UC-NRLF I $B 51 451 TH& (ecilian 5erie) ~~^ OP ^ i:5TUDY and:5ong 0UR3E EDITED.ARRANGED AND COMPOSED BY JOHN W. TUFTS )in/ER-buRDETT 5 Company PUBLISHERS B05TOM NEW YORK CniCACO John :j-vett rr.i • • • • • • • • • • • • • , • • • ••• • • • • •< '••-•- • • THE CECILIAN SERIES OF 5TUDY AND SON(^: COMMON SCHOOL COURSE; COMPRISING STUDIES IN TUNE AND TIME, WITH SONGS FOB PRACTICE AND RECREATION Part I For one voice Part II For two voices Part III For two Sopranos and Alto, with added notes for Bass. EDITED, ARRANGED, AND COMPOSED BY JOHN W. TUFTS SILVER BURDETT & COMPANY, Publishers NEW YORK BOSTON CHICAGO THE :C.edUan Sci1c6 of Stub? anb Song. FOP. GiiADED SCHOOLS AND CLASSES. Book I. — For One Voice. Book II. — For Soprano and Alto Voices. Book III. — For Unchanged Voices. With added notes for Basses and Tenors. Book IV. — For Mixed Voices. FOR MIXED SCHOOLS AND CLASSES. COMMON SCHOOL COURSE. (One Book. —Three Parts.) Part I. — For One Voice. Part II. — For Two Voices. Part III. — For Two Sopranos and Alto. With added notes for Bass. COPTRIQHT, 189.3, By silver, BURDETT & COMPANY. EDUCATION DtPT. Typography by J. Frank Giles, Boston, U.S.A. Presiwork by Berwick & Smith, Boston, U.S.A. PREFACE. jIMii usic was formerly looked upon simply as an accomplishment, J=B^ meaning no more than the gratification of the ear, and the average pupil seemed to believe that an idea of this pleasant recrea- tion was granted to a favored few who had inherited the gift of song. These specially gifted singers had little exact knowledge of the musical sounds represented by our notation . The musical ' ' hiero- glyphics" indicated somewhat vaguely to them by "position" the higher or lower tones, and the lighter or darker appearance of the page their longer or shorter duration . Through this process, analagous to guessing, the singers obtained in a laborious and uncertain manner an approximation to the sounds that the composer desired. This uncertain manner went on for many years. The first steps taken were in the direction of rote or imitative singing from an ex- ample given by a teacher, whose vocal attainments were of the most limited and doubtful character. In most cases the results depended upon the imitative abilities of a few who seemed to have inherited the musical faculty, and who with more or less certainty, followed or corrected the rendering given by the teacher. From such experimental work the study of music was continued for many years with little or no gain to the many pupils, until the school commitee, men or women, w-ere led to believe that music was only an appeal to the auditory nerves during the recital of words hu- morous, moral, or patriotic. The country singing schools in a measure dispelled this illusion, but the numbers influenced were comparatively few, as the atten- dant singers were adults or persons with matured voices. Attempts have been made from time to time to extend the field of study, and this book has been prepared in the endeavor to convince singers that the knowledge of music in tune and time is acquired with great ease, and that this study may be placed on an equality with any other. 3 54 3;)53 The study of music is as useful as any other of the branches of school work, in the development of mental concentration, and it has the additional advantage of pleasant tones combined with words of an instructive and elevating character. The language of music should first be studied unaccompanied with words, for this language is full of individual suggestions to each singer. These suggestions, always pure and pleasurable, are found in the many examples furnished as exercises. The practice of the music of the songs should always precede the application of the spoken words. In this way, no uncertainty remaining in the production of the tones, the words can be uttered with freedom, and there will be no hesitation in the expression of the sentiment required to give them a satisfactory effect. All the necessary shading through graduated force or rapidity will be readily given as in good reading, and an enjoyable result is sure to be gained. That music in all our schools may secure a higher position, one that it certainly deserves, is the strong desire of the author, and he feels confident that such a result may be attained. To this end he has prepared this little volume as a contribution to the art, and with the ardent hope that many will be induced to give this art the thought and labor necessary to afford them mental pleasure and profit through the production of musical and finished sounds in melodious succession. It is chiefly to the children and youth that we must look for suc- cess. Let them "do" and teachers need feel no solicitude for the result. Knowledge gained in this way is always the most valuable, and through this we shall find the many thousands growing up thorough- ly competent to judge of the musical value of the printed page. John W. Tufts. INDEX A birdie with a yellow bill ..... 20 A cooling breeze 90 A, e, i, o, u 59 All things bright and beautiful .... 35 All ye nations 77 Ark of freedom 133 A rosy crown we twine 138 Arouse up, ye sleepers 84 Awake, my soul 156 A wicked action fear to do 52 Birds in the pine woods 123 Brothers, hand in hand 130 Buds and bells 81 Come, children, to-day 68 Come out of your beds there .... 36 Day by day we magnify Thee .... 87 Dearest home 136 Dear little birdie 32 Don't you hear the blue-bird .... 28 Down by the Neckar stream 84 Down in the fairy dell 26 Drop, drop, drop 34 Every flower and every tree 39 Freedom 149 God is love 71 God of heaven ! 43 Hail, all hail ! 126 Hark, I hear a joyous note 137 Heavenly Father 151 Here we go up 57 Holy, holy, holy 154 Home, sweet home 142 How calmly gliding 44 How many deeds of kindness .... 49 I am a bold fellow . 63 If I a bird could be 85 If I were a bird 31 I know the organ 33 I'm a pretty little thing 76 In the wondrous, lovely month .... 135 Kind words are the gardens 45 Kind words can never die 37 Listen, how the bells are pealing ... 43 Little moments make an hour .... 42 Little robin in a tree 94 Look not on the wine 152 Lullaby, baby 56 Murmur, gentle lyre 127 My country, 'tis of thee 160 My Shepherd will supply my need . . . 155 My soul, be on thy guard 159 Now thank we all our God 157 Now we'll all go a-singing 19 O bright blue sky 41 Of birds who sing 61 Of speckled eggs the birdie sings ... 45 Oh, tell me dreams 44 Oh, the sunny summer time ! . . . . 51 O lovely bright star 38 On goes the river 30 On the wings of morning 134 O Paradise 158 Our roses bloom 52 Put out the light 88 Robin Redbreast 29 Said a pansy one day 37 See how fast the snow is falling ... 42 Sing a song of seasons I 22 (5) Sister, awake 88 Song fills our life with beauty .... 90 Song for Arbor Day 144 Song for Decoration Day 141 Song should breathe 124 Song to the flag 145 Spring-time is drawing near 80 Stars are shining everywhere .... 35 Summer fading, winter comes .... 46 Summer suns are glowing 62 Suppose the earth was barren .... 40 Sweet bells 128 Sweet spring is returning 93 Tell me what the brook doth sing ... 69 The air is balmy and serene 54 The best of wine for children .... 27 The breakhig waves 139 The cuckoo sat in the old pear tree . . 83 The festive day 125 The finches are singing 25 The fitful April sunshine 55 The flowers are blooming everywhere . 53 The friendly cow 29 The golden glow is paling 74 The harp that once 146 The lark is so brimful of gladness ... 47 The linden tree 132 The Master's call 150 PAGE The moon is up in splendor 71 The morning stars 147 The rain is raining 38 There's not a tint 91 There once lived a pretty your.g kitten . 21 There was a man in our town .... 63 There was an old woman 50 The rosy morn is breaking 67 The seed that springs 60 The spring-tide hour 53 The stormy March is come 51 The valley rings with mirth 49 The world.is so full 57 They who on the Lord rely 154 Through the restful night 79 Through the silent hours 25 Trust 153 Under the green hedges 60 Upon the wall, who's sitting? .... 46 We builded a house 81 We'll bring to the Spring-time .... 68 When find we at sunset 72 When the rosy morn 131 When verdure clothes 143 Where's the use of sighing 96 While my maiden's spinning .... 64 With the morning's rosy light .... 20 With welcome and with cheerful song . 36 (6) 'TAe aim of education is rather to show how to think, than to load the memory with the thoughts of others.'''' HINTS AND DIRECTIONS TO TEACHERS. IN order to sing at sight two mental opera- tions are necessary. 1. A comprehension of the relative pitch of sounds. 2. A comprehension of their relative length. The first enables us to sing in tune ; the sec- ond, to sing in time. These being known, the characters required in their representation may be studied, but the order should never be reversed. In the Common School Course no rote or imitative work is required. If any rote work is done, it should be outside of the music pre- sented in the book. On the part of the teacher there should be the ability to sing the scale in accurate tune, with a ready perception of the difference be- tween one and two, and three and four of the Major Scale, the whole and half- step, or tone. Should the teacher be unskilled, or defective in ear, it is believed that the requisite ability can be gained by a careful practice of the ascending and descending Major Scale. It may be learned outside the schoolroom with the assistance of an instrument ; and in a class there are always those to be found who pos- sess the skill necessary to produce these tones correctly. Let the teacher then carefully follow the tables of figures, going very slowly ; indeed, never leaving an exercise until it has been sung in accurate tune and with facility and certainty of attack. It will be seen that the range of exercises and songs is a limited one, and that the voices are not led so high as to require effort in the production of the tones. There is one safe rule that can be followed as a guide : A ttempt no tone that cannot he sung softly. For practice, use different vowels, such as a, a, o, e, or u. Endeavor to make the tones softly and musically, avoiding all rigidity or extravagance. Breathe easily and naturally. Avoid a listless or careless position. In singing, children gladly do what they know how to do, and they enjoy working out little problems in tune and time if they thor- oughly understand the necessary underlying principles. Doubt causes most of the "out of tune" singing. If the singers know the tones, of which the notes are the representations, they will sing with earnestness and in tune. Let them understand that our songs must first be known without words. The language of music is full of beauty and suggestion, and when this is known it will afford delight to all. In the beginning, therefore, let the class practise with great care the simple Major Scale, ascending and descending, learning it at first simply as a tune, and then in its parts, knowing each individual tone by its real name or number. These names or numbers serve to keep in the singers' minds the relation of each tone to the key-note. Begin every lesson with this practice. The following tables will give an idea of the se- ries of exercises which will be called by the teacher. Never leave any exercise until it can be sung with a certainty of attack and an ease of delivery. It will be seen that all these exercises are written above the pitch of one, or the key-;jpte. For practice, take a pitch that will allow the singers to sing the whole scale without effort in the production of the tones. C, 0%, I), E|^, and E are suggested as the best starting-points. Mental study of the Major Scale above the key-note. Call the Groups 1, 2, 3, 4 in succession. These numbers are arranged in a systematic order, and in practice of them the characteristic mental effect of each sound will be developed in the mind of the singer. (7) No. 1. 1. 1,2,3,4.5,6,7,8.-8,7,6, 5, 4, 1. 3, 2, 1. 2. 2. 1,2,1,-1,2,3,1.-1,2,3,4,1. 3. 1, 2, 3, 4, 5, 1. 3. 4. 1,2,3,4,5,4,5,4,3,5,4,3,2,5,1. 5. 1,2,2,1,-1,2,3,3,2, l.-l, 2, 4. 3, 4, 4, 3, 2, 1. 5. 6. 1, 2, 3, 4, 5, 5, 1, 5, 4, 3, 2, 1. 6. 7. 1, 2, 3, 4, 5, 5, 4, 3, 5, 4, 3, 2, 5, 1. 8. 1, 2, 3, 4, 5, 6, 7, 8, 8, 7, 8. 7. 9. 8,7,6,8.-8,7,6,5,8.-8,7,7,8. 8. 10. 8,7,6,6,7,8.-8,7,6,5,5,6,7,8. 9. 11. 8,7,8.-8,7,6,7,8.-8,7,6,5, 6, 7, 8. 10. 12. 1,2,3,1,3,2,1.-1,3,5,3,1. 11. 13. 1, 3, 5, 8, 5, 3, 1. 12. No. 2. 1. 1,2,3,1,3,1,3,2,1.-1,2,3,4, 1, 4, 1, 4, 3, 2, 1. 1. 1, 2, 1, 2. 1, 2, 3, 4, 5, 1, 5, 1, 5, 4, 3, 5, 4, 3, 2. 1, 3, 5, 2, 5, 1. 6,5, 3. 1,2,3,4,5,6,1,6,1,6,5,4,3,4, 3. 1, 5, 6, 3, 2, 3, 2, 5, 1. 5,3, 4. 1, 2, 2, 3, 4, 2, 4, 2, 1. 4. 1, 3, 5, 6. 1, 2, 3, 3, 4, 5, 3, 5, 3, 4, 2, 1. 5,3, 6. 1, 3, 5, 3, 4, 2, 1. 5. 1, 4, 6, 7. 1, 2, 3, 4, 4, 5, 6, 4, 6, 4, 5, 3, 4, 2, 6. 3,5,4, 3, 2, 1. 7. 3, 8, 5, 8. 1, 2, 3, 4, 4, 3, 2, 4, 2, 4, 3, 2, 1. 2,3, 9. 1,3,2,4,3,5,4,2,1.-1,3,5,6, 8. 4, 3, 2, 4, 2, 1. 2,3, 10. 1, 5, 4, 3, 5, 4, 3, 2, 4, 3, 2, 1. 9. 5, 6, 5, 11. 1, 2, 3, 4, 2, 3, 4, 5, 3, 4, 5, 6, 7, 5, 10. 1, 6, 5, 8, 7, 8, 6, 4, 2, 1. 11. 1, 3, 5, 12. 1, 3, 5, 7, 8, 6, 4, 2, 1. 12. 1,4,3, No. 3. 1,2,3,2, 3, 2—2,3, 2,3,4,5,2,5,2.-2, 6,2. 2, 3, 4, 5, 6, 7, 2, 7, 2. 6, 7, 8, 2, 8, 2, 1. 1,2,3,4,3,4,3—3, 3,4,5,6,3,6,3.-3,4, 3, 4, 5, 6, 7, 8, 3, 8, 3, 3, 4, 5, 4, 5, 4. 4,5,6,4,6,4—4,5, 4,5,6,7,8,4,8,4.-4, 1,2,3,4,5,6,5,6,5.— 5,6,7,8, 5,8,5.-1, 7, 6, 7, 6. 1,3,5,6, 7,5,6.-6, 1, 8, 7, 8, 5, 7, 5, 3, 1. 7, 5, 4, 2, 1. 4, 2, 4, 2. 3, 4, 5, 6, 2, -2, 3,4,5, 4, 5, 3, 5, 3. 5, 6, 7, 3, 7, 3. 2, 1.— 1, 2, 6, 7, 4, 7, 4. 3,2,4,3,2,1. 5, 6, 7, 5, 7, 5. 2, 3, 4, 5, 6, 7, 8, 6, 5, 6. -1,3,5,8, No. 4. 3,^,6,5.^5,2,4,3,2,3,1. 3,4,3,2,1.-1, 3,5,3,4, 3,1. 8, 6,4, 5, 1. — 1, 8, 6, 8, 1, 5,1. 3,4,6,8, 6, 5. — 1, 8, 6, 4, 1. 8,5,3,1.-1,8,6,4,2,5,1. 6,2,5,3—3,4,6,5,4,2,1. 3,2,5,4,2,1.-3, 6, 5, 1, 1. 1,5,2,4,3,1.-4, 6, 5, 1, 1. 1,2,3,1.-5,3,6,5,6,7,8. 8,8,7,8.-6,5,7,6,5,2,3. 7,8,3,5.-1,8.6,4,2,5,1. 6,5,7,8.-8,5,6,4,2,5,1. (8) Before going further with these scale exer- cises, practice may and should be given in time. Let it be understood that the study of music in the school should be such as will enable the singer eventually to solve any questions in tune or time, unaided by a teacher. Time in music is the most difficult of acquirement, for the memory of values is a very uncertain factor. There must be some unerring agent and guide always at hand. In the absence of a tape metronome the teacher may take a string about three feet long, with a small weight attached to the end. This can be suspended by tying the other end to a hook or nail over the blackboard, where all can see it as it swings back and forth. Keeping time is gained by a feeling for the regularly recurring accents of the measure. The accents must be known and felt in the measures of two, three, four, and six parts. The teacher can indicate these accents by speaking the word strong in a short, sharp, but not loud tone, as the pendulum swings back and forth. The accents are as follows : — 1. Two-part measure has one accent, upon the first pulsation or swing : — Strong, weak \ strong, weak \ strong, weak. 2. Three-part measure has also one accent upon the first pulsation. This accent may need to be stronger than in two-part measure. Strong, weak^ weak \ strong, weak^ weak I strong, weak, weak. 3. Four-part measure has two accents, — a strong one on the first and a weaker one on the third pulsation. Strong, iceak. strong, ii^eak \ strong, ^veak, STRONG, iveak. Be sure to preserve the contrast between the first and second accents. 4. Six-part measure has two accents, — a strong one on the first and a weaker one on the fourth pulsation. Strong, weak, weak, strong, iceak, weak, etc. Each of these measures should be practised a long while, or until the accents can be felt and continued. Do not change quickly from one kind of a measure to another. Let each be fully im- pressed upon the mind through many repe- titions. These accents must be felt, and this feeling must be gained mentally. No physical mani- festation is necessary. When made, it is directed by the mind, and its accuracy can- not be fixed without some visible outside guide. If this accuracy is once gained, any beating is not needed. To acquire unity in song-singing the beat of the teacher is necessary, and if the singers have gained a comprehension of absolutely accurate time, at varying degrees of rapidity, they will readily follow the baton of the teacher. Of course, in expressive singing a variety of movement is necessary, but this cannot be gained until absolute uniformity is first attained. Let the pulsation of the pendulum be started from time to time so that all may see its move- ment. The length of the pendulum, and not the length of its movement, determines the rapidity. This metronome, or time-keeper, is a silent monitor, always exact, and it causes the teacher little or no trouble. Having established these mental facts, atten- tion should be given to the notation. For this purpose draw the major scale from C in the following manner. Dots may be used instead of notes. See page 17. The teacher will ask the class to sing the scale, using the real names 1, 2, 3, 4, etc., ascending and descending. This must then be done with great care, using different vowels, such as may be necessaiy to correct obvious defects in tone quality. Do not, however, confine the class to any one vowel for a long time. Changed vowels will be of great value in future song-singing. When the scale has been established, prac- tise at call from the four tables, which give the intervals above the key-note or one. A little practice will convince the teacher of the value of this preliminary study. Through looking at the staff and notes the singers will readily learn the positions. When this has been done, the class may be called upon for the pitch names, when they will respond by singing the ascending and de- scending scale with the pitch names C, I), E, etc. Attention may be called to the clef, which fixes the position of G upon the second line. It is called on this account the G clef. The practice in time can now follow, guided by the swinging pendulum. The French time- names are of great value in order to give names to every fraction of the measure, and this determines the relative values of the notes in (9) the easiest manner. Should objection be urged against their use, the exercises in time on page 17 may be practised, comparing the time values with the swinging of the pendulum. Use the syllable "la," speakijig the word sharply. Do not sing. This preparatory work having been done, the exercises of the book may be taken up in regular order. In Exercise 2 explain the tie, and in 3 the half-note, or union of two pulsations. When a note is repeated, the syllable "la" is intro- duced in order to facilitate the articulation, A knowledge of the signs used in music notation is necessary on the part of the teacher, and they may be given names, etc. , as they are successively introduced. The little one-part songs are especially in- tended for the youngest singers, but it is hoped that the older members of the class will not consider them unworthy their consideration. The exercises find their illustration iu the songs. Study the music and add the words after this has been thoroughly learned. In this way there will be no impediment in using the words, and a freedom will be gained that is hardly attainable in any other way. The same course of study will be pursued on pages 20, 21, 22, and 23. Preparatory work will be necessary for the next key. For this purpose the second series of num- bers, in four groups, must be brought into use for interval work. The scale is here practised above and below the key-note or one. These tables of figures give all the necessary mental work in preparation for the next key. SECOND SERIES. Progressive Exercises in the Major Scale, above and below the Key-note, Note. — In Italics below the key-note. 1-8 descending. 8-1 ascending. No. 1. 12. 1. 1, 2, 3, 4, 5, 4, 3, 2, 1. 13. 2. 1-^, 7, 6, 5, 6, 7, 8. < 14. 3. 1, 2, 3, 4, 5, 4, 3, 2, 1-8, 7, 6, 5, < 15. 4. 1-5,7,6,5,6, 7,5-1,2,3, 4,5,''. ^4, 3, 2, 1. ^ 2 1. 5. 1, 2, 1, 2, 1. » 9 6. 1-8, 7, 8, 7, 8. 1 ^. ^^ ft 3. 7. 1-.9, 7, 8-1, 2, 1. § ■s_^ ^w- « 4. 8. 1, 2, 3, 2, 3, 2, 1. 5 9. 1-^, 7, 6', 7, 6', 7, 8. 5. 10. 1T2, 1-8, 7, 6, 7, 8. 6. \^^ 7. 11. 1, 2, 3, 4, 3, 2, 1-8, 7, 8. 8. 1-8, 7, 6, 5, 6, 7, 8-1, 2, 1. 1^, 7, 8, 7, 6, 7, 8^ 1^8, 7, 8-1, 2, 3, 2, 1. 172, 3, 2^1^, 7, 6, 7, 8, No. 2. 1-8, 7, 8-1, 2, 1-8, 7, 2, 1. U8, 7, 2ri, 2, 7>. 172, 3, 1-8, 6, 7, 8. 1, 2, 3, 2^1-8, 7, 8-1, 3, 7, 8. 1-8, 7, 6, 7^8, 6, 27l. l72, 4, 3, 2, 7, 8. 1, 3, 4, 7, 8. 1, 3, 2, 4, 7, 2, 1. (10) 9. 1, 4, 6, 7, 8. 10. 1-8, 7, 6, 2, 1-8, 7, 8. 11. U8, 6, Z, 2, 6^7, 8, 12. iTs, 7, 8-1, 2, 7, 8. 13. 1, 3, 6, 8^7, 2, 1. 14. 1-8, 6, 7, Z, 2, 1. 15. U8, 5, 8-1, 3, 2, 1. IG. 1^4, 1-8, 6, 7, 8. 17. 1-8, 6^5, 6, 8-1, 3, 4, 3, 1. No. 3. 1. 3, 1, 6, 2, 1-8, 7, 8. ^-y 2. 3, 5, 3, 1-8, 6, 2, 7, 8. \_^ 8. Z, 4, 3, 1-8, 6, 7, 8. -^^ 4. Z, 1-8, 5, 8-^, 7, 2, 1. 5. 3, sTl, 3, 6^7, 8. 6. Z, 1, 6, 2, 5, 7, 8. 7. Z, 4, 6, 7, 8. 8. 5, 3, 1-8, 5, 6, 7, 8. 9. 5, 5, 8^, Z, 2, 7, 8. 10. 5, 1, Z^5, 8-1, 2, 1. V • 11. 5, 3, 4, 2, 1-8, 7, 8. \„^ 12. 6, 2, Z, 1-8, 6, 7, 8. 13. 5, 4, 3, 1^, 5, 7, 8. s,.^^ 14. 5, 8, 6, 2, 1-8, 7, 8. 15. 5, 6, 5, 8-1^7, 2, 1. s_^ 16. 5, 8-^, 2, Z, 4, 7, 8. 17. 5, 8^1, 4, 3, 2, 7, 8. s • 18. 5, 2, 1, Z, 2, 4, 3. 19. 6, Z, 1, Z, 2, 7, 8. 20. 5, 7, 2, 1, 4, 2, 1. 21. a, 6, 7, 2, 1, 4, 3. No. 4. 1. 2, 1, 4, 3, 2, 7, 8. 2. 2, 4, 3, 2, 1-8, 7, 8. 3. 2, Z, 2, Z, 4^7, 8. 4. 2, 7, 8, 5, 8-1, 2, 1. 5. 2, Z, 4, 7, 8^1, 2, 1. 6. 2, 4, 2, 7, 5:^7, 8. 7. 2, 6, 7, 8-1, 4, 2, 1. \^_^ 8. 2, 5, Z, 1, 2, 5, 8. 9. 7, 8-1, 4, 3, 2, 7, 8. 10. 7, 5>-l, 4, 3, 2, 1. 11. 6, 7, 8^7, 8-1, 2, 1. 12. 6, 5, 6, 7, 8^1, 2, 1. •^^ 13. 6, 8, 7, 2, 1, 4, 3. 14. tf, 5, 8, 7, 4, 2, 1. 15. 6, 2, 1, 4, 3, 2, 3, 1. 16. 6, 4, 3, 2, 1-8, 7, 8. s.^^ 17. 6, 8, 7, 4, 3, 7, 8. 18. 4, 2, 7, 8-1, 2, 7, 8. 19. 4, 5, 3, Cz, 7, 8. 20. 4, 7, 8-1, 2, e, 7, 8. ^W 21. 4, 3, 6, 7, 8-1, 2, 1. 22. 4, 2, 5, 7, *:i, 2, 6, 7, 8. 23. 4, 5, 3, 1, 4^7, 8. The scale from G is next given (page 23) with its real and then with its pitch names. The words " sharp " and " tlat " are at pres- ent merely names, and no time need be spent in explanation. The tables of figures afford the requisite discipline, and when the facts have been well established, practice should be made in the notation, beginning as in the scale from C. Write the scale upon the board in dots, instead of notes, as was done in the C. An example will be found on the 23d page. The teacher will then, using the tables of figures, call for the same in the notation, using a pointer. (11) The class will be called upon to respond in tone, using some chosen vowel. The movement of an exercise or song must not be governed by the kind of notes ; for in- stance, if necessary, a „ measure may be taken 2 3 3 as fast as ^, a 2 as g. Make the movement to correspond with the sentiment of the. words at all times. Children should become familiar with this idea, and sing fully in sympathy with it. Do not spare repetition to attain this result. Each exercise and song presents some prob- lem of more or less difficulty. This peculiar diflBculty, whether in tune or time, should be overcome by outside preparatory work, as the case may require. In exercises in time each measure or group may be the object of special study, and should have many repeti- tions. After C and G the scale representation is taken up in order through nine keys, and each should be carefully corTsidered. Attention is called to the words of the songs. No teacher can fail to see that these little poems may be made of general value in the school work. Should this work in its earlier stage seem slow, it must be considered that the singers are hereby learning to read music as they do the English language, silently or audibly, and that they are storing up for the future numer- ous music pictures, which may and will be recalled with pleasure and profit in after years. The anticipation of an accent, first illustrated in the seventh measure of the time exercise on page 17, should receive a stronger than the regular accent. It should be quite pronounced. It is called a syncopation. In some keys the scale, when taken in regu- lar order, may go too high or low for regular practice. In such cases use a pitch that will not require exertion in singing. Remember that no tone can be good that cannot be sung softly. Let everything be pure and tuneful. It will then be a delight to both singers and hearers. Each part of the course treats of nine keys. These are the most frequently used. Those not introduced are the following : — p w B Cjf DjfE Fj} G Ajj: B M fc^: #— ^ -0 ^ i Dl? Et? F Gi? A|7 Bl? C Dl2 _, — •_ G\? AMI^Cl? Dl? E F Gl? PART II. This is prepared for two voices, soprano and second soprano or alto. The teacher should carefully examine the individual voices and assign them to the parts to which, in his or her best judgment, they are more naturally fitted. Do not hesitate to change, if longer practice determines that all the tones are not produced with facility. The former practice is continued, even in the interval tables. It will now be seen that every scale notation must be practised below as well as above the key note or one, and too much practice upon this mental scale is hardly possible ; for when this is established, the sign, or representation, presents very few, indeed no difficulties. In the practice so far nothing has been said about differences in distance from degree to degree. The scale has been sung simply as a tune, or succession of sounds. This series has a mathematical basis from which it differs slightly in pitch. Some have called our Major Scale the natural scale. Were it so, our labors would be dimin- ished. There would be no differences any- where. It is found, however, that there are numberless differences among barbai^us, semi- civilized, and civilized nations. An arbitrary arrangement, not departing to a great extent from the mathematical series, has been adopted, which answers every pur- pose in the expression of ideas in music. The slight differences between the true and the modified scale have been dwelt upon and magnified until the subject has become weari- some. It is sufficient to accept the established scale. It has sufficed for all the great masters, and surely ought to satisfy our modem ears. (12) After awhile the distance between 1 and 2, 2 and o, 4 and 5, 5 and 6, 6 and 7, will be felt to be greater than between 3 and 4, and 7 and 8. Between the first may be inserted other tones, occupying points midway. The fii-st, belonging to the Major Scale, are called diatonic tones ; the second are called chromatic. These intermediate, or foreign, tones were for- merly written in colored ink — hence the name. In this Second Part, three of these chromatic, or colored, tones are introduced for practice. They are called sharp or elevated four, fiat or depressed seven, and sharp five. These are more frequently employed than the others. They lead into the nearest keys — these are the keys having an additional sharp or flat — and into a colored key called minor. To the uninitiated there will be found in the book some strange terminations in exercises and songs ; i.e. upon the sixth degree of the Major Scale. These are called Minor. This Italian word means smaller ; but it has another signification, meaning sombre, sad, or plain- tive, and it is here introduced in that sense. There is a sentiment of color which is separa- ble from words and which must not fail to re- ceive its proper attention. In this Part, as, in- deed, in Part I., it is considered of great value. Sharp 4 represents the same distance to 5 as 3 does to 4, or 7 to 8. Let it be practised as suggested by the heavy bar. The so-called \}1 is most easily studied in connection with 6, and $5 with 6. This order can easily be remembered. Let these three foreign or chromatic tones be studied as pr ^B|7 A G F From E [z. /I 2 3 \8 7 6 /E [; F G 'eI? D C From AI?. 4 o 5 4 3 Al? Bl? Bt? At? G -(f}-:rb-f^— « -#- _•_ — #- =1 =^F^^p- -0- -*- d 12 3 4 Al? Bt? C Dl? The remaining keys. From B. 5 6 7 8 Ei?F G Ai? -0 — • f 12 3 4 B Cjj Dj} E FroniFjf. 5 6 7 8 F#GifA|B t, iS r^ _^_ — 0- =1 12 3 4 F|G|A|B From D{2, 5 6 7 8 C#D#E#F# &£g ^=^= 12 3 4 Dt?Ei7 F Gl? From G |?. 5 6 7 8 Alz Bt? C D[? l^^. -0 — «- ^ 12 3 4 Gl? At?Bl7 C 5 6 7 8 t?Di? E|? F Gt? The notes for the bass are progressively arranged, beginning in the simplest form. If those who sing this part will carefully follow the directions here given, they can certainly gain the requisite skill to sing any ordinary music that they are likely to see, and with continued study a high degree of proficiency may be attained. (14) Part III. begins work with four studies of the scale. 1. The simple Major Scale from C, using the C and F clefs. 2. The chromatic deviations made in ascend- ing, showhig tl, jf2, H, to, and tG. 3. The descending chromatic deviations, comprising \}7, j^G, l75, l73, and \}2. 4. The enharmonic scale. These tones are practically alike in sound, but differ in the notation. They comprise the different chromatic tones found ascending and descending. Here should be taken up the table of inter- vals in chromatic tones, and if they are sloicly and carefully followed, will be found to present no serious difficulties. It must be remembered that the first study of every chromatic tone is more easily made, as was done in the case of the $4, j??, and 85. Practice will govern all this. The exercises of this part introduce all the various chromatics, and they will be found to be of much interest, as they serve to enrich the harmonic color. Teachers are urged to devote time to this part of the work for their own good as well as that of the singers. Exercises in Chromatic Tones. 1, 2, 1. 2, 3, 2. 2, Jfl, 2. 2, p3, 2. 2, b2, 2. 2, «2, 2. 3, «2, 3. 3, b3, 3. 3, 4, 3. 4, 3, 4. 5, 4, 5. 5, 6, 5, 5, t4, 5. 5, W, 5. 5, W, 5. 5, jf5, 5. The Completed Scale. 1, «1, 2, t2, 3, 4, jf4, 5, «5, 6, «6, 8, 7, \^7, 6, 1?6, 5, \^5, 4, 3, b3, 2, 1. 1, 2, tX, 2, 1. 2. 5, tl, 2, 1. 3. 1, 3, t2, 3, 1. 4. 6, t2, 3, 1. 5. 1, 5, J4, 5, 1. 6. 4, $4, 5, 1. 7. 8, #4, 5, 1. 8. 3, t5, 6, 5, 1. 9. 8, $5, 6, 8. 10. 4, «6, 7, 8. 11. 1, b2, 1. 12. 4, b2, 1. 13. 7, b2, 1, 8. 14 4, b3, 2, 1. 15. 7, b3, 2, 1. 16. 1, 2, 3, 4, b5 General Drill. 3, «1, 2, 1. 6, a, 2, 1. 4, «2, 3, 1. 7, s2, 3, 1. 2, «4, 5, 1. 6, «4, 5, 1. 1, 6, t5, 6, 1. 4, «5, 6, 5, 1. 8, 7, te, 7, 8. 3, «6, 7, 8. 2, 172, 2, 1. 5, \>2, 1. 1, 2, t73, 2, |73 5, b3, 2, 1. 8, b3, 2, 1. 6, 5, 6. 6, 7, 6. 6, (t5, 6. 6, W, 6. 6, W, 6. 6, »6, 6. 7, 8, 7. 8, 7, 8. 7, 8. \>Z, 1. 4, *1, 2, 7, Jl, 2, 5, »2, 3, 8, t2, 3, 3, ti, 5, 7, t4, 5, 2, «5, 6, 5, 3 8, 7, *5, 6, 8 5, l6, 8. 2, t6, 8. 3, 1>2, 6, b2, 1, W, 6, W, 2, 1. 4, 3, 2, 1. (15) 17. 1, 3, 5, b6, 5, 1. 18. 4, {76, 5, 4, 3. 19. 8, 96, 5, 4, 3, 2, 20. 1, 3, 5, 6, 177, 6, 21. 4, l77, 6. 22. 8, t?7, 6, 5, 3. 1, i^e, 5, 3, 1. 5, b6, 5, 8. 1. 8. 1, M, 6. 5, W, 6, 5, 1. 3, J76, 5, 1. 7, l76, 5. 2, b7, 6. 6, b7, 6, Take as pitch of 1 for Soj^rano and Tenors, C. C . D. D or E. For Altos and Basses, Al?. A. BJ2. B or C. 5, 3. The exercises in time give further divisions of the pulsation following a review of what has been done in preceding lessons. On pages 107, 108, and HI will be found many other divisions. Take the pendulum as before as a guide, and make studies of each measure separately. Do not hurry this work, but make as many repeti- tions as possible. Singers will be surprised to learn how rapidly they can progress in this way. Every form of measure receives its appro- priate treatment in the exercises. In studying these exercises, begin with the lowest part, then the middle, and lastly the upper voice or part. When possible, let all the singers study and sing the notes of each part. Combinations can be made as follows : — 1. Alto and second soprano. 2. Alto and first soprano. 3. Second and first soprano. 4. All together. Even the exercises should be treated as helps to an understanding of the language of music. They are intended to give a great variety of "tone-color," and they will exercise an in- fluence upon the daily work, that will have a value in the work of after years. The exercises should not be merely preparatory to song- singing, neither should they be learned by imitation for recreation. They are worthy a much higher place in school work. The minor scales have not been introduced as special objects of study, as the book would hardly allow the requisite space. The chro- matic tones prepare all the deviations belonging to the Minor Scale, and the various exercises and songs afford illustrations of all the pecul- iarities of the Minor Key. Every difficulty in this direction as well as in modulation may be found in the chromatic series of tones. The songs of Part III. are not introduced in a progressive order of difl&culty . The selection may be made by the teacher as may be deemed advis- able or appropriate for the season or occasion. In this little work it has not been considered necessary to mark the rate of rapidity or give suggestions in expression. Such directions have been given with reference to the character of the music and words as will make the expressive side evident to all. At all times care should be taken to avoid harshness of tone. Use a variety of vowels, continuing each until all the tones are uniformly easy of pro- duction. It is ceitaiu that all tones must be produced in a finished manner without words before the sentiment of the latter can be given. Real pleasure will be found in the music alone, and if it is sung with the thought of the words and their sentiment in the mind, with- out their enunciation, much pleasure and profit will result, and a great step will be made toward the best rendering of the music and words in combination. See if some musical thought is to be found in the subordinate — the lowest or middle parts. Very few students will be found in the classes who cannot sing. Their progress may be slow, but continued association with those who are " doing" will gradually have an effect. This will be especially the case if they are given the drill work in the simple Major Scale and its intervals. Some of these dull pupils have become the most interested. The thought of the music is sometimes correct, but difficulty is found in the control of the vocal organs. Let the singers gain the ability to discriminate in questions of Utne and time. Be patient with your singers. They will be glad to help you, if only for selfish reasons. They must, however, be sure of what they are doing. Those who would learn something of the French time-names and their application are referred to "Outline of Study" of the Normal Music Course, published by Silver, Burdett ^ Co, (16) THE Cecilian Series of Study and Song. COMMON SCHOOL COURSE. PART I Exercises and Songs for one Voice, The Major Scale from C. i^ ^^ Real names Pitch names 12 I I ^8 7 /C D *C B 3 4 5 6 6 5 CDEFGABC A G 7 8 12 3 D E Exercises in Time. «' #'-4-^^ — X- -" — ^— # — i? — — X — — v-0 — ^H^* — • — I :1= T=1: ^— • 'W^^- E5 _^_._._,^_,_-. ffili^g-S ___, fti 3^ =1: ^ Copyright, 1893, by Silver, Bukdett & Company. .•l^ ::•:.•- 3=^^ 3EE^F^*EE3EE3: 3EEi • — #■ i 3^* -»—\—a- 3EEi ^===^=«^ # 1^ 10 :d:=:^: ^ #_ |:==n -# , 11 i 4=d: =:1: PiPi 12 -« — 0- =P=c -, — # .-_ — ^ •— ^-» 13 4 • — > — • — • ±=* ii :;!==: 14 15 m Ipl4:=i le 1^ :1=F=1=^= ^^Et 17 S?=^ la w ^- la 18 ip^3 =^=^ 19 3=E =?=^ — ^ — ^- m la =^ ^ fcEi 19 20 -Z5'- 1^ mi 21 3 -<5^ 22 L:W3_ : — I — 1 — € lii 23 24 :=^=i: I T±: ::1-rzx i^^fel ;^^t 25 -££3=il :9EE^S :i=^: 26 fc=az=i=zE=^=z^5ziz=^Ezf= :i=* 27 d: :3=ij: :^zi^i=t # , U_^- ^ :4=t=F =|: 3ip -^^± E=Sl=i Now we'll all go a - sing - iiig, a-sing-ing, a - sing-ing ZZ=ZZf. :5^i q=t ^P Now we'll all go a - sing - ing, a'" sing - ing, a - sing -ing. w Exercises in Time. il-t-^-K— k- ^—\—^— -H 28 ^1=* iHii 7:f-^-Z la :z2: .^_u.^ 29 :=ii: la la ^1 30 ^ ■-2— q- iSzz^ -1^- 1=1 1=1 la la la ^-^ ^2=1^3=^=::^ :t:: ^^=1=;^ E -« :s ^l^i^^i^^ With the morn-ing's ros - y light, Fade a - way the dreams of night. 51 ^^^m^ mi JSZ ~s: ^— '-^- E^fc=I 4— • — # 3=i=B f=t=t :1=:1: A bird-ie with a yel-low bill Hopped up - on the window sill; m :=l:=:t 3: 3^1; t=t: -# #- Cocked his shin-ing eye and said, "Aint you 'shamed,you sleep -y head!" 21 Exercises in Time. ll-i-'-%--+ _-^_^jj__s. 32 33 ±1 :mz.zL mz:: -0- -0- -0- *^ ~SEE^ lii lii %^^^t- w—*—^ m\ 34 35 :fc^5 i^zrr ^-^~- 1=±=1: »— •- 36 37 1=^ __^ --1^ t=^:^ 3ES^flE^^ ^L3z=^-: 38 39 4i-f -E=3 pis — ^- 40 -.»- :Spi3; F? :Sr: ty ■#■ -#. . ^ :^ = -0 0- :)=± ^—~0- There once lived a pret - ty young kit - ten called Puff, The pret - ti - est -A-=t &s=a: -=x ^ — » — * 3=d=i -# #- :j=± kit -ten e'er seen; His tail was so long and his coat was so T=-X ■-X ^i rough, And his eyes were an em - e - raid green. 22 Exercises in Time. |3_^^;_/_f.,_,_,_(_^_u_, u , L^.^_|^^^^ 41 fc. N ». N ^ s ^— A, -.^ _». J\ J ^ V > t ^ ^ •; « « • _X ■ ^ -w ! Af Cm) S i^ T^ *- #-^=^- H ' " . Jt-t-J=l :^zi#_i_ iir-z I^ L^ 1 %j ^ ^ • L^ L_^_^ L# — ^—w— i #— *- -N-^-->- -# #- 42 t*=*=*: V — ^ i/- H^~. ^- W-- iiUliilplilJ 43 iipiia^Ei^i^^pigiie -# ^--^ 1 T. ^ I . I I . :t=tC=t ^^-a=^^- '^^^m ^ Sing a song of sea - sons! Some-thing bright in all! -m—i— Flow - ers in the sum - mer, Fires in the fall! m\ Exercises in Time. \^Ll-^-}\^^^-^^^^^-U\U-l-[L^i{^-~-\ 44 ^^^i^^iEi. ^—•- \^nizi\ 45 ^i ■4-H — ^^1-4 fcM.--^-^- 46 * ^^^^E^^--3E^ b; ■^-^s- ^^-w-e ^- -. — ^ ^l^^ig IES5EEEE ^— » ■ gi-— «- 47 :i=l: E=:E=t=E|= ^3 h4^-^ #— <^ ?^ 48 3^ l:tEE^PE£ *~* :S=;=ir=t: f-^-F-'-*=:^^^ -J J=hr ' -.^^-li— N^— =1 i The Major 5cale from Q. ■=t^ — •- " i^ 12 3456 7 8 G A B C D E F sharp G 12 3 4 5 6 7 8 G A B C D E F «^arp G =«- — # , 2 3 4 7 6 5 A B C F sharp E D ^^ 5 4 D E C C 1 \8 2 3 7 6 A B F sharp E 4 5 5 4 C D D C E 24 40 60 51 -# — • -9 * pa ::1=P=: 52 {f ggJigS^ 53 fEg^ SE1E» ■■• — r- J^. 54 ^=:is: ;:=t: 55 ±z:^ • f f s^ ^=f ., «_ » 5* 9=^= 56 EH L-2=± 4^-^ ^5 ^_ ^5 ^- t:=p: 57 tpd=4 -zzj:zE^«=«= ~s-r— r— r ^=F 68 '2-- -i^=z=!^l :^ :3E <5' 25* --_^_ 69 .t.==d t=S^E?£3 (S*- 1=t: ^ ^ 60 i^ C ^ -g* — 'g^— bizg: :z?3 - ^ [^— -'^ si- 61 :»— :^ 25 3: :^- :t ^ Through tlie si - lent hours of night, Safe iin - til the morn-ing light. 1=3: d=:1= -&- ■7SL -i9- t=1: :2^=:b God has kept us safe from harm, Shel-tered by His lov - ing arm. 62 -4— # — # — #- ::1z=rq ^: E^^ ^ ii^i^l^l^^ la la 63 d=i FW --^-*— F— h- F — ^— *=F»— *- *-F' #-#^ :*=«: 64 .J — ^^^ -^- I 65 -^-^_, :p=^ TZZZtZUtt^ 66 :5:o==i|: rt tEEEE >— ^ t= piii=^ 67 =t*.t4 1 w_^: — # L :=^i 3^:5 i The finch -es are sing - ing, The brown bees are hum -niing, The # %^-=A-- 1= s J: grass -es are .<- 'SI -g 0- la t=d: :T=^ la la la 85 1:=:F: • — •- —ff m — I — -J 1 J la la 86 ;SlE3=a^=3 ^=i mm -1^ i lii 87 tzz± LSi- 4=0=^ 29 q=^: :iij=- — # 3^3 g-^li 1. The friendly cow, all red and white, I love with all my heart ; She 2. She wanders low - ing here and there, And yet she can-not stray ; All 3. And blown by all the winds that pass. And wet with all the showers. She s^l —ZZ 'm^m gives me milk with all her might, To eat with ap - pie tart, in the pleas-ant o - pen air. The pleas - ant light of day. walks a - mong the mead -ow grass, And eats the mead - ow flowers. 88 ^It^ :^E3 nsi m HZ'-. t 89 ^ — ^ ::1=:: :^^ ?5*- m\ 8*3=3; ■^^=w '8=. Rob - in, Rob - in Red - breast. O Rob - in dear ! # , Rob - in sings so sweet-ly In the fall - ing of the year. 90 te -g^- i^ j^b-^'— J-b£zjEE;^zii=3 30 91 n WE^^S^ ^-JE^£ /9- 5EEE --q: -(©'- S ig¥^ -Z5^- -5*- :ir^ -j^-=S— \^^^ On goes the riv - er, And out past the mill, A - 'P ^^=^- :4=:==d: ^^Pi^3 o->~a way down the val - ley, A - way down the hill. 92 'st-- 4=E=^: -s-s- -s— «^ d: iHi^ lE^E^^EgEgEEgj3E^ 3EEgEgI ^g^igE g^gE3id^^ 93 i^^^ :^ 11=3=2: -4=^ :^z=l:: ^=3; ^=± 3^?=^ 94 «t^ps^ ^^*- :*=M: i=:t tE^ f=^=^ -*-^- 95 * fci infci: jjg^i^ pii la la la 96 %-^ ^^^^ =1: , , m 1 -^ t=? Btn.*; t*; act 31 ::J:t* SSfpI^il^ -t- ^ 1. If I were a bird I would war - ble a song, The sweet -est and 2. If 1 were a flow - er I'd has - ten to bloom, And make my - self Si -^ fair - est that ev - er was heard, And build me a nest on the beau - ti - ful all the day through, With drinking the sun-shine, the -ff^— -I -i 1 # — rj — 0—\~-0 swing - ing elm tree — And build me a nest on the swing - ing elm wind and the rain — With drink-ing the sun-shine, the wind and the s: d=:rd: tree ; Oh, that's what I'd do rain: Oh, if I were a flow if I were a bird, er, that's what I'd do. 97 mmi^s^m^ 98 ^ — *- ^^^^0 99 # it N ^- JLni:^ sm -#— ^-# 100 la la 3-i :| i:S -A s- ^i=i^^i 1^ 1. Dear lit - tie bird - ie, Up in a tree, Sing a sweet song Of 2. Then when win-ter comes Back with its snow, And the cold winds Thri :fe sun Spring-time to me. Sing of the sun - shine, Sing of the all the trees blow. If you, dear bird-ie, will Back to me ls=1==^ '^^ showers, Sing of the dew - drops, Sing of the flowers, come, I'll see that you nev - er Shall want for a crumb. 101 3 H=3 ^ — * -^ — ^ ^ — «_ t=Ez:tz:^EE: 102 ww^=m 1=5 > — *- :^s: 103 '-4r- -S=^=*^=^=' («?-r .0-.^^ ^^ 104 te^p^ 105 '9 — y la ^ E^ f^'S -^ — ,- 33 m ^^^ — ^- ^*=^ :-7s^ I know the or - gan is a liv - ing thing, He speaks SI i-=d=^ 'r-r-rl—^ F=P e; ri=J ^1 -F=t Sun - days when they sing, And when the chor IS :^: iEEEi *=:=22 3 ters in - tone ; But all the week he stays a - lone. The Major Scale from F. m 12 3 4 8 7 6 5 g Eg^:=[S5^ ^^Eg^ 5 6 7 8 12 3 4 8 7 6 5 5 6 7 8 /F G A BJlat C D E. F. .F G A Y^Jlat CD ¥.. F. \F E D C. \] iF E DC. 106 ^^t=^=i ^t=i==J=:-_.=J==-_M=-z=:=r 1=i -« — •— t=r ^^^^ -0 \~^~ la 107 $f Ie^3E^3^ :1=:i g ::±=t •^3 IS la 108 a-E5=5 4r :q=1=l ^i=z*=£i;=?: ±-t 34 * ¥==t =tES l=F=t ,__>.„_ Drop, drop, drop, falls the rain, The still rain; ^ jr-— • — -* l=T=t fci: -^ w E3=fc:: -* — ^^ -^ — ^i^ ^ Drop, drop, drop, drop, drop, drop, once a - gam. 109 i lt=t # #-L:i| 4-L-;: 1=5 :^=itz4 ±=f-zzMz 110 i 1*3 4^-ii^ S -S d •- :d=pz4 P^ 111 m -2—1 •- :f-±-#- ±=it 3^1^. is^=j ^ 112 4=^ 5 t=^ 113 ^ a= 3=Jtz =i±=*= =i=i 114 f^^ ^^^^^^^L' J I X g^ ^ 35 jt—-0- -1— i T|— — #- stars are shin - ing ev - ery-where Through the frost - y Christ-mas air : '^^^m^^^^^^^^ Jack Frost sketch-es on the pane Hints of fern and wav - ing grain. 115 ^=d: ^|z=4=^ 2-s< ^ i9- ~^- 116 3^3: It # ?!=;^ li^l^ S=sS: T=^ 5 All things bright and beau-ti-ful, All crea - tures great and small; i^iriz;^ -■^ gl- -^___^ 3^3 3 22: -«^- -<$^ All things wise and won-der-ful, The Lord God made them all. 117 :3={?-:i^ i s -(^^ £33 3^ 118 :^- i9 — "-2-g- E=t i^^ I^ 3=3 PP 36 .^-d- ■id—*- l^^i^^s With wel-come and with cheerful song, We hail the new-born year, Through * f- — I #- 9—w r 3= t=X- -^-=-t joy and grief ex - pect - ed long, At length we see it here 119 ^^- 120 Ite^E^^^I^ -^-^- :T=q: ^— y afi :&1 ia^ E==^! 1. Come out of your beds there, The cock loud - ly crows, The 2. And see, the red morn - ing So gai - ly is here, On a 5 :^ i^J birds they are sing - ing, The morn - ing wind blows. mead - ow and brook - let, The sun - beams shine clear. 121 :^ g^^ss^^^^^ ■i=--^ ■4--*- :£z:ti 122 %^^^^^^^^^^^^^^ 37 s* • — ^ mn \=t ■F — (S'- Kind words can nev - er die, Cherished and blessed, God knows how deep they lie, -« — 0. :^:d ^^3EE -» ^- 1^=^- t=^- -g 0- 3^ Stored in the breast — God knows how deep they lie. Stored in the breast. 123 ifepj^i^h*- .^—0- q^: -*— ^ ■0 F 1- :^2 trt ^J-«-l-J 9 124 g^^ 0—0—0^ +—0 1- ^1 ii^ N — ^- ^— ^ .^_ ^ Said a pan - sy one day, I '11 get out of bed ; Though the frost's i ^=^ V-?: !Sf==N: 0-4—0- in the ground, It's warm o - ver - head — It's warm o - ver head. 125 ^ 126 '^^ dzrzjzzn: :p.:>;=1: # — 0- 127 38 p- -r — :+rn r-^ -*- -1 — — ^- — Ik -K- r- jA — -^- 1 p- _K -^-D -4^^--^- -»•— * k=^=^ ^ y '- ' -P- 0- , #— — 1 tj '-*^i The rain is rain -ing all 1 >. a - round, It falls on field and tree, It y 1 r N 1 J 1 ^ /L b • * "i ^ J J «< J .■ ^■ r ({[\ ' 1 i r m *l • • - ^ ^ £_:* • ^ 7 LW— ^ !^J ' * rains on the urn - brel - las here, And on the ships at sea. 128 l^^^^^^s^^^i^i^i^ 129 ^fr-^N=^:^^-^i^^^l^J ^ -■4 •- 130 I E^EJ ±zi: :^ '^1^ fii 3^5 g =f=t ■j^ 1. O love - ly bright star, 2. And dis - tant or near, ^4- You shine from a - far, Or yon - der or here, Yet dear - ly I I see that bright EE 1==1: i9m- T -#-f- 1P=^ fzi^fcL^rM ifat love you, Though dis - tant you are ! I love your bright eye. As beam -ing on eye Shining kind- ly and clear, And beck - on - ing too From Heav-en so I E3^£ :^ high, So kind - ly it looks on me Down from the sky. blue ; O star of the eve - ning. Oh, were I as you. Exercises in Time. |jJ_J_JLJ_^j_^^_^_^_^^^J_^^ 39 _- ^^^_- ^ |_^j_i,_j-^^^_^ x| j^ J. |KJ J ^-1 131 * ^-J =!■ » •^ :s: ^ — •—^-^ t:i=i=^ 132 ^ 1=::^; 133 ^;^p: 11=:^ ■^—r I^ i U-J — H- J- J=F-J ^— T4= ±=iF l~ I A F=Fi=l J ai J « # :-H a -1 * # 3-d ^ -^^ -J 1 4 IS=^z=izzz jz=:*= :^=z=iz= J^EE^ :ji=# J^fZIE Ev - ery flower and ev - ery tree, And ev - ery liv - ing thing we see, B =T=J= T— !- t=t =i£^ iiizii 1=±=t •^ — ^ :^=zt K^^ ^ #- Ev - ery face which we , es - py, Ev - ery cheek and ev - ery eye ; In i ii^=n :fc:1=3i:3 :+=* E^ ^ •- t=t -• 1^ ^-^i9 #- all their tints, in ev - ery shade, Are from the rain-bow's col - ors made. 40 Exercises in Time. ||_,^j'Lj^/L/L,Lj_^_^_^_^_^_^_j_J_^^ — |-^ ^_^- |_J__^J__jM JL__^J. -J-. -,U- 1 1 134 #=^^^=IN 3:__* — ^ — ^__^ N h -9 #- i=i 0—-0-~-^-—g =;Ef=t==:*=:ri3 135 i ^t-=^ ft-r i^ » — •- V— L# — , — — ? n 136 i lS=T-=^ -8^-# -^^ \—9f — :- -r— ?— f — -n—^- qziq: #— , i^^ 137 ^^ i^g^^« »— ^— ^-^ ^-^ -• — :i^ = 1/ ^ Sup - pose the earth was bar - ren and bare, Where I m -0 0t. :^^ -n — 0- pleas - ant trees now stand; On my word it would not be I i ^ # ^ # •Nor half such a hap - py half so fair, land, 41 The Major Scale from B flat. ==^^- -^^^^t «— ^ 1 1 2 3 4 23 4 5678 1 234 5 678 V^flat C D Y.ftat F G A Yi flat Y^ flat C D Y.flat F G A Bflat Z-^-VlL 5 4 i t iBflat C D Eflat F \Bflat A G F Eflat D c 2 3 4 5 7 6 5 4 3 Bflat C D E/a< F Bflat A G F Eflat D 138 5^B C=d: =&%^=*=l=^r=h=[==P^f=t-=ZM: EEE^Ei -# — ^ # — ^- 139 EF9=* EMz;4^prz:::t=£EE=«=E::» ■«- I* |: -# ^ T=t -■(&- () bright blue sky, you are so high, I can-not talk to you. 140 m .^ — 0- -^- m 'M-=t -*-.=i: 141 ?4^ a^i i*=^ 43 :bi-H — r i=F=* 1=*: See how fast the snow is fall - ing Through the win-try night;... ^ \r=i=t 3EE^B -#==5: -0——^ -• — ^ Fall - ing noise - less and un - ceas - ing, Soft and pure and light. 142 ii ~^- $zf=zit =J=:fc iztizfc izfzzizfc lit X- -t — * 143 * ?=5 144 g^^^^^ - 1 — -4- M — X -« , 145 :d=q q ^ 9. ^±iEE=^ - < < ■ • J ^ 1-^ i f-t=3 4^-*^ ^^^^g=^ Lit - tie mo-ments make an hour; Lit - tie thoughts a book; . . . -■j^-M-^ — f—, — J — ^ -^ -r—f — I — 1 — ^- — ^?- -fM^ — +— '- -^—x'' f — =^— r- — ^= --^' ^' * Lit - tie seeds a tree or flower, Wa-ter drops a brook;... i d=i ]^5 r^— t T=* 13 Lit - tie deeds of faith and love Make a home for you a - bove. 146 ^- E^m ^- =1^ 43 1] 147 I^ j=E: <&- -(!&- <&- J=4 -(&- 2^ -(&- ^- 1. God of heav-en! hear our sing-iug; On - ly lit - tie ones are we; 2. Let Thy king-dom come, we pray Thee; Let the world in Thee find rest; P ^=i ^ .^?IZZ3tZ Gh Yet a great pe - ti ■ tion bring-ing, Fa - ther now we come to Thee. Let all know Thee, and o - bey Thee, Lov - ing, prais-ing, bless - iug, blest. 148 2^ is: ^ 149 I c;^^— ^-1 — 1= 4 «=3 2:z^ :^ -«^- -i^- L I I I l"^ 't=4 -si— ^- ^E^ J:i^ *==F -($*- Lis -ten, how the bells are peal-ing. Not the bells from old church towers; i -^- -5' ^^ ^^ ^ , _, 1 Look, you'll see the fair - ies steal-ing In and out a-mong the flow - ers. 44 150 ^^^^^^^m #— #: ~t- 151 -^ ^te^ i^- How calm - ly, glid - ing through the dark blue sky, m The i^z: mid - night moon — the mid - night moon .as - cends. 152 ^^ t^l w—* ^: -^-*- :t:t# 153 ^-A- #=i la -x-r- EE^ i p# -, — ^ £^ :^ EE i 1. Oh, tell me, dreams from whence ye come, And 2. To those who ere they slum - ber pray, We whence soon may est -^1 ■:^- be go ¥ your far - off home ? From Heaven we come each night and long - est stay. And all who love their God _ 1_ t=q: 7^ you. night. new, 'Tis right. Will God have who the sends us sweet - est down dreams to at 154 m sS -0—9- 45 ^ 155 "R-J- l^^^Egg ^-0-^ fBE #=-H^7— -K- -^— '-# I^-— - Kind words are the gar - dens, Kind thoughts are the roots Kind i' __^_ words are 156 the - R-^- -I — #— * « — # bloss - soms, Kind deeds are the fruits. 1-^ •*-7-:^- #— , -#-?- 157 f$l^^^ ^_j_ — p_| — :U.ii^ i^ 158 :^% i^ -*-7' 1. Of speckled eggs the bird - ie sings, And rests among the trees; The 2. The children sing in far Jap -an, The chil-dren sing in Spain;... The m -N-4^ m\ sail - or sings of ropes and tilings, In ships up - on the seas, or - gan with the or - gan man Is sing - ing in the rain. 46 159 160 P 1 — rt r 'W- -<^-T- -«*- ^- |l 1. Up - on the wall, who's sit - ting? 2. Take care, you lit - tie spar - row '. 3. Where now is lit - tie spar - row ? 4. The puss - y - cat has caught him, ^ &- Fa - ri - rum ! She's Fa - ri - rum ! One Fa - ri - rum ! He'll Fa - ri - rum ! And i t=X watch-iiig spar - rows flit - ting, Fa - ri comes who'll bring you sor - row. Fa - ri sing no more to - mor - row. Fa - ri to her kit -tens brought him, Fa - ri fa - ra! fa - la ! fa - ra ! fa - ra ! O spar - rows fat. Take O spar - row dear, Take O spar - row fat. You So, spar - rows dear. Take \^. X=:.-^. 3 4 9 care, take care, 'tis puss - y - cat. Fa - ri - fa - ra, fa - rum. care, take care, the cat is near. Fa - ri - fa - ra, fa - rum. did not see the puss - y - cat, Fa - ri - fa - ra, fa - rum. care, when Mis - tress Cat is near. Fa - ri - fa - ra, fa - rum. 161 s ^— #- z^ I 1 — t *=^ -^=^. Sum - mer fad - ing, win - ter comes, Frost -y morn-ings, tin- gling thumbs, I E -«*- Win - dow rob - ins, win - ter rooks, And the pic - ture sto - ry books. 47 162 .»_#. --^=i^='t^ J-0-J—0 f: 163 iie^^r^pi^^ #---# «r 164 Sfei^^^g^^4 :a=il: -? — 165 i ^-*=3= ^^ -, c t# 166 -& F=^zrfc'=5=t^zz3 ^— #- :73E£3EE fz-r # i? 167 8 #— ^ =?=#- -^-— y- * — ^ ->« K- ■f-±zd -K — K — ^- :^ — r ■9 ^ The lark is so brim-ful of glad-ness and love, The green fields be-low him, the -^ ■-^ — ^— f- aziztizV: -^ S h -b^ — 'i^- m blue sky a-bove, That he sings, and he sings, and for - ev - er sings he, " I id?. bW ^^ \ ^ 9—9 1 T- -y ■>- li^zii: love my Love, and my Love loves me." "I love my Love, and my Love loves me. 48 1^ The Major Scale from A. # ^ ^^^^— ^ ^ — ^ 123 456 7 8 12 3.456 7 8 A B C sharp D E Y sharp G sharp A A B CsAarjo D E F sharp G sharp A. i^^^mm^ -0 — ^ /I 2 3 4 5 '8 7 6 5 4 3 /A B C sharp D E * A G sharp F sAarp E D C sAarp 168 -— » ;^ 3 4 5 6 5 4 3 /A B C sharp D E \B G ,1 2 \8 7 H3=i G s/mrp F sAarp ED C sharp PI 169 -?* — # ^ :t=F: HH 1=: ^ 170 rt ii T =^=^=^^^ l±=^ - 4 X -^ ^ X — f — X- 171 Fg^¥2"~r~=F F=F F=^ 3=^ t=t=t 3==^.: 172 fc» ^fe ±=i t=±- t^ 173 49 174 4==t ^1 175 1==^ i:^ F#¥*--fi ^ F=3 ^=f=h n FP=^^=3 — ^-^^ f 1 -^— ^^i— •-— -^— ^-^-^J-^4— ^--* .- ^- =*=p-: 1. How ma - ny deeds of kiiid-ness A lit - tie child may do, Al - 2. It needs a lov - ing spir it, Much more than strength to prove How S -A= ^I though it has so lit - ile strength, And lit- tie wis - dom too! ma - ny things a child can do For oth - ers by its love. come in the May. 50 177 t=t: :^-^ =:4i=i:± pie j^—-0- ^^m 178 i^ -#• — --j- ^^^^^m 179 :i«S P :^^S3^^ •Efe^^SgEi ^ f-^-*--f-? t=^t 180 -3_^4— i 1=:t=R ^ — •^— -d-— i— i^- -^—•~ H=^_ 4=::f £^E= 3*ET^&^EEfE3 :^iiM: 181 M Si^i^. tr=X J=(::t tq: ^3^^^ #— ^ la la 182 ft 1=t te3S It* :t=i 1^^ ^— ^ i^— ^ ±:14 i ¥4^ t=t=t:: There was an old wo - man sold pud-dings and pies, She went to the tfil i i^?=?==^Fi lEi i=n^ 3t:z^ i mill, And dust flew in her eyes ; While through the streets, To all she it^^ tt: -(^-— ^Eig t=rt :^ #- ^11 meets She ev - er cries, Hot Pies! Hot Pies! Hot Pies! 51 183 ^ f^- _q!^__« 0- -jtzt-X 184 —S-0 -J:-,„,_». *— •- ;'EEE;E^HEgEJigE^^ j i ^ # :l=t:: ^-7-f- ^E^ii^gii^ 1^-: The storm - y March is come at last, With wiud and cloud and p 3! i chang-ing skies; I hear the rush - ing of the blast, -7-f- That m -Jt Pg^ifi^i^g^^^ through the snow-y val - ley flies — That thro' the snow-y val - ley flies. 185 ipg^ g ^— # E^^ i^— # 186 wi v~] — ! — i~^" ^~^ — ^" :t=E=t:=:t *-n- -J—JS- 5^ la 2 i wS-, il -^-r-J^ ^^ Oh, the sun- ny sum-mer - time! Oh, the leaf - y sura-mer- time fe ■J N- £ ^^ F- ^^1 Mer - ry is the bird's life, When the year is in its prime. 52 187 ^M s $ 188 iJ; *^ itatriUatit i=t ^—^ ^ i^ *:*=*: ^ t=^ t=t=t: ^3EEE^ Vzzz^ i « 1=5 # — ^- ^ Our ros - es bloom and fade a-way, Our In-fant Lord a - bides al - way ; May t=trc-* ^EfeEbEEt^EETz? 0—-g- we be blest His face * to see, And ev - er lit - tie chil-dren be. 189 ^-•— ^ -#— #- :i=* •—^ .^-4 ^Z± 190 i :fc^ fK^.-^ \ ]\]ry = f-^rr--nr ^ t^ -4 — •- -'g 7^ i u 3^ i^^ r44 ^ 7i- A wick-ed ac-tion fear to do, When you are by your-self. for ^ U.=± ^: ISC ifclt i=1^ though You think you can con-ceal it ; A lit - tie bird that's in the air, The ^i ^P1 hid -den tres-pass shall de-clare, And o - pen - ly re -veal it. 53 191 4i: i:-|-:^EEg^^^^E g ^^ F j; ^H-j-*^ =p— l>-J^ 192 tf r-£feiEE t=F :^ ^^=^^-^^-^ -g^-^ U Izfc ^-=1=^ I 1^ ^ -^^=#= i^- The flowers are blooming ev - ery-where, O'er ev - ery hill and dell. And ^^iiee^^ ^=^=i: :)=* ^ =f===t ^ # oh, how beau - ti - ful they are 1 How fra-grani, too, they smell. 193 ^^^^^^^^^ ■^-^- t^ •—^ 194 SEi ::1=F=I- :d^q3: -& f--?- tii: ■#-x- ^____. 195 A=t: :tEh «_,. ^3: 2=t I ^p^^^^ii^i^i^^^g The spring-tide hour Brings leaf and flower, With songs of life and love : And i 1 ^^ — I— i=S: ^ E fct -^ — *— ^ many a lay Wears out the day In ma - ny a leaf - y grove. 54 ¥^r^ Vw—^ The Major Scale from E Flat. — _-^- b:i=z:Fpb.= i 6 7 8 2 3 4 5 8 7 6 5 E/a/ F G A^atBJlatC D EJlat ^m i^ 2 3 4 5 6 7 8 6 5 iEfatF G A fat B fat C D E/^at \8 7 lE_/fa( D C Bjlat (EJlat DC B/a( :pk 106 ;ee3 ^Pl ai_E3^ f=t :|=t 197 JS| EEJEEI -^ # fzzti^==t=|:z=t 198 ^6f -^ — *=f-* — *= F- E=3^E^E3 S *-l- i d: 5 f- 1. The air is balm - y and se - reiie, And all the 2. Then let us wel - come pleas - ant spring, And still the m sweet, lux - u - riant scene By thee is clad in ten - der flow - ery tri - bute bring, And still to thee our car - ol i ^ 1^- ^ 3 green, love - ly May! O love ■ ly May! ing, O love - ly May! O love - ly Mayl 190 55 :t ^ 200 * j — ^— F=# — w-y^ — ^— F -^^ — *- f^3 £i±3: 201 ^=^r:— d±d--^ ;2zl2 ^ — I- <&- ^^ 22: 202 SSS ■. ^ — ^ ^^^3 --^J— L^ 203 ^fetBEg ^g ■« — «- iE3 dziM: 204 feEiE^^EEgi^^ ^— * ^-— ^-, ij — # — I — I — J — 205 ^S -1^- -#-^^#- :^ t: 1. The fit - ful A - pril sun - shine Is wel - come af - ter rain; She 2. Her gold - en wand up - lif - ted Sends raindrops scattering far, And 3. There's not a per - son sees her, But bright-er grows her face, There i h^^EEE^z ^-■ fills the earth with beau - ty, And lights it up a - gain?" flow - ers spring to greet her, Each shin - ing like a star, is no guest so cheer - y, In ev - ery gloom -y place. 56 206 0—9 h s? 207 ^StEE •^— ^- ■^— 7- Hzzqzzo: ?=^5 i:=fc:fc: ^■^t 3 -#— ^ 1. Lul - la - by ba - by ! Lul - la - by ba - by ! Go to sleep ! 2. Lul - la - by ba - by! Lul -la- by ba - by! Curl up your toes; 3. Lul -la- by ba - by! Lul -la- by ba - by! Eyes shut tight; i ^3 fci: Eyes, oh, how naugh - - ty, Cud - - die your lit - tie knees Lit - tie mouth is o - - pen, ■V- . to still Up to your So, good m EfcS i^iU #-^ peep — Eyes, oh, how naugh - ty, Still to peep, nose — Cud - die your lit - tie knees Up to your nose, night — Lit - tie mouth is o - - pen. So, good - night. 209 W^^^ Es= i=^ i^ iS-t •0- • 210 ±=1: t^S^ ^ ^-iS^ :^ 57 i fc t=i: r^z: E£^± E The world is so full of a num - ber of things, I'm t=i S sure we should all be as hap - py as kiugs — We should * m ^ :pzz=t:=:4 .* m s ■ I- \ -=\^ all be as hap - py — we should all be as hap - py — I' m im b=* ^^3=^g -0 -0- r=^ -«<- sure we should all be as hap - py as kings. 211 '^^^^^^i 212 # ^ 213 |^^=^ii ^=7=T- =^^^ ^^\ fM Here we go up, up, up, -^-t ±I± And here we go down, down, n N = 1 down y. And here we go backwards and for ^^^I=^M -1=3=-*- S wards, and J ^-?^l here we go backwards and for- wards, And here we go round and round-y. 58 The Major Scale from E. /I 2 3 456 7 8 A 2 \8 7 6 5 '8 7 /E F. \E D; 45 6 5 /E F sy^arp G sharp ABC sharp D sharp E. /E F s/mrjo G s/ta/y? ABC s^arjo D sharpie, sharp C .sAar/> B. /EF \ED sharpC sharp B. 214 E^P E* t=i l=Fd: ^i H ^- 215 r»PP£i « 1 M -^ 1_ ^^i^g; q= 216 fe^ tZ?=IZJt -(S^- 3^3 -# ^ -&- 217 iifes^^^^ig^ ±1 S3^3 t=t 218 8 5=::zq=i:]=z -<^- 219 r-HJg ^ l-l- q=Ft: ±=-^-: -! =h ^Ef^ 4=J -■» — ^- »—t-v~\ 220 «¥ i=d: :*z±t -# 1- irp: 1 — ^- i^ -# — , 59 m m +-^2= <&- 3 33 t=± 1. A, a, a, 2. E, e, e, 3. I, i. i, 4. 0, o, o, 5. u, u, u Old Win -ter comes to - day; Now ice and snow we see; The poor are ev - er nigh ; The mer - ry chil - dren go ; I know what I will do; Fall and Sum - mer now are past, Win - ter has be - gun at last ; Flow - ers bloom on win - dow panes, In the fields no bud re - mains Of - ten with no gar - ment warm, 'Gainst the win - try frost and storm ; Christ-Child each a gift will bring, Joy - ful Christ-mas hymns they sing; Christ-Child praise and Christ-Child love, With dear an - gels up a - bove ; i4 A, a, E, e, I, i, o, o, u, >i, ^-0- -^ ■—# ^ 3^ Old Win - ter comes to - day. Now ice and snow we see. The poor are ev - er nigh. The mer - ry chil - dren go, I know what I will do, 221 ^^ ^-^ *=^=ttitq ^-0 SE^S ^-0^^^g-^-0- t==±=tr:q: 222 la p— # I -p- ^ — ^— ^-^- -_J=rzf- -^— * — #- 60 223 ft <&- 3 1 Ei 1. Un - der the green hedg - es, 2. Sweet as the ros - es, and aft bhie er as the the snow, sky, i tt=j ^^g^E^Ei d=i :t=F There do the dear lit - tie vi - o - lets grow, Hid - ing their mod - est and Down there the dear lit - tie vi - o - lets lie ; Hiding their heads where they f tt=3^ 3= j=j =q: E^ ... . -* -.^ * '^"— beau - ti - ful heads Un-der the haw-thorn in soft moss - y beds. scarce may be seen,By the leaves you may know where the vio-let has been. 224 1. The seed that springs and the bird that sings, And the shining summer sun, rhe 2. Then thankful we'll be, for shall not He Who gives to each bird a nest, — Toeacli ±!=5: ti - ny bee and the might-y sea, God made them, ev - ery one. bee a flower,for its lit - tie hour, Give His chil-dren food and rest? 61 225 •=!: -— * - ^^ ^ - ^feSE^ 4-- ^ —I 0- ^- t-- 1. I am a bold fel-low As ev - er was seen, With my shield of yel - low, 2. — Not a bit fear -ful, Show-ing my face, — Al- ways so cheer-ful ^- I^ In the grass green, With my shield of yel - low In the grass green. In ev - ery place, — Al - ways so cheer - ful In ev - ery place. 238 ■^^=^- m -^^ ?^l ^— #- -^^ m ^r^- E* f:=^i EESEE :^- 1. There was a man in our town. And won-drous wise was he ; And 2. And when he saw the tree was down, With all his might and main, He fcr -:ir—-^ t:z-j^ with an axe and ma - ny whacks, He once cut down a tree, straight-way took an - oth - er axe, And cut it up a - gain. 64 239 i^S li ^ — iss— — (- iz-t* :d=^ -*— • 3^ ;3EE ■sz=^=ir > 1/- s^[^ii^ 240 :1=^ ^^^0 V w^ il^l 241 ^^ S: 1==j: :1=1: 11 i=t ,_f=-=r;=^ 242 i fete e la la ^^ i=t: ^^ — #- :t=!= --■x—^- :*=4: #— ^ !==l=^ •—^ 243 ig gggE^pggE gF^^ gE :^ r=F^^E3Eg te 5^ ■8- 3^ :a=2: *— ^ 1 . While my maid - en's spin - ning, Hap - pi - ness she's win - ning ; 2. While my maid - en's spin -ning, Cheer - ful - ness she's bring - ing; 3. While my maid - en's learn - ing, All to good is turn • ing ; fer \m. -•—w- *-?- d: 5 33 So will grow her hair of gold, So her wis - er years un -fold; Gai - ly be her work be - gun, End - ed well her la - bor's done, In her spin - ning here be - low, May she learn her God to know, P^ V=x. ^F it While my maid - en's spin - ninp^, Hap - pi - ness she's win - ning. While my maid - en's spin - nincf, Cheer-ful - ness she's britig- ing. While my maid - en's learn - ing, AU to good is turn - ing. THE Cecilian Series of Study and Song. COMMON SCHOOL COURSE. PART II. Exercises and Songs for two Voices. The Major Scale from C. ^ -^ -r 1 2 3 4 5 6 7812 3 7 6 5 fCDEFGABCDE ^C B A G The Chromatic Tones sharp 4, flat 7 and sharp 5, p===^=,=^(|:,)^- sharp 4 ^^ EEF^-=^=(|j )' flat? ti; :(i^): sharp 5 Copyright, 1893, by Silver, Bukdett & Comi'anv. 66 i-J-^Li The divided (half) Pulsation. ■***-« l-J^- -^ 7-7-?- I I I 0—0—0 Gf 0—0- J-s-J. ^-•-S -J-7-#-7- -^-U-i -7-J-7-;- ~0 — ^ •- -(5' T- -0- 7 I ^T ,^ -# — # 0- -0—i—0- ■^?-?-?-?-7- -H-!-n-f Jl ^ ^ .^^ -^ p^^-#^^-#^^- .,-.v^^ #-T • # .-.fc-.^ IA m r*i rn m I i ^ h i*^ i"^ i i'*^ i*^ i*^ m # — 0—0 — 0—\—0 — — 0- 1 I I I > \ ^| I -0 #-T 0—\-^- \ ]^np-n-n-n-n-\ — ^ — ^|_j_nj_,n|_j_^_nnj_^_^rTi._j n H C P R R P?| 1^^ R h^ Rl r^n FT" 9-\-0— 0-0-0-0-0—^ -0-\ -^ — « — 5 — 1-# — ,j — -i-^ — J^# — S — 1--#^ — ^ — L_^ — J3_.^ — J — c_ « — J ^^^^^^^m^^^m 67 J-ifeH mm^ -0 # r :Ei=5 gPii^^g ^ -<9- 10 I—, — I- ^— — •- -#-T W- 3E^ -•— r -J 1—, — I !— , — I ;ej ^^ :^ :U tzzjr «»- r * ■4-4- ES: ^=:3: • — *- The ros- y morn is break - ing, Its beams I see a - far;. The j=pi 1=± '^^m S^i song-sters are a - wak 11 ing. And pale is ev - ery star 1 3ES :t -fr J: t- -fi2- -^— ^- 12 S* :4z;± 3^3 i— i '-nic-^ ^^ I* es 13 , #5 ^W\ ^ German. :ftEi ■4— «- 3EEE5 :43: ^— # =^ 1. Come 2. Hur cliil - dren, rah for to - day, to - day, To wel - come the Ilur - rah for the May! The May! We'll flow - ers go out :i==i:Sz==i=fzzEtzz==:[:z==i5=z3=E|==5==z-: are spring - ing, to meet her, m The birds all are sing - ing, We'll And joy - ful - ly greet her, Hur - ;^ :i=1: -0 -I — .<5i_ sing. too, and play, We'll dance and be gay. rah for the May! Hur - rah for the May. GERMAN, TR pg^pi German. ^i3 1. We'll bring to the Spring-time Gay dan - ces and song 2. So let us be roam - ing. Through val - ley and i)lain, Who has Till the i :l^ :^=r=i=E=J=i: ban - ished the bells in the Win - ter, gloam - ing, T So drear - y and Call home - ward a long, gain. 69 t=^: ^=V d=i :J=i i&- ^ ^ 16 I 4 EE3: ._4 i»- :J^ • «-L» ^ 1 f ^ J English. 1. Tell me what the brook doth sing, Wea - ry, wait-ing for the spring? 2. Tell me what doesrose -bush sigh, Long - ing for the sum - mer nigh? I — -1 -j — — 1 pH ^ — j J—, — 1 1 , "Let me free," the brook -let sing -eth,"Win - ter, let me haste a- way!" "Let me blos-S(3m," rosebush sigh - eth, "Let me o -pen to the day!" 1 ' = * 0- d: 5 s; rrz, — ^- t Brook -let stay a -while thy play-ing, Soon the south wind will be blow -ing, Kose- bud wait till June comes to you, Then its zeph-yrs soft shall sue you. And to set the mill-wheels go - ing You shall haste, shall haste a - way. Audits ar-dent sun shall woo you O - pen, o - pen to the day. W. VV. Caldwell. 70 The Major Scale from Q. $^^ i I: 12 3 4 5 G A B C D mm 6 7 8 E F sharp G. ^ 5: - ^ — 12 3 4 5 6 7 8 G A B C D E F sharp G. /I 2 3 4 5 6 ^ /I 2 3 4 r ^ ^ 7 6 5 4 3 2 1 ^8 7 6 5 ^ 6 3 2 The Chromatic Tones sharp 4, flat 7 and sharp 5. -i — .^x^ . .- ;(p). sharp 4 — •- :(S3)^ flat 7 Pi my- 19 sharp 5 -i—S- i* "-t- 20 21 S^ — r-T t=i^ 5E3: "mm 1-5 I I ^'J'-' P 71 iE=f_^__[-gzziqz:piq=z:=qz:qip^ziq=Z(:q==q Ger. Choral. m^^^ i 1. God is love, His mer - cy brightens, All the path in which we move; 2. E'en the hour that dark-est seem-eth, Will His changeless goodness prove; 2. He with earth-ly cares en - twin-eth Hope and com - fort from a - bove; :\=i Ei f=r=t^=i: I r\ Bliss He wakes, and woe He lightens ; God From the gloom His brightness streameth; God Ev - ery-where His glo - ry shin- eth ; God wis - dom, God wis - dom, God wis - dom, God is love, is love, is love. Sir John Bowring, 1792—1872. German. -^-'- 3^^: 3=EEi 9? d=n 1. The moon is up in splen-dor, And gold - en stars at - tend her; The 2. Night' s cur - tains now are clos - ing Round half the world, re - pos - ing In ^ 1 J_^ 1 ^^_, , 1 \- -^' iTElB -2^ heavens are calm and bright; Trees cast a deep - ning shad - ow, And calm and ho - ly trust; All seems one vast, still cham - ber, Where ■U=i n^ m m "' ^ '-^ I slow-ly off the mead - ow A mist is ris - ing, sil - ver - white, wea - ry hearts re - mem - ber No more the sor - rows of the dust. Ger. tr. by C. T. Brooks. ^-^- ^-^^^— ^-^-"-S— ^-^r *=^ HiMMEL, arr. m 1. When find we at sun - set re - main 2. Our cir - cle as yet is un - brok 3. Yet since Time's fleet cur - rent stays nev 4. Yet though we are scat - tered and part 5. And if e'er we should meet to - geth ing The en, No er, Let us ed, Our er, When i :i=* ^: ^:=S— N— ; flowers that at sun - voice from our cho • all make the most friend-ship shall nev ■ we have grown old =•^1* , - rise were bright? rus we miss, of to - day; er grow less, and gray. m U^ ''J I ^ ° The moon in her And kind are the Who can tell how soon And ev - er we'll May our eve - ning's ^T= -J_ 2 :s»- wax - ing and wan - ing, words that are spok - en, for - tune may sev - er, wel - come, true - heart - ed, sun - - - set weath - er mi Gives ev - er a change - ful Could life but be ev - er like And scat - ter us far a - The news of a com - rade's sue Be bright as our morn. - - ing's ^SJ ♦ — • — 5r ^: * light... Gives ev - er a this Could life but be way And scat - ter us cess The news of a ray. , Be bright as our change - ful light, ev - er like this, far a - way. com - rade's sue - cess. morn - ing's ray. 26 73 27 i4f-€-v-2-€= riizzt: 28 i* Pits ii^ — ^ J 1 ^^7^ |5 i:7 j}5 r 79 b7 ,-., i' _!:_.,___ ^ — ,_ — =D 1. Through the rest - ful night de - fend - ed, Glad our song of thanks we 2. We are met in school with glad-ness, Ea - ger each our tasks to s=i=r sing; i - die thoughts and words are end - ed ; Cheer -ful hearts to work we learn; I - die days must lead to sad-ness; We are born our bread to _s . ^ ^ J-** ^ ^ ._ _* N v_ :&= 9 #~ 5 bring. We are fee - ble, yet we're read-y; Cheer-ful tem-pers, fin-gers earn. Youth is short-lived, life is press-ing; All our la - bors need a ^-s-l— HS- :i ;iEi stead y. Quickly bring us through the day — Quickly bring us through the day. blessing; God be with us through the day — God be with us through the day. i GERMAN, arr. ^ ^ 1. Spring - time 2. Vio - lets 3. March skies 4. Glad as IS are are a draw - ing near. Snow wreaths must dis - ap - pear sleep - ing still, Brown is the wood and hill, bright - ly blue. Sun - shine is bright - er too; bird can be. Sings he from leaf - less tree; m^m^^^m^^w^^mm^\ Blithe rob - in What means this Should not blithe Learns a new sings glad rob round - e a - gain, Joy - ful some tone, Kob - in in so Spring's com re - frain. a - lone? ing know? lay For the green May. 64 'hp-^*—:jr-^r:ir — I #' ^- He who gave them grace and He who sends the gen - tie Love-ly flowers ! He lov - eth Hears your an-them, sweet and hue. Made the lit - tie chil - dren too. dew, Cares for lit - tie chil - dren too. you, And the lit - tie chil - - dren too. true, Hears the lit - tie chil - • dren too. Frances R. Havergal ^4^; German Folk-Song, arr. is: g 1. We 2. The build - ed a house, Founded house, a - las ! is fall - en. We 5=^ ^^U deep in the rock, bow 'neath the rod. And But the $ -gr ^=r? ^ there spir • in God we trust - ed Through per - il, storm and shock — And it still re - mains, And the sim - pie trust in God — But the I ^^ ig there spir ■ in it God still f-^r we trust - ed Throvigh per - il, re - mains, And the sim - pie storm and shock, trust in God. 82 The Major Scale from B flat. i ^^^^^ ~^^ ____,_, 1 234 5678 1 234 567 BflatG D EJlat F G A Bflat Bflat C D ¥.flat F G A Bflat ^^^^=r '-•^^ i /I 2 3 4 /^ ^ *8 765 4321 ^8 7 The Chromatic Tones #4, b? and #5 ^ # ,— ^ 3 4 6 5 4 3 2 i sharp 4 S^ ;(5). flat? i sharp 5 66 ^=:_-d^^d: w^mm 67 -J-=f- 68 :^: 251 -'-<5' 25>- J— 4- ag^ B^ ti:^- ^— #- i^ ■^, — g^- i* I -'»• -z^ r- ^a^ i=:;5 r i= f=f^ irrrr^ r r I I Of- 83 -J ] r--r-— d -J d r 1 _ ^ , i-^-f # f— •-S^-T — =^ c^- .-|^— «-^ 1,_ _^ — i_,^_g_ d I ^•-^■g^ 1. The Cuck - oo sat in the old pear - tree. Cuck - oo! 2. The Cuck - oo flew o - ver a house - top nigh. Cuck - oo ! i -^-: S: =g= Cuck - oo ! Rain - ing or snow - ing, naught cared he. Cuck - oo! "Dear, are you at home, for here am I, Cuck - oo, cuck - oo, naught cared he. Cuck - oo, cuck - oo, here am I ! ' 84 $ a SwABiAN Air, Arr. ¥= ■4 1- ~T- t&i- Down by the Neck Warmth in the plain No friend - ly glance ar stream, How fresh and gay; we find. Here it is cold; for me, Not so with you; I fci ^^^ -• — r — r- Here of joy not Bleak blows the moun Dear friends, though poor a gleam, Dull and sad all things seem, tain wind, Like the folks' hearts un - kind, ye be, Down there so blithe and free, I aft There day glides All their de - sire Fain would I join 75 - er day Cheer -ful a - way. is gold. To have and hold, you too. Warm hearts and true. I td: Fr^ -9 :^ •^ -r rT -F=F W 1. A - rouse up, ye sleep-ers, the morn-ing is come. The sun 2. Oh, lose not the bright^ness of morn-ing' s young beams. The beau- 3. Then rouse up, ye sleep-ers, the morn-ing is here. The sun -JT— i -N 1 r-- -I , -I- has a ties of is a ii :to t=t wak - ened the na - ture are ris - en, the in - sect's soft sw6et - er than sky is all $ T=t hum; The sheep to the fields dreams; Your down-y bed leav- clear; Come out to the mow __J I ! I 1 I I . ^3=hii=5 I go. The ing. Go ■ing, The -I 1 -g?- -9 t^l » • #- men to the mead-ow. And all to their la - bor till day - light is low. forth till the eve-ning. Its fra-grant air breathes, and the niglitwar-blers sing, plant-ing and eow-ing. Come quick-ly, ye sleep-ers, and come with good cheer. :=iiz*=zz&i±^z:fz=:E 79 T^ J=^i:FJ -I N— I- ps^ii ^- :2— i: 80 #5 #* 81 i=^ #* #5 #5 VOLKSLIED. f%=^ itii __, Lh 1- J=i(: ^=«= 1. If I a bird could be, I'd fly with pin - ions free, To thee a - lone; 2. Though I am far from thee, I am in dreams with thee, With thee, my own; 3. Still in each hour of night. With tender vis - ions bright — Vis-ions of thee ; 1 s Since that can nev - er be, N"o, nev - er, nev - er be, Here I must stay. But when I wake a - gain, My heart is filled with pain — I am a - lone. Thoughts of the lov - ing heart, That, though we' re far a - part, Mine e'er shall be. 86 The Major Scale from A, m isi: i==^=^l-=i5 ^^r^^ 12 3 4 5 6 7 8 A B CsharpD E F sJmrp G sharp A 12 3 4 5 6 7 8 A B CsharpI) E F sharp G sharp A /I 2 ^8 7 fefc #^ fi 3 4 6 5 4 5 (^ ^ 54 3 21 '8 7 654 The Chromatic Tones J 4, !? 7 and j(5. ,____^ ^Pi ?harp 4 « r=i; ;(©^ flat? * 82 lip -j^ sharp 5 -s"- 7©- :iE= 83 84 la , Trf-T la #4 E,^ lii 85 87 la 86 ^5 la 87 to ^ ^ ^ 88 ' L— J ^ j(4 ^ — I- € ^- 3HEiE: :4 — ^■ 89 -^^ :|fe a: i i M E. S. Cakter, aiT. r-ti p? £3 r* ♦- yiiz; ^ -w — f^ — r-s<5'- 1. Day by day we mag-ni - f y Thee, When our hymns in school we raise ; 2. Day by day we mag-ni - fy Thee, Not in words of praise a - lone; dai - ly iifzzz^tztzd Dai - ly work be - gun and end - ed With the dai - ly voice of praise. Truth-ful lips and meek o - be-dience, Show Thy glo - ry in Thine own. J. Ellerton. 90 tt -immmm =(=i 91 W -^-t^-h-r 1 >j ''~¥:-^ ->»— _^___^.___ i I* Put out the light, The moou-beams bright Are shin-ing down on ba -by 3 to sweet; The black bat flies a - cross the skies. The owl comes out the mice to I 1^ > K . ,. . V .11. meet, 'Tis evening now, And time for bed, Bright golden stars watch o - ver-head. 92 tt^-J ^^ •-^ — •— 7- •-T-S— • 3=^iJ=:tot:jZ:Fij=f:J L' :? 1. Sis-ter, a- wake! close not your eyes! The day her light dis - clos - es, 2. See the clear sun, the world'sbrighteye, In at our win-dow peep - ing; 3. There-fore a-wake ! make haste, I say, And let us with-out stay - ing, And the bright morn-ing doth a - rise Out of her bed of ros - eS. Lo! how he blusheth to es - py Us i - die maid-ens sleep - ing. All in our gowns of green so gay, In - to the park a - May - ing. Thomas Bateson, 1604. i :3E^ ^=:i: Si: The Major Scale from E flat. ■¥• Zi=iZ^^^ ^ 1 234 5 678 ^flatV a A flat B flat C D Eflat 1 2 3 4 5 6 7 8 liflatF G AflatBflat C D Bflat --±-jg—^ liT-^bii: /I 2 3 4 5 *8 7 6 5 4 1^^ 7 8 /I 2 3 '8 7 6 The Chromatic Tones j{4, I? 7 and J}5. 3 4 5 6 7 5 4 ;«). IJ sharp 4 :(M' flat? ifctt ;(t^). 95 '4-«==J=S^ sharp 5 ^^h- y— ^ :=J: '-Z5'- ^5-^ *=] 96 b7 iS^ :^^ s=r i=f: «— IT g 97 is »3fe; ;iz:*-tiz=:5±: iziq: gimp 90 -Id 1. A cool-ing breeze stirred all the trees With music soft and sweet; The 2. A flower held up Its f ra-grant cup, To catch the welcome rain ; Each ^^m rain-drops fell In the qui - et dell Like the pat-ter of fai - ry feet. li - ly bell In the beau-ti-ful dell, Swing to the low re - frain. Margaret Yeeder. 98 Bf-3: =1: t:p± :^ irJT: I I felSs I German. 4 3^ « — «i . J 1. Song Alls 2. Then for our life with beau - - ty. Song bring - eth the Fa - tlier's kind - ness, Let us our m 3. A 4. Oh, song to friend - ship al so. Which heart to let our souls to good - ness, Hence - forth de i EEJ t-^ :zd: — «- d: I and =1=1 3oy voic - es heart doth vot ed love; raise, bind; be. r r I- Song is God's an - gel sent With heart and soul u - nit A song for home and coun d=j US, To ing In try, A And life shall be to us lead our souls a - - bove— To lead our souls a - bove. songs of grate - ful praise- In songs of grate- ful praise song for all man - kind— A song for all man - kind. song of ju - bi - lee — A song of ju - bi - lee. Hoffman von Fallersleben. 91 99 ,^1 ^1 , ( ^ ^ _ 100 l^!^iS|g q=?=: -^^f—^- ■±-^rT — — r"^ P"^ — l-d— pq- 5z±:iz:5=5z:5=5=5 7-?-'=5-^-^-^l-T -^-? 7-^- 102 ¥ :fc 1=^ S • — -* ^s — » 1^5 103 bT :1E3; -•— b-* — ^ — •- ^ I'T Ayling. rfej :i!=~ d=:d=^: .—i^^ * 1. There's not a tint that paints the rose, Or decks the li - ly fair, Or 2. There's not of grass a sin - gle blade, Or tree of lov-liest green, Where :i <&- i streaks the hum-blest flower that blows, But God has j)laced it there, heaven -ly skill is not displayed, And heaven -ly wis - dom seen. 104 f—^ i^^^-^- 0-^0^^ -^^-n-^^-^- :-N-^- -^7-?-^7-7-'=,#;T^ r- 92 The Major Scale from E. ^^^^Mmm^^^^m^i 12 3 456 7 8 E Fsharp Gsharp A B Csharp Dsharp E 12 3 4 5 6 7 8 E F sharp Gsharp ABC sharp Dsharp E i^^ipii^Ei^ ^8 7 3 4 5 6 5 4 6 7 8 il 2 3 4 5 8 7 6 5 4 6 7 8 The Chromatic Tones sharp 4, flat 7 and sharp 5. & ■8 7 2 3 6 i^-»- b:5^ 4 3 V8 7 4 3 2 1 The Chromatic Tones sharp 4, flat 7 and sharp 5. fS^- ;(i P (b^-)^ sharp 4 ;(iz): flat 7 SS^E^ :(t!: 114 127 :ar: sharp 5 -l^-J- ~4 115 #4 .^__.__^ iz=^ -5 — ^ P^i^ -^-# J3=^=p^j iSEES ^-^— g-1 ^.^._, 116 I ^ J(4 K :q =1: ;i^i3 fe L^ 96 117 118 ^ :s: 4—^ :f=i: #-• --^ 3= :=t ^i=S i Eg F=j: :«_($^ 1. Where's the use of sigh - ing? 2. Fly - ing and de - fy - ing 3. Look! to - day is dy - ing a=iEEgEEj: m—^ tzi=|=±zf: Sor - row as you may, . . . Men to say him nay Aft - er yes - ter - day; . . . 4. Fly - ing and when cry - ing Can- not make him stay;.. fe :^ :??: ^5_L- ^_L- ^_L- Time is al - ways fly - - ing — Time is al - ways fly Where's the use of sigh - ing ? Where's the use of sigh - Time is al - ways fly - - ing — Time is a- - ways fly Where's the use of sigh - ing ? Where's the use of sigh - ng? ng. ng? W. E. Henley. 119 fe^^ ^^=i=:^ r=F=S ^ #5 120 THE Cecilian Series of Study and Song. COMMON SCHOOL COURSE, PART III. Exercises and Songs for two Sopranos and Alto, with added Notes for Bass. The Major Scale from C, G Clef. I F Clef. O -^ s^ «- 2 3 4 5 6 7 8 .- —^ « ^^ -6f- 'J5Z. > The Chromatic Scale from C. The large notes are those of the Major Scale. The small notes are the Chromatic deviations. Ascending. 1 2 3 4 5 * i #1 #2 #4 §5 #6 g^======^==i=^z=|^==^=i^=z^^ &=^=S.,=-£E| 1^ Descending. 8 7 -^ [? -» ^r f^ ^ ^^ ^ J2-,- [77 N bo M i?2 -(5*- > (97) Copyright, 1893, by Silvkr, Bukdktt & Company. 98 i The Enharmonic Scale. 3 4 5 -fi3^^ -^= | --^^fl'-^t?^^ ^ ^ ^ m^^ ^^^^^^ ^^E^i^^^^^'--^'^'-^'^^^=^ ] Exercises in Time. Undivided Pulsations. 2 JL-J ^ — U - ^ 1 ^ T " J J 2 ^ ^ 2 J J- S )\ 1 J s iv J 1 i J J 4 ' ' '^ '^ sT J JU ^ >- J 2 J _ 7 - J J J J 4 • • ' rv i^ ^ - a ^.. "^ «? *^ w i-^'^-^ •f •? •f 1 >• *f J •« _.^_^_^ / ' ,^ ,^ ^ ,^ -0 # #- 7 7 / "' * R 7 • 7 y. d=i fe:: ^^ L^^ 1 _^ — #_ :^ n-^- t-^ ■JSl Pitd: ^=J: r-4- -'^m f^f^^- f^^^^^^ "»- -#• ai* ^g^B^^^ ^^^J^ ^ggJ^ 99 Jr ^m^M .^___ :d: m \ ms^ pip ;±=i p S¥^= ■.^=-g: m\ m± ^ i* 1'7 _ 4~^- ^: *=H-±3 tP=?t-^ ^.^ >- 1=^=^: I Jt4 #— S-^ N lis . »* ii^ lT:dq::4=i F b7 ::1=i ■*• -ST ^iPpEEtE^ H] Exercises in Time. Unditided Pulsations. |4 I I J_l 4 S-S-S— S-H* — h- — h*- II I I I I I I Ij I J8J_J_J_^JLJ. -# — # — #- J-.-1 ! I I I I I ^ I h -JL III! n-n 100 ^f 3^-* — *- -J— ^1 -0 « 0- ':^=^ 4r \ i— •— * -<9-T E3: t=3: ili t=: g^lE^^^E-E-pEEEl ?=^2=t d=d=rJ=t --p=i=^-i T=t d=d: 3=5=^ • — , — * ^ :aEEE-' mi -tzzs:; 5^E *---^=± ^^ r— r 3=3: ^^g3: 3= =^: 3bd^ -H-^ #— *- f^ \a=t: LU_,_^ •— ^ t; ^ftEfeS ^■S-H/ i^ ?^EiEEE^^7E; » . * - * ' 101 Exercises in Time. Divided (half) Pulsatiot^s. ||-.n-^,-,-,-^-jaj-|-J_,a-|A-A-|-7-A-4J^J-7|J--'r-| 3 R R R g 0—0—0—^—0—0- O ■n^n-'i-n-n- i'' i'^ ^ ^ ^ ^ ^ ^ ^ n I r -^-0^^-0^^-0- .J-.-.M 1^ ^ ,^ 10 11 ■^ -zjzi= _„,_ H-«-^-. i I=S: =5^ |i=zS; -N- -H— - .^_. \ ^-#^-, 12 #4 p ^=i=^ ^= 1 = ^=1==^ i^zzin i g •^--* h l^H ■^ — f=Ezj^ -^ — ^ E£^t :±:: I The Major Scale from G. -d ^ ^ r^ -^- -^9- ^ 12345678 ml ~rr -«<- The Chromatic Scale from Q. The large notes are those of the Major Scale. The small notes are the Chromatic deviations. Ascending. 1 2 34 5 6 78 ^-i ;4 ^ )i(-^ ^ <2- |:^^==^^=^=^jr=^^^=5|^ .-sz=#2: >- - F ■- "^ ^"' -»-: -* «'- tl 12 #* jj5 j ?6 T Descending. 8 7 6 5 -^ /^ 17^ -^ 12» •^ -*- -^ >■»■ ^ ^^ ^ b7 K b5 bs b2 p| EEgE^^|j =g^b^^_^_^^..::^== ^^^__:^ ^ZZZ^ \ y, The Enharmonic Scale. 3 4 5 ^^ j ^r^ig^ P^^i^i^^^fe^fe- ^'^^^^^l 103 -# — # # 0—0- Exercises in Time. Divided ( half ) Pulsations. I — 0-^ 0-^ — ^0 — — •— [-• * • • # • h7 •— 7 0-^0—^—0 1 |6 n n n r. n r, I I n i n i i . m i . rru Y^ — 0-0-0-0-0-0-0-0-0-0-0-0 V-^ 0—0—G^ 0—0-Y^-- #—#—#—•-- 0—0—0-1 1^— #—#—•—#—#—#—#—#—•—#—•—#— j-#-- — 0—0 0-^ — 0—0 — V-" 0—0—0—0 — 1 1^1^ 13 14 5gl '-WW- 1=1: leiiiii: g: i^ ^ -^ * ' ^ ^ .-^—^cf — ,. ,G_-r_# ii^lii^giiiip fe ^-^ =^=^^i^ T- idznz: •-0 3E± ^3E«E:i 1=1: ^! \ -*-0,zi -3^ lit =5: #-#^ 15 \^-0- • — ^•— F* — 5— F* — i(- 16 te: ;feiEM: te »— J=±« 1 ^-?— s -J 4 '^:::T :=1=z=d: \ P^ 104 17 Vt^«==:r*-_£=: #— , ^-t -0 m •- r — ^—-r ± -^-V ^-T- ■r= #— »— d N *-*— H r^^^^--^-' ^-^ I- — - ^ =^#=SFr -?--^ :izz=r :d=-.z=5: -0 • ^ 18 19 :Mi -^- :^EE^:5E^ — s^.^ I ^1 ^ -fi' — ^- i ZJZ ^^^^ J=3 Iee N * ^~ gP fe^ l^ :dz=2: P 20 I.-—0 ? :^- N ^^^^^-^^ -^ — • rzd=d=J: 21 :|^q=dz=::1=q: 4^^ g— ^— 5— ;-E-g-^-g -^— ^^ 5 5* ^i p|4^ -^i-^ — *I -f— «— jrzig: :?==»: :±r=tz=:v :| The Enharmonic Scale. 3 4 5 j}lb2 }f2t73 j(4t75 #5bG #Gbj ^-3: lazTj Exercises in Time. 107 Divided (various fractional) Pulsations. ^.U-.^ m -i-m — #-T-#- -H -# — # — — • — m — — — — — — — — — -h-#-v-# — 0—i — — 0~-i — — #-T — 0- I-. r^, pn I I 0— V0—^— 0^0 0-0— 0—^—0 0-\ ^ 0-0-0-0—^ 0-0-0-0 \ 26 i^fc 27 #4 ft-!— r-J- ^n il i I I ' I fe — -^v ^ iife^ J!|rJ?z=*::S:« =:1=q- tTiz. d= -^i- "ff^4>-=!= 'fr =««-» % A \ 1- ii^=pi 1^ #5 *-* ii 10^ /r 28 "tth*> ■■—■*? TJ^ i'^=iP=^=r=^=,^?=*=-=^^ #— •— # !^;^?zf=p=t=f «— #— ^ # — ^ -# — « — #- g5^Eg g=^ gg^ ^1 29 t* b7 |76 IS* — 4. ipi^3 |77 be tr|: fe^feg^ig^E^EJg^iE^E£g ^gpE5 30 i:oz:iezz*z#zt«:z:«ija:»zr8r:fit*iz*z: fEiEr=^="5fe|^ 5 3: d==:: 31 r—*-* — d— »— •- i^ '#*=*■■ :5rt li #- ' u >-— * » — -j-^-*^ d==— +- -#-T •-T -.-. '-i-^-^^ » V- /.: 32 #^ 109 :^ _^-i. ^ ' r ar' I iP^^^^i ^w- ::| *|- :1^: 1 \- -^— -0"^ -T -^ -^-^ -0- ^ -— ^-^- ^^ :q=-i,z: ^-n» 3=1: ^ a^ 33 M 34 j(5|4 4^--^-^^ ^- '=^=F=1 I I ^ Ict^ j= j= j= j^pq^zzHffcjz rj u ?j ^ ij ' i^ ; H I ^^ • I -I :| 'ii \ i23 3=3: 't# "ZT -0 25( 35 &Ih I* f^ '«* -s- i==z^=±zi:^. ^^E 1-7- _ — ,- iliSEig^fe >i-i-#- ^ig3 m no ^Q The Major Scale from in <5 F. » — ^ ^ -^ 1 ■^ 1 2 3 4 5 6 7 8 ^ — q \ ^ - ^ ._ ^ 1 The Chromatic Scale from F. The large notes are those of the Major Scale. The small notes are the Chromatic deviations. Ascending. 1 2 3 4 5 y 1 :: o * #1 "2?- "zr Trw i* -%* #5 f i % Descending. 8 7 i itr.: -^- -^•- bT -l2-»- >6 :te -Z?" b3 b2 s :©=!?.-«: :^ 5i :te The Enharmonic Scale. 3 4 5 j;i>2 Jf2l?3 ^4t75 }f5|76 jj6i?7 ^ rj=^^i=fTl5EpEE^I:^E^ Ill Exercises in Time. The Tkiplet. 4—-^ H-1 H-1 H-n yt — — — 9-\-9 0-0-0 0-0-0-1 -0-0-0 0-0-0 — 0—1 36 .-^ I— ^- 37 m^ \ i=Fd=* n 3Hi ^f--^=^? Jtaarf m^m^ b7 #4 K |4 38 |4 12 liii :|^q: ^P^ :=:1=fc -, # -«- — ^- 1 I —I I UlilipH^iiJ ii-3i -•■ H-# •♦ •♦ -^ -•■ N §4 -(^- iiiizzizi: ^ ii2 39 i* 40 p -*^ tc^rfd HVEii^E^^ i^^ElESg P n *-zi' =ss N m ^-^ ^^ m #1 i=. i^3 N g^fts; t=:t:; £ 'Mi y^ 41 ■t--^-- 4==1: N "51- :a3 ^===1=s- m f=±f -0 # — #- -r ^^J 42 :5*d: '-■4- ^— J— I A- J-' 4- :d=t4 tiE I— I i^^^^^ ^^ fcd: \ ^:i^ >7 b7 4=q: -^— ■A-=^ ^HE^il -^-j 1^ -<^- The Major Scale from B flat. 1 5> 113 -&- \ The Chromatic Scale. The large notes are those of the Major Scale. The small notes are the Chromatic deviations. Ascending. 1 2 3 4 5 S2 » — ^ ^ ^- i* §3 is -^ ^==» —«-» ^- j^zi=fl-»: > Descending. 8 7 S:z^:=s=fc - y^ iz: The Enharmonic Scale. 3 4 5 ^^^i=pb^R^=^i^i-fi'-=fi-=^-§^?^ |lt72 pt-S lp^:^:zr | :>te:t|2^^ia:i^§:g:: |4l75 foK pbT 114 43 U^^ rr'-^ . .=^^^ m^ ^ — -i- M.-U-^: 44 '^ I- — -I r • uJ i* ^4 , 11 tbf V-#-f- -^ #— r ^- igilii 335 N ._^_j_ i^^t^gJEE^^ -^- 45 }f6 46 -s — ifct 47 •/ i^ 48 t'T » :^^ ^f- - -*-5 a^^ :*-5- * J^-^ -# — I — *-#-« — ^ — J f-^ &=:t ^T-^ ^-^5 ? :E5 ^^E3EJ 115 The Major Scale from A. ^r ;* sr o 3 u -G fe \ ^r The Chromatic Scale. The large notes are those of the Major Scale. The small notes are the Chromatic deviations. Ascending. 1 2 3 4 5 1 -^-#- i^ g#= #1 §2 -<9- ISi :km: #« ^ y.. *i I: t-'^ IS?: Descending. 8 7 :|- 5 irjr: :»:*= ^^--^ SI b7 I'S I'S b2 IJ The Enharmonic Scale. 3 4 5 ly 116 49 50 ft4 i^l~:s <5>- :f=ei :Me Vi ^f=f- ;g^ .#4_ :=q=d: gii 3itE^jf^ ^- -J^ ^ — a- tl F^ 51 ^ =^?=iN=^^=?d=?^^=5T?^ -1 — 9 — — 5 — ^— 2— F* — s — • w — wa — *— -*-T-^ — .—:^^^ — r r ' ;, N— P^ "jatr^ii-. £ES^3E£?E^ »^^— » — * —"—»- ^ - jllll I I « -^ ^H N-^-V :^?=^: ^^ 'i^-H-v- r^=^=^=h=¥ y ^ — ^ — ^ — gr- -t^ !^ -J- .^_^_ 62 li;:3: -^ ^^4 =^^= -A ^ ^ ^: -f 7 t -* l=f ^^ / 'u' • lA ^ =t^= ^---^— ' — K- izz::J- .^_ :^c=:fi: -^ :)i==:^=±ti; The Major Scale from E flat. 117 ^ im mi JZ. 7 jSL m] jO.. y. The Chromatic Scale. The large notes are those of the Major Scale. The small notes are the Chromatic deviations. Ascending. 12 3 4 5 it =1^ 11 f :fl^ t' -b: :B2: EEElZEE^ I* «5 ^ -^^^^ — ^^ — %^ zsuzzflji: * Descending. y 8 7 6 5 . 4 3 2 1 1 ^2-b "^ JSL ^M. b6 l75 z?' 7 sri^^^aisipgi p l25=n: N .^,__j_._^_^ a *- - ^ ^=:t: :!!zzzt -t-^-7- m^ ^ V 65 fcbl^ -^^- g-=t: d==± f=it iifelil pi^^l iis — ^-^ :=l=z=gj_4-J^L:itz=:^: l2tt :=!: -#— ^ -#-r(2. ^^E|H=^S 66 86 ¥ fSpi^i^^ip at=J=n-d J ^- ^^^ rf-JJ" r :br #4 #5 -• — « — J. — »-•- ?=* I r4— r- bg ^■?^^^= ^^ 3Sr==t *==«-r=« £EEt^ t^EEE^ jEli£|^£EESE^ 119 y The Major Scale from E. n \ Sfe 7' JS2. -f5>- isr. The Chromatic Scale. The large notes are those of the Major Scale. The small notes are the Chromatic deviations. Ascending. 12 3 4 5 y: m 1* P * #5 -tS>- ¥:-0- ■'2. fci^-« -1^ ZSLl u. Descending. 7 S^: :Bi: '^. .a. ^M. g§: P — ^" 1 * s- B-j: >5 :r :!J.ii: >2 ;t'^ ^ ■^^ »iE The Enharmonic Scale. 3 4 5 p^=^- :^^^§:iEEi4i^.feEgi:^^ |lF2 jf2F3 ji4N #5K #6^ -|*(rt' -5rp |^^^=EE^=£iipE|^^l4|a:?^^ 120 57 /-fl^iJ. 1% 1 n >2 y m *=jt: t=q: I #•4 b2 :f-*--^- -H— 1 liEil: d=iz^ T^ :3: :L=t ! ^— H- '* # £5 :t^ ^— # iF=i= 58 yr b7 \ ^sll izi*: 59 .^it4 5 M ^^i^^^^ll 60 b5 i-^ #— , -^==r r^i i^ :--ti S :z^ b5 \ S^ E^l=?3: "^ — -r^-r j- iHPil rj^-^zj j:^ ^;? -zr. •# -^- — 121 The Major Scale from A flat. u-&^ (9 fj /9 . '^ ^ #-e^ o ^ ^ if — T ■27- 2 19- 3 4 6f 5 6 7 8 ^ ^ 1 ^\^r^ (^ fi<> \ 1^9 b ^ f& A The Chromatic Scale. The large notes are those of the Major Scale. The small notes are the Chromatic deviations. Ascending. 1 2 3 4 5 6 7 a.- 1?F^ ., — . ^: ^— § -# ^ fl: > ^— I fcfc^z=tlx A Descent ling. 7 6 -Vm- 5 3? bb"*— 4 3 -[r,- 2 1 =1 b7 29 !?-» ^- b5 Z5' \p\> » s -*«- 1 t?2 1 ^^^^ ^ -^— bb-*- -^ The Enharmonic Scale. 3?=: |l^2 #2^ jj4^5 j(5M Jew A 122 61 Jr ^^:s4_ £±z^?E«i^ izzfziz >7 i=l \-x m^^ \ -^ Wr M^^i^^g 62 -'f' fe^¥^ b^:^ N -^_^^. ,^i_±.. igS; (S?- t-=^- ^-* 63 »^ 64 S^iPf^i fea 1. ^ I""'*' _J^». i^i? 2zt?zfcE: titdi -^^ \ UtTi^^ UK ^:? gii #-T- tep^gfe^ 3«=4^T -* — — 66 te^ ti *^^^ ^—F^i- i=W B^? t=^ f 8 g i^^i: s=r us P fcto=:t m ^^=1=^ j!z=q=± ^ a>- =F=-F ist ■f=i-i=s=r- m BIRDS IN THE PINE-WOODS. 123 1. Birds in Gee. Yolkslied. ^■^Si=j the pine - woods are sing - ing so sweet; '3^- 2. Birds by the brook - side are =^=P3? sing - ing so sweet; J^: ^1 SEt Z ^-^ -r Sing - ing the long hours a - way, All through the mid - sum-mer day, -I: =d=z=: \ ^ ^ -^ ::i: Wheel - ing their flight to and fro, O'er the stream, flash - ing be - low; '^^ F ^ — ^ — P— F-*-- :i H 1 Birds in the pine - woods are sing - ing so sweet. ;gps :d= N Birds by the brook - side are * * * 3^. sing - ing so sweet. « — F— #- M ^ 124 SONG SHOULD BREATHE. 1^*=;— J— i— i- Fzj= -i =-1 Beethoven, arr. =q q 1 — i F^^ -*^ =Uq 1. Song should breathe of scents and flow-ers; Song should like a riv - er flow; tt fi^^t-=^ - =^^ :E^:.-:-^^^ , H h- — ^^-^i \f&—^-* 0— 2. Pain and pleas - ures III! all , I ^ ^ 1 |_j__j ._! 1 i-H ^ i — *-* »-- i^^ — 4~~' — ^»-T — ^ — 5* — man do - eth, War and peace, and right and wrong, t?^^-^-« ^. *^ «- zi J J _« — ^ — .^ , — ^_ — — 3—- \^^ ^ r* \ 1 W WW r m ^ ^ # # # J \ L. 1 ^, i=t s=s -5__ — 0. Song should bring back scenes and hours That we loved, — ah, long a - go! P 3=i ^ :i=a - — 1^- -v All things that the soul sub - du - eth, Should be vanquished, too, by song. I I I 1 1 I I 1 - - ^?. ^l^-^-f-^ ^ w ^ in] 3' J=d 4- R ^ ^H p ' ' ' r^ Songs from bas - er tl loughts should win us ; Song should charm us out of woe; V ?T ' 1 A ^1 1 1 1 CA) 1 — A 1 -1 —J — 4— ^-J- ^- —J A -^^ -, — 1 — 1 — 1 — Song should spur the mind to du - ty, Nerve the weak and stir the strong: 11 ' ^i-* — i — :~i- --i — ^ — r—r~ —, f- --»-— 1 — ^- ^^i-p — p — 1 — 1 — L+ h— 1=:^ tzp r ' H -1 » — ^— 126 :i=± 3z=- I^S u Song should stir the heart with - in us, Like the pa -triot's friend - ly blow. Ev- cry deed of youth and beau - ty Should be crowned by star - ry song. it: 1 Barby Cornwall. THE FE5TIVE DAY, ^— ^- Mozart. *-•: 'lE^^ P U P 1. A- gain we're glad-ly meeting, Each otli - er fond - ly greet -ing, Our 2. The bells are gai-ly peal ing, Their mer - ry chimes re - veal - ing. Full ;Bili --^t^- _i_^ N_^ — ^_3 3. The birds are sweet-ly sing-ing. And flowers a - round us spring- ing, Their 4. We'll cull the blooming ros-es Be - fore the day-light clos - es; In fel &^ I te !-* W P mer - ry songs re - peat - ing To hail this fcs - tive day. man - y a joy - ous feel - ing Of bright hours passed a - way. W. ^:^^^^^ .^_._,. "»~-i" ifefc^- sweet - est per - fume fling - ing On fai - ry zeph - yrs light, flowers young Love re - pos - es, With bow and ar - row bright. 1^ •— 12=5: -^- -^- ^ English. 126 HAIL, ALL HAIL! C. M. VON Weber, arr. 1786—1826. s s s 1. Hail, all hail! thou mer-ry month of May! We will has - ten to the n ^-=x =3—^-7- -^—r \ ■* -it -^ -^ 2. Hark, hark, hark! to hail the month of May! Nowthe song-sters war-ble As__V_L.^ -^—^—^-^ E ^—0 {^^,-^ ^ -^^ N- Ij ^ •^ "^ ir~"i "tj "C: ^ S N woods a - way, A-n long ^ H -1— -;^ -^ — ^ the flowers so sweet and gay : Then a - way to hail the ~P"i \> /L h *f ■■ rAv" k » i. / \S\) ^ ^ ^ V * V * on the spray; And we will be as blithe as they; Then a - way to hail the i^'TV '" ,' 1 ^ \^w^ J ^ - / Xn u ^ ^ ^ IS V ri7 _i^ < ^ ^ Ik ' . ^-— r* . . vr-ti^' d J^ *^ K p ^ « «' ^^ p nT^ t *i M , ! « "', ■'! # ,s s * M * * * p *« mer - ry, mer - ry May, the mer - -0- mer - ry # • May. Then a - n t-« '^ •r ^— ^-d ^^ — V — K — K— 1^ — ^ - -i J^ J^ ^ mer - ry, mer - ry May, the mer - mer ■ H- ■ry May. Then a - 'STS* U "^ jk( 1^ K ^ 1 m \ ^^•i I? > •» 1 f ' J ^t"^ S ' ^ ^ ^ ^ " ^ ■^1 -J -^ * ' ' ^ • 127 ^£^^ =J= r-#-v— iflz ~N : ^ — -^ — « s •1 \ ^ —7- ~ll way * to hail — '~^i—^-~: — * — «— the mer - ry, mer - ry month — ^5 V — ^ — of K — May. Sf — -JJ —a way — 1 to — ^— L.. ^.^ hail the mer - ry, mer - ry month of —0 — May. \ — f 1^^— • — # — — # ' -^ ^ ^ ^ y— -^— =Q MURMUR, GENTLE LYRE. Se? i=i C. H. RiNCK. ^ -^—C—J , ^-_ — c '__ 1. Mur - mur, gen - tie lyre, Through the lone - ly night; 2. Hark! the quiv - ering breez - es, List thy sil - very sound; 7—^ — — •" ■* — --s^--?- -(&-i 3. Hushed the thou - sand nois - es, 4. Earth be - low is sleep ing, Gone the noon - tide glare ; Mead - ow, hill and grove ; fei: m ^ Let thy trem-bling wire Ev - ery tu - mult ceas - es; Wak - en dear de - light. Si - lence reigns pro - found. i i ^ N^^ Gen - tie spir - it voic - es Stir the mid - night air. An - gel stars are keep - ing Si - lent watch a - bove. m^. fi!=t s y—* 1 11^: -F- 1:1^:1: i Ger. tr. by C. T. Bbooks. 128 SWEET BELLS. 6^k Chorus. l=i n MozAKT, arr. =1=11: V^zm P^^^^i^ for - ev - er, for gai - ly ye chime: La ra :D=:ii=^-— a: *=:$ i=fc=1: m Sweet bells, ring for - ev - er, for gai - ly ye chime: La ra n^- t=t=^=t x--=t -^— #- ^ iEfefep:^^Et g=ri=s BEEiEEpg^ f-*- :1=:* -S-: :J: ^mm la, la, la, la ra la, la la, la ra la! ^ -0- ,-0- -0- -0- ^ ' ' * "^ • ' 1_ 1_ 1_ 1_ 1_ ■!_ 1_ 1_ ^^ -I _ I /-v_^ Our heart leaps to hear you, our -# — tf — ^^#— la, la, la, la ra la, la la, la ra la! Our heart leaps to hear you, our lSZ=W=Ai t=-\=^ »-^-^— #— ^ i « — »— s-» f=F Fine. S_s-i-s--g. f=T=F E^: «=j=?=r5 blood beats in time: la ra la, la, la, la ra la, la, la ra la, la! E± -0 0- ^ 0- 3^3 x=x -^-^ blood beats in time: la ra la, la, la, la ra la, la, la ra la, la! igzzs: ■^—^ZZJT :t5=1z=^: ^^1 ^—0- v-v- -^=t :tiz*zz«z=zi: f^ 0- 129 Duett. — # i :*zz9' IB =D=.± ^m s I — r — ^ — ^-"T=^ Through the year all hap - py days From your mu - sic bor - - row; :t^: Yet your voice, that cries re - joice, Brings a touch of sor - row; 'Tis your old fa - mil - iar strain That a - wakes the past a - gain, ^m^m ^=i ^— i 5 :i 'Tis your old fa - mil -iar strain That a -wakes the T P—^ That I past a - wakes, gain, d=F=d ri That a - wakes the past a gam. I l-n-H 1^^ ^ 1 h wakes the past - gam. : 8=;^^ m Dear re - membered fac - es :ise, Days of in - fant pleas ■■& D.C. I Joys that set, but left us yet Cheer -ful in our meas - ure. 130 BROTHERS, HAND IN HAND. Mozart, arr. mi ^ Vi q3^ «-*-*— S- 3 m '-=]- 1. Broth - ers, hand in hand in un-ion; Friendship's hour of sweet com 2. Thank and praise the workl's great Maker, Man is born to be par - M- i^3=^: t=|: g :l^=l: 3- — + 1- m 3. Ye, the hope of ev - ery na-tion, North and South, wher-e'er your ifcb^ ^- ^^ ?^E ii^ z>2; -y-]z -#— #-^ i?^ :£: :t-s:=|:1=«: feEJ=;=B;-|E^ -<5^«- "*=»=^ ta: W^ mun-ion, Lifts us to a high - er sphere: We will build our tak - er, Heart and soul in heavenly strife — Light and right and feM^EEi: H— #— #- sta - tion, In the East, or in the West — Make your watch-word. fctfc 2=3 -»- EE -«?- <&- -<&- g i as - pi - ra - tions Fast on friendship's fair founda - tions, Earth -ly vir - tue shielding Truth's e - ter - nal weap - ons wielding, Hear the 12: ^ ^. '^^^ ::1==j: 4=4: "Truth our du - ty," Show to all men vir - tue's beau-ty, Love to m ^x --X a; ;i 1 131 .;b: r ^— ^ ^1 rTti' S^2 ISEE? ■!9—^ i aims shall dis - ap - pear — Earth - ly aims shall dis - ap - pear, sa - cred call of life — Hear the sa - cred call of life. S ^P: I ::t=i r^=d; — I — >i — 1-— ig- 1=1=± ^=zi=:1: God and man at - test — Love to God and man at - test. ffctz: i=a=i :it— f— * ?— ^ (S*- :#=:|:i=at #^-^ E=E^i WHEN THE ROSY MORN. / Roum). Shield, 1748—1829. 4tt 1— — iz—iH— i S LfcZlt When the ro - sy morn ap - pear-ing, Paints with gold the ver - dant lawn, 353^5^ A^ -• -4- •-4~* :i Warb-ling birds the day proclaim-ing, Car - ol sweet their live - ly strain, :fct=::*=1^ -* — *- *N --^=T==i=^ ■# -* See, con-tent, the hum - ble glean-er, Picks the scat-tered ears that fall, W EE2 i=d=^: » — 3 — -d^^-* # ^12 Bees on banks of thyme dis - port - ing, Sip the sweets and hail the dawn. |s ^^^^ T=X 13 -• — ^ ^—0- -•—Yi j They f or-sake the leaf - y dwell - ing To se - cure the gold - en grain. I t=:t ;P1 t==t vz^jL _, — ^_ :1 hj T-^- Na - ture, all her chil - dren view-ing, Kind-ly bounteous, cares for all. 132 Andante. THE LINDEN TREE. Franz Schubert, Arr. 1. The Lin - den by the door -way O'er-hangs the flow - ing stream, I've 2. The day I wan-dered homeless, I passed thee long - ing by, With 3. The cold night breeze was blow-ing, And on its blus-t'rous tide &iM t=\ td^-fr. m i ^ m :^ *4 r^: So man-y a hap - py dream, I've Fast closed, I knew not why ; But dreamed be - neath its shad - ows eyes, e'en in the dark - ness e hat flew far * * ? be - hind me — It I dared not turn lide. Now ^fc -#—3 «.^j_5_5_ carved up - on its branches,When there I thoughtless strayed; And oft in joy and still thy leaves were rustling As if they called me "Come,Come back,beloved com- Ui I 5z±: --H— N I - f *| ■#-T- -N — N- man-y a mile I'm part-ed From all that then were dear, But still can hear that" ^" :| ■»—■ :fc?= irnj^ #-r £^ -«?-f- 133 S^ ■or a — ^s~ :i —^-^ ^ — • — p r , I - — u I sor-row Found ref - iige 'neathits shade — Found ref-uge 'neatli its shade, pan-ion, Here shalt thou find thy home — Here shaltthoufind thy home." ^^m n s -N- -^r^ rus-tling, "No home thou'ltfind but here," "No home thou'ltfind but here." ^jjf; il5 #-=-• it-i:^- -?-'•'- -f ARK OF FREEDOM. ^"fcr^Jrrd: :* ^ i=i=^ S!^i il3^ I r 1. Ark of Free-dom, glo - ry's dwell-ing, Un - ion, God pre - serve thee free ! 2. Land of high he - ro - ic glo - ry, Land whose touch bids slav-ery flee, fi^gi t=t 33^ ^^^m 3. Vain-ly 'gainst thine arm con- tend-mg, Ty-rants know thy might and flee; m &-lEtEE£ -T :5^a; 3 y. :J=i — I :y 1- ^ fcb: When the storms are round thee swell-ing. Let thy heart be strong in thee. Land whose name is writ in sto - ry, Rock and ref - uge of the free. p^psi*gp^ :S 5 ^#— L Free-dom's cause on earth de - fend-ing, Un - ion, God pre-serve thee free. -•— ij: 3 4: -£^E^--, ±z i 134 ON THE WINGS OF MORNING. y. 1 1 VON Weber, Arr. S 1 2 |y ! 'J L J ■ ^ j\ ii "1 iv d 1 ' 4 * i 1 i " , h nr^-^^—l ^ ' 2 ^ J *• J * 1. On 2. In the the wings mid - * ^ ^ of morn - ing day sun - light steal - glow - ing, Hum of Rip-ening 1 \^ bee and fruit and V P 1 /l " ^ 1 1 im Q '"i ^ h. 1 ». ■ k. VU o 1 : ' : ! ' -N ' ' A 1 ^ 8. In the -•• broad ^ ^ * moon's splen - dor sleep - ■0- • Birds are si - lent, (^^• p 1 ■ 1 m • tf 1 1 f P 5i^-u J ! -A ' 1 1 i. i "^^^-^ — — V — — 1 — . 1 vu -\ P ] - K 1 1 r». 1 .^ 1 flow - ers close; -0- Wea 1 — - ry — h~ la - bor, home-ward creep - ing, 1 S 1 S=J — i -^ * « r h- — f » 1 1 1 1 '.^ — 1 ^ L_L y ! ^^ J y. §^^S^| te Ev - ery - where a - round are heard — Ev - ery - where a - round are heard. Give fresh beau - ty to the hours — Give fresh beau - ty to the hours. P I 1=:4;^=1: ■>* — # 45^=± Greets the hour of sweet re - pose — Greets the hour of sweet re-pose. P^^^g ^!n=d: i^^! 135 IN THE WONDROUS, LOVELY MONTH OF MAY. 1. In the won - drous, love - ly month of May, When all the buds were :i=q: H--±z \ 2. All in the love-liest month of May, When bird - pipes all were m 1==s: -J 1 -« ^— F« ^- V — ^- V=^ -«— #- -// 1=i blow P f=i^: -0 — 5 ^;t -q= T— r 'I ing, All in my heart one morn - - ing, I ^ — ji—i ^_ "i^ go ^fe ^-*— tf- lE=E5 in^, went to her con - fess -^ K- ing The wm fc±=t=j=i # — # — — # — 0- ^ J=± -# #- felt that love was flow - ing — I felt that love was flow - ing. p^^^;p^;^^s^^=R :::l: ^—it w m. deep love in me grow - ing — The deep love in me grow - ing. •«» s- 1 - a a a a — i 1 i|— _^ *- :ti=zt -^ ^ :t=t:: -t=t JL=W- -^- Heine. 136 DEAREST HOME. V. RiGHiNi, arr. 1756 — 1812. t^-:^ 1. Dear - est home, by me 2. All that pleased my sim -X a: I ♦ 1 - so treas-vired, Ev - erythoughtto thee doth pie child-hood Seems to mem - ory still more 3^i l^i I 3. At the reed 4. Dear -est dwell m ¥=* * •♦• '■0- ~-0- y brook I'm drink- ing, In the glow - ing heat of ing of my fa - tliers, May thy peace - f ul courts be X=A- m /n J 1^ , 1 V 1 1 J y M y J 1 #, - -^ - . /l 1 • • J a 1 • 1 ^ • 4 1 1 IL^ 1 m- — ^ — ^— — L_J__._ ^- --5 — — — -^ H 1 fly; dear; A For All thy the sake well ^ doth sor - known vil - row lage ■— # — move mur - — me, murs Long Once — ff J - ing more V /r ({V\ \ II 1 1 1 ! I vU II .. 1 J 1 1 day; blest; In Where the 1 I J- ^ood hope 5 * the ber - that, soon 5 ries or gath la - -0- - er, ter, Where I 'mid some (m\* (^ m m m 1 i^J' 1 1 1 ' ' i 1 ■ 1 , 0-1 \^ h h h # " - ■ - 1 - ^^ p^ $ ^?^^J^=#=r^j r tears o'er - flow mine eye — Long - ing tears o'er - flow mine eye. ech - o in mine ear — Once more ech - o in mine ear. ^ ^1 .__) ^ *-r^^- shad - ows once day in peace I lay — Where 'mid shad - ows once I lay. may rest — I some day in peace may rest. m 137 HARK, I HEAR A J0Y0U5 NOTE, German, arr. I 'ill 1. Hark! I hear a joy - ous note, Down the val - ley ring - ing; SfE #-v # # #- t^dS ;3EEa: i=t I 2. Look! how mer-ri - ly they come. Lit - tie friends in feath - ers; # , — ; , ,_^_^=^ m ^m^EE^E^^EE^ 3:=F V d=4 ii^PPg^P^^g :i=i=t i==g-1-t ^g: :«=«=*: ia^=^s=g Near - er, clear - er, swells the strain, Spring is march-ing in a - gain. ti?Jizi^ ■# ■# -#-25*- ■# ■#• -#-5*- Ev - ery tune - ful chant we hear Wish - es us a hap - py year, , (S , m^3^3^^ ^ — — ^ ^ pfeg^Pgi ^m I f: ^=g= ^-4 -# #- I r I Brings the songsters in his train, Pip - ing, trill - ing, sing - ing, f—^- P &- 3^5 3 5 -* — #— I — I — ^- Joy and bless - ing ev - er near, Love and sun - ny wea - ther. B :^±- . r-i-- ^^ ^^ ZmZZZi: -)^z==.\E E German, tr. 138 A ROSY CROWN WE TWINE. VON Weber, arr. 1^-=^ ^-^ |=z&z :i^iii=a|i!?z:5^5Eaz2=4:«=^ 1. A ros - y crown we twine for thee, Of Flo - ra's rich- est 2. We bade the fairest flowers that grow. Their va - ried trib-ute 3. Then deign to wear the wreath we twine, Thy beauteous ringlets lA treasure; We ren-der, To shading; And '^k^=f=s=m=^==pss:^=^. v^ V *- ^r^imr*-' mm^^ --N-^- lead thee forth to dance and glee. To mirth and youth-ful shine a - bove that brow of snow, In all their sun - ny be its charms a type of thine, In all, ex - cept in pleas - ure. splen - dor. fad - ing. Chorus. fe3d -#-T- -0-- 1. 2. 3. Take, -b-y — - oh take the ros the ros - y m Take, oh take the crown, the ros - y ^^EE^^E^i SS- ^=? i Flo - ra's rich - est treas-ure — r— p-c- Flo ra's rich - est *-^ ^- treas - ure. i Flo ra's rich - est treas-ure — • 0—r— Flo - ra's rich -est treas - ure IP 139 THE BREAKING WAVES DASHED HIGH. Miss Brown, arr. ^^^ £-f^^ ^-^a -^ .- -^:^ h-^—j=^: 1 ■^- ) ^-^4^-r=^,-v-^ # #-: ^^i: fe'" ^^s-i-'l 1. The break - ing waves dashed high On a stern and rock-bound coast, The 2. Not as the con - queror comes They, the true-heart- ed 1 1 came; Not fVr-ff4 — ^— -1 — ^^ 1 ' , -i-«- -^:^ =1=i=i— 3— 1 ^ r ^^ • ' ' i ^^- -|T^ ^-^ -^ L-j -_-- — 1 5^ -#■ 3. A -mid the storm they sang; The stars heard and the seal The 4. What sought they thus a - f ar ! M 1 1 K - 1 Bright jew -els of the mine? The 111 ^ l^^rf i -4 h' - H -•— r # j 1 —g> ^- — ^ — ^" -J -J -4 ^ -0 -0 1 T-~W=t~- P^-^#^ — __. i ^_ -* — -d— 1 _t:^*=3_ «=* f^s ^i^^^ ^= ^ -^: woods a-gainst the storm - y sky Their gi - ant branch-es tossed ; The witli the roll of stir - ring drums. Or trump that sings of fame ; Nor gz ,-^ — , — ^v — ^-^-w-^ — ^ #— L-j— -^-^~ sound - ing isles of wood - land rang With an - thems of the free. The wealth of sea, the spoils of war? They souglit a faith's pure shrine! Ay. II: ^^^ 5-^-=^-- ^ ^i-i^^ 140 I S=i= ^^ :«=i=:S: lieav - y night hung dark, The hills and \va - ters o'er, When a as the fly - ing come, In si - lence and in fear, They P 1 o - cean ea - gle call it ho - ly soared O'er roll - ing waves white foam, The ground, The soil where first they trod, TLey m ■s-i^ G i -#-^ #-v band shook of ex - iles moored their bark On wild !N^ew-Eng - land's shore, the depths of des - ert gloom With hymns of loft - y cheer. :d: --I i^-T ^JT-^ .H_-._^ rock left 5 ^ ing pines in for - est roared To bid them wel - come home, un-stained what there they found, Free- dora to wor - ship God. M-i ^ - i -#-^ -f9—^ Mjts. IIkmans. SONG FOR DECORATION DAY. 141 ^S^i^g i=i|=i|: I '• '^/ I I J^ s s 9—t: _ "I 1. Sleep, oh sleep,whereblos-somsaretrail-mg,Niglitcomessoft-ly to end the day; 2. Sleep, oh sleep, where rain-drops are fall-ing,Brave-ly His banner ye bore in that day; ,^te & -^— K- ri—t >-:h- :j=:1=t:q=t N -4— 4-^— -iT^* — *-.-^i^-'--4— 4^^4.— -i-^^'-i— -'--^ :^=:fc1=:^ jtzr -,$1 — I 3. Sleep, oh sleep, where sun-beams are ly-ing,One trod be-fore you that dark-some day; -r-r^-l s— # r 1 r^ r: Kr K -F|7^^ _^_^_ -A— A- -^~^- ^=^T^ •--¥. ■^-^^-&^^ I '►^ ^ I I Kest, oh rest, where low winds are wail - ing, Long was the strug-gle and Rest, oh rest, where wood-birds are call - ing, When the stars fad - ed, the ^^^ 1 •^-^ 4—0 -^ N 1- -^ w S ■4- -0- -0- ^ ' ^^^^■*"_ Rest, oh rest, where grass - es are sigh - ing, Safe in His keep - ing His ^feB U 1^^^: ^— ! 3: -^-^.^ 1=ij: ^=it=J^ ^— r 4t — '^'— ^ — ^ fierce was the fray — Long was the strug-gle and fierce was the fray, stripes showed the way — When the stars fad - ed,the stripes showed the way. t* i own shall stay ■ fezii ^ ^i^i- -^ ^ Safe in His keep - ing His own shall stay. "^^ f i Amy D. Marston. 143 HOME, SWEET HOME. 4--^^- Sir Henry R. Bishop. I I 1. 'Mid pleasuresand pal-a-ces, though we may roam, Be il ev- er so humble, there's 1^ — i/ ' :^-H. \ lE^|E5E^^E|^p^ilg^ 2. An ex - ile from home-splendor daz -zles in vain; Oh, give me my lowly thatched ^-0 -^- -h — ^r 0-^-0- M -^— N- M^ J H S N 0^-0-^ no i^lace like home ! A charm from the sky seems to hal - low us there! Which, \ r=f^E^I^5EE^Ja=£^-i^«fe%i cot - tage a - gain; The birds sing-ing gai - ly, that came at my call; Give me :r-J: fV A-j-> — -15- H —K ^^ ^ 1 1 1 , #. :-• 1- N -^— *^ N 1 — ^— — ^ -j^^^i — seek through the \ L* vorld. • € is ne'er met with — # — else-¥ rhere. Home, home, them! and the peace of mind. dear - er than -5i all. Home, home. l/•^* # 0*0 n _, 1 1 "^•| 1 1 u r r r N \^ \ ' \ ^— ^b 'j ^i ' J J 1 9 1 2 4 ■ ■■ V \ ^ \fi u y d L-# • -1. 1 . 143 sweet, sweet home — There's no place like home — There's no pianolike home. i:^J -^_m^ i ■* — * J=H=^ *--i 3H? ^-r- sweet, sweet home — There's no place like home — There's no place like home ^ K 1-—. : 1-- — r-T (-- : 1 K — i 1- -d-n-^-n- I V — ^ John Howard Payne. WHEN VERDURE CLOTHES THE FERTILE VALE. |pf^ligiiiiliiitti&^^^ 1. When verdure clothes the fer - tile vale, And blossoms deck the spray; 2. Hark! how the feathered war - biers sing! 'Tis na-ture's cheer-ful voice; sliEi^ :^=d: t=iA \ -.^^ -#• -^ -# -j. — -^ — ^r ^ ^^~^ ^ — - 3. O God of na - ture and of grace, Thy heavenly gifts im - part; 4. In - sjjired to praise, I then shall join Glad na-ture's cheer - ful song; ■4- WZZJ^ =1=:t t:==t==:^=^:[ i:==t: -f-h^- t=1 y^ 3: 3= -0 S 0- -0 * •- ^ '-^-^ r^T li 53^1 :i=|^H; •4-'jr— ^r 1 And fragrance breathes in ev - ery gale How sweet the ver - nal day! Soft mu - sic hails the love - ly spring. And woods and fields re - joice. ^ -0- -0- -0- :=l=t±i Then shall my med - i - ta - tion trace Spring, blooming in my heart. And love and grat - i - tude di - vine At - tune my joy - ful tongue. I ^=\=\: :t==4: -F^^- g^^ tz=zzi: fefel Anne Steele. 1716— 1778. 144 SONG FOR ARBOR DAY. ^ £4^- i^^E^ 1. From for - est wide and free, We bring this state - ly tree, 2. The les - son we will learn, That if sue - cess we'd earn ^t Ei ^-^ -* — "- : T 3. If read right, you see les - son there will be ?-* 1 h — h j^: cr^^ :^±i -^ . Wave, wave, wave, All thy bright stars in view, Stars to the Un - ion true, -# 9 — , — # # — I r^ s : f=^ ^ t=^: :i=;=*=tit: :^^ 1^- 1 ;^ ' • t' ' i I ' »- Flag of the no-blefree; Wave, wave, wave — Wave, wave, O - ver the western seas; Wave, wave, wave — Wave, wave. wave! rte^^^i ■zti qir-c t Wave in the heavens blue; Wave, wave, wave — Wave, wave, wave! fEEF?: r^ 1 :^=i!: r^ * t. k o ^-5- :^ -^ s: :^^^ «i=* a ^^ ^np: U6 Jr THE HARP THAT ONCE THROUGH TARA'S HALLS. Ikish Melody. ibi iHiiPs ^i .--.^ -S— J^ -'^r~* , 1. The harp that once through Ta - ra's halls, The soul of mu - sic A — ^ \ ^- — N- P 2. No more to chiefs and la - dies bright, The harp of Ta - ra i4--f7 h— ^ _^^_ ^ # 1. r # N shed. 1 5--E 3-/- Now hangs — •— as — # — mute on Ta - ra's walls As ^^w — ? K- ^ - - - -;;^ ^ swells; The *— n chord ■•- • — y a - -9- lone, — y that — # -K lir breaks — "^ — i^ — at # — b niglit. Its ^^-I'-r — / "^ ---5^ — > ^ d ^n u ^ 1^ ] _ i^__ N ^ ft/-, p 7 m v i^ • — r— — — -s>— |/l17 1l • - ' _' ^a_f — # # — - • • • * =— ^ . ' # if D l-i that soul — # — were ^-w 1 — \ — ' sleeps the pride > lied. So of V 1 P 1 ^b-|7— f- ^— N— N— |k^ l«^ tale € of — ;— ru - in tells; • • A Thus — t- free - dom -0- now f •0- so «^' .. ; 1 ?if. ') m m • A \j L/ U' ^— ^^ 1l ; ' i 1 , 1 2-!2_^_ / ^ — ^ — . ..... ... -, ,,- . .. .. ., ^ 147 ^(\ 1-1 N N N ^ K 1 S f-y ', 7 • ^ n er^i,_»_ ^-— -J « ~~t •< — 1-^ -^—\ for * • • - mer days, So glo - ry's thrill — S — is o'er, And JLtl^ — . .-^1,— N r jvZir 1^ H sel - dom wakes, The • on - ly throb she gives. "a Is «^* k 1 1 '^ ' fefcl^i ^ — L^ • • — « — ^ ft- ■ P- w — • 4- "I RH-^ tr — ti — i =t^ ti— — U * 1 i/(\ \. ^ ^ ,^ -^ fS ^v ^ ^ N V \V ^ ' m ..„J J # • N h. »v 1 /l b U • # J # ■ ■ ^ i^ ! 1 I(T\^ V f * 2 _ ^ « L . . * M d ::! II vU ^ M 1 P • t -* • • ■ 1 hearts that n 1-1 once beat high for praise, Now feel that pulse c r- no more. ^ k. 11 m^ — i^ ii- — .^-zh- -J — 1^ — -h ^ =^ fl where some 5^' heart in - dig - nant breaks, To show that still she . JJ lives. 1 « i J '' - =»^-41 |p>, 7 # . ^ f # u f ^ '^1 >' ^ ' i^H-^ — > — L L — _U i, — — E± B Thomas Mooke, 1780 — 1852. THE MORNING STARS WERE SINGING. ^ ^ -*-i ^- • *-#-!-#— r-^ ^J 3 EEi 5 tT=d= =f^ S— » ^ t 1. The morn-ing stars were sing - ing With joy when time be - gan; And 2. A high - er song of glo - ry Was sung in aft - er days, — And s ---^-T--- # -* ■# :j -*— E -0 3. A mul - ti - tude of voic - es Have learned this ho - ly song; And ^^: -F=F 148 ■m=i =^ i -w — i — * — f heavenly peals were ring - ing "When God ere - a - ted man: The shepherds heard the sto - ry As an- gels hymned His praise, .. Of i -1 = Si P 3^ — :il=b::i|: l-<»- _, ^^—^^. earth with heaven re - joic - es To roll the sound a • long With m .0 1 — & € -)9 m P 1=^=^: A 1- ^^^ i^m^^^ B* $ W==^ u - ni - verse was swell - ing With ju - bi - lant de - light, While Je - sus in a man - ger, God's well — be - lov - ed Son, Who saints and an - gels o'er us. Sing - ing be - fore the throne. £ We 3: t==l: i^ -*— ?- i=t a ^—^- f=tt^ 3=^ lE=r all to all were tell came to save from dan ing The Lord Je - ho - vah's might, ger A race by sin un - done. I =i 9 — -^ — -4~"-4^* — i" 3^ -9 J^' join the glad - some cho - rus, Glo - ry to (jrod a - lone. ^: t=t ^9- Thomas Mac Kellar. 149 FREEDOM. Az: S -0-^- -^—W ^: Groos, arr, A ■ms 1. Free-dom, who doth ev - er All my be - Ing cheer, Come in all thy 2. When God's in - spi - ra - tion In the heart sinks deep, Which, to no - ble *3i =± ~SiL i E-^ For the church-es' al - tars, For each lial - lowed grave. For our homes to 14-d: :^*- ■<9- r=^-_i ^=^- t=t- ±E3. m .^L_». -^ -i-^ -^ f-L^- beau-ty, Sweet-esfc an - gel near! Shall a world en - slav - ed Ne'er thy lin - eage, Lov - ing true doth keep ; When for right and hon - or Men cour- 3^3: 3^ :i. — ^^—^ — * \ It -^ suf - f er. Lib - er - ty to save ; That is re - al cour - age. With the :|^:l: g^s I -^ H 0- ^ t=P -^-^-^ r-i -^ hzzM: Lfi.-^-^- pres-ence know? 'Mid the star - ry heav - en On- ly wilt thou go? a - geous - ly Pledge their all for - ev - er, — Lives a na - tion free. I 3 3^* -*^r* -a?- heart's blood red! He - ro fac - es glow-ing. Fair -est when they're dead. I •g — ^^m ^-=:,=^=^==^=i Max von Schenkendorf. 150 THE MASTER'S CALL. Eller. ^#— #- -w ^ w w i^ M j— ^ 1. Through the rip-pie of the moments And the louder surge of years; Through the 2. Are there sick hearts? see ! He poureth Ev - er - more the heal-ing balm, And to -- N ^-j — K — ^ * * i :? Will you hear His sil - ver ac-cents, An-swer, " Father, here am I!" Bear a ^^ -0 — ^ — N — ^^^l^^^^^^^^^>i^-0 — — — ^■ -I ! ^ ! 1 1 1 1 ! 1 '■ -^ J * — ^ ^ ^— h -V — 5^ — '^ — ^ ^- ■j^ty—^—f'- — N ^>- — ^-. 1 — ^~ — «i — ^ — 1| — ^— j^ 0> prat - tie those who r\ 1 of the con - quer i — ^ — '— chil-dren And e - vil Gives the the _~_0 grief vie - of wo -man's tears tor's fade-less palm, , Midst the Lo! the ~V", V 1 1 JL\> -X K- -X- K -K— ^ 9d-- — ?*» — ^- K -N — ^ ^^ i H^ — ^- -^ ^ -^ i( J J^"i loft the temp' ranee — # — It ■# ban-ner While # the ea - ger throng pass by? K K hs — 4 Hope-less ^Y ^ ^ -^ 5^ — -^ — ; — ;— 0— _ i -^ — * — « — ^— — 5 5^—-' ■^^- ■^^0 * :t: «~T^- thun - der of the bat - tie When peace crowns the bit - ter strife Ev - ery fields are white with bar - vest, Wait - ing for the sic -kle's gleam: Days of ^ tf' » * * rw wives and sad - eyed cliil - dren Reach-ing mute, de-spair-ing hand. Pleading, 151 m ^ V ^ "^ "^ ]j ]j \j wliere the Mas - ter call - eth, Woo - ing to the bet - ter life sow - ing, then the reap - ing, With faith's trust - ing song be - tween. 1/ the bet I -N- -^ ^ ^~ m^. ev - er "To the res - cue, Work for God, Home, Na - tive Land." N N _^- -^ 9 Mary E. Griswold. HEAVENLY FATHER. Arr. from Mendelssohn's "Elijah." In Unison. ^1^ =]: i^— - Heave n-ly Fa- ther, sovereign Lord, Be Thy glo - rious name a - dored; Though un- wor- thy. Lord, Thine ear; Deign our hum - ble songs to hear; While on earth ordained to stay. Guide our foot - steps in Thy way, Lijrd, Pur - Till Thy er we mer - praise come -i — 0- cies nev - er fail. Hail, ce - les - tial good-ness, hail! we hope to bring. When a - round Thy throne we sing. to dwell with Thee, Till we all Thy glo - ry see. -♦ V-x- — ■* ^M- -t--m ri^ =^^,=^^^t^^l=^i^^^ :?: m 1 lizii: 1^ :S: t -z?- Salisbury Collection. 153 LOOK NOT ON THE WINE. i^&-i-s 1 1 1 1 Mueller. 1 1 \ — bf^^^ i i — i ! ! — -^ 1 -ST. fe-^ * • — i — 1 — ^ — -« 1 J — # — —J — — ^- n ^ ^ g 1^ 1. Look not 2. Though it ' — tf on seem to wine thee r which like glow - nee - eth tar, 1 — ^ • . With its "Touch not, if-^* m-^ \ 1 — H -H— ^ — 1 \ -1 -H — -—^ ^ = ^ 4 J 3. Trust thy - 4. He is -0- self ' might - not— y 1 in to 1^ thy de - weak - liv - -#• ness, er," Let this He will 1 n /^\» i or P 1 ' f « 1 "-/* i ^1 1 ^ m — 1 1 — J A - H # —A ^ 4 H ^ — 1 1 h ^ * : J i=d p rud han P dy die crim not. son nor light; taste:" Though 'tis crowned with "It will bite thee ^ ^:^ be hold thine thee ear - nest with His plea; arm: - * * ' ^ Lead me, Fa - ther. And though fierce may m sz I t-J^ i -• p^-4 ^ I spark - ling jew - els. Dash it from like a ser - pent," And thy life your yearn - ing sight, blood it will waste. P i E -»-— — -*- me from this e will keep thee safe . 1^ ■# ♦ ♦ T^ \ from temp - ta - tion, Keep be the strug - gle. He vil free.' from harm. m i t&- SusLE V. Aldbich. tea V N ! TRUST. 153 A. Randeqger, arr. B? -rjur -a — #- I=^EH -#-^-#- :g — *~ 1. Sad - ly bend the flowers, In theheav-y rain; Aft - er beating i Y^^- fc^ *3it±5z:i: -i^ — *- 2. When a siid - den sor-row Comes like cloud and night, Wait for God's to - E g^— I u^ — 7-7- E showers. Sunbeams come a - gain. Lit - tie birds are si - lent All the dark night Y-?^- v-± A-^-^- N -m—i-0- 0—0—:^ t=t- -0 — #- mor- row ; All will then be bright. On - ly wait and trust Him, Just a lit - tie fcSEES -« ^ ■0 #- •p-^-7-7- # ^- fc±-'z±4: -^ — ft- I --Si :^^-^ |7^S-T-g-?-7- azne: * — ^ * — w- •0- .-0- ^^ through ; But when morn-ing dawneth, Their songs are sweet and new. -7^- 1=1: tzt i5i: m^ 13 while ; Aft - er eve - ning teardrops Shall come the morning smile. •-^-#- -b-7-7- -0-^—0 -f -* — *- S; m m. I I Frances Ridley Havebgal. 154 HOLY, HOLY, HOLY LORD. Joiix Sebastian Bach, arr. 1685 — 1750. I I 1. Ho - ly, ho - ly, ho - ly, Lord ! Be Thy glo-rious name a - dored ; 2. Though un- wor - thy, Lord, Thine ear. Deign our hum-ble songs to hear: :1: m t=r- i E^i^ ^ — ^ — , 3. Lord, Thy mer - cies nev - er fail; Hail, ce - les - tial good - ness, hail. X iE^E -^ I :^^=^=t 3 i I f £f=f 'f-ira Lord ! Thy mer - cies nev - er fail ; Hail ce - les - tial good-ness, hail ! Fur - er praise we hope to bring, When a - round Thy throne we sing. S n- \ ^ 3=1=::1= t=]=:1: -25^- Ho - ly, ho - ly, ho - ly Lord ! Be Thy glo - rious name a - dored f^^-^^ ;E=t -#— it cizt I lA Benjamfn Williams, 1783. THEY WHO ON THE LORD RELY. German Choral. PfEJ x=t ^=r 1 1. They who on the Lord re - ly. Safe -ly dwell, though dan-ger's nigh; 2. Vain temp-ta - tion's wil-y snare; Chris-tians are Je ho - vali's care; wM A \ *— -^ E5 3. When thy wake, or when they sleep, An-gel guards their vig -ils keep; ■1-H— -^ * • -I (^kk^i. e^ ^F=F m^^ m a=j r^'^r 155 ill Lo ! His shel-tering wings are spread, O'er each faitli-ful ser-vant's head. Harm-less flies the shaft by day, Or in dark-ness wings its way. -^ ■♦ It- — — — — :^— tpH— ^ m^ Death and dan-ger may be near; Faith and love have nought to fear. g^jt i I ,- m=^^ i^^ 3^i -# 0- I H. T. Lyte. 1793—1847. 1^3 MY SHEPHERD WILL SUPPLY MY NEED. Nic GLAUS Herrmann. :q: =J— • -J 1 L gp^ii^ppJ 1. My shep-herd will sup - ply my need ; .Te - ho - vah is His name : 2. He brings my wan-deringspir-it back, When I for - sake His ways; :fc3 fcS4=t3 *=^ -; — i- \=-^=i hd-^^^^^ 3. When I walk through the shades of death. Thy pres - ence is my stay; #^ r- n-^-r- ' ' -j—^ Ki^; _• _*_ x=t ^- m] J, :fc=d: :t2zzf*z !_ 3^ :ij=::3z=p:qz=q: :zil=3: 3izif: =g=l! I I I I 1 In pas-tures fresh he makes me feed. Be side the liv-ing stream. And leads me, for His mer-cy's sake, In paths of truth and grace. :t4 N ^-^f^^ ^3^ , 0- t=t X=ir_A=-A- ;^l fcfe s A word of Thy sup - port-ing breath Drives all my fears a - way. 33E t=4 E 11 156 AWAKE, MY SOULl ^^^ F. H. Babthelemon, 1741—1808. 4^ 1. A - wake, my 2. All praise to soul, and with the sun Thy Thee, who safe hast kept. And 3E-l^i \ 3. Di lit lit g: :? rect, con - trol, sug - - gest. this day, All ii*=^ m EE g =e :S=z»t F M dai - ly stage of du - ty run; Shake off dull sloth, and hast re - freshed me while I slept; Grant, Lord, when I from a 1 m- S :; S * *:? 5 I de - sign, or do, or say, That all my powers, with ^^-ft — # *^ — ^ ^ F^ * I i - i ^^^ tzi* joy - ful rise To pay thy death shall wake, I may of morn - ing sac - ri - fice. end - less light par - take. p #— l^-T __j^ 9' -^TTi^'^ V 5 - - -5 all their might, In Thy sole glo - ry may nite. ^ ^=^_ Bishop Thomas Ken, 1687—1711. NOW THANK WE ALL OUR GOD. M. RiNCKart, 1586—1649. ' ' ' ' 3=4: 157 :^ i=j=zBE| 1. Now thank we all our God, With heart and hands and voic - es, Who won-drous things hath done, In whom His world re - joic - es; l=:=l: 3EE3 -^-¥- ^ r ' * ^ :? *<_:i^ ut 2. Oh, may this boun-teous God Through all our life be near us. With ev - er joy - ful hearts And bless - ed peace to cheer us ; 4^-f ±z± iT^E^t: _^-i. ;e=e; -/r n ;EE: m Who from our moth-er's arms Hath blessed us on our way, With t"^^:^- And keep us in His grace, And guide us when per - plexed, And :E^ 0—^ i^ I rx ^ S- I " III count - less gifts of love, And still . is ours to - day. I free us from all ills In this world and the next. m. -&-r I -* ^- JOHI^ Cruegek, 1598—1662. 158 O PARADISE. g2z^zq=|:q i=z :^;i=q==q: 3_^_L^ 0- J. Baknby, arr. 3 1. O Par - a - dise, O Par 2. O Par - a - dise, O Par a - dise, Who doth not crave for rest? Who a - dise, The world is grow-ing old ; Who :i1: :=1=1=1: r5== 3. O Par - a - dise, O Par - a - pise, I great- ly long to see The 4. O Par - a -dise, O Par - a - dise, I feel' twill not be long; Pa 'A- ^^^ tq=i :^4j: -i :N: -3^1 would not seek the hap - py land, Where tliey that love are blest? would not be at rest and free, Where love is nev - er cold? :=|: :^ ::^-J ■# fe-I ■^.^--r-g. -^- spe - cial place my dear - est Lord Is des - tin - ing for tience! I al - most think I hear Faint frag ments of thy EE E me; song; Where loy :b=± ' al hearts and i 1- true P Stand ev - the S r — \ ■=%■ Where loy - - - - - al hearts and true Stand ev the Ek — » — the Where loy al hearts and true Stand ev - er S-riz: -t^ E -± ;^=fe 159 1_. ■-^^=^=3^ w—ir I I r light, All rapture through and through, In God's most ho - ly sight. ;B3 ^Pi^ II :^ a-=3 — 5(- 0-^ •^ irr light, All rapture through and through, In God's most ho - ly sight. g; -<5^ :t: ^1 ^.^S5 F. W. Faber, 1815—1863. MY SOUL, BE ON THY GUARD. English. m%. -1^- :i=t^=S t- ^^f7 qz=p-q=z:q: -J ^^- :S=::=^ ^: z]=:r=: <5'-^^— ^25»- 1. My soul, be on thy guard; Ten thou-sand foes a- rise; The -(!? !^- :z± I -^ Sr :d: -^ -<^ -^ -s*- -25^-" Oh, watch, and fight, and pray; The bat - tie ne'er give o'er; Re 1 , fZ. M^=^- ^:M: ?^=1: t=^ 3^3 ^i?=e=^ d=i «? — ^- ^ — «*- t=^: -s*- --^- ;I^Si q;=i: I :=]: f=r=t 1^^ — '-/fi'- i #. hosts of sin are pressing hard To draw thee from the skies. :j^3: 3±d: 3 :=l=J=t i new it bold-ly ev - ery day, And help di - vine im - plore. M^. LP x=^ E 1 :^— pa: JE ■(2- i Heath, 160 MY COUNTRY! 'TIS OF THEE. Henry Carey, 1740. yp ji 1 .J _1 .] ■ — 1 1 — 1 -A \ — — '^ -H H %^ 'i — J — — J — — ^— 4 H ^— — 5 — f — i — 1 t- ~ i P ^ k> 1* 4 ^ 2 - - ^ . - 5 • • * 1. M? 2. My # coun na - try! - tive • 'tis coun - of thee, Sweet land of try, thee — Land of the lib - no - er - ty, ble free — V ft *l t "J 1 ». . 1 fc. 1 n\ 4 i 1 i ^ 1 M -\ 1 ^ 1 v^\) 4 1 n ^ i -0 -j -4 3. Let 4. Our mu fa - - sic thers' ■ # • swell GodI I the breeze, And ring from to thee, Au - thor of v 1 all lib - the trees er - ty, ^"s* 4t o # p m "1 ^i h— — #-. —s m 1- ^ m — • it A r^-^-i- h - — 1 ! -^ r ^ — ^—^ — J E Of thee I Thy name I sing; love; f=T Land where my fa - thers died ! Land of the I love thy rocks and rills; Thy woods and m f Sweet free-dom' s song ; To Thee we sing; Let mor - tals tongues a- wake; Let all that Long may our land be bright ; With free-dom' s ^ £ I U m d: i=t ^ t=i=. -»-*■ ^ -#— ^ <&- Pil-grims' pride ! From ev - ery moun - tain side Let free - dom ring, tem pled hills ; My heart with rap - ture thrills, Like that a - bove. P "r-r a^ -m-^-^- liT*— * p-^ breathe par-take; Let rocks their si - lence break, — The sound pro - long, ho - ly light; Fro- tect us by Thy night, Great God our King! H 1 1- ' ^ \=±^ ■zt^ ^^ ft- t: 1 ^ Bev. S. F, Smith, D. D. 1832. lU H7070