THE
KEY-STONE COLLECTION
OF
CHURCH MUSIC:
A COMPLETE COLLECTION OF
HYMN TUNES, ANTHEMS, PSALMS, CHANTS, &C.
TO WHICH IS ADDED
THE PHYSIOLOGICAL SYSTEM,
i\ax Coining (%irs anir facjjing Jlinginj Steals.
F-4G.I03
BY A. N. JOHNSON.
PHILADELPHIA:
E. CLAXTON & COMPANY.
930 Market Street.
THE BENSON LIBRARY OF HYMNOLOGY
Endowed by the Reverend
Louis Fitzgerald Benson, d.d.
LIBRARY OF THE THEOLOGICAL SEMINARY
PRINCETON, NEW JERSEY
se-B
555/
THE
[57th Edition.
EY-STONE COLLECTION
OF
CHURCH MUSIC
A COMPLETE COLLECTION OF
!ymn tunes, anthems, psalms, chants, &c.
TO WHICH IS ADDED
THE PHYSIOLOGICAL SYSTEM,
<|k Coming (%irs anir Cfiitjjmg Ringing Jitjraab ;
AND THE CANTATA,
/^5?\ !V"":a»"'l
5Y A. S. J'T BISON.
PHILADELPHIA:
E. CLAXTON & COMPANY.
07* Leaders of Choirs Yvhmuse this book, are earnestly requested to read the "Department »1" Musical Expression,"
commencing on page 44,) and particularly the "Note to Leaders and Teachers," on page 48.
Bntered. according to Act of Congress, in the year 1856, by A. N. JOHNSON, in the Clerk's Office of the District Court for the Distriot 1/
Mas9acbOMttlk
■rKiEOTTMn BT A. 0. JUDBKU, 6 SCHOOL ST., BOSTON.
T1-1E
PHYSIOLOGICAL SYSTEM
VOCAL MUSIC,
TRAINING CHOIRS AND SINGING ASSOCIATIONS
TEACHING SINGING SCHOOLS.
BY A. N. JOHNSON,
ASSISTED ET
E. H. FROST.
Enteral, according to Act of Congress, in the year 1856, by A. N. JOHNSON, in the Clerk's Office of the District Conrt for the District of Massachusetts.
Nemos. The copyright applies to this system as a whole, and in all its parts. All infringements will be rigidly prosecuted to the full extent of the law
4 EXPLANATION OF THE USE OF THE PHYSIOLOGICAL SYSTEM IN CHOIRS.
Ir the mpmbers of a choir are all familiar with the instructions
which are set forth in this system, of course there will be.no neces-
sity for introducing it to their notice. The. members oT a choir
must be versed in all these instructions or they cannot be good sing-
ers. If they are not, the Leader will find the instructions of the
different chapters so constructed as to enable him easily to impart
" line upon line, and precept upon precept, here a little and there a
little," until they become well versed in it. The following will il-
lustrate to Leaders the qualities which choir members must possess
in order to sing a tune perfectly :
1st. — They should be able to read the music correctly, as taught
•Ji the first department.
2nd. — They should know the exact position of the vocal organs,
and the direction of the breath which will produce. every tone with-
in the compass of their voices, as taught in the second department.
3rd. — They should have the habit of instant obedience to the
" word of command" of the Leader, as 'aught in the Fourth De-
partment.
Finally. — They should be thoroughly and "heartily" versed in
" Mechanical Expression," "Modulation," and above and before all.
" Emotional Expression," as taught in the third department. The
peculiar value of this system to a choir Leader is, that after he fa-
miliarizes himself with it, he can at once turn to an explanation
of any fault which his choir, or any member of it can commit, and
find the necessary instructions for its correction.
EXPLANATION of the use of the PHYSIOLOGICAL SYSTEM IN SINGING SCHOOLS.
It is not designed that the pupils shall study the First Depart-
ment through, before commencing the second department — the se-
cond department through before commencing the third — and so on.
The author believes that everything appertaining to an absolutely
perfect course of instruction in Singing is contained in this system,
and that the teacher will find everything fully explained and illus-
trated, so as to put him to no trouble to prepare illustrations. There
is one point, however, which it has been found absolutely necessa-
ry to leave entirely to the judgement of the teacher, and that is,
When and where the different chapters of the several departments shall be in-
troduced to a school. :i A \ I
Singing Schools are composed of such different classes of scho-
lars,— some schools being composed almost entirely of " new be-
ginners,"— some being composed almost entirely of those who
have attended singing schools before— and some being composed of
a mixture of "new" and "old" scholars, — and schools' being hold
tinder such a variety of circumstances, and for such different periods
of time, that the author does not feel safe in giving any definite di-
rections with r snect to the order in which the instructions of the
different departments are to be given, but is compelled to leave it to
the judgment of the Teacher. It is the only thing in the system
with respect to which the Teacher is put to the trouble of forming
his own plan. With respect to everything else it is believed the
explanations are as full as it is possible to moke them.
The following will serve to illustrate the different ways in which
a singing school may be instructed in the different instructions of
the different Departments :
FIRST WAT.
The School can take up the First Department and go through with it, without at-
tending to the other departments at all, until the first department is finished. Then
as much of the other department can be introduced as the time of the school will per-
mit
SECOND WAY.
The teacher can commence a school by causing the scholars to attend to the first
three, chapters, of the Second Department, before commencing the First Department.
Then he can introduce the first chapter of the first department, and thus carry on
the first and second departments together, bringing in the other departments towards
the close of the course. Strictly speaking there can be no doubt but ihat the second
department ought to he learned before the first, because it teaches him to m(lke the
tones, while the first department leaches the notation which represent the tones
which must be sung, to produce a given tune. Of course, the pup. Is ought to learn
Kote to make the tones, before singing from the note* wnfcl er-re*e.,t tb*w. and
EXPLANATION OF THE USE OF THE PHYSIOLOGICAL SYSTEM IN SINGING SCHOOLS.
perhaps the plan of introducing two or three chapters of the second department, and
then two or three of the first, is as useful a method as can well be adopted.
THIRD WAY- |
The teacher can introduce the Fourth Department first, and before he proceeds ,
with the other departments, he can have the school disciplined, so that every direc-
tion the leader gives will be at once obeyed.
OTHER WATS.
In short, the different ways in which the instructions of the different departments
can be introduced to a school are almost innumerable. One thing is certain : No
one will be a perfect singer until familiar with all the instructions contained in this
system. It remains then, (as has been already remarked) for the teacher to take
into account the acquirements of his scholars, the number of lessons in his course,
and all the other circumstances of his school, and use his own judgment, how to in-
troduce the various instructions. Although it is true that no one can be a perfect
singer without being familiar with all the instructions of this system, it is not sup-
posed that in all classes it will be possible for the teacher to teach them all, but it is
presumed teachers will in all classes, go through with, at least '• The first course of
Musical Notation," and give his pupils at least a general idea of all the departments.
The more thoroughly the different departments can be taught, the more perfect
singers will the pupils become.
DIFFERENCE BETWEEN THIS AND OTHER SYSTEMS.
The science of Music embraces two grand departments — lt Theory" and " Prac-
tire." To study the Theory fully, one must study, 1st — Elements. 2nd — Thorough
Base. 3rd — Harmony. 4th — Counterpoint 5th — Fugue. 6th — Canon. 7th —
Form. It will take several years to master this study completely, and it is purely
an intellectual study — a task for the brain. To study the Practice of music one's
time will be occupied solely with acquiring the mechanical ability to produce the
tones. If the tones are to be produced on the piano, the student's time will be
wholly occupied in mastering the nerves which move his fingers ; when he gets his
fingers completely under control, he will be a good piano player, and not before.
The study of the theory of music would not aid him in playing the piano in the least.
Though he should master the whole course of musical theory, he could not play a
tune upon the piano, because it is his Jingers which must produce the tones, and not
his brain ; and the highest culture of his brain will have no effect whatever upon the
movement of his fingers. So with the practice of all instruments. The time of the
student who learns to play upon any one, will be occupied in controlling the nerves
which produce the tones upon the instrument, and never with the study of Musical
Theory, because no amount of theoretical knowledge will impart the smallest ability
to control the instrument. The difference between the Physiological System and the
system of teaching vocal music in common use, is, simply, that the system in common
use belongs mainly to the department of Musical Theory, and occupies the time of
its students in acquiring k;.uwledge which belongs to Musical Theory, while the
Physiologies! System is entirely confined to the department of Musical Practice.
The Physiological System does not require its student to learn why this or that thing
Tocnected with the Theory ot music is so, because it would not aid him in singing
in the least if he knew, and because if he wants to know he should gel a work on
Musical Theory and study that, and not seek to acquire such information by study-
' ing a system designed to teach singing. But although the Physiological System does
not teach so much of the Theory of music as the other system; it does- what the other
system does not — it teaches its student how to control the nerves which produce the
» tones. It occupies his time in learning to control those organs which produce the va-
, rious tones in the compass of his voice. As to acquire the control of his fingers is
i almost the whole study of a piano-forte student, so to acquire the control of the or-
gans of the mouth and throat, and the other organs which have to do with the pro-
duction of musical tones, should be almost the whole study of a student in singing.
The Physiological System makes it so, requiring him to study only just enough of
the Theory to know what the notes mean. The other system forces its students to
occupy much of their time in studying items which belong to the department of Mu-
1 sical Theory and Musical Philosophy^ — which, however necessary in other branches
of music, have no use whatever in the department of singing — while it leaves them
to guess at the way to control the vocal organs. If they guess right they will sing
with pure mellow tones, and perfect "intonation ; if they guess wrong, they will sing
with coarse, rough, hard, shrill, and numerous other impure qualities of tune, and
with every degree of false intonation. Alas, how few, taught upon the system of vocal
music in common use, guess the right way of controlling the vocal organs ? How infi-
nitely better to teach that, and neglect every thing else, than to teach every thing else,
and neglect that. HQW TQ ugE TRE F1KST DEPARTMENT.
From what has been said it will be readily understood that the first department
simply explains that the yarious items which it explains are so, without going at all
into the philosophy of the subject, on the ground that a knowledge of the reasons
why the various items are so, would be of no use whatever in singing, and because
whoever wishes to learn musical theory, should study works on theory and not works
on sin<Hng. All a singer wants of musical notation, is to know what the notes mean.
This is all there is for his brain to do in learning to sing — merely to learn what the
notes mean.' When studying the first department the pupil's time will be mainly
occupied in training his eye to tell readily and quickly what the notes mean. This
is the point at which he should aim in all his practice in the first department. It is
belieyed the -first department in this system is admirably constructed to impart this
ability to the pupils- While it ha* not a word of useless -speculation to perplex his
brain, it has a course of carefully and skillfully constructed exercises which will lead
him into the practice of tunes, and gradually accustom his eye to read music readily,
which indeed is the sole design of the First Department. The teacher will notice
that the first department is divided into two courses. The First Course is a complete
course for accustoming the eye to read music in all the keys, and lead the students
easily and pleasantly into the practice of tunes. After finishing the first course, the
teacher should introduce the second course, and then proceed at once to pmctice all
kinds of musical pieces, simply following the plan of whatever, appertair.:ng to the
department of musical notation, occurs in the tunc, which has not been explained to
the pupils before. For example, if the piece on page 58 is to be practiced, explain
Double Sharps, &c. Src.
THE PHYSIOLOGICAL SYSTEM OF VOCAL MUSIC.
The study of Vocal Music is divided into FOUR DEPARTMENTS, viz.
THE DEPARTMENT OF MUSICAL NOTATION,
THE DEPARTMENT OF THE CULTIVATION OF THE VOICE,
THE DEPARTMENT OF MUSICAL EXPRESSION,
THE DEPARTMENT OF MUSICAL DISCIPLINE,
To be a good singer, it is necessary to know what every note and musical
chancer that is printed in the various singing books, means, and to be able to
perforin them, or in other words, to be able to do ihe things which the notes
and characters denote. This is taught in the First Department of Vocal Music,
the department of Musical Notation.
To be a good singer, it is necessary to understand the way to manage the
organs of the Mouth and Throat, the muscles of the Lungs and Abdomen, and
all the nerves and organs which are brought into play in producing musical tones.
This is taught in the Second Department of Vocal Music, the Department of
The Cultivation of the Voice.
To be a good singer, it is necessary to have such a control of the vocal organs
as to be able to sing with all the grades of the loud and soft tones of the voices,
and with all the modulations, or qualities of tone of which the voice is suscepti-
ble. This is taught in the Third Department of Vocal Music, the Department
of Musical Expression.
To be a good singer, it is necessary to have the ability to obey the directions
of the Leader, with the same readiness and certainty that a soldier obeys his
commanding officer. This is taught in the Fourth Department of Vocal Music,
the Department of Musical Discipline.
THE FIRST DEPARTMENT OF VOCAL MUSIC.
MUSICAL NOTATION.
To be ablo to sing tunes and pieces which are printed in Singing Books, and
Musical Publications, it is necessary to know the meaning of all the characters
which are used in printed music, and also to be able to produce the Sinking
Tones which th<-ie printed characters represent. This is taught in the " First
Department of the studv of Vocal Musio," " The Department of Musical
Nutation'.'*
CHAPTER L
THE SCALE.
Notb. The Teacher should carefully read the explanations on page 5, bcfoie commeoo
ing this chapter.
The Scale is composed of eioiit musical tones.
The tones of the scale are named onk, two, thurk, four, fit*, <tj£ 8kvk»,
iioiit.
MUSICAL NOTATION
7
Tnc Italian syllables Do, Re, Mi, Fa, Sol, La, Si, Do, (^pronounced Doe,
Ray. Me, Fah, Sole, Lah, See, Doe,) are used in singing the scale.
How many lories compose the scale? What Is the name of the first tone of the scale?
Ans. Onb. What is the name of the second tone of the scale? The Third? Fourth?
Fifth ? Sixth? Seventh? Eighth? What syllable Is used when one is sang? Ans. Do.
What syllable is used when two is sung? Three? Four7 Five? Six? Seven? Eight?
Note. The teacher must now sing the tones of the scale, requiring the pupils to imitate
him, continuing the exercise uutil the class generally, can sing them accurately.
CHAPTER n.
THE STAP5.
Tbe toius of tbe scale are represented by characters placed upon a sories of
lines and spaces, called tbe Staff.
The lowest line of the staff, is called the first line,
The line of the staff next above the lowest line, ia called tbe second line.
The middle line of the staff, is called the third line.
The line next below tbe highest line of the staff, is called the fourth line.
The highest line of the staff, is called tbe fifth line.
THE 8TAFF.
THE STAFF, WITH THE NAMES OF THE LINES APPENDED.
5(4 line. . .
ithline. ..
3d line. . .
2d line. ..
1st line. ..
What la the name of the lowest line of the staff ? What is the name of the line of the
itaff, next above the lowest line? What is the name of the middle line of the staff?
What is the name of the line of the staff, next below the highest line? What is the name
of the highest line of the staff? How many lines compose the staff?
NOTES.
J J J J
THE STAFF, WITH NOTES PLACED UFON THE LINES.
EEE3E^
zlr.
A note is considered as placed npon that line of the staff upon which tbo
head or bulb jests.
Upon which 4ine of the staff in the above example, Is the first note placed? Ans. Upon
the first line. Upon which line of the staff in the above example is the second note
placed? The third note? The fourth note? The fifth note? The sixth note? Tlio
seventh note? The eighth note? The ninth note? The tenth note? The eleventh note?
The space between the first and second lines of tbe staff is called the first
space.
The space between the second and third lines of the staff is called the second
space.
The space between the third and fourth lines of tbe staff is called the third
space.
The space between tbe fourth and fifth lines of the staff is called the fourth
space.
Whatls the space between the first and second lines of the staff called? Ans. The
first space. What is the space between the second and third lines of the staff called?
What is the space between the third and fourth lines of the Btaff called ? What is the space
between the fourth and fifth lines of the staff called?
The space below the first line is called the space below the staff, or more
commonly, for the sake of brevity, the space below
The space above the fifth line, is called the space above the staff, or more
commonly, for the sake of brevity, the space above.
the staff, with the names of the spaces appended.
The space above.
The fourth space. .
The third space
The second space. .
The first space.
The space below
THE 8TAFP, WITH NOTES FLACED CTON THE PI-ACRS.
1 g , g
Upon which space is the first note In the above example placed? Ans. Upon the first
space. The second note? The third note? The fourth note? The fifth note? Ans.
Upon the space below. The sixth note? Ans Upon the space above. The seventh
note? The eighth note? The ninth note? The tenth note? The eleventh note? The
twelfth note?
8
THE FIRST DEPARTMENT OF VOCAL MUSIC.
A short line placed below the staff is called the added line below the staff,
or more commonly, for the sake ?f brevity, the added line below.
A short line placed above the staff is called the added line above the staff,
or more commonly, for the sake of brevity, the added line above.
The added line above -
The Added line below
TOE STAFF, W1TR A NOTE PLACED UI*ON EACH LINE AND SPACE.
m
^P=F
i
Where is the first note in the above example placed? Ans. Upon the added line be-
low. The second note? Ans. Upon the space below. The third note? Ans. Upon
the first line. The fourth note? Ans. Upon the first space. The other notes?
Note. If there is any difficulty in acquiring a fluent knowledge of Musical Notation,
It must be solely in familiarizing the eye to the places of the notes upon the stuff. Al-
though it is difficult to imagine why a child. or an adult, whose intellectual faculties are
sufficiently developed to appreciate' and remember the twenty-six differently shaped char-
acters which represent the letters of the alphabet, should find any difficulty in comprehend-
ing Midi facts, as that a note placed upon the second line represents five of the scale, a
note upon the first space, four. &c. yet hooks have been issued with New Notations, under
the apprehension on the part of their authors, that the necessity of learning the lines and
spaces which represent the tones of the scale, presents an insurmountable obstacle to the
'learner. It is believed that the thorough study of this chapter, will render the pupils so
familiar with the staff, that little or no difficulty will be experienced, in reference to it, in
the subsequent lessons.
chapter ni.
THE TONES OF THE SCALE REPRESENTED UPON THE STAFF.
A note placed upon the added line below, represents one.
A note placed upon the space below, repre=ents two.
A note placed upon thejirst line, represents three.
A note placed upon the first space, represents FOUR.
A note placed upon the second line, represents five.
A note placed upon the second space, represents six.
A note placed upon the third line, represents seven.
A note placed unon the third space, represents eight.
THE SCALE, F.P.FRESENTF.D CFQN TUB KTAPF.
3=3
One, Two, Three, Four, Five, Six, Seven, Eight
Note. Question thoroughly, as follows : " How is one represented upon the staff?'* ;Ans.
By a note placed upon the added line below.) "Howis two represented?" &c, continuing
the exercise until the manner in which the tones of the scale are represented upon the staff
is perfectly understood. Then require the pupils to sing the following exercises, question-
ing thoroughly in reference to each as follows: " What tone of the scale does the first note
represent?" &c. &c, and occupying time enough in singing each note, to give every pupil
an opportunity to think what tone of the scale the note represents.
No. 1. No. 2. No. 3.
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No. 6.
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No. 7.
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CHAPTER IV.
PARS AND MEASURES.
Lines drawn perpendicularly across the staff arc called bars
The spaces between the bars represent mkascrks.
How many bars arc there in tbc above example? How many incisures?
MUSICAL NOTATION.
Note. The design of the following exercises is to render the papil3 familiar with the
staff. An idea of time can also be imparted, by calling attention to the fact that there is
an equal number of notes in each measure, and requiring the pupils to make the tones of
equal length. Many teachers attach too much importance to beating the time. It may be
questioned whether the motions of the hand arc any assistance in marking time, to the one
who makes them. The all important point is to impart to the pupil the ability to mark
the time accurately in his mind. Unless he can keep time mentally, he cannot make the
motions of the hand correctly, and if he can so divide the time mentally that he makes
the motions of the hand correctly, he can keep time accurately without making motions
of the Irand at all. Motions of the hand, or "beating time," as it is usually called, arc necessary,
in order that the teacher may know that his pupils are dividing the time correctly in their
minds, but such hand motions are no aid in keeping time, to the pupils themselves. In
the following exercises, endeavor to make the pupils sing each tone of equal length, but
do not require them to beat time. In other words, require them to measure the tones
mentally, and endeavor to make them all of equal length.
No. 1.
No. 6.
-0-0-0-0 * • 0 0 -0--0- • * -0rm -0- * -0-0-0-0-
No. 2.
No. 3.
tx
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s^i§p§3fe§ip
m
No. 4.
^3-0-
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0-0-0-0-0 * * -0 '-0-
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No. 5.
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CHAPTER V.
NOTES.
Note. The Teacher should read the explanations on page 5, before commencing this
chapter.
Note. If, in practicing the exercises of the foregoing chapter, the pupils have
carefully made each-note of eguaMength, they have already made some progress in the
mental division of time. It should now be explained to them that it, is alwavs necessary
mentally to divide the time into equal portions, when singing by note. Also, that, as it is
important that the teacher should know whether they are accurately computing the time
in their minds or not, something must be done which will serve as an index, whereby lie
can ascertain the operation which their minds are performing. Beating time, gives this
index. Do not allow the pupils to entertain the idea that the hand can keep time, but
impress upon them that the mind alone can mark the time accurately, while the motions
of the hand merely show the teacher whether the mind is dividing it accurately or not.
Beating time consists in making four equal motions of the hand, — the first
being made downwards, — the second, towards the left hand, — the third
towards the right HAND,^-and the fourth, upwards.
NOTES.
J
A whole note ( o> ) represents a tone four beats long.
A half note ( A ) represents a tone two beats long.
A quarter note ( I ) represents a tone one beat long.
Note. The foregoing remarks in relation to time, Impart sufficient information upon th6
subject to enable the pupils to sing the following exercises correctly. It is strongly recom-
mended, that no more of the theory shall be imparted than is necessary to enable the pupils
to sing the exercises about to be practiced. The exercises should be carefully practiced hv
syllables, before the words are allowed to be used. It is not material that the words should
'-« used at all.
10
THE FIRST DEPARTMENT OF VOCAL MUSIC.
No. 1.
■ stav, Far too long thy
PHI
Haste thee, win-ter, haste a - way, Far too long has been thy stay, Far too long thy
3=33=111
winds have roared, Snows have beat and rains have poured,
mmm
* — #-
i
Haste thee, win - ter, haste a - way, Far too long has been thy stay.
No. 2.
Men of God go take your sta - tions, Darkness reigns through-out the earth.
33
m^m
;j
Go pro -claim a-mong the na - tions, Joy - ful news of heaven-ly birth,
<z>-+-g
life!
£
[i
Bear the ti - dings, bear the ti - dings, Ti - dings of the Sa - viour's worth.
No. 3.
Bounding billows, cease jour motion, Bear me not so swift-ly o*er,Cease thy roarins
±LUui-M*i0m^.
foam-ing ocean, Cease thy roaring, foaming ocean, I will tempt thy rage no more.
No. 4.
tat
^_55.
IP
S3-S>-
[
Hail, thou long ex - pected Je - sua, Born to set thy peo-ple free,
linages
:«*£
3£
From our sins and fears re - lease us, Let us find our rest in thee.
No 5.
mt^
-#f-f
^^^S^i
I
Tne flowery sprinc, at God's com-mand, Perfumes the air and paints the land,
ill?
*a
I
at*
The summer rays with rig - or shine, To raise the corn and cheer the vine.
CHAPTER VL
RESTS.
A whole rest ( "■■" ) indicates that four beats of time must be passed iu
silence. In other words, a whole kest indicates that a portion of time, equ i
in length to a tone represented by a whole note, must be passed in «lenn»
MUSICAL NOTATION.
11
A haw rest ( _ ) indicates that two beats of time, must be passed in silence.
In other words a half rest indicates that a portion of time, equal in length to
the tone represented by a half note, must be passed in silence.
A quarter rest ( )• ) indicates that one beat of time must be passed in
silence. In other words, a quarter rest indicates that a portion of time, equal
in length to the tone represented by a quarter note, must be passed in silence.
No. 1.
®-w*-
No. 2.
=t=
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as ' 0-0 4 j
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No. 3.
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No. 4.
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m
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Note. After the foregoing exercises have been learned, they can be practiced in two
parts, the second part singiDg the first note, when the first part sing the note after the
CHAPTER VIL
DOTTED NOTES.
A Dotted Whole Note. A Dotted Half Note. A Dotted Quarter Note.
s I r l r
A note with a dot after it, represents a tone one half longer than the tone
represented by the same note without the dot. Thus a dotted whole note
represents a tone six beats long, — a doited half note represents a tone three
beats long, — and a dotted quarter note represents a tone a beat and a half
long.
No. 1.
-«=)•
-<=*• :
W3
m
Ev - er light - ly, ev - er bright -ly, Doth our childhood like a riv - er,
m
J=*=J
iepplii
Flowing smoothly through the meadows, Fair re-flect the sum - mer sky.
No. 2.
Or-0-
e
T-4-.0
3
5=fe*
f=£
Hark how loud the bells are swelling, All their tongues of iron telling, Now 'tis mid-night's
3
*-«**= :
<^>.e
i$=z
jlgjggljt
drea - ry liour, Time doth hasten while we're slumbering, rtoon will life and time he o'er.
12
THE FIRST DEPARTMENT OF VOCAL MUSIC.
CHAPTER VIII.
THE EXTENDED SCALE.
Notk. The practice of the exercises in the previous chapters has imparted sufficient famil-
iantv with 'reading" the notes which represent the tones of the seal*1, to make the pupils
fullv pcpart-U to proceed to practice exercises which will impart the ability to read the notes
Which represent the tones of the Extended Scale. By reference to the explanations on
paged, it will be seen that the design of the study of the "First Department of Vocal Music"
is to imp;rt guch a f;imiliarity with Musical Notation, a*; will enable the student to "read"
tin* notes fluently. Tin:- " whys" and " wflerefbresr do not belong to the study of "Sing-
ing," l-iii to the study of the "Theory of Music." If one wishes to learn to sing, he must
devote Ins time to that course of study which will enable him to sing. If he desires to
know the .casons why musical tunes bear the relations to each other that they do, or the
reasons for anything connected with the sumoct of music, he must devote his time to the
study of the ''Theory of Music" as explained on page S. It is, consequently, not necessary
that the nacher should make any explanation whatever, of the reason why the Extended
Scale is ;is it is All that is necessary for a singer to know, is that it is so. What it is ncc-
esaory for him to do, is to bo able to read the notes which represent the tones ot the Extend-
ed s. ":ite. and the. ability to do that they must at once proceed to acquire by the practice
of the exercises uf this Chapter.
THE SCALE EXTENDED UPWARDS.
Do, Re, Mi, Fa, Sol, La, SI, Do.
r£:
-ft-
_r::
;£=g
2, 3, 4, 5, 6) 7,
THE SCALE EXTENDED DOWNWARDS.
Si, La, Sol, Fa, Mi, R»,
-*- -d- -±
3,
r~i
2,
8, 7, C, 5, 4,
THE SCALE, WITH THE TONES OF THE EXTENDED SCALE,
IN COMMON USE.
Sol, La, S), D,o, Ke, Ml, Fa, Sol, La, Si, Ho, Ee, Ml, Fa, Sol.
ilPiilll^IislI^
(8)1. 2. 3.
C, 7, (8)1,
No. 1.
•j^-^\--m^^^-^-0L'^-0-9^S>*-<^-0-0^^-0-t-
o-v -#-
O- -0- w w w
No. 2.
=g
&E
ZZfiZjZ
No. 3.
J=fc
— |-
C3 O
I:S
iHeirligii^l
1 . Oh,come,come a- way, from labor now re - pos-ing, Let busy care Awhile forbear,
Oh, come, come a - way. Come, come our
m^m^m
cial joys re - new,
iSS
-0-0-0-
mmm
m&m
m
t±t
And there, where love and friendship grew, Let true hearts welcome you,Oh,comc,come away.
Notk. The teacher can explain that double bars are nsed at the close of lines of poetry,
to <Mii.le the eve. If the line ends with the lust note uf a measure, the double bar also
j answers me purpose of a single bar. If the line ends with any other than the last nute ^f a
' measure the double bar will be placed within the measure.
MUSICAL NOTATION.
13
No. 4.
—
1. Oft in the stilly night, Wnen slumber's chain hath bound thee, Fond menTry brings the light Of
EfS
4=
±z
oth-erdavs a -round m« ; The smiles, the tears,Of boyhood's years.The Trords of loye then spoken,
m
— p-
:*— i — ^ — L
i^tzrzt
g
*_«
tasrssrs^
fSg
The eves that shone, Now dim'd an J gone,The cheerful hearts now broken; Thus in the
=H=a=f
:»z*t
t*±_
P«=
gfssp
±
»-#
w
stilly nEgbt, Ere slumber's chain hath bound me,8ad mem'ry brings the light Of other days around me.
No. 5.
IllllsSsSillllit*
l. 'Tis a lesson you should heed.Try, try, try again, If at first you don't succeed,
2 Once or twice tho' you should fall, 'Try, try, try airain. If at la=t you should prevail,
3. If you find your task is hard, Try, try, try again, Time will bring you your reward,
■f*
fw
^P¥
I
ZM—tl
I
Try, try, try a - gain, Then your courage should appear, For if you will
Try, try, try a -gain, If we strive 'tis no dis - grace, Though we may not
Try, try, try a -gain. All thatoth - er folks can do, Why with patience.
3=qpt=t=t
$?
Ft
^SSEtiMt
per - se- vere, . You will conquer, nev - er fear, Try, try, try a - gain,
win the race. What should you do in that case? Try, try, try a - gain.
may not you? On - ly keep this rule in view, Try, try, try a- sain.
CHAPTER IX.
EIGHTH NOTES.
/ / n rrn
An EiGHTn note represents a tone a half a beat long. In other words, tw«
eighth notes mnst be sung in the time required in making one beat. ■
No. 1. ... __
ffin=c
■±tti- ********
No. 2.
a a o e
9
90 SO
^P
1.0 on the earth were ma - ny lands, As told in an - cient sto - ry,
2.0 on^ the world are ma- ny shores.Butnone we hail so proud -h
3.0 in the world are ma-ny homes,But none we love so dear - 1,
*—*
tt=-
Wherehe-ro deeds by he-ro hands.Have crown'd their names with glo - ry,-
As this, where'er ■ old ocean pours, His free - born waves so loud - It,
As these to which the freeman cares, With heart so bold and cheer - y
-a — J-*-
;t=E
±-±
■*,—§—*—j-9
t::
1
And on the earth are ma - ny lands, But crush'd beneath op - pres - sinn,
And from our ports a thou-sand ships The brine a - side are dash -inn-,
Then let us "uard our nations tame, And dim its lion -or >nev - cr.
u
THE FIRST DEPARTMENT OF VOCA'.. MUSIC.
Yet wait-ing for that fear-ful hour, When ends the king's trans - gres - sion.
And from their masts the stripes and stars, Are in the sun - light flash - ing.
That a - ges" vet may hear its name, And bless it, aye for - ev - er.
1 . A song for our banner, the watchword recall.Which gave the republic her sta-tion,
2. What God in his infi- nite wisdom designed, And armed with republican thunder,
3ofc4
~i~~F •-*"*-*"*
m
U - ni-ted we stand, di - vid-ed we fall, It made and preserved us a nation.
Not all of earth's despots and factions combined.Have power to conquer or sun-der.
wmwmm^^m
The union of lakes, The union of lands, And the flag of our Union for-ev-er.
No. 5.
#sfe&#h^-apSj
— <^^ "-■" — ™ — m — w-'—m
1. When the day with ro - sy light, In the morn-ing glsa ap- pears,
2. Oh, 'tis sweet at ear-ly day, Then to climb the mountain side,
ili^felfeilipilll
And the dusk - y shades of night, Melt 8- way in ilew-y tears,
Where the mer - ry song sters lay, Sweetly ech-oes far and wide,
'^ • .., r . _ __ 1,_ L!_l 1 *„ tl a ' —
Up the sun - ny hills I ' roam, To bid good mor - row to the flow'rs,
Noon may have its sun - ny glare, Eve its twi - light and its dew ;
And wa - ken in their highland home,Tbc minstrels of the bowers,
Night its soft and cool - ing air, But give in e morn - ing blue.
Tra,
la,
-0—0
la, la,
la, la, la, Tra, la, la, Tra, la,
l=z
^aS5K
Tra la, la, la,
la, la, la, Tra la la, la,
CHAPTER X.
DOTTED QUARTER NOTES.
Note. This chapter is designed to impart the ability to " read" and " perform,'" notes
which represent tones a beat and a half long. This ability will be imparted to the
student by the practice of the exercises of this Chapter. An explanation of the " philos-
ophy of rythmical relations" would do him no good, but would rather tend to his injury,
by confusing him. The philosophy of the subject belongs to the study of the "Theory of
Music" and is entirely out of place in Instructions in "Singing."
A dotted quarter note represents a tone a beat-'and a half long.
Notk. It will be well to illustrate this by showing the pupils that a dotted quarter noto
equals three eighth notes in length, or by carefully impressing upon the>r minds, that a
dotted quarter note ends in the middle of the second beat.
No. 1.
ztr
i
-*-?—*-
EQES
#» 9
z=^=ts:r±=fci=5
*
No. 2.
33
=S5
0—0—0—0-
i&feHi
MUSICAL NOTATION.
15
iS
—*
§
? r r f I
Measures having four beats are called Quadruple Measures. Measures
having three beats are called Triple Measures.
In beating Triple time, the first beat is made down\vards, the second beat
towards the left band, and the third beat upwards.
Note. Now exercise the pupils in heating triple time. Ere this they have acquired the
ability to mark time accurately, and the change in the number of motions wUl be easily
acquired.
Tunes in triple measure, have a figure 3 placed at the commencement, denot-
ing that there must be three beats in each measure.
Tunes in Quadruple measure, have a figure <t placed at the commencement,
denoting that there must be four beats in each measure.
No. 3.
No. 4.
33=
,, O-v.
1. () - ver the sea, O-ver the sea,
2. Glad hearts are we, Jov - cms and free,
=SE
t=t
5£
Swell the sounds of mel - o - dy,
Sing - ing in the dark blue sea,
Par from the shore, Fly we the oar, Sing-ing so mer - ri- ly.
Free, free from care, Our spir - its are Sing-ing so cheer - i - ly.
No. 5.
&:t:
_V 1
} . Bird of the storm - y wave.! Bird of the free, Wide is thy
2. Bird of the sea! I could en - vy thy wing, O'er the blue
3. Bird oi the wave ! Thou art *but for a day, O - cean and
=1-
9
-t-l
-0T
9
—0-
,=>.!• r
— 0—
a
-#i
~f~T~ '
— 0—
=t~
L—
-V-
(— -
-ri=rF=
-V
■v
■ u
-H--
sweep, And thy course is yet free, Cleav-ing the blue air, and
wa - ters, I mark thy glad spring, I see thy strong pinion
earth must a - like pass a - way, Why should 1 see thee with
g
bruah-ing the foam, Air is thy 6eld of sport, O - cean thy home.
as onward they glide, Dash'd by the foam of the white crest -ed tide.
en - vi - ous eye, My sweep is more wide, my course is more high.
1. Now to heav'n our prayers ascending, God speed the right ; In a no-ble
2. Be that prayer a - gain re - peat-ed, God speed the right ; Ne'er despairing,
3. Patient, firm and per - se - ver-ing ; God speed the right; Ne'er th' e-vent
-**-*■
i
i3=i
cause con-tending, God speed the right. Be their zeal in heav'n re • corded,
though de-feat - ed, God speed the right Like the good and great in sto - ry,
nor danger fearing ; God speed the right. Pains,nor toils, nor tn-als heeding.
m
=t
tizMz
*■*
IPE
With sue - cess on earth re-ward-ed,God speed the right, God speed the right
If they fail, they fail with glory : God speed the right, God speed the ri<>ht
And in heaven's time succeeding, God speed the right, God speed the right
1 .Friends of freedom swell the song, Young and old the strain proiong,Make the cause of
2. Give the ach-ing bo - som rest. Car - ry joy to every breast,Make the wretched
3. God of mer-cy ! hear us plead, Help us while we in - tercedt • Ob, how ma-ny
16
THE FIRST DEPARTMENT OF VOCAL MUSIC.
nP P
Lift your ban-ners, let them wave,
!• liiperaru'C strong.On to vie - (o - ry : Lift your ban-ne:
ilniukard bleat, Liv- jng so - ber - ly:
bo -soma bleed, Heal them speerl-i - - lv :
* iwtnn >iili,ilie wretched save: Who would (111 a drunkard's grave, Bear his infamy.
Soxfl If it is fai igulng to sing so high, the teacher can give the pitch in a lower key.
CHAPTER XI.
LETTERS. THE KEY OF G-
N«. :e. The teacher will find that the most effective method to teach "Musical Notation"
and the art of " Rending Music," is to introduce no explanation until it is absolutaly ncc-
'■^-;irv. Upon this principle, Letters sire hen- introduced for the first time, because aknowl-
f.L'f of them was not necessary in order lo sing the exercises which have been practiced
thus tiir. The teacher should carefully read page 5, before commencing this chapter.
The Tones of the Scale are sometimes named after the first seven letters of the
a jiliabet, thus,
PPI
=l=ti=
-»— w-
-
f', D, E, F, G, A, B, C, D
Note to the teaciikr. Question as follow
e
=t:t^.
■0- -F- -+-
E, F, G, A, B, C.
What letter is the first line ? What
bjjlow ? Sic, &c
When a character called a SHARP ( # ) is plnced at the commencement of a tune,
the tune is in the key oi o.
Note. Key of O. means that g is taken as one All the tunes and exercises which have
been practiced heretofore have heen in the key of 0. That is, C has been taken as one.
When C is one, D is two, E three, &c. So when G is one, A is two, B is three, &c.
THE SCALE IX THE KEY OF G.
EEg
One, two, throe, four, five, six, seven, eight.
Do. Re. Mi. Fa. Sol, La, Si, Do.
Note. The fact that In the key of G, G is one, A two, &C, Is all that a singer need* to
know. Wl\y it is so, can only lie learned by studying the science of Harmony. The expla-
nations of the transposition of the scale given in many elementary works, are very imperject,
and convey an erroneous idea of the subject. The teacher should either initiate his pupils
into the mysteries of the science of Harmony, so that they may understand the suh|. cl of
tin- transposition of the scale properly, or he should attempt no explanation of it at all.
The latter course is strongly recommended. If a singer can remember that when one sharp
is placed at the commencement, G is one, A is two, &c,and can read the music readily ;- that
key, he has acquired all the knowledge in reference to it. necessary lor a anger to know. A
three years' course of study in the science of harmony, would not enable him to sing any better.
As soon as the pupils can sing the followingexercises fluently, they will have all the kWwh-dge
of .the key of G, which it is in the least important that singers should have- The knowl-
edge which a singer requires of the key of G, and of all the other keys, will be acquired bj
practicing such exercises as tbfi following, and can be acquired in no other way. All the
knowledge of the Philosophy of that arrangement of musical tones which constitutes the
different keys (or Transposition of the scale as it is usually called,) which the study of a full
course of Harmony would impart, would not increase the ability to sing one whit. It is
important that a Composer should understand the Transposition of the scale, but not in iht
remotest degree necessary that a singer should.
No. l.
teii§
Do, Do,Do,Do,R«, Re-, Re, Re, Mi, Mi, Mi)Mi,Fa,Ftt,Fa)Fa,Sol,Sol,Sol.Sol,Sol,Fa,Mi,Re,Do,
No. 2.
z£z}
a=s
3ES
jp
-r ? v-
Do, Do, Do, Do, Si, Si, Si, Si, La, La, La, La, Sol.
Sol, Sol, Sol, Sol,
No. 3
La, La, La, La
1. Weary trav'Iers Zi-onward, Each one entering into rest, In the kingdom nf your Lord,
2. Who are they vhose weary ftetjPacing life's dark journey tbxough, Nov. !mv>- rpnclted thai heaveul* amt>
B by, Here t 'guthet met at last.
\\ ho are they whose weary fretjPaciug lift; 6 dark journey
All iiuf earthly journey past, l.vcry tear and pa
MUSICAL NOTATION.
17
-* * i *
#-#-
-0—0—^—0-
In the mansions of the blest, There to welcome, Jesus waits, Gives the crowns his
They have ev - er kept in view ? ' I from Greenland's frozen land,' ' I from India's
At the por - tal of the sky Each the welcome 'come' awaits, Conquerors over
3;
-+— *=*:
^
±3t^L
E
followers win ! Lift your heads, ye gold - en gates, Let the wea - ry travellers in.
buL - try plain,* ' I from Af- ric's bar-ren sand,' 'I from islands of the main.'
death and am, . Lift your MJads, ye gold -en gates, Let the wea- ry travellers in.
Note. The pieces which commence on page 54, which are in the keys of C and G, and
which do not contain Chromatics, can now be practiced.
CHAPTER XII.
K %_, THE KEY OF D.
When two sharps are placed at the commencement of a tune, the tune is in
the Key of d.
THE SCALE IN THE KEY OF D.
A
P^^
LNo. 1
One, Two, Three, Four, Five, Six, Seren, Eight.
Do, Be, Ml, Fa, Sol, La, Si, So.
1." A pleasant mansion in the west, And prairie land for me,Now smooth as billows
\_ 2] 2. We follow oft the bounding: deer, Upon the prairie lea, With bracing air and
^mmREmzm
all at rest, Or rolling like the sea, There blow the flowers in splendor bright, There
hun-ter's cheer, And none so blithe as we, When homeward turning we descry 'Mid
i
i=c—
i
shine the stars in glo-ry light, Se-renc up-on the prairie lea, the prai-rie lea.
golden grain and verdure nigh, Our cot upon the prairie lea, the prai-rie lea.
Note. Melodies of tunes and pieces in the key of D, can be used as exercises in the
key of D. The pieces which commence on page 54, which do not contain Chromatics, can
now be practiced.
CHAPTER XUI.
THE KEY OF A.
When three sharps are placod at the commencement of a tune, the tune is in
the key of A."
l
*fe
THE SCALE IN THE KEY OF A.
1
One, Two, Three, Four, Five, S!x, Seven, Eight.
Do, Be, Mi, Fa, Sol, La, 81, So.
No. I.
i^^j^^^^Sf^f^f-rf-r-^^f
Do, Do, Do, Do, Be, Be, Be, Be, Mi, Ml, Mi, Mi, Be.
Sol, Sol, Sol, Sol, Fa, Fa, Fa Fa, Be, He. Be Ue. Do.
18
No 2.
THE FIRST DEPARTMENT OF VOCAL MUSIC.
CHAPTER XIV.
BE
sm
*— #-
-?-?-?-
Do, Do, Do, £1, La, La, La, Sol, Fa, Fa, Fa, Ml, lie.
t^mmmt
i??r
It
Do, Do, Do, Be, Ml, Mi, Ml, Fa, Sol, Sol, La, SI, Do
No. 3.
1. In the I
i
m
^
Cot-tage where we dwell, We have led a • peaceful life ;
2. Blest with life and blest with health, We de - sire no splen - did home,
3. All the sweets of wealth will pall, Hon-est hearts and lib -er - ty,
#S3
=£
t
^
:=£
1
Ours are joys which none can tell, Who en-gage in
Nor to be the slaves of wealth, Do. we ev - er
anx-ious strife,
wish to roam,
In our cot are with them all, Home is home where-e'er it be,
-#=p-
mmM
Tho' out low - \y be our state, Tet con - tent - ed with our lot, we
W^^
-3H
en - vy not the proud and great, Happy in our hum - ble cot
THE KEY OF E.
When four sharps are placed at the commencement of a tune, the tune Is in
the key of B.
THE SCALE IN THE KEY OF E.
m
One, Two, Three, Four, Fire, Six, Seven, Eight.
Do, ' Re, Ml, Fa, Sol, La, SI, Do.
No. 1,
iSmm
M
:*=*
&
^m
*$fe
Do, Do, Re, Re, Mi, Ml, Fa, Fa, Sol, Sol, La, La, SI, SI, Do.
W=0
*=P=
-0 — m-
tt
±tr±
i=t
Itll
Do, Do, Si,
La, La, Sol, Sol, Fa, Fa, Ml, Mi, Re, Re, Do.
1. Au-tumn brown hath come at last, What once so glad-ly
2. Ah, now the an - gry E - qui-nox, Comes from the eastern
3. 'Tis not wise to trust in youth, Or in life's day of
si
-0—0.
:t=t
:p=»
fflg
s
m
if
i
hailing; Sum-nier's glories all are past, And winds fi.-e sad-Iy wailing,
ocean, Storms assail yon time-worn nxk8,And rush in wild com - motiou.
pleasure, Time hat. aye a gnawing tooth, That spoil - eth earthly ploasuro
ES
M
W£
rag
MUS10AL, inOTATION.
No. 2.
19
t=t
-*=*;
The ros - es all were blushing fair, The li ly bloom was white and rare,
Now sheep and kine haste from the brae, And mist and cloud ob-seure the day,
'Tis on - ly safe our hopes to cast, A - bove the clouds so drear and vast,
=F
-ei-
Gone, ah ! gone for - ev - er-more, And we their death are weep - ing,
Thankful - ly we bless the power That watch - eth o'er our pil - low,
There sweet spring e- ter-nal reigns, And sum - mer al - ways bloom - ing,
1°*~
P=T=
m
tt
?=p=
:=£
iO
Gone, ah gone, for- ev - er-more, So still, so deep - ly sleep - inf.
Pray we for the mar - i - ner, And all up - on the bil - low.
Wondrous flow'rs the heavenly plains For -ev - er - more per - fum - ing.
Note. Melodies of times and pieces in the key of E, can be used as exercises in the
key of E.
CHAPTER XV.
THE KET OE F.
When the signature is One Flat, the tune is in the key of P.
THE SCALE ES THE KET OF F.
** imp. twi
^H
™~, two, three, four, five, six, seven, eight.
Do, Re, Mi, Pa, Sol, La, Si, Do.
No. 1.
i
s
9-
T*=0
TtA*±
-0^
tf-
jj£
B
m
Do, Re Mi, Re, Mi, Fa, Sol Sol, La, Si, Do, Si, La, Sol, Sol, Fa. Mi, Re Do, Si, La, Sol, Do. 3!l.
i^se
*=i
-*^\*
HE6
iSgg
+m*
=9
f^r^f=m^^^^_
Note. Melodies which do not contain Chromatics, of tunes in the key of F, can be
used as exercises in the key of F.
CHAPTER XVI.
THE KET OF B FLAT.
When the signature is Two Flats, the tune is in the key of B flat.
THE SCALE IN THE KET OF B FLAT.
m
i
m
No 1.
r\ 1.
one,
Do,
two, three, four,
Re, Mi, Fa,
five
Sol,
fix, seven
La, Si,
eight.
Dq.
y , )
t
"0m
[||,
JLW =
1
r f
t
.
rr\v
'* "* ' J
,
V])
* *
i i
J
Do, Be,
Mi, Fa, Sol, Fa, Mi, Re,
^ It
Do, Si, La, Sol, Fa, Mi, Ro, Do.
V 1 ' 1
i
-
» r i
JLW l -
*
1 — i
rm™ i
m
1
V )) 1 1 1 J
t
|
1 i i
J
#- -
•
Sol, La, Si, Do, Re, Ml, Fa, Sol, Do
No. 2.
pi
-4- ^0z-00-0~4 — i*
4
*~*f
i-W0-*-0
i
^gn
20
THE FIRST DEPARTMENT OF VOCAL MUSIC.
5^
0—0-
Note. Melodies which do not contain chromatics, of tunes in the key of B flat, can be
naed as exercises in the key of B flat.
CHAPTER XVII.
KEY OF E FLAT.
When tbe signature is Three Flats, the tune is in the key of E Flat.
THE SCALE IN THE KET OF E FLAT.
No. 1.
One, two, three, four, five,
Do, Re, Mi, Fa, So),
seven, eiffht.
Si, Do.
piUiiii
535
ntt
m
-0-0-0-0-
rx=±
r$
Tt±±
m^Xn^M
3fe3
--J=£tj:
m
IP
££££
W^T
sa
Note. Melodies which do not contain chromatics, of tunes in the key <
used as exercises in the key of E flat. It will be well to explain that the tones <
are represented upon the same lines and spaces in the key of E flat that they are In the key
of E, i. e., that the key having four sharps and the key having three flats for the signature
read precisely alike.
CHAPTER XVILT.
THE KET OF A FLAT.
When the signature is Four Flats, the tune is in the key of A flat.
THE SCALE IN THE KET OF A FLAT.
Do, Re, Mi, Fa, Sol, La, Si, Do
No. 2.
Sol. Ta, Ml, Bo, Do, Sol, La, Si, Do.
Note. Me.oaies which do not contain chromatics, of times in the key of A flat, con be
used as exercises in the key of A flat. It will be well to explain that tunes having four
flats for the signature, and tunes having three sharps for the signature rearf precisely alike.
END OF THE FIRST COURSE IN MUSICAL NOTATION*.
Note. For the SECOND COURSE in Musical Notation, see page *1
THE SECOND DEPARTMENT OF YOCAL MUSIC.
THE CULTIVATION OP THE VOICE
No one oan sing well, who does not understand the proper manner of manag
ing and controling the Voice. To do this, it is necessary to learn to control the
Muscles of the Abdomen. Chest, Lungs and Throat, and the Teeth, Tongue,
Lips and other Organs and Nerves of the Mouth and Face. This is taught in
the second Department of Vocal Music, the department of " The Cultivation of
the Voice."
CHAPTER I.
POSITION.
It is impossible to produce good tones in singing, unless the Body, Head and
Organs of the Mouth are placed and kept in the proper Position.
POSITION OF THE BODY.
While singing, the Singer must stand' or sit erect. The Ear and the top of
the Shoulder must be in a straight line with the Hip.
The Spinal Column must be curved inwards.
The Internal Organs must be pressed upwards, against the Collar bones, and
must be held in this position, without sinking or drooping.
The shoulders must be thrown back and down, entirely off from the Chest,
and must be kept in this position, without allowing them to be raised when in-
flating the Lungs.
POSITION OF THE HEAD.
The Head must be held erect. It must not incline to one side, nor forwards,
but must be held perfectly vertical, so that when the Mouth is open, the Lower
Jaw will not rest upon the Glottis (or Adam's Apple) but so that it will have
free play, without interfering with the Organs of the Throat.
POSITION OF THE ORGANS OF THE MOUTH.
The Mouth must be opened in a free and natural manner.
When the Singer is employing an Open Vowel Sound, the Mouth must be
opened, so that there will be a Space between the Teeth sufficiently large to
admit the two forefingers placed one above the other.
Note. When using consonants or close vowel sounds it is not possible to keep the Mouth
opened so wide. (For an explanation of open vowels, close vowels, and consonants, seo
chapter V. )
The Lower Jaw must be dropped down as free and unrestrained as if hung
on hinges under each ear, and care must be taken that the Muscles used in mas-
ticating food are left perfectly passive, not drawn up, (or nerv§d) in the slightest
degree.
When the Singer is employing an Open Vowel Sound the Tongue must lie per-
fectly passive on the Lower Jaw, the end touching the Front Teeth of the Lowei
Jaw.
Note. When using consonants or close vowel sounds It is not possible to retain the
Tongue in this position.
CHAPTER II.
BREATHING.
A complete control of the Respiratory Organs is absolutely necessary to a
Singer. The action of the Lungs must be perfectly understood. A defective
manner of breathing invariably mars the effect of singing, and if allowed to be-
come a habit, is very difficult to correct.
There are Two kinds of Breathings, the Full Breathing and IhzHalf Breathing.
The Full Breathing, is a slow inspiration of the air into the Lungs, completely
filling their entire length and breadth, thoieby enabling the Singer to sustain
22
THE SECOND DEPARTMENT OF VOCAL MUSIC.
(lie longest Musical Tone, to vary at will its several degrees of power, and to
sing a long phrase or strain without breathing.
The Half Breathing is a quick motion of the Respiratory Organs, partially
filling the upper lolies of the Lungs.
The Process of Breathing must not be attended by an apparent heaving of the
Chest, shrugging of the Shoulders, nor motion of the Head, but must be unseen
and inaudible.
A Half Breath must only be taken, where it is necessary to breathe, but im-
possible to take a Full Breath.
Breath must be taken —
At every rest;
Before a long strain ;
Bi'fure a Pause ;
Wherever the words will permit breath to be taken, if read instead of being sung.
But breath must not be taken between the syllables of a word, nor where it
would be improper to breathe, if the words were read instead of being sung.
Notk. In ordinary breathing only two or three inches of the upper part of tho lungs
are used, ami a part of the air cells, for want of use, becomes debilitated, causing the tone
ot' voice to luck volume. The following exercise if systematically pract:.rs3 daily, will retn-
cdv this defect, strengthen the lungs, and increase the sustaining power and volume of the
voice. Take the position (if body, head and mouih described in chapter I, draw in the air
until the litmjs are filled to tlieir utmost capacity. Close the thfoat and press the air to every
part of the lungs by raising the chest and throwing tile shoulders and elbows back. After hold-
ing tlw breath as long as possible, open the mouth and allow the air to escape as slowly as possible.
Repeat this a dozen times at different intervals, every day, taking care that the air is perfectly
pure.
CHAPTER III.
PRODUCING THE VOICE.
The Tones of the voice must he produced by pressing the Abdominal Muscles,
with an inward and upward motion, against the Viscera, thus pressing the Vis-
cera against the Lungs, and forcing the air from the Lungs into the Vocal Tube,
and so on to the Throat. When the air reaches the Throat, the Pitch of the
Tone it produces must be determined by the Organs of the Throat.
Note. The office of the organs of the throat is to determine the pitch of the tones.
They never should be made u> (tosist in forcing the air into the vocal tube. That must be
done eniirely by the pressure of the muscles below the lungs. It is not possible for the
throat to be injured bv singing, if the rules in this and the preceding chapters are observed.
Many persons sing without using abdominal effort, thus throwing all the labor and fatigue
upon the throat. The consequence is hoarseness, soreness of the throat, and becoming soon
fatigued in singing. Those who sing from the throat will often be in good voice when they
commence singing, but soon a sort of mist or huskiness comes over the voice, making it
sound thick, or veiled. If they sing lor any considerable length of time, it becomes difficult,
if not impossible to reach the upper tones.
An illustration of the proper method of producing the voice may be drawn from the brute
creation. A cow when she loos, throws the whole great leathern vault up and forward
from the hips, (the moment it drops, the tones ceases) while her head is simply thrown up
and forward sufficiently to make the vocal tube straight. A dog when he barks, produces
the tone by sudden contractions of the abdominal muscles at the hips, using his throat
soley to modulate the tone. Consequently he can bark all night without hoarseness or
fatigue. A bullfrog produces his deep ,l ker-chug," by the motion of the lower muscles
of his abdomen. Consequently his voice is never husky nor fatigued, though compelled ui
sing base the livelong night.
CHAPTER IV.
EQUALIZING THE VOICE.
SWELLING TONES.
In Singing, the Tones of the Voice must all be of the same quality, i. e. must
be equally clear, round and pure.
Note. In uncultivated voices one tone will be very good, while the next tone to it will
he very had. It is indispensable to a good performance, that every tone should be equally
pure. " The practice of the scale with swelling tones, is the best exercise for purifying And
equalizing the voice.
To Swell a Tone, is to commence it as softly as possible, increasing its force
gradually to the middle of its duration, and ffom this point to the end gradually
diminishing to the degree of force with which it was commenced. To swell a
Tone properly, it is necessary to take a Full Breath according to the directions
in chapter II, to remain a moment with the chest raised before commencing,
and then to produce the Tone in the manner just mentioned, taking care to make
no movement either with the Mouth or Tongue while the sound lasts.
i
i
Note. As an exercise for equalizing and purifying the voice, let the class practice this
scale once at each lesson, with swelling tones. Let each tone be made as long as the pupils
can conveniently make it. Eventually they will acquire sustaining power sufficient to sus-
tain each tone eighteen or twenty seconds, or even longer. The pupils should also be in-
duced to practice this exercise three or four times each day at home, say once before each
meal. At first the practice will be fatiguing, and it will be we! not to sing the exercise more
than once at a time". The exercise should be persevered in daily, until the tones of the voice
a
are perfectly equalized and pare. The vowel sound "a ' must be used in singmg this exercise.
(For the proper position of the mouth in order to sing "a" correctly, see Positions of the
iu singing each element, in chapf*' V.)
THE CULTIVATION OF THE VOICE.
CHAPTER V.
ARTICULATOR
MUSICAL TONES.
Artioulation is the act of forming with the Organs of the Voioe, the Elements
of Vooal Language. The following are the Elements of the English Language.
VOWEL ELEMENTS.
1
a as beard in .
2. r;
3
4. a
e. e
7.
i ... .
16.
b as 1
17.
d . .
18.
f ...
19.
20.
g •••
h ...
21.
k ..
22.
1 ..
23.
m . .
24.
n . .
25,
ng ..
26.
27.
p...
r.
8.
l as heard in
i
o . .. .
.arm.
9.
a
..all.
10.
o . . .
8
11.
0
. .an.
1
12.
u . . . .
. . tee.
2
13.
U . . . .
.end.
3
14.
U . . . .
.pine.
15.
ou
pin.
..old.
. . tube or few.
. . .up ox her.
. . full or wolf.
CONSONANT ELEMENTS
b as heard in barb.
did.
.... ... .fame.
gig-
.... ....hut.
kite.
lull
mind
(Called tile trilled r, before a vowel.)
. .song.
. . .pit.
. .roll.
28. e air.
(Galled tbe smooth r, after a Towel.)
.... .... sin.
shade.
.... .... tart.
then.
thin.
valve.
when.
what.
yoke.
. . . .-zone or his.
. .azure or enclose.
29..
9
30.
sh ...
31.
t
32.
th ...
83.
th ...
34.
v . ..
35.
w . ..
36.
wh . .
37.
y ■■■
38.
T. ... .
39.
z. .. .
Note. C is not named in the above list, because it has the same sound that k has, (as
in cat) the same sound that s has (as in cedar) or the same sound that Eh has, (as in ocean.)
J is not named, because it merely expresses the combined sounds of d, and z in azure.
Q is not named, because it expresses the same sound as k. X is not named, because it
expresses the same sound as the combined sounds of k and s, (as in exercise) g and z in
lone, t'a» in example) k and sh (as in auxious) or z in zone fas in Xenophou.)
Pare Musical Tones, can only be produced by using Vowel Elements. It is
not possible to produce a pure musical tone (i. e , unmixed with a speaking
tone) when using consonants.
SPEAKING TONES.
The tones produced by Consonants in singing are not Musical Tones, but are
precisely the same as are produced when the consonant is spoken, instead }f
being sung.
^ote. This can be illustrated by singing some word like "a-rise." The pupils will
readily understand that the tone produced when the first syllable is sung is a pure, unmixed,
musical tone, while the tones produced by the "r" and the "s" are by no means mupical
tones, but arc precisely the same sounds which are heard when the word is spoken instead
of being sung. It will be well to explain that when words are used in singing, the per-
formance is not strictly speaking, purely "singing," but a union of "singing and "speak-
ing," the vowels producing the singing tones, and the consonants the speaking tones.
OPEN VOWEL SOUNDS.
In singing a, a, a, i, o, o, and ou, are called Open Vowel Sounds, because
the mouth must be well opened, and perfectly free, in order to sing them cor-
rectly, as described in the instructions in reference to the position of the organs
of the mouth in Chapter I.
CLOSE VOWEL SOUNDS.
41222133
a, e, e, i, o, u, u and u, are called Close Vowel Sounds, because the mouth
must be partly closed in order to sing them correctly.
COMMON FAULTS IN ARTICULATION.
No. 1. Serving the Lower Jaw. A very common fault with Singers is to
strain up the nerves which are used in masticating food, putting as much strain
upon them as would be necessary if a hickory nut was being cracked between
the teeth. This always produces a hard disagreeable tone. These nerves, and
in fact all the nerves of tbe head must be perfectly relaxed and at rest, or the
tone will not be pure. Hardly any fault is more common with singers than this
nerving of the Lower Jaw. Where the habit has been persevered in a long
time, as in the case of old singers, it requires patient practice to acquire the
power to relax the muscles, and sing with every nerve passive and perfectly at
reBt. •
24
THE SECOND DEPARTMENT OF VOCAL ML SIC.
So. 2. COMMON FAULTS IN SINGING OrEN VOWELS.
In Singing, open Vowels must receive resonance from all parts of the mouth,
and tJie mouth must be opened according to the directions in Chapter I.
The following are common faults in singing the open vowel sounds.
First. Not opening the mouth wide enough, thus losing the pureness and
much of the volume of the voice.
Second. Forcing the voice to the front part of the mouth, so that it receives
resonance from the front part of the mouth, instead of from all parts, thus losing
the volume which it should receive from the back part of the mouth.
Third. Forcing the voice to the back part of the mouth, i. e., up against
the Soft Palate. (For an explanation of the Soft Palate, see Page 42). This causes
it to receive resonance from the back part of the mouth, instead of from all parts,
thus losing the volume which it should receive from the front part.
Fourth. Forming the tone down in the throat, by curling the tongue at the
roots, back on to the Vocal Box, (for an explanation of the Vocal Box see page 42,)
thus producing a hollow, guttural sound.
No. 3. COMMON FAULTS IN SINGING CLOSE VOWELS.
In Singing, the close Vowels are formed by directing the breath gently against
the gums over the front upper teeth, with the mouth nearly closed.
The following are the common faults in singing the Close Vowel Sounds.
First. Applying too much force to the breath, thus forcing the tone too
strongly against the front part of the mouth, or causing it to strike against the
to»th, destroying the pure quality of the tone, or giving it a dental quality.
tJnOND. Opening the mouth too much, thus changing the vowel element,
waning a mixture of an open and a close vowel, which is neither one nor the
ilNvi. Uncultivated voices guilty of this fault will sing 8at, when using close
i ; (rela.
Thiiih. Singing with the teeth entirely closed, making the voice very hard
and denial.
No. 4. COMMON FAULTS IN ARTICULATING THE CONSONANTS.
Tc articulate the Consonants properly in singing, the Lips and Tongue must
be placed in the proper position, must then be moved with an appropriate
motion, and must be attended with an aspiration of the breath.
Faults in articulating the consonants, all result from not placing the Lips and
Tongue in the proper position, or not giving the Lips and Tongue their proper
MOTION.
POSITIONS AND MOTIONS OF THE MOUTH IN SINGING EACH ELEMENT.
An accurate knowledge of the positions which the organs of articulation should
assume in the formation of the several elements of vocal language, is very im-
portant to those who wish to acquire a good articulation. The following are the
positions which the organs of the mouth must assume, and the motions which
they must make in articulating the different elements.
1. a (a as in ale.) This vowel in reality consists of the two vowel sounds
"a" and "e," which coalesce so intimately, that they appear like one uniform
sound, "a" being the radical and " e" the vanishing sound. Position.
The mouth must be moderately opened. Motion. The mouth must be grad-
ually closed as the vaitishing sound is finished.
Note. Singers are very apt to commit "Common Faults in Articulation," No. 1, {nerv-
ing the . Lower Jaw. see page 23) in singing this vowel. There is. also danger of malting
the vanishing sound too long, dwelling upon the vanishing sound instead of upon the radical
sound. This is an open vowel, and the position of the organs of the mouth must be as
described in chapter I.
2
2. a (a as in arm.) Position. The mouth must be opened sufficiently wide to admit the
two fore finijers placed one above the other, beticeen the teeth.
Note. No "motion" is required to produce this vowel, as the organs of the month must
he held immovable, in the position described in chapter I, for it is an open vowel. This is
the best vowel sound for practicing the exercises for forming and equalizing the voice, for
the reason that it requires no "motion" of the organs of the mouth. In singing it, care
must be taken that "Common Faults in Articulation" No. 2, (faults in singing Open \owcl
Sounds,) are not committed.
3
3. a (a as in all.) Position. The mouth must be opened in tomewhat
of an oval form.
Note. No "motion" is required to prodnee this vowel. If must he produced from the
front part of the mouth. It is an open vowel, and the "common faults in singing open
vowels" (Common faults in Articulation" No. 2) must be avoided in sineing it. A fault
sometime* made in singing this vowel is failing to get the mouth enough into an oval posi-
tion, thus maKing the tone guttural.
4
4. a (a as in an ) Position. The Mouth must be opened sufficiently
wide to admit one finger between the teeth.
THE CULTIVATION OF THE VOICE.
25
Note. This la a close vowel, and "Common faults in Articulation," No. 3, (faults In
linging close vowels) must be avoided. No "motion" is required in singing this vowel-
5. e (e as in see) Position. The mouth must be nearly closed.
Note. This is a close vowel. "Common faults in Articulation," No 3, must be avoided.
In singing this vowel there is great danger of committing "Common fanlts in Articnla-
tion," No. 1, (nerving the Lower Jaw.) This vowel is formed back of the teeth of the
upper jaw. A fault is frequently made in singing this vowel with the teeth closed, mak-
ing the tone very hard and dental. No motion is requisite tossing this vowel.
2
6. e (e as in end) Position. The Mouth must be moderately opened;
Note. No "Motion" is, required in singing this vowel. It is a close vowel, and "Com-
mon fanlts in Articulation," No. 3, must be avoided in singing it.
7. i (i as in pine.) This vowel jeally consists of the two vowel sounds,
" i" and " e", which coalesce so intimately that they appear like one uniform
sound, '* i" being the radical and " e" the vanishing sound. Position. The
Mouth must be opened wide enough to admit' the two forefingers placed one
above the other between the teeth. Motion. The Mouth must be gradually
closed on approaching the vanishing sound.
Note. This is an open vowel, and "Common faults in Articulation," No. 2, most be
carefuly avoided. A fault is sometimes made by singing this vowel with the mouth too
much elongated and too much closed, producing a sound something like "ai." Another
fault is to produce it too far back in the mouth, making it "oi."
2
8. i {i as in pin.) Position. The Mouth must be moderately opened.
Note. This is a close vowel. No "motion" is required to make it- "Common faults
in Articulation," No. 3, must be avoided in singing it.
9. o fo as in old). This vowel in reality consists of the two vowel sounds
" o" and " oo," which coalesce so intimately that tbey appear like one uniform
sound, '* o" being the radical, and " oo" the vanishing sound. Position.
The mouth mttst be rounded, (taking care that the lips are not too much pro-
truded.) Motion. The teeth must be gradually closed as the vanishing
sound is approached.
Note. This is an open vowel, and "Common fanlts in Articulation," No. 2, mast be
avoided. A peculiar fault in singing this vowel is to get the mouth in some other than a
rounded "position." It is impossible to produce this element pure, with the mouth in any
other than the proper "position."
2
10. o (o as in lose.) Position. The mouth must be rounded, but
brought closer together than in o.
Note. No " motion" is required to produce this vowel. It Is a close vowel, and "Com
mon faults in Articulation," No. 3, must be avoided. A peculiar fault in singing this vowel,
is to protrude the lips, shutting the teeth, producing a very hard tone.
3
11. o (o as in on.) In singing, this is produced in the some manner,
and is liable to the same faults as a.
12. u (u as in tube or few.) This vowel in reality consists of the two
vowel sounds "e" and "oo," which coalesce so intimately that they appear like
one uniform sound. Position. The mouth must be nearly closed. Motion.
Aftei the "e" it articulated the mouth must be gradually opened to the "po-
sition" ofo, thus producing the "oo."
Note. This is a close vowel. "Common faults in Articulation," No. 3, must be avoided
in singing it. A peculiar fault is dwelling too long on the "e." Another peculiar fault, is
not articulating the "e" at all.
a' f
13. u. (u as in up or her. ) Position like that for e.
Note. This is a close vowel. "Common faults in Articulation," No. 3, must be avoided
in singing it. No "motion" is required to produce it.
3 2
14'. u. (u as in full or wolf.) Position. Like that for o, but with lips
not rounded quite so much.
Note. This is a close vowel. "Common faults in Articulation," No. 3, must be avoided
in singing it. No "motion" is required to produce it.
15. ou (as in our.) Position. The mouth must he opened wide. Mo-
tion. The mouth must be gradually closed.
Note. This is an open vowel, and "Common fanlts in Articulation," No i, must be
avoided in singing it. A peculiar and very common fault is, neglecting to give the mouth
its "motion,1 thus articulating the vowel with the mouth in one position and producing
"ugh" instead of "ou."
16. b (as in barb.) Position. The lips must be placed firmly together.
Motion. The lips must be forcibly separated, producing the "b" as they
separate.
Note. In articulating the consonants, care must be taken to avoid "Common tanits in
Articulation," No. 4.
17. d (as in did.) Position. The tip of the tongue must be placed against
the teeth of the upper jaw. Motion. The tip of the tongue must be
suddenly brought down, with a slight downward motion of the Lower Jaw.
18. f (as in fame.) Motion. The under lip must move up against ih*
tipper teeth
K
THE SECOND DEPARTMENT OF VOCAL MUSIC.
(Tit*. A ftralt in the articulation of this consonant, is to neglect to press the lower lip
Against the the teeth, rendering the aspiration indistinct.
19: g (as in gig. ) Position. The roots of the tongue must be placed
against the Soft Palate. Motion. The tongue must be brought down quick,
with a downward motion of the Ltower Jaw.
Note. There is another sonnd of g (as in gently,) where it has the sound of " d" and
"z as in azare" combined, and must, of course,, be articulated as those two letters are when
combined. For an explanation of the "Soft Palate" see page 42.
20. h (as in hut.) Position. The mouth must be placed in the position
necessary to produce the vowel which follows it, and this consonant must then
be produced by an aspiration.
21. k (as in the kite.) Position- The roots of the tongue must be
pressed against the Soft Palate, and this consonant must then be produced
by aspirating the vowel which follows it.
22. 1 (as in lull. Motion. The top of the tongue must move up against
the gums of the upper jaw.
23. m (as in mind.) Position. The lips must be placed together.
Motion. The lips must be forcibly opened, and the sound produced through
the nasal organs.
24. n (as in nine.) Motion. The tip of the tongue must be pressed
against the gums of the upper teeth, forcing the tone through the nasal organs.
2d. ng (as in song.) Position. The root of the tongue must be placed
against the Soft Palate, and the consonant must be produced with an aspi-
ration.
26. p (as in pit.) Position. The lips must be placed together. Motion.
The lips must be quietly and forcibly separated.
27. r (as in roll, called the trilled r. ) Motion. The tongue must be made
to vibrate against the gums of the upper teeth, while the breath is propelled
through the mouth.
28. r .< as in air, called the smooth r.) Motion. Produced by opening
the mouth, and slightly raising the lip of the tongue towards the roof of the
mouth.
Note In singing, every "r" which comes before a vowel should be trilled, and every
one which comes after a vowel should be pronounced smooth.
29. s (as in sin.) Position. The tip of the tongue must be placed against
tut gums of the upper teeth, and the consonant be produced by an aspiration.
Note. This is the most objectionable consonant for singing in the language. A peca
liar fault is to articulate it, commencing it before the time. Another peculiar fault, is to
dwell upoa it as if it was a vowel. It must not be touched until the time for it has fully
come, and it must invariably be dropped as soon as touched.
30. sh (as in shade.) Position. The tongue must be gently pressed
against the roof of the mouth, and the consonant be produced by an aspiration.
31. t (as in tart.) Position. The tongue mutt be placed against the
gums of the upper teeth. Motion. The tongue must be suddenly dropped
downwards.
32. th (as in thin.) Position. The tip of the tongue must be placed
against the upper teeth, and the element be produced by an aspiration.
33. th (as in then.) Position. The lip of the tongue must be placed
between the teeth, and the element be produced by an aspiration.
34. v (as in valve.) Position. The under lip must be placed against
the edge of the Tipper teeth. Motion. The under lip must be thrown out,
with a slight downward motion of the lower jaw.
35. w (as in woe.) Position. The lips must be placed as in the act of
whistling. Motion. The lips must be suddenly opened, with a slight down-
ward motion of the lower jaw.
36. wh (as in what.) Position. The mouth must be in the same posi-
tion as for u, and the element must be produced by an aspiration.
37. y (as in yoke.) Position. The lips must be placed in nearly the
same position as in "w," but a little more opened. Motion. The lips must
be suddenly opened, with less motion of the lips, but more downward motion
of the lower jaw than in "v>."
38. z (z as in zone.) Position. The tip of the tongue must be gently
pressed against the gums of the upper teeth, and the consonant produced by
forcing out the breath, producing a buzzing sound.
39. z (as in azure.) Position. The tip of the tongue must be in nearly
the same position as for z in zone, but drawn a little further back, and s-.twp-
what widened so as to enlarge the aperture formed by its surface and the roof
of the mouth through which the breath is forced.
THE CULTIVATION OF THE VOICE
11
CHAPTER VI.
PRACTICAL EXERCISES IN ARTICULATION.
Note. Most impure and imperfect musical tones in vocai music, are made so by defec-
tive articulation, i. e., by not placing tbe organs of the mouth in the proper position when
articulating tbe various vowels and consonants. Consequently the practice of articulation
ie of paramount importance in the study of the cultivation of the voice. Tbe pupils are
earnestly advised to practice the following exercises daily, until the habit of correct articu-
lation is perfectly formed.
No. 1.
No. 4.
Do, * Re, Mi, ~ Fa, Sol, La, Si, Do.
Note. Practice the above exercise with reference to the proper articulation of each
syllable, taking carb that the pupils are made perfectly familiar with the positions and
motions of the month necessary to articulate each syllable correctly, by consulting the
instructions nnder the head of llPositions and Motions of the mouth in singing each Ele-
ment/' on page 24.
For the positions and motions of the mouth necessary to articulate "Do" correctly, let
the pupils consult No. 17 and No. 9. For the positions and motions of the mouth necessary
to articulate "Re" correctly, let the pupils consult No. 28 and No. 1. For the positions
and motions of the mouth necessary to articulate "me" correctly, let the pupils consult
No. 23 and No- 5. For the positions and motions of the mouth necessary to articulate
"Fa" correctly, let the pupils consult No. 18 and No. 2. For the positions and motions of
the mouth necessary to articulate "Sol" correctly, let the pupils consult No. 29,. No. 9, and
No. 22. For the positions and motions of the mouth necessary to articulate "La" correctly,
let the pupils consult No. 22 and No. 2. For the positions and motions of the mouth nec-
essary to articulate " Si" correctly, let the pupils consult No. 29 and No. 5.
Note. Practice the following exercises, carefully employing the Positions and motions
of the mouth for each element, as described on page 24.
No. 2.
ii^gaa^B!^
izlztl:. -*■■+*
~f ? J f 1 2 1 J 1
aaaa aaaa a
No. 3.
m
3 4 12 3 4 1
a a a a a a a
34 1234 1234 1234
aa aaaa aaaa aaaa
^mmmms^m
-ttrr
11 6 8 1 1
12 12 12, 12 121
12J3 121?
e 6 1 1 6 6 11
~~T~ "as ia3i3 3i2siasia8i28i2»
000 000000
No. 5.
jg^^^HI^BlI
"f-f
No. 6.
I i , I 1 1 I
lf=*
m
is=ji.rr7fi^^CTBaf^^E
ou ou on ou on ou ou ou on on ou ou on ou ou on on ou on on ou on on on
Note. After the pupils are well established in the habit of articulating the vowel ele-
ments correctly, let them praetice the foregoing exercises with each of the consonants
prefixed to the vowels. That is, let them practice the foregoing exercises (No. 2,3,4,5
and 6,) with the consonant "b," prefixed to each vowel. This will make Exercise No. 2,
12 34 1212 133
"ba ba ba ba." Exercise No- 3, "be be bi bi." Exercise No. 4, "bo bo bo." Exercise
No. 5, "bu bu bu," and Exercise No. 6, "bou." Then let them practice the same exer-
13 3
cises with the consonant "d" prefixed to each vowel, making Exercise No. 2, "da da da
4 1 2 1 3
da," Exercise No. 3, 'de de di di &c. &c, proceeding in the same way with all the
consonants, carefully observing the positions and motions of the mouth according to the
directions given from No. 16 to No. 39, on pages 25 and 26.
Note. After the pupils have thoroughly practiced the foregoing exercises, as here
directed, they will be familiar with the proper positions and motions of the mouth, necessary
for the correct articulation of every element in the language. They are consequently pre-
pared to sing tunes with the words, giving the correct articulation to every word, until correct
articulation becomes a fixed habit, it will be well to frequently analyse the words of the tunes
sung. For example, if the tune "Alexandria," page 127, is to be sung, previous to singing
it. let the pupils notice, that the:^rs( word (Teach) requires that the first element shall be
articulated as directed in No. 31, (page 26), the second element as in No. 5, — the "ch" as
if it was " t" (No. 31) and "sh" (No. SO) united. The second word, (me) requires that the
first element shall be as in No. 23, and the second element as in No. 5. The third word
(the) requires that the first element shall be as in No. 32, and the second element as in No. 6.
The fourth word (measure) requires that the first element shall be as in No. 23, the second as
in No. 6, the third as in No. 39, the fourth as in No. 12, and the fifth as in No 27. Tbe
fifth word (of) requires that the first element shall be as in No. 11, and the second element
as in No. 18. The sixth word (my) requires that the first element shall be as in No. 23, and
the second element as in No. 7. The seventh word (days) requires that the first element
i shall be as in No. 17, the second element as in No. 1, and the third element as in No. 29.
28
THE SECOND DEPARTMENT OF VOCAL MUSIC.
The pupils should be required to analyse all the words in this way, until they become
Seifsctly versed in all the proper Positions and Motions. The teacher should be careful to
irect attention to the element under consideration, no matter which letter of the alphabet
U employed to represent it. For example, in the fourth word of the line analysed above,
(measure) **s" is employed to denote the element, but the element is plainly cot the one
described in No. 29, but the one described in No. 39.
CHAPTER VH.
REGISTERS OF THE VOICE.
All voices have Three Registers.
The Chest Register.
The Head Register.
The Medium Register.
THE CHEST REGISTER.
The tones of every voice, from the lowest tone the Singer can produce, up to
B, are said to belong to the Chest Register, because they derive their volume
and resonance from the Chest.
HIGHEST TONE OF THE CHEST REGISTER IN MALE VOICES.
HIGHEST TONE OF THE CHEST REGISTER IN FEMALE VOICES.
m
To produce the tones of the Chest Register, the Singer must observe the direc-
tions in chapters I, II and III, and must commence the tone as low down in
the chest as possible, taking care that the breath comes directly out of the mouth
without being directed against the roof of the mouth.
Note. An exact illustration of the way the breath must be managed to produce the
the tones of the Chest Register correctly, can be made by opening the mouth wide, and
breathing as one would breathe npon a glass, having the breath come straight out of the
throat, without pressing upon one part of the mouth more than upon another. Another
Illustration can be made by opening the mouth and aspirating the letter " h." A sure tesi
I whether the tones of the chest register are receiving the proper amount of resonance from
the chest, is to place the hand upon the chest in a line with the shoulders. If the tone is
receiving the proper amount of resonance and volume from the chest, the vibrations will
be perceptably felt by the hand. If the vibrations cannot be distinctly felt, the tones do
not receive a sufficient amount of resonance from the chest, and the chest must be more
expanded and the tone commenced deeper in the chest. In fact, whenever the tones of the
Chest Register are deficient iu volume, it will be because the rules given in chapters I, II
and III are not observed.
THE HEAD REGISTER.
The tones of every voice, from high F to the highest tone the singer can pro-
duce, are said to belong to the Head Registfr, because the tones are formed
higher up in the mouth than are the tones of either of the other registers.
LOWEST TONE OF THE HEAD REGISTER IN MALE VOICES.
mi
LOWEST TONE OF THE HEAD REGISTER IN FEMALE VOICES.
i
To produce the tones of the Head Register, the singer must observe the direc-
tions in chapters I, II and III, and form the tones by directing the breath
against the back part of the roof of the mouth.
Note. Although this is called the Head Register, the tones are not formed in the head,
but are simply formed higher up in the mouth than the tones of either of the ojher regis-
ters. Unlike the Chest Register, in which the breath passes directly out of the mouth, and
unlike the Medium Register in which the breath strikes against theYront part of the mouth,
in the Head Register the breath must strike against the back part of the roof of the mouth.
The idea which some writers advance, that there are cells in the upper part of the head,
from which the tones of the Head Register receive resonance, is altogether erroneous, there
being no communication whatever with the top of the head, except through the nasal
organs, and if the tone is formed through them, the disagreeahle quality produced is too
well known to require comment. Common faults in singing with the Head Register, are,
keeping the voice too far back in the mouth, making it sound muffled or smothered.
Pressing the voice with too much force against the roof of the mouth, producing head ache,
and causing a feeling of dizziness, at the same time producing a hard quality of tone.
THE MEDIUM REGISTER.
The tones of every voice, which are between the highest tone of the Chest
Register and the lowest tone of the Head Register, are said to belong to the
Medium Register, because they are between the Chest and Head Registers
THE CULTIVATION OF THE VOICE.
29
TONES OF THE MEDIUM REGISTER IN MALE VOICES.
TONES OF THE MEDIUM REGISTER IN FEMALE VOICES.
To produoe the tones of the Medium Register, the singer must observe the
directions in Chapters I, IT and III, and form the tones by directing the breath
against the front part of the roof of the mouth.
Note. The tones of the Medium Register are the most defective in the human voice.
It will require far more study" and practice to bring out and devetope these tones, than those
nf either of the other Registers. In point of fact, the singer must fry to do away with the
Medium Register entirely, and bring the Chest and Head Register together. He will not
probably succeed, but the nearer he can come to it the better. The first endeavor must be,
to assimilate or blend, the Chest and Medium Registers. To do this, soften the upper
tones oi the Chest Register, giving them something of the character of the tones of" the
Medium Register, and give the lower tones of the Medium Register as much of the character
of the tones of the Chest Register as possible. The aim must be to pass from one register
to the other, so smoothly that the change will not be apparent to a listener. The next
endeavor must be to assimilate or blend the Medium and the Head Registers. To do this, the
lower tones of the Head Register must be made to partake of the quality of the tones of the
Medium Register, and the aim must be to pass from the one Register to the other so
smoothly that the change will not be apparent to the listener. Indeed one of the most
important items in the study of the Cultivation of the Voice, is to acquire the ability to pass
through the different Registers with the same quality of tone, and with no apparent "breaks"
In the voice, making it appear to the listener as if it was all one Register from the lowest
to the highest tone of the voice.
Common faults in singing the tones of the Medium Register are— Forming the tone too
far back in the throat, making it hollow and guttural. Allowing a part of the tone to pass
through the nasal organs, giving it a nasal quality. Forcing the breath against the teeth
so hard as to give the tone a dental and hard quality. Nerving the muscles of the lower
jaw, when the only proper method is to have the muscles of the face entirely relaxed and
free.
CHAPTER VEIL
BLENDING THE REGISTERS.
To blend the Registers, the stronger tones must be softened, and the weaker
strengthened, and care must be taken to have no " breaks" in the voice, but to
have it of one quality throughout its entire compass.
CLASSIFICATION OF FEMALE VOICES.
Female voices are divided into Three Classes, viz.
Soprano Voices.
Mezzo Soprano Voices.
Contralto Voices.
THE SOPRANO VOICE.
A Soprano voice has usually a compass of two and a third octaves.
COMPASS OF A SOPRANO VOICE.
i
Cheat Register.
Medium Register.
Head Register.
CHEST REGISTERS OF SOPRANO VOICES.
In Soprano voices the tones of the Ohest Register are weak, thin, often trem-
ulous, and if forced will be sharp. The tones of the Chest Register must be
formed as directed in Chapter VIL The pupil must exercise gently at first,
until the tones acquire firmness. The aim must be to make every tone partake
as largely of the resonance of the Chest as possible. If the tone does not re-
ceive the proper amount of resonance or volume from the Chest, it will be thin
and hard.
. In many soprano voices E, F and F# in the Chest Register are defective,
causing an effect somewhat like passing from one register to the other. This
defect must be corrected in the same manner that the registers are made to blend,
i. e., by softening the tones next before and next after the defective tones, care-
fully keeping the vocal organs in the same position all of the time.
MEDIUM REGISTER OF SOPRANO VOICES.
Soprano voices form the tones of the Medium Register by directing the breaiH
against the front part of the mouth, opening the mouth moderately wide.
In some soprano voices, the voice will break, in producing the tones of the
Medium Register. To correct this, the tones must be taken softly and with the
utmost care, very carefully observing every rule of position, &c, persevering
in careful practice with reference to this point, until such control of the voice is
acquired that there is no more danger of its breaking on producing the tones of
the Medium Register, than in producing the tones of ihe Chest Register.
so
THE SECOND DEPARTMENT OF VOCAL MUSIC.
Some Soprano singers form the tones of this register too far back in the roof
of the mouui, producing a smothered or stifled tone, with the tones of this Reg-
ister.
Some Soprano voices bring down the roof of the mouth, nearly closing the
mouth, and nerve the lower j«w, producing a very hard "tin pan" quality of tone,
with the tones of this Register.
HEAD REGISTER OF SOPRANO VOICES.
Soprano voices form the tones of the Head Register by directing the breath
(gainst the front part of the mouth, and should produce a clear flute-like quality
of toae by receiving resonance from the back part of the mouth under the palate.
If the singer allows it to press up against the soft palate, it takes away all the
flute-like quality, and produces a thick, veiled tone. Pressing the voice against
the front teeth, and not allowing it resonance from the back part of the mouth,
will produce a very hard, shrill, dental tone.
If Soprano voices force the tones of this register, it destroys the intonation and
the quality of tone.
BLENDING THE REGISTERS OF SOPRANO VOICES.
In Soprano voices the Chest Register is the most defective. The first study
of soprano voices must be to form the Chest Register. It is not difficult for
soprano voices to blend the registers after the Chest Register is properly formed.
The directions for blending the registers in Chapter VII must be observed, and
care must be taken that the directions in reference to the Medium Register in
Chapter VII are observed. It is better not to practice much in the Head Reg-
ister, until the Chest and Medium are joined or well blended
THE MEZZO SOPRANO VOICE.
A Mezzo Soprano Voice has usually a compass of two and a fourth octaves.
COMPASS OF A MEZZO SOPRANO VOICE.
1
Chest Register.
Medium Register.
Head Register.
CHEST REGISTER OF A MEZZO SOPRANO VOICE.
In Mezzo Soprano Voioes the tones of the Chest Register, are full, mellow
and sonorous. The tones of the Chest Register musi be formed as directed in
Chapter VII.
MEDIUM REGISTERS OF MEZZO SOPRANO VOICES.
Mezzo Soprano Voioes form the tones of the Medium Register by directing
the breath into the roof of the mouth just in front of the soft palate.
The greatest fault in the use of this register, is in producing guttural tones,
occasioned by forming the voice too far back in the throat, with the 'tongue
pressed back at the roots, stopping the passage of the breath. To avoid tbia
fault, the singer must see that the tongue is perfectly passive in the bottom of
the mouth. If it is difficult to keep the tongue from pressing back at the roots,
it will be well to hold it in its proper place With the handle of a tea-spoon, until
by practice, it can be made to lie passive in the bottom of the mouth.
Another fault, is forming the tone with the mouth nearly closed, and direct-
ing the breath into the front part of the inoutb,. thus producing a hard dental
tone.
HEAD REGISTER OF MEZZO SOPRANO VOICES.
Mezzo Soprano Voices form the tones of the Head Register by directing the
breath a little farther forward in the roof of the. mouth, than in forming the tones
of the Medium Register.
A common fault is to form the tone too far back in the mouth, thus produc-
ing a hollow quality of tone, lacking resonance. The tones of this register must
not be forced, or the intonation will be destroyed.
BLENDING THE REGISTERS OF MEZZO SOPRANO VOICES.
The principal difficulty in blending the registers of Mezzo Soprano Voices, is
to blend the Chest and Medium Registers, especially when the singer has the
fault of producing a guttural quality of tone with the Medium Register. The
only way the Chest and Medium Registers can be smoothly blended is to care-
fully keep the organs of the mouth in the same positiou while producing the
highest tone of the Chest Register, and the lowest tone of the Medium Register
If the singer has the fault of singing false in the Medium Register, it will at
once be corrected, by observing the direction, to keep the organs of the mouth
in an immovable position while changing from the Chest to the Medium Register.
Little or no difficulty will be experienced in passing from the Medium to th
Head Register, if the directions in Chapter Vll arc observed.
THE CONTRALTO VOICE.
A Contralto Vuice has usually a compass of two octaves or more.
THE CULTIVATION OF THE VOICE
31
COMPASS OF A CONTRALTO VOICE.
m
=#=3t
* Chest Register. Medium Register. Head Register.
CHEST REGISTER OF CONTRALTO VOICES.
In Contralto Voices the Tones of the Cheat Register, are very strong, and
often of a coarse and masculine quality.
The tones of the Chest Register must be formed as directed in Chapter VII.
In Contralto Voices, E, F and Gr in the Chest Register are defective, being
much weaker than the other tones, and if uncultivated singers force these tones,
they will sing false. They can be brought out and developed, by the same pro-
cess adoptod to blend the Registers of the voice.
MEDIUM REGISTER OF CONTRALTO VOICES.
In Contralto Voices, the tones of the Medium Register are so weak, tremu-
lous and wavering, that its use is discarded altogether.
THE HEAD REGISTER OF CONTRALTO VOICES.
Contralto voices form the tones of the Head Register by directing the breath
to the front part of the mouth. The greatest fault with Contralto voices when
using this register, is to contract the muscles of the mouth, making the tone hard,
dental and shrill. Sometimes, though rarely, Contralto singers form the tone
too much in the roof of the mouth.
BLENDING THE REGISTERS OF CONTRALTO VOICES.
Contralto Voices have the ability to extend the Chest Register to E, and
unite it with the Head Register. This is the only proper way for Contralto
voices to blend the registers, leaving out the Medium Register entirely. The
upper krfies of the Chest Register are so strong, that it would be necessary to
soften them down so much to blend them with the Medium Register that the
best part of the Chest Register would be lost.
The Compass has little or nothing to do with determining whether a voice is
Soprano, Mezzo Soprano or Contralto. The quality and quantity (or volume)
of the voice, decides the class to which it belongs.
DIFFERENCE BETWEEN SOPRANO, MEZZO SOPRANO, AND CONTRALTO
VOICES.
The Soprano Voice is weak and delicate in the Chest Register. It cannot
produce the mellow, full quality of tone which the Mezzo Soprano does in the
same Register. If a Soprano tries to produce a Mezzo Soprano quality with
this Register, the result will be that the voice will become hoarse and husky,
producing Sore . throat, and if persisted in any length of time it will require
much effort to produce any tone at all with the Chest Register, and the voice
will sound much as if a piece of wollen cloth was laid over the mouth To pro-
duce the tones of the Medium Register, Soprano voices direct the breath against
the front part of the mouth, producing a clear flute-like quality of tone, while the
Mezzo Sopranos form the tones of the Mediurn Register a little farther back in
the roof of the mouth, producing a full Clarinet quality of tone. If a Soprano
tries to imitate a Mezzo Soprano in producing the tones of the Medium Register,
the result: is false intonation, hoarseness, breaking of the voice, and a muffled
quality of tone. To produce the tones of the Head Register, Soprano voices
direct the breath towards the front part of the mouth, producing a clear, pure
quality of tone, while Mezzo Soprano voices produce the tones of the Head Reg-
ister by directing the breath farther back in the roof of the mouth,' producing a
more mellow and full quality of tone, but not so brilliant and flute-like as the
Soprano. If a Soprano tries to imitate a- Mezzo Soprano in producing the tones
of the Head Register, the result is the flute-like quality of the tone is destroyed,
and a hard, shrill, sharp quality of tone is produced instead.
The Mezzo Soprano Voice, is full, rich and melodious in the Chest Re°ister
If a Mezzo Soprano, tries to produce a Soprano quality of tone in this Register,
the voice loses the fulLquality peculiar to the Chest Registers of Mezzo Soprano's,
producing a thin, affected quality of tone, for the reason that the volume of the
chest is thrown away, and a tone is produced which receives its resonance from
the mouth instead of from the chest. If a Mezzo Soprano tries to imitate a Con-
tralto in producing the tones of the Chest Register, the result will be that the
mellowness and richness of the voice will be lost, and the tone will become
coarse, hard and unpleasant. It also brings on debility of the vocal organs,
with hoarseness and loss of voice. As Mezzo-Soprano voices can sing the Alto
part as well as the Treble part, there is great danger of attempts to imitate the
Contralto when using the Chest Register, while such an imitation is certain ruin
to a Mezzo Soprano voice. Mezzo Soprano voices form the tones of the Medium
Register by directing the breath into the roof of the mouth, while Soprano voice
32
TIIE SECOND DEPARTMENT OF VOCAL MUSIC.
form them by directing the breath into the front part of the mouth. If a Mezzo ]
Soprano tries to imitate a Soprano in producing the tones of the Medium Reg-
ister, the result is the loss of the full mellow quality peculiar to the Mezzo So-
prano voice in this register, and the production of a thin, hard quality of tone in-
stead. Contralto voices never use the Medium Register, but carry the Chest Reg-
i-terup to the Head Register. If Mezzo Sopranos' try to imitate Contraltos' in
this respect, and carry their Chest Register up to the Head Register, they will
ruin their voices. Mezzo Soprano voices form the tones of the Head Register by
directing the breath into the roof of the mouth, while Soprano voices form them
by directing the breath into the front part of the mouth. If a Mezzo Soprano
tries to imitate a Soprano in producing the tones of the Head Register, the tone
becomes shrill and sharp, and will often be false. There is no danger that a
Mezzo Soprano will attempt to imitate a Contralto in this Register.
The CoNTnALTO VorcE is very full and of a somewhat masculine quality, in
the Chest Register. In this Register it has somewhat of the quality of the
Mezzo Soprano voices, but it is less mellow, and of a more masculine quality of
tone. There is no danger that a Contralto will attempt to imitate a Mezzo So-
prano in the Chest Register, when using their full Chest voice. Some singers
think the full masculine tones of the Chest Register are too coarse, and attempt
to avoid them, by closing the mouth, stopping the throat and muffling the voice,
producing an imperfect imitation of the Chest Register of the Soprano voice.
Contralto voices must sing with the Contralto quality of tone throughout their
entire compass, and not attempt to muffle or veil it. If required to sing softly,
Contralto voices must still preserve their peculiar quality, and sing softly, by
keeping the vocal organs unalterably in the proper position, and not try to sub-
due the power of the voice, by entirely changing its quality, i. e., whether singing
loud or soft, they must invariably preserve the quality of tone peculiar to the
Contralto voice. The Head Register of Contralto voices is less mellow than the
Head Register of Mezzo Soprano voices, and not as flute-like as the Soprano,
but more shrill The Head Register of the Contralto is not used in Chorus
Singing.
UNALTERABLENESS OF FEMALE VOICES.
Nature determines whether the voice is Soprano, Mezzo Soprano, or Contralto,
and the singer con no more alter the class of voice nature has given her than she
can add " a cubit to her stature.': Singers sometimes ruin their voices by
attempting to imitate a voice which pleases them, but which belongs to a differ-
ent class from their own. Learners may imitate experienced singers in every-
thing except quality of voice, with that they must be satisfied with what nature
has given them. Practice will very much improve the quality of every voice,
but it will always retain its own native peculiar quality. As easilv might one
expect to alter her face in imitation of some one's else face, as to expect to alter
the quality of her voice, in exact imitation of some one's else voice. Conse-
quently a Soprano will always remain a Soprano, a Mezzo Soprano will always
remain a Mezzo Soprano, and a Contralto will always remain a Contralto.
Whichever part the singer sings, she must sing it with the quality of tone
appropriate to the class to which her voice belongs. Thus if a Soprano should
attempt to sing Alto, she must sing it with the Soprano quality of tone. If a
Contralto should attempt to sing Treble, she must sing it with the Contralto
quality of tone. (Itisof course improper for a Soprano to sing Alto, or for a Con-
tralto to sing Treble.) Mezzo Sopranos' can sing either part, but which ever
part they sing, they must invariably produce the quality of tone peculiar to the
Mezzo Soprano voice.
The three classes of voices may be compared to a Violin, a Violincello, and a
Double Base, which produce tones in many respects alike, but differing not
only in compass, but in volume and quality of tone.
THE KIND OF MUSIC BEST ADAPTED TO THE DIFFERENT FEMALE VOICES.
The Soprano voice is best adapted to perform music requiring fine and deli-
cate performance, or rapid execution. In Choirs Sopranos must never sing any
other than the Treble part.
The Mezzo Soprano voice is best adapted to perform music requiring deep
pathos and emotion, and that requiring full volume of voice, and dramatic eflfect.
It is not so well adapted to rapid execution as the Soprano. In choirs Mezzo
Sopranos can sing either the Treble or Alto part, with equal effect.
The Contralto voice is best adapted to music requiring depth and breadth of
voice and expression. Music which falls within the compass of its Chest Reg-
ister can be sung with the beet effect. In choirs Contraltos must never sing any
other than the Alto part.
THE CULTIVATION OF THE VOICE.
33
CHAPTER IX.
CLASSIFICATION OF MALE VOICES.
Male voices are divided into Three Classes, viz.
Tenor Voices.
Barytone Voices.
Base Voices.
TENOR VOICES.
There are Three kinds of Tenor voices, viz. Counter Tenor, Cheat Tenor,
and Mixed Tenor.
THE COUNTER TENOR VOICE.
A Counter Tenor Voice has usually a compass of two octaves. It is a high,
light soft male voice, rarely met with, and is not unfrequontly called by singers
who are not well versed in the Cultivation of the Voice, an Alto voice, or a Fal-
setto voice. It forms an exception to all other voices in respect to its Medium
Kegister, which extends through an entire octave.
COMPASS OF A COUNTER TENOR VOICE.
m
Chest Register. Medium Register. Heftd Register.
CHEST REGISTER OF COUNTER TENOR VOICES.
In Counter Tenor Voices, the tones of the Chest Register are weak, thin, and
often of a shrill quality. To improve them, much practice is necessary, according
to the directions for developing the Chest voice, given in Chapter VII.
MEDIUM REGISTER OF COUNTER TENOR VOICES.
Instead of being as all the other voices, the most defective, in Counter Tenor
voices, the Medium Kegister is the most effective part of the voice. The singer
is able to give it much of the resonance of the Chest. The tones are formed in
the same manner that all other voices form the Chest Register, viz. by causing
the breath to go directly out of the mouth, instead of being directed to a part of
the mouth, as in the Medium and Head Registers of other voices. A fault in
singing the tones of this Register is, to allow the tone to break into a Head voice
instead of coining open and full from the Chest.
r«]
HEAD REGISTER OF COUNTER TENOR VOICES.
There is so little of the Head Register in Countor Tenor voices, that its use
as a general thing is discarded altogether.
BLENDING THE REGISTERS OF COUNTER TENOR VOICES.
There being so much more power in the Medium Register in Counter Tenor
voices, than there is in the Chest Register, and the Chest Register being the
most defective part of the voice, the process for blending the Registers must be
the reverse of that pursued in blending the other voices, i. e., the Medium Re"
ister must give way to the Chest, and its lower tones must be softened to unite
with the tones of the Chest Register. Uncultivated Counter Tenor Singers
sometimes use four or five different qualities of voice, one tone beim* with the
Chest voice, the next with the Medium, the next with the Head, and so on
forming an uncouth mixture of Contralto, Counter Tenor, and Chest Tenor
voices, giving the impression that the Counter Te»or is an unnatural and useless
voice, whereas, when its different registers are properly blended, and its tones
properly produced, it is one of the most useful of Tenor Voices.
THE CHEST TENOR VOICE.
The Chest Tenor Voice has usually a compass of two octaves. It is a full,
rich, mellow male voice.
COMPASS OF A CHEST TEXOR VOICE.
I
Chest Register.
Medium Register.
Head Register.
CHEST REGISTER OF CHEST TENOR VOICES
In Chest Tenor Voices, the tones of the Chest Register are naturally full and
sonorous. The tones of the Chest Register must be formed as directed in Chap-
ter VII. Care must be taken in singing with this Register, not to force the
tones, as it destroys the sweetness of the voice, makes it husky, and causes the
singer to sing flat, besides depriving him of the command of his voice in the
other Registers.
U
THE SECOND DEPARTMENT OF VOCAL MUSIC.
MEDITTM REGISTER OF CI1FST TENOR VOICES.
The tones of this Register are the most defective part of a Chest Tenor Voice.
The tones are f .rined by directing the breath against the front part of the raouth,
with the mouth moderately opened. The faults are, taking the tone too far back
in the mouth, giving it a thick, heavy quality, which after a little practice, makes
the singer hoarse, and destroys his intonation. Singing with the mouth too
much closed, with the muscles of the lower jaw contracted, producing a very
hard, dental quality of tone, and causing irritation of the bronchial tubes. Occa-
sionally singers form the tones of this Register, by pressing the tongue back at
the roots, making the tones guttural and hollow.
HEAD REGISTER OF CHEST TENOR VOICES.
In Chest Tenor Voices the tones of the Head Register are formed by directing
the breath gently against the soft palate. Some singers possess the ability to
combine the resonance of the mouth with the ringing clarion quality of the chest,
forming what is called the " Chest Voice in the Head Register." The faults
are — Forming the tone too far back in the mouth, and allowing it to press too
strongly against the Soft Palate, taking away the metalic ring of the voice and
causing it to sound veiled or smothered. Pressing it too much in the front part
of the mouth, at the same time nerving the lower jaw, making the tone so hard,
that it almost ceases to be a musical tone, but becomes a yell.
BLENDING THE REGISTERS OF CHEST TENOR VOICES.
The Chest Register being naturally full and melodious, it is comparatively
quite easy to pass from the Chest to the Medium Register, if the directions given
in Chapter VII are observed. Passing from the Medium to the Head Register
is much more difficult. To pass from the Medium to the Head Register, be care-
ful that the change is only a change in the direction of the breath, but in no ease
a change in the position of the vocal organs. D in the Medium Register is the
most defective tone in the whole compass of the voice. When designing to pass
from the Medium to the Head Register, the D must be sung more softly than it
is necessary to sing it, when not designing to sing higher, for if sung too loud,
the break in passing from one Register to the other becomes very apparent. To
overcome the defect in this " D,"' it should be sung the first, whenever the singer
practices, commencing on D and singing upwards and downwards from it a few
times, afterwards commencing at the lowest note of the Chest Register, and
practicing the entire compass of the voice.
THE MIXED TENOR VOICE.
The mixed Tenor voice has a compass of Two and a fourth octaves. It it m
male voice of a little mellower character, but with not so full and clarion a tone
as the Chest Tenor voice. It is better adapted to the parlor than the Chert
Tenor voice, but not so well adapted to the public hall.
COMPASS OF A MIXED TENOR VOICE.
l
m
m
Cheet Register. * Medium Register. Head Reguter
CHEST REGISTER OF THE MIXED TENOR VOICE.
In Mixed Tenor Voices the lower tones of the Chest Register are somewhat
more full than those of Chest Tenor voices, though with not so much of the
clarion, brilliant quality. As the voice ascends the scale, the tones become
thinner than those of the Chest Tenor. If the tone is forced, the voice become
husky, and the singer loses the command of its intonation. Uncultivated voices
sometimes form the tone too much in the throat, by pressing the tongue back at
the roots, making the tone guttural, and doing the throat great injury
MEDIUM REGISTER OF MIXED TENOR VOICES.
Mixed tenor voices form the tones of the Medium Register by directing the
breath straight out of the mouth, without allowing it to be obstructed in any part
of the mouth. If they follow this direction, and the directions given in Chap-
ter VII, they cannot get the tones wrong. The faults are, — Raisim» the tongue
pressing it back in the throat, making the tone guttural, and causing the singer
to sing flat. Closing the mouth and nerving the lower jaw, making the tone hard
and dental
HEAD REGISTER OF MIXED TENOR VOICES.
Mixed Tenor Voices form the tones of the Head Register by directing the
breath straight out of the mouth, precisely as in producing the tones of the Me-
dium Register. Mixed Tenor voices cannot produce the ringing clarion tones
which Chest Tenor voices can produce with the tones of this Register, but they
must give the tones as much resonance from the chest as possible.
BLENDING THE REGISTERS OF MIXED TENOR VOICES.
It is comparatively easy for Mixed Tenor voices to blend all the Registers, it
being only necessary to observe the directions in Chapter VII.
THE CULTIVATION OF THE VOICE.
33
BARYTONE VOICES.
There are two kinds of Barytone voices, viz. Full Barytone and Light
Barytone.
THE FULL BARYTONE .VOICE.
A Full Barytone voice, has usually a compass of Two and a quarter octaves.
It is to the Male voice what the Mezzo Soprano is to the Female voice.
COMPASS OF A BARYTONE VOICE."
^
--»- •
^m
Chest Register.
Medium Register. Head Register.
CHEST REGISTER OF FULL BARYTONE VOICES.
The tones of the Chest Register of Full Barytone voices are rich, deep and
mellow. The tones must be produced in accordance with the directions in Chap-
ter VII. Uncultivated voices are inclined to make the lower tones guttural, by
pressing the tongue back at the roots, and the upper tones thin and hard, by
singing with the mouth too nearly closed.
MEDIUM REGISTER OF FULL BARYTONE VOICES.
In Full Barytone voices the tones of the Medium Register are formed by
directing the breath into the roof of the mouth, directly in front of the soft palate.
When properly formed, the tones are full, clear and of a ringing quality. The
faults are, directing the breath too far back in the mouth, producing a hollow
instead of a ringing tone. Taking the tone with the mouth too much closed,
producing a thin, hard, dental tone. It is of the utmost importance that the
directions in Chapters I, II and UJ. should be observed when producing the
tones of this register.
HEAD REGISTER OF FULL BARYTONE VOICES.
In Full Barytone voices the tones of the Head Register are very powerful,
and at first can oniy be produced with full volume of voice. It is of the utmost
consequence that the directions in Chapters I, II and III should be observed
when producing the tones of this Register. As the singer acquires control of
the vocal organs, the ability to sing the tones of this register soft will be acquired.
BLENDING THE REGISTEES OF FULL BARYTONE VOICES.
j It is comparatively easy to blend the registers of Full Barytone voices, if the
directions in Chapter VII are observed. Uncultivated voices, sometimes pro-
duce a great break in passing from the Chest to the Medium Register, occasioned
by not directing the breath to the right part of the mouth, but this break can ba
remedied by observing the directions in Chapter VII.
THE LIGHT BARYTONE VOICE.
A Light Barytone voice has the same compass that a Full Barytone has. This
voice is more flexible and delicate than the Full Barytone, but not so "telling."
CHEST REGISTER OF LIGHT BARYTONE VOICES.
The tones of the Chest Register of Light Barytone voices are full and very
mellow, not possessing so much of the ringing quality of tone as the Full Bary-
tone, but partaking more of the character of the Chest Tenor. Thus a common
fault, is to try to imitate the Full Barytone by forcing the voice, destroying the
sweet mellow quality of the tone, making the singer hoarse, and if persisted in,
injuring the intonation.
MEDIUM REGISTER OF LIGHT BARYTONE VOICES.
In Light Barytone voices the tones of the Medium Register are formed as in
the Medium Register of the Full Barytone. This Register of Light Barytone
voices differs from the Medium Register of Full Barytone voices, in the tone
possessing a mellow quality, instead of the clarion quality of the Full Barytone'.
A common fault is, trying to produce the clarion quality of the Full Barytone,
which it is impossible for a Light Barytone to do — and it will ruin his voice if he
persists in trying to do it. The faults described as common in the Medium
Register of Full Barytone voices, are also common with this voice.
HEAD REGISTER OF LIGHT BARYTONE VOICES.
The tones of this Register are formed the same as the tones of tne Head Reg
ister of Full Barytone voices, the only difference between the two voices being
that the Light Barytone is more mellow, possessing something of the character ol
the tones of the Head Register of the Chest Tenor, only not so clear and clarion.
A common fault is, forcing the voice to produce the quality of a Full Barytone,
or closing the mouth and throat, endeavoring to imitate a Che=t Tennr,
36
THE SECOND DEPARTMENT OF VOCAL MUSIC
BLENDING DIE REGISTER OF LIGHT BARYTONE VOICES.
The quantify ami quality of ihis voice, being so much lighter than the Full
Barylone, if the directions in Chapters I, II, III, and VII are observed, it will
be comparatively easy to unite the registers of this voice.
BASE VOICES.
A Base voice has usually a compass of two octaves. It is rarely good in its
uncultivated state, being of a heavy, rough quality. In uncultivated voices, the
vocal organs seem as if stiff and unyielding, and it requires much practice to
bring them under control.
COMPASS OF A BASE VOICE.
m -0-
- > » * . ~*~ :
iii
-# — *-
Chest Register.
Medium Register.
There is such a wide difference between the Chest and Medium Registers of
this voice, the Chest Register being so strong and the medium so weak, that the
Medium Register is discarded altogether, and the Chest Register extended up to
E, so that practically the Base voice has but one Register.
The tones must be formed according to the directions for producing the tones
of the Chest Regi.-ter given in Chapter VII.
F, G and A, (fourth line, fourth space, and fifth line) are weak and defective
tones. Uncultivated voices commonly sing these tones out o^ tune, occasioned
by allowing the vocal organs to change their position. If the directions in regard
to the position of the vocal organs in Chapter I are observed, and the vocal
organs arc not permitted to change, this difficulty can be overcome.
To carry the Chest Register up through the medium, the breath must be
directed straight out of the mouth, and the tone brought deep out of the chest,
as described in the directions for singing the tones of the Chest Register in Chap-
ter VII. At first, an uncultivated Base voice will hardly be able to sing C of
the Medium Register with the Chest quality of tone. He must not sing higher
until by practice he is able to sing C with perfect ease. He may then practice
D, and when that is acquired can extend the voice to its utmost limit, E. It
will in some instances require a very bng time, to bring out and properly devel-
ope this part of the voice, but in no case must the attempt be made to sing higher
by an exertion of physical force, but the upper tones must be sung ai al/Ove di-
rected, extending the compass only so fast as the singer acquires control of the
vocal organs.
Until the voice is perfectly formed from low G, to high D, the singer should
never sing lower than low G. The habit which many uncultivated Bxse vpicea
have of singing as low as they can, is very injurious. Until the upper tones are
properly developed they should never sing lower than G.
DIFFERENCE BETWEEN TENOR, BARYTONE AND BASE VOICES.
The general remarks in reference to difference in Female voices in Chapter
VIII, (page 31) apply also to the difference in Male voices, and should be read
previous to reading the following remarks.
The Tenor Voice differs from the Barytone, in the Chest Register, by the
tones being of a lighter quality, not having that volume and fulness which the
Barytone possesses in the Chest Register. If a Tenor voice tries to imitate a
Barytone in producing the tones of this Register, the result is hoarseness and
false intonation. In the Medium Register the Tenor voice has not that hollow
ringing head quality of tone peculiar to the Barytone. If a Tenor voice tries to
imitate a Barytone in producing the tones of this Register, the result is huskiness,
hoarseness and singing out of tune. In the Head Register, the Tenor voice has
not the full volume of the Barytone, but is finer and of a more ringing quality.
If a Tenor voice tries to imitate a Barytone in producing the tones of this register,
he will destroy this Register of his voice, and have only as many tones in it at
his command as the Barytone has.
The Barytone Voice differs from the Tenor voice in the Chest Register by
being deep, full and mellow. No serious injury results from Barytone trying to
imitate a Tenor in the Chest Register, but by so doing, the Barytone loses the
most effective part of his voice, and his singing sounds affected. The Barytone
voice differs from the Base voice in the Chest Register, by the voice being mel-
low, full, and flexible, while the Base voice is heavy, cumberous and of a harder
quality. If a Barytone voice tries to imitate a Base voice in producing the tones
of the Chest Register, the tones will lose their mellow quality, and become hard
and coarse, and he will find it impossible to sing in tune. The Barytone voice
differs from the Tenor voice in the Medium Register by the tones being much
more full and ringing than those of the Tenor. The case with which many
Barytone voices sing the tones of the Medium Register, often misleads them,
and makes them think they possess Tenor instead of Barytone voices. If a Bary-
tone voice tries to imitate a Tenor voice in producing the tones of the Medium
THE CULTIVATION OF THE VOICE.
37
Register, his voice will lose its natural character of a Barytone, and become an I
imperfect mixture of Barytone and Tenor. If a Barytone voice tries to carry I
the Chest Register up through the medium Register as Base voices do, the toss |
of the control of the vocal organs will be the result. The Barytone voice differs I
from tie Tenor voice in the Head Register, in the quality, quantity, and man-
ner of producing Die tone. The tone has a deeper, rounder, and fuller quality '
than the Tenor, and not the fine clear ringing quality which is peculiar to the
Tenor voice. If a Barytone voice tries to imitate a Tenor voice in producing!
the tones of the Head Register, the result will be the loss of the ability to pro-
duce the tones of this Register.
Tuk Base Voice differs from the Barytone voice in nsing but one Register,
while the Barytone uses three. The tones are much deeper, heavier, and of a
harder quality. There is little danger of a Base voice trying to imitate a
Barytone in the Chest Register. If a Base voice tries to produce the tones of
the Medium Register, as the Barytone voice does, instead of carrying the Chest
Register through the Medium, the result will be that the voice will become an
imperfect mixture of Barytone and Base.
UXALTERABLEXESS OP MALE VOICES.
The general remarks in reference to the unalterableness of Female voices in
Chapter VIII (page 32) apply also to male voices, and should be read before
reading the following remarks.
A Tenor voice will always remain a Tenor voice. A Barytone voice will
always remain a Barytone voice. A Base voice will always remain a Base voice.
Nature has determined to which class every voice belongs, and whoever attempts
t" force his voice into a different class from that to which it naturally belongs,
will ruin it, and will never succeed in becoming a good singer.
THE KIND OF MUSIC BEST ADAPTED TO THE DIFFERENT MALE VOICES.
Tenor voices should not sing songs in which any of the tones are lower than the
appropriate compass of a Tenor voice. Even the practice of Barytone tone
Bongs should be avoided, as havioga tendency to make the voice hoarse and husky.
in choirs, the tenor voices must never sing any other than the Tenor part.
Barytone voices should confine themselves to songs witnin the natural compass
of their voices. The continued practice of either Tenor or Base songs will have
an injurious effect upon the voice. In choirs, cultivated Barytone voices can I
sing either the Base or Tenor part. Uncultivated Barytone voices should confine
themselves to the Bxse part, and not attempt to sing the Tenor part, until by
practice they have learned properly to control the voice.
Base voices should confine themselves to songs which lie entirely within the
compass of the Chest Register. In Choirs, Base voices should never sing any
other than the Base part.
CHAPTER X.
PRACTICAL EXERCISES.
Note. There is not space in this work to furnish a full course of exercises for the "See.
ond Department," but it is expected that the instructions of ttiis Department, will he applied
to the practice of tunes, anthems, and whatever else is suns. The melodies of the different
tunes in the book, will serve as vocal exercises, for the particular study of this Department.
The following Scales should form a daily practice, with all who wish to acquire perfect
control of the vocal organs as taught in the Second Department. The Swelling Scales must
he sung according to the directions in Chapter IV, (Page 22).
The Scale in the First Form (exercises No. 1 and 2) is the first exercise new
beginners should have to form the voice. Those who wish to get perfect con-
trol of their voices should practice this scale three times a day, alone by them-
selves, once before breakfast, and twice in other parts of the day. It should lie
practiced standing erect, bearing equal weight upon each foot, with the instruc-
tions in Chapters I, II and III perfectly and literally observed. Carelesness in
regard to the position, manner of producing the voice, &c, will be followed by
highly injurious results, making the voice worse than if the singer should neglect
practice altogether.
The singer should frequently practice in front of a mirror, to see that his
position, Sfc, are all right.
This Scale in the Second Form (exercises No. 3 and 4) is designed to increase
the volume of tone, and the ability to sing soft or loud at will, going from soft
to loud without tremulousness. It is very fatiguing to practice it. Once a day
is as often as it ought to be practiced. It should not be practiced when the
singer is fatigued, but only when the vocal organs are perfectly fresh. Singers
mu*t not attempt the practice of the scale in the second form, until able to sing
it perfect in the first form.
In the scale in the third form (exercises No. 5 and 6) each tone
must be commenced with the natural forte of the voice, and care-
38
THE SECOND DEPARTMENT OF VOCAL MUSIC.
fully continued and ended with the same power of voice. The observance of the
rules in reference to positions are of so much importance in the practice of this
scale, that it will be well to practice with a stick passed through the hollow of
the arms behind the back, thus compelling an erect position, and with a stick
about three quarters of an inch long between the teeth, thus compelling the
mouth to be properly opened. Once a day is enough to practice this scale.
Voices that are naturally coarse and rough will be smoothed down by the prac-
tice of the scale in the third form, and voices that are weak and tremulous will
be made strong and firm by it.
In the scale in the fourth form (exercises No. 7 and 8) the tone must be com-
menced, continued and ended soft, with the same care in regard to position, &c ,
which is required in the practice of the scale in the third form. The object of
the practice of the scale in this form is to give the singer the-abiiity to sing piano
and pianissimo. It is difficult for singers to control the vocal organs so as to sing
soft properly. The practice of this form of the scale gives this ability, and it is
the only praotioe which will. It should be practiced twice a day.
The Chromatic scale (exercises INo. 9 and 10)should be practiced twice a day,
taking especial care that the directions in Chapters I, II and III are observed.
The practice of this scale will train the ear perfectly, and ensure perfect intona-
tion. Care must be taken that the instrument with which it is practiced is id
perfect tune, and up to concert pitch. It will be better not to practice at all,
than to practice with an instrument out of tune.
The scale in octaves (exercises No. 11 and 12) is designed to impart the abil-
ity to sing large intervals correctly, commencing the tones with firmness and
in perfect tune. It should be practiced three or four times a day.
The singer must not practice the scale in the second form, until the ability to
sing the scale in the first form has been perfectly acquired, nor the scale in the
third form until the ability to sing that in the second has been acquired, and
so on. After acquiring the ability to sing the scale in the first form perfectly, it
should be laid aside, and the scale in the second form practiced and so on. In
other words but one of the scales at a time, must form the daily practice.
SCALE IN THE FIRST FORM.
No. 1.
THE SWELL.
FOR SOPRANO, MEZZO SOPRANO AND TENOR VOICES.
*t
I
o 1!o o-ooooooooo
FOR CONTRALTO, BARYTONE AND BASE VOICES.
^
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^sg^sg^^
IK-^fc
o 'o o oo oo o oo oo oo ooo oo o
THE CULTIVATION OF THE VOICE.
39
No. 8.
SCALE IN THE SECOND FORM.
THE DOUBLE SWELL.
FOR SOPRANO, MEZZO SOPRANO AND" TENOR VOICES.
m
p^^i
fe
-» — tK=r
oo oo °^ <><>
No. 4.
-^
_Q_
OO oo oo oo oo oo oO oo oo oo oo oo oo oo oo oo
FOR CONTRALTO, BARYTONE AND BASE VOICES.
I
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fezE=3s
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BS:
tt oo oo oo oo oo oo oo oo oo oo oo oo oooo oo oooooooooo
SCALE IN THE THIBD FORM.
I
No. 6.
THE ORGAN TONE, LOUD.
FOR SOPRANO, MEZZO SOPRANO AND TENOR VOICES.
HI
l^gEj
m
gjjjF -^ife
i^*±3
<S> — 5<s>-
No. 6.
FOR CONTRALTO, BARYTONE AND BASE VOICES.
-e-j-^
to^=to^=l
fe^fc
-o-se*
111
fe=£=%:
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No. 7
SCALE IN THE FOURTH FORM.
THE OEGAN TONE, SOFT.
FOR SOPRANO, MEZZO SOPRANO AND TENOR VOICES.
fe=^^fijS---=
p-5
Ep^pEt^pgE]:
i
40
No. 8.
THE SECOND DEPARTMENT OF VOCAL MUSIC
FOR CONTRALTO, BARYTONE AND BASE VOICES.
^
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<3> ffig-
m
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rm
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No. 9.
FOR SOPRANO, MEZZO SOPRANO AND TENOR VOICES.
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FOR CONTRALTO, BARYTONE AND BASE VOICES.
^gB^M^^^B^g^g
&■
t=t
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CULTIVATION OF THE VOKJii
41
m
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No. 11.
FOR SOPRANO, MEZZO SOPRANO AND TENOR VOICES.
1st
fe
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No. 12.
FOB CONTRALTO, BARYTONE AND BASE VOICES.
Note. The Instructions in the Cultivation of the Toice which are contained in this book, are such as all singers onght to study, in order to sing well in choirs or singing societies.
Solo singers require to pursue the subject much farther, and are earnestly recommended to study the work entitled, "Instructions in the Management of the Voice, bp
E. H. Frost, assisted fy A. N. Johnson," in which the subject is carried out in its minutest detailcs, upon the same general plan which has been pursued in this work.
[«]
42
THE SECOND DEPARTMENT OF VOCAL MUSIC
CHAPTER XI.
ORGANS OF THE MOUTH AND THROAT.
Note. The following explanations impart such information in reference to the organs
of the Mouth and Throat, as is necessary for the study of the Physiological System of Vocal
Music as contained in this book. More particular information in reference to them can be
found in Medical Works and in Treatises on the Voice.
THE WINDPIPE.
In the plate upon the oppposite page, KK represents the Wind-pipe. All
vocal tones are produced by the breath passing from the Lungs up through the
Wind-pipe.
THE LARYNX.
At the upper part of the Wind-pipe is an apparatus consisting of five cartilages,
viz., the Thyroid, the Cricoid, the Epiglottis, and the two Arytenoid. They
are bound together by ligaments and moved by muscles. The union of these
five cartilages is called the Larynx. In the plate, the Larynx is represented at
H. L. I.
The Thyroid- cartilage is the largest of the five, and forms the prominence in
the front of the neck, called "Adam's Apple." The Cricoid cartilage is situated
below the Thyroid. It connects with the Thyroid Cartilage, and with the upper
ring of the Wind-pipe.
The Arytenoid cartilages, are small triangular bodies placed upon the back
part of the Cricoid Cartilage.
The Epiglottis is placed behind the base of the Tongue. In shape it resem-
bles a leaf of parsley. In the plate, the Epiglottis is represented at I.
Two ligaments pass from the Thyroid Cartilage to the two Arytenoid Cartilages
which are called the Vocal Cords. The aperture or opening between these
ligaments is called the Glottis. It is about three quarters of an inch long and
one quarter of an inch wide. In the plate the " Glottis" or " opening of the
Larynx" is represented between H and L.
The pitch of the tones in singing is determined by the Larynx. To produce
the lowest tone of the voice, the Glottis or opening of the Larynx is opened to
its fullest extent. As the voice ascends the scale, the muscles of the Larynx are
contracted, and the Glottis made smaller and smaller.
Note. All of the trouble which singers and speakers have with the throat, is in the
Larynx, occasioned for the most part by compelling the Larynx to produce as well as pitch
the tone. The tone must be produced by forcing the current of air up from the lungs, by
the motion of the abdominal muscles, as explained in Chapter III, leaving the Larynx with
nothing to do but to regulate the pitch. Those who compel the Larynx to produce as
well as pitch the voice, will soon experience fatigue, dryness of the throat, irritation of the
Larynx, huskincss. sore throat, and finally loss of voice.
THE SOFT PALATE.
In the Plate, the Soft Palate is represented at F. It can be drawn up so as
to enlarge the cavity at the back part of the roof of the mouth. When it is down
in its natural place, the tone will be brilliant and clear. When it is drawn up,
and the room it occupied in the back part of the mouth is occupied by the breath,
the tone will be mellow and soft. The lower part of the Soft Palato is called tin-
Uvula. The Uvula moves with the Soft Palate, and is in reality a part of it, bui
it has also a backward and forward motion of its own. It is the vibratory motion
of the Uvula which causes the articulation of a trill or rapid running passage.
The Soft Palate and Uvula can be easily seen by looking into any person's mouth,
if the mouth is widely opened.
NERVES OF THE LOWER JAW.
The "bundle of nerves" of the Lower Jaw is represented in the Plate,
under the letters A, D, C. These muscles are designed to move the jaw when
masticating food. Many singers have the habit of keeping them contracted when
singing, thus, always making the tone hard or shrill, and injuring the intonation.
While singing, these "Nerves of the Lower Jaw" must always be perfectly re-
laxed.
POSITION OF THE TONGUE.
In the Plate the tongue (" B") is represented in the position it must always
be in, when vowel elements are being sung, i. e., perfectly motionless on the
bottom of the mouth. When articulating consonants its position must necessarily
be changed.
Note. Two prominent faults in using the tongue in singing, are first, rolling it up
at the end (towards "A") into the roof of the mouth, producing a smothered quality
of tone, and second, pressing the tongue back at the roots (towards "C") back into the
Larynx, producing a guttural quality of tone. Some singers have the habit of curling the
end of the tongue back into the roof of the mouth, forming, so to speak, a "solid mass
of tongue" in the middle of the mouth, producing a very hard quality of tone.
NASAL TONES.
In the Plate, the passage to the Nasal Organs is represented at "G."
The Singer must not allow the breath to pass into the passage marked "G,"
or a nasal quality of tone will be produced.
EXPLANATON OF THE PLATE.
A The end of the Tongue. H The Larynx.
B ■ • • The Tongue. I • • • • The Epiglottis.
C- ■ • -The roots of the Tongue. K ■ ■. The Windpipe.
D •• The nerves of the Lower Jaw. L ■ • The Glottis.
E- • • The Uvula. M The Cervical Vertebrae.
F ■■ -The Soft Palate. N Tins Cavity of the Throat.
G ■ ■ • The Passage to the Xostrils. O Die ( favity of the Mouth.
44
THE THIRD DEPARTMENT OF VOCAL MUSIC.
MUSICAL EXPRESSION.
Singing is exceedingly dull, monotonous and ineffective, when performed with
the same power of voice throughout the piece. To make it effective, various
gradations of loud and soft must be constantly employed, and the singer must
[possess the ability to sing with all the various grades of power from very soft to
very loud, and with all the feeling and emotion of which his soul is susceptible
This is taught in the Third Department of Vocal Music, the Department of
'■Musical Expression."
Nots. The toucher can illustrate this by comparing singing with reading. A piece or
hymn read in a monotonous tone of voice, with no variations in the power of voice, is a
performance precisely like a piece sung with the same monotonous power of voice from
beginning to end. As " Musical Expression" is the department upon which the effect of
singing entirely depends, the teacher should carefully illustrate its nature and importance.
There are two kinds of Musical Expression,
Mechanical Expression, and
Emotional Expression.
Mechanical Expression, is that expression which is given to a piece, by
Mechanically observing the marks of expression which are printed in the music,
or Mechanically obeying the directions of the Leader.
Emotional Expression, is that expression which springs from the soul of the
Binder, bein°' the natural outburst of the feelings, expressed in the singing.
CHAPTER L
MECHANICAL EXPRESSION.
Note. Although a finished singer can commit bnt one greater fault, than to sing with
Mechanical Expression, (and that would be to sing with no expression at all) it is still abso-
lutely necessary to learn it, as it is the only possible guide to the true Musical Expression,
T12 kmotional Expression.
The following Italian words, or their abbreviations, are used to designate >he
various shades of Musical Expression.
"Mezzo," or its abbreviation "m" means "medium" or "middling" power of
voice. By this is meant, that the passage is to be sung with the ordinary power
of voice which a singer uses in common conversation — neither loud nor soft, but
without any force applied to make the tone loud, or any restraint to make it soft.
The power of voice which one would use in conversation at the tea table, would
be the "Mezzo" power.
Note. Practice Exercise No. 1, on page 70, carefully using the Mezzo power of voice.
11 Piano," or its abbreviation " p" means " soft" By this is meant that a
restraint must be placed upon the voice, and instead of allowing it its natural
force as in "Mezzo, " it must be restrained. Two persons talking so as not to be
overheard by those near them, would use the " Piano" power of voice.
Note. Practice Exercise No. 2 on page 70, carefully using the Piano Power of voice.
" Pianissimo ," or its abbreviation"^" means" very soft." By this is
meant that the voice must be suppressed as much as possible, without injury to
the quality of the musical tone. Persons whispering, use the "Pianissimo"
power of voice.
Note. Practice Exercise No. 3, on page 70, carefully using the Pianissimo power of
voice.
"Forte," or its abbreviation "/, " means "loud." By this is meant, that
a force must be applied to raise the tone to a louder power than in "Mezzo."
Two persons conversing across a wide street, would use, the "Forte" power of
voice.
Note. Practice Exercise No. 4, on page 70, carefully using the Forte power voic*
"Fortissimo" or its abbreviation "ff" means "very loud." By this is
meant that the utmost power of voice must be used, never however, under any
circumstances using so much power as to injure the quality of the toue. A
person crying fire, would uje the "Fortissimo" power of voice.
MUSICAL EXPRESSION.
45
Notk. The words " mrzzopiann, (mp) and " mezzo -forte,'* (mf) are sometimes used, to
denote a power between mezzo and piano, or between mezzo und forte. Sometimes " ppp''
or "fff." are met with, but such n use of these letters is of course, extravagant and absurd.
It may be well to practice Exercise No. 2 with the mezzo-piano power of voice, and Exercise
No. 4, with the mezzo-forte power of voice, to impart to the pupils a definite idea of these
two powers.
"Tenuto" or'* Organ Tone," represented by the sign r, means that a tone,
or passage of music, must be commenced, continued and ended with the same power
of voice. The required power of voice is usually denoted by one of the before-
mentioned marks, as for example, '* Tenuto, p,'* or "Organ Tone, p," meaning
that the passage is to be commenced, continued and ended, soft, — "Tenuto, f " or
"Organ Tonr, f," meaning that the passage is to be commenced, continued and
ended, loud The terra " Organ Tooe," is used to designate this power of voice,
because &s pipes of an organ always produce a tone which, commences, contin-
tinues, and ends, with precisely the same power.
Note- Practice Exercises No. 6 aDd 1, on page 70, carefully singing with the Organ Tone
as directed.
"Crescendo " or its abbreviation "Cres" or represented by its sign, — =^ZIZI2.
means that a tone or passage of music, must be commenced soft, and sung with
constantly but gradually increa.>ing power of voice throughout its entire length.
For example if a line is to be sung " crescendo," each note must be carefully
made louder than the preceding one, and each tone must be carefully increased
in power, during its entire length.
Note. Practice Exercise No. 8, on page 70, commencing soft, am' carefully singing
louder and louder throughout the exercise. A crescendo passage must usually be com-
menced soft, to allow scope for the increase of power.
Diminuendo, or its abbreviation "Dim" or represented by its sign-]^^1^1" »
means that a tone, or passage of music, must be commenced loud, and sung with
constantly, but gradually diminishing power of voice, throughout its entire length.
For example, if a line is marked *' Diminuendo," each note must be carefully
mflde softer than the preceding one, and each tone must be carefully diminished
in power during its entire length.
TfOTE. Practice Exercise No. 9, on page 70, commencing loud and carefully singing
•ofter and softer throughout. A diminuendo passage must usually be commenced load,
K) allow scope for diminishing the power.
■* Ritardando" or its abbreviation, " Ritard." -v
" Rallentando" or its abbreviation, " Rallen." f , ,, , ,,
<c t^4 j ■» ■* u ■• *• <* t >> >eacn, mean that the
JL,enta)idnt or its abbreviation Lttn. [
" Calando." or its abbreviation " Cal" *
passage must be sung slower and slower. In other words, that the time must
become slower and slower, so that each note will bo in slower time than the one
which precedes it.
Note. Practice Exercise No. 10, on page 70, carefully singing slower and slower from
and after the mark " Ritard."
11 Accelerando," or its abbreviation, " Accel?' means that the passage must
be sung faster and faster. In other words, that the time must become fatter and
faster, so that each note will be in faster time than the one which precedes it.
Note. Practice Exercises No. 11, on page 70, carefully singing faster and faster from
and after the mark " Accel."
Practice Exercises No. 12 and 13, on page 70.
A Tempo, means to return to the regular time of the tune, after a passage has"
been sung Ptitardando, or Accelerando.
Note. Practice Exercise No. 14, on page 70.
It is a rule of Mechanical Expression, that where no marks of expression are
used, ascending phrases must be sung crescendo, and descending phrases
must be sung diminuendo.
Note. Practice Exercises Nn. 16, on page 70, carefully singing crescendo where the
tones ascend the scale, and diminuendo where tbey descend the scale.
It is a rule of Mechanical Expression that where no marks of expression are
used, ascending phrases must be sung Accelerando, and descending phrases
must be sung Ritardando.
Note. Practice Exercise No. 16, on page 70, carefully singing Accelerando where the
tones ascend the scale, and Ritardando where they descend ther scale.
Note. It is of the utmost importance that singers should be carefully trained in Me-
chanical Expression, to the end that every one of its varied " Powers" may be perfectly at
command. So that the singer may never be singing "Mezzo" when 'Pianissimo" is
wanted, nor ''Forte" when "Fortissimo" is wanted, nor "Tenuto" when " Crescendo" or
" Diminuendo'' is wanted, nor "A Tempo" when " Accelerando" or " Ritardando" is
wanted . It should be perfectly understood, however, that perfect command of the various
degrees of Mechanical Expression, is absolutely necessary as a means, but not as an end.
Although no one can be a good singer who is not vrrwd in mechanical expression, it will
be seen in the next chapter that no one can be a good einger who ever siny* with it-
46
THE THIRD DEPARTMENT OF VOCAL MUSIC.
CHAPTER II.
MODULATIONS OF THE VOICE.
Every singer has the ability to use three distinct Modulations, or qualities of
voice, viz.
The Full Voice.
The Half Voice.
The Suppressed Voice.
Note. Sirfgers who are unacquainted with these three modulations, and who consequently
always sing with the same modulation, produce the same effect as far as "expression" is
ennrerned, that would be produced by always using the same modulation of the voice in
speaking. If a speaker should announce to an audience "a glorious political victory,"
'•a laughable incident" and "a distressing accident" all in the same tone or modulation
of voice, his speech would be no more devoid of " expression" than is the performance of a
singer, who sings without employing the three different modulations of the voice.
The Full Voice. This modulation of the voice is produced by causing the
breath to come straight out of the mouth, without pressing in one part of the
month more than in another, every tone receiving full resonance from the chest
as well as from the mouth. No attempt must be made to suppress or veil the
voice in any manner whatever, but it must be delivered perfectly free, with its
full natural force.
The Half Voice. This modulation of the voice is produced by forming the
tone in the front part of the mouth, instead of forming it deep in the chest.
Note. The teacher can illustrate, by singing a tone, starting it deep in the chest, and
throwing it out full and free as directed under the head of " Full Vc'~e." This will be an
ill -stration of the " Full Voice." Then let him sing the same tone, but instead of starting
it deep in the chest, starting it in the front part of the mouth. This will he an illustration
of the •' Half Voice." These two modulations of the voice can also be illustrated by reading
asentence, bringing the tone full and rree from the chest (as an illustration of the " Full
Voice") and then reading the same sentence, forming the tone in the mouth (as an illustra-
tion of the Half Voice.)
The Suppressed Voice. This is also called the Sombre quality of voice,
and sometimes, the Rotund voice. This modulation of the voice is produced by
directing the breath against the Soft Palate (for an explanation of the Soft
l'alate see page 42,') instead of allowing it to pass directly out of the mouth as
in the Full and Half voices.
Note. In speaking the word " Hark," softly, and as one would naturally speak it, if
desiring to induce, the one to whom it is addressed to listen suddenly to some distant sound,
the breath is thrown up against the soft palate, precisely as is required to produce the sup-
pressed modulation of the voire. In producing the Suppressed Voice, the breath must be
pressed against the Soft Palate, enough to take away all that brilliancy of voice which be-
longs to the " Full Modulation of the Voice," and kept back in the mouth, pressing against
the Soft Palate, to give it that Sombre Quality which belongs to the Suppressed Voice,
and not be allowed to run into the light quality of tone belonging to the Half Voice, and
which will be produced, if the breath is permitted to go to the front part of the mouth,
instead of being kept back under the Soft Palate.
Effects in Singing depend, in a great measure, upon the proper use these Mod-
ulations of the Voice. Every voice has a natural tendency to one of these Mod-
ulations. In other words, one of these Modulations is natural to every voice,
while the other two must be acquired. The "Full Voice" is the natural Modula-
tion of some Singers. Such singers must acquire the " Half Voice" and the
" Suppressed Voice," but will always excel in music requiring the "Full Voice."
The "Half Voice" is the natural Modulation of some singers. Such singers
must acquire the "Full Voice" and the "Suppressed Voice," but will always
excel in music requiring the " Half Voice." The " Suppressed Voice" is the
natural Modulation of some singers. Such singers must acquire the " Full
Voice," and the " Half Voice," but will always excel in music requiring the
" Suppressed Voice."
USES OF THE MODULATIONS OF THE VOICE.
The Full Voice, is the appropriate Modulation to use in singing lofty hymns
of praise, bold and spirited anthems, dashing sea songs, and music of a bold
and cheerful character generally.
The Half Voice is the appropriate Modulation to use in singing light glees,
light ballads, and music of a light and tripping character generally. This Mod-
ulation must be cautiously used in sacred music, or it will give it a secular effect.
The Suppressed Voice, is the appropriate Modulation to use to express
horror, dread, gloom, or deep dramatic pathos. This is also the proper Modula-
tion to express reverence.
Note. The teacher should now illustrate the importance, and in fact absolute necessity
of these Modulations, as vividly as possible. In the case, supposed in the first note in this
chapter, the speaker should use the "Full Voice," to express the "glorious vicrory," the
" Half Voice" to express the " laughible incident," and the "Suppressed Voice" to express
the "distressing accident." The teacher can also illustrate the snhject, by referring tc
different verses of hymns, and words of anthems, and explaining the Modulations which
must be used to express them properly. For example:
"Praise God from whom all blessings flow," requires the "Full Voice,"
" How balmy is the air,
How warm the sun's bright beams,"
requires the " Half Voice."
" When I walk through the shades of death," requires the " Suppressed Voice."
MUSICAL EXPRESSION.
47
It will be well for the teacher to select different lines of different hymns, and
require the pupils to tell him which Modulation will most appropriately express
the sentiments of the words. *
COMBINATIONS OF THE MODULATIONS OF THE VOICE.
The three Modulations which have been explained, are the three distinct Mod-
ulations, but in regular singing they are combined together in every imaginable
way. For example, a passage may require to be sung with a Modulation half
way between the Full and the Half Voice, the Full and the Suppressed Voice,
or the Half and the Suppressed Voice. A line may require to be commenced with
the Full voice and gradually Modulated to the Half Voice, &c. &c. A passage
may require to be sung with the Full Voice, with a slight shade of the Sup-
pressed Voice running through it, &.c. &.c.
Note. These Modulations of the Voice may be compared to colors. The Full, Half and
Suppressed Voices are the "primary" colors, but they may be blended in every possible
way. The "Combinations of the Modulations of the Voice" should not be explained to the
pupils untP they are thoroughly versed in the Modulations themselves. In other words
they should not be permitted to "combine the colors," until perfectly familiar with the
uses of the "primary colors." After the " Combination of the Modulations of the Voice"
has been explained, it will be well to exercise the pupils, by selecting lines (of verses) which
require a combination of Modulations, and require them to decide what combinations of
Modulations wili give the best expression to the sentiments contained in the words. For
example:
" When brighter suns and milder skies
Proclaim the opening year,"
would be best expressed by being sung with the "Full Voice," with a combination or shad-
ing of the Half Voice.
"One there is above all others
Well deserves the name of friend,"
would be best expressed by being sung with the Half Voice, with a very little tendency
towards the Suppressed Voice. Such examples can be multiplied by the teacher ad infina-
tum.
CHAPTER m.
EMOTIONAL EXPRESSION.
Note. The practice of "Mechanical Expression" as directed in Chapter I, and of "Mod-
ulation" as explained in Chapter It, is necessary to impart the ability to produce the vari-
ous grades and shades of Musical Expression. " It should be explained distinctly, that
Mechanical Expression is to be studied, solely to impart the ability to sing with various
decrees of powvr, and that Modulation is to be studied, solely to impart the ability to use
the various Modulations of which the voice ia capable. Emotional Expression is the only
true musical expression. To sing a passage loud solely because it is marked loud, or cres-
cendo solclv because it is marked crescendo, is as far from perfect musical expression, as
a similar mode in public speaking would be from effective elocution. One who should read
Shakspeare in public, having previously had the various sentences marked loud, soft, and
with the various inflexions of the voice, and should read with no other expression, than that
produced by mechanically obeying these marks, would produce just such a stiff, cold and
uninteresting performance, as a singer does, win mechanically obeys the marks of expres-
sion, giving no play or scope to his feelings and emotions. Having acquired the ability
conferred by the study of Mechanical Expression and Modulation, the singer should always
produce the Musical Expression, by giving free play to his own emotions, nsing snch ?
grade of power, Modulation of Voice, and variation of time as the inspiration of the mo-
ment suggests. If at the moment he feels it will be the best expression to sing the passage
loud or soft, crescendo or diminuendo, accelerated or ritarded, he should sing it so, no mat-
ter what it is marked, or whether it is marked at all or not. By this is meant that this is
the way one must sing when he \s singing alone. In choir or chorus singing the leader should use
the expression which the inspiration of the moment suggests to him, without any reference to
the marks. The members of the choir of course must give the expression directed by the
leader, and not in any case follow their own feelings when singing in chorus.
Emotional Expression, is that expression which flows from the emotions of
the Soul.
Note. Emotional Expression cannot be easily explained with the pen, but can readily
be illustrated with the tongue.
Let the teacher read the first verse on page 131 (or some similar verse) in a monotonous
tone of voice, and in a careless and indifferent manner, with no definite idea in his own
mind, what the verse is about. This will be an illustration of reading without any expres-
sion at all.
Next, let him read the same verse, with varied inflexions and powers of voice, but still
without fixing his mind at all upon the subject matter of the verse — reading it correctly
according to the rules of Elocution, but with no feeling, or realization of the meaning of the
words. This will be an illustration of Mechanical Expression. The reading will be " cold-
ly" correct, but will not move the feelings.
Finally, let him fully realize the sentiments expressed in the verse, and read it, observing
all the rules of Elocution, and at the same time throwing all the pathos and fueling into it
which is possible, reading it as if his whole soul was concentrated in the one object, of im-
pressing the "souls'* of the listeners in the fullest manner possible with the sentiment of
the words. This will be an example of Emotional Expression.
A skillful player can clearly illustrate this subject with a violin. Playing a piece in a
careless and indifferent manner, will give an example of music with no expression. Play-
ing with one passafe loud, another soft, another crescendo, another diminuendo, &c, but
with no feeling on the part of the performer, will he an example of music with Mechanical
Expression Playing with the whole soul of the performer absorbed in the piece, will be
an example of emotional expression-
Any rale of music can be broken, if Emotional Expression will be promoted
hy breaking it.
That is, Emotional Expression is the " supreme power," before which all rules
must give way. If the Emotional Expression of a pas-age will be promoted by
48
THE THIRD DEPARTMENT OF VOCAL MUSIC.
singing it nut of time, the rule for keeping time must stand aside. If the
Emotional Expression will be promoted by singing a passage " loud," which is
marked to be sung "soft" — the mark is null and voic If the Emotional Ex-
pression will be promoted by singing a passage "slow," which is marked to be
sung " fast," the direction to sing " fast" becomes of no effect.
The rules for Musical Expression resemble those of Elocution. An eloquent
speaker, if well educated, will be perfectly familiar with all the rules of language
and eloquence but never allows himself to be trammeled by them in the least.
When speaking he gives his emotions "free play," without troubling himself to
think whether he is conforming to a set of rules or not.
A good singer, in like manner, will make himself perfectly familiar with all
the rules, and acquire the practical ability to observe them. He will acquire the
ability to keep time mechanically correct, — he will acquire the ability to observe
the marks of Mechanical Expression with perfect accuracy, — but after havin»
mastered these and all other rules, he will not allow himself to be trammeled by
them, but when he sings he will adopt the expression which his emotions at
the moment indicate be>t expressive of the sentiments be is uttering, no matter how
much he may vary from a mechanically correct performance.
It may here be remarked that a perfect musical performance is seldom or never
a performance in which the striet rules are literally observed with mechanical
correctness. The author was once listening to the performance of one of Han-
del's songs, by a distinguished public singer, in company with a teacher of music
from a remote part of the country. Tho song was most exquisitely rendered, and
the most experienced ear could not have detected a fault in the performance.
What was the author's astonishment then, to hear his friend, the music teacher,
say that it was miserably sung, for he had carefully beat the time himself, and
scarcely two consecutive measures were in correct time! A parallel case would be,
to listen to a thrilling speech from a glowing and talented orator, and when
asking a neighbor's opinion of it, to be told that it was miserably delivered, because
the orator did not stop long enough to count four at the periods ! according to
the rule in such case made and provided.
When a Singer is singing a song or solo piece alone by himself, he must give
bis feelings and emotions free play, and use those forms of expression which sug-
gest themselves at the moment, as best expressing the sentiments of the piece.
Notk. In performing a piece with Emotional Expression, the responsibility is of course
upon the singer. If he injudiciously sings a passage loud, that would be mo're effective if
sung soft, or if he accelerates the time in a passage which would be more effective if sung A
Tempo or Rilardandc, his judgment or taste may be censured, but his right to give it any
form of expression he pleases cannot be questioned.
In a choir or chorus no singer must have any mind of his own, but must be
wholly and entirely subject to the Leader, who in directing the expression should
give free play to his own emotions, and direct that expression which suggests
itself at the moment as most effective.
Note. Emotional Expression is, so to speak, the "final finish" to be given to the perform,
ance of a piece of music. A choir must sing as if it was one body, of which the Lender
is the soul. A choir can sing with Emotional Expression in no other wav. Every mind in
the choir must be entirely subserviant to the Leader's, so much so that thev can bring out
, the ideas which he forms in his mind, as perfectly as a solo singer's voice brings nut the
ideas which he forms in his mind. A choir which can sing with Emotional Expression is
, a very highly trained choir. To acquire the ability to sing with Emotional Expression a
choir must be thoroughly trained in the Fourth Department, and acquire the habit of hav-
ing every voice entirely subservient to the Leader's mind. The Leader must form an idea of
theexpreasion in his own mind and the choir must be able to bring out this Expression.
It may be well to remark that a tune sung with Emotional Expression, cannot be sung
alike under two different Leaders — because the expression mu>t be decided bv the Leader's
giving free play to the emotions of his own nrir.d, and the Latural emotions' of two minds
will never be alike.
The All Important Point in Emotional Expression is for the silger to per-
sonify the words he is singing.
Note. All singing seems lifeless, dull and insipid without this. The words in singing
Should always be treated as a play actor treats the words he is speaking. Never mechan-
ically recited, but embodied with life and meaning. Singers should always strive to make
the words their own, just as a play actor strives so to speak the words he'utters, that they
will seem as if they were his own. To train his choir so they will alwavs sing, personifying
the words, throwing their whole souls into them, embodying them, and making them ap-
pear as if they were their own words, should be the chief aim of every choir Leader, the
goal, towards which all his training should tend. This is Emotional Expression par ej-cei-
ence, and the final finish of a perfect choir performance. Let a choir be able to read music
fluently, have their voices perfectly under control, have the grades of Mechanical Expres-
sion with the different Modulations of the Voice, perfectly at command, and be so trained
that whatever hymn they sing, will seem as if the words are their own, and as if the senti-
ments contained in them come " burning" fresh from the hearts of the choir, and the
training of that choir is perfect.
NOTE TO TEACHERS AND LEADERS.
If the principles set forth in this "Third Department of Vocal Music" are correct, it is
useless to attach the marks of Mechanical Expression to tunes and anthems. Consequently
most of the pieces in this book are destitute of them. A tune or piece of music should never
be sung without a constantly varied ejp}-esstont but what that expression should be, should
be governed by such circumstances as these, viz.— whether it is a large or small choir, —
■whether the choir iscomposed of experienced or inexperienced singers,— whether the voices
are for the most part strong or weak, — whether the church or hall is huge or small, — whetb
er the weather is such that the air is bracing, or such that the singers feel languid, — whether
the congregation are in that state of mind which would be induced by having just listened
to a pungent and effecting sermon, or whether they are in a state of apathy and indiffer-
ence. Each of these and numerous other circumstances, would demand quite a dffierent
style of expression to the same piece, and the presence of marks of expression, demanding
the same expression under all circumstances, would be deemed by an intelligent leader,
a nuisance. Effective expression can only be given by a choir being so well trained accord-
ing to the requisitions of the Fourth Department fpagp 49) that thev will infallibly bring
out the expressiou dictated by the Leader. (Read uote, close of page -53).
THE FOURTH DEPARTMENT OF VOCAL MUSIC.
MUSICAL DISCIPLINE.
To be able to sing in company with other singers, as for example, in
a choir, or musical association, the singer must acquire the ability to
implicitly and invariably obey every direction of the Leader or Conduc-
tor. This is taught in the Fourth Department of the Study of Vocal
Music — the department of " Musical Discipline."
CHAPTER L
THE NECESSITY OF MUSICAL DISCIPLINE.
The exercises of a choir or singing association, when engaged in
singing, are precisely like those of a military company when on parade,
with the single difference, that the performances of -the singers are de-
signed to please the ear, while those of the soldiers are designed to
please the eye.
A company of soldiers can not perform their manoeuvres properly, unless
everv member has acquired the habit of instantly and invariably obey-
inc the order of the commanding officer, because the proper perform-
ance of the manoeuvres is entirely dependent upon every member doing
the same thing simultaneously, and this can be done in no other way,
than by one person giving the order, and all the others obeying it at
the same moment. In like manner, a company of singers cannot pos- ]
siblv perform properly, unless every member has acquired the habit of in- i
stant obedience to every direction of the leader, because the proper perform- j
ance of singing is entirely dependent upon every singer doing everything
aliki., and at the same moment, and this can be done in no other way, |
than by one person giving the necessary directions, and all the others
obeving them simultaneously, at the same moment
A singer who is perfectly versed in the first, second and third depart-
ments, but who is not trained to observe the requirements of the Fourth
department, is useless, or worse than useless, in a choir. Although he
may be skillful in " reading music," as taugLrt in the " first depart-
ment," may have perfect control of his voice, as taught in the " second
department," and may have learned to sing with soul-felt expression, as
taught in the " third department," he is not qualified nor fit to be a
member of a singing association, or choir, unless he has acquired Hie
Tidbit of invariably obeying the directions of the leader, as taught in
the "fourth department." A soldier, who should have perfectly learned
to execute every military manoeuvre, but who had not been trained to
obey the word of command, would be unfit to take part in the exercises
of a military company. Although he should be able readily and skill-
fully to perform every exercise, if he should frequently fail to hear the
word of command, and should, therefore, fail to execute the manoeuvre
when the rest of the company do, or through habitual inattention,
should frequently mistake the order, and execute the wrong manoeuvre,
(as for example, to "fire," when the order is to "shoulder arms,") he
would not he tolerated as a member of any well-trained military com-
pany, however great his skill as a " solo soldier." In like manner, a
singer who has not been trained to rigidly obey the directions of the
j leader, but who frequently fails to hear the direction, and therefore
; fails to sing in accordance with it, or through habitual inattention, fre-
, quently mistakes the direction of the leader, and sings' passages in a
different manner from what the leader has directed, (as for example,
J singing "loud" when the order has been to sing "soft," Binging a
"tone" when the order has been to "pause" or " rest," &c., &c.,) will
not be tolerated as a member of any well-trained choir or singing asso-
ciation, however great his skill as a " solo singer."
The study of the fourth department ia not necessary to qualify a
singer to sing alone by himself
THE FOURTH DEPARTMENT OF VOCAL MUSIC.
The study of the fourth department is absolutely inoZispensible to qual-
ify a singer to sing" with a choir or singing association.
The study of the first department will impart the ability to "read
music" fluently. Every singer should earnestly covet this ability, and
1ms reason to feel highly gratified when he has acquired it. The study
of the. second department will impart the ability to sing with pure,
clear and perfect tones of voice. Every singer should earnestly covet
I his ability, and has reason to feel highly gratified when he has ac-
quired it. The study of the third department will impart the ability
to sing with life-like expression and emotion. Every singer should
earnestly covet this ability, and has reason to feel highly gratified when
he has acquired it.
The study of the fouVth department will impart the qualification
which will make it certain that the singer will not fail to hear the di-
rection of the leader, and will not fail to instantly obey it, just as a
good soldier never fails to hear the word of command, and never fails
to instantly obey it. Every singer should earnestly covet tJiis qualification,
and has reason to feel highly gratified when he has acquired it.
Note. — It must be self-evident, that the effect of all choir and chorus singing is
entirely dependent upon the study of the fourth department. The study of the other
departments will make a good solo singer, but it is not until the ability imparted by
the study of the -fourth department is added to the qualifications imparted by the
study of the other departments, that the singer becomes a good choir or chorus singer.
The teacher cannot be too particular in enforcing and illustrating the idea that it is
the union of every voice in producing one effect, which constitutes chorus singing,
and that this union can be obtained in no other way than by every voice following the
direction of one mind, viz., the leader's. As the parade of a military company can-
not be pleasant to the eye, if each soldier follows Ike direction of his own mind in-
stead of that cf the commanding officer, so the performance of a company of singers
cannot be pleasant *to the ear, if every singer does not subject himself entirely to the
direction of the leader's mind. A singer, when singing under a leader, should have
no mind of his own. If the leader does not know as much as the singers, it does not
alter the case at all. As long as be is officially the leader, his directions should be
implicitly followed. No properly educated singer will ever express any opinion of
.his own when singing under a leader, but will make it his sole aim to literally and
rigidly carry out the ideas of the Leader with regard to the performance of the piece
even if the leader's ideas are crude and unrefined. If a leader is not qualified for his
position, the proper means should be taken to have him removed, but while he is Lea-
der, he should be-iuipU^itly obeyed, and implicit obedience to the leader should be a
Sxed habit with every singer.
CHAPTER II.
HOW TO ACQUIRE THE HABIT OF OBEDIEXCE TO THE LEADER
The leader should give his directions definitely, and in a clear and
distinct tone of voice, and give a direction only once.
For example, when he names the page, let him do it clearly and distinctly, but only
once. If he wishes the choir to commence in a particular place, (as for example,
"on the last note of the sixth measure") let him say so definitely and distinctly, but
do not let him repeat the direction. Let the choir always understand that no direc-
tion will be given twice, and they must hear it the first time or not at all.
Singers should carefully make it a rule never to fail to hear the di-
rections given by the Leader.
Soldiers acquire the habit of listening to the word of command so that they never fail to
hear it. Singers should acquire the same habit, by never allowing themselves to fail of
listening every time the Leader speaks- If they are whispering, the moment they hear the
Leader's voice they should make it a rule to stop, even in the middle of a sentence, and con-
centrate all their attention upon what he is saying. If they arc thinking of anything else,
they should invariably " cail home their thoughts which roam abroad" the moment the
Leader speaks, and concentrate them entirety upon the directions he is giving. In short, a
singer should never allow it to occur, that the Leader shall give a direction which he does not
hear and at once obey, any more than a member of a well trained military company would
allow himself to ever fail to hear and instantly obey the order of the commanding officer
The leader should never overlook a single act of inattention or diso-
bedience to the direction he gives.
Meetings for musical practice should be conducted precisely like meetings for military
practice. When a military company meet for drill and practice, those who take their
places in the ranks, never fail to hear and obey the officer. If the officer should sav
" slmulder arms," and one in the ranks should "order arms," the officer would
not overlook it, but if need be, he would speak to the soldier personally. If one in the
ranks should get tired and not " feel like practicing," he would not be permitted to
retain his place in the ranks and neglect the exercise, but would be required to retire
from the ranks In like manner, Leaders should require that every singer should hear
and at once obey every direction he gives, and if need be should speak personally to
any who fail. He should also require those who from fatigue or any other reason do
not wish to take part in the practice to retire from the "ranks" of the singers and
take seats in some other part of the room, no more tolerating those who do not wish
to sing " in the ranks" of the singers," than a drill officer would tolerate those who
do not wish to drill, in the ranks of the soldiers.
Note. The Teacher should be careful to impart the idea that the ability to obey
the Leader, without ever failing to hear and instantly obey his directions, is a otutti-
I Jlcation which every singer should strive to acquire. In illustration reference may be
1 made to all thoroughly educated musicians,— who with their other acquirement*,
MUSICAL DISCIPLINE.
invariably possess the ability to instantly obey the Leader, and always appear to do
it as if it was a fixed and long established habit The learner should be made to
understand that it is not the obedience which a superior requires from an inferior,
that is here required, but the acquirement of a qualification without which no one can
be a good Choir or Chorus Singer.
CHAPTER EL
PRACTICAL EXERCISES.
Note. A Leader of a Choir should strive to have his choir completely under com-
mand, and until it becomes so will find it a good plan to have regular practice in
" Musical Discipline." The following are suggested as " drill exercises," to which the
Leader can add others invented by himself. The object of the practice, is to secure
military precision and promptness in obeying the directions of the Leader.
1. £sarne different pages, and require the singers to find them in the
least possible time.
Where singers have not been trained in Musical Discipline, when the page is narrrod
they will often turn over half the leaves in the book before finding it, not unfrequeotly
forgetting what page was called for, even while engaged in the act of finding it, and
are compelled to ask what the page is, while actually turning over the leaves to turn to
it. This is, perhaps, of small importance in itself considered, but the end and aim of
the "Fourth Department," is to form the habit of hearing, and obeying the Leader
instantly, and to form this habit the Leader must be carefully and instantly obeyed in
every order he gives. The same idea is conveyed by saying that the end and aim of
the "Fourth Department," is to form in singers the habit of instantly concentrating
the mind upon the direction of the Leader, at once excluding everything else from the
thoughts, and bringing the whole energies of the mind entirely upon the immediate
execution of the order of the Leader. This habit will never be formed unless the
singer follows the practice of instantly obeying the Leader in everything.
2. Direct the choir to sing the tune "Homer," on page 76,
First. Omitting the second measure in each line.
Second. Omitting the third measure in each line.
. Third. Singing the first note in each measure, and omitting all -the
other notes.
Fourth. Omitting the first note in each measure, and singing all the
other notes.
MftJi. Omitting the last note in each line.
Sixth. Omitting the first note in each line.
Seventli. Omitting the first note in the second measure of each line.
Mglith. Omitting the first note in the third measure in each line.
Ninth. Omitting the last note in the second measure of each line.
Tenth. Omitting the last note in the third measure in each line.
Note. If the practice of the Choir is accompanied by an instrument, let the instru
ment always play the tune regularly through, omitted notes and all, as this will pre--
serve the time, and make the practice still more efficacious, by tending to mislead th»
singers, and causing them to sing out on the notes which are ordered to be om.it ted,
thus compelling still greater watchfulness. If no instrument is used, let the time be
regularly kept and the omitted notes be treated as if they were rests. Let the Leader
proceed with this exercise, precisely as a drill officer in a military drill would proceed,
and insist on perfect compliance with the directions, if necessary, even speaking per-
sonally to those who fail. The exercise will compel the singers to concentrate the
mind upon the directions which are given, and tend to form the indispensible habit of
concentrating the whole mind upon the performance of the tune, without which no
one can ever become a good singer. A very important point in Musical Expression, is
for a choir to make a sudden pause or rest. For example in the fourth line of Wil-
helmina, on page 173, a marked effect can be produced, by "ordering" the choir to
"stop short" after "costly" and after "free," if they all obey the "order." If,
however, an unfortunate voice or two should "sing out" in the silent passages, the
effect would be ridiculous. One of the varieties of expressions explained in the Third
Department, is to make "abrupt stops," where the sense of the words requires it.
Of course no effect can be produced by such a " stop," unless every member of the
choir observes it. The above exercise will be a good training for forming the habit
of observing such " stops" or "pauses." If the Leader wishes, other tunes can be used
in the same manner that "Homer" is directed to be used, and the practice can be
extended ad infinitum.
3. Direct the choir to sing the tune "Alexandria," on page 127,
Mrst. Singing the first and third lines loud, and the second aiid
fourth lines soft,
Second. Singing the first and third lines soft, and the second and
fourth lines bud.
Third. Singing the first and last lines soft, and the other lines loud.
Fourth. Singing the first and last lines hud, and the other lines> soft.
Fifth. Singing the first line hud, and all the other lines soft
VI
THE FOURTH DEPARTMENT OF VOCAL MUSIC.
Sixth. Singing the second line loud, and all the ether lines toft.
Seventh. Singing the third line bud, and all the other lines soft.
fflgkih. Singing the fourth line loud, and all the other lines soft.
Ninth. Singing the first line soft, and all the other lines hud.
Tnth. Singing the second line soft, and all the other lines bud.
Eleventh. Singing the third line soft, and all the other lines bud.
Twelfth. Singing the fourth line soft, and all the other lines bud.
Thirteenth. Singing the first and third lines crescendo, and the second
Bnd fourth lines diminuendo.
Fourteenth. Making a well in each line. That is, commence each
line soft, and swell out louder and louder to the middle of the line, and
then diminish until the last note is sung as soft as the first one.
FifteentJi. Singing the first line soft, the second line crescendo, the
third' line with the organ-ton* bud, and the fourth line diminuendo.
Sixteenth. Singing the first line with the organ-tone soft, the second
line crescendo, the third line with the organ-tone loud, and the fourth
line diminuendo.
Seventeenth. Commencing soft, and singing crescendo as the trehle,
ascends, and diminuendo as the trehle descends.
Note. Let the Leader give these directions with distinctness and military precision,
and give them only once. Let him see to it that every direction 13 strictly and liter-
ally complied with by every member of the choir, not overlooking a single failure in
any respect, on the "part of a single member of the choir. The exercise can be exten-
ded, if desired, by singing other tunes in the same way. The most frequent direction
which a Leader must give, is in reference to the lines to be sung loud, soft, &c. The
above exercise will form the habit of obedience in this respect.
4. Direct the choir to sing the tune " Symonds," on page 77.
First. Singing the first and third lines Accelerando, and the second
and fourth lines Ritardando.
Second. Singing the first and third lines Ritardando, and the second
and fourth lines Accelerando.
Third. Accelerating the fourth line, and singing all the other lines
in time.
r.W]
Fourth. Ritarding the fourth line, and singing all the other lines ««
time.
Fifth. Singing in time, hut making the third line much faster than
the other lines. That is, let the time in the third line be marked faster
than it is in the other lines. Accelerando means " singing faster and
faster." The direction here given means " sing the third line in equal
time, but in faster time than the other lines."
Sixth. Singing in time, but singing the second line slower than the
other lines.
Seventh. Accelerating the time as the treble ascends, and Ritarding
it as the treble descends.
Note. In a thoroughly well trained choir, the Leader will find it necessary to be
constantly giving the following kinds of directions. 1st, "Requiring the members
of the choir to find a given page." 2d, Requiring the members of the choir to " stop
abruptly" where the words require it. " 3d, Requiring the members of the choir to
sing soft, loud, crescendo, diminuendo, &c, at specified places." 4th, " Requiring the
members of the choir to sing Accelerando, Ritardando, &c. at specified places. " The
foregoing exercises, it will be perceived, are designed as "drill exercises," to train the
choir to perfect obedience to the Leader in these particulars. By reference to the
" Third Department" it will be seen that nothing can be accomplished in that depart-
ment, until the singers have acquired the habit of perfect obedience to the Leader in
these points. It should also be the rule for the choir to instantly obey the Leader
in all other particulars, as for example when the meeting for practice is called to
order, the members should instantly take their places and not linger a moment for
any purpose whatever. If the whole or a part of the choir are directed to change their
seats, the request should be instantly complied with, and in short, military obedience
should be promptly rendered to every direction of the Leader, when officially on duty.
CHAPTER IV.
NEVER MAKE MISTAKES.
When a ringer is not familiar with^a tune, if he does not sing it
right, it cannot be called a mistake, but a want of ability to sing it
right.
MUSICAL DISCIPLINE.
53
After a singer lias become perfectly familiar with a tune, if he sings
any part of it wrong it is a mistake, for which tliere can be no jiomble
excuse.
Note. The study of the Fourth Department, has for its object, in short, to train
the singer to concentrate his whole mind upon the performance. To contract the
habit of bringing the whole mind exclusively upon the single object of performing the
tune properly, excluding everything else from the thoughts. No matter what sub-
ject m»y occupy the thoughts previously, the moment the direction "to sing" is
given, the singer must from habit, instantly exclude every other subject from the
thoughts, and concentrate them upon the sole subject of the performance of the tune. If
this is done, of course a mistake in a tune with which the singer is familiar, -is an
impossibility. If the singer is familiar with the tune (i. e. is able to sing it fluently,)
aud concentrates his whole mind upon its performance, he will certainly sing it right.
If he makes a mistake in a tune which he is able to sing, and with which he is
perfectly familiar, it is because his mind is not concentrated upon the performance of
the tune, but is occupied with subjects foreign to it. Leaders should not tolerate such
mistakes, but if need be, should speak personally to those afflicted with such aberra-
tions of the mind, just as a military drill officer would deal with a member of his com-
pany, who through absence of mind, should make a mistake and "fire," when the
order was to "order arms."
CHAPTER V.
HOW TO TRAIN A CHOIR.
When a choir is practicing, the leader should never sing himself, but
should devote his attention to listening to their performance. He
should do nothing to pull them along or aid them in their perform-
ance, but should simply issue his orders for the style of performance he
wishes, and see to it, that they perform it according to his' directions
without any aid from him. A good leader is one who can so train his
choir, that they will certainly and infallibly obey his directions, so that
when he tells them how he wishes a piece sung, it will be certain that
tbey will sing it so. In a public performance, or in church, the leader
of course will give his choir such aid with his voice or instrument as
they may require ; but even there, his own performance should sc blend
with the choir as to form one with them, and never predominate.
Note A perfect performance of singing must unquestionably incJude the appearance
of familiarity with the piece sung, just as a. requisite of a good declamation at school is,
perfectly familiarity with the piece the scholar is speaking. At a public school exhibition, if
a boy should speak a piece, and the master should all of the time be standing at his side,
prompting him in every sentence, and fairly pushing him through the piece, it would not
be considered a good declamation- If Jenny Lind had sung her pieces with a professor of
music at her side, who was constantly helping her through the hard places, hCT perform-
ances would have been laughed at. A choir who cannot sing withoutTieing pulled along
by the Leader, are not properly trained, and cannot sing correctly, because perfect famil-
iarity with the piece, and perfect ease and fluency in singing it, are indispensably necessarv
to an effective performance of a choir, and the prompting and " pulling' of a Leader, or of
a prominent singer, as certainly ruins the effect of the singing, as a similar procedure on
the part of a school teacher in a declamation exercise at a public school exhibition, would
ruin the effect of the declamation-
Note. If the principles set fourth in this "Physiological system of Vocal Music" are cor-
rect, for a choir to sing correctly tvithout regular weekly rehearsals^ is an utter impossibility.
For a choir to sing correctly with an irregular attendance of any of its members, at rehears-
als, is also an unpossibility. If the importance of the service the choir have to perform is
realized, and a just sense entertained of the nature of the exercise in which they are called
upon'to lead, it would seem that there should be no more difficulty in inducing members of
a church and congregation possessing the requisite qualifications, to dedicate a portion of
their time regularly to the work of properly singing the praises of Him " from whom all
blessings flow," than in securing the services of members of the church and congregation
for sabbath school teachers, or any other department of labor devolving upon a church.
NOTE TO LEADERS AND TEACHERS.
Assuming that the singers have made themselves familiar with this "Physiological System
of Vocal Music,'' the following is suggested as an effective method of practice. First, sing
the tune through, directing the singers to give particular attention to the instructions of the
" First Department." In other words, to carefully read the notes correctly, keep the time
perfectly, &c When they can sing it perfectly with reference to the First Department, let
them practice it, giving attention to the instructions of the "Second Department." In other
words to carefully see to it that every tone is correctly produced, every letter correctly
articulated, and every other instruction of the Second Department carefully observed.
"When they can sing the tune well with reference to these points, then let the leader decide
upon the mechanical expression, and direct the singers which lines he will have sung soft,
loud, crescendo, diminuendo, accelerando or ritardando. When they can sing the tune
perfectly complying with the directions of the Leader in reference to the Mechanical Ex-
pression, let the Leader decide what Modulations of the Voice he will have used, and issue
directions which lines he will have sung with the Full Voice, the Half Voice or the Suppres-
sed Voice. When they can sing the tune using the Modulations of the Voice as directed
by the Leader, lei them, finally, give the tune its Emotional Expression. In other words,
let him see to it that every singer becomes wholly absorbed in the sentiments of the words,
singing them precisely as if they were their own words, coming ' heartily" from their own
hearts. A little experience in listening, will enable a Leader to tell if every singer Is
singing with the mind entirely concentrated upon the subject of the words, or whether
any one is singing without knowing what he is singing about.
54
PIECES FOR THE PRAl'JNE OF
THE ANCIENT MELODY.
Fine.
A
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1. I'm an an-cient me-lo - dy, Known a - far by land and sea, Bear-ing still my mas-ter's name, Earn-ing still my mas - ter's fame,
Yet a pleas-ant mel-o - dy, 'Known a - far by land and sea,
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KVr a pleasant uifl - o - dy, Ring - ing o - ver land and sea,
blest,
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ech - oes o'er Gol - do's blue sua, } How glis - ten the moun-tains, with gems on their brow,
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Then mounts like the lightrnings o'er sum - mits a - far,
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THE FIRST DEPARTMENT 0¥ VOCA- MUSIC.
O THE WINTER HAS PASSED AWAY.
55
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1. 0 the winter hath passed away.The spring-time has flown With its sunshine and merry play, And sweet flow'ring thorn, Haste then summer comc,Make ftach insect's
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2. 0 the ros-es in rich array With sweet Co-Ium - bine; And the bees at their bu - sy play, By far spreading vine; These, O summer, all Listen to thy
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3.Now the mowers grasp their shining blades, And shout as they swing,Hark,the waterfall in distant glade, And birds loudly sing, Come then all a - gree, Swell the tuneful
bu-ey hum. Call with merry voice, Bid all re-joice, O the winter hath passed away/The springtimehas flown, With its sunshine and merry play, And sweet flow'ring thorn.
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har-mo-ny, Thro' the happy day .Till evening ray, Now the mowers grasp their shining blades, And shout as they swing,Hark! the waterfall in distant glade, And birds loudly sing.
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56
PIECES FOR THE PRACTICE OP
HARVEST HOME.
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ti
TIIE FIRST DEPARTMENT OF VOCAL MUSiO.
57
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COME LET'S MAKE OUR VOICES RING-.
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1 Come let's make our voi - ces ring, Hur - rah, Hur-rah, Hur - rah, And sing the song we love to sing, Hu
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For we love the sing-ing school, Our pleas-ant sing-ing school, We'll sing its praise in joy- ful lays, Hur-rah, Hur-rah, Hur - rah.
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58
PIECES FOR THE PRACTICE OF
MARK YE HOW THE QUIET LAKE.
. ..._T*.S--csc. ...
j Mark ye how the quiet lake reflect* th hues of glory! Elcarkcn now to Chanticleer, wlio shrilly chants his story! ( Now's the time for straying, Now's the time for playing,
' We'll away to glade and hill before the dewdrops drycth, Shouting with the merry birds till echo loud replyeth. )
4JE
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. I Wisdom's ways are ways of bliss anil ever full of pleasure, Long we've labored faithfully to win her golden treasure; ) Though with hope a$piring,Though with zeal ontiring,
J Dif-fi-cul-ty's wea-ry hill with vigor hue as- cend- tag, To the palace Bcautifu now cheerfully we're wending. )
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Not a care de - tain-ing, Ne'er a tho't re -straining
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j Toyfully orir eom-pa-ny up - on the mount we rally, Swift descend in forest shade to trace the lovely valley.
I Drinking in the summer sweets now every where abounding.List'mngto the waterfall in distant glen resounding.
Sift
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As we're onward journey ing,To the goal we're hurrying, K There are flow'rs alone the road which pilgrims stooD to jather.There arebow'rs forsweet repose. amid the blooming
( There are many pleasant days and many a rosy dawning-Andwitii jpywe tread the way, and bless life's pleasant morning.
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THE FIRST DEPARTMENT OF VOCAL MUSIC.
HOW BLITHELY THE ECHOES.
59
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1 . How blithe - ly the ech - oea o'er
2. Now down to the lake sinks my
Gol - do's blue see, In - elin - ing on breez - es are waf- ted to me ;
wan - der - ing eye, And forth from the bo - som each sor - row and sigh :
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How glis - ten the mountains with gems
Then mounts like the lisht-ning o'er sum -
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on their brow, Ke - - fleet - ing the west with its beau - ti - ful glow,
mits a - far, And views the white cloud -lets which float in the air.
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My heart thou shalt cher - ish, mine eye thou shalt cheer, For Na - ture, thy friendships are ■ ev
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MOONLIGHT.
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2. Now far and farther sweeping.Hi - o, hi - o, we row, The wavelets round us leaping, And dancing,as we go ; But in darkness all a -
3. Now from the waves uprising, Hi - o, hi - o, we row, Her beauty all sur - pris-ing, Illumes the waste oe - low,
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Fair on evening's gentle brow.
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Till the nightHjueen rise in state.
Till the east begins to glow,
Till the east begins to glow.
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Till the waves with silver gleam
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On the joyous path we go.
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On the jovous path we go.
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No iK. When singing by syllables, this piece should be sung slowly, and with three beats iti a measure. \\ hen sung with words it should be eung very fast.
THE FIRST DEPARTMENT OF VOCAL MUSIC.
MARCH.
6
Words and enisle by
J. C. JOHNSON.
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1 Ho ' for the stormy cold March days ! Aye, there is nothing like them, : Loud let us shout and sing their praise, March is so prond and free !
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2. Ho ! for the field ! ye far - mers now, Cheer on your pa - tient ox - en ; Deep in the fur - row drive the plow, Strive for the har-vest fair !
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3. Hark ! how the warning E - qui - nox Calls from the east-ern o - cean ; Stand to your arms, ye time-worn rocks, On - ward the mad waves pour,
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Snow-y, blow - y, -whee-zy, bree-zy, Sweeping up the win-ter's snow, Freezing, pleasing, teasing, un - ceas-ing, How do the wild winds blow !
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Winging, sing-ing, springing, clinging, On the spray sweet birds are seen, Driv-ing, fly - ing, win- ter de - fy - ing, Winds sweep' the meadow green
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Kush-inf, splashing, surg-ing, crushing, Thund'ring on the coast so strong, Boil-ing, toil -inn
Kush-ing, splashing, surg-ing, crushing, Thund'ring on the coast so strong, Boil-ing, toil -ing, fierce-ly re -coil -ing, Wild dash the waves a - long.
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PIECES FUR THE PRACTICE OF
THE VALLEY BROOK.
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1. Deep, 'mid the glens of the mountain-land hid * ing, Brook in the wil - der-ness, swift thou art glid - ing ; Un-der the birch-en bough
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Love-ly, lovely, wild and the free,
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THE FIRST DEPARTMENT OF VOCAL MUSIC.
63
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love - ly, love - ly, wild and the free.
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NOVEMBER.
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1. When the with - ered leaf doth fall,
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And the flowers have van - ished all, And the dusky clouds do fly Thro' November's troubled sky.
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To our Fa - ther songs of praise, Then with thankful hearts we raise, To our Father songs of praise.
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PIECES FOR THE PRACTICE OF
NOW WIND THE MERRY HORN.
The land too
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And voa - der
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THE FIRST DEPARTMENT OF VOCAL MUSIC.
65
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to our moun-tain home, On to our mountain home. The fer - tile plain al - lures in vain, A - way to our home, a - way, The
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FRIENDLY DAWNS THE MOENING.
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Sunshine and hap - py weath-cr
1. Friendly dawns the morning. Nature smiles, adorning This bri - dal day. j Blesa these true heart together, 0 $ nev - er more a cloud a - rise To dim their skies.
5 Or on the mountain g;u - ly, (
J Or on the mountain g;u - ly.
Ev - er now be faith - ful, Ev - er now be truth-ful, Ye hap - py pair! ) Or in the gloom-y val - ley, 0 \ cheer -fu! - ly in sym - pa - thy, Your bur dens share.
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8. Pas-tor, speak thy blesg - ing ! Happy hearts possessing, Each oth - ers' love. ( Long may af - fee - tion sure-ly, In J ho - ly bonds their souls unite, Like those a * bovc
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THE FIRST DEPARTMENT OF VOCAL MUSIC.
67
'HAIL. HAPPY DAY! THOU DAY OF HOLY REST.:
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1. Hail, happy day! thou day of holy rest, What heavenly peace and transports fill oar breast ! When Christ,the God of grace in love descends, And kindly holds communion with his friends.
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i- ties be gone, Move from my sight, and leave my soul a - lone ; Its flatt'ring, fading glories I des - pi*o, And to im-mor-tal beauties turn my eyes.
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2. Let earth and all its van
3. Fain would I mount and pen - e - trate the Bides, And on my Saviour's glories fix my eyes: Oh! meet my ris-ing soul, thou God of love, And waft it to the blissful retlmi a - dot*.
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1. Again the day returns of ho - ly rest,Which,when he made the world, Jehovah blest ;When, like his own,he bade ear labors cease, And all bepi-e-ty, and all be peace.
2. Let us devote this con-se - crat-ed day, To learn his will.andall we learn o - bey; So shall he hear, when fervently we raise Our snp-pli-cations, and our songs of praise.
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3. Father of heav "n! in whom our hopes confide, Whose pow'r defends us, and whose precepts guide; Iu life our Gaardian,nnd in death our Friend ; Glory supreme be thine,till time shall
[end.
68
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PIECES FOR THE PRACTICE OF
HOME.
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1. Come, children and com - pan-ions, And seat you by the fire : For day-light pales, and evening veils The land-scape we ad - mire
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2. Oh ! who would change this pleasure, For dreams of wealth and state? Their shadowy bliss ne'er equals this, Who rank a - mong the great
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3. Oh ! let us prize the treasure, Which God has kindly given ; A mother's love, a sister's smile, Have fore - taste here of heaven
HASE.
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But on shore, fear no more,
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THE FIRST DEPARTMENT OF VOCAL MUSIC.
69
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Mem' ries dear, clus - ter here, Mem' - ries dear, clus - ter here,
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And sweet thoughts of love do
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When the world's wild tempests blow,
When the world's wild tempests blow,
When the world's wild tempests blow.
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PRACTICAL EXERCISES OF
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MUSICAL NOTATION. SECOND COURSE.
TO SrXGCTO SCHOOL TEACHERS.
There are three purposes for which one may wish to acquire a knowledge of
musical in tatiorj, viz.: to play, (an instrument,) to sing, and to compose music.
To be able to play from the printed characters in a music-book, one must be
sufficiently acquainted with musical notation to know what tone to produce on
his instrument, .and how long to make the tone after he has produced it. To
sing from the printed characters in a music-book, (or, by note, as it is usually
called,) one must be sufficiently acquainted with musical notation to know what
tone of the scale to sing, and how long to make the tone when he is singing it.
To be able to compose music, one must be familiar with the ivhole subject of
musical notation, with its philosophy, and the reasons for all its innumerable
arrangements and combinations. In all systems for the instruction of sin^in^
classes which have heretofore been published, (at least as far as the author of
this work is aware,) two gkeat fundamental errors have been made, which
almost entirely destroy their usefulness. The first of these great errors, is,
compelling those who wish to learn to sing, to study that system of musical
notation which is necessary in order to learn to compose. That knowledge of
musical notation which it is necessary to acquire in order to learn to sing, is a
very short, a very easy, and a readily acquired knowledge. Just enough ac-
quaintance with the printed musical characters to know which tone of the scale
must be sung, and how much time must be occupied in singing it. No farther
acquaintance with musical notation is necessary for a singer, nor will any more
extended knowledge of it have the least effect upon his singing. That know-
ledge of musical notation which it is necessary to acquire in order to learn to
compose, is a very long, a very difficult, and a slowly acquired knowledge, im-
parting to the student the clearest and most minute knowledge of everything
which can be known in reference to the subject. The composer must know how
to use the notes so as to make a tune. The singer needs only to know what tone
the notes represent, so that he may sin^ a tune that is made. It is remarkable
that authors of singing books should have made such an error, as to compel those
who study their systems in order to learn to sing, to learn that system of musi
cal notation necessary in order to learn to make a tune. As well might the
author of a piano-forte instruction book insist that those who use his system shall
learn to make a piano in order to be able to play one, as for the author of a
singing-book to insist that his pupils shall learn that system of musical notation,
necessary for those who learn to compose tunes, in order that they may be able
to sing tunes which are already composed. The department of musical notation
in singing-books which have heretofore been published, (as far as the author's
acquaintance extends,) have contained a great deal of supeifluous matter — matter
which belongs to the Department of Musical Notation in a book which teaches Musi-
cal Composition, instead of matter which belongs to the Department of Musical
Notation, in a book which teaches singing. It is claimed that in this book, the
department of musical notation contains just that matter which it is necessary
to learn in order to learn to SING, and not a word more.
The second great error, made in the systems of instruction which are found
in the singing books to which allusion has been made, is the very singular and
very remarkable one of teaching that the department of musical nolatiori is the
only department it is necessary to study in order to learn to sing ! It would
not be so remarkable, perhaps, if such a claim had been made for the second
department, (the cultivation of the voice,) because if a person should study that
and none of the other departments, he certainly would learn to sing; luit it is
indeed surprising that the singing-books in question should have claimed that
the study of the first department is alone necessary in order to acquire the
ability to sing. This great error is the more remarkable from the fact that not
a single author of an instrumental instruction book which has been published in
this country has committed this error. In not a single instance has an instru-
mental instruction book asserted that the study of musical notation will enable a
man to play the piano or any other instrument. Yet the study of musical nota-
tion will do just as much towards making a man a piano-forte player as it will do
towards making him a sioger. A thorough knowledge of musical notation will
do just as much towards enabling a person to finger a piano as it will towards
enabling a person to manage the organs of his mouth and throat, which is in
both instances nothing at all. It is the study of the department of fingering,
which imparts to a piano-forte player the ability to play, and the study of all
the departments combined which makes him a finished player. It is the study
72
MUSICAL NOTATION. SECOND COURSE.
of the department of the cultivation of the voice, (not the department of musical
Dotation,) which imparts to the singer the ability to sing, and the study of all
the departments combined which makes him a finished singer.
It is claimed that in this book, all the departments of vocal music are pre-
sented, and not one alone as in other books. It is also claimed, that in this
boob the department of musical notation is placed in the secondary position which
its comparatively inferior importance demands, instead of being made of so much
importance as to supercede all the other departments, while the department of
the cultivation of the voice and the other departments are assigned the promi-
nence which their paramount importance demands.
CHAPTER I.
MUSICAL NOTATION AS USED Df SINGING.
The teacher's task in the study of musical notation is principally to train the
eye of the pupil, training it to that quickness and certainty of sight which will
enable him to tell instantly what every note and every position of a note means.
The ability to sing every tone is imported by the study of the second department.
The ability to tell readily what tone the notes indicate must be sung, is imparted
by the study of the first department. The first course of the department of mu-
sical notation, which commences on page 6 and ends on page 20, is designed to
accustom the eye and the mind to deciding quickly what tone each note repre-
sents. To make it more effective and leave the mind strongly impressed with
the positions of the notes representing the tones of the different keys upon the
staff, neither the base clef nor the chromatic scale are introduced into the first course,
but the singer's mind is left perfectly clear, to grasp the idea of the places upon
the staff of the notes representing the legitimate tones of the scale in every key.
CHAPTER II.
THE CLEFS.
The tones of the base part of tunes are usually so low that it is not convenient
to write them on the staff as used for the other parts. It is customary to write
the notes representing the tunes of the base part in such an order 'hat U is rep-
resented by a note on the second space, instead of on the added line below, as
for the treble, alto, and tenor parts. To distinguish these two ways of repre-
senting the tones of the scale, characters called clefs are placed at the com-
mencement of the staff, that which indicates that C is on the added line below
being called the treble clef, and that which indicates that C is on the second
spaco being called the base clef.
THE TREBLE CLEF.
THE BASE CLEF.
I
THE SCALE IN THE KEY OF C,
Represented npon the Staff with the Trehlr Clef.
12 3
C D E
Do, Re, Mi,
II
4
F
Fa,
5
G
Sol,
6 7
A B
La, Si,
8
I
L>0.
THE SCALE IN THE KEY OF C,
Represented upon the Staff with the Base Clef.
i
1 2 3
C D E
Do, Re, Mi,
No. 1.
4 6 6 7 8
F G A B C
Fa, Sol, La, Si, Do.
m^mm££&mm
Do, Re, Mi, Fa, Sol, La, Si, Do, Sol, Fa, Mi, Re. Do, Si, La, Sol,
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Do. Re, Mi, Do, Mi, Fa, Sol, Mi, Sol. Ln, Si, Do, Sol, Sol, Do.
MUSICAL NOTATION. SECOND COURSE.
73
Note. Practice the base parts of the pieces which commence on page 54. which arc in
the key of C, and the base part which does not contain chromatics, of any tunes in the book
in the "key of C.
No. 2.
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l>o, Si, La, Sol, Sol,Fa,Ml,Re, Do,Re,Mi,Fa, Sol,La,Si,Do, Do,Re,Mi,Fa, Sol,Fa,Mi,Re, Do.
Note. Practice the base parts of the pieces, which commence on page 54, which are in
the key of G, and the base part which does not contain chromatics, of any tunes in the book
which are in the key of G.
No. 3.
ii
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Do, Si, La, Sol, Fa, Sol, La, Si, Do, Re, Mi, Fa, Sol, La, SI, Do, Sol, Fa, Mi, Re, Do.
Note. Practice the base parts of the pieces, which commence on page 54, which are in
the key of D, and the base parts which do not contain chromatics, of any tunes in the book
which are in the key of D.
Note. The base parts which do not contain chromatics, of any tunes in the book, can be
used as exercises to impart the ability to sing from the base cief in ail the other keys.
CHAPTER m.
THE CHROMATIC SCALE.
Note. The following method for explaining the Chromatic scale is recommended. Let
the teacher sing a tone, and then another tone a whole step above it. Then sing the first
tone again, and another a half step above it. Repeat the exercise nt different degrees of
pitch until the pupils can clearly distinguish the difference of pitch between tones which
are a whole step, and tones which are a half step apart Use the syllable La, in singing
each tone so that the pupils shall be guided entirely by the ear. Next require the pupils
to sing a tone, and then another a whole step above it. Then let them sing the first tone again
and another a half step above it, repeating the exercise at different degrees of pitch, until
they can readily sing the tones which are a whole step, and tones which are a half step apart.
Now require them to sing one of the scale. Then a tone a whole step above it, (which
will of course be two) then a tone a whole step above that,(THREE) then a tone a half step
ajove that, (fottb) then a tone a whole step above that, (five) then a tone a whole step
above that, (six) then a tone a whole step above that, (seven ) and then a tone a half step
sbove that, (eight ) (Use the syllable La to every tone.) They will at once perceive the
distances between the tones of the natural scale.
After the intervals between the tones of the scale are well underptood, require them to
sing one, and then a tone a half step above it. This will of course bring bf.arp one to
light. By the same process introduce all the other intcrmeciate toneB.
fioi
Tones between the tones of the scale are called intermediate tones.
The intermediate tones occur between those tones of the scale which are a
whole step apart, viz, between One and Two, Two and Three, Four and Five,
Five and Six, and Six and Seven.
As there are not lines and spaces enough in the staff to represent the tones of
the scale and the Intermediate tones, the Intermediate tones are represented, by
placing the note on the line or space which represents one of the tones of the
scale between which the Intermediate tone belongs. Thus the Intermediate tone
One and Two, is represented by a note placed upon the line or space which rep-
resents one, or upon the line or space which represents two If the note repre-
senting the intermediate tone is placed upon the line or space which represents
the lower of the two tones between which it belongs, a character called »
sharp ($,) is placed before it, to show that it is a half step higher than that tone.
If the note representing the intermediate tone, is placed upon the line or space
which represents the higher of the two tones between which it belongs, a character
called a flat (2) is placed before it, to show that it is a half step lower than
that tone.
felfeg^s^^iilii
The intermediate
tone between
One and Two.
The intermediate I
tone between I
Two and Three.
The intermediate
tone between
Fooa and Five.
The intermediate
tone between
Five and Six.
The intermediate
tone between
Six and Seven,
When the Intermediate tone between one and two, is represented by a note
placed upon the line or space which represents one, it is called sharp one.
When it is represented by a note placed upon the line or space which represents
two, it is called flat two.
When the Intermediate tone between two and three is represented by a note
placed upon the line or space which represents two, jt is called sharp two.
When it is represented by a note placed upon the line or space which represents
Three, it is called flat three.
When the Intermediate tone between Four and Five is represented by a note
placed upon the line or space which represents Four, it is called sharp four.
Wben it is represented by a note placed upon the line or space which represents
Five, it is called flat five. When the intermediate tone between Five and Six
is represented by a note placed upon the line or space which represents Five, it
is called sharp five. When it is placed upon the line or space which represents
Six. it is called flat sit
74
MUSICAL NOTATION. SECOND COURSE.
When the Intermediate tone between Six and Seven, is represented by a note
placed upon the line or space which represents Six, it is called sharp six.
When it. is represented by a note placed upon the line or space which represents
Seven, it is called flat seven.
When the Intermediate tones are named by numerals, tha terms Flat and Sharp
are placed before the numeral. Thus Sharp One, Flat Three, ka. When
the Intermediate tones are named by letters, the terms Flat and Sharp are placed
after the letter. Thus, C Sharp, E Flat, &.C.
When the Intermediate tone is represented by a note placed upon the line or
space which represents the lower of the two tones of the scale between which it
b -longs, a syllable U u*ed to it. formed by changing the termination of the sylla-
ble of the tone of the scale represented on the line or space to ee. Thus, as the
syllable sung to One is Do, the syllable sung to Sharp One, must be Dee
(Spelled Di
Re, ' Ri, Fa, Fi, Sol, Si, La, U
When the Intermediate tone is represented by a note placed on the line or
space which represents the upper of the two tones of the scale between which it
belongs, a syllable is used to it, formed by changing the termination nf the tone
of the scale represented by the line or space to ay. Thus as the syllable sung
to Three is Mi, the syllable sung to Flat Three is May, (Snellcd Me.)
Be, Re,
S^
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Mi, Me, Sol, So, La, Le,
THE CHROMATIC SCALE.
Si, Se.
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Do, Di. Re,
C. C$. D,
Ri, Mi,
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Fi,
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8, 7, |27, 6, 1?6, 5, [>5, 4, 3, J?3, 2, K 1.
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C, B, Bfc, A Afe, G, Gfe, F, E, Efc D, DJ2, C,
The term "Chromatic Scale," is applied to a Scale combining the tones of the Scale, and
the intermediate tones. It is customary to write it ascending with sharps, and descending
with flats. There is in reality no snch thing as a Chromatic Scale; for a sharp or flat in-
troduced tn a tune, as really changes the key, as if introduced in the signature. As, how-
ever, a knowledge of the science of Harmony is indispensable in order to tell with certainty
when the key changes, and what it changes to, the device of the Chromatic Scale is used
to enable siDgers to sing the tones correctly, withont being obliged to study the science of
Harmony, a study requiring vastly more time than singers are able to devote to the study
of mere theory.
CONCLUDING NOTE.
In a book like the " Key-stone Collection," it is of course, impossible, to print practica.
Exercises on all the subjects properly belonging to the Department of Musical Notation.
The method has been adopted, therefore, of dividing this Department into two courses.
The first course, which commences on page 6 and ends on page 20, contains all the exer-
cises for practice, necessary to make the pupils practically familiar with it- In the Second
Course, commencing on page 71, the teacher should explain all points connected with
Musical Notation, not contained in the First Course, and practice them by using tunes in
which they occur. A better way still will be, to make the pupils thoroughly familiar with
the First Course, and with the Clefs and Chromatic Scale of the Second Course, and then
simply explain other points, when they occur in tunes which the school are enraged in
practicing. For example, if Willard, page 164, is to be practiced, ey plain dotted eighth
notes, if they have not been explained before. And so on, with anytbi"^ whi^h may occur
in a tune, with which the pupils are not familiar. See page 5.
END OF SECOND COURSE IN MUSICAL NOTATION.
THE
KEY-STONE COLLECTION.
OLD HUNDRED.
L. M.
£=3t:
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1. Be thou, 0 God ! ex - alt - ed high ; And, as thy glo - ry fills the sky, So let it be on earth displayed, Till thou art here, as there, o - beyed.
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2. 0 God ! my heart is fixed, 'tis bent Its thankful tribute to present ; And, with my heart, my voice I'll raise To thee my God ! in songs of praise.
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3. Thy praises, Lord, I will resound To all the listening nations round : Thy mercy highest heav'n transcends ; Thy truth beyond the clouds extends.
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ROLLE. L. M.
Allcsro*
4 n. Johnson.
e - sua shall reign where'er the sun Doth his successive journeys run ; His kingdom st
1. Je - sus shall reign where'er the sun Doth his successive journeys run; Hi3 kingdom stretch from shore to shore, Till moon shall wax and wane no more.
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For him shall endless praye r be made, And praises throng to crown his head ; His name, like sweet perfume, shall rise With eve - ry morning sac - ri - fice.
Peo - pie and n-vUms of eve - ry tongue Dwell on his love with sweetest song ; And infant voi - ces shall proclaim Their ear - ly bless - inga on his name.
* — — -
6 %
HOMER.
L. M.
A. N. JOHNSON.
1. Why will ye waste on trifling cares That lifj which tiod's compassion spares 1 While.in the various range of thought, The one thing need- ful is for-got?
m- 9~ * -•- -■&■ -*--*--#- m * -9 -m -0- -+* %- -*-' *-0r o-
. Shall God in - vite you from a - bove ? Shall Je - sus urge his dying love ? Shall troubled conscience give vou pain ? And all these please u - nite in vain V
. Not so vour eves will al - ways view Those objects which you now pur - sue ; Not so will heav'n and hell ap - pear A\ hen death's de^ci - sive hour is near.
JULJLilCOTT.
L. M.
"11JN MASON
77
1. Stand up, my soul, shake off thy fears, And gird the gos-pel ar - mor on; March to the gates of end - less joy, Where Jesus thy great Cap -tain's gone.
7"^ -^- . . . " . —
2. Hell and thv sins re - sist thy course ; But hell and sin are van-qoished foes ; Thy Jesus nailed them to the cross, And sung the tri-umph when he rose.
cr ■ — ■ m _^_
3. Then let my soul march bold - ly on, Press forward to the heaven - ly gate; There peace and joy e - ter - nal reign, And glittering robes for conquerors wait.
m
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SYMONDS.
L. M,
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1. Jesus shall reign where'er the sun Doth his sue - cessive journeys run ; His kingdom stretch from shore to shore,Till moon shall wax and wane no more,
2 For him shall endless pray'r be made, And praises throng to crown his head ; His name, like sweet perfume, shall rise With eve-ry morning sac - ri - fice.
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3. People and realms of eve - ry tongue Dwell on his love with sweetest song ; And infant voi - ces shall proclaim Their ear-ly blessings on his name.
X G 6 # * 6 6 6 # #tf4fi 67
•A 4 J. 2 4
78
CHEMUNi
L. M.
A. X. JOHNSON
|I|i!iiii^PligliiiiiOg!^i^i^ili^siEigiiii§
1. \\ ake.O my BOJil and hail the morn, For un-to us a Saviour's born ; See, how the angels wing their way, To usher in the glo-rious day!
2. Hark ! what sweet music, what a song, Sounds from the bright, celestial throng ! Sweet song,whose melting sounds impart Joy to each raptured, listening heart.
-•- ^" -.<f- .
3. Come, join the an - gels in the sky, Glo-ry to God, who reigns on high ; Let peace and love on earth abound, "While time revolves and years roll round.
8fi 7 ^6
4
GAST. L. M.
Nature, with all her powers, shall sing Her great Cre - a • tor and her King : Nor air, nor earth, nor skies, nor fieas De - ny the tribute of their praise, De - ny the trib - ute of their praise.
Ye oer-nphs. who ait near his throne, Be - pin to make his glories known, Tune high yoar hnrps, and spread the sound Throughout creation's utmost bound, Throughout creation's utmost bound.
Oh ! may our ardent Zeal em - ploy Our loftiest thought?, and loudest songs; Let there be flung, with warm-est jny, Hosanna from ten thous ind tongues, Ho - can - na from ten thousand tongues.
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4 5 4
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MC DOWELL. L. M.
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Zi - on, awake! — thy strength renew, Put on thy robes of beauteous hue; Church of our God, a-rise and shioe,Bright with the beams of truth divine!
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Zi -on, awake! — thy strength renew, Put on thy robes of beauteous hue; Church of our God, a-rise and shine, Bright with the beams of truth divine!
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Sood shall thy radiance stream a - far, Wide as the heathen nations are, Gentiles and kings thy light shall view: All shall admire and love tliee too .
> > > >
pz»iiz:^zi?z^f*zfc^z*zz:FTzr^r^z£:zE:TzzE zzzEzH:»z*z^^i^zc:J:*T*r-Tgrs:;Fi==^z^z?z3=:I:tzzz[zzF';
Soon shall thy radiance stream a - far, Wide as the heathen nations are, Gentiles and kings thy light shall view : All shall admire and love thee too.
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80
WINCHESTER.
L. m.
1. My soul, thv great cre-a - tor praise ; When clothed in his cc-les-tial ravs, He in full maj - es - ty ap - pears, And like a robe his glo - ry wears.
2. How strange thy works ! how great thv skill, While every land thy riches fill: Thy wis-dom round the world we see — This spacious earth is full of thee.
3. How aw - i'ul are thy glorious ways ! Thou, Lord, art dreadful in thy praise ! Yet humble souls may seek thy face, And tell their wants to sovereign grace.
6 66 *t
ABBOT.
87 6
4
6 8 1
L. M.
s
l.TheLordis come, the heavens proclaim His birth, the nations learn his name: An unknown star di - rects the road of eastern sa-ges to their God.
2. All ye bright armies of the skies, Go, worship where the Saviour lies : An - gels and kings be - fore him bow.Those gods on his;h, and gods be - low.
|Siii!li!zif|ipp|lgf§lfS!I|iiiiiilppiliiifil§
3. Let i - dols tot-ter to the ground, And their own worshippers confound, Zi - on shall still his glo -ries sing, And earth con-fess her sov'rcign king.
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5 6 fit
4 13
37 7* 6
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6 7 6 5
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SCKNECK.
L M.
Arranged by A. N. JOnNSOK.
81
cztz£ztizt:
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1. A - rise ' a - rise ! — with joy surrey The glo-ry of the lat - ter day : Al - rea - dy is the dawn be - gun Wnich marks at hand a ris - log sun, Which marks at hand a ris - ing sun !
2. "Behold the way P ve heralds, cry : Spare not, but lift your voices high : Convey the sound from pole to pole, ( Glad tidings,1 to the cap - tive soul, Glad tidings, to the cap-tive soul.
3. The north gives up, the south no more Keeps back her consecrated store: From east to west the mes - sage runs, And ei-ther In - dia yields her sons, And either India yields her sons.
—0 »:
4. Au - splc-ious da '.vn ! thy ris-in? ray With joy we view, and hail the day: Great Sun of Righteousness
pzzirztzzjz-
a - rise, And fill the world with glad but - prise, And All the world with gl*4 sar-prise.
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SHEPHERD. L. MC
Quartette.
Arranged £>y A. N. JOHNSON.
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1. Je - bus shall reign where'er the sun Doth his buo - ces - rive jour - neys run ; His kingdom stretch from shore to shore, Till moon shall wax and wane no more, Till moon shall wax and wane no mor«.
^agg.^M^s^Bsp
2. Peo - pie and realms of eve - ry tongue Dwell on his love with t sweetest song; And Infant vol - ces shall proclaim Their early blessings on his name, Their ear- ly blessings on his name.
§3§
Mc^a
mmmiw^mmm^ws^MMm
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3. Let eve - ly creature rise and oring Pe - cu-liar hon - ora to our King : An - gels descend with songs a-gain, And earth repeat the loud Amen, And earth re - peat the loud A - men.
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82
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MiNOT. L iff.
A. rt. ,IOIIH=ON.
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1. C"Tiio 1st our voi - ces join, to raise A sa - cred song of sol - emn praise;
God is ' a sovereign king, re - hoarse (omit.) His hon - or
ex - alt - ed
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2. Come let our souls ad - dress the Lord, Who fram'dour na - ture with his
He is our shepherd, we the sheep, (omit.)
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mer - cy choose, his pastures keep.
3. Come let us hear his voice to - day, The coun sels of his love o - hey,'
Nor let our hard-est hearts re - new, (omit ) The sins and plagues that Is - rael knew.
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5. Come, seize the promise while it waits, And march to Zi - on's her - aid gates,
Be - lieve and take the proni-ised rest, (omit.)
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Glo - ry and be for - ev - er blest.
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4. Look back, my soul, with ho - ly dread, And view those ancient reb - els dead,
3
Ac - cept the of - fered grace to - day, (omit. '
Nor lose the blessings by
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lay.
D. C.
WE
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BLENDON.
L. M.
83
1. Grea' is the Lord! what tongue can frame An ' hon - or e - qual to his name ? How aw-ful are his glorious ways I The Lord is dread-t'ul in his praise !
2. The world's foundations by his hand Were laid, and shall for - ev - er stand ; The swelling billows know their bound, While to his praise they roll a-round.
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3.' Vast are thy works, al - mighty Lord! All na-ture rests up-on thy word ; And clouds,and storms, and fire o - bey Thy wise and all- con-troll-ing sway.
^^^HE^^E^S^
6 6 i 6 S3
4 6
3
82 5
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6 87
6R
4
WELLS.
L. M.
1. Life is the time to serve the Lord, The time t' insure the great re - ward ; And while the lamp holds out to burn, The vil - est sin-ner may re - turn.
2. Life is the hour that God hath given T' escape from hell, and fly to heaven ; The day of grace, and mortals may Secure the blessings of the day.
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3. Then, whit my thoughts design to do My hands, with all your might pursue; Since no device, nor work isSbund, Nor faith, nor hope, beneath the ground
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« 6
84
BENNETT.
L. M.
e. a. yuosr.
1. Great shepherd of thine Isra- el, Who didst between the cherubs dwell, And lead the tribes, thy chosen sheep, Safe thro' the des - ert and the deep —
Lfc*
Thy church is in the desert now, Shine from on high, and guide us thro'; Turn us to thee, thy love restore, We shall be saved, and si»h no more.
3 Hast thou not planted with thy hand A love-ly vine in this our land ? Did not thy power defend it round, And heavenly dew en - rich the ground.
4 6 fi (17 6 6 B5 6 , 6 7
3 6 45 4 4 43 4 '
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HOLMES.
L. M.
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E. U. FROST.
I. That man is blest, who stands in awe Of God, aud loves his sacred law ; His seed on earth shall be renowned, And with successive honors crowned.
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2. The soul.that'sfilled with virtue's light, Shines brightest in affliction's night ; His conscience bears his courage up, He sees in darkness beams of hope.
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3. Beset with threatening dangers round, Unmoved shall he maintain his ground ; The sweet rememberance of the just Shall flourish.when he sleeps in dust.
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85
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1. Almighty Ru-ler of the skies, Thro' all the earth thy name is spread, And thine eternal glories rise, Above the heavens thy hands have made.Abovc the heavens &c
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2. To thee the voices of the voting Their sounding notes of honor raise ; And babes,with nninstrncted tongue, Declare the wonders of thy praise. Declare the wonders of thy praise.
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3. Amidst thy temple children throng To see their great Redeemer's face; The Son of David is their song, And loud hosannas fill the place, And loud hosannas fill the place.
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found, Discordant natures to com-bine.
1. Say how may earth and heaven u - nite, And how shall man with angels join? What" like har-mo-nious may be found, Discordant natures to com-bine
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2. Loud swell the pealing or - gan's notes,Breath forth your souls in raptures highjn praises men with an - gels join, Music's the Ian - quaere of the sky.
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1. Oh come, loud anthems let us sing, Loud thanks to our Al -migh- ty King; For we our vo: - ces high should raise,When our salvation's rock we praise.
2. In - to his pres-enee let us haste. To thank him for bis fa-vorspast; To him ad-dress, in joy - ful 6ong, Praises which to his name be-lcng.
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3. Oh let us to his courts re-pair, And bow with ad - o - ra - tion there ; Down on our knees, de-vout - ly, all Be-fore the Lord our Mak - er fall.
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1. Oh praise the Lord in that blest plnce, From whence his good - ness large ly flows; Praise hirain heaven, where he his face, Unveiled in pcr-fect glo - ry shows.
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2. Praise him for all the migh-ty acts, Which he in our be-half hath done, His kindness this re turn ex - acts, With which our praise should e - qual run.
3. Let all who vi - tul breath en -jov, The breath he doth to them afford, Ic :**st re- turns of praise cm-plov ; Let eve - ry creature praise the Lord.
BARTLETT. L. M.
87
1. All power and grace to God be -long; He is my strength, and he my song : He comes, my Saviour, from his throne, He comes to bring sal - va - tion down.
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2. Lo ! rising from the tents of men, The voice of joy re - sounds a - gain : His saints with him the triumph claim, And shout sal va - tion to his name.
S. His own right hand its strength displays, In acts of val - or and of grace : The cross,the tomb,the throne, declare How vast his powei and glo - ry arc.
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1. My God, how endless is thy love ! Thy gifts are eve - ry evening new ; And morning mercies from above Gent - ly dis-till like ear -ly dew.
2. Thou spread 'st the curtains of the night, Great Guardian of my sleeping hours ; Thy sovereign word restores the light, And quickens all my drowsy powers.
3. I yield my powers to thy command, To thee I con - secrate ray days; Perpetual blessings from thine hand Demand per-petual songs of praise.
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LENTON.
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t. N. JOHNSON.
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1. The Lord is come, the heav'ns proclaim Ilia birth,the nations learn his name: An unknown star di-rects the road Of eastern sa - ges to their God
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2. All ye bright armies of the skies, Go, worship where* the Saviour lies: Angels and kings be-fore him bow, Those gods on high, and gods be low.
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3. Let i - dols tot - ler to the ground, And their own worshippers confound; Zi - on shall still his glo - ries sing, And earth confess her sovereign king
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L. M.
1. Come, dearest Lord,and bless this day, Come bear our thoughts from earth away : Now let our noblest passions rise With ar-<lor to their na-tive skies
2. Come, IIo - ly Spir - it, all di - vine, With rays of light up - on us shine ; And let our waiting souls be blest, On this sweet day of sft - ered rest.
8. Then, when our Sabbaths here are o'er,And we ar - rive on Canaan's shore, With all the ransomed, we shall spend A Sabbath which shall nev - er end.
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1. The spacious firmament on high, With all the blue e - the-real sky, And spangled heav'ns, a shining frame.Their great Origi - nal proclaim •
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2. Soon as the evening shades prevail, The moon takes up the wondrous tale, And nightly, to the listening earth, Repeats the sto-ry of her birth ■
hat tho' in solemn silence all Move round this dark terrestrial ball — What tho' nor re - al voiee.norsound Amid their radiant orbs he found—
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Th' unwearied sun, from day to day, Does his Cre - ator's pow'r dis-play, And publish - es to every land The work of an al - migh-ty hand.
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While all the stars that round her burn.And all the planets, in their turn, Confirm the tidings, as they roll, And spread the truth from pole to pole.
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In reason's ear they all re - joice, Andut-ter forth a glorious voice; For ev - er singing, as they shine, "The hand that made us is Di - vine."
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1. How pleasant— how dl - vine-ly fair, O Lord of hosts, thy dwellings are : With long desire my spirit faints, To
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% Blest are the saints, who sit on high, Around thy throne above the sky; Thy brightest glories shine above, And all their work is praise and love.
3. Blest are the men, whose hearts are set To find the way to Zion's gate: God is their strength.and thro' the road They lean up - on their help - er, God.
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My flesh would rest in thine abode: My panting heart cries out for God: My God I my King! why should I bo So far from all my Joys and thee!
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Blest are the souls, who find a place Within the temple of thy grace; There they be -bold thy gent- ler rays, And seek thy face, and learn thy praise.
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Cheerfal they walk with growing strengfh.Till all shall meet
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Cheerfal they walk with growing strength,™ all shall meet in heaven at length: Till all bo - fore thy face ap - pear, And join in nobler worship there.
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1. The heavens declare thy glo- ry, Lord, Tn every star thy wisdom shines ; But when our eyes behold thy word, We read thy name in fairer lines;
2. Sun, moon, and stars, convey thy praise Round all the earth — and nev-er stand ; So when thy truth bejjan its race, It touched and glanced on every land;
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The roll - ing sun — the chang - ing light,And nights and days,thy power confess ; But that blest volume thou hast writ Reveals thy justice and thy thy grace.
Nor shall thy spreading gos-pel rest, Till thro* the world thy truth has run ; 'Till Christ has all the nations blest,Which see the light,or feel the sun.
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MERRILL. L. JUL.
PPcHORVS.
A. N. JOHKSOS.
1. Come, wea-ry souls, with sin op-pressed, Oh come ! ac-cept the promised rest ; The Saviour's gracious call obey, And cast your gloomy fears away, And cast your gloomy feat's a ■ way.
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2. Oppressed with guilt, a pain-ful load, Oh come, and bow be • fore your God! Di-vine compassion, mighty lore, Will all the pain-ful load remove, Will all the pain-ful load re -move.
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8. Here merey'i boundless o - cean flows, To cleanse your gu]lt,and heal your woes ; Here's pardon, life, and endless peace, How rich the gift! how free the grace! IIow rich the gift ! how free the zr»oe '
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HANDBL POND.
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1. HP was from thy hand, my God I came, A work of such a curious frame : In me thy fear-ful wonders shine, And each proclaims thy skill di-vine.
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2. Great God, my fte-tue na-ture pays Im- - mor-tal trib-ute to thy praise fThy thoughts of love to me surmount The power of numbers to re-count.
8. These on my j3urt are still impressed ; With these I give mine eyes to rest ; And atmywak-ing hour I find God and his love pos -sess my mind.
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1. 0 there will be no night in Heaven, Of sorrow, sigbiDg, or of tears, For he who for our sins was given, Will gently soothe our troubled fears.
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2. And we will sing his prai-ses there, Where music fills the. upper skies; And healing streams and flow'rets fair, Adorn the plains of par - a - dise.
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1. Broad is the road that leads to death, And thousands walk to - gether there ; But wisdom shows a nar-row path, With here and there a trav-el-ler.
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2. De - ny thj - self and take thy cross, Is the Kedeemer's great command :Nature must count her gold but dross, If she would »ain this heavenly land.
3. The .fearful soul that tires and faints, And walks the ways of God no more, Is but esteemed almost a saint, And makes his own destruction sure.
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] Great God, whose u - ni - ver-sal swny The known and unknown worlds obey, Now give the kingdom to thy Son, Extend his power, ex - alt his throne.
2. As rain on meadows new-ly mown, So shall he send his influence down ; His grace, on fainting souls, distils, Like heavenly dew, on thirst - y bills.
3. The heathen lands, that lie beneath The shades of o - ver-spreading death, Revive at bis first dawning light, And deserts blossom at the sight.
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1 All-powerful, self-ex - ist -ent God, Who all ere - a-tion dost sustain ! Thou wast.and art, and art to come, Aud ev - er - last-ing is thy reign.
2. Fixed and e-ter - nal as thy days, Each glorious at - tri-bute divine, Thro' a - ges in - fi - nite shall still With un - di - minished lustre shine.
3 Fountain of be - ing ! Source of good ! Immu - ta-ble dost thou remain ; Nor can the shadow of a change Obscure the glo-ries of thy reign.
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L. M.
95
1. A - wake, my tongue,thy trib-ute bring To him who gave thee pow'r to sing ; Praise him, who is all praise a - bove, The source of wisdom and of love.
2. How vast liis knowledge ! how profound ! A depth where all our tho'ts are drown'd ! The stars he numbers,and their names He gives to all those heav'nly flames.
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.1. Thro' each bright world above, be - hold Ten thousand thousand charms unfold ; Earth, air, and mighty sea com - bine, To speak his wisdom all di - vine.
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L. JUL.
1. Come, weary souls, with sin oppressed, Oh come ! ac - cept the promised rest : The Saviour's gracious call o - bey, And cast your gloomy fears a - way.
2. Oppressed with guilt, a pain-ful load, Oh come, and bow be - fore your God ! Divine com-pass-ion, mighty love, Will all the pain - ful load remove.
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3. Here mercy's boundless ocean flows, To cleanse your guilt,and heal your woes ; Here's pardon, life,and endless peace, How rich the gift ! how free the grace 1
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BRENTFORD. L. M.
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Be all my heart,and all my days, De - vo - ted to my Saviour's praise; And let my glad o- bedience prove, How much I owe, how much. I love.
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R« - turn, my soul and sweetly rest, On thy Al - mighty Father's breast ; The bounties of his grace adore, And count his wondrous mercies o'er.
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1. Awake the trumpet's lofty sound, To spread your sacred oleasure rouud ; Awake each voice and strike each string, And to the solemn organ sing, And to the sol-emn orjsan Bing.
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2. Let all,whom life and braath inspire, Attend, and join the blissful choir; But chiefly yo, who know his word, Ado re, and love,and praise the Lord! Adore,and love, And praise the Lord.
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1. Je - ho-vah reigns, his throne is high, His robes are light and ma - jes - ty ; His glo - ry sbines with beams so bright,No mor - tal can sus - tain the sight.
2. His ter-rors keep the world in awe ; His jus-tice gnards his ho - ly law ; His love re-veals a smil-ing face, His truth and promise seal the grace.
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3. Thro' all bis works his wisdom shines, And baffles Satan's deep de-signs ; His power is sovereign to ful - fil The no - blest counsels of his will.
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MAYNE.
L. IM.
A M 'OUNSOS
1. E - ter - nal God — ce - les-tial King, Ex • alt - ed be thy glo-rious name ; Let hosts in beav'n thy praises sing, And saints on earth thy love proclaim.
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2. My heart is fixed on thee, my God, I rest my hope on thee a -lone; I'll spread thy sacred truths a-broad, To all mankind thy love make known.
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3. Awuke my tongue — a-wake, my lyre, With morning's earliest dawn a - rise ; To songs of joy my soul in -spire, And swell your music to the skies.
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1. Swoet harp of Ju-dah, shall thy sound No more be beard on earth-ly ground, No mor-tal raise the lay a-gain That rung thro' Judah's sainted reigu,That rung thro' Ju-dah'ssaiut-ed reign.
2. No ! for to bigh-er worlds be-long The won- ders of thy sa-cred song; Thy prophet bards might sweep thy chords.Thy glorious bnrthen was the Lord's.Thy glnrious fc ~ "
3. Tho' foint-ly swell thy notes sub-lime ; Far dis-tant down the stream of time ; Tet, to our ears the sounds are gW'n, And ev'n thy echo tells of heav'n, And ev'n thy ec
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4. Thro' worlds remote, the old, the new ; Thro' realms nor Rome, nor Israel knew ; The Christian bears, and by thy tone Sweet harp of Juduh ! tunes bis own,Sweet harp of Jndah ! tunes his own
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1. My heart is fixed on thee, my God ; Thy sacred truth I'll spread abroad ; My soul uhall rest on thee a - lone, And make thy loving-kindness known:
2. Awake my g!o - ry — wake my lyre, To songs of praise my tongue inspire; With morning's earliest dawn a - rise, And swell your music to the skies.
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3. With those who in thy grace a - bound, I'll spread thy fame the earth a - round ; Till eve-ry laud, with thankful voice, Shall in thy ho - ly name rejoice.
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1. Who shall ascend the ho - ly hill, Great God I which all thy glo - ries fill ? Who, in thy temple's hallowed dome, Se - cure his ev - er - last - ing home.
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2. Whose hands are clean, whose heart sincere,Whose purpose purfc/whose actions clear, Whose soul no van-i - ty allures, And truth his plighted vow secures.
3. This man the blessing shall receive, The bless - ing, which the Lord will give : Sal-va - tion from his God shall flow, And righteousness his hand bestow.
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NASH. L. M.
J H. WILLCOX.
1. To God our voices let us raise, And loudly chant the joy - ful strain ; That rock of strength,oh let us praise, Whence free sal-va tion we ob - tain.
2. The Lord is grea with glory crown'd, O'er all the gods of earth he reigns ; His hand supports the deeps profound, His pow'r a-lone the hills sustains.
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Words and Music by BILLINGS.
• CHESTER. L. M.
"tts
1. Let tyrants shake their i - ron rod, And slavery clank her galling chains,We fear them not,we trust in God; New-England's God- • for - ev - er reigns.
2. Howe and Burgoyne, and Clinton too, With Prescott and Cornwal - lis joined, Together plot our o - verthrow, In one m - fer - - nal league combined.
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8. When God inspired us for the 6ght, Their ranks were broke,their lines were forc*d,Their ships were shattered in our sight, Or swiftly driv - en from our coast.
4. The foe comes on with haughty stride, Our troops advance with mar-tial noise ; Their veterans flee before our youth, And Generals yield to beard - less boys.
5. What grateful offering shall we bring? What shall we render to the Lord ? Loud hallelujahs let us sing, And praise his name •• • on eve - ry chord.
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* Note. BflCnps was a celebrated Singing Master, who resided in Boston at the time of the Revolution. He was one of the American soldiers who were encamped around Boston.
me ''inn nfter the Battle of Bunker Hill. It was a ^reat favorite in New England during the Revolution, and for years afterwards.
and wrote this nvmu and tun
KLOLIJNO.
L. M.
4. N JOHNSON.
101
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1. The Lord my pasture shall prepare, And feed me with a shepherd's care ; His presence shall my wants supp!y,And guard me with a watchful eye : My noon-day
2. When in the sultry glebe I faint, Or on the thirsty mountain pant, To fertile vales, and dewy meads, My weary, wand'ring steps he leads; Where peaceful
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3. Though in the paths of death I tread, With gloomy horrors o-vcr-spread, My steadfast heart shall fear no ill, For thou, O Lord, art with tnj still : Thy friendly
4. Though in a bare and rugged way,Thro' devious, lonely wilds I stray, Thy presence shall my pains beguile : The barren wilder - ness shall smile; With sudden
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riv - ers soft and slow, A-mid the verdant landscape flow, Where peaceful riv-ers, soft and slow, A - mid the ver-dant landscape flow.
rod shall give me aid, And guide me thro' the dreadful shade. Thy friendly rod shall give me aid, And guide me thro' the dreadful shade,
greens and herbage crowned, And streams shall murmur all a - round, With sudden greens and herbage crowned, And streams shall murmur all a - round.
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1. Thine tarthly Sabbaths, Lord, we love, But there's a no - bier rest above ; To that our longing souls as - pire, With cheer-ful hope and strong desire.
2. No more fatigue, no more distress, Nor sin, nor death shall reach the place : No groans shall mingle with the songs, Which war-ble from immortal tongues.
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3. No rude alarms of rag - ing foes, No cares to break the long repose; No midnight shade, no clouded sun — But sacred, high, e - ter-nal noon
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HAMBURG.
L. M.
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2. He rides and thunders through the sky, His name, Je-ho-vah, sounds on high ; Praise him aloud, ye sons of grace ; Ye saints, rejoice before his face.
3. God is our shield — our joy — our rest; God is our King— proclaim him blest : When terrors rise — when nations faint, He is the strength of every saint
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87
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PEARL ST. L. M.
JOH* MASOW.
103
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1. Sweet is the work, my God, my King, To praise thy nanie,give fhanks.and sing ; To show thy love by morning light, And talk: of all thy truth at night
2. Sweet is the day of sacred rest — No mortal care shall seize my breast ; Oh may my heart in tune be found, Like David's harp of solemn sound.
S. My heart shall triumph in my Lord, And bless his works — and bless his word ; Thy works of grace,how bright they shine ! How deep thy counsels.how divine.
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1. Lord, when thou didst ascend on high, Ten thousand angels filled the sky ; Those heavenly guards around thee wait.Like chariots, that attend tby state.
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2. Not Sinai's mountain could appear More glorious, when the Lord was there ; While he pronounced his holy law, And struck the cho - sen tribes with awe.
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3. Raised by his Father to the throne, He sent his promised ^uirit down, With gifts and grace for reb - el men, That Gid nrgnt dwell on earth again.
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104
GRACE CHURCH. L. M.
J. H. WILLCOI
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1. Blest who with generous pi - ty glows, Who learns to feel a - noth - er*s woes ; Bows to the poor man's wants his ear, And
2. Thy love his life shall guard — thy hand Give to his lot the cbo - sen land; Nor leave him, in the dread -fill day, To
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wipes the help • less or - phan's tear : — In eve - ry want — in eve - ry wo, Himself thy pi - ty, Lord, shall know.
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DEAN. L. M.
Arranged by A. N. JOHNSON. 105
]. My God, how endless is thy love I Thy gifts are eve- ry evening new; And aoraing mercies from a-bove Gently dis - - - till
like ear - ly dew.
2. Thou spread'st the curtains of the night.Great Guardian of my sleeping hoars; Thy sovereign word restores the light, And quickens
3. I yield my powers to thy command, To thee I con - secrate my days; Per - petual blessings from thine hand Demand per
pet
my drowsy powers.
ual songs of praise.
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SPANGLER. L. M
1
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Arranged by A. N. JOHNSON.
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1. Great God of nations, now to thee Oar hymn of grat -1 - tude we raise, With humble heart, and bending knee, We of- fer thee onx song of praise, We offer thee our song of praise.
2. Thy name we bless, Almighty God, For all the kind - ness thou hast shown To this fair land the pilgrims trod, This land we fond - ly call our own, This land we fondly call our own
3. Here Freedom spreads her banner wide, And casts her soft and hallowed ray, Here thou our fath - era* steps didst guide In safety through their dangerous way,In safety thro' their dangerouB way.
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CHAPIN. C. SL
Levato rtano.
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1. Oppressed with guilt, and full of fears, I come to thee my Lord ; While not a ray of hope appears, But in thy ho - ly word.
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2. The vol-ume of my Father's grace, Does all my grief din - pel ; Here I be-hold my Saviour's face, And learn to do his will.
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3. Here liv - ing wa-ter free - ly flows, To cleanse me from my sin ; 'Tis here the tree of knowledge grows, No dan - ger dwells therein.
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HOLMAN. C. M.
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1. When I pour out my soul in prayer, Do thou, great God! attend; To thy e- ter-nal throne of grace Oh let my cry as - cend.
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2. Hids not, 0 Lord, thy glo-rious face, In times of deep dis-tress ; In - cline thine ear, and when I call, My sor- rows soon re -dress.
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3. My days, just hastening to their end, Are like an evening shade ; My beau - ty does, like with-ered grass, With wan-ing lus-tro fade.
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LANESBORO'.
C. M.
107
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1 . Come,let us lift our joyful eyes Up to the courts above, And sniilu to see our Father there, And smile to see our Fa - ther there Up-on a throne of love.
2. Come,let us bow before his feet, And venture near the Lord; No fiery cherub guards his seat, So fie - ry cherub guards his seat, Nor double-flamiri" sword.
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3. The peaceful gates of heavenly bliss Are opened by the Sop; High let us raise our notes of praise,High let us raise our notes of praise, And reach th' almighty throne.
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1. Early, my God, with - out de-lay, I haste to seek thy face ; My tnirs - ty spir - it faints away, My thirsty spirit faints away "Without thy cheering grace.
2. So pilgrims on the scorching sand, Beneath a burning sky, Long for a cool - ing stream at hand, Long for a cooling stream at hand,And they must drink or die.
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3. I've seen thy glo - ry and thy power Thro' all thy temple shine, My God, re - peat that heavenly hour, My God, repeat that heavenly hour,That vis-ion so di-vine.
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STEWART. C. M.
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1. When ver-dure clothes the fer - tile vale, And blos-soms deck the spray, And fragrance breathes in ev - 'ry gale, How sweet the ver - Dal day.
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2. Hark ! how the feath-er'd war-blers Bing ! 'Tis na-ture's cheer-ful voice ; Soft mu - sic hails the love - ly spring. And woods and fields re-joice.
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3.0 God of na-ture, and of grace, Thy heav'nly gifts im - part ; Then shall my me - di - ta - tion trace Spring, blooming in my heart.
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SNYDER. C. M.
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. Te humble souls.approach your God With songs of sacred praise; J All n.iture owns his guardian care,In him we lire and move ;But nobler benefits declare The wonders of his love.
For he is good— immensely good,And kind are all his ways. I
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Me gave his well-be - lor-ed Son/To save our souls from sin ; J To this surerefuge.Lord, we come, And here our hope relies ;A safe defence.a peaceful homo, When storms of troubie rise.
B' 'Tis here he makes his goodness known ,And proves it all divine. J
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1. Great Shepherd of thy peo - pie, hear ' Thy pres-ence now dis - play We kneel with - in thy house of prayer, Oh ! give ns hearts to pray.
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2. The clouds, which veil thee from our sight, In pi - ty, Lord, re - move; Dis -pose our minds to hear a - right The mes-sage of rthy love.
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3. Help us, with ho- ly fear and joy, To kneel be -fore thy face; Oh make us, creatures of thy power, The chil-dren of thy grace.
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RAYNHAM. C. M.
H. W. WOOD.
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1. All hail thepowerof *Je - sus'oanie! Let angels pros - trate fall; Bring forth the roy - al di- a-dem,And crown him Lord of all.And crown him Lord of all.
2. Crown him, ve martyrs of our God, Who from his al - tar call; Praise him who shed for you his blood,And crownhim Lord of all;And crown him Lordof all.
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3. Te cho - sen seed of Is - rael's race, A remnant weak and small,HaiI him who saves you by his grace.And crown him Lord of all, And crown, &c.
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110
HAGERSTOWN. C. El.
JOHN UASOH.
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1. This is the day the Lord hath made, He calls the hours his own; Let heav'n rejoice,let earth be gtad,Let heav'n rejoice,let earth be glad, And praise surround his throne.
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2- To - day he rose, and left the dead, And Satan's empire fell; To-day the saints his triumph spread,To-day the saints his triumph spread,And till his wonders tell
3. Ho-san-na to the an-noint-ed King, To Da - vid's ho - ly Son; Help ub, 0 Lord, descend and bring Help us, 0 Lord, descend and bring Salva-tion from thy thron*,.
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DEVIZES. C. M.
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1. Awake my soul, stretch every nerve, And press with vigor on : A heavenly race demands thy zeal, A bright, immortal c,rown, A bright, im - mor - tal crown.
2. 'Tis God's all an - i - mating voice That calls thee from on high ; 'Tis his own hand presents the prize To thine as - pir - ing eye, To thine as - pir - ing eye.
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3. A cloud of wit - ness-es a-round Hold thee in full sur-vey: Forget the steps al - read -y trod, And onward urge thy way, And onward urge thy way.
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DUNDEE. C. M,
111
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1. Great God at-tend niy humble call, Nor hear my cries in vain; Oh let thy grace prevent my fall, And still my hope sus - tain.
2. Be thou my help in time of need, To thee, 0 Lord, I pray ; In mercy has-ten to my aid, Nor let thy grace de - lay.
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3. Let all who love thy name rejoice, And glo - ry in thy word, In thy sal - va - tion raise their voice, And mag-ni-fy the Lord.
ST. MARTIN'S. C. M.
IpEiEpElJ^rEigB^^
1. 0 thou to whom all crea-tures bow, With-in this earth-ly frame, Thro' all the world, how great art thou ! How glo - rious is thy name !
2. "When heaven, thy glo - rious work on high, Em-ploys my wond'ring sight ; The moon that night-ly rules the sky, With stars, of feebler light;
3. Lord, what is man ! that thou shouldst choose To keep him in thy mind ! Or what his race ! that thou shouldst prove To them so wondrous kind !
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BOONSBORO.
C. M
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1. When I can read niy ti - tie clear To man-sions in tbe skies, I'll bid fare-well to eve - ry fear, And wipe my weep-ing eyes.
2. Should earth a-gainst my soul en-gage, And hel-lish darts be hurled, Then I can smile at Sa-tan's rage, And face a frown-ing world.
3. Let cares, like a wild deluge, come, And storms of sor - row fall ; May I but safe - ly reach my home. My God, my heaven, my all
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C. M.
king.Let every heart pre-pare him room,Let every heart prepare him room, And heaven and nature sing.
1. Joy to the world, tbe Lord is come, Let earth receive her king.Let every heart pre-pare him room,Let every heart prepare him room, And heaven and nature sing.
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2. Joy to the world, the Saviour reigns. Let men their songs employ; While fieids ana floods,rocks, hills and plains While fields and floods.rocks.hills and plains, Repeat the &c
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3. No more let sin and sorrow grow, Nor thorns infest the ground ; He comes to make his blessings flow, He comes to make It is bless ingsflow, Far as the curse is found
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INVITATION.
OLD AMERICAN TBNK.
113
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Come my be - loved, haste away, Cut Bhort the hours of thy de-lay, Fly like a youthful hart or . roe, O-ver the hills where spices grow;
' a ' Fly like a youthful
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* Note. This is a specimen of the class of tunes in vogue in this country half a century ago. With several others of the same class, it is inserted in this book for the convenience
of those who wish occasionally to introduce specimens of these old tunes at concerts. Their effect upon old people who were familiar with them in their early days is remarkablfi.
After one of them had been sung at a concert of the Boston Musical Convention of 1855, Hev. Dr Lyman Beecher rose to his feet, and declared he could not repress his emotions. He
•aid he had learned the tune at a singing school seventy years ago, and that his old heart had not been so near heaven for fifty years, as it had been brought in listening to the ol<i
tones which had been snng at that concert.
[15]
114
SUSQUEHANNAH.
C. M.
KDVTLN BKUCB
1. Fath-er, whate'er of earth-ly bliss Thy sovereign will de- Dies, Ac - cepted at thy throne of grace Let this pe - ti - tion rise:
2. Give me a calm, a thank - ful heart, From every murmur free ; The blessings of thy grace im - part, And make me live to thee.
irt mine, My life and death at-tend — Thy pre
3. Oh, let the hope that thou art mine, My life and death at-tend — Thy presence through my journey shine, Aid crown my journey's end
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CORONATION. C. M.
the great Immanuels name! Let angels prostrate fall: Bring forth the royal dl- a-dem, And crown him Lord of all, Bring forth the royal di - a - dem, And crown him Lord of all.
2. Crown Mm, ye martyrs ofew God, Who from his altar call ; Praise him who ehed for yon his blood, And crown him Lord of all, Praise him who shed for you hi* blood, And crown him Lord if all.
3. Ye chosen seed of Israel's race, A remnant weak and small, Hall him who eaves yon by his grace, And crown him Lord of all, Hail him who saves you by his grace, And crown him Lord of all.
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BAXTER. C. M.
A. N JOHNSON
11.3
1. Sal -va-tion, Sal-va-tiori, oh the joyful soirad,'Tis pleasure to :6ur ears; A sov'reign balm for every wound, A cordial for our fears, omit-
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8. Sal- va-tlon, Sal-va-tion, let the e - cho fly The spacious earth around ;While all the ar-mies of the sky Conspire to raise the sound,While all the armies of the sky
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2. Buried in sorrow and in sin, At hell's dark door we lay: But we a -rise, by grace di - vine, To see a heav'nly day.
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ConsMre to raise the sound. 2. Buried in sorrow and in sin, At hell's dark door we lay; But we a -rise, by grace di - vine, To see a heav'nly lay.
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116
MARK. C. M.
Arranged bj A. N JOUNSON
1. Sing, all ye ransomed of the Lord, Your great Deliverer sing: Ye pilgrims, now for Zi - on bound, Be joy- - - - - ful in yonr King.
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2. His hand di - vine shall lead you on, Thro' all the bliss - ful road : Till to the sacred mount you rise, And see your gracious God.
3. March on, in your Redeemer's strength, Pursue bis footsteps still ; With joy-ful hope still fix your eye
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DRIGGS. C. M.
II 6!
On Zion's heavenly hill.
2 = 7
Arranged by A. N. JOHNSON.
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1. Firmly I stand on Zi-on'sbill, And view my starry crown ; No power on earth my hope oan shake, Nor hell can thrust me down
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2. The lof-ty hills, and state-ly towers, That lift there heads on high, Shall all he lev - ellcd low in dust, Their ve - ry names shall die.
3. The vaulted heavens shall melt a- way, Built by Je - ho-vah's hands; But firmer than the heavens, the rock Ot my sal - va - tion stands.
BROUGHTON.
C. M.
Con Spii-iio.
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Arranged by L. 0. EMERSON.
117
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118
NEW JERUSALEM. C. M.
OLD AMBRI^AJi TOMB
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From the third heav'n where God resides, That ho - \y, hap-py place,
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SHENSTONE.
C. M.
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119
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Yes, I will bless thee ,0 my God! Thro' all my mortal days, And to e-ter-ni-ty prolong
Thy vast, thy boundless praise.Thy vast, thy boundless pn
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BANISTER. C. M.
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1. Blest be the dear, u - nit- ing love, That will not let us part: Our'bodies may far off remove, We still are one in heart.
2. Joined in one spir-it to our Head, Where he appoints we go; We still in Je - sus' foot -steps tread, And atill his praise we show.
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3. O may we ev - er walk in Him, And noth -ing know be - side ! Nothing de - sire, noth - ing es - teem, But Je - SU9 cru - ci - fied.
4. Richly we share the Saviour's grace, We're one in mind and heart; Not joy, nor grief, not time, nor place, Not life, nor death can part
120
MARLOW. C. M.
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1 . The heav'ns de-clare thy glo-ry, Lord, Which that * - lone can fill; The fir - ma - ment and stars ex - press Their great Ore - a - tor's skill.
2 The dawn of each re-turn-ing day Fresh beams ofknowledge brings, And from the dark re-turnsof night, Di-vine in - struc-tion springs.
ARLINGTON. C. M.
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1. Oh hap py they who know the Lord.With whom he deigns to dwell ; He feeds and cheers them by bis word, His arm sop-ports them well.
2. To them, in each dis - tress-ing hotrr, His throne of grace is near; And when they plead his love and pow'r, He stands en-gaged to hear.
WOODSTOCK. C. M. DCTr0N.
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1. My Shepherd will sup- ply my need, Je - ho - vah is his name ; In pastures fresh he makes me feed, Be - side the liv-ine Btrcam.
2. He brings my wund'ring spir- it back.When I forsake his ways ; And leads nic, for his mer-cy'ssaki, In paths of truth and grace.
WIESLING. C. M.
Arranged from KEJUSSHAITIT.
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1. To thee, my righteous King and Lord, My grate-ful soul I'll raise ; From day to day thy works re - cord, And ev-er sing thy praise.
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2. Thy woadrons acts, thy pow'r and might, My constant theme shall be ; That song shall be my soul's delight.TPhich treathes in praise to thee.
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3. From all thy works, O Lord, shall spring The sound of joy and praise ;Thy saints shall of thy glo-ry sing, And show the "world thy ways.
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122
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Th« Lord de - scended from a - bore. And bowed the heaVns most high, And on-der-neath his feet he cast The dark
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And on the wings of mighty winds Came flying all abroad, And on the wings of mighty winds Came flying nil abroad.
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LOTHROP, C. M.
123
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1. The'Lord himself, the migh-ty , I^ord, Vouchsafes to he my guide; The' shepherd, by whose con-stunt care 5Jy wants are all supplied.
: 2. In ten - der grass he makes me feed, And gen -tly there re - pose; Then leads me to cool shades, and where Re - fresh-ing wa - ter flows.
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3. He does my wandering soul re - claim, And to his end -less praise, Instruct with humble . zeal to walk In his most righteous ways.
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4. I pass the gloom-y vale- -of death, From fear and dan-ger free; For there his; aid - ing rod and staff De - fend and com -fort me.
5 Since _God doth thus his wondrous love_Thro' alL my life ex - tend, That life to _him I will de - vote, And in his teia - pie spend.
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1. My Shepherd will sup - ply my needt Je^ ho - yah is his name;In_ pas - tures fresh_ he makes me feed, Be - side the
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3. When I walk through the shades of death, Thy pros - ence is my stay ; One word .of thy support - ing breath Drives all my fears a - way
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CONESTOGA.
C. M.
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1. In - dulgent God, whose bounteous care, O'er all thy works is shown, Oh let my grateful praise and prayer A - rise be - fore thy throne.
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2. What mercies has tins day bestowed ! How largely hast thou blest I My cup with plen - ty o - verflowed, With cheerfulness my breast.
H. Now my soft blnmber close my eyes, From paiu and sickness free; . And let my waking thought a - rise, . To med - i - tate on thee.
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1. When verdure -clothes the fer - die vale, And blossoms deck the spray ; And fragrance breathes in eve • ry gale, How sweet the ver - nal day *
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1 . Hark ! how the feathered warblers Brag ! Tis na-ture'e cheerful voice ; Soft mu-sic hails the love - ly spring, And woods and fields rejoice.
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3. O God of na ture, and of grace, Thy heavenly gifts im- part; Then shall my med - i - ta-tion trace Spring.blooming in my heart
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CLARENDON. C. M.
125
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1. What shall I ren-der to my God, For all his kindness Bhown? My feet shall vis - it thine a - bode, My songs ad - dress thy throne.
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2. A - mong the saints,that fill thine house, My offering shall be paid ; There shall my zeal per -form the vows My soul in anguish made.
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1. Now shall my sol - emn vowa be paid To that al -migh-ty power, "Who heard the long re - quest I made In my distresB-ful hour.
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2. My lips and cheerful heart prepare To make his mercies known ; Come, ye who fear my God, and hear The wonders he has done
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A. K. JOHNSOU
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1. Come, humble souls, ye mourners,come,And wipe away your tears : A-dieu to all your sad complaints, Your sorrows arid your fears.Come.shout aloud the Father's grace
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2. God, the e - ter-nal, mighty God, To dearer names descends : Calls you his treasure and his joy, His children, and his friends.My Father, God ! and may these lips
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3. For - ev-er let my grateful heart His boundless grace adore, Which gives ten thousand blessings now, And bids me hope for more,Transporting hope ! still on my soul
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And sing the Saviour's love : Soon shall you join the glorious theme In loft - ier strains a - bove, Soon shall you join the glorious theme In loft-ier strains a - bove.
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a name so dear ? Not thus could heaven's sweet harmony Delight my listening ear, Not thus could heaven's sweet harmony Delight my listening ear.
With radiant glories shine, Till thou thyself art lost in joys, Im - mor - tal and di-vine, Till thou thy - self art lost ift joys, Im - mor-tal and di - vine.
MARTYRDOM. C. M.
127
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I. Dear Father, to thy mer-cy seat My soul for shelter flies; "lis here I find a safe retreat When storms and tempests rise.
2. My cheerful hope can nev - er die, If thou my God, art near, Thy graoe can raise my comforts high, And ban - ish eve- ry fear.
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3. My great Protect- or, and my Lord, Thy con • stunt aid im-part; 0! let thy kind, thy gracious word Sua- tain my trembling bean.
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ALEXANDRIA. C. M.
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1. Teach me the measure of my days, Thou maker of my frame; I would sur - vey life's narrow space, And learn how frail I am.
2. A span is all that we can boast, How short the fleeting time! Man is but van - i - ty and dust, In all his flower and prime.
■ 3. What can I wish, or wait for then, From creatures,earth and dust? They make our ex - pec - tations vain, And dis - ap - point our trust.
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128
STIEFF. C. m.
JOUN GAUNT.
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1. I love to steal a - while a - way From eve-ry cumbering care, And spend the- hours of set - ting day In bdmble, grateful prayer.
2. I lore in sol - i - tude to shed The pen - i - ten-tial tear, And ail his prom i - ses to plead Where none but God ccn bear.
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3. I love to think on mercies past, And fu-ture good implore, And all my cares and sor - rows cast On him whom I a - dore.
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BALERMA. C. M
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1. 0, hap - py is the man who hears In - struction's faith - ful voice ; And who ce - lea - tial wis - dom makes His ear - ly, on - ly choice !
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2. Wisdom has treasures great-er far Than east or west un - fold ; And her rewards more precious are Than is the gain of gold.
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BOYDETM.
C. M.
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I weep Dot for the joys that fade Like evening lights a - way ; For hopes that like the stars decayed, Have left their mor-tal day ;
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The clouds of sor - row will de-part, And brilliant skies He gives. For bliss a - waits the ho - ly heart, A - mid the bower of Heaven.
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1. Thou dear Redeemer; dying Lamb, We love to hear of thee; No music's like thy charming name, Nor half so sweet can be, Nor half so sweet can be.
2. Oh may we ever hear thy voice ! In mer-ey to us speak ; In thee, O Lord, let us rejoice, And thy Sal-va - tion seek, And thy Sal-va - tion seek. .
3. Jesus shall ev - er be our theme,While in this world we stay ; We'll sing of Je - sus' lovely name, When all things else decay, When all things else de-cay.
4. When we appear in yonder cloud, With all his favoured throng,Then will we sing more sweet.more loud, And Christ shall be our sons, And Christ shall be our song.
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SICHEM.
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1. My soui, how lovely is the place To which thy God re- sorts 1
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'Tis heaven to see his smiling face,Though in his earthly court*.
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power dis - plays ; And light breaks in up - on our eyes, With kind and quickning rays.
3. With his rich gifts the heavenly Dove Descends and fills the place; While Christ reveals his wondrous love, And sheds a-broad his grace.
4. There, mighty God, thy words declare The se - .crets of thy will: And still we seek thy mercies there, And sing thy praises still.
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Arranged Ijj A N. JOUNSON.
131
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a home for wea - ry souls, By sins and sor - rows driven ;
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When • tossed on life's tem - pestuous shoals,
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3. There faith lifts up the tear - ]
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views the tem - pest pass-ing by,
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SOPRANO & ALTO CHORUS.
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SOPRANO SOLO.
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Where storms a - rise — and
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CHRISTMAS.
C. M.
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Awnke, my soul.stretch ever}* nerve, And press with vig - or on :
A heavenly race demands thy zeal, A bright im-mor-tal crown, A bright immortal crown.
2. 'Tis God's all an • I mating voice That calls thee from on high>; 'Tis his own hand presents the prize To thine as - pir - ing eye, To thine as-pijjng eye.
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C. M.
3d. Ending-
1. Lord, in the morning thou shall hear. My voice as - cen - ding high ; To thee will I direct my prayer, To thee lift up mine eye.
2. Thou art a Ood, before whose sight The wick - ed shall not stand; Sinners shall ne'er be thy delight, Nor dwell at thy right hand.
3. But to thy house will I re-sort, To taste thy mer - cies there ; I will frequent thine holy court, And worship in tliy fear.
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ANDERSON. C. Jtt.
A N. JOUNSON.
133
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1. Strait is the way— the door is strait, That leads to joys oq high: 'Tis but a few that fiud the gate, While crowds mis - take and die.
2- Be-lov-ed self must be de * nied, The mind and will re-newed, Passion sap - pressed, and pa - tience tried, And vain de - sires sub - ducd.
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3. Lord can a fee-bte, help-left worm Ful - fill a task so hard? Thy grace must all the work per -form, And give the free re- ward.
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SEARS. C. M.
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A. N. JOHNSON.
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1. Let every mor - tal ear attend. And every heart re - Joice ; I
The trumpet of the gospel sounds, With an inviting voice. J IIo ! all ye hungry, starring souls, That feed up-on the wind, And vainly strive with earthly toUs To fill th'im -mortal mind, —
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2. E - ter-nal wis-dom has prepared A soul-re-viv-ing feast, 1
And bids your longing ap - pe-tites The rich provision taste. ) Ho ! ye 'that pant for living streams, And pine away and die — Here you may quench your ragiog thirst With springs that never dry.
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3- Riv-ers of love and mercies here Tn a rich o-ceanjoin; )
Salvation in abundance flows, Like floods of milk and wine, J The happy galt-a of gospel grace Stand o-pen night and day ; Lord — we are come to Geek supplies, And drive our wants a - way.
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REPOSE.
C. M.
J SUBRWIH
1. Again, from calm and sweet re - pose, I rise to hail the dawn; Again my wak - ing eyes un close, To view the smil - in» morn.
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2. Great God of love, thy praise I'll sing; For thou hast safe - lv kept My soul beneath thy guar - dian wine, And watched me while I slept
3. Glo -ry to thee, e -ter-nal Lord ; O, teach my heart to pray, And thy blest Spirit s help af -ford, To guide me through the day
DORCAS C. M.
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1. Coa-sid - er all my sorrows, Lord, And thy de - liverance send ; My soul, for thy sal - va - tion faints ; When will my troubles end ?
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2. Yet I have found 'tis good for me To bear my Father's rod ; Af - flic - tion made me learn thy law, And live up - on my God.
3. Had not thy word been iny de -light When earth-ly joys were fled, My soul, oppressed with sor-row's weight Had sunk among the dead.
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MOORE.
C. M.
U 0. EMERSON.
135
I. This is the first and great command, To love thy God a-bove;And this the sec - ond, as thyself Thy neighbour thou shalt We.
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2. Who is my neighbor ? He who wants The help which thou canst,give ; And both the law and prophets say This do, and thou shalt live.
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ACCEPTANCE. C. M.
L. 0. KHERSON.
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1. O God, ae - cept the sacred hour Which we to thee have given, And let this hallowed scene have power To raise our souls to heaven.
2. Still let us hold, till life de-parts, The precepts of thy Son, Nor let our thoughtless, thankless hearts For - get what he has done.
3. His true dis - ci - pies may we live, From all cor - rup - tion free, And humbly learn like him to give Our powers, our wills to thee.
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TABLER.
C. M.
1. Ob 'twas a joy - fal sound to hear Our tribes devout - ly say, " Up, Israel, to the temple haste, And keep your fes-tal day !"
2. At Salem's courts we must ap-pear, With our as - sembled powers, In strong and beauteous or-der ranged, Like her u - ni-led towers.
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3. Oh pray we then for Salem's peace — For tbey shall prosperous be, Thou ho -ly ci - ty of our God, Who bear true love to thee.
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1, To God I cried, with mournful voice, I sought his gracious ear, In the sad day when trouble rose, And filled my heart with fear,
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2. Will he for - ev - er cast me off? His promise er - er fail 2 Has be for - got his ten - der love ? Shall an - ger stiU prevail ?
3. But I for - bid this hope - less tho't, This dark, despair - ing frame, Remembering what thy hand has wro't — Thy hand is still the same.
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inaojed bj A. N. JOHNSON.
137
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1. How beauteous are their feet Who stand on Zi - on's hill! Who bring sal - va - tion on their tongues, And words of peace reveal!
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2. How hap - py are our ears, That hear this joy r, ful Bound, Which kings and prophets wait - ed for, And sought, but nev - er found !
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3. The watchmen join their voice, And tune - ful notes em - ploy;
3 e - ru - sa - lera breaks forth in songs, And des - erts learn the joy ;
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How charming is their voice ! How sweet their tid - ings are! "Zi- on, behold thy Saviour King, He reigns and triumphs here."
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How bless - ed are our eyes, That see this heaven - ly light ! Prophets and kings desired it long. But died without the sight.
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HARDING. S. M.
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I. From ear-liest dawn of life, Tby good-ness we have shared ; And still we live to sing thy praise, By sovereign mer - cy spared.
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To learn and do thy will, O Lord, our hearts in - cline ; And o'er the paths of fu - ture life Com - mand thy light to shine.
. While taucht thy word of truth, May we that word re - ceive ; And when we hear of Je - sus' name, In that blest name be - lieve 1
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TOURJEE. S. M.
l.My soul, be on tby guard, Ten thousand foes a - rise : The hosts of sin are pressing hard To draw thee from the skies, To draw thee from the skies.
2. O watch,and fi<*ht,and pray ; The battle ne'er give o'er ; Re - new it bold - ly eve-ry day, And help divine im - plore, And help di - vine im - plore.
3. Neer think the victory won, Nor once at ease sit down : Thy arduous work will not be done, Till thou hastgot the crown, Till thou hast got the crown.
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HANK. S. M.
139
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1. Wel-come, sweet day of rest, That saw the Lord a - sise; Wel-come to this re - viv-ing breast, And these re-joic-ing eyeBl
2. Je - sus him - self comes near, And feasts his saints to - day ; Here we may sit, and see him here, And love, and praise, and pray.
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3. One day a - mid the place Where God my Sa-viour's been, Is sweet - er than ten thou-sand days, Of pleas-ure and of sin.
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1. Be-hold the morn - ing sun Be-gins his glo - rious way ; His beams through all the na - tions run, And life and light con - vey.
2. But where the gos - pel comes, It spreads di - vi - ner light, It calls dead sin - ners from their tombs, And gives the blind their sight.
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2. How per-feet is thy word! And all thy judg-ments just! For - ev - er sure thy prom - ise, Lord, And we se - cure - ly trust.
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ST. THOMAS. S. M.
1. My soul, re- peat his praise, Whose mer - cies are so great; Whose an-ger is so slow to rise, So rea - dy to a - bate
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2. His power sub-dues our sins, And his for • giv - ing love, Far as the east is from the west, Doth all our guilt re-move.
3. High as tlio heavens are raised* A ■ bove the ground we tread, So far the rich - es of his grace Our high - est thoughts exceed.
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DOVER. S. M.
1. Great is the Lord, our God, And let his praise be groat ; He makes the churches his a-bode, His most de - light-ful seat.
2. In Zi - on God is known, A ref-nge in dis - tress; How bright has his sal- va - tion shone !How fair his heaven-ly grace.
8 When kings a-gainst her joined, And saw the Lord was there ; In wild con-fus - inn of the mind, They fled with has - ty tear.
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MARSHALL.
S. HL
141
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1. My form - er hopes are fled, My ter - ror now be - gins; I feel, a- las! that, I am dead In tres -pass - es and sins.
2. Ah, whith - er shall' I fly ? I hear the thunder roar ; The law proclaims de - struo-tion nigh, And vengeance at the door.
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3. I see — or think I
see, A glimmering from a - far; A beam of day, that shines for me, To save me from des - pair.
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4 Fore - run - ner of the sun, It marks the pilgrim's way; I'll gaze up - on it While I run, And watoh the ris - ing day.
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1. Blest be the tie that binds Our hearts in Christian love; The fel -low-ship of kin-dred minds Is like to that a - bove.
2. Be - fore our Father's throne We pour our ar - dent prayers ; Our fears, our hopes,our aims, are one — Our comforts and our cares.
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3. We share our mutual woes, Our mutual burdens bear ; And of - ten for each oth - er flows Thy sym - pa - thiz-ing tear.
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1. My God, my strength, my hope ! On thee I cast my care ; With hum - ble con
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2. I want a god - ly fear, A quick-dis - ccrn-ing eyo, That ev - er watch - es un - to prayer, And sees the tempter fly ;
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Give me on thee to wait, Till I can all things do; On thee, al - migh - ty to ere - ate, Al - migh-ty to re -new.
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A soul in - ured to pain, To hardship, grief, and
Bold to take up, firm to sus - tain, The con - se - crat • ed cross.
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A. N JOHNSON.
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I. We come with joy - ful soDg, To hail this bap - py morn: Glad tidings from an an-gel's tongue, This day is Je - bus born.
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2. What transports doth his name To sin- ful men af - ford ! His glorious ti - ties we proclaim, A Sa - viour, ChriBt, the Lord.
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3. Glo - ry to God on high, All hail the hap-py morn: We join the anthems of the sky, And sing "The Saviour's horn. "
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CLARK.
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1. The spir - it in our hearts, Is whispering, sinner come ; The bride, the Church of ChiUt.Proclaims To all his Children Come.
2. Let him that hear - eth say, To all a - bout him,come, Let him that thirsts for righteousness, To Christ the fountain, come !
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3. Yes, who - so - ev - er will, Oh let him freely come, And free - ly drink the stream of life, 'Tis Je - sus bids him come.
4. Lo ! Je - sus who in - vites Declares, I quickly come : Lord e - ven so we wait thy hour ; 0 blest Ke - deem - er Come.
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CROMWELL. S. M.
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1. The Saviour's glo - rious name For - ev - cr shall en - dure, Long as the sun, his matchless fame Shall ev - er stand se - cure.
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2. Wonders of grace and power To thee a - lone be - long ; Tby church those wonders shall a • dore, In ev - er - last - ing song.
3. O Is - rael, bless him still, His name to hon - or raise; Let all the earth his glo - ry fill, Midst songs of grate - ful praise
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1. Sing to the Lord most high, Let eve - ry land a - dore ; With grateful heart and voice make known His good-ness and his power.
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2. En - ter his courts with joy; With fear ad - dress the Lord ; 'Twas he, who formed us with his hand, And quickened by his wuul.
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3. His hands pro-vide our food, And eve - ry bless-ing give ; We're guarded by his dai - ly care And on his boun-ty live
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J. H. WTLLCOX
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1. Soldiers of Christ a - rise, And put your armour on, Strong in the strength which God supplies Thro' bis e - ter - nal Son;
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2. Strong in the Lord of hosts. And in his mighty pow'r, Who in the strength of Je - sus trusts, Is more than con - quer - or ;
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3. Stand then in his great might, With all his strength en - dued ; And take to arm you for the fight, The pan - o - ply of God ;
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Strong in the strength which God supplies, Strong in the strength which God supplies, Thro' his e - ter - nal Son, Thro' his e - ter-nal Son.
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Who in the strength of Je - sus trusts, Who in the strength of Je - sus trusts, Is more than conquer - or, Is more than con-quer - or.
Am, take to arm you for the fight, And take to arm you for the fight, The pan - o - ply of God, The pan - o - ply of God.
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14(j ^EADS. S. M.
1. The pow'r to bless my bouse, Belongs to God a - lone, Yet rend'ring him ray eon-atant .vows, He sends his blessings down.
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2. Shall I not then en-gage My house to serve the Lord, To search the soul - con - vert - ing paoe. And feed up • on his word.
In prayer and praise to of - fer up Their dai - ly sac - ri - fiee.
3. To ask with faith and hope, The grace his spirit sup - plies, In prayer and praise to of - fer up Their dai - ly sac - ri - fiee.
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LISBON. S. M.
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Welcome to this re-viving breast, And these rejoic-ing eyes.
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. Welcome, sweet day of rest, That saw the Lord a - rise
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Welcome to this reviving breast, And these re - joic - ing eye?, And these re-joic - - ing eyes.
Welcome to Lhw reviving breast And these re - joic - ing eyes, And these
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TARBUTTON.
S. M.
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1. Firm and un - moved are they, Who rest their souls on God; Firm as.... the mount where Da-vid dwelt, Or where the ark a - Lode.
2. As moun - tains stood to guard The city's sacred ground, So God, and his al - migh-ty love, Embrace his saints a - round.
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3. Deal gen - tly, Lord, with those, Whose faith and holy fear, Whose hope, and love, and eve - ry grace, Proclaim their hearts sincere.
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1. Let eve-ry creature join To praise th* e - ter - nal God ; Ye heavenly hosts, the song be - gin, And sound his name a - broad.
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2. Thou sun, with golden beams, And moon, -with pa - ler rays ; Ye starry lights, ye twinkling flames, Shine to your Maker's praise.
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3. He built those worlds a -bove, And fixed their wondrous frame : By his command they stand or move, And ev - er speak his name.
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1. Ex - alt the Lord our God, And wor - ship at his feet; His na - ture is all
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2. When Is - rael was his church, When Aaron was his priest, When Mo - ses cried, when Samuel prayed, He gave his peo - pie rest.
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1. Your harps, ye trem - bling saints, Down from the wil - lows take: Loud to the praise of love di-vine. Bid eve - ry string a - wake.
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Though in a for • eign land, We are not far from home ; And nearer to our house above We eve - ry mo-ment come.
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3. His grace will, to the end, Stron - ger and brighter shine ; Nor pres-ent things, nor things to come, Shall quench this spark di - vine.
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L. 0. EMEKSO.V.
149
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1. Thy laws 0 God, are right, Thy throne shall ev - er stand; And thy vie - to - rious gos - pel proves A seep - tre
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O let thy God and king, Thy sweetest thoughts em - ploy ; Thy chil- dren shall his hon - ors sing, In pal
2.
a - ces of joy.
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1. 0 where shall rest be found, Rest for the wea-ry soul; 'Twere vain the o-cean's depths to sound, Or pierce to ei - ther pole.
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2. The world can nev - er give The bliss for which we sigh ; 'Tis not the whole of life to live, Nor all of death to die.
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1. A - noth-er day is past, The hours for - ev - er fled; And time is bear - jng me a - way, To min - gle with the dead
2. My mind in per - feet peace My Fa - ther's care shall keep ; I yield to gen - tie slum - ber now, For thou canst nev - er sleep.
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3. How blessed, Lord, are they On thee se - cure- ly stayed ! Nor shall they be in life a - larmed, Nor be in death dismayed.
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1. Je - sus, the Conqueror, reign", In glorious strength arrayed ; His king - dom o - ver all main - tains, And bids the earth be glad.
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2. Ye sons of men, re-joice In Je - sus' mighty love: Lift up your heart, lift up your voice, To him who rules a - bove.
3. Ex - tol his kicg-ly power; A - dore th' exalt - ed Son, Who died, but lives, to die no more, High on bis Father's throne.
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1. Firm and unmoved are they, Who rest their souls on God ; Firm as the mount where Da - vid dwelt, Or where the ark a - bode.
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2. As mountains stood to guard The ci - ty's sa - ered ground, So God, and his al - migh - ty love, Embrace his saints a - round.
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3. Deal gen - tly, Lord, with those, Whose faith and ho - ly fear, Whose hope, and love, and eve - ry grace, Proclaim their hearts sincere.
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J. H. WILLCOX.
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1. Be - hold his wondrous grace ! And bless Je - hovah's name : Ye servants of the Lord, his praise By day and night pro - claim.
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2. He formed the earth be - low, He formed the heav'ns his throne : His grace from Zi - on he'll be - stow. And pour his bless-ings down.
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1. G nice ! 'tis a charm - ing sound ! Har-mo-nious to the ear! Heaven with the ech-o shall resound, And all the earth shall hear.
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2 Giace first contrived a way To save re-belHous man; And all its a! eps that grace display Which drew the wondrous plan.
3. Grace taught my rov - ing feet To tread the heavenly road : And new supplies each hour I meet, While pressing on to God.
4. Grace all the work shall crown, Through ev - er - last - ing days : It lavs in heaven the topmost stone, And well deserves the praise.
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LINTHICUM. S. M.
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1. The swift de - clin - ing day
How fast its moments fly ! While evening's broad and gloomy shade Gains on the western sky.
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-2. Ye mortals, mark its pace, And use the hours of light ; For know, its Ma - ker can command An instant, endless night.
3. Give glo-ry to the Lord, Who rules ibe roll-ing sphere
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Submissive, at his footstool bow, And seek sal -va-tion there.
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1. I'll praise my Maker with my breath ; And, when my voice is lost in death,
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2. How blest the man whose hopes re - ly On Israel's God — he made the sky, And earth, and seas,
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Praise shall employ my no - bier powers ;
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My days of praise shall ne'er be past, While life, and tho't, and be - ing, last, Or immor- tal -i - ty endures, Or im-mor - tal - i - ty endures.
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His truth for - ev - er stands se-cure ; He saves th' eppreesei, He feeds the poor, And none shall find his promise vain, And none shall find bis promise vain.
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My days of praise shall ne'er be past, While life, and fc'v J; n" i-c - ing, last, Or immor- tal- i - ty endures, Or immor - tal - i - ty endures.
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HEITSHUE.
L. P. M.
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1. Let all the earth tMr voi-ces raise, To sing a psalm of lof - ty praise, To sing and bless Je-hovah's name ; His glo - ry let the heatnen know,
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2. Oh ! haste the day — the glorious hour, When earth shall feel his saving pow'r, And barb'rous nations fear his name : Then shall the race of man confess,
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His wonders to the nations show, And all his sav - ing works proclaim.
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The beau-ty of his bo • li-ness, And in his courts his grace proclaim.
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1 . I love the vol ume of thy word ; What light and joy those leaves afford
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Thy threat'nings wake my slamb'ring eyes, And warn me where my
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To souls benight - ed and distressed 1 Thy precepts guide my doubt - ful way, Thy fear forbids my feet to stray, Thy promise leads my heart to rest
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But 'tis thy bless-ed gospel, Lord,That makes my guil - ty conscience clean, Converts my soul, subdues my sin. And gives a free, but large reward.
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HARDY.
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A. N. JOHNSON.
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1. When thou, my righteous Judge, shalt come To fetch thy ransomed people home, Shall I among them stand? ( Shall such a worthless worm as I, )
I Who sometimes am a - fraid to die, J Be found at thy right hand.
2. I love to meet thy people now, Before thy feet with them to bow, Tho' vil-est of them all; ( But— can I bear the piercing tho't? J
\ What if my name should be left out, $ When thou for them shalt call?
Z7 Among thy saints let me be found, Whene'er th' archangel's trump shall sound, To see thy smiling face; J Then loud-est of the crowd I'll sing, )
\ While heav'n's resounding mansions ring J With shouts of sov'reign grace.
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PETICOLAS.
C. P. M.
Solo.
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A. X. JOHNSON.
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1. Oh could I speak tbe matchless worth, Oh, could I sound the glories forth, Oh could I sound the glories forth, Which in my Saviour shine!
2. I'd sing the pre-cious blood he spilt, My ran -som from the dreadful guilt, My ransom from the dreadful guilt Of sin and wrath di -vine:
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3. I'd sing the char - ac - ters he bears, And all the forms of love he wears, And all the forms of love he wears, Ex - alt • ed on bis throne :
r Lord will bring me home, Ar
i Well, the do - light - ful day will come, When my dear Lord will bring me home.When my dear Lord will bring me home, And I shall s».e Hs face:
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I'd soar, and touch the heavenly strings, And vie with Gabriel, while he sings In notes al - most di - vine. In notes al - most di - vine.
I'd sing his glorious righteousness, In which all perfect, heavenly dress My soul shall er - er shine, My soul shall ev - er shine.
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In lof- tiest song of sweetest praise, I would to ev - er - last-ing days Make all his glo - ries known, Make all his glo - ries known.
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Then, with my Saviour, broth-er, friend, A blest e - ter - ni - ty I'll spend, Tri - umph - ant in his grace, Tri - umph - ant in
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0 thou that hear'st the prayer of faith, Wilt thou not save a soul from death That casts it - self on thee ?
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I have no ref - uge of my own, But fly to what my Lord hath done, And suf - fered death for me.
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TENNEY.
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1. When T can trust my all with God, In tri - al'a fear- ful hour,
Bow, all resigned, be - neath bis rod, And bless his sparing power,
A joy springs up a - mid dis - tress, A fountain in the wilderness.
2. Oh blessed be the hand that gave, Still bless - ed when it takes, )
And blessed he who smiles to save, Who loves the heart he breaks, ) Per -feet and true are all his wa;s,When heaven adores and earth obeys.
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WHITNEY.
S. H. M.
One nolle OB» gracious tmlle, op • on this droop - log heart, Can ere - ry wea-ry thought beguile.And bid my glow depart, One smile of heaven upon my soul Can every struggling fear control.
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FISKE. S. P. M.
159
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I. How pleasant 'tis to see Kindred and friends agree, Each in their proper station move ; And each fulfil their part, With sympathizing heart,In all the cares of life and love T '
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2. Like fruitful show'rs of rain, That water all the plain, Descending from the neighboring hills ; Such streams of pleasure roll Thro' every friendly soul,"Where love,like heavenly dew,distila.
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GREENE. S. P. M.
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L How pleased and blest was I, To hear the people cry, "Come, let us seek our God to - day!*' Yes, with a cheerful zeal, We haste to Zirm's hill, And there our vows and hon - ors pay.
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2. ZI - on— thrice happy place — Adorned with wondrous grace,And walls of strength embrace thee ronnd: In thee our tribes appear To pray, and praise, and hear The ea-cred gospel's joy - ful sound.
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GLOVER.
H. M.
L. 0 EMERSON
\V.*h tpiril, but not u<« fitat.
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1. The Lord Je - ho - "ah reigns, His throne is built on high ; The garments he as - sumes, Are light and maj - es - ty ;
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2. And can this migh-ty King Of glo - ry con - de - scend? And will he write his name, My Fa - ther, and my Friend?
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0 Z\ -on, tune thv voice, And raise thy hands on high! Tell all the earth thy joys, And boast sal-vation nigh: Cheerful in God, A - rise and shine.
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2. He gilds thy mourning
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face With beaniswhich cannotfade: His all- re - splend - ent grace He pours aronnd thy head : The nations round Thy form shall view,
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3. In honor to his name, Re - fleet that sacred light; And loud that grace proclaim.Which makes thy darkness bright: Pursue his praise, Till sovereign love,
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While rays di-vine Stream all abroad.
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With lus-tre new di - vinely crowned, With lus-tre new, With lus-tre new, With lus-tre new Di - vine-ly crowned.
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worlds a - bove, Thy glo - ry raise.
In worlds a - bove, Thy glo - ry raise,
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1 Join all tlie glo - ri"U8 names Of wis ■ dom, luve and power. That ev - cr mor - tals knew, Or an - gels ev er bore
2. Great proph-et of our God, Our tongues shall bless thy name; By thee the joy • ful news Of our sal - va - tion came.
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3 Je - sus, our great High Priest, Has shed his blood and died ; Our guil - ty con-science needs No sac - ri - See be - sid
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All are too mean To speak his worth, Too mean to set The Sa - viour forth.
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His precious blood Did once a - tone,
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Ye tribes of Adam, join, With heav'n.and earth,and seas,
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Ye holy throng of angels brighten, worlds of light be - gin the song
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And of- fer notes divine, To your Creator's praise.
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Yu holy throng of angels bright, In worlds of light begin the song, In worlds of light begin the song.
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Ye holy throng of angels bright, Ye holy throng of angels bright,In worlds of light be - gin the song.
TRIUMPH. H. M. LOCKHART.
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2.At thy approaching dawn.Reluctant death resigned The glorious Prince of life In dark domains confined : Th' angelic host around him bends, And midst their shouts the God ascends.
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WILLARD.
H. M.
1 How pleasing la the voice Of God, our heavenly King, Who bids the frosts re - tire. And wakes the lovely spring ■ Bright suns arise, The mild wind b!nws,And beauty glows, Thro'earth and skies.
the ere decline, Re - joking o'er the hills : The evening breeze His breath perfumes; His beauty blntmi In flowers and trees.
2. The morn.witb glory crowned, Ilia hand arrays in smiles : He bid
3. With life he clothes the spring, The earth with summer warms: He spreads eh' autumnal feast, And rides on wintry storms i His gifts divine Thro' all appear ; And round the year His glories chine
CRAM.
H. M.
A. N. JOHNSON.
1. Hark, bark, the notes of joy, Roll o'er the heavenly plains !
And seraphs find em * ploy, (Omit.) For their sublimest strains ; Some new delight in heaven lsknown,Lood ring the harps around the throne,Lond ring the harps around the throne
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Hark.hark.the sound* draw n.j*h. The Joyful hosts descend ;
Je-sus fur-s.ihps tin; sky, (Omit.) To earth his footsteps bend, He comes to bless our fallen race, Becomes with messages of grace, He comes with mes sa - gee of grace.
B. Rear, bear, the tid - logs round, Let eve - ry mortal fellow,
What love in Ood Is found, (Omit.) What pi- ty he can show; Te winds that blow, ye waves that roll,Bear the glad news from pole to pole ! Bear the glad news from pole to pole.
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ERROL 7s.
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1. Safe - ly through an - oth - er week, God has brought us on our way; Let ua now a bless - - ing seek,
2. While we seek sup -plies of grace, Thro' the dear Re - deem - er's name; Show thy reo - on - cil - - ing face —
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3. Here we come thy name to praise ; Let us feel thy pres - ence near ; May thy glo - ry meet our eyes,
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way our sin and shame ;
From our world - ly cares set free, May we rest this day in thee.
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Here af - ford us. Lord, a taste, Of thine ev - er - last - ing rest.
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J^y FREDERICKSBURG. 7s.
1. Lord of bosts,how lovely, fair.Ev'n on earth, thy temples are! Here thy wait - ing peo-plesee Much of heaven, and much of thee.
2. From thy gracious presence flows Bliss that softens all our woes ; While thy Spir - it's ho - ly fire Warms our hearts with pure de - sire.
3. Here, we supplicate thy throne; Here, thy pardoning grace is known; Here, we learn thy righteous ways, Taste thy love and sin? thy praise.
7s
PLEYEL'S HYMN. 7s.
1. Children of the heavenly King As ye journey, sweetly sing ; Sing your Saviour's wor - thy praise, Glorious in his worts and ways.
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2. Te are travelling home to God, In the way the fathers trod; Tbey are hap- py now, and ye, Soon their hap- pi - ness shall see.
■ 3. Shout.ye lit -tie flock, and blest; You on Je - sus' throne shall rest : There your seat is now, prepared, There your kingdom and re -ward.
ANCOSTIA. 7s,
Q. OREOQ J».
Alexiudria. Vu
167
1. Hasten Lor J, the glorious time,When,bencath Mes-siah's sway, Eve-ry na-tion, cve-ry clime, Shall the gos - pel call o-bcv, Shall the gospel call o -bev.
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% Mightiest kings his powershall own, Heathen tribes his name adore; Satan and his host o'erthrown.Bound in chains, shall hurt no more, Bound in chains,shall hurt no more.
3. Then shall wars and tumult cease, Then be banished grief and pain; Righteousness, and joy and peace, Undisturbed shall ev - er reign, Undis-tarbed shall ever reign.
"^ --SH % = T = 2 ~^ il S* 1 I 66 Si IS
POTOMAC. 7s.
» -3-g-».
1. Who, 0 Lord, when life is o'er, Shall to heaven's blest mansions soar? Who, an ev-er wel - come guest, In thy ho -ly place shall rest?
2. He, whose heart thy lore has warmed, He, whose will to thee conformed, Bid9 his life un - snl - lied run; He, whose words and tho'ts are one
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3. He. who shuns the sinner's mad, Lov -in» those who love their God ; Who, with hope, and faith un-feigaed, Treads the path by thee ordained.
4
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t H. FROST
i(58 TILLINGHAST. 7s.
1. '-Give us room, that we may dwell," Zion's children cry a - loud: See their numbers — how they swell ! How they gath-er like a cloud!
2. Oh how bright the morning seems ! Brighter from so dark a night : Zi - on is like one that dreams, Filled with wonder and de - lio-ht.
3. Lo ! thy sun goes down no more, God hiin-self will be thy light : All that caused thee grief be - fore, Buried lies in end - less night.
7 «
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4
£J1
VAN CAMPEN.
7s,
E. H. FKOST.
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1. Thou that dost my life pro - long, Kindly aid my morning song; Thankful from my couch I rise, To the God that rules the skies.
2. Thou didst hear my evening cry ; Thy pre - serv - ing hand was nigh ; Peaceful slumbers thou hast shed, Grateful to my wea - ry head.
3. Thou hast kept me thro' the night j'Twasthy hand restored the light : Lord, thy mer - cies still are new, Plcntenus as the morning dew.
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>l ' 4 4 4
DURELL. 7s.
169
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1. Praise to God ! im • mor - tal praise, For the joys that crowns our days; Bounteous Source of eve - ry joy, Let thy praise our tongues employ ;
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2 These, to that dear Source we owe Whence our sweetest comforts flow ; These, thro' all my hap - py days, Claim my cheerful son «s of praise ■
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All that spring, with bounteous hand, Scat - ters o'er the smil-ing, land ; All that lib-eral autumn pours From her rich, o'erflowing stores,—
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Lord, to thee my soul should raise Grateful, nev - er - end-ing praise ; And, when eve-ry blessi g's flown, Love thee for thy-self a - lone.
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6 6 J 7
170
BURKE. 7s. Double.
Arranged by A. N. JOHNSON.
Allrsr
. " Yvjde,ye heavenly gates ,unfi;-M, Closed no more by death and sin; Lo ! the conquering Lord behold ! Let the King of glo - ry In:" Hark,th' angelic host* inquire, '* Who is he.th1 al-
2. " De,whoM powerful arm alone, On hla foes de • ittue-tion hurled ; He, who hath the victory won, He, who saved a ra - lned world : He who God's pun law
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fulfilled, J*.* jus, the In •
SLSL.
3. " Who shall to this blest abode Follow in the Saviour's train !" " They who In his cleansing blood Wash a - way each guil - ty stain : They, whose dally ao - tions prove Steadfast uutb.and
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Anilimlr.
mighty King?" Ilnrk.-.. a • gain, the answering choir Thus in strains of triumph sing: Hark again.the answering choir Thus in strains of triumph sing.
camate Word; He, whose truth with blood was scaled; He is heaven's all glorious Lord ;"He,whose truth with blood was sealed; He is heaven's all-glorious Lord.
ho - ly fear, Fcr - - vent zeal, and greate-ful love; Tbey shall dwell forever here;" Fervcntzeal, and grateful love; They shall dwell for -ev-er here.
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QEBHARDT.
7s.
171
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1. Children of the heavenly king, As ye journey, sweetly sing ; Sing your Saviour's worthy praise,
Glorious in his works and ways, Glorious
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2. Ye are travelling home to God, In the way the fathers trod ; They are hap - py now, and ye
Soon their happiness shall see, Soon their
t - tie flock, and hlest ; You on
3. Shout, ye lit - tie flock, and hlest ; You on Jesus' throne shall rest ; There your seat is now prepared — There your kingdom and roward, There your
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kingdom and reward.
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BENTZ.
Chorus*
7s.
"2
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ROSSINI.
Cbornn.
5&±==:
y fair, Ev'n on earth, thy temples are Here thy waiting people see, Here thy waiting people see, Much of heaven, and much of thee.
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2. From thy grwiious presence flows Bliss that softens all our woes ; While thy Spirit's holy fire, While thy Spirit's ho - ly fire Warms our hearts with pnre desire.
3. Here,we supplicate thy throne; Here,thy pardoning grace is known; Hero we learn thy righteous ways,Here we learn thy righteous ways,Taste thy lore and sing thy praise
172
NUREMBTJRG.
7s.
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1- Praise to God 1 im - mor - tal praise. For the love that crowns oar days ; Bounteous Source of eve - ry joy, Let thy praise our tongues em - plov.
2. All that spring, with bounteous hand Scatters o'er the smil-ing land; All that lib - eral autumn pours Prom her rich, o'er - flow-ing stores, —
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8. These, to that dear Source we owe Whence our sweet-est comforts flow ; Tfiese, thro' all my hap - py days, Claim my cheer- fill songs of praise.
6 | 6 6 Jg
6 5
47
WILMOT. 7s.
Hit
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1. Lo ! the Lord Je - ho - vah liv - eth, He's my rock, I
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bless his name ; He, my God, sal - va - tion giv- eth; All ye lands, ex - alt his fame.
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2. God, Mes - si - ah's cause maintaln-Ing, Shall his righteous throne ex - tend : O'er the world the Sa - viour reigning, E irth shall at his footstool bend.
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8. O'er his en - f - mies ex - alt - ed, Great Re-deem-er ! — see him rise ! Tho* by powers of hell as - sault - ed, God supports him to the skies.
6 5 6 5
47 43
6 5 6 5
47 43
WILHELMINA.
Finn.
8s & 7s.
A N. JOHNSON. 1 ( ■)
D. C.
1. One there is, a-bove all oth - ers, Well de-serves the name of Friend ;) Which of all our friends.to save us, Could.or would have shed his blood?
His is love beyond a brother's, Costly — free — and knows no end ; J
But this Saviour died to have us Re - con - cijed in him to God.
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2. When he lived on earth abased. Friend of sinners was his name ; I Oh, for grace our hearts to soften ! Teach us, Lord, at length to love ;
Now, a - bove all glo - ry raised, He re - joic - es in the same. (
We, a - las ! for - get too of - ten, What a Friend we have a - bove.
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4 — - 4 o 5
VERILIUS. 8, 7 & 4.
A. N. JOHNSON.
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es ! we Crust t&e day is Dressing ; Joyiui times are near at Dana ; (
God — the mighty God, is speaking By his word, in every land ; ) When he chooses, Darkness flies at his command, When he chooses, Darkness flies at his command. Darkness flies at his command.
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2. "Whilf the foe becomes more daring, While he enters like a flood ; J * *
God, the Saviour is preparing Means to spread his truth abroad ; J Every language Soon shall tell the love of God, Every language Soon shall tell the love of God, Soon shall tell the love of God
8. Oh : 'tis pleasant — 'tis thriving to our hearts to hear each day, )
Joyful news from far arriving, How the gospel wins its way ; J Those enlight'ning
Oh : 'tis pleasant — 'tis driving to our hearts to hear each day, ]
Joyful news from far arriving, How the gospel wins its way ; f Those enlight'ning. Who in death and darkness lay,Those enlight'ning, Who in death and darkness lay, Who in death and darkness lay.
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174
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M.ONOCACY.
1. Hark ! what mean those ho - ly voices, Sweetly sounding through the skies? Lo ! th'angel • ic host re - joio - es ; Heavenly hal - le • lu-jahsrise;
2. Peace on earth — good-will from heaven, Reaching far as man is found." " Souls redeemed, and sins for-giv-en," Loud our golden harps shall sound;
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Hear them tell the wondrous story, Hear them chant in hymns of joy, ' Glory in the high - est — glory ! Glory be to God most high.
Christ is born, the great Anointed ; Heaven and earth his prais-es sing ! Oh receive whom God appointed, For your Prophet, Priest.and King.
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CORNELL. 8s & 7s. 6 lines
Furnished ty i n. W1LLCOX.
17o
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32
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1. Hark, ten thou-sand harps and voi - ces, Sound the note of p-aise a-bove;)
Je - sus reigns, and heaven re-joi - ces, Je - sus reigns the God of love;) See, he sits on yon-der throne, Je-sus rules the world a - lone.
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2 Je - sus, haij ! whose glo - ry brightens All a-bove, and gives it worth ; )
Lord of life — thy smile en-ligbt-ens, Cheers,and charms thy saints on earth :{ When we think of love like thine, Lord, we own it love di-vine.
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MEYER. 8s & 7s.
Arranged from GLUCK.
B7 J. H. WILLCOX.
1. Glorious things of thee are spoken, Zi-on, ci-ty ofourGod; He, whose word can ne'er be broken, Chose thee for his own a-bode, Chose thee for his own a-bode.
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2. Lord, thy church is still thy dwelling-, Still is precious in thy sight; Ju-dah's temple far ex-cell-ing, Beaming with the gospel's light, Beaming with the cospel's light.
3. On the Rock of A-ges founded, What can shake her sure repose? With sal - vation's wall surrounded,She can smile at all her foes, She can smile at all her foes.
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176
SICILY. 8s & 7s.
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1. Saviour, source of every blessing, Tune hij heart to grateful lays ; Streams of mercy, nev - er ceasing, Call for ceaselesa songs of praise.
2. Teach me some melodious measure, Sung by raptured saints above ; Fill my soul with sa - cred pleasure, While I sing re - deem-ing love.
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3. Thou didst seek me when a stranger, Wandering from the fold of God ; Thou, to save my soul from danger. Didst re - deem me with thy blood.
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GREENVILLE.
*l S8 85 e « S 87
8s & 7s.
Fioe.
1. Love di - vine, all love ex - eel - ing ! Joy of heaven, to earth come down: )
Fix in us thy humble dwell-in;*, AU thy faithful mer - cies crown: [ Je- sus! thou art all compassion, Pure, unbounded love thou art;
s - it us with thy sa! - va - tion. En - ter eve - ry tremb - ling heart !
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2. Come ! al - mighty to de - Iiv - er, Let us all thy life re - ceive ! )
Sud - den - ly re - turn — and nev - er, Nev - er more thy tem - pies leave ! \ Thee we would be always blessing, Serve thee as thy hosts above ;
Pray, and ptiise thee without ceas - ing, Glo - ry in thy pre - cious love.
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BETHLEHEM. 8s & 7s.
177
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1. Hark! what mean those bo- ly voi-ces, Sweetly sounding thro' the skies'? Lo ! th'an - gel -io host re - joic - es ; Heavenly hal - le - In - jahs rise.
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3. Peace on earth, good will from heav-cn, Reaching far as man is found, Souls redeem'd.and sins for - giv-en, Loud our gold-en harps shall sound.
5. Haste, ye mor - tals, to a - dore him; Learn his name.and taste his joy? Till in heaven ye sing be - fore hirn, Glo - ry be to God most high.
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2. Hear them tell the wondrous sto - ry,Hear them chant in hymns of joy, Glo-ry in the high-est, glo - ry ! Glory be to God most high.
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4. Christ is born, the great A-noinfc-ed ; Heav'n and earth his praises sing ! Oh re-ceive whom God ap-point - ed, For jour Prophe^PriesMnd King.
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178
BLESSING.
8s & 7s.
1 . With my substance I will honor My Redeemer and my Lord ;
Were ten thousand worlds my manor, (Omit ) All were nothing to his word. While the heralds of* Sal - va-tion, Ilis abounding grace proclaim.
Let his friends, of every station, (Omit ) Gladly join to spread his fame.
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4 6 6 6
3 4
PETERSBURG. 8s, 7s & 4s.
A. N. JOHNSON.
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. In thy name, O Lord, assembling, We, thy people, now draw near; Teach us to re -joice with trembling; Speak, and let thy servants hear —
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'. While our days on earth are lengthened, Let us give them, Lord, to thee: Cheered by hope — and dai-ly strengthened.We would run, nor wea - ry be,
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3. Therein worship, pur * er, sweeter, All thy peo- pie shall a-dore; Tast - ing of en - joyment greater Than they could conceive be - fore ;
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Hear with meekness, Hear thy word with god - ly fear.
BLANFORD. 8s, 7s &. is. , „ .,_ 179
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Till thy glo - ry With - out clouds in heaven we see
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1. Guide me, O thou great Je - ho - vah,
I am week— but thou art migh-tyj
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2. 0 - pen now the crys - tial feun-tain,
Let the fie - ry, clou - dy pil - lar
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) i Hold me with thy powerful hand : Bread of heav-en, feed me till I want no more.
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EIAYTOWN. 8s, 7s & 4s.
■iriUN MASON
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jy griefs be turned to gladness; Bid thy reetlese fears be gone; Look to Jesus, Look to Jesuj, and rejoice in his dear name.
1. O my noul.wuat means this cadness? When-fore art thou thus cast down? Let thy griefs be turned to gladness; Bid thy reetlese fears be gone; Look to Jesus, Look to Jeeus, and rejoice in his dear name.
2. What tho' Satan's sti ji/g temptations Tex and grieTe thee day by day, And thy sinful inclinations Often fill thee with dismay TThou pholt cnnquer,Thou shall conquer Through the lamb's redeeming blood.
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3. Though ten thousand ills beset thee, From without and from within, Jesus paith he'll ne'er forget thee, But will save from hell and sin ; lie is faithful, lie is faithful To per -form his graci"u* word.
LEVONIA. 8s, 7s & 4s.
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Yes ! we trust the day is breaking ; Joy • ful news is near at hand; )
God, the mighty God is speaking By his word in eve - ry land ; $ When he chooses, Darkness flies at his command.
2. While the foe becomes more dar - ing, While he enters like a flood, }
God, the Saviour, is pre - par - ing Means to spread his truth a broad; J Eve - ry language Soon shall tell the love of God.
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8s, 7 & 4.
ROSSINI. 1 O 1
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1. Guide me, 0 thou great Je - ho - vah, Pil - grim through this bar - rcn land: lam weak — but thou art mighty;
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Land me safe on Canaan's side; Song of prais -es I will ev
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AMERICA. Gs & 4s.
1. My country! tis of thee, Sweet land of lib-cr-ty, Of thee [ sing ;Land,wherc my fathers died ;Land of the pilgrim's pride;From ev'ry mountain side, Let frejiom ring.
2. My native country I thee— Land of the noble free, Thy name I love; I love thy rocks and rills, Thy woods and templed hills; My heart with rapture thrills, Like that above
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Let music swell the breeze,And ring from all the trees Sweet freedom's song;Lct mortal tongues awake, Let all that breathe partake.Let rocks their silence break,Tbe sound prolong
Our fa-ther's God! to thee,Author of lib - er - tyl To thee we sing; Long may our land be bright,With freedom's holy light.Protect us by thy migbt.Great Godfour King.
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155 IS
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1. Come, thou al-mighty King, Help ns thy name to sing, Help us to praise! Father all glo-ri-ous, O'er all vie - to - rious, Come, and reign o-ver us, Ancient of Days.
2. Jc-sus, our Lord, a - rise, Scat-ter our en • e-mies, Now make them faHILet thine almighty aid Our sure defence be made,Our souls on thee be stay'd.Lord hear our call!
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3 Come, thou in-car-natc Word, Gird on thy migh-ty sword ;Our pray'r attend! Come, and thy people bless, Come, give thy word success^ Spirit of holiness, On us aeseend.
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SIENNA
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183
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1. When shall we meet a - gain? Meet ne'er to sev - er? When will Peace wreathe her chain Round us forev - er? Our hearts will ne'er repose Safe from each blast that blows.
In this dark vale of woes — Nev- er! no. Nev - er!
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2. When shall love free - ly flow Pure as life's riv - er? When shall sweet friendship glow Changeless forev - er Where joys celestial thrill, Where bliss each heart shall fill,
And fears of parting chill Nev - er! no, Nev - er!
3. Up to that world of light, Take us, dear Sav - iour; May we all there u - nite, Hap - py for - ev - er, Where kindred spirits dwell, There may our music swell,
A.nd time our joys dis-pel Nev-er! no, Nev-er!
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Arranged by W. O LINTHICUM.
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VT. en you get home remember me, Soldier of the Ju-bi-lee, Soldier of the cross, I'm on my way to Zi - on, Soldier of the Ju-bi-lee, I'm on my way to Zi - on, Soldier of the crow.
When you get home remember me, (Omit )
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CATHCART.
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1. Hark ! bow the Gos-pel trumpet sounds, Thro' all the world the e- cho bounds, And Je - sua by re - deeming blood Is bring-ing sin-ners back to God,
2. Fight on, ye conquering souls, fight on, And when the conquest ye have won, Then palms of vie - tory you shall bear, And in his king-dom have a space,
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8. There we shall in full cho-rus join, With saints and an-gels all com-bine, To sing of his re - deeming love When rolling years shall cease to move;
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And guides them safe - ly by his word To end - less day.
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1. Come, thou AI - migh-ty King, Help us thy name to sing,
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Help us to praise ! - Fa - ther all glo- ri - ous, O'er all vie - to - ri - ous, Come and reign o - ver us
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)ur prayer at - tend ! Come, and thy peo-ple bless, Come, give thy word snc - cess ; Spir - it of ho- li-ness On us de - scend.
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CHARLES. 8s, 7s & 3s.
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1. Star of peace, to wand'rers wea - ry Give the beams that smile on me, Cheer the pi-lot's vi - sion drea - ry, Far at sea, Far at sea.
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2. Star of hope gleam on the bil- low, Bless the soul that sighs for thee ; Bless the sail-or's lone-ly pil-low, Far at sea, Far at sea.
3. Star of faith, when winds are mock -ing All his prayers, he flies to thee, Save him tho' a bil-low's rock-ing Far at sea, Far at sea.
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WARE. 6s & 4s.
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WM. 8. TILDES.
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1. Let the still air rejoice, Be eye • ry youthful voice, Blended in one : While we re - new our strain, To him with joy a - gain Who sends the evening rain, And morning sun.
2. Bis hand in beau - ty gives Each flower and plant that Livee, Each sunny rill, Springs ! which our footsteps meet, Fountains ! our lips to greet, Waters' whose taste is sweet, On rock and hill.
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ach summer bird that sings, Drinks from dear nature's springs,Her ear-ly dew, And the r» - fresh-lng shower. Falls on each herb and flower, Giving it life and power, Fragrant and new.
So let euch faithful child. Drink of this fountain mild, From ear-ly youth. Then shall the song we raise. Be beard in future days, Ours be the pleasant ways, Of peaoe and truth.
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ATRES. 8s & 4s.
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) Who the day for toil hast given, For rest the night!
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1 Slumber sweet thy mercy send us, j
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1. All glo-ry to God in the sky, And peace on earth be re-stor-ed; O Je - sus, ex - alt - ed on high, Ap- pear our Om-ni - po-teut Lord.
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2. No hor-rid a- lar - um of war Shall break our e - ter-nal re - pose ; No sound of the bat -tie is there, Where Je-sus's spir-it o'er-flows.
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Who meanly in Beth-le - hem born,Did'st Btoop to re - deem a lost race, Once more to thy crea-tures re- turn, And reign in thy kingdom of grace.
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Appeas'dby thecharmsof thy grace.We all shall in am - i - ty join, And kind-Iy each oth - er em - brace, And loye with a pas-sion like thine.
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MISSIONARY HYMN. 7s & 6s.
I/5WEI.L MASOB
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1. From Greenland's icy mountains, From India's coral strand; Where Afric's sunny fountains Roll down their golden sand, From many an ancient riv - er,
2. What though the spicy breez - es, Blow soft o'er Ceylon's isle, Tho' every prospect pleas-es, And on-ly man is vile; In vain, with lavish kindness,
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From many a palmy plain, They call us to de - liv - er Their land from error's chain.
The gifts of God are strown, The heathen in his blindness, Bows down to wood and stone.
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BEREAVEMENT. 6s & 8s.
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Pn*toriiIr.
1. As a shepherd gently leads, Wand'ring flocks to verdant meads; Where winding riv-ers soft and slow, A - midst the flow' - ry landscape flow.
2. So the guardian of my soul, Does my wandering feet control : He leads me thro' the dark-some maze, And brings me back to vir-tue's ways.
3. When the drea-ry vale I tread, By the shades of death o'erspread; My steadfast heart no ill shall fear, For thou, O God, art with me still.
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From the Rombsro Coll, by permission.
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1. There is a calm for those who weep, A rest for wea - ry pil - grims found; They softly lie, and sweetly sleep, Low in the ground.
The storm that sweeps the win - try sky, No more dis - turbs their deep re pose, Than summer evening's lat- est sigh, That shuts the rose
3. There, traveller in the vale of tears, To realms of ev - er - last - ing light, Thro' time's dark wilderness of years, Pursue thy flight.
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1 Blow ye the trum - pet, blow, The glad - ly sol - emn sound, Let all the na - tions know. To earth's re - uiot - est bound,
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3. Ex - tol the Lamb of God, The all a - tone - ing Lamb, Re - demp-tion in his blood, Throughout the world pro-claim
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The year of Ju - bi - lee is come, Re - turn ye ran - somed sin-ners home, Re - turn ye ran-somed sin - ners home.
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1. The Lord is great ! ye hosts of heaven, a - dore him,
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Cold on his cradle the dew-drops are shining,
Low lies his head with the beasts of the stall;
Angels adore him, in slumber reclining,
Maker, and Monarch, and Saviour of alL
Say, shall we yield him, in costly devotion,
Odors of Edom, and offerings divine?
Gems of the mountain, and pearls of the ocean,
Myrrh from the forest, or gold from the mine ?
Vainly we offer each ample oblation,
Vainly with gifts would his favors secure ;
Richer by far is the heart's adoration :
Dearer to God are the prayers of the poor
MARLBORO.
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1. 0 Praise ye the Lord !
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pre - pare your glad voice, His praiuo in the great as - sem - bly to sing ;
2. Let them his great name de - vout - ly a - dore ;
3. With glo - ry a - domed, his peo - pie shall sing
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In , load swell - ing strains his prais - es ex - press,
To God, who de - fence and plen - ty snp - plies ;
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Oh ! praise ye the Lord.prepare a new song, And let all his saints in full concert join ; With voices u - nited, the anthem prolong, And show forth his praises in music divine.
BURLINGTON. 12s, lis & 8s.
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2. Ride on in thy greatness, thou conquering Saviour; Let thousands of thousands submit to thy reign; Acknowledge thy goodness,entreat for thy favor, And follow thy glorious train.
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3. Then loud shall ascend from each sanutificdnation.The voice of thanksgivlng.the chorus of praise; And heav'n shall reecho the song of sal ration, In rich and rnelo dl - ons lays.
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MILGROVE. 7s & 6s.
From the Pom-land Collection, Dy 1 <i"
DAVID PAlNK. 1 O i
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1. Praise the Lord who reigns a-bove, And keeps his courts be - low ; Praise the ho - ly God of love, And all his greatness show.
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Praise him for his no - ble deeds, Praise him for bis matchless power ; Him, from whom all good pro - ceeds, Let heaven and earth a - dore.
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1. My gracious Re - deem-er I love; His prais-es a -loud I'll proclaim; And join, with the ar - mies a-bove, To shout his a - dor - a - ble name.
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2. He free - ly re-deemed with his blood My soul from the con - fines of hell ; To live on the smiles of my God, And in his sweet presence to dwell.
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ANTHEM. « Mighty Jehovah
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CHORUS.
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ANTHEM. " .Magnify the Gud of Israel."
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Mag-ni-fy, Glo - ri - fy, Mag-ni-fy the God of ls-ra-el, Praise hiai, Fiaise him «v - er - more, Mag-ni-fy. Glo-ri-fy,
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Mag - ni - fy the God of Is - ra - el, Ex - alt and Mag - ni - fy him ev - er - more. For this God is our God for - ev - er and
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ANTHEM. " Sing, 0 heavens."
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Sing, 0 heavens, and be joy - ful, 0 earth, And break forth in - to sing-ing, U moun - tains, For the Lord hath com- fort -ed his peo-ple ;
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He will have mer - cy On his af - flict - ed.
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Joy and glad-nesa shaU be found therein.Thanksgivingand the voice of mel - o - dy; Joy and gladness shall be found therein, Joy and gladness shall be fou^t herein.
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ANTHEM. " Serve the Lord with joy and gladness."
A. N. JOHNSON.
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ANTHEM. " Make a joyful noise unto the Lord.'
Arranged by A. N. JOHNSON.
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ALTO SOLO.
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SOPRANO SOLO.
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Make a joy - ful noise un - to the Lord, Make a joy-ful noise un - to the Lord, Ex - alt the Lord our God, and worship at his ho - ly hill ;
Make a joy - ful noise un - to the Lord, Make a joy-ful noise un • to the Lord, Ex - alt the Lord our God, and worship at his ho - ly hill ;
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Oh serve the Lord.O serve the Lord with glad - ness,
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Be thankful un-to him and bless his name.
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2 1 6 ANTHEM. " The earth shall be full of the knowledge of the Lord."
Slow itnl rilniinct.
The earth shall be fall of the knowledge of the Lorilfas the waters cover the sea; And his name ^all be known from the rising of the son, unto the going down of the same.
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Blessed is the peo-ple that know the joyful sound; Blessed Is the peo-ple that know the joyful sound; They shall ev-er
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wait in the light of his countenance, and in his name shall they rejoice:
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Bless-ed is the peo - pie that know the joy-ful sound, Bless-ed is the peo - pie that know the joy - ful sound.
A - men,
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ANTHEM. " Come to the house of Prayer."
JOUfi MASOlt.
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Come, Come, Come to the house, to the house of prayer the house of prayer,
Come weary wand'rer, Come wearj' wand'
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The God of peace will meet thee there,wi!l meet thee there,will meet thee there, He makes this house his
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Come, the God of peace will meet thee there Come, the God of peace will meet thee there,Come, Come, Come to the house of prayer, Come, Come, Come.
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220
ANTHEM.
"We Draise thee. 0 I-3'
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We praise thee, 0 Lord, We acknowledge Thee to be the Lord, All the earth doth wor - ship Thee, the Fa - ther ev - er - last -
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cherubim and seraphim, con- tin - ually do cry, To thee cherubim, cherubim and seraphim, con-tin - u - al-ly do cry, Ho - ly, Ho - ly, Ho - ly,
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Lord God of Sabaotn, Heaven and earth are full of thy glory, Heaven and earth are full of thy glory, Heaven and earth are full of thy glo - ry, A - men, A - men.
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ANTHEM.
The Lord will comfort Zion."
liufriboi to MR. J Ij. CLUtJB. Washington.
11/ hu friend. J. (1IUGU. J a.
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The Lord
will
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ANTHEM. "Awake! put on thy Strength.'
J ORilOO. JK.
A - wake ! A - wake I put on toy strength, O Zi - on, Put on thy beautiful garments, O Je - ru - saiem, O Je rusalem, put
A - wake ! A - wake ! put on thy strength, O Zi - on, Put on thy beautiful garments, O Je - ru - salem, O Je - pi • sa-lem,
A -wake! A - wake ! put on thy strength, O Zi - on, Put on thy beautiful garments, O Je - ru - salein, O Je - rusalem, put
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O Je - ru - sa-lem, A- rise, A -rise and shine, For thy light is come,
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ANTHEM. " 0 be ioyi'ul in the Lord."
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0 be joy-ful, O be joy-ful, O be joy-ful in the Lord, O be joyful in the Lord, be joyful in the LonLall ye lands, all ye lands,
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Serve the Lord with gladness.the Lord with gladness, and come before his presence, his presence with a song,
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TENOR SOLO.
Be ye sure that the Lord he is God, It is be that hath made us, and not we ourselves
BASE SOLO.
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We are his people, we are his people, we are his people, and the sheep of his pasture, and the sheep of his pasture ;
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ANTHEM
" On the breeze of evening stealing."
L. O EMKRSOX.
OrgaDlst and Director of Music, at Bulflucb St cnurcn.
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2. Oh how sweet is that devotion, When the tho'ts are fixed above, And man kneels in pure devotion, To snp-pli-cate
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0 let the saints be joy - fill,
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Rejoice, Rejoice, Sing aloud with the timbrel and harp. Glo - ri-fy the God of Is - ra-el, Ex - alt
SOPRANO $i AI.TO SOLO.
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fy him, Praise him with the sound of the trumpet,with trumpet and harp.Praise the Lord, Exalt and magnify his name, Exalt ami magni-fy his name.
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Praise him with the sound of the trurapet.witli trumpet and harp.Praise the Lord.Exalt and magnify his name, Exalt and magni-fy his name.
BASE CHORUS.
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C r»oni«. Allegro.
ANTHEM. " Praise the Lord."
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Arranged from DE M0M1.
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will to men, peace on earth, good will and peace to men, Praise the Lord,Praise the Lord,Praise him in the highest, Glo - ry be to God on high,
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will to men, peace on earth, good will and peace to men, Praise the Lord,Praise the Lord,Praise him in the highest, Glo - ry be to God on high,
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240
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HYMN. "Lord dismiss us with thy blessing."
V
KREISSMAS*
1. Lord, dis-miss us with thy bless-ing, Fill our hearts with joy and peace ! Let us each thy love pos-sess-ing,
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Glad the sum-roons to o - bey, May we ev - er, May we ev - er Reign with Christ in end - less day.
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[31]
212
GEO. J. WEBB.
HYMN. "But who shall see the glorious day V
1. But who shall see the glorious day, When thronM on Zion's brow, The Lord shall rend that veil u-way. Which blinds the nations now,
■J.. Then Ju.iab, thou no more shall mourn, Beneath the heathen's chain, Thy days of splendor shall re - turn, And all be new a - gain,
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HYMN. " To Jesus our exaited Lord."
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SENTENCE. Jlessed are the pure in heart.
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SENTENCE. '• Hosanna in the highest." 01I0. ,. „„„ 249
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SENTENCE. " I heard a voice from heaven !
CHORUS.
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251
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SENTENCE. " Be merciful unto me, 0 God."
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SENTENCE. " Our Father who art in W mi."
K. BKOCE.
• Orttantat at Bnwdoiu St. Church. Boston.
Our Fa • ther who art in heav'n, Hallow- ed be thy name ; Thy Kingdom come, thy will be done on earth as it is in heav'n,
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PSALMS.
259
In the following Psalms, the words of the entire psalm are. employed, taken literally from the Bihle, and 1 lie music is made entirely
subordinate to the words. To sing them properly, the singer must make the articulation of the words, as taught in the chapter which
commences on the twenty-third page, and the expression of the words and music as taught in the department which commences on
the forty-fourth page, their principal aim. If they are not sung with these instructions carefully observed they will altogether fail of
producing the effect for which they are designed. The circumstances which should influence the leader in determining what varieties
of expression he will have his choir use are described on the forty-eighth page. The following will form a good variety for pages 259
and 260, under some circumstances, and will serve as an illustration of the varied expression with which these psalms must be sung to
produce the effect for which they are designed. The first line to commence m, with the last three notes dim. The second line to
commence pp and cres throughout, with dim at the end. These two lines to be sung with the Half Modulation of the Voice, with a
slight tinge of the Suppressed, as explained on page forty-six. The third line to commence m. and cres, with the full modulation of the
voice to the fourth note, then dim to the end, gradually changing the modulation to the Half Voice. The third measure on page 260 to
commence m and cres to the first note of the sixth measure of th page, then dim. The eighth, ninth, tenth, eleventh, twelfth, and first
half of the thirteenth measures to be m teimlo. The last half of the thirteenth measure, the fourteenth measure, and the first half of
the fifteenth measure, to be^". The next five notes to be dim. The last line on the page to commence- m and cres. Aj\ of the 260th
page, except the first two measures, to be sung with the Full Modulation of the Voice, with the 2d line Accel, and the. 3d Rilard, &c.
PSALM XXIII. A N.JOHNSON
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not want, He maketh me to lie down in green pastures, He leadeth me be - side the
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265
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A. B. JOHNSON.
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great towards us, and the truth of the Lord en - dur - eth for ev - er, Praise ye the Lord, all ye nations, Praise ye the
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I will lift up mine eyes un - to the hills, from wheuce cometh my help, my help cometh from the Lord, which made heaven and earth ; He
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will not suf-fer thy foot to be moved, He that keepeth thee will not slumber, Behold he that keepeth Is - ra -el, shall neither slumber nm
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A. N. JOItNSOS.
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Praise hi in ae - cord ing to his ' ex - eel-lent greatness, Praise him ac-cord-ing to his ex - eel-lent greatness, Praise him with the sound,
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"THE MORNING OF FREEDOM."
No. 1.
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Word* br J. C. JOHNSON.
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Hail, glorious Lib-er-ty I Here thy fair home shall be,Dwell with us,bless us, Till time's no more ;
Long shall the day endure, Day nev-er
Hail, glorious Lib - cr - ty ! Here thy (air home shall be, Dwell with us.bless us,Till time's no more,
Hail, glorious Ljji - cr -tv! Here ihv fair homo shall be, Dwell with ns, bless us,TilI time's no more;
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Long shall the day endure,
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Long shine the cloudless sun, E'er shine thy sun, In the cloudless heav'ns,Rich glory blending, Day never ending. E'er shine tby sun
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Day never ending, Long shine the cloudless sun, thy sun, Shine in the cloudless heav'ns,Kich glory blending, Day never ending, shine thy sun,
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E'er shine thy sun,
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ending, Long shine the cloudless sun, E'er shine thy sun.In the cloudless heav'ns.Rich glory blending, Day never ending.
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Hail day of freedom,
Hail glorious sun, Ne'er fade thy brightness,
Hail, glorious sun.
Now from the
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Hail day of freedom, Hail glorious sun,
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night of years, Dark night of sorrrow,
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No. 2. SOPRANO SOLO.
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TEMPO DI ViL.SE-
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What scenes sur - prise my wond'ring eyes, While gloriously,
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gloriously, Pro - phet-ic years be - fore me
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rise, all silently, silently, A fu - ture bright re - veals the light Whieh streams from Heaven's e - ter - nal throne. A
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god - like race the land pos - sess, The land we call our own — . Now o'er yon throne the an - gels burn o'er praising,
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prais - -
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ing God, our
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na - tion's God, The King of kings, The King of kings,
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TENOR SOLO
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Ah, how fa
vor'd is the na
tion That hath heav'n to watch al -way, that bath., heav'n
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BOPRAKO SOL.O.
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Ah, how fa
Tor'd is the na
tion Thathalh
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Aye, that hath heav'n to watch al - way, from ev - 'ry ill to de - fend.
Ah, how fa
vor'd is the na
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heav'n to watch al - way, from ev- ' ry ill,
from ev - 'ry ill to de - fend, howfavor'dis the na - tion
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heav'n to watch al ■
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ill de - fend, how favor'd is the na - tion,
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Thathath heav'n al - - way
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vor'd, how fa - vor'd is the na-tion with heav'n al - - -
fa - vor'd, how fa
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Ah, how
fa - vor'd, how fa
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the na -tion with heav'n al -------- way, al -way to de-fend.
Ah, how
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- vor'd, is the na - tion, the na-tion that heav'p al-way doth. .. al - way, doth de - fend, how fa - -
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the na - tion, the na-tion that heav'n al - way, .
doth M - way, doth de - fend, how fa
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SOPRANO SOLO.
20"
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Now a - gain the
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brightens
ver un - born
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TENOR SOLO,
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ne'er our land
bngbt - ens, Uh may ne er its trust be - tray - ing, ne er our
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fail to prize thee, Lib - er -
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SOPRANO SOLO.
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TENOR SOLO.
SOPRANO SOLO.
Hail ! fair Lib - er - ty.
O, ne'er be -traying,
Ours
^
for - ev - er.
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206
TtfNOR SOI.O.
U may ne'er this beauteous land, its trust be-tmy-Lng, Cease to prize, to prine
and blete thee.
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SOPRANO SOLO.
TENOR SOI.O.
SOPRANO SOLO.
ii«iii3l"lEISSfiigig3iHiiiiiiiiiiii^:Sfig
Then will God no more befriend us, Then our glo - ry fade a - way,
Heav'nly pow'rs no im-re de - fend us.
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TENOR SOLO.
Them
Klo - -
ry fade .
a - way,
fade .
a - way,
will fade a <
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207
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way,
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will fade a - way
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m glo - ry, un - to glo - ry, un - to glo - ry.
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and pow'r are now be - fore thee, now be -
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SOPRANO SOLO.
m
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thee,
Land, en - dure 'till time's no more, 'till time's no. .. . more.
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Here
shall
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ren - der,
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our hopes on heav'n are stay'd, AU our hopes on heav'n are stay'd, on heav'n are
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SOPRANO SOV.O.
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TENOR SOLO.
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Praise, with
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sipliillifeiiiiiilgilllisiiil
praise to God. Thus may it e v - - - er. ev - - - er be.
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praise to God
Thus may it e v - - - er, ev - - - er be, Thus may ... . it
Thus . may.... it ev - - - er be, Thus may it ev - - - er
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may it ev -
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ev - - er be, Thus our land be ev - er free.Thus our land be ev - er free, Thus our land be ev - er
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— ' < — ki~i — — i — gr.r yn^gii, i ^jlj-— yj. — ^il.j -yij: — ~z^---
ev - - er be, Thus our land be ev - er free.Thus our land be ev - er free, Thus our land be ev - er
ev - - er be, Thus our land be ev - er free.Thus our land be ev - er free, Thus our land be ev - er
r "&< =* — L-S 85 — 2 * -"■-• — S r-« * i-S— 8 r* » XT -^t-l — a- 3 — w-ta-J
301
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CHORUS. TE.NOR.
. *_:$: -«_»_ > » l8" »--. mm. m Thus while on heav'n firm we re - ly,
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Our name and fame shall nev - er
die.
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302
TK.VOn SOLO
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SOPRANO SOLO.
Loud in thy praise, 0 . . . . Lib - er - ty, Fair is thy home in the west ;
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r-*— .
r*-»-
Loud will we sing, and joy - ful - ly,
f^f-*— ?-ii»-* — b-^TJ-; — I — r4^F-rfri*-»^»4-*-»--*te^+» -«-rf»-«— ^»f»^->^-*-f»->-U--q:t--F— r-
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Chornn of Fenmtc Voices,
SOPRANO.
With thee for
^j^rnggj
er blest.
Loud swell the song, Loud swell the song,
ALTO.
Let
'ry age the
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Loud swell the song, Loud swell the soug,
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Let ev - 'ry age the
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303
SOPRANO .SOI.O.
notes pro - long.
iiiEii^^l^SgiiHigillgl
O hap - - py, hap
py na - tion,
5:1
Like Is - - rael's
m
notes pro - long.
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Like Is - rael's cho - sen race
The heav'n doth rich-ly bless.
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CIIORIS. SOPRANO find ALTO.
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TKNOR SOLO.
Let prai?e -js cend, For lie hath been our constant friend, our cou-stant friend.
CnORI'S. TENOR mid Bask,
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Then un - to God Let praise as - cend, Let praise as cend,
our constant friend.
SOPRANO Sll.ll.
They who died for God, and for
Him
JOR SOLO. - I "■ . i-
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TF.NOR SOLO
IS.
prais - ing e - ver-more,
In their hea - venly dwell - ing.
CHORDS. TENOR.
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lib - er - ty,
The an
gel's songs are swell
ing. Then un - to God, praise ev - er be,
CHORUS. ALTO.
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CHORES. SOPRANO.
For life anri
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For life and
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Then un - to God praise ev - er be,
For life and
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for thee, Lib - er - ty.
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Our on - ly Lord, our on - ly king,
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A I/TO, CHORUS.
and he a - lone
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and be a - lone
ehall be our king,
Oar on - ly Lord,
sop«:a*o solo.
SOPRANO, CHORUS.
Our on • ly Lord. . and king.
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BASE, CHORUS.
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Ouron-ly Lord and king.
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AI.TO SOLO.
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1. Oh Bay, in tbis blood.- pur-chased
2. Ah, thus will it ev - er - more
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Shall sweet peace and bright con-cord dwell e -
If the sons like the fa - thers u - ni -
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ted, Ev - 'ry bro - ther with bro
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night gath - ers dark - ly a - round?.
waves as our Lord ealm'd the sea. . . .
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re - sound with the songs of the free.
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thus,
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shall it be?
may it be,
Tell me, ye sons of the free.
Thus shall we ev - er be free.
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No. 5. CHORUS. "Behold now again."
TENOR CHORDS.
Be hold now a-gain The vi-sion ap-pear, Bright scenes of the fu-ture an - fold - ing Thro' hundreds of years; See, plainly appears Our banner, the blue sky a - dorn-ing.
BASE CHORUS. _ _ -•-
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Hark, hark, how it swells,Theglad sound of bells, From o-cean to o-ceanre - sound-ing; Har - monious a - rise The notes to the skies, E'er praising the Lord of the morn-ing.
ALTO CHORUS
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A I, TO (UORI'S.
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with plen - ty is blest, Pair ci - ties by thousands up - ris - ing. The land of the west with plen-ty is blest, Fair
In lands of the west,
SOPRANO CHORUS,
with plen-ty is blest, Fair ci - ties up- ris- ing, The land of the west with plen-ty 19 blest,
In lands of the west, fair ci - ties by thou - sands ris - ing, The land of the west wi
BASE CHORUS
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with plen-ty is blest,
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morn • ing ; The land of the west with plen-ty is blest,
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No. 6.
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Thus at morning at noon, and at eve •
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light of the fu-ture rc - veal - ing, See our nation from glory to glory, Thro' the years of long a - ges advance,
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Thus from glory a-ri-seth to
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glo - ry, While the years of long a - ges advance ;
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Lo, mild light from the sweet face of
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Lur - eth youth on to bon-or and du - ty,
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on to lovo,
to love and
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Sculptured
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And if anght on earth withstand us,
forms ofthe great and the noble, E'er the tho't of their greatness renew,
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And if aught on earth withstand us, daro to command us, Then our freeman.
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swift as-Gem - Ming, raise their banners, — If th' in -
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Furious-ly the battle raging,
Freemen only fight to conquer, gladly for their country,
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dying Every heart with zeal is glowing.tho' that heart's best blood is flowing ; Soon th' invading foes are flying,
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and anger beguiling ; Then no tho't of the contest re - main - in
And rcvonce on our foemen disdaining, Then our free and our bountitul
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nation, Showers blessings on ev' - ry land,
Then our free and our bountiful nation, Showers blessings on ev' - ry land;
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Pours her bounties far and wide, Bound her barques leap the waves of the ocean,
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joice in their glo -ry and pride
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111 SOPRANO SOLO.
5.1 SOI'RAXO SOI.O.
— T \r t \, »«<«-T — ^ , ^ « surnisu SOI.O.
How fair the view of peace-ful homes,Wbere love en - dears the hap - py hours. And there be
ours through
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ma-ny years, While Beauty crowneth Toil with flowers. When the day hath passed a-way
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in man-ly toil, in wea-ry
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VENITE.
MORMAUTOS
m
1. O couie, let us sing un - -
3. For the Lord is a
5. The sea is his,
7. For he is the
10. Glory be to the Father, and
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2. Let us conrc before his presence
4. In his hand are all the corners
6. O come, let us worship
8. O worship the Lord in the
9. For he cooieth, tor he comcth to- • ■ • <
11. As it was in the beginning) ib now, and
"F
s-
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with thanks
of the
and fall
beauty of
judge the
giving,
earth,
down,
holiness
earth,
er | shall be,
Q>
and show ourselves
and the strength of the -
and kneel be ------ ...
let the whole earth ■ ■
and with righteousness to judge the world
(and the
world
glad
hills
fore
stand
the
peo - pie
with - out
with
him
his
Lord our
awe of
wit). his
Ptvl \ .
m
psalms.
also.
Maker
him.
truth.
men.
JUBILATE DEO.
? BART EN STEIN
Alexandria, Va.
341
mm^\
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m
1. O be joyful in the Lord,
?-h '
all ye lands ; ( Serve the Lord with gladness, and come
\ before his pres - ence with a song.
si
iteHglill
3. ( O go yoar way into his gates with thanksgiving, and
I into
-G>-
his courts with praise ; Be thankful unto him,
.and speak good of his name
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5. Glory be to the Father, and . .
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2. Be ye sure that the Lord, ••..-.■. ... he is God ; ( It is he that hath made us, and not we
( ourselves, we are his people.and the sheep of his pasture.
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4. ¥or the Lord is gracious, his mercy is ev - er - lasting, And his truth endureth from gener - - - ation to gen - er - ation.
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6. As it was in the beginning, is now, and ev - er shall be, World with - out end, • A - men
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Note. For a Judilatk Deo arranged as an Anthem, see pa<;e 226.
342
GrLORIA IN EXCELSIS.
TRIPLE CnANT.
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^
1 . Glery be to
2. We praise thee, we bless tbee, we
9. For thou only
10. Thou only, O Christ, with the. .
God on
wor - ship
art
Ho - ly
high,
thee,
holy,
Ghost,
£<
3. 0 Lord God,
4. O Lord, the only begotten Son .
and on earth ,
we glorify thee, we give thanks to
thou only
art most high in the
~f=-
peace,
thee
art . . .
glory
good
for
of
±-
will towards
thy great
the
God the
^
men.
g'orv.
Lord.
Father,
Amen.
r=F:
m
heav'n
Je - -
sus
II
^p=>-
King
Fa
ther
I God the
0 Lord God, Lamb of I God, Son
al
of
the
PI
mighty.
Father.
S
m
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en
^
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5. Thtit takest away the
o. Thou that tiknst away the
7 . Thou that takest away the
8. Thou that sittest at the right hand of.
Jb
-^- -O
sins of the
sins of the
sins of the
God the
world,
world,
world,
Father,
~=y
have mercy ,
have mercy.
re - - -
have mercy
-+■
up - on
up - on
cuive our
up - on
prayer,
us.
I:
P
CANTATE DOMINO
343
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1. O gini? unto the
3. The tord declared
6. Show yourselTes joyful unto the Lord,
7. With trumpets
9. Let the floods clap their hands, and let
the hills be joyful together be -
11. Glory be to the Father, and
Lord,
his
all
also
fore
to
m
new
sal -
ye
and
the
the
song,
ration,
lands,
shawms.
Lord :
Son,
For he hath done
his righteousness hath he openly
sing, re --
O show yourselves joyful be - -
For he
and
T^r
mar - vel -
showed in the
joice, and
fore the
Cometh to
to the
lous ■•-...
sight of the
Rive
Lord
the
judge the
Ho - ly
things,
heathen,
thanks.
King.
earth.
Ghost
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ia.
With his own right hand and with his
He hath remembered his mercy and truth
toward the
Praise the Lord up--
Let the sea make a i oise, and all that
With righteousness shall he-
As it was in the beginning, is now, and- ■ • •
ho -
house
on
there
judge
ev -
of
the
- in
the
or
arm I Hath he
I (seen the sal ■
Israel, 1 And all the ends of the world have
harp, I Sing to the harp with a
is, | The round world and
world, | And the
shall be. | world
gotten
psalm
they
j>eo
with
him -
■ tion
of
that
- pie
- out
self
of
the
our
thanks - -
dwell there -
with
end. A -
victory.
Got
giving.
in.
equity
men.
LAUD ATE DOMINUM.
1. O Praise God
2. Praise hini for his
3. Praise him in the
4. Praise him in the
5. Praise him upon the
6. Let every thing that hath breath- • •
7. Glory be to the Father, and
8. As it was in the beginning, is now, and
in his
holiness,
no - ble
acts,
sound of the
trumpet,
cymbals and
dances,
well - tuned
cymbals.
praise the
Lord,
to the
Son,
ev - - er
shall be,
Praise him in the
Praise him according- • ■ •
Praise him up
Praise him up - ■
Praise him up ■
Let every thing that hath
and
world i
firm a -
to
on
on
on
breath ■
to
with -
nient
his
the
the
the
the
out
of
excel - ■
lute
strings
loud
praise
Ho -
end,
his
lent
and
and
the
A -
power.
greatness,
harp
pipe
cymbals.
Lord.
Ghost,
men.
BENEDIC ANIMA MEA.
1. Praise the Lord.
2. Praise the Lord, "-
Who forgive th
4. Who saveth thy
5. O praise the Lord, ye angels of his, ye that ex -
6. O praise the Lord, all- •
7. 0 rpeak good of the Lortt all ye works of hip, in all placeu of
8 Glory be to the Faihrr.and to fcb** Son.and to the
O my
O mv
all thy
life from de -
eel in
ye his
his do -
Ho - ly
Soul ;
Soul;
sins,
struction;
strength,
hosts ;
minion ;
Ghost ;
And all that is witbin me
And for
And healeth
And crowneth thee with
Ye that fulfil lii* cumin andiiien U,;md hearken unto the
Ye servants of
Praise thou the
As it was in the beginning, ia now/and ever snail !«■.
'.world
praise
his
get
not
mercy
arwl
voice
of
his
that
Lord-
with -
out
ho -
all
thine
lov -
his * * *
do
O
end,
his
my ;
A -I
name.
benefits.
firmnitifs.
kindness.
word.
pleasure
soul.
men.
DEUS MISEREATUR.
H. P0KCB1X
315
1
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£
£
3
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i . God be merciful unto us, and
2. That thy way may be known upon
3. Let the people praise thee, O
4. 0 let the nations re - joice and be
5. Let the people praise thee, O
6 Then shall the earth bring forth her
7. God Bhall
bless us, and show us the light of his countenance, and be mer - ci -
earth, thy saving ; health a -
God ; yea, let all the peo - - pie
glad ; for thou shalt judge the folk righteously, and
govern the
God ; yea, let all the peo ■
increase ; and God, even our own God
bless us ; and all the ends of the world
■ fnl
roong
praise .
un
all
tions
up - - on
pie
shall
shall
praise ... .
give us his
- to us.
nations,
thee.
earth,
thee,
blessing.
him.
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8. Glory be to the Fathor, and
9. As it wis in the beginning, is now, and
[44]
to the. Son,
ev - - er shall be,
Note. For a Deus Miseratur, arranged as an anthem, sec page 5
and. .
world .
to the Ho - ly
with - out end, A
Ghost j
men.
316
BENEDICTUS. first arrangement.
3C
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1 . Blessed be the Lord
2. And hath raised up a mighty sal -
3. As he spake by the mouth of his
4. That we should be saved .
5. Glory be to the Father, and
6. As it was in the beginning, is now, and
3=fc::
God of
va ■ tion
ho - ly
from our
to the
ev - er
— o-
I
Israel,
for us,
prophets.
enemies,
Son,
shall be,
For he hath visited
In the
Which have
And from the
And
World
32
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and re • deemed his
bouse of his
ser - vant
been since the
world be -
hand of
all that
to the
Ho - ly
Wllh - OLt
end, A-
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people.
David,
gan.
hate us.
Ghost.
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BENEDICTUS. second arrangement.
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347
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1. We praise
3. To Thee all angels
5. Holy, holy;
7. The glorious company of the apostles
9. The Father of an
11. Thou
13. When thou tookest upon thee to de -
15. Thou sittest at the right
17. We therefore pray thee, ...*
19. 0 Lord, save thy people, and..-.
21. Vouch
23. 0 Lord,. let thy mercy
351
~gy
thee,
cry
Ho -
praise,
infi -
art
liv - ■
hand
keep
mte
the
of
thy
bless thine
safe, O
be up-
God;
loud;
- iy,
thee,
majesty ;
King;
man,
God,
servants,
heritage,
Lord,
on us,
we acknowledge
the heavens and
Lord
the goodly fellowship of the- . . .
thine adorable, • <
the King of ."
thou didst humble thyself to be .
in the _
whom thou hast redeemed I
govern them, and ■
to keep ns
as our
I
thee tr-
ail *he
God of
proph - its
true, and
Glo - ry,
born
G!o - - ry
with thy
lift them
this day
trnst
be
the
powers
there-
Sa -
■ La-
<m -
ir
0....
of
a
of
the
pre -
cions
up
with -
for-
ont
Lord,
in.
oth.
thee.
Son.
Christ,
virgin.
Father,
blood.
ever.
sin.
thee.
i
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2. All the earth doth.... ._.
4. To thee cherubim and
6 Heaven and ^....
8. The noble army of martyrs ...
10. Also the
12. Thou art the ever - - - - -
14. When thou hadst overcome the
16. We believe that
18. Make them to be numbered...,
20. Day by day we - •
22. O Lord, have
24. OLord.inthcc
wor -
ship
ser -
- a -
earth
are
Ho - ly
last - ing
sharpness of
thou shalt
with
thy
magm
-fy
mercy
have
up-
I
thee,
phim,
full
thee,
Ghost,
Son
death,
come,
saints
thee,
on us,
trusted,
the
con --------------
of the
the holy church throughout all the world,
the
of..
thou didst open the kingdom of ,
shalt
and wo worship thy name, ever..
have .,
let mc i
Fa --
ther
ev
er
lasting.
tin - -
nal -
iy
do
cry.
majes -
ty
of
thy
glory.
doth
ac -
knowl
edge
thee.
Com -
-
fort -
- -
er.
Fa -
_ . .
ther.
heaven
to
all
be-
lievers.
come
to
be
our
judge.
glo - -
17
ev
er-
lasting
with
- out
end.
mer -
cy
np -
- on
OS.
ney •
er
be
con -
luundo
„ (on Sptrft**
ONWARD SPEED. 7s fe 5s.
L 0. EMERSON.
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1. Oo - ward speed thy conquering flight, An - gel, on -ward speed; Cast a - broad thy ra - diant light, Bid the shades re - cede;
2. On - ward speed thy conquering flight, An - gel, on - ward haste ; Quick - ly on each mountain's height, Be thy standard placed ;
s*L 4
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3. On - ward speed thy conquering flight. An - gel, on - ward speed ; Morn - ing burets up - on our sight, 5Tis the time de - ereed;
i
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Tread the i - dols ■ in the dust, Heath - en fanes de - stroy, Spread the gos - pel's ho - ly trust, Spread the gos - pel's joy.
'=z«=rj=2=3zl-J jEEEfcjJEE=iEE 5£5:IztzT=Er*zz:*:=i=Jzi=>Jz:f— g::lz«=:f=-» — fri-g^IE
thy bliss - ful tid - ings float, Par o'er vale and hill; Till the sweet - ly echoing note, Eve-ry bo - som thrill.
Je - sus now his king-dom takes, Thrones and em - pires fall; And the joy-ous song a - wakes, God is all in all.
mw^mmmmmmmmm^m^Mm^^
jUJRNET. 8s & 6s. Peculiar
U Alteirro. THEME FROM DONIZETTI.
A. N. JOHNSON
349
l-s£:
mm
1. Let ev - 'rv heart re - joico and sins; Let cho - ral an - thems rise; )
Ye reverend men and chil -dren bring, To God your sac - ri - fice. )
SiiK^giP^Kii^s
For he ia good; the Lord is pood, And kind are all his ways;-
*wiS-0-*-j!h0-+P- : r~2--jp-
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2. He bids the sun to rise and set;- In heaven his power is known^
B^B^r^
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And earth snbdued to him shall yet Bow " low he - fore his yirone;
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load,
The Lord Je - - ho • van praise; While the rocks and the rills.While the vales and th& hills, A
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glo - - rious an - - them raise: 'Let each pro - long the grate - ful song, And the God of our fa - thers praise.
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[?
:)-,0
GENEEAL INDE^.
Abbot 80
Acceptance 135
Alby 152
Alexandria 127
Alfreton 95
All Saints 99
America 182
Amsterdam 188
Ancostia . . 167
Anderson 133
Antietem 147
Appomatox 181
Arlington 120
Atlantic 97
Ayres 186
i
Badea 148
Balerma 128
Bandel 199
Banister 119
Barilett 87
Baxter 115
Bennett 84
Bentz 171
Bereavement 189
Bethlehem 177
Blanford 179
Blendon 83
Blessing 178
Bonnsboro' 112
Boyden 129
Brentford 96
Briggs 99
Brnnghton 117
B.ilfinch Street 157
Burke 170
Burlington 196
Cathcart 184
Chapin 106
Charles 185
Chemung 78
Chester 100
Chickering 109
Christmas 132
Clarendon 125
Clark 143
Conncstoga 124
Conway 107
Cooper 191
Cornell 175
Coronation ....... 114
Cram 164
Cromwell 144
Cyprus 142
Daley 136
Davidson 123
Dawson 141
Dean 105
Devizes 110
Dinwiddie 89
Dorcas 134
Dover 140
Driggs 116
Duke St 103
Dundee Ill
Durell 169
Earl 198
Easton 153
Ecker 187
Kllenthorpe 85
Kllicntt 77
Errol 165
Fiske 159
Frederick -burg, i. 166
Freedom 348
Fulsom 194
Furlong 192
Gebhardt 171
Glenroy 94
Glener 160
Grace Church 104
Greene 159
Greenville 176
Groff 94
Guardian 190
Gurney 349
Hamburg 102
Hank 139
Harding 138
Hardy 155
Hagerstown 110
Heard 130
Heinitsch 150
Holman 106
Holmes 84
Homer 76
Italian Hymn 182
Invitation 113
Jubilee 183
Livonia .
Lothrop
Lyons . .
.180
.123
.196
Majesty 122
Mark 116
Marlboro' 195
Martyrdom 127
Marlow 120
Mayne 98.
Maytown 180
Maxon 102
Mc Curdy 131
Mc Dowell 79
Meads 146
Merrill 92
Meyer 175
Milgiove ■ 197
Minot 82
Missionary Hymn. . .187
Molino 101
Monocacy 174
Mornington 144
Moore 135
Nash 100
Nazareth 96
Newcourt 154
New Jerusalem 118
Nuremburg 172
Lanesboro' 107
Lanesville 98
Leitersbnrg 112
Lenox 163
Lenton 88 1
Linthicum 152 1 Patapsco 161
Lisbon 146 1 Pattengill 137
Old Hundred 75
Olmutz 148
Onward Speed 347
Otterson 150
Pearl St 103
Penfield 90
Petersburg 178
Petieolas 156
Pleyel's Hymn 166
Potomac 167
Bangely 85
Ray 86
Raynham 109
Repose 134
Rest 190
Rolle 76
Rothwell 97
Schneck 81
Sehofield 145
Sears 133
Shenstone 119
Shepherd 81
Shirland 139
Sichem 130
Sicily 176
Sienza 183
Skiles 162
Snyder 108
Sunora 87
Spangler 105
Sprague . . 143
St. Johns 125
St. Martins Ill
St. Thomas 140
Stewart 108
Stieff 128
Stone 151
Street 184
Strickland 149
Susfjuehannah 114
Swan 'JO
Symonds 77
Tabler 136
Tarbuiton 147
Tenney 158
Tillinghast 168
Tourjee .'. .138
Triumph 162
Union St 86
TJxbridge 88
Van Campen 168
Vcrilius 173
Virtue 93
Wakefield 95
Ware 186
Wanworth 198
Warwick 132
Wells 83
Whitehouse 151
Whitner 124
Whitney 158
Wiealing •.•••121
Wilhelmina 173
Willard 164
Wilmot 172
Winchester 80
Windham 93
Wisnng 193
Woodman 149
Woodstock 120
Wollasten 126
Wrentham . ... 92
METEICAL INDEX
L. M.
Abbot 80
Alfreton 95
All Saints 99
Atlantic 97
Bartlett 87
Bennett 84
Blendon 83
Brentford 96
Briggs 99
Chemung 78
Chester 100
Dean 105
Dinwiddie 89
Duke St 103
Kllenthorpe 85
Kllicott 77
Glenroy 94
Grace Church. . .104
Groff 94
Hamburg 102
Holmes. ....... 84
Houier 76
Invitation 113
Lanesville 98
Lenton 88
Mayne 98
Maxon 102
Mc Dowell 79
Merrill 92
Minot 82
Molino 101
Nash 100
Nazareth. ...... 96
Old Hundred. . . 75
Pearl St 103
Penfield 90
Ranglev 85
Ray 86
Kolle 76
BothweU 97
Schneck 81
Shepherd 81
Sonora 87
Spongier. 105
Swan 90
Symonds 77
Union St 86
Uxbridge 88
Virtue 93
Wakefield 95
Wells 83
Winchester 80
Windham 93
Wrentham ... .92
C. M.
Acceptance 135
Alexandria , . . . .127
Anderson 133
Arlington 120
Balerma 128
Banister 119
Baxter 115
Boonsboro' 112
Boyden 129
Broughton 117
Chapin 106
Chickering ... .109
Christmas 132
Clarendon 125
Connestoga ... .124
Conway 107
Coronation 114
Davidson 123
Daley 136
Devizes 110
Dorcas 134
Driggs ... .116
Dundee Ill
Hagerstown 110
Heard 130
Holman 106
Lanesboro' 107
Leitersburg 112
Lotbrop 123
Majesty 122
Mark 116
Martyrdom 127
Marlow 120
Mc Curdy 131
Moore 135
New Jerusalem ..118
Raynham 109
Repose 134
Sears 133
Shenstone 119
Siehem 130
Snyder 108
St. Johns 125
St. Martins Ill
Stewart 108
Stieff 128
Susqnehannah . . .114
Tabler 136
Warwick 132
Whitner 124
Wiesling 121
Woodstock 120
Wollaston 126
S. M.
Alby 152
Antietem 147
Badea 148
Clark 143
Cromwell 144
Cyprus 142
Dawson 141
Dover 140
Harding 138
Hank 139
Heinitsch 150
Linthicum 152
Lisbon 146
Meads 146
Mornington . . . ' 144
Olmutz 148
Otterson 150
Pattengill 137
Schofield 145
Shirland 139
Sprague 143
St. Thomas 140
Stone 151
Strickland 149
Tarbutton 147
Tourjee 138
Whitehouse. . . 151
Woodman 149
L. P. M.
Easton 153
Newcourt 154
. C. P. M.
Bulfinch Street. .157
Hardy 155
Peticolas 156
C. H. M.
Tenney 158
S. H. M.
Whitney 158
S. P. M.
Fiske 159
Greene 159
H. M.
Cram 164
Glover 160
Lenox 163
Patapsco. ..... .161
Skiles 162
Triumph 162
Willard 164
7s.
Ancostia 167
Bentz 171
Burke 170
DureU 169
Errol 165
Fredericksburg . . 1 66
Gebhardt 171
Jubilee 183
Nnremburg 172
Pleyel's Hymn. .166
Potomac 167
Tillinghast 168
Van Campen 168
8s & 7s.
Bethlehem .... 177
Blessing 178
Cornell 175
Greenville 176
Meyer 175
Monocacy 174
Sicily 176
Wilhelmina. ... 173
Wilmot 172
8s, 7s & 4s.
Appomatox 181
Blanford 179
Livonia 180
Maytown 180
Petersburg 178
Verilius x73
5s & 8s.
Earl 198
6s & 4s.
America 182
Italian Hymn .. .182
Street 1M
Ware 186
6s * 5s.
Sienza 183
6s, 8s & 4s.
Bandel 199
6s & 8s.
Bereavement 189
Cooper 191
7s & 5s.
Onward Speed . .347
7s * 6s.
Amsterdam 188
Milgrove 197
Missionary Hymnl88 |
351
7s & 8s.
Guardian 190
8s.
Ecker 187
Wanwortb 198'
8s & 4s.
Ayres 186
Cathcart 184
Rest 190
8s & 6s.
Gurney 349
8s, 7s & 3s.
Charles 185
10s.
Again returns ... 67
Hail ! happy day. 67
IDs & lis.
Folsom 194
Lyons 196
Marlboro' 195
lis.
Furlong 192
lis & 8s.
Wisong.. ..... 193
12s, lis &' 8s.
Burlington .... 196
3.»2
INDEX OF ANTHEMS, SENTENCES, UYMNS, &C.
ANTHEMS.
Awake, pat on thy strength . . . .
Come to the house of prayer ....
Magnify the God of Israel
M;ike a joyful noise unto the Lord
Mighty Jehovah .... ....
I Hi Ik; joyful in the Lord ....
t >n the breeze of evening stealing
Praise the Lord ... ....
Praise ye the Lord ....
Serve the Lord with joy and gladness
Sing aloud to God our strength ....
Sing 0 heavens, and be joyful 0 earth
The earth shall be filled
The Lord will comfort Zion
We praise thee, 0 God ....
HYMNS
But who shall see the glorious day
Lord dismiss us with thy blessing .
To Jesus, our exalted Lord ....
Watchman tell us of the night
SENTENCES
Be merciful nnto me, 0 Lord . . .
Blessed are the pure in heart
Holy, holy Lord ....
Ilosanna in the highest ....
I heard a voice from heaven . . .
I will arise and go to my father
< )nr father who art in heaven . . .
The Lord is in his holy temple
224
...218
206
...211
200
...226
230
...237
215
...209
232
...208
216
...222
220
••• «••• ••
..242
•■•• •■••
240
•*• ••■ ••
..247
« • • • ••••
244
..252
•••• •••■
248
■ • •
. 256
.... . . .
249
• • • •••• • a
..257
■ ••• • • • .
250
• • • • • • • ■
..254
•••• ••••
258
PSALMS.
God be merciful unto us and bless us ....
I was glad wben they said unto me . . • , .
I will lift up my eyes unto the hills ....
Make a joyful noise unto the Lord . . ...
Oh praise the Lord .... .... ....
O sing unto the Lord a new song .... ...
Praise ye the Lord .... .... — .
The Lord is my Shepherd . . ....
....
CHANTS.
262
270
2119
272
26,i
279
259
340
342
347
342
343
344
344
345
346
Venite .... .
Gloria in Excelsis
Jubilate Deo
Te Deum
Cantate Domino .
Laudate Dominum
Benedic Anima mea
Deus Miseratur . .
Benedictus . .
CANTATA OP THE MORNING OP FREEDOM.
1 Chorus. " Now fades the night of years," 282
2 Soprano Solo. " What scenes surprise my wondering eyes," 289
3 Tenor and Mezzo Soprano. Duett and Chorus. " Ah bow favor'd
is the nation," 291
4 Alto Song. " Oh say in this blood purchased land," 308
5 Chorus. " Behold now again the vision appear," 311
6 Base Solo. " Thus at morning, at noon, and at evening," 314
7 Treble and Alto Duett. " How fair the view of peaceful homes," . .320
8 Chorus. " Thus from morning until evening," 3^5
9 Soprano Sonq and Chorus. " Father, hear us," 327
COIISrTElsrTS
OF THE KEY-STONE COLLECTION.
1. THE PHYSIOLOGICAL SYSTEM, page 3
2. PSALM AND HYMN TUNES, '5
3. ANTHEMS 200
Must of the pieces called " Anthems " in this book, are
of a spirited, sparkling character, better adapted to the Con-
cert Hall, and the Practicing Meeting than for Pnbiic Wor-
ship.
1. HYMNS SET TO MUSIC THROUGHOUT, 240
Some of the Psalm and Hymn tunes properly belong un-
der this head, being adapted only to the particular hymn
which is set to them. The tune on page 115 is an exam-
ple of one of these tunes.
5. SENTENCES, 24?
The pieces called " Sentences," in this book are all of a
highly devotional character, and highly suitable for opening
pieces, and other occasions of Public Worship.
6. PSALMS, 259
These form a new style of set pieces, which are pre-emi-
nently adapted to every occasion of Public Worship, be-
cause the entire Psalm is taken literally from the Bible.
They are more particularly described on page 259.
7. CANTATA. "The Morning of Freedom," 282
The music of this cantata is selected from Rossini. Mo
zart. Mendelssohn and others. The words are written ex- ■
pressly for this work, and form a prophetical vision of the
future of this country, which must be supposed to have
been written at the close of the A lerican Revolution.
8. CHANTS, 340
PTBREOTYPKO MY A
MODEL OP AN ADVERTISEMENT
FOR A
SINGING SCHOOL,
TO Bl TAOOffT DTOX TBI
PHYSIOLOGICAL SYSTEM
1
A. B. respectfully gives notice that he will commence a Sin»^
ing School, (here name time and place) to be taught upon the
Physiological System, recently copyrighted by Professor A. N;j
Johnson, of Boston.
To sing correctly, the organs of the mouth and throat must 1«
placed in a particular position for each tone. If they are placed in
the correct position, and the breath is directed to the right part of.
the month, it becomes certain that the pupil will sing right, and
with perfect ease.
The Physiological System seeks to enable its pupils to sing, by
causing them to learn the precise position of the organs of the
mouth and throat, and the precise direction of the breath, which
will produce each and every tone of the scale, thus rendering it
certain that every pupil will learn to sing every tone with perl'crt
ease.
Those who attend this School will learn the notes as perfectly
and thoroughly as upon the old system, and in addition will learn-
to manage the vocal organs, so as to render it absolutely certain
that they will sing right, and with perfect ease.
Many singers who have learned to sing upon the old system^'
sing with hard, harsh, shrill, husky or otherwise unpleasant tones,
because they have merely learned the notes; but never learned
how to place the organs of the Mouth and Throat in those posi-
tions which will be certain to produce mellow, clear and pure
tones.
The Physiological System, besides teaching the notes, will
teach the singer, so he will never sing with unpleasant tones, but
always with pure, clear and mellow tones of voice.
(Here name terms and all other necessary information.)
H MPI>KK. HOSTON
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