the Negro, Let the rude Barbarian see That divine and glorious conquest Once obtain'd on Calvary; Let the Gospel Loud resound from pole to pole. 3. Fly abroad, thou mighty Gospel, Win and conquer, never cease ; May thy lasting wide dominion Multiply and still increase : Sway thy sceptre. Saviour, all the world around. No. 65.— SHIRLAND.— s. m Count 4 Stanley. The words by Ur. Watts. slow to ger is so 2. God will not always chide, And when his strokes are felt. His strokes are fewer than our crimes, And lighter than our guilt. rise, So rea - dy to a - bate. 3. The pity of the Lord To those that fear his name, Is such as tender parents feel; He knows our feeble frame. For thy compassions, Lord, ^ 'J'o endless years endure, ^ And children's children ever find Thy words of promise sure. 284 TUI. IMMN 11 mi: book. Count 4 P No. GC— PORTSMOUTH NEW.— 148tli m. ^ Ye tribes of A-dam, •a m f=;2 a^ / The words by Dr. Wktts. P 25 r=^ 3=t g^j i ijjji.^^ ^ join With heav'n & earth & seas, And of-fer notes di- ij ' ■ t=t=t < ^ < Ye tribes of A-dam, join ^With heav'n 6c earth be seas, And of-fer notes di- p f ^ 4 4 \ \ t^i T=i^ -Ve*- I i Ye tribes of A-dam, join With heav'n & earth & seas, And of-fernotes di- vine, And offer notes di - vine lo your Cre - a- tor's praise, To your i^ ■ ' ■! m ^rr*^ ^^—m- #-H*- 1=F=^ Z± vine, And offer notes di - vine To your Cre - a - tor's praise, To your 3S -o* f S=iE :tSt O t Z^- vine, And offer notes di - vine To your Cre - a - tor's praise, To your b ^ I ■ ■ -1-^ ■ - - "-^ ^ ^ s -•— • — » 3^ i I I Ir Creator's praise ; Ye holy throng of angels bright,In worlds of light begin the song. Ye -9^-^ ^ t=t tT-t f- :rjt Ht— • — m-s- t=t m Creator's praise; Ye holythrongof angelsbright,Inworldsof light begin the song. Ye -/-H . r^i f^ n^ F=¥: ^^ ^=f: ^ • • • •/ Creator's praise ; Ye holy throng of angels bright, In worlds of light begin the song, Ye ly holy throne of an - gels ^W^F- ti=tt • ' w I holythrongof an- gels bright, In worlds of Mght be - gin the song. 1^ Ir gzzzz: Sing and njoiccand approach with thanksgiving The throne that ihro' a-ges e-ter-nal has stood; Fyr gi^ S P^l* P Z"^ i :a=3^ / / /^ =1^=^ ^qti^ V / ^ -• — !• — • — ^— ^ -^ ^-^ — I ■^^.v-i»— • Sing and rejoice, and approach with thanksgiving The throne that thro' a-ges e-ter-nal has stood; For ^^ — »:f — • — IVn P i^ • fu ^ • ""^ — ^"^" /r A ^ffP r Pi* ^ "^ tf* r JhF j. j < rK .• ix"T ' « ^r W) [^ "^ 1^ / • ^ i^ »^ 1^ ^ Lr / > / L*' ^ / 1 "O he who made earth, and gave life to all liv-ing, Our Fa-thcr Al-ini)i:h-ty,the Lord he is f \^m r a » r • **•••*• r. , ri fJt^i « ' r 3 p • r • I 1, ' y PI p /-"/•' • > ir / > .^ y • 1 1 L-^ ^L^ — \fA _^L_> 1^ ^L_;^ ^ w 1 he who made earth.and gave life to all liv-ing, Our Fa-tlier Al-migh-ty,ti»e Lord he is -/- n N-t- f^^=^ a^ -/-^M^ good, Songs of re-joic-ing con-spir-ing to raist\ % « / r— — >-CSS^ Swell with vour voices the cho-rus of ■♦v- ir ^ ir / / M 3£ «^ ♦*♦.- f p • • • > y-^tr ^ / / >->■ 3#:^ Songsof re-joic-ing con-spir-ing to raise, Swell with your voices the cho-rus of jEV ^ |i ^ Jt-A t=^ ^^A • •-•- it=«^ P^=?Ei?EzpEzpqt / . g ^ / / lc=A • CO good, Songs of re-joic-ing con-spir-ing to raise. «£ i 9 ^-r-> -• — •- tit ^ n^-TT tztat s praise, 1 ho cho-rus of praise.The cho-rus of praise. Uz. -m m * I : 1 — m — m— #—• d • • praise. The cho-rua of praise.The cho-rus of praise. Swell with your voices the cho-rus of 2. Praise to Jehovah ! his name be ador'd ; [Lord ! Praise your Creator I rejoice in the Great is His power, for the Lord is Almighty, But greater His goodness, which gives life its worth : For goodness it was plann'd the work of creation. And love to our Maker that love should call forth ; Praise to Jehovah, tS:c. Praise your Creator, &:c. THE HYMN ti:nk nooK. •:87 Count 4 f No. 69.— TUCKER'S, OR LEIGH.— c. m. Tucker. The words by Dr. Stennett. ^ He comes ! He comes I to iudee the world, a - loud th' archaneel cries. 2nd Voices. 3rd Voices ^ e comes ! He comes I to judge the world, a - loud th' archangel cries. p f 1— ^- d - ^^^B^^ He comes! He comes! to judge the world, a - loud th' archangel cries. P t- ^4.--pi He comes ! He comes ! to judge the world, a - loud th' archangel cries. ^3 t m. ^^3E ^=^P= ^ it 4 While thunders roll from pole to pole, And lightnings cleave the skies, And lightnings, And P ^SB ^:^=^ & ^ While thunders roll from pole to pole, And lightnings cleave the skies,And lightnings, And P a ^ 3 J J J l i & ^ While thunders roll from pole to pole, And lightnings cleave the skies, And lightnings, /' i ^ N f— r -f=^ ?=¥^ # » lightnings cleave the skies, lU- And light - - nings cleave the ^ies. / ^ i 4=^^ ^ -Gf- :^ lightnings cleave the skies, ^^ ^ nings cleave | !*• the skies. ?qe S r=* -p^ Tl lightnings cleave the skies, 2. The affrighted nations hear the sound, And upward lift their eyes ; The slumb'ring tenants of the ground In living armies rise. 3. Amid the shouts of num'rous friends. Of hosts divinely bright. The Judge in solemn pomp descends. Arrayed in robes of white. And light nings cleave the skies. So he ascends the judgment-seat. And, at his dread command, Myriads of creatures round his feet In solemn silence stand. Princes and peasants here expect Their last, their righteous doom ; The men who dared his grace reject, And they who dared presume 288 Count 2 ^1 No. 70.~REPOSK. The Music and Words by W. E. Ilicksoo. Mow, O Fd-ther, nay thy bleti-ing Rtst up -on the hours of sleep; -P O Now, O Fa-ther, may thy bless-ing Heat up -on the hours of sleep V Now, O Fa - ther, may thy bless-ing Rest up - on the hours of sleep ; 1^ t/ Ev' - ry 1 Ev' - ry anx-ioua thought re /- press- ing, Thro* the night my pil - low keep. t^oH~o l J J I ^ >' ^UJ ^ >' I cJ ' ' ^ iStJ^ Ev' . ry anx -ious thought re ^si hA\Q:H.i pi ess- ing, Thro' the night my pil - low keep. •5»^ I ' - S==t: P=t Z¥ ti=f^ ^^ ^ H Ev' - ry anx -ious thought re press-ing, Thro' the night my pil - low keep, / 1 r-Or ^ C^^H ^ :i=^ ^ XJU ZX - C3 I — Let thy pro - vi-dence pro tect me ; In the thick - est gloom of uight S Let thy pro • vi - dence pro /I I I -^ I I WtJ ^^^ •^^ - tect me ; In the thick - est gloom of night d J-V '-f-t tit 3 t=t: -e>- -€> Let thy pro - vi - dence pro - tect me ; In the thick - est gloom of night \J 1 here's no It^ e>- -^^ X-t ZX :^^p:^ There's no dan - ger can af - feet me That is hid - den from thy sight. P \J There's no dan - eer can af - feet me That is h I iJL ^^^ There's no dan -ger can af - feet me That is hid - den from thy sight P m e>- 1 ^H — I — ^^- 1:5 SUL XX :iji I ! 1 1 1— J— " ©^ feet me That is hid - den from thy sight, 4. And when life's last day is ending, Then in sleep I'll close these eyes. On a brighter day depending, In a better world to rise. There's no dan - ger can af - 3. By thy goodness ne'er forsaken, I this night will trust in thee ; In the morning to awaken, And another day to see. WORKS PRINTED FOR TAYLOR, WALTON, AND MABERLY, UPPER GOWER STREET, AND IVY LANE, PATERNOSTER ROW. FOR TEACHING SINGING. THE SINGING MASTER. People's Edition. One half the Original Price. %vo, hs. 6d. No. I.— FIRST LESSONS IN SINGING AND THE NOTATION OF MUSIC. Containing Nineteen Lessons in the Notation and Art of Reading Music, as adapted for the Instruction of Children, and especially for Class Teaching, with Sixteen Vocal Exercises, arranged as simple Two-part Harmonies. Medium 8vo. Price 1*. No. II.—RUDIMENTS OF THE SCIENCE OF HARMONY OR THO- ROUGH-BASS. A General View of the Principles of Musical Composition, the Nature of Chords and Discords, Mode of applying them, and an Explanation of Musical Terms connected with this branch of the Science. 1*. No. ni.— THE FIRST CLASS TUNE-BOOK. Thirty Simple and Pleasing Airs, arranged, with Suitable Words, for Young Children. Price 1*. No. IV.— THE SECOND CLASS TUNE-BOOK. A Selection of Vocal Music, adapted for Youth of Different Ages, and arranged, with Suitable Words, as Two and Three-part Harmonies. Medium 8vo. Price Is. 6d. No. v.— THE HYMN TUNE-BOOK. A Selection of Seventy Popular Hymn and Psalm Tunes, arranged with a View of facili- tating the Progress of Children learning to Sing in Parts. Medium 8vo. Price 1*. 6d. *45* Any Part may be purchased separately. WORKS PRINTED FOR TAYLOR. WALTON, AND MABERLY. THE SINGING MASTEIl— continued. The V^ocal Exercises. Moral Songa, and Hymns, with the Music, may also be had, printed on Cards. Price 2d. each Card, or Tweuty-five for 3#., as foUowg : — Introductory (Notation of Music). Vocal Exercises. Ditto. Ditto (Canons). Twinkle, Twinkle, Little Star. Welcome to School. Come and Si;e how Happily. H Perseverani!e ; or, Try Again. 9 Improve the Passing Hours. 10 Multiplication Table— First Part. 1 1 The Pence Tahle ; and Procrastination. 12 The Peace. Maker. 13 We all Love one another ; and We'll go to our Places. 14 How the Wind is Blowing : and Early to Bed and Early to llise. 15 Over the Water from England to France. 16 The Nursery Jest; and The Alphabet. 17 Tit for Tat ; and Hot Cross Buns. 18 Play-Hours. 19 The Kind Heart. 20 Come Let us Sing ; and the Chatter-box. 21 The Linnet. 22 The Harmonious Blackbird. 23 The Praise of Spring. 24 The Sluggard. 25 Neatness and Cleanliness ; and Work away. 26 Time for Rest ; and Good Night. 27 Sunrise. 28 Bells Ringing. 29 The Love of Truth ; and for Age and Want. 30 In the Cottage. 31 The Cricket Song. 32 Absent Friends ; and When we go out together, 33 Ere Around the Huge Oak ; and Harvest Home. 34 March and lift up your Voices ; and Idle- ness and Knavery. 35 Lullaby ; and The Hour is come of Twi- light Grey. 36 The Stormy Winds. 37 Our Native Land. 38 The Labourers' Song. 39 Home, Home ; and Rejoice, Rejoice. 40 If you Get into Debt. 41 Britons, Arise; and The Golden Rule. 42 Rule, Britannia ! 43 The National Anthem ; and Now let Notes of Joy Ascendiag. 44 Farewell. ! 45 I 46 I 48 I 49 I 50 ! 51 i 52 63 54 55 56 57 58 59 00 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81- Hymn and Psalm TktneM, with Words suitable for Sunday Schools. Sicilian Mariners ; and Warwick. Devizes ; and Stonefield, or Doversdale. Evening Hymn ; and Hanover. Stephens; and the German Hymn. Grove ; and Cranbrook. Falcon Street ; and Deritend, Martin's Lane ; and Staughton. Hart's ; and Job. Melbourn Port ; and Matthias. Rousseau's Dream ; and Irish. Sandgate ; and Contemplation. Hawies, or Mount Calvary ; and Auburn. Eaton ; and Carey's. Adoration. Gabriel New ; and Prospect. Lowell ; and Fairseat. Lonsdale ; and Calvary. Lydia ; and Sutton Colefield. Arabia ; and Old Hundredth. Peru : and Condescension. Horsley; and Compassion. Suffolk ; and Hephzibah. Bradley Church ; and Portugal New. Piety ; and Knaresborough. Wigan ; and The Passing Bell. Newport; and Easter Hymn. Vesper ; and Admiration. Jude's Doxology ; and Miles's Lane. Helmsley ; and Evans. Nativity ; and Monmouth. Westbury Leigh ; and New Victory, or Wimpole. Hallelujah, Amen, and Triumph. Refuge. Calcutta ; and Shirland. Portsmouth New ; and Joyful. Tucker's or Leigh ; and Repose. 82 Welcome ; and a Man is a Man for all that. 84 When the Rosy Mom appearing ; and the Might with the Right. God Speed the Right. THE WORDS WITHOUT THE MUSIC MAY BE HAD IN THREE SMALL BOOKS. AS FOLLOWS:— Moral Songs from the First Class Tune-Book, \d. Second Class Tune-Book, Id. Hymns from the Hymn Tune-Book, \\d. *^* The Cards and Tune-Dooks may be used with Mr. HuUah's or any other system of Teaching. " What chietljr deliphts us, in the Sinking Master, is the intermixture of many little Moral Songs with the ordinary Glees. These are chiefly composed hy Mr. Hickson himself, and we could scarcely imag-ine anything: of the kind better executed. They relate to exactly the claiss of subjects which all who wish well to the industrious orders would wish t(i see imprinted on tl.cir inmost nature — contentment with their lowly but honourable lot, the blessings that flow from industry, the fostering of the domestic aflfections, and aspirati«>U8 fur the improvement of society." — Chambers^ Journal. WORKS PRIMED FOR TAYLOR, WALTON, AND MAliEHLY. FIRESIDE HARMONY; OR, DOMESTIC RECREATION IN PART SINGING. A Selection of favourite old Glees, Rounds, and Canons; arranged to words suitable for Families and Schools. By Hklen S. Hkrschell. Second Edition. Demy 8vo, (oblong) 2s. Grf CONTENTS. 1 The Queen's Birth-day.— 2. Now are we met— 3. Come, follow me merrily.— 4. Come, all yc who Music love.— 5. How great is the I'leasure.— 6. Come, follow, follow me.— 7. The Emif^raiifs Song.-K Breathes there the Man.— 9. Our Queen. -10. The Young Ladies" Debate.— 11. Wilberforce's Grave.— 12. The (iras hoi)pcr.-13. When from my Native Land.-14. Tranquillity.— 15. Would you sin- a Round with Pleasure.S-16. Whate'er you others find. — 17. Flowers for your Gardens. — 18. Whittington. — 19. lar beyond all studied Grace. -20. Come now to the Greenwood.— 21. Tune your Voices— 22. A Boat Song.— 23 Come gay Mirth.— 24. Hope.— 25. Now genial Spring.— 26. Come, leave the Scene3.—27. 'How sweet to meet a'kindred Mind.— 28. Truly 'tis said. -29. Farewell, Friend.— 30. O ! be just.— 31. Sweet chime the Evening Bells —32. Hark, the little Birds are singing.-33. Now you shall hear a wondrous Song.— 34. Procrastination. THE USE OF SINGING AS A PART OF THE MORAL DISCIPLINE OF SCHOOLS. A Lecture, by W. E. Hickson. 8vo, price \\d» DRAWING. LINEAL DRAWING COPIES FOR THE EARLIEST INSTRUCTION. Comprising 200 Subjects on 24 Sheets, mounted on twelve pieces of thick pasteboard. By the Author of " Drawing for Young Children." 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