THE
ACADEMY VOCALIST;
OR, VOCAL MUSIC ARRANGED FOR THE USE OF
SEMINAEIES, HIGH SCHOOLS, SINGING CLASSES, ETC.,
BY GEORGE F. ROOT,
morteeou or muwc in abeott'h collegia:* institution, sfixcleb institute; the butgbbs institute; the new yobk institution fob the blind, etc.
INCLUDING A COMPLETE COURSE OF
ELEMENTARY INSTRUCTION, VOCAL EXERCISES AND SOLFEGGIOS,
BY LOWELL MASON.
F44.ll
R6783a. PUBLISHED BY MASON BROTHERS.
I ^
NEW YORK
108 and 110 DUA'iE STREET.
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FROM THE LIBRARY OF
REV. LOUIS FITZGERALD BENSON. D. D.
BEQUEATHED BY HIM TO
THE LIBRARY OF
PRINCETON THEOLOGICAL SEMINARY
'&
y
THE
ACADEMY YOCAL
"JUL 12 1932*
- y
OR, VOCAL MUSIC ARRANGED FOR THE USE OF
SEMINARIES, HIGH SCHOOLS, SINGING CLASSES, ETC.,
BY GEORGE F. ROOT,
yaOflSSOa OF MUSIC IN' ARDOIT S COLLEGIATE INSTITUTION, tl'INGLEll INSTITUTE; THE BUTGERS INSTITUTE; THE -NEW Yur.K INSTITUTION rOB TKE BLIND, ETC.
INCLUDING A COMPLETE COURSE OF
ELEMENTARY INSTRUCTION, VOCAL EXERCISES AND SOLFEGGIOS,
BY LOWELL MASON.
NEW YORK:
PUBLISHED BY MASON BEOTIIERS.
(£7" I have placed the Base Clef on the lower staff in this hook, for convenience in playing, and that its use may be mure extended. It will be found
that ladies can sing from this clef (an octave higher, of course, than the actual tone) without difficulty. Should any object to this arrangement, I would
remind them of the constant use of the Trehle clef for Tenor voices.
I have written a few Solos for high Soprano voices, and it is particularly recommended that they he attempted by no others, as nothing is more injurious
to the voice than forcing it above its natural compass.
An agreeable effect will be produced in such pieces as " Beautiful Star," " Neva Boatman's Song," &c, by having the s'ngle parte sung by chorus and
the trio by three well balanced voices; but this, and many other plans f^r producing a pleasant variety, will suggest themselves to the teacher or leader.
New York; Feb., 1852. G. F. R
Entered, according to Act of Congress, in the year 1852,
By MASON & LAW,
in the Clerk"s Office of the District Court of the United States, for the Southern District of New York.
ELEMENTS OE VOCAL MUSIC.
PREFATORY REMARKS,
The following exposition of the " Elements of Vocal Music," has been prepared
not with reference to names, signs, or characters merely, but having also constantly
and primarily in view the substance, essence, or nature of that which is to be
taught. This will be observed in the propositions or axioms throughout the
work. Every good teacher will endeavor to convey to the minds of his pupils,
in the first place, a knowledge of things, doctrines, or facts, and afterwards, as a
natural consequent, a knowledge of signs, symbols, or characters. The inversion
of this order is one of the principal causes of the difficulties attending the learning
of music, and of the obscurity that so often accompanies the well-meant attempts
of the teacher at explanation. It is so directly at variance with the true
philosophy or science of teaching that it is to be rejected by every enlightened
teacher in every department of instruction, or whatever may be the subject of
his lesson. Music, the perception of which can come through the sense of hearing
only, can never be taught by signs or by characters which are addressed to the
eye. With as much hope of success might one attempt to teach chiaroscuro by
verbal explanations or description, as the nature or relations of musical sounds by
an exhibition of anything to the organs of vision. It is perhaps mostly to a
misapprehension of this subject that we are to attribute the many new systems
of notation which have appeared within a few years past ; an attempt has been
made to invert the order of nature in teaching music, and to communicate
instruction through the eye, on the supposition that if the signs and characters
are explained the things signified will be understood. Such unphilosophic attempts
at teaching ha've of course been met by insurmountable difficulties, and these
difficulties instead of baing attributed to their true cause, have been supposed to
arise out of a defective or obscure notation; and hence, new systems of notation
(so called) have been invented. But how is it possible that one can be made to
understand in any practicable manner the signs or symbols of things, when as
yet he has not become acquainted with the things signified or symbolized ? Let
music be taught first, and musical signs will follow easily enough afterwards.
Let the teacher draw out and quicken the musical perceptions of his pupils, let
him form in the ear a trufe idea of the scale, and let him train the vocal organs to
the truthful production of that scale, and there will then be no great difficulty in
teaching the notation by which it shall be represented. Notation consists mostly
in the representation of musical sounds by means of arbitrary written characters ,
one arbitrary character being made, provided it be simple and easily strike the
eye, is as good as another. We see then the folly and ignorance of those who
would attempt to render the learning or the teaching of music easier by adopting
some new system of notation. Not more absurd would be the attempt to relieve
the difficulty of teaching colors to the blind, by means of a new nomenclature,
than is that of rendering easier the teaching cr the learning of music by a new
system of notation.
It is taken for granted in the following synopsis that the teacher is familiar
with his work, or that he knows hmv to teach ; pedagogic directions have therefore
been mostly omitted ; not even the questions common in such elementary works
have been inserted, on the supposition that the man who is qualified to teach will
be able to ash his own questions. The practical exercises too, must be regarded as
specimens ; for as the good teacher of arithmetic does not rely exclusively upon
his text book, but often gives out original or extemporaneous questions, growing
out of the immediate circumstances by which he is surrounded, so the good music
teacher will write lessons impromptu upon the board whenever he meets his
class. There is a freshness and lively interest in such lessons that cannot be
reached by the most carefully prepared book-exercises. But while the manner
of teaching has been supposed to be the teacher's own, the things to be taught
are here stated or defined, so that this work is properly a text book for the
teacher. The definitions, so often defective or false, and the technical terms, so
often misapplied, in treatises of this kind, have received close attention, and it is
believed, may be relied upon as accurate. The order of arrangement of topics,
both in respect to analysis and synthesis, is in general such as would naturally
be suggested by a careful inductive investigation of the subject. While, therefore,
.it is specially adapted to the inductive method of teaching, it will also be found
to meet the wants of those who think best to adopt the declarative or preceptive,
in preference to, or in connection with the inductive method. Indeed we think
that every good teacher of an adult singing class will avail himself of both the
inductive and preceptive forms of giving instruction, adapting himself to the
various circumstances in which he may be placed.
-
ELEMENTS OF VOCAL MUSIC
INTRODUCTORY.
ANALYSIS OF MUSICAL SOUNDS.
1. Distinctions existing in the nature of Musical Sounds. — A musical sound, or a
Tone, may be,
1. Long, or Short.
2. High, or Low.
3. Soft, or Loud.
2. Properties of Tones. — A tone ha*, therefore, three essential properties :
1. Length.
2. Pitch.
3. Power.
3. Departments in the Elements of Musk: — As there are three distinctions
existing in the nature of musical sounds, and as they have three essential proper-
ties, so there are three corresponding departments in the elements of Music :
1. Rhythmics,. . . .treating of the length of tones.
2. Melodics, treating of the pilch of tones.
3. Dynamics, treating of the power of tones.
4. General View : —
Distinctions. Profterties. Departments.
.. Long or Short. Length,, Rhythmics.
2. High, or Low. Pitch. Melodics.
3. Soft, or Loud. Power. Dynamics.
RHYTHMICS.*
CHAPTER I.
divisions of time, measures, parts of measures, counting AND
beating time, accent.
§ 1. The length of tones is mentioned by a division of time, into equal
portions. This may be indicated or illustrated, by counting equally, thus : one,
two; one, two ; one, two ; one, two ; or thus : la, la ; In, la ; la, la ; la, la
, 2. The portions into which time is divided are called Measures ; thus at $L
four measures are supposed to be counted.
$ 3. Measures are divided into smaller portions, called Parts of .Mi:astri:s ,
thus, at §1, measures are supposed to be divided into two parts, the first part of
each measure being indicated by one, and the second part by two.
§ 4. Measures and parts of measures, may be indicated not only by counting
(to the ear), but also by motions of the hand (to the eye |, called Beats or
Beaiing the Time.
$ 5. In beating the time, a downward motion of the hand is usually made for
the first part of a measure, and an upward motion for the second part.
$ 6. The first part of a measure should be accented, the second unaccented.
Note 1.— When the pupils commence learning to l*at the time, it is well for ihcm, not only
to make the proper motions of the hand, but also to repeat the words downwat d Uat. upward
brat, or down, up, as descriptive of the heats.
Note 2.— It should be thoroughly and practically understood, that this division of time is
the Rhythmic Element; the principlcof measurement in all music. The portions of time called
measure* are to music, what the portions of time called days, months and years are to history.
Note 3.— The letter a in la should receive its grave sound (a) ; being the same sound as
is heard in the words Father, Calm, Bilm, liar. l;,r. I.i. Ma. This vowel sound (ah,) is the
best for vocal practice, and is constantly used by all those who well understand the trainin*
of the voice.
CHAPTER II.
NOTES. BARS. RESTS.
, 7. The length of tones is represented by written characters, called Notes.
Notes are signs, representing to the eye the comparative length or duration of
sounds.
§ 8. Perpendicular marks are used for marking the division of measures
called Bars.
•The departments arc kept separate in this elementary treatise, not because thev should
be thus kept in teaching, but because being irated they] ler'gcncral
vn-u of the subject ana also bee ruse it i* quite Impossible to present the different topics in
such an order as will he suited alike to different classes The subject of Rhythmioc is here
presented first ; in teaching a class, however, it maybe iusi as well to commence with
.Melodies; but with which evi ol teaching is commenced, it is cer-
tain that :<t least ti.e two departn ents ol Rhj thmics i nd Melodies ahoul l e almost Unm*
dj tolv united ; indeed the three departments should proceed simultaneously (or nearly £•
from the beginning, and through the whole courss ol instruction
ELEMENTS OF VOCAL MUSIC.
$ 9. A measure, or part of a measure may be passed over in silence ; such
silence is called resting ; and the sign or character by which it is indicated is
called a Rest.
Illustration of measures ; example of notes, bars and rests.
i i i r ■ r i r
CHAPTER III.
RHYTHMIC CLASSIFICATION. PROLONGED TONES. PRIMITIVE AND DERIVED
FORMS OF MEASURE. LONG NOTES AND RESTS-
§ 10. A sound may be prolonged so as to occupy both parts of a measure , and
thus a different form of measure may be obtained.
§ 11. The first form of measure, (a separate sound, or rest, being appropriated
to each of its parts,) is called Primitive Form.
$ 12. The second form of measure, (both parts being appropriated to one
prolonged sound, or rest,) is called Derived Form.
§ 13. Derived forms are obtained from primitive forms, by uniting the parts.
§ 14. The prolonged sound is represented by a note differing in form from that
which was previously introduced, and which has also its corresponding rest.
Note. — The notes and rests may now be called short notes or long notes, and short rests
or long rests.
ILLUSTRATION.
Primitive. Primitive. Derived. Derived.
Short notes. Short rests. Long note. Long rest.
f r I r r I ? ■ I - II
CHAPTER IV.
triple measure.
§ 15. A measure may have three parts; as one, two, three ; one, tico, three ; or
downward beat, hither (,or inward) beat, upward beat.
i 16- A measure having three parts, is called Triple Measure; a measure
caving two parts, is called Double Measure..
$ 17. Triple measure receives an accent on the first part.
§ 18. A sound may be prolonged so as to occupy two or three parts of a
measure; and thus derived forms are obtained in triple measure.
§ 19. When the derived form is obtained by the union of the first and second
parts of a measure, it is called the First Derivative; when it is obtained by
the union of the first, second and third parts it is called the Second Derivative.
§ 20. When, in a derived form of measure, the union of the parts commences
with the first, the derivative is said to be in the First Class; when the union
commences with the second part of the measure, the derivative is said to be iu
the Second Class.
§ 21. When a tone commences on an unaccented, and is continued on an
acren'.ed part of a measure, it is called a syncope,* or syncopated tone.
$ 22. A syncopated tone should always receive an accent.
§ 23. The longer sound, occupying three parts of a measure, is represented by
a note of different form from the two previously introduced, which may now be
called the longer note.
Note. — A syncope changes, or " cuts into " the regular accent.
§ 24. Figures are used as signs of measure ; thus, the figure a denotes double,
and the figure 3, triple measure.
ILLUSTRATION.
First class. Second class.
r r r
r r
Primitive. P ,• 9
First Derivative. P f
I I
Second Derivitave Q •
Longer note. I
Second Derivative -™-.
Longer rest.
Note.— The principle of induction never anticipates by names or terms anything which
has not already been discovered or taught. In investigation this anticipation is impossible,
in teaching it is inadmissible. Hence the pupils use such names or terms as most naturally
come tip in the mind, and if on further progress other names or terms become more conve-
nient, they may then make the change. Again, induction never burdens the mind with
names or technical terms until they are needed as aids in bringing up to the imaginatior,
the i le i of things which are alicady known.
* Syncope.— From two Greek words, signifying " I cut." f Representation of a Syucop*
ELEMENTS OF VOCAL MUSIC.
CHAPTER
QUADRUPLE MEASURE.
$ 25 A measure may have four parts; as one. he >, thru four; one. tiro, thfrc,
four; or downward b at, hither (or inward} beat, thither (or outward) beat, upward
beat. Called Quadruple Measure, and distinguished by the figure *.
§ 26. When, in a derived form of measure, the union commences with the
third part, it is said to be in the Third Class.
§ 27. When a sound is prolonged so as to occupy four parts of a measure it
is represented by a note differing in form from those which have been previously
introduced, and which we may call the longest note.
Note. — The reason why the commonly received names of the notes have not hefnic been
piven is explained in the ivote at the end of the last chapter; they may now be adopted, us
Follows :—
Notes.
Note, Whole Note, or Semibreve, .....' ©
Three-quarter Note, or Dotted Half, or Minim, .... P •
Half Note, or Minim, p
Quarter Note, or Crotchet, *
Rests.
ILLUSTRATION.
Primitive,
First Class.
0 0 0 0
First Derivative &
Second Derivative n •
I
Third Derivative
• Syncope-
Second Class.
0 0 0 0
Mil
r f r
r ?-*
| ii .' 2'i!ail) classed.
Third Class
rr
r r
r r
p
CHAPTER VI.
SEXTUPLE AND MIXED MEASURES.
, 28. A measure having six parts, is called sextuple measure ; as one, two,
three four, five, six ; or dotvnward beat, downward beat, hit lit r beat, {hither beat,
upward beat, in/ward beat.
t) 29. A measure having six parts, is often described by two countings or
beats, as is double measure ; but it differs from double measure, since the latter
consists of two twos, while the former consists of two threes. It is olten called
CajirouxD Measure.
$ 30. Measures may also have nine, or twelve parts, or more or less. But
it is not supposed to be necessary, in this place, to give any further explanation
or illustration, since, if the pupil is well grounded in the kinds already mentioned
he need not apprehend difficulty in any other forms of measure which may be
found.
CHAPTER VII.
DIVIDED PARTS, ORCOMPOUND FORMS OF MEASURE, AND THEIR CORRESPONDING
NOTES AND RESTS.
§ 31. The parts of a measure may be divided, so that two sounds shall be
made to occupy but one part.
§ 32. When two sounds occur on a single part of a measure, the measure is
said to be in Compound Form.
§ 33. Compound forms of measure, may be either primitive or derived.
§ 31. The notes representing these shorter sounds, or Compound Primitive
forms of measure, are called Eighths, or Quavers.
2 0
o 0
/ /
II. I.I STB \TtON.
1 1 ~ I LJ# 1 J I > 1 "s 1
Note 1.— The forms of measure heretofore explained, may now be called Simplt Forms ;
and thus he distinguished from Compound Forms.
Note 2. — The principle of derivation and classification, as heretofore explained (dcrivea
from Kiibler, a truly philosophical writer upon elementry inductive teaching) can now be
carried out in compound forms of measure, if the teacher thinks it best If it be thoroughly
and practically understood, it affords a certain criterion or principle, bv which the musical
ELEMENTS OF VOCAL MUSIC
performer may b« carried through the most difficult rhythmic combinations with certainty.
* nc principle is simply this : The primitive form of a measure, or the primitive note of a
measure, or part of a measure, is always to be taken as the standard of measurement. This
cannot fail to solve any rhythmic difficulty that can occur. The common mode of measur-
ing sounds by beating, is unsatisfactory and uncertain. Hence, a good conductor of an
orchestra is frequently observed to indicate with his Baton the primitive form of the mea-
sure, and this although he may know nothing of tit is principle of classification. This fact
shows that the principle is a natural one, and one that fails not to accomplish its end.
Whether the terms here used be adopted or not, the principle must be practically under-
stood, the thing itself must be known, or there can be no certainty of correct time.
CHAPTER VIII.
TRIPLETS.
§ 35. A part of a measure may be so divided as to be occupied by three sounds.
Such divisions of parts of measure are called Triplets. The notes representing
triplets are marked by the figure 3.
<) 0 9 o a
-Tllj
ILLUSTRATION.
3 3
& „ I 9 e a o m a 0
r
CHAPTER IX.
COMPLEX FORMS OF MEASURE. AND THEIR CORRESPONDING NOTES AND RESTS.
§ 36. A part of a measure may be occupied by four sounds; such sounds are
represented by notes called Sixteenths or Semiquavers.
$ 37. When four sounds occupy a single part of a measure, the measure is
said to be in Complex Form.
ILLUSTRATION.
w> MM 9099 999
m BBS M
1= 1
9999 9999
9999
=3
M1
Note. — A further explanation of Rhythmic Classification may be obtained from "The
Boston Academy's Manual of Instruction."
See note 2, at & 34.
CHAPTER X.
VARIETIES OF MEASURE.
4 38. Either of the different kinds of notes may be taken to represent the
primitive form of measure, simple and compound. Thus, the primitive form in
any kind of measure may be represented, by Whole Notes, Halves, Quarters
Eighths, or Sixteenths.
§ 39. The different representation or signs of measure, arising from the use ot
the different notes as primitive forms, are called Varieties of Measure.
Note. — Varieties of measure merely furnish different signs for the same thing. To th«
ear they are all the same, to the eye only do they differ ; the movement or degree of
quickness depending not in the least on the kind of notes in which music is written. Notes
represent no positive, but only a relative length of sound. The different varieties are
comparatively unimportant, but are iu common use.
§ 40. There may be as many varieties in all the different kinds of measure,
as there are kinds of notes.
§ 41. As figures are used to distinguish the kinds of measure, so also they
are used to distinguish the varieties of measure. When used for both purposes,
the two figures are written in the form of fractions, the number of parts, (on
which the kind of measure depends,) being indicated by the Numerator; and
the kind of note used on each part, (on which the variety of measure depends,)
being indicated by the Denominator.
, 42." EXAMPLE OF DIFFERENT VARIETIES OF MEASURE.
1
0
*— © 0
©
4 „
* — 0
1
©
©
0
2p
I'
r
lrr
t
2i
r
p
1
r
*- 0
9
Q
O m m
e
4„
0
0
0
4l
I
4I !
I
41
1
\
1
2,
0
1
3» «
0
1
/
4
*_ 0
8 ^
0
0
V
0
1
2 p
0
3 * •
e
i
4 0
* — \j
\
0
•
* Seldom us(
•A.
END OF RHYTHMICS.
ELEMENTS OF VOCAL MUSIC.
M E L 0 D I C S .
CHAPTER XI.
S 43. Musical sounds, considered or treated with reference to relative pitch,
are arranged in a certain order, or series, called The Scale.*
$ 44. The scale consists of eight tones; these are named numerically from
the lowest, upward: Onk, Two, Three, Four, Five, Six, Seven, Eight.
$ 45. Musical sounds may also be considered or treated abstractly, or with
reference to absolute pitch. When thus considered they are named alphabetically
from the letters, A, B, C, D, E, F, G.
Note. — In all nations where the generally prevalent system of music is received, the
pitch of tones, as represented by letters, is the same.
§ 4G. In treating of the scale, the tone C, is first taken (i. e. in the first steps
of musical teaching) as one, or as the basis of the scale ; so that the order of the
scale is as follows :
One, Two, Three, Four, Five, Six, Seven, Eight.
C, D, E, F, G, A, B, C.
§ 47. In vocal music, the following syllables are often used, in connection with
the scale, or relative pitch.
Written, Do, Re, Mi, Fa, Sol, La, Si, Do.
Pronounced, Do, Ra, Me, Fa, Sol, La, Se,D6.
Note 1. — See previous note on the true sound of the vowel ii.
Note 2- The teacher is advised always to accustom his pupils to speak of the tones of
the scale by their numerical, or relative names, as one, two three, tec.: thus, if a lesson be
written on the board, and the teacher wishing to question the scholars with respect to the
tones, asks, pointing to any particular note, " What tune is represented by that note ?" the
mswer should be, one. two, three, or as the case may be. Hut if lie wishes to question with
respect to the letters, lie should ask directly, " What letter is one. two, &c, or what is the
pitch of one, two, &c. ? He is advised also, not to allow his pupils to substitute, as names for
tones, fint, lor one. sectmil for two, &C .; nor to allow them to say .Vn. 1, AV 2, &c, but sim-
ply one, two, three, four, &c. He is further advised not to allow the pupils to regard the
syllables as the names of the sounds ; never to allow them to speak of the tone Do. the tone
AV, &c; but. in all cases, to consider the names of the sounds of the scale one, two, three,
four, five, six, seven, and eight.
Note 3 — Although the syllables are not regarded as indispensable, the following rea-
sons may be assigned for their use : I. .An association is quickly formed between each par-
ticular syllable, and the relative pitch of the tone to which it is applied ; and this enables
the inexperienced singer to strike the pitch with comparative case. 2d. The proper practice;
of the syllables lays the foundation for a good articulation, or a correct delivery of words-
•Scalj —Signifying a ladder, or series of steps.
It is obvious that, if the syllables are used for the first reason above mentioned, thev (nonM
always be applied to the scale in the samemanner; i. e. Do to one. Be to (no 1 jncethov
are inten led to indicate relative, and not absolute pitch. The Italian or French metl ■
Using the syllables instead of letters, or to represent absolute pitch, is perl, ipa
anj ; but il Hi syllables arc thus used. Do being synonymous with ft f!e with l>
there can be no use for tbo letters, as we need but one metlm.l of designating a!>
pitch. It must be evident also, to any one, that in this u^e of the syllables, no such H<!\an
tnge can be derived from them as is mentioned above The only advantage that is claimed
by those who would make the syllables synonymous with the letters is, tiiat in this
it is easier for the pupil to apply the syllables to the notes, since each syllable will always
occupy the same place on the stall' Ttte question then is, " are the advantages of associa-
ting tiie syllables with the sounds of the scale, greater than the difficulty cf applying
them f" If the answer is in the affirmative, then the use of the syllables here iecommcndeJ
is the best use of them ; if in the negative, the syllables had better be given up altogether'
and the German method of using only the one syllable La for all the tones be adopted.
CHAPTER XII.
THE STAFF AMD CLEFS.
§ 43. The scale (or the relative pitch of tones) is represented by notes in
connection with a character called The Staff.
$ 49. The staff consists of five horizontal marks or lines, ar.d the spaces
between them.
Not e.— FUe is adopted for the number of lines, as a matter of convenience, but not of
necessity.
§ 50. Each line and each space is called a Degree ; thus, there are in the
stalF, nine degrees,_/5»e lines and/ot/r spaces.
§ 51. The tlegTees of the staff are counted upwards, from the lowest.
$ 52. If it be desirable to extend the^compass of the staff, spaces end lines,
below or above, are used, called Spaces" Below, or Spaces Above, and Added
Lines Below, or Added Lines Above.
§ 53. The scale may be represented on the staff in various ways: thus, the
note representing one may be placed upon the first line or first space, second
line or second space, or upon any degree of the staff; but when the position of
one is fixed, the other sounds must follow in regular succession.
<) 54. There are two ways in which it is common to represent iho scale on the
staff: first, the note for one being written upon the added line below; second, the
note for one being written upon the second space.
T 55. To distinguish between these two ways, or to determine the position o*
the scale on the staff, a letter is used as a guide, called a C.'.sv.*
* Clef.— Signifying K>rj •
ELEMENTS OF VOCAL MUSIC.
4 56. There are two letters commonly used as'clefs, F and G.
Kdte 1.— The form of these letters when useil as Clefs can be pointed out by the Teacher
Note 3. — The letter C is also taken for a clef, but as it is not much in use in this country.
tad s it is fast going out of use in England and Germany, it is not thought necessary to
tx] 1 lin it here.
y -tl. The F Clef is placed upon the fourth line ; hence, when this clef is used
the note representing one (C) must be placed upon the second space.
§ 58. The G Clef is placed upon the second line; hence when this clef is
used the note representing one (Cj must be placed upon the added line below.
ILLUSTRATION.
THE SCALE, O CLEF.
Ascending.
Descending
I
_ ~F
1. 2, 3, 4, 5, 6, 7, 8,
C, D, E, F, G, A, B, C ;
Do, lie, ili, Fa. Sol, La, Si. Do
THE SCALE, F CLEF.
Ascending. Dcsccndi
f
-»-
8,
7,
6.
5,
4,
3,
•I.
1.
C,
11.
A,
G,
K,
E.
D,
C.
Do,
Si,
La,
Sol,
Fa,
Mi,
Ke,
Do.
illlilll
1, 3, 3, 4. 5, 6, 7, 8; S, 7, (i, 5,
C, D, E, F, G. A, B, C ; C, B, A, G.
Do, Ke, Mi, Fa, Sol, La, Si, Do; Do, Si, La, Sol,
•i.
3,
o
1.
F,
E,
D,
<;.
Fa,
.Mi,
lie
Do
Note. — Besides the above, there arc also otner distinctions, as Barytone, between tn
Base and Tenor. And the Mezzo Sopuano, between the Alto and Treble. The Treble 13
often called Sopraho.
§ 62. The G clef is used, not only for the Treble and Alto, but also often for
the Tenor ; but when used for the Tenor, it denotes G an octave lower than
when used for the Treble and Alto. The following table exhibits the common use
of the clefs ; and also the usual compass and relative position of the different
parts :
EXAMPLE.
CHAPTER XIII.
MELODICS — EXTENSION OF THE SCALE AND CLASSIFICATION OF VOICES.
$ 59. When tones higher than eight are sung, eight is to be regarded as one of
an upper scale.
§ 60. When tones lower than one are sung, one is to be regarded as eight of a
lower scale.
$ 61. The human voice is naturally divided into four classes: low male voices,
»r Bass ; high male voices, or Tesor ; low female voices, or Alto ; high female
voices, or Treble.
Trcoie
fi
v
<*
—
W~-
-»-
---I-T--W
-
-«-
■»
-.
"-"
—
-&-
i_
9-
--
AltO.
1
-©-
■^
tr
isE~
"Bl*
i^:
:=:
-J^z
_]
—
~o
-Or
1s-
~£-
^
w
TB
=
-
-
. inor
J
—
»
~G>
-g-
JO-
S—
:=:
-~-\
■ *a
""rJT
~i>
l»a6e.
—
i-©-
-gr
*
is:
s-
-G.
&
-=-
-— ■-
m-
-m-
_
m
»-
=
G
A
B c
d
e
f
g
a
b
c
d
c
i
g
ate d e i g
f C3. To distinguish between the different tones denoted by the same letter,
tap.ta. ai.d s.mcll letters, together with marks below or above them, are need.
THus, ir *K<s above example, the lowest three notes are designated by capital let'
ters ; ai ti ■■ ton(=" "^presented by them are called capital, or great G, or great A,
and grea. _. The notes in thp next octave beginning with c, (with the excep-
tion of the upper one, which is considered as one of the octave above.) are
designated by small letters, and the tones are called small c, small d, small c, &c
The notes in the next octave, (with the exception of the upper one,) are designa-
ted by once-marked small 'etters, and the tones' are called once-marked small c
once-marked small d, &c. The notes belonging to the next octove, are designa-
ted by twice-marked small letters. The G clef, when used for Tieble or Alto
voices signifies gj when used (or Tenor voices, it signifies g.
10
ELEMENTS OF VOCAL MUSIC
Note 1 —This system of designating the tones is carried out through the whole extent
3f the great scale of sounds in instrumental music, consisting ol nine or ten octaves, as fol-
lows : The first, or lowest octavo, is denoted by twice-marked capital*, as C (or CCC), D
(or TM)D) fcc. The next, or second octave ' ^_. &c
.in! octave, (the upper part ol which comes within the vocal com]
above,) is denoted hy capitals, as C, D. E, &c. The four: ,■
ftr. The fifth octave by once letlerj, as c, d, e, &i ixth octave, by twice-
... I, e, &c The seventh octave, by three-limes-marked small Ulteis, as
c. d, e. Jtc. The eighth octave, by four-limes-marked small letters, as c, d, e, &c. The ninth
octave, by fiie-timesma, led small letters ; and the tenth octave, by tix-limes-marked small letters.
Note -J.— It is important that the difference of pitch between male and female voices he
fully explained and illustrated.
CHAPTER XIV.
INTERVALS. STEPS AND HALF-STEPS.
T 64. The difference of pitch between any two tones, is called An Interval.
Thus, the difference of pitch between one and two, is an interval.
$ 65. In the regular succession of the tones of the scale, there are two kinds
of intervals, larger and smaller.
, 66. The larger intervals are called Steps, or Large Steps; and the smaller
intervals are called Small Steps, or Half-Steps.*
§ 67. The intervals of the scale occur in the following order : — between one
and two, a step; between two and three, a step ; between three and four a sm'ill
ttep ; between four and live, a step; between five and six, a step; between six
and seven, a step ; and between seven and eight, a small step.
* The terms tone and half-tone are in common use to designate these intervals ; but as the
application of the same word both to sounds and intervals is inconvenient, the discontinu-
ance of the term tone and half-tone is recommended, especially in teaching. The objection
to tho introduction of the terms major second and minor second is explained in a note on
paeeS ; besides which it may be added that these terms are wanted for another purpose,
and in another connection, as the pupil advances.
CHAPTER XV
MELODICS. THE CHROMATIC SCALE.
$ CS. Between those tones of the scale which form the interval of a step, an
intermediate, or Chromatic* tone may be introduced: thus, intermediate or
chromatic tones may occur between 1 and 2. 2 and 3. 4 and .0. S and 6. 6 and 7 ;
but not between 3 and 4, and 7 and 8. because the intervals between these tones
are already half-steps, and these are the smallest practicable intervals
$ 69. Intermediate or chromatic tones are named numerically (relative pitch)
from one of the tones of the diatonic scale between which they occur, but with
the word Sharp or Flat, or a character called a shart (;) or a liat (S>) in connec-
tion, to distinguish them from the diatonic tones: thus, the intermediate tone
between one and two, if named from one, is called Sharp Ohe (|1)j and if
named from two, is called Flat Two (b2).f
The intermediate tones are also named alphabetically (absolute pitch) from one
of the letters between which they occur, with the word sharp or flat also in con-
nection : thus, the chromatic tone between C and D, if named from C, is called
C Sharp (C^) ; and if named from D, is called D Flat (Di>).
, 70. The note representing an intermediate or chromatic tone, is written on
the same degree of the staff as the note representing the tone from which it is
named : thus, sharp one is written on the same degree of the staff as one; rlat
two is written on the same degree as two, ccc.
$ 71. A scale of thirteen tones, including all the intermediate, or chromatic
tones, with twelve intervals of a half-step each, is called The Chromatic
Scale.
§ 72. The scale which has been Heretofore described may now be called The
Diatonic Scale.
Diatonic. — From two Greek words, signifying through the tunes, or from tone to tone.
* Chromatic— From a Greek word, signifying color. The intermediate, or chromatic
tones, having been formerly written with colored ink. The term may ai<o nave a figurative
signification, as chromatics in music, may be regarded asaualagous to coloring in painting.
f Sharp, in the technical use of the word, signifies higher : thus, the meaning of sharp one
is, higher than one. Flat signifies lower : thus, the meaning of flat tw is, lower than fire.
ELEMENTS OF VOCAL MUSIC.
11
Ascending
EXAMPLE.
The Chromatic Scale. Notes, Letters and Syltables.
|2, 3, 4, M, 5, |5, 6, #6,
D, D$, E, F, Ff, G, Gf, A, At,
Re, Ri, Mi, Fa, Fi, Sol, Si, La, Li,
Note. — Di is pronounced Di, Fi, Fe, &c.
C.
Do.
Descending.
6, b6, 5, b-5, 4, 3, b3, 2, b2, 1.
A, Ab, G, Gb, F, E, Eb, D, Db, C.
La, Le, Sol, Se, Fa, Mi, Me, Re, Re, Do.
Se is pronounced Sd, Le, Ld, &c.
§ 73. The sign of an intermediate or chromatic tone (if or b). belongs not only
5o the note before which it is placed, but also to all the following notes on the
same degree of the staff in the measure.
§ 74. The sign of a chromatic tone belongs to all the notes that follow it,
from measure to measure, when no intervening note occurs on another degree of
the staff.
§ 75. The sign of an intermediate, or chromatic tone (# or b), is cancelled or
annulled by a character called a Natural (£]).*
-;: The name of this character seems not to have been well chosen, since it tends to mislead
the mind of the pupil. It signifies, not that one sound is more natural than another, but
merely that the connection which has heretofore existed between a note and a sharp or flat
is now dissolved. The teacher is advised never to use the term naturcl in connection with
the names of the tones, or to speak of C natural, B natural, natural one, natural four, &c.;
but to say simply C, B, &c; or one, four, &c. The fact is, thatCJ is just as natural a tone
as C, and so of all the tones of the chromatic scale ; one is just as natural as another, and
a little child, who chooses the pitch of a song, is just as likely to commence with Cjf as
with C, or with Fj as with F, &c. The term natural applies not to the thing itself, but
to the mere sign of the thin:* ; not to a tone, but to the mere sign of a tone j hence, its
careless use often renders musical language obscuro and absurd.
CHAPTER XVI.
.DIATONIC INTERVALS.
§ 76. In addition to those intervals called steps and half-steps, belonging to the
scale in its regular progression, there are also other interva's occasioned by skip-
ping: as Seconds, Thirds, Fourths, Fifths, Sixths, Sevenths, and Octaves.
<j 77. Intervals are always reckoned from the lower tone upwards, unless
otherwise expressed.
DIATONIC INTERVALS.
Note.— Diatonic, because they are produced by skips in the diatonic scale.
$ 78. Two tones being on the same pitch are called Unison, or said to be in
Unison.
§ 79. The interval between 1 and 2, or 2 and 3, or between any tone and the
tone that is represented on the second degree of the staff, inclusive, above it, is
called a Second.
$ SO. The interval between 1 and 3, or between 2 and 4, or between any tone
and the tone that is represented on the third degree of the staff, inclusive, "above
it, is called a Third.
§ 81. The interval between 1 and 4, or between 2 and 5, is called a Fourth.
$ 82. The interval between 1 and 5, or between 2 and 6, is called a Fifth.
§ 83 The interval between 1 and 6, or between 2 and 7, is called a Sixth
§ 84. The interval between 1 and 7, or between 2 and 8, is called a Seventh.
$ 85. The interval between 1 and 8, or between 2 and 9, (or 2 of the next
series) is called an Octave.
CHAPTER XVII.
intervals, major and minor.
§ 86. Seconds.
1. A second consisting of a half-step, is a Minor Second.
2. A second consisting of a step, is a Major Second
$ 87. Thirds.
1. A third consisting of a step and a half-step, is Minor.
2. A third consisting of two steps, is Major.
12
ELEMENTS OF VOCAL MUSIC.
, 88. Fourth:
\ A fourth consisting of two steps, and one half-strp, is a Perfect Fourth.
2. A fourth consisting of three steps, is a Sharp Fourth.
S 89. Fifths. .
1. A tilth consisting of tioo steps and two half-steps, is a Flat Fifth.
2. A fifth consisting of three steps and a lialf-step, is a Perfect Fifth.
§ 90. Sixths.
►. A sixth consisting of thr»e st-ps an') two half-steps, is Minor.
2. A sixth consisting of four steps and a half-step, is Major.
T 91. Sevenths.
1. A seventh consisting of /bitr s/c/>s and two half-steps, is a Flat Seventh.
2. A seventh consisting of five steps and one half-^tep, is a Sharp Seventh.
$ 92. Octave — An Octave consists of five steps and two half-steps.
Note.— In aJJition to the intervals alreadv mentioned, there are others arising out of
the chromatic scale, but as they properly belong to the study of harmony, further notice
of them is omitted in this work.
CHAPTER XVIII.
transposition of the scale.
$ 93. Preliminary remark. — It will be borne in mind that the scale is a suc-
cession of sounds, irrespective of any definite pitch, but which sounds bear one
to another a fixed relation; this relation consisting in, or depending upon, the in-
tervals or differences of pitch between them. It will also be remembered that
letters represent the absolute pitch of sounds ; and that the pitch of each letter
is unalterably fixed.
§ 94. When the scale begins with C, or when C is taken as one, or as the pitch
of the scale, it is said to be in its Natural Position;* but the pitch may be
changed, and any other letter may be taken as one, in which case the scale is
said to be Transposed. Transposition consists in changing the pitch, or in
taking any other letter than C as one, or as the basis of the scale.
§ 95 The letter which is taken as one, is called the Key Letter, or Key
Note, or simply the Key. Thus, if the scale be in its natural position, with C
as one, is said to be in the Key of C. If its pitch be changed, and D be taken
* The term natural, as here used, has only reference to the characters by which the
idle is represented, n - 1 luelf, si'uco the ftralA i;;.->K ii Jwt as natural id any
-•Jnr ktv as it i? in C ^ rig"3 11 )
as one, it is' said to bs in the Key of D, and so on. By the key of C. is meant
that the scale is based on C, or that C is taken as one : bv the key of D, is rreant
that the scale is based on D, or that D is taken as one, and so on.
§ 96 In transposing the scale, the proper order of intervals, must be preserved.
Thus, in every key, the intervals must be as follows : between one and two, a
step ; between two and three, a step ; between three and four, a half-step; be-
tween four and live, a step ; between five and six, a. step ; between six and seven,
a step ; and between seven and eight, a half step.
7 97. The interval between one letter and another is fixed, and cannot be al-
tered. Thus, the interval is a step between C and D, a step between D and E. a
half-step between E and F, a step between F and G. a step between G and A, a
step between A and B, and a half-step between B and C.
§ 99. In the transposition of the scale, the proper order of intervals is pre-
served by the use of the intermediate (sharp or flat) tones: or, in other words,
in the transposition of the scale, it becomes necessary to omit certain tones be-
longing to the given key, or key from which the transposition is made, and to
take from the chromatic scale such other tones as may be requited to constitute
the new key, or to preserve the proper order of its intervals.*
ILLUSTRATION.
1 2 34 5 6 78 2
c eft d di e f f J g gi a a£ b c c£ d
k
<
i
4
i
5
i
6
i
7 8
Explanation. — The above diagram is designed to represent the chromatic scale, in which
er.ch interval is a half-step. The figures above, are intended to represent the scale in its
natural position (key of C), C as one. D as two, &c. The figures Mow, arc intended to rep-
resent the scale transposed into the key of D, D as one, E as two, Fj as three, tc.
It will be observed, that if D be one, E must be two, because the interval between one
and two must be a step ; F will not do for three, because the interval between E and F is
but a half-strp, where is, the interval between two and three must be a step ; F therefore is
omitted and Ff is taken for three. Between three and four, the interval must be a half-
strp : and the interval between FJ and G is a half-stt}i ; G, therefore, is Four. Between four
and five, the interval must be a strp. and the interval between G and A is a step ; A. there-
fore, is five. Between five and n.i, lh« interval must be a strp. and the interval between A
and B is a stqi ; B. therefore, is ;ix. Between six and seven, the interval must be a step ,•
but as the interval between B and C is but a half-step, C will not do for seven ; C| is turn)
* The difficulty, in transposition, cnisists in the transfer of the absolute pitch of tcfanit
to tb.t relative jUch cf th: scale.
ELEMENTS OF VOCAL MUSIC.
13
fore taKen foi sever, and the proper interval is thus obtained. Between seven and eight,
the interval must be a half-step, and the interval between Cjf and D is a lialf-slep; D, there-
fore IS EIGHT.
CHAPTER XIX.
TRANSPOSITION OF THE SCALE BY FIFTHS.
\ 99. First transposition of the scale by fifths: from C to G.
\ 100. To preserve the proper order of intervals between six and seven, and
between seven and eight in this transposition, it is necessary to take Fjf as seven
in the new key.
§ 101. The sign of Fjf (jf) is placed at the beginning of the staff, or immedi-
ately after the clef, and is called the Signature (sign) of the key. Thus, the
signature of the key of G, is One Sharp, or F#. The signature to the key of C
is said to be Natural.
EXAMPLE. Key or G.
-P
e :
\—»-
3i£
-*=v~-
1,
o
3.
4,
5, 6,
7, 8, 1,
2,
3,
4,
5,
6,
7,
8.
Oi
A,
BT
c,
D, E,
F§ O G,
Si, Do; Do,
A,
»l
0,
»T
Ei
»l
G.
Do,
Re,
Mi
Fa,
Sol, La,
Re,
Mi
Fa,
Sol,
La,
Si,
Do.
ILLUSTRATION.
step. step. step. step. step. step. step. step. step. step. step.
A-fi-
Z2ZI
22^|£
T
7 8
^^
-<S>-
3 4 *4 5
4*
m
Explanation.
step. step. step. step. step. -step. -step.-
13 3 4 5 6 7 8
-On the upper stall', in the above diagram, the scale is represented in the
Key of C. The distances of the notes, one from another, represent the diileren* intervals,
u steps and half-steps. On the lower staff G is taken as one, A as two, B as three, C as
four, D as five, E as six ; and thus far the intervals are n£ni. Bnt as the interval between
six and seven must he a step, it is seen at once, that F will not do for seven, because the in
terval between E and F, is but ahalf-step; it becomes necessary, therefore, to take the inter.
mediate tone. Fjf, for seven, and this gives the proper interval between six and seven, viz.:
a slep. The interval between Ff and G being a half-slip, G is taken as eight, and the scale
is complete in the key of G, thus —
% M
step. step. step. step. step. step. step.
G A BC D E F#G
1 2 3 4 5 6 7 S
Note. — No illustration of the transposition of the scale by diagrams, or which is in any
way presented to the eye, can be fully satisfactory, or cause this subject to be practically
understood. It can only be thoroughly taught by audible examples, or vocal or instru-
mental elucidations.
CHAPTER XX.
RELATION OF TONES. TONE OF TRANSPOSITION.
§ 102. Tones are said to be related as follows : if C be one, D is two, E is
three, &c; or, D is two, considered in respect to its relation to C as one; so also,
E is three, F is four, G is Jive, A is six, and B is seven.
And again : Cjj is sharp one, T>% is sharp two, Ff is sharp four, G% is sharp Jive,
and Af is sharp six, when considered in relation to C as one.
And again : ~D'o is flat two, Eb Is flat three, Gi> is flat Jive, Kh is fiat six, and Bb
is fiat seven, when considered in relation to C as one.
$ 103. The intermediate tone required in transposition, is called The Tonk of
Transposition, or {in written music) The Note of Transposition. Thus,
the tone or note of transposition between the keys of C and G is F£.
§ 104. It will be observed that in the foregoing transposition lrom C to G,
the pitch of the scale has been removed a fifth;* and that the intermediate tone
F#, or sharp four, has been found necessary to preserve the proper order of
the intervals ; hence the following rule : " Sharp four transposes the scalr a
'ifth ," or " The tone of transposition, between any key and. its fifth is sharp
four.''
• Or a fourth below
14
ELEMENTS OF VOCAL MUSIC.
CHAPTER XXI.
TlANSPOS.T,ON 07 THE BCAIS BY F.FTHS. CONTINUED.
4 105. Second transposition of the scale by fifths ; from G to D.
as°the sign of the key, or as the signature.
EXAMPLE. Key op D.
-0
1. 2,
D, E,
Do, Re,
3, 4, 5, 6, 7, 8,
FS G, A, B, CJj D,
Mi, Ka, Sol, La, Si, Do ;
Do, lie,
3, 4,
f3 o, ■
Mi, Fa, Sol, La, Si, Do.
7,
CJf D.
ILLUSTRATION.
13 3 4
N „ r \n explanation of the 6-OTe diagram is supposed to be unnecessary, as it would
be similar to that at S 101.
I 10S Third transposition of the scale by fifths, from D to A.
four to I). GJ, therefore, is the next sharp introduced.
Gj| is sharp
EXAMPLE. Key of A.
2 3 4 5
A ■ ci D i: ri c,i a
Do Re Mi Ka Sol La Si Do
§ 109. Fourth transposition of the scale by fifths; from A to E.
sharp four to A. D;, therefore is the next sharp.
EXAMPLE. Key of E.
Dj is
Re Mi Fa Sol
Do Re" Mi Fa Sol La Si
i 110. Fifth transposition by fifths ; from E to B. A; is sharp four to E
EXAMPLE. Key of B
(Same as Cp.)
^Eilg^
+-*
3 4 5 6 7 8
b cS dJ e ri gJ a? n
Do Re Mi Ka Sol La Si Do
p| q\ a; b
Do Re Mi Ka Sol La Si Do
UO lie mi rii wi n« «- —
§ 111. Sixth transposition by fifths; from B to Ff. EI is sharp four to B.
EXAMPLE. Kr.Y of FJ. (Same as Gb.l
t^ .-..*« 7 <« 1 2 S 4 5 6 7 8
Ffoi; A$B C3D|LiF«
Do IU Mi Ka S..1 La Si Do.
12 3 4 5
Fj( 6j| a| b cjt Dj e; f;
Do Re Mi Ka Sol La Si IX
ELEMENTS OF VOCAL MUSIC.
15
t 112. Seventh tidi.sposition by Jliths from Ff to C-j. Bjf is sharp four
toFJ.
U.
m.
EXAMPLE. Key of C\ 'Same as.Db.)
-*-o
z^zfz
s
Cjf Dj( E-f Ft G* A# B$ Cjf
Do lie Mi Fa Sol La Si Do
1 2 3 4 5 6 7 8
ciD$E$FJfGfAtB«c!|
Do Re Mi Fa Sol La Si Do
$ 113. Eighth transposition by fifths; from Cjf to Gjf.
(written thus : F^ST,) is sharp four to C|.
EXAMPLE. Key of G#. (Same as Ab.)
F Double Sharp
I
12345 678
GtAJfBJfcjDf EtFXGJf
Do lie Mi Fa Sol La Si Do
2 3 4 5 6 7 8.
:A8BjtcjD|E#FXG|
Do He Mi Fa Sol La Si Do
§ xl4. The scale may be still further transposed by fifths . to the key of DiS
with nine sharps (two double sharps); to the key of Ajt, with ten sharps (three
double sharps); to the key of Ejf, with eleven sharps (four double sharps) ; lo
the key of Bj}, with twelve sharps (five double sharps), and so on.
Note 1.— The key of B jf is the same to the car as the key of C. The diflcrence is not in
the thing itself, but meiely in the sign.
Notf. 2.— The keys beyond FJ (six sharps) are but seldom used, as the same variety may
be more easily obtained in transposition by flats. The keys beyond E (four sharps) are sel-
dom used in church music.
CHAPTER XXII.
TRANSPOSITION OF THE SCALE BY FOURTHS.
§ 11?. First transposition of the scale by fourths ; from C to F.
§ 116. To preserve the proper order of intervals between three and four, and
Detween/o«r and Jive in this transposition, it is necessary to take Bb as four in
the new k-jy. Bb is, therefore, the signature to the key of F.
EXAMPLE. Key op t
12 3 4 5 6
F G A Bb C D
Do Re Mi Fa Sol La
E F
Si Do
1 C 3 4 5 6
F G A Bb C D K F
Do Re Mi Fa Sol La Si Do
ILLUSTRATION.
1/
step. step, step, step. step. step. step. step. step. step. stop,.
->— G> =■
I32_5'-
-<S>-
1
3
-&-
zcr.
-&-
<-/ 12345678
Note. — An explanation of the above diagram would be so similar to that at §103, that it
is supposed to be unnecessary. It will be observed that Bb is taken for four, and not A#,
because the scale must always proceed from one letter to another ; AJf cannot follow A, in
the diatonic scale.
§ 117. It will be observed that, in the foregoisg transposition from C to F, the
pitch of the scale has been removed a fourth ,■* and the intermediate tone, Bb,
or flat seven, has been found necessary to preserve the proper order of the
interval. Hence the following rule: "Flat seven transposes the scale a fourth ;"
or, li The tone or note of transposition, between any key and its fourth is flat seven.
§ 118. Second transposition of the scale by fourths; from F to Bb.
$ 119. To preserve the proper order of intervals between three and four, and
between four and five in this transposition, it is necessary to take Eb as four in
the new key.
§ 120. The sign of Eb (b) is p'acett a little to the right of the previous flat
and the two fiats are taken as the signature.
* A fifth lielow.
fi
ELEMENTS OF VOCAL MUSIC.
t I
EXAMPLE. Kky of f>b.
_C„P
5=1K
6, 7, 8, 1, 2. 3, 4, 5, 6. 7, 6.
Bb C, D, Eb F, G, A, Bb, Bb C, D, Eb F, G, A, Bb.
Do, Re, Mi, Fa, Sol, La. Si, Do; Do, Re, Mi, Fa, Sol, La, Sj, Do.
i 121. Third transposition of the scale by fourths, from Bb to Eb. Ab is fiat
seven to Bb- Ab, therefore, is the next flat introduced.
EXAMPLE. Key of Eb.
B£EE
1— H-
~a~fL
B *
"»~p:
3 4 5.6 7
G Ab Bb C D
Do lie Mi Fa Sol La Si
Ep
Do
12 3 4 5 6 7 8
Eb F G Ab Bb C D F.b
Do lie Mi Fa Sol La Si Do
§ 122. Fourth transposition of the scale by fourths ; from Eb to Ab.
flat seven to Eb. Db, therefore is the next flat introduced.
EXAMPLE. Key of Ab.
Db is
12345678 1234 5 678
Ab Bb C Db Eb F G Ab Ab Bb C Db Eb F O Ab
Do Re Mi Fa Sol La Si Do Do Re Mi Fa Sol La Si Do
$ 123. Fifth transposition by fourths ; from Ab to Dp. Gb is flat seven
to Ab-.
EXAMPLE. Key of Dp. (Same as Cf.)
■K^g
12 3 4 5 6 7
Db F.b F Gb Ab lib O Db
Do Re Mi Fa Sol La Si Do
12 3 4 5 6 7 8
Db Eb F Gb Ab Bb C Db
Do Re Mi Fa Sol La Si Do
$ 124. Sixth transposition by fourths; from Db to G? C? is flat seven to Db
EXAMPLE. Ki-vofGp. (Same as F^.)
-*-- - - 0 P ■
m^^^mm^m^
12 3 4 5 6 7 8
<-;? a? b? cb Db Eb F ah
■ .,■ Mi Fa Sol La Si Do
1 2 3 4 5 6 7 e
r.j Ab ep cb Db «b P Bb
La Si Do.
to G
125. Seventh transposition by fourths; from Gp to C-. Fp is flat seven
EXAMPLE. Key of Cb. (Same as B.)
-^^Pfe^==EE
?p-
2 3 4 5 6 7 8
cb Db tb Fb cb a? ep cb
Do Re Mi Fa Sol La Si Do
12 3 4 5 6 7 8
cb Db Bb Pb gpa? Bbcb
Do Re Mi Fa Sol La Si Do
$ 126 Eighth transposition by fourths; from Cb to Fp. B Double Flat
(written Br.-,) is flat seven toCb.
EXAMPLE. Key of Fp. (Same as E.)
#'=3j>5ee
12 3 4 5 6
Fb Gb Ab Bbb cb Db
Do He Mi Fa Sol La
7 6
Eb Fb
Si Do
12 3 4 5 6 7 8
:pGp Ab eppcpDpe? rb
Si Do
§ 127. The scale may be still further transposed bv fourths : to the key of I
with nine Hats (two double flats); to the key of Ebb, with ten fiats (three
double flats) ; to the key of Abb, with eleven flats (four double flats) ; to the
key of Dbb, with twelve flats (five double flats), and so on.
Notk I.— The key of Dbb is the same to the car as the key of C. The difference is not a.
the thins itself, but merely in the sign.
Note a.— The kevs beyond Gj, (six flats) are but seldom used, as the same variety may
be more easily obtained ia transpositions by sharps. The keys beyond Ab (four flatware eel
•lom used in church music.
ELEMENTS OF VOCAL MUSIC.
17
CHAPTER XXIII.
MINOR SCALE.
$ .23. In addition to the scale as explained at Chapter XI, there is another di-
atonic scale, differing from that in respect to its intervals, called the Minor
Scale. The former scale is called Major.
§ 129. The intervals in the minor scale are as follows : between one and two
a step's between two and three, a half-step ; between three and four a step ; be-
tween four and five, a step; between five and six, a half-step; between six and
seven, a step and a half-step ; and between seven and eight, a half-step.
EXAMPLE. Minor Scale.
Bh
^
1
5
E
Mi
6
p
Fa
7 3
G* A
Si La
1
12 3 4
A B C D
La Si Do Re
COMPARATIVE VIEW OF THE MAJOR AND MINOR SCALES
A
La
2 3
Gif F
Si Fa
4
B
Mi
6
D C B
Re Do Si
A
La
C gtep.
1-
D
step.
■E'step. £ step.
Do
Re
-3-
Mi
-4-.
Fa
G
-5-
Sol
step.
A
-6-
B
U
step. J,s<<p.
.7 8
La Si Do
A step, & step. ^ step. -I
1 -2 3
La Si Do
E,
step. ■& step. -E step & I step, "fl step. A
.4 5 6 7- 8
Re Mi Fa Si La
Note. — There are also other forms of the minor scale, but it is not considered necessary
to explain them since it can be of no practical importance to the singer ; the person who
can sing tlie scale in the form here given, or rather who has made some little progress in
the practice of the chromatic scale, will find no difficulty in any form of the minor scale.
$ ] 30. The minor scale, in its first or natural position, commences with A, or A
is taken as one, as in the above example.
§ 131. When the major and minor scales have the same signature, they are
said to be related. Thus the key of C major is the relative major to A minor ;
tnd the key of A minor is the relative minor to C major.
(2.)
§ 132. The relative minor to any major key is found a sixth above it, or is
based upon its sixth; and the relative major to any minor key is found a third
abov e it, or is based upon its third.
§ 133. The letters and syllables correspond in the major and its relative minor
Thus, the syllable Do, is applied to C in both cases, although it is one in tlu»
major, and three in the minor scale, &c.
DYNAMICS.
CHAPTER XXIV.
DYNAMIC DEGREES.
$ 134. A tone which is neither loud nor soft, is a medium, or middle tone; it is
called Mezzo (pronounced met-zo, or mate-zo), and is marked m.
§ 135. A tone somewhat softer than metzo, is a soft tone; it is called Piano
(pronounced pee-dn-o), and is marked^?.
§ 136. A tone somewhat louder than metzo is a loud tone ; it is called Fortc
ind marked/.
§ 137. A tone somewhat softer than piano, yet so loud as to be a good audi-
ble sound, is called Pianissimo ( pronounced pee-an-is-si-mo) , and is marked ^ja.
$ 138. A tone somewhat louder than forte, but not so loud as to degenerate
into a scream, is called Fortissimo, and is marked^.
Note.— Mezzo, Piano and Forte, are Italian words, which, by long usage, have becomo
technical terms in music, and are used by all nations.
CHAPTER XXV.
dynamic tones.
§ 139. Organ Tone. — a tone commenced, continued, and ended, with an equal
degree of power, is called an Organ Tone. (■ ~ )
$ 140. Crescendo. — A tone commencing soft, and gradually increasing to
loud, is called Crescendo. {Cres. or -«=^:)
$14.1. Diminuendo. — A tone commencing loud and gradually diminishing to
•oft, is called Djmihuendo. {Dim. or ^=-"
io
{ 142. Swell. — An union of the .rescendo and diminuendo, produces the
Swelling Tone, or Swell. (-=CTJ==-)
* 143. Pressure Tone. — A very sudden crescendo, or swell, is called a Press-
..itE Tone. (< or O)
I) 144. Expulsive or Explosive Tone. — A tone which is struck suddenly
and forcibly, and instantly diminished, is called an Expulsive, or Explosive
Tone; also Forzando, or Sforzando. ( > or sf.fz.)
Note.— The rroper application of dynamics, constitutes the form of musical expression.
ELEMENTS OF VOCAL MUSIC.
CHAPTER XXVI.
miscellaneous signs or characters.
i) 145. Passing Notes. — Notes of comparatively small size are often used,
called Passing Notes.
Xote.— Passing notes are used to represent tones that do not essentially belong to a mel-
ody, l"it which are regarded as tasteful or ornamental.
T 140. Appoggiature. — When a passing note precedes an essential note, on
an accented part of the measure, it is called an Appoggiature.
$ i47. After Note. — When a passing note follows an essential note, on an
unaccented part of a measure, it is called an After Note.
EXAMPLES.
appoggiature.
after note.
Written.
Performed;
jsi:
WT~WT \7r~W
§ 148. Shake or Trill. — The Shake (tr) consists of a rapid alternation of tw«
sounds. It should be cultivated by those who would acquire smoothness and
flexibility of voice.
EXAMPLE.
SHAKE OR TRILL REPRESENTED.
Performed. Or,
$ 119. Turn. — The Turn consists of a principal sound, with the sounds next
above and below it. It should be performed with care and neatness, but not too
quick. Its sign is (*").
Written.
§ 150. Legato. — When a passage is performed in a close, smooth, and gliding
manner, it is said to be Legato.
EXAMPLE.
$ 151. Staccato. — When a passage is performed in a pointed, digTinrt, acd
articulate manner, it is said to be Staccato. 1 1 1
ELEMENTS OF VOCAL MUSIC
19
Written.
EXAMPLES.
Performed.
++
§ 152. Tie. — A character called a Tie, is used toshow how many notes belong
to one syllable. It is also used to denote the legato style. ^- ->
$ 153. Pause. — When the duration of a tone is to be prolonged beyond its usual
time, a character called a Pause is placed over the note by which it is represented.
4 154. Double Bar. — A Double Bar
music, or of a line of the poetry.
§ 155. Brace. — A Brace is used to connect the staves on which
$ 156. Direct. — The Direct (-W1) is sometimes used at the end of a staff, to
show on what degree of the following staff the first note is placed.
shows the end of a strain of
the different
CHAPTER XXVII.
EXPRESSION OF WORDS, AND MISCELLANEOUS DIRECTIONS.
$ 157. Tonic Sounds. — The tonic (vowel) sounds only should be sustained in
singing. It is on these a'one that the voice should dwell. They should be de-
livered with accuracy, and carefully prolonged, without beingchanged. To insure
this, the vocal organs should be immovably fixed from the beginning to the end
of a tone ; not the least change should be allowed in the position of the throat,
mouth, or tongue ; nor indeed of the head or body.
It is a very common fault for singers to change the tonic sounds, and dwell not on the
rakcat but on tlie vamsn or closing sound ; thus a becomes e ; o, oo; Sic. In the word "great,"
W example, instead of dwelling steadily upon the tonic sound n, the singer changes it to
;, and that which should be grea - - - - t, becomes grea ....... t ; so also in the syllable
applied to 'iVo Jet i' be Ra - - - • e, and not Ra - e -
§ 158. Consonants. — Articulation is essentially dependent on the consonants
These should, therefore, receive very particular attention, and be delivered
quickly, smartly, distinctly, and with the greatest precision. The neglect of a
careful utterance of the consonants, is often a principal cause of indistinctness in
singing.
§ 159. Accent. — Accent is as important in singing as in speaking. If the
poetry be regular in its construction, and is properly adapted to the music, the
accentuation of the two will correspond. If otherwise, that of the former must,
in general, be attended to, and the musical accent made to conform to it
§ 160. Pause. — Pauses, especially rhetorical pauses, are essential to good
singing. In genera!, when necessary, they must be obtained, not by an inter-
ruption of rhythmic divisions, as is the case in the use of the character called a
pause, but by shortening the preceding note, thus :
Written. Sung.
Joy to tho world, the Lord is come ! Joy to the world, the Lord is come ?
§ 161. Emphasis. — Emphatic words should be given with greater or less pow-
er, often with sf., and without reference to rhythmic accent. In common psalmo-
dy its application is difficult, from the frequent want of a proper adaptation of the
poetry to the music, or rhythmic appropriateness of one to the other. The effect
of emphasis may often be increased by a momentary pause. (See §160)
§ 162. Opening of the Mouth. — The mouth should, in general, be free y
opened. It is very common in singers not to open their mouth sufficiently wide
to give a free and full passage to the sound.
§ 163. Taking Breath. — (1) In taking breath make as little noise as possi-
ble.
(2) Let it be done quickly, and without any change in the position of the
mouth.
(3) Never breathe between the different syllables of the same word.
(4) When several notes come together, to one syllable, do not breathe be-
tween them, except in long running passages, or divisions where it cannot be
avoided.
(5) Words which are intimately connected in sense, as the article and itsnoua
or the preposition and its noun, should not be separated by taking breath.
20
ELEMENTS OF VOI'AL MUSI':.
(6) The practice of breathing at a particular part of the measure, or of
rhythmic breathing, should be avoided.
(7) Take breath no more frequently than is necessary.
(S) Exercises on the explosive tone {ft. or */.) will assist in acquiring the art
of taking breath.
$ 164. Quality- of Tone. — The most essential qualities of a good tone, are
purity, fullness, Jirmness, and certainty.
(1) A tone is pure, or clear, when no extraneous sound mixes with it; im-
pure, when something like a hissing, screaming, or huskiness is heard. Impu-
rity is often produced by an improper position of the mouth.
(2) A tone is full, when it is delivered in a free and unconstrained use of the
appropriate organs of sound. A tone is faint, when it is produced by a careless
or negligent use of the organs.
(3 and 4) A tone is firm and certain, which, being correctly given, is held
steadily, without change : and which seems to be perfectly under the control of
the performer. Hence, the following are faults, viz : —
(1) Striking below the proper sound and sliding up to it, as from five to
tight, &.c.
(2) A wavering, or trembling of the voice.
(3) A change just at the close of the tone, produced by a careless relaxation of
the organs, which should always be held firm and immovable in their proper po-
sition, until the sound ceases.
{ 165. To correct faults. — Whenever the teacher discovers a fault, let him
first imitate it himself, and afteiwards give the true style of performance; then
let him require the pupil to imitate both the bad and the good example. It is not
sufficient for the teacher to say that a certain fault exists, he must actually point
it out, or exhibit it by his own performance, and this over and over again, until
the pupil obtains a clear perception of it, and knows both how to produce it,
and how to avoid it.
$ 166. In all vocal performances, attend to the spirit of the words. Enter
into those emotions which are expressed by the poetry. Avoid a dull, heavy,
unmeaning, unfeeling, automaton-like style of performance, and cultivate that
which comes from the heart, which has some soul, some meaning, and which is
appropriate to the words and music. The composer does but furnish the mere
skeleton, and it depends upon the performer to say whether that inanimate form
shall live, and breathe, and move, so as to take deep hold of the affections and
control the feelings of others, thus producing the effects for which music is de-
signed, and for which it is so admirably adapted.
NOTE. — Lablache, in his excellent system, has the following remarks:
On the Manner of Exercising the Voice. — Experience has shown that
in order to form the voice and equalize it, the pupil should sing much on the
vowel sound ii, and a little also, but at a later period, on the sound a. This is
called vocalizing.
Vocalizing — by laying bare, so to speak, all the faults of the voice, which
would be in par; by the employment of words — becomes for this rea-
son the most efficacious means of combatinr; them.
The conditions of good vocalizing are 1st, to know how to hold the mouth
well ; 2d, to breathe well ; 3d, to form and send forth the sounds of the different
registers; 4th, to pass insensibly from the sounds of one register to those of
another; 5th, to attack and connect sounds for forming successions. We proceed
to devote a special section to the analysis of each of these conditions.
On the Position of the Mouth. — The mouth should be kept smiling,
without distortion, and opened sufficiently to admit the end of the forefinger.
The jaws should remain not always perpendicular one over the other, as has
been wrongly said, but in the position which is most natural for the conforma-
tion of the pupil's mouth.
The tongue should be suspended, and placed in such a manner as to leave the
greatest possible open space.
On the Respiration. — A long and easy breathing is one of the most essen-
tial qualities for the singer. Hence we persuade the pupil to practice holding his
brealh lor a Ions time, even without singing. In order to take in the breath, he
should be careful to contract the abdomen, and to make the chest rise and swell
as much as possible. He should remain in this position as long as he can. and
then he should let the breath flow out very slowly, until his abdomen ar.d his
chest have regained their natural position. Afterwards he should begin again,
observing that the month is moderately open, as well in drawing in the air,
as in pressing it out again. 15y this exercise, lungs of a moderate capacity will
become able to furnish a well-pitched sound which will last from 18 to 20
seconds.
ILLUSTRATIONS AND PRACTICAL EXERCISES.
21
hot*. — The following exercises are gradually progressive. They have heen
prepared with reference to such persons as are beginning to learn to read music,
or to sing by note or from wiitten characters, whether children or adults. They
are intended particularly for singing schools, and are equally well adapted to the
wants of the teacher who pursues either the inductive or preceptive method of
teaching, or who unites in his practice both of these methods, according to the
circumstances of his class. They are designed both as illustrations, and also as
practical exercises to be sung by the pupils as they proce'.d from step to step in
their work. Previous illustrations or exercises of a more simple character may
bo required, but these every good teacher will be able to write upon the board at
the instant when they are wanted.
B it there is another important view in which we desire to present these les-
gjns. They are so arranged as to constitute in themselves, a complete practical
r.ystem or method of teaching, independent of the investigations of the inductive
teacher on the one hand, and of the a priori rules of the preceptive teacher on
<<ie other, and they may be pursued without reference to the axioms, explanations
or definitions laid down in this or any other book. The class, therefore, which
is reudy to begin to learn to read music, may begin at once in the use of these
lessons. This mode of teaching, which will be new to many, (and it may be
made an excellent one,) we will attempt very briefly to describe.
The class being ready to receive instruction, the first step on the part of the
teacher may be to write on the board the first lesson, or a similar one. This
being done, he calls the attention of the class, and pointing to the notes, he sings
do, do, re, re, or as the lesson may be. After a few repetitions so that he may
be perfectly understood, he requires the class to do the same thing, or to sing the
lesson as he has done, he pointing to the notes as before; and this without any
naming of characters, or pointing out their use, or previous explanations whatever.
After a few lessons in t^is way from the board, he may proceed in a similar man-
ner in the use of the printed exercises contained in the book ; gradually and as it
were, incidentally explaining the uses of different characters, and giving them
their appropriate names. This describing and naming of characters, however,
should always be an after and not afore work; it should not receive attention
until the practical part which has preceded it is quite well understood; and even
then it is never to be regarded as a very important part of the teacher's work,
which should consist mainly in teaching his pupils to sing the lessoti ; they
looking at the noles or characters while they sing ; for by looking they will learn.
Let this course be gradually pursued, and it will be found one of the shortest and
most certain singing school methods.
We do not mean, however, to recommend it to the neglect of those before
mentioned. The best teacher will not be confined to any particular previously
laid out plan, but will from the different methods make out one of his own ; no*,
indeed one that is stereotyped and unalterable, hut one that he may modify and
adapt to the varying wants and circumstances of his different classes.
J3nt whatever may be the method of the teacher, if he teaches the commonly
received principles of music, and of musical notation, he will find the following
lessons adapted to his purpose; since these universally received principles of
music, are here gradually developed and illustrated.
LESSONS ON THE SCALE.
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2 2
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1 1
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1
f f
3 2
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22
6.,
PRACTICAL EXERCISES.
eS?^
I 2
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3 4
7
b a g f
7 6
g g
§Hfp
a b
12 3 2 3 4 5 55 65 67
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LESSONS ON THE SCALE IN TWO PARTS. ROUNDS.
17. ccd ede Seed cdc
BH--I '
ii^fe^ni
3 2
ill
^
3 3
i a i
• We have sometimes used the G and sometimes the F clef in these lessons, for all the pupils should be equally familiar with both
PRACTICAL EXERCISES.
23
18. c
g-tiimE^zf^
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1 J
19. c d
3 3
2 e f
4 3
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2
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1 2
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24.
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29.
3 4
THE SCALE IN TRIPLE MEASURE.
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PRACTICAL EXERCIl
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LESSONS IN WHICH THE TONES SUCCEED EACH OTHER, NOT
ACCORDING TO THEIR ORDER IN THE SCALE, BUT BY SKIPS.
34. 1 and 3.
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43. 1, 3, 5 S 7 ana 4.
PRACTICAL EXERCISES.
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EXTENDED SCALE
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PRACTICAL EXERCISES.
116.
31
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113. ROUND IN THREE PARTS. 2
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Sal-va-tion, sal-va-tion be - longeth to the Lord, And thy blessing, thy
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blessing is a-mong thy people
114.
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Hal-le-lu-jah, Hal-le- lu- jah, A - men,
ROUND FOR FOUR VOICES.
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Let us endeavor, To show that whenever We join in a song, We keep time tojether.
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War-ble for us, ech- o sweet, ech- o sweet, Softly now our songs repeat,
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' Gen- tlo ech - o, wake from sleep. Gen- tie ech- 0, clear and deep
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121.
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PRACTICAL EXERCISES.
129, ROUND IN THREE PARTS.
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1. Come and sing a mer - ry song, Wake the cheerful glee,
2. En - vy, an - ger, hence a - way, E - vil passions flee ;
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Now the joy -ons tones pro-long, Hap-py, hap - py we ;)
Why should we in - dulge them, say, Why should you or me? J
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all be mer-ry,
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1. How I love to see thoe,
3. Sweetly tnou re • cll-est
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Gol- den eve - ning sun,
Childhood's joy- ous days.
EXERCISES.
35
How I love to see .
Hours when I so fond
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thee, When the day is done.
- ly Watched thy eve - ning blaze.
ROUND FOR FOUR VOICES.
I^^llplia^iiigipi
Ev- er blooming, ev - er gay, We welcome thee, Thou lovely May.
1^2. ROUND FOR THREE VOICES. 2
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By the riv - er oi' Bab - y - Ion, There we sat down ;
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ROUND FOR FOUR VOICES.
113. 2 3 4 German.
I Day is gone, Night is come, When the day of life is flown, May heaven be our home
36
144
PRACTICAL EXERCISES.
ROUND FOR THREE VOICES. 2
ROUND FOR FOUR VOICES
2
144 ROUND FOR THKJSE TUitw. * j g 2 *
° The Lord will corrvfort, will com-fort Zi - on, The Lord will | tT T*e sun is hi„h)the shadows fly, The west Ls clear and bright, The
)mfort, will comfort Zi- on, will comfort, will comfort, will cohort Zion
145.
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149.
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152. Four parts.
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MISCELLANEOUS EXERCISES.
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Ye na- tions of the earth, Ex - alt the heavenly King ; With
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mel - o - dy and mirth, Je - ho - vah's prais- es sing.
153. ROUND FOR THREE VOICES. German.
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Now to all a kind good night, Sweetly sleep till morning light ; Till
Good night! To all a kind good night! To all good night !
P
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Good night ! Time soun Js its evening call ; Sweet rest descend on all, on all ! Good night !
155.
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-•zzjtri-cr_
Sing we now our mom ing song, VvTe have sung it oft and long ;
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Yet ;tis e - ven fresh and new, As the pearl- y drops of dew.
ROUND FOR THREE VOICES. German.
3.57. fc 2
How sweet to be roaming, When summer is blooming, Thro' woodland and grove, Thro'
(woodland and grove.
' niing, Thro woodland anr" -
(woodl
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How sweet to be roaming, When summer is blooming, Thro woodland and grove, Thro'
(woodland and grove.
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How sweet, how sw»et, When summer is coming, Thro" woodland and grove. Thro' wood.
! and grove.
2,58 From Haydn.
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163.
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SYNCOPATION.
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W.tane, welcome, lovely .pring.Ume, Blestand bl.s.ing, kind ami ft...
166.
Andante
Sabbatiki.
D. C
Youth de - lighting, Age in - vit-ing ; Heart and voice we give to thee .
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PRACTICAL EXERCISES.
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171.
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P. Winter.
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PRACTICAL EXERCISES.
P. WlKTEE.
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THE ACADEMY VOCALIST.
Moderate. — Solo.
THE INVITATION.
y.
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i£
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1. Come and join us, dear companions, Come and join our hap-py throng ; Here we'll blend our hearts and voi - ces In the dear de-lights of song.
2. Joy is hov'-ring o'er the val - ley, Rushing in the wa-ter-falls ; Joy in light-ed halls is beam-ing And with-in our cir-cle calls.
i±
Chorus.
I
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Yes, we'll come and join the cho- rus; Yes, we'll swell the hap-py throng ; Here we'll blend our hearts and voi - ces In the dear de-lights of song.
SE
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Yes, we'll come and join the cho - rus ; Yes, we'll swell the hap-py throng ; Here we'll blend our hearts and voi - ces In the dear de-lights of song.
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50
Moderate
i-^jL^j^r^-^
THE DAYLIGHT CUV
/l-rsished by W. B. Bradbury.
■=■■
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r-
1. The day-light dawns, the night is s'.ow-ly fad - ing, And lies all faint - ing on the dew - y earth. From sleep .
2. This life, my God, flows from thy dai-ly boun - ty, And we would hold it with a child-like trust! We would .
3. But let us with de - termined will and pur - pose To thee de - vote the gift so free - ly given. And
may
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From sleep and dark . ness
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on the dew - y earth. Ftom lleep
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and
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... not call it 1
] . . . thy spir - it, s
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jright and
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1
fresh- ly
sad, or
ev - er
•
ris - ing, The world,
fleet - ing, Nor spend
pres - ent, Di - rect
the
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our
world a - wa-kens
trea - sures. treasures
path, our path, and
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to a
on frail,
point the
1 1
new • er birth,
fleet • ing dust,
way to heaven.
1 i
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bright and fresh - ly
ris lag. The wotM
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Sodcrato
THE LAST KOSE OF SUMMER
Old Melodi
51
o
1. 'Tis the last rose of sum-mer, Left bloom-ing a - lone, All her love - ly com- pan-ions Are fad - ed and gone;
2. I'll not leave thee, thou lone one, To pine on the stem, Since the love - ly are sleep-ing, Go sleep thou with them ;
St
N^1
^> -N
So
soon may I
fol - low When friendships de
^S
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3
35^=3;
is
"•■ "7-i
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And from love's shin-ing cir - cle The gems drop a - way !
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No flower of her kin - dred, No rose - bud is
Thus kind - ly I scat - ter Thy leaves o'er the
nigh,
bed
To re - fleet back her im - age Or give sigh for sigh.
Where thy mates of the gar -den Lie scent -less and dead.
0
ffi3E35
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When true hearts lie with-er'd And fond ones are flown,
1—3— -3333^34-43^
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1
Oh, who would in - hab - it This bleak world a - lone 1
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52
Allegretto.
LOLO.
i^^w^muimmm^i
Z=S* N
Masv
lit time.
/'
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I love it. I love it, the laugh of a child, Now rip-pling and gen - tie, now mer-ryand wild: It rings on the air with its
1st time.
m^ni./Fttrfi-trn sui^i-^^m-ftnf^^^^
I love it, I love it, the laugh of a child, Now rip-pling and gen - tie, now mer-ryand wild: It rings on the air with itj
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in-no-cent gush, Like the trill of a bird at the twilight's soft hush ; It floats on the breeze like the tones of a bell, Or the mu-sic that
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in-no-cent gush, Like the trill of a bird at the twilight's soft hush; It floats on the breeze like the tones of a bell, Or the mu-sic that
S
LOLO.
53
D. C. 2nd time.
Mi?;
0
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Egg EBeESg^g ^^=EB^^E^^F^^^E
dwells in the heart. of a shell. O the laugh of a child, so wild and so free, Is the mer - ri - est sound in the
D^ C. 2nd time.
m
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dwells in the heart of a shell. 0 the laugh of a child, so wild and so free, Is the mer - ri - est sound in the
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world for me ; The laugh of a child, so wild and so free, Is the mer - ri - est sound in the world for me.
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world for me , The laugh of a child, so wild and so free, Is the mer - ri - est sound in the world for me.
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Allegretto.
THE SUMMER DAYS ARE COMING.
Je/frets.
— =*=— -0- '-• &
zk-_L-=^z
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4 j J-\J . *
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Fine.
1. The sum- mer days are com-ing, The bios- soms deck the bough; The bees are gai - ly humming. And the birds are sing ing now:
reign is near - ly o - ver, The spring is on the wane, O haste thee, gen -tie sum-mer, To our plea- sant land a -gain!
2. The min- strel of the moon-light, The love- lorn night- in- gale, Has sung his month of mu-sic To the rose-queen of the vale;
sum-mer days are com ing, The bios- soms deck the bough, The bees are gai - ly humming, And the birds are sing- ing now!
3. We'll rise and hail thee ear - ly, Be- fore the sun hath dried The dew-drops that will spar- kle, On the green hedge by our side;
sum-mer days are com-ing, The bios - soms deck the bough, The bees are gai - ly humming, And the birds are sing- ing now.
- '■%'• ,— e • 9 c !Vi— t 1 » »-
etc £ r r !-£ f C 1 r ; F^Fh e IT^p
itjv
D..C. ■#
We have had our May-day garlands, We have crowned our May-day Queen, With a cor- o - net of ros- es. Set in leaves of brightest green. But her
And what though he be si - lent, As the night «omes slowly on ! We'll have dances on the greensward, To sweet music of our own! O, the
^^^ga^ar^^^^^^^^^
, 0
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And when the blaze of noon-day Glares up - on the thirsty flowers, We will seek the welcome co-vert Of our jas-mine shaded bowers ! 0, the
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• From "Bradbury '» Alpine Glac Singer, " by j-ci mission.
Andante
OFT IN THE STILLY NIGHT
Old Melody. **
Fine.
w^m^m
Bv
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n fcnzzEzn
1. Oft in the stil-ly night, Ere slumber's chains have bound me, Fond memory brings the light Of oth-er days a- round me;
,_^-=ggS-l/_[-t-^p=1__q_< [_ — gq.jLi...a,\_.^-JL_ -g-g-v^-r-gs -*==j--^
2. When I re- member all The friends so linked to - geth - er, I've seen a - round me fall Like leaves in win - trv wea - ther;
era
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The smiles, the tears of childhood's years, The words of love then spok- en, The eyes that shone, now dimmed and gone, The cheerful heart now bro - ken.
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I feel like one who treads a- lone Some ban-qnet hall de - sert - ed, WhiSse lights arc fled, whose garlands dead, And all but he de - part - ed.
EE^I^EteS
^Lzzaziezr.
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HS
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• Substitute "Thm " for " Oft " ia D. C
MY ARE, MY TREMBLING LYRE.
ARRANGED FROM C. KeLLEK.
. „„. olOT; soft - ly o'er the wea - ry
And
A- wake, my trembling lyre, On evenings quivering
breez- es, And let
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thy sil - very mu - sic Steal soft - ly o er
the wea - ry And
-i r r- *-
. iv. :Ti!l lost in heavenly
Through memory
forms of beau ry, &»-.
tf
4S
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AWAKE, MY TREMBLING LYRE, anncinocd.:
S-r-
tf i N j^E -Z^ E^^feEE^ ^E^f±^= zlEE^=g^ ^=^Lc.
rap - ture, The eye shall see the glo - ry, The ear shall hear the mu - sic, Aye, the mu - sic of the blest Then
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3:
P^^^pl^^pg§^lli
rap - ture, The eye sh ll see the glo - ry, The ear shall hear the mu - sic, Aye, the mu - sic of the blestT Then
5
-a- -s
Dim.
-0 «-tJ_ —«—'-«»-
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mur - mur, sweet lyre, And let thy sil - very mu - sic Steal soft - ly o'er the wea- ry And soothe their souls to rest-
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mur - mur. sweet lyre, And let thy sil - very mu - sic Steal soft - ly o'er the wea- ry And soothe their souls to rest.
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CANON FOR THE MONTH OF JUNE.
A. VoiuT.
m
•=ZL--=^=
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1
"june, love-ly June, now beau - ti - fies the ground, The notes of the Cuck-oo thro' the glad earth re-sound;
2d Voice.
: --
l-±L
3d Voice.
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June, love - ly June, now beau-ti - fies the ground.
The notes of the Cuck-oo thro' the
=£
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June, love - ly June,
now beau-ti- fies the ground,
The
HE
June, love - ly June,
— i-jpF — ft i i i 1 1 ' i "| if i '
now beau - ti - fies the ground, The notes of the Cuck - oo thro' the glad earth
&
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earth re - sound;
June,
love-ly June, now beau-ti -fies the ground, The notes of the
now beau - ti - fies the
Z^cs of the Cuck-oo thro' the glad earth re - sound ; June, love-ly June,
• From " Firesid* Harmony," by permission.
CANON FOR THE MONTH OF JUNE. (Concluded.)
59
Ooda
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*-
sound,
glad earth re - sound,
■ —1 -j ^-L# -L -p p-
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Sill
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glad earth re-sound, Cuck-oo, Cuck - oo, Cuck - oo, thro' the glad earth re-sound.
Coda.
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Cuck- oo thro' the glad earth re - sound,
b I — a a ?~r»"
glad earth re-sound, Cuek-oo, Cuck-oo, Cuck-oo thro' the glad earth re-sound.
Coda.
iz»:
ground,
3S
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II
7T "^ ^
The notes of the Cuck-oo thro' the glad earth re - sound, Cuck- oo, Cuck - oo, Cuck- oo, thro' the glad earth re - sound.
Allegretto.
THE GREENWOOD TREE.
£
r\=t
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Arranged from Nelson.
*
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1. Here, un - der the leaf - y green - wood tree, I pass the noon - tide hour, And hap - pi - er far am
J.
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2. The but - ter - fly sports his gold • m wing, A sing - ing stream runs by, And ma - ny a
bird that
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60
THE GREENWOOD TKEE. (Concluded.)
^^m
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->
"JKZZ3*"
=^r
--
than he, AVho seeks but the court - ]y bower; For near
grflws the wild while rose, A
\ rf K. , J
hail'd the spring Still greet - eth the sum - mer sky;
For paint - ed halls and pal - ace walls 1
'Jr-
m
m W-0 f:
£==*
m 4 i ^_
bright sky beams a
bove,
And up - ward springs the lark, who sings The tru - est notes of
love.
3
- \
-jd 1--I — «• V i V| r-
HE
V
^
n
care not, whilst for
jr -»- -w -w 0- a-^j0
Dear Xa - ture yields her smil - ing fields. And the shad - y greet. - wood tree.
1*4 F
s
-izrf-
Andante — Dolce.
ERIN IS MY HOME
m=m?
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Bohemian Melody
des. ~=- 7)
"TZfc: — — r-m — 1+-«
61
1. Oh, I have roamed in rna - ny lands, \nd ma - ny friends I've met, Not one fair scene or kind - ly smile Can
V „__, «^_ V , M.. » Cres
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2. If Eng - land were my place of birth, I'd love her tran-quil shore, If bon - ny Scot - land were my home, Her
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this fond ' heart for - get ; But I'll con - fess I am con - tent, No more I wish to roam — Oh, steer my bark to E - rin's
fe: —r=-t— i ! — — \ — \ — \ — ta — i>s 1 •£-
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monn-tains I'd a - dore ; Tho' plea - sant days in both I pass,
I dream of days to come — Oh, steer my bark to E - rin's
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ERIN IS MI HOME. (Concluded.'-
&
BE5
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isle,
^^
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t. P .ara
For E - rin is my
hor.ie :
ttEE^=j
-
Oh steer tny bark for E - rin'fl isle, For E - rin is my
■n Ritard.
^i^S^i^^fe£^
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SABBATH BELLS.
Moderate
Arranged from Rawi.dxs.
^s
3. Let these words thy faith in
Mu - sic on the
re) - come thee, Child of toil, with
"cr
V. -^ -: — =f
When thon kneel'st to
heaven in prayer. Ask what - e'er thy
£
t=±£
=t
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jc
SABBATH BELLS. (Concluded.)
63
night air steal - ing, Hath not sweet - er
what de - vo - tion Shouldst thou bend to
i=fe=?=3=*3^^g
mel - o - dy. Cheer - ing now the heart of sad - ness,
De - i - ty ! Though from E - den's gar - den driv - en,
!Z^=— Ores
Em
• e #— ^J— L
wants re
qmre,
Ask
it hum - bly,
^E
H
m
«;
^ESE
;Vn1:
Ritard.
!
ie=§^=i=pl
In each tone such sweet - ness dwells, Grief is al - most turned to glad - ness By the sound of Sab - bath bells.
Just, yet mer - ci - ful the while, One day gave he from the sev - en On which man should rest from toil.
. -n Ritard.
b ■ ^ i— r . , r-i
* • 0 ?=l=j S 0 i^m»_. -j_» —M «= _„_l . Ii_
What ;tis good that thou shouldst have,
What thou couldst not ask for blind - ness, Still thy God in
li
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J 1 : J_
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mer - cy gave.
Ritard.
64
Allrimio.
THE JIUM.MIN'j BIRD.
Arranged from Rossini.
£=fc
E£
v
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m
m
i. I come where the hare-bell and vio-Iet lie sleep-ing, And sip with the wild bee their o - dors a
way i
feBS
3E
■£=j
g^^-j^^^^^
=N-J IV
3S
2. I coma with soft mu - sic my in - cense de - light-ed, To Him who in mer-cy hath taught ine to soar; Trust
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come where the buds of the musk rose are peep-ing, 'Till they thrill in - to bloom at the sound of my lay:
I come where the
W
-V-
Ij3— # — #-
thou in His love when thy bios -soms are blighted, When thy flow-ers are with - eredthe spring is no more; I come where all
^^m
N
xzj£zz*i
THE HUMMING BIRD. Concluded.)
05
jas - mine the wil - low is wreathing, And cool rip - pling wa - ters glide murm'ring a
irr
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je=pc
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long ; Where sum- mer her
i^^^^js^^i^=^^==^ip^i-B
i£=&
lull'd by trie gush of the foun-tain, The wood-tur - tie dreams through the long sum - mer day; Now loitering o'er
uses
3*=*:
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p r
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-^=^=^
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li^^^^^^astagil
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spi- ci - est fra-grance is breathing, And turf, stream, and val-ley break out in - to song, Breakout in - to song, break out in - to song.
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val-ley, now wheeling o'er mountain, 'Till my flowers have faded in beauty a - way, In beau-ty a- way, in beau-ty a -way
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THE NEVA BOATMAN'S SONG.
2d Voice
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1. Da}--light fades, Eve ning shades O'er the si -lent wa-ters creep; Winds a - rise, And with sighs Wake the stream from slumbers deep :
2. Eve has passed, Shades at last Round the darkening wa-ters close ; Yet one'star Shines a - far, Gild - ing ev - ery wave that (lows
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Swift o'er the Ne - va tides, Mark how our ves-sel glides ; O'er the curl'd waves she rides, Scatt'ring pearl-drops from her sides : Brothers, row,
Soon shall the hand of night Hang up her crescent light,
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THE NEVA BOATMAN'S SONG. (Concluded.)
2 N— 1
67
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Whilst the glow Of twi - light sheds a part - ing beam, Till our lay Fades a - way, And dies up - on the Ne - va stream,
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Whilst the glow Of twi - light sheds a part • ing beam, Till our lay Fades a - way, And dies up - on the Ne - va stream, dies up-
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the stream,
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up - on, up - on the Ne - va stream, dies up - on the Ne - va stream, the Ne - va stream.
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Andante— Doice
HOW SWEET ARE THE FLOWERS.
From Fireside Hak.mont.
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How sweet are the flow- ers that grow by yon foun - tain, And sweet are the cow - slips that span - gle the grove, And
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How sweet are the flow- ers that grow by yon foun - tain, And sweet are the cow - slips that span - gle the gTove, And
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sweet is the breeze that blows o - ver the moup. - tain, But sweet - er by far is the friend that I love:
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sweet is the breeze that blows o - ver the moun - tain, But sweet - er by far u the friend that I love:
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HOW SWEET ARE THE FLOWERS. (Concluded,)
69
) 2d Time
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I'll weave a gay gar- land, a fresh - bloom-ing gar- land, With lil - ies and ro - ses, the sweet bloom - in" ro - ses- I'll
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I'll weave a gay gar - land, a fresh - bloom-ing gar - land, With lil - ies and ro - ses, the sweet bloom - ing ro - ses ■ I'll
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weave a gay gar - land, a fresh- bloom - ing gar - land, To give to the friend that so dear - ly I love.
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gay gar - land, a fresh- bloom - ing gar - land, To give to the friend that so dear - ly I love.
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70
Andante
BRIGHT GLOWING IRIS.
ARRANGED FROM BeLI.IM
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Bright glow-ing I - ris, born on high, Cir - cling a- round the sum - mer sky. Like hope's fond dream, too fair to stay,
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Bright glow-ing I - ris, born on high, Cir - cling a- round the sum - mer sky. Like hope's lond dream, too fair to stay,
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Thou'lt quickly pass a - way; Like joys that haunt the youth-ful heart, Ah! soon wilt thou de - part: While I each va - ried-
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BRIGHT GLOWING IRiS. (Continued.)
71
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tint sur - vey, Melt-ing be - neath the sun's warm ray, All tells the fair, the bright- est Is ev - er soon • est to fade and
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tint sur - vey, Melt- ing be - neath the sun's warm ray, All tells the fair, the bright- est Is ev - er soon - est to fade and
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die: So, when the heart feels light - est, Some cloud of sor - row is al - ways nigh. Ah! like to thee fair
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72
MIGHT GLOWING IRIS. (Concluded.)
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litt-'ring bow Life's transient plea-sures seem, Daz-zling a - while with sun - ny glow, Then fad-ing like a
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THE HOUR OF PRAYER.
G. F. R.
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1 Child, a - mid the flow'rs at play, 'When the red light fades a - way; 3Io - ther, with thine ear - nest eye,
2 Trav - 'ler in the stian - gers land, Far from thine own house, - hold band ; Mourn - er, haunt - ed by the tone
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3. War - rior, from the bat - tie plain Breath - est now at set of sun ; Wo - man. o'er the low - ly slain,
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K" - er fol - lowing si - lent - ly, Ev - er fol - lowing si - lent - ly ; Fa - ther, by the breeze of eve
Of a voice from this world gone, Of a voice from this world gone ; Cap - tive, in whose nar - row cell
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Weep - ing on his bu - rial plain, Weep - ing on his bu - rial plain; Ye that tri - umph, ye that sigh,
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Call'd thy har - vest work to
Sun - shine hath not leave to
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yet the dark hours be, Lift the heart and bend the knee !
on the dark - 'nine sea — Lift the heart and bend the knee !
"W-tr-f-i
74
Allegretto.
1st Division.
THE ECHO.
Ore».
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Have you ev - er heard the e - choes That sleep in yon - der hill, Em - bow - ered in the green-wood So
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Have you ev - er heard the e - choes That sleep in yon - der hill, Em - bow - ered in the green-wood So
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sha - dy and so still ? Oh, yes, we've heard the e - choes That sleep in yon - der hill, Em - bow-ered in the green- wood So
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THE ECHO. (Continual.;
75
Dim.
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call, And sweet-est mu-sic bring. E -cho, e - cno, e - cho, e - cho, An-swer us a - gain, An • swer us a - gain
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THE ECHO, (fonlinned.)
Maestoso
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Wake the e - choes far and wide, From for - est, hill and moun-tains.de, Let their -oft-ened num-bers flow Thi
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Wake the .. choes far and wide, From for - est, hill and moun-tain side, Let their soft-ened num-bers flow Thro' the woods and vale be - low ;
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THE ECHO.* (Conclude*.
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* Let the echoes be sung in an adjoining room.
Allegretto.
Ores.
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THE MULETEERS OF GRENADA.
P
Bishop.
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1. Oh ! the joys of our eve - ning Po - sa - da,
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Where, rest - ing at close of the day,
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2. Then as each to his fav - 'rite Sul • ta - na
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THE Ml LETEERS OF GRENADA. (Continued.)
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young mu
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Sit and sing the last sun - shins a - way ;
So blithe that
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of some black - eyed Te - ra
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THE MULETEEKS OF GRENADA. (Conclnded.)
4-
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A - gain be - guiles them on.
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Oh 1 the joys *>f our eve - ning Po - sa - da, Where rest - ing at
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We young Mil - le - teers of Gre - na • da
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Sit and sing the last sun - shine a
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We young Mu - le - teers of Gre - na - da
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Sit and sing the last sun - shine a
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80
Allegretto.
WHEN THE MORNING.-
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RoOKE.
1. When the morn - ing first dawns we will seek the green hills, Be - fore
And list to the hum of the wild mountain rills, Or join
the horn from the peak wakes the
with pure hearts in the lark's thril- ling
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2. When the first star of eve - ning il - lum - ines the sky, And herds
Hand in hand we will roam the lone riv - u - let by, And list
from the hills seek their home in the
to the night - in - gale's heart • sooth-ing
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plain, Be - fore the horn from the peak wakes the plain ;
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WHEN THE MORNING. (Continued.)
81
e
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lark's thril - ling strain. Hail ! hail the fresh mom* List the chirp of the birds, Hark ! the pipe of the shepherd, Hark ! the
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heart -sooth - ing tale. Hail! hail the calm eve, See the birds seek their nests, See the wife spreads the board, And the
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low of the herds, While dis - tant and dy - ing, Sweet e - cho brings near, The sound of the horn The vil - lage to
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WHEN THE MORNING. (Concluded.;
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cheer, The sound of the horn the vil - lage to cheer. La, la, la, la, la, la,
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cheer, The sound of the horn
the vil - lage to cheer.
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la, la, la, la, la, la, la,
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la, la, la, la, la, la, La, la, la, la,
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ifloderaio.
FREEDOM'S LAND- 83
Arranged from Zelter.
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1. I'll sing thy glo - ry, freedom's land, Thou home of all that"s dear; With joy I hail thy ris-mg strength, Thy sky of hope so
2. Thy walls are built in truth and right, Thy shield is just -ice's cause ; Thy guar-dian is the God of Hosts, Thy guides are e - qual
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3. Thou art of earth the bright - est hope For free-dom's ho - ly reign ; A thou-sand eyes to thee are turned To see thee wax or
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Pres.
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clear ; In thee shall spring those gems of good Which once were sown by freeman's blood ; Long live, sweet freedom's land ! Long live, sweet freedom's land !
laws; Nor o - ver thee does sovereign pride Bear on its foul, des - truc-tive tide; Long live, sweet freedom's land! Long live, sweet freedom's land 1
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wane ; Oh, still may shine thy glo - ry's sun, And all thy promised good be won ! Long live, sweet freedom's land ! Long live, sweet freedom's land !
Cres. j?
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84
BEAUTIFUL STAR!
Allegretto.
1st Voice
Arranged from Glover.
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Star . . of the twi - light ! Beau - ti-ful star !
Ea - - ger-ly watch - ing, wait - ing for thee,
Glad - ly I hail thee
Looks the lone trav' - ler
Shin - ing a - far !
O'er the dark sea :
a a %$ w &* >> » » n it w ss
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2d Voice. ■
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Rest from your la - bors, Chil - dren of toil !
Soon as thou shin - est Soft on the air,
Night closes o'er ye : Rest ye a - while !
Borne by the light breeze, Float - eth his prayer !
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BEAUTIFUL STAR! (Concluded.)
85
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This is thy greet - ir
fe|E^S^BES
ft)-— ^ * -— * — »- j — y-|-g— 0--
Sig - nailed a - far,
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Star of the twi - light, Beau - ti - ful star !
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Watch o'er him kind - ly Hence from a - far,
Light thou his path - way, Beau - ti - ful star !
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Star of
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:*=*=£
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twi - light ! Beau - ti - ful
star !
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Star of
*— •— i-
twi - light ! Beau - ti - ful star !
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Star of the
Star of twi - light ! Beau - ti - ful
laid? .m-i- — m-i
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star !
g~» g~
Star of the
Star of twi - light !
Beau - ti - ful star !
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86
Modem to.
HEARTS AND HOMES.
*7 0 m~ =3F J ^—9- -• j m — 0- \- *^—* 0 m-\
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Arranged from Blockley
I
1. Hearts and homes ! sweet words of plea - sure, Mu-sic breath -ing as ye fall, Mak-ing each the o - ther" s trea - sure — Once di-
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ni j*jh
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2 Hearts and homes ! sweet words, re - veal - ing All most good and fair to see, Fit - ting shrines for pur - est feel ing, T«m- pies
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vid - ed, los - ing all. Homes ! ye may be high or low - ly, Hearts a - lone can make you ho - ly ; Be the
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meet to bend the knee; In - fant hands bright gar - lands wreath - ing, Hap - py voi - ces in - cense breath - ing, Em-blems
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HEARTS AND HOMES. ^Cbncmttea.)
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dwell - ing e'er so small, Hav - ing love it boast - eth all. Hearts and homes ! sweet words of plea - sure, Mu - sic
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fair of realms a - bove, For love is heaven, and heaven is love. Hearts and homes ! sweet words of plea - sure, Mu
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ife
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breath -ing as ye fall, Mak-ing each the o - ther's trea-sure — Once di - vid - ed, los - ing all. Hearts and homes ! Hearts and komes !
Ad lib. Ad lib.
s^nngg^i
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breath - ing as ye fall, Mak-ing each the o - ther's trea-sure — Oncf di vid - ed, los - ing all. Hearts and homes ! Hearts and homes !
3:
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Ad lib.
Ad lib.
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8?
THE STAR OF HOPE.
Moderato.
Arranged from Donizetti.
p ■ * *
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1. When, o'er the o-cean's drea- ry way, Where tempests dark are weav-ing, The sea -man hails the morn-ing ray Glad-ly, while storms are
:-:
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2. Joy round my heart now bright-ly plays, Each sun - ny dream re - turn - ing ; While through the shade of fleet-ing days, Hope"s fai - ry star is
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32;
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leav - ing. So thus o'er life's all - chang-ing dream, Though pleasure's day seems o'er, Ah !
Hope's star will rise with
* '
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bum - ing. Though Time may Iling a - round its cares, And grief the past de - plore. Ah!
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Hope's smil-ing beam such
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THE STAR OF HOPE. (Continued.
89
1st
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fczat
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smil - ing beam, And joys re-new once more. Hope's fai - ry star, when burn - ing, Sweet joy re-news once more ; Yes, and
^ J ^iJ^l-^-j^^j— j^fcjEjgE^ J J J^t
sun - shine wears, Each joy re-news once more. Hope's fai - ry star, when burn - ing, Sweet joy re-news once more ; Yes, and
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joy re - news once more ; Hope's fai - ry star, when burp - ing, Sweet joy re - news once more ; With Hope's bright
E=j=
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joy re - news once more ; Hope's fai - ry star, when bun - ing, Sweet joy re - news once more ;
ZjE
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90
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THE STAR OF HOPE. (Concluded/
f ■ r f ~L
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star
each joy re - news once more, With hope's bright star re-news once more, With hope's bright star re-news once more.
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With hope's bright star each joy re - news once more, With hope's bright star re-news once more, With hope's bright star re-news once more.
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Allegretto.
THE EVENING SAIL.
Hl'Rka.
S
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5
^
1. How sweet were those soft eve - ning hours, When, wreathed with the bright bloom - ing flow - ers, Our
2. One star, love - ly Hes - per, was beam - ing, And deep in the blue wa - ters gleam - ing, Shone
^m^m^^^^=g^^^^^^M
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3. Night slow - ly a - round us was clos - ing, And we in deep si - lence re - pos - ing, With
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THE EVENING SAIL. (Concluded.)
91
?— ^
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5
£-
^
t£^
boat gent - ly float - ed a - long, Our boat gent-ly float - ed a - long. The soft shades of twi-light were o'er us, The
back like a Hes - per be - low, Shone back like a Hes - per be - low. The toil of the wood-man was end - ed, The
0 0 0 0
5E=t— N-f-
?^
"»' a1 a a "a a r^jF*
qui - et en - joy - ment were blessed, With qui - et en - joy - ment were blessed. The moon ris - ing bright o'er the moun-tain, Up-
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bright west was blush-ing be - fore us, And glanc - ing the wave - lets a - mong,
song of the reap - er sus - pend - ed, And birds twit-tered sleep- y and slow,
And glanc-ing the wave - lets a - mong.
And birds twit-tered sleep - y and slow.
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lift - ed our hearts to the foun - tain Of beau - ty, and plea - sure, and rest,
Of
beau - ty, and plea - sure, and rest.
BE
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92
Moderato.
St*
3— — I-
-
THE CONVENT
*
ZtZZIZJTiZE
......A.>tif-D from Blocklet.
5g-
• — * « w — •"*J^i Sr
2. Ma - sic sounds the sweet- est When, on the rip - pling sea Our bark sails the fleet - est, To a sweet met - o
— - T -#-^ — 0 — •— — 0-
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tree*. The waves seem list'ning to the sound, As si- lent -ly they flow O'er cor - al groves and fai - ry ground, And sparkling caves be -
-• — <&-
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dy. Then as we're gen - tly sail - ing, We'll sing that plaintive strain, Which memory makes en - dear - ing, And home re - calk a -
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rHE CONVENT BELLS. (Concluded.)
93
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^E*EEf£
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]ow. List ! 'tis mu - sic steal - ing O - ver the rip - pling sea ; Bright yon moon is beam - ing O - ver each tower and
Pf
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gain. List ! 'tis mu - sic steal - ing O - ver the rip - pling sea ; Bright yon moon is beam - ing O - ver each tower and
V
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Ad. lib.
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tree.
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List !' List to the con-vent bells !
List!
List ! List to the con - veiit bells !
Ad. lib. >~.
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tree. List ! List ! List to the con-vent bells ! List !
List! List! , List!
List ! List ! List to the con - vent bells !
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AiienreUo.
THE MOORISH DRUM.
Arranged from Blocki.ey.
— F — r /
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1. Hark! 'tis the Moorish eve -ning drum, From yon-der lof - ty tower; Its light and joy - ous tones now come, With the mer-ry sun -set
P^feEJE^J^pi * J i-1^
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2. Gai - ly now the mar - tial band Are wind - ing on their way, As round the lof- ty ram-part walls The Jive -ly march they
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hour. The fad - ing smile of part - ing day Now lin - gers in the west ; The gen - tie breeze has died a - way, The
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33
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play. Their Ian - ces now are glit - 'ring bright, Their ban - ners float a - hove, The moon now sheds her silv - !ry light O'er
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THE MOORISH DRUM. (Concluded.)
95
Eitard.
m^m
W-
i^m
-9 0-
it
waves
are lulled
to
rest,
The
Ritard.
waves are lulled
W
to
rest. Hark !
•
'tis the Moor - ish
eve - ning drum, From
yon -
der
lof - ty
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1 r- 1 P-
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moun - t
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9 *
ain and
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o'er
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grove,
O'er
Eitard.
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moun - tain and
Wm 9
— i 1 —
o'er
— f—
grove.
J
Hark
— \ — S~2 h"
'tis the Moor- ish
9- * .
eve - ning drum, From
yon
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■ der
lo
f- ty
f2^— 1
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9
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tower, Its light and joy - ous tones now come With the mer - ry sun - set hour, With the mer - ry sun - set hour.
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tower, Its light and joy - ous tones now come With the mer - ry sun - set hour, With the mer - ry sun - set hour.
^
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Modrralo.
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THE MOON IS BEAMING ITER THE LAKE
Arranged from Blocklet
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3-:
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^£=
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ZMZOC
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1. The moon is beam - ing o'er the lake; Come, sail in ouplight ca - noe ! Sweet sounds of mu - sic we'll a- wake. As we
■f 2d time V
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2. The ves - per bell is peal - ing From yon - der lone - \y- tower, tts tones now gen - t.y steal - ing Pro
/
2d time
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£=£
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glide o'er the wa - ters blue
3
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In our light ca - noe, As mer-ry we row, O - vet the rip - pling sil - ver tide ; While
rS^Z^QIj
claim the ves - per hour.
3=5=]
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Sweet sounds a -rise To the tran - quil skies, Like one of earth's sweet-est mel - o-dies; Now
' 5 • PZIZZ3—WL
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THE MOON IS BEAMING O'ER THE LAKE. (Concloded.)
97
/
££
Ad lib. Dim.
3_*
S^^t
-# 9 0 /
ZBzfzzjrrt
A tempo. T)
g^^BB^
free from care Our spir - its are, As a - way we mer - ri - ly glide.
f /7"n Ad. lib. Dim.
^=r 'i — r-^F1
£5=±z
JZ=3Z
^EESE^E*|^^S^EEg
The moon is beam - ing
A tempo, T)
ft-J fc
^ ^— • *
es
sad, now gay, As it floats a - way, On the wings of the sum - mer breeze.
■f r^i Ad. lib. Dim.
PJ- -I k-jE=fr=E=|=*:
The moon is beam - ing
A tempo, p
£
^ #
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o'er the lake; Come sail in our light ca • noe ; Sweet sounds of mu - sic we'll awake, As we glide o'er the wa - ters blue.
^-^QgJ^^^I
o'er the lake ; Come sail in our light ca - noe; Sweet sounds of mu -sic we'll a -wake, As we glide o'er the wa - ters blue.
grr-n-r
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33
WANDERER'S FAREWELL.
p^E^l^a^^^l^^l^^ip^^^ga^p^
1. The sails are all swelling, The stream-ers float gay, The an-chor is ris-ing, And I must a - way. A - dieu ! ye dear
2. The sun through the heav-ens E'er hastes to the west; The waves of the o- cean Are nev - er at rest; The bird, with its
¥
3. A - dieu! dear - est mo - ther ! dear sis - ter, a - dieu! I go where the skies are All shin - ing and blue, Where flowers ev-er
ffiE
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mountains ! A - dieu ! my dear home ! A - dieu ! ye dear mountains ! A - dieu ! my dear home ! I turn from your threshold 'Mid
pin - ions Un - fet - tered and free, The bird, with its pin - ions un - fet - tered and free. Ca - reers in its free-dom, O'er
a^^lj^ipp^^^ff^^^^p
blos-som, Where birds ev - er sing, Where flowers ev - er bios - som, Where birds ev - er sing; Where fruit loads the branch-es, From
ea
:fcr
W=^^
fefe£
3=isr
THE WANDERER'S FAREWELL! (wnelndsn
99
g^si
stran - gers to roam,
moun - tain and sea.
3=ze:
°^r
-g—9^ — a-
SE
^— ^
I turn from your threshold 'Mid stran - gers to roam, to roam.
Ca - reers in its free-dom O'er moun - tain and sea. and sea.
\T
-F— H-
£
-0—0-% — 0-
har - vest to spring, Where fruit loads the branch-es, From bar -#vest to spring,
^5=5FM
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ra, ju
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to spring.
m
a.
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val - le-ra, ju - val - le - val - le - val - le - ra !
Ju - val - le - ra, ju - val - le - ra, ju - val - le - val - le - val - le - ra.
Ju - val - le - ra, ju - val - le - ra, ju - val - le - val - le - val - le - ra.
j^-l-^'-*— lH=zj=EIiZ=J— «H -*-.=^=*
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33
3 3
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3
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j=^=t= =*^EB=|=toEi=*= =^ggS^Q
ra.
100
Moilcrato.
BEAUTIFUL SPRING
^^^t==^^m^r^TT^^-uaj^^^^ 1
v /
1. How shall I woo thee, beau - ti - ful Spring? \T hat shall my of - fer - ing be? Shall I search the a - bode of the
e
raE
^
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2. How shall I woo thee, beau - ti - ful Spring? Whence shall my of- fer
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BEAUTIFUL SPRING. (Continue!)
101
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dew - drops of morn - ing, far bright - er than pearls. Oh, no, for there shines in thy clus - ter - ing curls The
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BEAUTIFUL SPRING. (Concluded.)
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Recitando.
ABOU BEN ADHEM AND THE ANGEL.
I
G. F. R.
1
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1221
Abou Ben Adhem (may his tribe increase)
Awoke one night from a deep dream of peace
P
Awoke one night Irom a deep dream ol peace, I , _ _ ,. ... . D ,,,_.„ . C 1 ho vision raised it« head, ace
And saw, within the moonlight in his room, Uook of gold. 5*S*S?X* I'er>ce had ™fe Ben Adhem. boId i " What writest thou ?" } And with a look made all of sw
Making it rich and like a lily in bloom, [ 6 i And to the presence in the room he said, $ (Answered,
An angel writing in a J
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Abou Ben Adhem (may his tribe, &c.) book of gold. Exceeding peace had made, &c.
" What writ - est thou V The vision raised its head. &c
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103
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"The names of those who love the Lord." " And is mine one ?" said Abou. " Nay, not so," replied the angel, j But"cheerly m°r6 °W' v still, and said,
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" The names of those who love the Lord." " And is mine one ?" said Abou. " Nay, not so," replied the angel. \ BuTchTerty m°re 1°W' | still, and said,
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The angel wrote and vanished : the next night
" I pray thee, then, Write me as one that loves his fellow men." J The, a"Kel ™?e aSoin w"h Sr.eat awakening light, f lo , Ben Adhem>s name ied au the rest
r J ' ' 1 And showed the names whom love of God had 4
blessed, And
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" I pray thee, then, Write me as one that loves his fellow men." The angel wrote and vanished, &c. And lo ! Ben Adhem's name led all the rest.
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Lcsato Uoderato.
THE SYRENS.
Arranged from Rossini.
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THE SYRENS. (Concluded^
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shore ; And though the day is dy - ing, We soon shall gain the shore, We soon shall gain the shore, We soon shall gain the shore.
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shore And though the day is dy - ing, We soon shall gain the shore,
soon shall gain the shore,
soon shall gain the shore.
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T DREAM OF ALL THINGS FREE.
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dream of all things free : A
dream of some proud hird, — A
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bright-eyed moun - tain king; In vis - ions I have heard The
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106
I DREAM OF ALL THINGS FREE. (Concluded.
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ar - row to its mark; A stag, that o'er the moun-tains Goes bound -ing in his glee; A thou - sand flash • ing
rust- ling of his wing; I fol - low soma wild riv - er, On which no sail may be; Dark woods a - round it
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stars to guide his way ;
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foun - tains, Of all things glad and free, Of
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all things glad and free, Of
dream of all things free, I
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dream of all things free
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Andante con Moto.
HOME, FAR AWAY.
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Arranged from Mendelssohn.
3E
107
1. Can I, light-heart-ed, sport and rove, Sing like a bird in bloom - ing May, When the home of my heart, and the friends that I love, Are
2. 'Tis not the win - try wind I fear; Heedless thro' storm and snow I stray; But my heart, when mine eye is be-dimmed by a tear, Is
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3. Soon May will come, the Spring will bloom, And Spring will make the mea-dows gay ;
then shall see my friends and thee, Home,
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o - ver yon mountains, far a - way, Are o - ver yon mountains, far a - way, Are o - ver yon mountains, far
o - ver yon mountains, far a - way, Is o - ver yon mountains, far a - way, Is o - ver yon mountains, far
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DAY AGAIN IS GENTLY BREAKING.
Arranged from Nelso*.
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Day a - gain is gent - ly break - ing With her gold - en rays of light.
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tak - ing O'er the wave his rap - id flight.
Now. while music's sweetest num - bers Glide a- long the np-p!ing
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DAY AGAIN IS GENTLY' BREAKING. (Continued.)
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110
DAY AGAIN IS GENTLY BREAKING. (Continued.)
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vite us o'er the waves to stray,
to stray, O'er the waves to stray. Sweet sounds are on the
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o - cean, The winds have left their cave, And as they meet the bil - lows Wake mu - sic from the wave ; And
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DkY AGAIN IS GENTLY BREAKING. (Continaea.j
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DAY AGAIN IS GEJST1Y BREAKING. rtontiiiftd.j
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DAY AGAIN IS GENTLY BREAKING. (Concluded.;
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Allegretto Mareato.
THE FROST.
G. F. R.
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The Frost looked forth one still clear night, and whis - pered, " Now I shall be out of sight. So thro' the val - ley and
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The Frost looked forth one still clear night, and whis - pered, " Now I shall he out of sight. So thro' the val - ley and
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THE FltOST. (CoDtinncd.-
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o • ver the hight In si - lence I'll take my way; I will not go on like that blus - ter - ing train, The
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/ /
I will not go • on like that blus - 1er - ing train, The
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wind and the snow, the hail and the rain, Who make so much bus- tie and noise in vain, But I'll be as bu - sy as they."
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wind and the snow, the hail and the rain, Who make so much bus -tie and noise in vain, But I'll be as bu - sy as they.''
Cres.
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THE FROST. (Continued.)
115
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Then he flew to the moim - tain and pow - der'd its crest ; He lit on the trees, and their boughs he dress'd In
lie went to the win - dows of those who slept, And o - ver each pane like a fai - ry crept ; Wher-
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di - a-mond beads, and o - ver the breast Of the qui - ver - ing lake he spread A coat of mail, that it need not fear The
ev - er he breathed, wherev-er he stepped, By the light of the moon was seen Most beautiful things ; there were /lowers and trees, There were
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THE FROST. (ronliuuetf.)
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down - ward point of ma - ny a spear, That he hung on the mar - gin far and near, When a rock could rear its head,
bevies of birds and swarms of bees, There were cit - ies with tempies and towers, and these All pictured in sil - ver »heen.
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4. But he did one thing that was hard - ly fair ; He peep'd in the cupboard, and find - ing there That all had for-got- ten for
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But he did one thing that was hard- ly fair; He peep'd in the cupboard, and find - ing there That all had for-got- ten for
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THE FROST. (Concluded.)
^
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him to pre-pare, " Now just to set them a think - ing, I'll bite this bas - ket of fruit," said he ; " This cost - ly_ pitcher I'll
him to pre-pare, " Now just to set them a think -ing, I'll bite Jhis bas - ket of fruit," said he ;" This cost - ly pitcher I'll
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burst in three, And the glass_ _of_ wa - ter they've left for me Shall tchick* to tell thern_Pm_ drink - ing."
burst in three, And the glassy erf wa - ter they've left for me Shall tchick* to tell them I'm drink - ing."
If this is accompanied by a piano, play, instead of singing the notes to the word " tchick," lightly with the right hand on the upper part of the instrument.
i:s
PEACEFUL NIGHTS
Andante Grnzioso
Arranged from S Glover.
VIZ __^ # j, ^_l_ — #— — ■— ■_ 0-^-M— 0— -V-
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Oh ! peaceful night's re - fresh-ing slum - bers, We were with, in child-hood, blest ; Gold - en harps and fai - ry
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Dolce.
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num - bers Lull'd ns sweet - ly to our rest, Golden harps and fai-ry num - bers Lull'd us sweet-ly to our rest, Golden
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num- beis Lull'd us sweet-ly to our rest, Golden harps and fai-ry num - bers Lull'd us sweet-ly to our rest, Golden
Dolce.
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PEACEFUL NIGHTS. (Continued.)
119
'Fine.
-» a — e • m-
22:
£^=t=
221
£Ef
m
harps and fai - ry num - bers, LulPd us gen - tly to our rest ;
peace-ful nights
1=^=^=^:
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353^=^^=^
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--£-
peace-ful nights !
Fine.
St
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.harps and fai - ry num- bers, Lull'd us gen • tly to our rest; Oh! peace - ful nights! Oh! peace - ful nights!
Jl t . JL /-sFine.
^iil
1st Voice.
f^gg
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m
W3=3t
&E
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S
-~e>-
Of-ten have
those forms that love us, Passed the te - dious hours
a • way.
Till the morn
ing stars a -
fe=
=EEE=l=t
3=J
120
PEACEFUL NIGHTS, (ronlmue.l.)
A-W-i
fc£
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^%r—*
^E^EME^EB
:*
3=*:
s - N \ >
/
/
bove us,
Be - to-kened the ap-proach of day,
Be - to-kened the ap-proach of day.
^
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i
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— •— — • 1 hJ
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3= =tr =r T
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i
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Then, when day's beam shone a - round us,
And fragrant breathed the morn-ing air,
A — V
* — 0 — e #-
m
Wth up - lift - ed hands it
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PEACEFUL NIGHTS. (Concluded.)
121
:s^s
3tziz=atzza=
:=£=h=£=£
0—0 0-
3=^
found us,
At our mo-ther's feet in prayer ;
With up - lift - ed hands it found us,
PPI^^^^^SPI
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At our mo-ther's feet in prayer ; Oh, peace-ful night !
Ritard. Ad lib.
isi^iir
Oh, peace-ful night !
> N
* V - l
—9 \—£ —
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D. C
122
Allegretto
2d Voice.
SWEET SISTER FAY.
Q. h V; =j^j— > P* f*— N^ Kj=$
^=S
£=ses
Arranged Mcom Harnett.
1st Voice.
s -s-
-\— I
1. "Oh, where have you been, sweet sis - - ter Fay, sweet sis - ter Fay?-'
2. "Where are you go-ing, -sweet sis - - ter Fay, sweet sis - ter Fay?"
" I have slept in a li - ly bell
" To the turf that is gTeen-est I'm
M>=^
^-F
s
5k
E
-F=P=g
=*=?
all the long day, all the long clay,
trip -ping a - way, I'm trip - ping a - way.
And ma - ny an in - - sect came to look
Hark! hark! the sweet mu - sic of midnight I hear
# ^£^9+,.
For the
The
^i>ijirirpzezp;?qe=^zpaif
|3^=t|
SWEET SISTER FAY. 'ConliMoD
£^^e£^
.y__
is
T*=^F£=g
M:
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P-2
Pin Lento.
123
^=^=P=
hon - ey that lay in my fra - grant nook ; I was armed with a spear from the haw - thorn spray, And a - fraid of its point they all
hoi - ly leaves rus-tle, we've startled a deer; The riv - u - lets gush - ing thro' co - ral caves, At in - ter- vals drip in the
a m -9-0-Pt
g^g£££^
t
^=M=
£=
i
fe£
Mez.
ieHnS^^JJ^
Cres.
z^z3:
w
1+
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1
Sempre Sostcn.
M>
f — y — ->—y — 9 0—0
to=
■±ot.
n^^m^=M^^
flut-ter'd a - way ; So I sung
dark blue waves ; I've jew
m
f=fr=F
0 *\-
, — g-fcEz(»
sy
my own lul - la-by, sleep
- ell'd my hair, and I've span
ing at ease In the bell of a li - - ly that
;!ed my wing, For I'm go - ing to dance at the
~g — j~ ^~~~ _J^--^ — — 8^!i 3^; — #^Z. ^ <?--Z_ _jZ- — S^*~ • —
ff»
:r=r
124
SWEET SISTER FAY. iCraiiiwfi.;
Mr
Sfe
N g_
•35-p
Ts
«.
t
^ht
-^ / 1"
m+=m
wav'd in the breeze,
court of my king,
So I sung my own lul - la - by, sleep-ing at ease In the bell of a li - ]y that wav'd in the breeze.
For I'm go - ing to dance at the court of my king, For I'm go - ing to dance at the court c' tnv king.
^SB
eTSS:
— H? — ^
tt
fz^zzf^zM^
TTNiUiJiJKn 1 1 u h i EDI lwuu li
Cres. jf Dim Molto. **■
-^ Cres. jf Dim Molto. **■
^==ZZ^=i
fliorus. Allegretto Sclierzoso.
5=^
=*=£
The day is for , la - bor, the night is for glee, Come, bro - ther,
trip light - ly with me ; The
*fr
^EE^to
£=£
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v~
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The day is for la - bor, the night is for glee,
£E^
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Come, sis - ter, trip light - ly with me ; The
-# 0 • — ,— 0 0-
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I
SWEET SISTER FAY. (Concluded.)
125
t£
^
:f5=fc
*
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Z
day is for la - bor, the night is for glee ;
Come, bro - ther, trip light - ly with me, trip
fc&-
S
jS^EgEEJEEgE^EEgS
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^
3i=EE
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51
Jay is for la - bor, the night is for glee ; Come, sis - ter,
trip light - ly with me, trip
gffij=$=fc=giiC„ ^—^4 — £^=j==p=|=»==^=g
^=^
fc
£=i
El
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3EEE
:£=b*
:?=>-
SEEEE^E^EESEE^^
light - ly,
trip light - ly with me,
trip light - ly, trip light - ly with me
EEEEEEEE^EeSIP^E^^
EeeeefeeII
light - ly, trip light - ly, trip light - ly with me, trip light - ly, trip light - ly, trip light - ly with me-
;e?£5
OTZ2ES— SZEZIiaiZIEi^IZG^ErCIZZlG-
zzfzi2 — S? £ 7Z-Jt=-1- — g
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S*EE£
126
Amlanlp
TOUCH THE SOFT HARP GENTLY.
c. P. R
>±=±:.l
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\
=*
^E^g^gS
V V
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Touch the soft harp gent - ly. Sweet let its numbers be; The dew-y eve is fad - ing, 'Tis moon-light on the sea.
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l^S^Sl^te^iteS
ir
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Touch the soft harp gent - ly, Sweet let its num-bers be ; The dew - y eve is fad - ing, 'Tis moon-light on the sea.
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Now the ze - phyrs float
i
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by,
£
£
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To
the sleep - ing flow
'rets
sigh;
p 1? v V
Touch the soft harp gent - ly,
-zt
■3 1
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ft
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1 0 • 0 L
f f ;
Sweet let its
-J— J ,
TOUCH THE SOFT HARP GENTL\. (Commheo.,
V
m^
A
127
Fine.
us?:
at.
t=
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Mid
night's si - lent hour
nigh.
num - bers be.
^
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Touch the soft harp
ft— *
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-9 0-
gent
ly-
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Touch the soft harp gent - ly, Touch the soft harp gent
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22
Solo. Moderato.
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it
23*
Touch the soft harp gent - - ly, While all is hushed and
stiil :
The stars are beam - in°
bright
ly Up-
j _.
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126
JsJS^g
TOUCH THE SOFT HARP GENTLY. (Conlinned.)
g=5=#=
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.:• ■ 1~=^ --#
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on the moun-tain rill—
The stars are beam - ins; bright
!y Up - oh the moun-tain rill.
^^^^^^^^^^^^^^tu^icr^^&^^
ah
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i
Chorus./
Touch the soft harp gent - ly, While all is hushed and still ; The stars are beam- ing bright - ly Up - on the moun-tain rill.
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s
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Touch the soft harp gent - ly, While all is hushed and still ; The stars are beam- ing bright - ly Up - on the moun-tain rill.
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TOUCH THE SOFT HARP GENTLY. (Concluded..
129
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:£=*:
— J. : _J 1—
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m£
3
£
D. C,
Phi - lo - me-la in the vale Tells her mel-an - cho-ly tale To the rose and li - ly pale. Touch the soft harp gent
iy.
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Solo. Allegretto.
SWEET ROBIN.
G. F. R.
Nb
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1. Oh, where are you go- ing, sweet Rob - in,
2. When sum - mer comes in, lit - tie Rob - in
■*— k
What makes you sae proud and sae
For - gets all his friends and his
shy ? I once saw the day, lit - tie
care ; A - way to the fields flies sweet
-r
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m
m-
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130
%
SWEET ROBIN. (Continued.)
/
£
Rob - in, My friend-ship you would not de - - ny.
Rob - in, To wan - der the groves here and there.
But win - ter a - gain is re - turn
Though you be my debt - or, sweet Rob
in,
And
On
am
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wea * ther both storm- y and snell ; If ye will come back lit - tie Rob - in, I'll feed you wi' mou- Iins my - sel'.
you I will nev - er lay blame, For I've had as dear friends as Rob - in Who oft - en have served me the ' same.
jflVir J 'imp* $i i /r j-ji^f
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Chorus.
SWEET ROBIN. (Concluded.)
£=£
se
131
eUE
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=^ZET^:
mm
Oh, where are you go - ing, sweet Rob - - in, What makes you sae proud and
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Oh, where are yr
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What makes you sae proud and
^
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S
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1
saw the day, lit - tie
Rob
My friend - ship you would not de -
ny.
S
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once saw the day, lit - tie
Rob
My friend - ship you would not de
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132
BIRD OF THE NORTH
AllfSTCttO.
Solo.
>
G. F. R.
m
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Lin - ger not, lin - ger not,
tea
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speed thee a - way,
Bird of the North, for the chill hlast is nigh;
Fly to thy green snn - ny
-•- •- •- •- •- -0- -0-0 0- • -0- •- -•- -#- -0-
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BIRD OF THE THE NORTH. (Continued.)
133
P
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a
-^3^3-:
bow - ers so gay,
Sing while the soft winds go mer - ri - ly
m
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Andante.
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mm
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Lin - ger not, lin - ger not, why shouldst thou stay,
Na - ture no Ion - ger is smil - ing for thee ;
Bios - soms a-
L-
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134
BIRD OF THE NORTH. (Continued.)
:f
-• — 0-
1
round thee are fad -, ing a - way.
I*
Hushed is thy mu - sic, once nap - py and free.
I
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£=£
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Chorus./ Tempo Primo.
^£
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Soon will the spring-time their beau - ty re - store, Wood-land and val - ley now lone-ly and drear ;
Then will we
m
m^mmm
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J— • — •
^
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Soon will the spring-time their beau - ty re -store, Woodland and val- ley now lone-ly and drear; Then will we
J L
BIRD OF THE NORTH. (Continued.)
s
s
m
±^=^i
Solo.
as?
S^
-r— f-
^
-= — » — # — •-
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list to thy mu - sic once more,
Glad-ly, sweet song-ster, we'll wel-come thee home.
m
Lin-ger not,
Chorus.
lin-ger not,
3
PPrtl
^m
W
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■£-■
list to thy mu - sic once more,
f=r*
Glad-ly, sweet song-ster, we'll wel-come thee home. Lin - ger not, lin - ger not,
ii^ii
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It Zt Zt "^ V * V -F
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speed thee a - way.
Bird of the North, for the chill blast is nigh ;
Fly to the green sun - ny bow - ers so
Pftzfe£*
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BIRD OF THE NORTH. (Concluded
gay,
Sing while the soft winds go mer - ri - ly by.
% % *
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-0- -a- -0-
I I I
Lin - ger not,
,):
m
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ppp
ilniifiiitiiio con JHota.
First Voice
TES, 'TIS THE INDIAN DRUM.
H. R. Bishop.
137
IfeigSli^^^^l
|S=£t
1. Yes, 'tis the In - dian drum,
The woods and rocks a - round
-«( *— 4^
E - clio the war- like sound,
^EE*I
E - cho the war-like
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s
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sound ; They come, they come, they come,
rzd=di-d=d=i=l=:=i=zj 1 |=j—
they come,
they come.
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*— *— 0 — tf— J-a/ 0 -* — ^—
Second Voice.
S=H*
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^^mmmm
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2. Hark, 'tis the In - dian
-0 0-
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This accompaniment may bo repeated to the Coda
m
138
YES, 'TIS THE INDIAN DRUM. (Continued.)
^
N m f\f
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— i
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1
^
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Yes,
n u ..-■ —
'tis the In - dian
1
dru
i
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9
The
— * •
woods
and
rocks
a
0 1
round
—\ f* ■ fcn
— » *• 9^-0
E - cho the war ■
— i —
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like
Ab fj
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1 —
H*-*-i — i
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rum,
The woods and rocks
l - - round
•
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sound,
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They come,
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£
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they come,
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they come,
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YES, 'TIS THE INDIAN DRUM. (Continued.)
139
EEE
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t=£
gEEE^EEt^S^J
-&-
Hark!
hark!
Hark! 'tis the In - dian drum,
The woods and rocks a - round,
m
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effi
£#
Third Voice.
Hark ! 'tis the In - dian drum,
The woods and rocks a - round,
E- cho the war-like
U=£
s
4-!~4.
JtZZZZ*
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Hark ! 'tis the In-diandmm,
The woods and rocks a - round
E - cho the war- like sound,
P
ee
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round E - cho the war .... like sound ;
They come,
they come, they come.
— cP
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E - cho the war - like sound ;
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dt
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they come.
^^^fe^^c^^^^g^SjEEP
They come, they come they coma,
they come
they com*.
no
YES. 'TIS THE INDIAN DRUM. (ContlnueO
m
s **
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-& — -~-
£
*
• - a — •
Yes, 'tis the In - dian drum,
^
Hark!
The woods and rocks a - round
£5:
cho the war- like sound,
-i^t-^0- J.j I ^: 1
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Hark!
Hark ! 'tis the In - dian drum,
The woods and rocks a - round,
w^¥
a=z&
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Hark J 'tis the In - dian drum,
The woods and rocks a - round,
H-js-fcj-Ji
E - cho the warlike
dt
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E - cho the war-like sound,
They come, they come, they come,
they come,
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fc=j:
round
fl
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122:
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E - cho the war
- like
sound,
They come,
they come, they come.
=±
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sound.
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E- cho the war- like
~a
6ound;
s
rCD:
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They come,
they come
they com*.
Coda.
YES, 'TIS THE INDIAN DRUM. (Conclnded.)
&^
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11 •«*S=h— 5
^^^
— »— » — *
Yes, 'tis the In - dian drum.
the drum,
Yes, 'tis the In - dian drum,
14j
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it:
-¥■—/
0—9 0
k-i r-
£=£^=£
-*-=-—
Yes, 'tis the In - dian drum,
tfi^r
'tis the drum, Yes, 'tis the In - dian drum, 'tis the In dian
-<©-
r->-^=
22:
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Yes, 'tis the In - dian drum, the In - dian
drum, 'tis the In- dian drum,
'tis the In - dian
p^E^sS^^^sZ^ESE&Jm
|S>—
Dim.
-• r --
drum ; Hark ! hark ! they come, hark ! hark ! they come, Hark ! hark ! they come, they come, they come.
s — ^ 'K n ^ — ^ 1 — ^ ^s' — ~z~~ — ^ 1 2 ? ^ — —
■J±jr
?
drum ; Hark ! hark ! they come, hark ! hark ! they come, Hark ! hark ! they come, they come,
— 9 — 4 L.—y— — £-4-£-
i
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■&-—
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they come.
Dim.
drum ; Hark ! hark ! they come, hark ! hark ! they come, Hark ! hark ! they come, they come, they come.
'* - -
I
mm
142
Solo. Amlanle c Marcato.
GREETING TO SPRING
:N=
S3
Partly from Dontzetti.
mmi:i
I z±
=Jl
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the ro - sy morn - ing breaking,
Lo ! the ro - 6V morn - ing
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GREETING TO SPRING. (Continued.)
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ing, Haste with songs to bail its birth,
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GREETING TO SPRING, ^outinoeu.;
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GREETING TO SPRING. (CoMnded.)
145
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trea - sure, Thou to us dost kind - ly bring, Can we dream of aught but plea - sure, While we greet thee,
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• After singing this thioujjb, commence at the bcginaiiig and end at the word " fine ''
146
Allegretto.
YIOLETS, BLUE VIOLETS.
An.RANC.ED TROM 1VODWELL.
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VIOLETS, BLUE VIOLETS. (Cbucfnded.)
En closed
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Slight not, ah, slight not the shy lit - tie flow - er. It seeks not to vie with the gay gar - den rose,
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trayed by the sweets they them-selves shed a - round them, I culled the coy bios - soms and bore them a - way.
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Though hum - ble the in - cense it brings to your bow - er, If its life be a short one 'tis sweet to its close.
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S.1SK! HARK! WE COME WITH SOiN(x.
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Hark ! hark ! we come with song Up - on the free air fling - ing, While moun-tain e - chos deep and strong Re - spon
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150
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HARK! HARK! WE COME WITH SONG. ( Concluded.)
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NOW THE WIND IS BLOWING FRESH AND FAIR.
Andante.
2d Voice.
1st Voice.
From " Cinderella,'' by Barnett.
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1. Now the wind is blow-ing fresh and fair, Our hearts with joy are swell-ing, For with home and all who love us there Our
2. Soon shall hand to hand be warm-ly press'd, And heart to heart be beat - ing, And the rov - er's home be dou - bly blest With
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NOW THE WIND IS BLOWING FRESH AND FAIR. (Continue.,,)
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thoughts are fond- ly dwelling. 1. Dis-tant hills now rise be - fore us, Hear ye not the break- ers roar, Like a joy - ous cho- rus
love's own ten- der greeting.
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2. Then shall eyes be fond-ly tell - ing More than words can e'er re - veal, And the rea - dy tear be
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sound - ing, From our own, our wel-come shore ?
Long and wea - ry too hath been our flight a - cross the track-less o - cean,
Soon as past the tem - pest's fear - ful sway, We for-get the rud - er mo - tion,
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Chorus.
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NOW THE WIND IS BLOWING FRESH AND FAIR. (Concluded.)
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But with love and joy's e - mo - - tion, Hope hath filled our nearts to - nifrM.
And our hearts are like the o - - cean, When the storm hath passed a - wav.
Hark!
Joy!
Yes, it is the voice of
Yes, we touch the shore cf
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cean, When the storm hath passed a - way. Shout for joy ! furl the sail !
It is the voice of
We touch the shore of
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come, wel - come
come !
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home ! Breathing joy, now it comes, Come home, ye wand - 'rers, come, A- gain come home,
home ! Welcome home, welcome home ! O blest is our re - turn, • And sweet our wel -
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Amlantino.
THE LINDEN TREE,
Arranged prom Carl Lowve.
153
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{Oh, Lin - den tree, how sweet art thou When bees are o'er thee fly
Soft zeph- yrs whis - pr'ing thro' thy bough, And leaf- lets soft re - ply
. e' > Oh, Lin - den tree, in val - ley green, With
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{ Oh, tree of love! Oh, Lin - den tree ! Why fade thy blooming bow - era!) _,, , . , ,, , ., _. ,
? t The birds all love the Lin -den tree, And
( Oh, tree
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to teach joy, life and love Fade as the Lin -den flow - era?
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boughs all bios - som lad - en, How ma - ny sighs, how ma - ny vows, Thou hear'st from lad and maid - en.
blossom la • den,
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PRAISE OF MUSIC
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W. B. Bradburt.
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Oh, har - mo - ny, my heart's de - light, My joy and so - lace day and night, Thee have I chos • en
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for my own, And thou shalt be my love a - lone ;
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All sor - rows I be - hind me ling, And
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PRAISE OF MUSIC. (Concluded.)
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And mu - sic thou shalt ev - er be
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If then my solace ne'er should fail,
And raise my heart and voice to sing, I A rich inheritance 'o me.
Moderate
NO."
G. F. R.
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1. Would ye learn the brav - est thing
2. Few have learned to speak this word,
That man can e - ver do? Would ye be
When it should be spok- en ; Re - so - lu
an un-crowned king,
tion is de - ferred,
Ab -
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3. Learn to speak this lit - tie word In its pro - per place, Let no tim - id doubt be heard Clothed
4. Ah ! how ma - ny thorns we wreathe, To twine our brows a • round, By not know- ing when to breathe This
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broken ; More of cour - age is re - quired This one word to say, Than to stand where shots are fired, In the bat - tie
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grace; Let thy lips with-out dis - guise Bold - Iy pour it out, Though a thou-sand dul - cet lies Keep ho - ver-ing a
sound ; Many a breast has rued the day When it reck - oned less, Of fruits up - on the mor - al ' Nay.' Than flowers up • on the
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NO." (Concluded.)
157
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glory ? Would you lose much bit - ter care In your lot be -low? Bravc-ly speak out when and where 'Tis right to an- swer "No."
fray; Use it fit - ly and ye'll see Many a lot be- low, May be schooled and no- bly ruled By power to ut - ter "No."
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bout; For, be sure our hearts would lose Fu - ture years of woe, If our cour-age would re - fuse The pre - sent hour with "No."
" Yes ;" Many a sad re - pent - ant thought Turns to ' long a - go,' When a luck-less fate was wrought, By want of say - ing " No."
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Andantino. Dolce.
THOSE EVENING BELLS
E. T. Root.
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1. Those eve-ning bells, those eve-ning bells, How many a tale their ran- sic tells Of youth and home, and that sweet time, When last I
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THOSE EVENING BELLS. (ContluM.)
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heard these sooth-ing chimes ; Those joy - tius hours are past a
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And eing your praise, sweet eve - ning bell?
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OH! MERRY GOES THE TIME.
159
G. F. R
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1. On ! mer- ry goes the time
2. But wea- ry go the feet
/
When the heart is young, There is nought too hard to climb
When the heart is old : Time com - eth not so sweet
When the heart is young; A
When the heart is old; From
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3. Oh ! sparkling are the skies
4. But the sun is set - ting fast
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When the heart is young; There is bliss in beau - ty's eyes
When the heart is old; And the sky is o - ver-cast
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When the heart is old ; Life's
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spi - rit of de - light Scat - ters ro - ses in its flight, And there's ma- gic in the night,
all that smiled and shone There is some-thing lost and gone, And our friends are few or none,
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When the heart is young
When the heart is old.
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worn and wea - ry bark
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Bring-eth glad- ness in its ray, And eve- ry month is May,
Lies toss-ing wild and dark, And the star hath left hope's ark,
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When the heart is young
When the heart is old.
XL
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*«• The alternate versei slower and eofter.
160
Allegretto.
THE MAY-BELLS AND THE FLOWERS
G. F. R
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1. Young May - bells ring through- out the vale, And sound so sweet and clear; The dance be -gins, ye flow - era all Come
2. Young May - bells play a spright - ly tune, And all be - gin to dance, While o'er them smiles the gen- tie moon With
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3. But Frost has scarce - ly ta - ken flight, When well-known sounds I hear, The May - bells with re - newed de - light Are
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with a mer - ry cheer, The flow - ere red and white and blue Mer - ri - ly flock a - round ; For - get - me - not, of
her soft sil - very glance ; This Mas - ter Frost of - fend - ed sore, He in the vale ap - peared — Young May -bells ring the
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ring - ing dou - bly clear ; Now I
no more can stay at home, The May-bells call me, too, The flow - ere to the
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THE MAY -HULLS AND THE FLOWERS. (Concluded.')
Coda.
161
heaven - ly hue, And vio - lets, too, a - bound,
dance no more — Gone are the flow-ers seared.
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Young May - bells ring through-out the vale. And sound so sweet and
Young May - bells play a spright-ly tune, And all be - gin to
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But Frost has scarce - ly ta - ken flight When well- known sounds I
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clear, The dance be - gins, ye flow - ers all Come with a mer - ry cheer, Come, come with a mer - ry cheer,
dance, While o'er them smiles the gen -. tie moon With her soft sil - very glance, With her soft sil - very glance.
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162
THE FOUNT AH.
Aliesrrctfo.
H. T. LlNCOLF
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In - to the sun
In - to the star
shine,
light
Full
Hush
of the light,
ing in spray,
Leap - ing and flash
Hap - py at mid
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night,
From morn till nigh
Hap - py by day.
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5. Glad of all wea - thers, Still seem-ing best;
7. Cease - less as - pir - ing, Cease - less con - tent,
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Up - ward or down - ward, Mo - tion thy rest.
Dark - ness or sun - shine, Thy el - e - ment.
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2. In - to the moon - light,
4. Ev • er in mo - tion,
Whit - er than snow,
Blithe-some and cheer - y,
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Wav - ing so flow - er - like, When the winds blow.
Still climb-ing hea - ven - ward, Nev - er a - weary.
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THE COMPARISON.
German
163
1. Our life's like dews of the morn-ingl
2. Our life is like the light va - por!
So say ancient wise men.
So say ancient wise men.
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164
THE COMPARISON. (Concluded.;.
Ritard.
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mu - - sic should swell,
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SADLY NOW.
Arranged from Donizetti.
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1. Sad - ly now we breathe our cho
2. Hence we go to ear - nest du
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SADLY NOW. (Concluded.)
165
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measure, O'er the break - ing of our band,
turmoil, Trusting hea - ven with our weal ;
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166
AHesro Moderate
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I COME, I COME. (Song of the Hew Tear.)
Arranged from Domzetti.
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1 COME, I COME. (Continued.)
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167
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wild-bird's sweet strain, But ere long the sweet buds that sleep in earth's bosom, And the song-bird, gaytru-ant, shall re-turn once a-
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low - li - est home
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I wak-en new thoughts of love and of du - ty, Dreams bet-ter and ho- lier for the year that's to
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Then welcome, thrice welcome, thou hap - py New Year, Tho' thou bringest no flow - ers we bid thee good cheer ;
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come. Then welcome, thrice welcome, thou hap - py New Year, Tho' thou bringest no flow - ers we bid tnee good cheer;
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SONG OF MEETING.
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H. T. Lincoln.
169
^^--firgi^^^-P-lBj-iiu^
1. Once a - gain, friends, we meet in our hap-py land to - gether, For - got - ten the sor - rows it caused us to sev - er, For when
2. The dew leaves the flow'r at the dawn of the day, The first sun-beams bear it to heav - en a - way, But when
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3. Thus when we are part - ed, kind mem - o - ry calls Our hearts to the days we have passed in these halls ; For though
4. Each eye beam - eth glad - ly, each dear - ly loved tone Bringeth thoughts of the plea - sures, the hap - pi - ness gone ; As in
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moun-tain and plain, Back to the lone flow'r comes the dew - drop a - gain.
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we are hap - py
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we dream of new bliss, And what can be bright- er than a meet - ing like this*
ished, wake a joy-breathing strain, The friends who were part - ed have met once a - gain.
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Andante. Espressivo
CHANT WE NOW
G. F. R.
1st verse. Chant we now a mournful an - them, Xow a part - ing^song we bring; Blend once more our_youthiul voi - ces, While a
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3d verse. Sis - ters, we have walked to - geth - er, :Neath the skies of sun - ny years; In the dim ana niy»-tic fu - ture, Lies there
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See page 172 for closing cadence for 3d verse.
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CHANT WE NOW. (Continue.!.)
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171
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Sis - ters, we are doomed to part. 2d v. Soft - ly
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swell the num-bers, Gent - ly
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2d verse. Soft-ly swell the plain five num-bers, Gently on the breeze they float ; Grief is waking
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CHANT WE NOW. (Continned.)
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From our path have fled the flow- ers, Wo- man's Jot is
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CHANT WE NOW. (Concluded.)
173
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nev-er more,
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174
Allf?rctlo.
MY" OWN NATIVE LANL
English.
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1. I'w roamed o - ver moun-tain, I've crossed o - ver flood, I've tra-verscd the wave - roll - ing sand: Tho' the fields were as green, and the
2. The right hand of friend-ship how oft have I grasped, And bright eyes have smiled and looked bland ; Yet hap - pi - er far were the
3. Then hail, dear Co-him-bia, the land that we love, Where flourish - es Lib - er - ty's tree; 'Tis the birth-place of Freedom, our
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moon shone as bright, Yet it was not my own na-tiveland!
hours I passed In the West, in my own na-tive land !
own na - tive home, :Tis the land, 'tis the land of the free !
No, no, no, no! Oh! it was not my own na-tive land!
My own na-tiveland! Far. far in my own na-tive land!
Yes, )-es, yes, yes ! 'tis the land of the free! of the free!
Moderate.
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AGAIN, AGAIN WE MEET
Italian.
175
1. A - gain, a - gain we meet, Loud swell a joy- ous song,
2. A - gain, a - gain we meet, We'll breathe a glad-some lay,
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For nought but blithe- some smiles Beam out from ;mid the
For buds and bios - soms fair Have bloomed up - on our
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throng; And ma-ny stars have shone Up - on our hap- py road; Let eve -ry heart breathe praise To our Mak-er and our God.
way; And if some wand'ring tears E'er shad-ed their pure light, 'Twas but as sum-mcr showers, That left themstill more bright.
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176
Allcsrclto.
OUT ON THE AIR.
H. T. L.
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1. Out on the air let the clear notes be ring - ing, That wake from their slum - bers the e - choea of
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night ; The moon hath come forth in the a - zure sky, bring- ing A thou -sand proud plan - ets trans - cend • ent - ly
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cast ; Thou hast power to com - fort the sad and the lone - ly, Bring hope for the fu - ture, glad dreams of the
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OUT ON THE AIR. 'Concluded.)
177
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173
GLAD NOTES OF JOY.
AllfETOttO.
William Mason.
W— -Q=i— I— 0 H« »-J=E=
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1. Glad notes of joy are ring - ing, And all is bright and fair
2. Our life is in its
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The flow - er - breath comes wing - ing Up-
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Oh,
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al - ize our dreams ; And though these halls we're leav - ing, Our haunts from child - hood's day,
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/ 2.1 time P
179
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let no note of sad - ness be heard this fes - tal
day.
Come, come, come,
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Come, come, come, come, come,
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Come, come, come, come, Our hearts are light and free.
Come, come, come, Our hearts are light and free.
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180
Adagio.
A REQUIEM.
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181
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Left our hearts dark and for - sa - ken ; One more earth - ly course is run ; God of love, thy will be done !
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SOFT MUSIC IS FALLING.
G. F. R.
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533
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1. Soft mu - sic is fall - ing All sad on tne ear, While dark clouds of sor - row Are hov - er - ing
2. Oh ! voice of a spir - it, What mys - ti - cal power Hath made thy strange mu - sic the sport of Time's
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ONCE AGAIN.
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2. On the bo - som of the o - cean Dance the wave - lets, glit - t'ring band, With a slow and fai - ry
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ADIEU TO A TEACHER.
(7b be sung to the music of " Once Again.")
Though thou leav'st us, still we'll bless thee,
Grateful for thy kindly care ;
Through the scenes where God may call thee,
Take our earnest, fervent prayer.
All thy counsels shall be dwelling
Deep within each youthful heart,
Though thy voice no more may utter
Words of love with gentle art
Up the rugged hill of Science
Thou hast led us kindly on,
Toward the temple where for ages
Wisdom's star has brightly shone.
Though thou leav'st us, still we'll bless thee,
Grateful for thy kindly care ;
Through the scenes where God may call thee
Take our earnest, fervent prayer
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BRING FLOWERS.
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1. Bring flow - ers from the hill-side, Pale lil - ies from the stream, White - robed and fragrant blossoms, Pure as a maiden's dream :
2. Seek in the sha-dy wood-land, For the vio - let's blue-eyed throng ; Pluck the hea - ther bells that soft - ly Chime a sweet and fai - ry song;
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Bring dai - sies from the meadow, From the gar - den tu-lips gay, And wreathe them all to - ge - ther, To crown the youthful May.
And the rose - bud, half-un - fold- ing Its leaves to meet the day, — Earth's stars, Bright gems of Na - ture, Shall crown the gen-tle May.
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Seek the per-fumed flow'rets springing, Where the sil - very fountains play We'll wreathe them all to - geth-er, To crown the beau-teous May.
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THY EARLY DAYS.
H. T. Lincoln.
189
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1. Thy ear - ly days will come but once, Oh, bright-eyed, joyful child, Whose laugh is echoing o'er the hills, And in the green-wood wild ; Whose
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steps are like the summer birds, Scarce press-ing as they pass, The meek and fra-grant vi - o - let, The soft and dew - y grass.
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life is like a sum - mer morn, That pass - es fill too soon — Ere thou hast seen with watchful eye The com ing of the noon.
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Alleuro Staccato.
THRICE HAIL, HAPPY DAY
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1. Thrice hail, hap - py day, That speak'st our na- tion's glo - ry ! A roice with thee Pro-claims " we're free," Thrice hail, hap- py day.
2. The graves of out fathers, Their lau - rels bright- ly crown them ! They fought and died, That we, in pride, .Might hail free-dom's day !
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3. Oh, where is the land, In all the wide ere - a - tion, That beams so bright, With free-dom's light, On this hap - py day!
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Then, come, ye sons of freedom's throng, And shout their deeds in joy - ful song : May mem - 'ry cher - ish long This bright hap - py da}-.
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HOME.. SWEET HOME!
Old Melody.
191
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1. 'Mid piea-sures and pal - a - ces though we may roam, Be it ev - er so humble, there's no place like home ! A charm from the skies seems to
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hallow us there, Which, seek thro' the world, is not met with elsewhere. Home, home, sweet, sweet home ! There's no place like home, There's no place. &c.
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come at my call — Give me these with the peace of mind dearer than all ! Home, home, sweet, swest home ! There's no place like home, There's no place, &c
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THEE WILL I BLESS.
A. C. Williams.
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1. Thee will I bless, O Lord, my God ! To thee my voice I'll raise, For ev - er spread thy name a-broad, And dai - ly sing thy praise.
2. My soul shall glo - ry in the Lord, His wondrous acts pro-claim ; Oh ! let us now his love re-cord, And mag-ni - fy his name.
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Andante e piano.
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LORD, WE COME
1. Lord ! we
2. Lord ! on
3. Send some
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come be - fore thee now, At thy feet we hum-hly bow; Oh! do not our suit dis-dain! Shall we seek thee, Lord, in va:.i?
thee our souls de-pend; In com- pas-sion now de - scend ; Fill our hearts with thy rich grace, Tune our lips to sing thy praise,
message from thy word, That may joy and peace af - ford ; Let thy spi - rit now im - part Full sal - va - tion to each heart.
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JOY TO THE WORLD !
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Arranged from Handel.
. .
1. Joy to the world, the Lord is come; Let earth re-ceive her king; Let eve
2 Joy to the earth, the Sa- vior reigns ; Let men their songs em-ploy; While fields
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1. See how the morning sun Pur - sues his shin-ing way, And wide proclaims his Ma - ker's praise, With eve - ry bright'ning ray.
2. Thus would my ris-ing soul Its heav'nly pa-rent sing, And to its great o - ri - gin - al The hum - ble trib - ute bring.
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WITH HUMBLE HEART.
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1. With humble heart and tongue, To thee, my God, I pray; 0 bring me now, while I am young, To thee the liv
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JOY TO THE WORLD.
3. No more let sin and sorrows grow,
Nor 1 horns infest the ground ;
He crimes to make his blessings flow,
Far as the curse is found.
4. He rules the world with truth and grace,
And makes the nations prove
The glories of his righteousness
And wonders of his love.
WITH HUMBLE HEAP.T.
2. My heart, to folly prone,
Renew by power divine,
Unite it to thyself alone,
And make me wholly thine.
5 Oh, let thy word ot grace,
My warmest thoughts employ ;
Be this through all my following days
My treasure and my joy.
200
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THERE WAS JOY IN HEAVEN.
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heaven, There was joy in
heaven, There was joy in
heaven, When this good - ]y world to frame, The Lord of might and glo - ry came ;
heaven, When of love the mid-night beam Dawned on towers of Beth - le - hem;
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And a - long the echo-ing hill, An - gels sang on earth good-will, Glo-ry to
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Glo-ry to God in heaven.
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ASSEMBLED AT THE CLOSING HOUR.
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1. As - sem - bled at the clos-in^ hour, When we awhile must part,
2- 'Tis by His goodness we are led With -in these favored walls;
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A song of praise to God we pour, With mel - o - dy of heart.
And eve - ry footstep here we tread, Thy good-ness still re - calls.
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COME, 0 MY SOUL!
G. F. R.
201
ASSEMBLED AT THE CLOSING HOUR.
3. Oh, while we here our time employ,
Permit us to improve
In useful knowledge, and enjoy
The tokens of thy love.
4. In kindness, when we separate,
Regard our tender prayer ;
And let us, when again we meet,
A Father's blessing share.
COME, 0 MY SOUL !
3. In all our Maker's grand designs,
Omnipotence with wisdom shines ;
His works, through all this wondrous frame.
Declare the glory of His name.
4. Raised on Devotion's lofty wing,
Do thou, my soul, His glories sing ;
And let his praise employ thy tongus,
Till listening worlds shal join the song
902
v^'Tato,
OUR FATHER! THOU WHO DWELLEST IN HEAVES.
A. N. Johnson.
] ( Our Fa
( From thee
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ther ! Thou who
our strength and
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giv - en,
Come, list
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praise.
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THY NAME, ALMIGHTY LORD.
From " Car.mina Sacra."
1. Thy name, Al-migh -ty Lord, Shall sound thro' dis- tant lands; Great is thy grace, and sure thy word, Thy truth for - ev - er stands.
2. Far be thine hon - or spread, And long thy praise en - dure, Till morn-ing light and eve - ning shade Shall be ex-changed no more.
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HUMBLY AT THY FOOTSOOL KNEELING.
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thy foot - stool kneel - ing, Hear us, ho - ly Fa - ther,
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( Wilt thou, bless-ed Sa - vior, guide us, Cleanse our thoughts from ev - ery stain,
t Let the grace of thy pure spir - it Be our soul's de
light and aim.
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OUR FATHER, THOU WHO DWELLEST IN HEAVEN.
2. May we in friendship dwell united,
May virtue every action guide ;
And when our schemes of joy are blighted,
Put down each swelling thought of pride.
Content in sorrow — joy we'll live,
Since all is good that thou dost give.
3. In wisdom and in skill increasing,
As youth and vigor haste away,
Our labor as our joy increasing,
May we ne'er spend an idle day.
And that we may the work prolong,
Oh. make us diligent and strong.
HUMBLY AT THY FOOTSTOOL KNEELING.
2.
When the day of life is over,
May we dwell with thee above;
May we join with seraphs hymning
Praise to thee, thou God of love ;
There with harps and angel voices,
May we swell a ceaseless song,
Ever happy, ever holy,
Thou ou- Gud, and heaven our homa.
204
Andante.
s --> ;
1. Fattier, whate'er ot earth-ly bliss Thy sov'reign will <le - nies,
2. Give me a calm, a thankful heart, Fromev-ery murmur free,
3. Oh, let the hope that thou art mine, My life and death at-tend ;
FATHER, WHATEVER OF EARTHLY BLJSS
i'ROM " Carmina Sacba."
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Ac-cept-ed at thy throne of grace, Let this p* - ti - tion rise.
The blessings of thy grace im-part, And make me live to thee.
Thy presence thro' my jour- ney shine, And crown my jour-ney's end.
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SAVIOR, SOURCE OF EVERY BLESSING.
Arranged from Weber
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Teach me some melodious measure,
Sung by raptuied saints above ;
Fill my heart with sacred pleasure,
While 1 sing redeeming love.
Bv thy hand restored, defended,
Safe through life, thus far. I'm come
Safe, 0 Lord, when life is ended.
Brins me to my heaveniv home.
Animnte.
SISTER. THOU WAST MILD AND LOVELY.
t
L. Mason.
205
f- f i f rlil if f r* r f -p- i r r i i r i i i f| r -»- -p-
1. Sis-ter, thou wast mild and love-ly, Gen-tle as the sum-mer breeze; Pleasant as the air of evening When it floats a-mongthe trees
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Moderate.
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MY SHEPHERD WILL SUPPLY
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L. Mason.
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1. My shepherd will supply my need, Je - ho - vah
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■ ho - vah is his name, In pastures fresh he makes me feed, In pastures fresh he makes me feed, Be*
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MY SHEPHERD WILL SUPPLY.
2. He brings my wandering spirit back,
When I forsake his ways,
And leads me, for his mercies' sake,
In paths of truth and grace.
3. When I walk through the shades of death,
Thy presence is my stay ;
One word of thy supporting breath
Drives all my fears away.
SISTER, THOU WAST 3LTLD AND LOVELY.
2. Peaceful be thy silent slumber,
Peaceful in the grave so low ; .
Thou no more wilt join our number,
Thou no more our songs shalt know.
3. Dearest sister, thou hast left us,
Here thy loss we deeply feel ;
But tis Goil that hath bereft us ;
He can still our sorrow heal.
4. Yet again we hope to meet thee.
When the day of life is fled ,
Then, in heaven with joy to greet tha
Where no farewell tear is sued,
206
Dolce;
ii^giiste
I
IN SLEEP'S SERENE.
;'
G. F. R
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MY COUNTRY, 'TIS OF THEE.
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L\ SLEEP'S SERENE.
1. In sleep's serene oblivion laid,
i safely passed the silent night ;
Again I see the breaking shade,
I drink again the morning light.
2. O guide me through the various maze
My doubtful feet are ddomed to tread ;
And spread thy shield's protecting blaze,
When dangers press around my head.
MY COUNTRY, 'TIS OF THEE.
1. My country, 'tis of thee,
Sweet land of Liberty,
Of thee I sing;
Land where my fathers died,
Lam! of the pilgrims' pride,
From every mountain side,
Let freedom ring !
2. My native country, thes
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.
3. Our fathers' God, to thee,
Author of Liberty,
To thee we sing :
Long may our land be bright
With freedom's holy 'iiht 1
Protect us by thy might,
Great God. our King.
CHANT N°- 1
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CHANT N°- 3.
207
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j ( I will lift »p mine eyes unto the hills,
( From whence | cometh . . my | help.
2 ( My help cometh from the Lord,
j Which made | heaven, .and | earth.
3 j He will not suffer thy foot to be moved :
| He that keepeth thee | will not | slumber.
■ ( Behold, he that keepeth Israel
Shall not | slumber, .nor | sleep.
The Lord is thy keeper :
. The Lord is thy shade upon thy | right — | hand.
( The sun shall not smite thee by day,
( Nor the | moon by | night.
( The Lord shall preserve thee from all evil •
( He shall pre- | serve thy | soul.
( The Lord shall preserve thy going out, and thy
) ,, c°™'}ng in, [A- | men.
( *rom this time forth, and even for-ev-er | more.
^mi^i»
< i i
THE LORD'S PRAYER.
( Our Father
2fTL,
( On earth, as it is in
win rmuci «'ho art in heaven,
Hallowed be thy | name :
| Thy kingdom come, thy will be done
heaven.
3 Give us this day our daily | bread ;
^ | And forgive us our trespasses,
( As we forgive them that trespass against
5 ( And lead us not into temptation,
( But deliver us from | evil ;
6 j For thine is the kingdom, and the power,
( And the glory for- | ever.
THE OLD HUNDREDTH.
US.
" THY WILL BE DONE !"
"Thy will be | done !" || In devious way
The hurrying stream of | life may | run -||
Yet still our grateful hearts shall say, | '
" Thy will be | done."
': Thy will be | done !»|| If o'er us shine
A gladdening and a | prosperous | sun,||
This prayer will make it more divine— '
" Thy will be | done."
" ThyVill be [ done!" || Though shrouded o'er
Our | path with | gloom, || one comfort— one
Is ours :— to breathe, while we adore, |
" Thy will be | done."
BoWRlNG.
Close by repeating the first two measures— "Thy will be done."
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TABLE OF CONTENTS.
, Boat, a Boat (Round; 83
en Adhem aad tlie Angel 103
A. lieu to a Teacher 187
Again, again we meet 173
a' Requiem 180
An ike, my trembling Lyre 58«
led at the closing Hour 200
Beautiful Spring 100
Beautiful Star 84
Bird of the North 132
Bright, glowing Iris 70
! lowers 188
River of Babylon (Hound) :i">
:.pr the Month of June 58
Come and sing a merry Song (Round) ... 33
Come, O my Soul 201
Chant we now 170
Bin I'mim 38
Day again is gently breaking 103
Day is gone (Round) 35
Knn is my home 61
Ever blooming, ever gay (Round) 89
Father, whate'er of earthly Bliss 204
n's Land .' 83
Night (Round) rt7
(ilad Notes of Joy 178
Greeting to Spring 142
Hark! nark! we come with Song 14a
Home, far Away 107
Hearts and Hemes 86
Home, sweet Home 191
How I love to see Thee 85
How sweet are the Flowers G3
How sweet to be roaming (Round) 33
Humbly at Thy footstool kneeling 203
I come, I come (Song of the .New * ear).. 160
I dream of all Things free 10.3
In Sleep's serene 300
1 will lift up mine eyes (Chant) 207
the World...' 198
Let oi endeavor (Hound) II
Lolo 62
Lord , we come 198
ing is:!
My Country, "tisol thee 206
My own Native Land 174
My Shepherd will supplv 205
No ' 1,6
IWw to All a kind Good-Light (Round). . 37
Now the Wind is blowing tresh and fair. 150
on in the stilly Night
Once again, friends, we meet 109
Once again 180
O merry goes the Time 169
Old Hundredth -.'"7
Our Father, "hou who dwell'stin Heaven JOS
Oui lather, whe ar n Heaven (Chant)., 207
Out on the Air 176
Peaceful Nights 118
of Music 1>1
Rcgna Terne 192
th Bells 62
Salvation (Round) :'-l
Sadly now 164
Savior, Source of every Blessing 204
See how the morning Sun '. 199
Soft Music is falling HI
Sing we now our morning Song (Round) 38
Sing to the Lord 39
Sister, thou wast mild and lovely 205
Strike the Silver Strings 184
Sweet Robin 129
Sweet Sisb-r Kay 123
The Comparison 163
Tho • Evening Bella 157
Hvent Bells 92
The h'.vening Sail 9Q
no 74
ountain 162
I light dawns 60
The Greenwood Tree 59
The Invitation 49
The Frost 113
The Hour of Prayer 72
The Humming Bird 64
The Linden Tree 153
The Lord will corn-fort Zion (Round) 36
The Muleteers of Grenada 7 7
The May-Bells and the Flowers 160
The Last Rose of Summer 61
loon is beaming 96
urish Drum 94
The Neva Boatman's Song 66
The Summer I 54
ir of Hope 38
The Sun is high (Round) 30
The Syrens. 104
Tb.es will 1 bless 197
There was Joy in Heaven 200
Thrice Hail, nappy Day 190
Thv Name, Almig'hty Lord 202
Thy c-.rly Days 189
The Wanderer's Farewell 98
Thy \\ ill be done (Chant) 207
Touch the soft Harp gently 126
Violets, blue Violets '. 140
Warble for us (Round). 31
Welcome, welcome 40
When the Morning BO
With liui 199
Yes, 'tis the Indian Drum 137
Yc Nations of the Earth (Round) 37
PUCES R'U VAKIOCS oco
OPENINO OF SCHOOL.
Come. O my Soul
Father, whate'er nl earthly Bliss 304
Humbly at thy FooUtool kneeling —
In Sleep's serene
1 w ill lift up mine Eyes 207
Joy to the World IPs
Our Father, Thou who dwell'stin Heaven 202
Onr Father, who art in Heaven 207
Savior, Source 204
See how the Morning Sun US
Thee will I bless 197
With humble Heart 199
My Shepherd will supply 205
CLOSE OF THE WEC1C.
Assembled at the Closing Hour 200
Thv Name. Almighty Lord 202
The Old Hundredth 207
SONGS OF MEETING.
Again, again we meet 175
Once again. Friends, we meet 169
The Iu\ Ration 49
SONGS OF PARTING
Once again 180
Soft Music is falling 181
GRADUATES' SONOfl.
Chant we now 1*0
Sadly now 164
DEATH.
A Requiem 180
Sister, thou wast mild and lovely 20.->
Thy Will be Done '. 207
CHRISTMAS.
There was Joy in Heaven 200
Joy to the World -. 198
NKW YEAR'S.
I come, I come 166
CLOSE OF THE YEAR.
Listen! softly pealing 183
FOURTH OF Jl'LY.
's Land 83
My Country, 'tis of thee 206
My own Native Land 174
Thrice hail ! happy day 190
MAY-DAY.
Bring Flowers 188
The Summer Days are coming 54
Beautiful Spring 100
Ever blooming, ever gay S5
OPENING OF CONCERT.
Awake, my trembling Lyre 66
Out on the Air '. 176
Strike the Silver strings .. 184
VACATION SONG.
Clad Notes of Joy 178
Adieu to a Teacher 18*
■»;
is>
L-1
*■
MUSICAL PUBLICATIONS.
PSALMODY.
InErttALLELU.TAH. By Lowell Mason... $1 00
THE SHAWM. By William B. BRADBtntT and
Georob F. Root, assisted by Thos. Hasti <roa
andT. B. Mason 1 00
CANTICA LAUDIS. Br IiOWisU. Mason and
Georob James Webb 1 00
THE OARMINA SACRA. By Lowell Mason 1 0«
NEW CARMINA SACRA. By Lowell Mason 1 00
THE BOSTON ACVDEMYS COLLECTION.
By Lowell Mason 1 00
THE PSALTERY. By L. MA60N and G. J. Webb 100
THE NATIONAL PS VLMIST. By Lowell
Mason and GeuRge James Webb 1 00
TEMPLE MELODIES. A collection of about
two 1 iudred popular tunes, adapted to nearly
five hundred favorite hymns, selected with
special reference to Public, Social, and Private
Worship. 12mo. Cloth 62i
THE SAME. Large tvpo. 8vo. Cloth 87*
THE CONGREGATIONAL TUNE BOOK. By
Lovfll Mason and Geo. J. Webb 30
PLAIN MUSIC FOR THE BOOK OF COM-
MON PRAYER. Edited by Rev. George T.
Rider, A.M 50
BOOK OF CHANTS. By L Mason. 12mo,
cloth 75
ANTHEMS, CHORUSES, &c.
THE BOSTON A NTTIEM BOOK. By L. Mason 125
THE CHOIR CHORUS BOOK. By A N.
JOEBSCN 1 00
THE BOSTON CHORUS BOOK. Compiled by
Lowell Mason aud G. J. Webb 75
CHORUSES OF HANDELS MESSIAH. This
is the first of a series of t r.-to- '.a Chin— Books
TnE PILGRIM FATHER" I u \ L-. TiOM 30
GLEE BOOKS.
THE NEW YORK GLEE A VD CHOPUS BOOK.
By William B. Bradbctiy 1
THE NEW ODEON. ?,y Lowell Mason and
George James Webs 1
THE GLEE HIVE. Bv L. Mason and G. J. Webb
THE MELODIST. By GeOMB James Webb
and William Mason 1
THE SOCIAL GLEE BOOK. By Wm. Mason
and Silas A. Bancroft 1
FIRESIDE HARMONY. By William Mason
THE VOCALIST. By L. Mason and Geo. J.
Webb. 1
FOR MEN'S VOICES.
THE YOUNG MEN'S SINGING BOOK. By
G. F. Root, < I by L Mason 1
THE GENU EMJ.-S GLEE BOOK By L.
Mason . . ,„ 1
FOR ACADEMIES AND SEMINARIES.
THE MUSICAL ALBUM. By G. F. Root. . . .
THE ACADEMY VOCALIST. By G. F. Root
THE FLOWER QUEEN; or, the Coronation of
. the Rose. A Cantata. By G. F. Root
JUVENILE MUSIC.
THE YOUNG SHAWM. By W. B. Bradbury
THE SONG BOOK OF THE SCHOOL ROOM.
By Lowell Mason and G. J. Webb
THE PRIMARY SCHOOL SONG BOOK. By
Lowell Mason and G. J. Webb.
LITTLE SONGS FOR LITTLE SINGERS. By
Lowei l Mason
WILDER'S MUSICAL ELEMENTARY. By
Levi Wilder
WELDERS SCHOOL M"S;C. II- L Wilder.
lb
00
60
00
00
1 00
00
00
00
38
38
18
18
38
18
HiSTINGS'S SABBATH SCHOOL SONGS. By
THOMA8 HA8TINOB
JUVENILE ORATORIO?: the T-e«tival of the
Rose, Indian Summer, ai id a of Jer-
usalem. By J. C. JoiiNFO.s
THE TEMPLE OF INDUSTRY. A juvenile
Oratorio. By J. C. Johnson
MUSICAL SCIENCE.
MANUAL OF THE BOSTON ACADEMY OP
MUSIC. By Lowell Mason
MASON'S MUSICAL EXERCISES, for Teach-
ers' use, instead of the Black Board. Very
large folio. Can not i>» r nt by mail 5
MASON'S VOCAL EXE.'.CISES AND SOL-
FEGGIOS. By L Mason l
MARX'S MUSICAL COMPOSITION. Tran-
slated from the German by H. S. Saroni.
With a copious Appendix, bv Ehiltcs Girac.
WOODBURY'S SELF-INSTRUCTOR IN MU-
SICAL COMPOSITION AND THOROUGH
BASS. By I. B. Woodbury. I.djo clota. ..
SARONI'S MUSICAL GRAMM/ R .'.
WRIGHT'S PIANO FORq,E MA-NC.iL. By
Wm. C. Wright. AM
MUSICAL LITERATURE.
MASON'S MUSICAL LETTERS. A series of
Letters from .'road, upon Musical subjects. ...
HASTINGS'S FORTY CHOIRS. The trials
and experience of forty different choirs. By
Thomas Hastings 12ilo, cloth
HASTINGS'S MUSICAL TASTE. A disserta-
tion on Musical Ta<:te I v Thomas HASrofas. .
THE OLD HUNDl.!. ^LM TUNE. A
history of 'V.e O-d Hu..lred:h Psalm Tun*,
with specimen;, i'.v Rev. W. H. Hayergal,
Rector of St. Nieho'.-a, Worcester. 8vo, cloth.
)B
60
60
00
3 0C
50
1 75
75
i 00
THE NEW Y0EK MUSICAL REVIEW AND GAZETTE,
a paper devoted to the interests of Music, is published once a fortnight, aud contains sixteen large quarto pages, four
of a practical character, and adapted to the wants of :he people. The New York Musical Review and Gazette is
LAR a year, >n advanc Subscriptions may eou.mence with any number. Published by
of which, in each n imi. ;r. ire filled with NEW V1
published every other SATURDAY, at onlv ONE .
MASON BROTHERS, New York.
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