Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
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Method of Elementary
Sight-SingingGraded Exercises,
Songs, Rudiments,
etc.
BY
JOHN
D.
BRUNK
PRICE:
Single Copy, prepaid
.35
3.00
20.00
Published by
T lfDllDllI
PA.
COPYRIGHT.
1912,
(if)
PREFACE.
This volume
is
an
Thoroughness
is its
The
aim.
numerous
repetitions.
To
is
indica-
is
is
Only such songs as will make a real contribution to the student have been included; 'no effort having been made to find the
new song but the helpful one.
The
It is
little
author sends
it
book may be
who pursues
it,
of valu-
that the
forth.
JOHN
Goshen, Indiana.
April, 19 1 2.
(iii)
D.
BRUNK.
Hil
http://www.archive.org/details/educationalvocalOObrun
INTRODUCTION.
Good
heaven.
singing
is
May
it
one
'
'
Lamb" yonder?
In this age when light, sensational, spectacular, demoralizing,
not sacrilegious music is the practice, expectation, the "satisfying portion" (?) of so many, it is especially needful that more than
ordinary attention be given to the study, practice and cultivation
of one of the richest of the divine endowments of man the gift of
song.
Moreover, there is a special demand for the promulgation
of good vocal music, seeing that musical instruments are not only
supplementing it, but virtually threatening to supplant the Creator's
The only way
highest mechanism of music the human voice.
to maintain the true charm of the human voice, attuned to melody
and expression, in our homes, in social life, in our educational
institutions, and in our churches and missions, is to wisely encourage, carefully guard, intelligently foster and heartily support
every rightful move made in the direction of the advancement of
if
good
singing.
The Mennonite
'
down
and there
is
and a lingering
a fond hope
may
There
is
demand
for a
is
in its
character
him
assist
of
his
work
My
service in song
and
to lead
said,
men
to
glorify
"His praise
Him
of
whom
shall
be continually
D. H.
BENDER.
my
Hesston, Kansas.
January
13th,
191
2.
(vi)
the
in
CONTENTS.
Page
Part One
167
Part
Two
68113
114 137
Part Three
explanation of the Rudiments of Music.
A
This part is in twelve Sections, each section
treating one subject, part of a subject, or a
group of small subjects. The Contents page at
the beginning of this part will come well.
See
Index.
full
Part Four
138
This Voice Culture Department has two kinds of
instruction.
One is an explanation of the use of
the voice,
which
be useful
will
in
consists
of
142
exercises
voice.
Part Five
143
152
Index
153
(vii)
Contents of Grade
Rhythmical exercises
in
I.
a to 3 c.
2 d.
Rhythmical exercises
Exercises in
Key
of
in triple
Clef begin, 9
introduced, 10
measure
after 5 d.
a.
a.
rests after 11
Key
of
introduced, 14
a.
(viii)
f.
and
16,
PART ONE
GRADED
STUDIES.
Grade
References are
made
to
I.
Note. These exercises are for the study of tone-production and tone-relationship.
them carefully with Iyoo, or IyO, or Lah to each tone. Change the vowel fre-
Practice
quently.
Others
may be used
occasionally.
Do
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I.
Thanksgiving Song.
Mary Vaughan.
Mrs. H. H. A. Beach.
Moderate.
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rud - dy heaps,
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ing, the glad Thanks-giv-ing day!
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ly
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roun-del
nuts from
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far
and
near,
And
last
is
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When
53?
soon
will
be
it
har - vests all are
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glad
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and
win
day
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ter
the
year!
days are
near.
of
Contents of Grade
Two-part singing, 17 a
to
II.
8 c.
a.
Key
of
BP
Key
of
Key
of
D
E
The
triplet introduced, 27 a.
The
quarter-beat introduced, 29 a.
introduced, 22
introduced, 23
p.
a.
a.
a.
introduced, 25
a.
Key
of c introduced,
Key
of b introduced, 31 e.
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Key
of
31a.
Difficult
32at033d.
clef begin, 33 a.
introduced, 34
a.
Staccato introduced, 37
a.
introduced, 38
Difficult intervals, 41 a to 41 b.
(14)
a.
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25
II.
Allegro.
^==3
p
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Good-morn-ing,
nev - er
I
2.
ry
sun
to
sleep,
go
How
shine,
dear,
:Til2:
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soon?
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see-.
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lit
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dren
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go round
did
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of
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way_ the
and watch for
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Be
night
And
bees
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my
my
ceased
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all
the
birds
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see
to
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way,
And
now
come
it
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And
pray,
where
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child
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stayed
out
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you
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27
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27
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Used by permission.
29
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Kate Brown.
29
II.
(Words.)
Andante,
|PSE|EE|
the heart
In
Bur
seed
of
^S
dim.
lit
tie
plant
to
Nine and
This
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MAJOR SCALE.
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On A Snowy
Day.
Old German.
Moderate,
6*
Fall - ing,
Squir-rels
1.
2.
fall
4
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33
-h
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peep-ing
On
fall
trees,
h-
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coat-ed, safe
from harm,
Fire-light play-ing Thro' the co zy room, Makes our books and toys and things
Tho'ts of wand'ring Thro' the wind and snows, Makes our bed so nice and warm,
3.
4.
is
r> h t-ftis
fa
On
the ponds and all the trees, Whirl-ing, whirl-ing Round the steeple tall.
Feel the snug-ger for the storm Sweep-ing, sweep-ing
O - ver lonesome leas.
Dearer when the cold wind sings, Stray-ing, stray-ing Out there in the gloom.
When the chill-y sad-voiced storm, Moaning, moan-ing Past the chimney goes.
32
a.
Series."
Silver, Burdett
&
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first
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II.
Lento.
a.
,
;
Frederick Kiicken.
L. Lane.
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Soft blows the
Strong blows the
1.
2.
r-t^f
*
Hark
west
ern wind,
to
the
song
east
the
tales
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he brings,
1
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far
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way,
T7tt
Wide
fields
Ships
pass
Sun - shine on
hill
and plain,
Great white-winged birds that go
rip-'ning grain,
of
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and
to
fro,
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may
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thirst
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far
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flow,
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way.
use the same pitch, or any two that sound well together.
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time
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40
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the
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Dark
ners,
Per
was
the
night;
il
was
nigh:
a
j
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GRADE
Vott
tt^
5
JL
Im
v.;
ff
tt
43
II.
U-
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Ttl
1
1
bored heav
Oars
la
Then
said
the
(B
p^
R%
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p^-a
God
of
Foam
God,
'Peace!
pPP
H_.
~i
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TT
,
i
glim-niered
It
white;
I."
is
&0
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Morning Hymn.
Philip Doddridge.
mf
Con
Hiindel.
spirito.
^^
ffli
1.
2.
'Tis
"^
A
wake,
God's
my
all
soul, stretch ev
-
an
mat
ft4
iS
^t
l]
nerve
ing voice
And
press with
That
calls
'ry
vig
or
on
thee from
-^
=3F
g|
EE
t=S=2:
A
on;
high;
'Tis
heav'n
His
ly
race
own hand
de
pre
i
,
mands
thy
zeal,
sents
the
prize
To
1^3:
g^EE
T5^
Ia
i
an
im
mor
thine
as
pir
EE
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d.4^
tal
ing
crown,
eye,
A ^
And
an
im
To
thine
as
q^2
J
^
mor
pir
tal
crown.
ing
eye.
A-
XT'
Contents of Grade
Four-part singing, 42 a to 42
Key
of
III.
d.
introduced, 42 b.
Drills in j:empo, 43 a to 43 c.
Rhythmical exercises
Key
Key
of
of
DV
j?
in the
introduced, 45
compound measures, 44
a.
introduced, 46 b.
Key
of
F$
introduced, 48
Double
flat
a.
f.
c.
to 48
used, 49 a.
c.
c.
a.
Difficult
and
Key
Key
of
of
GV
introduced, 55
a.
introduced, 56 b.
(44)
c,
59.
57, 58,
and
59.
Grade
References are
42
made
III.
to
a.
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2:
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Soi,o.
m ga
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Sleep,
^3
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sleep!
fath
watch - es
er
his
Chords.
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mm
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lit
tie
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dream
on
3
^
thee.
Sleep,
ba
-Z5>-5-
r:
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r.
by,
sleep.
aI
SB
<g
1*-s-
He
is
Who
the
Lamb
of
God on High,
came down
to die.
by John D. Brunk.
GRADE
45
b
{Sec. Three.
a.
=3=1
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b
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45
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49
III.
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33
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50
At Sunset
John G. Watts.
gmJ^
Adagio.
ra
1.
Soft
2.
Flow 'rs
sighs the
ly
that
-P^
-T
Ope'd
rose
to
life,
te
=n
Lit
tie
46
tie
bird
at
rest,
soft- ly
close;
3t3=
-^
As
chest-nut trees;
now
a.
ms^
Sta=e:
fee
T2-
4sL-
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fe
251-
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46
te
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b.
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-ifctr
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;
a
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f r
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A "A
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GRADE
46
51
III.
c.
I
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The
Swing.
M. White.
i te^
Allegro.
1.
How
2.
Till
do
you
like
to
go
up
look
down
on
the
gar
S^
Up in
Down on
1
Q,bU
V-'7
the
the
air
so
blue?
roof
so
brown
swing,
so
green,
Up
in
r*
in
den
Oh!
^-V-V
r^
r
h
^
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b W
(*\
v
5^
do think
the
fly
ant
thing,
est
ing
gain,
Ev
Up
er
in
the
it
the
go
'
'
11
pleas
air
child
can
do.
air
and
down
Refrain.
te
I 55
V-
3=
Up
in
the
and
air
Bfr
ver
the wall,
Till
can
see
it
Riv
wide,
ers
and
E=S
5te
O
ver the
coun-try
and
trees
cat
tie
and
all,
*=ft 2=
side
Co.
1
-
try
side.
52
47
3
4
a.
I
I
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47
b.
a \&
47
c.
\ j.
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4.
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114
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48
c.
y.ffi
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48
IS
{Sec.
d.
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54
Love
Summer-Time.
the Cheerful
Allegro moderate
g^=E
m3^
1.
2.
love
3.
4-
MS
^
is
T^
-TTV\j
-.'
sum-mer-time With
love
z
r
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^d
eve-ning breeze,
my
r
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P
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gpiih
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3
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49
feet.
81
<f.
o '
spark-le 'neath
r
!
cool,
love the
rn
49
*
i
tr
y
the
\
>i"li
*>
hvr-
grass
h h
*
The
flow'rs,
to
jN
love
and
birds
its
hear the
lit - tie birds That
sing a-mongthe trees,
love the bright and glo-rious sun That gives us light and heat,
fm y
all
*=-
fF
Lento.
b.
JJ ipb 9
/^\ n b U "T
'*+
V >
l?o
(5
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55
III.
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50
Lento.
c.
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50
P P
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56
50
c.
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(Words.)
Fielding
^4
&
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jg
a turn
is
coat, a
fel=^
4
ft
t?
;\
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a friend,
first
coat,
-9-
and
turn
coat;
First
a friend,
then,
-0-M
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3=
Al
3=
it
PI
aI
PIP
p
p
and then,
and then,
and then,
and then,
and then,
JLAP
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GRADE
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N
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en
57
III
N
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11
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Allegro.
b.
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rf
pr
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r
i
k
^-
ft
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n
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>,
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-;
S&
Andante
,
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1
>
f)
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M^
(Sec. Five.)
P.
2=^=
s:
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^*
1=^
v*
m v
v ?
1
*
A
z<
1
"
D.
+=f
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rfn
J"
C.
GRADE
52
J^A
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P-
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ir
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i-ii ii'i
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55
B
59
III.
c.
m*
i1 4 gg
j:
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p
p"
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>
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&.
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b-
7"
^=^
60
52
ff-2-
Choral.
d.
dz=4: ^
g=ta=g
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53
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b.
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53
52:
53
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GRADE
53
d.
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s )
e)
P P P f
p p p p
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rj
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53
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g.
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4
rn 0-b
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(do)
4 4
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00*0
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53
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p p p p
(do)
P
i
4 4 4 4
e.
fij
3 /(mi)f
4
P P P P
(SO)
4 4
II
f f f f
53
61
III.
lt
r_r
0
j=?
bi
*>
gr
V
v
S
9J
5-g
rrp
r r r r
1
!
00
LJ
y^
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JS
5'
'
62
Moderate,
54.
(5"^. Eleven.)
J.
D. B.
4>-
fc*
ffi=
For
Stac
te
ca
>*
For
to
Le-
te
-S
H-
/?
A*
% 3=^
=fc
2
-^
=f^
=*
3
ga
and
to
then For
--i
A-;
^tr=t
35$ t=T=
s^
Pi
=P=^
=*=
PP
-23-
-zsr
zan
do.
ffF=I
Pi
an
is
si
-mo,
*=t ^=^J
3=
A
n=
Pi
=
r
an
is
si -
mo,
v=^
=f
P
b=^=t
r3n*-:
P=b
l
*r
^tt$:
Pi
0-i
an
is
is
is
si
cres.
r
mo,
9-
-;
Hs-
3*
^:
^r
fcfec
zo
and For
PTqlg
iS
stac
S^s M^
^-i
ca
to,
'l
"
-p
Sem-i
te,
=3=
Pi
9.
^ite
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ppp
Mez
For-
do.
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For
I
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te,
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P=0
GRADE
-&&
Sfc*=3:
fit*
T\
jl
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ga
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Cres
-*
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do.
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tis
:&:
si
mo.
U^^S
^^
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+HW
cen
/T\
Andante.
b.
4+
v=
.AAA
_^=^
:-:
to,
55
~-
SF\
a.
A A A
gjtj
j
*-
0-
^=*=*F=
Kg
i
Le
63
III.
cres.
ff
mmammi
f===3^
A9
ol
\
Y
1
EzEj
gg
1
J-
TT~g
0000
A^
^mimL
* *
64
55
Mozart.
C.
s5^
>
l^glsaJ
3=*
TT
56
b.
B
4-
5^
^^fF
I*Z*
Sa
r r
Andante
A - -L
a
c=3
rr
r r
r? ^
at-**-
7F.
religioso.
tet
-^
zSd
=L
^L
3S
^4=
A
IS?-;-
^F^
if?
r~f^r
$m
I
I
a.
l_j
* "
~S
-*-K
56
>.
k~
^S=i
*-
^*^'=5J~^=^
ie
-zsl-
-*
p-
f ir
at
-LjSj-S-
GRADE
Spring
57.
Wm.
Come.
Is
Allingham.
feE
m&^
ft
Ye coax
'
-f*-r
2.
the tim
^-p-v
ver-dure
The gav, trans-lu-cent morn-ing
1.
M. McLaughlin.
J.
Leggiero.
P
zrfe
65
III.
id
long the
Lies glitt'ring on
Blue
spring,
hills of
the
sea,
The
S4=*
4
1.
2.
Is
s^
3
Ye coax the ver
The gay, gay morn
~-
skies
noon
-H
dure
-
sa
ing
long the
soft
=FT
wan
the
dai
^^
And
B=
sing;
he;
m
Ivoud larks in
In
va
por
eth
er pulse, a
wid
to
-
ev
*l
*-^Wi=^:
Co.
'ry
fit.
d2
&
he;
-.-
The
ther sing;
hid
fit
A-*-
fresh
sied lea;
-p-
dark
sied lea;
^=
fr-b-3-
ms
The
The
der-ing!
^^-
of birds
choir
-wH^ 3
sprinkles shadows
mm n
clouds
A-thwart
the sea,
u
And
BE3=fe53E33
P
on
^_
The noon-day
hills of spring,
Ivies glitt'ring
thing,
be.
66
58 *
M.
L.
Music Everywhere.
Baum.
M. White.
Con moto di
~==Z
mp
^4e*
1.
2.
schottisch.
* #
&
There
There
mu
sic
the
breeze,
It
sing
ing
the
sea,
In
=fe=fc
SSP^
sing
run- ning
Do
On
free,
^-.
*-*
*P
the
"F
SE
*=fc
brook-let
-cr
r-
ST
you
hear
ly
lis
Do
On
it?
-
ten!
50U
ly
**-
Do you
On - ly
hear
lis
it?
-
ten!
mP
:d2:
-p-r
-*-s-
{t=feL
hear
lis
it?
hark!
ten!
The
birds'
it
hap
mP
-
-p-m-
Do you
On - ly
hear
lis
it?
-
ten!
* -.-
E^g^P
hear
The song
it
of
=5=^==fr
3=3$=X
where,
hear,
tee
lim ^^
hear!
it
The
song
of
fr
sound-ing ev
song of hap
'ry-where,
py
birds,
hear
it
song
of
Co,
fill
^=
The
is
fill -
ing
all
ing
the
all
rain-drops call
air,
ing clear,
the
ing
GRADE
67
III.
=r m f
and
air.
clear;
l^r^
fill
ing
rain
call
the
air.
ing
clear;
Sing
ing
Night,
sil
rings,
it
night
with.
and
ring
ver
night,
ing,
with
pin forte.
A-iU
&
swings,
It
brings
ev
light
Oft
plays
on
'ry
one
her harp
word
of
of
for
est
piii forte.
\
-fr-
sing,
Bear
Plays
hear
fin
hear
it,
it
ing
us
harp
of
mp
&
Jjr
=fc
fc
Then
Then
joy-
leaves.
hear
3tn
learn
to
sing with ev
mP
mes
sage
of
harp
of leaves.
leaves,
Hear
the
word
L,earn
to
sing,
joy.
it
'ry-
that
it
learn to
dim
.=51
->
=f*-
+2=^=^2:
And
And
brings,
thing,
an
light
swer,
en
and
ev
'ry
ev
girl
boy.
din
>
*i
frJE)
fa
-^-v-
An
brings,
sing,
Iyight
swer, ev
en
~~ev
'ry
'ry
k
*-*girl
-53)-!-
and
heart that
boy.
grieves.
Two.
Two
Choral
85, 101,
Compound Measure.
D. C
of each
113
112'-^,
106
04 2
83, 84,
Dotted-quajter.
79, 82,
Double Measure
96
108
D. S..
71
Double Sharp
98
72 s
Expression, Stud}- of
Half-beat
Independence
of
Voices
2
86, 90, 112
Intermediate Tones
Key
Key
Key
Key
Key
Key
Key
Key
Key
Key
Key
Key
Key
Key
Key
of A,
72, 87 s
Major.
97
Minor
Av, Major
b, Minor
B t>, Major
C, Major
D, Major
d, Minor
DP Major
E, Major
E Major
F, Major
G, Major
g, Minor
G Major
of a,
of
of
of
of
of
of
of
of
of
of
of
of
of
13
102
1 1
105
113
87, 88
69 76
8992
1
12
106108
100, 101
94 96
7682
8386
112'2
t>,
-.
. .
109
Men's Voices.
Quadruple Measure
80
88
72, 74, 79, 100, 102
Onarter-beat
Repeat
78, 105
Rests
in
105, 109,
no, 112 2
86, 104
69, 71
90 2 92
Triplets
(68)
99
110,
\>,
Ladies' Voices.
PART TWO
GRADED SONGS.
Speak Gently.
S.
J.
V
JL
Wilcoxsin
'7
'
im 4vjj
Speak gen
vSpeak gen
Speak gen
3.
r\*
)'
'1
"'
4
4"
tly
to
him who
tly
to
oth
tly;
his
moth
-A-
-A-
-A-
-A-
-A-
er
and
do
er
is
ror
vou
not
for
striv -ing
get
You know
Thy broth
win,
His
see,
-
to
A.
fa
not
er
how
may
ther
is
f>
Til
|/A
^3
-A-
in
ers
-1
t^
"fl
4J-
2.
Hall.
a
J
H.
J.
-y-
eti
1
!
JL
a
5
-Ah
great the
temp
turn from
try
ta
his
sin
ing
to
lead
-A-
-A-
V^
-1
-A
tion
mav
be;
ness
yet;
Al
him from
sin;
Re
ful
^S
not
the
J
-Ah
-Ah
fort,
how
-Ah
You know
though he
mem
-A
^A-
$
p
6"V
-fi-
irn
\>.)
ef
has
ber \our
-A-
-A-
stum-bled
and
self
and
how
-A-
-*-
fJ
1
1
/T
/rW
V4>
*-
'
-?~
ear
fall
sin
V
i
_y
a!
w
J
%
m
^
nest
XI
"*
-~
-A-
CV
*")
fi
|a
-A-
-A-
-A-
-A-
-A-
-A-
God
-A-
n
c
fell.
race.
^
1
i
1
L^
i
i
Used by permission
of author.
(69)
II
II
4
A
1
1
70
Cheerful Faces.
Hildebrand
E. T.
|
/V
fm
XA)
%f
o
^
<
5
*
aI
'
Come,
When
1
Z
*
A
K
r
w
m
\~
y
'
ere
Al 1
the
-A-
-A-
A
1
glee;
sad,
"u"
1*
K=>
3_
h
3
L4
-4
i
z
4,
a-tion's
charms or gra
sight of
grief
ras
* L,A
I
ces,
es,
-A-
m
A
f__
L-
'
-A-
None
And
P-
iis
full
of
-A1
n.
joy
oft
-A-
*
-1_
J
-f-
Q>
half
so
fair
to
me.
to
see
them
glad.
-A-
t
P
f
*
P
-4
I
-1
~&~
-|a
'
J -^B
3
3 -i
r.
<sJ
-A-
-A-
-A-
kJ
-A-
1^
*k.
5$
3=*
A]
smile
fc
-^
-35
J^ ^
3-
'
^r--| H
a|
are
-i
-A-
1"
F- p
0,
-A-
What
ry
be
A-
Ivife
9
P
W:
ces,
_-/
to
F>
ces,
fa
rv
)
v
A.
-A-
I
'
T
4-
fa
-A-
yk
A
L
P
'
1
^
-A-
2.
-^
L
P
1.
f"\
*
1.
O,
smil
O,
smil
ing
ing
face for
face for
me.
me.
^=pt
9=
*
Used by permission.
71
Beautiful Flowers.
Fred A. Fillmore.
Arr. by F. E. R.
1
V q
A. <>
-a!-
Beau^-
ti
ful
fiow'rs,
Beau
Beau
Beau
ti
ful
fiow'rs,
ti
ful
fiow'rs,
ti
ful
fiow'rs,
beau
beau
beau
beau
of
ful
low'rs,
ti
ful
ti
ful
low'rs,
ti
ful
(low'rs,
'
1d tJ
the
ti
4
I
Born
J
^
'
F
1
of
Bloom ing
Yours is
f3
1*
-*-
<>
o'
-il-
2.
C\'
)
-^
1.
3.
/\)
Al
4.
a|
i
fn\
VJJ 4-
'
fP
|a
1
i
1
9
1
N:
d
gen
tie
lone
heav
we
lie;
ly
hours;
en
bove;
'
ti
ful
fiow'rs,
ti
ful
fiow'rs,
ti
ful
fiow'rs,
ti
ful
fiow'rs,
beau
beau
beau
beau
ful flow'rs,
beau
faint -ing
sad,
:^r
'
Beau
Beau
Beau
Beau
It
ti
ful
fiow'rs,
ti
ful
fiow'rs,
ti
ful
fiow'rs,
ti
ful
fiow'rs,
$C
D. S.
ti
ful fiow'rs,
Refrain.
Fine.
1
'
|
|
1
|
zJ
j/
Al
mj
if
*\
g
^
-9
--
d
a
t.
Giy
thro' long
Lift
Giv - er
on high.
the dark storm-cloud low'rs.
ex*-).
XL
sum-mer hours.
r
B right
iu
j*
*
F
r
r
Teach
us
to
our
trust
II
in
h-
f^
j
fiow'rs,
the
our
k^
k
i
1
'
I Jeau-ti
ful, 1 >eau-ti
s
9
S
*
'
ful,
t
*
'
D.
S.
-*&
o
1
beau
beau
&
ti
ful
fiow'rs,
ti
ful
fiow'rs,
Sent
Yours
JO-
is
J=
from
heav
mes-sage from heav
>
I*
en
en
bove.
bove.
X:
Upward Look.
72
B. C. Unseld.
ILa_J
1.
Is
2.
Is
the way he
your spir
J =3
fore
wear
it
I
,
^S=l-d-
in
er
JjJ
W=^
tt-f:4
3=*
dark
long
ness, Blind
For
ing
rw?iWa
zr^
^-
\7\
ff
P-
h
1
ed
by
peace
r
P
hH
1
rr
F-fiJ
it
^=3-ig
-j
1
1
bove,
All
bove,
All
^^
-*-&
t
9* p-fVi
J5
p
K
p
L
fH
p=
^
P-=fg
s
p
a
p
<
r~
'-f
^m
^p^^^-g-H^^^^i
'
who
who
ii
L p
-=hj
i-
ttV=p
-tN-
Up - ward
Up - ward
life?
ful
'
^i
k=
-P
your tears?
-
s-
^4:
-<s<
*_j=i^=-,
F
rss-i
P^rr*i
^
-fl
-^- s
will
will
*^
may
may
share
it;
share
it;
E^3
'
2|
2|
to love.
to love.
*r
Tennyson.
VP
Larshetio.
Sweet
Sleep
tot
-*^p-
^-s-
inK*
>-^-
the
will
west
come
*
ern
to thee
=>=^i^
TPH^
sea,
soon;
73
JL
Im
v. ;
JP
Low,
on moth
rest,
fl
TT*
breathe and
low,
Rest,
h
p
S
*
i
J
V
Wind
blow,
Fa
er's breast,
P
Jd.
the
west
ther will
come
of
t)
4
J
K
P
J
k.
'_P
a-
ilI
jJN
iri
ern
to
thee
i~
-*-
^^
J
^*
sea;
soon;
c\.
=^-
a.5
r-
ttt'
*r
1
i/
n
S
J5-
P
#5
-^-
^P
|4
the
ver
roll
Fa- ther
Fa
*
9
^
will
come
to
ther
-*-
*>
-f-^-ft-
L^
^
K)
-*
wa
wa
~~
~P
-D
*"=
"fc>
ters
go,
ters
go,
P
J
*
J
r
of
Come from
Come
dy - ing
from the
the
babe in
the nest,
Sil
ver
sails
all
his babe,
Sil
ver
sails
all
+ J"
h
to
-A-
-A-
-A
*^.
^ O
*
J>
'
p
J
0
P
from
the
moon
|)
si
come
out
Come
"j
i
his
UL
i&=?-
PP !*''~~
IL
'
-P^f
'
will
IJ
rt
->-
|
|
l>
ing
the
i~
" h
A
ver
-^-
-^*
\s/
P
iT
'
A
-A
k
K"
* tP
I
I
p
V
*
^Z
__A
*.
and
blow,
Blow
the
west,
Un
him
-
der
the
*-^>
9*
nz//.
/'
mm
While
vSleep,
my
my
<?
dim.
3^
pp
b^-
lit -
tie
one, while
lit -
tie
one, sleep
my
my
>
pret
ty
one
sleeps.
pret
ty
one,
sleep.
_kL
*
hi
5=
y
-I
k
p
lab:
-*--
74
Evening
Soft the
/V A^i
n
+
Beethoven.
'
1
1
of
twi
.i
F\
aird
Jill
0-
tr-^*
a
5i+
p 1
-a
eve-ning
Soft the
The
falls,
V A
/L ^
$>-4
light
-t^i
*
U-J-
-1
Our
calls
'
The
falls,
bird of
LI
i
(Canon.)
Falls.
1*
VMJ
twi
'
light
lli"
*
4_
-.
--.
Ri-4
m
#
(%
/V
V|J
home
No
J
H
Our
calls
ning
>
step s
'
m.
m
h-
foot
-_
Ion
ger
'
>
1
!
foot-steps
For
oam,
r tome.
J
1
soft the
ave-ning
roam,
For
*.
.
No
Ion -ger
'
1
"^
The
falls,
VI
C\'
)
'
i
bird
of
twi
light
*
r
!
Our
calls
Al
i
i
home.
'
_J
foot-steps
1
I
the eve-ning
vSoft
V
A_
"
VT\'
v-
The
falls,
twi- light
Our
calls
'
j
m
j
*
of
i>ird
cd
v-
The
falls,
7T
-M
y-
d
d
g)
soft the
I*
f
bird
h
'
eve-ning
of
twi
light
^~
-1
^r
falls,
The
:
iC>
Our
calls
bird of
twi
m- (*
\ -\
foot-steps
light
home.
^-1
Our
calls
.^
...
No
Ion
ger
For
roam,
s~
r
1
h-
&
foot-steps
home.
-H
j-
=
No
Ion -ger
the eve
soft
>
M
roam,
ning
-fcr-F-
1=1
1
The
falls,
~T
'
For
soft
^
J
?
1
j
f$\
"
lc n-ger
_J
ri
For
roam,
cd
No
_^s
the eve-ning
soft
The
falls,
--
v
JL
rn
1
75
1 p-
5^2.
V-
'
home.
foot-steps
St:
StI43J
No
~i
lon-ger
m
5*
t~\*
*
^S
twi-light
of
Our
-J
The
falls,
A.
rh
~\
*
twi
bird of
nJ
J
-
\-\)
No
Ion
<*
Our
ger
1
1
home.
foot-steps
BE
~i
J
-i
1*
calls
H~
*
EJ- U
home.
light
v^
eve-ning
oot-steps
'
1
soft the
-f*
-i
calls
For
bird
J
M
roam,
*-
J
^
v_
bird of
A
1
Our
calls
No
home.
oot-steps
Ion
ger
r"^
rh
V-
twi-light
The
falls,
3
p
J
*
bird
of
twi-light
A
i
1
For
foot-steps
home.
the eve-ning
soft
Our
calls
roam,
J
^
J
^
'
The
falls,
bird
of
twi-light
~^
r\)#
**
i*
1
i
1
j
No
at
A
'
V
rh
Ion
For
roam,
eer
=~*
*"
v>
soft
the eve-ning
The
falls,
->
For
roam,
the
soft
eve
ning
falls,
A.
rh
MJl
'
N3
Ion
J
M
~}
No
roam,
ger
1
No
Ion
ger
roam.
Ion
II
ger
roam.
ill
rj
ITS
19
v^
Our
calls
r\*
r9
U
i
iii
i
bird
of
twi
light
foot
calls,
steps
home.
m
No
UM
No
Ion
ger
P
"
i
Ion
ger
"
II
II
II
roam.
||
||
II
II
Lovely May.
76
A.
B. C. Unseld.
Kieffer.
S.
1.
Love
2.
Hap
3.
Balm
py
y
&
May,
May,
May,
ly
tfwm
Bird
now
are
sing
With
our songs
we
greet
How
we
thy
glad
lets
love
mgi
thee;
ness;
S=#
3BE
V
A.
n
a
T
m
9
XX)
-b
r-b
T
m
fe
1*
!>
"4
Zj
Ev
On
'ry
the
Buds and
^
s
by
hill,
the shin
P
V
ji
'
Refrain.
fe=fc
sun
balm
thro' the
where,
Songs
y
ing
air,
Now we
rill,
4-
JJ
i>
H
p
ring!
come
thee,
ed
leaves.
m
p
r^
'
Mer -
rv,
6 '
6
%
fr-h-ft3t=at
- rj-,
mer-ry May;
F
^*EB
-h
=fc
iv
r~r
->-
Mer
fcizfc
>
gi
fc
~
'
ry,
^
P
ure
"A"
:&=Sp=fcfc
fat
p~
-P
wel
m
p
"I
pleas
of
_*
te
tLjL
Pr
Gentle Saviour.
Arthur
T. R. Birks.
XV
o
^
h
f/K^r,
IvjJ
-d.
23
J
a
A'
"
1
J
l
|
1.
2.
O
Go
3.
-9-
^ -P
Ln
J Z
i*rl. p
i7
Sullivan.
,
1
Sav
gen
where
we
go,
lead
us
dai
tie
#!
->9-
iour,
from
Thv throne
where we
bide
ly
with Thine
-&-
-P-
-0-
eye
-f-
"
i
1
I
--
w
e
-i&-
on
high,
bide;
of
love.
h
IB
~
*
77
^=^
^
Ivook
down
love,
and
hear
life,
death,
our
com
In
And
bring
safe
ly
to ,
our
hum
ble
cry.
fort,
strength
and
guide.
our
home
bove.
m ^
Song
National
Palmer Harlsough
of Praise.
J.
H. Fillmore.
'1
i
JL h
fv\
v.;
'
o
a
4-
oJ
O
O
Na
Na
Na
a!
I
Give
Give
Give
1.
2.
3.
f-
!
b
[74.
WA
x
tl
^1
1
1
tion great,
tion
fair,
Prais
es
for
tion free,
^rais
es
for
Sr
&P
P
i
H
"\
^j
aI
rais
es
to thee,
His gifts
His guid - ing hand,
His truth and light,
for
"
^
/-
1
3
'
H-
He
Child of
-fS>-
i-
rv
Vl'i
-p-
-p-
-p-
<*
|
He
Prais
J
*
<>
aJ
yo
Thy
es
|e
give,
*i
r-
YJ
free,
tive L,and;
1*
'
f
I
,-J
x!
,'
r-\
*\
i-J
1*
L^
p
Al
le>
-&-*
?
21
Na
-A
-J-
(^
'^
-&-
I*.
'
\JT
-^ b
W^
n
V
i b
,v
J
f
f-
rfi
>L b
rn
V/
I
|
God,
to God,
to God,
to
->9-
r-v.
/)*i
1
|
<v
H
'a
He
He
rv-
Pa
kI
1*>-
-P-
k7
|^
lS>-
k?
He
f"
p
1
jj
B3
B
1
n
p
1
1
-^
He
He
-9-
-&Til
-0-
-<5>-
T5l-
A
o
-H
He
He
do -main,
hath spread thy fair
hath blest thy hon - ored name,
While the
a - ges shall en - dure.
-F-
iO-
jfc
>g
Si:
78
Spring
Here.
is
H. Fillmore.
J.
$=
--
1.
2.
b,a
ft
t)
2.
Balm
Ten
der
IT
f)
sun-shine,
Gen
sweet and
grant,
tie
^=PP
fl
9!
Chase
snow
Bring:
ing
clouds to
ev
1)
er
:
-V-
len
snow clouds To
^2
L.
jfc
lands
way;
chang-ing
hours;
the
north
v-
ern lands
way:
clear,
pear-
leys,
chard
fe=CT *=*
F
Thro'
Bios
-k-
f)
ft
v:
-
g=P
sul
gay,
pril show'rs,
IV
Chase the
=?
Chase the
sul - len
Bring -ing shades of
pril show'rs,
*^
Fra
ern breez-es,
of
tie
=&
rays
^?
V^Z.
t)
south
5I=S
-k-4=
Gen
shine,
6=6=
la
1.
es,
the
-
soms
=
Used by permission.
woods and
in
l>
the
ts:
val
r>
Flow
leys,
=ft
or-chard
t)
ap
Birds
I
i>
and
^
i>
* iS
deep and
bees ap
ing
ll>
l>
clear,
pear,
^U^*^
t
h.
v
A.
f\
vj;
Mur
Na
1^.
y)
vy
*
k.
U
k
iy
re
all
N
P
J
k.
soft
us
bids
m'ring stream-lets
ture
fs
*
~
T
h
u
*
fn
79
^n
'
<s
is
here,
joice- -
is
here.
That spring
1
1
n
a
~H
!'
A
II
A.
tu
1
1
1
|
trv
^6
..
1
1
That spring
That spring
a?
'
!/
*44
here.
#
*
Edward
here,
is
^P
is
of All.
J.
All
l^et
ev
3.
kin
'rv
Je-sus'
dred, ev
-*=*:
'rv tribe,
On
We
this
ter
at
His
fall;
feet
D. Brunk.
1.
2.
1
1
1
1
Perronet.
may
fall!
Bring
To
We'll
9M=
^4:
Refrain.
fe *
2*
3C
:^i
I
roy
maj
ev
di
al
es
ty
a-dem,
as-eribe,
er -last-ing song,
-#-
'--
-#-
-0-
iS
V
22:
3t
:2i
Hail
of all;
Him!
Hail Him!
r
rf^
^
'..
:'
.t-
--
^
3
*^->
v:
r
And crown Him Lord
name,
^-
of all.
^
Good-Night.
D.
(LADIES' VOICES.)
Suter.
I.
J.
D. Brunk.
Gently,
41
^f4^=^\^=f=\d=^
P~
Ho
ly,
heav'n
ly
thoughts at
tend
To
you
your homes
fc
iB=
^r
^Jee^eSe
^=^=
s=
-at h~at
P
they
Sweet
night;
com
est
may
forts
you, Fare
lend
ri
=r ^c
3r-*l=3i*
to-
thee
j i-^
'
i
well,
to
Fare
night,
-^r--
thee
well,
to
night.
|~^4
4"j.
/>/ DIOSSO.
rail.
=^Mtrc
:.
I*
Peace
slum
ful
Peace
Peace
bers,
^
Peace
tempo.
im
-4
ful
slum
bers,
bers.
ful
4-
*-
*v
ful
-W-.
slum
+>-
3j
ban-
ish
Till
morn-ing
the
light.
F^=
7
J:
Used by permission of author
ji^^^T? :
=1:
81
dolce.
**-
*f
-m-r-
Dream
=^
dreams,
sweet
-^
i*.
^=i=
L,et
"*-
jj
k
p
i
aI
^^
,
\A)
i
m
bur
\~~
T
I
dens
van
ish
night.
~~i
=1
h~
\di>- ~~i
pE
~d
v
4
1
K4~
\~i
5c5
-A-^
f:
good
I &=*
night,
good
v:
Fare thee
night,
v
good
well,
night,
P=
-*=-V-1-
f^
5^
good
night,
good
night,
Fare
thee
well,
good
night,
^T
-^
-a-'
Fare
thee
good
well.
~bp-r
night.
srood
1
y~i"^4
A4 44
>*
\
*1
to
J
p
if B
row sentunento
N*
N
P
a
s
~"""^
^r
J*-
night.
SS-
32
Divine.
Arranged from Mendelssohn
by Theo. F. Seward.
Andante.
^-p^
X-^A
3
i
O Love
di
vine,
mM
m
m
Love
:&r
that stooped
to
our
pang,
est
-*
P^
fe
F!
r^
1 1
bit
t'rest tear,
^
-#
-5-
On Thee
we
On Thee
za:
*=2
V-L
cast
each earth
We
born care,
9*
rgggp
while
pain
smile
at
smile
3=
Thou
near, Tho'
art
^^
N=r"
long-
We
wear
the
ii
.]=-,
^?
i
way
we
tread,
And
IT
sor
41
-i
No
(*
3F^
*tMj
^
*=^
path
we
path
lin
g ring
jtj?j
shun, no
year;
Sp.
dark-ness dread,
Love
Di
O Love
each
sor-row
No
^T=
"~^n/*
^=^
crown
row
And
PL
vine,
while
!_t
'
83
-v-x-
Thou
while
art
While Thou
$ p
r#.
Thou art
near, while
^v>
a3c
Thou
2t
near.
art
art near,
J?
^=P
EE
*! *-
"Almost."
W.
J.
Geo.
Wayland.
Holsingcr.
Persuasively.
ii
ft
it.
-^
iftl
VU
Cr
-i
4-
1.
"Al
'
'Al
3.
"Al
.)
1.3 z
-^
2.
u
C^k'*
R """J
^
t
*
J
H
most per
most per
most per
n
P
why de
'
lay?
'Al
it
be!
ter
cry!
"Al
"Al
can
Ah!
'
*-
bit
-tc-
J
I
*
suad
suad
suad
__
-*-
-V-9-
J
1
x
*
?l
most per
most per
most per
l
E
|a
L
1
-&-
_fi_
J'
w
9
suad -ed,'
suad ed,'
suad ed,'
A
A
~
P
^*
A
r
A
N
1
ed,"
ed,
ed,"
M-
'
mf
-0
i
Come,
But
But
day!
Hear
not
free!
to
die!
O
O
friend, to
still
doomed
now
#-
F
cr< 'S.
X.
it
it
ffh
V- L
h
^
a.
i.+r
-^
f!
choice;
How
will
band,
Lead
you
T1
k
r
P
'
'ry
"De-lay!" Christ
-*-
*-
k
r
n
P
to
in
calls,
-w
A
your heart re
rr
to
"0 come
jl
A
joice
that land
to
: k*:
A .
A
iU
loose
ly
--+-i-
_p
"1
ev
now your
says
c\'^
h
R
your hand, He
will
a - way! Death on
tJt=F=3
*-
m-
make Him
Saviour's voice,
the
day,
-p-
A
i
Used by permission.
In
Je
end Of
Come, come
^-
-kr-
1
1
\
I
sus'
love!
day!
less
Me!"
to
-*-
<*>
t
1
-R
b-
84
Twilight
A.
Stealing.
B. C. Unseld.
S. Kieffer.
s
4-
1.
Twi-
light
Voi
ces
3.
Come
is
steal-ing
in the twidight,
"V*
S-
_a_.
_C-
-a-
fe2=S
_e_
REFRAI5T.
$m
fc-JU>
4t
star-lit skies,
1
P
jc
J^-8
"1
' ~
*S=t
21
*-.
Gleam - eth
9*
man
off
*
;
M M>
happy home
P-
-*L
v=#
n
shore.
home.
home.
gr-
i)'
=^
t=4^*
ri
off
off
! L_fl
;
;
t-
^^
> _
^=
the far
ing that far
ing that far
_(S2_
^Zffc
Come from
Seek
Seek
jC
_*-
2=
3=T
J?
e
so
bright.
-t-
^~
last;
sea,
4=:
=&:
g^
lea;
_fi_.
5-
:p=
i5=^
_^2_
Far
fall
P=#
fe=s
=2^
fe=fc
f=S MV=^
4:
fcfc"
te
5P=
a-1
2.
PS
is
-K^
i>TT
We
Anew
Lift
Our
85
Song.
Ringhardt.
m
it
/
I5t
t^
2r-+*r
1.
2.
new
we
lift
our
song,
In
Light
we
sing,
And
stir
&-
ring strains
Peace and
/T\
ing,
cher-
__L
^==
ish:
well-
we
-*-_>.
jj,
'tis
Love
-*s-
:p=d=
From
ev May Truth
'ry
f^
_=3
lip
and
lone
be
tongue, Of
May
-fe-
*S=
~r~
high
King!
lies
er
du
and
dark
ties
-C2-
:_:
=P=^
1P=^
tell
ing.
per
ish!
J
9
It
ris
M^^^t
^
to
the skies
it
to
the skies
In
In
ifiS!
ev
er
swell -ing
ev
er
swell
ing
i
1"
zd:
=4
Z^-
at
-iHf
es
Pro claim
ness
^:
szcs:
I
i
might, Till
might, Till
s#
&
all
the
all
the
world re
world re
-#.
JO.
of
of
^_
-n
:fc
13
86
How
Lo,
M.
From
P Dolce
PP
tranquillo.
ten
hath sprung!
"
sss
3Z
1.
Lo,
2.
how
-
sa
Rose
e'er
bloom
ing,
From
ten
The
it,
have in
ten
pp
Of
Jes-se's
lin
With
Ma-
we
JZ.
-M-
ry
3|:
eage com
be - hold
ing,
tJ
men
As
h
of
have
old
sung.
?7l_/"
'
a!
:
fl
i
It
came,
To
shew God's
-k-
c^
5>^- -x
\-
flow
'ret
love
..,
bright,
She
right
==
9
F
ji
1
When
P
mid
the
bore
to
=^=
the
half- spent
rit. e
'
i
c^
P
men
Ti
>>
kind.
r-
As
n#
of
gin Moth-er
Vir
have sung.
dim.
-.
sprung!
-y -
The
it,
hath
old
of
e
rit.
t=P
der stem
men
As
pp
PP
dim.
*
A
1
night.
s'
St
I
9^
mind;
z
From
9ifc
Rose
^^>
SS
Jr
dim.
rit.
1609.
Practorius.
stem
der
r r
cold
of
win
ter,
men
Sal-
iour,
f-
When
When
half
spent
half
spent
was
was
the
night.
the
night.
^S~-
C
.
When
half -spent
was
the
night.
Let
87
Pass.
It
Arranged.
dz 4
n
^=^=5
1.
Be
2.
Ech
3.
'ry
Let
foe,
E=
=r
it
pass,
it
pass,
it
pass,
Let
Let
Let
Let
m^ti
J
-
ger
is
I.
to sense, Let
foe
pass;
pass;
it
pass;
Let
pass,
pass,
it
pass,
it
pass,
9a
TrTlT
Let
Let
Let
it
^*+*
c^
fades the twi
Night her
sol
3.
Peace
Sav -
on
aK
ly
is
iour,
tly
Sym
bol
in
as
tie
of
o>-
Of
it
pass.
*-*?
=EI
{]
Days
ting sun,
calm re
pose
the
ho
ly
earth
as
of
ho - ly peace of
peace and joy in
-w-
^v
When -the
At
M. Goltschalk.
-F
life's set
tell
Christian's course
the ho
ly
is
God
Thee,
run.
Sab-bath's close,
of
the peace with - in,
When the spir - it rests from sin.
heav'n our souls re - pose, Where the Sab - bath ne'er shall close.
rA
light ray
things
emu man
may
All
r-
Let
I.
2.
J-
pass.
Soft
Till
pass.
it
F. Smilh.
1.
k~
ttsz
pass.
it
of author.
mS
Gen
it
pass,
P==
Used by permission
-A-5-
Let
Samuel
pass;
it
tr^r
it
it
it
#=&
4.
it
-^
A_
-k
An
H. Hall.
J.
Dream
Eventide.
at
(MEN'S VOICES.)
T. C. H. and
T. C. Harper.
1.
lone
at
ven-tide
And dream
g=^^^^F=s
gold
=*
iu
in
^=r-r-[ee ~
U
L \
rfi-
1 =
^L
*.
i\
s
!
*
1?
j'
1ee$1
then
cy
now
las!
my
iT\*
*1
^r iU
"
i-
see
wear
hi
me
watch
h'
m
n
aye,
=fc
-*-j-
ti
i.
r-
lj
L
1
r
L
old
en
shall they
re
ven
tide
lone,
While
:*=*=
The
time,
turn;
..
5
i
K-
m
mine
face
in
lone,
gone.
Used by permission.
h
b
^
sit
feEEE
pr-
k.
_.
Till
the
in
J
*
K
~,
As
A-
know:
Mj"""1
In
fore.
night.
'
No more
keep At
I'll
gain,
S
3^
H
P
P
l
n
P
1
las!
*
IT
fan
my
back
Bring
But
EJiEEEEE
^=t
tit
Of
of days
of
yore,
thy joy
and light;
friends of long a - go,
all
fc
frs=
Long.
3.
sit
Owen
*=t
*=fc
r=P=
2.
J.
There
T.
W.
My
Music In
is
William
Williams.
k-4
M
TfTBa
I
was once
Give
me
1.
2.
preme;
own;
Thine;
crave
is
j^j
^=
-
sus' blood,
sus' blood,
im
part,
My
soul's
M1
A heart of
And har-mo
rHH^
-F=
Refrain.
is
mu
M=P
^&e
*=*
:l
333
A-
sic
in
my
-A-
Jk.
_A-
t
soul,
Sweet
-A-
my heart
^ft
b
a
mu
t
%=t*
sic
3
-
right;
in
my
.A-
-A-
-p
P-
Controlled by D. E. Dortch.
fc
soul,
>-
in
my
_A_
-A-
-A-
For
soul,
-A-
-A-
p-
There
is
fr
tr
^=-45:
rr-rr
3BE
mu
=*=*=
sic
in
my
-A.
_A_
_A_
=S=b=g
:to-
>-
sic
-A-
l)
l)
tr
**
Christ has tuned
mu
_A_
-A-
fc=fe=+5=45==^
4+
g^
*"
There
9^
H
*=*
-25t-
=p^p:
:>>
and
sin
in
now
All
3.
Russell.
fct
>
Mm
89
Soul.
-A-
-A-
-A-
soul,
Sweet
-A-
_A-
D-
H:
a
my
heart
\)
*-
'=t
right.
90
J- 69.
5 *
1.
Pur
2.
Calm
Rankin Hollingsworlh.
P.
cres.
dint.
3*
er
yet
er
yet
and
and
pur
calm
would be
er,
er,
Tri
bear
al
in
mind,
and
pain,
t%tlt
4
1
(5>-f-
g>
s-i-
s
Dear
Sur
er
jet
er
yet
and
and
PP
dint.
=*-
dear
sur
er,
Bv
er,
Peace
'ry
du
ty
find,
at
last
to
gain.
r=p=
J.
S.
s^=
1.
Songs
2.
L,earn
3.
When
of
-
i
joy
ing more
the Mas
S33Ef
and
glad
of
Je
ter
calls
ness,
beau
sus,
read
us
home
ful
songs
ing
His
ho
to
those
man
ti
A,
we
sing,
ly
Word,
sions
fair,
Showalter.
J.
A S
-A-
'
4Prais
Tell
*=3=
ing
our
ing
un
Trust -ing
_J J
Re
-
still
deem
er,
oth
ers
crown
news
in
Je
sus
safe
ing
our
Sav
of
our
bless
ly
to
guide
-m-
is:
-r
to
gt
iour
King;
ed
us
Iyord;
^
-A-
1
D
P
Copyright, 1905, by A.
P
J.
Showalter.
Used by permission.
there,
i)
p
P
91
3
ott
v
/L
s>
ftU
ff
TT
fpW
v!J
Sun
Fin
Gla d
:1
<
shine
all
ing
in
His
serv
ly
we
will
fol
_A -
r\'i^
rV
While we trust in
While we sing His
Praise His name for
y
ev
'ry
ness
ev
'ry
hap
pi
low,
gath
A-
er
A-
h
K
n
K
|*
^=P=
on
ice
^
-
sus,
fol
prais
es,
jour
low
ney
Je
sus
ev
wm
Refrain.
Trust
--*=*-
ing
Je
"
ju
bi-lant mel
2ift
t&
tt
dy;
-A-
A-
-A-
-A
-4
bSsr
4
P
~P
P-
in
p.
ing
i>
i.
I*
com-mand.
His
on
ing
ing
will
the
way.
claim His
own.
s:
deed are
Sing
we,
ing
-A-.
ing songs of
Him who
^-
k
P
fr
-P
Prais
*=r^
ten
der
-A-
-a.
P
-
>
P
*
r
P-
ly loves us
>.
^_
>.
all,
.a.
v=^
^
Guid
9lg
py
-&r
-A-
-A-
ihi
_/\_
hap
m
iS^^
day,
throne;
=U=2=
sus,
hand,
:|i"
A-
mnnm;-
round His
A^
fu
n
n
Je
1*
ings
bless
i*
us,
-A|
m
P
round
s
^^
t f f
P-\>-
)+L|.
T!
TI
'J19
h
\>
*
*
*=t
still
our
foot
steps,
lead
ing
us
lest
we
fall.
F
92
Thanksgiving Carol.
Psalm
John D. Brunk.
^=fc
fl:
fcr-^
e ?
Make
joy
ful noise,
f>
#fU*-=
J>
&
~1
un
noise
Frt
1
r>
to
Je
ho
-&
-s-
Serve
vah.
Je
A
Know
joy
ful
"JPJ
-M
ho
J>
fr-
^
fc
vah
^3
Come be
is:
rt
-
ence
^=^
r-~-D
J
s=*
-;
^=
with
with
mg.
sinj
-^
P
.o
J>
trT
tr
ness:
Make
j>.
aJ
F*^
lands,
=p=
*-*
ye
JLA
-*-
U-
glad
lands,
ye
all
m-
\^S
"P"
^
I
ye
that Je
-
-<*-
SI
ho
vah,
He
God:
is
And
^S"5>
-k
pc
we
are
His;
r^kK*^jMl
^
93
T
I
It
is
He
that
made
'
And
us,
we
We
His;
are
T~~TT
the
are
^^
d
sheep
of
His
pas
g%
||
rr
h
And
to
A.
p
in
^U
P'
to
^u!
*i
jt
S=r]
P
His
h
^L
L-J
nth
courts
I
Give
praise:
J.
- iUL
v
Es=
aP
7~T
Him,
-^-
*~y~
-i
P^
I
ter
ing,
En
tures.
&
And
-*-
S^
bless
His
name,
men.
zj
94
Jewels.
W.
O. Cushing.
Geo. F. Root.
3
i=^
P
=?=
'
2.
3.
Iyit
1.
^#
h=fi
Who
n-
I
=p:
JE
Refrain.
3 B
WF=fr
3=1
fl
A)
L-Al
a!
1
1
Lake the
stars of the
morn-ing, His
9^
^^
v=&
:rfc
'I
J.
=f
-a
Al-
%t=e
^frV-V-K
rJ
Take
to
His crown.
*=
brother, H'm.
With You.
the Saviour
my
for
=?i-t
v:
Dedicated
gems
A. Vancma.
Geo. B. Holsinger.
cres.
*:
3t=Si
1
2.
3.
4.
h*
".
*-r
^A
-A
* &=*
-2
==
Take the Sav - iour with you when you leave your home, His corn-pan - ionFar
a - way from friends and loved ones, all a - lone, Mus - ing on
life's
Bent on rec - re - a - tion, or
in quest of
heath, Min-gling with the
Tho' the world be wide, the Lord is
ev - 'ry - where, Round the cir - cling
^tHr-Arb
fr4-p
P
g
E
i)
E
j;
E
g
Used by permission,
i=t
fr-^r-6
95
mf
5:
&==*
'.
~"
fefe
^-
*
is
mS
-A-
-A-
-Jk-*
t=
-
P
r~p
-A-
-A-
p.
-&:
1
=p
-p-
*=t
Si
ii=P"roll
all
ing
your
An
An
An
An
sea,
way,
con-science
true,
prom - ise
bow,
y- where with Je
y - where with Je
y - thing for Je
3' -where with Je
J)
b
Jl
iSs
J>
An
P
-
y - where,
An
to
be.
safe
to
stay.
sus
it
safe
to
do.
sus
it
safe
to
go.
fe
^T
'ry-where,
=p=b
iP2-
g~tj =
e_!
ff
."|~
ii
-l -
vou
roam.
An
h
P'
fc
life's
-A-.
-A-
"
-t
l~
t)
journey wherso
*-s
ti.
*-s
*T
^S
p:
v-where with Je
h
fc"
1
-A:r"
p ^fcp H>
dim.
-ft-s-
-b"SI
-!
-L-.
*_!_
Sk-_
f//;
==
\)
k^
g=g=
tf-5
*=
k
_kj
fl_!
k,
cres.
e er
:/
(/K. k
gd z_p
P=
P
Ev-'ry -where,
y-where,
Ev
Vn>>
safe
it
'
95felE
it
sus
q?
EeI
sus
r f f
\>
Refrain.
fefi:
if
^m^
sus
m-
it
..
is
96
Little Eyes.
Rev. B. R. Hanby,
*
VT\^
\s\)
h
V
b
g
D
J
J
tie
eyes,
lit
tie
eyes,
Lit
tie
heart,
lit
tie
heart,
Full
3.
Lit
tie
hands,
lit
tie
hands,
Bus
4.
Lit
tie
feet,
lit
tie
feet,
a
A
m
A
a
A
a
A
V r"
(fob b
r
^
ward
look,
3
W
\\
P
J
e
[a
of
-
laugh - ter,
with the
57
ter,
5
f
I
A
morn -ing
light;
full
of
glee,
kite
or
doll,
|a
a
A
a
V
N
J
3
^
v
M
a
S
P
J
3
P
J
morn
is
al
h
J
3
^
j
y
Soft your pat
f)
D-W-
j'
v>K
v.-
a
k
D
i
Lit
'
J|
1.
)
Z
hi
P4
<
2.
a
m
C~\
*
l.|
P
J
*
'
4-
H. Fillmore.
J.
o
/Vif
h uZ
i --Vy-
r\
"
3
f
1
Up
up- ward
look,
with love,
work
or
play,
Do
keep the
way,
not
stray,
beat
Heav
-en's
ways
the
ly
J'i "
Copyright, 1911, by
The
bright,
pP.
PI
1.
Soft
2.
eve
of
4:
* ^_j_#
Von Weber.
Si
^n
w A-
m *
-4
fr
While the
But
si
7X
^=a=SeP*
stars, like
-*-*
=^-g^
ti *TT
=r-
their
it
&
watch a - bove.
seems to lower.
God
My
is
97
Song.
Arr. from Beethoven.
C. F. Geliert.
*/
'-W=W
-2-zst
1.
God
my
is
d
He
song!
is
God
of
25t
_-
2^:
2.
He
my
sees
3.
And
need,
each
hears
near?
so
my
He
Is
Say
are His
&-.
His name
deeds,
noth
a might-}
ing more
worlds
u=T
-&
love
-I*
to
Him
be
PH
=:-
e:
-
tow
of earth or
&
oto
in
it
self
long,
And
er,
the
all
And
ing,
hastes
with
;-;
Nor
Heav-en,
ven
//
,^
j*
And
+^=
fcsr-j
the worlds
all
1*
E7-
to
Him
<&
ter
will
25t
be
ter
long.
-2
cede,
And
f^P
hell
veil?
=p
fS7
4J-
fc
/
fe
iour
*
fc*:
ask
ing!
t
W=^
Then
wail
Energico.
mf
Great
ter
bit
Pffe
4Ut /
r r
er;
3t
God
Is
u^^g
2
ifi
pow
fear,
to
2-5
^_
hell
it
in
cede.
I
Nor
ven
self
will
fear.
.
.
98
sM
DeArmond.
Lizzie
They are
They are
the
To
1.
2.
3.
ft
Uft
fc
way, Send
drift
drift
ing
ing
res
break
cheer
sink
They are
tl
*-'
roar,
shout O'er
fast, Pass
&=3
|
I
=^
m=*i
-*r
out
o'er
the
sea;
high;
line
w
sr^r
tide;
PS
iit
swift
one,
ft.i
do,
Tho'
friend
or
foe
it
man;
will
help
you
through
if
just
one,
God
From
the
sea
of
sin
deep
t=
*->-*
EE
3(:
may
to
er
save
fc=
&.
broth
be
your
-r^r
P
istt
the
the
ing
"
^
4
Throw
ers
ing
ing
ffil
life
Beazley.
j^^JU
W.
Samuel
be.
you try.
and wide.
*-
E
^sz
v-
Refrain.
irit
="
I
To
the
VJ.
^P
=
A
^ T
P5Eg
jt
res
res
ftnt
-*-?
cue,
Ere
my com
cue,
-^-
3|:
-^.
.a-
A-;
^A
3?g^ +
hu
-
P
A-^
W.
man
-b
lives
to
day;
They are
drift
ing
=*==*
at=a
cue
waj',
31
?
--r-l*
Res
Res
fc^=i=fc
drift
rade,
p=g
*"i-
they
P
P AU
a!
-r~p
Eeazley.
A.
AJ
PJLj
t-lt
aU
&
=A-
99
Al_
EE
far
Save
goal,
?=F
pre
soul.
..?=
D. B.
J.
fej
*^-
Pret
ty
lit
tie
Pret
ty
lit
tie
3.
Pret
ty
lit
tie
snow
flake,
When
the
rose
m^
s
ing,
in
all
to
the
main,
leaves has
shed,
its
D. Brunk.
ft
J)
J)
31=1
1.
#
*=* 1
jt
J>
2.
glee;
==
-frfr
-f)
3=^
Pret
^:
Snowflake.
Little
I.
=
4
4^
r>
^
-ri-i-
Heart
Gloss
ty
lit
tie
y
v
lit
tie
lit
tie
snow
snow
snow
flake,
flake,
Cheer
Mite
flake,
In
ful
ly
to
mite
the
ball
rr
we
wel - come thee.
has stopped the train.
and
the sled.
out
;vi-
fct=
p
p
ii
m
Refrain.
7>
ny
t=#
t
Ti
P"
lit
snow
tie
We
flake.
P
are
v:
chil
dren,
too;
*c
-P"
4J-
Shin
93*
ing
I
lit
-A
I
snow
tie
il=
1
See
flake,
fc
=fr
what
1
we
may
do.
=fr=fa=
S
V
zSs-
Onward, Christian
100
m^m
2.
3.
4.
Soldiers.
Gould.
S. B.
1.
On
A.
?=f
Marching as to
war, With the cross of
ar my Moves the Church of God; Broth-ers, we are
.Like
a might - y
Crowns and thrones may perish, Kingdoms rise and wane, But the Church of
On - ward, then, ye peo - pie! Join our hap - py throng, Blend with ours your
'-*
1~
tL
t~
f*~
-
ward, Christian
sol
diers!
fcr^hr
==P
K K
y =E
3=24.
= s
Je
voi
Go ing on be
Where the saints have
sus
ing
sus
Con
ces
In
JTV
'
We
trod;
the
tri-umph-song;
h-
roy
Christ, the
fore;
are not
er
Glo
ry,
laud and
hon
or
9 J J
ii
~9~
diers!
sol
j
I!
in char
'
and an
gels sing.
r^
*
<^*
Iarch-ing
]
as
A.
T
to
war,
I"
*l
...
ty.
fail.
*
L
c\'~ i *
}""])- lA
'jf -
^3:
Refrain
zz.
3==$:
=
4
"-*
fa
On-ward, Chris-tiau
ed,
nev
i"?
p^^
ter,
can
Mas
vid
hell
2^
-o-
of
ywt^
A-^-*H
sa
al
di
Gates
e.
=*=3:
*=t
Je
tread
ff
S. Sullivan.
-J
''-
'
1
&
12^
With
:
plfe
3=?+
the
cross
1=
of
*-
Go
Je
==
mg
on
be
fore.
-Jk-5?-
My
Acknowledge Me,
'H
*fc:
(
fe
'
-P
my
fount of
est
Thine,
mine.
of
*^-
d-#-
g*-
deep
blessings,
own me
want
Shep-herd,
er,
er
My
Shep-herd,
Than deep -
own me Thine,
want
est
mine.
of
,*
/T\
*..
ttU-Tl*;
tt
My
Thau deep -
*-
Keep
9%-fTfa
4
(m *
knowl-edge me,
Thou
If
er
F m
Ijjili
er,
-*
u.
^=
ifc
(1685-1750.)
Bach.
0-
Ac
S.
J.
J- 66.
fcft
101
Keeper.
(CHORAL.)
Met.
P
Li
/^\
i
1
Thy mouth
hath
full oft
me With
fed
*
r
'
Qa
J
^
milk and an
1
1
"^
gel
Thy
food,
f7\
r^
^
J J
*
i
EV
full oft
i
F
1
i
hath
me With
fed
F-W
s
i
-J
'
milk and an
A
i
kr1
+>
j.
^^r
]
Thy mouth
-^
-J
r a
L^J
JrLLf
r
J
^
fc,
*v +*
^TTi^T
"!
gel
food
-E-.
rrtr
|
it.
E-
k*
UL-
o
Spir
^5H
1^
still
- it
hath
me The
led
way
of
heav'n-ly
good.
,&Ji
Spir
94
- it
1=1=
BL
C-ikj
-*
still
hath
*E
led
^=
S3-
me The
-A-i-
way
of
heav'n-ly
Thy
good.
^
102
Evening
m3=*
A.
Bells.
S. Keiffcr.
B. C. Unseld.
1.
Peal
2.
Here
ing
a
izs:
-&-
slow,
soft
and
lone,
here
Eve - ning
low,
-
lone,
-z$
Once
a - gain
your
Dream-ing dreams, pen
m&
m
^t
re
-
Wak
frain
sive dreams,
3*
Of
and
to
fro;
your tone,
lis-t'ning to
3EE
-1,
^C
swing
bells
sit
*E
ic
fr-4-r
-Jr
*E
^^
+-J:
*=
l^:
f=
Refrain.
J:
fc
B *
Eve
3i
-
ning
bells,
eve
ning
bells,
J=S^|
What
7?
mu
your
tale
sic
tells,
3
m
3t
As
chime, keep
ye
SSfe
ing
time
To
the
mu
sic
of
life's
rhyme.
^m
Sweetest Hosannas.
''Sing forth the honor of His name; tnake His praise glorious."
Ps. 66:
G. P. Hott.
lit
;==-
jyf^p^
from the
high
1.
In
2.
Go where
the
man
3.
Bright-er
and
bet
A-
^to3
Used by permission.
way,
-
y
ter,
in
tr
r>-
from the
D. Brunk.
s
J.
Lively,
to
&
i
2.
by
way, Gath
r=r
the
er
Lov - ing
wan - der from
Je - sus,
gems of the king - dom, Hap - py
ly
the
103
s1*
fe
dren
whis - per
chil - dren
chil
se
cure
ly
"Come
ing
from
sin;
Je
/
?*
IvOv
ing
ly
bid
den
us
dren,
Ev
er
the
dom
of
as
the
king
Sav
=T=^
-^-i-
-d-i-
win
to
fl
Li
*
b
A. b
VT\ V v
^K
*=da
17
of
els
them
in.
shall
be.
of
old.
them, help
a-5-
us
gath
to
er,
&
Help
us
the
r=?
j56-Jl
bring;
to
Je
Ah
A
P
^^
m
w
,
k.
-
-
h;
^
A
-V-
|i
4
a
H
b*
ho
san
A.
*
1
/]
<+.
t
nas
A
A
1
to
At--
ft
P
J
-ftp
sus
K
P
/i
j
-
the
*=*c
Je
r-fr-i
sus has
it
EfefeffiNi
heav-en
^WH
^
wel-come
heav - en
-P
A-;
-A^-
chil
,
P
jew-
-A-i-
^S
p"
piW
us
Af-;
P=^
Refrain.
Help
^^^
-^^
iour
-a-j-
a*
EE
find
1
ressed them,
chil
ca-
call
At
t5=fc
SSi
re
V-ir^r
v-
itet
r>
Ivov-ing-ly
fold;
^1
Me;" Sweet-ly
un-to
p_
r>
seek-ing the
in
if^fe
they
si
ng-
A
* ^
^
#
II
ii
ii
n
H
ii
104
Forgotten.
^^ *& ^
15=6
m>
*#
w^*
1.
God
2.
Safe
of
~d
f>
h
m
-m
it=Ht
-(54-
be,
tears;
si
r>
*l
er
r>
er
us
nev
JE^E
sor
> feE
P
P
met;
Not
one
Thy
of
-6
h-
ffi
got
ten
And
"^
Fa-
ther,
"I-
=
W.
Beazley.
-<&
Thee,
or
years.
What
-|~
ev
er
* y
jc
r>
chil
dren was
ev
,9
p
of
er
for-
p-
$^
*
Thou
3=*:
-T
=s=*
i)
the storm-y
v=^
g-as
^2-
row we
p-
m&
BE
er, (nev-er,)
J?
r>
SipE^ES
P=p:
all
hast nev
*=
ges yet to
al, pain and
may we hon
So
Thro'
stays,
f^
d^
shall last,
-*-i
Refrain.
p>
a
tri
tet
r>
ATS
5 =sjr+-^
^
w^-fr-fr
Thou
^r
&
"p17
9^=^1-
|=B
Beazley.
SMr===3!E3
F*F
S*
the
all
W.
Samuel
"Z^
wilt
nev
for
get!
T0-.
=P=p:
**:
The Merry
105
Spring.
I.
Not
too fast.
%m
%
?=*
good
1.
O,
2.
And
as pure
3.
L,et
4.
them
is
S=fr
=r=i
to drink
,4
v=
P
fa^UUM^--^
===^
fefe
l>
grow;
There
new;
'Tis
dis
sway;
For
For
it
spring;
is
-
mu - sic be - side, In
drops from on high In
health
in
tilled
in
the sky,
mur-murs
and
it
in
the
me,
to
weak, but its strength I'll seek, And re-joice while I own its
from the foaming brink Of the bub-bling, the cool-ing
sa)- 'tis
3E M
P
Hall.
is
as heav'n
love
ly thing
^=#
H.
b-
_/
Refrain,
of
glee,
fastet
Mer-ry, mer-ry
p Rip - pie,
==
i^
^P
the
And laughs
ing than wine, And its
o
n b^
z^z3=
as
re-fresh
=^c
-fc-
more
ech
the
rip -pie,
lit -
sil
V"
tie spring,
Sparkle on,
gz^rk
k
p
->
p
\k
aI
:=
:p=p=
repeat p.
* i
spar-kle
on;
Mer
-ry,
pie
on;
Rip
-pie, rip
rip
y*
t>
pie,
=j=&=j=
^~
mer-ry
The Ruebush-Kieffer
Co.,
owners of copyright.
spring, Spar-kle on
for
for
lit - tie
sil
^=^4
P=tt
^ime.
me.
Happy Time
106
M. B.
Spirited.
J.
Come,
oh,
2.
Come
to
3.
Oh,
hap - py days
" b
>T 9
b w\
v b
fvs
v
1MJ
to
fly!
What
ows
fair,
ger
stay,
ly
fly!
Where
To
What
they swift-ly
sweet
the
will the
On
oh,
come,
"
mead
here no Ion
how they swift
youth,
of
i
the
to
-$=p
is
_
^
R
_n
^
h
J
r'
*f
go,
vest
be,
com
Birds
r-
|S
h
K
ing by
*
i
mer
are
the
us haste
let
A'
b
K
|
1
e>
we
sweet
the
ri
so
ly
light,
by chance,
A
2
ies
bio om
so
we
hat te
har
vest
bj ?
and
<
*
1
rar e;
Bir ds
are
I
sing
wa r>
Fe et
So w
so
light,
trip
ing
seed,
<$
A
-
bj
fields
K
)'\ * b
come
ies
lil
C\'
oh,
h\
n
J
fields
k.
N
p
har
v=&
Where
=^
IEEE
3^
'^S
lil
how
of youth,
Come,
Come,
Days
V\\
P$=
come a - way
to the meadows fair,
the mer-ry meads, here no lon-ger stay,
4:
i^ 4
\>
V=^ =
1.
vL>
M. Bowman.
J,
Clear timbre.
-fiH
A b uV
fr\v
of Youth.
i*
ing
b kl
^fi-b-k
FJH
Fine.
^UJi^-^
."
$=r
'Hr-J*
now wafted on
the breeze,
ping ev-'ry-where, Shouts of glad-ness ring out on the air.
thus a crop 't will yield, Reap-ing what has grown in time's great field.
trip
jgg
ZJ
ev
'ry
Sweet
where, Shouts
crop
to
yield,
the
trees,
Reap
as
%
Copyright, 1897, by
their
notes
up
of
glad
ness
ine
thus
in
i
on
on
the breeze,
the
time's great
air.
field.
e
The A.
S.
Showalter Co.
x-
107
Somber
Slower.
v=9=W
timbre.
=*
-P-
-?-
Come
- ish care,
sor - row leave be-hind,
days of grief may come, sun-shine may de -part,
Soon
Time's fleet-ing scythe will soon reap the fields of grain,
r=*
and
sor
row
Grief
may
come,
sun
Time's
fleet
scvthe
will
Love
and
Bright
rays
of
e'er
the
What
its
-^
St
leave
be
hind.
Love
shall
shine
de
part,
may
reap
the
grain,
Hope
What
Care
P=tr-
the
1-
"
aa
'
f*
ii
tj
\>
hope may
sor
fade,
may
liar-vest be,
*=P
lose
it
or
gain;
not
Let
Dark
Soon
4>
grief
sor-row's
waves
of troub
will the
wing
-
le
ged form
&F
*&
jSL
reign,
fade,
none
shall
find;
Let
-row rend
some
heart;
or
gain;
Dark
Soon
grief
sor
har
loss
vest,
_A-
5^
Sfe
no
waves
o'er
ged
the
/?.
rfz';//.
= ^^=
tF^T
ow
roll
-P
r#. ^
shad
^fifti
tt
shadow bright young hearts, Tear-drops will dim the cheek, as the smile
roll o'er life's bright sea,
sW
barque
Soon will the gold -en sheaves
Toss
ing the
lit
tie
$=FZ
as
all
it
de-parts,
be gath-ered home.
r
blight
j'oung
hearts, Tear
life's
bright
sea,
cease
to
i%
roam, Gold
Toss
drops come
the
barque
en
sheaves
rz
as
as
the smile
de
nears
the
lea.
gath
ered
home.
J=L
A-
it
are
m
-r
parts,
My
108
H.
E. T.
Far- Away
Home.
E. T. Hildebrand.
With feeling.
*JU^k
m
M *?=*
:^
am
am
am
1.
2.
3.
think -ing to
think -ing to
think -ing to
night
night
of
that heav
night
of
those
*=*
^<K-
of
far
en
a^H-^-r
fcfc
gffff
hap
gels are
those
cit
long
And
L,ord
may
we
at
length,
Oh,
bove;
-O-i
Are
sus the
o-
Which
Son,
Pass
S^glTT
is
in
to
S
S|
- ti -
ful
home, land
JL
H4
-A-.
g-
g^
m
who seek
rest.
ven
love.
of
-^-
-A-
rl
r^
Whose glo-ries
^.
-A-
ri
t^ i
for
ev
er
are
rP~
It
soul goes
up
4H^
-*'<-
/Ts
Used by permission.
f=
1
rz'/
Pi
=A-
-A-
-A-
--A-
i1
bright;
4-
v=
-A-
of the blest,
bs
s^^^
iSESEEBg
My
-o-*-
14
ha
-fr-fr
v
-A..
all
-2ST-
gel throng,
-*
Refrain.
Beau
to
that
**=*
m
:
T^T
bright an
the
t^
by
prom-ised
re-
through
44
trod
ward
who
the
=fc
hold,
which
of
-f-
be
>^=
-^-
to
*s=*
IE
ceived the re
-
song,
in
>
32$
Je
py
-*
$^m
=6:
=&=
fe3=
9S^
^
=p^=
an
And
To
band,
ly
-o-
nsfcr#
ill
-tr
Where Je-sus
'
-A-
is
ev
'-4-
4-
4-
er
er
the light.
^SS3
^FPP
-A>
_ft
'
"
Olden Memories.
Aldine
109
A.
S. Kieffer.
=fc
3=
=*=
-j-
;*-.
S. Kieffer.
^T~J"
-^*-*-
And
blue,
hours, When
love,
That
stray,
Thro'
->-*-
T~S
=a=
=
b
\>
wm
6=
-W-
*.
-w-
But
dream of love, Of heav'n, and home, and you;
hap - py per - fumed bow' rs; It
Ivove's sweet chain first bound our hearts In
us from
a - bove.
then were breathed while gold-en stars Beamed on
But
sum-mer bow'rs in twi-light hours, When day has passed a - way. 'Twas
watch-ing, dream a
m
b
l>
s=s=r
|||fc^
"9^
^r-^dark
er
comes
dens -
to
but
grows the
sil
vi
lone
'ry calls
v'ry ca
sions of
-
^j
tfT
night
sigh,
And
J=d3=
-1
me
^^
mem
-A-
1}'
wan
SSI
m*
*#
Used by permission.
up
dence
once
-d'rer
^^I
#=
hap
far
hap
py days
gone
by.
mine eyes
with
tears,
py days Fade
out
be - fore mine
way From home, and heav'n, and
eyes,
you.
heart,
And
4
S
P}-
fills
my
As
F^
h:
van-ished scenes Of
thrills
Its
A-
110
There!
James Whitcomb
Don't Cry!
Little Girl;
Riley.
J.
D. B.
Andante amabile.
n
V (\
/v " J
im "
k
\y
f)
ii
C\
B
'
k.
--
There!
lit
tie
girl;
don't
cry!
2.
There!
There'
lit - tie
girl;
don't
cry!
tie
girl;
don't
cry!
lit
fc
frf f
^'
_-/
-ft-
#-r
p~
b
.
*
*
k.
b
blue,
wild ways
things of
the
things of
the
long
long
long
soon
soon
which
pass
by,
come
by,
you
-V
fc
i^
play
Are
days
Are
dreams Are
house, too,
Of your school
girl
ful
-j-
*
P
But
But
But
go
go
go
&
^child
\>-^v
P
-
ish troub
and
life
heav'n holds
There!
There!
There!
J?
Bmnk.
for
-J-
-J-
Xr
tie
girl;
don't
cry!
lit
tie
girl;
don't
cry!
lit
tie
girl;
don't
cry!
Jl
-J-
^E=fc
lit
^M
P
will
will
all
'^f
k)
fc!
les
love
fefe
sigh.
ft=fc
-&-,
-7-
*-i-
s>
-h
k.
?=
=?
'
*
p
-J
\>
heart,
1
""
h
P
I
'
slate,
K
R
P
the
h
k
^E?=#^
P
doll,
r>
And your
=W
things of
set
glad,
l>
P
ken your
ken your
ken vour
P
tea
f>
ri-
5:
K
R
-*.
1L J
-NH
And your
And the
And the
^-*-
L-
9= ^^
fc
tr~t
know;
know;
know;
1^ ^
1.
pt
N
A
h
A
3.
(S
B
E
But
But
But
Ill
Id:
-4
*
p
child
Hi^
*
E
P
PM>
pip
Tf*
ft
love
will
all
for
heav n holds
1
which you
-^
I*- 1 -
K-
lit
tie girl;
don't cry!
lit
tie girl;
don't cry!
There!
lit
tie girl;
don't cry!
sigh.
a
^
Kj
There!
There!
by.
*=#
H
-P
and
life
*
P
~K
P
JUL iij i jr
J>
-D^ tr
*=^=
p-T^r
tr
Ingratitude.
Shakespeare.
J.
-^
4:
blow,
Freeze,
freeze,
thou win
thou bit
wind,
ter
sky,
-*=#
ter
rr
W
P
p
P
Thou
Thou
art
not
so
dost
not
bite
P
Blow,
tr
kind
nigh
Jl
Ft
-*
As man's
As ben -
un-
so
JUL
Jl
s
tf=
D. B.
^=fc
J J
a
r-r
in
grat
fits
Thy
tude;
for
tooth
is
.&"
so keen
not
got;
1I J
IP 3
8
ters
warp,
Be-
Thy
'
h
J
V
A.
im
V. J
p
i
to
ri
g^-P
IS
'
tt*
TT*
P
not
seen,
Al
sting
is
not
so
sharp
As
n
v
f
f^h
^
art
J>
J.
^
F
p
\
n
is
i
!
,i
4*
I
I
1
1
thou
*.
R^
Al
ft
Eg
cause
Cy
J*
J>.
la
though
thy breath
friend
re
i
,
mem
be
bered
hi
..
-=|
'
1
"5
M
^
rude,
not.
b
=|
'
?
112
Slumber Song.
H.
J.
Hall.
4:
n
1.
2.
Slum-ber
Slum-ber
IT
ii
soft,
lit
tie
one,
soft,
lit
tie
one,
h"\
i/
-p-
-fv-
-p-
a----*:-
Si*
%*f
->S
-'
&
^S
tf
Slum-ber,
rr
=2=*
:-:
rr
do
not
fear;
Heav'n's bright gleams cheer thy dreams;
dear,
&s>-
Iyove
An
is
-#
9'
3s:
When
in
Melody by
B. Waldis. (1550.)
Praetorius.
(1571 -162 1.)
Harm by
mf
Andante.
2-=
When
ffg
f-f
fS2-
in
^Lg
P-
I
|
aI
5
r
And
(g
,i-
'Tis then I
^^
Lgl -"-
lift
my
A
-to-
T1
and
A^A:ArAA
^m
=
P a
-^.-^ni ^
<>
for-sak-en
feel
fe
lone,
A 3
d:
-"-
^A
J r^
g
ZC
^2
eyes on
'
'
i
.
high
fhtr
To God,
for
help on
Him
J J
Td-
re
- ly;
113
/l
And
J
^
-I
"g*
'
'
m=^
r=r=^
g
Un
wait in
aI-a^
-^
- til
He
aI
-H
<5>
\irL
-N-o-
Now May
J.
M=fi4^E^
-4^
A
Now may
His
help
God
of
be done! His
ev-'ry one,
near to
nn
Ki
L,et
all
nd
not
1
4M
w-
-I
* m
!-!l
rr
-;
al
ter;
fal
ter.
last,
chid
Who
still
eth!
^%
JU3JT1
r Ja
in
a Mi
-f^Pf^
To
J
-^r
-#-#
^5
he builds to
A A
How ten-der-ly He
f
jpa
rr
fast:
-^
xa
hold
Bach.
S.
m^ftrr^
Him
H-^-
I would not
our cour-age
will
LJ
In
<W-J
#--
"Hrf-
^=*
27
H B
tf
si
&
-J
-i
-ith
=*E
the will
is
npl
God Be Done!
the Will of
I:
show.
^M*
God
con
,j3l
fid
eth!
SECTION ONE.
Length
of
SECTION TWO.
Time.
The
Beat.
SECTION THREE.
Measure, Simple and Compound.
Measures, Table
of.
Odd
Measure-signatures.
measures.
SECTION FOUR.
Tempo marks and names.
Tempo, explanation.
Accelerando.
SECTION FIVE.
Syncopation.
SECTION
Bars.
SIX.
Pitch.
Staff.
Letter-names.
SECTION SEVEN.
The
Scale.
Syllable names.
SECTION EIGHT.
The Sharp. The Flat. The Double-sharp.
The Cancel. Accidentals.
Intermediate-tones.
The
Double-flat.
SECTION NINE.
Major keys and
scales.
Key-tone.
Key-signatures.
SECTION TEN.
Minor keys and
scales
Harmonic,
SECTION ELEVEN.
Power.
Memory
Melodic, Relative.
Table, scales.
aid.
SECTION TWELVE.
Quality.
(114)
PART THREE
RUDIMENTARY STATEMENTS.
INTRODUCTION.
Length, Pitch, Power and
The
The elementary
study of tones and their relations naturally divides itself into three departments Rhythmics, Melodies, and Dynamics, The study of rhythmics will
Quality.
is
Notation.
embrace the length of tones and rests, time, measure, tempo, etc. The pitch
elements, such as scales and melodies, staff and clefs, keys and modes, are
comprehended in the term melodies. Power and quality are the -means of
expression in the tonal art and therefore bring force and character to the
music,
hence
is
of study.
RHYTHMICS.
I.
Section One.
LENGTH.
The
of silence.
on the
staff
duration of silence.
Name
Whole-note
Half-note
Quarter-note
Name
Character
a
1
Whole-rest
Half-rest
Quarter-rest
Character
-w-
Eighth-note
J>
Eighth-rest
Sixteenth-note
fi
Sixteenth-rest
=i
Thirty-second-note
Thirty-second-rest
Sixty-fourth-note
3
Sixty-fourth-rest
1
(115)
116
/
With only
much rhythmic
d' -
Dotted- Whole-note
'
Dotted-Half-note
__
"i"
-1-
J.=
Dotted-Eighth-note
A=
J>4
sufficient
is
three
to
notes
of
J>=
to
'
J>
J>
J>
^= /J^
ju / .s R
t)
establish the
the next
tfj
t)
The above
a _
I
Dotted-Quarter-note
Dotted-Sixteenth-not
equal
Any
lower denomination.
note dotted
is
is
affected as above.
Double Dotted-Whole-note
Double Dotted-Quarter-note
= &\ o
J
'
J.
J> 4
.,
full
j.
J
4
j* =
J J 4
J J J J 4
J
(])
KiJ
AW^AW*
(i 6 )
derived.
Even
may
dot
a third
it,
thus:
Triple Dotted-Half-note
ei
The
n
n n
d 4 4 4 4
I
'
fill
VVn #V
^ib;
same
called the
Head.
The
line
A half -note \& ) has an open head and a stem. The stem of a
extend either up or down. When it is up it must be on the right,
*
and when down, on the left, thus:
Notice the hook is to the
e ^c.
fe j
one hook.
note
may
RUDIMENTARY STATEMENTS.
Sometimes two or more stems
p
CJ
are connected
by a Beam, thus:
^v
JR J? -
Section
117
slur.
Two.
TIME.
music.
correct.
Section Three.
MEASURE.
Some
beats
(or
pulses as
called)
are accented
and
some are unaccented. When accented beats occur at regular intervals of time,
Measure is produced. A concise definition is: "Measure is the grouping of
accented and unaccented beats." By grouping beats a larger unit is produced.
These measure units
in
"threes".
three
or
four
differ
these
simple
groups
of
will
be found one,
"twos" or "threes."
When
two,
the
measure consists of one group of "twos" that is, one strong beat and one
weak beat Double Measure is produced. Lines are drawn vertically between
the last note of one measure and the first one of the next to show where the
accents should be placed.
These lines are called Bars. They are placed just
before the strongest beat of the measure.
The spaces between the bars
represent measure, but the real thing we can only hear or feel in the mind.
When a single group of "threes" is taken as a measure unit we have Triple
Measure. When two groups of "twos" are combined in one measure we
obtain Quadruple Measure.
The first beat has a primary accent and the third
beat a secondary accent.
Compotind Measure
beat of simple measure.
making
six beats in
is
118
Compound Triple Measure has three groups of "threes", making nine beats,
with accents upon the first, fourth, and seventh beats.
The groups become
weaker as we advance until the bar is reached. Compound Qziadruple Measure
is the result of bringing into one large group four "threes", producing twelvebeats in the measure. These small groups stand in the same relation to each
other as do the beats in the simple quadruple measure.
Accents occur upou
the first, fourth, seventh, and tenth beats.
For the convenience
of the singer,
may
be definitely
variety of measure
in each measure.
The following
and the location
of the accents*
Double
Simple
(2)
-(Triple
(3)
Quadruple
(4)
Compound Double
(6)
Measure
Compound ^Compound
Triple
(9)
The
and the |
or
All tones
The motions
tempo,
are:
RUDIMENTARY STATEMENTS.
119
Section Four.
TEMPO.
to
Tempo is the
mean the rate
tempo
word
Italian
of
Time.
for
More
we use
it
of a musical composition
each other.
When
far
is
slow.
The tempo
is
indicated
by
The
first score.
made with an
inverted
Prestissimo.
rit.,
gradually
made
it.
faster
erando.
Section Five,
There are several signs which do not so distinctly belong under any of
the three general heads of the rudiments of music but we shall include them
in this section under Rhythmics.
SYNCOPATION.
In our modern music there
this is particularly
true in
is
much
effects.
one of the striking means by which we produce such variations. The effect
itself is that of hearing a tone begun upon an unaccented beat or part of a
beat and continued into the accent. The following are a few simple examples
of the notation of syncopation.
ateJaJteB^
-r
120
BARS.
was mentioned.
There
also
is
Broad Bar
The
ways.
(I).
Two
bar
repeated:
;
II.
or
I*
or
I J
. I|
or
II] or
by a
Close of a
light bar
III.
indicated
is
The
"When
\\.
The close
6
of a
there
Bis
is
of a passage to be
passage to be repeated
is
marked
;l
or
;|
! .
Then
be repeated.
song or
means "twice".
Bis
Two
meaning
very common.
and end
sign
:S:
at
but
it
When
represents.
it
is
it
is
over a
rest,
a Pause.
it
denotes a
full close.
TIE.
when
it
Slur.
Tie.
Slur.
-fiT
Tie.
->.
Ties.
-=*-
men.
In
vocal music the slur shows how many notes are to be sung to one
word or syllable of a word. In instrumental music it is a phrase mark. In the use
of a tie we sing only the first note, giving it the time value of all the notes connected.
Note.
II.
MELODICS.
Section Six.
PITCH.
The Pitch
it
When
common
the
of a tone is determined
vibrations
are
RUDIMENTARY STATEMENTS.
common term
121
many
pitches that
may
being "high".
human
be appreciated by the
ear but
space above.
5^
space below.
lines,
sharps and
flats,
all
music.
The
The
G-Clef on the
staff
common
use:
&
The
names
Added
of
staff
these lines
may
staff.
staff.
the added lines and spaces which are most commonly used:
-1>-
-C
-ii.
C~
Im
~
:
II
S(-if- =
e :*)i
-
*>
==
*+=
*-
-a*-
-d- -rr
Section Seven
THE SCALE.
It is probably fair to state that the major scale is the basis for our entire
musical system. The word scale means a ladder or a series of steps. We
should keep the "series" idea in the term. We think of a series of tones
progressing upward or downward step by step. On the staff then the scale
(lines
and spaces)
in
succession
as
The
they appear
steps
of the
EDUCATIONAL VOCAL STUDIES.
122
++
On
is
-!-
as follows:
major scale.
123456717654321
It
*?
e?
will
staff
and
_^_
f,
and b and c
represent minor seconds, or half-steps, while the others represent major seconds
or steps.
Syllable
5 is
So
Names
They
to sing.
(soh),
are:
6 is
are usually
1
La
is
Do
(lah),
(doh),
7
is
Ti
is
(te),
Re
(ra}'),
and
is
3 is
Do
Mi
(me), 4 is
Fa
(fah),
(doh).
Note. Care should be taken that these syllables are well pronounced and not
used too much, as poor vocal habits ofttimes result. For cultivating beautiful tone
production it is better to call all the tones by the same name. Loo is fine, Lo is
safe,
La
is all
right.
Section Eight.
INTERMEDIATE OR CHROMATIC TONES.
There are tones lying between the regular tones of the scale as represented
above which are called hitermediate or Chromatic tones.
NOTE. Long ago these intermediate tones were represented by printing certain
hence from the term "chromo" came the word Chromatic.
letters in colors,
are very
useful
augmented prime
(half-step) higher.
in
it
RUDIMENTARY STATEMENTS.
Take
and
of the
major scale
for
example.
The
123
interval between
them
Let us imagine
a major second.
is
to
it
Now to name
Li-
it
tyi-\
It
it
sounds in relation to
by a sharp, we
2 as 7
call
does to
1.
I_l_l
In like manner
we can
find a tone
system.
as follows:
MAJOR SCALE
INTERMEDIATE
TONES.
Vf
fn\
VJJ
J
/v
v\\
\
S^Tf
r
Li'
El
#2
di
_,_
fe^
U-'
Note To represent an
intermediate tone by a sharp,
set the sharp before the lower
note of the two forming the
major second within which it
is to sound.
ri
si
fi
li
(i?) is
a character used to make that degree of the staff upon
placed represent a tone an augmented prime (half-step) lower.
All
that was said of the sharp applies to the flat, only it acts in the opposite
The Flat
w hich
r
it
directon
is
therefore
p2-\
LiJ
=~
A.
LJ
x;
_AL
TT
k
\)^
77
t>6
l(x\
x^y
b^-
b^
ft
>3
b^
Note. To represent an
intermediate tone by a flat,
set the flat before the upper
note of the two forming the
major second within which it
is to sound.
>2
le
It is
by
all
Sometimes we
need to present an intermediate tone that lies between two tones, one or both
The above rule still holds
of which have already been sharped or flatted.
good sharp the lower one or flat the upper one. Suppose we need to sharp
a degree that has a sharp upon it? Just sharp it again. Then we have a
Double Sharp or we have doubly sharped that degree. To do that, use two
The old way was, and the common practice now is, however,
sharps, thus M.
EDUCATIONAL VOCAL STUDIES.
124
to use
made
various ways,
thus frb. There
is only this one sign for the Double Flat.
This with other important facts
leads the author to conclude that the double sharp should be used like the
double flat.
x or x or %
thus:
more
To
flat
question
flatted
How
in
flats,
we sharp
a sharped one?
has
shall
is clear
several
may
there
it.
is;
It is
signature earlier in that same score on that particular staff and degree.
to fiat
?tse
To
a
cancel.
:b:
EE
54345
#4
so
fa
mi
so
fa
m
I
*-H>
543
so
fi
mi
fa
3=:E
5
so
do
J?7
te
la
It has been the custom to use the cancel to erase the effect of a double
sharp or a double flat, in which cases it becomes necessary to follow the cancel
with a sharp or a flat as the case would require. For example, suppose we
wish to write c x and c tt in the same measure for the same voice. The present
practice
would make
Note.
make
it
We
read
cjj
it
thus:
p^jy
In
all
practice
we think
this
would be
rr
cittt
cit
It
The
double sharp.
hV?
in subsequent sections.
bV
flat
We
just
m ~p~
as explained
and
flats
RUDIMENTARY STATEMENTS.
125
ACCIDENTALS.
All sharps,
flats,
and double
flats
occurring within
An
upon which
is
it
located.
It
continues
ACCIDENTALS ILLUSTRATED.
67
7^7
6j?6
j?6
3 Jf5
or
#5
Section Nine.
MAJOR KEYS AND SCALES.
When
one
first
seeing
proper
their
conditions and
and kinships.
He
relations.
no longer a stranger.
Characteristics
adjusts
and
adapts
himself
to
the
us think of all
the tones which we may be able to comprehend.
Just now it may be you
are in a strange tonal community.
You are not acquainted with the tones.
There are certain ones which relate themselves to one another very closely.
They bear
is
In
The
in
this
let
same
must progress
they may occur in any
do the members -of a
is
exactly the
tones
cluster
126
selves to the
will relate
If
them-
the keytone
the scale,
it
will be sufficient
if
we
It will be apparent that manj tones will belong to more than one key.
It
must again be true that the tones of one key cannot be exactly those of
another. They must differ b} at least one, or the key will remain the same.
The minor seconds must remain between 3 and 4, and 7
7and 1. There is only one position (C as keytone) on the
staff where that will be true without the use of sharps or
flats.
Let us reason our way through one key which begins
T
We
4
-3
will call
1.
We
2.
It will
as a keytone.
in the ladder a
be the letter A.
It
must
e-
-7-
-6
-4
-3
We now
two keys.
tones
of
the key of
proper
are placed
at
staff.
RUDIMENTARY STATEMENTS.
127
These are then called the Key Signature. They hold their effect across the page
(a score) unless that effect is erased by a cancel used as an accidental, or by
a change in the key signature.
The letters naming the pitches which constitute the key of C are simply the names of the tones in the scale of C,
which are: c d e f g a b. The names of the tones in the key of G are:
This scale on the staff with G-Clef and signature
would appear thus:
gabcdefit.
SCALE OF
-
G.
===
===
gabcdefjgfie
1234567176
do
The Key
key
of
sharps
of
-p
_|_
re
signature.
so
fa
C has no
be taken as
one
mi
-p
_j-
la
do
ti
la
ti
SO
fa
mi
re
do
_j_
has one.
If
the 5 of the
have two
is added to the
Each time 5
This may be carried on up to a signature of seven sharps. The
following table shows the names of the pitches forming the
1,
more than G.
will
Key
f-
1-
-3
e-
-e
7-
A a
E e
B
fit
Signature
one sharp
f#g
cjj
two sharps
D-d
-4
Names
Pitch
b c$ d
f
-<l
three
b cijd^
J g# a
c| d
Fjt-f#g#ajb
44
444
C#-cifd|e#f|g}jaifb}f
By taking any
-7
b-
-6
a-
result will be
f-
e-
<1-
-f
all
five
six
F
Fti Cti
sharps F| Cj
sharps
Fit
G+f
GJj Djf
sharps
other tone as
E|(
A J Ej Bit
obtained.
Remember
also
1-
four
4,
and
128
just 4.
The above shows that taking the 4 of a scale as 1 of a new one will
give a key or a scale with one more flat in the signature. Another cycle of
keys is therefore possible as follows:
Key
Pitch
bt>
Bt?
bt?
El?-
et?
At>-
at?
bt c
Dt>-
dt? ei?
Gt?
gt? at?
Ct?
ct?
Some
1.
Names
el?
at?
bt? c
two flats
Bt? El?
dt?
et?
gt?
at?
bt?
five
bt>
ct> dt?
et?
dt? el?
fifteen
Bt?
ft?
mow
flats
six flats
That
Signature
one flat
appare?it.
different
ones.
2.
That the
be
3.
4.
flatted,
and the
be
first
first
That each
only that
5.
letter to
is
instead of
of the
it
That
ture as
flats
flat.
Or
will get
flats in
letter,
a sig-
the signa-
to repeat, to take 4 as
flat
Section Ten.
MINOR KEYS AND SCALES.
In olden times a great number of modes or ways of arranging the intervals
were in use. At the present time with the different nations there
are still various wa}'S, but we recognize two in particular and use them almost
exclusively.
They are the Major Mode, treated in section nine, and the Minor
Mode, the subject of this section. The minor mode is not, however, cultivated
among the masses to any marked degree. We can easily learn to love the
minor music, and that with considerable profit. In fact this mode expresses
of the scale
it
may
RUDIMENTARY STATEMENTS.
do pi
C -c
-7
b- -b
ti
la
1
7-
la
-6aab 6-
fa -4
mi -3
e-
re
-2
<l-
do
fa
4-
f- -f
*? 3-
Starting with
as
1,
2-
-d
129
is all
c -c
minor, while A
both as
Note.
and
and
la
in both scales.
is
major
At? is required
B and C
for
are again
6 in the
common
in
1.
From
dm
-g-fr
=fc
12
+ -
la
do
ti
-'
mi
re
si
la
si
fa
mi
re
do
ti
la
re
do
ti
la
-t
fa
-<&
<y
12
J_
la
do
re
5
L
J_
_|_
ti
gg
\>
t*s
mi
_i_
fi
fa
mi
_l_
si
la
The minor
scales
the
130
TABLE OF KEYS.
The following is a condensed form from which to memorize the names
and signatures of all the major and minor keys. There are of course fifteen
minor keys by name and twelve really different ones, making all together
Or in still a better sense only fifteen. The
thirty keys, major and minor.
f
3^'s
Eb
says
this:
"Three
KEY TABLE.
Et?
3i?'s
iM ac S
{fjf
stand
letters
b's{
t>'s
{gi
are
TO BE MEMORIZED.
*' S
3?
flats
4 P's
ff
7^*1
5>'s{
oi?
ai
Nojhn re
J f
and
it>
ob
No
Di7
i-
fr's.j
-<
bt?
TABLE OF SCALES.
The following
is
a complete
list
of
all
MAJOR SCALES.
1.
c.
-#-
<$>
^ &
<j>
--
-&
<^
& ^
C7
9 T~
tSt-
ts-
C\'
1^
*?
<>
G.
H*fi
i*
VT\
XA)
"3
&
A.
<&
&
^]
%J
c\.
l.Jt
Tl
&
'
r^
/\
tn
'
*"
C7
/v
RUDIMENTARY STATEMENTS.
131
D.
A.
1st
:^z
Ptf
7?
-=
f*
B.
/V
J
?T.tf"it
frn
v.;
"5 fJ
tt
if
TT
-a-
4^'** Sn
)"&"
-^
1
'
5 >
^4^
JJ.
-^-
,-,
m
n
c^
r~<
"Z?
fc
^-#-
grants:
3W
"
^,
t^
,V
Q,
C7
'
.a
"7ST
^'
ES
3-
"^
Z?
'
132
F.
/V
rn
V-U
17
-n
<s
Rl
=3
a-
2^
&
a.
&
s^
"
^i
e:
/\
B>.
-T7
a-
-o
ife
-^-
-zr
i-^
F>
/
rv
* I.,
C^
|j
h
P
-^ b h
^ P
^j
X3
S2.
-^-
ts-
JQ_
-B-
"
iV
<S>
A>.
-g
a^
/
faE
s:
o-
dK
V
/t
ith
\j)
P b
b h
*
b
u
<5
-??t~"\*
*
1.1
A.
'x
1-1
p k
b hi
^~
-<?-
o
c^
A.
V7
^2-b
GK
" b h
b hi "
"
"*3
i^s
C7
<S"
<
p"
^~ "O
^3
^^
RUDIMENTARY STATEMENTS.
133
Ci7.
W-
-O
SttSP^s
n
II.
a,
~g-
-Es
*-
MINOR SCALES.
Harmonic Form.
4
m
^
^n
3
IK
IT'
-B-
tfcr?
ff
r\*
yi
.^
t ".
i-
B^
S^
r-
tt
it
_,
^>
cr-
A
_"--
<?
'a
11
m
e,
Harmonic Form.
pa
-??
b,
A.
%*-
=B=$^
%*-
Harmonic Form.
9*
f
fe
J,
^-
g
-ff
a a
r
flg
Harmonic Form.
'
1k-s g=*
ft!
'
Pjl
B:
ctt,
Harmonic Form.
ft
p*fe
-^r-^g-
-^
a-
-^
s:
fc
^a
-#=-
B*
<
'
134
C7
r~i
^7
^>
cd
fc
Harmonic Form.
dtt,
S5
~yg>
X-^-
-C3-
-=a
yz?
-
x<s>-
i^gf
an,
Harmonic Form.
I3E:
g^
Ma
p#
d,
1/
<-~
J/
).,
-^ b
3E
^ x^
Harmonic Form.
/5 b
irh "
Vll
-V.
Xg
X<2-
T-;
ifat
ias
/\
-i
n =>
<
,5>
ff
Tf
/\
EJ
^
,s
rs.
^-
JZL
--
$9-
r^
-,
-
g,
Harmonic Form.
D iU
In
[)
<m>
VM
Rf^>
I^fT _
,_,
[1
c,
v7
e>
JJ.^
*
>
^* gg>
ff
rn
J+^,
TT
-^^S^
ff
vj
r
Z7
mfc
-G2
-
C7
;-
Harmonic Form.
g^R>-c
<3
RUDIMENTARY STATEMENTS.
Harmonic Form.
f,
hi
v
b
AH- n
i
~3
\j)
r\*
135
~
b
s b^h
n_^
7s
1=1
U'53
i-
J"i
lii,
~-,
U<^
b^
X|
"S>
en
A V
A
V
b
b p
hi
i
b
^
Ifh/
-^ "
_,
F hi
Pb
Li
fi^
1
-^ -
z^
9^
_B.*^
~
kj,
5-
R^H
S b
rj>
o-
*F
"EX
^T
r"
Harmonic Form.
ej?,
Se
j?"
Ija.
^: ^:
t|c
sa
fife
ab,
Harmonic Form.
jfr
-S-
-glj?
Sfe
l
fc>
iH|
minor scales
III.
a,
- HK-fr
^-
9t
c,
/.
ffW
^K
J
"">
<^-
<?-
Melodic Form.
b h
P
h
l-i P
-/ k L
^ 17
- * ^
is
h
17
r>
-^
Melodic Form.
-^
g pg=frg
kJ
W
H
h^
\)
<^^
___
V><v
-B-
-e-
A
i_j
136
rfz
/L b
f(\S
%J
-v
~
C\'
')-,
-^ b
r-
TriFif
>L S
tf
n
a
ftli-
fh
YsL>
J
tT
^
o
"
i-i
ill
Z
TT
^IT
eK
<J>
^tt^^
gy
-O-
#*"
cK
J=L
^.
IX
*\
a
fl^
TT
o
v
t>
S^
tr
->
"\l
&
vj
^7
C7
<C
Melodic Form.
y LKbh2
ffaW
V
Vv^
k^i- -S
-^
v--ot)^
1
\)
L,
"
-
riir
ft
I.,
"
1
/>,
+ LJ.TT+'
--V.
h^-,
]ir
S"\"T
* 1..
Melodic Form.
gft,
=~
\])
Melodic Form.
d,
P U L
<j>
Zi.
~c
/\
* :
_Ssr
fi>
e c
4^-
Zi
(1
2_Hlb
form sharp
DYNAMICS.
EI.
Section Eleven.
POWER.
When
tone
is
loud
when
much
we say
it
has
a tone
is
soft that
it
force,
is of
or that
it
is of
a high
Italian
may be
taken as a scale in judging the degrees of power. Between loud and soft is
Tones may be very loud or very soft. The
a medium force called Mezzo.
Italian language (from which come nearly all musical terms) adds "issimo" to
A word to mean very loud
a word to make it express the superlative degree.
five
terms which
forte.
In adding this suffix the final
Fortissimo, meaning very
usually dropped, therefore fort(e)issimo
In like manner we derive Pianissimo, from Piano, meaning very soft.
vowel
loud.
is
MEMORY
English
Italian
Very
soft.
Pianissimo
Abbreviations- -PP
AID.
Soft
Medium Power
Loud
Piano
Mezzo
Forte
Fortissimo
ff
Very loud
RUDIMENTARY STATEMENTS.
There
is
is
a power between
137
mf.
it
can-
soft
it
one force to
are produced
artistic effects
When we
another.
increase
the
is z_
These effects are often mistaken, as beginners seem
think that to diminish they must begin forte or fortissimo, and to increase
the power they must begin piano at least.
The terms simply mean to pass into a
greater or a lesser degree of force.
One may begin at forte and increase to
fortissimo, or at piano and diminish to pianissimo, or begin at any degree and
dim, and the sign
to
The
increase or decrease.
ishing
it
again
maj- consume
is
effect
called a Swell.
much
or
little
time.
contrast of the force and accent of the tones for its Expression.
Section Twelve.
OUAIJTY.
Not much needs to be said here about tone quality. The study of tone
production more properly belongs to advanced singing. There are not many
marks and signs in regard to quality, that being left most largely to the
judgment
of each individual.
It practically needs no notation as it belongs
wholly to the expressional side of music. The words or the music or both
must create some sentiment for the singer, which feeling or thought expresses
itself through clear or somber tone-quality and the manner in which the tones
are
accented.
much
alike,
but the
quality.
(See Dictionary.)
PART FOUR
VOICE CULTURE.
When
of
improvement
is
known by
Very
the voice.
The breath
much
Among
is
breath
gain
common use as
voice teaching has been done in this country, and that
period of time.
we
smaller towns
is
little
It
the
may
lines.
dynamo
we have
It
is
we
do
however true that a very large percent of us are far below
normal in our breath capacity. That fact is alarming not only from the vocal
standpoint but also because a scanty breath supply means a weakened body.
Tests made by the author show that more than fifty percent of the subjects
he has recorded are able to exhale less than half the air that scientists claim
Allowing for a wide margin of individuals we should have a
to be normal.
capacity of from 225 to 400 cubic inches of air.
About seventy-five percent of
the women make their first test read below 100 inches.
Men usually exhale,
on first test, from 100 to 200 inches. We believe the statement a fair one
possess.
It
when we say
as
it
is
that
perfect
control
is
that nearly
all
vocal defects
may
to either a small breath capacity or to a poor breath control, usually the latter.
There are of course those strong men and women among us who break the
above records. They stand as examples and verify our conviction that large
breath capacity and good breath-habits bring vigor and vitality to our physical
powers.
(138)
VOICE CULTURE.
Another accomplishment in tone production
139
is
properly directed,
to
These are the mouth, nasal cavity, and other cavities of forehead,
nose and face, together with tissues and bones of the upper part of the body,
and to a greater or lesser degree the entire body. The timbre of the tone
depends upon which cavity or part of cavity is responding best for the
reinforcement of the vibrations. If the resonance of the back mouth is
dominating the tone it will be of a sad, somber quality. If the front mouth
and the nasal cavity are the most active agents the tone will be sparkling and
clear.
The carrying properties of the voice depend much upon the placing.
Every tone or word should sound as though it were reflected from the hard
palate into the ear of the auditor.
Tones from the hard palate alone, however,
sound cold and hard unmusical.
spoken.
There are three sets of muscles acting at the same time in singing and
speaking and because of this, conditions arise which cause many blemishes in
words and tones.
The breathing muscles, the pitch-making muscles, and the
vowel-forming muscles: these and each set consisting of numerous muscles
should work independently. The tendency is for each to be influenced by
the other two. In singing, the linguistic elements usually suffer most, and
therefore singers should put forth special effort to secure a pure, clear pronunciation while singing. Even to speak so that one is clearly understood is
a worthy attainment.
There is one other point we wish to raise in this connection. It is a
matter of expression rather than one of technic; but all technic is but a means
of expression, not an end in itself.
We refer to the Sostenuto or Legato style
of singing.
That manner of using the voice and saying the words which
beautifully connects the tones and words instead of breaking them apart as
though the} were quite brittle. Inexperienced singers seem to think a detached
style necessary to clear diction, but that is a most erroneous notion
the very
opposite is true.
Connect the words, sustain the tones, and make the enunciation exact and you will be understood and your message appreciated.
7
We
wish
far is
that a singer
or speaker must have a message which is vital and which he must tell. That
will then bring spirit into the singing or speaking one must have message
and
technic.
all
140
Exercises,
I.
BREATHING.
is
nature's way).
No.
i.
it
No. 2. Practice the deep breath, the high breath, the front breath, the
back breath, and the lateral breath.
No. 3. (Deep, front, and back breath combined.)
a.
Inhale slowly and exhale slowly.
b.
c.
d.
e.
f.
No.
4.
at the lips,
No.
5.
is all
exhaled.
b.
Lengthen the
c.
interval.
TONE PRODUCTION.
II.
up
in the
mouth.
Sing three long tones on same pitch with your best vowel;
breath, but use it all).
Repeat many times, changing to
pitches higher and lower.
b.
Sing five tones as above with following vowel groups, changing
pitches frequently and repeating many times, aiming to keep the same tonequality with the different vowels within a group:
No.
5,
a,
a.
1.
or a
(one
a o,
-o-a-a-o, a-o-a-a-a,
-o, o-a-o-a-o,
a-o-oo-o-a, a-o-e-o-a, a-a-e-oo-o, o-a-i-e-o, a-e-1-00-0.
Many other groups are possible and would be profitable. If you understand the principle, form those which your individual voice may require.
-
SINGING.
III.
No.
1.
&m
s^
la
la
15
15
la
la
la.
la
la
la
la
la,
lo
lo
15
15
15
15
lii
la
la
la
la
la
itefe
la
la
lo
15
la
la
la etc.
lo .etc.
la etc.
VOICE CULTURE.
No.
2.
$&E3m &-^r-F^
la
lii
lii
lii
141
lii
lii
lii lii
'
il
lii
lii lii
lii lii
la
o
a,
^3=&
k.
^ ^
J j
"
^--gj
Eji^^^^=rnmTO^
No.
3.
cfci
&*
ft
lii
lii
po
tu
ah-o
ah-o
No.
.4:
ah-o
ni
po
tu
ah-o
ah-o
ali-o
ah-o
<d
}'ah
yah yah
n m
la la la la la la la la la la la la la la la la la
5.
la
ma
dii
ah-o
lii
Andante moderate.
&43^
4
lii
lii
Transpose.
4.
No.
lii
lii
Iilii-Ii
gfeafe^g^g
ba
ah-o
lah
lii
lii
;-r
:ri:
la
la
la
la
la
-Ah
la
la
tz5:
P
JM
w
.p.
-3:
ii
o
a
e
azgtf^^Bg^g^^TTTtto
-A-
Jj'
_H
*__
r
1
JS
I
-*-s*
fe^
?3^
* *
142
No.
6.
p" r 4
fed
la
la
la
la
^j.
ba da
>
*4 -u
la
la
la
me
ni
po tu
i- P
1
"
'
"^
p"*"
"T
i""-i
.
B
kJ
'
la
la
o
a
m ^^
*=i=l
^^J:
-<>-*
^s^
(2nd) tu la
No.
fcgEgj ^v*=
ha
ho
ha
he
ha
ho
ha
he
ha
ho
ha
he
hi
hi
hi
fc=fe
g j)vj^ir[^i-^M-j^^^^^s
#=fcvs-
'
'
v>
AaAa
fc
^nn
3
l>
1 ? i_5
P
fcrJ.
g-g-g
1-
v.
h
[),
* 1
Eg
^j^^^
Jji^zjj^j^
8.
r>
r>
~~
b_-a_j
L>
No.
ba
7.
S-fe
Transpose.
Adagio.
i 4*
zb
d
g
bo
b
J
b
d
g
do
d
-^
=*-
o
o
o
d
g
o
o
o
go
g
bo
b
do
d
go
g
-J
4-
3=^5
-zst-
PART FIVE
DICTIONARY OF MUSICAL TERMS.
Note.
The
studies
music
seriously.
IN PRONUNCIATION.
a as
in ah;
as in pin; 6 as
Accelerando
(It.)
(at-tshel-er-rarc-do.)
Allegro.
Accidentals.
Ad
libitum
At will;
(Lat.) (ad-/i&-i-tum.)
changing the time of a particular passage at the discretion of the performer; also a part that may be omitted if
at pleasure;
desired.
Agitato
(It.) (aj-i-#i-to.)
Agitated, hurried,
restless.
(143)
fully.
Andante
literally
means "going."
144
Andantino
(It.)
(an-dan-ftjg-no.)
little
Soul,
feeling,
dividing
bringing
it
it
Calando
Anima
Anthem.
Cadence.
See Stainer
&
(It.) (ka-/aw-do.)
Gradually diminishing the tone and retarding the time;
becoming softer and slower by degrees.
Canon.
Apollo.
after 1600.
Bariton
(Fr.) (ba-ri-#m/z.)
_
'.
Bantono
(It.)
(bar-re-fo-no.)
^
/
A male
.
voice
intermediate
Baritone.
) in respect to
.pitch between the bass and tenor, the
compass usually extending from first line,
F Clef, to F above the staff.
Bass.
Baton
(Fr.)
(Bahtong.)
conductor's
stick.
Brace.
..
and Anglican
"Plain Song."
See
service.
2.
To
Helmore's
recite musically;
to sing.
Choral
(Ger.)
(ko-r/.)
Psalm
or
hymn
Chorus.
145
higher or lower,
staff.
With
fire
Chromatic
f,
g,
a, b,
rotundum, was
c.
The round
b-flat,
b, called b
the square
b(h), Da capo
it
was called
(It.) da &a-po.
D. C. From the
beginning; an expression -placed at the end
of a movement to indicate that the performer must return to the first strain. In
such a case the repeats indicated by dots
are generally not made after D. C.
)
a clerical error
that has been perpetuated nearly a thousand years. After some time the two b's
Dal seg-no
(It.)
(dal san-yo.) D. S.
From
mark directing a repetition
semi -tones.
was generally annulled, not by a natu- Diatonic scale. The different gradations
ral," or cancel, but by a sharp, and each
of tone of the scale or gamut arranged in
accidental was written as it occurred. Toproper order in conformity to some parday the effect of the accidental extends
ticular key.
through the measure, on all subsequent
notes of the same pitch, but it is often Diminuendo (It.) Dim. Gradually decrease
allowed to apply to the same note an octave
the power of the tone ==-.
flat
146
Dirge.
castrati.
A false or artificial voice;
that part of a person's voice that lies above
its natural compass.
with
dead.
Fine
-Dolce
(It.)
(dol-tshe.)
Sweetly,
softly,
The
(feen-ay.)
(It.)
nation
delicately.
Doloroso
(It.)
(do-lo-ro-zo.
sorrowfully, sadly,
Dolorously,
r.
Dominant.
theorists
Flat
The
Chromatic Signs.
flat.
A character (v?) which, placed
before a note, signifies that it is lowered Forte
two semi-tones.
Double
A character
placed before a note, raises that note two
semi-tones.
It is usually written as follows: x or x.
Double sharp.
A composition
instruments.
Duet.
(for-te.)
(It.)
Forzando
which, when
for
two voices or
Loud, strong.
Forced; laying a stress upon one note or chord; sometimes marked a >.
(It.)
(for-tsan-do.)
Fugue
Dynamics.
Elegy.
Gamut.
funeral song.
The
Energico
(It.) (en-dr-je-ko.)
vigorous, forcible.
Energetic,
A term signifying
(It.) (joos-tb.)
that the movement indicated is to be performed in an equal, stead} and exact time.
Giusto is sometimes used to indicate moderation, as Allegro Guisto, a moderate
allegro.
Giusto
Enharmonic
(Ger.) (en-har-racm-ik.)
One
of the ancient scales or modes, proceeding
by quarter-tones. On the pianoforte these
Espressidne
(It.)
pression, feeling.
(es-pres-se-o-ne.)
noble.
music.
Ex- Grazidso
(It.)
(gra-tse-o-zo.)
In a graceful
style.
Ealsetto. The male head-voice as distin- Gregorian chant. A style of choral music,
according to the eight celebrated church
guished from the chest-voice. A singer
who sings soprano or alto parts with such modes introduced by Pope Gregory in the
sixth century.
a voice. Falsetti must not be confounded
Hold.
character
(st\)
Hymn. A
is
Deity; a short,
religious lyric
poem
in-
Interval
the highest.
147
moving
Maestoso
Plain-song.
Jubildso
Measure.
Jubilant,
yoo-be-/o-zo.)
(It.)
exulting.
Key.
Langsam
(Ger.)
(lang-sa,m
equivalent to Largo.
(It.)
(lar-go.)
Slowly;
degree of movement.
Larynx.
The upper
composed
It
annular cartilages,
placed above one another and united by
elastic ligaments, by which it is so dilated
and contracted as to be capable of varying
the tones of the voice.
is
of
five
Leading-note.
scale;
the air and movement of music are regulated; the space between two bar lines on
the staff. The measure is often miscalled
a bar, but the terms should not be confused.
pitch of tones.
Meno
(ma-no.)
(It.)
slur
<
Lento
Lied
(It.)
Less.
(met-ro-nom.)
A
(mff-ro-o-me.) machine
invented by John Maelzel (in 1815), for
measuring the time or duration of notes
by means of a graduated scale and pendulum, which may be shortened or lengthened at pleasure.
Metronom (Ger.)
Metronome (Gr.)
Mezzo
(It
Mezzo
forte
(met-tso.)
(It.)
Medium,
(met-tso
half.
ftjr-te.)
Mod-
erately loud.
Mezzo piano
Rather
(It.)
(met-tso
pe-a-no.)
soft.
Mezzo soprano
A female voice
(met-tso so-prd-no.)
of lower pitch than the
(It.)
contralto.
In a close, smooth,
graceful manner; the opposite to staccato. Minor.
Less;
It is often indicated by a sign called a
intervals, etc.
Legato
respects to intervals,
duced.
Largo
Majestic,
(tna-es-ft>-zo.)
(It.)
Intonation.
(le-gri-to.)
smaller;
in
speaking
of
^.
(It.)
(Ger.) (leed.)
Madrigal.
Modulation. A
from one key
Slow.
An
148
Mdlto
(It.)
Mdsso
(It.)
motion.
slower.
quicker.
Non
(It.)
(nun.)
Not, no.
Non
Not too
organ-stop.
Opus
Opus
(Lat.) (o-pus.)
Work, composition;
(Ger.) (o-poos.) ) as, Op. 1, the first Piano (It.) (pee-a-no. ) Soft.
work, or publication of a composer. The
The acuteness or gravity of any
numeration of musical works by opus num- Pitch.
particular sound, or of the tuning of any
bers began in the last part of the eighteenth
instrument. Pitch can most scientifically
century. Mozart was the first great combe defined as the rate of vibration. Rapid
poser whose works have an occasional opus
vibrations mean a high tone, slow vibranumber, but Beethoven was the first to use
tions a deep one.
Propthis mode of numeration regularly.
erlj% the number of an opus refers to the
order of publication, not of composition. Pdco (It.) {po-ko.) Little.
An opus may include several numbers or Presto (It.) (pres-to.) Quickly, rapidly.
may consist of a single piece.
Oratorio
(It.)
(6r-a-o-ri-o.)
In the manner
(qud-zi.)
(It.)
the style
of, or
of, in
somewhat.
Quintet.
Rallentando
Rallentato
(It.)
(It.)
(ral-len-tfiw-do.)
(ral-len-/d-to.)
The
time
Rubato
(voo-bah-to.)
Robbed,
stolen;
Scale
(Ivat.,
Scala;
Ger.,
Tonleiter;
Fr.,
The successson of
tones upon which any music is built. The
Echelle;
scales
graduall} slower.
(It.)
149
It.,
of
Scala).
different
differ quite as
much
and nations
as their languages.
epochs
Refrain.
of a song; a ritornel;
a repeat.
Rhythm
rhythm
is
meant.
Sforzando
Forced; one
(It.) (sior-tsan-do
particular chord, or note, is to be played
with force and emphasis.
)
150
is
frequently shortened.
This example,
counterpoint.
But this was not always
the case. In the early days of counterpoint it gave support to the melody, which
always lay in the tenor. See Tenor. It
was then called "Discantus," which indicated that it was "against the melody,"
and not the melody itself.
Spirito (It.)
energy.
(spi-re-to.)
Spirit,
life,
When
PN^
single
voice,
or in-
strument.
Stringendo
(It.) (stren-gew-do.)
accelerating the time:
Pressing,
Song-.
1.
canto.)
Soprano
Tempo
(It.)
(tem-po.)
Tempo
The
Italian
word
is
151
Tenor. That species of male voice next Treble. The upper part; the highest voice;
the soprano; that which generally contains
above the baritone, and extending from
the melody.
the C upon the second space in bass, to G
on the second line in the treble. Socalled from teneo (I hold), since it held the Triad.
The common chord, consisting of a
melody in old times. See Soprano.
note sounded together with its third and
Tetrachord
(Gr.) (#tf-ra-kord.)
fourth;
fifth.
time.
Tonic
A method
Sol-fa.
of
teaching
s
notes, d
d'
and s x
2
particular pitch of the key-sound
l
d2
is
The
shown Vocalize.
To
exercises
for the
152
'
M.
Long Metre.
brace.
L.
M. D.
cancel (natural.)
cal.
calando.
C
M.
Common
Metre.
C.
M. D.
Common
Metre Double
M. M.
Maelzel's
>
marcato
mf
mezzo
mp
mezzo piano.
MS.
manuscript.
Op.
opus (work).
Metronome
(accent).
forte.
clef.
C.
cres.
for definitions.
L.
breath marks.
book
accelerando.
', v
in this
crescendo.
P.
M.
Particular Metre.
piano.
PP
pianissimo.
PPP
pianississimo.
double sharp.
Rail.
rallentando.
D. S.
dal segno.
Recit.
Recitative.
t>b
double
D. C.
dim.
tttt.
de capo.
}
*>
diminuendo.
x
flat.
Rit.
flat.
forte.
ff
fortissimo.
fff
fortississimo.
fp
forte piano.
M.
Short Metre.
S.
M. D.
ft
sharp.
:S:
sign.
stacc
sfz,
\)
slur or tie.
forzando.
sforzando.
ritenuto.
S.
sf,
Rritardando.
clef.
t>
fz,
staccato.
staff.
clef.
-==r
z=-
H. M.
Hallelujah Metre.
/T\
hold or pause.
ten. or
L.
left.
tr.
or
tr~^
swell.
tenuto (sustained).
trillo.
GENERAL INDEX.
Titles in
Romans,
Songs marked
ACKNOWLEDGE
A dream
ME,
152
MY KEEPER.
eventide
at
name
Almost
Almost persuaded
Analytic index, Part
Two
Titles
and
Give
to
God,
studies.
nations great
77
101
MY SONG
88
GOD
79
83
*GOOD-MORNING,
SHINE
83
Good-night
IS
97
MERRY
SUN25
80
68
When
* are in Part
nerve
15
45
43
78
71
80
87
*How
51
111
Balmy southern
breezes
BEAUTIFUL FLOWERS
Be not
/
70
Cheerful faces
*Choral (52 d.)
Come away
Come,
am
*I
60
meadows fair.
to the
Contents, Grade
One
Contents, Grade
Two
Contents, General
Contents, Part Three
of all
Dream
at eventide, a
Dictionary of musical terms
106
70
viii
do you
like to
106
98
go up in a swing .....
thinking tonight
108
Ingratitude
In from the highway
*In the heart of a seed
Is the way before you fraught
was once
in sin
Evening
79 Jewels
72
88
109
89
88
*Kind
94
hearts are the garden
23
143
27
bells
29
114
*Leo
*Erie
54
Ill
102
102
Let
42
pass
87
LITTLE EYES
96
it
Little snowflake
HOW A ROSE
42
LO,
*Forte staccato.
62
LOVELY MAY
(153)
99
E'ER BLOOMING
86
76
154
General Index.
Make a joyful
Merry
noise
92
spring, the
105
*Moderato (54.)
*Morning hymn
*Music everywhere
My
far-away
62
43
66
home
108
77
*Newton
10
ferns
0,
is
Olden memories
O LOVE DIVINE
*One
*Spring is come
Spring is here
65
snowy day
102
51
*The
*The
82 *The
31 *The
raindrops
109
ram has
27
swing
35
Scales,
soft, little
one
114
48
39
72
Voice culture
Voice exercises
138
140
94
WHEN
MOAN
112
35
*Wine
56
50
111.
and work
Upward look
74
- -
84
87
Chicago,
98
104
35
Typography by
Anderson Bros.,
66
130
112
wind
89
115
112
Slumber song
*Soft blows the western
110
90
*Raindrops, the
Rudimentary statements begin
Rudimentary statements, contents
19
51
wind's song
13
105
6
13
100
little
94
92
Thanksgiving carol
*Thanksgiving song
105 *The apples have been gathered.
76 The merry spring
Pretty
72
Sweetest hosannas
*Swing, the
104
90
69
78
BE
O GENTLE SAVIOUR
O God of all the ages
96
113
a goodly thing
*On
is
a turn-coat
65