This scale we first must learn to sin£ -tr~ "~" icimcr-g^r-nn- .«v* "W Hke tri|lle m ,,. lslm .. Compound Quadruple Measure. Another kind of Q. Which are accented ? A. All three, time is sometimes used with four beats, like quad-' V- What is this kind of time called? ruple measure, only an accent is given to each of I A. Compound triple measure, the four; this is known as compound quadruple! Q. By what other name is it sometimes known? time and is indicated by the figure 12. This meas- A. Nine-eight time, ure, like sextuple and the preceding time, comprises V- What is indicated by the figure 12? three beats iu one. j A. Compound quadruple measure. ELEMENTARY DEPARTMENT. 1 Note. Sometimes all three of the preceding kinds of time are kept to the full number of their beats, rii., six beats in sextuple time, etc. This is, however, only the ease where the movement is required to be very slow. Illustration. The following Cuts will indicate the movement of the beats in the different kinds of time. Q. By what other.name is it sometimes known? A. Twelve-eigh'ttime. Q. How many beats' are usually given to the same? A. Four beats, like quadruple measure. Q. Which beats receive the accent? A. All four. Q. How should the beats in all the different kinds of time be made? A. Promptly. V time. Dnuble Triple Quadruple Sextuple 'time V time Measure. Measure. Measure. Measure. s ^^ * ^^ 1 beats. 3 beats. 4 beats. 6 into 2 beats. W I m J (Practice Lesson IL, Practical Department.) Lesson III.- NOTES. The length of tones is distinguished by the ear, in hearing ; and is made manifest to the eye by certain characters, visible signs or tokens. Notes. Characters representing the length or duration of musical sounds. i We cannot tell by a note alone how high or how low to sing, neither can we tell how soft or how loud to sound a tone; we can simply tell the length or duration of some certain tone. 3 beats. 4 beats. Rhythmics. TEACHER AND STUDENT. Q. To what department did our preceding lesson belong ? A. Rhythmics. Q. How do we know that it belonged to Rhyth- mics? A. The subject was length. Q. What does our present lesson treat of? A. The same: the first department, Rhythmics. Q. What is the property in this department? A. Length. Q. How is length of tones distinguished? A. Both by the ear and to the eye. Q. How by the ear? A. By hearing the same. Q. How to the eye? A. By certain characters. 12 MUSIC AT SIGHT. Sing- to vowel a, as in father, about -as fast as dis- tinct counting, in a conversational tone of voice. a, a, a, a, a, a, a, a. This duration to distinct counting, or the beating of the pulse, is indicated by characters like the fol- lowing : Quarter Notes. r r r r ' d ' • r r r , , . J J J J A quarter note is distinguished by a closed head and a stem. It makes no difference whether the stem is turned down or up. A character representing twice the length of a quarter note is called a Half Note. A half note is known by an open head and a stem. A character representing four times the value of a quarter note, or which is twice as long as a half note, is called a Whole Note. A whole note is distinguished by an open head. < L >. What are these certain characters representing ; length or duration called ? A. Notes. Q. Can we tell by a note alone how high or low to make the tone? A. We cannot tell the pitch. Q. Can we tell by a note alone how soft or loud to , sing? A. We. cannot. Q. What does a note simply represent? A. Length. Q. What kind of a note represents the length or duration of distinct counting? A. A Quarter note. Q. How can we tell a quarter note ? A. By a closed head and a stem. Q. Does it make any difference whether the stem is turned down or up? A. It makes no difference. Q. What kind of a note represents twice the length or duration of a quarter note ? A. A Half note. Q. How can we tell a half note? A. By an open head and a stem. Q. What kind of a note is four times the value of a quarter note ? A. A Whole note. Q. How can we tell a whole note? A. By an open head. Q. How many half notes equal the value of a whole note? A. Two. ELEMENTA R Y DEPA R TMEXT. 13 jm ■£_ A note showing one-half the duration of a quarter Q. What kind of a note shows one-half the dura- is called an tion of a quarter? Eighth Note. .4. An Eighth note. ' ^ P» JN h ^n Q- How can we tell an eighth note? V v v / Cm ^- ^ n eighth note is distinguished by one An eighth note is known by one hook. No mat- hook, ter whether they are separate or connected together Q- Does it matter if they are separate or grouped in groups. . together ? A note representing one-fourth the duration of a A - lt makes n0 difference, quarter note is called a §■ ^ow maa >' eighth notes would have to be con- I sidered to one count or beat, representing the time Sixteenth Note. of quarter notes ? J U U U A. Two eighth notes. J J W J^ P P P P «^J P s\ **"* V V ^ V * * bjJ Q. What kind of notes represent one-fourth the A sixteenth note has two hooks. duration of quarter notes ? .... , , A. Sixteenth notes? A note representing one-eighth the value ot a ,-, „ . . in . . ,., . . „ , ° V. How are sixteenth notes formed? quarter note is called a . tIT . , , , , 1 A. With two hooks. Thirty-second Note. Q- How many of them would we sing to the dura- y s, SSB^SS tion of one quarter note? R fc i i i A. Four. s u ^^^™^™ Q- What kind of notes represent one-eighth the C <• SSS^S duration of quarters? Thirty-second notes have three hooks. j. Thirtv-second notes. The value of these notes may be prolonged to the Q- How many hooks have they ? amount of one-half their value by adding a dot. A. Three hooks. Q. How may the value of either of these notes be prolonged to the amount of one-half? A. By adding a dot. Q. What would they be called? A. Dotted notes. Dotted Notes. A«s • equa ls d ^ J. a J . equals i i I 4> ■ J" equals f ' N 1" a • • 4 a J . equals } • ' 14 MUSIC AT SIOHT. The duration represented may again be prolonged to the amount of one-fourth of the original note, in addition to the dot, bv adding a seeond dot. Double Dotted Notes. equals J J J J, a^j.. equals J I I l«\ 4 4 4 ' \ S ^ \ N equals > Jv JN JV , > ^ ^ ^ a J., equals J J J J\ ^ .. ^u*.^^- Any three notes grouped together (or the value of any three represented), with the figure 3 above or under them, are called Triplets. jNjsjv equa i js jv ] a j j\ equa f\ is e 4 ■ Triplets represent the duration of two of the same kind. Q. How may the duration represented by a note be still more increased? A. By adding a second dot. Q. What length does the second dot represent? A. One-fourth of the original note. Q. What would a note with two dots be called? A. A double dotted note. Q. What are any three notes grouped together, with the figure 3 above or below them, called ? A. Triplets. Q. What value do they represent? A. The duration of two of the same kinu. Q. Would a quarter and an eighth note also be triplets? A. Yes. Table showing the different kinds of Notes, and their relative values. J & 0^ * t J* ^ J* J* J* J* 0^ 0^ 0^0^ 0^0^ 0^0^ 0^0 y 0^0 y 0^0^ 0^0^ 0^0^ 0^0^ 0^0^ y 0^ 0^0^ 0^ 0^0^ 0^0 {See Practical Department, Lesson III.) ELEMENTA R Y DEPA R TMEXT. 15 Lesson IV.- RESTS. As we have characters (notes) to represent the length or duration of certain tones, we must also have marks or signs to represent the corresponding length or duration of silence. Characters representing certain durations of si- lence are called Rests. A character under the line is called a Whole Rest. A whole rest represents the same duration of time that a whole note, or a certain tone, does. Note. A peculiarity of the whole rest is that, beside the above, it also represents a whole measure of sileuce, no matter what kind of measure we may have. A character placed above the line is called a Half Rest. A half rest represents the corresponding duration that a half note does. A character turned to the right is called a Quarter Rest. Also the following form is sometimes used. A quarter rest represents the same duration as a quarter note. Rhythmics. TEACHER AND STUDENT. Q. In what department are we now studying? A. Rhythmics. Q. What is the property? A. Length. Q. What are certain characters representing si- lence called ? A. Rests. Q. Do the different rests represent the same dura- tion of silence that their corresponding notes do of certain tones? A. Yes. Q. How can we tell a whole rest? A. It is placed under the line. Q. Does a whole rest represent the same length as a whole note. A. It does. Q. What is a peculiarity of the whole rest? A. It also represents a whole measure rest. Q. Does it make any difference what kind of measure we have ? A. It makes no difference. Q. How can we tell a half rest ? A. It is placed above the line. Q. Does a half rest represent the same duration that its corresponding note does? A. The same. Q. How can we tell a quarter rest? A. A quarter rest is turned to the right. Q. What other form is sometimes used ? A. The top turned to the right and the bottom to the left. 1*5 MUSIC AT SIGHT. A character turned to the left is called an Eighth Rest. An eighth rest represents the same length, or dura- tion, as its corresponding eighth note. A character formed with two hooks is called a Sixteenth Rest. A sixteenth rest is equal in duration to its cor- responding note. A character distinguished by three hooks is called a Thirty-second Rest. Thirty-second rests equal the duration of thirty- second notes. Dotted rests may also be used, and are equal in duration to their corresponding dotted notes. Q. Does a quarter rest represent the same duration as a quarter note? A. Yes. Q. How can we tell an eighth rest? A. An eighth rest is turned to the left. Q. Does an eighth rest represent the same dura- tion as its corresponding eighth note? A. It does. Q. How is a sixteenth rest formed? A. A sixteenth rest has two hooks. Q. Is its duration the same as a sixteenth note? A. It is. Q. How can we tell a thirty-second rest? A. It is distinguished by three hooks. Q. Does a thirty-second rest represent the same length as a thirty-second note ? .1. It is the same length. Q. Are there ever any dotted rests used? A. Yes; some of them may be used. Q. What would their duration be? A. The same as their corresponding notes. Table showing the comparative Values of the different Rests. **. 1 H 1 *4 1 **■ r *( [See Practical Department, Lesson TV.) ELEMENTARY DEPARTMENT. 17 Lesson V.— TIME MARKS. In order to indicate at a glance the kind of meas- ure and the variety of time given we use Time Marks. Figures set in the form effractions. The upper figure, or the enumerator, tells the kind of time, or how many counts or beats we have to the measure ; thus, Kinds of Time. 2 3 4 6 9 12 The lower figure, or the denominator, tells the variety of measure, the duration of what kind of a note, or the equal of which is to be considered to a point or beat ; thus, Variety of Time. 4 8 2 4 8 2 The following shows the table of time-marks in common use : Varieties of Double Measure. 2 2 2 2 4 8 represent the different varieties of double time, and each measure receives two beats. Varieties of Triple Measure. 3 3 3 2 4 8 show the different varieties of triple time, and each measure receives three beats. 2 Rhthymics. TEACHER AND STUDENT. Q. What have we to indicate at a glance the kind, or the variety, of time or measure we have? A. Time marks. Q. What represents or forms our time marks ? A. Figures set in the form of fractions. Q. Which figure represents the kind of measure, ' or how many points or beats we have? A. The upper figure, or the enumerator. Q. Which figure represents the variety of measure, or what duration is given to a point or beat? A. The lower figure, or the denominator. Q. What varieties of double measure have we ? ^222 2" 4 8' Q. Will each of these three varieties receive two beats to the measure ? A. Yes. Q. What varieties of triple measure have we in common use? ^333 ' 2' 4 8 Q. Will each of these varieties receive three beats to the measure ? A. Yes; they all receive three beats. 18 MUSIC AT SIGHT. Varieties of Quadruple Measure. 4 2 4 4 4 8 indicate the different varieties of quadruple time, and each measure receives four beats. The above three different kinds of time or measure are known as common time. The following are the varieties of Compound Time: Sextuple Measure. and 6 8 indicate the usual varieties of sextuple time, or also Compound Double Measure. Two accented beats are usually given to each measure. (See note on p. 19.) Varieties of Compound Triple Measure. ■lnd 4 and 8 indicate the usual varieties of compound triple time. Each measure receives three accented beats. (See note on p. 19. 1 Q. What varieties of quadruple measure have we in common use. ^444 A. 2 . 4 , g . Q. Will each of these receive four points or beats? A. They all receive four beats. Q. Are the beats, or rather the duration of the counts, points or beats, to all the above varieties the same ? A. The duration is the same; it is all guided by the beating of the pulse of a healthy person, or the time of distinct counting. Q. What other kind of time have we? A. Compound time. Q. What varieties of Compound Double measure have we ? A 6 and 6 ' 4 8' Q. How many beats are usually given to each measure? A. Two accented beats. Q. By what other name is this kind of time known? A. Sextuple measure. Q. What varieties of Compound Triple measure have we? A. ? and §. 4 8 Q. How many beats are usually given to each measure ? A, Three accented beats. ELEMENT A R Y DEPA R TMEXT. 19 Varieties of Compound Quadruple Measure. . 'I - 'I Each measure receives four accented beats.* Difference in Varieties of Measure. There is no difference to the ear in varieties of measure : the difference is only seemingly so to the eye. We would sing a tune just as fast, in regard to the duration of the counts or beats, no matter what length is indicated by the lower figure. Thus, a tune written in one book in Q time, in another book in V, Q Z .4 and in a third in Q time, would all be sung alike, o being in all three books in triple time, only in a dif- ferent variety. Note. There are certain signs and marks, as well as the words, to indicate the movement, whether the same be fast or slow, which, however, will be explained in les- sons further on. It may also be stated here that one of the best guides, and the surest indication of correct move- ment in vocal music, is the words : or rather, the expres- sion needed to bring out the beauty and the soul of poetry. * Note that in all the varieties in compound time there may sometimes be the full number of beats needed, as indicated by the upper figure, but as this is already ex- plained in Lesson II, it is not necessary further to dwell on the same. Q How many varieties of Compound Quadruple measure have we? j 12 . lm i 12 A. 4 and g . Q. How many beats are usually given to each measure? A. Four accented beats. Q. Is there any difference in regard to varieties of measure? A. There is no difference to the ear. Q. Is there any difference to the eye? A. There is only an apparent difference ; none in reality. Q. Would a tune be sung just as fast, whether written in 9 V, or j? time? 2 4 8 A. It would be alike in all three varieties. Q. How can we tell whether to sing a tune fast or slow ? A. The words will indicate the movement. Q. What must we try to observe at all times in regard to movement in vocal music? A. We must aim to bring out the best expression needed by the words. Q. Will the expression regulate our movement ? A. It must guide the same. Q. Are there any other marks or signs to indicate whether to sing fast or slow ? A. Yes. Q. Are they explained in this lesson ? A. No. Q. In these different varieties o J ' compound time are not the number of beats sometimes given, as indicated by the upper figure? A. Yes. (See Lesson II.) 20 MUSIC AT SIGHT. Table of Varieties of Measure in common use. Common Time. 2 3 4 2' 2' 2 2 3 4 4 4 4 2 3 4 8' 8' 8 6 4' (See Practical Department, Lesson V.) Compound Time. 9 4' 9 8" A 2 4 12 8' Lesson VI. SCALE. Like the carpenter who finds his foot-rule of im- portance to guide him in exact measurement, so in music we have a guide to ascertain the difference in pitch. As we find it of great convenience to use steps and ladders in ascending and descending, so in mu- sic we have a certain ladder to aid us in sounding the pitches higher or lower. This musical rule, or ladder, consists of a series of eight tones, ascending and descending in regular order, called the Scale (graduation ladder. German, "Tone Leiter," Tone Ladder.) The true progression is in a certain natural grade ; not natural because it seems so to the voice, for the voice can sound any tone progression within its com- pass ; but natural because this graduation is an in- herent part of the scale. Melodies. TEACHER AND STUDENT. ruide in music to A. We have. ascertain Q. Have we any differences in pitch ? Q. How is it formed? A. Like a ladder. Q. How can this musical ladder be of use to the student? A. It will aid him in sounding the pitches higher or lower. Q. In what way ? A. In finding the difference in pitch between any two tones. Q. Of how many tones does this musical ladder consist? A. Eight. Q. How are these tones arranged? A. Ascending and descending in regular order. Q. What is this series of eight tones, ascending and descending in regular order, called? A. The Scale. ELEMENT A R Y DEPA R TMEXT. 21 Diatonic Scale. The word Diatonic means " natu- ral."" Names of the Tones of the Diatonic Scale. The tone? of the diatonic scale are named from the lower upward ; thus, One, Two, Three, Four, Five, Six, Seven, Eight. Xote. The eighth tone forms again the first of a next higher ascending scale, and as it might be the cause of considerable confusion we will avoid it hy omitting eight altogether, and use in its place one, which it really is. Interval. The difference in pitch between any two tones of the scale is an Interval. These inter- vals being found between the tones of the diatonic scale, are Diatonic Intervals. The difference between each of the eight tones of the scale being an interval, gives us seven intervals in the diatonic scale. It will be noticed by sounding the tones that these intervals are not alike ; some are larger than others. Steps. The larger intervals of the diatonic scale are Steps. Half Steps. The smaller ones are Half Steps. Five of these seven intervals are steps, and the other two half steps. Q. What is the name of this scale '? A. Diatonic scale. Q. What does the word diatonic mean? A. Natural. Q. How are the tones of the diatonic scale named ? A. From the lower upward. Q. What are the tones ? A. One, Two, Three, Four, Five, Six, .Seven, Eight. Q. What peculiarity is there about the eighth tone? A. It forms again the first tone of the next higher ascending scale. Q. How is this confusion avoided? A. By calling it tone one, and omitting the term eight altogether. Q. Would this be right? A. Yes; it really is tone one. Q. What is the difference in pitch between any two tones of the scale called ? A. An Interval. Q. These intervals being formed between the tones of the diatonic scale are therefore what kind of in- tervals? A. Diatonic intervals. Q. If there are eight tones of the diatonic scale, and the difference in pitch between each being an interval, how many intervals have we? A. Seven. Q. Are these seven intervals all alike? A. No; some are large, others small. Q. What are the larger ones called? A. Steps. Q. The smaller? A. Half steps. Q. How many steps have we? A. Five. Q. How many half steps? A. Two. 22 MUSIC AT SIGHT. The half steps occur between tones three and four, and seven and one. Note. The half steps must occur between tones three and four aud seven and one, otherwise we would not have the diatonic scale. Octaves. The difference in pitch between any one tone of the scale and its recurring eighth higher. Tone Progression. The tone progression of the diatonic scale is thus : Step. step. Half Step. Step. Step. Step. 7 1 Half Step. It is very important for the student to understand that this tone progression of steps and half steps is in the regular, natural grade. The difference of a half step between tones three and four, and seven and one, is so arranged that a fixed number of the vibrations producing these tones will unite with those of other tones of the diatonic scale necessary to harmonize in the chords to be formed. Note. If the interval progression were different from the above, the harmony produced by the chords would be very much changed from the perfect blending of the com- bination which now can be effected. Q. Between which tones of the diatonic scale do the half steps occur? A. Between three and four and seven and one. Q. Between which tones do the steps come? A. Between one and two, two and three, four and five, five and six, six and seven. Q. Must the half steps always come between three and four and seven and one? A. They must not occur between any others. Q. If placed anywhere else what would be the re- sult ? A . Our scale would be destroyed. Q. What is the difference in pitch between any one tone of the scale and its recurring eighth higher? A. An octave. Q. What is the tone progression of the diatonic scale ? A. One to two, step; two to three, step; three to four, half step; four to five, step; five to six, step; six to seven, step ; seven to one, half step. Q. Is this tone progression always the same ? A. It is in the diatonic scale. Q. Why is this difference of steps and half steps? A. So that a fixed number of vibrations of certain tones may unite with those of other tones of the scale. Q: What would be the effect on the harmony of certain chords, were this interval progression dif- ferent ? A. It would be very much changed from the per- fect blending of our present combination. ELEMENT A R Y DEPA R TMENT. 23 The Diatonic Scale, Ascending and Descending. Names of the Tones of the Scale. One Seven Seven Six Six Five Five Four Four Three Three Two Two One One The above are not names of fixed tones, but they name the relative pitch, step and halt' step distance of our scale. Vocal Compass. Three successive scales, considered in pitch, mak- ing twenty-two tones, or three octaves, comprise the compass of the human voice. Q. Are the above names of certain fixed tones? A. They are not. Q. What do they name? A. The relative pitch, step and half step distance. Q. What do three successive scales, or octaves, comprise? A. The compass of the human voice. Q. Of how many tones does the vocal compass consist? A. Twenty-two. Vocal Compass. Ascending. Descending. 1 12345671234567123456 Diatonic Scale. I Diatonic Scale. I Diatonic Scale. : Diatonic Scale. I Diatonic Scale Octave. Octave. Octave. I Octave. I Octave. | Octave 765432176543217654321 Diatonic Scale. 24 MUSIC AT SIGHT. Diatonic Scale. Half Step.; (Half Step. 7 7 7 4& <& . J step. >* 4_ Step. ^ 3 ! Half Step. > v Step. 1 Step Step. Step. Step. % \. Step. 11 all- Step.} 3 */ v Step. ^„ Step. Musical Rule showing the Dividing Interval. Step. Step. Half Step. Dividing Interval. Step. Half Step. Dividing Interval. It will be noticed by our mu- sical rule that the scale is separated into halves by the Dividing Interval, there being two steps and one half step to the left, and two steps and one half step to the right. The dividing interval consists of one step. If each interval were a step, there would be only six, and tones 4, 5, 6 and 7 would be de- stroyed. Q. What can be noticed by the musical rule in re- gard to the division of the scale? .1. It is separated into two halves. Q. How many steps and half steps are there to the left? A. Two steps and one half step. Q. How many to the right ? A . The same. Q. Of what does the dividing interval consist? A. One step. ELEMENTARY DEPARTMENT. 9.K Interval Progression. These intervals are ar- ranged in this order of steps and half steps by allot- ting to each tone of the scale a fixed number of vi- brations to the second, so regulated in rapidity that a number of those of one tone will blend, or unite, into those of certain other tones needed to combine in order to produce harmony. Unison. Thus two tones of the same pitch blend perfectly, because the number of vibrations of both are alike, and all unite. Octave. The octave is the next in blending, be- cause the vibrations of the first tone are doubled by those of its eighth above, and every second vibration unites with those of which it is the octave. Thirds, Fifths, etc. So on with its thirds, fifths, etc., whose tone waves unite, however, less frequently with the first, according to their regulated number. Combinations of tones whose vibrations do not unite are avoided, unless a certain effect is desired. (See Practical Department, Lesson VI.) Q. Why are these intervals arranged in this order of steps and half steps? A. Because we want certain pitches that will har- monize with other tones when combined. Q. What makes them harmonize? A. Certain of their vibrations blend or unite. Q. Has every tonfe a fixed number of vibrations allotted to the second ? A. Each tone has its fixed number. Q. How do the vibrations of one tone differ from those of another? A. In their number and rapidity. Q. Which two tones will harmonize most per- fectly? A. Unison. Two tones of the same pitch. Q. Why? A. Because their vibrations all unite. Q. Which two tones come next in blending ? A. The octave. Q. Why the octave? A. The vibrations of a tone are doubled by those of its octave. Q. Do certain vibrations of the third and fifth tones blend with any of the first? A. Yes; only less frequently than either of the above. Q. Are combinations of tones whose vibrations do not unite avoided ? A. Yes ; except for certain effect. Lesson VII. SYLLABLES. i To simplify and to familiarize the pupil with the \ tones of the scale, we apply certain Italian syllables, which, by becoming associated with the pitches, will aid in fixing them in the mind. -Melodies. TEACHER AND STUDENT. Q. What help can we apply to still further sim- plify and aid the pupil in familiarizing the tones of the diatonic scale? A. Certain Italian syllables. himself with 26 MUSIC AT SIGHT. Syllables applied to the Tones of the Diatonic Scale. These syllables are Do, Re. Mi, Fa, Sol, La, Si Do. 12 3 4 5 6 7 1 Pronounced, Doe, Ray, Mee, Faw, Sole, Law, See, Doe. 1 2' 3 4 5 6 7 1 Remember these syllables are not the names of the tones, but are only applied to the scale names, one, two three, etc., and represent their relative pitch. '? A. Do. Q. Four? A. La. La, Si, Do. Q. Two? A. Fa. Q. Q. Seven? Q. What are the syllables? A. Do, Re, Mi, Fa, Sol Q. Which is one Q. Three? A. Mi. A. Sol. Q, Six? Q. Eight? A. Do. Q. Are these syllables the names of tones? A. They are not. Q. To what are they applied? A. To the scale names. Q. What do they represent? A. Their relative pitch. 1. Re. Five ? A. Si. Diatonic Scale with Scale Names and Syllables. Ascending by Syllables. Descending by Syllables. )o, Re, Mi, Fa, Sol, La, Si, Do, Si, La, Sol, Fa. Mi. Re, Do 1 2 3 4 5 6 Ascending by Scale Names. 7 1 7 6 5 4 3 2 Descending bv Scale Names. 1 It is of the utmost importance to practice faithfully, by singing the tones of the diatonic scale, so as to become perfectly familiar with every pitch. Do not practice only by syllables, but also by figures, or scale names, vowel a, e, etc. Good Articulation. It will be noticed that these tones of. the diatonic scale are each one separate and distinct from the other, hence they ought to be sounded correctly and distinctly. By this is under- stood good articulation. Q. Is it necessary to practice frequently by sing- ing the tones of the diatonic scale? A. It is of the utmost importance. Q. Should we only practice by syllables ? A. Practice by syllables, scale names and vowels a, e, etc. Q. Are the tones of the diatonic scale each sepa- rate and distinct? A. They are. Q. What is the correct and distinct sounding of each tone called? A. Good articulation ? ELEMENTARY DEPARTMENT. Form. Pitch and Power of Tones. Every tune must have a beginning, a middle and an end. Sound the tone clear and nicely rounded, without any straining or forcing, but with perfect ease. Sing in an upright position. As we ascend to the higher pitches it will be necessary to slightly mellow or tem- per our tone, as the higher the pitch, the less power required for clearness. If we force the tones they will sound harsh and grating; use a perfectly nat- ural tone; form lips nicely rounded, as in pro- nouncing the vowel o. Scale Practice. Practice the following tones, or any others deemed best adapted to the pupil, in order to become familiar with the pitch of each sep- arate tone ; use syllables, figures or vowel a. Sing these, or any othijr combinations desired. 1, 2, 3, 4,- 5, 6. 7, 8. 2, 3, 4, 1, 4, 3. 2. 1. 4, 5, 6, 3, 6, 5, 4, 3. 3, 2, 1, 3, 4, 3, 2, 4. Q. How should a tone be sounded? A. Clear and nicely rounded. Q. Should a tone ever be forced or strained ? A. Never. Q. Do we use the same power in ascending to the higher tones that we use for the lower ? A. The higher the pitch the less power is re- quired. Q. How will tones sound when forced? A. Harsh, grating. Q. What kind of a voice should we always use in singing ? A. A perfectly natural voice. Q. How should the lips be formed ? A. Nicely rounded, like in pronouncing the vowel o. 1, 2, 3, 1, 2, 1, 3, ]. 3, 4, 5, 1, 5, 4, 3, 2. 5, 6, 7, 5, 7, 6, 5, 4. 3, 4, 5, 6, 7, 1, 8. (See Practical Depai Lesson VIII. DEGREES. We have, thus far, difference in time regulated by the various kinds of measure. Difference in length or duration is represented by the notes and rests. 1, 2, 3, 2, 3, 2, 3, 1. 2, 3, 4, 5, 3, 5, 2, 5. 4, 5, 6, 3, 6, 2, 6, 1. 7, 6, 7, 5, 4, 5, 3, 5. tment, Lesson VII.) 2, 3, 4, 3, 4, 2, 4, 1. 1, 2, 3, 4, 5, 6, 1, 6. 1, 2, 3, 4, 5, 6, 7, 1. 2, 3, 4, 5, 6, 7, 1. -Melodies. TEACHER AND STUDENT. Q. How is difference in time regulated in music? A. By the various kinds of measure. Q. By what is difference in length or duration rep- Difference in pitch (intervals), steps and half steps, resented? .4. By notes and rests, is indicated by the diatonic scale. Nothing, so far,; Q. Difference in pitch (steps and half steps), inter- indicates how pitch is represented. I vals, are indicated by what? A. By the diatonic scale. 28 MUSIC AT SIGHT. Degrees sustaining the Tones of the Vocal Com- pass. We will now learn of certain degrees which hold or support the pitch. If there are three oc- taves of tones comprising the vocal compass, and if each tone be represented by a certain fixed degree (line or space), there must consequently be the number of degrees to sustain these three octaves, or twenty-two tones. These twenty-two degrees are indicated by certain parallel lines and intervening spaces. Q. Where does the pitch rest, or what holds or supports the same? A. The pitch is sustained by certain fixed degrees. Q. How are these degrees represented ? A. By parallel lines and intervening spaces. Q. How many degrees are needed to support the pitches of the vocal compass ? A. Twenty-two degrees. Q. How many octaves of pitch '? A. Three octaves. Lines and Spaces representing the Three Octaves of Pitches of the Vocal Compass. -3 -5- -1Q Lt LO „ Each line and every space is called a degree ; they are counted from the lower upward. It will be noticed by counting the degrees from right to left, that the sixth line divides the number of the degrees into exact halves. Dividing the Degrees. It would complicate the ready reading of the pitches to have so many lines and spaces together, making it difficult to determine instantly the line and space needed ; and as there are two classes of voices, female and adult male, an oc- tave apart in pitch, we divide our degrees into halves, and give each class of voices its appropriate pitch. Q. What is each line and every space called? A. A degree. Q. How are these degrees counted ? A. From the lower upward. Q. Which line represents the centre of these de- grees? A. The sixth line. Q. Would it not seem complicated to have so many lines together ? A. We can avoid this by dividing our number of degrees into halves. Q. What result will that bring about ? A. It will give each class, the female voice and adult male voice, its appropriate pitch. ELEMEN TARY DEPA R TMEXT. 29 The sixth or middle line, with its space above and below, divides our given number of degrees into halves. The Staff. This division gives to each half- five lines and four spaces, called the Staff. The staff consists of nine degrees, five parallel lines and four intervening spaces, counting from the lower upward. Q. How much difference is there between the adult male and female voice? A. Eight tones, or an octave. Q. Which degrees will make the division ? A. The middle line with its space above and below. Q. How many lines and spaces will this give us for each division ? A. Five parallel lines and four intervening spaces. Q. What are these five parallel lines and four in- tervening spaces called ? A. The Staff. The Staff. Degrees. Lines. Spaces. 7 £ 9 : ; 6 4 •1 4 5 8 ^ i '•' 1 Intermediate Degrees. It will be noticed that we have, beside the degrees of our two staves, four de- grees not included ; our dividing line, with its space above and below, which we will now call our three intermediate degrees, and the higher, or twenty- second, degree of our vocal compass, which we will call our added space above. Q. How many degrees belong to our vocal com- pass beside those of the two staves ? A. Four. Q. What do we call our dividing line with the spaces above and below it? A. The three intermediate degrees. Q. What the higher, or twenty-second, degree ? A. The added space above the staves. The Staff, Intermediate Degrees and Added Spaces. 2 -xa.- —i. 3 - 30 MUSIC AT SIGHT. On the preceding page is shown the vocal compass, placed on the two separate staves, with the interme- diate and added degrees. Also the eleven degrees suited to each class of voices. Added Lines and Spaces. The compass for each class of voices may, however, extend beyond the de- grees of its appropriate staff. We must therefore sometimes add degrees some of which belong to another staff, and this is done by added lines and added spaces. Observe that these degrees do not belong to the staff; they are added to extend the pitch either be- low or above the same. Q. Which are the three intermediate degrees in the above example'? A. The dividing line, degree 11, with its spaces above and below, degrees 10 and 12. Q. Counting from right to left, how many degrees belong to each class of voices? A. About eleven degrees. Q. Does the compass for each separate class ever extend beyond the degrees of its appropriate staff? A. The compass may extend beyond. Q. What must we have to meet this extension ? A. Added degrees. Q. How can we accomplish this ? A. By added lines and spaces. The Staff, showing the Pitch of the Added Lines and Spaces. Intermediate line. Same pilch. The Staff, showing its Added Lines and Spaces. Second added space above. First added space above. First added space below. Second added space below. Second added line above. First added line above. (.See Practical Department, Lesson VIII.) ELEMENTARY DEPARTMENT. 31 Lesson IX. CLEF. In order to have a fixed pitch represented we must give to each class of voices its appropriate staff, and this is done by certain characters called Clefs. A clef determines the position of the class of voices suited to the staff. The Treble Clef. The pitch of the female voice is shown by a clef which winds around the second line of the staff, and the pitch of that line being G, it is called the G clef, and as it represents the staff that is suited in pitch to the treble, it is also called the Treble clef. The Treble Clef placed on the Staff. Bass Clef. ^)'. The pitch of the adult male voice is shown by a clef winding around the fourth line of the staff, and the same being the pitch F, it is called the F clef. Because it represents the staff that is suited in pitch to the bass, it is also known as the Bass clef. The Bass Clef placed on the Staff. zgz: -Melodies. TEACHER AND STUDENT. Q. In order to have a fixed pitch represented, what must we give to each class of voices? A. Its appropriate staff. Q. What is that character called which determines the position of the class of voices suited to the staff? A. A Clef. Q. What clef shows the staff suited in pitch to the female voice ? A. The Treble clef. Q. By what other name is it sometimes called? A. The G clef. Q. Why the G clef? A. Because it winds around the second line of the staff, which pitch is G. Q. What clef is placed on the staff suited in pitch to the adult male, and particularly the bass, voices ? A. The Bass clef. Q. Which line does it wind around? A. The fourth line. Q. What is the pitch of this line called ? A. F. Q. What is the clef sometimes called? A. The F clef. Q. Does it make any difference which way the bass clef is turned ? A. It does not. 32 MUSIC AT SIGHT. Tenor Clef. ISH Sometimes a separate clef is used for convenience, to show the pitch of the higher male voices, called Tenor. This clef is placed on the third space, and its pitch being C, it is called the C clef; also the Tenor clef. The Tenor Clef placed on the Staff. Q. What other clef have we sometimes in use for convenience sake ? A. The Tenor clef. Q. What kind of voices are suited to the pitch of the staff when represented by the tenor clef? A. The higher male, or tenor, voices. Q. What other name is given to this clef? A. The C clef. Q. Is the space on which it is placed called C? A. The pitch represented by that space is C. The Staff, as represented by the different Clefs. Treble, or G Clef- Tenor, or C Clef. Degrees. Degrees. Bass, orF Clef. Degrees. ^=i=i Comparison of the Staff in the different Clefs. It will be noticed by the above that the staff, as represented by both the treble and tenor clefs, looks alike, but when the bass clef is placed upon it there seems to be a considerable change, and the arrangement of the degrees is different. Comparison of the Intervals of the Staff and Scale. As by the diatonic scale, our musical rule, which contains certain difference in its intervals, so also our staff shows considerable difference between certain decrees. Q. Which two of the above staves seem to be alike? A. The two with the treble and tenor clefs. Q. Is the staff represented by the bass clef mate- rially different from the others? A. It is formed different. Q. What kind of intervals are contained in our diatonic scale? A. Larger and smaller. Q. What are the larger intervals called? A. Steps. Q. What the smaller? A. Half steps. Q. Does the staff as represented by the different clefs also show differences between certain degrees? A. There are differences. ELEMENTA R Y DEPA R TMENT. 33 Intervals of the Staff in the Treble and Tenor Clefs. Thus the stuff represented by the treble and tenor clefs seems to have a greater difference be- tween the lines representing degrees three and five than between the other lines. Intervals of the Staff in the Bass Clef. In the staff represented by the bass clef the difference is greater between lines representing degrees one and three, and again between seven and nine. (It is very important that the pupil may form a correct idea of the staves, as shown above, to let it be impressed that every line and every space is a real representative of the pitch it contains. Look at the staff and you look upon nine representees of nine different pitches, with power to add others below and above.) (See Practical Depar Q. What is noticed between the second and third line of the staff having the treble and tenor clef? A. The difference is greater than between any other two lines. Q. How with the staff represented by the bass clef? A. There is a greater difference between the first and second, and between the fourth and fifth lines. Q. What is every line and each space of the staff really a representative of? A. Of the certain pitch which it sustains. Q. Does the staff then really consist of nine rep- resentatives of nine pitches ? A. That is the correct idea of the staff. Q. May we add other pitches to these nine? A. Yes ; we may add both below and above. tment, Lesson IX.) Lesson X.- ABSOLUTE PITCH. The different pitches represented by the degrees of the staff are named by the first seven letters of the alphabet, commencing, however, with G, on the lower degree of the vocal compass. Intermediate line. The pitch of the intermediate line is C, and because it is the dividing line (middle line) between the two staves, it is termed middle 0. Note. The first added Hue below the staff in the treble elef, and above the staff in the bass clef, are both the same degree— the same pitch— middle C. 3 -Melodies. TEACHER AND STUDENT. Q. What do we call the certain fixed pitches rep- resented by the degrees of the staff? A. Absolute pitch. Q. By what are the pitches of the degrees of the staff named ? A. By the first seven letters of the alphabet. Q. Which one do we commence with as the lower degree of the vocal compass ? A. G. Q. What is the pitch of our intermediate degree? A. Middle C. Q. Why middle C? A. It divides the staves. 34 MUSIC IT 1 Intermediate Spaces. The space below middle C is B, and the space above is called D. Xote. These an tween the two stave and above. All others used represent pitches in unison between the two staves ? with some of the pitches of either one of the staves. A. There are but three the three intermediate degrees be- ; i. e., middle C, with its space below SIGHT. Q. What is the space below middle C? A. B. Q.' What the space above it? A. D. Q. Are these the only three intermediate degrees -fl- Absolute Pitch. — Vocal Compass. ?. ( ?t — — -c B — — '-- m r* 1 Ti *— * 1 B-°- | V 1 j IT> t. i 1 1 A ' " i Octave. Octave. Octave. It will be noticed that between the pitches E and Q. What is noticed in the above example between F and B and C the intervals are half steps, while the pitches E and F and B and C? between all the others they are steps. A. The intervals are half steps. Q. What kind of intervals have we between all Pitches represented by the Degrees of the Staff in the Treble Clef. Lines. Spaces. the others ? A. Steps. Guide to the lines : Every Good Boy Does Finely. 1 ' 2 34 5 Q. Arc the intervals between E and F and B and C half steps on the staff in both clefs, and also on the added degrees? At They are half steps wherever we find them. Q. What are the pitch names of the lines of the staff represented by the treble clef? A. First line, E; second, G; third, B; fourth, D ; fifth, F. Q. What is the guide to the lines ? A. Every Good Boy Does Finely. ELEMENTA R Y DEPARTMENT. 35 Guide to the spaces : F A C E— Face. 12 3 4. Pitches represented by the Degrees of the Staff in the Bass Clef. Lines. Spaces. 7mV i f 4 G" .1 t-' „ 1 * Guide to the lines : Good Bovs Do Finely Always. 1 2 3 4 ' 5 Guide to the spaces '? All Cases Easily Gained. 12 3 ' 4 Note. The pitches represented by the degrees of the statf iu the tenor clef are the same as those in the treble : only an octave, or eight tones, lower. This difference in pitch is the same as that between the tenor (male I voices and the treble I female) voices. Q. What are the pitch names of the spaces? A. First space, F; second. A ; third, C ; fourth. E. Q. What is the guide to the spaces ? A. F A C E— Face. Q. What are the pitch names of the lines of the staff represented by the bass clef? A. First line, G; second, B; third, D; fourth, F; fifth, A. Q. What is the guide? A. Good Boys Do Finely Always. Q. What are the pitch names of the spaces ? A. First, A; second, C; third, E; fourth. G. Q. What is the guide ? A. All Cases Easily Gained. Q. What letters name the pitch of the degrees of the staff in the tenor clef? A. The same as in the treble clef. Q. What is the difference in pitch? A. An eighth, or an octave. Absolute Pitch represented by the Degrees of the Staff and Added Degrees of the Treble Clef. I The above example shows the half steps between the pitches E and F and B and C. Observe that between the lines and added lines, where the larger Q. Between which degrees of the staff in the treble clef are the half steps? A. Between the first line and first space, the third spaces occur, the intervals are two steps. Between fine and third space and the fourth space and fifth line. all the others they are a step and a half step. The Q. What are the pitch names of these degrees'? same applies to the staff in the bass clef. A, E and F and B and C. 36 MUSIC AT SIGHT. Absolute Pilch represented by the Degrees of the Staff and Added Degrees in the Bass Clef. There is a greater difference in pitch between the same letters of certain lines, or of certain spaces of the staff in the bass and in the treble clef than at first appears. Start at G, the first line of the staff in the bass Q. Between which degrees of the staff in the bass clef are our half steps ? A, Between the second line and second space, third space and fourth line, and the space above middle C. Q. How much difference in pitch is there between clef, and count up to G, the second line of the treble . the pitch of the first line of the bass clef, G, and the clef; the difference in pitch is fifteen tones — two oc- second line of the treble clef, G? taves. i A. Fifteen tones, or two octaves. Absolute Pitch showing the comparison of the Pitch of the Added Degrees with the Degrees of the Staff. TT ,, \: Second line. r — A m _G tr~ -F— E ~- Fir*t line. T> E Middle C. „— C — _F Fourth Hoe. !m\" m^ — — D T B If the diatonic scale is our rule by which we ! Q. What must be observed.in placing the diatonic measure the difference in pitch, steps and half steps, ! scale upon the staff? then in placing it upon the staff which contains the A. The half steps of the scale and the half steps pitch which this scale assists us in sounding cor- 1 upon the staff must be fitted together, rectly, we must fix our scale, or rule, in such a posi- ' Q. Which of the two can be moved, the scale or tion that the half steps will fit together. • the degrees of the staff? The degrees of the staff are fixed, while the dia- A. The scale is movable ; the degrees of the staff tonic scale is movable. I are fixed. EL EM EST A RY DEPAR TMENT. 37 The Tone Ladder, our Musical Rule, fitting the Half Steps of the Scale to tne Half Steps upon the Staff. -^-Middle C. -*>-<2- ^ O Pitch Names. C Scale Names. 1 Syllables. Do Re E F G A B C. 3 4 5 6 7 1. Mi Fa Sol La Si Do. Absolute Pitch is represented by the letters. Relative Pitch is represented by figures and syllables. The student must be impressed with the fact that the staff, as well as the diatonic scale, has its half steps. The staff shows this difference by represent- ing a larger space between certain lines than there iS between others. This is to indicate the interval of two steps, while between the other lines there is a step and a half step. The music type makes it difficult to continue this arrangement, and as it is believed that a sufficient number of exercises have been placed, the regular staff will be used. Observe that although the staff, as it will be used Q. Do the pitches, as represented by the degrees of the staff and added degrees, ever change with the scale? A. The pitches are absolutely fixed by the degrees. They never change. Q. What do the pitch names (letters) represent? A. Absolute pitch. Q. What do the scale names (figures) represent? A. Relative pitch. Q. What is represented by the syllables? A. The syllables, Do, Re, Mi, etc., are applied to the scale names, and represent relative pitch. Q, What differences have been noted between cer- tain lines of the staff? A. The spaces are larger than between others? Q. Why this difference? A. There is an interval of two steps between them, while between other lines we have but a step and a half step. Q. Will this visible difference be continued ? A. No. Q. Why not ? A. The music type makes it difficult to continue this arrangement. Q. Although the regular staff does not show any visible difference, does this succession of steps and half steps still exist ? A. It remains the same throughout the entire sys- tem of musical notation. Q. Will the intervals of steps and half steps remain in the same regular order ? A. Thev will. 38 MUSIC AT SIGHT. hereafter, does uot indicate any visible difference, yet the same succession of steps and half steps exists as heretofore noted. It is always represented by the pitches. Q. What represents them? A. The pitches. . Q. What represents the pitches i A. The degrees of the staff. (See Practical Department, Lesson X.) Lesson XI. NATURAL SCALE AND KEY. Scale of C. A scale is named after the letter upon which it is placed, or the pitch upon which it is founded. A scale when placed upon the pitch 0, is called the Scale of C. Natural Scale. When the scale is composed of ■ natural pitches of the degrees of the staff, it is called the Natural Scale. Model Scale. Either of the tones forming this scale may be taken to name another scale just like it ; i. c, it forms a model for any other one ; therefore it is said to be the Model Scale. Note. This scale is not more natural than any other scale, only it consists of natural pitches of the degrees of the staff. Any other diatonic scale is just as natural in its interval progression. Varieties of Scales. It will be seen that we may form seven different scales, as there are seven differ- ent pitches composing the scale of C. Indeed, w^J may even form more, as will be noticed by some of i the succeeding lessons. —Melodies. TEACHER AND STUDENT. Q. After what is the scale named when placed upon the staff? A. After the letter, or pitch, upon winch it is founded. Q. What would we call the scale when placed upon the letter C? A. The scale of C. Q. Why is this called the natural scale? A. Because its tones are composed of natural pitches of the degrees of the staff. Q. Why is it called the model scale? A. Because this scale forms a model for all others. Q. Is this scale more natural than any other one? A. It is not. Q. Are all other diatonic scales just as natural in their interval progression ? A. They are. Q. How many different scales can we form if we place tone one upon either of the pitches of the model scale ? A. Seven. < L >. Why seven ? .1. Because there are seven different pitches in the scale of 0. 1* ELEMENT. I R Y DEPA R TMENT. :iy Key-Note. Tone one, or Do, seems to be the most important tone in the diatonic scale. The scale seems to be built upon it ; and this same pitch not only opens the scale but also closes it; hence the very appropriate name, Key-Note. The Model Scale placed upon the Staff in the three different Clefs. f Treble Clef. rl ft . & IV \> «7 -&- a Tenor Clef. t jS „ /-2 ^* <3 -- o Bass Clef. & ■*- /* .- S7 C-l O & ■c Scale of C in the different Clefs. Either of the above scales is placed upon the pitch C, and is known as the natural scale because all of the tones of either of these scales are natural pitches of the degrees of the staff. One scale is in the treble, one in the ' I tenor and the other in the bass clef. Scale. How formed. Whenever eight pitches are chosen in the regular order in which they sue- ; ceed each other on the staff, and in the interval pro- (>. Which seems to be the most important tone in the diatonic scale? A. Tone one, or Do. Q. What is it called ? A. The Key-Note. Q. What is meant by key-note ? A. The note representing the pitch which forms the root of the scale. Q. What does the key-note open and close? A. The pitch of the diatonic scale. Q. How does it open and close the pitch ? A. The pitch of the first and last tones of the diatonic scale is named by the same. Q. Upon which pitch is either of the above scales placed ? A. Upon the pitch C. Q. What scale are all three ? A. The scale of C. Q. Are the tones forming these scales all natural pitches of the degrees of the staff? A. Yes. Q. What is the pitch of our key note? A. C. Q. Is the pitch of middle C the same in both the tenor and treble clefs ? A. It is an octave lower in the tenor. Q. Why this difference? A. The tenor clef represents a pitch an octave lower. Q. What may be formed from certain pitches of the staff chosen in their regular order? A. A scale family. 40 MUSIC AT SIGHT. gression of the diatonic scale, they form a scale fam- ily, the same as the members of a family at home in their regular places. Key. Whenever the pitches of this same, family of tones are selected at will from dispersed positions (like a family scattered here and there), they are representatives of a key. Note. In either case — scale or key — the tone forming the root names it, and is our key-note. Distinction between Scale and Key. It will be seen that there is a difference in saying scale of C and key of C. Both are founded upon the same root and named after it, yet in one case all the tones are in regular order, while in the other they are scat- tered or placed at will. Absolute Pitch— different positions in the Scale. The natural pitch of any of the degrees of the staff, or added degrees, is not changed, no matter in what position of the family of tones they may be found, or what number of the same they may form. Pitch C would remain the same tone wh ether it be the. root, second, third, fourth, fifth, sixth or seventh 1 tone of a scale family. Movable Scale. It is the scale — our rule — that! moves to the different positions on the staff to adapt itself to some new pitch that may have displaced, or destroyed, a natural pitch of some degree upon which it is impressed. {See Practical Depnt Q. In what interval progression must they be ? A. In that of the diatonic scale. Q. What do the pitches of this family of tones represent when selected from dispersed positions on the staff? A. They are representatives of a key. Q. Which tone names them in either scale or key? A. The tone forming the root; the key-note. Q. Is there any distinction between scale and key? A. Yes. Q. If both scale and key are founded upon the same root, what is the difference? A. In a scale the tones are in regular order, by a key they are placed at will. Q. Do the natural pitches of the degrees of the staff, or added degrees, change when placed in differ- ent positions in this tone family? A. They do not change. Q. Does it make any difference which of the tones of the scale they represent? A. No. (}. Will C remain the same pitch whether it forms the root, second, third, fourth, fifth, sixth or seventh tone of the scale? A. It will. Q. What does move to different positions upon the staff? » A. < tar scale or rule. Q, Why does the scale move to different posi- tions ? A. In order to adapt itself to some new pitch im- pressed upon the staff. iment. Lesson XL) ELEMENTARY DEPARTMENT. 41 Lesson XII.— Melodies. CLASSIFICATION OF THE VOICES. While we have two classes of adult voices, male and female, we may again divide each class into different parts, higher and lower. The usual di- visions are : Soprano — the higher female voices. Alto — the lower female voices. Tenor — the higher male voices. Bass — the lower male voices. There are other divisions noted now. hut thev will not be Compass of each Class of Voices. While the vo- cal compass comprises about three octaves of tones, the compass for each of the above divisions is usually about one octave and a half, which any voice ought to reach with ease. Extending the Compass. The same may be ex- tended higher or lower, or both. The following ex- ample shows the usual extent for a full, clear tone produced without effort. Sing with natural ease, without straining the voice ; let each division practice its allotted part, laying particular stress on both the higher and lower notes of the compass. TEACHER AND STUDENT. Q. How many classes of voices have we? A. Two. Q. What are they ? A. Male and female voices. Q. May either of these two classes be subdivided ? A. They may each be divided into higher and lower voices. Q. What are the higher female voices called ? A. Soprano. Q. What are the lower female voices called '? A. Alto. Q. What are the higher male voices called? A. Tenor. Q. What the lower ? A. Bass. Q. What is the usual compass for each of the above divisions ? A. About one octave and a half of tones. Q. May either be extended above or below the compass given? A. They may extend either below or above. Q. How should these tones be produced ? A. In a clear tone and without effort. Q. How can we best attain perfect ease in reach- ing the extreme higher and lower tones of the com- pass allotted to our part ? .-1. By faithful practice. Q. What should be particularly avoided ? A. Straining the voice. 42 MUSIC AT SIGHT. Comparison of the Pitch of the Classified Voices, giving to each its usual Compass on separate Staves. Soprano. i i Alto. Tenor. m Bass. -f-^-f-t GABCDEFG '=f±±l B C D E F G — I I \ B C D E F G Bass Co nips 1 1 Tenor Compass. Alto Compass. Soprano Comps ss. Compass of the Human Voice. Tt will be noticed that the bass is the lowest, I tenor next higher, alto above the tenor, and that the | soprano is always the highest part. Again, the alto and the tenor are always between the soprano and the' bass. Note. The tenor compass seems to be placed higher than the alto, but the tenor clef represents pitch an oc- tave lower than the treble, hence the alto is above. Q. Which is the lower part of the vocal compass? A. The bass is always the lowest. Q. Which is the next higher ? A. The tenor. Q. Which next above the tenor? A. The alto. Q. Which part is always the highest? A. The soprano. Q. Which two parts lie between the soprano and the bass? A. The alto and the tenor. (See Practical Department, Lesson Xlf.) ELEMEXTA R Y DEPA H TMENT. 4:3 Lesson XIII ARRANGEMENT OF HARMONY. As we have now classified the voice into four di- visions, Soprano, Alto, Tenor, Bass, we can arrange our harmony into four parts, allowing each division its own position on the staff. Having a separate clef for each of the two classes of voices, adult male and female, it will only be ne- cessary to divide each class into two parts, or place on the staff of each clef a part for the higher and one for the lower voice of the same class. Score. The combination of two or more parts to be performed together. Brace. The lines preceding the clefs, connecting two or more staves to be used for the different voices; i. e., showing on how many staves the different parts, or the score, are written. Four-Part Harmony. The usual arrrangement for four-part harmony, and the one often preferred, is on two staves. Note. The teacher should exercise care in selecting the singers for the different parts, so that each be as- ! signed to his or her true voice. A good way is to have the class sing as many of the tones of the vocal compass as can be reached with ease; note those singing higher or lower than others, and classify into soprano, alto, tenor and bass. I .—Melodies. TEACHER AND STUDENT. Q. How many divisions of voices have we? A. Four: Soprano, Alto, Tenor, Bass. Q. Into how many parts may we arrange our har- mony ? A. Into four parts. Q. What clef represents the staff suited in pitch to the female voice ? A. The treble clef. Q. Which the adult male voice ? A. The bass clef. Q. Would we place both of the divisions of the female voice on the staff with the treble clef? A. Yes ; the treble clef represents both. Q. Do we place the two divisions of the adult male voice on the staff represented bv the bass clef? A. We do. Q. What is a combination of two or more parts to be performed together called? A. A score. Q. What do we call those lines in front of the clefs connecting two or more staves ? A. A brace. Q. What does it indicate ? A. It shows on how many staves the different parts, or the score, are written. Q. What is the usual arrangement, and the one often preferred ? A. On two staves. 44 MUSIC AT SIGHT. Four-Part Harmony as Written on Two Staves Soprano. mm SSEEEE3 t=i JE? \ ~t- %=v '# F^r mrr fm Alto. Tenor. Ippjjat^li^i^fpp It will be noticed that the soprano and alto parts are placed on the upper staff of the brace, repre- sented by the treble clef — soprano the higher, and alto the lower, notes. Tenor and bass are placed on the lower staff. Tenor takes the upper part and bass the lower. Score written on Three Staves. Whenever four- part harmony is arranged on three staves, the differ- ent voices will usually be found in the following positions : tenor on the upper staff with tenor clef, soprano and alto on the middle staff with treble clef, and the bass on the lower staff with bass clef. Although the tenor is placed on the higher staff, it is not the highest part. ' The soprano, as hereto- fore explained, is the highest. Placing the tenor on the upper staff is for the convenience of organists, who are accustomed to have the soprano, alto and bass close together. Q. On which staff of the brace are the soprano ' and alto placed? A. The upper staff. Q. Which is the soprano part '? A. The higher notes. Q. Which the alto ? A. The lower. Q. On which staff of the brace is the tenor and i bass ? A. The lower staff, with the bass clef. Q. Which part is the tenor? A. The higher notes. , Q. Which the bass? A. The lower. Q. When four-part harmony is arranged on three J different staves, which part is usually placed on the ! upper staff? A. The tenor part. Q. Which two parts on the middle staff? A. The soprano and alto. Q. Which on the lower staff? A. The bass. ELEMENTAB, Y DEPARTMENT. 45 Four-part Harmony represented by Three Staves. Score Written on Four Staves. Whenever four- Q. When four-part harmony is placed on four part harmony is arranged on four staves the follow- staves, which is the tenor? A. The upper staff. ing is the position preferred: tenor on the upper Q. On which staff is the alto ? A. The next below, staff alto next lower, soprano the third from the top, Q. Which is the third staff? A, The soprano, and the bass the lowest. ' Q. Which staff contains the bass? A. The lowest. Four-part Harmony placed on Four separate Staves. Tenor. i s , End. Repent from ber/iiininq to Double Bar. q Alto. fj -0- -0—0- -0- 0—0-0—0 ?=*-*- aci^c ** !§ S n— n --^- Soprano. o i m it* j*j isi i *~nr7~! -1 rry ? ^:- wmi Bass. 3S= 1 tJ=J:i_i- P -0 0-0 0- 46 MUSIC AT SIGHT. Position of Solo Parts in the Score. When a Q. When a single solo part is arranged with in- single solo part is arranged with instrumental ac- strumental accompaniment, on which of the staves is companiment, the voice part is placed on the upper! the voice part written? A. The upper staff, staff, and usually the accompaniment takes a middle Q. How are the instrumental parts usually ar- and lower staff. : ranged? A. On the middle and lower staff. It matters not which of the voice parts is ar- j Q. Does it matter which voice part is to carry the ranged to carry the solo ; either of them takes the . solo ? upper staff. A. It makes no difference. Single Voice Part with Instrumental Accompaniment. Voice Sometimes an instrumental accompaniment may Q. Is any intrumental accompaniment arranged he arranged on a single staff, but the voice will still on a single staff? have the upper. A. Yes ; sometimes. The soprano, alto, tenor or bass may form a solo Q. Does the voice part still retain the upper staff? part. A. It takes the upper. Note. Only the best voices should sing solo parts. Q- M:1 >' either soprano, alto, tenor or bass form a The voice part must be prominent: the instrumental is solo part ? simply an accompaniment to the leading part. A. Either one may take a solo part. ELEMENTARY DEPARTMENT. 47 Voice. Instrumental Accompaniment placed on a Single Staff. Instr. §5E ±4= I wEZm -J-F-P t=l= — ,— *— #- — I — • — »- — I — I H - "I 1- -*— %- _] e »_ 1 -rt q=t -i«— *- S Two voices, or a duet, will usually be carried by I Q. If two voice parts, or a duet, is arranged with the upper staff. A duet may be writtteu on two separate staves ; then, with the accompaniment added, there will be four. The two lower staves carry the accompani- ment as shown by the next following example. instrumental accompaniment, how are they usually placed '? A. The duet is on the higher staff. Q. May a duet be arranged on two separate staves? A. Yes; then the score with accompaniment added will be on four staves. Duet with Instrumental Accompaniment. Voice. t) -#--#- -0- -&- -S- -S- -S- -*- -0--0- -+■ -&- ^t-t- -S--S- -&- Instrument. :4=5i =P=F M-d—4 m\ : 5 r T ^ m^z £5 *r*r* w^ z o- 5fc (See Practical Department, Lesson XIII.) 48 MUSIC AT SIGHT. Lesson XIV. REPEATS AND ENDINGS. Repeat. Dots placed across the staff. We frequently find two successive strains, or parts of a tune, alike. In order to save space only one strain is written out, and it is then repeated. This is effected by a certain character called a Repeat. Varieties of a Repeat. We may make use of a repeat in four different ways, viz. : 1. Repeat the preceding part. 2. Repeat the succeeding part. 3. Repeat both parts. 4. Repeat from here. Rhythmics. TEACHER AND STUDENT. Q. What is frequently found in music in regard to certain strains, or parts of a tune, which follow each ' other '? A. They are alike. Q. What is often done in this case '? A. Only one strain is written out. Q. How do we obtain the other ? A. We repeat the one written out. Q. Why is this done? A. To save space. Q. By what is a repeat indicated? A. By dots placed across the staff. Q. In how many different ways can a repeat be used ? A. In four. Q. What are they ? A. 1. Repeat the preceding part; 2. Repeat the succeeding part ; 3. Repeat both the preceding and succeeding parts ; 4. Repeat from here. Illustration of the Four Varieties of Repeats placed on the Staff. 1st, 2d. 3d. 4th. m m The first illustration shows we. are to go back to dots placed across the staff, like the second and fourth examples; or if there are none, to a separate part, such as a change of key, change of time, or to a chorus or double bur. If there are none of these, then repeat from the beginning. Q. In the first example, from where do we repeat? A. From the dots across the staff Q. Suppose there be none? A. Repeat from a separate part, such as change of key, time, chorus, double bar, or from t^ie begin- ning. ELEMENTAR Y HEP A R TMENT. 49 The second illustration signifies, repeat the part which follows the dots to the end of that part or strain, or to the close. This limit is usually indi- cated by the first illustration. Th*e third illustration signifies, repeat both the preceding and succeeding parts. Be guided by the same rule as in the first and second examples. The fourth example simply means, repeat from here. It may be used in connection with any of the other three. Ending. When a part is repeated there may be a few notes SB the closing of the last, or repeated, strain different from the first ; these are called first ending fin the first strain) and second ending (the close of the repeated strain). The first time in using the strain which is repeated, omit the second ending, and in repeating, omit the first ending and pass immediately to the second. Endings are usually indicated by brackets in con- nection with the words, " first time." | | " second time." They are also frequently pointed out by using figures I and 2 in connection with a repeat. Note. The first ending is only used once; i. e., the first time passing over the strain. Should it be uecessary to go back to this part after the tuue is passed over, we use only the second ending, unless it forms the chorus. 4 Q. How is the limit in the second illustration in- dicated '? A. Usually by the first example. Q. How far shall we sing if this is not indicated? A. To the end of that part, or strain, or to the close of the piece. Q. In the third illustration, requiring us to repeat both the preceding and succeeding parts, what rule shall we follow ? A. The same as is required in the first and second. Q. What does the fourth example mean ? A. Repeat from here. Q. What does it indicate '? A. It indicates by its dots from what place we are to repeat. Q. May this repeat be used in connection with any of the others ? A. Yes; with all of them. Q. When there is a change of a few notes in the closing of a repeated strain, how will it be indi- cated '? A. By a first and second ending. Q. What is necessary in using the strain the first time ? A. Omit the second ending. Q. What shall we do in the repeat ? A. Omit the first ending and pass immediately to the second. Q. How are endings indicated ? A. By brackets in connection with the words. •• first time " and " second time." 50 MUSIC AT SIGHT. I Illustrations showing the different Forms of Endings. | Q- Are endings ever pointed out in any other way'; A. "i es ; by simply using figures 1 and 2 in con- nection with a repeat. Q. Can the first ending be used oftener than the first time? A. No. Q. If after passing over a tune we are required to close with the repeated strain, do we not use the first Int. time. Si/ Huh. A. No ; unless the repeated strain forms the chorus. (See Practical Department, Lesson XIV. ) Lesson XV.- ^— ^ m ~ m -I — 1 — Only the first note of a tie is sounded, and it is held to the value, or duration, of all connected; they really represent only one sound. Usually the exact value of the notes connected by a tie could not be represented in a single note, nor in any other way, hence we must use the tie. If any two notes, equal in value, become a tie, it will be noticed that in one or more of the stanzas there are two syllables, or words, to be used to the same, and in others on regarded in the forme Miscellaneous. THE TIE. TEACHER AND STUDENT. When a short curve connects two or more notes Q. When a short curve connects two or more on the same degree of the staff, or added degrees, ! notes on the same degree, what are they said to be ? they are said to be a tie, meaning one. A. A tie. Q. What is the meaning of a tie? -1. One. Q. In singing the notes of a tie what is required ? A. The first note only is sounded and held to the duration of all connected. Q. What does a tie really represent? A. One pitch. Q. If a tie is really one, why not write it in one note? A. The value of a tie could not usually be repre- sented by one note. (}. What will be noticed when two notes equal in value are a tie? A. In one or more of the stanzas there would be one. The tie must be dis- two syllables, or words, apportioned to the same, instance, and observed in and in others only one. ELEMEXTAR Y DEPA R TMEXT. 51 the latter. Again, notes of equal value in two dif- Q. Do not notes in two different measures some- ferent measures may become a tie; these could not times form a tie that one note could represent? be represented by a single note, as they are placed A. No; being placed in two measures, one note in different measures. | could not represent them. Example of different Forms of a Tie. I ! I N 1 II: 1 E :.^=z w— S * *- - = In either of the above examples all the notes con- nected are one sound prolonged to the value, or duration, shown by the notes. Pause. dot. A short curve placed under or above a T\ \& This sign means to prolong, hold or dwell beyond the time or duration indicated by the note, or rest, over or under which it is placed. The duration of a pause is not definite ; we pro- long sufficient to give suitable emphasis to the cer- tain passage or sentence. There is generally a dif- ferent expression, or shading, to the succeeding sentence. When a pause is placed over or under a rest, we must prolong the silence. Sometimes a pause is placed over or under a dou- ble bar. It represents the place for the end. It is often employed in Da Qtpo, and in Dal Segno, to de- note the ending. Q. What must be done where two syllables belong to a tie? A. The tie is disregarded. Q. Are all the notes connected, in the above exam- ples, really only one sound prolonged to the value shown by them? A. They are one sound. Q. When a short curve is placed over or under a dot, what is it called? A. A pause. Q. What does a pause indicate ? A. To hold, dwell or prolong beyond the time indicated. Q. When placed over or under a note, what shall we prolong? A. The tone. Q. When placed over or under a rest ? A. We prolong the silence. Q. Is there any definite duration ? A. So definite time is indicated. Q. How long then must we dwell, or what must be observed ? A. To prolong sufficient to give suitable expres- sion or emphasis. Q. What does a pause placed over a double bar indicate? A. The end — the place for the ending. 52 MUSIC AT SIGHT. Pause over a Note, Rest and Double Bap. li vE* -i- ag^ " Unto Him the dominion and glory be given." Should a pause stand over a certain note in one part of the harmony (say a dotted half note) and another part have two or more notes equal to its value, let that part prolong on the last note. A pause over a single bar means simply a short suspension — breathing time. Da Capo. Beginning. From the beginning. For convenience, or if there be not sufficient space to finish the tune, and the ending strain is like the first part of the tune, we may continue from the beginning and close at a place indicated. This is indicated by the letters D. C, standing for Da Capo, which means from the beginning. The continuation is from the beginning of the tune, so never look for the same at any other part ; it means from the beginning. Note. Some compositions have a prelude, or introduc- tion ; that, of course, would not be the proper beginning. D. C. Dal Segno. From the sign, :g.\ If the part needed to finish with be at some other Q. May a pause stand over or under a certain note in one part of the harmony, and the others have two or more notes equal to it in value? A. Yes; in this case the last note only will be prolonged ? Q. If a pause is placed over a single bar, what shall be observed ? A. Short suspension — breathing time. Q. If a closing part of a tune be the same as its first, what is sometimes done for convenience? A. Go to the beginning and end with the first part. What letters have we to indicate this ? The letters D. C. What do they mean ? Da Capo. What is meant by Da Capo ? A. From the beginning. Q. Does it mean to go to the beginning of the tune and continue to a closing part ? A. Yes; this is the closing part of the music. Q. Do we ever find the continuation of D. C. any- where else than the beginning? A. Never. Q. If a composition has some other part than the beginning suitable for its closing strain, what letters tell us where to go ? A. D. S. Q. What do the letters D. S. mean? A. Dal Segno. Q. What is the meaning of Dal Segno ? A. From the sign, :$:. A. Q. A. 0. ELEMESTAK Y DEPARTMENT. 53 portion of the tune than the beginning, we indicate the place from which to continue by a sign, thus: :$.•. Attention to this sign is called by the letters D. S., meaning Da! Segno, or from the sign igo to the sign to continue). This sign may be placed in any part of the tune, and the tune usually ends with that part. Sometimes the term D. C. ut Segno is used ; it simply means, from the beginning where the sign (:&•) is. :g: D. S. Fine (pronounced Feenay) means the end, finish or close. The tune ends here after either a repeat, D. C. or D. S. Fine. - Coda. Added ending; for the last time only. Certain pieces of music have more than one clos- ing part ; all but the last verse may close with one particular part, but the last verse has a special, or an added, ending. This is indicated by the term Coda, a closing part for the last time. Coda. Syncopation. To syncopate; to change the accent; to accent an unaccented part of a measure. Q. Does this mean to continue from the sign, no matter where it may be placed '? A. It means from the sign, no matter where it may be placed. Q. What is the meaning of D. C. ut Segno 1 ! A. About the same as D. iS'. ; it says from the be- ginning where the sign is. Q. What is meant by the term Fine ? A. It means the end, finish or close. Q. Would the tune proper end here '? A. Yes. Q. Are there any pieces of music that ever have more than one ending or closing part ? A. Yes; a tune may have an added ending. Q. How is an added ending applied ? A. It would form a closing part for the last verse only. Q. What term is used to name this added end- ing'? A. Coda. Q. Can a coda be used for any other time than the last ? A. Never for any but the last ending. Q. What is meant by syncopation ? A. To change the accent. Q. What is meant by changing the accent '? A. To accent an unaccented part of a measure. Q. Why is this done '? A. Sometimes it is required to preserve the em- phasis of the words. Q. Must the emphasis always be preserved '? A. Whenever it is possible. 54 MUSIC AT SIGHT. A measure in triple time, y, may have an eighth note, a dotted quarter and a quarter note. Here we would accent the eighth note and pass it to the dotted quarter, or to the second beat note. The value of the eighth note is only one-half the dura- tion of the first or accented beat, and hence the ac- cent passes on to the second note, which being a dotted quarter, carries the accent to the second beat. Should a certain word require the emphasis on a syllable which would fall to the unaccented part of a measure, we must accent that part as re- quired by such emphasis whether the music [daces its accent there or not. It is a gross fault for an author of words not to equalize the measurement of his metre so as to have the emphasis alike in all the stanzas. The writer has made it a rule not to use such productions, as he is not inclined to sacrifice his musical accent unless absolutely required. Sometimes syncopation is very necessary ; see the following examples — good, faulty and bad. Q. Must the accent in music be sacrificed in order to preserve the emphasis of the words ? A. At times it may be unavoidable. Q. Is it not generally a gross fault for an author of words to write his stanzas unequal in measure- ment ? A. It is. Q. Is syncopation sometimes very acceptable ? A. It often gives a very beautiful expression. Q. What should be avoided in syncopation ? A. The faulty and the very bad. Q. Would a writer of music be justified in reject- ing stanzas from an author where violent sacrifice of musical accent is required ? A. He should not touch them unless he first had the fault corrected. Q. Are there not very precious hymns in which some of the words absolutely require that the musi- cal accent be sacrificed ? A. Yes; but in such cases the merit of the words is sufficient to justify a change of accent, and make l syncopation very acceptable. Good. mm £-£ Faulty. Bad. 1 3 #=! So all en - dear-ing, lu the, etc. Je - sns, we, etc. De- pencl-ing, etc. (See Practical Department, Lesson XV.) ELEMENT A R Y DEPARTMENT. 00 Lesson XVI SIGNATURES— Sharps, Flats and Naturals. Sharp ($). A character which raises the pitch of the degree on which it is placed a half step. A Double Sharp fx) raises the degree a step in pitch. Flat (?). A character which lowers the pitch of the degree on which it is placed a half step. A Double Flat (PP) lowers the degree a step in pitch. Natural (£]). A character which restores a degree to its natural pitch ; i. e. } removes, or cancels, the effect of any of the above characters. Note. A natural does uot lower or raise the pitch of any degree directly, only in so far as the character affect- ing the degree is removed. A natural will cancel a double flat or double sharp just as if it were simply a single flat or sharp. Signature. Sharps, flats and naturals placed on fixed degrees at the beginning of a staff immediately following the clef. Signature indicates the key in which a piece of music is written. The key of any piece of music may be changed from the original by placing a new signature next to a double bar during the continu- ance of the start". , — Melodies. TEACHER AND STUDENT. Q. What effect has a sharp when placed upon a degree of the staff? A. It raises the pitch of that degree a half step. • Q. What is the effect of a double sharp when placed on any degree ? A. It raises the same natural degree in pitch a step. Q. What effect has a flat on the degree of the staff on which it is placed ? A . It lowers or flattens the pitch of that degree a half step. Q. What is the effect of a double flat? A. It lowers the natural pitch of the degree a step. Q. How is a degree of the staff affected by a natural ? A. A natural cancels, or removes, the effect of a flat, sharp, double flat or double sharp. Q. Does a natural then really restore a degree to its natural pitch ? A. Yes. Q. What are sharps and flats, when fixed on cer- tain degrees at the beginning of a staff immediately after the clef, called ? A. Signatures. Q. Can the key of a piece of music be changed from the original during its course 7 A. Yes; a new signature can be introduced and the key changed. Q. How shall this new signature be placed ? A. Next to a double bar. 56 MUSK' AT SIGHT. Consideration of Signatures, their Position, etc. Signatures are not considered according to the num- ber of characters, i. p., sharps or Hats, but according to the new pitches produced by them upon the de- grees of the staff. We may place a sharp upon the fifth line of the staff in the treble clef, and also on the first space, yet we have only one new pitch, FJf, just as though we had but one sharp. The sharp removes pitch F and in its stead we have F#. It is not material whether the character is on the fifth line or on the first space, both being pitch F, but usage has fixed the position on the fifth line and we follow the same order. F Sharp Signatures. Effect of Signatures on the Degrees of the Staff. Signatures, when placed upon the degrees ot the staff, affect the pitches of the letters naming those degrees wherever they may be found, either on the staff or on the added degrees. Pitch Name of the Signature. In the above example, pitch F, the fifth line and also the first space is sharp by the signature. In naming the new pitch we retain the letter and add the effect produced upon this same pitch; hence we sav, Fff- Q. Must every staff have the signature placed at its beginning ? A. Yes; every staff must show the key in which the music is written. Q. What constitutes signatures, the number of flats and sharps or the new pitches produced by them ? A. The new pitches. Q. Upon how many pitches may the key-note be placed ? A. Either of the seven. Q. How do signatures change our key? A. Their effect upon the degrees of the staff is to change the order of intervals of the natural scale. Q. What effect has the signature of one sharp on the fifth line of the treble clef? A. It raises it in pitch a half step. Q. Does it affect any other degree ? A. Yes; the first space. Q. Why the first space ? A. Because it is the same pitch as the fifth line. Q. Does a signature then affect the pitches upon which it is placed wherever found? A. Yes. Q. Would it make any difference were the signa- ture of one sharp placed on the first space as well as the fifth line, or in its stead ? A. No. Q. Why do we place it on the fifth line ? A. Because usage has fixed it there. Q. What is the pitch name of the signature? - A. F+f. [See Practical Department, Lesson XVI.) ELEMENT, t R Y DEPA R TMENT. Lesson XVII.— Melodies. TRANSPOSITION BY SHARPS AND FLATS. Transposition. Moving or changing to another key. Signatures Placed on the Staff. When sharps, flats and naturals become signatures they take a fixed position upon certain degrees of the staff* and cannot be placed on any others, nor can their order of succession be changed. Position of the Half Steps. It has been noticed that the half steps must come between tones three and four and seven and one in the diatonic scale. This will fit the half steps of our scale to the half steps of the staff, between E and F and B and C, in our natural key. Now, if a sharp ($) be placed up- on degree, or pitch, F, the effect of which will be to raise that degree or pitch a half step, we will have a whole step between E and Fjf. This will disarrange our diatonic scale, leaving a whole step between three and four and but a half step between four and five. We must, therefore, find a new resting-place for our key-note, so as to retain the half steps in their proper position?. ' New Position of the Key-note. The quickest way to detect the new position of our key-note is that the pitch, or letter, upon which the last, or right hand, sharp has been placed represents tone seven of our new scale, and the next degree above, therefore, will TEACHER AND STUDENT. Q. What is transposition ? A. Moving or changing from one key to another. Q. When sharps, flats and naturals take certain fixed positions on the staff, what do they become? A. Signatures. Q. Could not signatures be placed upon amy de- gree of the staff? A. No; they have their fixed position and cannot be changed. Q. Must the half steps come between tones three and four and seven and one in the new key, as in the model scale ? A. They cannot be placed between any other tones of the scale. Q. If a sharp be placed on pitch F, making it F£, what kind of an interval will result between E and F#. A. A step. Q. Would this disarrange our model scale? A. Yes; it would put an interval of a step between three and four and a half step between four and five. Q. What then must we do in order to preserve the interval of a half step between tones three and four? A. We must find a new position for our key-note. Q. What is our best guide to instantly detect the new position of our key-note in transposition by sharps ? A. The last or right hand sharp becomes tone seven of the new scale. 58 MUSIC AT SIGHT. represent tone one. or onr key-note. In flats, the last one placed upon the staff shows tone four of the new scale, and when two or more flats constitute the signature, the one next to the last shows the key- note. In the example given below the last sharp repre- sents tone seven of the new scale, and tone one, or Do, is on the next degree above the pitch or our key-note. Q. Is there any other guide? A. The degree above the last sharp becomes the pitch of the key-note. Q. What is our guide in transposition by flats'? A. The last flat is always tone four of the new scale. Q. What is our guide when two or more flats com- prise the signature? A. The flat preceding the last one shows the de- gree which represents the pitch of the key-note. Example Showing the Quickest Way to Detect the New Position of the Key-note in both Clefs. r b — ^zx^:^i=z=M-f^§-^z^=i-f^^z - stress ,_ # -c=£tfcz^i=J The last flat shows tone four of the new scale, and Q. In the example, which tone of the new scale is counting up or down to one, we find our key-note , found on the degree showing the signature of one placed on that degree. I sharp? A. Tone seven. Q. Where is the key-note ? Again, in two or more flats, the one preceding the j J. The next degree above, or countdown to de- last shows tone one, or Do. , o-ree one. Q. Which tone of the new scale is shown bv the that tone one shows j , . ■ ,, , . • , , , ., fl • _i.„_jo j degree on which the last or right hand flat is placed.' Note. The student will remember the key-note ; hence we count the syllable Do from that position. The same rule will hold good in all the different keys: also the letter or the pitch naming the key shows the key-note. Order of Signatures. Sharps assume the position of pitch lour of the preceding key, and the key-note is placed one degree above it. A. Tone four. Q. Are the terms, tone one. Do ami key-note applied to the same tone? A. They are, in the diatonic scale. Q. What is the order of signatures by sharps? A . They assume the position of pitch four of the preceding key. EL EMEN T. [RY D KP. I R TMENT. 59 Flats assume the position of pitch seven of the preceding key, and the key-note is placed four de- grees below it. Q. Where is the key-note placed ? A. On the degree above. Q. What is the order of signatures by flats ? A. Thev assume the position of pitch seven of the Note. The student is urged to examine the pitches of ' L these examples to ascertain whether the half steps in preceding key. either change of scale are still to be found between three and four and seven and one. Q. Where do we find the key-note ? A. Four degrees below. Examples Showing the Order of Signatures in Transposition by Sharps and Flats. =t -»— *-»■ ^0^*- -|- -&5 : >1 i=*= afcfc -v nnyi Absolute Pitch. It will be noticed that the letters Q. Are the half steps in the examples found he- of the staff do not change, but the scale is simply re- tween tones three and four and seven and one? moved to that pitch, which was tone five of the pre- A. The half steps cannot be changed, vious scale by sharps, and tone four of the preceding Q. What has been moved to a new position upon scale bv flats. the staff. A, The scale. #=|=r- == prl |gpp-T^=^I S^^ggrjprf ^ g H~ 5— -g-*-i-« — •- r Pf^SE ^^ggB^^I^gfe^ (See Practical Department, Lesson XVII.) eo MUSIC AT SIGHT. Lesson XVIII.— Melodies. TRANSPOSITION, KEYS AND SIGNATURES. By Sharps. '- — f-FEfi — -^«— r ep ' ^ f <^> - — ^^— -rgy *-+ — fm — *— r >±— a — h Key of G. [ - - W I Guide.— G I •2= cat J Fit D — own A— nd E— at TEACHER AND STUDENT. B — reakfast F#— irst. Q. What is the signature of the key of G? .4. One sharp. Q. The key of D ? A. Two .sharps. Q. Key of A ? ^1. Three sharps. Q. Key of E ? vi. Four sharps. Q. Key of B? A. Five sharps. Q. Key of F£? .1. Six sharps. o. Why F#? J. Because the pitch F is sharp. Q. Which pitch is made sharp by the signature oue sharp, key of G ? A. F. Q. Which pitches are affected by the signature two sharps, kev of D '? A. FandC. Q.. Three sharps, kev of A? A. F, C and G. Q. Four sharps, key of E ? A. F, C, G and D. ' Q. Five sharps, kev of B '? A. F, C, G, D and A. Q. Six sharps, keyofFJf? A. F, C, G, D, A and E. ELEMENTARY DEPARTMEST. 61 Q. The signature of one sharp places the key-note, Q. Four sharps ? or Do, on which degree of the staff in the treble clef? A. First line and fourth space. A. On the second line. Q. Five sharps'? A. Third line. Q. Two sharps ? Q. Six sharps ? A. Fourth line. A. First space and fifth line. Q. Three sharps ? Q. What guide have we by sharps ? A. Second space. A. Go Down And Eat Breakfast FJfirst. By Flats. piUg Ab fei^Bia^a^ M tB» fc < u4qis^ p aaa^ ^ Guide. — F — our Bp — oys Ep— at Ap— pple Dp — umplings G^ — reedily. Q. What is the signature of the key of F ? A. One flat. Q. The key of BW ? A. Two flats. ' Q. Key of Efcy ? A. Three flats. Q. Key of A? ? A. Four flats. Q. Key of Db ? A. Five flats. Q. Key of G(? ? J. Six flats. Q. Which pitch is affected by the signature one flat, key of F ? A. B. Q. Two flats ? A. B and E. Q. Three flats ? A. B, E and A. Q. Four flats ? A. B, E, A and D. Q. Five flats ? A. B, E, A, D and G. Q. Six flats ? A. B, E, A, D, G 'and C. Q. What guide have we by flats ? A. Four- Boys Eat Apple Dumplings Greedily. 62 MUSIC AT SIGHT. Transposed Scale. Below is given an illustration of the effect of the keys and signatures on the degrees of the staff and added degrees, indicating the new pitches introduced, the change of key, etc. The tone ladder with its pitch and scale names placed ou the staff in both the treble and bass clefs is also shown. Observe that when a signature is placed upon a degree of the staff, the pitch of that degree, as indicated by the tone ladder, is raised or lowered a half step according to the signature, whether fiat or sharp. Note. The only pitch remaining natural in transposition bysharps is B. and in transposition by flats. F. while B is the first pitch affected in transposition by flats ( i. e., the signature is placed upon it), and F in transposition by sharps. (See Practical Department, Lesson XVIII.) ELEMESTAR Y DEPARTMENT. 63 Lesson XIX.— Melodies. INTERVALS OF THE DIATONIC SCALE. Interval. The difference in pitch between any two tones of the scale ; i. e., the distance, so to say, from any one tone to any other is an interval. Intervals are reckoned upward unless otherwise specified. Unison. Two tones of the same pitch are said to be in unison. Seconds. The interval from any one tone to its next higher one is called a Second. Thirds. The interval from any one tone to its next third higher is called a Third. Fourths. The interval from any one tone to its next fourth higher is called a Fourth. Fifths. The interval from any one tone to its next fifth higher is Called a Fifth. Sixths. The interval from any one tone to its next sixth higher is called a Sixth. Sevenths. The interval from any one tone to its next seventh higher is called a Seventh. Note. Intervals cannot be counted from any higher tone downward, else they would be inverted. Seconds would become sevenths — i. e , Do to Si, — thirds would be- come sixths, etc. ; also minors would become majors and majors miuors. TEACHER AND STUDENT. Q. What is the difference in pitch betw een any upward, rise spec- two tones of the scale called '? A. An interval. Q. How are intervals reckoned, counting- downward, or both ? A. Intervals reckon upward unless otherwi: ified. Q. Of what does unison consist? A. The same pitch. Q. What is a Second ? A, The interval from any one tone to its next higher. Q. What is a Third ? A. The interval from any one tone to its next third higher. Q. What is a Fourth '? A. The interval from any one tone to its next fourth higher. Q. What is a Fifth ? A. The interval from any one tone to its next fifth higher. Q. What is a Sixth ? A. The interval from any one tone to its next sixth higher. Q. What is a Seventh ? A. The interval from any one tone to its next seventh higher. 64 MUSIC AT SIGHT. Eighth or Octave. The interval from any one tone to its next eighth higher is called an Octave. Major Intervals. It will be noticed that these dif- ferent intervals are not all alike ; i. e., the difference in pitch is greater between some than between others of the same kind. The larger are called Major In- tervals. Minor Intervals. Intervals where the difference in pitch is less than the major are called Minor Intervals. Q. What is an Octave ? .1. The interval from any one tone to its next octave higher. Q. Are these intervals of seconds, thirds, etc., all alike, or are some larger and others smaller? A. Some are larger, others smaller. Q. What are the larger ones called ? A. Major intervals. Q. What the smaller ? A. Minor intervals. Major and Minor Intervals of the Diatonic Scale. Minor Second. A second consisting of a half step (Mi to Fa) is called a Minor Second. Major Second. A second consisting of one step, (Do to Re) is called a Major Second. Minor Third. A third consisting of one step and a half step (Re to Fa) is called a Minor Third. Major Third. A third consisting of two steps (Do to Mi) is called a Major Third. Perfect Fourth. A fourth consisting of two steps and one half step (Do to Fa) is called a Perfect Fourth. Sharp Fourth. A fourth consisting of three steps (Sol to Si) is called a Sharp Fourth. Flat Fifth. A Fifth consisting of two steps and two half steps (Si to Fa) is called a Flat Fifth. Perfect Fifth. A fifth consisting of three steps-and one half step (Do to Sol) is called a Perfect Fifth. Q. Of what does a minor second consist? A. A minor second, i. e.. Mi to Fa, etc., consists of a half step. Q. Of what does a major second consist? A. One step. Q. Of what does a minor third consist ? A. One step and a half step. Q. Of what does a major third consist ? A . Two steps. Q. Of what does a perfect fourth consist ? A. A perfect fourth consists of two steps and a half step. Q. Of what does a sharp fourth consist? A. Three steps. Q. Of what does a flat fifth consist ? A. Two steps and two half steps. Q. Of what does a perfect fifth consist? A. Three steps and one half step. EL EM EX TARY I) EP. 1 R TMEXT. Go Minor Sixth. A sixth consisting of three steps and two half steps (Mi to Do) is called a Minor Sixth. Major Sixth. A sixth consisting of four steps and one half step (Do to La) is called a Major Sixth. Flat Seventh. A seventh consisting of four steps and two half steps I Re to Do) is called a Flat Sev- enth. Sharp Seventh. A seventh consisting of five steps and one half step (Do to Si I is called a Sharp Sev- enth. Octaves are all alike. They consist of five steps and two half steps. There are other intervals, but as they are not gen- erally studied unless the science of harmony is the subject of study, when special books are needed, they are here omitted, simply stating that nearly all of the above may be diminished or augmented. Q. Of what does a minor sixth consist"? ,-1. Three steps and two half steps. Q. Of what does a major sixth consist ? A. Four steps and one half step. Q. Of what does a flat seventh consist? .1. Four steps and two half steps. Q. Of what does a sharp seventh consist? A. Five steps and one half step. Q. Of what do octaves consist ? A. Five steps and two half steps. Q. Are octaves all alike? A. There is no difference. Q. Are there any other kind of intervals than the above? A. There are others, but they belong to another study and are here omitted. Q. Can any of the above be lessened or enlarged? A. Ye^s ; nearly all of them. (See Practical Department. Lesson XIX.) Lesson XX.— Melodies. INTERMEDIATE TONES AND ACCIDENTALS. TEACHER AND STUDENT. Intermediate Tones. Between any tones of the Q. What may be formed between two tones where diatonic scale, where the interval is a step, a new the interval is a step ? A. An intermediate tone, tone, called intermediate, or intervening, may be Q. How can intermediate tones be formed ? formed. This is done by the use of sharps (#), flats A. By the use of sharps, flats and naturals. (?.) and naturals iji. Also, in rare instances, inter- Q. If a degree be already sharp by the signature, mediate tones may be produced by the use of a dou- 1 what is the effect of a double sharp upon it ? ble sharp (x), and again by a double flat (!??), when : A. The pitch of that degree is a half step higher. 66 MUSIC AT SIGHT. the effect would be to raise or lower the pitch a half step more than the signature. Number of Intermediate Tones in the Diatonic Scale. As there are rive intervals of a step each in the diatonic scale, and if between each of these it be possible to produce an intermediate tone, we may have five intermediate tones between the tones of our diatonic scale. Accidentals. These sharps, flats and naturals, when thus forming intermediate tones, are called ac- cidentals. Accidentals have no connection with, nor do they belong to, the signature. Neither do the tones pro- duced by them belong to the tone family of the key in which they occur; they are simply temporary oc- cupants introduced for certain effects. Effect of Accidentals. The effect of accidentals con- tinues throughout the measure in which they occur, and should the pitch of the same degree (intermediate tone) pass to the following measure uninterrupted, it will affect it just as though the accidental were placed in the measure. Thus it is possible for the effect of an accidental to continue through several measures. Note. There must be no change of pitch to intervene between these pitches on the same degree, nor can a rest intervene between the measures; otherwise the accidental is cancelled by the following bar. Q. What is the effect of a double flat upon a de- gree already flat by signature '? A. The pitch of that degree would be a half step lower. Q. Do double sharps and double flats then simply affect the natural pitches of a degree, and pay no re- gard to the signature ? A. Xo signature is affected. Q. Do sharps and flats ever have the effect of rais- ing or lowering the pitch of a degree already affected by a signature? .-1. Xever. Q. How does a natural produce an intermediate tone? A. By removing the effect of the signature. Q. How many intermediate tones can be formed between the tones of the diatonic scale ? A. Five. Q. Why five ? A. Because there are five intervals of a step each in the scale. Q. What are these sharps, flats and naturals called when forming intermediate tones? A. Accidentals. Q. Do accidentals belong to the tone family of the key in which they occur? A. They do not. Q. Why then are they introduced ? A. To produce certain effects. Q. How far does the effect of accidentals continue? A. Generally throughout the measure in which they occur. Q. Does their effect ever continue beyond the bar? A. Yes. Q. When'? A. When the pitch of the degree continues unin- terrupted to the next measure. ELEMENTARY DEPARTMENT. s* i=s- Accidental Sharp =fft 2. q — I — T =*=$t Sli^ Effect of the Accidental Sharp passing to next Measure. 53 £=S=Jifl*=*=fcE*=i »— * ~* SEi i. ^=t ^ ^ Accidental Flat. (See Practical Department, Lesson XX.) Lesson XXI.— Melodies. CHROMATIC INTERVALS. Chromatic Intervals. Intervals produced by the use of accidentals. It would duplicate our signature too frequently to introduce it every time a tone of its family is wanted. We leave the signature unchanged and simply use one or more of the pitches required. This produces chromatic intervals. Note. We also have half steps in the diatonic scale, hut they are diatonic intervals, because they occur in the regular tone succession of the diatonic scale. TEACHER AND STUDENT. Q. What kind of intervals are produced by the use of accidentals ? A. Chromatic intervals. Q. Why are chromatic intervals used ? A. To avoid the too frequent use of signatures. Q. How many chromatic intervals may be pro- duced by accidentals '? A. Five. Q. Why are they not called diatonic intervals? A. They do not belong to the diatonic scale. 68 MUSIC AT SIGHT. The names which we apply to these tones, when either sharp or flat, are the regular scale names of the diatonic scale, and to these we simply add sharp or flat. Sharp One. When the first tone of a scale is sharp we call the scale name sharp one ; the syllable is Dee. Sharp Two. When the second tone is sharp the scale name is sharp two; the syllable is Ree. Sharp Four. The fourth tone sharp is sharp four; the syllable is Fee. Sharp Five. The fifth tone sharp is called sharp five ; the syllable is See. Sharp Six. The sixth tone sharp is called sharp six; the syllable. Lee. Note. We cannot make the third tone sharp, neither tone seven, as there is lint an interval of a half step be- tween these tones and the next higher one. Flat Seven. When the seventh tone of a scale is flat it is called flat seven ; the syllable is Say. Flat Six. When the sixth tone is flat the scale name is flat six ; the syllable is Lay. Flat Five. The fifth tone flat is called flat five; the syllable is Say. Flat Three. The third tone flat iscalled flatthree; the syllable is May. Flat Two. When the second tone is flat the scale name is flat two; the syllable is Ray. Note. We cannot make tone four, nor tone one, flat. Q. What is the scale name of tone one, sharp ? A. Sharp one. Q. What syllable ? A. Dee. Q. Tone two, sharp ? A. Sharp two. Q. Syllable? A. Ree. Q. Tone four, sharp ? A. Sharp four. Q. Syllable? A. Fee. Q. Tone five, sharp ? A. Sharp five. Q. Syllable? A. See. Q. Tone six. sharp ? A. Sharp six. Q. Syllable? A. Lee. Q. Can tones three and seven be sharp ? A, No. (?. Why not ? A. Because there, is but a half step between them tnd the next higher tones. Q. What is the scale name of tone seven, flat? A. Flat seven. Q. What is the syllable? A. Say. Q. Tone six, flat? A. Flat six. Q. Syllable? A. Lay. Q. Tone live, flat? A. Flat five. Q. Syllable? A. Say. Q. Tone three, flat? A. Flat three. " Q. Syllable? A. May. Q. Tone two. flat? A. Flat two. Q. Syllable? A. Ray. Q. Can tones one and four be flat ? A. No. EL EMENTA R Y DEPA R Til EXT. 69 Sharp Four and Sharp Five. (The new intervals introduced are Chromatic Interval § 3— r- to^ 4=J zj— * ==q= *=j: I. 4 — n. Fine. I ^=^*= =F =*= it £ Mi Sol Fee Mi Fee Mi La La See See La Si See La Sol Mi Sol Si Si Do Re Si Do Do Exercise in Intermediate Tones. Accidental Sharps. Chromatic Intervals. UlSii!^ fe 1. ±=$=£=S==£ !3cS«=5r^ r n n e -*-&— J-u *■ £££* 2. Fine.\ 1 - I d. a =P= 5 -r- \ \ =^ I- f ^=i=«=S: -n— n— * Exercise in Intermediate Tones. Accidental Flats. Chromatic Intervals. 7^ *.~ffi=^~ 1 1 1 = 1 y r- v 1 — 2. Fine.\ — Hi-H«-in — +1 #F4 -1 f T J- -J-a^- — ~ + ^=*_U_^|J-^ gi - ^ J • ^8 n £>. a ^=? 5 r~ N n V-f — ^=^ _i 1 J ' 1 m ■ r^ i 1 «- jr^* — »H^— ir~ •- Cf: — I" (,See Practical Department, Lesson XXL) 70 MUSIC AT SIGHT. Lesson XXII. Melodies. CHROMATIC SCALE. Chromatic Scale. If we add the intermediate tones in their regular order to the tones of the dia- tonic scale, we form the chromatic scale, which con- sists of thirteen tones, and we find twelve intervals of a half step each. Note. Chromatic means proceeding by half steps (semi- tones). At one time in the early history of music it used to be the custom, whenever an intermediate tone was re- quired, the character denoting the chromatic interval was colored, color being derived from chrome, hence the term chromatic. Chromatic Scale Names. Ascending: — One, sharp one, two, sharp two, three, four, sharp four, five, sharp five, six, sharp six, seven, one. Descending: — One, seven, flat seven, six, flat six, five, flat five, four, three, flat three, two, flat two, one. Chromatic Scale of C. Pitch Names. Ascending :— C, CJ, D, DJf, E, F, F#, G, Gjf, A, AJJ, B, C. Descending :— C, B. Bfc>, A, Ab, G, Gb, F. E, Eb, D, Db. - h. -/s ~ :fc Pitch names. O B Bb A k\f G Gb F E Ep D Db C Scale names. One, Seven, Six, Five, Four, Three, Two, One. Flat Seven, Flat Six, Flat Five, Flat Three, Flat Two, Syllables. Do, Si, Say, La, Lay, Sol, Say, Fa, Mi, May, Be, Ray, Do. Note. The syllables applied to these intermediate tones helping to form the chromatic scale are sometimes written thus: By sharps, Di. Ei, Fi, Si, Li, etc. By flats, Se, Le, Se, Me, Ee, etc. The pronunciation is, however, the same as above. Order of Scale Names. It will be noticed that the scale names of the diatonic scale are retained ; that is, tone one, tone two, etc., of the diatonic scale remain the same name as before ; the intermediate tones are simply added in their regular order when the interval is a step in the diatonic scale. Thus we obtain the twelve intervals of a half step each. Q. What are the pitch names of the chromatic scale of C ascending '? .4. C, CJ, D, Dft E, F, FJ, G, Gfl, A, Aft B, C. Q. What are the pitch names, descending ? A. C, B, Bb, A. Ab, G, Oy, F, E, Ei?, D, Db, C. Q. Are the scale names of the diatonic scale al- ways retained in the chromatic scale? A. They are. Q. Are the intermediate tones in their regular order wherever there is an interval of a step in the diatonic scale '? A. That is the way we obtain the chromatic scale. 72 music AT SIGHT. It would not be correct to name the tones thus: Q. If there are thirteen tones forming the ehro- one, two, three, four, five, six, seven, eight, nine, ten, ; matic scale, do we not name the tones one, two, eleven, twelve, thirteen. Although the tones of the three, four, five, six, seven, eight, nine, ten, eleven, chromatic scale number thirteen, they are not the twelve, thirteen? A. These are not the scale names, scale names. Q. Why are these not the scale names of the tones? A. The chromatic scale is formed out of the tones Scale Limits. There is only one octave of pitches , of the diatonic scale, and hence we do not change within any scale, no matter how many sharps or ' their names. flats may be introduced. Whenever the vibration Q. Is every scale confined to the limits of an octave? of any one tone is exactly doubled by another tone A. No scale can extend beyond the limit of an oc- it is the octave to the same, and every kind of a tave from its key-note. scale is confined within the limits of the octave from Q. Must all its tones be produced within this limit? its first tone, or from its key-note. A. Yes ; all are within the octave. (See Practical Department, Lesson XXII.) Lesson XXII MAJOR AND MINOR. Emotions. The two great emotions of the heart are joy — gladness, cheerfulness — and grief — sadness, plaintiveness. Design. Music is intended to add its charm so as to more particularly express these emotions, hence we have various ways or modes of procedure to apply in order to bring forth these desired expressions. Mode. This is accomplished by a certain in- creasing, equalizing or diminishing the vibration of tones which form the different chords used in pro- ducing the harmony. To this harmony we must ap- ply the various qualities of tone needed to give forth the desired expression. I.— Melodies. TEACHER AND STUDENT. Q. What are the two great emotions of the heart? A. Joy — gladness, cheerfulness — and grief — sad- ness, plaintiveness. Q. What seems to be one of the main designs in music ? A. To add its charms to bring forth or aid to ex- press emotions. Q. How can this be accomplished ? A. By different modes of arranging harmony. Q. What must be applied to this arrangement of harmony ? A. The various qualities of tone needed' to give the desired expression. ELEMENTA R Y DEPARTMEyT. !■■'> Major Mode. The mode suited particularly to the more joyous and cheerful expression is the major (larger, extended). Minor Mode. The mode suited more particularly to the plaintive expression is the minor (smaller, diminished). Minor Scale. Another scale, consisting; also of eight tones, but differing greatly from the diatonic scale (which we will now call the major scale | in its interval progression, and presenting a quite different tone for its key-note, we will call the minor scale. Forms of the Minor Scale. There are three differ- ent forms of the minor scale, each presenting its own peculiar order of interval progression. Natural Minor. Said to be so because it retains all the tones of the diatonic scale, but takes its sixth tone for the key-note ascending and descending, thus: La, Si, Do, Re, Mi, Fa, Sol, La. 12 3 4 5 6 7 8 It will be noticed that here the half step occurs between tones two and three, and between tones five and six. Diatonic Major and Minor Scale. In order still more to distinguish the two scales from each other, we will hereafter call this the Diatonic Minor Scale, and the former one the Diatonic Major Scale. Notice the great difference between the two scales in inter- val progression. Q. Which mode is more particularly adapted to express joy ? A. The major mode. Q. Which is the more plaintive and sympathetic ? A. The minor. Q. What other scale consists of eight tones besides the diatonic '? A. The minor scale. Q. What is the difference between these new scales, if both consist of eight tones? A. They differ in their interval progression. Q. Do they differ in anything else ? A. In their key-note. Q. What will we now call the diatonic scale? A. The major scale. Q. How many forms have we of the minor scale ? A. Three different forms. Q. What is the one form called? A. The natural. Q. Why the natural form ? A. Because it retains all the tones of the diatonic scale. Q. What is its key-note? A. La. Q. Where are the half steps to be found ? A. Between tones two and three and five and six. Q. What is the interval progression ? A. Step, half step, step, step, half step, step, step. Q. What are the syllables ? A. La, Si, Do, Re," Mi, Fa, Sol, La. Q. What other names are applied to the major and minor scales ? A. Diatonic major and minor scales. 74 MUSIC AT SIGHT. Melodic Minor. This form of the minor scale in- troduces both sharp six and sharp seven in its as- cending, while it descends in the natural form. Ascending. — La, Si, Do, Re, Mi, Fee, See, La. 1 2 3 4 5 #6 J7 1 Descending. — La. Sol, Fa, Mi, Re, Do, Si, La. 17 6 5 4 3 2 1 The melodic is sometimes called the irregular form, because with its ascending minor it descends natural. Position of the Half Steps. Observe that in its ascending this scale has the half steps between tones two and three and sharp seven and one, while in its descending the same occur between tones two and three and five and six. Harmonic Minor. This form differs from both of the preceding minor scales by using the sharp seven in its ascending as well as in its descending, omit- ting the tone (syllable Sol) altogether from its tone progression, causing a New Interval of a step and a half step between its tones six and sharp seven. This form of the minor scale seems to be the one most frequently used. It is alike in both its ascending and descending. Minor Seconds. The intervals of a second be- tween tones two and three, five and six. and between sharp seven and one. are minor seconds. Q. What other form of the minor scale have we? A. The melodic form. Q. What does the melodic form introduce in its ascending ? A. Both the sharp six and sharp seven. . Q. How does it descend? A. In its natural form. Q. What is this form sometimes called ? A. The irregular form. Q. Why the irregular ? A. Because with its ascending minor it descends natural. Q. Where do we find the half steps in ascending? A. Between two and three and seven and one. Q. How in descending? A. The same as by the natural form. Q. What are the syllables ascending? A. La, Si, Do, Re, Mi, Fee, See, La. Q. Descending? A. La, Sol, Fa, Mi, Re, Do, Si, La. Q. Is La always the key-note in the minor scale? A. La is the key-note. Q. Which is the third form of the minor scale ? A. The harmonic. Q. In what does it differ from both of the other forms ? A. It introduces an interval of a second, a step and a half step. Q. Where is this found ? A. Between tones six and sharp seven. Q. How many half steps has this scale? A. Throe half steps. ELEMENTAL Y DEPARTMENT. 75 La, 1 Si, Do, 2'~ S 3 Step. Half Step Step. Re, 4 5 6 57 1 Step. Half Step and Half Step. Half Step. Step. Minor Interval Progression. Observe that the form of the minor scale introduces three intervals of a half step each, one interval of a step and a half step, and only three intervals of a step each. Note. Each one of these different forms of the minor scale has heen designed for combination to bring out par- ticular emotions and certain desired expressions. Mi, Fa, See, La. Q. Where are they found ? A. Between tones two and three, five and six and seven and one. Q. How many steps have we in the harmonic minor '? A. Three steps. Q. What is the interval progression '? A. Step, half step, step, step, half step, step and a half step, and a half step. Q. Will these different forms aid in bringing out certain desired expressions and emotions ? A. For this they were designed. (See Practical Department, Lesson XXIII.) Lesson XXIV.— Melodies. Natural Form. Forms of the Minor Scale. La, Si, Do, Re, Mi, Fa, Sol, La. 1 2 3 4 5 6 7 1 La. Sol, Fa, Mi, Re, Do, Si, La. 17 6 5 4 3 2 1 Melodic Form. Ascending. m --> --W- Descending. — & 71 — La, Si, Do, Re. Mi. Fee, See, La 1 2 3 4 5 S6 V i La, Sol, Fa, Mi, Re, Do, Si, La. 17 6 5 4 3 2 1 76 MUSIC AT SIGHT. Harmonic Form. -TS— & ~4&r- 1; -%*- La. Si. Do. Re, Mi, Fa, See. La. Relative Major and Minor. Every major key has its relative minor, and every minor key its relative ma- jor. The relative minor key is always three degrees lower than its major; or if a major key-note is on any line, the minor key-note is placed a line lower, spaces the same. Again, the key-note for the major is always a line or a space above the one on which the minor belongs. Minor Key-note. The key-note of the minor scale, in either of the three forms, is always La. It is tone sis of the major scale. Major and Minor Thirds. One of the distinguish- ing features between the two modes, major and minor, is the third, which in the major scale is a major third, and in the minor scale a minor third ; that is, the first third in the minor scale — La to Do — is a step and a half step, a minor third. In the major scale — Do to Mi — it is two steps, a major third. Major and Minor Chords. If the third of any major chord be lowered a half step, the same be- comes a minor chord. Should the third of a minor be raised a half step, it becomes a major. La, Si, Do, Re, Mi, Fa, See. La. Q. How much lower is the minor key than its rela- tive major ? A. Three degrees lower. V- How much higher is the major than its rela- tive minor '? A. Three degrees higher. Q. What is the relative minor to the key of C major '? .4. A minor. Q. To G major ? A. E minor. Q. To D major ? A. B minor. V- What is the relative minor to the key of Aj^ major ? A. F minor. Q. What is the relative major to the key of B minor? A. D major. Q. Is the key-note always La in either of the three forms? A. The key-note is La. Q. What kind of a third distinguishes the minor scale? A. A minor third. Q. What kind of a third distinguishes the major scale? A. A major third. Q. How can we form a minor chord out of a major? A. By lowering its third a half step. ELEMENTA R Y DEPARTMENT. 77 Major Key-note. Example of Relative Major and Minor Keys. at Minor Key-note. [See Practical Department, Lesson XXIV.) Lesson XXV.— Melodies. Keys and Signatures of the Minor Scales. s?s = .--»*-*■. ginssi i A E FS cs GS DS £^=z-=RgP i Egg » m& i= mm Guide for Sharps. — The minor key-note is always next below the last sharp. TEACHER AND STUDENT. Q. What is the signature to the key of A minor? A. The signature is natural. Q. What is the signature to the key of E minor ? A. One sharp. Q. Of B minor? A. Two sharps. Q. Of Fjf minor? A. Three sharps. Q. Of CJf minor? A. Four sharps. Q. Of Gft minor? A. Five sharps. Q. What is the signature to the key of DJ minor? A. Six sharps. Q. What is the key-guide for the sharps ? A. The minor key-note is always next below the last sharp. Q. Why do we say Fj£, Cfi, G£ and DJJ minor ? A. Because these pitches are affected by the sig- natures, and are sharp. 78 MUSIC AT SIGHT. Guide for Flats. — The minor key-note is on the space or line above the one where the last flat is placed. Q. What is the signature to the key of D minor? A. The signature is one flat. Q. Of G minor? A. Two flats. Q. Of C minor? A. Three flats. Q. Of F minor? A. Four flats. Q. Of B[> minor? A. Five flats. Q. Of Er> minor? A. Six flats. Q. What is the key-guide for the flats ? A. The minor key-note is on the space or line above the one on which the last flat is placed. ■ Q. May each of these minor scales be in the natu- ral, melodic and harmonic form? A. In all three. Q. Which are the keys of the minor ^cales by sharps ? A. E, B, F#, C'SrGJand D#. Q. By flats ? A. D, G, C, F, Bb and Efr. (See Practical Department, Lesson XXV.) Lesson XXVI FORM OF TONES. If it is true, as stated, that the heart must be in ' sympathy with the subject and the expression and effect desired to be produced, there must be, espe- cially by a company of performers, some certain signs, guides or rules given by which all can be governed in regard to expression. . — Dynamics. TEACHER AND STUDENT. Q. What is the third department called ? A. Dynamics. Q. What is meant by it ? A. Musical expression; /. e., all that which treats of force or power, form, quality, etc., giving life and soul to music. ELEMENTA R Y DEPARTMENT. 79 Mezzo. A tone formed with medium power; the abbreviation is m. Pronounced met-zo. Piano. A tone softer than mezzo; rather a soft tone; abbreviation p. Pronounced pee-ah-no. Pianissimo. A very soft tone; abbreviation pp. Pronounced pee-ah-n is-ri-mo. Forte. Atone louder than mezzo; rather a loud tone; abbreviation/'. Pronounced for-ie. Fortissimo. A very loud tone; abbreviation ff. Pronounced for-fis-si-mo. Mezzo Piano. Medium soft, rnp. Mezzo Forte. Medium loud, mf. Organ Form. Commenced, continued and ended with the same degree of power. It is also called Or- gan Tone, . Crescendo, Cres. Commence soft, increasing to loud. Pronounced ere-shen-do ; sign, -==. Diminuendo. Dim. Commence loud, diminishing to soft. Pronounced dim-in-oo-en-do ; sign, :=-. Swell. L T nion of cres. and dim. -=^=— . Pressure Form. Sudden cres. ; sign, -==, or o. Sforzando. Sudden dim. ; explosive sign, >, or sf. sz. Note. Observe that, under the head of Dynamics, this treatise includes quality of tone and character, i. e., tim- bre, metal, etc., as well as force or power. (See Practical Depart . Movement is the. style or manner of rendering time in a composition. Those in common use. are: Moderato. Moderate. Allegro. Fast. Andante. Slow. Adagio. Very slow. Allegretto. Medium fast. Andantino. Medium slow. Con Spirito. Spirited, or with spirit. Presto. Very quick. Vivace. Brisk, quickly, lively. Ritardo. Slower, or ritard by degrees. A Tempo. Original or previous time. I.— Dynamics. TEACHER AND STUDENT. Q. What is meant by Legato? A. Smooth, connected, gliding style. Q. How shall this sign be used as a tie ? A. It will connect two notes as though one tone. Q. What is the opposite of Legato; that is, in a short, distinct, pointed style? A. Staccato. Q. What is the medium between a legato and stac- cato? A. Semi-staccato. Q. What is said of Portamento? A. A graceful blending of one tone into another. Q. What is Martellato ? A. A distinct, energetic, marking style. Q. What is indicated by movement? A. The style or manner of singing or playing a piece of music. Q. What does Moderato mean ? Allegro ? Q. Q. Andante? Q. Adagio? Q. Allegretto? Q. Andantino ? Q. Con Spirito ? Q. Presto? Q. Vivace. Q. Pvitardo? Q. A Tempo? X Original or previou A. Moderate. Fast, Slow. Very slow. Medium fast. Medium slow. With spirit. Very quick. Lively, brisk. A. Slower, ritard by degrees. time. ELEMENTA R Y DEPARTMENT. 81 Animate Animated, with animation. Grave. A slow and solemn movement. Poco. By degrees, gradually. Recitative. In recitative style. Ritenuto. Detained, held back. Tenuto. Held on, sustained. Q. Grave ? A. A slow and solemn movement. Q. Poco? A. By degrees, gradually. Q. Recitative? A. In recitative style. Q. What is meant by Ritenuto? A. Detained, held back. Q. What does Tenuto signify ? A. To hold on, sustain. {See Practical Department. Lesson XXVII.) Lesson XXVIII EMBELLISHMENTS. Grace Note. A small note preceding any princi- pal note is called a Grace note. Grace notes are not counted in the rhythm. They have no time except what they receive from the succeeding principal note. Grace notes are of two kinds. Grace Note Dividing. The grace note takes one- half the value of the succeeding principal note, and should the latter be dotted it takes two-thirds of its value ; that is, if a half note be dotted, the grace note takes two-thirds of its value, or a half note. Dynamics. TEACHER AND STUDENT. Q. What is the name of a small note preceding any principal note ? A. Grace note. Q. Are these grace notes counted in the rhythm ? A. Their time is not counted. Q. How is their time provided for ? A. It is taken from the succeeding principal note. Q. How much time does a grace note dividing receive ? A. One-half the value of the principal note. Q. What if the principal note be dotted ? A. Then the grace note takes two-thirds its value. M £=± 4-4- 3*3= J "Written. -J—I- tfcf p 3E -4-4- Performed. #— «4-l 4-4- tt=t m 82 MUSIC AT SIGHT. Grace Note Embellishing. Said to be so because the time given to it is so very short, just long enough to be distinguished, or heard, merely anticipating the coming principal tone. This grace note is par- ticularly distinguished by a little stroke through the hook of the note. Its proper performance produces a very pleasing effect. Q. What is the time given to the grace note em- bellishing? A. Very short, just to be heard. Q. By what is this grace note particularly to be distinguished ? A. By a little stroke through the hook of the note. Q. What is this note generally used for ? A. Anticipating the coming principal note. "Written. ~2 *x-/J /J J] l^i Al JJ J] li rd P — k — N — B-i — ' — ti — ' ? K-l — t m- - — m -^- — -^-— Performed. * d—^J — S-rJ 1 *— — * — £ — 2 h N ». '" N N N «. 1 rd P — P* — fc — \ns ri — p — p N-*t 1 — ■ -*— *~J — S ,*— ^~H-*~~» — * J- «* ~i |V4 _^_*_? ^L »—* — ^-j . S-t|- -* » \ Double Grace Notes. These consist of any two' small notes preceding any principal note. They always have the short embellishing sound, giving, so to say, a double anticipation to the coming tone. Q. Of what do double grace notes consist ? A. Two short notes preceding any principal one. Q. What sound do they always have ? . A. The short embellishing. o n i ■— i ■Written. hi ) r3 J i 1 1 Pr r i bp+ — **-?- — 4 — y — i -j^-d — *—•'—* — d— -^ ^-fH 1 ^P| KJL4 . i P^ Performed. I 4 —0-*~r zSzrz - r—r tt JtJL: -&-— I 3~£ p. 5 (See Practical Department, Lesson XXJ'Iff.) ELEMENTARY DEPARTMENT. 83 Lesson XXIX.— Dynamics. EMBELLISHMENTS. Turn. This is formed out of the principal note in connection with the degree both above and below the note. When the turn is placed above, it commences with the degree above the principal note, and if placed below, it commences with the degree below the same. TEACHER AND STUDENT. Q. What is formed out of the principal note In connection with the degree both above and below the note? A. The Turn. Q. When above a note, what degree does it com- mence with ? A. With the degree above. Q. When the turn is placed below ? A. It commences with the degree below the note. ■Written. fcP? 2. I Performed. iEm^pEf, *± m Shake or Trill. Consists of a number of repeti- tions of grace and principal notes in quick succes- sion, beginning with the degree above the principal note. The sign is either W or IT Q. What does a shake or trill consist of? . A. A number of repetitions of grace and principal notes in quick succession. Q. Which degree does it begin with? A. The degree above the principal note. Written. h- ■ ■ M£=± Performed. m -PH £h P #- iH 84 MUSIC AT SIGHT. Appoggiatura. This term includes all of the pre- Q. What does the term Appoggiatura include ? ceding embellishments — grace note, turn, shake or A. All the preceding embellishments— grace notes, trill, — and the following may also be classified with turn, shake or trill, this term, viz: Q. What may also be included in this term ? Portamento. Instantaneous gliding into or an- A. Portamento, ticipating the coming tone; a previous recognition Q. What is meant by portamento? of the coming tone, just sufficient to be clearly dis- A. Instantaneous gliding into or anticipating the tinguished. coming tone. "Written. Performed. i- =£t Addenda. Any number of small notes not in- j Q. To what term do any number of small notes eluded in the rhythm belong to the term Appog- 1 not included in the rhythm belong ? giatura. A. Appoggiatura. "Written. Performed. Appoggiatura. May also be performed. ^•4— ffl-— ;g -p-..g2_,pi ! g :^^-^-^- f - a "p--p-a_pjg".i:_g~,^-^-g""-^-^_|g_ | ^-|^- i *_p_ j -^pffi^3 Written. Performed. Also thus : And thus : ^^ g^^l^-Sp^fg I. See Practical Department, Lesson XXIX.) ELEMESTA R 7 DEPA R TMENT. 85 Lesson XXX. VOCAL DELIVERY. Vocal Delivery is one of the important points for the teacher to dwell on, and to impress upon his pu- pils. Indeed, it is but bringing out the beauties of vocal music to be able to pronounce the vowels cor- rectly, prolonging carefully to the required length indicated. Dwell only upon the vowels. Good Pronunciation in singing should be con- trolled by the same rules as govern correct delivery in speech. Let the pronunciation be distinct, rich and full, and let the heart speak through the lips to give soul to the words and music. Good Enunciation. Consonants should be uttered quickly, distinctly and with great precision; avoid all indistinctness of them in the articulation of the words ; yet there should be no harshness in uttering them. Be careful that you do not join them to the wrong word, like "Snow-shave," for "Snows have," ! " rain-shave," for " rains have poured," " signal-still," for "signals still," "a-notion," for "an ocean," "lasts-till night," for" last still night," "on neither," for " on either," etc. Good Articulation. The distinct and separate sounding of each tone rich and full, and an easy (without straining the voice) manner of delivery. Careful and distinct articulation, pronunciation and enunciation are of the utmost importance. -Dynamics. TEACHER AND STUDENT. Q. What should the teacher particularly try to impress upon his pupils ? A. Vocal delivery. (J. What is the correct and distinct sounding of the vowels (tonic element) called? A. Good pronunciation. Q. By what rules should the pronunciation in singing be controlled ? A. By the same rules that govern correct delivery of speech. Q. Must the voice dwell to the full value of the note required on the vowel sound '.' A. Yes. Q. Can we not in a long tone dwell partly on the consonant ? A. Never. Q. What is the distinct utterance of the conso- nants called ? A. Good enunciation. Q. Should the consonants be sounded, and part of the value of the note be allowed to them ? A. No. Q. JIust they be uttered quickly, distinctly and with great precision ? A. Always. Q. What is the distinct and separate sounding of each tone called ? A. Good articulation. 80 MUSIC AT SIGHT. Sing the following; read it first: " Haste thee, winter, haste away. Far too long has heen thy stay ; Far too long thy winds have roared, Snows have heat and rains have poured : Haste thee, winter, haste away, Far too long has been thy stay." Accent, Emphasis, Pause. The pupil will i Q. What is said of accent, emphasis and pause in regard to singing ? A. The laws to which they are subject in reading should generally be preserved in singing. Q. If poetry is to receive, in addition to its beau- ties, a musical expression, must it not be subject to its laws ? A. Yes; unless they should come in conflict with ber that accent, emphasis and pause are some of the I the laws of elocution, which cannot be permitted. Q. What would be the best course to pursue in that event ? A. Give a liberal interpretation, uniting both speech and song, to enable the singer to grasp the har- beauties of elocution. If the soul of poetry is to be brought forth, with the addition of musical expres- sion, the spirit of the words must be preserved in connection with the laws of music, yet the latter must never be permitted to conflict or set aside the , spirit of both, but always retain the emotional laws of elocution. Let speech and song unite and acter of the poetry. give a liberal interpretation to enable the singer to Q. How will poetry and music be most effectually grasp the spirit of both, making the emotional char- united? acter of the poetry his own, surrender himself to his A. By the performer making the poetry his own, work, and so communicate with the sympathies and pouring forth not the words from his lips only, but emotional feelings of his audience that, enraptured, it speaking from his whole heart, with all the power shall experience a foretaste of the grand song, when and emotion surrendered to song. His audience will all the redeemed shall join in that land where song catch the spirit, and both soar aloft enraptured in a and praise shall be for ever. world of song. (See Practical Department, Lesson XXX.) Lesson XXXI. — Miscellaneous. Appendix. The following terms, in addition to those explained in Lessons XIV. XV, XXVI and XXVII, are often used and will be found convenient for reference. Solo. Alone. Single voice or instrument. Quartet. Four. Four voices, or parts, singly. Duet. Two. Two voices, or two parts, singly. Quintet. Five. Five voices, or parts, singly. Trio. Three. Three voices, or parts, singly. Sextet. Six. Six voices, or parts, singly. EL-EMENTA R Y DEPARTMENT. 87 Septet. Seven. Seven voices, or parts, singly. Octet. Eight. Eight voices, or parts, singly. Soli. Plural of Solo. Two or more principal parts, neither being doubled. Semi-Chorus. A composition executed by more than one to each part. Chorus and Tutti. All together; all the perform- ers joining. Baritone. A voice, or register, in compass between tenor and bass. Air. A leading part, a melody. Primo. The first or leading part. Secondo. A second to a leading part. Obligate A part indispensable. Interlude. An instrumental passage between two parts. Ad Lib. At the pleasure of the performer. Finale. The last piece of any act or programme. Sonata. A composition consisting of several move- ments. Rondo. A composition of several strains, at the end of each of which the first is repeated. Affettuoso. Affectionately, tenderly. Accellerando. Accellerating the movement. Agitato. With agitation. Virtuoso. Proficient. Scherzando. In a light, playful style. Marziale. In martial style. Maestoso. Majestic, dignified, expressive. Falsetto. Tones produced by using the head register. Voce di Testo. Head voice, or register. Tasto Solo. Without chords. Chord. Two or more parts combined. Voce di Petto. Chest voice, or register for it. Chant. A song or melody, the vocal part in reci- tative style. Cadence. A closing part. Prelude. An introduction. Pastorale. A soft and rural movement. Symphony. An orchestral composition of many parts. Theme. A subject. Loco. Just as written, in regard to pitch. Tremolo. Iteration of a note or chord with great rapidity. Metronome. An instrument for indicating the' exact time of a piece of music. Quasi. In the manner or style of. Solfeggio. A vocal exercise. Volti. Turn over. Verse. One performer to each part. Bis. Twice. The same again. Ma. But. Molto. Very. Piu. More. Dolce. Sweetly. Non. Not necessary. Sempre. Always. Rapido. Rapidly. Largo. Very slow. Dur. Major, in speaking of keys and modes. Mol. Minor, in speaking of keys and modes. INTRODUCTION TO PRACTICAL DEPARTMENT. In presenting this Practical Department, the following hints may be noted : To the student who is deprived of the aid of a teacher this work will offer a rare opportunity for self instruction. Follow the directions as though a teacher were present to see that each lesson be faithfully studied, and every exercise thoroughly practiced. To the Singing Class it is needless to say that, in the presentation of these lessons and exercises, there will be found the most delightful study, as well as pleasant recreation, in which the evening can be . passed. For the Public School Room, for which this treatise is especially designed, it is believed that no study could be introduced which would, in so large a measure, add to the happiness of the children as music, nor could any exercises make the school more attractive. The secret of success lies in faithful attention, strict obedience, earnest study and prompt application. Note. 1. For public schools it is understood that, although some of the teachers may not have voices to sing, they have the organ "tune" to distinguish sounds. 2. Whether the class be seated or standing, they must face the teacher, who will require perfect attention. 3. Detect the first tendency to impure voice; correct immediately the habit of forcing or jerking the tones, and sing with perfect ease. 4. The position of the body must be erect, shoulders slightly back, chest front, head raised. The whole position must be natural, nothing strained, neither looking around nor watching one another. 5. See that each tone is sounded separately and distinctly, formed evenly and rounded off nicely ; this, with good pronunciation of the vowels, and good enunciation of the consonants, is of the utmost im- portance. THE AUTHOR.. 88 PRACTICAL DEPARTMENT. Lesson I. Let the teacher (if gifted with a voice to sing) or one of the pupils whose conversational voice is nearest to middle C, make the sound of vowel a, as in father. JIake it again ; if too high, sound it a little lower, or if too low, higher. Ask how many can sound the same. tone. Select those who are correct, and repeat it many times. See how many can join. If sounded correctly by all, or nearly all, sound it again and again, so that the tone may be fixed in their memory. Let some of the tones be sounded louder than others, so as to vary the expression. For a change, let the class be divided into two divisions ; assign to each some of the best singers as leaders ; change the divi- sions and the leaders, and a very delightful recreation will be assured, both pleasing and profitable. Any pleasing succession of tones may be made if the teacher have a blackboard at hand, or by calling out certain numbers and letting the pupils give the pitch. Exercise I. Strict Attention. The teacher counts two times to each section marked off by the perpendicular lines. The students, in a conversational tone, sing the vowel a to each count. Class. I A a I A a I A a I A j A a I A a I A a I A Teacher. |Oue, one, |One, one, [One, one, |One, one, | One, one, | One, one, | One, one, | One, one. Words. Strict at - ten - tion, eve - ry one, To the stud - y now be - gun. The class sings the same exercise over again, using the syllable Do. and also the words, instead of vowel a. Repeat it many times. Divide the class into two divisions, like suggested above, one taking the 90 MUSIC AT SIGHT. teacher's part. Change parts to loud and soft; change the divisions, one taking the other's part. Note that to some of the sounds there are two counts. Emphasize the sound to the capitals ; sing softer to the small letters. Exercise 2. This is the way. Two counts to each section. Some of the counts have two sounds. C/nss. I A a a I A a I A a I A I A A a j A A a I A a I A Teacher. \ One, one, | One, one, | One, one, [One, one, | One, one, 'One, one. j One, one, | One, one. Words. This is the way we must be - gin, Little by little and all join in. Let the class sing the same exercise many times; use vowels, syllables and words. Change parts, etc., like in Exercise 1. In the two preceding exercises we have only one pitch. It is well if the same be thoroughly fixed in the memory. Sound every tone distinctly and in perfect time. Sing again in a joyous, and also in a plaintive, tone. Keep the pitch near to a conversational tone, or to middle C. Exercise 3. Now we "will sing. Teacher count as before, but without having the counts noted down in the exercise. Class sing to syllable Do, vowels, number one and words. Emphasize as before; vary the expression, change parts, etc. Class. [ Do do do j Do do do I Do do Do | Do do I Do do do | Do Do do ] Do | Words. Now we will join in a mer - ry sons, And the words to the mu-sic pro - long: | Do dodo ! Do dodo j Do do | Do | Do do | Do dodo | Do do Do || Glad are we all that we have this chance ; There is hope that we'll soon ad - vauce. After a good practice of the preceding exercises, try and have the class sing a tone in a higher pitch, say tone two, syllable Re. Select one of the pupils to sing tone one, then raise the tone one step higher — tone two. See how many of the pupils can join in singing tone two; try entire class. Sing alternately tone one to the one count, and tone two to the second. Vary in any manner circumstances may suggest. As much as possible bring out all the points in Lesson I. PRACTICAL DEPARTMENT. 91 Lesson II. Exercise 4. Bar, Measure, Double Bar, Close. Bar. Bar. Bar. Double Bar. Bar. Bar. Bar. Close. | Measure. I Measure. | Measure. | Measure. | Measure. | Measure. | Measure. | Measure. Exercise 5. Point out the bars, measures, double bar and close. Exercise 6. Double Measure. Two points or beats to the measure. Accent the down beat. Capi- tals represent the accented beat, small letters the unaccented. | Down, up | Down, up | Down, up | Down, up | Down, up j-Down, up | Down, up | Down, up | Exercise 7. Oome let us sing. Double measure. Accent the first or down beat. Tone one syl- lable Do. and tone two syllable Re. The difference in pitch between tone one and tone two is a step. Tone 2. I Tone 1. | Do do do | Do do | Do do Words. Come let us sing tones one and Tone 2. I Re re re I I Re Tone 1. I [ Do Do do | do Go get your ticket and join the Exercise 8. Down, up, Down. Exercise in two parts. Divide the class into two parts, the first sing the upper line, the second sing the lower. Both beat time. Change parts. Vary the time." Tone 2. I re I Re re Re I Re re re I re Tone 1. | Do | Do do do | j | Do Do do | Do Do Words. Down, up, Down. What a great sur - prise ! Keeping to - geth-er with hand and voice. Tone 2. I „ I Re Re re I Re I Re re re | re Tone 1. | Do I Do Do Do do | Do Do Words, Down, Down. What a sur - prise! Keeping to - geth -er with hand and voice. Re 1 Re re 1 Re re 1 Re Re re 1 Do two ; Two is one step high-er i you know. Re 1 Re re | Do Do do 1 Re re 1 Do ring, Tune your voic-es and learn to sing. * 92 AWSTO AT SfOHT. Exercise 9. Now we'll start off ahead. Round in two parts. Divide the class into two divisions ; start one first. When it reaches the second part, start the second division from the beginning. Two beats to the measure. Sing a number of times, and end by the first division repeating the last part. Part 1. Part 2. Tone 2.1 re I re I re I j re re I re re I re re I 1 1 Tone I. | Do Do ! Do Do | Do Do Do | Do Do [Do Do l| Words. Now we'll start off a-head ; you will come next ; Then we'll re-turu and re - peat all the text. Exercise 10. Here we go. Sing numbers, tone one and tone two. Double measure. Accent the down beat. Tone 2. I 21 I 21 I 21 21 2 1 Tonel. 1 ill | 1 I 1 1 1 | 1 Words. Here we go, to and fro. O'er the ice and through the snow. Exercise II. Let us sing. Double measure. Add tone three, syllable Mi. The difference in pitch between tones two and three is a step. First practice tone three similar to the plan suggested by tones one and two. ToneS. I I Mi I J Mi Tone 2. j re re re Tone 1. | Do | Do do Words. Let us sing tones one, two, three, Re mi Re. Re Re mi Ee do, Dou't you Do see? Exercise 12. On this joyous festal day. Song in double measure. Sing syllables, numbers, vowels and words. Tone 3. I I Mi mi Tone 2. re Tone 1. | Do do | Do Words. On this joy - ous fes - tal Re dav Mi Re re Re Join us re do Tone 3. I Mi mi I Tone 2. I Re Tone 1. do Mi Re do I).. do I Do re Bells are ring - ing, chil - dren sing-ing, Glad -some prais - es here pro Do our grate - ful soug. I Mi Do long PEA CTICAL DEPARTMENT. 93 Exercise 13. Do we sing these notes. Round in two parts. Sing as before and repeat last part. Part 1. | Mi mi Re Tone 3. I Tone 2. Tone 1. I Do do Do do Part 2. Mi mi do Mi Do do Mi mi Words. Do we sing these notes so sprightly? Won't you an - swer, Yes, po - lite- ly? Exercise 14. Come, ye timid ones. Song. Accent the down beat. Sing syllables, numbers, vow- els and words. Tone 3. | Tone 2. Tone 1. Do do Re Mi Re do Mi Mi do Re Words. Come, ye tim - id ones, draw near ; You have naught to dread or Exercise 15. He -who -wears a frown. Round in two parts. Sing vowels and words. Do fear. Part 1. Tone 3. Tone 2. Tone 1. Words. A a He who wears a dark - ened frown, Friendship is Part 2. A a A a A a A Friendship is to hiln un - known Exercise 16. You and I. Numbers. Commence with tone three. Accent. Mark the time. ToneS. I 3 Tone 2. Tone 1. Words. You 2 and 1 I 1 shall be 1 In ed l ! the com pa 1 nv. Exercise 17. Here in this Round -we go. Round in two parts. Sing over many times, and close by first division repeating the last part. Tone 3. Mi Tone 2. Re re * Tone 1. Do Do do Words. Here in this Round we go, Mi Mi Re Ee do do Mi Mi Do Do. 94 MUSIC AT SIGHT. Exercise 18. Triple measure. Three points or beats to the measure. Down, left, up. | Down, left, up, | Down, left, up, | Down, left, up, | D. 1. u. | D. 1. u. I D. I. u. | D. 1. u. | D. 1. u. Exercise 19. Exercise in triple measure. Accent the first or the down beat. Mi mi mi I Tone 3. I Tone 2. Re re re Tone 1. | Do do do Mark time. Down, left, up, D. 1. u., D Re u., D. 1. u. D I Mi mi Re re re re Do do do | Do u., D. 1. u.. D. 1. u., D. 1. u. Exercise 20. Do you know. Song in triple measure. Sing vowels, numbers, syllables and words. Tone 3. I Tone 2. re Tone 1. Do Mi Do Re do Do mi | re j Re re Do do Do Words. Do you know where to go, What notes to find, When these three, Do re mi, are fixed in mind? Exercise 21. Angel guardian. Song in triple measure. Tone 3. | Mi I Mi I mi I Mi I Mi Tone 2. re re Re re re re Tone 1. I do I do | do | Do do | do | Do Words. There is an an -gel who si-leut-lv watches Thy ev - e - rv ac-tion;then do what is right. mi re Re re do Tone 3. | Tone 2. i Re re Tone 1. I do Thee, to at Mi Mi Re re do Mi I Mi mi re re Re re do do Do tend, Thee to de - fend, Watches be - side thee by day and by night. Exercise 22. Come sing this Round with me. Round in triple measure. Part 1. Tone 3. I mi mi I Tone 2. 1 Tone 1. Do Do mi mi I Mi mi do Mi Part 2. Mi Mi do do do do Do do Do Words. Come sing this Bound with me. Now you be - gin. I must go back a-gain where we start in. PRACTICAL I) EPA HTM EXT. 95 Exercise 23. Haste to the fields away. Duet in triple measure. Two parts together. Girls sing the upper part, boys the lower. Tone 3. Tone 2. Tone 1. Do Do do do Do Do Do Mi Do do Words. Haste to the fields a-way, Haste ! haste a -way On this our heau - ti - ful fas - tal Tone 3. Tone 2. Tone 1. Do Haste! Mi Re re do haste ! haste ye a Do war, Mi Do This do Do beau - ti - ful fes re tal Do day. Do day. Exercise 24. What our hands find to do. Duet. Sing syllables, vowels, numbers and words. Tone 3. Tone 2. Tone 1. mi mi I Mi Re Mi Do do do do do mi mi I Mi Re Do do do Words. What our hands find to do, do with a will; Thus we shall sure - ly our mis-sion ful Do fil. Tone 3. I Mi Tone 2. Tone 1. do do Do Mi re Do do Mi do do Do Do do do Do Exercise 25. Bim, Bom. Round in four parts. Repeat the last part for a close. 1st part. 2d part. 3d part. 4th part. Tone 3. Tone 2. Tone 1. Do Do Words. Bim. bom Mi do ■> Do do Mi Bim bom bell, Bim bom bell. Hear! Mi Hear ! Mi Do do do All is well, All is wc Exercise 26. Sing and be merry. Round. In fourth and eighth measures give two beats to the large figures.. Tone 3. Tone 2. Tone 1. 3 3 | 3 3 1 Words. Sing, sing, sing and be 1 Sing, 1 sing. 11 11 sing and be mer - ry. 96 MUSIC AT SIGHT. Exercise 27. Quadruple measure. Down, left, right, up, Main accent to the down, and a slight accent to the right heat. | Down, left, Eight, up, | Down, left, Right, up, Down, left, Eight, up, | Down, left, Eight, up. | Exercise 28. Exercise in quadruple measure. Sing vowels, numbers and syllables. Beat the time. Tone 3. I Tone 2. Re. re Re re Tone 1. Do do Do do Mi Mi Re | Mi Ee re Ee re Ee Do do Do do Do Time. Down, left, Right, up, D. 1. R. u„ D. 1. R. u., D. 1. E. u., D. 1. E. u., D. 1. R. u., D.l.E. u., D.l. K.u. Exercise 29. Busy. Duet in quadruple measure. Divide class into two parts. Accent and mark the correct time. Tone 3. I Tone 2. Tone I. Do do Do do Mi Mi mi Mi Mi Do do Mi mi M i mi I Mi Do Do Do do Do Words. Bu-sy in the morn-ing, Bu - sy at the noon, Bu-sy in the* twi- light. Rest eonieth soon. Tone 3. I Mi mi Mi mi Tone 2. Tone 1. Mi Do Do do Do Dc | Mi Mi I Mi mi I Mi Do do Do do Do Exercise 30. Listed for the conflict. Tones one, two, three and four. The difference in pitch between tones three and four is a half step. Practice tone four thoroughly; proceed as suggested by the other tones. Tones. " 4 | Mi fe | F:1 mi Mi fa I Mi mi ! Re Ee 3 2 re Re re 1 | Do do [ Do Do Words. We have listed for the conflict In the causeof truth and right, What - so Tones. Mi fa Mi re ev - er may be Do tide. „4 I , r . • Fa 3 Mi mi mi 2 1 Mi Mi mi • Fa fa Re re do Mi do Do We've a strong and mighty Captain, Who his men doth safely lead. He Re has Mi fa Mi re I Do never known rle- feat. PRACTICAL DEPARTMENT. 97 Exercise 31. Pure and spotless. Duet. Quadruple measure. Sing syllables, numbers and words. Accent, etc. Tones. 3** Mi mi Mi Fa fa Mi Re re 1 do Do Do do Do Fa fa Mi fa Re re Mi Do Do do Do Pure and spotless, silver white, Watch the flakes so gay and blithe! Through the air, have a care, They've a mission here. 3 I 2 1 Do do Do Fa fa Mi Mi mi Mi do Re re Do Fa fa Mi Re re Mi mi Mi Do Do Exercise 32. Good kind neighbor. Song in quadruple measure. Note pitch four; try to skip from tunc one to tone four. Tones. 3 4 J 2 1 Do Mi fa Mi ia Do fa fa Do Do Mi Do Fa . mi Re do Good kind neigh-bor, while you la - bor, Do not fail to find your rest; O - ver - do - ing Fa . mi Re do Fa . mi mi Re re Do Do Fa Mi do do Re Mi do do long pur - su - ing Nev - er pays: it is not best. If you'll heed this time-ly warning, Fa Re do Mi mi Re Mi Do do Mi Re re do Fa Mi Re do Do You will uev-er feel re - gret For the time of rec - re - a-tion While the hours and moments sped. - MUSIC AT SIGHT. Exercise 33. Brothers, sisters, schoolmates. Duet. Quadruple measure. Sing all together first ; afterward as a duet. Tones. 3 4 I Mi fa Mi 2 re re 1 |Do Do Fa . I nu | mi Re Ri do Do , r . Fa • .\1 1 mi do fa -, r - 1 ->,- Fa ■ I Mi Mi mi Re Re re do Do Brothers, sisters, schoolmates all, We must heed the master's call : To our places now return. Tasks pursue and lessons learn. „4 , Fa .IFa • U r - 3 l mi mi Mi 2 re I Re Ri 1 | Do do Do | Do do | do Re Do Fa do J Do [ Do Re do Fa fa Mi Exercise 34. Coming to climb up the mountain. Sextuple measure. Two accented beats to each measure, considering three counts in one beat. Capitals receive the accent. Tones. 5 3 4 9 Do do do Re re re Mi Do Re re re Re re do Mi Com - ing to climb up the moun - tain, Com-ing so jov - ial and free; Mi mi mi Fa fa fa Sol Mi Sol sol sol Fa fa fa Mi Bloom from the health-giving foun - tain Show-ers its ra-diance on me. PRACTICAL DEPARTMENT. 99 Exercise 35. Come ye, this beautiful morning. Duet in sextuple measure. Two parts united. Tones. Sol sol sol Mi mi mi Mi mi mi Fa Fa Ee Re Fa fa fa Mi mi mi Ee re re Do do do Do do do Come ye, this beau - ti - fill mom - ing, Roam through the lnead-ows with Sol sol sol Sol sol sol Mi mi mi Mi mi mi Na - ture with pride is a La Fa Fa Re dorn - ing lr . • • Fa fa fa Ml mi mi Be re re Do do do Ev - e - ty ob - jeet we Mi Do me; Mi Do see. Exercise 36. We must be up and be doing. Song in compound triple measure. Three accented beats to each measure. Tones. 5 2 1 Sol sol sol Mi mi mi Do do do Fa Fa Ee Sol sol sol Mi mi mi Do do do Sol Re Re We must be up aud be do-ing our du - ty ; We can-not af - ford to be i - die or pouting ; But 5 3 4 i Sol sol sol Mi mi mi Do do do Fa Fa Re Sol sol sol Mi mi mi Do do do Mi Re Do When we are doue with our lessons aud stu - dy, We'll join in the frol-ic with laughing and shouting, Ha ! 100 MUSIC AT SIGHT. Exercise 37. We are coming', sang the robin. Duet in compound quadruple measure. Four accented beats to each measure. The capitals and following tone form one accented beat- One beat silent. Tones. Mi mi Mi mi Mi mi Mi fa Sol sol Sol sol Sol sol Sol Fa fa Fa fa Fa fa Fa We are coming, sang the roh-in, For the woods and groves are gay : Will yon give us kindly greeting Do do Do do Do do Do Sol sol Sol mi Mi fa Mi mi Mi mi Mi mi Mi Mi mi Mi mi Mi mi Mi mi fa Re re Re re Re re Re Fa fa Fa fa Mi S 1 Do Lit- tie Jes-sie, lit - tie May ? And the pret-ty rot - in wondered What we had to say. sol Sol Mi Mi mi Mi Do do Do do Do do Do do Re re Re re X 1 Do Exercise 38. Not wealth but wisdom. Quadruple measure. Commence with the up beat. ,„-. ■ Fa . .Mi mi mi Sol Fa fa fa Mi mi Sol Fa fa I -, r - • Fa fa mi mi , Mi mi Re Mi Do Not wealth but wisdom take; Your talents use aright, And love will help to make Your life a sweet de - light. PEA ('TIC A L DEPA R TAT EXT. 101 Exercise 39. No one can tell. Song in sextuple measure. Tone seven, Si, and tone one or eight, Do. The differenae in pitch between tones six and seven is one step. The interval between tones seven and one is a half step. Tones. 5*6 f|8 sol la mi Fa Si si la Do Do ■ si Sol fa mi Ee 3 2 re 1 Do No one can tel! how much long-er _we stay, Then let us sing and be joy - fill to - day la sol Mi Lesson III. Exercise 40. Notes. Nota. Mark, token, visible sign to point out length or duration. Quarter notes, double measure. One count, or point, or beat to each quarter note. ! I I I I J 00 a e e 9 4 4 J J I . J J I J - J 4 4 Quar - ter notes and dou - hie meas - ure, Count the beats and point with pleas - ure. Exercise 41. Half notes and quarters. Double measure. Two points or beats to each half note. J I III I I J I J Ml I ! J II II e> 4 4 4 4 (3444444 \\ Half notes and quar - ters read, Ac - cent well each down - ward beat. Exercise 42. Dotted notes. Triple measure. Dotted half notes and quarters. Three points or beats to each measure. Accent the down beat. J J I I I I I I" J I J J II I I INI II J • 4 o 4 4 \ 4 4 4 | a- j J 4 o o 4 4 \ 4 4 \ a- Dot - ted notes, tri - pie time, smoothly each tone, First beat of all the three ac - cent a - lone. 102 MUSIC AT SIGHT. Exercise 43. Whole, half and quarter notes. Quadruple measure. Four points or beats to the measure. Main accent to the down beat, and a slight accent to the right beat. I I I I IN I II I I II III J I J I J I I J I | II | a 4 4 & | 4 <5 \ d d o <; | s 4 4 4 \ 4 4 -> | o 4 a o j| Down, left, Eight, up, Down, left, Right, Quadruple time. Accent twite, one strong, one light, Per -feet in rhyme. Exercise 44. Sextuple measure. Two accented beats to each measure. Three counts to one accented beat. I ; ; ; ; ; ;i: ; ; J. | ; : ; ; ; :i; ; ; J. Sex - tu - pie mens- are ili - vid - ed by two; Ev - e - ry stu - dent the ac - cents must know. Exercise 45. Compound triple measure. Three accented beats to every measure. Three eighth notes to one accented beat. \ 4 4 4 4. - 4 4 4. 4 ,4 4- 4- 4- 4 4 4 4 4 Three times three, accented nine eighth notes now you see; Eve -ry measure must com - plet - ed be I" I I a a • a • a ■ Exercise 46. Compound quadruple measure. Four accented points or beats to every measure. \44daa44a444a \ 4 J a J 4 J 4 ■ j 4 ■ 4 ■ 4 ■ a ■ \ 4 • 4 • e? • Twelve eighth notes here, are presented, and every measure is completed now ; Thus we make our rt - nal bow. Exercise 47. Sixteenth notes. Quadruple measure. Four sixteenth notes belong to one beat. I J* J* J* J* J* ^ J* J* I s I s I s M J J J I J* J* J* J* J* £ } J" «f J I J J J II \4«44a444eaaa\4 4 d\444444aao4\4a^\\ Singing now the merry, merry sixteenth notes in joyous glee. La, la, la, la, la, la, la, la, la, la, light and tree. PRACTICAL DEPARTMENT. 103 Exercise 48. Thirty-second notes. Double measure. Eight thirty-second notes to one beat. J two. ft & ft ft ft ft ft ft ft ft ft ft ft ft ft ft iv N R / / R R 9 S / / / 4 \ 9 / / R • 9 S f 1 9 J Tia la, la. la, la. la. la, la. la. la. la. la, la, la. la. la, thir - ty • 9 » 9 e • • • • » • * » * I c g \ • P. V. V, J g B P i g g g g 5 g • / / s • / / P P • P • P / i/ 1 Tra la, la, la. la, la, la, la. la, la, la, la, la, la, la, la. all for r Exercise 49. Triplets in quadruple measure. One beat to each group of triplets. r i * i Sing merrily. ' ' ' II I \ \ i i i i i singing. Triplets so merrily sing, sing; Sing merrily, sing, sing. Triplets so merrily sing Exercise 50. Persevere in studies. Dotted half and half notes. Triple measure. Accent. I ! I > r r I J i r } • \ 9 • \ 0-0 N r\ N IS I . 000 . 0-0 \ zi d \ ci • \ d • d d d I d d d-d ' d \ ' Per - se-vere in stud - ies, Thus pre - pare the way For the pressing du - ties Of the com - ing day. Lesson IV. Rest. A mark of a certain duration of silence ; ceasing from. Exercise 51. Here we rest. Exercise introducing the quarter rest. Let the student count softly to the duration of silence. Point to each beat, whether note or rest. Tones. ! 1 J 1 \ \ d 9 I 1 • X 1 1 • 1 • 1 • X 1 1 • 1 • 1 1 • >* 1 • 1 • ! J 'Syllables. Do do Re Ee re Do Ee do Ee Do re Do Words. Hpre we rest; It is best; For in ■ deed, We have need. 104 MUSIC AT SIGHT. Exercise 52. Let us strive. Tones one, two and three. Quarter rest. Double measure. Tones. J •' i ' Syllables. Do re Mi Words. Let us strive I Re do Re so to live, I ' J J J J Do re Mi re Do re Do Wor - thy tilings to do and give. Exercise 53. To our task we go. Half and quarter note.s and rests. Quadruple measure. Tones. n j j Syllables. Do Do Re mi Fa Words. To our tasks we go J J * N J j i Fa Mi Re One bv one : " JjjN'VIj Fa mi Re do Do Mi Re Do Here, there, to and fro, Ev - er on. Exercise 54. Double measure. Whole measure rest. Half and quarter notes. Two beats to each measure. Tones. I I J J I I Do do Re re Double measure. -- 1 — I J J I J J J I i I ' I J J ! — ! — I i J I i ii \ J * * i i i * * Mi sol Fa mi Mi Re Mi mi Fa fa Perfect time we're keeping; Higher mounting, iJ J Mi sol Mi do Re Do Up the scale we're creeping. Exercise 55. March in time. Round in double measure. Quarter and eighth notes and rests. Tones. Part 1. Part 2. • I I | J [ | J ■2 \ J J 1 I I I Do do Do do do Sol mi Sol Mi mi Mi mi mi Mi do Mi March, march, march in time Through the ring. With glad voic-esjoin; Learn to sing. N r> J 1 J 1 is r\ Mi • • \ PRACTICAL DEPARTMENT. 113 Lesson VII. Exercise 76. Ascend these steps. Syllables applied to the tones of the diatonic scale. Tones 7 1 6 5 1o Be 30 Mi 40 Fa 5 Sol 60 La 10 7* Do Si 2 1 * Do Si La Sol Fa Mi Ee Do well, It is •al - ways sure to tell. 114 MUSIC AT SIGHT. Exercise 79. If we practice every lesson. Exercise in the skips of the diatonic scale. Tones. I 4 4 J J J j J - J | • - J . J J i J J . Do re Mi do Mi fa Mi do Re mi Re mi Do mi Sol Mi fa Sol mi Sol la Sol mi If we practice eve-ry les - son faithfully we shall succeed ; Earn- est prac - tice makes you per - feet 11,1 r r r r r r j j j j r r Fa sol Re sol Mi sol Do Do do Do Do do Do sol Sol sol Sol si Do Is a maxim true in-deed, True indeed, true in-deed, a maxim true in - deed. Exercise 80. If we go down below. Skips of the diatonic scale extended downward. Tones. i|trr I I , . JJJ r 1 j j j | r r r 1 1* r I j j j I r r ' r r r Mi mi Do Sol sol Sol Si si Si Do do Do Mi mi Mi do Sol sol Sol do Si si Si si Do If we go down be-low. Ain't it nice when we rise? Then we'll try another strain And sing the song again. Exercise 81. 'What you want to do or say. Round. Skips of the diatonic scale. Tones. Part 1. Part 2. • • ' S IS 6 O I 4 4 ' I | ■■ d 4 m Sol la Sol mi Do do Do Re re What you want to do or sav, Say it, //*!// h > ; ? j v ; Mi mi do it; CCf l Jt "ICC Mi mi Mi fa Mi do Mi mi Mi Fa fa Trifling precious time away, You will rue it PR A C 'TIC A L DEPA R TMEN T. 119 Exercise 98. We must persevere. Exercise song in triple measure, commencing with the upward heat. First and second ending. N IS =£ i 4- £e£ 4- IM» 2. 1 :8 -g>- -g>- We must per - se - vere In stud - y, Nev - er tire of les*'- sons new ; Then when done with pres - out du - ty, We may oth - er . . . paths pur - sue. Exercise 99. Lo ! the glorious morn. Introducing middle C, the same added line which begins this lesson. £e£ ^ I". 1 2. nn tt£j± 1 Lo ! the glo - rious morn is breaking ; See, there comes a brighter sky ; All the na - tious are a - wak - ing, Lib - er - ty's the bat - tie cry. Exercise 100. Every one -who will succeed. The intervals between the first and second and fourth and fifth lines are each two steps. I J „ > f T* » ■ - ■! i m 1 i — r -&--* Just =i=fc Ev-ery one who will suc-ceed Must be in earn -est and give heed. He must be in earnest and give heed. Lesson IX. Exercise 101. Here by this clef. Song in triple measure. The treble clef placed upon the staff. After the exercise is well learned sing the small notes, and afterward divide the class and sing as a duet. -A— '-? 1 j- m 3S I -J 1 J- 1 r-rT-ri ' i w w — ■ — w P -t- ft— f—ry Hereby this clef show the pitch for the fe-male voice. This is the staff for the girls and the boys. 120 MUSIC AT SIGHT. Exercise 102. Up to the front. Song in quadruple measure. Practice the exercise until it can be sung by syllables and words ; next practice the small notes ; afterward sing as a duet. B E^B =1 iES -N V W i ~W ~M m 1 m~ & 1 » w m » ~2 "I W 1 1 1 Up to the front there's a task for you ; Quick - ly at - tend what ye find to do ; i m j- =ts= I ^^E33 zi — #- « rl-t—i c r r t ±=±L r u - u u u ' c u i r Nev - er put otf for to - mor - row's sun Work which to - day should be sure - ly done. Exercise 103. Gaily in triple time. Song. May be sung as a duet. Triple measure. -1 : =i= r r f f ■ r f f- r f- f r r f f ■ 1 r r i r r Gai - ly in tri - pie time rnov-ing a - long; What can he fair - er than ran - sic and song? i^mi J-r-^— m-\- \-r-\- t=t- ii i r -Sir- f-f : "- i ~ "f t— r— F-^^r-f-r^-^ 2=e- -l — "t -P — p-c© Sing-iug in cho - rus, join - ing in glee, Mak-ing the wel - kin ring, hap - py are we. PR A CTK'A L DEPA R TMENT. 121 Exercise 104. Bob is our dog. Tenor and bass clefs placed upon the staff. Tenor. mm t -0 — 0- _«_*_ 1 I I l~ ^ t=t Bob is our dog ; he has a house. Iu the woodshed he must stay ; And baby comes up when he eats Aud pulls his bowl aw ly. Soprano. dp 4 i \j . » =g * Mill J: I r r i nr r I i ^— *— # — # ,'- 1 I i, ^Fr-t-f I- 1 j&-= g f- \ t-r Alto. Bob doesnot growl nor bark away, For he likes our baby Dan ; He looks at him as if to say, Just as you please, my man. Bass. Mi 4 4* tt BS -V—V- -0 — 0- ±t=t 4— L^— 1- ttct -0 — ~ I I ! /- mm$ And baby stirs his breakfast up With the cutest little stick, Aud then he puts it back to Bob, Who eats it very quick. Exercise 105. There's never a day. Four-part song written on two staves. Tenor on bass clef. Soprano. bfcr* 3=F 4-4 ±=± «, Alto. *-=f=r -^4> iwsztt #— p- I I +-~r U-J- I I -&—* —0- V V 1/ I I I There's ne'er a day so sunny But a little cloud appears ; There's ne'er a life so happy But has its time of tears. Be true to every duty At your home, at school, at play; By faithful work and study, Learn something every day. Tenor. i l I i I t- .m- -r- .0.-0.-0. Bass. PF Se Z*=*=EZ^ ^ i i J -|S>-- -<- - #--»--•--#--#- -*g- -•- -0- -0- m _«_«_ =?= H — I 1" ss 122 MUSIC AT SIGHT. Lesson X. Exercise 106. The treble clef. Song of the letters (pitch names) and the degrees of the staff. Tenor. mm * The tre-ble clef names first line E; The second line is G; The third is B, the fourth line D; Now find the place of ev - ery space ; First F and sec-ond A, And for the third comes C a - pace ; Soprano. The The ^f>^ m The bass clef has the first line G, The second B is found ; The third is D, the fourth is F. For And now the line between the staves Is middle C, you know ; The space a - bove is call-ed D, And Bass. ESSE S i =B m Chorus. q= m PP3^ fifth is F, you see. Now you must know, 'Tis well if you re-niem-ber these, fourth is E to stay. For as we show, They all are fixed de - grees. $^ ZtSZ -J I- ■* J — i — *- -d j rr- 1 fifth conies A a-round. Now you must know, 'Tis well if you re-mem-ber these. B the space be - low. For as we show, They are fixed de - grees. PR A CTICA L DEPA E TMENT. 123 Exercise 107. Three Little Chicks. Four-part song in sextuple measure. 133 1. Three lit - tie chicks so down - y neat, Went out in search of things 2. One chick said, That be - longs to me : Said th' oth - er chick, We'll see, to eat. we'll see. LjjU- i~T^ri ^J_jtLi-J FV 1- 3. They pulled and tugged, the down • y things; And 4. The bat - tie fierce and fierc - er grew, Un how til they flapped their ba the straw broke right . by wings ! in two. ^ m :-se*e 5. A sau - cy crow who watched the fight Now laughs, haw ! haw ! it serves you right. J -fr- w^^m 3=3= I Ter - wit, Ter - wit, ter - weet ! ter - weet ! Some - thing to eat ! And soon they found a straw of wheat. Its nice and sweet ! Said nuni - ber three, Let's share the treat. i I 3EE£ l±±A-i 3 U=U *t=* Ter The m wit, lit ter - weet ! tie chicks Some - thing to eat ! Just please let go this bit of wheat, were in a fix, And sor - ry for their naugh - ty tricks. m ^ He snatched the prize be fore their eyes, And o'er the hill way he flies. 124 music at sight. Lesson XI. Exercise 108. Here the natural pitch proclaim. Song of the natural key in quadruple measure. =r- -4-r I 4U g=g±^.- T ■e — Here the natural pitch proclaim For each degree Now we siug in the model scale The key of C -#- -0- -#- -#- -#- -s>- • 4—1- ?=s -- -> m B While the letters remain the same. Xo change can be For can- sig - na-ture's natural, As you may see. -0- -0- -»-. - -»- -0- -0- -0- 1 — i- T" II Exercise I09. See the Little Sunbeam, in ; 4-g — i — % — ++* — l-Yj — I — g — 0-fi^- ^ fi — • — m — tPpi — g-Fg — j — * — r Y^-. — 1 1. See the lit - tie sunbeam Darting through the room, Scatt'ring all the darkness. Lighting up its gloom. 2. See the lit - tie sunbeam Bringing warmth and glow To the plants and Mowers, Drooping faint and low. 3. Let me he a sunbeam, That I may be - stow Light and smiles and gladness Everywhere I go. Chorus. :t \r^r m :t=: tie I — I g— iis I would be a sunbeam, With a ray to greet, Making glad and hap - py Eve - ry one I meet. m=£ 9=jr =t: SigEfel PR A CTICA L DEP. 1 H TMES T. 125 Exercise 110. The Picnic Pie. Glee and chorus. m 2 3EJ 1. My first is 2. I hide on 3. My whole is t E2: flour coni-bined with lard. My sec - ond eggs and milk : many a nios - sy ground, I lurk 'neatk tufts of grass ; quite, a stirred up mess, A sweet eon - coc - tion I; ■*- -0- I a-f— - r^ — r r r -r r r r — -i 1- Be - low I'm sometimes On tempting rus - tie But what I am you'll -I — i= -V Chorus. — f — c — rt — f — r— ^ -N- — (s— 2 ?• v J 1 1-v 1 1 {> R r ■s i ^. * m 1 m T V M • _H J K-\> m *• \ *\ * J J . 1 8 # 9 • • m brown and hard, seats I'm found, nev - er guess: # J m . A - bove I'm Where men and I am the m m m soft as silk. ) maid - ens pass. )■ I wait my pic - nic pie. J prey with pur pose -£- fell— The ri»V P * P • • m m W m » ■ ' a IS ' ^7 * +3 b h h — ■ 1 -f — f-^- — W- i 1 Hi— — *T- - -V 7— —V 9 z 1 1/ 1/ u b x> mim& mi&^msM* S^r + youth in trous - ers whit - r- -r- . He sits on me; there comes a yell; fe^ , -r r r- if^r-^ My! Ob, but he's a sight! ■I S2h 126 MUSIC AT SIGHT. Lesson XII. Exercise III. Oh, Praise the Lord! Classification of the voices. Soprano, alto, tenor, bass. „ Soprano. I :33= =4E?=g i mm s^ m 1. Oh, praise the Lord Alto. In child-hood's hap - py morn - ing ! In sweet ac - cord, With I; 2. In joy Tenor. Z3r. fill strain, With youth - fill voic - es blend - ing, w =F wm ^ . -^- -T—W—*—*- ±s: 128 MUSIC AT SIGHT. Exercise 113. Come Away. Soprano and alto on separate staves. Tenor and bass together on the lower staff. Soprano. #-4 1 — k — iv- — *r — \ — v — i— -•A K- — 1 ?1 (mA -a— ^" - — ^ — » a =• f ~d^ d * — j P— 1— — 1— =*=f=F =±-J t5::4 p J L ' — — * • • * 1 — 0— — •— { Come a - way, a- way, where the ro - sy light is hreaking O'er the hills so love-ly Where the sweet young buds from their dew-y sleep are waking. Mirth and mu - sic float in (To the rus - tie wild where the balm - y winds are blowing. Where the fair - est blos-soms To the mos - sy banks where the crys - tal brook is fiow-ing, We will crown and hon - or Alto. and fair ; the air. are seen ; our queen. 11 +■ =1= K—fc: 3- q= ' — * „ fOh. the love-ly May like a child has come to meet us. With her brow all cov-ered | And the wild birds too, with their pret-ty songs will greet us, And the laugh-ing bright su with flowe n-ny hou rs.j Tenor. E^: ?£H Bass.^ r— r— r *Er$EE : * z= £EE*-^=EEE?EdEE£ i — i — r Chorus I s h Repent i 07/ softly. .__-' A j> i^ ^ h |k ff- 1 ~| • II A r i ' I » -I J ! J ! * ts *= • •II :--h * J # » m • * c_t" 4 4 ■II ' ™ / l> ' 1 • I' t. -4) Then a -way, a - way, a - way Then a - way a - way, a - way, To the hills and the fields a - way. 7£ -A -I r\ f -ft — K h" "> -1 — (\ =* ~ p — p — 1 — 1 — =q — t J frr .. • -s, -M__P T i a VM ■ i J - e * 4 • w • e • ~i » * * e c -9- ' Then a - vay, -»- 1— a - way, -e- ■#- -i 1 — t I— a - way, Then a - way, a - way, -t -fr -* — »— a - way, .0. .0. — i 1 — — # •- To — 0- — 0- the i rills 1 ph and the fields a - .0- -0- -0- .#- p Ir l» # way. - : p- f- lr-tr _«__ V rfc-r l» — u V -v — v- f 1- ? —v- i I — U L I— Er ^ PR A CTICA L BE PA R T.VEXT. 129 Exercise 114. Soprano. :S=£ Little Things Soprano and alto on the upper staff; tenor and bass on the lower. - ■+- Altor '*-']/ -a- L, ^ 1. If lit - tie, fall - in^ drops of rain The lakes and riv-ers till, And 2. If lit - tie mo-ments, as they pass. Make hours, and days, and rears, Then :i. The lit - tie- sins, when onee al-lowed, To great - or sins will grow, And, 4. Great God, then fill each of our hearts With love aud fear of thee: And Tenor. _^_ ^ _._ _^_ _^_ ___ [\ gEsmiis lit lit if to tie grains of tie sins of not stopped by us all thy m :t -£ p :t - V 1/ 1/ -h ^EEEF;b^ _i rq £=£ Bass. & CHORI'f earth and ev 1 - r> grace di - spir - it ' a i 1-" sand kind vine, give, U V Make moun-tain, plain and hill ; Should till our hearts with fears. Will lead to end - less woe. That we may ho - ly be. If J= ±Z lit - tie things to great - er grow. 3^Z- Lord. =t=l= i; =fc=r= help us then to strive -B-- -0- -0- -0- -m-' That lit - tie hah its wil a a a m \—a ' p ^ * ~- q: m M: And when I all the world have seen, I'll turn my foot - steps back I 132 MUSIC AT SIGHT. Exercise 118. Why, oh ! why, my Heart, this Sadness? Three-part harmony written on three stave; Soprano ■-4=1= 4=] (V---A — \=^£ f^-p=£»i— , 3S *— *— J— -•—+- 1. Why, oh ! why, my heart, this sadness? Why 'mid scenes like these decline, Where all should be hut joy and Alto. — ^i-t-s}— 2. All that's dear to me is wanting — Lone and cheer-less her* 1 I roam; The joys I meet, how-e'er en- 3. Give me joys of home, none oth - er ; These shall bless niy humble dome. Where dwell my father and my Bass. 3==-& \ s 5-- S- -!v-l- -SU-S*- lladncss? Say, what wish can now be thine chanting mother. ^ -si-. e? Oh, say. what wish can now be thine? > I s — "^ _| l: a, =. . II Ne'er can they re -place my home; Give, give me back my home. No, ne'er can they re-place my home. .My own, my dear, my na-tive home! m ^^ms^^m ^-^^^j ^ m PR A CTICA L DEPA R TMEST. 133 Exercise 119. Trust in God. Four-part harmony written on a score of four staves. Tenor. tUt3— 5=sp — q S — jfg ;^ — M— I — 1 n n | =M-H > ^1 I I — ^ — H-& H -^ h } — h — & _H ' — J~ — ' ' ' ' ' L it - '" 3^ r- — i i — i -i- ^ ; I , i Broth-er, in this bu - sy life, Midst its cares, its toil and strife, ) Cour-age, broth- er, do not fail, 1 ' i Keep in view you bea-con light, Trusfin God and du the right, i Truth and hon - or must pre-vail. J Alto. i- — N- h± — — x =F^= r^' P^^ „ ' Should thy way be long and drear. Foot it brave-lv. do not fear ; ] Cour - age, broth- er, do not fail, • i Though its end be out of sight. Trust in God and do the right. J Truth and hon - or must pre-vail. J Soprano. | j P y ii; N ±=*z 4- rrSr-fr: 3= 4- -• — •- m ., | Should the tempter's darts assail, O'er his power thou must prevail ; 1 Cour-age, brother. do not fail, 1 ' i If the world's dark frowns affright, Trust in God and do the right, i Truth and hon-or must pre - vail, i Bass. 3: _> m 1 — r 1 *ri-tr=t =fc D.c. Though thy path be dark as night, Trust in God and do the right. Exercise 120. Where's our Little Francis ? Duet written on a single staff. Soprano. !To TS R r . "j — r — — V- , i * J : "s r ! • d v > ■+ 5 5 * • • m a m • s # # 2 C, AltoT Where's our lit - tie Fran-eis ,0 V gone? See if he's with Eov h k. m -r er. Look down at the riv ■ er side; Y \. i N ^ ^ > \ k. s fix — F* — * — P — — * £ e- — p — t r S ' — h N \ p -A -e-^-J (r> — • 5 3 *— • * • 5_ a %- « ft I — m- s ts-^r- —*-. -h — • H Or per - haps he's off to hide, Play - ing pranks in boy- ish pride, Romping in the clo-ver. 134 MUSIC AT SIGHT. Exercise 121. Falling- Leaves. Solo and instrumental accompaniment. I I I I I | 3 3 3=E 'J- -4—* — I 1. They 2. They 3. They are are are -»- -%^ s>- ■f- -f2- fall fall fall — I— mg -*- slow sad they ly iy are fall fall Thick Close While up - on be - side our sad ±L |_ the for - our cot - dened thougl est tage its still r side, door, gu 3-=*=? i: j=j=± jj^- tj^= f= =wt 3 m -&- Sev Pale To ered and the from fad sun the ed no ■ like days ble the of r r branch - es Where they "waved in loved ones That have gone for child - hood In the dream - y beau - ev long '. d EEEE pride, more. go; =3F ^ ■p 3=t They They And are are their ^=4 fall fall fad & r 3tr^ and hues the the -5 val ■ sun - mind J =T leys Where beams Shine us Of the the T ear beau blight -J- iy ty ed -\ ^ vio - soft hopes I let spring, - round ; d dreams -» — i PRACTICAL DEPARTMENT. 135 i i&z- I t^ 3&z T And the birds Yet the fad Fad - ed like ed sun - ny leaves are spring-time First their fall - nig, Fall - ing the fall - ing leaf - lets Cast up dul - cet mu - sic sing, on the gras - sy hiound. on the i - cv streams. m * ^m m ?y^» -zi— + -* = + <" I ■*■ | TT Exercise 122. Band "Words can Never Die. Duet and instrumental accompaniment. _J s,^ N I s _*_ _ K i=i * V- 4 1. Kind words can never die. Cher- ished and blest: God knows how deep they lie Stored in the breast, 2. Bright things can never die. E'en though they fade : Beau - ty and minstrelsy Death - less were made. 3. Childhood can never die; Wrecks of the past Float in the mem-o - ry Bright to the last. ife _#_#_ w=^w H = # 1 1 j- *"■ LJ y* i ^EsEB Like childhood's simple rhymes Said o'er a thousand times; Aye, in all years and climes, Dis - taut and near. What tho' the summer's day Pass - es at eve a-way, — Doth not the moon's soft ray Sil - ver the night ? Man - y a hap-py thing, Man - y a dai-sy spring, Float o'er time's ceaseless wing Far, far a - way. I — — rjT - Cj -' 136 MUSIC AT SIGHT. Lessons XIV and XV. Exercise 123. "When dots across the staff are placed. Sons; of Lessons XIV and XV. 9-?; r- r~i N -JM* s I — N — *^ — \ rr- r r _T J r J-i r . -T r -fc -. / s =ii — J— 5=^-^- — 1- 1 2 ~ * — al — a -H— a — « h — al n — =$r =* -af 5- -h ==4H % £4 — =J — - J g 9 9 a - «— *» * 1— — »— ' d ( 1. When riots 2. A tie 3. Da Ca - 4. And Co - a - evoss the is al - ways po tells us da is the -#- staff are placed, We must re - peat the strain ; un - der-stood To be the same as one. to re - turn To where we first be - sun : add - ed end ; It conies the ve - rv last ; 'f~ "f~ T ~f~ f f f f, »• p Then And We'll It a we'll re - to di - sing from nev - er -»- -a- turn vide the can -0- with- the he- he -» /«y o ' \ * m m 5 --£ h— -P — P— ht- t— * t-F r —h — , 1 1 i F ^ ^-if r r-r -F F F — -f — f — v — t^ — 1 — 1* — P — b — P— 1 — V — — P 1* — f b— : 1/ 1/ V u b V V ' V V - P - V. eS^ ^=d= a -A =1- T Mi out de - lay And sing it o'er u - ni - oti Ought nev - er to gin - ning Till at Fi - ne we used un - til The vers - es all ■t f- + a be are are gam. done, done, past : 9 Our first and see - end end • ing here In- The pause de - mands that we should hold, Pro- Now at Dal Seg - no here we learn What And svn - eo - pa - tiou makes a change Of -0- -0- -0- -0- t -t=F=t— F-F F- mm -&- mm i ^ P=A- =8* forms us what to do : long, or slight - ly dwell, ev - ery one should know : ac - cent vast in - deed. I : F=FF :: ^ z::= a t = i r=*: : -0- m When we re - peat we skip o'er one, And pass right on to two. So pay at - ten - tion to this rule. And rhythm and rime as well. Con - tin - ue where the sign is placed. And end at Fi - ne too. And now our sons; is fin - ished And these les - sons we will heed. PRACTICAL DEPARTMENT. 137 Lessons XVI, XVII and XVIII. Exercise 124. My Country, Tis of Thee. National song. — Tenor. i . SI =3= m X 1 — I- zt — c 1, My country, 'tis of thee, Sweet land of lib - er - ty, Of thee I sing — Land where my fa- thers died, 2. My na-tive country, thee, Laud of the no-ble free, Thy name I love. I love thy rocks and rills, „ Soprano. 4 -4- T ^3: -F -2- -^~ T C Alto." " I 3. Let music swell the breeze, And ring from all the trees Sweet freedom's song ; Let mor - tal tongues a - wake ; 4. Our fa thers' God, to thee, Au-thor of lib - er - ty, To thee we sing. Long may our land be bright Bass. -*- \M E t± ± ^ -#— =~ P=i= Land Thv of the pil-grim's pride, From ev' - ry woods and tern - pled hills ; My heart with moun - tain side Let free rap - ture thrills Like that dom i ."^ ring. bove. I Let With all that breathe par-take ; Let free - dom's ho - ly light . ! Pro ^F rocks their tect us si - lence break, — The sound by thy might. Great God, Kins 1 138 MUSIC AT SIGHT. Exercise 125. Lightly Row. Soprano and alto on separate staves ; tenor and bass together. Soprano. -s-*- £E ■Fb^*— -F*^ 3 ^ F / — t/ — i — Fv — b— t- F E±f * ^ i/ T i H 1. Lightly row ! Lightly row ! O'er the glassy waves we go ; Smoothly glide, smoothly glide, On the silent tide. .Alto. -£-i- —i 1- J=£E^*E^ gg^ BfeE33feg -A~°z 2. Far a - way, far a - way, Eeh-o in the rocks at play Call-eth not, call-eth not. To this lonely spot. 3. Lightly row ! Lightly row ! O'er the glassy waves we go ; Smoothly glide, smoothly glide, On the silent tide. Tenor -«. .0- -m. -*. 2=f— £ t=--t Bass. -I— "-■ t=fcdfc=i=£=t=rt ■^— p- *=P- -y— y HI I* r mm f ;t v — * — L=t - « ! , V— V t-t I Let the winds and wa - ters be Mingled with our niel- o-dv ; Sing and float, sing and float. In our little boat. Efi m — a — 9 — t- F J — •=»+* — * — * — «- F * — * — — ^—*— 0-f g -^—g+'—*—^—^+^ z::L - : n On - ly with the sea-bird's note Shall our dying music float. Lightly row ! Lightly row ! Echo's voice is low. Let the winds and wa - ters be Mingled with our mel - o - dy ; Sing and float, sing and float, In our little boat. .a. .«. -*. t=t L v — y — r :imz t »~ JtF -H 1 > 1 — ■i t It=t y v | - S= ,U V — k< — l 1 — y—y- 1 PRACTICAL DEPARTMENT. 139 Exercise 126. Canst thou Tell Repeat. n s P* | h i r* h N /b3 r — N -f" ~t — j ^ N- 1 — -i=i- * -J- -*^=a 1 « — H ^-4—^- •f -*- - * m F — • — t-f- -4- • a- -=t^T- -«r— 5~ g M i.. Canst thou tell how man - V stars are 1 von - der In the blue and won-drous skv ? 1 Canst thou tell how man - T clouds do wan - der O'er the can - o - pr on high? 1 Canst thou tell how man - V gnats are sport - ing In the sun s warm sum - mer glow? ] 2 Canst thou tell the man - V mm - nows dart - ing Where the rip - pi ing ws - ters flow? J 3.- Canst thou tell how man - chil - dren dai - lv Wake re - freshed by sweet - est rest? | Canst thou tell how man - V birds so gay lv Lift in praise their grate - ful breast ? J h » -0- f- -0- -t -#- -0- 4 J. -#- -0- -&- (&•—£ sr L 1 f. 5 P • F ~^\ f— — i — 1 P- — I H P — i 1 r r i i s^-iH —v— V V V -v- — -fcr" — F — - 1 1— F — v— _p_i — f— — F F — — I — H 1/ 1 '• L< 1/ j TORUS • — k- — 1 — » -1 r- -J *1 1 -& -* =fc: = PB 1 I -! ~1 ir" ^5 — 4=1 • God, — • m a the -0- — I * Lord, -#- — r : he -0- has them -»- a ! 1 count- ed, i • And — # — * • with -#- L l % % watch -0- -i s — ful ■#- -1 care sur -0- -« ! — — p- 1 - rou -#- 1 — =F_J_ 3 ad - ed ; -*- i&H- -1 1 -r r V * m I- F — i &-Nf= 1 r t F F - f— - I/ 1 _L I I I L _ 1 V i/ i r i 1 ^ 1 — 1 1 1 \t 1/ / J , . N | 11 T-^— n' v [^ — H U* *- m m ' • — n « SS W fcL i — — Fg— • • — » ^ 75— m ■j ■ —3 d ' — — He #— »— be - -»- — i r holds ■0- — m — and -»- - f knows them 1 all, He be - — — — a — holds and — f- knows them all. «-9 — ■ V — b 1 - -I — +" fc= c H— V ■ V F " F — tr- 4 4 -F — HI 140 MUSIC AT SIGET. Exercise 127 Columbia, the Gem of the Ocean. =1= m ss Ci> lnm - bia, the gem of When war winged itswidedes Ye sons of Co - luin - bia. -=!—£- * the o - eean, - o - la - tiim, come hith-er I 1 -3— S~ I I The home of the brave and the And threatened the land to de And join in our songs with de free, form light ^—v :£ zlzzT*: w m t=t shrine of each pa - triot's de - vo - tion, ark then of free-dom's foun-da - tion, wreaths they have won nev- er with - er, B£*-izEj=: A Co - May the world of - linn - bia, star of fere rode their r-ff*- t t£. — N- P horn- age to thee. Thy safe through the storm, With her alo - ry be bright! May the J > r -S— P- I ^s-»- :fl± -« — -P H- man - dates make he gar - lands of vie ser - vice u - ni * 1/ I - roes as - sem - hie, Try a - round her, ted ne'er sev - er, m -£-^- • *- &- When lih - er - ty's form When so proud-ly she bore But they to their col - stands in view ; her brave crew, oi's prove true ; -*=t=Y Thy With her The PR A OTIC A L DEPA R TMENT. 141 i h h A — =1= $r -*-J - f i 3a: -*— #- - — r f=T ban - ners make ty - flag proud - ly float ar - my and na - ran - ny trem - ble, ing be - fore her, vy for ev - er, When borne by the red. white and blue. When The boast of the red, white and blue, The Three cheers for the red, white and blue, Three SS_*. m m • * * ■_ 1 i h h h h h- =?- M t=^fr E^E [)** If l K, s | 1 * | | s IV 1 i* > | r^ / ' m - r It-* • — —J J J— 1 i- rZ5_ ^ i— J- — 4 — » — 0- — 1 — 5- — *- — J-S — EL ) »— — 9 — » — *— — 9 — —0— —0 0- — borne boast cheers -#- by the red, of the red, for the red, -0- -0- -0- white and white and white and -*- -*- blue, bine, blue, -*- • When The Three -#- borne boast cheers -0- by of for -0- the red, the red, the red. white and white and white and -0- -0- blue, bine, blue, -&■ Thy With her The -0- -0- — (m 1-* 7- 1 i 1 * * K J*,* « a - * m » • » m f * • 1 , I — -+ — V — \— V V — — (SZ— = 1 -1 _u_ t? — l— — V V — ' L-tz J $ : 3=3= -*—*- W: ban flag It -&- "* S- ners make ty - ran - ny trem - ble, proud-ly float - ing be - fore her, my and na - vy for ev - er, ±=t I I When borne The boast Three cheers bv the of the for the n Ted, red, red, J=t —» — •— I rhite and phite and vhite and :£= blue, blue, blue. mm 142 MUSIC AT SIGHT. Exercise 128. The Star-Spaneled Banner. & -zi~ by the dawn's ear - ly light. What so proud - ly we thro' the mists of the deep, Where the foe's haugh - ty who so vaunt - ing - ly swore That the hav - oc of er, when free - men shall stand Be - tween their loved I in rSm | » -*- zti-i- -©■- t S f-b- hailed at host i a war, and home and the dead the the twi - light's last gleam-ing; si - lence re - pos - es, hat - tie's eon - fu - sion, war's des - o - la - tion ! r^ m . ; :4 -+■ — Ft What is A Blest with — d &►- stripes and hright stars, that which the breeze, home and a conn vie - fry and peace, through the o'er the try should may the zfr^z ± 3*EESE rV ^T Trf- >. per - i - Ions fi^ht, tow - er - ing steep, leave us no more? heav'n-res - cued land -Jzz O'er the As it Their Praise the ^B =£ ram - parts we watched, were so gal - lant - ly stream - ing? fit - ful - ly blows, half con - ceals, half dis - elos - es? blood has washed out their foul foot - step's pol - hi - tion. Power that hath made and pre - served us a na - tion ! _F f r .f: — * -v — I — Ff= h I PR A CTICA L DEPA R TMENT. 143 ^ - — . N ) V \ v » • ^» a * » 'i <2 * • » Ark - * ' * -t -1 f * — i— * » — • — — 12 • — • m- — fi V, -\ — — i — — | — — 1 — * — — * — — t "" 1 — i — +- —S-- ^h 1 1 1 i» / m -0 — i — i- -3— Jh* =± S night that our flag was still there, fleet - ed, now shines on the stream : flight, or the gloom of the grave; mot - to, "In God is our trust," - f- ; f- r ,-* — s — ? Oh, 'Tis the And the And the say, star star star does the span - gled span - gled span - gled I I star - span - gled ban - ner, oh, ban - ner in ban - ner in —ft « >— i IS J* ^& £ I T ^-4 WEEE£ m ban long tri tri -&- -+- ner yet may it umph doth umph shall I - -i — 0—Y-0 — 1*» — # — m — — H 1 1 — — i 1 — A -i ?-?— F v v— V — I v-%— F* — • — f — V — ^\~ t\~tl V V V ' I0~- ^EiEEOf, m --$*- : ^- *=£ 'Tis the song of the lark at the ris - ing of day, 'Tis the on - ly bright ray in this re-gion of death And hope sees the lov'd gathered home to the skies, Bear me quick-ly a - long to the por-tals of day; fF^f H- mm V V And the moan of the wave on the That re-wards us for all that is And in rap-ture we meet them a • I am wait - ing and long- ing to shore, gone, gaiu. go. Pass - ing a - way, Pass-iug, we're passiug 4S " > t J J" J^~ m id*. pass - ing a - way, Swift- ly we're pass - ing a way, we're pass - ing a - way, we're pass -ing a i ^ ^ ^ ,^ ^. A: -0- mf^mmm way ; way; ^-jf^flgL—-* 1 , - =_t : — £■— , T- —y- -h- -f-- i — r 1 I'M A CTICA L DEPA B TMENT. 155 k k. r\ nil - - len - - tan - - - - do. r-9- IV — s S — k — N — F 1 -!-^ * — P ! J-t— ** — ^ — \ — N- — s r-K n m Time bears us on to the beau - ti - ful throne; We're passing, we're passing, we're passing a - way. - m--0-f--p-- ?--r-. -£-?■? J j ,-e- f- -f- -f- . « M fi r 1 =t ^- e-htb :P=: \T~ tr 7=E=F Exercise 143. Hear the Little Feet. Sina; softly and tenderly. &-*■ -*—*-^ 3=* ==P ^Zlfc 5S -A- ^ =1-4=8: -• #- 1. Hour the lit - tie feet 2. What pa - ren-tal heart 3. Mother, on -lv thou pat - ting on the floor, can its pleasure tell canst the anguish know, fc^rSzin^i Out upon the graveled walk, climbing at the door; As it hears the lit-tle feet it doth love so well ! Waiting for the lit-tle feet si - lent long a - go; -r«— f*- i EE t=t A V V f=t- I s —* 1 -= # — « -yd ^^1 h-7 — 1 i-r-« 1- 156 MUSIC AT SIGHT. Exercise 144. Trot, Trot, Trot, Friendly Steed. .1 h is tHIst t=t Glee. Double measure. - 3= Sharp four. J 1. A - way now fleet-ly rid - ing With heart and hope so light, 2. The trees seemed past ns flying, The mountains seemed to race: 3. At length a eot-tage shin - ing Mid flow'rets came in sight; 4. Now by the tire - side smil - ing, There's one, the star of home ; m f- -r f- v— r ± r I My foaming steed now chid -ins. Then My sight these objects spy - in?. All My steed, its home di - vin - in?, Sprang With gentle words be - guil - ing, She f; £ f- r —H* is- — i — | F -f\ is i — ^ ' \- -A- 1 ' sT N is — i— -|s- =^T r j i A- 9 ^J- =J ~r — i— — ■ hH S-3~ i — — — t — =3 . 9.—\-*m— — i- — i- — it— =£i= tT cheer - ing mocked us on in bids me in in rap ne'er -0- his the - id to 1 — h 1 flight : pace, iight. •oam. • • I Now How Now 1 • i — r^ e » — urge thee still slow the hours by the door can - not say • fl -f- more vet I her ' -«- 1 — 0— - fleet, glide, see Nay ;' "f" - — 1 F— \l We'll meet The road Two bright ' Time seems a so syes to • smile clear watch fleet -*- « i — o — J most sweet. and wide! ing me. a - wav. ■f- f $>.- 1 fa" -1 — i — P-=- H"- -f p f- W— - tr \— - V ft k k " r— 1 ^_ 1 1 —P— t— [-*- U- V- V- — 1> — m • ft V —v- — • — — V— ~ H L> I Trot, trot, trot, trot, trot, friendly steed. 'Tis love and home we'll greet, 'Tis love and home we'll greet. Trot, trot, trot, trot, to - day a - way ; We must more fleetly ride, We must more fleet-ly ride. Trot, trot, trot, trot, my own good steed ; There's home and rest for thee, There's home and rest for thee. Trot, trot, trot, trot a - far no more ; With love at home I'll stay, With love at home I'll stav. - - . r -»- -0- EEEFL ± 1r- 5= ili! PR A CTICAL DEl'AHTMEST. ibl Exercise 145 Andantino. p Evening Shadows. Accidental sharp two and sharp four. Ritan 5^ : 1. Shadows now are thickly fall-ing. Night its man - tie round us throws ; Voic - es all around are 2. Comes the fra - grant breath of flowers Wafted on the evening air ; So may all the precious 3. Songs like ran - sic of the o - cean Have gone up in praise to-day ; And the spir - it of de- m f.j^jijj. j. j j jj.^jj I m fcfcfc fcfc*PhE m i a i - 'r~ ?~ r ■ rfct -S-3- W 1 S 1 r p t=fct « « rft call - ing, Bid-ding us to seek re - pose, hours, Spent in ser - vice sweet and fair, vo - tion Held us in its mys - tic sway. -0^~^0- -0- -0- -0^0- ^ T - — -*- -+-^jt — «— p — 3=*= ztzP Ir^jr iS £ Calm and trust - ful, calm and trust - ful May we Rise as in - cense, ris?. as in - cense, And our Lord, a bless - ing, Lord, a bless - ing Send us rest grate with from griefs and woes! Calm and trustful, calm and trust - ful May we rest from j - ful love de - dare. Rise as in - cense, rise as in - cense, And our grate - ful the closiug day. Lord, a bless - ing, Lord, a bless - ing Send us with tin & i — l- p p P p p P ■ • ■ P— P- rM 0—0 » **£ griefs an love de closing d woes ! clare. day. P » I i -* — p— * w- t Ft p _*_«_ tp^t= T~V- 158 MUSIC AT SIGHT. Exercise 146. Those Evening Bells. Accidental sharp four. Solo and vocal accompaniment. Sing the latter softly. ±1 ■N J5 ^-1=1 + e£ i p [/ [/ p 1. Those evening bells! Those evening bells! 2. Those joy-ous hours Those joy rr 3. And so 'twill be Ami 'twill be when I *Az .-1 — j»- EE -It. £ -f^— ■£- X -' U 1/ U 1/ i • X Those eve-ning bells ! Those eve - ning bells ! How many a are passed a - way, are passed a - way. And many a when I am gone — That tune - ful :^: =t=E=£ tale hear peal How many a t And many a That tuneful tale heart peal x k 1/ > b "' U 1/ 1/ U "' x their mu- sic tells their mu-sic tells Of youth and home, Ot youth and home, and that sweet that then was gay, that then was gay, Within the tomb Within the tomb now dark - ly will still ring on, will still ring on, While other bards While other bards will walk those #- -#- -0- J^E ^ft -Z-l -q— %- :t =£=«=£ iwm ± m- rirc~ i/ i/ i/ w s i 1/ 1/ b u i x time and that sweet time When last I heard When last 1 heard your soothing dwells, now darkly dwells, And hears no more And hears no more those evening dells will walk those dells And sing your praise. And sing your praise, sweet evenin T f- f J- f- f- f- 1?— tr iFt- - q y fefe£ -=! S- PRACTICAL DEPARTMENT. 159 Chorus. Q. is n N 1 1 I s l» N i - — - i • — ■ I s I s i* I s 1 j —4 "-0 -4 1 1- f>t - — « -j ~-i — j — i — j — ■ 2 T " ' J . . . . • * J- n "* " ■- G C C P n ^ Sweet eve - ning bells! Sweet eve-ning Sweet eve - ning bells! m m m m ' — =1 • • = J U U ^ 1/ ^ s bells! How vast a Sweet eve-ning bells ! -0- -0- -0- -0- t»y p • p » IrJ- M 1 1 M <* CS- »v 1 b [i' b f ^ ~ 1 p m m m ■ ~ S i i r i l> V V V i 5=^=5fp= V V V ^ \> 1/ ' change your pealing tells! What smiles and tears, re-gretsand How vast a change your pealing tells ! What smiles and tears, w =?=£ £ -p — « — * — i=F i— t 1 s = p * * -I*- 1/ P '• b -• — # — # — #- P £ t U & 1 1/ 1/ 1/ 1/ 1 s fears, While mem'ry dwells, sweet evening regrets and fears, While mem'ry dwells, -3 s- bells ! sweet evening bells M 160 MUSIC AT SIGHT. Exercise 147. Soft, Soft, Music is Stealing. Accidental sharp one and sharp six. ± &=?: a— — bdt± -?—!?'- =^- -fr-v- 1. Soft, soft, mo -sic is steal - ing; Sweet, sweet, lin - gers the strain ; Loud, loud, now it is peal-ing, 2. Join, join, cliil - dren of sad - ness ; Send, send, sor - row a -way; Now, now, changing to gladness, fc=T* a— 8-^ — *-— pg-?=g— s — - — g ■•!-— 35 -^ ±* 3. Hope, hope, fair and en - dur - ing ; Joy, joy, bright as the day; Love, love, heav-en en-sur-ing, m e mz -U — f- — »- -v — U — i — £± ^PSl ^— H F^ — L F L fe|— t -5*— f- v — fr— i/ Wak-ingthe ech-oes a - gain. War - hie a beau - ti - ful lav. Yes ! yes ! yes ! yes ! wak-ing the ech - oes a - gain. Yes! ves! ves! ves! war-ble a beau - ti - ful lav. =K=£=i m ?-<£ JzzE: i . -=z _ Ji#S: m i^iEEE mm Sweet-ly in - vites you a - way. Yes ! yes ! yes ! yes ! sgreet-ly in - vites you a - way. ?EE ^gg£E5E g -» — 9- -W — I — ±=sc PRACTICAL DEPARTMENT. 161 Lessons XXIII, XXIV and XXV. Exercise 148. Beautiful Spring-time. Solo and instrumental accompaniment. Major and minor. Accidental sharp six and seven of the minor scale. -I— 4 T-Ft- =1= &z Beau- ti Bean- ti Beau- ti ful sprin; fill spriuj ful sprin; ;-time, -time, ;-time ■ fair - est win - ter zeph-yrs «_ of flowers, Beau - ti - ful music from the bright rosy bowers ; has fled ; Bright gold-en sunshine in the sky o-ver-head. will bring Sweet-scent-ed odors in their welcome to spring: :*=t -1—4- -i — ' — a hr— t SHI U-M— i fis Wild birds ;ire singing their sweetest lay To herald the beautiful May. Daisies and blossoms on grassy plain Invite to their blooming domain. Hillside and val - ley, in bright array, All welcome the beautiful May. ) The leaves and the birds spring 1 The blade and the vine from m got tzt ±=i w p i=P ■#-£- -H* forth from their sleep mossy beds creep. • Come to the wildwood, there let us pay Homage to beau-ti-ful May. 162 MUSIC AT SIGHT. Exercise 149. Our Parting. Andante, 3& 4—4 ::fc3: «sl ■* ^-=4 ■& H^— iv- ,* ; r :^ _ 3l- "ST- 3 1. Good-night ! Good-night ! Sweet be your dreams at parting ! Good-night ! Good-night ! Dark shadows softly fall, And 2. Good night! Goodnight! Then let us speak it softly — Good-night! And as we grasp eaeh other's hand, See m 9E* 'JLJ1 E Sig- g: « r . r^ •** H 1- g=^ fcNt 3c n dim. E^^B 33 r~s Majestic. Octaves and Fifths ' — 1—4—4 — from our eyes the teardrops starting, 6 - bey true friendship's earnest call. We part, we part per- in eaeh face a kindly gleaming, And, bound by friendship's sacred band, Though dis-tant be our :5S — «_+&... 4=t -»- -g- -#- t>j -p — t/ — |— Accomp. ad lib. I? P p P P t^ s* *a fei§ 1—4 — I- " 4 " h I 4=4: *- • haps for lot at ev - er ; Like sands up - on parting, Tho' we may nev the beach a-sun-der torn. The waves of time in fierce endeavor May it meet on earth again, Each teardrop from us soft-ly starting Will Chorus. r.JF'ff E3E I PRACTICAL DEPARTMENT. 163 3E Bit. -i — tm& pp St s ait 35SS p C*i=t2; I ^S-- -«- * ~*~^S- * part us ere the break of com - ing morn, form a link in friendship's ho - ly chain. Good Good night ! night ! Good Good night ! night! ^ #-=—#- X Wtt e :3£ ■U 1 V 9V V V ■ V V V Exercise 150. Beethoven's Hymn. Andante maestoso. ^ A minor. Good - night ! Good-night ! Good-night ! Good - : * I. 2. i*—*: it*: p * V -*-** 3=J^= g f The Lord our God is clothed with might, The winds o bey his j He speaks, and in the heav'nly height The .... I Howl, winds of night, your force combine ; Without his high be [ Ye shall not in the mountain pine Dis- .... will; hest, ^^rf- 1 ^ roll - ing sun stands still, turb the spar-row's nest. Jr m fi: :» » ± ± t l=t -?=*- 3^ £^ :i= ^F *-#: -i — ^ »=s^ =s f Re - bel, ye waves, and o'er the land With threatening aspect roar ; I The Lord up-lifts his aw - ful hand And I His voice sublime is heard a - far ; In dis-tant peals it dies: \ He binds the whirlwiud to his car, And ..... t^- 0-0-9 chains you to the shore, sweeps the howling skies. I =t m 164 MUSIC AT SIGHT. Exercise 151. Vivace. Lessons XXVi and XXVII. Away ! Away ! Chorus. Marcato signs. Da Capo. Fine. -I- m m & 3 == & — <&— — > ■ => ss 1. A - way ! A - way ! the moon and stars arc shin 2. A - way ! A - way ! the morning fresh - ly break ■£.- £: «- t -«. -0- -£. E /2_1 C_ J2_A_pL. 4=1= : We'll dance o'er hill and flow - ery green. , Shines bright our lingering steps to chide; =E=t f— F Eg==q=B til i :fc*B- 1±5t -J- r 4- -=P 4J Fine. zfcat iH TT "^ I I*-*" ' I With laughing eyes and hearts that know no pin - ing, We'll make the night pay homage to onr queen. And light with sport and song our la - bor mak - ing, With joy we haste to roam the mountain side. ■&• • -p- m m m m I* - I I £ • A - way ! A - way ! A - way ! A - way ! A - way ! A - way ! a , f The fairy moonlight streaming Upon the mountain height, A - way . j j^ g if the world was dreaming Of music and delight. , „ , ( The morning freshly breaking, Comes shining o'er the lea; - way . | p rom dumber sound awaking, Our early song shall be : — Mill *=t t=*±= r= m i i i i -■s-tp*— ■— P— ?-F I ■ PR A CTICA L DEPA R TMENT. 165 Exercise 152. and Mezzo. Allegretto, i All Hail the Children's Jubilee ! Allegretto movement. Forte, Mezzo Forte I ■/ --U l=t £#= i *~* i-^-i-^tr 1. All hail the chil-dren's ju - bi-Iee! This is the hap - py day. 2. With thankful hearts we join as one And tune our voice in praise 3. Now pa - rents, friends and teachers kind, Who love's best ser - vice give, 4. Ye dear corn-pan - ions, oue and all, With ex - pec - ta - tions bright, Here friends and te To him, the Gi Who min - is- te To - day with he ach-ers v - er r with art and -h C^ M^ C t: £: i±i=E 1 — f Chorus. i — r -*-J- m sbi J. 1 m — €- ^ m m • * — r - Y&- ■& ■*—r round us meet. And help to make our joy complete This bap - py chil - dren's day. i of all good. For life and health and dai -ly food, Aud for his boun - teous grace. | r™ . - ,■ earn -est zeal, And strive and la- bor for our weal. Our grate-ful thanks re - ceive. 1 ^ voice we'll bring To friendship oue more of- fer-iug, Ere school-days take their flight. J T'TT I £ I 4 S -*-*■ -yi — r 4 — u r r^~ -P*- »• F- — i — i j [jJ -\ I- iU-i-i-ft& i -dr W^Sl -&- lee; This day glad trib-ute bring m j^_ X £M -fcrW- Eing — i — rztr out in jov-ous glee; 1 1 -t»# "I 1 U-i* 1 ^- Let all the chil-dren sing. 166 MUSIC AT SIGHT. Exercise 153. Hail Columbia » Allegretto. Murtellato, National song. 1. - Hail, "2. Im - mor - 3. Sound, 4. Be - hold, Co - lum - bia, hap - py land ! Hail, ye he - tal pa - fcriots, rise once more; Defend your rights, oh, sound the trump of fame ! And let Wash the chief who now com - mauds Once more to serve MEB ? £e£ m '}. ft: roes, heav'n-born hand, de-fend your shore; ing-ton's great name his coun - try stands, -4J t JL. Who Let King The rr^-r-fT-i^i^-c $£ 11 ^^}\ ^= q 1 i *435i 3 fought and bled no rude foe through the world rock on which g^ in free - dom's cause, Who fought and bled in free-dnm's cause, And when the storm of with im - pious hand, Let no rude foe with im-pious hand In-vade the shrine where with loud ap-plause. Ring through the world with loud applause ; Let ev-ery clime to the storm will beat, The rock on which the storm will beat ; But armed with vir-tne, I -0- -0- -0- -0- -0- -0- -0- -0- -0- -0- -0- r — r — r~y — i — r~i r ii t — t~ : t z ± =t=t t-r-r r-34— J- A ±A±l :** r war was gone, sa - cred lies, free-dom dear firm and true, En - joved the Of toil and Lis - ten His hopes are III \i peace your val - or won. Let in - de-pend-ence be our boast, blood, the well-earned prize. While off'rlng peace sin-cere and just, In with a joy - ful ear. With e - qual skill, with godlike pow'r. He fixed on heav'n and you. When hope was sinking in dismay. When ^ t -«-3- &E=fc e-Xsn — — i :t±=fc=| PRACTICAL DEPARTMENT. 167 52 £5 3=2 S =I=i *H r :*— _s< I I Ev - er mind • ful what it cost; Ev - er grate -fill tor tlie prize, Let its al - tar heaven we place a man - ly trust That truth and jus - tice will pre - vail, And ev - ery scheme of gov - ems in the fear - ful hour Of hor - rid war, or guides with ease The hap -pier times of gloom obscured Co - lum - bia's day, His stead - y mind, from chang-es free, Eesolved on death or m z t — ztzfc JU y=£4- ±=t *zz*£ z&zi Chorus. -l- r -f*r— n- 3- "^N ■J — ^ ELt r ^^ " 1 H P S— » — r h— i 1 J I 1—, Firm, u - ni - ted let us be, Ral - ly - ing 'round our lib-er - ty: JU Never forget, never forget, never forget the loved ones; None are more kind and true, yon bright heavenly shore. 1 PRACTICAL DEPARTMENT. 169 Exercise 155. Life let us Cherish. Andante, mf, vivace, D. C., fine and pause. Andante, mf __ , |N « N i I , - — — g » — — i — — ■= :— i — i^* \ — i -SESEE -*— s— «- Life let cher i^gil -* — * — a > ish while yet the ta - per glows, And E|E £ r— ^ P, . the fresh i t=± m Fixe. :2 *~gi Finaee. =3= 'ret pluck ere it close. Why are we fond of toil and care. Why choose the rank-ling When clouds ob-soure the atmosphere And fork -ed light-mugs The ge - nial sea - sons soon are o'er ; Then let us, ere we A -way with ev - 'ry toil and care, And cease the rank -ling m £l >~ v m m Zt*l m i thorn to wear, And heed-less by the li - ly stray, Which blos-soms in our rend the air, The sun resumes his sil - ver crest. And smiles a - dorn the quit this shore, Con-tent-ment seek: it is life's zest, The sun - shine of thorn to wear; With man-fnl hearts life's con - diet meet Till death sounds the tm -*— r =NI 170 3IUSIC AT SIGHT. Exercise 156. Silvery Echoes. Glee, semi-chorus, chorus and echoes. Allegretto, f, pp. mf. ff. ■3-S n — I*- E-fc-^-r- -r— K -. - * <"1 J . 2 '. ^ N is _^ l3 -3 — 4 = J— 3 — — ^-^-ES — J — J— Ed — J — fcz:*— Ei(— s — i £3:=* — * — sEEjEEfctq^d Allegretto. , (O-ver all our hap - py land. Up from many a youth-ful band,) i To our Fa - tiler in the skies I We have learned from teachers dear Words of wisdom, love and cheer : ) Hark what hap-py son - nets rise. I Now we come with songs of praise J And our grateful anthems raise. «a-F jr t=t=t fc=t*= :t=t m -V— W- 1/ \) Semi-Chokus. Praise him ! * Grate- - fill, rrf Fine. I '-. 12. ^-i- I " ^ \> \> « EEEE% =l=q=i E& Chorus axd Echoes. 1 a — L - 1 1 — « — -' 1 — 1 — l^ -H-—0 — ' -0- -0- -*- -0- -0- -0- -0- =£ 1 ( Praise him ! praise him ! sweet the song Silv'ry echoes shall prolong \ Grateful, grateful songs of love 'Mid the sun-bright . 1 Sil-v'ry ech-oes meet, hills above. W^t- — l FF H £ h" — * — * — *- -i — r V V V b L* I 1/ EeB-EEEEEEEEFEEE ; 3 PP # D. s. Semi-chorus. *=P=^ -e JW . gl B _i_i__l_pL-£ ?:Biii ■re Echoes. u I r: rpri i r — par- r^~r ?--sr-p^-iS-fS-=-iS-p^ST| — (- :^Ez±=tzfe:EEzz=t5=^ Echoes sweet, [.EcVioes.] Echoes sweet. fJEc/ioes.] -*■- r , * s T*-f'-p-|T pl fen ^=Fk^^b=t-tEEtt=ad i u i r PRACTICAL DEPARTMENT. 171 m Exercise 157. The Last Rose of Summer. Ad lib. and pause. Indantino. « ±■■5 *^*£j 1. Tis the last rose of summer Left blooming a 2. I'll not leave thee, thou lone one, To pine on the 3. So soon may I fol - low, When friendships de lone, All her love - ly eoni- stem; Since the love - ly are cay, *knd from love's shin - ing BeIeE *=t= i^y=g m i 2 pan - ions slecp-iug, cir - cle Are Go the fad - sleep gems I ed thou drop and with gone ; them : wav : No flower Thus kind - When true of ly hearts her I lie kin ■ scat with dred, ter ered m No Thv And T- 9M- S Ad lib. 9-1- ^f si ^s rose - bud is nigh, To re - fleet back her blush • es Or leaves o'er the bed, Where thy mates of the gar - den Lie fond ones are flown, Oh, who would in - halt - it This t=t=t * give sigh for sigh, scent - less and dead, bleak world a - lone? -\=t 172 MUSIC AT SIGHT. Exercise 158. The A, B, C. Allegretto. Lesson song iM 4- j=t -N N- The A, B, C is pleas - ant to me; I'm glad to know the line lit - tie row- It I can fix these marks twen - ty - six The bees and .flies have nice lit - tie eves, I'm learn - ing it Of let - ters both Once in - to my But nev - er can all great care read the and less like day: small ; head, me; -+- -f- ± !". - M=± VL. i ^e£=£ 3^ ~ » — s — »- -I—, 3^3^= H -t- i i 3^ -nX-r T-, When The I'll They - ev - D, read crawl er E, on the 1/ V look in a pret - ty sweet book, I see nothing but A, B, C. G, and the M, N, O, P, And the V, X, Y. Z, and all. book just as soon as I look At the let - ters all o'er it spread, hook, and they anx-ious-ly look, But they'll nev - er know A, B, C. m: *- -g- *- mi f) Choru.'- •j J J | | r\ l> i s i N Repent, humming, pp. 1/ • J J J J | p • I & ji 1 « * J *i # « ri. • 1 • J 1 « • m "1 J « b ' U •-!- \\) J J : U- .1 tr Sing Sing Sing Sing A, A, A, A, B, B, B. B, C, c, c, c, -f- sing sing sing sing -#- A, A, X, A, -#- B, B, Y, B, -#- C; C; z, C; -#- i i And Thev see see the will noth • ing noth - ing let - ters nev - er I J" 1 but A, but A. all o'er know A, ■a- -*- \ r B, C. B, C. it spread. B, C. m »" 1 9 e G m »- 'I • i m 1 * ' II ■m V V i I i r 3- - II t i V ? * 'I V 1 1 1 I PR A CTTCA L PEP A R TMENT. 173 Exercise 159. Cold Water for Me. Temperance song. Allegro. K . _J_ 1. Cold wa - ter, cold wa - ter for 2. I'm sure that there's noth-ing can 3. Nor am I a - lone in my give choice There's nnth - ing so pure and so free As The strength which we need while we live Like There's man - v an eeh - o - ing voice Will =3^i tH' 3=F ^ -Ji good cold wa - ter, pure cold wa - ter, praise cold wa - ter, - ^ * 0- m 1 1— good cold wa - ter. pure cold wa - ter. praise cold wa - ter. I'll go to the brook or the spring, And And quick to the brook or the spring I'll We'll run to the brook and the spring, And m lfc±t= m •- _# », i i o - ver its hub-hies I'll sing, Cold wa - ter. cold wa - ter for me. Cold wa - ter. cold wa-ter for me. hasten and mer - ri - ly sing, Cold wa - ter, cold wa - ter for me. Cold wa - ter, cold wa-ter for me. o - ver their bub-bles we'll sing, Cold wa - ter, cold wa - ter for me. Cold wa - ter, cold wa-ter for me. m ?=?=£ -»—»- - L l — h -*- -"- -*- ffl 174 MUSIC AT SIGHT. Lessons XXVIII, XXIX and XXX. Exercise 160. Nita ! Juanita ! Duct. Allegretto, ritardo, a tempo, grace notes and turn. A tteqretto. 1. Soft 2. When o'er the fountain in thy dreaming Ling'ring falls the southern moon; Moons like these shall shine again, Far And o'er the mountain davlight beam- iug ±4=t -r— I- f f -— t £=£: £E£ -Izrt r=F H s l =5=:^ M= ■sl- Breaks the day too soon. Prove thy dreams are vain, S=j — s- -«-4~ • 1- In thy dark eyes' splendor, Where the warm light loyes to dwell. Wilt thou not, re - lent - ing, For thine ab - sent lov - er sigh, -*- g £ , T 1 1- ¥* ? 3- ?Ei: Wf 1 . £j Jh »!? a tempo. ^ =t Wea-ry looks, yet In thy heart eon ten sent der, Speak their fond fare - well. To a prayer gone by ? Ni Ni -I *=* m z m ta ! .Tua - ni - ta ! ta ! Jua - ni - ta ! * Pronounced Wuh-nee-ta. PRACTICAL DEPARTMENT. 175 Bz b fe «i ^— R— n — -•-• -#- -0- C? Ask thy soul if we should part. Let me lin - ger by thy side. Ni - ta! Ni - ta! Jua- ni - ta ! Jua- ni - ta! Lean thou on my heart. Be my own fair bride ! ^== 2- F=t= Exercise 161. Bright Little Star. I =* ES :3t4=3 r i=»: T5l- 1. Sweet lit - tie star, Shining in the night, Ev - er twin-kle In vour sil ver light. Beau - ti - ful stars, Bright as an - gel - eyes, To yon heav'nly home I shall soon a - rise. Soft beam-ing star, Pure and sil - ver light! Pur-er I shall be In my robe of white. ■#-'-(=-' -f- -r«- - --r*- ■*■ .- J §53= £=£ M: a =p=g= =P=P: fi:S Chorus. is. § ^ SH a =*=3==# r -&—* ' — * — *~ But brighter than the stars That gleam in the night, I shall shine some day In yon realms of light. I ^ * -^ IS I ?=r= -^ 7 — <-m- z — m — »- — « -fct— t- 176 MUSIC AT SIGHT. Exercise 162. A Rosy Crown. Solo with instrumental accompaniment and chorus. Grace notes. Solo. i -^^EE^d^3 ^h^dS^^^ ^U^ M=-f 1. A ro - sy crown we twine fur thee Of Flora's rich-est trea - sure ; We lead thee forth to 2. We bade the fair- est flowers that grow Their va-ried trib-ute ren - der, To shine a - hove that 3. Then deign to wear the wreath we twine, Thy beauteous ringlets shad - ing, And be its charm a Instrumental accompaniment «" Chorus, soprano. 4 \jn\.>i\vri. soprano, i i •> fr_4J fc .-e8-E-_E t -|l- r R S! a sm^a .-^ I.J. k-fr -fr-fe-E-^i-E — ci^-n Alto. »* » r dance and glee, To mirth and youthful pleasure. 1 I Take, take the ro - sy, the ro - sy crown, brow of snow In all their sun - ny splendor. > j Take, O take the ro - sy, the ro - sy . . . type of thine In all ex - cept its fad- ing. Tenor. *--v- -F » — • — rf mm Bass. UpB -v — v- -9—9- -^ PR A OTIC A L D EPA R TMEN T. Exercise 163. God Speed the Right. Unison. Four-part song and duet. Tenor. s, t m #EE N >^-> -^ — l I K S I -0— -0- ,M i- H 1. Xow to heav'n our pray'r ascending. God speed the right : In a no-ble cause contending, God speed the right : 2. Pa-tient, firm and per-se-ver-ing, God speed the right ; Neither wrong nor danger fearing, God speed the right ; Soprano. h. ty . - I Alto. V. V V V V V 3. Still our onward course pursuing, God speed the right ; Ev - 'ry foe at length subduing, God speed the right Bass. -0- - p. #=fc^ I ZfZL » I Be our zeal in heav'n recorded. With success on earth rewarded : God speed the right. God speed the right. Pains nor toil nor trials heeding, And in heaven's good time succeeding ; God speed the right. God speed the right. * I zfczfc M J.Uj ; il T^ N ~i ips =^=2 3 Truth our cause ; whate'er delay it, There's no pow'r on earth can stay it ; God speed the right, God speed the right m £ n • -— #- 178 MUSIC AT SIGHT. Exercise 164. Keep Step. Exercise song. Note. Singers march and countermarch to the music, using the motions suggested by. the words. Remain standing during the singing of the parts requiring the motion of hands, crosses, etc. *— I 1- -I—! : : 1 : i . i K Nr-Hs A-l =■ :4^ « ^m ±=M :=)= :i . jt±i *= :*-«r ±~* 9 * &E* 1. In the pathway here below Keep step to the right ; Whe.re-so-ev-er yon may go, Always hon - or bright : 2. What if dangers lurk around. Keep step to the right ; Though temptations may abound, Always honor bright 3. Be your du-ties great or small, Keep step to the right ; You shall overcome them all. Always hon - or bright : -0-. -0-0-. M _ . -0~ -0-. -0--0- _ . M -#-_. - f-~f- 1 -9~* 1EE r=^^= -r — i-i i — -ft— ¥• Wr -ft— rP"^ — v~ P ±z _ s I _^_j^ — & — *,_ — i — i — i — -j- — ^— d— £££ -tr-rV ^£=£=^ * • -*-»- Lifting your hands to quell the wrong. Tuning your lips to merry song. Sweetly the strains prolong, Standing Trials and cross - es in our way Must be encountered day by day ; Meet them without delay, Stand-ing Faces so bright with joy and peace. Hearts overflow with love and grace, Busy till life shall cease. Standing +■+-■*•'+■• --p^f:--g:-f:-t-^---gi-f^--g:--r ,f--t^£^ fj ■*■ -#- -0- * -0- r^ -*- -*■ for the right. Keep step, keep step, Ev - er pur-sue the right ; Keep step, keep step, Always hon-or bright. £="&: T~r A- ±=± >— V— f— P ■p-p-tr-|?- J L_ X t=£ :fc=P= t- PR A OTIC A L DEPA B THE XT. 179 Exercise 165. Speak no 111. Duet and chorus in quadruple measure. I fefcE ^=\~^- ^J: i A— V-h- *3 If from many a snare or sor-row You would fain be free, Words of kind-ness gent-Iy spok - en Peace aud joy im - part ; Speak no ill, and half tlie sad-uessOf thy life will flee; m While you're sail-ing o'er life's o -cean Sym - pa - thy and good-ness ev - er Speak no ill, and joys unnumbered * 1= r. T- 14= 4 Chorus. i=« L_j ]i^= * 1 1±± Si .a ft azza: Let your mot - to be : Touch the callous heart. Thy re - ward shall be. - Never speak 11 of a friend or foe, But scat-ter kind words wher- iSE^EE £=P= i=F i — h -P— P- P P P- 1/ i/ =W^h ^3 W: -£ 4U> -±-*r t-t m =i=^~ ev- er you go. Nev-er speak ill, aud be ready to give The same as you would from others re - ceive. I I Zp «_ i i i _» m m \t 1/ i -£- "h — hr - L i — t — r- V— l— L ^- 1 180 MUSIC AT SIGHT. Exercise 166. Home Again. Da Capo and fine. i—0 — b — r 1 1* — 1 — i — i \— J k-r-l- — *- 7^' 4- -l, J ^ H -p-j . i Tl • j J * — 1 FV- — 1 fV- — ft fV- ft - ■&- 3=t m tiEEfe T i2 1 mm -A FN (V zJ i5=«!: cross the o - cean's foam, bids long - er roam. ask no pal - ace dome, But now I'm once a-gain with those Who kind - ly greet me But death a-lone can break the tie That binds mv heart to at For can live a hap-py life I With those I lovs I home, home, home. PRACTICAL DEPARTMENT. 181 Exercise 167. Baby-Bye. Glee. 4^j: 1. Ba - by - bye, here's a 2. Spots of red dot. his 3. Black and brown is his 4. He can eat bread and OF-E e^*= fly ; We will watch head, Rain - bows on gown ; He can wear meat. There's his mouth :tr =f= _)2_ :z5zd t * "-5-" him, you and I. How he crawls his wings are spread ; That small speck it up - side down: It is laced be - tween his feet. On his back 1 n 1 1 1 1 V i q | | " ! i » | fk±- 1 — d — — « — «— j -J — 1 -=•*- H— m — j| — • -^ ££— ~i ~~ 1~ — f— • —*— 5 J g . FS — — • — 0— zr up is round is -0- the his his a ■f- walls, neck, waist, sack -*• Yet See I Like -•- he him ad - a f" nev nod mire ped - -0- - er and his ler's 1 falls ! beck ! taste, pack. i i Pret - Does -•- be - can ty the -0- lieve, show as ba -0- with those you, if his clothes by uu - -•- -0- six I are der -0- legs, choose, made, - stand? b m I. m ■ r '•' I 1 ! 1 1 i 1 i — 1 1 1 1 r 1 1 m «= i± You and I could walk on eggs. There he goes on his toes, Tick - ling ba - by's nose. Where to look to find his shoes — Three small pairs made of hairs; These he al - ways wears. He will spoil them, I'm a - fraid. If to - night he gets sight Of a can - die light. Then the fly shall kiss her hand. Put a crumb on her thumb ; May be he will come. 3± ■42- pr -&- -0 J= -§ T H 182 MUSIC AT SIGHT. Exercise 168. See Them Standing All in a Row. Exercise song. Note. Place the singers in rows, in regular order according to size, to represent trees. Heads are the tree tops, arms the branches, bodies the trunks. The motions to suit the words at the proper time "will make this song very effective. ffr rr'j \rnn m q=d- ±=jz q= 1. See them standing firm -ly plant-ed, Rows of beau - ti - ful trees ; 2. List! the wind is loud -ly moan-ins, Lifting branches up high. 3. Now the trunks are bending low - lv, While the branches vou see Now the tops are. gent-ly wav-ing, To and fro, oh ! see them waving Hither, thither, bending, twisting, .0. .0. .0. .0- I I -fc:*- I I Choeus. -w-^- t* — — — 0— r — • — — — . § =t -fc— & :d=J=i: 3 '«r.) Spec, Bongs of Love and Praise, " " Notes of Victory '• Notes of Triumpi-. " " "Song Treasury,'' " 'Silviry Echoes,". " The "Lord's Prayer," ir'ustrated,) . . Seward C^rds, ail prices. Plain $6 00 Colored, . ^ . 8 00 Plain CO Colored, ... boo Plain, 6 00 Coloured, . . 8 00 (! 00 Plain, S 60 Colored, ... 4 80 .... . . 1 50 200 1 85 SB Plitin, 6 00 Colored ... 7 00 ....... 2 u0 1 00 1 oo 12 O0. 12 00 a oifr. 12 no 12 00 3 00 Copy 85 cts., . 3 M) " 35 " . 3 60 " 35 " . 3 00 " 35 •• . 3 TO ' " 35 '• . S 60 •' 20 " . 240 . .$2 00pcr:<\r. &B~ Any of the above will be sent by mail, prepaid, without lnj ary, on receipt of price annexed. ' *S* Any one v/bo intends acting as Agent, will be f-urfi, v.'ih f "•(.», ctc.j»» applicative. «®- Moueysbonld oniy L>« s- by so; jc sa j.'irethod. Address all orders, i '.ii'n : y, IDER & BROTHER, York. Fa. ^ ~ -' JF -S*5 J